DEMETRIUS ON STYLE

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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.

AT THE UNIVERSITY

F.

CLAY,

PRESS.

CONTENTS.
PAGE

Introduction
A.

The Study of Prose Style among

the Greeks

I.

Early Rhetoricians and Sophists

II.

Attic Orators

III.

Plato

IV.

Post- Aristotelian

and

B.

6
12

Philosophical

and

De

Elocutione.

Philo-

20

General_Aspect^...Jif.

Greek Stylistic Study

C.

16

...

Graeco-Roman Rhetorical Schools

Contents of the

Aristotle

logical Schools

V.

...

Date and Autho7'ship of the De Elocutione

/^.

28

49

I.

Internal Evidence

49

II.

External Evidence

60

Text and Translation

65

Notes

209

Glossary

263

Bibliography

311

Indices
I.

Names and Matters

II.

Passages quoted in the

317

De

Elocutione

327

Plates.
Facsimile of

1741,

fol.

226'"

To follow

fol.

245^

To face

p.

64

p. 208

Xi^euis 8^ dper^ aacprj Kal

fXT)

raveivijv eTvai.

Aristot.

Poef. xxii.

i.

IVVENTVTI

LVCIDE SCRIBENDI AC VENVSTE

STVDIOSAE

HANC EDITIONEM

iirT&qTai,

yap

Tov T^$

airacra viov \j/vxv Trepl

ipfiTjveLas dpaurfibv.

DiONYS. Hal. de Comp.

Verb. c.

i.

dib Set

Xavddveiv iroLovvTas, Kai

boKetv

/jltj

TOVTO yhp TTidapdv, iKeivo 5^ Tovvavriov'

Kaddirep rrpbs rods otvovs

X^eiv
yap

ireirXaajxhcoi

dWa

irpb^ eiTL^ovXeOovra

ro()s fie/xLyfi^vovs.

Aristot. J^AeL

And if I have done

but if slenderly

hurtful
pleasant

to

well, and as
and meanly, it is

is

delighteth the taste

of them that read the

here shall be

an
1

Cur

2, 4.

that

it is

could attain unto.

even so speech finely

And

story.

iii.

which I desired:
For as it is
and as wine mingled with water is

fitting the story,

that which

drink wine or water alone ;

and

7re0uic6Ta>s.

dLa^dWovrai,

framed

delighteth the ears

end.

Maccabees

xv. 38, 39.

pulchrum fiiit hominumque clarissimorum

domus : ad dicendum si quis acuat aut adiuvet in eo iuven-

igitur ius civile docere semper

discipulis fioruerunt

tutem, vituperetur?

Cic.

And now
enable

men

lastly will be the time to

to discourse

and write

Orator 41, 142.

read with them those organic arts which

perspicuously, elegantly,

and

be referred to

according

mean, or lozvly. Logic, therefore, so much as

this due place with all her well-couched heads and

fitted style of lofty,

be time to open her contracted

palm

into a graceful

and

is

to the

useful, is to

topics,

until

it

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

be imitating the

thought

to

against

Ctesiphon

in

Speech

conclusion of Aeschines'

the second

is possible,

it

but hardly

mind the passage of A ristotles Rhetoric

together with his own words, at the head of

probable, that he has in

which

is

printed,

A ristotle

the mottos given on the opposite page.

ifi

seems

to refer

the illustration he incidentally employs, 7iot to the mixture

the

wine of

rather

to

the

of

with the water of natural expression^ but

heady drink m,ade by mingling one wine with

His main point

another.
ftilly

style

is

that

good writing should

so skil-

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 an^arfy
That n^aturg) makes. You see, sweet maid, we marry

gentler scion to the wildest stock,

And make
By bud

conceive a bark of baser kind

of nobler race

Which does mend

The art

this is

an art

nature, change

it

rather, but

itself is nature.

Winter's Tale,

iv.

4.

PREFACE

.viii

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

other than

an ostentatious

to

forget, that art is something

eccentricity.

While the two first mottos are

{when supplemented by Shakespeare's

art

is the

handmaid and

intended

thtcs

lines) the

to

suggest

broad truth that

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

due place in the education of the young ; and Milton

sketches a course of instruction in rhetoric

which includes the

name of Phalereus {or

Demetrius of Phalerum), to whom it was traditionally attributed.
Milton s high estimate of this work was anticipated

present treatise on style under the

during the Renaissance by

Pietro

a7td

Vettori ;

ijt

'

'

distinginshed Florentine editor

its

7nodern times

French and German scholars.

So

it

has been endorsed by

that there seems

good cause

treatise, now for the first time, in an English

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.

for presenting the

dress,

The

T reatise

on Style

is,

in truth, not only a

document

which students of Greek literature and rhetoric will find valuFrom

but also a book of modern interest and significance.

able,

of view it is important
composed at a date as late

the former poijit

itself probably

the birth of Christ, it preserves

time, the teaching

lost

work on

Style.

tlie

of_ Aristotle's

And

in

to

observe that, though

as,

or even later than^

best teaching

of an

earlier

Rhetoric and Theophrastus'

a multitude of details

It

throws

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

HgJit upon

the

subtle

formal side.
But I venture
ledged

to

to

hope that the treatise will also be acknow-

have a distinct relation

to the

theory

and practice of

PREFACE
modern English composition.
best

Greek writers,

and propriety of

it

Finding

standards in the

its

advocates qualities such as purity of taste

expression which are none too

Most of its

age or country.

"modern no less thafi

to the

to

suggest

permanent

hi

and where

ancient languages ;

divergence, the very divergence is instructive.

its

common

any

detailed observations apply to the

is

there

It is in order

interest that illustrations from ^nodern

freely given in the course of the commentary.

writers have

bee7i

The Glossary

also has been

the richness of the

'

ix

De

made full enough

to indicate at once

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
from

interesting English terms may,

the lively

Puttenham has

and

for

racy Elizabethan

been occasionally cited

iii

in the field

of ancient

And

one of

must

it

Terms

is

together with other undertakings such

Gregory Smith's
be admitted that

literary criticism itself

of Greek and Latin Rhetorical

gleaned

whom

this editioft, while

Mr

others will probably soon be accessible in

Elizabethan Critical Essays.

instance, be

critics,

a new Lexicon

a great desideratum,

as a Study of Greek

Parody, and English editions of Quintilian's Institutio Oratoria

model of Dr Peterson's edition of Book X), of the Auctor

ad Herennium, of Dionysius of Halicarnassus de Compositione
{o7t

the

Verborum and de Oratoribus Antiquis, and of the Rhetorica

Alexandrum attributed to Anaximenes. As a general

ad

Index Graecitatis has not been appended

it

may

prepared one for

it

in

to the

present edition,

of saying that I have

own use a7id guidance, but have not printed

be well to take this opportunity

my

view of the length of the Glossary and the number of

made to late or otherzvise exceptional words in tJie

7'eferences

course of the Notes.

The Bibliography

is

shorter than in the companion editions

PREFACE

of Longinus and Dionysius, but only because

home and abroad,

done, at

It

is,

make

less

in connexion with the

work has

De

been

Elocutione.

think, practically complete ; no effort has been spared to

absolutely

it

In reviewing The Three Literary

so.

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
Letters of Dionysius,

pointed out that

the Bibliography

fails to include a paper by

Denys d'HaHcarnasse

sur

M.

of the Scripta Rhetorica

Le jugement de
Thucydide, which was published in
Mille, entitled

the '^Annates de la Faculte des Lettres de Bordeaux''

year 1889.

and can

/ beg

to

thank

M. Egger for supplying

during

only plead in extenuation the fact offitful access

libraries.

I shall feel sincerely obliged

will do the same service as

the full the duty

worked field

to

one

imposed upon a modern

like that

of the

classics,

to

large

any other scholars who

to

M. Egger

the

the omission,

who

editor,

recognises to
in

a long-

not only of advancing the

of his power, but also {and as

a necessary prelimi7tary) of acquainting himself with what

study of his subject

to the best

others have written in reference to

A mong the scholars

Bibliography
(

feel conscious of special obligations to

Victorius), Spengel, Schenkl,

as well as

to

it.

whose names are included in the present

more general

treatises such as

Kunstprosa and Navarre s Essai sur

avant Aristote.
the

end of

I have
it

la

eaition

Norden's Antike

Rhetorique grecque

was

only published at

year when mine was virtually

it

but

little.

My

own

finished,

and

standpoint,

so

how-

of Dr Radermacher
seems unlikely that either edition would, in any event,

ever, is in

that

last

Radermachers

been able to use

Vettori

Hammer, Durassier and Dahl,

many ways

so different from that

have been much influenced by the

point of some interest

other.

It

is,

nevertheless,

that the need of a new edition should

both in
felt, simultaneously and independeiitly
Germany and in England.
I have again to thank my friends for much kind help

have been

PREFACE

xi

rendered in connexion with the production of this book.

A. S.

Way

Mr

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,

number of

and

the

English illustrations

given in the Notes and Glossary.

Mr

G. B.

Mathews and

Mr

the favour

of reading and

contributed the greater

W. H. D. Rouse have done me

criticizing the proofs, while

and

skill

shown by

the

am

deeply sensible of

tJie

Readers of the Cambridge University

Press.

W. Rhys Roberts.

The Bank House,

South Norwood.
fuly

22,

1902.

care

INTRODUCTION.
The Study of Prose Style among the Greeks.

A.

Any

Greek theory of prose

detailed history of the

manifestly

lies

style

outside the scope of an edition like the present.

Nothing more can be attempted here than the selection of

representative names and the presentation of a fewillustrative extracts.
Some sketch of the kind, however brief
it may be, seems a convenient introduction to the De Elocutione, which is itself a treatise on the subject of Prose Style.

some

I.

(i)

Early Rhetoricians and Sophists.

Empedocles. Rhetoric, of which the theory of prose

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 ArisQuintil. iii.
totle, as elsewhere reported (Sext. Empir. vii. 6
imply
no more than that Empedocles paved
I, 8), seems to
style

is

way for a more systematic follower, perhaps for Gorgias,

some of whose favourite figures of speech are illustrated by

the

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.

about 460
^

B.C.,

Diog. Laert.

and

viii.

Corax

his aim, as a teacher of rhetoric,

57, 'AptoTorAT/s 5' iv

ry

^otfuffrrj

<f>rj<ri.v,

flourished

was

to aid

irpurov 'EfxiredoK\4a

l>riTopiKi]v evpeiv, Z-fjviava 5e StaXe/crt/c^i'.

R.

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.

probable that Corax,

It seems
manual, did not treat of the

his

in

subject of style, but confined himself to the topic of probability

{to

and

etVd?)

method of

to the consideration of the best

arranging the contents of a speech^ His pupil Tisias developed

the topic of probability in a treatise of his own, and

have accompanied Gorgias to Athens

(3)

Gorgias.

of Leontini,
the Sicilian
field

It is

in

with the arrival

who is said to have been

movement begins to make

nearly the whole of the

in

Athens of Gorgias

a pupil of Tisias, that

fifth

century

the wider

itself felt in

Gorgias, whose long

of Attic literature.

said to

is

the year 427 B.C.^

B.C.,

life

covered

was a man of com-

manding power and may

justly be regarded as the founder of

His position at Athens, and his literary
tendencies, may best be inferred from a passage of the
DioSicilian Diodorus, in connexion with one of Aristotle.
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
artistic

prose styled

the alliance, and his distinguished style appealed irresistibly

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,
At that time such
similarity of termination, and the like.
welcomed
novelty of their
were
warmly
owing
to
the
devices
craftmanship, whereas now they seem affected and ridiculous
to ears sated by their repeated use^"

to their ready wits

The chief passages

Spengel, Art. Script.^ pp. 23

Pausan.

vi. 17, 8.

Sicilian Rhetoric are

bettveen the Persian
^

483

Gorgias'

Diod.

irapaxdels

Its

Sic.

eh rbv

brought together

in

in

which ancient authors

Bibl.

Hist.

drjfxov,

is

xii.

dieX^x^rj

356.
388

350, 354

variously assigned to the years 496

long duration

refer to the

G. F. Hill's Sources for Greek History

and Peloponnesian Wars, pp.

life is

375 B.C.

26.

B.C.

and the years

not questioned.
53,

oI)to%

roh

o^v Karavri^aai

'Ad-nvalois

irepi

ttjs

els

ras 'Adi^vas Kal

av/J.fiaxLas,

^evi^ouTi TTJs X^^ews i^iir\T}^e rods 'Adr}paiovs, ovras eixpvels Kal <f)i\6\6yovs.

yap

ixP'i^o^o.TO roii ttjs

X^^ews

<rxvi^'-T'-<^l^o^^

Kal

t($

irpCoros

irepLTTor^pois Kal ry (piKoTexvlq. diacpipovaiv

GREEK STUDY OF STYLE.

The passage
"

And

of Aristotle occurs in the Rhetoric

owe

as poets were thought to

(iii.

9):

i,

fame

to their style the

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

own

criticising

him from the standpoint of

their

day, Aristotle and Diodorus have done less than true

As Strabo

Gorgias.

historic justice to

2,

(i.

6) recognises,

and the task

by imitating poetry
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
To make the attempt at all was a
so much of its charm.
great merit that it should be carried to excess was perhaps
inevitable.
It was a real service thus to have driven home
begins

prose

artistic

duTi64T0is Kai tVoJfwXois Kai iraplaoLS koL o/JLOioTeXeiroiS kuL riaip irepoLS toioOtois, a

t6t

fjt^v

dia rb ^ivov ttjs KaracrKevrjs dirodoxv^ tj^iovto, vvv 5c irepiepyLau Ix"** SoKel

Timaeus seems here

3 (a passage which
some length because of its importance from this and other
5^ irporipoi^ ovx aOrri i] 5j^a ^v, dXXA ^ov\6/Jievoi KSfffiov tlucl

Kai 0atVeTat KarayiXacrTov Tr\eov6.Ki.% koI KaraKdpojs Tidifievov.

to be Diodorus' authority

may be

quoted at

points of view), rois

TTpocreivai, rots

cp. Dionys. Halic. de Lysia,

\6yois i^7]\\aTTov rbv idnbrrjv Kai KaT^(pvyov

re TroWais XP'^M^"' foi vwep^oXais

fiTa<f>opais

dvofidruv re yXuTTrj/xaTLKWv Kai ^^vwv

5taX\a777

Kal

x/97)(ret

KaraaKevrju Kai

iroiTfTiKif}

'

oi irepl AiKi^ifxvibv
<}>pd<TL$,

re Kai

w$

(popriK-qv

alei tl dav/xa^ofiivr].

^Wats

re

ISiibrrfv.

rpoiriKah

Id^ats,

UQXov.

rjij/aTO

S^ Kai

Kal

Trj drj/xTjyoplqi,

iroiwv

ttjv

tQv iKcivov

tQu' AdrjurjaL

Topyiov dp^avros

tovto

5^

drjXoi

OiripoyKOV

Kal

^pia (pdeyybfJLevos,

'

ixkv Tifiaibs (pTjai,

vpea^eijuv KareirXri^aTo tovs dKovouras

els rrjv TroirjTiKrjv (ppdcriv,

koI tGjv oCik eludbruv axv/^^'^'-'^l^^^ "^V

ou irbppia didvpdfJL^uiv tivwv

T Kal TpoTTiKT]

vaXaibrepov

rats

t^ AXXt; Kaivokoylq. KaTairXrjTTbfievoi rbv

Topyias re 6 Aeovrluos, iu ttoXXois irdvv

cvvovaLaaTdv

/cat

c.

prjrbpiou

7/

'Adrjuai^e

tjvLk

ws 5^ rdXrjdh ^x^i, rb Kal

QovKvdidrjs yoOv b daifiovubraTOi tQiv crvyypacp^cov

v T T^J iin.Ta(f)ii^ Kal v rats drifj.T)yopiaLS iroirjTiK^ KaraffKevrj XPV<^^I^^^^ ^^ TroXXots

i^rfXXa^e ttjv epfMTjveiav

1

Aristot. A'/ieL

iii.

et's

oyKov d/xa Kal Kba/xov

i, 9, iirel 5' oi Trotrjral

TTopiaaudai ri^vde rijv 56^av, 5ta tovto

oPO/JidTiov dyjOiffrepou.

X^yovrcs evrjOv did

iroiriTtKi] trpibTirj

ttjv X4^iv

kyiveTO Xi^is, olov

17

idbKOVV
Voprylov,

Kai vvv ^Ti oi woXXoi tCjv dTraidevruiv rods toiovtovs otovrai didXiyeadai KdXXiffTa.

TOVTO

3*

o^K

de Imitat.

^(TTiv,

ii.

8,

dXX' T4pa Xbyov Kal

Tronfjaecas

X^^ij iffTiv.

Cp. Dionys. Halic.

Fo/rytaj iikv ttjv toitjtiktjv ep/j.rfveiav fieTT/jveyKev els Xbyovs toXiti-

KovSf ovK d^iujj' o/JLOiov Tbv l>riTopa tois Idnbrats ftvai.

I

,:

INTRODUCTION.

the truth, which Greece never wholly forgot, that form and
style are of the

Gorgias

importance

first

prose as well as

in

in verse.

so important a figure in the development of

is

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 supposed to be specially Gorgian.
There is antithesis every-

where.

Parisosis

seen in such balanced clauses as

is

irpo^ rov^ ^eoi*? roS hiKaiw,

aefjivol fxev

oatoi he irpo^ rov^ TOKea<^

Oepaireia,

rfj

"

BiKaioL fiev 7rpc9 tol/v daTov<s rco law,

^i\ov^

euore/SeZ? he 7rpo9 tov'^

Trlo-rec.

rj}

Homoeoteleuton appears in (TVfjicl)epov. .irpeTrov, ayaX/uLara...

There are instances, also, of compound words
.

ava6rjp,ara.

(htifka ovofxara), e.g. e/ncpvro^y eVoTrXto?, ev6py7}TO<i, (piXoKoko^i

of far-fetched or poetical words {yXcorrac),

and

TTo^o?

rd

e.g.

yap

Kai

d^

tl

Set,

yap dwTJv

ri

uu od

irpocrrjv

\a6uv

jxev rrjv

deiav

X^yeip Kai aiydp Kai

Kai

pibfXTjp,

tt]p jxkp

ddiKOJS dvcTTVXoOpTOJP,

<:Kai

iroieXp

v^fxecriv,

v^piCToi els

ei-jreiv

(f>vyu}v

toijtols

uu

dvvalfirjv

Set

avSpdci

a ^ovXofxai,

5e top dudpuirivov (pdovov

iroWd

[xev di)

rb

KOipbrarop pbfxop, rb 5iop ep t<^ dioPTi Kai

Kai

rrjs

dicrad

d'

dcrK-qcraPTes

diroTeXovpres,

fxapTijpia

<ppopifX({}

t^s

ypib/xTji

[idXiara

bet,

irpbs rb

ira^opres to d<ppop

< ttjs

<xvfji,<f)ipov,

pdo/xrjs

>

Kba/xioi eis Tods Koafxlovs, &<po^oi els toOs d<pb^ovs, deipoi

5e

to^tiop Tpbwaia iaTrjaaPTO

airrCop 8^ dpadijiiaTa,

twp

iroXe/uLiup,

elprjprjs,

oViot 5^ irpbs Toi)s TOK^as ttJ depaireiq., diKaioi

ae/xpoi /x^p irpbs tovs deoiis t<^ bt-Kaiip,

/jl^p

irpbs Toiis daroits Tt^ tai^, evae^els

8k irpbs Toi/s (pLXovs Trj iriaTei.

Toiyapovp avTU)P dirodapbPTUP 6 7r6^os

dXX' dddvaTos

aio/Jiaat ^rj

ddapdTois

Aibs jxkp

ovk direipoc o^tc e/x0i;rou''A/)eos ovTe po/xijuup epUTiav

oUre ipoirXiov ^pibos ovTe (piXoKdXov

oiiK ep

(Zp

depdiropres tCjp fxkp

KoXaarai 5^ tup ddlKcos edrvxoijPTUiP, avddoeii

TOi>s v^pLOTTds,

beipois.

dydX/xaTa,

/cat

idp>,

^ouXeOopres,

eibpyyjTOi irpbs rb irpiwop, t(^

Tols

avbpdat

tov avdddovs SiKaiov irpoKpivovTe^, iroWd 5e vdfMov dKpi^elas Xbyuv

dpdSrrjTa, toOtop po/xi^ovTes deibraTOP

ip

rois

irpoaelvat;

dec

eK^KTTjVTo ivdeov fikv rijv dper-qv, dvdpd)Tnvov 5e t6 dvrjrbv,

irpq.ov eirieiKh

ypibfirjp

avddBov;, ifju^vTov "Apeo?...

7rpaov...Tov

Gorgias, Epitaph. Fragni.

^ovXoi/jLTji' 5'

ovTOL

e.g. "Apr;?

adjectives,

irpoaeipai;

e.g. z/e/xeo-t?, Btaa6<;,

employed to denote 'courage,'

personified as Regret
and of the free use of

TOKev^: of metaphors,

ov ^ujptwp.

oi)

avpairidapep,

GREEK STUD V OF STYLE.

SucH a

vo^LlxcDv ipooTwv, kt\.^

but

estimating

in

style

its possibilities,

elaborate to weariness

is

we must remember

fluence not only on fashionable poets like Agathon, but

great prose-writers beginning with Thucydides

its in-

on

himselR

It

diffused the habit of scrupulous attention to form in prose-

much wider circle of authors than that (large

was) of the rhetorician's own immediate pupils such as
Polus, Proxenus, Licymnius, Alcidamas, Isocrates.

writing over a
as

it

From

Sophists.

(4)

its

no

eastern,

less

than from

its

western, colonies Greece received aid and stimulus in the

of an artistic prose style.

formation

Gorgias

she

learlit

the

If

from the Sicilian

beauty of
or

of eveTreca,

lesson

'

language,' she was instructed in the secrets of opdoiireca, or

correctness of langu age,' 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 quesHippias of Elis
tions and with the distinction of synonyms
;

on points of prosody as well as of grammar

Theodorus of Byzantium introduced new terms for the subdivisions of a speech. The most important of all the sophists,
from the standpoint of style, was Thrasymachus, who was

lectured

born about 457 and flourished Iro^m^^o^ 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.

was

It

According to Aristotle

pounds as
Kal ^uatfxa

to,

Cp.

iii,

IT.

and

TrT(i}x6fJi.ov<Tos

iixf/.

irpdy/xaTa
2,

(/^/leL

iii.

3),

Gorgias did not shrink from such com-

KarevopK-ncravTas,

and ad

nor from such metaphors as x^^^P^

d^ ravra aiaxp^s

fJt.eu

Tadrri koI tol tov Aeovrivov Topyiov

tCov Uepffdv Zei;s,' Kal

'

have recognised the

his great merit to

iaireipas KaKuis 8^ i64piaai.

yeXdrai ypd(/)OVTOS

'

'S^p^rfs 6

See further Blass, A/L Bereds.^

TuTres ^fixj/vxoi rd^oi.'

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

i.

63

ff.,

wdpepyov ^pyov ws

TroioiJ/ie^a,

to

5'

l^pyov

ws irdpepyov eKirovo^ixeda.

The

fullest

characterisation of the style of Thucydides will be found in Blass, Alt. Beredsr

pp. 203

244.

Cp. also Norden, Antike Kunstprosa,

Hellenica, pp. 306

grecque,

Thucyd.

iv.

c.

ff.,

pp. 155

ff.

Croiset, Thucydide, pp. 102

Dionys. Halic. de Lys.

ff.,

c. 3

52 should at the same time be consulted.

i.

pp. 96

and Histoire de

(quoted on

p. 3

lOi,

Jebb

i.

in

la litterature

supra)

and de

INTRODUCTION.

Of

period as an essential of good rhythmical prose.

the following
i/^ovXojJirjv

Twv

Kttt
'

ovk

TTjv 7roA.1v

rjytKa

e7riTpo7ri;oi/T<)v

w(rT

8aL/x(i>v

(to,?

airi-^p-q

ayopevecv

cttciS^

j|

ckciVov tov

(THOTrav

avayKa^ovrojv

8'

VWTpOL^

twu

Ti^?

/xr/Se

avrovs

(opav)
Tv;(7;s

Kai

rwv

dA.A.a
|

tovtwi'

TraXaiov
|

twv T
6p^w9

Trp(r/3vTp(ji)v

rotoirrov >//xas aviO^ro )(p6vov

15

iVTrpa^Ms)

/u.v

kol

rov

)(p6vov

tol<;

ttoAcws

rrjs

d/covciv,

<rviJi(fiopa<s

his style

^ABrjvoLOL fJieTaa)(7.v

(3

TrpayfxoLTiiiv

7rpay/xaT0)V

a specimen

is

/zcyto-ra

tol

CTnfxekrjdevToyv

avdyKY]

ras

87]

Xiyav

^ yap

avala Or]TO<i

Kaprepwraro^ icmv

rj

oort? i^aixapToivciv eavrov ert Trapc^et

Kat t^s irepoiv iTn/SovXrj^ re kol KaKta?

Tot? ^ovXofjievoLS

Se

^cwv Ipya etvai

/x:^

avTo<; vtto-

was the belief of Theophrastus, as Dionysius tells us,

Thrasymachus was the originator of that periodic structure which " presents the thought in a compact and rounded
Dionysius also states that Thrasymac hus devised a
form'^."
It

that

middle
t/

midway between

styj e^_standjing

extremes of

the

elaboration and plainness, and anticipating (in

the^tyles oiTTsocrates and

Antiphon, who heads the

Antiphon.

sense)

Attic Orators.

II.

(i)

some

Plato"'.

Attic Orators, was born about 480

B.C.,

list

Ten

of the

and was put to death

the year 411, after delivering the masterly defence so

in

highly extolled by Thucydides^

1

Divided here as by Blass, AU. Bereds?'

His dignified and austere

i.

254.

The

fragment, interesting as

does not altogether accord with the statements of Aristot. Rhet.

it is,

iii.

But the fragment itself, and the remark with which

174 fF.
introduced, should be examined in Dionys. Hal. de adm. vi die. in Demosth.
Cic. Or. 39

flf.,

(Usener-Radermacher's
prosa,
^

i.

text)

and reference should be made

to

and
it

c.

is

Norden, Kunst-

pp. 42, 43.

Hal. de Lys.

Dionys.

c.

r/

(Tvcrrp^tpovcra

to.

vorifiara

Kal

(rrpoyyOXwi

iK<p^povaa X^^ts.
3

Dionys. Hal. de adm. vi

Thucyd.

viii.

68:

y\v

die. in

Demosth.

eK TOV irpo(f)avovs irpoOvfidTaTa ^vyKaTd\6(ras top

^vvdels

Srif)

'AdTjvaicav

Tpbir(^ Kar^cTTTf is

tCjv

Kad'

yevdfiepos Kal a ypoir}

oiidipa,

dW

3.

5^ 6 ^ikv Tr]v yudifirju ravTTqv elTriov Tleicravdpos, Kal

drj/jLov

tovto Kal iK irXeiaTov

raWa

6 fxevroi atrav to Trpdyfia

^TriyueXTj^eis 'AuTL(p:ov rjp,

avT)p

dper^ re ovSevbs vaTcpos Kal KpaTiffTos ipdv/j.Tjdrjvai

eiweiP, Kal is pikp dij/jiop ov irapiwp oi)5' ^j &\\op ayupa CKoOaios
iavTbv

{jiroTTus

T(^

TrX-fjOei

Sid.

56^ap

deiPorriTos

diaKcifxepos,

ToifS

fiipTOi

GREEK STUD Y OF STYLE.

which Thucydides and he closely resemble each

illustrated by the following short example

style,

in

other,

may be

e^ov\6^r]v
iretpLav

avSp6<; rr)u hvvafiiv rov Xiyetv koI rrjv

a>

iJiv

rwv

Trpay/jLarcov

ef caov

irepa rov 7rpoa7]Kovro<;

<f>6povTO<i

ov

II

T^9 alrla^
ifjiireLpia

ov Be

Antiphon

is

fie

vvv he rov

eVSer;?

tovtw

the

first

fxe

jjuev

rS

^XcLTnei

re

ifjL-

(TV/Jb(f)opa

Treirelpafjiai

cr^jJuaTL

ivravOol ovhev

hel (roydrjvai, fxera

iv

rfj

fJuaWov rov avfi-

el/jii

ehei KaKoiraOelv

fxe

ov Trpoo-rjKovarjf;

rr}^

ra yevofxeva

yap

/iiev

8'

rov

Kadearavai

/jlol

Kal TOL^ KaKOL<; roi? yeyevrjixevot^

7j

Trj<^

ixe

/juera

oocpeXricrev

d\r)66ia<i elirovra

rov Xiyetv dhwafiia^.

rj

who

extant Greek writer

theory with the practice of rhetoric.

unites the

special interest in

the history of Greek style attaches to his Tetralogies, because

they are so closely influenced by the sophistic movement.

Lysias.

(2)

Lysias, the son of the Syracusan Cephalus,

was born at Athens, where he settled in 412 B.C. after spending 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
aytavi^oixivovi kol iu biKaaTrip'n^ Kal ev b-qfn^ irXeicFTa els dv-qp, 8<rTi$ ^vfx^ovXevcraiTd
Ti,

Kai auros re,

dvvdixevos (hcpeXeTu.

KaricrTT]]

rd

(paiverai

tGjv fi^xP'-

dlKrjv

part

styles of

i]

virb

drjfjiOKpaTia Kai is

tov

8-i^fiov

dyQvai

eKaKouTO, dptCTa

ws ^vyKaricTTrjcre, davdrov

This passage has been transcribed because (though not

of a Thucydidean

n. 2 supra.

