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3948
. 5
1702
DEMETRIUS ON STYLE
London : C. J. CLAY AND SONS,
CAMBRIDGE UNIVERSITY PRESS WAREHOUSE,
AVE MARIA LANE.
Glasgow : 50, WELLINGTON STREET.

1 Leipzig: F. A. BROCKHAUS.
New York: THE MACMILLAN COMPANY.
Bombay and Calcutta: MACMILLAN AND CO., LTD.
[All Rights reserved.]
DEMETRIUS+ON har med
STYLE
THE GREEK TEXT OF
DEMETRIUS DE ELOCUTIONE
EDITED AFTER THE PARIS MANUSCRIPT
WITH
INTRODUCTION, TRANSLATION, FACSIMILES, ETC.
BY
W. RHYS ROBERTS, LITT.D.,
PROFESSOR OF GREEK IN THE UNIVERSITY COLLEGE OF NORTH WALES, BANGOR;
LATE FELLOW OF KING'S COLLEGE, CAMBRIDGE; EDITOR OF 'LONGINUS
ON THE SUBLIME' AND OF 'DIONYSIUS OF HALICARNASSUS :
THE THREE LITERARY LETTERS'.
CAMBRIDGE:
AT THE UNIVERSITY PRESS.
1902
Cambridge:
PRINTED BY J. AND C. F. CLAY,
AT THE UNIVERSITY PRESS.
λέξεως δε αρετή σαφή και μη ταπεινήν είναι.
ARISTOT. Poet. xxii. Ι.
IVVENTUTI
LVCIDE SCRIBENDI AC VENVSTE
STVDIOSAE
HANC EDITIONEM
επτόηται γάρ άπασα νέου ψυχή περί
τον της ερμηνείας ωραϊσμόν.
DIONYS. HAL. de Comp. Verb. c. 1.
διό δεί λανθάνειν ποιούντας, και μη δοκείν λέγειν πεπλασμένως αλλά πεφυκότως.
τούτο γάρ πιθανόν, εκείνο δε τουναντίον" ως γάρ προς επιβουλεύοντα διαβάλλονται,
καθάπερ προς τους οίνους τους μεμιγμένους.
Aristot. Rhet. iii. 2, 4.
And if I have done well, and as is fitting the story, it is that which I desired:
but if slenderly and meanly, it is that which I could attain unto. For as it is
hurtful to drink wine or water alone ; and as wine mingled with water is
pleasant and delighteth the taste : even so speech finely framed delighteth the ears
of them that read the story. And here shall be an end.
2 Maccabees xv. 38, 39.
Cur igitur ius civile docere semper pulchrum fuit hominumque.clarissimorum
discipulis floruerunt domus: ad dicendum si quis acuat aut adiuvet in eo iuven-
tutem, vituperetur ?
Cic. Orator 41, 142.
And now lastly will be the time to read with them those organic arts which
enable men to discourse and write perspicuously, elegantly, and according to the
fitted style of lofty, mean, or lowly. Logic, therefore, so much as is useful, is to
be referred to this due place with all her well-couched heads and topics, until it
be time to open her contracted palm into a graceful and ornate rhetoric, taught
out of the rule of Plato, Aristotle, Phalereus, Cicero, Hermogenes, Longinus.
MILTON, Tractate of Education.
Possum etiam hoc vere de illo libro [sc. Trepi e punuelas] praedicare, me nzeminen
eorum invenisse, cum quibus ipsum diligenter legi (legi autem cum multis, et iis
quidem magno ingenio ac iudicio praeditis hominibus) qui non ipsum statim
amaverint ac magnopere admirati sint.
PIETRO VETTORI.
Un livre qui mériterait de devenir classique.
ÉMILE EGGER.
Die goldene Schrift des Demetrios Tepl èpunvelas..
ULRICH VON WILAMOWITZ-MOELLENDORFF.
Grad. R.Q.2
English Curr.
Saltheran
8-25-36
422751
Tracks
- G. 68
09-26.29 930
PREFACE.
In the first of the two verses which end his story' the
author of the Second Book of Maccabees has sometimes been
thought to be imitating the conclusion of Aeschines' Speech
against Ctesiphon; in the second it is possible, but hardly
probable, that he has in mind the passage of Aristotle's Rhetoric
which is printed, together with his own words, at the head of
the mottos given on the opposite page. Aristotle seems to refer,
in the illustration he incidentally employs, not to the mixture of
the wine of style with the water of natural expression, but
rather to the heady drink made by mingling one wine with
another. His main point is that good writing should so skil-
fully combine art with nature that the combination shall escape
detection. Still more happily does Shakespeare, drawing his
metaphor from the process of growth rather than of fusion,
proclaim the essential unity of art and nature :-
Yet nature is made better by no mean
But nature makes that mean: so, over that art
Which you say adds to nature, is an art
That nature makes. You see, sweet maid, we marry
A gentler scion to the wildest stock,
And make conceive a bark of baser kind
By bud of nobler race: this is an art
Which does mend nature, change it rather, but
The art itself is nature.
Winter's Tale, iv. 4.
viii
PREFACE
In offering an old treatise on style to modern British youths,
one can quote no more striking reminder of the fact, which
young writers are peculiarly apt to forget, that art is something
other than an ostentatious eccentricity.
While the two first mottos are thus intended to suggest
(when supplemented by Shakespeare's lines) the broad truth that
art is the handmaid and not the rival of nature, the remainder
have a more restricted bearing. Cicero asks his practical
fellow-countrymen zuhy training in the art of expression should
not find its due place in the education of the young; and Milton
sketches a course of instruction in rhetoric which includes the
present treatise on style under the name of 'Phalereus' (or
Demetrius of Phalerum), to whom it was traditionally at-
tributed. Milton's high estimate of this work was anticipated
during the Renaissance by its distinguished Florentine editor
Pietro Vettori; and in modern times it has been endorsed by
French and German scholars. So that there seems good cause
for presenting the treatise, now for the first time, in an English
dress, and for commending it to the attention of those young
learners to whom the appeal of the classical teacher must be
made anew from generation to generation.
The Treatise on Style is, in truth, not only a document
which students of Greek literature and rhetoric will find vali-
able, but also a book of modern interest and significance. From
the former point of view it is important to observe that, though
itself probably composed at a date as late as, or even later than,
the birth of Christ, it preserves the best teaching of an earlier
time,—the teaching of Aristotle's Rhetoric and Theophrastus'
lost work on Style. And in a multitude of details it throws
light upon the subtle laws of Greek rhythm and the finer
shades of Greek expression. It is, in short, a great aid to
the study and appreciation of Greek literature on the more
formal side.
But I venture to hope that the treatise will also be acknow-
ledged to have a distinct relation to the theory and practice of
PREFACE
ix
modern English composition. Finding its standards in the
best Greek writers, it advocates qualities such as purity of taste
and propriety of expression which are none too common in any
age or country. Most of its detailed observations apply to the
modern no less than to the ancient languages; and where there
is divergence, the very divergence is instructive. It is in order
to suggest its permanent interest that illustrations from modern
writers have been freely given in the course of the commentary.
The Glossary also has been made full enough to indicate at once
the richness of the De Elocutione as a repository of rhetorical
terms and the comparative poverty of English in this respect.
Possibly more work might with advantage be done both by
English and by classical scholars in ascertaining first of all
the actual resources, as regards rhetorical vocabulary, of the
languages with which they are more immediately concerned.
Some interesting English terins may, for instance, be gleaned
from the lively and racy Elizabethan critics, one of whom,
Puttenham-has been occasionally cited in this edition, while
others will probably soon be accessible in Mr Gregory Smith's
Elizabethan Critical Essays. And it must be adınitted that
in the field of ancient literary criticisin itself a new Lexicon
of Greek and Latin Rhetorical Terms is a great desideratum,
--together with other undertakings such as a Study of Greek
Parody, and English editions of Quintilian's Institutio Oratoria
(on the model of Dr Peterson's edition of Book X), of the Auctor
ad Herennium, of Dionysius of Halicarnassus de Compositione
Verborum and de Oratoribus Antiquis, and of the Rhetorica
ad Alexandrum attributed to Anarimenes. As a general
Index Graecitatis has not been appended to the present edition,
it may be well to take this opportunity of saying that I have
prepared one for my own use and guidance, but have not printed
it in view of the length of the Glossary and the number of
references made to late or otherwise exceptional words in the
course of the Notes.
The Bibliography is shorter than in the companion editions
PREFACE
of Longinus and Dionysius, but only because less work has been
It is, I think, practically complete; no effort has been spared to
make it absolutely so. In reviewing The Three Literary
Letters of Dionysius, M. Max. Egger (whose own recent study
Denys d’Halicarnasse appeared too late for me to profit by it
when writing the introduction to the present edition) courteously
pointed out that the Bibliography of the Scripta Rhetorica
fails to include a paper by M. Mille, entitled Le jugement de
Denys d'Halicarnasse sur Thucydide, which was published in
the “Annales de la Faculté des Lettres de Bordeaux” during the
year 1889. I beg to thank M. Egger for supplying the omission,
and can only plead in extenuation the fact of fitful access to large
libraries. I shall feel sincerely obliged to any other scholars who
will do the same service as M. Egger to one who recognises to
the full the duty imposed upon a modern editor, in a long-
worked field like that of the classics, not only of advancing the
study of his subject to the best of his power, but also (and as
a necessary preliminary) of acquainting himself with what
others have written in reference to it.
Among the scholars whose names are included in the present
Bibliography I feel conscious of special obligations to Vettori
(Victorius), Spengel, Schenkl, Haminer, Durassier and Dahl,
as well as to more general treatises such as Norden's Antike
Kunstprosa and Navarre's Essai sur la Rhétorique grecque
avant Aristote. Radermacher's eaition was only published at
the end of last year when mine was virtually finished, and so
I have been able to use it but little. My own standpoint, how-
ever, is in many ways so different from that of Dr Radermacher
that it seems unlikely that either edition would, in any event,
have been much influenced by the other. It is, nevertheless, a
point of soine interest that the need of a new edition should
have been felt, simultaneously and independently, both in
Germany and in England.
I have again to thank my friends for much kind help
PREFACE
xi
rendered in connexion with the production of this book. Mr,
A. S. Way has enriched the volume with renderings of the verse
passages quoted in the course of the treatise, and he has also
suggested many improvements in the prose translation, and
contributed the greater number of the English illustrations
given in the Notes and Glossary. Mr G. B. Mathews and
Mr W. H. D. Rouse have done me the favour of reading and
criticizing the proofs, while I am deeply sensible of the care
and skill shown by the Readers of the Cambridge University
Press.
W. Rhys ROBERTS.
THE BANK HOUSE,
SOUTH NORWOOD.
July 22, 1902.
CONTENTS
PAGE
INTRODUCTION
A. The Study of Prose Style among the Greeks .
1. Early Rhetoricians and Sophists. . .
II. Attic Orators . . . . . . . .
III. Plato and Aristotle . . . . . .
IV. Post-Aristotelian Philosophical and Philo-
logical Schools . . . . . . .
V. Graeco-Roman Rhetorical Schools . . .
B. Contents of the De Elocutione. General Aspects of
- Greek Stylistic Study
C. Date and Authorship of the De Elocutione
1. Internal Evidence . . . . . .
II. External Evidence . . .
20
TEXT AND TRANSLATION
NOTES
.
.
.
.
.
.
.
.
. .
.
GLOSSARY
>
.
.
BIBLIOGRAPHY. . . . . . .
INDICES
1. Names and Matters . . . .
II. Passages quoted in the De Elocutione
.
.
.
.
.
317
327
PLATES.
Facsimile of P 1741, fol. 226 .
„ „ fol. 245".
.
.
.
.
.
.
.
.
To follow p. 64
To face p. 208
INTRODUCTION.
A. THE STUDY OF PROSE STYLE AMONG THE GREEKS.
Any detailed history of the Greek theory of prose style
manifestly lies outside the scope of an edition like the present.
Nothing more can be attempted here than the selection of
some representative names and the presentation of a few
illustrative extracts. Some sketch of the kind, however brief
it may be, seems a convenient introduction to the De Elo-
cutione, which is itself a treatise on the subject of Prose Style.
I. EARLY RHETORICIANS AND SOPHISTS.
(1) Empedocles. Rhetoric, of which the theory of prose
style is a branch, originated in the Greek towns of Sicily.
According to a statement attributed to Aristotle, the inventor
of rhetoric was Empedocles of Agrigentum (470 B.C.)? If
this be true, yet another achievement must be associated with
the name of this poet, philosopher, and statesman. But Aris-
totle, as elsewhere reported (Sext. Empir. vii. 6; Quintil. iii.
1, 8), seems to imply no more than that Empedocles paved
the way for a more systematic follower, perhaps for Gorgias,
some of whose favourite figures of speech are illustrated by
anticipation in surviving verses of Empedocles.
(2) Corax and Tisias. The first writer to frame a Téxvn,
or Art of Rhetoric, was Corax of Syracuse. Corax flourished
about 460 B.C., and his aim, as a teacher of rhetoric, was to aid
1 Diog. Laert. viii. 57, 'A PLOTOTEAMS d' Èv Tŷ EODLOTÔN ONoiv, TpWTov 'Eumedokdéa
ρητορικήν ευρείν, Ζήνωνα δε διαλεκτικήν.
R.
INTRODUCTION.
W
litigants in asserting their rights of property during the re-
settlement which followed the downfall of the tyrants and the
establishment of democratic government in Sicily. It seems
probable that Corax, in his manual, did not treat of the
subject of style, but confined himself to the topic of probability
(TÒ Eikós) and to the consideration of the best method of
arranging the contents of a speech? His pupil Tisias developed
the topic of probability in a treatise of his own, and is said to
have accompanied Gorgias to Athens in the year 427 B.C. 2
(3) Gorgias. It is with the arrival in Athens of Gorgias
of Leontini, who is said to have been a pupil of Tisias, that
the Sicilian movement begins to make itself felt in the wider
field of Attic literature. Gorgias, whose long life covered
nearly the whole of the fifth century B.C., was a man of com-
manding power and may justly be regarded as the founder of
artistic prose style: His position at Athens, and his literary
tendencies, may best be inferred from a passage of the
Sicilian Diodorus, in connexion with one of Aristotlè. Dio-
dorus says: "When Gorgias came to Athens [the reference is
to the Leontine embassy of 427 B.C.] and appeared before the
popular assembly, he addressed the Athenians with regard to
the alliance, and his distinguished style appealed irresistibly
to their ready wits and love of speech. He was the first to
employ the more unusual, and more artificial, figures of speech,
such as antithesis, symmetry of clause, parallelism of structure,
similarity of termination, and the like. At that time such
devices were warmly welcomed owing to the novelty of their
craftmanship, whereas now they seem affected and ridiculous
to ears sated by their repeated uset."
i Spengel, Art. Script., pp. 23-—-26.
? Pausan. vi. 17, 8.—The chief passages in which ancient authors refer to the
Sicilian Rhetoric are brought together in G. F. Hill's Sources for Greek History
between the Persian and Peloponnesian Wars, pp. 350, 354-356.
3 Gorgias' life is variously assigned to the years 496—388 B.C. and the years
483_-375 B.C. Its long duration is not questioned.
4 Diod. Sic. Bibl. Hist. xii. 53, OŮTOS Oův karavtNoas els tès ’Abhvas kal
παραχθείς εις τον δήμον, διελέχθη τους Αθηναίοις περί της συμμαχίας, και το
ξενίζοντι της λέξεως εξέπληξε τους Αθηναίους, όντας ευφυείς και φιλολόγους. πρώτος
γάρ έχρήσατο τοΐς της λέξεως σχηματισμούς περιττοτέροις και τη φιλοτεχνία διαφέρουσιν.
GREEK STUDY OF STYLE.
The passage of Aristotle occurs in the Rhetoric (iii. 1, 9):
“And as poets were thought to owe to their style the fame
which they gained notwithstanding the ineptitude of their
utterances, prose style in consequence took a poetical turn, as
in the case of Gorgias. And even in our own day uneducated
people commonly regard poetical prose as the finest. This
however is not true; one form of language belongs to poetry,
another to prose?."
While thus criticising him from the standpoint of their
own day, Aristotle and Diodorus have done less than true
historic justice to Gorgias. As Strabo (i. 2, 6) recognises,
artistic prose begins by imitating poetry; and the task
which Gorgias attempted was to keep in prose some of the
colour, warmth and rhythmical movement, to which poetry
(as represented by Homer or even by Empedocles) owed
so much of its charm. To make the attempt at all was a
great merit; that it should be carried to excess was perhaps
inevitable. It was a real service thus to have driven home
αντιθέτοις και ισοκώλοις και παρίσους και ομοιοτελεύτοις και τισιν ετέροις τοιούτοις, α
τότε μεν διά το ξένον της κατασκευής αποδοχής ήξιούτο, νύν δε περιεργίαν έχειν δοκεί
και φαίνεται καταγέλαστον πλεονάκις και κατακόρως τιθέμενον. Tinnaeus seems here
to be Diodorus' authority : cp. Dionys. Halic. de Lysia, c. 3 (a passage which
may be quoted at some length because of its importance from this and other
points of view), τοις δε προτέροις ουχ αύτη η δόξα ήν, αλλά βουλόμενοι κόσμον τινά
προσείναι τους λόγους εξήλλαττον τον ιδιώτης και κατέφευγον εις την ποιητικής φράσιν,
μεταφοραις τε πολλαίς χρώμενοι και υπερβολαίς και ταις άλλαις τροπικαίς ιδέαις,
ονομάτων τε γλωττηματικών και ξένων χρήσει και των ουκ ειωθότων σχηματισμών τη
διαλλαγή και τη άλλη καινολογία καταπληττόμενοι τον ιδιώτης. δηλοί δε τούτο
Γοργίας τε ο Λεοντίνος, εν πολλοίς πάνυ φορτικήν τε και υπέρογκον ποιών την
κατασκευής και ου πόρρω διθυράμβων τινών ’ ένια φθεγγόμενος, και των εκείνου
συνουσιαστών οι περί Λικύμνιόν τε και πώλον. ήψατο δε και των’ Αθήνησι ρητόρων ή
ποιητική τε και τροπική φράσις, ώς μέν Τίμαιος φησι, Γοργίου άρξαντος ήνίκ' 'Αθήναζε
πρεσβεύων κατεπλήξατο τους ακούοντας τη δημηγορία, ως δε ταληθές έχει, το και
παλαιότερον αιεί τι θαυμαζομένη. Θουκυδίδης γούν ο δαιμονιώτατος των συγγραφέων
έν τε τω επιταφίω και εν ταις δημηγορίαις ποιητική κατασκευή χρησάμενος εν πολλοίς
εξήλλαξε την ερμηνείαν εις όγκος άμα και κόσμον ονομάτων αηθέστερον.
1 Aristot. Rhet. iii. 1, 9, έπει δ' οι ποιηται λέγοντες ευήθη διά την λέξιν έδόκουν
πορίσασθαι τήνδε την δόξαν, διά τούτο ποιητική πρώτη εγένετο λέξις, οίον η Γοργίου,
και νύν έτι οι πολλοί των απαιδεύτων τους τοιούτους οίονται διαλέγεσθαι κάλλιστα.
τούτο δ' ουκ έστιν, αλλ' ετέρα λόγου και ποιήσεως λέξις εστίν. Cp. Dionys. Halic.
de Invitat. ii. 8, Γοργίας μεν την ποιητικής ερμηνείαν μετήνεγκεν εις λόγους πολιτι-
κούς, ουκ αξιών όμοιον τον ρήτορα τους ιδιώταις είναι. .
I--2
INTRODUCTION.
the truth, which Greece never wholly forgot, that form and
style are of the first importance in prose as well as in verse.
Gorgias is so important a figure in the development of
Greek prose style that it will be well to quote in full the
most considerable of his surviving fragments'. This passage,
which is a part-probably the peroration-of his Funeral
Speech, affords clear traces of those peculiarities which are
said to have marked Gorgias' style in general. Its rhythmical
character is obvious, and so are those figures which were sup-
posed to be specially Gorgian. There is antithesis every-
where. Parisosis is seen in such balanced clauses as .
σεμνοί μεν προς τους θεούς το δικαίω,
όσιοι δε προς τους τοκέας τη θεραπεία,
δίκαιοι μεν προς τους αστούς τω ίσω,
ευσεβείς δε προς τους φίλους τη πίστει.
Homoeoteleuton appears in συμφέρον...πρέπον, αγάλματα...
αναθήματα. There are instances, also, of compound words
(διπλά ονόματα), e.g. έμφυτος, ενόπλιος, ευόργητος, φιλόκαλος:
of far-fetched or poetical words (γλώτται), eg. νέμεσις, δισσός,
TOKEÚs: of metaphors, e.g. "Apns employed to denote 'courage,'
and obos personified as Regret: and of the free use of
adjectives, e.g. το πράον...του αυθάδους, εμφύτου "Αρεος...
* 1 Gorgias, Epitaph. Fragm. : τί γάρ απήν τοις ανδράσι τούτοις ών δεϊ ανδράσι
προσείναι; τί δε και προσην ών ου δεί προσείναι; ειπείν δυναίμην α βούλομαι,
βουλοίμην δ' α δεί, λαθών μεν την θείαν νέμεσιν, φυγών δε τον ανθρώπινον φθόνον:
ούτοι γάρ εκέκτηντο ένθεον μεν την αρετήν, ανθρώπινον δε το θνητόν, πολλά μεν δή το
πράον επιεικές του αυθάδους δικαίου προκρίνοντες, πολλά δε νόμου ακριβείας λόγων
ορθότητα, τούτον νομίζοντες θειότατον και κοινότατον νόμον, το δέον εν τω δέοντι και
λέγειν και σιγαν και ποιεϊν < και εάν >, και δισσα ασκήσαντες μάλιστα ών δεϊ,
γνώμην και ρώμην, την μεν βουλεύοντες, της δ' αποτελούντες, θεράποντες των μεν
αδίκως δυστυχούντων, κολασται δε των αδίκως ευτυχούντων, αυθάδεις προς το συμφέρον,
ευόργητοι προς το πρέπον, το φρονίμω της γνώμης παύοντες το άφρον <της ρώμης >,
υβρισται εις τους υβριστάς, κόσμιοι εις τους κοσμίους, άφοβοι εις τους αφόβους, δεινοι
εν τοις δεινοίς. μαρτύρια δε τούτων τρόπαια εστήσαντο των πολεμίων, Διός μεν
αγάλματα, αυτών δε αναθήματα, ούκ άπειροι ούτε εμφύτου"Αρεος ούτε νομίμων ερώτων
ούτε ένοπλίου έριδος ούτε φιλoκάλου ειρήνης, σεμνοί μεν προς τους θεούς το δικαίω,
όσιοι δε προς τους τοκέας τη θεραπεία, δίκαιοι μεν προς τους αστούς τω ίσω, ευσεβείς
δε προς τους φίλους τη πίστει. τοιγαρούν αυτών αποθανόντων ο πόθος ου συναπέθανεν,
αλλ' αθάνατος ουκ εν αθανάτοις σώμασι ζη ου ζώντων.
GREEK STUDY OF STYLE.
.
I .1.
DI
vominov potwV, KT). Such a style is elaborate to weariness;
but in estimating its possibilities, we must remember its in-
fluence not only on fashionable poets like Agathon, but on
great prose-writers beginning with Thucydides himself? It
diffused the habit of scrupulous attention to form in prose-
writing over a much wider circle of authors than that (large
as it was) of the rhetorician's own immediate pupils such as
Polus, Proxenus, Licymnius, Alcidamas, Isocrates.
(4) Sophists. From its eastern, no less than from its
western, colonies Greece received aid and stimulus in the
formation of an artistic prose style. If from the Sicilian
Gorgias she learnt the lesson of EvéTTELA, or 'beauty of
language,' she was instructed in the secrets of opDoétrela, or
correctness of language,' by sophists like Protagoras of
Abdera, Prodicus of Ceos, and Thrasymachus of Chalcedon.
Protagoras may be said to have founded the science of
grammar; Prodicus busied himself with etymological ques-
tions and with the distinction of synonyms; Hippias of Elis
lectured on points of prosody as well as of grammar;
Theodorus of Byzantium introduced new terms for the sub-
divisions of a speech. The most important of all the sophists,
from the standpoint of style, was Thrasymachus, who was
born about 457 and flourished from 430 to 400 B.C. The
work done by Thrasymachus was so important that his name
may well be coupled with that of Gorgias as a founder of
artistic prose. It was his great merit to have recognised the
1 According to Aristotle (Rhet. iii. 3), Gorgias did not shrink from such com-
pounds aς πτωχόμουσος and κατευορκήσαντας, nor from such metaphors as χλωρά
και έναιμα τα πράγματα and συ δε ταύτα αισχρώς μέν έσπειρας κακώς δε εθέρισας.
Cp. Tr. Üy. iii. 2, Taúty kai tà toŮ A covtlvou Topylov yellâtai ypápovtos "Eépins ó
Tŵv Tlepov Zeús,' kai Túmes émy Vxou tápol.' See further Blass, Att. Bereds.2
i. 63 ff., Navarre, Essai sur la Rhétorique grecque avant Aristote, pp. 86 ff.
? For Agathon reference may be made to an article on 'Aristophanes and
Agathon' in the Journal of Hellenic Studies, xx. pp. 44-58, esp. p. 48: TO Mèv
Trápepyov čpyov Ws ToLoúmeda, | TÒ d'épyov ús Tápepyov ŠKTOVOÚpeda. The fullest
characterisation of the style of Thucydides will be found in Blass, Att. Bereds:? i.
pp. 203—-246. Cp. also Norden, Antike Kunstprosa, i. pp. 96-101, Jebb in
Hellenica, pp. 306 ff., Croiset, Thucydide, pp. 102 ff., and Histoire de la littérature
grecque, iv. pp. 155 ff. Dionys. Halic. de Lys. c. 3 (quoted on p. 3 supra) and de
Thucyd. c. 52 should at the same time be consulted.
INTRODUCTION.
period as an essential of good rhythmical prose. Of his style
the following is a specimen :
έβουλόμην ώ Αθηναίοι μετασχειν εκείνου του χρόνου του παλαιού
και των πραγμάτων | ηνίκα σιωπάν απέχρι τους νεωτέροις και των τε
πραγμάτων ουκ αναγκαζόντων αγορεύειν ή και των πρεσβυτέρων ορθώς
την πόλιν επιτροπευόντων | επειδή δ' εις τοιούτον ημάς ανέθετο χρόνον
ο δαίμων | ώστε (τάς μεν ευπραξίας) της πόλεως ακούειν, | τας δε
συμφοράς (δράν) αυτούς | και τούτων τα μέγιστα μη θεων έργα είναι
μηδε της τύχης ( αλλά των επιμεληθέντων | ανάγκη δή λέγειν ή γαρ
αναίσθητος ή καρτερώτατός έστιν | όστις εξαμαρτάνειν εαυτόν έτι παρέξει
τους βουλομένοις και της ετέρων επιβουλής τε και κακίας | αυτός υπο-
σχήσει τας αιτίας'.
It was the belief of Theophrastus, as Dionysius tells us;
that Thrasymachus was the originator of that periodic struc-
ture which “presents the thought in a compact and rounded
form?" Dionysius also states that Thrasymachus devised a
middle style, standing midway between the extremes of
elaboration and plainness, and anticipating (in some sense)
the styles of Isocrates and Plato'.
II. ATTIC ORATORS.
(1) Antiphon. Antiphon, who heads the list of the Ten
Attic Orators, was born about 480 B.C., and was put to death
in the year 411, after delivering the masterly defence so
highly extolled by Thucydides. His dignified and austere
1 Divided here as by Blass, Att. Bereds.? i. 254. The fragment, interesting as
it is, does not altogether accord with the statements of Aristot. Rhet. iii. 8 and
Cic. Or. 39 ff., 174 ff. But the fragment itself, and the remark with which it is
introduced, should be examined in Dionys. Hal. de adm. vi dic. in Demosth. c. 3
(Usener-Radermacher's text); and reference should be made to Norden, Kunst-
prosa, 1. pp. 42, 43.
2 Dionys. Hal. de Lys. C. 3: η συστρέφουσα τα νοήματα και στρογγύλως
εκφέρουσα λέξις.
3 Dionys. Hal. de adm. vi dic. in Demosth. C. 3.
4 Thucyd. viii. 68: ήν δε ο μεν την γνώμην ταύτην είπών Πείσανδρος, και τάλλα
εκ του προφανούς προθυμότατα ξυγκαταλύσας τον δήμον ο μέντοι άπαν το πράγμα
ξυνθείς ότω τρόπο κατέστη ες τούτο και εκ πλείστου επιμεληθείς 'Αντιφών ήν, ανήρ
'Αθηναίων των καθ' εαυτόν αρετή τε ουδενός ύστερος και κράτιστος ενθυμηθήναι
γενόμενος και αγνοίη είπείν, και ές μεν δήμον ού παριών ουδ' ες άλλον αγώνα εκούσιος
ουδένα, άλλ' υπόπτως το πλήθει διά δόξαν δεινότητος διακείμενος, τους μέντοι
.
GREEK STUDY OF STYLE
style, in which Thucydides and he closely resemble each
other, may be illustrated by the following short example :
έβουλόμην μέν ώ άνδρες την δύναμιν του λέγειν και την εμ-
πειρίαν των πραγμάτων | εξ ίσου μοι καθεστάναι τη τε συμφορά
και τους κακούς τους γεγενημένοις | νύν δε του μέν πεπείραμαι
πέρα του προσήκοντος | του δ' ενδεής είμι μάλλον του συμ-
φέροντος | ου μεν γάρ με έδει κακοπαθείν τω σώματι μετά
της αιτίας της ου προσηκούσης | ένταυθοί ουδέν με ωφέλησεν
η εμπειρία | ού δε με δεί σωθήναι μετά της αληθείας είπόντα
τα γενόμενα | έν τούτω με βλάπτει και του λέγειν αδυναμία.
Antiphon is the first extant Greek writer who unites the
theory with the practice of rhetoric. A special interest in
the history of Greek style attaches to his Tetralogies, because
they are so closely influenced by the sophistic movement.
(2) Lysias. Lysias, the son of the Syracusan Cephalus,
was born at Athens, where he settled in 412 B.C. after spend-
ing some of his early years in Thurii. At Athens he won a
great reputation as a writer of speeches to be delivered by
clients in the law-courts. He was regarded, by later critics,
as the most distinguished representative of that plain style of
αγωνιζομένους και εν δικαστηρίων και εν δήμω πλείστα εις ανήρ, όστις ξυμβουλεύσαιτό
τι, δυνάμενος ωφελείν. και αυτός τε, επειδή [μετέστη η δημοκρατία και ες αγώνας
κατέστη] τα των τετρακοσίων εν υστέρω μεταπεσόντα υπό του δήμου έκακούτο, άριστα
φαίνεται τών μέχρι εμού υπέρ αυτών τούτων, αιτιαθείς ως ξυγκατέστησε, θανάτου
δίκην απολογησάμενος. This passage has been transcribed because (though not
part of a Thucydidean Speech) it may suggest to the student a comparison
between the styles of Antiphon and Thucydides: cp. the references given on p. 5,
n. 2 supra. The design of the present introduction is rather to bring into relief
the less familiar names, e.g. that of Gorgias. The direct influence of Gorgias, and
of the early rhetoricians and sophists generally, may possibly have been exaggerated
by the Graeco-Roman critics whose thoughts were turned almost entirely to
oratorical prose. Yet all the best Greek prose was intended to please the ear, and
Gorgias in particular popularised a fine instrument of expression. Let the
antithetic phrase once be loaded with thought as in Thucydides, and we see how
valuable an instrument the λέξις αντικειμένη may be made. « In general there
can be little doubt that the excesses of the early rhetoricians, like those of the
euphuistic writers of the time of Elizabeth, tended both to refine and invigorate
the language of prose, and to render it a more adequate vehicle of thought than it
had hitherto been" (Thompson, Gorgias of Plato, p. 177).
1 Antiphon, de Caed. Herod., init. The style of Antiphon is fully treated in
Jebb, Att. Or. i. 18 ff. and in Blass, Att. Bereds.? i. pp. 120 ff.
INTRODUCTION.
oratory which copied the language of ordinary life. But the
simplicity of Lysias is a studied simplicity; it is the result
of an art that can conceal itself. Dionysius points this out
clearly. He remarks that Lysias, in contrast to his pre-
decessors, can invest a subject with dignity although he uses
only the most commonplace words and refrains from all
poetical embellishment. “But,” he adds, “though he may
seem to express himself like ordinary people, he is vastly
superior to any ordinary writer?." The following excellent
example of the simplicity and directness of Lysias is given
elsewhere by Dionysius :
αναγκαιόν μοι δοκεί είναι, ώ άνδρες δικασταί, περί της φιλίας της
έμης και της Φερενίκου πρώτον ειπείν προς υμάς, ίνα μηδείς υμών
θαυμάση, ότι υπέρ ουδενός υμών πώποτε ειρηκώς πρότερον υπέρ τούτου
νυνί λέγω. εμοί γάρ, ώ άνδρες δικασταί, ξένος ήν Κηφισόδοτος και τούτου
πατήρ, και ότε έφεύγομεν, εν Θήβαις παρ' εκείνω κατηγόμην και εγώ
και άλλος Αθηναίων και βουλόμενος, και πολλά και αγαθά και ιδία και
δημοσία παθόντες υπ' αυτού εις την ημετέραν αυτών κατήλθομεν. επει
δ' ούν ούτοι ταϊς αυταίς τύχαις έχρήσαντο και φυγάδες Αθήναζε
αφίκοντο, ηγούμενος την μεγίστην αυτοίς οφείλειν χάριν ούτως οικείως
αυτους υπεδεξάμην, ώστε μηδένα γνώναι των εισιόντων, ει μή τις πρό-
τερον ήπίστατο, οπότερος ημών εκέκτητο την οικίαν. οίδε μεν ούν και
Φερένικος,. ώ άνδρες δικασταί, ότι πολλοί λέγειν εισίν εμού δεινότεροι
και μάλλον τοιούτων πραγμάτων έμπειροι, αλλ' όμως ηγείται την εμήν
οικειότητα πιστοτάτης είναι. αισχρόν ούν μοι δοκεί είναι κελεύοντος
τούτου και δεομένου τα δίκαια αυτό βοηθήσαι περιιδείν αυτόν, καθ' όσον
οδός τ' είμι εγώ, των υπ' 'Ανδροκλείδου δεδομένων στερηθήναι.
(3) Isocrates. Isocrates was born in 436 B.C., and died
in the year of the battle of Chaeroneia (338 B.C.). He was
regarded in antiquity as a disciple of Gorgias who followed
his master in his elaborate attention to form, while avoiding
his use of poetical diction. As a political pamphleteer he
1 Dionys. Hal. de Lys. C. 3: και ουκ επί τούτω μόνον επαινείν αυτόν άξιον, αλλ'
ότι και σεμνά και περιττά και μεγάλα φαίνεσθαι τα πράγματα ποιεί τους κοινοτάτοις
χρώμενος ονόμασι και ποιητικής ουχ απτόμενος κατασκευής......ομοίως δε τους ιδιώταις
διαλέγεσθαι δοκών πλείστον όσον ιδιώτου διαφέρει.
2 Lysiae fragm. cxx.: Dionys. Hal. de Isaeo, cc. 6, 7.—The cardinal Attic
virtue of oaońvela is as well exemplified in this extract as in any that could be
adduced.
GREEK STUDY OF STYLE.
was unsurpassed in his own day. Through his influence on
the later rhetorical schools, and especially on Cicero, he has
done much to shape the literary prose of modern Europe,
a manner less rigidly Attic than that of Lysias contributing
greatly to his wide popularity. Some of his characteristics
are thus described by Dionysius : “ Isocrates' great aim is
beauty of diction, and he cultivates, the elegant rather than
the plain style. Hiatus he shuns because it destroys harmony
of sound and spoils smoothness of utterance. He endeavours
to include his thoughts in a period, or circle, which is quite
rhythmical and not far removed from the metre of poetry.
His works are better suited for private reading than for
forensic use. Accordingly his discourses can be declaimed in
public assemblies or thumbed by the student, but will not
stand the test of the legislative assembly or the law-courts,
where much is needed of that passion which attention to
the period is apt to quench. Further, similarity of Sounds,
symmetry of members, antitheses, and the entire apparatus
of similar figures, abound in his writings and often mar the
general effect of the composition by importuning the ear'."
The following extract may serve as a brief example of
the style of Isocrates :
ούτω δε πολιτικώς είχον, ώστε και τας στάσεις έποιούντο προς
αλλήλους, ούχ οπότεροι τους ετέρους απολέσαντες των λοιπών άρξουσιν,
αλλ' οπότεροι φθήσονται την πόλιν αγαθόν τι ποιήσαντες, και τας
εταιρείας συνήγον ούχ υπέρ των ιδία συμφερόντων, αλλ' επί τη του
πλήθους ωφελεία. τον αυτόν δε τρόπον και τα των άλλων διώκουν,
θεραπεύοντες αλλ' ουχ υβρίζοντες τους Έλληνας, και στρατηγείν οίόμενοι
1 Dionys. Hal. de Isocr, C. 2, ο γάρ ανήρ ούτος την ευέπειαν εκ παντός διώκει και
του γλαφυρώς λέγειν στοχάζεται μάλλον ή του αφελώς. τών τε γάρ φωνηέντων τάς
παραλλήλους θέσεις ως έκλυούσας τας αρμονίας των ήχων και την λειότητα των
φθόγγων λυμαινομένας περιίσταται, περιόδω τε και κύκλο περιλαμβάνειν τα νοήματα
πειράται ρυθμοειδεί πάνυ και ου πολύ απέχοντι του ποιητικού μέτρου, αναγνώσεώς τε
μάλλον οικειότερός εστιν ή χρήσεως. τοιγάρτοι τάς μεν επιδείξεις τας εν ταις
πανηγύρεσι και την εκ χειρός θεωρίαν φέρουσιν αυτού οι λόγοι, τους δε εν εκκλησίαις
και δικαστηρίοις αγώνας ουχ υπομένουσι. τούτου δε αίτιον, ότι πολύ το παθητικόν
έν εκείνοις είναι δεί· τούτο δε ήκιστα δέχεται περίοδος. αϊ τε παρομοιώσεις και
παρισώσεις και τα αντίθετα και πας και των τοιούτων σχημάτων κόσμος πολύς έστι παρ'
αυτώ και λυπεί πολλάκις την άλλην κατασκευήν προσιστάμενος ταίς ακοαΐs. Cp. C. 13
ibid., και των περιόδων ρυθμός, εκ παντός διώκων το γλαφυρόν.
10
INTRODUCTION.
δείν αλλά μη τυραννείν αυτών, και μάλλον επιθυμούντες ηγεμόνες ή
δεσπόται προσαγορεύεσθαι και σωτήρες αλλά μη λυμεώνες αποκαλείσθαι,
το ποιείν εύ προσαγόμενοι τας πόλεις, αλλ' ού βία καταστρεφόμενοι,
πιστοτέροις μεν τοις λόγοις ή νύν τους όρκοις χρώμενοι, ταις δε συνθή καις
ώσπερ ανάγκαις εμμένειν αξιoύντες, ουχ ούτως επί ταϊς δυναστείαις μέγα
φρονούντες ως επί τω σωφρόνως ζην φιλοτιμούμενοι, την αυτην αξιoύντες
γνώμην έχεις προς τους ήττους ήνπερ τους κρείττους προς σφάς αυτούς,
ίδια μεν άστη τας αυτών πόλεις ηγούμενοι, κοινήν δε πατρίδα την Ελλάδα
νομίζοντες είναι'.
Isocrates was the most indefatigable and successful of
teachers. Among his pupils, who were numerous and eminent,
may be mentioned statesmen and orators such as Timotheus,
Lycurgus, Hyperides and Isaeus, and writers such as the
historians Theopompus and Ephorus2. The μελέται, or exer-
cises, which he set to his pupils and for which his own
writings served as models, were a principal part of his system
of teaching. He is also said to have composed an Art of
Rhetoric, of which one of the most characteristic precepts
would appear to have been that “prose must not be merely
prose, or it will be dry; nor metrical, or its art will be un-
disguised; but it should be compounded with every sort of
rhythm, particularly iambic or trochaic.” The task Isocrates
set before him was, as he himself says, to use the words of
ordinary life as opposed to the far-sought vocabulary of the
poets, and at the same time to employ musical and rhythmical
language, which should be as various as the thoughts expressed4.
1 Isocr. Panegyr. SS 79—81 (ed. J. E. Sandys). ·
2 To Ephorus is attributed (cp. Rhet. Gr. ii. 71, ed. Spengel) a treatise tepi
λέξεως: So that he transmitted his master's doctrine theoretically as well as
practically.
3 Isocr. Tech. fr. 6 (Benseler-Blass), όλως δε ο λόγος μη λόγος έστω, ξηρόν γάρ
μηδέ έμμετρος, καταφανές γάρ. αλλά μεμίχθω παντί ρυθμώ, μάλιστα ιαμβικό ή
τροχαϊκό.
4 Isocr. Ευασ. 9, τοις μεν γάρ ποιηταίς πολλοί δέδονται κόσμοι και γάρ
πλησιάζοντας τους θεούς τους ανθρώποις οιόν τ' αυτούς ποιήσαι, και διαλεγομένους και
συναγωνιζομένους οίς αν βουληθώσι, και περί τούτων δηλώσαι μή μόνον τους τεταγμένοις
ονόμασιν, αλλά τα μέν ξένοις, τα δε καινοις, τα δε μεταφοραίς, και μηδεν παραλιπείν,
αλλά πάσι τοις είδεσι διαποικίλαι την ποίησιν· τοις δε περί τους λόγους ουδέν έξεστι
των τοιούτων, αλλ' αποτόμως και των ονομάτων τους πολιτικούς μόνον και των
ενθυμημάτων τους περί αυτάς τάς πράξεις αναγκαιόν εστι χρήσθαι. Contra Sophistas
GREEK STUDY OF STYLE.
II
Much of the teaching of Isocrates and his predecessors is
supposed to be embodied in the treatise on rhetoric (TocTIKO
λόγοι, not ρητορική, is the term used by the author himself)
known as the Rhetorica ad Alexandrum, commonly (though
the evidence is not absolutely conclusive) attributed to the
rhetor Anaximenes, who was a contemporary of Alexander
the Great and accompanied him on his campaigns. The work
is purely utilitarian in aim, and is composed in that sophistic
spirit which moved the indignation of Plato and Aristotle.
As a practical manual for the use of the advocate it stands
high, while in its lack of philosophic breadth and scientific
method it is as far as possible removed from the Rhetoric of
Aristotle. The bulk of the treatise is, naturally, occupied
with a consideration of the proofs, presumptions, and fallacies
by the aid of which, a cause may be won. But it is
rather strange that so practical a work does not seem to
recognise a separate department of style. The contents of
the chapters (cc. 24-28) devoted to é punveia, or the art of
expression, are at once miscellaneous and meagre. They deal
cursorily with such topics as two-membered periods, per-
spicuity, the article and connective particles, hiatus and
ambiguous words, and the figures å vrideols, Tapiowols,
Trapowotwors (viz. parallelism in sense, structure, sound).
(4) Demosthenes. The Ten Attic Orators were Anti-
phon, Andocides, Lysias, Isocrates, Isaeus, Demosthenes,
Aeschines, Lycurgus, Hyperides, Deinarchus. For the pur-
poses of this outline sketch, Demosthenes (384-322 B.C.) is
the only remaining name which need occupy us, and that
but for a moment'.
16, φημι γάρ εγώ των μεν ιδεών, εξ ών τους λόγους άπαντας και λέγομεν και συντί-
θεμεν, λαβείν την επιστήμην ούκ είναι των πάνυ χαλεπών, ήν τις αυτόν παρα δω μή
τους ραδίως υπισχνουμένοις, αλλά τους ειδόσι τι περί αυτών: το δε τούτων εφ' εκάστω
των πραγμάτων ας δεί προελέσθαι και μίξαι προς αλλήλας και τάξαι κατά τρόπον, έτι
δε των καιρών μή διαμαρτείν, αλλά και τους ενθυμήμασι πρεπόντως όλον τον λόγον
καταποικίλαι και τους ονόμασιν ευρύθμως και μουσικώς ειπείν, ταύτα δε πολλής
επιμελείας δείσθαι και ψυχής ανδρικής και δοξαστικής έργον είναι, κτλ.
1 Of the four orators here chosen Antiphon is typical of the grand style, Lysias
of the plain, Isocrates of the middle, while Demosthenes is the 'Proteus' of style.
All four are students, though not all are teachers, of prose style.
I 2
INTRODUCTION.
Demosthenes was no teacher of rhetoric, nor did he leave
behind him any manual of the art. But his immediate
triumphs were great; and after his death the written remains
of his oratory gradually won him a place as a recognised
master, and supreme model, of eloquence. When the practice
of imitation (μίμησις) became a regular feature of the training
given in the rhetorical schools, his influence was widely
extended. By some of the best critics—by Cicero no less
than by Dionysius--he was regarded as combining, with
peculiar success, the excellences of all previous styles and
orators. His sensitive observance of the most delicate shades
of rhythm and harmony will be touched upon presently. No
better illustration of his nervous and emphatic style could be
given than one quoted by Dionysius (de adm. vi dic. in
Demosth. c. 21) from the Third Olynthiac:
καίτοι σκέψασθ', ώ άνδρες Αθηναίοι, ά τις αν κεφάλαι' ειπείν έχοι
των τ’ επί των προγόνων έργων και των εφ' υμών. έσται δε βραχύς και
γνώριμος υμίν ο λόγος: ου γαρ αλλοτρίοις υμίν χρωμένοις παραδείγμασιν,
αλλ' οικείοις, ώ άνδρες Αθηναίοι, ευδαίμοσιν έξεστι γενέσθαι. εκείνοι
τοίνυν, οίς ούκ έχαρίζονθ' οι λέγοντες ουδ' έφίλουν αυτούς ώσπερ υμάς
ουτοι νύν, πέντε μεν και τετταράκοντ' έτη των Ελλήνων ήρξαν εκόντων,
πλείω δ' ή μύρια τάλαντ' εις την ακρόπολιν ανήγαγον, υπήκουεν δ' ο
ταύτην την χώραν έχων αυτοίς βασιλεύς, ώσπερ έστι προσήκον βάρβαρον
“Έλλησι, πολλά δε και καλά και πεζη και ναυμαχούντες έστησαν τρόπαιο
αυτοί στρατευόμενοι, μόνοι δ' ανθρώπων κρείττω την επί τοις έργοις
δόξαν των φθονούντων κατέλιπον, κτλ. (Denmosth. Olynth. iii. 23 f.).
III. PLATO AND ARISTOTLE.
(1) Plato. In Plato (428–347 B.C.) and Aristotle (384-
322 B.C.) we find rhetoric raised to an altogether higher plane
than it had hitherto occupied. Its treatment is conceived
philosophically?. In the Gorgias Plato, alienated by the
extravagances and unscrupulous methods of the sophists and
i Conceived with a pilooopla very different from that of Isocrates, who can
hardly be thought to have fulfilled altogether the hopes expressed in the words :
φύσει γάρ, ώ φίλε, ένεστί τις φιλοσοφία της του ανδρός διανοία (Plat. Phaedr. 279 Α).
GREEK STUDY OF STYLE.
rhetoricians of his own and earlier times, affirms that Rhetoric
is no art but a mere knack (tpußń, éuttelpía). In the Phaedrus
he takes a wider view, and traces the outlines of a philosophical
rhetoric, based alike on dialectic and on psychology.
It has sometimes been thought, perhaps with insufficient
reason, that when Plato composed the Phaedrus he intended
to write subsequently a systematic treatise on rhetoric, in-
cluding the art of expression. Be this so or not, he has in
the course of the Phaedrus made a most important con-
tribution to the theory of composition in suggesting that
“every discourse ought to be constructed like a picture of
a living organism, having its own body and head and feet;
it must have middle and extremities, drawn in a manner
agreeable to one another and to the whole?.”
Much of Plato's best criticism on style is conveyed by the
indirect method of parody. Lysias is thus treated in the
Phaedrus 230 E (where, however, the passage recited by
Phaedrus may be a genuine production of Lysias); Prodicus
in the Protagoras 337 A-C; and Agathon in the Banquet
195—197%. The subject of Plato's own wonderful style in its
various phases is too large for cursory treatment. But it is
to be noted that the ancient critics discerned its strong poetic
1
1 Plat. Phaedr. 264 C, åMà tbde ye oîual de pával öv, deîv trávta dóyov ŰOTTEP
ζώον συνεστάναι σώμά τι έχοντα αυτόν αυτού, ώστε μήτε ακέφαλος είναι μήτε απουν,
αλλά μέσα τε έχεις και άκρα, πρέποντ’ αλλήλοις και το όλο γεγραμμένα. The
passage is translated in S. H. Butcher's Aristotle's Theory of Poetry and Fine Arta,
p. 188, where it is pointed out that Aristotle took this idea (which in Plato applies
to prose no less than to verse) as the basis of his theory of dramatic art.-Cp. 264 B
ibid., συ δ' έχεις τινά ανάγκην λογογραφικήν, ή ταύτα εκείνος ούτως εφεξής παρ'
äranla čo nkev.–For sincerity in art, cp. 260 E ibid., ToŮ dè Néyelv, onolv ó Máxwv,
έτυμος τέχνη άνευ του αληθείας ηφθαι ούτ' έστιν ούτε μή ποθ' ύστερον γένηται.
? A systematic collection of the parodies and literary references found in Plato
and in Aristophanes would be a useful contribution to the study of Greek literary
criticism. The slightest hints dropped by literary artists so transcendent as Aris-
tophanes and Plato are of the utmost value. How much light, for instance, is
thrown on the poetic art by Plato's reſerences to inspiration in the Ion and the
Phaedrus (245 A), or even by his own half-profane .conversion of the opening of
the Iliad into prose narrative (Rep. iii. 393 D, E, 394 A). The prose-poet has
here accomplished his self-imposed task with consummate skill, but in so doing
has (as he was fully aware) demonstrated that to destroy the artistic form of a
work of art is to destroy the work of art itself.
14
INTRODUCTION.
vein, and some even thought that they detected in it the in-
fluence of Gorgias? The author of the De Sublimitate (xiii. I)
adduces the following passage as an example of the manner
(τύπος) of Plato : οι άρα φρονήσεως και αρετής άπειροι ευω-
χίαις δε και τους τοιούτοις αεί συνόντες κάτω ως έoικε φέρονται
και ταύτη πλανώνται δια βίου, προς δε το αληθές άνω ούτ'
ανέβλεψαν πώποτε ούτ' ανηνέχθησαν ουδέ βεβαίου τε και
καθαράς ηδονής εγεύσαντο, αλλά βοσκημάτων δίκην κάτω αεί
βλέποντες και κεκυφότες εις γην και εις τραπέζας βόσκονται
χορταζόμενοι και οχεύοντες, και ένεκα της τούτων πλεονεξίας
λακτίζοντες και κυρίττοντες αλλήλους σιδηρούς κέρασι και
οπλαϊς αποκτιννύουσι δι' απληστίαν (PI. Rep. ix. 586 Α).
(2) Aristotle. It is perhaps to the hints thrown out in
the Phaedrus that Aristotle owed the first conception of his
great work on Rhetoric, in which he constructs an art of
rhetoric on the basis of dialectic and psychology. The first
two books of his treatise deal with the invention (εύρεσις) of
arguments for use in the three classes of rhetoric (deliberative,
forensic, epideictic); and this topic involves the consideration
of human affections (πάθη) and varieties of character (ήθη).
The third book treats of style (λέξις) and arrangement (τάξις),
and touches lightly on the subject of delivery (υπόκρισις).
The contents of the twelve chapters of the third book which
are devoted to the subject of style may be briefly indicated as
follows. c. i: introductory, with a glance at delivery (úró-
κρισις). C. ii: perspicuity and propriety as two cardinal
virtues of style. c. iii: faults of taste (in the use of words
and metaphors), illustrated chiefly from the writings of
Gorgias and Alcidamas. C. iv: metaphor and simile. C. V:
purity of language. c. vi: dignity of style. c. vii : propriety
of style. C. viii: prose rhythm. c. 1x: periodic composition.
C. X: means of enlivening style and of making it vivid. C. xi:
1 Diog. Laert. iii. 37, φησί δ' 'Αριστοτέλης τήν τών λόγων ιδέαν αυτού μεταξύ
ποιήματος είναι και πεζού λόγου (see, however, the remarks on this passage in
Thompson's edition of the Phaedrus, p. xxiii).—Dionysius' views as to the
influence of Gorgias on Plato's style partly rest on a misapprehension. Reference
may be made to Norden's Kunstprosa, i. pp. 104-113, for a general discussion
of the poetical and artificial elements in Plato's writing.
GREEK STUDY OF STYLE.
15
further means of attaining vividness. C. xii: the styles appro-
priate to the three classes of rhetoric. Of Aristotle's general
attitude towards the subject of style it will be convenient to
treat more at length later (pp. 36-40 infra), when some
characteristic passages will be quoted from the Rhetoric and
the Poetics.
As a philosophical treatment of the art of rhetoric
Aristotle's treatise has never been equalled. But as a
practical instrument for the training of public speakers it
was no doubt surpassed by the Rhetorica ad Alexandrum,
and by various handbooks edited in the lost Euvaywryn
Teyyâr of Aristotle. In this work, which was known to
Cicero, Aristotle collected the rhetorical treatises of his
predecessors? It was, therefore, with full knowledge of their
contents that in the Rhetoric he condemned the earlier
manuals for their unscientific character and assigned a
secondary position to the question of style. With regard to
this latter point, however, it should be remembered that the
subject of style was treated by Aristotle not only in the
Rhetoric, but also in the Poetics, and probably in the lost
Theodectea. The statement that he composed a separate
treatise, or treatises, repi Néews may have its origin in the
fact that the Rhetoric itself was sometimes regarded as a
composite work and described as τέχναι ρητορικαί2.
By the publication of the Συναγωγή Τεχνών Aristotle
may well have regarded himself as absolved from the duty
of making detailed references to his technical predeces-
sors. But it seems strange that he should take so little
account of practical orators, whether they had, or had not,
written Arts of Rhetoric. It is well known that Aristotle
illustrates his precepts by actual quotations, instead of in-
venting examples for the occasion, as was done by the
author of the Rhetorica ad Alexandrum, and was probably
the usual practice. Yet he never quotes Demosthenes, whose
life almost completely synchronized with his own; and it is
i Cic. de Inv. ii. $ 6, de Orat. ii. $ 160, Brut. $ 46. The surviving fragments of
the early treatises on rhetoric are brought together in Spengel's Artium Scriptores.
* Dionysius of Halicarnassus so describes it in Ep. ad Amm. i. cc. 1, 2 etc.
16
INTRODUCTION.
doubtful whether he makes more than one (Rhet. ii. 24, 8)
reference to him. Lysias, again, is quoted three times at
most. And though Isocrates is cited repeatedly, there is
nevertheless little room to doubt the stories current in an-
tiquity of the rivalry and antipathy existing between him and
Aristotle during the earlier period of the philosopher's life.
In the case of Demosthenes and Aristotle we know of no
active ill-feeling on either side, though political animosity has
sometimes been suspected. It remains, however, a remarkable
fact that the great theorist of rhetoric, and the great master
of oratory, should be contemporaries and yet should stand
so entirely apart. It was hardly necessary for Dionysius to
write his First Letter to Ammaeus in order to prove that the
oratory of Demosthenes could not have been nourished by
the Rhetoric of Aristotle. But the Letter is valuable as a
reminder that the two men, the limits of whose lives are
there shown so closely to coincide, bore traces of that feud
between the philosophers and the rhetoricians which Plato
transmitted to future ages.
IV. POST-ARISTOTELIAN PHILOSOPHICAL AND
PHILOLOGICAL SCHOOLS.
(1) Theophrastus. Theophrastus (372–287 B.C.) of
Eresus, the successor of Aristotle in the Peripatetic School,
wrote (like his master) on the subject of rhetoric. Of the
ten rhetorical treatises attributed to Theophrastus by Dio-
genes Laertius the most important probably was that on
Style (Tepi Aéčews). Among the topics included in this
work seems to have been one which becomes very prominent
in later writers,--that of the three types of style. It is probable
that Theophrastus, who was himself famous for his gift of
speech, developed considerably, and in a most interesting
way, the doctrine of style as it came from his master's hands;
and it is much to be regretted that only fragments of his
rhetorical books have survived".
1 I hope to collect elsewhere the chief fragments of the repi A6Ěews and to
review the scattered references made to the work in antiquity.
GREEK STUDY OF STYLE.
17
(2) Demetrius Phalereus and Alexandria. Later
Peripatetics. Demetrius of Phalerum, a pupil of Theo-
phrastus, governed Athens during the years 317–307 B.Ç., and
died in 283 B.C. It is Demetrius who, with his somewhat florid
style, marks the first step in that decline of the old Attic
oratory which Dionysius dates from the death of Alexander
of Macedon". It is with him, also, that rhetoric begins to
assume a specially scholastic character, now that it is no longer
concerned with great national interests. Rhetorical exercises,
from his time onward, are invested with undue importance,
in the dearth of what Dionysius would call “real contests?'
i Dionys. Halic. de Antig. Orat. c. i (quoted and translated in Dionys. of
Halic. : the Three Literary Letters, pp. 43, 44).-As the De Elocutione is
traditionally attributed to Demetrius Phalereus, it may be well to quote the
following estimates of his style, more especially as the surviving fragments of his
acknowledged works are scanty : Cic. Brut. 37, 38, Phalereus enim successit eis
senibus adulescens, eruditissimus ille quidem horum omnium, sed non tam armis
institutus quam palaestra. itaque delectabat magis Athenienses quam inflammabat.
processerat enim in solem et pulverem, non ut e militari tabernaculo, sed ut e
Theophrasti doctissimi hominis umbraculis. hic primus infiexit orationem et eam
mollem teneramque reddidit, et suavis, sicut fuit, videri maluit quam gravis : sed
suavitate ea, qua perfunderet animos, non qua perfringeret : tantum ut memoriam
concinnitatis suae, non, quemadmodum de Pericle scripsit Eupolis, cuni delecta-
tione aculeos etiam relinqueret in animis eorum, a quibus esset auditus.' Thid. 285,
‘in quo etiam illud quaero, Phalereus ille Demetrius Atticene dixerit. mihi
quidem ex illius orationibus redolere ipsae Athenae videntur. at est foridior, ut
ita dicam, quam Hyperides, quam Lysias.' Or. 92, "huic omnia dicendi
ornamenta conveniunt plurimumque est in hac orationis forma suavitatis ; in qua
multi floruerunt apud Graecos, sed Phalereus Demetrius meo iudicio praestitit
ceteris, cuius oratio cum sedate placideque labitur, tum illustrant eam quasi stellae
quaedam tralata verba atque immutata.' de Or. ii. 94, posteaquam, exstinctis
his, omnis eorum memoria sensim obscurata est et evanuit, alia quaedam dicendi
molliora ac remissiora genera viguerunt. inde Demochares, quem aiunt sororis
filium fuisse Demostheni ; tum Phalereus ille Demetrius, omnium istorum mea
sententia politissimus, aliique eorum similes exstiterunt.' de Offic. i. 3, nisi forte
Demetrius Phalereus in hoc numero haberi potest, disputator subtilis, orator
parum vehemens, dulcis tamen, ut Theophrasti discipulum possis agnoscere.'
Quintil. Inst. Or. X. 1, 80, ‘Phalerea illum Demetrium, quamquam is primus
inclinasse eloquentiam dicitur, multum ingenii habuisse et facundiae fateor, vel ob
hoc memoria dignum, quod ultimus est fere ex Atticis, qui dici possit orator, quem
tamen in illo medio genere dicendi praefert omnibus Cicero.'
2 Quintil. Inst. Or. ii. 4, 41, 'nam fictas ad imitationem fori consiliorumque
materias apud Graecos dicere circa Demetrium Phalerea institutum fere constat.'
-Dionysius' phrase is åandivoi åywves, e.g. Ep. ad Pomp. c. 5.
INTRODUCTION.
III
Among Demetrius' own numerous works, as enumerated by
Diogenes Laertius (v. 80) was a Rhetoric, no longer extant,
which seems to have contained some interesting contemporary
observations on the oratory of Demosthenes?.
Perhaps the chief interest of Demetrius' literary career lies
in the fact that he was, as the bibliography given by Diogenes
shows, a man of the most varied erudition, and that as such
he was invited by Ptolemy Soter (304-285 B.C.) to assist in
forming those vast collections of books and other aids to
study which made Alexandria so great a centre of learning.
He is, in fact, a sort of link between declining Athens and
rising Alexandria,-between philosophy and oratory on the
one hand, and philology and grammar on the other. Thus,
through Demetrius, the all-embracing learning of Aristotle
made itself felt in the Library and Museum of Alexandria,
no less than, through Ptolemy, the enlightened policy of
Aristotle's pupil Alexander made itself felt in the seat of
government. But though the Peripatetics at Alexandria, as
elsewhere, remained faithful to that scientific conception of
rhetoric which Aristotle had formulated, they do not seem to
have been able to do much work on their own account. The
times were unfavourable for the practice of oratory; and it is
not too much to say that Demetrius himself was the only
orator of mark ever produced by the school of Aristotle.
Nor were rhetorical studies in line with the general movement
of Alexandrian scholarship, which concerned itself far more
with the poets of Greece than with its orators.
1
i Plut. Vit. Demosth. c. 11.—The following specimen of Demetrius' own style
is preserved by Polybius (xxix. 6), who quotes it with admiration : ei ydp náBoite
μη χρόνον άπειρον, μηδέ γενεάς πολλάς, αλλά πεντήκοντα μόνον έτη ταυτί τα προ
ημών, γνοίητ' άν ως το της τύχης χαλεπόν ενταύθα' πεντηκοστόν γάρ έτος οίεσθ' αν
ή Πέρσας ή βασιλέα τον Περσών, ή Μακεδόνας ή βασιλέα τον Μακεδόνων, εί τις
θεών αυτοίς προϋλεγε το μέλλον, πιστεύσαι ποτ' άν, ως εις τούτον τον καιρόν Περσών
μεν ουδ' όνομα λειφθήσεται το παράπαν, οι πάσης σχεδόν της οικουμένης εδέσποζον ;
Μακεδόνες δε πάσης κρατήσουσιν, ων ουδ' όνομα πρότερον ήν, αλλά πως η προς τον
βίον ημών ασύνθετος τύχη, και πάντα παρά τον λογισμόν τον ημέτερον καινοποιούσα,
και την αυτής δύναμιν εν τοις παραδόξοις ενδεικνυμένη, και νύν, ως εμοί δοκεί, δείκνυσι
πάσιν ανθρώποις, Μακεδόνας εις την Περσών ευδαιμονίαν εισoικίσασα, διότι και τούτοις
rauta råvadà kéXPnKev, čws åv öllo Te Boulevontal Tepi aŭtwv. Cp. Blass, Att.
Bereds. iii. 2, p. 348.
GREEK STUDY OF STYLE.
19
(3) Pergamus and the Stoics. Pergamus, fostered by
the Attalids as Alexandria had been by the Ptolemies, came
into prominence as a literary centre nearly a century later
than the latter city. In the provision made for learning, it
largely resembled Alexandria. But its studies had distinctive
features of their own, amongst them the greater attention
devoted to rhetoric. The Stoics of Pergamus cultivated
particularly those branches of rhetoric which lent themselves
to minute analysis. Consequently they were more at home
in the province of invention than in that of style, though in
the latter their love of classification and terminology found
congenial exercise among tropes and figures and grammatical
rules. They endeavoured to infuse into rhetoric as much
logic and grammar as possible, while neglecting the graces
of style. Among the Stoics as writers there was, at all times,
something of the austere spirit which caused Marcus Aurelius
to count it one of the debts he owed to Rusticus that he had
held aloof from the study of oratory and poetry and from the
use of elegant language? Dionysius, in claiming originality
for his treatise De Compositione Verborum, points out (de Comp.
c. iv.) that, though the Stoics had given much attention to
expression, it was syntax rather than composition which they
were concerned with?.
(4) Other Philosophical Schools. Like the Stoics, the
Epicureans were regarded in antiquity as careless writers.
According to Dionysius, Epicurus himself had said that "it
was easy enough to write3." Some of his later followers seem,
however, to have given more care than their master to the art
of expression. In our own time the rolls from Herculaneum
have shown that the Epicurean Philodemus of Gadara, a
contemporary of Cicero, was a diligent student of rhetoric as
well as of philosophyt. They remind us, in fact, how unsafe
1 M. Aurel. Ant. i. 7, kai TÒ đTootîval Öntopekis kai TOINTIKỘs kai đoteloloylas.
Cp. iii. 5 ibid., inte kouyela tnv diávoláv gou kallWTISÉTW.
2 Cp. Dionys. of Halic.: the Three Literary Letters, p. 39.
3 Ibid. p. 46, oỦK :TLT6vou To YodºcuP 89Tos, de Coup. Venºl. C. 24 fn. Cp.
Quintil. ii. 17, 15.
4 Cp. Cic. in Pis. C. 29, “est autem hic, de quo loquor, non philosophia solum,
2--2
-20
INTRODUCTION.
it is to make general statements about the Epicureans, or the
Stoics, or any other philosophical school of long duration.
The Cynic school, for instance, might seem remote from
all literary interests. And yet it has sometimes been thought
that Antisthenes, the founder of that school, was the first to
hit upon the fruitful distinction of the types of style.
V. GRAECO-ROMAN RHETORICAL SCHOOLS.
(1) Dionysius of Halicarnassus. To understand the
work done by Dionysius at Rome during the years 30 B.C.
to 8 B.C., it is necessary to look back to a time some three
centuries earlier. When defeated by Demosthenes in the
oratorical contest of 330 B.C., Aeschines betook himself to
Rhodes, where he founded a school of rhetoric. It was an
evil omen that one of the least artistic of the Attic orators
should thus lead the way in regions where the restraining
influence of Athens herself could be but little felt. Before
long an Asiatic style of oratory had arisen, with Hegesias
of Magnesia as its chief representative'. This non-Attic
sed etiam ceteris studiis, quae fere [ceteros] Epicureos neglegere dicunt, per-
politus.'
1 The following is a specimen (quoted by Phot. cod. 250 from Agatharchides)
of the style of Hegesias : Õpolov Tenoinkas, 'Anétarope, Onßas karaokáyas, ús åv
ει ο Ζευς εκ της κατ' ουρανόν μερίδος εκβάλλου την σελήνην. τον γάρ ήλιον υπο-
λείπομαι ταϊς 'Αθήναις. δύο γάρ αύται πόλεις της Ελλάδος ήσαν όψεις. διό και
περί της ετέρας αγωνιώ νύν, ο μεν γάρ εις αυτών οφθαλμός ή θηβαίων εκκέκοπται
Trbles. Another, which is preserved by Strabo Geograph. 396, may be rhythmically
divided as follows: ορώ την ακρόπολιν | και το περίττης τριαίνης | εκείθι σημείον. !
ορώ την Ελευσίνα, | και των ιερών γέγονα μύστης. | εκείνο Λεωκόριον: Η τούτο
Ongelov | oủ Súvamai onlwoai kad' ÈvěkaoTOV. Cicero parodies the manner of
Hegesias in ad Atl. xii. 6: 'de Caelio vide, quaeso, ne quae lacuna sit in auro: 1
ego ista non novi; , sed certe in collubo est detrimenti satis. | huc aurum si
accedit | —sed quid loquor ? | tu videbis. I habes Hegesiae genus ! quod Varro
laudat.' For further particulars of Hegesias, see D. H. pp. 12, 45, and 1. Üy.
pp. 226, 227. Strabo Geograph. 648 speaks of Hegesias as ó ýñtwp os ñpše
μάλιστα του 'Ασιανού λεγομένου ζήλου, παραφθείρας το καθεστηκός έθος το Αττικόν. --
The above specimens show that the style of Hegesias was at once jerky and
grandiloquent. Another variety of Asianism, with a grandiloquence moving in
GREEK STUDY OF STYLE.
21
oratory continued to prevail till the end of the second
century B.C., when an Atticizing movement set in at Rhodes,
the way for this having been prepared, earlier in the same
century, by Hermagoras of Temnus. Hermagoras, confin-
ing himself almost entirely to invention as opposed to style,
elaborated on the basis of previous treatises a system of
rhetoric which remained a standard work throughout the
Graeco-Roman period' Around men like Hermagoras, and
(at a later time) Apollodorus of Pergamus and Theodorus
of Gadara, gathered rhetorical schools or sects (aipédels).
The principal Rhodian rhetoricians—to return to these-
were Apollonius (120 B.C.) and Molon (80 B.C.). These
rhetoricians 'atticized,' in the sense that they followed de-
finite Attic models such as Hyperides, though it is to be
observed that Cicero and Quintilian assign to the Rhodian
school a position intermediate between the Attic and the
Asiatic.
It was, however, at Rome, and chiefly through the efforts
of Dionysius and his fellow-worker Caecilius of Calacte
who had behind them the approval of the Roman governing
classes of this and earlier times, that Atticism triumphed and
new life was breathed into rhetorical studies and literary
criticism. Without entering here into details of the work
of Dionysius, we may fix our attention upon two points in
which he appears (largely, perhaps, because of the scanty
information available with regard to the times preceding
his own) to occupy an original position. He is the first
Greek rhetorician of ascertained date in whom we find re-
ference made to: 1. imitation (uiunois), 2. types of style
(xapaktîpes toll Tóryov).
1. Imitation. Dionysius' lost work On Imitation (Trepi
Miuņoews) consisted of three books, and was, beyond doubt,
ampler periods, is illustrated (Norden Kunstprosa i. 140—145) by the inscription
which Antiochus of Commagene set up in the first century B.C. and which was
published by its discoverers (Humann and Puchstein) as recently as the year 1890.
i For an attempted reconstruction of the rhetorical system of Hermagoras,
see G. Thiele, Hermagoras: ein Beitrag zur Geschichte der Rhetorik.
22
INTRODUCTION.
'
T
one of his most important literary undertakings'. It embodied
the principle of the Atticists, that in order to improve con-
temporary taste and style the old Attic writers must be
studied and imitated. Individuals might differ as to which
Attic author should be thus followed, some favouring Lysias,
others Plato, others Thucydides, others again Demosthenes.
But all were agreed as to the main point: models for modern
prose were to be sought in the classical period of Greek
literature. At what date this idea of imitation (so different
from the Aristotelian imitation as found in the Poetics) first
arose, we cannot now tell. But to the librarians and biblio-
graphers of Alexandria and Pergamus must be assigned the
credit of preserving classical authors for future imitators.
The Alexandrian men of letters themselves imitated poets
rather than prose-writers; the latter may have received greater
attention at Pergamus.
2. Types of Style. Dionysius, in his essay on Demo-
sthenes, distinguishes three types of style,--the elevated
(xapakTyp úlnlós), the plain (ioxvós), and the middle (uéoos).
He characterises the elevated, or grand, style as highly
wrought, uncoinmon, studied, adorned with every accessory that
art can furnish, while the plain style is (as its name implies)
simple and unpretending, and the middle is a combination of
the two others. The elevated style is represented by Thucy-
dides, the plain by Lysias, the middle by Isocrates and Plato.
In the essay on Demosthenes, and elsewhere, Dionysius seems
to regard Theophrastus as the author of this threefold classi-
fication of the varieties of style, although (as we have already
seen) Antisthenes is sometimes supposed to have invented it.
Reference has just been made to the indebtedness of
Dionysius to his predecessors. That indebtedness is great,
I Cp. Dionys. Hal., pp. 27–30. The subjects of the three books were :
1. Imitation in itself, 11. Authors to be imitated, 111. Manner of imitation (Dionys.
H., Ep. ad Pomp. c. 3).
2 λέξις εξηλλαγμένη, περιττή, εγκατάσκευος, τους επιθέτοις κόσμοις άπασι συμ-
TT ETT Anwuévn (de adm. vi dic. in Dem. C. 1); Actń, åpenńs, ÁTÉPITTOS (ib. cc. 2, 34);
ή μικτή τε και σύνθετος εκ τούτων των δυεϊν, ο μεμιγμένος εξ αμφοτέρων των
xapartýpwr (ib. cc. 3, 15).-For Dionysius' three åpuovlai or ouro boels, reference
may be made to D. H. p. 18.
GREEK STUDY OF STYLE.
23
and owing to the loss of so large a part of Greek critical litera-
ture, it constitutes much of his importance for modern readers.
The formal study of the Attic writers, and more especially of
the orators, must start from Dionysius because he is the best
and fullest representative of that ancient theory which, in some
parts at least, is as old as those writers themselves, and even
older. But this consideration should not lead us to underrate
the merits of Dionysius himself. No unbiassed judge can
read his critical essays attentively without admiring not only
their extent and variety, but their excellence of workmanship
and their independence of judgment. Above all, Dionysius'
writings are pervaded by an enlightened and contagious
enthusiasm for good literature, and he is remarkably free
from that love of technicalities for their own sake which is apt
to beset the ordinary rhetorician?
(2) Roman Writers on Rhetoric. The importance,
from our present point of view, of the Roman writers on
rhetoric lies in the fact that they drew largely on Greek
? It is to be regretted that so excellent a writer as Eduard Norden, prejudiced
apparently by the Atticism of Dionysius, should have spoken disdainfully of him :
“So muss ich doch bekennen, dass mir der von vielen bewunderte Kritikus
Dionys ein äusserst bornierte Kopf zu sein scheint...... Dionys macht die grossen
Männer zu ebensolchen Pedanten, wie er, dieser uxolaotikòs yom reinsten Wasser,
selbst einer ist...... Bei Dionys ep. ad Pomp. 2, 7 heisst es sehr fein (daher ist es
nicht von ihm), die Hauptstärke Platons als Schriftsteller zeige sich, őtay thu
ισχνών και ακριβή και δοκούσαν μεν αποίητον είναι, κατεσκευασμένην δε άμωμήτω
kal åpelei Katar Kevû dálektov Elo pépn” (Norden, Kunstprosa, i. pp. 79, 80, 104).
The injustice of the italicized words will be manifest to any one who reads, in its
own context, the passage quoted from Dionysius, which, whether sound criticism
or not, bears upon it the stamp of original utterance. It will be enough to set
against the unfavourable judgment of Norden the view recently expressed by a
literary critic of exceptional range : “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 Verborum], if studied carefully, must raise
some astonishment that Dionysius should have been spoken of disrespectfully by
any one who himself possesses competence in criticism. From more points of
view than one, the piece gives Dionysius no mean rank as a critic.” (Saintsbury,
History of Criticism, i. pp. 136, 137, 132.) Is there not room for an English
edition and translation of the de Compositione, with an introductory sketch of
(1) ancient prose rhythm, (2) the order of words in the classical (as compared
with the modern) languages ?
24
INTRODUCTION.
sources. Cornificius, for example, the supposed author of
the Rhetorica ad Herennium (produced about 85 B.C.), men-
tions the three varieties of style; and he, like Cicero, was
of earlier date than Dionysius?. Cornificius, further, mentions
imitation as one of the aids to oratorical proficiency?
From Cornificius we pass to Cicero. The earliest of
Cicero's rhetorical works, the De Inventione, coincides in
many points with the Rhetorica ad Herennium. It follows
closely the rhetorical system of Hermagoras. The Orator,
on the other hand, which was one of the latest of the rhetorical
series and forms an admirable treatise on style, draws from a
wider field. Express reference is made in it to Plato, Aristotle,
and Theophrastus, as well as to Isocrates and his pupils
Ephorus, Naucrates, and Theodectes. It is probably to
Theophrastus that Cicero owes the threefold division of style
(into grand, plain, and intermediate) which he recognises in
the Orator and elsewhere
In regard to imitation Cicero maintained the view, held
later by Dionysius, that Demosthenes was the best model for
oratory, as combining in his own person the three types of
style. Whereas contemporary Roman Atticists were found
to select for exclusive imitation either difficult and elaborate
writers like Thucydides or at the other end of the scale clear
and natural writers like Lysias, Cicero saw that all such efforts
were mistaken. Perhaps his own Asiatic leanings, as well
as his delicate perception of the different genius of the
two languages, made him particularly averse from artificial
CIT
1 Rhet. ad Her. iv. 8, II (ed. Marx): 'sunt igitur tria genera, quae genera nos
figuras appellamus, in quibus omnis oratio non vitiosa consumitur : unam gravem,
alteram mediocrem, tertiam extenuatam vocamus. gravis est quae constat ex
verborum gravium levi et ornata constructione; mediocris est quae constat ex
humiliore neque tamen ex infima et pervulgatissima verborum dignitate ; attenuata
est quae demissa est usque ad usitatissimam puri consuetudinem sermonis.'
? Ibid. i. 2, 3 : "haec omnia tribus rebus adsequi poterimus : arte, imitatione,
exercitatione. ars est praeceptio quae dat certam viam rationemque dicendi :
imitatio est qua impellimur cum diligenti ratione ut aliquorum similes in dicendo
valeamus esse : exercitatio est adsiduus usus consuetudoque dicendi.'
3 The tria genera dicendi indicated in Orator § 21 are the grande, medium and
tenue. Cp. de Or. iii. 177, 'itaque tum graves sumus, tum subtiles, tum medium
quiddam tenemus.' See also de Opt. Gen. Or. 2.:
GREEK STUDY OF STYLE.
25
attempts to write Latin with a calculated simplicity when
neither the evasive charm of Lysias nor the native beauty
of his Attic Greek was at the writer's cominand?
It may be added here that an older contemporary of
Cicero, Varro, wrote a repà Xapaktnpwv, a work which seems
to have treated of the types of style and to have been drawn
from Greek sources. The Ars Poetica of Horace was pro-
bably based on a Greek treatise by Neoptolemus of Parium,
an Alexandrian writer. A principal purpose of Horace in
writing his letter to the Pisos seems to have been to enjoin
the incessant study of the great Greek models :-
vos exemplaria Graeca
nocturna versate manu, versate diurna?.
In the tenth book of the Institutio Oratoria Quintilian
reviews the Greek authors from whom the Roman student
of style may learn useful lessons; and in so doing, he
exhibits many points of contact (in most cases probably
due to the use of the same Greek sources) with the De
Imitatione of Dionysius. In the Twelfth Book he refers
briefly to the traditional division of the types of style:
“altera est divisio, quae in tres partes et ipsa discedit, qua
discerni posse etiam recte dicendi genera inter se videntur.
namque unum subtile, quod io xvóv vocant, alterum grande
atque robustum, quod ádpov dicunt, constituunt; tertium alii
medium ex duobus, alii floriduin (namque id åvonpóv ap-
pellant) addiderunt” (Quintil. Inst. Or. xii. 10, 58). A good
example of Quintilian's gift of literary appreciation is the
passage in which he praises Demosthenes 3.
(3) 'Longinus.' The author of the De Sublimitate, like
Quintilian and like Tacitus (whose Dialogus de Oratoribus
1 That Cicero, in his own day, was attacked as Asiatic, may be seen from
Quintil. Inst. Or. xii. 10, 12 and Tac. Dial. de Or. c. 18.
2 Hor., Ep. ad Pis., 268.
3 Quintil. Inst. Or. X. 1, 76: 'oratorum longe princeps Demosthenes ac
paene lex orandi fuit: tanta vis in eo, tam densa omnia, ita quibusdam nervis
intenta sunt, tam nihil otiosum, is dicendi modus, ut nec quod desit in eo nec
quod redundet invenias.'
26
INTRODUCTION.
Υ
offers some curious points of resemblance to the Greek
treatise both in the accident of its disputed authorship and
in the more important particular of its lament for the decay
of eloquence), probably belongs to the first century A.D.? In
form the book is a literary letter which starts with a criticism
of the treatise written upon the same subject by Caecilius, the
friend and younger contemporary of Dionysius? Its subject,
therefore, is úfos (the sublime; elevation of style) and the five
Sources of ύψος, viz. thought, passion, figures, diction, com-
position. It cannot be said that the three types of style are
clearly recognised in the De Sublimitate, though in c. 33 aí
υπερμεγέθεις φύσεις are distinguished from τας μέν ταπεινάς
και μέσας φύσεις. But the ύψος which the treatise extols
is closely related to the peyalompétela of other rhetoricians.-
The question of iinitation is eloquently treated in cc. 13, 143.
i The question of the date and authorship of the De Sublimitate is of much
less importance than the due appreciation of a work so long neglected. Here
again it will be well to quote the judgment of a modern critic: “His work
remains towering among all other work of the class, the work of a critic at once
Promethean and Epimethean in his kind, learning by the mistakes of all that had
gone before, and presaging, with instinctive genius, much that was not to come
for centuries after” (Saintsbury, History of Criticism, i. 174).
2 In Style Caecilius favoured ισχνότης, “Longinus' ύψος, Dionysius the χαρακτήρ
μέσος. "
3 In his own style the author of the De Sublimitate, like Plato, whom he
imitates, occasionally uses poetical words. Nor does he disdain the use of
parisosis and homoeoteleuton. His love of rhythm leads him sometimes to invert
the natural order of words, and also to sacrifice brevity. The treatise opens with
a most elaborately constructed sentence : το μέν του Κεκιλίου συγγραμμάτιον
περί ύψους συνετάξατο | ανασκοπoυμένοις ημίν ώς οίσθα κοινή | Ποστούμιε +Φλω-
ρεντιανέ φίλτατε | ταπεινότερον εφάνη της όλης υποθέσεως | και ήκιστα των καιρίων
εφαπτόμενον | ου πολλήν τε ωφέλειαν | ης μάλιστα δει στοχάζεσθαι τον γράφοντα !
περιποιούν τους εντυγχάνουσιν, κτλ.-It may be interesting here to add (from Blass,
Grammatik des neutestamentlichen Griechisch, p. 274) two of the best constructed
periods in the Greek Testament. The author of the first was, it will be re-
membered, a physician and so a man likely to have enjoyed a good literary educa-
tion. (1) επειδήπερ πολλοί επεχείρησαν | ανατάξασθαι διήγησιν περί των πεπληρο-
φορημένων εν ημίν πραγμάτων | καθώς παρέδοσαν ημίν οι απ' αρχής αυτόπται και
υπηρεται γενόμενοι του λόγου | έδοξε καμοί παρηκολουθηκότι άνωθεν πάσιν ακριβώς
καθεξής σου γράψαι κράτιστε θεόφιλε | ένα επιγνώς περί ων κατηχήθης λόγων την
ασφάλειαν. Εν. Luc. init. (2) πολυμερώς και πολυτρόπως πάλαι ο θεός λαλήσας
τοις πατράσιν εν τοις προφήταις | επ' εσχάτου των ημερών τούτων ελάλησεν ημίν εν
υιώ | δν έθηκεν κληρονόμος πάντων | δι' ου και εποίησεν τους αιώνας | δς ών απαύγασμα
GREEK STUDY OF STYLE.
27
The great merit of the Sublime is that it fires the
reader with the love of noble literature, and forces him to ap-
prehend the vast difference between correctness and creative
power, between talent and genius. The author is a rhetori-
cian who would have seen at a glance the surpassing greatness
of Shakespeare, however ignorant Shakespeare might have
shown himself of the Figures catalogued in (say) Puttenham's
Arte of English Poesie.
(4) Hermogenes. The last name we need mention is
that of Hermogenes of Tarsus (170 A.D.), who elaborated a
system of rhetoric which long remained supreme. The im-
portance of Hermogenes, in regard to the present survey, is
that he does not recognise the three types, but a number of
qualities (ιδέαι), of style. The qualities are seven in number:
clearness, grandeur, beauty, poignancy, characterisation, truth,
mastery? The last quality is shown in the successful applica-
tion of the other six? By Hermogenes, as by Dionysius two
centuries earlier, Demosthenes is regarded as the best model
for oratorical imitation. Probably this fact was now so gene-
rally allowed that the earlier classification of writers according
to styles seeined out of date and useless. The types of style
had served their day; one had been added to the other, and
the distinctions between them had worn thinner and thinner.
It may well have seemed that the only thing left was to
assume a number of general qualities of style and to regard
Demosthenes as displaying them all with brilliant effect.
της δόξης και χαρακτήρα της υποστάσεως αυτού | φέρων τε τα πάντα το ρήματι της
δυνάμεως αυτού | καθαρισμός των αμαρτιών ποιησάμενος | εκάθισεν εν δεξια της μεγα-
λωσύνης εν υψηλούς | τοσούτω κρείττων γενόμενος των αγγέλων | όσο διαφορώτερον
παρ' αυτούς κεκληρονόμηκεν όνομα. Εp. ad Ηebr. init.
1 σαφήνεια, μέγεθος, κάλλος, γοργότης, ήθος, αλήθεια, δεινότης.
2 Ηermog. π. ιδ. ii. 9 η δεινότης ή περί τον λόγον εστί μεν κατ' εμήν γνώμην
ουδέν άλλ' ή χρήσις ορθή πάντων των τε προειρημένων ειδών του λόγου και των
εναντίων αυτούς, και έτι δι' ών ετέρων σώμα λόγου γίνεσθαι πέφυκε. το γάρ εις δέον
και κατά καιρον και το ούτως ή εκείνως είδέναι τε και δύνασθαι χρήσθαι πάσι τε
λόγων είδεσι και πάσαις αντιθέσεσι και πίστεσι εννοίαις τε προκαταρκτικαίς ή κατα-
στατικαίς ή και επιλογικαίς, απλώς τε όπερ έφην, το πάσι τοις πεφυκόσι σωμα λόγου
ποιείν χρησθαι δύνασθαι δεόντως και κατά καιρον ή όντως ούσα δεινότης έμοί γε είναι
δοκεί. --Some passages of Hermogenes will be found translated in Jebb's Αtt. Οr.
ii. pp. 73, 298.
INTRODUCTION.
B. CONTENTS OF THE DE ELOCUTIONE. GENERAL
ASPECTS OF GREEK STYLISTIC STUDY.
In the following summary, as in the printed text, the
division into chapters, which is adopted simply for con-
venience, has no manuscript authority? The division into
sections has tradition, as well as utility, to recommend it,
having been introduced by Petrus Victorius for the purpose
of the translation and notes in his edition of 1562. It stands
on a very different footing from that division of the New
Testament into verses which Robert Stephanus is said to
have made some years earlier (1551), when journeying on
horseback (inter equitandum, as his son tells us) between
Paris and Lyons. A minute subdivision, ill-suited for narra-
tive and epistle, serves conveniently enough for the precepts
of a rhetorical treatise.
SUMMARY.
1. Preliminary Remarks on the Period, etc.
$S 1–8. The 'members' (Kola): and their appropriate length.
$ 9. The 'phrase ' (kóupa).
SS 10, 11 ff. The period (Trepíodos).
SS 12–18. The periodic and the disjointed style (èpunvela kate-
otpapuén, épunveía diypnuévn). Number of members in a period.
$ 19. The historical period (Trepíodos iotopikń).
§ 20. The rhetorical period (Tepíodos ontopiań).
$ 21. The conversational period (Trepíodos dadoyikń).
SS 22—24. Periods formed of contrasted members (éĚ ÅVTIKEL-
μένων κώλων περίοδοι).
§ 25. Symmetrical members (@la tapóuoca).
SS 26–29. Members with similar terminations (ouocoté evra).
Cautions with regard to their use.
SS 30—33. The enthymeme (évbúunua). Difference between
enthymeme and period.
$$ 34, 35. The member (klov) as defined by Aristotle and
Archedemus.
1 A list of the Greek headings found in P 1741 will be given later, in the
course of the critical footnotes.
C
SUMMARY AND ASPECTS.
29
(3)
Ele
II. The four Types of Style. — The Elevated Style.
SS 36, 37. The four types of style (xapartîpes tñs épurvelas)
are: the plain (ioxvós), the elevated (weya otpETTńs), the elegant
(yaagupós), the forcible (delvós).
SS 38—127. General subject : the elevated style (xapaktrip Meya-
dompetńs, s. Xóylos), with the following subdivisions :-
(1) Elevation in composition or arrangement, ouveous Meya-
dompetńs, SS 38—74;
(2) Elevation in subject-matter, Tpáyuata Meyadot perñ (= diá-
vota jeyadonpertńs), SS 75, 76;
Elevation in diction, détes jeyadompetńs, SS 77—113 ;
(4) Frigidity (rò yuxpóv) as the correlative vice of the elevated
style, SS 114—127. [Like elevation, frigidity arises at
three points: (1) diávoia, (2) déÉis, (3) cúvocols. The
very acme of frigidity is reached in hyperbole, SS 124–
126.]
Subsidiary topics in the following sections :-
SS 59-67. Figures of Speech (oxýuata léÉEWS).
SS 68—74. Hiatus (oúykpovous pwvnévtwv).
S$ 78–88. Metaphor (Metapopa).
SS 89, 90. Simile (eikaoía) and imagery (Tapaßoln).
$S 91–93. Onomatopoeic or coined words (óvóuara metrOLN-
uéva).
SS 99–102. Allegory (ådanyopía).
SS 103-105. Brevity, aposiopesis, indirect and harsh-sounding
expressions, etc.
SS 106~III. Epiphoneme (écouvnua).
SS 112, 113. Poetical colour in prose (TÒ TOINTIKÒV év doyous).
111. The Elegant Style.
SS 128—189. General subject : the elegant style (xapartòp yrå
pupós), with the following subdivisions and topics:-
(1) Charm and gaiety of expression, xaplevtlo pòs kai idapòs
lóyos, SS 128-172.
(a) Kinds of grace and their elements, cidn t xapítwv kai
¿v tiolv, SS 128—136.
30
INTRODUCTION.
(6) Sources of grace, Tónrol tñs xápitos, SS 137-162.
(a) Sources in diction and composition, rómol Tņs
léčews kai tñs ouvdéoews: Figures, etc. SS 137–
155.
(B) Sources in subject-matter, TÓTOL Tŵv payuátwv:
Proverbs, Fables, Comparisons, Hyperboles, etc.
SS 156—162.
(C) Difference between the ridiculous (tò yelolov) and the
charming (Tò cỏxapt), SS 163–172.
(2) Elegant diction, beautiful and smooth words (Xétis yla-
pupá: óvóuara kala kai leia), SS 173-178.
(3) Elegant composition, oúvbeols yłapupá, $179–185.
(4) Affected style (xapaktip kakó&ndos) as the correlative vice
of the elegant style, SS 186–189.
IV.
The Plain Style.
S$ 190—235. General subject : the plain style (Yapartròp lo xvós),
with the following subdivisions :-
(1) Plain subject-matter, arpáyuata ioxvá, $ 190.
(2) Plain diction, défis ioxvý, SS 190, 191.
(3) Plain composition, cúvdeols ioxvn, SS 204—208.
(4) Arid style (xapaktip &npós) as the correlative vice of the
plain style, SS 236-239.
Subsidiary topics in the following sections :-
SS 191–203. Concerning clearness, tepi tûs oafnvelas. [Also:
concerning stage-style and concerning repetition, tepi 'To-
KPLTLK kai trepà étravalysews, SS 194 ff.]
SS 209—220. Concerning vividness, nepi tñs évapyelas.
SS 221, 222. Concerning persuasiveness, repì tñs ribavórntos.
SS 223—235. Concerning the epistolary style, tepi toll TTL-
OTONIKOû xapaktapos. This is to be regarded (cp. $ 235)
as a blend of the plain and the graceful styles.
SUMMARY AND ASPECTS.
31
V. The Forcible Style.
SS 240—304. General subject: the forcible style (xapartıp delvós),
with the following subdivisions :-
(1) Forcible subject matter, trpúyuata decvá, S 240.
(2) Forcible composition, cúvocols delvý, SS 241—271.
(3) Forcible diction, décis delvý, SS 2724286.
(4) Concerning the graceless style, Tepi toll áxápitos xapak-
rpos, SS 301–304.
Subsidiary topics :
SS 287--298. Concerning figured language, epi toù coxnua-
Tlouévov lóyou.
$$ 299, 300. Concerning hiatus in forcible passages, tepi
συγκρούσεως εν δεινότητι.
It would no doubt be possible, with a little straining,
to give an appearance of greater symmetry to the above
summary. But, in truth, the prepè 'Epunvelas is not altogether
systematic? It contains a number of digressions and repe-
titions. The digressions may be inferred from the above
analysis, in which an endeavour has been made to mark
out the ground-plan of the work as clearly as possible.
Sometimes the author himself indicates a digression, as in
$ 178 (Taūta mèv Sr Trapatexvodoyeloow är.ws. TôU SÈ
ειρημένων ονομάτων τα λεία μόνα ληπτέον ως γλαφυρόν
To éxovta). What he here means is that it was relevant to
discuss ονόματα λεία in connexion with the χαρακτήρ γλαφυρός,
but not relevant to discuss óvópata öyknpá, kt.. Of repe-
titions examples will be found in SS 121, 220, 243, 248, if these
are compared respectively with $$ 6, 94, 99, 31. On the
whole, however, despite repetitions and digressions, the
treatise wears an unpretending and business-like air ; and
this largely because it wastes few words in making its points
and has no formal introduction or conclusion.
Though the treatise is uneven in execution, it has many
general excellences as well as numberless merits of detail.
1 The irregularity of structure may, to a certain extent, be intended to avoid
monotony, as when (in the treatment of the types of style) páyuara, dúvocols, and
ležcs are arranged in almost every possible order.
32
INTRODUCTION.
Its chief general excellence is that it brings a refined taste,
and a diligent study of Greek literature, to bear upon the
important subject of the types of style. Among merits of
detail (and it is by the success with which definite points
of detail are handled that such a treatise must mainly be
judged), we may mention its appreciation (after Theophrastus)
of the fact that distinction of style is shown as much in what
is omitted as in what is said (S 222), and its corresponding
reference (S. 288) to Plato's reticence in the Phaedo and
to the delicacy with which Ctesias makes his messenger break
the news' ($ 216); in the personal touches which seem to
show that the author understood the value of the precept
laudando praecipere ($ 295), and that he had an eye for good
acting (§ 195) and some sense of humour (SS 79, 297); in
his hints as to the appropriate employment of hyperbole
(8 52) or of natural expression (SS 27, 28, 300), of omitted
or reiterated conjunctions (SS 64, 63), of accumulated figures
(S$ 61, 62, 268), of verbal music (SS 184, 185, 69, 174), of graceful
themes and expression (SS 132 ff.), of the periodic and resolved
styles in combination ($ 15); or in his similarly felicitous
warnings against the dangers of bombast (SS 121, 304)2.
The traditional title of the treatise is tepi 'Epunvelas,
the best available rendering of which in English is Concerning
Style. The word èpunvela occurs in the opening section, where
by tnv èpunvelav Tņu loyikúv is meant prose-writing? The
usual Greek term for style is that employed by Aristotle and
Theophrastus, λέξις. It may be that the use of ερμηνεία in
this sense was favoured by the Isocratic school of rhetoricians,
since approximations to it are found in the Rhetorica ad
Alexandrum4.
The framework of the treatise is supplied, as will have
1 The same judicious regard for variety is seen in the treatment of hiatus (8 68),
and of the types of style (SS 36, 37).
2 Among longer passages, SS 223—235 are specially interesting as an early
example of “How to Write a Letter" (TTŵs del ÉTTLOTÉIXelv is the heading in P),
of the Polite Art of Letter-Writing.
3 Or prose-composition, in the wide modern sense of the word composition.
4 For a further discussion of the word epunvela, reference may be made to the
Glossary (s. v.).
SUMMARY AND ASPECTS.
33
Wy
been seen, by a description of the four types of style
(xapaktîpes tñs Épunyelas). It will, consequently, be con-
venient to give here a slightly more detailed and connected
account of the characteristics assigned to these styles than
a tabular analysis can supply.
101
At the outset it is made clear that any one of the four types
will blend with any other, the only exception being that the elevated
type will not unite with the plain type, of which it is the direct
opposite. The union of elevation, force and grace, is seen in
Homer's poetry, in Plato's dialogues, and in the writings of
Xenophon, Herodotus, and many others. The elevated style
has three aspects: the thought, the diction, and the com-
position. Paeonic rhythm, at the beginning and the end of the
'members,' contributes to elevated composition : e.g. Thucyd. ii.
48, *ptato dè tÒ KAKÒV & Aidlomías. Long 'members' and rounded
periods have the like effect: e.g. Thucyd. ii. 102, ó yàp 'Ayeros K.7.d.
Elevation is also favoured by harsh sounds, hiatus, conjunctions;
and by figures such as anthypallage, epanaphora, anadiplosis. In
elevated diction metaphors, brief comparisons, compound and coined
words (óvóuata TETTOLY Méva) should be employed, and a sparing
use made of allegory. Thucydides is regarded as the leading
example of the elevated style. The vice corresponding to elevation
is frigidity, of which a definition is given from Theophrastus.
Frigidity, like elevation, shows itself in thought, diction and com-
position,-in senseless hyperbole, in exaggerated expressions, in
sentences unrhythmical on the one hand or metrical on the other.
SS 36~-127.
The elegant type has charm and vivacity. The subject-matter
may be charming in itself. But expression can make it still more
so. The means employed are such as harmless pleasantries; pointed
brevity; significant words added unexpectedly at the end of a
sentence; the figures anadiplosis, anaphora, and the like; the use
of proverbs, fables, comparisons, hyperboles; the use likewise of
beautiful and smooth words. In elegant composition some approach
to metrical effects is admissible. Illustrations of the graceful style
are quoted from Sappho among poets and Xenophon among prose-
writers, while (in addition to Xenophon) Plato and Herodotus, and
in some degree Demosthenes, are held to exemplify this style in
the special province of composition.-The perverted variety of the
INTRODUCTION.
elegant type is the affected or mannered style, which in composition
particularly affects anapaestic rhythms. SS 128–189.
The plain type (of which Lysias may be taken as the re-
presentative) aims at clearness and simplicity, and draws on the
language of ordinary life. It avoids strange compounds, as well as
coined words, asyndeton, and all ambiguities. It favours epanalepsis,
or the repetition of connecting particles for the sake of clearness;
with the same object, it will say one thing twice over; it avoids
dependent constructions, and adopts the natural order of words;
it employs simple periods, but shuns long 'members,' the clashing
of long vowels and diphthongs, and the use of striking figures.
This type possesses the qualities of vividness and persuasiveness. ·
By a wise economy of language it says neither too much nor too
little, and leaves the impression of directness and sincerity. Its
obverse is the dry, or arid, type. This is illustrated in the three
aspects of thought, diction, and composition. SS 190-239.
The forcible type (of which no representative is named, though
Demosthenes is oftenest quioted in illustration) affects a pregnant
brevity of expression, such as that of the Lacedaemonians. Proverbs
and allegories may be employed with effect in the forcible style.
The close of the period will be strongly marked; phrases' will be
preferred to members'; harshness of sound will not be shunned;
antithesis and rhyming terminations will be avoided; aposiopesis
will be serviceable, and so generally will any form of speech which
implies more than it says. Mordant wit contributes to force, and
the same may be said of such figures as prosopopoeia, anadiplosis,
anaphora, asyndeton, climax. Forcible diction is the outcome of
metaphors, short comparisons, striking compounds, apt expressions,
rhetorical questions, euphemism, allegory, hyperbole, figured speech,
hiatus. The vicious extreme of the forcible type is the graceless
style, which is closely allied to frigidity. SS 240—304'.
I
A general view of the entire contents of the περί “Ερμηνείας
shows that the treatise answers to its title,—that it is con-
cerned throughout with style, in that broad sense of the term
1 In this sketch of the characteristics of the various types of style as described
by Demetrius much help has been derived from Volkmann, Rhetorik der Griechen
und Römer, pp539-544.—It will be noticed that some of the figures may be
appropriately used in more than one of the types.
SUMMARY AND ASPECTST
35
.
-
--
which will include diction and composition? The thought
(or subject-matter), as distinguished from the expression, is
but cursorily treated. It is pointed out in $ 75 that a great
subject may be spoiled by poor writing, and conversely in
SS 133; 134 that good subjects can be enhanced, and un-
pleasant subjects rendered attractive, by a writer's skill. In
$.76 the remark is made that “the painter Nicias regarded
the subject itself as part of the pictorial art, just as plot and
legend are a part of poetry”; and the author of the prepi
‘Epunveias himself shows, in his own treatment of his chosen
theme, how difficult, or rather how impossible, it is to
discriminate precisely between substance and form? Yet for
practical purposes the distinction is a useful and necessary
one, as we see at once if we look at the surviving body of
Greek criticism. Divide this body for our present purpose
into two parts 3 (viz. (1) Aristotle, (2) Dionysius of Hali-
carnassus, the repi "Tyrous, the repì 'Epunvelas), and we
recognise at once that, on the whole, the first part is more
occupied with substance than with form, and that (again
on the whole) the second part is more occupied with form
than with substancet. The historical and personal reasons
1 Diction covering the choice of words, and composition the structure of sen-
tences and the rhythm of the period.
% The interſusion, or marriage, of substance and form, and the evils of exagge-
rated attention to the latter, are happily described by Quintilian, Inst. Orat. viii.
Provem. 20—22: "curam ergo verborum rerum volo esse sollicitudinem. nam ple-
rumque optima rebus cohaerent et cernuntur suo lumine; at nos quaerimus illa,
tanquam lateant seseque subducant. itaque nunquam putamus circa id esse, de quo
dicendum est, sed ex aliis locis petimus et inventis vim afferimus. maiore animo
aggredienda eloquentia est, quae si toto corpore valet, ungues polire et capillum
reponere non existimabit ad curam suam pertinere.”—Dionysius (de Isocr. C. 12)
agrees with Quintilian in subordinating the words to the sense, if any such distinc-
tion should be made: Botletai dè ñ púous Tois vonuao lv étreo bal anu néčiv, oủ
léčel tè vonuara. Dionysius himself accordingly, in his literary estimates, discusses
fully the payuaTIKÒS TÓTOS (which taxes to the utmost the maturest powers, de
Comp. Verb. C. I), as well as the LEKTIKOS TÓTOS.
3 The distinction made above is intended simply to imply that dégis receives
comparatively far more attention in Dionysius, in the r. Üyous, and in the r. Épu.,
than in Aristotle. In particular, such minute analysis as Dionysius gives of the
literary styles of individual authors is found in the extant work neither of Aristotle
nor of any other Greek critic.
* In his article ‘Poetry' in the Encyclopaedia Britannica, Mr Theodore Watts-
3-2
36
INTRODUCTION.
1
19
III
for this in the case of Aristotle have already been glanced
at. But the general question of Aristotle's attitude to style
requires some attention, if we are to form a fair estimate
of it in itself and to compare it satisfactorily with that of
the later Greek writers.
On the one hand it must be admitted that Aristotle, in
his writings as they have come down to us, does treat the
subject of style in such a way as to afford some just ground
for the disappointment so often expressed by admirers of
his surpassing genius. It is not simply that invention is
discussed at much greater length than style, and that the
latter finds no place in his definition of rhetoric: all this
we might have anticipated for various reasons which need
not now be stated? Nor is it simply that, in the compara-
tively small space allotted to style, questions grammatical
rather than literary are sometimes raised : this is a feature
which Aristotle's works share with the critical treatises of
antiquity generally, and historically the confusion is as
natural as is the great interest shown in what now seem
peculiarly arid points of grammar. The substantial fact is
that, when all allowance has been made for the fragmentary
condition of the Poetics and for the oratorical preoccupation
of the Third Book of the Rhetoric, Aristotle says but little
about the beauties of elevated and poetical language. The
disappearance of the grand style in the poetry of his own
century seems to cause him no concern (Rhet. iii. I, 9), nor
does he appear to observe the corresponding decline in
Dunton says: “Perhaps the first critic who tacitly revolted against the dictum that
substance, and not form, is the indispensable basis of poetry was Dionysius of
Halicarnassus, whose treatise upon the arrangement of words is really a very fine
piece of literary criticism.... The Aristotelian theory as to invention, however,
dominated all criticism after as well as before Dionysius." This statement is inte-
resting and suggestive. It is, however, subject to the qualification that the later
critics, such as Dionysius, probably drew largely from Theophrastus' lost nepi
AEŽEWS, which seems to have been a separate and substantial work.
i That Aristotle includes in his definition of rhetoric invention only, and not
expression, is pointed out by Quintilian: “nihil nisi inventionem complecitur, quae
sine elocutione non est oratio” (Inst. Or. ii. 15, 13). Aristotle's definition runs as
follows: έστω δή ρητορική δύναμις περί έκαστον του θεωρήσαι το ενδεχόμενον πιθανόν
(Rhet. i. c. 2 init.).
