XXVI. HOW VERSE CAN RESEMBLE PROSE

Concerning melodious metrical composition which bears a close affinity to prose, my views are of the following kind. The prime factor here too, just as in the case of poetical prose, is the collocation of the words themselves; next, the composition of the clauses; third, the arrangement of the periods. He who wishes to succeed in this department must change the words about and connect them with each other in manifold ways, and make the clauses begin and end at various places within the lines, not allowing their sense to be self-contained in separate verses, but breaking up the measure. He must make the clauses vary in length and form, and will often also reduce them to phrases which are shorter than clauses, and will make the periods—those at any rate which adjoin one another—neither equal in size nor alike in construction; for an elastic treatment of rhythms and metres seems to bring verse quite near to prose. Now those authors who compose in epic or iambic verse, or use the other regular metres, cannot diversify their poetical works with many metres or rhythms, but must always adhere to the same metrical form. But the lyric poets can include many metres and rhythms in a single period. So that when the writers of monometers break up

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συντιθέντες ὅταν διαλύσωσι τοὺς στίχους τοῖς κώλοις διαλαμβάνοντες ἄλλοτε ἄλλως, διαχέουσι καὶ ἀφανίζουσι τὴν ἀκρίβειαν τοῦ μέτρου, καὶ ὅταν τὰς περιόδους μεγέθει τε καὶ σχήματι ποικίλας ποιῶσιν, εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦ μέτρου· οἱ δὲ μελοποιοὶ πολυμέτρους τὰς στροφὰς ἐργαζόμενοι 5 καὶ τῶν κώλων ἑκάστοτε πάλιν ἀνίσων τε ὄντων καὶ ἀνομοίων ἀλλήλοις ἀνομοίους τε καὶ ἀνίσους ποιούμενοι τὰς διαιρέσεις, δι’ ἄμφω δὲ ταῦτα οὐκ ἐῶντες, ἡμᾶς ὁμοειδοῦς ἀντίληψιν λαβεῖν ῥυθμοῦ πολλὴν τὴν πρὸς τοὺς λόγους ὁμοιότητα κατασκευάζουσιν ἐν τοῖς μέλεσιν, ἔνεστί τε καὶ τροπικῶν καὶ 10 ξένων καὶ γλωττηματικῶν καὶ τῶν ἄλλων ποιητικῶν ὀνομάτων μενόντων ἐν τοῖς ποιήμασιν μηδὲν ἧττον αὐτὰ φαίνεσθαι λόγῳ παραπλήσια.

μηδεὶς δὲ ὑπολαμβανέτω με ἀγνοεῖν ὅτι κακία ποιήματος ἡ καλουμένη λογοείδεια δοκεῖ τις εἶναι, μηδὲ καταγινωσκέτω 15 μου ταύτην τὴν ἀμαθίαν, ὡς ἄρα ἐγὼ κακίαν τινὰ ἐν ἀρεταῖς τάττω ποιημάτων ἢ λόγων· ὡς δὲ ἀξιῶ διαιρεῖν κἀν τούτοις τὰ σπουδαῖα ἀπὸ τῶν μηδενὸς ἀξίων, ἀκούσας μαθέτω. ἐγὼ τοὺς λόγους τὸν μὲν ἰδιώτην ἐπιστάμενος ὄντα, τὸν ἀδολέσχην τοῦτον λέγω καὶ φλύαρον, τὸν δὲ πολιτικόν, ἐν ᾧ τὸ πολὺ 20 κατεσκευασμένον ἐστὶ καὶ ἔντεχνον, ὅ τι μὲν ἂν τῶν ποιημάτων ὅμοιον εὑρίσκω τῷ φλυάρῳ καὶ ἀδολέσχῃ, γέλωτος ἄξιον τίθεμαι, ὅ τι δ’ ἂν τῷ κατεσκευασμένῳ καὶ ἐντέχνῳ, ζήλου καὶ σπουδῆς ἐπιτήδειον τυχάνειν οἴομαι. εἰ μὲν οὖν διαφόρου προσηγορίας τῶν λόγων ἑκάτερος ἐτύγχανεν, ἀκόλουθον 25 ἦν ἂν καὶ τῶν ποιημάτων ἃ τούτοις ἔοικεν διαφόροις ὀνόμασι καλεῖν ἑκάτερον· ἐπειδὴ δὲ ὅ τε σπουδαῖος καὶ ὁ τοῦ μηδενὸς ἄξιος ὁμοίως καλεῖται λόγος, οὐκ ἂν ἁμαρτάνοι τις τὰ μὲν ἐοικότα τῷ καλῷ λόγῳ ποιήματα καλὰ ἡγούμενος,

1 διαλύσωσι P: διαλείπωσι M: διαλίπωσι V 3 μεγέθη P 5 τὰσ τροφὰς P 6 ἑκάστοτε Us.: ἑκάστου libri || τε ὄντων M: ὄντων PV 8 ἄμφω δὲ M: ἄμφω PV 11 τῶν ἄλλων Us.: τῶν ἄλλων τῶν libri 15 καλουμένη om. M || τις] τησ P || καταγινωσκέτω MV: καταγιγνωσκέτω P (sed cf. =278= 7 et alibi) 17 κ’ ἂν P 19 τοὺς λόγους Schaeferus: τοῦ λόγου libri || ἁδολέσχην P 20 τὸ πολὺ PM: πολὺ τὸ V 21 ποιημάτων PM: ποιητῶν V 22 ἁδολέσχηι P || ἄξιον P: ἄξιον αὐτὸ MV 28 ὁμοίως compendio P: om. MV

4. =εἰς λήθην ἐμβάλλουσιν=: the following Epigram of Callimachus will illustrate Dionysius’ meaning:—

ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέ δυομένου Βασιλὼ κάτθανε παρθενική αὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσα οὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόν πατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνη πᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.

(The text is that of Wilamowitz-Moellendorff Callimachi Hymni et Epigrammata p. 59. Upton, who quotes the epigram, adds: “En tibi ea omnia, quae tradit Dionysius, accurate praestita: sententiae inaequales, disparia membra: ipsi adeo versus dissecti, nec sensu, nec verborum structura, nisi in sequentem usque progrediatur, absoluta. quibus factum est, ut prosaicae orationi, salva tamen dignitate, quam proxime accedatur.” Compare also the first eight lines of Mimnermus Eleg. ii.)

6. =ἑκάστοτε=: Upton here conjectures ἑκάστης, Schaefer ἑκάστων.

15. =τις= to be connected with κακία. In the next line κακίαν τινά come close together.

19. =μαθέτω=: supply πᾶς τις, or the like, from μηδείς in l. 14. Cp. Hor. Serm. i. 1. 1 “qui fit, Maecenas, ut nemo, quam sibi sortem | seu ratio dederit seu fors obiecerit, illa | contentus vivat, laudet diversa sequentes?”

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the lines by distributing them into clauses now one way now another, they dissolve and efface the regularity of the metre; and when they diversify the periods in size and form, they make us forget the metre. On the other hand, the lyric poets compose their strophes in many metres; and again, from the fact that the clauses vary from time to time in length and form, they make the divisions unlike in form and size. From both these causes they hinder our apprehension of any uniform rhythm, and so they produce, as by design, in lyric poems a great likeness to prose. It is quite possible, moreover, for the poems to retain many figurative, unfamiliar, exceptional, and otherwise poetical words, and none the less to show a close resemblance to prose.

And let no one think me ignorant of the fact that the so-called “pedestrian character” is commonly regarded as a vice in poetry, or impute to me, of all persons, the folly of ranking any bad quality among the virtues of poetry or prose. Let my critic rather pay attention and learn how here once more I claim to distinguish what merits serious consideration from what is worthless. I observe that, among prose styles, there is on the one side the uncultivated style, by which I mean the prevailing frivolous gabble, and on the other side the language of public life which is, in the main, studied and artistic; and so, whenever I find any poetry which resembles the frivolous gabble I have referred to, I regard it as beneath criticism. I think that alone to be fit for serious imitation which resembles the studied and artistic kind. Now, if each sort of prose had a different appellation, it would have been only consistent to call the corresponding sorts of poetry also by different names. But since both the good and the worthless are called “prose,” it may not be wrong to regard as noble and bad “poetry” that which

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τὰ δὲ τῷ μοχθηρῷ πονηρά, οὐδὲν ὑπὸ τῆς τοῦ λόγου ὁμοειδείας ταραττόμενος. κωλύσει γὰρ οὐδὲν ἡ τῆς ὀνομασίας ὁμοιότης κατὰ διαφόρων ταττομένης πραγμάτων τὴν ἑκατέρου φύσιν ὁρᾶν.

εἰρηκὼς δὴ καὶ περὶ τούτων, παραδείγματά σοι τῶν 5 εἰρημένων ὀλίγα θεὶς αὐτοῦ κατακλείσω τὸν λόγον. ἐκ μὲν οὖν τῆς ἐπικῆς ποιήσεως ταῦτα ἀπόχρη·

αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·

ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲ

χῶρον ἀν’ ὑλήεντα 10

ἔλαττόν τε τοῦ προτέρου καὶ δίχα τέμνον τὸν στίχον. τρίτον δὲ τουτί

δι’ ἄκριας

ἔλαττον κώλου κομμάτιον. τέταρτον δὲ

ᾗ οἱ Ἀθήνη 15 πέφραδε δῖον ὑφορβόν

ἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲν ἐοικός. ἔπειτα τὸ τελευταῖον

ὅ οἱ βιότοιο μάλιστα κήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20

ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇ προσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθις

τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον

οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.

ἔνθα οἱ αὐλὴ 25 ὑψηλὴ δέδμητο

1 οὐδὲν ... ταραττόμενος MV: om. P 3 ταττομένης Sauppius: ταττομένη libri 5 εἰρηκὼς ... θεὶς Us.: καὶ περὶ τούτων [μὲν add. MV] ἅλις. ὧν δὲ προυθέμην τὰ παραδείγματα θεὶς PMV 8 ὅ γ’] ὁ Hom. 11 τέμνον EV: τέμνοντος PM 14 τέταρτον δὲ E: om. PMV 15 ᾗ Hom.: ἧ V: οἷ [fort. οἷ] PM, E 22 ἔπειτ’ ... ἥμενον om. P 25 ἔνθά οἱ PM

3. =κατὰ ... ταττομένης=: cp. Ven. A Schol. on Il. xv. 347 ὅτι Ζηνόδοτος γράφει #ἐπισσεύεσθον#. συγχεῖται δὲ τὸ δυϊκὸν κατὰ πλειόνων τασσόμενον.

6. =αὐτοῦ=, ‘here,’ ‘on the spot.’ Cp. Diod. Sic. ii. 60 ἡμεῖς δὲ τὴν ἐν ἀρχῇ τῆς βίβλου γεγενημένην ἐπαγγελίαν τετελεκότες αὐτοῦ περιγράψομεν τήνδε τὴν βίβλον.—With =κατακλείσω= cp. Antiq. Rom. vii. 14 τελευτῶν δ’ ὁ Βροῦτος, εἰς ἀπειλήν τινα τοιάνδε κατέκλεισε τὸν λόγον, ὡς κτλ.

7. In Latin, Bircovius well compares Virg. Aen. i. 180-91.

8. Dionysius’ point will be better appreciated if the passage of the Odyssey (xiv. 1-7) be given not bit by bit but as a whole:—

αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸν χῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνη πέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστα κήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς. τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴ ὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ, καλή τε μεγάλῃ τε, περίδρομος.

15. Compare (in Latin) the opening of Terence’s Phormio, if written continuously: “Amicus summus meus et popularis Geta heri ad me venit. erat ei de ratiuncula iam pridem apud me relicuom pauxillulum nummorum: id ut conficerem. confeci: adfero. nam erilem filium eius duxisse audio uxorem: ei credo munus hoc corraditur. quam inique comparatumst. ei qui minus habent ut semper aliquid addant ditioribus!”

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resembles noble and contemptible prose respectively, and not to be in any way disturbed by mere identity of terms. The application of similar names to different things will not prevent us from discerning the true nature of the things in either case.

As I have gone so far as to deal with this subject, I will end by subjoining a few examples of the features in question. From epic poetry it will be enough to quote the following lines:—

But he from the haven went where the rugged pathway led.[194]

Here we have one clause. Observe the next—

Up the wooded land.

It is shorter than the other, and cuts the line in two. The third is—

through the hills:

a segment still shorter than a clause. The fourth—

unto where Athene had said That he should light on the goodly swineherd—

consists of two half-lines and is in no way like the former. Then the conclusion—

the man who best Gave heed to the goods of his lord, of the thralls that Odysseus possessed,

which leaves the third line unfinished, while by the addition of the fourth it loses all undue uniformity. Then again—

By the house-front sitting he found him,

where once more the words do not run out the full course of the line.

there where the courtyard wall Was builded tall.

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ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδος ἐν κώλοις τε καὶ κόμμασι λεγόμενος· ἐπιθεὶς γὰρ

περισκέπτῳ ἐνὶ χώρῳ,

πάλιν ἐποίσει

καλή τε μεγάλη τε 5

βραχύτερον κώλου κομμάτιον, εἶτα

περίδρομος

ὄνομα καθ’ ἑαυτὸ νοῦν τινα ἔχον. εἶθ’ ἑξῆς τὰ ἄλλα τὸν αὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;

ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου 10 ταυτί

Ὦ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται, χαῖρ’,

τὸ πρῶτον ἄχρι τούτου κῶλον.

ὅς τε πέτραν Ἀρκάδων δυσχείμερον 15 <Πὰν> ἐμβατεύεις

τὸ δεύτερον μέχρι τοῦδε.

ἔνθεν εὔχομαι γένος.

τοῦτο τρίτον. τὰ μὲν πρότερα μείζονα στίχου, τοῦτο δὲ ἔλαττον. 20

Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ τίκτει λαθραίως Ἡρακλεῖ·

μετὰ τοῦτο

ξύνοιδ’ ὄρος Παρθένιον, 25

οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερον στίχου τε ἔλαττον καὶ στίχου μεῖζον

1 καὶ V: κατὰ PM 4 ἐποίει P 5 καλήν τε μεγάλην τε PM 9 μηκύνειν P: μηκύνειν τὸν λόγον MV 10 παρ’ εὐριπι [**TN: δ written above final ι of εὐριπι] sic P: εὐριπίδου MV 15 ὅς τε s: ὥστε PMV || δυσχείμερον ἀρκάδων PMV: transposuit Sylburgius 16 Πὰν inseruit Musgravius 19 μείζονα om. P || στίχου MV: στι [**TN: χ written above ι of στι] P: στίχον s 21 αὐγὴ M: αὐτὴ PV 24 ξύνοιδ’ s: ξύνοιδε P: ξυνοὶδὲ MV 26 οὔθ’ ἕτερον PM: οὐδέτερον V

12. =ὁρίζεται=: sibi vindicat, ‘annexes.’—The fragment of Euripides, taken as a whole, runs thus in Nauck’s collection:—

ὦ γαῖα πατρίς, ἣν Πέλοψ ὁρίζεται, χαῖρ’, ὅς τε πέτρον Ἀρκάδων δυσχείμερον <Πὰν> ἐμβατεύεις, ἔνθεν εὔχομαι γένος. Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ τίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄρος Παρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴν ἔλυσεν Εἰλείθυια.

25. =Παρθένιον=: cp. Callim. Hymn. in Delum 70 φεῦγε μὲν Ἀρκαδίη, φεῦγεν δ’ ὄρος ἱερὸν Αὔγης | Παρθένιον, together with the scholium ὄρος Ἀρκαδίας τὸ Παρθένιον, ἔνθα τὴν Αὔγην τὴν Ἀλεοῦ θυγατέρα, ἱέρειαν τῆς Ἀθηνᾶς, ἔφθειρεν Ἡρακλῆς.

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This, too, does not balance the former. Further, the order of ideas in the continuation of the passage is unperiodic, though the words are cast into the form of clauses and sections. For, after adding

In a place with a clear view round about,

we shall find him subjoining:

Massy and fair to behold,

which is a segment shorter than a clause. Next we find

Free on every side,

where the one Greek word (περίδρομος) by itself carries a certain meaning. And so on: we shall find him elaborating everything that follows in the same way. Why go into unnecessary detail?

From iambic poetry may be taken these lines of Euripides:—

Fatherland, ta’en by Pelops in possession, Hail![195]

Thus far the first clause extends.

And thou, Pan, who haunt’st the stormy steeps Of Arcady.[195]

So far the second extends.

Whereof I boast my birth.[195]

That is the third. The former are longer than a line; the last is shorter.

Me Auge, Aleus’ daughter, not of wedlock Bare to Tirynthian Heracles.[195]

And afterwards—

This knows Yon hill Parthenian.[195]

Not one of these corresponds exactly to a line. Then once more we find another clause which is from one point of view less than a line and from the other longer—

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ἔνθα μητέρ’ ὠδίνων ἐμὴν ἔλυσεν Εἰλείθυια

καὶ τὰ ἑξῆς τούτοις παραπλήσια.

ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲ κατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε 5 κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλει καὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁ ῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτε ἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷς εἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς 10 ἑαυτῆς ἀποδυρομένη τύχας·

ὅτε λάρνακι ἐν δαιδαλέᾳ ἄνεμός τε μιν πνέων <ἐφόρει> κινηθεῖσά τε λίμνα, δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς 15 ἀμφί τε Περσέϊ βάλλε φίλαν χέρα

5 ἄλλός τις P || κατεστεύασε P 6 ἀπετεῖ P || δὴ PM: δὲ V 7 κατὰ P: ταῦτα κατὰ MV 9 ἀντίστροφον PM: ἀντιστροφὴν V || λόγος εἰσειρόμενος P: λόγος οὑτωσὶ διειρόμενος MV 10 Δανάη] δ’ ἀν ἡ P 13 τέ μιν Schneidewinus: τε μὴν PM: τ’ ἐμῇ V || ἐφόρει ante μιν Bergkius inseruit, post πνέων Usenerus 14 τε Brunckius: δὲ PMV 15 ἤριπεν Brunckius: ἔριπεν P: ἔρειπεν MV || οὐκ Thierschius: οὐτ’ P: οὔτ’ MV

4. Bircovius points out that Hor. Carm. iii. 27. 33 ff. might be printed as continuous prose, thus: “quae simul centum tetigit potentem oppidis Creten: ‘Pater, o relictae filiae nomen, pietasque’ dixit ‘victa furore! unde quo veni? levis una mors est virginum culpae. vigilansne ploro turpe commissum, an vitiis carentem ludit imago vana, quae porta fugiens eburna somnium ducit?’” etc. The short rhymeless lines of Matthew Arnold’s Rugby Chapel might be run together in the same way, e.g. “There thou dost lie, in the gloom of the autumn evening. But ah! that word, gloom, to my mind brings thee back, in the light of thy radiant vigour, again; in the gloom of November we pass’d days not dark at thy side; seasons impair’d not the ray of thy buoyant cheerfulness clear. Such thou wast! and I stand in the autumn evening, and think of by-gone evenings with thee.” The word-arrangement from line to line is such that this passage might almost be read as prose, except for a certain rhythm and for an occasional departure from the word-order of ordinary prose.

5. =Aristophanes=: cp. note on =218= 19 supra.

8. Compare, for example, the last two stanzas, printed continuously, of Tennyson’s In Memoriam cxv.: “Where now the seamew pipes, or dives in yonder greening gleam, and fly the happy birds, that change their sky to build and brood, that live their lives from land to land; and in my breast spring wakens too; and my regret becomes an April violet, and buds and blossoms like the rest.”

11. =ἀποδυρομένη=: probably the Danaë was a θρῆνος, and in any case it illustrates, to the full, the “maestius lacrimis Simonideis” of Catullus (Carm. xxxviii. 8), or Wordsworth’s “one precious, tender-hearted scroll | Of pure =Simonides=.” Cp. also de Imitat. ii. 6. 2 καθ’ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ οἰκτίζεσθαι μὴ μεγαλοπρεπῶς ἀλλὰ παθητικῶς: and Quintil. x. 1. 64 “Simonides, tenuis alioqui, sermone proprio et iucunditate quadam commendari potest; praecipua tamen eius in commovenda miseratione virtus, ut quidam in hac eum parte omnibus eius operis auctoribus praeferant.”

12. Verse-translations of the Danaë will be found also in J. A. Symonds’ Studies of the Greek Poets i. 160, and in Walter Headlam’s Book of Greek Verse pp. 49-51. Headlam observes that the Danaë is a passage extracted from a longer poem, and that the best commentary on it is Lucian’s Dialogues of the Sea 12. Weir Smyth (Greek Lyric Poetry p. 321) remarks: “It must be confessed that, if we have all that Dionysius transcribed, he has proved his point [viz. that by an arrangement into διαστολαί the poetical rhythm can be so obscured that the reader will be unable to recognize strophe, antistrophe, or epode] so successfully that no one has been able to demonstrate the existence of all three parts of the triad. Wilamowitz (Isyllos 144) claims to have restored strophe (ἄνεμος ... δούρατι), epode (χαλκεογόμφῳ ... δεινὸν ἦν), and antistrophe (καὶ ἐμῶν ...); ὅτε ... δαιδαλέᾳ belonging to another triad. To accept this adjustment one must have faith in the extremely elastic ionics of the German scholar. Nietzsche, R. M. 23. 481, thought that 1-3 formed the end of the strophe, 4-12 the antistrophe (1-3 = 10-12). In v. 1 he omitted ἐν and read τ’ ἐμάνη πνείων with ἀλεγίζεις in 10, but even then the dactyls vary with spondees over frequently. By a series of reckless conjectures Hartung extricated strophe and antistrophe out of the lines, while Blass’ (Philol. 32. 140) similar conclusion is reached by conjectures only less hazardous than those of Hartung. Schneidewin and Bergk, adopting the easier course, which refuses all credence to Dionysius, found only antistrophe and epode; and so, doubtfully, Michelangeli; while Ahrens (Jahresber. des Lyceums zu Hannover, 1853), in despair, classed the fragment among the ἀπολελυμένα. Since verses 2-3 may = 11-12, I have followed Nietzsche, though with much hesitation. The last seven verses suit the character of a concluding epode.”

15. =ἤριπεν= = ἐξεπλάγη (same sense as Usener’s conjecture φρίττεν).

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where the Travail-queen From birth-pangs set my mother free.[196]

And similarly with the lines which follow these.

From lyric poetry the subjoined lines of Simonides may be taken. They are written according to divisions: not into those clauses for which Aristophanes or some other metrist laid down his canons, but into those which are required by prose. Please read the piece carefully by divisions: you may rest assured that the rhythmical arrangement of the ode will escape you, and you will be unable to guess which is the strophe or which the antistrophe or which the epode, but you will think it all one continuous piece of prose. The subject is Danaë, borne across the sea lamenting her fate:—

And when, in the carved ark lying, She felt it through darkness drifting Before the drear wind’s sighing And the great sea-ridges lifting, She shuddered with terror, she brake into weeping, And she folded her arms round Perseus sleeping;

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εἶπέν τ’· ὦ τέκος, οἷον ἔχω πόνον, σὺ δ’ ἀωτεῖς· γαλαθηνῷ δ’ ἤθεϊ κνοώσσεις ἐν ἀτερπέι δούρατι χαλκεογόμφῳ δίχα νυκτὸς ἀλαμπεῖ κυανέῳ τε δνόφῳ σταλείς. 5 ἅλμαν δ’ ὕπερθεν τεᾶν κομᾶν βαθεῖαν παριόντος κύματος οὐκ ἀλέγεις οὐδ’ ἀνέμου φθόγγον, πορφυρέᾳ κείμενος ἐν χλανίδι πρὸς κόλπῳ καλὸν πρόσωπον. εἰ δέ τοι δεινὸν τό γε δεινὸν ἦν, 10 καί κεν ἐμῶν ῥημάτων λεπτὸν ὑπεῖχες οὖας· κέλομαι, εὗδε βρέφος, εὑδέτω δὲ πόντος, εὑδέτω ἄμετρον κακόν. μεταβουλία δέ τις φανείη, Ζεῦ πάτερ, ἐκ σέο· 15 ὅ τι δὴ θαρσαλέον ἔπος εὔχομαι νόσφι δίκας, σύγγνωθί μοι.

τοιαῦτά ἐστι τὰ ὅμοια τοῖς καλοῖς λόγοις μέτρα καὶ μέλη, διὰ ταύτας γινόμενα τὰς αἰτίας ἃς προεῖπόν σοι.

τοῦθ’ ἕξεις δῶρον ἡμέτερον, ὦ Ῥοῦφε, “πολλῶν ἀντάξιον 20 ἄλλων,” εἰ βουληθείης ἐν ταῖς χερσί τε αὐτὸ συνεχῶς ὥσπερ

1 τέκος Athen. ix. 396 E: τέκνον PMV 2 σὺ δ’ ἀωτεῖς Casaubonus: οὐδ’ αυταις P: σὺ δ’ αὖτε εἷς Athen. (l.c.) 3 ἐγαλαθηνωδει θει P, V: γαλαθηνῷ δ’ ἤτορι Athen.: corr. Bergkius || κνοώσσεισ P, V: κνώσσεις Athen. 4 δούρατι Guelf.: δούνατι PM: δούναντι V || δίχα νυκτὸς ἀλαμπεῖ Us.: δενυκτι λαμπεῖ P, MV 5 σταλείς Bergkius: ταδ’ εἰσ P, MV 6 ἅλμαν δ’ Bergkius: αὐλεαν δ’ P, V: αὐλαίαν δ’ M 9 πρὸς κόλπῳ κ. πρ. Us.: πρόσωπον καλον πρόσωπον P: πρόσωπον καλὸν MV 10 ἦν Sylburgius: ἦι P: ἦ M: ἢ V 11 καί M: κἀί V: κε cum litura P || λεπτὸν s: λεπτῶν PMV 14 μαιτ(α)βουλία (i.e. μεταβουλία: cp. =90= 4 supra) P: μαιτ(α)βουλίου M: ματαιοβουλία V 17 νόσφι δίκας Victorius: ηνοφι δικασ P: ἣν ὀφειδίασ MV 19 προεῖπά PMV (cf. εἴπειεν P, Aristot. Rhet. 1408 a 32) 21 αὐτὸ Sylburgius: αὐτὰ PMV

4. =δίχα νυκτός=: cp. δίχα μελέτης τε καὶ γυμνασίας (=282= 4), which may be an unconscious echo of this passage. “To me the expression seems to indicate that Simonides took a view of the story different from the ordinary one, and imagined that the chest was not open or boat-like but closed over,—a ‘Noah’s ark.’ This would not have suited the vase-painters, but there is nothing inconsistent with it in the poem. Danaë does not speak of seeing the waves, nor of the wind ruffling the child’s hair, but only of ἀνέμου φθόγγον—she heard it. Hence I think the words imply—‘which, even apart from its being night, would be gloomy, and thou wert so launched forth in the darksome gloaming.’ She makes no reference to seeing the stars” (A. S. Way).

5. Schneidewin reads ταθείς.

7. =ἀλέγεις=: rarely constructed with the accusative case.

11. =ἐμῶν ῥημάτων=: constructio ad sensum with ὑπεῖχες οὖας (= ὑπήκουες).

12. =εὗδε βρέφος=: the βαυκάλημα (‘cradle-song, lullaby’) was familiar to the Greeks, and the mother does not forget it amid the perils of the sea. Cp. Theocr. xxiv. 7-9—

εὕδετ’ ἐμὰ βρέφεα γλυκερὸν καὶ ἐγέρσιμον ὕπνον· εὕδετ’ ἐμὰ ψυχά, δύ’ ἀδελφεώ, εὔσοα τέκνα· ὄλβιοι εὐνάζοισθε καὶ ὄλβιοι ἀῶ ἵκοισθε.

20. From Hom. Il. xi. 514, 515—

ἰητρὸς γὰρ ἀνὴρ πολλῶν ἀντάξιος ἄλλων ἰούς τ’ ἐκτάμνειν ἐπί τ’ ἤπια φάρμακα πάσσειν.

‘For more than a multitude availeth the leech for our need, When the shaft sticketh deep in the flesh, when the healing salve must be spread.’

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And “Oh my baby,” she moaned, “for my lot Of anguish!—but thou, thou carest not: Adown sleep’s flood is thy child-soul sweeping, Though beams brass-welded on every side Make a darkness, even had the day not died When they launched thee forth at gloaming-tide. And the surf-crests fly o’er thy sunny hair As the waves roll past—thou dost not care: Neither carest thou for the wind’s shrill cry, As lapped in my crimson cloak thou dost lie On my breast, little face so fair—so fair! Ah, were these sights, these sounds of fear Fearsome to thee, that dainty ear Would hearken my words—nay, nay, my dear, Hear them not thou! Sleep, little one, sleep; And slumber thou, O unrestful deep! Sleep, measureless wrongs; let the past suffice: And oh, may a new day’s dawn arise On thy counsels, Zeus! O change them now! But if aught be presumptuous in this my prayer, If aught, O Father, of sin be there, Forgive it thou.”[197]

Such are the verses and lyrics which resemble beautiful prose; and they owe this resemblance to the causes which I have already set forth to you.

Here, then, Rufus, is my gift to you, which you will find “outweigh a multitude of others,”[198] if only you will keep it in

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τι καὶ ἄλλο τῶν πάνυ χρησίμων ἔχειν καὶ συνασκεῖν αὑτὸν ταῖς καθ’ ἡμέραν γυμνασίαις. οὐ γὰρ αὐτάρκη τὰ παραγγέλματα τῶν τεχνῶν ἐστι δεινοὺς ἀγωνιστὰς ποιῆσαι τοὺς βουλομένους γε δίχα μελέτης τε καὶ γυμνασίας· ἀλλ’ ἐπὶ τοῖς πονεῖν καὶ κακοπαθεῖν βουλομένοις κεῖται σπουδαῖα εἶναι τὰ 5 παραγγέλματα καὶ λόγου ἄξια ἢ φαῦλα καὶ ἄχρηστα.

1 αὑτὸν ταῖς Us.: αὐτὸν ταῖσ P: αὐτὸ ταῖς M: αὐταῖς V 3 ἀγωνιστὰς Sylburgius: δεινοῦσ αν ταγωνιστασ sic P: ἀνταγωνιστὰς etiam MV 4 γε Us.: τε P: om. MV 5 βουλομένοις PM: om. V || σπουδαῖαν εἶναι (sic) P: ἢ σπουδαῖα εἶναι MV 6 Διονυσίου αλικαρνα(σεως) πε(ρὶ) συνθέσεως ὀνομάτων: ~ litteris maiusculis subscripsit P

2. The training meant would consist chiefly in that general reading of Greek authors which is indicated in this treatise or in the de Imitatione, and in Quintilian’s Tenth Book: it would carry out the precept “vos exemplaria Graeca | nocturna versate manu, versate diurna.” Afterwards would follow the technical and systematic study of style or eloquence, regarded as a preparation for public life.

3. =ἀγωνιστάς=: cp. note on =268= 29 supra and Plato Phaedr. 269 D τὸ μὲν δύνασθαι, ὦ Φαῖδρε, ὥστε ἀγωνιστὴν τέλεον γενέσθαι, εἰκός—ἴσως δὲ καὶ ἀναγκαῖον—ἔχειν ὥσπερ τἆλλα· εἰ μέν σοι ὑπάρχει φύσει ῥητορικῷ εἶναι, ἔσῃ ῥήτωρ ἐλλόγιμος, προσλαβὼν ἐπιστήμην τε καὶ μελέτην, ὅτου δ’ ἂν ἐλλείπῃς τούτων, ταύτῃ ἀτελὴς ἔσῃ.

4. The best Greeks and Romans at all times believed in work, and in genius as including the capacity for taking pains. Compare (in addition to the passage of the Phaedrus) Soph. El. 945 ὅρα· πόνου τοι χωρὶς οὐδὲν εὐτυχεῖ: Eurip. Fragm. 432 τῷ γὰρ πονοῦντι χὠ θεὸς συλλαμβάνει: Aristoph. Ran. 1370 ἐπίπονοί γ’ οἱ δεξιοί: Cic. de Offic. i. 18. 60 “nec medici, nec imperatores, nec oratores, quamvis artis praecepta perceperint, quidquam magna laude dignum sine usu et exercitatione consequi possunt”: Quintil. Inst. Or. Prooem. § 27 “sicut et haec ipsa (bona ingenii) sine doctore perito, studio pertinaci, scribendi, legendi, dicendi multa et continua exercitatione per se nihil prosunt.” See also note on page =264= supra.

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your hands constantly like any other really useful thing, and exercise yourself in its lessons daily. No rules contained in rhetorical manuals can suffice to make experts of those who are determined to dispense with study and practice. They who are ready to undergo toil and hardship can alone decide whether such rules are trivial and useless, or worthy of serious consideration.

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GLOSSARY

(INCLUDING TERMS OF RHETORIC, GRAMMAR, PROSODY, MUSIC, PHONETICS, AND LITERARY CRITICISM)

In the Glossary, as in the Notes, the following abbreviations are used:—

Long. = ‘Longinus on the Sublime.’ D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’ Demetr. = ‘Demetrius on Style.’

=ἀγεννής.= =90= 20, =170= 9, etc. Ignoble, mean: in reference to style. Lat. ignobilis, degener.

=ἀγοραῖος.= =262= 20. Vulgar, colloquial, mechanical. Lat. circumforaneus, circulatorius. Cp. Lucian de conscrib. hist. § 44 μήτε ἀπορρήτοις καὶ ἔξω πάτου ὀνόμασι μήτε τοῖς ἀγοραίοις τούτοις καὶ καπηλικοῖς.

=ἀγχίστροφος.= =212= 20. Quick-changing, flexible. Lat. mutabilis. Instances of its rhetorical use are cited in Long. p. 194. The word has more warrant as a term of rhetoric than ἀντίρροπος, which is given by F.

=ἀγωγή.= =68= 1, training. =194= 9, sequence, movement. =244= 24, cast, or tendency. Cp. some uses of Lat. ductus. Other examples in D.H. p. 184: to which may be added de Isocr. c. 12 and de Thucyd. c. 27; Macran’s Harmonics of Aristoxenus pp. 121, 143; Strabo xiv. 1. 41 παραφθείρας τὴν τῶν προτέρων μελοποιῶν ἀγωγήν, and (later) ἀπεμιμήσατο τὴν ἀγωγὴν τῶν παρὰ τοῖς κιναίδοις διαλέκτων καὶ τῆς ἠθοποιΐας.—In =124= 10 the adjective =ἀγωγός= is used (as in Eurip. Hec. 536, Troad. 1131) with the genitive in the sense provocative of, conducive to: cp. de Demosth. c. 55 ἃ δὴ τῶν τοιούτων ἔσται παθῶν ἀγωγά. [In Troad. 1131 Dindorf, ed. v., gives ἀρωγός without comment, against the MSS.]

=ἀγών.= =252= 2, =262= 23. Contest, pleading, trial. Lat. certamen, actio. Cp. Long. p. 194, D.H. p. 184, Demetr. p. 263.

=ἀδολέσχης.= =272= 19, 22. Garrulous. Lat. loquax. Cp. Demetr. p. 263.

=ἀηδής.= =100= 7, =124= 19, etc. Unpleasant, disagreeable. Lat. iniucundus, molestus. Similarly =ἀηδία=, =132= 21, =134= 14.

=ἀθρόος.= =222= 2. Compressed, concentrated. Lat. consertus, stipatus. In the passage specified it would seem that Dionysius compares the issue of the breath to the exit of people through a narrow door, whereby they are crowded together. The sound of p, which is under discussion, approaches whistling; and that is the maximum of breath-compression.

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=αἵρεσις.= =70= 15, =198= 3, 8, =246= 17. School, following. Lat. secta.

=αἴσθησις.= =130= 17, =134= 11, =152= 15, =218= 1. Sense, perception. Lat. sensus. So =αἰσθητός=, perceptible, =152= 22, =206= 6, etc.; and =αἰσθητῶς=, perceptibly, =126= 20, =202= 18.

=ἀκατάστροφος.= =232= 1. Without rounding or conclusion. Lat. idonei exitus expers. Used of a period which does not turn back upon itself—which is, in fact, not a περίοδος. Cp. the use of εὐκαταστρόφως in Demetr. de Eloc. § 10.

=ἀκατονόμαστος.= =208= 25. Unnamed, nameless. Lat. appellationis expers.

=ἀκέραστος.= =230= 18. Unmixed, or incapable of mixture. Lat. non permixtus, s. qui permisceri non potest.

=ἀκοή.= =70= 3, =118= 23, =146= 8, etc. The sense of hearing: ‘the ear.’ Lat. auditus. So =ἀκρόασις=, =116= 19, =198= 8, etc.

=ἀκόλλητος.= =218= 13. Uncompacted, or incapable of being compacted. Lat. non compactus, s. qui compingi non potest.

=ἀκολουθία.= =212= 22, =232= 20, =254= 17. Sequence, the orderly progression of words. Lat. consecutio, ordo, series. ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, =212= 22 = prone to anacolouthon. Cp. Long. p. 102, D.H. p. 184, Demetr. p. 263. Similarly =ἀκόλουθος= is used of what follows naturally, =130= 9, =228= 17, etc.

=ἀκόμψευτος.= =212= 23, =232= 21. Unadorned. Lat. incomptus. Used of a style which is sans recherche, sans parure. Cp. Cic. Orat. 24. 78 “nam ut mulieres esse dicuntur non nullae inornatae, quas id ipsum deceat, sic haec subtilis oratio etiam incompta delectat.”

=ἀκόρυφος.= =230= 31. Without a capital or beginning. Lat. sine fastigio, sine initio. Used of a period without a proper beginning and therefore imperfectly rounded: whereas true periods are εὐκόρυφοι καὶ στρογγύλαι ὥσπερ ἀπὸ τόρνου (de Demosth. c. 43).

=ἀκρίβεια.= =118= 10, =206= 8, =266= 11, etc. Exactitude, precision, finish. Lat. perfectio, absolutio, subtilitas. Used of an ars exquisita, a style soigné. So =ἀκριβής= =196= 15, and =ἀκριβοῦν= =94= 14 and =242= 9. Cp. D.H. p. 184, and Demetr. p. 264 (where the slightly depreciatory sense of ‘correctness,’ ‘nicety,’ is also illustrated: cp. C.V. =274= 22).

=ἀκροστόμιον.= =142= 17. The edge of the mouth or lips. Lat. summum os, labrorum margo. Cp. =148= 22 τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένης κατὰ τοὺς μετεώρους ὀδόντας.

=ἀκώλιστος.= =234= 23. Without members or clauses. Lat. sine membris. Used of a period not divided, or jointed, into clauses.

=ἀλήθεια.= =198= 26. Human experience. Lat. veritas vitae, usus rerum, vita, usus. The actual facts of life are meant, as opposed to the theories of the schools. Cp. de Isaeo c. 18 ὅτι μοι δοκεῖ Λυσίας μὲν τὴν ἀλήθειαν (‘the truth of nature,’ ‘a natural simplicity’) διώκειν μᾶλλον, Ἰσαῖος δὲ τὴν τέχνην.

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=ἄλογος.= =66= 18, =146= 14, =152= 15, =174= 2, 3, =206= 13, =244= 22. Irrational; unguided by reason; subconscious; incalculable; instinctive; spontaneous. Lat. rationis expers. With the use in =146= 14 (where the Epitome has ἀλάλου) may be compared the process by which ἄλογον in Modern Greek has come to mean ‘horse.’ With ἄλογος αἴσθησις in =152= 15 and =244= 22 cp. the use of “tacitus sensus” in Cic. de Orat. iii. 195 “omnes enim tacito quodam sensu sine ulla arte aut ratione quae sint in artibus ac rationibus recta ac prava diiudicant” and Orat. 60. 203 “aures ipsae tacito eum (modum) sensu sine arte definiunt”: see also de Lysia c. 11, de Demosth. c. 24, de Thucyd. c. 27. For the doctrine of ἀλογία in relation to metre see p. 154 supra and Goodell Greek Metric pp. 109 ff. (with references to Aristoxenus, Westphal, etc., pp. 150 ff.). The notion of incommensurability is, of course, present in the term: cp. Aristox. p. 292 ὥρισται δὲ τῶν ποδῶν ἕκαστος ἤτοι λόγῳ τινὶ ἢ ἀλογίᾳ τοιαύτῃ, ἥτις δύο λόγων γνωρίμων τῇ αἰσθήσει ἀνὰ μέσον ἔσται, which Goodell (p. 110) translates, “each of the feet is determined and defined either by a precise ratio or by an incommensurable ratio such that it will be between two ratios recognizable by the sense.”

=ἀμεγέθης.= =176= 11. Wanting in size or dignity. Lat. exilis. Cp. Long. de Sublim. xl. 2 οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ ἀμεγέθεις.

=ἄμετρος.= =74= 4, =176= 1, 21, etc. Unmetred, unmetrical. Lat. (oratio) soluta. It is interesting to note the variety of Dionysius’ expressions for ‘prose’ or ‘in prose’—λέξις ἄμετρος, λέξις πεζή, λέξις ψιλή, λόγος ἀποίητος, λόγοι ἄμετροι, λόγοι or λόγος simply (=272= 9, 13), δίχα μέτρου (=252= 20), λεκτικῶς (=258= 3), etc. Cp. Plato Rep. 366 E, 390 A, etc.

=ἀμορφία.= =184= 18, =198= 10. Unsightliness. Lat. deformitas. So =ἄμορφος= =92= 16.

=ἄμουσος.= =74= 11, =122= 19. Rude, uncultured. Lat. insulsus, illiteratus, infacetus.

=ἀμυδρός.= =206= 22. Faint, obscure. Lat. subobscurus.

=ἀμφίβολος.= =96= 17. Ambiguous. Lat. dubius, ambiguus, qui in duos pluresve sensus verti potest.

=ἀμφίβραχυς.= =172= 6, =184= 11. Amphibrachys. The metrical foot ᴗ – ᴗ.

=ἀναβολή.= =164= 5, =220= 13. Retardation. Lat. mora, intervallum. So =ἀναβάλλειν= =180= 15, =216= 18: cp. de Demosth. c. 54 (ταῦτ’ ἐσπευσμένως εἰπέ, ταῦτ’ ἀναβεβλημένως), and c. 43.

=ἀναισθησία.= =184= 21. Insensibility, stupidity. Lat. stupor. Compare =ἀναίσθητος= =190= 8, and see the editor’s Ancient Boeotians pp. 4-8.

=ἀνακοπή.= =164= 5, =230= 28, =232= 16. Stoppage, clashing. Lat. impedimentum, offensio. Fr. refoulement. Cp. _de Demosth._ c. 38, and also the verb =ἀνακόπτειν= =222= 9.

=ἀνάπαιστος.= =172= 10, etc. Anapaest. The metrical foot ᴗ ᴗ –.

=ἀνάπαυλα.= =196= 11. Rest, pause. Lat. mora, intermissio. The ‘reliefs’ afforded by variety of structure, etc., are meant.

=ἀναπλέκειν.= =264= 23. To bind up the hair. Lat. caesariem reticulo colligere.

=ἄναρθρος.= =212= 21. Without joints or articles. Lat. sine articulis.

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=ἀνδρώδης.= =174= 17. Manly, virile. Lat. virilis. Cp. de Demosth. cc. 39, 43, and Quintil. v. 12. 18.

=ἀνέδραστος.= =232= 4. Unsteady. Lat. instabilis. Used of a period which has no proper base or termination. The opposite of ἑδραῖος (Demetr. p. 277).

=ἀνεπιτήδευτος.= =84= 3, =212= 13, =260= 14. Unsought, unstudied. Lat. nullo studio delectus, non exquisitus. So =ἀνέκλεκτος= =84= 3: not picked with care.

=ἄνεσις.= =210= 5. Loosening. Lat. remissio. Cp. Plato Rep. i. 349 E ἐν τῇ ἐπιτάσει καὶ ἀνέσει τῶν χορδῶν πλεονεκτεῖν, and =ἀνίεται= =126= 5.

=ἀνθηρός.= =212= 22 (cp. =208= 26, =232= 25). Florid. Lat. floridus. Fr. fleuri. Cp. Quintil. xii. 10. 58 “namque unum [dicendi genus] subtile, quod ἰσχνόν vocant, alterum grande atque robustum, quod ἁδρόν dicunt, constituunt; tertium alii medium ex duobus, alii floridum (namque id ἀνθηρόν appellant) addiderunt.” ‘Florid’ (like ‘flowery’) has acquired rather a bad sense, whereas the Greek word suggests ‘flower-like,’ ‘full of colour,’ ‘with delicate touches and associations.’