[/j-eT^CTr]

vir^p avrCbu roiruv, aiTiadeis

^A^oC

diroXoyrjadfievos.

between the

iireidT]

TeTpaKO&lwv eu varipcf fxeTaireaduTa

tGjv

Speech)

it

may

suggest to the student a comparison

Antiphon and Thucydides

The design

cp. the references given on p.

of the present introduction

the less familiar names, e.g. that of Gorgias.

s,

rather to bring into relief

is

The direct influence of Gorgias, and

may possibly have been exaggerated

of the early rhetoricians and sophists generally,

by the Graeco-Roman
oratorical prose.

Gorgias

in

Yet

critics

all

whose thoughts were turned almost entirely to

Greek prose was intended to please the ear, and

the best

particular popularised

antithetic phrase

a fine instrument

once be loaded with thought as

valuable an instrument the \^^is dvriKei/xivr}

can be

little

in

of expression.

Let the

Thucydides, and we see

may be made.

how

" In general there

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

had hitherto been" (Thompson, Gorgias of Plato,

^

Antiphon, de Caed. Herod.,

Jebb, Att. Or.

i.

18

ff.

and

init.

The

style of

in Blass, Att. Bereds.'-

it

p. 177).

i.

Antiphon

pp. 120

ft'.

is

fully treated in

INTRODUCTION,

oratory which copied the language of ordinary

simplicity of Lysias

a studied simplicity;

is

of an art that can conceal

He

clearly.

But the

life.

the result

is

it

Dionysius points this out

itself.

remarks that Lysias,

contrast to

in

pre-

his

decessors, can invest a subject with dignity although he uses

only the most commonplace words and refrains from all

" But," he adds, " though he may
poetical embellishment.

seem

to express himself like ordinary people, he

vastly

is

any ordinary writer^" The following excellent

example of the simplicity and directness of Lysias is given
elsewhere by Dionysius
superior to

dvay/catov /xot
/cat

Cfii7S

on

6avfxa(rr],

wvl

Xeyco.

koL

Trarrjp,

aXAos

Kttt

877/x.otrta
8'

ovv

avSpcs StKao-rat,

rrpioTov

CjU,ot

yap,

otc

i(f>evyofXv,

ovTOL

avrov

avrats

Tats

Trjv

iv

T17S

ti'a

<^tXia9 ti7S

firjSeU

Kal cyto

t9 rrjv

Kal 7roA.A.a Kal

dyaOa Kal

tSio,

Tv;^ats

jxrjSeva

^fxerepav avroiv KaryX-Oofiev.

Trpay/jLciTiJiiv

Kal

)(prf(ravTO

c^vyaSes

yvwvat

twi' ctcridvTtoj/,
T7;i/

eixTreipoL,

al(T\pov

Xcyctv

ei

ot8e

OiKLaV.

io-iv

aXX'

o/x(us

fxoi

So/cct

e/AoO

ScKaia avTw ^o-qBrjaaL TrepuSetv avTov,

Isocrates.

ouv Kat

Setvorcpot

ryyciTai rrjv ifxrjv

TOVTOV Kat Seofxevov

oivv

rts Trpo-

/>tV

etvat.

(3)

^AOijva^e

/at/

olKeLOTTjra iria-TOTaT-qv

et/xl cyoj, toji/ vtt*

Kal
7rt

avrots o^iiXnv X^P'-^ ovroos oi/cetws

avSpcs SiKaaraL, ort TroXXot

to.

tovtov

Karrjyofxrjv

Trap'

rjTTLO-TaTO, OTTOTCpOS rj/Xuiv iKKTr]TO

Kat /xaXXov TOLovTiov

otos T

v/jbiav

eKCLVio

ij^aL<s

fieytcTTrjv

avTOv<s VTTihe^dixrjv, totrrc

<S

Trcpt

v/xas,

ai/Spc? hiKacTTai, $6vo<; rjv K')y<^to'oSoT09 6

*A6r]vaL(i)v 6 ^ouA.o/x.ci'O?,

Tra06vT<; utt'

^pVt/co9,

Trpos

elirclv

virkp ouScvos vfiiov TrwTrore elprjKib^ Trporepov VTrcp toijtov

d(f>LKOVTo, T/yov/xcvos

TepOV

Sokci civat,

^epevUov

Tyi%

ctvat

kcXcvovtos
/ca^'

ocrov

'AvSpo/cA-ctSov SeSofiivwv anprjOyjvai^.

Isocrates

was born

in

436

B.C.,

and died

year of the battle of Chaeroneia (338 B.C.). He was

regarded in antiquity as a disciple of Gorgias who followed
in the

his master in his elaborate attention to form, while avoiding

As

his use of poetical diction.

^

6'Tt

Dionys. Hal. de Lys.

Kat (Xefiva Kal irepLTTo.

XpiiifJ-evos

dvdfiaat

c. 3:

kwl o^k iirl toijti^ ixbvov iiraivelu avrbv d^iou, d\X'

/cat fie-ydiKoi

/cat TrotT/rt/c^s

(palveadai

o6x dirrdfxevos

6ta\^7eo-^at Sokwu irXeiarov oaov Idiibrov

^

Lysiae fragm. cxx.

virtue of aa4>Tfiveia

adduced.

is

a political pamphleteer he

rot,

irpdyfiOLTa woieT toTs koivot6.tol$

ofioius 5^ rots tStwrats

/caraff/ceuTjs

5ia(f>^pei.

Dionys. Hal. de /saeo,

cc.

6, 7.

The

cardinal Attic

as well exemplified in this extract as in any that could be

GREEK STUD Y OF STYLE.

was unsurpassed

own

in his

Through

day.

on

his influence

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
" Isocrates' great aim is
are thus described by Dionysius
beauty of diction, and he cultivates the elegant rather than
:

Htatns he shuns because it destroys harmony

of sound and spoils smoothness of utterance. He endeavours

the~plain styfe

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

Accordingly his discourses can be declaimed

forensic use.

thumbed by the

public assemblies or

in

student, but will not

stand the test of the legislative assembly or the law-courts,

where much
the period

needed of that passion which attention to

is

apt to quench.

is

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
dkX.7JX.ov^,

d\y

h\

TToAtTtKWS

ovx OTTOTcpoL

OTTorepoL

avvrjyov ou;( virep

ttXtJOov^

0)<fieXeLa.

^epaTTCVovTcs

aXX

tov

avTOV

dyaOov

iSia

Tijyv

tl

Koi

Trp6<S

XoLTTiZv ap^ovcrtv,

7roLyj<ravT^'

kol

tols

aAA.

ry

rot)

(rviJi<f)p6vTiov,

Tponov

8k

ov-^ v^pL^ovTf<i

Dionys. Hal. de Isocr.

twi/

ItTOIOVVTO

(TTOLdtL^

TO,?

aTro\e(ravT^

iroXiv

rrjv

<}>6TJ(rovTaL

CTtttptias

KoX

(UCTTC

Ct;)(OJ^,

TOv<s Tpov<s

to,

ctti

twv aA-Xwv oiwkow,

tovs "EA-Xryi/as, koX cTTpaT-qyeiv olofxtvoi

c. 2, 6 yb.p dprjp

ToO yXa<pvpC}s \4yeiv oroxctferai fidWou

-f}

oOtos tt]u eMireiav iK jravrbs diwKci

/cat

tuv re yap

ras

tov d0eXu)s.

(jitavqivToiv

twv ^X"^^ 'f'*' ''"^^ XeidTTjra tuv

re Kal k^k\(p TreptXafx^dvetv rd voifjfiaTa

irapaW-rjXovs diaeis us iKXvodaas rets apfxovias

(pddyyuu \vixaivofxivas irepdaTarai,

irepiddi^

ireipdrai pvd/xoeLdeT irduv Kal ou troXv direxovTi rod toltjtlkov fitrpov, dpayvucreuis re

fidXXou

olKi6Tep6i

iariv

iravriyijpea-L /cat Tr]v e/c

rj

Toiydproi rds

xpM^^^-

x^^P^s deutplav (p^povaiv avrov

Kal 5cKa<TT7)piots dyCovas ovx virofi^vovai.

iv

eKeivoLS

eTuai

Trapitrwcrets Kal

Set*

tovto Se ijKKTTa

rd duTidera Kal

ttSs 6

oi

fi^v

iiridei^eis

rds eV rats

\6yoi, tovs 5^ iv iKKXrjaiais

toijtov 5k aXriov, Stl ttoXi) t6 TradrjriKbv

S^x^''"'**

tQv tolovtwv

ireplodos.

at re

wapo/xoiuaeis Kal

axVf^'^'^^^ k6<xhos ttoXi^s eori Trap'

avT(^ Kal Xviret iroXXdKis tt)u dXXrjv KaTaa-Kevijv Trpoaiardixevos rats dKoa7s.
idtd.

6 Tibv irepibbwv pvd/nds, iK

wavrbs

di(J}KU)v

rb yXatpvpbv.

Cp.

c.

13

INTRODUCTION,

lo
aAXa,

Sctv

Tvpavvcti/

/at)

kox

avrwi',

fxakKov

occTTTOTat irpoaayope'vecrOai koI crwTrjpi'i a'AXa

TTOtctv

T<5

7rpocray6fjiVOL Ta<; TroXcts,

ct!

7n(rroTepoL<; /mlv rot? A.oyots

(acTirep

avayKai?

ws

<^po^'Ol)^Ts

aA.X'

lyye/AOj/c?

ou ySta KaTa(TTp(f}6iJLvoLy

vvv rot? opKOt? ^pcJ/xcvot, rat? 8c o-vv^r^Kai?

77

d^iowTcs,

ov;( ovtoj? cirt rats Sui/acrrciais /xcya

auxfipovots ^rjv cfuXoTLixov/xivoi, nijv avTrjv d^tovi/res

(Tcf)a<s

aorr; ras avrooi/ 7roA.is r;yovp.cvoi, KOivrjv Sk TrarpiSa Tr)v

/Xi/

Xv/Xc3i'? a.7roKaA.cto"^at,

Ix^^^ Trpo? rou? t^ttov? yvTrep tovs kplttov<; Trpo?

yv(jj]Jir]v

tSia

ifxfxiveLV

ctti t<3

ctti^v/xovvtc?

/u.-^

avrov?,

'EXXdSa

was the most indefatigable and successful of

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 exercises, 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
Isocrates

Among

teachers.

prose, or

but

be dry

will

it

disguised

it

nor metrical, or

art will

its

be un-

should be compounded with every sort of

rhythm, particularly iambic or trochaicl" The task Isocrates

him was, as he himself says, to use the words of
ordinary life as opposed to the far-sought vocabulary of the
set before

poets,

and

at the

same time

to

employ musical and rhythmical

language, which should be as various as the thoughts expressed^

Panegyr. 79

Isocr.

To Ephorus

X^^ews:

so

that

81

(ed. J. E. Sandys).

attributed (cp. Rhet. Gr.

is

he transmitted

his

ii.

71, ed. Spengel) a treatise

7re/ot

theoretically as well

master's doctrine

as

practically.
^
firjSe

Isocr. Tech.
^fM/xerpos,

6 (Benseler-Blass), oXws 5^

fr.

Karacpav^s ydp.

dWa

X670S

yJi]

X670S ^ru}, ^rjpbv yap-

Travrl pvdfiip,

/Mfji.ixd(>}

fxakiaTa iafx^iKi^

rj

rpoxo-'CiiV^

Isocr.

Evag.

9,

rots

yikv

ydp

ttoXXoi

iroirfTais

dednvrai

Kdcr/Jioi'

Kai ydp

Tr\r)<Tid^ouTas roi>j deods Tois dvdptbirois olbv t' avToli iroirjcrai, Kai dLoXeyofi^vovs Kal
<Jvvayu)VL^oix,ivovs ofs
dv6fJLa(nv,

dWd
rCjv

dWd

TcLcri rots eiSeat.

ToioOruUf

du ^ovX^qdCiai, Kal

rd fxh ^^voa, rd 8^
dXX'

iudvfJLTj/idTuv Tols

irepl

Kaiuois,

to6tu)v drjXQcrai.

rd di

StaTrotxrXat rijv iroirjaiv

diroTd/xcas

-rrepl

Kal

tQ)v

fjij]

fXTa((>opais,

/x6vop rots Tcrayfi^uois

Kal fiTjSeu TrapaXnreti',

tois 8^ irepl roi/s

dvofidrup

avTds Tds irpd^eis dvayKa26v

tois

\6yovs ovdiv i^ecm

ttoXitikois

i<TTi xpv<^&o-i-'

ixbvov

Kal

tQu

Contra Sophistas

GREEK STUB Y OF STYLE.

Much

of the teaching of Isocrates and his predecessors

supposed to be embodied

in

is

the treatise on rhetoric (ttoXitikoI

is the term used by the author himself)

Rhetorica ad Alexandrum, commonly (though

Xoyoc, not pr^ropLKi],

known

as the

the evidence

is

not absolutely conclusive) attributed to the

who was

rhetor Anaximenes,

a contemporary of Alexander

The work

the Great and accompanied him on his campaigns.

is

purely utilitarian in aim, and

composed

in that sophistic

which moved the indignation of Plato and Aristotle.

spirit

As

is

a practical manual for the use of the advocate

high, while in

method

its

as far as possible

it is

stands

it

lack of philosophic breadth and scientific

The bulk

removed from the Rhetoric of

of the treatise

is, naturally,
occupied
with a consideration of the proofs, presumptions, and fallacies

Aristotle.

by

the

of

aid

which a

cause

may

But it
work does not seem

rather strange that so practical a

be won.

The

recognise a separate department of style.

the chapters

24

(cc.

28)

devoted to

ambiguous

They

deal

periods,

per-

hiatus

and

particles,
avrldeatf;,

irapiorwcrL^,

parallelism in sense, structure, sound).

The Ten

Demosthenes.

(4)

two-membered

article

irapofjLoiwcrii; (viz.

phon,

as

and connective
words, and the figures

the

spicuity,

topics

contents of

or the art of

epiiTjveia,

expression, are at once miscellaneous and meagre.

cursorily with such

is

to

Andocides,

Lysias,

Attic Orators were Anti-

Isocrates,

Isaeus,

Aeschines, Lycurgus, Hyperides, Deinarchus.

Demosthenes,
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
16,

<j>r][jX

defxeu,

yap

Xa^eTv

moment\
iyui

tQv fxh idedv,

ttjv eiriar-rjfXTjv

i^

wv

to>s

\6yovs atravTas

ovk dvai tQv irdvv xa^eTrwi',

dXXd

X^yo/xev kuI <tvvtI-

/cat

-ffv

tis

avrbv Trapa8<^

firj

Tots

p^Stws

Twv

irpayixdroiv as 5et irpoeX^ffdai Kai /xi^ai vpbs dXXiJXas Kal rd^ai /card rpbirov, ^tl

t'7ri(rx''oi'/i^t'Ois,

8k tCjv KaipQv ixv 8ia/xapTiv,

KaTairotKiXai

Kal

toIs

iirifieXeias 8eTadai Kal

1

Of the

rots eldSffi ri vepi aiyrwi/'

dXXd

dub/uLaaiv

rb 8i ro&ruv e0'

eKa.<XT(^

Kai rots ivdv/j.7ifxa<ri wpeirbuTcos SXov rbv \6yov

ei/pudficas

Kal fiovaiKw^

ravra 8k

elireiu,

iroXXrjs

xpvxv^ dv8piKijs Kal 8o^aaTiK7Js ?pyov eivai, ktX.

four orators here chosen Antiphon

is

typical of the grand style, Lysias

of the plain, Isocrates of the middle, while Demosthenes

All four are students, though not

all are teachers,

is

the

of prose style.

'

Proteus

'

of style.

INTROD UCTION.

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
;

won him

of his oratory gradually

a place as a recognised

When

master, and supreme model, of eloquence.

of imitation

given

{jjbifjb'qo-K^)

the

in

rhetorical

By some

extended.

became a regular

than by Dionysius

schools,

influence

his

of the best critics

he

the practice

feature of the training

was regarded

by
as

was widely

Cicero no less

combining, with

all previous styles and

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

peculiar success, the excellences of

orators.

KaiTOL
Twi/

CTKeij/aa-O',

w avSpcs

olKLOL<i,

(JS

ovK

roivvVj ots

twv

8'

rj

)(apLt,ovd*

avToi

)^o)v

elireiv

ts

tt^v

p.6voi

8*

7ra/oa8ciy/>iao-tv,

iKeivot

(ocrTre/a

v/xas

rCtv 'EXX^yvcov rjp^av eKoi/Twv,

aKpoTToXtv avrjyayov, vinJKovev

'n-ety

8'

Koi vavfJLa)(ovvTS earrja-av TpoiraC

dvOpiOTriav

8o^ai/ T(5v (j>6ovovvr(i)v KarcAtTTov,

ktX.

KpetTTO)

(Demosth.

Tqv

Ittl

Olyjith.

rots cpyois
iii.

23

ff.).

Plato and Aristotle.

III.

Plato.

trv}

;(Ot

earai Se ySpa^vs kol

atrots ^a(TL\iv<s, wa-irep icrrl irpoirrJKOv f^dpjSapov

TToXXa 8e kol KaXa kol

OTparevo/xci/oi,

(i)

K(f)dX.aL

Aeyoi/rcs ov8' ki^iXovv avrovs

ol

raXavT

fxvpia

ravTr)v TrfV yiapav

"lEjXXrjo'i,

vfjiwu.

avSpes 'A0r]va2oL, evBaL/xoa-iv t^idTi yivicrOai.

ovToi vvv, irivrt pikv koI TirrapaKOvr

TrXctco

a tls av

l<j>

ov yap dWoTptot^ v/xtv ^poifxivoi^

yvoipifxo^ vfXLV 6 Aoyos"

dA.X

^AOrjvaioL,

Tojv Trpoy6v<x)v epyoiv kol

cTTt

In Plato (428-347 B.C.) and Aristotle (384-

322 B.C.) we
than it had hitherto occupied.

find rhetoric raised to an altogether higher plane

philosophically^

In the

Its

treatment

is

conceived

Gorgias Plato, alienated

by the

extravagances and unscrupulous methods of the sophists and

1

Conceived with a

<pi\o(To<pia

hardly be thought to have

(f>}j(Ti

ydp,

c5

fulfilled

very different from that of Isocrates,

who can

altogether the hopes expressed in the words

0i\e, ^u(TTi rts <pL\oao(f)La rrj tov dvdpbs diavoiq. (Plat. Pkaedr.

279 a).

GREEK STUD V OF STYLE.

13

own and earlier times, affirms that Rhetoric

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, including the art of expression. Be this so or not, he has in
the course of the Pkaedriis made a most important conrhetoricians of his
is

no

art but a

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

method of parody.

Lysias is thus treated in the

however,
the passage recited by
Phaedrus 230 E (where,
Phaedrus may be a genuine production of Lysias) Prodicus
indirect

Protagoras 337 A

in the

and Agathon

the Banquet

in

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
Plat.

Phaedr. 264

dXXa rbhe ye

C,

^(^ou avveffrdvai (TWfjLd ti ^xoj'Ta

dXXa

fiiaa re ^x^"'

passage
p. 188,

is

where it is
no less than

to prose

?X"s

.aXXTjXa idr}Kv.

and

A
in

H. Butcher's

aK^cpaXov eiuai

&irovv,

fii^Tc

yeypa/uifjiiva.

The

A risM/e's

to verse) as the basis of his theory of dramatic art.

tlvci.

avdyK-qv \oyoypa<f>iKifiu,

For sincerity

^TVfxos T^x^'O ^^^^

'^

firjTe

dXX-^Xots koL t(^ 6'Xy

Theory of Poetry and Fine Art^^

pointed out that Aristotle took this idea (which in Plato applies

translated in S.

ibid., ai) 5'

strong poetic

ae (pdvai &v, SeTv iravTa \6yov uxrirep

avrbv avroO, dare

&Kpa, irpiirovT

'^'-'-

olfiai

its

'''^^

dXridelas

in art, cp.
rj(f>$at

oUt

260 E
^<ttiv

y ravra ckcTuos ovtcjs

idid.,

oUre

rov 5^ X^7eiy,

fXTfj

Cp. 264 B
iipe^ijs

Jf>7](Tiv

irap"

AdKwv,

tto^' iiarepov yivrjTai.

systematic collection of the parodies and literary i-eferences found in Plato

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.

thrown on the poetic

Phaedrus (245

a),

How much

light, for instance,

the Iliad into prose narrative {Rep.

iii.
393 D, E, 394 a).
here accomplished his self-imposed task with consummate

The
skill,

has (as he was fully aware) demonstrated that to destroy the

work of

is

by Plato's references to inspiration in the Ion and the

or even by his own half-profane conversion of the opening of
art

art is to destroy the

work

of art

itself.

prose-poet has

but in so doing

artistic

form of a

INTRODUCTION.

14

and some even thought that they detected

vein,

The author of the De

fluence of Gorgias\

in

the in-

it

Sublimitate {x.m.

i)

adduces the following passage as an example of the manner

ol dpa (^povrjaew^ kol aperrff; aireipoi V(0~
(ruTTO?) of Plato
:

avvovre^

p^tat9 ^6 Kal TOL<i roiOvroi<; aei

KoX ravrr) TrXavcovrat Bia ^iov,

dvi^Xeyjrav

KaOapd^

ovr

TTcoiroTe

kcltco &)? eoL/ce (fiepovrac

Se to

7rpb<;

dv7)i>e')(BrjG-av

rjBovrj^ iyeixravTo,

dWu

aXr}66<i dvco

ovt'

ovhe ^effaiov re

Kal

Slktjv Karco del

/Soo-Krj/jUaTcov

^oaKovrac

(SXeirovre^i Kal /ceKV(j)6r<i et9 yrjv Kal 6^9 Tpa7re^a<;

Kal 6'^vovT<i, Kal vKa

')(^opTa^6jiivoL

Kal

XaKTL^ovTef;

Aristotle.

irXeove^ia^i

Kepaac

o-iSrjpot^;

Kal

dirXTjariav (PL Rep. ix. 586 A).

6irXal<; diroKTivvvovai, Bt

(2)

dXXrjXov<;

KvpirrovTe's

TOVTwv

Trj<;

perhaps to the hints thrown out in

owed the first conception of his

It is

the Phaedriis that Aristotle

great work on Rhetoric^ in which he constructs an

two books of his

arguments for use

axL-jif

The

and psychology.

rhetoric on the basis of diale ctic

first

treatise deal with the invention (evpeao^;) of

of rhetoric (deliberative,

in the three classes

forensic, epideictic)

and

this topic involves the consideration

human affections {iruOri) and varieties of character {rjOr)).

The third book treats of style (Xe^t^) and arrangement (Td^i<;\

of

and touches

The

lightly

on the subject of delivery

are devoted to the subject of style

follows,

c.

Kpcatfi).

c.

ii

and

perspicuity and

c. iii

metaphors),

c. viii

c.

vi

Diog. Laert.
eluai

Thompson's

iii.

c.
:

iv

37,

(prjai

5'

c.

ix

ApiaTOT^Xrjs ttjv

of the F/iaedrus,

p.

simile,

c. vii

tw

it

to

Norden's Kunstprosa,

i.

c.

of

:*

propriety

vivid,

c.

xi

X67a' I8^av avrov yuera^i)

the remarks on this passage in

xxiii).

Dionysius'

views as to

influence of Gorgias on Plato's style partly rest on a misapprehension.

may be made

words

writings

periodic composition.

and of making

kuI ttc^oO X670U (see, however,

edition

the

dignity of style,

style

'

from

metaphor and

prose rhythm,

x means of enlivening
^

propriety as two cardinal

chiefly

illustrated

purity of language,

ironfjfiaTos

be briefly indicated as

faults of taste (in the use of

Gorgias and Alcidamas.

of style,

may

introductory, with a glance at delivery (vtto-

virtues of style,

c.

(vTroKpoatfi).

contents of the twelve chapters of the third book which

pp. 104

113,

of the poetical and artificial elements in Plato's writing.

for

the

Reference

a general discussion

GREEK STUDY OF STYLE.

further

means of attaining

vividness,

xii

c.

attitude towards the subject of style

more

at length

36

later (pp.

the styles appro-

Of Aristotle's

priate to the three classes of rhetoric.

treat

15

will

it

40

general

be convenient to

infra),

when some

characteristic passages will be quoted from the Rhetoric

and

the Poetics.

As

practical

treatment

philosophical

Aristotle's

has

treatise

of

been

never

the

art

of

equalled.

rhetoric

But as a

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

the

collected

predecessors \

It

contents

that

in

manuals

for

rhetorical

was, therefore, with

the

their

full

condemned the

Rhetoric he

character

unscientific

subject of style

of his

and

their

earlier

assigned

With regard to
however, it should be remembered that the
was treated by Aristotle not only in the

secondary position to the question of

this latter point,

treatises

knowledge of

style.

and probably in the lost

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\
Rhetoric, but also in the Poetics^

The statement

Theodectea.

that

By the publication of the l^vvaycoyr) Texvwv

may well have regarded himself as absolved from
making

of

But

detailed

references

to

his

technical

Aristotle

the duty

predeces-

seems strange that he should take so little

account of practical orators, whether they had, or had not,
sors.

it

written Arts of Rhetoric.

It

is

well

known

that Aristotle

by actual quotations, instead of inventing 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
illustrates his precepts

Cic. de Inv.

ii.

6, dc Orat.

ii.

i6o,

Brut. 46.

The

surviving fragments of

Artium Scriptores,
Ep. ad Amm. i. cc. i, 2 etc.

the early treatises on rhetoric are brought together in Spengel's

^

Dionysius of Halicarnassus so describes

it

in

INTRODUCTION.

i6

doubtful whether he makes more than one {Rhet.

reference

to

him.

Lysias, again,

And though

most.

is

repeatedly, there

cited

is

room to doubt the stories current in anof the rivalry and antipathy existing between him and

nevertheless
tiquity

Isocrates

24, 8)

ii.

quoted three times at

is

little

Aristotle during the earlier period of the philosopher's

In the case of Demosthenes and Aristotle

though

active ill-feeling on either side,

sometimes been suspected.

It

we know

political

life.

of no

animosity has

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

Ammaeus

write his First Letter to

in

for

Dionysius to

order to prove that the

oratory of Demosthenes could not have been nourished by

But the Letter is valuable as a

reminder that the two men, the limits of whose lives are

the Rhetoric of Aristotle.

shown

there

so closely to coincide, bore traces of that feud

between the philosophers and the rhetoricians which Plato

transmitted to future ages.

Post-Aristotelian Philosophical and

IV.

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.

ten rhetorical treatises attributed to Theophrastus

Of

the

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

that Theophrastus,

of style. It is probable
himself famous for his gift of

t/iree types

who was

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
^

hope

books have survived \

to collect elsewhere the chief fragments of the Trepl A^^ews

review the scattered references

made

to the

work

in antiquity.

and to

7
'

GREEK STUD V OF STYLE.

Phalereus and Alexandria. Later

Demetrius of Phalerum, a pupil of Theophrastus, 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
(2)

Demetrius

Peripatetics.

Macedon\

of

It

with him,

is

also, that rhetoric

assume a specially scholastic character, now that

it is

begins to

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

Dionys. Halic.

Halic.

the

traditionally

(/e

pp.

more

acknowledged works are scanty

senibus adulescens, eruditissimus

quam

it

may be

well to quote the

especially as the surviving fragments of his

Phalereus enim successit eis

quidem horum omnium, sed non tam armis

Cic. Brut. 37, 38,

ille

'

itaque delectabat magis Athenienses

palaestra,

real contests^'

(quoted and translated in Dionys. of

As the De Elocutione is
43, 44).

attributed to Demetrius Phalereus,

following estimates of his style,

institutus

Antiq. Orat.

Literary Letters,

Thi-ee

processerat enim in solem et pulverem,

non

Theophrasti doctissimi hominis umbraculis.

quam inflammabat.

ut e militari tabernaculo, sed ut e

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

tione aculeos etiam relinqueret in animis eorum, a quibus esset auditus.'

delecta-

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

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.'
filiuni fuisse

Demostheni

Quintil. Jjist. Or. x.

i,

80,

inclinasse eloquentiam dicitur,

Phalerea ilium Demetrium,

mullum

quamquam

is

primus

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.

'nam fictas ad imitationem fori consiliorumque

Demetrium Phalerea institutum fere constat.
dywves, e.g. />. ad Pomp. c. 5.

4, 41,

materias apud Graecos dicere circa

Dionysius' phrase
R.

is dikT^dLvol

INTRODUCTION,

i8

Among

own numerous

Demetrius'

works, as enumerated by

Diogenes Laertius (v. 80) was di^Rhetoric, no longer extant,

which seems to have contained some interesting contemporaryobservations 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
between philosophy and oratory on the
rising Alexandria,
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

Ptolemy, the enlightened policy of

than, through

less

Alexander made itself felt in the seat of

But though the Peripatetics at Alexandria, as

Aristotle's pupil

government.