SUMMARY AND ASPECTS.
37
poetical genius. It is true that Aristotle was a great
scientific thinker living in an age of prose. But among the
contemporary oratorical prose, some of whose secrets (as it
seems to modern readers) might have been usefully discussed
in the Rhetoric, was that of Demosthenes ; and this is
practically ignored. Aristotle's omissions on the aesthetic
side are supplied by the Graeco-Roman critics, and the
Treatise on the Sublime eloquently proclaims how far true
genius transcends mere correctness and propriety.
On the other hand, if we desire a definition of good
style, where shall we find a better than that given by Aristotle
himself in the Poetics : “The perfection of style is to be
clear without being mean?”? It is implied in these words
that good style has virtues as well as graces, graces as well
as virtues. Or, to adopt a distinction found in the later
critics, there are in style not only necessary virtues (apetai
åvarykaiai), but accessory virtues (åpetai &TrideTou). Clear-
ness (oaońvela) was included in the former category; and
like its allied virtues of brevity (ouvTouía) and purity
(Einviouós), it was perhaps less systematically taught than
those accessory arts (such as the heightening of style) which,
according to Dionysius, best reveal an orator's power 3.
Clearness is, it may be, best inculcated through examples
of its opposite, as when oracular ambiguities are illustrated
by Aristotle (Rhet. iii. 5, 4), or as when Dionysius condemns
the obscurity of Thucydides (de Thucyd. cc. 50, 51). Some
positive precepts of a useful kind are, however, given in
the De Elocutione, SS 1964-198, with the curious addition
($ 203) that clearness must be studied most of all in the plain
1
? Aristot. Poet. xxii. 1: Méčews dè åpeti oao ñ kai un tamely elvar (S. H.
Butcher's translation). That Aristotle intended the definition to apply substantially
to prose as well as poetry is clear from Rhet. iii. 2, Ι: ωρίσθω λέξεως αρετή σαφή
είναι. σημείον γάρ ότι ο λόγος, εάν μή δηλοί, ου ποιήσει το εαυτού έργον" και μήτε
ταπεινήν μήτε υπέρ το αξίωμα, αλλά πρέπουσαν ή γάρ ποιητική ίσως ού ταπεινή, αλλ'
ου πρέπουσα λόγω.
? A list of both kinds will be found in D. H. (Dionysius of Halicarnassus: the
Three Literary Letters), p. 172.
3 Dionys. Hal. de Thucyd. c. 23, és üv pálcota diáðnlos Ý Toll øñropos ylvetal
dúvauis.
38
INTRODUCTION.
or unadorned type of composition. As the more showy
parts of style are so apt to engross attention, it was a
great thing that Aristotle should have assigned to perspicuity
the first place in his definition? This gives that indispens-
able quality the emphasis which Quintilian laid upon it when
he said that the speaker must look to it that his hearer shall
not merely understand, but shall find it absolutely impossible
to misunderstand?.
In the same passage Quintilian points out that a speaker
gains little credit for mere correctness and clearness; if he
employs no artistic embellishment, he seems rather to be
free from faults than to show striking excellence Now
Aristotle, in the second half of his definition, discountenances
meanness of style; but his positive hints, in Rhet. iii. 6, with
regard to the attainment of dignified expression seem meagre'
and mechanical, and are possibly to some extent ironical.
He regards style in general as the popular part of rhetoric,
and consequently treats it cursorily, concluding his account as
follows: "The most literary style is the epideictic, which is in
fact meant to be read; next to it comes the forensic. It is
idle to make the further distinction that style must be attrac-
tive or elevated. Why should these qualities be attributed to
it rather than self-control, or nobility, or any other moral ex-
cellence? The qualities already mentioned will manifestly
make it attractive, unless our very definition of good style
is at fault. This is the sole reason why it should be clear
and not mean but appropriate. It fails in clearness both
when it is prolix and when it is condensed. The middle
path is clearly the fittest. And so attractiveness will result
? And in the second half it is noteworthy that uns Tanelvv is used: meanness
is represented as a defect to be avoided, rather than elaboration as an excellence to
be coveted. The danger of regarding elaboration as a positive virtue is the possible
encouragement of fine writing—that vice of 'écrire trop bien' which, according to
M. Anatole France, is the worst of all.
2 Quintil. viii. 2, 24: “quare non ut intellegere possit, sed ne omnino possit
non intellegere, curandum.”
3 Quintil. viii. 3, I: “venio nunc ad ornatum, in quo sine dubio plus quam in
ceteris dicendi partibus sibi indulget orator. nam emendate quidem ac lucide dicen-
tium tenue praemium est, magisque ut vitiis carere quam ut aliquam magnam
virtutem adeptus esse videaris.”
SUMMARY AND ASPECTS.
39
from the elements already mentioned,-a suitable combina-
tion of the familiar and the unusual, rhythm, and the per-
suasiveness which is the outcome of propriety?." There are
several points of great interest in this passage. A hint is
dropped (with the careless opulence of Aristotle) regarding
the difference between ordinary oratorical or spoken prose on
the one hand, and on the other hand literary prose such
as that of Isocrates and his school of pamphleteers and
historians. It is interesting, too, to see the doctrine of the
mean (TÒ uécov) imported from the ethical domain and applied
to discourage prolixity and the opposite vice of undue
condensation. And it is still more interesting to observe at
the same time that Aristotle does not approve the use, in
connexion with style, of terms denoting personal qualities
· such as 'attractiveness' and 'elevation. Possibly he here
alludes with disapproval to some early definition or classifica-
tion of styles which was being mooted by Theophrastus or
Theodectes? He points out that the elements of an attractive
style have already been described. To this it might be
replied that types of style will vary greatly according to the
manner in which the various elements are combined ; and
this Aristotle would no doubt admit, though he might hold
that on questions of tact positive instruction could only be
moderately successful. But on the whole, even in Aristotle,
and still more in the later critics, the Greek attention to the
1 Aristot. Rhet. iii. 12, 6: Ý Mèv oŮV ÉTTIDELKTIKY Mégis ypadekwtátn" To vào èpyov
αυτης ανάγνωσις· δευτέρα δε η δικανική. το δε προσδιαιρείσθαι την λέξιν, ότι ηδείαν
δεί και μεγαλοπρεπή, περίεργον τι γάρ μάλλον ή σώφρονα και ελευθέριον και εί τις
άλλη ήθους αρετή και το δε ηδείαν είναι ποιήσει δήλον ότι τα ειρημένα, είπερ ορθώς
ώρισται η αρετή της λέξεως· τίνος γάρ ένεκα δει σαφή και μη ταπεινήν είναι αλλά
πρέπουσαν και άν τε γάρ αδολεσχη, ου σαφής, ουδε αν σύντομος. αλλά δήλον ότι το
μέσον αρμόττει. και το ηδείαν τα ειρημένα ποιήσει, αν εύ μιχθη, το ειωθός και ξενικόν,
και ο ρυθμός, και το πιθανόν εκ του πρέποντος.
? Quintil. iv. 2, 63: "illa quoque ut narrationi apta ita cum ceteris partibus
communis est virtus, quam Theodectes huic uni proprie dedit; non enim magnificam
modo vult esse verum etiam iucundam expositionem.” Cp. T. pl. $ 114. .
3 Aristot. Rhet. iii. 7, 8: TÒ S'Eủkalows ñ un eủkalpws xpño dai KolvÖv årávTwv
Twv elow totlv. And he might have added how difficult it is to teach this tact by
precept: cp. Dionys. Hal. de Comp. Verb. c. 12, Kalpoll de oŰTE Pýtwp ovdels QÜTE
pilbopos els TÓde xpbvou téxunu ploev. No matter how many rules may be given,
much must depend on the individual's sense of kalpós, tò mpétrov, To uboov.
1
40
INTRODUCTION.
minutiae of expression is conspicuous, especially when con-
trasted with modern laxity.
The assiduous care devoted by Greek writers to the
attainment of beautiful form is attested not only by the
excellence of their writings themselves, but by the stories
told in antiquity concerning the industry with which Plato,
Isocrates, and Demosthenes polished and repolished their
compositions. A like inference may also be drawn from the
elaborate exposition of the laws of Greek artistic composition
offered by the ancient critics, whose analysis, though some-
times pushed too far, is found on examination to have a
solid basis of fact. For example, the long list of figures
(oxýuara) attributed to Demosthenes shows, if it shows
nothing else, with what various art a great master could
play upon so perfect an instrument as the Greek language?.
The same impression is produced by the elaborate rules laid
down for the structure of the period (Trepíodos), with its
members (Kola) and phrases (kóumara); and by the con-
siderations which are said to determine the admission or
avoidance of hiatus (oúrykpovols povnévtwv). And it has
been reserved for the scholarship of our own time to show
in detail that the measured march of the prose of Demo-
sthenes is largely due to the fact that as far as possible he
avoids the occurrence of three or more consecutive short
syllables, unless these form part of a single word, or of two
words so closely connected as to be practically one.
The rhythmical prose of Demosthenes may be regarded
as hitting the mean between the metrical restrictions of
poetry and the untrammelled licence of ordinary conversa-
tion. The Greek theorists saw how sensitive even an ordinary
audience was to the pleasure of musical sound; Dionysius
gives some striking illustrations of the fact? They felt,
therefore, that prose must not forego all the advantage thus
possessed by poetry, and that, while it was bad art to write
metrical prose, it was also bad art to write unrhythmical
1 For the Demosthenic figures, see Blass, Att. Bereds.? iii. pp. 159 ff., and
Rehdantz-Blass, Demosthenes' Neun Philippische Reden: Rhetorischer und Stilisti-
scher Index, passim.
2 D. H. p. 14.
SUMMARY AND ASPECTS.
41
prose. Most Greek prose, it must always be remembered,
was originally intended for the ear rather than for the eye;
and in later times, when he could no longer listen to the
author's voice, the lover of literature employed a skilled
aragnostes to read to him.
Modern scholars, distressed by the minute analysis to
which the Graeco-Roman critics subjected the charms of
literary style, have exclaimed that we would willingly, if
we could, "attribute all the minute analysis of sentences in
Greek orations to the barren subtlety of the rhetors of Roman
times, and believe that the old orators scorned to compose
in gyves and fetters, and study the syllables of their periods,
and the prosody of them, as if they were writing poetryl.”
But, surely, we never feel, to take the case of poetry itself,
that the genius of Shakespeare was straitened because he
wrote in verse; nor do we find it easier to believe that the
mastery (delvórns) of Demosthenes was the less because it
embraced at once form and substance, manner and matter.
Sovereign artists find their best opportunity in the so-called
restraints of form; they move most freely within the bounds
of law. It may be, however, that the rhetoricians themselves
are somewhat to blame for this prejudice; in their zeal to
unlock the secrets of literary expression they sometimes
seem to ignore the difference between the methods by which
the artist composes and the analyst decomposes, between
the method of life and the method of dissolution, between
creative fire and cold criticism. They seem sometimes
almost to suggest that a work of genius might be produced
by the careful observance of their rules. They forget that
a great writer passes rapidly and almost unconsciously
through the stages of instinct, habit, and art. In a sense
he absorbs all processes, and is modest enough to remember
that there is withal an element of happy chance in composi-
tion, that "skill is in love with luck, and luck with skill 2."
1 Mahaffy, Classical Greek Literature, ii. p. 192.
2 Agathon's line téxun TÚXNv ČOtepte kal túxn Téxunu (cp. Journal of Hellenic
Studies, xx. 46). Aristotle is fond of quoting from Agathon lines showing the part
played by túxn in human action. Cp. T. Üy. ii. 3.
42
INTRODUCTION.
Granted, however, that the Graeco-Roman rhetoricians some-
times magnify their calling unduly, our debt remains great
to such a writer as Dionysius for his attempt in the De
Compositione Verborum to analyse the appeal made to the
emotions by beautiful words harmoniously arranged. He
discloses many beauties which would otherwise have been
lost upon modern readers, and we cannot fail to endorse
his assertion that care for the minutest details of eloquence
could not be below the dignity even of a Demosthenes 1.
Dionysius himself had, no doubt, a constructive aim in
his analysis of the great writings of the past. He was a
believer in imitation (uiunois), and holds up Demosthenes
as a model, pointing out that Demosthenes in his turn had
imitated Thucydides? No higher standard than the Demo-
sthenic could have been chosen ; and the effect of Dionysius'
advocacy on the Greek writing of his own time cannot have
been other than good. In contemporary Latin literature,
imitation of Greek and early Roman writers was also much in
vogue; and the Greek influence purified Roman taste, though
1
1 Dionys. Hal. de Comp. Verb. C. 25: cp. Cic. Orator, 140 ff.—The valụe of
the kind of verbal analysis offered by Dionysius might be illustrated by a somewhat
similar analysis of Virgil's line tendebantque manus ripae ulterioris amore in Mr
A. C. Bradley's recent Inaugural Lecture on Poetry for Poetry's Sake, p. 25: “But
I can see this much, that the translation (sc. 'and were stretching forth their hands
in longing for the further bank') conveys a far less vivid picture of the outstretched
hands and of their remaining outstretched, and a far less poignant sense of the
shore and the longing of the souls. And it does so partly because this picture and
this sense are conveyed not only by the obvious meaning of the words, but through
the long-drawn sound of 'tendebantque,' through the time occupied by the five
syllables and therefore by the idea of 'ulterioris,' and through the identity of the
long sound 'or' in the penultimate syllables of 'ulterioris amore’-all this, and
much more, apprehended not in this analytical fashion, nor as added to the beauty
of mere sound and to the obvious meaning, but in unity with them and so as
expressive of the poetic meaning of the whole.” Such analysis as this will, in
many minds, quicken the sense of beauty; and in so doing it will surely justify
itself, even to those who least like to see the secrets of literary beauty investigated.
It is in the best sense educative, and so is a similar analysis of other Virgilian lines
in Mr Courthope's Life in Poetry : Law in Taste, p. 72. Cp. the chapter on the
“Style of Milton: Metre and Diction" in Mr Walter Raleigh's essay on Milton.
2 Dionys. Hal. de Thucyd. c. 53.- The De Elocutione presupposes the habit of
imitation, but it does not often refer directly to it, though in SS 112, 113 the practice
of Herodotus and Thucydides, as imitators, is contrasted.
SUMMARY AND ASPECTS.
43
it may have tended to stifle originality and to discourage
independence. In the so-called 'classical' criticism of the
sixteenth, seventeenth, and eighteenth centuries of our own
era, it was perhaps from Horace more directly than from
Dionysius that the idea of imitation was derived. And in
our own generation R. L. Stevenson, who (with no direct
knowledge of the Greek critic) has analysed style in a manner
very similar to that of Dionysius, has left it on record that
he "played the sedulous ape," when training himself to
write? The great use of the imitation of masterpieces is that
it gives a young writer hints in craftsmanship and reveals
to him hidden beauties in his models; if carried to excess
and allowed to check spontaneity and impair sincerity, it is
fatal to all true style.
The subject of English prose style has been treated in
recent years not only by R. L. Stevenson, but by writers as
various as Walter Pater (Appreciations, pp. 1–36), Walter
Raleigh (Style), Herbert Spencer (Philosophy of Style),
J. Earle (English Prose, pp. 334–368), G. Saintsbury
(Specimens of English Prose Style, pp. XV.-xlv.), and J. A.
Symonds (Essays Speculative and Suggestive, i. pp. 256–331
and ii. 1—29)?
A glance at these English books on style, and still more
at French manuals of composition such as that of Géruzez
or German treatises like Gerber's Die Sprache als Kunst,
will show how much of the old classification and terminology
still remains,—'figures of thought,' 'figures of speech,' 'period,
and the likes. Some ancient excesses, such as the applica-
tion of the term figures of speech to words like 'iamiam' and
I For Stevenson's own description of his early habits of imitation, reſerence may
be made to Graham Balfour's Life of Robert Louis Stevenso11, vol. i. p. 200.
Stevenson's essay on Some Technical Elements of Style in Literature will be found
in his Miscellanies, iii. pp. 236—261 (Edinburgh edition) : “it is a singularly sug-
gestive 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” (Life, ii. p. 11).
: ? To this list may be added the introductory notices in the five volumes of
Craik's English Prose Selections.
3 Period, color, and comma with a change of meaning now do duty for terms of
punctuation.
1
44
INTRODUCTION.
liberum,' have-it is to be hoped-disappeared, leaving
only what has been proved by experience to be of per-
manent utility. Thus restrained, the ancient doctrine of
tropes and figures remains the basis of the modern? And
the four Demetrian types of style seem to be regarded as a
useful division for modern purposes, since in English poetry
the elevated style can be freely illustrated from Milton, the
graceful from Tennyson, the forcible from Shakespeare, the
simple from Wordsworth? But though much of the ancient
doctrine survives, there are (in almost every country except
the United States of America) some signs of failing interest
in the subject generally. In France, the country of great
prose, rhetoric and style have always been carefully studied,
thanks largely to the long tradition which linked the schools
of Lyons and Bordeaux with the teaching of Quintilian:.
And yet, even in France, the study is said to be declining ;
and so rhetoric, which in ancient times was widely cultivated
1 Wilhelm Scherer (Poetik, p. 50): “Die (antike) Rhetorik hat ferner für die
Lehre vom Ausdruck die Classification der Tropen und Figuren so reich ausgebildet,
dass die ganze Folgezeit nichts hinzufiigte.”-For 'iamiam' and 'liberum' as figures
of speech, cp. Quintil. ix. I, 16; and for 'dead figures of speech,' see J. P. Postgate's
Preface, p. xxx. to Mrs Cust’s translation of Bréal's Essai de Sémantique.
2 Cp. Abbott and Seeley's English Lessons for English People, pp. 69–86,
where these divisions are adopted and illustrations given from the poets mentioned
above. It might be interesting to ask what estimate an ancient Greek critic would
have formed of such lines as 'Browning's in Pippa Passes :-
God's in his heaven,
All's right with the world !
He would probably have decided that they lacked μεγαλοπρέπεια (cp. π. ερμ. $ 5),
for an example of which he might point to Sophocles' rendering of the same
idea :-
θάρσει μοι, θάρσει, τέκνον έτι μέγας ουρανό
Zeús, os èpopê Trávta kai kpatúvel. (Soph. El. 174.)
Browning's lines he would presumably refer to the xaparthp lo xvbs and praise them
if he regarded them as dramatically or otherwise appropriate (cp. Cassio's “Well:
God's above all,” Othello, ii. 3). The author of the repl Epunvelas at all events,
with his liking for familiar proverbs, would look with favour on a literary style
that was in close touch with the spoken language.
3 Quintilian was of Spanish origin. His name, like that of the Gaul Marcus
Aper in the Dialogus de Oratoribus, suggests the start which the Latin races, as
compared with the Teutonic, were to have in the field of rhetoric or literary
criticism.
SUMMARY AND ASPECTS.
45
and in the middle ages was one of the subjects of the trivium,
is being threatened in her great modern stronghold. All
the more reason that other countries, if they hold the view
that to write one's own language correctly and beautifully
is no small part of a true patriotism, should be ready to
learn from the lessons of the past?.
One of these lessons is the perennial nature of the anti-
thesis, Asianism and Atticism, a reference to which may fitly
conclude this part of the Introduction. Asianism' and
*Atticism' are, it must be admitted, difficult expressions to
define exactly? But certain passages of Cicero, Dionysius,
and Quintilian, sufficiently indicate the historical origin of
the term Asianism, and the general tendencies which it and
Atticism embodied in the opinion of critics well qualified
to judge. In the Brutus, Cicero describes eloquence (at the
end of the Attic period) as setting sail from the Piraeus, and
then passing through the islands of the Ægean and traversing
the whole of Asia, sullying herself on the way with foreign
fashions, losing her sound and wholesome Attic style, and
almost unlearning her native languages. In the same way
Dionysius dates the decline of the 'ancient and philosophic
rhetoric' from the death of Alexander of Macedon, and
vividly depicts the scandalous ways of the meretricious
rhetoric which had usurped its place4 Quintilian, again,
i Gerald of Wales, writing at the beginning of the thirteenth century and
lamenting the low ebb to which letters had sunk in England, seems (as far as can
be judged from his fragmentary text and from subsequent references to his views)
to have laid stress on the importance of “recte lepide ornate loqui,” and to have
recommended training "non solum in trivio, verum etiam in authoribus et philo-
sophis" (Brewer, Giraldi Cambrensis Opera, iv. pp. 7, 8).
2 The difficulty is noticed by Wilamowitz-Moellendorff in his paper on Asianis-
mus und Atticismus (Hermes, xxxv. I ff.). The recent literature of the subject is
reviewed by Ammon in Bursian's Jahresbericht über die Fortschritte der classischen
Altertumswissenschaft, xxviii. 2, pp. 206—211.
3 Cic. Brut. 51: “nam semel e Piraeo eloquentia evecta est, omnes peragravit
insulas atque ita peregrinata tota Asia est, ut se externis oblineret moribus
omnemque illam salubritatem Atticae dictionis et quasi sanitatem perderet ac
loqui paene dedisceret."
* Dionys. Hal. de Antiq. Orat. c. 1: cp. D. H. pp. 43, 44.—The controversy
is not mentioned in the r. épp., which however seeks its models in the best Attic
writers.
40
INTRODUCTION.
remarks that Asiatic oratory lacked judgment and restraint;
that, whereas Attic taste and refinement could not endure
an idle redundancy, the Asiatics carried their innate vanity
and bombast into the domain of eloquence?
Atticism may, therefore, be regarded, from the standpoint
of the Graeco-Roman critics, as a reversion to the classical
models, and Asianism as a literary degeneracy showing itself
chiefly, but not entirely, in the use of excessive ornament.
It was, above all, in the want of the Attic sense of measure
and fitness that Asianism declared itself. Among the Attic
writers we find examples of the stately as well as of the
plain style; among the Asiatic writers, emulators of the
plain style as well as of the stately. But among the latter
the Attic taste is wanting; and this makes all the difference?
They made no attempt to preserve that taste through constant
contact with the Attic masterpieces, or through the study of
rhetoric as an art rather than as simple declamation.
In Latin literature of almost every period Asianism had
its advocates and representatives. This is also true of
Atticism, which readily commended itself to the severity of
taste so characteristic of the Roman character. It is, indeed,
to the ruling classes of Rome that Dionysius ascribes the
i Quintil. Inst. Or. viii. prooem. 17: “his (sc. Asianis) iudicium in eloquendo
ac modus (defuit)”; ibid. xii. 10, 17: “quod Attici, limati quidam et emuncti nihil
inane aut redundans ferebant, Asiana gens tumidior alioqui atque iactantior vaniore
etiam dicendi gloria inflata est."
? Quintil. xii. 10, 20 has well marked the essential unity underlying the
individual differences of the Attic writers: “nemo igitur dubitaverit, longe esse
optimum genus Atticorum. in quo ut est aliquid inter ipsos commune, id est
iudicium acre tersumque: ita ingeniorum plurimae formae. quapropter mihi falli
multum videntur, qui solos esse Atticos credunt tenues et lucidos et significantes et
quadam eloquentiae frugalitate contentos ac semper manum intra pallium conti-
nentes. nam quis erit hic Atticus? sit Lysias; hunc enim amplectuntur amatores
istius nominis modum."--After mentioning in this way Isocrates, Antiphon, Isaeus
and others, Quintilian proceeds : “quid denique Demosthenes? non cunctos illos
tenues et circumspectos vi, sublimitate, impetu, cultu, compositione superavit? non
insurgit locis? non figuris gaudet? non translationibus nitet? non oratione ficta dat
tacentibus vocem ? non illud iusiurandum per caesos in Marathone ac Salamine
propugnatores rei publicae satis manifesto docet, praeceptorem eius Platonem
fuisse? quem ipsum num Asianum appellamus plerumque instinctis divino spiritu
vatibus comparandum?"
SUMMARY AND ASPECTS.
triumph which Atticism seemed to have won in his own
day? Cicero, whether through the influence of his Rhodian
training or through his own instinctive perception of oratorical
effect, was no extreme adherent of the Attic school. He
cannot have failed, though he nowhere expressly assigns this
reason, to recognise that the style of such a writer as Lysias
would be out of harmony with the genius of Latin, a language
in which (owing to its comparatively limited resources) sim-
plicity is apt to end in baldness. It was rather in the rich
· periods of Isocrates that Cicero found his model for that
Latin rhetoric which writers of modern Europe have so often
imitated; and it is therefore not easy to exaggerate the
influence of this Attic orator upon the development of artistic
prose. · And if this be true of Isocrates, it applies to his
master Gorgias. There is, in truth, something strangely
fascinating in the lasting and prolific energy of these two
indomitable old men.
As was pointed out earlier in this introduction, Gorgias
may well be considered the founder of artistic prose. It is
true that his love of the figures, and of other ornaments of
style, sometimes led him into extravagance and fine writing,
and caused his name to be coupled in antiquity with that
of Hegesias, the supposed founder of Asianism? Neverthe-
less it was a great achievement to establish the doctrine that
prose no less than poetry should be artistic. Only at
a comparatively recent stage of modern literary criticism
was it recognised that the Iliad and the Odyssey are
not 'natural' poetry but artificial in the highest degree.
Gorgias no doubt saw this, as did Dionysius at a later
time; and he would have perceived no less clearly that
the simplicity of such prose as that of Lysias was not natural
but the result of art,—was, in fact, a studied simplicity.
Personally Gorgias is an excellent type of that daring
and exuberant vigour which languages no less than nations
need if they are perpetually to renew their youth. He lived
to a ripe old age, attributing (it is said) his longevity to the.
1 D. H. pp. 34, 35.
2 See . y. iii. 2.
INTRODUCTION.
fact that he had never given the rein to the lower pleasures ?.
In his style he would seem to have remained always youthful,
and thus to have incurred the reproach which later critics
intended to convey by the terms μειρακιεύεσθαι and νεανι-
εύεσθαι.
His pupil Isocrates, on the other hand, illustrates the
usual rule that with added years there comes a more subdued
beauty of style%. Two great admirers of Isocrates in later
days, a Roman master of style and a Greek critic, have
recognised to the full the part played in the formation of
style by the ardour of youth. In the young orator I would
welcome a luxuriant opulence, says Cicero, when describing
the early efforts of Sulpicius. Every youthful heart
1 Cp. T. G. Tucker (Classical Review, xiv. 247) on a 'Saying of Gorgias,' where
the reference is to Plutarch de Glor. Athen. 5.
? Cic. Or. 176: “Gorgias autem avidior est generis eius et his festivitatibus-
sic enim ipse censet-insolentius abutitur; quas Isocrates, cum tamen audivisset in
Thessalia adulescens senem iam Gorgiam, moderatius etiam temperavit ; quin
etiam se ipse tantum, quantum aetate procedebat-prope enim centum confecit
annos--relaxarat a nimia necessitate numerorum; quod declarat in eo libro, quem
ad Philippum Macedonem scripsit, cum iam admodum esset senex; in quo dicit
sese minus iam servire numeris quam solitus esset.” The reference here is to Isocr.
Phil. 27, ουδέ γάρ ταϊς περί την λέξιν εύρυθμίαις και ποικιλίαις κεκοσμήκαμεν αυτόν, αίς
αυτός τε νεώτερος ών έχρώμης και τοις άλλοις υπέδειξα, δι ών τους λόγους ηδίους αν
άμα και πιστοτέρους ποιοίεν. ών ουδέν έτι δύναμαι διά την ηλικίαν. These words
would be written when Isocrates was 90. In his Panathenaicus (aet. 98) he writes:
νεώτερος μεν ών...περί εκείνους τους λόγους) έπραγματευόμην τους περί των συμφερόν -
των τη τε πόλει και τοις άλλοις "Ελλησι συμβουλεύοντας, και πολλών μεν ενθυμημάτων
γέμοντας, ουκ ολίγων δ' αντιθέσεων και παρισώσεων και των άλλων ιδεών των εν ταις
ρητορείαις διαλαμπουσών και τους ακούοντας επισημαίνεσθαι και θορυβείν αναγκαζου-
ow (Isocr. Parath. I, 2). The old man eloquent,' therefore, like Milton himself,
cultivated greater austerity in his later years (for Milton in this regard, cp. Seeley
Lectures and Essays p. 144). Milton threw off, in particular, that "troublesome
and modern bondage of riming,' the connexion of which with the 'figure' ÓMOLOTÉ-
deutov has been so well traced in Norden's Kunstprosa (ii. 810 ff.).
3 Cic. de Orat. ii. 21, 88 (Antonius loquitur), 'atque ut a familiari nostro ex-
ordiar, hunc ego, Catule, Sulpicium primum in causa parvula adulescentulum
audivi, voce et forma et motu corporis et reliquis rebus aptis ad hoc munus, de quo
quaerimus, oratione autem celeri et concitata, quod erat ingenii, et verbis efferves-
centibus et paulo nimium redundantibus, quod erat aetatis. Non sum aspernatus;
volo enim se efferat in adulescente fecunditas; nam sicut facilius in vitibus revo-
cantur ea, quae sese nimium profuderunt, quam, și nihil valet materies, nova
sarmenta cultura excitantur, item volo esse in adulescente, unde aliquid amputem;
non enim potest in eo esse sucus diuturnus, quod nimis celeriter est maturitatem
DATE AND AUTHORSHIP.
49
passionately pursues beauty of style, says Dionysius, when he
offers his Arrangement of Words to the young Melitius Rufus
as a birthday gift. Yet no two writers have shown more
plainly, in their rhetorical teaching, how great is the need of
discipline, if style is to be not only ardent, but simple, strong,
and beautifully clear.
C. DATE AND AUTHORSHIP OF THE DE ELOCUTIONE.
For more than one reason it has seemed best to give
some account of the subject-matter of the De Elocutione,
and of other similar treatises on prose style, before discussing
the difficult question of its date and authorship. Where
possible, it is as well not to start with that note of scepticism
which is so characteristic of modern scholarship, but rather
first of all to suggest, independently of disputed points, the
literary value and permanent interest of the work in question.
The course here taken has this further advantage that the
internal evidence with regard to the date and authorship of
the De Elocutione can now be considered in the light of the
historical sketch already given. And in this, as in so many
similar cases, it is the internal evidence that requires the
most detailed treatment.
I. INTERNAL EVIDENCE.
Reserving for the present the discussion of the external
evidence, which is of a precarious kind, we may ask what
opinion we could have formed, on purely internal grounds,
as to the date of the treatise, if it had come down to us
adsecutum.' Cp. Brut. 91, 316, quibus non contentus Rhodum veni meque ad
eundem, quem Romae audiveram, Molonem applicavi cum actorem in veris causis
scriptoremque praestantem, tum in notandis animadvertendisque vitiis et instituendo
docendoque prudentissimum. is dedit operam-si modo id consequi potuit, ut
nimis redundantes nos et superfluentes iuvenili quadam dicendi impunitate et licentia
reprimeret et quasi extra ripas diffluentes coerceret. The words of Dionysius are
ÉTTONTai yåp ärraga veov yux) Tepi Tòv tñs epunuelas wpaïouby (de Comp. Verb.
C. I).
50
INTRODUCTION.
without any external evidence bearing upon the point. To
what century, and to what group of writers on style, should
we have been inclined to assign it? The following table,
which includes the principal writers mentioned earlier in this
introduction, will show the character of the problem, though
it may be very far from suggesting a definite solution of it.
The names are of course arranged, and assigned to centuries,
in a rough and approximate order only.
CHRONOLOGICAL TABLE OF GREEK AND ROMAN
EXPONENTS OF STYLE.

500—400 B.C.
Empedocles.
Prodicus.
Corax.
Hippias.
Tisias. Gorgias. Protagoras.
Theodorus. Thrasymachus.
| Lysias. Isocrates. Demosthenes. Plato.
Theophrastus. Demetrius Phalereus.
Aristotle.
400—300 B.C.
300—200 B.C.
[Alexandria.] [Hegesias.]
200~100 B.C.
[Pergamus.] Hermagoras.
100 B.C.—I A.D.
Cornificius. Cicero. Horace. Dionysius of Halicar-
nassus. Caecilius of Calacte.
I-100 A.D.
'Longinus' (third century, according to the traditional
view). Tacitus (Dialogus de Oratoribus). Quintilian.
100—200 A.D.
Hermogenes.
(1) Sources of the Treatise, and its Prosopographia.
Whoever the author may have been, it is clear that he
follows, to a great extent, the teaching of the Peripatetic
school. As will be shown in the course of the Notes, refer-
ences are made to Aristotle throughout the treatise?. At
first sight, indeed, the De Elocutione might seem to be simply
1 See SS 11, 28, 29, 34, 38, 41, 81, 97, 116, 154, 157, 164, 225, 230, 233, 234. :
DATE AND AUTHORSHIP.
51
a more comprehensive treatment of the subject of style on
the lines laid down in the Third Book of the Rhetoric. The
Peripatetics as a class are mentioned in § 181. Aristotle's
immediate successor Theophrastus is quoted in SS 41, 114,
173, 222, 250, and is probably followed in many other places.
The numerous references made to Aristotle in the course of
one brief treatise seem the more noteworthy in contrast with
the practice of other rhetoricians, such as Dionysius of Hali-
carnassus, who are inclined to dispute or ignore the authority
of the philosophers and their followers? It is, accordingly,
not surprising that Petrus Victorius who had studied both
the Rhetoric and the De Elocutione so carefully should have
upheld the tradition which ascribes it to Demetrius Phalereus.
This is the view also adopted (probably from Victorius) by
Milton when, towards the end of his Tractate of Education, he
refers to "a graceful and ornate rhetoric, taught out of the rule
of Plato, Aristotle, Phalereus, Cicero, Hermogenes, Longinus.'
But though many important details are borrowed from
Aristotle, the scheme of the book as a whole clearly implies
the currency of a doctrine later than his. The treatise opens
with an introductory account of the periodic structure of,
sentences; but its real subject is, as already indicated, the
four types of style. Now this classification cannot be due to
Aristotle, since in his extant works we find no more than the
germs of such a division of style; and it is unlikely that
Theophrastus recognised four types. Yet the fourfold divi-
sion does not appear to have originated with the author of:
the De Elocutione (§ 36), though he claims to have treated a
neglected aspect of one of the types ($ 179). It is even
stated ($ 36) that some authorities recognised only two types,
the plain and the elevated. A natural, though not an abso-
lutely necessary, inference from all this is that the writer
lived at a time, considerably later than that of Aristotle,
when the doctrine of the types of style had undergone many
ID. H. pp. 40, 41.—It will be remembered that the practical rhetoric of the
Isocratic school was revived, at Rome, by Dionysius, who had for collaborator the
Sicilian Caecilius. Though he more than once acknowledges his own obligations
to Theophrastus, Dionysius rebukes (Ep. ad Amm. I.) the pretensions of certain
Peripatetics of his day.
4- 2
52
INTRODUCTION.
developments and modifications. The special point in which
the De Elocutione differs from all other similar extant treatises
is its recognition of Delvórns as a separate type of style!
After this brief mention of Aristotle and Theophrastus
as sources from whom parts, and parts only, of the De
Elocutione are drawn, we may proceed to review any further
personal names, occurring in the course of the treatise, which
seem to bear on the question of date and authorship. The
most important name from this point of view is that of
Demetrius Phalereus himself, which is actually found in the
treatise. In $ 289 we read : “Often in addressing a despot,
or any person otherwise ungovernable, we may be driven
to employ a figure of language if we wish to censure him.
Demetrius of Phalerum dealt in this way with the Macedonian
Craterus, who was seated aloft on a golden couch, wearing a
purple mantle, and receiving the Greek embassies with haughty
pride. Making use of a figure, he said tauntingly: 'We
ourselves once received these men as ambassadors together
with yon Craterus.'” The existence of this section naturally
raised doubts as to the authorship in the minds of the scholars
of the Renaissance; and the De Elocutione thus passed, much
earlier than the De Sublimitate, into that position of dispute
and uncertainty which has been the lot of so many Greek
rhetorical treatises. Victorius, however, saw in the section
a proof of his own view with respect to the authorship. It
is only natural, he remarks, that Demetrius Phalereus should
desire to keep alive the memory of a deed which did him
so much honour? Later believers in the Demetrian author-
ship have thought it safer to assume, on slender grounds, that
the passage in question is a late addition?
i Two circumstances make it specially difficult to infer date of authorship from the
subject-matter of rhetorical treatises : (1) the dearth of extant documents in the
period between Aristotle and Cicero; (2) the habit of unacknowledged compilation.
2 Petri Victorii Commentarii in librum Demetrii Phalerei de Elocutione (Flor.,
1594) p. 252: “......qui factum id suum honestum perire noluerit, ideoque moni-
mentis litterarum prodiderit, quod exemplo multorum facere potuerit, praesertim
cum mirifice conveniat huic loco."
3 H. Liers, De Aetate et Scriptore libri qui fertur Demetrii Phalerei nepi
'Epunvelas, p. 34.
DATE AND AUTHORSHIP.
53
No literary reference throughout the De Elocutione is so
damaging to the traditional view as this. But the mention
of other names, or the manner of their mention, may also
be held to suggest a later time. No inference can perhaps
be drawn, one way or the other, from the nature of the
allusions to the orators Demosthenes and Demades. The
supremacy of Demosthenes is, it is true, not acknowledged
quite so explicitly in this as in other writings of its class;
but the possession of a high reputation is implied in the large
number of illustrations drawn from his speeches. Demades
was an orator of some mark, but the relatively small number
of quotations (SS 282 ff.) from him shows that he is not con-
sidered to stand on anything like the same level as Demo-
sthenes.
A more definite indication of late authorship may be
sought in the references (S$ 153, 193, 194) to Menander and
Philemon. Menander and Philemon were contemporaries
of Demetrius Phalereus; but it seems to be the judgment
of posterity that is conveyed in § 193: “This is the reason
why, while Philemon is. only read, Menander (whose style is
for the most part broken) holds the boards." The later
standpoint seems also implied in the allusion ($ 204) to ri véa
Kww8la? It is hardly likely, either, that Demetrius Phalereus
would have spoken collectively of o IIepitaTYTIKOL ($ 181) as
possessing common characteristics of style, or would have
quoted from Aristotle and Theophrastus as from authorities
widely recognised in the rhetorical schools. The Greek
classics seem, in the De Elocutione, to be designated as oi
dpxalou (SS 67, 244), as distinguished from the rhetoricians,
styles, and movements of the author's own time, which are
represented by such expressions as οι νύν ρήτορες ($ 287), ή νύν
katéxovoa deivórns ($ 245), ws vûv óvouáqquev (§ 237).
In connexion with these indications of a later period may
be mentioned a non-literary reference which would seem to
point to Roman times. The section in question runs as
follows: “In general it may be said that the epiphoneme
bears a likeness to the decorations in wealthy homes,-
i These and other doubtful points will be more fully discussed in the Notes.
54
.'
· INTRODUCTION. ..
cornices, triglyphs, and broad purples. Indeed, it is in itself
a mark of verbal opulence" (S 108). If by Toppúpaus alatelais.
in this passage is meant the laticlave of the Roman senator,
then clearly the De Elocutione cannot be from the hand of
Demetrius Phalereus. But unfortunately the expression is
not altogether free from ambiguity? The same uncertainty
attends the reference to the man of Gadara in § 237. If the
rhetorician Theodorus of Gadara is really meant, then we
have a reference to the time not only of Rome but of
Augustan Rome?
The De Elocutione contains references to many other
authors,-poets as well as prose-writers. But these references
yield no definite evidence with regard to the date of the
treatise. There is, however, some reason to think that
Artemon ($ 223) and Archedemus ($ 34) were comparatively
late authors, and their date is accordingly discussed in the
Notes, to which reference may also be made for similar
discussions concerning other writers
As the references made in the De Elocutione to previous
authors are so numerous, it might perhaps be thought to be
a safe inference that a writer who, like Dionysius of Hali-
carnassus, is not mentioned was not known. But this does
not by any means follow, especially if the author of the De
Elocutione was contemporary with, or only slightly later than,
Dionysius. In his rhetorical writings, extensive and miscel-
laneous as they are, Dionysius himself only once mentions
his contemporary and fellow-worker Caecilius of Calacte.
Nor ought we too readily to assume that two such authors
as Dionysius and the writer of the De Elocutione would
necessarily know of each other's work. It is forgotten how
small the circulation of books in antiquity may have been,
owing to the expense and labour of reproduction ; and how
many, various, and far removed (in time and place) from one
another were the rhetorical schools. For these and other
1 See note on § 108. ? See note on § 237. P 1741 has l'aonpeús.
3 Sotades ($ 189), Dicaearchus ($ 182), Sophron (§ 126), Ctesias ($ 212),
Philistus (8 198), Cleitarchus ($ 304), Praxiphanes (8 57), and the painter Nicias
(8 76).
DATE AND AUTHORSHIP.
55
IV
reasons we shall look with distrust on that class of argument
which would maintain that the De Elocutione must of neces-
sity have come later than the works of Dionysius of Hali-
carnassus because the latter recognise only three, the former
four types of style.
(2) Language of the Treatise : Vocabulary, Gram-
mar, etc. Leaving the sources and the personal names of
the De Elocutione, we may proceed to investigate its language,
-terminology and vocabulary generally, accidence and syntax.
The very title-word épunvela seems itself to imply a con-
siderably later date than that of Aristotle and Theophrastus,
with both of whom (as it has already been pointed out) the
accepted term for ‘style' is négrs, while with Aristotle épunvela
is a logical or grammatical rather than a literary term. In
the same way, a technical term so elaborate as Enpokakolnila
($ 239), meaning "affectation in thought and aridity in com-
position,' must surely belong to an advanced stage in the
study of style. The term was, the writer tells us, in his own
day a recent invention, like the simpler compound kakó Endos:
and certainly no such compound presents itself in classical
times. Another rhetorical term which is specified as recent
is λόγιος, used as equivalent to μεγαλοπρεπής 1. The phrase
ņi vûv katéxovoa Seivórns ($ 245) has already [p. 53 supra] been
incidentally mentioned, and attention has been called [p. 52]
to the recognition of Selvórns as a separate type of style.
Full details concerning the rhetorical, grammatical, and
metrical terms found in the De Elocutione are given in the
Notes and Glossary; and as far as possible, some indication
is added as to the earliest known occurrence of comparatively
late words. Scholars have sometimes attempted to ground
an argument as to date upon the fact that certain expressions
are missing from this rhetorical terminology, the chief of
which perhaps is tpótos in the sense of 'trope. They have
urged that, inasmuch as Cicero (Brut. xvii. 6) employs the
term and as it probably was in use considerably before his
time, the De Elocutione must have been written at a com-
1 8 38 40$ou.au 6” drò Toũ UeYahoT peojs, 8w Tep vỡv NóYLov deous fouƠ Uy.
INTRODUCTION.
paratively early date. But apart from the possibility that
the word is employed in this sense in $ 120, no trustworthy
argument can be founded on omissions of this kind. It is
unsafe to infer ignorance from silence.
On the other hand, the late words or forms occurring in
the De Elocutione are very numerous. The following belong
to the post-classical age, none of them being found (in extant
documents) earlier than Alexandrian, and some not earlier
than Graeco-Roman times :-
ανθυπαλλαγή ($ 6ο)
κακοφωνία (SS 219, 255)
ανθυπαλλάσσειν ($ 59) καταληκτικός (SS 38, 39)
ανυπόκριτος ($ 194)
κατασμικρύνειν (SS 44, 123)
απλοϊκός ($ 244)
κατεράν ($ 302)
αποτομία (8 292)
κινδυνώδης (SS 80, 85, 127)
αποφθεγματικός (89)
κυκλοειδής ($ ΙΙ)
αρκτικός ($ 56)
λεκανίς ($ 302)
ασημείωτος ($ 202)
λιθοβολεϊν ($ 115)
αστεϊσμός (SS 128, 130) μεταμορφούν ($ 189)
ασφαλίζεσθαι (SS 85, 193) μονοσύλλαβος (87)
αυλητρία ($ 24ο)
ολοκληρία ($ 3)
γνωμολογικός ($ 9)
ονειδιστικώς ($ 289)
διαμόρφωσις ($ 195)
παραπληρωματικός ($ 55)
διασπασμός ($ 68)
προκαταρκτικός (SS 38, 39)
διήγημα (SS 8, 137, etc.) ρυθμοειδής ($ 221)
δυσήκοος ($ 48)
σμικρύνειν ($ 236)
δυσκατόρθωτος ($ 127) σπειράν ($ 8)
δύσρητος ($ 302)
συγκάλυμμα (S 10ο)
δύσφθογγος ($ 246)
συγκαταλήγειν ($ 2)
δυσφωνία (SS 48, Ιος)
συμπεραιούν (S 2)
δύσφωνος (SS 69, 70, 105) συναλοιφή ($ 70)
έμφατικός ($ 5 Ι)
συνάφεια (SS 63, I82)
εναφανίζειν ($ 39)
τουτέστιν Or τούτ' έστι
εξαιρέτως ($ 125)
(SS 271, 294, 301)
εξαπλούν ($ 254)
υποδάκνειν (S 26ο)
ευήκοος (SS 48, 258, 301) υποκατασκευάζειν ($ 224)
θαυμασμός ($ 291)
φιλοφρόνησις (SS 231, 232)
Similarly the treatise contains a number of words found
DATE AND AUTHORSHIP.
57
in classical times but here used in a post-classical sense,
in a meaning not found before the Graeco-Roman or at all
events the Alexandrian age :--
απαγγελία ($ ΙΙ4)
ήχώδης (SS 42, 68)
αυτόθεν ($ 122)
λογικός (SS I, 42, 117)
βάσανος ($ 201)
λοιπόν ($ 24ο)
διαπαίζειν ($ 147)
παρέλκειν ($ 58)
δοκιμάζειν ($ 200)
περιαγωγή (SS 19, 45, etc.)
εκτίθεσθαι (SS 35, 20ο) πρόσωπον (SS 130, 134, etc.)
επιφέρειν (SS 34, 51, etc.) σημειώδης (8 208)
ερμηνεύειν (SS 46, 120, 121) υπερπίπτειν ($ 42)
On the other hand, a good many words or forms occur
which are specially Attic :-
άγροικος (SS 167, 217)
κωμωδεϊν ($ 15ο)
ατεχνώς (SS 1, 5, etc.)
κωμωδοποιός ($ 126)
αστείζεσθαι ($ 149)
ναυτιάν ($ 15)
αυτοσχεδιάζειν ($ 224) σμικρός ($ 237)
ετερόφθαλμος (8 293)
τερθρεία ($ 27)
κινδυνεύειν ($ 4ο)
ψίαθος (8 302)
κομψεία ($ 36)
These Attic forms are of course consistent with either
classical or post-classical date, --with either Attic or Atticist
authorship. But the latter alternative is decisively recom-
mended by the simultaneous occurrence of so many words
and forms which are admittedly post-classical. The Atticism
is but the veneer.
It is worth notice that a considerable number of words
or forms occurring in the De Elocutione are äna eipnuéva. The
following list is, probably, fairly complete :
άδολεσχότερος (S 212)
μετροειδής (SS 181, 182)
αρχαιοειδής ($ 245)
ξηροκακοζηλία ($ 239)
άτακτoτέρως ($ 53)
παράξυσμα ($ 55)
δυνάστις ($ 292)
περισσοτεχνία ($ 247)
δύσφθογγος ($ 246)
πολυηχία (873)
επιπληθύεσθαι ($ 156)
προαναβοάν ($ 15)
ευκαταστρόφως ($ 1ο)
πρόσφυμα (S 55)
μετασυντιθέναι (SS II, 59, etc.) συνειρμός ($ 18ο)
58
INTRODUCTION..
Most of these words are probably late. But the very
existence of words found only in the De Elocutione suggests
caution in the use of the linguistic criterion. We are bound
constantly to bear in mind the fact that we have but the
scanty remains of a vast literature.
The extent to which the treatise, as it has come down
to us, uses both older and later forms of the language is seen
in its employment, at one and the same time, of oo and it.
In close conjunction we find ανθυπαλλάσσοντα and διαταττο-
uévụ ($ 59), épurátteto and ovuilno del ($ 68). The Ionic
form oo was used by the older Attic writers such as Thucy-
dides; TT prevails in Attic inscriptions, as also in Xenophon,
the Attic orators, Plato, Aristotle; oo is favoured by the
KOLVÝ, it by the Atticists. If we are to accept the best
manuscript testimony, the author of the De Elocutione used
both forms'. The point is a small one in itself, but it illus-
trates forcibly the mixed character of the language of the
De Elocutione.
We pass next to the grammar of the treatise. Here
the chief point for remark is that the dual is repeatedly
found, e.g. 6oTEp dvdéotatov kai ávtikelo bov évavtiwTÁTW
§ 36, ék dvoîv xapaktń pOL TOÚTOL § 235, metà dvoîv TOÚTOLV
§ 287. The first of these examples is the most striking,
because it was in its verbal forms, and in the nominative and
accusative cases of its nominal forms, that the dual began its
decline. It would be hard to match this emphatic collocation
of dual forms in any Greek author from the time of Aristotle
to that of the Atticists? The dual number, it is well known,
had practically disappeared from Greek literature when it
was revived by the Atticists, who were however unable to
secure for it more than a brief existence. The neglect of the
dual, shown in Biblical Greek and in later Greek generally,
is shared by Modern Greek.
Traces of the Koivý, on the other hand, are found in the
1 In the same way both quickpós and jekpós are found in P 1741,--sometimes
side by side, as in § 122. So with yiyverbal and ylveodal. See also n. 04. p. 179.
2 Cp. H. Schmidt De Duali Graecorum et Emoriente et Reviviscente (Breslauer
Philologische Abhandlungen vi. 4).
DATE AND AUTHORSHIP.
59
LI
WA
use of Ionic forms, such as the genitive vnós ($ 78); of adverbs
formed from participles, e.g. Navdavóvtws (181) and lean-
Dórws ($ 297); and of such verbs as Kpeuvâv (§ 216) and
xwveúelv (§ 281).
In regard to syntax the most noticeable feature of the
treatise is, perhaps, the frequent use of the optative mood
(which, like the dual, was affected by the Atticists), and the
somewhat capricious insertion or omission of äv in connexion
with it. Other points indicative of, or consistent with, a late
date are: prepositions used in a strained sense (e.g. diá almost
= ÉK, § 12); rare verbal constructions (e.g. EndoTUTTEîV c. dat.
$ 292); interchange of pronouns (e.g. ode with oŮTOS, TOCóo de
with TOO OÛTOS, SS 59, 189); use of ňtep after comparatives
(e.g. § 12); inversions of the natural order of words (e.g. &TÈ
Tôv IIepowy tñs étinorías, $ 126) Points of this kind will
be discussed more fully in the Notes and Glossary.
A general review of the internal evidence-subject-matter
and language alike-would seem to suggest that the De
Elocutione, in the form in which we have it, belongs not to
the age of Demetrius Phalereus, but either to the first century
B.C. or to the first century A.D. The rhetorical standpoint
appears to be that of the Graeco-Roman period earlier than
Hermogenes and (possibly) later than Dionysius. The
language, likewise, is post-classical? Marked by all the com-
prehensiveness of the Kolvń, which drew freely from so many
sources, it also exhibits the learned archaism of the Atticists,
but not of the stricter Atticists (including Hermogenes) of the
second century A.D.-Such being the internal evidence as to
the date of composition, we have now to ask what is the
external evidence as to the name and identity of the author.
? It is necessary always to insert the limitation, in the form in which we have
it.' If we are at liberty to assume interpolations and accretions, an earlier date
may be postulated. Thus the Rhetorica au Alexandrum is commonly regarded as
the work of Anaximenes, though it contains such forms or phrases as civeka, Kabu-
ποπτευθέντων, παλιλλoγία, προγυμνάσματα, μήτε (for ούτε), δράματα (for πράγματα),
ειδήσομεν, αναλογητέον, την προτροπήν πέρατι ορίσαι, οίον οδος των θυρών και οδός ην
Badisovo lv, El Mèv Tà apáyuara TTLOTà (Cope's Introduction to Aristotle's Rhetoric
pp. 409-412, 438, 464).
2 Not simply paulo-post-classical, as that of Demetrius Phalereus, described on
pp. 17, 18 supra.
TYM
VYY
6ο
INTRODUCTION.
II. EXTERNAL EVIDENCE.—CONCLUSION.
(1) Allusions to the “De Elocutione” in other
writings. The supposed allusions to the De Elocutione in
other writings are doubtful if early, and late if well-authenti-
cated. The earliest writer thought to refer to the work
is Philodemus, who, in his Rhetoric iv. 16, says movnpòv
γάρ είς υπόκρισιν αι μακραι περίοδοι, καθάπερ και παρά
Δημητρίω κείται περί των Ισοκράτους. It has been sug-
gested that Philodemus here has in mind the De Elocutione
$ 303 και αι περίοδοι δε αι συνεχείς και μακραι και αποπνί-
γουσαι τους λέγοντας ου μόνον κατακορές αλλά και άτερπές.
But it is improbable that the periods of Isocrates are specially
meant in this passage, and consequently the supposed refer-
ence is doubtful. Further, it is to be noticed that Philodemus
speaks vaguely of Demetrius' without any addition ; and
so may, or may not, have Demetrius Phalereus in mind. It
may be added that Cicero, who was contemporary with
Philodemus, often refers to Demetrius Phalereus but betrays
no knowledge of the De Elocutione. Nor does Diogenes
Laertius (150 A.D.) make any mention of the De Elocutione
in the long list he gives of the works of Demetrius Phalereus.
On the other hand, Ammonius (500 A.D.), the son of Hermeias,
in his commentary on the Aristotelian περί Ερμηνείας, appears
to mention the De Elocutione and to ascribe it to 'Demetrius'
(without addition) : ου γαρ δή και αυτός (ο 'Αριστοτέλης)
καθάπερ Δημήτριος το περί λογογραφικής ιδέας βιβλίον
συγγράψας, και ούτος αυτό επιγράψας περί Ερμηνείας άξιοι
καλεϊν ερμηνείαν την λογογραφικήν ιδέαν (prose style'), ως
δή περί ταύτης εν τω προκειμένω βιβλίω διαλεξόμενος......
διά τούτο επέγραψε το βιβλίον περί “Ερμηνείας, ώς ουδέν
διαφέρον ή ούτως επιγράφειν ή περί του αποφαντικού λόγου.
The remaining testimony of the same kind is of still later
date. Theophylact (eleventh century), archbishop of Bul-
Τ
Υ
i Berlin Aristotle iv. 96 b, 97 a.
DATE AND AUTHORSHIP.
61
garia, has ο δε Φαληρεύς και περί ερμηνείας λόγου συνταγμάτιον
Otroudalov é Enverykev (Epist. ad Rom. Theoph., viii. 981); and
a scholiast on Tzetzes (who himself belongs to the twelfth
century) has o Φαληρεύς δε χάριν ονομάζει το αστείον (Cramer,
Anecdota Graeca iii. 384). The scholiasts on Hermogenes
often (e.g. Gregor. Cor. vii. 1215 W., Anon. vii. 846, viii. 623,
Max. Plan. v. 435) refer to the De Elocutione, but without
implying anything as to the author's name or date, except
that he belonged to oi àpxaiou or oi talaiol. This desig-
nation, however, would not, with Byzantine scholiasts, neces-
sarily imply the classical period, since late writers like Apsines
and Hermogenes himself are so designated. And the
scholiasts on Hermogenes belong, almost without exception,
to Byzantine times, the best-known of them (Gregorius, the
Metropolitan of Corinth) being not earlier than the twelfth
century.
A passage from a writer of earlier date deserves separate
mention. In his prolegomena to Hermogenes De Ideis,
Syrianus (fourth century) has the following remarks: ei dè
και διενοήθησάν τινες επιγράψαι τους χαρακτήρας και το
ποσόν αυτών συστήσαι, τηνάλλως εποίησαν ως είς έστιν ο
Διονύσιος ούτος γαρ τρείς είναι χαρακτήρας φησι, τον ισχνόν,
TÒV uéoov, Tòv ådpóv ó dè "It Tapxos poorionou TÓv TE
γραφικών και τον άνθηρόν· ο δε Δημήτριος εκβάλλει τον γραφικών
Tois terpáow ảpeokóuevos (Walz Rhet. Gr. vii. 93). It seems
possible, notwithstanding discrepancies of terminology, that
Dionysius of Halicarnassus and the author of the De Elo-
cutione are here meant; and if so, a further natural inference
is that the latter was regarded as considerably later in date
than the former, and that between them had come a certain
Hipparchus, who had played a part of his own in the develop-
ment of the Greek doctrine of prose style.
(2) Manuscript Title. There still remains the evidence
of P 1741,-evidence which is as old, and may be much older,
than some of the testimony just mentioned. At the begin-
ning of the treatise this manuscript gives Δημητρίου Φαληρέως
Tepl èpurvelas ő éo tu tepi dpáoews : at the end, simply Amuntplou tepl
épurvelas.
62
INTRODUCTION.
The evidence of so excellent a manuscript as P 1741 is
manifestly of the first importance and must be most carefully
weighed. At the same time it must be remembered that the
uncertainties presented by manuscript-titles in general are
fully shared by those of this manuscript in particular. Con-
siderable doubt attends the superscriptions it assigns to other
works which it contains. One of its headings is TOÛTO TÒ
μονόβιβλον, oίμαι, Διονύσιος ο Αλικαρνασσεύς συνέταξεν (the
work thus designated being the Ars Rhetorica wrongly
attributed to Dionysius of Halicarnassus), and another is
Μενάνδρου ρήτορος Γενεθλίων διαίρεσις των επιδεικτικών
(where the letters added by the second hand indicate that the
treatise in question may be the work either of Menander
or of Genethlius). Moreover, the ascription to Demetrius
Phalereus in particular is rendered doubtful by the fact
that the name ‘Demetrius' only is given in the subscription
of the treatise, and by the consideration that the name of
Demetrius Phalereus would be readily supplied by conjecture
because of the reputation for literary productivity enjoyed
by the consulting founder of the Alexandrian Library, to
whom (among other things) even the promotion of the
Septuagint translation of the Old Testament was sometimes
attributed. Or a special ground for the attribution may have
been that the treatise was clearly Peripatetic in origin. That,
however, it cannot as a whole, and in its present form, be the
work of Demetrius Phalereus was probably discerned by the
copyist who wrote against § 289, onueiwo al tí TÒ Xeryó uevov,
ποιος Δημήτριος και τίς ο τάδε γράφων.
It may be that the book was either originally issued
anonymously, or by some accident in the course of its history
lost its title, and that Demetrius is a mere conjecture designed
to fill a vacant space. If so, Demetrius Phalereus is no doubt
meant, both in the superscription and in the shorter sub-
scription. But if Demetrius (without addition) is really the
i Supporters of the claims of Demetrius Phalereus have been Victorius during
the Renaissance, and during modern times Durassier (with reservations), Liers and
Roshdest wenski.
DATE AND AUTHORSHIP.
63
original author and title, then (with so common a name) a
possible claimant may be suggested in almost any century
according to conceptions, formed on other grounds, as to the
probable date of production. Before mentioning some of
the conjectures made on this basis, we must first refer
to the hypothesis that Dionysius of Halicarnassus is the
author—the only positive suggestion (of any importance)
which travels beyond the names Demetrius or Demetrius
Phalereus.
Valesius (Henri de Valois) was the first to attribute the
De Elocutione to Dionysius of Halicarnassus. He did so
on the ground of a scholium on Aristophanes Clouds 401 :
και χάρις εστίν στίχου του άλλοτρίου, ως έφη Διονύσιος ο
Allkapvao oeùs év Tộ trepà épunvelas, where the reference
clearly is to the De Elocutione $ 150 kai đó orixou Sè
αλλοτρίου γίνεται χάρις, ως ο 'Αριστοφάνης σκώπτων που
TÒV Aia KTX. But the scholium is probably no older than
Musurus (fifteenth century), in whom it seems simply to be
a slip of memory; and even if it were older, there is such
a lack of confirmation for the statement from community of
style or from any other quarter that the attribution would
have to be classed with the similar ascription of the Ars
Rhetorica and the De Sublimitate to Dionysius regarded as
an eminent and voluminous writer on rhetoric.
The attribution of the treatise to Dionysius of Hali-
carnassus may, thus, be rejected as inherently improbable
and as lacking altogether in external evidence. If any special
name is to be attached to the treatise, it must be that of some
Demetrius (other than Demetrius Phalereus). But Demetrius
is a very common name (in the larger classical dictionaries
some 130 persons bearing this name are thought worthy of
mention); and consequently many Demetriuses have at
various times been suggested as possible authors. Muretus
first put forward the Demetrius, an Alexandrian sophist
of uncertain date, who according to Diogenes Laertius (v. 84)
was the author of τέχναι ρητορικαί1. Another suggestion is
i This is the view adopted (after Muretus and Walz) by Saintsbury, History of
Criticism, i. 89. There is much to be said for regarding Alexandria, rather than
04
INTRODUCTION.
that the author may be an otherwise unknown rhetorician or
philosopher, Demetrius of Pergamus, who is supposed to
have lived about 100 B.C. According to still another view,
the Demetrius meant is Demetrius Syrus, whose rhetorical
instruction Cicero enjoyed at Athens in the year 78 B.C.
(Cic. Brut. 315).
Such suggestions as these serve only to show how far
from a definite solution the problem still is; and (taken
together with others not here mentioned) they may tend to
throw doubt upon the validity of modern philological methods.
But the real cause of uncertainty is the lack of sufficient
evidence, and cautious statement is consequently the only
safe course. As it stands, the evidence will hardly warrant
any more precise conclusions as to the authorship and date
of the De Elocutione than the following: (1) it is not, in its
present form, the work of Demetrius Phalereus. whatever the
weight of tradition in favour of this view; (2) it probably
belongs either to the first century B.C. or the first century
A.D., the latter period being on the whole the more likely ;
(3) its author may have borne the name Demetrius.
Rome, as the place where the book was produced. But for reasons already given
the date is not likely to have been as late as the Age of the Antonines. Nor is it
certain that the Alexandrian Demetrius belonged to so late a period.-Other
references made by Mr Saintsbury to the De Elocutione will be found on pp. 71, 103,
104, 196 ibid.

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ܟ ܝܐܘ ܝܞܟ ܟ ܝܤܡܬܢܘܨ ܟܲܘ ܠܗܟܐܗܢܘܩܢ ܘ ܝܩܩܢ ܝܣܘܘܡܘܗܣܹܝܢܢܘsqq ܩܟܗ
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2
nܗܽܤ ܩܗܟܤܕ ܩܢ. ܘ1 ܘܐ1-rܦܘܙܤܟ݂ ، ܘ ܗܘ ܩ *ܡܗ.1-nܢܟܛqܗܬܡ.
ܘܐܡܢܕܞ ܗ ܘܪ ܠܐ܇ ܘܗܟܟܬܐܗܗܽܘ ܝ| .ܩܣܘ ܝܐܘ1ܝܐ ܐܘܐ ܝܢrumܤ.ܤܐܟ݂
£ 5
M£
42 4
- 39 40 41
- P1a 1.4am đan xenºn4a 1 em
ܐ ܘ ܐܡܐdgܕ ܐ Ab: $ ܡܗܢܤܝܐܘܐܓܼ ܝܠܘܘ -gno apܒܣܪܣܛܝܣܩܐ ܕ
all sorkel eral song rallye d. tomtolpurs ago
/mhgiܤܬܐ ܘ ܩܨܤܗܟܤܢ --> ܒܤܡܐܡnoymp ܝܛܕ݂܂ .noܟܟܗܕܤܘܐܕܠܐ
,oܬܤ؛poܣܢܘܙܘܘܺ .cܟܘܟܼ. ܘܟܦܟ ܝܤܡܐ : ܐܗܗܗܗܣܘܐ 6 ܐ ܝܟܡܐܗ: ܩܣܘܝܦ ܘܐ
/ܤ ܩmoQܢܐ ܡܬܘ : ܗ ܝܣܩܘ: ܟ 5 ܝܢܐ ܐܗ ܝܣܗܐܠܟ ܝܣܐܢܣܩܢ - ܨܢܝܦܘ1
c ?'܂
: ܢܐܣܘ ܤܗܢܟܐܘ ܟܐ ܣ ܝܢܨ܀ ܐ ܟܗ ܝܢܟܐܢܨܝܗܬܐ (0 - e ܩܟܘܐܟ݂ܪܶܗ
ܟܩܬܐܘܐܢܘܟܗܟ ܣ $ ܝܤܤܫ ܩܡܝܢc1ܐ ܝܣܡS ACܗ ܩܢܗܤܩܢ ܝܠܘܢ ܟܩܹܘܘܐܗ0
. ܝܣܤܟ ܤܝ. ܟܟܝܬ ܝܢ1ܐܤ ܘ7*ܬ 1ܪܡܐܘ ܗܢܢv
1ܗ©ܗܢܘܝܐ
2 1
3
ra
m dọn
- Lorea 14 0 nham. Snoom 2: 1
ܐܕܗܘ ܗܤܕ ܣܤܢܣ ܟܪܕܢܩܘܘ ܘܘܠܐܡܐ ܘܐ ܡܐܟ ܟܐ ܩܗܗܢܩܘܣ ܝܤܢ ܘܩܢܡ
m exܘܢ ܐܢܟܟܣܐܤܐܟ ܝܢܢܩܤܓܬܐܡܪܽܘܢܗܐ . ܝܢܗܟܟܟ̣ܐܤܤܦܟܗܗܙܙܘ
gܗܐܦܘ ܩܢ ܝܐܘ ܝܦܘ ܙܘܩܢܘܘ̄ ܗܘ ܘܙ $ ܝܤܡܗ ܘܩܣܢܐܣܛܘܩܗܘܺ 1 ܝܢܘܙܐ ܩܤܝܟܟܘ
ܘܤ ܘ ܩܢܗ© ܗܗܐܗ. ܤ ܣܩܘܢܩܐܢܟ ܗܠܝܢܨܣܗܡܗܡܗܤܣܩ ܝܟ ܟܣܐܟܘܘ
ryܝܣܢ ܘܘܩ̣ܡܡܡܨܝܗ ܨܟܐܣܩܢܐ: ܕܞܘܕܢܗqam ܝܐܙ ܐ ܗܡܠܕ-mo
-
em
ܝܢܰܘܐܟܤܐܝܢܝܘ ܐ ܗܟܘܣ ܗ݁ ܟܼܗܕܤܘSi
2ܘܗܐܤܘܽܢ. ܘܩܢܣSܢܐܬܘܐ ܐܐܘܩܢ
ܗܠܟܗ gleé) . ܘ1 ܘܐܕܡܢܘܗ1
Sܝܣܟܤܩ. ܐ ܨܢܞܝܙܐܝܣܩܐ:)boed
ܝܓܕܡܐ. ܐܡ. ܤܬܘ ܩܨ ܬܢܘܕܣܢ sܕܙܶ. ܘܤܝܢ»«0305 ܘܘ ܩܕܣܢܘܙܗܩܢ ܤܘM
boho gastrono grito rome23012griez 0729. onclipainonta
como no 10 to pool habent mo.maz bomba pa
coprite Supporo
܂10 ܣܩ ܤܗܗܙܠܣܘ ܩܞܝܟ݂ܢ̈ܢܟ݂ ܗ ܝܠܘܣ ? ܤܘܘ1ܗ܂. ܟܗܘܙܢܡܘܩ ܩܐܘܩܢ ܂
ܫܽܘܙܓܐܬܘܐܐ ܤܤܬܐܝܢܐ68 ܢ1 ܝܢܗܗܗܗܗܟܤܤܦܤ. ܝܣܘܝܢܺܟܙܤܘ ܘܬܘܪܡܐܘܐܡ.
ܗܚܞܗ ܟ m Xܣܬ: S S ܡܼܢܣܛܝܣܐܐ ܝܐܗ ܐ ܝܦܘܐ ܟܘܫܶܢܤ. ܗܕܟܼܡܤܬ
ܡ. ܣܗܗ mܢܤ ܗ ܩܐܣܘ ܐܘ2 ܩ ܘ ܘܘܐ ܩܢ ܘܘܕܝܘܐ ܠܤܢܘܝܘܐ. ܣܟ ܫܘܐ
ܕ ܝܢܗܗܘܘ ܗܗܗܗܗܡܤܡܣܩܘ ܞܗܤܤܗܘܐܢܣܝܐܘܢܐ ܛ. ܝ. ܐ. ܝܢܤܢܟ݂ܰܗ
ܙܟܢܘ1 ܩ ܡܗܐ ܩܢ ܘ ܩܢܣ< ܝܢܩܘܬ ܤܬ ܝܠܟܐ )./mgbanhg Amܐ ܐܟ _
J ܣܟܘ ܟܝܣܘܐ ܨܨܐ ܗ 58 ܝܚܶܡ ܝܽܘܐ ܩܟܐܘܐ ܩ..ܐ ܘܘܽܐܟܝܽ ܘܐ ܩܢ4; , ܗܟܘ ܘܐܩܢ
ܨܨܢ8
x ܝܢܙ ܐ: ܘ ܬܤ =vܗ ܐ 9 ܗ ܕ ? e
'
or
]
?
xxix
3ܕ ܝܐ. ܐܬ ܐx
22 ܗ 3 ܝ;--.
20
' HS]
UND
DEMETRII PHALEREI QVI FERTVR
DE ELOCVTIONE LIBER
AD FIDEM POTISSIMVM CODICIS ANTIQVISSIMI
PARISINI 1741 (P)
EDITVS
ET IN SERMONEM ANGLICVM CONVERSVS.
ΔΗΜΗΤΡΙΟΥ
[ΦΑΛΗΡΕΩΣ]
ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
[Ο ΕΣΤΙ ΠΕΡΙ ΦΡΑΣΕΩΣ].
Ι. "Ωσπερ η ποίησις διαιρείται τους μέτρους, οίον P. fol. 226
ημιμέτρους ή εξαμέτρους ή τοις άλλοις, ούτω και την
ερμηνείαν την λογικήν διαιρεί και διακρίνει τα καλούμενα
κώλα, καθάπερ αναπαύοντα τον λέγοντά τε και τα λεγό-
το μενα αυτά, και εν πολλούς όρους ορίζοντα τον λόγον, επεί
του μακρος αν είη και άπειρος και ατεχνώς πνίγων τον
λέγοντα.
2. Βούλεται μέντοι διάνοιαν απαρτίζειν τα κάλα
ταυτα, ποτέ μεν όλην διάνοιαν, οίον ως “Εκαταλός φησιν
15 εν τη αρχή της ιστορίας, “Εκαταίος Μιλήσιος ώδε μυ-
θείται' συνείληπται γαρ διάνοια το κώλω όλω όλη, και
άμφω συγκαταλήγουσιν. ενίοτε μέντοι το κωλον όλην
μεν ου συμπεραιοι διάνοιαν, μέρος δε όλης όλον ως γαρ
της χειρός ούσης όλου τινός μέρη αυτής όλα όλης εστίν,
20 οίον δάκτυλοι και πηχυς: ιδίαν γαρ περιγραφήν έχει
τούτων των μερών έκαστον, και ίδια μέρη: ούτω και δια-
νοίας τινός όλης ούσης μεγάλης εμπεριλαμβάνοιτ' αν
μέρη τινά αύτης ολόκληρα όντα και αυτά.
9, 1ο λέγοντά τε και τα λεγόμενα] Finckhius, λόγον τά τε καταλεγόμενα Ρ.
ΙΙ ως supra versum scripsit Ρ. 14 οίον per compendium hic et plerumque,
plene V. I scripsit Ρ. 15 μηλίσιος Ρ. 19 όλης] Victorius, όλη Ρ.
20 πήχυς] Schneiderus, πήχεις Ρ.
1
DEMETRIUS ON STYLE.
CHAPTER 1. .
1. As verse is articulated by measures (such as the
hemistich, the hexameter, and the like), so also is prose
articulated and differentiated by what are called 'members.'
These members give rest, one might say, to the speaker and
his discourse; they set bounds to its various parts, since it
would otherwise extend itself without limit and would simply
run the speaker out of breath.
2. But the proper function of such members is to mark
the conclusion of a thought or sentence. Sometimes a
member forms a complete sentence in itself, as for example
Hecataeus opens his 'History' with the words 'Hecataeus
of Miletus thus relates?,' where a complete member coincides
with a complete sentence and both end together. Sometimes,
however, the member constitutes not a complete sentence, but
a part of it, yet a complete part. For just as the arm, which
is a whole of a certain kind, has parts such as fingers and
forearm which themselves again are wholes, inasmuch as each
of them has its proper limits, and itself is made up of parts;
so also a complete sentence, when it is extensive, may very
well comprise within itself parts which themselves are integral.
1 Hecat. Fragm. 332, C. F. Müller F. H. G. 1. p. 25.
3
2
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
3. "Ωσπερ εν τη αρχή της Αναβάσεως της Ξενο-
φώντος το τοιούτον, Δαρείου και Παρυσάτιδος' μέχρι
του νεώτερος δε Κύρος,' συντετελεσμένη πάσα διάνοιά
έστιν τα δ' εν αυτη κωλα δύο μέρη μεν αυτης εκάτερόν
5 έστι, διάνοια δε εν εκατέρω πληρούται τις, ίδιον έχουσα
πέρας, οίον Δαρείου και Παρυσάτιδος γίνονται παίδες.
έχει γάρ τινα ολοκληρίαν η διάνοια αυτή καθ' αυτήν, ότι
εγένοντο Δαρεία και Παρυσάτιδι παίδες. και ωσαύτως
το έτερον κώλον, ότι πρεσβύτερος μεν 'Αρταξέρξης,
1ο νεώτερος δε Κύρος.’ ώστε το μεν κώλον, ως φημί, διά-
νοιαν περιέξει τινά πάντη πάντως, ήτοι όλην ή μέρος
όλης όλον.
4. Δεί δε ούτε πάνυ μακρά ποιείν τα κωλα, επεί του
γίνεται άμετρος η σύνθεσις ή δυσπαρακολούθητος ουδε
15 γαρ η ποιητική υπέρ εξάμετρον ήλθεν, ει μή που εν
ολίγοις· γελοίον γαρ το μέτρον άμετρον είναι, και κατα-
λήγοντος του μέτρου επιλελήσθαι ημάς πότε ήρξατο. ούτε
δή το μήκος των κώλων πρέπον τους λόγους διά την
άμετρίαν, ούτε η μικρότης, επεί τοι γίνοιτ' άν η λεγομένη
20 ξηρά σύνθεσις, οίον ή τοιάδε ο βίος βραχύς, η τέχνη
μακρά, ο καιρός οξύς.’ κατακεκομμένη γαρ έoικεν η
σύνθεσις και κεκερματισμένη, και ευκαταφρόνητος δια το
μικρά σύμπαντα έχειν.
5. Γίνεται μεν ούν ποτε και μακρού κώλου καιρός,
25 οίον εν τοις μεγέθεσιν, ώς ο Πλάτων φησί, το γαρ δή
παν τόδε τοτε μεν αυτός ο θεός πορευόμενον συμποδηγεί
και συγκυκλεϊ.' σχεδόν γαρ τα μεγέθει του κώλου συνεξ-
ηρται και ο λόγος. δια τούτο και εξάμετρον ήρωόν
τε ονομάζεται υπό του μήκους και πρέπον | ήρωσιν, και 226'
5 τις (pron. indef.) accentum habet hic et alibi in P. 7 αυτήν : sine
spiritu P. 9 αρταρκξς, addito ξε supra αρ Ρ. 17 πότε] Schneiderus,
ή ότε Ρ. Ι7, 18 ούτε δη] Victorius, ούτε δε Ρ. 19 σημείωσαι πως η ξηρά
γίνεται σύνθεσις in margine P. 20 σύνθεσης (corr. in σύνθεσις) Ρ. 22 σύν-
θεσης (punctis supra η positis) P. 25 το γάρ πάν sine δή codd. Platonis.
26 τοτε μεν] codd. Plat., το μεν Ρ. πορευόμενον συμπoδηγεί] codd. Platonis,
πορευόμενος ποδηγεί Ρ.
DEMETRIUS ON STYLE
69
3. At the beginning of the 'Anabasis' of Xenophon an
example will be found, in the words ‘ Darius and Parysatis ’
down to the younger Cyrus?' This is a fully completed
sentence, of which the two members contained in it are parts;
but each of these, within its own limits, conveys a meaning
which is in a measure complete. Take the first words: 'Darius
and Parysatis had sons. The thought that sons were born
to Darius and Parysatis has its own completeness. The
second member, in the same way, conveys · the complete
thought that “the elder was Artaxerxes, the younger Cyrus.'
Accordingly, as I maintain, a 'member' must be understood
to comprise a thought which either is a complete sentence or
forms an integral part of one.
4. Members should not be made very long; otherwise
the composition becomes unwieldy or hard to follow.
With rare exceptions, poetry is not written in measures of
greater length than six feet, since it would be absurd that
measure should be without measure, and that by the time
the line comes to an end we should have forgotten when it
began. But if long members are out of place in discourse
owing to their unwieldy character, so also are brief members
for the reason that they produce the so-called 'arid' com-
position, exemplified in the words 'life is short, art long,
opportunity fleeting? The composition here seems to be
minced fine, and may fail to impress because everything
about it is so minute.
5. Occasionally a lengthened member is appropriate.
For example, in elevated passages, as when Plato says : ‘At
times God himself guides this universe and helps to roll it in
its course. The elevation of the language corresponds, it
may be said, to the length of the member. It is because its
length fits it for heroic subjects that the hexameter is called
1 Xen. Anab. i. 1, Aapelou kai Ilapvoáridos ylyvovtal Taldes dúo, at peoBútepos
Mèr 'Aprašepens, veúrepos dè Kúpos.
2 Hippocr., Aphorism. i. I (Littré, Euvres complètes d'Hippocrate, Iv.
458).
| 3 Plat. Politics 269, Tò xào Tây ToTề Mèo abros • Geos [UA-ToànYeẼ Top€UỐuetop
και συγκυκλεϊ, τοτε και ανήκεν, ότε αι περίοδοι του προσήκοντος αυτώ μέτρον ειλήφωσιν
ñon xpórov, kt).
70
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ουκ αν την Ομήρου Ιλιάδα πρεπόντως τις γράψειεν τοις
'Αρχιλόχου βραχέσιν, οίον
άχνυμένη σκυτάλη
και
en
τίς σας παρήειρε φρένας ;
ουδε τοις 'Ανακρέοντος, «ως> το
φέρ' ύδωρ, φέρ' οίνον, ώ παί-
μεθύοντος γαρ ο ρυθμός ατεχνώς γέροντος, ού μαχομένου
ήρωος.
10 6. Μακρού μεν δή κώλου καιρός γίνοιτ' άν ποτε διά
ταυτα γίνοιτο δ' άν ποτε και βραχέος, οίον ήτοι μικρόν
τι ήμών λεγόντων, ως ο Ξενοφών φησιν, ότι αφίκοντο
οι Έλληνες επί τον Τηλεβόαν ποταμόν ούτος δε ήν
μέγας μεν ού, καλός δε.' τη γαρ μικρότητι και αποκοπή
15 του ρυθμού συνανεφάνη και η μικρότης του ποταμού και
χάρις: ει δε ούτως εκτείνας αυτό είπεν, ούτος δε μεγέθει
μεν ην ελάττων των πολλών, κάλλει δε υπερεβάλλετο
πάντας, του πρέποντος απετύγχανεν άν, και εγίγνετο και
λεγόμενος ψυχρός αλλά περί ψυχρότητος μεν ύστερον
20 λεκτέον.
7. Των δε μικρών κώλων καν δεινότητι χρησίς έστι:
δεινότερον γαρ το εν ολίγω πολύ έμφαινόμενον και
σφοδρότερον, διό και οι Λάκωνες βραχυλόγοι υπό δει-
νότητος και το μεν επιτάσσειν σύντομος και βραχύ,
25 και πας δεσπότης δούλω μονοσύλλαβος, το δε ικετεύειν
μακρόν και το οδύρεσθαι. αι Λιται καθ' "Ομηρον και
χωλαί και ρυσαι υπό βραδυτητος, τουτέστιν υπό μακρο-
λογίας, και οι γέροντες μακρολόγοι δια την ασθένειαν.
8. Παράδειγμα δε βραχείας συνθέσεως το “Λακεδαί-
30 μόνιοι Φιλίππω: Διονύσιος εν Κορίνθω πολύ γαρ δει-
Ι γράψειεν] Victorius, γράψει έν Ρ. 6 ως post -ος omissum restitui :
cp. p. I90, 10, 255 p. 192, 9. 8 ατέχνως Ρ. ΙΙ βραχέως Ρ. 12 αφίκοντο
ex αφήκοντο Ρ. Ι4 καλός μέν, μέγας δ' ου Xenophontis codd. 21 κάν Ρ.
22 ότι δεινότερον το εν ολίγω πολύ έμφαινόμενον in margine P. 24 ' επει
ι:
αν.
τάσσειν Ρ.
DEMETRIUS ON STYLE
71
heroic verse. The 'Iliad' of Homer could not fittingly be
written in the brief lines of Archilochus, e.g.
Staff sorrow-stricken?;
Or
Who made thy wits swerve from the track??
nor in the lines of Anacreon, e.g. :-
Bring water, bring wine too, page-boys.
That is just the rhythm for an old man drunk, but not for
a hero in battle.
6. Sometimes, then, a long member may be appropriate
for the reasons given; at other times a short one may be
fitting, as when our subject is something small. Xenophon,
for example, says of the river Teleboas, in the passage where
he describes the arrival of the Greeks on its banks : 'it was
not large; beautiful it was, though. The slight and broken
rhythm brings into relief both the smallness and the beauty
of the river. If Xenophon had expanded the idea and said :
this river was in size less than other rivers, but in beauty
it surpassed them all,' he would have failed in propriety,
and we should have had the so-called frigid writer. Con-
cerning frigidity, however, we must speak later.
7. Short members may also be employed in vigorous
passages. There is greater vigour and intensity when much
meaning is conveyed in a few words. Accordingly it is
just because of their vehemence that the Lacedaemonians are
chary of speech. Orders are given concisely and briefly,
every master being curt towards his slave. Supplication,
on the other hand, and lamentation are lengthy. Homer
represents the Prayers as wrinkled and lames in allusion to
their tardiness, which is tantamount to saying their prolixity.
Old men, too, are prolix owing to their feebleness.
8. As an instance of concise wording the following may.
be given, "The Lacedaemonians to Philip: Dionysius at
1 Archil. Fragm. 89, Bergk P. L. G.1.--Here, and elsewhere, the verse render-
ings are from the hand of Mr A. S. Way.
2 Archil. Fragm. 94, Bergk4.
3 Anacr. Fragm. 62, Bergku.
+ Xen. Anab. iv. 4. 3.
5 Hom. Il. ix. 502,
και γάρ τε Λιται εισι Διός κούραι μεγάλοιο,
χωλαί τε δυσαί τε παραβλωπές τ’ οφθαλμώ.
72
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
νότερον φαίνεται ρηθέν ούτω βραχέως, ή είπερ αυτό
μακρώς εκτείναντες είπον, ότι ο Διονύσιος ποτε μέγας ών
τύραννος ώσπερ συ όμως νυν ιδιωτεύων οικεί Κόρινθον.
ου γαρ έτι διά πολλών ρηθέν επιπλήξει εώκει, αλλά
5 διηγήματα, και μάλλόν τινι διδάσκονται, ουκ εκφοβούντι
ούτως εκτεινόμενον εκλύεται του λόγου το θυμικόν και
σφοδρόν. ώσπερ τα θηρία συστρέψαντα έαυτά μάχεται,
τοιαύτη τις αν είη συστροφή και λόγου καθάπερ έσπειρα-
μένου προς δεινότητα.
10 9. Η δε τοιαύτη βραχύτης κατά την σύνθεσιν κόμμα
ονομάζεται. ορίζονται δ' αυτό ώδε, κόμμα εστίν το κώλου
έλαττον, οίον το προειρημένον, τό τε Διονύσιος εν Κορίνθω,
και το γνώθι σεαυτόν, και το έπου θεώ, τα των σοφών.
έστι γαρ και αποφθεγματικόν ή βραχύτης και γνωμο-
15 λογικόν, και σοφώτερον το εν ολίγω πολλήν διάνοιαν
ήθροίσθαι, καθάπερ εν τοις σπέρμασιν δένδρων όλων |
δυνάμεις ει δ' εκτείνοιτό τις την γνώμην έν μακρούς, 227"
διδασκαλία γίνεται τις και ρητορεία αντί γνώμης.
Ιο. Των μέντοι κώλων και κομμάτων τοιούτων συν-
20 τιθεμένων προς άλληλα συνίστανται αι περίοδοι ονομαζό-
μεναι. έστιν γαρ η περίοδος σύστημα εκ κώλων ή κομ-
μάτων ευκαταστρόφως εις την διάνοιαν την υποκειμένην
απηρτισμένον, οίον μάλιστα μεν είνεκα του νομίζειν
συμφέρειν τη πόλει λελύσθαι τον νόμον, είτα και του
25 παιδός είνεκα του Χαβρίου, ώμολόγησα τούτοις, ως αν
οδός τε ώ, συνερείν' αύτη γαρ η περίοδος εκ τριών κώλων
ουσα καμπήν τέ τινα και συστροφήν έχει κατά το τέλος.
ΙΙ. 'Αριστοτέλης δε ορίζεται την περίοδον ούτως,
περίοδός έστι λέξις αρχήν έχουσα και τελευτήν' μάλα
8, 9 έσπειραμένο* και κπρος (lac. et ras.) Ρ. ΙΙ όρος κόμματος in margine P.
16 όλλων P. 17 € alterum (h. e. δε) supra ε in δεκτείνοιτο scripsit P. 19 περί
περιόδου titulus in P. 21 τι εστι περίοδος in margine P. | * * * (fuit fort. και)
έστιν γάρ ή περίοδος (γάρ ή supra versum scripto) Ρ. 22 ευκαταστρόφως
in ευκαταστροφων corr. m. rec. Ρ. εις] Schenklius coll. Aristide ΙΙ. 5ο7, 8 (Sp.),
at pòs in ras. et compend. m. rec. P. 28 όρος περιόδου κατά άριστοτέλης
in margine P.
DEMETRIUS ON STYLE
73
A
Corinth. This brief expression is felt to be far more forcible
than if the Lacedaemonians had said at full length that
Dionysius, although once a mighty monarch like yourself,
now resides at Corinth in a private station. Once the state-
ment is given in full, it resembles not a rebuke but a narra-
tive; it suggests the instructor rather than the intimidator.
The passion and vehemence of the expression are enfeebled
when thus extended. As a wild beast gathers itself together
for the attack, so should discourse gather itself together as
in a coil in order to increase its vigour.
9. From the point of view of composition such brevity
is termed a 'phrase.' A 'phrase' is commonly defined as
*that which is less than a member, for example the already
quoted words ' Dionysius at Corinth,' and the two sayings of
the sages Know thyself' and 'Follow God.' For brevity
suits apophthegms and maxims; and it is a mark of superior
skill to compress much thought in a little space, just as seeds
contain potentially entire trees. Draw out the maxim at full
length, and it becomes a homily or a piece of rhetoric rather
than a maxim.
10. From the union of a number of these members and
phrases are formed what are called 'periods. Now the
period is a collection of members or phrases, arranged
dexterously to fit the thought to be expressed. For example:
'Chiefly because I thought it was to the interest of the State
that the law should be abrogated, but also for the sake of
Chabrias' boy, I have agreed to plead, to the best of my
ability, my clients' case?' This period, consisting of three
members, has a certain bend and concentration at the
end.
11. Aristotle defines the period thus: 'a period is a
form of expression which has a beginning and an end?' The
| 1 Dem. Lept. init.:*Avôpes GLKCƠ Tat, tả tơ Tủ bày củy 6KG Toũ vouffety Joubếpetv
τη πόλει λελύσθαι τον νόμον, είτα και του παιδός είνεκα του Χαβρίου, ώμολόγησα
τούτοις, ώς αν οιός τ' ώ, συνερείν.
2 Aristot. Rhet. iii. 9, Néyw oè teplodov légcv čxovoav åpxnv xal teleuthy aúrny
καθ' αυτήν και μέγεθος ευσύνοπτον.
74
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ποι
καλώς και πρεπόντως ορισάμενος: ευθύς γαρ και την περίο-
δον λέγων έμφαίνει, ότι ήρκται ποθεν και αποτελευτήσει
ποι και επείγεται είς τι τέλος, ώσπερ οι δρομείς αφεθέντες:
και γαρ εκείνων συνεμφαίνεται τη αρχή του δρόμου το
5 τέλος. ένθεν και περίοδος ωνομάσθη, απεικασθείσα ταίς
οδοις ταις κυκλοειδέσι και περιωδευμέναις. καθόλου ουδέν
η περίοδός έστι πλήν ποια σύνθεσις. ει γούν λυθείη
αυτης το περιωδευμένος και μετασυντεθείη, τα μεν πράγ-
ματα μένει τα αυτά, περίοδος δε ουκ έσται, οίον εί την
1ο προειρημένην τις του Δημοσθένους περίοδον αναστρέψας
είπoι ώδε πως, “συνερώ τούτοις, ώ άνδρες Αθηναίοι φίλος
γάρ μοι έστιν ο υιός Χαβρίου, πολύ δε μάλλον τούτου
η πόλις, η συνειπείν με δίκαιόν έστιν ου γαρ έτι ου-
δαμου η περίοδος ευρίσκεται.
15 12. Γένεσις δ' αυτής ήδε. της ερμηνείας ή μεν όνο-
μάζεται κατεστραμμένη, οίον ή κατά περιόδους έχουσα,
ως ή των Ισοκρατείων ρητορειών και Γοργίου και Αλκι-
δάμαντος: όλαι γαρ δια περιόδων εισίν συνεχών ουδέν τι
έλαττον ήπερ η Ομήρου ποίησις δι' εξαμέτρων· η δε
20 τις διηρημένη ερμηνεία καλείται, ή εις κώλα λελυμένη
ου μάλα αλλήλοις συνηρτημένα, ως η “Εκαταίου, και τα
πλείστα των Ηροδότου, και όλως η αρχαία πάσα. παρά-
δειγμα αυτής, Εκαταίος Μιλήσιος ώδε μυθείται: τάδε
γράφω, ώς μοι δοκεί αληθέα είναι οι γαρ Ελλήνων λόγοι
25 πολλοί τε και γελοίοι, ώς έμοί φαίνονται, εισίν' ώσπερ
γαρ σεσωρευμένους επ' αλλήλοις τα κωλα έoικεν και
επερριμμένους και ουκ έχουσιν σύνδεσιν ουδ' αντέρεισιν,
ουδε βοηθούντα αλλήλοις ώσπερ εν ταις περιόδους.
13. "Εοικε γούν τα μεν περιοδικά κωλα τους λίθους
30 τοις αντερείδουσι τας περιφερείς στέγας και συνέχoυσι,
Ι ώρισάμενος Ρ. 2, 3 αποτελευτήσει ποι και] H. Stephanus, αποτελευ-
τήσαι ποιεί και Ρ. 6 περιοδευμέναις Ρ. . 7 ει γούν ex ήγουν P. 1ο τις
ex της Ρ. 12 πολλυ Ρ. 16 κατεστραμμένη Ρ. 17 ισοκρατίων Ρ. Ι ρη-
τορειών] Weilius, ρητών P. 23
o
μηλίσιος Ρ.
Teorolernes om ookpaplan
24 αλήθεια Ρ. 29 ωραίον
(compend.) in margine P.
DEMETRIUS ON STYLE
75
112
11
definition is good and fitting. The very use of the word
'period'implies that there has been a beginning at one point
and will be an ending at another, and that we are hastening
towards a definite goal as runners do when they leave the
starting-place. For at the very beginning of their race the
end of the course is manifest. Whence the name 'period,'
the image being that of paths traversed in a circle. It may
be said in general that a period is nothing more or less than
a particular arrangement of words. If its circular form is
destroyed and the arrangement changed, the subject-matter
remains the same, but the period will have disappeared.
This may be illustrated by some such alteration as the
following in the period of Demosthenes already quoted : 'I
will support the complainants, men of Athens. For Chabrias'
son is dear to me, and much more so is the State, whose
cause it is right for me to plead? No longer is there any
period to be seen.
12. The origin of the period is as follows. There are
two kinds of style. The first is termed the "compacted'
style, as for example that which consists of periods. It is
found in the discourses of Isocrates, Gorgias and Alcidamas,
in which the periods succeed one another with no less
regularity than the hexameters in the poetry of Homer. The
second style bears the name of 'disconnected,' inasmuch as
the members into which it is divided are not closely united.
Hecataeus is an example; and so for the most part is
Herodotus, and the older writers in general. Here is an
instance: 'Hecataeus of Milctus thus relates. I write these
things as they seem to me to be true. For the tales told by
the Greeks are, as it appears to me, many and absurda.'
Here the members seem thrown upon one another in a heap
without the union or propping, and without the mutual
support, which we find in periods.
13. The members in a periodic style may, in fact, be
compared to the stones which support and hold together a
i Cp. $ 10 supra.
2 Hecat. Fragm. 332 (cp. § 2 supra).
76
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
1
227'
ΙΙΙ
,
τα δε της διαλελυμένης ερμηνείας διερριμμένοις πλησίον
λίθοις μόνον | και ου συγκειμένοις.
Ι4. Διό και περιεξασμένον έχει τι η ερμηνεία και πριν
και ευσταλές, ώσπερ και τα αρχαία αγάλματα, ών τέχνη
5 έδόκει η συστολή και ισχνότης, η δε των μετά ταύτα
ερμηνεία τους Φειδίου έργοις ήδη έoικεν έχουσα τι και
μεγαλείον και ακριβές άμα.
15. Δοκιμάζω γαρ δή έγωγε μήτε περιόδους όλον τον
λόγον συνείρεσθαι, ως ο Γοργίου, μήτε διαλελύσθαι όλον,
το ως τα αρχαία, αλλά μεμίχθαι μάλλον δι' αμφοτέρων:
ούτω γαρ και εγκατάσκευος έσται και απλούς άμα, και
εξ αμφοίν ήδύς, και ούτε μάλα ιδιωτικός, ούτε μάλα
σοφιστικός, των δε τας πυκνάς περιόδους λεγόντων ουδ'
αι κεφαλαι ραδίως εστασιν, ως επί των οίνωμένων, οι
15 τε ακούοντες ναυτιώσι διά το απίθανον, τοτε δε και εκφω-
νουσι τα τέλη των περιόδων προειδότες και προαναβοώσι.
16. Των δε περιόδων αι μικρότεραι μεν εκ δυοϊν
κώλοιν συντίθενται, αι μέγισται δε εκ τεττάρων το δ'
υπέρ τέτταρα ουκέτ' αν εντός είη περιοδικής συμμετρίας.
20 Ι7. Γίνονται δε και τρίκωλοί τινες και μονόκωλοι
δε, ας καλούσιν απλάς περιόδους. όταν γαρ το κώλον
μηκός τε έχη και καμπών κατά το τέλος, τότε μονόκωλος
περίοδος γίνεται, καθάπερ ή τοιάδε, “Ηροδότου “Αλικαρ-
νασηος ιστορίης απόδεξις ήδε και πάλιν, ή γαρ σαφής
25 φράσεις πολύ φώς παρέχεται ταις των ακουόντων διανοίαις.'
υπ' αμφοίν μέντοι συνίσταται η απλή περίοδος, και υπό
του μήκους και υπό της καμπής της περι το τέλος, υπό δε
θατέρου ουδέ ποτε.
Ι8. 'Εν δε ταις συνθέτοις περιόδους το τελευταίον
30 κώλον μακρότερον χρή είναι, και ώσπερ περιέχον και
περιειληφός τάλλα. ούτω γαρ μεγαλοπρεπής έσται και
Ο
I διερριμένοις Ρ. | πλησίων Ρ. 5 εδοκει ex εδοκη Ρ. 9 ο Γοργίου, ο
supra versum scripto P. 13 δε] Schneiderus, τε Ρ. Ι4, 15 οί τε ex oίστε Ρ.
15 τότε Ρ. 19 εντός ex εκτός Ρ. 20 σημείωσαι οίον μονόκωλος in
margine P. 22 έχει Ρ.
DEMETRIUS ON STYLE
77
vaulted roof. The members of the disconnected style re-
semble stones which are simply flung carelessly together and
not built into a structure.
14. Consequently there is something polished and clean-
cut in the older method of writing. It resembles ancient
statues, the art of which was held to consist in their severe
simplicity. The style of later writers is like the sculpture
of Pheidias, since it already exhibits in some degree the
union of elevation and finish.
15. My own view is that composition should neither,
like that of Gorgias, consist wholly of a string of periods, nor
be wholly disconnected like the ancient writings, but should
rather combine the two methods. It will then be elaborate
and simple at the same time, and possess the charm of both -
manners, being neither too untutored nor too artificial. Public
speakers who employ accumulated periods are as giddy-pated
as tipsy men, and their hearers are sickened by the idle trick;
sometimes, indeed, they audibly anticipate the conclusions of
the orator's periods and declaim them in advance.
16. The shorter periods consist of two members, the
longest of four. Anything beyond four would trespass be-
yond the symmetry of the period.
17. There are also periods composed of three members;
and others consisting of a single member, which are called
'simple' periods. Every member which possesses the
requisite length and is rounded at the end forms a single-
membered period. For example: “Herodotus of Halicar-
nassus sets forth in this History the result of his inquiries?
Again: 'Clear expression floods with light the hearer's mind?.'
For the simple period these are the two essentials, the length
of the member and its final rounding. If either of these con-
ditions be wanting, there is no period.
18. In composite periods the last member should be
longer than the rest, and should as it were contain and
embrace them all. When the concluding member is long
1 Herod. i. I init.
2 Scr. Inc.
78 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
σεμνή περίοδος, είς σεμνόν και μακρόν λήγουσα κώλον:
ει δε μή, αποκεκομμένη και χωλή ομοία. παράδειγμα δ'
αυτής το τοιούτον, ου γαρ το ειπείν καλώς καλόν, αλλά
το ειπόντα δράσαι τα ειρημένα.'
5 19. Τρία δε γένη περιόδων εστίν, ιστορική, διαλο-
γική, ρητορική. ιστορική μεν ή μήτε περιηγμένη, μήτ'
άνειμένη σφόδρα, αλλά μεταξύ άμφούν, ως μήτε ρητορική
δόξειεν και απίθανος διά την περιαγωγήν, το σεμνόν
τε έχουσα και ιστορικόν εκ της απλότητος, οίον ή τοιάδε,
1ο Δαρείου και Παρυσάτιδος γίγνονται μέχρι του νεώτερος
δε Κυρος.' εδραία γάρ τινι και ασφαλεί καταλήξει έoικεν
αυτής ή απόθεσις.
20. Της δε ρητορικής περιόδου συνεστραμμένον το
είδος και κυκλικών και δεόμενον στρογγύλου στόματος
15 και χειρός συμπεριαγομένης το ρυθμό, οίον της μάλιστα
μεν είνεκα του νομίζειν συμφέρειν τη πόλει λελύσθαι τον
νόμον, είτα και του παιδός είνεκα του Χαβρίου, | ώμολό- 228
γησα τούτοις, ώς αν ολός τε ώ, συνερεύν.’ σχεδόν γαρ
ευθύς εκ της αρχής η περίοδος η τοιάδε συνεστραμμένον τι
2ο έχει και εμφαίνον, ότι ουκ άν απολήξειεν είς απλούν τέλος.
21. Διαλογική δέ έστι περίοδος ή έτι ανειμένη και
απλουστέρα της ιστορικής, και μόλις εμφαίνουσα, ότι
περίοδός έστιν, ώσπερ ή τοιάδε, κατέβην χθες εις τον
Πειραιά' μέχρι του “άτε νύν πρώτον άγοντες' επέρριπται
25 γαρ αλλήλοις τα κωλα έφ' ετέρω έτερον, ώσπερ εν τοις
διαλελυμένοις λόγοις, και απολήξαντες μόλις αν εννοηθεί-
μεν κατά το τέλος, ότι το λεγόμενον περίοδος ήν. δει
γαρ μεταξύ διηρημένης τε και κατεστραμμένης λέξεως
την διαλογικήν περίοδον γράφεσθαι, και μεμιγμένην
30 ομοίαν αμφοτέροις. περιόδων μεν είδη τοσάδε. .
2 ει ex ή (ή punctis notato) Ρ. αποκεκομμένη και χωλήι Ρ. 4 δράσαι Ρ.
5 ση ότι τρία γένη περιόδων in margine P. το γίγνωνται Ρ. μέχρη (η punctis
notato) Ρ. ΙΙ κύρος cum litura P. εδραίαν corr. in εδραίαι Ρ. έoικε Ρ.
12 απόθεσης (η punctis notato) Ρ. 15 περιαγομένης (superscriptο συμ) Ρ.
16 του] codd. Demosth., το P (cp. p. 72 1. 23 supra).
21 ανειμένη
(η in rasura) P. 22 ιστορικής] Victorius, ρητορικής Ρ4) 25 ετέρω] edd.,
εκατέρω Ρ. 26 εννοηθείμεν] Spengelius, έννοηθώμεν Ρ. 28 και και (alterum
kal in compend.) P.
DEMETRIUS ON STYLE
79
and stately, the. period itself will be stately and impressive;
otherwise it will be broken and as it were halting. The
following is an instance of the period here recommended :
'True grandeur consists not in saying grand things, but in
doing things said, after saying them.'
19. There are three kinds of period: the historical, the
conversational, the rhetorical. The historical period should
be neither too rounded, nor yet too relaxed, but between the
two; so framed that it does not seem rhetorical and uncon-
vincing through its rounded form, but draws its dignity and
power of exposition from its simplicity. An instance of such
a period is furnished by the words ‘Darius and Parysatis'
down to the younger Cyrus?.' The cadence of the period
here resembles a sure and well-based termination.
20. The form of the rhetorical period is close-knit and
circular; it needs an ample utterance and a gesture which
corresponds to the movements of the rhythm. For example:
Chiefly because I thought it was to the interest of the State
that the law should be abrogated, but also for the sake of
Chabrias' boy, I have agreed to plead, to the best of my
ability, my clients' case. From the very outset such a
period contains something compact-something which clearly
intimates that it will not come to a simple ending.
21. 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 yesterday to
the Peiraeus' as far as the words 'since they were now
celebrating it for the first time4! The members are fung
one upon another as in the disjointed style, and when we
reach the end we can hardly realise that the words formed
a period. For the period used in dialogue should be a form
of writing midway between the resolved and the compacted
style, and compounded of both in equal measure.—Such are
the different kinds of period.
III
i Scr. Inc.
2 Xen. Anab. i. 1: cp. $ 3 supra.
3 Dem. Lept., init. : cp. § 10 supra.
4 Plat. Rep. i. 1, Karéßnv xoès els IIelpaca metà l'Xaúkwvos Toû’AplotwYOS a poo-
ευξόμενός τε τη θεώ και άμα την εορτήν βουλόμενος θεάσασθαι τίνα τρόπον ποιήσουσιν
άτε νύν πρώτον άγοντες.
8ο ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
22. Γίνονται δε και εξ αντικειμένων κώλων περίοδοι,
αντικειμένων δε ήτοι τοις πράγμασιν, οίον πλέων μεν
διά της ηπείρου, πεζεύων δε διά της θαλάσσης, ή αμφοτέ-
ροις, τη τε λέξει και τοις πράγμασιν, ώσπερ ή αυτή
5 περίοδος ώδε έχει.
