Demetrio - de Elocutione

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DEMETRIUS ON STYLE
Eontiott: C
J.
CLAY and SONS,
CAMBRIDGE UNIVERSITY PRESS WAREHOUSE,
AVE MARIA LANE.
ffilaggoto: 50, WELLINGTON STREET.
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^tia gorfe: THE MACMILLAN COMPANY.
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[A// Rights reserved.l
DEMETRIUS ON STYLE
THE GREEK TEXT OF
DEMETRIUS DE ELOCUTIONE
EDITED AFTER THE PARIS MANUSCRIPT
WITH
INTRODUCTION, TRANSLATION, FACSIMILES, ETC.
BY
W. RHYS ROBERTS, Litt.D.,
PROFESSOR OF GREEK IN THE UNIVERSITY COLLEGE OF NORTH WALES, BANGOR
|
LATE FELLOW OF KING'S COLLEGE, CAMBRIDGE
;
EDITOR OF
'
LONGINUS
ON THE sublime' AND OF
'
DIONYSIUS OF HALICARNASSUS :
THE THREE LITERARY LETTERS*.
CAMBRIDGE:
AT THE UNIVERSITY PRESS.
1902
SEEN BY
PRBcRVAT'ON
DATE
i
PR
PRINTED BY
J.
AND C. F. CLAY,
AT THE UNIVERSITY PRESS.
CONTENTS.
PAGE
Introduction
A. The Study
of
Prose Style among the Greeks . . i
I. Early Rhetoricians and Sophists ... i
II. Attic Orators 6
III. Plato and Aristotle 12
IV. Post-Aristotelian Philosophical and Philo-
logical Schools 16
V. Graeco-Roman Rhetorical Schools ... 20
B. Contents
of
the De Elocutione. General_Aspect^...Jif.
Greek Stylistic Study /^. 28
C. Date and Autho7'ship
of
the De Elocutione . .
49
I. Internal Evidence
49
II. External Evidence 60
Text and Translation
65
Notes 209
Glossary 263
Bibliography 311
Indices
I. Names and Matters
317
II. Passages quoted in the De Elocutione . . .
327
Plates.
Facsimile of P
1741,
fol.
226'"
To follow p. 64
fol. 245^ To face p.
208
N
Xiêuis 8^ dper^ aacprj Kal fXT) raveivijv eTvai.
Aristot. Poef. xxii. i.
IVVENTVTI
LVCIDE SCRIBENDI AC VENVSTE
STVDIOSAE
HANC EDITIONEM
iirT&qTai, yap airacra viov
\j/vxv
Trepl
Tov T^$ ipfiTjveLas dpaurfibv.
DiONYS. Hal. de Comp. Verb. c. i.
dib Set Xavddveiv iroLovvTas, Kai /jltj boKetv Xêiv ireirXaajxhcoi dWa 7re0uic6Ta>s.
TOVTO yhp TTidapdv, iKeivo 5^ Tovvavriov' m yap irpb^ eiTLôvXeOovra dLa^dWovrai,
Kaddirep rrpbs rods otvovs ro()s fie/xLyfi^vovs.
Aristot. JÂeL iii.
2, 4.
And
if
I have done well, and as is
fitting
the story, it is that which I desired:
but
if
slenderly and meanly, it is that which I could attain unto. For as it is
hurtful to drink wine or water alone ; and as wine mingled with water is
pleasant and delighteth the taste : even so speech finely framed delighteth the ears
of
them that read the story. And here shall be an end.
1 Maccabees xv.
38, 39.
Cur igitur ius civile docere semper pulchrum fiiit hominumque clarissimorum
discipulis
fioruerunt domus : ad dicendum si quis acuat aut adiuvet in eo iuven-
tutem, vituperetur?
Cic. Orator
41, 142.
And now lastly will be the time to read with them those organic arts which
enable men to discourse and write perspicuously, elegantly, and according to the
fitted style
of lofty, mean, or lozvly. Logic, therefore, so much as is useful, is to
be referred to this due place with all her well-couched heads and topics, until it
be time to open her contracted palm into a graceful and ornate rhetoric, taught
out
of
the rule
of
Plato, Aristotle, Phalereus, Cicero, Hermogenes, Longinus.
Milton, Tractate
of
Education.
Possum etiam hoc vere de illo libra [sc. irepl ipfxrjveias] praedicare, me neminem
eorum invenisse, cum quibus ipsum diligenter legi [legi autem cum multis, et its
quidem magna ingenio ac iudicio praeditis hominibus) qui non ipsum statim
amaverint ac magnopere admirati sint.
PlETRO Vettori.
Un livre qui meriterait de devenir classique.
Emile Egger.
Die goldene Schrift des Demetrios irepl ip/xripelas.
Ulrich von Wilamowitz-Moellendorff.
PREFACE,
In the
first of
the two verses which end his 'story' the
author
of
the Second Book
of
Maccabees has sometimes been
thought to be imitating the conclusion
of
Aeschines' Speech
against Ctesiphon ; in the second it is possible, but hardly
probable, that he has in mind the passage
of
Aristotles Rhetoric
which is printed, together with his own words, at the head
of
the mottos given on the opposite page. Aristotle seems to refer
^
ifi the illustration he incidentally employs, 7iot to the mixture
of
the wine
of
style with the water
of
natural expression^ but
rather to the heady drink m,ade by mingling one wine with
another. His main point is that good writing should so skil-
ftilly
combine art with nature that the combination! shall escape
detection. Still more happily does Shakespeare^ drawing his
metaphor from
the process
of
growth rather than
of
fusion^
proclaim the essential unity
of
art and nature
:
Vet nature is made better by no mean

But nature makes that mean: so, over that art
Which you say adds to nature, is anârfy
That nâturg) makes. You see, sweet maid, we marry
A gentler scion to the wildest stock,
And make conceive a bark
of
baser kind
By bud
of
nobler race : this is an art
Which does mend nature, change it rather, but
The art itself is nature.
Winter's Tale, iv.
4.
.viii PREFACE
In
offering
an old treatise on style to 7nodern British youths,
one can quote no more striking re^ninder
of
the fact,
which
young writers are peculiarly apt to forget, that art is something
other than an ostentatious eccentricity.
While the two first
mottos are thtcs intended to suggest
{when supplemented by Shakespeare's lines) the broad truth that
art is the handmaid and not the rival
of
nature, the remainder
have a more restricted bearing. Cicero asks his practical
fellow-countrymen tvhy training in the art
of
expression should
not
find
its dueplace in the education
of
the young; and Milton
sketches a course
of
instruction in rhetoric which includes the
present treatise on style under the name
of
'
Phalereus ' {or
Demetrius
of
Phalerum), to whom it was traditionally at-
tributed. Milton s high estimate
of
this work was anticipated
during the Renaissance by its distinginshed Florentine editor
Pietro Vettori ; a7td ijt 7nodern times it has been endorsed by
French and German scholars. So that there seems good cause
for
presenting the treatise, now
for
the first time, in an English
dress, and
for
co7nmending it to the attention
of
those young
learners to whom the appeal
of
the classical teacher must be
made anew
from
generation to generation.
The Treatise on Style is, in truth, not only a document
which students
of
Greek literature and rhetoric will
find
valu-
able, but also a book
of
modern interest and significance.
From
the
formerpoijit
of
view it is important to observe that, though
itself probably composed at a date as late as, or even later than^
the birth
of
Christ, it preserves tlie best teaching
of
an earlier
time,
the teaching
of_
Aristotle's Rhetoric and Theophrastus'
lost work on Style. And in a multitude
of
details It throws
HgJit upon the subtle laws
of
Greek rhythm, and tJu
finer
shades
of
Greek expression. It is, in short, a great aid to
the study and appreciation
of
Greek literature on the more
formal
side.
But I venture to hope that the treatise will also be acknow-
ledged to have a distinct relation to the theory and practice
of
PREFACE ix
modern English composition. Finding its standards in the
best Greek writers, it advocates qualities such as purity
of
taste
and propriety
of
expression which are none too common hi any
age or country. Most
of
its detailed observations apply to the
"modern no less thafi to the ancient languages
;
and where there
is divergence, the very divergence is instructive. It is in order
to suggest its permanent interest that illustrations from
^nodern
writers have bee7i freely given in the course
of
the commentary.
The Glossary also has been made full enough to indicate at once
the richness
of
the De Elocutione as a repository
of
rhetorical
'
terms aftd the comparative poverty
of
English in this respect.
Possibly more zvork might with advantage be done both by
English and by classical scholars in ascertaining
first of
all
the actual resources, as regards rhetorical vocabulary,
of
the
languages with which they are more immediately concerned.
Some interesting English terms may,
for
instance, be gleaned
from the lively and racy Elizabethan critics, one
of
whom
Puttenham
has been occasionally cited iii this editioft, while

others will probably soon be accessible in Mr Gregory Smith's
Elizabethan Critical Essays. And it must be admitted that
in the
field of
ancient literary criticism itself a new Lexicon
of Greek and Latin Rhetorical Terms is a great desideratum,
together with other undertakings such as a Study of Greek

Parody, and English editions
of
Quintilian's Institutio Oratoria
{o7t the model
of
Dr Peterson's edition
of
Book X),
of
the Auctor
ad Herennium,
of
Dionysius
of
Halicarnassus de Compositione
Verborum and de Oratoribus Antiquis, and
of
the Rhetorica
ad Alexandrum attributed to Anaximenes. As a general
Index Graecitatis has not been appended to the present edition,
it may be well to take this opportunity
of
saying that I have
prepared one
for
my own use a7id guidance, but have not printed
it in view
of
the length
of
the Glossary and the number
of
7'eferences made to late or otherzvise exceptional words in tJie
course
of
the Notes.
The Bibliography is shorter than in the companion editions
X
PREFACE
of
Longinus and Dionysius, but only because less work has been
done, at home and abroad, in connexion with the De Elocutione.
It is, I think, practically complete ; no
effort
has been spared to
make it absolutely so. In reviewing The Three Literary
Letters of Dionysius, M. Max. Egger (zvhose own recent study
Denys d'HaHcarnasse appeared too late
for
me to
profit
by it
when writing the introduction to the present edition) courteously
pointed out that the Bibliography
of
the Scripta Rhetorica
fails to include a paper by M. Mille, entitled Le jugement de
Denys d'HaHcarnasse sur Thucydide, which was published in
the 'Ânnates de la Faculte des Lettres de Bordeaux'' during the
year
1889. / beg to thank M. Egger
for
supplying the omission,
and can only plead in extenuation the
fact
offitful
access to large
libraries. I shall
feel sincerely obliged to any other scholars who
will do the same service as M. Egger to one who recognises to
the
full the duty imposed upon a modern editor, in a long-
worked
field
like that
of
the classics, not only
of
advancing the
study
of
his subject to the best
of
his power, but also {and as
a necessary prelimi7tary)
of
acquainting himself with what
others have written in reference to it.
Among the scholars whose names are included in the present
Bibliography I
feel
conscious
of
special obligations to Vettori
(
Victorius), Spengel, Schenkl, Hammer, Durassier and Dahl,
as well as to more general treatises such as Norden's Antike
Kunstprosa and Navarre s Essai sur la Rhetorique grecque
avant Aristote. Radermachers eaition was only published at
the end
of
last year when mine was virtually finished,
and so
I have been able to use it but little. My own standpoint, how-
ever, is in many ways so differentfrom
that
of
Dr Radermacher
that it seems unlikely that either edition would, in any event,
have been much influenced by the other. It is, nevertheless, a
point
of
some interest that the need
of
a new edition should
have been
felt,
simultaneously and independeiitly, both in
Germany and in England.
I have again to thank my friends for
much kind help
PREFACE xi
rendered in connexion with the production
of
this book. Mr
A. S. Way has enriched the volume with renderings
of
the verse
passages quoted in the course
of
the treatise^ a7id he has also
suggested 7nany improvements in the prose translation, and
contributed the greater number
of
the English illustrations
given in the Notes and Glossary. Mr G. B. Mathews and
Mr W. H. D. Rouse have done me the favour
of
reading and
criticizing the
proofs, while I am deeply sensible
of
tJie care
and skill shown by the Readers
of
the Cambridge University
Press.
W. Rhys Roberts.
The Bank House,
South Norwood.
fuly 22, 1902.
INTRODUCTION.
A. The Study of Prose Style among the Greeks.
Any detailed history of the Greek theory of prose style
manifestly lies outside the scope of an edition like the present.
Nothing more can be attempted here than the selection of
some representative names and the presentation of a few-
illustrative extracts. Some sketch of the kind, however brief
it may be, seems a convenient introduction to the De Elo-
cutione, which is itself a treatise on the subject of Prose Style.
I. Early Rhetoricians and Sophists.
(i) Empedocles. Rhetoric, of which the theory of prose
style is a branch, originated in the Greek towns of Sicily.
According to a statement attributed to Aristotle, the inventor
of rhetoric was Empedocles of Agrigentum
(470
B.c)\ If
this be true, yet another achievement must be associated with
the name of this poet, philosopher, and statesman. But Aris-
totle, as elsewhere reported (Sext. Empir. vii.
6
;
Quintil. iii.
I,
8),
seems to imply no more than that Empedocles paved
the way for a more systematic follower, perhaps for Gorgias,
some of whose favourite figures of speech are illustrated by
anticipation in surviving verses of Empedocles.
(2)
Corax and Tisias. The first writer to frame a
rex^n,
or Art of Rhetoric, was Corax of Syracuse. Corax flourished
about 460 B.C., and his aim, as a teacher of rhetoric, was to aid
^
Diog. Laert. viii.
57,
'AptoTorAT/s
5'
iv ry ôtfuffrrj <f>rj<ri.v, irpurov 'EfxiredoK\4a
l>riTopiKi]v evpeiv, Z-fjviava 5e StaXe/crt/cî'.
R. I
2 INTRODUCTION.
litigants in asserting their rights of property during the re-
settlement which followed the downfall of the tyrants and the
establishment of democratic government in Sicily. It seems
probable that Corax, in his manual, did not treat of the
subject of style, but confined himself to the topic of probability
{to etVd?) and to the consideration of the best method of
arranging the contents of a speech^ His pupil Tisias developed
the topic of probability in a treatise of his own, and is said to
have accompanied Gorgias to Athens in the year
427
B.C.^
(3)
Gorgias. It is with the arrival in Athens of Gorgias
of Leontini, who is said to have been a pupil of Tisias, that
the Sicilian movement begins to make itself felt in the wider
field of Attic literature. Gorgias, whose long life covered
nearly the whole of the fifth century B.C., was a man of com-
manding power and may justly be regarded as the founder of
artistic prose styled His position at Athens, and his literary
tendencies, may best be inferred from a passage of the
Sicilian Diodorus, in connexion with one of Aristotle. Dio-
dorus says :
"
When Gorgias came to Athens [the reference is
to the Leontine embassy of
427
B.C.] and appeared before the
popular assembly, he addressed the Athenians with regard to
the alliance, and his distinguished style appealed irresistibly
to their ready wits and love of speech. He was the first to
employ the more unusual, and more artificial, figures of speech,
such as antithesis, symmetry of clause, parallelism of structure,
similarity of termination, and the like. At that time such
devices were warmly welcomed owing to the novelty of their
craftmanship, whereas now they seem affected and ridiculous
to ears sated by their repeated use^"
^
Spengel, Art. Script.^
pp.
2326.
2
Pausan. vi.
17,
8.
The chief passages in which ancient authors refer to the
Sicilian Rhetoric are brought together in G. F. Hill's Sourcesfor
Greek History
bettveen the Persian and Peloponnesian Wars,
pp. 350, 354
356.
^
Gorgias' life is variously assigned to the years 496
388 B.C. and the years

483
375
B.C. Its long duration is not questioned.
^
Diod. Sic. Bibl. Hist. xii.
53,
oI)to% o^v Karavriâai els ras 'Adi^vas Kal
irapaxdels eh rbv drjfxov, dieX^x^rj roh 'Ad-nvalois irepi ttjs av/J.fiaxLas, Kal t($
êviôuTi TTJs
X^êws iîir\T}ê rods 'Adr}paiovs, ovras eixpvels Kal <f)i\6\6yovs. irpCoros
yap ixP'iôô.TO
roii ttjs X^êws
<rxvi^'-T'-<^lô^^
irepLTTor^pois Kal ry (piKoTexvlq. diacpipovaiv
GREEK STUDY OF STYLE.
3
The passage of Aristotle occurs in the Rhetoric (iii. i,
9):
"
And as poets were thought to owe to their style the fame
which they gained notwithstanding the ineptitude of their
utterances, prose style in consequence took a poetical turn, as
in the case of Gorgias. And even in our own day uneducated
people commonly regard poetical prose as the finest. This
however is not true ; one form of language belongs to poetry,
another to prosed"
While thus criticising him from the standpoint of their
own day, Aristotle and Diodorus have done less than true
historic justice to Gorgias. As Strabo (i. 2, 6)
recognises,
artistic prose begins by imitating poetry ; and the task
which Gorgias attempted was to keep in prose some of the
colour, warmth and rhythmical movement, to which poetry
(as represented by Homer or even by Empedocles) owed
so much of its charm. To make the attempt at all was a
great merit ; that it should be carried to excess was perhaps
inevitable. It was a real service thus to have driven home
duTi64T0is Kai tVoJfwXois Kai iraplaoLS koL o/JLOioTeXeiroiS kuL riaip irepoLS toioOtois, a
t6t fjt^v dia rb îvov ttjs KaracrKevrjs dirodoxv^ tjîovto, vvv 5c irepiepyLau
Ix"**
SoKel
Kai 0atVeTat KarayiXacrTov Tr\eov6.Ki.% koI KaraKdpojs Tidifievov. Timaeus seems here
to be Diodorus' authority : cp. Dionys. Halic. de Lysia, c.
3
(a passage which
may be quoted at some length because of its importance from this and other
points of view), rois 5^ irporipoi^
ovx aOrri i] 5jâ ^v, dXXA ôv\6/Jievoi KSfffiov tlucl
TTpocreivai, rots \6yois i^7]\\aTTov rbv idnbrrjv Kai KaT^(pvyov els rrjv TroirjTiKrjv (ppdcriv,
fiTa<f>opais re TroWais
XP'^M^"'
foi vwepôXais /cat rats ^Wats rpoiriKah Idâts,
dvofidruv re yXuTTrj/xaTLKWv Kai ^^vwv x/97)(ret koI tGjv oCik eludbruv
axv/^^'^'-'^l^^^
"^V
5taX\a777 Kal t^ AXXt; Kaivokoylq. KaTairXrjTTbfievoi rbv ISiibrrfv. drjXoi 5^ tovto
Topyias re 6 Aeovrluos, iu ttoXXois irdvv (popriK-qv re Kal OiripoyKOV iroiwv ttjv
KaraaKevrju Kai
'
ou irbppia didvpdfJLûiv tivwv
'
^pia (pdeyybfJLevos, Kal tQv iKcivov
cvvovaLaaTdv oi irepl AiKiîfxvibv re Kai UQXov. rjij/aTO S^ Kai tQu' AdrjurjaL prjrbpiou
7/
iroiTfTiKif} T Kal TpoTTiKT] <}>pd<TL$, w$ ixkv Tifiaibs (pTjai, Topyiov dpâvros tjvLk 'Adrjuaiê
vpeaêijuv KareirXriâTo tovs dKovouras Trj drj/xTjyoplqi, ws 5^ rdXrjdh
^xî,
rb Kal
vaXaibrepov alei tl dav/xaôfiivr]. QovKvdidrjs yoOv b daifiovubraTOi tQiv crvyypacp^cov
v T T^J iin.Ta(f)ii^ Kal v rats drifj.T)yopiaLS iroirjTiK^ KaraffKevrj
XPV<^Î^^^^
^^ TroXXots
i^rfXXaê ttjv epfMTjveiav et's oyKov d/xa Kal Kba/xov oPO/JidTiov dyjOiffrepou.
1
Aristot. A'/ieL iii. i,
9,
iirel
5'
oi Trotrjral X^yovrcs evrjOv did ttjv X4îv idbKOVV
TTopiaaudai ri^vde rijv 56âv, 5ta tovto iroiriTtKi] trpibTirj kyiveTO Xiîs, olov
17
Voprylov,
Kai vvv ^Ti oi woXXoi tCjv dTraidevruiv rods toiovtovs otovrai didXiyeadai KdXXiffTa.
TOVTO
3*
o^K ^(TTiv, dXX' T4pa Xbyov Kal Tronfjaecas X^îj iffTiv. Cp. Dionys. Halic.
de Imitat. ii. 8,
Fo/rytaj iikv ttjv toitjtiktjv ep/j.rfveiav fieTT/jveyKev els Xbyovs toXiti-
KovSf ovK dîujj' o/JLOiov Tbv
l>riTopa tois Idnbrats ftvai.
I 2
4
INTRODUCTION.
the truth, which Greece never wholly forgot, that form and
style are of the first importance in prose as well as in verse.
Gorgias is so important a figure in the development of
Greek prose style that it will be well to quote in full the
most considerable of his surviving fragments \ This passage,
which is a part
probably the peroration of his Funeral

Speech, affords clear traces of those peculiarities which are
said to have marked Gorgias' style in general. Its rhythmical
character is obvious, and so are those figures which were sup-
posed to be specially Gorgian. There is antithesis every-
where. Parisosis is seen in such balanced clauses as
aefjivol fxev
irpo^ rov^ êoi*? roS hiKaiw,
oatoi he irpo^ rov^ TOKea<^
rfj
Oepaireia,
BiKaioL
fiev
7rpc9 tol/v daTov<s rco law,
"
euore/SeZ? he 7rpo9 tov'^ î\ov^ rj} Trlo-rec.
Homoeoteleuton appears in
(TVfjicl)epov. . .irpeTrov, ayaX/uLara...
ava6rjp,ara. There are instances, also, of compound words
(htifka ovofxara), e.g. e/ncpvro^y eVoTrXto?, ev6py7}TO<i, (piXoKokoî
:
of far-fetched or poetical words {yXcorrac), e.g. z/e/xeo-t?, Btaa6<;,
TOKev^: of metaphors, e.g. "Apr;? employed to denote 'courage,'
and TToô? personified as Regret : and of the free use of
adjectives, e.g. rd 7rpaov...Tov avddBov;, ifju^vTov "Apeo?...
^
Gorgias, Epitaph. Fragni. : ri yap dwTJv rois avbpdat toijtols uu Set avSpdci
irpoaeipai; tl d^ Kai irpocrrjv uu od dec irpoaelvat; ei-jreiv dvvalfirjv a ôvXofxai,
ôvXoi/jLTji'
5'
a Set, \a6uv jxev rrjv deiav v^fxecriv, (f>vyu}v 5e top dudpuirivov (pdovov
ovTOL yap eK^KTTjVTo ivdeov fikv rijv dper-qv, dvdpd)Tnvov 5e t6 dvrjrbv, iroWd [xev di) rb
irpq.ov eirieiKh tov avdddovs SiKaiov irpoKpivovTe^, iroWd 5e vdfMov dKpiêlas Xbyuv
dpdSrrjTa, toOtop po/xiôvTes deibraTOP /cat KOipbrarop pbfxop, rb 5iop ep t<^ dioPTi Kai
X^yeip Kai aiydp Kai iroieXp <:Kai idp>, Kai dicrad dcrK-qcraPTes [idXiara (Zp bet,
ypibfirjp Kai pibfXTjp, tt]p jxkp ôuXeOopres, rrjs d' diroTeXovpres, depdiropres tCjp fxkp
ddiKOJS dvcTTVXoOpTOJP, KoXaarai 5^ tup ddlKcos edrvxoijPTUiP, avddoeii irpbs rb <xvfji,<f)ipov,
eibpyyjTOi irpbs rb irpiwop, t(^ <ppopifX({} t^s ypib/xTji iraôpres to d<ppop < ttjs pdo/xrjs
>
,
v^piCToi els TOi>s v^pLOTTds, Kba/xioi eis Tods Koafxlovs, &<poôi els toOs d<pbôvs, deipoi
ip Tols beipois. fxapTijpia 5e to^tiop Tpbwaia iaTrjaaPTO twp iroXe/uLiup, Aibs jxkp
dydX/xaTa, airrCop 8^ dpadijiiaTa, ovk direipoc o^tc e/x0i;rou''A/)eos ovTe po/xijuup epUTiav
oUre ipoirXiov ^pibos ovTe (piXoKdXov elprjprjs, ae/xpoi /x^p irpbs tovs deoiis t<^ bt-Kaiip,
oViot 5^ irpbs Toi)s TOKâs ttJ depaireiq., diKaioi /jl^p irpbs Toiis daroits Tt^ tai^, evaeêls
8k irpbs Toi/s (pLXovs Trj iriaTei. Toiyapovp avTU)P dirodapbPTUP 6 7r6ôs oi) avpairidapep,
dXX' dddvaTos oiiK ep ddapdTois aio/Jiaat ^rj ov ûjptwp.
GREEK STUD V OF STYLE.
5
vo^LlxcDv ipooTwv, kt\.^ SucH a style is elaborate to weariness
;
but in estimating its possibilities, we must remember its in-
fluence not only on fashionable poets like Agathon, but on
great prose-writers beginning with Thucydides himselR It
diffused the habit of scrupulous attention to form in prose-
writing over a much wider circle of authors than that (large
as it was) of the rhetorician's own immediate pupils such as
Polus, Proxenus, Licymnius, Alcidamas, Isocrates.
(4)
Sophists. From its eastern, no less than from its
western, colonies Greece received aid and stimulus in the
formation of an artistic prose style. If from the Sicilian
Gorgias she learlit the lesson of eveTreca, or
'
beauty of
language,' she was instructed in the secrets of opdoiireca, or
'
correctness of language,' by sophists like Protagoras of
Abdera, Prodicus of Ceos, and Thrasymachus of Chalcedon.
Protagoras 'may be said to have founded the science of
grammar
;
Prodicus busied himself with etymological ques-
tions and with the distinction of synonyms
;
Hippias of Elis
lectured on points of prosody as well as of grammar
;
Theodorus of Byzantium introduced new terms for the sub-
divisions of a speech. The most important of all the sophists,
from the standpoint of style, was Thrasymachus, who was
born about
457
and flourished Iro^m^ô^ to 40GM&rG. The
work done by Thrasymachus was so important that his name
may well be coupled with that of Gorgias as a founder of
artistic prose.
[
It was his great merit to have recognised the
1
According to Aristotle (/^/leL iii.
3),
Gorgias did not shrink from such com-
pounds as TrT(i}x6fJi.ov<Tos and KarevopK-ncravTas, nor from such metaphors as
x^^^P^
Kal ûatfxa to, irpdy/xaTa and ad d^ ravra aiaxp^s fJt.eu iaireipas KaKuis 8^ i64piaai.
Cp. IT. iixf/.
iii, 2, Tadrri koI tol tov Aeovrivov Topyiov yeXdrai ypd(/)OVTOS
'
'S^p^rfs
6
tCov Uepffdv Zei;s,' Kal
'
TuTres ^fixj/vxoi rdôi.' See further Blass, A/L Bereds.^
i. 63
ff., Navarre, Essai sur la Rhetorupie grecque avant Aristote,
pp.
86 ff.
^
For Agathon reference may be made to an article on 'Aristophanes and
Agathon' in ih^ Journal
of
Hellenic Studies, xx.
pp. 44
58, esp.
p. 48:
rh ixkv
wdpepyov ^pyov ws TroioiJ/ieâ,
|
to
5'
l^pyov ws irdpepyov eKirovoîxeda. The fullest
characterisation of the style of Thucydides will be found in Blass, Alt. Beredsr i.
pp.
203
244.
Cp. also Norden, Antike Kunstprosa, i.
pp.
96lOi, Jebb
in
Hellenica,
pp.
306 ff., Croiset, Thucydide,
pp.
102 ff., and Histoire de la litterature
grecque, iv.
pp. 155
ff. Dionys. Halic. de Lys. c.
3
(quoted on
p. 3
supra) and de
Thucyd. c. 52
should at the same time be consulted.
6 INTRODUCTION.
period as an essential of good rhythmical prose. Of his style
the following is a specimen :
i/ôvXojJirjv (3 ÂBrjvoLOL fJieTaa)(7.v ckciVov tov )(p6vov rov TraXaiov
Kttt Twv TrpayfxoLTiiiv
[
rjytKa (THOTrav airi-^p-q tol<; VWTpOL^
|
twv T
'
7rpay/xaT0)V ovk avayKaôvrojv ayopevecv
|
kol twu Trp(r/3vTp(ji)v 6p^w9
TTjv 7roA.1v e7riTpo7ri;oi/T<)v
j|
cttciS^
8'
15 rotoirrov >//xas aviO^ro )(p6vov
6 8aL/x(i>v
I
w(rT (to,? /u.v iVTrpa^Ms) rrjs ttoAcws d/covciv,
|
ras Se
<rviJi(fiopa<s (opav) avrovs
|
Kai tovtwi' tol /zcyto-ra /x:^ ^cwv Ipya etvai
/xr/Se Ti^? Tv;(7;s
|
dA.A.a rwv CTnfxekrjdevToyv
|
avdyKY]
87]
Xiyav
| ^
yap
avalaOr]TO<i rj Kaprepwraro^ icmv
\
oort? iâixapToivciv eavrov ert Trapcêt
Tot? ôvXofjievoLS
I
Kat t^s irepoiv iTn/SovXrj^ re kol KaKta?
[
avTo<; vtto-
It was the belief of Theophrastus, as Dionysius tells us,
that Thrasymachus was the originator of that periodic struc-
ture which
"
presents the thought in a compact and rounded
form'^." Dionysius also states that Thrasymachus devised a
middle styje^_standjing midway between the extremes of
t/ elaboration and plainness, and anticipating (in some sense)
the^tyles oiTTsocrates and Plato"'.
II. Attic Orators.
(i) Antiphon. Antiphon, who heads the list of the Ten
Attic Orators, was born about
480
B.C., and was put to death
in the year
411,
after delivering the masterly defence so
highly extolled by Thucydides^ His dignified and austere
1
Divided here as by Blass, AU. Bereds?' i.
254.
The fragment, interesting as
it is, does not altogether accord with the statements of Aristot. Rhet. iii. 8 and
Cic. Or.
39
flf.,
174
fF. But the fragment itself, and the remark with which it is
introduced, should be examined in Dionys. Hal. de adm. vi die. in Demosth. c.
3
(Usener-Radermacher's text) ; and reference should be made to Norden, Kunst-
prosa, i.
pp. 42, 43.
^
Dionys. Hal. de Lys. c.
3
: r/ (Tvcrrp^tpovcra to. vorifiara Kal (rrpoyyOXwi
iK<p^povaa X^^ts.
3
Dionys. Hal. de adm. vi die. in Demosth. c
3.
*
Thucyd. viii. 68: y\v 5^ 6 îkv Tr]v yudifirju ravTTqv elTriov Tleicravdpos, Kal raWa
eK TOV irpo(f)avovs irpoOvfidTaTa ^vyKaTd\6(ras top drj/jLov 6 fxevroi atrav to Trpdyfia
^vvdels Srif) Tpbir(^ Kar^cTTTf is tovto Kal iK irXeiaTov ^TriyueXTjêis 'AuTL(p:ov rjp, avT)p
'AdTjvaicav tCjv Kad' iavTbv dper^ re ovSevbs vaTcpos Kal KpaTiffTos ipdv/j.Tjdrjvai
yevdfiepos Kal a ypoir} eiweiP, Kal is pikp dij/jiop ov irapiwp oi)5' ^j &\\op ayupa CKoOaios
oiidipa, dW {jiroTTus T(^ TrX-fjOei Sid. 56âp deiPorriTos diaKcifxepos, ToifS fiipTOi
GREEK STUD Y OF STYLE.
7
style, in which Thucydides and he closely resemble each
other, may be illustrated by the following short example
:
eôv\6^r]v iJiv a> avSp6<; rr)u hvvafiiv rov Xiyetv koI rrjv
ifjL-
iretpLav rwv Trpay/jLarcov
\ ef
caov /jlol Kadearavai
rfj
re (TV/Jb(f)opa
Kal TOL^ KaKOL<; roi? yeyevrjixevot^
|
vvv he rov jjuev Treirelpafjiai
irepa rov 7rpoa7]Kovro<;
\
rov
8'
eVSer;? el/jii fJuaWov rov
avfi-
<f>6povTO<i
II
ov /iiev yap
fxe
ehei KaKoiraOelv rS cr^jJuaTL /juera
T^9 alrla^ rr}^ ov Trpoo-rjKovarjf;
\
ivravOol ovhev ixe oocpeXricrev
7j ifjiireLpia
\
ov Be
fie
hel (roydrjvai, fxera Trj<^ d\r)66ia<i elirovra
ra
yevofxeva
\
iv tovtw fxe
^XcLTnei rj rov Xiyetv dhwafiia^.
Antiphon is the first extant Greek writer who unites the
theory with the practice of rhetoric. A special interest in
the history of Greek style attaches to his Tetralogies, because
they are so closely influenced by the sophistic movement.
(2)
Lysias. Lysias, the son of the Syracusan Cephalus,
was born at Athens, where he settled in 412 B.C. after spend-
ing some of his early years in Thurii. At Athens he won a
great reputation as a writer of speeches to be delivered by
clients in the law-courts. He was regarded, by later critics,
as the most distinguished representative of that plain style of
aytaviôixivovi kol iu biKaaTrip'n^ Kal ev b-qfn^
irXeicFTa els dv-qp, 8<rTi$ ^vfxôvXevcraiTd
Ti, dvvdixevos (hcpeXeTu. Kai auros re, iireidT] [/j-eT^CTr] i] drjfjiOKpaTia Kai is dyQvai
KaricrTT]] rd tGjv TeTpaKO&lwv eu varipcf fxeTaireaduTa virb tov 8-i^fiov eKaKouTO, dptCTa
(paiverai tGjv
fi^xP'-
ÂôC vir^p avrCbu roiruv, aiTiadeis ws ^vyKaricTTrjcre, davdrov
dlKrjv diroXoyrjadfievos. This passage has been transcribed because (though not
part of a Thucydidean Speech) it may suggest to the student a comparison
between the styles of Antiphon and Thucydides : cp. the references given on p.
s,
n. 2 supra. The design of the present introduction is rather to bring into relief
the less familiar names, e.g. that of Gorgias. The direct influence of Gorgias, and
of the early rhetoricians and sophists generally, may possibly have been exaggerated
by the Graeco-Roman critics whose thoughts were turned almost entirely to
oratorical prose. Yet all the best Greek prose was intended to please the ear, and
Gorgias in particular popularised a fine instrument of expression. Let the
antithetic phrase once be loaded with thought as in Thucydides, and we see how
valuable an instrument the \^îs dvriKei/xivr} may be made.
"
In general there
can be little doubt that the excesses of the early rhetoricians, like those of the
euphuistic writers of the time of Elizabeth, tended both to refine and invigorate
the language of prose, and to render it a more adequate vehicle of thought than it
had hitherto been" (Thompson, Gorgias
of
Plato,
p. 177).
^
Antiphon, de Caed. Herod., init. The style of Antiphon is fully treated in
Jebb,
Att. Or. i. 18 ff. and in Blass, Att. Bereds.'- i.
pp.
120 ft'.
8 INTRODUCTION,
oratory which copied the language of ordinary life. But the
simplicity of Lysias is a studied simplicity; it is the result
of an art that can conceal itself. Dionysius points this out
clearly. He remarks that Lysias, in contrast to his pre-
decessors, can invest a subject with dignity although he uses
only the most commonplace words and refrains from all
poetical embellishment.
"
But," he adds,
"
though he may
seem to express himself like ordinary people, he is vastly
superior to any ordinary writer^" The following excellent
example of the simplicity and directness of Lysias is given
elsewhere by Dionysius
:
dvay/catov /xot Sokci civat, w avSpcs StKao-rat, Trcpt T17S <^tXia9 ti7S
Cfii7S
/cat
Tyi%
êpevUov rrpioTov elirclv Trpos v/xas, ti'a firjSeU v/jbiav
6avfxa(rr], on virkp ouScvos vfiiov TrwTrore elprjKib^ Trporepov VTrcp toijtov
wvl Xeyco. CjU,ot yap, w ai/Spc? hiKacTTai, $6vo<; rjv K')y<^to'oSoT09 6 tovtov
Trarrjp, koL otc
i(f>evyofXv, iv ijâL<s Trap' eKCLVio Karrjyofxrjv Kal cyto
Kttt aXAos *A6r]vaL(i)v 6 ôuA.o/x.ci'O?, Kal 7roA.A.a Kal dyaOa Kal tSio, Kal
877/x.otrta Tra06vT<; utt' avrov t9 rrjv ^fxerepav avroiv KaryX-Oofiev. 7rt
8'
ovv ovTOL Tats avrats Tv;âts )(prf(ravTO Kal c^vyaSes ÂOijvaê
d(f>LKOVTo, T/yov/xcvos Trjv fieytcTTrjv avrots oîiXnv
X^P'-^
ovroos oi/cetws
avTOv<s VTTihe^dixrjv, totrrc jxrjSeva yvwvat twi' ctcridvTtoj/, ei /at/ rts Trpo-
TepOV rjTTLO-TaTO, OTTOTCpOS rj/Xuiv iKKTr]TO T7;i/ OiKLaV. ot8e />tV ouv Kat
^pVt/co9, <S avSpcs SiKaaraL, ort TroXXot Xcyctv io-iv e/AoO Setvorcpot
Kat /xaXXov TOLovTiov Trpay/jLciTiJiiv eixTreipoL, aXX' o/x(us ryyciTai rrjv ifxrjv
olKeLOTTjra iria-TOTaT-qv etvat. al(T\pov oivv
fxoi
So/cct ctvat kcXcvovtos
TOVTOV Kat Seofxevov to. ScKaia avTw ô-qBrjaaL TrepuSetv avTov, /ca^' ocrov
otos T et/xl cyoj, toji/ vtt* 'AvSpo/cA-ctSov SeSofiivwv anprjOyjvai^.
(3)
Isocrates. Isocrates was born in
436
B.C., and died
in the year of the battle of Chaeroneia
(338
B.C.). He was
regarded in antiquity as a disciple of Gorgias who followed
his master in his elaborate attention to form, while avoiding
his use of poetical diction. As a political pamphleteer he
^
Dionys. Hal. de Lys. c. 3:
kwl o^k iirl toijti^ ixbvov iiraivelu avrbv dîou, d\X'
6'Tt Kat (Xefiva Kal irepLTTo. /cat fie-ydiKoi (palveadai rot, irpdyfiOLTa woieT toTs koivot6.tol$
XpiiifJ-evos dvdfiaat /cat TrotT/rt/c^s
o6x
dirrdfxevos /caraff/ceuTjs ofioius 5^ rots tStwrats
6ta\^7eo-ât Sokwu irXeiarov oaov Idiibrov 5ia(f>^pei.
^
Lysiae fragm. cxx. : Dionys. Hal. de /saeo, cc.
6,
7.The cardinal Attic
virtue of aa4>Tfiveia is as well exemplified in this extract as in any that could be
adduced.
GREEK STUD Y OF STYLE.
9
was unsurpassed in his own day. Through his influence on
the later rhetorical schools, and especially on Cicero, he has
done much to shape the literary prose of modern Europe,
a manner less rigidly Attic than that of Lysias contributing
greatly to his wide popularity. Some of his characteristics
are thus described by Dionysius :
"
Isocrates' great aim is
beauty of diction, and he cultivates the elegant rather than
the~plain styfe Htatns he shuns because it destroys harmony
of sound and spoils smoothness of utterance. He endeavours
to include his thoughts in a period, or circle, which is quite
rhythmical and not far removed from the metre of poetry.
His works are better suited for private reading than for
forensic use. Accordingly his discourses can be declaimed in
public assemblies or thumbed by the student, but will not
stand the test of the legislative assembly or the law-courts,
where much is needed of that passion which attention to
the period is apt to quench. Further, similarity of sounds,
symmetry of members, antitheses, and the entire apparatus
of similar figures, abound in his writings and often mar the
general effect of the composition by importuning the ear\"
The following extract may serve as a brief example of
the style of Isocrates
:
OVTUi h\ TToAtTtKWS Ct;)(OJ^, (UCTTC KoX TO,? (TTOLdtL^ ItTOIOVVTO Trp6<S
dkX.7JX.ov^,
ovx
OTTOTcpoL TOv<s Tpov<s aTro\e(ravT^ Tijyv XoLTTiZv apôvcrtv,
d\y OTTorepoL <}>6TJ(rovTaL rrjv iroXiv dyaOov tl 7roLyj<ravT^' kol tols
CTtttptias avvrjyov ou;( virep twi/ iSia (rviJi<f)p6vTiov,
aAA. ctti ry rot)
ttXtJOov^ 0)<fieXeLa. tov avTOV 8k Tponov Koi to, twv aA-Xwv oiwkow,
êpaTTCVovTcs aXX ov-^ v^pLôvTf<i tovs "EA-Xryi/as, koX cTTpaT-qyeiv olofxtvoi
^
Dionys. Hal. de Isocr. c. 2, 6 yb.p dprjp oOtos tt]u eMireiav iK jravrbs diwKci /cat
ToO yXa<pvpC}s \4yeiv oroxctferai fidWou -f} tov d0eXu)s. tuv re yap (jitavqivToiv ras
irapaW-rjXovs diaeis us iKXvodaas rets apfxovias twv
^X"^^
'f'*'
''"^^ XeidTTjra tuv
(pddyyuu \vixaivofxivas irepdaTarai, irepiddi^ re Kal k^k\(p TreptXafx^dvetv rd voifjfiaTa
ireipdrai pvd/xoeLdeT irduv Kal ou troXv direxovTi rod toltjtlkov fitrpov, dpayvucreuis re
fidXXou olKi6Tep6i iariv rj
xpM^^^-
Toiydproi rds fi^v iirideiêis rds eV rats
iravriyijpea-L /cat Tr]v e/c
x^^P^s
deutplav (p^povaiv avrov oi \6yoi, tovs 5^ iv iKKXrjaiais
Kal 5cKa<TT7)piots dyCovas
ovx virofi^vovai. toijtov 5k aXriov, Stl ttoXi) t6 TradrjriKbv
iv eKeivoLS eTuai Set* tovto Se ijKKTTa
S^x^''"'**
ireplodos. at re wapo/xoiuaeis Kal
Trapitrwcrets Kal rd duTidera Kal ttSs 6 tQv tolovtwv
axVf^'^'^^^
k6<xhos ttoXi^s eori Trap'
avT(^ Kal Xviret iroXXdKis tt)u dXXrjv KaTaa-Kevijv Trpoaiardixevos rats dKoa7s. Cp. c.
13
idtd.
,
6 Tibv irepibbwv pvd/nds, iK wavrbs di(J}KU)v rb yXatpvpbv.
lo INTRODUCTION,
Sctv aAXa, /at) Tvpavvcti/ avrwi', kox fxakKov ctti^v/xovvtc? lyye/AOj/c?
^
occTTTOTat irpoaayope'vecrOai koI crwTrjpi'i a'AXa /u.-^ Xv/Xc3i'? a.7roKaA.cto"ât,
T<5 TTOtctv ct! 7rpocray6fjiVOL Ta<; TroXcts, aA.X' ou ySta KaTa(TTp(f}6iJLvoLy
7n(rroTepoL<; /mlv rot? A.oyots
77
vvv rot? opKOt? ^pcJ/xcvot, rat? 8c o-vv^r^Kai?
(acTirep avayKai? ifxfxiveLV dîowTcs, ov;( ovtoj? cirt rats Sui/acrrciais /xcya
<^po^'Ol)^Ts ws ctti t<3 auxfipovots ^rjv cfuXoTLixov/xivoi, nijv avTrjv d^tovi/res
yv(jj]Jir]v
Ix^^^
Trpo? rou? t^ttov? yvTrep tovs kplttov<; Trpo?
(Tcf)a<s avrov?,
tSia /Xi/ aorr; ras avrooi/ 7roA.is r;yovp.cvoi, KOivrjv Sk TrarpiSa Tr)v 'EXXdSa
Isocrates was the most indefatigable and successful of
teachers. Among his pupils, who were numerous and eminent,
may be mentioned statesmen and orators such as Timotheus,
Lycurgus, Hyperides and Isaeus, and writers such as the
historians Theopompus and Ephorus^ The /-teXerat, or exer-
cises, which he set to his pupils and for which his own
writings served as models, were a principal part of his system
of teaching. He is also said to have composed an Art of
Rhetoric, of which one of the most characteristic precepts
would appear to have been that
"
prose must not be merely
prose, or it will be dry ; nor metrical, or its art will be un-
disguised
;
but it should be compounded with every sort of
rhythm, particularly iambic or trochaicl" The task Isocrates
set before him was, as he himself says, to use the words of
ordinary life as opposed to the far-sought vocabulary of the
poets, and at the same time to employ musical and rhythmical
language, which should be as various as the thoughts expressed^
^
Isocr. Panegyr.

79
81 (ed.
J.
E. Sandys).
2
To Ephorus is attributed (cp. Rhet. Gr. ii.
71,
ed. Spengel) a treatise 7re/ot
X^êws: so that he transmitted his master's doctrine theoretically as well as
practically.
^
Isocr. Tech. fr. 6 (Benseler-Blass), oXws 5^ 6 X670S yJi] X670S ^ru}, ^rjpbv yap-
firjSe ^fM/xerpos, Karacpav^s ydp. dWa /Mfji.ixd(>}
Travrl pvdfiip, fxakiaTa iafxîKi^ rj
rpoxo-'CiiV-
^
Isocr. Evag.
9,
rots yikv ydp iroirfTais ttoXXoi dednvrai Kdcr/Jioi' Kai ydp
Tr\r)<TidôuTas roi>j deods Tois dvdptbirois olbv t' avToli iroirjcrai, Kai dLoXeyofi^vovs Kal
<Jvvayu)VLôix,ivovs ofs du ôvX^qdCiai, Kal irepl to6tu)v drjXQcrai.
fjij]
/x6vop rots Tcrayfiûois
dv6fJLa(nv, dWd rd fxh
^^voa, rd 8^ Kaiuois, rd di fXTa((>opais, Kal fiTjSeu TrapaXnreti',
dWd TcLcri rots eiSeat. StaTrotxrXat rijv iroirjaiv tois 8^ irepl roi/s \6yovs ovdiv iêcm
rCjv ToioOruUf dXX' diroTd/xcas Kal tQ)v dvofidrup tois ttoXitikois ixbvov Kal tQu
iudvfJLTj/idTuv Tols -rrepl avTds Tds irpdêis dvayKa26v i<TTi xpv<^&o-i-'
Contra Sophistas
GREEK STUB Y OF STYLE.
1
1
Much of the teaching of Isocrates and his predecessors is
supposed to be embodied in the treatise on rhetoric (ttoXitikoI
Xoyoc, not pr^ropLKi], is the term used by the author himself)
known as the Rhetorica ad Alexandrum, commonly (though
the evidence is not absolutely conclusive) attributed to the
rhetor Anaximenes, who was a contemporary of Alexander
the Great and accompanied him on his campaigns. The work
is purely utilitarian in aim, and is composed in that sophistic
spirit which moved the indignation of Plato and Aristotle.
As a practical manual for the use of the advocate it stands
high, while in its lack of philosophic breadth and scientific
method it is as far as possible removed from the Rhetoric of
Aristotle. The bulk of the treatise is, naturally, occupied
with a consideration of the proofs, presumptions, and fallacies
by the aid of which a cause may be won. But it is
rather strange that so practical a work does not seem to
recognise a separate department of style. The contents of
the chapters (cc. 24
28)
devoted to epiiTjveia, or the art of
expression, are at once miscellaneous and meagre. They deal
cursorily with such topics as two-membered periods, per-
spicuity, the article and connective particles, hiatus and
ambiguous words, and the figures avrldeatf;, irapiorwcrL^,
irapofjLoiwcrii; (viz. parallelism in sense, structure, sound).
(4)
Demosthenes. The Ten Attic Orators were Anti-
phon, Andocides, Lysias, Isocrates, Isaeus, Demosthenes,
Aeschines, Lycurgus, Hyperides, Deinarchus. For the pur-
poses of this outline sketch, Demosthenes
(384-322
B.C.) is
the only remaining name which need occupy us, and that
but for a moment\
16,
<j>r][jX yap iyui tQv
fxh idedv, i^ wv to>s \6yovs atravTas /cat X^yo/xev kuI <tvvtI-
defxeu, XaêTv ttjv eiriar-rjfXTjv ovk dvai tQv irdvv xaêTrwi', -ffv tis avrbv Trapa8<^
firj
Tots p^Stws t'7ri(rx''oi'/i^t'Ois, dXXd rots eldSffi ri vepi aiyrwi/' rb 8i ro&ruv e0' eKa.<XT(^
Twv irpayixdroiv as 5et irpoeX^ffdai Kai /xiâi vpbs dXXiJXas Kal rdâi /card rpbirov, ^tl
8k tCjv KaipQv
ixv 8ia/xapTiv, dXXd Kai rots ivdv/j.7ifxa<ri wpeirbuTcos SXov rbv \6yov
KaTairotKiXai Kal toIs dub/uLaaiv ei/pudficas Kal fiovaiKw^ elireiu, ravra 8k iroXXrjs
iirifieXeias 8eTadai Kal
xpvxv^ dv8piKijs Kal 8oâaTiK7Js ?pyov eivai, ktX.
1
Of the four orators here chosen Antiphon is typical of the grand style, Lysias
of the plain, Isocrates of the middle, while Demosthenes is the
'
Proteus
'
of style.
All four are students, though not all are teachers, of prose style.
1
2
INTRODUCTION.
Demosthenes was no teacher of rhetoric, nor did he leave
behind him any manual of the art. But his immediate
triumphs were great ; and after his death the written remains
of his oratory gradually won him a place as a recognised
master, and supreme model, of eloquence. When the practice
of imitation
{jjbifjb'qo-K^) became a regular feature of the training
given in the rhetorical schools, his influence was widely
extended. By some of the best critics
by
Cicero no less
than by Dionysiushe was regarded as combining, with
peculiar success, the excellences of all previous styles and
orators. His sensitive observance of the most delicate shades
of rhythm and harmony will be touched upon presently. No
better illustration of his nervous and emphatic style could be
given than one quoted by Dionysius {de adm. vi die. in
Demosth. c. 21) from the Third Olynthiac
KaiTOL CTKeij/aa-O', w avSpcs ÂOrjvaioL, a tls av K(f)dX.aL elireiv ;(Ot
Twi/ T cTTt Tojv Trpoy6v<x)v epyoiv kol twv l<j> vfjiwu. earai Se ySpa^vs kol
yvoipifxo^ vfXLV 6 Aoyos" ov yap dWoTptot^ v/xtv ^poifxivoi^ 7ra/oa8ciy/>iao-tv,
dA.X olKLOL<i, (JS avSpes 'A0r]va2oL, evBaL/xoa-iv tîdTi yivicrOai. iKeivot
roivvVj ots ovK )(apLt,ovd* ol Aeyoi/rcs ov8' kiîXovv avrovs (ocrTre/a v/xas
ovToi vvv, irivrt pikv koI TirrapaKOvr trv} rCtv 'EXX^yvcov rjpâv eKoi/Twv,
TrXctco
8'
rj
fxvpia
raXavT ts tt^v aKpoTToXtv avrjyayov, vinJKovev
8'
o
ravTr)v
TrfV
yiapav )ô)v atrots â(TL\iv<s, wa-irep icrrl irpoirrJKOv f^dpjSapov
"lEjXXrjo'i, TToXXa 8e kol KaXa kol 'n-ety Koi vavfJLa)(ovvTS earrja-av TpoiraC
avToi OTparevo/xci/oi, p.6voi
8*
dvOpiOTriav KpetTTO) Tqv Ittl rots cpyois
8oâi/ T(5v (j>6ovovvr(i)v KarcAtTTov, ktX. (Demosth. Olyjith. iii.
23
ff.).
III. Plato and Aristotle.
(i) Plato. In Plato
(428-347
B.C.) and Aristotle
(384-
322
B.C.) we find rhetoric raised to an altogether higher plane
than it had hitherto occupied. Its treatment is conceived
philosophically^ In the Gorgias Plato, alienated by the
extravagances and unscrupulous methods of the sophists and
1
Conceived with a <pi\o(To<pia very different from that of Isocrates, who can
hardly be thought to have fulfilled altogether the hopes expressed in the words
:
(f>}j(Ti
ydp, c5 0i\e, û(TTi rts <pL\oao(f)La rrj tov dvdpbs diavoiq. (Plat. Pkaedr.
279
a).
13
rhetoricians of his own and earlier times, affirms that Rhetoric
is no art but a mere knack {rpi^t], ifMireipia). In the PAaedrus
he takes a wider view, and traces the outlines of a philosophical
rhetoric, based alike on dialectic and on psychology.
It has sometimes been thought, perhaps with insufficient
reason, that when Plato composed the Phaedrus he intended
to write subsequently a systematic treatise on rhetoric, in-
cluding the art of expression. Be this so or not, he has in
the course of the Pkaedriis made a most important con-
tribution to the theory of composition in suggesting that
"every discourse ought to be constructed like a picture of
a living organism, having its own body and head and feet
;
it must have middle and extremities, drawn in a manner
agreeable to one another and to the wholes"
Much of Plato's best criticism on style is conveyed by the
indirect method of parody. Lysias is thus treated in the
Phaedrus
230
E (where, however, the passage recited by
Phaedrus may be a genuine production of Lysias)
;
Prodicus
in the Protagoras
337
A
C
; and Agathon in the Banquet
195
197
1 The subject of Plato's own wonderful style in its
various phases is too large for cursory treatment. But it is
to be noted that the ancient critics discerned its strong poetic
^
Plat. Phaedr. 264 C, dXXa rbhe ye olfiai ae (pdvai &v, SeTv iravTa \6yov uxrirep
^(ôu avveffrdvai (TWfjLd ti ^xoj'Ta avrbv avroO, dare firjTe aK^cpaXov eiuai fii^Tc &irovv,
dXXa fiiaa re
^x^"'
'^'-'- &Kpa, irpiirovT dXX-^Xots koL t(^ 6'Xy yeypa/uifjiiva. The
passage is translated in S. H. Butcher's ArisM/e's Theory
of
Poetry and Fine Art^^
p. 188, where it is pointed out that Aristotle took this idea (which in Plato applies
to prose no less than to verse) as the basis of his theory of dramatic art. Cp. 264 B
ibid., ai)
5'
?X"s
tlvci. avdyK-qv \oyoypa<f>iKifiu,
y ravra ckcTuos ovtcjs iipeîjs irap"
.aXXTjXa idr}Kv.For sincerity in art, cp. 260 E idid., rov 5^ X^7eiy, Jf>7](Tiv 6 AdKwv,
^TVfxos
T^x^'O
^^^^
'''^^
dXridelas rj(f>$at oUt ^<ttiv oUre fXTfj tto^' iiarepov yivrjTai.
'^
A systematic collection of the parodies and literary i-eferences found in Plato
and in Aristophanes would be a useful contribution to the study of Greek literary
criticism. The slightest hints dropped by literary artists so transcendent as Aris-
tophanes and Plato are of the utmost value. How much light, for instance, is
thrown on the poetic art by Plato's references to inspiration in the Ion and the
Phaedrus
(245
a), or even by his own half-profane conversion of the opening of
the Iliad into prose narrative {Rep. iii.
393
D, E,
394
a). The prose-poet has
here accomplished his self-imposed task with consummate skill, but in so doing
has (as he was fully aware) demonstrated that to destroy the artistic form of a
work of art is to destroy the work of art itself.
14
INTRODUCTION.
vein, and some even thought that they detected in it the in-
fluence of Gorgias\ The author of the De Sublimitate {x.m. i)
adduces the following passage as an example of the manner
(ruTTO?) of Plato : ol dpa (^povrjaew^ kol aperrff; aireipoi V(0~
p^tat9 ^6 Kal TOLe')(BrjG-av ovhe
êffaiov re Kal
KaOapd^ rjBovrj^ iyeixravTo, dWu /Soo-Krj/jUaTcov Slktjv Karco del
(SXeirovreî Kal /ceKV(j)6r<i et9 yrjv Kal 6^9 Tpa7reâ<; ôaKovrac
')(ôpTa^6jiivoL Kal 6'^vovT<i, Kal vKa Trj<; TOVTwv irXeoveîaî
XaKTLôvTef; Kal KvpirrovTe's dXXrjXov<; o-iSrjpot^; Kepaac Kal
6irXal<; diroKTivvvovai, Bt dirXTjariav (PL Rep. ix.
586 A).
(2)
Aristotle. It is perhaps to the hints thrown out in
the Phaedriis that Aristotle owed the first conception of his
great work on Rhetoric^ in which he constructs an
axL-jif
rhetoric on the basis of dialectic and psychology. The first
two books of his treatise deal with the invention (evpeao^;) of
arguments for use in the three classes of rhetoric (deliberative,
forensic, epideictic)
;
and this topic involves the consideration
of human affections {iruOri) and varieties of character {rjOr)).
The third book treats of style (Xe^t^) and arrangement (Tdî<;\
and touches lightly on the subject of delivery (vTroKpoatfi).
The contents of the twelve chapters of the third book which
are devoted to the subject of style may be briefly indicated as
follows, c. i : introductory, with a glance at delivery (vtto-
Kpcatfi). c. ii : perspicuity and propriety as two cardinal
virtues of style, c. iii : faults of taste (in the use of words
and metaphors), illustrated chiefly from the writings of
Gorgias and Alcidamas. c. iv : metaphor and simile, c. v
:*
purity of language, c. vi : dignity of style, c. vii : propriety
of style, c. viii : prose rhythm, c. ix : periodic composition.
c. x : means of enlivening style and of making it vivid, c. xi
:
^
Diog. Laert. iii.
37,
(prjai
5'
' ApiaTOT^Xrjs ttjv tw X67a' I8âv avrov yueraî)
ironfjfiaTos eluai kuI ttcôO X670U (see, however, the remarks on this passage in
Thompson's edition of the F/iaedrus,
p.
xxiii).Dionysius' views as to the
influence of Gorgias on Plato's style partly rest on a misapprehension. Reference
may be made to Norden's Kunstprosa, i.
pp.
104
113,
for a general discussion
of the poetical and artificial elements in Plato's writing.
15
further means of attaining vividness, c. xii : the styles appro-
priate to the three classes of rhetoric. Of Aristotle's general
attitude towards the subject of style it will be convenient to
treat more at length later
(pp.
36
40 infra), when some

characteristic passages will be quoted from the Rhetoric and
the Poetics.
As a philosophical treatment of the art of rhetoric
Aristotle's treatise has never been equalled. But as a
practical instrument for the training of public speakers it
was no doubt surpassed by the Rhetorica ad Alexandrtimy
and by various handbooks edited in the lost ^vva^w^rj
Te^vwy of Aristotle. In this work, which was known to
Cicero, Aristotle collected the rhetorical treatises of his
predecessors \ It was, therefore, with full knowledge of their
contents that in the Rhetoric he condemned the earlier
manuals for their unscientific character and assigned a
secondary position to the question of style. With regard to
this latter point, however, it should be remembered that the
subject of style was treated by Aristotle not only in the
Rhetoric, but also in the Poetics^ and probably in the lost
Theodectea. The statement that he composed a separate
treatise, or treatises, irepX Xefeo)? may have its origin in the
fact that the Rhetoric itself was sometimes regarded as a
composite work and described as
rexvau pr)TopLKai\
By the publication of the l^vvaycoyr)
Texvwv Aristotle
may well have regarded himself as absolved from the duty
of making detailed references to his technical predeces-
sors. But it seems strange that he should take so little
account of practical orators, whether they had, or had not,
written Arts of Rhetoric. It is well known that Aristotle
illustrates his precepts by actual quotations, instead of in-
venting examples for the occasion, as was done by the
author of the Rhetorica ad Alexandrum, and was probably
the usual practice. Yet he never quotes Demosthenes, whose
life almost completely synchronized with his own ; and it is
^
Cic. de Inv. ii.
6,
dc Orat. ii.

i6o, Brut.
46.
The surviving fragments of
the early treatises on rhetoric are brought together in Spengel's Artium Scriptores,
^
Dionysius of Halicarnassus so describes it in Ep. ad Amm. i. cc. i, 2 etc.
i6 INTRODUCTION.
doubtful whether he makes more than one {Rhet. ii.
24, 8)
reference to him. Lysias, again, is quoted three times at
most. And though Isocrates is cited repeatedly, there is
nevertheless little room to doubt the stories current in an-
tiquity of the rivalry and antipathy existing between him and
Aristotle during the earlier period of the philosopher's life.
In the case of Demosthenes and Aristotle we know of no
active ill-feeling on either side, though political animosity has
sometimes been suspected. It remains, however, a remarkable
fact that the great theorist of rhetoric, and the great master
of oratory, should be contemporaries and yet should stand
so entirely apart. It was hardly necessary for Dionysius to
write his First Letter to Ammaeus in order to prove that the
oratory of Demosthenes could not have been nourished by
the Rhetoric of Aristotle. But the Letter is valuable as a
reminder that the two men, the limits of whose lives are
there shown so closely to coincide, bore traces of that feud
between the philosophers and the rhetoricians which Plato
transmitted to future ages.
IV. Post-Aristotelian Philosophical and
PhiloloCxICAl Schools.
(i) Theophrastus. Theophrastus
(372-287
B.C.) of
Eresus, the successor of Aristotle in the Peripatetic School,
wrote (like his master) on the subject of rhetoric. Of the
ten rhetorical treatises attributed to Theophrastus by Dio-
genes Laertius the most important probably was that on
Style (Trepl Aefeo)?). Among the topics included in this
work seems to have been one which becomes very prominent
in later writers,that of the t/iree types
of
style. It is probable
that Theophrastus, who was himself famous for his gift of
speech, developed considerably, and in a most interesting
way, the doctrine of style as it came from his master's hands
;
and it is much to be regretted that only fragments of his
rhetorical books have survived \
^
I hope to collect elsewhere the chief fragments of the Trepl A^êws and to
review the scattered references made to the work in antiquity.
1
7
(2)
Demetrius Phalereus and Alexandria. Later
Peripatetics. Demetrius of Phalerum, a pupil of Theo-
phrastus, governed Athens during the years
317-307
B.C., and
died in
283
B.C. It is Demetrius who, with his somewhat florid
style, marks the first step in that decline of the old Attic
oratory which Dionysius dates from the death of Alexander
of Macedon\ It is with him, also, that rhetoric begins to
assume a specially scholastic character, now that it is no longer
concerned with great national interests. Rhetorical exercises,
from his time onward, are invested with undue importance,
in the dearth of what Dionysius would call
*
real contests^'
^
Dionys. Halic. (/e Antiq. Orat. c 1 (quoted and translated in Dionys.
of
Halic. : the Thi-ee Literary Letters,
pp.
43,
44).
As the De Elocutione is
traditionally attributed to Demetrius Phalereus, it may be well to quote the
following estimates of his style, more especially as the surviving fragments of his
acknowledged works are scanty : Cic. Brut.
37,
38,
'
Phalereus enim successit eis
senibus adulescens, eruditissimus ille quidem horum omnium, sed non tam armis
institutus quam palaestra, itaque delectabat magis Athenienses quam inflammabat.
processerat enim in solem et pulverem, non ut e militari tabernaculo, sed ut e
Theophrasti doctissimi hominis umbraculis. hie primus inflexit orationem et earn
mollem teneramque reddidit, et suavis, sicut fuit, videri maluit quam gravis : sed
suavitate ea, qua perfunderet animos, non qua perfringeret : tantum ut memoriam
concinnitatis suae, non, quemadmodum de Pericle scripsit Eupolis, cum delecta-
tione aculeos etiam relinqueret in animis eorum, a quibus esset auditus.' Ibid.
285,
'in quo etiam illud quaero, Phalereus ille Demetrius Atticene dixerit. mihi
quidem ex illius orationibus redolere ipsae Athenae videntur. at est floridior, ut
ita dicam, quam Hyperides, quam Lysias.' Or.
92,
'
huic omnia dicendi
ornamenta conveniunt plurimumque est in hac orationis forma suavitatis
;
in qua
multi floruerunt apud Graecos, sed Phalereus Demetrius meo iudicio praestitit
ceteris, cuius oi-atio cum sedate placideque labitur, tum illustrant earn quasi stellae
quaedam tralata verba atque immutata.' de Or. ii.
94,
'posteaquam, exstinctis
his, omnis eorum memoria sensim obscurata est et evanuit, alia quaedam dicendi
molliora ac remissiora genera viguerunt. inde Demochares, quem aiunt sororis
filiuni fuisse Demostheni ; tum Phalereus ille Demetrius, omnium istorum mea
sententia politissimus, aliique eorum similes exstiterunt.' de
Offic.
i.
3,
'nisi forte
Demetrius Phalereus in hoc numero haberi potest, disputator subtilis, orator
parum vehemens, dulcis tamen, ut Theophrasti discipulum possis agnoscere.'
Quintil. Jjist. Or. x. i, 80,
*
Phalerea ilium Demetrium, quamquam is primus
inclinasse eloquentiam dicitur, mullum ingenii habuisse et facundiae fateor, vel ob
hoc memoria dignum, quod ultimus est fere ex Atticis, qui dici possit orator, quem
tamen in illo medio genere dicendi praefert omnibus Cicero.'
2
Quintil. Inst. Or. ii.
4,
41,
'nam fictas ad imitationem fori consiliorumque
materias apud Graecos dicere circa Demetrium Phalerea institutum fere constat.
'
Dionysius' phrase is dikT^dLvol dywves, e.g. />. ad Pomp. c.
5.
R.
2
i8 INTRODUCTION,
Among Demetrius' own numerous works, as enumerated by
Diogenes Laertius (v. 80)
was di^Rhetoric, no longer extant,
which seems to have contained some interesting contemporary-
observations on the oratory of Demosthenes \
Perhaps the chief interest of Demetrius' Hterary career Hes
in the fact that he was, as the bibhography given by Diogenes
shows, a man of the most varied erudition, and that as such
he was invited by Ptolemy Soter
(304-285
B.C.) to assist in
forming those vast collections of books and other aids to
study which made Alexandria so great a centre of learning.
He is, in fact, a sort of link between declining Athens and
rising Alexandria,between philosophy and oratory on the
one hand, and philology and grammar on the other. Thus,
through Demetrius, the all-embracing learning of Aristotle
made itself felt in the Library and Museum of Alexandria,
no less than, through Ptolemy, the enlightened policy of
Aristotle's pupil Alexander made itself felt in the seat of
government. But though the Peripatetics at Alexandria, as
elsewhere, remained faithful to that scientific conception of
rhetoric which Aristotle had formulated, they do not seem to
have been able to do much work on their own account. The
times were unfavourable for the practice of oratory
;
and it is
not too much to say that Demetrius himself was the only
orator of mark ever produced by the school of Aristotle.
Nor were rhetorical studies in line with the general movement
of Alexandrian scholarship, which concerned itself far more
with the poets of Greece than with its orators.
^
Plut. Vit. Demosth. c. ii. The following specimen of Demetrius' own style
is preserved by Polybius (xxix.
6),
who quotes it with admiration : et -ykp Xdôire
jxr] xpofou
drreipou, /xrjS^ 7ei'eds woWds, dXXd irevT-qKovTa ixbvov ^tt] tuvtI to, irpb
rjfjiQv, yvo'n]T av ws to ttj^
tuxv^
x'^^^'"'^^
ivravda' irevTr)Ko<TTov yap ^tos otecrO' av
77
n^pcraj ri
âcxCKia top HepaCbv, rj Ma/cc56i'as
17
a<xCKia tov MaKedbvwv, et ris
deCov airoLS irpoHXeye rb jj^Wov, irL<TTev<Tal ttot av, aJs eis tovtov rbv Katphv liepawv
fjjkv
ov8' 6vofxa Xet^^^creTot to irapdirav, ot irdcrrjs cx^^bv ttjs oiKovfj.^vrjs idâiroôv
;
MaKebbves 5^ irdcnjs KpaT-qaoviTLv, wu oi;5' ovojxa irpoTepov rjv ; dWd iru>s ij vpbi rbv
îov TjfjLwu
daiJvdeTOS
t^xv^
fai vduTa irapd tov \oyi<Xfibv Tbv Tj/j-iTepov KaivoTroioOaa,
Kal TTjv avTTJs HvafJLiv iv to7s Trapabbôis ivbeiKvvfx^vrj, Kal vvv, ws ifiol boKcT, bdKVvai.
irdcriv dvdpuirois, MaKcbdva^ els rrjv Ilepawv eidaip-oviav elaoiKicaaa, 8l6tl Kal to6tois
TavTa Tdyadk
KixRVi^^î
^<^^ ^f dWo ti ôvXeOaTjTai irepl avTuiv. Cp. Blass, AU.
Bereds, iii.
2, p. 348.
19
(3)
Pergamus and the Stoics. Pergamus, fostered by
the Attalids as Alexandria had been by the Ptolemies, came
into prominence as a literary centre nearly a century later
than the latter city. In the provision made for learning, it
largely resembled Alexandria. But its studies had distinctive
features of their own, amongst them the greater attention
devoted to rhetoric. The Stoics of Pergamus cultivated
particularly those branches of rhetoric which lent themselves
to minute analysis. Consequently they were more at home
in the province of invention than in that of style, though in
the latter their love of classification and terminology found
congenial exercise among tropes and figures and grammatical
rules. They endeavoured to infuse into rhetoric as much
logic and grammar as possible, while neglecting the graces
of style. Among the Stoics as writers there was, at all times,
something of the austere spirit which caused Marcus Aurelius
to count it one of the debts he owed to Rusticus that he had
held aloof from the study of oratory and poetry and from the
use of elegant language^ Dionysius, in claiming originality
for his treatise De Compositione Verborum^ points out {de Comp.
c. iv.) that, though the Stoics had given much attention to
expression, it was syntax rather than composition which they
were concerned with^
(4)
Other Philosophical Schools. Like the Stoics, the
Epicureans were regarded in antiquity as careless writers.
According to Dionysius, Epicurus himself had said that
"
it
was easy enough to writer" Some of his later followers seem,
however, to have given more care than their master to the art
of expression. In our own time the rolls from Herculaneum
have shown that the Epicurean Philodemus of Gadara, a
contemporary of Cicero, was a diligent student of rhetoric as
well as of philosophy^ They remind us, in fact, how unsafe
^
M. Aurel. Ant. i.
7,
Kal rb diroaTrjvai
l>T)TopLK7Js Kal voLTjriKrjs /cai dareioXoylas.
Cp. iii.
5
idtd., fiê Ko/xxf/eia ttju didvoidv aov /caXXwTrtf^TW.
^
Cp. Dionys.
of
Halic: the Three Literary Letters^
p.
39.
^
Ibid.
p. 46,
ovK iirnrdpov rod ypd(f>iv 6vtos, de Comp. Verb. c.
24
fin. Cp.
Quintil. ii.
17, 15.
*
Cp. Cic. in Pis. c.
29,
'est autem hie, de quo loquor, non philosophia solum,
2
2
20 INTRODUCTION.
it is to make general statements about the Epicureans, or the
Stoics, or any other philosophical school of long duration.
The Cynic school, for instance, might seem remote from
all literary interests. And yet it has sometimes been thought
that Antisthenes, the founder of that school, was the first to
hit upon the fruitful distinction of the types of style.
V. Graeco-Roman Rhetorical Schools.
(i) Dionysius of Halicarnassus. To understand the
work done by Dionysius at Rome during the years
30
B.C.
to 8 B.C., it is necessary to look back to a time some three
centuries earlier. When defeated by Demosthenes in the
oratorical contest of
330
B.C., Aeschines betook himself to
Rhodes, where he founded a school of rhetoric. It was an
evil omen that one of the least artistic of the Attic orators
should thus lead the way in regions where the restraining
influence of Athens herself could be but little felt. Before
long an Asiatic style of oratory had arisen, with Hegesias
of Magnesia as its chief representative\ This non-Attic
sed etiam ceteris studiis, quae fere [ceteros] Epicureos neglegere dicunt, per-
politus.'
1
The following is a specimen (quoted by Phot. cod.
250 from Agatharchides)
of the style of Hegesias : ofxoiov ireTroirjKas, 'AXeâvdpe, Qrjâs KaTa<jKd\}/as, cis av
ei 6 Zeus e'/c t^s /car' oiipavov fiepidos e/c/3dXXot ttjv aeXrjpriv. rbv yap ijXiov viro'
\diroixai. rah 'Adjjvais. 5i70 yhp avrai -rrdXeis t^s 'EXXdSos âav
6\f/ei$. 81.6 koi
irepl TTjs ir^pas dyupiQ vvv. 6 ixkv yap eh avrQv
d<f)da\fji.bs i) Qrjâiuv eKKeKoirrai
ir6Xt$. Another, which is preserved by Strabo Geograph.
396,
may be rhythmically
divided as follows : bpOi ttjv aKphiroXi-v
\
Kal to TreplrTTjs rpiaivrjs
\
iKeWt, arj/uLetou.
j
6p<a T7]v 'EXei/o-tva,
|
Kal rdv lepQp ylyova iiij<rT7}%.
\
^Keivo AeiOKopiov
\
tovto
Q-rjaeiov'
|
ov bivajxai drjXwffai
|
Ka6' iv 'iKaarov. Cicero parodies the manner of
Hegesias in ad Alt. xii. 6 :
'
de Caelio vide, quaeso, ne quae lacuna sit in auro :
|
ego ista non novi
; |
sed certe in collubo est detrimenti satis.
|
hue aurum si
accedit
|
sed quid loquor?
|
tu videbis.
|
habes Hegesiae genus! quod Varro
laudat.' For further particulars of Hegesias, see D. H.
pp. 12,
45,
and tt. (J^.
pp.
226, 227. Strabo Geograph.
648 speaks of Hegesias as 6 p-qrwp 6s ijpê
/xaKiara rov'Acnavov Xeyo/x^pou ^t^Xov, irapatpdeipas rb KaOeaTrjKbs ^6oi rbÂttlk6v.
The above specimens show that the style of Hegesias was at once jerky and
grandiloquent. Another variety of Asianism, with a grandiloquence moving in
GREEK STUD V OE STYLE. 2
1
oratory continued to prevail till the end of the second
century B.C., when an Atticizing movement set in at Rhodes,
the way for this having been prepared, earlier in the same
century, by Hermagoras of Temnus. Hermagoras, confin-
ing himself almost entirely to invention as opposed to style,
elaborated on the basis of previous treatises a system of
rhetoric which remained a standard work throughout the
Graeco-Roman periods Around men like Hermagoras, and
(at a later time) Apollodorus of Pergamus and Theodorus
of Gadara, gathered rhetorical schools or sects (a/peVet?).
The principal Rhodian rhetoriciansto return to these
were Apollonius (120 B.C.) and Molon

(80
B.C.). These
rhetoricians
'
atticized,' in the sense that they followed de-
finite Attic models such as Hyperides, though it is to be
observed that Cicero and Quintilian assign to the Rhodian
school a position intermediate between the Attic and the
Asiatic.
It was, however, at Rome, and chiefly through the efforts
of Dionysius and his fellow-worker Caecilius of Calacte
who had behind them the approval of the Roman governing
classes of this and earlier times, that Atticism triumphed and
new life was breathed into rhetorical studies and literary
criticism. Without entering here into details of the work
of Dionysius, we may fix our attention upon two points in
which he appears (largely, perhaps, because of the scanty
information available with regard to the times preceding
his own) to occupy an original position. He is the first
Greek rhetorician of ascertained date in whom we find re-
ference made to: i. imitation {fxifiTja-L^),
2. types
of
style
(')(âpaKTt]p6<; rod Xoyov).
I. Imitation. Dionysius' lost work On Imitation {irepi
Mifxrâeo)^)
consisted of three books, and was, beyond doubt,
ampler periods; is illustrated (Norden Kunstprosa i. 140
^^145)
by the inscription
which Antiochus of Commagene set up in the first century B.C. and which was
published by its discoverers (Humann and Puchstein) as 'recently as the year
1890.
1
For an attempted reconstruction of the rhetorical system of Hermagoras,
see G.
Thiele, Hermagoras: ein Beitrag zitr Geschichte chr Rhetorik.
22 INTRODUCTION.
one of his most important literary undertakings \ It embodied
the principle of the Atticists, that in order to improve con-
temporary taste and style the old Attic writers must be
studied and imitated. Individuals might differ as to which
Attic author should be thus followed, some favouring Lysias,
others Plato, others Thucydides, others again Demosthenes.
But all were agreed as to the main point : models for modern
prose were to be sought in the classical period of Greek
literature. At what date this idea of imitation (so different
from the Aristotelian imitatio7i as found in the Poetics) first
arose, we cannot now tell. But to the librarians and biblio-
graphers of Alexandria and Pergamus must be assigned the
credit of preserving classical authors for future imitators.
The Alexandrian men of letters themselves imitated poets
rather than prose-writers
;
the latter may have received greater
attention at Pergamus.
(^
"2^ Types
of
Style. Dionysius, in his essay on Demo-
smenes, distinguishes three types of style,the elevated
{yapaKTr]p v'^jrrjXcf;), the plain (la-^v6<;), and the middle (/Aeo-o?).
He characterises the elevated, or grand, style as highly
wrought^ uncommon^ studied^ adorned with every accessoiy that
art can furnish, while the plain style is (as its name implies)
simple and unpretending, and the middle is a combination
of
the two others'^. The elevated style is represented by Thucy-
dides, the plain by Lysias, the middle by Isocrates and Plato.
In the essay on Demosthenes, and elsewhere, Dionysius seems
to regard Theophrastus as the author of this threefold classi-
fication of the varieties of style, although (as we have already
seen) Antisthenes is sometimes supposed to have invented it.
Reference has just been made to the indebtedness of
Dionysius to his predecessors. That indebtedness is great,
^
Cp. Dionys. Hal.,
pp.
27
30. The subjects of the three books were :

I. Imitation in itself, n. Authors to be imitated, ni. Manner of imitation {Dionys.
H., Ep. ad Pomp. c.
3).
^
X^îs ^T]X\ayfx4v7], irepiTTrj, eyKardaKevos, tois eirtd^Tois Kdcrfxais airacn <TVfA'
7re7rX77)Ow/x.^v7; {cte adin. vi die. in DeiJi. c. i); Xtr^, 6.(pe\rjs, air^pt.TTo% [ib. cc. 2,
34);
17
/xiKTrj re Kal atjvderos eK Toiruv tCjv 5vetv, 6 fxefxiy/x^vos e^ d/xcpoT^puv tCov
XO-paKT-qpoiv [ib. cc
3,
15).For Dionysius' three dpfiovlai. or awdiaeLi, reference
may be made to D. H. p. 18.
23
tand owing to the loss of so large a part of Greek critical litera-
ture, it constitutes much of his importance for modern readers.
The formal study of the Attic writers, and more especially of
the orators, must start from Dionysius because he is the best
and fullest representative of that ancient theory which, in some
parts at least, is as old as those writers themselves, and even
older. But this consideration should not lead us to underrate
the merits of Dionysius himself No unbiassed judge can
read his critical essays attentively without admiring not only
their extent and variety, but their excellence of workmanship
and their independence of judgment. Above all, Dionysius*
writings are pervaded by an enlightened and contagious
enthusiasm for good literature, and he is remarkably free
from that love of technicalities for their own sake which is apt
to beset the ordinary rhetorician
\
(2)
Roman Writers on Rhetoric. The importance,
from our present point of view, of the Roman writers on
rhetoric lies in the fact that they drew largely on Greek
^
It is to be regretted that so excellent a writer as Eduard Norden, prejudiced
apparently by the Atticism of Dionysius, should have spoken disdainfully of him :
"So muss ich doch bekennen, dass mir der von vielen bewunderte Kritikus
Dionys ein ausserst bornierte Kopf zu sein scheint Dionys macht die grossen
Manner zu ebensolchen Pedanten, wie er, dieser axo^<*<'"''*fos vom reinsten Wasser,
selbst einer ist Bei Dionys ep. ad Pomp.
2, 7
heisst es sehr fein {daher ist es
nicht von ihm), die Hauptstarke Platons als Schriftsteller zeige sich, ^rav rrjv
laxvy)v Kal dKpiîj Kal doKOvaav fihv dTroirjTov elvai, KaTecTKevaatxhrjv bk d/xojfiT^Tip
Kal a.<pe\eT KaTa<TKvf} dioKcKTov el(T<pipri" (Norden, Kunstprosa^ i.
pp. 79,
80, 104).
The injustice of the italicized words will be manifest to any one who reads, in its
own context, the passage quoted from Dionysius, which, whether sound criticism
or not, bears upon it the stamp of original utterance. It will be enough to set
against the unfavourable judgment of Norden the view recently expressed by a
literary critic of exceptional range : "Dionysius is a very considerable critic, and
one to whom justice has not usually, if at all, yet been done.... A critic who saw
far, and for the most part truly, into the proper province of literary criticism
This treatise [sc. the de Compositione Verborum\ if studied carefully, must raise
some astonishment that Dionysius should have been spoken of disrespectfully by
any one who himself possesses competence in criticism. P'rom more points of
view than one, the piece gives Dionysius no mean rank as a critic." (Saintsbury,
History
of
Criticistn, i.
pp. 136, 137, 132.)
Is there not room for an English
edition and translation of the de Compositione, with an introductory sketch of
(i) ancient prose rhythm,
(2)
the order of wôrds in the classical (as compared
with the modern) languages?
24
INTRODUCTION,
sources. Cornificius, for example, the supposed author of
the Rhetorica ad Herennium (produced about
85
B.C.), men-
tions the three varieties of style ; and he, like Cicero, was
of earlier date than Dionysius^ Cornificius, further, mentions
imitation as one of the aids to oratorical proficiency^
From Cornificius we pass to Cicero. The earliest of
Cicero's rhetorical works, the De Iiwentione, coincides in
many points with the Rhetorica ad Herennium. It follows
closely the rhetorical system of Hermagoras. The Orator,
on the other hand, which was one of the latest of the rhetorical
series and forms an admirable treatise on style, draws from a
wider field. Express reference is made in it to Plato, Aristotle,
and Theophrastus, as well as to Isocrates and his pupils
Ephorus, Naucrates, and Theodectes. It is probably to
Theophrastus that Cicero owes the threefold division of style
(into grand, plain, and intermediate) which he recognises in
the Orator and elsewhere
^
In regard to imitation Cicero maintained the view, held
later by Dionysius, that Demosthenes was the best model for
oratory, as combining in his own person the three types of
style. Whereas contemporary Roman Atticists were found
to select for exclusive imitation either difficult and elaborate
writers like Thucydides or at the other end of the scale clear
and natural writers like Lysias, Cicero saw that all such efforts
were mistaken. Perhaps his own Asiatic leanings, as well
as his delicate perception of the different genius of the
two languages, made him particularly averse from artificial
^
Khet. ad Her. iv.
8, 11 (ed. Marx) : 'sunt igitur tria genera, quae genera nos
figuras appellamus, in quibus omnis oratio non vitiosa consumitur : unam gravem,
alteram mediocrem, tertiam extenuatam vocamus. gravis est quae constat ex
verborum gravium levi et ornata constructione ; mediocris est quae constat ex
humiliore neque tamen ex infima et pervulgatissima verborum dignitate
; attenuata
^
est quae demissa est usque ad usitatissimam puri consuetudinem sermonis.'
2
/bid. i.
2, 3
:
'
haec omnia tribus rebus adsequi poterimus : arte, imitatione,
exercitatione. ars est praeceptio quae dat certam viam rationemque
dicendi
:
imitatio est qua impellimur cum diligenti ratione ut aliquorum similes in dicendo
valeamus esse : exercitatio est adsiduus usus consuetudoque dicendi.'
^
The tria genera dicendi indicated in Orator

21 are the grande, medium and
tenue. Cp. de Or. iii.
177,
'
itaque tum graves sumus, turn subfiles, turn medium
quiddam tenemus.' See also de Opt. Gen. Or. 2.
25
attempts to write Latin with a calculated simplicity when
neither the evasive charm of Lysias nor the native beauty
of his Attic Greek was at the writer's commands
It may be added here that an older contemporary of
Cicero, Varro, wrote a Trepl XapaKT-ijpcop, a work which seems
to have treated of the types of style and to have been drawn
from Greek sources. The Ars Poetica of Horace was pro-
bably based on a Greek treatise by Neoptolemus of Parium,
an Alexandrian writer. A principal purpose of Horace in
writing his letter to the Pisos seems to have been to enjoin
the incessant study of the great Greek models
:
vos exemplaria Graeca

nocturna versate manu, versate diurna^.
In the tenth book of the InstitiUio Oratoria Quintilian
reviews the Greek authors from whom the Roman student
of style may learn useful lessons ; and in so doing, he
exhibits many points of contact (in most cases probably
due to the use of the same Greek sources) with the De
Imitatione of Dionysius. In the Twelfth Book he refers
briefly to the traditional division of the types of style
:
"altera est divisio, quae in tres partes et ipsa discedit, qua
discerni posse etiam recte dicendi genera inter se videntur.
namque unum subtile^ quod Ig'^vov vocant, alterum grande
atque robiistiim, quod iihpov dicunt, constituunt ; tertium alii
mediiini ex duobus, alii
floridum (namque id dvOrjpov ap-
pellant) addiderunt" (Quintil. Inst. Or. xii.
10, 58).
A good
example of Quintilian's gift of literary appreciation is the
passage in which he praises Demosthenes^
(3)
'Longinus.' The author of the De Siibliinitate, like
Quintilian and like Tacitus (whose Dialogiis de Oratoribus
^
That Cicero, in his own day, was attacked as Asiatic, may be seen from
Quintil. Inst. Or. xii. 10, 12 and Tac Dial, de Or. c. 18.
2
Hor., Ep. ad Pis., 268.
^
Quintil. Inst. Or. x. r,
76: 'oratorum longe princeps Demosthenes ac
paene lex orandi fuit
: tanta vis in eo, tarn densa omnia, ita quibusdam nervis
intenta sunt, tam nihil otiosum, is dicendi modus, ut nee quod desit in eo nee
quod redundet invenias.'
26 INTRODUCTION,
offers some curious points of resemblance to the Greek
treatise both in the accident of its disputed authorship and
in the more important particular of its lament for the decay
of eloquence), probably belongs to the first century A.D.^ In
form the book is a literary letter which starts with a criticism
of the treatise written upon the same subject by Caecilius, the
friend and younger contemporary of Dionysius^ Its subject,
therefore, is v-^ô^ {the sublime^ elevation
of
style) and the five
sources of ut/to?, viz. thought, passion, figures, diction, com-
position. It cannot be said that the three types of style are
clearly recognised in the De Sublimitate, though in c.
33
al
virepfjue'yWeL^ cûVet? are distinguished from ra^
fiev raTretvaî
Koi
fjL6aa<; (f>v(Tei<^. But the vslro^ which the treatise extols
is closely related to the fieyaXoTrpeireia of other rhetoricians.
The question of imitation is eloquently treated in cc.

13, 14^
^
The question of the date and authorship of the De Subliniitate is of much
less importance than the due appreciation of a work so long neglected. Here
again it will be well to quote the judgment of a modern critic: "His work
remains towering among all other work of the class, the work of a critic at once
Promethean and Epimethean in his kind, learning by the mistakes of all that had
gone before, and presaging, with instinctive genius, much that was not to come
for centuries after" (Saintsbury, History
of
Criticism, i.
174).
2
In style Caecilius favoured tVxi'^TTjs, 'Longinus' Ci/'os, Dionysius the xapa/crT^p
^
In his own style the author of the Z><? Subliniitate, like Plato, whom he
imitates, occasionally uses poetical words. Nor does he disdain the use of
parisosis and homoeoteleuton. His love of rhythm leads him sometimes to invert
the natural order of words, and also to sacrifice brevity. The treatise opens with
a most elaborately constructed sentence : rh fxh tov KeKiXiov avyypafifxariov
\
6
rrepl {jxj/ovs crvveraâTo
\
dvaaKOTrov/xhois ijfjuu ws oTada Koivrj
|
Hoarovfjiie f^Xw-
pevTiavk (piXraTe
\
TaireLvbrepov i(pdvr] rijs 6\-qs virodâews
\
/cat iJKi<XTa tCjv Kaipibiv
iipaTTTd/xevov
\
ov ttoWtjv re (h<p^\eia.v
\
rjs /j.d\L<rTa del aroxat^crdaL tov ypdcpovra
j
TepiiroLovp Tois ivTvyxo-vovaiv, kt\. It may be interesting here to add (from Blass,
Gramtnatik des neutestamentlichen Griechisch,
p. 274)
two of the best constructed
periods in the Greek Testament. The author of the first was, it will be re-
membered, a physician and so a man likely to have enjoyed a good literary educa-
tion, (i) iweidrjirep ttoWoI iirX'^'i-p't)crav
\
dvaTaâcrdai dn^rjaiu irepi tuv ireirXrjpo-
<f)op7}iih(av iv TQ/xtv Trpayfxdrtav
\
Kadias irapidoaav r]fuv oi dir
dpxvs
avrdiTTai Kal
vwTjp^TaL yevbjxevoi rod Xdyov
|
^5o|e Kdjxol irapi)KoXovdt]Kbri dvudev Trdaiv aKpt^ds
\
Kade^TJs aoi ypd^pai Kpdriare 9e60tXe
|
'iva iinyu(^s irepi wv
Karrjxv^V^ Xbyiav rrju
d<X(f>dXi.av. Ev. Luc. init.
(2)
TroXv/xepCos Kal ToXvrpdTrus TrctXai 6 debs XaX-rjcras
Tots Trarpd<rcv iv rots vpocprjrat.i
\
iw' iiXXO-TOV rQv ij/xepQp roOrojv eXdXTjaev rjfuu ev
vl<^
I
6v idrjKev KKrjpovbimov irdvruv
|
di ov Kal iiroir^ffev roi/s aluiva^
|
6s cSv dirai/yaaixa
27
The great merit of the Sublime is that it fires the
reader with the love of noble literature, and forces him to ap-
prehend the vast difference between correctness and creative
power, between talent and genius. The author is a rhetori-
cian who would have seen at a glance the surpassing greatness
of Shakespeare, however ignorant Shakespeare might have
shown himself of the Figures catalogued in (say) Puttenham's
Arte
of
English Poesie.
(4)
Hermogenes. The last name we need mention is
that of Hermogenes of Tarsus
(170
A.D.), who elaborated a
system of rhetoric which long remained supreme. The im-
portance of Hermogenes, in regard to the present survey, is
that he does not recognise the three types, but a number of
qualities
{JZkai),
of style. The qualities are seven in number :
clearness^ grandeur, beauty^ poignancy, characterisatioji, truth,
mastery^. The last quality is shown in the successful applica-
tion of the other six^ By Hermogenes, as by Dionysius two
"centuries earlier, Demosthenes is regarded as the best model
for oratorical imitation. Probably this fact was now so gene-
rally allowed that the earlier classification of writers according
to styles seemed out of date and useless. The types of style
had served their day ; one had been added to the other, and
the distinctions between them had worn thinner and thinner.
It may well have seemed that the only thing left was to
assume a number of general qualities of style and to regard
Demosthenes as displaying them all with brilliant effect.
T^s 56^775 KoX xo-po-KTrip TTJs UTTOcTTCurews aiiTOu
I
(f)^p(av re to. iravra t<^
pT^fxari rrjs
Svvd/jLeus avToO
\
Kadapi(T/xbv tQv afMapTiQv Tronja-d/xevos
\
iKadKreu ev deîq. ttjs fxeya-
Xwavvrjs ev uxpriXois
|
ToaovTip KpeirTUV ycvSp.evos ruv dyyi\(av
\
oaip 5ia<popwTepov
trap' avToijs KK\7]pov6fir]Kv 6vofxa. Ep. ad Hebr. I'mL
^
<Ta<f)r}veia, fi^yedos, koXXos, yopydrrjs, ^dos, aXrjdeia, deiv&rrjs.
^
Hermog. ir. t5. ii.
9
?)
beivbr-qs i) irepl rhv Xbyov earl fxkv Kar Cfirjv yvdi/xTjv
oidiv a\X*
^ XPV'^''^
6p6r] ttuvtuu tQv re vpoeipT]/x^pojv eidijUv roO X6yov Kai ruv
ivavTLWv aiiTOis, Kal ?Tt 5i* wv ir^pcav criofia Xdyov ylveadai Tri<pvKe. t6 yinp eh 5ôv
Koi Kara Kaipbv Kal rb oiJrwj
tJ
cKelvcos eldivai re Kal divaadai
xp^'^^ct' Traal re
Xoywv etdeffi Kal Tratrais dvTtdâeffi Kal iricTTeat evvoiaii re wpoKarapKriKais rj Kara-
oraTi/cats 17 Kal eiriXoyiKais, awXios re oirep icprjv, rb irdai rots ire<pvK6<ri (Tui/xa Xoyov
iroteTv xP'ô'ât
56va(rdai SeovTuis Kal Kara Kaipbv 77 ojtws ov<Ta deiyorrii e/xoL ye elvai
doKei. Some passages of Hermogenes will be found translated in Jebb's ^//. Or.
ii.
pp. 73,
298.
28 INTRODUCTION.
B. Contents of^the De Elocutione. General
Aspects of Greek Stylistic Study.
In the following summary, as in the printed text, the
division into chapters, which is adopted simply for con-
venience, has no manuscript authority ^ The division into
sections has tradition, as well as utility, to recommend it,
having been introduced by Petrus Victorius for the purpose
of the translation and notes in his edition of 1562. It stands
on a very different footing from that division of the New
Testament into verses which Robert Stephanus is said to
have made some years earlier
(155 1),
when journeying on
horseback {inter equitandum, as his son tells us) between
Paris and Lyons. A minute subdivision, ill-suited for narra-
tive and epistle, serves conveniently enough for the precepts
of a rhetorical treatise.
SUMMARY.
/. Preliminary Remarks on the Period^ etc.
I 8. The
*
members ' (KwAa) : and their appropriate length.
9.
The
'
phrase ' (KOfifxa).
10, II ff. The period (7repto8os).
1218. The periodic and the disjointed style (ep/xryvcta Kare-

a-Tpafxfxevr), epfxrjviia Styprjixevr]). Number of members in a period.
19. The historical period (TrcptoSos la-TopiKrj).
20. The rhetorical period (TrcptoSos prjTopLKrj).
21. The conversational period (irepLoSos StaAoytK?;).
22
24.
Periods formed of contrasted members (i$ dvTtKct-
IXVO)v kojAwv TrepioSoL).
25.
Symmetrical members (KduXa Trapo/xota).
26
29.
Members with similar terminations (6/xotoreAcvTa).
Cautions with regard to their use.
30
33-
The enthymeme {ivOv/xrj/xa). Difiference between
enthymeme and period.
34j
35-
The member (kwXov) as defined by Aristotle and
Archedemus.
1
A list of the Greek headings found in P
1741
will be given later, in the
course of the critical footnotes.
SUMMAR Y AND ASPECTS.
29
//; The four
Types
of
Style.The Elevated Style.
36, 37.
[The four types of style (xapaKrrjpc^ rrj^ p/u,r/vas)
are : the plain (to-xvos), the elevated {fiiyaXoirpeTrrj^), the elegant
(y\a(f>vp6^),
the forcible (Sctvo?).
38127. General subject : the elevated style {xapaKTrjp fxcya-

XoTrpcTTifs, s. Aoytos), with the following subdivisions
:
(i) Elevation in composition or arrangement, o-w^co-ts /Acya-

\oTrpeTnj<s,
3^74
;
(2)
Elevation in subject-matter, Trpay/xara /xeyaXoTrpCTr^ (=8ta-
voia fiiyaXoTrpeirrj^),
75,
76
;
(3)
Elevation in diction, Acîs /xcyaXoTrpcTnys,
77
113 ;
(4)
Frigidity {to
\(/vxp6v) as the correlative vice of the elevated
style,

114127. [Like elevation, frigidity arises at
three points: (i) SidvoLa,
(2)
Xcî?,
(3)
a-vvOea-L^. The
very acme of frigidity is reached in hyperbole,

124
126.]
Subsidiary topics in the following sections
:
59
^7-
Figures of Speech (a-xyjp-aiTa Xc^cws).
68
74.
Hiatus (o-vyKpovcns (fxovrjevTwv).
7888. Metaphor {fxTa<f>opd).

f
89,
90.
Simile (ctKao-ta) and imagery (Trapa/JoX^).
91
93.
Onomatopoeic or coined words (ovo/xara Treiroirf-
fX.va).
99
102. Allegory {aKX-qyopLo).
103
105-
Brevity, aposiopesis, indirect and harsh-sounding
expressions, etc.
106III. Epiphoneme (eTrw^cuvT^/xa).
112, 113. Poetical colour in prose (to ttoltjtikov iv Xoyots).

//4^
The Elegant Style.
128
189. General subject : the elegant style
(xapa'cr^p
yA-a-
<f>vp6<i),
with the following subdivisions and topics
:
(i) Charm and gaiety of expression, x^^P^^Ttor/xos koI l\ap6<:

Xoyos,

128
172.
y
(a) Kinds of grace and their elements, tcSt; rolv
xP""<^^
'^^^
CV TLCTLV,
128 136.
so
INTRODUCTION.
{b) Sources of grace, tottol Tr}<s x^piTos,

137162.
(a) Sources in diction and composition, ToVot Tr}<s
Xc^ccos Kttt
TTJs (rvvOe(re(as : Figures, etc.
137
155-
(p)
Sources in subject-matter, tottol twv
irpayixartav :
Proverbs, Fables, Comparisons,
Hyperboles, etc.
156162.
(c) Difference between the ridiculous {to yeXolov) and the
charming (to evxapt),

163
172.
(2)
Elegant diction, beautiful and smooth words (Xc^ts yXa-
<f>vpdi:
ovofiaTa xaXa kol Xeta),
173
178.
(3)
Elegant composition, crw^ccris y\a<f>vpd,

179
185.
(4)
Affected style (xapoLKTiijp KaKo^rjkos) as the correlative vice
of the elegant style,

186
189.
IV. The Plain Style.
190
235.
General subject : the plain style (xapaKn^p icrxvos),
with the following subdivisions
:
(1)
Plain subject-nmtter, TrpdyfiaTa la-xvd,

190.
(2)
Plain diction, Xc'îs io-^vt;,
190, 191.
(3)
Piîn composition, uvvOean^
to"xW)
204208.
(4)
Arid style
{xapoKrtjfi ^qp6<i) as the correlative vice of the
plain style,

236239.
Subsidiary topics in the ft. 'lowing sections
:
191203. Concerning
clearness,
irepl ttjs a-acfyrjveLa?. [Also:
concernmg stage-style arid concerning repetition, Trepl vtto-
KpLTCKwv Kat Trepl iTravaX.rjxjêoi'S,
194
ff.]
209220. Concerning vtvidness, Trepl t^s ivapyeias.
22ij 222. Concerning persuasiveness, Trepl T-fjs Tn0av6TrjTo<s.
223
235.
Concerning the epistolary style, Trepl tov ein-
o-ToXtKov ;(apaKTi7pos. This is to be regarded (cp.

235)
as a blend of the plain
and the graceful styles.
I
SUMMAR V AND ASPECTS.
3
1
V. The Forcible_Style^
1240
304. General subject : the forcible style (xapaKT>)p Sctvos),

with the following subdivisions
:
(i) Forcible subject-matter, TrpdyfxaTa Scii/a,

240.
(2)
Forcible composition, a-vvOio-Ls Setvrj,
241
271.
(3)
Forcible diction, Xc'^ts SeLvrj,
272286.
(4)
Concerning the graceless style, nepl tov axapiTos
x'^P^'^-
-rvpos,
301304.
Subsidiary topics
:
287
298.
Concerning figured language, -rrepl tov
ia-xqfjia-
TLO-fievov \6yov.
299)
3-
Concerning hiatus in forcible passages, -n-epl
(rvyKpova(t)s ev SetvoTiyrt.
It would no doubt be possible, with a little straining,
to give an appearance of greater symmetry to the above
summary. But, in truth, the irepl 'Ep/jajveiw; is not altogether
systematic^ It contains a number of digressions and repe-
titions. The digressions may be inferred from the above
analysis, in which an endeavour has been made to mark
out the ground-plan of the work as clearly as possible.
Sometimes the author himself indicates a digression, as in
178 {ravra fJLev

Brj TraparexvoXoyeio-do) dWox;. rcov Be
elprfêvwv ovofjudreov ra \ela /jlovu Xijitreov 0)9 yXacfyvpop
Ti exovra).
What he here means is that it was relevant to
discuss ovofiara Xela in connexion with the ')(apaKTr)p
y\a(f>vp6^,
but not relevant to discuss ovo/juara oyKijpa, ktX. Of repe-
titions examples will be found in
121, 220,
243, 248,
if these
are compared respectively with

6,
94, 99,
31. On the
whole, however, despite repetitions and digressions, the
treatise wears an unpretending and business-like air
;
and
this largely because it wastes few words in making its points
and has no formal introduction or conclusion.
Though the treatise is uneven in execution, it has many
general excellences as well as numberless merits of detail.
^
The irregularity of structure may, to a certain extent, be intended to avoid
monotony, as when (in the treatment of the types of style) wpdyfxaTa, avvdeais, and
X^|is are arranged in almost every possible order.
32
INTRODUCTION.
Its chief general excellence is that it brings a refined taste,
and a diligent study of Greek literature, to bear upon the
important subject of the types of style. Among merits of
detail (and it is by the success with which definite points
of detail are handled that such a treatise must mainly be
judged), we may mention its appreciation (after Theophrastus)
of the fact that distinction of style is shown as much in what
is omitted as in what is said
(
222),
and its corresponding
reference
(
288) to Plato's reticence in the Phaedo and
to the delicacy with which Ctesias makes his messenger 'break
the news'
(
216);
in the personal touches which seem to
show that the author understood the value of the precept
laudando praecipere
( 295),
and that he had an eye for good
acting
( 195)
and some sense of humour
(
79, 297)
; in
his hints as to the appropriate employment of hyperbole
(
52)
or of natural expression
(^
27, 28, 300),
of omitted
or reiterated conjunctions
(
64, 63),
of accumulated figures
(6i, 62, 268),
of verbal music
(
184, 185, 69, 174),
of graceful
themes and expression
(
132
ff), of the periodic and resolved
styles in combination
(
15)^; or in his similarly felicitous
warnings against the dangers of bombast
(
121, 304)-.
The traditional title of the treatise is izepX 'Ep/jn^veia^,
the best available rendering of which in English is Coiice^ming
Style. The word k^^r^viHo. occurs in the opening section, where
by Tr]v eppi7)veiav rrjv \oyLKrjv is meant prose-writing^. The
usual Greek term for style is that employed by Aristotle and
.Theophrastus, Xe'^ts. It may be, that the use oi kpfirjvda in
this sense was favoured by the Isocratic school of rhetoricians,
since approximations to it are found in the Rhetorica ad
Alexandrum^.
The framework of the treatise is supplied, as will have
^
The same judicious regard for variety is seen in the treatment of hiatus
( 68),
and of the types of style
(
36, 37).
2
Among longer passages,

223235
are specially interesting as an early
example of "How to Write a Letter" (ttcDs Set eTrtorAXeti' is the heading in P),
of the Polite Art of Letter-Writing.

3
Ox prose-composition, in the wide modern sense of the word composition.
*
For a further discussion of the word ipfiTjveia, reference may be made to the
Glossary (s. v.).
SUMMARY AND ASPECTS.
33
been seen, by a description of the four types of style
(%a/3a/cT7)/369 tt)? kpfirjveia^). It will, consequently, be con-
venient to give here a slightly more detailed and connected
account of the,^9liaa^teiisti^5a^sigjTei^t^^ than
a tabular analysis can supply.
At the outset it ismade clear that any one of the four typej^
will blend with any other, the only exception being that the elevated
type wHLji^ unite with the ^lain
J)ê,
of which it is. the direct
opposite. The union of elevation, force and grace, is seen in
Homer's poetry, in Plato's dialogues, and in the writings of
Xenophon, Herodotus, and many others. The elevated style
j^
has three aspects : the thought, the diction, and the com-
position. Paeonic rhythm, at the beginning and the end of the
'
members,' contributes to elevated composition : e.g. Thucyd. ii.
48,
r/piaro Sc to kukov $ AtîoTrtas. Long
'
members ' and rounded
periods have the like effect: e.g. Thucyd. ii. 102, o yap 'A^cA-wos k.t.A,
Elevation is also favoured by harsh sounds, hiatus, conjunctions;
and by figures such as anthypallage^ epanaphora, anadiplosis. In
elevated diction metaphors, brief comparisons, compound and coined
words
(oVo/xaTtt TTCTToiry/xeW) should be employed, and a sparing
use made of allegory. Thucydides is regarded as the leading
example of the elevated style. The vice corresponding to elevation
is frigidity, of which a definition is given from Theophrastus.
Frigidity, like elevation, shows itself in thought, diction and com-
position,in senseless hyperbole, in exaggerated expressions, in
sentences unrhythmical on the one hand or metrical on the other.
36127.
iX^The
elegant type has charm and vivacity. The subject-matter
may be charming in itself But expression can make it still more
so. The means employed are such as harmless pleasantries; pointed
brevity; significant words added unexpectedly at the end of a
sentence ; the figures anadiplosis, anaphora, and the like ; the use
of proverbs, fables, comparisons, hyperboles ; the use Hkewise of
beautiful and smooth words. In elegant composition some approach
to metrical effects is admissible. Illustrations of the graceful style
are quoted from Sappho among poets and Xenophon among prose-
writers, while (in addition to Xenophon) Plato and Herodotus, and
in some degree Demosthenes, are held to exemplify this style in
the special province of composition.The perverted variety of the
R.
\
34
INTRODUCTION,
elegant type is the affected or mannered style, which in composition
particularly affects anapaestic rhythms.

128
189.
v/^ The plain type (of which Lysias may be taken as the re-
presentative) aims at clearness and simplicity, and draws on the
language of ordinary life. It avoids strange compounds, as well as
coined words, asyndeton, and all ambiguities. It favours epanalepsis,
or the repetition of connecting particles for the sake of clearness;
with the same object, it will say one thing twice over; it avoids
dependent constructions, and adopts the natural order of words;
it employs simple periods, but shuns long
'
members,' the clashing
of long vowels and diphthongs, and the use of striking figures.
This type possesses the qualities of vividness and persuasiveness.
By a wise economy of language it says neither too much nor too
little, and leaves the impression of directness and sincerity. Its
obverse is the dry, or arid, type. This is illustrated in the three
aspects of thought, diction, and composition.

190
239.
\/_
The
j
prcible type (of which no representative is named, though
Demosthenes is oftenest quoted in illustration) affects a pregnant
brevity of expression, such as that of the Lacedaemonians. Proverbs
and allegories may be employed with effect in the forcible styleT^
The close ot the^period will be "strongly marked; 'phrases ' will be
preferred to
'
members
'
; harshness of sound will not be shunned
;
antithesis and rhyming terminations will be avoided; aposiopesis
will be serviceable, and so generally will any form of speech which
implies more than it says. Mordant wit contributes to force, and
the same may be said of such figures as prosopopoeia^ anadiplosis,
anaphora^ asyndeton^ climax. Forcible diction is the outcome of
metaphors, short comparisons, striking compounds, apt expressions,
rhetorical questions, euphemism, allegory, hyperbole, figured speech,
hiatus. The vicious extreme of the forcible type is the graceless
style, which is closely allied to frigidity.