=ἀντίθετος.= =246= 6. Antithetic (σχηματισμοὶ ... ἀντίθετοι). Cp. Demetr. pp. 266, 267, s.v. ἀντίθεσις.

=ἀντιστηριγμός.= =164= 6. Resistance, stumbling-block. Lat. impedimentum, obstaculum. Cp. de Demosth. c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ [ἡ αὐστῆρα ἁρμονία] βούλεται.

=ἀντίστροφος.= =174= 2, =194= 6, 9, 11, =278= 9. Corresponding, counterpart. Lat. respondens. Frequently used by Dionysius of the second stanza (ἀντιστροφή, =254= 18), sung by the Chorus in its counter-movement. Cp. schol. ad Aristoph. Plut. 253 μεταξὺ τῆς τε στροφῆς καὶ τῆς ἀντιστρόφου: and de Demosth. c. 50 κἄπειτα πάλιν τοῖς αὐτοῖς ῥυθμοῖς καὶ μέτροις ἐπὶ τῶν αὐτῶν στίχων ἢ περίοδων, ἃς ἀντιστρόφους ὀνομάζουσι, χρωμένη.

=ἀντιτυπία.= =202= 25, =222= 17, =224= 15, =230= 6, 232 6, =244= 25. Repulsion, clashing, dissonance. Lat. conflictio, asperitas. So the adjective =ἀντίτυπος= in =162= 23, =210= 20, etc. Hesychius, ἀντιτύποις· σκληροῖς.

=ἀντονομασία.= =70= 19, =102= 18. Pronoun. Lat. pronomen. In =108= 14 ἀντωνυμία is found; and this (the more usual) form should perhaps be read throughout.

=ἀνωμαλία.= =232= 19. Unevenness. Lat. inaequalitas. Fr. inégalité.

=ἀξίωμα.= =84= 1, =120= 23, =170= 2, =174= 19. Dignity. Lat. dignitas. Fr. dignité. In =96= 16 the sense is a proposition (pronuntiatum, Cic. Tusc. i. 7. 14; enuntiatio, Cic. de Fato 10. 20).—The adjective =ἀξιωματικός= (‘dignified’) occurs in =136= 11, =168= 6, etc., and the adverb =ἀξιωματικῶς= in =176= 24.—In =88= 13, =186= 7, =ἀξίωσις= = reputation, excellence.

=ἀπαγγελία.= =204= 18. Narration. Lat. narratio. Sometimes the word is used, like ἑρμηνεία, of style (elocutio) in general: cp. de Demosth. c. 25, and Chrysostom (in a passage which, as revealing the pupil of Libanius and as illustrating many things in the C.V., may be quoted at some length): ἐγὼ δὲ εἰ μὲν τὴν λειότητα Ἰσοκράτους ἀπῄτουν, καὶ τὸν Δημοσθένους ὄγκον, καὶ τὴν Θουκυδίδου σεμνότητα, καὶ τὸ Πλάτωνος ὕψος, ἔδει φέρειν εἰς μέσον ταύτην τοῦ Παύλου τὴν μαρτυρίαν. νῦν δὲ ἐκεῖνα μὲν πάντα ἀφίημι, καὶ τὸν περίεργον τῶν ἔξωθεν καλλωπισμόν, καὶ οὐδέν μοι φράσεως, οὐδὲ ἀπαγγελίας μέλει· ἀλλ’ ἐξέστω καὶ τῆ λέξει πτωχεύειν, καὶ τὴν συνθήκην τῶν ὀνομάτων ἁπλῆν τινα εἶναι καὶ ἀσφαλῆ, μόνον μὴ τῇ γνώσει τις καὶ τῇ τῶν δογμάτων ἀκριβείᾳ ἰδιώτης ἔστω (de Sacerdotio iv. 6).—The verb =ἀπαγγέλλειν= occurs in =200= 9, 11.

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=ἀπαρέμφατος.= =102= 20. Infinitive. Lat. infinitivus (sc. modus). [The infinitive, unlike the indicative and other moods, does not indicate difference of meaning by means of inflexions denoting number and person. Whence the Greek name: cp. παρεμφατικός, p. 315 infra.]

=ἀπαριθμεῖν.= =268= 8. To recount, to run over. Lat. percensere.

=ἀπαρτίζειν.= =194= 16. To round off, to complete. Lat. adaequare, absolvere. Cp. de Demosth. c. 50 καὶ μέτρα τὰ μὲν ἀπηρτισμένα καὶ τέλεια, τὰ δ’ ἀτελῆ: Ev. Luc. xiv. 28 τίς γὰρ ἐξ ὑμῶν, θέλων πύργον οἰκοδομῆσαι, οὐχὶ πρῶτον καθίσας ψηφίζει τὴν δαπάνην, εἰ ἔχει τὰ πρὸς ἀπαρτισμόν (completion); So κατὰ ἀπαρτισμόν, in =246= 18, means completely, absolutely, narrowly. In Classical Review xxiii. 82, the present writer has suggested that κατὰ ἀπαρτισμόν are the words missing in Oxyrhynchus Papyri vi. 116, where Grenfell and Hunt give ἐν πλάτει καὶ οὐ κ[.............]ν. θεωρητέα ἐστίν, or the like, may have preceded: cp. =152= 26 supra (and note).

=ἀπαρχαί.= =76= 2. Firstfruits. Lat. primitiae. Used here in connexion with the verb προχειρισάμενος, cum delibavero.

=ἀπατηλός.= =236= 10. Seductive. Lat. suavis et oblectans, illecebrosus.

=ἀπερίγραφος.= =232= 4. Not circumscribed. Lat. nullis limitibus circumscriptus.

=ἀπερίοδος.= =234= 23, =276= 1. Without a period. Lat. periodo non absolutus.

=ἀπευθύνειν.= =130= 1. To regulate. Lat. tamquam ad regulam dirigere.

=ἀπηνής.= =228= 15. Crabbed, rugged. Lat. durus.

=ἁπλοῦς.= =144= 8, 17, =176= 3. Simple, uncompounded. Lat. simplex.

=ἀποίητος.= =70= 4. In plain prose. Lat. prosaicus. Cp. s.v. ἄμετρος.

=ἀποκλείειν.= =144= 23. To shut off, to intercept. Lat. intercludere.

=ἀποκόπτειν.= =142= 8, =230= 19. To cut short. Lat. rescindere. So ἐξ =ἀποκοπῆς= (=142= 3) = with a snap, abruptly. See the exx. given, s.v. ἀποκοπή, in Demetr. p. 268.

=ἀποκυματίζειν.= =240= 22. To ruffle. Lat. reddere inquietum, fluctibus agitare.

=ἀπορριπίζειν.= =144= 24, =150= 1. To blow away. Lat. flatu abigere. In both these passages there is some manuscript support for ἀπορραπίζειν. In =144= 24 the sense (with ἀπορραπιζούσης) would be ‘to send out the breath in beats,’ ‘to cause the breath to vibrate.’

=ἀποτραχύνειν.= =218= 9, =230= 24. =To roughen.= Lat. exasperare.

=ἀργός.= =210= 22. Unwrought. Lat. rudis. In =250= 8 =ἀργία= is used for ‘idleness,’ with reference to the Epicurean attitude towards the refinements of style.

=ἄρθρον.= =70= 17. Article. Lat. articulus. See D.H. pp. 185, 186; Demetr. p. 269. ἄρθρον (‘joint’) and σύνδεσμος (‘sinew’ or ‘ligament’) are terms borrowed from anatomy.

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=ἀριθμοί.= =244= 27. Numbers, cadences. Lat. numeri, numeri oratorii. Cp. de Demosth. c. 53 φέρε γὰρ ἐπιχειρείτω τις προφέρεσθαι τούσδε τοὺς ἀριθμούς· Ὄλυνθον μὲν δὴ καὶ Μεθώνην κτλ. As Aristotle (Rhet. iii. 8. 2) says, περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά.

=ἀριστεῖα.= =182= 12. Lead, supremacy. Lat. primas (dare).

=Ἀριστοφάνειος.= =256= 13, =258= 9. Aristophanic. Lat. Aristophaneus. The reference is to the anapaestic tetrameter called ‘Aristophanic.’ Hephaestion (Ench. c. 8) explains the term thus: κέκληται δὲ Ἀριστοφάνειον, οὐκ Ἀριστοφάνους αὐτὸ εὑρόντος πρῶτον, ἐπεὶ καὶ παρὰ Κρατίνῳ ἐστί·

χαίρετε δαίμονες οἳ Λεβάδειαν Βοιώτιον οὖθαρ ἀρούρης· ἀλλὰ διὰ τὸ τὸν Ἀριστοφάνην πολλῷ αὐτῷ κεχρῆσθαι.

=ἁρμογή.= =112= 13, =218= 9, =236= 5, =270= 9. Junction, combination. Lat. coagmentatio.

=ἁρμονία.= =72= 6, 9, =74= 4, 10, 19, =84= 9, 15, =90= 5, =94= 15, =104= 19, =114= 14, 17, =116= 15, 20, passim. Adjustment, arrangement, balance, harmonious composition. Lat. apta structura, concinna orationis compositio, aptus ordo partium inter se cohaerentium. Fr. enchaînement. But, as distinguished from ἁρμογή or from σύνθεσις, ἁρμονία seems usually to connote ‘harmony’ in the more restricted (musical) sense of notes in fitting sequence: cp. our ‘arrangement’ of a song or piece of music. In fact, Dionysius’ three ἁρμονίαι might well be described as three ‘modes of composition,’ and ‘tune’ (the meaning which ἁρμονία bears in Aristot. Rhet. iii. 1. 4) might sometimes serve as a suitable rendering even in reference to literary composition or oratorical rhythm. The original use of the word in Greek carpentry (which employed dovetailing in preference to nails) finds an excellent illustration in the words of a contemporary of Dionysius, Strabo (Geogr. iv. 4): διόπερ οὐ συνάγουσι τὰς ἁρμονίας τῶν σανίδων, ἀλλ’ ἀραιώματα καταλείπουσιν. We have perhaps no single English word which can, like ἁρμονία, incline, according to the context, to the literal sense (‘a fitting,’ ‘a juncture’), or to the metaphorical meaning (‘harmony,’ as ‘harmony’ was understood by the Greeks); but see T. Wilson’s definition of ‘composition’ under σύνθεσις, p. 326 infra, and compare one of the definitions of ‘harmony’ in the New English Dictionary: “pleasing combination or arrangement of sounds, as in poetry or in speaking: sweet or melodious sound.”—The verb ἁρμόττειν is found in =98= 6, =104= 17, etc.

=ἀρρενικός.= =106= 21. Of the masculine gender. Lat. masculinus.

=ἀρτηρία.= =140= 21, =142= 4, =144= 5, 20, =148= 17. Windpipe. Lat. arteria.

=ἀρχαϊσμός.= =212= 23. A touch of antiquity. Lat. sermonis prisci imitatio. Cp. =ἀρχαϊκός=, =216= 20, =228= 8. So =ἀρχαιοπρεπῆ= σχήματα (=236= 8) = figurae orationis quae vetustatem redolent. As Quintilian (viii. 3. 27) says, “quaedam tamen adhuc vetera vetustate ipsa gratius nitent.” Cp. D.H. p. 186 (s.v. ἀρχαιοπρεπής) and Demetr. p. 269 (s.v. ἀρχαιοειδής): also de Demosth. c. 48.

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=ἀρχαί.= =136= 22, =140= 13. First beginnings. Lat. principia.

=ἄσεμνος.= =110= 20, =170= 20, =176= 12, =192= 11. Undignified. Lat. dignitatis expers, minime venerandus. Cp. D.H. p. 269.

=ἄσημος.= =256= 22, =262= 6. Unnoticed. Lat. obscurus.

=ἄσιγμος.= =148= 1. Without a sigma. Lat. carens littera sigma.

=ᾆσμα.= =196= 2. Song, lay. Lat. carmen, canticum.

=ἀσύμμετρος.= =124= 8, =236= 1. Incommensurable, disproportionate, incorrect. Lat. incommensurabilis, sine iusta proportione, inconcinnus. So =ἀσυμμετρία= =232= 19. Some good illustrations (drawn from Cicero) of constructions symétriques will be found in Laurand’s Études sur le style des discours de Cicéron pp. 118-21.

=ἀσύμμικτος.= =218= 12. Unblended, or incapable of being blended. Lat. non permixtus, s. qui permisceri non potest.

=ἀσύμφωνος.= =122= 23. Out of tune. Lat. dissonus.

=ἄτακτος.= =156= 20, =254= 16. Disordered, irregular. Lat. perturbatus, nullo ordine compositus, incompositus.

=ἀτοπία.= =130= 26. Awkwardness, clumsiness. Lat. rusticitas, ineptia.

=αὐθάδης.= =228= 9. Wilful, headstrong, unbending. Lat. ferox, pertinax. Cp. Long. de Subl. xxxii. 3 ὁ δὲ Δημοσθένης οὐχ οὕτως μὲν αὐθάδης ὥσπερ οὗτος (sc. ὁ Θουκυδίδης), κτλ.

=αὐθέκαστος.= =212= 23. Outspoken, downright. Lat. rigidus. In Plutarch’s Cato c. 6 Cato is described as ἀπαραίτητος ὢν ἐν τῷ δικαίῳ καὶ τοῖς ὑπὲρ τῆς ἡγεμονίας προστάγμασιν ὄρθιος καὶ αὐθέκαστος (cp. the rigida innocentia attributed to him by Livy xxxix. 40. 10). In Aristotle (Eth. Nic. iv. 7. 4) the αὐθέκαστος hits the mean between the ἀλαζών and the εἴρων.

=αὐλός.= =142= 2. Passage, channel. Lat. meatus.

=αὐστηρός.= =208= 26, =210= 15, =216= 17, 21, =228= 15, =232= 22, =248= 9. Austere, severe. Lat. severus (cp. Quintil. ix. 4. 97, 120, 128). Compare the antithetic expressions quoted from Dionysius in D.H. p. 186, and add de Demosth. c. 38 init. Also see s.v. στρυφνός, p. 323 infra.

=αὐτάρκης.= =212= 17, =282= 2. Sufficient, self-sufficing. Lat. sufficiens, per se sufficiens.

=αὐτίκα.= =98= 7, =194= 2, =256= 7, =268= 6. To begin with, for example. Lat. exempli gratia.

=αὐτόματος.= =256= 19. Self-acting, spontaneous. Lat. spontaneus, ultroneus. Cp. =αὐτομάτως= =212= 12; =αὐτοματίζειν= =204= 5; =αὐτοματισμός= =218= 3, =258= 1, 24. In =256= 19 ἐκ τοῦ αὐτομάτου = sponte sua, fortuito.

=αὐτοσχέδιος.= =212= 1, =260= 14, =262= 3. Improvised. Lat. fortuitus, extemporalis, inelaboratus, tumultuarius. So =αὐτοσχεδίως= =260= 25, and =αὐτοσχεδιάζειν= =256= 19 (πολλὰ γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις = multos versus sponte solet natura effundere). Cp. Demetr. p. 270 s.v. αὐτοσχεδιάζειν, and see σχέδιος p. 327 infra.

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=αὐτοτελής.= =118= 6, =140= 1. Complete in itself, absolute. Lat. perfectus, absolutus. So =αὐτοτελῶς= =140= 3. The meaning of the word is well illustrated by Diodorus Siculus xii. 1 init. οὔτε γὰρ τῶν νομιζομένων ἀγαθῶν οὐδὲν ὁλόκληρον εὑρίσκεται δεδομένον τοῖς ἀνθρώποις οὔτε τῶν κακῶν αὐτοτελὲς ἄνευ εὐχρηστίας.

=αὐτουργός.= =196= 15. Self-wrought, rudely wrought. Lat. rudis. Cp. de Demosth. c. 39 (as quoted s.v. συναπαρτίζειν, p. 325 infra).—The active sense of αὐτουργός finds a good illustration in Euripides’ well-known line: αὐτουργός, οἵπερ καὶ μόνοι σῴζουσι γῆν (Orest. 920).

=ἀφαίρεσις.= =104= 20, =114= 12, =116= 17. Deduction, abridgment. Lat. detractio. In =116= 17 τῆς ἀφαιρέσεως δὲ τίς (τρόπος) almost = ‘what is the nature of ellipsis?’ As line 18 shows, something necessary to the sense is supposed to be omitted: e.g. the presence of αὐτός in =116= 22 implies a contrast with ἕτερος (=118= 1).

=ἀφανίζειν.= =166= 10, =260= 1, =272= 2. To put out of sight. Lat. abscondere.

=ἀφελής.= =212= 14. Simple, plain. Lat. simplex, subtilis. Cp. D.H. p. 187.

=ἀφορμή.= =96= 23. Starting-point. Lat. initium, principium. Cp. Dionys. Hal. Antiq. Rom. i. 4 τῆς ἀοιδίμου γενομένης καθ’ ἡμᾶς πόλεως, ἀδόξους πάνυ καὶ ταπεινὰς τὰς πρώτας ἀφορμὰς λαβούσης.

=ἀφροδίτη.= =74= 13. Beauty. Lat. venustas, venus. Cp. de Lysia c. 11 ἐὰν δὲ μηδεμίαν ἡδονὴν μηδὲ ἀφροδίτην ὁ τῆς λέξεως χαρακτὴρ ἔχῃ, δυσωπῶ καὶ ὑποπτεύω μήποτ’ οὐ Λυσίου ὁ λόγος, καὶ οὐκέτι βιάζομαι τὴν ἄλογον αἴσθησιν: also c. 18 ibid.

=ἄφωνος.= =138= 13, =140= 3, =146= 5, =148= 11, 20, =220= 10. Voiceless, mute. Lat. vocis expers, mutus. From the standpoint of the modern science of phonetics, in which the term ‘voiceless’ is reserved for sounds that are not accompanied by a vibration of the vocal chords, it might be well in the translation of this word to substitute ‘non-vocalic’ for ‘voiceless,’ and ‘vocalic’ for ‘voiced.’

=ἄχαρις.= =110= 20, =146= 12. Graceless. Lat. invenustus.

=βαίνειν.= =86= 1. To scan. Lat. scandere. Cp. Aristot. Metaph. xiii. 6, 1093 a 30 βαίνεται δὲ [τὸ ἔπος] ἐν μὲν τῷ δεξιῷ ἐννέα συλλαβαῖς, ἐν δὲ τῷ ἀριστερῷ ὀκτώ.—In =236= 4 βεβηκώς is used of a firm, regular tread: Lat. incedere.

=βακχεῖος.= =174= 23, =180= 12, =182= 19. Bacchius. The metrical foot – – ᴗ.

=βαρύς.= =126= 6, 8, 10, 16, =128= 5, 8. Grave (accent), low (pitch). Lat. gravis. Cp. Monro Modes of Ancient Greek Music p. 113: “Our habit of using Latin translations of the terms of Greek grammar has tended to obscure the fact that they belong in almost every case to the ordinary vocabulary of music. The word for ‘accent’ (τόνος) is simply the musical term for ‘pitch’ or ‘key.’ The words ‘acute’ (ὀξύς) and ‘grave’ (βαρύς) mean nothing more than ‘high’ and ‘low’ in pitch. A syllable may have two accents, just as in music a syllable may be sung with more than one note.” So =βαρύτης= =126= 13 = ‘low pitch.’—In =120= 23 and =236= 8 =βάρος= = ‘gravity’ (in the sense of ‘dignity’), Fr. gravité.

=βάσις.= =142= 13, =210= 22, =212= 16, =220= 4, =230= 31, =232= 4, =234= 7. Base. Lat. basis, fundamentum.—The word is specially used of a measured step or metrical movement,—of a rhythmical clause in a period and particularly of its rhythmical close (Lat. clausula). In =230= 30 and =232= 5 it is the iambic endings προγεγενημένων and διανοούμενον that are considered objectionable (ἀνέδραστοι, ἀπερίγραφοι: endings such as πορείαν and ἀκουσάντων would be regarded as ἀσφαλεῖς, de Demosth. cc. 24, 26). Terminations of this kind will be avoided in a style (like the γλαφυρὰ σύνθεσις) which desires τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι,—desires that the chutes of the periods should be nombreuses.—Further light on the meaning of βάσις will be found in de Demosth. cc. 24, 39, 43, 45.

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=βοστρυχίζειν.= =264= 22. To curl, to dress the hair. Lat. crines calamistro convertere. Cp. the use of concinni in Cic. de Orat. iii. 25. 100.

=βούλεσθαι.= =220= 9, =234= 5, 14, 19, =236= 4, 7, etc. To aim, to aspire. Lat. studere. Cp. D.H. p. 187, Demetr. p. 271. This meaning (‘aims at being,’ ‘tends to be’) is, of course, Platonic and Aristotelian.

=βραχυσύλλαβος.= =168= 17. Consisting of short syllables. Lat. brevibus syllabis constans.

=βραχύτης.= =150= 22, =154= 6. Shortness. Lat. brevitas.

=γένεσις.= =138= 3. Origin. τὴν γένεσιν λαμβάνει = Lat. originem sumit.

=γενικός.= =68= 20, =118= 21, =208= 21. General, generic. Lat. generalis.

=γενναῖος.= =68= 4, =136= 13, =146= 10, =148= 9, =172= 1, =176= 9, 10. Noble. Lat. generosus. Such English renderings as ‘virile,’ ‘robust,’ ‘gallant,’ ‘splendid,’ ‘high-spirited’ may also be suggested. In Plato Rep. ii. 372 B μάζας γενναίας = ‘lordly cakes’; in Long. de Subl. xv. 7 οἱ γενναῖοι = ‘fine, grand, gallant fellows.’ Cp. C.V. =170= 9 =μαλακώτερος= θατέρου =καὶ ἀγεννέστερος=.

=γλαφυρός.= =136= 14, =208= 26, =212= 16, =216= 20, =232= 25, =248= 9. Smooth, polished, elegant. Lat. politus, ornatus, elegans. Fr. élégant, orné, poli. Cp. Demetr. p. 272, and de Isocr. c. 2 ὁ γὰρ ἀνὴρ οὕτος τὴν εὐέπειαν ἐκ παντὸς διώκει καὶ τοῦ =γλαφυρῶς= λέγειν στοχάζεται μᾶλλον ἢ τοῦ =ἀφελῶς=, and de Demosth. c. 40 ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη.

=γλυκαίνειν.= =130= 18, =134= 10, =154= 12. To touch with sweetness. Lat. delenire, voluptate perfundere. Cp. γλυκύτης =120= 21, γλυκύς =146= 9.

=γλυπτός.= =264= 18. Carven, chiselled. Lat. caelatus. So =γλυφή=, carving, =120= 1.

=γλῶττα.= =78= 17. An unfamiliar term. Lat. vocabulum inusitatum. So =γλωττηματικός=, =252= 23, =272= 11, and D.H. p. 187, s.v. Obsolete, or obsolescent, words (mots surannés) are often meant.—In =80= 17 γλῶττα = διάλεκτος (=88= 26).

=γοητεύειν.= =122= 16, =134= 13. To entice. Lat. pellicere.

=γράμμα.= =130= 21, =138= 5, etc. Letter of the alphabet. Lat. littera. =ἡ γραμματική= (=140= 11) = grammar; =γραμμαί= (=138= 2) = the lines, or strokes, from which γράμματα are formed. In =264= 18 γραπτός = written.

=γραφή.= =68= 12, =184= 18, =186= 1, =206= 23, =228= 12. Writing, composition (in the wider sense). In =118= 24 and =234= 13 γραφαί = pictures.

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=γυμνασία.= =206= 24, =282= 2, 4. Exercise, lesson. Lat. exercitatio. So =γυμνάζειν= (=134= 4), to practise, to train.

=δάκτυλος.= =84= 21, =172= 16, =202= 19. Dactyl. The metrical foot – ᴗ ᴗ.

=δασύς.= =148= 12, 13, 18, 19, =150= 3, 12. Rough, aspirated. Lat. asper. So =δασύτης= =148= 21, =150= 2 and =δασύνειν= =148= 8. Cp. Aristot. Poet. c. 20 for δασύτης and ψιλότης, and see A. J. Ellis English, Dionysian, and Hellenic Pronunciations of Greek pp. 45, 46, where δασύς and ψιλός are translated by ‘rough’ and ‘smooth,’ which seems the safest course to follow when (as here) the terminology of Dionysius’ phonetics is full of difficulties. Aristotle (De audibilibus 804 b 8) defines thus: δασεῖαι δ’ εἰσὶ τῶν φωνῶν ὅσαις ἔσωθεν τὸ πνεῦμα εὐθέως συνεκβάλλομεν μετὰ τῶν φθόγγων, ψιλαὶ δ’ εἰσὶ τοὐναντίον ὅσαι γίγνονται χωρὶς τῆς τοῦ πνεύματος ἐκβολῆς.

=δαψιλής.= =108= 11. Plentiful. Lat. abundans.

=δεῖγμα.= =200= 4, =208= 3, =214= 13, =228= 17. Sample. Lat. exemplum.

=δεινότης.= =182= 13, =264= 12. Oratorical mastery. Lat. facultas dicendi, eloquentia. So =δεινός= =282= 3: see also =182= 3. Cp. D.H. pp. 187, 188; Demetr. pp. 273, 274.

=δεξιῶς.= =80= 14, =92= 20. Deftly. Lat. sollerter, feliciter. In =80= 14 σφόδρα δεξιῶς = ‘with great dexterity, or adroitness,’ ‘with great delicacy of touch.’

=δεσμός.= =148= 17. Fastening. Lat. vinculum.

=δηλωτικός.= =158= 2. Indicative of. Lat. significans.

=δημηγορία.= =110= 22, =252= 2. A public discourse, or harangue. Lat. contio. Cp. D.H. p. 188.

=δημιούργημα.= =64= 8, =120= 1. A piece of workmanship. Lat. opus, opificium. So δημιουργικός (‘industrial’) =104= 23. Cp. D.H. p. 274. Quintil. (ii. 15. 4) translates πειθοῦς δημιουργός by persuadendi opifex.

=διαβεβηκέναι.= =172= 3, =202= 16, =212= 1, =216= 18, =218= 23, =222= 23, =244= 19. To have a mighty stride, _to be planted wide apart_. Lat. latis passibus incedere. Fr. _marcher à grands pas_. In =202= 17, 20, =218= 23, and =222= 23 the noun =διάβασις= is used with reference to the intervals which long syllables and clashing consonants make in pronunciation by retarding the utterance. The μεγάλα τε καὶ διαβεβηκότα εἰς πλάτος ὀνόματα of =212= 1 are _les grands mots à larges allures_.

=διάθεσις.= =154= 14, =160= 18. Condition, arrangement. Lat. affectus, dispositio.

=διαιρεῖν.= =180= 17, =184= 5, =194= 15, =218= 20, 21, =272= 17. To divide, to resolve. Lat. seiungere, resolvere. So =διαίρεσις= =122= 8, =138= 1, =272= 7.

=διακεκλάσθαι.= =172= 7. To be broken or enervated. Lat. frangi, corrumpi, in delicias effundi. Cp. similar uses of διαθρύπτεσθαι. In de Demosth. c. 43 ῥυθμοὶ διακλώμενοι are opposed to ῥυθμοὶ ἀνδρώδεις.

=διακλέπτειν.= =176= 19. To disguise. Lat. obscurare, occulere.

=διακόπτειν.= =268= 15. To cut short, to silence. Lat. praecidere.

=διακοσμεῖν.= =218= 20. To arrange. Lat. ordinare.

=διακρούειν.= =230= 17. To break into. Lat. interrumpere.

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=διαλαμβάνειν.= =72= 10, =166= 17, =180= 12, =184= 14, =270= 20, =272= 2. To divide, to diversify. Lat. distinguere.

=διαλέγεσθαι.= =208= 9. To write in prose. Lat. soluta oratione uti.

=διάλειμμα.= =204= 1. A pause. Lat. intermissio.

=διάλεκτος.= =78= 16, =80= 3, 16, =88= 26, =126= 3, =160= 14, =168= 8, =208= 19, =246= 7. Language. Lat. sermo. Sometimes used with special reference to a ‘dialect,’ as in =80= 16, =88= 26 (so τὴν Ἀτθίδα γλῶτταν =80= 17 = τὴν Ἀτθίδα διάλεκτον de Demosth. c. 41); and in other passages, with much the same sense as λέξις (elocutio).—In =68= 9, =94= 10, 14, =96= 15, =104= 1, the adjective =διαλεκτικός= means ‘pertaining to dialectic.’

=διαλλαγή.= =126= 1. Difference. Lat. differentia. So =διαλλάττειν=, =92= 19, =150= 2, =152= 29.

=διάλογος.= =198= 1, =264= 22. Dialogue. Lat. dialogus. Cp. Demetr. p. 274.

=διαλύειν.= =132= 9, =272= 1. To break up, to resolve. Lat. dissolvere. So =διάλυσις= =138= 4.

=διαναπαύειν.= =134= 17. To relieve, to break up. Lat. diluere.

=διάνοια.= =74= 7, 16, =112= 21. Mind, thought. Lat. mens, cogitatio.

=διὰ πέντε.= =126= 4, 17. The interval of a fifth. Lat. diapente, quinque tonorum intervallum. So =διὰ πασῶν= =126= 18, of the octave.

=διαποικίλλειν.= =214= 8, =248= 10, =254= 18. To variegate. Lat. depingere, distinguere.

=διαρτᾶν.= =206= 6. To separate, to break up. Lat. seiungere. Cp. de Demosth. c. 40 ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας.

=διασαλεύειν.= =102= 21, =230= 9, =240= 13. To shake (as by storm), to disturb. Lat. perturbare, concutere. In =230= 9 and =240= 13 the reference is to troubling the smooth waters of the cadences by sounds that jolt and jar.

=διασπᾶν.= =222= 19, =230= 24. To dislocate. Lat. divellere. Cp. Demetr. p. 274, s.v. διασπασμός, and Quintil. ix. 4. 33 “tum vocalium concursus; qui cum accidit, hiat et intersistit et quasi laborat oratio.”

=διάστασις.= =206= 3, 5, =210= 18. Distance. Lat. distantia.

=διάστημα.= =126= 3, 16, =270= 12. Interval. Lat. spatium, intervallum.

=διαστολή.= =278= 5, 7. Division. Lat. divisio. By διαστολαί (which he opposes to metrical cola) Dionysius means the natural divisions, or pauses, observed in prose in order to bring out the sense and to secure good delivery, in accordance with the requirements of grammar and rhetoric. Cp. the later use of διαστολή for division by means of a comma—for punctuation, as we should say.

=διατέμνειν.= =270= 13. To cut up. Lat. discindere, concidere.

=διατιθέναι.= =130= 5, 15, =134= 8, 11. To affect. Lat. adficere.

=διάτονος.= =194= 8, =196= 4. Diatonic. Lat. diatonicus. For the diatonic scale see n. on =194= 8.

=διαφορά.= =68= 21, =152= 14, etc. Difference, variety. Lat. differentia.

=διαχάλασμα.= =230= 24. Loosening. Lat. resolutio. Cp. Epicrates (ap. Athen. xiii. 570 B) on Lais in her old age: ἐπεὶ δὲ δολιχὸν τοῖς ἔτεσιν ἤδη τρέχει | τὰς ἁρμονίας τε διαχαλᾷ τοῦ σώματος.

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=διελκυσμός.= =204= 3. Struggle, tussle. Lat. luctatio. Cp. argum. Aristoph. Acharn. εἶτα γενομένου διελκυσμοῦ κατενεχθεὶς ὁ χορὸς ἀπολύει τὸν Δικαιόπολιν, i.e. “a tussle (wrangle) arises, in which the Chorus is overborne and lets go Dicaeopolis.”

=διέξοδος.= =150= 1. Outlet, egress. Lat. exitus.

=διερείδειν.= =220= 3. To thrust apart. Lat. disiungere. The object of the thrusting apart (or separation) is to give each word a firm position (as with the combination of strut and tie in Caesar’s bridge over the Rhine, for which see E. Kitson Clark in Classical Review xxii. 144-147). So =διερεισμός= =222= 10, =224= 14. In =202= 9 =διερείδεσθαι= = conniti.

=δίεσις.= =126= 20. A quarter-tone, or any interval smaller than a semitone. Lat. diesis. As to the reason for the disappearance of the quarter-tone from our modern musical system see n. on =194= 7 (extract from Macran’s Harmonics of Aristoxenus). See, further, L. and S., s.v. δίεσις and λεῖμμα. The word occurs also in de Lys. c. 11 ὥστε μηδὲ τὴν ἐλαχίστην ἐν τοῖς διαστήμασι δίεσιν ἀγνοεῖν. Suidas defines δίεσις as τὸ ἐλάχιστον μέτρον τῶν ἐναρμονίων διαστημάτων. Cp. Vitruv. de Arch. v. 3.

=διευκρινεῖν.= =208= 4. To determine. Lat. diiudicare.

=διευστοχεῖν.= =124= 17. To go straight to the mark. Lat. recta ad scopum tendere. For the genitive cp. Polyb. ii. 45 (of Aratus) ἄνδρα δυνάμενον πάσης εὐστοχεῖν περιστάσεως.

=διηνεκής.= =142= 2. Unbroken, uninterrupted. Lat. continuus, perpetuus.

=διθυραμβοποιός.= =194= 23. Writer of dithyrambs. Lat. dithyrambicus poëta. Cp. D.H. p. 188, s.v. διθύραμβος.

=διιστάναι.= =144= 4, =202= 17, =204= 21, =206= 4, =222= 5, =224= 8, =236= 6. To keep apart. Lat. diducere. Cp. Diog. Laert. iv. 6 ἦν δὲ [ὁ Ἀρκεσίλαος] ἐν τῇ λαλιᾷ διαστατικὸς τῶν ὀνομάτων, i.e. distinct in his enunciation. In =230= 17 διέστακεν = διέσπακεν.

=δίκαιος.= =224= 2, 10. Legitimate, regular. Lat. iustus. The normal measure of a long syllable is meant.

=δικανικός.= =112= 11, =252= 2. Forensic. Lat. iudicialis, forensis.

=διορίζειν.= =218= 16. To separate by a boundary. Lat. disterminare.

=διοχλεῖν.= =116= 19, =122= 18. To distress. Lat. sollicitare.

=διπλοῦς.= =144= 9, 10, 15. Double, compound. Lat. duplex. Cp. Demetr. p. 276.

=δισύλλαβος.= =126= 13, =168= 12, =170= 14, =202= 14. Disyllabic. Lat. disyllabus. αἱ δισύλλαβοι (λέξεις) = disyllables.

=δίχρονος.= =140= 17, 19, =142= 1, 6, =150= 18. Double-timed, doubtful, common. Lat. communis, anceps.

=δόξα.= =134= 4. Opinion, personal judgment. Lat. opinio. Opposed to ἐπιστήμη.

=δύναμις.= =72= 25, 26, =130= 22, 23, =134= 17, =136= 20, etc. Power, faculty, function. Lat. potentia, facultas. Used, more than once in this treatise, of ‘phonetic value’ or ‘effect.’ Fr. valeur. In =266= 7 τῆς ἑαυτοῦ δυνάμεως denotes ‘mental powers,’ τῆς ἑαυτοῦ διανοίας being used in the parallel passage of de Demosth. c. 51.

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=δυσειδής.= =144= 4. Ungraceful. Lat. deformis.

=δυσέκφορος.= =132= 2, =162= 5, 16, =232= 15. Hard to pronounce. Lat. difficilis pronuntiatu. Cp. =δυσεκφόρητος= in =220= 13.

=δυσηχής.= =162= 15. Ill-sounding. Lat. ingratus auditu. [According to Sauppe’s conjecture on p. 163 n.: cp. δυσηχές =144= 4, as given by PMV.]

=δυσπερίληπτος.= =206= 23. Not easily included. Lat. qui facile includi nequit.

=δυσχέρεια.= =134= 24, =168= 3. Offensiveness. Lat. molestia.

=δυσωπεῖσθαι.= =134= 21. To be shy of. Lat. prae pudore reformidare. The active voice is found in de Lys. c. 11.

=Δώριος.= =196= 1. Dorian. Lat. Dorius, Doricus. Cp. Monro’s Modes of Ancient Greek Music, passim.

=ἐγγίζειν.= =144= 16. To approach. Lat. appropinquare.

=ἐγκάθισμα.= =202= 25, =232= 16. Dwelling on a syllable, prolongation. Lat. sessio, mora vocis tamquam considentis. Fr. temps d’arrêt. Cp. de Demosth. c. 43 ἐν τούτοις γὰρ δὴ τά τε φωνήεντα πολλαχῇ συγκρουόμενα δῆλά ἐστι καὶ τὰ ἡμίφωνα καὶ ἄφωνα, ἐξ ὧν στηριγμούς τε καὶ ἐγκαθισμοὺς αἱ ἁρμονίαι λαμβάνουσι καὶ τραχύτητας αἱ φωναὶ συχνάς.

=ἐγκαταπλέκειν.= =134= 12. To interweave. Lat. innectere. The uncompounded =πλέκειν= occurs in =154= 9.

=ἐγκατάσκευος.= =182= 7. Highly-wrought. Lat. =elaboratus=. Cp. Demetr. de Eloc. § 15 οὕτω γὰρ καὶ ἐγκατάσκευος ἔσται (ὁ λόγος) καὶ ἁπλοῦς ἅμα, καὶ ἐξ ἀμφοῖν ἡδύς, καὶ οὔτε μάλα ἰδιωτικὸς οὔτε μάλα σοφιστικός. See, further, D.H. pp. 189, 194, and Demetr. p. 276.

=ἔγκλισις.= =108= 3, =264= 5. Mood (of verb). Lat. modus. Cp. de Demosth. c. 52 γένη, πτώσεις, ἀριθμούς, ἐγκλίσεις. In =102= 19 τῶν ἐγκλινομένων = ‘derivative, or secondary, forms.’

=ἐγκοπή.= =220= 13. Hindrance, interruption. Lat. impedimentum. Cp. Ep. i. ad Cor. ix. 12 ἵνα μὴ ἐγκοπήν τινα δῶμεν τῷ εὐαγγελίῳ τοῦ Χριστοῦ. [In Long. de Subl. xli. 3 κατ’ ἐγκοπάς seems to refer to notches or incisions as made by carpenters in dovetailing.]

=ἐγκύκλιος.= =262= 20. Broad, general (of education). Lat. orbis doctrinae. (Quintil. i. 10. 1.) Wilamowitz-Moellendorff Greek Historical Writing p. 15: “At latest in the school of Posidonius—and I think a little earlier—the so-called ἐγκύκλιος παιδεία, or ‘universal instruction,’ was formed into a system which has continued to our own Universities in the form of ‘the seven liberal arts.’ The study of history has no place in it; astronomy, architecture, and medicine have.”

=ἕδρα.= =108= 4, =234= 2, =244= 18. Position, foundation. Lat. sedes. Cp. Demetr. p. 277. So =ἑδράσαι= =106= 7, =ἀνέδραστος= =232= 4, =δύσεδρος= =106= 8, =εὔεδρος= =106= 9.

=εἰδικός.= =208= 12, =246= 19. Specific. Lat. specialis.

=εἰκαῖος.= =74= 10. Random, casual. Lat. temerarius.

=εἰκών.= =124= 20. Illustration. Lat. similitudo.

=εἰλικρινῶς.= =220= 11. Completely, with no alloy. Lat. sincere.

=εἰσαγωγή.= =114= 9. Introduction. Lat. praefatio.

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=ἐκλογή.= =68= 4, 12, =74= 15, =78= 8, =182= 6, =200= 15, =246= 13, =252= 27. Choice. Lat. delectus. The ἐκλογή of words is constantly contrasted with their σύνθεσις. Cp. =ἐκλέγειν= =74= 9, =182= 3.

=ἐκλογίζεσθαι.= =200= 6. To consider fully. Lat. expendere, percensere.

=ἐκμαλάττειν.= =134= 10. To soften. Lat. emollire, mulcere.

=ἐκμάττεσθαι.= =250= 14. To take the impress of. Lat. exprimere, imitari. Cp. de Demosth. c. 4 τὴν ἐπίθετον καὶ κατεσκευασμένην φράσιν τῶν περὶ Γοργίαν ἐκμέμακται, and c. 13 τὸν Λυσιακὸν χαρακτῆρα ἐκμέμακται εἰς ὄνυχα (i.e. ad unguem, ad amussim).

=ἐκμέλεια.= =124= 1. False note. Lat. dissonantia.

=ἐκμιμεῖσθαι.= =70= 4. To copy. Lat. imitari, imitando effingere.

=ἐκπληροῦν.= =212= 15. To fill out, to round off. Lat. orbem orationis implere.

=ἔκστασις.= =156= 20. Astonishment. Lat. stupor. Cp. Ev. Marc. xvi. 8 εἶχε δὲ αὐτὰς τρόμος καὶ ἔκστασις.

=ἔκτασις.= =204= 3, =268= 19. Stretching, lengthening. Lat. productio. Cp. Demetr. p. 277.

=ἐκτείνειν.= =140= 18, =142= 10. To lengthen, to prolong. Lat. producere.

=ἐκφαίνειν.= =154= 22. To reproduce. Lat. referre.

=ἐκφανής.= =246= 1. Prominent. Lat. conspicuus.

=ἐκφέρειν.= =68= 12, =84= 6, =94= 10, 15, =106= 19, =108= 3, =112= 9, =114= 1, =116= 24, =118= 6, 15, etc. To utter, to produce: with various cognate meanings. Lat. edere, promere.

=ἐκφορά.= =112= 15, =142= 7. Utterance. Lat. pronuntiatio.

=ἐκφωνεῖν.= =140= 5. To pronounce. Lat. pronuntiare. Cp. Demetr. p. 278.

=ἐλάττωσις.= =156= 22. Curtailment. Lat. imminutio.

=ἐλεγειακός.= =256= 23. Elegiac. Lat. elegiacus. Coupled with πεντάμετρον.

=ἐλεύθερος.= =212= 9. Unfettered. Lat. liber. Epithet applied to κῶλα.

=ἐμπερίοδος.= =118= 15. In periods, periodic. Lat. periodo inclusus.

=ἐμφαίνειν.= =110= 19, =212= 13, =228= 7, =254= 17, 21. To indicate. Lat. indicare, ostendere.

=ἐναγώνιος.= =90= 6, =198= 1. Forensic. Lat. forensis. With some notion of combative, incisive, vehement. Cp. δικανικός, p. 196 supra.

=ἔναρθρος.= =136= 22. Articulate. Lat. articulatus.

=ἐναρμόνιος.= =194= 7, =196= 3, 11. Enharmonic. Lat. enarmonicus. For the enharmonic scale see note on =194= 7.—In =108= 10 and =196= 11 the word is used in a less restricted sense. Cp. de Demosth. c. 24 νῦν μὲν γὰρ δυσὶ περιλαμβανομένη κώλοις σύμμετρός ἐστι [ἡ περίοδος] καὶ ἐναρμόνιος καὶ στρογγύλη καὶ βάσιν εἴληφεν ἀσφαλῆ.

=ἐνδεχομένων.= =96= 17. Admissible. Lat. licitus.

=ἐνεξουσιάζειν.= =196= 5: see n. ad loc.

=ἐνέργεια.= =204= 1, =268= 5. Activity. Lat. actio.

=ἑνικῶς.= =106= 18. In the singular number. Lat. singulariter.

=ἔντεχνος.= =134= 2, =272= 21, 23. According to the rules of art, artistic, systematic. Lat. artificiosus.

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=ἑξάμετρος.= =194= 3. Of six measures, hexameter (line: στίχος). Lat. hexameter.

=ἑξάπους.= =84= 21. Of six feet. Lat. sex constans pedibus.

=ἕξις.= =66= 1, =122= 24, =268= 4, 11, 26. State or habit (of body or mind); skill based on practice. Lat. habitus, habilitas, peritia.

=ἐπαγγέλλεσθαι.= =94= 9. To profess to teach a subject. Lat. profiteri.

=ἐπαγωγός.= =162= 2. Conducive to. Lat. aptus ad inducendum. For the genitive cp. s.v. ἀγωγή, p. 285 supra.

=ἐπανθεῖν.= =198= 10. To bloom. Lat. efflorescere.

=ἐπεισόδιον.= =196= 24. Pleasure-giving addition, episode. Lat. episodium.

=ἐπιγραφή.= =96= 13, =104= 4. Title. Lat. inscriptio.