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.
;

rhetorical studies in line with the general

Nor were

movement

of Alexandrian scholarship, which concerned itself far

with the poets of Greece than with

Plut. Vit. Demosth.

is

xpofou drreipou,

rjfjiQv,

yvo'n]T

n^pcraj

/xrjS^

av ws to

ttj^

who

6),

7ei'eds

tuxv^

quotes

woWds, dXXd
x'^^^'"'^^

^acxCKia top HepaCbv,

ri

^iov

TjfjLwu

irdcnjs KpaT-qaoviTLv,

daiJvdeTOS t^xv^ f ai

wu

oi;5'

et

-ykp Xd^oire

ivravda' irevTr)Ko<TTov yap ^tos

17

av,

ov8' 6vofxa Xet^^^creTot to irapdirav, ot irdcrrjs

MaKebbves 5^

with admiration

it

irevT-qKovTa ixbvov ^tt] tuvtI to, irpb

Ma/cc56i'as

rj

deCov airoLS irpoHXeye rb jj^Wov, irL<TTev<Tal ttot

fjjkv

orators.

its

The following specimen of Demetrius' own style

preserved by Polybius (xxix.

jxr]

77

ii.

c.

more

aJs

eis

cx^^bv

ovojxa irpoTepov

vduTa irapd tov

otecrO'

av

a<xCKia tov MaKedbvwv, et ris

tovtov rbv Katphv liepawv

ttjs oiKovfj.^vrjs

rjv ;

dWd

iru>s

id^airo^ov
ij

vpbi rbv

\oyi<Xfibv Tbv Tj/j-iTepov KaivoTroioOaa,

Kal TTjv avTTJs HvafJLiv iv to7s Trapabb^ois ivbeiKvvfx^vrj, Kal vvv, ws ifiol boKcT, bdKVvai.
irdcriv

dvdpuirois,

MaKcbdva^

TavTa Tdyadk KixRVi^^^i

Bereds,

iii.

2, p.

348.

^<^^

els rrjv

^f

Ilepawv eidaip-oviav elaoiKicaaa, 8l6tl Kal to6tois

dWo

ti ^ovXeOaTjTai irepl avTuiv.

Cp. Blass, AU.

GREEK STUD V OF STYLE.

Pergamus and the

(3)

Stoics.

19

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

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
largely resembled Alexandria.

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

De Compositione Verborum^ points out {de Comp.

though
c.
the Stoics had given much attention to
expression, it was syntax rather than composition which they
were concerned with^
for his treatise
iv.) that,

Other Philosophical Schools. Like the

(4)

Epicureans were regarded

in

Stoics, the

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
^

Cp.

M. Aurel. Ant.
iii.

5 idtd.,

fi^e

i.

7, Kal

rb diroaTrjvai

Ko/xxf/eia ttju

l>T)TopLK7Js

Kal voLTjriKrjs

Cp. Dionys. of Halic: the Three Literary Letters^ p. 39.

Ibid. p. 46, ovK iirnrdpov rod ypd(f>iv 6vtos, de

Quintil.
*

ii.

/cai

dareioXoylas.

c.

24

didvoidv aov /caXXwTrtf^TW.

Comp. Verb.

fin.

Cp.

17, 15.

Cp. Cic. in Pis.

c.

29, 'est

autem

hie,

de quo loquor, non philosophia solum,

2

INTRODUCTION.

20

make

to

it is

general statements about the Epicureans, or the

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.
Stoics, or

Graeco-Roman Rhetorical Schools.

V.

(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

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
oratorical contest 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
influence of

sed etiam ceteris

quae

studiis,

[ceteros] Epicureos

fere

neglegere dicunt, per-

politus.'
1

The

following

a specimen (quoted by Phot. cod. 250 from Agatharchides)

is

of the style of Hegesias

ei

6 Zeus

t^s

rah

\diroixai.

ofxoiov ireTroirjKas,

'Adjjvais.

yhp avrai

5i70

Another, which

divided as follows

is

6 ixkv

-rrdXeis

d<f)da\fji.bs

koi

81.6

6\f/ei$.

Qrj^aiuv eKKeKoirrai

i)

may be

preserved by Strabo Geograph. 396,

\

av

cis

rbv yap ijXiov viro'

t^s 'EXXdSos ^aav

yap eh avrQv

bpOi ttjv aKphiroXi-v

'AXe^avdpe, Qrj^as KaTa<jKd\}/as,

oiipavov fiepidos e/c/3dXXot ttjv aeXrjpriv.

/car'

ir^pas dyupiQ vvv.

irepl TTjs

ir6Xt$.

e'/c

Kal to TreplrTTjs rpiaivrjs

rhythmically

iKeWt, arj/uLetou.
j

6p<a

'EXei/o-tva,

T7]v

Q-rjaeiov'

rdv lepQp ylyova

Kal

ov bivajxai drjXwffai

Hegesias in ad Alt.

xii.

'

Ka6'

iiij<rT7}%.

iv 'iKaarov.

^Keivo

AeiOKopiov

tovto

Cicero parodies the manner of

de Caelio vide, quaeso, ne quae lacuna

sit

in auro

:
|

ego

ista

accedit
laudat.'

non novi

sed

certe

sed

in

collubo

est

detrimenti

satis.

hue aurum

si

quid loquor? tu videbis. habes Hegesiae genus! quod Varro

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

ijp^e

/xaKiara rov'Acnavov Xeyo/x^pou ^t^Xov, irapatpdeipas rb KaOeaTrjKbs ^6oi rb^ Attlk6v.

The above specimens show

grandiloquent.

that the style of Hegesias

was

at

once jerky and

Another variety of Asianism, with a grandiloquence moving in

GREEK STUD V OE STYLE.

oratory continued

century

B.C.,

way

the

for this

prevail

to

when an

the

till

Atticizing

end of the second

set in at Rhodes,

movement

having been prepared, earlier in the same

Hermagoras, confin-

by Hermagoras of Temnus.

century,

ing himself almost entirely to invention as opposed to style,

on the basis of previous treatises a system of

remained a standard work throughout the
which
rhetoric
Graeco-Roman periods Around men like Hermagoras, and
(at a later time) Apollodorus of Pergamus and Theodorus
elaborated

of Gadara, gathered rhetorical

The

schools

or sects

(a/peVet?).

Rhodian rhetoricians to return to these

These
were Apollonius (120 B.C.) and Molon (80 B.C.).
principal

rhetoricians
finite

'

in the

atticized,'

sense that they followed de-

Attic models such as Hyperides, though

is

it

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

classes of this

and

Roman

the approval of the

earlier times, that

governing

Atticism triumphed and

was breathed into rhetorical studies and literary

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

new

life

criticism.

information

with

available

regard

times preceding

to the

own) to occupy an original position. He is the first

Greek rhetorician of ascertained date in whom we find re-

his

ference

made

(')(^apaKTt]p6<;

I.

to:

i.

imitation

{fxifiTja-L^),

2.

types

of

style

rod Xoyov).

Imitation.

Dionysius' lost work

Mifxr^aeo)^) consisted of three books,

On

Imitation

{irepi

and was, beyond doubt,

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.

ampler periods;

INTRODUCTION.

22

one of

most important

his

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 bibliographers of Alexandria and Pergamus must be assigned the
:

credit

of preserving classical

The Alexandrian men

authors for future imitators.

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 Demosmenes, distinguishes three types of style, the elevated

{yapaKTr]p

He

the plain

v'^jrrjXcf;),

characterises

the

and the middle

(la-^v6<;),

(/Aeo-o?).

grand, style as highly

or

elevated,

wrought^ uncommon^ studied^ adorned with every accessoiy that

art can furnish, while the plain style

is

(as its

simple and unpretending, and the middle

The

the two others'^.

elevated style

is

name

implies)

a combination of
represented by Thucyis

by Lysias, the middle by Isocrates and Plato.

In the essay on Demosthenes, and elsewhere, Dionysius seems

dides, the plain

to regard Theophrastus as the author of this threefold classi-

we have already
sometimes supposed to have invented it.
Reference has just been made to the indebtedness of
Dionysius to his predecessors. That indebtedness is great,

fication of the varieties of style,

seen) Antisthenes

I.

is

Cp. Dionys. Hal., pp. 27 30. The subjects of the three books were
itself, n. Authors to be imitated, ni. Manner of imitation {Dionys.
:

Imitation in

H., Ep. ad Pomp.

^

X^^is

/xiKTrj

c. 3).

^T]X\ayfx4v7], irepiTTrj,

7re7rX77)Ow/x.^v7; {cte
17

although (as

re

Kal

atjvderos

XO-paKT-qpoiv [ib.

cc

may be made

D. H.

to

eyKardaKevos, tois eirtd^Tois

adin. vi die. in DeiJi. c. i); Xtr^,

3, 15).

eK

Toiruv

For

p. 18.

tCjv

5vetv,

Dionysius' three

Kdcrfxais airacn <TVfA'

6.(pe\rjs, air^pt.TTo% [ib.

fxefxiy/x^vos
dpfiovlai.

e^

cc. 2, 34);

d/xcpoT^puv

tCov

or awdiaeLi, reference

GREEK STUDY OF STYLE.

23

tand owing to the loss of so large a part of Greek critical literature, 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

and

fullest representative

parts at least,
older.

But

is

is

the best

of that ancient theory which, in

as old as those writers themselves,

some

and even

should not lead us to underrate

this consideration

the merits of Dionysius himself

No

unbiassed judge can

read his critical essays attentively without admiring not only

and variety, but their excellence of workmanship

independence of judgment. Above all, Dionysius*
writings are pervaded by an enlightened and contagious
enthusiasm for good literature, and he is remarkably free
their extent

and

their

from that love of technicalities

for their

own sake which

is

apt

to beset the ordinary rhetorician

Roman Writers on Rhetoric.

(2)
from our present point of view, of the
rhetoric lies in the

It is to

fact

that

The

importance,

Roman

writers

on

they drew largely on Greek

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
laxvy)v Kal dKpi^ij

Kal doKOvaav fihv dTroirjTov elvai, KaTecTKevaatxhrjv bk

Kal a.<pe\eT KaTa<TKvf} dioKcKTov el(T<pipri" (Norden, Kunstprosa^

The
own

injustice of the italicized

words

will

rrjv

d/xojfiT^Tip

pp. 79, 80, 104).

i.

be manifest to any one

who

reads, in

its

context, the passage quoted from Dionysius, which, whether sound criticism

or not, bears upon

it

the stamp of original utterance.

against the unfavourable judgment of

It will

Norden the view

be enough to

set

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
recently expressed

This

treatise [sc. the de Compositione

some astonishment

Verborum\

that Dionysius should

if

studied carefully, must raise

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,
i.
Is there not room for an English
pp. 136, 137, 132.)
and translation of the de Compositione, with an introductory sketch of

History of Criticistn,
edition
(i)

ancient prose rhythm, (2) the order of w^ords in the classical (as compared

with the modern) languages?

INTRODUCTION,

24

Cornificius, for example, the supposed author of

sources.

ad Herennium (produced about

the Rhetorica

tions the three varieties of style

of earlier date than Dionysius^

and

85

B.C.),

he, like Cicero,

menwas

mentions

Cornificius, further,

imitation as one of the aids to oratorical proficiency^

From

many

pass

Cicero.

to

De

works, the

rhetorical

Cicero's

we

Cornificius

points with the Rhetorica

The

Iiwentione,

earliest

of

coincides

in

ad Herennium.

It follows

The

closely the rhetorical system of Hermagoras.

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
It is probably to
Ephorus, Naucrates, and Theodectes.
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

by Dionysius, that Demosthenes was the best model for

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
later

oratory, as

as

perception

delicate

his

of the different genius of

two languages, made him particularly averse from

Khet.

ad Her.

iv. 8,

11 (ed.

figuras appellamus, in quibus

Marx)

'sunt igitur tria genera, quae genera nos

omnis oratio non

vitiosa

alteram mediocrem, tertiam extenuatam vocamus.

verborum gravium

ornata constructione

levi et

unam gravem,
quae constat ex
quae constat ex

consumitur

gravis est

mediocris est

humiliore neque tamen ex infima et pervulgatissima verborum dignitate

est

quae demissa
2

/bid.

i.

2, 3

imitatio est

The

'

haec omnia tribus rebus adsequi poterimus

est

attenuata

arte, imitatione,

praeceptio quae dat certam viam rationemque dicendi

qua impellimur cum

valeamus esse
tenue.

usque ad usitatissimam puri consuetudinem sermonis.'

est

ars

exercitatione.

the

artificial

diligenti ratione ut

aliquorum similes in dicendo

exercitatio est adsiduus usus consuetudoque dicendi.'

tria genera dicendi indicated in Orator 21 are the grande,

Cp. de Or.

quiddam tenemus.'

iii.

177,

'

itaque

tum graves sumus,

See also de Opt. Gen. Or.

2.

medium and
medium

turn subfiles, turn

GREEK STUD V OF STYLE.

25

attempts to write Latin with a calculated simplicity when

charm of Lysias nor the native beauty

neither the evasive

commands

of his Attic Greek was at the writer's

may

It

Cicero,

be added here that an older contemporary of

Varro, wrote a

Trepl XapaKT-ijpcop,

a work which seems

and to have been drawn

from Greek sources. The Ars Poetica of Horace was probably 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
to have treated of the types of style

vos exemplaria Graeca

nocturna versate manu, versate diurna^.

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
In the Twelfth Book he refers
Imitatione of Dionysius.
In the tenth

to

briefly

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
atque

subtile^

robiistiim,

quod

quod

grande

Ig'^vov vocant, alterum

iihpov dicunt, constituunt

tertium

alii

ex duobus, alii floridum (namque id dvOrjpov appellant) addiderunt" (Quintil. Inst. Or. xii. 10, 58).
A good
mediiini

example of Quintilian's gift of literary appreciation

passage in which he praises Demosthenes^
(3)

The author

'Longinus.'

of the

De

is

the

Siibliinitate, like

Quintilian and like Tacitus (whose Dialogiis de Oratoribus

^

That Cicero,

Quintil. Inst. Or.

in his
xii.

own

10, 12

Hor., Ep. ad Pis., 268.

Quintil. Inst.

paene lex orandi

Or. x.

fuit

day, was attacked as Asiatic,

and
r,

76:

Dial, de Or.

c.

may be

seen from

18.

'oratorum longe princeps Demosthenes ac

tanta vis in eo, tarn densa omnia, ita quibusdam nervis

tam nihil otiosum,

quod redundet invenias.'
intenta sunt,

Tac

is

dicendi modus, ut nee quod desit in eo nee


INTRODUCTION,

26

some curious

offers

both

treatise
in the

of resemblance

points

more important

particular of

its

of eloquence), probably belongs to the

form the book

is

Greek

the

to

disputed authorship and

in the accident of its

lament for the decay

first century A.D.^
In

a literary letter which starts with a criticism

same subject by Caecilius, the

and younger contemporary of Dionysius^ Its subject,
therefore, is v-^^o^ {the sublime^ elevation of style) and the five
sources of ut/to?, viz. thought, passion, figures, diction, composition.
It cannot be said that the three types of style are
clearly recognised in the De Sublimitate, though in c. 33 al
virepfjue'yWeL^ c^uVet? are distinguished from ra^ fiev raTretva^i
Koi fjL6aa<; (f>v(Tei<^.
But the vslro^ which the treatise extols
of the treatise written upon the
friend

is

closely related to the fieyaXoTrpeireia of other rhetoricians.

The

question of imitation
The

eloquently treated in

is

question of the date and authorship of the

De

14^

cc. 13,

Subliniitate

is

of

much

importance than the due appreciation of a work so long neglected.

less

again

it

be well to quote the judgment of a modern

will

Here
"His work

critic:

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,

2

In style Caecilius favoured

In his

own

'Longinus'

tVxi'^TTjs,

style the author of the

i.

174).

Dionysius the xapa/crT^p

Ci/'os,

Plato,

Subliniitate, like

Z><?

whom

he

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
imitates, occasionally

uses

words.

poetical

a most elaborately constructed sentence

rrepl

crvvera^aTo

{jxj/ovs

pevTiavk (piXraTe
iipaTTTd/xevov

rh fxh tov KeKiXiov avyypa fifxariov

dvaaKOTrov/xhois

(h<p^\eia.v

rjs

/j.d\L<rTa

It

may be

Gramtnatik des neutestamentlichen Griechisch,

The

membered, a physician and so a man

(i)

iweidrjirep

iv

TQ/xtv

ttoWoI

vwTjp^TaL yevbjxevoi rod Xdyov

iJKi<XTa tCjv

/cat

Kaipibiv

del aroxat^crdaL tov ypdcpovra

interesting here to
p. 274)

add (from

Blass,

two of the best constructed

author of the

likely to

iirX'^'i-p't)crav

Trpayfxdrtav

f^Xw-

Hoarovfjiie

periods in the Greek Testament.

<f)op7}iih(av

Koivrj

TaireLvbrepov i(pdvr] rijs 6\-qs virod^aews

ov ttoWtjv re

TepiiroLovp Tois ivTvyxo-vovaiv, kt\.

tion,

ws oTada

ijfjuu

first

was,

it

have enjoyed a good

dvaTa^acrdai dn^rjaiu

Kadias irapidoaav r]fuv

oi

dir

will

be

re-

literary educa-

irepi

tuv

ireirXrjpo-

dpxvs avrdiTTai Kal

^5o|e Kdjxol irapi)KoXovdt]Kbri dvudev Trdaiv aKpt^ds

\

Kade^TJs aoi ypd^pai Kpdriare 9e60tXe

d<X(f>dXi.av.

Ev. Luc.

init.

iinyu(^s irepi

(2) TroXv/xepCos Kal

Tots Trarpd<rcv iv rots vpocprjrat.i

vl<^

'iva
|

6v idrjKev KKrjpovbimov irdvruv

iw' iiXXO-TOV
|

di

ov Kal

wv Karrjxv^V^ Xbyiav

ToXvrpdTrus

rQv

TrctXai 6

rrju

debs XaX-rjcras

ij/xepQp roOrojv eXdXTjaev rjfuu ev

iiroir^ffev roi/s aluiva^

6s cSv dirai/yaaixa

GREEK STUD V OF STYLE.

The

merit

great

Sublime

of the

27

that

is

it

the

fires

him to apreader with the love of noble

prehend the vast difference between correctness and creative
power, between talent and genius. The author is a rhetorician 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
literature,

Arte of English

and

forces

Poesie.

Hermogenes. The last name we need mention is

Hermogenes of Tarsus (170 A.D.), who elaborated a
system of rhetoric which long remained supreme. The im(4)

that of

portance of Hermogenes, in regard to the present survey,

is

number of
seven in number

that he does not recognise the three types, but a

The

qualities {JZkai), of style.

qualities are

clearness^ grandeur, beauty^ poignancy, characterisatioji, truth,

The

mastery^.

last quality is

"centuries earlier,

shown

in the successful applica-

By Hermogenes,

tion of the other six^

Demosthenes

is

Probably

for oratorical imitation.

as

by Dionysius two

regarded as the best model

this fact

was now so gene-

rally allowed that the earlier classification of writers according

The types of style

to styles seemed out of date and useless.
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.
;

56^775 KoX xo-po-KTrip TTJs UTTOcTTCurews aiiTOu

T^s

Svvd/jLeus

avToO

Kadapi(T/xbv

Xwavvrjs ev uxpriXois

iravra t<^ pT^fxari rrjs

to.

iKadKreu ev
\

<Ta<f)r}veia,

fi^yedos, koXXos, yopydrrjs, ^dos, aXrjdeia, deiv&rrjs.

Hermog.

ir.

a\X*

ivavTLWv

t5.

XPV'^''^

ii.

aiiTOis, Kal ?Tt 5i*

Kara Kaipbv Kal rb

Xoywv

etdeffi

oraTi/cats

17

?)

6p6r]

beivbr-qs

wv ir^pcav

irepl

tJ

criofia

cKelvcos

Some

5ia<popwTepov

rhv Xbyov earl

Xdyov ylveadai

fxkv

eidijUv

Kar

Cfirjv

yvdi/xTjv

roO X6yov Kai ruv

Tri<pvKe.

t6 yinp eh 5^ov

eldivai re Kal divaadai xp^'^^ct' Traal re

Kal Tratrais dvTtd^aeffi Kal iricTTeat evvoiaii re wpoKarapKriKais

Kal eiriXoyiKais, awXios re oirep

iroteTv xP'^o'^at 56va(rdai SeovTuis

doKei.

i)

ttuvtuu tQv re vpoeipT] /x^pojv

oiJrwj

de^iq. ttjs fxeya-

oaip

Ep. ad Hebr. I'mL

6vofxa.

oidiv

ii.

re

(f)^p(av
I

Tronja-d/xevos

ToaovTip KpeirTUV ycvSp.evos ruv dyyi\(av

trap' avToijs KK\7]pov6fir]Kv

Koi

tQv afMapTiQv

icprjv,

Kal Kara Kaipbv

rb irdai rots ire<pvK6<ri

77

ojtws ov<Ta

rj

Kara-

(Tui/xa

Xoyov

deiyorrii e/xoL

ye

elvai

passages of Hermogenes will be found translated in Jebb's ^//. Or.

pp. 73, 298.


INTRODUCTION.

28

Contents of^the De Elocutione. General

Aspects of Greek Stylistic Study.

B.

In the following summary, as

into

division

which

chapters,

in

the printed text, the

adopted simply

is

venience, has no manuscript authority ^

for

con-

The division into

to recommend it,

sections has tradition, as well as utility,

having been introduced by Petrus Victorius

for the

of the translation and notes in his edition of 1562.

purpose
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
A minute subdivision, ill-suited for narraParis and Lyons.
tive and epistle, serves conveniently enough for the precepts
of a rhetorical treatise.

SUMMARY.
Preliminary Remarks on the Period^

/.

The members

8.

The

9.

'

phrase

'

'

(KwAa)

and

etc.

their appropriate length.

(KOfifxa).

The period (7repto8os).

The periodic and the disjointed style (ep/xryvcta KareNumber of members in a period.
a-Tpafxfxevr), epfxrjviia Styprjixevr]).
historical
The
period
(TrcptoSos
la-TopiKrj).
19.
20.
The
rhetorical
(TrcptoSos
prjTopLKrj).
period

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

10, II

ff.

12

18.

22

24.

IXVO)v

kojAwv

Symmetrical members (KduXa

25.

26

Periods formed of contrasted members

(i$

dvTtKct-

TrepioSoL).

29.

Members

with

Trapo/xota).

similar

terminations

(6/xotoreAcvTa).

Cautions with regard to their use.

Difiference between
The enthymeme {ivOv/xrj/xa).
33 30
enthymeme and period.
The member (kwXov) as defined by Aristotle and
34j 35-

Archedemus.
1

list

of the Greek headings found in

course of the critical footnotes.

1741 will be given later, in the


SUMMAR Y AND

37.

[The four types of

plain

(to-xvos),

36,

are

the

ASPECTS.

29

The four Types of Style. The Elevated

//;

Style.

style (xapaKrrjpc^ rrj^ p/u,r/vas)

the elevated

{fiiyaXoirpeTrrj^),

the

elegant

(y\a(f>vp6^), the forcible (Sctvo?).

38

127.

General subject

the elevated style {xapaKTrjp fxcya-

with the following subdivisions

XoTrpcTTifs, s. Aoytos),

(i)

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

(2)

Elevation in subject-matter, Trpay/xara /xeyaXoTrpCTr^ (=8ta-

3^74

\oTrpeTnj<s,

voia fiiyaXoTrpeirrj^), 75, 76

113

(3)

Elevation in diction, Ac^is /xcyaXoTrpcTnys, 77

(4)

Frigidity {to \(/vxp6v) as the correlative vice of the elevated

style,

114

127.

three points:

very

acme

[Like elevation, frigidity arises at

(i) SidvoLa, (2) Xc^i?, (3) a-vvOea-L^.

of frigidity

is

reached

in hyperbole,

The
124

126.]

Subsidiary topics in the following sections

78

59
68

^7-

Figures of Speech

74.

Hiatus (o-vyKpovcns

91

Metaphor

88.

89, 90.

(a-xyjp-aiTa

Xc^cws).

(fxovrjevTwv).
f

{fxTa<f>opd).

Simile (ctKao-ta) and imagery (Trapa/JoX^).

93.

Onomatopoeic or coined words

(ovo/xara

Treiroirf-

fX.va).

102.
Allegory {aKX-qyopLo).
99
103
105- Brevity, aposiopesis, indirect and harsh-sounding

106

expressions, etc.

Epiphoneme

III.

(eTrw^cuvT^/xa).

Poetical colour in prose (to

112, 113.

//4^ The Elegant

128
<f>vp6<i),

189.

General subject

ttoltjtikov iv Xoyots).

Style.

the elegant style (xapa'cr^p yA-a-

with the following subdivisions and topics

(i)

Charm and

Xoyos, 128
(a)

gaiety of expression, x^^P^^Ttor/xos

172.

Kinds of grace and

CV TLCTLV,

128

their elements,

136.

tcSt;

koI

l\ap6<:

rolv xP""<^^ '^^^

INTRODUCTION.

so

Sources of grace,

{b)

Sources

(a)

tottol

x^piTos, 137

TTJs (rvvOe(re(as

Kttt

162.

and composition, ToVot

diction

in

Xc^ccos

Tr}<s

Tr}<s

Figures, etc. 137

155(p)

Sources in subject-matter,

tottol

twv

irpayixartav

Proverbs, Fables, Comparisons, Hyperboles,

156

162.

Difference between the ridiculous {to yeXolov) and the

(c)

charming

163

(to evxapt),

ovofiaTa xaXa kol Xeta), 173

172.

Elegant composition, crw^ccris

(4)

Affected style

of the elegant

style,

(xapoLKTiijp

186

235.

y\a<f>vpd,

179

General subject

Style.

the plain style (xapaKn^p icrxvos),

(1)

Plain subject-nmtter, TrpdyfiaTa la-xvd, 190.

(2)

Plain diction,

190, 191.

Xc'^is io-^vt;,

(3)

Pi^in composition, uvvOean^ to"xW)

(4)

Arid style {xapoKrtjfi

191

203.
220.

22ij 222.

223

235.

o-ToXtKov

ft.

'lowing sections

stage-style arid

KpLTCKwv Kat Trepl

209

208.

the correlative vice of the

^qp6<i) as

Concerning clearness,

concernmg

204

236239.

Subsidiary topics in the

185.

KaKo^rjkos) as the correlative vice

The Plain

with the following subdivisions

plain style,

yXa-

189.

IV.
190

(Xc^ts

178.

(3)

Elegant diction, beautiful and smooth words

(2)
<f>vpdi:

etc.

irepl ttjs a-acfyrjveLa?.

concerning repetition,

iTravaX.rjxj^eoi'S,

194

Concerning vtvidness,

ff.]

Trepl

Concerning persuasiveness,

t^s ivapyeias.
Trepl

Concerning the epistolary

;(apaKTi7pos.

as a blend of the plain

This

is

[Also:

Trepl vtto-

T-fjs

style,

Tn0av6TrjTo<s.
Trepl

tov

ein-

to be regarded (cp. 235)

and the graceful

styles.

SUMMAR V AND ASPE CTS.

V.

1240

304.

The Forcible_Style^

General subject

with the following subdivisions

the forcible style (xapaKT>)p Sctvos),

(i)

Forcible subject-matter, TrpdyfxaTa

(2)

Forcible composition,

(3)

Forcible diction,

(4)

Concerning the graceless

-rvpos,

Subsidiary topics

287

298.

299) 3-

Scii/a,

272

240.

241

a-vvOio-Ls Setvrj,

Xc'^ts SeLvrj,

271.

286.

style, nepl tov axapiTos x'^P^'^-

301304.

Concerning figured language,

TLO-fievov

-rrepl

tov

ia-xqfjia-

\6yov.

Concerning hiatus

in

forcible

passages,

-n-epl

(rvyKpova(t)s ev SetvoTiyrt.

would no doubt be possible, with a little straining,

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 repedigressions may be inferred from the above
The
titions.
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
rcov Be
178 {ravra fJLev Brj TraparexvoXoyeio-do) dWox;.
It

to give

elprf^evwv
Ti exovra).

ra

ovofjudreov

What he

\ela

/jlovu

here means

is

Xijitreov

that

it

0)9

yXacfyvpop

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.

examples will be found in

are compared respectively with

titions

however, despite

whole,

121,

6,

repetitions

Of

220, 243, 248,

94,

and

99,

31.

repe-

these

if

On

digressions,

wears an unpretending and business-like

largely because it wastes few words in making

the
the

and

treatise

air

this

its

points

has

many

and has no formal introduction or conclusion.

Though the treatise is uneven in execution,

it

general excellences as well as numberless merits of detail.

^

The

irregularity of structure

monotony, as when
X^|is are

(in the

may,

to a certain extent, be intended to avoid

treatment of the types of style) wpdyfxaTa, avvdeais, and

arranged in almost every possible order.

INTRODUCTION.

32

general excellence

Its chief

and a

that

is

Greek

diligent study of

brings a refined taste,

it

literature, to

important subject of the types of

bear upon the

Among

style.

merits of

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
detail (and

it

is

52) or of natural expression

or reiterated conjunctions

music

(6i, 62, 268), of verbal

(^

omitted
accumulated figures

27, 28, 300), of

( 64, 63), of

( 184, 185, 69, 174),

themes and expression

132

styles in combination

15)^;

or in his similarly felicitous

warnings against the dangers of bombast

The

traditional

of the treatise

title

( 121,

by

The word

since

Xe'^ts.

that

is

may

It

Coiice^ming

meant prose-writing^. The

employed by Aristotle and

Tr]v eppi7)veiav rrjv \oyLKrjv is

this sense

is

occurs in the opening section, where

k^^r^viHo.

usual Greek term for style

.Theophrastus,

304)-.

izepX 'Ep/jn^veia^,

is

the best available rendering of which in English

Style.

of graceful

of the periodic and resolved

ff),

be, that the use oi kpfirjvda in

was favoured by the

approximations to

it

Isocratic school of rhetoricians,

are found

in

the Rhetorica

ad

Alexandrum^.

The framework

of the treatise

^ The same judicious regard

and of the types of style ( 36,

Among

example of

for variety

to

supplied, as will have

seen in the treatment of hiatus

68),

37).

longer passages,

"How

is

is

223235

Write a Letter"

are specially interesting as an early

(ttcDs Set

eTrtorAXeti'

is

the heading in P),

of the Polite Art of Letter-Writing.