23. Κατά δε τα ονόματα μόνον αντικείμενα κωλα
τοιάδε εστίν, οίον ως και την Ελένην παραβαλών τω
Ηρακλεί φησιν, ότι το μεν επίπονος και πολυκίνδυνος
τον βίον εποίησεν, της δε περίβλεπτος και περιμάχητον την
το φύσιν κατέστησεν.’ αντίκειται γαρ και άρθρον άρθρω,
και σύνδεσμος συνδέσμω, όμοια ομοίοις, και τάλλα δε κατά
τον αυτόν τρόπον, τα μεν εποίησεν' το κατέστησεν τω
δε επίπονον' το περίβλεπτον, το δε πολυκίνδυνον' το
περιμάχητον, και όλως ένα προς έν, όμοιον παρ' όμοιον, η
15 ανταπόδοσις.
24. "Έστι δε κωλα, και μη αντικείμενα εμφαίνει τινά
αντίθεσιν δια το τω σχήματι αντιθέτως γεγράφθαι, καθά-
περ το παρ’ Επιχάρμα το ποιητη πεπαιγμένον, ότι τόκα
μεν έν τήνoις έγών ήν, τόκα δε παρά τηνoις έγών' το
2ο αυτό μεν γαρ είρηται, και ουδέν εναντίον ο δε τρόπος
της ερμηνείας μεμιμημένος αντίθεσίν τινα πλανώντι έoικεν.
αλλ' ούτος μεν ίσως γελωτοποιών ούτως αντέθηκεν, και
άμα σκώπτων τους ρήτορας.
25. "Έστι δε και παρόμοια κωλα, άτινα παρόμοια δή
25 τοις έπ' αρχής, οίον
δωρητοί τε πέλοντο, παράρητοί τ' επέεσσιν
ή ως επί τέλους, ως και του Πανηγυρικού αρχή, πολλάκις
εθαύμασα των τας πανηγύρεις συναγαγόντων και τους
γυμνικούς αγώνας καταστησάντων.’ είδος δε του παρο-
30 μοίου το ισόκωλον, επαν σας έχη τα κωλα τας συλλαβάς,
2, 3 πλεύσαι...πεζεσαι codd. Isocratis. ΙΙ όμοια ομοίοις ex ομοία όμοιος Ρ.
12, 13 το ubique, nusquam τω Ρ. 19 παρητήνοις Ρ. 19, 20 το αυτό
apogr. : αυτό P. 21 μεμιμημένος] Muretus, μεμιγμένος P. 22 γελωποιων
(το supra versium addito) Ρ. 24 περί παρομοίων κώλων titulus in P. 25 όμηρος
in margine P.
DEMETRIUS ON STYLE
81
22. Periods can also be formed of contrasted members.
The antithesis may lie in the thought, e.g. 'sailing across the
mainland and marching across the sea?' Or it may be
twofold, of thought and of expression, as in this same
period.
23. Members which are only verbally contrasted may
be illustrated by the comparison drawn between Helen and
Hercules : ‘to the man he gave a laborious and perilous life,
while he caused the woman's beauty to be admired and
coveted2.' Here article is opposed to article, connective to
connective, like to like, from the beginning to the end :
'caused' to 'gave,' 'admired' to 'laborious,' 'coveted' to
perilous. The correspondence of one thing with another,
of like with like, runs throughout.
24. There are some members which, although not really
opposed to one another, are apparently antithetical owing to
the antithetic form in which they are written. Such is the
pleasantry of the poet Epicharmus: 'One time in their midst
was I, another time beside them 13. A single thought is
here expressed, and there is no real opposition. But the turn
of the phrase, which apes an antithesis, suggests a desire to
mislead. Probably the poet employed the antithesis by way
of jest, and also in mockery of the rhetoricians.
25. There are also symmetrical members. Among these
the symmetry may be found at the beginning, e.g.
Yet might they by presents be won, and by pleadings be
pacified* :
or at the end, as in the opening passage of the 'Panegyric':
I have often wondered at the conduct of the men who con-
vened the assemblies and instituted the gymnastic contests 6.?
Under the heading of symmetry of members comes equality
of members, which occurs when the members contain an
| 1 Isocr. Pategy. 58 E, Bơm Tộ GTpaToT65TÀcũoat uºt Buà Tặs Tepov, Tecũ đau
oè dià tñs Daráttns, TOY Mèv 'EMMOTTOVTOV Seúčas, Toy g' "AOW Olopúčas.
2 Isocr. Enc. Hel. 17.
3 Epich. Fragm. 147, G. Kaibel C. G. F.
4 Hom. II. ix. 526.
5 Isocr. Panegyr. I.
R
.
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
11)
Των
η
ώσπερ Θουκυδίδη, ως ούτε ών πυνθάνονται απαξιoύντων
το έργον, οίς τε επιμελές είη είδέναι ουκ όνειδιζόντων'
ισόκωλον μεν δή τουτο.
26. “Ομοιοτέλευτα δε εστι τα εις όμοια καταλήγοντα,
5 ήτοι εις ονόματα ταυτά, ώσπερ έχει επί του συ δ' αυτόν
και ζώντα έλεγες κακώς, και νυν θανόντα γράφεις κακώς' 228"
ή όταν είς συλλαβής καταλήγη την αυτήν, ώσπερ τα
εκ του Πανηγυρικού προειρημένα.
27. Χρησις δε των τοιούτων κώλων επισφαλής. ούτε
το γαρ δεινώς λέγοντι επιτήδεια εκλύει γαρ την δεινότητα
η περί αυτά τερθρεία και φροντίς. δηλον δ' ημίν τούτο
ποιεί Θεόπομπος. κατηγορών γαρ των Φιλίππου φίλων
φησίν, ανδροφόνοι δε την φύσιν όντες, ανδροπόρνοι τον
τρόπον ήσαν και έκαλούντο μεν έταιροι, ήσαν δε εταίραι'
15 η γαρ ομοιότης ή περί τα κωλα και αντίθεσις εκλύει την
δεινότητα δια την κακοτεχνίαν. θυμός γαρ τέχνης ου
δείται, αλλά δεί τρόπον τινά αυτοφυα είναι επί των
τοιούτων κατηγοριών και απλά τα λεγόμενα.
28. Ούτε δητα έν δεινότητι χρήσιμα τα τοιαύτα, ως
20 έδειξα, ούτε έν πάθεσι και ήθεσιν· απλούν γαρ είναι
βούλεται και αποίητον το πάθος, ομοίως δε και το ήθος.
εν γουν τους 'Αριστοτέλους περί δικαιοσύνης και την 'Αθη-
ναίων πόλιν οδυρόμενος ει μεν ούτως είπoι ότι “ποίαν
τοιαύτην πόλιν είλον των εχθρών, οίαν την ιδίαν πόλιν
25 απώλεσαν, έμπαθώς αν είρηκώς είη και οδυρτικώς: ει δε
παρόμοιον αυτό ποιήσει ποίαν γαρ πόλιν των εχθρών τοι-
αύτην έλαβον, όποίαν την ιδίαν απέβαλον,' ού μα τον Δία
πάθος κινήσει ουδε έλεον, αλλά τον καλούμενον κλαυσι-
γέλωτα. το γαρ εν πενθουσι παίζειν, κατά την παροι-
χο μίαν, τό τα τοιαύτα εν τοις πάθεσι κακοτεχνείν έστι.
2 οίς τε] Thucyd., οις το Ρ. 4 περί ομοιοτελεύτων titulus in P. 5 ταύτα Ρ.
το επιτήδεια : α supra versum add. m. rec. P. 13 άνδρόπόρνοι Ρ. 16 ση
in margine Ρ. 19, 20 ως έδειξα in margine add. P. 25 απώλεσαν supra
verstunn addidit P. 27 απέβαλον : β in ras. P. Η μα τον Δία: την αλήθειαν
in margine P. 29 παροιμία in margine P.
DEMETRIUS ON STYLE
83
equal number of syllables, as in the following sentence of
Thucydides : ‘This implies that neither those who are asked
disown, nor those who care to know censure the occupation?.'
This is an instance of equality of members.
26. 'Homoeoteleuta' are members which have a similar
termination. They may end with the same word, as in the
sentence: 'You are the man who, when he was alive, spoke
to his discredit, and now that he is dead write to his discredita':
or they may end with the same syllable, as in the passage
already quoted from the ‘Panegyric' of Isocrates.
27. The use of this kind of members is 'not free from
risk. They are ill-suited for vigorous declamation, since the
artifice and study which they involve impairs the energy of
discourse. Theopompus proves our point when, in arraigning
the friends of Philip, he exclaims : 'Men-slayers in nature,
they were men-harlots in life; they were called comrades,
but were concubines?' The similarity in the members, and
the antithesis between them, impairs the vigour of the expres-
sion through the trick of art. For indignation needs no art;
in such invectives the words should be simple and, in a
manner, impromptu.
28. Such devices, as I have shown, do not contribute to
vigour of style. They are not appropriate to outbursts of
passion, or to delineations of character. Simplicity and
naturalness is the mark alike of passion and of character-
drawing. In the treatise of Aristotle ‘On Justice,' for instance,
a speaker laments the fate of Athens. If he asks 'what city
had they taken from their enemies as great as their own city
which they had destroyed”, he will have spoken with feeling
and from the heart. But if he makes the members of the
sentence symmetrical: 'what so great city from their enemies
had they taken as their own city which they had forsaken,'
you may depend upon it that he will not excite pity or com-
passion, but rather the so-called 'mirth amid tears. For
ill-judged ingenuity of this kind in emotional passages is no
better than the proverbial jest at a funeral.'
1 Thucyd. i. 5.
2 Scr. Inc. : cp. Aristot. Rhet. iii. 9.
3 Theopomp. Fragm. 249, Müller, F. H. G. I. p. 320.
4 Aristot. Fragm. 71, ed. Berol. v. p. 1487.
6-2
84
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
29. Γίνεται μέντοι γε χρήσιμα ποτε, ως 'Αριστοτέλης
φησίν, εγώ έκ μεν 'Αθηνών εις Στάγειρα ήλθον διά τον
βασιλέα τον μέγαν, έκ δε Σταγείρων εις Αθήνας για τον
χειμώνα τον μέγαν' ει γούν αφέλους το έτερον μέγαν,
5 συναφαιρήση και την χάριν τη γαρ μεγαληγορία συνερ-
γοί αν τα τοιαύτα κωλα, οποία των Γοργίου τα πολλά
αντίθετα και των Ισοκράτους. περί μεν δή των παρο-
μοίων ταυτα.
30. Διαφέρει δε ενθύμημα περιόδου τηδε, ότι η μεν
10 περίοδος σύνθεσις τίς έστι περιηγμένη, αφ' ης και ώνό-
μασται, το δε ενθύμημα εν τω διανοήματι έχει την δύναμιν
και σύστασιν και έστιν ή μεν περίοδος κύκλος του ενθυ-
μήματος, ώσπερ και των άλλων πραγμάτων, το δ' ενθύ-
μημα διάνοιά τις ήτοι εκ μάχης λεγομένη ή εν ακολουθίας
15 σχήματι.
31. Σημείον δέ ει γαρ διαλύσειας την σύνθεσιν του
ενθυμήματος, την μεν περίοδον ηφάνισας, το δ' ενθύμημα
ταυτόν μένει, οίον εί τις το παρα Δημοσθένει διαλύσειεν
ενθύμημα το τοιούτον, ώσπερ γαρ ει τις εκείνων εάλω,
20 συ τάδ' ουκ άν έγραψας ούτως αν συ νυν αλώς, άλλος
ου γράψει' διαλύσειεν δε ούτω μη επιτρέπετε τους τα
παράνομα γράφουσιν ει γαρ εκωλύοντο, ουκ άν νύν ούτος 229"
ταύτα έγραφεν, ουδ' έτερος έτι γράψει τούτου νυν αλόντος:
ενταύθα της περιόδου μεν ο κύκλος εκλέλυται, το δ' εν-
25 θύμημα εν ταύτώ μένει.
32. Και καθόλου δε το μεν ενθύμημα συλλογισμός
τίς έστι ρητορικός, η περίοδος δε συλλογίζεται μεν ουδέν,
σύγκειται δε μόνον και περιόδους μεν εν παντί μέρει
του λόγου τίθεμεν, οίον εν τοις προοιμίοις, ενθυμήματα
3ο δε ουκ εν παντί και το μέν ώσπερ επιλέγεται, το ένθύ-
2 στάγηρα Ρ. 4 το έτερον μέγα Ρ: corr. edd. 5, 6 συνεργού άν}
Goellerus, συνεργοιεν Ρ. 9 τίνι διαφέρει ενθύμημα περιόδου titulus in P.
1ο ση την διαφοράν in margine P. 13, 14 τί έστιν ενθύμημα in margine P. |
14 ή addidit Finclkhius. 23 αλώντος Ρ.
DEMETRIUS L
85
ON STYLE
29. There are, however, cases in which symmetry of
members is useful, as in the following passage of Aristotle :
'I went from Athens to Stageira because of the great king,
and from Stageira to Athens because of the great storm". If
you take away the word 'great' in either case, you will at the
same time destroy the charm. The reason is that such mem-
bers, like the many antithetical ones of Gorgias and Isocrates,
tend to heighten expression.—Thus much, then, with regard
to symmetrical members.
30. The 'enthymeme' differs from the period in the
fact that the latter is a rounded structure, from which indeed
it derives its name; while the former finds its meaning and
existence in the thought. The period comprehends the en-
thymeme in the same way as other subject-matter. The
enthymeme is a thought expressed either controversially or
consequentially.
31. A word in proof. If you break up the structure of
the enthymeme, you destroy the period, but the enthymeme
remains intact. Suppose, for instance, the following enthy-
meme in Demosthenes to be broken up: ‘Just as you would
not have made this proposal if any of the former parties had
been convicted, so if you are convicted now no one will
do so in future?' Let the enthymeme run thus : ‘Show
no indulgence to those who make illegal proposals; for if
they were habitually checked, the defendant would not be
making these proposals now, nor will anyone in future
make them if he is convicted now. Here the round of the
period has been destroyed, but the enthymeme remains where
it was.
32. In general, the enthymeme is a kind of rhetorical
syllogism, while the period is not reasoning at all, but
simply a combination of words. Nor is this the only
point of distinction. We use periods in every part of the
discourse, for example in exordiums; but we do not so use
enthymemes. The one-the enthymeme—is as it were an
1 Aristot. Fragm. 619, ed. Berol. v. p. 1582.
? Demosth. Aristocr. 99.
86
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
μημα, η περίοδος δε αυτόθεν λέγεται και το μεν οίον
συλλογισμός εστιν ατελής, η δε ούτε όλον τι ούτε ατελές
συλλογίζεται.
33. Συμβέβηκε μεν ούν τα ενθυμήματα και περιόδω
5 είναι, διότι περιοδικώς σύγκειται, περίοδος δ' ουκ έστιν,
ώσπερ το οικοδομουμένω συμβέβηκε μεν και λευκό είναι,
αν λευκόν ή, το οικοδομούμενον δ' ουκ έστι λευκόν. περί
μεν δή διαφοράς ενθυμήματος και περιόδου είρηται.
34. Το δε κωλον 'Αριστοτέλης ούτως ορίζεται, κώλόν
το έστι το έτερον μέρος περιόδου' είτα επιφέρει γίνεται
δε και απλή περίοδος ούτως ορισάμενος, το έτερον
μέρος, δίκωλον έβούλετο είναι την περίοδον δηλονότι.
ο δ' 'Αρχέδημος, συλλαβών τον όρον του Αριστοτέλους
και το επιφερόμενον τω όρω, σαφέστερον και τελεώτερον
15 ούτως ώρίσατο, κωλόν έστιν ήτοι απλή περίοδος, ή
συνθέτου περιόδου μέρος.
35. Τί μεν ούν απλή περίοδος, είρηται: συνθέτου δε
φήσας αυτό περιόδου μέρος, ου δυσί κώλοις την περίο-
δον ορίζειν έoικεν, αλλά και τρισί και πλείοσιν ημείς
20 δε μέτρον μεν περιόδου εκτεθείμεθα, νύν δε περί των
χαρακτήρων της ερμηνείας λέγωμεν.
ΙΙ.
36. Εισί δε τέτταρες οι απλοί χαρακτήρες, ισχνός,
μεγαλοπρεπής, γλαφυρός, δεινός, και λοιπόν οι εκ τούτων
μιγνύμενοι. μίγνυνται δε ου πας παντί, άλλ' ο γλαφυρός
25 μεν και το ισχνω και το μεγαλοπρεπεί, και ο δεινός
δε ομοίως αμφοτέροις μόνος δε ο μεγαλοπρεπής τω ισχνω
ου μίγνυται, αλλ' ώσπερ άνθέστατον και αντίκεισθον
9 όρος κώλου κατά άριστοτέλης in margine P. 11 και in litura P. 13 ση
κατά αρχέδημον όρος in margine P. Ι4 όρω ex όλω (ut videtur) P. 21 λέγομεν
(in litura) P: corr. edd. 22 περί χαρακτήρων titulus in P. 24 μηγνύμενοι
(η punctis notato) Ρ. 26, 27 ση ότι μόνος ο μεγαλοπρεπής χαρακτήρ τω ισχνώ
ου μίγνυται in nmargine P.
A
DEMETRIUS ON STYLE
87
.
utterance.
The former may be called an incomplete syl-
perfect or incomplete.
33. It may, indeed, happen that an enthymeme is at the
same time a period because its construction is periodic. Still
it is not identical with the period. A building may be white
if it so chance, but a building, as such, is not necessarily white.
--So much for the distinction between enthymeme and period.
34. The member' is thus defined by Aristotle: 'A
member is one of the two parts of a period. He then adds :
'A period is also occasionally simple?' The reference in his
definition to one of the two parts' makes it clear that he
preferred the period to have two members. Archedemus,
combining the definition of Aristotle and its supplement,
produced a clearer and fuller definition of his own : 'A mem-
ber is either a simple period, or part of a compound period?'
35. The simple period has been already described. In
saying that a member may be part of a compound period,
Archedemus seems not to confine the period to two members,
but to include three or a greater number.--We have given
our views concerning the limits of the period; let us now
describe the types of style.
CHAPTER II.
36. The simple types of style are four in number : the
'plain,' the 'elevated,' the 'elegant,' the ‘forcible. In addi-
tion there are the various combinations of these types. Not
every style, however, can be combined with every other. The
elegant is found united with the plain and the elevated, and
the forcible with both alike. The elevated and the plain
alone cannot be compounded. They are so irreconcilably
1 Aristot. Rhet. iii. 9, neplodos de ñ Mèo įv kúlous ń do åpeńs... klov ¿otiv
το έτερον μόριον ταύτης. αφελή δε λέγω την μονόκωλον.
2 Archedem. Fragm.
88 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
έναντιωτάτω. διό δη και μόνους δύο χαρακτήρας τινες
αξιούσιν είναι τούτους, τους δε λοιπους δύο μεταξύ τούτων,
τον μεν γλαφυρόν τω ισχνώ προσνέμοντες μάλλον, το
δε μεγαλοπρεπεί τον δεινόν, ώς του γλαφυρου μεν μικρό-
5 τητά τινα και κομψείαν έχοντος, του δεινου δε όγκον και
μέγεθος.
37. Γελοίος δ' ο τοιούτος λόγος. ορώμεν γαρ πλην
των ειρημένων χαρακτήρων εναντίων, πάντας μιγνυμένους
πάσιν, οίον τα “Ομήρου τε έπη και τους Πλάτωνος λόγους
το και Ξενοφώντος και Ηροδότου και άλλων πολλών πολλών
μεν μεγαλοπρέπειαν καταμεμιγμένην έχοντας, πολλήν δε
δεινότητά τε και χάριν, ώστε το μεν πλήθος των χαρακ-
τήρων τοσούτον αν είη, όσον λέλεκται. ερμηνεία δ'
εκάστω πρέπουσα γένοιτ' άν τοιάδε τις.
15 38. | 'Aρξομαι δε από του μεγαλοπρεπούς, όνπερ νυν 229"
λόγιον ονομάζουσιν. έν τρισι δη το μεγαλοπρεπές, δια-
νοία, λέξει, το συγκείσθαι προσφόρως. σύνθεσις δε
μεγαλοπρεπής, ώς φησιν 'Αριστοτέλης, η παιωνική.
παίωνος δε είδη δύο, το μεν προκαταρκτικόν, ου άρχει
20 μεν μακρά, λήγουσι δε τρεις βραχείαι, οίον το τοιόνδε,
ήρξατο δέ, το δε καταληκτικόν θατέρω αντίστροφος,
ου τρείς μέν βραχείαι άρχουσιν, λήγει δε μία μακρά,
ώσπερ το 'Αραβία.'
39. Δεί δε εν τοις κώλοις του μεγαλοπρεπούς λόγου
25 τον προκαταρκτικών μεν παίωνα άρχειν των κώλων, τον
καταληκτικόν δε έπεσθαι. παράδειγμα δ' αυτών το Θουκυ-
δίδειον τόδε, ήρξατο δε το κακόν εξ Αιθιοπίας' τί ποτ'
ούν 'Αριστοτέλης ούτω διετάξατο; ότι δει και την έμβολήν
του κώλου και άρχήν μεγαλοπρεπή ευθύς είναι και τέλος,
5
I διδ] Victorius, δε ο Ρ. 5 κομψίαν Ρ. 8 ειρημένων] Victorius,
δρωμένων Ρ. Ι4 εκάστωι Ρ. 15 περί μεγαλοπρεπούς titullus in P. | μεγαλο-
πρεπής in margine P. 18 μεγαλοπρεπούς Ρ. 19 ότι δύο είδη παίωνος, παίων
α' -υυυ, παίων β' υυυ- in margine P. 23 τα αραβεία Ρ: corr. Walzius.
26 θυκυδίδιον P. 27 ήρξατο Psyllaba longa non indicata.
DEMETRIUS ON STYLE
89
opposed and contrasted that some maintain that there are no
other types of style besides these two, the rest being inter-
mediate. The elegant style is, thus, regarded as akin to the
plain, and the forcible as akin to the elevated, as though the
first contained something slight and dainty, and the second
something massive and grand.
37. Such a view is absurd. We can see for ourselves
that, with the exception of the two opposites just mentioned,
any style may be combined with any other. In the poetry of
Homer, for example, as well as in the prose of Plato, Xeno-
phon, Herodotus and many other writers, great elevation is
joined to great vigour and charm. The number of types of
style is, therefore, that already indicated. The mode of
expression appropriate to each will be found to be of the
following kind.
38. I shall begin with the elevated style, to which
to-day the title 'eloquent' is given. Elevation consists in
three things: 'thought,' diction,' 'appropriate composition.'
According to Aristotle, the paeonic rhythm is elevated ?
There are two kinds of paeon, the procatarctic' (initial),
beginning with a long syllable and ending with three short
ones, e.g. pĚato Sé: and the 'catalectic' (final), the converse
of the former, that is to say, beginning with three short
syllables and ending with a single long one, e.g. 'Apaßia.
39. In the elevated style the members should begin
with a procatarctic paeon and end with a catalectic paeon, as
in this passage of Thucydides: ‘Now it was from Aethiopia
that the malady originally came?? What, now, is the reason
why Aristotle advised this arrangement of syllables ? Because
the member should open and end impressively; and this will
1 Aristot. Rhet. iii. 8.
2 Thucyd. ii. 48.
90
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
τούτο δ' έσται, εάν από μακράς αρχώμεθα και εις μακράν
λήγωμεν. φύσει γαρ μεγαλείον ή μακρά, και προλεγο-
μένη τε πλήσσει ευθύς και απολήγουσα εν μεγάλω τινι
καταλείπει τον ακούοντα. πάντες γούν ιδίως των τε
5 πρώτων μνημονεύομεν και των υστάτων, και υπό τούτων
κινούμεθα, υπό δε των μεταξύ έλαττον ώσπερ εγκρυπτο-
μένων ή εναφανιζομένων.
40. Δήλον δε τούτο εν τοις Θουκυδίδου σχεδόν γαρ
όλως το μεγαλοπρεπές εν πάσιν αυτώ ποιεί ή του ρυθμού
το μακρότης, και κινδυνεύει το ανδρί τούτω παντοδαπού
όντος του μεγαλοπρεπούς αύτη ή σύνθεσις μόνη ή μάλιστα
περιποιείν το μέγιστον.
41. Δεί μέντοι λογίζεσθαι, ότι κάν μή ακριβώς δυνώ-
μεθα τους κώλοις περιτιθέναι τους παίωνας ένθεν και
15 ένθεν αμφοτέρους, παιωνικήν γε πάντως ποιησόμεθα την
σύνθεσιν, οίον έκ μακρών αρχόμενοι και εις μακράς κατα-
λήγοντες. τούτο γαρ και Αριστοτέλης παραγγέλλειν
έoικεν, άλλως δε το διττόν του παίωνος τετεχνολογηκέναι
ακριβείας ένεκα. διόπερ Θεόφραστος παράδειγμα εκ-
20 τέθειται μεγαλοπρεπείας το τοιούτον κώλον, των μεν περί
τα μηδενός άξια φιλοσοφούντων' ου γαρ εκ παιώνων
ακριβώς, αλλά παιωνικόν τι εστι. παραλαβείν μέντοι
τον παίωνα εις τους λόγους, επειδή μικτός τις έστι και
ασφαλέστερος, το μεγαλοπρεπές μεν εκ της μακράς λαμ-
25 βάνων, το λογικόν δε εκ των βραχειών.
42. Οι δ' άλλοι, ο μεν ηρωος σεμνός και ου λογικός,
άλλ' ήχώδης ουδε εύρυθμος, αλλ' άρυθμος. ώσπερ και
τoιόσδε, ήκων ημών εις την χώραν' η γαρ πυκνότης των
μακρών υπερπίπτει του λογικού μέτρου.
2 ση ποταπήν έχει δύναμιν ή μακρά in margine Ρ. ΙΙ ή (accentu supra na m.
rec. addito) μάλιστα Ρ. 12 περιποιεί Ρ, ν supra versum addidit m. rec. P. 13 δυνώ-
μεθα] Schneiderus, δυνάμεθα Ρ. 15 ποιησώμεθα Ρ. 18 τεχνολογηκέναι Ρ.
22 παραλαβείν] Steinbergerus, παραλαβών (λα supra versum scripto) Ρ. 25 βρα-
χείων P. 27 ένρυθμος Ρ. Ι άλλ' άρυθμος] Victorius, αλλ' ανάρυθμος Ρ.
28 εκεί ήκων P, εκεί ήκειν m. rec. Ρ.
DEMETRIUS ON STYLE
91
11
be so if we begin with a long syllable and end with a long
one. The long syllable has in itself something grand, and its
use at the beginning is striking, while as a conclusion it leaves
the hearer. with a sense of elevation. Anyhow, all of us
remember in a special degree, and are stirred by, the words
that come first and the words that come last, whereas those
that come between them have less effect upon us, as though
they were obscured or hidden among the others.
40. This is clearly seen in Thucydides, whose dignity
of style is almost in every instance due to the long syllables
used in his rhythms. It may even be said that the pervading
stateliness of that writer is attained altogether, or for the
most part, by this arrangement of words.
41. We must, however, bear in mind that, even if we
cannot exactly furnish the members with the two paeons at
either end, we can at all events give a paeonic character to
the arrangement by beginning and ending with long syllables.
This is seemingly what Aristotle recommends, although for
the sake of precision the two sorts of paeon are prescribed in
his treatise. On the same principle Theophrastus has given
as an instance of elevation the following member: ‘Those
who philosophize in matters that are worth nought?. This
particular sentence is not precisely composed of paeons, yet
it is paeonic in character. The paeon should be employed in
discourse, since it is a mixed measure and so safer, and
derives its elevation from the long syllable and its prose
character from the short ones.
42. Among the other measures the heroic is solemn and
ill-adapted for prose. It is sonorous; not full of rhythm,
but without it. Take, for instance, the following words :
'This land, our land, reached now by me?' Here the reitera-
tion of long syllables exceeds the bounds of prose.
1 Theophr. 7. NéŽEWS.
2 Scr. Inc.
92
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
43. Ο δε ίαμβος ευτελής και τη των πολλών λέξει
όμοιος, πολλοί γούν μέτρα ιαμβικά λαλούσιν ουκ ειδότες.
ο δε παίων αμφοίν μέσος και μέτριος, και όποιος συγ-
κεκραμένος. η μεν δη παιωνική εν τοις μεγαλοπρεπέσι
5 σύνθεσις ώδ' αν πως λαμβάνοιτο.
44. Ποιεί δε και τα μήκη των κώλων μέγεθος, οίον
“Θουκυδίδης Αθηναίος | ξυνέγραψε τον πόλεμον των Πελο- 230"
ποννησίων και Αθηναίων, και Ηροδότου Αλικαρνασέως
ιστορίης απόδειξις ήδε. το γαρ ταχέως αποσιωπών εις
το κώλον βραχύ κατασμικρύνει την του λόγου σεμνότητα,
κάν η υποκειμένη διάνοια μεγαλοπρεπής ή, κάν τα
ονόματα.
45. Μεγαλοπρεπές δε και το εκ περιαγωγής τη
συνθέσει λέγειν, οίον ως Θουκυδίδης: “ο γαρ 'Αχελώος
15 ποταμός ρέων εκ Πίνδου όρους διά Δολοπίας και Αγρια-
νων και 'Αμφιλόχων, άνωθεν παρα Στράτον πόλιν ες
θάλασσαν διεξιείς παρ’ Οινιάδας, και την πόλιν αυτοίς
περιλιμνάζων άπορον ποιεί υπό του ύδατος εν χειμώνα
στρατεύεσθαι.' σύμπασα γαρ ή τοιαύτη μεγαλοπρέπεια
20 εκ της περιαγωγής γέγονεν, και εκ του μόγις αναπαύσαι
αυτόν τε και τον ακούοντα.
46. Ει δ' ούτω διαλύσας αυτό είπoι τις: “ο γαρ
'Αχελώος ποταμός ρεί μεν εκ Πίνδου όρους, εκβάλλει
δε παρ’ Οινιάδας ές θάλασσαν προ δε της εκβολής το
25 Οινιαδών πεδίον λίμνην ποιεί, ώστ' αυτούς πρός τάς
χειμερινές εφόδους των πολεμίων έρυμα και πρόβλημα
γίνεσθαι το ύδωρ' ει δή τις ούτω μεταβαλών ερμηνεύσειεν
αυτό, πολλάς μεν αναπαύλας παρέξει το λόγο, το μέγεθος
δ' αφαιρήσεται.
30 47. Καθάπερ γαρ τας μακράς οδούς αι συνεχείς
καταγωγαί μικράς ποιούσιν, αι δ' ερημίαι κάν ταις
ν0
3ο
15 όρους Ρ. | 'Αγραών
7 πελλοποννησίων Ρ.
codd. Thucyd. 17
8 αλλικαρνασέως Ρ.
διέξίεισι Ρ.
DEMETRIUS ON STYLE
93
43. The iambic measure lacks distinction and resembles
ordinary conversation. Indeed, many people talk in iambics
without knowing it. The paeon hits the happy mean between
the two, and may be said to be composite. The paeonic
structure may, accordingly, be employed in elevated passages
after the manner thus described.
44. Long members also contribute to grandeur of style,
e.g. 'Thucydides the Athenian wrote the history of the war
between the Peloponnesians and the Athenians?,' and 'Hero-
dotus of Halicarnassus sets forth in this History the result
of his inquiries?' A sudden drop into silence on a short
member diminishes dignity of expression, elevated though
the underlying thought and the words may be.
45. Elevation is also caused by a rounded form of com-
position, as in the following passage of Thucydides : 'For
the river Achelous flowing from Mount Pindus through
Dolopia and the land of the Agrianians and Amphilochians,
having passed the inland city Stratus and discharging itself
into the sea near Oeniadae, and surrounding that town with
a marsh, makes a winter expedition impossible owing to the
floods.' All this impressiveness arises from the rounded
period and from the fact that the historian hardly allows a
pause to himself or to the reader.
46. If the sentence were broken up and made to run as
follows: 'For the river Achelous flows from Mount Pindus
and empties itself into the sea near Oeniadae ; but before
reaching the outlet it converts the plain of Oeniadae into a
marsh, so that the water forms a defence and protection
against the attacks of the enemy in winter,'—if the phrasing
of the sentence were to be varied in this way, there would
be many resting-places in the narrative but its stateliness
would be destroyed.
47. Long journeys are shortened by a succession of
inns, while desolate paths, even when the distances are short,
1 Thucyd. i. I init.
2 Herod. i. I init.
3 Thucyd. ii. 102.
94 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
5
μικραις οδούς έμφασίν τινα έχουσι μήκους, ταυτό δη
κάπί των κώλων αν γίγνοιτο.
48. Ποιεί δε και δυσφωνία συνθέσεως εν πολλούς
μέγεθος, οίον το
5 Αίας δ' ο μέγας αιέν εφ' "Έκτορι χαλκοκορυστή.
άλλως μεν γαρ ίσως δυσήκοος ή των γραμμάτων σύμ-
πληξις, υπερβολή δ' έμφαίνουσα το μέγεθος του ήρωος:
λειότης γαρ και το ευήκοον ού πάνυ εν μεγαλοπρεπεία
χώραν έχουσιν, ει μή που εν ολίγοις, και ο Θουκυδίδης
το δε πανταχού σχεδόν φεύγει το λείον και ομαλές της συν-
θέσεως, και αεί μάλλόν τι προσκρούοντι έoικεν, ώσπερ
οι τας τραχείας οδούς πορευόμενοι, επαν λέγη, ότι το
μεν δη έτος, ώς ώμολόγητο, άνοσον ές τας άλλας ασθενείας
ετύγχανεν όν’ ραον μεν γαρ και ήδιον ώδ' άν τις είπεν,
15 ότι άνοσον ές τας άλλας ασθενείας δν ετύγχανεν,’ αφήρητο
δ' αυτού την μεγαλοπρέπειαν.
49. "Ωσπερ γαρ όνομα τραχύ μέγεθος εργάζεται,
ούτω σύνθεσις. ονόματα δε τραχέα τό τε κεκραγώς'
αντί του βοών, και το “ρηγνύμενον' αντί του φερόμενον,
2ο οίοις πάσιν ο Θουκυδίδης χρηται, όμοια λαμβάνων τα τε
ονόματα τη συνθέσει, τοις τε ονόμασι την σύνθεσιν.
50. Τάσσειν δε τα ονόματα χρή τόνδε τον τρόπον.
πρώτα μεν τιθέναι τα μη μάλα εναργή, δεύτερα δε και
ύστατα τα εναργέστερα. ούτω γαρ και του πρώτου άκου-
25 σόμεθα ως εναργούς, και του μετ' αυτό ως έναρίγεστέρου. 230"
ει δε μή, δόξομεν εξησθενηκέναι, και οίον καταπεπτω-
κέναι από ισχυροτέρου επί ασθενές.
5Ι. Παράδειγμα δε το παρά τω Πλάτωνι λεγόμενον,
ότι “επαν μέν τις μουσική παρέχη καταυλείν και κατα-
5 χαλκοκορυστήι Ρ. 7 υπερβολή: β in rastura add. m. rec. Ρ. 8 μεγαλο-
πρέπειαι ( add. m. rec.) Ρ. 13 ωμολόγει (sine spiritu) το (sine accentu) Ρ.
14 ηδείον P. 20 οίοις πάσιν] Hammerus, οι σπάσιν Ρ. | o bis scripsit Pin
transitu versus. 22 περί συνθέσεως λόγου titulus in Ρ. Ι τον supra versum
addidit m. rec. P. 26 δόξωμεν Ρ. Ι και post εξασθενηκέναι ins. edd.
29 όταν Platonis libri. | παρέχει Ρ. | καταχεϊν της ψυχής Ρlat.
κι
* Pac. Ρ. 2 περί "σινη Η
DEMETRIUS ON STYLE
95
1
give the impression of length. Precisely the same principle
will apply also in the case of members.
48. In many passages an impressive effect is produced
by a harsh collocation of words, as for example in the line:-
And Aias the mighty at Hector the brazen-helmed evermore
Was aiming his lance'.
No doubt the clashing of letters is, as a rule, unpleasant to
the ear, but here the very excess brings out the greatness of
the hero, since in the elevated style smoothness and pleasant
cadences have no place, except here and there. Thucydides
almost invariably avoids smoothness and evenness of com-
position. He has rather the constant air of a man who is
stumbling, like travellers on rough roads, as when he says
that 'from other maladies this year, by common consent, was
free?' It would have been easier and pleasanter to say that
by common consent, this year was free from other maladies.
But this would have destroyed the effectiveness of the sentence.
49. Composition makes style impressive in the same
way as a rugged word does. Instances of rugged words are
shrieking' in place of 'crying,' and 'bursting' in place of
charging. Thucydides uses all expressions of this kind,
assimilating the words to the composition and the compo
sition to the words.
50. Words should be arranged in the following way.
First should be placed those that are not specially vivid ; in
, the second or last place should come those that are more so.
In this way what comes first will strike the ear as vivid, and
what follows as more vivid still. Failing this, we shall seem
to have lost vigour, and (so to speak) to have lapsed from
strength to weakness.
51. An illustration will be found in a passage of Plato:
when a man suffers music to play upon him and to flood his
<
1
i Hom. Il. xvi. 358,
Αίας δ' ο μέγας αιέν εφ' "Εκτορι χαλκοκορυστη
let' åkovtlooal.
2 Thucyd. ii. 49.
96 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
.
Ιο
χειν διά των ώτων'' πολύ γαρ το δεύτερον εναργέστερον
του προτέρου. και πάλιν προϊών φησιν, όταν δε κατα-
χέων μη ανη, αλλά κηλή, το δη μετά τούτο ήδη τήκει και
λείβει.’ το γαρ λείβει' του τήκει’ έμφατικώτερον και
5 έγγυτέρω ποιήματος. ει δε προεξήνεγκεν αυτό, ασθενέ-
στερον αν το τήκει’ επιφερόμενον εφάνη.
52. Και "Ομηρος δε επί του Κύκλωπος αεί επαύξει
την υπερβολήν, και επανιόντι επ' αυτής έoικεν, οίον
ου γαρ εώκει
ανδρί γε σιτοφάγω, αλλά ρίω υλήεντι,
και προσέτι υψηλού όρους και υπερφαινομένου των άλλων
ορών. αεί γαρ καίτοι μεγάλα όντα τα πρότερον ήττονα
φαίνεται, μειζόνων αυτούς των μετά ταύτα επιφερομένων.
53. Xρη δε και τους συνδέσμους μη μάλα ανταπο-
15 δίδοσθαι ακριβώς, οίον τω μεν' συνδέσμω τον δέ
μικροπρεπές γαρ η ακρίβεια αλλά και άτακτoτέρως πως
χρήσθαι, καθάπερ που ο 'Αντιφών λέγει: η μεν γαρ
νησος ήν έχομεν, δήλη μεν και πόρρωθέν έστιν, υψηλή
και τραχεία και τα μεν χρήσιμα και εργάσιμα μικρά
20 αυτής έστι, τα δε αργα πολλά σμικράς αυτής ούσης
τρισί γάρ τοις μεν συνδέσμους είς και δε' ανταποδίδοται.
54. Πολλάκις μέντοι τεθέντες πως έφεξής σύνδεσμοι
και τα μικρά μεγάλα ποιούσιν, ως παρ' Ομήρω των
Βοιωτιακών πόλεων τα ονόματα ευτελή όντα και μικρά
25 όγκον τινά έχει και μέγεθος διά τους συνδέσμους εφεξής
τοσούτους τεθέντας, οίον εν τω
Σχοϊνόν τε Σκωλόν τε, πολύκνημόν τ' 'Έτεωνόν.
55. Τους δε παραπληρωματικούς συνδέσμους χρη-
στέον, ουχ ώς προσθήκαις κεναις και οίον προσφύμασιν
2 καταχέων Ρ: επέχων Plat. 3 κήλη Ρ. supra η alterum add. m. rec. P.
5 εγγυτέρω ex εγγυτέρον m. rec. Ρ. 6 επιφερόμενον ex επιφερόμενος m. rec. P.
8 έoικεν edd. : om. Ρ. το post ρίω add. άκρα κορυφή κρημνώ P, quae verba
punctis notata sunt. ΙΙ όρος Ρ. Ι2 oνταπρότερον Ρ. 15 τόν δε ex τω
δε m. rec. P. 17 ή μεν γάρ] Capperonerius, ή γάρ Ρ. 18 ήν έχoμένη δήλη Ρ.
20 αυτής ex αύτη m. rec. Ρ. | αργά (fort. ex αρωγα) Ρ. 27 σκώλον ex σκωλόν
(ut videtur) m. rec. P.
IP,
αι.
DEMETRIUS ON STYLE
97
soul through his ears. Here the second expression is far
more vivid than the first. And further on he says: “but
when he ceases not to flood it, nay throws a spell over it,
he causes it to melt and waste away?' The word 'waste' is
stronger than the word 'melt,' and approaches more nearly to
poetry. If Plato had reversed the order, the verb 'melt,'
coming in the second place, would have appeared weaker.
52. Homer, also, in describing the Cyclops, augments
continuously his hyperbole and seems to mount higher and
higher on its steps :-
Not like to the sons of men, but seeming a forest-clad crest';
and what is more, the crest of a lofty mountain and one that
towers above its fellows. For great though they may be, the
things which come first seem lesser, when greater things •
follow them.
53. Connectives, again, such as pèu and Sé, should
not correspond too nicely. There is something trivial in
excessive nicety. A certain negligence in the use of particles
is desirable, just as Antiphon somewhere says: 'for the island
we inhabit can be seen from a distance to be lofty and
rugged. Those parts of it which are tilled and useful are
insignificant, while the uncultivated portions are many, small
though the island is4.' There is here only one dé to answer
to the repeated μέν.
54. On the other hand, it often happens that connec-
tives which follow one another in close succession make even
small things great, as in Homer the names of the Boeotian
towns, though ordinary and insignificant, possess a certain
high-sounding pomp owing to the accumulated connectives,
for example in the line :
And in Schoenus and Scolus, and midst Eteonus' hill-clefts deep.
55. Expletive particles must not be employed as point-
less appendages and excrescences so to say or expansions, as
1 Plat. Rep. iii. 411 A.
2 Plat. Rep. iii. 411 B.
3 Hom. Od. ix. 190,
ουδε εώκει
ανδρί γε σιτοφάγω, αλλά δίω υλήεντι
υψηλών ορέων, 8 τε φαίνεται ολον απ’ άλλων.
4 Antiphon, Fragm. 50 (Blass).
5 Hom. Il. ii. 497.
98
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
15
ή παραξύσμασιν, ώσπερ τινές των δηχρώνται προς
ουδέν και το νυ' και το πρότερον, αλλ' αν συμβάλ-
λωνται τι τα μεγέθει του λόγου,
56. καθάπερ παρά Πλάτωνα, ο μεν δή μέγας εν
5 ουρανό Ζεύς' και παρ' Ομήρω,
αλλ' ότε δή πόρον ίξον εύρρειος ποταμοίο.
αρκτικός γαρ τεθείς και σύνδεσμος και αποσπάσας των
προτέρων τα έχόμενα μεγαλειόν τι ειργάσατο. αι γαρ
πολλαι αρχαι σεμνότητα εργάζονται. ει δ' ώδε είπεν,
το “ αλλ' ότε επί τόν πόρον αφίκοντο του ποταμού, μικρολο-
γούντι εώκει και έτι ως περί ενός πράγματος λέγοντι.
57. Λαμβάνεται δε και παθητικώς πολλάκις ο σύνδεσ-
μος ούτος, ώσπερ επί της Καλυψούς προς τον Οδυσσέα,
Διογενές Λαερτιάδη, πολυμήχαν’ Οδυσσεύ,
ούτω δη οίκόνδε φίλην ές πατρίδα γαίαν;
ει γούν τον σύνδεσμον εξέλοις, συνεξαιρήσεις και το
πάθος. καθόλου γάρ, ώσπερ ο Πραξιφάνης φησίν, αντί
μυγμών | παρελαμβάνοντο οι τοιούτοι σύνδεσμοι και στε- 231
ναγμών, ώσπερ το “αι αϊ, και το “φεύ, και ποιόν τί
20 έστιν ;' ως αυτός φησι, το “και νύ κ' οδυρομένοισιν'
έπρεψεν, έμφασίν τινα έχον οικτρού ονόματος.
58. Οι δε προς ουδέν αναπληρούντες, φησί, τον σύν-
δεσμον εοίκασιν τους υποκριτας τους το και το προς
ουδέν έπος λέγουσιν, οίον εί τις ώδε λέγοι,
Καλυδών μεν ήδε γαία Πελοπείας χθονός,
φεύ.
έν αντιπόρθμοις πεδί’ έχουσ’ ευδαίμονα,
αϊ, αϊ.
ως γαρ παρέλκει το αι αι και το φεύ ενθάδε, ούτω και
30 και πανταχου μάτην έμβαλλόμενος σύνδεσμος.
Ν
25
2 άλλαι συμβάλλονται in αλλ' αν συμβάλλονται corr. m. rec. Ρ. 4 μέγας
ηγεμών Plato. 7 αποσπάσας] Finckhius, αποσπασθείς Ρ. 9 ση in margine P.
12 παθητικώς] ap. Greg. Cor., παθητικούς Ρ. Ι7 τί φησι πραξιφάνης ση
in margine P. 30 εμβαλλόμενος σύνδεσμος] ap. Greg. Cor. , εμβαλλόμενος Ρ.
DEMETRIUS ON STYLE
99
8ń and vu and mpótepov are sometimes aimlessly used. They
must be introduced only if they contribute to elevation of
expression,
56. as in Plato 'lo mighty Zeus in his heaven?'; and in
Homer
But lo when they came to the ford of the fair-flowing river”.
The particle placed thus at the beginning of the sentence and
separating what follows from what precedes, creates the im-
pression of elevation. Amplified beginnings have an imposing
effect. If the poet had said 'but when they arrived at the
ford of the river,' he would have seemed to be using trivial
language and to be describing a single occurrence.
57. The particle on is also often used with a touch of
feeling, as in the words which Calypso addresses to Odysseus:--
O Zeus' seed, son of Laertes, Odysseus of many an art,
Is it so, that home to thine own dear land thou art fain to departs ?
Remove the particle, and you will at the same time remove
the feeling conveyed by the line. In general, as Praxiphanes
says, such particles used to be employed in place of moanings
and laments. Instances are 'ah me!' and 'alas !' and 'oh,
what is it?' As he himself says, the words kaí vú ke were
fittingly applied to men who are 'lamenting,' since they
suggest in some degree a word of mourning“.
58. But those who use expletive particles aimlessly
resemble, he says, actors who employ this exclamation and
that casually, as though one were to say
Calydonian soil is this, whose fertile plains
(Alas!)
Look o'er the narrow seas to Pelops' land
(Ah me!).
For as in this passage the 'ah me!' and the 'alas!' are merely
dragged in, so is the connective when it is inserted cause-
lessly and indiscriminately.
1
i Plat. Phaedr. 246 e.
2 Hom. Il. xiv. 433, xxi. I.
3 Hom. Odyss. V. 203.
4 Hom. Il. xxiii. 154, kal vú k'oðupouéVOLOW @du páos nedlovo: also Odyss. xvi.
220, xxi. 226.
5 Eurip. Meleag. (Eurip. Fragm. 515 Naucka).
72
I00
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
59. Οι μεν δή σύνδεσμοι την σύνθεσιν μεγαλοπρεπή
ποιούσιν, ώς είρηται, τα δε σχήματα της λέξεώς έστι μεν
και αυτά συνθέσεώς τι είδος: το γαρ δή τα αυτά λέγειν
δις διπλούντα και επαναφέροντα και ανθυπαλλάσσοντα δια-
5 ταττομένα και μετασυντιθέντι έoικεν. διατακτέον δε τα
πρόσφορα αυτών χαρακτηρι εκάστω, οίον το μεγαλο-
πρεπει μεν περί ου πρόκειται, ταύτα
6ο. πρώτον μεν την ανθυπαλλαγήν, ώς "Ομηρος,
οι δε δύο σκόπελοι και μεν ουρανόν εύρυν κάνει:
1ο πολύ γαρ ούτω μεγαλειότερον εναλλαγείσης πτώσεως, ή
είπερ ούτως έφη,
τών δε δύο σκοπέλων ο μεν ουρανόν ευρύν:
συνήθως γαρ ελέγετο. παν δε το σύνηθες μικροπρεπές,
διό και άθαύμαστον.
15 61. Τον δε Νιρέα, αυτόν τε όντα μικρόν και τα
πράγματα αυτού μικρότερα, τρείς ναύς και ολίγους άνδρας,
μέγαν και μεγάλα εποίησεν και πολλά αντ' ολίγων, των
σχήματι διπλά και μικτώ χρησάμενος εξ επαναφοράς τε
και διαλύσεως. “Νιρεύς γάρ, φησι, τρεις νήας αγεν,
20 Νιρεύς Αγλαΐης υιός, Νιρεύς, ός κάλλιστος άνήρ' ή τε
γαρ επαναφορά της λέξεως επί το αυτό όνομα τον Νιρέα,
και η διάλυσις, πλήθος τι έμφαίνει πραγμάτων, καίτοι δύο
ή τριών όντων.
62. Και σχεδόν άπαξ του Νιρέως ονομασθέντος εν
25 το δράματι μεμνήμεθα ουδέν ήττον ή του Αχιλλέως και
του Οδυσσέως, καίτοι κατ' έπος έκαστον λαλουμένων
σχεδόν. αιτία δ' ή του σχήματος δύναμις: ει δ' ούτως
είπεν, Νιρεύς ο 'Αγλαΐας υιός εκ Σύμης τρείς νήας ήγεν,
παρασεσιωπηκότι εώκει τον Νιρέα ώσπερ γαρ εν ταις
Ι περί σχήματος λέξεως titulus in P. 3 το] Victorius, των Ρ. 5 μετα-
συνθεσιν Ρ, μετασυντιθέντι (τι...τι supra versum scripto) m. rec. Ρ. 8 όμηρος
in marg. P. 15 νειηρέα Ρ. 16 όμηρος in marg. P. 17 μέγα και μεγάλα
Ρ: μεγάλους Greg. Cor. 19, 20 νηρεύς ubique P. 20 υιός τε Ρ. | ως Ρ.
21 νειρέα Ρ. 24 νευρέως Ρ. 26 κατά των (ut videtur) Ρ.: κατά Gregorius
Cor. | εκάστων Ρ. 28 νηρεύς Ρ. 29 νηρέα Ρ.
Tais
DEMETRIUS ON STYLE .
IOI
7
59. Now while the connectives, as has been said, elevate
the composition, the figures of speech are themselves a form
of composition, since it is practically a matter of arrangement
and distribution when you say the same thing twice, whether
through repeating it, or through echoing it, or through
changing its terms. The appropriate figures must be assigned
to each several style. To the elevated style, our present
subject, must be assigned first of all :-
60. 'Anthypallage,' as in Homer's line,
And the twin rocks—one of the twain with its peak towers up to
the skies?
With the grammatical case thus assimilated, 'the line is far
more stately than if the poet had written :-
And of the twin rocks one with its peak towers up to the skies.
That would have been the ordinary way of putting it. But
everything ordinary is trivial, and so fails to win admiration.
61. Again, take Nireus—he is personally mean, and his
share is meaner still, three ships and a handful of men. But
Homer has made him great, and multiplied his following,
through using in combination the two figures of 'repetition'
and disjunction.' 'Nireus,' he says, 'brought three ships,
Nireus Aglaea's son, Nireus the goodliest man”. The re-
currence to one and the same name "Nireus,' and the
disjunction, give an impression of multiplied power, though
it is composed of but two or three items.
62. Thus, though Nireus is hardly once mentioned in
the course of the action, we remember him no less than
Achilles and Odysseus, who are spoken of in almost every
line. The influence of the figure is the cause. If Homer
had simply said ' Nireus the son of Aglaea brought three
ships from Syme,' this would have been tantamount to pass-
ing over Nireus in silence. It is with writing as with ban-
1 Hom. Odyss. xii. 73.
2 Hom. Il. ii. 671,
Νιρεύς αυ Σύμηθεν άγε τρείς νήας είσας,
Νιρεύς 'Αγλαΐης υιος Χαρόποιο τ’ άνακτος,
Νιρεύς δς κάλλιστος άνήρ υπό "Ίλιον ήλθεν
των άλλων Δαναών μετ' αμύμονα Πηλείωνα.
I02
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
εστιάσεσι τα ολίγα διαταχθέντα πως πολλά φαίνεται,
ούτω κάν τοις λόγοις.
63. Πολλαχου μέντοι το εναντίον τη λύσει, η συνά-
φεια, μεγέθους αίτιον γίνεται μάλλον, οίον ότι “έστρατεύ-
5 οντο "Ελληνές τε και Κάρες και Λύκιοι και Πάμφυλοι
και Φρύγες.' η γαρ του αυτού συνδέσμου θέσις εμφαίνει
τι άπειρον πλήθος.
64. Το δε τοιούτο κυρτά, φαληριόωντα,’ τη εξαι-
ρέσει του και συνδέσμου μεγαλειότερον απέβη μάλλον,
το ή ει είπεν, κυρτά και φαληριόωντα'
65. [Το] μεγαλείον μέντοι εν τοις σχήμασιν το μηδέ |
επί της αυτής μένειν πτώσεως, ως Θουκυδίδης, και πρώτος 231"
αποβαίνων επί την αποβάθραν έλειποψύχησέ τε, και
πεσόντος αυτού ες την παρεξειρεσίαν' πολύ γαρ ούτως
15 μεγαλειότερον, ή είπερ επί της αυτής πτώσεως ούτως
έφη, ότι “έπεσεν ες την παρεξειρεσίαν και απέβαλε την
ασπίδα.'
66. Και αναδίπλωσις δ' έπους ειργάσατο μέγεθος,
ως “Ηρόδοτος δράκοντες δε που, φησίν, ήσαν εν τω
20 Καυκάσο μέγεθος, και μέγεθος και πλήθος.’ δις ρηθέν
το μέγεθος’ όγκον τινά τη ερμηνεία παρέσχεν.
67. Χρήσθαι μέντοι τους σχήμασι μη πυκνούς:
απειρόκαλον γαρ και παρεμφαινόν τινα του λόγου άνω-
μαλίαν. οι γούν αρχαίοι πολλά σχήματα εν τοις λόγους
25 τιθέντες συνηθέστεροι των άσχηματίστων εισίν, δια το
εντέχνως τιθέναι.
68. Περί δε συγκρούσεως φωνηέντων υπέλαβον άλλοι
άλλως. Ισοκράτης μεν γαρ εφυλάττετο συμπλήσσειν
αυτά, και οι απ' αυτού, άλλοι δέ τινες ως έτυχε συνέ-
ο μεγαλιότερον Ρ.
15 μεγαλιότερον Ρ. 16
δίπλωσις δ' έπους m. rec. P.
ΙΟ ει ante είπεν add. Victorius. ΙΙ το seclusi.
παρεξειρασίαν Ρ. 18 αναδιπλώσας δ' έπος P, ανα-
27 περί συγκρούσεως titulus in P. 28 συνπλήσσειν Ρ.
DEMETRIUS ON STYLE
103
quets, where a few dishes may be so arranged as to seem
many.
63. In many passages, however, the opposite figure to
separation, viz. combination, tends to elevation of style: e.g.
'To the war Alocked both Greeks and Carians and Lycians
and Pamphylians and Phrygians?' The repeated use of the
same conjunction gives the impression of an innumerable host.
64. But in such a phrase as 'high-arched, foam-crested
the omission of the conjunction 'and' lends an air of greater
distinction to the discourse than its insertion would have
done: 'high-arched and foam-crested?.?
65. In constructing a sentence it is well, in order to
attain elevation, not to keep to the same case, but to follow
the example of Thucydides, when he writes: 'And being the
first to step on to the gangway he swooned, and when he had
fallen upon the forepart of the ship his shield dropped into
the sea. This is far more striking than if he had retained
the same construction, and had said that 'he fell upon the
forepart of the ship and lost his shield.'
66. The repetition of a word also conduces to elevation,
as in the following passage of Herodotus: 'There were huge
serpents in the Caucasus, huge and manyt.' The reiteration
of the word 'huge' imparts a certain impressiveness to the style.
67. Overloading with figures should, however, be avoided,
as betokening lack of taste and producing a certain inequality
of style. The ancient writers, it is true, employ a number of
figures in their works, but they employ them so artistically
that their writing is more natural than that of those who
eschew them entirely.
68. With regard to hiatus different opinions have been
held by different persons. Isocrates and his followers avoided
hiatus, while others have admitted it whenever it chanced to
.
i Scr. Inc.
2 Hom. II. xiii. 798,
εν δέ τε πολλά
κύματα παφλάζοντα πολυφλοίσβουο θαλάσσης,
κυρτά φαληριόωντα, πρό μέν τ' άλλ', αυτάρ επ' άλλα.
3 Thucyd. iv. 12, Kal TTELPUEVOS åroßalvelv å vekóTN ÚTO TWY 'Aonvalwv, kai
τραυματισθείς πολλά ελιποψύχησέ τε και πεσόντος αυτού ες την παρεξειρεσίαν η ασπις
περιερρύη ες την θάλασσαν, κτλ.
4 Vid. Herod. i. 203.
IO4
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
κρουσαν και παντάπασι δεί δε ούτε ήχώδη ποιείν την
σύνθεσιν, ατέχνως αυτά συμπλήσσοντα και ώς έτυχε
διασπασμώ γάρ του λόγου το τοιούτον και διαρρίψει
έoικεν ούτε μην παντελώς φυλάσσεσθαι την συνέχειαν
5 των γραμμάτων λειοτέρα μεν γαρ ούτως έσται ίσως η
σύνθεσις, άμουσοτέρα δε και κωφή ατεχνώς, πολλήν ευ-
φωνίαν αφαιρεθείσα την γινομένην έκ της συγκρούσεως.
69. Σκεπτέον δε πρώτον μέν, ότι και η συνήθεια
αυτή συμπλήττει τα γράμματα ταύτα τους ονόμασιν,
το καίτοι στοχαζομένη μάλιστα ευφωνίας, οίον εν τω Αιακός
και χιών. πολλά δε και δια μόνων των φωνηέντων συν-
τίθησιν ονόματα, οίον Αιαίη και Εύιος, ουδέν τε δυσφω-
νότερα των άλλων εστι ταύτα, άλλ' ίσως και μουσι-
κώτερα.
15 70. Τα γε μην ποιητικά, οίον το γέλιος, διηρημένον
και συγκρουόμενον επίτηδες, ευφωνότερόν εστι του ήλιος
και το ορέων του όρων. έχει γάρ τινα η λύσις και η
σύγκρουσις οίον ωδήν επιγινομένην. πολλά δε και άλλα
εν συναλοιφή μεν λεγόμενα δύσφορα ην, διαιρεθέντα δε
20 και συγκρουσθέντα ευφωνότερα, ως το πάντα μεν τα νέα
και καλά εστιν. ει δε συναλείψας είπoις καλά 'στιν,
δυσφωνότερον έσται το λεγόμενον και ευτελέστερον.
7Ι. 'Εν Αιγύπτω δε και τους θεούς ύμνουσι δια των
επτά φωνηέντων οι ιερείς, εφεξής ηχούντες αυτά, και αντί
25 αυλου και αντί κιθάρας των γραμμάτων τούτων ο ήχος
ακούεται υπ' ευφωνίας, ώστε ο εξαιρων την σύγκρουσιν
ουδέν άλλο ή μέλος ατεχνώς εξαιρεί του λόγου και μούσαν.
αλλά περί τούτων μεν ου καιρός μηκύνειν ίσως.
72. 'Εν δε τη μεγαλοπρεπει χαρακτηρι σύγκρουσις
3ο παραλαμβάνοιτ' άν πρέπουσα ήτοι δια μακρών, ως το
5 γραμμάτων (π et γ, h. e. πραγμάτων, supra versum scripsit m. rec.) Ρ.
6 αμουσώτερα Ρ. 9 αύτη P. 13 των supra versum ante άλλων add. P.
17 ορέων Ρ. 19 συναλειφή in συναλοιφή corr. m. rec. P. 21 ει δε
συναλείψας είπoις καλά 'στιν in margine P. 25 κιθάρας (η punctis notato) Ρ.
26 εξαιρων P. 27 ατέχνως εξαίρει Ρ.
Ον
DEMETRIUS ON STYLE
105
occur. The true course lies between the two extremes. The
composition should not be noisy, as it will be if the vowels
are allowed inartistically to collide just as they fall together,
producing the impression of a jerky and disjointed style. On
the other hand, the direct contact of such letters should not
smoother in this way, but it will be less tasteful and fall
altogether flat, when robbed of all the music which results
from the concurrence of vowels.
69. It is worthy of remark, in the first place, that
common parlance itself, though it aims at euphony above
all things, brings these letters into contact in such words as
Αιακός and χιών. It also forms many words of vowels and
of vowels only, e.g. Alain and Exlos, and these, so far from
being less pleasant to the ear than others, possibly seem
even more harmonious.
70. Poetical forms such as nécos, where the resolution
and the concurrence are designed, have a better sound than
ήλιος, and the same is true of ορέων as compared with όρων.
The resolution and the concurrence have the effect of actually
making the words sing themselves. Many other words would
be disagreeable if run together, but are pleasanter when
they are separated and chime, e.g. návra wèy tà véa kai
Kará éotivl. If you were to fuse the vowels into kará
'otiv, the expression would be less euphonious and more
commonplace.
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. To
do away with this concurrence, therefore, is simply to do
away entirely with the music and harmony of speech.-But
perhaps this is not the right time to enlarge on these
matters.
72. It is the concurrence of long vowels which is most
appropriately employed in the elevated style, as in the
1 Scr. Inc. Cp. § 207 infra.
106 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
“λάαν άνω άθεσκε' και γαρ ο στίχος μηκός τι έσχεν
εκ της συγκρούσεως, | και μεμίμηται του λίθου την ανα- 232
φοράν και βίαν. ωσαύτως και το “μή ήπειρος είναι
το Θουκυδίδειον. συγκρούονται και δίφθογγοι διφθόγ-
5 γοις, ταύτην κατώκησαν μεν Κερκυραίοι οικιστής δε
εγένετο.'
73. Ποιεί μεν ούν και τα αυτά μακρά συγκρουόμενα
μέγεθος, και αι αύται δίφθογγοι. αι δε εκ διαφερόντων
συγκρούσεις ομού και μέγεθος ποιούσιν και ποικιλίαν εκ
το της πολυηχίας, οίον ήώς, εν δε τω οίην' ου μόνον
διαφέροντα τα γράμματά έστιν, αλλά και οι ήχοι και μεν
δασύς, ο δε ψιλός, ώστε πολλά ανόμοια είναι.
74. Και εν ωδαίς δε τα μελίσματα επί του ενός γίνεται
του αυτού μακρού γράμματος, οίον οδών επεμβαλλομένων
15 ωδαίς, ώστε η των ομοίων σύγκρουσις μικρόν έσται τι
ώδης μέρος και μέλισμα. περί μεν δή συγκρούσεως, και
ως γίνοιτ' άν μεγαλοπρεπής σύνθεσις, λελέχθω τοσαύτα.
75. "Έστι δε και ένα πράγμασι το μεγαλοπρεπές, αν
μεγάλη και διαπρεπής πεζομαχία ή ναυμαχία, ή περί
20 ουρανού και περί γης λόγος: ο γάρ του μεγάλου ακούων
πράγματος ευθύς και τον λέγοντα οίεται μεγάλως λέγειν
πλανώμενος δει γαρ ου τα λεγόμενα σκοπεϊν, αλλά πως
λέγεται: έστι γαρ και μεγάλα μικρως λέγοντα απρεπές
ποιείν τα πράγματι. διό και δεινούς τινάς φασιν, ώσπερ
25 και Θεόπομπον, δεινά του δεινώς λέγοντας.
1 λάαν Ρ. 4 θουκυδίδιον Ρ.
ου πολυηχίας Ρ: ου om. Victorius.
21 και λέγοντα Ρ: τον add. edd.
8 και...δίφθογγοι in Yasura P. Ιο της
19 μεγαλ Ρ: fortasse μεγάλη η legendum.
25 λέγοντας] Hammerus, λέγοντα Ρ.
DEMETRIUS ON STYLE
107
words: 'that rock he heaved uphillward' (åvo Cleoke)?.
The line, it may be said, is longer through the hiatus, and
has actually reproduced the mighty heaving of the stone.
The words of Thucydides that it may not be attached to
the mainland' (un Ý Telpos) furnish a similar example? Diph-
thongs also may clash with diphthongs, e.g. 'the place was
colonised from Corcyra; of Corinth, however, was its founder'
(Kepkypaiou oiklotńs)?
73. Well then, the concurrence of the same long vowels,
and of the same diphthongs, contributes to elevation of style.
On the other hand, the concurrence of different vowels
produces, through the number of sounds employed, variety
as well as elevation, an instance being the word nós. In the
word oínu not only are the letters different but also the
breathings, one being rough and the other smooth, so that
there are here many points of unlikeness.
74. In songs, too, trills can be made on one and the
same long letter, songs being piled (so to say) on songs,
so that the concurrence of like vowels may be regarded as
a small part of a song and as a trill.---These remarks must
suffice on the question of hiatus and of the kind of com-
position appropriate to the elevated style.
75. Elevation resides also in the nature of the subject-
matter, when (for instance) the subject is a great and famous
battle on land or sea, or when earth or heaven is the theme.
The man who listens to a great subject is promptly beguiled
into thinking that the discourse itself is great. “Beguiled,' I
say: for we must consider not so much the things narrated
as the method of their narration, since great topics may be
handled in a manner that is mean and below the dignity
of the subject-matter. Whence the saying that there are
forcible writers, like Theopompus, who give feeble utterance
to forcible conceptions.
1 Hom. Odyss. xi. 595,
ή του ο μέν σκηριπτόμενος χερσίν τε ποσίν τε
λάαν άνω άθεσκε ποτί λόφον· αλλ' ότε μέλλοι
άκρον υπερβαλέειν, τότ' αποστρέψασκε κραταιΐs:
αύτις έπειτα πέδονδε κυλίνδετο λάας αναιδής.
2 Thucyd. vi. 1, Olelpyetai tò un relpos elval.
3 Thucyd. i. 24, TaÚTNU ÅTÝKLOAV Mèv Kepkupaiol, olklorns 8 éyéveto páncos
Κορίνθιος γένος των αφ' Ηρακλέους.
108
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
76. Νικίας δ' ο ζωγράφος και τούτο ευθύς έλεγες
είναι της γραφικής τέχνης ο μικρός μέρος το λαβόντα
ύλην ευμεγέθη γράφειν, και μη κατακερματίζειν την
τέχνην εις μικρά, οίον ορνίθια ή άνθη, αλλ' ιππομαχίας
5 και ναυμαχίας, ένθα πολλά μέν σχήματα δείξειεν άν τις
ίππων των μεν θεόντων, των δε ανθισταμένων ορθών,
άλλων δε οκλαζόντων, πολλούς δ' ακοντίζοντας, πολλούς
δε καταπίπτοντας των ιππέων· ωετο γαρ και την υπόθεσιν
αυτήν μέρος είναι της ζωγραφικής τέχνης, ώσπερ τους
το μύθους των ποιητών. ουδέν ούν θαυμαστόν, ει και εν
τους λόγους [και] εκ πραγμάτων μεγάλων μεγαλοπρέπεια
γένηται.
77. Την δε λέξιν εν τω χαρακτηρι τούτω περιττήν
είναι δει και εξηλλαγμένης και ασυνήθη μάλλον ούτω
15 γαρ έξει τον όγκον, η δε κυρία και συνήθης σαφής μέν,
λειτη δε και ευκαταφρόνητος.
78. Πρώτα μεν ούν μεταφοραίς χρηστέον αυται γάρ
μάλιστα και ηδονήν συμβάλλονται τους λόγους και μέγε-
θος, μη μέντοι πυκναις, επεί τοι διθύραμβον αντί λόγου
20 γράφομεν· μήτε μην πόρρωθεν μετενηνεγμέναις, αλλ'
αυτόθεν και εκ του ομοίου, οίον έoικεν αλλήλοις στρατη-
γός, κυβερνήτης, ηνίοχος πάντες γαρ ούτοι άρχοντές
είσιν. ασφαλώς oύν έρεί και και τον στρατηγόν κυβερ-
νήτην λέγων της πόλεως, και ανάπαλιν και τον κυβερνήτης
25 άρχοντα της νηός.
79. Ου πασαι μέντοι ανταποδίδονται, ώσπερ αι
προειρημέναι, έπει την υπώρειαν μέν της Ίδης | πόδα εξής 232'
ειπείν τον ποιητήν, τον δε του ανθρώπου πόδα ουκέτι
υπώρειαν ειπείν.
1 νεικίας Ρ. 3 ευμεγέθει Ρ. 6 θεώντων Ρ. 7 πολλούς δ' ακοντί-
ζοντας add. in margine P. 9 είνα Ρ. ΙΙ και secl. Spengelius. [ μεγάλων
scripsi Hammerum secutus : μεγάλη (ut videtur) in compend. P. 15 συνήθης:
s supra versum scripsit Ρ. Ι6 λειτή] Spengelius, αεί τη Ρ. 17 περί
μεταφοράς και παραβολής titulus in P. 20 μετενηνεγμένας P. 27 υπώρειαν:
w in rasura P.
DEMETRIUS ON STYLE
109
76. The painter Nicias used to maintain that no small
part of the artistic faculty was shown in the painter's choosing
at the outset a subject of some amplitude, instead of dwarfing
his art to small subjects, little birds (for example) or flowers.
The right subjects, he said, were such as naval battles and
cavalry engagements, which give an opportunity of intro-
ducing many figures of horses running or rearing or sinking
to the ground, and of horsemen falling earthward or dis-
charging javelins. His view was that the subject itself was a
part of the painter's art, just as the ancient legends were
a part of the art of poetry. So it need awaken no surprise
that, in the province of style also, elevation results from the
choice of a great subject.
77. The diction used in this style should be grandiose,
elaborate, and distinctly out of the ordinary. It will thus
possess the needed gravity, whereas usual and current words,
though clear, are unimpressive and liable to be held cheap.
78. In the first place, then, metaphors must be used;
for they impart a special charm and grandeur to style. They
should not be numerous, however; or we find ourselves
writing dithyrambic poetry in place of prose.' Nor yet
should they be far-fetched, but natural and based on a true
analogy. There is a resemblance, for instance, between a
general, a pilot, and a charioteer; they are all in command.
Accordingly it can correctly be said that a general pilots
the State, and conversely that a pilot commands the ship.
79. Not all metaphors can, however, be used convertibly
like the above. Homer could call the lower slope of Ida its
'foot,' but he could never have called a man's foot his 'slope?'
i Hom. Il. xx. 218,
åll'č0 Útwpelas ökeov Toluridakos "Ions.
ΙΙΟ
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
Σ
Ι5
8ο. Επαν μέντοι κινδυνώδης η μεταφορά δοκή, μετα-
λαμβανέσθω εις εικασίαν ούτω γαρ ασφαλεστέρα γίγνοιτ'
άν. εικασία δ' έστι μεταφορά πλεονάζουσα, οίον εί τις
το τότε το Πύθωνι το ρήτορι ρέοντι καθ' υμών’ προσ-
5 θείς είπoι, ώσπερ ρέοντι καθ' υμών' ούτω μεν γαρ
εικασία γέγονεν και ασφαλέστερος ο λόγος, εκείνως δε
μεταφορά και κινδυνωδέστερος. διό και Πλάτων επι-
σφαλές τι δοκεί ποιείν μεταφοραίς μάλλον χρώμενος ή
εικασίαις, ο μέντοι Ξενοφών εικασίαις μάλλον.
το 8Ι. 'Αρίστη δε δοκεί μεταφορά τω 'Αριστοτέλει η
κατά ενέργειαν καλουμένη, όταν τα άψυχα ενεργούντα
εισάγεται καθάπερ έμψυχα, ως το επί του βέλους:
οξυβελης καθ' όμιλος επιπτέσθαι μενεαίνων,
και το
κυρτά φαληριόωντα.
πάντα γαρ ταύτα, το φαληριόωντα' και το μενεαίνων,
ζωτικαίς ενεργείαις έoικεν.
82. "Ένια μέντοι σαφέστερον εν ταις μεταφοραίς
λέγεται και κυριώτερον, ήπερ εν αυτούς τους κυρίοις, ως
20 το “έφριξεν δε μάχη' ου γαρ άν τις αυτό μεταβαλών
διά κυρίων ούτ' αληθέστερον είπoι ούτε σαφέστερον. τον
γαρ εκ των δοράτων κλόνον και τον γινόμενον τούτοις
ήρεμα ήχον συνεχώς φρίσσουσαν μάχην προσηγόρευσεν,
και άμα επείληπται πως της κατ' ενέργειας μεταφοράς
25 της προειρημένης, την μάχην φρίσσειν ειπών ώσπερ
ζώον.
83. Δεί μέντοι μη λανθάνειν, ότι ένιαι μεταφοραι
μικροπρέπειαν ποιούσι μάλλον ή μέγεθος, καίτοι της
μεταφοράς προς όγκος λαμβανομένης, ως το
αμφί δ' εσάλπιγξεν μέγας ουρανός
COLKEV.
3ο
3 δ'] Victorius, αλλ' Ρ. 4 το ante τότε add. Galeus. | Πύθωνι το supra
versum add. P. 13 επιπτέσθαι ex επιπταίσθαι (ut videtur) Ρ. 19 είπερ Ρ.
20 ση τί φησιν περί του έφριξεν δε μάχη in margine P. | μεταβαλών P. 22 και
τον ins. Spengelius. 23 ηρέμα Ρ. 24 επίληπται Ρ.
DEMETRIUS ON STYLE
III
. 80. When the metaphor seems daring, let it for greater
security be converted into a simile. A simile is an expanded
metaphor, as when, instead of saying the orator Python was
then rushing upon you in full flood,' we add a word of .
comparison and say was like a flood rushing upon you?'
In this way we obtain a simile and a less risky expression, in
the other way metaphor and greater danger. Plato's em-
ployment of metaphors rather than similes is, therefore, to be
regarded as a risky feature of his style. Xenophon, on the
other hand, prefers the simile.
81. In Aristotle's? judgment the so-called 'active' meta-
phor is the best, wherein inanimate things are introduced in a
state of activity as though they were animate, as in the
passage describing the shaft:
Leapt on the foemen the arrow keen-whetted with eager wings,
and in the words:
High-arched foam-crested".
All such expressions as 'foam-crested' and 'eager wing'
suggest the activities of living creatures.
· 82. Some things are, however, expressed with greater
clearness and precision by means of metaphors than by
means of the precise terms themselves : e.g. the battle
shuddered. No change of phrase could, by the employ-
ment of precise terms, give the meaning with greater truth
and clearness. The poet has given the designation of 'shud-
dering battle' to the clash of spears and the low and continu-
ous sound which these make. In so doing he has seized upon
the aforesaid 'active' metaphor and has represented the battle
as 'shuddering' like a living thing.
83. We must, however, not lose sight of the fact that
some metaphors conduce to triviality rather than to grandeur,
even though the metaphor be employed in order to enhance
the effect. An instance is the line:
And with thunder-trumpet pealing the boundless heaven rang
round
i Demosth. de Cor. 136.
2 Aristot. Rhet, iii. 11.
3 Hom. Il. iv. 126.
4 Hom. Il. xiii. 798.
5 Hom. Il. xiii. 339.
6 Hom. Il. xxi. 388.
II2
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ουρανόν γαρ όλον ήχούντα ούκ έχρήν προσεικάσαι ήχούση
σάλπιγγι, πλήν ει μή τις άρα απολογούτο υπέρ του
“Ομήρου λέγων, ώς ούτως ήχησεν μέγας ουρανός, ως αν
ηχήσειεν σαλπίζων όλος ουρανός.
5 84. Ετέραν ούν επινοήσωμεν μεταφοράς μικρότητος
αιτίαν γινομένην μάλλον ή μεγέθους: δει γαρ εκ των
μειζόνων μεταφέρειν εις τα μικρά, ού το εναντίον, οίον
ως ο Ξενοφών φησιν, έπει δε πορευομένων ξεκάμηνέ
τι της φάλαγγος.’ την γαρ της τάξεως παρεκτροπής
το εκκυμαινούση θαλάσση είκασεν και προσωνόμασεν. ει
δέ τις μεταβαλών είπoι εκφαλαγγίσασαν την θάλασσαν,
τάχα μεν ουδέ οικείως μετoίσει, πάντη δε πάντως μικρο-
πρεπώς.
85. "Ένιοι δε και ασφαλίζονται τας μεταφοράς επι-
15 θέτοις επιφερομένοις, όταν αυτοίς κινδυνώδεις δοκώσιν,
ως ο Θέογνις παρατίθεται το τόξω φόρμιγγα άχορδον'
επί του το τόξω βάλλοντος: η μεν γαρ φόρμιγξ κινδυ-
νώδες επί του τόξου, το δε αχόρδω ήσφάλισται.
86. Πάντων δε και των άλλων η συνήθεια και
20 μάλιστα μεταφορών διδάσκαλος μικρού γαρ σχεδόν
πάντα μεταφέρουσα λανθάνει δια το ασφαλώς μεταφέρειν,
λευκήν τε φωνήν λέγουσα | και όξυν άνθρωπος και τραχύ 233"
ήθος και μακρόν ρήτορα και τάλλα, όσα ούτω μεταφέρει
ται μουσικώς, ώστε όμοια δοκείν τοις κυρίοις.
25 87. Τούτον εγώ κανόνα τίθεμαι της εν λόγοις μετα-
φοράς, την της συνηθείας τέχνης είτε φύσιν. ούτω γούν
ένια μετήνεγκεν η συνήθεια καλώς, ώστε ουδε κυρίων
έτι έδεήθημεν, αλλά μεμένηκεν η μεταφορά κατέχουσα
τον του κυρίου τόπον, ως και της αμπέλου οφθαλμός' και
30 εί τι έτερον τοιούτον.
2 άρα] edd., άμα Ρ. 3 ώς ούτως] ap. Greg. Cor., ώσαύτως Ρ. | ωραίον et
όμηρος in margine P. 8 πορευομένω Ρ. 9 τι της Xenophontis libri: της Ρ.
16 το τόξω φόρμιγγα] Nauckius, τον τοξοφόρμιγγα Ρ. 18 το δε Ρ. 20 an
delendum σχεδόν ? 22 λέγουσαν et τραχύν (ν ιutroque punctis notato) Ρ.
DEMETRIUS ON STYLE
113
The entire firmament when resounding ought not to have
been likened to a resounding trumpet, unless on Homer's
behalf the defence be advanced that high heaven resounded
in the way in which the entire heaven would resound were it
trumpeting
84. Let us, therefore, consider a different kind of meta-
phor, one which leads to pettiness rather than to grandeur.
Metaphors should be applied from the greater to the less, not
the other way about. Xenophon, for example, says: 'on the
march a part of the line surged out. He thus likens a
swerving from the ranks to a surging of the sea, and applies
this term to it. If, however, it were conversely to be said that
the sea swerved from ‘line,' the metaphor would possibly not
be even appropriate ; in any case it would be utterly trivial.
85. Some writers endeavour by the addition of epithets
to safeguard metaphors which they consider risky. In this
way Theognis applies to the bow the expression 'lyre without
chords' when describing an archer in the act of shooting? It
is a bold thing to apply the term 'lyre’ to a bow, but the
metaphor is guarded by the qualification 'without chords.
86. Usage, which is our teacher everywhere, is so
particularly in regard to metaphors. Usage, in fact, clothes
almost all conceptions in metaphor, and that with such a sure
touch that we are hardly conscious of it. It calls a voice-
silvery,' a man ‘keen,' a character 'rugged,' a speaker ‘long,'
and so on with metaphors in general, which are applied so
tastefully that they pass for literal description.
87. My own rule for the use of metaphor in composi-
tion is the art-or nature—found in usage. Metaphors have
in some cases been so well established by usage that we no
longer require the literal expressions, but the metaphor has
definitely usurped the place of the literal term. For instance,
'the eye of the vine,' and so forth.
Xen. Anab. i. 8, 18, Ús de TopevouévWV &ÇEKÚNaivé tl tñs pálaryos.
2 Theog. trag., Nauck?, p. 769.
114
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
88. Σφόνδυλος μέντοι και κλείς τα επί του σώματος,
και κτένες, ου κατα μεταφοράν ώνόμασται, αλλά καθ'
ομοιότητα για το έoικέναι το μεν κτενι μέρος, το δε
κλειδί, το δε σφονδύλω.
5 89. 'Έπάν μέντοι εικασίαν ποιωμεν την μεταφοράς,
ως προλέλεκται, στοχαστέον του συντόμου, και του μηδέν
πλέον του ώσπερ’ προτιθέναι, επεί τοι αντ' εικασίας
παραβολή έσται ποιητική, οίον το του Ξενοφώντος, ώσπερ
δε κύων γενναίος απρονοήτως επί κάπρον φέρεται, και
το ώσπερ ίππος λυθείς διά πεδίου γαυριών και απολακ-
τίζων' ταύτα γαρ ουκ εικασίαις έτι έoικεν, αλλά παρα-
βολαίς ποιητικαίς.
90. Τάς δε παραβολάς ταύτας ούτε ραδίως εν τοις
πεζούς λόγοις τιθέναι δει, ούτε άνευ πλείστης φυλακής.
15 και περί μεταφοράς μεν τοσαύτα ως τύπω ειπείν.
91. Ληπτέον δε και σύνθετα ονόματα, ού τα διθυραμ-
βικώς συγκείμενα, οίον θεοτεράτους πλάνας,' ουδε άστρων
δορύπυρον στρατόν, αλλ' έoικότα τους υπό της συνηθείας
συγκειμένοις καθόλου γαρ ταύτην κανόνα ποιούμαι πάσης
20 ονομασίας, νομοθέτας λέγουσαν και αρχιτέκτονας, και
τοιάδε πολλά έτερα ασφαλώς συντιθείσαν.
92. "Εξει μέντοι το σύνθετον όνομα ομού και ποικιλίαν
τινά εκ της συνθέσεως και μέγεθος, και άμα και συντο.
μίαν τινά. όνομα γαρ τεθήσεται αντί όλου του λόγου,
25 οίον αν την του σίτου κομιδήν σιτοπομπίαν λέγης: πολύ
γαρ ούτω μείζον. τάχα δ' άν και λυθέντος ονόματος εις
λόγον έτερον τρόπον μείζον γένοιτο, οίον σίτου πομπή
αντί σιτοπομπίας.
93. "Όνομα δ' αντί λόγου τίθεται, οίον ως ο Ξενοφών
30 φησιν ότι ουκ ήν λαβείν όνον άγριον, ει μή οι ιππείς
διαστάντες θηρωεν διαδεχόμενοι ονόματι, οίον ότι οι μεν
6 του μηδε το P, μηδέν πλέον του in margine P. Ι4 άνευ in ras. P. 15 τοσαύτα
add. Schneiderus. 16 περί συνθέτων ονομάτων titulus (post φυλακής positus) in P.
17 πλάνας: λ supra π scripsit P. 18 συνηθείας] Finckhius, αληθείας Ρ.
22 και supra versum add. P. 29 όνομα Ρ.
)S
vΤΟ.
ΟνΟν
ιππεις
DEMETRIUS ON STYLE
115
88. The parts of the body, however, which are called
'vertebra' (ogóvduros), 'collàr-bone' (Klebs), and 'ribs'
(KTÉVES), derive their names not from metaphor but from their
resemblance to a spindle-whorl, a key, and a comb respect-
ively.
89. When we turn a metaphor into a simile in the way
above described, we must aim at conciseness. We must
do no more than prefix some such word as 'like,' or we
shall have a poetical image in place of a simile. Take, for
example, the following passage of Xenophon : 'like as a
gallant hound charges a boar recklessly,' and 'like as a horse
when untethered bounds proudly prancing over the plain?'
Such descriptions have the appearance not of simile but
of poetical imagery.
90. These images should not be used in prose lightly
nor without the greatest caution.—This concludes our sketch
of the subject of metaphor.
91. Compound words should also be used. They should
not, however, be formed after the manner of the dithyrambic
poets, e.g. 'heaven-prodigied wanderings' or 'the fiery-speared
battalions of the stars? They should resemble the com-
pounds made in ordinary speech. In all word-formation I
regard usage as the universal arbiter, usage which speaks
of 'law-givers' and 'master-builders,' and with sure touch
frames many other compounds of the kind.
92. A compound word will usually, from the very fact
that it is composite, derive a certain decorative quality and
grandeur, and a certain pith as well. One word will stand for
an entire phrase. For instance, you might speak of the
transport of corn as 'corn-convoy,' thus using a much more
striking expression. Still, it may sometimes happen that the
same strengthened effect will be obtained by the converse
process of resolving a word into a phrase--'corn-convoy,' for
instance, into 'convoy of corn.'
93. An example of a word used instead of a phrase is
Xenophon's sentence: 'it was not possible to capture a wild-
ass unless the horsemen posted themselves at intervals and
gave chase in relays. The single word (dadexóuevoi) is
1 Xen. Cyrop. i. 4, 21. ? Lyric. Fragm. Adesp. 128, Bergk4.
3 Xen. Anab. i. 5, 2.
8-2
II6
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
όπισθεν εδίωκον, οι δ' απήντων υπελαύνοντες πρόσω, ώστε
τον όνον εν μέσω απολαμβάνεσθαι. φυλάττεσθαι μέντοι
διπλά τιθέναι τα διπλά ονόματα τουτο γαρ εξεισι λόγου
πεζού το είδος.
5 94. Τα δε πεποιημένα ονόματα ορίζονται μεν τα κατά
μίμησιν εκφερόμενα πάθους και πράγματος, οίον ως το
“σίζε’ | και το λάπτοντες,’ (95) ποιεί δε μάλιστα μεγαλο- 233"
πρέπειαν διά το οΐον ψόφοις έoικέναι, και μάλιστα το
ξένω: ου γαρ όντα ονόματα λέγει, αλλά τότε γινόμενα,
το και άμα σοφόν τι φαίνεται ονόματος καινου γένεσις, οίον
συνηθείας έoικεν γούν ονοματουργών τους πρώτους θε-
μένοις τα ονόματα.
96. Στοχαστέον πρώτον μεν του σαφούς εν τω ποιου-
μένω ονόματι και συνήθους, έπειτα της ομοιότητος προς
15 τα κείμενα ονόματα, ως μη φρυγίζειν ή σκυθίζειν τις
δόξει μεταξύ Ελληνικών ονομάτων.
97. Ποιητέον μέντοι ήτοι τα μη ωνομασμένα, οίον και
τα τύμπανα και τάλλα των μαλθακών όργανα κιναιδίας
είπών και Αριστοτέλης τον ελεφαντιστήν ή παρά τα
20 κείμενα παρονομάζοντα αυτόν, οίον ως τον σκαφίτην τις
έφη τον την σκάφην έρέσσοντα, και 'Αριστοτέλης τον
αυτί την ολον τον μόνον αυτόν όντα.
98. Ξενοφών δε «ηλέλιξέ φησιν ο στρατός, την του
έλελεύ αναβόησιν ήν ανεβόα ο στρατός συνεχώς παρα-
25 ποιήσας ονόματι. επισφαλές μέντοι τούργον, ώς έφην,
και αυτούς τους ποιηταίς. και το διπλούν μέντοι όνομα
είδος αν είη πεποιημένου ονόματος παν γαρ το συντι-
θέμενον έκ τινων γέγονεν δηλονότι.
2
3 εξεισι] Victorius, έξει Ρ. 16 Ελληνικών ονομάτων] edd., Ελληνικούς
ονόμασιν Ρ. 18 μαρθάκων Ρ. 20 το σκαφίτην Ρ. 23 ηλέλιξε] Victorius,
ήλλαξεν Ρ. Ι στρατός] Victorius, στρατηγός Ρ. 24 στρατός] Victorius,
στρατηγός Ρ. 25 ως] Victorius, και ως Ρ.
DEMETRIUS ON STYLE
117
equivalent to saying that those in the rear were pursuing,
while the others rode forward to meet them, so that the wild
ass was intercepted. The compounding of words already
compounded should, however, be avoided. Such double
composition oversteps the limits of prose-writing.
94. Our authorities define 'onomatopoeic' words as
those which are uttered in imitation of an emotion or an
action, as ‘hissed' and ‘lapping?
95. Homer impresses his hearers' greatly by the em-
ployment of words descriptive of inarticulate sounds, and
by their novelty above all. He is not making use of
existing words, but of words which were then coming into
existence. Moreover, tlie creation of a fresh word analogous
to words already in use is regarded as a kind of poetic gift.
As a word-maker, Homer seems, in fact, to resemble those
who first gave things their names.
96. The foremost aim in the formation of words should
be clearness and naturalness; the next, due analogy with
established words. A writer should not have the appearance
of introducing Phrygian or Scythian words among those of
Greece.
97. Words should be formed either to denote things
which have as yet not been named, as was done by the
person who described the kettledrums and other instruments
of effeminate devotees as ‘lecheries,' or by Aristotle when he
spoke of an elephanteer' (elephant-driver)? Or again, a
writer may independently fashion words from existing ones,
as when someone gave the name of 'boatman' to one who
rows a boat, or as when Aristotle called a man who lives by
himself a 'solitary?
98. Xenophon says that 'the army huzzaed,' denoting
by this derivative the cry of 'huzza' which the troops kept
raising continually4. The practice is, however, as I said, full
of risk even for the poets themselves. It may be added that
a compound is a kind of manufactured word, everything
which is put together springing manifestly from certain
existing material.
1 Hom. Odyss. ix. 394; Il. xvi. 161.
? Aristot. Hist. Anim. Book ii. (1. pp. 497, 610, ed. Berol.).
3 Cp. § 144 infra.
4 Xen. Anab. v. 2, 14.
18
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
Ται
ΚΑΙ
Ο
99. Μεγαλείον δέ τι εστι και η αλληγορία, και
μάλιστα εν ταις απειλαις, οίον ως ο Διονύσιος, ότι οι
τέττιγες αυτοίς άσονται χαμόθεν.'
Ιοο. Ει δ' ούτως απλώς είπεν, ότι τεμεί την Λοκρίδα
5 χώραν, και όργιλώτερος άν εφάνη και ευτελέστερος. νύν
δε ώσπερ συγκαλύμματι του λόγου τη αλληγορία κέχρη-
ται: παν γαρ το υπονοούμενον φοβερώτερον, και άλλος
εικάζει άλλο τι και δε σαφές και φανερόν, καταφρονείσθαι
εικός, ώσπερ τους αποδεδυμένους.
Ιο ΙΟΙ. Διό και τα μυστήρια εν άλληγορίαις λέγεται
προς έκπληξιν και φρίκην, ώσπερ εν σκότω και νυκτί.
έoικε δε και η αλληγορία τω σκότω και τη νυκτί.
102. Φυλάττεσθαι μέντοι κάπί ταύτης το συνεχές,
ως μη αίνιγμα ο λόγος ημίν γένηται, οίον το επί της
15 σικύας της ιατρικής
άνδρ' είδον πυρί χαλκός επ' ανέρι κολλήσαντα.
και οι Λάκωνες πολλά εν αλληγορίαις έλεγον εκφοβούντες,
οίον το Διονύσιος εν Κορίνθω' προς Φίλιππον, και άλλα
τοιαύτα ουκ ολίγα.
20 103. Η συντομία δε πη μεν μεγαλοπρεπής, και
μάλιστα η αποσιώπησις: ένια γαρ μη ρηθέντα μείζονα
φαίνεται και υπονοηθέντα μάλλον πη δε μικροπρεπής.
και γαρ εν διλογίαις γίνεται μέγεθος, οίον ως Ξενοφών,
τα δε άρματα εφέρετο, φησί, τα μεν δι' αυτών των
25 φιλίων, τα δε και δι' αυτών των πολεμίων.’ πολύ γαρ
ούτω μείζον, ή είπερ ώδ' είπεν, και δια των φιλίων, και
δια των πολεμίων αυτών.'
104. | Πολλαχού δε και το πλάγιον μείζον του ευθέος, 234
οίον ή δε γνώμη ήν, ώς εις τας τάξεις των Ελλήνων
κο
2 δυονύσιος Ρ. 3 αρώνται Ρ χαμάθεν Ρ. 4 τέμει Ρ. 6 ωραίον
in margine P. 8 φανερόν] Goellerus, φοβερόν Ρ. ΙΙ σκότω] Victorius,
αυτώ Ρ. | ίσως εν αδύτω m. rec. in marg. P. 12 σκότω] Victorius, αυτώ Ρ.
15 συκίας Ρ. Ι6 άνδρα Ρ. | πυρίχαλκον Ρ.
DEMETRIUS ON STYLE
119
99. There is a kind of impressiveness also in allegorical
language. This is particularly true of such menaces as that
of Dionysius : 'their cicalas shall chirp from the ground?!
100. If Dionysius had expressed his meaning directly,
saying that he would ravage the Locrian land, he would have
shown at once more irritation and less dignity. In the phrase
actually used the speaker has shrouded his words, as it were,
in allegory. Any darkly-hinting expression is more terror-
striking, and its import is variously conjectured by different
hearers. On the other hand, things that are clear and plain
are apt to be despised, just like men when stripped of their
garments.
101. Hence the Mysteries are revealed in an allegorical
form in order to inspire such shuddering and awe as are
associated with darkness and night. Allegory also is not
unlike darkness and night.
102. Here again excess must be avoided, lest language
become a riddle in our hands, as in the description of the
surgeon's cupping-glass :--
A man I beheld who with fire had welded brass to a man's fleshº.
The Lacedaemonians conveyed many of their threats by
means of allegory, as in the message ' Dionysius at Corinth'
addressed to Philip, and in many similar expressions.
103. In certain cases conciseness, and especially aposio-
pesis, produce elevation, since some things seem to be more
significant when not expressed but only hinted at. In other
cases, however, triviality is the result. Impressiveness may
result from repetitions such as those of Xenophon, who
says: 'the chariots rushed, some of them right through the
ranks of friends, others right through the ranks of foes*.'
Such a sentence is far more striking than if Xenophon had
put it in this way: 'right through the ranks both of friends
and foes.'
104. Often the indirect expression is more impressive
than the direct: e.g. the intention was that they should charge
.
i See note on Proverbs.
3 See note on Proverbs.
2 Cleobulina, fragm. I, Bergk4.
# Xen. Arab. i. 8, 20.
120 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ελώντων και διακοψόντων’ αντί του διενοούντο ελάσαι
και διακόψαι.'
I05. Συμβέβληται δε και η ομοιότης των ονομάτων
και η δυσφωνία η φαινομένης και γαρ το δύσφωνον πολ-
5 λαχού όγκηρόν, ώσπερ
Αίας δ' ο μέγας αιέν εφ' "Έκτορι.
πολύ γαρ μάλλον τον Αίαντα μέγαν ένέφηνεν ή των
δύο σύμπληξις της επταβοείου ασπίδος.
το6. Το δε επιφώνημα καλούμενον ορίζοιτο μεν άν
το τις λέξιν επικοσμούσαν, έστι δε το μεγαλοπρεπέστατον
ς λόγοις. της γαρ λέξεως ή μεν υπηρετεί, η δε
επικoσμεί. υπηρετεί μεν η τοιάδε,
οίαν ταν υάκινθον έν ούρεσι ποιμένες άνδρες
ποσσί καταστείβουσιν, " .
15 επικοσμεί δε το επιφερόμενον το
χαμαι δέ τε πορφύρον άνθος:
επενήνεκται γάρ τούτο τους προενηνεγμένους κόσμος σαφώς
και κάλλος.
107. Μεστή δε τούτων και η Ομήρου ποίησις, ο
έκ καπνού κατέθηκ', επεί ουκέτι τoίσιν εώκει,
οίς το πάρος Τροίηνδε κιών κατέλειπεν Οδυσσεύς.
προς δ' έτι και τόδε μείζον επί φρεσίν έμβαλε δαίμων,
μήπως οίνωθέντες, έριν στήσαντες εν υμίν,
αλλήλους τρώσητε.
25 είτα επιφωνεί,
αυτός γαρ εφέλκεται άνδρα σίδηρος.
το8. Και καθόλου το επιφώνημα τους των πλουσίων
TOι
VOUS
οίον
20
9
I ελώντων] Χen. libri, ελθόντων P.
13 ούρεσιν Ρ. | ποιμένες supra versum add. P.
ηνδε Ρ. 25 ωραίον in margine P.
όρος φωνήματος in nmarg. P.
14 ποσί P. 21 στροί-
DEMETRIUS ON STYLE
121
I 21
the ranks of the Greeks and cut their way through them' rather
than 'they intended to charge and cut their way through'.'
105. Similarity of words and obvious harshness of sound
may contribute to the same result. Harshness of sound is
often effective, as in the words
And Aias the mighty at Hector the brazen-helmed evermore
Was aiming his lance”.
The concurrence of the two words (Aſas, aiév) gives a far more
vivid impression of the greatness of Ajax than even his
famous sevenfold buckler.
106. The so-called "epiphoneme' may be defined as
diction that adorns. It produces elevation of style in the
highest degree. Some parts of diction simply subserve the
thought, while others embellish it. Of the former the follow-
ing is an example :-
· Like the hyacinth-flower, that shepherd folk ʼmid the mountains tread
Underfoot.
The embellishment comes with the added clause :-
and low on the earth her bloom dark-splendid is shed'.
The addition thus made to the preceding lines clearly adorns
and beautifies.
107. The poetry of Homer abounds in instances, e.g.
• I have taken them out of the smoke,' say thou, ‘for they seem
no more
Like those that Odysseus left when he sailed for the Trojan shore,
But marred, wherever the wreaths of the fire-reek were wont to roll.
And another fear and a greater Cronion hath put in my soul,
Lest perchance ye be heated with wine, and ye break into strife
and jar,
And ye wound one another, and shame the feast, and your wooing
mar'.
After this he adds as a finishing-touch :-
For the steel of itself hath a spell and it draweth men on unto
..
war 4.
108. In general it may be said that the epiphoneme
1 Xen. Anab. i. 8, 10.
2 Hom. Il. xvi. 358.
3 Sappho Fragm. 94, Bergk*. 4 Hom. Odyss. xix. 7: cp. xvi. 288.
122
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ικα
S"
έoικεν επιδείγμασιν, γείσοις λέγω και τριγλύφους και
πορφύραις πλατείαις· οίον γάρ τι και αυτό του εν λόγοις
πλούτου σημείόν έστιν.
Ιο9. Δόξειεν δ' αν και το ενθύμημα επιφωνήματος
5 είδός τι είναι, ουκ ον μέν ου γαρ κόσμου ένεκεν, αλλά.
αποδείξεως παραλαμβάνεται, πλήν επιλεγόμενόν γε επι-
φωνηματικώς.
ΙΙο. Ωσαύτως δε και η γνώμη επιφωνουμένω τινί.
έoικεν επί προειρημένοις, αλλ' ουδ' αύτη επιφώνημά έστι:
το και γαρ προλέγεται πολλάκις, λαμβάνει μέντοι χώραν
ποτέ επιφωνήματος.
III. Το δέ,
νήπιος ουδ' άρ' έμελλε κακάς υπό κηρας αλύξειν,
ουδ' αυτό επιφώνημα αν είη: ου γαρ επιλέγεται ουδε
15 επικoσμεί, ουδ' όλως επιφωνήματι έoικεν, αλλά προσ-
φωνήματι ή επικερτομήματι.
ΙΙ2. Το δε ποιητικόν εν λόγοις ότι μεν μεγαλοπρεπές,
και τυφλώ δηλόν φασι, πλήν οι μεν γυμνη πάνυ χρώνται
τη μιμήσει των ποιητών, μάλλον δε ου μιμήσει, αλλά
20 μεταθέσει, καθάπερ Ηρόδοτος.
ΙΙ3. Θουκυδίδης μέντοι κάν λάβη παρά ποιητου τι,
ιδίως αυτό χρώμενος ίδιον το ληφθέν ποιεί, οίον ο μεν
* ποιητής επί της Κρήτης έφη,
Κρήτη τις γαϊ' έστι μέσω ενί οίνοι πόντω,
25 καλή και πίειρα, περίρρυτος.
ο μεν δη επί του μεγέθους έχρήσατο τα περίρρυτος,
ο δε Θουκυδίδης ομονοείν τους Σικελιώτας καλόν οίεται
είναι, γης όντας | μιάς και περιρρύτου, και ταυτά πάντα 234"
είπών, γήν τε αντί νήσου και περίρρυτον ωσαύτως, όμως
30 έτερα λέγειν δοκεί, διότι ούχ ως προς μέγεθος, αλλά προς
1 ye lools (punctis superpositis) P. 2 ol P, ov hic supra versum addito.
3 έστιν supra versum add. P. 4 περί ενθυμήματος in margine P. 22 αυτό:
αυτο P accentu supra o eraso. Γλειφθέν Ρ. 23 κρίτης in κρήτης corr. P. Η
γαϊ' έστι) codd. Homeri, γ' έστι Ρ. 24 οίνοπι: ι posterius in rastura P.
25 πήειρα Ρ. 26 έχρήσατο το Ρ. 28 ταύτα Ρ.
DEMETRIUS ON STYLE
123
bears a likeness to the things on which the wealthy pride
themselves,-cornices, triglyphs, and bands of purple. Indeed,
it is in itself a mark of verbal opulence.
109. The enthymeme may be thought to be a kind of
epiphoneme. But it is not so, since it is employed for pur-
poses not of adornment but of proof. Though, to be sure, it
may come last after the manner of an epiphoneme.
110. Similarly a maxim resembles in some points an
epiphoneme added to a previous statement. Nevertheless a
maxim is not an epiphoneme. Though at times it may come
last like an epiphoneme, it often comes first.
111. Again, the line
Fool !—for it was not his weird from the blackness of doom to
flee'
will be no epiphoneme. For it is not additional nor is it
ornamental. It has no likeness at all to an epiphoneme, but
rather to an allocution or a taunt.
112. A touch of poetic diction adds to the elevation of
prose. Even a blind man can see that, as the proverb has it.
Still some writers imitate the poets quite crudely. Or rather,
they do not imitate them, but transfer them to their pages as
Herodotus has done.
113, Thucydides acts otherwise. Even if he does borrow
something from a poet, he uses it in his own way and so makes
it his own property. - Homer, for instance, says of Crete:
A land there is, even Crete, in the midst of the dark sea-swell,
Fair, fertile, wave-encompassed”.
Now Homer has used the word 'wave-encompassed' to indi-
cate the great size of the island. Thucydides, on his part,
holds the view that the Greek settlers in Sicily should be
at one, as they belong to the same land and that a wave-
encompassed one. Although he employs throughout the same
terms as Homer—'land' and 'wave-encompassed' in place
of 'island'-he seems nevertheless to be saying something
III
1
1 Hom. Il. xii. 113.
2 Hom. Odyss. xix. 172..
3 Thucyd. iv. 64.
124
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ομόνοιαν αυτοίς έχρήσατο. περί μεν δή μεγαλοπρεπείας
τοσαύτα.
ΙΙ4. "Ωσπερ δε παράκειται φαύλά τινα αστείοις
τισίν, οίον θάρρει μεν το θράσος, ή δ' αισχύνη τη αιδοί,
και τον αυτόν τρόπον και της ερμηνείας τους χαρακτηρσιν
παράκεινται διημαρτημένοι τινές. πρώτα δε περί του
γειτνιώντας το μεγαλοπρεπει λέξομεν. όνομα μεν ούν
αυτώ ψυχρόν, ορίζεται δε το ψυχρόν Θεόφραστος ούτως,
ψυχρόν εστι το υπερβάλλον την οικείαν απαγγελίαν,
1ο οίον
απυνδάκωτος ου τραπεζούται κύλιξ,
αντί του απύθμενος επί τραπέζης κύλιξ ου τίθεται. το
γαρ πράγμα σμικρον όν ου δέχεται όγκον τοσούτον
λέξεως.