=ἐπιδείκνυσθαι.= =162= 2, =228= 9, =254= 1. To make a display of. Lat. prae se ferre, ostentare.

=ἐπιθαλάμιον= (sc. ποίημα). =258= 7. Bridal song. Lat. epithalamium.

=ἐπίθετον.= =102= 17. An addition, epithet, adjective (‘the qualifier,’ Puttenham’s sixteenth-century Arte of English Poesie). Lat. ad nomen adiunctum, appositum (Quintil. viii. 3. 43; 6. 29). The ἐπίθετον seems to be regarded by Dionysius as a separate part of speech: cp. Steinthal Geschichte der Sprachwissenschaft bei den Griechen und Römern ii. p. 251 “Was das ἐπίθετον, das Adjectivum betrifft: so ist es im Alterthum vielleicht von Niemandem, höchstens aber nur von dem einen oder andren Grammatiker zum besonderen Redetheil gemacht.”

=ἐπικίνδυνος.= =80= 13. Hazardous. Lat. periculosus. Aventuré would perhaps be a better French equivalent, in this context, than risqué.

=ἐπίκοινος.= =150= 4. Common (i.e. belonging equally to both). Lat. communis.

=ἐπικός.= =214= 2, =274= 7. Epic. Lat. epicus. ἐπικὴ ποίησις = epic poetry.

=ἐπικρύπτειν.= =134= 16, =198= 10. To hide, to veil. Lat. occultare.

=ἐπιλαμπρύνειν.= =144= 2. To make crisp and clear. Lat. clarum reddere. Cp. Plut. Mor. 912 C καὶ οἱ βάτραχοι, προσδοκῶντες ὄμβρον, ἐπιλαμπρύνουσι τὴν φωνὴν ὑπὸ χαρᾶς.

=ἐπίρρημα.= =70= 21. Adverb. Lat. adverbium.

=ἐπισκοτεῖν.= =134= 14, =260= 1. To overshadow. Lat. obscurare.

=ἐπίστασις.= =68= 1. Attention. Lat. cura. Cp. ἀνεπιστάτως, heedlessly, =74= 6: so Long. de Subl. xxxiii. 4 ὑπὸ μεγαλοφυΐας ἀνεπιστάτως παρενηνεγμένα, ‘introduced with all the heedlessness of genius.’

=ἐπιστήμη.= =104= 15, =110= 8, =124= 5, 21, =134= 3. Knowledge, science. Lat. scientia.

=ἐπίτασις.= =210= 5. Tightening. Lat. intentio.

=ἐπιτάφιος.= =116= 2, =178= 1, =180= 8. Funeral speech (sub. λόγος). Lat. oratio funebris.

=ἐπιταχύνειν.= =204= 8, 22. To quicken. Lat. accelerare.

=ἐπιτείνειν.= =126= 4. To raise the pitch. Lat. intendere.

=ἐπιτερπής.= =228= 12. Delightful. Lat. iucundus.

=ἐπιτετηδευμένως.= =260= 25. Deliberately. Lat. de industria. Cp. ἐπιτηδεύειν =136= 18, and ἀνεπιτήδευτος (p. 288 supra).

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=ἐπιτήδευσις.= =70= 6, =212= 19. Pains, study. Lat. studium, industria.

=ἐπιτρόχαλος.= =180= 14. Running, tripping. Lat. velox, volubilis. Cp. de Demosth. c. 40 ἐπιτρόχαλος δή τις γίνεται καὶ καταφερὴς ἡ ῥύσις τῆς λέξεως, ὥσπερ κατὰ πρανοῦς φερόμενα χωρίου νάματα μηδενὸς αὐτοῖς ἀντικρούοντος.—In Hom. Il. iii. 213 ἐπιτροχάδην = trippingly, unfalteringly.

=ἐπιτυχής.= =268= 13. Successful. Lat. voti compos.

=ἐπιφέρειν.= =88= 16. To quote. Lat. citare, laudare, proferre. Cp. Demetr. p. 281.

=ἐποποιός.= =194= 2, =236= 15. Epic poet. Lat. poëta epicus. So τὰ ἔπη (=270= 19) = versus epici.

=ἐποχή.= =204= 2. Delay, suspense. Lat. impedimentum, retentio.

=ἐπῳδός.= =194= 12, =278= 9. After-song, coda, epode. In this sense (that of the part of a lyric ode which is sung after the strophe and antistrophe) the word is feminine. In =194= 20, if the masculine ὀλίγοις is rightly read, the special meaning of ἐπῳδός will be refrain, burden: a meaning somewhat nearer that of the Latin epodos.

=ἐρείδειν.= =142= 13. To thrust. Lat. trudere. So ἔρεισις =204= 4. In =210= 16 ἐρείδεσθαι = to be firmly planted.

=ἑρμηνεία.= =66= 18, =76= 9, =78= 19, =84= 11, =172= 17, =182= 5. Expression, style. Lat. elocutio. The word appears in the title of the treatise περὶ ἑρμηνείας which passes under the name of Demetrius. So =ἑρμηνεύειν= (to express) in =76= 9, =186= 18, =204= 8, =260= 20. Cp. Demetr. p. 282 (s.v. ἑρμηνεία and ἑρμηνεύειν).

=ἐτυμολογία.= =160= 6. Etymology: with reference to Plato’s Cratylus. For Latin equivalents cp. Quintil. i. 6. 28 “etymologia, quae verborum originem inquirit, a Cicerone dicta est notatio, quia nomen eius apud Aristotelem invenitur σύμβολον, quod est nota; nam verbum ex verbo ductum, id est veriloquium, ipse Cicero, qui finxit, reformidat. sunt qui vim potius intuiti originationem vocent.”

=εὐγενής.= =136= 11, =178= 14, 21, =180= 3. Well-born, noble. Lat. generosus. So =εὐγενεία= =192= 8. The εὐγενής is not necessarily γενναῖος (Aristot. Rhet. ii. 15. 3).

=εὔγλωσσος.= =70= 2. Pleasant on the tongue. Lat. suavis.

=εὔγραμμος.= =230= 31, =246= 3. Well-drawn, well-defined. Lat. definitus.

=εὐγώνιος.= =210= 22. Four-square. Lat. qui angulis rectis constat, quadratus.

=εὐέπεια.= =240= 5, 18, =246= 1, =268= 28. Beauty of language. Lat. verborum elegantia. In this treatise Dionysius clearly uses the word with special reference to his main subject—beauty of sound, euphony. So also εὐεπής =218= 10, =222= 6, =224= 2, =228= 5, =230= 20; and εὐεπῶς =232= 11. In the Classical Review xviii. 19 the present writer has tried to show that, even in an author so early as Sophocles (Oed. Tyr. 928), the word εὐέπεια is to be understood in a rhetorical sense (‘elegant language,’ ‘neatly-turned phrase’: with direct reference to the employment of a ‘figure’ of rhetoric). But, later, the word was used of ‘eloquence’ generally (as in the well-known epigram of Simmias on the tomb of Sophocles himself); and to this wider meaning Dionysius here gives a special turn of his own.

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=εὐήτριος.= =234= 12. With fine thread, well-woven. Lat. bene textus.

=εὔκαιρος.= =134= 18, =196= 25. Timely. Lat. opportunus, tempestivus. So =εὐκαίρως= =132= 3, =εὐκαιρίαν= =242= 3.

=εὐκαταφρόνητος.= =74= 12. Contemptible. Lat. abiectus, humilis.

=εὔκρατος.= =210= 1, =246= 11. Well-blended. Lat. temperatus. Cp. de Demosth. c. 3 ἡ Θρασυμάχειος ἑρμηνεία, μέση τοῖν δυεῖν καὶ εὔκρατος: Cic. Orat. 6. 21 “est autem quidam interiectus inter hos medius et quasi temperatus,” etc.—Both in =210= 1 and in =246= 11 the well-supported variant κοινήν is to be noted: it may conceivably have originated in a gloss on εὔκρατον.—In =220= 17 the similar adjective εὐκέραστος is used, though not in reference to the three ἁρμονίαι.

=εὐλάβεια.= =234= 17. Caution. Lat. cautio. Used in the phrase δι’ εὐλαβείας ἔχει.

=εὔλογος.= =158= 12. Reasonable. Lat. rationi consentaneus. The reference is to resemblances which are not ἄλογοι, but have a natural basis and are grounded in reason.

=εὐμελής.= =130= 6, =134= 9. Melodious. Lat. canorus.—On the other hand, =ἐμμελής= = in melody, set to music: =124= 10, =130= 6, =254= 2, 8, =270= 5; and so =ἐμμέλεια= =122= 21, =182= 2, =266= 4.

=εὔμετρος.= =254= 6. Metrical; possessing good metrical qualities. Lat. metricus.—On the other hand, =ἔμμετρος= = in metre: =74= 4, =76= 1, =168= 8, =176= 1, 21, =254= 2, 4, 14, =270= 5. In =270= 10 ἐμμετρία has good manuscript authority. Cp. Aristot. Rhet. iii. 8. 1 τὸ δὲ σχῆμα τῆς λέξεως δεῖ μήτε ἔμμετρον εἶναι μήτε ἄρρυθμον.

=εὔμορφος.= =84= 2, =144= 3, =162= 1. Of beautiful form. Lat. formosus. So εὐμορφία =168= 4, =264= 16.

=εὐπάθεια.= =250= 4. Pleasure. Lat. voluptas. Plur. εὐπάθειαι = Lat. deliciae.

=εὐπαίδευτος.= =228= 10. Scholarly, cultured. Lat. doctus.

=εὐπετής.= =218= 10, =222= 6. Flowing easily. Lat. volubilis. [According to the reading of P in each passage. But εὐεπές should probably be read.] Cp. εὔρους in =240= 21 and (according to P) in =196= 25.

=εὐπρόφορος.= =132= 2. Easy to pronounce. Lat. facilis pronuntiatu.

=εὔρους.= =240= 21. Flowing, copious. Lat. copiosus. See also s.v. εὐπετής, supra.

=εὔρυθμος.= =124= 10, =130= 8, =134= 9, =236= 3, =254= 6, 18. Rhythmical. Lat. numerosus, moderatus (Cic. de Orat. iii. 48. 184; ii. 8. 34). So =εὐρυθμία= =118= 11, =122= 21, =182= 2, =254= 27: cp. Cic. Orat. 65. 220 “multum interest utrum numerosa sit, id est, similis numerorum, an plane e numeris constet oratio,” and Quintil. ix. 4. 56 “idque Cicero optime videt, ac testatur frequenter, se, quod numerosum sit, quaerere; ut magis non ἄρρυθμον, quod esset inscitum atque agreste, quam ἔνρυθμον, quod poëticum est, esse compositionem velit.” For =ἔνρυθμος= see =130= 8.

=εὐστομία.= =110= 18, =120= 21. Beauty of sound. Lat. soni suavitas. Cp. Plato Crat. 405 D, 412 E.

=εὔσχημος.= =172= 6. Graceful. Lat. decorus, speciosus.

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=εὐτελής.= =78= 10, =136= 3. Commonplace, cheap, vulgar. Lat. vilis. Cp. D.H. p. 193, and Aristot. Rhet. iii. 7. 2.

=εὔτροχος.= =206= 14. Running easily. Lat. celer, volubilis. Cp. γλῶσσα εὔτροχος = a glib tongue (Eur. Bacch. 268).

=εὐτυχῶς.= =186= 3. Happily, successfully. Lat. feliciter. Cp. =εὐτυχοῦσιν= =198= 5, and =ἀτυχεῖ= =198= 16.

=εὐφωνία.= =266= 4. Euphony, musical sound. Lat. vocis dulcedo s. suavitas. So =εὔφωνος= =132= 1, =134= 9, =142= 10, =166= 7, 17, =230= 23, =234= 14. For a modern view of the effect of euphony cp. the words of Jowett (Dialogues of Plato i. 310): “In all the higher uses of language the sound is the echo of the sense, especially in poetry, in which beauty and expressiveness are given to human thoughts by the harmonious composition of the words, syllables, letters, accents, quantities, rhythms, rhymes, varieties and contrasts of all sorts.” Hence, though no lover of the vicious style sometimes termed “poetic prose,” Jowett says in his Notes and Sayings: “If I were a professor of English, I would teach my men that prose writing is a kind of poetry.”

=ἐφάμιλλος.= =116= 8. Rivalling, a match for. Lat. aemulus, haud impar.

=ἡγεμών.= =168= 17. Hegemon. The metrical foot ᴗ ᴗ. Cp. de Demosth. c. 47 ὥσπερ οἴονταί τινες καὶ καλοῦσι τὸν οὕτως κατασκευασθέντα ῥυθμὸν ἡγεμόνα.

=Ἡγησιακός.= =90= 19. Hegesian, recalling Hegesias. Lat. Hegesiacus. For Hegesias see Introduction, pp. 52-55 supra.

=ἡδονή.= =80= 16, =118= 22, =120= 20, =132= 19, 21. Charm. Lat. iucunditas, dulcedo. Fr. charme, agrément, attrait. Cp. =120= 20-24 τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν χάριν καὶ τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ πάντα τὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸ βάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶ τὰ τούτοις ὅμοια. See also Demetr. p. 284. So =ἡδύς= (suavis, iucundus; sweet, pleasing, agreeable, attractive, charming), =68= 6, =74= 13, etc.

=ἡδύνειν.= =130= 11, =146= 8, =148= 6, =160= 15, =164= 13. To sweeten; to delight, to charm. Lat. dulce reddere; demulcere.

=ἦθος.= =88= 12, =160= 17, =212= 11. Character. Lat. mos, indoles. Cp. Demetr. p. 284, D.H. p. 193. See Jebb’s Attic Orators i. 30, 31 for pathos and ethos in Antiphon (with reference to C.V. =212= 10). According to Aristotle’s Rhetoric, a speech may be in, or out of, character in reference to (1) speaker, (2) audience, (3) subject.

=ἡμιστίχιον.= =274= 17. A half-line, half-verse. Lat. hemistichium. Cp. Demetr. p. 284, s.v. ἡμίμετρον.

=ἡμιτελής.= =140= 4. Half-perfect. Lat. semiperfectus.

=ἡμιτόνιον.= =126= 5, 19. A half-tone, semitone. Lat. hemitonium.

=ἡμίφωνος.= =138= 13, =140= 1, =144= 7, =146= 5, =220= 11. Semi-voiced, semi-vocal. Lat. semivocalis. ἡμίφωνα γράμματα = litterae semivocales. Cp. s.v. ἄφωνος, p. 292 supra.

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=ἠρεμία.= =156= 11, =160= 4. Rest, immobility. Lat. quies, tranquillitas. So =ἠρεμεῖν= =142= 1.

=ἡρωϊκός.= =84= 21, =86= 3, =88= 7, =172= 17, =206= 10. Heroic (sc. στίχος: the hexameter line). Lat. heroicus. In =172= 17 and =206= 10, with μέτρον.

=ἡσυχῇ.= =148= 8. Softly, gently. Lat. sensim.

=ἠχεῖσθαι.= =138= 12, =142= 7. To be sounded. Lat. pronuntiari, sonare.

=ἦχος.= =130= 19, =138= 11, =142= 14, 19, etc. Sound. Lat. sonus.

=θεατρικός.= =212= 16, =216= 19, =228= 8, =236= 11. Theatrical, showy. Lat. theatralis. Cp. de Demosth. c. 25 ἐπὶ τὰ θεατρικὰ τὰ Γοργίεια ταυτὶ παραγίνεται, τὰς ἀντιθέσεις καὶ τὰς παρισώσεις λέγω.

=θεοβλάβεια.= =184= 23. Madness, blindness. Lat. mens divinitus laesa.

=θεώρημα.= =72= 12, 16, =88= 14, =96= 25, =104= 11, etc. Investigation, speculation; rule. Lat. quaestio; praeceptum artis. Cp. =θεωρία= =66= 8, =96= 14, =98= 2, =102= 25, =104= 3, etc., and =θεωρεῖν= =152= 26, =204= 3, =210= 9.

=θηλυκός.= =106= 21. Of the feminine gender. Lat. femininus.

=θῆλυς.= =172= 7. Effeminate. Lat. muliebris, effeminatus. Cp. Larue van Hook Metaphorical Terminology of Greek Rhetoric, p. 26, s.v. ἀνδρώδης.

=θηριώδης.= =146= 13. Beast-like. Lat. ferinus. The term will, of course, apply to vipers as well as other animals: cp. τὸ θηρίον in Acta Apost. xxviii. 4, and ἡ θηριακή (‘antidote against a poisonous bite’), whence the word treacle.

=θορυβεῖν.= =122= 22. To hiss off the stage. Lat. explodere.

=θρυλιγμός.= =124= 1. Harsh sound, false note. Lat. murmur inconcinnum, dissonantia. Cp. Hymn. Hom. in Merc. 486 ὃς δέ κεν αὐτὴν | νῆϊς ἐὼν τὸ πρῶτον ἐπιζαφελῶς ἐρεείνῃ, | μὰψ αὔτως κεν ἔπειτα μετήορά τε θρυλίζοι.

=ἰαμβεῖον.= =258= 25, =262= 4. Iambic line. Lat. versus iambicus.

=ἴαμβος.= =170= 7, =270= 19. Iambus. The metrical foot ᴗ –. The adjective =ἰαμβικός= in =184= 11, =258= 19, =276= 10.

=ἰδέα.= =88= 6, =104= 8, =116= 12, =198= 17, =200= 5, =248= 4. Kind, aspect. Lat. genus, aspectus.

=ἰδίωμα.= =240= 23. Peculiarity. Lat. proprietas. Cp. Long. p. 278, D.H. p. 193.

=ἰδιώτης.= =124= 2, =272= 19. Amateur, uncultivated. Lat. imperitus. Idiots long bore this meaning of ‘ordinary persons’ in English: cp. Jeremy Taylor, “humility is a duty in great ones as well as in idiots.”

=ἰθυφάλλιον.= =86= 8. Ithyphallic poem. Lat. carmen ithyphallicum. A poem composed in the measure of the hymns to Priapus. Cp. Masqueray Abriss der griechischen Metrik pp. 191, 192.

=ἰσομεγέθης.= =270= 16. Equal in size. Lat. par magnitudine.

=ἱστορία.= =214= 1. History. Lat. historia. So =ἱστορικός=, suited to narrative, =90= 6. In =66= 14 ἱστορία = inquiry, investigation.

=ἰσχυρός.= =162= 23, =210= 17, =216= 16. Strong, vigorous. Lat. firmus, robustus. In =216= 16 there may be some sense of nerveux.—ἰσχύς occurs in =68= 19, =72= 19, etc.; ῥώμη in =84= 13; κράτος in =72= 14.

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=Ἰωνικός.= =86= 14. Ionic. Lat. Ionicus. The Ionic tetrameter is meant. Cp. Masqueray, op. cit. pp. 137 ff.

=καθαρός.= =68= 4, =74= 18, =230= 14. Pure. Lat. purus. For Greek and Latin authors as conscious purists, cp. Terence’s “in hac est pura oratio,” or Dionysius’ τὸ καθαρεύειν τὴν διάλεκτον (de Lysia c. 2). See C. N. Smiley’s dissertation on Latinitas and Ἑλληνισμός, and L. Laurand’s _Études sur le style des discours de Cicéron_ pp. 19 ff. (the section headed “Pureté de la langue”).

=καθολικός.= =134= 2. General. Lat. universalis.

=καινότης.= =232= 20. Novelty. Lat. novitas. Used in a condemnatory sense: ‘innovation,’ ‘singularity,’ ‘eccentricity.’

=καινοτομεῖν.= =254= 23. To break new ground. Lat. novare. It is a mining metaphor—from the opening of a new vein. Cp. _de Thucyd._ c. 2.

=καινουργεῖν.= =200= 18. To introduce new features. Lat. novitati studere.

=καιρός.= =132= 15, 20, 21. Sense of measure, tact, taste. See S. H. Butcher’s Harvard Lectures on Greek Subjects, pp. 117-120, for καιρός as a word without any single or precise equivalent in any other language. Cp. =εὔκαιρος= =134= 18, =196= 25; =εὐκαίρως= =132= 3; =εὐκαιρία= =242= 3.

=κακόφωνος.= =132= 1, =164= 11. Ill-sounding. Lat. male sonans. Cp. Demetr. p. 286.

=καλλιεπής.= =180= 3. Choice in diction. Lat. suaviloquens. It is the word used of Agathon in Aristoph. Thesm. 49 (Classical Review xviii. 20). Cp. D.H. p. 193, with the passages there quoted: to which may be added Plato Apol. 17 B κεκαλλιεπημένους λόγους, and (for ἔπος only) Thucyd. iii. 67 λόγοι ἔπεσι κοσμηθέντες and ii. 41 ὅστις ἔπεσι μὲν τὸ αὐτίκα τέρψει.

=καλλιλογία.= =164= 20, =166= 12. Elegant language. Lat. venusta elocutio. So καλλιλογεῖν of ‘verbal embellishment,’ =80= 12.

=καλλιρήμων.= =74= 18, =166= 7. Couched in elegant phrase. Lat. elegantibus ornatus verbis.

=κάλλος.= =78= 19, =84= 10, =94= 2, =160= 13, =172= 16, =182= 5, =256= 5. Beauty (of language). Lat. pulchritude. Cp. Aristot. Rhet. iii. 2. 13.

=καλός.= =118= 23, =120= 22, =136= 8, =160= 13, 14, =178= 15, passim. Beautiful. Lat. pulcher. The word is inadequately translated by ‘beautiful’; and ‘fine’ has unfortunate associations of its own, especially in relation to writing. ‘Noble’ would often be nearer the mark, but that rendering is needed for γενναῖος and εὐγενής (cp. =136= 13, =178= 15, etc.). In English we lack a single word to denote that noble beauty which is sometimes seen in a human face, and which suggests an ultimate harmony of things. The meaning of καλός, as distinguished from ἡδύς (in reference to composition), may be gathered from such passages as =68= 5 (τῷ σεμνῷ τὸ ἡδύ) and =120= 22-24 (see under ἡδονή, p. 302 supra). The antithesis is not, as has sometimes been thought, that of pleasure to the ear and beauty to the mind. In this treatise Dionysius is dealing not with subject matter (ὁ πραγματικὸς τόπος) but with expression, and that chiefly from the euphonic point of view. καλός includes certain forms of pleasure—of the ear as well as of the mind: cp. Aristot. Rhet. iii. 1405 b and Demetr. de Eloc. § 177 ὡρίσατο δ’ αὐτὰ (καλὰ ὀνόματα) Θεόφραστος οὕτως· κάλλος ὀνόματός ἐστι τὸ πρὸς τὴν ἀκοὴν ἢ πρὸς τὴν ὄψιν ἡδύ, ἢ τὸ τῇ διανοίᾳ ἔντιμον. Cp., further, gravitas)(suavitas, Cic. Or. §§ 62, 182; honestus)(iucundus, Quintil. ix. 4. 146; ἡδεῖαν καὶ μεγαλοπρεπῆ Aristot. Rhet. iii. 12.

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=κατακεκλασμένος.= =184= 17. Broken, nerveless. Lat. fractus, mollis. Fr. faible, maigre, rompu. Cp. κατακλωμένους, =262= 12, where Dionysius seems to indicate the broken (but by no means nerveless) foot

– ᴗ – – (τοσαύ)την ὑπάρξαι.

So Long. de Subl. xli. 1 μικροποιοῦν δ’ οὐδὲν οὕτως ἐν τοῖς ὑψηλοῖς, ὡς ῥυθμὸς κεκλασμένος λόγων καὶ σεσοβημένος, οἷον δὴ πυρρίχιοι καὶ τροχαῖοι καὶ διχόρειοι, τέλεον εἰς ὀρχηστικὸν συνεκπίπτοντες. Cp. Demetr. p. 287.

=καταλαμβάνειν.= =230= 4, 12. To check. Lat. cohibere, premere. Usener’s insertion of σιωπῇ in =230= 12 is perhaps unnecessary. Herod. v. 21 ὁ τῶν Περσέων θάνατος οὕτω καταλαμφθεὶς ἐσιγήθη (i.e. “Persarum caedes ita silentio compressa est”) does not decide the point.

=κατάληξις.= =178= 20, =184= 9, =258= 13. Final syllable. Lat. syllaba terminalis. With =178= 20 cp. =178= 13 καὶ συλλαβὴν ὑφ’ ἧς τελειοῦται τὸ κῶλον. See also Long. de Subl. xli. 2 τὰς ὀφειλομένας καταλήξεις, and Demetr. p. 287 (s.v. καταληκτικός).

=κατάλογος.= =168= 1. Catalogue. Lat. enumeratio. The Homeric ‘Catalogue’ (in Il. ii.) is meant.

=καταμετρεῖν.= =174= 24, =182= 16. To measure. Lat. emetiri. Cp. de Demosth. c. 39.

=καταπυκνοῦν.= =162= 4, 16. To pack. Lat. stipare. Fr. charger.

=κατασκευή.= =70= 4, =156= 13, =160= 19, =164= 12. Artistic treatment. Lat. ornatus. The Latin apparatus, and French apprêt, will also give something of the meaning. Cp. =κατασκευάζειν= =106= 3, =140= 9, =154= 3, 14, 17, =158= 1, 4, etc. See also D.H. p. 194, under κατασκευή (with the passages there quoted) and κατασκευάζειν.

=κατασπᾶν.= =204= 24. To pull down. Lat. detrahere. Cp. the use of κατεσπευσμένα and κατεσπεῦσθαι in Long. de Subl. xix. 2, xl. 4. [It is possible that κατεσπεῦσθαι should be read in C.V. =204= 24.]

=κατάστασις.= =200= 8. State. Lat. condicio.

=καταφορά.= =204= 19. Downrush. Lat. decursus.

=καταχλευάζειν.= =264= 9. To jeer. Lat. cavillari, irridere.

=κατάχρησις.= =78= 16. Catachresis. Lat. abusio. A definition is given by Quintil. viii. 6. 34 “eo magis necessaria κατάχρησις, quam recte dicimus abusionem, quae non habentibus nomen suum accommodat, quod in proximo est: sic Equum divina Palladis arte Aedificant.” Cp. Cic. Orat. 27. 94, where the same Latin equivalent is given, though not the same description of the figure: “Aristoteles autem translationi et haec ipsa subiungit et abusionem, quam κατάχρησιν vocant, ut cum minutum dicimus animum pro parvo, et abutimur verbis propinquis, si opus est, vel quod delectat vel quod decet” (cp. Auct. ad Her. iv. c. 33). In Cic. Acad. ii. 47. 143, “Quid ergo Academici appellamur? an abutimur gloria nominis?” the meaning probably is: ‘do we use the glorious name of ‘Academic’ in an unnatural way?’

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=κατεσπουδασμένος.= =156= 7. Earnest. Lat. anxius, instans. Cp. Herod. ii. 174.

=κεραννύναι.= =218= 7, =240= 17, =246= 12, =248= 17, etc. To mix, to temper. Lat. commiscere, temperare. Cp. the adjectives εὔκρατος and εὐκέραστος, p. 301 supra. The general sense in =248= 17 is, ‘qui aient su mieux qu’eux faire un heureux mélange des couleurs.’

=κερατοειδής.= =146= 12. Sounding like a horn. Lat. sonus veluti corneus. κερατοειδεῖς ἤχους = ‘sounds like (the sounds of) a horn’: cp. Hymn. Hom. in Merc. 81 μυρσινοειδέας ὄζους, ‘branches like (the branches of) myrtle.’

=κεφάλαιον.= =68= 18, =120= 25, =130= 14, =136= 7, =160= 8. Heading, topic, sum and substance. Lat. caput, summa. So =κεφαλαιωδῶς=, =112= 21, under heads.

=κηλεῖν.= =124= 13. To charm. Lat. permulcere.

=κινεῖν.= =146= 8, =194= 12. To excite, to disturb. Lat. movere. So κίνησις, movement, =124= 8, =160= 3, =244= 20; and =κινητικός=, =158= 12.

=κλέπτειν.= =196= 17. To cheat, to disguise. Lat. dissimulare, obtegere. Cp. Demetr. p. 288.

=κοινός.= =120= 13, =122= 14, =148= 14, =164= 22, =200= 7, =210= 1 (according to one reading), =236= 11, =252= 28. Common, mixed, general. Lat. communis. For the meaning ‘in general terms’ cp. de Dinarcho c. 8 λέγω δὲ ταῦτα οὐκ ἐν τῷ καθόλου τρόπῳ, ὡς μηδὲν τούτων κατορθοῦντος, ἀλλ’ ἐν τῷ κοινοτέρῳ καὶ ὡς ἐπὶ τὸ πολύ.

=κολακικός.= =236= 9. Alluring. Lat. blandus.

=κόμμα.= =270= 15, =276= 2. Short clause, phrase. Lat. incisum (Cic. Orat. 62. 211; Quintil. ix. 4. 22). Fr. incise. Cp. Demetr. p. 288; Quintil, ix. 4. 122 “incisum (quantum mea fert opinio) erit sensus non expleto numero conclusus, plerisque pars membri”; C.V. =270= 15 κόμματα ... βραχύτερα κώλων. So κομμάτιον =274= 14, =276= 6. [The terms comma, colon, and period are now specially applied to punctuation.] For illustrations of κῶλα and κόμματα drawn from Cicero see Laurand’s Études p. 128. In de Demosth. c. 39 the adjective κομματικῶς is found: ἀποιήτως δέ πως καὶ ἀφελῶς καὶ τὰ πλείω κομματικῶς (i.e. per brevia commata et incisa) κατεσκευάσθαι βούλεται.

=κόπτειν.= =132= 4, =198= 7. To smite upon, to weary. Lat. obtundere. Used in reference to the ear, when it receives ‘hammer-strokes of sound.’

=κόρος.= =124= 18, =132= 11, =192= 18, =196= 18, =252= 25. Satiety. Lat. satietas (Cic. Orat. 65. 219). In using this word Dionysius often has in mind Pindar Nem. vii. 52 (κόρον δ’ ἔχει καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ ἀφροδίσια): a passage which he quotes in Ep. ad Pomp. c. 3.

=κορυφή.= =248= 4. Top, head. Lat. caput. Cp. κορυφαῖος (headman) and ἀκόρυφος (=230= 31).

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=κορωνίς.= =94= 4. Colophon, finis. Lat. coronis. μέχρι κορωνίδος διελθεῖν = ‘usque ad calcem perlegere,’ ‘from title to colophon.’

=κρᾶσις.= =130= 25, =154= 10, =220= 12. A mixing, blending. Lat. mistura.

=κράτιστος.= =70= 1, =120= 18, =134= 20, =142= 5, =150= 10, =160= 5, =162= 3, 15, =176= 15, =196= 10, =206= 21, =214= 16, =250= 16, =260= 21. Strongest, finest, best. Lat. fortissimus, optimus. It is not always easy to determine in these passages whether the meaning is general or special. But in =162= 3 κρατίστοις is opposed to μαλακωτάτοις. When he wishes to be quite explicit, Dionysius can use ἰσχυρός (=162= 23), or βέλτιστος.

=κράτος.= =70= 5, =72= 14, etc. Force, power. Lat. vis, robur.

=κρητικός.= =174= 11, =260= 23, =262= 9. Cretic. The metrical foot – ᴗ –. For the cretic foot cp. Cic. de Orat. iii. 47. 183 and Or. 64. 218; Quintil. ix. 4. 81, 97, 104, 107. In the Epitome c. 17 the equivalent term ἀμφίμακρος is used instead of κρητικός. For the excessive use in prose of the cretic (as, indeed, of any other distinctly metrical) rhythm cp. Walter C. Summers in Classical Quarterly ii. 173.

=κριτήριον.= =250= 7. Criterion. Lat. iudicium.

=κροῦσις.= =124= 8, =144= 1, =268= 7. Stroke; note (of an instrument). Lat. pulsus.

=κτενίζειν.= =264= 22. To comb. Lat. pectere. Parallel metaphors from Latin literature are quoted in Larue van Hook’s Metaphorical Terminology of Greek Rhetoric p. 23.

=κυκλικός.= =174= 4. Cyclic. Lat. cyclicus. Goodell (Greek Metric pp. 168 ff.) points out that the much-debated question of ‘cyclic’ or ‘three-timed’ anapaests and dactyls hinges on this passage (=174= 4), together with part of c. 20 (=204= 16-=206= 16). As he says (p. 175 ibid.), “It is clear that Dionysius does not regard even these irrational dactyls as three-timed merely; the nearest approach to that view is in the remark that some are not much longer than trochees. But that implies that even the briefest are somewhat longer than trochees.” Goodell also suggests (p. 181) that κυκλικός in Dionysius corresponds to στρογγύλος in a passage of Aristides Quintilianus. Clearly the elaborate structure of the ‘cyclic dactyl’ cannot stand securely upon so slight a foundation as these statements of Dionysius. See further in Goodell (op. cit.), and also in L. Vernier Traité de métrique grecque et latine c. 14 pp. 169 ff.

=κύκλος.= =198= 6, =212= 14, =246= 3. A circle, a round. Lat. orbis, ambitus.

=κύριος.= =84= 5, =208= 24, =246= 11. Accredited, regular, proper. Lat. proprius. Fr. propre (in le mot propre). Cp. D.H. p. 195, Demetr. p. 289; and (in addition to the passages there quoted) Quintil. i. 5. 71 “propria sunt verba, cum id significant, in quod primo denominata sunt: translata, cum alium natura intellectum, alium loco praebent.” The meaning ‘proper,’ ‘literal,’ is well illustrated by =208= 24, where κυρίοις (‘used in the ordinary sense’) is opposed to μεταφορικοῖς.

=κῶλον.= =72= 6, 9, =104= 9, =110= 10, =176= 2, =178= 6, 7, =194= 13, 22, =218= 18, =230= 16, =234= 20, 21, =276= 2, 6, 14, =278= 6, etc., passim. Member, clause, group of words. Lat. membrum. Fr. membre de phrase. Cp. Demetr. p. 289, and Aristot. Rhet. iii. 9. 5 κῶλον δ’ ἐστὶν τὸ ἕτερον μόριον ταύτης [sc. περιόδου], Quintil. ix. 4. 22 “membra, quae κῶλα (dicuntur),” Long, de Subl. xl. 1 ἡ τῶν μελῶν [this illustrates the metaphor in κῶλον] ἐπισύνθεσις. For the length of the κῶλον cp. Sandys’ Orator of Cicero p. 222 and Laurand’s Études pp. 127-9; and see, generally, A. du Mesnil Über die rhetorischen Kunstformen, Komma, Kolon, Periode.

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=κωμῳδεῖν.= =264= 9. To scoff. Lat. iocari, illudere.

=λαμβάνειν.= =100= 26, =104= 17, 20, =106= 18, 19, =108= 2, 5, 8, passim. To take, to employ. Lat. sumere, adhibere.

=λεαίνειν.= =130= 19, =164= 12. To smooth, to fall softly on. Lat. polire, mulcere.

=λεῖος.= =132= 1, =154= 12, =162= 23, =222= 5, =228= 4, =234= 14. Smooth. Lat. levis. So =λειότης= (douceur) =240= 6. Cp. Demetr. de Eloc. § 176 παρὰ δὲ τοῖς μουσικοῖς λέγεταί τι ὄνομα λεῖον, καὶ ἕτερον τὸ τραχύ, καὶ ἄλλο εὐπαγές, καὶ ἄλλ’ ὀγκηρόν. λεῖον μὲν οὖν ἐστιν ὄνομα τὸ διὰ φωνηέντων ἢ πάντων ἢ διὰ πλειόνων, οἷον Αἴας, τραχὺ δὲ οἷον βέβρωκεν.

=λεκτικός.= =66= 7, =96= 9. Relating to style or expression. Lat. qui ad elocutionem spectat. ὁ λεκτικὸς τόπος = the province of expression, as distinguished from ὁ πραγματικὸς τόπος.—=λεκτικῶς=, =258= 3, = after the manner of prose.

=λέξις.= =66= 16, =70= 3, 11, 14, =74= 3, 8, =84= 15 (‘passages’), =88= 22, 25, =90= 4, =110= 9, =112= 6, passim. _Speech or language_; utterance; diction; style; word, expression, passage. Lat. dictio, elocutio, _verbum s. locutio_. For the broad meaning ‘word’ or ‘phrase,’ common in Greek writers of the later periods, cp. =66= 16, =124= 23, =128= 5, =168= 10, =202= 22, =206= 6, =268= 19.

=λῆρος.= =90= 20. Trumpery. Lat. ineptiae. Cp. de Demosth. c. 25 καὶ διὰ τῶν λήρων τούτων κοσμεῖ τὴν φράσιν.

=λιτός.= =76= 8. Trifling. Lat. exiguus, humilis. For λιτός = plain, simple, cp. Aristot. Rhet. iii. 16 ποικίλος καὶ οὐ λιτός.

=λογάδην.= =210= 21. Casually. Lat. fortuito. Dionysius has in mind not selected stones, but stones collected (picked up) as they lie. Cp. Joseph. Antiqq. Iud. iv. 8. 5 (Naber) καὶ βωμὸς εἷς ἐκ λίθων μὴ κατειργασμένων ἀλλὰ λογάδην συγκειμένων (i.e. collecticiis), and Thucyd. iv. 31 καὶ γάρ τι καὶ ἔρυμα αὐτόθι ἦν παλαιὸν λίθων λογάδην πεποιημένον, vi. 66 καὶ ἐπὶ τῷ Δάσκωνι ἔρυμά τι, ᾗ εὐεφοδώτατον ἦν τοῖς πολεμίοις, λίθοις λογάδην καὶ ξύλοις διὰ ταχέων ὤρθωσαν.

=λογικός.= =146= 14. Rational. Lat. rationalis. This passage (θηριώδους γὰρ καὶ ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ φωνῆς ὁ συριγμός) helps to illustrate the use of λογικός in =130= 3 (δεδειγμένης τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς), where singing and ordinary speech (the sounds of music and those of spoken language) are contrasted.

=λογογράφος.= =158= 1. Prose-writer. Lat. solutae orationis scriptor. So perhaps Aristot. Rhet. ii. 11 καὶ ὧν ἔπαινοι καὶ ἐγκώμια λέγονται ἢ ὑπὸ ποιητῶν ἢ λογογράφων, and Thucyd. i. 21 καὶ οὔτε ὡς ποιηταὶ ὑμνήκασι ... οὔτε ὡς λογογράφοι ξυνέθεσαν κτλ.: though in both these passages ‘chroniclers’ may be specially meant. For the meaning ‘professional speech-writer’ cp. Aristot. Rhet. iii. 12. 2. In C.V. =154= 17 συγγραφέων is found in the same sense (‘prose-writers’) as λογογράφοι in =158= 1.

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=λογοείδεια.= =272= 15. Prose-character. Lat. color prosaicus. Fr. la couleur prosaïque. The word is well explained and illustrated by a scholiast on Hephaestion (Westphal Scriptores Metrici Graeci i. 167): πολιτικὸν δέ ἐστι τὸ ἄνευ πάθους ἢ τρόπου πεποιημένον, οἷον

ἵππους τε ξανθὰς ἑκατὸν καὶ πεντήκοντα [Il. xi. 680],

ὅπερ ταὐτόν ἐστι τῷ λογοειδεῖ.—In Demetr. de Eloc. § 41 τὸ λογικόν is found in the same sense.

=λόγος.= =64= 13, =66= 5, 8, =70= 10, =72= 7, 10, 14, =74= 6, =76= 2, =84= 14, 16, =92= 23, =94= 2, passim. Discourse, language. Lat. oratio, sermo. Often used of prose, as opposed to poetry: cp. =84= 14, 16, =108= 11 (λόγοις πεζοῖς), =118= 22, =154= 2 (λόγοις ψιλοῖς), =166= 4, =208= 6, =270= 17, =272= 9, 13, 17, 19, 28, =278= 6, 9 (where the meaning probably is ‘a piece of continuous prose’), =280= 18; so καὶ ἐν ποιήσει καὶ ἐν λόγοις (Aristot. Rhet. iii. 2. 7; further references in Bonitz’ Index Aristotelicus p. 433). In many passages (e.g. =66= 5, =210= 8, =218= 1, =248= 4) ‘writing’ or ‘literature’ (cp. ἡ τῶν λόγων φιλοσοφία = ‘the study of literature,’ Rhet. ad Alex. c. 1) will be a possible modern equivalent, though we must always bear in mind the Greek point of view, that what we call ‘literature’ was something conveyed by the living voice,—something spoken or read aloud.—See also s.v. ἄμετρος p. 287 supra.

=Λύδιος.= =196= 2. Lydian. Lat. Lydius. Cp. Monro’s Modes of Ancient Greek Music, passim.

=μαλακός.= =132= 1, =154= 11, =162= 3, etc. Soft. Lat. mollis. So =μαλθακός= =90= 20. In some passages (=90= 20, =170= 9) the word suggests the idea of ‘lacking in backbone,’ ‘unmanly,’ ‘effeminate.’ Fr. délicat, or (rather) mou.

=μεγαλοπρεπής.= =136= 12, =166= 2, 18, etc. Grand, impressive, splendid. Lat. magnificus. Fr. magnifique. So μεγαλοπρέπεια (la grandeur), =120= 22, =164= 20.

=μέγεθος.= =172= 11, =174= 19. Grandeur, elevation. Lat. magnitudo, sublimitas. Fr. ampleur. Cp. Demetr. p. 292.

=μεθαρμόζειν.= =112= 2. To arrange differently, to re-arrange. Lat. aliter componere.

=μειοῦν.= =128= 18, =152= 20. To lessen, to curtail. Lat. minuere. Fr. retrancher. So =μείωσις= =110= 15. The word does not, in the C.V., bear the special sense of extenuare.

=μελικός.= =130= 7, =252= 21, =254= 21, =278= 4. Melodious, lyric. Lat. lyricus. In English ‘lyric’ is a more generally intelligible rendering than ‘melic,’ though less exact. “To the writers of the Alexandrian age, who introduced and gave currency to the expression, ‘lyric’ meant primarily what the name imports—poetry sung to the accompaniment of the lyre.... More appropriate than ‘lyric,’ as an exact and comprehensive designation of all poetry that was sung to a musical accompaniment, is ‘melic,’ the term in vogue among the Greeks of the classic ages,” Weir Smyth Greek Melic Poets pp. xvii, xviii. Apparently the adjectives μελικός and λυρικός are both late.

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=μελιχρός.= =70= 2. Honey-sweet. Lat. mellitus. Cp. de Demosth. c. 48 ἔν τε ταῖς μεταβολαῖς τοτὲ μὲν τὸ ἀρχαιοπρεπὲς καὶ αὐστηρόν, τοτὲ δὲ τὸ μελιχρὸν καὶ φιλόκαινον ἐμφαινόμενον.

=μέλος.= =204= 3, limb: =122= 24, =126= 21 (bis), =194= 7, 13, tune, melody: =120= 18, =122= 11, =130= 4, 11, melodious effect, tunefulness: =92= 22, =120= 26, =126= 23, =154= 2, =192= 21, =194= 5, =250= 11, 16, =254= 5, 8, 15, =272= 10, =278= 6, =280= 18, words set to music, song, aria, chant, lay, lyric. Lat. cantus, carmen, etc. Similarly also =μελοποιία= =214= 3: =μελοποιός= =194= 18, =236= 16, 22, =248= 13, =270= 22, =272= 5: =μελῳδεῖν= =126= 18, =128= 5: μελῳδία =122= 16, =194= 8, =196= 2.

=μερίζειν.= =144= 22, =220= 25. To divide. Lat. distribuere.

=μέρος.= =68= 6, =70= 14, =96= 1, etc. Part. Lat. pars. τὰ τῆς λέξεως μέρη = ‘the parts of speech,’ =70= 14, =96= 14, etc. See also μόριον, p. 311.

=μέσος.= =148= 18, =150= 11, =210= 6, 7, 8, =236= 2, =246= 10. Middle, intermediate, average. Lat. medius. So =μέσως= =146= 10, and =μεσότης= =246= 15 (bis) (with reference to Aristotle’s use of the word for le juste milieu), =248= 11.

=μεταβάλλειν.= =194= 1, 2. To change, to vary. Lat. mutare. As its passive, =μετακειμένην= =266= 1.

=μεταβολή.= =120= 19, =122= 12, =124= 11, 25, =134= 18, 19. Variety. Lat. varietas, diversitas. The object of μεταβολή, as conceived by Dionysius, is to diversify style in order to avoid a monotonous uniformity. Variety is one of the chief essentials of good writing, not only in Greek but in all other languages.