3

Ox prose-composition,

For a

Glossary

(s.

in the

wide modern sense of the word composition.

word ipfiTjveia, reference may be made to the

further discussion of the

v.).

SUMMARY AND
been

ASPECTS.

by a description of the

seen,

(%a/3a/cT7)/369

tt)?

It will,

kpfirjveia^).

33

ty pes

four

of

style

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
will

type

it

ismade

clear that

any one of t he four

typej^

blen d with any ot her, th e only exception being that the elevated

wHLji^

unite with the ^lain J)^e, of which

The union

it

is.

the direct

and grace, is seen in

Homer's poetry, in Plato's dialogues, and in the writings of
Xenophon, Herodotus, and many others.
The elevated style
has three aspects
th e tho ught,
the diction, and the composition.
Paeonic rhythm, at the beginning and the end of the
members,' contributes to elevated composition
e.g. Thucyd. ii.
Long members and rounded
48, r/piaro Sc to kukov $ At^ioTrtas.
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;
In
and by figures such as anthypallage^ epanaphora, anadiplosis.
elevated diction metaphors, brief comparisons, compound and coined
words (oVo/xaTtt TTCTToiry/xeW) should be employed, and a sparing
Thucydides is regarded as the leading
use made of allegory.
opposite.

of elevation,

force

'

'

'

example of the elevated style. The vice corresponding to elevation

frigidity, of which
a definition is given from Theophrastus.
Frigidity, like elevation, shows itself in thought, diction and com-

is

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

brevity;

sentence

significant
;

are such as harmless pleasantries; pointed

words added unexpectedly

the figures anadiplosis, anaphora,

of proverbs, fables, comparisons, hyperboles

beautiful

and smooth words.

to metrical effects

are quoted from

is

at

and the
;

like

end of a
;

the use

the use Hkewise of

In elegant composition

admissible.

the

some approach

Illustrations of the graceful style

Sappho among poets and Xenophon among proseXenophon) Plato and Herodotus, and

writers, while (in addition to

in

some degree Demosthenes,

are held to exemplify this style in

the special province of composition.

R.

The

perverted variety of the

j^

INTRODUCTION,

34
elegant type

mannered

the affected or

is

particularly affects anapaestic rhythms.

The plain

v/^

type (of which

presentative) aims

language of ordinary

It

life.

coined words, asyndeton, and

which

in

composition

189.

may be

Lysias

and

128

taken as the

re-

and draws on the

avoids strange compounds, as well as

clearness

at

style,

all

simplicity,

ambiguities.

It

favours epanalepsis,

or the repetition of connecting particles for the sake of clearness;

with the same object,

it

one thing twice over;

will say

it

avoids

dependent constructions, and adopts the natural order of words;

it

employs simple periods, but shuns long

members,' the clashing

'

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
of long vowels

obverse

is

This

the dry, or arid, type.

in

illustrated

is

aspects of thought, diction, and composition.

190

the three

239.

\/_ The jprcible typ e (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.

may be employed

and

allegories

The

close ot the^period will be "strongly

will

'

'

'

will

be

be serviceable, and so generally will any form of speech which

more than
same may be

implies
the

marked; 'phrases

members
harshness of sound will not be shunned
and rhyming terminations will be avoided; aposiopesis

preferred to
antithesis

Proverbs

with effect in the forcible styleT^

it

Mordant

says.

wit contributes to force,

and

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,
hiatus.
style,

The

which

is

euphemism,

closely allied to frigidity.

240

shows that the

treatise

answers to
sty/e, in

its

title,

is

the graceless

304^

general view of the entire contents of the

cerned throughout with

allegory, hyperbole, figured speech,

vicious extreme of the forcible type

Trept 'Epfi7}vla<;

that

itjs_cpn-

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.

SUMMAR V AND
which

will include ^^^i^tiott-

ASPECTS.

35

and compositioni

The thought

(or subject-matter), as distinguished from the expression,

subject

pointed out in

is

75 that a great
be spoiled by poor writing, and conversely in

but cursorily treated.

may

It is

134 that good subjects can be enhanced, and unpleasant subjects rendered attractive, by a writer's skill. In

133)

y6 the remark

is

made

that " the painter Nicias regarded

the subject itself as part of the pictorial

legend are a part of poetry

art, just as

and
irepl

own treatment of his chosen

rather how impossible, it is to

how

or

difficult,

discriminate precisely between substance and form I

practical purposes the distinction

one, as

plot

and the author of the

himself shows, in his

'Epfir)vLa(;

theme,

"

we

is

Yet

for

a useful and necessary

if we look at the surviving body of

Divide this body for our present purpose
(viz. (i) Aristotle, (2) Dionysius of Hali-

see at once

Greek criticism.
into two parts^
carnassus, the

the

Trepl "Tyjrov^,

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

The

than with substance*.

1

historical

and personal reasons

Diction covering the choice of wo rds, 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 plerumque optima rebus cohaerent et cernuntur suo lumine ; at nos quaerimus ilia,
tanquam lateant seseque subducant. itaque nunquam putamus circa id esse, de quo

dicendum

sed ex

est,

aliis locis

aggredienda eloquentia

est,

petimus

quae

et inventis

vim

reponere non existimabit ad curam suam pertinere."

Dionysius

agrees with Quintilian in subordinating the words to the sense,

tion should be
\i^t

rk

made:

^oiiXfrai 5^

fully the irpay/xaTiKbs rdiros

Comp. Verb.
^

The

c.

i]

distinc-

ry

(which taxes to the utmost the maturest powers, de

as well as the XeKTi/c6s rh-Kos.

i),

distinction

than in Aristotle.

made above

is

intended simply to imply that X^^ts receives

ir. i}\l/ovs,

and

in the

ir. ep/j..,

In particular, such minute analysis as Dionysius gives of the

literary styles of individual authors is

nor of any other Greek

In his article

{de Isocr. c. 12)

any such

in his literary estimates, discusses

comparatively far more attention in Dionysius, in the

if

(pdais toIs vorj/xaaiv 'iireadai tt]v Xi^iv, oi

Dionysius himself accordingly,

voT^fiara.

maiore animo

afferimus.

toto corpore valet, ungues polire et capillum

si

found in the extant work neither of Aristotle

critic.

Poetry' in the Encyclopaedia Britannicay

Mr

Theodore Watts-

INTRODUCTION.

36

have already been glanced

for this in the case of Aristotle

But the general question of

at.

requires

some

of

itself

in

it

attention,

we

\{

and to compare

Aristotle's attitude to style

are to form a fair estimate

satisfactorily with that of

it

the later Greek writers.

On

the one hand

it must be admitted that Aristotle, in

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
It is not simply that invention is
his surpassing genius.
discussed at much greater length than style, and that the
all this
latter finds no place in his definition of rhetoric
we might have anticipated for various reasons which need
Nor is it simply that, in the comparanot now be stated^
tively small space allotted to style, questions grammatical
this is a feature
rather than literary are sometimes raised

his writings as they

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

The substantial fact is

made for the fragmentary

peculiarly arid points of grammar.

that,

when

all

allowance has been

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 o Jiis__ownL
century seems to cause him nQ,_conce rn {Rhet. iii. i, 9), nor
does he appear to observe the corresponding decline in
Dunton

says

"Perhaps the

substance, and not form,

is

first critic

who

tacitly revolted against the

dictum that

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,

dominated

all criticism after as

well as before Dionysius."

however, subject

however,

This statement

is inte-

to the qualification that the later

resting

and suggestive.

critics,

such as Dionysius, probably drew largely from Theophrastus' lost

It is,

Trepi

A^^ews, 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

sine elocutione

follows^ ioTia
^{Rhet.

i.

non

est oratio" [Inst. Or.

Stj prjTopiKT]

c. 2 init.).

dwa/xis wepl

ii.

nisi

15, 13).

iKMrov rod

inventionem complecitur, quae

Aristotle's definitionj;uns_as^_

deupija-ai rb evdex^fievov

indavbv

ISUMMAR

V AND ASPECTS.

37

was a great
But among the
contemporary oratorical prose, some of whose secrets (as it
seems to modern readers) might have been usefully discussed
and this is
in the Rhetoric, was that of Demosthenes
Aristotle's omissions on the aesthetic
practically ignored.
side are supplied by the Graeco-Roman critics, and the
true

Aristotle

that

|)oetical

genius.

[scientific

thinker living in an age of prose.

It

is

Sublime eloquently proclaims how

genius transcends mere correctness and propriety.
Treatise

On
^ style,

other hand,

the

where

himself in

if

good

*'

implied in these, words

It is

style has virtues as well as (graces, grac^es^s well

found

Or, to adopt a distinction

as virtues.
critics,

of good

w^. desire a defimtjon

we find a better than that given hy_Aristotle

the Po etics
The perfection of stvle is to be
shall

clear wi thout being meah^'/

that

true

far

the

ojt

in tne

later

there are in style not only necessary virtues (aperal

dvajKalai), but accessory virtues (aperal eTrlOeroiy.

ness

(aa(j>')]V6La)

like

its

of

virtues

allied

(EWr}VLcr/jb6^),

was included

it

brevity

was perhaps

former category

in the

(avvrofjula)

less systematically

and

Clear;

and

purity

taught than

those accessory arts (such as the heightening of style) which,

powers
examples
be, best inculcated through
of its opposite, as when ^ra^laxa^r^^imnXAes^e illustrated
by Aristotle (Rhet. iii. 5, 4), or as when Dionysius'xondemn^
the obscurity of Thucydides (de Thiicyd. cc. 50, 51).
Some
according
Clearness

positive

to

is,

Dionysius, best

it

an

reveal

orator's

may

precepts of a useful kind are, however, given in

De

Elocutione, 196
198, with the curious addition
that
clearness
must
studied most of all in the plain
be
203)
(

the

Aristot. Poet. xxii.

Butcher's translation).

to prose as well as poetry

arjuHov yap

elvai.

on

X^^cwj 5^

is

clear

6 \6yos,

Taireivrjv yu^re virip rb d|iw/ta,

oil

a.pf.rnf\

(ra<f>ij

That Aristotle intended the

iav

dWA

from
firj

J^/iet. iii.

kuI ht\ Taveip^v elvai (S.

2,1: wpladw Xi^eus

SrjXoi, ov iron^crei

irpiirovaav

i]

H.

definition to apply substantially

yap

dperr] aacprj

t6 eavrov ^pyov nal

troirjTiKri

taus ov

Taireivri,

ixrjre

dX\'

trp^TTovaa Xdytp.
2

list

of both kinds will be found in Z>. JI. {Dionysius of Halicarnassus : the

Three Literary
^

Letters), p. 172.

Dionys. Hal. de Thucyd.

8vuafxi.s.

c. 23, k^ ihv /idXio-ra SioSt^Xos

r\

tov p-^opos ylverai

INTRODUCTION,

38
or unadorned

type of composition.

parts of style

As

the

more showy
it was
a

apt to engross attention,

are so

great thing that Aristotle should have^ssigned to perspicuity

This gives that indispensQuintilian

laid upon it when
emphasis
which
able quality the
he said that the speaker must look to it that his hearer shall
not merely understand, but shall find it absolutely impossible

the

first

place in his definition\

to misunderstand^.

In the

gains

same passage Quintilian points out that a speaker

credit for mere correctness and clearness
if he

little

employs no artistic embellishment, he seems rather

free from faults than to show striking excellence^

to

be

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

He

to

some extent

ironical.

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
next to it comes the forensic. It is
fact meant to be read
;

jdle to

make

the furthe r distinctio n that^tyle

Why

tive or elevated.

must^e a'tgag^

should those qualities be attributed to

any other moral exmentioned will manifestly

make it attractive, unless our very definition of good style
This is the sole reason why it should be clear
is at fault.
It fails in clearness both
and not mean but appropriate.
when it is prolix and when it is condensed. The middle
path is clearly the fittest. And so attractiveness will result
it

rather than self-control, or nobility, or

The

cellence?

is

And

in the

qualities already

second half

it is

noteworthy that

/ttr;

Taireiv-fiv is

used

meanness

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 writing that vice of 'ecrire trop bien' which, according to
M. Anatole France, is the worst of all.

non
*

Quintil.

viii.

intellegere,

Quintil.

-z,

24: **quare non ut intellegere possit, sed ne omnino possit

curandum."

viii.

3,1: " venio nunc ad ornatum, in quo sine dubio plus

quam in
nam emendate quidem ac lucide dicenvitiis carere quam ut aliquam magnam

ceteris dicendi partibus sibi indulget orator,

tium tenue praemium

est,

magisque ut

virtutem adeptus esse videaris."

SUMMAR V AND
^Bfrom

ASPECTS.

the elements already mentioned,

^Htion

39

suitable combina-

of the familiar and the unusual, rhythm, and the per-

^Wsuasiveness which

f^ several

the outcome of propriety ^"

is

There are

points of great interest in this passage.

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

mean

the doctrine of the

It is interesting, too, to see

historians.

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
i^ro

the same time that Aristotle does not approve the use, in

connexion with
such as

'

terms denoting personal qualities

style, of

attractiveness

'

and

alludes with disapproval to

tion of styles which

early definition or classifica-

that the elements of an attractive

To

have already been described.

style

Possibly he here

elevation.'

was being mooted by Theophrastus or

He points out

Theodectes^.

'

some

this

it

might be

replied that types of style will vary greatly according to the

manner

which the various elements are combined and

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
in

this Aristotle

Aristot. Rhet.

a&rijs avdyviccns'

iii.

12, 6:

devr^pa 5e

ij

7/

t^kv

del Kal jxeyaXoirpeTTTJ, ireplepyov ri

dWr]

ildovs dperri ;

wpKTTai

7]

odu iirideiKTiKT} X^^is ypa(f>LK0}TaT7j' rb

yap fxdWov ^

rb 8^ i^beiav elvai

dperi] ttjs X^^ews" tLvos

yap

yap ^pyov

rb bk irpoadiaLpeicrdai ttjv \4^lv, 8tl

diKaviKT^.

iroL-qcei

ijde'iav

au}(f)pova Kai iXevdipiov Kal et tis

on rd

drfKov

'^veKa del aa(pri

yap d5o\(rxVi ov aatprjs, ov5i dv

Kal rb rjSeiav rd elp-qp.iva iroiricrei, du

Kal

eiprjixiva,

eiirep

TaTreivrjv eTvai

fJLT)

irpiirovaav ; &v re

avvrofioi.

(jAcov dpp.6TTi.

ev fiiX^Vi

opdm
dXXd

dXXd. SjjXov otl rb

"^^

eiiodbs Kai ^pik6v,

Kal b pvdiu.6s, Kol rb in.davbv iK rod irpiirovTos.

-

Quintil. iv.

communis

modo
^

vult esse

Aristot.

Twv dbdv

2,

est virtus,

quam Theodectes
iii.

And

7,

8: to

5'

eiiKalpus v

he might have added

precept: cp. Dionys. Hal. de Comp. Verb.

<f>i\6ao(po$ els

rbbe xp^f^ov

much must depend on

t^x^V

(^pi-o^^v.

how

c.

No

/J-V

cum

ita

huic uni proprie dedit

verum etiam iucundam expositionem."

R^eL

ia-riv.

63: "ilia quoque ut narration! apta

Cp.

ceteris partibus

non enim magnificam

rr. ipfx..

114.

evKaipus XP^O"^"" Koivbf dirdvTwv

difficult

it is

to teach this tact

12, KaipoO d^ oCre prp-up

matter

how many

rules

by

oddds oOre

may be

the individual's sense of Kaipbs, to irpiirov, Tb /xiaov.

given,

INTRODUCTION.

40

minutiae of expression
trasted with

The

modern

conspicuous, especially

is

when con-

laxity.

assiduous care devoted

attainment of beautiful

form

is

by Greek

writers

attested not only

the

to

by the

excellence of their writings themselves, but by the stories

told in antiquity concerning the industry with

which Plato,

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 sometimes pushed too far, is found on examination to have a
solid basis of fact.
For example, the long list of figures
attributed
to Demosthenes shows, if it shows
(axv/^ara)
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
Isocrates,

down for the structure of the period (TreptoSo?), with its

members {icwXa) and phrases {Ko^jxara) and by the con;

siderations which are

to determine

the admission or
avoidance of hiatus {ov^icpovai^ (fxovrjeuTayv).
And it has
been reserved for the scholarship of our own time to show
in detail

sthenes

that the

is

said

measured march of the prose of Demo-

largely due to the fact that as far as possible he

avoids the occurrence of three or more consecutive short

form part of a single word, or of two

as to be practically one.
The rhythmical prose of Demosthenes may be regarded

syllables, unless these

words so closely connected

as

hitting

the

mean between

the

metrical

restrictions

of

poetry and the untrammelled licence of ordinary conversa-

The Greek theorists saw how sensitive even an ordinary

audience was to the pleasure of musical sound
Dionysius

tion.

gives

some

illustrations of the

striking

fact

2.

They

felt,

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
therefore, that prose

For the Demosthenic

figures, see

Rehdantz-Blass, Demosthenes'
sche?'

Index, passim.

Neun

Blass,

AU. Bereds.^

iii.

D. H.

1598".,

pp.

Philippische Reden: Rhetorischer

and

und Stilisti-

p. 14.

SUMMAR V AND
Most Greek

prose.

prose,

it

ASPECTS.

41

must always be remembered,

originally intended for the ear rather than for the eye

was
and

later times,

in

author's

the

voice,

when he could no longer listen

lover of literature employed a

to the

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 ^"

we never

But, surely,

feel,

to take the case of poetry

was straitened because he

that the genius of Shakespeare

wrote

in verse

nor do we find

itself,

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

restraints of

of law.
are

It

may

somewhat

opportunity

in

the so-called

they move most freely within the bounds

be, however, that the rhetoricians themselves

form

to

blame

unlock the secrets

for this prejudice

of literary

in their zeal to

expression they sometimes

between the methods by which

composes and the analyst decomposes, between
the method of life and the method of dissolution, between
They seem sometimes
creative fire and cold criticism.
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
In a sense
through the stages of instinct, habit, and art.
he absorbs all processes, and is modest enough to remember
that there is withal an element of happy chance in composition,
that " skill is in love with luck, and luck with skill \"

seem

the

to ignore the difference

artist

Mahaffy, Classical Greek Literature,

Agathon's line rkxvr\

Aristotle

Studies, XX. 46).

played by

r()X*\

in

human

nuxw ^anp^e
is

ii.

Kai

p. 192.

r^xv t^X^W

(cp'

Journal of Hellenic

fond of quoting from Agathon lines showing the part

action.

Cp.

tt. (I^. ii.

3.

INTRODUCTION.

42

Granted, however, that the Graeco-Roman rhetoricians sometimes 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

upon modern

lost

and we cannot

readers,

to endorse

fail

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

He was a
and holds up Demosthenes
as a model, pointing out that Demosthenes in his turn had
imitated Thucydidesl
No higher standard than the Demosthenic 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

his analysis of the great writings of the past.

believer in imitation

{[jbiixrja-Ls;),

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

A. C. Bradley's recent Inaugural Lecture on Poetry for Poetry's Sake,

I

can see

this

much, that the translation

hands and of

their

And

Mr

"But

'and were stretching forth their hands

far less vivid picture of the outstretched

remaining outstretched, and a

shore and the longing of the souls.

this sense are

(sc.

bank ') conveys a

in longing for the further

p. 25:

it

far less

poignant sense of the

does so partly because this picture and

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

long sound 'or' in the penultimate syllables of 'ulterioris amove'

much more, apprehended

identity of the

all this,

and

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

many

minds, quicken the sense of beauty; and in so doing

itself,

even to those

who

least like to see the secrets of literary

It is in the best sense educative,

and so

is

it

this will, in

will surely justify

beauty investigated.

a similar analysis of other Virgilian lines

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.
in

Dionys. Hal. de Thucyd.

imitation, but

it

c.

53.

The De Elocutione presupposes the habit of

does not often refer directly to

of Herodotus and Thucydides, as imitators,

is

it,

though

in 112, 113 the practice

contrasted.

SUMMAR V AND
it

may have

tended to

stifle

ASPECTS.

43

and

to discourage

originality

In the so-called 'classical' criticism of the

independence.

and eighteenth centuries of our own

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

sixteenth, seventeenth,
era,

it

The

writer
it

gives a

great use of the imitation of masterpieces

young

that

is

and reveals

writer hints in craftsmanship

if carried to excess
to him hidden beauties in his models
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

various as Walter Pater {^Appreciations, pp.

writers as

36),

Walter

Herbert Spencer {Philosophy of Style),

Earle
{English
Prose, pp. 334
368), *G. Saintsbury
J.
{Specimens of English Prose Style, pp. xv. xlv.), and J. A.
Symonds {Essays Speculative and Suggestive, i. pp. 256 331
Raleigh

{Style),

and

ii.

29)2.

style, and still more

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

glance at these English books on

at French

and the

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

Some ancient excesses, such as the applicaterm figures of speech to words like iamiam and

like^

tion of the
^

remains,

still

'

'

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. 236

261 (Edinburgh

edition)

"it

is

a singularly sug-

which has always been considered too vague and

any rate since the days of the classical writers on rhetoric,

gestive inquiry into a subject

difficult for analysis, at

whom
^

Stevenson had never read"

To

this list

may be added

{Life,

ii.

p. 11).

the introductory notices in the five volumes of

Craik's English Prose Selections.

^

Period, colon,

punctuation.

and comma with a change of meaning now do duty

for

terms of

?<

INTRODUCTION.

44

Miberum/ have it is to be hoped disappeared, leaving

only what has been proved by experience to be of permanent 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 divi sion for modern purpos es^ nce in English poetry
the eleva ted 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)

the subject generally.

in

some

signs of failing interest

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

Lyons and Bordeaux with the teaching of Quintilian^

of

And

yet,

and so

even

rhetoric,

which

Wilhelm Scher^r

France, the study

in

in ancient

times was widely cultivated

"Die

{Poetik, p. 50):

Lehre vom Ausdruck die

said to be declining

is

(antike) Rhetorik hat ferner

fiir

die

Tropen und Figuren so reich ausgebildet,

For 'iamiam' and 'liberum' as figures
dass die ganze Folgezeit nichts hinzufugte."
of speech, cp. Quintil. ix. i, 16; and for 'dead figures of speech, 'see J. P. Postgate's
Classification der

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

have formed of such

lines as

to ask

what estimate an ancient Greek

Browning's in Pippa Passes

critic

would

God's in his heaven

All's right with the world!

He

would probably have decided that they lacked /MeyaXoirpiireia (cp. tt. epfi. 5),
an example of which he might point to Sophocles' rendering of the same

for

idea

ddpffu
ZeiJs,

fioi,

ddpad, T^Kvov ^i /xiyas ovpavcp

0$ itpopg, irdvra Koi Kparijvei.

Browning's lines he would presumably refer to the

(Soph. El. 174.)

xapa/cTTj/) 1<txv6s

and praise them

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

if

that
^

was

in close touch

with the spoken language.

Quintilian was of Spanish origin.

His name,

Aper in the Dialogus de Oratoribus, suggests

compared with the Teutonic, were to have
criticism.

in

Gaul Marcus
which the Latin races, as

like that of the

the start

the field of rhetoric or literary

SUMMAR V AND
and
is

ASPECTS.

45

the middle ages was one of the subjects of the trivium^

in

being threatened in her great modern stronghold.

the more reason that other countries,

if

All

they hold the view

own language correctly and beautifully

no small part of a true patriotism, should be ready to
learn from the lessons of the past\
that to write one's
is

One

of these lessons

is

the perennial nature of the anti-

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
But certain passages of Cicero, Dionysius,
define exactly^
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
thesis,

In the Brutus, Cicero describes eloquence (at the

to judge.

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^.
Dionysius dates the decline of the

In the

same way

ancient and philosophic

from the death of Alexander of Macedon, and

the scandalous ways of the meretricious
Quintilian, again,
rhetoric which had usurped its placed
rhetoric

'

vividly

depicts

Gerald of Wales, writing at the beginning of the thirteenth century and

lamenting the low ebb to which

be judged from
to

have

in

England, seems

(as far as

can

on the importance of "recte lepide ornate loqui," and to have

"non solum in trivio, verum etiam in authoribus et philo-

laid stress

recommended

had sunk

letters

fragmentary text and from subsequent references to his views)

his

training

sophis" (Brewer, Giraldi Cambrensis Opera,

iv.

pp.

7, 8).

The difficulty is noticed by Wilamowitz-Moellendorff in his paper on Asianismus und Atticismus (Hermes, xxxv. i ff.). The recent literature of the subject is
'^

reviewed by

Ammon

in Bursian's

Altertumswissenschaft, xxviii.
^

Cic. Brut. 51

insulas

atque

omnemque

ita

illam

"nam

1,

yahresbericht iiber die Fortschritte der dassischen

pp. 206

211.

semel e Piraeo eloquentia evecta

peregrinata tota Asia

est,

ut se

est,

externis

omnes peragravit

oblineret

moribus

salubritatem Atticae dictionis et quasi sanitatem perderet ac

loqui paene dedisceret."

*
is

Dionys. Hal. dc Antiq. Orat.

not mentioned in the

writers.

ir. epfx.,

c.

cp.

D, H. pp.

which however seeks

its

43, 44.

The controversy

models

in the best Attic

INTRODUCTION.

46

remarks that Asiatic oratory lacked judgment and restraint

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
that,

Graeco-Roman

of the

critics,

as a reversion to the classical

models, and Asianism as a literary degeneracy showing

chiefly,

but not entirely,

It was,

above

and

we

writers

find

style

in the want of the Attic sense of measure

Asianism declared itself. Among the Attic
examples of the stately as well as of the

all,

fitness that

plain

itself

the use of excessive ornament.

in

among

Asiatic writers, emulators of the

the

But among the latter

wanting and this makes all the difference
They made no attempt to preserve that taste through constant
contact with the Attic masterpieces, or through the study of
rhetoric as an art rather than as simple declamation.
In Latin literature of almost every period Asianism had
This is also true of
its advocates
and representatives.
plain style as well as of the stately.

the Attic taste

2.

is

Atticism, which readily

commended

itself to

the severity of

Roman character.
Rome that Dionysius

indeed,

taste so characteristic of the

It

to the ruling classes of

ascribes the

Quintil. Inst. Or.

ac

modus

viii.

(defuit)"; ibid.

prooem. 17: "his

xii.

10, 17:

"quod

(sc.

is,

Asianis) iudicium in eloquendo

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:

optimum genus Atticorum.

iudicium acre tersumque

multum
quadam
nentes.
istius

and

ita

"nemo

igitur dubitaverit,

longe esse

quo ut est aliquid inter ipsos commune, id est

ingeniorum plurimae formae. quapropter mihi falli
in

videntur, qui solos esse Atticos credunt tenues et lucidos et significantes et

eloquentiae frugalitate contentos ac semper

nam

quis erit hie Atticus?

nominis modum."

sit

After mentioning in

others, Quintilian proceeds:

manum

intra pallium conti-

Lysias; hunc enim amplectuntur amatores

this

way

Isocrates,

Antiphon, Isaeus

"quid denique Demosthenes? non cunctos

sublimitate, impetu, cultu, compositione superavit?

illos

non
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

tenues et circumspectos

vi,

insurgit locis?

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
He
effect, was no extreme adherent of the Attic school.
this
cannot have failed, though he nowhere expressly assigns
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) simIt was rather in the rich
plicity is apt to end in baldness.
periods of Isocrates that Cicero found his model for that
Latin rhetoric which writers of modern Europe have so often
and it is therefore not easy to exaggerate the
imitated
influence of this Attic orator upon the development of artistic
prose.
And if this be true of Isocrates, it applies to his
There is, in truth, something strangely
master Gorgias.
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
Nevertheof Hegesias, the supposed founder of Asianism^.
less it was a great achievement to establish the doctrine that
Only at
prose no less than poetry should be artistic.
;

a comparatively recent stage of modern literary criticism

was

it

recognised

not 'natural'

Gorgias no doubt saw

time

the

that

poetry but

this,

and

Iliad

artificial

as

in

did

the

Odyssey are

the highest degree.

Dionysius at a later

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.

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
Personally Gorgias

is

to a ripe old age, attributing

(it is

said) his longevity to the

D. H.

pp. 34, 35.

See

Ci^. iii. 2.

TT.


;;

INTRODUCTION.

48
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

intended to convey by the terms

which

later critics

and

fjueipaKieveo-daL

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
In the young orator I would
style by the ardour of youth.
welcome a luxitriant opulence^ says Cicero, when describing
the early efforts of Sulpicius^.
Every youthful heart
^

Cp. T. G. Tucker {Classical Review,

the reference
-

to Plutarch de Glor.

ipse censet

insolentius abutitur

on a 'Saying of Gorgias,' where

xiv. 247)

At hen.

5.

"Gorgias autem avidior

Cic. Or. 176:

enim

sic

is

est generis eius et his festivitatibus

quas Isocrates,

cum tamen

audivisset in

Thessalia adulescens senem iam Gorgiam, moderatius etiam temperavit

etiam se ipse tantum, quantum aetate procedebat

prope

enim centum

quin

confecit

annos relaxarat 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

airds re vewrepos

iSv exP<^/J-Vv

afxa Kal TnaToripovi iroLoiev.

wv ov5h

would be written when Isocrates was

veurepos

fi^v (j}v...irpl eKeivovs (tovs

Tuv ry T

7r6Xei Kal rots

Troi/ciXtats KeKoa/JufiKafxev

avrbv,

ah

wu rods \6yovs

Tjdiovs

dv

Kal rois &X\ois vir^dei^a, 8l

^tl

90.

Mva[xai dia

T-qv

ifKiKiau.

In his Panathenaicus

(aet.