240
304^
A general view of the entire contents of the Trept
'Epfi7}vla<;
shows that the treatise answers to its title,that itjs_cpn-
cerned throughout with sty/e, in that broad sense of the term
^
In this sketch of the characteristics of the various types of style as described
by Demetrius much help has been derived from Volkmann, Rhetorik der Griechen
und Romer^,
pp. 539
544.It will be noticed that some of the

figures
may be
appropriately used in more than one of the types.
t
35
which will include ^^î^tiott-
and compositioni The thought
(or subject-matter), as distinguished from the expression, is
but cursorily treated. It is pointed out in
75
that a great
subject may be spoiled by poor writing, and conversely in
133) 134
that good subjects can be enhanced, and un-
pleasant subjects rendered attractive, by a writer's skill. In
y6
the remark is made that
"
the painter Nicias regarded
the subject itself as part of the pictorial art, just as plot and
legend are a part of poetry
"
; and the author of the irepl
'Epfir)vLa(;
himself shows, in his own treatment of his chosen
theme, how difficult, or rather how impossible, it is to
discriminate precisely between substance and form I Yet for
practical purposes the distinction is a useful and necessary
one, as we see at once if we look at the surviving body of
Greek criticism. Divide this body for our present purpose
into two parts^ (viz. (i) Aristotle,
(2)
Dionysius of Hali-
carnassus, the Trepl "Tyjrov^, the irepl 'Kpfjb7)vla<;), and we
recognise at once that, on the whole, the first part is more
occupied with substance than with form, and that (again
on the whole) the second part is more occupied with form
than with substance*. The historical and personal reasons
1
Diction covering the choice of words, and composition the structure of sen-
tences and the rhythm of the period.
"^
The interfusion, or marriage, of substance and form, and the evils of exagge-
rated attention to the latter, are happily described by Quintilian, Inst. Orat. viii.
Prooem.
20
22 : "curam ergo verborum rerum volo esse sollicitudinem. nam ple-
rumque optima rebus cohaerent et cernuntur suo lumine ; at nos quaerimus ilia,
tanquam lateant seseque subducant. itaque nunquam putamus circa id esse, de quo
dicendum est, sed ex aliis locis petimus et inventis vim afferimus. maiore animo
aggredienda eloquentia est, quae si toto corpore valet, ungues polire et capillum
reponere non existimabit ad curam suam pertinere."Dionysius {de Isocr. c. 12)
agrees with Quintilian in subordinating the words to the sense, if any such distinc-
tion should be made: ôiiXfrai 5^ i] (pdais toIs vorj/xaaiv 'iireadai tt]v Xiîv, oi ry
\i^t rk voT^fiara. Dionysius himself accordingly, in his literary estimates, discusses
fully the irpay/xaTiKbs rdiros (which taxes to the utmost the maturest powers, de
Comp. Verb. c. i), as well as the XeKTi/c6s rh-Kos.
^
The distinction made above is intended simply to imply that X^^ts receives
comparatively far more attention in Dionysius, in the ir. i}\l/ovs, and in the ir. ep/j..,
than in Aristotle. In particular, such minute analysis as Dionysius gives of the
literary styles of individual authors is found in the extant work neither of Aristotle
nor of any other Greek critic.
*
In his article
*
Poetry' in the Encyclopaedia Britannicay Mr Theodore Watts-
36 INTRODUCTION.
for this in the case of Aristotle have already been glanced
at. But the general question of Aristotle's attitude to style
requires some attention, \{ we are to form a fair estimate
of it in itself and to compare it satisfactorily with that of
the later Greek writers.
On the one hand it must be admitted that Aristotle, in
his writings as they have come down to us, does treat "the
subject of style in such a way as to afford some just ground
for the "Hlsappointment so often expressed by admirers of
his surpassing genius. It is not simply that invention is
discussed at much greater length than style, and that the
latter finds no place in his definition of rhetoric : all this
we might have anticipated for various reasons which need
not now be stated^ Nor is it simply that, in the compara-
tively small space allotted to style, questions grammatical
rather than literary are sometimes raised : this is a feature
which Aristotle's works share with the critical treatises of
antiquity generally, and historically the confusion is as
natural as is the great interest shown in what now seem
peculiarly arid points of grammar. The substantial fact is
that, when all allowance has been made for the fragmentary
condition of the Poetics and for the oratorical preoccupation
of the Third Book of the Rhetoric, Aristotle says -but^little
about the beauties of elevated and poetical language^__The
disappearance_of the grand style irL-the
joetry oJiis__ownL
century seems to cause him nQ,_concern {Rhet. iii. i,
9),
nor
does he appear to observe the corresponding decline in
Dunton says : "Perhaps the first critic who tacitly revolted against the dictum that
substance, and not form, is the indispensable basis of poetry was Dionysius of
Halicarnassus, whose treatise upon the arrangement of words is really a very fine
piece of literary criticism.... The Aristotelian theory as to invention, however,
dominated all criticism after as well as before Dionysius." This statement is inte-
resting and suggestive. It is, however, subject to the qualification that the later
critics, such as Dionysius, probably drew largely from Theophrastus' lost Trepi
A^êws, which seems to have been a separate and substantial work.
1
That Aristotle includes in his definition of rhetoric invention only, and not
expression, is pointed out by Quintilian: "nihil nisi inventionem complecitur, quae
sine elocutione non est oratio" [Inst. Or. ii.
15, 13).
Aristotle's definitionj;uns_as^_
follows^ ioTia Stj prjTopiKT] dwa/xis wepl iKMrov rod deupija-ai rb evdex^fievov indavbv
^{Rhet. i. c. 2 init.).
ISUMMAR
V AND ASPECTS.
37
|)oetical genius. It is true that Aristotle was a great
[scientific thinker living in an age of prose. But among the
contemporary oratorical prose, some of whose secrets (as it
seems to modern readers) might have been usefully discussed
in the Rhetoric, was that of Demosthenes
;
and this is
practically ignored. Aristotle's omissions on the aesthetic
side are supplied by the Graeco-Roman critics, and the
Treatise ojt the Sublime eloquently proclaims how far true
genius transcends mere correctness and propriety.
On the other hand, if w^. desire a defimtjon of good
^
style, where shall we find a better than that given hy_Aristotle
himself in the Poetics :
*'
The perfection of stvle is to be
clear without being meah^'/ ? It is implied in these, words
that good style has virtues as well as (graces, gracês^s well
as virtues. Or, to adopt a distinction found in tne later
critics, there are in style not only necessary virtues (aperal
dvajKalai), but accessory virtues (aperal eTrlOeroiy. Clear-
ness (aa(j>')]V6La) was included in the former category ; and
like its allied virtues of brevity (avvrofjula) and purity
(EWr}VLcr/jb6^), it was perhaps less systematically taught than
those accessory arts (such as the heightening of style) which,
according to Dionysius, best reveal an orator's powers
Clearness is, it may be, best inculcated through examples
of its opposite, as when ^ra^laxa^r^îmnXAesê illustrated
by Aristotle (Rhet. iii.
5, 4),
or as when Dionysius'xondemn^
the obscurity of Thucydides (de Thiicyd. cc.
50,
51).
Some
positive precepts of a useful kind are, however, given in
the De Elocutione,
196
198,
with the curious addition
(
203)
that clearness must be studied most of all in the plain
^
Aristot. Poet. xxii. i : X^^cwj 5^ a.pf.rnf\ (ra<f>ij kuI
ht\ Taveip^v elvai (S. H.
Butcher's translation). That Aristotle intended the definition to apply substantially
to prose as well as poetry is clear from J^/iet. iii. 2,1: wpladw Xiêus dperr] aacprj
elvai. arjuHov yap on 6 \6yos, iav firj SrjXoi, ov iron^crei t6 eavrov ^pyov nal ixrjre
Taireivrjv yu^re virip rb d|iw/ta, dWA irpiirovaav i] yap troirjTiKri taus ov Taireivri, dX\'
oil trp^TTovaa Xdytp.
2
A list of both kinds will be found in Z>. JI. {Dionysius
of
Halicarnassus: the
Three Literary Letters),
p. 172.
^
Dionys. Hal. de Thucyd. c.
23,
k^ ihv /idXio-ra SioSt^Xos r\ tov p-ôpos ylverai
8vuafxi.s.
38
INTRODUCTION,
or unadorned type of composition. As the more showy
parts of style are so apt to engross attention, it was a
great thing that Aristotle should have^ssigned to perspicuity
the first place in his definition\ This gives that indispens-
able quality the emphasis which Quintilian laid upon it when
he said that the speaker must look to it that his hearer shall
not merely understand, but shall find it absolutely impossible
to misunderstand^.
In the same passage Quintilian points out that a speaker
gains little credit for mere correctness and clearness ; if he
employs no artistic embellishment, he seems rather to be
free from faults than to show striking excellence^ Now
Aristotle, in the second half of his definition, discountenances
meanness of style ; but his positive hints, in Rhet. iii.
6, with
regard to the attainment of dignified expression seem meagre
and mechanical, and are possibly to some extent ironical.
He regards style in general as the popular part of rhetoric,
and consequently treats it cursorily, concluding his account as
follows: "The most literary style is the epideictic, which is in
fact meant to be read
;
next to it comes the forensic. It is
jdle to make the further distinction that^tyle mustê a'tgag^
tive or elevated. Why should those qualities be attributed to
it rather than self-control, or nobility, or any other moral ex-
cellence? The qualities already mentioned will manifestly
make it attractive, unless our very definition of good style
is at fault. This is the sole reason why it should be clear
and not mean but appropriate. It fails in clearness both
when it is prolix and when it is condensed. The middle
path is clearly the fittest. And so attractiveness will result
^
And in the second half it is noteworthy that /ttr; Taireiv-fiv is used : meanness
is represented as a defect to be avoided, rather than elaboration as an excellence to
be coveted. The danger of regarding elaboration as a positive virtue is the possible
encouragement
oifine
writingthat vice of 'ecrire trop bien' which, according to
M. Anatole France, is the worst of all.
^
Quintil. viii. -z, 24: **quare non ut intellegere possit, sed ne omnino possit
non intellegere, curandum."
*
Quintil. viii.
3,1:
"
venio nunc ad ornatum, in quo sine dubio plus quam in
ceteris dicendi partibus sibi indulget orator, nam emendate quidem ac lucide dicen-
tium tenue praemium est, magisque ut vitiis carere quam ut aliquam magnam
virtutem adeptus esse videaris."
39
^Bfrom the elements already mentioned,a suitable combina-
^Htion of the familiar and the unusual, rhythm, and the per-
^Wsuasiveness which is the outcome of propriety
^"
There are
f^
several points of great interest in this passage. A hint is
dropped (with the careless opulence of Aristotle) regarding
the difference between ordinary oratorical or spoken prose on
the one hand, and on the other hand literary prose such
as that of Isocrates and his school of pamphleteers and
historians. It is interesting, too, to see the doctrine of the
mean i^ro
ixeaov) imported from the ethical domain and applied
to discourage prolixity and the opposite vice of undue
condensation. And it is still more interesting to observe at
the same time that Aristotle does not approve the use, in
connexion with style, of terms denoting personal qualities
such as
'
attractiveness ' and
'
elevation.' Possibly he here
alludes with disapproval to some early definition or classifica-
tion of styles which was being mooted by Theophrastus or
Theodectes^. He points out that the elements of an attractive
style have already been described. To this it might be
replied that types of style will vary greatly according to the
manner in which the various elements are combined
;
and
this Aristotle would no doubt admit, though he might hold
that on questions of tact positive instruction could only be
moderately successful ^ But on the whole, even in Aristotle,
and still more in the later critics, the Greek attention to the
^
Aristot. Rhet. iii. 12, 6:
7/
t^kv odu iirideiKTiKT} X^îs ypa(f>LK0}TaT7j' rb yap ^pyov
a&rijs avdyviccns' devr^pa 5e ij diKaviKT^. rb bk irpoadiaLpeicrdai ttjv \4^lv, 8tl ijde'iav
del Kal jxeyaXoirpeTTTJ, ireplepyov ri yap fxdWov ^ au}(f)pova Kai iXevdipiov Kal et tis
dWr] ildovs dperri ;
rb 8^ i^beiav elvai iroL-qcei drfKov on rd eiprjixiva, eiirep opdm
wpKTTai 7]
dperi] ttjs X^êws" tLvos yap '^veKa del aa(pri Kal fJLT) TaTreivrjv eTvai dXXd
irpiirovaav ; &v re yap
d5o\(rxVi
ov aatprjs, ov5i dv avvrofioi. dXXd. SjjXov otl rb
(jAcov dpp.6TTi. Kal rb rjSeiav rd elp-qp.iva iroiricrei, du ev
fiiX^Vi
"^^
eiiodbs Kai ^pik6v,
Kal b pvdiu.6s, Kol rb in.davbv iK rod irpiirovTos.
-
Quintil. iv.
2, 63: "ilia quoque ut narration! apta ita cum ceteris partibus
communis est virtus, quam Theodectes huic uni proprie dedit ; non enim magnificam
modo vult esse verum etiam iucundam expositionem." Cp. rr. ipfx.. 114.
^
Aristot. RêL iii.
7,
8: to
5'
eiiKalpus
v /J-V
evKaipus
XPÔ"^""
Koivbf dirdvTwv
Twv dbdv ia-riv. And he might have added how difficult it is to teach this tact by
precept: cp. Dionys. Hal. de Comp. Verb. c. 12, KaipoO d^ oCre prp-up oddds oOre
<f>i\6ao(po$ els rbbe xp^fôv
t^x^V
(^pi-o^^v. No matter how many rules may be given,
much must depend on the individual's sense of Kaipbs, to irpiirov, Tb /xiaov.
40
INTRODUCTION.
minutiae of expression is conspicuous, especially when con-
trasted with modern laxity.
The assiduous care devoted by Greek writers to the
attainment of beautiful form is attested not only by the
excellence of their writings themselves, but by the stories
told in antiquity concerning the industry with which Plato,
Isocrates, and Demosthenes polished and repolished their
compositions. A like inference may also be drawn from the
elaborate exposition of the laws of Greek artistic composition
offered by the ancient critics, whose analysis, though some-
times pushed too far, is found on examination to have a
solid basis of fact. For example, the long list of
figures
(axv/âra)
attributed to Demosthenes shows, if it shows
nothing else, with what various art a great master could
play upon so perfect an instrument as the Greek language^
The same impression is produced by the elaborate rules laid
down for the structure of the period (TreptoSo?), with its
members {icwXa) and phrases {Ko^jxara)
;
and by the con-
siderations which are said to determine the admission or
avoidance of hiatus {ovîcpovai^ (fxovrjeuTayv). And it has
been reserved for the scholarship of our own time to show
in detail that the measured march of the prose of Demo-
sthenes is largely due to the fact that as far as possible he
avoids the occurrence of three or more consecutive short
syllables, unless these form part of a single word, or of two
words so closely connected as to be practically one.
The rhythmical prose of Demosthenes may be regarded
as hitting the mean between the metrical restrictions of
poetry and the untrammelled licence of ordinary conversa-
tion. The Greek theorists saw how sensitive even an ordinary
audience was to the pleasure of musical sound
;
Dionysius
gives some striking illustrations of the fact
2.
They felt,
therefore, that prose must not forego all the advantage thus
possessed by poetry, and that, while it was bad art to write
metrical prose, it was also bad art to write unrhythmical
^
For the Demosthenic figures, see Blass, AU. Bereds.^ iii.
pp.
1598"., and
Rehdantz-Blass, Demosthenes' Neun Philippische Reden: Rhetorischer und Stilisti-
sche?' Index, passim.
^
D. H. p. 14.
41
prose. Most Greek prose, it must always be remembered,
was originally intended for the ear rather than for the eye
;
and in later times, when he could no longer listen to the
author's voice, the lover of literature employed a skilled
anagnostes to read to him.
Modern scholars, distressed by the minute analysis to
which the Graeco-Roman critics subjected the charms of
literary style, have exclaimed that we would willingly, if
we could,
"
attribute all the minute analysis of sentences in
Greek orations to the barren subtlety of the rhetors of Roman
times, and believe that the old orators scorned to compose
in gyves and fetters, and study the syllables of their periods,
and the prosody of them, as if they were writing poetry
^"
But, surely, we never feel, to take the case of poetry itself,
that the genius of Shakespeare was straitened because he
wrote in verse ; nor do we find it easier to believe that the
mastery (Setvonj^;) of Demosthenes was the less because it
embraced at once form and substance, manner and matter.
Sovereign artists find their best opportunity in the so-called
restraints of form
;
they move most freely within the bounds
of law. It may be, however, that the rhetoricians themselves
are somewhat to blame for this prejudice
;
in their zeal to
unlock the secrets of literary expression they sometimes
seem to ignore the difference between the methods by which
the artist composes and the analyst decomposes, between
the method of life and the method of dissolution, between
creative fire and cold criticism. They seem sometimes
almost to suggest that a work of genius might be produced
by the careful observance of their rules. They forget that
a great writer passes rapidly and almost unconsciously
through the stages of instinct, habit, and art. In a sense
he absorbs all processes, and is modest enough to remember
that there is withal an element of happy chance in composi-
tion,that
"
skill is in love with luck, and luck with skill
\"
^
Mahaffy, Classical Greek Literature, ii.
p. 192.
2
Agathon's line rkxvr\ nuxw
ânpê Kai
r^xv t^X^W
(cp' Journal
of
Hellenic
Studies, XX.
46).
Aristotle is fond of quoting from Agathon lines showing the part
played by
r()X*\
in human action. Cp. tt. (I^. ii.
3.
42 INTRODUCTION.
Granted, however, that the Graeco-Roman rhetoricians some-
times magnify their calHng unduly, our debt remains great
to such a writer as Dionysius for his attempt in the De
Compositione Verborum to analyse the appeal made to the
emotions by beautiful words harmoniously arranged. He
discloses many beauties which would otherwise have been
lost upon modern readers, and we cannot fail to endorse
his assertion that care for the minutest details of eloquence
could not be below the dignity even of a Demosthenes ^
Dionysius himself had, no doubt, a constructive aim in
his analysis of the great writings of the past. He was a
believer in imitation {[jbiixrja-Ls;), and holds up Demosthenes
as a model, pointing out that Demosthenes in his turn had
imitated Thucydidesl No higher standard than the Demo-
sthenic could have been chosen
;
and the effect of Dionysius'
advocacy on the Greek writing of his own time cannot have
been other than good. In contemporary Latin literature,
imitation of Greek and early Roman writers was also much in
vogue
;
and the Greek influence purified Roman taste, though
^
Dionys. Hal. de Comp. Verb. c.
25:
cp. Cic. Orator,
140 ff. The value of
the kind of verbal analysis offered by Dionysius might be illustrated by a somewhat
similar analysis of Virgil's line tendebantque ?nanus ripae zilterioris aniore in Mr
A. C. Bradley's recent Inaugural Lecture on Poetry
for
Poetry's Sake,
p. 25: "But
I can see this much, that the translation (sc. 'and were stretching forth their hands
in longing for the further bank
')
conveys a far less vivid picture of the outstretched
hands and of their remaining outstretched, and a far less poignant sense of the
shore and the longing of the souls. And it does so partly because this picture and
this sense are conveyed not only by the obvious meaning of the words, but through
the long-draM'n sound of 'tendebantque,' through the time occupied by the five
syllables and therefore by the idea of 'ulterioris, ' and through the identity of the
long sound 'or' in the penultimate syllables of 'ulterioris amove'all this, and
much more, apprehended not in this analytical fashion, nor as added to the beauty
of mere sound and to the obvious meaning, but in unity with them and so as
expressive of the poetic meaning of the whole." Such analysis as this will, in
many minds, quicken the sense of beauty; and in so doing it will surely justify
itself, even to those who least like to see the secrets of literary beauty investigated.
It is in the best sense educative, and so is a similar analysis of other Virgilian lines
in Mr Courthope's Life in Poetry: Law in Taste,
p. 72. Cp. the chapter on the
"
Style of Milton : Metre and Diction
"
in Mr Walter Raleigh's essay on Milton.
2
Dionys. Hal. de Thucyd. c. 53. The De Elocutione presupposes the habit of
imitation, but it does not often refer directly to it, though in

112, 113 the practice
of Herodotus and Thucydides, as imitators, is contrasted.
43
it may have tended to stifle originality and to discourage
independence. In the so-called 'classical' criticism of the
sixteenth, seventeenth, and eighteenth centuries of our own
era, it was perhaps from Horace more directly than from
Dionysius that the idea of imitation was derived. And in
our own generation R. L. Stevenson, who (with no direct
knowledge of the Greek critic) has analysed style in a manner
very similar to that of Dionysius, has left it on record that
he
"
played the sedulous ape," when training himself to
writer The great use of the imitation of masterpieces is that
it gives a young writer hints in craftsmanship and reveals
to him hidden beauties in his models ; if carried to excess
and allowed to check spontaneity and impair sincerity, it is
fatal to all true style.
The subject of English prose style has been treated in
recent years not only by R. L. Stevenson, but by writers as
various as Walter Pater {Âppreciations,
pp.
i
36),
Walter
Raleigh {Style), Herbert Spencer {Philosophy
of
Style),
J.
Earle {English Prose,
pp. 334
368),
*G. Saintsbury
{Specimens
of
English Prose Style,
pp.
xv.xlv.), and
J.
A.
Symonds {Essays Speculative and Suggestive, i.
pp.
256
331
and ii. i 29)2.
A glance at these English books on style, and still more
at French manuals of composition such as that of G^ruzez
or German treatises like Gerber's Die Sprache als Kunst,
will show how much of the old classification and terminology
still remains,
'figures of thought,' 'figures of speech,' 'period,'

and the like^ Some ancient excesses, such as the applica-
tion of the term
figures of
speech to words like
'
iamiam
'
and
^
For Stevenson's own description of his early habits of imitation, reference may
be made to Graham Balfour's Life of
Robert Louis Stevenson, vol. i.
p.
200.
Stevenson's essay on Some Technical Elements
of
Style in Literature will be found
in his Miscellanies, iii.
pp.
236261 (Edinburgh edition) : "it is a singularly sug-
gestive inquiry into a subject which has always been considered too vague and
difficult for analysis, at any rate since the days of the classical writers on rhetoric,
whom Stevenson had never read" {Life,
ii.
p. 11).
^
To this list may be added the introductory notices in the five volumes of
Craik's English Prose Selections.
^
Period, colon, and comma with a change of meaning now do duty for terms of
punctuation.
?<
^
44
INTRODUCTION.
Miberum/ haveit is to be hopeddisappeared, leaving
only what has been proved by experience to be of per-
manent utility. Thus restrained, the ancient doctrine of
tropes and figures remains the basis of the modern^ _And
the .jbur_ Demetrian types
of
style seem to be regarded as a
useful division for modern purposes^nce in English poetry
y
the elevated style can be freely illustrated from Milton, the
graceful from Tennyson,
\\\^^
forcible from Shakespeare, the
simple from Wordsworth'^. But though much of the ancient
doctrine survives, there are (in almost every country except
the United States of America) some signs of failing interest
in the subject generally. In France, the country of great
prose, rhetoric and style have always been carefully studied,
thanks largely to the long tradition which linked the schools
of Lyons and Bordeaux with the teaching of Quintilian^
And yet, even in France, the study is said to be declining
;
and so rhetoric, which in ancient times was widely cultivated
^
Wilhelm Scher^r {Poetik,
p. 50):
"Die (antike) Rhetorik hat ferner fiir die
Lehre vom Ausdruck die Classification der Tropen und Figuren so reich ausgebildet,
dass die ganze Folgezeit nichts hinzufugte."For 'iamiam' and 'liberum' as figures
of speech, cp. Quintil. ix. i, 16; and for 'dead figures of speech, 'see
J.
P. Postgate's
Preface, p.
xxx. to Mrs Gust's translation of Breal's Essai de Semantique.
^
Cp. Abbott and Seeley's Ejiglish Lessons
for
English People,
pp.
69
86,
where these divisions are adopted and illustrations given from the poets mentioned
above. It might be interesting to ask what estimate an ancient Greek critic would
have formed of such lines as Browning's in Pippa Passes
:
God's in his heaven
All's right with the world!

He would probably have decided that they lacked /MeyaXoirpiireia (cp. tt. epfi.
5),
for an example of which he might point to Sophocles' rendering of the same
idea
:
ddpffu fioi, ddpad, T^Kvov î /xiyas ovpavcp

ZeiJs, 0$ itpopg, irdvra Koi Kparijvei. (Soph. El.
174.)
Browning's lines he would presumably refer to the xapa/cTTj/) 1<txv6s and praise them
if he regarded them as dramatically or otherwise appropriate (cp. Cassio's "Well:
God's above all," Othello, ii.
3).
The author of the irepl 'EpfjLrjpeias at all events,
with his liking for familiar proverbs, would look with favour on a literary style
that was in close touch with the spoken language.
^
Quintilian was of Spanish origin. His name, like that of the Gaul Marcus
Aper in the Dialogus de Oratoribus, suggests the start which the Latin races, as
compared with the Teutonic, were to have in the field of rhetoric or literary
criticism.
SUMMARV AND ASPECTS.
45
and in the middle ages was one of the subjects of the trivium^
is being threatened in her great modern stronghold. All
the more reason that other countries, if they hold the view
that to write one's own language correctly and beautifully
is no small part of a true patriotism, should be ready to
learn from the lessons of the past\
One of these lessons is the perennial nature of the anti-
thesis, Asianism and Atticism, a reference to which may fitly
conclude this part of the Introduction. 'Asianism' and
'Atticism' are, it must be admitted, difficult expressions to
define exactly^ But certain passages of Cicero, Dionysius,
and Quintilian, sufficiently indicate the historical origin of
the term Asianism, and the general tendencies which it and
Atticism embodied in the opinion of critics well qualified
to judge. In the Brutus, Cicero describes eloquence (at the
end of the Attic period) as setting sail from the Piraeus, and
then passing through the islands of the .-Egean and traversing
the whole of Asia, sullying herself on the way with foreign
fashions, losing her sound and wholesome Attic style, and
almost unlearning her native language^. In the same way
Dionysius dates the decline of the
*
ancient and philosophic
rhetoric ' from the death of Alexander of Macedon, and
vividly depicts the scandalous ways of the meretricious
rhetoric which had usurped its placed Quintilian, again,
^
Gerald of Wales, writing at the beginning of the thirteenth century and
lamenting the low ebb to which letters had sunk in England, seems (as far as can
be judged from his fragmentary text and from subsequent references to his views)
to have laid stress on the importance of "recte lepide ornate loqui," and to have
recommended training "non solum in trivio, verum etiam in authoribus et philo-
sophis" (Brewer, Giraldi Cambrensis Opera, iv.
pp. 7,
8).
'^
The difficulty is noticed by Wilamowitz-Moellendorff in his paper on Asianis-
mus und Atticismus (Hermes, xxxv. i ff.). The recent literature of the subject is
reviewed by Ammon in Bursian's yahresbericht iiber die Fortschritte der dassischen
Altertumswissenschaft, xxviii.
1, pp.
206211.
^
Cic. Brut.
51 : "nam semel e Piraeo eloquentia evecta est, omnes peragravit
insulas atque ita peregrinata tota Asia est, ut se externis oblineret moribus
omnemque illam salubritatem Atticae dictionis et quasi sanitatem perderet ac
loqui paene dedisceret."
*
Dionys. Hal. dc Antiq. Orat. c. i : cp. D, H.
pp. 43,
44. The controversy
is not mentioned in the ir.
epfx., which however seeks its models in the best Attic
writers.
46
INTRODUCTION.
remarks that Asiatic oratory lacked judgment and restraint
;
that, whereas Attic taste and refinement could not endure
an idle redundancy, the Asiatics carried their innate vanity
and bombast into the domain of eloquence \
Atticism may, therefore, be regarded, from the standpoint
of the Graeco-Roman critics, as a reversion to the classical
models, and Asianism as a literary degeneracy showing itself
chiefly, but not entirely, in the use of excessive ornament.
It was, above all, in the want of the Attic sense of measure
and fitness that Asianism declared itself. Among the Attic
writers we find examples of the stately as well as of the
plain style ; among the Asiatic writers, emulators of the
plain style as well as of the stately. But among the latter
the Attic taste is wanting
;
and this makes all the difference
2.
They made no attempt to preserve that taste through constant
contact with the Attic masterpieces, or through the study of
rhetoric as an art rather than as simple declamation.
In Latin literature of almost every period Asianism had
its advocates and representatives. This is also true of
Atticism, which readily commended itself to the severity of
taste so characteristic of the Roman character. It is, indeed,
to the ruling classes of Rome that Dionysius ascribes the
1
Quintil. Inst. Or. viii. prooem. 17:
"his (sc. Asianis) iudicium in eloquendo
ac modus (defuit)"; ibid. xii. 10, 17: "quod Attici limati quidam et emuncti nihil
inane aut redundans ferebant, Asiana gens tumidior alioqui atque iactantior vaniore
.
etiam dicendi gloria inflata est."
^
Quintil. xii. 10, 20 has well marked the essential unity underlying the
individual differences of the Attic writers: "nemo igitur dubitaverit, longe esse
optimum genus Atticorum. in quo ut est aliquid inter ipsos commune, id est
iudicium acre tersumque : ita ingeniorum plurimae formae. quapropter mihi falli
multum videntur, qui solos esse Atticos credunt tenues et lucidos et significantes et
quadam eloquentiae frugalitate contentos ac semper manum intra pallium conti-
nentes. nam quis erit hie Atticus? sit Lysias; hunc enim amplectuntur amatores
istius nominis modum."After mentioning in this way Isocrates, Antiphon, Isaeus
and others, Quintilian proceeds: "quid denique Demosthenes? non cunctos illos
tenues et circumspectos vi, sublimitate, impetu, cultu, compositione superavit? non
insurgit locis? non figuris gaudet? non translationibus nitet? non oratione ficta dat
tacentibus vocem? non illud iusiurandum per caesos in Marathone ac Salamine
propugnatores rei publicae satis manifesto docet, praeceptorem eius Platonem
fuisse? quem ipsum num Asianum appellamus plerumque instinctis divino spiritu
vatibus comparandum?"
SUMMARY AND ASPECTS.
47
triumph which Atticism seemed to have won in his own
day\ Cicero, whether through the influence of his Rhodian
training or through his own instinctive perception of oratorical
effect, was no extreme adherent of the Attic school. He
cannot have failed, though he nowhere expressly assigns this
reason, to recognise that the style of such a writer as Lysias
would be out of harmony with the genius of Latin, a language
in which (owing to its comparatively limited resources) sim-
plicity is apt to end in baldness. It was rather in the rich
periods of Isocrates that Cicero found his model for that
Latin rhetoric which writers of modern Europe have so often
imitated
;
and it is therefore not easy to exaggerate the
influence of this Attic orator upon the development of artistic
prose. And if this be true of Isocrates, it applies to his
master Gorgias. There is, in truth, something strangely
fascinating in the lasting and prolific energy of these two
indomitable old men.
As was pointed out earlier in this introduction, Gorgias
may well be considered the founder of artistic prose. It is
true that his love of the figures, and of other ornaments of
style, sometimes led him into extravagance and fine writing,
and caused his name to be coupled in antiquity with that
of Hegesias, the supposed founder of Asianism^. Neverthe-
less it was a great achievement to establish the doctrine that
prose no less than poetry should be artistic. Only at
a comparatively recent stage of modern literary criticism
was it recognised that the Iliad and the Odyssey are
not 'natural' poetry but artificial in the highest degree.
Gorgias no doubt saw this, as did Dionysius at a later
time ; and he would have perceived no less clearly that
the simplicity of such prose as that of Lysias was not natural
\i\xt the result of art,was, in fact, a studied simplicity.
Personally Gorgias is an excellent type of that daring
and exuberant vigour which languages no less than nations
need if they are perpetually to renew their youth. He lived
to a ripe old age, attributing (it is said) his longevity to the
1
D. H.
pp.
34, 35.
2
See TT. Ci^. iii. 2.
48
INTRODUCTION.
fact that he had never given the rein to the lower pleasures ^
In his style he would seem to have remained always youthful,
and thus to have incurred the reproach which later critics
intended to convey by the terms fjueipaKieveo-daL and veavi-
eveardac.
His pupil Isocrates, on the other hand, illustrates the
usual rule that with added years there comes a more subdued
beauty of styled Two great admirers of Isocrates in later
days, a Roman master of style and a Greek critic, have
recognised to the full the part played in the formation of
style by the ardour of youth. In the young orator I would
welcome a luxitriant opulence^ says Cicero, when describing
the early efforts of Sulpicius^. Every youthful heart
^
Cp. T. G. Tucker {Classical Review, xiv.
247)
on a 'Saying of Gorgias,' where
the reference is to Plutarch de Glor. Athen.
5.
-
Cic. Or. 176: "Gorgias autem avidior est generis eius et his festivitatibus
sic enim ipse censetinsolentius abutitur

;
quas Isocrates, cum tamen audivisset in
Thessalia adulescens senem iam Gorgiam, moderatius etiam temperavit
;
quin
etiam se ipse tantum, quantum aetate procedebat
prope enim centum confecit

annosrelaxarat a nimia necessitate numerorum
;
quod declarat in eo libro, quern
ad Philippum Macedonem scripsit, cum iam admodum esset senex; in quo dicit
sese minus iam servire numeris quam soHtus esset." The reference here is to Isocr.
Phil.
27,
ovbk yap rais wepl tt]v X^^lp evpvdfiiais Kal Troi/ciXtats KeKoa/JufiKafxev avrbv, ah
airds re vewrepos iSv
exP<^/J-Vv
Kal rois &X\ois vir^deiâ, 8l wu rods \6yovs Tjdiovs dv
afxa Kal TnaToripovi iroLoiev. wv ov5h ^tl Mva[xai dia T-qv ifKiKiau. These words
would be written when Isocrates was
90.
In his Panathenaicus (aet.
98)
he writes:
veurepos fi^v (j}v...irpl eKeivovs (tovs \6yovs) eirpayixaTevbiiriv roiis irepl tQp <TVfx(pp6v-
Tuv ry T 7r6Xei Kal rots &WoLs"E\\7i(n avfiôvXeiJOin-as, Kal iroWCip fxkp
ipdv/jLTjfMaTUiP
y^fioPTas, ovK dXlyuv
5'
dPTidâeup Kal wapKrucreup Kal tCip AXXup Ibewp tup ip rais
prjTOpeiais diaXafiirovaup Kal roi/s aKoijoPTas eTncrrjfjLalpecrdat Kal dopvêtp dpayKaôv-
awp (Isocr. Panath. i, 2). The 'old man eloquent,' therefore, like Milton himself,
cultivated greater austerity in his later years (for Milton in this regard, cp. Seeley
Lectures and Essays p. 144).
Milton threw off, in particular, that 'troublesome
and modern bondage of riming,' the connexion of which with the
'
figure ' ofioior^-
XevTOP has been so well traced in Norden's Kiinstprosa (ii. 810 ff.).
^
Cic. de Orat. ii. 21, 88 (Antonius loquitur), *atque ut a familiari nostro ex-
ordiar, hunc ego, Catule, Sulpicium primum in causa parvula adulescentulum
audivi, voce et forma et motu corporis et reliquis rebus aptis ad hoc munus, de quo
quaerimus, oratione autem celeri et concitata, quod erat ingenii, et verbis efferves-
centibus et paulo nimium redundantibus, quod erat aetatis. Non sum aspernatus
;
volo enim se efferat
in adulescente fecunditas \
nam sicut facilius in vitibus revo-
cantur ea, quae sese nimium profuderunt, quam, si nihil valet materies, nova
sarmenta cultura excitantur, item volo esse in adulescente, unde aliquid amputem
;
non enim potest in eo esse sucus diuturnus, quod nimis celeriter est maturitatem
I
DATE AND AUTHORSHIP.
49
passionately pursues beauty
of
style, says Dionysius, when he
offers his Arrangement
of
Words to the young Melitius Rufus
as a birthday gift. Yet no two writers have shown more
plainly, in their rhetorical teaching, how great is the need of
discipline, if style is to be not only ardent, but simple, strong,
and beautifully clear.
C. Date and Authorship of the De Elocutione.
For more than one reason it has seemed best to give
some account of the subject-matter of the De Elocutione^
and of other similar treatises on prose style, before discussing
the difficult question of its date and authorship. Where
possible, it is as well not to start with that note of scepticism
which is so characteristic of modern scholarship, but rather
first of all to suggest, independently of disputed points, the
literary value and permanent interest of the work in question.
The course here taken has this further advantage that the
internal evidence with regard to the date and authorship of
the De Elocutio7ie can now be considered in the light of the
historical sketch already given. And in this, as in so many
similar cases, it is the internal evidence that requires the
most detailed treatment.
I. Internal Evidence.
Reserving for the present the discussion of the external
evidence, which is of a precarious kind, we may ask what
opinion we could have formed, on purely internal grounds,
as to the date of the treatise, if it had come down to us
adsecutum.' Cp. Brut.
91,
316,
'quibus non contentus Rhodum veni meque ad
eundem, quern Romae audiveram, Molonem applicavi cum actorem in verls causis
scriptoremque praestantem, turn in notandis animadvertendisque vitiis et instituendo
docendoque prudentissimum. is dedit operamsi modo id consequi potuit
, ut
nimis redundantes nos et superfluentes iuvenili quadam dicendi impunitate et licentia
reprimeret et quasi extra ripas diflfluentes coerceret.' The words of Dionysius are
iTrri>i]ra.L yap arraa'a viov
rf^vxh
Tepi t6v t^$ ipfiijvdas (apaia/xdv {de Comp. Verb.
c. I).
R. a'
50
INTRODUCTION.
without any external evidence bearing upon the point. To
what century, and to what group of writers on style, should
we have been inclined to assign it? The following table,
which includes the principal writers mentioned earlier in this
introduction, will show the character of the problem, though
it may be very far from suggesting a definite solution of it.
The names are of course arranged, and assigned to centuries,
in a rough and approximate order only.
CHRONOLOGICAL TABLE OF GREEK AND ROMAN
EXPONENTS OF STYLE.
500400 B.C.
Empedocles. Corax. Tisias. Gorgias. Protagoras.
Prodicus. Hippias. Theodorus. Thrasymachus.
Antiphon.
400300 B.C.
Lysias. Isocrates. Demosthenes. Plato. Aristotle.
Theophrastus. Demetrius Phalereus.
300200 B.C. [Alexandria.] [Hegesias.]
200100 B.C. [Pergamus.
]
Hermagoras.
100 B.C.I A.D.
Cornificius. Cicero. Horace. Dionysius of Halicar-
nassus. Caecilius of Calacte.
I
100 A.D.
'Longinus' (third century, according to the traditional
view). Tacitus [Dialogus de Oratoribus). Quintilian.
TOO200 A.D. Hermogenes.
(i) Sources of the Treatise^ and its Prosopographia.
Whoever the author may have been, it is clear that he
follows, to a great extent, the teaching of the Peripatetic
school. As will be shown in the course of the Notes, refer-
ences are made to Aristotle throughout the treatise \ At
first sight, indeed, the De Elocutione might seem to be simply
1
See

II, 28,
29, 34, 38, 41, 81,
97,
116, 154,
i57 164, 225, 230, 233, 234.
I
51
a more comprehensive treatment of the subject of style on
the lines laid down in the Third Book of the Rhetoric. The
Peripatetics as a class are mentioned in

181. Aristotle's
immediate successor Theophrastus is quoted in
41, 114,
173,
222, fesp) and is probably followed in many other places.
The numerous references made to Aristotle in the course of
one brief treatise seem the more noteworthy in contrast with
the practice of other rhetoricians, such as Dionysius of Hali-
carnassus, who are inclined to dispute or ignore the authority
of the philosophers and their followers^ It is, accordingly,
not surprising that Petrus Victorius who had studied both
the Rhetoric and the De Elocutione so carefully should have
upheld the tradition which ascribes it to Demetrius Phalereus.
This is the view also adopted (probably from Victorius) by
Milton when, towards the end of his Tractate
of
Education, he
refers to "a graceful and ornate rhetoric, taught out of the rule
of Plato, Aristotle, Phalereus, Cicero, Hermogenes, Longinus.'
But though many important details are borrowed from
Aristotle, the scheme of the book as a whole clearly implies
the currency of a doctrine later than his. The treatise opens
with an introductory account of the periodic structure of
sentences; but its real subject is, as already indicated, the
four types of style. Now this classification cannot be due to
Aristotle, since in his extant works we find no more than the
germs of such a division of style; and it is unlikely that
Theophrastus recognised four types. Yet the fourfold divi-
sion does not appear to have originated with the author of
the De Elocutione
(
36),
though he claims to have treated a
neglected aspect of one of the types
( 179).
It is even
stated
(
36)
that some authorities recognised only two types,
the plain arid the elevated. A natural, though not an abso-
lutely necessary, inference from all this is that the writer
lived at a time, considerably later than that of Aristotle,
when the doctrine of the types of style had undergone many
^
D. H.
pp. 40,
41.It will be remembered that the practical rhetoric of the
Isocratic school was revived, at Rome, by Dionysius, who had for collaborator the
Sicilian Caecilius. Though he more than once acknowledges his own obligations
to Theophrastus, Dionysius rebukes (i?/. ad Amm. I.) the pretensions of certain
Peripatetics of his day.
42
52
INTRODUCTION.
developments and modifications. The special point in which
t\iQ De Elocutione di^QVs from all other similar extant treatises
is its recognition of Sclvott]^ as a separate type of style\
After this brief mention of Aristotle and Theophrastus
as sources from whom parts, and parts only, of the De
Elocutione are drawn, we may proceed to review any further
personal names, occurring in the course of the treatise, which
seem to bear on the question of date and authorship. The
most important name from this point of view is that of
Demetrius Phalereus himself, which is actually found in the
treatise. In

289 we read :
"
Often in addressing a despot,
or any person otherwise ungovernable, we may be driven
to employ a figure of language if we wish to censure him.
Demetrius of Phalerum dealt in this way with the Macedonian
Craterus, who was seated aloft on a golden couch, wearing a
purple mantle, and receiving the Greek embassies with haughty
pride. Making use of a figure, he said tauntingly :
*
We
ourselves once received these men as ambassadors together
with yon Craterus.' " The existence of this section naturally
raised doubts as to the authorship in the minds of the scholars
of the Renaissance
;
and the De Elocutiojie thus passed, much
earlier than the De Sublimitate, into that position of dispute
and uncertainty which has been the lot of so many Greek
rhetorical treatises. Victorius, however, saw in the section
a proof of his own view with respect to the authorship. It
is only natural, he remarks, that Demetrius Phalereus should
desire to keep alive the memory of a deed which did him
so much honour^. Later believers in the Demetrian author-
ship have thought it safer to assume, on slender grounds, that
the
passage in question is a late addition ^
1
Two circumstances make it specially difficult to infer date of authorship from the
subject-matter of rhetorical treatises: (i) the dearth of extant documents in the
period between Aristotle and Cicero;
(2)
the habit of unacknowledged compilation.
2
Petri Victorii Conunentarii in libruni Demetrii Phalerei de Elocutione (Flor.,
1594)
P-
252:
"
qui factum id suum honestum perire noluerit, ideoque moni-
mentis litterarum prodiderit, quod exemplo multorum facere potuerit, praesertim
cum mirifice conveniat huic loco."
3
H. Liers, De Aetate et Scriptore libri qui fertur Demetrii Phalerei rrepl
'Epuvveias, p. 34.
53
No literary reference throughout the De Elocutione is so
damaging to the traditional view as this. But the mention
of other names, or the manner of their mention, may also
be held to suggest a later time. No inference can perhaps
be drawn, one way or the other, from the nature of the
allusions to the orators Demosthenes and Demades. The
supremacy of Demosthenes is, it is true, not acknowledged
quite so explicitly in this as in other writings of its class
;
but the possession of a high reputation is implied in the large
number of illustrations drawn from his speeches. Demades
was an orator of some mark, but the relatively small number
of quotations
(
282 ff) from him shows that he is not con-
sidered to stand on anything like the same level as Demo-
sthenes.
A more definite indication of late authorship may be
sought in the references
(
153, 193, 194)
to Menander and
Philemon. Menander and Philemon were contemporaries
of Demetrius Phalereus ; but it seems to be the judgment
o{ posterity that is conveyed in
193:
"This is the reason
why, while Philemon is only read, Menander (whose style is
for the most part broken) holds the boards." The later
standpoint seems also implied in the allusion
(
204)
to i] vâ
K|ito)8a^ It is hardly likely, either, that Demetrius Phalereus
would have spoken collectively of ol IIcpnraTTjTiKoC
(
181) as
possessing common characteristics of style, or would have
quoted from Aristotle and Theophrastus as from authorities
widely recognised in the rhetorical schools. The Greek
classics seem, in the De Elocutione^ to be designated as ol
apxaioi
(
67, 244),
as distinguished from the rhetoricians,
styles, and movements of the author's own time, which are
represented by such expressions as ol vuv priropcs
(
287),
ij vvv
KaT^X^<^* SeivoTTjs
( 245),
S vvv ovo(j.d5op.V
(
237)-
In connexion with these indications of a later period may
be mentioned a non-literary reference which would seem to
point to Roman times. The section in question runs as
follows :
"
In general it may be said that the epiphoneme
bears a likeness to the decorations in wealthy homes,
^
These and other doubtful points will be more fully discussed in the Notes.
54
INTRODUCTION,
cornices, triglyphs, and broad purples. Indeed, it is in itself
a mark of verbal opulence"
(
io8). If by irop<f>vpais irXaTcfais
in this passage is meant the laticlave of the Roman senator,
then clearly the De Elociitiojie cannot be from the hand of
Demetrius Phalereus. But unfortunately the expression is
not altogether free from ambiguity^ The same uncertainty
attends the reference to the man
of
Gadara in
237.
If the
rhetorician Theodorus of Gadara is really meant, then we
have a reference to the time not only of Rome but of
Augustan Rome'^.
The De Elocutione contains references to many other
authors,
poets as well as prose-writers. But these references

yield no definite evidence with regard to the date of the
treatise. There is, however, some reason to think that
Artemon
(
223)
and Archedemus
(
34)
were comparatively
late authors, and their date is accordingly discussed in the
Notes, to which reference may also be made for similar
discussions concerning other writers^
As the references made in the De Elocutione to previous
authors are so numerous, it might perhaps be thought to be
a safe inference that a writer who, like Dionysius of Hali-
carnassus, is not mentioned was not known. But this does
not by any means follow, especially if the author of the De
Elocutione was contemporary with, or only slightly later than,
Dionysius. In his rhetorical writings, extensive and miscel-
laneous as they are, Dionysius himself only once mentions
his contemporary and fellow-worker Caecilius of Calacte.
Nor ought we too readily to assume that two such authors
as Dionysius and the writer of the De Elocutione would
necessarily know of each other's work. It is forgotten how
small the circulation of books in antiquity may have been,
owing to the expense and labour of reproduction
;
and how
many, various, and far removed (in time and place) from one
another were the rhetorical schools. For these and other
1
See note on

108.
^
See note on
237.
P
1741
has ra57;/3ciJs.
8
Sotades
( 189),
Dicaearchus
(
182), Sophron
( 126),
Ctesias
( 212),
Philistus
(198),
Cleitarchus
( 304),
Praxiphanes
( 57),
and the painter Nicias
(
76).
p
55
reasons we shall look with distrust on that class of argument
which would maintain that the De Elocutione must of neces-
sity have come later than the works of Dionysius of Hali-
carnassus because the latter recognise only three, the former
four types of style.
(2)
Language of the Treatise : Vocabulary^ Gram-
mar^ etc. Leaving the sources and the personal names of
the De Elocutione, we may proceed to investigate its language,
terminology and vocabulary generally, accidence and syntax.
The very title-word p|jn]Va seems itself to imply a con-
siderably later date than that of Aristotle and Theophrastus,
with both of whom (as it has already been pointed out) the
accepted term for 'style' is
Xef
t<?, while with Aristotle ep^jLrjveia
is a logical or grammatical rather than a literary term. In
the same way, a technical term so elaborate as |i]poKaKotTi\Ca
( 239),
meaning
'
affectation in thought and aridity in com-
position,' must surely belong to an advanced stage in the
study of style. The term was, the writer tells us, in his own
day a recent invention, like the simpler compound KaKo^rfKof; :
and certainly no such compound presents itself in classical
times. Another rhetorical term which is specified as recent
is X6710S, used as equivalent to /uLeyaXoTrpein]^^. The phrase
ij vvv KaT\pv(ra Scivottis
(245)
has already
[p. 53
supra] been
incidentally mentioned, and attention has been called
[p. 52]
to the recognition of Becvorij^; as a separate type of style.
Full details concerning the rhetorical, grammatical, and
metrical terms found in the De Elocutione are given in the
Notes and Glossary ; and as far as possible, some indication
is added as to the earliest known occurrence of comparatively
late words. Scholars have sometimes attempted to ground
an argument as to date upon the fact that certain expressions
are missing from this rhetorical terminology, the chief of
which perhaps is rpoiro^ in the sense of
*
trope.' They have
urged that, inasmuch as Cicero {Brut. xvii.
6)
employs the
term and as it probably vvâs in use considerably before his
time, the De Elocutiofte must have been written at a com-
^
38 ApÔfxai
5'
dirb tov fxeyaXoirpeTrovs, Bvirep vvv Xoytov dvo/xdôvaiv.
56
INTRODUCTION,
paratively early date. But apart from the possibility that
the word is employed in this sense in

120, no trustworthy
argument can be founded on omissions of this kind. It is
unsafe to infer ignorance from silence.
On the other hand, the late words or forms occurring in
the De Elocutione are very numerous. The following belong
to the post-classical age, none of them being found (in extant
documents) earlier than Alexandrian, and some not earlier
than Graeco-Roman times
:
dvOviraWayri
(
60)
avOviraWdao-eiv
( 59)
dwiroKptro^
( 194)
d7rXotK6<i
( 244)
diroTOfjiia
( 292)
a7ro<f)6yiJLaTLK6(;
( 9)
dpKTLKO^
(
56)
d(n]fiei(OTo<;
(
202)
dareio-fMoî
(
1
28, 1 30)
daâkiêadai
(|
85, 1
93)
avXrjrpLa
( 240)
yv(i)/jLo\oyLK6<=:
( 9)
8cafjL6p<j)0)aL<;
(|
1
95)
Siao-Trad/jLo^;
(
68)
Bc7]yr)p.a
(
8, 1
37,
etc.)
BvarJKOOf;
(
48)
BvaKaropdcoTOii
(
1
27)
Bvapr)TO<;
(
302)
Bva(j)Ooyyo(ovia
(
48, 105)
Sv(7(f)Q)vo(;
(
69, 70, 105)
ifJbârLKO^
(
51)
ivacfyaviêiv
( 39)
iâtpeTO)^
( 125)
iâirXovv
( 254)
evrfKoo^
(48, 258, 301)
Oav/jLaapbof;
(
29
1
)
KaKO(j)covLa
(
2
1
9,
255)
KaTa\7]KrLfc6<;
(
38,
39)
fcaraa/jLiKpvvetv
(
44,
1
23)
Karepdv
(
302)
KivSvvooSrj<;
(
80, 85,
1
27)
KVK\oLBr}<;
(11)
XcKavlf;
(
302)
XidojSoXelv
(115)
/xerafjiopcpovv
(|
1
89)
fjbovoavWaô^
(
7)
oXo/cXrjpia
(3)
ovethLariKCd^
( 289)
TrapaTrXrjpco/jLaTCKOf;
(55)
TTpOKaTapKTiKO^
(|
38,
39)
pv6/jLOi8lj^
(
221)
(TfXiKphV6LV
(
236)
aireipdv
( 8)
crvyKdXv/jb/jia
(
lOO)
<TvyKaTaX'r]yeLV
( 2)
avfjLwepaiovv
(
2)
(TvvaXoi(f>ri
(
70)
crvvdêia
(
63, 182)
TovTeaTLv or tout' eV
(
271,
294, 301)
virohuKveiv
(
260)
VTrofcaraaKevdêtv
(
224)
eo-T^
(f>iXo<^p6vr]ai<;
(
23 1, 232)
Similarly the treatise contains a number of words found
57
in classical times but here used in a post-classical sense,
in a meaning not found before the Graeco-Roman or at all

events the Alexandrian age
:
dira^'yekia
(
1
1 4)
avToOev
(
122)
Pdaavo<;
(
20l)
BiairaLêtv
( 147)
hoKLfidêiv
(
200)
eKriOeordav
(
35,
200)
iirccpepeiv
(
34,
5 1,
etc.)
epfirjvevetv
(46,
I20, I2l)
VX^Bv'i
(
42, 68)
XoyiKo^;
(
I,
42, 117)
XotTTOI^
( 240)
TrapeXKeiv
(|
58)
irepia'yco-fr)
(
19, 45,
etc.)
irpodcDTTov
(
130, 134,
etc.)
aT)ijiL(68r]<;
(
208)
VTrepTTLTrTetv
(
42)
On the other hand, a good many words or forms occur
which are specially Attic
:
KM/jLwSeiv
( 1 50)
K(o/jL(pSo7rot6
etc.)
daTetêo-Oac
(|
1
49)
avToa'XêhidêLv
(
224)
Tp6(f)0aXiiMO<i
( 293)
KLvhvveveiv
(
40)
Ko/j,-\lrta
(36)
These Attic forms are of course consistent with either
classical or post-classical date,with either Attic or Atticist
authorship. But the latter alternative is decisively reconj-
mended by the simultaneous occurrence of so many words
and forms which are admittedly post-classical. The Atticism
is but the veneer.
It is worth notice that a considerable number of words
or forms occurring in the De Elocutioiie are airag elpriji^va. The
following list is, probably, fairly complete
:
dBo\crxoTepo<;
(
212)
/jbeTpoecBrjî
(
1 8
1,
182)
dpxatoetByj^
( 245)
îjpoKaKo^rjXla
( 239)
draKTorep(o^
( 53)
irapd^va/jia
( 55)
Bwdarc;
(
292)
7repto-croTe;î/ta
( 247)
Bv(T(f)Ooyyovfia
(55)
fieTacTVPTtdevac
(
11,59,
etc.) <TvveLpfi6<;
(
1
80)
58
INTRODUCTION.
Most of these words are probably late. But the very
existence of words found only in the De ElociUione suggests
caution in the use of the linguistic criterion. We are bound
constantly to bear in mind the fact that we have but the
scanty remains of a vast literature.
The extent to which the treatise, as it has come down
to us, uses both older and later forms of the language is seen
in its employment, at one and the same time, of it<t and tt.
In close conjunction we find dvdviraWao-aovra and Stararro'
fjLV(p
(
59),
icj^vXarrero and avîTXrja-aetv
(
68).
The Ionic
form era was used by the older Attic writers such as Thucy-
dides ; tt prevails in Attic inscriptions, as also in Xenophon,
the Attic orators, Plato, Aristotle ; acr is favoured by the
Koivrj, TT by the Atticists. If we are to accept the best
manuscript testimony, the author of the De Elocutione used
both forms'. The point is a small one in itself, but it illus-
trates forcibly the mixed character of the language of the
De Elocutione.
We pass next to the grammar of the treatise. Here
the chief point for remark is that the dual is repeatedly
found, e.g. (oairep dvdiaTaTov koI avTiKetadov ivavTicoTaTco
36,
i/c Svotv 'âpafCTijpoLV tovtolv
235,
//-era hvolv tovtolv
287. The first of these examples is the most striking,

because it was in its verbal forms, and in the nominative and
accusative cases of its nominal forms, that the dual began its
decline. It would be hard to match this emphatic collocation
of dual forms in any Greek author from the time of Aristotle
to that of the Atticistsl The dual number, it is well known,
had practically disappeared from Greek literature when it
was revived by the Atticists, who were however, unable to
secure for it more than a brief existence. The neglect of the
dual, shown in Biblical Greek and in later Greek generally,
is shared by Modern Greek.
Traces of the KOLvrjy on the other hand, are found in the
^
In the same way both aixiKpbs and fHKpb$ are found in P
1741,sometimes
side by side, as in

122. So with yiypeadai and ylvecrdai. See also tt. Vyp.
p. 179.
2
Cp. H. Schmidt De Duali Graecorum et Emoriente et Reviviscente (Breslauer
Philologische Abhandlungen vi.
4).
I
59
use of Ionic forms, such as the genitive 1/7709
(
78);
of adverbs
formed from participles, e.g. XavOavovrco^
(
181) and XeXij-
6oTOD<;
( 297);
and of such verbs as Kpefivdv
(
216) and
'X^cov6Viv
(
281).
In regard to syntax the most noticeable feature of the
treatise is, perhaps, the frequent use of the optative mood
(which, like the dual, was affected by the Atticists), and the
somewhat capricious insertion or omission of dv in connexion
with it. Other points indicative of, or consistent with, a late
date are: prepositions used in a strained sense (e.g. 8id almost
=
eV,

12);
rare verbal constructions (e.g. i^rfKorvireiv c. dat
292)
; interchange of pronouns (e.g. oSe with ovto<;, roaoaSe
with ToaovTo<i,
59,
1
89);
use of rJTrep after comparatives
(e.g.

12);
inversions of the natural order of words (e.g. iirl
TMv TlepcTcov Trj<i airXTârla^,

1
26). Points of this kind will
be discussed more fully in the Notes and Glossary.
A general review of the internal evidencesubject-matter
and language alikewould seem to suggest that the De
Elocutione, in the form in which we have it, belongs not to
the age of Demetrius Phalereus, but either to the first century
B.C. or to the first century A.D.^ The rhetorical standpoint
appears to be that of the Graeco-Roman period earlier than
Hermogenes and (possibly) later than Dionysius. The
language, likewise, is post-classical ^ Marked by all the com-
prehensiveness of the KOLvrjy which drew freely from so many
sources, it also exhibits the learned archaism of the Atticists,
but not of the stricter Atticists (including Hermogenes) of the
second century A.D.Such being the internal evidence as to
the date of composition, we have now to ask what is the
external evidence as to the name and identity of the author.
^
It is necessary always to insert the limitation,
'
in the form in which we have
it.' If we are at liberty to assume interpolations and accretions, an earlier date
may be postulated. Thus the Rhetorica ad Alexandriim is commonly regarded as
the work of Anaximenes, though it contains such forms or phrases as e'tVe/ca, Ka.Bv'
iroirTv6ii'Tuv, TraXiWoyla, irpoyvfivdfffxaTa, /XT^re (for oCre), dpdfxaTa {for Trpdyfiara),
eldi^ffofjLev, dvaXoyrjTôv, ttjv irporpoirijv trepan bpLaai, olov (556s T(2v dvpQv koL 686s rfv
Padiôvaiv, el fikv tA irpdyfiara TrttrxA
^
(Cope's Introduction to Aristotle's RhetoHc
pp. 409412,
438, 464).
'^
Not simply paulo-post-classical, as that of Demetrius Phalereus, described on
pp. 17,
18 supra.
6o INTRODUCTION,
11. External Evidence.
Conclusion.
(i) Allusions to the "De Elocutione
^'
in other
ivritings. The supposed allusions to the De Elocutione in
other writings are doubtful if early, and late if well-authenti-
cated. The earliest writer thought to refer to the work
is Philodemus, who, in his Rhetoric iv. i6, says Trovrjpov
yap el's vTroKpicnv at fxaKpal TrepioBoc, fcaddirep koi irapa
ArjfirjTpLa) Kelrai irepl rcov 'laoKparov^;. It has been sug-
gested that Philodemus here has in mind the De Elocutione
303
KCLi al TrepioBot Be at crvve')(êl<; koI /jbaKpal koi airoirvi-
jovaac Tov<; \ejovTa<; ov (jlovov KaTaKope<^ dWci kol drepiTe<^.
But it is improbable that the periods of Isocrates are specially
meant in this passage, and consequently the supposed refer-
ence is doubtful. Further, it is to be noticed that Philodemus
speaks vaguely of
'
Demetrius ' without any addition
;
and
so may, or may not, have Demetrius Phalereus in mind. It
may be added that Cicero, who was contemporary with
Philodemus, often refers to Demetrius Phalereus but betrays
no knowledge of the De Elocutione. Nor does Diogenes
Laertius
(150
a.d.) make any mention of the De Elocutio7ie
in the long list he gives of the works of Demetrius Phalereus.
On the other hand, Ammonius
(500
A.D.), the son of Hermeias,
in his commentary on the Aristotelian irepl 'Epyu,?;iêta9, appears
to mention the De Elocutione and to ascribe it to
'
Demetrius
'
(without addition) : ov yap Brj Kal avTb<;
(0
ÂpcaroreXijf;)
KaOdirep A7)/jLrjrpL0<; to irepl \o<yo'ypa<^LKrf<; IBea^ /3i/3\iov
<7vyypd'\jfa<;, Kal ovTo<i avrb eiTtypd'yjra<; irepl '^pfjL7]veia? ovBev
Bcacjjepov
7)
ovt(o<; einypdêLV rj irepl tov diroâvTiKOv Xoyov^.
The remaining testimony of the same kind is of still later
date. Theophylact (eleventh century), archbishop of Bul-
^
Berlin Aristotle iv.
96
b,
97
a.
DATE AND AUTHORSHIP. 6i
garia, has o Se âXr]pv<; koi Trepl epfXTjveia^
\6yov avvrayfiaTiov
a-irovBatov i^'qvejKev (Epist. ad Rom. Theoph., viii.
981) ;
and
a scholiast on Tzetzes (who himself belongs to the twelfth
century) has âXijpev^ Se
x^P^^
ovo/judêc to ao-retoz/ (Cramer,
Anecdota Graeca iii.
384).
The scholiasts on Hermogenes
often (e.g. Gregor. Cor. vii.
121 5 W., Anon. vii.
846,
viii.
623,
Max. Plan. v.
435)
refer to the De Elocutione, but without
implying anything as to the author's name or date, except
that he belonged to 01 dp^f^loc or ol iraXaioL This desig-
nation, however, would not, with Byzantine scholiasts, neces-
sarily imply the classical period, since late writers like Apsines
and Hermogenes himself are so designated. And the
scholiasts on Hermogenes belong, almost without exception,
to Byzantine times, the best-known of them (Gregorius, the
Metropolitan of Corinth) being not earlier than the twelfth
century.
A passage from a writer of earlier date deserves separate
mention. In his prolegomena to Hermogenes' De Idels,
Syrianus (fourth century) has the following remarks : el Se
Kai BievorjOrjo-dv tlvc'^ eirtypdy^raL tov<; ')(,^pa/c7rjpa<^ kol to
TToaov avTO)V (TvaTTjaac, T7}vdWco<^ eTrolrjaav ' w? el? ecrTLu
^lovvcno^
'
ovTO<; yap TpeU elvat x^paKTYjpd^ <f>7}cn,
top Id^yov,
TOP /JLeaov, TOP dBpov

Be "lirTrapôî irpoaTiBrjai tov re
jpa(f)LKov Koi TOV dvOrjpov 6 Be AtniTfTpios
eK^dWei top 'ypa(f)LKdp
To?9 TCTpdcriv dpearK6/jLvo<i (Walz Rket. Gr. vii.
93).
It seems
possible, notwithstanding discrepancies of terminology, that
Dionysius of Halicarnassus and the author of the De Elo-
cutione are here meant ; and if so, a further natural inference
is that the latter was regarded as considerably later in date
than the former, and that between them had come a certain
Hipparchus, who had played a part of his own in the develop-
ment of the Greek doctrine of prose style.
(2)
Manuscript Title. There still remains the evidence
of P
1
741,evidence which is as old, and may be much older,
than some of the testimony just mentioned. At the begin-
ning of the treatise this manuscript gives AtjjihtpCov *aXTip^s
ircpl p)JLT]Vas o ^<m ircpl <{>pd<rb)s
'
at the end, simply
AifiiTfrpCov
ircpl
lp)j,T^VCas.
62 INTRODUCTION.
The evidence of so excellent a manuscript as P
1741
is
manifestly of the first importance and must be most carefully-
weighed. At the same time it must be remembered that the
uncertainties presented by manuscript-titles in general are
fully shared by those of this manuscript in particular. Con-
siderable doubt attends the superscriptions it assigns to other
works which it contains. One of its headings is tovto to
fjLovoî^Xov, olfjuai, ALOvv(rio<; 6 ' AXiKupvaa-crev^ avviraêv (the
work thus designated being the Ars Rhetorica wrongly
attributed to Dionysius of Halicarnassus), and another is
r\ ov
IS/levavSpov prjTopo<^ VeveOXicdv Bialpeacf; tmv eTrcSeiKTiKajv
(where the letters added by the second hand indicate that the
treatise in question may be the work either of Menander
or of Genethlius). Moreover, the ascription to Demetrius
Phalereus in particular is rendered doubtful by the fact
that the name
'
Demetrius ' only is given in the subscription
of the treatise, and by the consideration that the name of
Demetrius Phalereus would be readily supplied by conjecture
because of the reputation for literary productivity enjoyed
by the consulting founder of the Alexandrian Library, to
whom (among other things) even the promotion of the
Septuagint translation of the Old Testament was sometimes
attributed. Or a special ground for the attribution may have
been that the treatise was clearly Peripatetic in origin. That,
however, it cannot as a whole, and in its present form, be the
work of Demetrius Phalereus was probably discerned by the
copyist who wrote against

289, arifieiwaat ri to Xeyofxevov,
irolo^ Arj/jbrjTpLO<; koX Tt<? rdhe
ypd(f)cov^.
It may be that the book was either originally issued
anonymously, or by some accident in the course of its history
lost its title, and that Demetrius is a mere conjecture designed
to fill a vacant space. If so, Demetrius Phalereus is no doubt
meant, both in the superscription and in the shorter sub-
scription. But if Demetrius (^without addition) is really the
^
Supporters of the claims of Demetrius Phalereus have been Victorius during
the Renaissance, and during modem times Durassier (with reservations), Liers and
Roshdestwenski.
DATE AND AUTHORSHIP. (>7,
original author and title, then (with so common a name) a
possible claimant may be suggested in almost any century
according to conceptions, formed on other grounds, as to the
probable date of production. Before mentioning some of
the
conjectures made on this basis, we must first refer
to the hypothesis that Dionysius of Halicarnassus is the
authorthe only positive suggestion (of any importance)
which travels beyond the names Demetrius or Demetrius
Phalereus.
Valesius (Henri de Valois) was the first to attribute the
De Elocutione to Dionysius of Halicarnassus. He did so
on the ground of a scholium on Aristophanes Clouds
401
:
KCii
X^P^^
icTTiv arixpv
Tov aWorpiov, 009
(f>rj
Atoi>vaio<; 6
* AXtKapvaa(Tv<; ev rco irepl epfjbrjveLa^, where the reference
clearly is to the De Eloctitio7ie
150 kcli diro

(ttIxov Be
akXorpiov jLveTac
x^P^^y
^? ^ ÂpLaT0(j)dp7}<i o-KcoTrrayv irov
TOV Ata ktX. But the scholium is probably no older than
Musurus
(fifteenth century), in whom it seems simply to be
a slip of memory
;
and even if it were older, there is such
a lack of confirmation for the statement from community of
style or from any other quarter that the attribution would
have to be classed with the similar ascription of the Ars
Rhetorica and the De Sublifuitate to Dionysius regarded as
an eminent and voluminous writer on rhetoric.
The attribution of the treatise to Dionysius of Hali-
carnassus may, thus, be rejected as inherently
improbable
and as lacking altogether in external evidence. If any special
name is to be attached to the treatise, it must be that of some
Demetrius (other than Demetrius Phalereus). But Demetrius
is a very common name (in the larger classical
dictionaries
some 130
persons bearing this name are thought worthy of
mention) ; and consequently many Demetriuses have at
various times been suggested as possible authors.
Muretus
first put forward the Demetrius, an Alexandrian
sophist
of uncertain date, who according to Diogenes Laertius (v.
84)
was the author of
Tex^cLi' 'prjropLKai^. Another suggestion is
^
This is the view adopted (after Muretus and Walz) by Saintsbury, History
of
Criticism, i. 89. There is much to be said for regarding Alexandria, rather than
64 INTRODUCTION.
that the author may be an otherwise unknown rhetorician or
philosopher, Demetrius of Pergamus, who is supposed to
have Hved about lOO B.C. According to still another view,
the Demetrius meant is Demetrius Syrus, whose rhetorical
instruction Cicero enjoyed at Athens in the year
78 B.C.
(Cic. Brut.
315).
Such suggestions as these serve only to show how far
from a definite solution the problem still is; and (taken
together with others not here mentioned) they may tend to
throw doubt upon the validity of modern philological methods.
But the real cause of uncertainty is the lack of sufficient
evidence, and cautious statement is consequently the only
safe course. As it stands, the evidence will hardly warrant
any more precise conclusions as to the authorship and date
of the De Elociitione than the following: (i) it is not, in its
present form, the work of Demetrius Phalereus. whatever the
weight of tradition in favour of this view
;
(2)
it probably
belongs either to the first century B.C. or the first century
A.D., the latter period being on the whole the more likely
;
(3)
its author may have borne the name Demetrius.
Rome, as the place where the book was produced. But for reasons already given
the date is not likely to have been as late as the Age of the Antonines. Nor is it
certain that the Alexandrian Demetrius belonged to so late a period.Other
references made by Mr Saintsbury to the De Elocutione will be found on
pp. 71, 103,
104, 196
ibid.
T
M-rl 'S^v-if
Itilf
J'Cr-Pri;
v^vl'i
f-Xi
f-is^
M^3
h^sL^lT
rTlililf'ifiiiT't
8
DEMETRII PHALEREI QVI FERTVR
DE ELOCVTIONE LIBER
AD FIDEM POTISSIMVM CODICIS ANTIQVISSIMI
PARISINI 1 741
(P)
EDITVS
ET IN SERMONEM ANGLICVM CONVERSVS.
I
R.
AHMHTPIOY
[ÂAHPEOS]
nEPI EPMHNEIAl
[0 ESTI HEPI ^PASEfiS].
5
I-
1. '^rio'Trep rj ttoitjcti^ Siatpeirat tol'^ jJiirpois, oTop
P. fol.
TjiMLfJieTpoi^ 7] efa/xerpot? r) tol^ aXkoiq, ovrco kol tyjv
pfjLr)Viav TTjv XoyiKrjv Statyoet kol hiaKpivei tol Kokovêva
KcoXa, KaOdirep avairavovTa rov Xeyovrd re koL tol Xeyd-
lo yieua avrd, /cat iv ttoXXoi? opoL^ 6pit,ovTa tov \6yov, iirei
TOi /xa/cpos av eirj kol OLTreipof; kol dre^vo)'; irviyoiv tov
\
'
I
KeyovTa.
2. BovXerat /xeVrot hidvoiav dTrapTitêiv tol KcoXa
ravTa, Trore
fxev
okiqv hidvoiav, otov a)<; 'E/caratd? (^rfcriv
15 ^v TTj dp-^rj Trj<; IcTTopia^, ''E/carato? MtXi^crtos coSe /xu-
êtraf' crvveikrjTrTai yap Sidvoia rw kcjXo) oXco oXt}, kol
aix(j)(o
crvyKaTaXijyovo'LV. evioTe piivToi to kcoXov oXtjv
fxev
ov crvfJiTrepaLol StdvoLav, fJipo<; 8e 0X079 oXov &)? yap
T7J9
^1/309
ov(rr]<; oXov tlvo^
H'^PV ^^'^V^
oXa 0X179 icTTiv,
20 oToj' SdKTvXoL Kal TTrj)(vs' IBiav yap 7repLypa(f)rjv \eL
tovtcov T(t)v fxepatv eKacTTOv, /cat tSta
yLiprf
ovtoj koI 8ta-
voia<; tlvo^ 0X179 ovcrrj^; pêydX-qs ip^TrepiXaix^dvoiT av
fipr)
TLvd avTTjf; oXoKXrjpa ovTa /cat aura.
9,
10 X^yovrd re Kal to, Xeyd/xeva] Finckhius, \6yov rd re KaToXeydfieva P.
II $ supra versum scripsit P. 14
oTov per compendium hie et plerumque,
plena v. i scripsit P.
15
fitiklaios P.
19
6X175] Victorius,
6\ri
P.
30 irrixv^^
Schneiderus,
7nJx"S
P.
I
DEMETRIUS ON STYLE.
CHAPTER I.
1.
As verse is articulated by measures (such as the
hemistich, the hexameter, and the Hke), so also is prose
articulated and differentiated by what are called
'
members.'
These members give rest, one might say, to the speaker and
his discourse ; they set bounds to its various parts, since it
would otherwise extend itself without limit and would simply
run the speaker out of breath.
2. But the proper function of such members is to mark
the conclusion of a thought or sentence. Sometimes a
member forms a complete sentence in itself, as for example
Hecataeus opens his 'History' with the words
*
Hecataeus
of Miletus thus relates^' where a complete member coincides
with a complete sentence and both end together. Sometimes,
however, the member constitutes not a complete sentence, but
a part of it, yet a complete part. For just as the arm, which
is a whole of a certain kind, has parts such as fitigers and
forearm which themselves again are wholes, inasmuch as each
of them has its proper limits, and itself is made up of parts
;
so also a complete sentence, when it is extensive, may very
well comprise within itself parts which themselves are integral.
1
Hecat. Fragm.
332,
C. F. MuUer F. H. G. i.
p. 25.
I
68
AHMHTPIOY TTEPI EPMHNEIAI
3.
"D^crirep ev rrj ap-^rj Trj<; Âva^daecof;
ttJs 'Bevo-
(fiCJVTos
TO TOLOvrov,
'
Aapeiov kol ITapvcraTiSo?'
l^^XP^
Tov 've(oTpo<; 8e Kvpos/ avvTeTekeapievrj iracra hidvoid
icTTiv rd
8'
iv avrfj
KcoXa Svo fJidprj p,kv
avT7J<;
eKdrepov
5
ecTTL, Stctôia Se iv eKarepco TrXrjpovrai rt?, lSlov eôvcra
7repa<;, olov
'
Aapeuov kol UapvcrdriSof; yivovTai TratSe?/
e)(et ydp riva okoKkiqpiav rj Sidvoua avTrj Kad*
avrrfv, on
iyivovTO Aapeucp kol UapvcrdTLSi TratSe?. kol wcraTJTOx;
TO ETepov kcjXov, otl
'TTpeo-fivTepos fxev 'Ayorafep^T;?,
JO ve(OTpo<; Se Kvyoo?.' wcrre to
fxev
kcoXop, oS?
(f^rjixi,
Sia-
voiav irepiiêi Tivd TrdvTiq 7rdvT0)<;,
tJtol
okrjv rj
fxepos
0X179 okov.
4.
Aec 8e ovT irdvv
fjuaKpd Troieiv Ta KcoXa, iirei tol
yiveraL d^xerpo^ r) crvvOecTLs rj SvcnTapaKo\ovOr}TO<;' ouSe
15 ydp
7)
iroLTjTLKrj vwep i^d/xeTpov rj\Oev, el
fXTj
irov iv
6\iyoL<^' yekolov ydp to fxeTpov
dpueTpov elvai, kol Acara-
XijyovTo^; TOV fxeTpov iiriKekyjcr6ai rjp.d^ rroTe rjpâTo. ovt
Srj TO
fJirJKos
TCxiv KOikoiv Trpiirov Tols Xoyot? Sid ttjv
dfJiTpLav, ovT Tj pLiKpoTt)^, 7761 TOi yivoiT av
7)
XeyofJievT)
20 ^r)pd crvvdecTL^, olov rj rotaSe
'6
/3t09 /3pa^v<;, rj Teîq
fjuaKpd, 6 /catpo? 6^v<;.' KaTaKeKOfifxevr) ydp ioLKev rj
crvvOe(TL<; koL KeKepfiaTcafJievy], kol ev/fara^pdi/T^ro? Sia to
fjLLKpa (TvpiTravTa erêiv.
5.
Viverai jjuev ovv Trore kol fjuaKpov kcoXov KaLp6<;,
25 olov iv Tols ixeyedecnv, w? 6 UXdTcov
(f>7jcri,
'to ydp Srj
irdv rdSe totI
fiev
avTO<; 6 6eo<; TTopevofievov o-vjJiTroSrjyeL
Kol cTvyKVKXelJ crêSov ydp t&> jxeyeOei tov kcoXov avve^-
TjpTai Kol 6 \dy09. Sid TovTO KOL i^dfJieTpov rjpSov
re ovofidtêTaL vtto tov fXTjKOVS
kol Trpenov
\
rfpayaiv, kol
226'
5
Tt5 (pron. indef, ) accentum habet hie et alibi in P.
7
avri^v : sine
spiritu P.
9
dprap^^s, addito ^^ supra ap P.
17
irdre] Schneiderus,
^ 6t p.
17,
18 oSt 5r)] Victorius, oCre 5^ P. 19 crrifxeLucrai irCos r}
^vpo-
ylverai a^vdeais in margine P. 20 aiivdeffris (corr. in aOvdeac^) P. 22 a6v-
Bearji (punctis supra
97
positis) P. 25
to ydp irdv sine 5y} codd. Platonis.
26 Tore /*'] codd. Plat., to fieP P. wopevd/Mevov ffv/jLiroSriyeT] codd. Platonis,
iropevd/xevos voSrjyel P.
DEMETRIUS ON STYLE
69
3. At the beginning of the
'
Anabasis ' of Xenophon an
example will be found, in the words
'
Darius and Parysatis
'
down to 'the younger CyrusV This is a fully completed
sentence, of which the two members contained in it are parts
;
but each of these, within its own limits, conveys a meaning
which is in a measure complete. Take the first words :
'
Darius
and Parysatis had sons.' The thought that sons were born
to Darius and Parysatis has its own completeness. The
second member, in the same way, conveys the complete
thought that
'
the elder was Artaxerxes, the younger Cyrus.'
Accordingly, as I maintain, a
'
member ' must be understood
to comprise a thought which either is a complete sentence or
forms an integral part of one.
4. Members should not be made very long ; otherwise
the composition becomes unwieldy or hard to follow.
With rare exceptions, poetry is not written in measures of
greater length than six feet, since it would be absurd that
measure should be without measure, and that by the time
the line comes to an end we should have forgotten when it
began. But if long members are out of place in discourse
owing to their unwieldy character, so also are brief members
for the reason that they produce the so-called 'arid' com-
position, exemplified in the words
'
life is short, art long,
opportunity fleeting^.' The composition here seerns to be
minced fine, and may fail to impress because everything
about it is so minute.
5. Occasionally a lengthened member is appropriate.
For example, in elevated passages, as when Plato says :
*
At
times God himself guides this universe and helps to roll it in
its coursed' The elevation of the language corresponds, it
may be said, to the length of the member. It is because its
length fits it for heroic subjects that the hexameter is called
^
Xen. Anab. i. i, Aapelov Kal IlapvadTidos ylyvovrai iraiSes 8uo, irpec^vtepos
ixkp 'Apra^^p^rjs, ved)Tpos Be Kvpos.
2
Hippocr., Aphorism, i. i (Littre, (Euvres completes cPHippocrate, IV.
458)-
^
Plat. Politicus
269,
to yap trav rore fikv auTos 6 deos ^vfiirodrjye'i iropevdfxevov
Kal avyKVKXeX, Tork d dviJKev, bre al Treplodoi rod irpoa-riKOVTOs avT<^ /xirpov ei\i^(p(a(ri.y
Tjdri xp^ôv,
kt\.
70
AHMHTPIOY HEPI EPMHNEIAZ
ovK av rrjv 'Ofxijpov 'iXtaSa 7rp7r6vTa)<s tls ypaxpeiev toI<;
'ApîXdôu
I3pa)(cnv, oTov
a'^vvfiivT) (TKVTokr)
KoX
5
Ti9 ca? Traprj6ip6 (j>piva^
;
ovSe rot? ÂvaKpeovTos, <a)9> to
êp vBcop, <êp olvov, at iral'
lieOvovTos yap 6 pvOjJios aT)(ya)s yepovTO<;, ov yLaypyiivov
r)p(t)o<^.
lo 6. MaAcpov yikv Srj kcoXov /catyoo yivoiT av wore Sua
Tavra' yivoiro
8*
av irore Kal ^paêo^, olov t]Tol fjuKpov
TL r)fJLCov XeyovTcov, w? 6 'Bevocfiwv (furjonv, on a(j)iKovTo
ol ''EXkrjvef; inl rov TrjXeôav
TroTafiov 'ovto<; Se rjv
fieya^ fxev
ov, /caXo? SeV ry yap jxiKponqn Kal anoKOTrrj
15 Tov pv6fJL0V (rvvave(j)dvr} Kal rj pbiKpOTTj^; tov Troraôv Kal
)(dpL<i' el Se ovTcos iKTeiva<; avro eXirev,
'
ovto<; Se fJueyeOet
jjiev rjv iXaTTcov rcjv ttoXXcjv, KoiXXei Se vTrepe^dXXero
iravTas,' tov 7rpeTrovTO<; direTvyâvev av, Kal eyiyvero 6
Xeyofxevo^
^vxpo^'
dXXa irepl
\jjvxp6Tr)Tos yêv vcrrepov
20 XeKTeov.
7.
^(x)V Se fJLLKpCOV K(oXo)V KOLV 8eLv6T7)TL ^pTjO-U eCTTL'
Seuvorepov yap to iv oXiyo) iroXv eixâivoixevov
/cat
cr(f>oSp6Tepov, 810 Kal ol AaKcove's /Spa^vXoyoL vtto Set-
voTrjTOS' Kal TO jJLev eTTLTacrcreLV crvvTopiov Kal jSpa^v,
25 Kal TTct? Seo'TTOTT]^ SovXcp fjiovocrvXXa/3o<;, to Se LKeTeveiv
fjiaKpov Kal TO oSvpeo-Oai. al Aural KaO^ "Opuqpov Kal
)((oXaL Kal pvaal vtto
^paSvTrJTO<;, TovTeorTiv vtto fxaKpo-
Xoytag, Kal ol yepovTe<^ fxaKpoXoyoL Sta ttjv dcrOeveiav.
8. UapaSeLyixa Se ^paêias crvvOecreois to
*
AaKeSai-
30 fjLovLOL ^LXiTTTrq)' Atoz/vcTtos iv KopivOcp.' TToXi) yap Set-
I ypdypeiev] Victorius, ypdxpei iv P. 6 ws post
-0$ omissum restitui
:
cp.
p. 190, lo,
25 ; p. 192, 9. 8 dT^x''ws P. II j8/jax^ws P. 12 dtpUovTo
ex dtprjKovTo P.
14
koKos fiiv, fiiyas
5'
oJ Xenophontis codd. 21 kB,v P.
22 8ti deiudrepop to ev
6\Ly(f}
woKv i/xtpaivd/xevov in margine P. 24
iirei
TdcraeiP P.
DEMETRIUS ON STYLE yi
heroic verse. The
'
IHad ' of Homer could not fittingly be
written in the brief lines of Archilochus, e.g.
Staff sorrow-stricken^;
or
Who made thy wits swerve from the track '^P
nor in the lines of Anacreon, e.g.
:
Bring water, bring wine too, page-boy^.

That is just the rhythm for an old man drunk, but not for
a hero in battle.
6. Sometimes, then, a long member may be appropriate
for the reasons given
;
at other times a short one may be
fitting, as when our subject is something small. Xenophon,
for example, says of the river Teleboas, in the passage where
he describes the arrival of the Greeks on its banks :
'
it was
not large ; beautiful it was, thought' The slight and broken
rhythm brings into relief both the smallness and the beauty
of the river. If Xenophon had expanded the idea and said :
'this river was in size less than other rivers, but in beauty
it surpassed them all,' he would have failed in propriety,
and we should have had the so-called frigid writer. Con-
cerning frigidity, however, we must speak later.
7. Short members may also be employed in vigorous
passages. There is greater vigour and intensity when much
meaning is conveyed in a few words. Accordingly it is
just because of their vehemence that the Lacedaemonians are
chary of speech. Orders are given concisely and briefly,
every master being curt towards his slave. Supplication,
on the other hand, and lamentation are lengthy. Homer
represents the Prayers as wrinkled and lame*^ in allusion to
their tardiness, which is tantamount to saying their prolixity.
Old men, too, are prolix owing to their feebleness.
8. As an instance of concise wording the following may
be given,
'
The Lacedaemonians to Philip : Dionysius at
1
Archil. Fragm.
89,
Bergk P. L. C^."*Here, and elsewhere, the verse render-
ings are from the hand of Mr A. S. Way.
2
Archil. Fragm.
94,
Bergk'*.
3
Anacr. Fragm. 62, Bergk*.
*
Xen. Anab. iv.
4. 3.
^
Horn. //. ix.
502,
Koi ydp re Atrai elffi Atos Kovpai fieydXoio,
XwXai te pvaai re TrapajSXwWs t' 6<pBaKtn).
72
AHMHTPIOY HEPI EPMHNEIAI
voTepov (jyaCveTaL prjOev ovtco /3pa^0)<;, rj eunep avTo
jxaKpctif;
eKTeCvavTes elwov, on 6 Alovvo-los irore /txeya? ojv
Tvpavvos cjcrirep crv ofJLOJ<; vvv iBicoTevcov ot/cet K.6piv6ov.
ov yap ert 8ia ttoWcov prjOev iiTLTrXijêL icoKeu, dXXa
5 OLrjyijfxaTL, kol fjuaXXov tlvl SiSacr/coz^ri, ovk iK(f>o/3ovvTL'
ovT(o<; iKTeivojjLevov eKkverai tov \6yov to Ov^lkov koX
(r(f)oSp6p.
ojcnrep tol Orjpia cfvcttpexpavra iavra /xa^crat,
Touavrrj ris av eur) (TV(TTpo(\>7] kol \6yov Kaddirep icrneipa-
fxevov 7r/)09 Seii^drT^ra.
lo
g.
'H 8e TOLavTT) /3pa)(VT7)^ Kara ttjv cvvOeciv
KOfifia
6vofJid[,TaL. opitpvTai S' avro ct>Se, /cdjit/xa icTiv to kcoXov
eXaTTov, otov to Trpoeiprjixevov, to re 'Alovv(tlo<; iv KopLvOcoJ
KOL TO 'yvcoOi creavTovJ kol to 'iirov Oeo),' tol tcov cro(j)(ov.
ecTTL yap Kal
aTTOffyOeyiJiaTLKOv rj /3pa)(VTrj<; Kal yvcofjio-
15 XoyiKov, Kal o'0(j)coTpov TO iv oXiycp iroWr)^ Sidvoiav
rjOpolcrOai, KaOdirep iv toIs cnripixacriv SevSpcov oXojv
\
ovvdfJLi<;' el S' iKTeivoLTo tls ttjv yvcofiTjv iv fiaKpo'l^,
227*
StSacTAcaXia yiveTal tl^ /cat py)Topeia dvTl yvcofirj^.
10. T(x)v fJiivTOL Kcokwv Kal KOfxiidToyv
TOLovTcov crvv-
20 Tidefievcov 7rpo<; dWr)Xa crvvio-TavTaL at irepiohoi ovofia^ô-
[JievaL. ecTTLv yap rj TrepuoSo^; crvcrrr/jLta e/c kcoXojv rj kojjl-
fjidTcov evKaTacTT
p6(f)(ii^
ei9 ttjv hidvoiav ttjv vTroKeLfxevrjv
anrjpTLcrfJievoVf olov
'
jJidXiCTTa
fxev
eiveKa tov vofxilêiv
(TVfJLipepeLv
TTJ
TToXet XeXvadaL tov vofiov, elra Kal tov
25 7rat86 elveKa tov Xa^puov, ojfjLoXoyrjo-a tovtols, w? olv
olos re (o,
o-vvepetv'^ avTiq yap rj irepioSos iK Tpicov kojXcov
ovcra
KafjLTTTJv re TLva Kal a'vo'Tpo<j)r]v eêt /caret to TXo<;.
11. *Apta-TOTeXrjf; Se opitêTai ttjv rrepiohov ovtco<;,
'7repio86<; icTTi
Xefts
dp)(r)v e)(ovcra Kal TeXevTijv,^ fxdXa
8, 9
ia-Treipafi4po***irpos (lac. et ras.) P. 1 1 6/)os KbfipLaros in margine P.
16 &\\(av P.
17
e alterum (h. e. 5^) supra e in deKTeivoiro scripsit P. 19 irepl
irepiddov titulus in P. 21 ri iari irepLodos in margine P.
|
*** (fuit fort. Kai)
âriv yap i] Trepio5os {yap ij supra versum scripto) P. 22 evKaraa-Tpoipojs
in VKaTa<TTp()<f)(i)v corr. m. rec. P. ets] Schenklius coll. Aristide ii.
507,
8 (Sp.),
irpos in ras. et compend. m. rec. P. 28 6pos vepibdov Kara dpKTTOTiXrjv
in margine P.
DEMETRIUS ON STYLE
73
Corinth! This brief expression is felt to be far more forcible
than if the Lacedaemonians had said at full length that
Dionysius, although once a mighty monarch like yourself,
now resides at Corinth in a private station. Once the state-
ment is given in full, it resembles not a rebuke but a narra-
tive
;
it suggests the instructor rather than the intimidator.
The passion and vehemence of the expression are enfeebled
when thus extended. As a wild beast gathers itself together
for the attack, so should discourse gather itself together as
in a coil in order to increase its vigour.
9.
From the point of view of composition such brevity
is termed a 'phrase.' A 'phrase' is commonly defined as
*
that which is less than a member,' for example the already
quoted words
'
Dionysius at Corinth,' and the two sayings of
the sages 'Know thyself and 'Follow God.' For brevity
suits apophthegms and maxims
;
and it is a mark of superior
skill to compress much thought in a little space, just as seeds
contain potentially entire trees. Draw out the maxim at full
length, and it becomes a homily or a piece of rhetoric rather
than a maxim.
10.
From the union of a number of these members and
phrases are formed what are called
'
periods.' Now the
period is a collection of members or phrases, arranged
dexterously to fit the thought to be expressed. For example :
'
Chiefly because I thought it was to the interest of the State
that the law should be abrogated, but also for the sake of
Chabrias' boy, I have agreed to plead, to the best of my
ability, my clients' case\' This period, consisting of three
members, has a certain bend and concentration at the
end.
11. Aristotle defines the period thus: 'a period is a
form of expression which has a beginning and an endV The
^
Dem. Lept. init. : "Avdpes diKaaral, fidXtara fiiv etvcKa tov pofilêiv <xvti(f>ipLv
Trj irdXei \e\i;(râi tov pdfxov, elra Kal rod iraidbs etpcKa tov 'Ka^plov, wixoXbyqca
ToiLiTois, Cis av oi6s t' t5, avvepeiv.
2
Aristot. /Âet. iii.
g,
X^yu 5e irepLodov X^îv ^xouo-ai'
dpxw
fî TeXevrijv airrrjv
Kad^ avTTjv Kai fxiyedos evavvoiTTov.
74
AHMHTPIOY nEPI EPMHNEIAI
Kokct)^ Kai TTpeTTovTOiS opicrdixevo<i* evBv^ yap 6
rriv nepio-
Sov Xeycov ifjLcjiaLveL, on rjpKTai iroOev kol oiTroTeKevTrjcreL
TTOL KOL eTTeiyerai ei9 tl Te\o<;, c^cnrep ol Spo/xet? a(êOivTe<;'
Kol yap iKivo)v crviê/xcâizêrat
rfj
0Lp)(rj rod
Spofiov to
5
riXo^. evdev /cat Trepioho<^ o)vofJido-6r], aTreiKacrOeia-a rai?
68019 rai? KVKkoeihicTL Ka\ TrepLcohevixepaL^. KaOoXov ovSev
r) TrepioSd? iari 7r\y)v iroid crvvOecn^. el yovv Xvdeir)
avTTJ^;
TO TrepicoSevfxipov /cat ixeTaavvTeOeirj, ra p.ev irpdy-
fxaTa ixivei tol avTa, irepioho^ Se ovk ecrrat, olov el Trjv
10
Trpoeiprjfiei'rjv rt? tov ArjixocrOeiôvs irepiohov dva(TTpe\\fa<^
euTTOL d)Se TTcos,
'
crvvepco tovtol^, ^ dv8pe<; 'AdrjvaloL- (^tXo?
yap fJLOL icFTLv 6 vt09 Xa/3pLov, ttoXv Se fxaXXov tovtov
T) 7rdXt9, rj avvenrelv /xe hiKaiov ecTiv! ov yap eTi ov-
oafjiov Tj TrepLoSo<; evpicKeTai.
15 12. rVcrt9 S'
av77J9 rfhe. Trj<; epixr^veia^ r) jxev ovo-
fidêTai KaTecTTpafJbfjLevT), olov rj /cam irepioSov^ eôvcra,
ft)9
7]
T(x)v laoKpaTeicop piqTopeioiv /cat Vopyiov /cat 'AX/ct-
hafxavTO^' oXai yap ta Trepiohcov elo'lv avveôiv ovhev tl
eXaTTov TjTrep rj
Ôfxrfpov
7rot7^crt9 St* eâixerpcov rj Se
20 Tt9 Sirjpr)fJievr) ipfJLyjveia /caXetrat, rj et9 /cwXa XeXvixevr)
ov fxaXa dXXijX6i<; avviqpTiqpieva, ft)9 r] E/caratov, /cat ra
TrXelcrra TCxiv 'HyooSdrov, /cat oXw9
17
dpâia Tracra. rrapd-
heiypLa avTrj<;, *'E/caTat09 MtX7^crto9 wSe (JLvdelrar raSe
ypd(f)0),
0)^ fjiOL So/cet dXrjOea elvar ol yap 'EXXyjvcoi' XoyoL
25
TToXXot re /cat yeXotot,
ws e/xot (fiaivovTai, elcriv.^ axrirep
yap
o-ecrcopevfjievoL^ en dXXijXoi^ ra KcoXa eoiKev /cat
iweppLfifjievoLS /cat ou/c er)(ov(TLv avvSecTLV ouS* dvTepeicriVy
ovSe ôTjOovvTa dXXijXoLS oicnrep ev to1% irepioSoi^.
13. Êot/ce yovz^ ra /xei^ irepioSiKa KcoXa Tot9 Xtôt?
30
Tot9 avTepeihovcri Ta9 7repi(j)epels crTeyas /cat (TweôvcTL,
I (hpiadfievos P.
2, 3
dTroreXeuTTô-et Trot /fai] H. Stephanus, dTroreXeu-
râai Trotei /cai P. 6 irepiodev/Jiivais P.
7
e^ 700*' ex ')77oOj' P. 10 ris
ex T^v P. 12 TToXXij P. 16 Karecrrpe/xfiivT) P.
17
la-oKparlcov P.
|
jot;-
ropetwj'] Weilius, pTjrwj' P.
23
fiTjXiaioi P. 24 dXiJêia P. 29
(bpdiov
(compend.) in margine P.
DEMETRIUS ON STYLE
75
definition is good and fitting. The very use of the word
*
period ' implies that there has been a beginning at one point
and will be an ending at another, and that we are hastening
towards a definite goal as runners do when they leave the
starting-place. For at the very beginning of their race the
end of the course is manifest. Whence the name
'
period,'
the image being that of paths traversed in a circle. It may
be said in general that a period is nothing more or less than
a particular arrangement of words. If its circular form is
destroyed and the arrangement changed, the subject-matter
remains the same, but the period will have disappeared.
This may be illustrated by some such alteration as the
following in the period of Demosthenes already quoted :
*
I
will support the complainants, men of Athens. For Chabrias'
son is dear to me, and much more so is the State, whose
cause it is right for me to plead
\'
No longer is there any
period to be seen.
12. The origin of the period is as follows. There are
two kinds of style. The first is termed the 'compacted'
style, as for example that which consists of periods. It is
found in the discourses of Isocrates, Gorgias and Alcidamas,
in which the periods succeed one another with no less
regularity than the hexameters in the poetry of Homer. The
second style bears the name of
'
disconnected,' inasmuch as
the members into which it is divided are not closely united.
Hecataeus is an example ; and so for the most part is
Herodotus, and the older writers in general. Here is an
instance :
*
Hecataeus of Miletus thus relates. I write these
things as they seem to me to be true. For the tales told by
the Greeks are, as it appears to me, many and absurds'
Here the members seem thrown upon one another in a heap
without the union or propping, and without the mutual
support, which we find in periods.
13. The members in a periodic style may, in fact, be
compared to the stones which support and hold together a
^
Cp.
10 supra.
^
Hecat. Fragvi.
332
(cp.

2 supra).
76
AHMHTPIOY HEPI EPMHNEIAl
ra Se t^9 StaXeXv/xeVT;? kp\jji)vîa,% SieppififievoLS ttXtjo-lov
XiOoL<; jjiovov
I
Kol ov crvyKHxivoi<;.
'^'^f
14.
Ato Acal TrepieêcTfJievov ej(et ri
17
epynqveia r) irpXv
Kai eucrraXe?, CDcnrep kol tol apâla dyaX/xara, (hv t)(i'7)
5
eSoAcet
17
crvcTTokr) kol IcrxJÔTrj^, rj Se tcov /Acra ravra
ipfjurji/eia to2<; <J>et8tov epyoi^ yjSrj eoiKev )(ovcrd tl kol
pLeyakeiov kol aKpL^<;
afxa.
15. AoKLfjid^ct) yap hrj eycoye
fjn/jre
Tre/otoSot? 6\ov top
\6yov crvveipeadai, w? 6 Vopyiov, puFfre
hiakekvadai okov,
10 o)? ra dpyoLia, dXXa pêplÔai pidWov hi 6nx(j)OTipo)V'
ovTO) yap Kai iyKardcFKevos ecrrai Kai aTrXovs a/xa, /cat
ef dfjucfyolv rjS-us, Kai ovre /xdXa tStwrtKO?, ovre /xdXa
<to(I)L(ttlk6<;. to)v Se rd? TrvAcm? TreptdSov? Xeydi^rwz/ ovS'
at
KecfyaXal paSicos kcrracriv, o)? evrt twi^ oivcofxevcov, ol
15 re aAcovoi^re? vavTLCocn Std to diriOavoVy Tore Se /cat e/ccôj-
vovcri ra reXr) tcov irepiohcov TrpoeiSore^; Kai Trpoavaôoicri.
16. Twz^ Se irepioScov at fJUKpoTepai p.ev ck Svolv
K(x)\oLv crvvTiOevTaiy at /xe'ytcrrat Se e/c reTToipcov to S'
VTrep rirrapa ovKer av ivTo<; elrj 7rpLoSLKrj<; crv/x/xer^tag.
20
17. Vivovrai Se /cat TpiKOikoi
nves' Kai pLovoKoikoi
0, (9 /caXovcrtz^ aTrXd? TreptdSov?. draz^ yd^ to kcoXov
fJLrJKo^ re e\rj Kai KaixTrrjv Kara ro rekos, rore fjiovoKcoXo^
7re/otoSo9 yiverai, KaOdirep rj TotdSe, ''HyooSoTov 'AXt/cap-
vacrrjof; l(TTopir)<i dTrdSeft? T^Se.' /cat irdXtv, 'rj yap cra(j)rjs
25
^pdai^ TToXv
(^0)9 irapiêTai Tat? twj^ d/coudi^Twj' Staz/otat?.'
vtt' dfiôiv jJievTOL crvvicTTaTai rj dirXri 7rpioSo<;, Kai vtto
Tov iMT]Kov<; Kai VTTO T'^s KafjLTTrj'^ rrjs nepl ro TeXo9, vtto Se
Sarepov ov8e irore.
18. 'Ev Se Tat? orvvOeroLS 7re/3tdSot9 to TeXevTatoi/
30
KcoXov jxaKporepov
XPV
^tiÔ'^* kol ojcnrep 7repie)(pv kol
7re/)ttX77<^09 rdXXa. ovro) yap /xeyaXoTrpeT^^? ecrrai Kai
I 5i.ppifiivoLS p.
I
TrXrjoriojp P.
5
^So/cei ex eSo/ci; P.
96
Topylov, 6
supra versum scripto P. 13 5ej Schneiderus, re P. 14,15 ol' re ex olVre P.
15
t6t^ p.
19
ivrbi ex îfrds P. 20 a-rifieluffat. olov fiovdKbAos in
margme P. 22
^xî
P-
DEMETRIUS ON STYLE
77
vaulted roof. The members of the disconnected style re-
semble stones which are simply flung carelessly together and
not built into a structure.
14.
Consequently there is something polished and clean-
cut in the older method of writing. It resembles ancient
statues, the art of which was held to consist in their severe
simplicity. The style of later writers is like the sculpture
of Pheidias, since it already exhibits in some degree the
union of elevation and finish.
15. My own view is that composition should neither,
like that of Gorgias, consist wholly of a string of periods, nor
be wholly disconnected like the ancient writings, but should
rather combine the two methods. It will then be elaborate
and simple at the same time, and possess the charm of both
manners, being neither too untutored nor too artificial. Public
speakers who employ accumulated periods are as giddy-pated
as tipsy men, and their hearers are sickened by the idle trick
;
sometimes, indeed, they audibly anticipate the conclusions of
the orator's periods and declaim them in advance.
16. The shorter periods consist of two members, the
longest of four. Anything beyond four would trespass be-
yond the symmetry of the period.
17. There are also periods composed of three members
;
and others consisting of a single member, which are called
'
simple ' periods. Every member which possesses the
requisite length and is rounded at the end forms a single-
membered period. For example :
*
Herodotus of Halicar-
nassus sets forth in this History the result of his inquiries^'
Again : 'Clear expression floods with light the hearer's mindV
For the simple period these are the two essentials, the length
of the member and its final rounding. If either of these con-
ditions be wanting, there is no period.
18. In composite periods the last member should be
longer than the rest, and should as it were contain and
embrace them all. When the concluding member is long
^
Herod, i. i init.
^
Sen Inc.
78
(refivrj 7re/3toSo9, et? creixvov koX
fxaKpov
\7jy0vcra kcjXov
L 8e
fjLT],
aTroKeKOfJifjievrj kol
X^^V
^lôia,
TrapdSeLyfxa S'
avTTJ^ TO TOLOvTov,
'
ov yap TO etTTeiv Kokco^ Kokov, oXka
TO eiTTovTa Spacrai tol eiprj/jieva.'
5
ig. Tpia he yevrj wepiohajv icTTiv, iCTTopLKifj, StaXo-
yiKrjy prjTopLKrj. lo-TopiKT]
fiev
tj
fiiJTe
TrepLTjyfjievr), jjltjt
aveipLevY]
cr(f)68pa,
dXXa /xerafu
ap.(ôlv, W9 /at^tc prjTopLKr)
S6^Lv KOL aTTiOavo^ StoL T'r)v TTepiaycoyrjv, to aefxpov
T )(ovcra Koi icrTopiKov Ik ttj^; olttXottjtos, olov rj TOidSe,
10 'AapLOV Koi HapvordTiSof; yiyvovTai
fJidxP^
'^^^ 've(OTepo<;
8e Kvjoo?.' iSpaia yap tlvl Kal d(Tâ\ei KaTaXrjêi eoiKev
aVTTj^ Tj aTToOecFL^.
20. Tt}? Se prjTopLKTjs irepioSov crvveorTpafJiiJievov to
eT8o9 Kal kvkXlkoi' /cat Seojjievov cTTpoyyukov crTopiaTo^;
15
Ka\ êt/309 crvfJi7rpLayoiJievrj<; rw pvOyuco, olov ttj^ '/xaXterra
fjiP
etVe/ca tov vopîlêiv (TVjJLcjyepeiv ttj irokei Xekvadai tov
vofiov, etra Acat tov 7rat8o9 etVe/ca tov Xa/Bpiov,
\
ajfjLoXo-
228'
yqcra tovtol^;, o)? av oTo^ re d), crvvepelvJ (TX^hbv
yap
v6v^ e/c T^9
^PXV^ V
7êpto8o9 rj ToudSe crvveo'Tpap.p.evov tl
20 e^t Acat iiJL(f)a'Lvov,
otl ovk av aTTokriêiev et? dirXovv Teko<;.
21. AtaXoytK:i7 8e ecrrt TreploSos rj etl dveLjJievT] Kal
dirXovo-Tepa T179 IcrTopLKrjf;, Kal jutdXt? ejaâti/ovcra, on
7repto8d9 icTTLV, c^crirep rj Tota8e,
'
KaTe/^rjv
X^^^
^^^
'^^^
Iletpata'
p^^XP^
'^^^
'
aTe vvv npcoTov dyovTe^.' iireppLTrTaL
'25 yelp dXXT^Xots rd fcwXa e(^' ^T^pfp ^repov, ojcnrep iv toI^;
hia\ekvp.ivoLS Xdyot?, /cat aTToXriâvTe^
jjloXl^ av ivvorjOel-
fiev
KaTOL TO TeXos, otl to Xeyofxevov irepioho'^ rjv, hei
yap peTaî) Sirjprjpevrj^ re /cat KaTecrTpappiv7)<^ Xeêcoq
TTjv SiaXoyLKrjv rrepiohov ypdcfyecrOai,
Kal pepiypevTjv
30 opoiav dp(j)OTepoL<;. TrepLoScJV pkv eiSrj TocrdSe.
2 ei ex i) [ij punctis notato) P. airoKtKoiifxivr) koI x^Xî P.
4
8pd(xai P.
5
0-7} 6ti Tpia y^vrj irepLddcop in margine P. 10 yiypuvraL P.
fJtêxPV
{v
punctis
notato) P. II Kvp*os cum litura P. edpalav corr. in idpalai P. ôi/ce P.
12 dirddearis {rj punctis notato) P. 15
irepiayoixivrjs (superscripto cvfi) P.
16 Tov^ codd. Demosth., to P (cp. p. 72 1. 23
supra). 21 dveifi^vr}
(t] in rasura) P. 22 la-TopiKrjs] Victorius, l>r)TopiK^s P.
25 T^p(f]
edd.,
cKaT^pu) P. 26 ivvoTjOeifiev] Spengelius, ivvorjdidfiev P. 28 ical Kai (alterum
Kal in compend.) P.
DEMETRIUS ON STYLE
79
and stately, the period itself will be stately and impressive
;
otherwise it will be broken and as it were halting. The
following is an instance of the period here recommended
:
*
True grandeur consists not in saying grand things, but in
doing things said, after saying them\'
19. There are three kinds of period : the historical, the
conversational, the rhetorical. The historical period should
be neither too rounded, nor yet too relaxed, but between the
two
;
so framed that it does not seem rhetorical and uncon-
vincing through its rounded form, but draws its dignity and
power of exposition from its simplicity. An instance of such
a period is furnished by the words
*
Darius and Parysatis
'
down to
'
the younger Cyrus^' The cadence of the period
here resembles a sure and well-based termination.
20. The form of the rhetorical period is close-knit and
circular ; it needs an ample utterance and a gesture which
corresponds to the movements of the rhythm. For example :
'
Chiefly because I thought it was to the interest of the State
that the law should be abrogated, but also for the sake of
Chabrias' boy, I have agreed to plead, to the best of my
ability, my clients' case^' From the very outset such a
period contains something compactsomething which clearly
intimates that it will not come to a simple ending.
21. The period of dialogue is one which remains lax, and
is also simpler than the historical. It scarcely betrays the fact
that it is a period. For instance :
'
I went down yesterday to
the Peiraeus' as far as the words 'since they were now
celebrating it for the first time''.' The members are flung
one upon another as in the disjointed style, and when we
reach the end we can hardly realise that the words formed
a period. For the period used in dialogue should be a form
of writing midway between the resolved and the compacted
style, and compounded of both in equal measure.Such are
the different kinds of period.
1
Scr. Inc.
2
Xen. Anab. i. i : cp.
3
supra.
3
Dem. Lept., init.: cp.