=μεταλαμβάνειν.= =132= 7. To interchange. Lat. commutare.

=μεταπτωτικός.= =140= 20. Variable. Lat. mutabilis. So =μεταπίπτειν= =96= 17, =250= 7.

=μετασκευή.= =104= 19, =108= 9, =110= 16 (e coni. Schaef.), =114= 10. Modification. Lat. mutatio. So =μετασκευάζειν= =110= 6. Cp. text in =110= 16 with =104= 19, =108= 9.

=μεταφορά.= =78= 15. Transference, metaphor. “The figure of transport,” Puttenham. Lat. translatio.

=μετέωρος.= =148= 23. Upper. Lat. superior (τοὺς μετεώρους ὀδόντας = dentes superiores).

=μετοχή.= =72= 1. Participle. Lat. participium. Cp. D.H. p. 196.

=μετρικός.= =140= 11, =172= 2, =174= 22, =176= 7, =218= 19. Metrical. Lat. metricus. =172= 2 and =174= 22 οἱ μετρικοί = ‘the metrists,’ ‘the theorists on metre’: cp. οἱ ῥυθμικοί =172= 20.

=μέτριος.= =132= 8, =150= 9, =214= 12, =222= 26, =230= 22, =234= 22, =246= 13. Moderate, fair. Lat. aequus.

=μέτρον.= =74= 5, =84= 16, =88= 6, 8, =92= 22, =118= 22, =120= 26, =172= 17, passim. Measure, metre, verse, line. Lat. metrum, versus. In Aristot. Poet. iv. 7 metres are described as sections of rhythm (τὰ γὰρ μέτρα ὅτι μόρια τῶν ῥυθμῶν ἐστι φανερόν): that is, they are ‘measures,’ or ‘verses’; ‘parts of rhythm,’ which is indefinite and never comes to an end—μέτρον being rhythm cut, as it were, into definite lengths (Cope Introduction to Aristotle’s Rhetoric p. 387). When contrasted with μέλη (cp. Plato Gorg. 502 C τό τε μέλος—‘the music’—καὶ τὸν ῥυθμὸν καὶ τὸ μέτρον), μέτρα seems to denote the non-lyrical metres generally (hexameters, iambic trimeters, etc.): see =92= 22, =120= 26, =192= 21, and especially =270= 18-23.

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=μῆκος.= =150= 22, =154= 6, =204= 2, =224= 15, =264= 4. Length. Lat. longitudo. So =μηκύνειν= (to lengthen) =132= 7, =152= 24, =224= 8, 13, =246= 8. In =246= 8 (and also in =276= 9, where P gives μηκύνειν and MV give μηκύνειν τὸν λόγον) μηκύνειν is used absolutely (= μακρηγορεῖν: cp. Aristoph. Lys. 1131 πόσους εἴποιμ’ ἂν ἄλλους, εἴ με μηκύνειν δέοι;). In =132= 7 the meaning is ‘to prolong, or continue, in the same case with similar terminations’: just as Dionysius himself, inadvertently no doubt, repeats -ων in =132= 9, 10.

=μῖγμα.= =208= 18. Mixture, blend. Lat. mistura. Cp. =μῖξις= =130= 25, =166= 9; and also D.H. p. 197. It is possible that Dionysius may have written μεῖγμα, as in earlier Greek: in Ep. ad Pomp. c. 2 it is to be noticed that the manuscripts give δεῖγμα, where the sense clearly calls for μεῖγμα.

=μικρόκομψος.= =90= 20. Affected, finical. Lat. bellulus.

=μικρολογία.= =266= 11. Trifling, pettiness. Lat. rerum minutarum cura. In Theophrastus’ Characters the word is used of attention to trifles on the part of the mean or parsimonious man. Cp. also Demetr. p. 293, s.v. μικρολογεῖν.

=μικρόφωνος.= =142= 9. Small-voiced, non-resonant. Lat. qui vocem habet exiguam, sonum exiliorem.

=μίμημα.= =160= 2. Imitation. Lat. imitamentum. [F.’s reading here is μηνύματα, ‘expressions which indicate’: cp. de Demosth. c. 51 init.]

=μιμητικός.= =158= 4, 11, =200= 11. Imitative. Lat. ad imitandum aptus. So =μιμητικῶς= =202= 1.

=μνημεῖον.= =266= 7. Memorial. Lat. monumentum.

=μολοττός.= =172= 1, =184= 4. Molossus. Lat. molossus. The metrical foot – – –.

=μονογράμματος.= =152= 20. Consisting of a single letter. Lat. qui unius est litterae.

=μονόμετρος.= =270= 23. Consisting of one metre. Lat. monometer. Applicable to poems, like the Iliad and the Aeneid, which are written throughout in a single metre.

=μονοσύλλαβος.= =168= 11, =202= 14. Monosyllabic. Lat. monosyllabus.

=μόριον.= =70= 10, =96= 3, =98= 6, =106= 11, 12, passim. Part, especially part of speech. Lat. pars, pars orationis. The meaning ‘part of speech’ appears in such passages as ποῖον ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι μορίων (=106= 12), τὰ μόρια τοῦ λόγου (=110= 1), ἓν μόριον λόγου (=126= 7), πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως (=168= 10). ‘Words’ simply might serve as a rendering in many cases, except that it is usually well to preserve Dionysius’ idea of ‘words in their syntactical relations,’ ‘words in a sentence.’ In =232= 18 the meaning may be ‘in every word’: so =130= 7, =134= 25, =220= 3, =222= 10, =224= 11.

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=μοῦσα.= =126= 16, =252= 20. Music, melody. Lat. musica concinnitas. So =μουσική= =124= 20, =128= 18; =ὁ μουσικός= =138= 6.

=μυγμός.= =138= 10. A moaning, muttering, murmur, humming. Lat. gemitus. Cp. Demetr. p. 294, and Aesch. Eum. 117, 120.

=μύκημα.= =158= 13. Bellowing. Lat. mugitus.

=νεαρός.= =66= 16, =246= 5. Youthful. Lat. iuvenilis. Cp. note on μειρακιώδης in D.H. p. 196.

=νήτη.= =210= 7. Lowest note. Lat. ima chorda. See L. & S. s.v. νεάτη.

=νόημα.= =66= 5, =74= 16, =84= 6, =92= 17, =112= 15, =264= 16. Idea. Lat. sententia. Cp. νόησις (thought, perception) =74= 3, =268= 9; and D.H. p. 197.

=νοῦς.= =212= 15, =276= 1, 8. Meaning. Lat. sententia. Fr. sens, pensée.

=ξένος.= =78= 17, =252= 24, =272= 11. Foreign, strange, unfamiliar. Lat. peregrinus, inusitatus, arcessitus. Cp. D.H. p. 197, Demetr. p. 294, and Classical Review xviii. 20 (as to ξενικός).

=οἰκεῖος.= =110= 13, =126= 1, =134= 20, =140= 12, =154= 19, =158= 2, =168= 7. Akin, appropriate, fitting. Lat. cognatus, domesticus, decorus. So =οἰκείως= =72= 8, =118= 14, =134= 10: =οἰκειότης= =122= 21, =240= 7: =οἰκειοῦν= =122= 17. If the metaphors are to be fully pressed, we might render οἰκεῖα καὶ φίλα in =110= 13 by ‘to seem loving members of the same family,’ and οἰκείως in =118= 14 by ‘in harmony with their inner significance.’ In =122= 21 οἰκειότης is ‘a natural inclination or instinct.’ On =122= 17 there is the following scholium in M: οἰκειοῦται ἀντὶ τοῦ εὐσταθῶς ἥδεται. In =126= 1 τὸ οἰκεῖον (appropriateness) seems almost to stand for τὸ πρέπον and to be an illustration of Dionysius’ own love for variety. It is this unusually copious vocabulary of his that does much to relieve the dull monotony of a technical treatise. “In the works of Dionysius, the great representative of a later school of criticism [sc. than that of Aristotle], we meet for the first time a wealth of rhetorical terminology. In his numerous writings we find freely used a fully developed vocabulary, which is completely adequate for the purposes of the professional rhetorician and the broad literary critic” (Larue van Hook Metaphorical Terminology, etc. p. 8).

=οἰκονομεῖν.= =176= 18. To manage. Lat. administrare, tractare. So =οἰκονομία= =264= 16. Cp. Aristot. Poet. xiii. 6 καὶ ὁ Εὐριπίδης, εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός γε τῶν ποιητῶν φαίνεται: Long. de Subl. i. 4 καὶ τὴν τῶν πραγμάτων τάξιν καὶ οἰκονομίαν: Quintil. Inst. Or. iii. 3. 9 “oeconomiae, quae Graece appellata ex cura rerum domesticarum et hic per abusionem posita nomine Latino caret.”

=ὀλιγοσύλλαβος.= =132= 3. Consisting of few syllables. Lat. qui paucis constat syllabis.

=ὀλιγοσύνδεσμος.= =212= 21. Sparing in connectives. Lat. qui paucis utitur convinctionibus.

=ὁμογενής.= =146= 10, =148= 9. Of the same race or family. Lat. congener. Cp. =ὁμοιογενής= (of like kind) =72= 24, =132= 19, =156= 15; also =ἀνομοιογενής= =132= 19.

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=ὁμοειδής.= =192= 18, =198= 6, =270= 19. Of the same species or kind. Lat. uniformis. So =ὁμοείδεια= =274= 1. Cp. Cic. ad Att. ii. 6 “etenim γεωγραφικά quae constitueram magnum opus est ... et hercule sunt res difficiles ad explicandum et ὁμοειδεῖς nec tam possunt ἀνθηρογραφεῖσθαι quam videbantur.”

=ὁμοζυγία.= =176= 13, =254= 17. Connexion, affinity. Lat. coniugatio.

=ὁμοιοσχήμων.= =270= 16. Like in shape. Lat. forma consimilis.

=ὁμοιότονος.= =132= 6. Similarly accented. Lat. qui similis est toni.

=ὁμοιόχρονος.= =132= 6 (bis). Of like quantity. Lat. qui similia habet tempora.

=ὁμότονος.= =128= 7. Of the same pitch or accent. Lat. eiusdem toni s. accentus.

=ὁμόφωνος.= =128= 9. With the same note. Lat. eiusdem chordae s. soni.

=ὄνομα.= =66= 5, =70= 9, 13, 20, =74= 12, =84= 6 passim. Word, noun. Lat. vocabulum, nomen. In =168= 10, =264= 5, etc., the meaning is ‘noun’; in =264= 3, etc., ‘word.’

=ὀνομασία.= =74= 17, =234= 5, =252= 23, =274= 2. Wording, naming, language. Lat. elocutio, appellatio. Cp. Rhet. ad Alex. c. 27 ἀντίθετον μὲν οὖν ἐστι τὸ ἐναντίαν τὴν ὀνομασίαν ἅμα καὶ τὴν δύναμιν τοῖς ἀντικειμένοις ἔχον, ἢ τὸ ἕτερον τούτων: Aristot. Poet. vi. 18 λέγω δέ, ὥσπερ πρότερον εἴρηται, λέξιν εἶναι τὴν διὰ τῆς ὀνομασίας ἑρμηνείαν: Dionys. Hal. de Demosth. cc. 18, 34, 40: Demetr. de Eloc. §§ 91, 304.

=ὀνοματικά, τά.= =70= 18, =102= 16, 17, =132= 7. Nouns substantive. Lat. nomina substantiva.

=ὀξύς.= =126= 5, 8, 10, =128= 6, 8. Acute (accent), high (pitch). Lat. acutus. So =ὀξύτης= =126= 14. Cp. s.v. βαρύς, p. 292 supra. In Aristot. Poet. c. 20 ὀξύτητι καὶ βαρύτητι καὶ τῷ μέσῳ = ‘according as they [the letters] are acute, grave, or of an intermediate tone.’

=ὀξύτονος.= =128= 9. With high pitch or acute accent. Lat. qui acutum tonum s. accentum habet.

=ὅρασις.= =118= 24. Seeing, the act of sight. Lat. visus.

=ὄργανον.= =122= 25, =124= 4, 22. Musical instrument. Lat. instrumentum. So the adjective =ὀργανικός= (instrumental) in =124= 16, =126= 16.

=ὀρθός.= =106= 19. Nominative. Lat. rectus (casus): viz. ‘uninflected.’ In =102= 19 ‘primary,’ as opposed to ‘secondary’; in =108= 3 ‘active,’ as opposed to ‘passive.’ In =258= 25 and =262= 5 the meaning is ‘correct’; in =90= 6 perhaps ‘tense’ (see the exx. given in L. & S. under the heading ‘excited’), the opposite of ὕπτιος (supinus).

=ὁρίζειν.= =132= 22, =166= 1, =234= 21. To define, to limit. Lat. definire.

=ὅρος.= =182= 13, =200= 25, =210= 5. Standard, condition, boundary. Lat. regula, condicio, finis. With the sense norma et regula in =182= 13 cp. Long. de Subl. xxxii. 1 ὁ γὰρ Δημοσθένης ὅρος καὶ τῶν τοιούτων, Dionys. H. de Demosth. c. 1 ἧς (λέξεως) ὅρος καὶ κανὼν ὁ Θουκυδίδης.

=οὐδέτερος.= =106= 21. Neuter. Lat. qui neutri generis est. Cp. D.H. p. 198.

=οὐρανός.= =142= 12, =144= 19, =150= 6, =220= 23. Palate. Lat. palatum. In the margin of R (with reference to =142= 12) there is the note: τὴν ὑπερῴαν φησίν. This sense of οὐρανός is found several times in Aristotle (see Bonitz’ Index), and not (as has sometimes been supposed) for the first time in Dionysius. Cp. the converse caeli palatum in Ennius apud Cic. de Nat. Deor. ii. 18. 48 “sed dum, palato quid sit optimum, iudicat [Epicurus], caeli palatum (ut ait Ennius) non suspexit.”

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=οὐσία.= =98= 8. Substance, essence. Lat. substantia.

=ὄχλησις.= =132= 17. Annoyance, disgust. Lat. molestia.

=ὄψις.= =162= 1, 14, =234= 9. Appearance, visage. Lat. vultus, aspectus.

=πάθος.= =66= 15, =88= 12, =110= 23, =112= 5, =122= 15, passim. Feeling, experience, emotion, affection, passion. Lat. affectus (Quintil. vi. 2. 8), animi motus (Cic. _de Or._ i. 5. 17), perturbatio (id. Tusc. iv. 5. 10). Cp. D.H. pp. 198, 199.—In =154= 5, =268= 18 πάθη = ‘properties,’ ‘modifications,’ ‘differences.’

=παιάν.= =184= 3, =260= 23, =262= 9. Paeon. Lat. paeon. The metrical foot so called, consisting of three short syllables and one long in four possible orders—(1) –ᴗᴗᴗ, (2) ᴗ–ᴗᴗ, (3) ᴗᴗ–ᴗ, (4) ᴗᴗᴗ–. These four varieties are sometimes called the first, second, third, and fourth paeon respectively. Cp. Aristot. Rhet. iii. 8. 4-6, Cic. de Orat. iii. 47. 183, Quintil. ix. 4. 47; and see Demetr. p. 296, s.v. παιών. Demetrius (§§ 38, 39) refers to two varieties only: cp. the note on =182= 22 supra.

=παιδεία.= =64= 11, =262= 20. Culture. Lat. doctrina, humanitas.

=πανηγυρικός.= =228= 7, =246= 7. Festal, panegyrical. Lat. panegyricus. With the notion of ornate: cp. de Demosth. c. 8 (διάλεκτον) μεγαλοπρεπῆ λιτήν, περιττὴν ἀπέριττον, ἐξηλλαγμένην συνήθη, πανηγυρικὴν ἀληθινήν, αὐστηρὰν ἱλαράν, σύντονον ἀνειμένην, ἡδεῖαν πικράν, ἠθικὴν παθητικήν.

=παραβολή.= =232= 15. Meeting, juxtaposition. Lat. concursus.

=παράγγελμα.= =270= 3, =282= 2, 7. Rule, precept. Lat. artis praeceptum. Cp. Long. de Subl. c. 2 τεχνικὰ παραγγέλματα, c. 6 ὡς εἰπεῖν ἐν παραγγέλματι (‘if I must speak in the way of precept’). So =παραγγέλλειν= =132= 16, =268= 11 (cp. de Lysia c. 24 ταῦτα μὲν δὴ παραγγέλλουσι ποιεῖν οἱ τεχνογράφοι), and =παραγγελματικός= =214= 9 (= plenus praeceptis, doctrinis, regulis).

=παράδειγμα.= =92= 5, =136= 2, =152= 3, =214= 6, =232= 23, =240= 24, etc. Instance. Lat. exemplum. τὰ παραδείγματα is often used of appropriate (perhaps customary, or stock) examples: cp. de Isocr. cc. 10, 15, de Demosth. cc. 13 (middle), 53, and contrast de Lysia c. 34 and de Demosth. cc. 13 (end), 20.

=παραδιώκειν.= =206= 13. To hurry along. Lat. abripere. Cp. the use of συνδεδιωγμένον in Long. de Subl. c. 21, and of κατεσπευσμένα c. 19 ibid.—Usener adopts, in this passage, his own conjecture παραμεμιγμένας.

=παράθεσις.= =130= 25, =154= 11, =166= 9, etc. Placing. Lat. collocatio.

=παρακεκινδυνευμένος.= =234= 16. Daring, bold, venturesome. Lat. audax (as in Hor. Carm. iv. 2. 10). Fr. aventuré. Cp. Aristoph. Ran. 99 τοιουτονί τι παρακεκινδυνευμένον, | αἰθέρα Διὸς δωμάτιον, ἢ χρόνου πόδα: and see s.v. ἐπικίνδυνος p. 299 supra. The word is used also in de Lys. c. 13, de Isocr. c. 13, Ep. ad Pomp. c. 2.

=παρακολουθεῖν.= =108= 6, =130= 26, =136= 12. To accompany. Lat. accidere, consequi.

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=παραλαμβάνειν.= =144= 14, =172= 12, =260= 2, =264= 14. To introduce, to employ. Lat. assumere, adhibere.

=παραλλαγή.= =152= 8, 15, 22. Divergence. Lat. discrimen, permutatio.

=παραπλήρωμα.= =116= 3, =166= 17. Supplement, expletive. Lat. explementum, complementum. Cp. Cic. Or. 69. 230 “apud alios autem et Asiaticos maxime numero servientes inculcata reperias inania quaedam verba quasi complementa numerorum”; and also Demetr. p. 296, s.v. παραπληρωματικός. The word occurs elsewhere in Dionysius: de Isocr. c. 3, de Demosth. cc. 19, 39.

=παρατιθέναι.= =104= 1. To bring forward, to cite. Lat. apponere, in medium adducere.

=παραυξάνειν (παραύξειν).= =128= 19, =152= 18. To lengthen, to augment. Lat. augere.

=παρέκτασις.= =154= 21. Prolongation. Lat. extensio.

=παρεμφαίνειν.= =108= 5. To hint at, to indicate. Lat. obiter indicare. Cp. Demetr. p. 297.

=παρεμφατικός.= =102= 20. Indicative. Lat. indicativus. Cp. ἀπαρέμφατος p. 289 supra.

=παρέργως.= =100= 25. By the way, cursorily. Lat. obiter.

=παρθενωπός.= =234= 15. Of maiden aspect. Lat. qui virgineo vultu est. The word seems to occur elsewhere only in Eurip. El. 948 ἀλλ’ ἔμοιγ’ εἴη πόσις | μὴ παρθενωπός, ἀλλὰ τἀνδρείου τρόπου [Gilbert Murray: “Ah, that girl-like face! | God grant not that, not that, but some plain grace | Of manhood to the man who brings me love”]. Cp. Cic. Orat. 19. 64 “nihil iratum habet [oratio philosophorum], nihil invidum, nihil atrox, nihil miserabile, nihil astutum; casta, verecunda, virgo incorrupta quodam modo.”

=πάρισος.= =116= 8, =212= 7, =246= 6. Parallel in structure. Lat. qui constat similibus membris. Cp. Aristot. Rhet. iii. 9. 9 παρίσωσις δ’ ἐὰν ἴσα τὰ κῶλα, παρομοίωσις δ’ ἐὰν ὅμοια τὰ ἔσχατα ἔχῃ ἑκάτερον τὸ κῶλον (where ὅμοια τὰ ἔσχατα indicates final letters that rhyme).

=παριστάναι.= =154= 19. To represent, to describe. Lat. depingere. Cp. Long. p. 282.

=παρόμοιος.= =212= 8, =246= 6. Parallel in sound. Lat. qui constat similibus sonis.

=παχύτης.= =184= 21. Stupidity, fat-headedness. Lat. stupor, ingenium crassum. Cp. D.H. p. 200, s.v. παχύς.

=πεζός.= =70= 3, =76= 2, =80= 3, =108= 11, etc. In prose, prosaic. Lat. pedester. πεζὴ λέξις, πεζὴ διάλεκτος, πεζὸς λόγος, πεζοὶ λόγοι = oratio soluta. Cp. Quintil. x. 1. 81 “multum enim supra prosam orationem et quam pedestrem Graeci vocant surgit [Plato].” In =120= 27 the metaphor seems still to be strongly felt—‘marching on foot,’ ‘pedestrian.’

=πειθώ.= =84= 11. Persuasiveness. Lat. persuadendi vis.

=πεῖρα.= =66= 14, =102= 21, =256= 5, etc. Experience. Lat. experientia.

=πεντάμετρος.= =256= 23. Consisting of five metrical feet. Lat. pentameter.

=πεντάχρονος.= =262= 9. Consisting of five times. Lat. qui constat temporibus quinque. See s.v. χρόνοι p. 333 infra.

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=πεποιημένος.= =78= 17, =252= 24. Invented, original, newly-coined. Lat. factus, novatus (Cic. de Orat. iii. 38. 154; i. 34. 155). Fr. forgé tout exprès. Cp. Aristot. Poet. xxi. 9; Demetr. p. 297; Quintil. viii. 6. 32 “vix illa, quae πεποιημένα vocant, quae ex vocibus in usum receptis quocunque modo declinantur, nobis permittimus, qualia sunt Sullaturit et proscripturit.”

=περιβόητος.= =180= 7. Notorious, celebrated. Lat. decantatus, celebratus.

=περίοδος.= =72= 7, 10, =104= 10, =116= 2, etc. Period. Lat. periodus, comprehensio, verborum ambitus, etc. See Demetr. p. 298 for various references and equivalents, and also p. 323 (Index); Sandys’ Orator p. 217; Laurand’s Études pp. 126, 128.—According to Dionysius, the period should not be used to excess [see n. on =118= 15]. Another weakness of the periodic construction is elsewhere noted by him: τοῦτο δὲ [sc. τὸ παθητικὸν] ἥκιστα δέχεται περίοδος (de Isocr. c. 2).

=περισπασμός.= =128= 10. The circumflex accent. Lat. circumflexio, accentus circumflexus. Cp. =περισπωμένας= =126= 11: ‘drawn around,’ ‘twisted,’ ‘circumflexed.’ Aristotle denotes the circumflex accent by the term ‘middle’: ἔστιν δὲ αὐτὴ μὲν ἐν τῇ φωνῇ, πῶς αὐτῇ δεῖ χρῆσθαι πρὸς ἕκαστον πάθος, οἷον πότε μεγάλῃ καὶ πότε μικρᾷ καὶ μέσῃ, καὶ πῶς τοῖς τόνοις, οἷον ὀξείᾳ καὶ βαρείᾳ καὶ μέσῃ, καὶ ῥυθμοῖς τίσι πρὸς ἕκαστα (Aristot. Rhet. iii. 1. 4).

=περιστέλλειν.= =142= 16. To contract, to pucker up. Lat. contrahere.

=περιττός.= =74= 13, =84= 8, =182= 4, 7. Extraordinary, richly wrought; exceedingly good, unsurpassed. Lat. excellens, curiosus, elaboratus. Cp. Long. de Subl. xl. 2 (where the word is opposed to κοινὸς καὶ δημώδης), iii. 4, xxxv. 3. See also de Isocr. c. 3, de Demosth. cc. 8, 56, Ep. ad Pomp. c. 2 (περιττολογία): also Demetr. p. 298 (περισσοτεχνία).

=περιφανής.= =244= 18. Seen on every side. Lat. conspicuus. So =περιφάνεια= =210= 17, =234= 2 (‘so that each word should admit an all-round view of it’).—PMV give περιφανές (not περιφερές) in =246= 3.

=περιφερής.= =206= 15, =230= 31, =246= 3. Circular, rounded. Lat. rotundus. Cp. [Dionys. Hal.] Ars Rhet. x. 13 τὰ στρογγύλα καὶ τὰ περιφερῆ λέγειν προοίμια. In Demetr. de Eloc. § 13 περιφερεῖς στέγαι = vaulted roofs.

=πεφυκέναι= (c. infin.). =66= 16, =70= 3, =104= 16, etc. To have a gift for, a liking for. Lat. solere, amare.

=πεφυλαγμένως.= =148= 1. Guardedly. Lat. caute. The word is used in the Attic period by Xenophon and Isocrates.

=πιέζειν.= =144= 21, =148= 16, =220= 18, =230= 12. To close tight, to compress. Lat. comprimere.

=πιθανός.= =98= 17, 20, =100= 17, =120= 21. Attractive, plausible. Lat. probabilis, verisimilis.

=πικρός.= =232= 15. Bitter, harsh. Lat. acerbus. So =πικραίνειν= =130= 19, =154= 13, =216= 17.

=πίνος.= =120= 23, =136= 16, =212= 24, =236= 8. Mellowing deposit, tinge of antiquity, flavour of archaism. Lat. antiquitas, antiquitas impexa (Tac. Dial. c. 20), nitor obsoletus (Auct. ad Her. iv. 4. 46). There is a suggestion of négligé or abandon about the word, but on the whole it is not uncomplimentary: cp. Ep. ad Pomp. c. 2 ὅ τε πίνος ὁ τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ λεληθότως ἐπιτρέχει, and de Demosth. c. 38 ἀλλ’ [ἵνα] ἐπανθῇ τις αὐταῖς χνοῦς ἀρχαιοπινὴς καὶ χάρις ἀβίαστος. The compound εὐπίνεια is found in Long. de Subl. xxx. 1. There is a scholium (preserved in M) on =120= 23, which is, unfortunately, vague and uncertain: =πῖνος= κυρίως ὁ ῥύπος, ἀφ’ οὗ πιναρὰ ῥάκη. λέγεται δὲ καὶ τὸ ἐπανθοῦν τισὶ χνοῶδες ὡς ἐπὶ μήλων καὶ ἀπίων. ἀπὸ τούτου καὶ ἐπὶ τοῦ λόγου τὸ ἐπιφαινόμενον αὐτῷ ἐν τῇ συνθήκῃ τῆς λέξεως ποιὸν πίνον ὀνομάζει. ἔστι δὲ πῖνος καὶ ὄνομα τόπου.

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=πλάγιος.= =106= 20. Oblique. Lat. obliquus (casus).

=πλανᾶσθαι.= =254= 16, =270= 18. To wander, to be irregular. Lat. vagari. Used in reference to vague, elastic metre. So περιπεπλανημένα μέτρα in de Demosth. c. 50.

=πλάσμα.= =90= 6, =118= 24. Cast, form. Lat. imago, forma dicendi. Cp. Ep. ad Pomp. c. 4 ὕψος δὲ καὶ κάλλος καὶ μεγαλοπρέπειαν καὶ τὸ λεγόμενον ἰδίως πλάσμα ἱστορικὸν Ἡρόδοτος ἔχει (viz. “elevation, beauty, stateliness, and what is specifically called the ‘historical vein’”); Long. de Subl. xv. 8 ποιητικὸν τοῦ λόγου καὶ μυθῶδες τὸ πλάσμα (the ‘form’). In de Demosth. c. 34 πλάσμα seems to have the same meaning as χαρακτῆρ in c. 33 ibid. [The musical meaning of moulded delivery, modulation does not emerge in the C.V.]

=πλάστης.= =264= 2. Modeller, in clay or wax. Lat. fictor.

=πλάτος.= =210= 9, =212= 1, =246= 19. Breadth. Lat. latitudo. So =πλατύς= =244= 18. In =210= 9 the meaning is, ‘belongs to the class of ideas which are regarded with a wide indefiniteness.’ So in Latin platice = πλατικῶς = ‘broadly,’ ‘generally’: cp. Usener Rhein. Mus. xxiv. 311. See also under ἀπαρτίζειν, p. 289 supra.

=πλεονάζειν.= =146= 13, =214= 12. To exceed due bounds. Lat. redundare. So =πλεονασμός=, redundantia, =110= 15.

=πληγή.= =142= 4, 16, =144= 5. Stroke, impact. Lat. ictus, percussio.

=πληθυντικῶς.= =106= 18. In the plural number. Lat. pluraliter.

=πλοκή.= =72= 5, =130= 22, =166= 9. Combination. Lat. copulatio.

=πλούσιος.= =92= 18. Rich. Lat. opulentus. The word is contrasted with =πτωχός= (=92= 17), beggarly, mendicus: for which cp. the expression τῇ λέξει πτωχεύειν in the passage quoted, from Chrysostom, under ἀπαγγελία p. 288 supra.

=πνίγειν.= =142= 18. To stifle, to smother. Lat. suffocare.

=ποίημα.= =76= 10, =78= 5, =100= 23, =154= 2, =166= 4, =192= 8, =250= 10, 16, =254= 4, 7, =272= 14. Poem; line of a poem (in this sense, more commonly στίχος or ἔπος). Lat. poëma, versus. So =ποιεῖν= =208= 9, ‘to write poetry,’ and =ποιητής= =74= 8 (but in =214= 16 ποιηταί means ‘writers’ generally: cp. de Demosth. c. 37 παρ’ οὐδενὶ οὔτε ἐμμέτρων οὔτε πεζῶν ποιητῇ λόγων). ποίημα sometimes refers specially to epic and dramatic poetry (in contrast to song-poetry). In =64= 10 the meaning is ‘product’ simply. For ‘poetry’ =ποίησις= is found: =214= 1, 2, =252= 24, =270= 21, =274= 7, =276= 10.

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=ποιητικός.= =70= 2, 4, =108= 11, =206= 20, =208= 8, 19, =252= 20, 23, 29, etc. Poetical. Lat. poëticus. In =136= 11 the meaning is ‘productive of.’

=ποικιλία.= =130= 13, =192= 18, =196= 17, 25, =198= 5. Variety, decoration. Lat. varietas. So =ποικίλλειν= =132= 13, =192= 20, =196= 9; and =ποικίλος= =110= 11, =154= 19, =160= 10, etc. ποικίλος may be rendered by such adjectives as ‘elaborate,’ ‘curious,’ ‘laborious,’ ‘multifarious,’ ‘kaleidoscopic,’ ‘ever-varying.’

=πολιτικός.= =64= 15, =72= 17, =124= 21, =130= 10, =214= 1, 5, =254= 25, =266= 7, =272= 20. Civil, parliamentary, political, public. Lat. civilis. See D.H. p. 203 for an explanatory note on πολιτικός. In =72= 17, P has ῥητορικοῖς ἀνδράσι, which is an unlikely periphrasis for ῥήτορσι (=104= 8), but may well indicate the general meaning of πολιτικοῖς ἀνδράσι: cp. de Demosth. c. 23 ταῦτα δὲ πολιτικοῖς καὶ ῥήτορσιν ἀνδράσι μελήσει. Compare generally, in Aristot. Poet. c. vi., the words τῆς πολιτικῆς καὶ ῥητορικῆς ἔργον ἐστίν, and οἱ μὲν γὰρ ἀρχαῖοι πολιτικῶς ἐποίουν λέγοντας, οἱ δὲ νῦν ῥητορικῶς.

=πολύμετρος.= =272= 5. Of many measures or metres. Lat. qui multis constat metris.

=πολύμορφος.= =160= 12. Of many forms. Lat. multiformis. Cp. =πολυειδής= =196= 25, =πολυειδῶς= =270= 11.

=πολυπραγμονεῖν.= =264= 6. To bother about. Lat. summa cura elaborare.

=πολυσύλλαβος.= =126= 14, =132= 5. With many syllables. Lat. qui syllabis pluribus constat.

=πολύφωνος.= =160= 23. Of many voices. Lat. qui multas voces emittit. Used of the variety of tones in Homer’s ‘composition.’ In the de Sublim. c. xxxiv. the term is applied to Hypereides, who οὐ πάντα ἑξῆς καὶ μονοτόνως [i.e. at one sustained high pitch] ὡς ὁ Δημοσθένης λέγει.

=πούς.= =86= 1, =168= 12, =172= 20, =174= 22, 24, =178= 7, =184= 1, =256= 9, 12, =258= 19, =260= 3. Metrical foot. Lat. pes. τὸ δ’ αὐτὸ καλῶ πόδα καὶ ῥυθμόν =168= 11. Aristoxenus, Ῥυθμικὰ στοιχεῖα ii. 16, writes: ᾧ σημαινόμεθα τὸν ῥυθμὸν καὶ γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς ἐστιν εἷς ἢ πλείους. Cope (Introduction to Aristotle’s Rhetoric p. 383) thinks that Dionysius neglects the important distinction between βάσις, the unit of rhythm, and πούς, the unit of metre. Goodell (Greek Metric p. 47) thus paraphrases a passage of Marius Victorinus (p. 44 K.): “Between foot and ‘rhythmus’ there is this difference, that a foot cannot exist without rhythm, but a ‘rhythmus’ moves rhythmically without being divisible into feet.” [It is this kind of ‘rhythmus’ that counts in rhythmical prose.]

=πραγματεία.= =68= 8, 14, 17, =70= 8, etc. Inquiry, treatise, work. Lat. studium, commentatio, opus. So =πραγματεύεσθαι= =106= 5, 10, =140= 22, =268= 7.

=πραγματικός.= =66= 6. Pertaining to subject matter or invention. Lat. negotialis. Cp. Quintil. iii. 7. 1 “a parte negotiali, hoc est πραγματικῇ.” The πραγματικὸς τόπος (“tractatio rerum et sententiarum”) covers subject matter, things, thoughts; the λεκτικὸς τόπος includes expression, form, style.

=πραΰς.= =162= 5, =244= 21. Gentle. Lat. lenis. Cp. Demetr. p. 299.

=πρέπον, τό.= =120= 19, =122= 13, =124= 11, =136= 12, =198= 13, 14. Propriety, appropriateness, fitness. Lat. decorum. Fr. la convenance. Cp. Cic. Orat. 21. 70 “ut enim in vita, sic in oratione nihil est difficilius quam quid deceat videre. πρέπον appellant hoc Graeci; nos dicamus sane decorum; de quo praeclare et multa praecipiuntur et res est cognitione dignissima: huius ignoratione non modo in vita, sed saepissime et in poëmatis et in oratione peccatur.” The Greek rhetoricians drew the term from the language of ethics. Aristot. Rhet. iii. 7. 1 τὸ δὲ πρέπον ἕξει ἡ λέξις, ἐὰν ᾖ παθητική τε καὶ ἠθικὴ καὶ τοῖς ὑποκειμένοις πράγμασιν ἀνάλογον. So =πρεπώδης= =106= 17.

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=πριάπειος.= =86= 8. Priapean: as a metrical term. Lat. Priapeius. Effeminate and ribald verse, written in honour of Priapus, and involving a mutilation of the heroic line.

=προέκθεσις.= =242= 2. A prefatory account. Lat. expositio antea data.

=πρόθεσις.= =70= 21, =108= 16, =220= 6. Preposition. Lat. praepositio.

=πρόνοια.= =184= 16, =186= 1. Deliberation. Lat. consilium.

=προοίμιον.= =224= 24, =252= 3. Introduction. Lat. exordium.

=προπετής.= =244= 22. Flowing. Lat. volubilis, profluens.

=προσαγόρευσις.= =260= 22. Address. Lat. allocutio, compellatio.

=προσερανίζειν.= =116= 4. To augment. Lat. cumulare. The period in question has been aided (so to say) by the alms of expletives. For the metaphor cp. συνερανιζόμενα de Isocr. c. 3 and ἔρανον de Imitat. B. vi. 2.

=προσερείδειν.= =148= 22. To drive against. Lat. impingere, allidere. In =220= 24 προσανίστασθαι is similarly used of ‘rising against.’

=προσεχής.= =84= 6. Obvious, natural, allied, appropriate. Lat. proximus, cognatus (cum re coniunctus). In =258= 24 the sense is ‘adjoining.’

=προσηγορικός.= =70= 17, =102= 17, 18, =218= 6, 11, =220= 7, 16, =222= 24, =230= 1. Appellative. Lat. appellativus. ὄνομα προσηγορικόν = common noun, Lat. nomen appellativum. It would appear from Dionysius Thrax (Ars Grammatica p. 23 Uhlig) that ὄνομα might include προσηγορία (= ὄνομα προσηγορικόν), while προσηγορία could cover participles (μετοχαί) and adjectives (ἐπίθετα) as well as common nouns. But the strict division is that of proper names and general terms, as given by Dionysius Thrax (ibid. pp. 33, 34): κύριον μὲν οὖν ἐστι τὸ τὴν ἰδίαν οὐσίαν, σημαῖνον, οἷον =Ὅμηρος=, =Σωκράτης=. προσηγορικὸν δέ ἐστι τὸ τὴν κοινὴν οὐσίαν σημαῖνον, οἷον =ἄνθρωπος=, =ἵππος=. In such passages as =222= 24 and =230= 1 ‘adjective’ would be an appropriate modern rendering. Quintil. i. 4. 21 “vocabulum an appellatio dicenda sit προσηγορία et subicienda nomini necne, quia parvi refert, liberum opinaturis relinquo.” In =272= 25 =προσηγορία= = appellation.

=προσίστασθαι.= =132= 8. To offend. Lat. obstrepere. Cp. de Isocr. c. 2 προσιστάμενος ταῖς ἀκοαῖς, c. 14 ibid. τῷ γὰρ μὴ ἐν καιρῷ γίνεσθαι, μηδ’ ἐν ὥρᾳ, προσίστασθαί φημι ταῖς ἀκοαῖς, Antiqq. Rom. i. 8 μονοειδεῖς γὰρ ἐκεῖναί τε καὶ ταχὺ προσιστάμεναι (= cito offendunt) τοῖς ἀκούουσιν.

=προσκατασκευάζειν.= =110= 14 (v.l. προκατασκευάζειν). To model further, remodel. Lat. insuper instruere.

=προσοδιακός.= =86= 3. Processional: see n. ad loc.

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=προσῳδία.= =128= 12, =196= 17, =268= 20. Accent. Lat. accentus. The word is defined in =196= 17 τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. See further s.v. τόνος p. 329 infra, and compare Bywater Aristotle on the Art of Poetry p. 336 “προσῳδία with Aristotle comprises accent, breathing, and quantity—all the elements in the spoken word which in the ancient mode of writing were left to be supplied by the reader.” The symbols used in accentuation are supposed to have been introduced by Aristophanes of Byzantium, if not by some still earlier scholar, in order to recall to Greeks and teach foreign learners the true intonation of the language, which was in danger of being corrupted and forgotten when the Greek world grew vast and came to include so many foreign elements.

=πρόσωπον.= =160= 18, =198= 23. Person, character. Lat. persona. Cp. Demetr. p. 300.

=πτῶσις.= =106= 20, =108= 4, =132= 7, =212= 20, =264= 4. Grammatical case. Lat. casus. ‘Verbal cases’ are mentioned in =108= 4; in Aristotle the term πτῶσις includes inflexions in general.

=πυρρίχιος.= =168= 17. Pyrrhic. Lat. pyrrhichius. The metrical foot ᴗ ᴗ.

=ῥῆμα.= =70= 13, 21, =168= 10, =218= 6, 7, =264= 5. Verb. Lat. verbum. So =ῥηματικός= =108= 4 (verbal), =220= 17 (verbal form).

=ῥήτωρ.= =74= 8, =132= 22, =166= 12, =200= 14, =206= 25, =218= 21, =236= 20, =242= 7, =248= 15. Orator, rhetorician. Lat. orator, rhetor. As in English we have no similarly two-sided word, it is often hard to decide between the renderings, ‘speaker’ and ‘teacher of speaking.’ So =ῥητορικός= =68= 9, =254= 25, =262= 20.

=ῥοῖζος.= =138= 10. A whizzing. Lat. stridor.

=ῥυθμίζειν.= =180= 13. To bring into rhythm, to scan. Lat. scandere. Cp. the use of βαίνειν and διαιρεῖν.

=ῥυθμός.= =120= 18, =122= 12, =124= 6, 9, passim. Rhythm, harmonious movement of speech. Lat. numerus. For le nombre oratoire in Cicero (whose prose, however, like Roman prose generally, must not be taken to follow exclusively Attic standards) see Laurand’s Études pp. 109-11, and cp. Cic. Orat. 20. 67 “quicquid est enim, quod sub aurium mensuram aliquam cadat, etiamsi abest a versu—nam id quidem orationis est vitium—numerus vocatur, qui Graece ῥυθμός dicitur.” Quintil. Inst. Or. ix. 4. 45 “omnis structura ac dimensio et copulatio vocum constat aut numeris (numeros ῥυθμούς accipi volo) aut μέτροις, id est dimensione quadam.” It was a suggestive saying of Scaliger’s that metre gives the exact ‘measure’ of the line, rhythm its ‘temperament.’ As Dionysius identifies ῥυθμός and πούς (=168= 11; cp. =176= 2, 3), we may translate ῥυθμός by ‘foot’ in =180= 11, =182= 19 (cp. σπονδεῖος πούς =178= 7), =200= 17, =206= 9, etc.—Cp. Aristot. Rhet. iii. 8. 2 τὸ δὲ ἄρρυθμον ἀπέραντον, δεῖ δὲ πεπεράνθαι μέν, μὴ μέτρῳ δέ· ἀηδὲς γὰρ καὶ ἄγνωστον τὸ ἄπειρον. περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά· διὸ ῥυθμὸν δεῖ ἔχειν τὸν λόγον, μέτρον δὲ μή· ποίημα γὰρ ἔσται. ῥυθμὸν δὲ μὴ ἀκριβῶς· τοῦτο δὲ ἔσται ἐὰν μέχρι του ᾖ. So =ῥυθμικός= =128= 18 (where the reference is to lyric metres), =168= 8, =172= 20 (cp. οἱ μετρικοί), =176= 7. Quintilian (ix. 4. 68) provides a good example of the divisions recognized by the rhythmici: “quis enim dubitet, unum sensum in hoc et unum spiritum esse: animadverti, iudices, omnem accusatoris orationem in duas divisam esse partes? tamen et duo prima verba et tria proxima et deinceps duo rursus ac tria suos quasi numeros habent spiritum sustinentes, sicut apud rhythmicos aestimantur.”

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=ῥυπαρός.= =134= 24. Filthy, sordid. Lat. sordidus.

=ῥύσις.= =244= 21. Flow. Lat. fluxus.

=ῥυσός.= =92= 10. Wrinkled. Lat. rugosus.

=ῥώθωνες.= =144= 22, 23, =146= 11, =220= 25. Nostrils. Lat. nares. In =146= 11 διὰ τῶν ῥωθώνων συνηχούμενα = nasal.

=Σαπφικός.= =258= 7. Of Sappho. Lat. Sapphicus.

=σαφήνεια.= =160= 22. Clearness, lucidity. Lat. perspicuitas. Fr. clarté, netteté. The adjective =σαφής= occurs in =210= 4.

=σελίς.= =186= 2. Page. Lat. pagina libri.

=σεμνότης.= =84= 2, =110= 19, =164= 20, =166= 12, =170= 2, =172= 11, =236= 8. Gravity, majesty. Lat. granditas, dignitas, gravitas. Fr. majesté. So =σεμνολογία= =120= 23, =174= 17; =σεμνός= =68= 5, =80= 12, =84= 8, etc. It is not easy to find a good equivalent for σεμνός, as ‘dignified’ comes nearer to ἀξιωματικός; ‘impressive’ (or the like) to μεγαλοπρεπής; ‘lofty,’ ‘elevated,’ or ‘sublime,’ to ὑψηλός. ‘Solemn,’ ‘majestic,’ ‘august,’ or ‘stately’ will sometimes serve.

=σημαίνειν.= =74= 3, =134= 25. To betoken, to express. Lat. significare.

=σιγμός.= =138= 10. A hissing. Lat. sibilus. Fr. sifflement.