These words
98) he writes:

\6yovs) eirpayixaTevbiiriv roiis irepl tQp <TVfx(pp6v-

&WoLs"E\\7i(n

avfi^ovXeiJOin-as, Kal iroWCip fxkp ipdv/jLTjfMaTUiP

y^fioPTas, ovK dXlyuv 5' dPTid^aeup Kal wapKrucreup Kal tCip

AXXup Ibewp tup

prjTOpeiais diaXafiirovaup Kal roi/s aKoijoPTas eTncrrjfjLalpecrdat Kal dopv^etp

awp

(Isocr.

Panath.

i, 2).

The

'old

man

ip rais

dpayKa^ov-

eloquent,' therefore, like Milton himself,

cultivated greater austerity in his later years (for Milton in this regard, cp. Seeley

Lectures

and Essays

p. 144).

and modern bondage of

Milton threw

off,

riming,' the connexion of

in particular, that 'troublesome

which with the

(ii. 810 ff.).

'

figure

'

ofioior^-

XevTOP has been so well traced in Norden's Kiinstprosa

^

Cic. de Orat.

ii.

21, 88 (Antonius loquitur), *atque ut a familiari nostro ex-

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 effervesNon sum aspernatus
centibus et paulo nimium redundantibus, quod erat aetatis.
ordiar,

volo

enim

se efferat in adulescente

cantur ea, quae sese

fecunditas \

nam

nimium profuderunt, quam,

sicut facilius in vitibus revosi

nihil valet materies,

nova

sarmenta cultura excitantur, item volo esse in adulescente, unde aliquid amputem
non enim potest in eo esse sucus diuturnus, quod nimis celeriter est maturitatem

DATE AND AUTHORSHIP.

49

style, says Dionysius, when he

Arrangement of Words to the young Melitius Rufus
a birthday gift.
Yet no two writers have shown more

passionately pursues beauty of

offers his

as

plainly, in their rhetorical teaching,

discipline,

if

style

and beautifully

how

great

the need of

is

to be not only ardent, but simple, strong,

is

clear.

Date and Authorship of the De Elocutione.

C.

For more than one reason

it has seemed best to give

account of the subject-matter of the De Elocutione^

I some

and of other similar

the

difficult

possible,

which
first

is

of

it is

its

all

on prose style, before discussing

date and authorship.
Where

as well not to start with that note of scepticism

so characteristic of

modern

scholarship, but rather

to suggest, independently of disputed points, the

literary value

The

treatises

question of

and permanent

interest of the

internal evidence with regard to the date

the

work

in question.

course here taken has this further advantage that the

De

Elocutio7ie can

now be

and authorship of

considered in the light of the

historical sketch already given.

And

similar cases,

evidence that requires the

it

is

the internal

in this, as in so

many

most detailed treatment.

I.

Internal Evidence.

Reserving for the present the discussion of the external

is of a precarious kind, we may ask what
opinion we could have formed, on purely internal grounds,
evidence, which

as to the date of the treatise,

if

had come down to us

it

Cp. Brut. 91, 316, 'quibus non contentus Rhodum veni meque ad
eundem, quern Romae audiveram, Molonem applicavi cum actorem in verls causis
adsecutum.'

scriptoremque praestantem, turn

docendoque prudentissimum.

in
is

notandis animadvertendisque vitiis et instituendo

dedit

operam

nimis redundantes nos et superfluentes iuvenili

si

reprimeret et quasi extra ripas diflfluentes coerceret.'

iTrri>i]ra.L

yap

modo

quadam

id

consequi potuit

The words

ut

of Dionysius are

arraa'a viov rf^vxh Tepi t6v t^$ ipfiijvdas (apaia/xdv {de

Comp. Verb.

c. I).

R.

dicendi impunitate et licentia

a'

INTROD UCTION.

50

without any external evidence bearing upon the point.

what century, and

we have been

what group of writers on

to

inclined to assign

it?

The

may

it

be very

The names

To

should

following table,

which includes the principal writers mentioned

introduction, will

style,

earlier in this

show the character of the problem, though

from suggesting a definite solution of

far

it.

are of course arranged, and assigned to centuries,

rough and approximate order only.

in a

CHRONOLOGICAL TABLE OF GREEK AND ROMAN

EXPONENTS OF STYLE.
Empedocles.

500400

B.C.

Prodicus.

Corax.
Tisias.
Gorgias.
Protagoras.
Hippias.
Theodorus.
Thrasymachus.

Antiphon.

400300

B.C.

200

B.C.

300

200

100 B.C.

100 B.C.

A.D.

100 A.D.

TOO

200 A.D.

(i)

Lysias.

Demosthenes.
Plato.
Demetrius Phalereus.

Isocrates.

Theophrastus.

[Alexandria.]

[Pergamus. ]

Cornificius.

nassus.

[Hegesias.]

Hermagoras.

Cicero.
Horace.
Caecilius of Calacte.

the

Dionysius of Halicar-

'Longinus'
view).

(third century, according to the traditional

Tacitus [Dialogus de Oratoribus). Quintilian.

Hermogenes.

Sources of the Treatise^ and

Whoever

Aristotle.

author

follows, to a great

may have

been,

its
it

Prosopographia.
is

clear

extent, the teaching of the

that he

Peripatetic

As will be shown in the course of the Notes, refermade to Aristotle throughout the treatise \ At
sight, indeed, the De Elocutione might seem to be simply

school.

ences are
first

See

II, 28, 29, 34, 38, 41, 81, 97, 116, 154, i57 164, 225, 230, 233, 234.

DATE AND AUTHORSHIP.

51

a more comprehensive treatment of the subject of style on

down in the Third Book of the Rhetoric. The

the lines laid

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 Halicarnassus,

who

are inclined to dispute or ignore the authority

of the philosophers and their followers^

not surprising that Petrus Victorius

It

is,

who had

accordingly,

studied both

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
the Rhetoric and the

of Plato, Aristotle, Phalereus, Cicero, Hermogenes, Longinus.'

But though many important details are borrowed from

scheme of the book as a whole clearly implies

Aristotle, the

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

cannot be due to
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 division 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
this classification

Aristotle, since in his extant

stated ( 36) that some authorities recognised only two types,

the plain arid the elevated.
natural, though not an abso-

lutely necessary, inference

lived

from

when the doctrine of the types of

^

all

this is that

at a time, considerably later than

D. H. pp.

40, 41.

It will

style

the writer

that of Aristotle,

had undergone many

be remembered that the practical rhetoric of the

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 A mm. I.) the pretensions of certain

Isocratic school

was

revived, at

Peripatetics of his day.

42

INTRODUCTION.

52

developments and modifications. The special point in which

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
t\iQ

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
In 289 we read " Often in addressing a despot,
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
treatise.

or

Making use of

pride.

figure,

with yon Craterus.'

The

"

he said tauntingly

men

ourselves once received these

as

earlier

than the

De

We

existence of this section naturally

raised doubts as to the authorship in the

of the Renaissance

ambassadors together

and the De

minds of the scholars

Elocutiojie thus passed,

much

Sublimitate, into that position of dispute

and uncertainty which has been the

lot

Victorius, however,

rhetorical treatises.

of so

saw

many Greek

in the section

own view with respect to the authorship. It

only natural, he remarks, that Demetrius Phalereus should

a proof of his
is

desire to

so

much

keep

alive the

honour^.

ship have thought

it

in the

is

him

Demetrian author-

on slender grounds, that

a late addition ^

Two circumstances make it specially difficult to infer date of authorship from the

subject-matter of rhetorical treatises:

period between Aristotle and Cicero;

2

of a deed which did

safer to assume,

the passage in question

1

memory

Later believers

(i)

(2)

the dearth of extant documents in the

the habit of unacknowledged compilation.

Petri Victor ii Conunentarii in libruni Demetrii Phalerei de Elocutione (Flor.,

"
qui factum id suum honestum perire noluerit, ideoque moni1594) P- 252:
mentis litterarum prodiderit, quod exemplo multorum facere potuerit, praesertim

cum
3

mirifice conveniat huic loco."

H.

Liers,

De

'Epuvveias, p. 34.

Aetate

et

Scriptore libri qui fertur Demetrii Phalerei rrepl


DATE AND AUTHORSHIP.
No

throughout the De Elocutione

literary reference

damaging

53

to the traditional

view as

so

is

But the mention

this.

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.

supremacy of Demosthenes

is,

it

true, not

is

The

acknowledged

quite so explicitly in this as in other writings of

its

but the possession of a high reputation

the large

is

implied

in

class

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 considered to stand on anything like the same level as Demosthenes.

more

sought

of late

definite indication

in the references ( 153, 193, 194) to

Philemon.

may be
Menander and

authorship

Menander and Philemon were contemporaries

but it seems to be the judgment

of Demetrius Phalereus

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
v^a
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
o{ posterity that

is

i]

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

bears
^

"

In general

it

a likeness to the

may be

said that the

decorations

These and other doubtful points

will

be more

in

epiphoneme

wealthy homes,

fully discussed in the Notes.

INTRODUCTION,

54

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'^.
cornices, triglyphs,

The De
authors,

Elocutione contains

references

poets as well as prose-writers.

to

many

other

But these references

no definite evidence with regard to the date of the

There is, however, some reason to think that
Artemon ( 223) and Archedemus ( 34) were comparatively
yield

treatise.

late authors,

and

their date

is

accordingly discussed in the

may

Notes, to which reference

also

be made for similar

discussions concerning other writers^

As

the references

made

authors are so numerous,

in the

De

Elocutione to previous

might perhaps be thought to be

a safe inference that a writer who, like Dionysius of HaliBut this does
carnassus, is not mentioned was not known.
not by any means follow, especially if the author of the De
Elocutione was contemporary with, or only slightly later than,
In his rhetorical writings, extensive and miscelDionysius.
they
are, Dionysius himself only once mentions
laneous as
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
It is forgotten how
necessarily know of each other's work.
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
it

See note on

Sotades

See note on

Dicaearchus

Philistus (198), Cleitarchus

( 76).

108.

189),

304),

182),

237.

Sophron

Praxiphanes

1741 has
(

( 57),

126),

ra57;/3ciJs.

Ctesias

212),

and the painter Nicias

DATE AND AUTHORSHIP.

55

reasons we shall look with distrust on that class of argument

which would maintain that the De Elocutione must of necessity have come later than the works of Dionysius of Halicarnassus because the latter recognise only three, the former
four types of style.

Language of the Treatise

(2)

Vocabulary^ Gram-

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 considerably 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
In
is a logical or grammatical rather than a literary term.
the same way, a technical term so elaborate as |i]poKaKotTi\Ca
affectation in thought and aridity in com( 239), meaning
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

mar^

etc.

'

is

X6710S,

used as equivalent to

/uLeyaXoTrpein]^^.

The phrase

(245) has already [p. 53 supra] been

incidentally mentioned, and attention has been called [p. 52]

ij

vvv KaT\pv(ra Scivottis

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
Scholars have sometimes attempted to ground
late words.
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 vv^as in use considerably before his
time, the De Elocutiofte must have been written at a com;

38 Ap^Ofxai

5'

dirb tov fxeyaXoirpeTrovs, Bvirep vvv Xoytov dvo/xd^ovaiv.

INTROD UCTION,

56

But apart from the

paratively early date.

the word

is

employed

possibility that

in this sense in 120,

argument can be founded on omissions of

no trustworthy

this kind.

It is

unsafe to infer ignorance from silence.

the

On
De

the other hand, the late

words or forms occurring in

The following belong

Elocutione are very numerous.

none of them being found (in extant

than Alexandrian, and some not earlier

to the post-classical age,

documents)

earlier

than Graeco-Roman times

dvOviraWayri
dwiroKptro^

KaKO(j)covLa ( 2 1 9,

60)

avOviraWdao-eiv

59)

KaTa\7]KrLfc6<;

255)

( 38,

39)

fcaraa/jLiKpvvetv ( 44,

194)

d7rXotK6<i ( 244)

Karepdv

diroTOfjiia (

KivSvvooSrj<; ( 80, 85,

292)

KVK\oLBr}<;

a7ro<f)6yiJLaTLK6(; ( 9)

dpKTLKO^

202)

dareio-fMo^i (

avXrjrpLa

Bc7]yr)p.a

28,

30)
1

93)

240)

8cafjL6p<j)0)aL<;

Siao-Trad/jLo^;

(|

( 8,

/xerafjiopcpovv (|

fjbovoavWa^o^

89)

( 7)

TrapaTrXrjpco/jLaTCKOf;

TTpOKaTapKTiKO^

37, etc.)

BvarJKOOf; ( 48)

BvaKaropdcoTOii

27)

(55)

(| 38,

pv6/jLOi8lj^ (

221)

(TfXiKphV6LV (

236)

crvyKdXv/jb/jia (

Bva(j)Ooyyo<i ( 246)

<TvyKaTaX'r]yeLV ( 2)

hv(T<f>(ovia ( 48,

105)

( 69, 70,

105)

lOO)

avfjLwepaiovv ( 2)
(TvvaXoi(f>ri (

70)

ifJb^arLKO^ ( 51)

crvvd^eia

( 63,

ivacfyavi^eiv ( 39)

TovTeaTLv

or

i^atpeTO)^ ( 125)

( 271, 294, 301)

virohuKveiv ( 260)

i^airXovv

254)

evrfKoo^ (48, 258, 301)

Oav/jLaapbof; (

29 1

39)

aireipdv ( 8)

Bvapr)TO<; ( 302)

Sv(7(f)Q)vo(;

27)

oXo/cXrjpia (3)

1 95)
68)

(11)

ovethLariKCd^ ( 289)

9)

23)

XidojSoXelv (115)

(| 85,

yv(i)/jLo\oyLK6<=:

302)

XcKavlf; ( 302)

56)

d(n]fiei(OTo<; (

da^aki^eadai

182)

VTrofcaraaKevd^etv
(f>iXo<^p6vr]ai<;

Similarly the treatise contains a

eV
eo-T^

tout'

23

224)

1,

232)

number of words found

DATE AND AUTHORSHIP.

times but here used in a post-classical sense,

in classical
in a

57

meaning not found before the Graeco-Roman or

events the Alexandrian age

dira^'yekia (

avToOev

Pdaavo<;

1 1

at all

VX^Bv'i

4)

20l)

68)

( 42,

XoyiKo^; (

122)

42, 117)

I,

240)

XotTTOI^ (

TrapeXKeiv (| 58)

BiairaL^etv ( 147)

hoKLfid^eiv ( 200)

irepia'yco-fr)

eKriOeordav ( 35, 200)

irpodcDTTov ( 130, 134, etc.)

iirccpepeiv ( 34, 5

aT)ijiL(68r]<;

1,

etc.)

epfirjvevetv (46, I20, I2l)

On

dypocKo^

drexvM^

126)

vavnav (15)

49)
avToa'X^ehid^eLv ( 224)

afXLKp6<i (

repOpela

293)

KLvhvveveiv ( 40)
Ko/j,-\lrta

50)

K(o/jL(pSo7rot6<i

Tp6(f)0aXiiMO<i (

or forms occur

KM/jLwSeiv (

( I, 5> etc.)

daTet^eo-Oac (|

many words

217)

( 167,

208)

VTrepTTLTrTetv ( 42)

the other hand, a good

which are specially Attic

( 19, 45, etc.)

237)

yjrlaOo^ (

27)

302)

(36)

These Attic forms are of course consistent with either

classical or post-classical date,

But the

authorship.

with

either Attic or Atticist

latter alternative

is

decisively reconj-

many words

mended by the simultaneous occurrence of so

and forms which are admittedly
is

The Atticism

post-classical.

but the veneer.

It is

worth notice that a considerable number of words

or forms occurring in the

following

De

Elocutioiie are airag

probably, fairly complete

list is,

elpriji^va.

dBo\crxoTepo<; ( 212)

/jbeTpoecBrj^i

dpxatoetByj^ ( 245)

^ijpoKaKo^rjXla

draKTorep(o^

Bwdarc;

53)

292)

Bv(T(f)Ooyyo<i (

246)

The

1,

182)

239)

irapd^va/jia ( 55)
7repto-croTe;^i/ta (
TToXvrjxi'Ci (

247)

73)

iimrXTjOvea-OaL ( 156)

irpoava^odv (15)

evKaTao-rpocfxiy; ( lo)

'irp6a<i>vfia

fieTacTVPTtdevac ( 11,59, etc.)

<TvveLpfi6<; (

(55)
1

80)

INTRODUCTION.

58

Most of these words

But the very

are probably late.

De

existence of words found only in the

ElociUione suggests

We

caution in the use of the linguistic criterion.

are

bound

we have but

constantly to bear in mind the fact that

the

scanty remains of a vast literature.

The extent

which the treatise, as it has come down

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'
The Ionic
fjLV(p ( 59), icj^vXarrero and av^iTXrja-aetv ( 68).
form era was used by the older Attic writers such as Thucydides tt prevails in Attic inscriptions, as also in Xenophon,
to

to us, uses both older

the Attic orators, Plato, Aristotle

TT by the Atticists.

Koivrj,

If

we

acr

is

favoured by the

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-

mixed character of the language of the

trates forcibly the

De

Elocutione.

We

pass next to the

grammar

the chief point for remark

found,
36,

i/c

of the treatise.

that the dual

Svotv '^apafCTijpoLV tovtolv 235,

287.

The

because

it

of these examples

first

was

is

Here

repeatedly

dvdiaTaTov koI avTiKetadov ivavTicoTaTco

(oairep

e.g.

is

in its

is

//-era

the

hvolv tovtolv

most

striking,

verbal forms, and in the nominative and

its nominal forms, that the dual began its

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

accusative cases of
decline.

It

it more than a brief existence.

The neglect of the
shown in Biblical Greek and in later Greek generally,
shared by Modern Greek.

secure for
dual,
is

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
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).
^

side

DATE AND AUTHORSHIP.

use of Ionic forms, such as the genitive

formed from
6oTOD<;

59
78); of adverbs

1/7709 (

participles, e.g. XavOavovrco^ ( 181)

297); and of such verbs as Kpefivdv

'X^cov6Viv (

(which, like the dual, was affected

with

date are: prepositions used

= eV,

in

of,

or consistent with, a late

a strained sense

interchange of pronouns

mood

and the
connexion

Atticists),

(e.g.

8id almost

12); rare verbal constructions (e.g. i^rfKorvireiv

292)

by the

capricious insertion or omission of dv in

Other points indicative

it.

feature of the

perhaps, the frequent use of the optative

is,

somewhat

XeXij-

216) and

281).

In regard to syntax the most noticeable

treatise

and

(e.g.

oSe with

ovto<;,

c.

dat

roaoaSe

with ToaovTo<i,

59, 1 89); use of rJTrep after comparatives

inversions of the natural order of words (e.g. iirl

(e.g. 12);

TMv

Points of this kind will

Notes and Glossary.
A general review of the internal evidence subject-matter
and language alike would seem to suggest that the De
Elocutione, in the form in which we have it, belongs not to
the age of Demetrius Phalereus, but either to the first century
TlepcTcov

Trj<i

airXT^arla^,

be discussed more fully

26).

in the

B.C.

or to the

century

first

A.D.^

The

rhetorical standpoint

appears to be that of the Graeco-Roman period earlier than

Hermogenes

and

language, likewise,

(possibly)
is

prehensiveness of the
sources,

it

later

post-classical ^
KOLvrjy

than

The

Dionysius.

Marked by

all

the

which drew freely from so

com-

many

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

we have now to ask what is the

the name and identity of the author.

the date of composition,

external evidence as to

in the form in which we have

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'
^

it.'

It is

If

necessary always to insert the limitation,

we

iroirTv6ii'Tuv,
eldi^ffofjLev,

'^

TraXiWoyla, irpoyvfivdfffxaTa,

/XT^re (for oCre),

dvaXoyrjT^ov, ttjv irporpoirijv trepan bpLaai, olov

Padi^ovaiv,

pp.

'

are at liberty to assume interpolations

el fikv

409 412,

tA irpdyfiara

TrttrxA

dpdfxaTa {for Trpdyfiara),

(556s T(2v

^ (Cope's Introduction

dvpQv koL 686s

to Aristotle's

rfv

RhetoHc

438, 464).

Not simply

paulo-post-classical, as that of

pp. 17, 18 supra.

Demetrius Phalereus, described on

'

INTRODUCTION,

6o

11.

External Evidence.

Conclusion.

the "De Elocutione ^' in other

ivritings.
The supposed allusions to the De Elocutione in
other writings are doubtful if early, and late if well-authenticated.
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 sugthat
Philodemus
here
has
gested
in mind the De Elocutione
Allusions

(i)

to

303 KCLi al TrepioBot Be at crvve')(^el<; koI /jbaKpal koi

jovaac Tov<; \ejovTa<; ov (jlovov KaTaKope<^ dWci kol

But it
meant

is

airoirvidrepiTe<^.

improbable that the periods of Isocrates are specially

passage, and consequently the supposed refer-

in this

it is to be noticed that Philodemus

Demetrius without any addition
and
It
so may, or may not, have Demetrius Phalereus in mind.
may be added that Cicero, who was contemporary with
Philodemus, often refers to Demetrius Phalereus but betrays
Nor does Diogenes
no knowledge of the De Elocutione.
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,?;i^eta9, appears
to mention the De Elocutione and to ascribe it to Demetrius
(without addition)
ov yap Brj Kal avTb<; (0 ^ApcaroreXijf;)

ence

is

doubtful.

Further,

speaks vaguely of

'

'

'

KaOdirep
KaXelv
Brj

to

A7)/jLrjrpL0<;

<7vyypd'\jfa<;,

epfJLTjveiav

irepl ravTrj<;

ttjv

\o<yo'ypa<^LKrf<;

eiTtypd'yjra<;

IBea^

/3i/3\iov

d^iol

irepl '^pfjL7]veia<i

Xoyoypa^iKyv IBeav

('

prose style

'),

o)?

ev tc3 TrpoKei/jLevw ffcffXcq) Bia\e^6/jLevo<;

Bid TOVTO

iTreypayjre

Bcacjjepov

ovt(o<;

7)

irepl

Kal ovTo<i avrb

to

^c^Xlop

einypd^eLV

rj

irepl

irepl

'Kp/jLr)veia<i,

&>?

The remaining testimony of the same kind is of still

Theophylact (eleventh century), archbishop of
date.
^

Berlin Aristotle

iv.

ovBev

tov diro^avTiKOv Xoyov^.

96 b, 97

a.

later

Bul-

DATE AND AUTHORSHIP.

6i

\6yov avvrayfiaTiov
and
viii. 981)
Theoph.,
Rom.
ad
a-irovBatov i^'qvejKev (Epist.
the
twelfth
to
a scholiast on Tzetzes (who himself belongs
^aXijpev^ Se x^P^^ ovo/jud^ec to ao-retoz/ (Cramer,
century) has
garia, has o Se ^aXr]pv<; koi Trepl epfXTjveia^

Anecdota Graeca
often

iii.

The scholiasts on Hermogenes

384).

Gregor. Cor.

(e.g.

121

vii.

W., Anon.

vii.

846,

viii.

623,

435) refer to the De Elocutione, but without

implying anything as to the author's name or date, except
This desigthat he belonged to 01 dp^f^loc or ol iraXaioL

Max.

Plan.

v.

nation, however,
sarily

imply the

would

not, with

Byzantine scholiasts, necesApsines

classical period, since late writers like

And the
Hermogenes himself are so designated.
scholiasts on Hermogenes belong, almost without exception,
to Byzantine times, the best-known of them (Gregorius, the
and

Metropolitan of Corinth) being not earlier than the twelfth

century.

passage from a writer of earlier date deserves separate

mention.

In

his

prolegomena

to

Hermogenes' De Idels,

Syrianus (fourth century) has the following remarks

Kai

BievorjOrjo-dv

eirtypdy^raL

tlvc'^

tov<;

TToaov avTO)V (TvaTTjaac, T7}vdWco<^ eTrolrjaav

^lovvcno^
TOP

'

ovTO<;

/JLeaov,

TOP

yap TpeU
dBpov

elvat x^paKTYjpd^
Be "lirTrap^o^i

jpa(f)LKov Koi TOV dvOrjpov 6 Be AtniTfTpios

To?9 TCTpdcriv dpearK6/jLvo<i

'

w?

<f>7}cn,

el?

kol

(Walz Rket. Gr.

vii.

Se

to

ecrTLu

top Id^yov,
tov re

irpoaTiBrjai

eK^dWei

el

')(,^pa/c7rjpa<^

top 'ypa(f)LKdp

93).

It

seems

possible, notwithstanding discrepancies of terminology, that

Dionysius of Halicarnassus and the author of the

De

Elo-

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 development of the Greek doctrine of prose style.
Manuscript Title. There still remains the evidence
(2)
of P 1 741, evidence which is as old, and may be much older,
than some of the testimony just mentioned. At the begin-

cutione are here

ning of the treatise this manuscript gives

ircpl p)JLT]Vas o
lp)j,T^VCas.

^<m

ircpl <{>pd<rb)s

'

AtjjihtpCov *aXTip^s

at the end, simply

AifiiTfrpCov ircpl

INTRODUCTION.

62

The evidence

of so excellent a manuscript as

1741

is

importance and must be most carefullysame time it must be remembered that the
uncertainties presented by manuscript-titles in general are
fully shared by those of this manuscript in particular.
Conmanifestly of the

At

weighed.

first

the

siderable doubt attends the superscriptions it assigns to other

works which it contains. One of its headings is tovto to
fjLovo^i^Xov,

work

attributed

ALOvv(rio<; 6 ' AXiKupvaa-crev^

olfjuai,

designated

thus

to

being

IS/levavSpov

treatise

is

ov

VeveOXicdv Bialpeacf; tmv eTrcSeiKTiKajv

added by the second hand indicate that the
question may be the work either of Menander
prjTopo<^

letters

in

Moreover, the ascription to Demetrius

is rendered
doubtful by the fact

or of Genethlius).

Phalereus
that the

avvira^ev (the

Ars Rhetorica wrongly

Dionysius of Halicarnassus), and another

r\

(where the

the

in particular

name Demetrius only

'

'

is

given in the subscription

by the consideration that the name of

Demetrius Phalereus would be readily supplied by conjecture

of the treatise, and

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

irolo^ Arj/jbrjTpLO<;

It

may

against

koX

Tt<?

289, arifieiwaat ri

rdhe

to Xeyofxevov,

ypd(f)cov^.

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 subscription.

But

if

Demetrius (^without addition)

is

really the

Supporters of the claims of Demetrius Phalereus have been Victorius during

the Renaissance, and during

Roshdestwenski.

modem

times Durassier (with reservations), Liers and

DATE AND AUTHORSHIP.

(>7,

common

a name) a
almost any century
according to conceptions, formed on other grounds, as to the
Before mentioning some of
probable date of production.

original author

and

the conjectures

then (with so

title,

may be

possible claimant

suggested

made on

in

we must

basis,

this

first

refer

Dionysius of Halicarnassus is the

author the only positive suggestion (of any importance)
which travels beyond the names Demetrius or Demetrius

to

the hypothesis that

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

to

is

the

De

Eloctitio7ie

150

kcli

diro

(ttIxov

Be

akXorpiov jLveTac x^P^^y ^? ^ ^ApLaT0(j)dp7}<i o-KcoTrrayv irov

But the scholium is probably no older than
TOV Ata ktX.

Musurus

whom

(fifteenth century), in

a slip of

memory

and even

if it

it

were

seems simply to be
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 Halicarnassus may, thus, be rejected as inherently improbable
If any special
must be that of some
Demetrius (other than Demetrius Phalereus). But Demetrius

and as lacking altogether

name
is

is

in

external evidence.

to be attached to the treatise,

common name

a very

(in

it

the larger classical dictionaries

name are thought worthy of

and consequently many Demetriuses have at
mention)
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

some 130 persons bearing

this

This

is

the view adopted (after Muretus and Walz)

Criticism,

i.

89.

There

is

much

to

by Saintsbury, History of
be said for regarding Alexandria, rather than

INTRODUCTION.

64

may be an otherwise unknown rhetorician or

Demetrius of Pergamus, who is supposed to

that the author

philosopher,

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

from a definite solution the problem

show how far

and (taken

is;

still

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
together with others not here mentioned) they

safe course.

As

it

stands, the evidence will hardly warrant

any more precise conclusions

De

of the

as to the authorship

Elociitione than the following:

(i)

it

is

and date
not, in its

present form, the work of Demetrius Phalereus. whatever the

weight of tradition

in

belongs either to the

A.D., the latter

(3)

author

its

Rome,

as the place

the date
certain

is

favour of this view

first

century

B.C.

(2)

or the

it

probably

first

century

period being on the whole the more likely

may have

where the book was produced.

not likely to have been as late as the

Age

But

for reasons already given

of the Antonines.

Nor

that the Alexandrian Demetrius belonged to so late a period.

references

made by Mr Saintsbury to

104, 196 ibid.

borne the name Demetrius.

the

De Elocutione will

be found on pp.

is it

Other
71, 103,

M-rl

v^vl'i

'S^v-if

f-Xi

Itilf J'Cr-Pri;

f-is^

M^3 h^sL^lT

rTlililf'ifiiiT't
8

DEMETRII PHALEREI QVI FERTVR

DE ELOCVTIONE LIBER
AD FIDEM POTISSIMVM CODICIS ANTIQVISSIMI
PARISINI

741

(P)

EDITVS

ET IN SERMONEM ANGLICVM CONVERSVS.

R.

AHMHTPIOY
[^AAHPEOS]

EPMHNEIAl

nEPI

ESTI HEPI ^PASEfiS].

[0

I-

1.

'^rio'Trep

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tol

P.

fol.

kol tyjv

ovrco

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lo

oTop

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tol'^

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30

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scripsit P.