10 supra.
^
Plat. Rep. i. i, Kar^^-qv
x^^s
e^s Heipata (lera TXai^KWJ'os tov 'AplaTuvos irpoff-
v^6fiv6s T
TTJ
dcip Kal tt/Att T^v eo/JT^j' fiovXdfievos
dedffaffdai Hva Tpbvov iroiiâovffiv
are vvv trpdrop ayopres.
8o AHMHTPIOY HEPI EPMHNEIAS
22. VivovraL 8e koL i^ avTiKeiyLevcov kcoXcov TreptoSot,
avTiKeifJievcov Se 17x01 toIs iTpdyixao-iv, oXov
'
wXecop
ixev
oia
T7J<;
rjTreipov, iretêvoiv 8e Sta T']^? OaXdcrarj^,' rj d{x(j)OTi-
/oot?, rrj T \eî kol to'ls irpdyixao-iv, ojcnrep rj avrr)
5
7repLo8o<; cSSe
ex^*"
23.
Kara 8e rd ovofiaTa fxovov dvTiKeifxeva KOika
TOidSe icrriv, oXov 0)9 6 ttjv 'FjXevrjv TTapa/3a\o)v rw
HpaKXei
(fyrjcnv,
on 'tc^ (xev iwiTrovov kol irokyKivhwov
Tov /3lov iTTOLTjcrev,
ttJ?
Se Trepi^XeirTov kol irepnid^rov rrjv
10 (jivcTLT/ Karicrrrjcrev.^ dvTLKeLrai yap kol dpOpov dp6pa),
KOL (TTJvoecrjjLos (Twhiaô}, o/ioia oixoloi<^, kol raXXa Se Acara
TOV avrov rpoirov, rw
fxev
' iiroiiqcrev' to ' KaTecTTTjcrev,^ tS
Se 'eTTiTTovov^ TO
'
TrepCpXeTTTovJ rw Se
'
TroXvKLvSvvov' to
'Trepiâ)(rjTOVy kol 6\a)<s ev npos eV, ofioLov irap* ofioiov, rj
15 avTaTToSocTL^.
24. Êcrrt Se KcoXa, a /jltj avTiKeifJieva
ifxcfyaLvei Tivd
avTiOecTLV Sid to tw o-^fxaTi avTcdeTcos yeypdcfyOat, KaOd-
Trep TO Trap ^^Tri)(dpiJiO) rw
7roi7]Tff
weTraiyfievov, otl 'TOKa
jxev ev TrjVoi<^ iycov rjv, rd/ca Se irapd Trjvoi<^ iyo^v! to
20 avTo jJLev yap elprfTai, koX ovhev kvavTiov 6 Se Tpoiro^
Trj<; ipfxrjveiaf; fjiefJiLiJirjixevof;
dvTiOecriv Tiva irXavoiVTi eoiKev,
dXX' ovTo<; jjikv lctcos yekcoTowoicov ovto)^ dvTeOrjKev, Kal
afia
(TK(x)TTT(iiv Toif; prjTopa<;.
25. Êcrrt Se Ka\ jrapopôia KcoXa, aTiva Trapofioua Sr)
25 Tol^ iir dp)(rj<;, oTov
BcopTjTOL T6 ireXovTO, TrapdprjTol t iireeaaiv'
rj a>9 inl TeXov^, o)<; rj tov Ilavr)yvpiKov dp)(y], 'TToXXaict?
iOavfJuacra tcov Tas Travrjyupeis (rvvayayovTcov Kal tovs
yvfJLVLKOv^ dya)va<; KaTacTTrjcrdvTcov.' elSos Se tov irapo-
30 fioLov TO IcroKcoXov, iirdv tcra?
e^rf
ra Koika ra? crvXXaySa?,
2, 3
7rXeO(rat...7refeO(rai codd. Isocratis. ii fiûoia 6/jt,olois ex ofioia ofioios P.
12, 13
rb ubique, nusquam ry P. 19
TraprjTTfjPOLS P.
19,
20 rb avro
apogr. : aiirbV. 21 fiefiLfirj/j.^fos] Mnreins,
fie
fiiyfjiipos T. 22 76Xw7roiwi'
(to supra versum addito) P. 24 irepl wapofioicov KibXwp titvlus in V.
25 dfirjpos
in margine P.
DEMETRIUS ON STYLE 8
1
22. Periods can also be formed of contrasted members.
The antithesis may He in the thought, e.g.
*
sailing across the
mainland and marching across the sea\' Or it may be
twofold, of thought and of expression, as in this same
period.
23. Members which are only verbally contrasted may
be illustrated by the comparison drawn between Helen and
Hercules :
'
to the man he gave a laborious and perilous life,
while he caused the woman's beauty to be admired and
coveted
2.'
Here article is opposed to article, connective to
connective, like to like, from the beginning to the end
:
'
caused
'
to
'
gave,'
'
admired
'
to
*
laborious,'
'
coveted
'
to
'perilous.' The correspondence of one thing with another,
of like with like, runs throughout.
24. There are some members which, although not really
opposed to one another, are apparently antithetical owing to
the antithetic form in which they are written. Such is the
pleasantry of the poet Epicharmus :
'
One time in their midst
was I, another time beside them IV A single thought is
here expressed, and there is no real opposition. But the turn
of the phrase, which apes an antithesis, suggests a desire to
mislead. Probably the poet employed the antithesis by way
of jest, and also in mockery of the rhetoricians.
25. There are also symmetrical members. Among these
the symmetry may be found at the beginning, e.g.
Yet might they by presents be won, and by pleadings be
pacified*:
or at the end, as in the opening passage of the
*
Panegyric '
:
'
I have often wondered at the conduct of the men who con-
vened the assemblies and instituted the gymnastic contests^'
Under the heading of symmetry of members comes equality
of members, which occurs when the members contain an
^
Isocr. Panegyr.
58
E, cScre r^ crpfnoirkhif TrXcucat yAv dia riji riirelpov, irefeucrai
8^ 5ia
TTJs daXdTTTjs, rbv fiev "EWi^ffirovTOv fei^âs, t6v 5"'A^w 8iop6â$.
2
Isocr. nc. Hel. I'j.
3
Epich. Fragm.
147,
G. Kaibel C. G. F.
*
Horn. //. ix.
526.
^
Isocr. Panegyr. i.
R. 6
82 AHMHTPIOY nEPI EPMHNEIAI
ajcnrep SovKvSiSr),
'
o)s ovt ojv TTVvOdvovrai aira^LOVvTcov
TO epyov, oTs T eTTi/xeXe? etr) etSeVat ovk oveiSt^ôvTcov'^
IcTOKcoXov
fxev
Srj tovto.
26. 'OfjiOLoreXevTa Se ecrrt ra eis o^JLOia KarakrjyovTa,
5
TjToi 19 ovofjiara ravToi, (^(rnep eêi iirl tov
'
crv
8'
avrov
KoX l,(i)VTa eXeye? /ca/cws, /cat vvv Oavovra
|
ypdcfêis /ca/cws*'
228'
17
orai^ ets (TvWa/Srjv Karakijyr) ttjv avTTjv, cucnrep tol
e/c TOV HavrjyvpuKov 7Tpoeipy)p.eva.
27.
XyOT^crt? 8e Tw^' rotourw^' kcoXcov i7TLcr(j>akij<;. ovre
10
yelp Setzô)? \iyovTL imTijSeLa' e/cXvet yaya ti^j/ 8eLv6T7)Ta
7]
irepl avrd repdpeia /cat ^povri^. SrjXov
8*
T7/xt^' tovto
TTOtet eoTTO/ATTO?. KaTTjyopwv yap tcov îkiTTTrov îkcov
(fyiqcriv,
'
dvSpo(f)6voL 8e ttjv (^yvcriv 6pt^, dvhpoTTOpvoi tov
TpOTTOv Tjcrav /cat eKokovvTO
fiev
eToipoi, r^crav he eratpat.'
15
7)
yap 6fJiOLOTr)<; r) irepi ra KcoXa /cat di/rtêcrt? e/cXvt rir)!^
8eti'dTi7Ta 8ta riî^ KaKOTe^viav.
dvfxos
yap T)(vr]<; ov
8etTat, dXXa 8et Tpoirov Tiva avTo^va elvai inl twv
ToiovT(x)v KaTiqyopicov /cat dirXa ra Xeyofjueva.
28. Ovre 87jTa ei^ 8et^'dr7^rt ^prjO'iixa tol TOiavTa, o)?
20 e8etfa,
oure ei^ TrdOecri /cat rjOecnv' dirXovv yap elvat
)8ovXerat /cat diroir^Tov to irdOos, o/jlolo)^ 8e /cat to ijOos,
v yovv ToZ^ 'AptcrroreXovg Treyot 8t/catocrvi^7y9 6 T171' 'Adrj-
vaioiv TTokiv ohvpofxevo^ el (xev outoj? etTTOt ort 'iroiav
TOLavTTjv ttoXlv elXov TOiv e)(6pct}v, oiav ttjp IStav ttoXlv
25
aTrcjXecravJ
e/xTraâi? ai' etpi^/cw? et?; /cat oSvpTLKcos' el Se
TTapofJbOLOP avTO TroiTjcreL'
'
iroiav yap ttoXlv tojp eÔpoiv tol-
avT7)v eXa/Bov, oiroiav Trjv ISiav direlâXov,^ ov
fid
tov Ata
irdOos Kivrfcrei ovSe eXeov, dXXd tov KaXov/xevov /cXaucrt-
yeXcjTa. to yap iv TrevOovai jrailêiv, /caret ttjv irapoi-
30
fiiav,
TO ret rotaura ev toI^; irdOecn KaKOTe)(velv ecTTL.
2 oh Te\ Thucyd., oh to P. 4 Trepl o/xoioreXe^Tuv titulus in P. 5 ravra P.
10 eTTiTiySeta : a supra versuni add. m. rec. P.
13
avdpbirbpvoi P. 16 aTj
in margine P.
19,
20 Cjs ideiâ in margine add. P.
25
airdoKeaav supra
versum addidit P. 27
airiâXov : /3
in ras. P.
|
fia. tov Ata : t7)v dX-^6eiav
in margine P. 29
Tapoifila in margine P.
DEMETRIUS ON STYLE
83
equal number of syllables, as in the following sentence of
Thucydides :
'
This implies that neither those who are asked
disown, nor those who care to know censure the occupation
\'
This is an instance of equality of members.
26.
'
Homoeoteleuta' are members which have a similar
termination. They may end with the same word, as in the
sentence :
*
You are the man who, when he was alive, spoke
to his discredit, and now that he is dead write to his discredit^':
or they may end with the same syllable, as in the passage
already quoted from the
'
Panegyric ' of Isocrates.
27.
The use of this kind of members is not free from
risk. They are ill-suited for vigorous declamation, since the
artifice and study which they involve impairs the energy of
discourse. Theopompus proves our point when, in arraigning
the friends of Philip, he exclaims :
'
Men-slayers in nature,
they were men-harlots in life ; they were called comrades,
but were concubines^' The similarity in the members, and
the antithesis between them, impairs the vigour of the expres-
sion through the trick of art. For indignation needs no art
;
in such invectives the words should be simple and, in a
manner, impromptu.
28.
Such devices, as I have shown, do not contribute to
vigour of style. They are not appropriate to outbursts of
passion, or to delineations of character. Simplicity and
naturalness is the mark alike of passion and of character-
drawing. In the treatise of Aristotle 'On Justice,' for instance,
a speaker laments the fate of Athens. If he asks 'what city
had they taken from their enemies as great as their own city
which they had destroyed
^'
he will have spoken with feeling
and from the heart. But if he makes the members of the
sentence symmetrical :
'
what so great city from their enemies
had they taken as their own city which they had forsaken,'
you may depend upon it that he will not excite pity or com-
passion, but rather the so-called 'mirth amid tears.' For
ill-judged ingenuity of this kind in emotional passages is no
better than the proverbial 'jest at a funeral.'
1
Thucyd. i.
5.
^
Scr. Inc. : cp. Aristot. Rhet. iii.
9.
=*
Theopomp. Fragm.
249,
Miiller, F. H. G. i.
p. 320.
*
Aristot. Fragm. 71,
ed. Berol. v.
p. 1487.
62
84 AHMHTPIOY nEPI EPMHNEIAZ
2g.
TiveTai fievTOL ye
xprja-Lixd
nore, o)<; 'A/jio-roreXTy?
(îqcrivy
*
iyco eK
fjuev
Adrjvcov et? ^rdyeipa rj\Oov 8ta rov
âcrikia tov fxeyav, e/c 8e ^rayeCpcov
eU 'AOrjva<; Sta toi^
êt/xwi'a TOV fjiiyav' eu yovv
d(f)e\oLs to Tepov
'
fxeyavj
5 avvacfiaiprjcrr) /cat ttjv ^dpiv ttj yap ixeyaXrjyopCa avvep-
yoZ av ra ToiavTa K(x)\a, oirola TOiv Vopyiov ra iroWd
dvTideTa KoX tcov 'icroKpdTov;. irepl
fiev
Stj tcov irapo-
pLOLOiV TOLVTa.
30. ALa(f)peL Se evOviirjpia irepiohov TjjBe, otl rj
fiev
10
7re/)LoSo? G-uvOecTiS tls icTTt
Trepiriyiiivq, d(^'
175
koI o)v6-
fjiacTTai, TO Se ivOvixiqixa iv tm SiavoijfJLaTL eêt ttjv S-uvafJUV
/cat crvcrTao'LV /cat ecrrti^ rj
fjuev 7repioSo<; kvkXos tov ivdv-
pnqpâTO^, wcTTrep /cat to)v dWojv irpayyidTOiv, to S' ivdv-
fjLrjfjia
Sidvoid rt? tJtol
e/c /xa^T^? Xeyofjuevrj rj iv d/coXov^ta?
15
(TXTjixaTL.
31. %r)fjiLOv Se* et ydp StaXvcreta? 7171/ crvvdecriv tov
ivOvfJujixaTO^,
TTjv [xev irepiohov r)(f>dvLora<;, to S' ivSvpLiqp.a
TavTov /xeVet, olov et rt? to Trapd ArjfjiO(rOevei StaXucretez/
ivOvjJirjiJia to tolovtov,
'
coanep yap et rt? eKeivcov idXco,
20
crv rdS* ou/c av
eypaxfjas'
ovt(o<; av av vvv dXw?, dXXo<;
ov ypd\pL'' SiaXvcreiev Se ovtco-
'
[jlt) iinTpeTTeTe rot? tol
TrapdvofJia ypd(f)ov<TLV' et yap iKcoXvovTO, ov\k av vvv ovto^ 229''
ravra eypacêj/, ovS' eTepo^ eTL ypdiffeu tovtov vvv dXovTo^-'
ivTavOa ttj^ rrepLoSov
fjuev
6 kvkXos e/cXeXvrat, to S' iv-
25
OvixTjixa
iv TavTco fjuevet.
32.
Kat KaOoXov Se to
fjiev ivOvfJurjiJia crvXXoytcrjLio?
Tt? eVrt prjTOpiKO^;,
y)
7rpLoSo<; Se cruXXoytêrat )Ltez/ ovSev,
crvyKeiTai Se [jlovov /cat nepioSovs
fJ^^^v
iv TravTl
fxipei
TOV Xoyov TLOejJiev, olov iv rot? irpooiixioi^;, ivOvfjLTjfiaTa
30 Se ov/c ej/ TrdvTi' /cat to jitez/ (Scnrep eirtXeyeTat, to eV^v-
2 arrdyripa P.
4
rb '^repov /xiya I' : corr. edd.
5,6
crwe/yyoi Ai*]
Goellerus, awepyotev P.
9
r/vt dia<p^pL iudOfirjfjLa Tepiddov titulus in P.
10 (Tf) TTJV 8ia(popav in margine P.
13, 14
tI eaxLv ivdiixrifxa in margine P.
|
1 4 ^
addidit Finckhius. , 23 aXwvros P.
i
DEMETRIUS ON STYLE
85
29. There are, however, cases in which symmetry of
members is useful, as in the following passage of Aristotle :
*
I went from Athens to Stageira because of the great king,
and from Stageira to Athens because of the great storm
\'
If
you take away the word
'
great ' in either case, you will at the
same time destroy the charm. The reason is that such mem-
bers, like the many antithetical ones of Gorgias and Isocrates,
tend to heighten expression.Thus much, then, with regard
to symmetrical members.
30.
The
'
enthymeme ' differs from the period in the
fact that the latter is a rounded structure, from which indeed
it derives its name ; while the former finds its meaning and
existence in the thought. The period comprehends the en-
thymeme in the same way as other subject-matter. The
enthymeme is a thought expressed either controversially or
consequentially.
31. A word in proof If you break up the structure of
the enthymeme, you destroy the period, but the enthymeme
remains intact. Suppose, for instance, the following enthy-
meme in Demosthenes to be broken up: 'Just
as you would
not have made this proposal if any of the former parties had
been convicted, so if you are convicted now no one will
do so in futureV Let the enthymeme run thus :
*
Show
no indulgence to those who make illegal proposals ; for if
they were habitually checked, the defendant would not be
making these proposals now, nor will anyone in future
make them if he is convicted now.' Here the round of the
period has been destroyed, but the enthymeme remains where
it was.
32.
In general, the enthymeme is a kind of rhetorical
syllogism, while the period is not reasoning at all, but
simply a combination of words. Nor is this the only
point of distinction. We use periods in every part of the
discourse, for example in exordiums ; but we do not so use
enthymemes. The onethe enthymemeis as it were an
Aristot. Fragm,
619,
ed. Berol. v.
p. 1582.
Demosth. Aristocr.
99.
fJLrjfjia,
T) TreptoSo? Se avToOev XeyeraL' koL to
fxev
olov
(rvWoyiCTfJios Icttiv aTekrj'^y rj Se ovre oXov tl ovre arekkf;
crvWoyitêrai.
33.
^vfJb/Se^rjKe fxei/
ovt/ tw ivOvfJuyjixaTi koL wepLohco
5
elvai, Slotl TrepioSt/co)? crvyKeiTai, irepiohos S' ovk eaTLVy
(Scnrep rw oiKoSofJiovfjiivco orvjJi/SelSrjKe
fikv
kol XevAcw elvai,
av \evKov rj, to otAcoSo/xou/xezô^' S* ovk ecrri XevKov. irepX
fiev
St) Stacôpa?
ivOvfjLifjfjiaTO*; kol irepioSov eipiqTai.
34.
To Se kojXov ^ ApLo-TOTeXr}<; ovT(o<; opitêTai,
'
kcjXov
10
icTTL TO eTepov
fJLpo<;
TreptoSov' etra iincftepeL' 'yiveTai
Se KoX arrXyj TreptoSo?.' ovt(o<; opio-dfjievo^, 'to Tpov
fjLepos,^
SiKcoXov i/BoTjXeTo elvai ttjv irepiohov
hrfkovoTi.
6 S' 'Ap-îSrjfjLos, (TvWa^cov tov opov tov 'ApLCFTOTeXov^;
KOL TO eTTi(f)ep6jxevov tco opco, craêcrTepov koI TeXecoTepov
15 ovTO)<; o)picraTO,
'
KOiXov icTTiv tjtoi aTrXrj 7reyotoSo9, r/
crvvOeTov irepiohov jxepo^.^
35.
Tt /xez/ ovv oLTrXyj TreptoSo?, eiprjTar crvvOeTov Se
<f)ri(Ta^
avTO irepiohov jxepo^, ov Svcrl /ccoXot? ttjv irepio-
hov opit,iv eoLKv, oXXoL KOL TpicTL KOL TrXeiocTLV'
rjfieL^;
20
Se fxeTpov
jiev irepioSov e/creêi/xeâ, vvp Se irepl tcov
âpaKTTjpoiv
T7J<;
kpixrjveia^ Xeycofxev.
II.
36. Etcrl Se TTTape^ ol ctTrXot yapaKT7]pe<;, l(r^v6<;,
IxeyaXoTrpeirrj^, yXacfivpos, Setzôs, kol Xolttov ol iK tovtojv
jjiiyvupievoL, jJiiyvvvTai Se ov Tra? iravTi, dXX' 6 yXa^vpo<i
25
yikv KoX tS l(r)(yM kol tco fJueyaXoTrpeirel, kol 6 Setiô?
Se 6fjiOL(o<;
ajxcôTepoi^'
ix6vo<;
Se 6 jxeyaXoirpeirr)^ to) la^vco
ov fxCyvvTau, dXX' ojcnrep avOicTaTov koX avTiKeLcrdov
9
6'/)os K(b\ov Kara dpi.(rTOT^\r]v in margine P. 1 1 kuI in litura P.
1
3 o"?;
Kara dpx^drjfiov 6pos in margine P.
14
6p(a ex oXw (ut videtur) P. 21 \4yofxeu
(in litura) P : corr. edd. 22 Trepi
x^-P^'^'^'^P^^
titulus in P.
24
firjyvij/xevoL
(77
punctis notato) P. 26, 27
c?; 5ri /t6j'os 6 ixeyaXoirpîrrji xapaKTT^p ry
lo'X^V
01) fiiyuvrai in margine P.
DEMETRIUS ON STYLE
87
additional utterance, while the period is an independent
utterance. The former may be called an incomplete syl-
logism, while the latter corresponds to no syllogism, whether
perfect or incomplete.
33. It may, indeed, happen that an enthymeme is at the
same time a period because its construction is periodic. Still
it is not identical with the period. A building may be white
if it so chance, but a building, as such, is not necessarily white.
So much for the distinction between enthymeme and period.
34. The 'member' is thus defined by Aristotle: 'A
member is one of the two parts of a period.' He then adds :
'
A period is also occasionally simple^' The reference in his
definition to
'
one of the two parts ' makes it clear that he
preferred the period to have two members. Archedemus,
combining the definition of Aristotle and its supplement,
produced a clearer and fuller definition of his own :
*
A mem-
ber is either a simple period, or part of a compound periods'
35. The simple period has been already described. In
saying that a member may be part of a compound period,
Archedemus seems not to confine the period to two members,
but to include three or a greater number.We have given
our views concerning the limits of the period ; let us now
describe the types of style.
CHAPTER II.
36. The simple types of style are four in number : the
'plain,' the 'elevated,' the 'elegant,' the 'forcible.' In addi-
tion there are the various combinations of these types. Not
every style, however, can be combined with every other. The
elegant is found united with the plain and the elevated, and
the forcible with both alike. The elevated and the plain
alone cannot be compounded. They are so irreconcilably
^
Aristot. Rhet. iii.
9,
-rrepiodos 5e i) fikv ev k<I}\oi.$ tj
5'
dêX-^s. . . kwXov
5'
iariv
rb ^repov fi6pLov ravTrjs. dcpeXij 8i X^yu) ttju novbKwXov.
*
Archedem. Fragm.
88 AHMHTPIOY HEPI EPMHNEIAI
ivavTio)T(XT(t}. 8io
817
Kol yôvov^ hvo âpaKTr]pd<; rive^
a^LOvcTLv elvau rovTov<s Toifs 8e Xolttovs Svo fxera^v tovto)v,
Tov
fjiev
y\a(j)vpov rco [(ryyco irpoavifJiovTes fJiaXkov, rw
8e /JLeyakoTTpeTreL tov Seivov, cL? tov y\a(f)vpov p.ev yuKpo-
5
TTfTa
TLva Koi KOfJLxjjeiav e)(ovTos, tov heivov 8e oyKov koI
jjiiyeOof;.
37.
FeXoto?
8'
6 TOLOvTos \6yo<;. opcofxev yap 7r\r)v
TCx)v elpy]fxivo)v âpaKTrjpcov ivavTucov, woivTas
fjnywixevovs
TTOLCTLV, olov TOi OfJiljpOV T 7717
KOL TOVS HXaTCOVO^ XoyOV^
10
KOi aeVO^(t)VTO^ KOL 'HpoSoTOV KOL dXkcOV TToWcJV TToXkrjV
fiev ixey
akoTTpiireiav KaTajxefJLLyiJLeprjv )(0VTas, TroXkrjv 8e
SeivoTTjToi re kol yapiv, axTTe to
fiev ttXtJô? tcov âpa/c-
Tnjpcov TocTovTov av
17),
ocTOv XeXe/cTttt. ipiJL7)peia
8'
eKoicrTcp irpeTTovcra yevoLT av Tota8e rt?.
15
38.
I
"Apfojutat 8e diro tov fieyakoTrpeTTOvs, ovirep vvv
229'
\6yiov ovoixdtpvcTiv. iv TpLcrl 8r) to fieyakoTrpeTre^;, 8ta-
voCa, Xefet, ro) (TvyKeicrOaL TTpo(T^6p(o<;. avvOecrL<; 8e
fjLeyaXoTrpeTTT]';, w?
(f)r)0'Lv
ÂpL(TTOTXr)<;, rj iraioiviKrj.
iraioivo^ 8e elhr) hvo, to
fiev
irpOKaTapKTLKov, ov dpêi
20
p,.v (xaKpd, \ijyov(TL 8e r/oet? ^paêiai, olov to TOiovhe,
'^pÔLTO
8e,' TO 8e KaTakr)KTLKov OaTepco dvTicrTpo(l)OV,
ov Tpei<; jxev ^pa)(eiai dp-ôvcnv, Xrjyec 8e /xta fiaKpd,
(ocTTTep TO Apapia.
39.
Act 8e iv Tol^ Kcokoi^ tov fxeyaXoTTpeTTOvs
Xoyov
25 TOV TTpOKaTapKTLKOv
fxev
iraioiva dpêiv tcov kcoXcov, tov
KaTaXr)KTLKOv 8e eirecrdaC. irapdheiypua
8'
avTcov to Sovkv-
SiSeiov ToBe, 'rjpâTo Se to kolkov
if
At^toTTta?. tl ttot
ovv *ApLO-TOTeXr)<; ovtco 8teTafaT0 ;
otl Sel /cat ttjv ifJil3oXr)v
TOV KcoXov Kal dp^Tjv fjieyaXoTrpenrj evOv^ eivai /cat TeXos,
I dib] Victorius, 5e 6 P.
5
Kofixplav P. 8 eiprjfjL^vuv] Victorius,
bpwfjAvuv P.
1
4 eKdcTTOJi P. 1
5 trepl fxeyaXoirpeTrous titulus in P.
|
fieyaXo-
irpeiriji in margine P. 18 fMeyaXoTrpeTrovs P.
19
6tl 5{>o et8r} iraiuvos, iralwv
a'
_ ^
w
^j Tratwj'
^' - -
in margine P. 23
ra apaêld P : corr. Walzius.
26 6vKv8i5iov P. 27 ifpâro P syllaba longa non indicata.
DEMETRIUS ON STYLE
89
opposed and contrasted that some maintain that there are no
other types of style besides these two, the rest being inter-
mediate. The elegant style is, thus, regarded as akin to the
plain, and the forcible as akin to the elevated, as though the
first contained something slight and dainty, and the second
something massive and grand.
37.
Such a view is absurd. We can see for ourselves
that, with the exception of the two opposites just mentioned,
any style may be combined with any other. In the poetry of
Homer, for example, as well as in the prose of Plato, Xeno-
phon, Herodotus and many other writers, great elevation is
joined to great vigour and charm. The number of types of
style is, therefore, that already indicated. The mode of
expression appropriate to each will be found to be of the
following kind.
38. I shall begin with the elevated style
,
to which
to-day the title
'
eloquent ' is given. Elevation consists in
three things :
'Ihought,'
*
diction,'
*
appropriate composition.'
According to Aristotle, the paeonic rhythm is elevateds
There are two kinds of paeon, the
'
procatarctic ' (initial),
beginning with a long syllable and ending with three short
ones, e.g. rjpâro Be : and the
'
catalectic ' (final), the converse
of the former, that is to say, beginning with three short
syllables and ending with a single long one, e.g. 'Apa^la.
39. In the elevated style the members should begin
with a procatarctic paeon and end with a catalectic paeon, as
in this passage of Thucydides :
'
Now it was from Aethiopia
that the malady originally came^.' What, now, is the reason
why Aristotle advised this arrangement of syllables ? Because
the member should open and end impressively
;
and this will
1
Aristot. /Âe^. iii. 8.
^
Thucyd. ii.
48.
90
AHMHTPIOY nEPI EPMHNEIAZ
TOVTO
8'
ecrrat, ectz^ dno fiaKpa'; dp)((o[jLOa /cat etg fxaKpav
Xriyoiixev.
cûcret yap fxeyakelov r) fxaKpd, kol irpokeyo-
fxevrj re TrXrjcrcreL evOv^ Koi dTroXijyovcra ev fjieydkco tlvI
/caraXeiTTCi tov dKovovra. irdvTe^ yovv ISl(o<; tcov re
5
npcoTcov fjLvrjfjLove-uoiJiep
/cat tcov vcTrdroyv, /cat vtto tovtcov
KLvovfJieda, VTTO 8e tcov fxeTaî) eXaTTOv (jjairep iyKpvnTO-
fievcov 7]
iva(j)avLCoiJivcov.
40.
ArjXov Se tovto iv rots ou/cvStSou- cr^êSov yap
6\co<; TO fJieya\o7rp7r^ iv irdcnv avTco rroiei tj tov pvdfJLOv
10 iJLaKp6Tr)<;, /cat /cti/Sviêuet tco dvhpl tovtco iravToSaTTOV
ovTos TOV /xeyaXoTTyoeTTOv? avTTj rj crvv0e(Ti<;
fiovr)
7)
fjidkicrTa
TrepLTTOielv to (jieyLcrTov.
41.
Aet jJiivTOL Xoytêcrât, ort kolv [xt) dKpL/3co<; Svvco-
fieOa
T0t9 KcoXoL^ TrepiTiSivaL tov^ iraicova^ evOev /cal
15 evOev dpLôTepov^, TTaicoviKrjv ye 7rdvTco<; TroirjCTOfJieOa ttjv
(TvvOecTLv, olov e/c fxaKpcov dpôpêvoi /cat et? pLaKpd<; /cara-
X^7yo^'re9. tovto yap /cat *AptcrroTeXT7? irapayyiWeLv
eoLKev, aXXaj9 8e to Slttov tov iraicovo^ TeT)(yo\oyiqKivaL
dKpLêia^ eVe/ca. hiorrep %e6(^paaTos irapdheiyixa e/c-
20 reêtrat /xeyaXoTrpcTreta? to rotouToi^ kcoXov, 'tcov
fxev
irepl
TOL firjSevo^; dîa cfuXocrocjiovvTcov'' ov yap e/c rraicovcov
dKpiôif;, dXXa ttcllcovlkov tl icTTL. Trapakaêlv fJievTOL
TOV waicova et? tov<; X6yov<;, iireiSr) [jllktos tC^ icTTL /cat
dcr(f)a\CTTpoSy to /xeyaXoTrpcTres [lev eK Trj^ fjuaKpa*;
Xa/x-
25 jBdvcoVf TO XoyLKov 8e e/c rwi/ ^paêicov.
42.
Ot
8'
aXXot, 6
fiev
r)p(ô<; creixvo^
/cat ov Xoyt/cds,
dXX* rj-^coSrj^s' ov8e evpvOjxof;, dXX' dpv0fJLO<;. (Zcrrrep 6
Totdcr8e, 'tJkcov rjfjicov eU tyjv ^copav' rj yap 7rvKv6Tr)<; tcov
fjiaKpcov vTrepTTLTTTei TOV XoyuKov jJieTpov.
2 ffr} TroTairrjv
^xî
86pafji.iv
17
fMaKpd in margine P. 11 ij (accentu supra
7; a m.
rec. addito) /tdXiara P. 12 irepnroiei'P, v supra versum addidit m. rec. P.
13 5uj'c6-
Ateâ] Schneiderus, dvud/xeda P. 15
iroi-qaibfieda P. 18 TexvoKoytjKhai P.
22 TrapaXaêiv] Steinbergerus, irapoKa^Qv (\a supra versum scripto) P.
25
jSpa-
Xe^wv
P. 27 ^vpvdfios P.
I
dW apu^/Aos] Victorius, dW dvdpvd/ios P.
28 ^Kei i7Kw>' P, iKc iJKtp m. rec. P.
DEMETRIUS ON STYLE
91
be so if we begin with a long syllable and end with a long
one. The long syllable has in itself something grand, and its
use at the beginning is striking, while as a conclusion it leaves
the hearer-îth a sense of elevation. Anyhow, all of us
remember in a special degree, and are stirred by, the words
that come first and the words that come last, whereas those
that come between them have less effect upon us, as though
they were obscured or hidden among the others.
40. This is clearly seen in Thucydides, whose dignity
of style is almost in every instance due to the long syllables
used in his rhythms. It may even be said that the pervading
stateliness of that writer is attained altogether, or for the
most part, by this arrangement of words.
41. We must, however, bear in mind that, even if we
cannot exactly furnish the members with the two paeons at
either end, we can at all events give a paeonic character to
the arrangement by beginning and ending with long syllables.
This is seemingly what Aristotle recommends, although for
the sake of precision the two sorts of paeon are prescribed in
his treatise. On the same principle Theophrastus has given
as an instance of elevation the following member :
'
Those
who philosophize in matters that are worth nought^' This
particular sentence is not precisely composed of paeons, yet
it is paeonic in character. The paeon should be employed in
discourse, since it is a mixed measure and so safer, and
derives its elevation from the long syllable and its prose
character from the short ones.
42. Among the other measures the heroic is solemn and
ill-adapted for prose. It is sonorous ; not full of rhythm,
but without it. Take, for instance, the following words
:
*
This land, our land, reached now by me^' Here the reitera-
tion of long syllables exceeds the bounds of prose.
^
Theophr. tt. X^êws.
^
Scr. Inc.
92
43.
*0
Se LafjLôs
VTe\rj<; kol rrj tcjv ttoWo)]/
Xefet
ofJLOLOf;. TToXkol yovv fjierpa ta/xySifca XaXovcrti' ovk etSdre?.
6 8e iraioiv
dfX(l>o'Li/ ixi(To<^
kol
ixerpio^, koI ottoIos crvy-
KKpaixivo^. r)
fxkv
Srj TraicovLKrj ev roiî (JLeyaXoTrpeirecrL
5
o-vp6eo-L<; wS* av tto)^ Xajji^dvoLTo.
44.
Tloiei 8e KOL rd
fjLyJKT)
rcov kcjXojv
fxeyeOo'?, oTov
'SovkvSlS7)<; Â0rjvaLo<;
\
^vveypaxjje top TroXejxov tcov IleXo-
230''
7rovv'Tq(Ti(x)v kol ^ KOiqvaioyVy kol ''HpoSoTov ' AXiKapvacrecos
L(TTopLrj<; dTToSet^t? 1786.'
ro yap Ta^0)<; aTrocFLcoTrdv el<;
10 KOiXov ^pa^v KaTao-fJiiKpvveL rrjv rod Xoyov (refjiPOTrjTa,
KOLv rj v7roKLfXvr) SidvoLa fieyaXoTrpeTrrj^;
y,
kolv rd
ovofJLara.
45-
MeyaXoTTpcTre? Se koL to Ik TTepLaycoyrj^; ttj
crvvOicreL Xeyeiv, oXov &>? ôvKvhihy]^' 'o ydp 'AêXwo?
15 TTora/xo? peoiv Ik liivhov 6pov<; 8ta AoXoTTia? /cat 'Aypua-
v(x)v Kai ÂjjLifiiXoôiv, avoiOev irapd ^Tpdrov iroXiv e?
OdXacrcrav 8teftet? irap Olvidha<i, koI ttjv ttoXiv avroi^
TrepiXipL,vdt^(x)v diropov Trotei vtto tov u8aro9 ev 'êijJicoi'L
(TTparevecr9aiJ cnjfJiTracra ydp rj TOLavrrj pêyaXoirpeireia
20 Ik Trjs Trepiaycoyrj^ yeyovev, kol e/c tov p.6yi^ dvaircLva'aL
avTov re /cai tov dKovovTa.
46.
Et
8'
ovTCt) SiaXvcra? avTo eiiroi tl<;-
'
6 ydp
'AêXwo9 TTora/xo? pel
fiev
eK II 11^801; opovs, e/cySaXXei
8e Trap' OlvidBa^; e? OdXacrcrav' irpo Se
ttJ?
e/côXTJ? to
25 OlvLaScov ireSiov XLfjLvr)v Troiel, (^<tt avTols 7rpo<; ra?
)(eLfJLepLvd<; e<ô8ov9 tcov TroXefJLLCJV epv^jua /cat 7rp6^Xr)p.a
yivecrOai to vScop-' el Stj rt? ovto) fxeTa/BaXojv epfxrivevaeiev
avTo, TToXXa?
fxev
dvairavXa<; wapeêt tS Xoyo), to pêyeOo^
8'
d<j)aipijo'eTaL.
30
47.
KaOdwep ydp ra? fiaKpds 680
vs
at crvi/eêt?
KaTaycoyal fJUKpds ttolovo-lv, at
8*
epiqjJiiaL Kav rat?
7
ire\\oirovvq<xl<i)v P. 8 aWiKapvaaius P. 15
o/30us P.
|
'Aypauv
codd. Thucyd.
17
8ii^lei(n P.
DEMETRIUS ON STYLE
93
43. The iambic measure lacks distinction and resembles
ordinary conversation. Indeed, many people talk in iambics
without knowing it. The paeon hits the happy mean between
the two, and may be said to be composite. The paeonic
structure may, accordingly, be employed in elevated passages
after the manner thus described.
44. Long members also contribute to grandeur of style,
e.g.
'
Thucydides the Athenian wrote the history of the war
between the Peloponnesians and the Athenians
\'
and
'
Hero-
dotus of Halicarnassus sets forth in this History the result
of his inquiries^' A sudden drop into silence on a short
member diminishes dignity of expression, elevated though
the underlying thought and the words may be.
45. Elevation is also caused by a rounded form of com-
position, as in the following passage of Thucydides :
*
For
the river Achelous flowing from Mount Pindus through
Dolopia and the land of the Agrianians and Amphilochians,
having passed the inland city Stratus and discharging itself
into the sea near Oeniadae, and surrounding that town with
a marsh, makes a winter expedition impossible owing to the
floods^.' All this impressiveness arises from the rounded
period and from the fact that the historian hardly allows a
pause to himself or to the reader.
46. If the sentence were broken up and made to run as
follows :
'
For the river Achelous flows from Mount Pindus
and empties itself into the sea near Oeniadae ; but before
reaching the outlet it converts the plain of Oeniadae into a
marsh, so that the water forms a defence and protection
against the attacks of the enemy in winter,'if the phrasing
of the sentence were to be varied in this way, there would
be many resting-places in the narrative but its stateliness
would be destroyed.
47. Long journeys are shortened by a succession of
inns, while desolate paths, even when the distances are short,
^
Thucyd. i. i init.
'^
Herod, i. i init.
^
Thucyd. ii. 102.
94
fJiiKpaL<; oSot? fJi(j)acrLv Tiva eôvcrt
ixtjkovs, rauro S17
KaiTL TOiv KcoXcop av yiyvoiTO,
48.
rToiei Se Koi
SvcrcfxxJVLa crvvOicrecos iv woXkol^;
fJiiyeOo';, olov to
5
Ata?
8'
o jjueya^ alev
60'
''KKTopi ')(âXKOKopv<ny.
dXka)<; jjiev yap lctcjs Sucttâcoos
17
roi^'
ypafifioLTCov crvfJi-
ttXtj^l^, v7repl3o\.rj S' ifjLtjâLvovcra to
fieyeOo^; tov 7]po)o<;-
XeiOTTjs yap /cai to evrjKoov ov irdvv iv fxeyakoTrpeTreia
-)((x)pav \ovcrLv, el
fxij
ttov iv oXiyot?. Kal 6 SovkvSlStj^
10
Se 7ravTa)(ov cr)(Sov (jyevyei to \eiov /cat 6/i,aXe?
7179
crvv-
Oecrecos, Kal del fJidWov tl TrpoaKpoTJOvTL eoiKev, otcnrep
ol TOLs Tpayeia<^ oSou? TropevofJuevoL, iirdv keyr), 'otl to
fiev 87)
eTo<;, w? a)ixo\6yr)To, dvocrov is ra? dWas dcrOeveias
iTvyyavev ov! pdov \xev yap Kal rjSiov cSS' dv tls elnev,
15 OTL 'avocrov is tols aXXa9 dcrOeveias ov iTvyyavev!
d<f)7Jpr]To
8*
avTov TTjv (jLeyaXoTrpeTreiav.
49.
'^ncnrep yap ovojxa Tpa^v jxeyeOos ipydêTai,
ovTco crvvOeo-iS' ovofJuaTa 8e Tpaêa to re
'
KeKpayojs
dvTl TOV
'
/Socov/ Kal TO
'
prjyvviJievov' dvTl tov 'cjiepo/jtevov,'
20
oloLs irdcTLv 6 SovKvSiSrjs '^prJTaL,
ojxoLa Xafi/Bdvcov ra re
ovofJiaTa Tjj (TvvOecrei, toZs re ovofiacrL ttjv orvvOecnv.
50.
Taorcreiv 8e ra ovojxaTa ^prj TovZe tov Tpoirov.
irpcoTa
fxev
TiOevai ra ^xy) fxaka ivapyrj, SevTepa 8e /cat
vcTTaTa TOL ivapyecTTepa. ovtco yap /cat tov irpcoTov d/cou-
25 (TOfxeda o)? ivapyovs, Kal tov fxeT
avTo o)s ivap\yeaTepov.
230^
t Se
fiT],
SoôfJLev i^TjcrdevriKevaiy Kal oXov KaTaireTTTOi-
Kevai drro lcr)(vpoTepov iirl daOeves.
51. ITapaSetyûta 8e to irapd rw nXarwi^t
Xeyofjuevov,
OTL 'iirdv
fjiev tls fJiovcTLKy rrape^rj KaTavXelv Kal /cara-
5
x^XfOKopuo-TTji P. 7 vTrepôXr] :
/3
in rasura add. m. rec. P. 8 fieydXo-
irpiireiai
("
add. m. rec.) P. 13
oj/MoXoyei (sine spiritu) ro (sine accentu) P.
14
r}8dov P. 20 oiois iraa-iv] Hammerus, ot cnraaiv P.
|
6 bis scripsit P in
transitu versus. 22 irepl cvvdiaeus \6yov titulus in P.
|
rbv supra versum
addidit m. rec. P. 26 ddû/xev P.
|
kuI post i^TjadevTjKivai ins. edd.
29
Srav Platonis libri.
|
irapixî P.
|
/caraxet'' ttjs îrjc^s Plat.
DEMETRIUS ON STYLE
95
give the impression of length. Precisely the same principle
will apply also in the case of members.
48. In many passages an impressive effect is produced
by a harsh collocation of words, as for example in the line
:
And Aias the mighty at Hector the brazen-helmed evermore

Was aiming his lance'.
No doubt the clashing of letters is, as a rule, unpleasant to
the ear, but here the very excess brings out the greatness of
the hero, since in the elevated style smoothness and pleasant
cadences have no place, except here and there. Thucydides
almost invariably avoids smoothness and evenness of com-
position. He has rather the constant air of a man who is
stumbling, like travellers on rough roads, as when he says
that
'
from other maladies this year, by common consent, was
freel' It would have been easier and pleasanter to say that
^
by common consent, this year was free from other maladies.
But this would have destroyed the effectiveness of the sentence.
49.
Composition makes style impressive in the same
way as a rugged word does. Instances of rugged words are
*
shrieking ' in place of
'
crying,' and
'
bursting ' in place of
*
charging.' Thucydides uses all expressions of this kind,
assimilating the words to the composition and the compo
sition to the words.
50.
Words should be arranged in the following way.
First should be placed those that are not specially vivid
;
in
the second or last place should come those that are more so.
In this way what comes first will strike the ear as vivid, and
what follows as more vivid still. Failing this, we shall seem
to have lost vigour, and (so to speak) to have lapsed from
strength to weakness.
51. An illustration will be found in a passage of Plato
:
*
when a man suffers music to play upon him and to flood his
1
Horn. //. xvi.
358,
AJ'as
5'
6 fx^yas alkv itft' "EKTopi x'^^'ôko/juctt^
I'er' aKovriffaai..
2
Thucyd. ii.
49.
96
Xiv
8ta TO)v (Lrcov' ttoXv yap to Sevrepov ivapyicrTepov
Tov TTporepov. kol ttoXlv Trpo'Ccov c^t^ctii/, 'orav Se /cara-
êW /x']^
(xi/tJ,
dXXa
Krfkfj,
to S17 /xera rovro -^817 T7]Kl kol
XetySet.' TO yap 'Xei/Beu' tov 'TrjKei^ eixâTiK(x)Tepov koX
5
iyyvTipo) iroirjixaToî. el Se Trpoe^rjveyKev avTo, aaOepe-
CTTepov av to 'TiJKei' iTTLcjyepojjievov
i(f>dvr).
52.
Kat "0/x7ypo9 8e iirl tov Kv/cXojTTog del iiravêL
TTjv VTrepôXnjp , kol iiraviovTi in avTrjs eoiKev, oXov
ov yap ictiKei
10
dvhpi
j
o-LTOcfxiya), dWa pi(p vXyevrc,
KOL TrpocreTi v^tjXov opov^ /cat vTre/ocâiz/o/xeVou tcov olXXwi/
opcop. del yap KaiToi fxeyaka ovTa ret irpoTepov rjTTova
(f)aLveTaL, fxeitpvMv avroi? tcx)v /xera TavTa iTmftepOjJLevcov.
53.
Xp?) 8e Kal TOv<; (TVvSe(TfJiOV<; jJirj
fidXa dvTairor
15
SihocrdaL aKpiô)^, otov tco
'
fjikv' crvvSeafJico tov *8e**
fjLLKpoTTpenes yap rj aKpiêia' dXXct /cal aTaKTOTepcos ttcos
^prjcrOaL, KaOdnep nov 6 Âvtl(J)(ov Xeyei* 'r) pêv yap
vrjG-os y}v erôpêv, SrjXrj pev Kal iroppoiOev icTTLv, vxjjrjXrf
Kal Tpayeia- Kal tcl pev ^prjcnpa Kal ipydcnpa piKpd
20
avTTjs icTTL, TOL 8e dpyd iroXXd apiKpas
avT7J<;
ovcr7)<;.*
Tpial yap toIs
'
pev' avvhecrpois el? 6 *8e' avTaTTohihoTai,
54-
IloXXd/ct? pevToi Te9evTe<; ttcos i(j)e^rjs avvhecrpoL
Kol TOL piKpd peydXa ttolovctlv, o)? nap Opajpco tcjv
BoLcoTLaKCJP noXeoiv tol ovopaTa evTeXrj ovTa Kal piKpd
25 oyKov TLvd e)(ei kol peyeOos hid tov<; avvheapovi e(ê^7j9
TocrovTovs Te0evTa<;, otov ev rw
^ôlvov re ^kwXov re, iroXvKvrjfjuov r ^Kreo)v6v.
55-
Tot9 8e napanXrjpcopaTLKols (Twhea-pois
XPV~
(TTeoVy ov^ a)s npo(r6T]KaL<s Kepal<s /cat otov npo(T<^vpacrLv
2 /carax^w P : iir^X'^^ Plat.
3
KrjXrj P.
"
supra rj alterum add. m. rec. P.
5
eyyvT^pu ex eYY^ripov m. rec. P. 6 i-n-KpepSfxevop ex iiriêpd/jievos m. rec. P.
8 ôiKv edd. : om. P. 10 post pica add. a/cpa KopvKf)?! Kpr}ixvCo P, quae verba
T
punctis notata sunt. 1 1 opo^ P. 12 ovTairp&repov P.
1
5 rbv 8k ex rw
5e m. rec. P. 17 ^7 IJ^v
70/0]
Capperonerius, tj yap P. 18 ^>'
ix^f^^^V H^V
P-
20 ai-T^s ex aijTTj m. rec. P.
|
dp*ya (fort, ex dpwya) P. 27 c/cwXoj' ex a/ca
(ut videtur) m. rec. P.
DEMETRIUS ON STYLE
97
soul through his ears\' Here the second expression is far
more vivid than the first And further on he says :
'
but
when he ceases not to flood it, nay throws a spell over it,
he causes it to melt and waste away^' The word
'
waste ' is
stronger than the word
'
melt/ and approaches more nearly to
poetry. If Plato had reversed the order, the verb *melt/
coming in the second place, would have appeared weaker.
52. Homer, also, in describing the Cyclops, augments
continuously his hyperbole and seems to mount higher and
higher on its steps
:
Not like to the sons of men, but seeming a forest-clad crest

^
;
and what is more, the crest of a lofty mountain and one that
towers above its fellows. For great though they may be, the
things which come first seem lesser, when greater things
follow them.
53. Connectives, again, such as yjlv and Se, should
not correspond too nicely. There is something trivial in
excessive nicety. A certain negligence in the use of particles
is desirable, just as Antiphon somewhere says :
*
for the island
we inhabit can be seen from a distance to be lofty and
rugged. Those parts of it which are tilled and useful are
insignificant, while the uncultivated portions are many, small
though the island isV There is here only one Se to answer
to the repeated ybh.
54. On the other hand, it often happens that connec-
tives which follow one another in close succession make even
small things great, as in Homer the names of the Boeotian
towns, though ordinary and insignificant, possess a certain
high-sounding pomp owing to the accumulated connectives,
for example in the line
:
And in Schoenus and Scolus, and midst Eteonus' hill-clefts deep*.
55.
Expletive particles must not be employed as point-
less appendages and excrescences so to say or expansions, as
1
Plat. Rep. iii. 411 A.
2
pj^t. Rep. iii. 411 b.
'
Horn. Od. ix.
190,
o^5e ^y/cet
av^pi ye airotpdyqj, dXXa pL(p vXiêvri
v\pn\Ci)v dpiiav, 6 re <t>aivT(iL olov d7r' dXXwj'.
*
Antiphon, Fragni.
50
(Blass).
^
Horn. //. ii.
497.
R.
7
I
98
Tj wapa^voTfjiacrLv, a'airep tlv^ tco 'Stj' ^pcovraL tt/oo?
ovSev KOL TO) 'vv' Koi tS 'irporepovj dXX' av Grv^âX-
Xcovrai Tt Tw jxeyeOeL tov Xoyov,
56.
KaOaTTep irapa iWdrcovL,
'6
ixev
817
/xeya? Iv
5
ovpavQ} Zev9' Kai nap
OfjLTJpco,
dTOC ore S?) iropov lôv vppelo^ TTora/jLolo.
dpKTLKO^ yap redely 6 crw8ecr/xo9 Kal aTrocnTdcras tcjv
TTpoTepcov TOL
i^6fjLva fieyakelov tl elpyda-aro. at yap
TToXkal dp-âl creiJLvoTTjTa epydtôvTai. el
8'
c58e etTrev,
10
*
d\X ore 771 Toi^ iropov aîKovro tov irorafjiov,' fJUKpoXo-
yovvTL icpKeu /cat ert o)? irepL ivos Trpdyfiaros \iyovTi.
57-
AafJi/SdveraL 8e Acal iradrjTLKCJS TroXXd/ct? 6 crw8cr-
jLto? pSros, ajcnrep iirl rrj^ Kakvxfjovs irpos tov 'OSucrcrea,
Acoyevh AaepTcdBrj, TroKvfjbrj'âv 'OBvacrev,
15
ovTO) Brj OLKovBe
<f)l\7]v
e? iraTpiha âlav
;
el yovv TOV crvvSeafJiov efeXots, crvveâtpijcreL^ Kal to
irddo^s.
KaOoXov ydp, (ocnTep 6 IIpa^L(f)dv7]<; (jirjcriv, dvTi
fjivyfioiv
I
TrapeXa/jb/BdvovTO ol tolovtol crvvSeo-jJiOL Kal crTe-
231*
vayfJLCOv,
axnrep to 'at at,' Kal to '(j)ev/ Kal 'ttoIov tl
20
io'TLV
;'
0)9 avrd? (j>rj(TL, to ' Kav vv k oSvpofievoLO'Lv'
ewpexpev, ep^âcriv Tiva )(ov olKTpov ovopbaTOS-
58.
Ot 8e 7r/30S ovSev dvairkrjpovvTe^;,
(l>r)aL,
tov crvv-
SecTfJiov
ioLKacTLv rots vTroKpiTal^ to2<; to Kal to
77/309
ov8e^' 7709 XeyovcTLV, oTov ei tls (SSe \eyoi,
25
lLaXvh(ov fjbev ^Se jala UeXoTreia^; %ôi/o9,
(jyev.
ev avriTTopd/iioi^ TreSt' eôva evBaLfiova,
at, ai.
0)9
yap irapekKeL to at at fcat to
<f)ev
iv0dSe, ovto) Kal
30 6 TravTa)(ov jxdTrjv epLâWofxevo^; crw8eor/xo9.
2 aXXai (Tv/x^dWouTai in dXX' Ay (rvfi^dWcovrai corr. m. rec. P.
4
/xe'Yas
ijyefiibv Plato. 7 dirocrirdaas] Finckhius, diroaTraadds P. 9 ai} in margine P.
12 irad7jTiKCb$\ ap. Greg. Cor., wadTjTCKOLS P.
17
ri ^T/o-i Trpaî<f>dPT}S a-ri
in margine P.
30
ifxâWd/Mevos arjpdea/jLos] ap. Greg. Cor. , iiJ.âX\6fXvoi P.
DEMETRIUS ON STYLE
99
hr) and vv and irporepov are sometimes aimlessly used. They
must be introduced only if they contribute to elevation of
expression,
56. as in Plato 'lo mighty Zeus in his heaven^'; and in
Homer
But lo when they came to the ford of the fair-flowing river".
The particle placed thus at the beginning of the sentence and
separating what follows from what precedes, creates the im-
pression of elevation. Amplified beginnings have an imposing
effect. If the poet had said
*
but when they arrived at the
ford of the river,' he would have seemed to be using trivial
language and to be describing a single occurrence.
57.
The particle hrj is also often used with a touch of
feeling, as in the words which Calypso addresses to Odysseus
:
O Zeus' seed, son of Laertes, Odysseus of many an art,

Is it so, that home to thine own dear land thou art fain to depart'?
Remove the particle, and you will at the same time remove
the feeling conveyed by the line. In general, as Praxiphanes
says, such particles used to be employed in place of moanings
and laments. Instances are
'
ah me
!
' and
*
alas
!
' and
*
oh,
what is it?' As he himself says, the words Kai vv k were
fittingly applied to men who are 'lamenting,' since they
suggest in some degree a word of mourning^
58. But those who use expletive particles aimlessly
resemble, he says, actors who employ this exclamation and
that casually, as though one were to say
Calydonian soil is this, whose fertile plains
(Alas
!)
Look o'er the narrow seas to Pelops' land
(Ah me!)
I
For as in this passage the 'ah me
!'
and the 'alas
!
' are merely
dragged in, so is the connective when it is inserted cause-
lessly and indiscriminately.
^
Plat. Phaedr.
246
E.
2
Horn. //. xiv.
433,
xxi. i.
*
Horn. Odyss. v.
203.
*
Horn. //. xxiii.
154,
Kal vu k' ddvpo/j^voia-iv ^8v <f>dos iieXloio: also Odyss. xvi.
220, xxi. 226.
**
Eurip. Meleag. (Eurip. Fragm.
515
Nauck'').
72
59.
Ot
fjikv 87) crvvSeoTfjiOL Tr)v crvvBeciv
fieyaXoTrpeTrrj
TTOLovcTLV, ft)? eipi^Tai, ra Se cr^T^/Aara
ttJ? Xefew? iom
ixkv
KoX avTOL (TVvOecreM^ tl elSos' to yap Srj tol avra \eyeiv
St9 hi7r\ovvTa rj i7rava(j)povTa tj avOvrraWdcrcrovTa 8ta-
5
TarrojLteVft) koI pêracrvvTiOepTL eoiKev. SuaraKTeov 8e m
7rp6(r(j)opa avTcov -âpaKTrjpL iKOLCTTcp, olov tco jxeyako-
irpeireL piev irept ov Trpo/cetrat, raGra*
60. npcoTov pev ttjv avOvTraWayrjV, ft)? 'Ôpyjpo^,
ol Se ^vo aKoireKoL jjbev ovpavov evpvv tKaver
10 TToXv yap ovTO) peyakeiorepov ivaWayeicrrjs Trxftjcreft)?, rj
elirep ovr(o<; ecj^rj,
Twv he hvo cTKOTriXcov 6 pev ovpavov evpvv
crvvTjOoif; yap ikeyero. irav 8e ro crvviqOe^ pLKpoTrpeiTes,
8t6 /cat aOavpaarov.
15 61. Tov 8e Nipe'a, avrov re ovra piKpov Kal m
TTpaypara avrov piKporepa, rpel^ vav^ Kal oXiyov^ avSpa<;,
peyav /cat peyaka i7roir)(rv Kal iroWa avr oXCycov, rw
crxrjpaTL
SiTrXft) Kal piKTco \py)crdpevo<;
ef
inavacjôpaf; re
Kal 8iaXv(jeft)9. 'Ntpev? yap,' (j)7)crL,
*
rpei? i^-â? ayez/,
20 l^Lpevs 'AyXaiT79 vtd?, Nt/oev?, 09 /caXXicrros dvrjp'' rj re
yap iiravaôpd Trj<; Xdêcos iirl to avTO ovopa tov Nt/)ea,
fcat
17
8taXi;cri9, ttXyjOo^ tl e/x<âijêt Trpaypdrcov, Kairoi hvo
rj TpL(x)V OVTOJV.
62. Kal
ax^ôv
dira^ tov Ntpeft)? 6vopacr6ivTo<; iv
25 Tft) SpdpaTL pepvrjpeOa ovSev rJTTOv ?}
rou 'A^tXXeft)? Kal
TOV '08vcr(reft)9, KaiToi /car' 67709 eKacTTOv XaXovpevcov
cr)(S6v. atria
8'
07
tou a^^TjpaTOf; Svvapi^' el
8'
ovto)^
L7rev,
'
Nt/)i;9 6 'AyXata9 vto9 e/c Xvprj^ Tpeis vrja^ ijyei','
7rapacre<TL(07rr)K6TL ew/cet roi/ Nupea- ajo-wep yap iv Tat9
I 7re/)i (TXTÂcaros X^êws titulus in P.
3
rd] Victorius, rcDv P.
5
fiera-
(yvvdecLv P, ixeraavvTidhTi {ti...ti supra versum scripto)
m. rec. P. 8 6/j.ripos
in marg. P.
15
PL*p4a F. 16
6
fir]po$ in marg. V.
17
fiiya Kal fieydXa
P: /LC7dXous Greg. Cor.
19,
20 vrjpem ubique P. 20 vlbs re P.
|
ws P.
21 veipiaT.
24
I'ci/j^ws P. 26 /card rwi' (ut videtur) P. : /cara Gregorius
Cor.
I
cKda-TUU P. 28 vrjpeiis P. 29 j/Tz/sâ P.
DEMETRIUS ON STYLE lOi
59. Now while the connectives, as has been said, elevate
the composition, the figures of speech are themselves a form
of composition, since it is practically a matter of arrangement
and distribution when you say the same thing twice, whether
through repeating it, or through echoing it, or through
changing its terms. The appropriate figures must be assigned
to each several style. To the elevated style, our present
subject, must be assigned first of all
:
60.
'
Anthypallage,' as in Homer's line,
And the twin rocksone of the twain with its peak towers up to
the skies'.
With the grammatical case thus assimilated, the line is far
more stately than if the poet had written
:
And of the twin rocks one with its peak towers up to the skies.
That would have been the ordinary way of putting it. But
everything ordinary is trivial, and so fails to win admiration.
61. Again, take Nireushe is personally mean, and his
share is meaner still, three ships and a handful of men. But
Homer has made him great, and multiplied his following,
through using in combination the two figures of
'
repetition
*
and 'disjunction.' 'Nireus,' he says, 'brought three ships,
Nireus Aglaea's son, Nireus the goodliest manl' The re-
currence to one and the same name
'
Nireus,' and the
disjunction,
^\yq an impression of multiplied power, though
it is composed of but two or three items.
62. Thus, though Nireus is hardly once mentioned in
the course of the action, we remember him no less than
Achilles and Odysseus, who are spoken of in almost every
line. The influence of the figure is the cause. If Homer
had simply said
'
Nireus the son of Aglaea brought three
ships from
Syme,' this would have been tantamount to pass-
ing over Nireus in silence. It is with writing as with ban-
^
Horn. Odyss. xii.
73.
2
Horn. //. ii.
671,
Nipeus a5 lidfiridev dye rpets vrias eiVas,
lUipevs 'AyXatrjs vlbs Xapdiroid t' dvaKTOs,
Nt/061's 6s KoWta-Tos dvijp inrb "IXiov ^Xdeu
Twp dWuv AavaCji^ fxer' dfxvjxova IlTjXeluva.
I02 AHMHTPIOY HEPI EPMHNEIAZ
kcTTidcrecTL ra okiya hiaraydivra ttws ttoXXo, âiverai,
ovTQ) KOLV rot? Xoyoi?.
63.
YioWaôv fJievTOL to ivavriov rrj Xvcret,
17
crvva-
<jfreta, fieyeOovs oltlov yLverai fxaXkov, oTov on
'
icrrpaTev-
5
ovTO FXkrjves re Acai Kape? Kal Av/ctoi /cai IlajLK^vXoi
/cai <l>/)vyS.'
17
yap rou avroG crvvhicryLov decri^ e/i,(âii/ei
Ti aireipov 'jtX'yJ0o<;.
64.
To Se TotoGro
'
Kvprd, (âkrjpiooiVTa,^ rrj iâi-
p(TL Tov
'
KOL
'
(TvvhecTpuov fieyokeioTepov
dnefirj fxaWov,
10 rj el elirev,
'
Kvprd koI (l>a\iqpi6oiVTaJ
65.
[To] iieyakelov /xeWot ev to'l<^ cr^rnxacriv to fjirjhe
|
iirl
T7J9
avTrj<5 fieveiv
iTTcocrecof;, fo>9 SovKvSiSrj^,
*
kol irpoiTo^
231^
dwo/Baivojv iirl ttjv diro^dOpav i\enTo\\fv^(ri re, /cat
irecrovTo^; avTov i<; ttjv irapeêipeerlav^ ttoXv ydp ourcos
15
pêyakeioTepov, rj eiirep iirl Trj<; avTrj<; 7rTa>oreo}<; ovt(x)<;
(f)rj,
OTL
'
eirecrev es ttjv Trapeêipecriav koX dneâke Trjv
acTTTioa.
66. Kal diâSi7rXft)cri9 S* eirov^ elpydcraTo fxeyedof;,
0)9 *H/)dSoT09 'hpdKovTe^ Se novj (jy-qaiv, 'rjcrav ev tS
20 KavKdcro) fjueyedof;,
kol fieyedo^
kol ttXtJô?.' 819 prjdev
TO
'
fjieye0o<;' oyKov tlvol
tjJ
epfJLiqveLa Trapecrêv.
67.
^pyjcrOau fxevTOL Tot9 cr^rnxacri fJUT]
wvkvol^'
aTreipoKokov ydp koI irapeyiâivov Tiva tov \6yov dvo)-
[xakiav. oi yovv dpyaioi woWd o^-xy/xara ev Tot9 Xdyot9
25
TiOevTe^ orvvrjOecTTepoL tcov dcr^îaTicFTcov elcrCp, Sud to
evTeô)<i TiOevai.
68. YiepX Se crvyKpovo'eoi^ (ficovrjevTcov vireXa/Sov dXkoL
aXX(y9. ^l(roKpdTr)<s fiev
ydp i(j)v\dTTeTo o-vpurXricrcreiv
avTd, KOL ol dir avTov, aXXoi Se Ttzê9 ct)9 ervê crvve-
9
ixeyoKibrepov v. lo et ante elTrei/ add. VictoriuS. ii ro seclusi.
15
fieyaXidrepov P. i6
wapeêipaaiav P. i8 d'a5t7rXc6(ras
5'
^rros P, ava-
SlirXuffis d' iwovs m. rec. P. 27 rrepl avyKpoêm titulus in P. 28 <xvvir\-fi<T(Ti,v P.
DEMETRIUS ON STYLE
103
quets, where a few dishes may be so arranged as to seem
many.
63. In many passages, however, the opposite figure to
separation, viz. combination, tends to elevation of style : e.g.
*To the war flocked both Greeks and Carians and Lycians
and Pamphylians and Phrygians V The repeated use of the
same conjunction gives the impression of an innumerable host.
64. But in such a phrase as
*
high-arched, foam-crested
the omission of the conjunction
'
and ' lends an air of greater
distinction to the discourse than its insertion would have
done: 'high-arched and foam-crested I'
65.
In constructing a sentence it is well, in order to
attain elevation, not to keep to the same case, but to follow
the example of Thucydides, when he writes :
*
And being the
first to step on to the gangway he swooned, and when he had
fallen upon the forepart of the ship his shield dropped into
the seal' This is far more striking than if he had retained
the same construction, and had said that *he fell upon the
forepart of the ship and lost his shield.'
66.
The repetition of a word also conduces to elevation,
as in the following passage of Herodotus :
*
There were huge
serpents in the Caucasus, huge and many^' The reiteration
of the word
'
huge' imparts a certain impressiveness to the style.
67.
Overloading with figures should, however, be avoided,
as betokening lack of taste and producing a certain inequality
of style. The ancient writers, it is true, employ a number of
figures in their works, but they employ them so artistically
that their writing is more natural than that of those who
eschew them entirely.
68.
With regard to hiatus different opinions have been
held by different persons. Isocrates and his followers avoided
hiatus, while others have admitted it whenever it chanced to
1
Scr. Inc.
2
Horn. //. xiii.
798,
kv 84 re iroWa
K^fMtra Tra<p\dôvTa iro\v(p>\oL(TôLo daXdacnjs,
KvpTO, <pa\r]pi6(jJUTa, irpb fiû t a\\\ avrap iir^ aXXa.
^
Thucyd. iv. 12, kuI ireipu/xevos diroâiveiv dvcKdin) virb tCov 'Adrjpaitav, Kai
TpavjxaTiadds ttoXXo,
iXnroyj/ixV^^^ t^ '^ttt ireadPTOS avTov is ttjv irapeêipeaLav
17
dcvis
irepiepp^T] es rrjv ddXaaaav, kt\.
^
Vid. Herod, i.
203.
I
104
Kpovcrav koL TravTaTracri' Set 8e ovre rj-^coSr) iroieiv ttjv
crvvOecTLVj areôi^ avra crvfJUTrXTJcrcrovTa kol w? e.Tv\e'
StacTTracr/xft) yap tov \6yov to tolovtot^ Kal hiappi\\fei
eoLKev ovT fjir)v
iravrekw^ <^v\d(Taecr6ai ttjv crvviêiav
5
T(ji)V
ypafjufiaTcov
Xeiorepa
fxev
yap ovTa)<; ecrrat tcraj9
rf
o-vvdecFLS, djJLovcroTepa Se Kal /cox^t) dTe)(yco<;, TroWrjv ev-
^(iiviav dcfyaipedelcra ttjv yivopiiviqv Ik Trjs (rvyKpov(reo}<;.
6g. %Ke7rTeov Se irpcoTov /leV, on /cat rj crvvrjOeia
avTrj crvfJiTrXiJTTei rd
ypdfxfjiara
ravra rot? ovofxaaLv,
lo
Kairoi (TTOâtôpieviq /xctXtcrra ev(ôivia<;, oiov ev tco Ata/cos
/cat ^twj/. TToXXa 8e /cat 8ta fjiovcov
roiv (jxjJvrjevTCJv crvv-
TiOiqcriv ovofiara, oTov Alairj /cat Euto?, ovhiv re Svcrcfto)-
voTepa TUiV dWcov ecrrt ravra, dXX' tcrco? /cat
fxovcn-
Kcorepa.
15
70.
Ta ye /x']7^' ironqriKd, olov to rjeXios, hirjpiqixivov
/cat (TvyKpovopievov eirinqhe^, V(f)cov6Tp6v ecrrt rov i^Xto?
/cat ro 6p4(x)v TOV opoiv. eêt yap rti/a
17
Xucrt? /cat
17
crvyKpovcTLS olov (pSrjj/ iTnyivofxivrjv. ttoXXo, 8e /cat dXXa
iv crvva\oL(f)fj
p.ev Xeyo/xeva Sva-<f)opa tjv, ZiaipeOivTa 8e
20 /cat o'vyKpovo'OevTa evcfxovoTepa, o)S to 'irdvTa
fiev
Ta via
Kal /caXd iaTLv.' el 8e (rvvakeCâs etTTot?
'
Kakd ^cftlvJ
SvacfycovoTepov ecTTai to Xeyojxevov Kal evTekicFTepov.
71. 'Ei^ AlyvTTTCp 8e /cat rov9 Oeovs vpivovcri 8td roiz/
CTrrct (fxovrjevTcov ol tepet?, icjê^rjs rjôvvTes avrd, /cat di^rt
25
avXov /cat di^rt Kiddpa<; TOiv
ypafjLfjidTCov
tovtcov 6
^X^^
d/coverat vtt' evc^coz/ta?, cScrre 6 iâupcov ttjv (TvyKpovaiv
ovSev dXXo rj juteXo? dreî^&i? iâipel tov \6yov /cat
fiovcrav.
dWd irepL tovtojv
fiev
ov /catpo? fjLrjKvveiv tcrw?.
72.
'El/ 8e rft> fjieyakoTrpeTrei âpaKTrjpi cvyKpovcrL'S
30 TtapaXafjifidvoLT dv Trpiirovcra tjtoi hid
fjiaKpcjv, ojs to
5
ypa/xiJ.dTU}v (tt et
7,
h. e. irpayfiaTtov, supra versum scripsit m. rec.) P.
6 dfiova-drrepa P.
9
ai/r?; P.
13
rwv supra versum ante dWuy add. P.
17 6/3^wj' P.
19 <Tvva\ei(f>ri in (rwaXotî; corr. m. rec. P. 21 el 8k
avvaXeiâs etirots KoXd 'ariv in margine P.
25
Kiqddpas
(17
punctis notato) P.
26 iâipcov P.
27 dr^x^ws iâlpei P.
occur. The true course lies between the two extremes. The
composition should not be noisy, as it will be if the vowels
are allowed inartistically to collide just as they fall together,
producing the impression of a jerky and disjointed style. On
the other hand, the direct contact of such letters should not
be shunned altogether. The composition will perhaps be
smoother in this way, but it will be less tasteful and fall
altogether flat, when robbed of all the music which results
from the concurrence of vowels.
69.
It is worthy of remark, in the first place, that
common parlance itself, though it aims at euphony above
all things, brings these letters into contact in such words as
Ata/co9 and %ta)i/. It also forms many words of vowels and
of vowels only, e.g. Klait] and Ei;to9, and these, so far from
being less pleasant to the ear than others, possibly seem
even more harmonious.
70.
Poetical forms such as êA-^09, where the resolution
and the concurrence are designed, have a better sound than
r)\io<^, and the same is true of opicov as compared with opwv.
The resolution and the concurrence have the effect of actually
making the words sing themselves. Many other words would
be disagreeable if run together, but are pleasanter when
they are separated and chime, e.g. irdvra
fiev
ra via koI
KoKa i(TTLv^. If you were to fuse the vowels into KoXd
''anv, the expression would be less euphonious and more
commonplace.
71.
In Egypt the priests, when singing hymns in praise
of the gods, employ the seven vowels, which they utter in due
succession
;
and the sound of these letters is so euphonious
that men listen to it in preference to flute and lyre. To
do away with this concurrence, therefore, is simply to do
away entirely with the music and harmony of speech.But
perhaps this is not the right time to enlarge on these
matters.
72. It is the concurrence of long vowels which is most
appropriately employed in the elevated style, as in the
1
Scr. Inc. Cp. 207
infra.
I
io6 AHMHTPIOY HEPI EPMHNEIAI
*Xaai/ az/w atOecTKe'' koI yap 6 (TTV)(p^
fJLjJKO^;
tl eaêv
Ik Trj<; avyKpovcrecof;,
\
kol
fJieixifjLrjTai
rov \iOov ttjv di/a-
2^2^^
<l)opav
Kol îav. 0)cravT0)<; kol to
'
firj TfTreipo^ eivai
TO ôvKvhiheiov. (TvyKpovovTai kol hi(f>OoyyoL hiÔoy-
5
yoi9, 'TavTTjv KaTcoKYjcrav jxev KepKvpoLOL' 0LKLcrT7)<; 8e
eyeveTO.
73*
Tioiei
fiev
ovv kol tol aura fxaKpa crvyKpovoixevcL
fjieye0o<;,
/cat at avTol hi<l>6oyyoi. at Se Ik hiaêp6vT0)V
crvyKpovcreLS ojjlov /cat
fxiyeOo^ ttolovctlv /cat TroiKiKiav e/c
10
Trj<; 7To\vr)-^Las, olov 'rjco<;J ev 8e tco 'oi7)v' ov jxovov
hiaîpovTa tol
ypdfjLfjLaToi icTTLV, aXka /cat ol
rjxoi
o
fjuev
Sacrvs, 6 Se t/ztXd?, (^crT ttoXXo, diô/xota etiât.
74.
Kat iv wSat? Se tol /xeXtcr/xara evrt rov vo<s yiveTai
Tov avTov jJLaKpov ypdfJiiJiaT0<;,
olov coScov iTrefJi/BaWofxevcov
15 wSat?, wcrre r) TOiv ojxoioiv crvyKpovo-i<; fJUKpov
ecrrat tl
(ohrjs fxepo^s
/cat /xeXtcr/xa. Treyot />Lej' S17 crvyKpovo-eco'?, /cat
0)9 yivoiT av fJiyako7rpe7rr)<; (Tvvde(Ti<;, \eKc)(6oi ToaavTa.
75-
*E<jTt Se /cat ei' 7r/ody/xacrt to /xeyaXoTrpeTre?, ai'
fjueydkr) /cat StaTrpeTTi^? Treô/xa^ta 17 vavfiaîa,
t] rrepL
20 ovpavov rj irepl yr]<; X6yo<;' 6 yap tov jxeyaXov d/covcwz/
TrpdyfiaTos v6v<; /cat roi^ XeyovTa oterat jxeydXcos Xeyeiv
7rXav(OfjLvo<;' Set yct/o ov rd Xeyofieva
(TKoireiv, dXXa tto)?
Xeyerat* ecrrt ydp /cat jxeydXa fjLiKpo)<;
XeyovTa airperre^
TroLiv Tft) TrpdyixaTL. Sto /cat Seti'ous rti^ct? câcrti/, cocnrep
5 /cat SeoTTOfXTTOVy Setvd ov Setz^w? Xeyoi^ra?.
I Xday P. 4 Goi^KuS^Stoi/ P. 8 /caJ... 5^0^07701
in rasura P. 10
r^s
od rroKxnjxô-^ P: 06 om. Victorius.
19
/ie7a\ P: fortasse fxeydXr}
^
legendum.
21 KttJ X^yoPTa P: t6i' add. edd. 25
X^7oi'Ta5] Hammerus, \4yovTa P.
DEMETRIUS ON STYLE
107
^P
words: 'that rock he heaved uphillward ' {avfjn wOearKeY.
The line, it may be said, is longer through the hiatus, and
has actually reproduced the mighty heaving of the stone.
The words of Thucydides 'that it may not be attached to
the mainland '
(firj
rjireipos:) furnish a similar example'^. Diph-
thongs also may clash with diphthongs, e.g. 'the place was
colonised from Corcyra; of Corinth, however, was its founder*
(KepKvpaioL' olKiarrisiY.
73. Well then, the concurrence of the same long vowels,
and of the same diphthongs, contributes to elevation of style.
On the other hand, the concurrence of different vowels
produces, through the number of sounds employed, variety
as well as elevation, an instance being the word ^W9. In the
word o'ir)v not only are the letters different but also the
breathings, one being rough and the other smooth, so that
there are here many points of unlikeness.
74. In songs, too, trills can be made on one and the
same long letter, songs being piled (so to say) on songs,
so that the concurrence of like vowels may be regarded as
a small part of a song and as a trill.These remarks must
suffice on the question of hiatus and of the kind of com-
position appropriate to the elevated style.
75. Elevation resides also in the nature of the subject-
matter, when (for instance) the subject is a great and famous
battle on land or sea, or when earth or heaven is the theme.
The man who listens to a great subject is promptly beguiled
into thinking that the discourse itself is great.
*
Beguiled,' I
say : for we must consider not so much the things narrated
as the method of their narration, since great topics may be
handled in a manner that is mean and below the dignity
of the subject-matter. Whence the saying that there are
forcible writers, like Theopompus, who give feeble utterance
to forcible conceptions.
^
Horn. Odyss. xi.
595,
^
rot 6 nkv ffKTjpnrrdfxevoi
x^P^^"
''"^
irocrlv re
Xaav avu) wdeaKe irorl X6<pov' dW 3t /x^Woi
aKpov virepâkieiv, t6t* airo(rTpi\}/a<TK Kparaus'
avTis ^weira ir^Sovde KvXlvdero Xdas dpaid'^s.
^
Thucyd. vi. i, dietpyeTai to jjlt} ijireipos elvai.
3
Thucyd. i.
24,
TaOrrjv Airi^Kiaav fjih KepKvpaioiy oUiarijs
5'
iy^vero ^dXios
Kopivdios y^vos tG)v d0' 'H/oa/cXôus.
io8 AHMHTPIOY HEPI EPMHNEIAl
76. Nt/cia? S' 6 ^(oypdcjyo^; /cat tovto evOvs ekeyev
cTjâi rrjs ypa(j)LKrj<; Te^vrjs ov fJUKpov êpos to Xaôvra
vXrjv evjJLeyeOrj ypd(j)eiv, kol
fxr)
KaraKepixaritêiv Trjv
Te^Tjv 19
[JiLKpd, olov opviOia Tj dvOrj, dXX' iTTTTO/xaîas
5
KOL vavfia^La^;, evOa iroXXd jxev o-;î7/xaTa Seifetez/ dv ns
LTTTTcov TO)v fjiev de6vT(i}Vy Tcov Sk dvOuaTafxevcov opdcov,
dXXcoT/ 8e oKXaôvTCJV, ttoXXou? S' aKovriôvTa';, 7ro\\ov<;
Se KaraTTiTTTovTa^ ratv LTnrioiv' êro yap kol ttjv virodea-iv
avTrjv /x,eyoo9 elvai
ttJ?
t^(x)ypa(îKrjf; T')(V7j<^, (ocnrep tov<;
'
10 [JivOovs Tcjv TTOUiqTOiv. ovSei/ ovv OavfjiacTTov, el kol ev
rot? Xdyoi9 [/cat] e/c Trpayfjidrcov jxeydXcov yLeyakoirpiireia
yiv7)Tai.
77*
^y}v 8e \eîv iv tco âpaKTTfpi totjtco TrepLTTrjv
elvai Set /cat i^rjXkayfjievrjv /cat davvrjOrj fJLoXXov ovto)
15
yap efet roj^ oyKov, rj Se Kvpia /cat crvvrjdrjf; o-a<^']^s /xeV,
Xetri^ Se /cat evKaTa(f)p6vr)ro<;.
78.
ripwra /i/CJ^ OL'j' /xeracô/aat? îqcrreov' avrai yap
fjidXiO'Ta
/cat rjSovrjv crvyif^dWovrai rot? Xdyot? /cat
fieye-
6o<;, fJirj
jxevToi TTVKval<;, eirei tol hiOvpap^ôv dvTi \6yov
20 ypdôpêv
firjre fjirjv
iroppcxiOev ixeTev-qveyixevaLq,
dXX'
avToOev /cat e/c rov ojjiOLOv, oTov eoiKev dXXTjXot? arparr)- .
yd?, KvêpvTjTy)^, r^vioô^' 7ravTe<; yap ovtol apôvre^
elcriv. dcr(âXa)9 ovi^ eyoet /cat 6 roi^ crTpaTrjyov
Kvfiep-
vrjTTjv keycov rrjs TrdXeoiS, /cat avdirakiv 6 rov Kvfiepv7]T7]v
25 dpôvra ttj^ v7)6<;.
79*
^^ TTctcrat fxevTOL dvTaTroSiSovTai, (Ocnrep at
TTpoeiprjfJievaL, inel rrjv vTrcopeiav
fiev ttJ?
*ISt7?
|
TrdSa
c^tJi'
232'
etTreti/ roi^ TroirjTTJv, rov Se rov dvOpcoirov TrdSa ovKen
vTTOipeiav elirelv,
I veiKlas P.
3
eviieyidei P. 6 dewvTOJV P.
7
TroWovi d' olkovt'l-
ôvras add. in margine P.
9
etva P. 11 /cai seel. Spengelius.
|
fxeydXuv
scrips! Haminerum secutus : /xeydXTj (ut videtur) in compend. P. 15 avv/jdris:
s supra versum scripsit P. 16 Xtir^] Spengelius, dei t^ P. 17
Trepi
fiTa<f)opds Kol irapaôXiji titulus in P. 20 fieTevrjveyfx^vas P.
27
iinbpeiav: 1
w in rasura P.
I
76.
The painter Nicias used to maintain that no small
part of the artistic faculty was shown in the painter's choosing
at the outset a subject of some amplitude, instead of dwarfing
his art to small subjects, little birds (for example) or flowers.
The right subjects, he said, were such as naval battles and
cavalry engagements, which give an opportunity of intro-
ducing many figures of horses running or rearing or sinking
to the ground, and of horsemen falling earthward or dis-
charging javelins. His view was that the subject itself was a
part of the painter's art, just as the ancient legends were
a part of the art of poetry. So it need awaken no surprise
that, in the province of style also, elevation results from the
choice of a great subject.
77.
The diction used in this style should be grandiose,
elaborate, and distinctly out of the ordinary. It will thus
possess the needed gravity, whereas usual and current words,
though clear, are unimpressive and liable to be held cheap.
78.
In the first place, then, metaphors must be used
;
for they impart a special charm and grandeur to style. They
should not be numerous, however ; or we find ourselves
writing dithyrambic poetry in place of prose. Nor yet
should they be far-fetched, but natural and based on a true
analogy. There is a resemblance, for instance, between a
general, a pilot, and a charioteer ; they are all in command.
Accordingly it can correctly be said that a general pilots
the State, and conversely that a pilot commands the ship.
79. Not all metaphors can, however, be used convertibly
like the above. Homer could call the lower slope of Ida its
*
foot,' but he could never have called a man's foot his 'sloped'
1
Horn. //. XX. 218,
dW
^^'
vircopeias i^kôv TroXviriSaKos "ISi/s,
no AHMHTPIOY HEPI EPMHNEIAS
80. 'ETTctj' fievTOL KLvSvv(oSr)<; r) ^xeTaôpa BoKrj, fiera-
XafjLâvecrdo) et9 eiKacriav ovtco yap a(r(â\(jTpa yiyvoir
dv. t/cacrta S' ecrrl yieraôpa TrXeovdôvaay oiov t rt?
T(a 'Tore to) ITv^wiî rco
prJTopL
piovTi kolO^ vfjicov
rrpocr-
5 Oel^ eLTTOiy
*
(^(Tirep piovri KaO* vjjlcjv.' ovto)
fxev
yap
eiKacria yeyovev koX dcr(j>a\e(rTepo<; 6 \6yo<;y eKeivcos Se
pêraôpd koI KivhvvoihicrTepoS' Sto /cat Ylkdrcov iin-
crâXes tl SoKei iroieiv /xeTacôpai? jjlolWov -)(pa)fJivo<s
rj
et/cao"iat9, 6 fxevroL 'Bvo(j)a)T/ et/cacrtac? fjidWov.
10 81.
'ApicTTri he Sofcet pêraôpd rw ^ XpicrTorekeL r)
Kara ivipyeiav KaXovfJuevr), orav rd dxjjvâ Ivepyovvra
elcrdyr)TaL KaOdwep eiJL\\fvâ, ct>9 to iirl tov êXov?'
6^v06Xrj<; /caO^ o/xtkov eirtiTTeaOai jjueveaivwvy
Ka\ TO
15
KVpTOL (f>a\.7]pi6(DVTa.
TrdvTa yap ravra, to
'
(f>a\.rjpL6o)VTa
/cat to
'
pLeveaivoiVy
t^cjTLKals ivepyeiai^ eoiKev.
82. "Ei^ta fxivToi (Ta<l>icrTepov ev rats /xeraôpai?
Xeyerai /cai Kvpi(x)TepoVy yjrrep iv aurot? toIs Kvpioi^, o)?
20 TO ' e(^piêv Se
P'd^J
ov yap dv rt? avro fxeTa/BaXcoi/
Sid Kvpioiv ovT d\rj6i(TTepov eliroi ovTe cracfyecrTepov. top
yap /c T(ov hopdTcov k\6vov Kal top yivopievov TOVTOi'i
-^pejxa Tjôv (Tweya)^ ^piacrovcrav
P'd^v
Trpocrrjyopevcrev,
Kal d/xa eTreihqTTTai 770)9 T179 Acar* ivepyeiav
ixTa(f)opd<;
25
TT)^
7rpoLp'qfjiPr)^y T7]v
ixd^v <l)pt(j<Teiv
elircjp (oairep
^(OOV.
83. Act fievTOL jX7) \av6dveiv, otl Ij^tat fieTaffôpal
yuKpoirpeireiav ttolovctl fidWov rj /leyeô?, KaiToi ttj^
liTa(l>opd<; 77/309
oyKov
\afiPavofJLev7)<;y
a)<; to
30
a//,<^t
8'
iadXTrcyêv
fieya<; ovpavo^'
3
5'] Victorius, dXX' P.
4
r^J ante T6re add. Galeus.
|
TlOduvi t^J supra
versum add. P.
13
irrnrTicxdai ex iiriirTaladai (ut videtur) P.
19
efTre/) P.
20 arj tI <fyr]<riv vepl tov i^piêv 5k
fidxv
^^ margine P.
|
/xeTaâXQv P. 22 Kal
rbv ins. Spengelius.
23 ijpifia P.
24
iirl\r}irTai P.
DEMETRIUS ON STYLE ill
80.
When the metaphor seems daring, let it for greater
security be converted into a simile. A simile is an expanded
metaphor, as when, instead of saying
'
the orator Python was
then rushing upon you in full flood,' we add a word of
comparison and say 'was like a flood rushing upon youV
In this way we obtain a simile and a less risky expression, in
the other way metaphor and greater danger. Plato's em-
ployment of metaphors rather than similes is, therefore, to be
regarded as a risky feature of his style. Xenophon, on the
other hand, prefers the simile.
81. In Aristotle's^ judgment the so-called 'active' meta-
phor is the best, wherein inanimate things are introduced in a
state of activity as though they were animate, as in the
passage describing the shaft
:
Leapt on the foemen the arrow keen-whetted with eager wing^
and in the words :
High-arched foam-crested1
All such expressions as
'
foam-crested ' and
'
eager wing
*
suggest the activities of living creatures.
82. Some things are, however, expressed with greater
clearness and precision by means of metaphors than by
means of the precise terms themselves : e.g.
'
the battle
shuddered
^'
No change of phrase could, by the employ-
ment of precise terms, give the meaning with greater truth
and clearness. The poet has given the designation of
'
shud-
dering battle ' to the clash of spears and the low and continu-
ous sound which these make. In so doing he has seized upon
the aforesaid 'active' metaphor and has repxesented the battle
as
'
shuddering ' like a living thing.
83. We must, however, not lose sight of the fact that
some metaphors conduce to triviality rather than to grandeur,
even though the metaphor be employed in order to enhance
the effect. An instance is the line
:
And with thunder-trumpet pealing the boundless heaven rang
round
^
1
Demosth. de Cor.
136.
2
Aristot. RheU iii. 11.
*
Horn. //. iv. 126.
*
Horn. //. xiii.
798.
Horn. //. xiii.

339.

Horn. //. xxi.
388.
ovpavov yap okov rjxovvTa ovk
ixPW
'^pocreiKda-ai r))(ov(rr)
(raXirLyyiy ttXtji' el
fXTJ
rt? apa aTTokoyoiro virep tov
Ofjiijpov \iyoiV, 0)9 ovT(x)<; rj^crev /xeya? ovpavos, ws av
'q^Tjcreiev craKTri^cov oXos ovpav6<;.
5
84. ^Tepav ovv imvoijcrcoiJLev fxeTacffOpav fJLLKp6T7)To<;
aiTLav yivoyievrjv fiaXkov
rj fxeyeOov^' Set yap eK roiiv
jxeLôvcov fjiTa(j)epii'
et? ra fiLKpa, ov to ivavriov, oXov
0)9 6
aPO(f>(ov (fyiqcriv,
'
iirel 8e TTopevofiivo)!^ iêKVfirjve
TL
TTJs
(âXayyo?/ Trjif yap rrj^ rd^(o<; wapeKrpOTrrjv
10
iKKvixaivovcxTj Oa\d(T(Tr) eiKacrev koL Trpoacovofiacrev. el
Se Tt? fxeTa/SaXcDV eiTroi cACcâXayytcracra^ Ty)v OdXacrcraVy
Taâ jxev ovSe olKeiax; jjieToCcrei, iravTr) Se ttcli/to)?
fiiKpo-
npencof;.
85.
*Ei/tot 8e Kal d(T(â\it,ovTai ra? /xeracôpa? eiri-
15 Oeroi^ eTTLifiepofJievoi^, orav avroi^ KLvSwcoheus So/cwcrii^,
o)9 6 SeoyvL<; 7rapari0eTai tco to^co
'(l)6piJiLyya
dôpSov'
eiTL TOV Tcp TO^co /BdWoPTO^'
7]
(jLev yap
(jyopfjuy^
klpSv-
v(i)Be<; iirl tov toôv, tm Se d^dpSo) r](T(j>d\i(TTai,
86. IidvT(j)v he Kal Tchv dkXcov r)
o-vvrfdeLa Kal
20
jLidXtcrra fjLeTa(j)opo)v
StSdcr/caXo?*
fxiKpov yap orêhov
TrdvTa iJLeTa(j)epov(Ta
XavOdvei Sict to dcr<âXo)9
iieTaêpeiv,
XevKTjv re (j)0)V7]v Xeyovo'a
j
Kal o^vv dvOpoiirov Kal Tpa^v
233'
T7ô9 Kal iiaKpov
prjTopa Kal rdXXa, ocra ovto)
peTacfyepe-
Tai fjLOVo'LK(i)<;, (wcrre opLOia hoKelv toI^; Kvpiou^.
25
87. TovTOP eyo) Kavova rtê/xat
ttJ?
ei^ Xdyot? peTa-
(jyopds, TTjv Trj<s crvv7)9eia<; Te^rjv etre <j>vcrLv. ovTOi yovv
evLa peTrjveyKev rj (TwrjOeia /caXw?, axTTe ovSe Kvpioiv
en i8e't]0rjpev, dWd pepeviqKev rj
peTa(f)opd KaTeyova-a
TOV TOV KvpLov TOTTov, o)?
*6
Ti^s dfJiTTeXov 6(j)da\pos' Kal
30 el TL erepov tolovtov.
2 dpaJ] edd., a/â P.
3
ws oCtwj] ap. Greg. Cor,, tlxrai^rajs P.
|
(hpaiov et
ofirjpos in margine P. 8 iropevo/x^vu P.
9
rt r^s Xenophontis libri : ttJs P.
16 T(p t6^<{; ^dp/xL-yya] Nauckius, rbv Toô(p6pfiLyya P. 18 t6 5e P. 20 an
delendum ax'^bbvl 22 Xiyovaav et rpaxvv (v utroque punctis notato) P.
The entire firmament when resounding ought not to have
been likened to a resounding trumpet, unless on Homer's
behalf the defence be advanced that high heaven resounded
in the way in which the entire heaven would resound were it
trumpeting.
84. Let us, therefore, consider a different kind of meta-
phor, one which leads to pettiness rather than to grandeur.
Metaphors should be applied from the greater to the less, not
the other way about. Xenophon, for example, says :
*
on the
march a part of the line surged outV He thus likens a
swerving from the ranks to a surging of the sea, and applies
this term to it. If, however, it were conversely to be said that
the sea swerved from
*
line,' the metaphor would possibly not
be even appropriate
;
in any case it would be utterly trivial.
85. Some writers endeavour by the addition of epithets
to safeguard metaphors which they consider risky. In this
way Theognis applies to the bow the expression
*
lyre without
chords ' when describing an archer in the act of shooting^ It
is a bold thing to apply the term 'lyre' to a bow, but the
metaphor is guarded by the qualification
'
without chords.'
86. Usage, which is our teacher everywhere, is so
particularly in regard to metaphors. Usage, in fact, clothes
almost all conceptions in metaphor, and that with such a sure
touch that we are hardly conscious of it. It calls a voice
*
silvery,' a man
'
keen,' a character
'
rugged,' a speaker
*
long,'
and so on with metaphors in general, which are applied so
tastefully that they pass for literal description.
87.
My own rule for the use of metaphor in composi-
tion is the artor naturefound in usage. Metaphors have
in some cases been so well established by usage that we no
longer require the literal expressions, but the metaphor has
definitely usurped the place of the literal term. For instance,
'
the eye of the vine,' and so forth.
^
Xen. Anab. i. 8, 18, ws 5^ iropevofx^vtav iêKO/miv^ tl t^s (l>6.\ayyo%.
^
Theog. trag., Nauck^,
p. 769.
114
88. ScôJ^SvXo? fxevToi Kol AcXet? ra iwl tov (TcofxaTo^;,
Kol KTeves, ov Kara ijueraiopav an^d/xacrrai, dXXa Ka6*
oixoLOTiqTa Sta to ioLKevau to
fiev
KTei^l fiepof;, to 8e
/cXeiSt, TO Se (rcôz^SvXo).
5 8g. 'Evrai/ fxevTOL eiKacriav TroLCJjJiev ttjv
fjLeTa<f)opdvy
a>9 wpoXeXeKTaL, crToyacTTeov tov crvvTopôv, /cat rov jJirjSev
irXeov TOV
'
ojcnrep irpoTiOevai, iirei tol olvt et/cacrta?
Trapa/SoXrj ecTTai TToirjTiKij, oTov to tov He^'O^wrro?,
*
ojarrep
8e KV(i)v yevvaio'^ airpovoiJTO)^ iwl Kairpov (j)pTaiJ kol
lo
'
axrirep linrof; \v6e\^ Sta irehiov yavpicov kol airoXaK-
TitôiV'^ TavTa yoLp ovk et/cacrtat? ert eoiKev, dXXa napa-
jSoXoLS TrOLrjTLKOLS.
90. Td? 8e TrapaySoXd? ravra? ovre yoaStco? ej/ rot?
Treôt? Xdyot9 TiOivai Set, oure djêu TrXeio-TT]^ cjjvkaKrjs.
15 /cat TTcpt
iJLTa(f)opa<; fjuev
TocravTa d)? ri^TTOi eiTTeiv.
91. A7)7rTeov 8e /cat avvOeTa ovofxaTa, ov tol SuOvpap.-
yStfcw? (TvyKifJiva, oToi' ' OeoTepaTovf; TrXdva^J ov8e 'dcTTpoiV
SopvTTvpov CTTpaTov,' dXX' ioLKOTa Tot5 v77"o T^9 (rvv7)6eCa<;
cruy/ct/xeVot9* KaOoXov ydp TavTif)v Kavova Troiovp.ai Trdarj^;
20
ovofxaa-La^, vofxoOeTa^ Xiyovcrav kol dpîTeKTovaf;, koX
Totd8e TToXXd erepa dcr<âXw9 (rvvTidelaav.
92. ''Efet ixivToi TO (jvvOeTov ovofjua ofxov
/cat TroiKikiav
TLva e/c T7}9 crvv6eo'e(o<; /cat /xeyeô?, /cat d/i-a /cat crvj^ro-
^tat* Tti^d. ovofxa
ydp TeOrfcreTai dvTi oXov tov Xoyov,
25 otoi' di' Tiî' TOV (TiTov KOfJiiSr)v (TLTOTTOfJiTriav XeyrjS' ttoXv
ydp ovTO) fJueuCov.
rdâ
8*
dv /cat XvOivTo^ ovofJuaTO^; et?
Xdyoj' erepov Tpoirov fxeitôv
yevoiTO, olov ctltov TrofiTTT)
dvTl crtTOTTO/XTTta?.
93.
"Ovop.a
8*
dz^rt Xoyov rtêrat, otoi^ w? 6 a^voificoj/
30
cl)7jcrLP
OTL OVK 'qv
Xa/3eLV ovov dypiov, el
fxr)
ol tTTTrets
8tacrTdi/T9 drjpêv StaSexd/xeiôf ovopuaTL, olov otl ol jxev
6 TOV fi7i8k
TO P, fJL'qMv t\4ov tov in margine P.
14
divev in ras. P.
15
roaavTa
add. Schneiderus. 16 Trept awd^Tuv dvofidTOJv titulus (post (pvXaKijs positus) in P.
17
TrXdvas: \ supra ir scripsit P. 18 avvrjeeias] Finckhius, aXTjOeias P.
22 KoX supra versum add. P.
29
ova/ia P.
DEMETRIUS ON STYLE
115
88.
The parts of the body, however, which are called
*
vertebra ' (a(j>6vBv\o(;),
'
collar-bone
'
(kXcU), and
'
ribs
'
{KTif6<;), derive their names not from metaphor but from their
resemblance to a spindle-whorl, a key, and a comb respect-
. ively.
89. When we turn a metaphor into a simile in the way
above described, we must aim at conciseness. We must
do no more than prefix some such word as 'like/ or we
shall have a poetical image in place of a simile. Take, for
example, the following passage of Xenophon :
'
like as a
gallant hound charges a boar recklessly,' and
'
like as a horse
when untethered bounds proudly prancing over the plainV
Such descriptions have the appearance not of simile but
of poetical imagery.
90. These images should not be used in prose lightly
nor without the greatest caution.This concludes our sketch
of the subject of metaphor.
91. Compound words should also be used. They should
not, however, be formed after the manner of the dithyrambic
poets, e.g. 'heaven-prodigied wanderings' or 'the fiery-speared
battalions of the starsl' They should resemble the com-
pounds made in ordinary speech. In all word-formation I
regard usage as the universal arbiter, usage which speaks
of
'
law-givers ' and
*
master-builders,' and with sure touch
frames many other compounds of the kind.
92. A compound word will usually, from the very fact
that it is composite, derive a certain decorative quality and
grandeur, and a certain pith as well. One word will stand for
an entire phrase. For instance, you might speak of the
transport of corn as
'
corn-convoy,' thus using a much more
striking expression. Still, it may sometimes happen that the
same strengthened effect will be obtained by the converse
process of resolving a word into a phrase
' corn-convoy,' for

instance, into
'
convoy of corn.'
93. An example of a word used instead of a phrase is
Xenophon's sentence :
'
it was not possible to capture a wild-
ass unless the horsemen posted themselves at intervals and
gave chase in relays
^'
The single word
(8caSex6fJ'voc) is
^
Xen. Cyrop. i.
4,
21.
2
Lync. Fragm. Adesp. 128, Bergk^
'
Xen. Anab. i.
5,
2.
82
ii6 AHMHTPIOY HEPI EPMHNEIAZ
OTTLcrOev iSiojKOv, ol S' ainjvTcov vireKavvovTe^ Trpocra), wcrre
Tov ovov iv /xecro) aTroXajju^dvecrOaL. (l)v\dTTcr0aL êvToi
SiTrXa riOevai rd StTrXa ovofiara- tovto yap efetcrt koyov
Treôv TO tSo9.
s 94.
Ta Se 7r7roLr)iJiifa ovofxara
opitôvrai
fiev
tol /caret
fJLip.7](TLV iK(l)p6fJLVa TTaOoV^ 7)
TTpCty/XaTO?, olov a)<; TO
'crit.e''
I
Kol to 'XaTrroz^re?,'
(95)
Trotet 8e /xaXto-ra fieyaXo-
233'
TTpeireiav 8ia to ofoi^ xjj6(j)0L<; ioiKevai, kclL jxakicrTa rw
êVo)- ou yap oj/ra ovofxaTa Xeyei, dXXa rdre yiv6p.eva,
10
zeal a/x,a
cro(f)6v
tl (âtiêrat 6v6piaTo<; Kaivov yevecn*;, oiov
crvvy)6eia<;' eoiKev yovv ovoyLaTovpycov toI<; TT/awrot? ê-
jxiuoif; TOL ovofxaTa.
96.
%To\aaTov TTpoiTov
fiev
Tov cra<ôv? eV roJ ttolov-
fxevo) ovofxaTL kol (rvvijdov^;, eireiTa Trj^; o^jloioti^to^ irpo^
15 Ta KeL/xeva ovofxaTa, w? /X17
<l>pvyil,iv
rj cTKvOitêiv rt?
Sofei fxeTaîj 'F^WrfViKcov ovoixaTcov.
97.
UoLTjTeov fxePTOL 7]T0L TOL jXT) ajvo/xacrfxeva, oTov 6
Ta TVfXTrava
Kal raXXa tcoj^ fxaXdaKcov opyava /cijâtSta?
eLTTOiv Kal *ApLcrT0TeX7]<; tov iXecjyavTLCTTrjV' tj irapd tol
20
KeCfxeva irapovoixdtpvTa avTov, olov o)? tov (TKa(j)LTii)v ri9
e<^T7 Toi^ Ty)v cTKacjirjv ipecraovTa, Kal *ApL(rT0TeXrj<; tov
aVTLT7]V olov TOV fXOVOV avTov OVTa,
98.
'Bvo(j)(ov Se ^rjXeXiê' (jirjcnv
*6
cTTpaTos/ tyjv tov
iXeXev dvaôr^criv tjv dv/36a 6 aTpaTos o-vzê^w? irapa-
25 TTOiT^cra? ovofxaTL,
CTTicrcâXeg jxevTou Tovpyov, w?
6(^17^',
Acal auTot? 7019 TToo^rat?. Acai to SiTrXoOz/ fxevTOi ovofxa
elSo? ai^ eiT^ Treiroiiqixivov 6v6fxaTo<;' irdv yap to ctvvtl-
Oeêvov K TLvcov yeyovev StjXovotl,
3
^êicrt] Victorius, ^^ft P. i6 'EXXt/j'ikcD;' ^j'o/xdrwj'] edd., 'E\X?;'t/coiy
dudfiaaiv P. i8 fjt-apddKOJv P. 20 t6 a-Ka(pLTr}u P. 23
-^XAiê] Victorius,
^XXaêj* P. 1
arpards] Victorius, crTpaTTjybi P.
24
arparbs] Victorius,
crrpaTTjybs P.
25
ws] Victorius, Kai ws P.
equivalent to saying that those in the rear were pursuing,
while the others rode forward to meet them, so that the wild
ass was intercepted. The compounding of words already
compounded should, however, be avoided. Such double
composition oversteps the limits of prose-writing.
94.
Our authorities define 'onomatopoeic' words as
those which are uttered in imitation of an emotion or an
action, as 'hissed
'
and Mapping^'
95.
Homer impresses his hearers greatly by the em-
ployment of words descriptive of inarticulate sounds, and
by their novelty above all. He is not making use of
existing words, but of words which were then coming into
existence. Moreover, the creation of a fresh word analogous
to words already in use is regarded as a kind of poetic gift.
As a word-maker, Homer seems, in fact, to resemble those
who first gave things their names.
96. The foremost aim in the formation of words should
be clearness and naturalness ; the next, due analogy with
established words. A writer should not have the appearance
of introducing Phrygian or Scythian words among those of
Greece.
97.
Words should be formed either to denote things
which have as yet not been named, as was done by the
person who described the kettledrums and other instruments
of efifeminate devotees as
'
lecheries,' or by Aristotle when he
spoke of an
'
elephanteer ' (elephant-driver)^. Or again, a
writer may independently fashion words from existing ones,
as when someone gave the name of
'
boatman ' to one who
rows a boat, or as when Aristotle called a man who lives by
himself a
'
solitary^'
98. Xenophon says that
'
the army huzzaed,' denoting
by this derivative the cry of 'huzza' which the troops kept
raising continually*. The practice is, however, as I said, full
of risk even for the poets themselves. It may be added that
a compound is a kind of manufactured word, everything
which is put together springing manifestly from certain
existing material.
1
Horn. Odyss. ix.
394;
//. xvi. 161.
2
Aristot. Hist. Anim. Book ii. (i.
pp. 497,
610, ed. Berol.).
^
Cp. 144
infra.
*
Xen. Anab. v. 2, 14.
I
Ii8 AHMHTPIOY HEPI EPMHNEIAI
99-
MeyaXelov Se tl icm koL rj aWrjyopia, koX
/xaXicrra ev Tal<; dTretXats, oiov wg 6 Atoiûo'io?, on
*
ol
TeTTLye<; avrot? acrovTai -â/xodevJ
100. El S' ovTO)<; 0,77X0)9 eTnev, on refiei ttjv AoKpiSa
5
)((opav, KOL opyikcoTepo^ av
i(f)dvr)
kol eureXecrreyoo?. vvv
Se QJCTTTep o-vyKokvfxiJian tov Xoyov
rfj
aXkrjyopia Ke^piq-
rau- irav yap to virovoovixevov cjô/BepCiiTepov, kol aXXo?
t/ca{et aXXo rt* o Se cracê? /cat (^yavepov, KOLTa^poveicrdaL
euKos, (Zcnrep rov<; aTToSeSv/xeVovs.
10 lOI. Aio Acat TOL
ixvarrfpia
iv aWrjyopiai'^ Xeyerai
77/009
K7rX7)^LV KOL ^plKT^V, OiCnrep eV (TKOTCO KOL VVKTL.
eoLK Se Koi rj aXkiqyopia Tco (tkoto) kol rrj vvktl.
102. ^vkaTTecrdai
fxevTOi Kairl TavT7)<; to cru^'eê9,
(09 jJir)
aLVLyixa 6 Xd'yo9
y)fiLP
yivr)Tai, oiov to inl Trj<^
15 crLKva<; t^9 laTpLKrj^'
avhp' elBov irvpl 'ôKkov eV avepi KoWrjaavTa.
KOL ol KoLKCove^; ttoWgl iv aWiqyopiai^; eXeyov
iK(f)ol3ovvTe<;,
otov TO
*
Aiovvo'Lo<; iv Kopivdo}
'
77/069 îXnnrov, kol dXXa
ToiavTa ovK oXiya.
20
103. 'H crvvTOfJLLa Se
771^
jjlv fJieyaXoTrpewij^;, kol
fiaXio-Ta rj 0.7700"L0J7rr}O'L<;' evua yap
fxi)
prjOevTa jxeLôva
(f)aiveTaL /cat virovorjdevTa fiaXXov wrj Se jjLLKpoTrpeTnj^.
/cat yap iv StXoytat9 yiveTai fjueyeOo^, oiov 0)9 Heiôc^wi^,
'ra Se dpfiaTa i(f)ipTo,' cf>rjo-L,
'
tol jxev St' avTcov tcov
25 <f)iXCa)Vy TOL Se /cat St' avTcov tcov 77oXe/xtwj/.' 77oXv yap
ouTO) pLeitôv, rj eiirep wS' eTirev, */cat Sta r&iz^ (îXioiv, /cat
Sta roil' TToXepicov avTOiv.^
104.
I
IloXXaôO Se /cat to rrXdyiov fieiôv tov evOeo^,
234''
ofoi^
'
7j
Se yvcofJiT) tjv, w9 et9 Ta9 Tafet9 twi^ 'EXXtî^wi/
2 Suoviyo-ioj p. 3 dpwPTai P
|
xa/idê' P.
4
W/iet P. 6 dpaiov
in margine P. 8 <âj'ep6'] Goellerus, ipoêpdv P. 11 <r/f6rv] Victorius,
ouTw P.
I
tffcos iv &8^Tif} m. rec. in marg. P. 12 (tkAtc^] Victorius, avru P.
15 avdas P. 16 a>'5pa P.
j
irvplxo-^KOV P.
DEMETRIUS ON STYLE
119
99. There is a kind of impressiveness also in allegorical
language. This is particularly true of such menaces as that
of Dionysius : 'their cicalas shall chirp from the grounds'
100.
If Dionysius had expressed his meaning directly,
saying that he would ravage the Locrian land, he would have
shown at once more irritation and less dignity. In the phrase
actually used the speaker has shrouded his words, as it were,
in allegory. Any darkly-hinting expression is more terror-
striking, and its import is variously conjectured by different
hearers. On the other hand, things that are clear and plain
are apt to be despised, just like men when stripped of their
garments.
101.
Hence the Mysteries are revealed in an allegorical
form in order to inspire such shuddering and awe as are
associated with darkness and night. Allegory also is not
unlike darkness and night.
102.
Here again excess must be avoided, lest language
become a riddle in our hands, as in the description of the
surgeon's cupping-glass:
A man I beheld who with fire had welded brass to a man's flesh
^
The Lacedaemonians conveyed many of their threats by
means of allegory, as in the message
'
Dionysius at Corinth
'
addressed to Philip, and in many similar expressions^
103. In certain cases conciseness, and especially aposio-
pesis, produce elevation, since some things seem to be more
significant when not expressed but only hinted at. In other
cases, however, triviality is the result. Impressiveness may
result from repetitions such as those of Xenophon, who
says: 'the chariots rushed, some of them right through the
ranks of friends, others right through the ranks of foes*.'
Such a sentence is far more striking than if Xenophon had
put it in this way :
*
right through the ranks both of friends
and foes.'
104. Often the indirect expression is more impressive
than the direct: e.g. the intention was that they should charge
^
See note on Proverbs.
^
Cleobulina, fragm. i, Bergk^.
'
See note on Proverbs.
*
Xen. Anab. i. 8, 20.
i\a)VTO)v Kol SiaKoôvTcov
'
olt/tI tov
^
Sleuoovvto ikdcrai
Koi SiaKoxfjaL.'
105. SvfJLê^XyjTai Se kol rj ofMOLorrj^;
TOiv ovofjudrajv
KOL Tj 8v(T(l)a)Via Tj (fyaLT/ojJLevr)' koL yap to Svcrcfycovop ttoX-
5
Xaôv oyKTjpov, ojcnrep
TTokv yap jJLokXoi' TOP Atat'Ta
fxeyav
ii'<j>rjvei' r) twv
Svo crvfJiTrXrj^L'^
ttJ?
kiTTaôeiov dcnriho^.
106. To 8e iinîiiviqâ KaXovfxevov opitôiTo p.kv dv
10
T19 \iîv eiTLKocrôvcrav, ecrri Se to ixeyaXoTrpeTrecrTaTov
iv To1<^ Xdyot?.
ttJs
yap Xeêcos
17
[mev VTrrjpeTei, r) Se
eTTi/cocr/xer. V7rr)peTL yukv tj rotaSe,
oiai^ Tcii/ vaKivdov iv ovpecn 7roi/JLV(; avSpe^;
irooral Karaarelôvaiv,
15 iTTLKOO-jXeL Se TO i7rL(l)p6fJLPOV TO
pâyLtal 8e re irop^vpov av6o<;'
iTTevriveKTai yap tovto toI^ TTpoevrjveypievoLS Koa-fjio^;
(ra<^w9
Kal /caXXo?.
107. MecTTT) Se rovrw^' icat
17
'Opajpov TroiTycrt?, otoi^
20
^ Kairvov KaTcdrjKy eVel ovkcti rotacv iwKCL,
ol? TO 7rapo<; TpolyvSe klwv KaTiXecirev ÔBvaaevf;.
TTpb^ S' TC Kal ToSe jxelôv iirl ^pealv epbâXe Baificov,
fjLtJTTCOf; olvcoBevre'^, epiv arrjaavre^ iv v/jlIv,
aXXi]Xov<i Tpa)ar)T6.
25 etTa eTTK^wj/et,
avTOf; yap iêXKeTat avhpa criBrjpo^;.
108. Kat KaOoKov to i7n(f)covr}fJLa toI*; tcov irXovcricov
I i\ibvT(t)v] Xen. libri, iXdbvrwv P.
9
6pos (puvrjfMTos in marg. P.
13
oOpeaiv P.
I
iroifjiAves supra versum add. P. 14
iro<Tl P. 21 arpol-
9/v5e P.
25
upatop in margine P.
DEMETRIUS ON STYLE
121
the ranks of the Greeks and cut their way through them' rather
than *they intended to charge and cut their way through\'
105.
Similarity of words and obvious harshness of sound
may contribute to the same result. Harshness of sound is
often effective, as in the words
And Aias the mighty at Hector the brazen-helmed evermore
Was aiming his lancet
The concurrence of the two words (Ata?, alkv) gives a far more
vivid impression of the greatness of Ajax than even his
famous sevenfold buckler.
106.
The so-called 'epiphoneme' may be defined as
^
diction that adorns.' It produces elevation of style in the
highest degree. Some parts of diction simply subserve the
thought, while others embellish it. Of the former the follow-
ing is an example
:
Like the hyacinth-flower, that shepherd folk 'mid the mountains tread
Underfoot.
The embellishment comes with the added clause
:
and low on the earth her bloom dark-splendid is shed^

The addition thus made to the preceding lines clearly adorns
and beautifies.
107. The poetry of Homer abounds in instances, e.g.
^\
have taken them out of the smoke,' say thou, 'for they seem
no more
Like those that Odysseus left when he sailed for the Trojan shore.
But marred, wherever the wreaths of the fire-reek were wont to roll.
And another fear and a greater Cronion hath put in my soul,
Lest perchance ye be heated with wine, and ye break into strife
and jar.
And ye wound one another, and shame the feast, and your wooing
mar*.
After this he adds as a finishing-touch
:
For the steel of itself hath a spell and it draweth men on unto
war^'
108. In general it may be said that the epiphoneme
'
Xen. Anab. i. 8, 10.
2
Horn. //. xvi.
358.
^
Sappho Fragm.
94,
Bergk*.
^
Horn. Odyss. xix.
7
: cp. xvi. 288.
ioLKev eTTiSety/xacrti^, yeicrot? Xeyco /cat rpiykv(l)oi<; kol
Trop<l)vpaL<; TrXaretat?* oiov yap tl koX avro tov iv Xdyot?
7r\ovTov criqixeiov iariv.
lOg. Adfetei^
8'
av kol to ipOvfJirjfjia i7n(f)0)vy]fJiaTO<;
5
elSd? TL elvai, ovk ov /xeV* ov yap koct^jlov eveKev, aXka
aTroSetfeco? rrapaXafji/BdveTaL, TrXrjv iTTLKeyopêvov ye iiru-
(f)(ovrjiJLaTLKCt)<;.
110. 'XlcravTO)? 8e /cat rj yvcofjLT) iincfxovoviJievco tlvI 1
OLKv iwl TTpoeipyjixevoL^;, dXX' ouS' avTT^ eTTKâyvq^d icTTL-
'
lo
/cat yap Trpo\4yeTai rroWaKLS, \afJi/3dveL pîvToi ^copav
TTore i7n(l>covrjfJiaTO<;.
111. To
81
vrjiTLOf; ovS* dp' efieWe /caKa<; vtto Kr}pa<; aXvêiv,
ovS* avTo
i7rL(f)a)vr)iJia av
eirf
ov yap iinkeyeTaL ovSe
15 iiTLKocrixel, ovS* 6\co<; cTrtc^wi^T^/xart eoLKev, d\Xd irpoa--
|
(f)CovTJ[jiaTL
rj
iirLKepTOfjajfJiaTL.
112. To 8e TTOirfTiKov ev Xdyot9 ort jjikv fxeyaXoirpeire^;,
/cat
TV(f)X(^
SrjXov câcrt, 77X171/ ot
fjuev yvfivy
irdw ^pwi^rat
TT7 jJLLfjiijcreL TOiv TroirjTOiv, fiaXXov 8e ov
fJUfjujcreL,
dXXoL
20
fieTaOecreL, KaOdnep *Hyod8oro9.
113. ov/cv8t8T79
fxevTOL Kav
Xdfirj
irapd ttoltjtov tl,
t8ta)9 avTw
^poifxevoî l^lov to Xr)(j)0v woLei, olov 6 fiev
7roLr)Trj^ inl
ttJs KpuJTrj^ ec^y;,
K.pr)T7} Ti9 7ar eVrt fxeaw ivl olvottl ttovtw,
25
/caX?7 Kal irieipa, irepippvro'i.
6 pikv Sr) inl tov fjieyeOov^ ix^pujcraTo ra
'
irepippvTOf;,^
6 8e 0oi>/cv8t8779 ojjLOvoelv tov<; Xt/ceXtwra? /caXor oterat
cti/at,
y^J?
dz/ras
|
/xtd? /cat irepLppvTov, /cat ravrct irdvTa 234^^
eLTTcov, yrjv re dz^rt vrfcrov /cat irepippvTov wo-avro)?, d/xa>s
30 eTepa XkyeLv SoKel, 8l6tl ou^ w? tt/jos fxiyeOos,
dXXd irpo^
1 7e fo-ois (punctis superpositis) P. 2 ot P, oy hie supra versum addito.
3
^crrti' supra versum add. P. 4 Trepi ivOvfiT^naros in margine P. 22 avT(^'.
avTo P accentu supra eraso.
|
\L<}>dkv P.
23
Kpirrjs in Kp-Zir-qs corr. P.
]
7ai' ô-Ti] codd. Homeri, 7' ^(rri P. 24
dvoirt : i posterius in rasura P.
25
irrjeipa P. 26 exp'f}<TaTO t6 P. 28 raOra P.
bears a likeness to the things on which the wealthy pride
themselves,cornices, triglyphs, and bands of purple. Indeed,
it is in itself a mark of verbal opulence.
109. The enthymeme may be thought to be a kind of
epiphoneme. But it is not so, since it is employed for pur-
poses not of adornment but of proof Though, to be sure, it
may come last after the manner of an epiphoneme.
110.
Similarly a maxim resembles in some points an
epiphoneme added to a previous statement. Nevertheless a
maxim is not an epiphoneme. Though at times it may come
last like an epiphoneme, it often comes first.
111.
Again, the line
Fool
!
for it was not his weird from the blackness of doom to
flee'
will be no epiphoneme. For it is not additional nor is it
ornamental. It has no likeness at all to an epiphoneme, but
rather to an allocution or a taunt.
112. A touch of poetic diction adds to the elevation of
prose. Even a blind man can see that, as the proverb has it.
Still some writers imitate the poets quite crudely. Or rather,
they do not imitate them, but transfer them to their pages as
Herodotus has done.
113.
Thucydides acts otherwise. Even if he does borrow
something from a poet, he uses it in his own way and so makes
it his own property. Homer, for instance, says of Crete
:
A land there is, even Crete, in the midst of the dark sea-swell,
Fair, fertile, wave-encompassed*.
Now Homer has used the word
*
wave-encompassed ' to indi-
cate the great size of the island. Thucydides, on his part,
holds the view that the Greek settlers in Sicily should be
at one, as they belong to the same land and that a wave-
encompassed one^ Although he employs throughout the same
terms as Homer
' land
*
and
'
wave-encompassed ' in place
of
'
island
'
he seems nevertheless to be saying something
^
Horn. //. xii.
113.
^
Horn. Odyss. xix. 172.
^
Thucyd. iv. 64.
124 AHMHTPIOY HEPI EPMHNEIAZ
ofiovoLav avTol';
expyjcraro. irepl
fxkv
S17 /leyaXoTT/DeTreta?
Tocravra.
114. Qcnrep oe TrapoLKeirai
(f)avXd riva acrretot?
TLCTLV, olov Odppei
fjLev
TO 6pdcro<;, rj S*
alo-x^vri
rrj aiSot,
5
Tov avTov Tpoirov kol rrjq
epfji7jvLa<; to2<; yapaKTrjpcriv
irapoLKeLvraL SiTj/JiapTrjfjLevoL Tive<;. rrpcjTa Se irepl tov
*
yLTPL(ovTOs Tco /xeyaXoTT/oeTTet
Xeôfxev. 6vop.a
fxev
ovv
avTco
xfjvxpov,
opCiêTai 8e to ipv^pov êocjipacTTO^; ovtojs,
\\jvxp6v
icTTL TO VTrep^dWov ttjv OLKeiav dirayyekiav,
10
olov
diTvvhaKWTOî ov TpaTreôvTat kvXl^,
dvTL TOV dirvOpLevoq inl Tpaire^r)^ kvXl^ ov riêrat. to
yap Trpayfia crp.iKpov ov ov
Several oyKOv toctovtov
Xeêo)?.
15 H5- TiveTai fJiivTOL kol to \\)V)(pov iv Tpicriv, a)cnrep
Kai TO ^leyakoTTpeTri^, rj yap iv hiavoia, KaOdirep inl
TOV Kv/cXw7ro9 Xi9ol3oXovvToq Tr)v vavv tov 'OSucrcreo)?
6(^7^
Tt9,
*
(pepojjievov tov \l6ov alyeg ivefiovTO iv avTO).*
iK yap TOV
v7rep/3el3X7)ixvov Trjs Staz/ota? /cat dSvvdTOv rj
20
y^JVÔTTj^.
116. 'Ei/ Se Xefet 6 ÂpLo-TOTeXr)^ (jyrjcrl yiveaOai
rerpa^ws,
''' '''
w? 'AXActSa/ta?
'
vypov ISpwTaJ rj iv
(rvvOeTcp, OTav Sidvpajx^cohrjf; crvvTeOrj rj StTrXwcrt? tov
ovofjiaTO<;, w? to
'
iprjixonXavof;'
i(f)r)
rt?, Kal t tl aXXo
25 ovTO}^ viripoyKov. yiveTau Se /cat iv iJieTa(j)opa to \jjv)(^p6v,
'
TpifjLOVTa Kai oj^pa tol Trpay/xara.' reryoa^w? pLv ovv
/cara Tr)v \eîv ovtojs av yiyvoiTO.
117. 'Evv0e(TL<; Se ^v^pd
7)
fjurj evpvOfio^, dXXa dpvdfJiO<;
ovcra Kal Sia rrdvTcov pâKpdv eôvcra, c^cnrep tj rotaSe,
3
trepl xj/vxpov rod dPTiKcifievov rip /xeyaXoTrpeTrei titulus in P. 8 6pos \//vxpov
in margine P.
15
<^V
^t'- ^^ rptalv ij xj/vxp^'rrjs in margine P. 22 hiatum
indicavit Victorius.
24
el om. P : add. edd. 26 irpdyiJ.aTa] Victorius
ex codd. Aristotelis: ypd/xfiara P. 28 eifpvdfios] Finckhius, ippvdjxos P.
29
ixxiKpav'\ Schneiderus, /xaKpbp P.
DEMETRIUS ON STYLE
125
different. The reason is that he uses the words with reference
not to size but to concord.Thus much with regard to eleva-
tion of style.
114. As in the sphere of morals certain bad qualities
exist side by side with certain attractive qualities (audacity,
for example, corresponding to bravery, and shame to rever-
ence), so also the leading types of style are matched by
distorted varieties. We will first speak of the style which is
next neighbour to the elevated. Its name is
'
frigid,' and it
is defined by Theophrastus^ as that which transcends the ex-
pression appropriate to the thought, e.g.
Chalice imbased is not intabulated*.
Here the meaning is :
'
a cup without a bottom is not placed
upon a table.' The subject, being trivial, does not admit of
such magniloquence.
115.
Frigidity, like elevation, arises at three points. One
of these is the thought itself, as when a writer once said, in
describing how the Cyclops cast a boulder after the ship of
Odysseus :
'
when the boulder was in mid career goats were
browsing on it^' The words are frigid because the conceit is
extravagant and impossible.
116. In diction Aristotle says that frigidity is of fourfold
origin, arising from [(i) 'strange terms';
(2)
'epithets']... as
when Alcidamas speaks of 'moist sweat*';
(3)
'composites,*
when words are compounded in a dithyrambic manner, as
with the expression
'
desert-wandering ' which someone uses,
and with other pompous expressions of the kind
; (4)
'
meta-
phors,' e.g.
'
a crisis pale and trembling'.' Frigidity of diction
may, therefore, arise in four ways.
117. Composition is frigid when it lacks good rhythm,
or lacks all rhythm, having long syllables from beginning to
1
Theophr. tt. X^^
2
Soph. Triptol. fragm., Nauck^
p. 265.
^
Scr. Inc.
*
Alcid.
^
Scr. Inc.
126 AHMHTPIOY HEPI EPMHNEIAl
*
r)KO)v Tjfxwv
t9 Tr)v ^(x)pav, iracnq^ rj/Jicov opOrj^ ovarj^;.'
ovSev yap ejêi Xoyi/coi/ ouSe acrcâXe? 8ta Tr)v <TVvi)(eiav
T(t)v jxaKpmv o-vXkaôjv.
118. ^v)(pov 8e /Cairo /xeryoa riOivai crvve^rj, KaOaTTep
5 TLve<;, Kol
fJLTj KkeiTToixeva vtto
ttJ?
o-VT/eêia^^' Troirjpia yap
OLKaipov xjjv^pov, MG-irep Kal to VTrepjieTpov.
119.
Kai KaOoXov onolov tl icrriv rj akatôvela,
ToiovTov KOI rj xjjv^poTTj^;- o re yap dkalôjv tol
fxr)
irpoaovra
avTO) avyei o/xcu? &)5 Trpocrovra, o re fJUKpol^; Trpdyyuacriv
10 7TepiâXk(x)v oyKOv, Kai avro^ iv puKpoi^ aKatpvevopLevco
eoiKev. Ka\ oiroiov tl to iv ttj TrapoLfjiLa Koapiovpievov
virepov, TOLOvTov tl iaTL Kal to iv ttj eppiqveLa i^yjppevov
\
iv pLKpoZ<; TTpdypao-LV.
120. KaLTOL TLV<; (j)acrL Selv ra pLKpd peyakoi^ \iyeLV,
15 /cat cnqpeiov tovto rjyovvTaL virepâWovcnq^; Svvdpecos.
iycb 8e rioXv/cparet p^ku tco pyjTopL avy)(0}pct) iyKcopLdôvTL
'"'
^^
ct)9 ^ Kyapipvova iv dvTL6eT0L<; /cat /xeracôyoat? /cat
TTCtCrt TOt9
iyKCOpLaCTTLKol^ TpOTTOL^- eTTaLêV ydp, OVK icFTTOV-
Saêv, /cat avTO^
ttJ?
ypa(f)7J^
6 oyKOs naCyvLov iaTL.
20
TraCêLV pev St) iêcTTO), co? (jyyjpL, to Se wpeirov iv iravTL
TrpdypaTL ^vXaKTeov, tovt ecTTL
7rpo(T\(f)6po)<; ipprjvevTeov, 235'
ra /xez/ pLKpd pLKpco<;, ra pueydka 8e peydXco^;.
121. KaOdwep Sevocjiojv iwl tov TrjXe/Soa iroTapov
pLKpov ovTOs /cat /caXov (^lycrt^',
*
ovro? 8e TrorajLtos iî'
25 peyas pv ov, /caXo? 8e- '
ttJ
ya/) ^pa^vTrjTL Trj^ (TvvOecrecjf;
Kal TTj aTToXtjêL ttj et9 to
'
8e ' povov ovk iiriheLêv
rfplv
pLLKpOV TTOTapOV. TepO^ Si TLS epprjVeVOiV OpOLOV TO)
TrjXefioa
woTapco
e(f)r),
cus
*
0,770 tcov AavpLKCJV opicjv
oppojpLevos e/c8t8ot es OdXacrcravJ KaOdnep tov NelXov
30 ippLTfvevcov
KaTaKprjpvL^ôpevov rj tov 'ÎcTTpov iK^dXXovTa.
TrdvTa ovv ra rotavra i//u^/3ot7^s /caXetrai.
7
(Ti; in margine P. i<{ err} Sttws ivavHias (prjal rdv aXKcav in margine P.
17
lacunam statuit Victorius. 18 ia-rroOdaêv : e prius in rasura P. 20 Set P.
25
fjt^ya**s P. 26 dtTT^Set^cy, e supra a scripto P. -29 iKdtdoi: supra t prius
aliquid erasum est in P.
30
iK^dWovra] Gennadius, i/x^dWovra
(\
alt. supra
versum scripto) P.
DEMETRIUS ON STYLE
127
end, e.g.
*
This land, our land, which I now reach, which I
find all upstirred^' On account of the succession of long
syllables, this sentence is highly questionable and entirely
lacking in prose rhythm.
118.
It is also a mark of frigidity to introduce, as some do,
one metrical phrase after another in prose, the close succession
of which thrusts them on the attention. A bit of verse out of
place is just as inartistic as the disregard of metrical rules in
poetry.
119.
There is a sort of general analogy between impos-
ture and frigidity. The impostor boasts, facts notwithstanding,
that qualities belong to him which do not. In like manner,
also, the writer who invests trifles with pomp resembles one
who gives himself airs about trifles. A heightened style used
in connexion with a trivial subject recalls the 'ornamented
pestle ' of the proverb.
120. There are, however, people who hold that we ought
to use grand language of little things. They regard this as a
proof of surpassing power. For my own part, I can forgive
the rhetorician Polycrates who eulogised like (another)
Agamemnon with antitheses, metaphors, and every trick of
eulogy. He was jesting and not in earnest ; the very inflation
of his writing is but pleasantry. I have no objection to jesting,
as I say. But fitness must be observed, whatever the subject
;
or in other words the style must be appropriate,subdued for
humble topics, lofty for high themes.
121.
Xenophon obeys this rule when he says of the small
and beautiful river Teleboas: 'this was nota large river; beautiful
it was, thought' Through the conciseness of the construction,
and through placing the
'
though ' at the end of the sentence,
he has almost brought before our very eyes a small river.
Another writer, on the contrary, when describing a river like
the Teleboas, said that
'
it rushed from the hills of Laurium
and disembogued into the sea,' as though he were describing
the cataracts of the Nile or the mouth of the Danube^ All
expressions of this kind are called
'
frigid.'
^
Scr. Inc.
*^
Xen. Anab. iv.
4, 3
: cf.