15 Ι15. Γίνεται μέντοι και το ψυχρoν έν τρισίν, ώσπερ
και το μεγαλοπρεπές. ή γαρ εν διανοία, καθάπερ επί
του Κύκλωπος λιθοβολούντος την ναύν του Οδυσσέως
έφη τις, φερομένου του λίθου αίγες ενέμοντο εν αυτώ.'
εκ γαρ του υπερβεβλημένου της διανοίας και αδυνάτου ή
20 ψυχρότης.
ΙΙ6. 'Εν δε λέξει ο Αριστοτέλης φησι γίνεσθαι
τετραχώς, * * ώς 'Aλκιδάμας “υγρόν ιδρώτα' ή εν
συνθέτω, όταν διθυραμβώδης συντεθη ή δίπλωσης του
ονόματος, ως το ερημόπλανος' έφη τις, και εί τι άλλο
25 ούτως υπέρογκον. γίνεται δε και έν μεταφορά το ψυχρόν,
τρέμοντα και ώχρα τα πράγματα' τετραχώς μεν ούν
κατά την λέξιν ούτως αν γίγνοιτο.
ΙΙ7. Σύνθεσις δε ψυχρά ή μη εύρυθμος, αλλά άρυθμος
ουσα και δια πάντων μακραν έχουσα, ώσπερ η τοιάδε,
3 περί ψυχρού του αντικειμένου το μεγαλοπρεπει titulus in P. 8 όρος ψυχρού
in margine P. 15 ση ότι έν τρισίν ή ψυχρότης in margine P. 22 hiatum
indicavit Victorius. 24 ει om. Ρ: add. edd. 26 πράγματα] Victorius
ex codd. Aristotelis: γράμματα P. 28 εύρυθμος] Finckhius, έρρυθμος Ρ.
29 μακράν] Schneiderus, μακρόν Ρ.
DEMETRIUS ON STYLE
125
different. The reason is that he uses the words with reference
not to size but to concord.—Thus much with regard to eleva-
tion of style.
114. As in the sphere of morals certain bad qualities
exist side by side with certain attractive qualities (audacity,
for example, corresponding to bravery, and shame to rever-
ence), so also the leading types of style are matched by
distorted varieties. We will first speak of the style which is
next neighbour to the elevated. Its name is 'frigid,' and it
is defined by Theophrastus' as that which transcends the ex-
pression appropriate to the thought, e.g.
Chalice unbased is not intabulated?. .
Here the meaning is : 'a cup without a bottom is not placed
upon a table. The subject, being trivial, does not admit of
such magniloquence.
115. Frigidity, like elevation, arises at three points. One
of these is the thought itself, as when a writer once said, in
describing how the Cyclops cast a boulder after the ship of
Odysseus : 'when the boulder was in mid career goats were
browsing on it. The words are frigid because the conceit is
extravagant and impossible.
116. In diction Aristotle says that frigidity is of fourfold
origin, arising from [(1) strange terms'; (2) 'epithets ']... as
when Alcidamas speaks of 'moist sweat* ' ; (3) 'composites,'
when words are compounded in a dithyrambic manner, as
with the expression 'desert-wandering' which someone uses,
and with other pompous expressions of the kind; (4) meta-
phors,' e.g. 'a crisis pale and tremblings' Frigidity of diction
may, therefore, arise in four ways.
117. Composition is frigid when it lacks good rhythm,
or lacks all rhythm, having long syllables from beginning to
1
2 Soph. Triptol. fragm., Nauck” p. 265.
4 Alcid.
1 Theophr. .
3 Scr. Inc.
5 Scr. Inc.
126
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ήκων ημών εις την χώραν, πάσης ημών ορθής ούσης.
ουδέν γαρ έχει λογικόν ουδε ασφαλές διά την συνέχειαν
των μακρών συλλαβών.
· ' ΙΙ8. Ψυχρόν δε και το μέτρα τιθέναι συνεχή, καθάπερ
5 τινές, και μη κλεπτόμενα υπό της συνεχείας: ποιήμα γαρ
άκαιρον ψυχρόν, ώσπερ και το υπέρμετρον.
ΙΙ9. Και καθόλου οποίόν τί έστιν η αλαζονεία,
τοιούτον και η ψυχρότης: ότε γαρ αλαζών τα μη προσόντα
αυτο αυχεί όμως ως προσόντα, και τα μικρούς πράγμασιν
το περιβάλλων όγκον, και αυτός εν μικρούς αλαζονευομένω
έoικεν. και οποιόν τι το εν τη παροιμία κοσμούμενον
υπερον, τοιουτόν τι εστι και το εν τη ερμηνεία εξηρμένον
έν μικρούς πράγμασιν.
120. Καίτοι τινές φασι δείν τα μικρά μεγάλως λέγειν,
15 και σημείον τούτο ηγούνται υπερβαλλούσης δυνάμεως.
εγώ δε Πολυκράτει μεν τω ρήτορι συγχωρώ εγκωμιάζονται
* * ως 'Αγαμέμνονα εν αντιθέτοις και μεταφοραίς και
πάσι τοις εγκωμιαστικούς τρόπους: έπαιζεν γάρ, ούκ έσπού-
δαζεν, και αυτός της γραφής ο όγκος παίγνιόν έστι.
20 παίζειν μεν δή εξέστω, ώς φημι, το δε πρέπον εν παντί
πράγματι φυλακτέον, τούτ' έστι προσφόρως ερμηνευτέον, 235"
τα μεν μικρά μικρως, τα μεγάλα δε μεγάλως.
Ι2Ι. Καθάπερ Ξενοφών επί του Τηλεβόα ποταμού
μικρού όντος και καλού φησιν, ούτος δέ ποταμός ήν
25 μέγας μέν ού, καλός δέ' τη γαρ βραχύτητι της συνθέσεως
και τη απολήξει τη εις το δε' μόνον ούκ επέδειξεν ημίν
μικρον ποταμόν. έτερος δε τις ερμηνεύων όμοιον τω
Τηλεβόα ποταμώ έφη, ως από των Λαυρικών ορέων
ορμώμενος εκδιδοί ές θάλασσαν, καθάπερ τον Νείλον
30 ερμηνεύων κατακρημνιζόμενον ή τον "Ίστρον εκβάλλοντα.
πάντα ούν τα τοιαύτα ψυχρότης καλείται.
7 ση in margine P. Ι4 ση όπως εναντίως φησί των άλλων in margine P.
17 lacunanm statuit Victorius. 18 έσπούδαζεν : ε prius in rastura P. 20 δεί Ρ.
25 μέγα* *s P. 26 απέδειξεν, ε supra α scripto P. 29 εκδιδοί: supra ι prius
aliquid erasum est in P. 30 εκβάλλοντα] Gennadius, εμβάλλοντα (λ alt. supra
versum scripto) P.
5
κατ
Τα.
DEMETRIUS ON STYLE
127
end, e.g. 'This land, our land, which I now reach, which I
find all upstirred?' On account of the succession of long
syllables, this sentence is highly questionable and entirely
lacking in prose rhythm.
118. It is also a mark of frigidity to introduce, as some do,
one metrical phrase after another in prose, the close succession
of which thrusts them on the attention. A bit of verse out of
place is just as inartistic as the disregard of metrical rules in
poetry.
119. There is a sort of general analogy between impos-
ture and frigidity. The impostor boasts, facts notwithstanding,
that qualities belong to him which do not. In like manner,
also, the writer who invests trifles with pomp resembles one
who gives himself airs about trifles. A heightened style used
in connexion with a trivial subject recalls the 'ornamented
pestle of the proverb.
120. There are, however, people who hold that we ought
to use grand language of little things. They regard this as a
proof of surpassing power. For my own part, I can forgive
the rhetorician Polycrates who eulogised......like (another)
Agamemnon with antitheses, metaphors, and every trick of
eulogy. He was jesting and not in earnest; the very inflation
of his writing is but pleasantry. I have no objection to jesting,
as I say. But fitness must be observed, whatever the subject;
or in other words the style must be appropriate,-subdued for
humble topics, lofty for high themes.
121. Xenophon obeys this rule when he says of the small
and beautiful river Teleboas:'this was not a large river; beautiful
it was, though?' Through the conciseness of the construction,
and through placing the though' at the end of the sentence,
he has almost brought before our very eyes a small river.
Another writer, on the contrary, when describing a river like
the Teleboas, said that "it rushed from the hills of Laurium
and disembogued into the sea,' as though he were describing
the cataracts of the Nile or the mouth of the Danube: All
expressions of this kind are called 'frigid.'
1 Scr. Inc.
2 Xen. Anab. iv. 4, 3: cf. § 6 supra.
3 Scr. Inc.
128
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
122. Γίνεται μέντοι τα μικρά μεγάλα έτερον τρόπον,
ου δια του απρεπούς, αλλ' ενίοτε υπ' ανάγκης. οίον όταν
μικρά κατορθώσαντά τινα στρατηγόν εξαίρειν βουλώμεθα
ως μεγάλα κατωρθωκότα, «ή> οίον ότι έφορος έν Λακε-
5 δαίμονι τον περιέργως και ουκ επιχωρίως σφαιρίσαντα
εμαστίγωσεν τούτω γαρ αυτόθεν μικρό ακουσθήναι όντι
επιτραγωδούμεν, ώς οι τα μικρά πονηρα έθη έώντες οδον
τους μείζοσι πονηρούς άνοιγνύουσιν, και ότι επί τοις
μικρούς παρανομήμασιν χρή κολάζειν μάλλον, ουκ επί
το τους μεγάλους. και την παροιμίαν εποίσομεν, “αρχή δε
του ήμισυ παντός, ως έoικυίαν τούτω το σμικρή κακώ, ή
και ότι ουδέν κακόν μικρόν έστιν.
123. Ούτως μεν δή εξέστω και το μικρόν κατόρθωμα
εξαίρειν μέγα, ου μήν ώστε απρεπές τι ποιείν, αλλ'
15 ώσπερ και το μέγα κατασμικρύνεται χρησίμως πολλάκις,
ούτως αν και το μικρόν εξαίροιτο.
I24. Μάλιστα δε η υπερβολή ψυχρότατον πάντων.
τριττή δέ έστιν ή γαρ καθ' ομοιότητα εκφέρεται, ως το
θέειν δ' ανέμοισιν ομοίοι,’ ή καθ' υπεροχήν, ως το
20 “λευκότεροι χιόνος, ή κατά το αδύνατον, ως το ουρανό
εστήριξε κάρη.
125. Πάσα μεν ουν υπερβολή αδύνατός έστιν ούτε
γαρ αν χιόνος λευκότερον γένοιτο, ούτ' άν ανέμω θέειν
όμοιον. αύτη μέντοι η υπερβολή, η ειρημένη, εξαιρέτως
25 ονομάζεται αδύνατος. διό δή και μάλιστα ψυχρά δοκεί
πάσα υπερβολή, διότι αδυνάτω έoικεν.
126. Διά τούτο δε μάλιστα και οι κωμωδοποιοί
χρώνται αυτη, ότι εκ του αδυνάτου εφέλκονται το γελοίον,
ώσπερ επί των Περσών της απληστίας υπερβαλλόμενός
3 βουλόμεθα Ρ. 4 ή inserai. 6 τούτο Ρ. | ωραίον in margine P. 8 ανυγνύ-
ουσιν Ρ. 9 παρανομίμασιν Ρ. 1ο παροιμία in margine P. | εποίσομεν] Hemster-
husius, εποιήσαμεν Ρ. Ι τούτο P, τούτω τω m. rec. Ρ. Ι2 και P, ή supra
versum add. m. rec. P. 13 δει Ρ. Ι7 ση ότι γ' η υπερβολή ψυχρότατον in
margine P. 19 ανέμοισιν ex ανέμοιστιν Ρ. 20 ση τί φησιν περί του
λευκότεροι χιόνος in margine P. 24 μέντοι ήτοι η υπερβολή ή ειρημένη Ρ.
DEMETRIUS ON STYLE
129
122. Small things, however, may be magnified in another
way, and that not an unbecoming but sometimes a necessary
way, for instance when we wish to exalt a general who has
succeeded in some small enterprises as though he had actually
won great triumphs. Or we may have to justify the ephor at
Lacedaemon for scourging a man who played ball with a
studied disregard of the custom of the country. The offence
at first strikes the ear as a trivial one. Consequently we
solemnly descant upon its gravity, pointing out that men who
permit small malpractices open the way to more serious
ones, and that we ought to punish for small transgressions
rather than for great. We shall, further, adduce the proverb
'the thin end of the wedger,' showing how it bears upon
this trifling offence; or we shall go so far as to maintain that
no offence is trifling.
123. In this way, then, we may magnify a small success,
though not at the cost of propriety. As what is great can
often be depreciated with advantage, so can what is lowly be
exalted.
124. The most frigid of all figures is hyperbole, which is
of three kinds, being expressed either in the form of likeness,
as 'a match for the winds in speed'; or of superiority, as
'whiter than snow?'; or of impossibility, as with her head
she has smitten the sky3.'
125. Indeed, every hyperbole transcends the possible.
There could be nothing 'whiter than snow, nor anything
'a match for the winds in speed. However, the particular
hyperbole already mentioned is specially called 'impossible.'
And so the very reason why every hyperbole seems, above all
things, frigid, is that it suggests something impossible.
126. This is the chief reason also why the comic poets
employ this figure. From the impossible they evolve the
laughable, as when someone said hyperbolically of the vora-
i Cp. Hesiod, Works and Days, 40, vÝTTLOL, Oůdè io aow 8oW Tléov ñ ulov mavrós.
? Hom. Il. x. 436,
του δή καλλίστους ίππους ίδoν ήδε μεγίστους:
λευκότεροι χιόνος, θείειν δ' ανέμοισιν ομοίοι, κτλ.
3 Hom. Il. iv. 443,
ουρανώ έστήριξε κάρη, και επί χθονί βαίνει.
130 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
τις έφη, ότι “πεδία εξέχεζον όλα, και ότι “βούς εν ταις
γνάθοις έφερον.'
127. Του δε αυτου είδους έστι και το φαλακρότερος
ευδίας, και το κολοκύντης υγιέστερος. το δε “χρυσω
5 χρυσοτέρα’ το Σαπφικόν εν υπερβολή λέγεται και αυτό
και αδυνάτως, πλην αυτώ γε το αδυνάτω χάριν έχει,
ου ψυχρότητα. ο δή και μάλιστα θαυμάσειεν άν τις
Σαπφούς της θείας, ότι φύσει κινδυνάδει πράγματι και
δυσκατορθώτω έχρήσατο επιχαρίτως. και περί μεν ψυχρό-
Ιο τητος και υπερβολής τοσαύτα. νύν δε περί του γλαφυρού
χαρακτήρος λέξομεν.
ΙΙΙ.
128. | Ο γλαφυρός λόγος χαριεντισμός και ιλαρός 235"
λόγος εστί. των δε χαρίτων αι μέν είσι μείζονες και
σεμνότεραι, αι των ποιητών, αι δε ευτελείς μάλλον και
15 κωμικώτεραι, σκώμμασιν έoικυίαι, οίον αι Αριστοτέλους
χάριτες και Σώφρονος και Λυσίου: το γαρ ης ράον άν
τις αριθμήσειεν τους οδόντας και τους δακτύλους, το επί
της πρεσβύτιδος, και το «όσας άξιος ήν λαβείν πληγάς,
τοσαύτας είληφεν δραχμάς, οι τοιούτοι αστεϊσμοι ουδέν
20 διαφέρουσιν σκωμμάτων, ουδε πόρρω γελωτοποιΐας εισί.
129. Το δε
, τη δε θ' άμα Νύμφαι
παίζουσι γέγηθε δέ τε φρένα Λητώ
Τοσ
ΕΙ
και
55
ρεία δ' αριγνώτη πέλεται: καλαι δε τε πάσαι:
3 παροιμία in margine P. 5 αυτό ex αυτώ Ρ. 8 πράγματι in margine
add. P. 9 επί χαρίτως, accentu supra α eraso P. 12 περί γλαφυρου
titulus in P, rei partitione in margine quoque indicata. I χαριεντισμος έστι λόγος
ιλαρός Ρ. ο γλαφυρός λόγος χαριεντισμός και ιλαρός λόγος in Inargine P.
16 χάτιτες P. 19 δραγμας Ρ. 20 ωραίον in margine P. 23 γέγηθε
τε sine δε Ρ.
DEMETRIUS ON STYLE
131
city of the Persians that they voided entire plains,' and that
"they carried bullocks in their jaws?.'
127. Of the same character are the expressions 'balder
than the cloudless blue' and 'lustier than a pumpkin?'
Sappho's words ‘more golden than all golds' are themselves
hyperbolical and impossible, though from their very impossi-
bility they derive charm, not frigidity. Indeed, one cannot
sufficiently admire this in the divine Sappho, that by sheer
genius she so handles a risky and seemingly unmanageable
business as to invest it with charm. These observations on the
subject of frigidity and hyperbole must suffice. We shall next
consider the elegant style.
CHAPTER III.
128. Elegance of expression includes grace and geniality.
Some pleasantries—those of the poets-are loftier and more
dignified, while others are more commonplace and jocular,
resembling banter, as is the case with those of Aristotle
and Sophron and Lysias. Such witticisms as 'whose teeth
could sooner be counted than her fingers' (of an old woman)
and 'as many blows as he deserved to win, so many drachmas
has he won“, differ in no way from gibes, nor are they far
removed from buffoonery.
129. Again, take the lines :
While the daughters of him whose shield is the Aegis sport at
her side,
"The beautiful nymphs of the field, and Letô beholds her with
pride,
And by face and by radiant head above the rest is she tall,
And, where lovely is every one, they are all by her outsłone:
So did the maid unwed outshine her handmaids allº.
i Scr. Inc. 1: 2 Sophron, Fragmm. 108, 34, Kaibel C. G. F.
3 Sappho, Fragm. 123, Bergk4.
4 Lysias, Fragmm. 5, 275, Baiter-Sauppe.
5 Hom. Odyss. vi. 105,
τη δε θ' άμα νύμφαι, κουραι Διός αιγιόχοιο,
αγρονόμοι παίζουσι γέγηθε δέ τε φρένα Λητώ»
Tao đav s” [Tºp ở Ye capm #xet hồề u€Tra,
ρειά τ' αριγνώση πέλεται, καλαι δε τε πάσαι:
ώς ή γ' αμφιπόλοισι μετέπρεπε παρθένος άδμής.
co
a
92
132
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ΚΟ
Εισιν
ναι
ES Kal
|
A
[και] αυταί εισιν αι λεγόμεναι σεμναι χάριτες και
μεγάλαι.
130. Χρηται δε αυταίς "Ομηρος και προς δείνωσιν
ενίοτε και έμφασιν, και παίζων φοβερώτερός έστι, πρωτός
5 τε ευρηκέναι δοκει φοβεράς χάριτας, ώσπερ το επί του
αχαριτωτάτου προσώπου, το επί του Κύκλωπος, το Γούν
“Ούτιν εγώ πύματον έδoμαι, τους δε λοιπους πρώτους
το του Κύκλωπος ξένιον: ου γαρ ούτως αυτόν ένέφηνεν
δεινόν εκ των άλλων, όταν δύο δειπνη εταίρους, ουδ' από
1ο του θυρεού ή εκ του ροπάλου, ως εκ τούτου του αστεϊσμού.
131. Χρήται δε τω τοιούτω είδει και Ξενοφών, και
αυτός δεινότητας εισάγει εκ χαρίτων, οίον επί της ενόπλου
ορχηστρίδος, ερωτηθείς υπό του Παφλαγόνος, ει και
αι γυναίκες αυτούς συνεπολέμουν, έφη: αύται γαρ και
15 έτρεψαν τον βασιλέα. διττή γαρ εμφαίνεται η δεινότης
εκ της χάριτος, η μεν ότι ου γυναίκες αυτούς είποντο,
αλλ' 'Αμαζόνες, η δε κατά βασιλέως, εί ούτως ήν ασθενής,
ως υπό γυναικών φυγείν.
. 132. Τα μεν ούν είδη των χαρίτων τοσάδε και
20 τοιάδε. εισίν δε αι μεν εν τοις πράγμασι χάριτες, οίον
νυμφαιοι κήποι, υμέναιοι, έρωτες, όλη η Σαπφούς ποίησις.
τα γαρ τοιαύτα, κάν υπό Ιππώνακτος λέγηται, χαρίεντά
έστι, και αυτό ιλαρόν το πραγμα εξ εαυτού ουδείς γαρ
αν υμέναιον άδοι οργιζόμενος, ουδε τον Έρωτα 'Ερινύν
25 ποιήσειεν τη ερμηνεία ή γίγαντα, ουδε το γελάν κλαίέιν.
133. "Ωστε η μέν τις έν πράγμασι χάρις εστί, τα δε
και η λέξις ποιεί επιχαριτώτερα, οίον
ως δ' ότε Πανδαρέου κούρη, χλωρηίς αηδών,
καλόν άείδησιν, έαρος νέον ισταμένοιο:
I και secl. Schneiderus. 6 χαριτωτάτου P, α et στο supra versum scripto. |
ούν P, om. edd. 7 ποίματον Ρ. 8 ξένειον P. 9 δεινών in δεινόν corr.
atram. pall. m. rec. Ρ. | ετέρους αι supra versum scripto P. 19 περί χάριτος
λόγου titulus in P. 21 νύμφαιοι Ρ. 22 λέγεται P: corr. edd. 24 άδοι]
Schneiderus, άδει Ρ. 25 ποιήσειεν] Hanmmerus, ποιήσει εν Ρ. 26 πράγμασι]
Victorius, πράγματι Ρ. 28 Πανδαρέου] codd. Homeri, Πανδαρέη Ρ.
2
DEMETRIUS ON STYLE
133
The so-called dignified and noble graces are of this
kind.
130. Homer sometimes uses such means in order to
make a scene more intense and telling. Even when he
is jesting he is somewhat awe-inspiring, and he seems to
have been the first to devise grim pleasantries, as in the
passage describing that most repulsive personage the Cyclops:
'Noman will I eat last, but the rest before him,'—that guest-
gift of the Cyclops. No other circumstance reveals so clearly
the grimness of the monster—not his supper made from two
of the comrades of Odysseus, nor his crag-door, nor his club-
as this single jest.
131. Xenophon also is familiar with this department of
style, and can (like Homer) turn a pleasantry into a sarcasm,
as in the passage describing the armed dancing-girl. “A
Greek was asked by the Paphlagonian, whether their women
accompanied them to the wars. 'Yes,' he replied, ‘for they
routed the Great King??” This pleasantry clearly has a
double point, implying in the first place that it was not mere
women who accompanied them, but Amazons; and the other
hit is at the Great King, who is taunted with being such a
poor creature as to be worsted by women.
132. Grace of style has, therefore, a certain number of
forms and characteristics. The grace may reside in the
subject-matter, if it is the gardens of the Nymphs, marriage-
lays, love-stories, or the poetry of Sappho generally. Such
themes, even in the mouth of a Hipponax, possess grace, the
subject-matter having a winsomeness of its own. No one
would think of singing a bridal song in an angry mood; no
contortions of style can change Love into a Fury or a Giant,
or transmute laughter into tears.
133. While grace is sometimes inherent in the theme
itself, at other times diction can lend an added charm, as
in the lines :-
As Pandareus' daughter, the wan-brown nightingale,
Trilleth her lovely song in the flush of the new-born Spring®
1 Hom. Odyss. ix. 369.
2 Xen. Anab. vi. 1, 13.
3 Hom. Odyss. xix. 518.
134
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
236
Τι.
ενταύθα γαρ και η αηδών χάριεν ορνίθιον, και το έαρ
φύσει χάριεν, πολύ δε επικεκόσμηται τη ερμηνεία, και
έστι χαριέστερα το τε χλωρηϊς' και το “Πανδαρέου
κούρη' ειπείν επί όρνιθος, άπερ του ποιητου ίδιά έστι.
5 I34. Πολλάκις δε και τα μεν πράγματα ατερπη έστι
φύσει και στυγνά, υπό δε του λέγοντος γίνεται ιλαρά.
τούτο δε παρά Ξενοφώντι δοκεί πρώτα ευρήσθαι λαβών
γαρ αγέλαστον πρόσωπον και στυγνόν, τον 'Αγλαϊτάδας,
τον Πέρσην, γέλωτα εύρεν εξ αυτού χαρίεντα, ότι “ραόν
το έστι πύρ | εκτρίψαι από σου ή γέλωτα.'
135. Αύτη δε εστι και η δυνατωτάτη χάρις, και
μάλιστα έν τω λέγοντι. το μεν γαρ πράγμα και φύσει
στυγνόν ήν και πολέμιος χάριτι, ώσπερ και Αγλαϊτάδας.
ο δ' ώσπερ ενδείκνυται, ότι και από των τοιούτων παίζειν
15 έστιν, ώσπερεί και υπό θερμού ψύχεσθαι, θερμαίνεσθαι
δε υπό των ψυχρών.
136. Επει δε τα είδη των χαρίτων δέδεικται, τίνα
εστι και έν τίσιν, νυν και τους τόπους παραδείξομεν, αφ'
ών αι χάριτες. ήσαν δε ημίν αι μεν εν τη λέξει, αι δε εν
20 τοις πράγμασιν. παραδείξομεν ούν και τους τόπους καθ'
εκάτερα: πρώτους δε τους της λέξεως.
137. Ευθύς ούν πρώτη έστι χάρις η εκ συντομίας,
όταν το αυτό μη κυνόμενον άχαρι γένηται, υπό δε τάχους
χάριεν, ώσπερ παρά Ξενοφώντι, τω όντι τούτω ουδέν
25 μέτεστι της Ελλάδος, έπει εγώ αυτόν είδον, ώστερεί
Λυδόν, αμφότερα τα ώτα τετρυπημένον και είχεν ούτως.
το γαρ επιλεγόμενον το είχεν ούτως' υπό της συντομίας
την χάριν ποιεί, ει δε έμηκύνθη διά πλειόνων, ότι έλεγεν
ταυτα αληθή, σαφώς γαρ έτετρύπητο,’ διήγημα αν ψιλον
30 εγένετο αντί χάριτος.
Ι χαρίεν Ρ.
3 τω τε...και τω] Finckhius, το τε...και το Ρ. | Παν-
δαρέη P: cp. p. 132 ν. 28 supra.
9 ράον) codd. Xen., ράδιον Ρ.
το έκτρίψαι Ρ. | ση ράδιον εστι πύρ αποτρίψαι από σου ή γέλωτα in margine P.
II δυνατοτάτη P. 18 παραδείξομεν] Galeus, παραδείξομαι Ρ. 24 τούτο Ρ.
26 τετρυπημένον] codd. Xen., τετριμμένον Ρ.
DEMETRIUS ON STYLE
135
This passage refers to the nightingale which is a delightful
songstress, and to the Spring which is a delightful season of
the year. But the wording has greatly embellished the idea,
and the picture is the more delightful because the epithets
'wan-brown' and daughter of Pandareus' are applied to the
bird. Now these touches are the poet's own.
134. It often happens that, unattractive and sombre as
the subject-matter in itself may be, it sparkles in the writer's
hands. This secret seems to have been first discovered by
Xenophon. Having for his subject so grave and gloomy a
personage as the Persian Aglaitadas, Xenophon makes at
his expense the pleasant jest, 'One could sooner strike fire
from your skull than laughter?'
135. This is the most effective kind of charm, and that
which most depends upon the writer. The subject-matter
may in itself be sombre and hostile to charm, as with Aglai-
tadas. But the writer shows that, even with such material, one
can jest; there is the possibility, so to speak, of being cooled
even by what is hot, or warmed with things cold.
136. Now that the varieties of graceful style, and its
elements, have been indicated, we will next indicate its
sources. As we have already said, it consists partly in
expression and partly in subject. So we will present the
sources severally, beginning with those of expression.
137. The very first grace of style is that which results
from compression, when a thought which would have been
spoiled by dwelling on it is made graceful by a light and
rapid touch. Xenophon will furnish an example: "This
man has really, no part or lot in Greece, for he has (as I
have myself seen) both his ears pierced like a Lydian'; and
so it was?” The clinching stroke and so it was' has all the
charm of brevity. If the thought had been developed
at greater length, under some such form as 'what he said
was true since the man had evidently had his ears pierced,'
we should have had a bald narrative in place of a flash of
grace.
i Xen. Cyrop. xi. 2, 15.
2 Xen. Anab. iii. 1, 31.
136 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
138. Πολλάκις δε και δύο φράζεται δι' ενός προς το
χάριεν, οίον επί της Αμαζόνος καθευδούσης έφη τις, ότι
το τόξον εντεταμένον έκειτο, και η φαρέτρα πλήρης, το
γέρρον επί τη κεφαλή τους δε ζωστήρας ου λύονται εν
5 γαρ τούτω και ο νόμος είρηται και περί του ζωστήρος, και
ότι ουκ έλυσε τον ζωστήρα, τα δύο πράγματα δια μιας
ερμηνείας. και από της συντομίας ταύτης γλαφυρόν τί
έστι.
. 139. Δεύτερος δε τόπος έστιν από της τάξεως. το
το γαρ αυτό πρώτον μεν τεθεν ή μέσον άχαρι γίνεται επί δε
του τέλους χάριεν, οίον ως ο Ξενοφών φησιν επί του
Κύρου, δίδωσι δε αυτό και δώρα, ίππον και στολήν και
στρεπτόν, και την χώραν μηκέτι αρπάζεσθαι.' έν γάρ
τούτοις το μεν τελευταιόν εστι τό τήν χάριν ποιούν το
15 την χώραν μηκέτι αρπάζεσθαι' διά το ξένον του δώρου
και την ιδιότητα. αίτιος δε ο τόπος της χάριτος. ει
γούν πρώτον ετάχθη, αχαριτώτερον ήν, οίον ότι “δίδωσιν
αυτά δώρα, τήν τε χώραν μηκέτι αρπάζεσθαι, και ίππον
και στολήν και στρεπτόν' νύν δε προειπων τα ειθισμένα
2ο δώρα, τελευταιον επήνεγκεν το ξένον και άηθες, εξ ών
απάντων συνηκται η χάρις.
I40. Αι δε από των σχημάτων χάριτες δηλαί εισιν
και πλείσται παρά Σαπφοί, οίον εκ της αναδιπλώσεως,
όπου νύμφη προς την παρθενίαν φησί, παρθενία, παρ-
25 θενία, που με λιπούσα οίχη;' η δε αποκρίνεται προς
αυτήν τω αυτό σχήματι, ουκέτι ήξω προς σέ, ουκέτι
5 ζωστήρας : ω in rastura P. Ι9 inter και et στολήν litura in P.
2
-au
24 όπου edd.: που Ρ. Ι παρθενείαν Ρ.
versum atram. evan. add. P.
24, 25
παρθενία alterum supra
DEMETRIUS ON STYLE
137
138. The conveyance of two ideas in one sentence often
gives a graceful effect. A writer once said of a sleeping
Amazon: 'Her bow lay strung, her quiver full, her buckler
by her head; their girdles they never loose?' At one and the
same time the custom concerning the girdle is indicated and
its observance in the present case,--the two facts by means of
one expression. And from this conciseness a certain elegance
results.
139. Grace of style comes, in the second place, from
arrangement. The very thought which, if placed at the
beginning or middle of a sentence, would have no charm,
is often full of grace when it comes at the end. This is
the case with a passage of Xenophon relating to Cyrus : 'as
presents he gives him a horse, a robe, a linked collar, and the
assurance that his country should be no longer plundered?'
It is the last clause in this sentence (viz. “the assurance that
his country should be no longer plundered ') which constitutes
its charm, the gift being so strange and unique. And the
charm is due to the position of the clause. Had it been
placed first, the anticlimax would have spoiled it: as (for
example) ‘he gives him as presents the assurance that his
country should be no longer plundered, and also a horse,
robe, and linked collar. As it is, he has put first the ac-
customed presents, and added in conclusion the novel and
unusual gift. It is the total effect that constitutes the
charm.
140. The graces that spring from the employment of
figures are manifest, and abound most of all in Sappho. An
instance in point is the figure 'reduplication, as when the
bride addressing her Maidenhood says
Maidenhood, Maidenhood, whither away,
Forsaking me?
And her Maidenhood makes reply to her in the same
figure :-
Not again unto thee shall I come for aye,
Not again unto thee !3
1
1 Scr. Inc.
2 Xen. Anab. i. 2, 27.
3 Sappho, Fragm. 109, Bergk4.
138 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ήξω' πλείων γαρ χάρις εμφαίνεται, ή είπερ άπαξ ελέχθη
και άνευ του σχήματος. καίτοι η αναδίπλωσις προς
δεινότητας μάλλον δοκεί ευρήσθαι, η δε και τους δεινο-
τάτοις καταχρηται επιχαρίτως.
5 Ι4Ι. Χαριεντίζεται δέ ποτε και εξ αναφοράς, ως επί
του Εσπέρου, "Εσπερε, πάντα φέρεις, φησί, φέρεις
όϊν, φέρεις αίγα, φέρεις ματέρι παιδα.’ και γαρ ενταύθα
η χάρις έστιν εκ της λέξεως της φέρεις επί το αυτό
αναφερομένης.
το 142. | Πολλάς δ' άν τις και άλλας εκφέρoι χάριτας. 236
γίγνονται δε και από λέξεως χάριτες ή εκ μεταφοράς,
ως επί του τέττιγος, πτερύγων δ' υποκακχέει λιγυράν
αοιδάν, και τι ποτ' άν φλόγιον καθέταν επιπτάμενον
καταυλεί'
15 I43. ή εκ συνθέτου [του] ονόματος και διθυραμβικού,
“δέσποτα Πλούτων μελανοπτερύγων, τουτί δεινόν προ
πτερύγων αυτό ποίησον' ά μάλιστα δή κωμωδικά παίγνιά
εστι και σατυρικά.
Ι44. Και εξ ιδιωτικού δε ονόματος γίγνεται, ως ο
20 'Αριστοτέλης, όσω γάρ, φησί, μονώτης ειμί, φιλο-
μυθότερος γέγονα.' και εκ πεποιημένου, ως και αυτός έν
τω αυτώ, όσα γαρ αυτίτης και μονώτης ειμί, φιλομυ-
θότερος γέγονα.’ το μεν γαρ μονώτης’ ιδιωτικωτέρου
έθους ήδη εστί, το δε αύτίτης' πεποιημένον εκ του
25 αυτός.
Ι45. Πολλά δε ονόματα και παρά την θέσιν την επί
τινος χαρίεντά έστιν, οίον ο γαρ όρνις ούτος κόλαξ εστι
3 ευρήσθαι ex ευρείσθαι Ρ. 4 επιχαρίτως] Finckhius, επι χάριτος Ρ. 7 όϊν]
Paulus Manutius, οίνον Ρ. Ι1 ή sine accentu P. 12 υποκακχέει : υπο in
Yasura P. | ληγυράν Ρ. Ι4, 15 καταυλεί· ή] Finclkhius, καταιδείη Ρ. 15 του
secl. Finckhius. τ6 Πλούτων] Bergkius, πλούτον Ρ. 16, 17 προπτερύγων
Ρ. 18 σατυρικά] Galeus, σατύρια Ρ.
DEMETRIUS ON STYLE
139
The thought, thus presented, has more grace than if it had
been expressed once only and without the figure. “Redupli-
cation,' it is true, seems to have been devised more particularly
with a view to giving energy to style. But in Sappho's hands
even the most passionate energy is transfigured with grace.
141. Sometimes also Sappho makes graceful use of the
figure 'anaphora,' as in the lines on the Evening Star :-
O Evening Star, thou bringest all that's best :
The sheep, the goat, thou bringest home, to rest:
The child thou bringest to the mother's breast'.
Here the charm lies in the repetition of the verb 'thou
bringest,' which has the same reference throughout.
142. Many other examples of graceful language might
easily be cited. It is attained, for instance, by choice of
words or by metaphor, as in the passage about the cicala :-
From ’neath his wings he pours
A. strain of piercing notes :
Far up that fiery vapour-veil it soars
Which o'er the landscape floats”.
143. Another source is dithyrambic compounds such
as :-
() Pluto, lord of sable-pinioned things,
This do thou—'twere more dread than all their wings' !
Such freaks of language are best suited for comic and satyric
poetry.
144. Yet another source is unique expressions, as when
Aristotle says 'the more self-centered I am, the more myth-
enamoured I becomet' Coined words, again, are another
source, as in the same author and passage: 'the more soli-
tary and self-centered I am, the more myth-enamoured I
become'! The word 'self-centered' is of a more unique cha-
racter than the word “solitary' which is formed from ‘sole.'
145. Many words owe their charm to their application
to a special object. For example: 'why, this bird is a flatterer
1 Sappho, Fragm. 95, Bergku.
? Alcaeus, Fragm, 39, Bergk4.
3 Lyric. Fragm. Adesp. 126, Bergk4.
4 Aristot. Fragm. 618 (ed. Berol.). Cp. $ 97 supra.
140 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
TOS
και κόβαλος ενταύθα ή χάρις από του σκάψαι τον
όρνιν καθάπερ άνθρωπον, και ότι τα μη συνήθη έθετο
ονόματα το όρνιθι. αι μεν ούν τοιαύται χάριτες παρ'
αυτάς τας λέξεις.
5 146. 'Εκ δε παραβολής και επί του εξέχοντος ανδρός
η Σαπφώ φησι,
πέρρoχoς ως ότ' αοιδός ο Λέσβιος αλλοδαποίσιν.
ενταύθα γαρ χάριν εποίησεν η παραβολή μάλλον και
μέγεθος, καίτοι εξήν ειπείν πέρρoχoς ώσπερ η σελήνη
1ο των άλλων άστρων, ή ο ήλιος και λαμπρότερος, ή όσα άλλα
εστι ποιητικώτερα.
147. Σώφρων δε και αυτός επί του ομοίου είδους
φησί, “θασαι, όσα φύλλα και κάρφεα τοι παίδες τους
άνδρας βαλλίζoντι, οιόν περ φαντί, φίλα, τους Τρώας τον
15 Αίαντα τα παλω' και γαρ ενταύθα επίχαρις ή παρα-
βολή έστι, και τους Τρώας διαπαίζουσα ώσπερ παίδας.
I48. "Έστι δε τις ιδίως χάρις Σαπφική εκ μεταβολής,
όταν τι ειπούσα μεταβάλληται και ώσπερ μετανοήση,
οίον ύψου δή’ φησί, το μέλαθρον αέρατε τέκτονες γαμ-
2ο βρος εισέρχεται ίσος "Αρηϊ, ανδρός μεγάλου πολλά
μείζων, ώσπερ επιλαμβανομένη εαυτής, ότι αδυνάτω έχρή-
σατο υπερβολή, και ότι ουδείς το "Αρηϊ ίσος εστίν.
Ι49. Του δε αυτου είδους και το παρά Τηλεμάχω,
ότι δύο κύνες δεδέατο προ της αυλής, και δύναμαι και τα
25 ονόματα είπείν των κυνών, αλλά τι άν μοι βούλοιτο
κόβαλος] Wilamowitzius, κόλακος Ρ. 15 πλω, α supra versum addito
Ρ. 18 μεταβάλλεται et μετανοήσει, η bis supra versum scripto P. 19 ύψου]
edd., νίψω Ρ.
DEMETRIUS ON STYLE
141
and a rogue 1!' Here the charm is due to the fact that the
bird is upbraided as though it were a person, and that the
writer has called the bird by unusual names. Such graces
as these are due to the language pure and simple.
146. Grace may also spring from the use of imagery.
Thus Sappho says of the man that stands out among his
fellows :-
Pre-eminent, as mid alien men is Lesbos' bard”.
In this line charm rather than grandeur is the outcome of the
comparison. It would have been possible, had the aim been
different, to speak of a superiority such as the moon or the
sun possesses in brightness over the other orbs, or to use
some still more poetical image.
147. The same point is illustrated by Sophron, who
writes :
See, dear, what rain of leaf and spray
The boys upon the men are showering,
Thick as flew Trojan darts, they say,
At Aias huge in battle towerings
Here again there is charm in the comparison, which makes
game of the Trojans as though they were boys.
148. There is a peculiarly Sapphic grace due to recanta-
tion. Sometimes Sappho will say a thing and then recant, as
though she had a fit of repentance. For example:
High uprear the raftered hall,
Builders, of the bridal dwelling!
The bridegroom comes, as Ares tall-
A tall man's stature far excelling“.
She checks herself, as it were, feeling that she has used an
impossible hyperbole, since no one is as tall as Ares.
149. The same feature appears in the story of Tele-
machus : 'Two hounds were fastened in front of the court.
I can tell you the very names of the hounds. But what use
would it be for me to tell you their names?' The narrator,
i Scr. Inc.
3 Sophron, Fragm. 32, Kaibel C. G. F.
5 Scr. Inc.
? Sappho, Fragm. 92, Bergk“.
4 Sappho, Fragm. 91, Bergk“.
Ι42
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
τα ονόματα ταύτα;' και γαρ ούτος μεταβαλλόμενος μεταξύ
ήστεΐσατο και αποσιγήσας τα ονόματα.
150. Και από στίχου δε αλλοτρίου γίνεται χάρις, ως
ο Αριστοφάνης σκώπτων που τον Δία, ότι ου κεραυνοί
5 τους πονηρούς, φησίν,
αλλά τον εαυτού νεώ βάλλει, και Σούνιον άκρον 'Αθηνών.
ώσπερ γούν ουκέτι ο Ζευς κωμωδείσθαι δοκεί, αλλ'
"Ομηρος και ο στίχος ο Ομηρικός, και από τούτου
πλείων εστίν η χάρις.
10 15Ι. "Έχουσι δέ τι στωμύλον και αλληγορίαι τινές,
ώσπερ το, Δελφοί, παιδίον υμών & κύων φέρει και τα
Σώφρονος δε τα επί των γερόντων, ενθάδε ών | κηγώ παρ' 237
ύμμε τους ομότριχας εξορμίζομαι, πλέον δοκάζων πόντιον:
αρτέαι γαρ ήδη τους ταλικοϊσδε ται άγκυραι' όσα τε επί
15 των γυναικών αλληγορεί, οίον επ' ιχθύων, σωλήνες,
γλυκύκρεον κογχύλιον, χηράν γυναικών λίχνευμα.' και
μιμικώτερα τα τοιαυτά έστι και αισχρά.
152. "Έστι δε τις και η παρά την προσδοκίαν χάρις,
ως ή του Κύκλωπος, ότι “ ύστατον έδoμαι Ούτιν' ου γαρ
20 προσεδόκα τοιούτο ξένιον ούτε Οδυσσεύς ούτε και αναγι-
νώσκων. και ο Αριστοφάνης επί του Σωκράτους, κηρόν
διατήξας, φησίν, είτα διαβήτην λαβών, εκ της παλαί-
στρας ιμάτιον υφείλετο' .
153. "Ηδη μέντοι εκ δύο τόπων ενταύθα εγένετο η
25 χάρις. ου γαρ παρά προσδοκίαν μόνον επηνέχθη, αλλ'
4 που P. 6 άκρον ex άκρων Ρ. το στομύλον Ρ. ΙΙ δελφοί Ρ.
12 ενθάδε ών] Schneiderus, ένθαδεον P. 13 πόντιον άρτέαι] Kaibelius,
ποντίναι Ρ. Ι4 ταλίκοις δέται Ρ. 16 λίχνευμα] ap. Αthen. iii. 86 Ε,
ίχνεύμασι Ρ. 17 μιμικώτερα] Victorius, μιμητικώτερα P, γρ. και μικρότερα in
margine P. 19 κύκλοπος Ρ. 20 ξένειον P. 25 έπινέχθη Ρ.
DEMETRIUS ON STYLE
143
with this sudden turn, puts you off by means of a jest, and
fails to disclose the names.
150. Charm may also spring from a reference to the
verses of another writer. Aristophanes somewhere, when
mocking at Zeus because he does not smite sinners with his
thunderbolt, says :
Nay, his own fane he smites, and his thunderbolt lights upon
Sunium, Attica's headland'!.
In the end it seems as though it were not Zeus that is
burlesqued, but Homer and the Homeric line; and this
fact increases the charm.
151. Certain veiled meanings, too, have a kind of
piquancy about them, as in the words : 'Delphians, that
bitch of yours bears a child2.' Another example will be
found in the words of Sophron with regard to the old
men: “Here I too in your midst, whose hair like mine is
white as snow, Wait, ready to put out to sea, until the fair
wind blow, Yea for the old the word is still, “The anchor's
weighed,' I trow3.' Similar allegories refer to women, as the
following in which fish are in question : razor-fish, and
oysters sweet, The widow-woman's dainty meatt.' Such jests
are gross and suited only to the lower varieties of drama.
152. There is also some charm in the unexpected, as in
the Cyclops' words : 'Noman will I eat last5.' A guest-gift
of this kind was as little expected by Odysseus as it is by the
reader. So Aristophanes says of Socrates that he first melted
some wax, and
A pair of compasses the sage then grabbed,
And from the wrestling-ground-a coat he nabbed 6.
153. The charm in these instances is derived from two
sources. Such pleasantries are not only added unexpectedly,
1 Aristoph. Nzb. 401,
αλλά τον αυτού γε νεών βάλλει και Σούνιον άκρον 'Αθηνέων.
Hom. Odyss. iii. 278,
đMX 87€ ZoÚvlov ipdu åpixóued', åkpov 'Aonvéwy.
2 Lyric. Fragm. Adesp., Bergk4 iii. pp. 742, 743.
3 Sophron, Fragm. 52, Kaibel C. G. F. 4 Sophron, Fragm. 24, Kaibel.
5 Hom. Odyss. ix. 369.
6 Aristoph. Nub. 149, 179.
144 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ουδ' ήκολούθει τους προτέροις· η δε τοιαύτη ανακολουθία
καλείται γρίφος, ώσπερ και παρά Σώφρονι ρητορεύων
Bουλίας. ουδέν γαρ ακόλουθον αυτω λέγει και παρά
Μενάνδρω δε και πρόλογος της Μεσσηνίας.
5 154. Πολλάκις δε και κώλα όμοια εποίησεν χάριν,
ως ο Αριστοτέλης, εκ μέν 'Αθηνών, φησίν, εγώ είς
Στάγειρα ήλθον δια τον βασιλέα τον μέγαν εκ δε
Σταγείρων εις Αθήνας για τον χειμώνα τον μέγαν.
καταλήξας γαρ εν αμφοτέροις τοις κώλοις εις το αυτό
το όνομα εποίησεν την χάριν. εάν δ' ούν αποκόψης του
ετέρου κώλου το μέγαν,’ συναφαιρείται και η χάρις.
155. Και κατηγορίαι δε αποκεκρυμμέναι ενίοτε
ομοιούνται χάρισιν, ώσπερ παρά Ξενοφώντι ο Ηρακλείδης
και παρά το Σεύθει προσιών των συνδείπνων εκάστω, και
15 πείθων δωρείσθαι Σεύθει ότι έχοι: ταύτα γαρ και χάριν
τινά εμφαίνει, και κατηγορίαι εισίν αποκεκρυμμέναι.
156. Αί μεν ούν κατά την ερμηνείας χάριτες τοσαύται
και οι τόποι, εν δε τοις πράγμασι λαμβάνονται χάριτες
εκ παροιμίας. φύσει γαρ χάριεν πραγμά εστι παροιμία,
20 ως ο Σώφρων μέν, «'Ήπιόλης, έφη, και τον πατέρα πνίγων
και άλλαχόθι που φησιν, εκ του όνυχος γαρ τον λέοντα
έγραψεν τορύναν έξεσεν· κύμινον έπρισεν.' και γαρ
δυσί παροιμίαις και τρισίν επαλλήλοις χρηται, ως επι-
πληθύωνται αυτώ αι χάριτες» σχεδόν τε πάσας εκ των
25 δραμάτων αυτού τας παροιμίας εκλέξαι εστίν.
157. Και μύθος δε λαμβανόμενος καιρίως εύχαρις
έστιν, ήτοι ο κείμενος, ως ο Αριστοτέλης επί του αετού
φησιν, ότι λιμώ θνήσκει επικάμπτων το ράμφος: πάσχει
δε αυτό, ότι άνθρωπος ών ποτε ήδίκησεν ξένον. ο μεν
30 ουν το κειμένω μύθω κέχρηται και κοινω.
o
)
3 αυτό P. 11 συναφερείται Ρ. 15 και τι] Schneiderus, ό τις Ρ.
17 περί των εν τοις πράγμασιν χαρίτων titulus in P. 19 χαρίεν Ρ. 20 'Ηπιό-
λης] Kaibelius, επίης Ρ. 22 έπρισεν] Hemsterhusius, έσπειρεν Ρ. | ση κύριον
όνομα in margine P. 23, 24 επιπληθύονται Ρ.
DEMETRIUS ON STYLE
145
but they have no sort of connexion with what precedes them.
Such want of sequence is called 'griphus'; and an example
of it is furnished by Boulias in Sophron's mime, who delivers
an utterly incoherent speech. ' Another instance is the pro-
logue of Menander's 'Woman of Messenia.'
154. Again, a similarity in the members of a sentence
often produces a graceful effect, as when Aristotle says:
'I went from Athens to Stageira because of the great king,
and from Stageira to Athens because of the great storm".'
It is through ending both members with the same word
(uéryav) that he produces this pleasant effect. If from either
member you strike out the word 'great,' the charm thereupon
vanishes.
155. Persiflage can sometimes be made to resemble
urbanity. In Xenophon, for example, Heracleides who is
with Seuthes approaches each of the guests at table and
urges him to give whatever he can to Seuthes? There is
a certain urbanity in this, and persiflage at the same time.
156. Such are the graces which appertain to style, and
such the sources from which they are derived. Among the
graces which relate to subject-matter we must reckon those
which spring from the use of proverbs. By its very nature
there is a certain piquancy in a proverb. Sophron, for
instance, speaks of Epioles who throttled his sire3.' And
elsewhere: 'He has painted the lion from the claw; he has
polished a ladle; he has skinned a flint.' Sophron employs
two or three proverbs in succession, so as to load his style
with elegances. Almost all the proverbs in existence might
be collected out of his plays.
157. A fable also, when neatly introduced, is very piquant.
The fable may be a long-established one, as when Aristotle
says of the eagle: 'It perishes of hunger, when its beak grows
more and more bent. This fate it suffers because once when
it was human it broke the laws of hospitality.' He thus makes
use of a familiar fable which is common property.
* Aristot. Fragm. 669: cp. § 29 supra.
2 Xen. Anab. vii. 3, 15 ff.
3 Sophron, Fragm. 68, Kaibel.
4 Sophron, Fragm. 110, Kaibel.
5 Aristot. Hist. Anim. Book ix. (vol. 1. p. 619 ed. Berol.).
R.
10
Ι46
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
LO
158. Πολλούς δε και προσπλάσσομεν προσφόρους
και οικείους τοις πράγμασιν, ώσπερ τις περί αλλούρου
λέγων, ότι συμφθίνει τη σελήνη [και] ο αίλουρος και
συμπαχύνεται, προσέπλασεν, ότι ένθεν και ο μυθός
5 έστιν, ώς η σελήνη έτεκεν τον αίλουρον'' ου γαρ μόνον
κατ' αυτήν την πλάσιν έσται η χάρις, αλλά και ο μύθος
έμφαίνει χάριέν τι, αίλουρον ποιών σελήνης παίδα.
159. Πολλάκις δε και εκ φόβου αλλασσομένου
γίνεται χάρις, όταν | διακενής τις φοβηθη, οίον τον ιμάντα 237"
το ως όφιν ή τον κρίβανον ώς χάσμα της γης, άπερ και
αυτά κωμωδικώτερά εστιν.
Ι6ο. Και εικασίαι δ' εισίν ευχάριτες, αν τον αλεκ.
τρυόνα Μήδω εικάσης, ότι την κυρβασίαν ορθήν φέρει:
βασιλεί δε, ότι πορφύρεός έστιν, ή ότι βοήσαντος αλεκ-
15 τρυόνος αναπηδώμεν, ώσπερ και βασιλέως βοήσαντος,
και φοβούμεθα.
Ι6Ι. Εκ δε υπερβολών χάριτες μάλιστα αι εν ταις
κωμωδίαις, πάσα δε υπερβολή αδύνατος, ώς 'Αριστοφάνης
επί της απληστίας των Περσών φησιν, ότι “ώπτουν βούς
20 κριβανίτας αντί άρτων' επί δε των Θρακών έτερος, ότι
“Μηδόκης ο βασιλεύς βουν έφερεν όλον έν γνάθω.'
Ι62. Του δε αυτου είδους και τα τοιαύτά έστιν,
«υγιέστερος κολοκύντης, και φαλακρότερος ευδίας, και
τα Σαπφικά πολύ πακτίδος αδυμελεστέρα, χρυσου χρυ-
25 σοτέρα' πάσαι γαρ αι τοιαύται χάριτες εκ των υπερ-
βολών ευρηνται. [και τι διαφέρουσι
163. Διαφέρουσι δε το γελοίον και ευχαρι πρώτα
μεν τη ύλη χαρίτων μεν γαρ ύλη νυμφαίοι κήποι, έρωτες,
άπερ ου γελάται: γέλωτος δε Ιρος και Θερσίτης. τοσού-
30 τον ούν διοίσουσιν, όσον ο Θερσίτης του "Ερωτος.
3 και seclusi. 4 προσέπλασεν] Victorius, πρός έπλασσεν Ρ. 7 αθέλουρον,
ε punctis notato P. 9 φοβηθή] Schneiderius, φοβή Ρ. 19 άπλειστίας Ρ. βούς :
β in ras. P (άρτους fort. scribebat corr. nescio quis). 24 πολυπακτίδος Ρ. | αδυ-
μελέστερα Ρ. 24, 25 χρυσότερα Ρ. 26 verba και τι διαφέρουσι secl. Spengelius
ex margine nata esse ratus coll. titulo $ 30. 29 supra Ipos scriptum est epws
atram evan. in P.
DEMETRIUS ON STYLE
147
158. We can often invent fables of our own apposite to
the matter in hand. A writer once referred to the belief that
cats thrive or pine according as the moon waxes or wanes,
and then added of his own invention whence the fable that
the moon gave birth to the cat'. The charm does not simply
depend on the actual trick of invention, but the fable itself
sparkles with a certain charm, making the cat the child of the
moon.
159. Charm is often the result of a revulsion from fear,
as when a man groundlessly fears a strap mistaking it for a
snake, or a pan mistaking it for an opening in the ground.
Such mistakes are rather comic in themselves.
160. Comparisons, also, are full of charm—if (for in-
stance) you compare a cock to a Persian because of its stiff-
upstanding crest, or to the Persian king because of its brilliant
plumage or because when the cock crows we start with fear as
though we heard the loud call of the monarch.
161. The charms of comedy arise specially from hyper-
boles, and every hyperbole is of an impossible character, as
when Aristophanes says of the voracity of the Persians that
For loaves, they roasted oxen whole in pipkins;
and of the Thracians another writer says 'Medoces their king
was bearing a bullock whole between his teeth
162. Of the same kind are such expressions as 'lustier
than a pumpkin' and 'balder than the cloudless blue'; and
the lines of Sappho
Far sweeter-singing than a lute,
. More golden than all gold“.
All these ornaments, different as they are from one another,
have their source in hyperbole.
163. The humorous and the charming must not be
confused. They differ, first of all, in their material. The
materials of charm are the Gardens of the Nymphs, Loves,
things not meant for laughter; while laughter is provoked
by Irus or Thersites. They will differ, therefore, as much
as Thersites differs from the God of Love.
i Scr. Inc.
2 Aristoph. Ach. 86.
3 Scr. Inc.
4 Sappho, Fragmm. 122, 123 (Bergk“).
IO-2
I48
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
I64. Διαφέρουσι δε και τη λέξει αυτη. το μεν γαρ
ευχαρι μετά κόσμου εκφέρεται και δι' όνομάτων καλών,
& μάλιστα ποιεί τας χάριτας, οίον το ποικίλλεται μεν
γαία πολυστέφανος' και το χλωρηίς αηδών' το δε
5 γελοίον και ονομάτων εστιν ευτελών και κοινοτέρων,
ώσπερ έχει “όσον γαρ αυτίτης και μονώτης ειμί, φιλο-
μυθότερος γέγονα'
Ι65. "Έπειτα αφανίζεται υπό του κόσμου της ερμη-
νείας, και αντί γελοίου θαύμα γίνεται. αι μέντοι χάριτές
το εισι μετά σωφροσύνης, το δε εκφράζειν τα γέλοια όμοιόν
έστι και καλλωπίζειν πίθηκον.
Ι66. Διό και η Σαπφώ περί μεν κάλλους άδουσα
καλλιετής έστι και ηδεία, και περί ερώτων δε και έαρος
και περί αλκυόνος, και άπαν καλόν όνομα ενύφανται
15 αυτης τη ποιήσει, τα δε και αυτή ειργάσατο.
Ι67. "Αλλως δε σκώπτει τον αγροικον νυμφίον, και
τον θυρωρόν τόν εν τοις γάμοις, ευτελέστατα και έν πεζούς
ονόμασι μάλλον ή εν ποιητικούς, ώστε αυτής μάλλόν έστι
τα ποιήματα ταύτα διαλέγεσθαι ή άδειν, ουδ' αν αρμόσαι
10 προς τον χορόν ή προς την λύραν, ει μή τις είη χορός
διαλεκτικός.
Ι68. Μάλιστα δε διαφέρουσι και εκ της προαιρέσεως
ου γάρ όμοια προαιρείται και ευχάριστος και ο γελωτο-
ποιών, αλλ' ο μεν ευφραίνειν, ο δε γελασθήναι. και από
25 των επακολουθούντων δέ τοις μεν γαρ γέλως, τοις δε
έπαινος.
169. Και εκ τόπου. ένθα μεν γαρ γέλωτος τέχναι
και χαρίτων, έν σατύρω και ένα κωμωδίαις. τραγωδία δε
χάριτας μέν παραλαμβάνει εν πολλοίς, και δε γέλως εχθρός
30 τραγωδίας: ουδε γαρ επινοήσειεν αν τις τραγωδίαν παί-
ζουσαν, έπει σάτυρον γράψει αντί τραγωδίας.
Τα
6 fort. όσω. Το γέλoία Ρ. ΙΙ πίθηκον: ι in ras. P. 13 έαρος] Galeus,
αέρος Ρ. 14 αλκύονος Ρ. 16 αγρυκον Ρ. 28 τί ποιούσιν οι σάτυροι τα
λυπηρά ούτως λέγοντες ώστε γελωτοποιεϊν in margine P. 30, 31 πόζουσαν Ρ.
DEMETRIUS ON STYLE
149
164. They differ, further, in actual expression. The
idea of charm is evolved as an accompaniment to ornament
and by means of beautiful words, which conduce most of all
to charm. For instance: ‘Earth myriad-garlanded is rainbow-
hued,' and 'the paley-olive nightingale! Humour, on the
other hand, employs common and ordinary words, as in the
sentence: 'the more solitary and self-centered I am, the
more myth-enamoured I become??
165. Moreover, a pleasantry loses its character and be-
comes incongruous when adorned by style. Graces of style
must be employed with discretion. To utter a mere jest
ornately is like beautifying an ape.
166. When Sappho celebrates the charms of beauty, she
does so in lines that are themselves beautiful and sweet. So
too when she sings of love, and springtime, and the halcyon.
Every lovely word is inwoven with the texture of her poetry.
And some are of her own invention.
167. It is in a different key that she mocks the clumsy
bridegroom, and the porter at the wedding. Her language is
then most ordinary, and couched in terms of prose rather than
of poetry. These poems of hers are, in consequence, better
suited for use in conversation than for singing. They are
by no means adapted for a chorus or a lyre, unless indeed
there is such a thing as a conversational chorus.
168. The two kinds of style under consideration differ
most of all in their purpose, the aims of the wit and the
buffoon being different. The one desires to give pleasure, the
other to be laughed at. The results, likewise, are different,-
mirth in the one case, commendation in the other.
169. Again, the provinces of the two kinds do not
coincide. There is, indeed, one place in which the arts of
mirth and of charm are found together, in the satyric drama
and in comedy. It is different, however, with tragedy, which
everywhere welcomes elegances, but finds in mirth a sworn
foe. A man could hardly conceive the idea of composing a
sportive tragedy; if he did so, he would be writing a satyric
play rather than a tragedy.
i Cp. § 133 supra.
2 Cp. § 144 supra.
1
I 5ο
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
170. Xρήσονται δέ ποτε και οι φρόνιμοι γελοίοις
πρός τε τους καιρούς, οίον έν εορταϊς και εν συμποσίοις,
και ένα επιπλήξεσιν δε προς τους τρυφερωτέρους, ως και
τηλαυγής θύλακος, και η Κράτητος ποιητική, | και φακής 238
5 εγκώμιον αν αναγνω τις εν τοις ασώτοις τοιούτος δε ως
το πλέον και ο Κυνικός τρόπος: τα γαρ τοιαύτα γελοία
χρείας λαμβάνει τάξιν και γνώμης.
171. "Έστι δε και του ήθους τις έμφασις εκ των
γελοίων και η παιγνίας ή ακολασίας, ως και τον οίνον
το τον προχυθέντα επισχών τις Πηλέα αντί Οινέως.' η γαρ
αντίθεσις ή περί τα ονόματα και η φροντίς εμφαίνει τινά
ψυχρότητα ήθους και αναγωγίαν.
172. Περί δε σκωμμάτων μέν, οίον εικασία τις έστιν
η γαρ αντίθεσις ευτράπελος. χρήσoνται τε ταϊς τοιαύταις
15 εικασίαις, ως “Αίγυπτία κληματίς, μακρόν και μέλανα,
και το θαλάσσιον πρόβατον, τον μωρον τον εν τη
θαλάσση. τοις μεν τοιούτοις χρήσoνται ει δε μή,
φευξόμεθα τα σκώμματα ώσπερ λοιδορίας.
173. Ποιεί δε ευχαριν την ερμηνείαν και τα λεγό-
20 μενα καλά ονόματα. ωρίσατο δ' αυτά Θεόφραστος ούτως,
κάλλος ονόματός έστι το προς την ακοήν ή προς την όψιν
ήδύ, ή το τη διανοία έντιμον.
Ι74. Προς μεν την όψιν ηδέα τα τοιαύτα, ροδό-
χρoον, ανθοφόρου χρόας.’ όσα γαρ οράται ηδέως, ταύτα
25 και λεγόμενα καλά εστι. προς δε την ακοήν “Καλλί-
στρατος, 'Αννοών' ή τε γαρ των λάμβδα σύγκρουσις
ήχώδες τι έχει, και η των νυ γραμμάτων.
175. Και όλως το νυ δι' ευφωνίαν εφέλκονται οι
25.
2 έωρταΐs P. 3 τρυφεροτέρους Ρ. 4 ευλακος, θύ supra ευ add. P.
5 αγνώ, αν supra versum add. Ρ. Ιο επίσχών τα σπήλαια, ν supra versum
addito, P. 25 περί κάλλους ονόματος και εν τίσιν titulus in P. 22 ή supra
versum scripsit P. 23, 24 ροδόχρωον P. 25 τόν την ακοήν Ρ. 26 άν-
νοων ex άννοών P. 27 ήχώδες: ες supra versum add. P. | νυν P. 28 νυ
ex νύν Ρ. | ευφωνίαν] Galeus, ευφημίαν Ρ.
DEMETRIUS ON STYLE
151
170. Even sensible persons will indulge in jests on such
occasions as feasts and carousals, or when they are addressing
a word of warning to men inclined to good living. A refer-
ence to “the far-gleaming meal-bag'may then be found
salutary. The same may be said of the poetry of Crates;
and it would be well if you were to read the 'Praise of the
Lentil'in a party of free-livers. The Cynic humour is, for
the most part, of this character. Such jests, in fact, play the
part of maxims and admonitions.
171. There is some indication of a man's character
in his jokes—in their playfulness, for instance, or their
extravagance. Somebody once dammed the flow of wine
which had been spilt on the ground and muttered words
about 'Oeneus (oivos) turned into Peleus (Tennós). The play
on the proper names, and the laboured thought, betray a
want of taste and breeding.
172. In nicknames a sort of comparison is implied,
there being wit in a play on words. Writers may use such
comparisons as 'Egyptian clematis' of a tall and swarthy
man, or 'sea-wether' of a fool on the water. They may,
I say, indulge in harmless jokes such as these, but if we
cannot stop there, we had better avoid nicknames as we
would scurrility.
173. The so-called 'beautiful words' also conduce to
grace of diction. According to the definition given by Theo-
phrastus, beauty in a word is that which appeals to the ear or
the eye, or has noble associations of its own?.
174. Among expressions which call up pleasing images
may be mentioned 'roseate-glowing' and 'of blossom-laden
hue. Everything that is seen with pleasure is also beautiful
when uttered. Pleasing in sound are such names as ‘Calli-
stratus' and 'Annoon,' in which the double '1, and the
double'n,' have a sort of resonance.
175. In general, it is out of regard for euphony that the
1
1
1 Τheophrastus περί λέξεως.
152 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
Σ
'Αττικοί Δημοσθένην' λέγοντες και Σωκράτης: τη
διανοία δε έντιμα τα τοιαυτά έστιν, οίον το αρχαίοι’ αντί
του παλαιοί’ έντιμότερον οι γαρ αρχαίοι άνδρες έντι-
μότεροι.
5 176. Παρά δε τους μουσικούς λέγεται τι όνομα λείον,
και έτερον το τραχύ, και άλλο ευπαγές, και άλλ' ογκηρόν.
λειον μεν ούν έστιν όνομα το διά φωνηέντων ή πάντων ή
διά πλειόνων, οίον Αίας, τραχύ δέ οίον βέβρωκεν και
αυτό δε τούτο το τραχύ όνομα κατά μίμησιν εξενήνεκται
Ιο εαυτού. ευπαγές δε επαμφοτερίζον και μεμιγμένον ίσως
τοις γράμμασιν.
177. Το δε όγκηρόν εν τρισί, πλάτει, μήκει, πλά-
σματι, οίον βροντά αντί του βροντή και γαρ τραχύτητα
εκ της προτέρας συλλαβής έχει, και εκ της δευτέρας
15 μήκος μεν δια την μακράν, πλατύτητα δε διά τόν Δωρι-
σμόν πλατέα λαλούσι γαρ πάντα οι Δωριείς. διόπερ
ουδέ έκωμώδουν δωρίζοντες, αλλά πικρώς ήττίκιζον η
γαρ 'Αττική γλώσσα συνεστραμμένον τι έχει και δη-
μοτικών και ταις τοιαύταις ευτραπελίαις πρέπον.
20 178. Ταύτα μεν δη παρατεχνολογείσθω άλλως. των
δε ειρημένων ονομάτων τα λεία μόνα ληπτέον ως γλαφυρόν
τι έχοντα.
179. Γίνεται δε και έκ συνθέσεως το γλαφυρόν έστι
μεν ούν ου ράδιον περί του τρόπου του τοιουδε ειπείν
25 ουδε γαρ των πριν είρηταί τινι περί γλαφυρας συνθέσεως.
κατά το δυνατόν δε όμως πειρατέον λέγειν.
Ι8ο. Τάχα γαρ δή έσται τις ηδονή και χάρις, εάν
αρμόζωμεν εκ μέτρων την σύνθεσιν ή όλων ή ημίσεων:
ου μήν ώστε φαίνεσθαι αυτά μέτρα εν τω συνειρμό των
30 λόγων, αλλ', εί διαχωρίζοι τις καθ' εν έκαστον και δια- 238"
κρίνοι, τότε δή υφ' ημών αυτών φωρασθαι μέτρα όντα.
4, 5 εντιμότεροι post άνδρες inter versus add. Ρ. 5 τι λείον όνομα, και τι
τραχύ, και τι το ευπαγές, και τι το ογκηρόν titulus in P. 1ο επαμφοτερίζων Ρ.
13 βροντά P. 19 ευτραπελείαις Ρ. 25 τίνι Ρ. 28 αρμόζομεν Ρ.
31 φοράσθαι Ρ.
ΟΥ
* inter νο" Φωραοραστον
DEMETRIUS ON STYLE
153
Attic writers append an ‘n,' and speak of Anuoo O évny and
Σωκράτης (instead of Δημοσθένη and Σωκράτη). Among
words with noble associations is åpxaiou ('men of the olden
time'), which is superior to tałaloí ('ancients'), since it
implies greater respect.
176. Musicians are accustomed to speak of words as
'smooth,' 'rough,' 'well-proportioned,' 'weighty. A smooth
word is one which consists exclusively, or mainly, of vowels :
e.g. Alas. Béßpwke is an instance of a rough word; and the
very roughness of its formation is designed to imitate the
action it describes. A well-proportioned word is one which
partakes of both characters and shows a happy blending of
various letters.
177. Weight consists in three things: breadth, length,
formation. βροντά (the Doric equivalent of βροντή) may
serve as an example. This word derives roughness from the
first syllable; and from the second it derives length owing to
the long vowel, and breadth owing to the Doric form, the
Dorians being accustomed to broaden all their words. This
is the reason why comedies were not written in Doric, but in
the pungent Attic. The Attic dialect has about it something
terse and popular, and so lends itself naturally to the plea-
santries of the stage.
178. But this is a mere digression in our treatise. Of
all the words indicated, the smooth alone must be employed
as possessing any elegance.
179. Elegance may also be produced by composition,
though it is to be sure not easy to describe the process. Yet,
although no previous writer has treated of elegant com-
position, I must endeavour to do so to the best of my
ability.
180. Well, a certain charm and grace will perhaps be
attained if we frame the composition by measures-in whole
measures or half-measures. The actual measures must not,
however, force themselves on the attention, if the words
be read connectedly, but if the sentence is divided and
analyzed part by part, then and only then ought the presence
of measures to be detected by us.
154
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
σή
I8I. Kάν μετροειδή δε ή, την αυτήν ποιήσει χάριν
λανθανόντως δέ τοι παραδύεται η εκ της τοιαύτης ηδο-
νης χάρις, και πλείστον μεν το τοιούτον είδός έστι παρα
τους Περιπατητικούς και παρά Πλάτωνα και παρά Ξενο-
5 φώντι και Ηροδότο, τάχα δε και παρα Δημοσθένει
πολλαχού Θουκυδίδης μέντοι πέφευγε το είδος.
I82. Παραδείγματα δε αυτού λάβοι τις αν τοιάδε,
οίον ως ο Δικαίαρχος: “ εν Ελέα, φησι, της Ιταλίας
πρεσβύτην ήδη την ηλικίαν όντα.’ των γαρ κώλων
το αμφοτέρων αι απολήξεις μετροειδές τι έχουσιν, υπό δε
του ειρμού και της συναφείας κλέπτεται μεν το μετρικόν,
ηδονή δ' ουκ ολίγη έπεστι.
I83. Πλάτων μέντοι εν πολλοίς αυτό το ρυθμό γλα-
φυρός έστιν εκτεταμένω πως, και ούτε έδραν έχοντι ούτε
15 μήκος: το μεν γαρ ισχνών και δεινόν, το δε μήκος με-
γαλοπρεπές. αλλ' οίον ολίσθω τινί έoικε τα κωλα, και
ούτ' εμμέτρους παντάπασιν ούτ' αμέτρους, οίον εν τω περί
μουσικής λόγω επάν φη νυν δή ελέγομεν.'
I84. Και πάλιν, “μινυρίζων τε και γεγανωμένος υπό
20 της ώδης διατελεί τον βίον όλον.' και πάλιν, το μεν
πρώτον, εί τι θυμοειδές είχεν, ώσπερ σίδηρος εμάλαξεν.
ούτως μεν γαρ γλαφυρόν και ωδικόν σαφώς· ει δ' άνα-
στρέψας είπoις, “εμάλαξεν ώσπερ σίδηρον ή διατελεί
όλον τον βίον,’ εκχεις του λόγου την χάριν εν αυτό το
25 ρυθμό ούσαν· ου γαρ δή έν τη διανοία, ουδ' εν ταις
λέξεσιν.
Ι85. Και περί των μουσικών δε οργάνων πάλιν
χαριέντως ήρμοσεν, εν οίς δή φησιν, λύρα δή σου λεί-
πεται κατά πόλιν' ει γαρ αναστρέψας είπoις “κατά πόλιν
30 λείπεται, μεθαρμοσαμένω ποιήσεις όμοιον. τούτο δε
2 παραδοίεται Ρ. 8 έλαία Ρ. 9 όντι Ρ. ΙΙ συφείας κλέπται
(να et ετ Supra versum additis) Ρ. Ι4 εκτεταμένω] Victorius, εκτεταμένος Ρ.
17 ούτ' έμμετροις] C. F. Hermannus, ούτε μέτρους Ρ. 18 επάν φη] Spengelius,
επάμφω Ρ. | ελέγομεν] Victorius e Plat., λέγομεν Ρ. 24 εκχείς] Dahlius,
εξέχεις Ρ. | το ins. Galeus. 28 ήρμωσεν Ρ. 30 μεθαρμωσαμένω Ρ.
DEMETRIUS ON STYLE
155
181. Even a general metrical character will produce the
same effect. The charm of this pleasing device steals on us
before we are aware. The trait is a favourite one with
the Peripatetics as well as with Plato, Xenophon and
Herodotus; and it is found in many passages of Demosthenes.
Thucydides, on the other hand, shuns it.
182. An illustration of such writing may be quoted
from Dicaearchus, who says: 'At Elia in Italy sojourning, an
old man now, and stricken in years?' The close of each
member has something of a metrical cadence, but the fact is
disguised through the linking of the words in one series; and
great charm results.
183. Now Plato in many passages owes his elegance
directly to the rhythm, which is, so to speak, long drawn out,
and without basement or amplitude, of which the former
suits the plain and forcible, the latter the elevated style.
His members seem to glide along and to be neither alto-
gether metrical nor unmetrical, as in the passage about
music, beginning as we were saying a moment ago?'
184. And again : ‘in warbling and revelling in song he
passes his life wholly?' And once more: 'should he see any
symptom of passion, like steel would he temper it?' Thus
framed, the sentences are manifestly elegant and harmonious.
But if you invert the order and say he would temper it like
steel' or 'he passes all his life, you will rob the language of
its charm, which resides simply in the rhythm. Certainly
it is not to be found in the thought, nor in the choice of
words.
185. Plato employs a delightful cadence, again, when
saying with regard to musical instruments : 'the lyre for you
is left, then, in the town*. Invert the order and say 'in the
town is left for you,' and you will be doing what is tantamount
to changing the melody. He adds : 'yea, and in the fields
i Dicaearchus, Fragm. 33, Müller F. H. G. 11. p. 245.
2 Plat. Rep. iii. 411 A. 8 Plat. Rep. iii. 401 R.
4 Plat. Rep. iii 399 D.
156
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
επιφέρει, και αν κατ’ αγρούς τους ποιμέσιν σύριγξ αν
τις είη' τη γαρ εκτάσει και το μήκει πάνυ χαριέντως
μεμίμηται τρόπον τινά ήχον σύριγγος. έσται δε δηλον,
εί τις μετασυνθείς λέγοι και τούτο.
5 186. Περί μεν δή του κατά σύνθεσιν γλαφυρου επι-
φαινομένου τοσαύτα, ώς εν δυσκόλoις. είρηται δε και
περί του χαρακτήρας του γλαφυρού, εν όσοις και όπως
γίνεται. καθάπερ δε το μεγαλοπρεπεί παρέκειτο ο ψυχρός
χαρακτήρ, ούτως το γλαφυρώ παράκειται τις διαμαρτη-
1ο μένος. ονομάζω δε αυτόν το κοινό ονόματι κακόζηλον.
γίνοιτο δ' αν και ούτος έν τρισίν, ώσπερ και οι λοιποι
πάντες.
I87. Έν διανοία μέν, ώς ο ειπών Κένταυρος εαυτόν
ιππεύων και επί του βουλευομένου 'Αλεξάνδρου δρόμον
15 αγωνίσασθαι Ολυμπιάσιν έφη τις ούτως: «Αλέξανδρε,
δράμε σού της μητρός το όνομα.'
Ι88. 'Εν δε ονόμασιν γίγνοιτ' άν ούτως, οίον “εγέλα
που ρόδον ηδύχροον' ή τε γαρ μεταφορά ή “εγέλα' πάνυ
μετάκειται απρεπώς, και το σύνθετον το ήδύχροον' ουδ'
2ο έν ποιήματι θείη αν τις ακριβώς σωφρονών. ή ώς τις
είπεν, ότι λεπταίς υπεσύριζε πίτυς αύραις.' περί μεν δή
την λέξιν ούτως.
I89. Σύνθεσις δε αναπαιστική και μάλιστα έoικυία 239
τοις κεκλασμένους και ασέμνοις μέτρους, οία μάλιστα τα
25 Σωτάδεια για το μαλακώτερον, “σκάλας καύματι κάλυψον,
και
σείων μελίην Πηλιάδα δεξιόν κατ' ώμον
αντί του
σείων Πηλιάδα μελίην κατα δεξιον ώμον
5 περί κακοζήλων titulus in P. το ονομάζω] Galeus, ονομάζει Ρ.
ΙΙ γίνοιτο] edd., γίνεται Ρ. | ση ότι και το κακόζηλον έν τρισίν in margine P.
13 o supra versum add. Ρ. 14 αλεξάνδρω Ρ. 20 ώς τις] edd., όστις Ρ.
21 λεπταϊς] Radermacherus, δέ γε ταΐς Ρ. | πήτοις Ρ. 23 αναπαιστική Ρ.
25 Σωτάδεια] Victorius, σώματα Ρ. | σκελλας Ρ.
DEMETRIUS ON STYLE
157
for the shepherds some manner of pipe shall be?' By this
long unbroken clause he has, in a manner, quite charmingly
imitated the sound of the pipe. This will be clear to anyone
who changes the arrangement of this sentence also.
186. With regard to elegance as depending on the
arrangement of words these observations must suffice, the
subject being difficult. We have also treated of the essential
features of the elegant style, and have shown where and
how it originates. We have seen that the frigid style is
nearly allied to the elevated. In the same way there is a
defective style perilously near to the elegant; and to this I
give the current name of affected.' This, like all the rest,
falls under three heads.
187. The affectation may reside in the thought, as when
a writer speaks of 'a Centaur riding himself?, or as when
somebody exclaimed on hearing that Alexander meant to
enter for the races at Olympia, ‘Alexander, race along your
own mother's name?!'
188. It may also be found in the words, as ‘smiled the
dulcet-coloured rose?' The metaphor ‘smiled’ is sadly out of
place, and not even in poetry could the compound 'dulcet-
coloured' be employed by any man of correct judgment.
This is true also of the words : 'the pine was piping low to
the gentle gales?'—Thus much with respect to expression.
189. The structure of clauses is affected, when it is
anapaestic and resembles most nearly such broken and un-
dignified measures, as are particularly the Sotadean, with
their effeminate gait, e.g. 'having dried in the sun, cover up3';
and
Upswinging the ash-beam Pelian his rightward shoulder above
in place of
Swinging the Pelian ash-beam over his rightward shoulder*.
TIITIC
1 Plat. Rep. iii. 399 D.
3 Sotad. Fragm.
2 Scr. Inc.
4 Hom. Il. xxii. 133.
158 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
οποία γαρ μεταμεμορφωμένη έoικεν ο στίχος, ώσπερ
οι μυθευόμενοι εξ αρρένων μεταβάλλειν εις θηλείας. τοσ-
άδε μεν και περί κακοζηλίας.
IV.
Igo. Επί δε του ισχνού χαρακτήρος έχοιμεν αν και
5 πράγματα ίσως τινά μικρά και τα χαρακτηρι πρόσφορα,
οίον το παρά Λυσία, οικίδιον έστι μοι διπλούν, ίσα έχον
τα άνω τους κάτω' την δε λέξιν είναι πάσαν χρή κυρίαν
και συνήθη μικρότερον γαρ, το συνηθέστερον πάντων,
το δε ασύνηθες και μετενηνεγμένον μεγαλοπρεπές.
10 Ι9Ι. Και μηδε διπλα ονόματα τιθέναι: του γάρ
εναντίου χαρακτήρος και ταύτα, μηδέ μην πεποιημένα,
μηδ' όσα άλλα μεγαλοπρέπειαν ποιεί, μάλιστα δε σαφή
χρή την λέξιν είναι. το δε σαφές έν πλείοσιν.
192. Πρώτα μεν εν τοις κυρίοις, έπειτα εν τοις συνδε.
15 δεμένοις. το δε ασύνδετον και διαλελυμένον όλον ασαφές
παν· άδηλος γαρ η εκάστου κώλου αρχή διά την λύσιν,
ώσπερ τα Ηρακλείτου και γαρ ταύτα σκοτεινά ποιεί
το πλείστον η λύσις.
I93. Εναγώνιος μέν ούν ίσως μάλλον η διαλελυμένη
20 λέξις, ή δ' αυτή και υποκριτική καλείται: κινεί γαρ υπό-
κρισιν η λύσις. γραφική δε λέξις ή ευανάγνωστος. αύτη
δ' έστιν η συνηρτημένη και οίον ήσφαλισμένη τους συν-
δέσμους. διά τούτο δε και Μένανδρον υποκρίνονται λελυ-
μένον εν τοις πλείστοις, Φιλήμονα δε αναγινώσκουσιν.
25 194. "Οτι δε υποκριτικόν η λύσις, παράδειγμα έγ-
κείσθω τόδε,
έδεξάμην, έτικτον, εκτρέφω, φίλε.
2 αρένων Ρ. 4 περί ισχνού titulus in P, eadem verba in margine P. |
έχoιμεν] Victorius, εκεί μέν Ρ. 6 έχων Ρ. 8 παν ex πάντων, accentu
mutato et punctis supra των positis P. 9 ασύνηθες : σ posterius in Yasura P.
13 εν όσοις το σαφές in margine P. 25 περί υποκριτικών titulus in P. | υπο-
κριτικόν] edd., υποκριτικών Ρ.
DEMETRIUS ON STYLE
159
The line seems transmuted as it were, like those who (so the
fables tell us) are changed from males to females. So much
for the subject of affectation.
CHAPTER IV.
190. In the case of the plain style, we can no doubt
point to subject-matter which is homely and appropriate to
the style itself, e.g. the passage in Lysias, 'I have a cottage
with two storeys, the one above corresponding exactly to that
below?' The diction throughout should be current and fami-
liar. An expression is homelier the more familiar it is, while
the unusual and metaphorical is elevated. .
191. Compound words should not be admitted (since
they are appropriate to the opposite variety of style), nor yet
newly-coined words, nor any other words which contribute to
elevation. Above all, the style should be lucid. Now lucidity
involves a number of things.
192. First of all it involves the employment of current
words, and next of words bound together. Writing which is
wholly disjointed and unconnected is entirely lacking in
clearness. It is impossible to discern the beginning of each
member owing to the looseness of the structure. This is
illustrated by the writings of Heracleitus, the obscurity of
which is due mainly to their loose structure.
193. No doubt the disjointed style lends itself better to
debate. It likewise bears the name of "histrionic,' since a
broken structure stimulates acting. On the other hand, the
best 'literary' style is that which is pleasant to read; and
this is the style which is compacted and (as it were) con-
solidated by the conjunctions. This is the reason why, while
Menander (whose style is for the most part broken) is
popular with the actor, Philemon is the reader's favourite.
194. To show that the broken style suits the stage, take
the following line as an instance :-
Thee I received, I bare, I nurse, O dear one.
1 Lys. Eratosth. ad init.
2 Menander, Fragm. 230 : Meineke iv. pp. 284, 285.
16ο
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ούτως γαρ λελυμένον αναγκάσει και τον μη θέλοντα
υποκρίνεσθαι διά την λύσιν ει δε συνδήσας είπoις,
έδεξάμην και έτικτον και εκτρέφω’ πολλήν απάθειαν
τους συνδέσμους συνεμβαλείς. πάνυ δε το απαθές ανυ-
5 πόκριτον.
195. "Έστι δε και άλλα θεωρήματα υποκριτικά, οίον
και ο παρά τω Ευριπίδει "Ίων ο τόξα αρπάζων και των
κύκνω απειλών τω όρνιθι, αποπατούνται κατά των αγαλμά-
το επί τα τόξα δρόμος και η προς τον αέρα ανάβλεψις του
προσώπου διαλεγομένου τα κύκνω, και η λοιπή πάσα
διαμόρφωσις προς τον υποκριτών πεποιημένη. αλλ' ου
περί υποκρίσεως ημίν τα νύν ο λόγος.
196. Φευγέτω δε η σαφής γραφή και τας αμφιβολίας,
15 σχήματι δε χρήσθω τη επαναλήψει καλουμένη. επανά-
ληψις δε εστι συνδέσμου επιφορά του αυτού εν τοις δια
μακρού επιφερομένοις λόγοις, οίον όσα μεν έπραξε
Φίλιππος, και ως την Θράκην κατεστρέψατο, και Χερρό-
νησον είλεν, και Βυζάντιον επολιόρκησεν, και 'Αμφίπολιν
20 ουκ απέδωκεν, ταύτα μεν παραλείψω' σχεδόν γαρ ο μεν
σύνδεσμος επενεχθείς ανέμνησεν ημάς της προθέσεως,
και απεκατέστησεν επί την αρχήν.
197. Σαφηνείας δε ένεκεν | και διλογητέον πολλάκις: 239"
ήδιον γάρ πως το συντομώτερον ή σαφέστερον ως γαρ
25 οι παρατρέχοντες παρορώνται ενίοτε, ούτως και η λέξις
παρακούεται διά το τάχος.
198. Φεύγειν δε και τας πλαγιότητας και γάρ τούτο
ασαφές, ώσπερ η Φιλίστου λέξις. συντομώτερον δε πα-
Ι ούτος Ρ. 3, 4 και εκ δε το απαθές in textu P, τρέφω πολλήν......
συμβαλείς πάνυ in margine P. 4 συνεμβαλείς] nos, συμβαλείς Ρ: εμβαλείς
Finckhius. 7 των Ρ. | αρπάζων Ρ. ΙΙ λοιπή : ι supra versum add. P.
14 περί επαναλήψεως titulus in P. 15 τι εστιν επανάληψις in margine P.
17 επιφερομένου, ισ supra υ scripto P. 18 χερόννησον Ρ. 20 περιλείψω Ρ.
23 διλογιτέον Ρ.
24 ίδιον Ρ. Ι ή σαφέστερον] edd., ως σαφέστερον Ρ.
28 ασαφώς Ρ.
DEMETRIUS ON STYLE
161
L.
Thus disjointed, the words will of themselves force a man to
be dramatic even in his own despite. But if you employ
conjunctions and say "I received and bare and nurse,' you
will at the same time make the line quite lifeless. And what
is unemotional is essentially undramatic.
195. Other aspects of the actor's art deserve attention.
Take, for instance, the case of Ion in Euripides, who seizes
his bow and threatens the swan which is letting fall its
droppings upon the statues? Many opportunities of move-
ment are offered to the actor by Ion's rush for his bow and
arrows, by his face upturned to the sky as he addresses the
swan, and by the rest of the detail contrived to aid the
actor. Still, the subject of stage-craft is not at present
before us.
196. Clear writing should also shun ambiguities and make
use of the figure termed 'epanalepsis.' 'Epanalepsis' is the
repetition of the same particle in the course of a long-sustained
outburst: e.g. 'all Philip's achievements indeed-how he
subjugated Thrace, and seized the Chersonese, and besieged
Byzantium, and neglected to restore Amphipolis,-these
things, indeed, I shall pass over? It may be said that
the repetition of the particle 'indeed reminds us of the
prelude and sets us again at the beginning of the sentence.
197. For the sake of clearness the same thing must
often be said twice over. There is somehow more charm
than clearness in conciseness. For as men who race past us
are sometimes indistinctly seen, so also the meaning of a
sentence may, owing to its hurried movement, be only imper-
fectly caught.
198. The use of dependent cases must also be avoided,
since this leads to obscurity, as Philistus' style shows. A
ness
1 Eurip. Ion, 161 seqq.
2 Scr. Inc.
R.
II
162
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ράδειγμα πλαγίας λέξεως και διά τούτο ασαφούς το
παρά Ξενοφώντι, οίον και ότι τριήρεις ήκουεν περι-
πλεούσας απ' 'Ιωνίας εις Κιλικίαν Τάμον έχοντα τας
Λακεδαιμονίων και αυτου Κύρου' τούτο γαρ εξ ευθείας
5 μεν ωδέ πως λέγοιτο τριήρεις προσεδοκώντο εις Κιλικίαν
πολλαι μεν Λάκαιναι, πολλαι δε Περσίδες, Κύρω ναυπη-
γηθείσαι επ' αυτώ τούτω. έπλεον δ' απ' 'Ιωνίας: ναύαρχος
δ' αύταις επεστάτει Τάμος Αιγύπτιος μακρότερον μεν
ούτως εγένετο ίσως, σαφέστερον δέ.
το 199. Και όλως τη φυσική τάξει των ονομάτων
χρηστέον, ως το “Επίδαμνός έστι πόλις έν δεξια εσπλέ-
οντι εις τον Ιόνιον κόλπον'' πρώτον μεν γαρ ώνόμασται
το περί ου, δεύτερον δε και τούτό έστιν, ότι πόλις, και τα
άλλα εφεξής.
15 200. Γίγνοιτο μεν ούν αν και το έμπαλιν, ως το
"Έστι πόλις 'Εφύρη' ου γαρ πάντη ταύτην δοκιμάζομεν
την τάξιν, ουδε την ετέραν αποδοκιμάζομεν, καθά έκ-
τιθέμεθα μόνον το φυσικόν είδος της τάξεως.
» 20Ι. 'Εν δε τους διηγήμασιν ήτοι από της ορθής
2ο αρκτέον, Επίδαμνός έστι πόλις, ή από της αιτιατικής,
ως το λέγεται Επίδαμνον την πόλιν.) αι δε άλλαι
πτώσεις ασάφειάν τινα παρέξουσι και βάσανον τώ τε
λέγοντι αυτό και το ακούοντι.
202. Πειρασθαι δε μή εις μήκος εκτείνειν τας περι-
25 αγωγάς, ο γαρ 'Αχελώος ρέων εκ Πίνδου όρους άνωθεν
μεν παρα Στράτον πόλιν επί θάλασσαν διέξεισιν' αλλ'
αυτόθεν απολήγειν και αναπαύειν τον ακούοντα ούτως
και γαρ 'Αχελώος ρεί μεν εκ Πίνδου όρους, έξεισιν δε εις
θάλασσαν’ πολύ γαρ ούτως σαφέστερον, ώσπερ αν αι
I, 2 τω παρά P. 3 σικελίαν Ρ. | inter σικελίαν et τάμον litura maior in P.
5 προσεδοκούντο Ρ. | σικελίαν Ρ. 6 λάκεναι Ρ. 8 αυτοΐς Ρ. 9 ούτος Ρ.
το φυσικη Victorius, φύσει και Ρ. Ι2 ιώνιον P. | ώνοσται, μα supra versum
add. P. 13 και του το Ρ. 16 παντί Ρ. 20 πόλης P. 21 inter
μet ν rastura exigua in P. 22 το τε Ρ. 26 στρατόν πάλιν Ρ.
DEMETRIUS ON STYLE
T
163
~
short example of clearness sacrificed to dependent construc-
tions is to be found in Xenophon: 'He was informed that
triremes belonging to the Lacedaemonians and to Cyrus
himself were coasting round with Tamos on board from
Ionia to Cilicia?' This sentence might be written in a
straightforward construction somewhat as follows: 'In Cilicia
there were expected many Lacedaemonian, and many
Persian ships, the latter built for Cyrus with this very pur-
pose. They were sailing from Ionia, and the admiral in
command of them was the Egyptian Tamos. The sentence
might thus have been longer : it would certainly have been
clearer.
199. In general, the natural order of the words should
be followed, as in the sentence 'Epidamnus is a town on
your right hand as you sail into the Ionian gulf?.' First of all
is mentioned the subject, which is then defined to be a town,
and next come the other words in due succession.
200. No doubt the order might be reversed, as in
the words 'There is a town Ephyra3. We do not abso-
lutely approve the one order nor condemn the other, when
simply setting forth the natural method of arranging the
words.
201. In narrative passages we should begin with the
nominative case, as in ' Epidamnus ('Errida uvos) is a town';
or with the accusative, as in “it is said of the town of
Epidamnus ('Erridapvov). The other cases will cause some
obscurity and will put both speaker and hearer on tenter-
hooks.
202. An attempt must be made to keep the amplifica-
tions within due bounds. Take this sentence: 'For the
Achelous flowing from Mount Pindus, near the inland city
Stratus discharges itself into the seat.' We ought to break off
and give the hearer a rest thus: 'For the Achelous flows from
Mount Pindus, and discharges itself into the sea. This is far
clearer than the other. It is with sentences as with roads.
1
1 Xen. Anab. i. 2, 21.
3 Hom. II. vi. 152.
2 Thucyd. i. 24.
4 Thucyd. ii. 102. Cp. $ 45 supra.
II-2
164
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
πολλά σημεία έχουσαι οδοί και πολλές αναπαύλας:
ηγεμόσι γαρ τα σημεία έoικεν, η δε ασημείωτος και
μονοειδής, κάν μικρά ή, άδηλος δοκεί.
203. Περί μεν δη σαφηνείας τοσαύτα, ώς όλίγα εκ
5 πολλών, και μάλιστα εν τοις ισχνούς αυτή λόγοις χρηστέον.
204. Φεύγειν δε εν τη συνθέσει του χαρακτήρος
τούτου πρώτον μεν τα μήκη των κώλων μεγαλοπρεπές
γαρ παν μήκος, ώσπερ και επί των ηρωϊκών μέτρων το
εξάμετρον ηρωϊκόν [όν] καλείται υπό μεγέθους και πρέ-
το πον ήρωσιν, η κωμωδία δε συνέσταλται εις το τρίμετρον
η νέα.
205. Τα πολλά ούν κώλοις τριμέτρους χρησόμεθα
και ενίοτε κόμμασιν, ώσπερ ο μεν Πλάτων φησί, κατέ-
βην χθες εις Πειραιά μετά Γλαύκωνος:’ πυκναι γαρ αι
15 ανάπαυλαι και αποθέσεις. Αισχίνης δε “έκαθήμεθα μέν,
φησίν, επί των θάκων εν Λυκείω, ού οι αθλοθέται τον
αγώνα διατιθέασιν.'
206. 'Εχέτω δε και έδραν ασφαλή των κώλων τα
τέλη και βάσιν, ώς τα ειρημένα: αι γαρ κατά τα
20 τελευταία εκτάσεις μεγαλοπρεπείς, ως τα Θουκυδίδου,
«'Αχελώος ποταμός ρέων εκ Πίνδου όρους και τα εξής.
207. Φευκτέον ούν και τας των μακρών στοιχείων
συμπλήξεις έν τω χαρακτηρι τούτω και των διφθόγγων
όγκηρόν γαρ πάσα έκτασις. και εί που βραχέα συγ-
25 κρουστέον βραχέσιν, ώς πάντα μεν τα νέα καλά έστιν,’ 240
ή βραχέα μακρούς, ώς ήέλιος,’ ή αμώς γε πως διά
βραχέων και όλως εμφαίνεται ευκαταφρόνητος ο τοιούτος
τρόπος της λέξεως και ιδιωτικός, κάπ' αυτά ταύτα πεποιη-
μένος.
2 ασημείοτος Ρ. 8 ηρωϊκών secl. Spengelius. 9 ον (e dittographia
natum) seclusi. Ιο ήρωσιν] edd., ηρώων Ρ. 15 αναπαύλαι ex ανάπαυλαι Ρ.
Ιβ λυκίω Ρ. 23 και subter versum add. P. 26 ήέλιος] Victorius, ήλιος Ρ.
αμώς] Finckhius, άλλως Ρ. 27 βραχέως Ρ. | εμφαίνεται] Victorius, έμφαί-
νεσθαι Ρ. 28 και αυτά Ρ: κάπ' αυτά dedi.
DEMETRIUS ON STYLE
165
Some roads have many resting-places and many sign-posts;
and the sign-posts may be compared to guides. But a dreary
road with never a sign-post seems hard to track, however
short it may be.
203. These are a few remarks, out of a possible many,
on the subject of clearness. Clearness must be studied most
of all in the plain style.
204. Long members must be particularly avoided in
composition of this type. Length always tends to eleva-
tion. Thus, among metres, the hexameter is called 'heroic'
owing to its amplitude which fits it for heroes. The New
Comedy, on the other hand, is compressed into the tri-
meter.
205. Accordingly we shall for the most part employ
trimeter members and sometimes phrases, as when Plato
says: 'I went down yesterday to the Peiraeus together with
Glaucon?' Here the rests and cadences are many. So with
a sentence of Aeschines: 'We sat upon the benches in the
Lyceum, where the stewards of the games order the contests?'
206. In the plain style the members should end with
precision, and rest on a sure foundation, as in the examples
just quoted. Prolonged endings belong rather to the elevated
style, as in the words of Thucydides: 'the river Achelous
flowing from Mount Pindus, etc.??
207. In this style we must also shun the concurrence of
long vowel-sounds and of diphthongs, since lengthening in-
variably suggests elaboration. If concurrence be admitted,
let it be of short letters with short (as in 'Trávta pè tà
véa Kará ot\'4); or of short with long (as in 'the orb
of day: né cos)’; or of short vowels in some shape or
form. In general, this variety of style has little dignity or
distinction, being in fact fashioned with that very end in
view.
1 Plat. Rep. i. I init.
3 Cp. SS 45, 202.
2 Aeschines Socr. fragm.
+ Cp. $ 70.
166 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
208. Φευγέτω δή και τα σημειώδη σχήματα παν
γαρ το παράσημον ασύνηθες και ουκ ιδιωτικόν. την δε
ενάργειαν και το πιθανόν μάλιστα και χαρακτήρ ούτος
επιδέξεται. περί εναργείας ούν και περί πιθανότητος
5 λεκτέον.
209. Πρώτον δε περί εναργείας γίνεται δ' ή ενάργεια
πρώτα μεν εξ ακριβολογίας και του παραλείπειν μηδέν
μηδ' εκτέμνειν, οίον ώς δ' ότ' ανήρ οχετηγός και πάσα
αύτη η παραβολή το γαρ εναργές έχει εκ του πάντα
το ειρήσθαι τα συμβαίνοντα, και μη παραλελειφθαι μηδέν.
21ο. Και η ιπποδρομία δε η επί Πατρόκλω, εν οις
λέγει,
πνoιή δ' Ευμήλοιο μετάφρενον,
και
15
αιεί γαρ δίφρου επιβησομένοισιν είκτην.
πάντα ταυτα εναργή έστιν εκ του μηδεν παραλελειφθαι
των τε συμβαινόντων και συμβάντων.
21Ι. "Ωστε πολλάκις και η διλογία ενάργειαν ποιεί
μάλλον, ή το άπαξ λέγειν, ώσπερ το “συ δ' αυτόν και
20 ζώντα έλεγες κακώς, και νυν αποθανόντα γράφεις κακώς.
δις γαρ κείμενον το κακώς’ έναργεστέραν σημαίνει την
βλασφημίαν.
212. "Οπερ δε τω Κτησία εγκαλούσιν ώς άδολεσχο-
τέρω διά τας διλογίας, πολλαχή μεν ίσως εγκαλούσιν
25 ορθώς, πολλαχή δε ουκ αισθάνονται της εναργείας του
ανδρός· τίθεται γαρ ταύτό για το πολλάκις ποιείν έμφασιν
πλείονα.
213. οία τα τοιάδε, “Στρυαγγατός τις, ανήρ Μήδος,
γυναίκα Σακίδα καταβαλών από του ίππου: μάχονται
30 γαρ δή αι γυναίκες έν Σάκαις ώσπερ αι Αμαζόνες:
και περιεροκή Ρ.
3 ούτος ex ούτως Ρ. 4 περιενάργει, compend. tamen indicato, P. 6 περί
εναργείας titulus in P. 13 πνoιή Ρ. 15 δίφρου Homerus: δίφρω Ρ.
20 έλεγες : ες supra versum add. P. 23 ση περί Κτησίου τι φησιν in
margine P.
26 ποιείν ex ποιούν Ρ.
28 Στρυαγγαίος] Finckhius,
Στρυάγλιος Ρ. 30 σάκες, αι supra ε scripto P.
στη περί KT
DEMETRIUS ON STYLE
167
1
208. Peculiar figures should also be avoided, since all
eccentricity is unfamiliar and extraordinary As, however,
the plain style will welcome vivid representation and per-
suasiveness in an especial degree, we must next speak of
these two qualities.
209. We shall treat first of vividness, which arises from
an exact narration overlooking no detail and cutting out
nothing. An instance is the Homeric simile which begins ‘As
when a man draws off water by a runnell. The comparison
owes its vividness to the fact that all the accompanying cir-
cumstances are mentioned and nothing is omitted.
210. Another example is the horse-race in honour of
Patroclus, as described by Homer :-
For ever they seemed as though they would mount the chariot-floor
Of Eumêlus, and hot on his back did the breath of their nostrils pour,
And his shoulders broad, for their heads overhung him as onward
they flew
The entire description is vivid owing to the fact that no
detail which usually occurs and then occurred is omitted.
211. From this it follows that repetition often gives the
effect of vividness more than a single statement: e.g. You
are the man who, when he was alive, spoke to his discredit,
and now that he is dead write to his discredits. The repeated
use of the words 'to his discredit' adds to the vividness of
the invective.
212. The charge of garrulity often brought against
Ctesias on the ground of his repetitions can perhaps in many
passages be established, but in many instances it is his critics
who fail to appreciate the writer's vividness. The same word
is repeated because this often makes a greater impression.
213. Here is an example: “Stryangaeus, a Mede, having
unhorsed a Sacian woman (for the women of the Sacae join
in battle like Amazons), was struck with the youth and beauty
1 Hom. Il. xxi. 257.
2 Hom. Il. xxiij. 379
αιεί γάρ δίφρου επιβησομένοισιν είκτην,
πνoιή δ' Ευμήλοιο μετάφρενον ευρέε τ' ώμω
θέρμετ' επ' αυτώ γάρ κεφαλάς καταθέντε πετέσθην.
3 Cp. § 26.
I68
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
θεασάμενος δη την Σακίδα ευπρεπή και ωραίαν μεθηκεν
απoσώζεσθαι. μετά δε τούτο σπονδών γενομένων, ερασ-
θείς της γυναικός άπετύγχανεν έδέδοικτο μεν αυτώ απο-
καρτερείν» γράφει δε πρότερον επιστολήν τη γυναικα
5 μεμφόμενος τoιάνδε: Εγώ μεν σε έσωσα, και συ μεν δι'
έμε εσώθης: εγώ δε διά σε απωλόμην.'
2Ι4. 'Ενταύθα επιτιμήσειεν αν ίσως τις βραχυλόγος
οίόμενος είναι, ότι δις ετέθη προς ουδεν το έσωσα' και
δι' εμε εσώθης.’ ταυτόν γαρ σημαίνει αμφότερα. αλλ'
το ει αφέλοις θάτερον, συναφαιρήσεις και την ενέργειας και
το έκ της έναργείας πάθος. και το επιφερόμενον δέ, το
“απωλόμην' αντί του “ απόλλυμαι,' εναργέστερον αυτη τη
συντελεία εστί το γαρ δή γεγονός δεινότερον του μέλ.
λοντος ή γινομένου έτι.
15 215. Και όλως δε και ποιητής ούτος (ποιητήν γαρ
αυτόν καλοίη τις είκότως) εναργείας δημιουργός έστιν εν
τη γραφη συμπάση.
216. οίον και εν τοις τοιουσδε δει τα γενόμενα ουκ
ευθύς λέγειν, ότι εγένετο, αλλά κατά μικρόν, κρεμνώντα
2ο τον ακροατών και αναγκάζοντα συναγωνιάν. τούτο και
Κτησίας εν τη αγγελία τη περί Κύρου τεθνεώτος ποιεί.