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to,

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II $ supra versum scripsit P.

plena

kcjXo) oXco oXt},

15

Schneiderus, 7nJx"S P.

yap

icTTiv,

\eL

ovtoj koI 8ta-

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/cat

kol

oXtjv

&)?

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fxepatv eKacTTOv, /cat tSta yLiprf

T(t)v

TLvd

(^rfcriv

oXov tlvo^ H'^PV ^^'^V^ oXa 0X179

SdKTvXoL Kal

voia<;

KcoXa

evioTe piivToi to kcoXov

aix(j)(o

tovtcov

a)<;

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^etraf' crvveikrjTrTai

20 oToj'

tol

'E/caratd?

dTrapTit^eiv

ravTa, Trore

av

aura.

Finckhius, \6yov rd re KaToXeydfieva P.

14 oTov per
fitiklaios

P.

compendium
19

6X175]

hie et plerumque,

Victorius, 6\ri P.

DEMETRIUS ON STYLE.

CHAPTER
1.

As

verse

is

the hexameter,

articulated

and

and the Hke), so also

by what are

differentiated

These members give

his discourse

by measures (such

articulated

hemistich,

rest,

called

as
is

the

prose

members.'

'

one might say, to the speaker and

they set bounds to

would otherwise extend

I.

itself

various parts, since

its

it

without limit and would simply

run the speaker out of breath.

2.

But the proper function of such members

the conclusion

member forms

of a thought

or

sentence.

a complete sentence in

Hecataeus opens

itself,

as for

words

his 'History' with the

of Miletus thus relates^' where a complete

a part of
is

it,

member

mark

to

example

Hecataeus

member

with a complete sentence and both end together.

however, the

is

Sometimes a

coincides

Sometimes,

constitutes not a complete sentence, but

yet a complete part.

For

just as the arm,

which

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,

so also a complete sentence,

and

itself is

when

it

is

made up
extensive,

of parts

may

very

well comprise within itself parts which themselves are integral.

1

Hecat. Fragm. 332, C. F.

MuUer F. H.

G.

i.

p. 25.

AHMHTPIOY

68

TO

(fiCJVTos

Tov

ev rrj ap-^rj

"D^crirep

3.

TOLOvrov,

8'

^Ava^daecof;

7repa<;,

olov

iv avrfj KcoXa Svo

iracra hidvoid

lSlov e^ovcra

rt?,

Aapeuov kol UapvcrdriSof; yivovTai TratSe?/

'

ydp riva okoKkiqpiav

ETepov

TO

eKdrepov

p,kv avT7J<;

fJidprj

otl

kcjXov,

'TTpeo-fivTepos

kol wcraTJTOx;
'Ayorafep^T;?,

fxev

wcrre to fxev kcoXop,

Se Kvyoo?.'

on

Sidvoua avTrj Kad* avrrfv,

rj

iyivovTO Aapeucp kol UapvcrdTLSi TratSe?.

JO ve(OTpo<;

'Bevo-

ttJs

Aapeiov kol ITapvcraTiSo?' l^^XP^

'

Stct^oia Se iv eKarepco TrXrjpovrai

5 ecTTL,

e)(et

Trj<;

Kvpos/ avvTeTekeapievrj

've(oTpo<; 8e

icTTiv rd

EPMHNEIAI

TTEPI

voiav irepii^ei Tivd TrdvTiq

7rdvT0)<;,

oS?

(f^rjixi,

okrjv

tJtol

Sia-

fxepos

rj

0X179 okov.

Aec 8e ovT irdvv fjuaKpd Troieiv Ta KcoXa,

4.

yiveraL d^xerpo^
15

ydp

rj

rj\Oev,

el

TO

fJirJKos

KOikoiv

TCxiv

dfJiTpLav, ovT
20

crvvOe(TL<;

Tols Xoyot?

Trpiirov

pLiKpoTt)^, 7761 TOi yivoiT

Tj

^r)pd crvvdecTL^, olov

fjuaKpd,

iv

irov

fXTj

yekolov ydp to fxeTpov dpueTpov elvai, kol Acara-

XijyovTo^; TOV fxeTpov iir iKekyjcr 6 ai rjp.d^ rroTe rjp^aTo.

Srj

tol

iirei

SvcnTapaKo\ovOr}TO<;' ouSe

vwep i^d/xeTpov

iroLTjTLKrj

7)

6\iyoL<^'

crvvOecTLs

r)

/catpo?

av

7)

rotaSe '6 /3t09 /3pa^v<;,

rj

KaTaKeKOfifxevr)

6^v<;.'

ydp

ovt

Sid

ttjv

XeyofJievT)
rj

Te^iq

ioLKev

rj

koL KeKepfiaTcafJievy], kol ev/fara^pdi/T^ro? Sia to

fjLLKpa (TvpiTravTa er^eiv.

5.
25

Viverai

jjuev

ovv Trore kol fjuaKpov kcoXov KaLp6<;,

olov iv Tols ixeyedecnv, w? 6 UXdTcov

ydp

'to

(f>7jcri,

Srj

irdv rdSe totI fiev avTO<; 6 6eo<; TTopevofievov o-vjJiTroSrjyeL

Kol cTvyKVKXelJ
TjpTai

Kol

cr^eSov

ydp

t&> jxeyeOei

Sid TovTO

\dy09.

KOL

tov kcoXov avve^i^dfJieTpov

re ovofidt^eTaL vtto tov fXTjKOVS kol Trpenov

5

Tt5

(pron. indef,

spiritu P.

^ 6t p.

17, 18

accentum habet hie

Bearji (punctis

26

Tore

/*']

supra

et alibi in P.

dprap^^s, addito ^^ supra ap P.

oSt

5r)]

97

positis) P.

codd. Plat., to

iropevd/xevos voSrjyel P.

20

fieP

P.

19

aiivdeffris (corr. in

25

7
irdre]

17

Victorius, oCre 5^ P.

ylverai a^vdeais in margine P.

avri^v

5y}

ffv/jLiroSriyeT]

sine

Schneiderus,

crrifxeLucrai irCos

aOvdeac^) P.

to ydp irdv sine

wopevd/Mevov

rjpSov

rfpayaiv, kol 226'

22

r}

^vpo-

a6v-

codd. Platonis.
codd. Platonis,

'

DEMETRIUS ON STYLE

69

Anabasis of Xenophon an
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
Darius
which is in a measure complete. Take the first words
and Parysatis had sons.' The thought that sons were born
The
to Darius and Parysatis has its own completeness.
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.

At

3.

example

the beginning of the

be found,

will

'

'

in the

'

'

'

'

Members should not be made very long

4.

becomes

composition

the

'

With

unwieldy

rare exceptions, poetry

is

or

otherwise

hard

to

follow.

not written in measures of

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' composition, 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.

greater length than six

'

Occasionally a lengthened

5.

For example,

God

times

may

The

Xen. Anab.

ixkp 'Apra^^p^rjs,

Hippocr.,

i.

i,

appropriate.
*

it

elevation of the language corresponds,

for heroic subjects that the

fits it

is

when Plato says

universe and helps to roll

be said, to the length of the member.

length

member

elevated passages, as

himself guides this

coursed'

its

in

It is

because

hexameter

Aapelov Kal IlapvadTidos ylyvovrai iraiSes 8uo,

is

At
in
it

its

called

ir pec

^vt epos

ved)Tpos Be Kvpos.

Aphorism,

i.

(Littre,

(Euvres

completes

cP Hippocrate,

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
Tjdri

xp^^ov, kt\.

ei\i^(p(a(ri.y

AHMHTPIOY HEPI EPMHNEIAZ

70

ovK av

'iXtaSa

rrjv 'Ofxijpov

7rp7r6vTa)<s tls

ypaxpeiev

toI<;

'Ap^iXd^ou I3pa)(cnv, oTov

a'^vvfiivT) (TKVTokr)

KoX
ca?

Ti9

Traprj6ip6 (j>piva^

ovSe rot? ^AvaKpeovTos, <a)9> to

^ep

yap

lieOvovTos

vBcop, <^ep

olvov,

iral'

at

6 pvOjJios aT)(ya)s yepovTO<;, ov yLaypyiivov

r)p(t)o<^.

MaAcpov

6.

lo

8*

Tavra' yivoiro
TL

r)fJLCov

av

XeyovTcov,

inl

ol ''EXkrjvef;

Tov pv6fJL0V

jjiev

rjv

iravTas,'

(rvvave(j)dvr}

iXaTTcov

tov

rcjv

a(j)iKovTo

Se

'ovto<;

rjv

ry yap jxiKponqn Kal anoKOTrrj

Kal

rj

tov Trora^ov Kal

pbiKpOTTj^;

ttoXXcjv,

eXirev,

KoiXXei

'

ovto<; Se fJueyeOet

vTrepe^dXXero

Se

direTvy^avev av, Kal eyiyvero 6

7rpeTrovTO<;

dXXa

irepl \jjvxp6Tr)Tos

y^ev

vcrrepov

XeKTeov.

Se fJLLKpCOV K(oXo)V KOLV 8eLv6T7)TL ^pTjO-U

^(x)V

7.

Seuvorepov

yap

cr(f>oSp6Tepov,

voTrjTOS'
25

t]Tol fjuKpov

on

(furjonv,

rov TrjXe^oav TroTafiov

Xeyofxevo^ ^vxpo^'
20

'Bevocfiwv

Se ovTcos iKTeiva<; avro

el

)(dpL<i'

^pa^eo^, olov

irore Kal

w? 6

fieya^ fxev ov, /caXo? SeV

15

av wore Sua

yikv Srj kcoXov /catyoo yivoiT

Kal

TTct?

to

oXiyo)

iv

eix^aivoixevov

/cat

810 Kal ol AaKcove's /Spa^vXoyoL vtto

Set-

Kal TO

jJLev

Kal

crvvTopiov

eTTLTacrcreLV

Seo'TTOTT]^ SovXcp fjiovocrvXXa/3o<;, to

fjiaKpov Kal TO oSvpeo-Oai.

)((oXaL

iroXv

eCTTL'

jSpa^v,

Se LKeTeveiv

Kal

al Aural KaO^ "Opuqpov

Kal pvaal vtto ^paSvTrJTO<;, TovTeorTiv vtto fxaKpo-

Xoytag, Kal ol yepovTe<^ fxaKpoXoyoL Sta ttjv dcrOeveiav.

8.

UapaSeLyixa Se ^pa^eias

30 fjLovLOL ^LXiTTTrq)'
I

ex dtprjKovTo P.
22

Atoz/vcTtos iv KopivOcp.'

ypdypeiev] Victorius, ypdxpei iv P.

cp. p. 190, lo, 25

p. 192, 9.

14

koKos

8ti deiudrepop to ev 6\Ly(f}

TdcraeiP P.

crvvOecreois to

dT^x''ws P.

fiiv, fiiyas 5' oJ

woKv

ws post
II

TToXi)
-0$

AaKeSai-

yap

omissum

j8/jax^ws P.

Xenophontis codd.

i/xtpaivd/xevov in

margine P.

12
21

Set-

restitui

dtpUovTo
kB,v

24

P.

iirei


DEMETRIUS ON STYLE
heroic verse.

The

'

IHad

'

of

Homer

yi

could not fittingly be

written in the brief lines of Archilochus,

e.g.

Staff sorrow-stricken^;

or

Who made
nor

in the lines

thy wits swerve from the track '^P

of Anacreon,

e.g.

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

That

just the

is

rhythm

for

an old

man

drunk, but not for

a hero in battle.

Sometimes, then, a long member

6.

may

be appropriate

one may be
something small. Xenophon,
for example, says of the river Teleboas, in the passage where
it was
he describes the arrival of the Greeks on its banks
not large beautiful it was, thought' The slight and broken
rhythm brings into relief both the smallness and the beauty
If Xenophon had expanded the idea and said
of the river.
'this river was in size less than other rivers, but in beauty
for the reasons given
fitting,

as

when our

at other times a short

subject

is

'

surpassed them all,' he would have failed in propriety,

and we should have had the so-called frigid writer. Concerning frigidity, however, we must speak later.
Short members may also be employed in vigorous
7.
There is greater vigour and intensity when much
passages.
meaning is conveyed in a few words. Accordingly it is
just because of their vehemence that the Lacedaemonians are
Orders are given concisely and briefly,
chary of speech.
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.
As an instance of concise wording the following may
8.
The Lacedaemonians to Philip Dionysius at
be given,
it

'

Fragm. 89, Bergk P. L. C^."* Here, and elsewhere, the verse renderhand of Mr A. S. Way.
Archil. Fragm. 94, Bergk'*.
* Xen. Anab. iv. 4. 3.
Anacr. Fragm. 62, Bergk*.

Horn.

Archil.

ings are from the

2

//. ix.

502,

ydp re Atrai elffi Atos Kovpai

XwXai te pvaai re TrapajSXwWs t'
Koi

fieydXoio,
6<pBaKtn).

AHMHTPIOY HEPI EPMHNEIAI

72

voTepov

eKTeCvavTes elwov,

Tvpavvos

cjcrirep crv

yap

ov

prjOev

(jyaCveTaL

jxaKpctif;

(r(f)oSp6p.

ojcnrep

Touavrrj ris

av

/3pa^0)<;,

avTo

eunep

rj

6 Alovvo-los irore /txeya? ojv

vvv iBicoTevcov
prjOev

kol fjuaXXov tlvl

ot/cet

iiTLTrXij^eL

SiSacr/coz^ri,

K.6piv6ov.

dXXa

icoKeu,

ovk

iK(f>o/3ovvTL'

eKkverai tov \6yov to

iKTeivojjLevov

ovT(o<;

on

ofJLOJ<;

ttoWcov

8ia

ert

OLrjyijfxaTL,

ovtco

Ov^lkov koX

Orjpia cfvcttpexp avra iavra /xa^crat,

tol

eur) (TV(TTpo(\>7]

kol \6yov Kaddirep icrneipa-

fxevov 7r/)09 Seii^drT^ra.

lo

'H 8e TOLavTT) /3pa)(VT7)^ Kara

g.

opitpvTai

6vofJid[,TaL.

S'

avro

ttjv

cvvOeciv

/cdjit/xa

ct>Se,

KOfifia

icTiv to kcoXov

eXaTTov, otov to Trpoeiprjixevov, to re 'Alovv(tlo<; iv KopLvOcoJ

KOL TO 'yvcoOi creavTovJ kol to 'iirov

yap Kal

ecTTL
15

XoyiKov,

aTTOffyOeyiJiaTLKOv

Kal o'0(j)coTpov

rjOpolcrOai,

TO

oXiycp

tcov cro(j)(ov.

Kal

/3pa)(VTrj<;

rj

iv

Oeo),' tol

yvcofjio-

iroWr)^ Sidvoiav

KaOdirep iv toIs cnripixacriv SevSpcov oXojv

\

ovvdfJLi<;'

el

S'

iKTeivoLTo tls ttjv yvcofiTjv

iv fiaKpo'l^,

StSacTAcaXia yiveTal tl^ /cat py)Topeia dvTl yvcofirj^.

10.

T(x)v fJiivTOL

Kcokwv Kal KOfxiidToyv TOLovTcov crvv-

dWr)Xa crvvio-TavTaL at
yap rj TrepuoSo^; crvcrrr/jLta

20 Tidefievcov 7rpo<;

ecTTLv

[JievaL.

fjidTcov

25

evKaTacTTp6(f)(ii^

anrjpTLcrfJievoVf

olov

(TVfJLipepeLv TTJ

TToXet

olos re

ovcra

KafjLTTTJv

11.

eiveKa

tov

vofxil^eiv

elra

Kal tov

avTiq

yap

rj

i]

17

margine P.

olv

Se opit^eTai ttjv rrepiohov

alterum

21

(h. e. 5^)

ovtco<;,

e)(ovcra Kal TeXevTijv,^ fxdXa

supra

1 1

e in

6/)os KbfipLaros

in

deKTeivoiro scripsit P.

ri iari irepLodos in

margine P.

***

margine P.
19

irepl

(fuit fort. Kai)

22 evKaraa-Tpoipojs
P.
ij supra versum scripto)
ets] Schenklius coll. Aristide ii. 507, 8 (Sp.),
m. rec. P.
compend. m. rec. P.
28 6pos vepibdov Kara dpKTTOTiXrjv

Trepio5os

irpos in ras. et

w?

irepioSos iK Tpicov kojXcov

ia-Treipafi4po***irpos (lac. et ras.) P.

{yap

in VKaTa<TTp()<f)(i)v corr.

in

ojfjLoXoyrjo-a tovtols,

yap

re TLva Kal a'vo'Tpo<j)r]v e^et /caret to TXo<;.

irepiddov titulus in P.

^ariv

kojjl-

vofiov,

'7repio86<; icTTi Xefts dp)(r)v

8,

rj

fxev

jJidXiCTTa

Apta-TOTeXrjf;

16 &\\(av P.

kcoXojv

XeXvadaL tov

'

o-vvepetv'^

(o,

e/c

hidvoiav ttjv vTroKeLfxevrjv

ei9 ttjv

Xa^puov,

7rat86 elveKa tov

irepiohoi ovofia^^o-

227*

DEMETRIUS ON STYLE
This brief expression

Corinth!

than

is felt

the Lacedaemonians had

if

73

more

to be far

said

forcible

length that

at full

Dionysius, although once a mighty monarch like yourself,

now

resides at Corinth in a private station.

Once the

state-

ment

is

given in

tive

it

suggests the instructor rather than the intimidator.

full, it

resembles not a rebuke but a narra-

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.

From

9.
is
*

the point of view of composition such brevity

termed a 'phrase.'

that which

'

commonly

is

defined as

than a member,' for example the already

less

is

quoted words

'phrase'

Dionysius at Corinth,' and the two sayings of

'Know thyself and 'Follow God.' For brevity

apophthegms and maxims and it is a mark of superior

the sages
suits

skill to

compress much thought

in a little space, just as seeds

contain potentially entire trees.

length,

and

it

Draw

out the

maxim

at full

becomes a homily or a piece of rhetoric rather

than a maxim.

From

10.

the union of a

phrases are formed

period

is

a collection

dexterously to
'

of

members

'

these

thought

it

was

members and

periods.'

or

phrases,

Now

the

arranged

For example

the thought to be expressed.

fit

Chiefly because

number of

what are called

to the interest of the State

that the law should be abrogated, but also for the sake of

Chabrias' boy,
ability,

my

have agreed to plead, to the best of

clients' case\'

my

This period, consisting of three

members, has a certain bend and concentration

at

the

end.
Aristotle defines the period thus:

11.

'a period

form of expression which has a beginning and an endV

^

Trj

Dem.

Lept.

init.

"Avdpes diKaaral, fidXtara

irdXei \e\i;(r^ai tov pdfxov,

ToiLiTois,

Cis

av oi6s

Aristot. /^Aet.

t'
iii.

t5,

g,

fiiv

etvcKa tov pofil^eiv

is

The

<xvti(f>ipLv

elra Kal rod iraidbs etpcKa tov 'Ka^plov, wixoXbyqca

avvepeiv.

X^yu

5e irepLodov X^^iv ^xouo-ai'

Kad^ avTTjv Kai fxiyedos evavvoiTTov.

dpxw

f^i TeXevrijv airrrjv

AHMHTPIOY nEPI EPMHNEIAI

74

Kai TTpeTTovTOiS opicrdixevo<i* evBv^

Kokct)^

Sov Xeycov

ifjLcjiaLveL,

TTOL

KOL eTTeiyerai

Kol

yap

on

yap

rjpKTai iroOev kol oiTroTeKevTrjcreL

ei9 tl Te\o<;, c^cnrep ol Spo/xet? a(^eOivTe<;'

iKivo)v crvi^e/xc^aiz^erat rfj 0Lp)(rj rod Spofiov to

evdev

riXo^.

/cat Trepioho<^ o)vofJido-6r], aTreiKacrOeia-a

TrepioSd? iari 7r\y)v iroid

TO TrepicoSevfxipov

avTTJ^;

fxaTa ixivei

yap
T)

7rdXt9,

oafjiov

rj

crvvepco tovtol^,

avvenrelv

7]

rVcrt9 S' av77J9 rfhe.

T(x)v

eXaTTov

TjTrep

Sirjpr)fJievr)

heiypLa

TCxiv

yap

tovtov

yap

eTi ov-

ov

epixr^veia^

Trj<;

^Ofxrfpov 7rot7^crt9

rj

/caXetrat,

jxev ovo-

ipfJLyjveia

fjiOL

oXw9

/cat

E/caratov,

r]

dp^aia

So/cet dXrjOea

elvar ol

yap

en

o-ecrcopevfjievoL^

dXXijXoi^

rrapd-

Tracra.

'EXXyjvcoi'

raSe
XoyoL

axrirep

elcriv.^

ra KcoXa

ra

/cat

MtX7^crto9 wSe (JLvdelrar

*'E/caTat09

Se

rj

/cwXa XeXvixevr)

et9

rj

ft)9

17

e^aixerpcov

St*

TToXXot re /cat yeXotot, ws e/xot (fiaivovTai,

yap

r)

rj

ta Trepiohcov elo'lv avve^oiv ovhev tl

'HyooSdrov,

avTrj<;,

ypd(f)0), 0)^
25

(^tXo?

ttoXv Se fxaXXov

ov fxaXa dXXijX6i<; avviqpTiqpieva,

TrXelcrra

Trjv

el

/cam irepioSov^ e^ovcra,

laoKpaTeicop piqTopeioiv /cat Vopyiov /cat 'AX/ct-

hafxavTO^' oXai

20 Tt9

Xvdeir)

p.ev irpdy-

^ dv8pe<; 'AdrjvaloL-

hiKaiov ecTiv!

/xe

fid^eTai KaTecTTpafJbfjLevT), olov

ft)9

ra

TrepLoSo<; evpicKeTai.

Tj

12.

15

'

icFTLv 6 vt09 Xa/3pLov,

fJLOL

yovv

el

tov ArjixocrOei^ovs irepiohov dva(TTpe\\fa<^

10 Trpoeiprjfiei'rjv rt?

euTTOL d)Se TTcos,

crvvOecn^.

/cat ixeTaavvTeOeirj,

avTa, irepioho^ Se ovk ecrrat, olov

tol

rai?

KaOoXov ovSev

68019 rai? KVKkoeihicTL Ka\ TrepLcohevixepaL^.

r)

6 rriv nepio-

eoiKev

/cat

iweppLfifjievoLS /cat ou/c er)(ov(TLv avvSecTLV ouS* dvTepeicriVy

ovSe ^oTjOovvTa dXXijXoLS oicnrep ev to1% irepioSoi^.

13.
30 Tot9

r^aai

^Eot/ce yovz^

ra

/xei^

irepioSiKa KcoXa Tot9 Xt^ot?

avTepeihovcri Ta9 7repi(j)epels crTeyas

(hpiadfievos P.
Trotei /cai

ex T^v P.

P.
12

2,

TToXXij P.

ropetwj'] Weilius, pTjrwj' P.

(compend.) in margine P.

dTroreXeuTT^o-et Trot

irepiodev/Jiivais

16
23

P.

/fai]

fiTjXiaioi

P.

24

(Twe^ovcTL,

H. Stephanus,

e^ 700*'

Karecrrpe/xfiivT) P.

/cat

ex

')77oOj'

17

dTroreXeu-

10

P.

ris

la-oKparlcov P.

dXiJ^eia P.

jot;|

29

(bpdiov

DEMETRIUS ON STYLE
definition
*

The very

fitting.

use of the word

'

implies that there has been a beginning at one point

will

be an ending at another, and that we are hastening

period

and

good and

is

75

towards a definite goal as runners do when they leave the

starting-place.

at the very beginning of their race the

For

end of the course

manifest.

is

Whence

the image being that of paths traversed in a

be said

in general that a period is

name

the

period,'

'

It

circle.

may

nothing more or less than

a particular arrangement of words.

form

If its circular

is

destroyed and the arrangement changed, the subject-matter

remains the same, but the period

may

This

have disappeared.

will

be illustrated by some such alteration as the

following in the period of Demosthenes already quoted

will

support the complainants,

son

is

dear to me, and

cause

right for

is

it

me

men

much more

so

No

is

For Chabrias'

of Athens.

to plead \'

*
:

the State, whose

longer

is

there any

period to be seen.

The

12.

origin of the period

two kinds of
style, as for

found
in

The

style.

first

is

example that which

is

consists of periods.

which the periods succeed

name

second style bears the

members

Hecataeus

into

is

one

which

is

it

an example

of

'

for

the

relates.

me

the Greeks are, as

appears to me,

Here

to be true.

For the

we find
The members

compared
^

Cp.

to the stones

10 supra.

is

an

write these

many and

Here the members seem thrown upon one another

13.

is

tales told

by

absurds'
in

without the union or propping, and without the

support, which

The

most part

general.

in

things as they seem to

it

Homer.

less

divided are not closely united.

and so

Hecataeus of Miletus thus

*
:

no

another with

disconnected,' inasmuch as

Herodotus, and the older writers

instance

It is

of Isocrates, Gorgias and Alcidamas,

in the discourses

regularity than the hexameters in the poetry of

the

There are

as follows.

termed the 'compacted'

a heap

mutual

in periods.
in

a periodic style may, in fact, be

which support and hold together a

^

Hecat. Fragvi. 332 (cp.

2 supra).

AHMHTPIOY HEPI EPMHNEIAl

76

ra Se t^9 StaXeXv/xeVT;?

SieppififievoLS ttXtjo-lov

kp\jji)v^ia,%

Kol ov crvyKHxivoi<;.

XiOoL<; jjiovov

'^'^f

Ato

14.

Acal Trepie^ecTfJievov ej(et ri

Kai eucrraXe?, CDcnrep kol

5

eSoAcet

17

ipfjurji/eia

kol

crvcTTokr)

IcrxJ^OTrj^,

epyoi^

<J>et8tov

to2<;

epynqveia

17

ap^ala dyaX/xara,

tol

irpXv

r)

(hv t)(i'7)

Se tcov /Acra ravra

rj

eoiKev )(ovcrd tl

yjSrj

kol

pLeyakeiov kol aKpL^<; afxa.

15.

yap

AoKLfjid^ct)

hrj

eycoye

fjn/jre

\6yov crvveipeadai, w? 6 Vopyiov,

yap Kai iyKardcFKevos

ovTO)

ef
at

Kai

rjS-us,

dfjucfyolv

KecfyaXal paSicos

6nx(j)OTipo)V'

ovre /xdXa

tStwrtKO?,

kcrracriv,

o)?

twi^

evrt

ra

16.

0,

Se irepioScov at fJUKpoTepai

crvvTiOevTaiy at

rirrapa ovKer av
Vivovrai Se

17.

20

fJLrJKo^

KaOdirep

7re/otoSo9 yiverai,

^pdai^

dTrdSeft?

dfi^oiv

jJievTOL

Tov

iMT]Kov<;

Kai VTTO

Sarepov ov8e
18.

Kara ro rekos, rore

rj

kcoXov

fjiovoKcoXo^

TotdSe, ''HyooSoTov 'AXt/cap/cat irdXtv, 'rj

T^Se.'

crvvicTTaTai

5i.ppifiivoLS

XPV

p.

19
22

^ti^O'^*

ovro)

TrXrjoriojp

P.

t6t^ p.

rj

yap

dirXri 7rpioSo<;,

T'^s KafjLTTrj'^ rrjs

rdXXa.

supra versum scripto P.

P.

draz^

cra(j)rjs

Kai vtto

nepl ro TeXo9, vtto Se

'Ev Se Tat? orvvOeroLS 7re/3tdSot9 to

7re/)ttX77<^09

15

Kai pLovoKoikoi

yd^ to

irore.

KcoXov jxaKporepov

margme

S'

TToXv (^0)9 irapi^eTai Tat? twj^ d/coudi^Twj' Staz/otat?.'

vtt'

Svolv

reTToipcov to

e/c

TpiKOikoi nves'

/cat

re e\rj Kai KaixTrrjv

vacrrjof; l(TTopir)<i

Se

/xe'ytcrrat

ck

p.ev

ivTo<; elrj 7rpLoSLKrj<; crv/x/xer^tag.

aTrXd? TreptdSov?.

/caXovcrtz^

(9

/cat e/cc^oj-

reXr) tcov irepiohcov TrpoeiSore^; Kai Trpoava^ooicri.

Twz^

K(x)\oLv

VTrep

ol

oivcofxevcov,

re aAcovoi^re? vavTLCocn Std to diriOavoVy Tore Se

vovcri

30

/xdXa

ovre

hi

ecrrai Kai aTrXovs a/xa, /cat

rd? TrvAcm? TreptdSov? Xeydi^rwz/ ovS'

to)v Se

<to(I)L(ttlk6<;.

25

hiakekvadai okov,

ra dpyoLia, dXXa p^epl^Oai pidWov

10 o)?

15

puFfre

6\ov top

Tre/otoSot?

13

5ej

yap
5

TeXevTatoi/

7repie)(pv

kol

/xeyaXoTrpeT^^? ecrrai Kai

^So/cei

ex

eSo/ci;

Schneiderus, re P.

ivrbi ex ^ifrds P.

^x^i P-

kol ojcnrep

20

P.

14,15
a-rifieluffat.

96
ol'

Topylov, 6

re ex olVre P.

olov fiovdKbAos in

DEMETRIUS ON STYLE
The members

vaulted roof.

77

of the disconnected style

re-

semble stones which are simply flung carelessly together and

not built into a structure.