6 supra.
3
Scr. Inc.
122. ViveTai fxevTOL rot [jbLKpa fxeydka erepov Tpoirov,
ov Sia Tov OLTTpeirovs, aX.X' evioTe vtt' avdyKiqf;. oiov orav
fiLKpd
Karop6(0(7avToi riva orrpanqyov iâipeiv ôvXw/ieâ
0)9 fxeydXa KarojpOojKOTa, <rj> olov otl
(f)Opo<;
ev Aa/ce-
5 SaifiovL TOV 7repLpy(t)<; /cat ovk iTTi\o)pi(x)^ crâipicravTa
ijjia(TrLy(0(Tev tovtoj yap avToOev p.iKp(o dKov(r6rjvaL ovri
iTTirpayoihovixev, o)? ot rd fJUKpd
TTOvrjpd eOrj i(OPTe<; oSov
To2<; ixeitpcri
iroviqpoi^ dvoiyvvovcriv, kol otl iirl rot?
p^LKpoZ^ TrapavofirjixacTLV
XPV
Kô\aiC,eiv jiaXkov, ovk iirt
lo T0t9 fieydXoLs.
/cat ttjv irapoiîav iiroLcrofjiev,
'
dpyj] Se
rot TfyLKTV TTaVTO^J Ct>5 ioLKvlaV T0VT(0 TO) (TyLlKp(x) /ca/cw, r^
KoX OTL OvSeV KaKOV JXLKpOV icTTLV.
123. OuT(U9 fjiev
Srj iêcTTO) /cat to fjLLKpov /cardp^w/xa
iâipeLV /xeya, ov
ixrjv (o(jt. aTrpeires tl ttoluv, dXX'
15 (ocnrep /cat to jxeya /caracrjutt/cpwerat y^prjcTLpuO}^ TtoWdKL^,
ovTCJ^ av /cat to fJLLKpov
iâCpoLTO.
124. MaXtcrra Se rj vTrepôXrj xjjv^poTaTOv irdvTMv.
TpLTTTj Se icTTlV Tj ydp KaO' OlLOLOTiqTa iK(j>pTaL, OJS TO
'
SieLV S' dvep.OL(TLV ojioIolJ tj /ca^' vTrepo-îjv, w? to
20
'
XevKOTepOL )(l6vo<^,' tj /cara to dhvvaTOVy o)? to 'ovpav^
icFTrjpLê Kdprj.^
125. Ilacra
fxev
ovv virepfioXr)
dSward? icTTLV ovt
ydp dv ^Lovo^ XevKOTepov ydvoLTO, ovt dv dvifKo
OieLV
opuOLOv. avTrj fxevTOL rj vTrepfioXyj,
rj lprjfJiV7jriicLLpT(o<;
25 ovopidtêraL dSvi/aro?. Sto St7 /cat pdXLCTTa i//v^d So/cet
Trdcra VTrepôXrj, Stdrt dSvmTw OlkV.
126. Atd TOUTO Se pdXLaTa /cat ot KO)p.(oSo7roLol
XpciiVTaL OLVTjj, OTL c/c TOV dSvi^ctTOv i(l>XKOVTaL TO yeXolov,
(ocnrep iirl tcjv Ilp(T(t)v ttj^ dnXTjcTTLas vrrepâXXopevo^
3
ôvXdfieda P.
4 77
inserui. 6 tovto P.
|
(hpaiov in margine P. 8 di'iryi'iJ-
oucrti' P.
9
irapavofufiaariv P. 10 -jrapoLfiia in margine P.
|
iTroLa-ofMep] Hemster-
husius, iwoLrjcrafiev P. 11 roOro P, Toi;r(^ t^J m. rec. P. 12 /cai P, ^ supra
versum add. m. rec. P.
13
Set P.
17
ar} 6tl 7'
^
virepôkr} xf/vxp^rarov in
margine P.
19
dvifioiaiv ex dv^fioia-riv P. 20 ct; rt ^Tjortj/ Trept toO
\ei/cdre/Joi xt<i'os in margine P.
24
fxivroi '/jtol ij v-rreppoXi] i] elp7jfx4vr} P.
29
122. Small things, however, may be magnified in another
way, and that not an unbecoming but sometimes a necessary
way, for instance when we wish to exalt a general who has
succeeded in some small enterprises as though he had actually
won great triumphs. Or we may have to justify the ephor at
Lacedaemon for scourging a man who played ball with a
studied disregard of the custom of the country. The offence
at first strikes the ear as a trivial one. Consequently we
solemnly descant upon its gravity, pointing out that men who
permit small malpractices open the way to more serious
ones, and that we ought to punish for small transgressions
rather than for great. We shall, further, adduce the proverb
'the thin end of the wedgeV showing how it bears upon
this trifling offence ; or we shall go so far as to maintain that
no offence is trifling.
123. In this way, then, we may magnify a small success,
though not at the cost of propriety. As what is great can
often be depreciated with advantage, so can what is lowly be
exalted.
124. The most frigid of all figures is hyperbole, which is
of three kinds, being expressed either in the form of likeness,
as
'
a match for the winds in speed
'
; or of superiority, as
'whiter than snow^'; or of impossibility, as 'with her head
she has smitten the sky^'
125. Indeed, every hyperbole transcends the possible.
There could be nothing 'whiter than snow,' nor anything
'a match fdr the winds in speed.' However, the particular
hyperbole already mentioned is specially called
*
impossible.'
And so the very reason why every hyperbole seems, above all
things, frigid, is that it suggests something impossible.
126. This is the chief reason also why the comic poets
employ this figure. From the impossible they evolve the
laughable, as when someone said hyperbolically of the vora-
*
Cp. Hesiod, Works and Days,
40,
vfitrioi, ov5k t<Ta<nv 8<r(p w\iov rjfuffv Travrbs.
^
Horn. //. X.
436,
rod St] KaWiffTovs 'iirirovs tSov -qS^ fieylaTovi'
XevKbrepoi
x"^''os>
deleip
5'
av^fioiaiv ofioioi, kt\.
'
Horn. //. iv.
443,
ovpavi^ icT-ffpiê Kdprj, Kal iirl
xô''^
jSa/vct.
R.
Q
130
Ti9 e<^7^, OTL ^TreSta i^4)(etpv okaj /cat on
'
l3ov<;
ev tols
127. Tou 8e avTOv etSov? ecrri Acat to
*
ôkaKpoTepo*;
evoiasj Kol TO
'
ko\okvvt7j<; vyiecrrepof;' to 8e
'
-^pvcro)
5
\pvcroTpa
'
TO âirîKov iv virepôXyj XeycTat /cat auTo
/cat aSvvdT(i)<;, irXrjv auTw ye tw dSwaTO) ^dpLV eêt,
ov
^vxpOTTjTa. o Srj /cat /xctXtcrTa Oavfidaeiev dv Tt9
SaTTcôv?
ttJ?
êtag, OTt (j^vaei Kivhvvoihei irpdypiaTi /cat
SvoTKaTopOwTO) i^prjcraTO eVtâyotTOJ?. /cat 7re/3t /xej^ ^v)(^p6-
10 Tr)TOs /cat VTrepôXrj^ TOcravTa. vvv Se 7re/)t tov y\a(j>vpov
âpaKTTJpos Xeôfxei'.
III.
128.
I
*0
y\a(l)vpo<;
\6yo<; âpievTicrpio^ kol Ikapoq
235'
Xdyos eo"Tt. tcwz^ Se âpiTOiv at /xeV etcrt /letôiê? /cat
crefJivoTepai, at twi^ ttoltjtcov, at Se evTeXet? [xaWov /cat
15
KO)jjLLKa>Tpai, (TKcojJbiJLacrLV ioiKvZai, olov at AptcTTOTcXov?
)(dpLTS /cat '^(i)(j)povos /cat Auo-tov to yap '179 /^ctoj' ai^
Tt? dpiOfxyjaeiev tov^ 686vTa<; rj tov<; Sa/cTu\ov9,' to cttI
ttJ?
TT/Decr^vTtSo?, /cat to *ocra9 a^to? 17^' Xa/Seiv TT\r)yd^,
TOcravTa<; elXrjffyev S/â^/xa?,' ot TOtovTOt acTTetcr/xot ouSez/
20 hia<l)ipovcriv o-KcofxixdTcov, ovSe iroppo) yeXcoTOTroua^ elai.
129. To Se
Traiôvar yeyrjOe Be re
<f)peva
Ar)T(o'
KOL
5 peta
8'
apLyvcoTT) ireKerar /caXal Se re iraaai'
3
TrapoL/Mia in margine P.
5
avrb ex aiyrw P. 8 Trpdy/xari in margine
add. P.
9
iTri
xa/'^7'<'S>
accentu supra a eraso P. 12 Trepi y\a<pvpov
titulus in P, rei partitione in margine quoque indicata.
|
x'P''^^'''''<^fôs
iarL \6yos
X\ap6s P. 6 yXa<f>vpbs \6yos
x<*/"f*'"<''/*05
f"' l\apbs \6yos in margine P.
16
X'^'''*''"^'
P.
19
dpay/jLas P. 20 upaiov in margine P.
23
yiyrjdi
T sine 5^ P.
b
DEMETRIUS ON STYLE
131
city of the Persians that
'
they voided entire plains,' and that
'
they carried bullocks in their jawsV
127. Of the same character are the expressions
'
balder
than the cloudless blue' and Mustier than a pumpkin
V
Sappho's words 'more golden than all gold^' are themselves
hyperbolical and impossible, though from their very impossi-
bility they derive charm, not frigidity. Indeed, one cannot
sufficiently admire this in the divine Sappho, that by sheer
genius she so handles a risky and seemingly unmanageable
business as to invest it with charm. These observations on the
subject of frigidity and hyperbole must suffice. We shall next
consider the elegant style.
CHAPTER III.
128. Elegance of expression includes grace and geniality.
Some pleasantriesthose of the poetsare loftier and more
dignified, while others are more commonplace and jocular,
resembling banter, as is the case with those of Aristotle
and Sophron and Lysias. Such witticisms as
'
whose teeth
could sooner be counted than her fingers ' (of an old woman)
and
'
as many blows as he deserved to win, so many drachmas
has he won^' differ in no way from gibes, nor are they far
removed from buffoonery.
129. Again, take the lines :
While the daughters of him whose shield is the Aegis sport at
her side,
The beautiful nymphs of the field, and Leto beholds her with
pride,
'
And by face and by radiant head above the rest is she tall,
And, where lovely is every one, they are all by her outshone:
So did the maid unwed outshine her handmaids all*.
^
Scr. Inc.
-
Sophron, Fragmm.
108, 34,
Kaibel C. G. F.
^
Sappho, Fragni.
123,
Bergk^.
*
Lysias, Fragmm.
5, 275,
Baiter-Sauppe.
'
Horn. Odyss. vi.
105,
T^ M
6'
dfia vijfKpai, KoOpai At6s aiyidxoio,
dypovdfxoi. iralôvcn' yiyrjde 34 re (t>p4va
ArjTd)'
iratxduv
5'
vwep ij ye Kdprj
^xî
rjSk fiiruTra,
peed r' dpiyvibrrj ir^Xerai, KoXal 54 re irdcrai'
ws ij
7'
dfKpiirdXoiai fxeTîrpeire irapdivos dd/x-qs.
132
[/cal] avrai elcriv at Xeyojxevai
aeiival âpire? /cat
lieyakai.
130. XprJTaL Se aurat? "Oynqpo^; /cat
77/509 Seti^wcrti'
ivLore /cat e/Kâcrti^, /cat iraitôiv (^yoêpoirepo^; ecrrt, irpcoTO^
5 re evpTjKivai So/cet
(fôfiepas
\dpiTaq, ojcnrep to iwl tov
ayapiToyTOLTOv TrpocrcJirov, to iirl tov Ku/cXwtto?, to [ovi/]
*Ourti' eyft> TrvfiaTOv iSofiaL, tovs Be XotTTOv? irpcjTov^J
TO TOV Kv/cX(jt)7ro9 îvLOv ov yap ovt(o<; avTov ive(f>r)vev
SeLvov eK TOiv oikXcov, oTav Bvo
Beiirvf) eratpovs, ouS' 0,770
10
TOV Ovpeov Tj Ik tov poiraXov, o)? e/c tovtov tov acTTeicrpuov
.
131. XprJTaL
Se t&> tolovto) etSet /cat
aevo(f)a)v, /cat
avTo<; BeivoTTjTa^ elcrdyeL Ik yapiTOiv, olov iwl Trj<; iponXov
op^cTTpiho^,
'
ipcoTTjOels vtto tov Tla(f)\ay6i'o<;, el /cat
at yvvaLKe<; avrot? crvveTroXefJLOVP, e^rj- avTau yap /cat
^5 eTpexpav tov fiacrikea.'
Slttt) yap e/xeâtiêrat
17
Seti^drT;?
e/c tt}? ^ct^tro?,
17
jitei' ort ou yujât/ce? avrot? elirovTOy
dW 'A/xa^diê?,
17
Se /cara ySacrtXew?, et ourct)?
tJz/ dcrdevrf^y
0)9 V770 yvvaiKoyv (fyvyelv.
132. Ta /i-ez/ ovi^ etSTy rwi^ yapiTOJV ToadSe Kal
20
TOtctSe. eto'tz^ Se at /xez^ iv T0t9 irpdyyuaai ydpLTe'^, olov
vvfJL(j)a'iOL KrJTTOL, vfjuevaiOL, epoiTe^, oXrj rj âirôvs iroiiqai^.
TOL yap TOiavTa, Kav vtto l7nrcovaKTO<; XeyrjTai, yapievTd
ecTL, Kal avTO Ikapov to npayixa
ef
eavTOv' OL'8et9 yap
av vfJLevaiov aSot 6pyLt,6p.evo<;, ovSe tov Êpoira ^F^puvvv
25 TTOiTjcreLev
ttJ
ep^jnqveia rj yiyavTa, ovSe to yeXdv Kkaieiv.
133.
''VLo'Te
7)
fxev
Tt9 ev rrpdyfjuao-L
X'^P^^
ecrTi, tol Se
/cat Tj Xeft9
770tet e7rv)(apLT(i)Tepa, olov
ft)9 S' oTe Yiavhapeov Kovprj, ')(Xcopr)i'<; arjBcov,
KoKov aelSyatv, apo<; veov lara/iievoco'
I Kal seel. Schneiderus. 6 x^P^'^'^^t'^'^'oi'
P> a et (Tto supra versum scripto.
|
ovu P, om. edd.
7
iroiiiaTov P. 8 îveiov P.
9
Seij'wj' in deivbv corr.
atram. pall. m. rec. P.
|
ir^povs ai supra versum scripto P.
19
Trepl xct/airos
X670U titulus in P. 21 yi^/wâtot P. 22 X^7erat P: corr. edd.
24
qiSoi]
Schneiderus, aSei P.
25
iroi-qaeiep] Hammerus, iroti^crei iv P. 26 Tpdy/j.a<ri\
Victorius, Trpdy/xaTi P. 28 Ilai'Sa/Dôv] codd. Homeri, navdap^)} P.
DEMETRIUS ON STYLE
133
The so-called dignified and noble graces are of this
kind.
130. Homer sometimes uses such means in order to
make a scene more intense and telling. Even when he
is jesting he is somewhat awe-inspiring, and he seems to
have been the first to devise grim pleasantries, as in the
passage describing that most repulsive personage the Cyclops:
*
Noman will I eat last, but the rest before him,'that guest-
gift of the Cyclops \ No other circumstance reveals so clearly
the grimness of the monsternot his supper made from two
of the comrades of Odysseus, nor his crag-door, nor his club
as this single jest.

131. Xenophon also is familiar with this department of
style, and can (like Homer) turn a pleasantry into a sarcasm,
as in the passage describing the armed dancing-girl.
"
A
Greek was asked by the Paphlagonian, whether their women
accompanied them to the wars. 'Yes,' he replied, 'for they
routed the Great King^.' " This pleasantry clearly has a
double point, implying in the first place that it was not mere
women who accompanied them, but Amazons
;
and the other
hit is at the Great King, who is taunted with being such a
poor creature as to be worsted by women.
132.
Grace of style has, therefore, a certain number of
forms and characteristics. The grace may reside in the
subject-matter, if it is the gardens of the Nymphs, marriage-
lays, love-stories, or the poetry of Sappho generally. Such
themes, even in the mouth of a Hipponax, possess grace, the
subject-matter having a winsomeness of its own. No one
would think of singing a bridal song in an angry mood
;
no
contortions of style can change Love into a Fury or a Giant,
or transmute laughter into tears.
133. While grace is sometimes inherent in the theme
itself, at other times diction can lend an added charm, as
in the lines
:
As Pandareus' daughter, the wan-brown nightingale,

Trilleth her lovely song in the flush of the new-born Spring^
1
Horn. Odyss. ix.
369.
^
Xen. Anab. vi. i, 13.
3
Horn. Odyss. xix. 518.
134
ivravSa yap kol rj ar)So)v yapiev opviOiov, /cat to eap
(jyvcrei ^dpiev, iroXv 8e eTrt/ceKoo'/iT^Tai Trj kp^jiiqveia, koX
ecTTL âpiiarepa rco re 'yXoyprjjX^^ kol to) *TlavSapeov
KOvpT)' elirelv iwl opviOos, dwep rod ttoltjtov iStct icrn.
5 134.
IToXXaAct? Se kol rd
fxev wpdyfJiaTa aTepTrrj iom
(l)V(TeL
KOL (TTvyvd, VTTO Se Tov XeyovTO^ yiverai Ikapd.
TOVTO Se napd Seiôc^wz^Ti So/cet irpcoTco evprjcrOai' XajSwz^
yap dyekacTTOv Trpocrcoirov Kal CTTvyvov, tov ^KyXairdhaVy
TOV Jlepcrrjv, yeXcoTa evpev
ef
avTOv -âpievTa, otl
'
paov
10 eorrt TTVp
|
iKTpZ\\sai diro crov rj yeXwra.'
236'
135-
AvTT) Se ecrri Kal r) SvvaTCOTdTT) ^dpi^y /cat
fjidXicrTa
iv t(o XeyovTL. to fxev
yap
irpdyfjia
/cat
(J>v<tl
(TTvyvov 7)v /cat iroXefJUOv ^dpiTi, cjcnrep /cat 'AyXatrctSa?.
6 S* (Lcnrep ivSeLKvvTai, otl /cat 0,770 tcov tolovtcov Tratêti/
15 ecTTiv, oicnrepel /cat utto OepfjLov xfjv-êadaL, depfiaCvecrOai
Se VTTO TOZ^ -^v^poiv.
136. 'ETret Se ra etSr; TCxiV yapiTOiv SeSet/crat, rtiâ
ecrrt /cat ei^ tlctlv, vvv /cat rovs tottoi;? TrapaSeiôfiev, d<\>
(Sv at ^dpiTe^. Tjcrav Se T7/i-t^' at /lez^ e^'
ttJ
Xefet, at Se ez/
20 Tolq TrpdyfJiacTLV. TrapaSeCôfxev ovv /cat Tovq tottov^ KaO^
eKdTepa- 7rp(OTOv<; Se tov<;
ttJ?
Xeêo)?.
137-
Evû? ouz^ TrpcoTT) ecrrt
xdpi<;
rj e/c crvz'TO/xta?,
oral/ TO avTO ix7)Kvv6fJLvov
dâpi yevrjTau, vtto Se Tdyov<^
-^dpiev, ^cnrep irapd aVO(f)(ovTL,
'
tco ovtl tovtco ovSev
25 fieTecrTL
ttJ^;
*EXXaSo?, eTret eyo) avTov elSov, ojcnrepei
Av86v,
dfji(j>6Tpa
ra c^ra TeTpvTrrjfJLevov /cat etêz^ ovro)?.'
TO yayo iTriXeyofxevov to
'
eiyev ovtoj<^' vtto Trj<; crvvTOfiLas
TTjv -y^dpiv TTOtet, et Se ifJir)Kvv0r) Sta nXeuovcov, otl 'eXeyev
TavTa dXr)6rj, crac^w? yap iTeTpvTrr)TO,' SLijyrjfJia dv xJjlXov
30 eyeveTO avTL âyotro?.
I
X'^P^^^
P-
3
''<? Te...Kat
T(J5]
Finckhius, t6 Te.../fai r6 P.
|
ITai'-
Sapitj P: cp. p. 132 V. 28 supra.
9
p^tov] codd. Xen., pddiov P.
10 iKxpixj/ai P.
I
<r?7 pddidv ioTi irvp diroTpLipai dtrb aoG r} yiXura in margine P.
11 dvvaroTdTT} F. i8 irapaSelôfiev] Galeus, Trapadeiôfiai F. 24
roOro P.
26 Terpvirri/x^vovl codd. Xen., Terpifi/j^vov P.
DEMETRIUS ON STYLE
135
This passage refers to the nightingale which is a delightful
songstress, and to the Spring which is a delightful season of
the year. But the wording has greatly embellished the idea,
and the picture is the more delightful because the epithets
'
wan-brown
'
and
'
daughter of Pandareus ' are applied to the
bird. Now these touches are the poet's own.
134. It often happens that, unattractive and sombre as
the subject-matter in itself may be, it sparkles in the writer's
hands. This secret seems to have been first discovered by
Xenophon. Having for his subject so grave and gloomy a
personage as the Persian Aglaitadas, Xenophon makes at
his expense the pleasant jest,
'
One could sooner strike fire
from your skull than laughter\'
135.
This is the most effective kind of charm, and that
which most depends upon the writer. The subject-matter
may in itself be sombre and hostile to charm, as with Aglai-
tadas. But the writer shows that, even with such material, one
can jest ; there is the possibility, so to speak, of being cooled
even by what is hot, or warmed with things cold.
136. Now that the varieties of graceful style, and its
elements, have been indicated, we will next indicate its
sources. As we have already said, it consists partly in
expression and partly in subject. So we will present the
sources severally, beginning with those of expression.
137. The very first grace of style is that which results
from compression, when a thought which would have been
spoiled by dwelling on it is made graceful by a light and
rapid touch. Xenophon will furnish an example :
"
' This
man has really no part or lot in Greece, for he has (as I
have myself seen) both his ears pierced like a Lydian' ; and
so it wasV The clinching stroke 'and so it was' has all the
charm of brevity. If the thought had been developed
at greater length, under some such form as 'what he said
was true since the man had evidently had his ears pierced,*
we should have had a bald narrative in place of a flash of
grace.
1
Xen. Cyrop. xi. 2, 15.
"^
Xen. Anab. iii. i,
31.
I
136
138. IToXXafcis Se kol Bvo </)/)a{Tat 8t* ivo^ wpos to
)(apiv, olov iwl
T7J9
ÂfjLai,6vo<;
Ka9evSov(T7)<;
ecfyrj ris, on
*
TO Toôv ivTeTafievop eKeuTO, /cat rj (j)apTpa 7TXrjp7)<;, to
yeppov inl ttj
K(j>a\7J'
tov<; 8e ^wcrrTJpa?
ov XvovTau.^ ev
5
yap TOVTOJ Kol 6 vopô^ elpiqTai 6 irepl tov ^(t)(TTrjpo<;, /cat,
OTL ovK eXvae tov /^(oaTrjpa, tol hvo irpdyfJiaTa Sua
fjna^
ipjjLTjveia^;. /cat 0,770 t^9 (TvvTop.ia<; ravTrj^ y\a(j)vp6v tl
iaTL.
139.
AevTepo^ Se totto^ icrTiv airo tt}? rafew?. to
10 yayo avTO irpoiTov
fxev
TeOev rj
ixiaov
aâpi yiveTai- irn Se
TOV Tekovs yapiev, olov w? 6 Heiôcôii^
(fyrjaLV
inl tov
Kvpov,
'
StScocrt 8e avrw /cat Swyoa, lttttov /cat (ttoXtjv /cat
(TTpeiTTOv, /cat 77)1' yo)pav /AT/zcert apirdêo-OaiJ ip yap
TOVTOLS TO fJUeV
TeXeVTOLOV icTTL TO Tr)V ')(apLV TTOiOVV TO
15
*
T'î^ xcopav fJL7)KTL OLpiTdtêcT6ai
'
Sta TO êvov TOV Scjpov
KOL TTjv tStoTTyra. atrto? Se 6 totto? T779 ^dpLTO<;. el
yovv npcoTOv eTa^Biq, dyapiTOiTepov rjv, olov otl ^hihoicnv
avTco Swpa, Tijv re ^(lipav fxyjKeTL dpirdtêcrdai, /cat lttttov
/cat crToXy]v /cat cTTpeTTTov.' vvv Se TrpoeiTTcov tol eWuo'fJidva
20 Scopa, TeXevTOLOv iTTijveyKev to êvov /cat drjOe^;, i^ (Sv
OLTTdvTCOV (TVVrJKTaL
7)
ÔLyOt?.
140.
At Se 0,770 Ta>v crxrjjxdTcov
ydpiTe'^ hrjXai elcnv
Koi TTXeicTTaL TTapd Sa77<ôt, olov iK tt}9 d^'aSt77Xa)crew9,
0770V
vvfJL(l)r)
TTpos TTJV
TTap0viav (f)r)crL,
'
TTapdevia, Trap-
25 devia, 770t
fxe
XiTTOvcra ol^tj
;
' r) Se aTTOKpiveTai TTpos
aVTTJV T(0 aVTCO
OXTJfiaTL,
'
OVKTL -^^CO
77/009
CTe, OVKTL
5
ûffTTJpas : w in rasura P.
19
inter /cat et crToXrjy litura in P.
24
87roi;edd. : ttoO P. |
irapdeveiav l\ 24,25
7ra/)ê*'ia alterum supra
versum atram. evan. add. P.
I
DEMETRIUS ON STYLE
137
138. The conveyance of two ideas in one sentence often
gives a graceful effect. A writer once said of a sleeping
Amazon :
'
Her bow lay strung, her quiver full, her buckler
by her head
;
their girdles they never loosed' At one and the
same time the custom concerning the girdle is indicated and
its observance in the present case,the two facts by means of
one expression. And from this conciseness a certain elegance
results.
139. Grace of style comes, in the second place, from
arrangement. The very thought which, if placed at the
beginning or middle of a sentence, would have no charm,
is often full of grace when it comes at the end. This is
the case with a passage of Xenophon relating to Cyrus :
'
as
presents he gives him a horse, a robe, a linked collar, and the
assurance that his country should be no longer plundered^'
It is the last clause in this sentence (viz.
'
the assurance that
his country should be no longer plundered
')
which constitutes
its charm, the gift being so strange and unique. And the
charm is due to the position of the clause. Had it been
placed first, the anticlimax would have spoiled it: as (for
example) 'he gives him as presents the assurance that his
country should be no longer plundered, and also a horse,
robe, and linked collar.' As it is, he has put first the ac-
customed presents, and added in conclusion the novel and
unusual gift. It is the total effect that constitutes the
charm.
140. The graces that spring from the employment of
figures are manifest, and abound most of all in Sappho. An
instance in point is the figure 'reduplication,' as when the
bride addressing her Maidenhood says
Maidenhood, Maidenhood, whither away.
Forsaking me?
And her
Maidenhood makes reply to her in the same
figure
:
Not again unto thee shall I come for aye,

Not again unto thee
!^
^
Scr. Inc.
*
"
Xen. Anab. i.
2, 27.

Sappho, Fragm.
109, Bergk*.
138
7]^(0''
irXeicov yap
X^pi^
ifJiifyaiveTai,
rj eiirep aira^ iXeÔrf
/cat avV Tov cryrjiJiaTO^. Kairoi rj avaSi7r\a)crL<; Trpo^
Seii^drr^ra? jjiaXkov Soicet evprjcrdai, tj Se koI toI<; Setvo-
TaTOL^; KaTa^pyJTau eTTtâpiro)?,
5 141.
âpievTitêrai he irore koX i^ ava(j)opa^, wg inl
TOV 'Ecnrepov, '"Ecnrepe, Trdvra <ê/Di9,' (^yrô-i,
'
(fyepei^
oivy (j)pL^ alya, (j>epL^ fiarepL waiSa.' /cat yap ivTavOa
rj
X-apL^
ecTTiv e/c tt}? Xefecos
ttJ?
*
<êpeL^
'
eiri to avTO
ava(j)epofJLvrj^.
10 142.
I
IloXXas S' av rt? /cat dXXa?
iK(f>epoi
âptra?.
236^
yiyvovTai 8e /cat 0,770 Xefews â/otre? -^ e/c jLteracôyoa?,
0)9 7rt TOV Terrtyo?, 'wTepvycov
8'
vTTOKaKyiei \iyvpav
aoihdv, o TL TTOT OLV ^\6yiov KaOeTav iTrnrTaêvov
/caravXet*
15 143'
V
^'^ CTVvdeTov \tov\ oi^d/iaro? /cat SiOvpajx/BLKOv,
*
8eo"7roTa nXouroat' [xeXavoirTepvycov, tovtI Seivov irpo
TTTepvycov avTO TToCrjcrov.' a /xctXto-ra 817
KcofjLCoSiKa Traiyvid
icTTL /cat aaTvpiKa.
144.
Kat
ef
lSlcotlkov 8e 6v6p.aT0<^ yiyveTai, o)? 6
20 Âpi(rT0Tkr]<;,
'
ocrco yap
J
(fyrjcri,
'
[JiovcoTrjs el^C, (^tXo-
fjivOoTepos yiyova! /cat e/c TreTroLrjfJLevov, w? o avro? ei/
Tftv avTco,
'
oo-<y ya^ avTLTrj<; /cat fJLOV(oTr)<; elfjn,
(^tXo^v-
SoTepoq yiyova! to
fxev
yap
'
fjiova>Tr)^'
ISicoTLKcoTepov
eOovs rjSy] icTTL, to 8e
'
avTLT7]<;' TreTTOirip.evov e/c rou
25 avrd?.
145.
HoXXa 8e ovofxaTa /cat vrapa riî' Becriv Tr)v inC
Tivo^ âpUvTOL icTTLV, olov
*
6 ya/D 6pvL<; ovtos /cdXaf ecrrt
3
vprj(r6ai ex evpetadai P. 4 ^7rtxap^7"ws] Finckhius, ^tti
x'^P'-'^'o^
?
7
o'"]
Paulus Manutius. oIj'oj' P. 11 ^ sine accentu P. 12 viroKaKxêt : viro in
rasura P.
|
\rjyvpap P.
14, 15
KaravXec' ij] Finckhius, KaravSelrj P. 15 tov
seel. Finckhius. 16 JlKo^ruv] Bergkius, ttXovtov P. 16, 17
irpoTTepvyuy
P. 18 <raTi;/)iK(] Galeus, craripia P.
I
DEMETRIUS ON STYLE
139
The thought, thus presented, has more grace than if it had
been expressed once only and without the figure.
*
RedupH-
cation,' it is true, seems to have been devised more particularly
with a view to giving energy to style. But in Sappho's hands
even the most passionate energy is transfigured with grace.
141. Sometimes also Sappho makes graceful use of the
figure 'anaphora,' as in the lines on the Evening Star:
O Evening Star, thou bringest all that's best

:
The sheep, the goat, thou bringest home, to rest:
The child thou bringest to the mother's breast \
Here the charm lies in the repetition of the verb 'thou
bringest,' which has the same reference throughout.
142. Many other examples of graceful language might
easily be cited. It is attained, for instance, by choice of
words or by metaphor, as in the passage about the cicala
:
From 'neath his wings he pours

A strain of piercing notes
:
Far up that fiery vapour-veil it soars
Which o'er the landscape floats
^
143. Another source is dithyrambic compounds such
as
:
O Pluto, lord of sable-pinioned things,

This do thou
'twere more dread than all their wings^

!
Such freaks of language are best suited for comic and satyric
poetry.
144. Yet another source is unique expressions, as when
Aristotle says
'
the more self-centered I am, the more myth-
enamoured I become
'*.'
Coined words, again, are another
source, as in the same author and passage: 'the more soli-
tary and self-centered I am, the more myth-enamoured I
become
'
*.
The word
'
self-centered
'
is of a more unique cha-
racter than the word
*
solitary ' which is formed from
'
sole.'
145. Many words owe their charm to their application
to a special object. For example :
'
why, this bird is a flatterer
1
Sappho, Fragm.
95,
Bergk*.
2
Alcaeus, Fragm,
39,
Bergk*.
^*
'
3
Lyric. Fragm. Adesp. 126, Bergk^.
4
Aristot. Fragm. 618 (ed. Berol.). Cp.
97
supra. ^^^'*
Kal Ko/Sako^;.' ivravOa rj
X^P^^
^'^^ '^^^ (TKcoxjjaL tov
opvLV KaOdrrep dvOpconov, /cat otl rd jjltj avvTJdrj eOero
ovofxara t(o opviBi. at
ixev
ovv roiavTai ^dpiref; irap
aura? ra? Xefei?.
5 146. 'E/c Se 7rapaôXrj<; /cat iirl tov i^)(ôvros dvSpo^
7rppo')(ô<; ax? or doi,So<; 6 AecrySto? dWoSaTTolcTLv.
evravda yap ^dpiv inoirjo'ev r) irapaôXr) fxaXXov
r)
p.iye6o^y /catrot i^rjv eliTeiv ireppo-ôs ^cnrep rj o-ekTjvrj
10 Tcov aXXcui^ acTTpcov, r) 6 7]Xlo<; 6 Xa/x-TTyoorepo?, r) ocra aXXa
ecrrt Tron^rt/cwrepa.
147.
âxjypcov Se /cat avTos inl tov ofioCov etSov?
(f)7)(rL,
'
Odcrat, ocra
(f)vX\a
/cat Kdp(j)ea rot TratSes rous
dvSpa<; âWilpvTi, olov nep
(f>avTL,
<^tXa, rov? Tpct)a<; tov
15
Atai^ra rw TraXw.' /cat yap evTavOa cTTtâpt?
17
irapa-
IôXyj icTTL, /cat TOV? Tpwas Sta7rat{oucra axrirep TratSa?.
148. "Eorrt 8e Tt9 tStaj9
X^P''^
Sa7r<^t/ci7 e/c /xeraôX'^s,
orai^ Tt etTTOucra /xeraySaXXi^rat /cat OKTirep fJieTavoijcrrjy
oTov
'vxfjov
817,' (jyrjcrL, 'to fJieXadpov depaTe TeKTOve^' yajx-
20
y8/)os el<TpxTaL
tcro? "Kpiq'i, dvhpoq jxeydkov iroXkco
fxeCi^cov,' Mcnrep i.Tn\ap.âvop.ivri iavTrj^, otl dSvvdTO)
^XPV'
craTO v7rep/3o\y, /cat ort ovSet? rw 'Âprj'C tcro? laTiv.
I
149.
Tov Se avTov etSou? /cat to irapd TT^Xe/xaôi,
ort 'Suo /ewe? SeSeWo 77/30 ttJ?
avXrj<;, /cat Swa/xat /cat ra
25
ovofjiaTa elireiv tcov kvvcov. dXXa rt a^ /xot ôvKoito
I /c6/3a\os] Wilamowitzius, K6Xa/cos P. 15
ttXw, a supra versum addito
P. 18 fxeTa^dWeTai et /Meravo-iâei, 77 bis supra versum scripto P. 19
V\pov]
edd., W^w P.
and a rogue
^
!
' Here the charm is due to the fact that the
bird is upbraided as though it were a person, and that the
writer has called the bird by unusual names. Such graces
as these are due to the language pure and simple.
146. Grace may also spring from the use of imagery.
Thus Sappho says of the man that stands out among his
fellows
:
Pre-eminent, as mid alien men is Lesbos' bard^

In this line charm rather than grandeur is the outcome of the
comparison. It would have been possible, had the aim been
different, to speak of a superiority such as the moon or the
sun possesses in brightness over the other orbs, or to use
some still more poetical image.
147. The same point is illustrated by Sophron, who
writes
:
See, dear, what rain of leaf and spray

The boys upon the men are showering.
Thick as flew Trojan darts, they say.
At Aias huge in battle towering ^
Here again there is charm in the comparison, which makes
game of the Trojans as though they were boys.
148. There is a peculiarly Sapphic grace due to recanta-
tion. Sometimes Sappho will say a thing and then recant, as
though she had a fit of repentance. For example :
High uprear the raftered hall,
Builders, of the bridal dwelling
!
The bridegroom comes, as Ares tall
A tall man's stature far excelling^

She checks herself, as it were, feeling that she has used an
impossible hyperbole, since no one is as tall as Ares.
149. The same feature appears in the story of Tele-
machus :
*
Two hounds were fastened in front of the court.
I can tell you the very names of the hounds. But what use
would it be for me to tell you their names^?' The narrator^
'
Scr. Inc.
'^
Sappho, Fragm.
92,
Bergk*.
'*
Sophron, Fragni.
32,
Kaibel C. G. F. ^ Sappho, Fragm.
91,
Bergk*.
Scr. Inc.
I
142
ra ovofxaTa ravra
;
' kol yap ovto^ juteraâXXd/xeiô? fiera^v
7]<TTeiaaro kol aTroaiyrjcra^ tol ovofiara.
150. Kat airo aTiypv 8e aWoTpiov yiverai yapi<;, o)?
6 ApL(TTO(j>dvr)'; (tk(x)7Tto)v ttov tov Ata, on ov Kepavpol
5
Toifs TTOvrfpov^y (ftrjciv,
aWa TOV kavTov ve(i> âWec, kol ôvvlov aKpov Wdrjvcov.
aicnrep yovv ov/ceVi 6 Zeus fcw/xwSeicrât So/cet, dXX'
OfjLrjpo^ /cat 6 crTiô^ 6 'OfxrjpLKos, kol dno totjtov
7r\eL(x)v icrrlv rj -^dpi^;.
10 151- "Eiypvcri Sen crTWfjivXop kol aXkr)yopiaL nve^,
Oicnrep to,
'
AeXcôt, TratStoj/ vficov a ktjcov (jyepet.^ /cat ra
'^(x)(j)povo^ Se ra eTTt rail/ yepovTcoi/,
*
evddZe cop
\
KTjyo) Trap
237'
v/x,jLte Tovs ojLtdrptâ? eôppiitpp.ai, ttXoov BoKoiâjv ttovtiov
dpTeau yap rjSrj rots raXt/cotcrSe rat dyKvpai'^ ocra re eTrt
15
Tcjp yvvaLKcov dWrfyopei, olov iir lÔvoiv,
*
crwX'^z/e?,
yXvKVKpeov KoyyyXioVy yrjpdv yvvaiKOiv Xiyvev^xaJ /cat
fJLLfJLLKcoTepa TOL TOiavTOL icTTL /Cat alcT^pd.
152. Êcrrt Se Tt9 /cat '17 Trapa ri^z^ irpooSoKiap -^dpus,
ct)s
17
TOV Kv/cXa)7ro9, ort
*
vaTaTOv eSo/xat Ovrti^.' ou yap
20 TTyoocreSd/ca rotouro îviov ovTe 'OSucrcreus ovre 6 di/ayt-
v(x)(TK(ji)v. /cat 6 ' Apio-Tocfidvrjf; iwl tov So)KpdTOv<;,
'
Krjpov
StaTTjâs/
(f)r)crLV,
*
etra SLa/BiJTrjv Xaficov,
e/c
ttJ?
iraXai-
CFTpaS IpidTlOV
V(J)l\TO.*
153*
^HSt; puivTOi e/c Suo tottcov evTavOa eyeveTO rj
25
-)(dpL<;. OV yap napd TrpocrhoKiav fiovov iTn^ve^dr], dXX'
4
TTOV P. 6 dfcpo;' ex aKpuv P. lo crrofi^Xov P. ii deXôi P.
12 ivddde (hv] Schneiderus, ^vâSeoj' P. 13 TrbvTLov dprât] Kaibelius,
irovrlyai P.
14
raXlKois d^rai P. 16 X^x^'eiÂ'ct] ap. Athen. iii. 86 E,
IxêOfxaa-i. P.
17
fxifjLi.K(bTpa] Victorius, /jLifirjTiKibTepa P,
7/9.
/cai ixiKpbrepa in
margine P.
19
k^kXotos P. 20 ^^veiov P. 25 iiriv^x^ri P.
DEMETRIUS ON STYLE
143
with this sudden turn, puts you off by means of a jest, and
fails to disclose the names.
150.
Charm may also spring from a reference to the
verses of another writer. Aristophanes somewhere, when
mocking at Zeus because he does not smite sinners with his
thunderbolt, says
:
Nay, his own fane he smites, and his thunderbolt lights upon
'
Sunium, Attica's headland' '.
In the end it seems as though it were not Zeus that is
burlesqued, but Homer and the Homeric line ; and this
fact increases the charm.
151.
Certain veiled meanings, too, have a kind of
piquancy about them, as in the words :
'
Delphians, that
bitch of yours bears a child
l'
Another example will be
found in the words of Sophron with regard to the old
men :
'
Here I too in your midst, whose hair like mine is
white as snow. Wait, ready to put out to sea, until the fair
wind blow, Yea for the old the word is still,
'
The anchor's
weighed,' I trow I' Similar allegories refer to women, as the
following in which fish are in question :
*
razor-fish, and
oysters sweet, The widow-woman's dainty meat^.' Such jests
are gross and suited only to the lower varieties of drama.
152.
There is also some charm in the unexpected, as in
the Cyclops' words :
'
Noman will I eat last^' A guest-gift
of this kind was as little expected by Odysseus as it is by the
reader. So Aristophanes says of Socrates that he first melted
some wax, and
A pair of compasses the sage then grabbed,
And from the wrestling-grounda coat he nabbed ^
153.
The charm in these instances is derived from two
sources. Such pleasantries are not only added unexpectedly,
^
Aristoph. Nub.
401,
dXXa rhv avrov ye veCjv /SdWet Kal "Zovpiov aKpov Âdrjviuv.
Horn. Odyss. iii.
278,
dW fire 2o6vtop Ipbv d0tff6fic^', aKpov 'AOtjvûp.
^
Lyric. Fragm. Adesp., Bergk* iii.
pp. 742, 743.
'
Sophron, Fragm.
52,
Kaibel C. G. F.
^
Sophron, Fragm.
24,
Kaibel.
'^
Horn. Odyss. ix.
369.

Aristoph. Ntib.
149, 179.
144
ovS" rjKoXovOeL to19 irpOTepoi^' r) Se roiavTiq avaKoXovOua
KokeZrai
yp'L(f)o<;,
(Zcnrep 6 irapa lâxfypovi prjTopevcov
BovXtag. ovZev yap olkoXovOov avro) Xeyei* /cat irapa
MevavSpo) 8e 6 irpoXoyos rrj^ MeacrrjVLa^;.
5 154'
IToXXa/cis Se /cat /cwXa o/AOta eTroirjO'ev ^dpiVy
&)S
6 ^KpKTToreXiqq,
*
e/c /lei^ ^KOiqvoivJ (jynjaiv,
'
iyco et?
Irdyeipa rjkOov Sta roi^ fâcrCkia rov /Jbeyav e/c Se
^TayeCpcov et? 'A^T^va? Sta roi^ ^Lp.o)va rov
fxeyav.^
Karakrjâ^ yap iv dix(j)OTpoL<; rot? /cwXots et9 to avTO
10 ovo/xa iTTOLrjcrev rrjv yapiv. edv S* out' oLTroKoxjjrj^; tov
irepov kcoXov to
'
fieyav,
o'ft'acâtpetTat /cat
17
âpt?.
155-
Kat Kariqyopiai Se aTro/ce/c^vz-t/xeiât iviore
OfjLOLOvvTaL -yapicriv, axrirep irapd a^voiôivn 6 *Hpa/cXetS7y9
6 irapd TO) Sev0L npocTLcov rcjv crvvSeuTrpcov eKacTTq), /cat
15 ireidoiv hoipeiaOai Seuêt o Tt eôf TauTa yayo /cat -yapiv
TLva i.p.(j>aiveL, /cat KaTTjyopiaL eicriv aTTOKeKpvfJifjLevaL.
156. At jLtei' ouz^ /caTct T17J' ipfxrjveiav yapne^ rocravTai
Kal ol TOTTOL, iv Se Tot? TrpdyfJiacrL Xajx^dvovrai ^dpire^
CK TrapoLfiiaf;.
(f>v(TL
yap ydpiev Trpayfxd icm TrapoifjLLa,
10
0)9 6 âxfypcov fiev,
'
'JimoXr)^,
^4*V'
'
^
'^^^ irarepa TTviyoiv!
/cat oKkayoSi ttov (j)rjo'LV,
*
e/c tou ovv')(Os yap tov XeovTa
eypaxfjev Topvvav eêcrev Kvpuvov eTTpicrev' /cat yap
Svo"t 7ra/oot/xtat9 /cat Tpicrlv eTraXXTyXot?
-^prJTaL,
wg eTrt-
TrXrjOvcjvTai avTco at -^dpLT<;' crêSdi^ Te irdcra^ e/c Toij/
25 SpafjidTcov avTOv Ta? Trapot/xta? e/cXefat icTTLv.
157-
Kat
fJiv6o<;
Se Xa/x-ySat'd/jtet'og /catyoto)? evâyot?
icTTiVy r)T0L 6 KeCfievos, w? 6 AptcrTOTeXrjf; im tov deTOv
(fyrjcTLV, OTL XifJLCp OvrjCTKei iTTLKdjJLTTTOJV TO
pdfji(f)0^'
TTCtcrêt
Se aL'TO, OTt dvOpoiiroq oiv iroTe rjSiKrjcrev êvov. 6
fiev
30 ow TO) KeifJievo) fjLvOo)
Ki'^prjTai /cat /coti^w.
3
aiJT6 P. II (ruvaê/seirat P. 15
6' rt] Schneidetus, 6 tu P.
17
Trept Twv ^y rots irpdyfxaffiv xo-piTOju titulus in P.
19
X'^P^^'"
P- ô 'Httio-
X?7s] Kaibelius, ^tt^t^s P. 22 iirpi.<Tev'\ Hemsterhusius, ^(nreipeu P.
|
en; Kijpiov
ovofxa in margine P.
23, 24
iiriirX-qdOovTai P.
DEMETRIUS ON STYLE
145
but they have no sort of connexion with what precedes them.
Such want of sequence is called 'griphus'; and an example
of it is furnished by Boulias in Sophron's mime, who delivers
an utterly incoherent speech. Another instance is the pro-
logue of Menander's
'
Woman of Messenia.'
154. Again, a similarity in the members of a sentence
often produces a graceful effect, as when Aristotle says
:
'
I went from Athens to Stageira because of the great king,
and from Stageira to Athens because of the great storm
\*
It is through ending both members with the same word
{fieyav)
that he produces this pleasant effect If from either
member you strike out the word
'
great,' the charm thereupon
vanishes.
155. Persiflage can sometimes be made to resemble
urbanity. In Xenophon, for example, Heracleides who is
with Seuthes approaches each of the guests at table and
urges him to give whatever he can to Seuthes^ There is
a certain urbanity in this, and persiflage at the same time.
156. Such are the graces which appertain to style, and
such the sources from which they are derived. Among the
graces which relate to subject-matter we must reckon those
which spring from the use of proverbs. By its very nature
there is a certain piquancy in a proverb. Sophron, for
instance, speaks of
'
Epioles who throttled his sire^' And
elsewhere :
'
He has painted the lion from the claw
;
he has
polished a ladle ; he has skinned a flint^' Sophron employs
two or three proverbs in succession, so as to load his style
with elegances. Almost all the proverbs in existence might
be collected out of his plays.
157. A fable also, when neatly introduced, is very piquant.
The fable may be a long-established one, as when Aristotle
says of the eagle :
'
It perishes of hunger, when its beak grows
more and more bent. This fate it suffers because once when
it was human it broke the laws of hospitality".' He thus makes
use of a familiar fable which is common property.
^
Aristot. Fragm. 669: cp.
29
supra.
^
Xen. Anab. vii.
3,
isff.
^
Sophron, Fragfn. 68, Kaibel.
*
Sophron, Fragvi. no, Kaibel.
<*
Aristot. Hist. Anim. Book ix. (vol. I.
p. 619 ed. Berol.).
R. 10
146
158. IIoXXov? Se Koi 7rpocr7r\d(T(TOiJLv 7rpo(T(f)6pov<;
Kai oi/cetovs rot? TTpdyfiacni', cocnrep rt? irepX alXovpov
Xeyojv, OTL o-VfKJiOLveL rrj crekrjvrj [/cat] 6 auXovpo^ kol
crvfjL7ra)(yveTai, TrpocriTrXacrev, on
'
evOev kol 6 p.v66^
5
icTTiv, 0)9
17
(Tekrjvy) ereKev top aiXovpov' ov yap pLOvov
Kar avrrfv
Tr)v TrXdcnv ecrrat
y]
^dpis, dXXd koi 6 pivOo^
p<f>aiveL ^dpiiv tl, alXovpov ttolcov o-eXijvrj^; TratSa.
159.
HoXXdKis Se Kal e/c tôôv dXXaacropivov
yiverai ^dpL<;, orav
\
hiaKevrj^Ti9 o<j)iv
7)
Tov Kpiâvov a>9 âcrpa Trj<; yrjq, anep Kai
avrd K(xipcohiK(x)Tepd icrriv.
160. Kat eiKacriaL S' elo-lv evydpire^;, av tov dXeK-
rpvova MijSco elKdcrr)^, otl Tr)v Kvpâaiav opOrjv
(ftepei-
/SacriXei Se, otl TTop(^vpe6<; icTTiv, tj otl
fioyjcravTO^ dXeK-
|
15
Tpvovof; dvaTTTjSwpev, ajcnrep Kal ySacriXecus /BoijcravTO^,
Kal ôôvpeOa.
161. 'E/c Se vTTepôXcov ^dpLTe<^ pdXLCTTa at iv rat?
j
KOipcohiaL^, TTacra Se VTrep/BoXrj dSvvaTO<;, &)? ÂpLaTO(l)dvr]s 1
CTTt Trj<; aTrXT^crrtas tcov Hepacov
(J^tjcflv,
otl
'
cotttovv /3ov<;
20 KpLâvLTa<; dvTl dpTcov.' iirl Se tcov SpaKOiv eTepo^, otl
'
Mt^So/ct^s o âcrtXevs y8oi)i^
e(f)epv
oXov iv yvdOo).'
162. Tov Se avTOv etSov? /cat ra rotavra iaTLV,
*
vyLecTTepos KoXoKVVTiq^,^ /cat
*
(âXa/cyadre/ao? evStas,' /cat
ra â7T(f)LKd
'
ttoXv Tra/crtSo? dhvpeXecTTepa, -^pva-ov
Xpv-
25 croTepa. iraaaL yap at rotavrat â^tre? e/c rw^' vnep-
fioXcjv
evprjvTaL. [/cat rt Statêpovcrt]
163. ^La(l>epov(TL Se to yeXotoi^ /cat evâpL npcoTa
p.ev Tjj vXrj' yapLT(xiv pev yap vXt) vvpcjyaloL ktJttol, p(x)T<s,
airep ov yeXarat* yeXcoTOs Se 'I/009 /cat SepcTLTTjf;. toctov-
30 TOi/ oSi' Stotcrovo't^, ocroi/ 6 SepaLTr)*; tov Eyowros.
3
/cai seclusi.
4
Trpoo'^TrXao-ej'] Victorius, tt/jos îrXacraeu P. 7
alfKovpov,
c punctis notato P. 9 (/yo^vîj]
Schneiderus, (po^rj P. 19
dirXeKTTias P.
|
/3o0s :
^
in ras. P {dprovs fort, scribebat corr. nescio quis). 24
TroXuTra/cr/Sos P.
|
aSu-
fieXârepa P. 24,
25 XP^'^^'^^P^
P- "^^ verba xai ri diacpepovo-i. seel. Spengelius
ex margine nata esse ratus coll. titulo
30. 29
supra Ipos scriptum est epojs
atram evan. in P.
DEMETRIUS ON STYLE
147
158.
We can often invent fables of our own apposite to
the matter in hand. A writer once referred to the belief that
cats thrive or pine according as the moon waxes or wanes,
and then added of his own invention
'
whence the fable that
the moon gave birth to the cat\' The charm does not simply
depend on the actual trick of invention, but the fable itself
sparkles with a certain charm, making the cat the child of the
moon.
159. Charm is often the result of a revulsion from fear,
as when a man groundlessly fears a strap mistaking it for a
snake, or a pan mistaking it for an opening in the ground.
Such mistakes are rather comic in themselves.
160.
Comparisons, also, are full of charmif (for in-
stance) you compare a cock to a Persian because of its stiff-
upstanding crest, or to the Persian king because of its brilliant
plumage or because when the cock crows we start with fear as
though we heard the loud call of the monarch.
161. The charms of comedy arise specially from hyper-
boles, and every hyperbole is of an impossible character, as
when Aristophanes says of the voracity of the Persians that
For loaves, they roasted oxen whole in pipkins^;
and of the Thracians another writer says
'
Medoces their king
was bearing a bullock whole between his teeth".'
162. Of the same kind are such expressions as
'
lustier
than a pumpkin ' and
'
balder than the cloudless blue
'
; and
the lines of Sappho
Far sweeter-singing than a lute,
More golden than all gold*.
All these ornaments, different as they are from one another,
have their source in hyperbole.
163. The humorous and the charming must not be
confused. They differ, first of all, in their material. The
materials of charm are the Gardens of the Nymphs, Loves,
things not meant for laughter
;
while laughter is provoked
by Irus or Thersites. They will differ, therefore, as much
as Thersites differs from the God of Love.
^
Scr. Inc.
2
Aristoph. Ach. 86.
3
Scr. Inc.
*
Sappho, Fragnwi. 122,
123
(Bergk^).
10
2
148
AHMHTPIOY HEPI EPMHNEIAS
164. ^laîpovcri Se /cat
rfj
Xeêu avrrj. to êv yap
evâpi jxeTOL koctôv iKcfyeperai /cat 3t'
ovofiaTcov KaXojVy
d fjudXicrra
Troiei ra? âptra?, oXov to ^Trot/ctXXerat pikv
yala rroXvaTeâvo^
'
/cat to
'
^(Xw^T^t? aT^Swi^-' to 8e
5
yeXotoz/ /cat ovopâTOiv icTTlv evTekcjv kol KOLvoTepcov,
(^cnrep êt-*
*
ocrov yap avTLTr)<; /cat jjLOpcoTr)^ et/it, <^tXo-
fivOoTepof;
yiyova!
165.
ÊTretra aâvi'QE.Tai vtto tov Kocrixov
ttJ?
^Pf^V'
veia^, /cat dj^rt yeXotov
Oavfia yiverai, at /xeVrot yapLT4<i
10
etcrt /xera crcocjypocrvi'rjs, to Se iKcfypdêuv tol yeXota
oixoiov
ecTTt /cat /caXXcoTTtêti' iriOiqKOv.
166. Ato /cat
17
Sa7r<^ct) Trept jutez^ /caXXovg dSovcra
/caXXt7ri79 eo-rt /cat T^Seta, /cat Trept ipcoTcoi' Se /cat eapo?
/cat Trept dX/cT;d^'09, /cat aTrai/ Kakov
ovofxa ivv(f>avTaL
15 avTrj<; ttj Troirjcrei, tol Se /cat avT']7 elpydaaTO.
167.
*AXXw9 Se (TKCoTTTeL TOV dypoiKOv vvpi(j)LOv, /cat
roi^ Ovpojpov TOV iv rot? ydixoi^, evTekicTTaTa /cat ei' Treôt?
ovofxacTL fJLoXkov
Tj iv 7roLr)TLKo2s, cocTTe avTrj<;
fxaXkov icTTu
TOL TTOLTjp.aTa TavTa SuakeyeaOai rj aSetv, ovS* av
dpfjuocraL
20
TTyOO? TOZ/ 'ÔpOV
7J
TTyOO? TT^Z^ \vpav, L
fJLT] Tt? etT^ ÔyOO?
StaXe/cTt/cd9.
168. MdXto'Ta Se Stacêpovcrt /cat e/c
ttJs
7rpoaLpecreco<;'
ov yap ofjLOLa
TrpoaipeiTai 6 euâyotcrro? /cat 6 yeXcoro-
TTOLOJV, dXX* 6 /;tei' ev(j)paLViv, 6 Se yekaaOrjvai. /cat (Xtto
25 Twi/ inaKoXovOovvTajv Se* rot? /^tez^ ydp yeXo)?,
rots Se
eTTatiôs.
169.
Kat e/c TOTTOU. v0a /xev yap yeXo)TO<; re^z/at
/cat âpLToyv, iv craTvpco /cat ez/ KcofjbcpSiaLf;. Tpaycohia Se
)(dpLTa<s fJLv
TrapaXafJi^dveL iv 7roXXot9, 6 Se 'yeXw9
ixOpo^
30 TpaycoSCas' ovSe ydp iTTivorjcreiev av tls TpaycoSuav Trat-
ôvcrai/, eVet adTVpov ypdxpet dvTl TpaycoSias.
6 fort. 6(ry. 10 7^0*0 P. 11 iridTjKov : i in ras. P. 13 â/oos] Galeus,
d^/jos P. 14 a\KiL>ouos P. 16 dypvKov P. 28 W iroiovaiv ol ffdrvpoi, to.
XviTTipa oCrwj \^70>'rcs wVre 7eXT07roter' in margine P.
30, 31
iriôvaav P.
DEMETRIUS ON STYLE
149
164. They differ, further, in actual expression. The
idea of charm is evolved as an accompaniment to ornament
and by means of beautiful words, which conduce most of all
to charm. For instance :
'
Earth myriad-garlanded is rainbow-
hued,' and 'the paley-olive nightingale\' Humour, on the
other hand, employs common and ordinary words, as in the
sentence :
'
the more solitary and self-centered I am, the
more myth-enamoured I becomeI'
165.
Moreover, a pleasantry loses its character and be-
comes incongruous when adorned by style. Graces of style
must be employed with discretion. To utter a mere jest
ornately is like beautifying an ape.
166. When Sappho celebrates the charms of beauty, she
does so in lines that are themselves beautiful and sweet. So
too when she sings of love, and springtime, and the halcyon.
Every lovely word is inwoven with the texture of her poetry.
And some are of her own invention.
167.
It is in a different key that she mocks the clumsy
bridegroom, and the porter at the wedding. Her language is
then most ordinary, and couched in terms of prose rather than
of poetry. These poems of hers are, in consequence, better
suited for use in conversation than for singing. They are
by no means adapted for a chorus or a lyre,unless indeed
there is such a thing as a conversational chorus.
168. The two kinds of style under consideration differ
most of all in their purpose, the aims of the wit and the
buffoon being different. The one desires to give pleasure, the
other to be laughed at. The results, likewise, are different,
mirth in the one case, commendation in the other.

169. Again, the provinces of the two kinds do not
coincide. There is, indeed, one place in which the arts of
mirth and of charm are found together, in the satyric drama
and in comedy. It is different, however, with tragedy, which
everywhere welcomes elegances, but finds in mirth a sworn
foe. A man could hardly conceive the idea of composing a
sportive tragedy; if he did so, he would be writing a satyric
play rather than a tragedy.
1
Cp. 133
supra.
2
Cp, 1^^
supra.
ISO
170. XpijcrovTaL Se Trore kol ol
(l)p6viiJL0L
yeXotot?
77/909 T Toifs fcaipous, olov iv kopToiq KOL iv o-v/xTTOcrtots,
Kol iv e7mr\riê(TLv Se Trpo? tov^ rpv(f)po)Tpov'^, w? 6
Trj\avyrj<; 9v\aKO<;, kol t) KpdTr]TO<; ttoit^ti/ct^,
|
/cat
(j>aK7Js
238'
5 iyKcofjLLOj/ av avayvco ri? ei' roi? dcrctJTOis* roiovro? Se o)?
^ TO Trkiov Kai 6 Kviî/co? Tponos' ra yap roiavTa yekota
^yoeia? XafJL/3dveL tolîv kol yvcofjirjf;.
171. Êcrri Se /cat rov rjOov<; tls
iJi(l)acrLS
Ik roiv
/ ye\oLO)v KOL rj Traiyvias rj d/coXao'ta?, a>9 /cat roz^ oXvov
10
Toi^ 7rpo^v0VTa iirKT^cxiv rts
*
IlT^Xea dz^rt Otiê'wg.'
17
yctyo
avTiOecrL^ rj irepl tol ovopâra /cat r] (j)povTL<; ificjâiveL Tiva
^v'^p6rr)Ta rjOovf; /cat diâywytaz^.
172.
Ilept Se (TKCofJipdrcov pev, olov et/cacrta Tt9 icmv'
7)
yap dvTi6ecri^ eurpaTreXo?. ^prjcrovTai re rat? rotavrat?
15 et/cao"tat9, o)?
'
AlyvirTia K\r]paTL<;, paKpov /cat pekava,
/cat TO
*
6a\d<T(TLov irpoârov,^ rov pcjpov rov iv Tjj
dakdcrcrrj. rol^ pev TOtouTOt? yjprjo-ovTai' et Se prj,
(fyevôpeOa rd cTKcoppara axnrep XotSoyota?.
173-
Ilotet Se ev)(apLv ttjv ipprjveiav /cat tol Xeyd-
20
peva /caXd ovopara, oipicraTO S' at'Ta SeocfypaorTO^; ovT(o<Sy
/cdXXo9 6v6paT6<; icTTL to tt/oos tt^z^ aKorjv rj 7rp09 ttî^ oi/zti'
T^Sv,
^
TO T77 SiavoCa evTipov.
174.
IIpos /xe^* rr^v oxpLv rjBea rd Tocavra,
'
poSo-
y^poovj
^
dv9o(f)6pov
^pda?.' ocra yap opdrai rjSecjSy ravra
25
/cat Xeyopeva /caXd eo"Tt. 77/909 Se ti^z^ aKorjv
*
KaXXt-
crTpaTo<;, 'Avvocjv.' rj re yap tcjv Xdp/SSa crvyKpovcri^
Tf-^coSi's
TL eêt, /cat
17
twz' vv ypappudTcov.
175"
Kat dXftJS TO vv St' evcjicjviav i<l)i\KovTai ol
2 (i}pTais P.
3
rpvipepoT^povs P.
4
eu\a<cos, ^jJ supra ev add. P.
5
071/0!;, dj/ supra versum add. P. 10 iiriax^v t^ (nr-fjXaia, v supra versum
addito, P. 21 irepl KdXkovs dvSfmros Kai iv riaiv titulus in P. 22 ^ supra
versum scripsit P.
23, 24
poddxp^ôv P.
25
r^v rijv dKor}v P. 26 av-
vouv ex dvvowv P.
27 ^x<^^^5:
es supra versum add. P.
|
vvv P. 28 vv
ex i'Cj' P.
I
ci}0wi'/a'] Galeus, eixprifdav P.
DEMETRIUS ON STYLE
151
170.
Even sensible persons will indulge in jests on such
occasions as feasts and carousals, or when they are addressing
a word of warning to men inclined to good living. A refer-
ence to
'
the far-gleaming meal-bag ' may then be found
salutary. The same may be said of the poetry of Crates
;
and it would be well if you were to read the
'
Praise of the
Lentil ' in a party of free-livers. The Cynic humour is, for
the most part, of this character. Such jests, in fact, play the
part of maxims and admonitions.
171. There is some indication of a man's character
in his jokesin their playfulness, for instance, or their
extravagance. Somebody once dammed the flow of wine
which had been spilt on the ground and muttered words
about
'
Oeneus (0I1/09) turned into Peleus (ttt^Xo?).' The play
on the proper names, and the laboured thought, betray a
want of taste and breeding.
172.
In nicknames a sort of comparison is implied,
there being wit in a play on words. Writers may use such
comparisons as
'
Egyptian clematis ' of a tall and swarthy
man, or
*
sea-wether' of a fool on the water. They may,
I say, indulge in harmless jokes such as these, but if we
cannot stop there, we had better avoid nicknames as we
would scurrility.
173.
The so-called 'beautiful words' also conduce to
grace of diction. According to the definition given by Theo-
phrastus, beauty in a word is that which appeals to the ear or
the eye, or has noble associations of its own^
174. Among expressions which call up pleasing images
may be mentioned
*
roseate-glowing
'
and
'
of blossom-laden
hue.' Everything that is seen with pleasure is also beautiful
when uttered. Pleasing in sound are such names as
'
Calli-
stratus ' and
'
Annoon,' in which the double
*
1,'
and the
double
*
n,' have a sort of resonance.
175. In general, it is out of regard for euphony that the
1
Theophrastus Tepi X^êwj.
152
'Arrtfcot
*
AyjfxocrOevrjv
'
Xeyovres kol
'
^cjKpdTrjv.^
rfj
SiapoCa 8e evTifxa ra Toiavrd icmv, oTov to
'
dpôloi dvTi
Tov
'
TTokaLol
'
ivTLjxoTepov 01 yap dpâioi dvSp<; ivn-
jJLOTepOL.
5 176. Hapd Se Toi<; p.ovaiKOi'^ Xeyerai rt ovop.a Xeioi^,
Kai erepov to Tpa^v, Kau aXXo evTrayi<;, /cat aXX' oyKrjpov.
Xeiov
fiev ovv eaTiv ovofia to 8ta cjxovrjdvTCJj/ rj iravTOiV rj
8ia TT\ei6vo)v, oiov Ata?, Tpa)(y 8e olov jBe^pcoKev kol
avTo 8e TOVTO to rpaû ovofia
Kara pîpîqcriv ievijvKTaL
10 eavroi). evirayes 8e
inafxcfyoTepLôv koL piep.iyp.evov lacD'i
rots ypdppacTLV.
lyy. To 8e oyKTjpov ev Tpicri, TrXarei,
prfKei,
irXd-
crpaTL, olov /BpovTa dvTi tov ^povTij' kol yap Tpa^vTrjTa
eK
ttJs
irpOTepaq crvXka^rjs êt, /cat eV tt}? SevTepas
15
prJKOs
pev 8ta ti^z^ paKpdv, TrXaTVTTjTa 8e 8ta roi^ Acopi-
crpov TrXarea XaXovo't yap irdvTa ol Awptet?. hioirep
ovhe iKO)p(pSovv ScopiôvTes, dXXa TTLKpcjs y^TTiKitôv r)
yap Âttlkt) yXcoacra crvveaTpappevov tl eêt /cat 817-
poTLKov /cat rat? rotaurat? evTpa7reXiai<; Trpewov.
20
178. Taura ^Ltei^ Srj TrapaTeôXoyeicrOoj aXXo)?. rail/
8e elprjpevcov ovopdTcov tol Xeta pova XrjirTeov o)s yXa(f>vp6v
TL eôvTa.
179-
TiveTaL Se /cat e/c (rvvOecrecos to yXa^vpov eaTi
pev ovv ov paSiov irepl tov Tpoirov tov Toiovhe elwelv
25 0^86 yap T(tiv TTplv eiprjTai tlvl irepl yXa<^vpa<; crvvdecrecx)^.
/cara to SvvaTov 8e opco^ ireipaTeov Xeyeiv.
180. Taâ yap
817
eorat rt? rjSovr) kol âpt?, iav
dpp6i,o)pev e/c peTpcov ttjv crvvOecnv
7)
oXcov rj rjpCcrecov'
ov prjv (ocTTe fâiveaOai avTa peTpa ev tco (rvveuppS tcjv
30 X6yo)v,
I
dXX*, el hiayatpitôL rt? Ka0* ev eKacTTOv /cat 8ta-
238'
KpLVOL, TOTe Srj v<^' yjpcjv avTOiv (jycopaadai peTpa ovTa.
4, 5
ivTifidrepoi post Avdpes inter versus add. P. 5 ri \eiov ovo/xa, Kai tL
rpaxO, Kai ri rb eu7ra7^s, Kai ri rb oyK-rjpbv titulus in P. 10 iiraix(f)OTeplô)P P.
13
^povTO. P. 19 eirpaTeXeiais P. 25 rii/i P. 28 dpfioô/xeu P.
31
<popa<r6ai P.
I
DEMETRIUS ON STYLE
153
Attic writers append an 'n,' and speak of At)fjuoaOevrjv and
%a)KpdT7)v (instead of AyfioaOevr) and ^coKpdrr]). Among
words with noble associations is dp')(^cuoL
(* men of the olden
time'), which is superior to iraXatoi ('ancients'), since it
implies greater respect.
176.
Musicians are accustomed to speak of words as
*
smooth/
'
rough,'
'
well-proportioned,'
'
weighty.' A smooth
word is one which consists exclusively, or mainly, of vowels :
e.g. Ata9. fie^pcoKe
is an instance of a rough word
;
and the
very roughness of its formation is designed to imitate the
action it describes. A well-proportioned word is one which
partakes of both characters and shows a happy blending of
various letters.
177.
Weight consists in three things: breadth, length,
formation. ^povra (the Doric equivalent of
ffpovrrj)
may
serve as an example. This word derives roughness from the
first syllable ; and from the second it derives length owing to
the long vowel, and breadth owing to the Doric form, the
Dorians being accustomed to broaden all their words. This
is the reason why comedies were not written in Doric, but in
the pungent Attic. The Attic dialect has about it something
terse and popular, and so lends itself naturally to the plea-
santries of the stage.
178. But this is a mere digression in our treatise. Of
all the words indicated, the smooth alone must be employed
as possessing any elegance.
179. Elegance may also be produced by composition,
though it is to be sure not easy to describe the process. Yet,
although no previous writer has treated of elegant com-
position, I must endeavour to do so to the best of my
ability.
180. Well, a certain charm and grace will perhaps be
attained if we frame the composition by measuresin whole
measures or half-measures. The actual measures must not,
however, force themselves on the attention, if the words
be read connectedly, but if the sentence is divided and
analyzed part by part, then and only then ought the presence
of measures to be detected by us.
154
181. Kai^ ixeTpoeihrj 8e
y,
ry)v avTrjv woLijcrei yapiv^
\avOav6vTO)<; Se tol TrapaSveTai rj e/c Trj<; roLavTiqs 1780-
vrj^ yapi^, Kol TrXeicTTov
fjuev
to tolovtov elSd? ecrri irapau
rot? UepLTraTrjTLKOLs kol Trapa UXoltcovl kol irapa Uevo-
5 (fycovTL
Kal *H/3oSoT(y, rdâ he kol Trapa ArjiioaOiveL
TToWaôv' SovKvSiSr)<; yiivToi Trecêuye to elSo9.
182. HapaSeiyfiaTa 8e avTov Xa/3oi T19 av roiaSe,
oTov ft>9 6 ALKaLap)(o<;'
'
e^ 'EXea,'
(fyrjcn,
'
t'^9
'iraXia?
Trpecr^vTrjv rjSrj ttjv rjXiKiav ovTa.' tcov yap kcoXcov
10 aixcjôTepcov al a7ro\rjêL<; /xer/aoeiSe? rt )(ov(Tlv, vtto Se
Toi) elpfjiov
Kal Trj<; crvvatjyeias KkeTTTeTai
fjuev
to fxeTpiKov,
TjBovrj S* ovK oXiyr) eTrecm.
183.
HXaTCJv
fjievTOL iv ttoXXoI'? avTM rw pvdp.M yXa-
(j)vp6<; icTTLV eKTeTafievo) tto)?, Kal ovt iSpav eyôvTi ovt
15 jjLrJKo<;' TO
fxkv
yap Icrôv Kal 8eiv6v, to oe
ixrJKo<; fxe-
yaXoTTpeire^;. dXX* olov oXicrOco tlvi eot/ce ra KOjiXa, /cat
ovT iiJLfjLeTpoL<;
TTavTaTracriv ovt afxiTpoi^;,
olov iv rw Treyol
fjLOvaLKrjf; Xoyco iirav
<^fj
'
vvv Srj iXeyofxev.'
184.
Kat irdXiv,
'
fjuvvpui^cov re Kal yeyav(op.ivo<; vtto
20
T'^9 wS-yJ?
StareXet tov îov oXov.^ Kai ttolXlv,
*
to
fxev
TTpoiTov, el TL ^v/AoetSe? elêv, c^cnrep criSrjpov ifJidXaêv.'
ovT(o<s fJLev
yap
yXa(f)Vpov
Kal (oSlkov cracfycos'
el o dva-
(TTpexfja^
etTToi?,
*
ifidXaêv Mcnrep criSrjpov/
rf
'
otareXei
oXov TOV ^Lov,' iK-êl^ TOV Xoyov ttjv ^(dpLv iv avT^ tS
25 pvOfJL^
ovcrav ov yap St) iv ttj hiavoia, ovS* iv rat?
XeêcTLV.
185.
Kai wepl Tcov fjiovcriKcov
Se opydvcov irdXiv
-âpuevTco^; -qpfjiocrev, iv ofs St^ (j>rj(TLV,
^
Xvpa Sij <joi Xei-
TTcrai Acara ttoXlv' el yap dva(TTpe\jia<; enroL^
*
/caret ttoXlv
30
XetTrerat,' fxeOapfJiocrafjievco
TrotT^cret? ojjlolov. tovto Se
2 irapadoieTai P. 8 Aaia P.
9
oVri P. 1 1 (TV<pLas /fX^Trrat
(fa et ex supra versum additis) P. 14
iKTerafi^vq}] Victorius, iKTera^hos P.
17
oiIt' ififiirpois] C F. Hermannus, ofrre fiirpois P. 18 ^Trav
0^]
Spengelius,
iwd/MfKa P.
I
iX^yopt^v'] Victorius e Plat., Xiyo/xev P. 24 ^/cxers] Dahlius,
iîXîs P.
I
T(p ins. Galeus. 28 ijpfji.u(XP P.
30
ixedapixoxxaiihta P.
I
DEMETRIUS ON STYLE
155
181. Even a general metrical character will produce the
same effect. The charm of this pleasing device steals on us
before we are aware. The trait is a favourite one with
the Peripatetics as well as with Plato, Xenophon and
Herodotus
;
and it is found in many passages of Demosthenes.
Thucydides, on the other hand, shuns it.
182. An illustration of such writing may be quoted
ffom Dicaearchus, who says :
'
At Elia in Italy sojourning, an
old man now, and stricken in years
\'
The close of each
member has something of a metrical cadence, but the fact is
disguised through the linking of the words in one series
;
and
great charm results.
183. Now Plato in many passages owes his elegance
directly to the rhythm, which is, so to speak, long drawn out,
and without basement or amplitude, of which the former
suits the plain and forcible, the latter the elevated style.
His members seem to glide along and to be neither alto-
gether metrical nor unmetrical, as in the passage about
music, beginning
'
as we were saying a moment ago*^.'
184.
And again :
'
in warbling and revelling in song he
passes his life wholly^' And once more :
'
should he see any
symptom of passion, like steel would he temper it^' Thus
framed, the sentences are manifestly elegant and harmonious.
But if you invert the order and say
'
he would temper it like
steel ' or
*
he passes all his life,' you will rob the language of
its charm, which resides simply in the rhythm. Certainly
it is not to be found in the thought, nor in the choice of
words.
185. Plato employs a delightful cadence, again, when
saying with regard to musical instruments :
*
the lyre for you
is left, then, in the town^' Invert the order and say
*
in the
town is left for you,' and you will be doing what is tantamount
to changing the melody. He adds :
'
yea, and in the fields
^
Dicaearchus, Fragm.
33,
MUller F. H. G. il.
p. 245.
2
Plat. Rep. iii.
411
A.

Plat. Rep.ni.
41
1 P.
*
Plat. Rep. Hi
399
D.
iiTKêpei,
'
Kol av /car* aypovs to'l^; TroLîaiv crvpiy^ av
TL^ etr)-' TYj yap iKracrei kol tco fjLTjKei irdvv yapievro)^
IJifJLifjL7)TaL TpoTTOv Tiva Tjôv (Tvpiyyo^. ecrrat 8e hrjkoVy
el Tt9 fxeracrvvdei^ XeyoL kol tovto.
5
l86. Uepl
fxev
hr) rov /caret crvvOecriv y\a(^vpov iiri-
(âivofxevov rocravra, cu? iv SvctkoXols. etprjTai Se kol
7Tpl Tov '^(âpaKTrjpos Tov
yXa(l)vpov, ev ocroL<; kol ottcos
yiverai. KaOdirep 8e tco ixeyaXoTrpeneL Trape/cetro 6 xfjv^pof;
-âpaKTujp, ovTcos tco
y\a<l>vpco irapaKeiTai tl<; hirjixapTy)-
lo fJLevo^. ovop^dt^co Se avTOv tco kolvco ovopaTi KaKo^rjXov.
yivoLTo S' av kol ovtos ev Tpicriv, cocrirep /cat ol XolttoI
irdvTes.
187. 'El' hiavoicL piv, w? 6 elrrcov
'
KeWau/)o? kavTov
LTTTrevcovJ /cat inl tov /BovXevopivov ÂXe^dvSpov hpopov
15
dycovicracrOai ÔXvpiridcriv cj>7) rt? ovtcos'
'
ÂXeâvSpe,
Spdpe crov Trj<; piqTpoq to ovopa.'
188. 'Ei/ Se ovopacTiv yiyvoiT av ovtco^, oTov
'
iyeXa
TTOv p68ov T^hv^poov'
Tf
T ydp peTacôpd rj
'
iyeXa
'
ndw
peTdKeiTai dirpeTTco^, /cat to avvOeTOv to
'
rjSvôov
*
ovS'
10 ev TTOiTjpaTL OeLT) av rts aKpi^co^; crco^povcov. rj co^ rt?
eTwev,
'
OTL XeiTTal^ virecrvpitê ttltv^ avpats.'
nepl pev Srj
TTJV
Xe^LV OVT0)<;.
189. XvvOecTL^; 8e dvaTraiCTTLKr)
\
/cat paXicTTa eoiKvla
'^19^
Tols KeKXacrpevoL<; /cat dcrepvoi^ peTpoLS, ola pdXicTTa ra
25 SwraSeta 8ta to paXaKcoTepov,
'
cr/cT^Xa? KavpaTi KdXvxjJov/
/cat
aeicov /jL6Xir)v TlTjXcdBa Beîbv Kar w/jlov
olvtI tov
areicov YlrjXiaha /jueXlrfv Kara Beîov w/jlov'
5
irepl KaKO^^Xiov titulus in P. lo ovofjidû}] Galeus, dpofidêi P.
II 7^1^01x0] edd., yiverat P. | ar) 6ti koI rb KaKb^rfKov iv rpialv in margine P.
13
6 supra versum add. P. 14 dXe^dvbpoi} P. 20 ws res] edd., oans P.
21 XeirTois] Radermacherus, 5^ 7c rats P.
|
Tnjrois P.
23 dvatraiaTiKri P.
25
Sfa^rdSeta] Victorius, ffibfiaTa P.
|
(TKeiXas P.
DEMETRIUS ON STYLE
157
for the shepherds some manner of pipe shall be\' By this
long unbroken clause he has, in a manner, quite charmingly-
imitated the sound of the pipe. This will be clear to anyone
who changes the arrangement of this sentence also.
186.
With regard to elegance as depending on the
arrangement of words these observations must suffice, the
subject being difficult. We have also treated of the essential
features of the elegant style, and have shown where and
how it originates. We have seen that the frigid style is
nearly allied to the elevated. In the same way there is a
defective style perilously near to the elegant ; and to this I
give the current name of
'
affected.' This, like all the rest,
falls under three heads.
187.
The affectation may reside in the thought, as when
a writer speaks of 'a Centaur riding himselfV or as when
somebody exclaimed on hearing that Alexander meant to
enter for the races at Olympia,
*
Alexander, race along your
own mother's name M
'
188. It may also be found in the words, as
*
smiled the
dulcet-coloured rose^' The metaphor
'
smiled
'
is sadly out of
place, and not even in poetry could the compound
'
dulcet-
coloured
'
be employed by any man of correct judgment.
This is true also of the words :
'
the pine was piping low to
the gentle gales^.'Thus much with respect to expression.
189.
The structure of clauses is affected, when it is
anapaestic and resembles most nearly such broken and un-
dignified measures, as are particularly the Sotadean, with
their effeminate gait, e.g. 'having dried in the sun, cover up^';
and
Upswinging the ash-beam Pelian his rightward shoulder above
in place of
Swinging the Pelian ash-beam over his rightward shoulder^.
1
Plat. Rep. iii.
399
D.
2
Scr. Inc.
^
Sotad. Fragm.
*
Horn. //. xxii.
133.
158
OTTola yap /xera/Ae/io/^c^cojuteVft) eoiKev o cmôg, (ocnrep
ol fivOevofxevoL ef
appevcov fxera^dWeiv els 6rj\La<;. rocr-
aSe
ixev
/cat irepl KaKot,7]\ias.
IV.
190.
'EttI Se Tov l<T)(yov yapaKTripo<^ )(ÔLfjLV av kol
5
TTpdyfJiaTa Lacos tlvol fJUKpd kol tw yapaKTTjpi Trpoacjiopa,
olov TO irapd Avcria,
'
olklSlov ecrn jjlol SlttXovv, icra eôv
TCL dvo) Tols KaTco.' Trjv Se \iîv eivai irdcrav
\py)
Kvpiav
KoX crvvrjdi)' yuKporepov yap to crvvrjOicrTepov rrdvTcov,
TO 8e dcrvvrjOes Kal fxeTi>r)vyfJievov ju-eyaXoTrpeTre?.
10 igi. Kal /xT^Se StTrXa ovofiaTa Tidevai' tov yap
ivavTiov âpaKTTJpos
Kal TavTa, /;t7y8e jjirjv TreTrour^pLeva,
p.rjS' OCTa dXka pêyakoirpeiriav iroiei, /xaXicrra 8e cracj^rj
-^prj TTjv Xe^LV eTvat. to Se cracê? iv TrXeiocriv.
192.
lipoiTa pikv evTols Kvpioi<;, eneuTa iv toIs crvvSe-
15
Se/xeiôt?. TO Se dcrvvheTOP /cat SLaXeXvfjLevov oXov dcracê?
irav dSr)Xo<; yap rj eKdcTTOv kcoXov dp)(r) Sta ttjp Xvaiv,
wairep rot *Hpa/cXetTov /cat yap TavTa cTKOTeiva Trotet
TO TrXeicTTov r) Xvcrt?.
193.
"EvaycovLos pkv ovv tcrw? pâXXov rj StaXeXv/ieV?;
20 Xefts,
rj S' avTT) /cat vttokpltlktj /caXetrat* /ctiêt yap vtto-
Kpiaiv rj Xvcrt?. ypa(f)LKr}
Se Xe^ts
17
evavdyvoiCTTOS. avTT)
S* i(TTLV
7)
crvpT)pT7)p.ev7) /Cat otoj' ri(T(f)aXL(Tp.evr)
rot? crvz^-
Secr/xot?. Sta rouro Se /cat MeVa^Spoi/ vTroKpivovTai XeXv-
pevov iv T0t9 TrXetcrrot?, îXrjpova Se dvayLvotiorKovaiv.
25 194.
"Ôrt Se vTTOKpLTLKOv T) XvcTts, TTapdheiypa iy-
Keicrdo) rdSe,
iSe^dfjbrjv, 6TLKtov, iKTpecfxo, (jiiXe.
2 dphcav P. 4
Trepl iaxvov titulus in P, eadem verba in margine P.
|
^XOiMC'']
Victorius, iKe2 fih P. 6
?x'"'
P- 8
ttSj' ex irdvT(av, accentu
mutato et punctis supra twv positis P.
9
daOvrjdes : <r posterius in rasura P.
13
ip Sffois rb (Ta<ph in margine P. 25
irepl viroKpLTLKdv titulus in P.
|
ifwo-
KpiTCKbv] edd., viroKpiTiKuJv P.
I
DEMETRIUS ON STYLE
159
The line seems transmuted as it were, like those who (so the
fables tell us) are changed from males to females.So much
for the subject of affectation.
CHAPTER IV.
190. In the case of the plain style, we can no doubt
point to subject-matter which is homely and appropriate to
the style itself, e.g. the passage in Lysias,
*
I have a cottage
with two storeys, the one above corresponding exactly to that
below^' The diction throughout should be current and fami-
liar. An expression is homelier the more familiar it is, while
the unusual and metaphorical is elevated.
191. Compound words should not be admitted (since
they are appropriate to the opposite variety of style), nor yet
newly-coined words, nor any other words which contribute to
elevation. Above all, the style should be lucid. Now lucidity
involves a number of things.
192.
First of all it involves the employment of current
words, and next of words bound together. Writing which is
wholly disjointed and unconnected is entirely lacking in
clearness. It is impossible to discern the beginning of each
member owing to the looseness of the structure. This is
illustrated by the writings of Heracleitus, the obscurity of
which is due mainly to their loose structure.
193. No doubt the disjointed style lends itself better to
debate. It likewise bears the name of 'histrionic,' since a
broken structure stimulates acting. On the other hand, the
best
'
literary ' style is that which is pleasant to read ; and
this is the style which is compacted and (as it were) con-
solidated by the conjunctions. This is the reason why, while
Menander (whose style is for the most part broken) is
popular with the actor, Philemon is the reader's favourite.
194. To show that the broken style suits the stage, take
the following line as an instance
;
Thee I received, I bare, I nurse, O dear one*.

^
Lys. Eratosth. ad init.
*
Menander, Fragm.
230 : Meineke iv.
pp. 284, 285.
i6o AHMHTPIOY nEPI EPMHNEIAI
ovTcos yap Xekvfxivov avayKoicreL /cat top
fjnr)
Oikovra
VTTOKpivecrdai Sta tt^v Xvaiv el Se avvSujcra^ 177019,
*
iSe^dfxrjv kol tlktov koL iKrp<j)(o/ 7ro\\.rjP aTrdOeiav
Tol<; (TvvhiapiOL^
orvvefjifiakel^. rrdw 8e to oiTraOes dvv-
5 TTOKpLTOV.
195.
ÊcTTi Se KOL dWa
OecopTJfiaTa
viroKpLTLKd, olov
KOL 6 Trapd Tft> EuptmSet 'Îcov 6 rdfa dpTrdt^cov kol t&>
KTJKVcp dTTeik(t)v Tco opvL0L, diroTraTovvTi KaTOL Tcop dyaXfxd-
Tcov Kai yap KLvrjo-eL<; TroXXa? irapiêi rw viroKpiTrj 6
10 6771 TOL Toâ
SpofJLO^
Kal
7)
TTpo? TOP d4pa
dpdfiXexjJLS
TOV
TrpocrcoTTOv hiaXeyopbivov Ta kvkvo), Kal rj Xolttt) Trdaa
hiap,6p(^(j)(Ti^ Trpos TOP viroKpLTTjP TTeTTOLr)fjLPr). dXX* ov
irepl v7roKpL(Teo)<; tj/jlIp tol vvp 6 \6yo<;.
ig6. êvyiTO) Se tj cracjirjf;
ypa(f)r)
Kal tols d//,^tôXta5,
15
or)(T7/xaTi Se
-xpTJcrOco
ttj ijrapaXijxjjeL KaXovpiipTj. iiravd-
Xtî/zis Se icTTL crvvheo-yiov e7rt</)opd tov avTov ip toIs 8id
jjLaKpov
i7n(l>epoixivoi<; Xdyotg, oXop
^
ocra
fxev
enpaê
LXt7r7ro9, Kal ws ttjp ^paKrjp KaTeaTpexjjaTo, Kal Xeppo-
vrjaop elkep, Kai ^vlâPTiov err0X16pKiqcep, Kal KikîttoXip
20 ovK direScoKep, TavTa (jlep TTapaXeixfjco.' crêSoz^ yap 6 p.kv
O'vphea^JLOî iTrepeÔel^; dpeixprjcrep rjiJia<; Trj<; TrpoOeoreo)^,
Kai direKaTecrTTjcrep iirl ttjp dp^v.
197.
âîqpeia^ 8e ipeKEP
\
Kal SiXoyrjTeop 7roXXd/C69*
23J
7]Slop ydp TTOJS TO avPTOficoTepop rj
cra(f>crTpop' ws yap
25
01 7rapaTp)(0PT<; irapopcopTai ipLOTe, ovtcjs Kal rj Xe^ts
TrapaKoveTai 8td to Tdô<^.
198. êvyeip 8e /cat Td<; TrXayioT-qTa^* Kal ydp tovto
do-a(j)e<;, ojcnrep rj ^lXlcttov Xe^t?. crvPTOfxaiTepop 8e 7ra-
I ovTos P.
3, 4
Kai iK 5^ rb airadks in textu P, rp^û) TroXkijv
ffVfiâXeis irdvv in margine P.
4
avpe/JLâXeh] nos, (XVfiâXels P: ifiâXeis
Finckhius.
7
liov V.
\
dp-rrdûv F. ri Xoittt? : t supra versum add. P.
14
vepl iTava\'q\f/eoi}s titulus in P.
15
H ianv iiravd\r)\l/i.s in margine P.
17
iirKpepofx^vov, i<x supra i; scripto P. 18
x^P^^^W^^
P* 20 irepCKd\p(a P.
23
SiXoyiTôv P.
24
/5to>' P.
|
^
tra^ô-repoj'] edd., ws aafpiarepov P.
28 d(ra0ws P.
DEMETRIUS ON STYLE i6i
Thus disjointed, the words will of themselves force a man to
be dramatic even in his own despite. But if you employ
conjunctions and say
'
I received and bare and nurse,' you
will at the same time make the line quite lifeless. And what
is unemotional is essentially undramatic.
195. Other aspects of the actor's art deserve attention.
Take, for instance, the case of Ion in Euripides, who seizes
his bow and threatens the swan which is letting fall its
droppings upon the statues^ Many opportunities of move-
ment are offered to the actor by Ion's rush for his bow and
arrows, by his face upturned to the sky as he addresses the
swan, and by the rest of the detail contrived to aid the
actor. Still, the subject of stage-craft is not at present
before us.
1 96. Clear writing should also shun ambiguities and make
use of the figure termed
'
epanalepsis.'
'
Epanalepsis ' is the
repetition of the same particle in the course of a long-sustained
outburst : e.g.
'
all Philip's achievements indeedhow he
subjugated Thrace, and seized the Chersonese, and besieged
Byzantium, and neglected to restore Amphipolis,these
things, indeed, I shall pass over^.' It may be said that
the repetition of the particle
'
indeed ' reminds us of the
prelude and sets us again at the beginning of the sentence.
197. For the sake of clearness the same thing must
often be said twice over. There is somehow more charm
than clearness in conciseness. For as men who race past us
are sometimes indistinctly seen, so also the meaning of a
sentence may, owing to its hurried movement, be only imper-
fectly caught.
198. The use of dependent cases must also be avoided,
since this leads to obscurity, as Philistus' style shows. A
^
Eurip. Ion, i6i seqq.
2
Scr. Inc.
II
i62 AHMHTPIOY HEPI EPMHNEIAI
pctSciy/xa TrXayta?
Xefew? /cal 8ta rouro
acra(f)ov<; to
Trapa 'Bevocfycovn, oTov
'
/cat ort rpajpeu^; rjKovev irepi-
irXeovcra^ an Iwi^ta? ei9 KiXuKLav
Tdfjiov eôvra ra?
AaKeSaijJLOvicjv Koi avTov KTjpov.' tovto yap i^ evêta?
5
fiev
coSe TTW? Xeyotro- 'TpLtjpeis TrpocreSoKcovTo et? KtXt/cta^'
TToXXal /Aei^ AaKaLvaL, woXkal 8e IleyacriSes, Kvpw vavirrj-
yrjOeiaai in avro) tovtco. enkeov
8'
dir^ 'lcovia<;' vavapô'^
8'
avrats iireo-raTeL Ta/xo? AtyuTrrios.' ixaKporepov fiev
ovTco<; iyivero tcrw?, cra(êaTepov hi.
lo
199-
Kai oXa)9 T17 (j)V(TLKrj Taêi ro)v ovofiaTcov
XpiqcTTioVy ct)9 TO
'
'E7^t8a/^^'09 ecrrt ttoXi? eV 8e^ta icnrXi-
ovTi et TOi^ ^lovLOv koXttov' npcoTov
fjiev
yap oivopâaTai
TO irepl ov, SevTepov 8e o tovto iaTiv, otl ttoXls, /cat tol
dWa
i(f)^r]<;.
15 200. TiyvoLTO
iiev
ovv av /cat to ifiwakLV, w? to
*ÊcrTt TToXt? Ê(j)vp7)/ ov yap iravTif] TavTiqv hoKifxatôiJiev
Trjp Ta^Lv, ov8e t7)p eTipav dTToSoKLpdÔfxei', KaOd iK-
TiOifJieOa ixovov to (^vaiKOv eT8o9
ttJ?
raêw?.
201. 'Er 8e rot? hiiqyrjixao-iv tjtoi diro ttj^
6p6y)<^
20
dpKTiov,
'
'E7rt8a/>ti'd9 ecrrt TrdXtg,' r^ dno Trj<; atrtart/cTj?,
a) TO
*
XiyeTaL ÊnCSafJivov T7)v ttoXlv.' at 8e dWai
TTTwcrets do-d(f)Ldv
Tiva Trapiôvcn /cat ^dcravov tco re
XiyovTL avTco /cat Tft> d/covoj^rt.
202. Heipdo-Oai Se
firj
els p^rfKos
iKTeiveiv ret? 7re/)t-
25 aya)yd<;-
'
6 ydp 'AêXwo? yoecoi' e/c nt^'8ov opovs dvoiOev
pkv wapd STpdTov ttoXlv inl 6d\ao-crav 8teêtcrtz/-
'
dXX'
avToOev aTroXrjyeLV /cat di/aTraveti^ tov aKOVovTa ovtco^;-
*
6 yap 'AêXa>o9 yoet /xez^ e/c ntV8ov 6pov<;, iêicriv 8e et
Oakaacrav'' ttoXv ydyo ourws cratpiaTepov, (ocnrep av at
I, 2 Tw Tra/xx P.
3
ffiKcXlav P.
|
inter aiKeXlav et rdyuov litura maior in P.
5
vpoaedoKOVPTO P.
|
aiKeXiau P. 6 XaKcvai P. 8 aiirois P.
9
ouros P*
10
0v(ri/c^] Victorius, 0iô-ei fcai P. 12 Xihviov P.
|
(hvoarai, jxa supra versum
add. P. 13
6 ToO t6 P. 16 Travri P. 20 ttAXt/s P. 21 inter
litiv
rasura exigua in P. 22 to re P. 26 arparov irdXiv P.
DEMETRIUS ON STYLE
163
short example of clearness sacrificed to dependent construc-
tions is to be found in Xenophon : 'He was informed that
triremes belonging to the Lacedaemonians and to Cyrus
himself were coasting round with Tamos on board from
Ionia to Cilicia^' This sentence might be written in a
straightforward construction somewhat as follows :
'
In Cilicia
there were expected many Lacedaemonian, and many
Persian ships, the latter built for Cyrus with this very pur-
pose. They were sailing from Ionia, and the admiral in
command of them was the Egyptian Tamos.' The sentence
might thus have been longer : it would certainly have been
clearer.
199.
In general, the natural order of the words should
be followed, as in the sentence
'
Epidamnus is a town on
your right hand as you sail into the Ionian gulf
2/
First of all
is mentioned the subject, which is then defined to be a town,
and next come the other words in due succession.
200.
No doubt the order might be reversed, as in
the words
'
There is a town Ephyra^.' We do not abso-
lutely approve the one order nor condemn the other, when
simply setting forth the natural method of arranging the-
words.
201. In narrative passages we should begin with the
nominative case, as in
*
Epidamnus ('E7r/SayLti/o?) is a town '
;
or with the accusative, as in
'
it is said of the town of
Epidamnus (^îriâiLvov)! The other cases will cause some
obscurity and will put both speaker and hearer on tenter-
hooks.
202.
An attempt must be made to keep the amplifica-
tions within due bounds. Take this sentence :
'
For the
Achelous flowing from Mount Pindus, near the inland city
Stratus discharges itself into the seal' We ought to break off
and give the hearer a rest thus :
'
For the Achelous flows from
Mount Pindus, and discharges itself into the sea.' This is far
clearer than the other. It is with sentences as with roads.
^
Xen. Anab. i.
2,
21.
''
Thucyd. i.
24.
^
Horn. //. vi. 152.
*
Thucyd. ii. 102. Cp.
45
supra.
II 2
TToXXa ayjfJieLa eôvo-au oSol kol iroXkas avanavXa^'
TjyefJLocrL yap ra cnqixela eoiKev, rj Se a(Tr}fJLLO)ro<; kol
lJiOVOL8T]<S, KOLV fJLLKpOL Tj , CiSt^Xo? SofCCl.
203. Ilepl yiêv Srj G-a^rfvîa^ rocravTa, w? oXiya e/c
5
TToXXcov, Koi fxaXiCTTa ivTol*; l(T)(vo2<; avrrj XoyoL^ ^py)(TTiov.
204.
êvyeiv Se iv
rfj
avvOicrei tov -âpaKrrjpo^
TOTJTOV irpcoTOv fJLev
TCL
fjLTjKT]
Toiiv K(x)X(x)v fxeyaXoTTpeiTe^
yap irav
ijl7Jko<;,
(^cnrep Kal iirl rcxiv [y^pcoiKOiv^ yiiTpoiv to
i^dixeTpov rjpcoLKOi'
[01^]
/caXetrat vtto fieyeOov^ Kal wpe-
10
TTOV yjpojcriv, rj KcofxcoSCa 8e crvvicTTaXTai et? to TpLfxeTpov
rj via.
205.
Ta TToXXa ovv acojXoi? TpifxeTpoL^ -^prjo-oixeOa
Kal ivioTe KOfJUfiao-LV, atcnrep 6
fxev
UXoltcov (jyrjo-i,
'
Acare-
^rjv
X^^^
^^^
HeipaLOL /xera TXa-uK(ovo<;'
'
rrvKvat yap at
15
avdiravXai kol dnoOeaei^.
Alcrx^^V^
^^
'
iKaOrjfieOa fjuev/
îqcrivy
*
iirl tcov OaKCJV iv AvKeCo), ov ol dOXoOiTai tov
dy(t)va hiaTidiacriv.^
206. 'E^^êrw Se Kal iSpav do'(j)aXrj tcov kcoXcov tol
TiXr) Kal /BdcTLV, a)9 ra elprjfxiva' at yap Acara tol
20 reXeurata iKTd(Tei<; /xeyaXoTr/êTret?, ws ra SovkvSlSov,
'
'AêXftjo? 7roTafxo<s
picov iK HivSov opovs* Kal Ta e^rj<;.
207. êvKTiov ovv Kal ra? tcov fxaKpcov crrotêtwi/
crv/xTrXi^fet? ei^ toj âpa/cTT^pt rouro) /cat rwi^ Sicfydoyycov
oyKTjpov yap irdaa eKTao'L'^. Kal et ttov ySyoaêa crvy-
25
KpovdTiov
I
^paxicTLv,
a>9
*
irdvTa
fxev Ta via KaXd io'TLV,'
240'"
17
ySpa^êa fxaKpol<;, w? 'êXto?,'
17
d/xoi? ye tto)? Sta
^paîfov Kai oXoj^ e/xâtzêrat VKaTa(f)p6v7]T0<; 6 tolovto<;
rpoTTos Trjs Xeêojs /cat tStwrtKO?, /caTr' avra ravra TreTTOirj-
fiivos.
2 dcrrifjieioTos P. 8 ijpojl'Kwv seel. Spengelius.
9
oi/ (e dittographia
natum) seclusi. 10 TJpooaip} edd., i]p(h<av P.
15
di/aTraOXai ex di'dTravXai P.
16 Xu/cfw P. 23 Kal subter versum add. P. 26 17^105] Victorius, 17X10? P.
a/*ws] Finckhius, ctXXws P.
27
/Spax^ws P.
|
ifitpaberai] Victorius, iii<t>aL-
veadai P. 28 Acai aira P : /cdTr' aiJrd dedi.
DEMETRIUS ON STYLE
165
Some roads have many resting-places and many sign-posts
;
and the sign-posts may be compared to guides. But a dreary
road with never a sign-post seems hard to track, however
short it may be.
203. These are a few remarks, out of a possible many,
on the subject of clearness. Clearness must be studied most
of all in the plain style.
204. Long members must be particularly avoided in
composition of this type. Length always tends to eleva-
tion. Thus, among metres, the hexameter is called 'heroic'
owing to its amplitude which fits it for heroes. The New
Comedy, on the other hand, is compressed into the tri-
meter.
205. Accordingly we shall for the most part employ
trimeter members and sometimes phrases, as when Plato
says :
'
I went down yesterday to the Peiraeus together with
Glaucon\' Here the rests and cadences are many. So with
a sentence of Aeschines :
'
We sat upon the benches in the
Lyceum, where the stewards of the games order the contestsV
206. In the plain style the members should end with
precision, and rest on a sure foundation, as in the examples
just quoted. Prolonged endings belong rather to the elevated
style, as in the words of Thucydides :
'
the river Achelous
flowing from Mount Pindus, etc.^'
207.
In this style we must also shun the concurrence of
long vowel-sounds and of diphthongs, since lengthening in-
variably suggests elaboration. If concurrence be admitted,
let it be of short letters with short (as in
'
irdvra jMev ra
via KoXd iariv
'
^) ; or of short with long (as in
'
the orb
of day: rje\co<;)'; or of short vowels in some shape or
form. In general, this variety of style has little dignity or
distinction, being in fact fashioned with that very end in
view.
^
Plat. /êp. i. I init.
2
Aeschines Socr. /ragm.
'
Cp.45. 202.
^
Cp. 70.
208. êvyeTO) Srj kol tol crr)iJiico8r) cr^îara' irav
yap TO TTapdcrrjfjLov dcrvvrjOes kol ovk lSlcotlkov ttjv Se
ivdpyeLav kol to iriOavov fxaXicTTa 6 -âpaKrrjp
ovto<s
eTTtSeêrat. irepl ivapyeuas ovv kol irepl TTiOavoTiqro^
5
XeKTeov.
20g. npcoTov 8e Trepl ivapyeLo^' yiveraL
8'
rj ivdpyeia
TTpayra
fiev ef
aKpiôkoyia^ kol tov TrapaKeiireiv jxr^hev
fjLTjS'
eKTepLveiv, olov
^
w?
8*
or dvrjp
ox^rrjyos
'
kol wdcra
avTT)
7)
irapa/SoXij' to yap evapye^ e)(i e/c tov irdvTa
10 elprjo-Oai ra o-VfJu/BaLuovTa, Kal /xt) 7rapa\ekei(l)6ai fjirjSev.
210. Kal rj LTTTToSpojJLLa 8e rj inl UaTpoKXco, iv 019
Xeyet,
TTVOlfj S' ^V/jL'^\0t0 /JLTd(j)pVOV,
Kai
15
alel yap Bu^pov iirL^Tja-OfJLevoKTLv iiKTrjv.
TrdvTa TavTa
ivapYD
^^'^^^ ^'^ 'ô^ fiTjSev TTapa\eKei(j)dai
fl
Tciiv re (TvpLâivovTOiv Kal
(TVfJifidvTcov.
211. 'Hcrre TroXXdKLs Kal rj Sikoyia iudpyeuau Trotet
fiakkov,
Tj TO dira^ \iyeiv, ^crrrep to
'
orv
8'
avTov /cat
20 t,(i}VTa ekeye<; KaKcos, Kal vvv drroOavovTa y/9a<êi9 fca/coi?.'
819
yap Keifxevov to
'
KaKcos
'
ivapyecrTepay_ o-qpiaivei ttjv
l3\a(T(l>r}fJLiav.
212. 'Oirep 8e rw KTrjaca iyKaXovcnv &)9 a8oXea"ô-
Te)ow Sid Ta9 8tXoyta9, TroWa^rj
fxev
io-co^ iyKaXovcnv
25
opOo)^, 7roWa)(rj 8e ov/c alcrOdvovTai ttj^ ivapyeia^ tov
dvSp6<;' TiOeTai yap TavTO Sid to woWdKLS iroieiv fJi(j>a(rLV
TTkeiova.
213.
Ofa ret TOidhe,
'
^Tpvayyalo^; T19, dvrjp M'^809,
yvvoLKa SaKiSa KaTafâXcov dno tov lttttov p^dôvTai
30
ydp 8r) at yvfalKe^ iv ]Ea/cat9 (oo-irep at A/xa{dz/9*
3
ovTOS ex ourws P. 4 irepieudpyet, compend. tamen indicate, P. 6 Trepi
ivapydas titulus in P. 13
irvoi^ P. 15
5/0/3ou Homerus
:
8l<ppu} F.
20 ^Xeyes: es supra versum add. P. 23
(Tt; Trepi Krrja-lov H <pi]<nv in
margine P. 26 irotetJ' ex ttoioOi' P. 28 llirpvayyacos] Finckhius,
2iTpvdy\ios P. 30
adtfces, ai supra e scripto P.
208. Peculiar figures should also be avoided, since all
eccentricity is unfamiliar and extraordinary. As, however,
the plain style will welcome vivid representation and per-
suasiveness in an especial degree, we must next speak of
these two qualities.
209.
We shall treat first of vividness, which arises from
an exact narration overlooking no detail and cutting out
nothing. An instance is the Homeric simile which begins 'As
when a man draws off water by a runnels' The comparison
owes its vividness to the fact that all the accompanying cir-
cumstances are mentioned and nothing is omitted.
210. Another example is the horse-race in honour of
Patroclus, as described by Homer
:
For ever they seemed as though they would mount the chariot-floor
Of Eumelus, and hot on his back did the breath of their nostrils pour,
And his shoulders broad, for their heads overhung him as onward
they flew^
The entire description is vivid owing to the fact that no
detail which usually occurs and then occurred is omitted.
211. From this it follows that repetition often gives the
effect of vividness more than a single statement : e.g.
'
You
are the man who, when he was alive, spoke to his discredit,
and now that he is dead write to his discredits' The repeated
use of the words
'
to his discredit ' adds to the vividness of
the invective.
212. The charge of garrulity often brought against
Ctesias on the ground of his repetitions can perhaps in many
passages be established, but in many instances it is his critics
who fail to appreciate the writer's vividness. The same word
is repeated because this often makes a greater impression.
213. Here is an example :
"
Stryangaeus, a Mede, having
unhorsed a Sacian woman (for the women of the Sacae join
in battle like Amazons), was struck with the youth and beauty
^
Horn. //. xxi.
257.
2
Horn. //. xxiii.
379
ahl yap dl<ppov iin^TjaoixhoKnv itKTTjv,
TTvoiTj
5'
'EvfiifiXoio fierdcppevov evpê r' wfua
dip/xer'' iw' airry yap Ke<pa\as KaTad4vT ireTâdrfv.
3
Cp.