ελθών γαρ ο άγγελος ουκ ευθύς λέγει ότι απέθανεν Κυρος
παρά την Παρυσάτιν: τουτο γαρ η λεγομένη από Σκυ-
θων ρησίς έστιν· αλλά πρώτον μεν ήγγειλεν, ότι νικά,
25 ή δε ήσθη και ηγωνίασεν μετά | δε τουτο έρωτά, βασιλεύς 24ον
δε πως πράττει ; δδε πέφευγέ φησι και η υπολαβούσα:
Τισσαφέρνης γαρ αυτώ τούτων αίτιος και πάλιν επανε-
ρωτά Κυρος δε που νυν ; ο δε άγγελος αμείβεται ένθα
χρή τους αγαθούς άνδρας αυλίζεσθαι. κατά μικρών και
30 κατά βραχύ προϊών μόλις, το δη λεγόμενον, απέρρηξεν
αυτό, μάλα ηθικώς και εναργώς τόν τε άγγελον έμφήνας
3 εδέδοκτω Ρ. 9 inter τ et αυτόν litura in P: fuit fort. το αυτόν.
11 εκ της supra versum add. Ρ. τ8 γενόμενα] edd., γινόμενα Ρ. 21 περί
θανάτου Κύρου in margine P. 30 απέρριξεν Ρ.
2
DEMETRIUS ON STYLE
169
of the Sacian and allowed her to escape. Afterwards, when
peace was declared, he became enamoured of her and failed in
his suit. He resolved to starve himself to death. But first he
wrote a letter upbraiding the woman thus: 'I saved you, ay
you were saved through me; and now I have perished
through you?'”
214. Here a critic who prided himself on his brevity
might say that there is a useless repetition in 'I saved you'
and you were saved through me,' the two statements con-
veying the same idea. But if you take away one of the two,
you will also take away the vividness and the emotional effect
of vividness. Furthermore, the expression which follows (“I
have perished' in place of 'I perish') is more vivid just
because the past tense is used. There is something more
impressive in the suggestion that all is over, than in the
intimation that it is about to happen or is still happening.
215. Altogether this poet (for a poet Ctesias may well
be called) is an artist in vividness throughout his writings..
216. An example may be added here. When a misfor-
tune has happened, we should not state the fact at once, but
unfold it gradually, thus keeping the reader in suspense and
forcing him to share our distress. This is what Ctesias does
in his narrative of the death of Cyrus. The messenger, out
of consideration for Parysatis, does not immediately on his
arrival announce that Cyrus is dead, for such a proceeding
would be (to use the common expression) a brutal one. First
of all he reports the victory of Cyrus. Parysatis is all joy
and excitement. Then she asks, ' And how fares the king ?'
The reply is, 'He is filed.' She rejoins : Yes, he owes this to
Tissaphernes. And she asks further, 'But where is Cyrus
now?' The messenger replies, 'In the bivouac of the brave.'
Thus warily does Ctesias advance little by little, step by step,
till at last he breaks the news,' as the phrase goes, and indicates
very naturally and vividly the messenger's reluctance to
1 Ctesias, Fragmm. 20, 21 (Ctesiae Persica, ed. J. Gilmore).
170
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ακουσίως άγγελούντα την συμφοράν, και την μητέρα εις
αγωνίαν εμβαλών και τον ακούοντα.
217. Γίνεται δε και εκ του τα παρεπόμενα τους
πράγμασι λέγειν ενάργεια, οίον ως επί του αγροίκου
5 βαδίζοντος έφη τις, ότι πρόσωθεν ήκουστο αυτού των
ποδών και κτύπος προσιόντος, ώς ουδέ βαδίζοντος, αλλ'
οϊόν γε λακτίζοντας την γην.
2Ι8. "Οπερ δε ο Πλάτων φησίν επί του Ιπποκρά-
τους, “ερυθριάσας ήδη τη νυκτί] ήδη γαρ υπέφηνές τι
1ο ημέρας, εις το καταφανή αυτόν γενέσθαι,' ότι μεν εναργέ-
στατόν έστι, παντί δηλον ή δ' ενάργεια γέγονεν έκ της
φροντίδος της περί τον λόγον και του απομνημονεύσαι,
ότι νύκτωρ προς αυτόν εισήλθεν ο Ιπποκράτης.
219. Κακοφωνία δε πολλάκις, ως το “κόπτ', εκ δ'
15 εγκέφαλος, και πολλά δ' άναντα, κάταντα'' μεμίμηται
γαρ τη κακοφωνία την ανωμαλίαν πασα δε μίμησις
εναργές τι έχει.
220. Και τα πεποιημένα δε ονόματα ενάργειαν ποιεί
διά το κατά μίμησιν εξενηνέχθαι, ώσπερ το λάπτοντες.
20 ει δε πίνοντες' είπεν, ούτ' εμιμείτο πίνοντας τους κύνας,
ούτε ενάργεια άν τις εγίνετο. και το “γλώσσησι δε
το λάπτοντες προσκείμενον έτι εναργέστερον ποιεί τον
λόγον. και περί εναργείας μεν ως έν τύπω ειπείν τοσ-
αυτα.
25 22I. Το πιθανόν δε εν δυοϊν, έν τε τω σαφεί και
συνήθει» το γαρ ασαφές και ασύνηθες απίθανον· λέξιν
2 εμβαλών P. 9 ήδη τη νυκτί seclusit Schneiderus. 10 εις το Ρ:
ώστε Plat. I4 κακοφωνία : α supra versum scripsit Ρ. κόπτεν δ' Ρ.
16 ανωμαλίαν ex ανομαλίαν Ρ. 19 λάπτοντες P. 20 έμίμητο Ρ.
22 το λάπτοντες P. 25 περί πιθανότητος in margine P. 26 ασύνηθες ex
ασύνεθες m. rec. P.
DEMETRIUS ON STYLE
171
announce the calamity, while he himself causes the reader to
join in the mother's grief 1.
217. Vividness may also be produced by mentioning
the accompanying circumstances of any action. It was, for
instance, once said of a countryman's walk that 'the noise of
his feet had been heard from afar as he approached?,' the
suggestion being that he was not walking at all, but stamping
the ground, so to say.
218. Plato also provides an example when referring to
Hippocrates: 'He was blushing, for the first glimmer of dawn
now came to betray him? The extreme vividness of this
description is clear to everybody. It is the result of the care
shown in the narrative, which brings to mind the fact that it
was night when Hippocrates visited Socrates.
219. Cacophony is often vivid, as in the lines :-
And together laid hold on twain, and dashed them against the ground
Like whelps : down gushed the brain, and bespattered the rock-
four round 4.
Or,
And upward and downward and thwartward and slantward they
tramped evermore".
Homer intends the cacophony to suggest the broken ground,
all imitation having an element of vividness.
220. Onomatopoeic words produce a vivid effect, be-
cause their formation is imitative. The participle ‘lapping'
is an instance in pointe. If Homer had said 'drinking,' he
would not have imitated the sound of dogs drinking, nor
would there have been any vividness. The word 'tongues'
(yróconol) added to the word 'lapping' makes the narrative
still more vivid.-But on the subject of vividness this outline
sketch must suffice.
221. The power of convincing depends on two things,
lucidity and naturalness. In other words, what is not lucid
i Ctesias, Fragm. 36 (ed. Gilmore). ? Scr. Inc. 3 Plat. Protag. 312 A.
4 Hom. Odyss. ix. 289
συν δε δύω μάρψας ώς τε σκύλακας ποτί γαίη
KOTT”. ÈK SP eyképalos xauadis pée, delle de yalav.
5 Hom. Il. xxiii. 116
πολλά δ' άναντα κάταντα πάραντά τε δόχμιά τ' ήλθον.
6 Hom. Il. xvi. 161
λάψοντες γλώσσησιν αραιήσιν μέλαν ύδωρ.
172
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
16
Ο κα
δσκοντι
5
τε ούν ου την περιττήν ουδε υπέρογκον διωκτέον εν τη
πιθανότητι, και ωσαύτως σύνθεσιν βεβαιούσαν και μηδέν
έχoυσαν ρυθμοειδές.
222. Εν τούτοις τε ούν το πιθανόν, και εν ο Θεό-
5 φραστός φησιν, ότι ου πάντα επ' ακριβείας δει μακρη-
γορείν, αλλ' ένια καταλιπείν και το ακροατή συνιέναι,
και λογίζεσθαι εξ αυτού συνείς γαρ το έλλειφθέν υπό
σου ουκ ακροατης μόνον, αλλά και μάρτυς σου γίνεται,
και άμα ευμενέστερος. συνετός γαρ εαυτω δοκεί διά
το σε τον αφορμήν παρεσχηκότα αυτά του συνιέναι, το
δε πάντα ως ανοήτω λέγειν καταγινώσκοντι έoικεν του
ακροατού.
223. Επει δε και ο επιστολικός χαρακτήρ δείται
ισχνότητος, και περί αυτού λέξομεν. 'Αρτέμων μεν ούν
15 και τας Αριστοτέλους αναγράψας επιστολάς φησιν, ότι δει
εν τω αυτω τρόπω διάλογόν τε γράφειν και επιστολάς:
είναι γαρ την επιστολήν οίον το έτερον μέρος του δια-
λόγου.
224. Και λέγει μέν τι ίσως, ου μην απαν: δει γαρ
20 υποκατεσκευάσθαι πως μάλλον του διαλόγου την επιστο-
λήν ο μεν γαρ μιμείται αυτοσχεδιάζοντα, η δε γράφεται
και δώρον πέμπεται τρόπον τινά. -
225. Τίς γούν ούτως αν διαλεχθείη προς φίλον,
ώσπερ ο Αριστοτέλης προς 'Αντίπατρον υπέρ του φυγάδος
25 γράφων του γέροντός φησιν· “εί δε προς απάσας οϊχεται
γας φυγας ούτος, ώστε μη κατάγειν, δήλον ως τοϊσγε εις 241
"Αιδου κατελθείν βουλομένοις ουδείς φθόνος'' γαρ
ούτως διαλεγόμενος επιδεικνυμένω έoικεν μάλλον, ου
λαλουντι.
30 226. Και λύσεις συχναι οποίαι * * ου πρέπουσιν
7 εξαυτού P. 13 πως δεί επιστέλλειν titulus in P, eadem verba in
margine P. 13, 14 o et μέν supra versum add. P. 20 υποκατασκευάσθαι Ρ.
23 διαλεχθείη] Schneiderus, διαλεχθή Ρ. 26 γας] Valckenaerius, τας Ρ.
κατάγειν ex καταγήν Ρ. 28 επιδεικνυμένω ex επιδεικνoμένω Ρ. 30 συχναι]
Victorius, loxval P. I lacunam statuit Goellerus.
DEMETRIUS ON STYLE
173
nor natural is not convincing. Accordingly exuberant and
inflated language must not be sought after in a style meant
to carry conviction. The composition, likewise, in such a
style, must be steady-going and void of formal rhythm.
222. These, then, are the main essentials of persuasive-
ness; to which may be added that indicated by Theophrastus
when he says that all possible points should not be punctili-
ously and tediously elaborated, but some should be left to the
comprehension and inference of the hearer', who when he
perceives what you have omitted becomes not only your
hearer but your witness, and a very friendly witness too.
For he thinks himself intelligent because you have afforded
him the means of showing his intelligence. It seems like a
slur on your hearer to tell him everything as though he were
a simpleton.
223. We will next treat of the epistolary style, since it
too should be plain. Artemon, the editor of Aristotle's
Letters, says that a letter ought to be written in the same
manner as a dialogue, a letter being regarded by him as one
of the two sides of a dialogue?.
224. There is perhaps some truth in what he says, but
not the whole truth. The letter should be a little more studied
than the dialogue, since the latter reproduces an extemporary
utterance, while the former is committed to writing and is (in
a way) sent as a gift.
225. Who (one may ask) would, in conversation with a
friend, so express himself as does Aristotle when writing to
Antipater on the subject of the aged exile? If he is doomed
to wander to the uttermost parts of the earth, an exile
hopeless of return, it is clear that we cannot blame such men
should they wish to descend to Hades' hall3.' A man who
conversed in that fashion would seem not to be talking but to
be making a display.
226. Frequent breaks in a sentence such as........
are not appropriate in letters. Such breaks cause obscurity in
i Theophrastus arepi Néčews.
2 Cp. n. 3 infra.
3 Aristot. Fragm. 615 (ed. Berol. v. pp. 1581, 1582).
174
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
επιστολαίς ασαφές γαρ εν γραφη η λύσις, και το μι-
μητικόν ου γραφης ούτως οικείον, ως αγώνος, οίον ως έν
τη Ευθυδήμω: τίς ήν, ώ Σώκρατες, ώ χθες έν Λυκείω
διελέγου και η πολύς υμάς όχλος περιειστήκει' και μικρόν
5 προελθών επιφέρει, αλλά μοι ξένος τις φαίνεται είναι, και
διελέγου: τίς ήν;” ή γάρ τοιαύτη πάσα ερμηνεία και
μίμησις υποκριτή πρέπoι μάλλον, ου γραφομέναις επι-
στολαις.
227. πλείστον δε εχέτω το ηθικόν η επιστολή,
1ο ώσπερ και ο διάλογος: σχεδόν γαρ εικόνα έκαστος της
εαυτού ψυχης γράφει την επιστολήν. και έστι μεν και
εξ άλλου λόγου παντός ιδείν το ήθος του γράφοντος, εξ
ουδενός δε ούτως, ως επιστολής.
228. Το δε μέγεθος συνεστάλθω της επιστολής,
15 ώσπερ και η λέξις. αι δε άγαν μακραί, και προσέτι
κατά την ερμηνείαν ογκωδέστεραι, ου μα την αλήθειαν
επιστολαί γένοιντο άν, αλλά συγγράμματα, το χαίρειν
έχοντα προσγεγραμμένον, καθάπερ του Πλάτωνος πολλαι
και η Θουκυδίδου.
20 229. Και τη συντάξει μέντοι λελύσθω μάλλον
γελοίον γαρ περιοδεύειν, ώσπερ ουκ επιστολήν, αλλά
δίκην γράφονται και ουδέ γελοίον μόνον, αλλ' ουδε
φιλικόν (το γαρ δή κατά την παροιμίαν τα σύκα σύκα
λεγόμενον) επιστολαίς ταυτα επιτηδεύειν.
25 230. Είδέναι δε χρή, ότι ουχ ερμηνεία μόνον, αλλά
και πράγματά τινα επιστολικά εστιν. 'Αριστοτέλης γούν
ος μάλιστα επιτετευχέναι δοκεί του [αυτου] επιστολικού,
τούτο δε ου γράφω σοι, φησίν ου γαρ ήν επιστο-
λικόν.'
30 231. Ει γάρ τις εν επιστολή σοφίσματα γράφοι και
Η ασαφές: ες supra versum add. P. 3 λυκίω Ρ. 4 ημάς Ρ. 12 πάντως Ρ.
18 του Πλάτωνος πολλαι] Finckhius, τα Πλάτωνος πολλά P. 20 τάξει, τη
συν supra versum scripsit m. rec. Ρ. | λελύσθω: ν in rastura P. 23 τασύ
(kaoú: his litteris extra versum additis) ka P. 27 8s] Spengelius, ùs P. / seclu-
dendum, ut videtur, αυτού.
DEMETRIUS ON STYLE
175
writing, and the gift of imitating conversation is a better aid
to debate than to writing. Consider the opening of the
Euthydemus : “Who was it, Socrates, with whom you were
conversing yesterday in the Lyceum? Quite a large crowd
was surrounding your party?' And a little further on Plato
adds : 'Nay, he seems to me to be some stranger, the man
with whom you were conversing. Who was he, pray ??' All
such imitative style better suits an actor; it does not suit
written letters.
227. The letter, like the dialogue, should abound in
glimpses of character. It may be said that everybody reveals
his own soul in his letters. In every other form of composition
it is possible to discern the writer's character, but in none so
clearly as in the epistolary. .
228. The length of a letter, no less than its style, must
be carefully regulated. Those that are too long, and further
are rather stilted in expression, are not in sober truth letters
but treatises with the heading “My dear So-and-So. This is
true of many of Plato's, and of that of Thucydides.
229. There should be a certain degree of freedom in the
structure of a letter. It is absurd to build up periods, as if
you were writing not a letter but a speech for the law-courts.
And such laboured letter-writing is not merely absurd ; it
does not even obey the laws of friendship, which demand
that we should call a spade a spade,' as the proverb has it.
230. We must also remember that there are epistolary
topics, as well as an epistolary style. Aristotle, who is
thought to have been exceptionally successful in attaining
the epistolary manner, says: 'I have not written to you on
this subject, since it was not fitted for a letters.'
231. If anybody should write of logical subtleties or
1 Plat. Euthyd. 271 A.
2 Plat. Euthyd. 271 A.
3 Aristot. Fragm. 620 (ed. Berol.).
176
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
φυσιολογίας, γράφει μέν, ου μην επιστολήν γράφει. φι-
λοφρόνησις γάρ τις βούλεται είναι η επιστολή, σύντομος,
και περί απλού πράγματος έκθεσης και εν ονόμασιν
απλούς.
5 232. Κάλλος μέντοι αυτής αί τε φιλικαι φιλοφρο-
νήσεις και πυκναι παροιμίαι ενούσαι και τούτο γαρ
μόνον ενέστω αυτη σοφόν, διότι δημοτικόν τι εστιν η
παροιμία και κοινόν, ο δε γνωμολογών και προτρεπόμενος
ου δι' επιστολής έτι λαλούντι έoικεν, αλλά μηχανής.
10 233. 'Αριστοτέλης μέντοι και αποδείξεσί που χρηται
επιστολικώς, οίον διδάξαι βουλόμενος, ότι ομοίως χρη
ευεργετείν τας μεγάλες πόλεις και τας μικράς, φησίν,
“οι γαρ θεοί εν αμφοτέραις ίσοι, ώστ' επεί αι χάριτες
θεαί, ίσαι αποκείσονταί σοι παρ' αμφοτέραις' και γαρ
15 το αποδεικνύμενον αυτω επιστολικών και η απόδειξις
αυτή.
234. Επει δε και πόλεσίν ποτε και βασιλεύσιν
γράφομεν, έστωσαν τοιαύται [α] επιστολαί μικρών
εξηρμέναι πως. στοχαστέον γαρ και του προσώπου
20 και γράφεται εξηρμένη μέντοι [και] ουχ ώστε σύγ-
γραμμα είναι αντ' επιστολής, ώσπερ αι 'Αριστοτέλους
προς Αλέξανδρος, και προς τους Δίωνος οικείους η
Πλάτωνος.
235. Καθόλου δε μεμίχθω η επιστολή κατά την
25 ερμηνείαν εκ δυοϊν χαρακτήροιν τούτοις, του τε χαρίεντος
και του ισχνού. και περί επιστολής μεν τοσαύτα, και
άμα περί του | χαρακτήρας του ισχνού.
236. Παράκειται δε και το ισχνω διημαρτημένος
χαρακτήρ, ο ξηρός καλούμενος. γίνεται δε και ούτος εν
30 τρισίν εν διανοία μέν, ώσπερ τις επί Ξέρξου έφη, ότι
“ κατέβαινεν ο Ξέρξης μετά πάντων των εαυτού.' μάλα
241'
2 επιστοι Ρ. 6 ενούσαι: ούσαι supra versum scripsit Ρ.
λογών P. 18 αι secl. Spengelius. 20 και del. Goellerius.
ξηρού in margine P.
8 γνομω-
28 περί
DEMETRIUS ON STYLE
177
questions of natural history in a letter, he writes indeed, but
not a letter. A letter is designed to be the heart's good
wishes in brief; it is the exposition of a simple subject in
simple terms.
232. Its beauty consists in the expressions of friendship
and the many proverbs which it contains. This last is the
only philosophy admissible in it, the proverb being common
property and popular in character. But the man who
utters sententious maxims and exhortations seems to be no
longer talking familiarly in a letter but to be speaking 'ex
cathedra.'
233. Aristotle, however, sometimes uses certain forms
of demonstration fitly in a letter. For instance, wishing to
show that large towns and small have an equal claim to be
well treated, he says: “The gods are as great in one as in
the other; and since the Graces are gods, they will be placed
by you in one no less than in the other?' The point he
wishes to prove is fitted for a letter, and so is the proof itself.
234. Since occasionally we write to States or royal
personages, such letters must be composed in a slightly
heightened tone. It is right to have regard to the person to
whom the letter is addressed. The heightening should not,
however, be carried so far that we have a treatise in place of a
letter, as is the case with those of Aristotle to Alexander and
with that of Plato to Dion's friends.
235. In general it may be remarked that, from the
point of view of expression, the letter should be a com-
pound of two styles, viz. the graceful and the plain.—So
much with regard to letter-writing and the plain style.
236. Side by side with the plain style is found a de-
fective counterpart, the so-called 'arid' style. This, again,
has thrée sources, the first of which is the thought, as when
someone says of Xerxes that he was coming down to the coast
1 Aristot. Fragm. 609 (ed. Berol.).
1 2
178
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
EV
Εται
γαρ εσμίκρυνεν το πράγμα, αντί του μετά της Ασίας
απάσης' ειπείν “μετά πάντων των εαυτού’ φήσας.
237. Περί δε την λέξιν γίνεται το ξηρόν, όταν πράγμα
μέγα σμικρούς ονόμασιν απαγγέλλη, οίον ως ο Γαδαρεύς
5 επί της εν Σαλαμίνι ναυμαχίας φησί και του Φαλάριδος
του τυράννου έφη τις, άττα γαρ ο Φάλαρις ηνώχλει τους
'Ακραγαντίνοις.’ ναυμαχίαν γαρ τοσαύτην και τυράννων
ωμότητα ουχί το άττα' ονόματι ουδε τα ηνώγλει'
εχρήν λέγειν, αλλ' εν μεγάλους και πρέπουσιν τω υποκει-
το μένω πράγματι. ,
238. 'Εν δε συνθέσει γίνεται το ξηρόν, ήτοι όταν
πυκνά ή τα κόμματα, ώσπερ εν τοις 'Αφορισμούς έχει
“ο βίος βραχύς, η δε τέχνη μακρά, και δε καιρός οξύς,
η δε πείρα σφαλερά'ή όταν ένα μεγάλα πράγματι απο-
15 κεκομμένον ή το κώλον και μη έκπλεων, ώσπερ τις
'Αριστείδου κατηγορών, ότι ουκ αφίκετο εις την εν Σαλα-
μίνι ναυμαχίαν, αλλά αυτόκλητος, έφη, ότι η μεν
Δημήτηρ ήλθεν και συνεναυμάχει, 'Αριστείδης δε ού.
η γαρ αποκοπή και απρεπής και άκαιρος. ταϊς μεν
20 τοιαύταις αποκοπαίς εν ετέροις χρηστέον.
239. Πολλάκις μέντοι το μεν διανόημα αυτό ψυχρόν
τί έστι, και ως νυν ονομάζομεν κακόζηλον, η σύνθεσις
δ' αποκεκομμένη και κλέπτουσα του διανοήματος την
άδειαν, ώσπερ επί του νεκρά τη γυναικα μιχθέντος έφη
25 τις, ότι “ου μίγνυται αυ τη ανθρώπω' το μεν γαρ δια-
νόημα και τυφλή δηλόν φασιν, η σύνθεσις δε συσταλείσα
κλέπτει μέν πως την άδειαν του πράγματος, ποιεί δε την
νυν όνομα έχουσαν ξηροκακοζηλίαν συγκειμένην έκ δυοϊν
κακών, εκ μέν της κακοζηλίας διά το πράγμα, εκ δε του
30 ξηρού διά την σύνθεσιν.
acov
1 ή μετά Ρ. 2 των add. edd. 3 πράγμα Ρ. 4 απαγγέλη Ρ. | Γα-
δαρεύς] edd., Γαδηρεύς Ρ. 6 νόχλει Ρ. 7 τυράννων, ου supra versum
Scripto, P. 8 ονόχλει Ρ. Ι4, 15 αποκεκομμένω η τω κώλω Ρ. 18 συνεναυ-
μάχει ex συν εναυμάχη P. 25 αυ τη ανθρώπω conicio : αυτής άν Ρ.
DEMETRIUS ON STYLE
179
11
with all his following?' He has quite belittled the event by
saying with all his following' in place of with the whole of
Asia.'
237. In expression aridity is found when a writer
describes a great event in terms as trivial as those applied
by the Gadarene to the battle of Salamis. And someone
said of the despot Phalaris that ‘Phalaris inflicted certain
annoyances on the people of Acragas?' So momentous a
sea-fight and so cruel a despot ought not to have been
described by the word 'certain' nor by the word 'annoyances,
but in impressive terms appropriate to the subject
238. Aridity may also be due to composition. This is
so when the detached clauses are many, as in the Aphorisms :
* Life is short, art long, opportunity fleeting, experience de-
ceptive?' It is so, again, when in dealing with an important
matter, the member is broken and not completed. Someone,
for example, when accusing Aristeides for not being present
at the battle of Salamis, said: 'Why, Demeter came un-
bidden and fought on our side; but Aristeides, no?' Here
the abrupt ending is inappropriate and ill-timed. Abrupt
endings of this kind should be reserved for other occasions.
239. Often the thought is in itself frigid, or what we
now term 'tasteless,' while the composition is abrupt and
tries to disguise the licence of the thought. Someone says
of a man who embraced his wife when dead : 'he does not
embrace the creature again?' The meaning even a blind man
can see, as the saying goes; but the compression of the
phrasing hides to some extent the licence of the thing, and
produces what is now called by the name of 'tasteless
aridity, being made up of two defects, · tastelessness of
subject-matter and aridity of style.
1
? Scr. Inc.
2 Hippocr. Aphor.: cp. § 4 supra.
I 2-2
Ι8ο
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
. V.
240. Και τα περί της δεινότητος δε δηλα αν είη
λοιπόν εκ των προειρημένων, ότι και αυτη γένοιτ' άν εν
τρισίν, εν οίσπερ οι προ αυτης χαρακτήρες και γαρ.
πράγματά τινα εξ εαυτών έστι δεινά, ώστε τους λέγοντας
5 αυτά δεινούς δοκεϊν, κάν μη δεινώς λέγωσιν, καθάπερ
ο Θεόπομπος τας εν τω Πειραιεί αυλητρίας και τα πορνεία
και τους αυλούντας και άδοντας και ορχoυμένους, ταύτα
πάντα δεινά ονόματα όντα καίτοι ασθενώς ειπών δεινός
δοκεί.
1o 24Ι. Κατά δε την σύνθεσιν ο χαρακτήρ ούτος γίνοιτ'
αν πρώτον μεν ει κόμματα έχοι αντί κώλων: το γαρ
μήκος εκλύει την σφοδρότητα, το δε εν ολίγω πολύ έμ-
φαινόμενον δεινότερον παράδειγμα το Λακεδαιμονίων
προς Φίλιππον, Διονύσιος εν Κορίνθω' ει δε εξέτειναν
15 αυτό, Διονύσιος εκπεσών της αρχής πτωχεύει έν Κορίνθω
διδάσκων γράμματα, διήγημα σχεδόν αν ήν μάλλον αντί
λοιδορίας.
. 242. Kάν τοις άλλοις δε φύσει έβραχυλόγουν οι
Λάκωνες: δεινότερον γαρ το βραχύ και επιτακτικόν, το
20 μακρηγορείν δε τω ικετεύειν πρέπει και αιτεϊν.
243. Διό και τα σύμβολα έχει δεινότητας, και ότι έμφερή 242-
ταις βραχυλογίαις και γαρ εκ του βραχέως ρηθέντος
υπονοήσαι τα πλείστα δεί, καθάπερ εκ των συμβόλων
ούτως και το χαμόθεν οι τέττιγες υμίν άσονται” δεινό-
25 τερον αλληγορικώς ρηθέν, ή είπερ απλώς έρρήθη, τα
δένδρα υμών εκκοπήσεται.'
244. Τάς γε μην περιόδους έσφίγχθαι μάλα δεί κατά.
το τέλος η γαρ περιαγωγή δεινόν, η δε λύσις απλούστε.
1 περί δεινότητος titulus in P, eadem verba in margine P. 4 ώστε τους ex.
ώσπερ (στε τους supra versum scripto) Ρ. 5 λέγουσιν Ρ. 8 ονόματα (όντα
supra versum atram. pallid. add.) Ρ. 19 επιτατικόν Ρ. 20 το ικετεύειν Ρ.
21 εμφερή ex Εμφέρει Ρ. 24 τέττηγες (η punctis notato) Ρ. 25 έρρήθη.
ex ήρρέθη (ε supra η et η supra e scripto) P. 27 κατά] Victorius, και P.
DEMETRIUS ON STYLE
181
CHAPTER V.
240. We now come to the quality of force. It is clear,
from what has already been said, that force also, like the
styles previously described, may have three sources. Some
things are forcible in themselves, so that those who give
utterance to them seem to be forcible, even if they do not
speak forcibly. Theopompus, for instance, in a certain
passage describes the flute-girls in the Peiraeus, the stews,
and the sailors who pipe and sing and dance; and through
employing all this strong language he seems to be forcible,
although his style is really feeble.
241. In respect of composition this type of style re-
quires, first of all, phrases in place of members. Prolixity
paralyses vigour, while much meaning conveyed in a brief
form is the more forcible. An example is the message of
the Lacedaemonians to Philip: ‘Dionysius at Corinth. If
they had expanded the thought at full length, saying
'Dionysius has been deposed from his sovereignty and is
now a beggarly schoolmaster at Corinth,' the result would
have been a bit of narrative rather than a taunt
242. The Lacedaemonians had a natural turn for
brevity of speech under all circumstances. Brevity is, indeed,
more forcible and peremptory, while prolixity is suited for
begging and praying.
243. For this reason symbolic expressions are forcible,
as resembling brief utterances. We are left to infer the chief
of the meaning from a short statement, as though it were a
sort of riddle. Thus the saying your cicalas shall chirp
from the ground' is more forcible in this figurative form
than if the sentence had simply run “your trees shall be
hewed down?
244. In this style the periods should be brought to a
definite point at the end. The periodic form is forcible, while
looseness of structure is more naïve and betokens an innocent
i Cf. § 8 supra.
2 Cp. SS 99, 100 supra.
182 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
- Κα
Ι
Ι
Ι
ρον και χρηστοηθείας σημείον, καθάπερ η αρχαία πάσα
ερμηνεία: απλοϊκοί γαρ οι αρχαίοι.
245. "Ωστε εν δεινότητι φεύγειν δει το αρχαιοειδές
και του ήθους και του ρυθμού, και καταφεύγειν μάλιστα
5 επί την νύν κατέχουσαν δεινότητα. των ούν κώλων αι
τοιαύται αποθέσεις, ώμολόγησα τούτοις, ώς αν οιός τε
ώ, συνερείν, έχονται μάλιστα ού είρηκα ρυθμού.
246. Ποιεί δέ τινα και η βία κατά την σύνθεσιν
δεινότητα: δεινόν γαρ πολλαχου και το δύσφθογγον,
το ώσπερ αι ανώμαλοι οδοί. παράδειγμα το Δημοσθενικόν
το υμάς το δούναι υμίν εξειναι.'
247. Τα δε αντίθετα και παρόμοια εν ταις περιόδους
φευκτέον όγκον γαρ ποιούσιν, ου δεινότητα, πολλαχού
δε και ψυχρότητα αντί δεινότητος, οίον ώς ο Θεόπομπος
15 κατά των εταίρων των Φιλίππου λέγων έλυσεν τη αντι-
θέσει την δεινότητα, ανδροφόνοι δε την φύσιν όντες,
λέγων, ανδροπόρνοι τον τρόπον ήσαν' τη γαρ περισ-
σοτεχνία, μάλλον δε κακοτεχνία, προσέχων ο ακροατής
έξω γίνεται θυμού παντός.
20 248. Πολλά μέντοι υπ' αυτών των πραγμάτων ώσπερ
αναγκασθησόμεθα συνθείναι στρογγύλως και δεινώς, οίον
το Δημοσθενικόν το τοιούτον, ώσπερ γαρ εί τις εκείνων
εάλω, συ τάδ' ουκ αν έγραψας ούτως αν συ νυν αλώς,
άλλος ου γράψει’ αυτο γαρ το πραγμα και η τάξις
25 αυτου συμπεφυκυίαν σαφώς έσχεν την σύνθεσιν, και
ουδέ βιασάμενος άν τις ραδίως ετέρως συνέθηκεν αυτό.
έν γαρ πολλούς πράγμασι συντίθεμεν, ώσπερ οι τας
καταβάσεις τρέχοντες, υπ' αυτών ελκόμενοι των πραγ-
μάτων.
30 249. Ποιητικόν δε δεινότητός έστι και το επί τέλει
Ι
S.
2 οι αρχαίοι] Spengelius, αρχαίοι Ρ: fort. αρχαίοι. 14 δεινοτητή, ο supra
lituram scripto. I5 κατά bis in transitu versuum scripsit P. Η ετέρων Ρ. Ι6 ση
την αντίθεσιν in margine P. 21 στρογγύλως, σ posterius supra versunm addito, P.
23 συ τάδ' Demosth.: συ δ' Ρ. 25 συμπεφυκυίαν] Victorius, συμπεφυκυία Ρ.
27 συντίθεμεν :ν posterius in rasura P.
DEMETRIUS ON STYLE
183
TV
nature. This is true of all old-fashioned style, the ancients
being distinguished by naïveté.
245. It follows that, in the forcible style, we must avoid
old-fashioned traits both of character and of rhythm, and
regard the forcible style at present in vogue as our special
goal. Now, for the members, cadences of the following kind,
'I have agreed to plead, to the best of my ability, my clients'
case?' keep closest to the rhythm I have mentioned.
246. Even violence conveys a certain impression of
energy in composition. Yes, in many passages harshness
gives all the effect of vehemence, as though we were jolted
on rough roads. Demosthenes' words are a case in point:
' (he has deprived) you of the bestowal-you of the pre-
rogative?
247. We should avoid antitheses and exact parallelisms
of words in the period, since in place of force they render the
style laboured and often frigid. Theopompus, for example,
when inveighing against the intimates of Philip, enfeebled his
invective by the following antithesis: 'men-slayers in nature,
they were men-harlots in life. The hearer, having his
attention fixed on this elaboration, or rather affectation,
forgets to be angry.
248. We shall often find ourselves constrained by the
very nature of the subject-matter to construct sentences
which are rounded, indeed, but forcible too, as in the follow-
ing passage of Demosthenes : 'Just as you would not have
made this proposal if any of the former parties had been
convicted, so if you are convicted now no one will do so
in future4.' This particular arrangement obviously grew
naturally out of the subject and the order of words evoked
by it. Not even by violent perversion could a writer easily
have framed the sentence otherwise. There are many topics
in handling which we are swept along by the subject itself,
just as though we were running down a slope.
249. It also conduces to force to place the most forcible
2 Demosth. Lept. init.
i Cp. SS 10, 20, 31 supra.
3 Theopomp. Fragm. 249: cp. § 27 supra.
4 Demosth. Aristocr. 99: cp. $ 31 supra.
184
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
τιθέναι το δεινότατον περιλαμβανόμενον γαρ εν μέσω
αμβλύνεται, καθάπερ το 'Αντισθένους, σχεδόν γαρ
οδυνήσει άνθρωπος εκ φρυγάνων αναστάς'' ει γαρ μετα-
συνθείη τις ούτως αυτό, σχεδόν γαρ εκ φρυγάνων αναστας
5 άνθρωπος οδυνήσει, καίτοι ταυτόν ειπων ου ταυτόν έτι
νομισθήσεται λέγειν.
250. Η δε αντίθεσις, ήν επί του Θεοπόμπου έφην,
ουδε εν τοις Δημοσθενικούς ήρμοσεν, ένθα φησίν, έτέλεις,
εγώ δε ετελούμην εδίδασκες, εγώ δε έφοίτων έτριταγω-
το νίστεις, εγώ δε εθεώμην εξέπιπτες, εγώ δε εσύριττον''
κακοτεχνούντι γαρ έoικεν διά την ανταπόδοσιν, μάλλον
δε παίζoντι, ουκ αγανακτούντι.
25I. Πρέπει δε τη δεινότητα και των περιόδων ή
πυκνότης, καίτοι έν τους λοιπούς χαρακτηρσιν ουκ επιτη-
15 δεία ούσα συνεχώς γαρ τιθεμένη μέτρων εικασθήσεται λε-
γομένω εφεξής, και τούτο δεινά μέτρα, ώσπερ οι χωλίαμβοι.
252. "Αμα μέντοι πυκναι έστωσαν και σύντομοι,
λέγω δε δίκωλοί τινες, επεί τοι πολύκωλοί γε ούσαι κάλλος
μάλλον παρέξουσιν, ου δεινότητα.
20 253. Ούτω δ' η συντομία το χαρακτηρι χρήσιμον,
ώστε και αποσιωπήσαι πολλαχου δεινότερον, καθάπερ 242"
και Δημοσθένηςαλλ' εγώ μέν, ου βούλομαι δε δυσχερές
ουδέν ειπείν, ούτος δε εκ περιουσίας κατηγορεί.' σχεδόν
ο σιωπήσας ενταύθα δεινότερος παντός του είπόντος άν.
25 254. Και να τους θεούς σχεδόν [αν και η ασάφεια
πολλαχου δεινότης εστί δεινότερον γαρ το υπονοούμενον,
το δ' εξαπλωθεν καταφρονείται.
255. "Έστι δ' όπη κακοφωνία δεινότητα ποιεί, και
μάλιστα, εάν το υποκείμενον πράγμα δέη τοιαύτης, ώσπερ
30 το Ομηρικόν, το
3, 4 αναστάς......φρυγάνων in margine supplevit Ρ. 5 άνθρωπος in
Compend. et ras. P. | οδυνήσει dedi : οδυνήσειε Ρ. " Το εσύρριττον Ρ.
15 συνεχώς] edd., συνεχει Ρ. 15, 16 λεγομένω Ρ. | δεινώ μέτρωι supra ώσπερ
scripsit nm. rec. P.. 18 πολύκωλοι: πολύ supra versum scripsit P. | γε]
Goellerus, τε Ρ. 24 o] Weilius, ως Ρ. ή αν secl. edd. 27 εξαπλωθέν : εν
eodem compendio quo -ενον ν. 29 infra.
DEMETRIUS L
185
ON STYLE
of the red.
imple:
NU
expression at the end. If this be surrounded and enveloped,
its point is blunted. Let the following sentence of Antis-
thenes serve as an example: “almost torment will be caused
by a man from brushwood started. If a writer were to
change the order thus, “almost will a man from brush-
wood started cause torment,' he will be saying the same
thing but will no longer be believed to be saying the
same.
250. Excessive antithesis, already condemned in the
case of Theopompus, is out of place even in Demosthenes, as
in the following passage: 'You were initiating, I was initiated;
you taught, I attended classes; you took minor parts in
the theatre, I was a spectator; you broke down, I hissed?'
The elaborate parallelism of clauses produces the impression
of false artifice; of trifling, rather than of honest indignation.
251. An uninterrupted series of periods, although inap-
propriate in other styles, is favourable to force. Its crowded
succession will convey the impression of line recited after
line,—forcible lines like the choliambic.
252. These massed periods should, however, be short
(of two members, say), since many-membered periods will
produce the feeling of beauty rather than of force.
253. Conciseness is so favourable to this style that a
sudden lapse into silence is often yet more forcible, as when
Demosthenes says: 'I could on my part...but I do not
desire to say anything offensive ; only, my opponent accuses
at a great advantage. The orator's reserve is here more
effective than any possible retort could have been.
254. And (strange though it may seem) obscurity often
produces force, since what is distantly hinted is more forcible,
while what is plainly stated is held cheap.
255. Occasionally cacophony produces vigour, espe-
cially if the subject requires harshness of sound, as in Homer's
line:-
Y
? Antisth. fragm. 67, Mullach F. Ph. G. 11. p. 286.
2 Demosth. de Cor. 265.
3 Demosth. de Cor. 3, ålduol -oů Boúrouar duo xepès eineîv oudèv åpxóuevos
του λόγου, ούτος δ' εκ περιουσίας μου κατηγορεί.
I86
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
Τρώες δ' ερρίγησαν, όπως ίδoν αιόλον όφιν:
ήν μεν γαρ και ευφωνoτέρως ειπόντα σώσαι το μέτρον,
Τρώες δ' ερρίγησαν, όπως όφιν αιόλον είδον
αλλ' ούτ' αν ο λέγων δεινός ούτως έδοξεν, ούτε ο όφις
5 αυτός.
256. Τούτω ούν επόμενοι το παραδείγματι και τα
άλλα προσστοχασόμεθα τα όμοια, οίον αντί μεν του
πάντα αν έγραψεν έγραψεν άν' αντί δε του ου παρε-
γένετο παρεγένετο ουχί.'
το 257. 'Απολήγοντες δέ ποτε και εις συνδέσμους τον
“δε' ή τον τέ’ καίτοι παραγγέλλεται φυγείν την απόληξιν
την τοιαύτην· άλλα πολλαχού χρήσιμος τοιαύτη αν γένοιτο,
οίον ουκ ευφήμησε μέν, άξιον όντα, ήτίμασε δε, ή ως
το Σχοινόν τε Σκώλόν τε, αλλ' εν μέν τοις Ομηρικούς
15 μέγεθος εποίησεν ή εις τους συνδέσμους τελευτή.
258. Ποιήσειε δ' άν ποτε και δεινότητα, εί τις ώδε
είπoι “ ανέτρεψεν δε υπό της αφροσύνης τε υπό της ασεβείας
τε τα ιερά τε τα όσιά τε’ όλως γαρ η λειότης και το
ευήκοον γλαφυρότητος ίδια, ου δεινότητός εστιν, ούτοι
2ο δ' οι χαρακτήρες εναντιώτατοι δοκούσιν.
259. Καίτοι εστί πολλαχού εκ παιδιάς παραμεμιγ-
μένης δεινότης έμφαινομένη τις, οίον εν ταις κωμωδίαις,
και πάς ο Κυνικός τρόπος, ως τα Κράτητος
πήρη τις γαϊ' έστι μέσω ενί οινοπι τύφω.
25 26ο. Και το Διογένους το εν Ολυμπία, ότε του
οπλίτου δραμόντος επιτρέχων αυτος εκήρυττεν εαυτόν
νικάν τα 'Ολύμπια πάντας ανθρώπους καλοκάγαθία. και
γαρ γελάται το ειρημένον άμα και θαυμάζεται, και ηρέμα
και υποδάκνει πως λεγόμενον. .
4 o ante όφις add. Finclkhius. 7 προσστοχασόμεθα] Goellerus, προστο-
χασόμεθα Ρ. 8 πάντα αν έγραψεν έγραψεν αν] edd., πάντων έγραψεν άν Ρ.
το ση in margine P. 13 ή inserui. 14 σκώλον : σ supra versum add.
atram. pall. Ρ. Ι7 ανέτρεψεν] Weilius, άν. έγραψεν Ρ. 21 παιδιάς : ας
supra versum add. m. rec. P. 24 πήρη] Victorius, το ποτήρη Ρ. γαϊ']
Victorius, γάρ Ρ. | τύφω] Victorius, πόντω Ρ. 28 προς το Ρ.
DEMETRIUS ON STYLE
187
Then shuddered the Trojans, beholding the writhing serpent'.
It would have been possible to construct the line more
euphoniously, without violating the metre, thus :-
Then shuddered the Trojans, the writhing serpent beholding.
But there would then have seemed to be nothing terrific
whether in the speaker or in the serpent itself.
256. On this model we may venture other similar ex-
periments, such as the order έγραψεν άν in place of (πάντα)
άν έγραψεν Or παρεγένετο ουχί in place of oύ παρεγένετο.
257. In this style we shall, also, sometimes end with
the conjunctions Sé or té, notwithstanding the instructions
we have received to avoid terminations of the kind. Such
endings are often useful, as in the words 'He did not praise
him, though he deserved it; he insulted him, on the contrary
(nriuage Sé)2'; or as in 'Schoenus too, Scolus too3? In
Homer elevation is the result of ending thus with conjunc-
tions.
258. Force of style will also mark a sentence of this
kind: 'He turned upside down, in his folly and his impiety
too, things sacred and things holy too. As a general rule,
smoothness and a pleasant cadence are characteristic of the
elegant rather than the forcible style; and these two styles
seem to be direct opposites.
259. In many passages there is an air of vigour due to
a dash of fun. This is so in comedies; and all the Cynic
manner is of this character. Crates' words are an instance in
Comedy:-
There lieth a dim land under a lurid smoke-pall smothered 4.
260. So with a saying of Diogenes at Olympia, when
(at the conclusion of the race between the men in armour)
he ran up and proceeded to proclaim himself victor at the
Olympic games over all mankind-in high personal character.
This exclamation excites mingled laughter and applause,
and there is a light touch of mordant wit about it too.
3 Hom. Il. ii. 497.
1 Hom. Il. xii. 208. ? Scr. Inc.
4 Cratetis fragm. 7, Bergk4.
188
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
261. Και το προς τον καλόν ρηθεν αυτώ προσ-
παλαίων γαρ καλό παιδί Διογένης διεκινήθη πως το
αιδοίον, του δε παιδος φοβηθέντος και αποπηδήσαντος,
“ θάρρει, ώ παιδίον' ούκ είμι ταύτη όμοιος.’ γελοίον γαρ
5 το πρόχειρον του λόγου, δεινή δ' η κευθομένη έμφασις.
και όλως, συνελόντι φράσαι, πάν το είδος του Κυνικού
λόγου σαίνοντι άμα έoικέ τω και δάκνοντι.
262. Χρήσoνται δ' αυτό και οι ρήτορές ποτε, και
έχρήσαντο, Λυσίας μεν προς τον έρωντα της γραός λέγων,
το ότι “ης ράον ήν αριθμήσαι τους οδόντας ή τους δακτύλους
και γαρ δεινότατα άμα και γελοιότατα ένέφηνεν την γραυν:
"Ομηρος δε το “Ούτιν εγώ πύματον έδoμαι, ως προγέ-
γραπται.
263. Ως δ' αν και έκ σχημάτων γίγνοιτο δεινότης,
15 λέξομεν. εκ μέν ούν τών της διανοίας σχημάτων, εκ μέν
της παραλείψεως ονομαζομένης ούτως: "Όλυνθον μεν
δη και Μεθώνης και Απολλωνίαν και δύο και τριάκοντα
πόλεις τας επί Θράκης έω' εν γαρ τούτοις και είρηκεν |
πάντα, όσα έβούλετο, και παραλιπείν αυτά φησιν, ώς 243
20 δεινότερα είπείν έχων έτερα.
264. Και η προειρημένη δ' αποσιώπησις του αυτού
ήθους έχoμένη δεινότερον ποιήσει τον λόγον.
265. Παραλαμβάνοιτο δ' άν σχήμα διανοίας προς
δεινότητα ή προσωποποιία καλουμένη, οίον δόξατε υμίν
25 τους προγόνους ονειδίζειν και λέγειν τάδε τινά ή την
Ελλάδα και την πατρίδα, λαβούσαν γυναικός σχημα.'
266. "Ωσπερ εν τω επιταφίω Πλάτων το “ώ παίδες,
ότι μέν έστε πατέρων αγαθών, και ουκ εκ του ιδίου
προσώπου λέγειν, αλλά εκ του των πατέρων: πολύ γαρ
OUTC
'
7 σαίνοντι : ι prius in ras P. το ράδιον Ρ. 11 δεινότατον... γελοιότατον
P, δεινότατα... γελοιότατα (α...α supra versum pallid. atram. scripto) m. rec. P.
12 ούτιν Ρ. Ι4, 15 γίγνοιτο...σχημάτων in margine P. 16 παραλήψεως Ρ.
17 μοθώνης Ρ. Ι απολωνίαν Ρ.
21 και η προειρημένη] Finckhius, και
προ η ειρημένη P. 22 ήθους] Victorius, έθους Ρ. 24 ή ins. Hammerus.
DEMETRIUS ON STYLE
189
261. So also with his words to the handsome youth,
when wrestling with whom Diogenes unawares assumed an
unseemly position. The lad was frightened and started back.
Never fear, my dear, boy,' he exclaimed, 'I am not your
match in that way. There is wit in the ready reply and
point in the hidden meaning. And it may be said in general
that every variety of Cynic speech reminds you of a dog
that is ready to bite even while he fawns.
262. Orators will always employ, as they always have
employed, this weapon of sarcasm. Witness Lysias and his
remark to an old woman's lover that 'it was easier to count
her teeth than her fingers?' He has represented the grandam
in a most repulsive and a most ridiculous light. So, too,
Homer with his already quoted words ' Noman will I eat last?'
263. We shall next show how force can be secured by
rhetorical figures. It can be secured by figures conveying
the speakers thought. Take, for instance, that which is
called 'praetermission,' e.g. 'I pass over Olynthus, Methone,
Apollonia, and the two-and-thirty towns on the confines of
Thrace3.' In these words the orator has said everything he
wished, while professing to have passed everything over in
his desire to proceed to weightier matters.
264. The figure 'aposiopesis' already mentioned, which
partakes of the same character, will also make expression
- more forcible.
265. Another figure of thought—the so-called 'proso-
popoeia '--may be employed to produce energy of style, as in
the words: 'Imagine that your ancestors, or Hellas, or your
native land, assuming a woman's form, should address such
and such reproaches to you?
266. Plato uses the figure in his Funeral Oration:
* Children, that you are sprung from noble sires, etc. He
does not speak in his own name, but in that of their ances-
1 Lys. Fragm. (cp. $ 128 supra).
3 Demosth. Philipp. iii. 26.
2 Hom. Odyss. ix. 369: cp. & 130 supra.
4 Scr. Inc. 5 Plat. Menex. 246 D.
190
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ενεργέστερα και δεινότερα φαίνεται υπό των προσώπων,
μάλλον δε δράματα ατεχνώς γίνεται.
267. Τα μεν είδη της διανοίας και σχήματα λαμ-
βάνοιτ' άν, ως είρηται· και γαρ τοσαύτα τα ειρημένα
5 παραδείγματος ένεκα, τα δε της λέξεως σχήματα ποικι-
λώτερον εκλέγοντά έστι δεινότερον ποιείν τον λόγον, έκ
τε της αναδιπλώσεως, ως “Θηβαι δέ, Θηβαι, πόλις αστυ-
γείτων, εκ μέσης της Ελλάδος ανήρπασται'' διλογηθέν
γαρ το όνομα δεινότητα ποιεί.
το 268. Και εκ της αναφοράς καλουμένης, ως το “επί
σαυτόν καλείς, επί τους νόμους καλείς, επί την δημο-
κρατίαν καλείς'' το δε σχήμα το ειρημένον τούτο τρι-
πλούν και γαρ επαναφορά έστιν, ως είρηται, δια το την
αυτήν λέξιν επαναφέρεσθαι επί την αυτήν αρχήν, και
15 ασύνδετον δίχα γαρ συνδέσμων λέλεκται, και ομοιοτέ.
λευτον δια την απόληξιν του “καλείς' πολλάκις. και
δεινότης ήθροισται εκ των τριών, ει δ' είπoι τις ούτως,
επί σαυτόν και τους νόμους και την δημοκρατίαν καλείς,
άμα τους σχήμασιν εξαιρήσει και την δεινότητα.
20 269. Μάλιστα δε πάντων ιστέον την διάλυσιν δεινό-
τητος εργάτιν, οίον πορεύεται δια της αγοράς τας γνάθους
φυσών, τας οφρύς επηρκώς, ίσα βαίνων Πυθοκλει'. ει
γαρ συναφθη ταύτα συνδέσμοις, πραότερα έσται.
270. Λαμβάνοιτ' αν και η κλίμαξ καλουμένη, ώσπερ
25 Δημοσθένει το ουκ είπον μεν ταύτα, ουκ έγραψα
δέ ουδ' έγραψα μέν, ουκ έπρέσβευσα δε ουδ' έπρέσ-
βευσα μέν, ουκ έπεισα δε Θηβαίους σχεδόν γαρ επανα-
βαίνοντι ο λόγος έoικεν επι μειζόνων μείζονα. ει δε
ούτως είπoι τις ταύτα, είπών εγώ και γράψας έπρέσβευσά
2 ατέχνως Ρ. 3 λαμβάνοιτ' : ν in transitu versus bis scripsit, prius tamen
ν postea delevit Ρ. ΙΙ επι τους νόμους καλείς ex Aesch. Cles. supplevit Victorius.
13 έστιν, ως Victorius, ίσως Ρ. 16 καλείς] edd., καλείσθαι Ρ. Ι8 επί
σαυτόν] Victorius, έπαυτόν Ρ. 24 κλίμαξ in margine P. 26 ουδ' έπρέσβευσα
μέν in margine add. P. 27 αθηναίους Ρ.
DEMETRIUS ON STYLE
191
tors. The personification makes the passage much more
vehement and forcible, or rather makes it quite dramatic.
267. The forms and figures of thought will, therefore,
be employed in the way described; the instances cited may
suffice to serve as a sample. As for the figures of language,
the more ingeniously they are chosen, the more forcible can
discourse be made. Take the figure 'reduplication, as for
example: 'Thebes, Thebes, our neighbour-state, has been
torn from the heart of Greece.' The repetition of the proper
name has a powerful effect.
268. The same thing is true of the figure 'anaphora,'
as in the words : ‘against yourself you summon him ; against
the laws you summon him; against the democracy you
summon him? Here the figure in question is threefold. It
is, as has been already said, an 'epanaphora,' because of the
repetition of the same word at the commencement of each
clause; an 'asyndeton,' because of the absence of conjunc-
tions; and a homoeoteleuton,' because of the recurring termi-
nation you summon him.' And force is the cumulative
result of the three figures. Were we to write against your-
self and the laws and the democracy you summon him,' the
force would vanish together with the figures.
269. It should be observed that, above all figures,
disjunction is the handmaid of force : e.g. 'he passes through
the place of assembly, puffing out his cheeks, raising his
eyebrows, walking in step with Pythocles. If the words be
coupled by conjunctions, the effect will be tamer.
270. The figure called 'climax' may also be employed.
It is exemplified in the following sentence of Demosthenes:
"I did not speak thus, and then fail to move a resolution ;
I did not move a resolution, and then fail to act as an
envoy: I did not act as an envoy, and then fail to convince
the Thebans4.' This sentence seems to climb ever higher
and higher. If it were re-written thus, 'having expressed
my views and moved a resolution, I acted as an envoy and
1 Aeschin. Ctes. 133.
3 Demosth. de Falsa Leg. 442.
2 Aeschin. Ctes. 202.
Demosth. de Cor. 179.
192 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
τε και έπεισα Θηβαίους,’ διήγημα έρεί μόνον, δεινόν δε
ουδέν.
271. Καθόλου δε της λέξεως τα σχήματα και υπό-
κρισιν και αγώνα παρέχει το λέγοντι, μάλιστα το
5 διαλελυμένον, τούτ' έστι δεινότητα, και περί μεν των
σχημάτων αμφοτέρων τοσαύτα.
272. Λέξις δε λαμβανέσθω πάσα, όση και εν τω
μεγαλοπρεπει χαρακτηρι, πλήν ουκ επί το αυτό τέλος:
και γαρ μεταφέροντά έστι δεινά ποιείν, ως το “τω Πύθωνι
1ο θρασυνομένων και πολλώ ρέοντι καθ' υμών.
273. Και εικασίας λέγοντα, ως το Δημοσθένους,
τούτο το ψήφισμα τον τότ' έπιόντα τη πόλει κίνδυνος
παρελθείν εποίησεν, ώσπερ νέφος.'
274. Αί παραβολαι δε τη δεινότητι ουκ επιτήδειαι
15 δια το μήκος, οίον το ώσπερ δε κύων γενναίος, άπειρος,
απρονοήτως επί κάπρον φέρεται' κάλλος γαρ και ακρί- 243'
βειά τις εν τούτοις εμφαίνεται, η δε δεινότης σφοδρόν τι
βούλεται και σύντομον, και εγγύθεν πλήττουσιν έoικεν.
275. Γίνεται δε και έκ συνθέτου ονόματος δεινότης,
2ο ώσπερ και η συνήθεια συντίθησιν δεινώς πολλά, την
χαμαιτύπην’ και τον παραπληγα' και εί τι άλλο τοιούτον:
και παρά τους ρήτορσι δε πολλά άν τις εύροι τοιαύτα.
276. Πειράσθαι δε τα ονόματα πρεπόντως λέγειν
τοις πράγμασιν, οίον επί μεν του βία και πανουργία δρά-
25 σαντος διεβιάσατο,’ επί δε του βία και φανερώς και
μετα απονοίας εξέκοψεν, εξείλεν,’ επί δε του δολίως και
λαθραίως “έτρύπησεν' η διέφυγεν, ή εί τι τοιούτον πρόσ-
φορον τοις πράγμασιν όνομα.
• 277. Το δε εξαίρεσθαι πως λαμβανόμενον ου μέγε-
30 θoς πoιεί μόνον, αλλά και δεινότητα, ως το “ου λέγειν
Ο θηβαίους ex αθηναίους Ρ. | μόνον ex μόνων Ρ. | δεινών Ρ. ΙΙ ει εικάσειας Ρ.
12 τότ' : το extra lineam additum est in P. 25 διεβιάσατο] edd., διεβιβάσατο Ρ.
27 λαθραίως] Victorius, λάθρα ως Ρ. | διέφυγεν] edd., διέφαγεν Ρ. 30 δεινό-
τητα: η in rasura P.
DEMETRIUS ON STYLE
193
1
convinced the Thebans,' it would be a mere recital of events,
with nothing forcible about it.
271. In a word, the figures of speech help the speaker
in delivery and in debate; lending especially the effect
of abruptness-in other words, of energy.-With regard to
both kinds of figures what has been said must suffice.
272. In the forcible style the same kinds of diction
may be employed as in the elevated style, but not with the
same end in view. By the use of metaphor force can be
gained, as in the words : ‘Python was blustering and rushing
upon you in full flood?.'
273. So, too, by the use of similes, as in Demosthenes'
expression : 'this decree caused the danger which then threat-
ened the city to pass by like a cloud ??
274. But poetical images do not suit the forcible style
owing to their length: e.g. 'like as a gallant hound, ignorant
of danger, charges a boar recklessly. There is an air of
beauty and finish about this sentence. But the forcible style
demands a certain vehemence and terseness, and resembles
combatants dealing blows at close quarters.
275. Compound words also lend vigour, as is seen in
those which usage often forms so forcibly, e.g. 'earthward-
hurled,''slant-shelving,' and the like. Many equally good
examples may be found in the orators.
276. We should endeavour to use picturesque words.
For example, we may say of a man who has acted violently
and unscrupulously, that he has elbowed his way through';
of one who has used violence openly and recklessly, that'he
has hewed his way through, he has swept aside' obstacles ’;
of one who has had recourse to guile and evasion, that 'he
has wormed his way,' or 'slipped through,'—or whatever
expression is equally appropriate to the subject.
277. A discreet use of elaborate language produces
not only dignity but vigour of style. For instance: ‘You
1
1 Demosth. de Cor. 136: cp. & 80 supra. 2 Demosth. de Cor. 188.
3 Xenoph. Cyrop. i. 4, 21: cp. $ 89 supra.
13
194
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
Cν
Ι
.
II
είσω την χείρα έχοντα δεί, Αισχίνη, αλλά πρεσβεύειν
είσω την χείρα έχοντα.'
278. Και το άλλο και την Εύβοιαν εκείνος σφετερι-
ζόμενος·' ου γαρ υπέρ του μέγαν ποιήσαι τον λόγον η
5 επανάστασις, άλλ' υπέρ του δεινόν. γίνεται δε τούτο
επαν μεταξύ εξαρθέντες κατηγορωμέν τινος ώσπερ γαρ
Αισχίνου κατηγορία, το δε Φιλίππου εστίν.
279. Δεινόν δε και το έρωτώντα τους ακούοντας ένια
λέγειν, και μη αποφαινόμενον, αλλ' και την Εύβοιαν
το εκείνος σφετεριζόμενος και κατασκευάζων επιτείχισμα
επί την Αττικής, πότερον ταύτα ποιων ήδίκει, και έλυεν
την ειρήνην, ή ού;' καθάπερ γαρ εις απορίαν άγει τον
ακούοντα έξελεγχομένω έoικότα και μηδεν αποκρίνεσθαι
έχoντι: ει δε ώδε μεταβαλών έφη τις, ήδίκει και έλυε
15 την ειρήνην,’ σαφώς διδάσκονται εκει και ουκ ελέγχοντι.
28ο. Η δε καλουμένη επιμονή εστί μεν ερμηνεία
πλείων του πράγματος, μέγιστα δε συμβάλοιτ' άν είς
δεινότητα παράδειγμα δε αυτης το Δημοσθένους, νόσημα
γάρ, ώ άνδρες Αθηναίοι, δεινόν εμπέπτωκεν εις την Ελ-
20 λάδα' * * ουκ αν ούτως ήν δεινόν.
28Ι. Τάχα δε και ο ευφημισμός καλούμενος μετέχοι
της δεινότητος, και και τα δύσφημα εύφημα ποιών, και τα
ασεβήματα ευσεβήματα, οίον ως και τας Νίκας τας χρυσας
χωνεύειν κελεύων και καταχρήσθαι τοις χρήμασιν εις τον
25 πόλεμον ουχ ούτως είπεν προχείρως, ότι κατακόψωμεν
τας Νίκας εις τον πόλεμον·' δύσφημον γαρ αν ούτως και
λοιδορούντι έoικός ην τας θεάς, αλλ' ευφημότερον, ότι
συγχρησόμεθα ταις Νίκαις εις τον πόλεμον' ου γαρ
κατακόπτοντι τας Νίκας έoικεν ούτως ρηθέν, αλλά συμ-
30 μάχους μεταποιούντι.
3 εκείνος ex εκείνως (ut videtur) Ρ: item v. Io. 6 εξαρθέντες] Spengelius,
εξαιρεθέντες Ρ. 7 Αισχίνου: αις in rastura P. | κατηγορία] H. Stephanus,
κατηγορίας Ρ. Ι2 ή ού supra versum add. Ρ. Ι5 ουκ post και add. Victorius.
I6 επιμονη Ρ. Ι7 πλείον in πλείων atram. pallid. mut. Ρ. 19 μέν πέπτω-
κεν Ρ. , 20 lacunam indicavit Victorius. 28, 29 ου γάρ κατακόπτοντι in
ras. P. 30 μεταποιούντι in margine add. P.
OV
DEMETRIUS ON STYLE
195
ought not, Aeschines, to refrain from holding out your palm
as a speaker, but to refrain from holding out your palm as an
ambassador?'
278. And similarly: 'Nay, he was appropriating Eu-
boea?' . The object of the rise in tone here is not to make the
style dignified, but to make it forcible. This occurs when in
mid-height of our exaltation we are denouncing some opponent.
So here, Aeschines and Philip are respectively denounced.
279. In speaking it is sometimes forcible to address
questions to the audience without disclosing one's own view.
For instance: 'Nay, he was appropriating Euboea and estab-
lishing a fortress to command Attica; and in so doing was
he wronging us and violating the peace, or was he not??'
The orator forces his hearer into a sort of corner, so that he
seems to be brought to task and to have no answer. If the
positive statement 'he was wronging us and violating the
peace' were substituted, the effect would be that of precise
information rather than of cross-examination.
280. The figure called 'epimone,' which is a mode of
expression going beyond the bare statement of fact, will
contribute very greatly to vigour of style. An example of it
may be quoted from Demosthenes: 'Men of Athens, a terrible
malady has fallen upon Hellas... 3. [If thus changed], the
sentence would have been less forcible.
281. An element of vigour may also be found in what
is called 'euphemism,' whereby a man makes inauspicious.
things appear auspicious and impious acts appear pious. A
speaker once urged that the golden Statues of Victory should
be melted down, so that the proceeds might be used to prose-
cute the war. But he did not say outright, ‘Let us cut up
the Victories for the war. Such a proposal would have seemed
impious and like an insult to the goddesses. He put it in
the more euphemistic form : 'We will seek the cooperation of
the Victories for the war. This expression seems to suggest
not the cutting up of the Victories, but the conversion of
them into allies.
1 Demosth. De Falsa Leg. 421.
2 Demosth. de Cor. 71.
3 Demosth. de Falsa Leg. 424.
13-2
196 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
α
282. Δεινά δε και τα Δημάδεια, καίτοι ίδιον και
άτοπον τρόπον έχειν δοκούντα, έστι δε αυτών ή δεινότης
έκ τε των έμφάσεων γινομένη, και εξ αλληγορικού τινος
παραλαμβανομένου, και τρίτον εξ υπερβολής.
5 283. οΐόν εστι το “ου τέθνηκεν Αλέξανδρος, ώ
άνδρες Αθηναίοι ώζεν γαρ αν η οικουμένη του νεκρού.'
το μεν γαρ ώζεν’ αντί του ησθάνετο' αλληγορικόν
και υπερβολικόν άμα, το δε την οικουμένην αισθάνεσθαι
εμφαντικών της δυνάμεως της Αλεξάνδρου, και άμα δε τι
1ο εκπληκτικόν έχει ο λόγος ήθροισμένον εκ των τριών |
πάσα δε έκπληξις δεινόν, επειδή φοβερόν.
244*
284. Του δε αυτου είδους και το ότι τούτο το ψή-
φισμα ουκ εγώ έγραψα, άλλ' ο πόλεμος τω Αλεξάνδρου
δόρατι γράφων και το έoικε γαρ η Μακεδονική δύναμις,
15 απολωλεκυία τον Αλέξανδρον, το Κύκλωπι τετυφλωμένω.'
285. Και άλλαχού που, πόλιν, ου την επί προ-
γόνων την ναύμαχον, αλλα γραυν, σανδάλια υποδεδεμένην
και πτισάνην ροφώσαν' το μεν γαρ γραϋν άλληγορούν
αντί του ασθενή και εξίτηλον ήδη, και άμα εμφαίνον την
20 αδρανίαν αυτης υπερβολικώς: το δε πτισάνην ροφώσαν,
έπει εν κρεανομίαις τότε και πανδαισίαις διάγουσαν
απολλύειν τα στρατιωτικά χρήματα.
286. Περί μεν ούν της Δημαδείου δεινότητος αρκεί
τοσαύτα, καίτοι εχούσης τι επισφαλές και ουκ ευμίμητον
25 μάλα: ένεστι γάρ τι και ποιητικόν τω είδει, εί γε ποιη-
τικόν η αλληγορία και υπερβολή και έμφασις, ποιητικόν
δε μικτόν κωμωδίας.
287. Το δε καλούμενον εσχηματισμένον εν λόγω οι
νυν ρήτορες γελοίως ποιούσιν και μετά εμφάσεως αγεν-
1 δημάδης in margine P. | δημάδια Ρ. 6 άν supra versum add. P.
8 άμα in margine add. Ρ. 16 πόλιν] Llhardyus, πάλιν Ρ. 18 ροφούσαν
(ω supra oυ scripto) Ρ. 19 εμφαίνον ex εμφαίνων P. 20 υπερβολικώς:
υπερ add. m. rec. Ρ. | πτισάνην ροφώσαν in margine P. 22 απολλύειν] Victorius,
απολύειν Ρ. 23 δημαδίου Ρ. 24 επισφαλές: ες supra versum add. P..
25 το P. 29 αγεννούς ex αγενούς Ρ.
DEMETRIUS ON STYLE
197
YI
282. The sayings of Demades, also, though thought to
have a peculiar, even eccentric character, possess a certain
force, which they owe to innuendo, to the employment of an
allegorical element, and (lastly) to hyperbole.
283. This is an example: 'Alexander is not dead, men
of Athens; or the whole world would have scented the
corpse?' The use of 'scented’ in place of 'perceived, is
allegorical and hyperbolical alike; and the idea of the whole
world perceiving it suggests the might of Alexander. Further,
the words convey a thrilling effect, which is the joint result
of the three causes. And every such sensation is forcible,
since it inspires fear.
284. Of the same character are the words: “It was not
I that wrote this resolution, but the war wrote it with Alex-
ander's spear'l; and these ; 'The might of Macedon, after
losing Alexander, resembles the Cyclops with his blinded
eye?'
285. And elsewhere: 'A State, no longer the sea-
warrior of the days of our ancestors, but a lean and slippered
crone supping her posset?' Here the expression ‘crone' is used
figuratively for a weak and declining State, whose impotence
it indicates in an exaggerated way. The words 'supping her
posset imply that the city was occupied with feasts and
banquets and was squandering the war-funds.
286. Enough has been said with respect to the Dema-
dean vigour, which indeed has dangers of its own and is not
easily copied. There is in its nature something poetical, if
allegory and hyperbole and innuendo are poetical. But it is
poetry with a dash of burlesque in it.
287. Next comes the so-called 'covert allusion. This
the orators of our day employ to a ridiculous extent, coupling
u
11 lt.
? Demad. fragmm., Baiter-Sauppe II. p. 315.
198
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
5
νούς άμα και οίον αναμνηστικής, αληθινόν δε σχημά έστι
λόγου μετα δυοίν τούτοιν λεγόμενον, ευπρεπείας και
ασφαλείας.
, 288. Ευπρεπείας μέν, οίον ως Πλάτων 'Αρίστιππον
5 και Κλεόμβροτον λοιδορήσαι θελήσας, εν Αιγίνη όψοφα-
γούντας δεδεμένου Σωκράτους 'Αθήνησιν επί πολλάς
ημέρας, και μη διαπλεύσαντας ως τον έταιρον και διδάσ.
καλον, καίτοι ουχ όλους απέχοντας διακοσίους σταδίους
των Αθηνών. ταύτα πάντα διαρρήδην μεν ούκ είπεν:
1ο λοιδορία γαρ ήν ο λόγος ευπρεπώς δε πως τόνδε τον
τρόπον. ερωτηθείς γαρ ο Φαίδων τους παρόντας Σω-
κράτη, και καταλήξας έκαστον, επανερωτηθείς, ει και
'Αρίστιππος και Κλεόμβροτος παρησαν, ού, φησίν,
εν Αιγίνη γαρ ήσαν'' πάντα γαρ τα προειρημένα έμ-
15 φαίνεται το εν Αιγίνη ήσαν'' και πολύ δεινότερος και
λόγος δοκεί του πράγματος αυτού εμφαίνοντος το δεινόν,
ουχί του λέγοντος, τους μεν ούν αμφί τον Αρίστιππον
και λοιδορήσαι ίσως ακινδύνου όντος εν σχήματι και
Πλάτων ελοιδόρησεν.
20 289. Πολλάκις δε ή προς τύραννον ή άλλως βίαιόν
τινα διαλεγόμενοι και ονειδίσαι ορμώντες χρήζομεν εξ
ανάγκης σχήματος λόγου, ως Δημήτριος ο Φαληρεύς προς
Κρατερόν τον Μακεδόνα επί χρυσης κλίνης καθεζόμενον
μετέωρον, και εν πορφυρα χλανίδι, και υπερηφάνως απο-
25 δεχόμενον τας πρεσβείας των Ελλήνων, σχηματίσας
είπεν ονειδιστικώς, ότι “υπεδεξάμεθα ποτε πρεσβεύοντας
ημείς τούσδε και Κρατερον τούτον:’ έν γαρ τω δεικτικά
τω τούτον' έμφαίνεται η υπερηφανία του Κρατερού
πάσα ώνειδισμένη εν σχήματι.
Ι περί αληθείας in margine P. 7 διαλύσαντας τον έτερον, πλευ supra λυ
et αι supra ε(ρ) scripto, P. | ως add. Victorius. 8 απέχοντα Ρ. 13 αρί-
στιπος Ρ. 15 το P. 17 αρίστιπον P. 22 λόγου] Finckhius, όλου P.
ση τί το λεγόμενον ποι (h. e. ποιος) Δημήτριος και τίς ο τάδε γράφον (leg. γράφων) in
margine P. 24 χλανίδι, μυ supra νι scripto P. 26 ειπείν corr. in είπεν
(accentu non mutato) P. 27 τόνδε Ρ. 28 το τούτον Ρ.
Τον P.
20
και
Tοι (Δ. . ποιος)
margine P.
. DEMETRIUS ON STYLE
199
it with low, and (so to say) suggestive, innuendo. The true
'covert allusion' depends on two conditions, good taste and
circumspection.
288. Good taste is shown in the ' Phaedo,' where Plato
desires to reproach Aristippus and Cleombrotus because they
were feasting at Aegina when Socrates was lying for many
days imprisoned at Athens, and did not cross to visit their
friend and master, although they were less than thirty miles
from Athens? He has not said all this in express terms (for
that would have been an open reproach), but with fitting
reserve as follows. Phaedo is asked who were with Socrates.
He enumerates the men one by one. Next he is asked
whether Aristippus and Cleombrotus were present. “No,' he
answers; 'they were in Aegina.' Everything that precedes
owes its point to the words they were in Aegina. The
passage is all the more forcible because its point is conveyed
by the fact itself and not by the speaker. So, although he
might no doubt have reproached Aristippus and his com-
panions without incurring any risk, Plato has done so under
cover of a figure.
289. Often in addressing a despot, or any person other-
wise ungovernable, we may be driven to employ a figure of
language if we wish to censure him. Demetrius of Phalerum
dealt in this way with the Macedonian . Craterus who was
seated aloft on a golden couch, wearing a purple mantle and
receiving the Greek embassies with haughty pride. Making
use of a figure, he said tauntingly: 'We ourselves once re-
ceived these men as ambassadors together with yon Craterus?.'
By the use of the demonstrative yon all the pride of Craterus
is indicated and rebuked in a figure.
1111
i Plat. Phaed. 59 C.
2 Demetr. Phaler. fragm. 7, C. Müller Orat. Att. II. p. 476.
200
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
ΚΟ
K
290. Του αυτού είδους εστί και το Πλάτωνος προς
Διονύσιον ψευσάμενον και αρνησάμενον, ότι εγώ σοι
Πλάτων ουδέν ώμολόγησα, συ μέντοι, νή τους θεούς.
και γαρ ελήλεγκται έψευσμένος, και έχει τι ο λόγος
5 σχήμα μεγαλείον άμα και ασφαλές.
29Ι. Πολλαχή μέντοι και η επαμφοτερίζουσιν· οίς 244'
έoικέναι εί τις εθέλοι και ψόγους είκαιοψόγους είναι [θέλοι
τις], παράδειγμα το του Αισχίνου επί του Tηλαυγούς:
πάσα γαρ σχεδον η περί τον Tηλαυγή διήγησις απορίαν
το παρέχοι, είτε θαυμασμός είτε χλευασμός έστι. το δε
τοιούτον είδος αμφίβολον, καίτοι ειρωνεία ουκ ον έχει
τινά όμως και ειρωνείας έμφασιν.
292. Δύναιτο δ' άν τις και ετέρως σχηματίζειν, οίον
ούτως επειδή αηδώς ακούουσιν οι δυνάσται και δυνά-
15 στιδες τα αυτών αμαρτήματα, παραινούντες αυτούς μή
αμαρτάνειν ουκ εξ ευθείας έρούμεν, αλλ' ήτοι ετέρους
ψέξoμέν τινας τα όμοια πεποιηκότας, οίον προς Διονύσιον
τον τύραννον κατα Φαλάριδος του τυράννου έρούμεν και
της Φαλάριδος αποτομίας ή επαινεσόμεθα τινας Διονυσία
20 τα εναντία πεποιηκότας, οίον Γέλωνα ή Ιέρωνα, ότι πα-
τράσιν εώκεσαν της Σικελίας και διδασκάλους και γαρ
νουθετείται ακούων άμα και ου λοιδορείται και ζηλο-
τυπεί τω Γέλωνι έπαινουμένων και επαίνου ορέγεται και
ούτος.
25 293. Πολλά δέ τοιαύτα παρά τους τυράννους, οίον
Φίλιππος μεν δια το ετερόφθαλμος είναι ώργίζετο, εί
τις ονομάσειεν επ' αυτού Κύκλωπα ή οφθαλμών όλως
Ερμείας δ' ο τού 'Αταρνέως άρξας, καίτοι τάλλα πράος,
2
3 ομολόγησα Ρ. 4 ελήλεκται Ρ. 6 πολλαχή Ρ. | επαμφοτερή-
ζουσιν Ρ. 7 εικαιοψόγους] Victorius, ει και ο ψόγους Ρ. | θέλοι τις seclusi.
8, 9 τηλαυγούς......τηλαυγή Ρ. το παράσχoι αν m. rec. P., παρέχοι P.
I2 ειρωνίας Ρ. 15 αυτών] Spengelius, αυτών Ρ. | αυταίς Ρ. Ι6 ήτοι Ρ.
19 φάριδος P. 22 λοιδωρείται Ρ. 26 ση ότι ετερόφθαλμος Φίλιππος ήν in
margine P. | οργίζετο Ρ. 28 ερμίας Ρ.
DEMETRIUS ON STYLE
201
290. Under the same heading comes the reply of Plato
to Dionysius who had broken a promise and then denied
having ever made it: “It is not I, Plato, who have to you
made any promise: it is you—by heaven, it is you !1' Diony-
sius is thus convicted of falsehood, while the form of the
words is at once dignified and circumspect.
- 291. Words are often used with an equivocal meaning.
If anyone wishes to practise this art and to deal in censures
which seem unintentional hits, he has an example ready to
his hand in the passage of Aeschines about Telauges. Almost
the entire account of Telauges will leave one puzzled as to
whether it is eulogy or satire. This ambiguous way of speak-
ing, although not irony, yet has a suggestion of irony.
292. The 'covert allusion may be employed in yet
another way as follows. Great lords and ladies dislike to
hear their own faults mentioned. Accordingly, when counsel-
ling them to refrain from faults, we shall not speak in direct
terms. We shall, rather, blame some other persons who have
acted in the same way. For example, in addressing the tyrant
Dionysius, we shall inveigh against the tyrant Phalaris and
his cruelty. Or we shall praise individuals who have acted in
the opposite way to Dionysius, saying of Gelo or Hiero (for
example) that they were like fathers and educators of Sicily.
The hearer is admonished without feeling himself censured ;
he emulates Gelo, the subject of these praises, and covets
praise for himself.
293. One has often to exercise such caution in dealing
with the great. Because he had only one eye, Philip
would grow angry if anyone spoke of the Cyclops in his
presence or used the word 'eye' at all. Hermeias, the ruler
of Atarneus, though for the most part of a gentle nature
1
-
Cp. Plat. Epist. 7, p. 349 B.
202 ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ :
ως λέγεται, ουκ αν ήνέσχετο ραδίως τινός μαχαίριον
ονομάζοντος ή τομής ή εκτομήν διά το ευνούχος είναι.
ταύτα δ' είρηκα εμφηναι βουλόμενος μάλιστα το ήθος
το δυναστευτικόν, ως μάλιστα χρηζον λόγου ασφαλούς,
5 ος καλείται εσχηματισμένος.
294. Καίτοι πολλάκις και οι δημοι οι μεγάλοι και
ισχυροί δέονται τοιούτου είδους των λόγων, ώσπερ οι
τύραννοι, καθάπερ ο Αθηναίων δημος, άρχων της Ελλάδος
και κόλακας τρέφων Κλέωνας και Κλεοφώντας. το μεν
το ούν κολακεύειν αισχρόν, το δε επιτιμάν επισφαλές, άριστον
δε το μεταξύ, τούτ' έστι το έσχηματισμένον.
295. Και ποτε αυτόν τον αμαρτάνοντα έπαινέσομεν,
ουκ εφ' οίς ήμαρτεν, αλλ' εφ' οίς ουχ ήμάρτηκεν, οίον τον
οργιζόμενον, ότι χθες έπηνείτο πράος φανείς επί τοις
15 του δεινος αμαρτήμασιν, και ότι ζηλωτός τους πολίταις
σύνεστιν ηδέως γαρ δή έκαστος μιμείται εαυτόν και
συνάψαι βούλεται επαίνω έπαινον, μάλλον δ' ένα ομαλή
έπαινον ποιήσαι.
296. Καθόλου δε ώσπερ τον αυτόν κηρόν και μέν τις
20 κύνα έπλασεν, ο δε βουν, ο δε ίππον, ούτω και πράγμα
ταυτόν και μέν τις αποφαινόμενος και κατηγορών φησιν,
ότι οι άνθρωποι χρήματα μεν απολείπoυσι τοις παισίν,
επιστήμην δε ου συναπολείπουσιν, την χρησομένην τους
απολειφθείσιν' τούτο δε το είδος του λόγου Αριστίππειον
25 λέγεται: έτερος δε ταύτόν υποθετικώς προοίσεται, καθάπερ
Ξενοφώντος τα πολλά, | οίον ότι “δεί γαρ ου χρήματα 245
μόνον απολιπείν τους εαυτών παισίν, αλλά και επιστήμης
την χρησομένην αυτοίς.'
297. Το δε ιδίως καλούμενον είδος Σωκρατικόν,
3ο και μάλιστα δοκούσιν ζηλώσαι Αισχίνης και Πλάτων,
7 ση in margine P. 14 έπηνεί το P. 22 ότι οι] edd., ότι δε Ρ.
23, 24 τοις απολειφθείσιν] Victorius, τους συναπολειφθείσιν Ρ. 24 άριστίππιον
ex αρίστιππον P. 25 υποθετικώς προοίσεται : ικ et οι in ras. P. 27 μέν
(punctis tamen superpositis) ante μόνον habet P. 28 αυτής (οι supra ή scripto) Ρ.
30 ωΡ.
DEMETRIUS ON STYLE
203
0
as it is said, became furious (because he was a eunuch) at
hearing anybody speak of a 'surgeon's knife,' of 'amputa-
tion,' or of 'excision. I have mentioned these facts out
of a desire to bring into relief the true character of great
potentates, and to show that it specially calls for that
wary form of language which bears the name of 'covert
allusion.'
294. It must be observed, however, that great and
powerful populaces no less than despots usually require
these ceremonious forms of language. An instance in point
is the Athenian republic, which in the hour of its ascendency
over Greece, harboured such flatterers as Cleon and Cleophon.
Flattery no doubt is shameful, while adverse criticism is
dangerous. It is best to pursue the middle course, that of
the covert hint.
295. At times we shall compliment a inan who has
failings not on his failings but on his proved avoidance of them.
We shall remind an irascible person that yesterday he was
praised for the indulgence he showed to So-and-So's errors,
and that he is a pattern to the citizens among whom he
inoves. Every man gladly takes himself as a model and is
eager to add praise to praise, or rather to win one uniform
record of praise.
296. In fine, it is with language as with a lump of wax,
out of which one man fashions a dog, another an ox, another
a horse. One will deal with his subject in the way of
exposition and asseveration, saying (for example) that 'men
leave property to their children, but they do not therewith
leave the knowledge which will rightly use the legacy'l: a
way of putting it which is called 'Aristippean.' Another
will (as Xenophon commonly does) express the same
thought in the way of suggestion, e.g. ‘men ought to leave
not only money to their children, but also the knowledge
which will use the money rightly.'
297. What is specifically called the 'Socratic' manner
—one which seems to have excited the emulation of Aeschines
114 VI
i Scr. Inc.
204
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
μεταρυθμίσειεν αν τούτο το πράγμα το προειρημένον εις
ερώτησιν, ώδε πως, οίον “ώ παι, πόσα σοι χρήματα
απέλιπεν ο πατήρ, ή πολλά τινα και ουκ εναρίθμητα ;
πολλά, ώ Σώκρατες. άρα ούν και επιστήμην απέλιπέν
5 σοι την χρησομένην αυτοίς ;' άμα γαρ και εις απορίαν
έβαλεν τον παίδα λεληθότως, και ήνέμνησεν ότι ανεπιστή-
μων εστί, και παιδεύεσθαι προετρέψατο: ταύτα πάντα
ηθικώς και έμμελώς, και ουχί δή το λεγόμενον τούτο από
Σκυθών.
1o 298. Ενημέρωσαν δ' οι τοιούτοι λόγοι τότε εξευρε-
θέντες το πρώτον, μάλλον δε εξέπληξαν τώ τε μιμητική και
τω εναργεί και το μετά μεγαλοφροσύνης νουθετικώ. περί
μεν δή πλάσματος λόγου και σχηματισμών αρκείτω ταύτα.
299. Η δε λειότης ή περί την σύνθεσιν, οία κέ.
15 χρονται μάλιστα οι απ’ Ισοκράτους, φυλαξάμενοι την
σύγκρουσιν των φωνηέντων γραμμάτων, ου μάλα επιτηδεία
εστί δεινώ λόγω πολλά γαρ [τα) εκ της συμπλήξεως αν
αυτης γένοιτο δεινότερα, οίον του γαρ Φωκικού συ-
στάντος πολέμου, ού δι' εμέ, ου γαρ έγωγε επολιτευόμην
20 πω τότε. ει δε μεταβαλών τις και συνάψας ώδ' είποι:
του πολέμου γαρ ου δι' εμέ του Φωκικού συστάντος:
ου γαρ έπολιτευόμην έγωγε πω τότε,' ουκ ολίγον διεξαιρή-
σει της δεινότητος, επεί πολλαχου και το ηχώδες της
συγκρούσεως ίσως έσται δεινότερον.
25 300. Και γαρ το αφρόντιστον αυτό και το ώσπερ
αυτοφυές δεινότητα παραστήσει τινά, μάλιστα επάν όρ-
γιζομένους εμφαίνωμεν αυτούς ή ήδικημένους. ή δε περί
την λειότητα και αρμονίαν φροντίς ουκ οργιζομένου, αλλά
παίζοντός έστι και επιδεικνυμένου μάλλον.
on)
2
5
I μεταρυθμίσειεν αν] Schneiderus, μεταρυθμήσειαν Ρ. | πράγμα Ρ. 3 απέ-
λειπεν Ρ. | ουκ supra versium scripsit Ρ. Ιο ενημέρωσαν Ρ. ΙΙ μιμητική
Galeus, τιμητικώ Ρ. Ι4 περί λειότητος titulus in P. | oία Ρ. | κέχρηται, ν supra
versum scripto, P. • 15 ισωκράτους Ρ. 17 τα secl. Spengelius. 20 πω
τότε] edd. c. codd. Demosth., πώποτε Ρ. 22 πω τότε] eld., πώποτε Ρ. | δι
εξαιρήσει Ρ. 25 αυτός (s punctis notato) P. 27 αυτούς Ρ.
DEMETRIUS ON STYLE
205
and Plato in no common degree-would recast the foregoing
proposition in an interrogative form, somewhat as follows.
My dear lad, how much property has your father left you?
Is it considerable and not easily assessed ? It is considerable,
Socrates. Well now, has he also left you the knowledge
which will use it rightly?' In this way Socrates insensibly
drives the lad into a corner; he reminds him that he is
ignorant; he urges him to get instruction. And all this
naturally and in perfect taste, and with an entire absence
of what is proverbially known as 'Gothic bluntness.'
298. Such dialogues met with great success in the days
of their first invention, or rather they took society by storm
' through their verisimilitude, their vividness, their nobly di-
dactic character.—With regard to artificial speech and the
employment of figures, this treatment must suffice.
299. Smoothness of composition (such as is employed
particularly by the followers of Isocrates, who avoid the
concurrence of vowels) is not altogether suited to forcible
language. In many cases greater force will result from an
actual clashing, e.g. 'when the Phocian war broke out origi-
nally, owing not to me, as I was not then engaged in public
life?' If you were to rearrange the words and fit them
together thus?: 'when through no fault of mine the conflict
began in the Phocian War, since I was not then engaged in
public life, you would rob them of a good part of their force,
since in many passages even the jingle of clashing vowels
may be held to make a sentence more forcible.
300. The fact is that words which are actually unpre-
meditated, and are as it were a spontaneous growth, will give
an impression of vigour, especially when we are venting our
anger or our sense of injustice. Whereas anxious attention to
niceties of smoothness and harmony does not betoken anger so
much as elegant trifling and a desire to exhibit one's powers.
i Demosth. de Cor. 18.
tué, où—čywye émolcteubuny: imitated in the English version.
206
ΔΗΜΗΤΡΙΟΥ ΠΕΡΙ ΕΡΜΗΝΕΙΑΣ
. 30Ι.. Και ώσπερ το διαλελυμένον σχημα δεινότητα
ποιεί, ως προλέλεκται, ούτω ποιήσει η διαλελυμένη όλως
σύνθεσις. σημείον δε και το Ιππώνακτος. λοιδορήσαι
γαρ βουλόμενος τους εχθρούς έθραυσεν το μέτρον, και
5 εποίησεν χωλόν αντί ευθέος, και άρυθμον, τουτέστι δεινό-
τητι πρέπον και λοιδορία: το γαρ έρρυθμον και ευήκοον
έγκωμίοις αν πρέπoι μάλλον ή ψόγοις. τοσαύτα και περί
συγκρούσεως.
302. Παράκειται δέ τις και τα δεινά χαρακτηρι, ως
το το εικός, διημαρτημένος και αυτός, καλείται δε αχαρις.
γίνεται δε εν τοις πράγμασιν, επάν τις αισχρά και δύσρητα
αναφανδόν λέγη, καθάπερ και της Τιμάνδρας κατηγορών
ως πεπορνευκυίας την λεκανίδα και τους οβολους και την
ψίαθον και πολλήν τινα τοιαύτην δυσφημίαν κατήρασεν 245'
15 του δικαστηρίου.
303. Η σύνθεσις δε φαίνεται αχαρις, εάν διεσπασ-
μένη εμφερής ή, καθάπερ και είπών, ούτωσι δ' έχουν το
και τό, κτείναι.' και επαν τα κωλα μηδεμίαν έχη προς
άλληλα σύνδεσιν, αλλ' όμοια διερρηγμένοις. και αι
20 περίοδοι δε αι συνεχείς και μακραι και αποπνίγουσαι
τους λέγοντας ου μόνον κατακορές, αλλά και άτερπές.
304. Τη δε ονομασία πολλάκις χαρίεντα πράγματα
όντα ατερπέστερα φαίνεται, καθάπερ ο Κλείταρχος περί
της τενθρηδόνος λέγων, ζώου μελίσση έοικότος: “κατανέ.
25 μεται μέν, φησί, την ορεινήν, εισίπταται δε εις τας
κοίλας δρύς.' ώσπερ περί βοός αγρίου ή του Ερυμανθίου
κάπρου λέγων, αλλ' ουχί περί μελίσσης τινός, ώστε και
άχαριν τον λόγον άμα και ψυχρόν γενέσθαι. παράκειται
δε πως αλλήλοις ταύτα αμφότερα.
5 ευθέος] Victorius, ευθέως Ρ. 7 πρέπει Ρ. το αχάρις P, άχαρις
χαρακτήρ in margine P. 12 καθάπερ ότι αν της τημάνδρας Ρ. | supra κατ aliquid
erasum est : fort. εταιρών. 17 ούτως ιδ' έχων το κτο κτείναι P. 22 τη δε
ονομασία] Victorius, ή δε ονομασία Ρ. 24 τενθριδόνος Ρ. | μελίσση: ίin ras. P.
26 κύλας Ρ.
Δημητρίου περί ερμηνείας subscriptio in P. .
Ι
DEMETRIUS ON STYLE
207
301. It has already been said that the figure of dis-
connected speech has a forcible effect. The same may now
be said of disconnected composition generally. Hipponax is
a case in point. In his desire to assail his enemies, he
shattered his verse, and caused it to limp instead of walking
erect.. By destroying the rhythm, he made the measure
suitable for energetic invective, since correct and melodious
rhythm would be fitter for eulogy than for satire.—Thus
much with regard to the collision of vowels. .
302. Side by side with the forcible style there is found,
as might be expected, a corresponding faulty style, called
'the repulsive. It occurs in the subject-matter when a
speaker mentions publicly things which are disgusting and
defile the lips. The man, for instance, who accused Ti-
mandra of having lived a wanton life, bespattered the court
with a description of her basin, her obols, her mat, and many
other such unsavoury details?.
303. Composition has a repellent effect, if it seems
disjointed, as (for example) 'this and that being thus, death??
So, too, when the members are in no way linked to one
another, but resemble fragmentary pieces. And long, con-
tinuous periods which run the speaker out of breath cause
not only satiety but also disgust.
304. Often objects, which are themselves full of charm
lose their attractiveness owing to the choice of words.
Cleitarchus, for instance, when describing the wasp, an
insect like a bee, says: “It lays waste the hill-country, and
dashes into the hollow oaks?' This might have served for a
description of some wild ox, or of the Erymanthian boar,
rather than of a species of bee. The result is that the passage
is both repellent and frigid. And in a way these two defects
are close neighbours.
Lid
1 Scr, Inc.
2 Clitarch. Fragm.

isto toj 'itli d
ܝܢܩܬܗ ؛ - ܟܢ ܐܢ ܝܢ ܘ: ܘܐ | ܕ ܐ ܐA
8
3
1 _ .
ܗܗ ܬܐܘܐ ܝܟܐ ܤܤܗ. ܝܩܗܗܤܫܡܟܸܤ ܝܣܤ ܩMYܗܙܩܢܝܢܗܠܤܤܘ
word of dal del sito. Ano noradan haste doar o danon
ܕ ܩܗܗܗܕ݂ܘ ܤ.. ܀ ܣܟܐܝܤܟܘܝ ܗ ܘܩܢ ܘ ܙ܂ܕܫܠܘ܀ ܩܘ ܘ ܐܗܐܛܪܘ ܙ
ܤ ܣܟܩܘܐ ܗ ܝܘ - * ܟܙܤܡ ܗܐܟܝܢ ܘ ܘ ܟ ܐ ܤܩܐܝܤܤܠܤܟܟ
ܐ ܤܤܤܤܤܣܩܘ ܘܡܤܝܢܤܗܐ 189 ܝ3 ܝܐܩܐܟ݂& ciܘ 8ܘܡܗ 4 ܗ ܕ.
ܘ ܐܘ ܐܣܐܡܣܘܠܡܡ
16 ܟ݂ܩܽܢܤ ܝܤܘܡܐܗܢܗ ܘܐܢܗ. ܤܢܚܘܺܝܣܛܰ ܟ݂ܪܽܡ
_ܩܡ ܝܢܘܗXܟܘܐܢܡܣܢܘ ܘ ܗ ܘ ܐܗܐܢܤܗܘ ܤܢܤm Scܐܟ݂ܐ ܝܣܣ gqܟ
nahi care non warport, Soomere piggoraga hoofdroter
some white sodan to triggs & corps
lagngoionosfe. At
gdܣ-q' ܗܡܛܡܤܟܢܐ ܘ ܕܝܤܵܣܨܼܘܩܢܤܩ܂ ܐ ܨܘܕܗܘܘ ܝܢܬ ܗܢܽܘ ܗܢܡ ܐܡ:sܣܩܬ .܂
bob hahn samem. no, per
nantnrang
resoon, stoort.
upsettor din no timpangan
TEXT.
..
The text of this edition is based on a new collation, made by
the editor, of the folia (226_245) of P 1741 which contain the
De Elocutione. This famous codex (preserved in the Bibliothèque
Nationale) is well known to be a veritable treasure-house of Greek
literary criticism, containing as it does, not only the De Elocutione
and several works of minor rhetoricians, but also
Aristotle's Rhetoric;
Aristotle's Poetics ;
Dionys. Halic. de Compositione Verborum;
Dionys. Halic. Ep. ad Amm. II, De Vet. Scr., etc.
The date of P 1741 is given by M. Henri Omont as the roth or
the 11th century (Notice sur le manuscrit grec 1741 de la Bibliothèque
Nationale p. vii: prefixed to the facsimile of the Poetics published in
L. Clédat’s Collection de reproductions de manuscrits). While Omont
has the Poetics principally in mind when describing the manuscript,
Roemer (Aristotelis Ars Rhetorica?, pp. v ff.) views it with special
reference to the Rhetoric, and Usener (De Dionysii Halicarnassensis
Libris Manuscriptis pp. iv ff., and Usener-Radermacher Dionysiz
Halicarnasei Opuscula I pp. vii ff.: cp. also L. Cohn in Philologus
special reference to the works of Dionysius. No separate study of
the part of P 1741 which contains the De Elocutione has recently
appeared, with the exception of H. Schenkl's very valuable paper
entitled Zur Kritik der Schrift des Demetrios Tepi 'Epunveías (in
Wiener Studien IV pp. 55-76). Spengel in his text (Rhetores
Graeci vol. 111: Leipzig, 1856) used the collation made long before
by Victorius. Wonderfully well as this, like all his work, was accom-
plished by Victorius, a fuller record of the readings of so important
a manuscript seems desirable. The almost exhaustive catalogue here
R.
14
210
DEMETRIUS ON STYLE
given of the errors, and corrections, found in P tends only to confirm
the respect generally felt for the manuscript, and to show the causes
(e.g. itacism, absence of subscr. and rarity of i adscr., confusion of
o and w) of many easily remediable mistakes. And occasionally an
important form not hitherto observed (e.g. årrekaTÉOTNO ev § 196,
nvéuvnger § 297) emerges to prove that some things recently learnt
from papyri might also have been learnt from existing mss. The
marginalia, likewise, are of considerable interest. The headings also
are interesting ; but they are better printed in the critical footnotes
than in the body of the text, since they are often inappropriate, mis-
placed, or inadequate, and cannot be regarded as the work of the
author himself.
Schenkl's paper raises the important question of the value of the
numerous corrections or alterations found in P. The great majority
of these are written either in the original hand or in one almost
equally early and not easily to be distinguished from it; and it seems,
therefore, better to indicate them by some formula (e.g. the con-
venient ex) which simply calls attention to the change, than by any pre-
carious attempt systematically to distinguish between different hands,
except indeed in the comparatively rare cases where a clearly later
hand appears and has to be denoted by man. rec. or by a reference to
the character of the ink. The corrections seem to depend partly on
a more accurate re-reading of the original manuscript, partly on the
use of an equally valuable one representing a somewhat different
tradition; and a general review shows that the text is usually altered
for the better. Many obvious blunders (such as those afterwards
rectified by Victorius) are, indeed, left untouched; but this fact seems
to render it the more probable that the corrections actually made
have manuscript authority behind them and are not due to the mere
conjecture of some revising scribe.
The remaining manuscripts (fifteen, or more, in number) of the
De Elocutione are of late date, belonging chiefly to the 15th century;
a list of them will be found in the Praefatio prefixed by Usener to
Dionysii Halicarnasei Opuscula i pp. viii, ix (cp. Walz, Rhetores
Graeci, vol. ix pp. ix-xi). They are all derived from P 1741, the
better readings they present pointing rather to individual emendation
than to difference of descent. To Usener's list should be added a
15th or 16th century Ms. containing the t. &pu. which is preserved at
Queens' College, Cambridge, and on which the Librarian of the
College, Mr F. G. Plaistowe, has kindly sent a report at my request.
TEXT
2II
The manuscript in question belonged, in 1583, to Henry Hastings,
Earl of Huntingdon, whose autograph appears on the first leaf, and
who appears to have given it to his tutor Thomas Church. Church
left it to Queens' College at his death, in or about 1606. Besides
the 7. épp., it contains the Ars Rhetorica attributed to Dionysius
of Halicarnassus, Alexander Tepi oxnuárwv, Menandri Rhetoris
Acaipeous, Aristides tepi texvWv ØnTopikwv, Apsinis téxvn ØnToplký and
Tepi Tpooquíov. Though the identification is not free from difficulty,
it would seem, from the readings communicated to me, that this
manuscript is the same as Thomas Gale's 'Codex Cantabrigiensis.'
On pp. 254, 255 of his edition Gale transcribes an Ordo ( Ordo
capitum libelli de Interpretatione, sive de Elocutione, ex Codice Ms.
Col. Reginalis apud Cantabrigienses') which tallies with that of the
Queens' MS., except that in the latter, between 1 and 2 of Gale's list,
the heading tepi SuoloTENEÚtwv is found. It may be added that
there appears to be no Ms. of the . épu. in the Gale Collection in
the Library of Trinity College, Cambridge; and the Bodleian Ms.
(Misc. 230 : MS. Auct. T. 3. 13) which contains the treatise is a
15th century manuscript which belonged to Giovanni Saibante of
Verona in 1732 and was bought in 1820 by the Bodleian. This
Ms. has ouvepyoîev in § 29, not ouvepyei which Gale quotes from
"Cod. Cant.'
It has not been thought necessary to record in the critical foot-
notes the readings of these later manuscripts, partly because of the
acknowledged pre-eminence of P, and partly because any such report
must depend, almost entirely, on the loose statements of early editors.
But it should be borne in mind that, where a reading is in this
edition attributed to Victorius or to the early editors in general
(edd.'), it may often have the support of one or more of the later
manuscripts :. e.g. pp. 106, 10; 118, 11 and 12 ; 190, 13; 136, 24;
106, 21; 132, 6; 96, 8; 116, 16 (cod. Morel.); 188, 4 (cod. Morel.);
192, 25 (cod. Cantabr.).
For the Title of the Treatise as given in P 1741, reference may be
made to the Introduction, p. 61 supra.
A3
14--2
NOTES.
The references are usually made to lines and sections of the text as above
printed, e.g. 66 7(=p. 66 1. 7). When a section of the treatise is quoted, it is
indicated by the symbol §. The Notes are as few and as brief as possible, in view
of the Translation and Glossary.
667 rucuétpols: olov v duétpous Muretus, ņ Tpluétpous (Spengel
Rhet. Gr. III p. 12). 66 14 Hecataeus : T. y. p. 226. Cp. $ 12
infra. 66 19, 20 For xelp='arm,' cp. Herod. 11 121 årrotapóvta év
Tợ vua tỳv xelpa. P's tńxecs may, however, point to some corruption:
perhaps of ovuxes. It seems unlikely that, in this context, xeip would
be used in its less usual sense, or that dártudou and anxus would
proceed in the order of minor to major.
687 lokinpía appears to be a late word: LXX., Plutarch, Diog.
Laert., Lucian. The adj. ólókinpos (S 2), however, occurs earlier.
Cp. Introduction p. 56. oyuTepaloûv (66 18) is also late: Philo,
Clem. Alex., etc.
68 20 The passage of the Aphorisms (1 I) runs as follows: 6
Bíos Bpayús, ń dè téxun Makpá, ó dè kaipòs o&ús, ñ dè reipa opalepá, ý
δε κρίσις χαλεπή. δει δε ου μόνον εαυτόν παρέχειν τα δέοντα ποιούντα,
årdà kai tòv voo éovta, kai Toùs Tapeóvtas, kai tà č Ewdev (Littré, who
translates : “La vie est courte, l'art est long, l'occasion fugitive,
l'expérience trompeuse, le jugement difficile. Il faut non' seulement
faire soi-même ce qui convient, mais encore faire que le malade, les
assistants et les choses extérieures y concourent”). For the clauses
here in question see § 238 and Norden's Kunstprosa i pp. 21, 22;
also Croiset Litt. Grecque iv 189 for the style of Hippocrates in
general. 68 21, 22 Schneider proposed katukeKoupévn and kekep-
Matlouévy, which palaeographically would be hardly a change at all,
apart from the corresponding alteration of eủkata póvntos which it
seems to entail.
NOTES
213
70 I The reading of P, ypável ev, is probably due to a desire
to supply a preposition, without regard to the fact that åv has
preceded.
70 13, 14 OÛTOS do nv kalòs uév, péyus & où is the reading found
in our manuscripts of Xenophon. The author of the . épp. is often
loose in his quotations, relying as he appears to do on his memory;
but it is to be noticed that in $ 121, as well as here, he has the dé
at the end of the clause, and comments on its position. Norden
(Kunstprosa 1 102 n. 1) expresses his agreement with Demetrius on
the main point.
70 19 ó leyóuevos yuxpós : xapaktnp has commonly been under-
stood, if not inserted in the text. But leyóuevos seems to indicate an
unfamiliar term ; and not yuxpós but kakóndos ($ 239) was the novel
expression in the author's time. If, however, yuxpos were applied
(on some such principle as that expounded in § 86) to person rather
than to style, it might be qualified by deyouevos. Cp. 77. . XXVII I
étríxeto ydp kth. For the use of éylyveto, cp. § 102.
70 23 Bpayudóyou: cp. what is (metrically, or semi-metrically)
said of the Lacedaemonians in Thucyd. IV I7 [επιχώριον ον ημίν] ου
μεν βραχείς αρκώσι με πολλούς χρήσθαι.