=σιωπή.= =218= 16, =220= 2, =230= 4. Silence, interval, pause. Lat. silentium, intermissio. Modern metrists who confine their attention to syllables are apt to neglect the interrelations of silence and sound. Dionysius would, on the contrary, have recognized that the pauses denoted by punctuation are the key to the metre in such lines as “Thy rankest fault; all of them; and require” (Tempest v. 1).

=σκαιότης.= =250= 8. Clumsiness, stupidity. Lat. rusticitas, imperitia. Fr. gaucherie: cp. the editor’s Ancient Boeotians p. 6.

=σκευωρία.= =264= 7. Elaboration. Lat. cura artificiosa. Cp. de Thucyd. c. 5 σκευωρίαν τεχνικήν, c. 29 μᾶλλον δὲ διθυραμβικῆς σκευωρίας οἰκειότερον: Hesych. σκευωρία· κατασκευή.

=σκιερός.= =234= 13. Shady, dark. Lat. obscurus.

=σκληρός.= =132= 1, =154= 12. Hard. Lat. durus. Cp. D.H. p. 205.

=σομφός.= =122= 25. Thick, husky. Lat. subraucus, fuscus. Cp. Schol. in M, σομφὸν ἤγουν θρυλιγμὸν καὶ ἐκμέλειαν. Some of the MSS. give ἀσύμφωνον, thus repeating a word used a few lines earlier.

=σοφιστής.= =190= 10, =264= 19. Sophist. Lat. sophista. The comprehensiveness of the term is well illustrated by the fact that in the former passage it is applied to Hegesias, in the latter to Isocrates and Plato. In the parallel passage of the de Demosth. (c. 51) ὁρῶν γε δὴ τούτους τοὺς =θαυμαζομένους ἐπὶ σοφίᾳ= καὶ κρατίστων λόγων ποιητὰς νομιζομένους Ἰσοκράτην καὶ Πλάτωνα γλυπτοῖς καὶ τορευτοῖς ἐοικότας ἐκφέροντας λόγους. Cp. Demetr. p. 301.

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=σπαδονίζειν.= =142= 9. To emasculate, to cramp. Lat. spadonium sonum reddere. This reading seems preferable on several grounds: (1) it is the more difficult of the two; (2) the sense of ‘choke the voice’ seems to agree well with οὐδὲ συγκόψει τοὺς ἤχους (=162= 4 ‘and will not impede the voice’); (3) σπανίζειν (intransitive: cp. de Demosth. c. 32, de Thucyd. c. 19) τοῦ ἤχου would be more common than σπανίζειν τὸν ἦχον: (4) σπαδονισμοὺς τῶν ἤχων (‘impediments to sound,’ ‘arrested sounds’) occurs, without variant, in de Demosth. c. 40, and is adopted by U.-R. as well as by other editors; (5) the authority of R seems to support σπαδονίζει rather than (as U.-R. think) σπανίζει.

=σπονδεῖος.= =170= 2, =178= 7 (with πόδες), =202= 20. Spondee. The metrical foot – –. Vossius thus describes the effect of the spondee: “hic pes incessum habet tardum et magnificum; itaque rebus gravibus, et maxime sacris, vel ipso attestante vocabulo, imprimis adhibetur.” Cp. Hor. Ars Poet. 255 “tardior ut paulo graviorque veniret ad aures, | spondeos stabiles in iura paterna recepit [sc. iambus],” and Cic. Orat. 64. 216.

=σπουδάζειν.= =66= 8, =94= 16. To be eager. Lat. studere, sedulo operam navare. For the middle voice of this verb see note on p. 95 supra. The noun =σπουδή= occurs in =156= 14, =186= 4, =192= 7, =212= 16.

=σταθερός.= =234= 4. Steadfast. Lat. stabilis. τὸ σταθερόν = la lenteur grave.

=στάθμη.= =236= 4. A carpenter’s line or rule. Lat. amussis. ἀπὸ στάθμης = velut ad amussim, ‘regulated by line and rule, by square and level.”

=στενός.= =142= 19, =146= 3. Narrow. Lat. angustus. In =146= 3 it is coupled with λεπτός.

=στηριγμός.= =202= 24. A sustaining (of the voice on certain syllables), a pause. Lat. mora. See under ἐγκάθισμα, p. 297 supra; and under ἀντιστηριγμός, p. 288 supra. So =στηριχθῆναι= =220= 18, ‘to be firmly planted,’ ‘to be sustained.’

=στιβαρός.= =216= 16. Hardy, robust. Lat. robustus. The word occurs also in de Thucyd. c. 24. Cp. the French nerveux. Hesych. στιβαρόν· εὔρωστον, βαρύ, εὔτονον, στεῤῥόν, ἰσχυρόν. As is pointed out by Larue van Hook (Metaphorical Terminology of Greek Rhetoric p. 20), both Latin and English abound in similar terms of style drawn from good physical condition: nervi, vires, vigor, lacerti, ossa, robur: full-blooded, hearty, lively, lusty, muscular, nervous, robust, sinewy, supple, strenuous, vigorous, etc.

=στίχος.= =86= 2, 12, =88= 7, etc. A line of poetry. Lat. versus. In de Thucyd. c. 19 the word is used with reference to prose: ὅτι πολλὰ καὶ μεγάλα πράγματα παραλιπών, τὸ προοίμιον τῆς ἱστορίας μέχρι πεντακοσίων ἐκμηκύνει στίχων.

=στοιχεῖον.= =70= 11, 20, =108= 10, =110= 9, =138= 1, etc. Element. Lat. elementum. So =στοιχειώδης= =138= 14. With the use of στοιχεῖον in c. 14 cp. Aristot. Poet. c. 20, where the word is defined as φωνὴ ἀδιαίρετος, οὐ πᾶσα δέ, ἀλλ’ ἐξ ἧς πέφυκε συνετὴ γίγνεσθαι φωνή. In =108= 10 the meaning practically is ‘principle,’ ‘rule.’

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=στρέφειν.= =264= 3, =270= 11. To turn, to twist. Lat. torquere. In =270= 11 the meaning may be conveyed by ‘to change the words about,’ ‘to permute or vary the order of the words,’ ‘to give a new turn to the sentence.’

=στρογγύλος.= =112= 11. Compact, rounded, terse. Lat. rotundus. Fr. arrondi. See the examples quoted in D.H. p. 205, and add de Lys. c. 9 στρογγύλη καὶ πυκνή, de Isaeo c. 3 στρογγύλη τε καὶ δικανικὴ οὐχ ἧττόν ἐστιν ἡ Ἰσαίου λέξις τῆς Λυσίου. So =στρογγυλίζειν= =142= 15. Latin equivalents, or parallels, may be found in Horace’s ore rotundo (Ars P. 323), Cicero’s contortus (Orat. 20. 66), Quintilian’s corrotundare (xi. 3. 102). “στρογγύλος is used of the new stylistic artifices of the sophistical rhetoric by Aristophanes Acharn. 686 (στρογγύλοις τοῖς ῥήμασι), and by Plato Phaedr. 234 E. In later usage it is constantly used of periodic composition” (G. L. Hendrickson in American Journal of Philology xxv. 138).

=στροφή.= =194= 6, 9, 10, 16, 19, =254= 13, =272= 5, =278= 8. Strophe, stanza. Lat. stropha.

=στρυφνός.= =228= 7. Harsh, astringent. Lat. acerbus. See D.H. p. 205 (s.v. στριφνός: in C.V. =228= 7 F has στριφνόν), with the reference to Jebb’s equivalent ‘biting flavour’ (Att. Orr. i. 35).

=στύφειν.= =154= 13. To draw up the mouth. Lat. astringere. Used of sounds that make the hearer pull a wry face and screw up his lips. Cp. de Demosth. c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ βούλεται.

=συγγραφεύς.= =74= 8, =76= 3, =154= 17, =206= 25, =214= 15, =228= 11, =236= 18, =248= 14. Prose-writer, historian. Lat. scriptor (prosaicus); (scriptor) historicus. ἱστοριογράφος (de Thucyd. c. 2) is a less ambiguous expression than συγγραφεύς (c. 5 ibid.) or than λογογράφος (c. 20 ibid.).—In =68= 9 =συγγράφειν= = to compose (a treatise).

=συγκοπή.= =156= 19, =230= 7. Stoppage. Lat. impeditio. So =συγκόπτειν= (‘impede the voice,’ ‘check the utterance’) =162= 4. [This meaning seems to bring the three passages fairly into line: otherwise συγκοπαὶ τῶν ἤχων, in =230= 7, might well mean ‘durae sonorum collisiones et concursiones.’]

=συγκροτεῖν.= =206= 16. To weld together. Lat. compingere, coagmentare.

=σύγκρουσις.= =230= 27. Collision, concurrence, consonance. Lat. concursus. Fr. rencontre. So =συγκρούειν= =202= 18, =224= 10. Cp. Demetr. p. 302. The reference is to a succession of two vowels which do not form a diphthong, either in the same word (e.g. λᾶαν) or with hiatus between two words (e.g. ἄλγε’ ἔχοντα: or καὶ ἐλπίσας, τε ἔσεσθαι, καὶ ἀξιολογώτατον). Cp. de Demosth. c. 43. Cicero’s opinion of the ‘concourse of vowels’ (quoted by Quintil. ix. 4. 37) is given in Orat. 23. 77 “verba etiam verbis quasi coagmentare neglegat; habet enim ille tamquam hiatus et concursus vocalium molle quiddam et quod indicet non ingratam neglegentiam de re hominis magis quam de verbis laborantis.” On the other hand, Pope (Essay on Criticism) states and exemplifies the weak side of hiatus by means of the line, ‘Tho’ oft the ear the open vowels tire’; and Cicero himself (Orat. 44. 150) writes, “quod quidem Latina lingua sic observat, nemo ut tam rusticus sit qui vocales nolit coniungere.” In English, the question of hiatus raises sundry points of an interesting kind. Should we, for example, say ‘an historian’ and ‘an historical book,’ on the ground that the initial aspirate is evanescent when the accent falls on the second syllable; and similarly ‘an united family’ but ‘a union of hearts’?

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=συγκρύπτειν.= =130= 26. To hide, to disguise. Lat. occulere.

=συγξεῖν.= =210= 22, =228= 4, =232= 12, =234= 19. To polish. Lat. expolire. Cp. de Demosth. c. 40 πολλὴν σφόδρα ποιουμένη φροντίδα τοῦ συνεξέσθαι καὶ συνηλεῖφθαι καὶ προπετεῖς ἁπάντων αὐτῶν εἶναι τὰς ἁρμονίας.

=συγχρώζεσθαι.= =244= 17. To be closely joined. Lat. cohaerere, mutuo se contingere.

=συζυγία.= =84= 11, =104= 17, =106= 19, etc. Coupling, grouping, combination. Lat. coniunctio. Fr. liaison. So de Demosth. c. 40 (the passage quoted s.v. συμβολή, infra).

=συλλαβή.= =150= 16. Syllable. Lat. syllaba. Words like this serve to remind us how much of our modern rhetorical and grammatical terminology is taken direct from the Greek.

=συλλεαίνειν.= =230= 20. To rub smooth, to polish. Lat. levigare, polire. Cp. de Demosth. c. 43 ἐν δὲ τῇ δευτέρᾳ περιόδῳ τραχύνεται μὲν ἡ σύνθεσις ἐν τῷ “μεγάλη γὰρ ῥοπή” διὰ τὸ μὴ συναλείφεσθαι τὰ δύο ρ ρ, καὶ ἐν τῷ “ἀνθρώπων πράγματα” διὰ τὸ μὴ συλλεαίνεσθαι <τὸ ν> τῷ ἑξῆς.

=συμβεβηκότα, τά.= =98= 8, 9, =140= 14, =264= 6, =268= 19. The accidental, non-essential, qualities of a thing. Lat. accidentia. In =268= 19 the reference is to the changes which words undergo in the way of contraction, expansion, acute or grave accentuation, etc.

=συμβολή.= =210= 20, =232= 13. Clashing. Lat. concursus. In =232= 13 the reference is to les chocs des voyelles. Cp. de Demosth. c. 40 καὶ διὰ τοῦτο φεύγει μὲν ἁπάσῃ σπουδῇ τὰς τῶν φωνηέντων συμβολὰς ὡς τὴν λειότητα καὶ τὴν εὐέπειαν διασπώσας, φεύγει δέ, ὅση δύναμις αὐτῇ, τῶν ἡμιφώνων τε καὶ ἀφώνων γραμμάτων τὰς συζυγίας, ὅσαι τραχύνουσι τοὺς ἤχους καὶ ταράττειν δύνανται τὰς ἀκοάς.

=σύμβολον.= =84= 4. Token, label. Lat. signum.

=συμμετρία.= =130= 7, 12, =246= 2, 4, =270= 10. Due proportion. Lat. iusta mensura. In =270= 10 συμμετρία would seem to mean the arrangement of the periods within the lines or verses (μέτρα: the variant ἐμμετρία is to be noticed); and with it should be compared συμμέτρως in =270= 13, though there Upton suggests ἀσυμμέτρως and Schaefer συμμέτροις. =συμμέτρως= occurs also in =232= 9; and =συμμετρεῖν= in =212= 18, =276= 26. Cp. de Demosth. c. 43 ὥστε συμμετρηθῆναι πρὸς ἀνδρὸς πνεῦμα.

=συμπληροῦν.= =180= 11, =182= 16. To complete, to constitute. Lat. absolvere.

=συμπλοκή.= =160= 9, =198= 6, =240= 16. Intertwining, blending. Lat. implicatio. So =συμπλέκειν= =154= 17, =258= 4. For the metaphor from weaving cp. ῥάπτειν and ὑφαίνειν: Pindar Nem. iv. 153 ῥήματα πλέκων: Swinburne Erechtheus 1487 “I have no will to weave too fine or far, | O queen, the weft of sweet with bitter speech.”

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=σύμπτωσις.= =240= 12. Concurrence. Lat. concursus.

=συμφορητός.= =72= 22. Collected promiscuously, miscellaneous. Lat. collatus, collecticius.

=συνάγειν.= =144= 18, =212= 3. To contract. Lat. contrahere, coarctare.

=συναλοιφή.= =108= 18, =180= 17, =218= 7, =222= 24, =256= 22. Blending, fusion, amalgamation. Lat. coitus, vocalium elisio. Fr. synalèphe (contraction, ou jonction de plusieurs voyelles). So =συναλείφειν= =220= 1, =222= 26, =234= 8, =236= 6, =244= 17. Compare Demetr. p. 303, together with the passage there quoted from Quintil. ix. 4. 35-7 (including the words “coëuntes litterae, quae συναλοιφαί dicuntur”), and see (as to hiatus) Sandys’ Orator pp. 160 ff. and Laurand’s Études pp. 114-6. Cp. de Demosth. c. 43 καὶ κατ’ ἄλλους δύο τόπους ἢ τρεῖς τὰ ἡμίφωνα <καὶ ἄφωνα> παραπίπτοντα ἀλλήλοις τὰ φύσιν οὐκ ἔχοντα συναλείφεσθαι ἔν τε τῷ “τὸν Φίλιππον” καὶ ἐν τῷ “ταύτῃ φοβερὸν προσπολεμῆσαι” ταράττει τοὺς ἤχους μετρίως καὶ οὐκ ἐᾷ φαίνεσθαι μαλακούς· ἐν δὲ τῇ δευτέρᾳ περιόδῳ κτλ. (the remainder of the passage is given under συλλεαίνειν, p. 324 supra).

=συναπαρτίζειν.= =212= 11, =270= 13. To complete (the sense) simultaneously. Cp. Demetr. de Eloc. §§ 2, 10 (together with ἀπαρτίζειν in Glossary p. 267 ibid.), and also the note on pp. 270, 271 supra. Cp. de Demosth. c. 39 ἔτι τῆς ἁρμονίας ταύτης οἰκεῖόν ἐστι καὶ τὸ τὰς περιόδους αὐτουργούς τινας εἶναι καὶ ἀφελεῖς καὶ μήτε συναπαρτιζούσας ἑαυταῖς τὸν νοῦν μήτε συμμεμετρημένας τῷ πνεύματι τοῦ λέγοντος μηδέ γε παραπληρώμασι τῶν ὀνομάτων οὐκ ἀναγκαίοις ὡς πρὸς τὴν ὑποκειμένην διάνοιαν χρωμένας μηδ’ εἰς θεατρικούς τινας καὶ γλαφυροὺς καταληγούσας ῥυθμούς.

=συνάπτειν.= =202= 19, =240= 20, =262= 4. To link together. Lat. adiungere, connectere. Dionysius’ love of variety may be seen by comparing together =262= 4, =258= 4, =256= 20, 22, =258= 24.

=συναρμόττειν.= =118= 14, =134= 11, =234= 19. To adapt one thing to another. Lat. accommodare. Used with reference to adjusting, dovetailing, interlinking.

=συνασκεῖν.= =282= 1. To practise simultaneously. Lat. simul exercere.

=σύνδεσμος.= =70= 14, 17, =72= 1, =218= 7, =220= 5, =258= 27. Conjunction, connective, connecting word. Lat. copula, coniunctio. ‘Particle,’ or ‘connecting-particle,’ will sometimes be a suitable rendering, as the term includes particles like ἄρα (=258= 27) and μέν and δή (Demetr. de Eloc. §§ 55, 56, 196), and may even be applied to prepositions (=220= 5, 6). In a difficult passage of Aristot. Poetics (xx. 6), among the examples offered of σύνδεσμος are ἀμφί, περί, μέν, ἤτοι, as well as δέ. A good account of the word will be found in Cope’s Introduction to Aristotle’s Rhetoric pp. 371-4, 392-7. See further Quintil. i. 4. 18; Aristot. Rhet. iii. 6. 6.

=συνεδρεύειν.= =100= 10, =160= 19. To attend, to accompany. Lat. assidere, adiungi. Used, in =100= 10, of the accompanying relations (mode, place, time, etc.), which adverbs denote in reference to verbs.

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=συνεκτρέχειν.= =274= 24. To run out together, to be of the same length. Lat. aequis passibus concurrere.

=συνεκφέρειν.= =240= 11. To pronounce concurrently. Lat. simul pronuntiare. Cp. =συνεκφορά= =230= 3.

=συνεφθαρμένος.= =126= 10, =144= 12, =234= 13. Imperceptibly blended, melting into each other. Lat. commistus. φθορά is the technical term for the mixing of colours in painting: e.g. Plut. Mor. 346 A καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν. Perhaps it is this sense of ‘fusion’ that led to φθορά being used, in Byzantine music, in some such sense as ‘modulation.’

=συνεχής.= =230= 17, 20, =244= 21, =246= 1. Continuous, unbroken. Lat. continuus. So =συνεχῶς= =132= 9, =230= 29, =280= 21. =συνέχεια= (=240= 5) = coherence, ‘continuus compositionis tenor.’

=συνηχεῖν.= =140= 21, =144= 20, =146= 11. To sound at the same time. Lat. consonare. In =140= 21 the translation of the manuscript reading συνεχούσης may be “while all these are pronounced, the windpipe constricts the breath,” A. J. Ellis op. cit. p. 41 (with the note, “probably this is what Dionysius considered the cause of voice”).

=σύνθεσις.= =68= 5, 7, 19, =70= 3, 9, =72= 8, =74= 15, =78= 9, =86= 2, 13, =90= 19, =134= 26 etc., =200= 10, 16, =202= 1, 7, =204= 9, =232= 25, =240= 23, =270= 9. Composition. Lat. compositio. ‘Composition’ (with the addition of ‘literary,’ to mark it off from other kinds of composition) seems the least inadequate English rendering of σύνθεσις, and comes nearest to the usual Latin title. To judge by the actual contents of the treatise (which go beyond Dionysius’ occasional and fragmentary definitions), the term ‘putting-together’ can be applied not only to ὀνόματα, but (on the one side) to γράμματα and συλλαβαί and (on the other) to κῶλα and περίοδοι, and to a poem of Sappho or the proem of Thucydides. Hence ‘arrangement (or order, ordonnance) of words’ proves, in practice, too narrow a title, though the euphonic and symphonic arrangement of words and the elements of words is the main theme, and though there is (as has been pointed out in the Introduction, p. 11 supra) some danger of ‘literary composition’ seeming to promise a treatment of the πραγματικὸς τόπος. One of the definitions of composition in the New English Dictionary will apply very fairly to the de Compositione Verborum: “the due arrangement of words into sentences, and of sentences into periods; the art of constructing sentences and of writing prose or verse,” while ἁρμονία (which is σύνθεσις in special reference to skilful and melodious combination) might well be defined in the words there quoted from the Arte of Rhetorique of T. Wilson (1553 A.D.): “composition ... is an apt joyning together of wordes in such order, that neither the eare shall espie any jerre, nor yet any man shalbe dulled with overlong drawing out of a sentence.” The form συνθήκη is found, in practically the same sense as σύνθεσις, in the Epitome c. 3; in Lucian de conscrib. hist. c. 46 καὶ μὴν καὶ συνθήκῃ τῶν ὀνομάτων εὐκράτῳ καὶ μέσῃ χρηστέον; and in Chrysostom de Sacerdotio iv. 6 (quoted under ἀπαγγελία p. 288 supra). As Latin equivalents (in addition to ‘de Compositione Verborum’), ‘de Collocatione Verborum’ or ‘de Constructione Verborum’ might be supported out of Cicero’s Orator and de Oratore; and something might be said, too, in favour of ‘de Structura Orationis’ or (more fully) ‘de compositione, seu orationis partium apta inter se collocatione.’—=συνθετικός= occurs in =104= 15, and =σύνθετος= in =144= 11, =176= 3, =184= 3.

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=σύνοψις.= =208= 13. A general view. Lat. conspectus. εἰς σύνοψιν ἐλθεῖν δυνάμενος would, in Aristotle’s conciser phrase, be: εὐσύνοπτος.—The verb =συνορᾶν= occurs in =184= 22, =συνιδεῖν= =182= 3.

=συντάττεσθαι.= =80= 5, =94= 15, =96= 6, =98= 19, 20, =104= 5, =106= 13, =264= 21. To put together, to compose, to treat of. Lat. componere, tractare. So =σύνταγμα= =214= 9, and =σύνταξις= (‘arrangement,’ ‘co-ordination,’ ‘treatise’) =94= 3, =96= 2, 13, 16, etc.

=συντιθέναι.= =68= 3, =74= 12, =106= 11, etc. To arrange words or sounds, to compose. Lat. componere.

=συνυφαίνειν.= =134= 12, =166= 17, =184= 14, =234= 9, 20, =240= 7. To weave together. Lat. contexere. Lucian (de conscrib. hist. 48) uses the word: καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα, πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν κτλ. [The passage is given in full under χρῶμα, p. 333 infra.]

=συνῳδός.= =220= 17, =224= 16, =232= 8. In harmony with, accordant. Lat. concors.

=συριγμός.= =146= 14, =148= 7, =160= 1. A hissing. Lat. sibilus. So =σύριγμα= =146= 3. In =160= 1 the reference is to the ‘whistling of ropes,’ the ‘shrieking of tackle’: cp. Virg. Aen. i. 87 “insequitur clamorque virum stridorque rudentum.”

=σύρρυσις.= =162= 21. A flowing together, conflux. Lat. concursus. Two forms of the word are found: σύρρευσις and (as here) σύρρυσις.

=συστέλλειν.= =140= 19, =152= 25, =206= 1. To compress. Lat. contrahere, corripere. So =συστολή= =142= 18, =268= 20.

=συστρέφειν.= =204= 9. To abbreviate. Lat. contrahere. Cp. D.H. p. 206, and Demetr. p. 305 (s.v. συστροφή). The condensation indicated in =204= 9 consists in the fact that the rolling down of the stone is described in a single line, whereas the rolling up takes four lines.

=σφραγίς.= =268= 3. Seal, impression of a seal. Lat. signum.

=σχέδιος.= =186= 5. Sudden, off-hand, impromptu. Lat. extemporalis. Cp. αὐτοσχέδιος p. 291 supra.

=σχῆμα.= =88= 12, =90= 19, =130= 7, =132= 11, =148= 20 etc., =196= 25, 26, =198= 6, passim. Figure, attitude. Lat. figura. See D.H. p. 206, and Demetr. p. 305, for various quotations and references (to which may be added Causeret La Langue de la rhétorique et de la critique littéraire dans Ciceron pp. 176 ff.). Sometimes ‘construction’ will be a good rendering (e.g. de Isocr. c. 3), or ‘form’ (de Thucyd. c. 37): cp. Cic. Brut. 17. 69 (‘sententiarum orationisque formae’). ‘Turns of expression’ (tours de phrase) will also serve occasionally.

=σχηματίζειν.= =104= 18, =106= 15, =108= 1, =110= 14, =112= 18, 19, etc. To use a figure, to shape, to construct. Lat. figurare. Cp. D.H. p. 206, Demetr. p. 305.

=σχηματισμός.= =112= 14, 20, =146= 7, =212= 21, etc. Configuration, construction; the employment of figures or turns of phrase. Lat. conformatio, figuratio.

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=σχολικός.= =214= 9. After the manner of lectures, tedious. Lat. longus. Dionysius has in mind treatises which are ‘academic’ rather than practical. Cp. Long. de Sublim. iii. 5 πολλὰ γὰρ ὥσπερ ἐκ μέθης τινὲς εἰς τὰ μηκέτι τοῦ πράγματος, ἴδια ἑαυτῶν καὶ σχολικὰ παραφέρονται πάθη.

=σῶμα.= =134= 25. Person. Lat. persona. Same sense as πρόσωπον: compare, in Ep. ii. ad Amm. c. 14, πρόσωπα δὲ παρ’ αὐτῷ τὰ πράγματα γίνεται with πράγματα δὲ ἀντὶ σωμάτων τὰ τοιαῦτα ὑπ’ αὐτοῦ γίνεται.

=Σωτάδειος.= =88= 1. Sotadean. Lat. Sotadeus. So called from Sotades, a native of Maroneia or of Crete, who lived under the early Ptolemies. The structure of the Sotadean verse is analyzed in P. Masqueray’s Abriss der griechischen Metrik pp. 141-4. For some further references see Demetr. p. 244.

=ταμιεύειν.= =246= 4. To regulate, to manage. Lat. temperare, dispensare.

=τάξις.= =72= 12, 18, =198= 6, etc. Order. Lat. dispositio. Not identical in sense with σύνθεσις, which (in =72= 18) forms part of one and the same sentence as τάξις. τάξις often (e.g. Aristot. Rhet. iii. 12. 6) refers to the marshalling of the subject matter of a speech.—The verb =τάττειν= occurs (with various senses) in =126= 7, =196= 6, =254= 10, etc.

=ταπεινός.= =74= 12, =78= 10, =80= 13, =92= 17, =134= 23, =166= 3, =176= 11, =186= 19. Low, mean, vulgar. Lat. humilis, abiectus. So =ταπεινότης= =192= 9.

=τάσις.= =126= 7, 9, =128= 5, 11, =196= 16. Tension, pitch, accent. Lat. intentio (vocis), accentus. Cp. προσῳδία p. 320 supra, and τόνος p. 329 infra. Definition in =196= 16: τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. Quintil. i. 5. 22 “adhuc difficilior observatio est per tenores, (quos quidem ab antiquis dictos tonores comperi, videlicet declinato a Graecis verbo, qui τόνους dicunt) vel accentus, quas Graeci προσῳδίας vocant,” etc.

=ταυτολογία.= =240= 26. Verbal reiteration, tautology. Lat. eiusdem verbi iteratio. This is, apparently, the earliest recorded use of the word, though Polybius employs the verb ταυτολογεῖν. Quintil. viii. 3. 50 “sicut ταυτολογία, id est eiusdem verbi aut sermonis iteratio. haec enim quamquam non magnopere a summis auctoribus vitata, interim vitium videri potest, in quod saepe incidit etiam Cicero, securus tam parvae observationis: sicut hoc loco, Non solum igitur illud iudicium iudicii simile, iudices, non fuit.” The English word tautology must have been unfamiliar when Philemon Holland translated the Morals of Plutarch, since it is one of the terms included in the “explanation of certain obscure words” appended to Holland’s volume.

=ταυτότης.= =134= 18, =192= 20. Sameness, monotony. Lat. rerum earundem iteratio. Contrasted with μεταβολή: as in =134= 18 διαναπαύειν δὲ τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους εἰσφέροντα.—Aristotle uses the word several times, in the sense of ‘identity.’

=τέλειος.= =84= 21, =116= 24, =144= 17, =150= 13, etc. Complete, perfect. Lat. absolutus, perfectus. See, further, note on =204= 24.—So =τελειοῦν= =178= 13.—In =120= 4, =268= 5, =τέλος= = ‘end,’ ‘object.’

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=τελεταί.= =252= 15. Rites, mysteries. Lat. sacra arcana, ritus et caerimoniae. αἱ τελεταὶ τοῦ λόγου = sacra eloquentiae.

=τετράμετρος.= =86= 3, 14, =256= 8, 13. Consisting of four metres or measures. Lat. tetrametrus (sc. versus: στίχος).

=τετριμμένος.= =252= 29. Homely, ordinary. Lat. tritus. Fr. ordinaire. The word sometimes inclines to the sense ‘vulgar,’ ‘hackneyed,’ ‘banal,’ ‘rebattu’: cp. τέτριπται =134= 22.

=τέχνη.= =68= 9, =94= 10, 14, =96= 2, =104= 10, =132= 22, etc. Art, handbook. Lat. ars. αἱ τέχναι in Dionysius (cp. αἱ τέχναι τῶν λόγων, Aristot. Rhet. i. 1. 3) refers specially to rhetorical handbooks: e.g. =270= 4, =282= 3. αἱ ῥητορικαὶ τέχναι is often used to designate the Rhetoric of Aristotle: e.g. =254= 25, and Ep. i. ad Amm. cc. 1, 2, etc.—In =124= 3 τεχνίτης = ‘craftsman,’ ‘professional.’

=τὴν ἄλλως.= =176= 6. To no purpose. Lat. temere. Coupled here with a negative: cp. Suidas, τηνάλλως. μάτην. καὶ οὐ τηνάλλως μετὰ τῆς ἀποφάσεως λέγεται.

=τομή.= =72= 2. Division. Lat. partitio. Fr. partie, subdivision.

=τόνος.= =126= 5, 15, 19, =142= 8. Tone, tension, pitch, accent. Lat. tonus, intentio (vocis), accentus. If τόνον be read in =136= 16 and τόνος in =236= 8, the meaning will be energy: cp. D.H. p. 207. See also under τάσις p. 328 supra, and under περισπασμός p. 316 supra (for a passage of Aristot Rhet. iii. 1. 4).

=τόπος.= =66= 6, =96= 9, =144= 18, =164= 17, =248= 8. Place, heading, department. Lat. locus. The πραγματικὸς τόπος (=66= 6) is the locus rerum, as opposed to the λεκτικὸς τόπος (=96= 9). In this connexion not only τόπος, but τρόπος, τύπος, χαρακτήρ and μέρος are sometimes used by Dionysius.

=τορευτός.= =264= 18. Worked in relief, chased. Lat. caelatus. So τορευτής = caelator, =266= 8.

=τραγῳδοποιός.= =236= 17, =248= 14. Tragic poet, tragedian. Lat. tragicus poëta. [For the Greek expressions used to denote tragic and comic poets see H. Richards in the Classical Review xiv. 211.]

=τρανός.= =230= 14. Clear, distinct. Lat. perspicuus. In earlier Greek the form τρανής is used: cp. Soph. Ajax 23 ἴσμεν γὰρ οὐδὲν τρανές, ἀλλ’ ἀλώμεθα.

=τραχύτης.= =230= 5, =232= 8. Roughness. Lat. asperitas. Fr. âpreté, dureté. So =τραχύς= =130= 26, =154= 12, =228= 7, =234= 15, etc.; and =τραχύνειν= =130= 19, =146= 9, =202= 26, =206= 4, =216= 17, =218= 18, =240= 17. By ‘rough’ letters, in =202= 26, Dionysius may probably mean the following letters found in the four lines quoted in =202= 3-6: Σ, σ, φ (?), σ, γ, χ, στ, ζ, σ, σκ, πτ, σχ, σκ, φ (?); and among these, σκ, σχ and πτ may be regarded as ‘juxtapositions of rough letters.’

=τρίκωλον.= =116= 11. A sentence consisting of three members or clauses. Lat. oratio trimembris. τὸ τρίκωλον is here a noun: on the same principle as, for example, ἡ τρίοδος (= trivium).

=τρίμετρος.= =258= 19, 25. Consisting of three metres or measures. Lat. trimetrus (sc. versus: στίχος).

=τρισύλλαβος.= =170= 15, =174= 8. Consisting of three syllables. Lat. trisyllabus.

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=τρόπος.= =196= 1. Mode (in music). Lat. modus. Cp. Monro’s Modes of Ancient Greek Music p. 2. In =132= 12 the word means trope (metaphor particularly: cp. Quintil. viii. 6. 4): so =τροπικός= (figurative; Fr. figuré) =78= 16, =252= 24, =272= 10.

=τροχαῖος.= =170= 8, =184= 11. Trochee. The metrical foot – ᴗ.

=τρυφερός.= =236= 9. Delicate, dainty. Lat. delicatus, nitidus.

=τύπος.= =70= 7, =268= 2, 17, 24. Outline, form. Lat. forma, figura.

=ὕλη.= =266= 9. Material. Lat. materia. Fr. matière.

=ὑπαγωγικός.= =90= 5. Drawn slowly out, prolonged. Lat. dilatatus. Cp. de Demosth. c. 4 διώκει δ’ ἐκ παντὸς τρόπου τὴν περίοδον οὐδὲ ταύτην στρογγύλην καὶ πυκνὴν ἀλλ’ ὑπαγωγικήν τινα καὶ πλατεῖαν καὶ πολλοὺς ἀγκῶνας, ὥσπερ οἱ μὴ κατ’ εὐθείας ῥέοντες ποταμοὶ ποιοῦσιν, ἐγκολπιζομένην. It is possible, however, that in the de Comp. Verb. the word has an active meaning similar to that of ἐπαγωγικός, in which case the rendering will be ‘the effect of the passage will no longer be that of a narrative which gently carries the reader on.’

=ὑπαλλαγή.= =78= 16. Hypallage. Lat. hypallage. Quintil. ix. 6. 23 “nec procul ab hoc genere discedit μετωνυμία, quae est nominis pro nomine positio. cuius vis est, pro eo, quod dicitur, causam, propter quam dicitur, ponere; sed, ut ait Cicero, ὑπαλλαγήν rhetores dicunt. haec inventas ab inventore et subiectas res ab obtinentibus significat: ut Cererem corruptam undis, et receptus Terra Neptunus classes Aquilonibus arcet.” Cp. Cic. Orat. 27. 93 “hanc ὑπαλλαγήν rhetores, quia quasi summutantur verba pro verbis, μετωνυμίαν grammatici vocant, quod nomina transferuntur.”

=ὑπάτη.= =210= 7. Top note. Lat. chorda suprema. See L. & S. s.v.

=ὑπεραίρειν.= =224= 11. To exceed. Lat. transgredi.

=ὑπερβολή.= =156= 11. Excess, violence. Lat. impetus, ardor. [Not here used in the technical sense of superlatio, traiectio.]

=ὑπέρμετρος.= =214= 8. Exceeding due measure, excessively long. Lat. excedens mensuram. [Not here used in the technical sense of passing beyond the bounds of metre: Demetr. de Eloc. § 118 ποίημα γὰρ ἄκαιρον ψυχρόν, ὥσπερ καὶ τὸ ὑπέρμετρον, ‘a bit of verse out of place is just as inartistic as the disregard of metrical rules in poetry.’]

=ὑπεροπτικός.= =232= 20. Disdainful. Lat. ad contemnendum pronus.

=ὑπερτείνειν.= =132= 14. To exceed. Lat. transcendere.

=ὑπηχεῖν.= =150= 7. To sound in answer to, to re-echo. Lat. resonare.

=ὑποβάκχειος.= =174= 23, =178= 11, 13. Hypobacchius. The metrical foot ᴗ – –. The Epitome (c. 17) gives παλιμβάκχειος in the same sense as ὑποβάκχειος.

=ὑπογράφειν.= =122= 7. To sketch. Lat. adumbrare. Fr. esquisser.

=ὑπόδειγμα.= =174= 12. Pattern, specimen. Lat. documentum, exemplum.

=ὑπόθεσις.= =104= 6. Subject, theme. Lat. argumentum operis. So =τὰ ὑποκείμενα= (the subject matter) =74= 9, =106= 17, =130= 13, =134= 21, =158= 2.

=ὑπόμνησις.= =80= 1. Reminder. Lat. admonitio. ὑπομνήσεως ἕνεκα = memoriae causa.

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=ὑποτακτικός.= =220= 19. Subordinate. Lat. subditus. Dionysius seems to mean that π is not apt to be amalgamated with, or absorbed in, a preceding ν. [The second vowel in a diphthong could be described as ὑποτακτικὸν φωνῆεν.] The verb =ὑποτάττειν= occurs in =100= 23 and =126= 21.

=ὑποτίθεσθαι.= =194= 8. To take as a subject. Lat. argumentum sibi sumere. This (rather than ‘to postulate’) seems to be the meaning.

=ὑποτραχύνειν.= =222= 7. To grate slightly on the ear. Lat. leni horrore aures afficere.

=ὕπτιος.= =108= 3. Passive. Lat. supinus.

=ὕφος.= =234= 12. Woven stuff, a web. Lat. tela. The word is used metaphorically in Long. de Subl. i. 4 τοῦ ὅλου τῶν λόγων ὕφους.

=ὑψηλός.= =92= 18, =172= 2, =180= 2, =182= 7. Lofty, elevated. Lat. sublimis.

=φαντασία.= =230= 29. Representation, image. Lat. imago.

=φάρμακον.= =208= 17. Colour (for painting). Lat. pigmentum. For φάρμακα (= βάμματα, χρώματα) cp. Horace’s “lana Tarentino violas imitata veneno” (Ep. ii. 1. 207).

=φάρυγξ.= =150= 7. Throat. Lat. guttur. Here used in the masculine gender, according to the best-supported reading. Galen (on Hippocr. Progn. p. 45), ὅτι φάρυγγα τὴν προκειμένην χώραν στομάχου τε καὶ λάρυγγος ὀνομάζει δῆλόν ἐστι.

=φθαρτός.= =266= 9. Perishable. Lat. mortalis, periturus.

=φθόγγος.= =128= 4, =130= 12, =268= 10. Sound, note. Lat. sonus.

=φιλόκαλος.= =66= 16. Loving beauty, artistic. Lat. pulchritudinis studiosus.

=φιλόλογος.= =264= 24. Loving literature, literary; a scholar. Lat. litterarum studiosus; litteratus, philologus.

=φιλοπονία.= =264= 25. Loving care; industry. Lat. diligentia: which (etymologically) contains the same suggestion of ‘work done con amore.’

=φιλόσοφος.= =74= 8, =132= 22, =164= 22, =248= 15. Philosopher. Lat. philosophus. The comprehensive sense in which philosophy is understood may be illustrated from =φιλοσοφία= (=140= 12) and =φιλοσοφεῖν= (=70= 12). Cp. in modern times such academic vestiges of ancient usage as ‘Natural Philosophy’ or ‘Ph. D.’ In Le Bourgeois Gentilhomme (ii. 4) rhetoric is taught by the Maître de Philosophie; and Dionysius is fond of contrasting the philosophical, or scientific, rhetoric (ἡ φιλόσοφος ῥητορική) of the best Attic times with the later and purely empirical Asiatic rhetoric, to which he applies the epithet ἀμαθής. See further in D.H. p. 208.

=φιλοτεχνεῖν.= =154= 20, =200= 18. To practise an art lovingly, to be devoted to it. Lat. artem amare, in artem incumbere. So =φιλοτέχνως= =176= 18. φιλοτεχνεῖν, φιλότεχνος and φιλοτεχνία are all used by Plato in reference to art pursued con amore; and Cicero (ad Att. xiii. 40. 1) uses φιλοτέχνημα of an elaborate work of art—a chef-d’œuvre: “Ubi igitur φιλοτέχνημα illud tuum quod vidi in Parthenone, Ahalam et Brutum?”

=φιλοχωρεῖν.= =110= 5. To cling to a place, to haunt it. Lat. libenter in loco commorari. φιλοχωρεῖν is used repeatedly by Dionysius in the Antiqq. Rom. (e.g. i. 13 Ἀρκαδικὸν γὰρ τὸ φιλοχωρεῖν ὄρεσιν and v. 63 παρεκελεύοντο ἀλλήλοις μὴ φιλοχωρεῖν ἐν πόλει μηδενὸς αὐτοῖς ἀγαθοῦ μεταδιδούσῃ) and φιλοχωρία in i. 27 (ὑπὸ τῆς φιλοχωρίας κρατουμένους). Plutarch uses the word in reference to his birthplace Chaeroneia, telling us that he ‘clung fondly to the spot,’ lest by leaving it he should make a small place, but one which had witnessed thrilling scenes, ‘smaller yet’ (ἡμεῖς δὲ μικρὰν οἰκοῦντες πόλιν, καὶ ἵνα μὴ μικροτέρα γένηται φιλοχωροῦντες, Plut. Demosth. c. 2). The form =χωροφιλεῖν= seems to occur twice only in good Greek authors: (1) Antiphon de Caede Herodis § 78 εἰ δ’ ἐν Αἴνῳ χωροφιλεῖ [probably it is to this passage that Dionysius here refers]; (2) Ep. Thaletis ap. Diog. L. i. 44 σὺ μέντοι χωροφιλέων ὀλίγα φοιτέεις ἐς Ἰωνίην.

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=φλυαρία.= =264= 7, =268= 15. Nonsense, foolery. Lat. nugae, ineptiae. So =φλυάρημα= (futility) =192= 9. Notwithstanding the remarks in Stephanus, it would seem more natural to take =φλύαρος= as an adjective (than as a noun) in =272= 20, 22, and this for two reasons: (1) the form φλυαρία has been used shortly before; (2) the adjectival use is sufficiently established by Hesychius’ note (φαῦλος, εὐήθης) and by that of Thom. M. p. 376 Ritschl (πολύλογος), while ἡ φλύαρος φιλοσοφία occurs in the Septuagint (Maccab. iv. 5, 10) and καὶ ὅλως ἀποδείκνυσι τὸν Πυθαγόρου λόγον φλύαρον in Plut. Mor. 169 E.

=φορά.= =144= 22, =204= 17, =244= 20. Current, rush. Lat. cursus, impetus.

=φορτικός.= =252= 14. Coarse, rude. Lat. insolens, importunus, insulsus.

=φράσις.= =84= 2, =166= 3, =182= 8, =206= 1, 15, =208= 7, =250= 14. Style, expression. Lat. elocutio. Cp. Quintil. viii. 1. 1 “igitur, quam Graeci φράσιν vocant, Latine dicimus elocutionem. ea spectatur verbis aut singulis aut coniunctis.”

=φριμαγμός.= =158= 14. Snorting. Lat. fremitus. It is hardly likely that the word here means no more than βληχή, bleating.

=Φρύγιος.= =196= 1. Phrygian. Lat. Phrygius. Cp. Monro’s Modes of Ancient Greek Music, passim.

=φυλακή.= =198= 6. Preservation. Lat. conservatio.—In the de Imitat. B. vi. 3 the reading φυλακή (if correct) will correspond to the middle φυλάττεσθαι (not to φυλάττειν).

=φυσικός.= =96= 23, =214= 3, =224= 5, =240= 8, etc. Natural. Lat. naturalis. So =φυσικῶς= =200= 12. ὁ φυσικός, in =214= 3, = ‘the natural philosopher,’ ‘the physicist’ (of Empedocles). In =134= 2 οὐδ’ ἔχει φύσιν τὸ πρᾶγμα ... πεσεῖν the meaning is ‘nor is the subject of such a nature that it can fall.’

=φωνή.= =130= 4, 21, =136= 22, =138= 7, etc. Voice, sound. Lat. vox, sonus, sonus vocalis. Cp. =φωνεῖν= (‘to pronounce,’ etc.) =140= 1, 20, =144= 18, =148= 14.

=φωνήεις.= =138= 8, 9, 15, =140= 2, =144= 7, =150= 17, =152= 4, =220= 11. Voiced. Lat. vocalis. φωνήεντα γράμματα = litterae vocales = vowels. For the term ‘voiced’ see s.v. ἄφωνος p. 292 supra. Cp. Dionys. Thrax Ars Gramm. p. 9 (ed. Uhlig) φωνήεντα δὲ λέγεται, ὅτι φωνὴν ἀφ’ ἑαυτῶν ἀποτελεῖ.