26.
i
i68 AHMHTPIOY nEPI EPMHNEIAI
OeaordjJLevos Srj ttjv Sa/ctSa evTrpeTrrj kol aypaiav ^LeOrfKev
dirocrcoiêcrOaL. /Acra 8e tovto cnrovScov yevofxevcov, ipacr-
Bel^; T7]S
yvvaiKOf; direTvyxavev'
iSeSoKTO fiev
avTO) awo-
Kaprepeiv
ypd<f>L
8e irpoTepov iino-Tohqv
rfj
yvvaiKi
5 ixiJi(f)6jjLevo<;
TOidvSe' 'Eyw
fiev
cre ecrcDcra, /cat av fxev
St'
efjie
ecrojurjf;' eyco be Ota ere aTrcoAOfJirjv.
214.
'EvTavOa eTnTipirjcreLev av lorcos rt? Ppa)(y\6yo<;
olofxevo^ elvai, on 8t? ireOr)
77/309
ovêv to
'
ecrwora '
fcat
*
St' e/ie icra>07)^.' ravrov yap (T7)pâivei dpuôjepa. aXA.
10 t d(êXot9 Odrepov, crvzâcâtpT^crets /cat T17J' ivapyeiav /cat
TO e/c
ttJs
ivapyeiav irdOo^. /cat to iTrK^y^poiievov Se, to
*
diroikopuqv
^
dvjl rov
*
aTrdXXv/xat,' ivapyecrrepop avTrj
rfj
(Tvvrekeia iarr to yap hrj yeyovo<; heivoTepov tov /xeX-
Xoi'To?
'^
yivofxivov Irt.
15 215. Kat oXw? Se 6 TTOiTjTrj'; ovto<; {7roL7)Tr)i/ yap
avTOv KaXoLT) Tt? et/coTW?) ivapyeiav hrjpnovpyo^ Icttiv iv
Trj
ypa(f)fj
(rvfiTrdcrrj.
216. Otot' /cat e'j' Tot9 Tototo-Se* Set Ta yevofieva ovk
vOv<; \4yeiv, otl iyivero, aXXa /caTa fjuKpov,
KpejxvcovTa
20 TOI' aKpoaTrjv /cat dzây/caôi^Ta crvzâyw^'tdi^. tovto o
KTTâta? ez^ t^ dyyeXta T17 Trept Kvpov TeOvecoTo^; TTotet.
iXOcbv yap 6 dyyeXo^; ovk evOijs Xeyet ort diridavev Kupos
Trapd Tr)v TiapvcrdTiv tovto yap rj Xeyofxevr] dno S/cu-
ôij' prjaC^; icrTiv dkkd wpcoTov fxev
yjyyeikevr otl VLKa,
25 Tj Se rjaOr) /cat r^ycoviacrev' /xeTct
|
Se tovto ipcoTa, ySacrtXev?
240^
Se TTfti? TrpdTTei; 6 Se 7re<êi>ye
(f)rjaL'
/cat
17
v7roXa/3ovaa-
TLo-o-acjyepvrjf; yap auTw tovtwj^ atTtos* /cat irdXiv inave-
pcoTa' Kvpo<; Se ttou z^w; 6 Se dyyeXos afxeCêTaL' evOa
\py)
Tov^ dyaOov<; dvSpa<; avXCêcrOaL. /caTct pîKpov Kai
30 /caTct /3pa)(y irpoicbv /idXt?, to S17 Xeyofxevov, aTrepprjgev
avTOy fjidka
rjOiKO)^ /cat ivapyo)^ tov Te dyyeXor iix(j)T]va^
3
id^doKTU) p.
9
inter r et oi)t6j' litura in P : fuit fort, rd, avrbv.
II e/c T^s supra versum add. P. t8 70'6^'a] edd., 7i'6Ace'a P. 21 7re/)i
6av6.Tov Ki5/ooy in margine P.
30
Airippiêv P.
of the Sacian and allowed her to escape. Afterwards, when
peace was declared, he became enamoured of her and failed in
his suit. He resolved to starve himself to death. But first he
wrote a letter upbraiding the woman thus :
'
I saved you, ay
you were saved through me ; and now I have perished
through you\'
"
214. Here a critic who prided himself on his brevity
might say that there is a useless repetition in
'
I saved you
'
and 'you were saved through me/ the two statements con-
veying the same idea. But if you take away one of the two,
you will also take away the vividness and the emotional effect
of vividness. Furthermore, the expression which follows (' I
have perished' in place of 'I perish') is more vivid just
because the past tense is used. There is something more
impressive in the suggestion that all is over, than in the
intimation that it is about to happen or is still happening.
215. Altogether this poet (for a poet Ctesias may well
be called) is an artist in vividness throughout his writings.
216. An example may be added here. When a misfor-
tune has happened, we should not state the fact at once, but
unfold it gradually, thus keeping the reader in suspense and
forcing him to share our distress. This is what Ctesias does
in his narrative of the death of Cyrus. The messenger, out
of consideration for Parysatis, does not immediately on his
arrival announce that Cyrus is dead, for such a proceeding
would be (to use the common expression) a brutal one. First
of all he reports the victory of Cyrus. Parysatis is all joy
and excitement. Then she asks,
'
And how fares the king }
'
The reply is,
*
He is fled.' She rejoins :
'
Yes, he owes this to
Tissaphernes.'
And she asks further,
*
But where is Cyrus
now?
'
The messenger replies,
'
In the bivouac of the brave.'
Thus warily does Ctesias advance little by little, step by step,
till at last he
*
breaks the news,' as the phrase goes, and indicates
very
naturally and vividly the messenger's reluctance to
^
Ctesias, Fragmm.
20, 21 (Ctesiae Persica, ed.
J.
GiJmore).
OLKOVcrio)^ dyyeXovvTa ttjv
(rviJi(l)opdvy
/cat ttjv fnqrepa eW
aycoPLav ifiâXcov kol tov aKovovra.
217. Tiverai 8e koI Ik tov rd Trapeiroêva tol^
Trpdyfiao'L \iyeiv ivdpyeua, olov &>9 iirl tov dypoiKov
5
lâhitôvTos e<^7^ rt?, on
'
Trpoa-coOeu rjKOvcTTO avTov tojv
TToScOV 6 KTVTTO^ TTpOCTLOVTOsJ &)9 OuSc âSiÔVTOS, dXX*
oloj^ ye XaKTLôvTos Ty)v yrjv.
218. 'Oirep Se 6 nXoLTWt'
(f>r)alv
irrl tov 'lirTTOKpa-
T0V9,
' ipvOpidcra^
[ji^l ^V
^^'^^t'^] ^S''?
y^-P
VTTi(l>y)viv tl
10
ripiipas, 19 TO KaTa(j)av7] avTov yeviaOai,^ oti p^kv ivapyi-
(TTaTOV icTTi, TravTL SrjXov r) S' ivdpyeia yiyovev eK ttj^
(j)povTLSo^
TTJs
wepl TOP \6yov Koi TOV dTTopprfpovevcraiy
OTL vvKTOip Trpo's ovTov elo'rjXOei' 6 l7nroKpdTr)<;.
2ig. K.aKO(f)a)VLa Se TToXXa/cts, a>9 to
'
kottt, Ik S'
15 ey/cecâXo?,' /cat
*
ttoXXo, S' dvavTa, /carai'Ta-' /x-e/At/xT^rat
yap TT^ KaKO(j)(ovLa ttjv dvcopakiav Trdcra Se pbifXTjaL'^
ivapyeq tl e)(ei.
220. Kat ra ireTroviqp.eva Se ovopuora evdpyeiav Trotet
8ta to /caret pipiqaiv eêvqveÔai, ^cnrep to
'
XdiTTOVTe^;*
20 t Se
'
TTLpovTes
'
etTrei', our' e/xt/xetro irivovTa^ tov^ Kvva^,
ovTe evdpyeia dv rt? eyiveTo. /cat ro
*
yXcocrarjcn
'
Se
Tft) XcLTrroi^re? TrpocKeipevov ert evapyecTTepov Trotet roi^
Xoyoi/. /cat Treyot evapyeia<; pev ws ei^ rvTroi etTreti/ rocr-
avra.
25 221. To TTiOavov Se ev Svolvy ev re rw cra<êt /cal
(TWnjOer TO yap acracê? /cat d(TVPr)Oe<; dirLOavov Xeîv
2 ifiâXCiv P. 9
^5?;
tt; i/i^kti seclusit Schneiderus. 10 eZs to P:
wcrre Plat. 14 KaKO(pu}via: a supra versum scripsit P. Kbirrev
5'
P.
16 6,v(>)fia\lav ex dvofiaMav P. 19 Xd*7rroi'res P. 20 ifiifiiô P.
22 t6 Xd*7rT0i'Te5 P. 25 vepi iridavdTTjTos in margine P. 26 da^vrjdes ex
&&6v6s m. rec. P.
DEMETRIUS ON STYLE
\J\
announce the calamity, while he himself causes the reader to
join in the mother's griefs
217.
Vividness may also be produced by mentioning
the accompanying circumstances of any action. It was, for
instance, once said of a countryman's walk that
'
the noise of
his feet had been heard from afar as he approached
^'
the
suggestion being that he was not walking at all, but stamping
the ground, so to say.
218.
Plato also provides an example when referring to
Hippocrates :
'
He was blushing, for the first glimmer of dawn
now came to betray him^' The extreme vividness of this
description is clear to everybody. It is the result of the care
shown in the narrative, which brings to mind the fact that it
was night when Hippocrates visited Socrates.
*
219. Cacophony is often vivid, as in the lines
:
And together laid hold on twain, and dashed them against the ground
Like whelps : down gushed the brain, and bespattered the rock-
flour round\
Or,
And upward and downward and thwartward and slantward they
tramped evermore ^
Homer intends the cacophony to suggest the broken ground,
all imitation having an element of vividness.
220.
Onomatopoeic words produce a vivid effect, be-
cause their formation is imitative. The participle
*
lapping
'
is an instance in points If Homer had said 'drinking,' he
would not have imitated the sound of dogs drinking, nor
would there have been any vividness. The word
*
tongues
'
i^XoacrariGi) added to the word
*
lapping ' makes the narrative
still more vivid.But on the subject of vividness this outline
sketch must suffice.
221. The power of convincing depends on two things,
lucidity and naturalness. In other words, what is not lucid
^
Ctesias, Fragvt.
36 (ed. Gilmore).
^
Scr. Inc.
^
Plat. Protag. 312 A.
^
Horn. Ody^s. ix.
289
ai)v 5i dOd} fidpxl/as ws re <r/fi;XaAfas irorl yalrj
kSttt^- iK
5'
iyK^(f>a\o$ xaAti5is pê, deve Se yaiav.
'^
Horn. //. xxiii. 116
TToXXa
5'
avavra Kdravra Trdpaurd re d6xfJ>-td r' ^\6op.
'
Horn. //. xvi. 161
Xd^povrei y\u)<T<Tri<nv dpaiyaiv /x^Xav Od(ap.
I
172
T ovi/ ov TTjv TrepLTTrjv ovSe viripoyKOV SucoKTeov iv ttj
TTiOavorriTi, koX cjcravro)<; crvvOecriv êâiovcrav kol jxrjSev
)(ovcrav you^/xoetSes.
222. 'Ev TOVTOL^ re ovv to inOavov, kol iv co ed-
5 (f)pa(TT6<;
(j^rjcrLv, on ov Trdvra in aKpiêia^ Set
fxaKpr}-
yopelp, aXX' ivua Karaknreiv Kai rco
aKpoarfj avviivai,
Kol XoyitêcrOai
ef
avrov' crvvel^ yap to eWeKÔev vtto
crou ovK aKpoaTTJs fxovov, ak\a koI fJidpTVS aov yiveTai,
KOL
dfjia eiffxeveaTepo^. crvveTo^ yap iavT(^ boKel Sta
lo ere Tov d(j)opfJirjy irapecr^KOTa avTot tov crvvLevai, to
8e TrdvTa w? dvorjTOJ Xeyeiv KaTayivaxTKovTi eoiKev tov
aKpoaTov.
223. 'ETret 8e Ka\ 6 iirLO-ToXiKOs yapaKTr^p Setrat
icr^voTrjTO^, Kal irepl avTov Xefo/xez^. 'A^re/xajz^ /xez^ ovv
15 6 ra? ^ KpidTOTekov^ dvaypd\jja<; iTTLCFToXd^; (f>r)G'Lv, otl Sel
iv Tw avTM TpoTTCo Sidkoyov re ypdêiv Ka\ eTTicTTokd^'
elvai yap ttjv eTncrTokr^v oXov to eTepov
fxepos
tov 8ta-
Xoyov.
224.
Kat Xeyet (xev tl lo-co^, ov jjltjv dirav Set yap
20 VTTOKaTecFKevdcrOai iro)^ fxaXkov tov Suakoyov ttjv eVtcrro-
Xrjv 6
ixev
yap pLipLeiTai avToaêhidlôvTay rj Se
ypd(f>TaL
/cat Scopov TrefxireTaL Tpoirov Tivd.
225.
Ttg yovv ovtco^ av SLaXe-^deCrj 7rpo<;
(fyiXoi/,
axTirep 6 ^ ApicrTOTeXrj^; wpo^ ^KvTiTraTpov virep tov cfyvydSo*;
25 ypdcfxov TOV yepovTOS cjyrjaLV
*
et Se vrpos oLTrdcras otêrat
|
yd<;
(f)vyd<;
o5ro9, cucrre
fxr)
KaTdyeiv, SrjXov &>9 rotcrye et?
241
ÂtSov KaTeXOeiv ySovXo/ieVot? ovSet9
cfyOopo^;'
'
6 yap
ovTcos StaXeydêzô? eTrtSet/ci'u/xeVaj eoiKev jxdXXoVy ov
XaXovvTL.
30 226. Kat Xucrets crvâX otto tat
^ ^
ov TrpiiTOVcriv
7
iâvTov P.
13
TTws Set ^Trio-rAXeiJ' titulus in P, eadem verba in
margine P.
13. 14 et /*^' supra versum add. P. 20 viroKaTaa-KevacrOal P.
23
5ia\ex^f^>7] Schneiderus, diaXexBrj P. 26 7as] Valckenaerius, ras P.
|
KaTd7eti' ex KarayTJv P. 28 i-jrideiKWixlvu) ex eirideiKvo/x^vu) P.
30 (ri'Xi'ai]
Victorius, laxva.1 P.
|
lacunam statuit Goellerus.
DEMETRIUS ON STYLE
173
nor natural is not convincing. Accordingly exuberant and
inflated language must not be sought after in a style meant
to carry conviction. The composition, likewise, in such a
style, must be steady-going and void of formal rhythm.
222. These, then, are the main essentials of persuasive-
ness
;
to which may be added that indicated by Theophrastus
when he says that all possible points should not be punctili-
ously and tediously elaborated, but some should be left to the
comprehension and inference of the hearer\ who when he
perceives what you have omitted becomes not only your
hearer but your witness, and a very friendly witness too.
For he thinks himself intelligent because you have afforded
him the means of showing his intelligence. It seems like a
slur on your hearer to tell him everything as though he were
a simpleton.
223. We will next treat of the epistolary style, since it
too should be plain. Artemon, the editor of Aristotle's
Letters, says that a letter ought to be written in the same
manner as a dialogue, a letter being regarded by him as one
of the two sides of a dialogued
224. There is perhaps some truth* in what he says, but
not the whole truth. The letter should be a little more studied
than the dialogue, since the latter reproduces an extemporary
utterance, while the former is committed to writing and is (in
a way) sent as a gift.
225.
Who (one may ask) would, in conversation with a
friend, so express himself as does Aristotle when writing to
Antipater on the subject of the aged exile
.'* '
If he is doomed
to wander to the uttermost parts of the earth, an exile
hopeless of return, it is clear that we cannot blame such men
should they wish to descend to Hades' hallV A man who
conversed in that fashion would seem not to be talking but to
be making a display.
226. Frequent breaks in a sentence such as
are not appropriate in letters. Such breaks cause obscurity in
*
Theophrastus ir^pl X^êws.
^
Cp. n-
3
infra.
^
Aristot. Fragm.
615
(ed. Berol. v.
pp. 1581, 1582).
174
CTrtcrToXat?" dcracê? yap eV
ypa(f)rj
rj Xvcrt?, koL to jjll-
fjLTjTLKOv ov
ypa(j)7Jq
ovTOJs olKeLOi/, (i)9 dycovos, oTov o)<; iv
tS ^vOvSijfJiq)'
'
Tt9 -i^z/, c5 Sw/cpareg, w
x^^^
^^ Aufcetw
SteXeyov
;
rj ttoXu? v/xa? 6)(Xo'; TrepieicrTrJKeL'
'
/cat puKpov
5
TTpoeKOcov iirK^yipei^
'
aXXa /xot êVo? rtg (jâiverai elvai, w
SteXeyou* ris t)^'
;
'
17
yap TOiavrr) Tracra ipfirjveia /cat
fjiCfjirjo-L^
VTroKpirrj TrpeiroL fjuakkov, ov
ypa(f)OfjLepaL<; eVt-
crroXat?.
227.
nXetcrroi^ 8e iîro} to tjOlkov rj iTno-Tokyj,
10 axTirep /cat 6 8taXoyo9*
crxeSoi^ yaô eiKova eKacTTos rrj^
eavTov ^v)(rj^
ypa(f)L
ttjp eTTi(TTo\riv. /cat ecrrt êt* /cat
ef
aXXou Xdyov iravTOs iSeiv to r)6o<; tov ypd(f)ovTO<;,
ef
ovSezô? 8e ovtoj^, a) iTncTToXyjs.
228. To Se piiyedo^ crvveo'TaXOo}
ttJ?
eTTtcrroXTj?,
15
Oicnrep /cat
17 Xeft?. at 8e dyai' jxaKpaC, /cat irpoo-eTL
/card tt)!^ kpixrjveiav oyKOjSecrTepaL, ov
fxa
ttjv aXrjOeiav
eTTiCTToXai yevoivTO dv, dXXd
crvyypdfjiixaTa, to yaipeiv
eyovTa TrpocryeypayLpLivov, KaOdwep tov IlXdTCJvos TroXXal
/cat
7)
SovkvSlSov.
20
229.
Kat Tjj awTdêi pikvToi XeXvadco fjioXXov
yeXolov yap TrepLoSeveiv, (^cnrep ovk iTricrToXrjv, dXXd
hiKrjv ypd(f)OVTa'
/cat ovSe yeXotoi/ fiovov, dXX' ovSe
(J)lXlkov
{to yap Srj /caret ttjv TrapOifxCav
*
rd crv/ca crvKa
'
Xeyojjievov) eTTtcrroXats raura iTTiTiqheveiv
.
25
230.
EtSez/at
XP'7,
ort ov^ ipp^rjveia [jlovov, dXXd
/cat TTpdyfiaTd
Tiva iiriaToXiKd icTTiv. 'ApL(TTOTeXr)<; yovv
OS fidXio-Ta
inLTeTevîvaL
8o/ct rov [aurou] iiricrToXiKOVy
*
TOVTO ou
ypd(f)0)
croij (fyyjcrLV'
'
ov yap tjv iTTLCTTO-
XlkovJ
30
231. Et ydp Tts iv eTTLcrToXrj G-0(f)L(TiJLaTa
ypd(j>oi /cat
I d(ro0^s: es supra versum add. P. 3
Xu/ciw P.
4 ijfxdsF. 12 Trdirwj P.
18 rou llXdrwvos TroXXat] Finckhius, ra nXctTwyos TroXXd P. 20 rdêt, r^
ffw supra versum scripsit m. rec. P.
[
XeXiJcr^w : v in rasura P.
23
racriJ
{Kaaij : his litteris extra versum additis) KaP. 27 65]
Spengelius, ws P.
|
seclu-
dendum, ut videtur, avroO.
DEMETRIUS ON STYLE
175
writing, and the gift of imitating conversation is a better aid
to debate than to writing. Consider the opening of the
Euthydemus :
'
Who was it, Socrates, with whom you were
conversing yesterday in the Lyceum ? Quite a large crowd
was surrounding your party\' And a little further on Plato
adds :
'
Nay, he seems to me to be some stranger, the man
with whom you were conversing. Who was he, pray
?^'
All
such imitative style better suits an actor ; it does not suit
written letters.
227.
The letter, like the dialogue, should abound in
glimpses of character. It may be said that everybody reveals
his own soul in his letters. In every other form of composition
it is possible to discern the writer's character, but in none so
clearly as in the epistolary.
228.
The length of a letter, no less than its style, must
be carefully regulated. Those that are too long, and further
are rather stilted in expression, are not in sober truth letters
but treatises with the heading 'My dear So-and-So.' This is
true of many of Plato's, and of that of Thucydides.
229.
There should be a certain degree of freedom in the
structure of a letter. It is absurd to build up periods, as if
you were writing not a letter but a speech for the law-courts.
And such laboured letter-writing is not merely absurd
;
it
does not even obey the laws of friendship, which demand
that we should
'
call a spade a spade,' as the proverb has it.
230.
We must also remember that there are epistolary
topics, as well as an epistolary style. Aristotle, who is
thought to have been exceptionally successful in attaining
the epistolary manner, says :
'
I have not written to you on
this subject, since it was not fitted for a letter^'
231. If anybody should write of logical subtleties or
1
Plat. Euthyd. 271 A.
2
Plat. Euthyd. 271 A.
3
Aristot. Fragm. 620 (ed. BeroL).
i
176 AHMHTPIO'XnEPI EPMHNEIAI
(j)V(TLoXoyia^,
'ypd(l)eL fxev,
ov
fxrjv eTTiCTToXrjp
ypd(f>L.
(j)L-
Xo(j>p6vrjcri<; yap T19 jôvkerai elvai rj eTTLCFToXrj (rvvTop.o<;,
Koi nepl oLTrXov irpdypuaro^ e/cêcrt? koI kv 6v6p.a(Tiv
0,77X019.
5 232. KctXXo? fjiivTOL avTrj<s at re (jyikiKoi
(f)L\o(l)po-
VT]crL<; Kai irvKvai Traponxiai ivovcat' kol tovto yap
yiovov ivecTTO)
avrfj aocfyov, Slotl Stjijlotlkov tl iariv rj
irapoLfjiia /cat kolvov, 6 Se yvcofJLoXoycov Kal irporperroyievo^
ov 8t* iirLCTroXrjf; ert XaXowrt eoiKev, dXXd ybiqyavrj^.
10
233-
'A^torroreXT^? pîvroi koI aTToSetfecrt ttov ^Tjrat
iTTLCTToXiKcof;, olov StSctfat l3ovX6fJievo<;, on o/xotw? ^pr)
evepyereLv rot?
fxeydXas TToXetg kol ras fjLLKpd<;, (fyrja-iv,
*
OL yap deol iv afxcjôrepai^ tcrot, wcrr' eTret at ydpiTe<;
Oeai, tcrat diro Keicrovrai crot irap dfJL(f)OTepaiS''
Kal yap
15
TO aTroSeLKvvfjievov avrS eTncTToXiKov koI tj aTToSetfts
aVTT].
234.
'Evret /cat TroXecrLv irore /cat jâaiXevcnv
ypdcfiOfxep, ia-Tcocrav totavrat [at] CTrto'ToXat fjuKpov
i^r)pfjiT/aL 770)?. aTOâariov yap /cat tot) irpocraiTrov
20 <w
ypd(f)Tai' i^TjpfJievr) fievTot
[/cat] ov^ (^(rre dvy-
ypa/xjLta etiât dz^r' iTTLCTToXrjs, ^cnrep at 'A/jto-roreXov?
. 77/909
' AXeâvSpov, /cat 77/909 toi;9 Ataii/09 ot/Ctov9
17
nXaTa>^'09.
235.
KaôXou Se
fxefJuixOo)
r) eTTiCTToXr) Kara ttjv
25 epjx'qveiav e/c Suotz/ âpaKTrfpoiv totjtolv, tov re âpievro^
/cat tot) tcr^î'oi;. /cat 77ept e77to"ToX'^9 /xe^' rofravra, /cat
d/Lta 77/ot Toi)
I
-âpaKTrjpof; tov Icr^vov.
241*
236.
ITapa/cetrat Se /cat toj layv^ SirjfjiapTrjfjievos
âpaKTrjp, 6 ^rjpos KaXovfiei'O';.
yiveTai Se Kat o5ro9 iv
30
Tpicriv iv hiavoia
fxiv,
ojcrTrep Tt9 e77t aepôv
(l)r),
otl
'
KaTeâivev 6 aep^rj<s fJLeTa
irdvTOiv to)v iavTOvJ fidXa
2 eiriaToK P. 6 ipovaai : oOtrai supra versum scripsit P. 8 yvo/xu-
\oyQv P. i8 ai seel. Spengelius. 20 Kal del. Goellerus. 28 Trepi
^rjpov in margine P.
DEMETRIUS ON STYLE
177
questions of natural history in a letter, he writes indeed, but
not a letter. A letter is designed to be the heart's good
wishes in brief; it is the exposition of a simple subject in
simple terms,
232. Its beauty consists in the expressions of friendship
and the many proverbs which it contains. This last is the
only philosophy admissible in it, the proverb being common
property and popular in character. But the man who
utters sententious maxims and exhortations seems to be no
longer talking familiarly in a letter but to be speaking
*
ex
cathedra.'
233. Aristotle, however, sometimes uses certain forms
of demonstration fitly in a letter. For instance, wishing to
show that large towns and small have an equal claim to be
well treated, he says :
'
The gods are as great in one as in
the other ; and since the Graces are gods, they will be placed
by you in one no less than in the other\' The point he
wishes to prove is fitted for a letter, and so is the proof itself.
234. Since occasionally we write to States or royal
personages, such letters must be composed in a slightly
heightened tone. It is right to have regard to the person to
whom the letter is addressed. The heightening should not,
however, be carried so far that we have a treatise in place of a
letter, as is the case with those of Aristotle to Alexander and
with that of Plato to Dion's friends.
235. In general it may be remarked that, from the
point of view of expression, the letter should be a com-
pound of two styles, viz. the graceful and the plain.So
much with regard to letter-writing and the plain style.
236. Side by side with the plain style is found a de-
fective counterpart, the so-called
'
arid ' style. This, again,
has three sources, the first of which is the thought, as when
someone says of Xerxes that *he was coming down to the coast
*
Aristot. Fragm.
609
(ed. Berol.).
R.
12
178
yap icTfXiKpvvev to Trpayfia, avrl rov
'
fjbera Trj<; 'Acrtas
a7rdar)<;
'
elweLv
'
/xera TrdvTcov TOiv iavrov ' (jirjcra^;.
237.
Uepl Se Tr)v Xeûv yiverai to ^rjpov, oTav
wpayixa
fieya afXiKpols ovofxacnv dnayyeXkr), olov w? 6 TaSapev^;
5 inl
TTJs
iv âkaplvL vavyLaîa<;
(fyrjaC'
kol tov <l>aXapi8o9
Tov Tvpdvvov
e<f)7)
rt9,
'
ctrra yap 6 <l>aXapt9 r)V(o)(KL to'l<;
* AKpayavTLVOLS.' vavpâîav yap TOcravTrjv /cat Tvpdvvoiv
wpLOTr^Ta ovî tco
*
arra ' ovofxaTi ovSe tco
'
r)va>)(XL
'
iXPV^
Xeyet^', dXX* iv fjLeydkoi<; /cat Trpeirovaiv tco vnoKeL-
10
fJLevo) TrpdyfjiaTL.
238. 'Ei^ 8e crvvdeaeL yiveTai to ^rjpov, tJtol oTav
TTVKva Tj Ta KOfjLjjiaTa, wcnrep iv rot? 'A(j)opi(TfJLo'L<s )(l'
*
6 ^LO<; /3pa)(v<;, rj Se Te^vrj
fiaKpd, 6 Se /catpo?
6fv9,
17
Se neipa
o'(f)a\epd
'
*
fj oTav iv fieydXa) TTpdypâTi 0,770-
15 KeKopL^xivov Tj TO K(x)\ov /Cat pL7) K7r\ea)v, axjirep rt?
'AptcrretSov KaTrjyopcov, otl ovk d(j)iKTO eU
Trjv iv SaXa-
plvL vavixaîav,
'
ak\d avTOKkrfTOf^J
^(l>V>
'
^'^^
V H'^^
At)
fJLuJTTjp
rj\6ev /cat (jwevavixdêi, 'ApLcrTeiSrjf; Se ou.'
7)
yap aTTOKOTrrj /cat drrpeTrrjf; /cat a/catpo?. rat? jLtei/
20
TOtavratg aTTO/coTrat? eV eTepoL^; \prj(jTiov.
239.
IToXXa/ct? fxevTOL to jxev Siavorjixa avTo xjjv^^pov
Tt ecrrt, /cat w? j^vj' 6vop.dt,op.ev KaKoi^rjXov, rj crvvOecri^
8'
diTOKeKoixixevrj /cat KkeiTTOvcra tov StaiôT^/xaro? T7)z^
ctSetai^, aicnrep inl tov veKpa Tjj yvvaiKl p,iy6evT0<i
.(f)iq
25 Tt9, oTt
'
ou puiyvvTai av Tjj dvOpcoTTCp-' to
fxev yap Sta-
voT^pia /cat TV(j)\(o SyjXov (jyacnv, rj crvvOecns Se crvcrraXetcra
KkewTeL
ixev
tto)? riî^ aSetaz^ rov 7rpdypaT0<;, TTotet Se tt)!^
i/ui^ ovofia
e)(pvorav îqpoKaKotpqXiav (TvyKip.iviqv e/c Si>otz^
KaKQ)Vy e/c ftez/
ri^s KaKo^r)\Las Sta to irpaypâ, e/c Se tot)
30 ^pov Sta T')j' (Tvvde(riv,
I ^
/iera P. 2 rwj' add. edd.
3
irpdyfjia P.
4
dTrayY^X?; P.
|
Pa-
Sapevs] edd., Vadijpeijs P. 6 rjvdxfêi P.
7
Tvpduvuu, ov supra versum
scripto, P. 8 7jv6x^t P. I4> 15
d7ro/ce/co/w/*^>'w
17
rw /cwXo; P. 18 (ruj'ei'au-
fidx^f- ex (rvvevav/j.dxv P.
25
aS r^ dvdpjjinp conicio : aur^j di' P.
DEMETRIUS ON STYLE
179
with all his following\' He has quite belittled the event by
saying
'
with all his following ' in place of ' with the whole of
Asia.'
237.
In expression aridity is found when a writer
describes a great event in terms as trivial as those applied
by the Gadarene to the battle of Salamis. And someone
said of the despot Phalaris that
*
Phalaris inflicted certain
annoyances on the people of Acragas^' So momentous a
sea-fight and so cruel a despot ought not to have been
described by the word
'
certain
'
nor by the word'* annoyances,'
but in impressive terms appropriate to the subject.
238. Aridity may also be due to composition. This is
so when the detached clauses are many, as in the Aphorisms
:
*
Life is short, art long, opportunity fleeting, experience de-
ceptive^.' It is so, again, when in dealing with an important
matter, the member is broken and not completed. Someone,
for example, when accusing Aristeides for not being present
at the battle of Salamis, said :
'
Why, Demeter came un-
bidden and fought on our side
;
but Aristeides, no\' Here
the abrupt ending is inappropriate and ill-timed. Abrupt
endings of this kind should be reserved for other occasions.
239. Often the thought is in itself frigid, or what we
now term
'
tasteless,' while the composition is abrupt and
tries to disguise the licence of the thought. Someone says
of a man who embraced his wife when dead :
'
he does not
embrace the creature againl' The meaning even a blind man
can see, as the saying goes ; but the compression of the
phrasing hides to some extent the licence of the thing, and
produces what is now called by the name of 'tasteless
aridity,' being made up of two defects, tastelessness of
subject-matter and aridity of style.
^
Scr. Inc.
'
Hippocr. Aphor. : cp.
4
supra.
12
2
i8o AHMHTPIOY HEPI EPMHNEIAZ
V.
240.
Kat ra irepi
ttJs
SeLvoTrjTO^ 8e SrjXa av ei-q
XoLTTov e/c Twv Trpoeipr^yiivoiv, on koI avrrj yivoij av iv
Tpicriv, iv olcnrep 01 irpo avTrjs âpaKTTjpe^' /cat yap
TT/octy/iara riva i^ eavrcov iaTL Seuvd, (âre tov<^ XeyovTa^
5 avTa 8eLvov<; SoKelv, Kav
fjur)
Seti^w? Xiyoxriv, KaOdnep
6 eoTTO/xTTO? rag iv tS Ueipaiei avXiqrpia^ Kal rd nopveia
Kal Toijs avXovPTa<; Kal aSovTa<; /cat
6p)(ovfJLi'Ov<;, ravra
irdvTa
heivd ovopiaTa ovra /catrot dcrOevcof; elircov Setzô?
80/cet.
10 241.
Kara Se ttjv crvvdecnv 6 âpaKrrjp ovto<; yivoiT
av irpoiTov fiev
et Kopfjuara eôt avrl KcoXoyv to yap
p.rJKo<s
e/cXvei Trjv (r(j)oSp6Tr)Ta, to Se eV oXiyco ttoXv ip-
(jiaLvopevov SeivoTepov TrapdSeuypa to AaKehaipovioiv
Trpo^ îXiTnrov,
'
Alovu(tlo<; iv KopivOco-' el Se iêTeuvav
15 avTO,
'
Aiovva-LOf; eKwecrcov
ttJ^
dp-^^rj^ TTTcoêvei iv KopivOco
StSctor/cwr ypdppaTa,' Si-qyrjpa cr)(eS6v av '^v pdXXov dvTl
XotSopta?.
242.
Kdi' Tol<; dXXoL^ Se (jyvcreL ijSpa^vXoyovv ol
KdKOive^' SeivoTepov yap to jSpa^v /cat inLTaKTUKov, to
20 paKprjyopelv Se rw t/cereuetz^ TrpeVet /cat aiTeiv.
243.
Ato /cat ra avpôXa e)(et Setj/orT^ra?,
|
otl
ip(f)prj
2^2'
rat? l^payyXoyiai^;' /cat yap e/c tov /3pa^0j<; pr)0VTO<;
vTrovorjaaL ra TrXetcrra Set, Kaddirep e/c rail' crvpôXoyv
ovTO)^ /cat TO
*
âp66ev ol TeTTLye<^ vplv acrovTai
'
Setzô-
25 Tpov
dXXrjyopLKOJf; prjOev, rj elirep dirXajs ipprjOr),
*
ra
SeVSpa v/AWj^ e/c/coTn^crerat.'
244.
Ta9 ye /x'^^z^ TreptoSov? icr(j)Ly)(daL pdXa Set /cara
TO TeXo*;'
7)
yap irepiaycoyy) oeivov, rj Se Xvcrt? ctTrXovcrTe-
I irepl SeivdrrjTos titulus in P, eadem verba in margine P.
4
wo-re to)>s ex
diairep {are tovs supra versum scripto) P.
5
\^you(nv P. 8 dvd/xaTa (ovra
supra versum atram. pallid, add.) P.
19
k-tnTariKhv P. 20 t6 iKereveiv P.
21 ifJi<l>eprj ex ifxtp^pei P. 24
T^rrrye^
(17
punctis notato) P.
25 ^p/)'^^?;
ex Tjpp^dTi (e supra 17 et 77 supra e scripto) P.
27
/card] Victorius, Kal P.
DEMETRIUS ON STYLE
CHAPTER V.
240. We now come to the quality of force. It is clear,
from what has already been said, that force also, like the
styles previously described, may have three sources. Some
things are forcible in themselves, so that those who give
utterance to them seem to be forcible, even if they do not
speak forcibly. Theopompus, for instance, in a certain
passage describes the flute-girls in the Peiraeus, the stews,
and the sailors who pipe and sing and dance; and through
employing all this strong language he seems to be forcible,
although his style is really feeble.
241. In respect of composition this type of style re-
quires, first of all, phrases in place of members. Prolixity
paralyses vigour, while much meaning conveyed in a brief
form is the more forcible. An example is the message of
the Lacedaemonians to Philip:
'
Dionysius at Corinth.' If
they had expanded the thought at full length, saying
'
Dionysius has been deposed from his sovereignty and is
now a beggarly schoolmaster at Corinth,' the result would
have been a bit of narrative rather than a taunts
242. The Lacedaemonians had a natural turn for
brevity of speech under all circumstances. Brevity is, indeed,
more forcible and peremptory, while prolixity is suited for
begging and praying.
243. For this reason symbolic expressions are forcible,
as resembling brief utterances. We are left to infer the chief
of the meaning from a short statement, as though it were a
sort of riddle. Thus the saying
'
your cicalas shall chirp
from the ground ' is more forcible in this figurative form
than if the sentence had simply run 'your trees shall be
hewed down^'
244. In this style the periods should be brought to a
definite point at the end. The periodic form is forcible, while
looseness of structure is more naive and betokens an innocent
^
Cf.

8 supra.
2
Cp,
^^,
joq supra.
i82 AHMHTPIOY UEP\ EPMHNEIAZ
pov /cat -^rjcrTorjOeias crrjixeiov, KaOdirep rj dpâCa Trdcra
ipfXTji/eia' dnXoLKol yap ol dpâioi.
245.
^ncrre Iv SeivoTrjTL (l)evyeLv Set to apâtoetSe?
Kol Tov TjOov^ /cat Tov pvOfxov, /cat /caracêvyetz^ jutaXtcrra
5
inl TTjv vvv Kareôvcrav SeLvoryjra. roiv ovv kcoXcov at
Totaurat OLTrodicrei^,
*
ojixoXoyrjcra totjtol^, w? av oto? re
ft), crvvepeivj côvrai fxaXiara ov elpiqKa
pvOfxov,
246.
Ilotet 8e Ttzâ /cat tj /Sua Kara ttjv avvOecriv
heivoTTjTa' heivov ydp TToXXaypv /cat to Svcr(f>0oyyov,
10 oicnrep at di^cofiaXoi 6801. TrapaSeiy/Jia to AyjfjLOcrOevLKOV
TO
'
u/xas TO Souz/at
vfjuv efetât.'
247.
Ta Se oLVTiOeTa /cat irapofjiOLa iv rat? TreptdSot?
(j)VKTov' oyKOv ydp TroiovcTLVy ov heivoTiqTa, woXXaôv
8e /cat xpv^poTTjTa dvTl SetzôTT^ro?, otoi^ &)? 6 eoTTO/iTTO?
15
/caret rail' eTaCpcov tcjv ^lXlttttov Xeycov eXvcrev ttj dvTi-
Oeo-L
TTfv
SeivoTTjTa,
'
dvSpo(f)6voL Se ttjv ^vcfiv ovTe^y
Xeyoiv,
'
dvSpoTTopvoi tov Tponov rjcrav' ttj ydp Trepicr-
croT)(yia, fiaXXov 8e KaKOTeyvia, Trpocriyoiv 6 aKpoaTrj^
^(0 yiverai 6vp.ov iravTO^;.
20
248.
lioXXd fJLPTOL VTT avTCJV TOiv wpayfJidTcov ojonrep
dvayKacrOrjcrojjieOa crvvOeivai (TTpoyyvXco<; /cat Seuvcos, olov
TO Arjfjioo'OevLKOv to tolovtov,
'
(ocnrep yap et Tt? eKeuvcov
idXo), cri) Tct8' ovk dv
eypaxjjaf;' ouro)? av crv vvv aXws,
dXXo<; ov
ypdxfjeL'^
avTO ydp to Trpdy/Jia /cat rj raft?
25 avTOv
o-viJi7re<l>VKv2av crac/xys ecrêv Tr)v avvOeo-LV, /cat
ovhe ^Lacrdfjievos dv rt? paSico<; eTepo)^ crvveOrfKev avTO.
iv ydp TToXXot? Trpdyfjiao'L avvTuOefJiev, t^cnrep ol Ta5
/caraâcrets Tpi)(pvTe^, vtt' avTcov iXKOfievoi tcjv irpay-
fxdTCOV.
30
249.
HOLTJTLKOV 8e 8Lv6Tr)T6s icTTL /Cat TO CTTt TcXct
2 ol dpxo-Toi] Spengelius, apxatoi P: fort, apxaioi. 14
deiuorrjT*, supra
lituram scripto. 15 /card bis in transitu versuum scripsit P.
|
er^pwi' P. 16 <rrj
T^v dvrideaip in margine P. 21 a-rpoyy^Xojs, a posterius supra versum addito, P.
23
<r> Td5' Demosth. : <ri)
5'
P.
25
a-v/jLTr<pvKv'iav'\Wictori\is, av/JLire^vKVia F.
27
(Twrldeixev : v posterius in rasura P.
DEMETRIUS ON STYLE
183
nature. This is true of all old-fashioned style, the ancients
being distinguished by naivete.
245. It follows that, in the forcible style, we must avoid
old-fashioned traits both of character and of rhythm, and
regard the forcible style at present in vogue as our special
goal. Now, for the members, cadences of the following kind,
'
I have agreed to plead, to the best of my ability, my clients'
case\' keep closest to the rhythm I have mentioned.
246.
Even violence conveys a certain impression of
energy in composition. Yes, in many passages harshness
gives all the effect of vehemence; as though we were jolted
on rough roads. Demosthenes' words are a case in point
:
'(he has deprived) you of the bestowal
you of the pre-

rogative
2.'
247. We should avoid antitheses and exact parallelisms
of words in the period, since in place of force they render the
style laboured and often frigid. Theopompus, for example,
when inveighing against the intimates of Philip, enfeebled his
invective by the following antithesis :
'
men-slayers in nature,
they were men-harlots in life^' The hearer, having his
attention fixed on this elaboration, or rather affectation,
forgets to be angry.
248.
We shall often find ourselves constrained by the
very nature of the subject-matter to construct sentences
which are rounded, indeed, but forcible too, as in the follow-
ing passage of Demosthenes:
'Just as you would not have
made this proposal if any of the former parties had been
convicted, so if you are convicted now no one will do so
in future
^'
This particular arrangement obviously grew
naturally out of the subject and the order of words evoked
by it. Not even by violent perversion could a writer easily
have framed the sentence otherwise. There are many topics
in handling which we are swept along by the subject itself,
just as though we were running down a slope.
249. It also conduces to force to place the most forcible
^
Cp.

10, 20, 31 supra.
3
Demosth. Lept. init.
^
Theopomp. Fragm.
249
: cp.
27
supra.
*
Demosth. Aristocr.
99:
cp.

31
supra.
i84 AHMHTPIOY nEPI EPMHNEIAI
TiOivai TO Seivorarov' TrepikafxâvofJievov yap iv fiecrco
afil3\vvTaL,
Kaddirep to ÂvTicrOevov^,
'
crêSoi^ yap
6SvP7J(TL
dvOpa)7ro<; /c (jypvydvcov dvaa-Tas'' el yap /xera-
(TvvOeiy) rt? ovTOis avTo, ^crêSoz^ yap Ik (j)pvydvo)v diâcrras
5
dvOpoiiro^ ohvvTjo-eiJ KaiTOi tovtov eliroiv ov TavTOV ert
vofJLLcrOrjcreTaL Xeyeuv.
250.
*H Se dvTiOecri^, rjv iirl tov 0eo7rd/x7rou ecj^rji/,
ovSe iv To2<; ^rjiiocrdeviKol^ rjpjjioo-ev, ev6a ^rfcriv^
êreXei?,
iyo) he eTeXovfjirjv' eSiSacTAce?, iyo) Se icfyoLTcov eTpiTayo)-
10 vicTTeif;, iyat Se eOecofjLrjp- eê7mrTe<;, eyco he ecrvpiTTOv'
KaKOTerôvvTi yap eoiKev hid ttjv dpTaTToSoaLV, fiaXkov
Se TraitôvTLy ovk dyavaKTovvTi.
251.
TlpeireL Se ttj heivoTrjTL /cat Totv irepiohctiv rj
TrVKVOTTj^, KaiTOL iv To2<; XoLTTols âpaKTTJpcriV OVK iTTLTrj-
15 Seta oScra* cruiê^ws yap TiOepêviq jxeTpco elKacrOrjO-eTai Xe-
yopiivG)
icfie^rjSi
Kal tovto Seti/aJ /xer/ooj, cocnrep ol ^wXta/xôt.
252. "Afia
pievToi irvKval ea-Tcoaav Kal o-vvTopLOL,
Xeyco Se St/ccoXot TLve<?, eirei tol ttoX-ukcoXol ye ovcrai AcaXXo?
p.dWov TrapeôvcTLV, ov SeivoTrjTa.
20
253. OvTO) S'
7)
crvvTopia to) âpaKTrjpi ^prjaipôVy \
cScrre fcat aTroaioiTrrjcrai iroWaôv SeivoTepov, Kaddirep
242'
6 Ar}p.ocr6evr}S' 'd\)C iyco /xeV, ov ôv\op.ai Se Svcrêpe?
ovSei' elirelv, ovto^ Se eK Treptovcrta? KaTiqyopel! crêhov
o cna)7rrjo'a<; evTavOa heivoTepo^ iravTo^ tov eiTTovTo^ av.
25
254.
Kat vr) Tov^ Oeovq aêhov \_av\ Kal rj da-dcjieLa
TToXXaôi) SeLvoTT)^; ecrTi heivoTepov yap to virovoovpêvov,
TO S' eânXcoOev /cara^poiêtrat.
255.
Êcrrt S' oTTTj KaKO(f)(ovLa
BeivoTrjTa Trotet, /cat
/xaXtcrra, idv to vTroKeipievov irpdypâ Sey TOLavTrjs, a>cnrep
30 TO OfJLTJpLKOV,
TO
3,
4
dpouTTiLS (ppvydvcov in margine supplevit P.
5
Avdpojiros in
compend. et ras. P.
|
dbwrjaei dedi : 68vv7i<Teie P. 10 eaijppiTTov P.
15 cwexwj] edd., <ruvex P.
15.
1 6 Xeyoixivw P.
|
deivCj fiirpwi supra Coairep
scripsit m. rec. P. 1 8 iroXt/Kuôi : iroXtj supra versum scripsit P.
|
ye]
Goellerus, re P. 24 6] Weilius, ws P.
|
&,v seel. edd. 27
iâirXudh : ev
eodem compendio quo -ej/oi' v.
29
infra.
I
expression at the end. If this be surrounded and enveloped,
its point is blunted. Let the following sentence of Antis-
thenes serve as an example :
'
almost torment will be caused
by a man from brushwood started
\'
If a writer were to
change the order thus, 'almost will a man from brush-
wood started cause torment/ he will be saying the same
thing but will no longer be believed to be saying the
same.
250.
Excessive antithesis, already condemned in the
case of Theopompus, is out of place even in Demosthenes, as
in the following passage :
'
You were initiating, I was initiated
;
you taught, I attended classes; you took minor parts in
the theatre, 1 was a spectator
;
you broke down, I hissed
'''.'
The elaborate parallelism of clauses produces the impression
of false artifice
;
of trifling, rather than of honest indignation.
251. An uninterrupted series of periods, although inap-
propriate in other styles, is favourable to force. Its crowded
succession will convey the impression of line recited after
line,forcible lines like the choliambic.
252. These massed periods should, however, be short
{of two members, say), since many-membered periods will
produce the feeling of beauty rather than of force.
253. Conciseness is so favourable to this style that a
sudden lapse into silence is often yet more forcible, as when
Demosthenes says: 'I could on my part... but I do not
desire to say anything offensive
;
only, my opponent accuses
a.t a great advantage^.' The orator's reserve is here more
effective than any possible retort could have been.
254. And (strange though it may seem) obscurity often
produces force, since what is distantly hinted is more forcible,
while what is plainly stated is held cheap.
255. Occasionally cacophony produces vigour, espe-
cially if the subject requires harshness of sound, as in Homer's
line
:
^
Antisth./ra^w.
67,
Mullach F. Ph. G. il.
p.
286.
"^
Demosth. de Cor.
265.
*
Demosth. de Cor.
3,
dXX' iiiol yukv
oi ôiiXo/xai dvax^p^s
direiv ovUv dpx^/J^vos
Tov \6yov, ovTos
5'
iK irepiovfflas fiov KaTTjyopei.
i86 AHMHTPIOY nEPI EPMHNEIAZ
Tpwe? S' ipplyrjaav, otto)? iSov aloXov
6(f)ov'
Tjif
jxev yap kol ev^cDvoripdi^^ elirovTa crcocrai to fjuerpov,
T/oft)e9 S' ipptyrjaav, otto)? 6(j)iv aloXov elBov'
aAA OUT az^ o Keycov oeivo^ ovtcos eoogei^, ovre o
091?
5 avT09.
256. ToiJT(p ovy iiropLevoL rw TrapaSeiyjJiaTL kol toL
dXXa TTpocro'TO'âo'oiJieOa tol o/xota, oloi^ dz^rl /Aei' rov
'TTOLvra av eypaxpev
'
'
eypaxpei^ avy avri Se rov
'
ov irape-
yivero
'
*
irapeyivero ov\i.
'
10
257-
'ATToXTyyoj^reg Se ttotc Acai ets crvvhecTpLOV^; tov
'
he' rj TOV 're* ' KaiToi irapayyiWeTaL (^vyeiv ttjv olttoXtj^lv
T7)v ToiavTYjV' oXka 7ro\\a)(ov ^pT/crt/ô? TOiavTr) av yevocTO,
oTov
'
ovK ev(j)7jiJbrjG' fxiv,
aîov ovTa,
rfTLfxao-e
Se,'
17
w?
TO
'
^ôlvOV T %K(0\6v T, dXX' iv
fXV
ToTs 0/X7^pi/COt9
15 jJieyeOos iTroirjcrev rj eU tovs avvSecrfJiov^ TeKevTTj.
258.
YioiTjcreie
8'
av ttotc Kal BeuvoTTjTa, et ri? wSe
eiTTot ' aveTpexjjev 8e vtto T779 a<l)po(jvvrj<^ re utto T179 dcreêta?
re rd lepd re rd ocrid re*' oXw? ydp
17
Xciott^? /cal to
evrjKoov yXa(f)vp6Tr]T0<;
tSta, ou SetzôTi^TO? e<jTiv, ovtoi
10
8'
ot yapaKTTJpe'i
ivavTucoTaTOL Sokovctlv.
259.
KatTOi eo-Tt 7roXXa;)(ou e/c 7rat8td9 Trapa/xe/xiy-
IJiV'rj<; SeLv6Ty)<; ifXifyaLvofJiivrj tis, of01^ ei^ Tat? /Cft)/xaj8tat9,
/cal 7rd9 6 Kui'i/cos Tpoiro^;, &>? Td KpdTrjTos
Tnjprj Tt9 7at' eVri yLtecrw eVt olvotti
Tv<f)(p.
25 260. Kal TO AtoyeVou? to eV '0Xv/x7rta, oVe tou
ottXltov SpafjLOVTOf; lTTiTpi)(0)v avT09 eKijpvTTev eavTov
VLKOLV Ta 'OXvjLtTTia irdvTa^ dvOpcoirovs KaXoKayadia. fcat
ydyo yeXo-Tat to elprjpievov
dfjia
/cat OavfidêTai,
/cat r^pipâ
KoX vTTohaKvei ttw? Xeyopevov.
4
6 ante o^ts add. Finckhius.
7
irpocrcrTOxoi-o'ifxeda] Goellerus, irpoaro-
XacrdfJ-eda P. 8 Travra A/' ^ypa^pev ^ypaxpev hv] edd., irdvrwv ^ypaxpev &v P.
lo o"?; in margine P. 13
''7 inserui.
14
<r<fcDXo' : a supra Versum add.
atram. pall. P.
17
dv^Tp\pv'] Weilius, du. ^ypaxj/ev P. 21 TraiStSs: as
supra versum add. m. rec. P. 24
Tn/jpr]] Victorius, to iror-qprf P.
|
ya,V'\
Victorius, ykp P.
| tj)0v]
Victorius, irbpTifi P. 28 irpbi to P.
DEMETRIUS ON STYLE
187
Then shuddered the Trojans, beholding the writhing serpent'.
It would have been possible to construct the line more
euphoniously, without violating the metre, thus:
Then shuddered the Trojans, the writhing serpent beholding.

But there would then have seemed to be nothing terrific
whether in the speaker or in the serpent itself.
256. On this model we may venture other similar ex-
periments, such as the order ejpayjrev av in place of (iravTa)
av ejpa-yjrev or irapeyivero ov^^^l in place of ov irapeyevero.
257. In this style we shall, also, sometimes end with
the conjunctions he or re, notwithstanding the instructions
we have received to avoid terminations of the kind. Such
endings are often useful, as in the words
'
He did not praise
him, though he deserved it ; he insulted him, on the contrary
(yTi/uaae 3e)"'; or as in
'
Schoenus too, Scolus too^.' In
Homer elevation is the result of ending thus with conjunc-
tions.
258.
Force of style will also mark a sentence of this
kind :
'
He turned upside down, in his folly and his impiety
too, things sacred and things holy too.' As a general rule,
smoothness and a pleasant cadence are characteristic of the
elegant rather than the forcible style
;
and these two styles
seem to be direct opposites.
259. In many passages there is an air of vigour due to
a dash of fun. This is so in comedies
;
and all the Cynic
manner is of this character. Crates' words are an instance in
Comedy:
There lieth a dim land under a lurid smoke-pall smothered^

260. So with a saying of Diogenes at Olympia, when
(at the conclusion of the race between the men in armour)
he ran up and proceeded to proclaim himself victor at the
Olympic games over all mankindin high personal character.
This exclamation excites mingled laughter and applause,
and there is a light touch of mordant wit about it too.
1
Horn. //. xii. 208.
^
Scr. Inc.
^
Horn. //. ii.
497.
''
Cratetis/ro^w/.
7,
Bergk^.
i
261. Kal TO 7Tp6<; Tov koKov prjOev avTcp' irpocr-
TTokaioiv yap /caXw TratSt AtoyeV?^? SieKLvijOr) ttw? to
alSolov, TOV Se TratSo? (jyo/BrjOevTOs /cat d7roTrr}S7](TavTO<^,
'
Odppeiy a> iraihiov' ovk elpl TavTT) o^jlolo^' yekoZov yap
5
TO Trpoyeipov tov \6yov, heivrj
8'
tj KevOojJLevrj ifjLcfyacns.
/cat oXcos, crvveXovTL (fypdcrai,
irdv to etSo? tov Kwikov
Xoyov aaivovTi a/xa eot/ce to) /cat haKvovTi.
262. ^prjcrovTai S' avTco /cat ot pijTopes iroTe, /cat
e)(pijcravTo, Avcrta? /xez^ Trpos roi^ epwvTa Trj^ ypao<; Xeycov,
10 ort
*
-^s
yootor
77^
dpiOpLTjcrai tov<; oSoz^ras '^ rovs Sa/crvXov?-'
/cat yap Setiôrara a/xa /cat yeXotorara iv(f)rjvv
ttjv ypavv
'ÔfjLrjpo^ 8e TO
'
OvTiv iyo) irvpâTov eSoûtat,' a)S irpoyi-
ypaiTTai.
263. *fl? S' az^ /cat e/c aîiaTOiv
yiyvoiTO heivoTT]^,
15
XeôjJLev. e/c êi^ ouz^ roii^ T179 8ta^'ota9 (r^rjfjbaTCJV, eK
fxev
tt}? TrapaXeLxjjeoJS ovoixatpjjiiviqf; ovtcx)^' ^"OXvvOov
fxev
Srj /cat M.e6(i)vr)v /cat 'ATroXXwt^tai^ /cat 8vo /cat TpiaKovTa
TToXet? Ta9 eVt
0^01/079
eoi-' ej^ yctyo rourot9
/cat elpiqKev
\
TTOLVTa, ocra iôvXeTO, /cat TrapaXnrelv avToi <j)r)orLv, &)? 243'
20
SeLvoTepa eiTreiv )(0)v erepa.
264. Kat
77
TTpoeiprjixivr)
8'
aTrocrtwTTT^crt? roi) a^rou
riOov<i iôfjievrj SeuvoTepoy rroirjo-ei tov Xoyov.
265. UapaXafji/Bdi'OLTO
8*
ai'
o-^rjfjia
Staôta?
77^09
8t^'orT7Ta
17
7rpocr(i)7T07roua KaXovfxivrj, olov
*
8ofaTe
v/xti'
25 T0V9 Trpoy6vov<^ oveihitêiv /cat Xeyeiv TdSe TLpd rj ttjv
*EXXct8a -^ T7)v TraTpiSa, Xaôvcrav yvvaiKos cr^Tj/xa.'
266. '^flairep iv tco eVtrac^to) liXaTOiv to
'
cS 7ratSe9,
ort /xeV ecTTe TraTepcjv dya6a)v/ /cat ov/c e/c tot) t8tov
Trpo(T(iiTTov Xeyeiv, dXXd e/c rov t(ov TraTepcop' ttoXv yap
7
o-abouTi: i prius in ras P. 10 pdSiov F. 11 div6raTov...ye\oi6TaTov
P, 5e('6raTa...7tXot6Tara (a... a supra versum pallid, atram. scripto) m. rec. P.
12 oijTiv P.
14, 15
yi'yvono...<jxrilJ'dTU3v in margine P. i6 TrapaXifjipeojs P.
17
fiodwv-qv P.
I
dTToXwj'tai' P. 21 Kai
^
irpoeiptjixhri] Finckhius, fcai
irp''
7) dpyjfjAvTj P. 22 ^dovs] Victorius, ^dovs P. 24 i) ins. Hammerus.
I
DEMETRIUS ON STYLE
189
261. So also with his words to the handsome youth,
when wrestling with whom Diogenes unawares assumed an
unseemly position. The lad was frightened and started back.
'
Never fear, my dear boy,' he exclaimed,
'
I am not your
match in that way.' There is wit in the ready reply and
point in the hidden meaning. And it may be said in general
that every variety of Cynic speech reminds you of a dog
that is ready to bite even while he fawns.
262. Orators will always employ, as the}^ always have
employed, this weapon of sarcasm. Witness Lysias and his
remark to an old woman's lover that
'
it was easier to count
her teeth than her fingers\' He has represented thegrandam
in a most repulsive and a most ridiculous light. So, too,
Homer with his already quoted words
'
Noman will I eat lasf^*
263. We shall next show how force can be secured by
rhetorical figures. It can be secured by figures conveying
the speaker's thought. Take, for instance, that which is
called
'
praetermission,' e.g.
'
I pass over Olynthus, Methone,
Apollonia, and the two-and-thirty towns on the confines of
Thrace^' In these words the orator has said everything he
wished, while professing to have passed everything over in
his desire to proceed to weightier matters.
264. The figure
'
aposiopesis ' already mentioned, which
partakes of the same character, will also make expression
more forcible.
265. Another figure of thoughtthe so-called
'
proso-
popoeia
'
may be employed to produce energy of style, as in
the words
:
'
Imagine that your ancestors, or Hellas, or your
native land, assuming a woman's form, should address such
and such reproaches to you^'
266. Plato uses the figure in his Funeral Oration :
'Children, that you are sprung from noble sires, etc.'"^ He
does not speak in his own name, but in that of their ances-
1
Lys. Fragnu (cp.

128 supra). 2 jjom. Odyss. ix.
369:
cp.
130 supra.
3
Demosth. Philipp. iii. 26.
*
Scr. Inc.
^
Plat. Menex. 246 D.
190
ivepyecTTepa kol Seivorepa câtj/erai vno to)v TrpocranrcoPy
fjiaXXov Se Spa/âra dre^^z^w? yiverai.
267.
To, iJikv
elSr) Trj<; Siavoias kol cr^T^/xara Xa/x-
/3dvoLT av, 0)9 elpy)Tai' kol yap Tocravra tol elpiqixeva
5 7rapaSeLyfjLaT0<;
eVcAca, to, 8e
ttJ?
Xefews o")(ijfxaTa ttolkl-
Xcorepov iKkiyovrd icm (êivorepov iroieiv rov \6yov, e/c
re TT^S dzâSiTrXwcrect)?, cos
*
rjâi Se, ^rjâu, ttoXls dcrrv-
yeiTCJV, iK jJL4arj<; rrj^ 'EXXdSo? dvyjpTrao-Tar' hiKoyqOkv
yap TO ovofxa
SeivoTrjra iTOiei.
10 268. Kai Ik
TTJs
dva(j)opd^ AcaXov/xeVT^?, o)<; to
'
inl
cravTov /caXets, eVt rou? iô/xou? /caXet?, ctti t'iî' St^/io-
KpaTiav /caXeis*' to 8e o-xrjjjia
to
elprjfxevov tovto Tpi-
ttXovv Kal yap i7rava(j)0pd icTTLV, ct>9 elpiqTai, hid to ttji/
avTTjv Xe^LV irravaiîp^crOaL iirl ttjv avT7)v dp^v, Kal
15
d(TvvheTov' Stâ yd/o crvvhiayioiv XeXe/crat, /cal ofxoLOTe-
XevTov hid ttjv diroXriîv tov
'
/caXel? ' TroXXd/cts. /cat
SeilÔTT^g TjOpOlCTTai i.K TOiV TpiCJV, 1
8'
17701 TIS OVTW?,
'
eVt (ravTOP Kal tov^ v6p.ov^ Kal ttjv hiqixoKpaTiav /caXets,'
d/xa rot? crx^y/^cto-t^'
iâipijcrei Kal ttjv Seiv6T7)Ta.
20
269.
MdXtcrra 8e TrdvTCDV laTeov tt^v hidXvcriv heivo-
TrjT0<s
ipydTiv, olov
*
iropeverai hid ttj^ dyopd<; Td^ ypdOovs
(l)vcr(ov,
Td<; oc^pvs i7rirjpK(o<;, icra /3aivo)v TLvOoKXei'
' el
ydp crvva(l)67j
TavTa crvvhecrixois,
wpaoTepa ecrrai.
270.
AafJi^dvoiT dv Kal tj /cXt/xa^ KaXovfJuevr], cocnrep
25
Ar)iJioa6evi to
'
ovk elirov fxev
TavTa, ovk eypaxpa
he' ovS* eypaâ /leV, ovk eTrpea/Bevcra he' ovo eTrpecr-
êvcra /xeV, ovk eireicra he Srjâiovs'' ax^hop
ydp eirava-
lâivovTi
6 Xoyo^ eoiKev eirl fieiôpcov fxeiôpa- el he
ovT(o<s
eiTTOi Tt9 TavTa,
'
elncov iyco Kal ypdxpa^ irrpeaêvcrd
2 drixûs P. 3 Xa/x^dpoir' : v in transitu versus bis scripsit, prius tamen
V postea delevit P. 1 1 kirl rovs vdfiovs KoXeis ex Aesch. Cês. supplevit Victorius.
13
^(rTiv, wj] Victorius, fo-ws P. 16 /caXets] edd., /coXeto-âi P. 18 iirl
(Tavrbv] Victorius, ivavrbv P. 24 KXi/xa^ in margine P. 26
oi)5' iirpiaêvaa
fih
in margine add. P. 27
&d7]vaLovi P.
II
DEMETRIUS ON STYLE
191
tors. The personification makes the passage much more
vehement and forcible, or rather makes it quite dramatic.
267. The forms and figures of thought will, therefore,
be employed in the way described
;
the instances cited may
suffice to serve as a sample. As for the figures of language,
the more ingeniously they are chosen, the more forcible can
discourse be made. Take the figure 'reduplication,' as for
example :
'
Thebes, Thebes, our neighbour-state, has been
torn from the heart of Greece
\'
The repetition of the proper
name has a powerful effect.
268. The same thing is true of the figure
'
anaphora,'
as in the words :
'
against yourself you summon him
;
against
the laws you summon him ; against the democracy you
summon him^' Here the figure in question is threefold. It
is, as has been already said, an
'
epanaphora,' because of the
repetition of the' same word at the commencement of each
clause
;
an
*
asyndeton,' because of the absence of conjunc-
tions
;
and a
'
homoeoteleuton,' because of the recurring termi-
nation 'you summon him.' And force is the cumulative
result of the three figures. Were we to write
*
against your-
self and the laws and the democracy you summon him,' the
force would vanish together with the figures.
269. It should be observed that, above all- figures,
disjunction is the handmaid of force : e.g.
'
he passes through
the place of assembly, puffing out his cheeks, raising his
eyebrows, walking in step with Pythocles^' If the words be
coupled by conjunctions, the effect will be tamer.
270.
The figure called
'
climax
'
may also be employed.
It is exemplified in the following sentence of Demosthenes:
*
I did not speak thus, and then fail to move a resolution
;
I did not move a resolution, and then fail to act as an
envoy : I did not act as an envoy, and then fail to convince
the ThebansV .This sentence seems to climb ever higher
and higher. If it were re-written thus, 'having expressed
my views and moved a resolution, I acted as an envoy and
^
Aeschin. Ctes.
133.
"^
Aeschin. Ctes. 202.
'
Demosth. de Falsa Leg,
442.
"
Demosth. de Cor. ijg.
192
re Koi eneicra @T7/3atov9,' SiijyrjjjLa ipel fiovop, Seivov 8e
ovSev.
271.
KaOokov 8e rrj^ Xefews ra
cr^cif/iara
kol vtto-
KpucFLv KOL aycjva irapiêi tco Xeyovri, jidkiCTTa to
5 SiaXeXyfievov, tovt eaTL SeuvoTrjTa. /cat nepl
fxev
roiv
crxy)iiaLTO)v dfji(f)OTp(t)v
Tocravra.
272. Aefts
Se Xajxâviado) iracra, ocriq koX iv Tft>
IxeyaXoTTpeneL âpaKTTjpi, TrXrjp ovk inl to avTo reXos*
Koi yap fjieTacjyipoi'Td icTTL Seuvd iroieiv, w? to 'tS UvOcjvl
10 Opaavvopêvo) koX ttoXXw peovTi Ka0* vp^covJ
273-
Kat et/cacria? XiyovTa, w? to At)p.ocr0vov^,
*
TOUTO TO l//T7<^lO-/i-a TOZ^ TOT* ilTLOVTa TTj TToXei KlvhvVOV
TTapeXOeiv iTTOLYjcrev, wairep
v(f)os.'
274.
At 7rapa/3oXal Se tt^ SetiôTT^Tt ov/c CTTtTT^Setat
15
8ta TO prJKOf;, olov to
'
cjcnrep Se kvo)v yeiîâto?, aTretpo?,
dTTpovorJTO)^
inl Kairpov (êpcTaf' KdXXo<; yap
\
/cat a/cpt-
243^
)Seta Tt9 e^' TOUTOt? e/i,(âtz/eTat,
17
Se SetzôTT;? cr(f>oSp6v
tl
)8ouXeTat /cat avvTopov, /cat eyyvSev ttXitittovctlv eoiKev.
275-
TtzêTttt Se /cat e/c avvOeTov ovopaTOS SetiôTi^?,
20 axTirep koI rj crvvijOeia crvvTidrjcTLV Seuvcos iroXXd,
'
Tr)v
'âpaiTiJTrrjv' /cat 'Tot' TrapanXrjya^ /cat et Tt aXXo toiovtov
KoX napd TOts prjTopaL Se TToXXa di^ Tt? evpoL ToiavTa.
276.
UeLpdo'daL Se Tct ovopaTa TTpTr6vTCo<; Xiyetv
T0t9 TTpdypacriv, olov inl pev tov ySta /cat navovpyia Spd-
25 craj/T09
*
Ste^tacraTO,' CTrt Se tou ^ta /cat (fyavepois
/cat
fteTct
dnovoia<;
'
iêKOêv, lêlXevJ inl Se tov SoXtw? /cat
Xa9paio)<;
'
iTpvnrjaev^ rj
'
Stec^vyez^,' -i) el tl toiovtov npocr-
<f)opov
TOts npdypacLv ovopa.
277*
To Se iâipeaSai ncos Xapâvopevov ov peye-
30
ôs
TTOtet povov, dXXd /cat SetiôTT^Ta, 0)9 to
'
ov Xeyetj/
I driPaiovi ex ddrjvaiovs P.
|
/i6i'oi' ex /ndvutv P.
|
deivQv P. 1 1 et e//cd<reiay P.
12 t6t' : TO extra lineam additum est in P. 25 5ie/3iao-aTo] edd., 5tej3ij8a(raTo P.
27
Xa^pa^ws] Victorius, Xddpa cos P.
|
St^îryci'] edd., dUtpayev P.
30
5eii'6-
TTp-a : 77 in rasura P.
DEMETRIUS ON STYLE
193
convinced the Thebans/ it would be a mere recital of events,
with nothing forcible about it.
271. In a word, the figures of speech help the speaker
in delivery and in debate ; lending especially the effect
of abruptness,in other words, of energy.With regard to
both kinds of figures what has been said must suffice.
272.
In the forcible style the same kinds of diction
may be employed as in the elevated style, but not with the
same end in view. By the use of metaphor force can be
gained, as in the words :
'
Python was blustering and rushing
upon you in full floods'
273. So, too, by the use of similes, as in Demosthenes'
expression :
'
this decree caused the danger which then threat-
ened the city to pass by like a cloud
2.'
274. But poetical images do not suit the forcible style
owing to their length : e.g.
'
like as a gallant hound, ignorant
of danger, charges a boar recklessly I' There is an air of
beauty and finish about this sentence. But the forcible style
demands a certain vehemence and terseness, and resembles
combatants dealing blows at close quarters.
275. Compound words also lend vigour, as i^ seen in
those which usage often forms so forcibly, e.g. 'earthward-
hurled,' 'slant-shelving,' and the like. Many equally good
examples may be found in the orators.
276. We should endeavour to use picturesque words.
For example, we may say of a man who has acted violently
and unscrupulously, that
'
he has elbowed his way through '
;
of one who has used violence openly and recklessly, that
'
he
has hewed his way through, he has swept aside obstacles
'
;
of one who has had recourse to guile and evasion, that 'he
has wormed his way,' or 'slipped through,'or whatever
expression is equally appropriate to the subject.
277. A discreet use of elaborate language produces
not only dignity but vigour of style. For instance: 'You
^
Demosth. de Cor. 136: cp.
80 supra.
^
Demosth. de Cor. 188.
^
Xenoph. Cyrop. i.
4,
21: cp.
89
supra.
R.
*
13
194
i(T(o TTjv
X^^P^
ixovra
Set, Alo-yivr], dXXa Trpeaêveiv
icro) TTjv
X^^P^
exovra.'
278. Kat TO
'
aXA.' 6 T171' FiVôtav eKeivo^ crcêrept-
ôfxevo^' ov yap virep tov ^xiyav Troirjcrai tov \6yov i)
5
eTravdcTTacri^, dXX' vwep tov Seupov. yiveTai Se tovto
eTTOLv fjiTa^v iâp64vTe<; KaTTjyopcoyLev Tivo<i' (^crirep yap
Alaxivov KaTTjyopLa, to 8e îXiTnrov icTTiv.
279*
êivov 8e Ka\ to ipcoTcovTa tov<; aKOvovTa<; evua
Xeyeuv, /cat /xt) a7ro(âiv6ixevov,
'
dXX' 6 7171^ ^vôiav
10 iKLVO<; crcj)eTepL^6fJivos /cat KaTaaKevdl^cov eVtret^tcr/xa
7rt T'î/ ÂTTLKrjvy TTOTepov TavTa TTOLcjv r)SLKL, /cat ekvev
TTjv elprjv-qv, tj ov;' KaOdnep yap et? aTropiav dyei tov
GLKOvovTa iêXeyxofJiepcp
ioLKOTa /cat
fjirjSev aTroKpivaaOai
exovTi'
el Se coSe fxeTaâXojv icjirj rt?,
'
'^St/cet /cat eXue
15 tt)!^ elpyjv7)v,' crac^w? StSdcr/cotrt ew/cet /cat ovk iXeyxovTi.
280. 'H Se Kakovfxevr) iTTijJLOvrj ecrrt /i-ei^ kpfxrjveia
TrXeiojv tov 7rpdyixaT0<;,
/xeytcrra Se avjx/BdkoLT av et?
Setzôrr^ra* TrapctSety/xa Se avTrj^ to AtjidLoo-Oevov^;, VdcrT^/xa
ydp, cJ dv8pe<; 'AOrjvaloi, Seupov ifiTrenTcoKev et9 ri^z^ *EX-
20
XdSa-
'
'"''
'''
ov/c ai/ ovto)^ rjv Seuvov.
281. Tdâ Se /cat 6
V(f)r)fiLo-iJio<; KaXovfjievo^ fxeTexoL
ttJ?
Setz/0T7yT09, /cat 6 tol Sv(T(f)rjjjLa eix^yiqixa ttolcov, /cat tol
do'e^yjIxaTa evcre/^T^/xara, otoz^ a>9 6 ras Nt/ca? ra? ^yoi;ord9
^wzêuetj' /ceXevcoz^ /cat KaTaxpTjcrOai toIs
xPVf^^^^^
^^^
'^^^
25
TToXefJLOV
ovx
ovTO)<; eiTTev
irpox^^pf^î
otl
'
/cara/cdi/zw/xez/
ret? Nt/ca? ets roz^ woXefJiov
'
Svo-cfufjfJiov
yap av ovtco^ /cat
XotSopov^Tt eot/co? 7)z/ rd? êd?, dXX' evfjirjiJiOTepov,. otl
*
avyxpyjcrofjieOa
rat? Nt/cat? et? toz^ rroXefjiov' ov yap
KaTaKOTTTOVTL xd? Nt/ca? eoLKev ovtcos prjOev, dXXd
crvfji-
30
)Ltdôv5 yLerairoiovvTi.
^
3
^/cetj'os ex ^/c/*'ws (ut videtur) P : item v. lo. 6 ^âp^^vres] Spengelius,
iâiped^vres P.
7
A/crx^j/ou : aZs in rasura P.
|
/caTi770/)â] H. Stephanus,
icaT7/7opfas P. 12 ^ of supra versum add. P. 15
o6k post xai add. Victorius.
16 ewi/xdvr] P. 17
TrXeZoi' in TrXe/wi' atram. pallid, mut. P.
19
/xî' Wtttw-
icei/ P. 20 lacunam indicavit Victorius. 28, 29
ou 701/)
KaraKdirTovri in
ras. P. 30
/xeTairoLovvTi in margine add. P.
DEMETRIUS ON STYLE
195
ought not, Aeschines, to refrain from holding out your palm
as a speaker, but to refrain from holding out your palm as an
ambassador^'
278. And similarly :
'
Nay, he was appropriating Eu-
boeal' The object of the rise in tone here is not to make the
style dignified, but to make it forcible. This occurs when in
mid-height of our exaltation we are denouncing some opponent.
So here, Aeschines and Philip are respectively denounced.
279.
In speaking it is sometimes forcible to address
questions to the audience without disclosing one's own view.
For instance :
'
Nay, he was appropriating Euboea and estab-
lishing a fortress to command Attica
;
and in so doing was
he wronging us and violating the peace, or was he not^
?
'
The orator forces his hearer into a sort of corner, so that he
seems to be brought to task and to have no answer. If the
positive statement
'
he was wronging us and violating the
peace' were substituted, the effect would be that of precise
information rather than of cross-examination.
280.
The figure called
'
epimone,' which is a mode of
expression going beyond the bare statement of fact, will
contribute very greatly to vigour of style. An example of it
may be quoted from Demosthenes :
'
Men of Athens, a terrible
malady has fallen upon Hellas...
=*.'
[If thus changed], the
sentence would have been less forcible.
_281.
An element of vigour may also be found in what
is called
'
euphemism,' whereby a man makes inauspicious
things appear auspicious and impious acts appear pious. A
speaker once urged that the golden Statues of Victory should
be melted down, so that the proceeds might be used to prose-
cute the war. But he did not say outright,
'
Let us cut up
theVictories for the war.' Such a proposal would have seemed
impious and like an insult to the goddesses. He put it in
the more euphemistic form :
'
We will seek the cooperation of
the Victories for the war.' This expression seems to suggest
not the cutting up of the Victories, but the conversion of
them into allies.
^
Demosth. De Falsa Leg. 421.
"^
Demosth. de Cor.
71.
*
Demosth. de Falsa Leg.
424.
132
i
196
AHMHTPIOY HEPI EPMHNEIA2
282. Aetm Se Koi tol ArjfjidSeia, Kairoi lîov koI
aroTTOV Tpoirov e)(eiv SoKOvvra, ecrri Se avrcov rj SeuvoTrjf;
K re T(xiv ifKJxio-ecov yivofievrj, /cat
ef
dXXrjyopLKOv tlvo^
TrapaXajJLâvofJbevov, Koi rpirov i^ u7Tep/3oXr}<;.
5 283.
Oloi^ icTTi TO
'
ov riOvrjKev ÂXeâvSpo^, (6
dvSpe^ ^ KOrjvaioi' coêv yap av rj OLKOVjJievr] rod vEKpov.^
TO p.v yap
'
o)C^v
'
olvtI tov
*
ycrOdveTO
'
dXXrjyopLKOv
Kal virepôXiKOV a/xa, to Se Ty]v olKovfxevrji^ alcrOdveaOaL
ificfyavTiKov Trjs Svvdfxeo)^ Trj<; 'AXe^dvSpov, /cat a/xa Se tl
10 iKirXrjKTLKOv eêt 6 Xdyo9 rÔpoio'iiivov e/c rwi^ Tpioiv
\
irdo-a Se e/CTrXi^ft? Setz/oi/, e7retSi7 (jio/Sepov.
244'
284.
Tov Se auTOV etSou? /cat to
*
ort tovto to xpij-
(f>LcrfJia
ovK eyo) eypaxpa, dXX' 6 7rdXe/xo9 rw 'AXefai^Spov
Sdpart ypd<^(jiv,' /cat to
'
eot/ce yap
17
Ma/ceSort/cJ) Swa/xt9,
15 diroXajiXeKvIa tov 'AXeâvSpov, tS KvkXcjttl TeTv^Xoiixivo)'
285.
Kat aXXaôv ttov,
'
TrdXti^, ov ttjv enl npo-
yovctiv TTjV vavfjiaôv, dXXd ypavvy aavSdXua VTroSeSe/xeVryi/
/cat TTTicrdvriv poiôicrav to jxev yap ypavv dXXiqyopovv
dvTi TOV dcrOevrj /cai e^LTrjXov
tJSt),
/cat a/xa e/xcâtiôz^ tiî'
20 dhpaviav avTrj^ VTrep/BoXiKco^' to Se TTTio-di/rjv po(f>ojcraT/,
CTret ei' /cpeaz/o/xtat? TOTe /cat Traz^Sato'tat? Sidyovcrav
dwoXXveiv Ta o-TpaTioiTiKa î^/xaTa.
286. ne/)t /xez^ ouz^
T7J9
Ar^/xaSetov SetiÔTT^To? dpKei
TOcravTa, KaiTOi e-ôvcFT]^ tl e7n<T(f)aXe^
/cat ov/c evpîynqTov
25 ixdXa'
evecTTL ydp tl /cat ttoltjtlkov tco etSet, et ye ttolt)-
TiKov Tj dXXrjyopia /cat vnepôXrj /cat e/x(âo-t9, TTOir^TiKOv
Se fjLLKTOv
/cw/xwStag.
287.
To Se KaXovfxevov eo-^T7/xaTtcr/xeVoi/ ez/ Xdyo) ot
j/vi' pTjTOpe^ yeXotcug iroiovcriv /cat /xeTa e/xtâo'eois dyev-
1 briiJ.dd7}s in margine P.
|
Srj/xddia P. 6 A*/ supra versum add. P.
8 a^ta in margine add. P. 16 7r6Xi'] Lhardyus, TrdXtj' P. 18 pocpoDaav
(
supra ou scripto) P.
19
i/i<f>aivov ex ifxcpabuv P. 20 virepôXiKuts
:
vwep add. m. rec. P.
|
irTiadvqv l>o<pCj<Tav in margine P. 22 d7ro\Xj/'] Victorius,
dTroXjJeij' P. 23
dTjfxadiov P.
24
ein<T(pa\^s : es supra versum add. P.
25
TO P.
29
{1761/1/01)5 ex dyevovs P.
DEMETRIUS ON STYLE
197
282. The sayings of Demades, also, though thought to
have a pecuHar, even eccentric character, possess a certain
force, which they owe to innuendo, to the employment of an
allegorical element, and (lastly) to hyperbole.
283. This is an example :
'
Alexander is not dead, men
of Athens
;
or the whole world would have scented the
corpse
^'
The use of
*
scented ' in place of
'
perceived,' is
allegorical and hyperbolical alike
;
and the idea of the whole
world perceiving it suggests the might of Alexander. Further,
the words convey a thrilling effect, which is the joint result
of the three causes. And every such sensation is forcible,
since it inspires fear.
284. Of the same character are the words :
'
It was not
I that wrote this resolution, but the war wrote it with Alex-
ander's spear
'^
; and these
;
'
The might of Macedon, after
losing Alexander, resembles the Cyclops with his blinded
eye\'
285. And elsewhere :
'
A State, no longer the sea-
warrior of the days of our ancestors, but a lean and slippered
crone supping her possets' Here the expression 'crone' is used
figuratively for a weak and declining State, whose impotence
it indicates in an exaggerated way. The words
*
supping her
posset' imply that the city was occupied with feasts and
banquets and was squandering the war-funds.
286. Enough has been said with respect to the Dema-
dean vigour, which indeed has dangers of its own and is not
easily copied. There is in its nature something poetical, if
allegory and hyperbole and innuendo are poetical. But it is
poetry with a dash of burlesque in it.
287. Next comes the so-called
'
covert allusion.' This
the orators of our day employ to a ridiculous extent, coupling
^
Demad./ragfftm. , Baiter-Sauppe n.
p. 315.
198
vov^ oifxa Kal otov avajjLvrjo-TLKrjsy olXtjOlvov Se
cyjujid
ecrrt
\6yov
fjiTa
Svolv tovtoiv Xeyofxevov, evirperreia<; koX
288. EvTTêTretas /xeV, oXov &)9 TVkoLTOiv ^ Kpicrrnnrov
5 KOL KXeofx^poTov koiSoprjaai 6eXijcra<;, kv
hlyivri oxfjocjâ-
yovvTa<; Seoe/xeVou ôiKparov^
^
KOrjViqcriv kiri iroWa^
rjiJiepa<;, kol jxt) StaTrXevcraj/ra?
ws rov kraipov koI StSacr-
KoKov, KaiTOL ou^ 0A.0V9 aTreôz^ra? 8ia/cocrtou9 crraStous
ra)^' ^KOrfVcov. ravra iravTa hiapprjZiqv
fxev
ovk eLTrev
10 XoiSopua yap rjv 6 Xoyos' evTrpencos 8e ttcos rovSe tov
rpoTTOv. ipojTrjdelf; yap 6 âiScoz^ rov^ wapovTa^ Sw-
KpoLTTj, Kal Karakeâs eKacrrov, kTravepojTrjdei'^y el KaX
ApLaTL7r7ro<; Kai Kkeofi/BpoTo^; Traprjcrav,
'
ou,'
(f>r)crLv,
'
v KiyivTj ycLp Tjcrav Trdvra yap ra 7rpoipiqp.iva eyu-
15 âiverai t(o ^ kv Alyivrj rjaav'^ Kal irokv Setzôre/ao? 6
koyo^ BoKL TOV 7TpdyiJLaT0<^ avTOV ififfyaCvovTos to heuvov,
ov^L TOV kiyovTo^. TOV<;
fxev
ovv d/x<î tov 'ApCorTLTnrov
Kal kolSoprjcrat lctcos olklvSvi'ov ovto^ ev cr^Ty/tart 6
YlkoLTOiv
ikoiSoprjcrev.
20
289. IloXXa/ct? 8e r) 7rpo9 Tvpavvov r) dkko)^ îaiov
TLva
OLakeyofxevoL Kal oveihicrai oyo/xwi^re? -^prjôfiei'
ef
avayK7j<5 cr^T^/xaro? Xoyov, &)9 ArjfMrJTpLOS
6 'âkrjpev'^ tt/jo?
KpaTepop TOV MaKeSova inl '^pvcrrj^ Kkivr}^ KaOeôfxevov
fjLTeo)pov, Kal iv
wopcfyvpa
-^kaviSi, Kal virepiq^dvcxif; diro-
25
SexofJievov ras Trpecrêias tcov 'Fikkrjvojv,
cr-xvixaTLcra^;
etirev oveiSicrTLKcos, otl
'
VTreSe^dfjieOd iroTe irpecrêvovTa^;
r)iJiL<; TOvcrSe Kal KpaTepov tovtov^ iv yap tco SeuKTLKCo
TO)
^
TOVTov
'
iiJL(j)aLveTaL
7)
VTrep7j(f)avLa tov KpaTepov
wacra ajveiSicrfJievr) iv crîJiJLaTL,
I irepl iXTjOeias in margine P.
7
8ia\6aaPTas rbv ^repov, irXev supra Xu
et at supra e(p) scripto, P.
|
ws add. Victorius. 8 dwixovra P. j
3
dpi-
(TTLiros P.
15
t6 P.
17
dpicTTiirou P. 22 \6yov] P'inckhius, BXov P.
|
(Tt; ri rb Xeyd/xevov ttoi (h. e. iroios) Arjfii^Tpios Kal tLs 6 rdde ypdcpov (leg. ypdcfxav) in
margine P. 24 -xXavih, fxv supra ;'t scripto P. 26 tiTretj/ corr. in e^Trei'
(accentu non mutato) P.
27
rdvde P. 28 rd tovtov P.
DEMETRIUS ON STYLE
199
it with low, and (so to say) suggestive, innuendo. The true
*
covert allusion ' depends on two conditions, good taste and
circumspection.
288. Good taste is shown in the
'
Phaedo,' where Plato
desires to reproach Aristippus and Cleombrotus because they
were feasting at Aegina when Socrates was lying for many
days imprisoned at Athens, and did not cross to visit their
friend and master, although they were less than thirty miles
from Athens^ He has not said all this in express terms (for
that would have been an open reproach), but with fitting
reserve as follows. Phaedo is asked who were with Socrates.
He enumerates the men one by one. Next he is asked
whether Aristippus and Cleombrotus were present.
*
No,' he
answers
;
*
they were in Aegina.' Everything that precedes
owes its point to the words
'
they were in Aegina.' The
passage is all the more forcible because its point is conveyed
by the fact itself and not by the speaker. So, although he
might no doubt have reproached Aristippus and his com-
panions without incurring any risk, Plato has done so under
cover of a figure.
289. Often in addressing a despot, or any person other-
wise ungovernable, we may be driven to employ a figure of
language if we wish to censure him. Demetrius of Phalerum
dealt in this way with the Macedonian Craterus who was
seated aloft on a golden couch, wearing a purple mantle and
receiving the Greek embassies with haughty pride. Making
use of a figure, he said tauntingly :
'
We ourselves once re-
ceived these men as ambassadors together with yon Craterus'^.'
By the use of the demonstrative yon all the pride of Craterus
is indicated and rebuked in a figure.
1
Plat. Phaed.
59
c.
2
Demetr. Phaler./;-a^;//.
7,
C. Mliller Oral. Att. ii.
p. 476.
L
290.
Tov avrov etSoi;9 ecrrl kol to UXdrcovo^ irpo^
^lovvcriov xfjevcrdfievov
/cat apprjcrdfjiepov, on
'
eyw crot
Ukdrajv ovSev a)iJio\6yr)0'a, crv /jiePTOL, vi) tovs 6eov<^.[
Kol yap ekrjXeyKTai iêvo-fievo^s, kol cjêi tl 6 Xoyos
5 cr^TJjLta fjieyaXelov a/ia /cat dcrcâXe?.
291.
UoXka^rj jxivTOL /cat
|
eTra/xcôreptôucrti^- 019244'
eot/ceVat et rtg iOiXoL /cat xjjoyov^ et/catoi/zdyov? etiât [êXot
Tt?], TrapctSety/xa to tou Atcr^^tVov eVt rou TT^Xavyovs*
TTcto-a yap crêSo^
17
Trept roi^ Ti^XauyTJ StT^yT^crt? diropiav
10 7rape)(0i, îre OavpâcrfJios etre ^kevacrpos icm. to Se
TOtouTOJ^ et8o9 dptpC/BoXov, KaiTOL elpcoveia ovk ov eêi
Tivd opct)S /cat elpcovetas epcjâauv.
292.
Awatro S* az/ rt? /cat kripoi^ o-)(rjpaTiêiv, olov
ovTOJS' iTreihrj 0,1780)9 aKovovcriv ol SwdcTTai /cat Sviâ-
15 crTt8e9 TOi avTOiv dpapTijpaTa, TrapaivovvTe^ avTol<; prj
dpapTdveiv ovk
ef
evdeia^ ipovpev, dXX' ^rot eTepov^
xjjeôpev TLvas tol opoia 7T7roir}K6Ta<;, otov 7Tp6<; Alovuctlov
TOV Tvpavvov KaTOL <l>aXdyot8o9 TOV Tvpdvvov ipovpev /cat
T7J9
âXdyot8o9 dwoTopCaf;' tj iiraivecropeOd Tiva^ Aiovvcriq)
20
ret ivavTia TreiroLiqKOTa^, oiov TeXcjpa rj lepcova, otl ira-
Tpdcriv i(pKcrav Trj^ 2t/ceXta9 /cat 8t8acr/cdXot9* /cat yotyo
vov9eTLTaL aKovoiv dpa /cat ov Xot8oyoetTat /cat {77X0-
Tvirel T(p TeXcovL eTraivovpevo) /cat iiraivov opeyeTau /cat
0VT09.
25
293.
rioXXct 8e TOtaura wapd Tot9 Tvpdvvoi^, olov
îXL7nro<; pev 8td to eTep6(f>0aXpo<;
etvai ojpyilêTo, et
Tt9 ovopdaeiev iir avTov KvKXcoira rj oipOaXpov oXa>9'
'Eppeias
8'
6 TOV 'ATapvecos dpâs, KaiToi TaXXa irpaos,
3
dfioKSyrjffa P.
4
eX'^Xe/crai P. 6 TroXXax'?? P.
|
iirafMôrep^-
lôvaiv P.
7
ekatoi/'67ouj] Victorius, et /cai 6 ypdyovs P.
|
^^Xot rtj seclusi.
8, 9
TrjXaOyovs T7)\a\jy7j P. ro irapdaxoi. &" m. rec. P., Tup^xoi P.
12 dp(t)pLas P. 15
auTcDi'] Spengelius, avrCbv P.
|
aurats P. 16 ijroi P.
19
^dpidos P. 22 XoiSwpeiTat P. 26 (Tt; 3ri eTep6<pda\/j.os ^LXnnros r)v in
margine P.
|
dpylêro P. 28 ep/jiias P.
290.
Under the same heading comes the reply of Plato
to Dionysius who had broken a promise and then denied
having ever made it : 'It is not I, Plato, who have to you
made any promise : it is you
by
heaven, it is you
!^'
Diony-
sius is thus convicted of falsehood, while the form of the
words is at once dignified and circumspect.
291. Words are often used with an equivocal meaning.
If anyone wishes to practise this art and to deal in censures
which seem unintentional hits, he has an example ready to
his hand in the passage of Aeschines about Telauges. Almost
the entire account of Telauges will leave one puzzled as to
whether it is eulogy or satire. This ambiguous way of speak-
ing, although not irony, yet has a suggestion of irony.
292. The
'
covert allusion ' may be employed in yet
another way as follows. Great lords and ladies dislike to
hear their own faults mentioned. Accordingly, when counsel-
ling them to refrain from faults, we shall not speak in direct
terms. We shall, rather, blame some other persons who have
acted in the same way. For example, in addressing the tyrant
Dionysius, we shall inveigh against the tyrant Phalaris and
his cruelty. Or we shall praise individuals who have acted in
the opposite way to Dionysius, saying of Gelo or Hiero (for
example) that they were like fathers and educators of Sicily.
The hearer is admonished without feeling himself censured
;
he emulates Gelo, the subject of these praises, and covets
praise for himself
293. One has often to exercise such caution in dealing
with the great. Because he had only one eye, Philip
would grow angry if anyone spoke of the Cyclops in his
presence or used the word
'
eye ' at all. Hermeias, the ruler
of Atarneus, though for the most part of a gentle nature
*
Cp. Plat. Epist.
7,
p.
349
B.
&)? Xeyerai, ovk ai/ r^vecrêTO pahi(x)<; tivo<; ixayaipiov
ovo^dtôvro^ T)
TOfjirjv rj iKTOfXTji/ 8ta to vvov)(os elvai.
ravra
8'
Lp7)Ka ejLt<^î/at l3ovX6fJievo<;
/xaXtcrra to rjOo'i
TO Svj/acTTevTLKov, 0)9 fjudkicrTa ^pfjtôv
\6yov dcr<âXoi}5>
5 og KaXeLTau
icrxy)P'OLTLcrfJievoq.
294.
KaiToi TToWaKLs Koi OL Srjixoi
ol fxeyaXoL koL
Icr^vpol hiovTai tolovtov elBovs tcov koycjv, (ocnrep ol
Tvpavvoi, KaSdirep 6 ^ KOiqvaioyv hrjyLO^, dpôiv Trj<; 'EXXctSo?
KOL K6XaKa<; Tpi(j)(x)v Kkeo)j/a<; kol KXeocfycovTa^;. to
fjuei/
10 ovv KoXaKeveiv
alcrxpov, to he eTrtri/xct^' eVtcrâXe?, dpicTTOv
ok TO fxeTa^v, tovt ecTTi to ecr^Ty/Aartcr/xeVoi/.
295.
Kat TTore avTov tov dfjLapToivoi'Ta iiraLveaofJiev,.
OVK
icf)
019 rjp.apTev, dXX* e<^' of? ov)(^ rjfJidpTrjKei', oTov tov
opyitôixevov, otl
x^^^
iTTTjveiTO irpao^ (jyavels eVt rot?
15 TOV Selpos djxapTrjp.a(Tiv, kol otl l,rfKo)TO<^ tols TroXtrat?
avueaTii/' rjSeax; ydp
817
e/cacrro? /xt/xetrat iavToi' kol
crumi/zat ySouXerat eTrai^w erraivov, p.d\\ov
8'
eva op.akrf
eiraivov TTOirjcrai.
296. KaOokov 8e oicnrep tov avTov KTjpov 6 jxev tl^
20
Kvva iTrXacrev, 6 8e ôvv, 6 8e lttttov, ovto) kol Trpcty/xa
TavTov 6 /xeV rt? diroâivopievos koi KaTiqyopcov
(f)rjaLV,
OTL
'
01 dvOpcjTTOL )(prjfjiaTa fiev diroXeLTrovo-L toIs iraLcrLVy
inLCTTTJfJiTjv 8e ov (TVvaTrokeLTrovcFLVy tt^v ^piqaoyLeviqv toI'^
d7ro\L(f)0ei(TLV'^ tovto 8e to el8o9 tov \6yov ÂpLaTLTTTreLOV
25 Xeyeraf eTepo<; 8e tovtov v7ro0eTLK(o<; TrpooicreTaL, KaOdnep
'BevoôiVTo^ TOi TToXXd,
I
otoi/ on
*
Set yd/9 ou
y^prjfxaTa
245'
fjLOvov diToXLTreLV 7019 kavT(xiv iraLCTLv, dXXd /cat iTTLaTrjp.rjv
T7)v
'XprjaofjLei'rjv
avTol^J
297*
To 8e t8i<y9 KaXovfJLevou eT8o9 ^coKpaTLKov,
30 o fxdXLCTTa SoKovcTLV tpqXoticraL h.L(T)(Lvr)<; /cat nXdrcui^,
7
ct; in margine P.
14
iirrjvei t6 P. 22 6ti oi] edd., Srt de P.
23, 24
Tots AiroKeKpdeTaLv] Victorius, rots crvuairoXeKpdeiaiv P.
24
dpiffTlmrioy
ex dpiffTiirirov P.
25 viroderiKws trpooiaeTai : t^ et of in las. P.
27
yitej'
(punctis tamen superpositis) ante jxbvov habet P. 28 aiJr^s (ot supra
^
scripto) P.
30
w P.
I
DEMETRIUS ON STYLE
203
as it is said, became furious (because he was a eunuch) at
hearing anybody speak of a
*
surgeon's knife,' of
'
amputa-
tion,' or of 'excision.' I have mentioned these facts out
of a desire to bring into reHef the true character of great
potentates, and to show that it specially calls for that
wary form of language which bears the name of 'covert
allusion.'
294. It must be observed, however, that great and
powerful populaces no less than despots usually require
these ceremonious forms of language. An instance in point
is the Athenian republic, which in the hour of its ascendency
over Greece, harboured such flatterers as Cleon and Cleophon.
Flattery no doubt is shameful, while adverse criticism is
dangerous. It is best to pursue the middle course, that of
the covert hint.
295. At times we shall compliment a man who has
failings not on his failings but on his proved avoidance of them.
We shall remind an irascible person that yesterday he was
praised for the indulgence he showed to So-and-So's errors,
and that he is a pattern to the citizens among whom he
moves. Every man gladly takes himself as a model and is
eager to add praise to praise, or rather to win one uniform
record of praise.
296. In fine, it is with language as with a lump of wax,
out of which one man fashions a dog, another an ox, another
a horse. One will deal with his subject in the way of
exposition and asseveration, saying (for example) that
'
men
leave property to their children, but they do not therewith
leave the knowledge which will rightly use the legacy '^r a
way of putting it which is called
'
Aristippean.' Another
will (as Xenophon commonly does) express the same
thought in the way of suggestion, e.g.
'
men ought to leave
not only money to their children, but also the knowledge
which will use the money rightly.'
297. What is specifically called the
'
Socratic ' manner
one which seems to have excited the emulation of Aeschines
^
Scr. Inc.
204
jxeTapvOfJiLcreLev av tovto to Trpayfjia ro Trpoeipyîxevov et?
ip(0T7)criv, w8e ttcos, olov
'
d> nal, irocra ctol ^pT^/Aara
aTTekiirev 6 Trarijp ; tj rroXXd Tiva koI ovk evapiOynqra
;
TToXXd, (L ^(oKpares. dpa ovv Kai iirLCFTijiJirjv dTTeXnriv
5
croL TTjv -^prjcToiJievrjv avrots;' a/xa yap /cat els diropiav
e/SaXep rov TraiSa XeXrjOoTox;, kol rjvefjLvrjcrev on dveTnaTrj-
fjicov icTTL, Koi 7TaiSeij(T6aL TrpoeTpexjjaTO' Tovra iravra
TjdiKCJs Koi ifJifJieXcJS,
Koi ov)(l Sr) to Xeyopêvov tovto diro
'%Kv6(t)V.
lo
298. EvrjjjLeprjcrav S' ol tolovtol XoyoL t6t iêvpi-
0evTes TO TrpcoTOv, fxaXXov 8e iîirXirjâv tS re fiLfJLTjTLKco
koi
T(o ivapyel kol tw /xera fjieyaXo(j)poo''uvr)<; vov6eTiK(^. irepi
fxev
S17 TrXdcrfJiaTOf; Xoyov kol (T^p,aTi(Tp.ct)v apKeuTO) ravra.
299.
*H 8e XeLOTr)^; rj Trepl ttjv avvOeoriv, oca k-
15 ^(prjvTaL fJidXiCTTa ol aTT 'IcroKpdTov<;, <^vXa^dfxevoL Tr)v
avyKpovaiv TOiV (jxoT/rfePTcov ypafjufjidTcoVy ov fxdXa
iTnTrjSeCa
ecrrt SeLV(^ Xoyco- TroXXd yap [raj e/c ttjs avfJLTrXiQêciJs av
avTTJs yevoLTo heivoTepa, olov
'
tov yap ^(x)klkov <tv-
(TTdvTos TToXefJLOv, OV St' c/xc, OV ydp eycoye iTToXiTevofjLjjv
20
TTO) TOTeJ el 8e p.eTa/3aXcov rts Acat G-vpd\pa<; w8' etTTOt*
'tov TToXefJLOv ydp ov 8t'
ifjue
tov ^(oklkov crvaTdvTos'
OV ydp e7roXiTev6p.7}v eymye ttco TOTe,^ ovk oXiyov oiegaLprj-
cret
TTJs
SeivoTTjTos, inel TToXXa)(ôv Kal to rj^(oSe<;
ttJs
crvyKpovcreois to"a)9 ecrrat SeuvoTepov.
25 300*
K^^
y^P
'^^
d(f)p6vTLcrTov avTo /cat to (ocnrep
avTO(j)ves SeivoTrjTa TrapacrTijcreL TLvd, /laXtcra ewav op-
yitfipievovs ifji<f)aLi'0)fjiev
avTovs rj rjSiKTjiJievovs. rj Se wepl
T7]v XeLOTTjTa /cat appLOviav (^povTis ovk opyitôpievov, aXXa
TTaitpvTO'^ ecrrt /cat eTTiheiKwyievov pidXXov.
I lAiTapvOfiiaeuv &/] Schneiderus, fxeTapyd/niâ-eiav P.
|
irpdy/m P.
3
dir4-
Xeiirev P.
|
oiJ/c supra versum scripsit P. 10 edrj/j-ipKrav P. ii fiifnjTiKip]
Galeus, ti/xtitikQ P. 14
rrepi XeidrrjTo^ titulus in P.
|
ola P.
|
K^x/"7''at " supra
versum scripto, P.
15
tVw/f/adrous P.
17
tA seel. Spengelius. 20 ttw
rdre] edd. c. codd. Demosth., irwirore P. 22 tru rdre] edd., irwiroTe P.
|
5i
iâtp^ffei P. 25
aiJT6s (s punctis notato) P.
27
auroi>s P.
and Plato in no common degreewould recast the foregoing
proposition in an interrogative form, somewhat as follows.
*
My dear lad, how much property has your father left you ?
Is it considerable and not easily assessed? It is considerable,
Socrates. Well now, has he also left you the knowledge
which will use it rightly.'*' In this way Socrates insensibly
drives the lad into a corner ; he reminds him that he is
ignorant ; he urges him to get instruction. And all this
naturally and in perfect taste, and with an entire absence
of what is proverbially known as
'
Gothic bluntness.'
298. Such dialogues met with great success in the days
of their first invention, or rather they took society by storm
through their verisimilitude, their vividness, their nobly di-
dactic character.With regard to artificial speech and the
employment of figures, this treatment must suffice.
299.
Smoothness of composition (such as is employed
particularly by the followers of Isocrates, who avoid the
concurrence of vowels) is not altogether suited to forcible
language. In many cases greater force will result from an
actual clashing, e.g.
'
when the Phocian war broke out origi-
nally, owing not to me, as I was not then engaged in public
life\' If you were to rearrange the words and fit them
together thus^ :
'
when through no fault of mine the conflict
began in the Phocian War, since I was not then engaged in
public life,' you would rob them of a good part of their force,
since in many passages even the jingle of clashing vowels
may be held to make a sentence more forcible.
300. The fact is that words which are actually unpre-
meditated, and are as it were a spontaneous growth, will give
an impression of vigour, especially when we are venting our
anger or our sense of injustice. Whereas anxious attention to
niceties of smoothness and harmony does not betoken anger so
much as elegant trifling and a desire to exhibit one's powers.
^
Demosth. de Cor. 18.
^
Sc. in such a way as to remove the various instances of hiatus: iroKifiov, oi
i/j.^, ov
^yurye iTroXiTevdfxrjv: imitated in the English version.

2o6 AHMHTPIOY HEPI EPMHNEIAI
301. Kat (Za-nep to StaXeXu/xeVoi^
axtjixa
SetvoTTjra
TTOiet, o)? TTpoXekeKTaL, ovto) TTOirjcrei
7)
SiakeXvfxevT) oXwg
avvOecFLS. (irjfjLeLov 8e /cat to 'lTnr(ovaKTo<;. XoiSoprjcraL
yap /3ovX6fJivo<^ TOV9 i)(Ôpovs eOpavo-ev to [xerpov, kol
5 iTToiiqo-ev ôikov olvtI v6io<;, kol apvOfJiov, Tovrecm Seuvo-
Tr)TL TTpenov /cat XotSopta* to ydp eppvdfxov /cat evrjKoov
iyKcofJLiOLf; av Trpeiroi ^jiaWov
7)
i/zoyotg. TocraOTa /cat irepl
crvyKpovcrect)^.
302. UapoLKeLTaL 8e Tt? /cat tw Setz^w âpaKTrjpL, ct>9
10
TO et/cd?, hi'iqpiaprr)p.4vo<; /cat avTd9, /caXetTat Se aâpi^.
yiveTai oe ez^ Tot9 npayfjiacnv, eirdv Ttg alcr\pa /cat hvcrpr^ra
apa(f)avSov keyrj, Kaddirep 6 Trj<; Ttjitai^Spa? Karrjyopcoi/
CDS TTeiropvevKvias rrjv XeKaviSa /cat tov9 6/3oXovs kol rr^v
|
\\fiaOov /cat ttoXXtJv Tiva roiavriqv Svcrcj^rjfjLiav Karrjpacrev
245'
15 Tov hiKacTTiqpiov.
303.
*H o-vvOeais Se cât^'CTat
adapts,
idv Steo'Tracr-
/AeVi^
ifji(f)pr)s
rj, KaOdnep 6 elrrcov,
'
ovrcocrl
8'
eôi^ to
/cat TO, /cTet^'at.' /cat CTrai^ to, KcoXa
fjLrjSefiLav
)(7}
wpos
dXXrjXa orvvSeo'Li', dXX*
ofJLOia hiepprjypiivois. /cat at
20 TTepiohoi 8e at crvzê;)(et9 /cat fxaKpal
/cat aTTOTn^tyovcrat
tov? Xeyovras ov fiouov KaraKopes, dXXd /cat drepTres.
304.
T^ 8e ovofJiacria^TroXXdKLS âpUvra irpdyfiara
ovra aTepirecTTepa (jiaiveTai, KaOdnep 6 KXeirap'ôs irepX
TTjs TevOprjSovos Xeycjv, t,coov fieXicrcrrj ioLKOTOS'
'
Karave-
75 fxerat ixev,' (furjcTL,
'
ttjv opeivrjv, S^LTTTaTai 8e etg Tct?
KOiXas Spvs.^ (^CFTTep irepl /3oos dypiov rj tov 'EpvfjiavOCov
Kairpov Xeycov, aXX ov)(l irepl piXi(Tar)s rivos, (ocTTe /cat
a)(apiv TOV Xoyov dpua /cat xjjv^pbv yevecrOai. irapdKeiTai
hi 77w? dXXi^Xots TavTa ctjutcôTeyoa.
5
evdios] Victorius, ei/dûs P.
7
Trp^Trei P. 10 dxdpii P, axapti
XapaKTrip in margine P. 12 Kaddirep 6tl dv rijs TrjfidfSpas P.
|
supra kut aliquid
erasum est : fort. eraipQv.
17
oiirus t5'
^x'*"'
"'"^ '^'^^ KTcTuat. P. 22 riy 5^
î/o/iao-t^] Victorius, i} 5^ opofiaa-La P.
24
TevdpL86vos P.
|
fieXla-a-r) : / in ras. P.
26 /ciJXas P.
ArjfniTpLov irepl ip/xriveias subscriptio in P.
il
DEMETRIUS ON STYLE
207
301. It has already been said that the figure of dis-
connected speech has a forcible effect. The same may now
be said of disconnected composition generally. Hipponax is
a case in point. In his desire to assail his enemies, he
shattered his verse, and caused it to limp instead of walking
erect. By destroying the rhythm, he made the measure
suitable for energetic invective, since correct and melodious
rhythm would be fitter for eulogy than for satire.Thus
much with regard to the collision of vowels.
302. Side by side with the forcible style there is found,
as might be expected, a corresponding faulty style, called
*
the repulsive.' It occurs in the subject-matter when a
speaker mentions publicly things which are disgusting and
defile the lips. The man, for instance, who accused Ti-
mandra of having lived a wanton life, bespattered the court
with a description of her basin, her obols, her mat, and many
other such unsavoury details \
303.
Composition has a repellent effect, if it seems
disjointed, as (for example)
'
this and that being thus, deaths'
So, too, when the members are in no way linked to one
another, but resemble fragmentary pieces. And long, con-
tinuous periods which run the speaker out of breath cause
not only satiety but also disgust.
304. Often objects which are themselves full
of charm,
lose their attractiveness owing
_
to__ the choice of words.
Cleitarchus, for instance, when describing the wasp, an
insect like a bee, says :
'
It lays waste the hill-country, and
dashes into the hollow oaks^' This might have served for a
description of some wild ox, or of the Erymanthian boar,
rather than of a species of bee. The result is that the passage
is both repellent and frigid. And in a way these two defects
are close neighbours.
^
Scr. Inc.
2
Clitarch. Fragm.
i
fill
III
Hi
>/..
IIfJ^^
<2
I
>r
\
TEXT.
The text of this edition is based on a new collation, made by
the editor, of the foHa
(226''
245^)
of P
1741
which contain the
De Elocutione. This famous codex (preserved in the Bibliotheque
Nationale) is well known to be a veritable treasure-house of Greek
literary criticism, containing as it does, not only the De Elocutione
and several works of minor rhetoricians, but also
Aristotle's Rhetoric,
Aristotle's Poetics
;
Dionys. Halic. de Compositione Verborum
;
Dionys. Halic. Ep. ad Amm. 11, De Vet. Scr., etc.
The date of P
1741
is given by M. Henri Omont as the loth or
the nth century {Notice sur le manuscrit grec
1741
de la Bibliothlque
Nationale
p.
vii : prefixed to the facsimile of the Poetics published in
L. Cledat's Collection de reproductions de tnanuscrits). While Omont
has the Poetics principally in mind when describing the manuscript,
Roemer {Aristotelis Ars Phetorica^,
pp.
v ff.) views it with special
reference to the Rhetoric, and Usener [De Dionysii Halicarnassensis
Libris Manuscriptis
pp.
iv ff., and Usener-Radermacher Dionysii
Halicarnasei Opuscula i
pp.
vii ff. : cp. also L. Cohn in Philologus
XLix
pp. 390
ff., Handschriftliches zu Dionys von Halikamass) with
special reference to the works of Dionysius. No separate study of
the part of P
1741
which contains the De Elocutione has recently
appeared, with the exception of H. Schenkl's very valuable paper
entitled Zur Kritik der Schrift des Demetrios inpi 'Ep/xrjvetas (in
Wiener Studien iv
pp. 55
76). Spengel in his text {Rhetores

Graeci wo\. in: Leipzig,
1856)
used the collation made long before
by Victorius. Wonderfully well as this, like all his work, was accom-
plished by Victorius, a fuller record of the readings of so important
a manuscript seems desirable. The almost exhaustive catalogue here
R.
14
I
210 DEMETRIUS ON STYLE
given of the errors, and corrections, found in P tends only to confirm
the respect generally felt for the manuscript, and to show the causes
(e.g. itacism, absence of t subscr. and rarity of t adscr., confusion of
o and oo) of many easily remediable mistakes. And occasionally an
important form not hitherto observed (e.g. dTreKaTea-Trja-cv
196,
i]v]jLvrj(rv
297)
emerges to prove that some things recently learnt
from papyri might also have been learnt from existing mss. The
marginalia, likewise, are of considerable interest. The headings also
are interesting ; but they are better printed in the critical footnotes
than in the body of the text, since they are often inappropriate, mis-
placed, or inadequate, and cannot be regarded as the work of the
author himself
Schenkl's paper raises the important question of the value of the
numerous corrections or alterations found in P. The great majority
of these are written either in the original hand or in one almost
equally early and not easily to be distinguished from it; and it seems,
therefore, better to indicate them by some formula (e.g. the con-
venient ex) which simply calls attention to the change, than by any pre-
carious attempt systematically to distinguish between different hands,
except indeed in the comparatively rare cases where a clearly later
hand appears and has to be denoted by ?nan. rec. or by a reference to
the character of the ink. The corrections seem to depend partly on
a more accurate re-reading of the original manuscript, partly on the
use of an equally valuable one representing a somewhat different
tradition ; and a general review shows that the text is usually altered
for the better. Many obvious blunders (such as those afterwards
rectified by Victorius) are, indeed, left untouched; but this fact seems
to render it the more probable that the corrections actually made
have manuscript authority behind them and are not due to the mere
conjecture of some revising -scribe.
The remaining manuscripts (fifteen, or more, in number) of the
De Elocutione are of late date, belonging chiefly to the 15th century;
a list of them will be found in the Praefatio prefixed by Usener to
Dionysii Halicarnasei Opuscula i
pp.
viii, ix (cp. Walz, Rhetores
Graeci, vol. ix
pp.
ixxi). They are all derived from P
1741,
the
better readings they present pointing rather to individual emendation
than to difference of descent. To Usener's list should be added a
15th or 1 6th century MS. containing the tt. cp/x. which is preserved at
Queens' College, Cambridge, and on which the Librarian of the
College, Mr F. G. Plaistowe, has kindly sent a report at my request.
TEXT 2 1
1
The manuscript in question belonged, in
1583,
to Henry Hastings,
Earl of Huntingdon, whose autograph appears on the first leaf, and
who appears to have given it to his tutor Thomas Church. Church
left it to Queens' College at his death, in or about 1606. Besides
the TT. p/x., it contains the Ars Rhetorica attributed to Dionysius
of Halicarnassus, Alexander 7rpi crxrjfj^rwv, Menandri Rhetoris
Atatpcri9, Aristides Trcpl tc^vcSv prjToptKwv, Apsinis T)(yr) prjTOpLKrj and
TTcpi TrpooLjxLov. Though the identification is not free from difficulty,
it would seem, from the readings communicated to me, that this
manuscript is the same as Thomas Gale's 'Codex Cantabrigiensis.'
On
pp. 254, 255
of his edition Gale transcribes an Ordo (' Ordo
capitum libelli de Interpretatione^ sive de Elocutione^ ex Codice Ms.
Col. Reginalis apud Cantabrigienses') which tallies with that of the
Queens' ms., except that in the latter, between i and 2 of Gale's list,
the heading Trept o/AoioTeA-evTODi/ is found. It may be added that
there appears to be no ms. of the tt. epp,. in the Gale Collection in
the Library of Trinity College, Cambridge; and the Bodleian ms.
(Misc. 230: MS. Auct. T.
3. 13)
which contains the treatise is a
15th century manuscript which belonged to Giovanni Saibante of
Verona in
1732
and wâs bought in 1820 by the Bodleian. This
MS. has o-uvcpyotcv in
29,
not o-wcpyct which Gale quotes from
*Cod. Cant.'
It has not been thought necessary to record in the critical foot-
notes the readings of these later manuscripts, partly because of the
acknowledged pre-eminence of P, and partly because any such report
must depend, almost entirely, on the loose statements of early editors.
But it should be borne in mind that, where a reading is in this
edition attributed to Victorius or to the early editors in general
{'edd.'), it may often have the support of one or more of the later
manuscripts; e.g.
pp.
106, 10; 118, 11 and
12; 190, 13; 136,
24;
106, 21; 132, 6; 96, 8; 116, i6 (cod. Morel.); i88,
4
(cod. Morel.);
192,
25
(cod. Cantabr.).
For the Title of the Treatise as given in P
1741,
reference may be
made to the Introduction,
p.
61 supra.
14-
NOTES.
The references are usually made to lines and sections of the text as above
printed, e.g.
66 7 (=P-
66 1.
7).
When a section of the treatise is quoted, it is
indicated by the symbol .
The Notes are as few and as brief as possible, in view
of the Translation and Glossary.
66
7
y]fji.ifxTpoL<; : oloi^ rj 8i/x,T/3ots Muretus, rj TpLixTpoL<s (Spengel
J^/ief. Gr. Ill
p. 12). 66
14
Hecataeus : tt. v\\f.
p.
226.
Cp.

12
infra. 66
19,
20 Pôr
x"p
=
'arm,' cp. Herod. 11 121 aTroTaixovra iv
Tw (o/xo) Trjv
xf
tpcf P's
7r?;xt9
may, hoviêver, point to some corruption
:
perhaps of 6vvxe<s. It seems unlikely that, in this context,
x^'-P
would
be used in its less usual sense, or that SdKTvXot and tt^^^s would
proceed in the order of minor to major.
68
7
oXoKXrjpca appears to be a late word: lxx., Plutarch, Diog.
Laert., Lucian. The adj. oX-oKXrjpos
( 2),
however, occurs earlier.
Cp. Introduction
p. 56.
o-v/xTrepaiow
(66 18)
is also late: Philo,
Clem. Alex., etc.
68 20 The passage of the Aphorisms
(11)
runs as follows : 6
ySios /Spaxvs, ri
Se
Tkxyf]
/xaKpa, 6 8e /catpo? 6$v<s, t] Sc irelpa o-<âXepa,
y
Se KpLCTLS x^XcTTi^. Sci Se ov fxovov eavTOV Trapex^Lv to, Seovra Trotevi/Ta,
dA.Xa Kol Tov vocreovTa^ kol tov<; irapôvras, kol tol I^co^cv (Littre, who
translates :
"
La vie est courte, I'art est long, 1' occasion fugitive,
I'experience trompeuse, le jugement difficile. II faut non seulement
faire soi-meme ce qui convient, mais encore faire que le malade, les
assistants et les choses exterieures
y
concourent"). For the clauses
here in question see
238
and Norden's Kunstprosa i
pp.
21, 22;
also Croiset Lift. Grecque iv
189 for the style of Hippocrates in
general. 68
21, 22 Schneider proposed KaraKeKOfxixivr] and KCKcp-
fjiaTLcrfXvr), which palaeographically would be hardly a change at all,
apart from the corresponding alteration of VKaTa<f>p6vrjTos which it
seems to entail.
NOTES
213
70 I The reading of P, ypai/ret ci/, is probably due to a desire
to supply a preposition, without regard to the fact that av has
preceded.
70
13, 14
ovTos
8'
vjf KttXo? /AcV, /xcya?
8'
ou is the reading found
in our manuscripts of Xenophon. The author of the tt. cp/x. is often
loose in his quotations, relying as he appears to do on his memory
;
but it is to be noticed that in

121, as well as here, he has the Se
at the end of the clause, and comments on its position. Norden
{Kunstprosa i 102 n. i) expresses his agreement with Demetrius on
the main point.
70
19
6 Xcyo/Ltevo?
i/^rxpos : \a.pa.KTy]^ has commonly been under-
stood, if not inserted in the text. But Xcyo/êvos seems to indicate an
unfamiliar term
;
and not ij/vxpo^ but KaK6^r}Xo<;
( 239)
was the novel
expression in the author's time. If, however, i/ûxpos were applied
(on some such principle as that expounded in
86)
to person rather
than to style, it might be qualified by Xeyo/xevos.
Cp. tt.
vif/.
xxvii i
iilruxeTO yap ktX. For the use of cytyvcro, cp.

102.
70
23
^paxvXoyoL: cp. what is (metrically, or semi-metrically)
said of the Lacedaemonians in Thucyd. iv
17
[cTrtx^ptoi/ 6v rjiMv] ov
fikv /3paxi^
apK<j)(TL
fxrj
ttoXA-ois
xPV^^^'"
70
25
fxovoorvkXaô^ late : Dionys. Halic, Dionys. Thrax,
Hermogenes, etc. Erasmus in his Adagia (vol. iii
p. 803,
in the
Leyden edition of his Works) includes the proverb 'omnis herus
servo monosyllabus,' but only as a translation of the present passage.
The existence of an original Latin proverb to this effect might have
some bearing on the question of the date of the tt.
kpfx.
70
26
28 Possibly this sentence is an interpolation. The
abrupt asyndeton at Airal excites suspicion, notwithstanding the
fact that the author of tt. kp^. sometimes (e.g.
p.
74
1. 6 and 1.
22,
p.
116 1.
13)
omits the copula in his desire for brevity; and the
interpretation of Homer is very strange. There are, however, other
indications that the author was given to 'allegory,' for which see
Jebb's Introduction to Homer
p. 89. The explanation offered of the
same passage of Homer by a scholiast is :
x^ât
îkv 8ta to /xoyis d%
Sr](reL<i epxca-Oaf pv(T(Tal 8e 8ia to (XKvOpuiTnoiêLV' 7rapa/3X(37rS 8c, oTt
7rapt8oi/TS Tt Twi/ dvayKaiwv TrapaKaXov/xtv vcmpov. As Dr Leaf says
in his note ad ioc, the epithets are transferred from the attitude of the
suppliant to his prayers.
70
30
For the proverbs here and elsewhere in the treatise, see
the short excursus headed
'
Proverbs in the De Elocutione.^
72 21 P's correction ccrrtv yap
>y
is in a very old, if not the
original, hand. As yap is appropriate and -q is almost indispensable,
it seems better to adopt this reading than to make any conjectural
restoration.
72
25
The meaning of tov TratSo? etvc/ca rov Xa/3piov is discussed
by Blass in Neue Jahrbiicher
fur
Classische Philologie xxxiii
717
720. The author of the tt. epju-. seems to have taken the meaning to
be 'son' rather than 'servant': cp.

11.
74 6 Kv/cXoctSeo-i : late, Plutarch, Athenaeus etc. (But in
Athenaeus, vii
328
d, it seems to be part of a quotation from
Euthydemus, a medical writer of the second century B.C.)
74
9
Victorius reads /xcvct in place of /xeVct. There is point,
however, in the opposition of the present /xcVa and the future
co-rat.
74
17
prjTwv, the reading of P, is possibly due to the use of
some compendium for prjTopetojv. Roemer {A7'istot. Ars Rhetorica
p.
xxvii) notices the confusion of py\Topda.% and prjTopLKrj<s in Aristot.
R/ief. I 2. Here Spengel retains prjriov, but suggests {Praefatio,
p.
xii) that for oXat eio-tV, should be written 6\7)...iaTL. It is
worth notice, as perhaps confirming the explanation suggested above,
that in P there is a small space (not an erasure) immediately after
prjTwv.
74 18 8ta: see note referring to
p. 152
1.
7.
74
19 rJTrep after comparatives: cp. n. referring to
p.
no 1.
19
infra.
74 20 Transcribed by Gregorius Corinthius (Walz, R/iet Gr.
VII 1 2
15,
1 2
16)
with a number of variants which usually seem due
rather to paraphrase or loose citation than to differences of reading
:
e.g. oBiv Koi T-i]v TOLavTY)v epfxr]VLav ot TraXaiot Sirjprjixivrjv oji'O/xaôV
(OS Ttt TrX^lara
6Xt
twv *Hpo8oTOV, kol <os
17
'EKaratov eêt larropia, kol
okrf
-q apyâta. TrapaScty/Aa 8e avrqs
'
*EKarat
os
MtXiyctos ciSSe fxvOeLTai'
raSc ypdcfyio, w? /xot 8oKt aX-qOia eti/at, ot yap ^XKrjvoiv Xoyoi ttoWol re
Kttt ycXotot Kat ifxoi
<âtVovrat Kat eto-tV.' opas ort (r(riopVfJivoLS Itt
aXkrjXoL^, ktX.
74 2
7
Ix'^vcTLVy dat. plur. of the participle : not, as has been
supposed, third person plural present indicative.
NOTES
215
74
30
For the analogies drawn by the Greek rhetoricians from
various fields of art, cp. D. H.
p.
202.
76 2 (rvyKLfXvoi<; : cp. the use of a-vvTiOefxivtov in Dionys. Hal.
de Comp. Verb. C. 22 rpap^ciat? tc )(prj(rOaL
TroWaxiJ
kol dvriTVTrots rats
a-VfJifSoXalq ovSkv
avrfj (sc. rrj avfTT-qpa. ap/xovLo) Siaêpct, olov yivovraL
Twv XoydSrjv a-vvTiOifxeviDV Iv otKoSo/xtai? XiOiov at p-'qT cuywvtot /ai^tc
<ruvô-/xvat ^dcnis, dpyal Se rtves Kat avTO(T;(8toi.
76 3
7 For this fine and suggestive comparison, see Sandys

Orator
of
Cicero
p.
Ixxiii n.
5
;
Blass Griechische Beredsamkeit
pp.
224, 225 ;
Chaignet La Rhetorigiie et son Histoire
p,
449.
76
8
13
The view here maintained (with strong personal
emphasis, ôKLfidû} yap
Sri
cywye) is clearly right,there should be a
happy combination of the periodic and the looser structure. Some
of the longer passages of Shakespeare's prose will be found to illus-
trate the point. Cp. Sir Richard Jebb's lecture on Macaulay
pp. 46,
47:
"This oratorical character of Macaulay's style may b^ illustrated
by one of its most salient and familiar traits : I mean, his habit of
placing very short sentences between his longer periods Take the
speeches of almost any great orator, and you will find a similar,
though perhaps less abundant, use of short sentences, in alternation
with long periods. Such short sentences are not merely pauses for
breath ; they are not merely deliberate efforts to vary the rhythm
and arrest the ear: they are dictated, if one may say so, by the
oratorical instinct; such alternations of the long and the short sentence
correspond with a certain surging and subsidence of thought and
feeling in the orator's mind."
76 15, 16 Cp. TT. V\\l. C. 41 O^TWg Kat TO. KaTppvOfJLL(TfJLVa TWV
Xeyofxivoyv ov to tov \6yov ttuôs evStSwcrt rot? aKovovcn, to 8k tov
pvOfiov, to9 ivLOT TTpoctSoras ras 6(j>uXop.va.<; KaraAiy^ct? aurovs viro-
Kp0VLV TOtS XeyOVCTL KOL <f>6dvOVTa<Z 0)9 Iv
X^P^
''"''''^
TrpoaTToStSovaL T7]V
pd(Tiv.Attention may be called to the verb vavTidv in this passage
of the TT. /3/x. as being specifically Attic. -n-poava/Sodv is also of
interest as occurring only here in extant Greek literature.
76
23, 24 AristOt. Rhet. 111
9,
2
77
pXv ovv dpofxevr] Xc^t? -rj
dpxata
ioTLV' ^'UpoSoTOV ovpLOv -qS* L(TTOpLr)<; aTToSet^ts*' TavTYj yap TrpoTcpov
fikv
a7rai/T9, vvv Sk ov 7roXA.ot ^pwvTat. In this quotation the TT.
ipfi.
comes nearer than the Rhetoric to the reading (whether right or
wrong) found in extant manuscripts of Herodotus.
2l6 DEMETRIUS ON STYLE
76
24, 25
For <^(3s in this connexion, cp. tt. vj/^. c.
30
c^w? yap tw
ovTt tSiov Tov vov TO. KaXa ovofiara. Here and elsewhere a quotation
which the editor is unable to assign to its author has been marked
*
Scr(iptor) Inc(ertus),' in the hope that others may be able to supply
the reference. (Can this particular sentence be drawn from the -n-epl
AeicijDS of Theophrastus
?)
Some of the sentences thus marked (e.g.
p. 90
1.
28)
may possibly be examples invented by the author himself;
others are no doubt drawn from works now lost.
78 I t Se
fxrj : this is one of the many cases in which the
*
correction ' seems clearly preferable to the original reading in P.
Palaeographically the change is of the slightest, and it is probably of
the same age as the manuscript.
78 1720 The meaning is that what English writers on com-
position have called the
'
principle of suspense ' is duly observed.
78 21 The period of dialogue (as distinguished from the
historical which is rounded to a certain extent, and the rhetorical
which is close-knit) is
'
still in the loose or undress state ' of ordinary
conversation. Goeller would supply or insert /aaXAoi/ ; but, granted
that this word may have fallen out after the last two syllables of
dvifjivr], its insertion would hardly give a satisfactory sense, since
the TTcptoSos la-TopiKT] has been described in
19
as
fx/qr
dveL/xevrj
<r<f>6Spa.
80
2,
3
Quoted also (more correctly and fully) as an example of
antithesis in Aristot. R/ief. iii
9,
7
TrAcvo-at
fxh
8ta t^s ryVetpov,
TTiêvcrai Se Blol t7}<; Oa\dTTrj<s, tov [xlv 'KWrjcnrovTOV ^cuâs, tov
8'
AOu)
Stopvâs. The passage also occurs in the (almost certainly spurious)
funeral oration attributed to Lysias ; and Cicero has translated, or
imitated, it in the De Finibus 11
34,
112, "Ut si Xerxes, cum tantis
classibus tantisque equestribus et pedestribus copiis, Hellesponto
iuncto, Athone perfosso, maria ambulavisset terramque navigasset."
80 18, 19
Aristot. Rhet. iii
9,
10 ctVlv 8c /cat i/^cuSet? dvrigecrets,
<ôv KQx 'ETTtâp/xos 7ro6i,
'
TOKa \xkv v Trjviiiv iywv rjv, TOKa
qjy
rapa
T>jvoL<s fycov.' Probably the author of the tt.
kpfx. is right \Y]^mding
parody in the words of Epicharmus ; so Norden Kunstprosa i
25
n. 2. Blass, however, maintains that there is a true antithesis in
Tqvinv -nyVots, and that exception can only be taken to eyojv
cywv.Epicharmus is, it may be added, very seldom mentioned in
the late rhetorical writers.
NOTES 217
80 26 Also quoted in Aristot. Rhet. iii
9, 9
; the same passage
of Homer has already been referred to in
7.
82 I A late hand in P corrects wo-7rep into wo-Tra (i.e. w9 Trapa).
At first sight we might expect a preposition; but cp.
p. 70
lines i
and 6, and
p. 190
lines
24, 25.
82
5,
6 The same illustration is used, without mention of its
author, in Aristot. Rhet. in
9,
9.
There, however, Bavovra. (0.770-
6av6vTa^
211) is not given, though clearly needed in a sentence of
this artificial kind.
82
13, 14
The passage of Theopompus from which these words
are taken has been preserved by Athenaeus (vi 260 f) and will be
found in Miiller F. H. G. i
p. 320,
the words themselves running
there as follows : o^cv SiKaicu? av ns a.vTov% ov)(^ kTfxipov^ aSX krcLipoM
VTTcXa^cv, ov8c CTTpariwras aA,A.a â/xaiTV7ras Trpoarjyopevaiv. dv^pocjiOvoL
yap Trjv (f)v(Tiv 6vt<s dvSpoTropvoL rbv rpoirov rjcrav. The passage is also
quoted by Norden Kwistprosa 1
pp.
122, 123. For Theopompus,
see TT. v\\f.
p. 242 and Dionys. Hal. Ep. ad Pomp. c. 6. In
75
of
the TT.
Ipik.
Theopompus is represented as a
*
forcible-feeble ' or
*
feeble-forcible ' : cp.