70 25 uovocúkdaßos late : Dionys. Halic., Dionys. Thrax,
Hermogenes, etc.—Erasmus in his Adagia (vol. III p. 803, in the
Leyden edition of his Works) includes the proverb omnis herus
servo monosyllabus,' but only as a translation of the present passage.
The existence of an original Latin proverb to this effect might have
some bearing on the question of the date of the T. ép.
70 26–28 Possibly this sentence is an interpolation. The
abrupt asyndeton ai Actai excites suspicion, notwithstanding the
fact that the author of 1. épu. sometimes (e.g. p. 74 1. 6 and l. 22,
p. 116 l. 13) omits the copula in his desire for brevity; and the
interpretation of Homer is very strange. There are, however, other
indications that the author was given to 'allegory,' for which see
Jebb's Introduction to Homer p. 89. The explanation offered of the
sanne passage of Homer by a scholiast is: χωλαί μεν δια το μόγις εις
δεήσεις έρχεσθαι· ρυσσαι δε διά το σκυθρωπιάζειν" παραβλώπες δε, ότι
mapidóvTES TL TWv åvaykaiwy mapakaloûuev jotepov. As Dr Leaf says
in his note ad loc., the epithets are transferred from the attitude of the
suppliant to his prayers.
214
DEMETRIUS ON STYLE
70 30 For the proverbs here and elsewhere in the treatise, see
the short excursus headed Proverbs in the De Elocutione.'
72 21 P's correction čotiv ydp ñ is in a very old, if not the
original, hand. As yàp is appropriate and n is almost indispensable,
it seems better to adopt this reading than to make any conjectural
restoration.
72 25 The meaning of του παιδός είνεκα του Χαβρίου is discussed
by Blass in Neue Jahrbücher für Classische Philologie xxxIII 717–
720. The author of the 7. épu. seems to have taken the meaning to
be ‘son' rather than ‘servant’: cp. $ 11.
74 6 KUKlocidéoi: late, Plutarch, Athenaeus etc. (But in
Athenaeus, VII 328 D, it seems to be part of a quotation from
Euthydemus, a medical writer of the second century B.C.)
74 9 Victorius reads pevec in place of jével. There is point,
however, in the opposition of the present mével and the future
o TaL.
74 17 Ôntøv, the reading of P, is possibly due to the use of
some compendium for entopelWv. Roemer (Aristot. Ars Rhetorica
p. xxvii) notices the confusion of ontopeias and ønToperñs in Aristot.
Rhet. I 2. Here Spengel retains ontwv, but suggests (Praefatio,
p. xii) that for õla....... cioiv, should be written on... coti.—It is
worth notice, as perhaps confirming the explanation suggested above,
that in P there is a small space (not an erasure) immediately after
øntāv.
74 18 diá: see note referring to p. 152 l. 7.
74 19 ep after comparatives : cp. n. referring to p. 110 l. 19
infra.
74 20 Transcribed by Gregorius Corinthius (Walz, Rhet. Gr.
VII 1215, 1216) with a number of variants which usually seem due
rather to paraphrase or loose citation than to differences of reading :
e.g. όθεν και την τοιαύτην ερμηνείαν οι παλαιοί διηρημένην ώνόμαζον
ως τα πλείστα έχει των Ηροδότου, και ως η “Εκαταίου έχει ιστορία, και
όλη η αρχαία. παράδειγμα δε αύτης Εκαταίος Μιλήσιος ώδε μυθείται:
τάδε γράφω, ώς μοι δοκεί αληθέα είναι, οι γαρ Ελλήνων λόγοι πολλοί τε
και γελοίοι και εμοί φαίνονται και εισίν.’ δράς ότι σεσωρευμένους επ'
ålinois, ktd.
74 27 čxovoiv, dat. plur. of the participle: not, as has been
supposed, third person plural present indicative.
NOTES
215
74 30 For the analogies drawn by the Greek rhetoricians from
various fields of art, cp. D. H. p. 202.
76 2 συγκειμένοις: cp. the use of συντιθεμένων in Dionys. Hal.
de Comp. Verb. C. 22 τραχείαις τε χρήσθαι πολλαχή και αντιτύποις ταις
συμβολαίς ουδέν αυτή (sc. τη αυστηρά αρμονία) διαφέρει, οίον γίνονται
των λογάδην συντιθεμένων εν οικοδομίαις λίθων αι μήτε ευγώνιοι μήτε
συνεξεσμέναι βάσεις, αργαι δέ τινες και αυτοσχέδιοι.
76 3—7 For this fine and suggestive comparison, see Sandys
Orator of Cicero p. lxxiii n. 5; Blass Griechische Beredsamkeit pp.
224, 225; Chaignet La Rhétorique et son Histoire p. 449.
76 8-13 The view here maintained (with strong personal
emphasis, δοκιμάζω γαρ δή έγωγε) is clearly right,-there should be a
happy combination of the periodic and the looser structure. Some
of the longer passages of Shakespeare's prose will be found to illus-
trate the point. Cp. Sir Richard Jebb's lecture on Macaulay pp. 46,
47: “This oratorical character of Macaulay's style may be illustrated
by one of its most salient and familiar traits : I mean, his habit of
placing very short sentences between his longer periods......Take the
speeches of almost any great orator, and you will find a similar,
though perhaps less abundant, use of short sentences, in alternation
with long periods. Such short sentences are not merely pauses for
breath; they are not merely deliberate efforts to vary the rhythm
and arrest the ear: they are dictated, if one may say so, by the
oratorical instinct; such alternations of the long and the short sentence
correspond with a certain surging and subsidence of thought and
feeling in the orator's mind.”
76 15, 16 Cp. π. ύψ. C. 41 ούτως και τα κατερρυθμισμένα των
λεγομένων oυ τo του λόγου πάθος ενδίδωσι τους ακούουσι, το δε του
ρυθμού, ως ενίοτε προειδότας τάς οφειλομένας καταλήξεις αυτούς υπο-
κρούειν τοις λέγουσι και φθάνοντας ως εν χορώ τινι προαποδιδόναι την
βάσιν.- Attention may be called to the verb ναυτιάν in this passage
of the π. ερμ. as being specifically Attic. προαναβοάν is also of
interest as occurring only here in extant Greek literature.
76 23, 24 Aristot. Rhet. II 9, 2 η μεν ούν ειρομένη λέξις η αρχαία
εστίν· “Ηροδότου Θουρίου ήδ' ιστορίης απόδειξις'' ταύτη γαρ πρότερον
μεν άπαντες, νύν δε ου πολλοί χρώνται. In this quotation the π. ερμ.
comes nearer than the Rhetoric to the reading (whether right or
wrong) found in extant manuscripts of Herodotus.
ΔΕ
216
DEMETRIUS ON STYLE
76 24, 25 For pws in this connexion, cp. T. Üt. c. 30 pws yàp to
övti idLov Toù voû tà kalà óvóuata. Here and elsewhere a quotation
which the editor is unable to assign to its author has been 'marked
'Scr(iptor) Inc(ertus),' in the hope that others may be able to supply
the reference. (Can this particular sentence be drawn from the mepi
Aéčews of Theophrastus?) Some of the sentences thus marked (e.g.
p. 90 l. 28) may possibly be examples invented by the author himself;
others are no doubt drawn from works now lost.
78 ei sè un : this is one of the many cases in which the
'correction' seems clearly preferable to the original reading in P.
Palaeographically the change is of the slightest, and it is probably of
the same age as the manuscript.
78 17–20 The meaning is that what English writers on com-
position have called the 'principle of suspense'is duly observed.
78 21 The period of dialogue (as distinguished from the
historical which is rounded to a certain extent, and the rhetorical
which is close-knit) is still in the loose or undress state of ordinary
conversation. Goeller would supply or insert pâllov; but, granted
that this word may have fallen out after the last two syllables of
åveluévn, its insertion would hardly give a satisfactory sense, since
the περίοδος ιστορική has been described in 8 19 as μήτ' ανειμένη
σφόδρα.
80 2, 3 Quoted also (more correctly and fully) as an example of
antithesis in Aristot. Rhet. III 9, 7 mleüoal Mèv dià tņs noteipov,
πεζεύσαι δε διά της θαλάττης, τον μεν Ελλήσποντον ζεύξας, τον δ' "Αθω
diopúšas. The.passage also occurs in the (almost certainly spurious)
funeral oration attributed to Lysias ; and Cicero has translated, or
imitated, it in the De Finibus II 34, 112, “Ut si Xerxes, cum tantis
classibus tantisque equestribus et pedestribus copiis, Hellesponto
iuncto, Athone perfosso, maria ambulavisset terramque navigasset.”
80 18, 19 Aristot. Rhet. III 9, 10 cioiv dè kai yeudeîs åvtid égels,
οίον και Επίχαρμος επoίει, τόκα μεν έν τήνων έγων ήν, τόκα δε παρά
růvous éyov. Probably the author of the 7. épu. is right in finding
parody in the words of Epicharmus; so Norden Kunstprosa i 25
n. 2. Blass, however, maintains that there is a true antithesis in
Tývwv...... TÝvous, and that exception can only be taken to èywv......
łyóv.—Epicharmus is, it may be added, very seldom mentioned in
the late rhetorical writers.
.
217
NOTES
80 26 Also quoted in Aristot. Rhet. III 9, 9; the same passage
of Homer has already been referred to in $ 7.
82 1 A late hand in Ρ corrects ώσπερ into ώσπα (i.e. ως παρά).
At first sight we might expect a preposition; but cp. p. 70 lines i
and 6, and p. 190 lines 24, 25.
82 5, 6 The same illustration is used, without mention of its
author, in Aristot. Rhet. 111 9, 9. There, however, θανόντα (απο-
Davóvta § 211) is not given, though clearly needed in a sentence of
this artificial kind.
82 13, 14 The passage of Theopompus from which these words
are taken has been preserved by Athenaeus (vi 260 F) and will be
found in Miller F. H. G. I p. 320, the words themselves running
there as follows: όθεν δικαίως άν τις αυτούς ούχ εταίρους αλλ' εταίρας
υπέλαβεν, ουδε στρατιώτας αλλά χαμαιτύπας προσηγόρευσεν. ανδροφόνοι
γάρ τήν φύσιν όντες άνδρόπoρνoι τον τρόπον ήσαν. The passage is also
quoted by Norden Kunstprosa i pp. 122, 123. For Theopompus,
see n. Út. p. 242 and Dionys. Hal. Ep. ad Pomp. c. 6. In $ 75 of
the π. έρμ. Theopompus is represented as a forcible-feeble' or
'feeble-forcible': cp. SS 240, 247, 250. Dionysius, on the contrary,
excites regret for the loss of his writings.
82 16, 17 θυμός γάρ τέχνης ού δείται: On the principle that facit
indignatio versus. Cp. $ 25ο κακοτεχνούντι γαρ έoικεν διά την ανταπό-
δοσιν, μάλλον δε παίζoντι, ουκ αγανακτούντι.
82 19, 20 Schenkl suspects ws čdetta because written in the
margin of P. But the addition seems to be made by the first hand ;
and it is thoroughly characteristic (cp. ως φημί 8 120, ως έφην
8 98 etc.).
82 22, 23 The sentence quoted from Aristotle's lost treatise περί
δικαιοσύνης closely resembles Lysias Eratosth. 8 4ο επεί κελεύετε αυτόν
αποδείξαι, όπου τοσούτους των πολεμίων απέκτειναν όσους των πολιτών, ή
ναύς όπου τοσαύτας έλαβον, όσας αυτοί παρέδοσαν, ή πόλιν ήντινα τοιαύ-
την προσεκτήσαντο, οίαν την ημετέραν κατεδουλώσαντο.
84 5, 6 συνεργοιεν αν has been suggested; but it is doubtful
whether any certain example of plur. verb with neut. plur. nominat.
is found in π. ερμ. (cp. n. on έχουσι $ 12).
84 19-21 This quotation fronm Demosth. Aristocr. $ 99 has a
close parallel in Demosth. Androt. 7 (delivered in 355 B.C., three
years earlier than the Aristocrates).
218
DEMETRIUS ON STYLE
86 13 The reference to Archedemus, here and in 8 35, is of
such a nature as to suggest that the author of the π. ερμ. may have
drawn a good deal of his doctrine from him and may be acknowledging
indebtedness to him in the passages where P gives a verb in the third
person singular (e.g. $ 186 ονομάζει, altered by Gale and subsequent
editors to ονομάζω). The Stoic Archedemus of Tarsus probably lived
about 130 B.C., and drew largely (it would seem) on Hermagoras,
who was himself much indebted to Aristotle, Theophrastus and the
Stoics. We owe our knowledge of Archedemus chiefly to Diog.
Laert. (vii 40, 55, 68 etc.) and to Cic. Academ. II 47, 143. Cp.
G. Thiele Hermagoras p. 181: “Dieser Archedemus ist mit Recht
mit dem berühmten Tarsenser Stoiker identificiert (Volkmann 47,
Susemihl, Litteraturgesch. 86) und Diels hat denselben als Quelle für
Demetrius περί ερμηνείας angesetzt (Abhandl. der Berl. Ak. τ886 8 24).”
The date of Archedemus is discussed by Brzoska in Pauly-Wissowa
Real-Enc. II p. 44ο.
86 22 See Syrianus, as quoted in the Introduction p. 61.
Wilamowitz-Moellendorff has well pointed out (Hermes XXXV 30)
that the recognition by Philodemus of four πλάσματα (viz, αδρόν,
ισχνόν, μέγα, γλαφυρόν) suggests caution in assigning to the π. ερμ.
a date subsequent to the birth of Christ simply on the ground of its
classification of styles. Few would attempt to date a Greek Grammar
(say) purely by the internal evidence afforded by its classification of
the declensions.
86 27 The nature of the fundamental difference between the
'elevated' (or “grand”), and the plain,' style is well indicated by
Dionysius : Γοργίας μεν την ποιητικής ερμηνείαν μετήνεγκεν εις λόγους
πολιτικούς, ουκ αξιών όμοιον τον ρήτορα τους ιδιώταις είναι: Λυσίας δε
τουναντίον εποίησε την γάρ φανεράν άπασι και τετριμμένην λέξιν
εζήλωσεν έγγιστα νομίζων είναι του πεισαι τον ιδιώτης το κοινόν της
ονομασίας και αφελές (Dionys. Hal. de Imitat. ΙΙ 7). The same
distinction is clearly marked in the same author's de Thucyd. C. 23
οι μεν ούν αρχαίοι πάνυ και απ' αυτών μόνον γινωσκόμενοι των ονομάτων
ποίαν τινά λέξιν επετήδευσαν, ουκ έχω συμβαλείν, πότερα την λιτής και
ακόσμητον και μηδέν έχουσαν περιττόν, αλλ' αυτά τα χρήσιμα και
αναγκαία, ή την πομπικών και αξιωματικών και εγκατάσκευον και τους
επιθέτους προσειληφυίαν κόσμους: and in Cic. Brut. 55, 201 oratorum
bonorum (hos enim quaerimus) duo genera sunt, unum attenuate
presseque, alterum sublate ampleque dicentium.”—It may be added
NOTES
219
here that Greek specimens of the various types of style will be found
in Jebb's Attic Orators and Selections from the Attic Orators.
88 7–13 The argument in $ 37, as compared with $ 36, seems
to be this : the χαρακτηρ γλαφυρός and the χαρακτηρ δεινός are not
mere subdivisions of the xap. lo xvòs and the xap. Meya otpenn's
respectively, since they have a separate existence and can be actually
seen combined in one and the same author, e.g. Homer.
88 18 Aristot. Rhet. III 8, 6 čotiv dè maiavos dúo eion årtikeíueva
αλλήλοις, ών το μεν εν αρχή αρμόττει, ώσπερ και χρώνται ούτος δ'
ĉotiv oi äpxei mèv ni uakpá, televtWow dè tpeis Bpageial....... @repos 8 ¿
évavrías, où Bpaxeial apxovo LV tpeis, ñ sè Makpå televtala. That the
παιων is μεγαλοπρεπής is not expressly stated by Aristotle, but it is
implied in his rejection of the iambic rhythm on the ground that dei
oeuvonta yevéolai kai ékotņoal. For Theophrastus in this connexion,
cp. T. . $ 4I.
88 27 'Primarily the infection came from the Soudan’might also
be suggested as an English equivalent. But all such parallels are
probably misleading.–For this extract from Thucydides, see Blass
Att. Ber. I 221, and cp. Sandys Orator of Cicero p. 229.
88 29 Tò télos would usually be written in earlier Greek: cp.
8 63, SuabếpoƯƠu 8ề Tò hehotov Kai cũxape (for rò exapt).ỮAs illus-
trating the effectiveness of long syllables at the beginning and at the
end of a clause, cp. such quatrains in F. W. H. Myers' Saint Paul
as that beginning “So even I, and with a heart more burning."
(Some occasional illustrations from the poets may perhaps be allowed
in accordance with the practice of the T. épu. itself, and with the
precept of a modern writer who was certainly no lover of poetic
prose : "If I were a professor of English, I would teach my men
that prose writing is a kind of poetry,” Jowett's Notes and Sayings.)
Cp. also Isaiah liv 1, Jeremiah ix i, Habakkuk ii 12, Nahum ii 9,
St Matthew xii 28, Job xxxvii 16 (as quoted by Ruskin in Frondes
Agrestes, 'Know'st thou the balancings of the clouds ?').
90 7 évapaviçouévwv : late—Strabo, T. ., Plutarch, etc.
90 13 ff. Cp. Sandys Orator pp. 227, 228.
90 17 The paeonic character of the composition in the Aristo-
telian 'Adnvalwv IIoletela is noted by Blass Att. Bereds. III 2, 348.
90 18 artws seems = 'merely,' as in $ 178; in SS 48, 289 it='in
other cases' or otherwise.'
220
DEMETRIUS ON STYLE
-
90 22 qapalaßeîv: for the infinitive, cp. p. 102 l. 22, p. 116 l. 2.,
p. 118 l. 13, p. 160 l. 27, p. 162 l. 24, p. 164 1. 6, D. 192 l. 23.
90 28 The same example in § 117, where P has ñ kw (without
variant) and no ékei.
90 29 The meaning seems to be that the succession of long
syllables will suggest some kind of verse. Cp. Boswell's Life of
Johnson (G. Birkbeck Hill's edition II 51): “I have not been
troubled for a long time with authors desiring my opinion of their
works. I used once to be sadly plagued with a man who wrote
verses, but who literally had no other notion of a verse but that it
consisted of ten syllables. Lay your knife and your fork across your
plate, was to him a verse :-
Lay your knife and your fork across your plate. As he wrote a
great number of verses, he sometimes by chance made good ones,
though he did not know it.” With the last clause of this extract,
cp. p. 92 l. 2 rolloi yoûv uérpa iamßirà ladowolv oủk cidótes, though
the persons there meant are free from all ambition and as innocent as
M. Jourdain.—ÚTEPTÍTTELV, in the metaphorical sense of 'exceed,'
does not elsewhere occur earlier than the fourth century A.D. ÚTEP-
EKTÍTTELV is, however, used by Plutarch in this sense.
92 1, 2 Aristot. Poet. IV 14 jádiota yàp LEKTIKÒV Tŵv véTPWV TÒ
ιαμβειόν έστιν" σημείον δε τούτου πλείστα γάρ ιαμβεια λέγομεν εν τη
διαλέκτω τη προς αλλήλους, εξάμετρα δε ολιγάκις και εκβαίνοντες της
LEKTlkýs ápuovías. Cp. also III 8, 4 ibid.
92 8, 9 As showing P's variation in spelling, cp. p. 76 lines 23,
24 'Adekapvaoños and åródeÉis.
92 14 The variations between Thucydides' text and that given
in the T. epu. are noted in Hude's Thucyd. Hist. 1 p. 192.
94 5 Cp. Tennyson Geraint and Enid, “All thro' the crash of
the near cataract hears,” or, “Then at the dry harsh roar of the great
horn” (Last Tournament).
947 Únepßolũ is suggested by Weil (after Walz). útepßoln,
however, seems to be in the same construction as δυσήκοος: υπερβολή
δ' έμφαίνουσα would certainly be doubtful Greek if it stood for ή δ'
υπερβολή έμφαίνει.
94 10 The rhetorician, from his point of view, tends to regard
as deliberate much that is simply the instinctive expression of a
writer's nature : cp. $ 40.
:
221
:
NOTES .
94. 14.. Cp. such an ending as admittedly was' in English.
Matthew Arnold, in his prose-writings, often arranges his sentences
in an unusual and 'jolting' (but at the same time effective) order.
94 18, 19 The author's memory has apparently deceived him if
he means that these expressions are actually used by Thucydides.
94 26, 27. olov...... do devès may be a gloss. It will be noticed
that kai before olov is an editorial insertion.
96 2, 3 For karayéwv, see Classical Review XIV 221.
96 5 P's accent (éyyutépov) probably points to a corruption, and
éyyutépw should therefore be adopted, though in a later hand.
96 7 Cf. the lines in Tennyson's Princess, beginning “Eight
daughters of the plough.”
96 22 ff. For this and the following sections, cp. Gregor. Cor.
(Walz, Rhet. Gr. VII 2, 1213).
96 27 The author, here as often elsewhere, intends the single
line to indicate the entire passage.- For a similar estimate of Homer's
art, cp. Dionys. Hal. de Comp. Verb. c. 16 ad fin., kai mapaninpo-
μασιν ευφώνοις διείληφεν κτλ.
982 v: cp. Hom. Il. XXIII 405, 420, 431.—apótepov: especially
in apótepov...... epív.
98 4, 5 The passage in the Phaedrus 246 ff., which is ushered
in by the words ο μεν δή μέγας εν ουρανο Ζεύς (words perhaps suggested
by Soph. El. 174, as quoted in the Introduction p. 44 supra), is often
referred to by ancient writers, e.g. Lucian Piscator c. 22, who did
not always understand what has been aptly called its "grand Miltonic
pomp.' Here, and in the line from Homer, the dy has been roughly
rendered ‘lo, so as to give something of what seems to have been
the effect of this cúvdeouos upon the mind of the author of the
π. ερμ., whose words πολλαι αρχαι seem to suggest a number of
breaks in the sentences quoted: e.g. 'and He-behold! he is mighty
Zeus in heaven,' and 'but when the time came that behold! they
reached the ford.'
98 16 The remainder of the sentence (aŭríka vîv ĉOélels iévau ;)
is left for the memory to supply.
98 17 Praxiphanes : disciple of Theophrastus ; grammarian;
author of a treatise zepi Tomnuátwv. See W. Christ Griech. Litt.3
p. 592, with the references there given. He is mentioned by
Marcellinus (Life of Thucyd., C. 29), and also by Philodemus.
222
DEMETRIUS ON STYLE
98 18 Cf. the reiterated 0 in ‘Locksley Hall’and the Ay me of
'In Memoriam.
98 20 Gregorius Corinthius (Walz, VII 2, 1213) gives lines 16—21
in the following form : ει γούν τον σύνδεσμον εξέλης (sic), συνεξαιρέσεις
(sic) και το πάθος, καθόλου γάρ, ώσπερ ο Πραξιφάνης φησίν, αντί μυγμών
παρελαμβάνοντο οι τοιούτοι σύνδεσμοι και στεναγμών, ώσπερ το αι αι και
το φευ φεύ· τούτο δε και αυτός έπεσημήνατο εν τω
Και νύ κ' οδυρομένοισιν έδυ φάος ήελίοιο.
έμφασιν γάρ τινα οίκτου και πάθους ενεδείξατο. It is not altogether
clear whether the words αυτός φησι in the π. ερμ., and και αυτός
έπεσημήνατο in Greg. Cor., refer to Praxiphanes or to Homer; more
probably to the former. Perhaps, as Mr Mathews suggests, there
is a fanciful suggestion of καίνω in και νυ.
98 23, 24 προς ουδέν έπος : cp. Αristoph. Eccles. 75ο ου γάρ τον
εμόν ιδρώτα και φειδωλίαν | ουδέν προς έπος ούτως ανοήτως εκβαλώ.
“Apropos of nothing.' προς ουδέν simply p. 98 lines I and 22,
p. Ι68 1. 8.
98 25 This line seems to be attributed to Sophocles by Aristot.
Rhet. 111 9, 4; cp. Roemer Aristot. Ars Rhet. p. xlix.
98 29 Cp. D. G. Rossetti's refrains Sing Eden Bower! and
Alas the hour in his ‘Eden Bower'; and Shakespeare's burlesque line
With hey, ho, the wind and the rain, in ‘Twelfth Night.'
100 4, 5 ανθυπαλλάσσοντα διαταττομένω: cp. Introd. p. 58 supra,
and J. H. Moulton's statement (Grammatical Notes from the
Papyri,' Classical Review XV 32) that oo and it in recently published
papyri seem to defy any attempt to reduce them to rule.
100 13 We might have expected åv, but cp. p. 72 l. 5, p. 98 1. 11,
p. Ιοο 1. 29, p. Ιο4 1. 19, p. 136 1. 17, p. 162 1. Ιo, p. 198 1. το.
100 13, 14 Cp. Αristot. Rhet. III 2, 3 θαυμασται γαρ των απόντων
εισίν, ηδυ δε το θαυμαστόν έστιν: and π. ύψ. 35, 5 ευπόριστον μεν
ανθρώποις το χρειώδες ή και αναγκαίον, θαυμαστόν δ' όμως αει το παρά-
δοξον. The author of the π. ύψ. finds this principle illustrated in
men's attitude to natural objects as well as to the arts of style.
100 17 Phas μέγα, not μέγαν : cp. Ρ's reading on p. 84 1. 4.
100 24 The same passage of the Iliad is quoted, and the secret
of its effectiveness expounded, in Aristot. Rhet. III 12, 4: as also
(after Demetrius) in Greg. Cor. (Walz Rhet. Gr. vii pp. 1189, 1190).
Cp. in English: "Elaine the fair, Elaine the lovable, | Elaine, the lily
NOTES
223
maid of Astolat” (the beginning of Tennyson's Lancelot and Elaine);
and, in Greek, the repetition of the pronoun aŭròs in the fragment
of Aeschylus quoted at the end of the second book of Plato's
Republic.
100 25 Gregorius (1.c.) has : σχεδόν γαρ άπαξ του Νιρέως ονομασ-
θέντος εν τω της ποιήσεως γράμματι ουδέν ήττον ή 'Αχιλλέως ήδ'
'Οδυσσέως μεμνήμεθα· καίτοι κατα έπος εκάστων (sic) λαλουμένων σχεδόν
αιτία δ' ή του σχήματος δύναμις. Gregorius thus confirms P's λαλου-
μένων, as against the vulgate καλουμένων. Should not έκαστον be
read in place of εκάστων, and εν τω της ποιήσεως δράματι in place of
εν τω της ποιήσεως γράμματα, in this passage of Gregorius ?
100 28 Cp. Gregor. Cor. (Walz, Rhet. Gr., VII 2, ΙΙ9ο): ει δ'
ούτως είπε, Νιρεύς ο Αγλαΐας υιος εξ Αισύμνης τρείς νήας ήγε, παρασε-
σιωπηκέναι άν Νιρέα τον κάλλιστον έδοξεν ώσπερ γαρ εν ταις εστιάσεσι
τα ολίγα πολλά διαλυθέντα πως φαίνεται, ούτω καν τοις λόγοις εστίν.
όρα δε πως το σχήμα εμιμήσατο την του προσώπου ευείδειαν· έπει γαρ
πρόσωπόν τι υπέκειτο άμορφία κοσμούμενον, δια τούτο και την επανα-
φοράν, ήτις έστι σχήμα του κάλλους, παρέλαβεν.
102 9 μεγαλειότερον......μάλλον : cp. p. ΙΙ8 lines 21, 22 and
p. 128 1. 17. For instances, in earlier Greek, of comparatives and
superlatives thus intensified, reference may be made to Kühner
Grammatik II pp. 25, 26. English examples (such as more braver'
in the Tempest, and 'most unkindest' in Julius Caesar) will be found
in Abbott's Shakespearian Grammar p. 22, where doubt is thrown
on Ben Jonson's view that “this is a certain kind of English atticism,
imitating the manner of the most ancientest and finest Grecians.”
Bottom, it is pointed out, speaks of “the more better assurance.”
102 10 Just as the insertion of and' would (quite apart from
considerations of metre) make the following lines of Tennyson
commonplace : “The seeming-injured simple-hearted thing” (Merlin
and Vivien); “Iron-jointed, supple-sinewed, they shall dive, and they
shall run” (Locksley Hall); “That all the decks were dense with
stately forms, | Black-stoled, black-hooded, like a dream” (Passing
of Arthur).
102 II This section seems intended to show that the opposite
practice to that advocated in § 60 may sometimes conduce to
elevation : just as (8 63) both asyndeton and polysyndeton are
effective, each in its place. The same passage of Thucydides is
quoted by Dionys. Halic. Ep. ad Amm. C. 4: see D. H., p. 179.
224
DEMETRIUS ON STYLE
Here (1. 14), as often elsewhere in the 7. épp., the remainder of the
quotation is implied; the point is that έλειποψύχησέ τε και πεσόντος
αυτού ες την παρεξειρεσίαν η ασπις περιερρύη ες την θάλασσαν is more
impressive than eNELTOVÚxnoé te kał ČTEO EV Eis Try Tapečelper lav każ
åréßale tìv årtida és tnv Gálaosav. Kühner (Grammatik II pp.
665—667) gives classical examples (which are more numerous than
is usually supposed) of the genitive absolute used where the nominat.,
acc. or dat., of the participle in agreement might have stood.
Probably this free use was due, at least in part, to a desire to avoid
monotony of case-termination. The decline of the genit. abs. in
N.T. Greek is illustrated by Jannaris (Historical Greek Grammar,
p. 500), while Blass (Grammar of New Testament Greek pp. 251, 252)
gives instances of its use, over-emphasizing perhaps the departure
from classical usage.
102 18 cipyáoato : gnomic aorist.
102 19, 20 These words are not found in Herodotus, in whom
the nearest parallel is 1 203 : kai tà mèv Tpòs TÌv ottépnv dépovra tņs
θαλάσσης ταύτης και Καύκασος παρατείνει, έων ουρέων και πλήθει μέγιστον
kai ueyád ei úynióratov. What the author clearly has in view is some
such repetition as that of the word 'black' in Milton's Il Penseroso :
“O’erlaid with black, staid Wisdom's hue; | Black, but such as in
esteem | Prince Memnon's sister might beseem.”
102 24 oi åpxałoư: cp. SS 15, 175, 244. The reference some-
times seems to be to the writers (such as Hecataeus and Herodotus)
earlier than the 'artistic prose’ initiated by Gorgias; at other times
to the classical writers generally (the 'ancients,' as viewed from a
later standpoint).
102 25, 26 “ars celare artem”; a studied simplicity.
104 12 EŰos: the context makes it clear that Greek v cannot
have been = English v, as has sometimes been supposed. We might,
indeed, have expected the word to be given in the genitive or dative
case and thus to consist of vowels from beginning to end; but the author
probably ignores the case-mark which varies with the construction.-
In English cp. faëry in “faëry elves" (Milton, Paradise Lost, Bk 1),
and in “faëry lands forlorn” (Keats, Ode to a Nightingale).
104 23, 24 TWV ÉTTà Duvnévrwv: the writer of the 7. épp. is
clearly much interested both in Egypt and in music, cp. SS 158, 74,
176. The number (seven’ would apply either to the Egyptian or to
the Greek alphabet. For the seven vowels in Greek, cp. Dionysiä
NOTES
225
Thracis Ars Grammatica p. 9 (ed Uhlig): τούτων (των γραμμάτων)
φωνήεντα μέν έστιν επτά αεηιού ω. φωνήεντα δε λέγεται, ότι φωνήν
αφ' εαυτών αποτελεί.
104 28 The author pulls himself up (as in $ 195, when speaking
about the art of acting); but he has said enough perhaps to imply
that he may have lived at Alexandria.
104 30 ήτοι occurs in SS 6, 30, 72, 97, 157, 201. In all these
sections a following ή is either expressed or implied,-των δε μικρών
κώλων in 8 6, συγκρούονται και δίφθογγοι διφθόγγοις in 8 72, and
πολλούς δε και προσπλάσσομεν in 8 157. It does not seem to be
used, as has sometimes been thought, in the sense of 'namely.'
106 I So Eustathius: το δε λάαν άνω άθεσκε ποτέ λόφον’ έπαι-
νείται χάριν της συνθήκης. έμφαίνει γαρ την δυσχέρειαν του της ωθήσεως
έργου τη των φωνηέντων επαλληλία, δι' ών όγκούντων το στόμα ουκ
εάται τρέχειν ο λόγος, αλλ' οκνηρά βαίνει συνεξομοιούμενος τη έργωδία
του άνω ωθείν.
Cp. Pope "When Ajax strives some rock’s vast weight to throw, |
The line too labours, and the words move slow” (Essay on Criticism).
-Rapid movement, on the other hand, is well illustrated by the
concluding line in this passage of the Odyssey : αύτις έπειτα πέδoνδε
κυλίνδετο λάας αναιδής (Odyss. XI 598), which Sandys translates “Down-
ward anon to the valley the boulder remorselessly bounded” (Cope's
Rhetoric III 126).--Cp. D. H. p. 18.
106 5 The example seems to be introduced abruptly, but cp.
the note referring to p. 124 1. 25.
106 13, 14 E.g. on eeldvocóuevos (for which in Eurip. El. 437
and Aristoph. Frogs 1314, see Classical Review XV 344, and cp. the
Delphic Hymn to Apollo and D. B. Monro's Modes of Ancient Greek
Music pp. 132, 134). μέλισμα = μελισμός, which is thus defined by
Herodian (Epimer. p. Ι8ο Boiss.): μελισμός (έστιν) όταν τον αυτόν
φθόγγον πλεονάκις ή άπαξ κατα μουσικόν μέλος μετά τινος ενάρθρου
συλλαβής προλαμβάνωμεν. It is thus equivalent to a “shake' or
trill.'
106 18 One of the comparatively few passages in which reference
is made to πράγματα or διάνοια.
106 23, 24 απρεπές ποιεϊν τα πράγματι : for the dative with
απρεπής, see the passages quoted in Stephanus S. V.
Ι
15
226
DEMETRİUS ON STYLE
108 1 The painter Nicias here in question seems to have been
the contemporary of Praxiteles mentioned by Pliny.
108 10 Anastasius Gennadius suggests trolnuátwv for mountWv.
108 12 The subjunctive' with ei is retained in the text, since it
has a parallel (ei yàp ovvapoġ tahta ouvdéo uols) on p. 190 l. 23 of
this treatise. The usage is very rare in Attic prose, but frequent in
later writers such as Diodorus, Plutarch, and even Lucian.
108 13—16 Compare and contrast Aristot. Rhet. III 2, 6 tò dè
κύριον και το οικείον και μεταφορά μόνα χρήσιμα προς την των ψιλών
λόγων λέξιν. σημείον δ' ότι τούτοις μόνοις πάντες χρώνται πάντες γαρ
μεταφοραίς διαλέγονται και τους οικείους και τους κυρίοις, ώστε δηλον
ως αν εύ ποιη τις, έσται τε ξενικών και λανθάνειν ενδέχεται και σαφηνιεί.
108 17 For metaphors, see Aristot. Rhet. 111 CC. 2, 3, 4, 6, 10,
II; together with Cope's Introduction to Aristotle's Rhetoric pp. 286,
374–379, and Volkmann's Rhetorik der Griechen und Römer? pp.
417–421. Whenever a metaphor is either praised or condemned
by a Greek critic on what seem to us insufficient grounds, we have
to bear in mind that metaphors generally have lost much of their
freshness through constant use: cp. Jebb’s Selections from the Attic
Orators? p. xvi and Cope's edition of Aristotle's Rhetoric vol. III
p. 46.
108 20 unte: we should expect undé.-tóppwdev : cp. Aristot.
Rhet. III 2, 12 and 111 3, 4.
108 21 ČOLKEV : the singular verb is to be remarked, followed as
it is by adindows and three separate subjects. Gregorius Corinthius
(Walz Rhet. Gr. VII 2, 1161) gives éolkaoiv adindows 8 otpatnyos kai
και κυβερνήτης και ο ηνίοχος.
108 25 The form vnos may point to a poetical quotation; but
cp. Introduction p. 59 supra.
108 26 As Cope (Introduction to Aristotle's Rhetoric p. 292)
points out, Demetrius has in mind Aristot. Rhet. III 4 and Poet. C. 21
and wishes to explain (in qualification of Aristotle's statements) that
the reciprocity of metaphors is not uniform.
108 28 An attempt has been made in P to change mointny into
ποιητή, so as to get the more obvious construction with εξήν.
110 1, 2 For the relation of metaphor and simile, see Cope's
Introduction p. 29o and Volkmann's Rhetorik p. 418.
NOTES
227
110 4 For Python, sée W. W. Goodwin's edition of the De
Corona p. 100.
| 110 5 Cp. T. Ủy. XXXII 3 Suốiep 8 Lều ApurioréAns Kai ở 80-
φραστος μειλίγματά φασί τινα των θρασειών είναι ταύτα μεταφορών, το
“ωσπερεί’ φάναι και οιονεί” και “εί χρή τούτον ειπείν τον τρόπον” και “εί
δει παρακινδυνευτικώτερον λέξαι' ή γαρ υποτίμησις, φασίν, ιάται τα
τολμηρά. By μειλίγματα is here meant emollitiones, while a little
later αλεξιφάρμακα (“remedia) is used with reference to the πάθη.-
The chapter on ‘Simile and Metaphor’in Abbott and Seeley's English
Lessons may be consulted with advantage.
110 7, 8 For Plato's tendency to poetic diction, see Dionys.
Halic. Ep. ad Pomp. c. 2; together with D. H. pp. 27-30 and
Norden's Kunstprosa i pp. 104 ff.
110 10 CP. Aristot. Rhet. III II, 1-4, where the same illus-
trations are quoted. See also Volkmann, Rhetorik, p. 419. -
110 12 TÒ ÊTrì Toll Bérovs, sub. eipnuévov: cp. p. 200 l. 8, p. 130
1. 17, p. 142 l. 12, P. 132 1. 6.
110 15 Compare in English such personifications as "Where the
wind's feet shine along the sea” (Swinburne, Poems and Ballads);
“And Autumn laying here and there | A fiery finger on the leaves"
(Tennyson, In Memoriam).
110 19 ntrep: an Ionic form, frequent in Homer and Herodotus;
absent from Attic prose, except once in Aristotle ; occurs in late
prose, Polybius, Arrian etc. Also found in $ 12.
110 20 Cp. “Air shudders with shrill spears crossing, and
hurtling of wheels that roar” (Swinburne, Erechtheus);, or the
different yet parallel metaphor, “Dash'd on every rocky square |
Their surging charges foam'd themselves away” (Tennyson, Ode on
the Death of the Duke of Wellington).
110 28 A familiar instance in English is : “While England's
fate, | Like a clipped guinea, trembles in the scale” (Sheridan, The
Critic, II 2, 306).
.112 1–4 Criticism and defence alike seem laboured, the
repetition of the verb nyelv being especially clumsy. Would the
critic in the same way have attacked Swinburne's “And heaven rang
round her as she came | Like smitten cymbals" (Atalanta in Calydon)?
The third chapter in Aristotle's Rhetoric Book III reminds us how
different the ancient point of view was from the modern.—This
15--2
228
DEMETRIUS ON STYLE
.
passage of the T. &pu. is reproduced, with certain variations, by
Gregor. Cor. (Walz, Rhet. Gr. VII 2, 1161).
112 7 Cp. Volkmann Rhetorik der Gr. u. Römer? p. 421.
112 8 Mr Dakyns (Works of Xenophon 1 107) refers to Gold-
smith (Essay XVI, on “Metaphor'), who translates "part of the
phalanx fluctuated on the march."
112 16 An interesting question arises as to which Theognis
is here meant. Bergk proposed Θεοδέκτης Or Θεόδωρος in place of
Ⓡéoyvis. He thought that the metaphor in question could not
have been used by Theognis of Megara. My friend and former
pupil Mr T. Hudson Williams, who has made a special study
of the remains of Theognis, writes as follows: “It seems quite
impossible to father the expression pópucyya öxopdov on Theognis
of Megara, as his style is so simple and straightforward. The
only words in the collection bearing his name that might be com-
pared with φόρμιγξ άχορδος are άγγελος άφθογγος (of a beacon-
light) 1. 549. If the reading éoyvis is correct, we are compelled to
assign the words to Theognis Tragicus. Although it seems natural
to regard the Megarian as the Theognis ‘par excellence'- the
Theognis without an epithet,' he is by no means always mentioned
without a distinguishing expression such as Meyapeús (Xen. in Stob.
Serm. 88), or Oéoyvis ó Toloas tàs útoonkas (Schol. Thucyd. II 43).
Aristophanes always refers to the Athenian simply as Theognis (
Oéoyvi Ach. II, Oéoyvis Ach. 140, ó Béoyvis Thesi. 170). Possibly
some of the poems of the Athenian were falsely attributed to the
Megarian. Suidas says of Theognis of Megara šypayev éheyelav eis
TIÙS Owl évta's Tøv Eupakooiwv èv tŷ Todoprią, a statement which has
puzzled all critics and commentators. Sitzler (Theog. Reliq. p. 52)
proposes to read εις τους σωθέντας εν τη πολιορκία των Συρακουσών,
and refers the words to an elegy composed by Theognis of Athens
on the survivors of the Sicilian Expedition.” Nauck (Tragic. Graec.
Fragm. p. 769) also attributes the phrase to Theognis Tragicus,
printing it as his one surviving fragment. The weight of authority is,
thus, against Theognis of Megara. On the other side, however,
should be set the parallel adduced by Mr Williams, together with
the fact that, immediately after his death, Theognis Tragicus had
probably dropped again into that obscurity from which he was lifted
by the genius of Aristophanes, as whose butt he became momentarily
famous.—No light is thrown on the authorship of the words by
NOTES
229
Aristot. Rhet. ΙΙΙ ΙΙ, ΙΙ οίον η ασπις φαμέν έστι φιάλη "Αρεως, και
τόξον φόρμιγξ άχορδος. If the author of the π. ερμ. has borrowed his
illustration of the “stringless lyre' directly from the Rhetoric, he
must have added the name of the writer on his own account.
112 19, 20 Cp. S 91 καθόλου γάρ ταύτην (την συνήθειαν) κανόνα
ποιούμαι πάσης ονομασίας, and Horace, Ars Poet., 71, 72.
112 22 λευκήν τε φωνήν : a voice clear in timbre (Neil's Knights
of Aristophanes p. 167), opposed to pará as in Latin vox candida is
opposed to vox fusca, Quintil. XI 3, 15, Cic. N. D. II 146.
112 29 Sandys (Orator of Cicero, p. 93): “When we apply the
term 'eye' to the bud or shoot of a plant or tuber, we use a true
metaphor which has its parallel in the Lat. oculus ('oculus gemmans'
Col. 4, 24, 16), and the Greek οφθαλμός (και της αμπέλου οφθαλμός,
Demetr. de eloc. 8 87).” The π. ερμ. may here have Theophrastus
in mind.
114 2 κτένες : the parts of the body to which this word may
apply are as various as the ribs, the pudenda (cp. Lat. pecten), the
fingers, the incisors.
114 15 Cp. 8 220 και περί εναργείας μεν ως έν τύπω ειπείν τοσαύτα.
114 16 f. Cf. Aristot. Rhet. III 3, 3 οι δ' άνθρωποι τους διπλούς
χρώνται, όταν ανώνυμον ή και ο λόγος ευσύνθετος, οίον το χρονοτριβείν.
αλλ' άν πολύ, πάντως ποιητικόν.
114 25 σιτοπομπίας : cp. Demosth. de Cor. $ 241 και της σιτο-
πομπίας της των Ελλήνων κύριος, and 8 3οι ibid.
114 29 The 'word' in question is not a noun (övaypos), as has
been usually supposed, but a verb. The passage in Xen. Anab. I
5, 2 runs : και οι μεν όνοι, επεί τις διώκοι, προδραμόντες έστησαν πολύ
γαρ των ίππων έτρεχον θάττον· και πάλιν έπει πλησιάζουεν. οι ίπποι
ταυτόν εποίουν, και ουκ ήν λαβείν, ει μη διαστάντες οι ιππείς θηρωεν
διαδεχόμενοι [τοίς ίππους).
114 31 There seems no construction for ονόματι, unless we
substitute some such word as δηλών for οίον.
116 3 Spengel suggests (though he does not print in his text)
δει πολλά τιθέναι. But (1) the author is thinking of double com-
pounds, such as προσπεριορίζεσθαι, of which there are so many in
the π. ύψ. and comparatively few in the π. ερμ. (though μετασυντίθημι,
υποκατασκευάζω, ανθυπαλλάσσω, συνεξαίρω occur) ; (2) the infinitive
for imperative is rather a favourite idiom with him.
230
DEMETRIUS ON STYLE
116 5 It has been suggested that ópítovtal is a passive verb,
and Tà Sè TTETOLNueva óvóuata the subject to it. But elsewhere (SS 9,
II, 34, 106, 114, 173) opíſomai in the sense of 'define’ is middle;
and no certain instance of plural verb with neuter plural nominative
is found in the treatise. The subject to tolei (1. 7), déyel (1. 9) and
ČOLK EV (1. 11), seems to be Homer, and the construction in l. 8 to be
Slà tò (tà óvóvara) olov yooous éolkéval. [In § 1 and § 35 the active
ορίζειν means to limit.' Cp. όροι in 8 Ι with όρος in $ 34.]
116 7 The repetition of uáriota in the following line may point
to some corruption.
116 8. E.g. such lines of Homer as that quoted from Il. XXIII
in § 219, or Tennyson's “The sound of many a heavily-galloping
hoof” (Geraint and Enid).
116 15 Okuliçelv. Ammon (Bursian's Jahresbericht, 1900: p. 207)
suggests uvo íſelv, comparing Dionys. Halic. De Antiq. Orat. prooem.
C. 1.—In English, cp. Byron's Don Juan, canto vii, st. 15, 16, 17.
116 15, 16 us...... dóŠEl. The grammatical point is well dis-
cussed by Dahl in his dissertation 'Demetrius tepi èpunvelas,' p. 31.
— There is apparently no authority in late Greek for metačù with the
dative, as given here by P.
116 20 The word okapirns occurs elsewhere (as far as our
evidence goes) only in Strabo, Geograph. xvii 817, Mekpòv S ÚTèp
της Ελεφαντίνης εστίν ο μικρός καταράκτης, εφ' ώ και θέαν τινά οι
okapital tois nyeubou en cDELKVUVTAL. Possibly the author of the
7. épp., who is specially interested in Egypt, has this passage in
mind. Here he seems to be complimentary; in other passages
(SS 115, 121, 126, 187, 188, 236, 237, 238, 239) Tis usually introduces
an offending author,-mostly some schoolman occupied with scho-
lastic futilities.
116 22 uóvos and aŭròs are found combined in T. Űt. XXXV 4
και ποταμούς ενίοτε του γηγένους εκείνου και αυτού μόνoυ πρoχέουσιν
Trupós, 'that pure and unmixed subterranean fire.' Here the words
mean one who lives all alone,' an eremite, a recluse. There is no
independent authority for the existence of aŭrírns in Aristotle, though
povórns is found in Eth. Nic. 17 etc. Cp. § 144.
116 23 The verb édesítelv occurs in Xen. Anab. 1 8, 18 us dè
TopevouéVWV éčekúpalvé ti tñs pádayyos (cp. 77. épp. $ 84), tò ÚTONELTÓ-
μενον ήρξατο δρόμο θείν και άμα έφθέγξαντο πάντες οίον το Ενυαλίω
NOTES
231
élenítovoi, kai trávres 8è čbcov : and Anab. v 2, 14 évei 8° ¢murávio av
και η σάλπιγξ έφθέγξατο, άμα τε τω Ενυαλίω ηλέλιξαν και έθεον δρόμο
oi Ólital, ktd.
118 1 Abrupt transition to all nyopía. The same example is
used to illustrate delvórns in § 243.
118 3 Possibly xapâtev should be read: see Liddell and Scott,
S.V.
118 6 ovykalúpatı: a late word, ----LXX, etc.
118 II The suggestion εν αδύτω (for P's εν αυτω) made by a
later hand in the margin of P is distinctly interesting.
118 16 This line is given in Aristot. Poet. XXII 2, and in
Aristot. Rhet. 111 2, 12, where the notes of Cope and Sandys should
be consulted, the second line ούτω συγκόλλως ώστε σύναιμα ποιείν
being preserved by Athenaeus (x 452).-Perhaps as a modern
specimen of allegory' might be quoted D. G. Rossetti's lines in The
House of Life (Sonnet xlv): “Because our talk was of the cloud-
control | And moon-track of the journeying face of Fate," i.e. We
talked of the uncertainty of human destinies. — For Cleobulina, see
Bergk P. L. G.* II p. 62, and Bursian's Jahresber. XXVIII I p. 86.
The line is inferred to be by Cleobulina from a reference to it in
Plut. Sept. Sap. Conviv. C. 10.
118 23 In the T. &pu. the preposition. év is occasionally used
with something of an instrumental force, as in the Greek Testament:
cp. p. 66 1. 9, p. 178 1. 9, p. 148 1. I7:
118 24 Xen. Aaab. I 8, 20 và 8 appara eképéro Ta kèo avr3v
των πολεμίων, τα δε και διά των Ελλήνων κενα ηνιόχων.
120 3 ovußeßantai: for the tense, cp. p. 86 lines 4 and 6.
The perfect has almost a 'gnomic' force in these passages.
120 6 Cp. “it strikes On a wood, and takes, and breaks, and
cracks, and splits” (Tennyson, Princess), or “Grate on their scrannel
pipes of wretched straw” (Milton, Lycidas).—The quotation from the
Iliad is elliptical, as often. In full the passage runs: Aſas do uéyas
αιεν εφ' Έκτορι χαλκοκορυστή | ίετ' ακοντίσσαι.
120 16 Bergk, who claims the fragment for Sappho, reads :
ramai 8 ÉTTLTTOP Súper ävdos. But this involves the shortening of
the v.
120 20—26 Some lines are omitted in this passage as quoted
by Demetrius. With the last line, cp. William Morris, Story of Sigurd
232
DEMETRIUS ON STYLE
the Volsung, Book II: “Therewith was the Wrath of Sigurd laid soft
in a golden sheath | And the peace-strings knit around it; for that
blade was fain of death; | And 'tis ill to show such edges to the
broad blue light of day, | Or to let the hall-glare light them, if ye
list not play the play.”
122 2 The word 'band' rather than 'stripe' has been chosen in
the Translation, so as not in any way to beg the difficult question
referred to in the Introduction p. 54 supra. The immediate context
may well suggest that some domestic decoration is intended,-a
carpet, or a band of purple paint or encaustic. On the other hand,
the laticlave is clearly meant by TỘ Tdátel rñs Toppúpas in Lucian's
Demomax c. 45 thày Bé Tuva Tov củTagsbuv #mì Tộ TÀaTet Tậs Topbópas
Méya Opovoûvta. And in the use of onuciov on p. 122 l. 3 there may
be a direct reference to the fact that onuelov was used for clavus'
and » alatúonuos (sc. coons) for “tunica laticlavia.'
122 13 This is not a final line in Homer (II. XII 113), but the
first of three consecutive lines: výtrios, oud äp fuelle kaka's ÚTrò kņpas
αλύξας (not αλύξειν) | ίπποισιν και όχεσφιν αγαλλόμενος παρά νηών | άψ
απονοστήσεις προτι "Ίλιον ήνεμόεσσαν.
124 3 Tapákeltal : defects of qualities : 'adfinia vitia sunt.' Cp.
“finitima et propinqua vitia” (ad Herenn. IV c. 10).—Perhaps that
part of the study of style which is negative--which teaches us what
to avoid—is even more useful than the positive,—that which teaches
us what to admire.
124 7 γειτνιώντος : the π. ερμ. shares this use of γειτνιάν with
Aristotle, και όλως δε το τίμιον άγειν εις το καλόν, επείπερ γε δοκεί
yelTviâv (Rhet. 1 9, 30).
124 11 For Sophocles in his less inspired moments, cp. 7. öy.
p. 241. The authorities who ascribe this line to him are mentioned
in Nauck? p. 265. The fault here censured is of the same order as
Wordsworth's “prominent feature like an eagle's beak” (of the
human nose), or Milton's "with hatefullest disrelish writhed their
jaws.” It is a fault to which the heightened style is always liable,
even when it does not actually fall into it: cp. Tennyson's description
of a fish-basket in Enoch Arden, or of a game-pie in Audley Court.
For a burlesque of this style, see Rejected Addresses, where Doctor
Johnson's Ghost is made to describe a door with knocker and bell
as “a ligneous barricado, decorated with frappant and tintinnabulant
appendages.” The parody here is not much more extreme than Dr
'
NOTES
233
Johnson's own change of “when we were taken upstairs, a dirty
fellow bounced out of the bed on which one of us was to lie” into
“out of one of the beds on which we were to repose, started up at
our entrance a man as black as a Cyclops from the forge” (the first
sentence in a private letter, the second-relating the same incident-
in the Journey to the Hebrides; the example is given by Lord
Macaulay).
124 17 decoßoloûvtos: late,-LXX, N. T., Plutarch, etc.
124 21 The reference is to Aristot. Rhet. III 3, I tà dè yoxpà
εν τέτταρσι γίγνεται κατα την λέξιν, έν τε τους διπλούς ονόμασιν, οίον
Avkoopwv ktd. The four points mentioned by Aristotle are, in order:
(1) compound words, (2) obscure words, (3) epithets,' (4) metaphors.
There is clearly a gap in our text of the T. &pu.
124 22 Alcidamas : mentioned also in $ 12. See Aristot. Rhet.
III 3 ; Brzoska's article in Pauly-Wissowa i pp. 1533—1539; D. H.
p. 41.,
124 24 For the insertion of ei, cp. p. 102 l. 10.
124 25 It does not seem necessary to insert olov after yoxpóv:
cp. p. 162 1. 20, p. I8o 1. I5, p. Ios 1. 5.
124 26 Possibly the author of this conceit may be Gorgias, to
whom the words “xwpd kai évalua tà apáyuara” are attributed in
Aristot. Rhet. III 3, 4.
126 I Cp. p. 90 l. 28 supra. In English, cp. Pope's satirical
line “And ten low words oft creep in one dull line” (Essay on
Criticism). On the other hand, a succession of long syllables has a
fine effect in Swinburne's "All thy whole life's love, thine heart's
whole" (Songs before Sunrise).
126 4. CP. Aristot. Rhet. 111 8, 3 diò þv@ mòv dei čxelv Tòv lóyov,
μέτρον δε μη· ποίημα γάρ έσται. ρυθμόν δε μή ακριβώς τούτο δε έσται
¿àv Méxpi tov ħ. For examples of the neglect of this principle in
English prose, see Abbott and Seeley's English Lessons pp. 94 ff., or
Ruskin's Frondes Agrestes § 60 and certain passages in Blackmore's
Lorna Doone. In Latin, cp. “Urbem Romam a principio reges
habuere,” Tac. Annal. init.
126 10 The analogy between imposture and frigidity is certainly
good. But it must be remembered that such elaborate language is
often half-playfully used by modern writers: e.g. by Tennyson in the
passage of Audley Court referred to in the note on p. 124 1. 11, or
234
DEMETRIUS ON STYLE
when he describes ladies' angular handwriting as "such a hand as when
a field of corn | Bows all its ears before the roaring East.” Cp.$ 120.
Charles Lamb is fond of such mock-heroics and quaint elegances.
126 . For this, as well as other proverbs, see end of Notes.
126 14 Gorgias and Isocrates may be specially meant. The
marginal note in P (onuelwo al Őws êvavriws Anoi twv ädlwv) probably
refers to our author's dissent from the doctrine of the Isocratic
school.
126 16 For Polycrates, see Jebb Att. Or. II pp. 94-96 and
p. 103 n. 2, and Spengel Art. Script. pp. 76, 77.
126 17 E. Maass (Hermes XXII 576) would supply Ⓡepoírny, or
some such name.
126 29 Cp. Pope (in mock-heroic style): “To where Fleet-ditch
with disemboguing streams | Rolls the large tribute of dead dogs to,
Thames” (Dunciad, Book 11). — The Nile and the Danube are men-
tioned together in 7. út. XXXV 4.
128 4 For the inserted ñ cp. p. 128 l. 11 Ý kai oti kt.
128 6 åkovo Oñvai: the active would be more usual, e.g. Eurip.
Med. 316 déyers åkowoai uaddará. But as Kühner (Gramm. d. gr.
Sprache II 585) remarks, the active and the passive are found side
by side even in writers of the classical period, e.g. Isocr. 12, 156
ποιήσομαι την αρχήν των λεχθησομένων ακούσαι μεν ίσως τισιν αηδή,
énoņvai 8° củk do úupopov.—•8òv dvolyvývac (1. 7) = viam aperire.
128 24 The meaning is that the last of the three varieties, that
specified (eipnuévn) as 'impossible' (l. 20), is the one which specially
bears that name.-—-€¢acpétus = kat’étoxýv, par excellence : late,-Philo,
Plutarch, etc.
128 27 Kwuwdotool: specifically Attic word. See Classical
Review XIV 211 (article by H. Richards on the use of tpaywdòs
and kwmwdós).
128 29 As Hammer has pointed out, the mannered inversion
των Περσών της απληστίας is characteristic of the π. ερμ. (and, it may
be added, of the 77. vy. as well): cp. p. 78 l. 10, p. 96 l. 24, p. 106 l. 2,
p. 116 l. 4, p. 124 1. 5, P. 126 1. 19, p. 164 1. 18. Here the order is
the more awkward that a preposition governing the genitive is used :
contrast p. 146 l. 19 énè tñs årinorías To Il epov.
130 3 The fragments of Sophron have been collected by Kaibel
Comicorum Graecorum Fragmenta pp. 152-181, and by Botzon in his
Sophroneorum Mimorum Reliquiae. Norden (Kunstprosa I pp. 46–48)
NOTES
235
gives some account of Sophron's rhythmical prose, and comments
on this revival of interest in it during the ist century A.D. (the period
to which he assigns the π. ερμ.), when composition with a strongly
marked rhythm was much affected by the Greek rhetoricians. Suidas
says: Σώφρων Συρακούσιος, Αγαθοκλέους και Δαμνασυλλίδος τους δε
χρόνοις ήν κατά Ξέρξην και Ευριπίδην, και έγραψε μίμους άνδρείους και
μίμους γυναικείους εισί δε καταλογάδην, διαλέκτη Δωρίδι. και φασί
Πλάτωνα τον φιλόσοφον αεί αυτοίς εντυγχάνειν, ως και καθεύδειν επ'
αυτών έσθ' ότε, viz. «Sophron of Syracuse, the son of Agathocles and
Damnasyllis, was contemporary with Xerxes and Euripides and wrote
mimes for men and mimes for women; they are in prose and in the
Doric dialect. It is said that the philosopher Plato was always
reading them;--in fact, that he sometimes slept with them under his
pillow.” In this passage, the mention of Xerxes seems to point to
confusion between Epicharmus and Sophron, whose date may be
inferred from the fact that his son Xenarchus lived under the tyrant
Dionysius. By μιμοι ανδρείοι are meant such subjects as the Γέροντες,
Αλιείς, "Αγγελος, etc.); by μιμοι γυναικείοι such as the Ίσθμιάζουσαι,
Πενθερά, etc. In the Poetics I 7 Aristotle says : ουδέν γάρ αν έχοιμεν
ονομάσαι κοινόν τους Σώφρονος και Ξενάρχου μίμους και τους Σωκρατικούς
λόγους, ουδε εί τις διά τριμέτρων ή έλεγείων ή των άλλων τινων των
τοιούτων ποιοίτο την μίμησιν (cp. S. H. Butcher's edition, pp. Ι42, 143).
The following sections of the π. ερμ. refer to Sophron : SS 128, 147,
151, 153, 156, 162 (in 8 156 his μιμοι are called δράματα). Cp.
L. Hirzel Der Dialog I 20 ff.
130 16 For the humour of Lysias, see Jebb's Attic Orators i
pp. 184, 185, 194, and Blass Att. Bereds. I pp. 398, 632. Blass
Griech. Bereis. p. 51 may also be consulted, especially with regard
to Maslovius' (Maslow's) proposed substitution of 'Αριστοφάνους for
'Αριστοτέλους in this passage: as he points out, prose-writers (not
poets) are here in question.
130 17 Cp. such English examples as: "Like a man made after
supper of a cheese-paring : when a' was naked, he was, for all the
world, like a forked radish, with a head fantastically carved upon it
with a knife," Second Part of King Henry IV, Act III Sc. 2.
132 6 oủv (if the reading is right) must mean denique.
132 7, 8 Ηom. Odyss. IX 369 Ούτιν έγω πύματον έδoμαι μετα
οίς ετέροισι, | τους δ' άλλους πρόσθεν το δέ τοι ξεινήϊον έσται.-It
should be noticed that Ρ gives ξένειον, both here and in 8 15 2.
236
DEMETRIUS ON STYLE
132 13 Χen. Anab. VΙ Ι, 13 ενταύθα κρότος ήν πολύς, και
οι Παφλαγόνες ήροντο ει και γυναίκες συνεμάχοντο αυτοίς: οι δ' έλεγαν
ότι αύται και αι τρεψάμεναι είεν βασιλέα εκ του στρατοπέδου.
1347 The literal translation probably is in the writings of
Xenophon': cp. p. 152 1. 5, p. 8o 1. Ι8, p. 94 1. 28. It has, indeed,
been maintained that in later Greek παρά C. dat. is = υπό C. genit. ;
but usually, if not always, the local sense will be found to be
prominent, e.g. Dionys. Hal. de Thucyd. C. 23 ούθ' αι διασωζόμεναι
παρά πάσιν, ως εκείνων ούσαι των ανδρών, πιστεύονται : id. ib. C. 39
τούτο δε όμοιόν εστι το λέγειν ότι παρά τους τυράννους ου μισούνται
τύραννοι.
134 9 More than one example of this kind of pleasantry will be
found in the opening scene of the Merchant of Venice.
134 13 Finckh would expunge ώσπερ και in 1. 13 and ώσπερ in
1. Ι4, and substitute ώσπερ for ωσπερεί in 1. 15.
134 18 Possibly P's παραδείξομαι should be preserved, as another
instance of that curious love of variety which gives επαινεσόμεθα in
8 292 but επαινέσομεν in $ 295, περί κακοζηλίας in 8 189 but περί την
λέξιν in 8 188.
134 26 Χen. Anab. III 1, 31 αλλά τούτω γε ούτε της Βοιωτίας
προσήκει ουδέν ούτε της Ελλάδος παντάπασιν, έπει εγώ αυτόν είδον
ώσπερ Λυδόν αμφότερα τα ώτα τετρυπημένον. και είχεν ούτως.
136 4 Weil says that he would rather see the shield of the sleep-
ing Amazon under her head than on her head (“ich sähe den Schild
der schlafenden Amazone lieber unter ihrem Kopfe υπό τη κεφαλή
als auf ihrem Kopfe επί τη κεφαλή,” Neue Jahrb. fiir Philol. und
Pädag. LXXIII 705); and so he would read Útó. But the alternatives
are not fully grouped ; and the fact is overlooked that a shield might
be an uncomfortable pillow even for an Amazon. In late as in early
Greek émi with the dative may mean simply beside, as in Homer's ai
δε νέμονται | παρ Κόρακος πέτρα επί τε κρήνη 'Αρεθούση (Odyss. XIII
407), or οι δ' αγορας αγόρευον επί Πριάμοιο θύρεσι | πάντες ομηγερέες,
ημέν νέοι ηδε γέροντες, where it is certainly not implied that the old
men and the young were seated on the doors.--In § 138 and § 137
the author shows a clear perception of the fact that style owes as
much to what is left unsaid as to what is said,—that a pointed
brevity is most effective.
136 13 Or “the exemption of his territory from further pillage,”
as Mr Dakyns more neatly renders it in his Translation of
NOTES
237
Xenophon’s Works. The full sentence in Xen. Anab. I 2, 27 is :
μετά δε ταύτα επεί συνεγένοντο αλλήλοις, Συέννεσις μεν έδωκε Κύρω
χρήματα πολλα εις την στρατιάν, Κύρος δε εκείνω δώρα και νομίζεται παρά
βασιλεί τίμια, ίππον χρυσοχάλινον και στρεπτόν χρυσούν και ψέλια και
ακινάκην χρυσούν και στολήν Περσικήν, και την χώραν μηκέτι διαρπά-
ζεσθαι, τα δε ήρπασμένα ανδράποδα, ήν που εντυγχάνωσιν, απολαμβάνειν.
136 23 Cp. the repetition of till I die' in Tennyson's Maud,
or of the love of' in the Dedication of his Idylls, or of "all made of'
in As You Like It v 2.
136 24 The fragments of Sappho quoted in the ai epu. are for
the most part given in an abbreviated or allusive form and without
much regard to verse-arrangement. Perhaps, therefore, it is better
to let them remain imbedded in the text, rather than attempt to
arrange them metrically. For the present fragment, see H. Weir
Smyth Greek Melic Poets p. 35 and H. T. Wharton Sappho p. 145.
138 3 Selvórntas. Spengel suggests Selvórnta. But cp. p. 132
1. 12 p. 180 l. 21.
138 4 étrexapítws: in support of his emendation, Finckh com-
pares p. 130 l. 9..
138 6 For this passage, see H. Weir Smyth Greek Melic Poets
pp. 34, 249, 250; and H. T. Wharton's Sappho pp. 136-138.
138 12 See H. Weir Smyth op. cit. pp. 20, 220, 221, with the
reference there given to Hesiod Op. et D. 582 ff.
140 I Wilamowitz-Moellendorff (Hermes xxxiv p. 629) takes
the reference to be to the ůros, or long-eared owl, and quotes
Aristot. Hist. An. VIII 597 b 23 čoti dè koßados kai deguntis kai
åvropxoýuevos adio Ketal. Weil suggests kák kólakos (“and of flatterers
bred '), but the plural τα μη συνήθη ονόματα seems to favour
Wilamowitz' emendation. Cp. Aristoph. Vesp. 42 ff. for kópakos
converted into kólakos by the lisping Alcibiades.
140 7 Cp. H. T. Wharton's Sappho pp. 131, 132.
140 10 ó launpótepos : it has been suggested that tņs gekývns
should be supplied. Spengel, however, proposes laurpóratos, just as
on p. 76 l. 17 he proposes jikpótatai for pekpótepal. See, however,
for the confusion of the comparative and superlative in later Greek,
J. H. Moulton 'Grammatical Notes from the Papyri' (Classical Review
XIV 439), and cp. Blass New Test. Grammar (H. St J. Thackeray's
translation) pp. 33, 141. Cp. Mod. Gk å laurpórepos (superl.).
238
DEMETRIUS ON STYLE
140 13 Cp. Kaibel Comicorum Graecorum Fragmenta p. 159.
There is.some similarity in Pope's humorous comparison : “ Millions
and millions on these banks he views, | Thick as the stars of night,
or morning dews, | As thick as bees o’er vernal blossoms fly, | As
thick as eggs at Ward in pillory.” (Dunciad, Book 111.)
140 16 Siaraíſovoa: late in this sense, Josephus, Plutarch,
Diog. Laert., etc.
140 19 Sappho's lines are thus written and arranged in Smyth's
Greek Melic Poets p. 33: "Yyou dň tò méla@pov 1 'Yuývaov | aéppete
τέκτονες άνδρες» | Υμήναον. Ο γάμβρος εσέρχεται ίσσος "Αρευι, | ανδρος
ueyálw tódu ucítwv. See also H. T. Wharton's Sappho pp. 130,
131.
140 23 Some ancient Télémaque seems to be in question.
W. Christ (Griech. Litt.* p. 592) suggests trapà Tylébø, meaning a
grammarian Telephus of Pergamus who lived under the Antonines
(cp. Müller F. H. G. 111 634).
142 2 Cp. Don Juan c. 1 (of College) “For there one learns-
'tis not for me to boast; | Though I acquired-but I pass over
that.”
142 3 kai...... dè occurs also on p. 76 l. 20 and p. 148 1. 25.-ÅTo
otixov årlotplov: see Introd. p. 63 supra. The reference is, of
course, to the art of parody. Cp. Aristot. Rhet. III II, 6.
142 7 κωμωδείσθαι : specifically Attic meaning (κωμωδείν used in
the same sense as OKÚTTELV three lines above).
142 11 Usener (Rhein. Mus. XXIII 336) has pointed out that
δελφύι, not δελφοι, would be the locative form corresponding to
deløús. He suggests adelpòv taidlov Ümey á KÚwv dépel. The
'allegory' probably lies, as he says, in the use of maidov for
σκυλάκιον.
142 12-16 For these passages of Sophron, see (besides the
references given to Kaibel at the foot of the Translation) Botzon
Sophr. Mim. Reliq. pp. 15, 9.
142 19 Cp. $ 130 supra, where the same passage is quoted.
144 3 Boulias: cp. Kaibel Comic. Graec. Fragm. pp. 171, 172:
“ Bulias non rhetor sed iudex dvaßallóuevos åci kai Útepti fuevos tas
κρίσεις in proverbio est : Bουλίας δικάζει Zenob. Vulg. ΙΙ. 79. homo
est nomine suo semper condigne faciens.”
NOTES
239
144 4 See Meineke F. C. G. IV 78 for 'Aνατιθεμένη ή Μεσ-
σηνία.’ –For Menander in general, cp. Croiset Litt. Grecque III pp.
6114620 and G. Guizot's Ménandre.
144 11 According to this view Macaulay, by repeating the word
'gave,' constructs a more elegant sentence than Hume in the
following example: (1) Macaulay: “The Puritans hated bear-baiting,
not because it gave pain to the bear, but because it gave pleasure to
the spectators” (History of England, c. 2); (2) Hume: "Even bear-
baiting was esteemed heathenish and unchristian; the sport of it,
not the inhumanity gave offence” (History of England, c: 62).
144 22 έπρισεν: Cobet (Collectanea Critica p. 237) suggested
έπριεν, which he thinks was written έπρειεν and so corrupted into
έσπειρεν. But the aorist is better, as there is a designed uniformity
of tense and sound.
144 24 επιπληθύωνται : this very does not occur elsewhere in
extant Greek literature. .
144 27 Cp. note referring to p. Ιο4 1. 30 supra.
144 28 The words of Aristotle (Hist. Anim. IX 32) are : ympáo-
κoυσι δε τους αετούς το ρύγχος αυξάνεται το άνω γαμψούμενον αεί μάλλον,
και τέλος λιμώ αποθνήσκουσιν.
146 2 ff. Another fragment of Egyptian lore. Cp. Plutarch Is.
et Osir. 63 αι δ' εν τοις όμμασιν αυτού (sc. του αίλούρου) κόραι πληρού-
σθαι μεν και πλατύνεσθαι δοκούσιν εν πανσελήνω, λεπτύνεσθαι δε και
μαραυγείν εν ταις μειώσεσι του άστρου.
146 8 The author clearly has scenes, and lines, of comedy in
mind throughout $S 159, 160, 161. With l. 13, cp. Aristoph. Aves
486: διά ταύτ' άρ' έχων και νυν ώσπερ βασιλεύς ο μέγας διαβάσκει | έπι
της κεφαλής την κυρβασίαν των ορνίθων μόνος ορθήν.
146 19 Aristoph. Ach. 85 παρετίθει δ' ημίν όλους | εκ κριβάνου
βούς.
146 23 Cp. $ 127 supra, with the references there given.
146 24 See, H. T. Wharton's Sappho p. 153. The 'commentator
on Hermogenes' there referred to is Gregorius Corinthius (Walz,
Rhet. Graeci, vii 2, 12 36).
146 29 "Epws, written by a later hand in P, is due to a confused
repetition of έρωτες and anticipation of "Έρωτος.
148 15 Cp. H. Weir Smyth, Greek Melic Poets, p. cxv.
240
DEMETRIUS ON STYLE
148 16 άγρρικος: specifically Attic word. Also found in $ 217.
148 27 ff. Cp. Hor. Ars Poet. 231 "effutire leves indigna tragoedia
versus, I ut festis matrona moveri iussa diebus, | intererit satyris
paulum pudibunda protervis. I non ego inornata et dominantia nomina
solum | verbaque, Pisones, satyrorum scriptor amabo."
148 28 & 31 σάτυρον : the plural is more usual than the singular
in this sense of satyric play’; cp. Αristoph. Thesm. 157 όταν σατύροις
τοίνυν ποιης, καλείν εμέ. For the singular, Mr H. Richards (Classical
Review XIV 205) quotes C. I. G. 2758 iv as well as this passage of
the π. ερμ. In P's marginal note, οι σάτυροι will be observed.
150 3 The far-gleaming pouch may perhaps have been a
cant expression for a protuberant body. Casaubon conjectured å
Tηλαύγους, comparing Athenaeus V 220 A πεφύκασι δ' οι πλείστοι
των φιλοσόφων των κωμικών κακήγοροι είναι, εί γε και Αισχίνης και
Σωκρατικός εν μέν τω Tηλαύγει Κριτόβουλος τον Κρίτωνος επ' αμαθία
και ρυπαρότητα βίου κωμωδεί, τον δε Tηλαύγην αυτον ιματίου μεν φορή-
σεως καθ' ημέραν ημιωβόλιον κναφεί τελούντα μισθόν, κωδίω δε εζωσμένον
και τα υποδήματα σπαρτίοις ενημμένον σαπρούς.
Telauges as a proper name occurs in § 291 infra : there is here a
play on the personal name.
150 4 Athenaeus IV 158 Β και Κράτης δ' ο Θηβαίος έλεγεν μη
πρό φακής λοπάδ' αύξων | είς στάσιν άμμε βάλης. Crates the Theban
was a Cynic philosopher, a pupil of Diogenes, and a contemporary of
Theophrastus. He wrote in prose and verse, praising simplicity of
life. ποιητική here may refer to some satirical Poetic' of his com-
position, or to his poetry in general. Cp. 8 259.
150 6 ως το πλέον, “ for the most part’: only here in this
particular form.
150 6, 7 Cp. “quamquam ridentem dicere verum | quid vetat ?”
(Hor. Sat. I 1, 24). Ridendo praecipere is as important a principle
as laudando praecipere. A true word may well be spoken in jest.
150 8 “Nothing," says Goethe, “is more significant of men's
character than what they find laughable.” George Eliot, who quotes
this renmark in her Essay on Heine, would say « culture” rather than
" character.”
150 το Apparently some such word as εκάλει or είπε has fallen
out before Πηλέα. The correction Πηλέα is confirmed by Athen. IX
383 c επιτιμώντες δέ τινι (οι μάγειροι) φασίν μή δείν τον Οινέα Πηλέα
NOTES
24Ι
ποιείν, and by Eustath. ad ΙΙ. p. 772 ή δε τοιαύτη κατ' οίνον έννοια
περί του ήρωος Οινέως έφηνε και λόγον αστείον επί καπήλω οίνον
ταράττοντι, ως και τον τρυγίαν συνεμπολάν. ήκουσε γάρ ποθεν ευτραπέ-
λως τό· μή ποίει τον Οινέα Πηλέα, τουτέστι μη τον τρυγίαν κυκών και το
κρητηρι παραμιγνύς μετάβαλλε τον οίνον ως εις πηλόν, δοκεί παρωνο-
μάσθαι παιγνημόνως ο Πηλεύς.
150 15 Cp. Seneca, Dial, ii' (de Constantia Sapientis) c. 17,
“Chrysippus ait quendam indignatum, quod illum aliquis vervecem
marinum dixerat” (quoted by Schneider), and Diog. Laert. VII 1, 2
και Απολλώνιος δέ φησιν ο Τύριος ότι ισχνός ήν (Ζήνων), υπομήκης,
μελάγχρους, όθεν τις αυτόν είπεν Αίγυπτίαν κληματίδα, καθά φησι
Χρύσιππος εν πρώτω Παροιμιών (quoted by Finckh and Liers).-The
seerning dependence of this passage of the Tr. fpu. on Chrysippus is
another indication of comparatively late date.
For similar expressions in English, cp. 'corn-stalk' of a New-
South-Wales man, 'blue-nose' of a Nova Scotian, etc.
150 16, 17 Victorius brackets τον έν τη θαλάσση as a gloss on
θαλάσσιον. But there seems a special allusion to the follies of the
landscman when he finds himself in a boat. With πρόβατον cp.
vervex: a (sheep at sea' would be specially helpless and foolish.
Aristoph. Naub. 1203 αριθμός, πρόβατ’ άλλως. Sophron is thought by
Ahrens to have coined a phrase προβάτου προβάτερον, οιoς oιότερον
(Kaibel C. G. F. p. 173). It is unnecessary to suppose that a fish is
here meant by θαλάσσιον πρόβατον.
150 21 Aristot. Rhet. III 2, 13 has : κάλλος δε ονόματος το μέν,
ώσπερ Λικύμνιος λέγει, εν τοις ψόφους και το σημαινομένω, και αίσχος δε
ωσαύτως.
150 24 Th. Gomperz (Philodem und die ästhetischen Schriften
der Herculanischen Bibliothek, p. 71) suggests ανθοφόρου χλόας, and
compares Eurip. Cycl. 54I ανθηρά χλόη.
150 26 Any English learner of Italian who has had lessons from
a good teacher will remember the delight with which the true
pronunciation of words like donna and bella was expounded. Such
delight we may safely assume the author of the π. ερμ. to have taken
in the names 'Αννοών and Καλλίστρατος.
152 1 The expression oι Αττικοι seems to betoken a late stand-
point, though oι Αττικοι ρήτορες (perhaps an interpolation) occurs in
Aristot. Rhet. III II, 16 and oi 'Aonvnou Þýtopes in Rhet. III 17, 10.
16
242
DEMETRIUS ON STYLE
At all events, the extract from Theophrastus ($ 173) does not seem
to extend as far as here.—On the question of the grammatical forms,
see Kühner Gramm. d. gr. Sprache i pp. 394, 395; Meisterhans
Gramm. d. att. Inschriftene p. 107 (the confirmation here given to
the statement in the T. &pu. is noteworthy); G. Meyer Griech.
Gramm. p. 321.
152 3 About åpxaio. there is something of the notion conveyed
by 'prisci' homines.
152 7 This use of diá, to denote the material of which a thing
is formed, is late-perhaps not earlier than Diodorus and Dionys.
Halic. Other instances on p. 76 1. 10 (which should be compared
with p. 86 l. 23, p. 176 l. 25), p. 74 1. 18, P. 104 1. 12.
152 16 Cp. Theocr. xv 88 ÉKKVALO EŪVTL Tlateléodorai átavta.
152 17 The general standpoint here is surely late. The past
tense is itself significant.
152 20 Spengel suggests ällos; but see n. on p. 90 l. 18 supra.
If any change were to be suggested, it might be (with Goeller) that
of παρατεχνολογείσθω το παρατετεχνολογήσθω (cp. λελέχθω 8 4Ι).
152 24 Gennadius suggests τόπου in place of τρόπου.
152 25 Dionysius treats of the ya upà cúvdeors in his de Comp.
Verb. The author of the 1. épp. 'must, therefore, either be of earlier
date than Dionysius, or (if later) have been ignorant, or have feigned
ignorance, of his work.
152 29 Cp. p. 126 l. 5 supra.
152 30 For Slakpívou cp. § 1, where it means 'differentiate,'
distinguish,' mark out.'
154 8 C. Müller (Fragm. Hist. Graec. II p. 245) suggests that
the reference is to Xenophanes. The · Dicaearchus' in question is
no doubt Dicaearchus Messenius and not the so-called “Pseudo-
Dicaearchus' (for whom see Ancient Boeotians p. 10); and Dicae-
archus Messenius would be little, if any, earlier than Demetrius of
Phalerum.
154 15 Lit. 'for the former (i.e. sò édpavěyelv) is plain and
vehement, while length is elevated.'
154 18 The few words here quoted are meant to indicate the
whole of the passage : oủkoll őtav mév TIS MoVolky Tapéxy katavelv
και καταχεϊν της ψυχής διά των ώτων ώσπερ διά χώνης ας νυν δή ημείς
.
NOTES
243
ξ
ελέγομεν τας γλυκείας τε και μαλακάς και θρηνώδεις αρμονίας, και
μινυρίζων τε και γεγανωμένος υπό της ωδής διατελη τον βίον όλον, ούτος
το μεν πρώτον, εί τι θυμοειδές είχεν, ώσπερ σίδηρος εμάλαξεν και χρήσι-
μον εξ αχρήστου και σκληρού εποίησεν· όταν δ' επέχων μη ανίη κτλ.
(Plat. Rep. III 411 A, B). Hammer (Philologus XXXVI 357) defends
επ' άμφω as meaning nach beiden Richtungen findet nman εν τω
περί μουσικης λόγω des Plato, dass er γλαφυρός 1st, vgl. Aps. 383, 12 :
όταν επ' άμφω αποδείξης.”
154 24 Spengel adopts the reading εξελείς, though he points out
that the author has the regular future αιρήσω in 8 29 : cp. 88 57, 214,
268, 299.
154 28 The full passage in Ρlat. Rep. III 399 D 1s λύρα δή σοι, ήν
δ' εγώ, και κιθάρα λείπεται, και κατά πόλιν χρήσιμα και αν κατ’ αγρούς
τους νομεύσι σύριγξ άν τις είη.
156 το ονομάζω is a conjecture of Gale for ονομάζει as given in
P 1741. Possibly the third person singular may be defended on the
ground that τις is to be supplied (cp. π. ύψ. p. Ι71), or that some
particular authority such as Archedemus (see note referring to p. 86
1. 13) is meant. In other passages (e.g. $ 94) the plural is used, in
order to indicate more than one authority : here Victorius translates
“nominant, though reading ονομάζει.
156 13 Some of these examples of affectation are probably
drawn, as Norden (Kunstprosa I 148) points out, from the Asiatic
writers of the third century B.C.
156 15 The name of the mother of Alexander the Great being
Olympias.
156 18 ηδύχροον: perhaps sweet-complexioned, just as in
English “sweet-breasted' has been applied to the nightingale.
156 21 λεπταϊς: see for this emendation by Radermacher,
Rhein. Mus. XLVIII 625. Wilamowitz, Hermes, XXXIV 629, suggests
deyelais. Norden (Kunstprosa I 148) calls attention to the Ionic
rhythm in υπεσύριζε πίτυς αύραις (υ--υυυ--).
156 22 Hammer (p. 72 of his dissertation) thinks that Spengel
is right in his query « quidni της λέξεως ?” The genitive is, indeed,
found in other similar passages (such as p. 158 1. 3 and p. 130 l. 9);
but we must allow for our author's love of variety (e.g. p. 158 1. 3,
τοσάδε for the usual τοσαύτα). Here, too, the concurrence of sigmas
may have been avoided. See n. on p. 134 l. 16.
16-2
244
DEMETRIUS ON STYLE
156 25 Σωτάδεια. Sotades lived in the time of Ptolenny Phila-
delphus, whose court he visited; and the use of the term “Sotadean'
for feeble and affected rhythms is probably of still later date.
F. Podhorsky's dissertation De Versu Sotadeo (in ‘Dissertationes
Philologae Vindobonenses,' v pp. 106—184) may be consulted,
together with Dionys. Hal. de Comp. Verb. C. 4 and Quintil. ix 4,
6 and go. A schol. on II. XXII 133 says: ούτος ο στίχος μετατιθέμενος
Ίωνικώς γίνεται από μείζονος: “σείων μελίην Πηλιάδα δεξιόν κατ' ώμον.'
αλλ' η σύνθεσης και τον άρρενα τόνον τεθήλυκεν : cp. Αthen. ΧΙV 620 E
ο δε Ιωνικός λόγος τα Σωτάδου και τα προ τούτου Ίωνικά καλούμενα
ποιήματα κτλ. The fragments of Sotades have been collected by
G. Hermann, Elem. Doctr. Metr. p. 444 ff.
158 1 μεταμεμορφωμένω: late,-Philo, New Test., Lucian etc.
158 6 The passage of Lysias (de caede Eratosth., ad init.) is :
πρώτον μεν ούν, ώ άνδρες (δεί γαρ και ταύθ' υμίν διηγήσασθαι), οικίδιόν
εστί μοι διπλούν, ίσα έχον τα άνω τους κάτω, κατά την γυναικωνίτιν και
κατά την ανδρωνίτιν. επειδή δε το παιδίον εγένετο ημίν, η μήτηρ αυτό
εθήλαζεν· ίνα δε μή, οπότε λoύεσθαι δέοι, κινδυνεύη κατά της κλίμακος
καταβαίνουσα, εγώ μεν άνω διητώμην, αι δε γυναίκες κάτω, κτλ.
158 8 For the effective use of familiar words, see D. H. pp. 10,
15. Hammer ingeniously suggests that in this line πάντων is a
misreading of tâv (cp. l. 16), the circumflex having been mistaken
for an abbreviation of the syllable twv. In P 1741, however, the
corruption seems to have been the other way about.
158 18 i.e. the obscurity of Heracleitus is due chiefly to asyn-
deton: cp. Aristot. Rhet. III 5, 6. Dionysius (de Comp. Verb.
C. 22) says of the αυστηρά αρμονία as seen in ancient writings:
αγχίστροφός έστι περί τας πτώσεις, ποικίλη περί τους σχηματισμούς,
ολιγοσύνδεσμος, άναρθρος, εν πολλοίς υπεροπτική της ακολουθίας,
ήκιστα ανθηρά, μεγαλόφρων, αυθέκαστος, ακόμψευτος, τον αρχαϊσμόν
και τον πινον έχουσα κάλλος. On the subject of αμφιβολία, or
ambiguity, see also Theon's Progymn. pp. 79-81 (Spengel Rhet.
Gr.) and Quintilian Inst. Or. VII 9.
158 24 Philemon: W. Christ Gesch. d. gr. Litt. p. 316, Croiset
Litt. Gr. III pp. 6ο9, 61ο. Date, 361-262 Β. C.
158 27 Nauck Trag. Graec. Fragm. p. 864 reckons this line
among tragic 'adespota,' but the context favours Meineke’s ascription
to Menander. Cobet Νου. Lect. p. 92 suggested φιλώ for φίλε, thus
NOTES
245
multiplying the verbs unduly perhaps; Nauck (Rhein. Mus. VI 468),
bilai.
160 3, 4 lit. Calong with the conjunctions you will infuse a
plentiful lack of emotion into the line,' cp. p. 190 l. 19, which may
suggest årád elav äpa here. (The author of the T. épu. does not seem
to have disapproved of où in composition with another preposition,
cp. p. 78 l. 14, p. 168 1. 10. So far, therefore, the conjecture
συνεμβαλεις appears possible.)
160 7 This interesting passage shows that the Young Samuel of
their literature had impressed the imagination of the Greeks. The
word kúkvos was substituted for kúklos in Eurip. Ion 162 by Victorius,
with the aid of the present passage.
160 12 Slamópowols: late,–Plut., Clem. Alex., etc. Liddell and
Scott note the sense of style or character (of oratory) as cited from
Dem. Phal.; but the reference seems to be to this passage of the
TT. épp. The idea here appears to be that of "construction or
arrangement of the episode' (what the actors call “business') devised
by the dramatist with an eye to the actor; stage-directions, in fact,
expressed or implied.
160 18 TV paknu kategTpéYato occurs in Demosth. Or. xi 1.
160 22 årrekaTÉOTYOEV: cp. J. H. Moulton's Grammatical Notes
from the Papyri, Classical Review xv p. 35 and p. 435. The varia-
bility there noted by Mr Moulton is illustrated in this treatise,
åvéuvno ev appearing in this section, but nivéuvnoev in section 297.
160 27 Deúyelv: for the infin., see n. on p. 220 supra. The
desire for variety explains Deúyelv in $ 204 by the side of pevktéov in
§ 207 and bevyétw in § 208.
160 28 For Philistus, see Dionys. Hal. Ep. ad Pomp. C. 5 and
D. H. p. 174; also r. uy. p. 237.
162 5 It is difficult to determine whether åv should be added
(here and on pp. 168 l. 16, 184 1. 5, 194 1. 21, 200 l. 9) in accord-
ance with classical usage and the usage of this author elsewhere. In
the present state of our knowledge of later Greek there is perhaps
some advantage in giving prominence to such aberrations from
accepted usage. Cp. Aristoph. Av. 180, Eurip. Andr. 929.
162 10 The natural order of words is appropriate to the yapaktno
ισχνός, just as hyperbaton suits the χαρακτήρ μεγαλοπρεπής.-For
Victorius' highly probable emendation, cp. 1. 18 TÒ Avolkòv eidos tńs
246
DEMETRIUS ON STYLE
S
Táčews.—Dionysius states his views with regard to the natural order
of words in de Comp. Verb. c. 4: cp. D. H. pp. 12, 13.
162 16 dokiuáśw: late (Josephus, Plutarch, etc.) in the sense of
'approve' which it bears here and in $ 15.
162 27 aŭtóbev: “at once,' suddenly,' cp. 7. Üy. p. 195. In
SS 32, 78, 122 the meaning is of itself,'' springing from itself.'
162 29 If åv is right, clev or the like may be supplied : womepavei
Tollà o. èx. should possibly be read.
164 2 å onueiwtos : late—Philo, and an inscription of Roman
imperial times. The verb onuecoûv occurs in Theophrastus, but the
derivative forms are late.
164 4 The treatment of capývela is brief, but to the point.
The T. épp. is more directly concerned with the rhetorical graces
than with that cardinal virtue of clearness which Aristotle rightly
places first in his definition of style. But his own writing shows
that the author was quite alive to the importance of lucidity.
164 5 As Aristotle (Rhet. III 12, 6: quoted on p. 39 supra)
says, style "fails in clearness both when it is prolix and when it is
condensed.” The latter case is, of course, Horace's “brevis esse
laboro : obscurus fio”; but the lapses of the plain style from clear-
ness belong rather to the former category,—they arise chiefly from
"rambling.'
164 8 Cp. $ 5 for elevation as due to long members.
164 9 Ρ has πρέπον ηρώων here, but πρέπον ήρωσιν in $ 5. In
$ 96 P has metaỆU 'EXAnvikoîs óvónaoiv.
164 10 The triple division of Comedy belongs to the Alex-
andrian age. Like the reference to Menander and Philemon in
$ 193, it suggests a later date than that of Demetrius Phalereus.
164 12 Kúlous Tpquétpois is unusual, and Hahne has suggested
κώλοις μετρίοις. If right, τριμέτρους nmust refer to the following three
divisions, marking pauses (l. 15) in the examples given : karéßnu
χθες | εις Πειραϊα | μετά Γλαύκωνος, and έκαθήμεθα μεν ή επί των θακών
έν Λυκείω | ου οι αθλοθέται τον αγώνα διατιθέασιν.
164 24 Sc. kai ei Tov (ovykpovotéov) Bpayéa ovykpovotéov, kt..
164 25 “Everything that is young is pretty will give some of
the short syllables.
.
NOTES
247
164 28 The crasis kåtè occurs on p. 94 1. 2 supra; and the use
of étrì may be illustrated by étrì tò aŭtò té os on p. 192 1. 8.
166 8 The six lines Il. XXI 257-262 are meant.
166 23 The references made in this and the following sections
to Ctesias point to a later date than that of Dem. Phal., in whose
time he had hardly attained the position of a classic. Ctesias' style
crates, he was a writer who had been comparatively little influenced
by the rhetoric of the schools. The word å soleo yotépw also indicates
a late date,–Plutarch, etc.
166 28 Finckh (Philologus XV p. 154) pointed out that instead of
Στρυάγλιος should be read Στρυαγγαίος, the reference being to the
168 15 Some Greek passages bearing on the relation of history-
writing to poetry are brought together in Norden's Kunstprosa i
p. 92. With the wording of the present passage, cp. Dionys. Halic.
Ep. ad Pomp. C. 3 (where the reference is to Herodotus and
Thucydides) iva sè ouvelùn cnw, kalai pèv ai TOLO ELS åupótepal: où
γάρ αν αισχυνθείην ποιήσεις αυτάς λέγων.
168 16 Kaloín (without år), cp. n. on p. 245 supra.
168 23 napà, in the sense because of,' is rarely used of persons.
But cp. Aristot. Rhet. II 10, 8 drlov ydp ori map' aŭtoùs où tuyxávovou
toll åyadoh, Isocr. 6, 52 Tapà TOÛTOV yevéobal TV owinplav, and
Philodem. Voll. Rhet. p. 297, II Sudh. ovvopâv où dúvavtal, noia tap'
ημάς αυτούς αμαρτάνομεν και ποίων διαπίπτομεν παρά το των πραγμάτων
åvéØLKTOV. More commonly used of things, as map aŭràs tàs lÉÉELS
$ 145. Gregorius (Walz VII 2, p. 1180) transposes the clause and
changes the preposition to após, thus getting the easy construction
Nowv yàp ở äyyedos mpòs Try Ilapúcativ (Gregorius gives the more
usual accent) oủk eüdéws déyet őri ámébavev o Kūpos, ktd.
168 25 Cp. King David's repeated inquiry “Is the young man
Absalom safe?” in the Second Book of Samuel xviii 29, 32, when
Ahimaaz and Cushi break the news of Absalom's death. "
168 26 TéDevye: cp. the similarly ambiguous use of åroletov ri'
år obxetal in Aristoph. Ran. 83.
168 30 pólis here, but Móyis on p. 92 l. 20: yet another instance
of the love of variety seen throughout the treatise. --With tò din
leyóuevov, cp. such passages as Lucian's ®eogalías ue étéßalev õins
248
DEMETRIUS ON STYLE
Θετταλίαν άξιούν λέγειν, και πάσαν αποκέκλεικέ μοι την θάλασσαν ουδε
των εν κήποις φεισάμενον σευτλίων, ως το δη λεγόμενον μηδε πάσσαλόν
μοι καταλιπείν (Iudic. Vocal., 9).
. 168 30 απέρρηξεν: cp. Appian de Bell. Civ. ΙΙ 8Ι ο δε Πομπήιος
μαθών εξ άλλοκότου σιωπής τοσούτον απέρρηξεν and III 13 απερρήγνυ τε
λήγων του λόγου ότι....
168 31 aŭtó: the indefinite, but useful, 'it.' Gregorius (1.c.)
rather spoils the phrase by making it too precise: και ούτω κατά
μικρόν προϊών μόλις απέρρηξε το ζητούμενον,
170 I άγγελούντα: Spengel suggests άγγελόντα (aor.). .
170 4 άγροικος: a specifically Attic word.
170 5 ήκουστο: Cobet suggests ηκούετο.-We have a parallel
instance of évápyela in Tennyson's description of the meal taken by
the lusty spearmen of the huge Earl Doorm : “And none spake
word, but all sat down at once, | And ate with tumult in the naked
hall, | Feeding like horses when you hear them feed” (Geraint and
Enid).
170 9 Plat. Protag. 312 Α και δς είπεν ερυθριάσας-ήδη γαρ
υπέβαινε τι ημέρας, ώστε καταφανή αυτόν γενέσθαι. The point of the
praise is that two things are made clear in a single sentence: (1) he
was blushing, (2) day was dawning. Cp. “And he turnd, and I saw
his eyes all wet, in the sweet moonshine" (Tennyson, The Grand-
nnother).
170 14 Elliptical : sub. εναργής έστι, ενάργειαν ποιεί, or the like.
170 16 As in “ Proputty, proputty, proputty—canter an’ canter
awaäy” (Tennyson), “The sound of many a heavily galloping hoof”
(Tennyson), “I galloped, Dirck galloped, we galloped all three”
(Browning).
170 18 Such words as 'whit' in Tennyson's “And whit, whit,
whit in the bush beside me chirrupt the nightingale.”
170 19 Cp. 8 94.
170 23 The π. ερμ. 1s remarkable for the number and variety of
its formulas of transition and conclusion.
172 2 βεβαιούσαν : another example, apparently, of a transitive
verb used intransitively (cp. παρέλκει on p. 98 1. 29 supra). βεβαίαν
ούσαν might perhaps be suggested as the true reading.-For per-
Suasiveness (which comes under the heading of the χαρ. ισχνός, in
opposition to the χαρ. μεγαλοπρεπής) as avoiding elaborate language
και
NOTES
249
and formal rhythm, cp. Aristot. Rhet. III 2, 4 diò dei lavbávelv
ποιούντας, και μη δοκείν λέγειν πεπλασμένως αλλά πεφυκότως· τούτο
γαρ πιθανόν, εκείνο δε τουναντίον.
172 5 ét åkpußeías: these adverbial expressions with éirí, though
found in Demosthenes and Aristotle, are much more frequent in
later Greek. Cp. Demosth. de Cor. § 17 én åndelas oudemiâs
eipnuéva, i.e. 'with no regard for truth'; and énì tñs ålndelas, $ 226
ibid.
172 13 The sections treating of the epistolary style are among
the best in the treatise.—The remains of the Greek letter-writers are
collected in Hercher's Epistolographi Graeci, and reference made to
“Demetrii Phalerei TÚTOL ÉTLOTONIkol" on pp. 1–6 (cp. Th. Zielinski
in Philologus 'LX I pp. 8, 9). In Latin antiquity and at the Revival
of Learning Cicero and Erasmus are celebrated as the great letter-
writers; in modern times there are many distinguished names in
France and England, especially perhaps before the era of cheap and
rapid communication. Much interesting matter will be found in the
index volume of Tyrrell and Purser's Correspondence of Cicero under
the heading 'Epistolary style.' From the modern standpoint, the
art of letter-writing is sensibly treated in Verniolles' Traité de l'Art
Épistolaire. Justus Lipsius, it may be added, drew on the 7. épu. in
his Epistolica Institutio.
172 14 Artemon : date uncertain, possibly as late as 130 B.C. or
even later. It would seem, from this reference to him, that Arternon
not only edited Aristotle's Letters, but prefixed an introduction
dealing with the general subject of letter-writing.–See Pauly-Wissowa
II P. 1447.
Whatever the precise date of Artemon may have been, the
relation (here and elsewhere) of the T. epu. to Aristotle suggests
a follower far removed in time.
172 15 ávaypayas: “record,' or 'publish.' Cp. 7. Ūt. xiii 3, ei
uà mà em củồous kai oi Tep A Lovlov #KA€šavT+s averpajav, Dionys.
Hal. de Thucyd. c. 5 oi jèv tàs 'Eldquiràs avaypápovtes iotopías.
172 16 So Goethe (in Wahrheit und Dichtung) describes letters
as “ideelle Dialoge."
172 30 Some such words as ai tol dialóyou may have been lost.
174 3 Plat. Euthyd. init. (271 A) Tís hiv, ü Súkpates, « xoès év
Λυκείω διελέγου; ή πολύς υμάς όχλος περιεστήκει, ώστ' έγωγε βουλόμενος
250
DEMETRIUS ON STYLE
ακούειν προσελθών ουδέν οίός τ' ήν ακούσαι σαφές. υπερκύψας μέντου
kateidov, kai jol ědošev elva. ÉéVOS TIS, o dieléyov tis hv;
1747 TPÉTOL: for the optat. without av, cp. n. on p. 245 supra.
But the regular åv trpétrol is found on p. 206 1. 7.
174 10 Cp. Buffon's famous saying with regard to style in
general, “Le style est l'homme même” (Discours de Réception à
l'Académie, 1753), which has a still nearer Greek parallel in the
words επιεικώς γαρ άπαντες νομίζουσιν εικόνας είναι της εκάστου ψυχής
Toùs dóyovs (Dionys. Halic. Ant. Rom. I 1).
174 15 Epicurus in his letter-writing seems to have avoided the
faults here condemned: see Norden Kunstprosa i pp. 123, 124.
174 17 Cp. Abbott and Seeley, English Lessons, p. 124 n. 1:
“ Burke's 'Reflections on the Revolution in France, though written in
"a letter intended to have been sent to a gentleman in Paris,' have
nothing but the 'dear sir' at the beginning in common with the style
of a letter.”—It is to be noticed that, unlike the r. út. and most of
the critical essays of Dionysius, the t. épp. is not couched in the
epistolary form.
174 18 C. F. Hermann suggested apoyeypappévov in place of
Ti pooyeypaupévov, which strictly refers to an addition rather than to a
heading. --If P's tà IINÁTwvỌs Tolld be retained, we should compare
p. 202 1. 26 Ξενοφώντος τα πολλά, though the words are there in the
natural order.
174 19 It is clear from p. 172 l. 15 that the author of the 7. épu.
had access to collected editions of the letters of eminent writers.
What the letter here attributed to Thucydides was we do not know :
possibly that of Nicias in Thucyd. VII II-15.
174 24 Finckh would insert èv before én lotolais. But cp. p. 70
1. i supra. The dative may be instrumental.
174 27 Possibly του αυτού επιστολικού may mean this same
epistolary style.'-Peripatetic admiration for Aristotle appears once
more here.
176 9 Ruhnken suggests the insertion of åtò before unxavñs :
probably rightly, as dià unxavñs could hardly stand. Cp. Cobet
(Mnemosyne N. S. x p. 42), “où di ÉTLOTOņs ěti daloûvti ČOLK EV
alla unxavas. Supplendum all’’AIIO unxavñs, noto et frequenti
usu.” In the English Translation, “to be playing the 'deus ex
NOTES
251
machina'” might sound archaeological rather than literary; ito
have mounted the pulpit' is the general idea.
176 13 There is an obvious play on the two senses, 'Graces'
and 'favours.'
176 18 If the ai be retained, it will be best to punctuate after
ÉTLOTOlai and to translate: “let the letters be in keeping, viz. a
little heightened.” Victorius reads tol airal.
176 22 The three extant letters purporting to be from Aristotle
to Alexander are probably spurious; they are found in Aul. Gell. XX
5, Rhet. ad Alex. (init.), Valer. III 79.
176 28 napákeltai: cp. SS 114, 186, 302, 304 for the same use
of this verb.
176 30 The examples in SS 236—239 are clearly drawn from
the age of decadence,—from the 'declamations of the later schools.
1784 P's reading Tadmpeùs has been váriously emended into :
(1) T'adapeús, i.e. Theodorus of Gadara, for whom see Introduction
p. 54 and T. vt. pp. 9, 242 ; (2) Tadeupeús, or ‘man of Cadiz’: so
Antimachus in his Latin version (1549 A.D.) gives Gadireus ;
(3) Painpeús. By this last conjecture-that of Blass—is meant
Demetrius of Phalerum.-The use of the form ouerpos shows the
influence of Atticism.
178 5 The étè must apparently be repeated before toll bala-
pidos, unless there is a lacuna in the text.
178 16 As this statement is not in accordance with historical
fact (as established by Herodotus vili 79 and subsequent historians),
it may be referred with some confidence to the rhetorical exercises of
the later schools.
178 17 The ori in this line seems a superfluous repetition of
that in l. 16.
178 24 Weil reads andíay for adelav, here and in l. 27: perhaps
rightly.
178 25 The reading of this passage in P is. avfäv. If
åvopumy is the right reading, the corruption may have been due to:
(1) the use of a compendium for åv purw, as in $ 296 avoi = äv@pwntou
(so in SS 79, 145, 157, 249, 260, in all of which cases a similar
abbreviation is used); (2) the comparative rarity of the feminine ñ
äv@pwntos. Perhaps we should read kabátep ó ons åvopórou Temávopas
on p. 206 1. 12 infra, where P's reading is kabánep o avírnuavdpas.
252
DEMETRIUS ON STYLE
The conceit here lies in the substitution of ή άνθρωπος (homo,
mortal creature) for γυνή. There is an adnmixture of cynicism, too ;
the thought being as far as possible removed from the "pure
womanly” of Hood's Bridge of Sighs.
180 2 λοιπόν, next' or now': cp. p. 86 1. 23 supra. Frequent
in later Greek. See Rutherford, Scholia Aristophanica, II p. 574.
180 5 Cp. $ 75 supra. Again the writer's standpoint is empha-
sized, that it is best to appraise λέξις as λέξις, and not to give to it
any credit which rightly belongs to the subject-matter.