=φωτεινός.= =234= 13. Full of light. Lat. lucidus, luminosus.

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=χαρακτήρ.= =68= 21, =80= 17, =90= 10, etc. Characteristic stamp, type. Lat. forma, nota. So the adjective =χαρακτηρικός= in =232= 21 (cp. de Demosth. c. 39 init.). See further in D.H. p. 208, Demetr. p. 308.—In =230= 9 the verb =χαράττειν= = ‘to irritate.’

=χάρις.= =112= 5, =120= 20, =124= 12, etc. Charm, grace. Lat. venustas, lepor. Fr. grâce. Cp. Demetr. p. 308. So =χαρίεις= (‘refined,’ ‘elegant,’ ‘accomplished,’ ‘consummate’) =106= 16, =116= 1, =154= 16; =χαριέντως= =110= 22.

=χλευασμός.= =192= 7. Scoffing, satire. Lat. derisio, illusio. =χλευάζειν= =270= 3.

=χορδή.= =122= 23. String, note. Lat. chorda.

=χορεῖος.= =170= 17, =184= 11. Choree. Lat. choreus. The metrical foot ᴗ ᴗ ᴗ. In =170= 18 the reading τρίβραχυς πούς (τροχαῖος πούς F) seems to be a gloss. The term χορεῖος is applied to the trochee more commonly than to the tribrach. The Epitome (c. 17) gives χορεῖος (without addition).

=χρεία.= =104= 21, =198= 2. Use, practical work. Lat. usus. Cp. de Demosth. c. 45, de Thucyd. c. 55. There may also be some notion of practical need, stress: cp. ἐν χρείᾳ δορός (Soph. Aj. 963) and ὑπὸ τῆς χρείας αὐτῆς (schol. on Hom. Odyss. viii. 163).

=χρεμετισμός.= =158= 14. Neighing, whinnying. Lat. hinnitus.

=χρῆμα.= =158= 2. Object. Lat. res ipsa. Cp. note on p. 158 supra.

=χρόνοι.= =130= 1, =164= 5, =204= 22 (lit. ‘does not divide the times’), =210= 19, =216= 18, =234= 4, =244= 19, =264= 4. Times, time-intervals, time-spaces, rests, pauses. Lat. tempora, morae. So in =128= 15 χρόνους = ‘the length of syllables,’ and in =130= 7 ἐν τοῖς χρόνοις τῶν μορίων = ‘in the duration of words,’ ‘in quantity.’ χρόνων = ‘tenses,’ =108= 5; χρόνιος = diuturnus, =202= 23; χρονίζειν = immorari, =164= 12.

=χρῶμα.= =88= 12, =198= 14. Colour. Lat. color. In =198= 14 χρώμασιν should be retained (in place of Usener’s χρήμασιν) in the sense of ‘ornaments’; the ornaments in question being μέλος εὐγενές, ῥυθμὸς ἀξιωματικός, μεταβολὴ μεγαλοπρεπής (=136= 11, where compare τὸ πᾶσι τούτοις παρακολουθοῦν πρέπον with τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι δεῖ τὸ πρέπον in =198= 14). Compare too de Demosth. c. 22 κοσμοῦντος ἅπαντα καὶ χρωματίζοντος τῇ πρεπούσῃ ὑποκρίσει ἧς δεινότατος ἀσκητὴς ἐγένετο, and the use of χρῶμα (or χρώματα) in de Isaeo c. 4 and de Thucyd. c. 42. Photius (Bibl. Cod. 214) has ἔστι δὲ ἡ φράσις τῷ ἀνδρὶ σαφὴς μὲν καὶ καθαρὰ καὶ σπουδῇ φιλοσόφῳ πρέπουσα, οὐ μήν γε τοῖς κεκαλλωπισμένοις καὶ περιττοῖς ἐξωραϊζομένη χρώμασι καὶ ποικίλμασι τῆς ῥητορείας. Similarly color in Quintil. x. 1. 116, and Cic. de Orat. iii. 25. 100. The stage at which the χρῶμα would best be introduced in a historical work is suggested in a passage of Lucian (de conscrib. hist. 48): καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα, πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν καὶ σῶμα ποιείτω ἀκαλλὲς ἔτι καὶ ἀδιάρθρωτον· εἶτα ἐπιθεὶς τὴν τάξιν ἐπαγέτω τὸ κάλλος καὶ χρωννύτω (i.e. ‘tinge’) τῇ λέξει καὶ σχηματιζέτω καὶ ῥυθμιζέτω. But might it not be more truly said that a great historian like Gibbon has his χρῶμα from the beginning, —from the moment when he stands in the Forum and conceives his vast theme? It is in fact one aspect of his inspiration.

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=χρωματικός.= =194= 7, =196= 3. Chromatic. Lat. chromaticus. For the chromatic scale see note on =194= 7.

=χώρα.= =144= 13. Room, space. Lat. locus, spatium. χωρίον in =126= 6 = ‘distance,’ ‘interval.’

=ψιλός.= =130= 5, =148= 7, 12 (bis), 18, 19, =150= 3, 9, =154= 2, =250= 12, =254= 1. Bare, smooth, unaspirated. Lat. lenis. So =ψιλότης= =148= 21. See s.v. δασύς p. 294 supra, with the reference there given to A. J. Ellis’ pamphlet. In =148= 7 Ellis takes ‘smooth’ to mean ‘unaccompanied by voice, but in this case possibly not mute.’ In =130= 5 the ‘ordinary’ voice, the voice ‘pure and simple’ (or ‘without addition’), is meant: cp. =154= 2, =250= 12, =254= 1. So ἐν τοῖς ψιλοῖς λόγοις Aristot. Rhet. iii. 2. 3, and “nuda oratio” Cic. Orat. 55. 183.

=ψοφοειδής.= =162= 15. Sounding. Lat. sonans. If the term is technical, it may perhaps be translated by fricative; it can hardly be so wide as consonantal.

=ψόφος.= =138= 7, 8, 9, 12, =146= 4, =222= 2. A sound, a noise. Lat. sonus, strepitus. The consonants (litterae consonantes) are called ψόφοι, as contrasted with the φωνήεντα γράμματα.

=ψῦγμα.= =202= 26. Inhalation. Lat. respiratio. Used particularly of the ‘catch of the breath’ (interspiratio) between one word and another. [ψῦγμα must, of course, be distinguished from ψῆγμα: cp. Long. p. 174.]

=ᾠδή.= =124= 16, 22, =148= 1, =224= 21, =278= 8. Song, lay, ode. Lat. cantus, carmen. So =ᾠδικός= = vocal (of the voice accompanied by music), =126= 16, =130= 5.

=ὤρα.= =78= 12. Care, heed. Lat. cura. Cp. Hesychius: ὥρα ... ψιλῶς δὲ φροντίς, ἐπιμέλεια· ὅθεν ὀλίγωρον (i.e. ‘a poco curante,’ ‘a Hippocleides’) λέγομεν τὸν ὀλίγην ἔχοντα φροντίδα. In =78= 12 M has γρ φροντίδα in the margin.

=ὥρα.= =120= 20, =124= 12, =162= 1. Freshness, bloom, beauty. Lat. venustas, flos. Fr. fraîcheur. Cp. Ep. ad Cn. Pomp. c. 2 (quoted from de Demosth. c. 5: in reference to Plato’s style ὅ τε πίνος ὁ τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ λεληθότως ἐπιτρέχει ἱλαρόν τέ τι καὶ τεθηλὸς καὶ μεστὸν ὥρας ἄνθος ἀναδίδωσι, καὶ ὥσπερ ἀπὸ τῶν εὐωδεστάτων λειμώνων αὔρα τις ἡδεῖα ἐξ αὐτῆς φέρεται).—In =68= 14 and =76= 6 ὥρα = ‘time,’ ‘season.’

=ὡραϊσμός.= =66= 18. Adornment, elegance. Lat. elegantia.

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APPENDIX A

OBSCURITY IN GREEK

The natural lucidity of the Greek language is sometimes assumed by its modern admirers to extend to all the writings of Greek authors. But the ancients themselves made no such extravagant claims. They might praise Lysias as a model of clearness; but they knew well the difficulties, of subject matter or expression, to be met with not only in Heracleitus[199] or Lycophron, but in masters so great as Pindar, Aeschylus, Thucydides, and the author of that excellent definition which sees in lucidity a fundamental virtue of style—Aristotle himself. Thucydides (to take one writer only out of this group of four) is taxed with obscurity by critics other than Dionysius. Marcellinus, although not otherwise in entire agreement with Dionysius, attributes this particular defect to Thucydides and regards it as deliberate: ἀσαφῶς δὲ λέγων ἐπίτηδες, ἵνα μὴ πᾶσιν εἴη βατὸς μηδὲ εὐτελὴς φαίνηται παντὶ τῷ βουλομένῳ νοούμενος εὐχερῶς, ἀλλὰ τοῖς λίαν σοφοῖς δοκιμαζόμενος παρὰ τούτοις θαυμάζηται ... τὸ δὲ τῆς συνθέσεως τραχύτητος μεστὸν καὶ ἐμβριθὲς καὶ ὑπερβατικόν, ἐνίοτε δὲ ἀσαφές ... ἀσαφὴς τὴν διάνοιαν διὰ τὸ ὑπερβατοῖς χαίρειν (Marcell. Vita Thucyd. §§ 35, 50, 56). An epigram in the Greek Anthology is pitched in the same key:—

ὦ φίλος, εἰ σοφὸς εἶ, λάβε μ’ ἐς χέρας· εἰ δέ γε πάμπαν νῆϊς ἔφυς Μουσέων, ῥίψον ἃ μὴ νοέεις. εἰμὶ δέ γ’ οὐ πάντεσσι βατός· παῦροι δ’ ἀγάσαντο Θουκυδίδην Ὀλόρου, Κεκροπίδην τὸ γένος.

Anth. Pal. ix. 583.

And Cicero, in a more uncompromising way, condemns the Speeches as scarcely intelligible: “ipsae illae contiones ita multas habent obscuras abditasque sententias, vix ut intellegantur; quod est in oratione civili vitium vel maximum” (Cic. Orat. 9. 30).

Obscurity in matter and obscurity in expression are intimately allied. Euripides, in the Frogs, says of Aeschylus that he was obscure in setting forth his plots (ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων, Aristoph. Ran. 1122). Dionysius attributes to Lysias, as compared with Thucydides

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and Demosthenes, a lucidity which embraces matter as well as expression and treats words as the servants of thought: τρίτην ἀρετὴν ἀποφαίνομαι περὶ τὸν ἄνδρα τὴν σαφήνειαν, οὐ μόνον τὴν ἐν τοῖς ὀνόμασιν, ἀλλὰ καὶ τὴν ἐν τοῖς πράγμασιν· ἔστι γάρ τις καὶ πραγματικὴ σαφήνεια οὐ πολλοῖς γνώριμος. τεκμαίρομαι δέ, ὅτι τῆς μὲν Θουκυδίδου λέξεως καὶ Δημοσθένους, οἳ δεινότατοι πράγματα ἐξειπεῖν ἐγένοντο, πολλὰ δυσείκαστά ἐστιν ἡμῖν καὶ ἀσαφῆ καὶ δεόμενα ἐξηγητῶν ... τούτου δὲ αἴτιον, ὅτι οὐ τοῖς ὀνόμασι δουλεύει τὰ πράγματα παρ’ αὐτῷ [sc. Λυσίᾳ], τοῖς δὲ πράγμασιν ἀκολουθεῖ τὰ ὀνόματα (de Lysia, c. 4). So far as the two can be separated, it is with wording rather than with subject matter that the present appendix is concerned.

One principal cause of obscurity is the anxious search for brevity. Dionysius sees this, especially in regard to Thucydides; and “brevis esse laboro, | obscurus fio” has many an analogue in his critical pages (e.g. ἀσαφὲς γίνεται τὸ βραχύ and διὰ τὸ τάχος τῆς ἀπαγγελίας ἀσαφὴς ἡ λέξις γίνεται, de Thucyd. c. 24 and Ep. ii. ad Amm. c. 2). At the same time, he does not seem to concede enough to the claims of brevity in C.V. =118= 1, 2, where it is not simply a question of ‘offending the ear,’ or of ‘spoiling the metre,’ or even of ‘charm.’ The two lines there quoted from Sophocles have something of that πολύνους βραχυλογία which has been justly attributed to Thucydides.[200]

But too many words may be just as fatal to clearness as too few. As Aristotle says (Rhet. iii. 12. 6), lucidity is imperilled when a style is prolix, no less than when it is condensed. A disjointed and rambling diffuseness is condemned by Demetrius (de Eloc. § 192); and Dionysius (Ep. ii. ad Amm. c. 15) remarks that numerous parentheses make the meaning hard to follow (... αἱ μεταξὺ παρεμπτώσεις πολλαὶ γινόμεναι καὶ μόλις ἐπὶ τὸ τέλος ἀφικνούμεναι, δι’ ἃς ἡ φράσις δυσπαρακολούθητος γίνεται).[201]

It is, however, the arrangement of words (even more than their number, large or small) that contributes to lucidity or its opposite. Quintilian (ix. 4. 32) says “amphiboliam quoque fieri vitiosa locatione verborum, nemo est qui nesciat”; and certainly the importance of a right order, in its bearing on clearness, is very great even in the highly inflected languages. Elsewhere (viii. 2. 16) Quintilian gives some good examples of ambiguities to be avoided: “vitanda est in primis ambiguitas, non haec solum, de cuius genere supra dictum est, quae incertum intellectum facit, ut Chremetem audivi percussisse Demean,[202] sed illa quoque, quae, etiamsi turbare non potest sensum, in idem tamen verborum vitium incidit, ut si quis dicat, visum a se hominem librum scribentem. nam etiamsi librum ab homine scribi patet, male tamen composuerit feceritque ambiguum, quantum in ipso fuit.” Quintilian’s ideal is a fine one, but it is not always possible to

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attain it in Latin or in Greek. The freedom of the classical word-order, so desirable on other grounds, stands in the way here.

Illustrations of a certain degree of ambiguity will be found in some instances of the dependent genitive in Greek, as used especially in Thucydides. Thucydides usually places the dependent genitive before the noun on which it depends.[203] As, however, his rule is not invariable, it cannot be said that in all the following examples (which are designedly of a promiscuous character) the reader is absolved, as Quintilian evidently thinks he should be, from making his conception of the general sense help in determining the grammatical construction:—

(1) καὶ μετὰ τῆς ἥσσονος ἅμα ἐλπίδος ὀλίγων ἡμερῶν ἕνεκα μεγάλου μισθοῦ δόσεως ἐκείνοις ξυναγωνίζεσθαι, Thucyd. i. 143.

(2) εἴ τις ὑπομένοι καὶ μὴ φόβῳ ῥοθίου καὶ νεῶν δεινότητος κατάπλου ὑποχωροίη, iv. 10.

(3) Κερκυραῖοι δὲ μετὰ τῆς ξυμμαχίας τῆς αἰτήσεως καὶ ταῦτα πιστεύοντες ἐχυρὰ ὑμῖν παρέξεσθαι ἀπέστειλαν ἡμᾶς, i. 32.

(4) οἵπερ τῶν ὁλκάδων ἕνεκα τῆς ἐς Σικελίαν κομιδῆς ἀνθώρμουν πρὸς τὰς ἐν Ναυπάκτῳ ναῦς, vii. 34.

(5) ἄπιστα μὲν ἴσως, ὥσπερ καὶ ἄλλοι τινές, δόξω ὑμῖν περὶ τοῦ ἐπίπλου τῆς ἀληθείας λέγειν, vi. 33.

(6) τά τε τῆς ἀντιμιμήσεως αὐτῶν τῆς παρασκευῆς ἡμῶν τῷ μὲν ἡμετέρῳ τρόπῳ ξυνήθη τέ ἐστι κτλ., vii. 67.

(7) τοὺς γὰρ ἂν ψιλοὺς τοὺς σφῶν καὶ τὸν ὄχλον τῶν Συρακοσίων τοὺς ἱππέας πολλοὺς ὄντας, σφίσι δ’ οὐ παρόντων ἱππέων, βλάπτειν ἂν μεγάλα, vi. 64.

(8) καὶ τοῦ Κλέωνος καίπερ μανιώδης οὖσα ἡ ὑπόσχεσις ἀπέβη, iv. 39.

(9) καὶ τριήρης τῇ αὐτῇ ἡμέρᾳ ἁλίσκεται τῶν Ἀθηναίων ὑπὸ τῶν Συρακοσίων ἐφορμοῦσα τῷ λιμένι, vii. 3.[204]

Similarly in other authors: e.g. καὶ δὴ καὶ τότε τοῦ Θρασυμάχου τὴν ἀπόρρησιν οὐκ ἀπεδέξατο, Plato Rep. ii. 357 A (where, however, the meaning may be “would not accept from Thrasymachus his withdrawal”); and ὣς φάτο, τῷ δ’ ἄρα πατρὸς ὑφ’ ἵμερον ὦρσε γόοιο, Hom. Il. xxiv. 507; and

=τούτων= ἐγὼ οὐκ ἔμελλον, ἀνδρὸς οὐδενὸς φρόνημα δείσασ’, ἐν θεοῖσι =τὴν δίκην= δώσειν.

Soph. Antig. 458-60.[205]

If in some of these instances the order is not absolutely unambiguous, still less is it so in other and more miscellaneous extracts about to be given. The writer of artistic prose, as of poetry, has to satisfy claims which are often hard to reconcile: those of clearness, of emphasis, and of euphony.[206]

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The result may often be a more or less unconscious compromise in which one of the elements prospers at the expense of the others. Euphony, to take that element alone, is expected to please the ear in many different ways—by the avoidance of harsh letters (found singly or in combination), of short syllables in close succession, of monotony in word-terminations, of monotony in every shape and form. Obscurity may well ensue, especially in a literature which does not aid the eye by means of punctuation, capital letters (to denote proper names or the beginning of a sentence), italic type, or division into paragraphs and chapters. To set against these deficiencies, there was the help provided by the reciter or the skilled anagnostes; and it is often interesting to speculate how, by a slight pause or modulation of the voice, a practised reader would be able to remove a seeming ambiguity. In poetry, again, metre would often be an aid to clear delivery, though its exigencies might on the other hand have led to some ambiguities in the actual writing. No careful modern student of a highly-wrought speech, like the Crown of Demosthenes, can have failed to be arrested momentarily, here and there, by some slight ambiguity which, as far as he can judge, might have been removed by an equally slight change in the word-order; and he gains much in the appreciation of Demosthenes if he is thus led to consider what are the subtle laws of rhythm and melody to which an absolutely unimpeachable lucidity has (in however small a degree) given way. He will certainly be led to the conclusion that, in Greek, good order is by no means the simple thing it may seem when achieved, but rather is the highly complex result of the play of many forces. The following examples, drawn from various authors in poetry and in prose, may be found suggestive. They are of set purpose presented without any attempt at sequence or classification, except that a considerable number of extracts from the de Corona are grouped together:—

(1) καί μοι τὸν υἱόν, εἰ μεμάθηκε τὸν λόγον ἐκεῖνον, εἴφ’, =ὃν= ἀρτίως εἰσήγαγες.

Aristoph. Nub. 1148.

(2) ἀλλά =μιν= αὖτις ἀναρπάξασα θύελλα πόντον ἐπ’ ἰχθυόεντα φέρεν βαρέα =στενάχοντα=.

Hom. Odyss. xxiii. 316.[207]

(3) ἠδ’ ὡς εἰς Ἀίδεω δόμον =ἤλυθεν= εὐρώεντα, ψυχῇ χρησόμενος Θηβαίου Τειρεσίαο, =νηῒ πολυκλήιδι=.

id. ib. xxiii. 322.[207]

(4) ὅτι Ἱππίας μὲν πρεσβύτατος ὢν ἦρχε τῶν Πεισιστράτου υἱέων.

Thucyd. i. 20.

Here τῶν Πεισιστράτου υἱέων depends on πρεσβύτατος ὤν, not on ἦρχε.

(5) κράτιστα τοίνυν τῶν παρόντων ἐστὶ νῷν θεῶν ἰόντε προσπεσεῖν του πρὸς βρέτας.

Aristoph. Eq. 30, 31.

Here the actor would pause slightly after νῷν, at the end of the metrical line.

(6) τοῦτ’ οὖν ἔβλαψα τί δράσας;

id. Ran. 1064.

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Careful delivery would make it quite plain that the meaning is: τί οὖν ἔβλαψα, δράσας τοῦτο;

(7) σαφῶς γὰρ ἄν, εἰ πείθοιμι ὑμᾶς καὶ τῷ δεῖσθαι βιαζοίμην ὀμωμοκότας, =θεοὺς ἂν διδάσκοιμι μὴ ἡγεῖσθαι ὑμᾶς εἶναι=.

Plato Apol. c. 24.

(8) καὶ ἐς τύχας =πρὸς πολλῷ δυνατωτέρους= ἀγωνιζόμενοι καταστῆναι.

Thucyd. i. 69.

(9) οὐδ’ ἐκλογίσασθαι πώποτε πρὸς οἵους =ὑμῖν= Ἀθηναίους ὄντας καὶ ὅσον ὑμῶν καὶ ὡς πᾶν διαφέροντας ὁ ἀγὼν ἔσται.

id. i. 70.

ὑμῖν is probably to be connected with ὁ ἀγὼν ἔσται. Its present position has the effect of marking the contrast between ὑμῖν and Ἀθηναίους, and further of breaking the monotony of the accusative-endings οἵ=ους= Ἀθηναί=ους= ὄντ=ας=. It should, however, be remembered that in a highly inflected language like Greek a noun may stand in a vague general case relation (genitive, dative, or accusative) to the whole sentence in a way that is impossible in an uninflected language. This may be so here, and in some of the other passages quoted.

(10) ῥηθήσεται δὲ οὐ παραιτήσεως μᾶλλον ἕνεκα ἢ μαρτυρίου καὶ δηλώσεως πρὸς οἵαν =ὑμῖν= πόλιν μὴ εὖ βουλευομένοις ὁ ἀγὼν καταστήσεται.

id. i. 73.

Similarly ὑμῖν (‘you will find,’ etc.) is to be taken with ὁ ἀγὼν καταστήσεται. It is contrasted with πόλιν and paves the way for βουλευομένοις.

(11) ἔνθ’ ὅ γε τοὺς =ἐλεεινὰ= κατήσθεε τετριγῶτας· μήτηρ δ’ ἀμφεποτᾶτο ὀδυρομένη =φίλα τέκνα=.

Hom. Il. ii. 314-15.

Connect ἐλεεινὰ τετριγῶτας, and ἀμφεποτᾶτο φίλα τέκνα.

(12) ὡς οὖν δεινὰ πέλωρα =θεῶν= εἰσῆλθ’ ἑκατόμβας.

id. ib. ii. 321.

Connect θεῶν ἑκατόμβας.

(13) καίτοι σ’ ἐγὼ ’τίμησα τοῖς φρονοῦσιν =εὖ=.

Soph. Antig. 904.

εὖ with ἐτίμησα. The line occurs in the suspected portion of the Antigone. But, so far as this particular point is concerned, cp. the order of μόνος in—

τὰ κοινὰ χαίρων οὐ δίκαια δρᾷ =μόνος=.

Eurip. Ion 358.

(14) =τίνος= δ’ Ἀτρεῖδαι τοῦδ’ ἄγαν οὕτω χρόνῳ τοσῷδ’ ἐπεστέφοντο πράγματος χάριν, ὅν γ’ εἶχον ἤδη χρόνιον ἐκβεβληκότες;

Soph. Philoct. 598.

Here strict lucidity is sacrificed to emphasis. τίνος must be joined with πράγματος (not with τοῦδε).

(15) στέμματ’ ἔχων ἐν χερσὶν =ἑκηβόλου Ἀπόλλωνος= χρυσέῳ ἀνὰ σκήπτρῳ.

Hom. Il. i. 14.

(16) περὶ τούτων δ’ ὄντος τουτουὶ τοῦ ἀγῶνος, ἀξιῶ καὶ δέομαι πάντων ὁμοίως ὑμῶν ἀκοῦσαί μου περὶ τῶν κατηγορημένων ἀπολογουμένου =δικαίως=, ὥσπερ οἱ νόμοι κελεύουσιν, οὓς ὁ τιθεὶς ἐξ ἀρχῆς Σόλων κτλ.

Demosth. de Cor. § 6.

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δικαίως qualifies ἀκοῦσαι: cp. the position of γενναίως in de Cor. § 97 (quoted in Introduction p. 24 supra). The present order is not only emphatic, but also serves to connect δικαίως closely with ὥσπερ κτλ., and thus to a certain extent actually to avoid ambiguity.

(17) σκέψασθ’ ὦ ἄνδρες Ἀθηναῖοι καὶ θεωρήσατε ὅσῳ καὶ ἀληθέστερον καὶ ἀνθρωπινώτερον ἐγὼ περὶ τῆς τύχης =τούτου= διαλεχθήσομαι.

Demosth. de Cor. § 252.

(18) τὸ μὲν τοίνυν προελέσθαι τὰ κάλλιστα καὶ =τὸ= τῶν οἰηθέντων Ἑλλήνων, εἰ πρόοιντο ἡμᾶς, ἐν εὐδαιμονίᾳ διάξειν, =αὐτῶν= ἄμεινον πράττειν τῆς ἀγαθῆς τύχης τῆς πόλεως εἶναι τίθημι.

id. ib. § 254.

(19) =τοῦ μὲν οὖν γράψαι= πράττοντα καὶ λέγοντα τὰ βέλτιστά με τῷ δήμῳ διατελεῖν καὶ πρόθυμον εἶναι ποιεῖν ὅ τι ἂν δύνωμαι ἀγαθόν, καὶ ἐπαινεῖν ἐπὶ τούτοις, ἐν τοῖς πεπολιτευμένοις =τὴν κρίσιν= εἶναι νομίζω.

id. ib. § 56.

(20) οὐ γὰρ ἂν ἥψατ’ αὐτῶν | παρόντων ἡμῶν, κτλ.

id. ib. § 30.

The vertical stroke, here and elsewhere, may serve to indicate the possibility of a slight pause in utterance, and Aristotle’s remarks on the obscurity of Heracleitus may be recalled: τὰ γὰρ Ἡρακλείτου διαστίξαι (‘to punctuate’) ἔργον διὰ τὸ ἄδηλον εἶναι ποτέρῳ πρόσκειται, τῷ ὕστερον ἢ τῷ πρότερον, οἷον ἐν τῇ ἀρχῇ αὐτοῦ τοῦ συγγράμματος· φησὶ γὰρ “τοῦ λόγου τοῦδ’ ἐόντος ἀεὶ ἀξύνετοι ἄνθρωποι γίγνονται”· ἄδηλον γὰρ τὸ ἀεί, πρὸς ὁποτέρῳ <δεῖ> διαστίξαι.

Aristot. Rhet. iii. 5.

(21) λοιπὸν τοίνυν ἦν καὶ ἀναγκαῖον ἅμα | πᾶσιν οἷς ἐκεῖνος ἔπραττ’ ἀδικῶν ὑμᾶς ἐναντιοῦσθαι δικαίως.

Demosth. de Cor. § 69.

(22) ταῦτα τοίνυν εἰδὼς Αἰσχίνης οὐδὲν ἧττον ἐμοῦ | πομπεύειν ἀντὶ τοῦ κατηγορεῖν εἵλετο.

id. ib. § 124.

(23) συνέβαινε δ’ αὐτῷ | τῷ πολέμῳ κρατοῦντι, κτλ.

id. ib. § 146.

(24) τότε τοίνυν κατ’ ἐκεῖνον τὸν καιρὸν ὁ Παιανεὺς ἐγὼ Βάτταλος Οἰνομάου τοῦ Κοθωκίδου σοῦ | πλείονος ἄξιος ὢν ἐφάνην τῇ πατρίδι.

id. ib. § 180.

(25) εἰ γὰρ ὡς οὐ τὰ βέλτιστα ἐμοῦ πολιτευσαμένου | τουδὶ καταψηφιεῖσθε, ἡμαρτηκέναι δόξετε, οὐ τῇ τῆς τύχης ἀγνωμοσύνῃ τὰ συμβάντα παθεῖν.

id. ib. § 207.

(26) οὐκ ἂν οἷα σὺ νῦν ἔλεγες, τοιαῦτα κατηγόρει, παραδείγματα πλάττων | καὶ ῥήματα καὶ σχήματα μιμούμενος κτλ.

id. ib. § 232.

(27) σὺ τοίνυν ταῦτ’ ἀφεὶς ἐμὲ τὸν παρὰ τουτοισὶ πεπολιτευμένον αἰτιᾷ, καὶ ταῦτ’ | εἰδὼς ὅτι, καὶ εἰ μὴ τὸ ὅλον, μέρος γ’ ἐπιβάλλει τῆς βλασφημίας ἅπασι, καὶ μάλιστα σοί.

id. ib. § 272.

Here may be added, from R. Y. Tyrrell’s edition of Eurip. Bacchae p. 36, an interesting note suggested by the distance which parts μόσχων from ἀγελαῖα βοσκήματα in Bacch. 678: “The Greek writers are not nearly so sensitive about the order of words as we are. Surely we have something at least as strange in the order of words in 684 where ἐλάτης certainly depends on φόβην not on νῶτα. See Comm. on 860 for more curious inversions of the natural order; and compare in Soph. Oed. R. 1251 χὤπως μὲν ἐκ τῶνδ’ οὐκέτ’ οἶδ’ =ἀπόλλυται=; O.C. 1427 τίς δὲ τολμήσει κλύων | τὰ

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τοῦδ’ =ἕπεσθαι= τἀνδρός; Perhaps the best instance in Greek of a violent hyperbaton is Ar. Thesm. 811 οὐδ’ ἂν =κλέψασα= γυνὴ =ζεύγει= κατὰ πεντήκοντα τάλαντα | ἐς πόλιν =ἔλθοι τῶν δημοσίων= ‘nor would a lady ride in her chariot to the town after pilfering the public exchequer to the tune of 50 talents.’” Probably the Greek authors, in such instances, were not blind to the liberties they were taking with the natural and lucid order of words; but they trusted to delivery’s artful aid. And about the order adopted in the passage quoted from the Thesmophoriazusae there seems to be a touch of intentional comedy.

It is worth notice, in connexion with Thucydides and word-order, that the Vatican manuscript B, which is at its best from vi. 92 to the end of viii., frequently exhibits an order of words which is peculiar to it and may point to a reviser’s deliberate effort after greater lucidity. In reference to the text presented by the newly discovered Commentary on Thucydides ii., Grenfell and Hunt (Oxyrhynchus Papyri vi. p. 113) say: “As usual, the text of the papyrus is of an eclectic character and does not consistently agree with either family [of the MSS. of Thucydides]; but it supports the ABEFM group seven times against only four agreements with the other [viz. CG]. Several new readings occur of which we append a list.”

With regard to the 27 passages quoted above from various authors it may be remarked in general that, while in some of them there are real obscurities, in others the ambiguity is purely grammatical. And it might almost be laid down as a principle of Greek language that grammatical rules may be freely neglected where the neglect of them does not make the meaning seriously ambiguous, and is desirable in order to secure emphasis, euphony, or some similar object.

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APPENDIX B

ILLUSTRATIONS OF WORD-ORDER IN GREEK AND MODERN LANGUAGES

A few modern translations of some short Greek passages may be appended, in order to exemplify some of the leading differences, in regard to word-order, between ancient and modern languages. From these it will be seen how much English, French, and German differ among themselves; and, indeed, how great is the variety presented by good English versions of one and the same Greek passage. Dionysius himself (p. 266 supra) refers to the opening of Plato’s Republic, and that opening passage may here be given at sufficient length to illustrate sentence-order and clause-order as well as word-order. Then will be added, from the de Corona (which Dionysius regards as the greatest of all speeches), the opening, the conclusion, and a famous piece of narrative.

MODERN TRANSLATIONS

I. OPENING OF PLATO’S REPUBLIC

(1) Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνος τοῦ Ἀρίστωνος προσευξόμενός τε τῇ θεῷ καὶ ἅμα τὴν ἑορτὴν βουλόμενος θεάσασθαι τίνα τρόπον ποιήσουσιν ἅτε νῦν πρῶτον ἄγοντες. καλὴ μὲν οὖν μοι καὶ ἡ τῶν ἐπιχωρίων πομπὴ ἔδοξεν εἶναι, οὐ μέντοι ἧττον ἐφαίνετο πρέπειν ἣν οἱ Θρᾷκες ἔπεμπον. προσευξάμενοι δὲ καὶ θεωρήσαντες ἀπῇμεν πρὸς τὸ ἄστυ. κατιδὼν οὖν πόρρωθεν ἡμᾶς οἴκαδε ὡρμημένους Πολέμαρχος ὁ Κεφάλου ἐκέλευσε δραμόντα τὸν παῖδα περιμεῖναί ἑ κελεῦσαι. καί μου ὄπισθεν ὁ παῖς λαβόμενος τοῦ ἱματίου, Κελεύει ὑμᾶς, ἔφη, Πολέμαρχος περιμεῖναι. Καὶ ἐγὼ μετεστράφην τε καὶ ἠρόμην ὅπου αὐτὸς εἴη. Οὗτος, ἔφη, ὄπισθεν προσέρχεται· ἀλλὰ περιμένετε. Ἀλλὰ περιμενοῦμεν, ἦ δ’ ὃς ὁ Γλαύκων.

(2) J’étais descendu hier au Pirée avec Glaucon, fils d’Ariston, pour faire notre prière à la déesse et voir aussi comment se passerait la fête, car c’était la première fois qu’on la célébrait. La pompe, formée par nos compatriotes, me parut belle, et celle des Thraces ne l’était pas moins. Après avoir fait notre

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prière et vu la cérémonie, nous regagnâmes le chemin de la ville. Comme nous nous dirigions de ce côté, Polémarque, fils de Céphale, nous aperçut de loin, et dit à son esclave de courir après nous et de nous prier de l’attendre. Celui-ci m’arrêtant par derrière par mon manteau: Polémarque, dit-il, vous prie de l’attendre. Je me retourne et lui demande où est son maître: Le voilà qui me suit, attendez-le un moment. Eh bien, dit Glaucon, nous l’attendrons.

VICTOR COUSIN.

(3) Ich ging gestern mit Glaukon, dem Sohne des Ariston, in den Peiraieus hinunter; theils um die Göttin anzubeten, dann aber wollte ich auch zugleich das Fest sehen, wie sie es feiern wollten, da sie es jetzt zum ersten Mal begehen. Schön nun dünkte mich auch unserer Einheimischen Aufzug zu sein; nicht minder vortrefflich jedoch nahm sich auch der aus, den die Thrakier geschickt hatten. Nachdem wir nun gebetet und die Feier mit angeschaut hatten, gingen wir fort nach der Stadt. Wie nun Polemarchos, der Sohn des Kephalos, uns von fern nach Hause zu steigen sah, hiess er seinen Knaben laufen und uns heissen, ihn erwarten. Der Knabe also fasste mich von hinten beim Mantel und sprach: Polemarchos heisst Euch, ihn erwarten. Ich wendete mich um und fragte, wo denn er selbst wäre. Hier, sprach er, kommt er hinter Euch, wartet nur. Nun ja, wir wollen warten, sagte Glaukon.

FRIEDRICH SCHLEIERMACHER.

(4) I went down yesterday to the Piraeus with Glaucon the son of Ariston, to offer up prayer to the goddess, and also from a wish to see how the festival, then to be held for the first time, would be celebrated. I was very much pleased with the native Athenian procession; though that of the Thracians appeared to be no less brilliant. We had finished our prayers and satisfied our curiosity, and were returning to the city, when Polemarchus the son of Cephalus caught sight of us at a distance, as we were on our way towards home, and told his servant to run and bid us wait for him. The servant came behind me, took hold of my cloak, and said, ‘Polemarchus bids you wait.’ I turned round and asked him where his master was. ‘There he is,’ he replied, ‘coming on behind: pray wait for him.’ ‘We will wait,’ answered Glaucon.

DAVIES and VAUGHAN.

(5) I went down yesterday to the Piraeus with Glaucon the son of Ariston, that I might offer up my prayers to the goddess; and also because I wanted to see in what manner they would celebrate the festival, which was a new thing. I was delighted with the procession of the inhabitants; but that of the Thracians was equally, if not more, beautiful. When we had finished our prayers and viewed the spectacle, we turned in the direction of the city; and at that instant Polemarchus the son of Cephalus chanced to catch sight of us from a distance as we were starting on our way home, and told his servant to run and bid us wait for him. The servant took hold of me by the cloak behind, and said: Polemarchus desires you to wait. I turned round, and asked him where his master was. There he is, said the youth, coming after you, if you will only wait. Certainly we will, said Glaucon.

B. JOWETT.

(6) I went down to the Peiraeus yesterday with Glaucon, the son of Ariston. As this was the first celebration of the festival, I wished to make my prayers

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to the goddess and see the ceremony. I liked the procession of the residents, but I thought that the Thracian ordered theirs quite as successfully. We had offered our prayers and finished our sight-seeing, and were leaving for the city, when from some way off, Polemarchus, the son of Cephalus, saw that we were starting homewards, and sent his slave to run after us and bid us wait. The lad caught my cloak from behind and said: ‘Polemarchus bids you wait.’ I turned round and asked him where his master was. ‘He is coming behind,’ he said; ‘but will you please wait?’ ‘Surely we will,’ said Glaucon.

A. D. LINDSAY.

II. OPENING OF DEMOSTHENES’ SPEECH ON THE CROWN

(1) Πρῶτον μέν, ὦ ἄνδρες Ἀθηναῖοι, τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις, ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ τῇ τε πόλει καὶ πᾶσιν ὑμῖν, τοσαύτην ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν ἀγῶνα, ἔπειθ’ ὅπερ ἐστὶ μάλισθ’ ὑπὲρ ὑμῶν καὶ τῆς ὑμετέρας εὐσεβείας τε καὶ δόξης, τοῦτο παραστῆσαι τοὺς θεοὺς ὑμῖν, μὴ τὸν ἀντίδικον σύμβουλον ποιήσασθαι περὶ τοῦ πῶς ἀκούειν ὑμᾶς ἐμοῦ δεῖ (σχέτλιον γὰρ ἂν εἴη τοῦτό γε), ἀλλὰ τοὺς νόμους καὶ τὸν ὅρκον, ἐν ᾧ πρὸς ἅπασι τοῖς ἄλλοις δικαίοις καὶ τοῦτο γέγραπται, τὸ ὁμοίως ἀμφοῖν ἀκροάσασθαι. τοῦτο δ’ ἐστὶν οὐ μόνον τὸ μὴ προκατεγνωκέναι μηδέν, οὐδὲ τὸ τὴν εὔνοιαν ἴσην ἀποδοῦναι, ἀλλὰ τὸ καὶ τῇ τάξει καὶ τῇ ἀπολογίᾳ, ὡς βεβούληται καὶ προῄρηται τῶν ἀγωνιζομένων ἕκαστος, οὕτως ἐᾶσαι χρήσασθαι.

(2) Athéniens, j’adresse d’abord une prière à tous les dieux, à toutes les déesses. Si j’ai toujours voulu le bien de la république et de vous tous, fassent ces dieux qu’aujourd’hui, dans cette lutte, je trouve en vous la même bienveillance! Puissent-ils vous persuader aussi, comme le veulent votre intérêt, votre religion, votre gloire, que, sur la manière de m’entendre, ce n’est pas mon adversaire qu’il est juste de consulter,—ma condition en deviendrait trop dure,—ce sont les lois et votre serment! Votre serment, où sont écrites ces paroles, pleines d’équité, comme tout le reste: écouter également les deux parties. Cela ne veut pas dire seulement: nous n’apporterons aucune prévention, et nous donnerons à tous deux une faveur égale. Cela veut dire aussi: nous ne contraindrons personne, ni dans la disposition de ses moyens ni dans l’ordre de sa défense; quel que soit le plan adopté par celui qui vient plaider sa cause, nous lui permettrons de le suivre en toute liberté.

RODOLPHE DARESTE.

(3) Für das Erste, Ihr Männer Athens, flehe ich alle Götter und Göttinnen an, dass so viel Wohlwollen, als ich jederzeit der Stadt und Euch allen bewiesen, mir in gleichem Maasse von Euch für den gegenwärtigen Handel zu Theil werde; dann, dass die Götter Euch das in den Sinn geben, was Euch und Euerm Gewissen und Ansehn am meisten ziemt: nicht von dem Gegner Rath zu nehmen, wie Ihr mich anhören sollt—denn arg wäre das—sondern von den Gesetzen und dem Eide, in welchem, ausser allen andern Rechten, auch diess verordnet ist: beiden Parteien auf gleiche Weise Gehör zu geben. Diess heisst aber nicht bloss, keine Meinung vorher zu fassen; auch nicht, beiden gleiches Wohlwollen zu schenken; sondern ebenfalls, Jedem der Streitenden

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diejenige Anordnung und Vertheidigungsart zu gestatten, die er gut gefunden und gewählt hat.

FRIEDRICH JACOBS.

(4) I begin, men of Athens, by praying to every God and Goddess, that the same goodwill, which I have ever cherished towards the commonwealth and all of you, may be requited to me on the present trial. I pray likewise—and this specially concerns yourselves, your religion, and your honour—that the Gods may put it in your minds, not to take counsel of my opponent touching the manner in which I am to be heard—that would indeed be cruel!—but of the laws and of your oath; wherein (besides the other obligations) it is prescribed that you shall hear both sides alike. This means, not only that you must pass no pre-condemnation, not only that you must extend your goodwill equally to both, but also that you must allow the parties to adopt such order and course of defence as they severally choose and prefer.

C. R. KENNEDY.

III. CONCLUSION OF DEMOSTHENES’ SPEECH ON THE CROWN

(1) Μὴ δῆτ’, ὦ πάντες θεοί, μηδεὶς ταῦθ’ ὑμῶν ἐπινεύσειεν, ἀλλὰ μάλιστα μὲν καὶ τούτοις βελτίω τινὰ νοῦν καὶ φρένας ἐνθείητε, εἰ δ’ ἄρ’ ἔχουσιν ἀνιάτως, τούτους μὲν αὐτοὺς καθ’ ἑαυτοὺς ἐξώλεις καὶ προώλεις ἐν γῇ καὶ θαλάττῃ ποιήσατε, ἡμῖν δὲ τοῖς λοιποῖς τὴν ταχίστην ἀπαλλαγὴν τῶν ἐπηρτημένων φόβων δότε καὶ σωτηρίαν ἀσφαλῆ.

(2) Dieux puissants! n’écoutez pas ces vœux impies! inspirez plutôt à ces hommes un autre esprit et des pensées meilleures! Ou, si leur méchanceté est incurable, frappez-les, exterminez-les sur terre et sur mer. Pour nous, délivrez-nous au plus tôt des dangers qui nous menacent, sauvez-nous, protégez-nous à jamais!

R. DARESTE.

(3) Möchte doch, o all’ Ihr Götter! keiner von Euch dieses billigen, sondern Ihr vor allen Dingen auch diesen hier einen bessern Sinn und besseres Gemüth verleihen; wenn sie aber unheilbar sind, sie allein für sich dem Verderben überliefern, uns, den Übrigen, aber die schnellste Befreiung von den obschwebenden Besorgnissen und unerschütterte Wohlfahrt gewähren.

F. JACOBS.

(4) Never, Powers of Heaven, may any brow of the Immortals be bent in approval of that prayer! Rather, if it may be, breathe even into these men a better mind and heart; but if so it is that to these can come no healing, then grant that these, and these alone, may perish utterly and early on land and on the deep: and to us, the remnant, send the swiftest deliverance from the terrors gathered above our heads, send us the salvation that stands fast perpetually.

R. C. JEBB.

(5) Never, ye gods, vouchsafe assent to such a prayer! Rather, if it may be, inspire even these men with a better mind and heart; but, if they are indeed past healing, bring them, and them alone, to swift and utter ruin by

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land and sea; and to us who yet remain grant the speediest release from the terrors that hang over us; grant us a sure salvation!