240, 247,
250. Dionysius, on the contrary,
excites regret for the loss of his writings.
82 16, 17
Ovp})% yap rexvr]^ ov Setrai : on the principle that 'facit
indignatio versus.'
Cp.
250 KaKOTexôvvn yap coikcv 8ta rrjv avraTro-
oo(Ttv, fxaXXov Se Tratôvrt, ovk dyavaKTovvn.
82
19,
20 Schenkl suspects cJs eSetâ because written in the
margin of P. But the addition seems to be made by the first hand
;
and it is thoroughly characteristic (cp. ws <f>r]fiL
120, w?
cf>7jv
98
etc.).
82
22, 23
The sentence quoted from Aristotle's lost treatise mpl
BLKaLoavvrjs closely resembles Lysias Eratosth.
%
40
cttcI kcAcvctc avrov
ttTToSctât, OTTOv TOtrovTOvs Ttuv 7roA./xij/ ctTTCKretvav oo-ovs Twv TToXiTwr,
ri
vai)? OTTOV Too-avra^ eXaôv, 6cra<; avrol 7rap8o(rav,
17
ttoXlv rfvriva rotav-
rr]v TrpoacKTija-avTO, oiav rrjv rjfiCTipav KareBovXtoo-avTO.
84
5,
6 (TvvepyoLev av has been suggested; but it is doubtful
whether any certain example of plur. verb with neut. plur. nominat.
is found in tt.
ipfx,. (cp. n. on Ixovo-t
12).
84 1921 This quotation from Demosth. Aristocr.
99
has a
close parallel in Demosth. A?idrot.
7
(delivered in
355
b.c, three
years earlier than the Aristocrates).
2l8
DEMETRIUS ON STYLE
86
13
The reference to Archedemus, here and in
35,
is of
such a nature as to suggest that the author of the tt. epya. may have
drawn a good deal of his doctrine from him and may be acknowledging
indebtedness to him in the passages where P gives a verb in the third
person singular (e.g.

186 oi/o/xa'^ct, altered by Gale and subsequent
editors to ovo/Aa^w). The Stoic Archedemus of Tarsus probably lived
about
130 B.C., and drew largely (it would seem) on Hermagoras,
who was himself much indebted to Aristotle, Theophrastus and the
Stoics. We owe our knowledge of Archedemus chiefly to Diog.
Laert. (vii
40,
55,
68 etc.) and to Cic. Acadejti. 11
47,
143. Cp.
G. Thiele Hennagoras
p.
181 : "Dieser Archedemus ist mit Recht
mit dem beriihmten Tarsenser Stoiker identificiert (Volkmann
47,
Susemihl, Litteraturgesch.
86) und Diels hat denselben als Quelle fiir
Demetrius Trept kpiK-qvîa^ angesetzt (Abhandl. der Berl. Ak. t886

24).''
The date of Archedemus is discussed by Brzoska in Pauly-Wissowa
Real-Enc. 11
p. 440.
86 22 See Syrianus, as quoted in the Introduction
p.
61.
Wilamowitz-Moellendorff has well pointed out {Hermes xxxv
30)
that the recognition by Philodemus of four TrXda-fxara (viz. aSpov,
l(rxv6v, fxiya, yX.acf>vp6v) suggests caution in assigning to the tt. ep/x.
a date subsequent to the birth of Christ simply on the ground of its
classification of styles. Few would attempt to date a Greek Grammar
(say) purely by the internal evidence afforded by its classification of
the declensions.
86
27
The nature of the fundamental difference between the
'
elevated ' (or
'
grand
'),
and the
'
plain,' style is well indicated by
Dionysius : ropyta?
fxev tî/ iroL-qTiK-qv ipfJir)vLav /xeTTJveyKev eis X6yov<;
TToXtriKOVs, ovK ct^tcov ofJiOiov Tov prjTopa TOLs iStwratg cti/ai* Avata? 8e
TovvavTLOv eTTocqcre' ttjv yap cjjavepav a7ra(rt kol TeTpL/jipLevrjv Xiîv
itpjXitxrev cyyterra vo/xtâ>v cti/at tov Trcto-at tov lShottjv to kolvov Tyj<
6i/ojw,ao-tas Koi acêXc's (Dionys. Hal. de Imitat. 11
7).
The same
distinction is clearly marked in the same author's de Thucyd. c.
23
o\ pXv ovv dpxaioL ttolvv koL oltt avTiov' /xovov yivoio-KOfxevoL rwi/ ovofxaToiv
TTOiav Tiva. Xe^LV eTTCTT/Scvo-av, ovk eôi avp^fSaXiiv, rrorepa Tr)v Xlt^v kol
aKoa-fx-qTov kol
fxrjSlv )(ôv(Tav TreptTTor, aA.A.' avra to. ^qcnp.a koI
dvayKola, rj tyjv irop.TTLKrjv koX a^tw/xartKr/i/ koX iyKaTacTKcvov kol
T0V<i
7rt^Tovs irpoarnX-q^viav Koa-p-ovi: and in Cic. Brut.
55,
201 'oratorum
bonorum (hos enim quaerimus) duo genera sunt, unum attenuate
presseque, alterum sublate ampleque dicentium."It may be added
NOTES 219
here that Greek specimens of the various types of style will be found
in
Jebb's Attic Orators and Selections from
the Attic Orators.
88 7
13
The argument in
37,
as compared with
36,
seems
to be this : the yo.pa.KTr)p yXa^vpo? and the xa.paKry)p Sctvos are not
mere subdivisions of the
x^P-
^^^^0% and the ya.p. fjLiyaXoTrperrrjs
respectively, since they have a separate existence and can be actually
seen combined in one and the same author, e.g. Homer.
88 18 AristOt. Rhet. III
8,
6 tcrriv Se Tratavos hvo ctSr; avTtKt)w,eva
aAA,7Âo(.9, mv TO
fxlv
iv dp)(rj dpfJiOTTei, uxnr^p kcu ;j(p(oi/Tat* oSro? S'
lo'Tiv ov
ttpx^'
t*'^^ ^
jtxa/cpa,, TcAcuTwcTti/ Se rpet? ^pay(jeiaL tr^po^
8'
e^
vavTta?, ov /3paxLai ap)(ovcnv rpei?, "^ 8e jxaKpd reXevraLa. That the
Tratiov is /xyako7rp7r7Js is not expressly stated by Aristotle, but it is
implied in his rejection of the iambic rhythm on the ground that Set
crefivoT-qTa yivicrdai koi kK(TTrj(raL. For Theophrastus in this connexion,
cp. IT.
pfx.

41.
88
27
'Primarily the infection came from the Soudan' might also
be suggested as an English equivalent. But all such parallels are
probably misleading.For this extract from Thucydides, see Blass
Att. Ber. i 221, and cp. Sandys Orator
of
Cicero
p. 229.
88
29
TO Ti\.o% would usually be written in earlier Greek : cp.
163,
Siaêpovat Se to ycXolov kol ev^ctpi (for to cux'^pt).
As illus-
trating the effectiveness of long syllables at the beginning and at the
end of a clause, cp. such quatrains in F. W. H. Myers' Saint Paul
as that beginning "So even I, and with a heart more burning."
(Some occasional illustrations from the poets may perhaps be allowed
in accordance with the practice of the tt. cp/x. itself, and with the
precept of a modern writer who was certainly no lover of poetic
prose :
"
If I were a professor of English, I would teach my men
that prose writing is a kind of poetry," Jowett's Notes and Sayings.)
Cp. also Isaiah liv i, Jeremiah ix i, Habakkuk ii 12, Nahum ii
9,
St Matthew xii
28, Job
xxxvii 16 (as quoted by Ruskin in Frondes
AgresteSy
'
Know'st thou the balancings of the clouds
?
').
90
7
eva(f)avLôfiv(jiv : lateStrabo, tt. vi(/., Plutarch, etc.
90
13
ff. Cp. Sandys Orator
pp. 227,
228.
90
17
The paeonic character of the composition in the Aristo-
telian 'A^T/i/aiW no\iTia is noted by Blass Att. Bereds. in
2, 348.
90 18 ttXXo>9 seems
=
'merely,' as in
178 ;
in
48, 289 it = 'in

other cases
'
or
'
otherwise.'
i
90 2 2 7rapa\a(3Lv : for the infinitive, cp.
p.
102 1.
22, p.
ii6 1.
2,
p.
118 1.
13,
p.
160 1.
27,
p.
162 1.
24, p. 164 1.
6, p. 192 1.
23.
90 28 The same example in
117,
where P has tJkwv (without
variant) and no c/cct.
90
29
The meaning seems to be that the succession of long
syllables will suggest some kind of verse. Cp.
Boswell's Zi/e
of
Johnson (G. Birkbeck Hill's edition 11
51):
"I have not been
troubled for a long time with authors desiring my opinion of their
works. I used once to be sadly plagued with a man who wrote
verses, but who literally had no other notion of a verse but that it
consisted often syllables. Lay your knife andyour fork across your
plate, was to him a verse
:
Lay yoUr knife and your fork across your plate. As he wrote a
great number of verses, he sometimes by chance made good ones,
though he did not know it." With the last clause of this extract,
cp.
p. 92
1. 2 TToA-Xot yow [xerpa la^^tKo, Xakovaiv ovk t8oT5, though
the persons there meant are free from all ambition and as innocent as
M. Jourdain.we/jTriTrreti/, in the metaphorical sense of
'
exceed,'
does not elsewhere occur earlier than the fourth century a.d. vttc/o-
K7rL7rTLv is, howevcr, used by Plutarch in this sense.
92 I, 2 AristOt. Toet. IV
14
/xaAtcrra yap Xcktlkov tcuv /xerpwv to
ia/x^toi/ icTTLv' crrjixeiov Se tovtoV TrXelaTa yap lap/Sela Aeyo/xcv iv rrj
StaXe/cTO)
TYJ
Trpos aXXyXovs, ciafxerpa 8e oXtyaKis kol KâtVovT? Trjs
XcKTiK-^^ app.ovia<5. Cp. also III
8, 4
ibid.
92
8, 9
As showing P's variation in spelling, cp.
p. 76
lines
23,
24
* kXiKapvaa-rjof; and (XTroSe^ts.
92
14 The variations between Thucydides' text and that given
in the tt. cp/x. are noted in Hude's Thucyd. Hist, i
p. 192.
94
5
Cp.
Tennyson Geraint a?id Enid, "All thro' the crash of
the near cataract hears," or
"
Then at the dry harsh roar of the great
horn" {Last Tournament).
94
7
vTrepjSoXrj is suggested by Weil (after Walz). vTrcppoX-rj,
however, seems to be in the same construction as 8v(r7JKoo<s :
v7rp(3oXr]
8'
p.4>aLvov(Ta would certainly be doubtful Greek if it stood for rj
8'
VTrepfSoXr] c/xâtVci.
94 10 The rhetorician, from his point of view, tends to regard
as deliberate much that is simply the instinctive expression of a
writer's nature : cp.

40.
NOTES
221
94 14. Cp. such an ending as 'admittedly was' in English.
Matthew Arnold, in his prose-writings, often arranges his sentences
in an unusual and 'jolting' (but at the same time effective) order.
94 18, 19
The author's memory has apparently deceived him if
he means that these expressions are actually used by Thucydides.
94 26, 27
olov ao-^V9 maybe a gloss. It will be noticed
that *cai before olov is an editorial insertion.
96
2, 3
For Kara;(o>i/, see Classical Review xiv 221.
96
5
P's accent (iyyvrepov) probably points to a corruption, and
iyyvrepa) should therefore be adopted, though in a later hand.
96
7
Cf. the lines in Tennyson's Princess, beginning "Eight
daughters of the plough."
96 22 ff. For this and the following sections, cp. Gregor. Cor.
(Walz, Rhet. Gr. vii
2, 1213).
96
27
The author, here as often elsewhere, intends the single
line to indicate the entire passage.For a similar estimate of Homer's
art, cp. Dionys. Hal. de Comp. Verb. c. 16 ad fin., xat TrapairXrjpii)-
fiacTiv V<fi(ovoL<s 8LL\r](fiV ktX.
98 2 w : cp. Horn. //. xxiii
405, 420,
431.
Trporepov: especially
in TTporepov TrptV.
98
4, 5
The passage in the Phaedrus 246 ff., which is ushered
in by the words 6 pkv Sr] /xcya? iv ovpai/oJ Zevs (words perhaps suggested
by Soph. 1
174,
as quoted in the Introduction
p. 44
supra), is often
referred to by ancient writers, e.g. Lucian Piscator c. 22, who did
not always understand what has been aptly called its 'grand Miltonic
pomp.' Here, and in the line from Homer, the S'^ has been roughly
rendered 'lo,' so as to give something of what seems to have been
the effect of this o-wSco-jaos upon the mind of the author of the
TT. Ip/w,., whose words tcoWoX a.p\ax seem to suggest a number of
breaks in the sentences quoted: e.g. 'and Hebehold! he is mighty
Zeus in heaven,' and
'
but when the time came that behold ! they
reached the ford.'
98 16 The remainder of the sentence (avrUa vvv c^cActs Uvau;)
is left for the memory to supply.
98
17
Praxiphanes : disciple of Theophrastus
;
grammarian;
author of a treatise Trept Trotry/xarwi/. See W. Christ Griech. Litt.^
p. 592,
with the references there given. He is mentioned by
Marcellinus
(^Life
of
Thucyd.^ c.
29),
and also by Philodemus.
98 1 8 Cf. the reiterated in 'Locksley Hall' and the Ay me of
*
In Memoriam.'
98 2 o Gregorius Corinthius (Walz, vii
2,
12
13)
gives lines 16
21
in the following form : t yo9v tov awScafxov i$ekr}<s (sic), (TvvâipaL<;
(sic) /cai TO 7rdOo<?, KaOoXov yap, ojcrTrcp 6 TIpa$icfidvr}<; <j>rj(TLV^ olvtI jJLvy/xwv
TrapeXafjL^dvovTO ol tolovtol (rwSccr/jtot koL <TTf.vayfxitiv, (jjonrep to at at Acat
TO ^cv </>cv* TovTo 8c Kttt avTos liri(jr)p.rjvaLTO Iv toJ*
Kat VTJ k' ohvpopiivoLcnv eSv <âos tJcXlolo.
/x<f>a(TLV yap TLva olktov kol 7rd6ov<: cj/cSetâro. It is not altogether
clear whether the words avros cf>7)a-i in the tt. cp/x., and Kat avrbs
eTrea-rjfxtjvaTo in Greg. Cor., refer to Praxiphanes or to Homer; more
probably to the former. Perhaps, as Mr Mathews suggests, there
is a fanciful suggestion of KatVw in Kat w.
98
23, 24
Trpo? ovSev Itto? : cp. Aristoph. Eccles.
750
ov yap tov
ifjiov ISpioTa KOL ^ctScoXtav
|
ovSev Trpos Ittos ovtojs dvoijTOiS KâA.o5.
'Apropos of nothing.' Trpos ovSei/ simply
p. 98
lines i and
22,
p.
168 1. 8.
98
25
This line seems to be attributed to Sophocles by Aristot.
RAe^. Ill
9, 4
; cp. Roemer Aristot. Ars Rhet.^
p.
xlix.
98
29
Cp. D. G. Rossetti's refrains Sing Eden Bower I and
Alas the hour in his 'Eden Bower'; and Shakespeare's burlesque line
With hey, ho, the wind and the rain, in 'Twelfth Night.'
100
4,
5
dvdvTraXXda-crovTa StaTaTTOjjLevio : cp. Introd.
p. 58
supra,
and
J.
H. Moulton's statement ('Grammatical Notes from the
Papyri,' Classical Review xv
32)
that <ro- and tt in recently published
papyri seem to defy any attempt to reduce them to rule.
100
13
We might have expected dv, but cp.
p. 72
1.
5,
p. 98
1.
11,
p.
100 1.
29,
p. 104 1.
19,
p. 136 1.
17,
p.
162 1.
10, p. 198 1. 10.
100
13, 14 Cp. Aristot. Rhet. III
2, 3
Oavfxaa-Toi yap rcor aTTOVTWv
eto-tV, T/Si) Se TO OavfxacrTOV laTiv '. and tt. v\^.
35,
5
evTropLaTOV [xlv
dvOpioTTOL's TO ;)(ptaj8e9
y
kol dvayKotov, Oav/xaaTOv
8'
o/xws act to irapd-
Boôv. The author of the tt. vi}/. finds this principle illustrated in
men's attitude to natural objects as well as to the arts of style.
100
17
P has /Aeya, not fxeyav : cp. P's reading on
p. 84
1.
4.
100
24
The same passage of the Iliad is quoted, and the secret
of its effectiveness expounded, in Aristot. Rhet. in
12, 4: as also
(after Demetrius) in Greg. Cor. (Walz Rhet. Gr. vii
pp. 1189, 1190).
Cp. in English: "Elaine the fair, Elaine the lovable,
|
Elaine, the lily
NOTES
223
maid of Astolat" (the beginning of Tennyson's Lancelot and Elaine)
\
and, in Greek, the repetition of the pronoun avros in the fragment
of Aeschylus quoted at the end of the second book of Plato's
Republic.
100
25
Gregorius (1-C.) has : o-^^liov yap aira^ rov '^Lp<D<; ovo/xaa-
6ivT0<i iv Tw TTJs
TToirycrccos
ypd/xixaTL ovSlv rJTTOV rj 'A^tXAews -qh*
'OSvo-o-cws ixifxv-qixiOa'
kultol Kara cttos CKatrTtov (sic) XaXov/xevoiv cr^êSov
ama
8*
77
tov a-xruxaro^ Svvafxi<s. Gregorius thus confirms P's AaAov-
fjiV(Dv, as against the vulgate KaXovixevmv. Should not cKaarov be
read in place of eKoicrTwv, and iv tw rrjs Trotifo-ctos Spd/xaTL in place of
iv T<tJ TT^s TTotifo-ews ypdfjLfxaTi, in this passage of Gregorius ?
100 28 Cp. Gregor. Cor. (Walz, R/iel. Gr., vii
2, 1190):
t
8'
ovT(D<i cTttc, NtpU5 6 'AyAatttS vio? e^ Alavp.vy]'; rpil^ vija^ ^ye, Trapaae-
<rL(ji}7rr}KvaL av Ntpca toi/ icaAAio-Tov cSoêv tocTTrcp yap iv rat? io-Tidaea-L
Ta oAtya ttoAAo, 8taAvêp'Ta ttoo? tâtverat, ovtu) /cav rot? Aoyot? iartv
opa Sk TTws TO cr)(rjpa ifxifxria-aro rrjv rov TrpocTWTrov Vi'8iav cttci yap
TrpocrtOTToV rt vTreKctro a/xopcfita Koa-ixov/xevov, Bid tovto kol ttjv i-rrava-
<f>opdv, lyrts ccrrt o-^pia rov KotAAov^, TrapeXajSev.
102
9
yueyaActoTcpov fioiXXov : cp.
p.
ii8 lines 21, 22 and
p.
128 1.
17.
For instances, in earlier Greek, of comparatives and
superlatives thus intensified, reference may be made to Kiihner
Grammaiik^ ii
pp. 25,
26. English examples (such as 'more braver'
in the Tempest, and 'most unkindest' va Julius Caesar) will be found
in Abbott's Shakespearian Grammar
p. 22, where doubt is thrown
on Ben Jonson's view that
"
this is a certain kind of English atticism,
imitating the manner of the most ancientest and finest Grecians."
Bottom, it is pointed out, speaks of
"
the more better assurance."
102 10 Just as the insertion of 'and' would (quite apart from
considerations of metre) make the following lines of Tennyson
commonplace : "The seeming-injured simple-hearted thing" {Merlin
and Vivien)
;
"
Iron-jointed, supple-sinewed, they shall dive, and they
shall run " {Locksley Hall)
;
"
That all the decks were dense with
stately forms,
|
Black-stoled, black-hooded, like a dream" {Passing
of
Arthur).
W 102 1 1 This section seems intended to show that the opposite
practice to that advocated in

60 may sometimes conduce to
elevation : just as
( 63)
both asyndeton and polysyndeton are
wk effective, each in its place. The same passage of Thucydides is
Bfc| quoted by Dionys. Halic. Ep. ad Amm. c.
4:
see D. H.,
p. 179.
I
Here (1.
14),
as often elsewhere in the ir.
ipfx.,
the remainder of the
quotation is impHed ; the point is that iXeLTroij/vxrja-e re koI -rredovTOfi
avTov c? ry]v Trape^cipecrtav rj ao-Tri? Trepieppvr} es ttjv OdXaaa-av is more
impressive than ikeLTroxj/vxyicre re koI hreaev eU ttjv Trapc^cipco-iav kol
airepaXi rrjv acnriha
h rrjv Odkacra-av. Kiihner {Grammatik^ II
pp.
665
667)
gives classical examples (which are more numerous than
is usually supposed) of the genitive absolute used where the nominat.,
ace. or dat., of the participle in agreement might have stood.
Probably this free use was due, at least in part, to a desire to avoid
monotony of case-termination. The decline of the genit. abs. in
N.T. Greek is illustrated by Jannaris {Historical Greek Grammar,
p. 500),
while Blass {Gramjjiar
of
New Testament Greek
pp. 251,
252)
gives instances of its use, over-emphasizing perhaps the departure
from classical usage.
102 18 elpydaaTo: gnomic aorist.
102
19,
20 These words are not found in Herodotus, in whom
the nearest parallel is I 203 : koI ra pikv Trpo? t-^v ia-n-iprjv (fjepovra Trjs
Oa\(i(T(rr]<i TavTr]<; 6 KavKacros TraparetVei, icov ovpeuiv kol irXifjOei fxeytarov
KOL fxeydOd
vi/îyXorarov. What the author clearly has in view is some
such repetition as that of the word 'black' in Milton's II Penseroso:
"O'erlaid with black, staid Wisdom's hue;
|
Black, but such as in
esteem
|
Prince Memnon's sister might beseem."
102
24
o\ dpxcuoi: cp.
15, 175, 244.
The reference some-
times seems to be to the writers (such as Hecataeus and Herodotus)
earlier than the 'artistic prose' initiated by Gorgias ; at other times
to the classical writers generally (the 'ancients,' as viewed from a
later standpoint).
102
25,
26 'ars celare artem'; a studied simplicity.
104 1 2 Eiltos : the context makes it clear that Greek v cannot
have been
=
English v, as has sometimes been supposed. We might,
indeed, have expected the word to be given in the genitive or dative
case and thus to consist of vowels from beginning to end; but the author
probably ignores the case-mark which varies with the construction.
In English cp. faery

in
"
faery elves
"
(Milton, Paradise Lost, Bk i),
and in "faery lands forlorn" (Keats, Ode to a Nightingale).
104
23, 24
Ti^v eTTTo. (jiwvTjevTwv : the writer of the tt.
ipfi. is
clearly much interested both in Egypt and in music, cp.
158,
74,
176. The number
*
seven ' would apply either to the Egyptian or to
the Greek alphabet. For the seven vowels in Greek, cp. Dionysii
I
NOTES 225
Thracis Ars Grammatica
p.
9
(ed Uhlig) : totttwi/ {rOiv ypa/x/xaTwv)
<f)<ovy]VTa fxiv
icTTLV ctttci* a
17
t o v w. 0a)i/T7i/Ta 8c Xeycrat, ort (foDvrjv
a(fi
iavToiv airoTeXeL.
104 28 The author pulls himself up (as in
195,
when speaking
about the art of acting) ; but he has said enough perhaps to imply
that he may have lived at Alexandria.
104
30
17x01 occurs in
6, 30, 72, 97, 157,
201. In all these
sections a following
y
is either expressed or implied,
t<oi/ Be fxiKpQv
K(jiX.(j)v in

6, (TvyKpovovTai kcu
M<l>doyyoi 8L(f>d6yyoL<; in
72,
and
iroXXov? Se KOL TrpoaTrkda-a-ofxev in
157.
It does not seem to be
used, as has sometimes been thought, in the sense of
'
namely.'
106 I So Eustathius : to 8c 'Xaav av(o wOea-Ke ttotl
X6<f>ov'
iirai-
vctrat
X"-P'-^
''"^5
crvvOrJKr]<;. ifxcfyatvei yap rrjv 8vo-;;(eptai/ rov ttj? wOr](Toi<s
epyov
rfj
raJv (fxDvrjevTCDv 7raX.\7]XLa, Bl wv oyKOvvToyv to (TTOfxa ovk
carat Tp)(i.v 6 A.oyo9, dW oKvqpa jSaivei (rvv6$oixoLOviXVo<s Trj ipyoiBca
Tov avo) (oOelv.
Cp. Pope "When Ajax strives some rock's vast weight to throw,
|
The line too labours, and the words move slow" (jEssayon Criticism).
Rapid movement, on the other hand, is well illustrated by the
concluding line in this passage of the Odyssey : avns cTrctra rriBovBe
kvXlvBcto Xaa<; aVat8>;s {Odyss. XI
598),
which Sandys translates "Down-
ward anon to the valley the boulder remorselessly bounded
"
(Cope's
Rhetoric in 126).Cp.
D. H.
p.
18.
106
5
The example seems to be introduced abruptly, but cp.
the note referring to
p. 124 1.
25.
106
13, 14 E.g. on cUiAio-o-o'/xcvo? (for which in Eurip. EL
437
and Aristoph. Erogs
13 14,
see Classical Review xv
344,
and cp. the
Delphic Hymn to Apollo and D. B. Monro's Modes
of
Ancient Greek
Jlfusic
pp. 132, 134).
ixeXiarfia
=
fXXL(Tfx6<;,
which is thus defined by
Herodian {Epimer.
p.
180 Boiss.) : /acXio-/mo9 {1(jt\v) orav tov avTov
<f)66yyov
TrXeovaKL^ rj OLTra^ Kara /xovcrtKOi/ /icXo? /xcra rtvos IvdpOpov
a-vXXaftrj<:
TrpoXa/i-ySai/co/xcv. It is thus equivalent to a
*
shake ' or
*
trill.'
106 18 One of the comparatively few passages in which reference
is made to Trpay/Aara or 8iavoia.
106
23, 24
aTrpcTTc? TTotctv Tw TrpdyfxaTL: for the dative with
a7rpc7r?79, see the passages quoted in Stephanus s. v.
R. 15
108 I The painter Nicias here in question seems to have been
the contemporary of Praxiteles mentioned by PUny.
108 lo Anastasius Gennadius suggests TroLrjixdTwv for Trotryrwi/.
108 12 The subjunctive with ci is retained in the text, since it
has a parallel (et yap awatfiOr} ravTa crvvSccrjUois) on
p. 190
1.
23
of
this treatise. The usage is very rare in Attic prose, but frequent in
later writers such as Diodorus, Plutarch, and even Lucian.
108 1316 Compare and contrast Aristot. Rêf. iii 2, 6 t6 Sk
Kvptov Koi TO OLKclov Kol fxeTaffyopa fxova )(pyj(TLixa Trpos rrjv tiov if/iXoiv
Xoytuv \e^LV. a-rj/JieLOV
8'
on tovtois fiovoi'S Travrcs ;(po3vTaf Trctvres yap
lxeTacl>ofjaL<;
StaXcyovrat koX rots oiKct'ois kol toIs KVptots, wore ^rjXov
(u? av v iroLrj rts, co-rat re ^cvlkov kol XavBdveLv cj/8e;(CTat kol aa<jir}vu2.
108 17
For metaphors, see Aristot. R/iet in cc.
2,
3,
4, 6, 10,
II ; together with Cope's l7itroduction to Aristotle^s Rhetoric î^.
286,
374
379,
and Volkmann's Rhetorik der Griechen und Romer'^
pp.
417
421. Whenever a metaphor is either praised or condemned

by a Greek critic on what seem to us insufficient grounds, we have
to bear in mind that metaphors generally have lost much of their
freshness through constant use : cp. Jebb's Selections
from
the Attic
Orators'^
p.
xvi and Cope's edition of Aristotle's Rhetoric vol. in
p. 46.
108 20 /xry'rc : we should expect /-tr/Se.
TroppmOev : cp. Aristot.

Rhet. Ill
2,
12 and iii
3,
4.
108 21 eotKv : the singular verb is to be remarked, followed as
it is by
dWyjXoL's and three separate subjects. Gregorius Corinthius
(Walz Rhet. Gr. Vll 2,
I161) gives ioiKacnv d\X7]\oL<s 6 o-rparTyyos Kttt
6 Kvl^cpv^TY]^ Koi 6 rjvLoxo<i.
108
25
The form vryos may point to a poetical quotation
;
but
cp. Introduction p.
59
supra.
108 26 As Cope (Introduction to Aristotle's Rhetoric
p. 292)
points out, Demetrius has in mind Aristot. Rhet. iii
4
and Poet. c. 21
and wishes to explain (in qualification of Aristotle's statements) that
the reciprocity of metaphors is not uniform.
108 28 An attempt has been made in P to change ttoit/tî/ into
TroirjTY}, so as to get the more obvious construction with $r}v.
110 I, 2 For the relation of metaphor and simile, see Cope's
Introduction
p. 290 and Volkmann's Rhetorik
p. 418.
L
NOTES 227
110
4
For Python, see W. W. Goodwin's edition of the De
Corona
p.
100.
110
5
Cp. TT.
vif/.
XXXII
3
StoTTcp o fiev
*Api(rTOTtXr)<; koI 6 0o-
<f)pa(rTo<i fxLXLyfiaTOL cfiaac rua twv OpacreLiov etvat ravra fjaraffiopijiv, to
*<iX77rpt' (jidvaL kol 'otoKci,' Kal 'ct
)(p-q
tovtov i7rtv tov rpoTrov' kol 'ct
Set TrapaKLvSvvcvTiKWTepov Xe'ât.'
77
-yap rTTOTt/xrycri?, (f>aarLv, larat to.
ToXfjLT]pd. By /xctXty/xara is here meant
'
emollitiones,' while a little
later dXeîcfidpfxaKa ('remedia') is used with reference to the 7rd6r).
The chapter on 'Simile and Metaphor' in Abbott and Seeley's English

Lessons may be consulted with advantage.
110
7,
8 For Plato's tendency to poetic diction, see Dionys.
Halic. Ep. ad Pomp. c. 2; together with D. H.
pp.
27
30 and
Norden's Kunstprosa i
pp.
104 ff.
110 10 Cp. Aristot. Rhet. iii 11, i
4,
where the same illus-
trations are quoted. See also Volkmann, Rhetorik,
p. 419.
110 12 TO hv\ TOV îXovs, sub. lpr}fXvov : cp.
p.
200 1.
8, p. 130
1.
17,
p. 142 1.
12, p. 132 1. 6,
110
15
Compare in English such personifications as "Where the
wind's feet shine along the sea " (Swinburne, Poems and Ballads)
;
"
And Autumn laying here and there
|
A fiery finger on the leaves
"
(Tennyson, In Memoriam).
110
19
^TTcp: an Ionic form, frequent in Homer and Herodotus;
absent from Attic prose, except once in Aristotle ; occurs in late
prose, Polybius, Arrian etc. Also found in

12.
110 20 Cp.
"Air shudders with shrill spears crossing, and
hurtling of wheels that roar" (Swinburne, Erechtheus) ; or the
different yet parallel metaphor,
"
Dash'd on every rocky square
|
Their surging charges foam'd themselves away
"
(Tennyson, Ode on
the Death
of
the Duke
of
Wellington).
110 28 A familiar instance in English is: "While England's
fate,
I
Like a clipped guinea, trembles in the scale " (Sheridan, The
Critic^ II
2, 306).
112 I
4 Criticism and defence alike seem laboured, the

repetition of the verb
^'xetv being especially clumsy. Would the
critic in the same way have attacked Swinburne's
*'
And heaven rang
round her as she came
|
Like smitten cymbals" {Jtalanta in Calydon)}
The third chapter in Aristotle's Rhetoric Book iii reminds us how
different the ancient point of view was from the modern.This
152
passage of the tt. ep/x. is reproduced, with certain variations, by
Gregor. Cor. (Walz, Rhet. Gr. vii 2, 1161).
112
7
Cp.
Volkmann Rhetorik der Gr. u. Romer^
p. 421.
112 8 Mr Dakyns
(
Works
of
XetiopJion i
107)
refers to Gold-
smith (Essay XVI, on
'
Metaphor
'),
who translates
"
part of the
phalanx fluctuated on the march."
112 16 An interesting question arises as to which Theognis
is here meant. Bergk proposed eoStKr??? or eoScupos in place of
c'oyvts. He thought that the metaphor in question could not
have been used by Theognis of Megara. My friend and former
pupil Mr T. Hudson Williams, who has made a special study
of the remains of Theognis, writes as follows :
"
It seems quite
impossible to father the expression (popfnyya axopSov on Theognis
of Megara, as his style is so simple and straightforward. The
only words in the collection bearing his name that might be com-
pared with
cfjopfjuyi
axopBo<; are ayycA-o? acfi6oyyo<: (of a beacon-
light) 1.
549.
If the reading eoyvis is correct, we are compelled to
assign the words to Theognis Tragicus. Although it seems natural
to regard the Megarian as the Theognis 'par excellence' the
Theognis
'
without an epithet,' he is by no means always mentioned
without a distinguishing expression such as Meyapcv? (Xen. in Stob.
Serm.
88),
or coyi/ts 6 Troirjo-as ra<: viro6r]Ka<: (Schol. Thucyd. 11
43).
Aristophanes always refers to the Athenian simply as Theognis (w
@oyvL Ach. II, coyvts Ach.
140,
6 0oyn9 Thesm. 170).
Possibly
some of the poems of the Athenian were falsely attributed to the
Megarian. Suidas says of Theognis of Megara eypaxf/v
eA-cyctav dq
Tovs (T0)6VTa<i T(2v %vpaKo(TLi}iv Iv TTj TToXtopKca, a Statement wliich has
puzzled all critics and commentators. Sitzler {T/ieog. Reliq.
p.
52)
proposes to read ts TOv<i aioOevTaq iv rrj TroXiopKLa rwv iSvpaKovtrwv,
and refers the words to an elegy composed by Theognis of Athens
on the survivors of the Sicilian Expedition." Nauck {Tragic. Graec.
Fragm.
p. 769)
also attributes the phrase to Theognis Tragicus,
printing it as his one surviving fragment. The weight of authority is,
thus, against Theognis of Megara. On the other side, however,
should be set the parallel adduced by Mr Williams, together with
the fact that, immediately after his death, Theognis Tragicus had
probably dropped again into that obscurity from which he was lifted
by the genius of Aristophanes, as whose butt he became momentarily
famous.No light is thrown on the authorship of the words by
NOTES 229
AristOt. Rhet. in 11, 11 olov >; ao-Trts <f>afXV
Io-tl ^Lakrj "Apcws, koX
roôv
(fiopfjiLy^ axopSos. If the author of the tt. p/A. has borrowed his
illustration of the
*
stringless lyre' directly from the Rhetoric, he
must have added the name of the writer on his own account.
112 ig, 20 Cp.

91
KttôAov yap Tavrryi/ (tî/ crvvr]Bîo.v) Kavova
iroLovfxaL Tracrr/? oiô/xaorta?, and Horace, Ars Poet., yi,
72.
112 2 2 \vio]v T (jiwvrjv: a voice dear in timbre (Neil's Knights
of
Aristophanes
p. 167),
opposed to </)ata as in Latin vox Candida is
opposed to vox/usca, Quintil. xi
3, 15,
Cic. N. D. 11 146.
112
29
Sandys {Orator
of
Cicero,
p.
93)
: "When we apply the
term 'eye' to the bud or shoot of a plant or tuber, we use a true
metaphor which has its parallel in the Lat. oculus ('oculus gemmans'
Col.
4, 24, 16),
and the Greek 606'aA/x6s
(6 t-Ti'^
a/xTre'Aov
6<fi0akfx6s,
Demetr. de eloc.

87)." The tt.
ipfx.
may here have Theophrastus
in mind.
114 2 KTve<i : the parts of the body to which this word may
apply are as various as the ribs, the pudenda (cp. Lat. pecten), the
fingers, the incisors.
114
15
Cp.

220 /cat TTcpI ei'apyctas /xv ws Iv tutto) ctTTcti/ TO(ra{)ra.
114 16 ff. Cf. AristOt. Rhet. in
3,
3
ot
8'
avOpuiiroi rot? SittAois
XpwvTtti, orav dviovv/xov
y
koX 6 Aoyos vcrvvOTO<s, olov to )(povoTpLf3iv
aAA* ttV TToAv, TTaVTWS TTOtryrtKOt'.
114
25
cnTOTrofXTTiav : cp. Demosth. de Cor.

241
koI Tyj<s (tlto-
TTO/XTTiaS T7y? T<j3v 'EAAt/I/COI/ KVptO?, aud

3OI Ibid.
114
29
The 'word' in question is not a noun (oi/aypo?), as has
been usually supposed, but a verb. The passage in Xen. Anab. i
5,
2 runs : koX ol
fxkv
ovol, iircL tls Slwkol, TrpoSpa/xovTes eo-Tacrav ttoAv
yap Twv LTTTrwv erpe^ôv Oolttov' kol TraAtv i-rrel TrXrâidtôuv ol lttttol
TavTov iiroLovv, Kal ovk rjv XajSelVj t
p.^
8ta(rTavrS ot iTTTTCts drjptacv
8ta8;ôp,ciôt [rots tTTTTots].
114
31
There seems no construction for ovo'/Aart, unless we
substitute some such word as BrjXwv for otov.
116
3
Spengel suggests (though he does not print in his text)
Set TToAAa TLdivat. But (i) the author is thinking of double com-
pounds, such as Trpoa-Trepiopiêa-Oai, of which there are so many in
the TT. vk(/. and comparatively few in the tt. p/x. (though ixiTaavvriB-qixi,
VTroKaracTKCvaôj, av^vTraAAao-o-w, a-vveâipo) OCCUr)
;
(2)
the infinitive
for imperative is rather a favourite idiom with him.
230
DEMETRIUS ON STYLE
116
5
It has been suggested that hpitpvrai is a passive verb,
and TO. 8c TreTToiry/xcVa ovo/Aara the subject to it. But elsewhere
( 9,
II,
34,
106, 114, 173)
6ptô/xat in the sense of 'define' is middle;
and no certain instance of plural verb with neuter plural nominative
is found in the treatise. The subject to Trotet (i.
7),
Aeyci (I.
9)
and
toiK^v
(1. 11),
seems to be Homer, and the construction in 1. 8 to be
Sto. TO {ra 6v6/jiaTa) olov
\f/6cf>oL<i
coiKcVat. [In

i and
35
the active
6pl^Lv means 'to limit.' Cp.
opoc in

i with opo'i in
34.]
116
7
The repetition of /AaA-io-ra in the following line may point
to some corruption.
116 8. E.g. such lines of Homer as that quoted from //. xxiii
in
219,
or Tennyson's "The sound of many a heavily-galloping
hoof" {Geraiiit and Enid).
116
15
fTKvBilQe.iv. Ammon (^\\xs\2ix{ s Jahj-esbericht, 1900: p. 207)
suggests fxva-Lêiv, comparing Dionys. Halic. Z)e Antiq. Orat. prooem.
c. I. In English, cp. Byron's Don
Juan,
canto vii, st.
15, 16, 17.
116
15,
16 0)9 8o|t. The grammatical point is well dis-
cussed by Dahl in his dissertation 'Demetrius iripX ep/xryi/eta?,'
p. 31.
There is apparently no authority in late Greek for /xcralv with the
dative, as given here by P.
116 20 The word o-Ka</>irr7s occurs elsewhere (as far as our
evidence goes) only in Strabo, Geograph. xvii
817,
fxiKpov
8'
virlp
Trj<s 'EAcâi/TcVrys iorriv 6 /xtKpos KaTapdKTr]<;,
icf>
a> kol Oeav rtva ol
crKa<f}LTai rots Tyyc/xocrtv eTrtSet/ci/vi/rat. Possibly the author of the
TT. ipp.., who is specially interested in Egypt, has this passage in
mind. Here he seems to be compHmentary ; in other passages
(
115, 121, 126, 187, 188, 236,
237,
238,
239)
Tis usually introduces
an offending author,mostly some schoolman occupied with scho-
lastic futilities.
116 22 /jLovos and avros are found combined in tt.
vif/.
xxxv
4
Kttt TTOTafxovs VLOT Tov yTjyivov^ Ik^lvov Kol avTov ixovov 7vpo)(iov(rLV
irvpo'i^ 'that pure and unmixed subterranean fire.' Here the words
mean one who lives
'
all alone,' an eremite, a recluse. There is no
independent authority for the existence of avTiT-qs in Aristotle, though
fiovioTr]<; i found in Ef/i. Nic. i
7
etc. Cp.
144.
116
23
The verb l\f.\it,îv occurs in Xen. Anab. i
8,
18 ws Sc
iroptvofxivwv i$KV[JLaLV tl ttJs (f>d\ayyo<s (cp. tt.
epfx. 84),
to iittoXcitto-
fievov
rjpâro Spo/AO) 6iLV kol afxa
ifjiOeyâvTO Travres olov t<5 *Evva\i(a
I
NOTES 231
eXcA-tôvcrt, Kai ttcii/tcs Se cêoi/ : and Anab. V
2, 14
cttci
8'
hrixiavicrav
Kai ry craXTny^ c^^cyâro, a/xa re tw 'EvvaXto) >;A.A.iâi/ Kat l^cov Bpofno
ol OTrXtrat, ktA..
118 I Abrupt transition to dXXrjyopLa. The same example is
used to illustrate Seivdrrys in
243.
118
3
Possibly
x^f^îOev
should be read : see Liddell and Scott,
s.v.
118 6 (TvyKaXv/jifjiaTL : a late word,LXX, etc.
118 II The suggestion cV dSvTco (for P's cV avrw) made by a
later hand in the margin of P is distinctly interesting.
118 16 This line is given in Aristot. Jôef. xxii
2,
and in
Aristot. J^/ie^. iii
2, 12, where the notes of Cope and Sandys should
be consulted, the second line ovto> o-fyKoA-Xw? (ocrrc avvaifia ttoulv
being preserved by Athenaeus (x
452).
Perhaps as a modern
specimen of 'allegory' might be quoted D. G. Rossetti's lines in T/ie
House
of
Life (Sonnet xlv) :
"
Because our talk was of the cloud-
control
I
And moon-track of the journeying face of Fate," i.e. We
talked of the uncertainty of human destinies. For Cleobulina, see
Bergk P. L. G.* 11
p. 62, and Bursian's Jahresber. xxviii i
p.
86.
The Hne is inferred to be by Cleobulina from a reference to it in
Plut. Sept. Sap. Conviv. c. 10.
118
23
In the tt. kpyi. the preposition Iv is occasionally used
with something of an instrumental force, as in the Greek Testament
:
cp.
p.
66 1.
9,
p. 178 1.
9,
p. 148 1.
17.
118
24 Xen. Anab. I
8,
20 to,
8'
apfxara e<f>pTo Ttt
fikv 8l avTUiV
T<JJV TToXcfxCwV, TO. Se Koi 8ta TWV 'E\\.7JV(DV Kvd rjvLO^ÔiV.
120
3
(TVfiê^XrjTaL : for the tense, cp.
p.
86 Hues
4
and 6.
The perfect has almost a 'gnomic' force in these passages.
120 6 Cp.
"
it strikes
|
On a wood, and takes, and breaks, and
cracks, and splits" (Tennyson, Princess), or "Grate on their scrannel
pipes of wretched straw" (Milton, Lycidas). The quotation from the
Iliad is elliptical, as often. In full the passage runs : Aia?
8*
6 /xcyas
ojxv
i<f>
E/CTopt ;(aX/coKo/3V(rT^
|
lct aKOVTicrcraL.
120 16 Bergk, who claims the fragment for Sappho, reads:
Xafial
8'
iTn7rop(f>vpL dvOos. But this involves the shd^tening of
the V.
120
20
26 Some lines are omitted in this passage as quoted
by Demetrius. With the last line, cp. William Morris, Story
of
Sigurd
the Volsung, Book ii :
"
Therewith was the Wrath of Sigurd laid soft
in a golden sheath
|
And the peace-strings knit around it ; for that
blade was fain of death
; |
And 'tis ill to show such edges to the
broad blue light of day,
|
Or to let the hall-glare light them, if ye
list not play the play."
122 2 The word
'
band ' rather than
'
stripe ' has been chosen in
the Translation, so as not in any way to beg the difficult question
referred to in the Introduction
p.
54
supra. The immediate context
may well suggest that some domestic decoration is intended,
a
carpet, or a band of purple paint or encaustic. On the other hand,
the laticlave is clearly meant by to) -n-Xdni rrj^ -n-opcfivpa^ in Lucian's
Demonax C.
4
1 tOojv Zk nva twv (.VTrapvcjujiv lir\ to) TrAarct Tiiys 7rop(fivpa<s
fjLiya cf>povovvTa. And in the use of o-rjixeLov on
p.
122 1.
3
there may
be a direct reference to the fact that (r-qp-^lov was used for 'clavus'
and >7 7r\aTvar}fjio<; (sc. ia6r]<;) for
'
tunica laticlavia.'
122
13
This is not a final line in Homer
(//.
xii
113),
but the
first of three consecutive lines: vrj-mo^, ays' ap e/xeXXe xa/cas viro Kripa<i
aA-Vâs (not d.\v^Lv)
[
LTnroLaLV koI o)(êcr(fiLv dyaWofxevos Trapa vrjwv
|
aij/
OLTTOvocTTyaeLV irpoTL "Wlov Tjveixoecrcrav.
1243 irapaKctrat : defects of qualities : 'adfinia vitia sunt' Cp.
"finitima et propinqua vitia" (ad Herenn. iv c. 10). Perhaps that
part of the study of style which is negativewhich teaches us what
to avoidis even more useful than the positive,that which teaches
us what to admire.
124
7
yîTviQiVTo^ : the tt. kpp.. shares this use of yctrvtav with
Aristotle, koi oAcos Se to tlixlov dytLv i<s to KaXov, cTTCtVcp yc Sokcl
yetTVidv i^Rhet. I
9,
30).
124 1 1 For Sophocles in his less inspired moments, cp. tt. v\\f.
p.
241. The authorities who ascribe this line to him are mentioned
in Nauck^
p. 265. The fault here censured is of the same order as
Wordsworth's "prominent feature like an eagle's beak" (of the
human nose), or Milton's
"
with hatefuUest disrelish writhed their
jaws." It is a fault to which the heightened style is always liable,
even when it does not actually fall into it: cp. Tennyson's description
of a fish-basket in Enoch Arden, or of a game-pie in Audley Court.
For a bujpBsque of this style, see Rejected Addresses^ where Doctor
Johnson's Ghost is made to describe a door with knocker and bell
as
"
a ligneous barricade, decorated with frappant and tintinnabulant
appendages." The parody here is not much more extreme than Dr
NOTES
233
Johnson's own change of
"
when we were taken upstairs, a dirty
fellow bounced out of the bed on which one of us was to lie
"
into
"
out of one of the beds on which we were to repose, started up at
our entrance a man as black as a Cyclops from the forge
"
(the first
sentence in a private letter, the secondrelating the same incident
in the Journey to the Hebrides; the example is given by Lord

Macaulay).
124
17
Aiô/?oAowT09 : late,LXX, N. T., Plutarch, etc.
124 21 The reference is to Aristot. Rhet. iii
3,
i to, Se
yf/vxpa.
ev TeTTapan, ytyviTat Kara r^v Ac^tv, ev t tol<s SiTrXols ovo/xacTLV, oiov
KvKof^piov ktX. The four points mentioned by Aristotle are, in order:
(i) compound words,
(2)
obscure words,
(3)
'epithets,'
(4)
metaphors.
There is clearly a gap in our text of the tt.
ipfx.
124 22 Alcidamas : mentioned also in

12. See Aristot. R/iet.
Ill
3;
Brzoska's article in Pauly-Wissowa i
pp. 1533
1539;
D.H.
p.
41-
124
24
For the insertion of ct, cp. p.
102 1. 10.
124
25
It does not seem necessary to insert oiov after
il/vxp6v
:
cp. p.
162 1.
20, p.
180 1.
15,
p.
106 1.
5.
124 26 Possibly the author of this conceit may be Gorgias, to
whom the words "x^wpa
koI evaifxa TO. Trpay/Aara " are attributed in
Aristot. R/iet. in
3,
4.
126 I
Cp. p. 90
1. 28 supra. In English, cp. Pope's satirical
line "And ten low words oft creep in one dull line" {Essay on
Criticism). On the other hand, a succession of long syllables has a
fine effect in Swinburne's "All thy whole life's love, thine heart's
whole
"
{Songs before Sunrise).
126
4
Cp. Aristot. Rhet. in
8, 3
8to pvOfxov Set
Ix'îv rov koyov,
fierpov Bi /xry* 7rotr//xa yap carat. pvOfxov h\
fxrj
dKpi/?ws* tovto Be lorat
iav
p-xpt.
Tov
77.
For examples of the neglect of this principle in
F^nglish prose, see Abbott and Seeley's English Lessons
pp. 94
if., or
Ruskin's Frondes Agrestes

60 and certain passages in Blackmore's
Lorna Doone. In Latin, cp. "Urbem Romam a principio reges
habuere," Tac. Anftal. init.
126 10 The analogy between imposture and frigidity% certainly
good. But it must be remembered that such elaborate language is
often half- playfully used by modern writers : e.g. by Tennyson in the
passage of Audley Court referred to in the note on
p. 124 1. 11, or
234
DEMETRIUS ON STYLE
when he describes ladies' angular handwriting as "such a hand as when
a field of corn
|
Bows all its ears before the roaring East." Cp.

120.
Charles Lamb is fond of such mock-heroics and quaint elegances.
126 II For this, as well as other proverbs, see end of Notes.
126
14
Gorgias and Isocrates may be specially meant. The
marginal note in P {a-qfxuoia-at ottws eVai/rtcos ^yâl r<Zv aXXwv) probably
refers to our author's dissent from the doctrine of the Isocratic
school.
126 16 For Polycrates, see
Jebb
Att. Or. 11
pp. 94
96 and
p. 103 n. 2,
and Spengel Art. Script,
pp. 76, 77.
126
17
E. Maass {Hermes xxii
576)
would supply p(rLTr)v, or
some such name.
126
29 Cp. Pope (in mock-heroic style): "To where Fleet-ditch
with disemboguing streams
|
Rolls the large tribute of dead dogs to
Thames" {Dunciad, Book 11). The Nile and the Danube are men-
tioned together in rr. v\\i. xxxv
4.
128
4
For the inserted
^
cp.
p.
128 1. 11 r; /cat ort kt\.
128 6 aKovarOyjvat : the active would be more usual, e.g. Eurip.
Med. 316
X-yt<; aKovaaL jxaXOaKa. But as Kiihner {Gramm. d. gr.
Sprache^ 11
585)
remarks, the active and the passive are found side
by side even in writers of the classical period, e.g. Isocr. 12, 156
TTOtrycro/xat tx^v o.pyr\v tQv A-t^^T/cro/xcVtuv aKoCcrat îXv tcrcos rtcrtv ar}8rj,
prjOrjuai
8'
ovk dcrvfxcfiopov. oSov duoLyvvvai (I. 'j)
=
'viam aperire.
128
24
The meaning is that the last of the three varieties, that
specified (elprjixevrj) as 'impossible'
(1. 20),
is the one which specially
bears that name.
i$aLpT<jj<; = Kar'
i$ox7]v, par excellence : late, Philo,
Plutarch, etc.
128
27
KWfxioSoTTOLOL : specifically Attic word. See Classical
Review xiv 211 (article by H. Richards on the use of rpayioSo^
and K(o/xa>8o9).
128
29
As Hammer has pointed out, the mannered inversion
Twv Hep(rojv rrjq a7rXr]<TTLa<; is characteristic of the tt.
epfx..
(and, it may
be added, of the tt.
tuf/.
as well) : cp.
p. 78
I.
10, p. 96
I.
24, p.
106 I.
2,
p.
116 I.
4,
p. 124 I.
5,
p.
126 1.
19,
p. 164 I. 18. Here the order is
the more awkward that a preposition governing the genitive is used :
contrast 1^146
\.
19
cttI Trj<i airk-qa-Tia^ T(oi/ Ilcpcrcoi/.
130
3
The fragments of Sophron have been collected by Kaibel
Comicorum Graecorum Fragmenta
pj).
152 181, and by Botzon in his
Sophroneorum Mimorum Reliquiae. Norden {Kunstprosa i
pp.
46
48)
I
NOTES
235
gives some account of Sophron's rhythmical prose, an4 comments
on this revival of interest in it during the ist century a.d. (the period
to which he assigns the tt. p/x.), when composition with a strongly
marked rhythm was much affected by the Greek rhetoricians. Suidas
says : Sw^pwx' SvpaKOvo-to?, *AyaôKA.ov? kox Aa/AvacrvAXtSo?- rot? Sc
yfiovoi^
y)V Kara. ap$7]v kol EvptTrtSryv, kol eypaij/e pLixovi
di'Spctovs Kal
fjiijxovi yvvaiKiov'i' cto-i Se KaraA-oyaSryv, 8taA.KTa) iûipihi. kol (f>aal
UXdrtova tov 4>iX6<to<j>ov det avrot? i/Tvy;(aviv, cos ât KaOivhîv lir
avT^v ecrd' ore, viz.
"
Sophron of Syracuse, the son of Agathocles and
Damnasyllis, was contemporary with Xerxes and Euripides and wrote
mimes for men and mimes for women; they are in prose and in the
Doric dialect. It is said that the philosopher Plato was always
reading them,in fact, that he sometimes slept with them under his
pillow." In this passage, the mention of Xerxes seems to point to
confusion between Epicharmus and Sophron, whose date may be
inferred from the fact that his son Xenarchus lived under the tyrant
Dionysius. By /xtju.01 avSpetot are meant such subjects as the reporre?,
'AA.it9, "AyyeA-os, etc.)
;
by fjufxai yvvaLKLOL SUch as the 'ladfiLdtôva-aty
UivOepd, etc. In the Poetics i
7
Aristotle says : ovSci/ yap a.v lyoip.^v
ovofjLacraL kolvov tov<; 2co^poi/os Kai a^vapôv /xt'jaov? kol tov^ ScoKpariKovs
Aoyoi;s, ovSk t rt? 8ta rpifjiiTpiov
*/
iXcyeLwv rj rwv dWwv tlv(Zv twv
TOLovT(Dv TTOLOLTo Trjv jXipirjaLv (cp. S. H. Butcher's edltiott,
pp.
142,
143).
The following sections of the tt. kpp., refer to Sophron :
128,
147,
^S'j
1 53'
i5^> '^2 (in

156
his /xt/>tot are called Spd/Aara).
Cp.
L. Hirzel Der Dialog i 20 ff.
130 16 For the humour of Lysias, see Jebb's Atiic Orators i
pp. 184, 185, 194,
and Blass Att. Bereds. i
pp. 398,
632. Blass
Griech. Bereds,
p. 5
1 may also be consulted, especially with regard
to Maslovius' (Maslow's) proposed substitution of * Api(TTO(fidvov<; for
'Apio-TOTcAovs in this passage : as he points out, prose-writers (not
poets) are here in question.
130
17 Cp. such English examples as: "Like a man made after
supper of a cheese-paring : when a' was naked, he was, for all the
world, like a forked radish, with a head fantastically carved upon it
with a knife," Second Part
of
King Henry IV, Act in Sc. 2.
132 6 ovv (if the reading is right) must mean deniquei^^
132
7,
8 Horn. Odyss. IX
369
Oviw cyw Trvfiarov ISo/Attt /JLerd
ots erdpoLO-L,
|
tov<:
8'
dA.Aou? Trpoa-Qev to Se rot $iyrjiov Itrrai. It
should be noticed that P gives $ivLov, both here and in
152.
132
13
Xen. Anab. vi i,
13
kvra.vQix Kporoq yv ttoAv*;, kol
61 Iia<fiXay6vi<s r/povTO t Koi yvi/aiKCS <rvvfxd)ôvTo avrots* ol
8'
eXeyov
OTL avTUL KOL ttt Tpeij/dfJLevaL LV âcrikia Ik rov crrpaTOTrcSov.
134
7
The literal translation probably is
'
in the writings of
Xenophon': cp.
p. 152 1.
5,
p.
80 1.
18, p. 94
1. 28. It has, indeed,
been maintained that in later Greek Trapa c. dat. is

vtto c. genit.
;
but usually, if not always, the local sense will be found to be
prominent, e.g. Dionys. Hal. de Thucyd. c.
23
ov& at 8tao-wô/xvat
TTO-pio. TracTLV, w<s iKUViiiV ovaat twv dvBpwv, Trto-reuovTat : id. /A C.
39
TOVTO oe ofxoLOv (TTt T(i) Aeyetv otl irapa roi<i rvpavvoLS ov fiKTOvvTat
Tvpavvoi.
134
9
More than one example of this kind of pleasantry will be
found in the opening scene of the Merchant
of
Venice.
134
13
Finckh would expunge wanip Kal in 1.
13
and wcnrip in
1.
14,
and substitute wairep for wa-n-epel in 1.
15.
134 18 Possibly P's TrapaSeiôfxai should be preserved, as another
instance of that curious love of variety which gives eTratvco-o/Acâ in
292 but eTraLV(rofJLv in

295,
vrcpl KaKO^ryAta? in
189 but Trepl rrjv
Aîi/in 188.
134 26 Xen. Anab. in I, 31
aAAa tovtw ye ovt-c Trjs BotwTtas
7rpo(Tr/KL ovSev ovt Trys 'EAAaSo? TravTOLTracrtv, CTrct cyw avTOV eiSov
wcTTTC/) AvBov
dfJL<f>6Tpa
rd (Sra TeTpvTrrjixevov. kol ctpêf ovTUiS.
136
4
Weil says that he would rather see the shield of the sleep-
ing Amazon under her head than on her head ("ich sahe den Schild
der schlafenden Amazone lieber unter ihrem Kopfe vtto
rfj
K(f>aXrj
als auf ihrem Kopfe i-rrl
rfj
KccâAr}," JVeue Jahrb. fur
Philol. und
Fddag. Lxxiii
705);
and so he would read vVo. But the alternatives
are not fully grouped ; and the fact is overlooked that a shield might
be an uncomfortable pillow even for an Amazon. In late as in early
Greek IttX with the dative may mean simply beside^ as in Homer's at
Sc v/xovTat
I
Trap KdpaKos ireTpr) liri t Kpijvri 'ApeOova-rj (Odyss. XIII
407),
or 01
8'
dyopds dyopevov ctti Ilpta/xoto OvprjaL
\
7rai/TC< ojxrjyepces,
>]fxv vioL -qBk yepovrcs, where it is certainly not implied that the old
men and the young were seated on the doors. In

138
and
137
the author shows a clear perception of the fact that style owes as
much to what is left unsaid as to what is said,that a pointed
brevity is most effective.
136
13
Or "the exemption of his territory from further pillage,"
as Mr Dakyns more neatly renders it in his Translation of
NOTES
237
Xenophon's Works. The full sentence in Xen. Anab. i 2, 27 is
:
/ACTOL TttVTtt cVct CTVi'cyeVoi/TO ttA-XT/Xoi?, 2vi/veo-ts /Acr IStoKC Kvpo)
)(prjfxaTa 7roXA.a ts t-^v crrparidv, KiJpos ckciVw 8(3pa a vofMLêrai rrapa
âa-iXiZ TLfjLLa, tmrov ;(pv(ro;^(iA.tvoi' fcat arpiTrrov )(pv(rovv kol i/êAia Kat
aKLvoLKrjv ;(pvorovi/ Kat cttoA-t/v npa"tK7;v, Kat tt)!/ -^njipav /xriKeTi SiapTra-
^(.ardai, to, 8c rjpTraarp.iva avSpd-TToBa, tjv ttov ivTvy)(avoi(Tiv, aTroXafxfidvuv.
136
23 Cp. the repetition of 'till I die' in Tennyson's Maud,
or of 'the love of in the Dedication of his Idylls, or of 'all made of
in As You Like // v 2.
136
24 The fragments of Sappho quoted in the tt. kpp.. are for
the most part given in an abbreviated or allusive form and without
much regard to verse-arrangement. Perhaps, therefore, it is better
to let them remain imbedded in the text, rather than attempt to
arrange them metrically. For the present fragment, see H. Weir
Smyth Greek Melic Poets
p.
35
and H. T. Wharton Sappho
p. 145.
138
3
SctroTryras. Spengel suggests Seti/orryra. But cp,
p. 132
1. 12 p. 180 1. 21.
138
4
e7rt;j(aptTW9 : in support of his emendation, Finckh com-
pares
p. 130
1.
9.
138 6 For this passage, see H. Weir Smyth Greek Melic Poets
pp. 34, 249, 250;
and H. T. Wharton's Sappho
pp.
136
138.
138 12 See H. Weir Smyth op. cit.
pp.
20, 220, 221, with the
reference there given to Hesiod Op. et D. 582
ff.
140 I Wilamowitz-Moellendorff {Hermes xxxiv
p. 629)
takes
the reference to be to the <Sto9, or long-eared owl, and quotes
AristOt. Hist. An. VIII
597
b 23
lo-rt h\ K6/3aXo<: koL fxtprjTrj<; koI
dvTopxovfxevos aA-to-Kcrat. Weil suggests kcik KoAaKos ('and of flatterers
bred'), but the plural ra prj a-wyjOrj ovofxara seems to favour
Wilamowitz' emendation. Cp. Aristoph. Fesp. 42
ff. for KopaKos
converted into KoAaKos by the lisping Alcibiades.
140
7
Cp. H. T. Wharton's Sappho
pp. 131, 132.
140 TO 6 A.a/x7rpoTpos : it has been suggested that T17? a-\y]vr}<;
should be supplied. Spengel, however, proposes Aa/ATrporaro?, just as
on
p. 76
1.
17
he proposes /xtKporarat for fjuKporepat. See, however,
for the confusion of the comparative and superlative in later Greek,
J.
H. Moulton 'Grammatical Notes from the Papyri' (Classical Peview
XIV
439),
and cp. Blass JVew Test. Grammar (H. St
J.
Thackeray's
translation)
pp. 33,
141. Cp. Mod. Gk o Aa/ATrpdrcpos (superl.).
238
DEMETRIUS ON STYLE
140
13
Cp. Kaibel Comicorum Graecorimi Fragmenta
p. 159.
There is some similarity in Pope's humorous comparison :
"
Millions
and millions on these banks he views,
|
Thick as the stars of night,
or morning dews,
|
As thick as bees o'er vernal blossoms fly,
|
As
thick as eggs at Ward in pillory." {Dunciad, Book in.)
140 16 8ta7ratôvo-a : late in this sense,
Josephus, Plutarch,
Diog. Laert., etc.
140
19
Sappho's lines are thus written and arranged in Smyth's
Greek Melic Poets
p.
33
: "Xxîoi Srj to jxkXaOpov
|
'Y/xT^vaoi/
]
dcppin
TKTove<s avSpcs'
I
'Yfxijvaov.
|
ya/x^pog ecrep^^cTat tcra-os "ApevL,
|
avBpo<;
fjLeydkiii TTokv fxci^wv. See also H. T. Wharton's Sappho
pp. 130,
131-
140
23
Some ancient Telhnaque seems to be in question.
W. Christ {Griech. Litt.^
p. 592)
suggests Trapa TrjXeffno, meaning a
grammarian Telephus of Pergamus who lived under the Antonines
(cp. Midler E H. G. iii
634).
142 2 Cp. Donjimn c. i (of College) "For there one learns
'tis not for me to boast

;
|
Though I acquiredbut I pass over
that:'
142
3
Kttt 8e occurs also on
p. 76
1. 20 and
p. 148 1. 25.ctTro
(TTLôv dWoTpiov : see Introd.
p. 63
supra. The reference is, of
course, to the art of parody. Cp. Aristot. Ehet. in
11,
6.
142
7
KOifxiodeLo-OaL : specifically Attic meaning (kco/xwScii/ used in
the same sense as o-kojtttcii/ three lines above).
142 II Usener (^Rhein. Mus. xxiii
336)
has pointed out that
S\<f>vL, not 8eX(ôr, would be the locative form corresponding to
ScA^vs. He suggests dS^Xcfjov iraihiov vjXLV d kvo)u
(f>epL.
The
âllegory' probably lies, as he says, in the use of TratStW for
(TKvXdKlOV.
142 12
16 For these passages of Sophron, see (besides the

references given to Kaibel at the foot of the Translation) Botzon
Sophr. Mijn. Reliq.
pp. 15, 9.
142
19 Cp.
130
supra, where the same passage is quoted.
144
3
Boulias : cp. Kaibel Comic. Graec. Eragm.
pp. 171, 172
:
"
Bulias non rhetor sed index dvaâXX6fxvo<s del koI vTrepTtOifxevos rds
KpL<ri^ in proverbio est : BovAtas StKa^ct Zenob. vulg. n.
79.
homo
est nomine suo semper condigne faciens."
I
NOTES
239
144
4
See Meineke F. C.
6^. iv
78
for ''Ai/an^c/xcVr;
^
Mco--
a-qviaJFor Menander in general, cp. Croiset Zi'U. Grecque iii
pp.
611620 and G. Guizot's Menandre.
144 1 1 According to this view Macaulay, by repeating the word
'gave,' constructs a more elegant sentence than Hume in the
following example : (i) Macaulay: "The Puritans hated bear-baiting,
not because it gave pain to the bear, but because it gave pleasure to
the spectators" {^History
of
England^ c.
2); (2)
Hume: "Even bear-
baiting was esteemed heathenish and unchristian
;
the sport of it,
not the inhumanity gave offence" {History
of
England, c. 62).
144 22 7rpLcrv : Cobet {Collectanea Critica
p. 237)
suggested
7rpLv, which he thinks was written tirpiuv and so corrupted into
<T7rLpv. But the aorist is better, as there is a designed uniformity
of tense and sound.
144
24
iTrL7rX.r)0v(j}VTai : this verb does not occur elsewhere in
extant Greek literature.
144
27 Cp. note referring to
p. 104 1.
30
supra.
144 28 The words of Aristotle {Hist. Anim. ix
32)
are : yrjpdar-
Kovai Se TOts derot? to
pvyx^'*
avâverat to avo)
yafxxpovfx^vov dei /xaXAov,
Koi TiXo<s XifxS OLTToOi'rjcrKovaLv.
146 2 ff. Another fragment of Egyptian lore. Cp. Plutarch Is,
et Osir.
63
at
8'
iv Tot? o/x/xao-tv avTo9 (sc. tov alXovpov) Kopat TrXrjpov-
aOai ixkv
kol irXarvvccrdat Sokovo-lv iv TravaeXrji'i^, XeirrvveaOaL Sc koi
fiapavyeLv iv Tats fXi(ocrcn tov acrrpov.
146 8 The author clearly has scenes, and lines, of comedy in
mind throughout
159,
160, 161. With 1.
13,
cp. Aristoph. Aves
486 : 8ta TttVT* dp' )(wv /cat vvv waTrcp âa-tXevs o /xcyas Sia^dcTKCt I crrt
T17S K<fiaXrj<; tyjv Kvp/Saaiav twv opviOmv
fxovo^ opOrjv.
146
19
Aristoph. Ac/l.
85
irapiTiOu
8'
TjfXLv oXov<;
I
K KpijBavov
/3ovs.
146
23 Cp.

127 supra, with the references there given.
146
24 See H. T. Wharton's Sappho
p. 153.
The 'commentator
on Hermogenes' there referred to is Gregorius Corinthius (Walz)
Ehet. Graeci, vii
2, 1236).
146
29
"Epws, written by a later hand in P, is due to a confused
repetition of epwrcs and anticipation of "EpwTos.
148
15 Cp. H. Weir Smyth, Greek Melic Poets,
p.
cxv.
148 1 6 aypoLKov: specifically Attic word. Also found in
217.
148
27
ff. Cp. Hor. Ars Poet.
231 "effutire leves indigna
tragoedia
versus,
|
ut festis matrona moveri iussa diebus,
|
intererit satyris
paulum pudibunda protervis.
|
non ego inornata et dominantia^nomina
solum
I
verbaque, Pisones, satyrorum scriptor amabo."
148 28 &
31
o-arv/oov
: the plural is more usual than the singular
in this sense of 'satyric play'; cp. Aristoph. Thesm.
157
oiav a-arvpoL?
TOLvvv TTotfj^, KaXelv e/x. For the singular, Mr H. Richards {Classical
Review xiv
205)
quotes C. I. G.
2758
iv as well as this passage of
the TT. tp/x. In P's marginal note, ot a-drvpot will be observed.
150
3
The 'far-gleaming pouch' may perhaps have been a
cant expression for a protuberant body. Casaubon conjectured 6
Tr]\avyov<;, comparing Athenaeus v 220 a Tre^v/cacri
8'
ot TrActo-rot
T<ji)v cfuXoaocfiwi/ ToJv KWfXLKOiv KaKTjyopoL cTi/at, 1 yc KOi Alcr^Lvr)^ 6
Swf/aartKO? ei^
fiev rw TrjXavyiL KpLTOôvXov tov Kpircoi/os ctt' aâBia
Koi pv7rapoTr]Ti
fitov
Koa/xcoSet, tov Se TrjXavyrjv avrov IfxaTtov /xev
cfiopr]-
aU)s KaO* y/xepav iJ/jlko/SoXlov Kvacftel reXovvra fxtaOov, /cwSto) 8e lt,{ji(Tixivov
Koi TO, vTrohrjfxaTa crTraprtots kvT^fXjxivov aa7rpot<s.
Telauges as a proper name occurs in
291 infra : there is here a
play on the personal name.
150
4
Athenaeus IV
158
B kol KpaxTys
8'
6 ^rj/Satos lAcyev
fiTj
Trpo <j>aKyj<i XoirdS' av^wv
\
els (TrdaLv a/x/xe fSdXrjq. Crates the Theban
was a Cynic philosopher, a pupil of Diogenes, and a contemporary of
Theophrastus. He wrote in prose and verse, praising simplicity of
life. TToirjTiKr] here may refer to some satirical
'
Poetic ' of his com-
position, or to his poetry in general. Cp. 259.
150 6 ojs TO TrXeoj/, 'for the most part': only here in this
particular form.
150
6, 7
Cp. "quamquam ridentem dicere verum
|
quid vetat?"
(Hor. Sal. i i,
24).
Ridendo praecipere is as important a principle
as laudando praecipere. A true word may well be spoken in jest.
150 8 "Nothing," says Goethe, "is more significant of men's
character than what they find laughable." George Eliot, who quotes
this remark in her Essay on Heine^ would say
"
culture
"
rather than
"
character."
150 10 Apparently some such word as iKdXa or cr7r has fallen
out before UrjXea. The correction HrjXea is confirmed by Athen. ix
383
c cTTtTtjuwrTcs 84 TLVL (ot fxdyeLpoi) (fiacTiV' fXT]
8ctv TOV Olvea UrfXia
NOTES 241
TTotctv, and by Eustath. ad II.
p. 772
-q 8c ToiavT-q kut olvov ewoLa
irepl Tov )7po)09 Oiv4oi<s
<f}7]V
koI \6yov acTTeiov iirl KarrrfXio olvov
TapaTTOVTL, (09 Koi TOV rpvytav (rvveixTToXav. rjK0vcr yap ttoOcv cvrpaTre-
Xw? TO' /XT] TTOUL TOI^ OtVCtt HrjXâ, r0VT(TTL fJLT]
TOV TpVyloV KVKIJiV Kttt TO)
Kpr^TTJpt irapafxtyvv^; jU.CTa/3aXA. TOf oti/oi' oJ? cts TrryXov, (S SoKCt Trapcovo-
fiacrOat Traiyvrjp.ovoi'i 6 IlryXcvs.
150
15
Cp. Seneca, Z)m/. ii {de Constantia Sapientis) c.
17,
"Chrysippus ait quendam indignatum, quod ilium aliquis vervecem
mariniim dixerat^^ (quoted by Schneider), and Diog. Laert. vii i, 2
/cat 'ATToAXtuvtos Sc (f>r)a-LV 6 Tvpio? ort icr;(vo9 ^v (Z>yvo>v), VTrofxrjK-qfSy
fX\dy)(^pov<;, oOev Tts avrof ctTrei/ AlyvirTLav KXrjfxaTLSa, KaOd <j>r](TL
Xpva-L7nro<5 iv Trpwrw Ilapoi/xicoi/ (quoted by Finckh and Liers). The
seeming dependence of this passage of the tt.
ipfx. on Chrysippus is
another indication of comparatively late date.
For similar expressions in English, cp. 'corn-stalk' of a New-
South-Wales man,
'
blue-nose ' of a Nova Scotian, etc.
150 16, 17
Victorius brackets tov iv Trj Oakda-a-r) as a gloss on
6aXd(T(TLov. But there seems a special allusion to the follies of the
landsman when he finds himself in a boat. With -rrpofâTov cp.
vervex : a
'
sheep at sea ' would be specially helpless and foolish.
Aristoph. JVt/d. 1203 dptOpios, Trpo/SaT aXXois. Sophron is thought by
Ahrens to have coined a phrase irpo/SaTov Trpo/âTepov,
016s oloTepov
(Kaibel C. G. F.
p. 173).
It is unnecessary to suppose that a
fish
is
here meant by OaXda-a-Lov irpoâTov.
150 21 Aristot. Rhet. iii 2, 13
has : KdXXo<s Sk 6v6âTo<; to jxiv,
(jDcrirep ALKijfJiVLO<s Xeyet, ev rots \p6<j>oL7/x,aivo/jtva), koL at(rôs Sk
tucravrw?.
150
24
Th. Gomperz (Pki/odem und die dsthetischen Schriften
der He7-culanischen Bibliothek^
P*
7i) suggests dvOoôpov ;(Aoas, and
compares Eurip. Cycl.
541
dvOrjpa
xôy-
150 26 Any English learner of Italian who has had lessons from
a good teacher will remember the delight with which the true
pronunciation of words like do/ma and de//a was expounded. Such
delight we may safely assume the author of the tt. ep/x. to have taken
in the names 'Awowv and KaXXto-Tparo?.
152 I The expression ot 'Attikoi seems to betoken a late stand-
point, though ot 'AxTtKot
pyJTop<: (perhaps an interpolation) occurs in
Aristot. J^/ief. iii
11, 16 and ot 'AOtjvrja-L pryropes in Ji/iet. in
17,
10.
R.
16
242
DEMETRIUS ON STYLE
At all events, the extract from Theophrastus
( 173)
does not seem
to extend as far as here. On the question of the grammatical forms,
see Kiihner Gramm. d. gr. Sprache^ i
pp.
394, 395
;
Meisterhans
Gramm. d. att. hischrifteti^
p. 107
(the confirmation here given to
the statement in the tt. kp^. is noteworthy); G. Meyer Griech.
Gramm.^
p.
321.
152
3
About apx^tot there is something of the notion conveyed
by
'
prisci ' homines.
152
7
This use of 8ta, to denote the material of which a thing
is formed, is late
perhaps not earlier than Diodorus and Dionys.

Halic. Other instances on
p. 76
I 10 (which should be compared
with p.
Zd 1.
23,
p. 176 1.
25),
p.
74
1.
18, p. 104 1. 12.
152 16 Cp.
Theocr. xv 88 iKKvaicr^vvn TrXaretacrSoicrat airavTa.
152
17
The general standpoint here is surely late. The past
tense is itself significant.
152 20 Spengel suggests aA.A.019; but see n. on
p. 90
1. 18 supra.
If any change were to be suggested, it might be (with Goeller) that
of
7rapaTe;(voA.oyto-ô) tO TrapaTere^voXoyrja-Oo) (cp. A.A.;^ô>
41).
152
24
Gennadius suggests tottov in place of rpoTrov.
152
25
Dionysius treats of the yka(f>vpa crvv6e(Ti<i in his de Comp.
Verb. The author of the tt. kpp.. must, therefore, either be of earlier
date than Dionysius, or (if later) have been ignorant, or have feigned
ignorance, of his work.
152
29
Cp. p.
126 1.
5
supra.
152
30
For SiaKpcvoL cp.

i, where it means 'differentiate,'
'distinguish,' 'mark out.'
154 8 C.
Miiller {Fragm. Hist. Graec. 11
p. 245)
suggests that
the reference is to Xenophanes. The
'
Dicaearchus ' in question is
no doubt Dicaearchus Messenius and not the so-called
*
Pseiido-
Dicaearchus' (for whom see Ancie7it Boeotians
p.
lo); and Dicae-
archus Messenius would be little, if any, earlier than Demetrius of
Phalerum.
154
15
Lit. 'for the former (i.e. to eSpav exetv) is plain and
vehement, while length is elevated.'
154 18 The few words here quoted are meant to indicate the
whole of the passage : ovkovu orav ixev tls /xovcrLKy TrapixQ KaravX^LV
NOTES
243
iXeyofxev ras yXvKctaq t kol /xaXa/cas Kat ^pryj/oiScts dpfxovLas, koI
ixivvpit,(jiv re Kat yc-yai/co/xei/o? vtto T175 wSiy? oiareXT^ rot' /Jt'ov oAov, ovtos
TO fxkv
TrpwTOv, t Tt û/xoctScs
e*X**'j
wairep dihiqpov IfxdXa^^v koX
xptjcTL'
fxov i^ a)(pi](TTOv KOL aK\r)pov iTroLrjcrev' orav
8'
eTrexoiv
fX7]
avLrj ktX.
(Plat. Jêp. Ill 411 A, b). Hammer (F/ii/o/ogus xxxvi
357)
defends
cV a/ji<l)(D as meaning
"
nach beiden Richtungen findet man iv tw
Trepl povaiKrj'i A.oy<o des Plato, dass er yXtt<^vpos ist, vgl. Aps.
383,
12 :
orav ctt' a/x^to ctTroSci^?."
154
24
Spengel adopts the reading c^cXcts, though he points out
that the author has the regular future alpTJa-u) in
29
: cp.
57, 214,
268,
299.
154 28 The full passage in Plat. Iêjf. iii
399
d is Xvpa Srj a-ot,
rfv
8'
yw, Kttt KiOdpa XctVcTai, kox Kara ttoXlv
XRV^'-f^^'
'^î^ cir Kar dypovs
roLS vofxevdL avpty^ av rts ?>;.
156 10 oi/o/xaô) is a conjecture of Gale for 6vop.dt,î as given in
P
1
741.
Possibly the third person singular may be defended on the
ground that rts is to be supplied (cp. tt. vx^f.
p. 171),
or that some
particular authority such as Archedemus (see note referring to
p.
86
1.
13)
is meant. In other passages (e.g.
^ 94)
the plural is used, in
order to indicate more than one authority : here Victorius translates
'
nominant,' though reading ovofxdêL.
156
13
Some of these examples of affectation are probably
drawn, as Norden {Kunstprosa i
148)
points out, from the Asiatic
writers of the third century B.C.
156
15
The name of the mother of Alexander the Great being
Olympias.
156 18 Tj^vxp^^v \ perhaps
'
sweet-complexioned,' just as in
English
'
sweet-breasted ' has been appHed to the nightingale.
156 21 AcTTTttt?: see for this emendation by Radermacher,
Rhein. Mus. xlviii 625. Wilamowitz, Hermes^ xxxiv
629,
suggests
Atyetats. Norden {Kunstprosa i
148)
calls attention to the Ionic
rhythm in vVeo-vptê Trtrv? avpats (^^ v^^v./
).
156 22 Hammer
(p. 72
of his dissertation) thinks that Spengel
is right in his query
"
quidni ttjs Xe^cw? ?
"
The genitive is, indeed,
found in other similar passages (such as
p. 158
1.
3
and
p. 130 1.
9)-
but we must allow for our author's love of variety (e.g. p. 158 1.
3,
Too-aSe for the usual roo-avra). Here, too, the concurrence of sigmas
may have been avoided. See n. on
p. 134
1. 16.
16
2
244
DEMETRIUS ON STYLE
156
25
SwraScta. Sotades lived in the time of Ptolemy Phila-
delphus, whose court he visited ; and the use of the term
'
Sotadean
'
for feeble and affected rhythms is probably of still later date.
F. Podhorsky's dissertation De Versu Sotadeo (in
'
Dissertationes
Philologae Vindobonenses,' v
pp.
io6
184)
may be consulted,
together with Dionys. Hal. de Comp. Verb. c.
4
and Quintil. ix
4,
6 and 90.
A schol. on //. xxii
133
says : ovTo;A.ta8a Scîoi/ xar wfxov.'
dXA.' >7
(TvvOaL<s KOL Tov appeva tovov TeOtjXvKev : cp. Athen. XIV 620 E
o 8e
*1<s)Vlk6<; Xoyo? to. iSwraSov kol to, irpo tq-vtov 'Iwi/t/ca KaXov^va
TTourjixaTa
ktX. The fragments of Sotades have been collected by
G.
Hermann, Ekm. Doctr. Metr.
p.
444
ff.
158 I
/xcra/xc/xop^to/xeVo) : late, Philo, New Test., Lucian etc.
158 6 The passage of Lysias {de caede Eratosth., ad init.) is
:
TrpcoTOV fxXv
ovv^ w avSp9 (Set yap koI ravO'
vfxlv
Strjyyja-aa-daL), oIklSlov
ia-TL fxoL
Siirkovv, taa
ex^
^"' "-^^ '^^'-^ /carto, Kara Tr)v yvvacKiDvlTLv kol
Kara ttjv avSpoiVLTiv. tVeiS^ Be to iraiScoi/ iyevero rjixlvy rj fitJTrjp
avro
eOy]Xat,v Iva 8e /J-t], ottotc XoveaOai Scot, KivSwevrj Kara t^? /cA.t)u,aKOS
KaraâLVOvca, cyw /xkv avco StT^Tw/xTî/, at Sk yvvatKCS Karo), ktX.
158 8 For the effective use of familiar words, see D. H.
pp. 10,
15.
Hammer ingeniously suggests that in this line rcavrâv is a
misreading of irav (cp. 1.
16),
the circumflex having been mistaken
for an abbreviation of the syllable twi/. In P
1741,
however, the
corruption seems to have been the other way about.
158 18 i.e. the obscurity of Heracleitus is due chiefly to asyn-
deton : cp. Aristot. Rhet. iii
5,
6. Dionysius {de Comp. Verb.
c. 22)
says of the ava-Trjpa apfxovLa as seen in ancient writings:
ayxicrTpo<fi6<;
laTL irepl ra? Trrworets, ttolklXyi Trepi rov<; o'X'V/xaTto-p.ov?,
oXtyoavvSeaixo'i, avap6po<s, iv ttoXXol^ virepoTTTiKr] rrjs dKoXov6'ta9,
r]KL(TTa avOrjpd, fxeyaX6(f>po)v,
au^cKao-ro?, aKopuf/evTo^, tov
ap^diaixov
KOL TOV ttIvov e)(pv<Ta KaXXos. On the subject of d/xî/?oXta, or
ambiguity, see also Theon's Progymn.
pp. 79
81 (Spengel Rhet.
Gr.) and QuintiUan J?ist. Or. vii
9.
158 24
Philemon: W. Christ Gesch. d. gr. Litt.^
p. 316, Croiset
Litt. Gr. Ill
pp. 609,
610. Date, 361 262 b.c.
158
27
Nauck Trag. Graec. Fragm.^
p. 864 reckons this line
among tragic 'adespota,' but the context favours Meineke's ascription
to Menander. Cobet Nov. Led.
p. 92
suggested <îAw for <jf)tA, thus
i
NOTES
245
multiplying the verbs unduly perhaps ; Nauck {Rhein. Mus. vi
468),
160
3,
4
lit. 'along with the conjunctions you will infuse a
plentiful lack of emotion into the line,' cp.
p. 190
1.
19,
which may
suggest a-jraOuav a/txa here. (The author of the ir.
kpfi. does not seem
to have disapproved of crvv in composition with another preposition,
cp.
p. 78
1.
14, p.
168 1. 10. So far, therefore, the conjecture
arvve/jipaXeU
appears possible.)
160
7
This interesting passage shows that the Young Samuel of
their Hterature had impressed the imagination of the Greeks. The
word KVKvos was substituted for kvk\o<s in Eurip. Ion 162 by Victorius,
with the aid of the present passage.
160 1 2 SLa/jL6pcf)0}(TL<s : late, Plut., Clem. Alex., etc. Liddell and
Scott note the sense of s^y/e or character (of oratory) as cited from
Dem. Phal.
; but the reference seems to be to this passage of the
TT.
kpi^.
The idea here appears to be that of 'construction or
arrangement of the episode' (what the actors call 'business') devised
by the dramatist with an eye to the actor ; stage-directions, in fact,
expressed or implied.
160 18 T771/ &paK7)v KaT(rTpiJ/aTo occurs in Demosth. Or. xi i.
160 2 2 airKari(TTy}(T^v : cp.
J.
H. Moulton's Grammatical Notes
from the Papyri, Classical Review xv
p.
35
and
p. 435.
The varia-
bility there noted by Mr Moulton is illustrated in this treatise,
avip.vrj(Tiv appearing in this section, but yjvipvyja-^v in section
297.
160
27 <f)ivyiv'. for the infin., see n. on
p.
220 supra. The
desire for variety explains <j>vyLv in

204 by the side of (f>VKTov in
207 and (f>vyTOi in

208.
160 28 For Philistus, see Dionys. Hal. Ep. ad Pomp. c.
5
and
D. H.
p.
174
; also tt. v\\;.
p. 237.
162
5
It is difficult to determine whether av should be added
(here and on
pp.
168 1. 16, 184 1.
5, 194
1. 21, 200 1.
9)
in accord-
ance with classical usage and the usage of this author elsewhere. In
the present state of our knowledge of later Greek there is perhaps
some advantage in giving prominence to such aberrations from
accepted usage. Cp. Aristoph. Av. 180, Eurip. Andr.
929.
162 10 The natural order of words is appropriate to the xa.pa.Kri\p
\<T)(y6%^ just as hyperbaton suits the
x'^P^'^'^VP
/w-cyaXoTrpcTrrys.For
Victorius' highly probable emendation, cp. 1. 18 to <f>v(TLK6v elSo^ rfjs
Tct^cws. Dionysius states his views with regard to the natural order
of words in de Coinp. Verb. c.
4:
cp. Z>. ZT.
pp.
12, 13.
162 16 SoKt/i-aôo: late (Josephus, Plutarch, etc.) in the sense of
'approve' which it bears here and in
15.
162
27
avToOcv: 'at once,' ^suddenly,' cp. tt.
vif/. p. 195.
In
32, 78,
122 the meaning is
'
of itself,' 'springing from itself
162
29
If ttv is right, etev or the like may be supplied : locnrepavd
TToXXa (T.
ex-
should possibly be read.
164 2 a(Tr]ixLWTo<s : latePhilo, and an inscription of Roman
imperial times. The verb o-r;/xtow occurs in Theophrastus, but the
derivative forms are late.
164
4
The treatment of a-acfir/veia is brief, but to the point.
The TT.
ipfjL, is more directly concerned with the rhetorical graces
than with that cardinal virtue of clearness which Aristotle rightly
places first in his definition of style. But his own writing shows
that the author was quite alive to the importance of lucidity.
164
5
As Aristotle (R/ief. iii 12, 6: quoted on
p.
39
supra)
says, style
"
fails in clearness both when it is prolix and when it is
condensed." The latter case is, of course, Horace's "brevis esse
laboro : obscurus fio
"
;
but the lapses of the plain style from clear-
ness belong rather to the former category,they arise chiefly from
'
rambling.'
164 8 Cp.

5
for elevation as due to long members.
164
9
P has TrpeTTOv rjpwwv here, but irpiirov rjpoio-LV in
5.
In
96
P has fxera^v 'YiXX-qviKoi^ ovofxaatv.
164 10 The triple division of Comedy belongs to the Alex-
,andrian age. Like the reference to Menander and Philemon in
193,
it suggests a later date than that of Demetrius Phalereus.
164 12 KtoXots TpLfXTpoLs IS uuusual, and Hahne has suggested
K(oA.oi? ixTpLOL<s. If Hght, TpLfxeTpoi<s uiust refer to the following three
divisions, marking pauses
(1.
15)
in the examples given: Kare^rjv
Xês
I
ts Tietpaia
[
fxera TkavK(jDvo<;, and iKaOrj/JLcBa
fxkv j
lirX rdv 6aKwv
iv AvKcto)
I
ov ot dOXoderat tov dy<Zva Siart^cacriv.
164
24 Sc. Kttt et TTov {(TvyKpov(TTiov)
ftpaxia
(TvyKpovcTTeov, ktX.
164
25
*
Everything that is young is pretty ' will give some of
the short syllables.
NOTES
247
164 28 The crasis /cdTrl occurs on
p. 94
1. 2 supra; and the use
of cTTt may be illustrated by kiii to avrb reXos on
p. 192 1. 8.
166 8 The six lines //. xxi
257
262 are meant.
166
23
The references made in this and the following sections
to Ctesias point to a later date than that of Dem. Phal., in whose
time he had hardly attained the position of a classic. Ctesias' style
is characterised in Dionys. Hal. de Comp, Verb. c. 10. Like Hippo-
crates, he was a writer who had been comparatively little influenced
by the rhetoric of the schools.The word dSoXfo-xorc/ao) also indicates
a late date,Plutarch, etc.
166 28 Finckh {Philologus xv
p.
154)
pomted out that instead of
^TpvayA-ios should be read i^Tpvayyato?, the reference being to the
son-in-law of the Median king Astibaras.
168
15
Some Greek passages bearing on the relation of history-
writing to poetry are brought together in Norden's Kunstprosa i
p. 92.
With the wording of the present passage, cp. Dionys. Halic.
Ep. ad Pomp. c.
3
(where the reference is to Herodotus and
Thucydides) tva 8c crwcXwi/ ctTro), /caAat />ti/ at -novqcrtvi d/xôVe/oai

ov
yap av oX(jyy\B(.iy]v ttoltJo-cls avras Aeyoov.
168 16 KaXoLT] (without av), cp. n. on
p. 245
supra.
168
23
Trapa, in the sense 'because of,' is rarely used of persons.
But cp. AristOt. Rhet. 11 10, 8 StÂov yap on Trap' avrovs ov Tuyxavova-L
Tov ayaOov, Isocr.
6, 52
Trapa tovtov yeveadat rrjv croirrjpLav, and
Philodem. Vo//. Rhet.
p. 297,
11 Sudh. awopav ov SvvavTai, irola Trap*
>7/>ia9 avrovs afiapToivofiev kol Troiuiv StaTrtTrro/xei/ Trapa to Ttav Trpay/xartov
oiV<f>LKTov. More commonly used of things, as Trap* avras ras Xcêts
145.
Gregorius (Walz vii
2, p. 1180) transposes the clause and
changes the preposition to Trpo?, thus getting the easy construction
iXOwv yap 6 ayycXos Trpo? Ty)v Xlapvo-artv (Gregorius gives the more
usual accent) ovk evOioi's Ae'yct otl diriOavev 6 Kvpo<s, kt\.
168
25 Cp. King David's repeated inquiry ''Is the young man
Absalom safe?" in the Second Book
of
Sainiiel xviii
29, 32,
when
Ahimaaz and Cushi break the news of Absalom's death.
168 26 'rrcf>vy : cp. the similarly ambiguous use of dTroA.t7rwi/ ju,'
dTToixcTat in Aristoph. Ran.
83.
168
30
p-dAt? here, but /xdyt? on
p. 92
1. 20 : yet another instance
of the love of variety seen throughout the treatise. With to St}
Xtyofievov, cp. such passages as Lucian's eo-o-aXtas p, i$/3a\v oXiys
TTaXtav d^tow Aeyctv, koX Tratrav a7roKKXLK
fxot ttjv OaXaa-crav oiuSe
Twv iv KYjiroLS (fietaoifxivov a-evrXcwv, ws to Srj Xeyo/xcvov
fxrjBk TrdacraXov
fxoL KaraAtTretv {ludic. Vocal..,
9).
168
30
airepprjêv: cp. Appian de Bell. Civ. 11 81 d 8e no/ATTT/ios
fiaOoyv ii
olXXokotov 0-1(077179 roo-ovrov airipprjêv and III
13
airepp-qyvv T
Xrjywv Tov Xoyov otl. . .
.
168
31
avTo: the indefinite, but useful, 'it.' Gregorius (I.e.)
rather spoils the phrase by making it too precise : kol ovtoj Kara
fXLKpov Trpo'Cwv iJi6XL<s
airepprjê to ^rjTOvfjiivov.
170 I dyycAowra: Spengel suggests dyycAoVra (aor.).
170
4
aypoiKo<i : a specifically Attic word.
170
5
rjKova-To: Cobet suggests tjkov^to. We have a parallel
instance of ivapyeia in Tennyson's description of the meal taken by
the lusty spearmen of the huge Earl Doorm :
"
And none spake
word, but all sat down at once,
j
And ate with tumult in the naked
hall,
I
Feeding like horses when you hear them feed" {Geraint and
Enid).
170
9
Plat. Protag. 312 a koX os etTrci/ ipvOpida-as
rjSrj yap
VTricfyaLve rt rjiJiipas, (ocrre KaTa<f>avrj avTOv ytviaOai. The point of the
praise is that two things are made clear in a single sentence : (i) he
was blushing,
(2)
day was dawning. Cp.
"
And he turn'd, and I saw
his eyes all wet, in the sweet moonshine" (Tennyson, The Grand-
mother).
170
14
Elliptical : sub. ivapyyjs Io-tl, ivdpyaav iroul, or the like.
170 16 As in "Proputty, proputty, proputtycanter an' canter
awaay" (Tennyson), "The sound of many a heavily galloping hoof"
(Tennyson), "I galloped, Dirck galloped, we galloped all three"
(Browning).
170 18 Such words as 'whit' in Tennyson's "And whit, whit,
whit in the bush beside me chirrupt the nightingale."
170
19 Cp.

94.
170
23
The TT. epfx. is remarkable for the number and variety of
its formulas of transition and conclusion.
172 2 /SefiaLovarav : another example, apparently, of a transitive
verb used intransitively (cp. TrapiXKei on
p. 98
1.
29
supra), êâiav
ouorav might perhaps be suggested as the true reading.For per-
suasiveness (which comes under the heading of the
xP-
tVx^ds, in
opposition to the
x^P-
/AeyaAorrpcTnJs) as avoiding elaborate language
NOTES
249
and formal rhythm, cp. Aristot. Rhet. iii
2, 4
810 Set Xavâvctv
TTOtovi/Tas, Kttt /x-^ SoKciv Xcyctv 7r7rA.aor/Xva)S dXXa ttc^v/cotws* tovto
yap TTLOavov, iKelvo Se TOvvavTLOv.
172
5
7r' dKpiîa<s : these adverbial expressions with 7rt, though
found in Demosthenes and Aristotle, are much more frequent in
later Greek. Cp. Demosth. de Cor.
% 17
eV dXr/êias ovSe/xias
ilprjfiiva, i.e. 'with no regard for truth'; and ctti t^s dXry^ctas,

226
ibid.
172
13
The sections treating of the epistolary style are among
the best in the treatise. The remains of the Greek letter-writers are
collected in Hercher's Epistolographi Graeci, and reference made to
"
Demetrii Phalerei tvttoi cTrto-ToXiKot " on
pp.
i 6 (cp. Th. Zielinski
in Fhilologus lx i
pp. 8, 9).
In Latin antiquity and at the Revival
of Learning Cicero and Erasmus are celebrated as the great letter-
writers
;
in modern times there are many distinguished names in
France and England^ especially perhaps before the era of cheap and
rapid communication. Much interesting matter will be found in the
index volume of Tyrrell and Purser's Correspondence
of
Cicero under
the heading 'Epistolary style.' From the modern standpoint, the
art of letter-writing is sensibly treated in Verniolles' Traite de VArt
Episiolaire. Justus Lipsius, it may be added, drew on the tt. cp/x. in
his Epistolica Institutio.
172
14
Ariemon : date uncertain, possibly as late as 130
B.C. or
even later. It would seem, from this reference to him, that Artemon
not only edited Aristotle's Letters, but prefixed an introduction
dealing with the general subject of letter-writing. See Pauly-Wissowa
II
p. 1447.
Whatever the precise date of Artemon may have been, the
relation (here and elsewhere) of the tt. cp/x. to Aristotle suggests
a follower far removed in time.
172
15
dvaypd\f/a<: : 'record,' or 'pubhsh.'
Cp.
tt.
v\f/.
xiii
3,
el
fxr]
TO. cV ctSovs Koi 06 Trcpt *A/xfxoiVLOV CKAcâvre? dvypaif/av, Dionys.
Hal. de Thucyd. c.
5
ot \iXv 70.9 'EAAr/r/tKa? dvaypd<f>ovTs lo-ropta?.
172 16 So Goethe (in Wahrheit und Dichtung) describes letters
as
"
ideelle Dialoge."
172
30
Some such words as at toO 8iaA.oyov may have been lost.
174
3
Plat. Euthyd. init.
(271
a) T15 ^v, w Sw/cparcs, w
x^
cV
AvKCio) SicXeyov ; rj ttoXvs v/xas o;(Xos irpL(TTi]KL, uxtt eytuye ôvAo'/xevos
aKovetv 7rpo(r\0a)V ovBev ot6<; r ^v a/cov(rat aa(f>i<;, v7rpKV{f/a<s [x.ivTot
KaTctSoi/, Kai fioL
ISoêv etvat
Revo's tl<;, w SicXeyov tl<; yv
;
174
7
irpiTToi : for the optat. without av, cp. n. on
p. 245
supra.
But the regular av TrpeVoi is found on
p.
206 1.
7.
174 10 Cp. Buffon's famous saying with regard to style in
general,
"
Le style est I'homme meme " {Discours de Reception a
rAcademic,
^753)>
which has a still nearer Greek parallel in the
words 7rtei/ccos yap aTravre? vofXiôvcnv et/coVas tj/at tt^s c/cao-rov
\J/V)0^
Tov<; Xoyovq (Dionys. Halic. Ant. Rom. i i).
174
15
Epicurus in his letter-writing seems to have avoided the
faults here condemned : see Norden Kunstprosa i
pp. 123, 124.
174
17 Cp. Abbott and Seeley, English Lessons,
p. 124 n. i :
"
Burke's 'Reflections on the Revolution in France^ though written in
'
a letter intended to have been sent to a gentleman in Paris,' have
nothing but the 'dear sir' at the beginning in common with the style
of a letter."It is to be noticed that, unlike the tt. v\\;. and most of
the critical essays of Dionysius, the tt. kpp.. is not couched in the
epistolary form.
174 18 C. F. Hermann suggested Trpoyeypa/x/xei/ov in place of
TTpoayeypafxfxevov, which Strictly refers to an addition rather than to a
heading.If P's ra nXarwi/os ttoXXo, be retained, we should compare
p.
202 1. 26 Hevo^covTos ra 7roAA.a, though the words are there in the
natural order.
174
19
It is clear from
p. 172 1.
15
that the author of the tt. kp^.
had access to collected editions of the letters of eminent writers.
What the letter here attributed to Thucydides was we do not know
:
possibly that of Nicias in Thucyd. vii
11
15.
174
24
Finckh would insert Iv before cTrta-roXats. But cp.
p. 70
1. I supra. The dative may be instrumental.
174
27
Possibly tov a.vrov IttkttoKikov may mean 'this same
epistolary style.'Peripatetic admiration for Aristotle appears once
more here.
176
9
Ruhnken suggests the insertion of (xtto before /jirjxavr}':
:
probably rightly, as 8ta
ixrjxavfj';
could hardly stand.
Cp. Cobet
(Afnemosjyne N. S. x
p. 42),
"
ov 8l iirL(TToXrj<i tl \a\.ovt/TL koiKcv
aAXA.
fxrjxa-vv'S'
Supplendum aXV 'AITO /jLr])(avrj<s, noto et frequenti
usu." In the English Translation, *'to be playing the 'deus ex
NOTES 251
machina'" might sound archaeological rather than Hterary ; 'to
have mounted the pulpit ' is the general idea.
176
13
There is an obvious play on the two senses, 'Graces'
and
'
favours.'
176 18 If the at be retained, it will be best to punctuate after
iina-ToXal and to translate :
"
let the letters be in keeping, viz. a
little heightened." Victorius reads rot avrai.
176 22 The three extant letters purporting to be from Aristotle
to Alexander are probably spurious ; they are found in Aul. Gell. xx
5,
J^/ief. ad Alex, (init.), Valer. iii
79.
176 28 TrapoLKeLTai: cp.

114, 186, 302, 304
for the same use
of this verb.
176
30
The examples in

236
239
are clearly drawn from
the age of decadence, from the
'
declamations ' of the later schools.
178
4
P's reading TaSr]pev<; has been variously emended into
:
(1)
FaSapev?, i.e. Theodorus of Gadara, for whom see Introduction
p.
54
and TT. vk{/.
pp. 9, 242; (2)
raSeipV9, or 'man of Cadiz': so
Antimachus in his Latin version
(1540
a.d.) gives Gadireus
\
(3)
â\r)pv<s. By this last conjecturethat of Blassis meant
Demetrius of Phalerum.The use of the form a-fXLKp6<; shows the
influence of Atticism.
178
5
The 7rt must apparently be repeated before tov $aXa-
pt8o9, unless there is a lacuna in the text.
178 16 As this statement is not in accordance with historical
fact (as established by Herodotus viii
79
and subsequent historians),
it may be referred with some confidence to the rhetorical exercises of
the later schools.
178
17
The on in this line seems a superfluous repetition of
that in 1. 16.
178
24 Weil reads drjSiav for aSciav, here and in 1.
27 : perhaps
rightly.
178
25
The reading of this passage in P is avrav. If rrj
dvdpioiro) is the right reading, the corruption may have been due to
:
(i) the use of a compendium for dvOpioirca, as in
^
296
avoi = dvdpu)7roL
(so in
79, 145, 157, 249,
260, in all of which cases a similar
abbreviation is used)
;
(2)
the comparative rarity of the feminine rj
dvOpu)7ro<s. Perhaps we should read KaOdirep 6 rrj^ dvOpi^-n-ov TL/xdvBpa<:
on
p.
206 1. 12 infra, where P's reading is KaOdmp o avTTtjfxavhpa.^.
The conceit here lies in the substitution of r^ avOpioTros {/lomo,
mortal creature) for ywry'. There is an admixture of cynicism, too
;
the thought being as far as possible removed from the "pure
womanly " of Hood's Bridge
of
Sighs.
180 2 XotTTov, 'next' or 'now': cp.
p.
86 1.
23
supra. Frequent
in later Greek. See Rutherford, Scholia Aristophanica^ 11
p.
574.
180
5
Cp.
% 75
supra. Again the writer's standpoint is empha-
sized,that it is best to appraise Ae^t? as A.e|t9, and not to give to it
any credit which rightly belongs to the subject-matter.
180 6 avk-qrpia: late, Diog. Laert., etc. The classical form is
180 16 For this and the following sections, cp. Gregor. Cor. in
Walz, Rhett. Gr. vii 2
pp. 1179
ff.
182
5
It is difficult to infer the date of the treatise from the
words Tr]v vvv Kareôvaav here and ol vvy pr/Top<i in
287,
except that
the general standpoint seems post-classical.
182
7
Cp. Hermog. cê Id. I
p. 342
(Sp.) roiovrov eo-rt Kat to
'
(i)fj.o\oy7]aa tovtol^, (os av 616^ re w, avvepelv.' rj pikv yap ei/vota
êf3r}Kv, 6 pvOfxb^ Sc ov* ovSe yap tovto 6 pyroyp i(3ov\TO, cttci tov
X^-P'-^
ovK ctTrev
'
wixoXoyrjcra tovtol^, 009 av ol6ta/cpas
TTtto-tt? et KaTekrjyev, o ccttl tov /SeftrjKOTo^ pvOfiov. ov
fxrjv
dW* lt
jSe/^-qKoiq lt /xrj 6 toiovto<s ctry
pv0fi6<;,
tva
fxrj
iravTr] tw Alovvctlio, os
BoKL TTcpt Ac^coj? TL TTCTTpayfxaTevcrOaL, dvTiXy(ii/xv, SrjXov (09 tov KCtWovs
IottIv lBlo<s.
182 12 Demosth.
IeJ)t.

2 iv /xkv yap tw
ypd^f/ai
'
/x-qSev cTvaL
aTckr],' ToiJS
x^vTa<; d<fiL\.eTo Trjv areXeiav, iv Se tw Trpoa-ypaxpai
'
/arySc
TO XoiTTOV i^CLvai Bovvat,' v/xas to Sovvac v/jllv iêtvai.
For a troubled movement of words used with effect, cp. Heine's
"
Betend dass Gott dich erhalte
"
(in
'
Du bist wie eine Blume
'),
and
Stephen Phillips' "Thou last sea of the navigator, last
|
Plunge of
the diver, and last hunter's leap" (in Ulysses).
182
13
Though the plural verb with neuter plural nominative is
frequent in later Greek and even in Aristotle, yet (as there is no
other certain instance in the tt. kptx.) it may be better here to supply
at ToiavTat TrepioBoij rather than to. avTiOera Kal TrapofJioia, as the
subject to TTOLOVa-LV.
182
14
otoi' ws: a pleonasm of the same kind as 'like as' in
English.
NOTES
253
182
27
TOL? KaTa(3d(rL<; : perhaps the meaning is 'a flight of steps/
cp. KaTaf3d<TLov in Roman and Byzantine Greek.
182
30 Cp. the force gained, in Pope's Epistle to Dr Arbiithnot,
by reserving till the end of a long passage the name of Atticus :
*'Who but must laugh, if such a man there be?
|
Who would not
weep, if Atticus were he?"
184 2 The fragment of Antisthenes (the Cynic) will also be
found in A. W. Winckelmann's Antisthenis Fragmenta
pp.
52, 53.
The floruit of Antisthenes, of Aeschines
(
205, 291,
297),
and of
Aristippus
(
296)
may be given as 400
365
B.C.
184
3
(f)pvydvo)v : the meaning is obscure, some hunted human
victim being possibly referred to.
184
3,
5
Either 68vvy](Tiv...68vvy](rLv, or 68vv^(Tl . . . oSwuja-eij
seems necessary, as any variation here _obscures the point.
184
7
We might have expected
250 to follow immediately on
247.
The treatise contains many afterthoughts, and many addi-
tions, whether due to the original author or to some later hand. The
reference in ctti tov coTrd/xTrov is to
27, 247.
184 8 Milton seems to have this passage of the ir. ipjj.. in view
in his Apology
for
Smectymnuus, when he writes: "There, while they
acted and overacted, among other young scholars, I was a spectator
;
they thought themselves gallant men, and I thought them fools;
they made sport, and I laughed ; they mispronounced, and I mis-
liked
;
and to make up the atticism, they were out, and I hissed."
For Milton's knowledge of this treatise, see note on
'
Milton and
Demetrius de Elocutione' in Classical Review xv
pp.
453, 454.
184 16 and i8 The idiomatic use of koX tovto, and of Acyw 8e, is
to be noted as specially Attic.
184 22 For aposiopesis, see also
103 supra. This passage is
paraphrased by Greg. Cor. (Walz, Rhct. Gr. vii
2, 1170).
184 26 For Burke's view of the relation between obscurity and
sublimity, see tt. vi//.
p. 32.
186 2 Has the writer the digamma in mind when he calls
attention to the fact that the reconstructed line will still
'
scan
'
? If
so, his date must be late.
186 6 A corrupt, and possibly interpolated, section. The word
Trpocra-ToxoLcrofjieda (so Goeller for Trpo<TTo-)(acr6jXi6cL)
is found only here,
and its construction with an accusative is remarkable.
254
DEMETRIUS ON STYLE
186
13
As Goeller points out, these words read like a prose
paraphrase (possibly by the author himself) of Iliad i 11,
22.
186 20 These later sections contain much disputable matter.
Here, for instance, the statement made with regard to the
x"/^-
yXa(f>vp6<; and the
x^P-
^"vos hardly tallies with
36, 37.
186 21 As in Pope's Hnes, "Where London's column, pointing
at the skies,
|
Like a tall bully, lifts the head, and lies " {Epistle to
Lord Bathurst).
186
23
Elliptical : toiovto';^ or the like, should be supplied ; cp.
170.
186 24 This hne of Crates (for whom see
p. 240 supra) is a
parody of that of Homer quoted in

113 :cp. Corpusculum Poesis
Epicae Graecae Ludibundae vol. 11 (ed. C. Wachsmuth)
p. 196.
186
29
vTToSaKvto : late, Appian, de Bell. Civ. i loi.
188
4
Gregorius Cor. (Walz vii
2, p. 1181) has If^t] {Odpa-eij
e<f>'r],
(5 fxeipaKLov, ovk elfxl ravrrj ofxoios), and editors have usually
inserted ctTrev between TraiSiov and ovk. But it seems better to regard
this as one of those ellipses of which the author is so fond.
Gregorius deals too freely with the text to have much weight in
critical questions.
188 28 Plat. Menex. 246 D w TratSe?, on /jlv icrre Trarepuyv ayaOwv,
avTO ixr]vvL to vvv irapov
yjfjuv
8'
i^bv t,rjv
fxrj
KaX(o<;, KaA.a>s alpov/JieOa
fxaWov
TeXevTav, irplv luyaas re koX Toy<s hruT ets ovetSrj KaTaa-Trjarat, /cat
Trplv Tovs T^fxerepovs Trarepas kol irav ro irpoaOev yeVos ala-xvvai, ktX.
190 16 Spengel suggests Sia to t^v airoX-rj^LV Tov 'KttXcts' keyearOai
TToXA-aKts.
190
19
These words may suggest as a possible reading on
p.
160
1.
3
TroWrjv aTrdOetav
dfxa Tot's o-wSccr/Aots ifxjSaXcLS (instead of a-vve/x-
)8a\ets as there suggested).
190 21 P has ipyaT, which may stand either for epyaT-qv or
ipyoLTLv : cp.
p. 156
1. 22, t Xc^'^ttjv Xiîv. Here ipyaTLv ('the
handmaid of,'
'
ancillary to
')
seems clearly right.
190 22 Demosth. de Falsa Legal.
442
kox 8ta T179 dyopag Tropevcrat
OoiixaTLOV KaOils
d-xpi
tiov a(f>vpwv,
tcra âiviav TLvOokXÎ, tols yvddovs
(fiVCTtxiV, ktX.
190
23
For t with the subjunctive, cp.
76
supra. Schneider,
(rvva<f>0Lr].
NOTES
255
190
27
Quoted as an example of KXlfxa^, or gradatio, by Quin-
tilian (ix
3, 54)
in the Latin form,
"
Non enim dixi quidem sed non
scripsi, nee scripsi quidem sed non obii legationem, nee obii quidem
sed non persuasi Thebanis." Aquila Romanus (Halm Rhet. Lat.
Min.
p.
34)
remarks "Haec autem animadvertis, quanto elatius dicta
sint, quam si simpliciter enunciasset :
'
Et dixi haec, et scripsi, et in
legationem profectus sum, et persuasi Thebanis'." The structure
of the passage is carefully explained in Goodwin's edition of the de
Corona
p. 130. Cp. Glossary s.v. Kkl/xa^.
192
4
Cp. Aristot. R/ief. in 12,
2.
With the text as it stands,
TO StaAcAv/xeVov seems to be in the accusative case. A better sense
would be obtained by placing /xaA-to-ra to StaXcA-v/xeVoi/ before viroKpi-
cTLv, i.e. 'the figures of speech, and especially asyndeton (cp.
301),
help the speaker,' etc.
192 1 2 The rhythm of this sentence of Demosthenes is discussed
in TT. v\}/. c. xxxix
4. Cp. Goodwin, o/>. cit.^
p.
134
(where read In
TTpOCnriTTTiL for TL CTiy/XaiVct).
192
15
ctTreipos here may be a gloss on aTrpovotjTUis.
192 20
Cp. Courthope Zi/e in Poetry: Law i?i Taste
p.
21:
"
The question, for example, as to the right of coining new words or
reviving disused words in poetry was (sc. at the time when the
Quarterly reviewed Keats' Endymion) as old as Horace ; it had been
debated in Italy by Castiglione in his Courtier ; it had been raised in
France by the Pleiad, and afterwards discussed by almost every
French critic; it was famihar in England since the publication of
Lyly's Euphues. The ruling on the point is given with admirable
clearness in Horace's Ars Poetica
;
'
Multa renascentur quae iam
cecidere, cadentque
|
Quae nunc sunt in honore vocabula, si volet
usus,
I
Quem penes arbitrium est et ius et norma loquendi.' Usus\
usage; the genius of the language; there was the law. The sole
question was whether Keats had violated the law, and if so, with
what amount of justification."
192 2 1 i.e.
'
harlot ' and
'
madman.*
192
27
8ic<âyi/, if retained, will have much the same meaning
as TpV7r7j(TV.
194
3
(TTpL^6fXvo<;
'.
the English verb spheterize is used, play-
fully no doubt, in a letter of Sir William Jones (S. Parr's Works,
ed. 1828, I
109),
''Remember to reserve for me a copy of your
book. I am resolved to spheterize some passages of it." (The
reference is given, after Dr
J.
A. H. Murray, in Goodwin's edition of
the de Corona^
p.
53.)
194 2 1 fXTxoi
without av : cp. n. on
p. 245
supra.
194
23
See C. I. A. i
32
b, iv
pp.
12,
(i^ (for golden Victories
mentioned as Acropolis treasures in
435
b.c. and other years)
;
Bulletin de Corresp. Hell, xii
283
ff. (for a discussion of their
meaning and a description of their melting down). Schol. ad
Aristoph. Ran- 720
rw Trporepo) eret ctti 'Ai/rtyeVovs 'EAXai/iKos <^y](Ti
Xpvaovu vofxiaixa
KOirrjvat kol $iA.o;(opo9 o/xoLOiS to Ik twi/
Xpv(T(av
^LK<Zv. Quintil. ix
2, 92
"
confinia sunt his celebrata apud Graecos
schemata, per quae res asperas mollius significant, nam Themis-
tocles suasisse existimatur Atheniensibus, ut urbem apud deos
deponerent, quia durum erat dicere, ut relinquereni. Et, qui Victorias
aureas in usum belli conflari volebat, ita declinavit, vidoriis utendum
esse.''' Quintilian and the Auctor de Elocutione may have drawn
from some common source.
196 I As Sandys (Orator
of
Cicero
p.
loi) points out, the author
is apparently referring to a collection of some of Demades' striking
sayings, though there are divergences of ascription (cp. n. on 1.
14
infra). Sandys' note ad loc. may be consulted
;
he is careful to quote
Cicero's words (Brut.
36)
"
cuius nulla extant scripta."
196 6 The natural sense is
'
the whole world would have smelt
of (reeked with) the corpse': cp. Theocr. vii
143
TraVr' worSei/ Okpô'i
/taXa TTtovo?, wcrSc
8'
oTTojpa?. The interpretation given in 1.
7,
how-
ever, points to another and a late date. The chapter, as a whole,
which deals with the
xapaKTîp
Scii/os may be regarded as the least
satisfactory in the tt. ep/i.
196
14
Some of the examples quoted may be simply *Dema-
dean,' and not actually by Demades himself. Cp.
tt. v\\f. xv 10 ws
vr\ Aia Kat, d 'YTrcptSry? KaTr]yopovfivo<s, CTTctS^ tovs Sovkovs yucro, ttjv
rJTTav
iXvOpov<; iiJ/r)(f>icraTO,
'
tovto to i/î7<îcr/xa,' cittcj/,
'
ov^ o pyjTOip
eypaif/ev
dAA.'
y
iv Xacpwyeia
fJi-oixV
'
cp. Plut. Moral.
849
A.
196 18 The style meant is of the same order as that of William
Cobbett, parodied in Rejected Addresses :
"
I will endeavour to
explain this to you : England is a large earthenware pipkin. John
Bull is the beef thrown into it. Taxes are the hot water he boils in.
Rotten boroughs are the fuel that blazes under this same pipkin.
Parliament is the ladle that stirs the hodge-podge."
NOTES
257
196 21 Sauppe's hii rov for lirî gives an easier construction for
the infinitive.
TrTia-avrj is
'
barley-water,' or
'
gruel,' as prescribed by
the doctors : for example, Hippocrates' treatise
Trept StatVrys o^cW
(* concerning diet in acute diseases
')
also goes by the name Trepl
TTTto-aVr;? ('concerning gruel'). It is not easy to suppose that
Demetrius Phalereus, his contemporary, would thus have played the
scholiast to Demades./cpcavo/xta is a somewhat late word. But it
seems to have been used by Theopompus, and Kpeavd/xos and
Kpeavofieiv occur in writers of the classical period.
198
7
It is doubtful whether SiaXvo-avra? (the original reading
of P) can mean
'
having made no attempt to free.'
198 20
^
aWws ^caioi/ rtva : these words would probably cover
the 'civium ardor prava iubentium,' as seen at Athens in the case of
Socrates : cp.
p.
202 1. 6.
198 21 6pfn2vTs
=
6pfjioifjivoL, which Greg. Cor. gives (Walz vii
2, p.
1 180). Cp. TT.
vif/.
xxii
4
TOV VOVV, OV wpflTJCTeV
etTTCtV.
198 2 2 Finckh refers to

287 and 290 in support of his
reading (here adopted) crxwoiro<s
koyov. But Gregor. Cor. (Walz vii
2,
p.
1
180)
has )(pyt,oiXV
i$ dvdyKrj^ liriKpv\pno<i o-^fxaTO'S oXov. A
*
complete ' figure may be so by way of contrast with Trap.<ônpit,ov(rLv
on
p.
200 1. 6.
198 26 6i/t8t<jTtK(os : the adverb and the adjective are late,
Lucian, Marcus Aurelius, Hermogenes, Chrysostom, etc.