180 6 αυλητρία: late,-Diog. Laert., etc. The classical form is
αυλητρίς.
180 16 For this and the following sections, cp. Gregor. Cor. in
Walz, Rhett. Gr. VII 2 pp. 1179 ff.
182 5 It is difficult to infer the date of the treatise from the
words την νύν κατέχουσαν here and οι νύν ρήτορες in 8 287, except that
the general standpoint seems post-classical.
182 7 Cp. Hermog. de Id. I p. 342 (Sp.) τοιουτόν έστι και το
“ωμόλογησα τούτοις, ως άν οίος τε ώ, συνερείν.’ η μεν γαρ έννοια
βέβηκεν, ο ρυθμός δε ού· ουδε γαρ τούτο ο ρήτωρ έβούλετο, επεί του
χάριν ουκ είπεν ωμολόγησα τούτοις, ως αν οιός τε ώ, συνειπείν ;' εγώ
μεν γαρ ηγούμαι, διά το μή όμοιον αν γενέσθαι τον ήχον, εις μακράς
πάσας εί κατέληγεν, ό εστι του βεβηκότος ρυθμού. ου μην αλλ' είτε
βεβηκώς είτε μη ο τοιούτος είη ρυθμός, ίνα μη πάντη το Διονυσίω, δς
δοκεί περί λέξεώς τι πεπραγματεύσθαι, αντιλέγωμεν, δηλον ως του κάλλους
εστίν ίδιος.
182 12 Demosth. Lept. 8 2 εν μέν γάρ το γράψαι “μηδέν είναι
ατελή,’ τους έχοντας αφείλετο την ατέλειαν, εν δε το προσγράψαι “μηδε
το λοιπόν εξειναι δούναι,' υμάς το δούναι υμίν εξειναι.
For a troubled movement of words used with effect, cp. Heine's
“Betend dass Gott dich erhalte” (in 'Du bist wie eine Blume'), and
Stephen Phillips' “Thou last sea of the navigator, last | Plunge of
the diver, and last hunter's leap” (in Ulysses).
182 13 Though the plural verb with neuter plural nominative is
frequent in later Greek and even in Aristotle, yet (as there is no
other certain instance in the π. ερμ.) it may be better here to supply
αι τοιαύται περίοδοι, rather than τα αντίθετα και παρόμοια, as the
subject to ποιούσιν.
182 14 olov us: a pleonasm of the same kind as 'like as' in
English.
NOTES :
253
182 27 Tàs kataſágels: perhaps the meaning is 'a flight of steps,'
cp. καταβάσιον in Roman and Byzantine Greek.
182 30 Cp. the force gained, in Pope's Epistle to Dr Arbuthnot,
by reserving till the end of a long passage the name of Atticus :
“Who but must laugh, if such a man there be ? | Who would not
weep, if Atticus were he?”
184 2. The fragment of Antisthenes (the Cynic) will also be
found in A. W. Winckelmann's Antisthenis Fragmenta pp. 52, 53.
The floruit of Antisthenes, of Aeschines (SS 205, 291, 297), and of
Aristippus (S 296) may be given as 400—365 B.C.
184 3 ppuyávwv: the meaning is obscure, some hunted human
victim being possibly referred to.
184 3, 5 Either oduvo elev... oduvMO ELEV, or oduvño el... oduvoel,
seems necessary, as any variation here obscures the point.
184 7. We might have expected § 250 to follow immediately on
§ 247. The treatise contains many afterthoughts, and many addi-
tions, whether due to the original author or to some later hand. The
reference in ênì Toll ⓇeoTÓumrov is to SS 27, 247.
1848 Milton seems to have this passage of the 7. &pu. in view
in his Apology for Smectymnuus, when he writes: “There, while they
acted and overacted, among other young scholars, I was a spectator;
they thought themselves gallant men, and I thought them fools;
they made sport, and I laughed; they mispronounced, and I mis-
liked ; and to make up the atticism, they were out, and I hissed."
For Milton's knowledge of this treatise, see note on Milton and
Demetrius de Elocutione' in Classical Review xv pp. 453, 454.
184 16 and 18 The idiomatic use of kai toūTO, and of Xéyw sé, is
to be noted as specially Attic.
184 22 For aposiopesis, see also § 103 supra.—This passage is
paraphrased by Greg. Cor. (Walz, Rhet. Gr. VII 2, 1170).
184 26 For Burke's view of the relation between obscurity and
sublimity, see . út. p. 32.
186 2 Has the writer the digamma in mind when he calls
attention to the fact that the reconstructed line will still 'scan'? If
so, his date must be late.
186 6 A corrupt, and possibly interpolated, section. The word
προσστοχασόμεθα (so Goeller for πρoστοχασόμεθα) is found only here,
and its construction with an accusative is remarkable.
254
DEMETRIUS ON STYLE
186 13 As Goeller points out, these words read like a prose
paraphrase (possibly by the author himself) of Iliad I II, 22.
* 186 20 These later sections contain much disputable matter.
Here, for instance, the statement made with regard to the χαρ.
γλαφυρός and the χαρ. δεινός hardly tallies with 88 36, 37.
186 21 As in Pope's lines, “Where London's column, pointing
at the skies, | Like a tall bully, lifts the head, and lies” (Epistle to
Lord Bathurst).
186 23 Elliptical : τοιούτος, or the like, should be supplied; cp.
8 17ο.
186 24 This line of Crates (for whom see p. 240 supra) is a
parody of that of Homer quoted in § 113 : cp. Corpusculum Poesis
Epicae Graecae Ludibundae vol. 11 (ed. C. Wachsmuth) p. 196.
186 29 υποδάκνω: late, Appian, de Bell. Cin. I IoI.
188 4 Gregorius Cor. (Walz VII 2, p. 1181) has έφη (θάρσει,
έφη, ώ μειράκιον, ουκ ειμι ταύτη όμοιος), and editors have usually
inserted cinev between taidlov and oủk. But it seems better to regard
this as one of those ellipses of which the author is so fond.
Gregorius deals too freely with the text to have much weight in
critical questions.
188 28 Plat. Menex. 246 Dώ παίδες, ότι μέν έστε πατέρων αγαθών,
αυτό μηνύει το νυν παρόν: ημίν δ' εξόν ζην μη καλώς, καλώς αιρούμεθα
μάλλον τελευταν, πριν υμάς τε και τους έπειτ' εις ονείδη καταστήσαι, και
πρίν τους ημετέρους πατέρας και παν το πρόσθεν γένος αισχύναι, κτλ.
190 16 Spengel suggests διά τό την απόληξιν του “καλείς' λέγεσθαι
πολλάκις.
190 19 These words may suggest as a possible reading on p. 160
1. 3 πολλήν απάθειαν άμα τους συνδέσμους εμβαλεις (instead of συνεμ-
βαλεις as there suggested).
190 21 P has épyát, which may stand either for épyárny or
εργάτιν: cp. p. 156 1. 22, τ' λεξ' = την λέξιν. Here εργάτιν ( the
handmaid of,' 'ancillary to ') seems clearly right.
190 22 Demosth. de Falsa Legat. 442 και διά της αγοράς πορεύεται
θοιμάτιον καθείς άχρι των σφυρών, ίσα βαίνων Πυθοκλεί, τας γνάθους
φυσών, κτλ.
190 23 For el with the subjunctive, cp. $ 76 supra. Schneider,
συναφθείη.
η
1η
NOTES
255
190 27 Quoted as an example of klinać, or gradatio, by Quin-
tilian (ix 3, 54) in the Latin form, “Non enim dixi quidem sed non
scripsi, nec scripsi quidem sed non obii legationem, nec obii quidem
sed non persuasi Thebanis." Aquila Romanus (Halm Rhet. Lat.
Min. p. 34) remarks "Haec autem animadvertis, quanto elatius dicta
sint, quam si simpliciter enunciasset : ‘Et dixi haec, et scripsi, et in
legationem profectus sum, et persuasi Thebanis ?." The structure
of the passage is carefully explained in Goodwin's edition of the de
Corona p. 130. Cp. Glossary s.v. Klauać.
1924 Cp. Aristot. Rhet. III 12, 2.-With the text as it stands,
Tò dialeluuévov seems to be in the accusative case. A better sense
would be obtained by placing μάλιστα το διαλελυμένον before υπόκρι-
ou, i.e. “the figures of speech, and especially asyndeton (cp. $ 301),
help the speaker,' etc.
192 12 The rhythm of this sentence of Demosthenes is discussed
in 7. út. C. xxxix 4. Cp. Goodwin, op. cit., p. 134 (where read čri
προσπίπτει for έτι σημαίνει).
192 15 ärelpos here may be a gloss on år povońtws.
192 20 Cp. Courthope Life in Poetry : Law in Taste p. 21:
“The question, for example, as to the right of coining new words or
reviving disused words in poetry was (sc. at the time when the
Quarterly reviewed Keats' Endymion) as old as Horace ; it had been
debated in Italy by Castiglione in his Courtier; it had been raised in
France by the Pleiad, and afterwards discussed by almost every
French critic; it was familiar in England since the publication of
Lyly's Euphues. The ruling on the point is given with admirable
clearness in Horace's Ars Poetica; Multa renascentur quae iam
cecidere, cadentque | Quae nunc sunt in honore vocabula, si volet
usus, Quem penes arbitrium est et ius et norma loquendi.' Usus;
usage; the genius of the language; there was the law. The sole
question was whether Keats had violated the law, and if so, with
what amount of justification.”
192 21 i.e. ‘harlot' and 'madman.'
192 27 Sébayev, if retained, will have much the same meaning
as έτρύπησεν.
194 3 opetepiſóuevos: the English verb spheterize is used, play-
fully no doubt, in a letter of Sir William Jones (S. Parr's Works,
ed. 1828, I 109), “Remember to reserve for me a copy of your
256
DEMETRIUS ON STYLE
book. I am resolved to spheterize some passages of it.” (The
reference is given, after Dr J. A. H. Murray, in Goodwin's edition of
the de Corona, p. 53.)
194 21 METéxou without av: cp. n. on p. 245 supra.
194 23 See C. 1. A. I 32 B, IV PP. 12, 63 (for golden Victories
mentioned as Acropolis treasures in 435 B.C. and other years);
Bulletin de Corresp. Hell. XII 283 ff. (for a discussion of their
meaning and a description of their melting down). Schol. ad
Aristoph. Ran. 720 TỘ TT potépŲ étel émè ’Avtıyévous 'Ellávikós prou
χρυσούν νόμισμα κοπήναι και Φιλόχορος ομοίως το εκ των χρυσών
Nikov. Quintil. ix 2, 92 “confinia sunt his celebrata apud Graecos
schemata, per quae res asperas mollius significant. nam Themis-
tocles suasisse existimatur Atheniensibus, ut urbem apud deos
deponerent, quia durum erat dicere, ut relinquerent. Et, qui Victorias
aureas in usum belli conflari volebat, ita declinavit, victoriis utendum
esse." Quintilian and the Auctor de Elocutione may have drawn
from some common source.
196 1 As Sandys (Orator of Cicero p. 101) points out, the author
is apparently referring to a collection of some of Demades' striking
sayings, though there are divergences of ascription (cp. n. on l. 14
infra). Sandys' note ad loc. may be consulted; he is careful to quote
Cicero's words (Brut. 36) "cuius nulla extant scripta.”
196 6 The natural sense is 'the whole world would have smelt
of (reeked with) the corpse': cp. Theocr. VII 143 Trávr' wodev Oépeos
Mála miovos, wode 8 órápas. The interpretation given in l. 7, how-
ever, points to another and a late date. The chapter, as a whole,
which deals with the xapartòp delvòs may be regarded as the least
satisfactory in the 7. épu.
196 14 Some of the examples quoted may be simply “Dema-
dean,' and not actually by Demades himself. Cp. 7. . xy 10 us
νή Δία και ο Υπερίδης κατηγορούμενος, επειδή τους δούλους μετά την
ήτταν ελευθέρους εψηφίσατο, τούτο το ψήφισμα, είπεν, ουχ ο ρήτωρ
šypayev állý év Xacpwveią páxn': cp. Plut. Moral. 849 A.
196 18 The style meant is of the same order as that of William
Cobbett, parodied in Rejected Addresses: “I will endeavour to
explain this to you : England is a large earthenware pipkin. John
Bull is the beef thrown into it. Taxes are the hot water he boils in.
Rotten boroughs are the fuel that blazes under this same pipkin.
Parliament is the ladle that stirs the hodge-podge.”
NOTES
257
196 21 Sauppe's êÈ Toll for êtegives an easier construction for
the infinitive.---Ttlávn is "barley-water,' or 'gruel,' as prescribed by
the doctors : for example, Hippocrates' treatise nepi diairns očéwv
(concerning diet in acute diseases ') also goes by the name repi
Ttlqávns (*concerning gruel'). - It is not easy to suppose that
Demetrius Phalereus, his contemporary, would thus have played the
scholiast to Demades.— peavouía is a somewhat late word. But it
seems to have been used by Theopompus, and kpeavouos and
kpeavouelv occur in writers of the classical period.
1987 It is doubtful whether dadúoavtas (the original reading
of P) can mean 'having made no attempt to free.'
198 20 ή άλλως βίαιόν τινα : these words would probably cover
the 'civium ardor prava iubentium,' as seen at Athens in the case of
Socrates : cp. p. 202 1. 6.
198 21 opuwytes = opucnevoi, which Greg. Cor. gives (Walz vil
2, p. 1180). Cp. T. út. xxii 4 Tòv voù, ởv úpuno ev eineîv.
198 22 Finckh refers to SS 287 and 290 in support of his
reading (here adopted) oxýuatos dóyou. But Gregor. Cor. (Walz VII
2, p. 1180) has xeń Sojev åváykns étikPÚYews oxńuatos ólov. A
complete' figure may be so by way of contrast with êmaupotepílovo uv
on p. 200 l. 6.
198 26 ÓVELDIOTIKWS: the adverb and the adjective are late, —
Lucian, Marcus Aurelius, Hermogenes, Chrysostom, etc.
198 27 The fragments of Demetrius Phalereus are collected in
C. Müller's Oratores Attici II pp. 475-477 and Fragm. Hist. Graec.
II pp. 362-369.
200 6 After επαμφοτερίζουσιν Weil would write: ώστε επαίνους
έoικέναι, εί τις εθέλοι, και ψόγοις, ει και ψόγους είναι θέλοι τις. Cobet
(Collectanea Critica p. 237) suggests : ei kai Tapayóyous cival Oéloi TlS.
- The word cikacóyoyos (Victorius' suggestion) is not found else-
where.
200 9 The Telauges was one of the seven dialogues of Aeschines
Socraticus which were admitted in antiquity to be genuine, viz.
Mariádns, Kaldías, 'A£ioxos, 'Aonacia, 'Alkışládns, Tnlavyńs, 'Pivov
(Pauly-Wissowa I 1049). Aeschines is mentioned also in SS 205,
297; and possibly in $ 170. See Norden Kunstprosa i p. 103.
(Aeschines the orator is mentioned in SS 267, 268.)
VV
258
DEMETRIUS ON STYLE
200 14 These references to potentates suggest not only the
scholastic point of view, but also something of the kólaś Meyado uńs,
– of το απαρρησίαστος και οίον έμφρουρον υπό συνηθείας αεί κεκονδυλι-
quévov (nr. Úv., C. xliv).
200 15 Suváotis: found only here, cp. Baoilís.
200 19 årtotojía: late,—Diodorus, Philo, New Testament,
Plutarch, etc.
200 22 Endotumeîv, rare with the dative; perhaps on the analogy
of the Latin aemulari (though 'aemulari,' when used in a good sense
as Śndotutelv apparently is here, more usually has the accusative).
200 26 Étepoolaluos: specifically Attic word, found in Aristot.
Rhet. III 10, 7 etc.
202 4 SuvaoTEUTLKÓV : references of this kind might well apply to
the Roman empire. Cp. SS 234, 289, 294. It has, however, been
suggested that § 294 would also accord with the chequered career of
Demetrius Phalereus. For the point of view, contrast . Üy. xvii I
αγανακτεί γαρ ευθύς, κτλ.
202 12 Spengel suggests &Talveg óueda, in order to bring the
form into harmony with p. 200 l. 19 and with regular usage. This
section is a good illustration of the Baconian 'laudando praecipere.'
202 24 The words quoted may be by Aristippus of Cyrene him-
self, as Natorp points out in Pauly-Wissowa II p. 905.
204 6 deindórws is a late word, occurring in Cic. (Letters),
Dionys. Halic., etc. lavdavóvtws (8 181) is later still (Dio Cassius,
Pollux, etc.) and should be noted as an index of date. —For the form
nvéuvno ev, see p. 210 supra.
2048 For oủxi here, cp. $ 256 mapeyéveto oủxí. The occurrences
of ouxì in Demosthenes are noted in Preuss' Index Demosthenicus.
204 12 Weil suggests μετά φιλοφροσύνης, in place of μετά
μεγαλοφροσύνης.
206 2 polélektai is late : so also touTÉOTI, I. 5.
206 3 Hipponax: see § 132 supra, and W. Christ Griech. Litt.
p. 137.
206 10 The coarse, as the counterpart of the forcible, style is
abundantly exemplified in Pope's writings; especially, perhaps, in
the Dunciad Book II.
206 il dúopntos: hardly found elsewhere in the sense of
άρρητος, δύσφημος.
NOTES
259
206 12 For the reading, see n. on p. 178 1. 25.
206 13 dekavis: late, Plutarch, etc. If the word was actually
employed by the accuser of Timandra and the accuser was Hyperides,
it must of course have been in use at an earlier date. But the identifi-
cation of the two (though it has the support of Suidas) is question-
able: cp. Blass Att. Bereds. III 2, 29.-Wilamowitz-Moellendorff
would read ολίσβους instead of oβoλoύς.
206 14 Víabos: specifically Attic word.
206 14 Katepâv: late, --Strabo, Plutarch, etc. The reference
in Liddell and Scott s.v. is to the present passage (“cited from Dem.
Phal.").
206 15 Blass (1.c.) reports the reading here as rolløv tiva
TotaÚTmv Surpmíay “Taipov Karipaơe Toũ Susan Tapioc: cp. Facsimile.
206 19 dleppnyuévois: one of the many cases in which an Ionic
form (familiar through Homer and Herodotus) reappears in later
Greek. The perf. pass. éppnyuai is used (e.g.) by Arrian among
later writers.
206 21 The predicate in the neuter is found frequently in the
TT. ép. (e.g. p. 184 1. 1, p. 158 1. 25); here we have a rare example
of the same construction with a plural subject.
206 23 Cleitarchus: see n. . p. 223. The same passage of
Cleitarchus, quoted at greater length, appears in Diodor. Sic.
XVII 75.
ADDITIONAL NOTE.
PROVERBS IN THE DE ELOCUTIONE.
An interesting feature of the treatise On Style is the due appre-
ciation it shows of a proverb when used in season. The author is
clearly alive to the risk which book-writing runs of parting company
with the liveliness and raciness of the vernacular. He sees how
important it is to keep in touch with the familiar thought and
language of the people, —with the vulgar tongue.
It is the Lord Chesterfields of literature and life who condemn,
on the score of vulgarity, the use of proverbial expressions. The
manlier natures have always used them boldly. In the 7. épu. are
17-2
260
DEMETRIUS ON STYLE
found two threats, “Dionysius (is) at Corinth” (SS 8, 9, 102, 241)
and “You shall hear your cicalas chirping on the ground” (SS 99,
100, 243), attributed respectively to the Lacedaemonians and to the
tyrant Dionysius? The true analogues of these threatening messages
are such verses in the Old Testament as “And as Jehu entered in at
the gate, she said, Had Zimri peace, who slew his master?” (2 Kings,
ix. 31) and “I also have given you cleanness of teeth in all your
cities” (Amos iv. 6); or the reply (including some words from the
Old Testament) said to have been given by Richard Cour de Lion
to the Pope's demand for the release of “My son, the Bishop.”
Richard sent the Pope the coat-of-mail worn by the bishop in the
battle, with the message, “This have we found : know now whether
it be thy son's coat or no” (Genesis xxxvii. 32). Homelier examples
of proverbs used or made it is often difficult to say which) are
President Lincoln's advice not to swop horses while crossing the
stream,” Prince Bismarck's references to “ bleeding like veal,” or (to
be more modern still) the statement of the President of the South
African Republic that he was "waiting for the tortoise to put out its
head” (i.e. for the opportunity of striking which the Jameson Raid
would give him), or the same President's remark that Mr Rhodes
“made one hand wash the other” (i.e. made each one of his schenes
subserve the other). In antiquity it is to be noticed that Julius
Caesar casts his precept in a proverbial form, when counselling the
use of the current language of his time: “Vive ergo moribus
praéteritis, loquere verbis praesentibus atque id, quod a C. Caesare,
excellentis ingenii ac prudentiae viro, in primo de analogia libro
scriptum est, habe semper in memoria atque in pectore, ut tamquam
scopulum, sic fugias inauditum atque insolens verbum” (Favorinus
philosophus ap. Aul. Gell. I. x.).
Aristotle is said to have defined, or described, proverbs as the
scattered remains of primitive philosophy, preserved thanks to their
pithy form amid the wrecks of the ages?; and his extant writings
1 The former threat is supposed to have been addressed by the Lacedae-
monians to Philip, the latter by Dionysius to the Locrians (though, according to
Aristot. Rhet. ii. 21, 8 and iii. II, 6, the original author was Stesichorus). In
English, the expression making the squirrels walk' is used of a great fall of
wood.–Alovúo Los ¿v Koplvow occurs in Cic. Ep. ad Att. ix. 9, where see Tyrrell
and Purser's note.
? Synesius calvit. encom. C. 22 p. 234 Krab. (1850): el dè kal Ý Tapocula oopbvº
πώς δ' ουχί σοφόν περί ών 'Αριστοτέλης φησίν ότι παλαιάς εισι φιλοσοφίας εν ταις
On
NOTES
261
show how often, and with what effect, he drew upon the stores of
Greek proverbial wisdom? Plato had previously displayed the same
width of view, as his dialogues bear witness”. Sophron may have
influenced Plato in this respect, since “almost all the proverbs in
existence might be collected out of Sophron's plays” (T. &pu. $ 156):
a statement which receives some confirmation from his fragments
and from the Adoniazusae of Theocritus, and might also be abundantly
illustrated by the practice of Shakespeare or Cervantes *.
Examples of the proverbs used by Sophron are given in the same
section of the De Elocutione“. There is ancient authority for sup-
posing that the well-known proverb åpxò ýucov Tavtòs (8 122 : 'well-
begun half-done ') is formed on the model of Hesiod's adéov ňucov
Tavtós, but the truth rather seems to be that Hesiod is improving
upon, and giving a different application to, a proverb already in
existence. Curiously enough, too, the highly artificial line attributed
to Sophocles, arruvdákwtos oŮ TpaTEGOūTAL KÚNÉ (114), was by some
μεγίσταις ανθρώπων φθοραίς απολομένης εγκαταλείμματα περισωθέντα διά συντομίαν
kai deţubtnTA ; (Berlin Aristotle v. 1474).
1 See the copious list in Bonitz' Index Aristotelicus pp. 569, 570; and for the
Rhetoric in particular, Sandys' Index to Cope's edition, iii. pp. 268, 269.
2 See the Index to Jowett's Dialogues of Plato, s.v. Proverbs ; and also
Grünwald's Sprichwörter und sprichwörtliche Redensarten bei Plato.
Among later writers Polybius makes much use of proverbs (cp. the recent
Polybius-Forschungen' of Carl Wunderer, who thinks that he drew on Chry-
sippus' collection of proverbs), while Byzantine appreciation (running to excess)
is reflected in the marginal references to 'Ilapocula' in P 1741. Some of the
later rhetoricians assigned proverbs a place among the figures.'
3 It is to be noted that the n. epu. stands apart from other works of its class in
its references to Sophron, who is not named by any of the Greek rhetoricians
(including Dionys. Halic.), nor in the Rhetoric of Aristotle, who however men-
tions him near the beginning of the Poetics and ¿v TQ tepi tomtûv (Athen. xi.
505 C).
4 Ε.g. έκ του όνυχος τον λέοντα έγραψεν and τορύναν έξεσεν : sentiments which,
as Mr Way points out, have usually a jingling sound in English,—'from seeing
but a claw | The lion would he draw,' 'he had such an artistic soul | That he
polished the scullery-bowl.' In the same section KúlLVOV ŠT PLO EV is said to have
the following French parallels : tondre sur un auf, grêler sur le persil, couper un
cheveu en quatre. Greek xujivomplotns=Latin cumini sector.
5 åpxò nulou zavtos occurs in Plat. Legg. vi. 753 E (åpxń ydp Néyetal Mèv nulou
AVTOS év tais zapoculacs épyov), Polyb. v. 32, 1 (Qappôv ydp dv tis cČTOL, oủx ý ulov
Thu åpxnv elva. Toû tartós, állå kal pds tò té os diatelyelv) and elsewhere.
Pythagoras was sometimes supposed to be its author. Cp. Leutsch and Schneide-
win, Paroem. Gr. i. p. 213, ii. pp. 13, 14.
262
DEMETRIUS ON STYLE
writers ranked as a proverb? Whether it ever really became such, we
may take leave to doubt, remembering that (as the late Archbishop
Trench has pointed out in his book on Proverbs) an aphorism,
however true or striking it may be, cannot be classed as a proverb
unless it be shown to have vogue
The part which the proverb plays as popular philosophy is well
indicated in § 232: “it is the wisdom of a people, it is the wisdom
of the world.” Its frequent use in letters is there recommended : a
precept endorsed, as we know, by the practice of Cicero3. The
Stoics (notably Chrysippus, as mentioned in the note on § 172)
studied proverbs, but hardly for the purpose of letter-writing. Their
object was to discover, by means of proverbs and ancient poetry, the
primitive meaning, and so the etymology, of words. The particular
phrases quoted in 8 172 (Αίγυπτία κληματίς and θαλάσσιον πρόβατον)
may fairly be regarded as proverbial“.
Among the remaining proverbial or quasi-proverbial expressions
in the π. ερμ. may be mentioned: το εν τη παροιμία κοσμούμενον
ύπερον5 ($ 119), τα σύκα σύκα (S 229); η λεγομένη από Σκυθών ρησις
and το λεγόμενον τούτο από Σκυθών (S8 216, 297 : the brutal side of
τα σύκα σύκα: σκυθίζειν in 8 96 simply referring to the use of jargon);
<θεος από> μηχανής (8 232 : “deus ex machina '); το δη λεγόμενον,
απέρρηξεν αυτό (8 216: “broke the news '); το έν πενθουσι παίζειν
(8 28: gaiety at a funeral '); τυφλώ δηλον (SS ΙΙ2, 239: “ as plain as
a pikestaff ').
1 Leutsch-Schneid. op. cit. ii. p. 747.
2 Thuς γνώθι σεαυτόν and έπoυ θεώ (8 9) are αποφθέγματα rather than
παροιμίαι.
3 See Tyrrell and Purser's Index to the Correspondence of Cicero, pp. 86, 97.
4 Cp. Leutsch-Schneid. op. cit., Praef., p. v.
5 ύπερον κοσμείς: όμοιον τω, Χύτραν ποικίλλεις (Leutsch-Schneid. οφ. cit. i. 459);
Αιθιόπα σμήχεις : δήλον το τοιούτον: όμοια, χύτραν ποικίλλεις, ώον τίλλεις (ibid. 1.
187). This proverb is, in fact, of the same class as καλλωπίζειν πίθηκον (π. ερμ.
8 Ι65), and as Plutarch's selection of proverbs περί των αδυνάτων given in Leutsch-
Schneid. i. pp. 343 ff.
6 Cp. Luc. de hist. conscrib. c. 41 τοιούτος ούν μοι ο συγγραφεύς έστω, άφοβος,
αδέκαστος, ελεύθερος, παρρησίας και αληθείας φίλος, ως ο κωμικός φησι, τα σύκα σύκα,
την σκάφην δε σκάφην ονομάζων, κτλ. ; Ρlut. Moral. p. 178 B (Philippi Apophtheg-
mata) των δε περί Λασθένην τον 'Ολύνθιον εγκαλούντων και αγανακτούντων, ότι
προδότας αυτούς ένιοι των περί τον Φίλιππον αποκαλούσι, σκαιούς έφη φύσει και
αγροίκους είναι Μακεδόνας, και την σκάφην σκάφην λέγοντας.
GLOSSARY. TERMS OF RHETORIC,
GRAMMAR, METRE, AND
LITERARY CRITICISM.
The references in the Glossary are made to the sections of the περί Ερμηνείας.
αγών. 226, 271. Contest, debate. Lat. certamen, contentio. The
word is more fully treated in 7. út. p. 194 and D. H. p. 184. In
8 187 the verb αγωνίζεσθαι is used in its ordinary sense of contending
for a prize.'
άδολεσχος. 212. Garrulous. Lat. loguar. The comparative
άδολεσχότερος presupposes not the classical αδολέσχης but the hellen-
istic ådóleoxos (as in Cic. ad Att. xvi. II, 2, Plut. de Garrul. C. 13,
p. 5ο9 Β), and is, therefore, an indication of late date.
αθροίζειν. 9, 268, 283. Το muster, to compress. Lat. colligere,
coacerware. Cp. άθροισμός, π. ύψ. p. 194.
aivuyua. 102. Riddle. Lat. aenigma s. allegoria obscurior (Quintil.
viii. 6, 52). Aristot. Poet. Χxii. 2 αινίγματός τε γαρ ιδέα αύτη εστί, το
λέγοντα υπάρχοντα αδύνατα συνάψαι. Trypho (Sp. Rh. Gr. iii. p. 193)
αίνιγμά εστι φράσις επιτετηδευμένη κακοσχόλως εις ασάφειαν αποκρύπ-
τουσα το νοούμενον, ή αδύνατόν τι και αμήχανον παριστάνουσα.
αιτιατικός. 201. Αccusative. πτώσις αιτιατική = Lat. casas accu-
sativus.
åkalpos. 118, 238. Inopportune. Lat. intempestivus. The word
can be used of persons no less than of things, as by Dionysius when
describing the brevity of Lysias : και ουκ επί μεν της ερμηνείας τοιούτός
έστιν, εν δε τοις πράγμασιν άκαιρός τις και μακρός, συνέστραπται δε εί τις
και άλλος και πεπύκνωται τους νοήμασι, κτλ. (de Lys. C. 5). .
ακολουθία. 30. Sequence, consequence. Lat. consecutio. Cp. ακό-
λουθος, ακολουθείν and ανακολουθία (all in $ 153); also π. ύψ. C. 22, I
and Dionys. Hal. Ep. II. ad Ammmm. C. 2. See further s. V. μάχη,
p. 291 infra.
264
DEMETRIUS ON STYLE
Åkpißela. 41, 53, 222, 274. Technical finish (slightly depreciatory
in SS 53, 222, correctness,' «nicety': cp. T. . CC. 33, 35, 36). Lat.
ars exquisita, Fr. style soigné. Similarly åkpußris (14), åkpußws (41,
53, 188), and åkpißoloyía (209, 'exact narration'). So Isocr. (Paneg.
II) contrasts ακριβης and αποκριβωμένος with απλώς. This meaning is
frequently found in Aristotle's Rhetoric, and also in Dionysius : for
the latter, see references in D. H. p. 184.
S
e
dKpoatńs. 216, 222 (ter), 247. Hearer. But ở åkpoarns (and also
ô åkoúwv, e.g. $ 216) will often be better translated by the reader,'
the rhetorical point of view not being so natural to us as to the
Greek critics.
U
álnyopla. 99, 100, 101 (bis), 102, 151, 296. Allegory, veiled
meaning, dark saying. Lat. inversio (Quintil. viii. 6, 44). Fr. allé-
gorie. Cp. D. H. p. 184, 7. vy. p. 194. In T. epu. 100 the word
Úrovocîv is used in explanation : vûv 8è WOTEP ovykalúpati tol lóyov
τη αλληγορία κέχρηται· παν γαρ το υπονοούμενον φοβερώτερον, και
allos cikácel adlo tl. So Aristot. (Rhet. iii. 11, 6), quoting the same
illustration as in 7. épp. 99, says : kaì tô dropdeyuátwv dè tà dotéiá
έστιν εκ του μη ό φησι λέγειν, οίον το Στησιχόρου ότι οι τέττιγες εαυτούς
χαμόθεν έσονται. The following passages throw additional light on
the word and its Latin equivalents: Cic. Or. 94 “iam cum con-
fluxerunt plures continuae tralationes alia plane fit oratio : itaque
genus hoc Graeci appellant alinyoplav, nomine recte, genere melius
ille, qui ista omnia tralationes vocat”: cp. de Or. iii. 41, 166. Quintil.
viii. 6, 44. "at állnyopía, quam inversionem interpretantur, aut aliud
verbis aliud sensu ostendit aut etiam interim contrarium.” id. ix. 2,
46 « αλληγορίαν facit continua nmetaphora.” The Word αλληγορία is
not found earlier than Philodemus and Cicero: for úróvola (in the
same sense), see Plat. Rep. ii. p. 378 D. In the general sense of
Milton's where more is meant than meets the ear,' allegory has
always been a great instrument in the hands of the masters of litera-
ture : cp. T. Ủy. vi. 3 =YKara cứuv Tm SuavoDạ TÀetov Toũ AeYouévo Tò
åvadewpoýuevov. "This figure, therefore, for his duplicitie we call
the figure of false semblant or dissimulation" (Puttenham Arte of.
English Poesie, p. 155 ed. Haslewood). —Similarly áll nyopeîv (151,
285), alimyopicos (282, 283), adimyopikws (243).
außlúvelv.
249.
To take the edge off. Lat. obtundere, hebetare.
GLOSSARY
265
S
duerpos. 4 (bis), 183. Without measure. Lat. sine mensura,
iusto longior. But in § 183 there is a special reference to verse, just
as in Dionys. Hal. de Comp. Verb. C. 3 déÉis õuerpos = oratio soluta.-
So duespía, $ 4.
ápovoos. 68. Without charm. Lat. suavitatis expers.
duplßodos. 291. Ambiguous. Lat. ambiguus. So audißolia,
§ 196. Cp. Aristot. Poet. xxv. 13. As enforcing Aristotle's view
that clearness is the cardinal virtue of style (however little praise it
may bring), cp. Quintil. viii. 2, 16 “ vitanda in primis ambiguitas,
non haec solum, de cuius genere supra dictum est, quae incertum
intellectum facit: ut Chremetem audivi percussisse Demean; 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.” See also
Introduction, pp. 37 ff.
dvaywyla. 171. Wunt of breeding. Lat. animus incultus. Cp.
77. Ü¥. xxxiv. 2 o kuupata oủk äuovoa oủ8 åváywya, and Dionys. Hal.
de Antiq. Or. C. I.
åvadlo.wols. 66, 140 (bis), 267. Reiteration, reduplication' (the
Redouble,' Puttenham). Lat. conduplicatio (Auctor ad Herennium iv.
C. 28); geminatio (Cic. de Orat. iii. 206); iteratio, repetitio (Aquila).
For good examples (in addition to those quoted in the 1. épu. itself,
and in the note on § 140), cp. Demosth. de Cor. 143 Tróleuov eis triv
'ATTiKTİV ciodyels, Aloxívn, móleuov 'AuØLKTVOVLKÓv; Eurip. Alc. 1085,
1086 xpóvos...... kardaveîv (the excessive use of repeated words in
Euripides is ridiculed by Aristophanes); Hor. Odes ii. 14, I “eheu
fugaces, Postume, Postume, | labuntur anni,” and Odes iv. 4, 70
“occidit, occidit | spes omnis et fortuna nostri | nominis Hasdru-
bale interempto”; St. Matthew's Gospel xxiii. 37 “O Jerusalem
Jerusalem, thou that killest the prophets." The figure is also called
énavadin wols, tadelloyía, éníčevśls. —The word åvadin.wois is some-
times used of grammatical reduplication, being defined as putns
συλλαβής διά των αυτών συμφώνων συλλαβην ποιoύντων επάλληλος
ékpopá (Walz Rhet. Gr. iii. 566).
dvaTalotiKÓS. 189. Anapaestic. Lat. anapaesticus. The metrical
foot so called.
266
DEMETRIUS ON STYLE
ivataúev. 1, 45, 202. To cause to pause. Lat. sedare. Cp.
åvánavla, ‘resting-place,' in $$ 46, 202, 205. (åváravois is the usual
word for 'pause,' in the sense of r. Toll lóyov kurád něcs).
dvatimpoûv. 58. To use expletives. Lat. infercire.
ávartpébely. 184, 185. To invert the order. Lat. evertere compo-
sitionem.
åvapopa. 141, 268. Repetition. Lat. repetitio (Auct. ad Herenn. iv.
13; Quintil. ix. 3, 29). The term is commonly used (as the examples
in the T. &ph. show) of the repetition of a word, or words, in successive
clauses; and so differs from dvadim.wols, which is applied to the
immediate repetition of a word. The strict meaning of the term (as
shown by the corresponding verb dvapépelv in § 141) is reference
(Lat. relatio), i.e. the repeated word carries the mind back. See
further in Sandys' Orator of Cicero, pp. 137, 138. Puttenham calls
it the figure of report, “when we make one word begin, and as they
are wont to say, lead the daunce to many verses in sute.”—In $ 72,
åva opà is used in its literal sense of 'uplifting.'
dveljévos. 19, 21. Relaxed, loose (of a period). Lat. remissus.
ávutallayń. 60. Substitution. Lat. commutatio. Not strictly
'interchange' of cases, but substitution of one case for another; e.g.
in the instance given in $ 60, of oi Súo okótelo. for Twv dúo okonéw
(cp. Herod. Trepi oxnuárwv, Spengel Rhet. Gr. iii. 86). Cp. in Eng-
lish, “The Power in darkness whom we guess ; | I found Him not
in world or sun” (In Memoriam, 21). The term úradlayn does not
occur in the π. ερμ.–The corresponding verb ανθυπαλλάσσειν is used
in 8 59. Both the verb and the noun are late words, — Philo, Apollon.
Dysc., etc.
ávratódous. 23, 250. Correspondence, parallelism. Lat. redditio
contraria (Quintil. viii. 3, 77). So ávtamodidoval (SS 53, 79): espe-
cially used of the convertibility of metaphors, as in Aristot. Rhet. iii.
4, 4.
ártépelous. 12. Propping, buttressing. Lat. fultura. The idea
(that of interlacing support) is the same as in the words 'insistere
invicem used by Quintil. viii. 5, 27 “unde soluta fere oratio et e
singulis non membris sed frustis collata structura caret, cum illa
rotunda et undique circumcisa insistere invicem nequeant.” So the
verb αντερείδειν in 8 13.
ávrloeous. 24, 171, 172, 247, 250. Antithesis, contrast. Lat. con-
tentio (Auct. ad Her. iv. 45), contrapositum (= avridetov, Quintil. ix.
GLOSSARY
267
3, 81). The subdivisions of antithesis in T. épu. § 22 correspond
with Rhet. ad Alex. C. 26: cp. D. H. p. 185. In SS 171, 172 avri-
Oeois seems, as Victorius pointed out, to mean little more than a
play on words. In SS 29, 120, 247 åvríbetov is found; in § 24 ávrl-
Oétws; in SS 22, 23, 24, 36 årtikelo bar. Cic. (Or. xxxix. 135) describes
antithesis in the words “cum sunt contrariis relata contraria.” Nor-
den (Kunstprosa ii. 508) quotes some of the striking New Testament
examples of antithesis (Rom. ii. 6 ff. ; 1 Cor. i. 18, iv. 10 ff. ; 2 Cor.
vi. 7 ff.), together with St Augustine's comments in de Civ. Dei xi. 18.
Antithesis has, indeed, been the most generally used of all the
figures. The merit of an antithetical style (according to Aristot.
Rhet. iii. 9, 8) is that it brings contraries into emphatic juxtaposition,
and has a syllogistic character. Its use in excess was, it would seem
from a current journal, disliked by Bishop Westcott in Macaulay,
whose antithetical style "bears much the same relation to prose that
rhyme bears to verse : it is a help towards attainment of success of
the second order ; but to supreme excellence it is a hindrance."
(Lionel Tollemache in The Spectator, August 17th, 1901).
åvrlotpodos. 38. Converse, counterpart. Lat. respondens.
dvUTÓKPITOS. 194. Undramatic. . Lat. remotus ab actione, alienus
ab histrionia. Late word,-LXX., N. T., Marcus Aurelius. Only
here in the sense given above; elsewhere, it = 'guileless.'
dvwualla. 67. Inequality. Lat. inaequalitas. In $ 219 åvwuaría,
and in § 246 ávápalos, have their literal meaning.
ámayyedla. 114. Style. Lat. elocutio. Late in this sense, -
Dionys. Halic., Plut., Dio Chrys., etc. Theophrastus himself prob-
ably used the word létis. In Rhet. ad Alex. C. 30 åmayyedía = diń-
ynous. For 'narrative simply, áyyelia is used in § 114 and amay-
yéllel in § 237. In Dion. H. Ep. I. ad Amm., årrayyéddel is used
repeatedly in the sense of delivering a speech. (Further references
in Classical Review xv. 253.)
ámábela. 194. Lack of emotion. Lat. affectuum z'acuitas, indo-
lentia. So the adj. arabńs, in the same section.
Stapritev. 2, 10. To round off, to complete. Lat. adaequare,
absolvere. Hermogenes (Sp. ii. 241) defines kớlov as aanptlouévn
διάνοια, a completed sense. Cp. the use of συντελείν and συμπε-
paloûv. Schol. Rav, ad Aristoph. Ran. 812 : őtav yàp oi deonórai
otovdáśwoi bârtóv ti draptio dîvai (“to be polished off') ÉTETT NÝTTOVOU
τους δούλοις ίνα θάττον ενεργώσιν.
268.
DEMETRIUS ON STYLE
dmrelkáſelv. ' 11. To liken, to compare. Lat. assimilare, comparare.
ÅTTELpókados. 67. Tasteless. Lat. ineptus. Dionys. H. de Isaeo
C. 2 πέφευγεν απηρχαιωμένων και σημειωδών ονομάτων την απειρoκαλίαν,
and D. H. p. 185.
. άπειρος. 1, 63. Limitless. Lat. infinitius.
årídavos. 15, 19, 221. Unconvincing, unreal. Lat. alienus a
persuadendo, non probabilis. Cp. Aristot. Rhet. iii. 8, I årídavov.
πεπλάσθαι γαρ δοκεί , i.e. artifcial, hollow. See also s.V. πιθανός.
ámlockós. 244. Simple, naive. Lat. simplex, non fucatus. Late
word,-Philo, Lucian, etc.-απλούς occurs in SS 15, 17, etc. ; απλότης
in S 19; απλώς in S 100, 243 (see also s. V. ακρίβεια). The ars
celare artem is well described, in connexion with the word απλότης,
in (Dionys. Hal.) Ars Rhet. p. 99 (ed. Usener), λέγω δε και προστί-
θημι, ότι και όταν τις απλώς λέγη, και τούτο τέχνη σχήματος γίνεται, ίνα
η της απλότητος προσποίησις το πιθανόν έχη το ακούοντι.-It is to be
noticed that in 8 34 απλούς is substituted for Aristotle's αφελής, and
further that neither αφελης nor αφέλεια occurs in any part of the
π. ερμ. As the words occur in Dionysius and in Ηermogenes, the
treatise may (so far as such indications are to be trusted at all) be
assigned to the period between the two. At all events, the appa-
rently deliberate avoidance of the word åpennis is noteworthy.
απόθεσις. 19, 205, 245. Fall (of the voice); cadence. Lat. depo-
sitio. The distinction implied is that of άρσις and θέσις, the rise of
the voice at the beginning of a member and its fall at the end.
ámolntos. 28. Inartificial. Lat. sine arte factus. In the same
sense, άτεχνίτευτος and ανεπιτήδευτος (Dionys. Halic. de Lys. C. 8).
αποκοπή. 6, 238. Abrubtness. Lat. abscisio. Cp. Dionys. Hal.
de Thucyd. C. 52 τας υπερβάτους και πολυπλόκους και εξ αποκοπής
πολλά σημαίνειν πράγματα βουλομένας και διά μακρού τας αποδόσεις
λαμβανούσας νοήσεις. So αποκεκομμένος in SS 18, 238, 239: cp.
Aristot. Rhet. iii. 8, 6 αλλά δει τη μακρά αποκόπτεσθαι (brought to
an abrupt end) και δήλης είναι την τελευτήν.
απόληξις. 121, 182, 257, 268. Conclusion. Lat. terminatio. So
απολήγειν SS 20, 202, 257.
αποπνίγειν. 303. To choke: used of long periods which rob the
speaker of his breath. Lat. Suffocare. So πνίγειν in 8 Ι.
αποσιώπησις. 103, 264. Sudden reticence, suppressed clause ( the
figure of silence,’ Puttenham). Lat. reticentia (Quintil. ix. 2, 54:
GLOSSARY
269
“ÅTOOLÁTNOUS, quam idem Cicero reticentiam, Celsus obticentiam, non-
nulli interruptionem appellant.” Cicero uses “reticentia' in de Or. iii.
53, 205). Fr. réticence. Examples : Demosth. de Cor. ad init., åll'
έμοι μένου βούλομαι δε δυσχερές ειπείν ουδέν αρχόμενος του λόγου:
Virg. Aen. I. 135 “quos ego-sed motos praestat componere fluc-
tus.” —Cp. årooiwrâv in $S 44, 253 and ånooiyâv in § 149.
drobbeyuatikós. 9. Sententious. Lat. sententiosus. See further
S. V. yvóun. The adj. is not found earlier than Plutarch.
dopertús. 75, 122, 123, 188 (-6), 238. Unbecoming. Lat. inde-
corus. See p. 225 supra.
áp@pov. 23. Article: in the grammatical sense. Lat. articulus.
Cp. D. H. pp. 185, 186. The parts of speech mentioned in the
π. ερμ. are άρθρον and σύνδεσμος. ρημα does not occur, and όνομα
means word’ rather than ‘noun.'
. 'AplotlıTTELOS. 296. Aristippean : see n. on p. 258 supra.
ápktlkós. 56. Initial. Lat. initialis, principalis. Late-Apoll.
Dysc., Hephaest., Pollux.
åpuovia. 300. Adjustment of words. Lat. apta structura, con-
cinna orationis compositio. Cp. D. H. p. 186. The meaning of the
word is discussed in Cope's Introduction to Aristotle's Rhetoric
pp. 379—387, and (on the musical side) in D. B. Monro's Modes of
Ancient Greek Music.
ápuậuos. 42, 117, 301. Without rhythin. · Lat. numeri expers.
Used in Aristot. Rhet. iii. 8, 1.
ápxaloelds. 245. Old-fashioned. Lat. antiquitatem redolens. The
word is år. cip. Dionysius Hal. (Ep. ad Pomp. C. 2, de Comp. Verb.
C. 23) uses apxacomT PETTY's in much the same sense.—For the meaning
of oi ápxaio in the 1. épp. (67, 175, 244), see n. on p. 224 supra.
ápxń. 39, 56, 192, 196, 268. Beginning : of a clause or sen-
tence. Lat. principium.
đoápela. 201, 254. Obscurity. Lat. obscuritas. So đoaońs: 192,
198, 221, 226.
doeuvos. 189. Undignified. Lat. dignitatis expers, minime vene-
randus. Late --Dionys. Hal., Plut., . ., Lucian. (Sometimes
said to occur in Aristotle, but not found in any genuine writing of
his.)
doteüouós. 128, 130. Witticism : (the merry scoff; otherwise
the civil jest,' Puttenham). Lat. urbanitas (doteïo uoí = facetiae).
270.
DEMETRIUS ON STYLE
The word is late, Dionys. Hal., 17. út., etc. In the same sense
áo teigeodai (5 149), though the particular form seems to be more
specifically Attic. In § 114 đotelos is found, but with a moral rather
than an intellectual connotation.
doúvšetov. 192, 268. Absence of conjunctions. Lat. dissolutum
(Auct. ad Herennium iv. 30: cp. Quintil. ix. 3, 50). See also s. v.
dúois.
douvñóns. 77, 190, 208, 221. Unusual. Lat. inusitatus.
dopadnís. 19, 41, 78, etc. Safe. Lat. tutus. Especially applied
to a safe,' as opposed to a "risky' (kuvduvádns), use of language. In
the same way dopaligeglai (85, 193) means to ensure,' 'to safe-
guard,' 'to place beyond criticism': late, Polybius, Diodorus,
Josephus, N. T. Cp. åopáleia, § 287.
đoxquátlotos. 67. One who avoids figures. Lat. qui nullis
figuris utitur. Late in this sense,—Dionys. Hal., Quintil., etc.
Cp. D, H. p. I86.
draktorépws. 53. With some negligence. Lat. inordinatius. The
comparative, in this form, is an. cip.
dreptus. 134, 303, 304. Disagreeable, disgusting. Lat. insuavis,
odiosus.
dtéxvws. 68. Inartistically. Lat. sine arte, inartificialiter.-
åtexvớs (“simply,' entirely ') is found in SS 1, 5, 68, 71, 266. It
will be noticed that the word occurs twice in $ 68, and that every-
where (except in § 1) P gives the accent not as árexvớs but as
åréyvws. Probably the distinction by accent is arbitrary in origin,
though convenient in practice.—åtexvớs (= adnows) was regarded as
specifically Attic.
årtiklſev. 177. To write in the Attic dialect. Lat. atticissare.
In the same section ’ATTIKV) ylwooa is used, and in § 175 the practice
of oi 'ATTLKOì is mentioned.
aúroo xediáterv. 224. To improvise. Lat. ex tempore facere s.
dicere. Cp. Dionys. Hal. de Comp. Verb. c. 25 moltà yàp atrooxe-
διάζει μέτρα η φύσις, and Aristotle's use of αυτοσχεδιάσματα in Poetics
C. 4. The word is classed as specifically Attic by the ancient
grammarians.
atroduńs. 27, 300. Self-engendered, spontaneous, natural. Lat.
naturalis. The same idea is expressed by the words quae sua sponte
nascuntur and innatus in the following passages : Tac. Dial, de Or.
GLOSSARY
271
C. 6 “sed extemporalis audaciae atque ipsius temeritatis vel prae-
cipua iucunditas est; nam in ingenio quoque, sicut in agro, quam-
quam grata quae diu serantur atque elaborentur, gratiora tamen
quae sua sponte nascuntur;" Quintil. ix. 3, 74"nam per se frigida
et inanis affectatio, cum in acres incidit sensus, innatam gratiam
videtur habere, non arcessitam."
á póvTLOTOS. 300. Unstudied. Lat. incuriosus. See s. v. ppovtis.
á xapıs. 137, 139, 302, 303, 304. Graceless, uncouth, coarse. Lat.
invenustus.-In a similar sense axápitos in SS 130, 139; with the
same doubt, as to the termination -ctos or -LOTOS, which presents itself
in éixápitos and evtáplatos.
äyuxos. 81. Inanimate. Lat. animae expers, inanimus. Used
here in its literal sense, as the opposite of čuyuyos in the same
section ; not applied in the n. epu. to lifeless writing, Lat. exsanguis.
Báoavos. 201. Torture. Lat. quaestio, poena. A late word in
the metaphorical sense, -LXX., N. T., Lucian, etc.; applied to
language itself in T. JU. x. 6 Tộ đèn UV€u Tím ToyTu Tact Tò ẵmos juoios
έβασάνισεν. "
Báois. 206. Step. Lat. clausula. For Báols as meaning a
rhythmical clause, see Cope's Introduction to Aristotle's Rhetoric
p. 388, n. 4: « βάσις in rhythm corresponds to πoυς in metre. It
takes its name from the 'step'in marching or dancing.” To the
passages there quoted from Plato and Aristotle may be added 7. vy.
XXxix. 2 και βάσιν ένδούς τινα ρυθμού προς ταύτην αναγκάζει (sc. ο αυλός)
βαίνειν εν ρυθμό, where βάσις ρυθμού clearly = "numeri incessus.)
The 'safe step'is one of which the penultimate syllable is long, in
contradistinction to iambic endings which are regarded by Dionysius
as åvédpaotoi and årepíypapou (Blass, Att. Bereds.” i. 135 n. 2).
Bla. 246. Violent movement. Lat. violentia. Tò dúopboyyov is
here meant by Bía, as the context shows.
Boulebar. 2, 28, 231. To be designed, to tend. Lat. velle. Cp.
D. H. p. 187.
Bpaxuloyla. 243. Brevity of speech. Lat. breviloquentia. Cp.
Quintil. viii. 3, 82 “ac merito laudatur brevitas integra; sed ea
minus praestat, quotiens nihil dicit nisi quod necesse est (Bpaxv-
loyſav vocant, quae reddetur inter schemata), est vero pulcherrima,
cum plura paucis complectitur.” So Bpaguloyeîv (§ 242), and Bpaxv-
lóyos (ŠS 7, 214). For the Bpatuloyía of the Lacedaemonians, see
272
DEMETRIUS ON STYLE
Plut. Lycurg. Vit. C. 19; theirs was the brevitas imperatoria of
Tacitus (Hist. I. 18).-βραχύτης occurs in 88 9, 121; βραχύς in 207,
242.
γελοίος. 126, 163, 170, etc. Laughable. Lat. ridiculius. The
difference between το γελοίον and το ευχαρι is explained in 8 163.
The deprecating attitude which so many ancient writers assumed
towards laughter is refected in Quintil. vi. 3.-γέλως occurs in
88 168, 169; γελάν, Ι63, 168, 26ο; γελωτοποιΐα, 128; γελωτοποιείν,
24, 168.
γλαφυρός. 36, 127, 128, 138, 178, 179, 183, 184, 186. Smooth,
polished, elegant : χαρακτήρ γλαφυρός being one of the four types of
style. Lat. politus, floridus, ornatus, elegans. Fr. élégant, orné. Cp.
Dionys. Hal. de Commφ. Verb. c. 23 η δε γλαφυρά και ανθηρά σύνθεσις :
and de adm. oi dic. in Dem. C. 40 η δε μετά ταύτην η γλαφυρά και
θεατρική και το κομψόν (“ neat ) αιρουμένη προ του σεμνού (grand)
τοιαύτην ονομάτων αιεί βούλεται λαμβάνειν τα λειότατα και μαλακώτατα,
την ευφωνίαν θηρωμένη και την ευμέλειαν, εξ αυτών δε το ηδύ. It is to
be noted that many of the illustrations of this style given in the
π. ερμ. are taken from the lyric and comic poets. Reference may
also be made to D. H. p. 18 and π. ύψ. p. 196. -The noun γλαφυ-
ρότης occurs in 8 258.
γλώσσα. 177. Dialect. Lat. lingua, dialectius. -The word does
not in the π. ερμ. bear the Aristotelian sense (Poetics and Rhetoric)
of foreign term': for which see D. H. p. 187, S. V. γλωττηματικός.
γνώμη. 9 (bis), 110, 170. Maxim. Lat. sententia. The prin-
ciple of the γνώμη is expounded by Aristotle (Rhet. ii. 21, 15): η μεν
γαρ γνώμη, ώσπερ είρηται, απόφανσις καθόλου εστίν, χαίρουσι δε
καθόλου λεγομένου και κατά μέρος προϋπολαμβάνοντες τυγχάνουσι οίον εί
τις γείτοσι τύχοι κεχρημένος ή τέκνοις φαύλοις, αποδέξαιτ' αν του είπόντος
“ ουδέν γειτονίας χαλεπώτερον' ή ότι ουδέν ηλιθιώτερον τεκνοποιίας,
ώστε δει στοχάζεσθαι πως τυγχάνουσι ποία προϋπολαμβάνοντες, είθ'
ούτως περί τούτων καθόλου λέγειν. ταύτην τε δή έχει μίαν χρήσιν το
γνωμολογείν, και ετέραν κρείττω· ηθικούς γαρ ποιεί τους λόγους. The
γνώμη may be said to differ in these two points (viz. general applica-
tion and moral purpose) from the dropleyua, which is a dictum or
born mot, and is specially used of the Λακωνικά αποφθέγματα, men-
tioned by Aristotle (Rhet. ii. 21, 8) and collected by Plutarch. On
the use of yvūnai by Demosthenes there are some good remarks in
Rehdantz-Blass, Rhetorischer und stilistischer Index pp. 20, 21.---
5
GLOSSARY
273
γνωμολογείν occurs in $ 232, and γνωμολογικός in 8 9. The latter is
late, occurring (if we except the Rhet. ad Alex.) not earlier than
Theon's Progymnasmata. But γνωμολογείν and γνωμολογία are found
in Aristotle's Rhetoric.
γράμμα. 48, 69, etc. Letter : of the alphabet. Lat. littera.
γραφή. 120, 196, 215, 226. Writing, composition (in the wide
sense). Lat. scriptio. This use is found in Philodemus and Strabo.
In § 226, stress is laid on the distinction between written and spoken
style: in fact, the γραφική λέξις of S 193 1s kept in view. (In
8 76 γραφικός means pictorial, as ζωγραφικός in the same section.)
Cp. D. H. p. 187.
γρίφος. 153. Dark saying. Lat. griphus. The γρίφος is thus
distinguished from the αίνιγμα by Schol. Αristid. p. 5ο8 : γρίφος δε
έστιν ουχ, ως ένιοι φασι, ταυτόν τω αινίγματι διαφέρουσι γάρ, ότι το μεν
αίνιγμα ομολογεί τις αγνοείν, τον δε γρίφον άγνοεί δοκών επίστασθαι,
οιον αίνιγμα μέν έστι το τί δίπουν, τί τρίπουν, τί τετράπουν και ενταύθα
δηλον το ερώτημα. γρίφος δε οίον Έκτορα τον Πριάμου Διομήδης έκτανεν
ανήρ. ενταύθα δοκεί μέν ειδέναι το ρηθέν, αγνοεί δε, ότι διομήδης ήν
ανήρ ο 'Αχιλλεύς. Thus the one frankly presents itself as an enigma,
riddle or conundrum ; while the other, with its element of ambiguity
and mystification, is an équivoque or double entendre.
δασύς. 73. Rough : breathing (ήχος). Lat. asper: Sc. spiritus.
Cp. D. H. p. 15.
δεικτικός. 289. Demonstrative. Lat. demonstrativus.
δεινός. 7, 8 f. ; 240 f. ; passim. Forcible, vigorous, vehement :
χαρακτήρ δεινός being one of the four types of style. Lat. gravis,
vehemens. - Fr. énergique, véhément.—Reference may be made to
D. H. pp. 187, 188 s. v. delvórns. With the passage there quoted
(on p. Ι88) from Dionys. Hal. ad Amm. ii. may be compared π. ερμ.
8 283 πάσα δε έκπληξις δεινόν, επειδή φοβερόν ; 8 255 αλλ' ούτ' αν και
λέγων δεινός (“ formidable ') ούτως έδοξεν, ούτε ο όφις αυτός ; 8 24Ι το
γάρ μήκος εκλύει την σφοδρότητα, το δε εν ολίγω πολύ έμφαινόμενον
δεινότερον (cp. $ 274). Perhaps in the π. ερμ. (as compared with the
Scripta Rhetorica of Dionysius) Selvórns carries with it less of that
idea of hitting the mark which is so well illustrated from Plato and
Aristotle by Rehdantz (op. cit. p. 57). In Dionysius (as later in
Hermogenes) the word sums up the oratorical virtues, especially as
seen in Demosthenes. In the π. ερμ., it is only one of four types of
18
274
DEMETRIUS ON STYLE
style; it is indeed chiefly illustrated by examples drawn from Demo-
sthenes, but it is not associated solely with him, as appears from the
expressions tñs Anuadelov DelvÓTntos (S 286) and ý vûv katéžovoa
delvórns (S 245). Cp. p. 52 supra.
decvórns occurs in $ 240 and passim (the plural delvórntas being
found in § 243 : cp. yeyéon $ 5).—delvwois in 130 means “intensifi-
cation': cp. Quintil. vi. 2, 24 “haec est illa, quae deivwois vocatur,
rebus indignis, asperis, invidiosis addens vim oratio; qua virtute
praeter alias plurimum Demosthenes valuit.”
Smulovpyós. 215. Artificer. Lat. opifex. Cp. Plat. Gorg. 453 A
TTELOOūs оnulovpyös ØnToplan (Gorgias' definition of rhetoric).
Anuádela. 282. Sayings of the orator Demades. Lat. dicta De-
madoa. Cp. tñs Anuadelov delvórntos, $ 286.
Snuotikós. 177, 232. Popular: applied to the Attic dialect and
to proverbs. Lat. popularis, communis. In $ 294 ó ’A Anvalwv dņuos
is used of the Athenian democracy.
Stádoyos.' 223 (bis), 224. Dialogue. Lat. dialogus. So Salo-
yekòs in SS 19, 21, which may be conveniently rendered 'conversa-
tional, though the illustration employed in § 21 shows that the
formal Dialogue is chiefly meant. Saléyeo dac occurs in SS 167, 225,
289; while in $ 167 Xopos dialektikÒs means a conversational chorus'.
of the Gilbertian type. Cp. R. Hirzel Der Dialog i pp. 305, 306.
Sladúelv. 13, 15, 21, 46, 192, 193, 271, 301. To break up. Lat.
dissolvere. The perf. participle pass. is found in several of these
sections, with the same sense as dipenuévos (p. 275 infra). In view of
the meaning borne by dalúelv elsewhere in the 7. épp., the reading
Slalúoavtas in § 288 seems unlikely.—diálvois = asyndeton, SS 66, 269.
Slávola. 2 (quinquies), 3 (quater), 30, 38, 44 et passim. Thought,
sentence. Lat. sententia. Slavonua, thought' or 'notion,' in $S 30,
239.
Stáppuy's. 68. Severance : lised of style. Lat. distractio. Cp.
the use of διερριμμένος in 8 13.
Slaotaopós. 68. Dislocation : of style. Lat. divulsio. Late
word, -LXX., Plutarch, etc. Cp. the use of dleomaduévos in § 303.
Statártev. 59. To place in order. Lat. digerere, ordine collocare.
Fr. ordonner.
Slaxwpljev. 180. To divide. Lat. separare.
U
GLOSSARY
.
275
CD
LET
Sidaokalía. 9. Formal instruction. Lat. docendi ratio. Cp.
Aristot. Poet. xix. 3 Tà pèv dei palveobar övev Sidao kalías.
Sińynua. 8, 137, 201, 241, 270. A narrative. Lat. narratio.
Fr. récit. Late,—LXX., Polyb., Dionys. Hal.; though the adj.
διηγηματικός is thrice used in the latter part of the Poetics. διήγησις
occurs in 7. epu. 291. The distinction drawn between the two words
by a scholiast (quoted in Volkmann's Rhetorik, p. 150 n. 1) is :
διαφέρει δε (διήγημα) διηγήσεως, τα ταύτην μεν είναι καθολικωτέραν,
#kelvo 8è uepikutepov. The same distinction holds between moinous
and soinua, the former being appropriately applied (say) to the entire
Iliad, the latter to Book xviii. (O lomouía).
Simuaptnuévos. 114, 186, 236, 302. Defective, distorted. Lat.
vitiosus.
Suppnuévos. 12, 21, 70. Resolved, disjointed, loose. Lat. divisus,
dissolutius. (Also διαιρεί and διαιρείται in 8 1, διαιρεθέντα in 8 7ο; in
§ I to joint,' or 'to articulate,' is perhaps nearer the meaning than
'to disjoint,' which is more depreciatory than the Greek original.)
See Aristot. Rhet. iii. 9, 7 (with Cope's note); Cope's Introduction,
pp. 306 ff. ; Ernesti, Lexicon Technologiae Graecorum Rhetoricae,
pp. 74, 75. Aristotle (Rhet. iii. 9, 1) distinguishes the détis cipouévn
(= dypnuévn, Salevuévn, dleppinuévn in 7. épu.) from the léKATE-
στραμμένη. For Herodotus as the leading representative of the λέξις
cipouéin, cp. Norden Kuntsprosa, I. pp. 27, 38-41; Navarre Essai
sur la Rhétorique grecque avant Aristote, pp. 86, 112 ; Sandys Isocr.
Dem.. et Panegyr., p. xii. Some useful references to Cicero's rhe-
torical works will be found in Causeret Étude sur la langue de la
Rhétorique et de la critique littéraire dans Cicéron, pp. 20, 148.
Sløúpaubos. 78. Dithyrambic poetry. Lat. dithyrambus. Also
didupaußudns 116, dibupaußıkòs 143, dibupapßikws 91.
Sikwlos. 34, 252. With two members.' Lat. bimembris.
Sidoyla. 103, 211, 212. Repetition. Lat. iteratio, repetitio. So
Sidoyeîv 197, 267. It is clear from SS 211, 212 that the repetitions
meant are such as those found in the following English examples :
“Cannon to right of them, | Cannon to left of them, Cannon in
front of them | Volley'd and thunder'd” (Tennyson Charge of the
Light Brigade); “By my saying she saith to you, in your ears she
saith, | Who hear these things, / Put no trust in men's royalties, nor
in great men's breath, | Nor words of kings” (Swinburne Super
T
18-2
.276
DEMETRIUS ON STYLE
Flumina Babylonis); “Stars in the firmament above him beaming, ||
Stars in the firmament, alive and free, Stars, and of stars the
innumerable streaming, ! Deep in the deeps, a river in the sea”
(F. W. H. Myers Saint Paul). The second of these passages is,
perhaps, the best illustration of Siloyía, as distinguished from the
other figures denoting rhetorical repetition. Cp. the repetition of
“days” and “years” in Genesis xlvii. 9 “The days of the years of
my pilgrimage are an hundred and thirty years : few and evil have
the days of the years of my life been, and have not attained unto the
days of the years of the life of my fathers in the days of their
pilgrimage.” So also Book of Daniel iii. 1—18.
Sutloûs. 61, 93, 98, 191. Double, compound. Lat. duplex. Cp.
Aristot. Poet. xxi. I; Rhet. iii. 3, 1. So the verb Slalow in 59, and
the noun δίπλωσις in ΙΙ6.
Sipooyyos. 72, 73, 207. Having a double sound, a diphthong.
Lat. diphthongus.
Spaua. 62, 156. Action, play. Lat. fabula. The use of the
word Spāua with reference to the Iliad and to Sophron's Mimes is
interesting : cp. the article by Mr H. Richards in the Classical
Review xiv. pp. 388—393. For the Iliad, cp. 7. 4. ix. 13 tńs mèv
Ιλιάδος γραφομένης έν ακμή πνεύματος όλον το σωμάτιoν δραματικόν
υπεστήσατο.
Svońkoos. 48. Unpleasant to the ear. Lat. molestus auribus.
Hardly found with this meaning elsewhere; and a late word al-
together.
Svo karópowtos. 127. Hard to accomplish. Lat. qui recte effici vix
potest. Laten-Galen, Chrysostom, etc.
Svo Tapakoloúdnros. 4. Hard to follow, unintelligible. Lat. obscu-
rus. Cp. D. H. p. 189.
Súoployyos. 246. Harsh-sounding. Lat. asper, difficilis enuntiatu.
The word is not found elsewhere.
Súopwvos. 69, 70, 105. Harsh-sounding. Lat. asper, difficilis
enuntiatu. A late word, found elsewhere only in Pollux. Late also
is dvopwvía, SS 48, 105.
Swplfelv. 177. To write in the Doric dialect. Lat. sermone uti
Dorico. Cp. Awpwuós, in the same section.
éykdTÁO KEVOS. 16. Elaborate, embellished. Lat. arte fabricatus,
elaboratus artificiose, cultu exornatus. Fr. travaillé. Cp. D. H.
GLOSSARY
A
277
p. 189 for illustrative passages, and see p. 194 ibid. for katao KEVN
and κατασκευάζω, which do not occur in the π. ερμ.
εγκώμιον. 170, 301. Eulogy. Lat. laudatio. Fr. Bloge. So
εγκωμιαστικός 120, and έγκωμιάζειν in the same section. έπαινος
occurs in SS 168, 292, 295 ; when this is distinguished from εγκώμιον,
it means commendation for isolated acts rather than a sustained
eulogy.
έδρα. 183, 206. Foundation. Lat. Sedes. By έδρα is meant a
termination (of a clause or period) containing some long syllables.
Cp. Dionys. Hal. de adm. vi dic. in Dem. C. 38 ονόμασι χρήσθαι φιλεί
μεγάλους και μακροσυλλάβοις * * και ταϊς έδραις αυτών είναι πλουσίως
πάνυ βεβηκυίαις : ibid. c. 40 ευκόρυφοι δη φαίνονται (sc. οι ρυθμοί) και
εύγραμμοι διά τούτο και εις έδραν ασφαλή τελευτωσι: id. de Comp.
Verb. C. 23 ου ζητεί (sc. η γλαφυρά σύνθεσις) καθ' έκαστον όνομα εκ
περιφανείας δράσθαι, ουδε εν έδρα πάντα βεβηκέναι πλατεία τε και
ασφαλεί, ουδε μακρούς τους μεταξύ αυτών είναι χρόνους, ουδ' όλως το
βραδυ και σταθερον τούτο φίλον αυτή.
: Edpalos. 19. Stable, well-based. Lat. stabilis, immotus. Cp. 7.
ύψ. xl. 4, προς εδραίον διαβεβηκότα μέγεθος.
el8os. 20, 21, et passim. Form, kind. Lat. forma, species. Cp.
π. ύψ., p. 197.
εικασία. 80 (quinquies), 89 (ter), 160, 172 (bis), 273. Compari-
sons, similes. Lat. comparatio, similitudo. So eikáčelv, 'to liken,'
SS 84, 160, 251. In § 227 cikwv is used for 'image,' reflection,'
'mirror.' Cp. Quintil. viii. 6, Auct. ad Her. iv. 34.
ειρμός. 182. Train, series. Lat. nexus, series. Cp. π. ύψ. Χxii. I
την εκ του κατά φύσιν ειρμού τάξιν.
ειρωνεία. 291 (bis). Assumed ignorance, dissembling: the dry
mock,' Puttenham. Lat. illusio, simulatio. Cp. Aquila Rom. (Halm,
p. 24) “ cipwvela, simulatio, frequentissima apud oratores figura, ubi
aliud verbis significamus, aliud re sentimus”; and Rhetor. ad Alex.
21 ειρωνεία δε εστι λέγειν τι μη προσποιούμενον λέγειν, ή εν τοις εναντίοις
demus (περί κακιών Χ. 22, 38) uses αμφίβολος οf expressions such as
και γενναίε which exemplify the Attic ειρωνεία.
έκτασις. 185, 2006, 207. Extension : especially applied to the
lengthening of short syllables. Lat. extensio, productio. The verb
278
DEMETRIUS ON STYLE
čkteívelv is found in SS 6, 8, 9 (here the middle voice is given by P:
perhaps wrongly), 183, 202, 241.
ÉKTCDeoda.. 35, 41, 200. To set forth, quote, expound. Lat. expo-
nere. So čkbeois in S 231.
értépelv. 94, 124, 142, 164, 176, 220. To utter : with various
cognate meanings. Lat. edere, promere.
ék páfelv. 165. To elaborate. Lat. verbis ornare, ornate aliquid
enuntiare. The term ěkopaois seems to belong to the later rhetorical
age—that of the repoyuuváopata.
Škowveîv. 15. To pronounce, to deliver. Lat. pronuntiare, clara
voce edere. (čkournois is sometimes used not only for pronuncia-
tion,' but also for 'exclamation and in later times for the “peroration
of a sermon.)
éußol. 39. Impact. Lat. iniectio, impetus. If the text is sound,
the literal meaning seems to be, because the very impact of the
member must be both an impressive beginning and (an impressive)
end.' But the kai before tņu éußodny is unnatural, and ápxòv may
be a gloss on éußolny, though the real meaning of the word is
impact' rather than 'opening': cp. T. vyd. XX. 2, 3, where (as here)
εμβολή and πλήσσειν are found together.
čujed@s. 297. Tastefully. Lat. eleganter. In its sense of 'tune-
ful' or 'harmonious,' fupelnis occurs in Dionys. Hal. de Comp. C. 25
Tû érmétpw kai éppelei deel. The word éppetpos is found in 7. épu.
$ 183 : cp. D. H. p. I9o.
eutradās. 28. With emotion, with feeling. Lat. cum affectu.
éu acis. 47, 57, 130, 171, etc. Appearance, hint, impression, etc.
Lat. species, significatio. The corresponding verb čupalvelv is em-
ployed some twenty or thirty times in the treatise, e.g. $ 171. čubav-
TLKÓS, 'indicative,' occurs in $ 283; and ĉubatıkós, “striking,' in § 51
(the difference in spelling being apparently designed). Both éubav-
TlKòs and łupatikos are late,--Plutarch, etc. A figure of čupaois was
recognised : cp. Volkm. Rhet. pp. 445, 446; Quintil. viii. 3, 83,
ix. 2, 3 ; Tiber. Tr. Oxnu. and Tryph. 7. Tpórwv (Sp. Rhet. Gr. iii. 65
and 199).
évayávios. 193. Combative. Lat. aptus contentionibus, accinctus
ad certamen. Cp. references given in 7. tv. p. 194.
evallá ogelv. 60. To vary, to substitute. Lat. immutare. The
literal meaning in § 60 is with the grammatical case thus varied'.
.
GLOSSARY
: 279
(i.e. with the nominative substituted for the more obvious genitive).
Cp. D. H. p. 190, S. V. évadlayń.
évápyela. 208, etc. Vividness. Lat. evidentia, illustratio. Fr.
évidence. See 7. út. p. 197 and D. H. p. 190, with the examples
there quoted. The words évápyela and evapyss (S 50, etc.) correspond
to such English words as “realism,' 'life-like, 'telling,' 'graphic.' Cp.
Rhet. Lat. Min. (p. 62, Halm): “èvápyela est figura, qua formam
rerum et imaginem ita oratione substituimus, ut lectoris. oculis prae-
sentiaeque subiciamus.”
évépyela. 81, 82. Activity, actuality. Lat. actio. Cp. Aristot.
Rhet. iii. 11, 1—3, with Cope's notes ad loc. and his Introduction,
pp. 316, 318. So èvepyeîv § 81, and vepy's § 266.
įvýunua. 30, 31, 32, 33, 109. Enthymeme. Lat. enthymema,
sometimes ratiocinatio. Cp. D. H. p. 190 for various references, to
which should be added Cope's Introduction to Aristotle's Rhetoric
pp. 101 ff., and De Quincey's “Essay on Aristotle's View of Rhe-
toric” (where he follows Pacius and Facciolati). The author of the
77. épp. marks clearly the distinction between the enthymeme and the
period, the latter referring to the form, the former to the content
whether conveyed in a period or not. It is noteworthy, as probably
pointing to the use of a common source, that Quintil. (v. 14, 4)
draws the same illustration from Demosthenes as is found in . ép.
$ 31: “optimum autem videtur enthymematis genus, cum in propo-
sitione dissimili vel contraria ratio subiungitur, quale est Demo-
sthenis, non enim, si quid unquam contra leges actum est, idque tu es
imitatus, idcirco te convenit poena liberari; quin e contrario damnari
multo magis. nam ut, si quis eorum damnatus esset, tu haec non
scripsisses ; ita, damnatus tu si fueris, non scribet alius." See further
S. V. Máxn, p. 291 infra.
ÉVTÉXVWS. 67. Artistically. Lat. artificiose. Cp. atéxvws.
évupalvel. 166. To weave into the texture (of a poem). Lat.
intexere.
égalpelv. 119, 122, 123, 234, etc. To exalt, to heighten : of style,
and the like. Lat. efferre.
etápetpov. 1, 4, 12, 204. A line (sc. émos) consisting of six metres
or measures, a hexameter. Lat. hexametrum.
étarraoûv. 254. To unfold, to state outright. Lat. explicare,
explanare, distincte aliquid exponere. Cp. the paraphrase of Gregor.
280
DEMETRIUS ON STYLE
Cor. (Walz, vi. 2, II7o) BeuvoTepov vào To GrovooÚuevov, Tò 8à eỆamkooky
Katappoveitai, kai yelolov Tò mpódnàov léyelv. A late word in prose,
-Sextus Empiricus, etc. ; the fact that it occurs in the Batrachomyo-
machia (1. 106) may be added to the other indications of late date
which that poem presents.
égao bevelv. 50. To fail in strength. Lat. deficere.
énilayuévos. 77. Distinguished, elaborate. Lat. immutatus, va-
riatus, exornatus. Cp. D. H. p. 191.
é raudotepiſely. 176, 291. To partake of two characters, to be
ambiguous. Lat. anceps esse.
čataválmtus. 196 (bis). Epanalepsis, resumption (echo sound,'
Puttenham). Lat. iteratio (cp. Rutilius Lupus, Halm p. 8). By
επανάληψις the author of the π. ερμ. seems to understand not simply
a'repetition' (åvadir .wuis, and the like), but what might be termed
a 'resumptive repetition.'
étaváoTaois. 278. Rise in rhetorical tone. Lat. elata compositio,
oratio assurgens. The metaphor may be medical, that of a 'rising'
or 'swelling' on the person.
énavapopá. 61 (bis), 268. Recurrence, repetition. Lat. repetitio.
Identical with avadopà (q. v.), as may be seen from § 268. The
corresponding verb émavapépelv occurs in $ 59, 268.
étrudelkvuodai. 225, 300. To make a rhetorical display. Lat. se
ostentare, declamare.
The reference is to the ÉTIDELKTIKOV yévos, 'l'éloquence d'apparat.'
In $ 108, éttidelyuata is used of the appointments in the mansions of
the rich.
ém letov. 85. An addition, an epithet (the qualifier,' Putten-
ham). Lat. ad nomen adiunctum, appositum (Quintil. viii. 3, 43;
6, 29). Cp. D. H. p. I9I.
ém LKeptóunua. 111. A taunt. Lat. obiurgatio. Herodian (7.
oxnfl., Sp. iii. 92) classifies émiKEPTóunois under cipwvela: tñs dè
ειρωνείας καθέστηκεν είδη τα λεπτομερέστερα τάδε, σαρκασμός, διασυρ-
uós, émiKEPTóunois, karáyelws, cikaguós, xaplevtLOMÓS. Rufinianus
(Halm Rhet. Lat. Min. p. 39) says: “haec figura risum excitat et
severe proposita vafre excutit.” A similar 'figure' of trutíunois was
sometimes recognised: cp. the use of emitijâv in § 294.
ÉTTLKOOMEîv. 106 (ter), 133. To adorn, to embellish. Lat. ornare.
GLOSSARY
281
ÉTTLNéyelv. 32, 109, 111, 137. To make an additional statement, to
add. Lat. adiungere.
&quovń. 280. Ondwelling, lingering, elaboration ('the figure of
abode,' Puttenham). Lat. commoratio (Auct. ad Her. iv. 45, Cic.
de Orat. iii. 53). Cp. 7. . p. 199. What is meant is 'a fuller
expression of the point’; the repetition is of the sense, rather than
simply of the words.
étruttindúeobal. 156. To superabound. Lat. accrescere. The verb,
in this form, occurs only here : ÉTELTINDúverv is, however, found in the
LXX.
ÉTELOTONUKÓS. 223, 230, 233. Epistolary, suited to letter-writing.
Lat. epistolaris, accommodatus epistolis.
é lopalńs. 27, 80, 98, 286, 294. Dangerous. Lat. lubricus,
· periculosus. Cf. the use of Kivduvodns and dopalrs in $ 80, and see
s. V. dopalńs, p. 270 supra.
éltádios. 266. A funeral oration (sc. lóyos). Lat. funebris
oratio.
ÉTTLTpayq8eîv. 122. To declaim in tragic tones, to rant. Lat.
tragico more rem amplificare. It is to be noted that this verb (not a
common one) occurs in Theophr. Hist. Plånt. ix. 8, 5: possibly it
was also used in his epi léčews. It is found in Dionys. Hal. de
Thucyd. c. 28.
érubépelv. 34, 85, 106, 122, etc. To add, to subjoin. Lat.
adiungere. Cp. émrubopà in § 196. In 122 the meaning is the
late one of 'adduce' or 'cite' (Lat. laudare): cp. Dionys. Halic. de
Comp. Verb. C. 4 kalws åv čxou tà Eúpidela tahta émeveykelv. (P
gives émoiyo ajev in § 122 ; but Hemsterhuis' conjecture énoloouev
has been adopted in the text.)
élpávnua. 106, 109, 110 (bis), 111 (bis). Concluding exclama-
tion, finishing touch, l'envoy. Lat. epiphonema. Quintil. viii. 5, II
“et addita in clausula est epiphonematis modo non tam probatio
quam extrema quasi insultatio. est enim epiphonema rei narratae
vel probatae summa acclamatio : Tantae molis erat Romanam condere
gentem !” Hermogenes (Spengel Rhet. Gr. ii. pp. 252—254) has a
section Tepi élowvýuatos. Cp. émouveîv SS 107, 110, and éiDuvn-
Matikos $ 109.
émix apis. 147. Graceful, charming. Lat. venustus, amoenus.
Cp. émixapítws in SS 127, 140, and én cxapitátepa 133.
282
DEMETRIUS ON STYLE
ČTOS. 37, 62. Verse, line. Lat. versus. Used with special re-
ference to 'Epic' poetry.
punvela. 1, 12 (bis), 13, 14, passim. Expression, style. Lat.
elocutio. Fr. élocution. Ital. elocuzione. The meaning of epunveía,
as a rhetorical term, is discussed in the Classical Review, xv. 252 ff.
The Trepi épunveías, as its title and contents show, treats of style
(prose style in particular), and is an essay on literary expression or
composition with special reference to the four types of style. Con-
cerning Style' is the most convenient modern rendering, though the
word style' suggests the pen in hand, whereas épurvela, létus and
opao is suggest rhetorical expression, the spoken word of the orator.
The Latin elocutio likewise connotes delivery, and is clearly a better
rendering than interpretatio ; the definition of elocutio given by the
Auctor. ad Herennium i. 2, 3 (" elocutio est idoneorum verborum et
sententiarum ad inventionem accommodatio") might stand for a
definition of ερμηνεία itself. On the use of λέξις, φράσις, and ερμηνεία
there are some good remarks in G. Thiele's Hermagoras, pp. 140-
143. Among other things, he points out that in certain phrases léfis,
as the original term, always held its ground; we never find oxuata
èpunvelas, for example, But a comparison of $ 136 with $ 156 shows
the substantial identity of λέξις and ερμηνεία in the π. ερμ.
épunuevev. 46, 120, 121 (bis). To express, to phrase. Lat. expo-
nere. Cp. Dionys. Hal. de Comp. Verb. C. 3 mpayuátia lità kai
Betiko, nipunuevuéva útépev, and de adm. vi dic. in Demosth. C. 26
ó Saluóvios épunvello a. IIXátwv. It is one of the advantages of
èpunveía as a term for style that a corresponding verb exists side ·
by side with it. The English verb “to phrase' is as old as King
Henry VIII. (Act I. Sc. 1. l. 34); in French, “phraser'is (to judge
from Hatzfeld and Darmesteter's dictionary) comparatively recent.
củaváyvwotos. 193. Easy to read, readable. Lat. lectu facilis.
Cp. Arist. Rhet. iii. 5, 6 őlws dè dei eủaváyvwotov civai tò yeypappévov
και εύφραστον' έστι δε το αυτό.
eúníkoos. 48, 258, 301. Pleasant to the ear. Lat. auditu iucundus.
As stated in the Introduction, p. 56, the word is late ; but it should
have been there added that it is late in this sense only. In other
senses it is found as early as Hippocrates and Aristotle.
eúnuepeîv. 298. To have a good time, to flourish. Lat. secunda
fortuna uti. This verb, together with the corresponding noun and adj.,
is classical ; here it is used of the success of the Socratic dialogues.
GLOSSARY
283
-
ευθεία. 198. Nominative case: sub. πτωσις. Lat. casus rectus.
Cp. 8 104. In $ 292 εξ ευθείας = recta via.
ευκαταστρόφως. 10. With a happy turn. Lat. callide. The word
is år. eip.
ευκαταφρόνητος. 4, 77, 207. Contemptible. Lat. abiectus, humilis.
Cp. π. ύψ. iii. Ι εκ του φοβερού κατ' ολίγον υπονοστεί προς το ευκατα-
φρόνητον, and Dionys. Halic. de Comp. Verb. c. 2 ευκαταφρόνητα και
ταπεινά λαβόντες ονόματα.
euuluntos. 286. Easily copied. Lat. imitabilis. The word is
used by Plato (Rep. x. 605 A). The 7. épu. is rather fond of
compounds in ευ-, e.g. ευμεγέθης (“ good-sized') in $ 76, which, like
εύμίμητος, is a classical word.
ευπαγής. 176 (bis). Well-proportioned, well-compounded. Lat.
compactus, coagmentatus. Used of a word which is composed of
vowels and consonants in fairly equal proportions and so escapes
the two extremes denoted by the adjectives λείος and τραχύς.
EÜTTPÉTTELA. 287, 288. Seemliness, good taste. Lat. studium decori.
So ευπρεπώς 8 288.
εύρυθμος. 42, 117. Rhythmical. Lat. numerosis, moderatius (Cic.
de Orat. iii. 48, 184; ii. 8, 34). The word is used by Aristotle
(Rhet. iii. 8, 7). P, however, gives ένρυθμος or έρρυθμος in S8 42,
II7, 301 ; for the distinction between εύρυθμος and έρρυθμος, cp.
Dionys. Hal. de Comp. Verb. c. II ad fin.
ευσταλής. 14. Well-equipped, trim. Lat. decenter ornatus, suc-
cinctus.
ευτελής. 43, 54, etc. Cheap, mean, paltry. Lat. humilis. Cp.
D. H. p. 193.
ευτραπελία. 177. Wit. Lat. urbanitas. So ευτράπελος, 8 172.
Cp. Αristot. Rhet. ii. 12, 16 και φιλογέλωτες, διό και ευτράπελοι" η γαρ
ευτραπελία πεπαιδευμένη ύβρις εστίν.
ευφημισμός. 281. Euphemism. Lat. vocabullum boni ominis adhi-
bere. This tendency of speech is well described in the same section
by the words: και τα δύσφημα εύφημα ποιών και τα ασεβήματα ευσεβή-
ματα. So Eustathius on Odyss. i. 121 έστι το σχήμα ευφημισμός,
αγαθή κλήσει περιστέλλων το φαύλον, ώσπερ και τας 'Ερινύς Ευμενίδας
διά το εύφημον κατωνόμαζον καίτοι δυσμενείς ούσας.
ευφωνία. 68, 69, 71, 175. Euphony, musical sound. Lat. vocis
dulcedo s. suavitas. So evdwvos, SS 70, 255 (cp. Cic. Or. 24, 80
284
DEMETRIUS ON STYLE
“simplex probatur in propriis usitatisque verbis, quod aut optime sonat
aut rem maxime explanat”). In this sense, eúdwvía is a late word,
occurring in Dionys. Halic., etc. Cp. Quintil. i. 5, 4 “sola est, quae
notari possit velut vocalitas, quae cúpuvía dicitur ; cuius in eo delectus
est, ut inter duo, quae idem significant ac tantundem valent, quod
melius sonet, malis.” On euphony in general, cp. Rehdantz-Blass
Indices, pp. 18, 3, 4, 5; and Earle's English Prose, pp. 309 ff.—In
$ 175, P has eúdnuía, which may sometimes have been used in the
same sense as cúpuvía : cp. Steph. s. v.
eŰxapıs. 157, 160, 163, 164, 173. Graceful, charming. Lat.
lepidus, venustus. In § 168, e4xéplotos is used to describe a man of
wit, taste, and breeding.
¿Dém KELV. 126, 175. To bring in train. Lat. attrahere. In $ 175,
the verb is used with reference to the addition of a final v: cp. the
expression vô béAKUOTLKov.
(wTikós. 81. Full of life. Lat. vitalis. (walkais évepyeſals =
vitalibus actionibus.
movń. 78, 180, 181, 182. Charm. Lat. iucunditas, voluptas.
Fr. charme, agrément, attrait. Cp. rjdús, SS 15, 166, 173, 174; and
D. H. p. 193. The adj. ndùs is used of style in Aristot. Rhet: iii. 12,
6 (quoted on p. 39 supra); but the noun in this application seems
not to be earlier than Philodemus and Dionysius.
ndos. 28 (bis), 171 (bis), 227, 245, 264, 293. Lat. mos, indoles.
See further in 1. vy. p. 200, D. H. p. 193. rolkòs (“moratus') occurs
in § 227 ; nélkūs (in a way true to character,'' naturally ') in SS 216,
297. Cp. Volkmann Rhetorik”, pp. 273 ff., Causeret Etude sur la
langue de la Rhétorique et de la critique littéraire dans Cicéron, p. 98;
Sandys Orator of Cicero, pp. 80, 131.
juluerpov. 1. Hemistich, half-line. Lat. metrum dimidiatum.
nucotixlov is used elsewhere in the same sense. Cp. $ 180.
ripợos. 5, 42. Heroic. Lat. herous. The word is especially
applied to the hexameter line, and to spondaic feet, though it is
elsewhere used of dactyls also as forming part of a hexameter, and
sometimes of anapaests. Cf. Plat. Rep. iii. 400 B; Aristot. Rhet. iii.
8, 4 (with Cope's notes); Cic. Or. 57, 192.; Quintil. ix. 4, 88.-In
§ 204 »pwikòs is found.
rixos. 71, 73, 82, 185. Sound. Lat. sonus. In $ 73 nxos seems to
mean 'breathing,''spiritus’; though the usual term for this is arvella.
GLOSSARY
285
In SS 42, 68, 174, 299 ºxuồns (a late word) occurs, with the meaning
' noisy,' sonorous,'' resonant’: Lat. clamosus, sonorus.
Bavuaouós. 291. Eulogy. Lat. admiratio. The word is late-
Philodemus, Plutarch, Hermogenes, etc. It is curious that a word of
analogous formation, ešetao Mòs (for éétaO1s) occurs in Demosth. de
Cor. $ 16 and nowhere else in classical literature, not being found
again till the time of Plutarch.—In § 165, daqua = Davjaotòv i.e.
ineptum: cp. 7. Üy. iv. 2 Davaotń ye toll Makedóvos ń apòs Tòv ooolo-
The curoptots.
déois. 63, 145. Use, application. Lat. positio, usus.
Dec pnua. 195. Observation. Lat. animadversio. Cp. Bewpía,
7. út. ii. 3, xxxix. I.
· Opařelv. 301. To shatter. Lat. infringere. Used with reference
to the scazon, or choliambus, into which Hipponax converted the
iambic senarius.
außos. 43. An iambus. Lat. iambus. In the same section
Mérpa iaußlkà = iambic lines.
iSlwtiKÓS. 15, 144, 207, 208. Not in accordance with the rules of
art. Lat. vulgaris. The general sense of unprofessional shades off
into the apparently opposite meanings ; (I) untutored, ordinary, com-
monplace ; (2) irregular, unique.
dapós. 128, 132, 134. Genial, pleasant. Lat. hilaris, amoenus.
Cp. Sandys Orator of Cicero, p. 115: “hilariora, ‘more genial' (the
opposite of graviora), and corresponding to the suavitas of the genus
medium whose object is delectare and conciliare. De Or. ii. 236
'ipsa hilaritas benevolentiam conciliat.”” So itapotpaywdía=tragico-
comoedia (Plautus), tragédie-bouffe. Cp. D. H. p. 193.
loówlos. 25. Consisting of equal members. Lat. compar (Auct.
ad Her. iv. 20: cp. Cic. Or. § 38); exaequatus membris (Aquila
Rom., Halm p. 30). The meaning is illustrated (S 25) by a sentence
of Thucydides, in the second part of which r' (rather than te) should
perhaps be read in order to obtain an exact equality of syllables.
Cotopkós. 19. Historical. Lat. historicus. One of the tpia yévn
Trepiódwv-that appropriate to narrative—is thus described.
oxvós. 36, 183, 190, 203, 226, 235, 236. Spare, plain, simple,
unadorned: xapakTÌp lo xvòs being one of the four types of style.
Lat. tenuis (Cic. de Orat. iii. 52, 199), subtilis (Quintil. xii. 10, 58).
286
DEMETRIUS ON STYLE
Fr. simple. The metaphor in ioxvós, as in adpòs (which is sometimes
used as its opposite), was probably that of bodily condition. For the
deceptive ease of the xapartòp lo xvós, cp. Cic. Or. xxiii. 76“nam
orationis subtilitas imitabilis illa quidem videtur esse existimanti, sed
nihil est experienti minus," and the passage of Steele's Guardian
quoted in Sandys' edition ad loc. The de Lysia of Dionysius should
be compared with the chapter on the χαρ. ισχνός in the π. ερμ. The
corresponding noun ισχνότης occurs in SS 14, 223.--αφελής and
åbélela are not found in the T. épu. (cp. p. 268 supra); nor again
are such familiar rhetorical terms as óvos, vyniós, kabapós, avonpos,
avotnpós, ádpós, jeipakloons, méoos ("intermediate' style), moletikos,
ιδέα, γοργότης. Similarly, although κατορθούν and κατόρθωμα occur
in the treatise (SS 122, 123), they do not bear the specifically
rhetorical sense [for which see . . p. 202 and D. H. p. 194].
In fact, the Peripatetic 7. épu. seems to stand far apart from
Dionysius (with his Isocratic traditions) and from Hermogenes.
Kakolnila. 189, 239. Affectation, conceit, mannerism, preciosity:
fond affection,' Puttenham. Lat. cacozelia, mala affectatio (Quintil.
viii. 3, 56). Fr. affectation. The adj. kakótylos is found in SS 186,
239. Dionysius does not, I think, use kakośnlos or kakośnlía; on
the other hand, the π. ερμ. does not use μειρακιώδης. But το κακό-
Endov is found in the r. tv. iii. 4 (see p. 201 ibid., and cp. Hermog.
in Spengel Rhet. Gr. ii. 256-258). yuxpòs occurs in Dionys. Hal.,
7. vy., and 7. ép., which last formulates in § 186 the distinction
between yuxpòs and kakónios. Volkmann (Rhet. p. 541) describes
TÒ Kakóndov as “das manirirte, schwülstige und alberne.” Wila-
mowitz-Moellendorff gives an account of the word in Hermes xxxv.
p. 28.
KAKOTEXvla. 27, 247. Artifice. Lat. nimium atque intempestivum
artis et concinnitatis studium. Germ. Kiinstelei. So KAKOTEXvelv in
SS. 28, 250.
Kakobwyla. 219 (bis), 255. Harshness of sound. Lat. asperitas
soni. Fr. dureté, âpreté (des sons). TÒ Kakóotouov is used with the
same meaning in T. út. xliii. 1, while Dionysius uses both cởotouos
and εύφωνος (though with a different shade of meaning). κακοφωνία
is a late word, Strabo, Galen, etc.—The illustration in § 255 is of
special interest, since attention seems to be called to the scansion
of buv (and possibly also to the neglect of the digamma in the
reconstructed line).—Milton has a good example of designed caco-
GLOSSARY
287
phony in Paradise Lost, Book ii. : "On a sudden open fly, | With
impetuous recoil and jarring sound, | The infernal doors, and on
their hinges grate | Harsh thunder, that the lowest bottom shook | Of
Erebus."
kaldlettńs. 166. Choice in diction. Lat. suaviloquens. It is the
word used of Agathon in Aristoph. Thesm. 49. Cp. D. H. p. 193,
with the passages there quoted.
kádlos. 106, 166, 173, 232, 252, 274. Beauty (of language).
Lat. pulchritudo. Cp. Aristot. Rhet. iii. 2, 13.—The verb kallw-
Trifelv occurs in $ 165, and the adj. kalòs in SS 166, 173, etc.
kapotú. 10, 17 (bis). Bend, rounding. Lat. flexio, rotunditas.
kaváv. 87, 91. Rule, standard. Lat. norma, regula.
Katakepparlſelv. 76. To cut up, to fritter away. Lat. concidere
Cp. exx. quoted in π. ύψ. p. 20Ι. κερματίζειν and κατακόπτειν are
found in § 4, where the meaning is (as Ernesti gives it) “oratio
concisa, membris minutis et veluti frustulatim adspersis constans.”
katakopńs. 303. Satiating, wearisome. Lat. satietatis plenus.
A favourite word with writers on rhetoric: e.g. Aristot. Rhet. iii. 3, 3,
Dionys. Halic. de adm. vi dic. in Dem. C. 45, 7. út. xxii. 3.
katalnKTIKOS. 38, 39. Final. Lat. terminalis. This late word
is elsewhere used, by writers on metre, of a verse which has its last
foot incomplete. Here it must have the same sense as inktikos or
TELKós, viz. ‘forming the conclusion.' So katalnyelv in SS 4, 154,
and karádn&is (“termination') in § 19.
kataouikpúvely. 44, 123. To diminish, to belittle. Lat. conterere.
Late,-LXX., M. Aurel. Ant., Lucian, Athenaeus, etc.
Kateotpappévos. 12, 21. Cómpacted, close-knit. Lat. contortus,
vinctus. Fr. ramassé, arrondi. The distinction between the lÉÉLS
Kateotpaupévn and the léis cipouévn is explained in Aristot. Rhet. iii.
9. The former denotes a periodic style (the olov in 7. epu. S 12
being virtually = 'to wit’), the latter a loose or running style.
Keklaouévos. 189. Broken, effeminate. Lat. fractus, mollis. Cp.
T. út. xli. I çubuós keklaouévos lóywv kai recoßnuévos. . .
KLVSuvens. 80 (bis), 85 (bis), 127. Hazardous, risky. Lat. peri-
culosus. Cp. the use of periclitantia' in Quintil. xi. I, 32 : “in
iuvenibus etiam uberiora paulo et paene periclitantia feruntur.” The
word is, for the most part, late-Polybius, Cicero, Galen (after
Hippocr.), etc. επικίνδυνος is nmore usual in earlier writers, or παρα-
288
DEMETRIUS ON STYLE
κεκινδυνευμένος (Aristoph., Dionys. Hal.). κινδυνώδης and επισφαλής
have counterparts in åkívduvos and åopulns, both of which occur in
the treatise.—In $ 40 Kivduveúelv occurs in its specifically Attic sense.
klavoiyelws. 28. Sorry laughter. Lat. fletus cum risu. Fr. un
rire mêlé de larmes. E. Müller (Theorie der Kunst bei den Alten,
ii. 241) translates klavolyélwra by "das weinerliche Lächeln," and
speaks of it as “eine Mischung von Lachen und Weinen, die aber
freilich von Homers sakpvóev yelâv himmelweit entfernt ist.” Cp.
Xen. Helle. vi. 2, 9 Tivias se Tos Tapovias more Y Tộ ổyTu Khalot-
yelws ciyev, and Pollux Onomast. ii. 64. The reference later in this
section to 'fun at a funeral' helps to fix the meaning of klavoi-
yelws.
KMÉTTELV. 118, 182, 239 (bis). To disguise, to hide. Lat. occul-
tare. Cp. Aristot. Rhet. iii. 2, 5, Dionys. Hal. de Comp. Verb. C. 19,
de adm. vi dic. in Dem. C. 2.
klimat. 270. Ladder, climax: (“marching, or climbing, figure,'
Puttenham). Lat. gradatio (Cic. de Orat. iii. 54; Quintil. ix. 3,
54). Fr. gradation. Well illustrated, in the same section, from
Demosth. de Cor. 179: an illustration which brings out the elaboration
with which the ancient climax' was usually constructed. Rehdantz-
Blass refer to : Joel i. 4, Epistle to the Romans X. 13, Shakespeare's
As You Like It v. 2. Cp. p. 255 supra.
Koivós. 157, 164, 186, 232. Ordinary, current. Lat. communis.
Cp. D. H. pp. 194, 195.
Kópa. 9, 10, 205, 238, 241. Short clause, phrase. Lat. incisum
(Cic. Or. 62, 211; Quintil. ix, 4, 122). Fr. incise. With the defini-
tion given in § 9, cp. Spengel Rhet. Gr. iii. 28 kómua 8 oti rò
Trepiódov kai kódov člattov, and Walz Rhet. Gr. vii. 25 kóuja spáors
Bpaxú ti vonua ězovoa. (Perhaps the English (phrase' will serve as
an approximate rendering. Cp. Earle Grammar of English Now in
Use, p. 6: “For not only single words, but also groups of words are
capable of being parts of speech; and when they are so, we call
them phrases. And such phrases may sometimes be broken by the
insertion of other parts of speech, e.g. 'will very commonly be
found, where will be found is a phrase.")
kopyseia. 36. Daintiness. Lat. elegantia. The word occurs in
Plato Phaedr. 101 C, and may be regarded as specifically Attic. Cp.
D. H. p. 195 S. V. Kouyós, and see the passage of M. Aurel. Ant. iii. 5
quoted on p. 19, n. I supra.
GLOSSARY
289
kóguos. 106, 109, 164, 165. Adornment. Lat. ornatus, orna-
mentum.
kpeuvâv. 216. To keep in suspense. Lat. suspensum tenere. Used
with reference to the art of Ctesias.
KUKALKÓS. 30. Circular. Lat. rotundus (Cic. Brut. 78, 272).
Cp. KUKHOELðńs, $ 11 (together with n. on p. 214); and kúkdos in
SS 30, 31 (cp. Cic. Or. 62, 207 “ut tamquam in orbe inclusa currat
oratio”).
KUVIKÓS. 170, 259, 271. Belonging to the Cynics. Lat. Cynicus.
KuvikÒS Tpóros =“methodus iocandi Cynica, quae acerbas morda-
cesque facetias habet” (Ernesti).
Kúplos. 77, 82 (ter), 86, 87 (bis), 190, 192. Accredited, regular,
current. Lat. proprius. Fr. propre. In SS 82, 86, 87 the meaning
is 'literal, as distinguished from metaphorical. Cp. D. H. p. 195,
TT. VV. p. 202 (s. V. Kupcología).
Kwlov. 1, 2, 3, 10, 12 (bis), 13, 22, 34, et passim. Member.
Lat. membrum. Fr. membre de phrase. A subdivision of the period :
defined in § 34. Hermogenes (Speng. Rhet. Gr. ii. 241) describes
the κωλον as a completed sense' (απηρτισμένη διάνοια). Quintilian,
ix. 4, 122 ff., distinguishes carefully between the incisum (kólpa),
membrum (@lov), and circuitus (trepíodos). In 7. épu. § 2 the writer
is at pains to state that he means to use kūlov of a logical division,
and not of a mere pause for breath. See also Sandys Or. p. 222.
kwuwdla. 169, 204, 259, 286. Comedy. Lat. comoedia. In $ 204
the allusion to ri kwlwdía ni véa seems indicative of late date. The
adj. Kaulròs occurs in § 128, and kwuwdukòs in SS 143, 159. For
Kwuwdeîv (SS 150, 177) and KouwdoTOLÒS (S 126), see notes on pp. 238,
234 supra.
kwbós. 68. Dumb. Lat. mutus. By cúvocols kwoň årexvws is meant
“prorsus muta oratio, i.e. quae nullos numeros habet” (Goeller) :
cp. άμουσοτέρα in the same context.
lapßávelv. 43, 49, 57, 83, et passim. To employ. Lat. adhibere.
leios. 48, 68, 176 (bis), 178. Smooth. Lat. levis. In § 48 tò
delov kai sualès tñs ouvő égews = levis et aequabilis compositio. So
decórns in SS 48, 258, 299, 300. Compare decórns óvouátwv in Diony-
sius (de Imit. ii. 2) with levitas verborum in Quintilian (Inst. Or. X.
1, 52), the reference in both cases being to Hesiod.
I
R.