S. H. BUTCHER.

IV. NARRATIVE PASSAGE FROM DEMOSTHENES’ SPEECH ON THE CROWN

(§§ 169, 170)

(1) Ἑσπέρα μὲν γὰρ ἦν, ἧκε δ’ ἀγγέλλων τις ὡς τοὺς πρυτάνεις ὡς Ἐλάτεια κατείληπται. καὶ μετὰ ταῦθ’ οἱ μὲν εὐθὺς ἐξαναστάντες μεταξὺ δειπνοῦντες τοὺς τ’ ἐκ τῶν σκηνῶν τῶν κατὰ τὴν ἀγορὰν ἐξεῖργον καὶ τὰ γέρρ’ ἐνεπίμπρασαν, οἱ δὲ τοὺς στρατηγοὺς μετεπέμποντο καὶ τὸν σαλπιγκτὴν ἐκάλουν· καὶ θορύβου πλήρης ἦν ἡ πόλις. τῇ δ’ ὑστεραίᾳ, ἅμα τῇ ἡμέρᾳ, οἱ μὲν πρυτάνεις τὴν βουλὴν ἐκάλουν εἰς τὸ βουλευτήριον, ὑμεῖς δ’ εἰς τὴν ἐκκλησίαν ἐπορεύεσθε, καὶ πρὶν ἐκείνην χρηματίσαι καὶ προβουλεῦσαι πᾶς ὁ δῆμος ἄνω κάθητο. καὶ μετὰ ταῦτα ὡς ἦλθεν ἡ βουλὴ καὶ ἀπήγγειλαν οἱ πρυτάνεις τὰ προσηγγελμέν’ ἑαυτοῖς καὶ τὸν ἥκοντα παρήγαγον κἀκεῖνος εἶπεν, ἠρώτα μὲν ὁ κῆρυξ “τίς ἀγορεύειν βούλεται;” παρῄει δ’ οὐδείς. πολλάκις δὲ τοῦ κήρυκος ἐρωτῶντος οὐδὲν μᾶλλον ἀνίστατ’ οὐδείς, ἁπάντων μὲν τῶν στρατηγῶν παρόντων, ἁπάντων δὲ τῶν ῥητόρων, καλούσης δὲ τῆς κοινῆς τῆς πατρίδος φωνῆς τὸν ἐροῦνθ’ ὑπὲρ σωτηρίας· ἣν γὰρ ὁ κῆρυξ κατὰ τοὺς νόμους φωνὴν ἀφίησι, ταύτην κοινὴν τῆς πατρίδος δίκαιον ἡγεῖσθαι.

(2) C’était le soir. Arrive un homme qui annonce aux prytanes que l’Élatée est prise. Aussitôt les uns se lèvent de table, chassent les marchands de la place publique et brûlent leurs tentes; les autres mandent les stratéges, appellent le trompette; ce n’est que trouble dans toute la ville. Le lendemain, au point du jour, les prytanes convoquent le conseil. Vous, de votre côté, vous vous rendez à l’assemblée, et avant que le conseil eût rien agité, rien résolu, tout le peuple était rangé à ses places sur la colline. Bientôt après, les membres du conseil arrivent; les prytanes déclarent la nouvelle, et font paraître celui qui l’a apportée; cet homme parle lui-même. Le héraut demande: ‘Qui veut monter à la tribune?’ Personne ne se lève. Il recommence plusieurs fois. Personne encore. Et tous les stratéges, tous les orateurs étaient présents; et la patrie, de cette voix qui est la voix de tous, appelait un citoyen qui parlât pour la sauver; car la voix du héraut qui se fait entendre, quand les lois l’ordonnent, c’est la voix de la patrie.

R. DARESTE.

(3) Es war Abend. Da kam Einer mit der Meldung zu den Prytanen, dass Elateia eingenommen sey. Hierauf standen diese sogleich von der Mahlzeit auf, trieben die Leute aus den Buden auf dem Markte fort, und steckten das Holzwerk davon in Brand; andere schickten nach den Strategen, und riefen den Trompeter herbei. Die Stadt war in grösster Bewegung. Am folgenden Morgen, bei Tages Anbruch, riefen die Prytanen den Senat auf das Stadthaus, Ihr aber begabt Euch in die Versammlung, und ehe der Senat noch sein Geschäft vollbracht und einen vorläufigen Beschluss gefasst hatte, sass das ganze Volk schon oben. Und als hierauf der Senat eintrat, und die Prytanen das, was ihnen gemeldet worden war, öffentlich bekannt machten, und den

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Überbringer der Nachricht vorführten, und auch dieser gesprochen hatte, fragte der Herold: Wer will sprechen? Niemand aber meldete sich. Wiewohl nun der Herold seine Frage oft wiederholte, trat darum, doch Keiner auf, obgleich alle Strategen gegenwärtig waren, und alle Redner und das Vaterland mit gemeinsamer Stimme einen Sprecher für seine Rettung aufrief; denn die Stimme, die der Herold dem Gesetze gemäss ertönen lässt, kann mit allem Rechte für die Stimme des gesammten Vaterlandes gehalten werden.

F. JACOBS.

(4) It was evening when a courier came to the presidents of the assembly with the news that Elateia had been seized. The presidents instantly rose from table—they were supping at the moment: some of them hastened to clear the market-place of the shopmen, and to burn the wickerwork of the booths: others, to send for the generals and order the sounding of the call to the Assembly. The city was in a tumult. At dawn next day the presidents convoked the Senate, you hurried to the Ekklesia, and before the Senate could go through its forms or could report, the whole people were in assembly on the hill. Then, when the Senate had come in, when the presidents had reported the news that they had received, and had introduced the messenger, who told his tale, the herald repeatedly asked, Who wishes to speak? But no one came forward. Again and again he put the question—in vain. No one would rise, though all the generals, though all the public speakers were present, though our Country was crying aloud, with the voice that comes home to all, for a champion of the commonwealth—if in the solemn invitation given by the herald we may truly deem that we hear our Country’s summons.

R. C. JEBB.

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APPENDIX C

GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL ASSOCIATION

In October 1908 the Classical Association adopted a number of recommendations made by its Greek Pronunciation Committee, and has since published them for the use of teachers and others. They are put forward “not as constituting a complete scientific scheme, but as approximations which, for teaching purposes, may be regarded as practicable, and at the same time as a great advance on the present usage, both for clearness in teaching and for actual likeness to the ancient sounds.” The period (the early fourth century B.C.) to which they are intended mainly to apply is one whose literature Dionysius studied rather than that in which he lived (cp. pages 43-46 above). But his scattered hints are of great moment in the whole inquiry; and if they are read with care and with reference to their bearing, not only on disputed points, but on points which (largely through the evidence they furnish) are undisputed, it will be seen how much we owe to them when making any attempt to reconstruct the pronunciation of the classical period. The principal passages of Dionysius’ text which throw light upon the question of Greek pronunciation and accentuation will be found on pages 126-130, 136-150, 218-224, 230 above. The following are the suggestions made by the Classical Association:—

VOWELS

ᾱ and α, ῑ and ι, ε and ο, η and ω may be pronounced as the corresponding vowels in Latin, i.e.

ᾱ, as =a= in f=a=ther,

α, as =a= in =a=ha.

ῑ, as =ee= in f=ee=d.

ι, as =i= in Fr. p=i=quet, nearly as Eng. =i= in f=i=t.

ε, as =e= in fr=e=t.

ο, as =o= in n=o=t.

η (long e), as =e= in Lat. m=ē=ta, Eng. =a= in m=a=te.

ω (long o), as =o= in Lat. R=ō=ma, Eng. h=o=me.

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The pronunciation recommended for η and ω is dictated by practical considerations. But in any school where the pupils have been accustomed to distinguish the sounds of French =è= and =é=, the Committee feels that the open sound (of =è= in il mène), which is historically correct for η, may well be adopted. In the same way there is no doubt that the pronunciation of ω in the fifth century B.C. was the open sound of oa in Eng. broad, not that of the ordinary English ō. But since the precise degree of openness varied at different epochs, the Committee, though preferring the open pronunciation, sees no sufficient reason for excluding the obviously convenient practice of sounding ω just as Latin ō. For both Greek and Latin the diphthongal character of the English vowels in m=a=te and h=o=me, i.e. the slight ĭ sound in mate and the slight ŭ sound in home, own, is incorrect. But the discrepancy is not one which any but fairly advanced students need be asked to notice, unless indeed they happen to be already familiar with the pure vowel sounds of modern Welsh or Italian.

υ as French =ŭ= in d=u= pain. ῡ as French =ū= in r=u=e or Germ. =ü= in gr=ü=n.

In recommending this sound for the Greek υ, the Committee is partly guided by the fact that its correct production is now widely and successfully taught in English schools in early stages of instruction in French and German. But in any school where the sound is strange to the pupils at the stage at which Greek is begun, if it is felt that the effort to acquire the sound would involve a serious hindrance to progress, the Committee can only suggest that, for the time, the υ should be pronounced as Latin u (short as oo in Eng. took, long as oo in Eng. loose), though this obscures the distinction between words like λύω and λούω.

DIPHTHONGS

αι = α + ι nearly as =ai= in Is=ai=ah (broadly pronounced), Fr. ém=ai=l.

οι = ο + ι as Eng. =oi= in =oi=l.

υι = υ + ι as Fr. =ui= in l=ui=.

In ᾳ, ῃ, ῳ the first vowel was long, and the second only faintly heard.

ει. The precise sound of ει is difficult to determine, but in Attic Greek it was never confused with η till a late period, and to maintain the distinction clearly it is perhaps best for English students to pronounce it as Eng. eye, though in fact it must have been nearer to Fr. ée in passée, Eng. ey in grey. The Greek Ἀλφειός is Latin Alphēus.

αυ = au, as Germ. =au= in H=au=s, nearly as Eng. =ow= in g=ow=n.

ευ = eu, nearly as Eng. =ew= in f=ew=, =u= in t=u=ne.

ου as Eng. =oo= in m=oo=n, Fr. =ou= in r=ou=e.

CONSONANTS

π, β, τ, δ, κ, and γ as p, b, t, d, k, and g respectively in Latin; except that γ (before γ, κ, and χ) is used to denote the nasal sound heard in Eng. ankle, anger.

ρ, λ, μ, ν as Lat. r, l, m, n.

σ, ς always as Lat. =s= (Eng. =s= in mou=s=e), except before β, γ and μ, where the sound was as in Eng. has been, has gone, has made: e.g. ἄσβεστος, φάσγανον, ἑσμός.

ξ as Eng. =x= in wa=x=, and ψ as Eng. =ps= in la=ps=e.

ζ as Eng. =dz= in a=dz=e, =ds= in trea=ds= on.

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ASPIRATES

The Committee has carefully considered the pronunciation of the aspirated consonants in Greek. It is certain that the primitive pronunciation of χ, θ, φ was as =k.h=, =t.h=, =p.h=, that is as =k=, =t=, =p= followed by a strong breath, and the Committee is not prepared to deny that this pronunciation lasted down into the classical period. Further, there is no doubt that the adoption of this pronunciation makes much in Greek accidence that is otherwise obscure perfectly comprehensible. If φαίνω be pronounced π_h_αίνω, it is readily understood why the reduplicated perfect is πεπ_h_ηνα; but if it be pronounced _f_αινω, the perfect, pronounced πε_f_ηνα, is anomalous. The relation of ἀφίστημι and the like to ἵστημι, of φροῦδος to ὁδός, of θρίξ to τρίχα becomes intelligible when it is seen that θ, φ, and χ contain a real =h=-sound. This advantage seems to be one of the reasons why it has been adopted in practice by a certain number of English teachers.

In the course of time the pronunciation of the aspirates changed by degrees to that of fricatives, which is now current in most districts of Greece, φ becoming =f=, θ pronounced as =th=, in English =th=in, and χ acquiring the sound of the German =ch=.[208]

If the later sounds are accepted, no change in the common pronunciation of θ and φ in England will be required, but it will remain desirable to distinguish between the sounds of κ and χ, which are at present confused: ἄκος and ἄχος, καίνω and χαίνω being now pronounced alike. This may be done by giving χ the sound of =kh=, or of German =ch=, as in au=ch=. The Committee would, on the whole, recommend the latter alternative as being more familiar in German, Scotch, and Irish place-names.[209]

The Committee, though loath to do anything to discourage the primitive pronunciation of the aspirates, has not been able to satisfy itself that it would be easy to introduce this pronunciation into schools to which it is strange; and it is of opinion that it is not advisable to recommend anything at present that might increase the labour of the teacher or the student of Greek. It therefore abstains from recommending any change in the common pronunciation of the aspirates except in the case of χ.

ACCENTUATION

There is no doubt that in the Classical period of Greek the accented syllables were marked by a higher pitch or note than the unaccented, and not by more stress, not, that is, with a stronger current of breath and more muscular effort. Therefore, unless the student is capable of giving a musical value to the Greek signs of accent, it is doubtful whether he should

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attempt to represent them in pronunciation; for in many cases we should make our pronunciation more, not less remote from that of the Greeks themselves if we gave to their accented syllables the same stress as we do to the accented syllables in English; for example, in paroxytone dactyls (κεχρημένος) when the penult is stressed, the quantity of the long antepenult is apt to be shortened and its metrical value destroyed.[210] But where there is no conflict between accent and quantity (ἀγαθός), something may be said for stressing moderately the accented syllable, and so distinguishing e.g. καλῶς and κάλως, Διός and δῖος, ταὐτά and ταῦτα.[211]

FOOTNOTES:

[Footnote 1: Regarded from this point of view, the Chronological Table given on page 50 is full of interest.]

[Footnote 2: Reference may also be made to pages 27-29, 33, 34, 40-55, 74-85, 92-95, 98 ff., 122-127, 134-137, 154-167, 184-193, 200-207, 236-241, 264-281. Especially to be noticed is that warm praise of simplicity (pp. 76-85, 134-137) which should suffice to prove that Dionysius is not a ‘rhetorician’ in any invidious sense.]

[Footnote 3: See Glossary, s.v. σύνθεσις.]

[Footnote 4: de Isocrate c. 2, δουλεύει γὰρ ἡ διάνοια πολλάκις τῷ ῥυθμῷ τῆς λέξεως, καὶ τοῦ κομψοῦ λείπεται τὸ ἀληθινόν ... βούλεται δὲ ἡ φύσις τοῖς νοήμασιν ἕπεσθαι τὴν λέξιν, οὐ τῇ λέξει τὰ νοήματα.]

[Footnote 5: The Greek word (κεφάλαια, capita) corresponding to ‘chapters’ occurs several times in the C.V. (see Glossary, s.v.); and one (περιοχή) of the words corresponding to ‘paragraph’ is found in the de Thucyd. c. 25. The paramount importance and dignity of the πραγματικὸς τόπος is indicated in the C.V. =66= 9-15, and in the de Demosth. c. 58 fin.]

[Footnote 6: Quintilian (Inst. Or. ix. 4. 23) applies the term naturalis ordo to such collocations as viros ac feminas, diem ac noctem, ortum et occasum. But even here the order, though perhaps natural, is certainly not necessary.]

[Footnote 7: A good example of the severance of χρόνος from its article by an adjectival phrase will be found in the C. V. itself, =222= 22: ἡμιφώνῳ γὰρ ἄφωνον συνάπτεται τῷ ν̄ τὸ τ̄ καὶ διαβέβηκεν ἀξιόλογον διάβασιν =ὁ= μεταξὺ τοῦ τε προσηγορικοῦ τοῦ “πανδαίδαλον” καὶ τῆς συναλοιφῆς τῆς συναπτομένης αὐτῷ =χρόνος=. The convenience of this articular bracket is obvious.]

[Footnote 8: Cp. ὀρνίθων ... προκαθιζόντων, Hom. Il. ii. 459-63.]

[Footnote 9: Attention is called to the elaborate word-order by Mr. P. N. Ure in his edition of this portion of Thucydides. The extent to which prepositions can be parted from cases, in post-Homeric as well as in Homeric Greek, is worth notice as a somewhat different illustration of the freedom of Greek order. See, for example, the remarks in Liddell and Scott’s Lexicon on the position of εἰς.]

[Footnote 10: In Caesar B.G. ii. 25 more than a hundred words come between the subject, Caesar and the main verb processit.]

[Footnote 11: e.g. ‘A quarrel had arisen between a big and a little boy about a big and a little coat.’]

[Footnote 12: A good illustration of the freedom of order possible (at any rate theoretically) in Greek, even within the limits of verse, is supplied in a letter from Richard Porson to Andrew Dalzel: “There is a passage of Sophocles three times quoted by Plutarch, and always in a different order, but so as in the three variations to remain a senarian. Now the fragment consists of five words, and the sense is this: ‘(The physicians) wash away bitter bile with bitter drugs [πικροῖς πικρὰν κλύζουσι φαρμάκοις χολήν].’ The five words, you know, will admit of one hundred and twenty permutations, and what is extremely odd, these words will admit twenty transpositions [which Porson proceeds to indicate], and still constitute a trimeter iambic.”—Luard’s Correspondence of Richard Porson pp. 91, 92.]

[Footnote 13: Horace Ars Poetica 40,

cui lecta potenter erit res, nec facundia deseret hunc nec lucidus ordo.

Can the obscure potenter here be a Latin translation of some such technical term (found by Horace or Neoptolemus in the Greek writers on literary criticism) as δυνατῶς or δεινῶς or πιθανῶς?]

[Footnote 14: Demetrius, for example, evidently expects to find more lucidity in the plain style (the ἰσχνὸς χαρακτήρ) of a Lysias than in the elevated style (μεγαλοπρεπὴς χαρακτήρ) of a Thucydides: see the summary in Demetrius on Style pp. 33, 34. And a principal reason for this is that the former keeps more closely than the latter to the normal order of words in Greek (de Eloc. §§ 191 ff.). For Herodotus as compared with Thucydides cp. de Imit. ii. 3. 1 τῆς σαφηνείας δὲ ἀναμφισβήτως Ἡροδότῳ τὸ κατόρθωμα δέδοται (quoted in the editor’s Dionysius of Halicarnassus: the Three Literary Letters p. 173).]

[Footnote 15: εὐαρίθμητοι γάρ τινές εἰσιν οἷοι πάντα τὰ Θουκυδίδου συμβαλεῖν, καὶ οὐδ’ οὗτοι χωρὶς ἐξηγήσεως γραμματικῆς ἔνια, de Thucyd. c. 51.]

[Footnote 16: οὐ γὰρ ἀγοραίοις ἀνθρώποις οὐδ’ ἐπιδιφρίοις ἢ χειροτέχναις οὐδὲ τοῖς ἄλλοις οἳ μὴ μετέσχον ἀγωγῆς ἐλευθερίου ταύτας κατασκευάζεσθαι τὰς γραφάς, ἀλλ’ ἀνδράσι διὰ τῶν ἐγκυκλίων μαθημάτων ἐπὶ ῥητορικήν τε καὶ φιλοσοφίαν ἐληλυθόσιν, οἷς οὐδὲν φανήσεται τούτων ξένον, de Thucyd. c. 50. A comprehensive condemnation of ἀσάφεια is found in the same essay, c. 52: ἡ πάντα λυμαινομένη τὰ καλὰ καὶ σκότον παρέχουσα ταῖς ἀρεταῖς ἀσάφεια.]

[Footnote 17: See, further, the Appendix headed “Obscurity in Greek.”]

[Footnote 18: In the same way, Dionysius must surely feel the loss both of clearness and of emphasis involved in transferring ἡ μόνη ἐλπίς (=112= 1 and 4) from the middle to the end of the sentence. χάρις and πάθος may cover these cardinal points: “no clearness no charm,” he might well say,—“no emphatic order no full expression of feeling.”]

[Footnote 19: Cp. Demetrius on Style p. 278 (Glossary, s.v. ἔμφασις).]

[Footnote 20: Cp. Lewis Campbell in the Classical Review iv. 301, and Goodell in the paper named on p. 33 infra. In the matter of emphasis, Greek sentences are usually constructed on a diminuendo, English sentences on a crescendo principle. The English of μὴ ’φευρεθῇς =ἄνους τε καὶ γέρων= ἅμα (Soph. Antig. 281) is, as Jebb gives it, “lest thou be found at once an old man and foolish.” As fuller examples, in prose and verse, Mr. L. H. G. Greenwood suggests the Phaedrus 230 B, C (Νὴ τὴν Ἥραν ... Φαῖδρε) and the Rhesus 78-85, 119-130.]

[Footnote 21: The views of Quintilian and Demetrius with regard to rhythm are applicable also to emphasis: Quintil. ix. 4. 67 “nam ut initia clausulaeque plurimum momenti habent, quotiens incipit sensus aut desinit: sic in mediis quoque sunt quidam conatus, iique leviter insistunt. currentium pes, etiamsi non moratur, tamen vestigium facit”; Demetrius (de Eloc. § 39) πάντες γοῦν ἰδίως τῶν τε πρώτων μνημονεύομεν καὶ τῶν ὑστάτων, καὶ ὑπὸ τούτων κινούμεθα, ὑπὸ δὲ τῶν μεταξὺ ἔλαττον ὥσπερ ἐγκρυπτομένων ἢ ἐναφανιζομένων.]

[Footnote 22: The initial emphasis is here reinforced by μέν and δέ: elsewhere by the chiastic arrangement, as in (10).]

[Footnote 23: Compare the occasional postponement of a relative pronoun with the same object: e.g. Thucyd. i. 77 =βιάζεσθαι= γὰρ οἷς ἂν ἐξῇ, δικάζεσθαι οὐδὲν προσδέονται.]

[Footnote 24: Our poets can, and do, imitate the emphatic position of a word placed at the beginning of a line with a stop immediately following (as βάλλ’ in Hom. Il. i. 52, κόπτ’ in Odyss. ix. 290, and haesit in Virg. Aen. xi. 803):—

And over them triumphant Death his dart Shook, but delayed to strike.

MILTON Paradise Lost xi. 491.

Or (still nearer to the ‘me, me, adsum,’ of Virgil):—

Me, though just right, and the fixed laws of Heaven, Did first create your leader—next, free choice, With what besides in council or in fight Hath been achieved of merit—yet this loss, Thus far at least recovered, hath much more Established in a safe, unenvied throne, Yielded with full consent.

MILTON Paradise Lost ii. 18-24. ]

[Footnote 25: Here τούτους is emphasized by καί as well as by its position well in front of the verb which governs it, while μισθοῦ depends for its emphasis on its position alone. ‘But even these hidden piles did divers (entering the water) saw off—for pay.’ Compare the analysis which Quintilian (ix. 4. 29) gives of Cicero’s “ut tibi necesse esset in conspectu populi Romani vomere postridie.”]

[Footnote 26: For the rhetorical and metrical effect Sandys (ad loc.) compares Milton Paradise Lost vi. 912, “Firm they might have stood, | Yet fell.”]

[Footnote 27: In this sentence the orator would probably pause slightly before γενναίως, and thus (1) emphasize it; (2) separate it from διδῷ. Other means (illustrated by various examples in this Introduction) of throwing a word into relief are: the interposition of a number of unemphatic words, the use of particles such as μέν and δέ, the placing of emphatic words in contrasted pairs near together or remote from one another.]

[Footnote 28: The order here (1) avoids the juxtaposition of too many accusative-terminations; (2) provides a conclusion which satisfies ear and mind alike.]

[Footnote 29: The position of τἄμ’ here may be compared with that of ἐμούς in Eurip. Med. 1045 ἄξω παῖδας ἐκ γαίας =ἐμούς= (‘for they are mine’). In English, too, both the end and the beginning may be emphatic: e.g. “silver and gold have I none.”]

[Footnote 30: Quoted by Dionysius (C.V. c. 3), though without any special reference to the point of emphasis.]

[Footnote 31: Quoted by T. D. Goodell School Grammar of Attic Greek p. 296. ἡμεῖς seems to owe some at least of its emphasis to its late insertion. If placed immediately after ηὐξήσαμεν, it would, surely, lose a little in weight. Goodell does right to include some treatment of the question of Greek word-order in a Grammar intended primarily for use in schools. It should be pointed out even to beginners that so simple a sentence as οἱ δ’ Ἀθηναῖοι ἐνίκησαν τοὺς Λακεδαιμονίους can be arranged in half-a-dozen ways, each with its own separate shade of meaning. Compare the remarks of W. H. D. Rouse with regard to the teaching of Latin: “It is possible by question and answer to make clear from the first the essential structure of an inflected language, as depending for emphasis on the order of words; and this lies at the root of style. Thus a simple sentence may give matter for several questions. Take Caesar Labienum laudat. I may ask, Quem laudat Caesar? Answer: Labienum laudat Caesar. Question: Quid facit Caesar? Answer: Laudat Labienum Caesar. If all the texts read are treated in this way, the pupils become used to correct accidence, syntax, and order, and learn the elements of style” (Classical Review xxi. 130; cp. also W. H. S. Jones The Teaching of Latin p. 33). An instructive contrast might be drawn, with reference to the context in either case, between Romanus sum civis in Livy ii. 12, and Civis Romanus sum in Cicero Verr. II. v. 65, 66.]

[Footnote 32: With “verbi transgressio” cp. “verborum concinna transgressio” in Cic. de Orat. iii. 54. 207.]

[Footnote 33: A modern reader might be disposed to see an example of emphasis in the illustrative passage which “Longinus” here quotes from Herodotus vi. 11. In hyperbata the Treatise on the Sublime itself greatly abounds, being much influenced (in this as in other ways) by Plato. For examples of hyperbaton in Plato see Riddell’s edition of the Apology, pp. 228 ff. Among modern English writers, Matthew Arnold had a curious and perhaps half-humorous trick of securing emphasis by a “bold and hazardous” hyperbaton (cp. de Sublim. xxii. 4), which keeps back the verb till the end of the sentence: e.g. “And a good deal of ignorance about these there certainly, among English public men, is”; “the grand thing in teaching is to have faith that some aptitudes for this every one has”; “one thing that Protestants have, and that the Catholics think they have a right, where they are in great numbers, to have too, this thing to the Prussian Catholics Prussia has given.” Such oddities are, in English, usually of a playful and undress character: e.g. “it was really a party that one might feel proud of having been asked to; at least I might, and did, very” (Life and Letters of Sir Richard Claverhouse Jebb p. 93; cp. J. D. Duff’s remarks, on the same page, with regard to the literary adequacy of the following English translation of a pathetic sentence in one of Demosthenes’ greatest speeches: “this woman in the first instance merely quietly to drink and eat dessert they tried to force, I should suppose”).]

[Footnote 34: The immediately preceding sentence in Quintilian is “venio nunc ad ornatum, in quo sine dubio plus quam in ceteris dicendi partibus sibi indulget orator.” This may be compared with Dionysius’ view that it is the accessory arts (such as the heightening of style) that best reveal the orator’s power: ἐξ ὧν μάλιστα διάδηλος ἡ τοῦ ῥήτορος γίνεται δύναμις (de Thucyd. c. 23). In this attitude there is always some danger (unless, like Dionysius himself, a writer has a saving belief in the virtue of simplicity) of falling into that vice of écrire trop bien, which, according to M. Anatole France, is the worst of all literary vices.]

[Footnote 35: If we were to say that in a Greek sentence there are two kinds of arrangement, viz. (1) grammatical arrangement which aims at clearness, and (2) rhetorical arrangement which aims at (α) emphasis, and (β) euphony; then it must be admitted that Dionysius’ real subject is (2) (β)]

[Footnote 36: The lines quoted from Homer in c. 16 are particularly telling.]

[Footnote 37: C.V. =244= 23. Perhaps ‘spontaneous’ or ‘subconscious’ would be a better translation than ‘instinctive.’ Dionysius certainly does not intend to exclude training.]

[Footnote 38: The judgment of the ear appears to be indicated by the words τοῦ πυκνὰ μεταπίπτοντος κριτηρίου at the end of c. 24.]

[Footnote 39: Cp. C.V. c. 6.]

[Footnote 40: Cic. ad Att. xiv. 20. Dionysius Halic. Ant. Rom. i. 1 ἐπιεικῶς γὰρ ἅπαντες νομίζουσιν εἰκόνας εἶναι τῆς ἑκάστου ψυχῆς τοὺς λόγους. Buffon Discours de réception à l’Académie, 1753: “le style est l’homme même.” Cp. Plato Rep. iii. 400 D τί δ’ ὁ τρόπος τῆς λέξεως, ἦν δ’ ἐγώ, καὶ ὁ λόγος; οὐ τῷ τῆς ψυχῆς ἤθει ἕπεται;]

[Footnote 41: Cp. p. 24 supra. The desire to avoid monotony of termination would seem to be the main explanation of such collocations as οὗ τοῖς ἄλλοις εἴργεσθαι προαγορεύουσι τοῖς τοῦ φόνου φεύγουσι τὰς δίκας and τῷ αὐτῷ χρῶνται νόμῳ τούτῳ [Antiphon v.]. Additional emphasis, too, falls on τοῖς ἄλλοις and τῷ αὐτῷ, as on σωτηρίαν ἀσφαλῆ in Demosthenes’ peroration.]

[Footnote 42: In describing the smooth or elegant style of composition (as practised by Isocrates and his followers, including Theopompus), Dionysius notes, as one of its characteristics, the avoidance of hiatus. This avoidance is to be noticed in the recently discovered Hellenica; and without basing any positive conclusion on the fact, Grenfell and Hunt point out that the author usually avoids hiatus “even at the cost of producing an unnatural order of words, e.g. ἐπηρμένοι μισεῖν ἦσαν τοὺς Λακεδαιμονίους and ἴωμεν, ὦ ἄνδρες, ἔφη, πολῖται, ἐπὶ τοὺς τυράννους” (Oxyrhynchus Papyri v. 124).]

[Footnote 43: e.g. the greater tendency in Latin to place the principal verb at the end of the sentence. Cp. Quintil. ix. 4. 26 “verbo sensum cludere, multo, si compositio patiatur, optimum est. in verbis enim sermonis vis est. si id asperum erit, cedet haec ratio numeris, ut fit apud summos Graecos Latinosque oratores frequentissime. sine dubio erit omne quod non cludet, hyperbaton, et ipsum hoc inter tropos vel figuras, quae sunt virtutes, receptum est.” In Latin the words μετὰ δὲ ταῦτα οὐ πολλῷ ὕστερον Εὔβοια ἀπέστη ἀπ’ Ἀθηναίων would naturally run “haud multum postea Euboea ab Atheniensibus defecit” (J. P. Postgate Sermo Latinus p. 7).]

[Footnote 44: On the other side, the classical writers not seldom yield to the temptation to write long and rambling sentences, whereas the best English authors are stimulated by the very absence of inflexions to arrange their thoughts with great care and clearness within the sentence and the paragraph. By these and other means English prose becomes, in the hands of a great master, an instrument of surpassing force and beauty. As there are differences in word-order between Greek and Latin, so are there among the modern analytical languages, though (in a comparison) it may be legitimate to group those languages together. An order regarded as natural (i.e. customary) in one modern language will not be so regarded in another. Further, a language like German (though it is often unable to follow the Greek order without ambiguity: cp. Lessing’s Laocoon c. 18) possesses a greater number of inflexions than English or French. Welsh, too, has certain syntactical features which enable it often to reproduce the Greek order more faithfully than English can do. For example: in St. John’s Gospel xvii. 9 where the Greek has οὐ περὶ τοῦ κόσμου ἐρωτῶ, ἀλλὰ περὶ ὧν δέδωκάς μοι, ὅτι σοί εἰσιν, the Welsh version gives Nid dros y byd yr wyf yn gweddio, ond dros y rhai a roddaist i mi; canys eiddot ti ydynt. And Plato Apol. c. 33 καὶ ἐὰν ταῦτα ποιῆτε, δίκαια πεπονθὼς ἐγὼ ἔσομαι ὑφ’ ὑμῶν, αὐτός τε καὶ οἱ υἱεῖς: Welsh, Ac os hyn a wnewch, yr hyn sydd gyfiawn fyddaf fi wedi ei dderbyn oddiar eich llaw, myfi a’m meibion. [These Welsh instances are given on p. 38 of the present editor’s chapter on the Teaching of Greek, in F. Spencer’s Aims and Practice of Teaching.] In Appendix II. at the end of this volume will be found a few idiomatic modern renderings (in English, French, and German) from Greek prose originals.]

[Footnote 45: Lemaître Les Contemporains i. 205.]

[Footnote 46: Boileau L’Art poétique i. 133.]

[Footnote 47: Edinburgh edition of Stevenson’s works, iii. 236-61 (Miscellanies). “It is a singularly suggestive inquiry into a subject which has always been considered too vague and difficult for analysis, at any rate since the days of the classical writers on rhetoric, whom Stevenson had never read” (Graham Balfour’s Life of Robert Louis Stevenson ii. 11). S. H. Butcher (Harvard Lectures pp. 242, 243) regards the essay as “a pretty precise modern parallel to the speculations of Dionysius,” and quotes some passages in proof. The following is an example of such points of contact. Stevenson: “Each phrase in literature is built of sounds, as each phrase in music consists of notes. One sound suggests, echoes, demands and harmonizes with another; and the art of rightly using these concordances is the final art in literature.” Dionysius (C.V. c. 16): ὥστε πολλὴ ἀνάγκη καλὴν μὲν εἶναι λέξιν ἐν ᾗ καλά ἐστιν ὀνόματα, καλῶν δὲ ὀνομάτων συλλαβάς τε καὶ γράμματα καλὰ αἴτια εἶναι, ἡδεῖάν τε διάλεκτον ἐκ τῶν ἡδυνόντων τὴν ἀκοὴν γίνεσθαι. Compare p. 40 infra as to the music of sounds; and see Demetrius on Style p. 43, as to Stevenson and other English writers on style.]

[Footnote 48: Compare especially the speeches in Il. ix., and the warm eulogies they have drawn from Quintilian (x. 1. 47; cp. x. 1. 27, with reference to Theophrastus) and from many others since his time. Dionysius’ versification of Demosthenes, and prosification of Simonides, in c. 25 and c. 26, may not seem altogether happy, but one or two points should be remembered in his favour. He does not recognize merely mechanical conceptions of literature: such as are implied in the Latin-derived words prose and verse, or in literature itself. He would probably have agreed with Aristotle that “Homer and Empedocles have nothing in common but the metre, so that it would be right to call the one poet, the other physicist rather than poet” (Aristot. Poet. i. 9, S. H. Butcher). He might probably have also maintained that, in essentials, Theognis is less of a poet than Plato. And in modern times, if he had known them, he might have called attention to the rhymed rhetoric which often passed as poetry in eighteenth-century England, and have asked whether the elevation of thought and the measured cadences of Demosthenes did not entitle him to a higher poetic rank than that.]

[Footnote 49: Of Thucydides: ποιητοῦ τρόπον ἐνεξουσιάζων (de Thucyd. c. 24). Of Plato: ᾔσθετο γὰρ τῆς ἰδίας ἀπειροκαλίας καὶ ὄνομα ἔθετο αὐτῇ τὸ διθύραμβον, ὃ νῦν ἂν ᾐδέσθην ἐγὼ λέγειν ἀληθὲς ὄν. τοῦτο δὲ παθεῖν ἔοικεν, ὡς ἐγὼ νομίζω, τραφεὶς μὲν ἐν τοῖς Σωκρατικοῖς διαλόγοις ἰσχνοτάτοις οὖσι καὶ ἀκριβεστάτοις, οὐ μείνας δ’ ἐν αὐτοῖς ἀλλὰ τῆς Γοργίου καὶ Θουκυδίδου κατασκευῆς ἐρασθείς (Ep. ad Cn. Pomp. c. 2; de Demosth. c. 6. See further in Demetrius on Style p. 14, n. 1).]

[Footnote 50: It will be noticed that the only question here is about differences of form. But it is one of Dionysius’ great merits to have proclaimed so clearly the leading part which beauty of form (not simply verse, but expression generally) plays in all high poetry. Aristotle was by no means insensible to this essential element, but he is apt to dwell more fully (though we must remember the fragmentary condition of the Poetics) on the associations of ποιητής than on those of ἀοιδός. It is in connexion with prose rather than with poetry, that it seems necessary to lay most stress upon the intellectual and logical elements involved, and to pay heed not only to the nature of the subject matter itself but to the sustained argument in which it is presented. Reason in prose and emotion in poetry: these are perhaps the two leading elements, if any distinction of the kind is to be attempted.]

[Footnote 51: Aristot. Rhet. iii. 1. 9; 8. 1 and 3; 2. 1. Cp. Cic. Orat. 56. 187 “perspicuum est igitur numeris astrictam orationem esse debere, carere versibus; sed ei numeri poëticine sint an ex alio genere quodam deinceps est videndum”; 57. 195 “ego autem sentio omnes in oratione esse quasi permixtos et confusos pedes; nec enim effugere possemus animadversionem, si semper eisdem uteremur, quia nec numerosa esse, ut poëma, neque extra numerum, ut sermo vulgi, esse debet oratio: alterum nimis est vinctum, ut de industria factum appareat, alterum nimis dissolutum, ut pervagatum ac vulgare videatur.” Also ibid. 51. 172; 57. 194-196; 58. 198; 68. 227. Cicero’s correct attitude is the more noticeable that he is commonly supposed to have been swayed by Asiatic rather than by Attic influences.]

[Footnote 52: C.V. c. 25 χωρὶς δὲ τῆς Ἀριστοτέλους μαρτυρίας, ὅτι ἀναγκαῖόν ἐστιν ἐμπεριλαμβάνεσθαί τινας τῇ πεζῇ λέξει ῥυθμούς, εἰ μέλλοι τὸ ποιητικὸν ἐπανθήσειν αὐτῇ κάλλος, ἐκ τῆς πείρας τις αὐτῆς γνώσεται.]

[Footnote 53: The modern custom is to view with some suspicion these inversions when found in prose composition, though in German prose they are common enough. It would be interesting to take two such sentences of the New Testament as μεγάλη ἡ Ἄρτεμις Ἐφεσίων (Acts xix. 28, 34) and ἔπεσεν, ἔπεσεν Βαβυλὼν ἡ μεγάλη (Apoc. xiv. 8), and see how they have been rendered into various modern languages by translators generally (both in authorised and unauthorised versions). It would probably be found that the French language here has been true to what Dionysius would call its λογοείδεια, or essentially prose character. In English the justification of the inversion would be the emotional nature of the original passages, which may be held to raise them to the same plane as poetry. [It would, on the other hand, be not good but bad journalism to write, “Uproarious were the proceedings at yesterday’s meeting of the Grand Committee.”] For the effect of word-order in English verse see an extract from Coleridge’s Biographia Literaria in the notes, p. 79 infra. Coleridge was fond of offering, as a rough definition of poetry, “the best words in the best order.”]

[Footnote 54: See the notes on c. 25; particularly that on =256= 11.]

[Footnote 55: The words “How art thou” are, it will be noticed, differently divided in these two lines with a kind of Dionysian freedom.]

[Footnote 56: Ruskin continually, and Carlyle often (e.g. Sartor Resartus bk. iii. c. 8), provides examples of iambic rhythm. So George Eliot Mill on the Floss bk. vii.: “living through again, in one supreme moment, the days when they had clasped their little hands in love, and roamed the daisied fields together.” And Blackmore, in Lorna Doone c. 3: “The sullen hills were flanked with light, and the valleys chined with shadow, and all the sombrous moors between awoke in furrowed anger.” [Blackmore sometimes falls also into the hexameter rhythm, as in the same chapter: “And suddenly a strong red light, cast by the cloud-weight | downwards, | spread like | fingers | over the | moorland, || opened the | alleys of | darkness, and | hung on the | steel of the | riders.”]]

[Footnote 57: Cicero’s conception of the requirements of rhythmical prose (as compared with those of verbal fidelity) is curiously illustrated by the way in which he is supposed to have recast the letter sent by Lentulus to Catiline. Sallust Cat. 44 “quis sim ex eo quem ad te misi cognosces: fac cogites in quanta calamitate sis et memineris te virum esse: consideres quid tuae rationes postulent: auxilium petas ab omnibus etiam ab infimis.” Cicero Cat. iii. 12 “quis sim scies ex eo quem ad te misi: cura ut vir sis et cogita quem in locum sis progressus: vide ecquid tibi iam sit necesse et cura ut omnium tibi auxilia adiungas, etiam infimorum.” Cp. A. C. Clark (reviewing Zieliňski) Classical Review xix. 172.]

[Footnote 58: Cp. C.V. =176= 20 οὐ γὰρ ἀπελαύνεται ῥυθμὸς οὐδεὶς ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου. With regard to the occasional presence in prose of metrical or quasi-metrical lines, the likely explanation seems often to be one which Dionysius does not favour (πολλὰ γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις, =256= 19), rather than one which recognizes μέτρα καὶ ῥυθμούς τινας =ἐγκατατεταγμένους ἀδήλως= (=254= 3).]

[Footnote 59: D. B. Monro Modes of Ancient Greek Music p. 118.]

[Footnote 60: From the essay (already mentioned) on Style in Literature.]

[Footnote 61: de Demosth. c. 22.]

[Footnote 62: So that, in =126= 15, τὸν ὀξὺν τόνον = ‘the high pitch’ = ‘the acute accent.’]

[Footnote 63: W. H. D. Rouse’s edition of Matthew Arnold on translating Homer Introd. p. 7.]

[Footnote 64: A. J. Ellis and F. Blass (in the publications mentioned later).]

[Footnote 65: Arnold and Conway Restored Pronunciation of Greek and Latin pp. iv. 3, 7, 20-26. Cp. also the pamphlet on the Pronunciation of Greek issued by the Classical Association in 1908 (pp. 348-51 infra). In the Contemporary Review of March 1897 the history of Greek pronunciation in England is ably sketched by J. Gennadius.]

[Footnote 66: Even the pronunciation of the poet’s name has changed with the lapse of centuries; and the spelling Shakspere is preferred by some authorities not only because it has excellent manuscript authority, but because it may serve to remind us that “he and his fellows pronounced his name Shahk-spare, with the a of father in Shahk, and with the French e (our a) in spare” (Furnivall).]

[Footnote 67: Quintil. i. 10. 17 “siquidem Archytas atque Aristoxenus etiam subiectam grammaticen musicae putaverunt,” etc.]

[Footnote 68: C.V. =68= 7-11, ... τὴν περὶ τῆς συνθέσεως τῶν ὀνομάτων πραγματείαν ὀλίγοις μὲν ἐπὶ νοῦν ἐλθοῦσαν, ὅσοι τῶν ἀρχαίων ῥητορικὰς ἢ διαλεκτικὰς συνέγραψαν τέχνας, οὐδενὶ δ’ ἀκριβῶς οὐδ’ ἀποχρώντως μέχρι τοῦ παρόντος ἐξειργασμένην, ὡς ἐγὼ πείθομαι.]

[Footnote 69: Some reference to Quintilian’s own apparent indebtedness to the de Imitatione of Dionysius will be found in Demetrius on Style p. 25.]

[Footnote 70: de Sublim. xxxix. 1. In the editor’s article on the “Literary Circle of Dionysius of Halicarnassus” (Classical Review xiv. 439-42), an endeavour is made to view the literary life of Dionysius in relation to its Roman surroundings.]

[Footnote 71: The more recent writers on rhetoric (οἱ νέοι τεχνογράφοι, de Isaeo c. 14) would not greatly appeal to Dionysius.]

[Footnote 72: Cp. =254= 23, =256= 3, =164= 22, =138= 6.]

[Footnote 73: The quotations from Aristotle and other writers in the Notes will serve to indicate roughly the obligations of Dionysius to his predecessors.]

[Footnote 74: Among the shorter fragments preserved by him are one of Bacchylides (in c. 25), and another from the Telephus of Euripides (in c. 26). Two lines of the Danaë are, it should in strict accuracy be stated, quoted as follows by Athenaeus ix. 396 E:—

ὦ τέκος, οἷον ἔχω πόνον· σὺ δ’ ἀωτεῖς, γαλαθηνῷ δ’ ἤτορι κνώσσεις. ]

[Footnote 75: de C.V. =214= 7. There is, perhaps, room for a book or dissertation on Quotation in Classical Antiquity: with reference to such points as the citation or non-citation of authorities, the employment of literary illustrations, the poetical quotations in the Orators or in the Ἀθηναίων Πολιτεία or in the Poets themselves; and so forth. On the question of verbal fidelity, something is said in the present editor’s brief article on ‘Dionysius of Halicarnassus as an authority for the Text of Thucydides’ (Classical Review xiv. 244-246); and such quotations as that from Odyss. xvi. 1-16 in c. 3 of the present treatise might be critically examined from the same point of view. A similar study of Translation in Classical Antiquity would also be a useful piece of work.]

[Footnote 76: de C.V. =94= 4. Of Phylarchus as a historian Polybius himself gives an unflattering account.]