198
27
The fragments of Demetrius Phalereus are collected in
C. Miiller's Oratores Attici 11
pp. 475
477
and Fragm. Hist. Graec.
II
pp.
362369.
200 6 After iirapiffiOTepLôva-iv Weil would write : ware cTratVots
cotKcVai, t Tis iOiXoL, KOI
if/oyoL^, el koI
\f/6yov<s
eTvat OeXoi tis. Cobet
{Collectanea Critica
p. 237)
suggests : ct koX Trapaxf/oyovs cTmt OiXoi rts.
The word eiKaioij/oyo^ (Victorius' suggestion) is not found else-
where.
200
9
The Telauges was one of the seven dialogues of Aeschines
Socraticus which were admitted in antiquity to be genuine, viz.
MtXTtaSr/?, KaXXta?, 'A^toô?, 'Ao-7racrta, 'AXKtyStaSry?, T?;Xavyi;s, 'PtVwv
(Pauly-Wissowa i
1049).
Aeschines is mentioned also in
205,
297;
and possibly in

170. See Norden Kunstprosa i
p. 103.
(Aeschines the orator is mentioned in

267, 268.)
R.
17
200
14
These references to potentates suggest not only the
scholastic point of view, but also something of the KoXa^ ixeya\ocf)vrj<;,
of TO aTrapp't]cria(TTov /cat olov efxcfipovpov vtto (TwrjOetas act kKovSvX.l-
a-fievov (tt, inj/., c. xliv).
200
15
8wao-Tt9: found only here, cp. ySao-tXts.
200
19
airorofxia : late,Diodorus, Philo, New Testament,
Plutarch, etc.
200 22 tpqXoTviriiv, rare with the dative
;
perhaps on the analogy
of the Latin aemulari (though
'
aemulari,' when used in a good sense
as
^7;A.oTV7rti/ apparently is here, more usually has the accusative).
200 26 Tp6<j>da\fjLo<; : specifically Attic word, found in Aristot.
R/ie^. Ill
10, 7
etc.
202
4
SvvaaTiVTLKov : references of this kind might well apply to
the Roman empire. Cp.
234, 289, 294.
It has, however, been
suggested that
294
would also accord with the chequered career of
Demetrius Phalereus. For the point of view, contrast tt. v\]/. xvii i
dyavaKTii yap evOij<i, kt\.
202 12 Spengel suggests iTratveaofjLcOa, in order to bring the
form into harmony with
p.
200 1.
19
and with regular usage.This
section is a good illustration of the Baconian
'
laudando praecipere.'
202 24
The words quoted may be by Aristippus of Cyrene him-
self, as Natorp points out in Pauly-Wissowa 11
p. 905.
204 6 XeXrjOoTo}^ is a late word, occurring in Cic. l^Letters)^
Dionys. Halic, etc. Aai/âi/oVrws
(
181) is later still (Dio Cassius,
Pollux, etc.) and should be noted as an index of date. For the form
7jvefjivr)(Tv, see p.
210 supra.
204 8 For ov^t here, cp.
256
irapcycVcto
ovxt.
The occurrences
of ovxL
in Demosthenes are noted in Preuss' /n{;êx Demosthenicus.
204 12 Weil suggests \xero. ^tAo^/soo-wr;?, in place of /xera
fXyaX.ocf>po(Tvvrj s.
206 2 TrpoXeXeKTat is late : SO also TOVTe(TTL, 1.
5.
206
3
Hipponax : see

132 supra, and W. Christ Griech, Litt.
P-
137-
206 10 The coarse, as the counterpart of the forcible, style is
abundantly exemplified in Pope's writings; especially, perhaps, in
the Dunciad Book 11.
206 1 1 ^v(spr)To% : hardly found elsewhere in the sense of
appriTO<Sf Bv(T<fi'qfxo<;.
NOTES
259
206 12 For the reading, see n. on
p. 178 1.
25.
206
13
XcKavL^: late, Plutarch, etc If the word was actually
employed by the accuser of Timandra and the accuser was Hyperides,
it must of course have been in use at an earlier date. But the identifi-
cation of the two (though it has the support of Suidas) is question-
able : cp. Blass Aff. Bereds. in
2, 29.Wilamowitz-Moellendorff
would read oK'ktôv^ instead of o/ioXovs.
206
14
xj/taOos: specifically Attic word.
206
14
Kanpav: late, Strabo, Plutarch, etc. The reference
in Liddell and Scott s.v. is to the present passage ("cited from Dem.
Phal.").
206
15
Blass (I.e.) reports the reading here as ttoXAt/i/ rcva
roiavrt^v
8va<f>r]ixLav craiptov KaTi]pa(T rov hiKaar-qpiov : cp. Facsimile.
206
19
SupprjyjxivoLs : one of the many cases in which an Ionic
form (familiar through Homer and Herodotus) reappears in later
Greek. The perf. pass, tpp-qyixai is used (e.g.) by Arrian among
later writers.
206 2 1 The predicate in the neuter is found frequently in the
TT. kpjx. (e.g. p. 184 1. I,
p. 158 1.
25);
here we have a rare example
of the same construction with a plural subject.
206
23
Cleitarchus: see tt. v\p.
p. 223. The same passage of
Cleitarchus, quoted at greater length, appears in Diodor. Sic.
XVII
75.
ADDITIONAL NOTE.
PROVERBS IN THE BE ELOCUTIONE.
An interesting feature of the treatise On Style is the due appre-
ciation it shows of a proverb when used in season. The author is
clearly alive to the risk which book-writing runs of parting company
with the liveliness and raciness of the vernacular. He sees how
important it is to keep in touch with the familiar thought and
language of the people,with the vulgar tongue.
It is the Lord Chesterfields of literature and life who condemn,
on the score of vulgarity, the use of proverbial expressions. The
manlier natures have always used them boldly. In the tt. kpy.. are
17
2
26o DEMETRIUS ON STYLE
found two threats, "Dionysius (is) at Corinth"
( 8, 9,
102,
241)
and
"
You shall hear your cicalas chirping on the ground "
( 99,
100,
243),
attributed respectively to the Lacedaemonians and to the
tyrant Dionysius^ The true analogues of these threatening messages
are such verses in the Old Testament as
"
And as Jehu entered in at
the gate, she said, Had Zimri peace, who slew his master?"
(2
Kings,
ix.
31)
and "I also have given you cleanness of teeth in all your
cities
"
(Amos iv.
6)
; or the reply (including some words from the
Old Testament) said to have been given by Richard Coeur de Lion
to the Pope's demand for the release of
"
My son, the Bishop."
Richard sent the Pope the coat-of-mail worn by the bishop in the
battle, with the message, "This have we found: know now whether
it be thy son's coat or no" {Genesis xxxvii.
32).
Homelier examples
of proverbs used or made (it is often difficult to say which) are
President Lincoln's advice ''not to swop horses while crossing the
stream," Prince Bismarck's references to
"
bleeding like veal," or (to
be more modern still) the statement of the President of the South
African Republic that he was
"
waiting for the tortoise to put out its
head
"
(i.e. for the opportunity of striking which the Jameson Raid
would give him), or the same President's remark that Mr Rhodes
*'
made one hand wash the other" (i.e. made each one of his schemes
subserve the other). In antiquity it is to be noticed that JuHus
Caesar casts his precept in a proverbial form, when counselling the
use of the current language of his time :
"
Vive ergo moribus
praeteritis, loquere verbis praesentibus atque id, quod a C. Caesare,
excellentis ingenii ac prudentiae viro, in primo de analogia libro
scriptum est, habe semper in memoria atque in pectore, ut tamquatn
scopulum, sic fugias inauditum atque insolens verbuin " (Favorinus
philosophus ap. Aul. Gell. i. x.).
Aristotle is said to have defined, or described, proverbs as the
scattered remains of primitive philosophy, preserved thanks to their
pithy form amid the wrecks of the ages^; and his extant writings
^
The former threat is supposed to have been addressed by the Lacedae-
monians to Philip, the latter by Dionysius to the Locrians (though, according to
Aristot. JÂei. ii. 21, 8 and iii. 11, 6,
the original author was Stesichorus). In
English, the expression
'
making the squirrels walk ' is used of a great fall of
wood.
AiovijffLos P Koplvdi^) occurs in Cic. Ep. ad Att. ix.

9,
where see Tyrrell
and Purser's note.
2
Synesius calvit. encom. c. 22
p. 234
Krab.
(1850)
: el 5k koI t] Trapoi/mia <yo(pbv'
irws S' ov-x). (ro<pbv irepl wv ' ApcaroTiXrjs (pr}alv otl TraXatas elcrl (pi\ocro<pias ev rats
NOTES 261
show how often, and with what effect, he drew upon the stores of
Greek proverbial wisdom \ Plato had previously displayed the same
width of view, as his dialogues bear witness ^ Sophron may have
influenced Plato in this respect, since
'*
almost all the proverbs in
existence might be collected out of Sophron's plays" (tt. cp/x.
156)
:
a statement which receives some confirmation from his fragments
and from the Adoniazusae of Theocritus, and might also be abundantly
illustrated by the practice of Shakespeare or Cervantes ^
Examples of the proverbs used by Sophron are given in the same
section of the De Elocutione^. There is ancient authority for sup-
posing that the well-known proverb
apx"^
ij/xto-u 7ra.vro%
(
122 : 'well-
begun half-done
')
is formed on the model of Hesiod's rrXkov rjfjLLo-v
TravTos, but the truth rather seems to be that Hesiod is improving
upon, and giving a different application to, a proverb already in
existence ^ Curiously enough, too, the highly artificial line attributed
to Sophocles, aTTwSaKWTOs ov TpaTTCôvrat kvXl^
(
1
1
4),
was by some
fieylaraii dvdpdiruv (pdopaTs airoXoixht]^ iyKaTaXeififiaTa irepiaojd^vTa did. (TwrofiLav
Kal de^Ldrrira
;
(Berlin Aristotle v.
1474).
^
See the copious list in Bonitz' htdex Aristotelicus
pp. 569, 570 ;
and for the
Rhetoric in particular, Sandys' Index to Cope's edition, iii.
pp.
268, 269.
^
See the Index to Jowett's Dialogues
of
Plato, s.v. Proverbs ; and also
Grlinwald's Sprichiuorter und sprichwortliche Redensarten bei Plato.
Among later writers Polybius makes much use of proverbs (cp. the recent
Polybius-Forschungen ' of Carl Wunderer, who thinks that he drew on Chry-
sippus' collection of proverbs), while Byzantine appreciation (running to excess)
is reflected in the marginal references to 'Ilapot/xia' in P
1741.
Some of the
later rhetoricians assigned proverbs a place among the
'
figures.'
^
It is to be noted that the tt. kpix. stands apart from other works of its class in
its references to Sophron, who is not named by any of the Greek rhetoricians
(including Dionys. Halic), nor in the Rhetoric of Aristotle, who however men-
tions him near the beginning of the Poetics and h t(^ wepl ttoitjtQu (Athen. xi.
505
c).
*
E.g. iK Tov 6vvxo% rbv Xiovra ^ypa\pv and Topvvav ^êaev : sentiments which,
as Mr Way points out, have usually a jingling sound in English,
'from seeing
but a claw
|
The lion would he draw,' 'he had such an artistic soul
|
That he
polished the scullery-bowl.' In the same section k6/xivou ^rrpKrev is said to have
the following French parallels : tondre stir un ceuf, greler stir le persil, couper un
cheveu en cjttatre. Greek KVfjiivoirpiaT-qs = 'L2i\.m cumini sector.
^
o-PXV
riyî-<yv iravrbs occurs in Plat. Legg. vi.
753
E
{6.pxh
yap Xkyerai /xh rifiiav
iravrbs iv rah irapoifjiiais ipyov), Polyb. v.
32,
I {dappQv yap &w ris etiroi, ovx Vfiiffv
TT)v
dpxw
?''"
''01^
Traprds, dWd Kal irpbs rb tAoj diareLveiv) and elsewhere.
Pythagoras was sometimes supposed to be its author. Cp. Leutsch and Schneide-
win, Paroem. Gr. i.
p. 213,
ii.
pp. 13, 14.
writers ranked as a proverb ^ Whether it ever really became such, we
may take leave to doubt, remembering that (as the late Archbishop
Trench has pointed out in his book on Proverbs) an aphorism,
however true or striking it may be, cannot be classed as a proverb
unless it be shown to have vogue ^
The part which the proverb plays as popular philosophy is well
indicated in

232 : "it is the wisdom of a people, it is the wisdom
of the world." Its frequent use in letters is there recommended : a
precept endorsed, as we know, by the practice of Cicero ^ The
Stoics (notably Chrysippus, as mentioned in the note on
172)
studied proverbs, but hardly for the purpose of letter-writing. Their
object was to discover, by means of proverbs and ancient poetry, the
primitive meaning, and so the etymology, of words. The particular
phrases quoted in

172
(AtyvTrxia kXyjixutIs and OaXda-cnov irpoârov)
may fairly be regarded as proverbial
\
Among the remaining proverbial or quasi-proverbial expressions
in the tt.
kpix.
may be mentioned : ro Iv tyj Trapot/xi'a
Koa-fx-ovixevov
VTrepov^
( 119),
TO. avKa crvKa^
( 229);
tj \cyofx4vr) diro %kv6<j)v p^CTL':
and TO Xeyofxivov rovTo oltto '^kvOwu
(i^
216,
297
: the brutal side of
Ta avKa avKa : a-KvOlêLv in
96
simply referring to the use of jargon)
;
<ôs a7ro> fxr^yavrj^:
(
232:
'
deus ex machina
')
;
ro Sy Xeyofxevov,
diripp-q^f.v avrb
(
216 : 'broke the news'); to iv -tt^vOovo-l Traiêiv
(
28 :
'
gaiety at a funeral
')
; tu(^X(3 SrjXov
(
112,
239
:
'
as plain as
a pikestaff').
^
Leutsch-Schneid. op. cit. ii.
p.
747.
^
Thus yvCJdi aeavTou and ^ttou
6($
( 9)
are airo(pd^yn,aTa rather than
irapoLixlaL.
^
See Tyrrell and Purser's Index to the Correspondence
of
Cicero,
pp. 86,
97.
^
Cp. Leutsch-Schneid. op- cit., Praef., p. v.
^
iiirepov Kocrfieis : 6/xolov tc^, 'Kiirpav TroLKiWeLS (Leutsch-Schneid. op. cit. i.
459);
Aldi6ira (XfiTJXî'^
SrjXov to tolovtov : bixoia, xurpai/ iroiKiWeis, cfbu riXXets {idid. i.
187).
This proverb is, in fact, of the same class as KaWojirlêiv irLdiqKov (tt. ep/i.
165),
and as Plutarch's selection of proverbs irepl tQu ddwaTU))/ given in Leutsch-
Schneid. i.
pp. 343
ff.
^
Cp. Luc. de hist, conscrib. c. 41
toioZtos ovv fioL 6 <rvyypa<peus ^crru}, &(poôs,
ddiKaaroi, iXe^depos, irapprjalas Kai dXrjdeia^ <pi\os, cbj 6 KwpuKds (prjaL, rd auKa crvKa,
TT]v CKatpriv bk aKd<p7jv dvoixd^wu, kt\.
;
Plut. Moral,
p. 178 B (Philippi Apophtheg-
mata) tCov Se irepl Aaad^yrjv rbv 'OX^jpOlov 4yKa\o^vT(av Kal dyavaKToivrwv, 6tl
irpoSdras auroi>s hioi tCov wepl tov ^LXlttttov dtroKaXovai, (XKaiovs ^<pr) (pvcrei Kal
dypoiKOVs elvai MaKedduas, Kal rijv aKd(f>r]u aKd<pTju X^yovras.
GLOSSARY. TERMS OF RHETORIC,
GRAMMAR, METRE, AND
LITERARY CRITICISM.
The references in the Glossary are made to the sections of the irepl 'Ep/jLTjveias.
A-ywv. 226, 271. Contest, debate. Lat. certainen^ contentio. The
word is more fully treated in tt. v\\f.
p. 194
and D. H.
p.
184. In
187 the verb dywvt^co-ât is used in its ordinary sense of 'contending

for a prize.'
d86X6<rxos. 212. Garrulous. Lat. loquax. The comparative
d8oXa-;(OTepo9 presupposes not the classical dSoXcVx^y? but the hellen-
istic d8oAor;ôs (as in Cic. ad Att. xvi. 11, 2,
Plut. de Garrul. c,
13,
p. 509
b), and is, therefore, an indication of late date.
dGpo^Sciv.
9, 268, 283. To muster^ to compress. Lat. colligere,
coacervare. Cp. a0f}OLaiJL6<;,
tt. vj/^.
p. 194.
al'viYfia. 102. Riddle. Lat. aenigma s. allegoria obscurior (Quintil.
viii.
6, 52).
AristOt. Poet. xxii. 2 aivLyfiaros re yap tSca avrrj co-rt, to
Xeyovra virdpxovTa dSwara (Tvvon(/aL. Trypho (Sp. R/i. Or. iii.
p.
193)
atviy/xd kcTTi (fjpdcris iTTLTeTrjSevfxevrj KaK0cr)(^6X<D<; cts dcrd^ctav aTroKpvTr-
Tov(Ta TO voov/x,Voi/, rj dSwarov tl koI dfxrj)(avov irapLaTavovaa.
alriariKos. 201. Accusative. Trrwo-ts alTiariK-q Lat. casus accu-
sativus.
ttKatpos. 118, 238. Inopportune. Lat. intempestivus. The word
can be used of persons no less than of things, as by Dionysius when
describing the brevity of Lysias : koX ovk iirl
fxkv
rrj<; cp/xr^vetas toiovtos
ctTTiv, v Tot9 TrpdyfxacTLV aKatpo? Tt? Kai /xaKpog, o-wco-TpaTTTat Se ct tis
KOL d\ko<i KOX imrvKvoyTaL tols votjixaa-L, kt\. {de Lys. C.
5)*
dKoXov8a. 30. Sequence, consequence. Lat. consecutio. Cp.
aKo-
Aovôs, d.Ko\ovBCiv and dvaKoXovOia (all in

153)^
also tt. vi//^. c. 22, i
and Dionys. Hal.
p.
II. ad Amm. c. 2. See further s.v.
/xdx^,
p. 291
infra.
dKppia.
41, 53, 222, 274. Technical
finish
(slightly depreciatory
in
53,
222, 'correctness,'
'
nicety' : cp. tt. v\\/. cc.
33, 35,
36).
Lat.
ars exquisiia, Fr, style soigne. Similarly aKpifirj^
(14),
aKpi/Sws
(41,
53,
188),
and aKpLfiokoyta
(209,
'exact narration'). So Isocr. {Faneg.
11)
contrasts aKpL^rjs and aTrryKpi^w/Acvos with airXws. This meaning is
frequently found in Aristotle's Rhetoric^ and also in Dionysius : for
the latter, see references in
JD. H.
p.
1
84.
dKpoanjs. 216, 222 (ter), 247. Hearer. But 6 aKpoaTTJ? (and also
6 aVovoDi/, e.g.

216)
will often be better translated by 'the reader,'
the rhetorical point of view not being so natural to us as to the
Greek critics.
(iWriYopta. 99, 100, 101 (bis), 102, 151, 296. Allegory, veiled
meaning, dark saying. Lat. inversio (Quintil. viii.
6, 44).
Fr. alle-
gorie. Cp. D. H.
p. 184,
tt. v\\f.
p. 194.
In tt. kp\x.. 100 the word
V7rovocv is used in explanation : vvv 8e wo-Trep crvyKaXvjXfxaTL Tov Xoyov
Ty dWrjyopLa Ki\py]TaL' ttuv yap to VTrovoov/jievov tpoêpwrepov, koL
aAXos tKa^t aWo ri. So Aristot. [Rhet. iii. 11,
6),
quoting the same
illustration as in tt. kp^.
99,
says : koI tiov diro<j>dyimToiv 8e to, daTitd
i(TTLV K TOV
fjiT]
6 <fir)aL Xcyttv, otov TO ^rqa-Lôpov otl ol TCTTiyc? cavTot?
Xo-fJôOev
da-ovrat. The following passages throw additional light on
the word and its Latin equivalents : Cic. Or.
94
"
iam cum con-
fluxerunt plures continuae tralationes alia plane fit oratio : itaque
genus hoc Graeci appellant dXk-qyopiav, nomine recte, genere melius
ille, qui ista omnia tralationes vocat": cp. de Or. iii.
41,
166. Quintil.
viii.
6, 44
"at dW-qyopta, quam inversionem interpretantur, aut aliud
verbis aliud sensu ostendit aut etiam interim contrarium." id. ix.
2,
46
"
dXXrjyopiav facit continua metaphora." The word aAXr/yopta is
not found earlier than Philodemus and Cicero : for v-n-ovoLa (in the
same sense), see Plat. Rep. ii.
p. 378
d. In the general sense of
Milton's 'where more is meant than meets the ear,' allegory has
always been a great instrument in the hands of the masters of litera-
ture : cp. TT.
v\f/.
vii.
3
ey/caraAeiTretv tt} hiavoLo. ttXciov tov Xcyo/xevou to
dvaOetopov/xivov. "This figure, therefore, for his duplicitie we call
the figure of
false semblant or dissimulation''^ (Puttenham Arte
of
English Foesie,
P-
i55 ed. Haslewood). Similarly dWrjyopelv
(151,
285),
aXA-iyyopi/cos
(282, 283),
dWrjyopiKciiS
(243).
dp.pXi!>viv. 249. To take the edge
off.
Lat. obtundere, hebetare.
GLOSSARY
265
afjiTpos. 4 (bis), 183. Without measure. Lat. sine mensura,
iusto lo7igior. But in
183 there is a special reference to verse, just
as in Dionys. Hal. de Comp. Verb. c.
3
Xeîs a/xcrpo?
=
oratio soluta.
So dfXTpLa,
4.
fijiovoros.
68. Without charm. Lat. suavitatis expers.
a(ji<}>{poXos. 291. Ambiguous. Lat. ambiguus. So a/u,<îj8oXta,
196. Cp. Aristot. Poet. xxv. 13. As enforcing Aristotle's view

that clearness is the cardinal virtue of style (however little praise it
may bring), cp. Quintil. viii. 2,
16
"
vitanda in primis ambiguitas,
non haec solum, de cuius genere supra dictum est, quae incertum
intellectum facit : ut Chremetem audivi percussisse Demean; sed ilia
quoque, quae, etiamsi turbare non potest sensum, in idem tamen
verborum vitium incidit, ut si quis dicat, visum a se hominem librum
scribentem. nam etiamsi librum ab homine scribi patet : male tamen
composuerit feceritque ambiguum, quantum in ipso fuit." See also
Introduction,
pp. 37
ff.
dvaYw-yCa. 171. Want
of
breeding. Lat. animus incultus. Cp.
TT. v\^. xxxiv. 2 cTKixi^fxaTa ovK a/xovcra ovK dvdytoya, and Dionys. Hal.
de Antiq. Or. c. i.
dva8TrX<ris.
66, 140 (bis), 267. Reiteration, 'reduplication
'
(' the
Redouble,' Puttenham). Lat. conduplicatio (Auctor ad Herennium iv.
c.
28)
;
geminatio (Cic. de Orat. iii.
206)
; iteratio, repetitio (Aquila).
For good examples (in addition to those quoted in the tt. ep/x. itself,
and in the note on
140),
cp. Demosth. de Cor.
143
ttoAc/xoi/ eis ttJv
*Attik7}i/ icrayci5, Alcr)(tvr], ttoXc/xov ' Aix(f>LKTVovLKov ; Eurip. A/c.
1085)
1086
xpo*'?
KardaviLv (the excessive use of repeated words in
Euripides is ridiculed by Aristophanes) ; Hor. Odes ii.
14,
i "eheu
fugaces, Postume, Postume,
|
labuntur anni," and Odes iv.
4,
70
"occidit, occidit
|
spes omnis et fortuna nostri
|
nominis Hasdru-
bale interempto
"
; St. Matthew's Gospel xxiii.
37
"
O Jerusalem
Jerusalem, thou that killest the prophets." The figure is also called
7rava8i7rAa)0"i9, -TraXtXAoyia, ctti^cvîs.The word avaStTrAoxrt? is some-
times used of grammatical reduplication, being defined as irpiinrjs
arvWa^rjq 8ia twv avrwi/
(rvfxtf>(jc>viov avXXajSrjv ttolovvtwv C7raAAr/Xos
K<l>opd (Walz Rhet. Gr. iii.
566).
dvairaio~rtK6s. 189. Anapaestic. Lat. anapaesticus. The metrical
foot so called.
266
DEMETRIUS ON STYLE
dvairavciv.
1, 45, 202. To cause to pause. Lat. sedare.
Cp.
cti/ttTravAa,
'resting-place,' in
46,
202, 205. (amTrauo-t? is the usual
word for 'pause,' in the sense of
77
rov \6yov Kara'Ary^ts).
avairXTipovv.
58. To use expletives. Lat. infercire.
ava(rTp^(f>iv.
184, 185. To invert the order. Lat. evertere compo-
sitionem.
dva<|>opa.
141, 268. Repetition. Lat. repetitio (Auct. ad Herenn. iv.
13
;
Quintil. ix.
3, 29).
The term is commonly used (as the examples
in the tt. cp/x,. show) of the repetition of a word, or words, in successive
clauses
; and so differs from aVaStVAwo-t?, which is applied to the
immediate repetition of a word. The strict meaning of the term (as
shown
by the corresponding verb dva<fipuv in
141)
is reference
(Lat. re/atio), i.e. the repeated word carries the mind back. See
further in Sandys' Orator
of
Cicero,
pp. 137,
138. Puttenham calls
it the figure of report, "when we make one word begin, and as they
are wont to say, lead the daunce to many verses in sute."In
72,
dvacfiopa is used in its literal sense of ' uplifting.'
dvifjL^vos. 19, 21. Re/axed, loose (of a period). Lat. remissus.
dv0viraXXa"yt].
60. Substitution. Lat. commutatio. Not strictly
*
interchange
' of cases, but substitution of one case for another ; e.g.
in the instance given in

60, of ot hvo a-KoireXoL for rwv Bvo crKOTviXwv
(cp. Herod. Trept
axrjimdToyv, Spengel Rket. Gr. iii.
86). Cp. in Eng-
lish, "The Power in darkness whom we guess;
|
I found Him not
in world or sun" (In Memoriam,
21). The term viraXkayrj does not
occur in the tt. ep/x. The corresponding verb dvOvn-aXXdacreLv is used
in
59.
Both the verb and the noun are late words,Philo, Apollon.
Dysc, etc.
dvTairoSoo-is.
23, 250. Correspondence, parallelism. Lat. redditio
contraria (Quintil. viii.
3,
77).
So di/ra7roSi8oVat
( 53,
79):
espe-
cially used of the convertibility of metaphors, as in Aristot. Rhet. iii.
4,
4-
dvTpwris. 12. Propping, buttressing. Lat. fultura. The idea
(that of interlacing support) is the same as in the words 'insistere
invicem' used by Quintil. viii.
5,
27
"unde soluta fere oratio et e
singulis non membris sed frustis coUata structura caret, cum ilia
rotunda et undique circumcisa insistere invicem nequeant." So the
verb avTcpctSeiv in
13.
dvT86o-is. 24, 171, 172, 247, 250. Antithesis, contrast. Lat. con-
tentio (Auct. ad Her. iv.
45),
contrapositum (= dvTLOerov, Quintil. ix.
GLOSSARY 267
3,
81). The subdivisions of antithesis in tt. cp/x.
22 correspond
with Rhet. ad Alex. c. 26: cp. D. H.
p. 185. In

171, 172
aVrt-
^(rt9 seems, as Victorias pointed out, to mean little more than a
play on words. In
29,
120,
247
avTiOeTov is found; in
24
avri-
Oerwq
;
in

22,
23, 24,
36
avTiKeia-Oai. Cic. ((9r. xxxix.
135)
describes
antithesis in the words
"
cum sunt contrariis relata contraria." Nor-
den {Kimstprosa ii.
508)
quotes some of the striking New Testament
examples of antithesis {Rom. ii. 6ff. ; i Cor. i. 18, i v. loff. ; 2 Cor.
vi.
7
ff.), together with St Augustine's comments in de Civ. Dei xi. 18.
Antithesis has, indeed, been the most generally used of all the
figures. The merit of an antithetical style (according to Aristot.
Rhet. iii.
9, 8)
is that it brings contraries into emphatic juxtaposition,
and has a syllogistic character. Its use in excess was, it would seem
from a current journal, disliked by Bishop Westcott in Macaulay,
whose antithetical style "bears much the same relation to prose that
rhyme bears to verse : it is a help towards attainment of success of
the second order ; but to supreme excellence it is a hindrance
"
(Lionel ToUemache in The Spectator^ August 17th, 1901).
dvT<rTpo<})os. 38. Converse, counterpart. Lat. respondens.
dwiroKpiTos. 194. Undramatic. Lat. remotus ab actione, alienus
ah histrionia. Late word,LXX., N. T., Marcus Aurelius. Only
here in the sense given above
;
elsewhere, it =
'
guileless.'
dv|iaXa. 67. Inequality. Lat. inaequalitas. In

219
avtaiLoXia.,
and in

246
aV<o/u.aA.o9, have their literal meaning.
dirayyeXCa. 114. Style. Lat. elocutio. Late in this sense,
Dionys. Halic, Plut., Dio Chrys., etc. Theophrastus himself prob-

ably used the word Xc^ts. In Rhet. ad Alex. c. 30
d7rayyeA.ta =
hvq-
yrja-L'i. For 'narrative' simply, ayycXta is used in
114 and aTray-
yiWiLv in
237.
In Dion. H.
p. I. ad Amm., aVayycAXciv is used
repeatedly in the sense of delivering a speech. (Further references
in Classical Review \w.
253.)
dirddcia. 194. Lack
of
emotion. Lat. affectuum vacuitas, indo-
lentia. So the adj. aVa^Tys, in the same section.
dirapTCtciv.
2, 10. To round
off,
to complete. Lat. adaequare,
absolvere. Hermogenes (Sp. ii.
241)
defines k(oA.ov as aTrr/pTto-yaeVr/
StaVota, 'a completed sense.' Cp. the use of o-vi/tcXciv and (tv/xttc-
paiow. Schol. Rav. ad Aristoph. Ran. 812 : orav yap ol SecnroTai
aTrovBd^wcTL Oottov tl d-n-afjTLa-OrjvaL (' tO be polished ofif') lTn.TrXr)Trovcri
Tots SovXots Iva OSlttov ivepywa-Lv.
aireiKateiv. 11. To liken^ to compare. Lat. assimilare, comparare.
dircipoKaXos. 67. Tasteless. Lat. ifieptus. Dionys. H. de Isaeo
C. 2 Tr(f>vyv (XTrrjpxo-tfofxevoiv kol (rrjfxeLoySlov ovofxaTtov rrjv aTrcipoKaXiai/,
and >.
H. p. 185.
aircipos.
1, 63. Limitless. Lat.
infinitus.
dirieavos.
15, 19,
221. Unconvincing, unreal. Lat. alienus a
persuadendo, non probabilis. Cp. Aristot. Rhet. iii.
8, i d-n-LOavov
triTrXaxrBaL yap 8okl
,
i.e. 'artificial,' 'hollow,' See also s.v. TnOav6<s.
dirXoiKos. 244. Simple, naive. Lat. simplex, non fucatus. Late
word,Philo, Lucian, etc. aVA-ovs occurs in
15, 17,
etc. ; aVXdTTy?
in
19;
ctTrAw? in

100,
243
(see also s. v. aKpL/Seia). The ars
celare arte??i is well described, in connexion with the word ctTrAoVi/s,
in (Dionys. Hal.) Ars Rhet.
p.
99
(ed. Usener), Acyw 8e koI irpoari-
OrjfXL, OTL KOL orav Tts ctTrXaJ? X^yrj, kol tovto T)(yr] cr)(T]fx.aTo<; ytVcrat, tva
1^
Trjs a7rAoT>7T09 Trpo(nroir]cn^ to Triâvoi/ <L\rj t(o (Ikovovtl. It is to be
noticed that in
34
d-n-kov^ is substituted for Aristotle's dcfy^Xyjs, and
further that neither a^cA'^? nor a<Â.cia occurs in any part of the
IT.
epfjL. As the words occur in Dionysius and in Hermogenes, the
treatise may (so far as such indications are to be trusted at all) be
assigned to the period between the two. At all events, the appa-
rently deliberate avoidance of the word a</)X>)s is noteworthy.
dirdeo-is. 19, 205, 245. Tall (of the voice) ; cadence. Lat. depo-
sitio. The distinction implied is that of apo-is and êVts, the rise of
the voice at the beginning of a member and its fall at the end.
diroCriTos. 28. Inartificial. Lat. sine arte /actus. In the same
sense, aTcxviVevTos and aj/eTrtTiyScvTos (Dionys. Halic. de Lys. c.
8).
diroKoirt].
6,
238. Abruptness. Lat. abscisio. Cp. Dionys. Hal.
de Thucyd. C.
52
Ta.<i VTrcp/ârovs Ktti 7roA.v7rA.oKOVs koX c^ d7roK07rrj<s
TToWa (TrjfxatveLV TrpdyjxaTa ySovXo/xcva? kol Sia p,aKpov ras d7roSo(rts
Xajxfiavova-as vorj(reL<5. So dTroKKoixfxivo<; in

18,
238, 239
: cp.
Aristot. Rhet. iii.
8,
6 dXka Set
rri
p.aKpa diroKOTTTiarOaL (' brought to
an abrupt end
')
koI BtJXtjv cti/at rrjv rcA-evrr^V.
'
dTTomis. 121, 182, 257, 268. Conclusion. Lat. terminatio. So
d-Kokriyîv

20, 202,
257.
diroTTv^Ytiv. 303. To choke: used of long periods which rob the
speaker of his breath. Lat. sujôcare. So TrviyiLv in

i.
diroo-iwiTTô-is.
103, 264. Sudden reticence, suppressed clause (' the
figure of silence,' Puttenham). Lat. reticentia (Quintil. ix.
2,
54
:
I
GLOSSARY
269
"
d7rooriwV7;o-i9, quam idem Cicero reticentiam, Celsus ohticentiam^ non-
nulli inierruptionem appellant." Cicero uses
'
reticentia ' in de Or. iii.
53,
205).
Fr. reticence. Examples : Demosth. de Cor. ad init., dW
/Aot [x.kv
ov ôvXo/xat 8c 8v(r;(pg t7rtv ovScv d/3;j(d/xvos tov A.oyov

:
Virg. Aen. i.
135
"
quos egosed motos praestat componere fluc-
tUS."Cp.
aTTOo-ttOTrav in
,44, 253
and atrocFvya.v in
1 49.
airo<j>0YnaTiK6s. 9. Sententious. Lat. sententiosus. See further
s. V. yvwfjLT]. The adj. is not found earlier than Plutarch.
dirpemjs.
75, 122, 123, 188 (-ws), 238. Unbecoming. Lat. /^^-
^^rz^j-. See
p. 225 supra.
d'pOpov. 23. Article: in the grammatical sense. Lat. articulus.
Cp. D. H.
pp. 185,
186. The parts of speech mentioned in the
TT. kp^K. are apBpov and crvVSeo-yao?. pi7/xa does not occur, and oi/o/xa
means
'
word
'
rather than
'
noun.'
'ApwrTiiriretos.
296. Aristippean : see n. on
p. 258 supra.
dpKTiKos. 56. Initial. Lat. initialise principalis. Late,Apoll.
Dysc, Hephaest., Pollux.
dp|iova. 300. Adjustment
of
words. Lat. apta structura, con-
cinna orationis compositio. Cp. D. H.
p.
186. The meaning of the
word is discussed in Cope's Introduction to Aristotlis Rhetoric
PP-
379
3875
and (on the musical side) in D. B. Monro's Modes
of
Ancient Greek Music.
apvOfjios. 42, 117, 301. Without rhythm. Lat. numeri expers.
Used in Aristot. Rhet. iii. 8, i.
dpxttto6i8iis. 245. Oldfashioned. Lat. antiquitatem redolens. The
word is ttTT. dp. Dionysius Hal. {Ep. ad Po7np. c.
2,
de Comp. Verb.
c.
23)
uses dpx(n.o7rpTrrj<: in much the same sense.For the meaning
of ot dpxcuoL in the tt. ep/x.
(67, 175, 244),
see n. on
p. 224 supra.
apxij. 39, 56, 192, 196, 268. Beginning: of a clause or sen-
tence. Lat. principium.
d<rd<j>6ia.
201,254. Obscurity. \u2X. obscuritas. So
d(Ta<f>7Js
:
192,
198, 221, 226.
dore|ivos. 189.
Undignified. Lat. dignitatis expers^ minime vene-
randus. Late,Dionys. Hal, Plut., tt. vi/r., Lucian. (Sometimes
said to occur in Aristotle, but not found in any genuine writing of
his.)
dcrreio-jios.
128, 130. Witticism: ('the merry scoff; otherwise
the civil jest,' Puttenham). Lat. urbanitas {a<TTd<T1101=facetiae).
The word is late, Dionys. Hal., tt. vi/^., etc. In the same sense
da-TuCâ-OaL
(
1
49),
though the particular form seems to be more
specifically Attic. In

114 dareios is found, but with a moral rather
than an intellectual connotation.
d<rvv8Tov. 192, 268. Absence
of
conjunctions. Lat. dissolutum
(Auct. ad Herennium iv.
30
: cp. Quintil. ix.
3,
50).
See also s. v.
dcrvvTJeTjs.
77, 190, 208, 221. Unusual. Lat. inusitatus.
dor<j)aXT]s.
19, 41, 78, etc. Safe. Lat. tutus. Especially applied
to a
'
safe,' as opposed to a
'
risky ' (Ktv8wwSr;s), use of language. In
the same way ao-tâXt^co-ât
(85, 193)
means 'to ensure,' 'to safe-
guard,'
'
to place beyond criticism
'
: late, Polybius, Diodorus,
Josephus, N. T. Cp. aa-cfidXeLa,

287.
do-x-np-dTioTTos. 67. One who avoids figures. Lat. qui nullis
figuris utitur. Late in this sense,Dionys. Hal., Quintil., etc.
Cp. D. H.
p.
186.
draKTOTcpws. 53. With some negligence. Lat. inordinatius. The
comparative, in this form, is anr. sip.
dTpirr\s.
134, 303, 304. Disagreeable^ disgusting. Lat. insuavis^
odiosus.
dTc'xvws. 68. hiartistically. Lat. sine arte, inartificialiter.
arcxvws ('simply,' 'entirely') is found in

i,
5,
68, 71,
266. It
will be noticed that the word occurs twice in

68, and that every-
where (except in

i) P gives the accent not as dr^yvQ^ but as
aTx^<09.
Probably the distinction by accent is arbitrary in origin,
though convenient in practice.
dT^yyQi<^
(= dXy]BQii) was regarded as
specifically Attic.
dTTiKitiv. 177. To write in the Attic dialect. Lat. atticissare.
In the same section 'AttiktJ yXwo-o-a is used, and in
175
the practice
of o\ 'AxTtKot is mentioned.
avTocrxcSidtciv. 224. To improvise. Lat. ex tempore facere s,
dicere. Cp. Dionys. Hal. de Comp. Verb. c.
25
ttoXAo, yap avToa-yi.-
8td^t fxerpa tj ^vcrts, and Aristotle's use of avTocrx^SLda-/xaTa in Poetics
c.
4.
The word is classed as specifically Attic by the ancient
grammarians.
avTo<})viis. 27, 300. Self
engendered, spontaneous, natural. Lat.
naturalis. The same idea is expressed by the words quae sua sponte
nascuntur and innatus in the following passages : Tac. Dial, de Or.
GLOSSARY 271
c.
6 "sed exiemporalis audaciae atque ipsius temeritatis vel prae-
cipua iucunditas est ; nam in ingenio quoque, sicut in agro, quam-
quam grata quae diu serantur atque elaborentur, gratiora tamen
quae sua sponte nascuntur;" Quintil. ix.
3, 74
"nam per se frigida
et inanis affectatio, cum in acres incidit sensus, innatam gratiam
videtur habere, non arcessitam."
d<|>p6vTiarTos. 300. Unstudied. Lat. incuriosus. See s. v. <f>povTLs.
d'xapis. 137, 139, 302, 303, 304. Grace/ess, uncouth, coarse. Lat.
invenustus.In a similar sense a\a.piro^ in

130, 139;
with the
same doubt, as to the termination -tro? or -lorros, which presents itself
in cTTiâptTos and ev\dpi(rjo<;.
at|n)xos. 81. Inanimate. Lat. animae expers, inanimus. Used
here in its literal sense, as the opposite of efjLij/vxos in the same
section ; not applied in the tt. Ip/x. to lifeless writing, Lat. exsanguis.
pdo-avos. 201. Torture. Lat. quaestio, poena. A late word in
the metaphorical sense, LXX., N. T., Lucian, etc. ; applied to
language itself in tt. v\\i. x. 6 tw /xev o-wc/ATTiVToi/Tt irdOei to cttos o/xotws
ifiacrdvLO-ev.
pdo-is. 206. Step. Lat. clausula. For /Jao-t? as meaning a
rhythmical clause, see Cope's Introductiofi to Aristotle's Rhetoric
p. 388,
n.
4
:
"
ySacrts in rhythm corresponds to 7rot;s in metre. It
takes its name from the 'step' in marching or dancing." To the
passages there quoted from Plato and Aristotle may be added tt. vx^/.
xxxix. 2 Kttt /Sdaiv ei/Sovs riva
pvOfxov
Trpof; TavTiqv dvayKdêi (sc. o avA.os^
ySatVeti/ ev pvOfjiw, where fidcn^ pvOfxov clearly
-
'
numeri incessus.'
The
'
safe step ' is one of which the penultimate syllable is long, in
contradistinction to iambic endings which are regarded by Dionysius
as dviBpaa-TOL and dTreptypacfiOL (Blass, Att. Bereds.^ i.
135
n.
2).
pa. 246. Violent movement. Lat. violentia. to Sv(T(fi6oyyov is
here meant by
y
ySta, as the context shows.
povXtaGai.
2, 28,
231. To be desigfied, to tend. Lat. velle. Cp.
D. H.
p. 187.
ppaxvXo'yia. 243. Brevity
of
speech. Lat. breviloquentia. Cp.
Quintil. viii.
3,
82 "ac merito laudatur brevitas integra ; sed ea
minus praestat, quotiens nihil dicit nisi quod necesse est {/Spaxv-
Xoyiav vocant, quae reddetur inter schemata), est vero pulcherrima,
cum plura paucis complectitur." So /BpaxvXoyelv
( 242),
and
I3paxv-
Xoyo9
(
7,
214). For the ppa-^Xoyla. of the Lacedaemonians, see
Plut. Lycurg. Vit. c.
19;
theirs was the brevitas imperatoria of
Tacitus {Hist. I. 18).
^âyy-rq^ OCCUrs in
9,
121
;
^pa.yy^ in
207,
242.
YcXoios. 126, 163, 170, etc. Laughable. Lat. ridiculiis. The
difference between to yeXolov and to cvâpt is explained in
163.
The deprecating attitude which so many ancient writers assumed
towards laughter is reflected in Quintil. vi. 3.
yeA.o>9 occurs in
168,
169;
yeAai/,
163,
t68,
260;
ycXtoroTrotta,
128;
ycA.a)T07rotti/,
24,
168.
7Xa<j,vpo's.
36, 127, 128, 138, 178, 179, 183, 184, 186. Smoof/i,
polished, elegant
:
x^P^k^VP
yXo.^vpo? being one of the four types of
style. Lat. politus, floridus,
ornatus, elegans. Fr. elegant, orne. Cp.
23
ly 8e yXacjivpa /cat avOrjpa crvvOeaL<;
:
and de adm. vi die. in Dein. c. 40
ri
Sc ^^rh. TavTrjv tj y\a(f>vpa koI
OeaTpLKTj Kol TO KOfixf/bv
('neat') alpovjxivy] trpo tov cre/xvov ('grand')
TOLavTYj- ovofMOLTOiv tttct ôvXeTaL Xa/x/SdveLv rot, XciOTara kol /xaXaKwrara,
TTjv Vcf>(i)VLav Orjpoiyixivr} kol ttjv ev/xeXetav, c^ avTwv Se to lijSv. It is tO
be noted that many of the illustrations of this style given in the
TT.
epfx,.
are taken from the lyric and comic poets. Reference may
also be made to L>. H.
p.
18 and tt.
vxJ/. p.
196. The noun yXa<^v-
poTT)^ occurs in

258.
7X<r<ra. 177. Dialect. Lat. lingua, dialectus. The word does
not in the tt. ep/x. bear the Aristotelian sense {Poetics and Rhetoric)
of 'foreign term' : for which see D. H. p. 187,
s. v. yXwrriy/xaTtKos.
yvwii-q. 9 (bis), 110, 170. Maxim. Lat. sententia. The prin-
ciple of the yvoifXTj is expounded by Aristotle (Rhet. ii.
21,
15)
: tj
fiev
yap yvio/iir}, ata-Trep etprjTaL, a7r6cf>av(rL<s KaOoXov ccttlv, âipovcn 8e
KaBokov Xiyofxevov b Kara
fxipoq
TrpovVoXa/x/Javovrc? Tvy;(avovcrt* otov t
Tt9 yetToaL tv)(ol K^prjixvo'; rj tkvol<; <f>avkoL<;, OLTroBeiaiT av tov ctTrdi/ros
'
ovSiv yctTovta? ^âXetrwTepov
'
rj otl
'
ovhev TjXcOnoTepov rcKVOTrotia?,'
wcrre Set arTO)(dt,(T6aL ttcos Tvyxdvova-L irola TrpovTroXa/xâvovTC?, lO
0VTa>9 Trepl TOVTOiV KaOoXov Xeyeiv. TavTYfv re 8r]
exî fxlav )(^prj(TLV to
yv(x)fxo\oyLV,
Kol ercpav KpuTTw tjOlkov^s yap Troiel rou? Xdyov9. The
yvwfxr] may be said to differ in these two points (viz. general applica-
tion and moral purpose) from the airof^dtyixa, which is a dictum or
bon mot, and is specially used of the AaKOJviKo, aTro^êy/xara, men-
tioned by Aristotle {Rhet. ii. 21, 8)
and collected by Plutarch. On
the use of yvw/xat by Demosthenes there are some good remarks in
Rehdantz-Blass, Rhetorischer und stilistischer Index
pp.
20,
21.
GLOSSARY
273
yviiiôkoyCiv occurs in
232,
and yvw/AoXoyt/co? in
9.
The latter is
late, occurring (if we except the Rhet. ad Alex.) not earlier than
Theon's Progymnasmaia. But yi//AoA.oytv and yi/to/xoXoym are found
in Aristotle's Rhetoric.
7pd|ijjia. 48, 69, etc. Letter : of the alphabet. Lat. littera,
7pa<j)TJ. 120, 196, 215, 226. lVritt?ig, composition (in the wide
'
sense). Lat. scriptio. This use is found in Philodemus and Strabo.
In

226, stress is laid on the distinction between written and spoken
style: in fact, the ypa<fiLKr] Xe^t? of
193
is kept in view. (In
76
ypa<îKos means
'
pictorial,' as ô>ypa<^tKos in the same section.)
Cp. L>. H. p. 187.
Ypi<j>os.
153. Dark saying. Lat. griphus. The yplcfios is thus
distinguished from the amy/xa by Schol. Aristid.
p. 508 : ypt</>os 84
iarrtv ov^, ws Ivtot (âcrt, ravrov toJ aiviyfxaTt' 8ta<^povcrt yap, on to
fikv
OLVLyfxa ofxoXoyei Tt? dyvoetv, tov 8k yptcfyov ayvoei Sokwi/ eTriVrao-ât,
olov atvLyixa fxiv icm to tl StVow, tl rpiirovv, tl TeTpdirovv ; ivravOa
8rfXov TO epajTrj/xa. ypiôs 8k olov ExTopa toi' Ilpta/xov Ato/AT/Sr/? KTavv
avrjp. ivTav6a SoKet /xcv ciSci/ai to prjOev, ayvoei
84, on 8iOfX7]8r]'; -^v
avrip 6 'AxiXXevs. Thus the one frankly presents itself as an enigma,
riddle or conundrum ; while the other, with its element of ambiguity
and mystification, is an equivoque or double entendre.
8ao-vs. 73. Rough: breathing
(^x^)-
Lat. asper: sc. spiritus.
Cp. Z>. iT-.p. 15.
SetKTtKos. 289. Demonstrative. Lat. demonstrativus.
Setvds.
7,
8ff.
;
240 ff.
;
passim. Forcible, vigorous, vehement:
XapaKTrip
Sctvos being one of the four types of style. Lat. gravis,
vehemens. Fr. energique, vehement. Reference may be made to
D. LI.
pp. 187,
188 s. V. 8ti/oT7/s. With the passage there quoted
(on
p. 188)
from Dionys. Hal. ad Amm. ii. may be compared tt. ep/x.
283
Trao-a 8\ cKTrXryî? 8(.iv6v, k'K(.i8r\ ô^tpov
; 255
aXV ovt av 6
Xeyiov Setvos (' formidable
')
ovT<i)L<;
avTOS
;
241 to
yap firJKO^
ckA-vci ttjv a-<f>o8p6Tr)Ta, ro 8k ev oXtyw ttoXv
iix<f)aiv6fXVOV
8iv6Tpov (cp.
274).
Perhaps in the tt.
4pp..
(as compared with the
Scripta Rhetorica of Dionysius) SctvoVrys carries with it less of that
idea of hitting the mark which is so well illustrated from Plato and
Aristotle by Rehdantz (op. cit.
p.
57).
In Dionysius (as later in
Hermogenes) the word sums up the oratorical virtues, especially as
seen in Demosthenes. In the tt. cpp,., it is only one of four types of
R. 18
274
DEMETRIUS ON STYLE
style
; it is indeed chiefly illustrated by examples drawn from Demo-
sthenes, but it is not associated solely with him, as appears from the
expressions tt^s Ar/zxaSctov huvoTxp-o^
(
286) and
7
vvv Karexpva-a
SctvoTrys
( 245). Cp. p. 52
supra.
SeLvoTT)^ occurs in

240 and passim (the plural Sctvorr/ra? being
found in
243
: cp. fxiyedr)
5).
SctVwo-is in

130 means 'intensifi-
cation': cp. Quintil. vi.
2, 24
"
haec est ilia, quae SctVcocrts vocatur,
rebus indignis, asperis, invidiosis addens vim oratio; qua virtute
praeter alias plurimum Demosthenes valuit."
8Ti|xiovp'y6s. 215.
Artificer. Lat. opifex. Cp. Plat. Gorg.
453
a
Tretôvs BrjfjiLovpyb^ tj prjTopLKrj (Gorgias' definition of rhetoric).
AtjiidSeia. 282. Sayings
of
the orator Demades. Lat. dicta De-
madC'a. Cp. rrys Arjfxahitov Suvoryjros,

286.
Stihotikos. 177, 232. Popular: applied to the Attic dialect and
to proverbs. Lat. popularis^ communis. In
294
o 'AOrjvatwv Srj/xos
is used of the Athenian democracy.
8101X070$. 223 (bis), 224. Dialogue. Lat. dialogus. So StaXo-
ytKo? in
19,
21, which may be conveniently rendered 'conversa-
tional,' though the illustration employed in

21 shows that the
formal Dialogue is chiefly meant, hiakiyârdai occurs in

167, 225,
289 ;
while in
167
x^P^"^
StaXeKTLKos means a
'
conversational chorus
'
of the Gilbertian type. Cp. R. Hirzel Der Dialog i
pp. 305,
306.
8iaXi5iv.
13, 15, 21, 46, 192, 193, 271, 301. To break up. Lat.
dissolvere. The perf. participle pass, is found in several of these
sections, with the same sense as Sirjprjfjievos
(p. 275
infra). In view of
the meaning borne by StaXveLv elsewhere in the tt.
ipfx.,
the reading
8taA.vo-avTa9 in

288 seems unlikely.
hiaXv(Ti^ =
asyndeton,

66, 269.
8tavoia. 2 (quinquies), 3 (quater), 30, 38,
44 et passim. Thought,
sentence. Lat. sententia. hiavorîia,
'
thought ' or
'
notion,' in
30,
239-
8tdppix|/is. 68. Severance: used of style. Lat. distractio. Cp.
the use of 8ippi/x/>iei/o9 in
13.
8iao-7rao-(ji6s. 68. Dislocation: of style. Lat. divulsio. Late
word, LXX., Plutarch, etc. Cp. the use of Sica-Trao-fxevos in
303.
8iaTdTTiv. 59. To place in order, Lat. digerere, ordine collocare.
Fr. ordonner.
8taxpittv.
180. To divide. Lat. separare.
GLOSSARY
275
SiSao-KoXfa. 9. Formal i?istructio7i. Lat. docendi ratio.
Cp.
AristOt. Poet. xix. 3
to. fxkv
Sel <âij/orât avv SiSacKaXias.
8iii7T](ia. 8, 137, 201, 241, 270. A narrative. Lat. narratio.
Fr. recit. Late,LXX., Polyb., Dionys. Hal. ; though the adj.
SirjyrjfxaTLKo^ is thrice used in the latter part of the Poetics. SLtjyyja-L?
occurs in rr.
cpfx. 291. The distinction drawn between the two words
by a scholiast (quoted in Volkmann's Rhetorik^
p. 150
n. i) is:
SLa<f>pL 8k (8ir;y77/xa) Strjyrjaio)^, tw TavTqv
fxkv
tivai KaôXtKwrepav,
cKctvo St fjLcpLKioTepov. Thc samc distinction holds between irocrja-Ls
and TTOLTjfjLa, the former being appropriately applied (say) to the entire
I/iad, the latter to Book xviii. ('OTrAoTroua).
8tT,}iapTTiHivos. 114, 186, 236, 302. Defective, distorted. Lat.
vitiosus.
SixipTjjt^vos. 12, 21, 70. Resolved, disjointed, loose. Lat. divisus,
dissolutus. (Also Siatpct and Siatpctrai in

i, StaipeOevTa in
70;
in
I
'
to joint,' or
'
to articulate,' is perhaps nearer the meaning than
'
to disjoint,' which i^ more depreciatory than the Greek original.)
See AristOt. Rket. iii.
9, 7
(with Cope's note) ; Cope's Introduction,
pp.
306 ff. ; Ernesti, Lexicon Technologiae Graecorum Rhetoricae,
pp. 74,
75.
Aristotle {Rhet. iii.
9,
i) distinguishes the Xc^ts elpofjiivrj
(= htriprjixevr], BLaXeXvfxivTj, Stcppi/x/xtVr; in tt. cp/x.) from the A.c^ts Karc-
a-TpafxixivT). For Herodotus as the leading representative of the Xeîs
lpofx,fvq, cp. Norden Kuntsprosa, i.
pp. 27,
38
41
;
Navarre Essai
sur la Rhetorique grecque avant Aristote,
pp.
86, 112
;
Sandys Isocr.
Dem. et Pa?iegyr.,
p.
xii. Some useful references to Cicero's rhe-
torical works will be found in Causeret j^tude sur la langue de la
Rhetorique et de la critique litteraire dans Ciceron,
pp.
20, 148.
StOupafipos. 78. Dithyrambic poetry. Lat. dithyrambus. Also
8t^vpa/x/?co87;? 1
16,
Stûpa/xyStKOS
143,
SiOvpafX^tKuis 91.
8k\os. 34, 252. IVith two ''members' Lat. bimembris.
ZikoyCa. 103, 211, 212. Repetition. Lat. iteralio, repetitio.
So
hiKoyCiv
197,
267. It is clear from

211,
212 that the repetitions
meant are such as those found in the following English examples
:
''Cannon to right of them,
|
Cannon to left of them,
|
Cannon in
front of them
|
Volley'd and thunder'd" (Tennyson Charge
of
the
Light Brigade) ;
"
By my saying she saith to you, in your ears she
saith,
I
Who hear these things,
|
Put no trust in men's royalties, nor
in great men's breath,
|
Nor words of kings" (Swinburne Super
182
Flumina Babylonis)
\
"
Stars in the firmament above him beaming,
|
Stars in the firmament, alive and free,
|
Stars, dnd of stars the
innumerable streaming, ! Deep in the deeps, a river in the sea"
(F. W. H. Myers Saint Paul). The second of these passages is,
perhaps, the best illustration of SiXoyta, as distinguished from the
other figures denoting rhetorical repetition. Cp. the repetition of
"
days
"
and
"
years " in Genesis xlvii.
9
"
The days of the years of
my pilgrimage are an hundred and thirty years : few and evil have
the days of the years of my life been, and have not attained unto the
days of the years of the life of my fathers in the days of their
pilgrimage." So also Book
of
Daniel iii. i 18.
SiirXoCs.
61, 93, 98, 191. Double, compound. Lat. duplex. Cp.
Aristot. Poet. xxi. i ; Rhet. iii.
3,
i. So the verb '^nvXovv in
59,
and
the noun StTrA-wo-ts in 116.
8t(j>0o"y7os. 72, 73, 207. Having a double sound., a diphthong.
Lat. diphthongus.
8pa|xa.
62, 156. Action, play. Lat. fabiila. The use of the
word 8pa/xa with reference to the Iliad and to Sophron's Mimes is
interesting : cp. the article by Mr H. Richards in the Classical
Review xiv.
pp.
388
393.
For the Iliad, cp. tt. v\\i. ix.
13
t^5 [jXv
lAtaSos
ypacfiOfxev'qs ev
dK/xfj Trveufxaro^ oXov to crco/xaTtoi/ SpafiarcKov
VTrea-rrjaaTO.
Svo-TJKoos. 48. Unpleasant to the ear. Lat. molestus auribus.
Hardly found with this meaning elsewhere ; and a late word al-
together.
8vo-KaTop0Tos. 127. Hard to acco7nplish. Lat. qui recte
effici
vix
potest. Late,Galen, Chrysostom, etc.
Svo-irapttKoXoiiGTiTos. 4. Hard to
follow, unintelligible. Lat. obscu-
rus. Cp. D. H.
p. 189.
8v(r<|>8oYyos. 246. Harsh-sounding. Lat. asper,
difficilis
enuntiatu.
The word is not found elsewhere.
8v(r4)vos.
69, 70, 105. Harsh-sounding. Lat. asper, difficilis
enuntiatu. A late word, found elsewhere only in Pollux. Late also
is BvacfxavLa,
48, 105.
8pîv. 177. To write in the Doric dialect. Lat. sermone uti
Dorico. Cp. Awptcr/xo's, in the same section.
^YKarao-Kcvos. 16. Elaborate, embellished. Lat. arte fabricatus,
elaboratus artificiose, cultu exornatus. Fr. travaille. Cp. D. H.
GLOSSARY
277
p. 189 for illustrative passages, and see
p. 194
ibid, for KaraaKevrj
and KaTaa-Kivaô), which do not occur in the tt.
ipfi.
7K<ofjiiov. 170, 301. Eulogy. Lat. laiidatio. Fr. eloge. So
iyKiofxiaaTLKO'i I20, and cyKtu/Aia^cii/ in the same section. cTratvos
occurs in

168, 292,
295
;
when this is distinguished from iyKuj/xiov,
it means commendation for isolated acts rather than a sustained
eulogy.
iBpa.
183, 206. Foundatioti. Lat. sedes. By cSpa is meant a
termination (of a clause or period) containing some long syllables.
Cp. Dionys. Hal. de adm. vi die. in Dem. c.
38
ovo/xao-t
xPV^^^'-
^t^^t
/xcyaAots Kttt ixaKpo(rvX\dl3oL0L 8r) âtvovrat (sc. ot pvOfioi) kol
evypafx/jLOL 8ia tovto Kat is cSpav (i(Tcf>a\rj reXevTwai : id. ^(? Comp.
Verb. C. 23
ov ^r/rct (sc.
>;
yXacftvpa (TVvOecn^) KaG' c/cacrrov ovofxa Ik
7rpi<âvta9 opacrOai, ovSc v cSpa Travra (iefSrjKevaL TrXarcia re Kat
acrâXct, ovSc fxaKpovs Tous /xiTa^v avrtov ctvat ;^povovs, ouS* oAws to
^paBv KOL (TTadipov TOVTO <f>L\ov
avrfj.
cSpatos. 19. Stable^ well-based. Lat. stabilis, iinmotus. Cp. rr.
vi/^. xl.
4
7rpo9 iSpoiov Stafte/^rjKOTa /xiyeOos.
ctSos.
20, 21, et passim. Form., kind. 1,2A. forma,
species. Cp.
IT.
vf
,
p. 197.
lKa<ra. 80 (quinquies), 89 (ter), 160, 172 (bis), 273. Compari-
sons, similes. Lat. co?nparatio, similitudo. So ctKa^ctv,
'
to liken,'
84,
160, 251. In

227 ctKtov is used for 'image,' 'reflection,'
'mirror.' Cp. Quintil. viii.
6,
Auct. ad Her. iv.
34.
tlpfids. 182. Train, series. Lat. nexus, series. Cp.
tt. v\\i. xxii. i
T-^V K TOV KaTOi
(f>V(TLV elpjXOV Ttt^tV.
elpva. 291 (bis). Assumed ignorance, dissembling: 'the dry
mock,' Puttenham. Lat. illusio, simulatio.
Cp.
Aquila Rom. (Halm,
p. 24)
"ctpwi/eta, simulatio, frequentissima apud oratores figura, ubi
ahud verbis significamus, aliud re sentimus
'
'
; and Rhetor, ad Alex.
2 1 tp(DVta 8c coTt \kytiv Tt
p.1]
Trpoa-TroLOVfxtvov Acyctv, rj iv Tots cvavTiois
ovofiaa-L TO, irpayfioTa ttpocrayopeunv. It is tO be noticed that Philo-
demus (Trcpt KaKiwi/ X. 2
2, 38)
uses a.p.îpoXo^ of expressions such as
w ycvratc which exemplify the Attic ctpwvcta.
^Krao-ts. 185, 206, 207. Extension: especially applied to the
lengthening of short syllables. Lat. extensio, productio. The verb
2/8 DEMETRIUS ON STYLE
KTLVLv IS found ill
6,
8,
9
(here the middle voice is given by P:
perhaps wrongly),
183, 202, 241.
KT96cr0ai.
35, 41, 200. To set forth
^
quote, expound. Lat. expo-
nere. So k6(ti<s in

231.
Uiîpiiv.
94, 124, 142, 164, 176, 220. To utter: with various
cognate meanings. Lat. edere, promere.
6K<j>pdtiv. 165. To elaborate. Lat. verbis ornare, ornate aliquid
enuntiare. The term K(fipa<TL^ seems to belong to the later rhetorical
agethat of the Trpoyvfjivda-jxaTa.
K<}>viv. 15. To pronounce, to deliver. Lat. pronuntiare, clara
voce edere. (iK<f>wvrja-L'i is sometimes used not only for 'pronuncia-
tion,' but also for 'exclamation' and in later times for the 'peroration
of a sermon.')
Ip-poXij. 39. Impact. Lat. iniectio, impetus. If the text is sound,
the literal meaning seems to be,
'
because the very impact of the
member must be both an impressive beginning and (an impressive)
end.' But the koi before t)\v liJ.ôky]v is unnatural, and
dpxv^
may
be a gloss on iiJLô\r]u, though the real meaning of the word is
'impact' rather than 'opening': cp.
tt.
v\f/.
xx.
2, 3,
where (as here)
ifxôXr] and TrArjo-o-eti/ are found together.
}ji|jLXs. 297. Tastefully. Lat. eleganter. In its sense of
'
tune-
ful' or 'harmonious,' e/xêA-^s occurs in Dionys. Hal. de Comp. c.
25
TTi i/JLixerpco kol ifi/xeXel Aeêi. The word ixfxeTpo<i
is found in tt.
epfi.
183 : cp. D. H.
p. 190.
IjiiraGws. 28. With emotion, with feeling. Lat. cum
affectu.
?}i<j)ao-is. 47, 57, 130, 171, etc. Appearance, hint, impression, etc.
Lat. species, significatio. The corresponding verb iixcf>aLveLv is em-
ployed some twenty or thirty times in the treatise, e.g.

171. i/xtfiav-
TtK09, 'indicative,' occurs in
283 ;
and iix<f>aTLK6<;, 'striking,' in
51
(the difference in spelling being apparently designed). Both
ifji(f>av-
TtK09 and i/xKJârLKos are late,Plutarch, etc. A figure of l/xâo-ts was
recognised : cp. Volkm. Rhet.^
pp.
445, 446 ;
Quintil. viii.
3,
Zt^,
ix.
2,
3
; Tiber, tt. o-x^/oi. and Tryph. tt. rpoTrwi/ (Sp. Rhet. Gr. iii.
65
and
199).
cva-ywvtos. 193. Combative. Lat. aptus contentionibus, accinctus
ad certamen.
Cp.
references given in tt. v\\i.
p. 194.
lvaXXd<r<riv. 60. To vary, to substitute. Lat. immutare. The
literal meaning in

60 is 'with the grammatical case thus varied'
I
GLOSSARY
279
(i.e. with the nominative substituted for the more obvious genitive).
Cp. D. H.
p. 190, S. V. IvoXkayr).
cvap^ycia.
208, etc. Vividness. Lat. evidentia, illustratio. Fr.
evidence. See tt.
v\^.
p. 197
and D. H. p. 190,
with the examples
there quoted. The words ivapyeta and ivapyrjq
(
50,
etc.) correspond
to such English words as 'realism,' 'life-like,' 'telling,' 'graphic' Cp.
R/iet. Lat. Min.
(p.
62, Halm): ^' ivdpyeta est figura, qua formam
rerum et imaginem ita oratione substituimus, ut lectoris ocuHs prae-
sentiaeque subiciamus."
Iv^pYcia.
81, 82. Activity, actuality. Lat. actio. Cp. Aristot.
Rhet. iii. 11, i
3,
with Cope's notes ad loc. and his Lntroduction^
pp. 316,
318. So kv^pyCiv

81, and evcpy^s

266.
lv0i5}iT]}ia.
30, 31, 32, 33, 109. Enthymeme. Lat. enthymema^
sometimes ratiocinatio. Cp. D. Z^
p. 190 for various references, to
which should be added Cope's Lntroduction to Aristotlis Rhetoric
pp.
loi ff., and De Quincey's "Essay on Aristotle's View of Rhe-
toric
"
(where he follows Pacius and Facciolati). The author of the
TT. kpp.. marks clearly the distinction between the enthymeme and the
period, the latter referring to the form, the former to the content
whether conveyed in a period or not. It is noteworthy, as probably
pointing to the use of a common source, that Quintil. (v.
14,
4)
draws the same illustration from Demosthenes as is found in tt. kpp..
31
: "optimum autem videtur enthymematis genus, cum in propo-
sitione dissimili vel contraria ratio subiungitur, quale est Demo-
sthenis, non enim, si quid unquam contra leges actum est, idqite tu es
imitatus, idcirco te convenit poena liberari
;
quin e contrario damnari
multo magis. nam ut, si quis eorum damnatus esset, tu haec non
scripsisses
;
ita, damnatus tu si fueris, non scribet alius.
^^
See further
s. v.
fiax>7, p. 291 infra.
VT^XV"s- 67. Artistically. Lat. artificiose, Cp. drkx^ws.
^v<j>aviv. 166. To weave into the texture (of a poem). Lat.
intexere.
Iâfpeiv.
119, 122, 123, 234, etc. To exalt, to heighten : of style,
and the like. Lat.
efferre.
l|a|A6Tpov.
1, 4, 12, 204.
A line (sc. Ittos) consisting
of
six metres
or measures, a hexameter.
Lat. hexametrum.
IgairXovv.
254, To
unfold, to state outright. Lat. explicare,
explanare^ distincte aliquid exponere.
Cp. the paraphrase of Gregor.
28o DEMETRIUS ON STYLE
Cor. (Walz, vii.
2,
Wjo^hîvompov yap ro VTrovoov/xevov, to 8c eâTrXioOiv
KaracfipoveLTai, /cat yiXouov to TrpoSryXov Acyctv. A late word in prose,
Sextus Empiricus, etc. ; the fact that it occurs in the Batrachomyo-
machia
(1. 106)
may be added to the other indications of late date
which that poem presents.
Ilao-Gcvciv. 50. To
fail in strength. \uZX.
deficere.
I^TjWaYfwvos. 77. Distinguished, elaborate. Lat. immutatus, va-
riatus, exornatus.
Cp. D. H.
p. 191!
'iran<J>oTptiv. 176, 291. To partake
of
two characters, to be
ambiguous. Lat. anceps esse.
eiravdXTj\J/ts. 196 (bis). Epanalepsis, resumption ('echo sound,'
Puttenham). Lat. iteratio (cp. Rutilius Lupus, Halm
p. 8).
By
k'KavaXy]î% the author of the tt. kpp.. seems to understand not simply
a
*
repetition ' (ai/aStTrXoxrt?, and the Hke), but what might be termed
a 'resumptive repetition.'
iravaorTao-is. 278. Rise in rhetorical tone. Lat. elata composition
oratio assurgens. The metaphor may be medical, that of a 'rising'
or
*
swelling ' on the person.
6irava<}>opa. 61 (bis), 268. Recurrence, repetition. Lat. repetitio.
Identical with dvacf>opa
(q.
v.), as may be seen from

268. The
corresponding verb iiravacfiipeLv occurs in
59,
268.
liriSeCKvvireat.
225, 300. To make a rhetorical display. Lat. se
stentare, declamare.
The reference is to the eTriSeiKxtKov ycVo?,
'
Feloquence d'apparat.'
In

108, cTTiSety/xaTa is used of the appointments in the mansions of
the rich.
cirCeeTov. 85. An addition, an epithet ('the qualifier,' Putten-
ham). Lat. ad nomen adiunctum, appositum (Quintil. viii.
3, 43
;
6, 29). Cp. D. H.
p. 191.
en"iKepT6}iT)|jia. 111. A taunt. Lat. obiurgatio. Herodian (tt.
cr^p..,
Sp. iii.
92)
classifies iTrtKepTop^rjais under cipwj/cta : Ty<s Sc
tpo)^tas KaOecTTrjKev ciSr) ra XcTTTO/xepetrTtpa raSe, crapKa(rp,6^^ Stacrvp-
jjLos, eTTtKepTO/xrytrts, KaraycA-OJ?, tKaor/>tos, -)(apuvTi<Tpi6<i. Rufinianus
(Halm Rhet. Lat. Min.
p.
39)
says :
"
haec figura risum excitat et
severe proposita vafre excutit." A similar
'
figure
'
of hnrLp.f\(Ti% was
sometimes recognised : cp. the use of kTnrip.a.v in
294.
^mKoo-ficiv. 106 (ter), 133. To adorn, to embellish. Lat. ornare.
I
GLOSSARY 281
iiriX^'yeiv.
32, 109, 111, 137. To make an additional statement^ to
add. Lat. adiungere.
liriiiovT]. 280. Ondwelling, lingering, elaboration ('the figure of
abode,' Puttenham). Lat. commoratio (Auct. ad Her. iv.
45,
Cic.
de Oral. iii.
53).
Cp.
tt. v\\i.
p. 199.
What is meant is 'a fuller
expression of the point
'
; the repetition is of the sense, rather than
simply of the words.
4TrnrXTj0va0ai. 156. To superabound, Lat. accrescere. The verb,
in this form, occurs only here : iTnTrXrjOvveLv is, however, found in the
LXX.
^wTToXiKos. 223, 230, 233. Epistolary, suited to letter-writing.
Lat. epistolaris, accomniodatus epistolis.
l7ri<r<}>aXi^s.
27, 80, 98, 286, 294. Dangerous. Lat. lubricus,
periculosus. Cf the use of KivSwcoSry? and aa-<f)a\rj<s in

80, and see
S. V.
d(r<f>a\7J<;, p. 270 supra.
Ivirdîos. 266. A funeral oration (sc. Xoyos). Lat. funebris
oratio.
ImTpaYcpSeiv. 122. To declaim in tragic tones, to rant. Lat.
tragico more rem amplificare. It is to be noted that this verb (not a
common one) occurs in Theophr. Hist. Plaît. ix.
8, 5
: possibly it
was also used in his Trcpt Xc'êw?. It is found in Dionys. Hal. de
Thucyd. c. 28.
ktri^puv.
34, 85, 106, 122, etc. To add, to subjoin. Lat.
adiungere. Cp. i7n<f>opa in
196. In

122 the meaning is the
late one of
'
adduce ' or
'
cite ' (Lat. laudare) : cp. Dionys. Halic. de
Comp. Verb. C.
4
KaAws av tyoi ra EvpiTrtScta ravra e7ri/yKtv. (P
gives inoLTâ-afAfv in

122
;
but Hemsterhuis' conjecture iTroLo-ofxiv
has been adopted in the text.)
lirwjMtfVTjjAa.
106, 109, 110 (bis). 111 (bis). Concluding exclama-
tion,
finishing touch, Pefivoy. Lat. epiphonema. Quintil. viii.
5,
11
"et addita in clausula est epiphonematis modo non tam probatio
quam extrema quasi insultatio. est enim epiphonema rei narratae
vel probatae summa acclamatio : Tantae molis erat Romanam condere
ge?item
!"
Hermogenes (Spengel Rhet. Gr. ii.
pp.
252
254)
has a
section Trcpt
in<}>(i)V7JixaTo^. Cp. cVt^wvcti/
107,
no, and i7n<fiuivy)-
fxaTLK<i)<s
109.
4irx()^P^s- 1^7. Graceful, charming. Lat. venustus, amoenus.
Cp. iTTLxoipiTws in

127, 140, and eirixaptTUiTcpa
133.
?iros. 37, 62. Verse^ liiie. Lat. versus. Used with special re-
ference to
'
Epic ' poetry.
6pfiT]Va. 1,
12 (bis), 13, 14,
passim. Expression^ style, Lat.
elociitio. Fr. elocution. Ital. elocuzione. The meaning of ep/xTyi/eia,
as a rhetorical term, is discussed in the Classical Revieuu, xv. 252 ff.
The TTcpt pfXYjV(a's, as its title and contents show, treats of style
(prose style in particular), and is an essay on literary expression or
composition with special reference to the four types of style.
'
Con-
cerning Style ' is the most convenient modern rendering, though the
word
*
style ' suggests the pen in hand, whereas epfx-qveU, A-e^ts and
cf>pd<rLs suggest rhetorical expression, the spoken word of the orator.
The Latin elocutio likewise connotes delivery, and is clearly a better
rendering than iîterpretatio ; the definition of elocutio given by the
Auctor. ad Herennium i.
2,
3
("elocutio est idoneorum verborum et
sententiarum ad inventionem accommodatio
")
might stand for a
definition of ip/jLtjiêia itself. On the use of Ac^ts, <f)pd(rL<s, and ep/xyjveia
there are some good remarks in G. Thiele's Hermagoras^
pp.
140
143.
Among other things, he points out that in certain phrases Xe^ts,
as the original term, always held its ground ; we never find
a-xvp-oLra
epiJir]vLa<s, for example. But a comparison of
136
with
156 shows
the substantial identity of Ae^ts and epfxrjvfia in the tt. ep/x,.
pjiTivViv. 46, 120, 121 (bis). To express, to phrase. Lat. expo-
nere. Cp. Dionys. Hal. de Comp. Verb. c.
3
Trpay/xana Atra koL
^LtaTLKCL, 7]p/x7]Vvixva vTTtpiVy and de ttdni. vi die. ift De7nosth. c. 26
6 Satjuoi/tos ipfi-qveva-at EEAarcoi/. It is one of the advantages of
kpfxrjvcLa as a term for style that a corresponding verb exists side
by side with it. The English verb
'
to phrase ' is as old as King
Henry VIII. (Act L Sc. i. 1.
34);
in French, 'phraser' is (to judge
from Hatzfeld and Darmesteter's dictionary) comparatively recent.
vavaYvw<rTos. 193. Easy to read, readable. Lat. lectu facilis.
Cp. Arist. Rhet. iii.
5,
6 oAa>9 8c 8d evavayvcoo-TOV Hvai ro yeypafjLfxivov
Koi V(fipa(JTOV
'
e(TTi Sk TO aVTO.
evtJKoos. 48, 258, 301. Pleasant to the ear. Lat. auditu iucundus.
As stated in the Introduction,
p. 56,
the word is late; but it should
have been there added that it is late in this sense only. In other
senses it is found as early as Hippocrates and Aristotle.
cvT)p.piv. 298. To have a good time, to floicrish.
Lat. secunda
fortuna uti. This verb, together with the corresponding noun and adj.,
is classical ; here it is used of the success of the Socratic dialogues.
I
GLOSSARY 283
6v0cia. 198. Nominative case: sub. TTTwcrts. Lat. casus rectus.
Cp.

104. In
292
e^ iv6da's
= recta via.
VKaTa<rTpo<j>as. 10. With a happy turn. Lat. callide. The word
is arr. cip.
VKaTa<|>p6viiTos. 4, 77, 207. Contemptible. Lat. abiectus, humilis.
Cp. TT. iui/'. iii. I CK Tov cfiolêpov
Kar oXiyov virovodTcl Trpo? to evKura-
cfipovrjTov, and Dionys. Halic. de Comp. Verb. c. 2 VKaTa(f>p6vr)Ta koL
TaTTctvo, \a/36uT<; ovd/utara.
vnCni]Tos. 286. Easily copied. Lat. imitabilis. The word is
used by Plato (i?^/. x.
605 a). The tt. cp/x. is rather fond of
compounds in tv-. e.g. ev/zcye^rys ('good-sized') in
76,
which, Hke
ev/x.t/x.r;T09, is a classical word.
eiiTttYTis. 176 (bis). Well-proportioned, well-compounded. Lat.
co?npactds, coagmentatus. Used of a word which is composed of
vowels and consonants in fairly equal proportions and so escapes
the two extremes denoted by the adjectives A.eto? and rpayy^.
ewp4iria.
287, 288. Seefnliness^ good taste. Lat. studium decori.
So cvTrpcTTws

288.
vpvO(ios. 42, 117. Rhythmical. Lat. numerosus, moderatus (Cic.
de Oral. iii.
48, 184;
ii.
8, 34).
The word is used by Aristotle
{Rhet. iii.
8, 7).
P, however, gives evpvOfxo^ or eppvO/xo^ in
42,
117, 301;
for the distinction between evpvOfios and lppv6p.os, cp.
Dionys. Hal. de Comp. Verb. c. 1 1 ad fin.
ei&oTaXTJs. 14. Well-equipped^ trim. Lat. decenter ornatus, suc-
cinctus.
cvTeXtfs. 43, 54, etc. Cheap, mean, paltry. Lat. humilis. Cp.
D. H.
p. 193.
i5Tpairc\{a. 177. Wit. I>at. urbanitas. So cvrpaVcXo?,

172.
Cp. AristOt. Rhet. ii. 12, 16 koX
<f>L\oye\o)T<;, 8l6 koI cvrpctTreXot'
tJ
yap
ivrpa-mkLa TrcTratSev/xei/Ty
vjSpLS lariv.
v<j>Ti(i,i<rnos. 281. Euphemism. Lat. vocabulum boni ominis adhi-
bere. This tendency of speech is well described in the same section
by the words : 6 ra
Sva<f>7)fxa ev(f}rjiJ,a TTotwi/ koI tu aaejSijfxaTa ivai^-q-
fjLara. So Eustathius on Odyss. i. 121 lo-rt to
<rxr}p.a v<l>rjfjLiafx6^f
ayaOfj
Kkyja-ec TTipLo-TiWinv to <jiav\ov, wcnrep kol Tcts 'Eptvus Eu/ti/i8a?
Ota TO
v<f>7)ixov KaTUivofiaôv KalroL 8uo-/xVts ovo-as.
v<|>vCa.
68, 69, 71, 175. Euphony, musical sound. Lat. vocis
dulcedo s. suavitas. So cvi^wvos,
70, 255
(cp. Cic. Or. 24,
80
"simplex probaturin propriis usitatisque verbis, quod aut optiine sonat
aut rem maxime explanat
").
In this sense, cvc^wvia is a late word,
occurring in Dionys. Halic, etc. Cp. Quintil. i.
5,
4
"sola est, quae
notari possit velut vocalitas, quae exxjiuiVLa dicitur
;
cuius in eo delectus
est, ut inter duo, quae idem significant ac tantundem valent, quod
melius sonet, malis." On euphony in general, cp. Rehdantz-Blass
Indices,
pp. 18,
3, 4, 5;
and Earle's English Prose,
pp. 309
ff. In
175,
P has ev(j)7)fjiLa, which may sometimes have been used in the
same sense as evcfxjDvia : cp. Steph. s. v.
i5xapis. 157, 160, 163, 164, 173. Graceful, charming. Lat.
lepidus, venustus. In

168, evxapio-ro? is used to describe a man of
wit, taste, and breeding.
<{>^Xkiv. 126, 175. To bring in train. Lat. attrahere. In
175,
the verb is used with reference to the addition of a final v : cp. the
expression vv ec^cX/cvoriKov.
twTiKos. 81. Full
of
life. Lat. vitalis. ^wTtKai? evepyetats
=
vitalibus aciionibus.
r^Qvx\.
78, 180, 181, 182. Charm. Lat. iucunditas, voluptas.
Fr. charme, agrement, attrait. Cp. rJSvs,
15,
166,
173, 174;
and
D. H.
p. 193.
The adj. tJSus is used of style in Aristot. Rhet. iii. 12,
6 (quoted on
p.
39
supra) ; but the noun in this appHcation seems
not to be earher than Philodemus and Dionysius.
^0os. 28 (bis), 171 (bis), 227, 245, 264, 293. Lat. mos, indoles.
See further in tt. vi/^.
p. 200, D. H.
p. 193.
vj^t/cos ('moratus') occurs
in
227 ;
tjOlkw^ ('in a way true to character,' 'naturally
')
in

216,
297. Cp.
Volkmann Rhetorik^,
pp. 273
ff., Causeret Etude sur la
langue de la Rhetorique et de la critique litteraire dans Ciceron,
p.
98
;
Sandys Orator
of
Cicero,
pp.
80, 131.
r\Y.L^(Tpov. 1. Hemistich, half-line. Lat. metrum dimidiatum.
)](/. Lo-TLxiov is used elsewhere in the same sense. Cp.

180.
rjpwos. 5,
42. Heroic. Lat. herous. The word is especially
applied to the hexameter Hne, and to spondaic feet, though it is
elsewhere used of dactyls also as forming part of a hexameter, and
sometimes of anapaests. Cf Plat. Rep. iii. 400 b
;
Aristot. RJiet. iii.
8,
4
(with Cope's notes); Cic. Or.
57, 192;
Quintil. ix.
4,
88.
In
204
TjpwtKos is found.
t^xos. 71, 73, 82, 185. Sound. Lat. sonus. In
73 ^x^^
seems to
mean 'breathing,' 'spiritus'; though the usual term for this is irvfvy.a.
I
GLOSSARY
285
In
42, 68,
174, 299 7jx<^'8r;s
(a late word) occurs, with the meaning
*
noisy,'
*
sonorous,'
'
resonant ' : Lat. clamosus, sonorus.
6av)ia<r|i6s. 291. Eulogy. Lat. admiratio. The word is late
Philodemus, Plutarch, Hermogenes, etc. It is curious that a word of

analogous formation, c^crao-ftos (for c^cVaorts) occurs in Demosth. de
Cor,

16 and nowhere else in classical literature, not being found
again till the time of Plutarch.In
165,
âv/xa = âv/xao-roi/ i.e.
ineptum : cp. ir.
vif/.
iv. 2 OavfxaaTrf ye tov MaKcSovos
y
tt/oos tov aoffaa-
rrjv (TvyKpta-Lq.
Q4<ris.
63, 145. Use, application. Lat. positio^ usus.
0pTina.
195. Observation. Lat. animadversio. Cp. Oeoipia,
IT.
vil/. ii.
3,
xxxix. I.
6paviv. 301. To shatter. Lat. infringere. Used with reference
to the scazofi, or choliambus, into which Hipponax converted the
iambic senarius.
I'afjLpos. 43. A?! iambus. Lat. iambus. In the same section
fxirpa iajx^LKCL
iambic lines.
18itik6s.
15, 144, 207, 208. Not in accordance with the rules
of
art. Lat. vulgaris. The general sense of unprofessional shades off
into the apparently opposite meanings; (i) untutored^ ordinary^ com-
monplace
; (2)
irregular., unique.
IXapos. 128, 132, 134. Genial^ pleasant. Lat. hilaris, amoenus.
Cp. Sandys Orator
of
Cicero.,
p. 115
: ^^ hilariora, 'more genial' (the
opposite of graviora), and corresponding to the suavitas of the genus
medium whose object is delectare and conciliare. De Or. ii.
236
*ipsa hilaritas benevolentiam conciliat.'" So IXapoTpayiahia^tragico-
comoedia (Plautus), tragedie-bouffe. Cp. D. H.
p. 193.
Ur^KwXos. 25. Consisting
of
equal members. Lat. compar (Auct.
ad Her. iv. 20 : cp. Cic. Or.
38)
; exaequatus membris (Aquila
Rom., Halm
p. 30).
The meaning is illustrated
( 25)
by a sentence
of Thucydides, in the second part of which r (rather than tc) should
perhaps be read in order to obtain an exact equality of syllables.
to-TopiKos. 19. Historical. Lat. historicus. One of the rpta ykvt)
7rpio8(oi/that appropriate to narrativeis thus described.
Urxvos. 36, 183, 190, 203, 226, 235, 236. Spare, plain, simple,
unadorned : \ci.po.K7y]p Ifiyyo^ being one of the four types of style.
Lat. tenuis (Cic. de Oral. iii.
52, 199),
subtilis (Quintil. xii.
10, 58).
Fr. simple. The metaphor in tcrxvo?, as in dSpos (which is sometimes
used as its opposite), was probably that of bodily condition. For the
deceptive ease of the
x^P^-'^'^VP
'o'X^^'^'
^P-
Cic. Or. xxiii.
76
"nam
orationis subtilitas imitabiHs ilia quidem videtur esse existimanti, sed
nihil est experienti minus," and the passage of Steele's Guardian
quoted in Sandys' edition ad loc. The de Lysia of Dionysius should
be compared with the chapter on the
xp-
'^^yyo% in the -k. ip/x. The
corresponding noun laxvorrjs occurs in

14,
223.d<Â.r/s and
dcfiiXeta are not found in the vr.
ipfx. (cp.
p.
268 supra) ; nor again
are such familiar rhetorical terms as vi{/o<;, vifz-qkos, Ka0ap6<;, dvOrjpo^,
av(rrr]p6<;, ctSpos, /xttpaKtojSry?, fxecros ('intermediate' Style), TroA-tTt/cds,
iSt'a, yopyoTTj'i. Similarly, although KaropOovv and Karopdiufxa occur
in the treatise
(
122,
123),
they do not bear the specifically
rhetorical sense [for which see tt. vx]/.
p.
202 and T). H.
p.
194].
In fact, the Peripatetic tt. kpp.. seems to stand far apart from
Dionysius (with his Isocratic traditions) and from Hermogenes.
KttKotiiXfa. 189, 239. Affectation^ conceit^ maniierism^ preciosity:
'
fond affection,' Puttenham. Lat. cacoze/ia, mala
affectatio (Quintil.
viii.
3,
56).
Fr. affectation. The adj. KaKo^rjXo^ is found in

186,
239.
Dionysius does not, I think, use KaKo^ryAos or KaKo^YjXta; on
the other hand, the tt. cp/x. does not use /xctpaKtcuSrys. But to kuko-
^7)\ov is found in the tt. vij/. iii.
4
(see
p.
201 ilfid., and cp. Hermog.
in Spengel R/iet. Gr. ii. 256
258).
ij/vxpo^ occurs in Dionys. Hal.,
TT. vij/., and TT.
epfx.,
which last formulates in

186 the distinction
between \j/vxpo^
and KaK6^r]\o<s. Volkmann (Rhet.
p.
541)
describes
TO KaKoCrjXov as
"
das manirirte, schwiilstige und alberne." Wila-
mowitz-Moellendorff gives an account of the word in Hermes xxxv.
p.
28.
KaKOTcxvia. 27,
247.
Artifice.
Lat. nimium atque intempestivum
artis et concinnitatis studium. Germ. Kiinstelei. So /caKOT;(i'crv in
28, 250.
KaKo4>a)via. 219 (bis), 255. Harshness
of
sound. Lat. asperitas
soni. Fr. durete, dprete (des sons), to KaKoaTOjxov is used with the
same meaning in tt.
vif/.
xliii. i, while Dionysius uses both cvo-to/xos
and v<f>oivos (though with a different shade of meaning). KaKocfxavia
is a late word,Strabo, Galen, etc. The illustration in
255
is of
special interest, since attention seems to be called to the scansion
of 6<f>Lv
(and possibly also to the neglect of the digamma in the
reconstructed line).Milton has a good example of designed caco-
GLOSSARY
287
phony in Paradise Lost, Book ii. :
"
On a sudden open fly,
|
With
impetuous recoil and jarring sound,
|
The infernal doors, and on
their hinges grate
|
Harsh thunder, that the lowest bottom shook
|
Of
Erebus."
KoXXiemfs. 166. Choice in diction. 1.2^, suaviloquens. It is the
word used of Agathon in Aristoph. Thesm.
49.
Cp. D. H.
p.
193,
with the passages there quoted.
KdXXos. 106, 166, 173, 232, 252, 274. Beauty (of language).
Lat. pulchritudo. Cp. Aristot. Rhet. iii. 2, 13. The verb KoXkin-
irUQiiv occurs in
165,
and the adj. KaXos in

166,
173,
etc.
Ka|nnj. 10, 17 (bis). Bend, ivunding. l^^t Jiexio, rotunditas.
Kttvwv. 87, 91. Rule, standard. Lat. norma, reguia.
KaTaKcpjiarCtciv. 76. To cut Up, to fritter away. Lat. C07icidere
Cp. exx. quoted in tt. v\\i.
p.
201. Kcpyu-art^ctv and KaraKOTrrcti/ are
found in
4,
where the meaning is (as Ernesti gives it)
"
oratio
concisa, membris minutis et veluti frustulatim adspersis constans."
KaTttKopTJs. 303. Satiating, wearisome. Lat. satietatis plenus.
A favourite word with writers on rhetoric : e.g. Aristot. Rhet. iii.
3, 3,
Dionys. Halic. de adfn. vi die. in Dem. c.
45,
tt. v\\i. xxii.
3.
KaTaXT)KTiKos. 38, 39. Final. Lat. tenninalis. This late word
is elsewhere used, by writers on metre, of a verse which has its last
foot incomplete. Here it must have the same sense as Xtjktlkos or
TcXtJcos, viz. 'forming the conclusion.' So KaTak-qyav in
4, 154,
and KaTdXr]$L<s ('termination') in
19.
KttTao-jiiKpvvetv. 44,
123. To diminish, to belittle. Lat. conterere.
Late, LXX., M. Aurel. Ant., Lucian, Athenaeus, etc.
KaTco-rpanfi^vos. 12, 21. Compacted, close-knit. Lat. coiitortus,
vinctus. Fr. ra?nasse, arrondi. The distinction between the Xc^ts
KaTco-Tpa/x/Acv*; and the Ae^ts eipo/xivr] is explained in Aristot. Rhet. iii.
9.
The former denotes a periodic style (the otov in tt.
ipfx.
12
being virtually
=
'
to wit
'),
the latter a loose or running style.
KKXaflrp.^vos. 189. Broken, effeminate. Lat.
fr
actus, mollis.
Cp.
TT. Vl/^. Xli. I pvOfJLO^ KK\a<TflVOS AoyoOV Kttl aCr0^r)fJLVOS.
kiv8vv8t|s. 80 (bis),
85
(bis), 127. Hazardous, risky. ha.t. peri-
culosus. Cp. the use of ' periclitantia ' in Quintil. xi. i, 32: "in
iuvenibus etiam uberiora paulo et paene periclitantia feruntur." The
word is, for the most part, latePolybius, Cicero, Galen (after
Hippocr.), etc. cTriKiVSwos is more usual in earlier writers, or Trapa-
KKLv8vviVfxevo<; (Aristoph., Dionys. Hal.). Kti/SuvcJ^T/? and 7rta-<âX^s
have counterparts in olklvSwo^ and acr<f>aX,ij<;^ both of which occur in
the treatise. In

40
KtvSvvViv occurs in its specifically Attic sense.
KXavoTk-yeXcrts. 28. Sorry laughter. Lat.
fletus
cum risu. Fr. un
rire mele de larmes. E. Miiller {Theorie der Kunst bet den Alien,
ii.
241)
translates /cXavo-tycAwTa by "das weinerUche Lacheln," and
speaks of it as
"
eine Mischung von Lachen und Weinen, die aber
freilich von Homers SaKpvoev yeXSv himmelweit entfernt ist." Cp.
Xen. JTellen. vii.
2, 9
Traj/ras 8e tov^; TvapovTa^ rore ye rw ovtl kXclvo-l-
ycXws
cix^v,
and Pollux Onomast. ii. 64. The reference later in this
section to
*
fun at a funeral ' helps to fix the meaning of KXaval-
ycA-o)?.
KXeiTTciv. 118, 182, 239 (bis). To disguise, to hide. Lat. occul-
tare. Cp. Aristot. Rhet. iii.
2, 5,
19,
de adm. vi die. in Dem. c. 2.
KXijiag. 270. Ladder, climax : (' marching, or climbing, figure,'
Puttenham). Lat. gradatio (Cic. de Oral. iii.
54;
Quintil. ix.
3,
54).
Fr. gradation. Well illustrated, in the same section, from
Demosth.rt'^ Cor. 179:
an illustration which brings out the elaboration
with which the ancient
'
climax ' was usually constructed. Rehdantz-
Blass refer to :
Joel i.
4,
Epistle to the Romans x.
13,
Shakespeare's
As You Like It v. 2. Cp. p. 255
supra.
Koivos. 157, 164, 186, 232. Ordinary, current. Lat. communis.
Cp. D. H.
pp. 194, 195.
KOfuxa. 9, 10, 205, 238, 241. Short clause, phrase. Lat. incisum
(Cic. Or. 62, 211
;
Quintil. ix.
4,
122). Fr. incise. With the defini-
tion given in
9,
cp. Spengel Rhet. Gr. iii. 28 Ko/A/xa
8'
la-ri to
TTipiohov KoX KwXov IXttTToi/, and Walz Rhet. Gr. vii.
25 KOfxixa <5^pao-ts
Ppaxv
Tt v6r]fxa ^xovaa. (Perhaps the English
'
phrase ' will serve as
an approximate rendering. Cp. Earle Grammar
of
English Now in
Use, p.
6 :
"
For not only single words, but also groups of words are
capable of being parts of speech ; and when they are so, we call
them phrases. And such phrases may sometimes be broken by the
insertion of other parts of speech, e.g. 'will very commonly be
found,' where will be found is a phrase.")
K0|ix|/6ia. 36. Daintiness. Lat. elegantia. The word occurs in
Plato Phaedr. loi c, and may be regarded as specifically Attic. Cp.
D. H.^.
195
s. v. KOfxif/os,
and see the passage of M. Aurel. Ant. iii.
5
quoted on
p. 19,
n. i supra.
GLOSSARY 289
K6(r(tos. 106, 109, 164, 165. Adornment. Lat. ornatus^ orna-
mentum.
Kpnvdv. 216. To keep in suspense. Lat. suspensum tenere. Used
with reference to the art of Ctesias.
kvkXikos. 30. Circular. Lat. rotundus (Cic. Brut.
78, 272).
Cp. Kv/cA.ot8^'9,

II (together with n. on
p. 214);
and kvkKo% in
30, 31
(cp. Cic. Or. 62, 207 "ut tamquam in orbe inclusa currat
oratio ").
KvviKos. 170, 259, 271. Belonging to the Cynics. Lat. Cynicus.
KuvtKo? rpoVo?
^
"
methodus iocandi Cynica, quae acerbas morda-
cesque facetias habet" (Ernesti).
KiJpios. 77, 82 (ter), 86, 87 (bis), 190, 192. Accredited, regular,
current. \,2X. proprius. Yy. propre. In

82, 86, 87 the meaning
is 'literal,' as distinguished from metaphorical. Cp. D. H.
p.
195,
TT. v\\r.
p.
202 (s. V. KvpLoXoyio).
KXov.
1, 2, 3, 10, 12 (bis), 13, 22, 34, et passim. Member.
Lat. membrum. Fr. membre dephrase. A subdivision of the period :
defined in
34.
Hermogenes (Speng. Bhet. Gr. ii.
241)
describes
the K<Z\ov as a
'
completed sense ' {dTrrjpTccrfxevT) Siavoia). Quintilian,
ix.
4,
122 fif., distinguishes carefully between the incisum (Kofifxa),
membrum {KQikov), and circuitus (TreptoSos). In tt. kp^k.