Consequently there

14.

cut in the older

statues, the art of

The

simplicity.

something polished and clean-

method of writing.
which was held to

like

is

the sculpture

already exhibits in some degree the

it

union of elevation and

My own

resembles ancient

It

consist in their severe

style of later writers

of Pheidias, since

15.

is

finish.

view

that composition should

is

like that of Gorgias, consist

neither,

wholly of a string of periods, nor

be wholly disconnected like the ancient writings, but should

rather

combine the two methods.

and simple

same

at the

time,

It will

then be elaborate

and possess the charm of both

manners, being neither too untutored nor too

speakers
as tipsy

who employ accumulated

artificial.

Public

periods are as giddy-pated

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.

The

16.

periods consist of two

shorter

members, the

longest of four.
Anything beyond four would trespass beyond 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

Every

periods.

'

and

requisite length

membered

period.

is

member

rounded

For example

which

the

end forms a single-

at the
:

possesses

Herodotus of Halicar-

nassus sets forth in this History the result of his inquiries^'

Again

'Clear expression floods with light the hearer's

For the simple period these are the two

of the

member and

its final

ditions be wanting, there

18.

is

rounding.

If either of these con-

no period.

member should be

In composite periods the last

longer than

the

embrace them
^

rest,

Herod,

and should as

When

all.

i.

i init.

mindV

essentials, the length

it

were contain and

the concluding
^

member

Sen

Inc.

is

long

AHMHTPIOY nEPI EPMHNEIAI

78

koX fxaKpov \7jy0vcra kcjXov

(refivrj 7re/3toSo9, et? creixvov

8e

aTroKeKOfJifjievrj

fjLT],

avTTJ^ TO TOLOvTov,

'

TO eiTTovTa Spacrai

Tpia he

ig.

kol

ov yap TO

yevrj wepiohajv icTTiv,

lo-TopiKT] fiev

aveipLevY] cr(f)68pa,

dXXa /xerafu

KOL

aTTiOavo^

StoL

TTepiaycoyrjv, to

aefxpov
rj

TOidSe,

fJidxP^ '^^^ 've(OTepo<;

tov

vofiov, etra

20 e^t Acat

rw

crTopiaTo^;

pvOyuco, olov ttj^ '/xaX terra

vop^il^eiv (TVjJLcjyepeiv ttj

Acat

irokei

Xekvadai tov

tov 7rat8o9 etVe/ca tov Xa/Bpiov,

av oTo^ re

tovtol^;, o)?
e/c

cTTpoyyukov

Seojjievov

/cat

crvfJi7rpLayoiJievrj<;

etVe/ca

v6v^

/at^tc prjTopLKr)

iSpaia yap tlvl Kal d(T^a\ei KaTaXrj^ei eoiKev

Ka\ ^et/309

yqcra

W9

olttXottjtos, olov

ttj^;

StaXo-

Tt}? Se prjTopLKTjs irepioSov crvveorTpafJiiJievov to

20.

fjiP

iCTTopLKifj,

aTToOecFL^.

Tj

eT8o9 Kal kvkXlkoi'

15

ap.(^olv,

'AapLOV Koi HapvordTiSof; yiyvovTai

8e Kvjoo?.'
aVTTj^

oXka

TrepLTjyfjievr), jjltjt

fiiJTe

tj

T'r)v

T )(ovcra Koi icrTopiKov Ik

10

Kokco^ Kokov,

etTTeiv

S'

eiprj/jieva.'

tol

yiKrjy prjTopLKrj.

S6^Lv

TrapdSeLyfxa

^l^oia,

X^^V

crvvepelvJ

d),

ajfjLoXo- 228'

(TX^hbv

yap

T^9 ^PXV^ V 7^epto8o9 rj ToudSe crvveo'Tpap.p.evov tl

iiJL(f)a'Lvov, otl ovk av aTTokri^eiev et? dirXovv Teko<;.
AtaXoytK:i7 8e ecrrt TreploSos

21.

dirXovo-Tepa

Kal

IcrTopLKrjf;,

T179

7repto8d9 icTTLV, c^crirep

Tota8e,

rj

rj

jutdXt?
'

etl dveLjJievT]

Kal

eja^ati/ovcra,

on

KaTe/^rjv X^^^ ^^^ '^^^

Iletpata' p^^XP^ '^^^ aTe vvv npcoTov dyovTe^.' iireppLTrTaL

yelp dXXT^Xots rd fcwXa e(^' ^T^pfp ^repov, ojcnrep iv toI^;
'

'25

hia\ekvp.ivoLS Xdyot?,

aTToXri^avTe^

/cat

fiev KaTOL TO TeXos, otl to

30

yap

peTa^i)

TTjv

SiaXoyLKrjv

opoiav
2

ei

0-7}

16
(t]

rrepiohov

i)

dirddearis

II
{rj

Kvp*os

Tov^ codd. Demosth., to

22

cKaT^pu) P.

Kal in

26

compend.) P.

p.

72

hei

rjv,

eiSrj

Kal

pepiypevTjv

TocrdSe.

x^X^i P.

yiypuvraL P.

4
fJt^exPV

edpalav corr. in idpalai P.

8pd(xai P.
{v punctis
^oi/ce

irepiayoixivrjs (superscripto cvfi)

15

(cp.

la-TopiKrjs]

ivvoTjOeifiev]

10

litura P.

punctis notato) P.

in rasura) P.

pkv

airoKtKoiifxivr) koI

margine P.

cum

av ivvorjOel-

KaTecrTpappiv7)<^ Xe^ecoq

/cat

ypdcfyecrOai,

TrepLoScJV

punctis notato) P.

[ij

6ti Tpia y^vrj irepLddcop in

notato) P.
12

Sirjprjpevrj^ re

dp(j)OTepoL<;.
ex

jjloXl^

Xeyofxevov irepioho'^

1.

23 supra).

21

Victorius, l>r)TopiK^s P.

Spengelius, ivvorjdidfiev P.

25

28

ical

P.
P.

dveifi^vr}

T^p(f] edd.,

Kai (alterum

':;

DEMETRIUS ON STYLE
and

79

be stately and impressive

stately, the period itself will

The
will be broken and as it were halting.
an instance of the period here recommended
*
True grandeur consists not in saying grand things, but in
doing things said, after saying them\'
otherwise

it

following

is

There are three kinds of period

19.

conversational, the rhetorical.

The

the historical, 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 unconvincing 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 cadence

the younger Cyrus^'

'

of the period

here resembles a sure and well-based termination.

The form

20.

of the rhetorical period

is

close-knit and

needs an ample utterance and a gesture which

corresponds to the movements of the rhythm. For example
circular

it

'

Chiefly because

thought

it

was

to the interest of the State

that the law should be abrogated, but also for the sake of

have agreed to plead, to the best of my

From the very outset such a
case^'
period contains something compact something which clearly
Chabrias' boy,

ability,

my

intimates that

The

21.
is

clients'

it

will

not come to a simple ending.

period of dialogue

is

one which remains

It scarcely

also simpler than the historical.

lax,

and

betrays the fact

I went down yesterday to

For instance
the Peiraeus' as far as the words 'since they were now

that

it is

a period.

celebrating

'

for the

it

time''.'

first

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
Such are
style, and compounded of both in equal measure.

the different kinds of period.

1

Scr. Inc.

Dem.

^ Plat.

Xen. Anab.

i.

cp. 3 supra.

Lept., init.: cp. 10 supra.

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

are vvv trpdrop ayopres.

T^v

eo/JT^j' fiovXdfievos dedffaffdai

Hva Tpbvov

iroii^aovffiv

AHMHTPIOY HEPI EPMHNEIAS

8o

VivovraL 8e koL i^ avTiKeiyLevcov kcoXcov TreptoSot,

22.

Se

avTiKeifJievcov

oia

T7J<;

/oot?,
5

rjTreipov, iret^evoiv 8e

T \e^i kol

rrj

Sta

T']^?

wXecop ixev

OaXdcrarj^,'

d{x(j)OTi-

rj

ojcnrep

irpdyixao-iv,

to'ls

'

avrr)

rj

7repLo8o<; cSSe ex^*"

Kara

23.

TOidSe

8e rd
oXov

icrriv,

HpaKXei
Tov /3lov

(fyrjcnv,

KOL

on

Se 'eTTiTTovov^ TO

'

'

oixoloi<^,

iiroiiqcrev'

TrepCpXeTTTovJ

kol

'Trepi^a)(rjTOVy

irepnid^rov

yap kol dpOpov

kol raXXa

dvTLKeLrai

fxev

6\a)<s ev

rw

iwiTrovov kol irokyKivhwov

Se Trepi^XeirTov kol

(Twhia^o}, o/ioia

TOV avrov rpoirov, rw

TTapa/3a\o)v

'FjXevrjv

ttjv

(xev

'tc^

iTTOLTjcrev, ttJ?

(TTJvoecrjjLos

ovofiaTa fxovov dvTiKeifxeva KOika

0)9

10 (jivcTLT/ Karicrrrjcrev.^

15

toIs iTpdyixao-iv, oXov

17x01

npos

to

rw Se

'

'

rrjv

dp6pa),

Se Acara

KaTecTTTjcrev,^

tS

TroXvKLvSvvov' to

eV, ofioLov irap* ofioiov,

rj

avTaTToSocTL^.

^Ecrrt Se KcoXa,

24.

/jltj

avTiKeifJieva ifxcfyaLvei Tivd

tw o-^fxaTi avTcdeTcos yeypdcfyOat, KaOd^^Tri)(dpiJiO) rw 7roi7]Tff weTraiyfievov, otl 'TOKa

avTiOecTLV Sid to
Trep TO Trap

jxev ev TrjVoi<^ iycov rjv, rd/ca

20

avTo

yap

jJLev

ipfxrjveiaf;

Trj<;

dXX' ovTo<;
afia

25.
25

fjiefJiLiJirjixevof;

Tol^

iir

lctcos

jjikv

ovto)^ dvTeOrjKev, Kal

yekcoTowoicov

Toif; prjTopa<;.

^Ecrrt Se Ka\ jrapop^oia KcoXa, aTiva Trapofioua Sr)

dp)(rj<;,

oTov

inl TeXov^,

a>9

iOavfJuacra

tcov

o)<;

rj

2,

apogr.
(to

in

iireeaaiv'

tov Ilavr)yvpiKov

dp)(y], 'TToXXaict?

elSos Se tov irapo-

TO IcroKcoXov, iirdv tcra? e^rf ra Koika ra? crvXXaySa?,

7rXeO(rat...7refeO(rai

rb ubique,

12, 13

Tas Travrjyupeis (rvvayayovTcov Kal tovs

yvfJLVLKOv^ dya)va<; KaTacTTrjcrdvTcov.'

30 fioLov

to

dvTiOecriv Tiva irXavoiVTi eoiKev,

BcopTjTOL T6 ireXovTO, TrapdprjTol

rj

iyo^v!

Trjvoi<^

koX ovhev kvavTiov 6 Se Tpoiro^

elprfTai,

(TK(x)TTT(iiv

Se irapd

aiirbV.

21

P.

19

fiefiLfirj/j.^fos]

supra versum addito) P.

margine P.

codd. Isocratis.

nusquam ry

24

ii

fi^uoia 6/jt,olois

TraprjTTfjPOLS

Mnreins,

P.

fie fiiyfjiipos

irepl wapofioicov

ex

ofioia ofioios P.

19,

T.

KibXwp titvlus in V.

22

20

rb avro

76Xw7roiwi'

25

dfirjpos

1 ::

DEMETRIUS ON STYLE

Periods can also be formed of contrasted members.

22.

The

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
antithesis

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

'

'

'

'

runs throughout.

like,

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
have often wondered at the conduct of the men who convened 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^^as, t6v

nc. Hel.

Isocr.

Epich. Fragm. 147, G. Kaibel C. G. F.

Horn.

//. ix.

Isocr.

Panegyr.

R.

5"'A^w

8iop6^a$.

I'j.

526.
i.

AHMHTPIOY nEPI EPMHNEIAI

82

ajcnrep SovKvSiSr),

'

o)s

ovt

TTVvOdvovrai aira^LOVvTcov

ojv

TO epyov, oTs T eTTi/xeXe?

etSeVat ovk oveiSt^^ovTcov'^

etr)

IcTOKcoXov fxev Srj tovto.

'OfjiOLoreXevTa Se ecrrt ra eis o^JLOia KarakrjyovTa,

26.
5

tov

TjToi 19 ovofjiara ravToi, (^(rnep e^ei iirl

KoX

eXeye?

l,(i)VTa

'

crv 8'

vvv Oavovra ypdcf^eis

/ca/cws, /cat

avrov

/ca/cws*' 228'

orai^

17

Karakijyr)

XyOT^crt? 8e Tw^' rotourw^' kcoXcov i7TLcr(j>akij<;.

27.

yelp Setz^o)? \iyovTL imTijSeLa' e/cXvet yaya

7]

avrd repdpeia

irepl

TTOtet

yap

/cat

6fJiOLOTr)<;

8ta

8eti'dTi7Ta

dXXa

8etTat,

eKokovvTO
irepi

r)

oure

)8ovXerat
v

ei^

ra

to irdOos,

/cat diroir^Tov

TTapofJbOLOP

'

TOiavTa,

yap

dirXovv

(xev outoj?

iroiav

twv

inl

elvai

8e

o/jlolo)^

e)(6pct}v,

aTrcjXecravJ e/xTra^ai? ai' etpi^/cw?

TroiTjcreL'

/cat

irdOos Kivrfcrei

to

30 fiiav,
2

10
in

oh

TO
Te\

ret

to ijOos,

et?;

yap

ort

etTTOt

'iroiav

oiav ttjp IStav ttoXlv

/cat

oSvpTLKcos'

el

yap

iv TrevOovai jrail^eiv,

rotaura ev

toI^;

versum addidit P.
in margine P.

19,

20

Cjs

27
29

Trepl

idei^a in

Ata

ttjv irapoiecTTL.

o/xoioreXe^Tuv titulus in P.

13

/3

in ras. P.

margine P.

avdpbirbpvoi P.

margine add. P.

airi^aXov

Tapoifila in

/caret

irdOecn KaKOTe)(velv

a supra versuni add. m. rec. P.

margine P.

Se

ttoXlv tojp e^Opoiv tol-

ovSe eXeov, dXXd tov KaXov/xevov /cXaucrt-

Thucyd., oh to P.

eTTiTiySeta

o)?

elvat

avT7)v eXa/Bov, oiroiav Trjv ISiav direl^aXov,^ ov fid tov

yeXcjTa.

ov

T)(vr]<;

8t/catocrvi^7y9 6 T171' 'Adrj-

Treyot

vaioiv TTokiv ohvpofxevo^ el

rir)!^

Xeyofjueva.

rjOecnv'

/cat

yovv ToZ^ 'AptcrroreXovg

avTO

yap

dvfxos

8et^'dr7^rt ^prjO'iixa tol

TrdOecri

TOLavTTjv ttoXlv elXov TOiv

25

di/rt^ecrt? e/cXvt

/cat

avTo^va

Tpoirov Tiva

87jTa

ei^

he eratpat.'

fiev eToipoi, r^crav

ra KcoXa

KaKOTe^viav.

ri^i^

8et

Ovre

28.

tovto

T7/xt^'

6pt^, dvhpoTTOpvoi tov

(^yvcriv

ToiovT(x)v KaTiqyopicov /cat dirXa

e8etfa,

ovre

8eLv6T7)Ta

ti^j/

SrjXov 8*

^povri^.

/cat

dvSpo(f)6voL 8e ttjv

'

TpOTTOv Tjcrav

20

tol

KaTTjyopwv yap tcov ^ikiTTTrov ^ikcov

eoTTO/ATTO?.

(fyiqcriv,

15 7)

cucnrep

avTTjv,

ttjv

TOV HavrjyvpuKov 7Tpoeipy)p.eva.

e/c

10

(TvWa/Srjv

ets

25
fia.

ravra P.
16

aTj

airdoKeaav supra

tov Ata

t7)v dX-^6eiav

DEMETRIUS ON STYLE

83

equal number of syllables, as in the following sentence of

This implies that neither those who are asked
Thucydides
disown, nor those who care to know censure the occupation \'
'

an instance of equality of members.

Homoeoteleuta' are members which have a similar
26.
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
This

is

'

'

'

risk.

They

artifice

are ill-suited for vigorous declamation, since the

and study which they involve impairs the energy of

Theopompus proves our

discourse.

the friends of Philip, he exclaims

point when, in arraigning

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 expresFor indignation needs no art
sion through the trick of art.
in such invectives the words should be simple and, in a
:

'

manner, impromptu.

28.

Such

devices, as

They

vigour of style.
passion,

or

to

naturalness

is

have shown, do not contribute to

are not appropriate to outbursts of

delineations

the

mark

of

character.

alike of passion

Simplicity and
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
what so great city from their enemies
sentence symmetrical
had they taken as their own city which they had forsaken,'
you may depend upon it that he will not excite pity or comFor
passion, but rather the so-called 'mirth amid tears.'
no
passages
is
ill-judged ingenuity of this kind in emotional
:

'

better than the proverbial 'jest at a funeral.'

Thucyd.
=*

i.

5.

Theopomp. Fragm.

* Aristot.

Scr. Inc.

249, Miiller, F.

Fragm. 71, ed. Berol.

v. p.

cp. Aristot. Rhet.

H.

G.

i.

iii.

9.

p. 320.

1487.

62

AHMHTPIOY nEPI EPMHNEIAZ

84

TiveTai fievTOL ye xprja-Lixd nore,

2g.
(^iqcrivy

iyco eK

o)<;

'A/jio-roreXTy?

Adrjvcov et? ^rdyeipa rj\Oov 8ta rov

fjuev

^acrikia tov fxeyav,

^et/xwi'a TOV fjiiyav'

yovv

eu

yoZ av ra ToiavTa

'AOrjva<; Sta toi^

to Tepov

d(f)e\oLs

'

fxeyavj

yap ixeyaXrjyopCa avvepoirola TOiv Vopyiov ra iroWd

^dpiv

5 avvacfiaiprjcrr) /cat ttjv

eU

8e ^rayeCpcov

e/c

K(x)\a,

ttj

dvTideTa KoX tcov 'icroKpdTov;.

irepl fiev Stj

tcov irapo-

pLOLOiV TOLVTa.

ALa(f)peL Se evOviirjpia irepiohov TjjBe, otl

30.

fjiacTTai,

/cat

tm

TO Se ivOvixiqixa iv

crvcrTao'LV /cat

ecrrti^

rj

fiev

Sidvoid rt? tJtol

SiavoijfJLaTL e^et ttjv S-uvafJUV

kvkXos tov ivdv-

7repioSo<;

fjuev

dWojv

pnqp^aTO^, wcTTrep /cat to)v

fjLrjfjia

rj

G-uvOecTiS tls icTTt Trepiriyiiivq, d(^' 175 koI o)v6-

10 7re/)LoSo?

irpayyidTOiv, to S' ivdv-

/xa^T^? Xeyofjuevrj

e/c

rj

iv d/coXov^ta?

15 (TXTjixaTL.

31.

%r)fjiLOv Se*

ydp

et

StaXvcreta?

7171/

crvvdecriv tov

ivOvfJujixaTO^, TTjv [xev irepiohov r)(f>dvLora<;, to S' ivSvpLiqp.a

TavTov

/xeVet,

olov

to tolovtov,

ivOvjJirjiJia

to Trapd ArjfjiO(rOevei StaXucretez/

et rt?
'

coanep yap

TrapdvofJia ypd(f)ov<TLV' et

ravra

ivTavOa

32.

ttj^

rrepLoSov

iv TavTco

TrdvTi'

(Tf)

TTJV 8ia(popav in

/cat

/cat

arrdyripa P.

229''

tovtov vvv dXovTo^-'

nepioSovs

to

crvXXoytcrjLio?

fJ^^^v

iv

)Ltez/

ovSev,

TravTl

fxipei

(Scnrep eirtXeyeTat, to eV^v-

jitez/

rb '^repov /xiya

margine P.

^ addidit Finckhius.

ivOvfJurjiJia

fjiev

olov iv rot? irpooiixioi^;, ivOvfjLTjfiaTa

TLOejJiev,

Goellerus, awepyotev P.

10

iKcoXvovTO, ov\k av vvv ovto^

7rpLoSo<; Se cruXXoyt^erat

y)

crvyKeiTai Se [jlovov

ej/

tol

6 kvkXos e/cXeXvrat, to S' iv-

Kat KaOoXov Se to

TOV Xoyov
Se ov/c

fjuev

dXXo<;

iinTpeTTeTe rot?

fjuevet.

Tt? eVrt prjTOpiKO^;,

[jlt)

eypac^ej/, ovS' eTepo^ eTL ypdiffeu

25 OvixTjixa

yap

rt? eKeivcov idXco,

av vvv dXw?,

'

ov ypd\pL'' SiaXvcreiev Se ovtco-

30

et

rdS* ou/c av eypaxfjas' ovt(o<; av

20 crv

23

I'

corr.

edd.

r/vt dia<p^pL iudOfirjfjLa

13,

14

5,6

crwe/yyoi Ai*]

Tepiddov titulus in P.

tI eaxLv ivdiixrifxa in

margine P.

aXwvros P.

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 members, 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
while the former finds its meaning and
it derives its name
existence in the thought. The period comprehends the enthymeme in the same way as other subject-matter. The
:

'

'

'

'

enthymeme

a thought expressed either controversially or

is

consequentially.

word in proof If you break up the structure of

the enthymeme, you destroy the period, but the enthymeme
31.

Suppose, for instance, the following enthy-

remains

intact.

meme

Demosthenes

broken up: 'Just as you would

any of the former parties had
been convicted, so if you are convicted now no one will
Show
do so in futureV Let the enthymeme run thus
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
in

not have

made

to be

this proposal if

it

was.

32.

enthymeme

In general, the

period

the

syllogism,

while

simply a

combination

point of distinction.
discourse, for

enthymemes.

of

We

example

in

The one
Aristot.

is

is

words.

a kind of rhetorical

reasoning at

not

Nor

is

all,

the

this

but

only

use periods in every part of the

exordiums

the

Fragm, 619,

but we do not so use

enthymeme

is

ed. Berol. v. p. 1582.

Demosth. Aristocr. 99.

as

it

were an

AHMHTPIOY nEPI EPMHNEIAI

86

TreptoSo? Se avToOev XeyeraL'

T)

fJLrjfjia,

(rvWoyiCTfJios Icttiv aTekrj'^y

koL to

olov

fxev

Se ovre oXov tl ovre arekkf;

rj

crvWoyit^er ai.
^vfJb/Se^rjKe

33.
5

(Scnrep

rw

av \evKov
fiev St)

ivOvfJuyjixaTi

oiKoSofJiovfjiivco orvjJi/SelSrjKe fikv

rj,

to otAcoSo/xou/xez^o^'

Stac^opa?

koL wepLohco

TO eTepov

Se KoX

fJLpo<;

SiKcoXov

ovk

kol XevAcw elvai,

ecrri

XevKov.

ApLo-TOTeXr}<; ovT(o<; opit^eTai,

TreptoSov'

TreptoSo?.'

arrXyj

fjLepos,^

S*

etra iincftepeL'

ovt(o<;

'

kcjXov

'yiveTai

Tpov

'to

opio-dfjievo^,

elvai ttjv

i/BoTjXeTo

irepX

kol irepioSov eipiqTai.

ivOvfjLifjfjiaTO*;

To Se kojXov

34.
10 icTTL

tw

ovt/

fxei/

Slotl TrepioSt/co)? crvyKeiTai, irepiohos S' ovk eaTLVy

elvai,

irepiohov

hrfkovoTi.

6 S' 'Ap-^iSrjfjLos, (TvWa^cov tov opov tov 'ApLCFTOTeXov^;

KOL TO
15 ovTO)<;

eTTi(f)ep6jxevov tco opco,

o)picraTO,

'

KOiXov

cra^ecrTepov koI TeXecoTepov

icTTiv

tjtoi

aTrXrj

7reyotoSo9,

r/

crvvOeTov irepiohov jxepo^.^

Tt

35.

hov
20

Se

/xez/

ovv

oLTrXyj

avTO irepiohov

<f)ri(Ta^

opit,iv

eoLKv,

^apaKTTjpoiv

oXXoL

irepioSov

fxeTpov jiev
T7J<;

TreptoSo?, eiprjTar

crvvOeTov Se

jxepo^, ov Svcrl /ccoXot? ttjv irepio-

KOL TpicTL KOL

e/cre^ei/xe^a,

TrXeiocTLV'

rjfieL^;

vvp Se irepl tcov

kpixrjveia^ Xeycofxev.

II.

Etcrl Se TTTape^ ol ctTrXot yapaKT7]pe<;, l(r^v6<;,

36.

IxeyaXoTrpeirrj^, yXacfivpos, Setz^os, kol Xolttov ol iK tovtojv

jjiiyvupievoL,
25 yikv

Se

tS

KoX

6fjiOL(o<;

jJiiyvvvTai Se ov Tra? iravTi, dXX' 6

l(r)(yM

kol

tco

6'/)os

K(b\ov

Kara

dpx^drjfiov 6pos in

(in litura)

kol

Seti^o?

ajxc^oTepoi^' ix6vo<; Se 6 jxeyaXoirpeirr)^ to) la^vco

avOicTaTov

ov fxCyvvTau, dXX' ojcnrep

9
Kara

fJueyaXoTrpeirel,

yXa^vpo<i

dpi.(rTOT^\r]v in

margine P.

margine P.

14

corr. edd.

(77

punctis notato) P.

01)

fiiyuvrai in

margine P.

22
26, 27

6p(a

1 1

koX

avTiKeLcrdov

kuI in litura P.

ex oXw (ut videtur) P.

Trepi x^-P^'^'^'^P^^ titulus

in P.

c?; 5ri /t6j'os 6 ixeyaXoirp^irrji

21

24

o"?;

\4yofxeu

firjyvij/xevoL

xapaKTT^p

ry

lo'X^V

DEMETRIUS ON STYLE
while

additional

utterance,

utterance.

The former may be

the

period
called

87

an independent

is

an incomplete syl-

logism, while the latter corresponds to no syllogism, whether

perfect or incomplete.

33. It may, indeed, happen that an enthymeme is

same time a period because its construction is periodic.
it

not identical with the period.

is

so chance, but a building, as such,

if it

So much
member

for the distinction

The 'member'

34.
'

is

is

'

one of the two parts

combining the

Still

be white

not necessarily white.

He

period.'

The

'A

'

makes

it

of Aristotle and

fuller definition

then adds

clear that

he

Archedemus,
supplement,

its

own
compound

of his

either a simple period, or part of a

reference in his

have two members.

definition

produced a clearer and

may

thus defined by Aristotle:

is

also occasionally simple^'

preferred the period to

is

building

between enthymeme and period.

one of the two parts of a

is

period

definition to

ber

at the

mem-

periods'

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,
35.

but to include three or a greater number.

We have

our views concerning the limits of the period

let

given

now

us

describe the types of style.

CHAPTER
36.

The simple types

II.

of style are four in

'plain,' the 'elevated,' the 'elegant,'

number

the 'forcible.'

Not
The

tion there are the various combinations of these types.

every

style,

elegant

is

however, can be combined with every other.

found united with the plain and the elevated, and

the forcible with both alike.

alone cannot be compounded.

^

Aristot. Rhet.

iii.

9, -rrepiodos 5e

rb ^repov fi6pLov ravTrjs.

*

the

In addi-

Arched em. Fragm.

i)

The elevated and the plain

They are so irreconcilably

fikv ev k<I}\oi.$

dcpeXij 8i X^yu) ttju

novbKwXov.

tj

5'

d^eX-^s

. .

kwXov

5'

iariv

AHMHTPIOY HEPI EPMHNEIAI

88

8io

ivavTio)T(XT(t}.

817

Kol y^ovov^ hvo ^apaKTr]pd<; rive^

a^LOvcTLv elvau rovTov<s Toifs 8e Xolttovs Svo fxera^v tovto)v,

Tov

8e /JLeyakoTTpeTreL tov Seivov,

5

rw

y\a(j)vpov rco [(ryyco irpoavifJiovTes fJiaXkov,

fjiev

tov y\a(f)vpov

cL?

yuKpo-

p.ev

oyKov koI

TTfTa TLva Koi KOfJLxjjeiav e)(ovTos, tov heivov 8e

jjiiyeOof;.

TCx)v elpy]fxivo)v

olov

TTOLCTLV,

10

8'

FeXoto?

37.

6 TOLOvTos \6yo<;.

yap

opcofxev

7r\r)v

^apaKTrjpcov ivavTucov, woivTas fjnywixevovs

TOVS HXaTCOVO^ XoyOV^

OfJiljpOV T 7717 KOL

TOi

KOi aeVO^(t)VTO^ KOL 'HpoSoTOV KOL dXkcOV TToWcJV TToXkrjV

fiev ixey akoTTpiir eiav KaTajxefJLLyiJLeprjv )(0VTas, TroXkrjv

8e

SeivoTTjToi re kol yapiv, axTTe to fiev ttXtJ^o? tcov ^apa/c-

ocTOv

17),

XeXe/cTttt.

av Tota8e

irpeTTovcra yevoLT

eKoicrTcp

ipiJL7)peia

8'

rt?.

"Apfojutat 8e diro tov fieyakoTrpeTTOvs, ovirep vvv

38.

15

av

TocTovTov

Tnjpcov

\6yiov ovoixdtpvcTiv.
voCa,

Xefet,

ro)

w?

fjLeyaXoTrpeTTT]';,

iraioivo^ 8e elhr)
20 p,.v

TO

8e,'

avvOecrL<;

^ApL(TTOTXr)<;,

(f)r)0'Lv

iraioiviKrj.

rj

KaTakr)KTLKov OaTepco

8e

TO

dvTicrTpo(l)OV,

8e

Xrjyec

/xta fiaKpd,

Apapia.