[Footnote 77: S. H. Butcher Harvard Lectures on Greek Subjects p. 114. Cp. J. L. Strachan Davidson in Hellenica pp. 414, 416: “The Nemesis of his contempt for the form and style of his writing has come on Polybius in the neglect which he has experienced at the hands of the modern world.... He has not the genius, and will not take the trouble to acquire the trained sensitiveness of art which might have supplied its place; and thus his writing has no distinction and no charm, and we miss in reading him what gives half their value to great writers—the consciousness that we are in the hands of a master.” But, on the other hand, see J. B. Bury’s Ancient Greek Historians, e.g. pp. 196, 218, 220.]

[Footnote 78: Cicero (Or. 63. 212) says, with reference to the various ways of ending the period, “e quibus unum est secuta Asia maxime, qui dichoreus vocatur, cum duo extremi chorei sunt.” And Quintilian (ix. 4. 103) “claudet et dichoreus, id est idem pes sibi ipse iungetur, quo Asiani usi plurimum; cuius exemplum Cicero ponit: Patris dictum sapiens temeritas fili comprobavit.” The dichoree is condemned also in the de Sublim. c. 41 μικροποιοῦν δ’ οὐδὲν οὕτως ἐν τοῖς ὑψηλοῖς, ὡς ῥυθμὸς κεκλασμένος λόγων καὶ σεσοβημένος, οἷον δὴ πυρρίχιοι καὶ τροχαῖοι καὶ διχόρειοι, τέλεον εἰς ὀρχηστικὸν συνεκπίπτοντες ... ὡς ἐνίοτε προειδότας τὰς ὀφειλομένας καταλήξεις αὐτοὺς ὑποκρούειν τοῖς λέγουσι καὶ φθάνοντας ὡς ἐν χορῷ τινι προαποδιδόναι τὴν βάσιν. It is the constant recurrence of the same feet that is to be deprecated (cp. Aristot. Rhet. iii. 8. 1, and Theon. Progymn. in Walz Rhet. Gr. i. 169); a single dichoree would not be avoided even by Dionysius himself, e.g. νοῦν ἐχόντων (=192= 5). Cicero’s appreciation of Carbo’s patris dictum sapiens temeritas fili comprobavit may be instructively compared with Dionysius’ attitude towards the general question of good and bad rhythms. They both seem to allow too little for other considerations; one of them approves, and the other disapproves, the final dichoree; and both agree in the main point, that there should be plenty of variety: “hoc dichoreo (sc. comprobavit) tantus clamor contionis excitatus est, ut admirabile esset. quaero nonne id numerus effecerit? verborum ordinem immuta, fac sic: ‘comprobavit fili temeritas,’ iam nihil erit, etsi ‘temeritas’ ex tribus brevibus et longa est, quam Aristoteles ut optimum probat, a quo dissentio. ‘at eadem verba, eadem sententia.’ animo istuc satis est, auribus non satis. sed id crebrius fieri non oportet; primum enim numerus agnoscitur, deinde satiat, postea cognita facilitate contemnitur” (Cic. Orat. 63. 214). Hegesias’ lack of ear seems, further, to be shown in the awkward accumulation of disyllables; e.g. διὰ τῶν =ποδῶν χαλκοῦν= ψάλιον διείραντας =ἕλκειν κύκλῳ γυμνόν= (=188= 17), and =τρόπῳ σκαιὸν ἐχθρόν= (=190= 5). Cp. =132= 3 μήτ’ ὀλιγοσύλλαβα πολλὰ ἑξῆς λαμβάνοντα.]

[Footnote 79: Modern parallels are dangerous, but the detractors of Macaulay might be disposed to compare his short detached sentences (so different from the elaborate periods of some earlier English prose-writers) with those of Hegesias.]

[Footnote 80: In this last extract, all the sentences end in dichorees. The fragments of Hegesias have been collected by C. Müller Scriptores Rerum Alexandri Magni pp. 138-144.]

[Footnote 81: With παραφθείρας cp. Cic. Brut. 83. 286 “atque Charisi [an imitator of Lysias] vult Hegesias esse similis, isque se ita putat Atticum, ut veros illos prae se paene agrestes putet. at quid est tam fractum, tam minutum, tam in ipsa, quam tamen consequitur, concinnitate puerile?” For the influence which Hegesias had on style as late as the time of Pausanias cp. J. G. Frazer’s Pausanias i. lxix. lxx., and Blass Die Rhythmen der asianischen und römischen Kunstprosa pp. 91 ff.]

[Footnote 82: e.g. καθάπερ =138= 13; ἀναίσθιος, ὑποδεκτική, ἀκόμψευστον, ἔχοντα =212= 21-24; see also =196= 24, 25. The issue is often so perplexing that no editor can feel certain whether F’s reading or P’s should be placed in his text: he only knows that both readings must be recorded either in the text or in the critical footnotes. For the strong points of F see such passages as pp. 182, 184 in c. 18.]

[Footnote 83: Other examples of these variae lectiones, pointing perhaps sometimes to a sort of double recension, are such as οὐδέτερον μὲν εὔμορφον, ἧττον δὲ δυσειδὲς τὸ ε̄ (=144= 4: REF), compared with οὐδέτερον μὲν εὔηχον, ἧττον δὲ δυσηχὲς τὸ ο̄ (=144= 4: PMV), =66= 2 νεωστὶ PMV, ἄρτι F; =100= 23 ἐνταῦθα PMV, ἐνθάδε F; =198= 18 and =244= 28 πάνυ PMV, σφόδρα F. Continually F’s readings differ from P’s in such a way that either alternative is quite satisfactory and neither could well have originated in any manuscript corruption of the other. Under the same head will come minute variations (not always recorded in this edition) of word-order in the traditions represented by F and P. So, too, with such minutiae as the elision or non-elision of final vowels, and the insertion or non-insertion of ν ἐφελκυστικόν.]

[Footnote 84: F’s πλεῖστον κίνδυνον for πλείστους κινδύνους in =244= 5 seems due to a desire to diminish the number of sigmas in the sentence, while some minute changes in word-order look like deliberate attempts to improve the flow and sound of the passage. Such discrepancies in the word-order of F and P occur in other parts of the treatise, and not simply in the quotations.]

[Footnote 85: Homer Odyssey xv. 125.]

[Footnote 86: Homer Odyssey xv. 126, 127.]

[Footnote 87: Bergk Poetae Lyrici Graeci, Fragm. Adesp. 85.]

[Footnote 88: Bergk ibid.; Philoxenus Fragm. 6.]

[Footnote 89: Homer Odyssey xvi. 1-16. The verse-translations, here and throughout, are from the hand of Mr. A. S. Way.]

[Footnote 90: Herodotus i. 8-10.]

[Footnote 91: Homer Iliad xii. 433-5.]

[Footnote 92: Euphorio Chersonesita; cp. Hephaest. c. 16.]

[Footnote 93: Homer Iliad xiii. 392, 393.]

[Footnote 94: Sotades Fragm.]

[Footnote 95: Euripides Fragm. 924 (Nauck).]

[Footnote 96: Herodotus i. 6.]

[Footnote 97: Thucydides i. 24.]

[Footnote 98: Hegesias Fragm.; cp. C. Müller Scriptores Rerum Alexandri Magni p. 138.]

[Footnote 99: Homer Odyssey xvi. 273, xvii. 202, xxiv. 157.]

[Footnote 100: Cp. Homer Odyssey vi. 230, 231; viii. 20; xxiii. 157, 158; xxiv. 369.]

[Footnote 101: Cp. Demosthenes de Corona 296.]

[Footnote 102: Homer Odyssey i. 1.]

[Footnote 103: Homer Iliad i. 1.]

[Footnote 104: Homer Odyssey iii. 1.]

[Footnote 105: Homer Iliad v. 115; Odyssey iv. 762, vi. 324.]

[Footnote 106: Homer Iliad ii. 484.]

[Footnote 107: Homer Iliad xxiv. 486.]

[Footnote 108: Homer Iliad xxi. 20.]

[Footnote 109: Homer Iliad xxii. 467.]

[Footnote 110: Homer Odyssey xxii. 17.]

[Footnote 111: Homer Iliad ii. 89.]

[Footnote 112: Homer Iliad xix. 103-4.]

[Footnote 113: Homer Iliad i. 459, ii. 422 etc.]

[Footnote 114: Homer Iliad iv. 125.]

[Footnote 115: Homer Odyssey vi. 115-6.]

[Footnote 116: Homer Odyssey xiv. 425.]

[Footnote 117: Homer Odyssey iii. 449-50.]

[Footnote 118: Demosthenes de Corona, init.]

[Footnote 119: Demosthenes de Pace 6.]

[Footnote 120: Demosthenes Aristocr. 1.]

[Footnote 121: Thucydides iii. 57.]

[Footnote 122: Demosthenes de Corona 119.]

[Footnote 123: Demosthenes de Corona 179.]

[Footnote 124: Demosthenes Philipp. iii. 17.]

[Footnote 125: Plato Menex. 236 E.]

[Footnote 126: Aeschines c. Ctes. 202.]

[Footnote 127: Sophocles Fragm. 706 (Nauck).]

[Footnote 128: Demosthenes Lept. 2.]

[Footnote 129: Euripides Orestes 140-2.]

[Footnote 130: Pindar Fragm. 79 (Schroeder).]

[Footnote 131: Homer Iliad xvii. 265.]

[Footnote 132: Homer Odyssey ix. 415-16.]

[Footnote 133: Homer Iliad xxii. 220-1.]

[Footnote 134: Homer Iliad xxii. 476.]

[Footnote 135: Homer Iliad xviii. 225.]

[Footnote 136: Homer Odyssey v. 402.]

[Footnote 137: Homer Iliad xii. 207.]

[Footnote 138: Homer Iliad ii. 209 (and 210).]

[Footnote 139: Homer Iliad xvi. 361.]

[Footnote 140: Homer Odyssey xvii. 36-7; xix. 53-4.]

[Footnote 141: Homer Odyssey vi. 162-3.]

[Footnote 142: Homer Odyssey xi. 281-2.]

[Footnote 143: Homer Odyssey vi. 137.]

[Footnote 144: Homer Odyssey xi. 36-7.]

[Footnote 145: Homer Iliad iv. 452-3.]

[Footnote 146: Homer Iliad xxi. 240-2.]

[Footnote 147: Homer Odyssey ix. 289-90.]

[Footnote 148: Homer Iliad ii. 494-501.]

[Footnote 149: Bergk P.L.G., Fragm. Adesp. 112; Nauck T.G.F., Fragm. Adesp. 136.]

[Footnote 150: Cp. Euripides Hecuba 163-4.]

[Footnote 151: Nauck T.G.F., Fragm. Adesp. 138.]

[Footnote 152: Archilochus Fragm. 66 (Bergk P.L.G.).]

[Footnote 153: Bergk P.L.G., Fragm. Adesp. 108.]

[Footnote 154: Nauck T.G.F., Fragm. Adesp. 139.]

[Footnote 155: Nauck T.G.F., Fragm. Adesp. 140.]

[Footnote 156: Euripides Hippolytus 201.]

[Footnote 157: Homer Odyssey ix. 39.]

[Footnote 158: Bergk P.L.G., Fragm. Adesp. 111; Nauck T.G.F., Fragm. Adesp. 141.]

[Footnote 159: Bergk P.L.G., Fragm. Adesp. 117; Nauck T.G.F., Fragm. Adesp. 142.]

[Footnote 160: Bergk P.L.G., Fragm. Adesp. 110; Nauck T.G.F., Fragm. Adesp. 143.]

[Footnote 161: Bergk P.L.G., Fragm. Adesp. 116; Nauck T.G.F., Fragm. Adesp. 144.]

[Footnote 162: Thucydides ii. 35.]

[Footnote 163: Here and elsewhere, no attempt has been made to secure metrical equivalence between the Greek original and the English version. A metrical analysis, or “scansion,” of the original Greek is given in the notes.]

[Footnote 164: Plato Menexenus 236 D.]

[Footnote 165: Homer Iliad xxiii. 382.]

[Footnote 166: Demosthenes de Corona init.]

[Footnote 167: Demosthenes de Corona init.]

[Footnote 168: C. Müller Scriptores Rerum Alexandri Magni p. 141 (Hegesiae Fragmenta).]

[Footnote 169: Homer Iliad xxii. 395-411.]

[Footnote 170: Homer Odyssey xi. 593-6.]

[Footnote 171: Homer Odyssey xi. 596-7.]

[Footnote 172: Homer Odyssey xi. 597-8.]

[Footnote 173: Pindar Fragm. 213 (Schroeder).]

[Footnote 174: Pindar Fragm. 75 (Schroeder).]

[Footnote 175: Thucydides i. 1.]

[Footnote 176: Thucydides i. 22.]

[Footnote 177: Sappho Fragm. i. (Bergk): translated by A. S. Way.]

[Footnote 178: Isocrates Areopagiticus §§ 1-5.]

[Footnote 179: Homer Iliad xxi. 196-7.]

[Footnote 180: cp. Demosthenes Chers. 48.]

[Footnote 181: Epicurus Fragm. 230 (Usener).]

[Footnote 182: Demosthenes Aristocr. 1.]

[Footnote 183: Fragm. Orphica, Mullach i. 166.]

[Footnote 184: Aristot. Rhet. iii. 8.]

[Footnote 185: Aristophanes Nubes 961.]

[Footnote 186: Callimachus Fragm. 391 (Schneider).]

[Footnote 187: Sappho Fragm. 106 (Bergk).]

[Footnote 188: Aristophanes Nubes 962.]

[Footnote 189: Euripides Archelaus; Nauck T.G.F., Eurip. Fragm. 229.]

[Footnote 190: Demosthenes de Corona § 1.]

[Footnote 191: Bergk P.L.G., Fragm. Adesp. 118.]

[Footnote 192: Bacchylides Fragm. 11 (Jebb).]

[Footnote 193: Plato Republic i. 1.]

[Footnote 194: Homer Odyssey xiv. 1-7.]

[Footnote 195: Euripides Telephus; Nauck T.G.F., Eurip. Fragm. 696.]

[Footnote 196: Euripides Telephus; Nauck T.G.F., Eurip. Fragm. 696.]

[Footnote 197: Simonides Fragm. 37 (Bergk): translated by A. S. Way.]

[Footnote 198: Homer Iliad xi. 514.]

[Footnote 199: ὁ σκοτεινός: cp. Dionys. Hal. de Thucyd. c. 46, Demetr. de Eloc. § 192, Aristot. Rhet. iii. 5. 6.]

[Footnote 200: A good practical recipe for brevity combined with clearness is given in the Rhet. ad Alex. c. 30: συντόμως δὲ [δηλώσομεν], ἐὰν ἀπὸ τῶν πραγμάτων καὶ τῶν ὀνομάτων περιαιρῶμεν τὰ μὴ ἀναγκαῖα ῥηθῆναι, ταῦτα μόνα καταλείποντες, ὧν ἀφαιρεθέντων ἀσαφὴς ἔσται ὁ λόγος.]

[Footnote 201: He illustrates from the Introduction (προοίμιον) of Thucydides—the passage quoted in C.V. c. 22. A good example of the εἰρομένη λέξις in Thucydides (who is an acknowledged master of the κατεστραμμένη λέξις) is furnished by Thucyd. i. 9. 2: cp. p. 119 supra.]

[Footnote 202: Earlier (vii. 9. 6) in his treatise, Quintilian has quoted ‘Aio te, Aeacida, Romanos vincere posse’; and these oracular ambiguities had been glanced at previously by Aristotle (Rhet. iii. 5. 4).]

[Footnote 203: In a passage of Aristotle (Eth. Nic. vi. 1142 b ἀλλ’ ὀρθότης τίς ἐστιν ἡ εὐβουλία βουλῆς) βουλῆς seems to be emphatic because so far separated from ὀρθότης. Cp. L. H. G. Greenwood in the Classical Review xix. 18, and the same writer’s translation (Aristotle Nicomachean Ethics Book Six p. 111), “But deliberative excellence is rightness in deliberation.”]

[Footnote 204: Short and simple as it is, this last sentence is a good example of effective word-order. τριήρης is put early, to contrast it with φρούριον in the previous sentence. Then the time is indicated. Next τῶν Ἀθηναίων (removed from Thucydides’ usual position for a dependent genitive) is put in expressive juxtaposition to ὑπὸ τῶν Συρακοσιών. Lastly, the reason or circumstance is given: ἐφορμοῦσα τῷ λιμένι. And the rhythm of the sentence is not unpleasant.]

[Footnote 205: Aristotle (Rhet. i. 15), in quoting the first line only, gives ταῦτ’ οὖν ἐγὼ κτλ.]

[Footnote 206: In English it would be interesting to test, by these criteria, such usages (for usages they may be called in so far as they rest on the authority of many good writers) as the ‘split infinitive,’ or the preposition coming at the end of a sentence.]

[Footnote 207: The authenticity of these portions of the Odyssey was suspected in antiquity. But compare Iliad xviii. 587-8 (quoted in Introduction p. 13 supra) or Odyss. xi. 160-1.]

[Footnote 208: The dates and stages of these changes cannot as yet be settled with precision. But the practical choice seems to be between the earliest and the latest values, though there is no doubt whatever that a distinct =h= was heard in all these sounds long after the fourth century B.C.]

[Footnote 209: It is not easy to determine precisely the sound of χθ, φθ (χθών, φθόνος) at the beginning of words, and the Committee therefore thinks it best to leave the option of (1) sounding the first consonants as κ and π respectively, and the θ as it is in other positions (this applies both to students who adopt the fricative and to those who adopt the primitive aspirate pronunciation of the letters in other positions), or (2) where the fricative pronunciation is adopted, of sounding χ and φ, in this position also, respectively as Scotch ch and English f.]

[Footnote 210: This had actually happened in spoken Greek by the second century A.D.]

[Footnote 211: This paragraph is taken from The Restored Pronunciation of Greek and Latin, 4th edition, Cambridge, 1908.]

[Page 353]

A. INDEX OF PASSAGES QUOTED IN THE DE COMPOSITIONE

The thick numerals indicate the pages on which the quotations are found.

=Aeschines= Ctes. 202, =116=

=Archilochus= Fragm. 66, =170=

=Aristophanes= Nubes 961, =256=; ib. 962, =258=

=Aristotle= Rhet. iii. 8, =254=

=Bacchylides= Fragm. 11, =262=

=Callimachus= Fragm. 391, =256=

=Demosthenes= Aristocr. 1, =108=, =252=. Chers. 48, =250=. _De Cor._ 1, =108=, =182=, =184=, =260=; 119, =112=; 179, =114=. Lept. 2, =118=. De Pace 6, =108=. Philipp. iii. 17, =114=

=Epicurus= Fragm. 230, =250=.

=Euphorio Chersonesita= Fragm., =86=

=Euripides= Hecuba 163-4, =170=. Hippolytus 201, =172=. Orestes 140-2, =128=. Fragm. 229 (Archelaus), =260=; 696 (Telephus), =276-8=; 924, =88=

=Hegesias= Fragm., =92=; =186-90=

=Herodotus= i. 6, =90=; i. 8-10, =80-82=.

=Homer= Iliad i. 1, =98=; i. 459, =102=; ii. 89, =100=; ii. 209, =158=; ii. 422, =102=; ii. 484, =100=; ii. 494-501, =166=; iv. 125, =102=; iv. 452-3, =164=; v. 115, =100=; xi. 514, =280=; xii. 207, =158=; xii. 433-5, =84=; xiii. 392-3, =86=; xvi. 361, =158=; xvii. 265, =154=; xviii. 225, =156=; xix. 103-4, =100=; xxi. 20, =100=; xxi. 196-7, =248=; xxi. 240-2, =164=; xxii. 220-1, =156=; xxii. 395-411, =190-2=; xxii. 467, =100=; xxii. 476, =156=; xxiii. 382, =182=; xxiv. 486, =100=. Odyssey i. 1, =98=; iii. 1, =98=; iii. 449-50, =102=; v. 402, =158=; vi. 115-6, =102=; vi. 137, =162=; vi. 162-3, =162=; vi. 230-1, =92=; ix. 39, =172=; ix. 289-90, =164=; ix. 415-6, =156=; xi. 36-7, =162=; xi. 281-2, =162=; xi. 593-8, =202-4=; xiv. 1-8, =274-6=; xiv. 425, =102=; xv. 125-7, =64=; xvi. 1-16, =76-78=; xvi. 273, =92=; xvii. 36, 37, =162=; xix. 53, 54, =162=; xxii. 17, =100=

=Isocrates= Areop. 1-5, =242-4=

=Orphica= Fragm., =252=

=Philoxenus= Fragm. 6, =68=

=Pindar= Fragm. 75, =214-6=; 79, =148=; 213, =210=

=Plato= Menex. 236 D, =180=; 236 E, =116=; Rep. i. 1, =266=

=Sappho= Fragm. 1 (Hymn to Aphrodite), =238-40=; 106, =258=

=Simonides= Fragm. 37 (Danaë), =278-80=

=Sophocles= Fragm. 706, =116=

=Sotades= Fragm., =88=

=Thucydides= i. 1, =224-28=; i. 22, =228=; i. 24, =90=; ii. 35, =178=; iii. 57, =110=

=Anonymous Fragments= (=chiefly Lyrical=) on pages =68= (Bergk 85), =168= (Bergk 112, Nauck 136), =170= (N. 138; B. 108); =172= (N. 139, 140); =174= (B. 110, N. 143; B. 111, N. 141; B. 116, N. 144; B. 117, N. 142); =262= (B. 118)

[Page 354]

B. INDEX OF NAMES AND MATTERS

The numerals indicate the pages to which reference is made. As the contents of the Greek text are fully summarized on pp. 1-9 supra, and as many of the more characteristic Greek words find a place in the Glossary, the brief entries in Index B will be found to refer mainly to the Introduction and the Notes.

=Accent= 41-43, 126 ff., 196, 292, 320, 328, 329

=Adjective= 102, 103, 299

=Adverb= 70, 100, 299

=Aeschines= 116

=Aeschylus= 12, 20, 214, 215

=Agathon= 304

=Alcaeus= 194, 248, 249

=Alexander of Macedon= 186, 187

=Amphibrachys= 172, 184, 287

=Anacreon= 236

=Anagnostes= 338

=Anapaest= 172, 287

=Anaximenes= xi (Preface). See also under ‘Rhetorica ad Alexandrum,’ p. 357 infra

=Anthology=, epigrams from 66, 335

=Antigonus= 94

=Antimachus= 214

=Antiphon= 29, 120, 332

=Antithesis= 247, 288

=Aphrodite, Sappho’s Hymn to= 238-41

=Apollonius Rhodius= 156

=Appellative= 71, 319

=Archaism= 212, 290

=Archilochus= 171

=Architecture in relation to literary composition= 28, 106

=Aristophanes= 12, 22, 123, 143, 290, 304, 311, 314, 335

=Aristophanes of Byzantium= 218, 278, 320

=Aristotle= x-xii (Preface), 15, 34, 35, 39, 40, 48, 71, 75, 139, 153, 155, 163, 165, 166, 168, 171, 176, 189, 214, 246, 247, 248, 249, 254, 255, 268, 290, 291, 292, 301, 308, 309, 310, 312, 313, 315, 316, 318, 319, 320, 325, 329, 334, 336, 337, 340, passim

=Aristoxenus= 42, 43, 48, 125, 138, 168, 287, 318

=Arnold, Matthew= 26, 158, 167, 278

=Arrian= 186, 187

=Article= 70, 289

=Aspirates= 149, 294, 350

=Athenaeus= 148, etc.

=Auctor ad Herennium= 316

=Audiences=, their sensitiveness to the music of sounds 40, 120 ff.

=Austere composition or harmony= 210 ff.

=Bacchius= 174, 292

=Bacchylides= 49, 219, 262, 263

=Bacon, Francis= 225

=Beauty of style.= See under ‘nobility’

=Biblical illustrations= 24, 31, 36, 37, 113, 178, 289, 297, 298, 303, 332, etc.

=Blackmore, R. D.= 37

=Boeotian towns= 166-68

=Boileau= 31

=Bossuet= 195, 228

=Buchanan, George= 46

=Buffon= 29

=Caesar, Julius= 13, 267, 296

=Callimachus= 87, 256 (attribution doubtful), 272, 277

=Candaules=, story of 81

=Carlyle= 37

=Case= 320, with references there given

=Catullus= 239, 278

=Chapters=, division into 9, 11

=Charm of style= 120 ff., 130 ff.

=Cheke, Sir John= 45, 46

=Chiastic arrangement= 14, 19

=Choice, or selection, of words= 69, 73, 79, etc.

=Choree= 170, 333

=Chromatic scale= 194

=Chronological table= of authors quoted or mentioned in the C.V. 50

=Chrysippus= 94, 95, 96, 97

=Chrysostom= 67, 251, 288

=Cicero= 15, 18, 25, 26, 28, 35, 37, 38, 48, 53, 54, 55, 72, 73, 89, 114, 124, 159, 203, 266, 271, 286, 301, 305, 306, 315, 316, 319, 330, 331, 334, 335, passim

[Page 355]

=Circumflex accent= 126 ff.

=Clearness in Greek word-order= 12-13, 15-17. See also under ‘Obscurity,’ p. 356 infra

=Cleitarchus= 187

=Climax= 114

=Coleridge, S. T.= 36, 38, 79, 254

=Colon.= See under ‘Member’

‘=Comma=’ 306, with references there given

=Common vowels.= See under ‘Doubtful’

=Comparative Method= (in relation to literary study) 48

=Composition= 10, 71 ff., 208 ff., 326, passim

=Conjunctions or connectives= 71, 325

=Coray= 243

=Cousin, Victor= 343

‘=Cratylus=’ of Plato 160

=Cretic= 174, 307

=Ctesias= 120

=Curtius= 187, 188, 189

‘=Cyclic=’ 174, 307

=Dactyl= 172, 173

‘=Danaë=’ of Simonides 278-81

=Dareste, Rodolphe= 344, 345, 346

=Date of the= ‘=de Compositione=’ 1, 60

=Delphi=, hymns found at 43

=Demetrius= of Callatis 94

=Demetrius=, the supposed author of the De Elocutione 16, 18, 19, 90, 91, 286, 305, 308, passim

=Democritus= 248, 249

=Demosthenes= 13, 16, 17, 20, 23, 24, 25, 29, 33, 34, 39, 41, 146, 182, 196, 248, 249, 339, 340, passim. See also Index A

=Dentals= 149

=Dependent genitive=, order of 337

=Dialectic= 69, 94, 104

=Diatonic scale= 194

=Diodorus Siculus= 187, 237, 274

=Diogenes Laertius= 82, 97, 251

=Dionysius of Halicarnassus= 1, 10, 11, 15, 16, 17, 29, 48, 207, 229, passim

=Dionysius Thrax= 47, 71, 139, 145, 319, 332

=Diphthongs= 219

=Dithyramb= 214

=Dorian mode= 196

=Doubtful vowels= 296, with references there given (s.v. δίχρονος)

=Dryden= 186

=Duris= 94

=Eliot, George= 37

=Empedocles= 34, 214, 332

=Emphasis= 17-26

=English language= 31, 35, 36, 342 ff., passim

=Enharmonic scale= 194

‘=Enjambement=’ 270-73, 275, 278, 325

=Ennius= 170, 314

=Ephorus= 236, 237

=Epic Cycle=, poets of the 248

=Epic poetry= 214, 274, passim. See also under ‘Homer,’ p. 356 infra

=Epicurus= 250, 251

=Epitome=: Greek Epitome of C.V. 10, 57, 65, 89, 116, 197, 209

=Epode= 300, with references there given

=Erasmus= 45, 159

=Etymology= 160, 300

=Euphony= 27-29, 338, etc.

=Euphorio Chersonesita= 87

=Euripides= 22, 23, 24, 146, 236, 237. See also Index A

=Eustathius= 202

=Fifth=, the musical interval so called 126

=Flaubert, Gustav= 28

=Fléchier= 243

=Fletcher= 46 (‘Elder Brother’)

=Florentine manuscript of the C.V.= 56-58

=Foot=, metrical 168

=France, Anatole= 27

=Freedom of Greek word-order= 11-14

=French language= 31, 36, 270, 342 ff., passim

=Galen= 331

=Gardiner, Stephen= 46

=Gellius, Aulus= 28

=Gender= 106, 107

=German language= 33, 36, 342 ff., passim

=Gibbon, Edward= 46, 86, 237

=Gladstone, William Ewart= 126, 235

=Glossary= 285-334 (cp. Preface ix, x)

=Goethe= 36

=Gorgias= 132

=Grammar= 46, 47

=Grave accent= 126 ff.

=Gutturals= 149

‘=Harmony=’ 290, with references there given

=Havercamp= 45

=Hector and Achilles= 190, 191

=Hegemon= 168

=Hegesianax= 94, 95

=Hegesias= 52-55, 90, 184-92

=Heracleides= 94, 95

=Heracleitus= 335, 340

=Hermogenes= 26, 85, 87, 90

=Herodotus= 16, 24, 26, 30, 80 ff., 90, 120, 196, 248, 249

=Hesiod= 236, 237

=Hesychius=, 69, 189, 288, 322, 332

=Hexameter= 85, 87

=Hiatus= 39, 323

=Hibeh Papyri= xi (Preface), 41

[Page 356]

=Hickes, Francis= 226

=Hieronymus= 94

=Hobbes, Thomas= 226

=Holland, Philemon= 328

=Homer= vii-ix (Preface), 13, 14, 19, 33, 34, 76 ff., 136, 248, 274, 337, passim. See also Index A

=Horace= ix (Preface), 15, 48, 78, 81, 113, 195, 197, 200, 267, 273, 278, 322, 323, 336, passim

=Hypallage= 78, 330

=Hyperbaton= 26, 340

=Hypobacchius= 174

=Hysteron proteron= 102

=Iambus= 170

=Intermediate or harmoniously blended composition= 246 ff., 301

=Invention= (of subject matter) 1, 67, 318, etc.

=Ionic tetrameter= 86, 304

‘=Irrational=’ 154, 174, 207, 286, 287

=Isocrates= 11, 29, 78, 92, 192, 198, 236, 237, 242 ff., 264

=Ithyphallic poem= 86, 303

=Jacobs, Friedrich= 345, 346

=James I., King= 46

=Johnson, Samuel= 186

=Josephus= 187, 308

=Labials= 149

=Latin= (especially Latin word-order, as compared with that of Greek and the modern languages) 13, 21, 25, 29-33, 48, etc.

=Lemaître, Jules= 31

=Lessing= 31

=Letters= 138 ff.

‘=Literature=’ 34, 217, 309

=Livy= 178

‘=Longinus=’ =de Sublimitate= 14, 26, 48, 74, 239, passim

=Lucian= 68, 196, 229, 279, 327, 333

=Lucidity.= See under ‘Clearness’

=Lucretius= 204, 214

=Luther= 267

=Lydian mode= 196

=Lysias= 16, 55

=Malherbe= 31

=Manuscripts of the C.V.= x (Preface), 56-59

=Marcellinus= 228, 229, 335

=Marlowe= 35, 147

=Maximus Planudes= 86

=Melic poetry= 309, with references there given

=Member= (=clause=, ‘=colon=’) 73, 110 ff., 307

=Menander= 229

=Meredith, George= 147, 172

=Metaphor= 54, 310

=Metre= 33-39, 310

=Metrici= 154, 172, 174, 218, 310

=Milton= 22, 23, 36, 167

=Mimnermus= 273

=Modern languages= (especially in relation to word-order) 12, 29-33, 103, etc.; 342-47

=Modes=, musical 196

=Molière= 91, 138

=Molossus= 172

=Music= 39-41, 124 ff.

=Mute letters= 138 ff., 292

=Natural order of words= 98 ff.

=Neoptolemus= 15

=Nobility of style= 120 ff., 136

=Normal word-order in Greek= 14, 15

=Noun= 71, 98-100, 313

=Number=, grammatical 106, 107

=Obscurity= 16, 17, 335-41. See also under ‘Clearness,’ p. 355 supra

=Onomatopoeia= 158, 159, 316

=Order of words in Greek and other languages= 11-39, 98 ff., passim

=Orphic fragments= 252

=Ovid= 33, 124

=Oxyrhynchus Papyri= 29, 237, 289

=Paeon= 314, with references there given

=Painting in relation to literary composition= 208

=Paris Manuscript of the C.V.= x (Preface), 56-58

=Participle= 72, 310

=Parts of speech= 71 ff.

=Passion= 314, with references there given

=Pentameter= 256, 315

=Period= 13, 73, 118

=Peripatetics= 48. See also under ‘Aristotle’ (p. 354 supra), and ‘Theophrastus’ (p. 357 infra)

=Philo Judaeus= 192

‘=Philosophy=’ 331

=Philoxenus= 196, 197

=Phonetics= 43, 44, 140 ff.

=Photius= 333

‘=Phrase=’ 306, with references there given

=Phrygian mode= 196

=Phylarchus= 94

=Pindar= 49, 194, 214 ff. See also under Index A

=Plato= 14, 19, 20, 21, 22, 23, 26, 29, 31, 33, 34, 139, 180, 182, 196, 248, 249, 264 ff., passim. See also under Index A

=Pliny the Younger= 229

=Plural= 106, 107

=Plutarch= 67, 187, 264, 299, 326, 330, 332

[Page 357]

=Poetry= (in relation to prose) 33-39, 250 ff., etc.

=Polybius= 51, 52, 94, 296

=Pope, Alexander= vii (Preface), 202, 205, 324

=Porson, Richard= 14, 146

=Preposition= 71, 319

=Pronoun= 70, 102, 288

=Pronunciation= 43-46, 140 ff., 348-51, passim

=Propertius= 188

‘=Propriety=’ 39, 198 ff., 318, 319, passim

=Prose= (in relation to poetry) 33-39, 250 ff., 287 (ἄμετρος), 309 (λόγος), etc.

=Prosodiacs= 86

=Psaon= 94

=Punctuation= 306, 340

=Puttenham= 299

=Pyrrhic= 168

=Quantity=, effect of syllabic quantity in prose 29

=Quintilian= 11, 15, 18, 19, 23, 26, 27, 28, 30, 34, 38, 46, 47, 53, 70, 71, 81, 89, 93, 98, 145, 152, 168, 195, 203, 248, 250, 265, 266, 300, 301, 305, 306, 315-21, 325, 328, 330, 332, 336, passim

=Quotations in the C.V.= 49-56. See also Index A

=Racine= 118, 157, 205, 270

=Reading= (learning to read) 268, 269

=Renan, Ernest= 31

‘=Rhetor Graecus=’ 57, 138

=Rhetorica ad Alexandrum= xi (Preface), 26, 75, 313, 336

=Rhetorical Handbooks= 270, 282, 329

=Rhyme or jingle= 64, 65, 315

=Rhythm= 33-39, 168 ff., 176 ff., 320

=Rhythmici= 154, 172

=Rich, Barnaby= 82

=Rousseau= 211

=Rufus Metilius= xii (Preface), 1, 66

=Ruskin= 37

=Sallust= 38, 180, 225

=San= 148, 149

=Sappho= vii-viii (Preface), 49, 194, 236 ff., 258. See also Index A

=Scales=, musical 194

=Schema Pindaricum= 217

=Schleiermacher, Friedrich= 343

=Scholia= (to Homer and other authors) 76, 132, 155, 158, 170, 188, 191, 229, 274, 277, 288, 333, etc.

=Semivowels= 138 ff., 302

=Sextus Empiricus= 139

=Shakespeare= 44, 81, 112, 135, 147, 161, 321

=Sheridan= 250

=Sigmatism= 146, 147

=Simonides= vii-viii (Preface), 49, 236, 278 ff.

=Simplicity of diction illustrated and commended= 75-85, 134-37

=Smith, Sir Thomas= 45, 46, 141

=Smooth composition or harmony= 232 ff., 293

=Socrates= 120, 160

=Solecism= 190

=Sophist= 184, 264, 321

=Sophocles= 248, 249, 337. See also Index A

=Sotades= 88, 328

=Sound an echo to the sense= 156 ff., 200 ff.

=Sources of the C.V.= 47-49

=Spondee= 170, 322

=Stesichorus= 194, 195, 248

=Stevenson, Robert Louis= 32, 40

=Stoics= 48, 71, 94-97, 104

=Strabo= 55, 285, 290

=Strophe= 194 etc., 323

=Styles of composition= 208 ff.

=Substance and Form= viii (Preface); cp. Demetr. pp. 34 ff.

=Suidas= 237, 296

=Summary of the C.V.= 1-9

‘=Suspense=’ 13

=Swinburne, Algernon Charles= 271, 325

=Syllables= 150 ff., 324

=Synaloepha= 108 etc., 325

=Tacitus= 316

=Taste= 132, 134, 304

‘=Tautology=’ 240, 328

=Taylor, Jeremy= 303

=Telestes= 196, 197

=Tennyson= 86, 190, 271, 278

=Tense= 108, 333

=Terence= 101, 275

=Tetrameters= 87, 329

=Text of the C.V.= x (Preface), 56-59, passim

=Thelwall, John= 147

=Theocritus= 281

=Theodectes= 47, 71

=Theophrastus= 34, 37, 48, 164, 165, 193, 305, etc.

=Theopompus= 29, 236, 237

=Thucydides= 13, 16, 17, 19, 20, 21, 23, 33, 34, 120, 178, 214, 224 ff., 335-7, passim. See also Index A

=Timotheus= 175, 196, 197

=Title of the C.V.= 10, 326

=Tragic poets= 236, 248, 329

=Tribrach= 170. See also under ‘Choree,’ p. 354 supra

=Trimeter= 258, 329

=Trisyllable= 170, 329

=Trochee= 170, 330

=Types of style= 208 ff.

[Page 358]

=Usage as the sovereign arbiter= 102

=Variety= 29, 39, 192 ff., 310

=Vedic Sanskrit= 42

=Verbs= 71, 98-100, 108, 320

=Vigny, Alfred de= 213

=Virgil= 19, 21, 156, 157, 164, 173, 204, 327, etc.

=Vowels= 138 ff., 332

=Welsh language= 31

=Wilson, Thomas= [of Eton and King’s College, Cambridge; earliest translator of any part of Demosthenes into English] 326

=Wordsworth= viii (Preface), 79, 271

=Xenophon= 14, 19, 23, 120

=Zeta=, pronunciation of 44, 45

THE END

Printed by R. & R. CLARK, LIMITED, Edinburgh.

[Page 359]

Cambridge University Press.

BY PROFESSOR W. RHYS ROBERTS.

The following contributions made to Greek literary and literary-historical study by Dr. Roberts are published at the Cambridge University Press. The volumes are arranged in the order of their original appearance.

=THE ANCIENT BOEOTIANS=: their Character and Culture, and their Reputation. With a Map, a Table of Dates, and a List of Authorities. Demy 8vo. 5s.

=STUDY OF GREEK.= A Chapter in Frederic Spencer’s _Chapters on the Aims and Practice of Teaching_. Third Impression, 1903. Crown 8vo. 6s.

=LONGINUS ON THE SUBLIME.= The Greek Text edited after the Paris Manuscript, with Translation, Facsimiles, and Appendices (Textual, Linguistic, Literary, and Bibliographical). Second Edition, 1907. Demy 8vo. 9s.

=DIONYSIUS OF HALICARNASSUS: The Three Literary Letters.= The Greek Text edited with Translation, Facsimile, Notes, Glossary of Rhetorical Terms, Bibliography, and Introductory Essay on Dionysius as a Literary Critic. Demy 8vo. 9s.

=DEMETRIUS ON STYLE.= The Greek Text of Demetrius de Elocutione. Edited after the Paris Manuscript, with Translation, Facsimiles, Glossary, etc., and Introductory Essay on the Greek Study of Prose Style. Demy 8vo. 9s. net.

EXTRACTS FROM REVIEWS OF DEMETRIUS ON STYLE.

Professor B. L. GILDERSLEEVE in the AMERICAN JOURNAL OF PHILOLOGY.—“It is to me a welcome sign of the times that Mr. Roberts has attracted so much attention and gained so much reputation by his admirable editions of Longinus on the Sublime and of The Three Literary Letters of Dionysius of Halicarnassus, to which he has now added Demetrius on Style.... As for Demetrius, nothing could be more timely than the revival of his admirable manual.... No wonder that one hails with satisfaction the prospect of a new edition of the De Compositione by so competent a hand as Mr. Roberts, if indeed we may construe his suggestion as a promise.”

ATHENÆUM.—“We have to congratulate Professor Roberts on the completion of another preliminary study for his projected work on ‘Ancient Literary Criticism,’ which is a worthy companion to his Longinus and The Three Literary Letters of Dionysius.... These three books are indispensable to the student of Greek literature.... In the translation Professor Roberts seems to have improved on his former versions; this is more easy and effective.”

TIMES.—“Dr. Roberts has introduced to English readers some choice literary morsels. His Longinus on the Sublime, the first of the ancient works on literary criticism which he edited—we might almost say, to our shame, rescued from oblivion—is a most able and inspiring book.... Demetrius on Style is edited equally well. The translation, indeed, is even better; idiomatic and pleasant to read, it is often most happy, and there are very few passages where we should differ in our rendering of the Greek.”

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SPECTATOR.—“Dr. Roberts is to be congratulated upon the accomplishment of a worthy task. His edition of the famous treatise known as Demetrius on Style is a credit to our English learning. The editor is not merely a scholar, he is a man of letters as well; and in his notes he has applied the maxims of the ancient Greek to the literature of to-day with the utmost skill. Indeed, though Greek lies at this moment under a cloud of suspicion, we can none the less recommend this work without diffidence or fear, since no English writer can study Dr. Roberts’s translation and notes without purging his own composition of faults innumerable.”

GUARDIAN.—“Dr. Rhys Roberts here gives us a third instalment of his work on the Greek literary critics, and the further he proceeds the greater becomes the benefit that he is conferring on classical scholars. It is much to have made the masterpieces of the later Greek criticism generally accessible, and especially to have rescued Dionysius of Halicarnassus from a neglect and contempt that were wholly undeserved, to have given him new utterance, to have shown that even for moderns his precepts are not obsolete. Nor is the chorus of approval with which Dr. Roberts’s work has been received, both at home and abroad, any louder than is warranted. His own style and taste are above reproach, and his learning is abundant.”

WESTMINSTER REVIEW.—“Dr. W. Rhys Roberts has taken for his province the whole subject of Greek literary criticism. In 1899 appeared his scholarly and exhaustive edition of Longinus on the Sublime, which was followed, two years later, by an admirable edition of The Three Literary Letters of Dionysius of Halicarnassus. He has now laid English scholarship under a further obligation by his even more admirable edition of Demetrius on Style. Each of these three texts is accompanied by a translation at once accurate, terse, lucid, and idiomatic.”

JOURNAL OF EDUCATION.—“We make no doubt that Professor Roberts’s earlier books—Longinus on the Sublime and The Three Literary Letters of Dionysius—are known to those of our readers who are serious students of Greek. We believe they have done a good deal already to restore ancient criticism to the place which it used to hold. The present volume is a worthy companion to the other two.”

Professor R. Y. TYRRELL in HERMATHENA.—“This edition is of wide scope and excellent design. It includes an Essay on Greek Prose Style, a full summary of the treatise itself, and a careful treatment of the difficult questions concerning its date and authorship. The fact that this is the first English text and the first English translation of a very valuable and interesting work gives it an added importance, and opens up what will be a new field for many scholars.... The translation, which is exceedingly vigorous, elegant and ingenious, has one other signal merit: it never ‘hedges’: the translator never hides a doubt about the meaning under ambiguous language; he leaves no uncertainty about the meaning which he attaches to the text; and in the few places where we may venture to take a different view we feel that there is always something to be said for the version which we reject.... Dr. Roberts has a very keen eye and ear for literary beauty; and the treatise affords ample scope for the employment of his wide and various knowledge of modern literature.... The De Elocutione is a treatise full of interesting and suggestive comment; and all lovers of literature owe their best thanks to Professor Roberts for the edition of it which he has put in their hands.”

The volume has also been favourably reviewed by the following Continental scholars: Dr. PH. WEBER (Neue Philologische Rundschau), M. THÉODORE REINACH (Revue des Études Grecques), Professor AMÉDÉE HAUVETTE (Revue Critique d’histoire et de littérature), Professor CH. MICHEL (Revue de l’Instruction publique en Belgique), and Professor GIOVANNI SETTI (La Cultura).

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XXVI. HOW VERSE CAN RESEMBLE PROSE

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XXVI. HOW VERSE CAN RESEMBLE PROSE