2 the writer
is at pains to state that he means to use KdXov of a logical division,
and not of a mere pause for breath. See also Sandys Or.
p.
222.
Kn<{)8a. 169, 204, 259, 286. Comedy. Lat. comoedia. In
204
the allusion to rj KCD/xwSta -q via seems indicative of late date. The
adj. K<jifXLK6<; occurs in

128, and kw/xwSi/co? in
143, 159.
For
KiofjuaBiiv
(
150,
177)
and ko/xwSottoios
(
126), see notes on
pp. 238,
234
supra.
KOKfxJs. 68. Dumb. Lat. mutus. By o-vi'^co-ts kod^^ a.T)(y(^^ is meant
^^prorsus muia oratio, i.e. quae nullos numeros habet " (Goeller)
:
cp. oLfiova-orepa in the same context.
Xajipaveiv.
43, 49, 57, 83, et passim. To employ. Lat. adhibere.
Xios.
48, 68, 176 (bis), 178. S7nooth. Lat. levis. In
48
to
Xctov icat o/LtaXcs n7s o-w^ctrew? =
levis et aequabilis compositio. So
XctoTTy? in
48, 258,
299,
300. Compare Xciorr/s oi/o/xaroov in Diony-
sius {de Imit. ii.
2)
with levitas verborum in Quintilian {Inst. Or. x.
I,
52),
the reference in both cases being to Hesiod.
R.
19
290
DEMETRIUS ON STYLE
X^gis. 21, 22, 38, et passim. Style. Lat. elocutio. Sometimes
(
88,
145, 184)
found in the plural for 'expressions,' locutiones
;
some-
times also
(
142),
when used in the singular, it refers specially to
diction^ or choice of words. See s. v. cp/xT^vcta,
p.
282 supra, for
various references.
XiTos. 77. Simple, unpretending. Lat. simplex. A conjecture
of Spengel's : rendered improbable perhaps by two facts, (i) the
form XciTos is found in inscriptions, but occurs rarely or never in
written documents
;
(2)
the -rr.
kpfx.
elsewhere avoids Atros in the
same way as it avoids d<^X^s (for which last cp.
p.
268 supra).
Xo-yiKos. 1, 41, 42 (bis), 117. Suited to prose. Lat. aptus orationi
solutae.
The word is late in this sense,Dionys. Hal., Diog. Laert.,
etc.
TTcôs is found with the same meaning in
90
; and Xcktikos is
similarly used by Aristotle. In
41
XoytKos, as distinguished from
ju,yaXo7rp7rr/s, is almost
=
'
colloquial ' : cp. Xcktlktjs apixovtas
'
col-
loquial
intonation' (Aristot. Poet.
4, 19 ;
RM. iii.
8, 4).
Xo-yios. 38. Eloquent. Lat. facundus. With the words of the
IT.
cp/x. (apôyaat ^\ airo tov /acyaXo7rpc7rov9, ovTrep vvv Xoyiov 6uo/xd-
ôva-Lv) should be compared the statement of Phrynichus
(p.
198
Lob.) that Xdyio9was a popular expression applied to a good speaker
of the elevated type (Xdyios* ws ol ttoXXoi Xiyovcnv ctti tov Setvov
ctTTCti' KOL v{j/r)Xov ov TLOeacTLv OL ap)(aLOL, dXX' 7rt TOV TO, iv CKaa-ro) iOvei
cTTtxwpict
e^rjyovfjiivov
c/xTTctpoDs, i.e. a learned chronicler of national
history). As bearing on the date of the treatise, it is noteworthy
that Phrynichus, who belonged to the age of the Antonines, men-
tions the identification of Xdytos with vij/r]\6s (i.e. fji^yaXoTrpemjs).
This identification is perhaps foreshadowed by a somewhat earlier
author, Plutarch, who uses the corresponding noun Aoyidr?;? in de
Glor. Athen. C.
5,
-q EvpiTrtSov (ro(f>La
Koi Tj %)cfiOKXov<; Xoytdrrys kol to
AlaxîXov cTTOfxa, where the qualities attributed to the three tragedians
respectively seem to be subtlety, elevation, and full-mouthed utter-
ance. Strabo, a still earlier writer, has (Ceogr. xiii.
2)
a-n-avTa^ pXv
yap Xoytovg irroirjae tovs /xa^T^Taq *ApLaTOT\r)s, XoytcuTaTOv 3c cd-
cf)pa(TTov.
Plutarch (Cic. c.
49)
reports a saying of Augustus with
reference to Cicero : Xdytos o.v]^p, <S ttol, Xdyios kol </)tXo7raTpts.
X670S. 4, 32, 37, 41, et passim. Discourse. Lat. oratio. Often
in the plural, with perhaps a special reference to 'speeches.' In
92
Xdyo9, as opposed to oi/o/xa, means the definition, or description,
of a term as distinguished from the term itself
:
cp. Aristot. Rhet. iii.
GLOSSARY
291
6,
I. In
78
{SiOvpafxpov dvTL \6yov) Xoyos
=
*
prose ' : cp. Aristot.
RAef. iii.
2,
7
(/cat cV TTOLTJa-eL /cat ev Aoyot?). See further in tt. vj/^.
p. 203, Z>. H.
p. 196.
Xvo-is.
63, 70, 192 (bis), 193, 194 (bis). Separation. Lat. disso-
lutio. The word is especially applied to asyndeton (* loose language,'
Puttenham), or absence of connecting particles : cp. Aristot. Rhet.
iii.
12, 4. See Abbott and Matheson's edition, Pt. i.
p.
xxxi. and
Pt ii.
p. 121, for instances of asyndeton in Demosth. de Cor. The
figure tends not only to force but sometimes to obscurity, as in
Demosth. de Cor.
94
(8oâv cwotav, if that be the right reading)
and in the poetry of Robert Browning.The term Xvo-is is also
used of hiatus
(
70).
The corresponding verb Xvîv will be found
in
92, 193, 194, 229, 247.
|wxKpti"yopiv. 222, 242. To be prolix. Lat. prolixe dicere. So
fJLaKpoXoyia and /u.aKpoAoyos in
7.
jittKpos. 38, 41, 72, etc. Long. Lat. longus. In

86 fiaKpov
prfTopa
=
a
*
long ' speaker. In
40
the noun fxaKpoT-qq is used.
(xdxTi. 30. opposition. Lat. pugna. The following passages
will illustrate the meaning: Aristot. Rhet. ii. 22 eo-rt 8e to pXv
SeiKTtKOV ivOvfxrjfjLa to i^ o/xoXoyovfiiviiiv trin'ayctv, to ok IXiyKTiKov to.
dvo/xoXoyov/xeva avvdyiLv : Apsines (Speng. R/iet. Gr. i.
376)
-kov
lvBvp.y]p.a. yLVTaL...rj i^ aKoXovOov avXXoyLO-TiKws "rj ck p.d)(y)^ \ Epict.
Enchir.
5
2 rt ydp i&TCv ctTroSciî? ; tl aKoXovOia ; tC p-d)(q ; tl dXrjOes
;
Tt ij/vSos; Cic. Top.
14, 56
*'illa ex repugnantibus sententiis
communis conclusio, quae... a rhetoribus ivOvfxrjfjia nuncupatur":
Quintil. Inst. Or. v. 10, i, 2 "nam enthymema (quod nos com-
mentum sane aut commentationem interpretemur, quia aliter non pos-
sumus, Graeco melius usuri) unum intellectum habet, quo omnia mente
concepta significat (sed nunc non de eo loquimur), alterum, quo
sententiam cum ratione, tertium, quo certam quandam argumenti
conclusionem vel ex consequentibus vel ex repugnantibus : quam-
quam de hoc parum convenit. sunt enim, qui illud prius epichirema
dicant, pluresque invenias in ea opinione, ut id demum, quod pugna
constat, enthymema accipi velint, et ideo illud Cornificius contrarium
appellat. Hunc alii rhetoricuni syliogisf?ium, alii imperfectum syllogis-
mum vocaverunt, quia nee distinctis nee totidem partibus conclude-
retur : quod sane non utique ab oratore desideratur." Possibly the
original expression was ivOvfirjfjia ck /xaxofxivwv ("a reasoning from
contraries or contradictories," Hamilton ; e.g.
"
hunc metuere ? alte-
19
2
rum in metu non ponere?" Cic. Top.
13,
55);
and this was abbre-
viated into evOv/jLrjfjLa eK
ixd^q's. fJâixV
^^ ^ ^^^^ word, in this sense.
Cp. Cope's Introduction to Aristotle's Rhetoric^
pp. 99
ff.
(jLc-yaXeios.
14, 39, 56, etc. Impressive, stately. Lat. amplus^
magnijicus. For /xeyaXctoV rt in
56
Gregorius has ixeyaXetoTrjTa.
\LeyaK't]yopCa, 29. lo/ty utterance. Lat. ampla dictio. Cp. tt. v\^.
XV. I, xvi. I, viii.
4
(fxiyak-^yopoq).
lAe-yaXo-irpcinis. 18, 36, 37, 39, et passim. Grand, elevated. Lat.
mag7iificus. Yx. magnifiqiie. Elevated is the most generally conve-
nient rendering for ju-eyaXoTrpcTTTy's, especially as it has a corresponding
noun and verb. But grand, stately,
lofty, impressive, dignified will
also sometimes serve. Aristotle discusses the application of the
term to style in Rhet. iii. 12, 6 (quoted in Introduction,
p.
39
supra).
The noun /xeyaXoTrpeVeta occurs in TT. p/x.
37, 45,
48,
et passim.
ju,yaXo7rpe7rcia and />teyaXo7rpc7r^9 are often used side by side with
vi/^09 and {ii/^ryXos (neither of which words are found in this treatise)
:
e. g.
Dionys. Hal. de Thiicyd. c.
23
v\\io% Xcyco Kai KaXXipiy/xoo-wr^v kox
crefivoXoytav Koi /xeyaXoTrpeVetai/, Ep. ad Pomp. C. 2 T17S v\}/r)X-^<; koL
jjieyakoirpeTTOV^ kol TrapaKeKivSvievfxevr]^ <j>pa<r(j}<i e^te/nci/ov IlXaTwva,
de Lys. C.
13
vij/rjXr] Se KOL /AcyaXoTrpcTT'j)? ovk eanv tj Avaiov Xe^ts.
Coloured may sometimes serve as a rendering of ftcyaXoTrptTrr/s (cp.
John
Knox, "God knows I did use no rhetoric nor coloured speech,"
as quoted in R. L. Stevenson's Men and Books,
p.
378);
or better
st\\\, heightened (cp. Raleigh's Milton,
p. 235
"both names, 'Italy'
and 'Vulcan,' are heightened and improved:
'In Ausonian land

|
Men called him Mulciber '
"). Milton is, of course, an excellent
example of the
x^p^'<^'^VP
/-teyaXoTrpeTrr)? in English verse, and Gibbon
in English prose.The passage quoted from the De Vulgari Elo-
quentia in Norden's Kunstprosa ii.
753
exhibits clearly the attitude of
Dante towards the "gradus constructionis excellentissimus" and the
"
vocabula nobilissima."
|jL67aXo<j>po<riivTi. 298. Greatness
of
soul, elevatio7i
of
thought. Lat.
animi sublimitas. Cp.
tt. v\^.
p. 203. It is the word used in the
well-known phrase of the tt. v\^. ix.
2,
vi/'og /xeyaXocjipoa-vvT]^ ainrj)(y]ixa.
H^YcOos.
5 (bis), 36, 44, et passim. Grandeur, elevation. Lat.
magnitudo, sublimitas. Fr. ampleur. The word is often found in the
TT. v\\i., which also has the verb /xeycôTrotciv, of similar meaning to
v\f/ovv and the opposite of fxiKpoTroieZv. Cp. /^tcyas in
278;
/xcyaXwgin
75,
120; fxL^(}v in
92, 103
;
fxiyiarov in
40. The meaning in

GLOSSARY
293
the last clause of
40 seems to be that, while Thucydides is always

stately, it is his o-vv^co-ts which produces his greatest stateliness.
(jte0ap|iot<r0ai. 184. To change the structure^ or harmony^
of
a
sentence. Lat. structuram mutare. The uncompounded verb a.pix.Q-
îv is used in the same section.
(i^Xos. 71. Music, melody. Lat. cantus. For ficAtcr/xa in
74,
see n. on
p. 225
supra.
HerapoXii. 148. Withdrawal^ self-correction, recantation. Lat.
consilii mutatio.
Cp.
/xeraâAXo/xat in

148, 149.For the meaning
'variety of style,' see D. H.
p. 196,
tt. v\\f.
p. 203.
}j,Tae<ris. 112. Transference. Lat. transpositio.
(i,Tappv9fitiv. 297. To change the
form, to remodel. Lat. refor-
mare. Other interesting compounds with /xcra, denoting change, are
fXTaXaix/3dviv
80,
fXiTavoclv
1 48,
/jieTaTrotttj/

281.
(iTeurvvTi0^vat.
11, 59, 185, 249. To change the arrangement (of
a sentence). Lat. miitato ordi?ie componere. A a7r. cip., in the sense
that it does not occur elsewhere than in the tt. cp/x.
p.Ta<|>opd.
78, 80 (ter), 81, et passim. Transference, metaphor:
*
the figure of transport,' Puttenham. Lat. translatio. See references
on
p.
226. The corresponding verb ixTa<f>epeLv in
78, 84, 86,

87,
190, 272.
ji^Tpov.
1, 35, 42, et passim. Measure, metre. Lat. metrum. In
4
KaraXryyovTos tov /xiTpov may be translated 'when the line (ix4Tpov
=
GrTLxo<i) terminates.' The adj. /acrpiKos is found in

182, and /xcrpociS^?
(a air. ilp.) in

181, 182 : for which two sections Ernesti's Lex.
Techn. Grace. Rhet.
p. 141 (s. v. eifxiXrj^) should be consulted.
(jiTJKos. 44, 72, etc. Length. Lat. longitudo. \u\Kvviiv,
'
to en-
large,' in
71, 137.
RX^H-
232. Machine. Lat. ?nachina. The reference seems
to be to the
'
deus ex machina.' Cp.
p. 250 supra.
(iiKpoXo^civ. 56. To be trivial. Lat. de pusillis rebus loqui. The
middle /AtKpoXoycto-âi is more common, but the act. is used by
Dionys. Hal., de adtn. vi die. in Dem. c. 21.
}tiKpoTrpin]s.
53, 60, 84, 103. Petty^ trivial Lat. tenuis^ pusillus.
The opposite of /utcyaXoTrpcTTJ^s.
So /AtKpo7rp7ria,

82.
p-iKpoTtis. 4, 6, 36, 84. Littleness, meanness. Lat. parvitas, exili-
tas. Cp.
TT. v^. xliii. i Scti/^
8'
atcr;(vvat ra. î.-ykBr] Kat
?;
fXiKporqi: T<av
oi/o/xarwr. So fxiKpos in
54,
61,
75,
etc.
294
DEMETRIUS ON STYLE
fxiKTos. 41, 61, 286. Mixed, compounded. I.at. mixtus.
|iC|jLT|<ris. 94, 112, 176, 220, 226. Imitation. Lat. imitatio.
It
will be seen that in

112 only is there any approach to a doctrine of
*
imitation.' /xt/xcto-ât occurs in
24, 72,
etc.
;
fjLLfxrjTLKos in

226,
298.
jj,i|xik6s. 151. Suited
for
mimes. Lat. aptus mimis. The noun
î/Ao? does not occur in the tt.
kpfx.,
Sophron's mimes being described
as S/oa/xara
1
56.
liovoKwXos. 17. Consisting
of
a single member. Lat. unius mem-
bri {periodus). Cp. Aristot. Rhet. iii.
9,
6.
(jiovoo-vXXapos. 7. Monosyllabic, curt. Lat. utiius syllabae {domi-
nus).
[xovariKos. 69, 86, 176, 183, 185. Musical, accomplished. Lat.
musicus, sciius. In

86 /xova-tKo3s m?ght be translated 'deftly.' So
fiova-a, 'harmony,' in
71.
|i.v7n6s.
57. Moaning. Lat. gemitus.
(jlCOos. 76, 157. Legend. Lat. fabula. So y^vBeoîv
'
to fable,'
in

189.
vovOcTiKos. 298. Admonitory, didactic. Lat. monitorius. vovO^-
Tiiv occurs in
292.
|vos. 95, 139. Foreign, strange. Lat. peregrinus, inusitatus.
Cp. D. H. p. 197.
Sometimes 'distinguished,' or 'bizarre,' will
serve as a rendering of ^kvo%. For the use of uncommon words by
the tragic poets, see Aristot. Poet. xxii.
14, 15.
|tipoKaKotti\a.
239. Tasteless aridity. Lat. arida
affectatio. The
term, which is said to be modern, is explained in the section in
which it is used. It does not occur elsewhere in Greek literature.
giipos. 4, 236, 237, 238. Arid. Lat. aridus, siccus, ieiunus.
Fr. sec. Other English renderings might be: 'dry,' 'bloodless,'
*
sapless,' 'lifeless,' 'bald,' 'jejune.' Cp. tt. v\\/. iii.
3,
Quintil. ii.
4,
3.
6V0S.
36, 54, 66, 77, 83, 114, 119, 120, 247. Pomp, dignity.
Lat. tumor, amplitudo. Fr. enflure, grandeur. The word oscillates
between the favourable and the unfavourable sense, as will be seen
from the instances in this treatise. The unfavourable meaning may
be illustrated from tt. vy\f. iii.
4
KaKoi Sc oyKot koi iirl croifxdTOiv kol
Xoyojv, ol )(avvoL kol dvaAiy^tt? koL /jLtj-rroTC TrepuaTciivTis
yfia^
cis
rovvavTLOv ovBkv yap </>a<rt ^riporepov v^po)TrLKov ; the favourable from
GLOSSARY
295
Chrysostom de Sacerdot. iv. 6 eyo> 8c ct \jXv ry\v XetOTTyra *l(roKpdTov<s
aLTrYjTOvv KoX rov Arffxoa-Oevov^; oyKOV kol Tr]v ovkvBCSov areixvoTrjra kol to
nAotToovos
vif/o^,
ISct <fiepLV CIS fxidov TavTTjv Tov JlavXov rrjv fxaprvptav.
{k6ix7to<; is the word Chrysostom uses for the unfavourable meaning
:
i7r yap p.Oi, ttoio) ko/xtto) \6yov navA.09 IXcycv ; aAA o/xo)9 Tr]v oIkov-
fJLevrfv i7r(rTpil/v. irotio Se IleTpos 6 aypa
p,fxaro'i ; Hom.
3
in Ep. 2
ad Thessal. c. 2.) For Aristotle's use of the word, see Rhet. iii. 6
and also E. Arieth's article (in Wiener Studien,
1900,
i.
pp.
11
17),
Die Bedeutung von oy ko% bei Aristoteles {Eth. Nic. x.
7).
The adj.
oyKrypo? OCCUrs in tt. ep/A.
105, 176, 177, 207;

oyKwSiys in
228;
vTTcpoyKo? in

T16, 221. In other authors the verbs oyKovv and
StoyKow are sometimes found.
Cp.
D. H.
p. 198.
6(iaXils. 48, 295. Levels even. Lat. aequabilis.
6|ioiotA.utos.
26, 268. Having similar terminatio?is. Lat. similiter
desinens.
Cp. Cic. Or.
135
"aut cum similiter vel cadunt verba
vel desinunt" (i.e. o/xotoTTTWToi/ and opoLOTXiVTov), and Auct. ad Her.
iv. 20 ^^ similiter desinens est, cum, tametsi casus non insunt in verbis,
tamen similes exitus sunt, hoc pacto : turpiter audes facere, nequiter
studes dicere ; vivis invidiose, delinquis studiose, loqueris odiose."
Of such artificial figures the author of the tt. kpp,. rightly says : ovt
SrJTa iv SiLvorrjTL ^rjo-Lpia to, roiavra, wg cSetâ, outc Iv iraO^cn kox
rjOecTLv. Demosthenes avoids homoeoteleuton, whereas Isocrates and
his disciples (e.g. Theopompus) use it freely. For o/xotoTcXevrov in
relation to Trapo/xotWts, see D. H.
p. 199.
Cp. Aristot. Rhet. iii.
9,
9.
6vopta.
23, 49, et passim. Word. Lat. verbum. In the tt. kpp,.
it seems never to be used with the special sense of 'noun.' Cp.
D. H.
p. 198,
and s. v. apOpov
p. 269
supra.In
91,
304
Svofxaaia
=
'
naming,'
'
appellatio
'
; i.e. the application of words to things.
6vo\i.aTovpyiiv. 95. To form words. Lat. verba
fingere.
The
same meaning as 6ro/x,aT07rotti/, which does not occur in the treatise.
6p6os. 201. Nominative. Lat. rectus, tttwo-i? opQy\
casus rectus.
The case-terminology of the tt. kppu. is more developed than that of
Aristotle: cp. amartKry in this section, ^vBCia and TrXaytorrys in
198,
TO TrXaytov in

104. See also s.v. TrroJo-ts
p. 300 infra.
irdOos. 28 (quater), 57, 94, 214. Emotiofi, passion. Lat. affectus
(Quintil. vi.
2,
8),
animi motus (Cic. de Or. i.
5, 17),
perturbatio
(id. Tusc. iv.
5,
10). Cp.
the adv. Tra^r/TtKcS? in
57.
iraCTviov. 120, 143. Eun. Lat. lusus. The reference is to quips:
Cp. 7raiîv

120, Traiyvia
171,
TraiSta
259.
-iraCwv.
38, 39, 43. A paeon. Lat. paeon. Alike in Greek and
in Latin the two forms Tratwi/ and Traiav, paeon and paean, are used
for this metrical foot. The bearing of the author's conception of
the paeon upon the date of the it. kpî. is excellently discussed in
Dahl's dissertation entitled "Demetrius Trept ipfjLrjvelas"
pp. 99
loi.
The adj. Traicovt/co? occurs in
38, 41, 43.

irapapoXtj. 89 (bis), 146 (bis), 147, 209, 274. Image, imagery.
Lat. collatio. Cp. Quintil. v. 11,
23
"nam 7rapa/3oA.7J, quam Cicero
collationem vocat, longius res quae comparentur repetere solet."
irapd8i-y|xa.
182, 194, etc. Instance, example. Lat. exemplum.
(Not used, as in Aristot. Rhet., of a rhetorical induction.)
irapaSvccrOai. 181. To Steal upon. Lat. irrepere. Of a pleasing
literary sensation.
irapaXajjtpdveiv.
57, 72, etc. To introduce, to employ. Lat.
assumere, adhibere.
irapdX6i\|/is. 263. Praetermission. la^-t. praeteritio. Yx. pretention.
The frequent occurrence of the verb TrapaXu-miv in Demosth. de Cor.
is enough to justify the recognidon of this
'
figure.' Cp. Epist. to
the Hebrews xi.
32.
jrapd|va-[jta. 55. Addition. Lat. appendix. The word is a7r. dp. :
the metaphor is possibly that of a dint, or nail-mark, on a piece
of statuary.
irapairXTjpwp.aTiKos. 55. Expletive. Lat. expletivus. Fr. expletive.
The adj., like the noun TrapaTrkrjpoifjia, is late. Cp. Dionys. Hal.
de adm. vi die. in Dem. C.
19
-rroXXa rotavra ian TrapairX-qpojixaTa
KaO eKacTTrjv oXtyov Sctv TrcpioSov ovk avayKaiav t)(OVTa -^mpav, a ttolcl
rrjv epfxrjvuav dfjbTpoTpav, ryjv hk TreptoSov KO/xi//OTpav : id. ib. C.
39
TrapaTrXrjpwfxaTa twv ovofxaTtov ovk diây/cata =
Cic Or.
"
inculcata
inania quaedam verba quasi complementa numerorum."
irapairowiv. 98. To counterfeit. Lat. imitari, simulare. In a
slightly different sense, Aristot. Rhet. iii. 11, 6.
irapdorTiiios. 208. Stamped awry, eccentric. Lat. pefperam sig-
natus.
irapocruoirdv. 62. To pass over in silence. Lat. silere. Fr. passer
sous silence. Quintilian ix.
3, 99
mentions a figure of Trapao-tojTrr/o-ts.
I
GLOSSARY
297
irapaTtxvoXo-yeiv. 178. To introduce irrelevantly in a treatise.
Lat. praeter institutum
proferre.
irapAKciv.
58. To be
superfluous. Lat. abu?idare. The intransi-
tive use of TrapikKCLv, in the sense
'
is dragged in,' is late,Arrian,
Sext. Empir., Clem. Alex., etc. Diog. Laert. (vii.
195),
however,
gives as the title of a work of Chrysippus : Ucpl twv TrapeX/covrwi/
Xoywv 7rpo<s Haavkov /3'.
For the more usual construction, cf. Dionys.
Hal. de Thucyd. C.
19 ^cm to. ttoXXo, Ik^vo. koL Kara/SXrjTLKa rov
lxyidov<; ryj'i *EAXa8o? ovk avayKaL<o<s avTo) TrapeX-KecrOaL. For examples,
in the Ravenna scholia, of both irapiXKti and irapeAKCTai with the
meaning 'is redundant,' see Rutherford, Schdlia Aristophanica ii.
579.
irap|jL<|)atv6iv.
67. To give a passing impression. Lat. obiter
indicare.
Cp. Dionys. Hal. de Comp. Verb. c. 6 Troias irap^fxcfiaLvovTa
Otaôpa? )(povii)v.
irap<5jtoios. 25 (ter),
28, 29, 247. Similar. Lat. assimilis. The
reference is to the figure Trapo/xotWi? ('like letter,' Puttenharn), for
which see the references in D. H.
pp. 199,
200: and add Volkmann
op. cit.
pp.
479,
482, 514,
Norden op. cit. i.
59,
Cic. Orat.
38, 175.
irapovo^dtckv. 97. To
modify a word. Lat. verbum leviter com-
mutare. The reference is to the derivation of a new form from an
existing word (cp. Strab. Geogr. xi.
518
ra /acv Kaiva eOâ-av, to, 8e
Trapoji'd/xao-ttv),
and not to the usual technical sense of Trapovo/xaaCa,
for which see Z>. If.
p.
200.
iretos. 90, 93, 167. In prose, prosaic. Lat. pedester. Aoyos
Trego's, or Aoyot Trit,oi, =
oratio pedestris.
Cp. D. H.
p.
200.
'irirotTi|jivos.
94, 98, 144, 191, 220. Invented^ newly-coined. Lat.
/actus, novatus (Cic. de Orat. iii.
38, 154;
i.
34, 155).
On the
general question of ovo\xa.roTToda, or the formation of new words
(especially in imitation of natural sounds), see Quintil. i.
5,
71,
where Latin conservatism (as compared with Greek enterprise) is
clearly indicated :
"
usitatis (sc. verbis) tutius utimur, nova non sine
quodam periculo fingimus. nam si recepta sunt, modicam laudem
afferunt orationi ; si repudiata, etiam in iocos exeunt, audendum
tamen
; namque, ut Cicero ait, etiam quae primo dura visa sunt,
usu molliuntur. sed minime nobis concessa est ovofiaToiroua : quis
enim ferat, si quid simile illis merito laudatis Aty^c /Sto? et a-Cê
6<f>0a\fA.6s fingere audeamus? iam ne balare quidem aut hinnire
fortiter diceremus, nisi iudicio vetustatis niterentur": so viii.
6, 31,
32
ibid. It was a principle of Julius Caesar "tamquam scopulum
fugere inauditum atque insolens verbum " (Aul. Gell. i. x. : see
p.
260 supra). For the Latin language, as later for the French,
this fastidious avoidance of novel terms was not altogether an
advantage.
Cp. D. H.
p.
200.
Wpas. 3. Limit. Lat.
finis. Cp. Aristot. Rhet. iii.
8, 2, to-
gether with Cope's Introduction
p. 303.
In

2 ireptypa^ti^ is used.
trtpiayiayri.
19, 45 (bis), 202, 244. A rounding. Lat. circum-
actio, circumductus, rotunditas periodica., orationis ambitus. With c/c
irpLayu)yijs in
45
cp. Anon. TT. axrjfJ-O'TiDi' (Sp. R/i. Gr. iii.
p. 114)
a>s K 7repLayu)yrj<i avvrtOeifxivov {crvvTiOivai here
=
rfj
crvvOicTet Xeyeti/
i"
45)^
^nd with TTctpao-ât ktX. in

202 cp. Quintil. viii.
2,
22
"
nobis prima sit virtus perspicuitas, propria verba, rectus ordo, non
in longum dilata conclusio." The use is late, as is that of Trepiaycti/
in
i9>
30-
ircpi|o-jjLvos.
14. Polished. Lat. politus. Cp. a^ccrros as used
by Soph. Oed. Col.
19,
and by Schol. ad Aristoph. Ran. 86.
TTcptcpYws. 122. Like an exquisite. Lat. delicate., eleganter. Cp.
Plut. Moral.
693
B at yvi/atKC? cf>VKovixvaL kol /x-vpt^d/xevat kol
xP^ôv
<f>opov(raL KOL
7rop(f)vpav Tre/aiepyot Sokovctlv. In

122 Trepicpycug seems
to be used in the same sense as the rhetorical and post-classical
TTc/otepyta, i.e. 'over-labour; otherwise called the curious' (Puttenham:
cp. L>. H.
p. 201). Cp. Quintil. viii.
3, 55
"est etiam, quae Trcpiepyta
vocatur, supervacua, ut sic dixerim, operositas, ut a diligenti curiosus
et a religione superstitio distat."
ircpioSos.
10, 11, et passim. Period. Lat. periodus, verborum
ambitus, etc. On the general question of the period, cp. tt. v\\;.
p. 205,
D. H.
p. 201, Volkmann Rhet.
pp. 507
ff.. Cope's Intro-
duction
pp.
306 ff., Hammer Dent. it.
Ipfx. pp.
8
13,
Norden,
Kunstprosa i.
p. 42 n. 2. Various Latin equivalents will be found
in Quintil. ix.
4,
22, 124;
Cic. Or.
61, 204;
Causeret Langue
de la Rhet. dans Cicero?i
pp. 135,
136.The verb TrcptoScvetv occurs
in

II,
229;
the adj. TrcptoStKos in

13, 16,
33.
nepitraTifTiKoC. 181. Peripatetics. Lat. Peripatetici. It is an
indication of late date that Aristotle and his followers should be
spoken of thus collectively : cp. Introduction
p.
53.
irepwro-oTtxvCa. 247. Unnecessary elaboration. Lat. studium inane,
nimium ornandi studium. The word is found only here. The adj.
TTcptTTos in
^ 77,
221: cp. D. H.
p.
201.
GLOSSARY
299
iriOav^TTis.
208, 221. Persuasiveness. Lat. probabilitas^ veri-
similitudo.The adj. TnOavb^ in

208, 221, 222.
iriKpcSs. 177. Pungently. Lat. a7nare. Cp. D. H.
p.
201
s.v. TTtKpo?
(
=
Fr. caustique).
irXaYios.
104, 198. Oblique. Lat. obliquus. Used with special
reference to the 'casus obliqui,' as opposed to the 'casus rectus.'
So TrAayioTT/?,
198.
irXdo-is. 158. Invention. Lat.
fictio.
So TrpoaTrXda-a-cLv in the
same section. Cp. TrXda-aeLv
296, nXda-fia
177,
298.
irXdros. 177. Breadth. Lat. latitudo. So TrXarv? and TrA-arv-ny?
in the same section : cp. Theocr. xv.
88,
quoted on
p. 242 supra.
Ernesti {Lex. Techn. Gr. Rh.
pp. 270, 271)
has a good article on the
various meanings of TrXarvrrys : and similarly on irkda-ixa
(pp.
268,
269
ibid.).
irXcovdteiv. 80. To be expanded. Lat. amplificari. Used of a
metaphor when expanded into a simile.
iroiTjTiKos.
70, 89, etc. Poetical. Lat. poeticus. In
249
the
word = 'efficient ' : cp. D. H.
p.
202.irou/o-t? and TroLr}fx,a also occur
frequently in the tt. cp/x., and the difference between them is well
illustrated by

166, 167. Cp. Stryyiy/xa,
p. 275
supra.
iroiKuXfa.
73, 92. Variety, decoration. Lat. varietas. So irotKtXo?
267,
and (in an illustration) ttolklWclv

164. Cp. L>. H.
p.
202.
iroXvTix^- 73. Variety
of
sound. Lat. plurium vocalium sonus.
The word is air. ilp.
iroXvKwXos. 252. With many me7nbers : of a period. Lat.
multorum membrorum.
ir6pp<0Ocv. 78. From a distance. Lat. e longinquo. Used of
far-fetched metaphors
' metaphorae e longinquo petitae, longe

translatae.'
irpa7}ia.
11, 22, etc. Subject-matter (usually in the plural).
Lat. res. Cp. Trpay/xariKos D. H.
p. 203,
TT. vi//.
p.
206.
irpôs. 269, 293, 295. Mild, tame. Lat. mitis.
irpeirovTws.
11, 276. Appropriately. Lat. decenter. Cp. vpeTriiv,
6,
72, 120, etc.
irpoaCpeo-is. 168. Purpose. Lat. consilium. Cp.
TrpoaLpilaOat in
the same section.
3CXD DEMETRIUS ON STYLE
irpoKaTopKTiKos.
38, 39. Initial. Lat. initialise principalis.
Late,Plutarch, etc.
irpoXoYos. 153. Prologue: that part of a play which precedes
the first chorus (Aristot. Poet. xii.
4).
Lat. prologus.
irpootfjitov. 32. Openings introduction. Lat. exordium.
irpoo-SoKCa. 152, 153. Expectation. Lat. exspectatio. The
reference is to o-KwfxixaTa irapa Trpoo-SoKiav (" notissimum ridiculi
genus," Cic. de Or. ii.
63, 255:
in allusion to the "iocus praeter
exspectationem." Cp. Quintil. viii.
5, 15,
and Tiber. ir.
a-xv/^-
Sp. iii.
66). A good Greek example will be found in Aristot. P/iet.
iii. II, 6, and in English we have such instances as "Than that
all-softening, overpowering knell,
|
The tocsin of the soulthe
dinner-bell" (Byron, Don
Juan
v); "Here thou, great Anna, whom
three realms obey,
|
Dost sometimes counsel takeand sometimes
tea
"
(Pope, Rape
of
the Lock ii). Dimprevu a aussi du charme.
irpoo-aKciteiv. 83. To liken. Lat. comparare.
irpoo-eTiKT]. 55. Addition^ appendage. Lat. additamentum.
'irp6<r<}>opos.
59, 120, 158, 190, 276. Suitable. Lat. aptus, accom-
modatus.
irpo<r<}>wvT]p.a. 111. An address. Lat. allocutio^ compellatio.
<jrp6(r<|>vna. 55. An accretion. Lat, accretio. The word is a7r.
ip. (Liddell and Scott refer to Walz vii.
1213 ;
but this is simply the
transcript of the tt. c/o/a. by Gregorius Corinthius).
irpoo-wirov. 130, 134, 195, 234, 266. Person. Lat. persona. The
word is post-classical in this sense. In
265
7rpoo-a7ro7roaa ='
per-
sonification ' : cp.

266, and Cic. de Or. iii.
53, 205,
Quintil.
ix.
2, 31.
irpoxfipos. 261. Readye smart. Lat. alacer. The reference
here is to ready wit; in

281 -Trpoxcipois
= 'inconsiderately,' 'bluntly.'
TTTwo-ts.
60, 201. Grammatical case, Lat. casus. In the tt. kp^L.
the doctrine of the cases is more fully developed (perhaps through
the influence of Chrysippus) than in Aristotle, who applies the term
TTTwo-ts to inflexions in general. Cp.

104, 198,
and
p. 295
supra.
TTVKvoTT^s. 42, 251. Close succession. Lar. crebritas. The adj.
7rvKv6<; in
67, 78,
etc.
pijo-is. 216. Speech, reply. Lat. oratio, responsio. The words
17 \yoiJivr] anb ^kvOwv prj(TL<;, of a brutal answer, derive from Herod.
GLOSSARY
301
iv.
127. (The word does not occur in the tt. ep/x. in its special
sense of a speech in a play. But the verb p-qTopeveiv is so used
in
153.)
pT]Topa.
9,
12. A piece
of
oratory. Lat. oratio rhetorices
artificio elaborata. In

12 prp-opeioiv is an emendation for prjrwv.
Cp. Isocr. PM. 26, Panath. 2.
pilTwp. 24, 262, 275, 287. Orator, rhetorician. Lat. orator. Germ.
Redner. These sections refer to the Greek rhetors at various epochs,
from Sicilian times down to those of the writer himself.In
19,
the
adj. prjTopLKo^ is used to describe one of the three kinds of period.
pv0(xoi8TJs. 221. Rhythmical. Lat. numerosus. Late,Dionys.
Hal. de Isocr.
2, etc.
pv6ô<i itself occurs in

183, 184, 245.
o-ttTvpos. 169. A satyric play. Lat. satyrus.
Cp. n. on
p. 240
supra. So o-arvpiKo?,
143.
<ra<j)iivia.
197, 203. Clearness. Lat. perspicuitas. Fr. clarte,
nettete. For brevity as tending to obscurity, cp. Dionys. Halic. Ep.
ad Amm. ii. c. 2 (ad fin.). The adj. cra<^^s in
77,
82, etc.
o-|jiv6ti]s.
44, 56. Gravity, majesty. Lat. granditas. The adj.
o-c/xvos in

18, 19,
etc.
<rT)(ii8Tis. 208. Striking, remarkable. Lat. insignis, reconditus.
Cp.
D. H.
p. 205. The word, in this meaning, is late, Strabo,
Dionysius, etc.
<rK0Tiv6s. 192. Dark, obscure. Lat. obscurus, tenebricosus.
Heracleitus 6 (tkotlv6<; is in question.
cTKvQlliiv. 96. To use Scythian words. Lat. sermonem adhibere
Scyihicum. Cp. <f)pvyiîv, p. 307
infra.
o-Kwpi|ia.
128, 172. /est, gibe. Lat. dictum, opprobrium. The
verb o-KowrTti/ in
145, 150, 167.
o-(jLiKpvviv. 236. To belittle, to depreciate. Iât. extenuare.
Late, LXX., Appian, etc. Cp. KaTaa-fxiKpvveLv,
p. 287 supra.
<ro<|>i<rTiKos. 15. Artificial, formal. Y,2X.exquisitus. r. travaille.
The meaning is 'strained,' 'bookish,' 'professorial,' as opposed to
'
natural ' or
'
unsophisticated,' o-o<^tcrT^s being
=
Kunstredner (cp.
TT. V\\f.
p. 207).
<nrtpd<r0ai. 8. To be coiled. Lat. in gyros contrahi. Late,
Eratosth., Lucian, Pausanias, etc.

oT^xos. 72, 150, 189. Line
of
poetry. Lat. versus.
o-Toixîov. 207. Element, elemefitary sound. Lat. elementum.
Defined by Aristot. Poet. c. xx. 2 as <â)v^ dStaipcTos, ov Trao-a 8c, aA.V
^ ^9
7re<f>vK crvviTrj yLyveadat
<fnov7J. Used in
207
of VOVvel-SOUnds.
(TTpoyyvXos.
20,
248. Rounded. Lat. rotundus. Fr. arrondi.
See the references given in D. H.
p. 205.
oTTwjivXos. 151. Gossipy. Lat. loquax. (rruiixvXov n seems to
be partly favourable, partly unfavourable,
'a kind of raciness,'

*a flavour of gossip.'
<rv7-ypa)jL(ia.
228, 234. Treatise. Lat. commentarius. In
234,
(rvYypaix.ixa
avr lirLa-ToXrj^ means a
'
work,' or
'
volume,' taking the
place of a letter. Germ. Abhandlung.
crv7KaTaXt]76iv. 2. To end simultaneously. Lat. simul desinere.
Late,Gregorius of Nyssa (4th century a.d.).
<nl7KpoD<ris. 68 (bis), 70, 72 (bis), 73, 74, 174, 299, 301. Collision,
shock, clashing, concurrence, consonance. Lat. concursus. Fr. rencontre.
In

68,
299
orvyKpovais <f>(i)vr]VT(Dv
= hiatus; and in other passages
(fnovrj^vTiov, though not expressed, must be supplied. As
'
hiatus
'
usually has a somewhat depreciatory sense,
'
open vowels ' may
sometimes serve as a rendering (cp. Pope's "though oft the ear the
open vowels tire "). In
1 74,
cnjyKpovo-is is applied to the concurrence
of consonants. On the general question of hiatus, cp. Volkmann
Rhetorik
p. 513,
Rehdantz-Blass Rhet. u. Stil. Index
p. 21, Sandys
Orator
of
Cicero
pp.
t6o
163 ;
and see the passage of Quintilian
quoted s.v. a-wakoicfir] infra. The verb avyKpov^tv is found in

68,
70, 72, 73, 207
(cp. (TvixirXri(T<Tf.Lv).
(TvXXaprj. 25, 26, 117, 177. Syllable. Lat. syllaba.
o-vXXo-yio-fjLo's. 32. Demonstrative argument, syllogism. Lat. ratio-
cinatio, syllogismus. In the same section the enthymeme is described
as orvXXoyt(T/xo9 prjTopLKOS and av\XoyL(r/xo<s arcXT^s. The verb (TvXXo-
yLâr6aL occurs twice in
32.
<rv|jtpoXov. 243 (bis). Symbolic expression. Lat. signum, indicium.
The reference is to the use of dXXrjyopLa.
<rv)jL|jiTpCa. 16. Due proportion. Lat. iusta mensura. The
opposite of dfiiTpca : see s.v. dfXTpos
p. 265
supra.
otJiattXiiIis. 48, 105, 207, 299 (bis). Clashing, concurrence. Lat.
co?icursus. Cp.
crvyKpovcrL<i. The verb a-v/xTrXTJa-a-eiv in

68, 69.
GLOSSARY
303
<rvvaXow|>Tj. 70. Blending, fusion. Lat. coitus^ vocalium elisio.
Fr. syjialephe {contraction, ou jonction de plusieurs voyelles). For the
general question of hiatus and ehsion, see Quintil. ix.
4,
35
37
"quare ut neglegentiae passim hoc pati, ita humilitatis ubique
perhorrescere, nimiosque non immerito in hac cura putant omnes
Isocraten secutos praecipueque Theopompum. at Demosthenes et
Cicero modice respexerunt ad hanc partem. nam et coeuntes
litterae, quae <jvvaXoi<\iaX dicuntur, etiam leniorem faciunt orationem,
quam si omnia verba suo fine cludantur, et nonnumquam hiulca
etiam decent faciuntque ampliora quaedam, ut pulchra oratione ista
iacta te, cum longae per se et velut opimae syllabae aHquid etiam
medii temporis inter vocales, quasi intersistatur, adsumunt. qua de
re utar Ciceronis potissimum verbis, habet, inquit, ilk tamquam
hiatus et concursus vocalium molle quiddam, et quod indicet non
ingratam neglege?itiam de re hominis magis quam de verbis labo7'antis."
(TvvakoK^y) is a late word,Strabo, Dionys. Halic, etc. The verb
(Tvva\L<f)Lv occurs in the same section : cp. Lat. coniungere, Cic.
Or.
44,
150. There are some interesting remarks on 'the rule of
the synaloepha' in Dryden's Essays (selected and edited by W. P.
Ker) ii.
pp.
10,
11.
trvvaprav. 12, 193, To knit together. Lat. colligare. A closer
union is implied by this word than by (swairrîv,
269,
295, 299.
<rvvc<|>ia. 63,
182. Combination. Lat. connexio. Fr. connexion,
liaison. In
63,
(Tvvd(f>La is used of polysyndeton, as opposed to
asyndeton (Xvo-t?, SiaAvo-ts). As the author points out, both these
figures conduce to elevation, each in its place. He remarks that
the repeated use of the conjunction 'and' in the sentence "To the
war flocked Greeks and Carians and Lycians and Pamphylians and
Phrygians" produces the impression of an innumerable host. For
English examples, cp. Revelation vi.
15
''And the kings of the earth,
and the great men, and the rich men, and the chief captains, and
the mighty men, and every bondman, and every free man, hid
themselves in the dens and in the rocks of the mountains
"
; and
vii.
9
"And these things I saw, and behold, a great multitude, which
no man could number, out of every nation, and of all tribes and
peoples and tongues, standing before the throne and before the
Lamb, arrayed in white robes, and palms in their hands." So in
Matthew Arnold's Sohrab and Rustum :
"
Kalmucks and unkempt
Kuzzaks, tribes who stray
|
Nearest the Pole, and wandering
304
DEMETRIUS ON STYLE
Kirghizzes," etc. Puttenham gives the name 'couple-clause' to
the figure ; it has also sometimes been described as
'
Many-ands/
as distinguished from
*
No-ands ' (asyndeton).
Cp. Quintil. ix.
3,
51.As examples of the analogous figure of paradiastole (or accu-
mulation of negative conjunctions), cp. Demosth. de Cor.
298
k\tX ovre /catpo? ovt (faXavOpiOTria Aoycuv ovt e7rayycA.t,a)V /xcyeô? ovt*
cXttI? ovre
cf>6l3os
ovt aXXo ovSlv lirrjpiv ov^k itpo-qy
ay
to wv CKptva
SiKaLiov Kol avfxcfiepovTUiv
rfj
iraTpiSi ovSlv TrpoSovvai, and Epistle to
the Romans viii. t^Z,
39
"For I am persuaded, that neither death,
nor life, nor angels, nor principalities, nor powers, nor things present,
nor things to come, nor height, nor depth, nor any other creature,
shall be able to separate us from the love of God, which is in Christ
Jesus
our Lord."
(rx;v8o-p.os. 23 (bis), 53 (ter), 54, 55, 56, 63, 64, 193, 194, 196 (bis),
257 (bis), 268, 269. Conjunction^ connective. Lat. copula., coniunctio.
'Particle' will sometimes be a convenient rendering, since the term
is
( 55,
56, 196)
used of /xeV, S>7, etc., as well as of 'conjunctions'
strictly so called. See the full account of the word in Cope's Intro-
duction to Aristotle's Rhetoric
pp.
371
374,
392
397.
The verb
o-vi/Sctv in

192, 194;
o-wSeo-t? in

12, 303.
<rvvtp|i6s. 180. A Joining together. Lat. connexio, continuata
series. The word is air. dp. The verb a-vviipca-Oai occurs in
15
with reference to the 'stringing together' of periods.
<rw|aipiv. 5. To elevate simultaneously. Lat. simul extollere.
Cp. iiaupetv,
234,
277.
The word is late,Polybius, Diodorus, etc.
(rwc(rTpa(jL(Uvos.
20, 177. Compact. Lat. contortus^ rotundus.
For 'contortus,' cp. Cic. Or.
19,
66.
o-vv^X"''=^- 68, 117, 118. Succession. Lat. continuatio. The adj.
crwe^^s occurs in
12,
47,
82, 98,
118,
251, 303,
and means
'continuous,' 'unbroken.' So in

102 to orui^cxcs
= ' continuity,'
'exaggeration,' 'excess': cp. Aristot. Poet.
22, 5.
In

82, where
o-wexws
is oddly placed if it goes with ytvo/Aci/oi/, it has been suggested
that the word may be taken with Trpoa-rjyopeva-ev in the sense (not
otherwise established: unless avvx<j^s
ovo/xart in
gS = TrapaTrXrja-Lios
ovofxaTi) of 'appropriately.'
o-vvi;9ia.
69, 86, 87 (bis), 91, 95, 275. Usage, ordinary speech.
Lat. consuetudo, usus. In Dionys. Hal. ad Amm. ii. c. it
?J
Koir^
(Tvvr'jOcia is found in the same sense. If P's reading t^s a\r]0La<s
I
GLOSSARY
305
be retained in
91,
we should compare Dionys. Hal. de Isaeo c. 18
on
fxoi SoKL Avcrtas
fxev
ttjv aXijOeLav Shokclv /xaXXov, *Ia-atos Se Trjv
Tyyr)v^ and de Lys. c. 8 r-i]v dX-tjOciav ovv rt? i-mTrjBeviov kt\. The adj.
a-vv7]6r)^ occurs in

60,
67, 77,
96, 145,
190.
o-vv9(ris.
4, 8, 9, et passim. Composition^ arrangement
of
words.
Lat. composition collocatio (cp. Cic. de Or. iii.
171).
Fr. arrangement
des mots., disposition. The word occurs in the title of Dionysius'
treatise IIcpi o-vi/êo-cws oj/o/xarwv.
frvvOtTos.
18, 34, 35, 91, etc. Composite. Lat. compositus.
oTJVToîs. 229. Structure. Lat. structura. The usual rhetorical
sense of o-wraîs is 'treatise'; but it is also used of 'arrangement,' as
by Aristid. Techn. Rhet. (Sp. ii.
507)
o-vvra^ts kwA-wi/ kox Ko/A/xaTwv eis
Stavotai/ airrjpTLcrixivr]
<f>pd(n<;. Cp. the USe of ra^t? in the tt.
ipfi.
<rvvTA.6ia. 214. Consummation, past tense. Lat. perfectio, prae-
ieritum (tempus). The verb a-wrcXcti/ in
3.
<rwTi0^vat.
69, 91, etc. To
form, to compound. Lat. componere.
<rwTO|iCa.
92, 103, 137, 138, 253. Conciseness. Lat. succincta
brevitas. Fr. concision. So otji/to/xos,
7, 89,
197,
etc.
<nJoT-r)p,a. 10. ^ composite whole, a collection. Lat. coagmentatio.
In
30,
orvcTTao-ts =
constitutio.
(TvoT-aXciv.
204, 228, 239. To co7npress. Lat. contrahere.ln
14,
crv(TTo\y\
spareness.
on)<rTpo<j>TJ.
8,
10. Concentration. Lat. conversio, concinna brevi-
tas. So Dionys. Hal. de Thucyd.
53,
^<? ^w. vi die. in Dem. 18.
Cp. <TvvcrTpafxfjLvos,
p. 304
supra.
<r^Cyyiiv. 244. 71? ^/;?^ /^^>^/. Lat. constringere. Fr. resserrer.
<r<|>o8pos.
7, 274. Vehement. Lat. vehemens. So cr<f>oSp6Tr)s,
241.
(Tx^jxa. 24, 30, 59, et passim. Figure. Lat.
fgura. By a-xvfJLCLTa
are meant artificial
*
figures,' or
*
forms,' of language ("
sententiarum
orationisque formis, quae vocant
axviô^Ta" Cic. ^rw/.
69
;
crxw<^
i(TTLV câAAa^ts <^pao-to9 aTro tov KaTaXA.iyA.ov ctti to KpiiTTOv
fXT(i tlvo^
dmXoyta?, Herodian tt.
a-x-qp-dTtav init.).
Cp. Z>. Z^
p. 206; and see
further Modern Language Notes i.
p. 140, for a short paper on the
*
Classification of Rhetorical Figures ' by C. B. Bradley.
<rxTl|iaTtiv.
287, 289, 292, 293, 294. To use a figure, to shape,
to construct. Lat.
fgurare. Xo'yos co^ry/naTio-zxcVos (or ro
icrxwo.-
R.
20
3o6
DEMETRIUS ON STYLE
TLCTfxivov simply) means ora^w
figurata,
le discours
figure^
that
'figured language' which is often designed to veil the thought.
In
298, (rx>7/xaTto-/xos =
*
the employment of figures' (cp. D. H.
p. 207) : Lat.
conformation figuratio.
SwKpaTiKos.
297. Socratic. Lat. Socratkus. The 'Socratic'
dialogues are here in question.
SwrdScios. 189. Sotadean. Lat. Sotadeus. The reference is to
the measures {j^krpo) of Sotades : cp.
p. 244
supra.
Tcl^s.
139, 170, 199, 200, 248. Order. Lat. dispositio. The
verb rao-crctv in
139.
Tttxos. 137, 197. Rapidity. Lat. celeritas. Cp.
ro Tdxo<; Trj<;
xrrjfiaaLa^ (with reference to Thucydides) in Dionys. Hal. ad Amm.
ii. c. 2.
TcXcvTT]. 257. Efid, termination. Lat. terminatio. Cp. reXcvTato^
i39 206.TeA.09 in
139,
206,
244,
272.
Tp0pca. 27.
Artifice. Lat. nimium studium. Suidas gives
AeiTToXoyta as an equivalent of repOpcia. The word was regarded
as specifically Attic; but cp.
Jebb's Att. Or. ii.
58.
TcxvoXo^civ. 41. To state in a treatise. Lat. in arie tradere.
Cp. 7raparxvoA.oytv on
p. 297
supra, and TexyoXoyia in TT.
v\J/. p.
208.
In

169 Tc'xvat may be used in the sense of artes, handbooks.
Toiros.
136, 139, 153, 156, 169. Place^ headings source. Lat.
locus. It will be remembered that, according to Aristot. Rhet. ii.
26,
TOTTos is a head under which many rhetorical arguments fall : Iutw
yap anoLx^Zov koX totto^, l<s o ttoXXo,
ivOvfiTJ/JLara ifXTrcTTTCL.
Tpa-yu)8ia.
169. Tragedy. Lat. tragoedia. TpaywSta Traiôvcra
would be a kind of iA.apoTpay(t)8ta : cp. tXapog,
p. 285 supra.
Tpaxvnjs. 177. Roug/mess. Lat. asperitas. Fr. durete. So
Tpaxv9,
48, 49,
176.
TpfKwXos. 17. Consisting
of
three members. Lat. trimembris.
The term is applied to a three-membered period.
TpfiTpos. 204, 205. Having three measures. Lat. trimetrus.
In these sections KwAa TpLfxerpa seem to be conceived on the analogy
of ta/u,jSo? TptjiliTpO^.
rp^TTos. 120, 170, 179, 185, 207, 223, 224, 259, 282. Manner.
Lat. ratio, modus. In

120 rpoiroLs has sometimes been understood
in the rhetorical sense (not elsewhere found in the tt. cp/x.) of 'trope.'
GLOSSARY
307
(JXt].
76, 163. Subject-matter. Lat. materia.
vfi^vaios. 132. Bridal song. Lat. hym^naeus.
inrepPoX^. 48, 52, 124, 125, etc. Excess, hyperbole (*the over-
reacher,' Puttenham). Lat. superlatio, traiectio. v-n-ep/SoXLKos
283,
285 ;
virep^dXXeiv

1
14,
1
15,
etc.
virc'p(iTpos. 118. Going beyond metre or measure. Lat. superans
Tnensuram. Cp. viripirLirr^L tov XoyiKov fxirpov
42.
inr^po-yKos. 116, 221.
Inflated, pompous. Lat. inflatus, turgidus.
vir6eo-is. 76. Subject, theme. Lat. argumentum.In
296,
v7ro$TLKio^=
'
suggestively.'
vn-oKaTao-Keudtî-v. 224. To elaborate slightly. Lat. paulum
elaborare. Late,
Josephus, Clem. Alex., Origen, etc.

{iroKi<r0ai.
44, 237, 255. To underlie. Lat. subesse. to vTroKct-
p.fvov TTpayfxa
=
'
the subject-matter.'
inroKpio-is. 193, 195, 271. Acting, delivery. Lat. studium
histrionum, actio, pronuntiatio.
vTroKpLveo-Oai
193, 194;
vTroKptTrjs
58, 195,
226; vrroKpiTiKos
193, 194, 195.
virovoiv. 100, 103, 243, 254. To suspect. Lat. suspicari. Cp.
vTTovoia,
'
hidden thought,'
'
hidden meaning
'
; and see s.v. akXrjyopLa
p. 264 supra.
<}>iXo(|>povii<ris. 231, 232. Expression
of
friendship. Lat. amicitiae
declaratio. Late word,Dionys. Hal., Plutarch, Josephus, etc.
<j>opp6s. 130, 283. Awe-inspiring. Lat. terribilis. Cp. D. H.
p.
208.
<|)pao-is. 17. Expression. Lat. elocutio. The word occurs once
only in the tt. kpp.. ; and that as a quoted (or invented) example.
The verb <f>pdCLv
is found in
138,
and iKt^pdûv in
165.
<|)povTs. 27, 171, 218, 300. Anxious care. Lat. sollicitudo.
Fr. soin minutieux. The word is used of studied and artificial
expression. In
27
it is coupled with repOpela, and in
300 it is
contrasted with to d<fip6vTLaTov.
^pvyClav. 96. To use Phrygian words. Lat. sermonem adhibere
Fhrygium. The reference is to the use of barbarous solecisms.
|>vXaKii. 90. Caution, circumspection. Lat. cautio. Cp. tfivXda-
cr<rOai,

68,
299.
20
2
3o8 DEMETRIUS ON STYLE
4>v<riK6s. 199, 200. Natural (as opposed to 'artificial'). Lat.
naturalis. (In
231,
<f>v(TioXoyia
=
'natural philosophy.')
4)vijis. 68, 69, 71, 177, 299. Voca/. Lat. vocalis. ra (fiiavrjevTa
(with or without ypdfxixaTa)

vowels.
iJMopav. 180. To detect. Lat. deprehendere. Used of the detec-
tion of metrical phrases in prose composition.
xapaKTTip. 35, 36, 59, 72, et passim. Characteristic stamp, type.
Lat. forma, nota. The word is used in the tt. Ip/z. of the four Types
of Style. Cp. D. H.
p.
208.
xapis. 37,
127
142, 150, 162, et passim. Charm, wit, pleasantry,
cleverness, smartness, sprightliness, etc. Lat. venustas, lepor. No
one English word will quite cover the same ground as
x^9^'^->
^^^ its
meaning is well illustrated by Dionys. Hal. de adm. vi die. in Dem.
C.
54
Tracra? e)(OV(Ta ras apcras
y
/^"qiioa-Bivov; \i^L<i XetVcTat evr/oaTreXta?,
iqv ol iroXKoi Kokovai )(apLv.
Cp.
x^^P^^^'^'-^H'^'^
^^
'^-
^PH'-

1^8 6
yA.a</)vp69 Xoyos ;!âptVTt(r/xo9 ('grace,' 'liveliness,' 'pleasantry'; 'the
privy-nipp,' Puttenham) /cat l\ap6<; Xoyos iarl: a definition which is
followed by a number of witticisms, such as were collected in ancient
books of jests (Cic. de Or. ii.
54).
Dionysius helps again to fix the
meaning of ^â/atcj/Tta-jaos : x^ptcvrtcr/Aos yap ttSs iv aTrovSfj kol Ka/cot?
yLv6fJivos awpov irpayixa kol TroXiiximrarov cAcw, de Isocr. C. 12. In
141,
xapicvTiêrai refers rather to graceful expression than to wit.
The adv. xapiivrni^ is found in
185 ;
the adj. x^ptet? in

132,
133,
137,
etc. On wit in rhetoric, see Volkmann Rhet.
pp.
284
293,
Sandys Orator
of
Cicero
pp. 98, 145.
xXcvaorjjios. 291.
Scoffing,
satire. Lat. irrisio.
xopds. 167. Chorus. Lat. chorus. For the 'conversational
chorus' in question, see s.v. StaAoyo?,
p. 274
supra.
xpcia. 170. Maxitn. Lat. praeceptu??i. Possibly the treatment
of
xp'^'
which we find in Hermogenes originated, together with
other TTpoyvfxvda-fiaTa, among the rhetoricians of Pergamus. Between
them,
XP^*^"
^^^ yvwfXTj seem to cover the whole ground of sententious
philosophy: 'wise saws and modern instances.' Cp. Quintil. i.
9,
3
6,
and see s.v. yvta^r],
p. 272 supra.
XpT|<rroi]9ia. 244. Goodness
of
7iature. Lat. ingenium probum.
Fr. ingenuite. Used with reference to primitive simplicity: cp.
GLOSSARY
309
XttfXCaiipos. 251. A choliambic line. Lat. choliambus. The
invention of the
'
halting ' iambic line (with a spondee substituted for
an iambus in the last foot) was attributed to Hipponax : compare
V.
ipfi.
301,
and the synonymous term scazon.The adj. ^wôs in
18, 301.
x(/iXos. 73. Smooth. Lat. lenis. Used of the smooth
*
breathing
'
(^X^^)-
I"

i37> the word means 'bare,' 'bald,' 'unadorned.' For
Saovrrys and if/LXoTrjs, cp. Aristot. Poet. c. 20.
^/o-yos. 291, 301. Censure, satire. Lat. vituperatio.
i|/dj>os. 95. A sound, a noise. Lat. sonus, strepitus.
\f/6<l>o^,
an
*
inarticulate sound ' or
'
noise,' is sometimes contrasted with (jnovij
('voice': also
<f>06yyos), or with SiaXcKTos ('discourse,' 'articulate
speech
'
; also Aoyos).
4n)Xpo'TTjs.
6, 115, 119, 121, 127, 171, 247. Frigidity. Lat.
frigus. 'Tameness' and
'
tastelessness ' will occasionally serve as
English renderings.
Cp. Aristot. Rhet. iii.
3,
tt. v\p. c.
4.
So ifrvxpo<s
(Lat. 'frigidus,' 'insulsus'; Fr. 'froid'),

6, 114,
etc.
ia^.
70, 74. Song, melody. Lat. cantus. In

70,
the term is
applied to words like rii\io% which are chiefly composed of vowels
and so 'sing themselves.*
Cp. wSikos,

184.
Yet Elocution, with the helpe of Mercury,
The matter exorneth right well facundiously.
Stephen Hawes, Pastime
of
Pleasure^ xi.
BIBLIOGRAPHY OF DEMETRIUS DE
ELOCUTIONE
AND OF DEMETRIUS PHALEREUS.
I. Editions and Translations in Chronological Order.
Aldus Manutius. Rhetores in hoc Volumine habentur hi.
Aphthonii Sophistae Progymnasmata. Hermogenis ars Khetorica.
Arisiotelis Rhetoricorum ad Theodecten libri tres. Eiusdem Rhetorice
ad Alexandrum. Eiusdem ars Poetica. Sopatri Rhetoris quaestiones
de componendis declamationibus in causis praecipue iudicialibus. Cyri
Sophistae differentiae statuum. Dionysii Alicarnasei ars Rhetorica.
Demetrii Phalerei de interpretatione. Alexandri Sophistae de
figuris
senstis et didionis. Adnoiationes ifinominati de
figuris
Rhetoricis.
Menandri Rhetoris divisio causarum in genere demonstrativo. Aris-
teidis de civili oratione. Eiusdem de simplici oratione. Apsinis de arte
Rhetorica praecepta, Venetiis, in aedibus Aldi.
1508, 1509.
EDITIO
PRINCEPS.
Demetr. Phal. de Interp. is printed in vol. i,
pp. 545-573.
This volume was
published in 1508 ;
the second volume in
1509.
M. Antonius Antimachus. Geniisti Plethonis de gestis Grae-
coruni post pugnam ad Mantineam per capita tractatio, duobus libris
explicata, M. Antonio Antimacho interprete. Ad haec Dionysii Hali-
carnassei praecepta de oratio?ie panegyrica, de oratione nuptiali, de
oratione natalitia, de epithalamiis. Demetrii Phalerei praecepta de
membris et incisis, de periodis^ de componendis epistolis, de characteribus
dicendi. Polyaeni de re militaripraefatio eodem interprete, M. Antonii
312
DEMETRIUS, ON STYLE
Antimachi de laudibus Graecarum literarum oratio. Omnia nunc
primum in lucem edita^ cum privilegio ad triennium. Basileae^
1540.
Of this version Schneider
(p.
xix. of his edition) says: "expressit Antimachus
exemplum Aldinum, sed Latinitate tam rudi et barbara, ut hominem ex Graecia
cum maxime redeuntem Latine crederes balbutire." The censure is not deserved:
the selections given are well translated and in adequate Latin.
[Anonymous.] Arz/xryTptov âXr/pews Trcpi ep/xi/vcias. Demetrit
Phalerei de Elocutione. Florentiae^
1542.
PetruS VictoriuS. ArfixrjTpiov
âXr/pcco? TTcpi ipfXT^vitas. De-
metrii Phalerei de elocutione, Florentiae, apudJuntas,
1552.
[It is worth notice that Victorius had edited the Rhetoric of Aristotle four years
earlier.] .
[G. MoreliuS.] Ar/p-r/Tpibi; aXT7pea)s Trcpi
kpixy]Vf.ia<i. Demetrit
Phalerei de elocutione. Parisiis,
1555.
Apud Guil. Morelium, in
Graecis typographum Regium,
[Anonymous.] 'Ep/uoycvr/s Trept /xcôSov SctvoTryros. A-qfi-qxptov
$aA,T7pco9 TTcpi pixr]VLa<;.
'ApLcmiSov irtpl ttoXltlkov \6yov. Hermo-
genis de gravitate apta eiusque tractandi ratione. Demetrii Phalerei
de elocutione. Aristidae de genere dicendi civili. Argefttorati,
1556.
This edition, and that published at Paris in the preceding year, closely follow
Victorius' edition of 1552.
Stanislaus Ilovius. Demetrii Phalerei de Elocutione Liber,
a Stanislao Ilovio Polono Latinitate donatus, et Annotationibus illus-
tratus. Item, Dionysii Halicarnassei quaedam Opuscula, eodem inter-
prete : quae versa pagi?ia recensentur. Adiecimus eadem et Graece, ut
conferri a studiosis possint. Basileae, per loannem Oporinum,
1557.
F. Maslovius. Demetrii Phalerei de elocutione liber a Francisco
Maslovio Polo7io in Latinum conversus, et ab eodem obscuriorum lo-
corum explicationibus illustratus. Patavii,
1557.
Dasypodius. 'Epp,oyevov5
T^x^r)
p-qropLKYj, cui adiectus est De-
metrii Phalerei Liber de Elocutione, item Aristides de generibus dicendi.
Argentorati,
1558.
Petrus Victorius. Petri Victorii Commentarii in librum
Demetrii Phalerei de Elocutione, positis ante singulas declarationes
Graecis vocibus Auctoris, iisdemque ad verbum Latine expressis. Ad-
ditus est rerum et verborum memorabilium index copiosus. Florentiae,
in
officina
Juntarum, Bernardi F., 1562.
This edition, with its translation and commentary, is on an altogether larger
scale than the small copy of the text issued by Victorius ten years earlier.
I
I
BIBLIOGRAPHY 31
3
J.
Caselius. Demetrius Phalereus de elocuttone, editus nunc
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Caselii. Rosiochii,
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together with notes, is to be found in the
same editor's Phalereus sive de Eloaitione liber, published at Rostock in
1585.
Jo.
Simonius. Demetrii Phalerei Trcpi ipfirjveta? liber utilis et
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Rhetorices in Academia Rostochiensi Professoris publici. Rostochii,
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Firenze, 1603.
Panigarola. // Predicatore di F. Francesco Paniârd\la
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Phalerei de Elocutiofie. Cum Petri Victorii Florentini Latina Inter-
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[Anonymous.] Operum Graecorum, Latifwruni^ et Italorum
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This volume contains a Greek text and Victorius' Latin version.
Thomas Gale. Rhetores Selecti. Demetrius Phalereus, Ti-
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title : ArjfxrjTpiov âXr]po)<i trepl 'Ep/xryvetas. Demetrii Phalerei de
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1738.
J.
F. Fischer. Rhetores selecti. Detnetrius Phalereus, Tiberius
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1773.
This edition is based on Gale's, whose work is freely criticized in P'ischer's
Praefatio.
314
DEMETRIUS ON STYLE
J.
G. Schneider. Arj/xr/TpLov inpi kpfx-qviia^; ^l/SXlov. Demetrii
de Elocutione liber. Curavit Johann. Gottlob Schneider. Alten-
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1799.
Ch. Walz. Rhetores Graeci ex codicibus Florentinis Medio-
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Stutlgartiae, 1832-1836. [Text of ArifxrjTpiov -n-ipl
'Epfxrjveia^s in
vol. ix.
pp.
I ff.]
F. Goeller. Demetrii Rhetoris de Elocutioite Liber. Edidit
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1837.
[In a note to his Preface^, xxxii.
Goeller explains how it came about that his edition was issued several
years after its completion in
1830.]
L, Spengel. Rhetores Graeci ex recognitione Leonardi Spengel.
Lipsiae, 1856. [Text of ArjfxrjrpLov nepl 'Ep/xiyvcta? in vol. iii.
pp. 259
ff.]
E. Durassier. Demetrius de Phalere. De PElocution. Traduit
du grec enfranâis avec notes^ remarques et table analytiquepar Edouard
Durassier. Paris,
1875.
L. Radermacher. Demetrii Phalerei qui dicitur De Elocutione
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1901.
II. Occasional and Periodical Publications in
Chronological Order.
Bonamy. Memoires de Litteraiure, tires des Registres de
VAcademie Royale des Inscriptions et Belles Lettres,
1773,
viii.
pp.
157-177. 'Vie de Demetrius de Phalere.^
Arnaud. Memoires de Litterature, tires des Registres de
VAcademie Royale des Inscriptions et Belles-Lettres, i774> xxxvii.
pp.
99-1 1 1.
'
Examen de quelques passages des anciens rheteurs.'
Hardion. Histoire de VAcademie des Inscriptions et Belles-
Lettres tiree des Registres de cette Academic,
1823,
iii.
p.
162. 'Examen
d'un passage du traite de TElocution attribue a Demetrius de
Phalere.'
BIBLIOGRAPHY
315
H. Dohrn. Commentatio hisfortea de vita et rebus Demetrii
Phalerei^ philosophi peripatetici. Kiliae^
1825.
H. W. Grauert. De vita et rebus Demetrii Phalerei. Kiliae,
1825.
C. E. Finckh. Neue JahrbUcherfiir Philologie und Pddagogik^
1838,
xxii.
pp.
291-303.
'Demetrius de Elocutione, ed. GoUer.'
C. E. Finckh. Observationes criticae in Demetrii rhetoris de
elocutione libellmn. Heiibronnae, 1841.
C. E. Finckh. In Longini artem rhetoricam et in Demetrii
libellum de elocutiofie annotationes criticae. Heiibronnae^
1847.
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scriptorum reliquiis. Her
sf
eld
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Pulda
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A. Nauck. Rheinisches Museum, 1848,
vi.
p. 469.
'Mis-
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Th. Herwig. De Demetrii Phalerei Scriptis. Rinteln,
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S.
J.
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d'etat, erudit et philosophe. Bruxelles, 1852. {Mhnoires coui'onnes etc.,
xxiv.
pp.
I
190.)
H. Weil. NeueJahrbUcherfiir
Philologie und Pddagogik,
1856,
Ixxii.
pp.
704-706. *Zu Demetrius ir^pi cp/xiyi/ciW
C. E. Finckh. Philologus, i860, xv.
pp. 153, 154.
'Zu De-
metrius TTCpl pnr)VLa<s,

213.'
H. Usener. Rheinisches Museum, 1868, xxiii.
p. 336.
*
Callone.'
C. Hammer. Philologus,
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xxxv.
pp.
711-713.
'
Kritische
Beitriige zu Demetrius Trcpt epfjLrjveias.'
C. Hammer.
Philologus,
1876,
xxxvi.
pp. 355-358.
*
Krit-
ische Beitrage zu Demetrius ir^pi kpp.r\vda.%.'
H. Liers. De aetate et scriptore libri qui fertur Demetrii
Phalerei -mpl 'Ep/xrjviia^. Vratislaviae, 1881.
C. G. Cobet. Mnemosyne N. S., 1882, x.
p. 42.
'
De locis
nonnullis apud Graecos epistolarum scriptores.' (Cp. Cobet, Col-
lectanea Critica,
pp. 236,
237.)
3i6 DEMETRIUS ON STYLE
H. Schenkl. Wiener Studien, 1882, iv.
pp. 55-76. *Zur
Kritik der Schrift des Demetrios rrcpl 'Ep/xr/vetW
C.
Hammer. Demetrius Trepl 'Epjuryvctas. Ein literar-histori-
scher Versuch. Landshut, 1883.
H. Liers. NeueJahrbUcherfiir Philologie und Pddagogik^
1887,
cxxxv.
pp.
681-717. 'Zur Geschichte der Stilarten.'
A. Altschul. De Demetrii Rhetoris Aetaie. Lipsiae, \ZZ().
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metrii nomine inscriptus est quo tempore compositus sit. Kiliae^ 1890.
Papasis. Demetrius Phalereus u?id die Stadt Athen. Erlangen,
1893.
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1894,
Part II.
1895.
W. Schmid. Rheinisches Museum,
1894,
xlix.
p. 144.
'Zur
antiken Stillehre.'
S. Roshdestwenski. Xapto-rr/pta : Moscow,
1896, pp.
361-
370.
'Et9 TO ^-qfx-qrpLOV rov âXrjpeios KaXovfxevov îf^Xiov Trepl f-ppfq-
rcia? crvp.j3o\a.'
G. Ammon. Blatter
fiir bayr. Gymjtasialschulwesen,
1898,
xxxiv.
pp. 729736.
'
Zu Demetrius ircpX pp7}veLa<5, besonders seine
Sprache ira Lichte der Ciceronianischen Korrespondenz.'
U. V. "Wilamowitz-Moellendorff. Jlermes,
1899,
xxxiv.
p. 629.
'
Lesefriichte.'
W. Rhys Roberts. Classical Review,
1901,
xv.
pp. 252-255.
*
The Greek Words for Style : with special reference to Demetrius
TTC/ot 'Ep/xryvcta?.
'
W. Rhys Roberts. Classical Review, 190 1,
xv.
pp. 453,454.
*
Milton and Demetrius de Elocutione.^
INDICES.
I. INDEX OF NAMES AND MATTERS.
References are made to the ir. ep/x. itself by sections; to the introduction,
notes and glossary by pages.
Accusative Case. Greek term,
201,
p. 263. Case-termination (3rd decl.)
in -rju or
-V,
i75'
P-
242
Acting. Remarks on,
193
195
AescMnes (the Orator),
267,
268.
Cp. Index II.
AescMnes Socraticus,
205, 291,
297, p. 257. Cp. Index II.
Affectation. Affectation (KaKo^rjXla), the
distorted variety of the elegant style,
strives after effect in the thought itself
{
187,
239),
in the expression
(
i88,
247),
in the use of anapaestic rhythms
(
189). Cp.
pp. 55,
286,
294
Agathon,
pp. 5, 41, 287
AJax. A 'smooth' (euphonious) word
in its Greek form Alas,
176
Alcaeus. See Index II.
Alcidamas,

12, u6,
p.
233
Aldus. Aldus Manutius issued the
editio princeps of the ir. ip/x. (as part
of his Rhetores) in
1508, p. 311
Alexander. A conceit, or pun, ad-
dressed to him,
187. Aristotle's
letters to Alexander,
234.
Dema-
dean references to him,
283, 284
Alexandria and rhetoric,
p.
18. The
TT.
kpi*..
and Alexandria,
pp. 62,
63,
225, 246
Allegory. Its impressiveness,
99,
100,
243;
its liability to abuse,
102;
its allusiveness,
151. Cp.
pp. 213,
264
Amazons. A succinct description of a
sleeping Amazon,
138, p. 236
Ambiguity. Must be avoided in the
plain style,
196. Cp.
p. 265
Ammonius, the son of Hermeias; ap-
parently mentions the ir. kpfx., p. 60
Anacreon. His short and jerky lines
not appropriate to grave themes,
5
Anapaest. Anapaestic rhythms are
sometimes used affectedly in prose
composition,
189
Anaphora. Repetition of a word in
successive clauses,
141,
268.
Cp.
p.
266
Anaximenes supposed author of the
Rhetorica ad Alexandrum,
p.
11
'Ancients.' Characteristics of their
style,
14, 244. See also
pp.
53,
224, 269
Annoon. A word whose pleasing sound
is due to the double consonant,
174
Antiphon. The happy negligence he
shows in using iiiv repeatedly, 6^
only once,
53.
Cp. Index II. and
pp. 6,
7
Antisthenes,

249, pp.
20,
253
Antitliesis,
24, etc. (full references
given on
p.
266 supra). Antithesis
and antithetic periods impair force,
3i8 DEMETRIUS ON STYLE
247, 250. Example of false anti-
thesis,
24, p.
216
Apophthegms, Should be pithily put,
9. Cp. p. 269
Aposiopesis. The figure of 'sudden
reticence,'
103, 264. Cp.
pp.
268,
269
Archedemus. Improves on the Aristo-
telian definition of the period,
34.
See
pp.
218,
243
Archilochus,

5. Cp. Index II.
Architect ('master-builder'),
91.
Given as an example of a vi'ord
happily compounded
Arid style. The defective counterpart
of the plain style,

236
238, p.
294
Aristeides,
238.
(Examples of the
kind here given savour of the rhetori-
cal practice-schools: cp. the refer-
ences to the Cyclops,
115,
Ephor,
122, Centaur,
187,
Olympias,
187.)
Aristippus and Cleombrotus. The
gentle irony with which Plato in the
Phaedo reproaches them for their
absence from the side of their im-
prisoned master Socrates,

288 ('for
they were in Aegina'). For Aristip-
pus, see also
p. 258
supra
Aristophanes,
150, 152,
161. See
Index 11. and
pp. 5
n. 2, 13
n. 2
Aristotle. To the references given
under Aristotle's name in Index II.
should be added

41,
116,
234.
The actual quotations from Rhet. iii.
in the tp. ep/i. give but a faint idea of
the influence of the former upon the
latter. See also
pp.
14
16, 35
39,
5052, 209, 214, 215, 216, 217, 218,
et passim. For Aristotle and pro-
verbs, cp.
pp.
260, 261
Arnold, Matthew. His poetry quoted,
PP-
303. 304
Art. Analogies drawn from various
arts by Greek rhetoricians,
13, 14,
p. 215
Artemon. Editor of Aristotle's Letters:
his comparison of a letter to one side
of a dialogue,
223, p. 249
Article. Correspondence of article to
article,
23. Cp. p. 269
Asyndeton. Its use and abuse,

192
194.
See also
pp.
270
(a.a{)vh(.rov),
274
(StaXuetJ'),
291
(Xi/fl-ts)
Attic. The Attic dialect : its pungency
and other qualities,
177.
The
'
Attic' writers (a designation which is
perhaps a mark of late date),
175,
p. 241.
Specifically Attic words in
the TT. ep/A., p.
57;
cp. the Notes
passim
Atticism and Asianism,
pp.
45
49
Authorised Version of the Bible. Il-
lustrative passages quoted from,
pp.
219, 247,
260, 265, 267, 276, 288,
303. 304
Authorship of the De Elocutions
pp.
49
ff.
Bombast. Its dangers illustrated, 121,
304
'Breaking the news.' An example of
Ctesias' delicacy of feeling,

216
Breathings. Rough and smooth breath-
ings,
73. PR-
^73' 284, 309
Brevity {conciseness). A great aid to
vigour and impressiveness of style,
7. 103, 137, 253. Cp.
pp. 271, 272
Broken rh3rthm. Its use and abuse,
6, 238, 239. Cp. p.

268 S.V. aTTO-
Koiri]
Browning. Quoted in the introduction,
p.
44,
and the notes,
p. 248. See
also
p. 291
Bulias. A character in a mime of
Sophron,
153
Byron. Quoted in the Notes and Glos-
sary,
pp. 238, 300
Cacophony. May minister to vividness
and force of style,
219, 255. Cp.
pp.
286, 287
Cadences. Cp. references given on
p.
268, S.V. a7r6ê(ris
/. INDEX OF NAMES AND MATTERS
319
Caecilius of Calacte,
p. 20
Caesar, Julius. His study of language,
pp.
260,
298
Callistratus,
174:
see s.n. Annoon
supra
Cases. Monotony to be avoided in the
use of cases,
65, p. 224. The use of
oblique cases and constructions may
be effective
( 104),
but may also lead
to obscurity
(
198).
Nominative
and accusative cases,
198, 201,
pp.
263, 283,
295, 300
Chesterfield, Lord. His aversion to
proverbs,
p. 259
Choliambics. Choliambic lines are
forcible,
251, 301. Cp.
pp. 285,
309
Chrysippus. Apparently followed in
172. Cp. p. 241
Chrysostom. Quoted,
pp. 294, 295
Cicala. Proverbial and figurative ex-
pression concerning the cicala,
99,
243
Cicero. His rhetorical standpoint,
pp.
24, 25. Quoted in the Notes and
Glossary, passim
Clearness. Lucidity is a prime essen-
tial of the plain style,
191
fF. For
lucidity in general, cp.
pp. 37, 38,
246, 265, 301 ,
Cleitarchus. An example of bombast
quoted from him,
304. Cp. p.
259
Clematis.
'
Egyptian clematis ' used as
a sobriquet for a dark and lanky
person,
172
Cleobulina. See
102, p. 231
Cleon. Referred to as a notorious
Athenian demagogue,

294
Cleophon. Mentioned together with
Cleon,
294
Climax. The figure so called,
270,
pp. 255,
288
Comedy. Its alliance with mirth and
charm,
169. The employment of
the trimeter by the New Comedy,
204. Allusion to ' New Comedy ': its
bearing on date of treatise,
pp. 53, 246
Comparative and Superlative. For
their use in later Greek see p.
237,
and cp.
146
Composition. The word civQâi'i
(which corresponds to 'composition'
in its stricter sense) occurs very fre-
quently in the treatise :
4, 8, 9,
1
1,
30, 31, 38, 40, 43, 45, 48, 49,
58, 68,
74,
92, 117, 121,
179,
180, 186,
189,
204, 221,
237, 239,
241, 246, 248,
^99' 30^. 303-
Cp.
p. 305
Conjunctions [connectives). Their mul-
tiplication is an effective aid to style,
54, 63, pp. 303, 304.
Their
absence may cause obscurity,
192
Corax as a teacher of rhetoric,
pp.
i, 2
Comificius the supposed author of the
Rhetorica ad Herennium,
p. 24
Correctness of style. References s.v.
cuipiêia,
p. 264
Craterus. One of Alexander's generals,
rebuked by Demetrius Phalereus
'
in
a figure,'
289
Crates,
170,
259, pp. 240, 254
Ctesias,

212
216, p. 247. Cp. D.//.
P-
'3
Cupping-glass. A riddling description
of,

102
Cyclops. The grim pleasantry of his
unexpected guest-gift,
130, 152,
262
Cynics. The
'
Cynic manner' is dis-
tinguished by its mordant wit,
259
261
Date of the De Elocutione,
pp. 49
flF.,
and Notes and Glossary passim
Demades. His highly figurative say-
ings,
283286,
pp. 53, 256
Demetrius of Alexandria. Possibly the
author of tt. epytt.,
p. 6^
Demetrius of Phalerum. Mentioned
by name in
289. See also
pp. 17,
18, 52,
62,
257,
311 fT.
Demosthenes. Mentioned or quoted in
the following sections: 10, 11, 20,
31, 80,
245, 246, 248, 250, 253, 263,
268
273,
277
280, 299.
It is to
320
DEMETRIUS ON STYLE
be noticed that most of the references
to Demosthenes occur in the later
sections, those which deal with 5eiv6-
TTjs. For references to the passages
quoted, see Index II. Cp.
pp.
ii, \^
Dialogue. Resemblance, and difference,
between a dialogue and a letter,
223, 224, p. 274

Dicaearchus,

182',
p. 242
Digamma. Possible allusion to,
255.
Cp.
pp. 253,
286
Diogenes,

260, 261. (Some papyrus-
fragments containing sayings of
Diogenes have been published, since
the completion of this edition, by
Wessely in Festschrift Theodor Gom-
perz.)
Dionysius the Younger,
8, 9, 99,
100,
102, 290. The proverb
'
Dionysius
at Corinth ' clearly refers to the
younger Dionysius ; and so probably
does the threat addressed to the
Locrians. In
292
also, he may be
meant rather than his father
Dionysius Of Halicamassus,
pp.
20
23,
42, 45, 63,
218, 242,
etc.
Diphthongs. The concurrence of diph-
thongs produces elevation
( 73),
but
should be avoided in the plain style
( 207)
Dithyxambic compounds. To be avoid-
ed,

91,
116: cp.
143
Doric dialect. Its broad sounds,
177,
p. 242
Double augment,
pp.
210,
245
Double compounds. To be avoided,
93' P-
229
Double a-a- and double tt. Both forms
found side by side in the tt.
^pfi.,
pp. 58,
222
Dryden, John. His Essays,
p.
303
Dual number. Its occurrence in the
TT. epfx., p. 58
Egypt. The priests in Egypt employ
the seven vowels in their hymns to
the gods,
71, pp.
224, 225
Elegant style,

128189,
PP-
29, 30,
33'
etc.
'
Elephanteer
'
{iXecpavTiar-qi). A word
coined by Aristotle,
97
Elevated style,
36127, pp. 29,

33, 39,
218, 292,
etc.
'
Elocution.' Obsolete in English as
applied to rhetorical style : but cp.
the Latin, French and Italian terms
given on
p. 282, s.v. epfirjuela. (The
passage of Stephen Hawes quoted
on
p. 310 provides an example of the
older use of
'
elocution,' and suggests
the supposed connexion between ep-
fXTjveia and 'Epfirjs. With 'facundi-
ously,' cp. \6yios on
p. 290 supra.)
Empedocles. The father of Rhetoric,
p.
I
Enthjrmeme. The distinction between
the enthymeme and the period,

3033- Cp.
pp. 279, 291, 292
Epanalepsis,
196, p.
280
Epanaphora,

61, 268, p.
280
Epicharmus,
24, p.
216. Cp. Index
II.
Epicureans and rhetoric,
pp. 19,
20.
Epicurus as a letter-writer,
p. 250
Epimone. Defined, and effect on style
described,
280, p.
281
Epiphonema. Defined and illustrated,
106III,
p.
281
Epistolary style. Relation between
letter and dialogue ; the letter as a
revelation of character; the length,
structure, topics of a letter :
223
235, p. 249
Epithets. Their use and abuse,
85,
116. Cp. p.
280
Erasmus. The proverb
*
omnis herus
servo monosyllabus ' in his Adagia,
p. 213. Erasmus as a letter-writer,
p.
249
Euphemism. Defined, and illustrated
from the incident of the golden
Victories,
281, pp. 256, 283
Euphony. Practice of Isocrates de-
scribed and a middle course advised,
7. INDEX OF NAMES AND MATTERS
32
/
68. Common parlance,

69.
Poetical forms,

70.
Priests in
Egypt,

71.
Attic writers,
175.
Cp.
pp. 283, 284, 302
Euripides. His use of expletives,

58
;
the opportunities he affords to the
actor who takes the part of Ion in
his play of that name,
195
Expletives. The employment of ex-
pletive particles,
55
58, p. 296
FaWes. Sometimes form an attractive
element in writing,
157,
158
Figûres. Must not be used in excess,
67. Peculiar figures should be

avoided in the plain style,

208.
Figures will contribute to force,
263
271,
280, 281. Cp.
pp.
305, 306
Finish of style. References s. v. a.Kp[-
/3eia, p. 264
supra
Forcible style,

240
304, pp. 31,

34,
etc.
Frigidity of style. How caused,
114121. Cp. pp. 232, 233,

309
Gadarene : see under Theodorus,
p. 325
infra
Gelo. Described as a father and edu-
cator of Sicily,
292
Genitive absolute.' Used for the

sake of variety,
65, p. 224
Giraldus Cambrensis. On the decline
of letters in England,
p.
45
/Gorgîas. His periods and antitheses,
12, 15, 29. Cp.

pp. 25,
47, 48,
233. 234
Graces (or ornaments) of style. Com-
pression, arrangement, figures, etc.,
contribute to grace of style,
136156
Grand style : see references s. v.
'
ele-
vated,'
p. 320 supra
Gregorius Corinthius. Metropolitan
of Corinth and scholiast on Hermo-
genes,
pp.
61, 214, 222, 223,
etc.
Gripbus, i.e. mystification,
153,
? 273
Hearer. Often found where modem
writers would use
'
reader,'
p. 264
Hecataeus. Example of detached
clauses from Hecataeus,

12. Cp.
2, p.
212
Hegesias. His jerky style,
p.
20
Heine. Quoted in Notes, p. 252
Heracleitus. Chief reason of his ob-
scurity,
192, p. 244
Hermagoras. Elaborates a system of
rhetoric,
p.
21
Hermogenes and the varieties of style,
p. 27
Herodotus,

12,
17,
etc. Cp.
pp.
224, 275,
and Index II.
'
Heroic' As a metrical term,
5,
42, p. 284
Hesiod. Possibly referred to in

122 :
cp. p.
261
Hexameter. The hexameter, as the
longest of Greek poetical measures,
is suited to heroic themes,
4, 5.
Cp. p. 278
Hiatus. See references given under
(TvyKpovffis on p. 302
supra, and
under
'
Euphony ' in this Index.
Also, p. 303
supra under <xvvaXoL<(>-f}
Hiero. Mentioned, together with Gelo,
in
292
Hippias and prosody,
p.
5
Hippocrates. Quoted to show the
drawbacks of a jerky style,
4,
238. Cp.
pp.
212,
257
Hipponax. How and why Hipponax
invented the choliambic metre,

301.
Cp. p. 309, 132
History and poetry,
215, p. 247
Homer. Quoted throughout the trea-
tise, and more frequently than any
other writer : cp. Index II. (Like
other rhetoricians, the author of the
IT. ipfi. draws as freely from the
poets as from prose-writers, clearly
believing that the study of poetic
R. 21
322
DEMETRIUS ON STYLE
style should help, rather than injure,
the study of prose style : cp. p. 219
supra.) See also
pp. 213, 219, 221,
222, 225, etc.
Homoeoteleuta. Their character and
their dangers,

26
28; cp.
p. 295.
For the connexion between homoeo-
teleuton and modern rhyme, cp. p. 48
Horace and the Ars Poetica,
p. 25
Humour. Some of the examples in
128 flf. may be classified under

this head, or perhaps rather under
that of Wit,
q.
v.
Hypallage. For this figure, under the
name a'î;7raXXa777, cp.
60, p.
266
Hjrpertoole. May be employed, in
comedy and elsewhere, as an orna-
ment of style,
161, 162. But there
is danger of abuse,

124 ff. Cp.
P-
307
Iambus. The iambic measure re-
sembles ordinary conversation, and
many people talk iambics without
knowing it,
43,
p.
220
Imagery. Poetical imagery to be
avoided in prose,
89, 90
; in the
forcible style especially,
274
Imitation.
'
Imitation ' {filnrjats), in
-
the full rhetorical sense, hardly occurs
in the tt. ipfi. : cp.
pp.
21 ff.,
294
Infinitive. Used for imperative : see
p. 220, where a list of instances
found in the w. epfi. is given
Interrogation. To put a question to
an audience in such a way that it
admits of only one answer is more
effective than a direct assertion,
279
Inversion of words in the tp.
epfi.,
PP- 59 234
Ion. The young Ion in the play of
Euripides,
195, p. 244
Irony. An excellent example from the
Phaedo,

288. Cp. p.
277
Isocolon. Equality of syllables in al-
ternate members,
25,
p. 285
Isocrates. His periodic writing,

12.
The avoidance of hiatus by him and
his followers,
68,
299
: cp. Quin-
tilian's estimate of Isocrates {Inst.
Or. X. I,
79),
concluding with the
words "in compositione adeo diligens
ut cura eius reprehendatur."
Cp.
Index II. and
pp.
8^11,
47,
48,
216
Jests contrary to Expectation,
152
[t] Trapd TT]v irpoaSoKiav
xd/)is), p. 300
Johnson, Samuel. Quoted in the notes,
pp.
220,
233
Jonson, Ben. Quoted,
p. 223
Keats. Quoted,
p. 224
Knox, Jolm. Quoted,
p. 292
Lacedaemonians. Their love of brevity
in speech illustrated, and its vigo-
rous effect indicated,
7,
8, 241,
242
Late words and forms in the ir.
epfi.
:
see lists in Introduction
pp. 56 ff.,
and cp. Notes and Glossary passim
Laticlave. Supposed allusion to,
108,
PP- 53' 54.
232
Laudando praecipere. This maxim
anticipated,
295,
p. 258
Lawgiver (vofiod^Trjs). Cited as a
model of a compound word,
91
Lincoln, Abraham. His use of pro-
verbs,
p.
260
*
Longûs.
'
His attitude towards style
and imitation,
pp.
25
27
Lucidity. See
'
clearness,'
p.
319
supra
Lysias. The exemplar of the plain
style,
190. His wit and sarcasm,
128, 262. Cp. Index II. and

pp.
7, 8, 216, 217,
255
Macaulay. His style from various
points of view,
pp. 215, 239, 267
Manuscripts of the De Elocutione,
pp.
209211
Maxims. Their nature and use,
9,
no,
170, pp. 272,
273, 308
323
*
Member
'
{kwXoj'). Definition from
Aristotle and Archedemus,
34.
Origin and use,

i
7. Cp. p. 289
Menander. His ' Woman of Messenia,'
153-
Why he is popular with the
actor,
194, 195. Cp. pp. 53,
239
Metaphor. Contributes to elevation of
style, when used with discrimination,
78.
Convertible and non-convert-
ible metaphors,

78, 79.
The ex-
pansion of metaphor into simile,
80, 89.
So-called 'active,' or
'vivid,' metaphors,
81. Effective
and ineffective use of metaphor,
82, 83, 84.

Metaphors safe-
guarded,
85. Usage the true guide,
86, 87. Frigidity due to misuse

of metaphors,

116. Cp.
pp.
226,
Milton:
pp.
44,
51, 224, 253, 264,
287
'
Mirth amid tears.' The rueful laugh-
ter caused by over-elaborate style,
28, p. 288
Music. Kinds of words distinguished
by musicians,
176. Verbal music,
69-72, 174, 184, 185
Mysteries, Their allegorical (symboli-
cal, figurative) character,

loi
Naivete. Characteristic of old-fashion-
ed style,

244, p.
268
Natural expression. Its effectiveness,
27, 28, 300
Nicias. The painter Nicias and the
importance of a right choice of sub-
ject,
76, p.
226
Nireus. Homer, by employing figures,
exalts Nireus,
61, 62
Obscurity. Paradoxical, but true, that
obscurity sometimes contributes to
force,
254, p.
253
Onomatopoeic Words. Defined,
94.
Add to vividness,

220. Cp.
p.
297
Paeon. The two kinds of paeon and
their use in elevated discourse,
3841. Cp. p. 296

Parallelism of clauses.
23, 250;
p.
260
Paris Manuscript, No.
1741,
contain-
ing the De Elocutione, Aristotle's
Rhetoric and Poetics, etc.,
pp. 209,
210, 219
Parody. An instance,
150. Cp.
p. 13 n. 2
Particles. Their use and abuse,

55
58. A happy negligence in their

use,
53
Parts of speech. List of those men-
tioned in the tt. epû,.,
p. 269
s. v.
apQpov
Passion. Should be characterised by
simplicity and naturalness,

28.
See
p. 267
(dTrd^cia) and
p.
295
(Trdôs) for various references
Pergamus and rhetoric,
p. 19
Period. Definition and description,
10 ff. Number and length of

members in a period,

16
18.
Simple and composite periods,
17,
18. The historical, conversational
and rhetorical period,

1921. An-
tithetic periods,

22
24. Excessive
use of periods,
12, 303. Judicious
combination of periodic and running
styles,
15. Contrast between the
two styles,

244,
p. 287.For
periods in the New Testament, cp.
p. 26 n. 3.See also
p. 298
Peripatetics.
Referred to as writers
possessing common
characteristics,
181,
pp. 18,
53
Personincation.
Examples in
265,
266,
285, p. 300
Pheidias. The characteristics of his
sculpture,
14
Philemon. His style contrasted with
that of Menander,
193, pp.
53
244
Philip of Macedon. Why he could not
bear to hear the Cyclops mentioned,
324
DEMETRIUS ON STYLE
293:
cp. references under 'tyrants,'
p. 326 infra
Fhillstus. How his obscurity arises,
198. Cp.
p. 245
Phillips, Stephen. Quoted on p. 252
Philodemus and rhetoric,
pp. 19, 60,
218
Phrase' (/c6/t/ta). Definition,

10.
Phrases, rather than members, con-
duce to force of style,
241
; but
they may also cause aridity,
238.
Cp. p. 288
Plain style,
199-239, pp. 30, 34,
etc.
Plato. References to Plato will be
found in the sections enumerated in
Index II. and also in
37,
80,
181, 228,
234, 297.
Cp.
pp.
12
14,
227, 261, etc.
Plural. Neuter plural with singular
verb,
pp. 214, 217, 230, 252
Poetry. Rarely written in measures of
greater length than six feet,
4.
Poetic diction in prose must be used
with discretion,

112, 113
Polybius. His use of proverbs,
p.
261
Polycrates. A rhetorician mentioned
in

120. Cp. p.
234
Polysyndeton. The term itself does
not occur in the tt.
^/)/*., but see
PP-
303> 304
Pope, Alexander,
pp. 225, 233, 234,
etc.
Praetermission. A figure which makes
a show of passing over points which
are really stated,
263, p. 296
Praxiphanes. On the use of particles,
57.
Cp.
pp.
221, 222
'Principle of Suspense.' See p.
216
Prodicus. His study of etymology and
synonyms,
p.
5
Pronunciation of the letter v,
p. 224
Protagoras and grammar,
p.
5
Proverbs. The proverbs occurring in
the TT. epii. are collected on
pp. 259
262 supra
Quintilian as a student of style,
pp. 25,
44.
Quoted in the Notes and Glos-
sary passim
Quotations. Often loosely made in
the TT. e/)/x. : cp.
p. 213
Recantation. As a rhetorical figure,
148, p. 293
'
Redouble.' Puttenham's term for ava.-
5t7rXwa-ts,
p. 265
Redundancy. Illustrated in
58. Cp.
pp. 296, 298
Repetition. Words repeated for effect,
61, 62, 211

214, 267; or for
clearness,
196, 197. Cp.
pp. 265,
266,
275, 276,
280
Reticence. See under
'
aposiopesis,
'
p. 318 supra
Rhetoric of Aristotle,
pp.
14
16,
36
40. 50> 51. 209,

et passim. Cp.
Index II. s. n. Aristotle
Rhetorica ad Alexandrum. Its author-
ship and character,
pp.
ir,
59
Rhetorical terms not found in the
IT.
cpfi,.
Some of these given on
pp.
268, 286
Rhythm. Points of rhythm are raised
in
5,
6,
42, 48, 117, 183, 184,
301,
et passim. Cp.
pp. 40
if.,
271,
283, 301
etc.
Riddle. Language may become a
riddle,

102. Cp.
pp. 263,
273
'
Risky.' The word KU'8vi^J}8r)s is used
of daring experiments in the use of
language, as in

80. Cp.
pp. 270
(do"0aXi7s), 281 (^TTtcrâX^s),
287
{klv-
H
Sappho. Cp. Index II. and add
132,
166, 167
Satyric drama. Mentioned in
169.
Cp.
p. 240
Scazon. See references under
'
choli-
ambics,'
p. 319
supra
Scythians. The words dTrb I^Kvdwv
pTJffis were used proverbially for dzs-
cours d, la scythe^ Gothic bluntness,
216, 297.
Cp.
pp.
262, 300
I
325
'Shake.' As a musical term,
74,
p. 2^5
Shakespeare: pp. 41, 44,
223, 235,
236, 237,
288
Sheridan. Quoted,
p. 227
Sicily. The birthplace of rhetoric,
I
Simile. Expanded metaphor,

80,
89. Cp. p. 277
Socrates. The Socratic Dialogues
:
their method and their success,
297, 298
Sophists. Their contributions to the
study of prose style,
pp. 5,
6
Sophocles. A bombastic line attributed
to Sophocles,
114, p. 232. Cp.
pp. 44,
222, 261
Sophron. See references in Index II.
together with

128,
153
and
pp. 234,
235,
261
Sotades. The character of the Sotadean
measures,
189, p.
244
Sounds. Effects produced by the use
of harsh or sweet sounds,
48, 49,
69, 70, 105, 219, 255.
Cp.
pp. 283,
284,
286
Spencer, Herbert. His philosophical
treatise on Style,
p.
43
'Spheterize.' Used by Sir William
Jones
in imitation of the Greek,
pp. 255,
256. Cp.
278
Stesichorus. A proverbial expression
ascribed by Aristotle to Stesichorus,
99.
243.
Cp. p.
260 n. I
Stevenson, Robert Louis. His literary
essay on Style, p.
43
Stoics and rhetoric,
p. 19
Style. See the references under 'ele-
vated,' 'elegant,' 'forcible,' 'plain,'
'arid,' 'epistolary,' etc., as well as
the Introduction, Notes and Glossary,
passim.Among the many anticipa-
tions of what are sometimes sup-
posed to be modem views of style,
may be mentioned: (a) Distinction
of style shown (according to Theo-
phrastus) as much in what is omitted
as in what is said,
222; [b) 'Le
style est I'homme meme ' : this es-
pecially true of the epistolary style,
227, p. 250. As to the Greek
words for 'style,' see
pp. 32, 267,
282,
290, 307
Subjunctive. Used with et,
76, 269,
p.
226
Substance and Form in Greek critical
literature,
pp. 34
ff.
Summary of the ir. kpii.,
pp.
28
34
Swinburne. Quoted,
pp. 227, 233, 275
Syllables. Impressive effect of long
syllables at the beginning and the
end of a member,
39,
p. 219
Syllogism. The enthymeme distin-
guished from the syllogism,
32,
p. 302
Symbolical language. See under 'al-
legory,'
p. 317
supra
Symmetry. Its use and abuse,
25,
29. 53
Synaloepha. The fusion of vowels,.
70, p. 303
Syrianus: refers to
'
Demetrius,'
p.
61
Taste. Want of taste, how shown :
67, 171, pp. 265, 268
Telauges. Title of a dialogue of Ae-
schines Socraticus,
291, p. 257:
cp.
170, p. 240
Teleboas. Xenophon, in speaking of
the small river Teleboas, suits his
language to the theme,
6,
121
Tennyson:
pp. 44,
220, 221, 223, 227,
230, 231,
etc.
Tense. The use of the past tense may
contribute to vividness,
214
Text of the tt. ^/j/u. See note on
pp.
209
211 supra
Theodorus. Theodorus of Gadara pro-
bably meant in
237:
cp.
pp.
21,
54.
251
Theognis. The use by Theognis of
the expression
'
stringless lyre ' for
a bow,
85. Cp. Index II.
Theophrastus. See the references
326
DEMETRIUS ON STYLE
given in Index II. Also
pp.
i6,
51,
etc.
Theophylact. His reference to the tt.
e/3/i.,
pp. 60, 61
Theopompus. Cp. Index II. and see
also
75,
240, 250, p. 217
TlirasyTnachus and the period,
pp. 5,
6
Thucydides. See Index II. and also
40, 49,
181, 228. Cp.
pp. 5, 219,
220, etc. Stress is laid on the rugged-
ness of Thucydides, in
48
and else-
where
Tisias the pupil of Corax,
p.
2
Title of the tt. ep/i. See
pp.
61
63,
and both facsimiles
Tragedy. A 'sportive tragedy' almost
a contradiction in terms,
169, p.
306
Transitive verbs. Used intransitively,
pp. 248,
297
Trench, Archbishop. His book on
proverbs,
p.
262
Trimeter. The New Comedy uses the
trimeter,
204. Cp.
pp. 246, 306
Types of Style. See under 'style,'
p.
325
supra; also
pp.
29
34.
In one
and the same writer the elevated,
elegant and forcible styles may exist
side by side; but the elevated and
the plain types are mutually exclu-
sive,
37
'T3rrants. Various references to,
237,
289
294,
p. 258
Usage. Usage as the sovereign arbiter,
86, 91. Cp.
pp. 229, 255, 304,
305
Yarro and the types of style,
p. 25
Vaulted roof. The members of a period
are like the stones which support a
vaulted roof,
13
Verse. Metrical cadences to be used
with caution in prose,

118,
180
185. Prose has its 'members,' cor-

responding to the measures of verse,
I
Vividness {realism). This quality de-
scribed and illustrated in connexion
with the plain style of which it is so
essential an element,

208220.
Cp. p.
279
Vowels. Long vowels render style im-
pressive,
39.
Concurrence of vowels
contributes to elevation of style,
68
73;
but must be avoided in the
plain style,
207. See also under
'Egypt,' p. 320
supra
Watts-Dunton, Theodore:
pp.
35, 36
Wit. References under aaTe'Caixot, ev-
TpaweXia, and xapts on
pp. 269, 272,
283,
308. Wit and buffoonery : how
they differ,

168
Words. Order of words in the elevated
and the plain styles,
50
55^
199
201. Rugged words may pro-
duce elevation,
49,
105. Com-
pound words can be used effectively
in the elevated and the forcible
styles,
91, 92, 275;
but should be
avoided in the plain style,
191.
Formation of new words,

94
98,
pp. 297, 298.
Dithyrambic compounds
cause frigidity, 116. Kinds of words
distinguished by musicians,
176.
Picturesque words,

276.'For a list
of words occurring only in the tt. ep/j..,
see
p.
57
(together with the Notes
and Glossary)
Wordsworth:
pp. 44,
232
Xenophon. See the references in Index
II. and also
37,
80, 155,
181, 296
INDEX OF AUTHORS AND PASSAGES QUOTED IN THE
DE ELOCUTIONE.
The thick numerals refer to the sections in which the quotations are found.
Aeschines (the Orator) Ctes.
133,
267;
202, 268
Aeschines Socraticus Fragm., 206
Alcaeus Fragjn.
39,
142
Alcidamas Fragm., 116
Anacreon Fragm. 62, 6
Antiphon Fragm.
50,
63
Antisthenes Fragm.
67,
249
Archedemus Fragm., 34
Archilochus Fragm.
89, 5; 94,
5
Aristophanes Ach. 86, 161; Nub.
149,
179,
152; 401,
160
Aristotle Rhet. iii. 8, 38; iii.
9,
11, 34;
iii. II, 81. Hist. Anim. ii. 97; ix.
167. Fragmm.7i,28;6o9,233;6i5,
226; 618, 97, 144, 164; 619, 29, 164;
620, 230
Caeitarchus Fragm., 304
Cleobulina Fragm. i, 102
Crates Fragm.
7,
259
Ctesias Fragmm. 20, 21, 213; 36,
216
Demades Fragmm., 283, 284, 286
Demetrius Phalereus Fragm.
7,
289
Demosthenes Aristocr.
99,
31, 248 (cp.
n. on
p. 217).
De Cor.
3,
263; 18,
299; 71,279; 136,80,272; 179,270;
188, 273; 265, 260. De Falsa Leg.
421, 277;
424, 280;
442,
269. Lept.
init., 10, 11, 20, 246, 246. Philipp.
iii. 26, 263
Dicaearchus Fragm.
33,
182
Epicharmus Fragm.
147,
24
Euripides Ion 161, 196 ;
Meleag. fragm
.
,
68
Hecataeus Fragm.
332,
2,
12
Herodotus i. i init., 17, 44; i.
203,
66
Hesiod Op. et D.
40,
122
Hippocrates Aphorism. 1. i, 4, 238
Homer Iliad ii.
497,
64, 257; ii.
671,
61 ; iv. 126, 81; iv.
443,
124; vi.
152,
200; ix.
502, 7; ix.
526, 26; x.
436,
124; xii.
113, 111; xii. 208, 265; xiii.
339,82;
xiii.
798,
64, 81; xiv.
433,
66; xvi. 161, 94, 220; xvi.
358, 48,
106; XX. 218, 79;
xxi. i, 66; xxi.
257,
209; xxi.
388, 83; xxii.
133,
189;
xxiii. 116, 219; xxiii.
154,
67; xxiii.
379,
210. Odyssey iii.
278, 160; v.
203, 57;
vi.
105, 129; ix. 190, 52;
ix. 289, 219; ix.
369,
130, 152, 262;
ix.
394,
94; xi.
595,
72; xii.
73,
60;
xvi. 220, 67; xix.
7,
107; xix.
172,
113; xix. 518, 133; xxi. 226, 67
Isocrates Enc Hel.
17,
23. Panegyr.
I,
26; 58,
22
L3nric. Fragmm. Adesp. 126, 143; 128,
91, 262; Bergk
p. 742,
161
'Lj&\S^B Eratosth. ad init., 190; Fragmm.
5,
128;
275,
128, 262
Menander Fragm. 230,
194
328
DEMETRIUS ON STYLE
Plato Euthyd.
271
A, 226. Mmex.
246 D, 266. Phaed.
59
C, 288.
Phaedr.
246 E, 56. Politicus 269
C,
5. Protag.
312 A, 218. Rep. i. init.,
21, 205
;
iii.
399
D, 185 ;
iii.
411 A, B,
51, 183, 184. Epist.
7,
290
Sappho Fragmm.
91, 148; 92, 146;
94,
106;
95,
141; 109, 140; 122,
162
; 123, 127,
1^
Sophocles Triptol.
fragm., 114
Sophron Fragmm.
24,
151
; 32,
147
;
34,
127
;
52,
151
; 68, 156
; 108,
127
;
1 10, 156
Sotades Fragm., 189
Theognis Fragm., 85; cp. n, on
p.
228 supra
Theophrastus Fragmm. (tt. Xeêws),
41, 114, 173, 222
Theopompus Fragm.
249,
27, 247
Thucydides i. i init., 44; i.
5,
25
i.
24, 72, 199
;
ii.
48,
39 ;
ii.
49,
48
ii. 102, 45, 202, 206; iv. 12, 65
iv.
64,
113
;
vi. I, 72
XenoTglhon Aiiab. i. i init.,
3, 19; i. 2,
21, 198; i.
2, 27, 139; i.
5, 2, 93;
i. 8. 10, 104; i. 8, 18, 84; i. 8, 20,
103; iii. i,
31, 137; iv.
4,
3, 6,
121;
V. 2, 14, 98; vi. I,
13,
131. Cyrop.
i.
4,
21, 89, 274; xi. 2, 15,
134
Scriptores Incerti 17, 18, 26, 42, 63,
70, 115, 116, 117, 121, 126, 138, 145,
149, 158, 161, 187, 188, 196, 207,
211, 217, 236, 237, 238, 239, 257,
258, 265, 281, 296, 302. Cp. p.
216
CAMBRIDGE
: PRINTED BY
J.
AND C. F. CLAY, AT THE UNIVERSITY PRESS.
k
BY THE SAME EDITOR.
Dionysius of Halicarnassus : the Three Literary Letters.
The Greek text edited with English Translation, Facsimile, Notes, Glossary
of Rhetorical Terms, Bibliography, and Introductory Essay on Dionysius as a
Literary Critic. Cambridge University Press, 1901. Demy 8vo. qj-.
Extracts
from
Reviews.
'
Rhys Roberts hat durch seine Untersuchungen iiber die Schrift irtpl vrj/ovs,
Uber Cacilius von Calacte u. a, sich als tUchtigen Kenner der rhetorisch-kritischen
Schriftstellerei der Augusteischen Zeit bevv'ahrt. Dionys wird S. i
49
als ein
"literary critic" behandelt. Roberts bietet in dieser Einleitung, die zugleich als
eine Einflihrung in das ganze Corpus der opuscula rhetorica gelten soil, in seiner
Art zum erstenmal eine zusammenfassende Wurdigung der Schriftstellerei des
Dionys und eine gedrangte Inhaltsangabe der opuscula, besonders von vepi
(Tvvdecrecjs und von den drei hier veroffentlichten Briefen Die gegeniiberstehende
englische Uebersetzung, die dem Verfasser begreiflicherweise grosse Schwierig-
keiten machte, ist geschmackvoll und klar; sie hat nicht die Harten und das
Geschraubte der meisten Uebersetzungen, ohne deshalb dem Original untreu zu
werden Es ist mit Dank anzuerkennen, dass die von Roberts gebotenen
Parallelen und Erklarungen zum richtigen Verstandniss der Terminologie der
griechischen und romischen Rhetorik ein gut Teil beisteuern. Auch das chrono-
logische Verzeichniss der Ausgaben der rhetorischen opuscula und der einschlagi-
gen Einzelschriften ist eine willkommene Beigabe; ebenso die Indices der Namen,
Stellen und griechischen Worter So hat Roberts, der die einschlagige Litteratur,
besonders auch die deutsche, mit anerkennenswerter Sicherheit beherrscht, durch
seine schone Ausgabe der drei
"
Litteraturbriefe
"
des Dionys das Verstandniss des
Rhetors gefordert und zur Aufhellung der Geschichte litterarasthetischer Kritik
nicht wenig beigetragen.'Professor G. Ammon (author of De Dionysii Halicarnas-
sensis librorum rhetoricorumfontibus) in the Wochenschriftfiir klassische Fhilologie.
'En presentant annee par annee un tableau synoptique des vies de Demosthene
et d'Aristote avec I'indication des Olympiades et des archontes et avec tous les
renvois necessaires aux pages de I'edition, M. Roberts a fait un travail extreme-
ment commode et precieux.
Je
ne saurais trop non plus le remercier d'avoir fait
suivre le commentaire d'un glossaire des termes de rhetorique et de grammaire : il
y
a la 26 pages qui seront consultees avec fruit meme pour la lecture des autres
opuscules et traites. Enlin I'edition se termine par une Bibliographie et des Index.
La Bibliographie embrasse tous les ecrits de rhetorique et de critique de Denys
:
editions et dissertations ou articles de revues sont soigneusement releves et cata-
logues
;
c'est un travail absolument neuf et auquel devront desormais se referer
tous ceux qui s'occuperont de Denys Ajoutons en terminant que I'execution
typographique de ce volume est de tout premier ordre, tres agreable a I'oeil et tr^s
correcte. Denys est un auteur assez ardu : il etait bon d'en rendre I'etude aussi
attrayante que possible.'M. Max. Egger (author of Denys d'Halicarnasse:
Essai sur la critique litUraire et la rhetorique chez les Grecs au sihle (VAuguste) in
the Bulletin Critique.
'
II Roberts, che, poco tempo addietro, pubblico in bella e lodata edizione la
famosa opera attribuita a Longino sul sublime, prosegue degnamente et seriamente
la sua impresa pubblicando tre dissertazioni, in forma di lettera, di Dionisio di
Alicarnasso, concernenti anch' esse la critica retorica e letteraria; e pare che non
qui si fermera 1' opera del Roberts Ma continuando nel bel sistema adottato nel
volume del Longino, anche qui il Roberts aggiunge qualche studio speciale, per
mettere in luce la posizione di Dionisio come critico Si potrebbero addurre
numerosi esempi a provare che il Roberts procede con buoni criterii, ma qui basti
dire che gli esempi della pagina citata, la prima del testo, corrispondono a quelle
EXTRACTS FROM REVIEWScontinued.
che il Roberts ha fatto in tutto il suo lavoro, che e buono ed utile ed e arra di
buona ed utile continuazione.'Professor C. O. Zuretti in the Bollettino di
Filologia Classica.
'An excellent edition of The Three Literary Letters
of
Dionysius
of
Halicar-
nassus is the most recent work of a careful and elegant scholar, Dr W, Rhys
Roberts, who has previously edited Longinus on the SubUuie The absence of
positive reference by Dionysius either to Cicero or to any other Latin writer, is well
discussed by the editor in his estimate of his author "as a literary critic." The
editorial work is consummate throughout A writer in the Quarterly Review^
No.
384,
in order to exalt the merits of Longinus, finds it necessary to depreciate
Dionysius. Dr Rhys Roberts has put it in the power of any classical reader to
refute this unjust estimate.' Dr Henry Hayman in the Critical Review.
'
We observe, therefore, with much satisfaction, that the whole subject of
Greek criticism is being taken in hand by so sound and thorough a scholar as
Mr Rhys Roberts, and we heartily welcome the instalment of his work that has
recently appeared in his excellent edition of
"
The Three Literary Letters of
Dionysius of Halicarnassus." Dionysius is an admirable critic, manly, searching,
sane, yet capable (as his appreciation of Demosthenes shows) of genuine en-
thusiasm A better example of the value of criticism, based on definite principles
and directed towards a definite end, than the works of Dionysius cannot be found.'
Quarterly Review (No.

386).
'
Professor Roberts is prudently conscious of his author's gifts, and he has given
us an edition of his three letters which for intelligence and scholarship is beyond
censure. But he will add greatly to our obligation if he will print us the famous
treatise Ile/oi avvdâeus dyo/u.a.Tuv, of which we should welcome a scholarly edition.
For in this treatise Dionysius reviews and attempts to explain the art of litei-ature.
It is a brilliant effort to analyse the sensuous emotions produced by the harmonious
arrangement of beautiful words. Its eternal truth might make it a text-book for
to-day
.
'
Spectator.
*
In this volume every scholar will welcome with pleasure a right worthy com-
panion to the author's previous edition of Longinus
"
On the Sublime." Both are
parts of a wider editorial plan, which, after the appearance of Demetrius'
'
De
Elocutione," will culminate in a critical edition of Aristotle's "Rhetoric" and a
"
History of Greek Literary Criticism." The present work only confirms the
general verdict which, on the publication of Longinus, was passed both in England
and on the Continent, that none is better qualified than Prof. Roberts to carry so
ambitious a scheme to a successful completion A most excellent English trans-
lation is given of the three literary letters, and none but those who have endeavoured
to translate Dionysius without such assistance can either realise the difficulty of
finding proper English equivalents for the technical terms of Greek literary criticism
or fully appreciate the Ability with which the editor has accomplished both the
translation and the compilation of the invaluable glossary which is issued as an
appendix. The notes are scholarly and not too long
;
the text has had the benefit
of a careful recoUation of the Paris MS. by the editor; and the introductory essay,
which reviews the whole critical work of Dionysius and estimates his position and
value, is concise, temperate, and vcia.%ier\y.'Jotirnal
of
Edticatiott.
*
English scholarship, already under a debt to Dr Rhys Roberts for his edition
of "Longinus on the Sublime," is laid under a further obligation through the
appearance of this new work. It is amazing that the critical essays of Dionysius
have so little attracted the attention of English scholars, but we may safely con-
clude that Dr Rhys Roberts' general introduction will quicken the desire to see the
rest of Dionysius' extant works worthily edited There is no trace of effort in
the translation. Even the reader who is innocent of Greek could relish the letters
in their English dress. An introductory essay on Dionysius as a literary critic, the
Greek text, a translation, a glossary, and a bibliography combine to make the
volume singularly complete.'
Church Times.
'The translation which accompanies the Greek text in parallel pages is very
excellent, both faithful and idiomatic; while the introductory essay is scholarly.
EXTRACTS FROM REVIEWScontinued.
unassuming, and replete with all necessary information. Altogether, the editing
leaves nothing to be desired.'
Academy.
'Along with Professor Lindsay's edition of the CaptivU this book does great
credit to English scholarship. By his edition of the treatise On the Sublime, and
by many articles in magazines, Professor Roberts has marked out the Greek literary
critics as his demesne He has produced a work not only indispensable to
students of Greek but also readable to a much wider circle. His introductory
essay is excellent in matter and in manner; his translation is always successful and
often brilliant ; his notes and glossary show comprehensive and careful scholar-
ship.'
Cambridge Review.
'
An introductory essay passes the whole literary production of the great critic
under review. This is well done, and supplies a need seriously felt by English
students The book will be justly welcomed by the increasing number of scholars
interested in ancient literary criticism.'
Oxford Magazine.
'
The editor has done excellently an important piece of workone which ranks
worthily with his edition of the
"
De Sublimitate
"
and which augurs well for the
editions promised in his preface Mr Roberts' introductory essay is admirable.'
Pilot.
'We cannot speak too highly of the manner in which Professor Roberts has
performed the task of editing these letters for English scholars....The task of
understanding the often difficult text is made easy by an admirable translation.'
Educational Times.
'
Two years ago we reviewed Professor Roberts' excellent edition of
*'
Longinus
on the Sublime," and after a thorough examination of his
"
Dionysius of Halicar-
nassus," we can testify that it is worthy to rank with its predecessor as far as the
editor's work is concerned. The text has been carefully edited, after a new colla-
tion of the Paris MS., and Professor Roberts' minute knowledge of the language
of this and kindred works has enabled him to make what is probably a better
recension than any of his predecessors The translation is lucid and idiomatic,
and we think even better than the Longinus. But the introductory essay, which
takes into account the other critical works of Dionysius, is the most original part
of the book This book is the second of a series of Greek critical works which
are meant to prelude a comprehensive
"
History of Greek Literary Criticism."
The value of this attempt to make us see the Greek writers through Greek
eyes can hardly be overrated ; and Professor Roberts has again earned the grati-
tude not only of scholars but of all who are interested in fine literature.'
Literature.
'
We are always glad to see such thorough, well-equipped editions as this
proceeding from the University Presses Ease of style is more the gift of
Oxford than Cambridge, but it is pleasant to find that Professor Roberts' trans-
lation is not lacking in so essential a quality.'
Notes and Queries.

'We welcome this splendid edition of the three literary letters of Dionysius
of Halicarnassus by Professor Roberts, which is meant to serve as a companion
volume to his
"
Longinus on the Sublime," a work which is already well-known
on the Continent.'
Pall Mall Gazette.

'
Writers and speakers of the present day might do far worse than get the book
and study the words of this very eminent critic and stylist of the days of Augustus.
It is no slight aid to the acquisition of style to have the methods of the masters of
antiquityHomer, Herodotus, Demosthenes, and Thucydidesanalysed by one
who spoke their own tongue.'
St James''s Gazette.
'
Last year we were indebted to Professor Rhys Roberts, of Bangor, for the
first adequate edition of Longinus ; and now we have to welcome a fresh effort,
designed on the same general plan, and likely to add not a little to the reputation
already so justly acquired for the writer both here and on the Continent The
translation, while closely following the Greek original, is yet a model of lucid and
vigorous English.'
Daily News.
'
Every student of Greek who wishes thoroughly to understand the formal
aspects of its literature must read this writer, and he could not be read in a
EXTRACTS FROM REVIEWS-continued.
better edition. The work is worthy of its place beside its editor's
"
Longinus,"
and will substantially enrich any classical library.'
Scotsman.
'
Professor Roberts has conferred an immense benefit upon all serious students
of Greek by his scholarly and exhaustive editions of the great Greek literary
critics In taking up Dionysius, Professor Roberts, so far at least as British
editors are concerned, almost enters upon virgin soil.'
Glasgow Herald.
'
Le docteur a fait preceder ces lettres d'une introduction fort savante. C'est
une etude complete sur Denys, faite avec des documents tres riches, et un gout
exquis. Tous les ecrits litteraires sont analyses, discutes, juges avec competence
et sagacite La traduction presentait de grandes difificultes a cause des termes
techniques si nombreux dans ces lettres. Autant que nous pouvons juger d'une
langue qui n'est pas la notre, ces difficultes sont heureusement resolues. La
traduction est claire et elegante. ...Mais ce qui est appreciable surtout, c'est le
glossaire. II
y
a la des tresors d'erudition. Les amateurs de la langue grecque
se delecteront a parcourir ces petites observations sur les mots employes dans
ces lettres. La plupart de ces mots fournissent a I'editeur I'occasion de faire
des rapprochements ingenieux, des etudes souvent profondes, et de nous initier
a tous les secrets de la langue grecque.'M. Ph. Gonnet (Professor of Greek in
the University of Lyons) in the Universite Catholique.
'
M. Rhys Roberts continue, avec un zele des plus louables, la tache qu'il
a entreprise avec I'assentiment et le concours de 1' Universite de Cambridge.
Apres le Traite du sublime, dont il a public un bon texte en
1899
[Revue critique,
1900, I,
p. 3
2
3),
il nous donne aujourd'hui les trois lettres litteraires de Denys
d'Halicarnasse, et annonce une edition prochaine du irepl ip/xrjveias faussement
attribue a Demetrius de Phalere. Cette triple publication n'est d'ailleurs, dans
la pensee de I'auteur, que la preface de travaux plus importants, tels qu'une
edition annotee de la Rhetorique d'Aristote et une Histoire de la critique litteraire
en Grece. Pour mener a bonne fin une oeuvre aussi vaste, M. Roberts a toutes
les qualites requises de science et de conscience. II connait et utilise avec dis-
cretion tous les ouvrages qui touchent a son sujet ; il etablit correctement le texte
qu'il doit etudier; il montre dans sa traduction une precision elegante et simple;
dans ses notes, une sobriete assez rare chez les editeurs anglais ; dans sa preface
enfin, un gout delicat et siir. Son jugement sur Denys d'Halicarnasse, pour faire
une large place a I'eloge, n'a pourtant rien d'aveugle; c'est I'opinion raisonnee
d'un esprit juste et pondere. En outre, M. Roberts a le merite d'offrir aux tra-
vailleurs, sous la forme d'un glossaire, un excellent expose de la langue de la
rhetorique et de la critique chez Denys d'Halicarnasse ; trois index, sans parler
d'une longue notice bibliographique, achevent ce volume, qui sera bien accueilli de
tous les hellenistes.'M. AMfiDfiE Hauvette (Professor of Greek in the University
of Paris) in the Revue critique dhistoire et de litterature.
ALSO PUBLISHED BY THE CAMBRIDGE
UNIVERSITY PRESS.
The Ancient Boeotians : their Character and Culture, and
their Reputation. By W. Rhys Roberts, M.A. With a Map, a Table
of Dates, and a List of Authorities. 1895. Demy Svo. 55.
Chapters on the Aims and Practice of Teaching. Edited
by Frederic Spencer, M.A., Phil. Doc. (Including a chapter on the
Teaching of Greek by W. Rhys Roberts, M.A.) First edition,
1897
;
second edition,
1899.
Crown 8vo. ts.
Longinus on the Sublime. The Greek Text edited after the
Paris Manuscript, with Introduction, Translation, Two Facsimiles, and Four
Appendices (Textual, Linguistic, Literary, and Bibliographical), by W. Rhys
Roberts, M.A. 1899.
Demy Svo. 9J.
3S9007
s 1
N^*^'
PLEASE DO NOT REMOVE
CARDS OR SUPS FROM THIS POCKET
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loo

Vet nature is made better by no mean

has been occasionally cited iii this editioft, while

together with other undertakings such as a Study of Greek

388 B.C. and the years

probably the peroration of his Funeral

40 infra), when some

were Apollonius (120 B.C.) and Molon

30. The subjects of the three books were :

vos exemplaria Graeca

The question of imitation is eloquently treated in cc.

10, II ff. The period (7repto8os).

1218. The periodic and the disjointed style (ep/xryvcta Kare-

20. The rhetorical period (TrcptoSos prjTopLKrj).

21. The conversational period (irepLoSos StaAoytK?;).

38127. General subject : the elevated style {xapaKTrjp fxcya-

(i) Elevation in composition or arrangement, o-w^co-ts /Acya-

7888. Metaphor {fxTa<f>opd).

106III. Epiphoneme (eTrw^cuvT^/xa).

112, 113. Poetical colour in prose (to ttoltjtikov iv Xoyots).

(i) Charm and gaiety of expression, x^^P^^Ttor/xos koI l\ap6<:

209220. Concerning vtvidness, Trepl t^s ivapyeias.

22ij 222. Concerning persuasiveness, Trepl T-fjs Tn0av6TrjTo<s.

304. General subject : the forcible style (xapaKT>)p Sctvos),

(i) Forcible subject-matter, TrpdyfxaTa Scii/a,

178 {ravra fJLev

of the Polite Art of Letter-Writing.

544.It will be noticed that some of the

'figures of thought,' 'figures of speech,' 'period,'

God's in his heaven

All's right with the world!

ddpffu fioi, ddpad, T^Kvov ^i /xiyas ovpavcp

sic enim ipse censetinsolentius abutitur

prope enim centum confecit

poets as well as prose-writers. But these references

in a meaning not found before the Graeco-Roman or at all

287. The first of these examples is the most striking,

150 kcli diro

Bring water, bring wine too, page-boy^.

And Aias the mighty at Hector the brazen-helmed evermore

Not like to the sons of men, but seeming a forest-clad crest

O Zeus' seed, son of Laertes, Odysseus of many an art,

Horn. //. xiii.

' corn-convoy,' for

and low on the earth her bloom dark-splendid is shed^

as this single jest.

As Pandareus' daughter, the wan-brown nightingale,

Not again unto thee shall I come for aye,

O Evening Star, thou bringest all that's best

From 'neath his wings he pours

O Pluto, lord of sable-pinioned things,

'twere more dread than all their wings^

Pre-eminent, as mid alien men is Lesbos' bard^

See, dear, what rain of leaf and spray

A tall man's stature far excelling^

mirth in the one case, commendation in the other.

Thee I received, I bare, I nurse, O dear one*.

you of the pre-

Then shuddered the Trojans, the writhing serpent beholding.