19
290
DEMETRIUS ON STYLE
létus. 21, 22, 38, et passim. Style. Lat. elocutio. Sometimes
(SS 88, 145, 184) found in the plural for 'expressions,' locutiones ; some-
times also (S 142), when used in the singular, it refers specially to
diction, or choice of words. See s. v. èpunvela, p. 282 supra, for
various references.
ditós. 77. Simple, unpretending. Lat. simplex. A conjecture
of Spengel's : rendered improbable perhaps by two facts, (1) the
form detòs is found in inscriptions, but occurs rarely or never in
written documents; (2) the t. epu. elsewhere avoids diròs in the
same way as it avoids åpers (for which last cp. p. 268 supra).
loyikós. 1, 41, 42 (bis), 117. Suited to prose. Lat. aptus orationi
solutae. The word is late in this sense,–Dionys. Hal., Diog. Laert.,
etc. melòs is found with the same meaning in § 90; and LektikÒS is
similarly used by Aristotle. In § 41 loyikós, as distinguished from
Meyalotpetńs, is almost = 'colloquial': cp. dektiiņs åpuovías ='col.
loquial intonation' (Aristot. Poet. 4, 19; Rhet. iii. 8, 4).
lóylos. 38. Eloquent. Lat. facundus. With the words of the
π. ερμ. (άρξομαι δε από του μεγαλοπρεπούς, όνπερ νυν λόγιον ονομά-
Govolv) should be compared the statement of Phrynichus (p. 198
Lob.) that lóylos was a popular expression applied to a good speaker
of the elevated type (lóylos. ws oi rolloi léyovou étè toll Selvoll
ειπείν και υψηλού ου τιθέασιν οι αρχαίοι, αλλ' επί του τα εν εκάστω έθνει
επιχώρια εξηγουμένου εμπείρως, i.e. a learned chronicler of national
history). As bearing on the date of the treatise, it is noteworthy
that Phrynichus, who belonged to the age of the Antonines, men-
tions the identification of lóylos with uniós (i.e. Meya ompeń).
This identification is perhaps foreshadowed by a somewhat earlier
author, Plutarch, who uses the corresponding noun doylórns in de
Glor. Athen. C. 5, 7 EvotTaboo robúa Kai » Sobookéoes koyuurms Kai Tò
A logólov otópa, where the qualities attributed to the three tragedians
respectively seem to be subtlety, elevation, and full-mouthed utter-
ance. Strabo, a still earlier writer, has (Geogr. xiii. 2) änavras jev
γάρ λογίους εποίησε τους μαθητάς 'Αριστοτέλης, λογιώτατον δε Θεό-
Apartov. Plutarch (Cic. C. 49) reports a saying of Augustus with
reference to Cicero : AóYLos dep, ô mai, cóYLos Kai bắómarpus.
Sóyos. 4, 32, 37, 41, et passim. Discourse. Lat. oratio. Often
in the plural, with perhaps a special reference to 'speeches.' In
$ 92 lóyos, as opposed to ovoua, means the definition, or description,
of a term as distinguished from the term itself : cp. Aristot. Rhet. iii.
GLOSSARY
291
6, 1. In $ 78 (8.búpaußov avrà lóyov) dóyos = ? prose': cp. Aristot.
Rhet. iii. 2, 7 (και εν ποιήσει και έν λόγοις). See further in π. ύψ.
p. 203, D. H. p. 196.
lúols. 63, 70, 192 (bis), 193, 194 (bis). Separation. Lat. disso-
lutio. The word is especially applied to asyndeton ('loose language,'
Puttenham), or absence of connecting particles : cp. Aristot. Rhet.
iii. 12, 4. See Abbott and Matheson's edition, Pt. i. p. xxxi. and
Pt ii. p. 121, for instances of asyndeton in Demosth. de Cor. The
figure tends not only to force but sometimes to obscurity, as in
Demosth. de Cor. 94 (Sófav cúvolav, if that be the right reading)
and in the poetry of Robert Browning.–The term dúois is also
used of hiatus (S 70). The corresponding verb lúelv will be found
in SS 92, 193, 194, 229, 247.
pakpnyopelv. 222, 242. To be prolix. Lat. prolixe dicere. So
Marpoloyia and Marpolóyos in $ 7.
pakpós. 38, 41, 72, etc. Long. Lat. longus. In g 86 Makpov
øýropa = a ‘long' speaker. In § 40 the noun Makpórns is used.
uáxn. 30. Opposition. Lat. pugna. The following passages
will illustrate the meaning: Aristot. Rhet. ii. 22 čoti dè tò uèv
δεικτικόν ενθύμημα το εξ ομολογουμένων συνάγειν, το δε ελεγκτικών τα
dvouoloyoúueva ovváyelv: Apsines (Speng. Rhet. Gr. i. 376) mâv
évbúunua yívetab...) èš škodoúdov ovlloycotiKÔS ñ ék máxns: Epict.
Enchir. 52 Tí yáp éotiv ÅTÓSELÉis ; tí d kolovdía; tí páxin; tí alndés;
Tí teudos; Cic. Top. 14, 56 “illa ex repugnantibus sententiis
communis conclusio, quae...a rhetoribus évbúunua nuncupatur”:
Quintil. Inst. Or. v. 10, I, 2 “nam enthymema (quod nos com-
mentum sane aut commentationem interpretemur, quia aliter non pos-
sumus, Graeco melius usuri) unum intellectum habet, quo omnia mente
concepta significat (sed nunc non de eo loquimur), alterum, quo
sententiam cum ratione, tertium, quo certam quandam argumenti
conclusionem vel ex consequentibus vel ex repugnantibus : quam-
quam de hoc parum convenit. sunt enim, qui illud prius epichirema
dicant, pluresque invenias in ea opinione, ut id demum, quod pugna
constat, enthymema accipi velint, et ideo illud Cornificius contrarium
appellat. Hunc alii rhetoricum syllogismum, alii imperfectum syllogis-
mum vocaverunt, quia nec distinctis nec totidem partibus conclude-
retur: quod sane non utique ab oratore desideratur.” Possibly the
original expression was ενθύμημα εκ μαχομένων (“a reasoning from
contraries or contradictories," Hamilton; e.g. “hunc metuere? alte-
Il
19-2
292
DEMETRIUS ON STYLE
rum in metu non ponere?” Cic. Top. 13, 55); and this was abbre-
viated into ενθύμημα εκ μάχης. μάχη is a late word, in this sense.
Cp. Cope's Introduction to Aristotle's Rhetoric, pp. 99 ff.
ueyalîos. 14, 39, 56, etc. Impressive, stately. Lat. amplus,
magnificus. For μεγαλειόν τι in 8 56 Gregorius has μεγαλειότητα.
Meyad nyopla. 29. Lofty utterance. Lat. ampla dictio. Cp. t. iv.
XV. 1, xvi. I, viii. 4 (ueyańyopos).
Meya otpettńs. 18, 36, 37, 39, et passim. Grand, elevated. Lat.
magnificus. Fr. magnifique. Elevated is the most generally conve-
nient rendering for jeyadompetns, especially as it has a corresponding
noun and verb. But grand, stately, lofty, impressive, dignified will
also sometimes serve. Aristotle discusses the application of the
term to style in Rhet. iii. 12, 6 (quoted in Introduction, p. 39 supra).
The noun jeyalompétela occurs in . épp. SS 37, 45, 48, et passim.
μεγαλοπρέπεια and μεγαλοπρεπής are often used side by side with
üyos and iyndòs (neither of which words are found in this treatise) :
e. g. Dionys. Hal. de Thucyd. c. 23 uvos léyw kai kaldepnuogúvnv kai
oeuvoloyſav kai veya otpételav, Ep. ad Pomp. C. 2 tñs üvndñs kai
μεγαλοπρεπούς και παρακεκινδυνευμένης φράσεως εφιέμενον Πλάτωνα,
de Lys. C. 13 ©nhà sẽ cai uehalosp€Ths oỦK &aTuv n Augíoo Aers.
Coloured may sometimes serve as a rendering of Meyado peňs (cp.
John Knox, “God knows I did use no rhetoric nor coloured speech,"
as quoted in R. L. Stevenson's Men and Books, p. 378); or better
still, heightened (cp. Raleigh's Milton, p. 235 “both names, “Italy'
and “Vulcan,' are heightened and improved :—'In Ausonian land |
Men called him Mulciber?"). Milton is, of course, an excellent
example of the yapaktne ueyaompens in English verse, and Gibbon
in English prose.—The passage quoted from the De Vulgari Elo-
quentia in Norden's Kunstprosa ii. 753 exhibits clearly the attitude of
Dante towards the “gradus constructionis excellentissimus” and the
“ vocabula nobilissima."
Meyado pooúvn. 298. Greatness of soul, elevation of thought. Lat.
animi sublimitas. Cp. . . p. 203. It is the word used in the
well-known phrase of the 7. út. ix. 2, útos ueyado pooúvns árnxnua.
uéyedos. 5 (bis), 36, 44, et passim. Grandeur, elevation. Lat.
magnitudo, sublimitas. Fr. ampleur. The word is often found in the
T. ., which also has the verb peye otrocelv, of similar meaning to
vyow and the opposite of pekpotoleîv. Cp. Méyas in $ 278; meyálws in
SS 75, 120; ueiſov in $S 92, 103 ; Méylotov in $ 40. The meaning in
GLOSSARY
293
the last clause of $ 40 seems to be that, while Thucydides is always
stately, it is his cúvocols which produces his greatest stateliness.
jedapuótcodau. 184. To change the structure, or harmony, of a
sentence. Lat. structuram mutare. The uncompounded verb ápuó-
Selv is used in the same section.
pédos. 71. Music, melody. Lat. cantus. For ué coua in $ 74,
see n. on p. 225 supra.
Metaßorń. 148. Withdrawal, self-correction, recantation. Lat.
consilii mutatio. Cp. Metaßádlouae in SS 148, 149.-For the meaning
'variety of style,' see D. H. p. 196, 1. vy. p. 203.
perábeis. 112. Transference. Lat. transpositio.
Metappudulfelv. 297. To change the form, to remodel. Lat. refor-
mare. Other interesting compounds with metá, denoting change, are
Metalanſávelv § 80, jetavocîv § 148, MetaTOLEîv § 281.
MetaouyTibévau. 11, 59, 185, 249. To change the arrangement (of
a sentence). Lat. mutato ordine componere. A än, eip., in the sense
that it does not occur elsewhere than in the 7. épu.
Metabopá. 78, 80 (ter), 81, et passim. Transference, metaphor :
the figure of transport,' Puttenham. Lat. translatio. See references
on p. 226. The corresponding verb MetaDépeiv in SS 78, 84, 86, 87,
190, 272.
Métpor. 1, 35, 42, et passim. Measure, metre. Lat. metrum. In
84 καταλήγοντος του μέτρου may be translated when the line (μέτρον =
orixos) terminates. The adj. MetplkÒs is found in 8 182, and jetpoeldns
(a än, cip.) in SS 181, 182: for which two sections Ernesti’s Lex.
Techn. Graec. Rhet. p. 141 (s. V. ejuelns) should be consulted.
uñkos. 44, 72, etc. Length. Lat. longitudo. unkúvelv, “to en-
large,' in SS 71, 137.
unxavý. 232. Machine. Lat. machina. The reference seems
to be to the 'deus ex machina.' Cp. p. 250 supra.
Mekpoloyelv. 56. To be trivial. Lat. de pusillis rebus loqui. The
middle Mikpoloyciola is more common, but the act is used by
Dionys. Hal., de adm. vi dic. in Dem. C. 21.
ULKPOTPETTÝs. 53, 60, 84, 103. Petty, trivial. Lat. tenuis, pusillus.
The opposite of Meya opeTÝs. So ulkpompétrela, § 82.
ulkpórns. 4, 6, 36, 84. Littleness, meanness. Lat. parvitas, exili-
tas. Cp. T. . xliii. 1 delvn 8 aioxüvai tà neyéon kai ni ulkpórns TW
ονομάτων. So μικρός in 88 54, 61, 75, etc.
294
DEMETRIUS ON STYLE
piktós. 41, 61, 286. Mixed, compounded. Lat. mixtus.
Milunois. 94, 112, 176, 220, 226. Imitation. Lat. imitatio. It
will be seen that in § 112 only is there any approach to a doctrine of
'imitation. Mlueiolai occurs in SS 24, 72, etc. ; Muntikòs in SS 226,
298.
Milelkós. 151. Suited for mimes. Lat. aptus mimis. The noun
Miuos does not occur in the T. épp., Sophron's mimes being described
as dpápata $ 156.
Movókwlos. 17. Consisting of a single member. Lat. unius mem-
bri (periodus). Cp. Aristot. Rhet. iii. 9, 6. .
povodúllaßos. 7. Monosyllabic, curt. Lat. unius syllabae (domi-
nus).
MoVolkós. 69, 86, 176, 183, 185. Musical, accomplished. Lat.
musicus, scitus. In § 86 MoVolkos might be translated 'deftly. So
Mowga, 'harmony,' in $ 71.
uvypós. 57. Moaning. Lat. gemitus.
podos. 76, 157. Legend. Lat. fabula. So uvd evely to fable,
in § 189.
vouderikós. 298. Admonitory, didactic. Lat. monitorius. Voude-
Telv occurs in § 292.
Eévos. 95, 139. Foreign, strange. Lat. peregrinus, inusitatus.
Cp. D. H. p. 197. Sometimes "distinguished,' or 'bizarre,' will
serve as a rendering of Eévos. For the use of uncommon words by
the tragic poets, see Aristot. Poet. xxii. 14, 15.
Enpokakolnila. 239. Tasteless aridity. Lat. arida affectatio. The
term, which is said to be modern, is explained in the section in
which it is used. It does not occur elsewhere in Greek literature.
Enpós. 4, 236, 237, 238. Arid. Lat. aridus, siccus, ieiunus.
Fr. sec. Other English renderings might be: "dry,' 'bloodless,
sapless,' 'lifeless,' “bald,’ ‘jejune.' Cp. t. yy. iii. 3, Quintil. ii. 4, 3.
Öykos. 36, 54, 66, 77, 83, 114, 119, 120, 247. Pomp, dignity.
Lat. tumor, amplitudo. Fr. enflure, grandeur. The word oscillates
between the favourable and the unfavourable sense, as will be seen
from the instances in this treatise. The unfavourable meaning may
be illustrated from 7. Ú4. iii. 4 kako dè öykou kai éni owuátwv kai
λόγων, οι χαυνοι και αναλήθεις και μήποτε περιστάντες ημάς εις
Toủvavríov oŮdèv yap paol Énpótepov Údpwmikoû; the favourable from
GLOSSARY
295
Chrysostom de Sacerdot. iv. 6 éyù dè ei uÈ TÌv decórnta 'Iookpátous
απήσουν και τον Δημοσθένους όγκον και την Θουκυδίδου σεμνότητα και το
Πλάτωνος ύψος, έδει φέρειν είς μέσον ταύτην του Παύλου την μαρτυρίαν.
(kóros is the word Chrysostom uses for the unfavourable meaning :
είπε γάρ μοι, ποία κόμπω λόγου Παύλος έλεγεν και άλλ' όμως την οικου-
Lévv #TéơmpeLev. Top 8 IITpos 6 dYoáuaTos; Hom. 3 in Ep. 2
ad Thessal. c. 2.) For Aristotle's use of the word, see Rhet. iii. 6
and also E. Arieth's article (in Wiener Studien, 1900, 1. pp. 11—17),
Die Bedeutung von öykos bei Aristoteles (Eth. Nic. x. 7).—The adj.
öyknpòs occurs in 7. epu. SS 105, 176, 177, 207; öykuons in § 228;
Ümépoykos in SS 116, 221. In other authors the verbs oykoûv and
dLoykoûv are sometimes found.—Cp. D. H. p. 198.
ouanńs. 48, 295. Level, even. Lat. aequabilis.
SuoLoté euros. 26, 268. Having similar terminations. Lat. similiter
desinens. Cp. Cic. Or. 135 “aut cum similiter vel cadunt verba
vel desinunt” (i.e. ŠMOLÓTTWTOV and ououoTÉ Evrov), and Auct. ad Her.
iv. 20 “similiter desinens est, cum, tametsi casus non insunt in verbis,
tamen similes exitus sunt, hoc pacto: turpiter audes facere, nequiter
studes dicere; vivis invidiose, delinquis studiose, loqueris odiose.”
Of such artificial figures the author of the 7. épu. rightly says: ořte
δητα εν δεινότητι χρήσιμα τα τοιαύτα, ως έδειξα, ούτε εν πάθεσι και
Boeoiv. Demosthenes avoids homoeoteleuton, whereas Isocrates and
his disciples (e.g. Theopompus) use it freely. For ouocoté evrov in
relation to mapouolwors, see D. H. p. 199. Cp. Aristot. Rhet. iii. 9, 9.
ővoua. 23, 49, et passim. Word. Lat. verbum. In the T. &pu.
it seems never to be used with the special sense of 'noun.' Cp.
D. H. p. 198, and s. v. ápOpov p. 269 supra.--In SS 91, 304 óvouagia
=“naming,' appellatio’; i.e. the application of words to things.
óvojatoupyelv. 95. To form words. Lat. verba fingere. The
same meaning as óvomatotroceîv, which does not occur in the treatise.
õpbós. 201. Nominative. Lat. rectus. Two is óptr) = casus rectus.
The case-terminology of the 7. épu. is more developed than that of
Aristotle : cp. aitlatekn) in this section, evdcia and Taylórns in § 198,
TÒ Tháylov in $ 104. See also s.v. TTWOLS P. 300 infra.
málos. 28 (quater), 57, 94, 214. Emotion, passion. Lat. affectus
(Quintil. vi. 2, 8), animi motus (Cic. de Or. i. 5, 17), perturbatio
(id. Tusc. iv. 5, 10).-Cp. the adv. taðntikos in § 57.
296
DEMETRIUS ON STYLE
Talyviov. 120, 143. Fun. Lat. lusus. The reference is to quips:
cp. Taiſelv § 120, Tracyvía $ 171, Traidià § 259.
malw. 38, 39, 43. A paeon. Lat. paeon. Alike in Greek and
in Latin the two forms malwv and macáv, paeon and paean, are used
for this metrical foot.-- The bearing of the author's conception of
the paeon upon the date of the T. épp. is excellently discussed in
Dahl's dissertation entitled “Demetrius nepì èpunveías,” pp. 99—101.
-The adj. TALWVIKÒS occurs in SS 38, 41, 43.
Trapaßolý. 89 (bis), 146 (bis), 147, 209, 274. Image, imagery.
Lat. collatio. Cp. Quintil. v. II, 23 “nam Tapaßolň, quam Cicero
collationem vocat, longius res quae comparentur repetere solet.”
mapádelyua. 182, 194, etc. Instance, example. Lat. exemplum.
(Not used, as in Aristot. Rhet., of a rhetorical induction.)
Tapadóeo dau. 181. To steal upon. Lat. irrepere. Of a pleasing
literary sensation.
tapalapßávelv. 57, 72, etc. To introduce, to employ. Lat.
assumere, adhibere.
trapáleyrs. 263. Praetermission. Lat. praeteritio. Fr. prétérition.
The frequent occurrence of the verb zapaleitelv in Demosth. de Cor.
is enough to justify the recognition of this 'figure. Cp. Epist. to
the Hebrews xi. 32.
trapáčvoua. 55. Addition. Lat. appendix. The word is år. eip.:
the metaphor is possibly that of a dint, or nail-mark, on a piece
of statuary
maparrampwuarikós. 55. Expletive. Lat. expletivus. Fr. explétive.
The adj., like the noun tapanlýpwua, is late. Cp. Dionys. Hal.
de adm. vi dic. in Dem. C. 19 tollà Tolahrá coti mapaninpusuara
καθ' εκάστην ολίγου δείν περίοδον ουκ αναγκαίαν έχοντα χώραν, και ποιεί
Triv èpunvelav åretpotépav, triv dè neplodov Kouyotépav: id. ib. c. 39
Tapaninpouata tûv óvojátwv oºk åvaykala = Cic. Or. “inculcata
inania quaedam verba quasi complementa numerorum."
tapatroleîv. 98. To counterfeit. Lat. imitari, simulare. In a
slightly different sense, Aristot. Rhet. iii. II, 6.
Trapáo nuos. 208. Stamped awry, eccentric. Lat. perperam sig-
natus.
Tapaowtâv. 62. To pass over in silence. Lat. silere. Fr. passer
sous silence. Quintilian ix. 3, 99 mentions a figure of trapaournois.
GLOSSARY
297
Trapatexvoloyeîv. 178. To introduce irrelevantly in a treatise.
Lat. praeter institutum proferre.
TAPÉAKELV. 58. To be superfluous. Lat. abundare. The intransi-
tive use of tapékelv, in the sense “is dragged in,' is late,-Arrian,
Sext. Empir., Clem. Alex., etc. Diog. Laert. (vii. 195), however,
gives as the title of a work of Chrysippus : Περί των παρελκόντων
Hal. de Thucyd. c. 19 WOTE rà moltà éktīva kai kataßintià Toll
Meyédous tñs ‘Elládos oủk åvaykaíws atrợ tapélkeolau. For examples,
in the Ravenna scholia, of both mapékkel and tapéketal with the
meaning ‘is redundant,' see Rutherford, Scholia Aristophanica ii. 579.
Trapeupalvely. 67. To give a passing impression. Lat. obiter
indicare. Cp. Dionys. Hal. de Comp. Verb. c. 6 molas mapeupaívovta
διαφοράς χρόνων.
Trapóuotos. 25 (ter), 28, 29, 247. Similar. Lat. assimilis. The
reference is to the figure tapojotwors (“like letter,' Puttenham), for
which see the references in D. H. pp. 199, 200: and add Volkmann
op. cit. pp. 479, 482, 514, Norden op. cit. I. 59, Cic. Orat. SS 38, 175.
Trapovopáfelv. 97. To modify a word. Lat. verbum leviter com-
mutare. The reference is to the derivation of a new form from an
existing word (cp. Strab. Geogr. xi. 518 tà pè kalvà čegav, tà Sè
παρωνόμασαν), and not to the usual technical sense of παρονομασία,
for which see D. H. p. 200.
Tefós. 90, 93, 167. In prose, prosaic. Lat. pedester. Lóyos
Tregós, or lóyou neCoin = oratio pedestris. Cp. D. H. p. 200.
TETTOLMUévos. 94, 98, 144, 191, 220. Invented, newly-coined. Lat.
factus, novatus (Cic. de Orat. iii. 38, 154; i. 34, 155). On the
general question of ovomatofolia, or the formation of new words
(especially in imitation of natural sounds), see Quintil. i. 5, 71,
clearly indicated : “ usitatis (sc. verbis) tutius utimur, nova non sine
quodam periculo fingimus. nam si recepta sunt, modicam laudem
afferunt orationi; si repudiata, etiam in iocos exeunt. audendum
tamen; namque, ut Cicero ait, etiam quae primo dura visa sunt,
usu molliuntur. sed minime nobis concessa est óvouatorocía : quis
enim ferat, si quid simile illis merito laudatis líyše Biós et oiſe
opbaluós fingere audeamus ? iam ne balare quidem aut hinnire
fortiter diceremus, nisi iudicio vetustatis niterentur”: so viii. 6, 31,
298
DEMETRIUS ON STYLE
32 ibid. It was a principle of Julius Caesar “tamquam scopulum
fugere inauditum atque insolens verbum” (Aul. Gell. i. x. : see
p. 260 supra). For the Latin language, as later for the French,
this fastidious avoidance of novel terms was not altogether an
advantage. Cp. D. H. p. 200.
Tépas. 3. Limit. Lat. finis. Cp. Aristot. Rhet. iii. 8, 2, to-
gether with Cope's Introduction p. 303. In § 2 Tepeypapry is used.
Treplaywyń19, 45 (bis), 202, 244. A rounding. Lat. circum-
actio, circumductus, rotunditas periodica, orationis ambitus. With ék
Treplaywyộis in § 45.cp. Anon. T. oxnuárwv (Sp. Rh. Gr. iii. p. 114)
ως εκ περιαγωγής συντεθειμένος (συντιθέναι here = τη συνθέσει λέγειν
in § 45); and with telpāobai kth. in § 202 cp. Quintil. viii. 2, 22
“nobis prima sit virtus perspicuitas, propria verba, rectus ordo, non
in longum dilata conclusio.” The use is late, as is that of tepláyelv
in SS 19, 30.
TEPLEEG Hévos. 14. Polished. Lat. politus. Cp. äeotos as used
by Soph. Oed. Col. 19, and by Schol. ad Aristoph. Ran. 86.
Teplépyws. 122. Like an exquisite. Lat. delicate, eleganter. Cp.
Plut. Moral. 693 B ai yuvaikes AUKOÚMevat kai uzpicópeval kai xpuoòv
popowoai kai toppúpav nepiepyou dokowow. In § 122 Teplépyws seems
to be used in the same sense as the rhetorical and post-classical
Treplepyía, i.e. “over-labour; otherwise called the curious' (Puttenham:
cp. D. H. p. 201). Cp. Quintil. viii. 3, 55 "est etiam, quae replepyía
vocatur, supervacua, ut sic dixerim, operositas, ut a diligenti curiosus
et a religione superstitio distat.”
neplodos. 10, 11, et passim. Period. Lat. periodus, verborum
ambitus, etc. On the general question of the period, cp. 7. őt.
p. 205, D. H. p. 201, Volkmann Rhet. pp. 507 ff., Cope's Intro-
duction pp. 306 ff., Hammer Dem. T. épu. pp. 8—13, Norden,
Kunstprosa I. p. 42 n. 2. Various Latin equivalents will be found
in Quintil. ix. 4, SS 22, 124 ; Cic. Or. 61, $ 204; Causeret Langue
de la Rhét. dans Cicéron pp. 135, 136.-—The verb teplodetelv occurs
in SS 11, 229; the adj. teplodikos in SS 13, 16, 33.
TIepitatntikol. 181. Peripatetics. Lat. Peripatetici. It is an
indication of late date that Aristotle and his followers should be
spoken of thus collectively: cp. Introduction p. 53.
TEPLOCOTEXvla. 247. Unnecessary elaboration. Lat. studium inane,
nimium ornandi studium. The word is found only here. —The adj.
TEPLTTòs in SS 77, 221: cp. D. H. p. 201.
GLOSSARY
299
Tridavórns. 208, 221. Persuasiveness. Lat. probabilitas, veri-
similitudo.—The adj. Tidavòs in SS 208, 221, 222.
Trikpws. 177. Pungently. Lat. amare. Cp. D. H. p. 201
S.V. Tikpós ( = Fr. caustique).
Ttláy.os. 104, 198. Oblique. Lat. obliquus. Used with special
reference to the casus obliqui, as opposed to the 'casus rectus.'
So mayórns, $ 198.
opcois, 158. Invention. Lat. fictio. So mpoonido relv in the
same section. Cp. Tlogelv § 296, it doua SS 177, 298.
mlátos. 177. Breadth. Lat. latitudo. So mlatùs and flatúrns
in the same section : cp. Theocr. xv. 88, quoted on p. 242 supra.
Ernesti (Lex. Techn. Gr. Rh. pp. 270, 271) has a good article on the
various meanings of πλατύτης : and similarly on πλάσμα (pp. 268,
269 ibid.).
Tadeováčelv. 80. To be expanded. Lat. amplificari. Used of a
metaphor when expanded into a simile.
TOINTIKOS. 70, 89, etc. Poetical. Lat. poeticus. In $ 249 the
word = 'efficient': cp. D. H. p. 202.—Toimous and moinua also occur
frequently in the 7. ép., and the difference between them is well
illustrated by SS 166, 167. Cp. denynua, p. 275 supra.
TOLKIMía. 73, 92. Variety, decoration. Lat. varietas. So tolkídos
§ 267, and (in an illustration) TOLKÍMIEL § 164. Cp. D. H. p. 202.
Trolunxla. 73. Variety of sound. Lat. plurium vocalium sonus.
The word is απ. ειρ.
Tolúkwlos. 252. With many members: of a period. Lat.
multorum membrorum.
Tróppwley. 78. From a distance. Lat. e longinquo. Used of
far-fetched metaphors— metaphorae e longinquo petitae, longe
translatae.'
Topâyua. 11, 22, etc. Subject-matter (usually in the plural).
Lat. res. Cp. apayuatikos D. H. p. 203, 7. . p. 206.
mpņos. 269, 293, 295. Mild, tame. Lat. mitis.
TPETTÓVTWS. 11, 276. Appropriately. Lat. decenter. Cp. mpérELV,
SS 6, 72, 120, etc.
Trpoalpeois. 168. Purpose. Lat. consilium. Cp. tpoalpeolau in
the same section.
300
DEMETRIUS ON STYLE
Trpokatapktikos. 38, 39. Initial. Lat. initialis, principalis.
Late-Plutarch, etc.
mpóloyos. 153. Prologue : that part of a play which precedes
the first chorus (Aristot. Poet. xii. 4). Lat. prologus.
mpoolplov. 32. Opening, introduction. Lat. exordium.
Trpoolokia. 152, 153. Expectation. Lat. exspectatio. The
reference is to σκώμματα παρά προσδοκίαν (“notissimum ridiculi
genus,” Cic. de Or. ii. 63, 255: in allusion to the “iocus praeter
exspectationem.” Co. Quintil. viii. 5, 15, and Tiber. q. Oxu.
Sp. iii. 66). A good Greek example will be found in Aristot. Rhet.
iii. II, 6, and in English we have such instances as “Than that
all-softening, overpowering knell, The tocsin of the soul—the
dinner-bell” (Byron, Don Juan v); “Here thou, great Anna, whom
three realms obey, Dost sometimes counsel take-and sometimes
tea” (Pope, Rape of the Lock ii). L'imprévu a aussi du charme.
TPOO ELKábelv. 83. To liken. Lat. comparare.
Trpoo Ońkn. 55. Addition, appendage. Lat. additamentum.
mpóobopos. 59, 120, 158, 190, 276. Suitable. Lat. aptus, accom-
modatus.
Trpoopávnua. 111. An address. Lat. allocutio, compellatio.
apóobuua. 55. An accretion. Lat. accretio. The word is år.
eip. (Liddell and Scott refer to Walz vii. 1213 ; but this is simply the
transcript of the T. épp. by Gregorius Corinthius).
Trpóowarov. 130, 134, 195, 234, 266. Person. Lat. persona. The
word is post-classical in this sense. In § 265 TPOOWTOTOlta = 'per-
sonification': cp. § 266, and Cic. de Or. iii. 53, 205, Quintil.
ix. 2, 31.
mpóxelpos. 261. Ready, smart. Lat. alacer. The reference
here is to ready wit; in § 281 mpoxelpws = 'inconsiderately,' 'bluntly.'
TTWOLS. 60, 201. Grammatical case. Lat. casus. In the 7. épu.
the doctrine of the cases is more fully developed (perhaps through
the influence of Chrysippus) than in Aristotle, who applies the term
TTwo is to inflexions in general. Cp. SS 104, 198, and p. 295 supra.
TTUKVÓTTS. 42, 251. Close succession. Lat. crebritas. The adj.
TUKVòs in SS 67, 78, etc.
ģños. 216. Speech, reply. Lat. oratio, responsio. The words
ñ deyouévn årò Ekubwv øñous, of a brutal answer, derive from Herod.
GLOSSARY
301
iv. 127. (The word does not occur in the t. epu. in its special
sense of a speech in a play. But the verb ønTopetelv is so used
in § 153.)
Öntopela. 9, 12. A piece of oratory. Lat. oratio rhetorices
artificio elaborata. In 8 12 ρητορειων is an emendation for ρητών.
Cp. Isocr. Phil. 26, Panath. 2.
öntap. 24, 262, 275, 287. Orator, rhetorician. Lat. orator. Germ.
Redner. These sections refer to the Greek rhetors at various epochs,
from Sicilian times down to those of the writer himself.—In § 19, the
adj. Prtopikòs is used to describe one of the three kinds of period.
þv@joeldís. 221. Rhythmical. Lat. numerosus. Late,-Dionys.
Hal. de Isocr. 2, etc.—-Puônòs itself occurs in $$ 183, 184, 245.
cátupos. 169. A satyric play. Lat. satyrus. Cp. n. on p. 240
supra. So catupikós, § 143.
cabývela. 197, 203. Clearness. Lat. perspicuitas. Fr. "clarté,
netteté. For brevity as tending to obscurity, cp. Dionys. Halic. Ep.
ad Amm. ii. C. 2 (ad fin.). The adj. oaons in SS 77, 82, etc.
Oeuvórns. 44, 56. Gravity, majesty. Lat. granditas. The adj.
Oeuvòs in SS 18, 19, etc.
onuecons. 208. Striking, remarkable. Lat. insignis, reconditus.
Cp. D. H. p. 205. The word, in this meaning, is late, --Strabo,
Dionysius, etc.
OKOTELVÓS. 192. Dark, obscure. Lat. obscurus, tenebricosus.
Heracleitus ó OKOTELVÒS is in question.
Okvollev. 96. To use Scythian words. Lat. sermonem adhibere
Scythicum. Cp. Apvyiſelv, P. 307 infra.
Okwupa. 128, 172. Jest, gibe. Lat. dictum, opprobrium. The
verb OKÚTTELV in SS 145, 150, 167.
ouikpúvely. 236. To belittle, to depreciate. Lat. extenuare.
Late, -LXX., Appian, etc. Cp. katao pekpúvelv, p. 287 supra.
COPlotiKÓS. 15. Artificial, formal. Lat. exquisitus. Fr. travaillé.
The meaning is 'strained,' "bookish,' 'professorial, as opposed to
'natural' or 'unsophisticated,' ooplotns being = Kunstredner (cp.
T. 04. p. 207).
ofreupaolau. 8. To be coiled. Lat. in gyros contrahi. Late,-
Eratosth., Lucian, Pausanias, etc.
302
DEMETRIUS ON STYLE
otlxos. 72, 150, 189. Line of poetry. Lat. versus.
STOLYEîov. 207. Element, elementary sound. Lat. elementum.
Defined by Aristot. Poet. C. XX. 2 as owwn ådlaipetos, oủ Tâoa Sé, årl'
Ýs méDUKE OUVETÀ yiyveo dai pwvý. Used in § 207 of vowel-sounds.
otpoyyúlos. 20, 248. Rounded. Lat. rotundus. Fr. arrondi.
See the references given in D. H. p. 205.
otwuúdos. 151. Gossipy. Lat. loquax. otwjúlov ti seems to
be partly favourable, partly unfavourable,—'a kind of raciness,'
'a flavour of gossip.'
súyypappa. 228, 234. Treatise. Lat. commentarius. In § 234,
oúyypappa åvr’ÉCOTONņs means a 'work,' or 'volume,' taking the
place of a letter. Germ. Abhandlung.
ovykatalńyelv. 2. To end simultaneously. Lat. simul desinere.
Late, -Gregorius of Nyssa (4th century A.D.).
oúykpovois. 68 (bis), 70, 72 (bis), 73, 74, 174, 299, 301. Collision,
shock, clashing, concurrence, consonance. Lat. concursus. Fr. rencontre.
In SS 68, 299 oúykpovous pwvnévtwv = hiatus; and in other passages
Dwvnévrwv, though not expressed, must be supplied. As 'hiatus'
usually has a somewhat depreciatory sense, 'open vowels' may
sometimes serve as a rendering (cp. Pope's "though oft the ear the
open vowels tire”). In $ 174, oúykpovols is applied to the concurrence
of consonants. On the general question of hiatus, cp. Volkmann
Rhetorik p. 513, Rehdantz-Blass Rhet. u. Stil. Index p. 21, Sandys
Orator of Cicero pp. 160—163; and see the passage of Quintilian
quoted s.v. ovvalocon infra.—The verb ovykpoúelv is found in SS 68,
70, 72, 73, 207 (cp. oouTÀÝorel).
oullaßr. 25, 26, 117, 177. Syllable. Lat. syllaba.
oulloylouós. 32. Demonstrative argument, syllogism. Lat. ratio-
cinatio, syllogismus. In the same section the enthymeme is described
as oulloylouds ØnTopikÒS and oulloycomòs åtedňs.—The verb ovllo-
yíčeo dal occurs twice in $ 32.
ovußolov. 243 (bis). Symbolic expression. Lat. signum, indicium.
The reference is to the use of αλληγορία.
oppetpla. 16. Due proportion. Lat. iusta mensura. The
opposite of åpespía : see s.v. äuerpos p. 265 supra.
olluringis. 48, 105, 207, 299 (bis). Clashing, concurrence. Lat.
concursus. Cp. cúykpovois. —The verb outdñogel in SS 68, 69.
GLOSSARY
303
ouvaloon. 70: Blending, fusion. Lat. coitus, vocalium elisio.
Fr. synalèphe (contraction, ou jonction de plusieurs voyelles). For the
general question of hiatus and elision, see Quintil. ix. 4, 35-37
“quare ut neglegentiae passim hoc pati, ita humilitatis ubique
perhorrescere, nimiosque non immerito in hac cura putant omnes
Isocraten secutos praecipueque Theopompum. at Demosthenes et
Cicero modice respexerunt ad hanc partem. nam et coeuntes
litterae, quae ovvaloidai dicuntur, etiam leniorem faciunt orationem,
quam si omnia verba suo fine cludantur, et nonnumquam hiulca
etiam decent faciuntque ampliora quaedam, ut pulchra oratione ista
iacta te, cum longae per se et velut opimae syllabae aliquid etiam
medii temporis inter vocales, quasi intersistatur, adsumunt. qua de
re utar Ciceronis potissimum verbis. habet, inquit, ille tamquam
hiatus et concursus vocalium molle quiddam, et quod indicet non
ingratam neglegentiam de re honinis magis quam de verbis laborantis.”
ovvaloudy is a late word, Strabo, Dionys. Halic., etc.— The verb
ovvaleidelv occurs in the same section: cp. Lat. coniungere, Cic.
Or. 44, 150.—There are some interesting remarks on the rule of
the synalcepha' in Dryden's Essays (selected and edited by W. P.
Ker) ii. pp. 10, II.
ouyaptâr. 12, 193. To knit together. Lat. colligare. A closer
union is implied by this word than by ouvámTELV, SS 269, 295, 299.
ovvdbela. 63, 182. Combination. Lat. connexio. Fr. connexion,
liaison. In $ 63, ouvápela is used of polysyndeton, as opposed to
asyndeton (lúors, Sálvors). As the author points out, both these
figures conduce to elevation, each in its place. He remarks that
the repeated use of the conjunction 'and' in the sentence “ To the
war flocked Greeks and Carians and Lycians and Pamphylians and
Phrygians” produces the impression of an innumerable host. For
English examples, cp. Revelation vi. 15 "And the kings of the earth,
and the great men, and the rich men, and the chief captains, and
the mighty men, and every bondman, and every free man, hid
themselves in the dens and in the rocks of the mountains”; and
vii. 9 "And these things I saw, and behold, a great multitude, which
no man could number, out of every nation, and of all tribes and
peoples and tongues, standing before the throne and before the
Lamb, arrayed in white robes, and palms in their hands.” So in
Matthew Arnold's Sohrab and Rustum : “Kalmucks and unkempt
Kuzzaks, tribes who stray | Nearest the Pole, and wandering
304
DEMETRIUS ON STYLE
Kirghizzes,” etc. Puttenham gives the name 'couple-clause? to
the figure; it has also sometimes been described as “Many-ands,'
as distinguished from No-ands' (asyndeton). Cp. Quintil. ix. 3,
51.—As examples of the analogous figure of paradiastole (or accu-
mulation of negative conjunctions), cp. Demosth. de Cor. § 298
έμε ούτε καιρός ούτε φιλανθρωπία λόγων ούτ' επαγγελιών μέγεθος ούτ'
ελπις ούτε φόβος ούτ' άλλο ουδέν επήρεν ουδε προηγάγετο ών έκρινα
dikalwv kai ovu epóvrwv Tŷ Tarpidi oůdèv apodoûval, and Epistle to
the Romans viii. 38, 39 “For I am persuaded, that neither death,
nor life, nor angels, nor principalities, nor powers, nor things present,
nor things to come, nor height, nor depth, nor any other. creature,
shall be able to separate us from the love of God, which is in Christ
Jesus our Lord.”
oúvderuos. 23 (bis), 53 (ter), 54, 55, 56, 63, 64, 193, 194, 196 (bis),
257 (bis), 268, 269. Conjunction, connective. Lat. copula, coniunctio,
Particle' will sometimes be a convenient rendering, since the term
is (SS 55, 56, 196) used of uév, dý, etc., as well as of 'conjunctions'
strictly so called. See the full account of the word in Cope's Intro-
duction to Aristotle's Rhetoric pp. 371–374, 392–397.-.The verb
ouvdeiv in SS 192, 194; cúvdegis in SS 12, 303.
OUVELPÓS. 180. A joining together. Lat. connexio, continuata
series. The word is år. eip. The verb ouvelpeolai occurs in § 15
with reference to the stringing together' of periods.
ouveļalpely. 5. To elevate simultaneously. Lat. simul extollere.
Cp. ččalpelv, SS 234, 277. The word is late,-- Polybius, Diodorus, etc.
ouvertpappévos. 20, 177. Compact. Lat. contortus, rotundus.
For 'contortus,' cp. Cic. Or. 19, 66.
ouvéyela. 68, 117, 118. Succession. Lat. continuatio. The adj.
ovvexÐs occurs in SS 12, 47, 82, 98, 118, 251, 303, and means
'continuous,' 'unbroken.' So in § 102 TÒ ouvexès = 'continuity,'
'exaggeration,' 'excess': cp. Aristot. Poet. 22, 5. In $ 82, where
συνεχώς is oddly placed if it goes with γινόμενον, it has been suggested
that the word may be taken with spoonyópevoev in the sense (not
otherwise established : unless συνεχώς ονόματι in 8 98 = παραπλησίως
óvómatı) of appropriately.'
ouvidela. 69, 86, 87 (bis), 91, 95, 275. Usage, ordinary speech.
Lat. consuetudo, usus. In Dionys. Hal. ad Amm. ii. c. II ♡ koivn
συνήθεια is found in the same sense. If P's reading της αληθείας
GLOSSARY
305
be retained in $ 91, we should compare Dionys. Hal. de Isaeo c. 18
ότι μοι δοκεϊ Λυσίας μεν την αλήθειαν διώκειν μάλλον, Ισαίος δε την
Téxvnv, and de Lys. c. 8 tìv ålýő elav oŮv TIS ÉTUTNdebwv ktd. - The adj.
ouvrons occurs in SS 60, 67, 77, 96, 145, 190.
oúv@els. 4, 8, 9, et passim. Composition, arrangement of words.
Lat. compositio, collocatio (cp. Cic. de Or. iii. 171). Fr. arrangement
des mots, disposition. The word occurs in the title of Dionysius'
treatise II epi ouvéoews óvojátwv.
oúvdetos. 18, 34, 35, 91, etc. Composite. Lat. compositus.
oúvraťts. 229. Structure. Lat. structura. The usual rhetorical
sense of oúrtašis is 'treatise'; but it is also used of arrangement, as
by Aristid. Techn. Rhet. (Sp. ii. 507) cúvtaţiS KÁRW kai koupátwv eis
diávolav årrnptiouévn opáois. Cp. the use of táếis in the T. epu.
OUVTélela. 214. Consummation, past tense. Lat. perfectio, prae-
teritum (tempus).—The verb ouvtelei in $ 3.
OUVTibévau. 69, 91, etc. To form, to compound. Lat. componere.
ouvroula. 92, 103, 137, 138, 253. Conciseness. Lat. succincta
brevitas. Fr. concision. So súvrouos, SS 7, 89, 197, etc.
cúornua. 10. A composite whole, a collection. Lat. coagmentatio.
-In § 30, dúotao lS = constitutio.
OPOTÉIXELV. 204, 228, 239. To compress. Lat. contrahere. — In
§ 14, ovotod=spareness.
ovotpo$ý. 8, 10. Concentration. Lat. conversio, concinna brevi-
tas. So Dionys. Hal. de Thucyd. 53, de adm. vi dic. in Dem. 18.
Cp. Ouvertpappévos, p. 304 supra.
oplyyelv. 244. To bind tight. Lat. constringere. Fr. resserrer.
opodpós. 7, 274. Vehement. Lat. vehemens. So opodpórns, $ 241.
oxñua. 24, 30, 59, et passim. Figure. Lat. figura. By oxýpara
are meant artificial 'figures,' or 'forms,' of language (“sententiarum
orationisque formis, quae vocant oxuara," Cic. Brut. 69: cxñuá
έστιν εξάλλαξις φράσεως από του καταλλήλου επί το κρείττον μετά τινος
åvaloyias, Herodian T. oxuátwv init.). Cp. D. H. p. 206; and see
further Modern Language Notes i. p. 140, for a short paper on the
'Classification of Rhetorical Figures' by C. B. Bradley.
oxnuat(tel. 287, 289, 292, 293, 294. To use a figure, to shape,
to construct. Lat. figurare. dóyos coxmuatlouévos (or tò cox nua-
20
.306
DEMETRIUS ON STYLE
Tlouévov simply) means oratio figurata, le discours figuré,—that
'figured language' which is often designed to veil the thought.---
In § 298, oxnuatio uós="the employment of figures' (cp. D. H.
p. 207): Lat. conformatio, figuratio.
: Ewkpatikós. 297. Socratic. Lat. Socraticus. The Socratic'
dialogues are here in question.
Ewrádelos. 189. Sotadean. Lat. Sotadeus. · The reference is to
the measures (uérpa) of Sotades : cp. p. 244 supra.
ráťts. 139, 170, 199, 200, 248. Order. Lat. dispositio. The
verb táopelv in § 139.
Táxos. 137, 197. Rapidity. Lat. celeritas. Cp. Tò róxos tņs
onuaolas (with reference to Thucydides) in Dionys. Hal. ad Amm.
ii. C. 2.
relevtń. 257. End, termination. Lat. terminatio. Cp. Televtalos
SS 139, 206.—fédos in SS 139, 206, 244, 272.
Tep@pela. 27. Artifice. Lat. nimium studium. Suidas gives
λεπτολογία as an equivalent of τερθρεία. The word was regarded
as specifically Attic; but cp. Jebb's Att. Or. ii. 58.
Tex voloyeîv. 41. To state in a treatise. Lat. in arte tradere.
Cp. zapatexvodoyeîv on p. 297 supra, and texvología in 1. vy. p. 208.
In § 169 Téxvai may be used in the sense of artes, handbooks.
Tótos. 136, 139, 153, 156, 169. Place, heading, source. Lat.
locus. It will be remembered that, according to Aristot. Rhet. ii. 26,
Tóros is a head under which many rhetorical arguments fall: ČOTLV
γάρ στοιχείων και τόπος, εις και πολλά ενθυμήματα εμπίπτει.
Tpaywdía. 169. Tragedy. Lat. tragoedia. Tpayodía mailovoa
would be a kind of inapotpayudía: cp. ilapós, p. 285 supra.
Tpaxúrns. 177. Roughness. Lat. asperitas. Fr. dureté. So
Tpayús, SS 48, 49, 176.
Tolkwos. 17. Consisting of three members. Lat. trimembris.
The term is applied to a three-membered period.
Tpluerpos. 204, 205. Having three measures. Lat. trimetrus.
In these sections kôda Tpíuerpa seem to be conceived on the analogy
of ίαμβος τρίμετρος.
Tpóros. 120, 170, 179, 185, 207, 223, 224, 259, 282. Manner.
Lat. ratio, modus. In § 120 Tpórols has sometimes been understood
in the rhetorical sense (not elsewhere found in the mi épu.) of 'trope.'
GLOSSARY
307
ülm. 76, 163. Subject-matter. Lat. materia.
úuévalos. 132. Bridal song. Lat. hymenaeus.
ÚTep Bolń. 48, 52, 124, 125, etc. Excess, hyperbole (“the over-
reacher,' Puttenham). Lat. superlatio, traiectio. inep BoluKòs SS 283,
285; Ümepßáll elv SS 114, 115, etc.
ÜTÉpjetpos. 118. Going beyond metre or measure. Lat. superans
mensuram. Cp. ÜTEPTINTEL Toll doyekow Métpov § 42.
ÚTrépoykos. 116, 221. Inflated, pompous. Lat. inflatus, turgidus.
Útóbeous. 76. Subject, thenie. Lat. argumentum.-In § 296,
ÚnobeTLKWs="suggestively.'
ÚTOKATAP KEVáfelv. 224. To elaborate slightly. Lat. paulum
elaborare. Late,—Josephus, Clem. Alex., Origen, etc.
ÚTOKelo Bau. 44, 237, 255. To underlie. Lat. subesse. TÒ ÉTokel-
Mevov pâyna = 'the subject-matter.'
ÚTTÓKplois. 193, 195, 271. Acting, delivery. Lat. studium
histrionum, actio, pronuntiatio.—ůtokpíveodai SS 193, 194; ÚTOKPITÒS
58, 195, 226; ÚTOKPLTLKÒS 193, 194, 195.
ÚTTOVOCÊ. 100, 103, 243, 254. To suspect. Lat. suspicari. Cp.
útróvola, "hidden thought,'"hidden meaning'; and see s.v. ålanyopía
p. 264 supra.
bilo póvnos. 231, 232. Expression of friendship. Lat. amicitiae
declaratio. Late word, ---Dionys. Hal., Plutarch, Josephus, etc.
poßepós. 130, 283. Awe-inspiring. Lat. terribilis. Cp. D. H.
p. 208.
Apáois. 17. Expression. Lat. elocutio. The word occurs once
only in the . épu.; and that as a quoted (or invented) example.
The verb bpáčelv is found in 8 138, and é páſelv in 165.
Apovrls. 27, 171, 218, 300. Anxious care. Lat. sollicitudo.
Fr. soin minutieux. The word is used of studied and artificial
expression. In § 27 it is coupled with repOpela, and in $ 300 it is
contrasted with tò å opóvrlotOV.
ppuylfely. 96. To use Phrygian words. Lat. sermonem adhibere
Phrygium. The reference is to the use of barbarous solecisms.
pulakń. 90. Caution, circumspection. Lat. cautio. Cp. Duráo-
gerbai, SS 68, 299.
20—2
308
DEMETRIUS ON STYLE
pvolkós. 199, 200. Natural (as opposed to "artificial'). Lat.
naturalis. (In § 231, fuoco oyía =“natural philosophy.')
fwrnets. 68, 69, 71, 177, 299. Vocal. Lat. vocalis. . tà owvevta
(with or without ypáupata)= vowels.
Awpây. 180. To detect. Lat. deprehendere. Used of the detec-
tion of metrical phrases in prose composition.
xapaktúp. 35, 36, 59, 72, et passim. Characteristic stamp, type.
Lat. forma, nota. The word is used in the t. epu. of the four Types
of Style. Cp. D. H. p. 208.
• xáps. 37, 127-142, 150, 162, et passim. Charm, wit, pleasantry,
cleverness, smartness, sprightliness, etc. Lat. venustas, lepor. No
one English word will quite cover the same ground as zápis, but its
meaning is well illustrated by Dionys. Hal. de adm. vi dic. in Dem.
C. 54 πάσας έχουσα τάς αρετάς η Δημοσθένους λέξις λείπεται ευτραπελίας,
ņv oi molloi kaloñol zápiv. Cp. xaplevriouÒs in T. ép. 128 ó
ydaoupòs lóyos xaplevtlouÒS ('grace,' 'liveliness,' pleasantry'; "the
privy-nipp,' Puttenham) kai înapos lóyos éotí: a definition which is
followed by a number of witticisms, such as were collected in ancient
books of jests (Cic. de Or. ii. 54). Dionysius helps again to fix the
meaning of χαριεντισμός : χαριεντισμός γάρ πάς έν σπουδή και κακούς
ylvóuevos äwpov mpâyma kai moleucóTatov ¿dów, de Isocr. C. 12. In
$ 141, xaplevtíferal refers rather to graceful expression than to wit.
The adv. xaplévtws is found in $ 185; the adj. zaplecs in SS 132, 133,
137, etc. On wit in rhetoric, see Volkmann Rhet. pp. 284—293,
Sandys Orator of Cicero pp. 98, 145. .
Xhevaouós. 291. Scofing, satire. Lat. irrisio.
xopós. 167. Chorus. Lat. chorus. For the conversational
chorus’ in question, see s.v. Sládoyos, p. 274 supra.
xpela. 170. Maxim. Lat. praeceptum. Possibly the treatment
of xpelai which we find in Hermogenes originated, together with
other apoyouváopata, among the rhetoricians of Pergamus. Between
them, xpela and youn seem to cover the whole ground of sententious
philosophy: wise saws and modern instances. Cp. Quintil. i. 9,
3—6, and see s.v. yvuun, p. 272 supra.
Xonotondela. 244. Goodness of nature. Lat. ingenium probum.
Fr. ingénuité. Used with reference to primitive simplicity: cp.
e'n ela.
GLOSSARY
309
xwllapßos. 251. À choliambic line. Lat. choliambus. The
invention of the 'halting' iambic line (with a spondee substituted for
an iambus in the last foot) was attributed to Hipponax: compare
1. epu. $ 301, and the synonymous term scazon.—The adj. xwlòs in
SS 18, 301.
filós. 73. Smooth. Lat. lenis. Used of the smooth breathing'
(ixos). In 137, the word means 'bare,'" bald,' “unadorned.' For
dagúrns and Yılórns, cp. Aristot. Poet. C. 20.
fóyos. 291, 301. Censure, satire. Lat. vituperatio.
fópos. 95. A sound, a noise. Lat. sonus, strepitus. yooos, an
‘inarticulate sound' or 'noise,' is sometimes contrasted with purn
(voice’: also póóyyos), or with diálextos (“discourse,' articulate
speech’; also lóyos).
yuxpótns. 6, 115, 119, 121, 127, 171, 247. Frigidity. Lat.
frigus. “Tameness' and 'tastelessness' will occasionally serve as
English renderings. Cp. Aristot. Rhet. iii. 3, 7. út. C. 4. So Yuxoos
(Lat. 'frigidus,' 'insulsus’; Fr. 'froid'), SS 6, 114, etc.
wań. 70, 74. Song, melody. Lat. cantus. In $ 70, the term is
applied to words like némeos which are chiefly composed of vowels
and so 'sing themselves.' Cp. qdıkós, § 184.
Yet Elocution, with the helpe of Mercury,
The matter exorneth right well facundiously.
Stephen Hawes, Pastime of Pleasure, xi. 1.
BIBLIOGRAPHY OF DEMETRIUS DE
ELOCUTIONE
AND OF DEMETRIUS PHALEREUS.
I. EDITIONS AND TRANSLATIONS IN CHRONOLOGICAL ORDER.
Aldus Manutius. Rhetores in hoc Volumine habentur hi.
Aphthonii Sophistae Progymnasmata. Hermogenis ars Rhetorica.
Aristotelis Rhetoricorum ad Theodecten libri tres. Eiusdem Rhetorice
ad Alexandrum. Eiusdem ars Poetica. Sopatri Rhetoris quaestiones
de componendis declamationibus in causis praecipue iudicialibus. Cyri
Sophistae differentiae statuum. Dionysii Alicarnasei ars Rhetorica.
Demetriï Phalerei de interpretatione. Alexandri Sophistae de figuris
sensus et dictionis. Adnotationes innominati de figuris Rhetoricis.
Menandri Rhetoris divisio causarum in genere demonstrativo. Aris-
teidis de civili oratione. Eiusdem de simplici oratione. Apsinis de arte
Rhetorica praecepta. Venetiis, in aedibus Aldi. 1508, 1509. EDITIO
PRINCEPS.
Demetr. Phal. de Interp. is printed in vol. I, pp. 545-573. This volume was
published in 1508; the second volume in 1509.
M. Antonius Antimachus. Gemisti Plethonis de gestis Grae-
corum post pugnam ad Mantineam per capita tractatio, duobus libris
explicata, M. Antonio Antimacho interprete. Ad haec Dionysii Hali-
carnassei praecepta de oratione panegyrica, de oratione nuptiali, de
oratione natalitia, de epithalamiis. Demetrii Phalerei praecepta de
membris et incisis, de periodis, de componendis epistolis, de characteribus
dicendi. Polyaeni de re militari praefatio eodem interprete. M. Antonii
312
DEMETRIUS ON STYLE
Antimachi de laudibus Graecarum literarum oratio. Omnia nunc
primum in lucem edita, cum privilegio ad triennium. Basileae, 1540.
Of this version Schneider (p. xix. of his edition) says: “expressit Antimachus
exemplum Aldinum, sed Latinitate tam rudi et barbara, ut hominem ex Graecia
cum maxime redeuntem Latine crederes balbutire.” The censure is not deserved :
the selections given are well translated and in adequate Latin.
[Anonymous.] Anuntplov Dalmpéws tepi épunvelas. Demetrii
Phalerei de Elocutione. Florentiae, 1542.
Petrus Victorius. Anuntpíov Qalmpéws tepi épunvelas. De-
metrii Phalerei de elocutione. Florentiae, apud Juntas, 1552.
[It is worth notice that Victorius had edited the Rhetoric of Aristotle four years
earlier.]
[G. Morelius.] Anuntplov Qalmpéws Tepi punveías. Demetrii
Phalerei de elocutione. Parisiis, 1555. Apud Guil. Morelium, in
Graecis typographum Regium.
[Anonymous.] 'Epuoyévns Tepi melódov delvórntos. Anuntplov
Palmpéws tepi épunvelas. Aproteídov Tepi Tolitikoû dóyov. Hermo-
genis de gravitate apta eiusque tractandi ratione. Demetrii Phalerei
de elocutione. Aristidae de genere dicendi civili. Argentorati, 1556.
This edition, and that published at Paris in the preceding year, closely follow
Victorius' edition of 1552.
Stanislaus Ilovius.. Demetrii Phalerei de Elocutione Liber,
a Stanislao Ilovio Polono Latinitate donatus, et Annotationibus illus-
tratus. Item, Dionysii Halicarnassei quaedam Opuscula, eodem inter-
prete : quae versa pagina recensentur. Adiecimus eadem et Graece, ut
conferri a studiosis possint. Basileae, per Ioannem Oporinum, 1557.
F. Maslovius. Demetrii Phalerei de elocutione liber a Francisco
Maslovio Polono in Latinum conversus, et ab eodem obscuriorum lo-
corum explicationibus illustratus. Patavii, 1557.
Dasypodius. 'Epuoyévous réxvn ØnTopikń, cui adiectus est De-
metrii Phalerei Liber de Elocutione, item Aristides de generibus dicendi.
Argentorati, 1558.
Petrus Victorius. Petri Victorii Commentarii in librum
Demetrii Phalerei de Elocutione, positis ante singulas declarationes
Graecis vocibus Auctoris, iisdemque ad verbum Latine expressis. Ad-
ditus est rerum et verborum memorabilium index copiosus. Florentiae,
in officina Juntarum, Bernardi F., 1562.
This edition, with its translation and commentary, is on an altogether larger
scale than the small copy of the text issued by Victorius ten years earlier.
BIBLIOGRAPHY
313
J. Caselius. Demetrius Phalereus de elocutione, editus nunc
primum in Germania op. J. Caselii. Rostochii, 1584.
A Latin translation of the r. pl., together with notes, is to be found in the
same editor's Phalereus sive de Elocutione liber, published at Rostock in 1585.
.
Jo. Simonius. Demetrii Phalerei trepi èpunvelas liber utilis et
vere aureus, quaestionibus explicatus studio et opera Joannis Simonii,
Rhetorices in Academia Rostochiensi Professoris publici. Rostochii,
1601.
P. Segni. Demetrio Falereo della locuzione volgarizzato da Pier
Segni ......con postille al testo, ed exempli Toscani, conformati a' Greci.
Firenze, 1603.
Panigarola. Il Predicatore di F. Francesco Panig[aro]la......
overo Parafrase, Commento, e Discorsi intorno al libro dell' Elocutione
di Demetrio Falereo. Venetia, 1609.
An Italian paraphrase, and commentary, on Victorius' Latin version.
[Anonymous.] Anuntplov Dalnpéws trepi épurvelas : Demetrii
Phalerei de Elocutione. Cum Petri Victorii Florentini Latina Inter-
pretatione. (Degli autori del ben parlare, etc. pt. 2. tom. I. Venetia,
1643.)
[Anonymous.] Operum Graecorum, Latinorum, et Italorum
rhetorum tomus secundus. Venetiis, 1644.
This volume contains a Greek text and Victorius' Latin version.
Thomas Gale. Rhetores Selecti. Demetrius Phalereus, Ti-
berius Rhetor, Anonymus Sophista, Severus Alexandrinus. Graece
et Latine. Ed. T. Gale. Oxonii, 1676. The T. &pu. was separately
reprinted from this edition by Foulis at Glasgow in 1743, with the
title : Anuntpiou 'Palmpéws repi 'Epunveías. Demetrii Phalerei de
Elocutione, sive dictione rhetorica.
Marcello Adriani. Demetrio Falereo della Locuzione tradotto
dal Greco in Toscano da Marcello Adriano. Firenze, 1738.
J. F. Fischer. Rhetores selecti. Demetrius Phalereus, Tiberius
Rhetor, etc. Iterum edidit, varietatemque lectionis Aldinae adiecit
Joh. Frider. Fischerus. Lipsiae, 1773.
This edition is based on Gale’s, whose work is freely criticized in Fischer's
Praefatio.
314
DEMETRIUS ON STYLE
J. G. Schneider. Anuntplov repà èpunveias Bibliov. Demetrii
de Elocutione liber. Curavit Johann. Gottlob Schneider Alten-
burgi, 1799.
Ch. Walz Rhetores Graeci ex codicibus Florentinis Medio-
lanensibus etc. emendatiores et auctiores edidit, suis aliorumque anno-
tationibus instruxit, indices locupletissimos adiecit Christianus Walz.
Stuttgartiae, 1832–1836. [Text of Anuntplov Tepi 'Epunvelas in
vol. ix. pp. I ff.]
F. Goeller. Demetrii Rhetoris de Elocutione Liber. Edidit
Franciscus Goeller. Lipsiae, 1837. [In a note to his Preface p. xxxii.
Goeller explains how it came about that his edition was issued several
years after its completion in 1830.]
L. Spengel. Rhetores Graeci ex recognitione Leonardi Spengel.
Lipsiae, 1856. [Text of Anuntpiou tepi 'Epunveías in vol. iii.
pp. 259 ff.]
E. Durassier. Démétrius de Phalère. De l'Élocution. Traduit
du grec en français avec notes, remarques et table analytique par Édouard
Durassier. Paris, 1875.
L. Radermacher. Demetrii Phalerei qui dicitur De Elocutione
Libellus. Praefatus recensuit adnotavitque Ludovicus Radermacher.
Lipsiae, 1901.
II. OCCASIONAL AND PERIODICAL PUBLICATIONS IN
CHRONOLOGICAL ORDER.
Bonamy. Mémoires de Littérature, tirés des Registres de
l'Académie Royale des Inscriptions et Belles Lettres, 1773, viii.
pp. 157–177. “Vie de Démétrius de Phalère.'
Arnaud. Mémoires de Littérature, tirés des Registres de
l'Académie Royale des Inscriptions et Belles-Lettres, 1774, xxxvii.
pp. 99-III. 'Examen de quelques passages des anciens rhéteurs.'
Hardion. Histoire de l'Académie des Inscriptions et Belles-
Lettres tirée des Registres de cette Académie, 1823, iii. p. 162. 'Examen
d'un passage du traité de l'Élocution attribué à Démétrius de
Phalère.'
BIBLIOGRAPHY
315
H. Dohrn. Commentatio historica de vita et rebus Demetrii
Phalerei, philosophi peripatetici. Kiliae, 1825.
H. W. Grauert. De vita et rebus Demetriï Phalerei. Kiliae,
1825.
C. E. Finckh. Neue Jahrbücher für Philologie und Pädagogik,
1838, xxii. pp. 291-303. 'Demetrius de Elocutione, ed. Göller.'
C. E. Finckh. Observationes criticae in Demetriï rhetoris de
elocutione libellum. Heilbronnae, 1841.
C. E. Finckh. In Longini artem rhetoricam et in Demetrii
libellum de elocutione annotationes criticae. Heilbronnae, 1847.
Chr. Ostermann. De Demetrii Phalerei vita, rebus gestis et
scriptorum reliquiis. Hersfeld 1847 ; Fulda 1857.
A. Nauck. Rheinisches Museum, 1848, vi. p. 469. “Mis-
cellen.'
Th. Herwig. De Demetrii Phalerei Scriptis. Rinteln, 1850.
S. J. Legrand et F. Tychon. Mémoire couronné par
l'Académie Royale des Sciences, des Lettres et des Beaux-Arts de
Belgique sur Démétrius de Phalère, considéré comme orateur, homme
d'état, érudit et philosophe. Bruxelles, 1852. (Mémoires couronnés etc.,
xxiv. pp. 1-190.)
H. Weil. Neue Jahrbücher für Philologie und Pädagogik, 1856,
lxxii. pp. 704–706. “Zu Demetrius nepi épunveías.'
C. E. Finckh. Philologus, 1860, xv. pp. 153, 154. "Zu De-
metrius nepi épurvelas, $ 213.'
H. Usener. Rheinisches Museum, 1868, xxiii. p. 336.
· Callone.'
C. Hammer. Philologus, 1876, xxxv. pp. 711-713. “Kritische
Beiträge zu Demetrius tepi épunveías.'
C. Hammer. Philologus, 1876, xxxvi. pp. 355–358. 'Krit-
ische Beiträge zu Demetrius περί ερμηνείας.'
H. Liers. De aetate ct scriptore libri qui fertur Demetrii
Phalerei tepi 'Epunveías. Vratislaviae, 1881.
C. G. Cobet. Mnemosyne N. S., 1882, X. p. 42. “De locis
nonnullis apud Graecos epistolarum scriptores.' (Cp. Cobet, Col-
lectanea Critica, pp. 236, 237.)
IL
316
DEMETRIUS ON STYLE
H. Schenkl. Wiener Studien, 1882, iv. pp. 55–76. Zur
Kritik der Schrift des Demetrios tepi Epunvelas.'
C. Hammer. Demetrius tepi 'Epunvelas. Ein literar-histori-
scher Versuch. Landshut, 1883.
H. Liers. Neue Jahrbücher für Philologie und Pädagogik, 1887,
cxxxv. pp. 681-717. “Zur Geschichte der Stilarten.'
A. Altschul. De Demetrii Rhetoris Aetate. Lipsiae, 1889.
F. Beheim-Schwarzbach. Libellus tepi ép unveías qui De-
metrii nomine inscriptus est quo tempore compositus sit. Kiliae, 1890.
Papasis. Demetrius Phalereus und die Stadt Athen. Erlangen,
1893.
K. Dahl. Demetrius nepi épunvelas. Ein Beitrag zur Bestim-
mung der Abfassungszeit der Schrift. Zweibrücken ; Part I. 1894,
Part II. 1895.
W. Schmid. Rheinisches Museum, 1894, xlix. p. 144. "Zur
antiken Stillehre.'
S. Roshdestwenski. Xaplotýpa: Moscow, 1896, pp. 361–
370. “Els tò Anuntplov toll Dainpéws kadospevov Bibliov trepà èpun-
νείας σύμβολα.'
G. Ammon. Blätter für bayr. Gymnasialschulwesen, 1898,
xxxiv. pp. 729–736. Zu Demetrius tepi épunvelas, besonders seine
Sprache im Lichte der Ciceronianischen Korrespondenz.'
U. v. Wilamowitz-Moellendorff. Hermes, 1899, xxxiv.
p. 629. “Lesefrüchte.'
W. Rhys Roberts. Classical Review, 1901, xv. pp. 252-255.
"The Greek Words for Style: with special reference to Demetrius
Trepi ‘Epunvelas.'
W. Rhys Roberts. Classical Review, 1901, xv. pp. 453, 454.
Milton and Demetrius de Elocutione.'
INDICES.
I. INDEX OF NAMES AND MATTERS.
References are made to the T. epu. itself by sections; to the introduction,
notes and glossary by pages.
Accusative Case. Greek term, $ 201, its allusiveness, $ 151. Cp. pp. 213,
p. 263. Case-termination (3rd decl.) 264
in -nu or -7, § 175, p. 242
Amazons. A succinct description of a
Acting. Remarks on, SS 193—195 sleeping Amazon, $ 138, p. 236
Aeschines (the Orator), SS 267, 268. Ambiguity. Must be avoided in the
Cp. Index II.
plain style, ſ 196. Cp. p. 265
Aeschines Socraticus, SS 205, 291, Ammonius, the son of Hermeias; ap-
297, p. 257. Cp. Index II.
parently mentions the . pll., p. 60
Affectation. Affectation (kakošnıla), the Anacreon. His short and jerky lines
distorted variety of the elegant style, not appropriate to grave themes, $ 5
strives after effect in the thought itself Anapaest. Anapaestic rhythms are
(SS 187, 239), in the expression (S$ 188, sometimes used affectedly in prose
247), in the use of anapaestic rhythms composition, § 189
(8 189). Cp. pp. 55, 286, 294 Anaphora. Repetition of a word in
Agathon, pp. 5, 41, 287
successive clauses, SS 141, 268. Cp.
Ajax. A ‘smooth' (euphonious) word p. 266
in its Greek form Alas, § 176 Anaximenes supposed author of the
Alcaeus. See Index II.
Rhetorica ad Alexandrum, p. II
Alcidamas, SS 12, 116, p. 233
*Ancients.' Characteristics of their
Aldus. Aldus Manutius issued the style, SS 14, 244. See also pp. 53,
editio princeps of the T. èph. (as part 224, 269
of his Rhetores) in 1508, p. 311 Annoon. A word whose pleasing sound
Alexander. A conceit, or pun, ad- is due to the double consonant, $ 174
dressed to him, § 187. Aristotle's Antiphon. The happy negligence he
dean reſerences to him, SS 283, 284
Alexandria and rhetoric, p. 18. The
TT. épu. and Alexandria, pp. 62, 63,
225, 246
Allegory. Its impressiveness, SS 99,
100, 243; its liability to abuse, $ 102;
only once, $ 53. Cp. Index II. and
pp. 6, 7
Antisthenes, § 249, pp. 20, 253
Antithesis, § 24, etc. (full references
given on p: 266 supra). Antithesis
and antithetic periods impair force,
318
DEMETRIUS ON STYLE
his comparison of a letter to one side
of a dialogue, S 223, p. 249
Article. Correspondence of article to
article, § 23. Cp. p. 269
Asyndeton. Its use and abuse, SS 192
I94. See also pp. 27o (đơÚPỗeTov),
274 (dlalúelv), 291 (nuous)
Attic. The Attic dialect: its pungency
and other qualities, $ 177. The
• Attic' writers (a designation which is
perhaps a mark of late date), § 175,
p. 241. Specifically Attic words in
the nt. plin, p. 57; cp. the Notes
passim
Atticism and Asianism, pp. 45–49
Authorised Version of the Bible. Il-
lustrative passages quoted from, pp.
219, 247, 260, 265, 267, 276, 288,
303, 304
Authorship of the De Elocutione, pp.
49 ff.
SS 247, 250. Example of false anti-
thesis, $ 24, p. 216
Apophthegms. Should be pithily put,
§ 9. Cp. p. 269
Aposiopesis. The figure of sudden
reticence,' SS 103, 264. Cp. pp. 268,
269
Archedemus. Improves on the Aristo-
telian definition of the period, $ 34.
See pp. 218, 243
Archilochus, $.5. Cp. Index II.
Architect ( master-builder'), § 91.
Given as an example of a word
happily compounded
Arid style. The defective counterpart
of the plain style, SS 236—238, p. 294
Aristeides, § 238. (Examples of the
kind here given savour of the rhetori-
cal practice-schools: cp. the refer-
ences to the Cyclops, $ 115, Ephor,
§ 122, Centaur, $ 187, Olympias,
§ 187.)
Aristippus and Cleombrotus. The
gentle irony with which Plato in the
Phaedo reproaches them for their
absence from the side of their im-
prisoned master Socrates, $ 288 ('for
they were in Aegina'). For Aristip-
pus, see also p. 258 supra
Aristophanes, SS 150, 152, 161. See
Index II. and pp. 5 n. 2, 13 n. 2
Aristotle. To the references given
under. Aristotle's name in Index II.
should be added SS 41, 116, 234.
The actual quotations from Rhet. iii.
in the 7. épu. give but a faint idea of
the influence of the former upon the
latter. See also pp. 14-16, 35-39,
50-52, 209, 214, 215, 216, 217, 218,
et passim. For Aristotle and pro-
verbs, cp. pp. 260, 261
Arnold, Matthew. His poetry quoted,
Pp. 303, 304
Art. Analogies drawn from various
arts by Greek rhetoricians, SS 13, 14,
p. 215
Artemon. Editor of Aristotle's Letters:
.
Bombast. Its dangers illustrated, SS 121,
304
“Breaking the news. An example of
Ctesias' delicacy of feeling, $ 216
Breathings. Rough and smooth breath-
ings, $ 73, pp. 273, 284, 309
Brevity (conciseness). A great aid to
vigour and impressiveness of style,
SS 7, 103, 137, 253. Cp. pp. 271, 272
Broken rhythm. Its use and abuse,
$$ 6, 238, 239. Cp. p. 268 s.v. úno-
KOTÝ
Browning. Quoted in the introduction,
p. 44, and the notes, p. 248. See
also p. 291
Bulias. A character in a mime of
Sophron, § 153
Byron. Quoted in the Notes and Glos-
sary, pp. 238, 300
Cacophony. May minister to vividness
and force of style, SS 219, 255. Cp.
pp. 286, 287
Cadences. Cp. references given on p.
268, s.v. ámbleols
1. INDEX OF NAMES AND MATTERS
319
Caecilius of Calacte, p. 20
Comparative and Superlative. For
Caesar, Julius. His study of language, their use in later Greek see p. 237,
pp. 260, 298
and cp. $ 146
Callistratus, § 174: see s.n. Annoon Composition. The word oúvocols
supra
(which corresponds to 'composition'
Cases. Monotony to be avoided in the in its stricter sense) occurs very fre-
use of cases, $ 65, p. 224. The use of quently in the treatise : SS 4, 8, 9, 11,
oblique cases and constructions may 30, 31, 38, 40, 43, 45, 48, 49, 58, 68,
he effective ($ 104), but may also lead 74, 92, 117, 121, 179, 180, 186, 189,
to obscurity (8 198). Nominative
204, 221, 237, 239, 241, 246, 248,
and accusative cases, SS 198, 201, pp. 299, 301, 303. Cp. p. 305
263, 283, 295, 300
Conjunctions (connectives). Their mul-
Chesterfield, Lord. His aversion to tiplication is an effective aid to style,
proverbs, p. 259
$S 54, 63, pp. 303, 304. Their
Choliambics. Choliambic lines are absence may cause obscurity, S 192
forcible, $S 251, 301. Cp. pp. 285, Corax as a teacher of rhetoric, pp. 1, 2
309
Cornificius the supposed author of the
Chrysippus. Apparently followed in Rhetorica ad Herennium, p. 24
§ 172. Cp. p. 241
Correctness of style. References s.v.
Chrysostom. Quoted, pp. 294, 295 àxplßela, p. 264
Cicala. Proverbial and figurative ex- Craterus. One of Alexander's generals,
pression concerning the cicala, SS 99, rebuked by Demetrius Phalereus in
243
a figure,' § 289
Cicero. His rhetorical standpoint, pp. Crates, SS 170, 259, pp. 240, 254
24, 25. Quoted in the Notes and Ctesias, SS 212--216, p. 247. Cp. D. H.
Glossary, passim
p. 13
Clearness. Lucidity is a prime essen- . Cupping-glass. A riddling description
tial of the plain style, SS 191 ff. For of, § 102
lucidity in general, cp. pp. 37, 38, Cyclops. The grim pleasantry of his
246, 265, 301
unexpected guest-gift, SS 130, 132, 262
Cleitarchus. An example of bombast Cynics. The Cynic manner' is dis-
quotech from him, $ 304. Cp. p. 259 tinguished by its mordant wit, SS
Clematis. •Egyptian clematis' used as 259–261
a sobriquet for a dark and lanky
person, S 172
Date of the De Elocutione, pp. 49 ff.,
Cleobulina. See § 102, p. 231
and Notes and Glossary passim
Cleon. Reſerred to as a notorious Demades. His highly figurative say-
Athenian demagogue, 294
ings, SS 283–286, pp. 53, 256
Cleophon. Mentioned together with Demetrius of Alexandria. Possibly the
Cleon, § 294
author of t. pl., p. 63
Climax. The figure so called, § 270, Demetrius of Phalerum. Mentioned
pp. 255, 288
by name in 289. See also pp. 17,
Comedy. Its alliance with mirth and 18, 52, 62, 257, 311 ff.
charm, § 169. The employment of Demosthenes. Mentioned or quoted in
the trimeter by the New Comedy, the following sections: 1o, II, 20,
$ 204. Allusion to‘New Comedy': its 31, 80, 245, 246, 248, 250, 253, 263,
bearing on date of treatise, pp. 53, 246 268—273, 277–280, 299. It is to
1
320
DEMETRIUS ON STYLE
be noticed that most of the references
to Demosthenes occur in the later
sections, those which deal with delvb-
ins. For references to the passages
quoted, see Index II. Cp. pp. II, 12
Dialogue. Resemblance, and difference,
between a dialogue and a letter, ss
223, 224, p. 274
Dicaearchus, § 182, p. 242
Digamma. Possible allusion to, § 255.
Cp. pp. 253, 286
Diogenes, SS 260, 261. (Some papyrus-
fragments containing sayings of
Diogenes have been published, since
the completion of this edition, by
Wessely in Festschrift Theodor Gom-
perz.)
Dionysius the Younger, SS 8, 9, 99, 100,
102, 290. The proverb Dionysius
at Corinth' clearly refers to the
younger Dionysius; and so probably
does the threat addressed to the
Locrians. In § 292 also, he may be
meant rather than his father
Dionysius of Halicarnassus, pp. 20—23,
42, 45, 63, 218, 242, etc.
Diphthongs. The concurrence of diph-
thongs produces elevation (873), but
should be avoided in the plain style
($ 207)
Dithyrambic compounds. To be avoid-
ed, $S 91, 116: cp. § 143
Doric dialect. Its broad sounds, $ 177
p. 242
Double augment, pp. 210, 245
Double compounds. To be avoided,
$ 93, p. 229
Double oo and double ft. Both forms
found side by side in the t. Épp.,
pp. 58, 222
Dryden, John. His Essays, p. 303
Dual number. Its occurrence in the
T. èpt., p. 58
Elegant style, $$ 128–189, pp. 29, 30,
33, etc.
'Elephanteer' (édepavalotńs). A word
coined by Aristotle, $ 97
Elevated style, $$ 36—127, pp. 29,
33, 39, 218, 292, etc.
'Elocution.' Obsolete in English as
applied to rhetorical style ; but cp.
the Latin, French and Italian terms
given on p. 282, s.v. epunuela. (The
passage of Stephen Hawes quoted
on p. 310 provides an example of the
older use of elocution, and suggests
the supposed connexion between ép-
unvela and 'Epuñs. With 'facundi-
ously,' cp. Mbylos on p. 290 supra.)
Empedocles. The father of Rhetoric,
p. I
Enthymeme. The distinction between
the enthymeme and the period, ss
30–33. Cp. pp. 279, 291, 292
Epanalepsis, $ 196, p. 280
Epanaphora, SS 61, 268, p. 280
Epicharmus, $ 24, p. 216. Cp. Index
II.
Epicureans and rhetoric, pp. 19, 20.
Epicurus as a letter-writer, p. 250
Epimone. Defined, and effect on style
described, $ 280, p. 281
Epiphonema. Defined and illustrated,
$$ 106-111, p. 281
Epistolary style. Relation between
letter and dialogue ; the letter as a
revelation of character; the length,
structure, topics of a letter: SS 223
-235, p. 249
Epithets. Their use and abuse, $S 85,
116. Cp. p. 280
Erasmus. The proverb 'omnis herus
servo monosyllabus' in his Adagia,
p. 213. Erasmus as a letter-writer,
p. 249
Euphemism. Defined, and illustrated
from the incident of the golden
Y
Victories, § 281, pp. 256, 283
Euphony. Practice of Isocrates de-
scribed and a middle course advised,
Egypt. The priests in Egypt employ
the seven vowels in their hymns to
the gods, § 71, pp. 224, 225
I. INDEX OF NAMES AND MATTERS
321
Griphus, i.e. mystification, $ 153,
p. 273
§ 68. Common parlance, § 69.
Poetical forms, § 70. Priests in
Egypt, $ 71. Attic writers, $ 175.
Cp. pp. 283, 284, 302
Euripides. His use of expletives, $ 58;
the opportunities he affords to the
actor who takes the part of Ion in
his play of that name, $ 195
Expletives. The employment of ex-
pletive particles, SS 55--58, p. 296
VIA
Fables. Sometimes form an attractive
element in writing, SS 157, 158
Figures. Must not be used in excess,
§ 67. Peculiar figures should be
avoided in the plain style, § 208.
Figures will contribute to force,
SS 263—271, 280, 281. Cp. pp.
305, 306
Finish of style. References s. v. åxpl-
Bela, p. 264 supra
Forcible style, $s 240—304, pp. 31,
34, etc.
Frigidity of style. How caused,
SS 111-121. Cp. pp. 232, 233,
Hearer. Often found where modern
writers would use 'reader,' p. 264
Hecataeus. Example of detached
clauses from Hecataeus, § 12. Cp.
§ 2, p. 212
Hegesias. His jerky style, p. 20
Heine. Quoted in Notes, p. 252
Heracleitus. Chief reason of his ob-
scurity, $ 192, p. 244
Hermagoras. Elaborates a system of
rhetoric, p. 21
Hermogenes and the varieties of style,
P. 27
Herodotus, $$ 12, 17, etc. Cp. pp.
224, 275, and Index II.
'Heroic. As a metrical term, SS 5,
42, p. 284
Hesiod. Possibly referred to in § 122:
cp. p. 261
Hexameter. The hexameter, as the
longest of Greek poetical measures,
is suited to heroic themes, SS 4, 5.
Cp. p. 278
Hiatus. See references given under
oúyk povols on p. 302 supra, and
under “Euphony' in this Index.
Also, p. 303 supra under ouvalocoń
Hiero. Mentioned, together with Gelo,
in 292
Hippias and prosody, p. 5
Hippocrates. Quoted to show the
drawbacks of a jerky style, $$ 4,
238. Cp. pp. 212, 257
Hipponax. How and why Hipponax
invented the choliambic metre, $ 301.
Cp. p. 309, § 132
History and poetry, $ 215, p. 247
Homer. Quoted throughout the trea-
tise, and more frequently than any
other writer : cp. Index II. (Like
other rhetoricians, the author of the
17. èpu. draws as freely from the
poets as from prose-writers, clearly
believing that the study of poetic
309
Gadarene : see under Theodorus, p. 325
infra
Gelo. Described as a father and edu-
cator of Sicily, § 292
Genitive absolute. Used for the
sake of variety, § 65, p. 224
Giraldus Cambrensis. On the decline
of letters in England, p. 45
Gorgias. His periods and antitheses,
SS 12, 15, 29. Cp. pp. 2-5, 47, 48,
233, 234
Graces (or ornaments) of style. Com-
pression, arrangement, figures, etc.,
contribute to grace of style, SS
136-156
Grand style : see reſerences s. v. 'ele-
vated,' p. 320 supra
Gregorius Corinthius. Metropolitan
of Corinth and scholiast on Hermo-
genes, pp. 61, 214, 222, 223, etc.
21
322
DEMETRIUS ON STYLE
Isocrates. His periodic writing, $ 12.
The avoidance of hiatus by him and
his followers, $$ 68, 299 : cp. Quin-
tilian's estimate of Isocrates (Inst.
Or. X. 1, 79), concluding with the
words “in compositione adeo diligens
ut cura eius reprehendatur.” Cp.
Index II. and pp. 8—11, 47, 48, 216
style should help, rather than injure,
the study of prose style : cp. p. 219
supra.) See also pp. 213, 219, 221,
222, 225, etc.
Homoeoteleuta. Their character and
their dangers, $8 26–28; cp. p. 295.
For the connexion between homoeo-
teleuton and modern rhyme, cp. p. 48
Horace and the Ars Poetica, p. 25
Humour. Some of the examples in
88 128 ff. may be classified under
this head, or perhaps rather under
that of Wit, q. v.
Hypallage. For this figure, under the
name ανθυπαλλαγή, cp. 8 6o, p. 266
Hyperbole. May be employed, in
comedy and elsewhere, as an orna-
ment of style, $$ 161, 162. But there
is danger of abuse, SS 124 ff. Cp.
p. 307
Jests contrary to Expectation, § 152
on Tapa The Trogbokkav xảous), p. 3OO
Johnson, Samuel. Quoted in the notes,
pp. 220, 233
Jonson, Ben. Quoted, p. 223
Keats. Quoted, p. 224
Knox, John. Quoted, p. 292
Iambus. The iambic measure re-
sembles ordinary conversation, and
many people talk iambics without
knowing it, $ 43, p. 220
Imagery. Poetical imagery to be
avoided in prose, SS 89, 90; in the
forcible style especially, § 274
Imitation. 'Imitation' (ulunois), in
the full rhetorical sense, hardly occurs
in the n. Éplo: cp. pp. 21 ff., 294
Infinitive. Used for imperative : see
p. 220, where a list of instances
found in the . &pu. is given
Interrogation. To put a question to
an audience in such a way that it
admits of only one answer is more
effective than a direct assertion, s
279
Inversion of words in the 1. eplo,
pp. 59, 234
Ion. The young Ion in the play of
Euripides, $ 195, p. 244
Irony. An excellent example from the
Phaedo, § 288. Cp. p. 277
Isocolon. Equality of syllables in al-
ternate members, § 25, p. 285
Lacedaemonians. Their love of brevity
in speech illustrated, and its vigo-
rous effect indicated, SS 7, 8, 241,
242
Late words and forms in the mi épu. :
see lists in Introduction pp. 56 ff.,
and cp. Notes and Glossary passim
Laticlave. Supposed allusion to, $ 108,
pp. 53, 54, 232
Laudando praecipere. This maxim
anticipated, § 295, p. 258
Lawgiver (vouolétns). Cited as a
model of a compound word, § 91
Lincoln, Abraham. His use of pro-
verbs, p. 260
'Longinus.' His attitude towards style
and imitation, pp. 25-27
Lucidity. See clearness,' p. 319 supra
Lysias. The exemplar of the plain
style, g 190. His wit and sarcasm,
S$ 128, 262. Cp. Index II. and pp.
7, 8, 216, 217, 255
Macaulay. His style from various
points of view, pp. 215, 239, 267
Manuscripts of the De Elocutione, pp.
209-211
Maxims. Their nature and use, SS 9,
110, 170, pp. 272, 273, 308
1. INDEX OF NAMES AND MATTERS
323
‘Member' (@lov). Definition from
Aristotle and Archedemus, § 34.
Origin and use, $$ 1–7. Cp. p. 289
Menander. His' Woman of Messenia,'
$ 153. Why he is popular with the
actor, SS 194, 195. Cp. pp. 53,
239
Metaphor. Contributes to elevation of
style, when used with discrimination,
$ 78. Convertible and non-convert
ible metaphors, SS 78, 79. The ex.
pansion of metaphor into simile,
$S 80, 89. So-called active,' or
vivid,' metaphors, § 81. Effective
and ineffective use of metaphor,
SS 82, 83, 84. Metaphors safe.
guarded, § 85. Usage the true guide,
SS 86, 87. Frigidity due to misuse
of metaphors, § 116. Cp. pp. 226,
293
Milton: pp. 44, 51, 224, 253, 264,
287
Mirth amid tears. The rueful laugh-
ter caused by over-elaborate style,
§ 28, p. 288
Music. Kinds of words distinguished
by musicians, § 176. Verbal music,
SS 69—72, 174, 184, 185
Mysteries. Their allegorical (symboli-
cal, figurative) character, $ 101
Un
Paeon. The two kinds of paeon and
their use in elevated discourse, $$
38—41. Cp. p. 296
Parallelism of clauses. SS 23, 250 ;
p. 260
Paris Manuscript, No. 1741, contain-
ing the De Elocutione, Aristotle's
Rhetoric and Poetics, etc., pp. 209,
210, 219
Parody. An instance, ſ 150. Cp.
p. 13 n. 2
Particles. Their use and abuse, $$
55-58. A happy negligence in their
use, § 53
Parts of speech. List of those men-
tioned in the r. pl., p. 269 s. v.
äpo pov
Passion. Should be characterised by
simplicity and naturalness, $ 28.
See p. 267 (årádela) and p. 295
(Tábos) for various references
Pergamus and rhetoric, p. 19
Period. Definition and description,
SS 10 ff. Number and length of
members in a period, SS 16-18.
Simple and composite periods, $$ 17,
18. The historical, conversational
and rhetorical period, SS 19-21. An-
tithetic periods, SS 22—24. Excessive
use of periods, SS 12, 303. Judicious
combination of periodic and running
styles, § 15. Contrast between the
two styles, § 244, p. 287.-For
periods in the New Testament, cp.
p. 26 n. 3.-See also p. 298
Peripatetics. Referred to as writers
possessing common characteristics,
§ 181, pp. 18, 53
Personification. Examples in SS 265,
Naïveté. Characteristic of old-fashion-
ed style, § 244, p. 268
Natural expression. Its effectiveness,
SS 27, 28, 300
Nicias. The painter Nicias and the
importance of a right choice of sub-
266, 285, p. 300
Pheidias. The characteristics of his
sculpture, § 14
Philemon. His style contrasted with
that of Menander, $ 193, pp. 53
244
Philip of Macedon. Why he could not
bear to hear the Cyclops mentioned,
ject, $ 76, p. 226
Nireus. Homer, by employing figures,
exalts Nireus, SS 61, 62
Obscurity. Paradoxical, but true, that
obscurity sometimes contributes to
force, $ 254, p. 253
Onomatopoeic Words. Defined, § 94.
Add to vividness, § 220. Cp. p. 297
324
DEMETRIUS ON STYLE
• 44. Quoted in the Notes and Glos-
sary passim
Quotations. Often loosely made in
the m. épu. : cp. p. 213
§ 293: cp. references under 'tyrants,'
p. 326 infra
Philistus. How his obscurity arises,
§ 198. Cp. p. 245
Phillips, Stephen. Quoted on p. 252
Philodemus and rhetoric, pp. 19, 60,
218
'Phrase' (kóuna). Definition, § 1o.
Phrases, rather than members, con-
duce to force of style, g 241; but
they may also cause aridity, § 238.
Cp. p. 288
Plain style, $$ 199-239, pp. 30, 34, etc.
Plato. References to Plato will be
found in the sections enumerated in
Index II. and also in $$ 37, 80,
181, 228, 234, 297. Cp. pp. 12–14,
227, 261, etc.
Plural. Neuter plural with singular
verb, pp. 214, 217, 230, 252
Poetry. Rarely written in measures of
greater length than six feet, § 4.
Poetic diction in prose must be used
with discretion, SS 112, 113
Polybius. His use of proverbs, p. 261
Polycrates. A rhetorician mentioned
in $ 120. Cp. p. 234
Polysyndeton. The term itself does
not occur in the 1. éplo, but see
pp. 303, 304
Pope, Alexander, pp. 225, 233, 234,
etc.
Praetermission. A figure which makes
a show of passing over points which
are really stated, § 263, p. 296
Praxiphanes. On the use of particles,
S 57. Cp. pp. 221, 222
“Principle of Suspense.' See p. 216
Prodicus. His study of etymology and
synonyms, p. 5
Pronunciation of the letter v, p. 224
Protagoras and grammar, p. 5
Proverbs. The proverbs occurring in
the T. épu. are collected on pp. 259
--262 supra
Recantation. As a rhetorical figure,
§ 148, p. 293
'Redouble.' Puttenham's term for åva-
dla wors, p. 265
Redundancy. Illustrated in § 58. Cp.
pp. 296, 298
Repetition. Words repeated for effect,
$$ 61, 62, 21—214, 267; or for
clearness, SS 196, 197. Cp. pp. 265,
266, 275, 276, 280
Reticence. See under aposiopesis,'
p. 318 supra
Rhetoric of Aristotle, pp. 14-16, 364
40, 50, 51, 209, et passim. Cp.
Index II. s. n. Aristotle
Rhetorica ad Alexandrum. Its author-
ship and character, pp. 11, 59
Rhetorical terms not found in the
1. épu. Some of these given on
pp. 268, 286
Rhythm. Points of rhythm are raised
in SS 5, 6, 42, 48, 117, 183, 184,
301, et passim. Cp. pp. 40 ff., 271,
283, 301 etc.
Riddle. Language may become a
riddle, § 102. Cp. pp. 263, 273
Risky. The word kivo uvớons is used
of daring experiments in the use of
language, as in § 80. Cp. pp. 270
(åopalńs), 281 (élopalńs), 287 (KLV-
duvvons)
Sappho. Cp. Index II. and add $S 132,
166, 167
Satyric drama. Mentioned in § 169.
Cp. p. 240
Scazon. See references under choli-
ambics,' p. 319 supra
Scythians. The words and Exvdôv
öñous were used proverbially for dis-
cours à la scythe, Gothic bluntness,
SS 216, 297. Cp. pp. 262, 300
Quintilian as a student of style, pp. 25,
I. INDEX OF NAMĖS AND MATTERS
325
Shake. As a musical term, $ 74,
p. 225
Shakespeare: pp. 41, 44, 223, 235,
236, 237, 288
Sheridan. Quoted, p. 227
Sicily. The birthplace of rhetoric,
as in what is said, § 222; (6) 'Le
style est l'homme même': this es-
pecially true of the epistolary style,
§ 227, p. 250. As to the Greek
words for 'style,' see pp. 32, 267,
282, 290, 307
Subjunctive. Used with ei, SS 76, 269,
p. 226
Substance and Form in Greek critical
literature, pp. 34 ff.
Summary of the nt. & pu., pp. 28–34
Swinburne. Quoted, pp. 227, 233, 275
Syllables. Impressive effect of long
syllables at the beginning and the
end of a member, S 39, p. 219
Syllogism. The enthymeme distin-
guished from the syllogism, § 32,
p. 302
Symbolical language. See under “al-
legory,' p. 317 supra
Symmetry. Its use and abuse, SS 25,
29, 53
Synaloepha. The fusion of vowels,
$ 70, p. 303
Syrianus: refers to ' Demetrius,' p. 61
Simile. Expanded metaphor, SS 80,
89. Cp. p. 277
Socrates. The Socratic Dialogues :
their method and their success,
SS 297, 298
Sophists. Their contributions to the
study of prose style, pp. 5, 6
Sophocles. A bombastic line attributed
to Sophocles, § 114, p. 232. Cp.
pp. 44, 222, 261
Sophron. See references in Index II.
together with SS 128, 153 and pp. 234,
235, 261
Sotades. The character of the Sotadean
measures, $ 189, p. 244
Sounds. Effects produced by the use
of harsh or sweet sounds, SS 48, 49,
69, 70, 105, 219, 255. Cp. pp. 283,
284, 286
Spencer, Herbert. His philosophical
treatise on Style, p. 43
'Spheterize.' Used by Sir William
Jones in imitation of the Greek,
pp. 255, 256. Cp. § 278
Stesichorus. A proverbial expression
ascribed by Aristotle to Stesichorus,
SS 99, 243. Cp. p. 260 n. I
Stevenson, Robert Louis. His literary
essay on Style, p. 43
Stoics and rhetoric, p. 19
Style. See the reſerences under "ele-
vated,' elegant;' 'ſorcible,' 'plain,'
'arid,' epistolary,' etc., as well as
the Introduction, Notes and Glossary,
passim.--Among the many anticipa-
tions of what are sometimes sup-
posed to be modern views of style,
may be mentioned: (a) Distinction
of style shown (according to Theo-
phrastus) as much in what is omitted
Taste. Want of taste, how shown :
SS 67, 171, pp. 265, 268
Telauges. Title of a dialogue of Ae-
schines Socraticus, 291, p. 257:
cp. § 170, p. 240
Teleboas. Xenophon, in speaking of
the small river Teleboas, suits his
language to the theme, $s 6, 121
Tennyson: pp. 44, 220, 221, 223, 227,
230, 231, etc.
Tense. The use of the past tense may
contribute to vividness, $ 214
Text of the T. epu. See note on
pp. 209–211 supra
Theodorus. Theodorus of Gadara pro-
bably meant in § 237: cp. pp. 21,
54, 251
Theognis. The use by Theognis of
the expression 'stringless lyre’ for
a bow, $ 85. Cp. Index II.
Theophrastus. See the references
21-3
326
DEMETRIUS ON STYLE
Verse. Metrical cadences to be used
with caution in prose, &$ 118, 180–
185. Prose has its 'members,' cor-
responding to the measures of verse,
§ 1
Vividness (realism). This quality de-
scribed and illustrated in connexion
with the plain style of which it is so
essential an element, SS 208—220.
Cp. p. 279
Vowels. Long vowels render style im-
pressive, $ 39. Concurrence of vowels
contributes to elevation of style, SS
68–73; but must be avoided in the
plain style, § 207. See also under
‘Egypt,' p. 320 supra
given in Index II. Also pp. 16,
51, etc.
"Theophylact. His reference to the t.
éplo, pp. 60, 61
Theopompus. Cp. Index II. and see
also SS 75, 240, 250, p. 217
"Thrasymachus and the period, pp. 5, 6
Thucydides. See Index II. and also
SS 40, 49, 181, 228. Cp. pp. 5, 219,
220, etc. Stress is laid on the rugged-
ness of Thucydides, in § 48 and else-
where
Tisias the pupil of Corax, p. 2
Title of the at. èpl. See pp. 61–63,
and both facsimiles
'Tragedy. A sportive tragedy' almost
a contradiction in terms, § 169, p.
306
"Transitive verbs. Used intransitively,
pp. 248, 297
Trench, Archbishop. His book on
proverbs, p. 262
*Trimeter. The New Comedy uses the
trimeter, § 204. Cp. pp. 246, 306
Types of Style. See under "style,' p.
325 supra; also pp. 29–34. In one
and the same writer the elevated,
elegant and forcible styles may exist
side by side; but the elevated and
the plain types are mutually exclu-
sive, § 37
"Tyrants. Various references to, $S 237,
289—294, p. 258
Watts-Dunton, Theodore: pp. 35, 36
Wit. References under åoteio uós, et-
τραπελία, and χάρις on pp. 269, 272,
283, 308. Wit and buffoonery: how
they differ, $ 168
Words. Order of words in the elevated
and the plain styles, SS 50-53,
199—201. Rugged words may pro-
duce elevation, $$ 49, 105. Com-
pound words can be used effectively
in the elevated and the forcible
styles, SS 91, 92, 275; but should be
avoided in the plain style, $ 191.
Formation of new words, $$ 94–98,
pp. 297, 298. Dithyrambic compounds
cause frigidity, $116. Kinds of words
distinguished by musicians, § 176.
Picturesque words, $ 276.–For a list
of words occurring only in the T. éplo,
see p. 57 (together with the Notes
and Glossary)
Wordsworth: pp. 44, 232
Usage. Usage as the sovereign arbiter,
SS 86, 91. Cp. pp. 229, 255, 304,
305
N
N
Varro and the types of style, p. 25
Vaulted roof. The members of a period
are like the stones which support a
vaulted roof, § 13
Xenophon. See the references in Index
II. and also SS 37, 80, 155, 181, 296
II. INDEX OF AUTHORS AND PASSAGES QUOTED IN THE
DE ELOCUTIONE.
The thick numerals refer to the sections in which the quotations are found.
Epicharmus Fragm. 147, 24
Euripides Ion 161, 195; Meleag. fragm.,
58
Aeschines (the Orator) Ctes. 133, 267;
202, 268
Aeschines Socraticus Fragm., 205
Alcaeus Fragm. 39, 142
Alcidamas Fragm., 116
Anacreon Fragm. 62, 5
Antiphon Fragm. 50, 53
Antisthenes Fragm. 67, 249
Archedemus Fragm., 34
Archilochus Fragm. 89, 5; 94, 5
Aristophanes Ach. 86, 161; Nub. 149,
179, 152; 401, 150
Aristotle Rhet. iii. 8, 38; iii. 9, 11, 34;
iii. II, 81. Hist. Anim. ii. 97; ix.
157. Fragmm. 71,28; 609, 233; 615,
225; 618, 97, 144, 164; 619, 29, 154;
620, 230
Hecataeus Fragm. 332, 2, 12
Herodotus i. I init., 17, 44; i.-203, 66
Hesiod Op. et D. 40, 122
Hippocrates Aphorism. i. I, 4, 238
Homer Iliad ii. 497, 54, 257; ii. 671,
61; iv. 126, 81; iv. 443, 124; vi. 152,
200; ix. 502, 7; ix. 526, 25; X. 4.36,
124; xii. 113, 111 ; xii. 208, 255; xiii.
339, 82; xiii. 798, 64, 81; xiv. 433,
56; xvi. 161, 94, 220; xvi. 358, 48,
105; xx. 218, 79; xxi. I, 56; xxi.
257, 209; xxi. 388, 83; xxii. 133, 189;
xxiii. 116, 219; xxiii. 154, 57; xxiii.
379, 210. Odyssey iii. 278, 150; v.
203, 57; vi. 105, 129; ix. 190, 52;
ix. 289, 219; ix. 369, 130, 152, 262;
ix. 394, 94; xi. 595, 72; xii. 73, 60;
xvi. 220, 57; xix. 7, 107; xix. 172,
113; xix, 518, 133; xxi. 226, 57
Cleitarchus Fragm., 304
Cleobulina Fragm. 1, 102
Crates Fragm. 7, 259
Ctesias Fragmm. 20, 21, 213; 36, 216
Isocrates Enc. Hel. 17, 23. Panegyr.
1, 25; 58, 22
Demades Fragmm., 283, 284, 285
Demetrius Phalereus Fragm. 7, 289
Demosthenes Aristocr. 99, 31, 248 (cp.
n. on p. 217). De Cor. 3, 253; 18,
299; 71, 279; 136, 80, 272; 179, 270;
188, 273; 265, 250. De Falsa Leg.
Lyric. Fragmm. Adesp. 126, 143; 128,
91, 262; Bergk p. 742, 151
Philipp.
5, 128; 275, 128, 262
init., 10, 11, 20, 245, 246.
iii. 26, 263
Dicaearchus Fragm. 33, 182
Menander Fragm. 230, 194
328
DEMETRIUS ON STYLE ,
Plato Euthyd. 271 A, 226. Menex. Theopompus Fragm. 249, 27, 247 .
246 D, 266. Phaed. 59 C, 288. Thucydides i. 1 init., 44; i. 5, 25;
Phaedr. 246 E, 66. Politicus 269 C, i. 24, 72, 199 ; ii. 48, 39; ii. 49, 48;
5. Protag. 312 A, 218. Rep. i. init., ii.102, 45, 202, 206 ; iv. 12, 65;
21, 205 ; iii. 399 D, 185 ; iii. 411 A, B, . iv. 64, 113 ; vi. 1, 72
51, 183, 184. Epist. 7, 290
Xenophon Anab. i. I init., 3, 19; i. 2,,
Sappho Fragmm. gr, 148 ; 92, 146 ; 21, 198 ; i. 2, 27, 139; i. 5, 2, 93;
94, 106; 95, 141; 109, 140 ; 122, i. 8. 10, 104; i. 8, 18, 84; i. 8, 20,
162 ; 123, 127, 162
103; iii. I, 31, 137; iv. 4, 3, 6, 121;
Sophocles Triptol. fragm., 114
V. 2, 14, 98; vi. 1, 13, 131. Cyrop.
Sophron Fragmm. 24, 151; 32, 147; i. 4, 21, 89, 274 ; xi. 2, 15, 134
34, 127 ; 52, 151 ; 68, 156 ; 108,
127 ; 110, 156
Scriptores Incerti 17, 18, 26, 42, 63,
Sotades Fragm., 189
70, 115, 116, 117, 121, 126, 138, 145,
, 149, 158, 161, 187, 188, 196, 207,
Theognis Fragm., 85; cp. n. on p. 211, 217, 236, 237, 238, 239, 257,
228 supra
258, 265, 281, 296, 302. Cp. p. 216
Theophrastus Fragmm. (. Néčews),
41, 114, 173, 222
CAMBRIDGE: PRINTED BY J. AND C. F. CLAY, AT THE UNIVERSITY PRESS.

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น
คน
แ
"