Act 8e iv Tol^ Kcokoi^ tov fxeyaXoTTpeTTOvs Xoyov

39.

TOV TTpOKaTapKTLKOv

fxev iraioiva

dp^eiv tcov

irapdheiypua

KaTaXr)KTLKOv 8e eirecrdaC.

8'

kcoXcov,

dib] Victorius, 5e 6 P.

irpeiriji in

a'

26

_ ^ w ^j

margine P.
Tratwj' ^'

6vKv8i5iov P.

--

27

in

margine P.

ifp^aro

ttot

TeXos,

/cat

eiprjfjL^vuv]

trepl fxeyaXoirpeTrous titulus in

Victorius,

P.
|

fMeyaXoTrpeTrovs P.

18

Kofixplav P.

eKdcTTOJi P.

tl

otl Sel /cat ttjv ifJil3oXr)v

TOV KcoXov Kal dp^Tjv fjieyaXoTrpenrj evOv^ eivai

bpwfjAvuv P.

tov

avTcov to Sovkv-

SiSeiov ToBe, 'rjp^aTo Se to kolkov if At^toTTta?.

ovv *ApLO-TOTeXr)<; ovtco 8teTafaT0

8e

hvo, to fiev irpOKaTapKTLKov, ov dp^ei

jxev ^pa)(eiai dp-^ovcnv,

Tpei<;

(ocTTTep

25

to fieyakoTrpeTre^;, 8ta-

8r)

TTpo(T^6p(o<;.

(xaKpd, \ijyov(TL 8e r/oet? ^pa^eiai, olov to TOiovhe,

'^p^OLTO

ov

iv TpLcrl

(TvyKeicrOaL

19

23

syllaba longa

ra apa^eld P

non

fieyaXo-

6tl 5{>o et8r} iraiuvos, iralwv

indicata.

corr. Walzius.

229'

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-

The

mediate.
plain,

and the

elegant style

thus, regarded as akin to the

is,

though the

forcible as akin to the elevated, as

contained something slight and dainty, and the second

first

something massive and grand.

Such a view

37.

style

Homer,

may

for

can see

be combined with any other.

example, as well as

many

phon, Herodotus and

for ourselves

two opposites just mentioned,

that, with the exception of the

any

We

absurd.

is

In the poetry of

prose of Plato, Xeno-

in the

other writers, great elevation

is

The number of types

already indicated.
The mode

of

joined to great vigour and charm.

style

is,

that

therefore,

of

expression appropriate to each will be found to be of the

following kind.

38.

to-day the

begin with the elevated

shall

title

three things

According to

'

eloquent

'Ihought,'

Aristotle,

'

to

which

Elevation consists in

given.

is

diction,'

style

appro priate composition.'

rhythm

the paeonic

There are two kinds of paeon, the

'

elevateds

is

procatarctic

'

(initial),

beginning with a long syllable and ending with three short

ones, e.g. rjp^aro Be

of the former, that

syllables

39.

and the
is

(final),

the converse

to say, beginning with

three short

'

catalectic

'

and ending with a single long one,

In the elevated style

the

e.g.

'Apa^la.

members should begin

with a procatarctic paeon and end with a catalectic paeon, as

in this

passage of Thucydides

that the

why
the

malady

'

originally came^.'

Now

it

was from Aethiopia

What, now,

is

Aristotle advised this arrangement of syllables

member should open and end

1

Aristot. /^Ae^.

iii.

8.

impressively

Thucyd.

ii.

the reason
?

and

48.

Because
this will

AHMHTPIOY nEPI EPMHNEIAZ

90

c^ucret

Xriyoiixev.
fxevrj

re TrXrjcrcreL evOv^ Koi dTroXijyovcra ev fjieydkco tlvI

npcoTcov

dKovovra.

tov

/caraXeiTTCi
5

dno fiaKpa'; dp)((o[jLOa /cat etg fxaKpav

yap fxeyakelov r) fxaKpd, kol irpokeyo-

8' ecrrat, ectz^

TOVTO

/cat

fjLvrjfjLove-uoiJiep

eXaTTOv

KLvovfJieda, VTTO 8e tcov fxeTa^i)

fievcov

re

tcov

ISl(o<;

iyKpvnTO-

(jjairep

iva(j)avLCoiJivcov.

7]

yap

ArjXov Se tovto iv rots ou/cvStSou- cr^^eSov

40.
6\co<;

yovv

irdvTe^

tcov vcTrdroyv, /cat vtto tovtcov

TO fJieya\o7rp7r^ iv irdcnv avTco

10 iJLaKp6Tr)<;,

/cat

/cti/Svi^euet

ovTos TOV /xeyaXoTTyoeTTOv? avTTj

rroiei

tov pvdfJLOv

tj

dvhpl tovtco iravToSaTTOV

tco
rj

crvv0e(Ti<; fiovr)

7)

fjidkicrTa

TrepLTTOielv to (jieyLcrTov.

Aet

41.

T0t9

fieOa
15

Xoyt^ecr^at, ort kolv

jJiivTOL

KcoXoL^

tov^

TrepiTiSivaL

evOev dpL^oTepov^, TTaicoviKrjv ye

(TvvOecTLv, olov

e/c

evOev

7rdvTco<;

/cal

TroirjCTOfJieOa ttjv

fxaKpcov dp^op^evoi /cat et? pLaKpd<; /cara-

yap

tovto

X^7yo^'re9.

dKpL/3co<; Svvco-

[xt)

iraicova^

irapayyiWeLv

*AptcrroTeXT7?

/cat

eoLKev, aXXaj9 8e to Slttov tov iraicovo^ TeT)(yo\oyiqKivaL

dKpL^eia^
20

hiorrep

eVe/ca.

%e6(^paaTos irapdheiyixa

e/c-

re^etrat /xeyaXoTrpcTreta? to rotouToi^ kcoXov, 'tcov fxev irepl

TOL

firjSevo^;

dKpi^oif;,

d^ia

dXXa

TOV waicova

cfuXocrocjiovvTcov''

ttcllcovlkov

tl

icTTL.

ov yap

42.

dXX*

TO XoyLKov 8e

Ot

8'

rjfjicov

fjiaKpcov vTrepTTLTTTei
ffr}

r)p(^o<; creixvo^ /cat

ov8e evpvOjxof;, dXX'

rj-^coSrj^s'

eU

tyjv

^copav'

TOV XoyuKov

TroTairrjv ^x^i 86pafji.iv

rec. addito) /tdXiara P.

17

fMaKpd in

15

ov Xoyt/cds,

dpv0fJLO<;.

yap

rj

(Zcrrrep

margine P.

11

ij

(accentu supra

iroi-qaibfieda P.

m.

18

rec. P.

28

27

^vpvdfios

^Kei i7Kw>' P, iKc iJKtp

P.
I

m.

dW

rec. P.

apu^/Aos]

Victorius,

7;

13

m.

5uj'c6-

TexvoKoytjKh ai P.

22 TrapaXa^eiv] Steinbergerus, irapoKa^Qv (\a supra versum scripto) P.

P.

7rvKv6Tr)<; tcov

jJieTpov.

12 irepnroiei'P, v supra versum addidit

Ate^a] Schneiderus, dvud/xeda P.

Xe^wv

/cat

Trj^ fjuaKpa*; Xa/x-

rwi/ ^pa^eicov.

e/c

aXXot, 6 fiev

Totdcr8e, 'tJkcov

fJievTOL

et? tov<; X6yov<;, iireiSr) [jllktos tC^ icTTL

dcr(f)a\CTTpoSy to /xeyaXoTrpcTres [lev eK

25 jBdvcoVf

rraicovcov

e/c

Trapaka^elv

dW

25 jSpa-

dvdpvd/ios

P.

DEMETRIUS ON STYLE

we begin with a long syllable and end with a long

The long syllable has in itself something grand, and its

be so
one.

if

use at the beginning

is

striking, while as a conclusion

Anyhow,

the hearer-^ith a sense of elevation.

remember
that

come between them have

first

they were obscured or hidden

40.

This

in his

in

rhythms.

by

part,

41.

We

this

leaves

of us

all

words

whereas those

upon

us, as

though

the others.

whose dignity

every instance due to the long syllables

may

It

stateliness of that writer

most

last,

clearly seen in Thucydides,

is

almost

is

less effect

among

it

stirred by, the

and the words that come

come

of style

and are

in a special degree,

that

used

91

is

even be said that the pervading

attained altogether, or for the

arrangement of words.

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

On

his treatise.

same

the

principle Theophrastus has given

as an instance of elevation the

who

'

Those

philosophize in matters that are worth nought^'

particular sentence
it is

member

following

paeonic

not precisely

it

is

mixed measure and

elevation from the long syllable

its

This

composed of paeons, yet

The paeon should be employed

in character.

discourse, since

derives

is

so

safer,

and

its

in

and
prose

character from the short ones.

42.

Among

ill-adapted

but without
*

it.

Take,

It

is

for

sonorous

not

solemn and
of rhythm,

following words

instance, the

This land, our land, reached now by me^'

tion of long syllables exceeds the

^

is

full

the other measures the heroic

for prose.

Theophr.

tt.

X^^ews.

Here the

bounds of
^

prose.
Scr. Inc.

reitera-

AHMHTPIOY nEPI EPMHNEIAI

92

*0 Se LafjL^os

43.

6 8e iraioiv

rrj tcjv ttoWo)]/

Xefet

o-vp6eo-L<;

r)

ev

fxkv Srj TraicovLKrj

wS* av

(JLeyaXoTrpeirecrL

roi^i

Xajji^dvoLTo.

tto)^

KOL rd

Tloiei 8e

44.

kol ixerpio^, koI ottoIos crvy-

ixi(To<^

dfX(l>o'Li/

KKpaixivo^.
5

kol

VTe\rj<;

TToXkol yovv fjierpa ta/xySifca XaXovcrti' ovk etSdre?.

ofJLOLOf;.

rcov kcjXojv fxeyeOo'?, oTov

fjLyJKT)

^vveypaxjje top TroXejxov tcov IleXo-

'SovkvSlS7)<; ^A0rjvaLo<;
\

7rovv'Tq(Ti(x)v

dTToSet^t?

L(TTopLrj<;
10

KOiXov
KOLv

kol ^ KOiqvaioyVy kol ''HpoSoTov ' AXiKapvacrecos

^pa^v

rj

ro

1786.'

yap

Ta^0)<; aTrocFLcoTrdv

Xoyov

KaTao-fJiiKpvveL rrjv rod

SidvoLa

v7roKLfXvr)

el<;

(refjiPOTrjTa,

fieyaXoTrpeTrrj^;

rd

kolv

y,

ovofJLara.

45-

MeyaXoTTpcTre?

crvvOicreL Xeyeiv,
15

oXov

Se

Ik

to

^ovKvhihy]^'

&>?

TTepLaycoyrj^;

'o

ttj

ydp 'A^eXwo?

TTora/xo? peoiv Ik liivhov 6pov<; 8ta AoXoTTia? /cat 'Aypuav(x)v

Kai

diropov

TrepiXipL,vdt^(x)v

(TTpar ev ecr 9 ai J

Ik

46.

Trotei

/cai

tov dKovovTa.

Et

8'

'A^eXwo9

ovTCt)

e?

'^eijJicoi'L

TOLavrrj p^eyaXoir peir eia

rj

e/c

tov p.6yi^ dvaircLva'aL

SiaXvcra? avTo

pel fiev eK

TTora/xo?

iroXiv

koI ttjv ttoXiv avroi^

tov u8aro9 ev

vtto

ydp

yeyovev, kol

Trjs Trepiaycoyrj^

avTov re

Olvidha<i,

cnjfJiTracra

^Tpdrov

irapd

avoiOev

^AjjLifiiXo^oiv,

OdXacrcrav 8teftet? irap

20

koL

eiiroi

II 11^801;

tl<;-

opovs,

'

ydp

e/cySaXXei

8e Trap' OlvidBa^; e? OdXacrcrav' irpo Se ttJ? e/c^oXTJ? to

25

OlvLaScov

ireSiov

)(eLfJLepLvd<;

XLfjLvr)v

e<^o8ov9 tcov

yivecrO ai to vScop-'

el Stj

Troiel,

avTols

(^<tt

TroXefJLLCJV

epv^jua

/cat

7rpo<;

ra?

7rp6^Xr)p.a

rt? ovto) fxeTa/BaXojv epfxrivevaeiev

avTo, TToXXa? fxev dvairavXa<; wape^et

tS

Xoyo), to p^eyeOo^

8' d<j)aipijo'eTaL.

30

47.

KaOdwep ydp ra? fiaKpds 680 vs

KaTaycoyal fJUKpds

ire\\oirovvq<xl<i)v P.

codd. Thucyd.

17

ttolovo-lv,

at

8*

aWiKapvaaius P.

8ii^lei(n P.

at

epiqjJiiaL

15

crvi/e^et?

Kav

o/30us P.

rat?

'Aypauv

230''

DEMETRIUS ON STYLE
The iambic measure

43.

ordinary conversation.

93

lacks distinction and resembles

Indeed,

The paeon

many

people talk

in

iambics

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 Herowithout knowing

it.

hits the

'

'

dotus of Halicarnassus sets forth in this History the result

of his inquiries^'

member

sudden drop into silence on a short

diminishes dignity of expression, elevated though

the underlying thought and the words

45.

Elevation

following passage of Thucydides

position, as in the

the

Achelous

river

be.

by a rounded form of comFor

also caused

is

may

flowing

from Mount Pindus through

Dolopia and the land of the Agrianians and Amphilochians,

having passed the inland city Stratus and discharging
into the sea near Oeniadae,

itself

and surrounding that town with

a marsh, makes a winter expedition impossible owing to the

Al l this impressiveness ari ses from the rounded

period and from the fact that the historian hardly allows a

floods^.'

pause to himself or to the reader.

46.
follows

were broken up and made to run as

If the sentence
'
:

For the

and empties

river

Achelous flows from Mount Pindus

the sea near Oeniadae

itself into

reaching the outlet

it

converts the plain of

but before

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

narrative but

resting-places in the

its

stateliness

would be destroyed.

47.

Long journeys

inns, while desolate paths,

^

Thucyd.

i.

init.

'^

are

shortened by a succession of

even when the distances are short,

Herod,

i.

init.

Thucyd.

ii.

102.

AHMHTPIOY HEPI EPMHNEIAZ

94

oSot?

fJiiKpaL<;

rToiei Se

Ata?
dXka)<;

8'

yap

Suctt^acoos

S'

roi^'

17

TOLs

ypafifioLTCov

to fieyeOo^; tov

ifjLtj^aLvovcra

crvfJi-

7]po)o<;-

to evrjKoov ov irdvv iv fxeyakoTrpeTreia

/cai

\ovcrLv, el

fxij

ttov iv oXiyot?.

Kal 6 SovkvSlStj^

/cat 6/i,aXe? 7179 crvv-

Kal del fJidWov tl TrpoaKpoTJOvTL eoiKev, otcnrep

Oecrecos,

ol

iv woXkol^;

crvvOicrecos

SvcrcfxxJVLa

Se 7ravTa)(ov cr)(Sov (jyevyei to \eiov

10

Tpayeia<^ oSou? TropevofJuevoL, iirdv keyr),

fiev 87) eTo<;,

w?

a)ixo\6yr)To, dvocrov is

ra?

dWas

to

'otl

dcrOeveias

pdov \xev yap Kal rjSiov cSS' dv tls elnev,

aXXa9 dcrOeveias ov iTvyyavev ! d<f)7Jpr]To

iTvyyavev ov!
15

Koi

lctcjs

ttXtj^l^, v7repl3o\.rj

XeiOTTjs

S17

o jjueya^ alev 60' ''KKTopi ')(^aXKOKopv<ny.

yap

jjiev

-)((x)pav

rauro

olov to

fJiiyeOo';,
5

ixtjkovs,

av yiyvoiTO,

KaiTL TOiv KcoXcop

48.

Tiva e^ovcrt

fJi(j)acrLv

OTL 'avocrov is tols

8*

avTov

TTjv (jLeyaXoTrpeTreiav.

'^ncnrep

49.

ovTco crvvOeo-iS'

yap

Tpa^v jxeyeOos ipyd^eTai,

8e Tpa^ea to re
KeKpayojs

ovojxa

ovofJuaTa

dvTl TOV /Socov/ Kal TO

'

'

'

prjyvviJievov' dvTl tov 'cjiepo/jtevov,'

SovKvSiSrjs

20 oloLs irdcTLv 6

ra re

'^prJTaL, ojxoLa Xafi/Bdvcov

ovofJiaTa Tjj (TvvOecrei, toZs re ovofiacrL ttjv orvvOecnv.

ra

irpcoTa fxev TiOevai

vcTTaTa
25

ra ovojxaTa ^prj TovZe tov Tpoirov.

Taorcreiv 8e

50.

TOL

fxaka ivapyrj, SevTepa 8e

^xy)

ivapyecTTepa.

ovtco

yap

/cat

/cat

tov irpcoTov d/cou-

(TOfxeda o)? ivapyovs, Kal tov fxeT avTo o)s ivap\yeaTepov.

Se

So^ofJLev i^TjcrdevriKevaiy

fiT],

Kevai drro lcr)(vpoTepov

OTL 'iirdv
5

14

r}8dov P.

addidit

29

m.

vTrep^oXr]

add. m. rec.) P.

20

rec.

Srav Platonis

irepl

/3

in rasura

add. m. rec. P.

ot cnraaiv

P.

dd^u/xev

irapix^i P.

P.

kuI

fieydXo-

ro (sine accentu) P.

oj/MoXoyei (sine spiritu)

Hammerus,

Xeyofjuevov,

KaTavXelv Kal /cara-

cvvdiaeus \6yov titulus in P.

26

P.
libri.

13

oiois iraa-iv]

22

transitu versus.

rw nXarwi^t

tls fJiovcTLKy rrape^rj

fjiev

x^XfOKopuo-TTji P.

irpiireiai ("

daOeves.

iirl

ITapaSety^uta 8e to irapd

51.

Kal oXov KaTaireTTTOi-

6 bis scripsit

rbv supra

post i^TjadevTjKivai ins.

/caraxet'' ttjs ^irjc^s Plat.

in

versum
edd.

230^

DEMETRIUS ON STYLE
give the impression of length.

apply also

will

48.

by a harsh
And
Was

in the case of

many

In

Precisely the

95

same

principle

members.

passages an impressive effect

collocation of words, as for

example

is

produced

in the line

Aias the mighty at Hector the brazen-helmed evermore

aiming his lance'.

No

doubt the clashing of

the

ear,

letters

is,

as a rule, unpleasant to

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-

He

position.

man who

has rather the constant air of a

is

when he says
by common consent, was
and pleasanter to say that

stumbling, like travellers on rough roads, as

that

'

from other maladies

freel'
^

this year,

would have been

It

easier

by common consent, this year was free from other maladies.

this would have destroyed the effectiveness of the sentence.

But

Composition makes style impressive

49.

way

rugged word does.

as a

shrieking

charging.'

'

place of

in

'

in

the

same

Instances of rugged words are

crying,'

Thucydides uses

all

and

'

bursting

'

in place

expressions of this

assimilating the words to the composition and the

of

kind,

compo

sition to the words.

Words should be arranged

50.

in

the following way.

First should be placed those that are not specially vivid

the second or last place should

In this

what

way what comes

follows as

more

to have lost vigour,

first will

vivid

and

come

still.

those that are more

strike the ear as vivid,

Failing

this,

(so to speak) to

we

shall

in
so.

and

seem

have lapsed from

strength to weakness.

51.
*

An

when a man
1

Horn.

illustration will
suffers

//. xvi.

I'er'

Thucyd.

ii.

in a

passage of Plato

358,

AJ'as 5'

be found

music to play upon him and to flood his

49.

6 fx^yas alkv

aKovriffaai..

itft'

"EKTopi x'^^'^oko/juctt^

AHMHTPIOY HEPI EPMHNEIAI

96

Xiv 8ta TO)v (Lrcov' ttoXv

kol ttoXlv

Tov TTporepov.

^eW

Krfkfj, to S17 /xera rovro

(xi/tJ,

iyyvTipo)

Kat

"0/x7ypo9 8e

i(f>dvr).

tov Kv/cXojTTog del iirav^eL

iirl

ov yap

dvhpi j

yap

del

avroi?

15

/cat vTre/oc^aiz/o/xeVou tcov olXXwi/

SihocrdaL

otov

(TVvSe(TfJiOV<;

tco

'

irpoTepov rjTTova

ret

TavTa

/xera

tcx)v

Xp?) 8e Kal TOv<;

aKpi^o)^,

ictiKei

vXyevrc,

pi(p

KaiToi fxeyaka ovTa

(f)aLveTaL, fxeitpvMv

53.

dWa

o-LTOcfxiya),

KOL TrpocreTi v^tjXov opov^

opcop.

koX

kol iiraviovTi in avTrjs eoiKev, oXov

TTjv VTrep^oXnjp ,

10

kol

Se Trpoe^rjveyKev avTo, aaOepe-

el

iroirjixaTo^i.

T7]Kl

-^817

'TrjKei^ eix^aTiK(x)Tepov

CTTepov av to 'TiJKei' iTTLcjyepojjievov

52.

'orav Se /cara-

Trpo'Ccov c^t^ctii/,

dXXa
TO yap 'Xei/Beu' tov

/x']^

XetySet.'
5

yap to Sevrepov ivapyicrTepov

iTmftepOjJLevcov.

fidXa dvTairor

jJirj

tov

crvvSeafJico

fjikv'

*8e**

^prjcrOaL,

yap rj aKpi^eia' dXXct /cal aTaKTOTepcos ttcos

KaOdnep nov 6 ^Avtl(J)(ov Xeyei* 'r) p^ev yap

vrjG-os y}v

er^op^ev, SrjXrj

fjLLKpoTTpenes

Kal Tpayeia- Kal

20 avTTjs

icTTL,

Tpial yap toIs

pev' avvhecrpois el? 6 *8e' avTaTTohihoTai,

piKpd peydXa

TOL

noXeoiv

BoLcoTLaKCJP
25

pev ^prjcnpa Kal ipydcnpa piKpd

dpyd iroXXd apiKpas avT7J<; ovcr7)<;.*

IloXXd/ct? pevToi Te9evTe<;

54-

Kol

'

oyKov TLvd

tol

ttolovctlv,

ovopaTa

kol peyeOos hid

e)(ei

TocrovTovs Te0evTa<;, otov ev

^^olvov re ^kwXov

re,

ttcos

nap

o)?

ov^

iir^X'^^ Plat.

eyyvT^pu ex eYY^ripov m.

^oiKv edd.

Opajpco tcjv

ovTa Kal piKpd

avvheapovi

tov<;

e(^e^7j9

rw
iroXvKvrjfjuov

^Kreo)v6v.

(Twhea-pois XPV~

npo(r6T]KaL<s Kepal<s /cat otov npo(T<^vpacrLv

a)s

/carax^w P

avvhecrpoL

i(j)e^rjs

evTeXrj

Tot9 8e napanXrjpcopaTLKols

55(TTeoVy

icTTLv, vxjjrjXrf

tcl

8e

TOL

pev Kal iroppoiOev

om. P.

10

KrjXrj

rec. P.

post

P. " supra

i-n-KpepSfxevop

pica

add. a/cpa

rj

ex

alterum add. m.

rec. P.

m.

rec. P.

iiri^epd/jievos

KopvKf)?! Kpr}ixvCo

P, quae verba

punctis notata sunt.

5e

20

m.

rec. P.

ai-T^s

ex

(ut videtur)

17
aijTTj

m.

1 1
^7

m.

rec. P.

opo^ P.

IJ^v 70/0]

rec. P.

12

ovTairp&repov P.

Capperonerius,

dp*ya

(fort,

tj

yap P.

ex dpwya) P.

18

27

^>'

rbv 8k ex

rw

H^V

P-

ix^f^^^V

c/cwXoj'

ex

a/ca

DEMETRIUS ON STYLE

97

Here the second expression is far

but
more vivid than the first And further on he says
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
soul through his ears\'

'

'

'

'

higher on

Not

steps

its

like to the sons of

and what

is

men, but seeming a

forest-clad crest ^

more, the crest of a lofty mountain and one that

towers above

its

things which

fellows.

come

first

For great though they may be, the

seem lesser, when greater things

follow them.

53.

Connectives,

excessive nicety.

such

again,

not correspond too nicely.

There

yjlv and Se, should

something trivial in

as
is

certain negligence in the use of particles

for the island

Antiphon somewhere says
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
is

desirable, just as

to the repeated ybh.

54. On the other hand, it often happens that connecwhich 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
tives

And
less

in

Schoenus and Scolus, and midst Eteonus'

deep*.

55. Expletive particles must not be employed as pointappendages and excrescences so to say or expansions, as

Plat. Rep.

iii.

'

Horn. Od.

ix. 190,

411 A.

v\pn\Ci)v dpiiav,

Antiphon, Fragni. 50
R.

pj^t.

Rep.

iii.

411

b.

o^5e ^y/cet

av^pi ye airotpdyqj,

hill-clefts

dXXa

pL(p vXi^evri

6 re <t>aivT(iL olov d7r' dXXwj'.

(Blass).

Horn.

//.

ii.

497.

AHMHTPIOY HEPI EPMHNEIAI

98

tlv^

tS

tco

ovSev KOL

TO)

'vv'

Xcovrai Tt

Tw

jxeyeOeL tov Xoyov,

Koi

nap

Kai

ovpavQ} Zev9'

dTOC ore

^pcovraL

'Stj'

tt/oo?

'irporepovj dXX' av Grv^^aX-

KaOaTTep irapa iWdrcovL, '6

56.
5

a'airep

wapa^voTfjiacrLv,

Tj

ixev

/xeya?

817

Iv

OfjLTJpco,

iropov l^ov vppelo^ TTora/jLolo.

S?)

dpKTLKO^ yap redely 6 crw8ecr/xo9 Kal aTrocnTdcras tcjv

TTpoTepcov TOL i^6fjLva fieyakelov tl elpyda-aro.

TToXkal dp-^al
10

d\X ore
57-

jLto?

c58e

etTrev,

ivos Trpdyfiaros \iyovTi.

/cat ert o)? irepL

AafJi/SdveraL 8e Acal iradrjTLKCJS TroXXd/ct? 6 crw8cr-

pSros, ajcnrep iirl rrj^ Kakvxfjovs irpos tov 'OSucrcrea,

Acoyevh AaepTcdBrj,
ovTO)

15

el

el

yap

at

iropov a^iKovro tov irorafjiov,' fJUKpoXo-

771 Toi^

yovvTL icpKeu

epydt^ovTai.

creiJLvoTTjTa

8'

OLKovBe

Brj

yovv TOV

^alav

e? iraTpiha

efeXots,

crvvSeafJiov

KaOoXov ydp,

irddo^s.

'OBvacrev,

TroKvfjbrj'^av

<f)l\7]v

Kal

crvve^atpijcreL^

(ocnTep 6 IIpa^L(f)dv7]<;

(jirjcriv,

to

dvTi

TrapeXa/jb/BdvovTO ol tolovtol crvvSeo-jJiOL Kal crTe-

fjivyfioiv
I

vayfJLCOv,
20 io'TLV

;'

axnrep to 'at
0)9

avrd?

Kal to

at,'

(j>rj(TL,

to

'

Kav

Kal 'ttoIov tl

'(j)ev/

vv k

oSvpofievoLO'Lv'

ewpexpev, ep^^acriv Tiva )(ov olKTpov ovopbaTOS-

58.
SecTfJiov

Ot 8e

7r/30S

ioLKacTLv

ovSev dvairkrjpovvTe^;,

rots

oTov

ov8e^' 7709 XeyovcTLV,

lLaXvh(ov

25

fjbev

vTroKpiTal^
ei

(l>r)aL,

tov crvv-

Kal to

to

to2<;

77/309

tls (SSe \eyoi,

^Se jala UeXoTreia^; %^oi/o9,

(jyev.

ev avriTTopd/iioi^ TreSt'
at,

yap

0)9

e^ova

evBaLfiova,

ai.

irapekKeL to at at

fcat

to

<f)ev

iv0dSe, ovto) Kal

30 6 TravTa)(ov jxdTrjv epL^aWofxevo^; crw8eor/xo9.

aXXai (Tv/x^dWouTai in dXX' Ay (rvfi^dWcovrai corr. m.

2
ijyefiibv

12
in

Plato.

irad7jTiKCb$\

margine P.

dirocrirdaas]

ap. Greg. Cor., wadTjTCKOLS P.

30

rec. P.

Finckhius, diroaTraadds P.

ifx^aWd/Mevos

arjpdea/jLos]

17

9
ri

ai}

^T/o-i

ap. Greg. Cor.

4
in

/xe'Yas

margine P.

Trpa^i<f>dPT}S

a-ri

iiJ.^aX\6fXvoi P.

231*

DEMETRIUS ON STYLE

99

and vv and irporepov are sometimes aimlessly used. They

must be introduced only if they contribute to elevation of

hr)

expression,

56.

mighty Zeus

as in Plato 'lo

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 imAmplified beginnings have an imposing
had said but when they arrived at the
he would have seemed to be using trivial

pression of elevation.
effect.

If the poet

ford of the

river,'

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
:

Zeus' seed, son of Laertes, Odysseus of

Is

it

so, that

Remove

home to

many an art,
own dear land thou art fain

thine

the particle, and you will at the

the feeling conveyed by the

line.

to depart'?

same time remove

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

(Alas

Look

o'er the

whose

this,

fertile

plains

!)

narrow seas to Pelops' land

(Ah me!)

For as in this passage the 'ah me !' and the

dragged in, so is the connective when it
lessly and indiscriminately.
^

Plat. Phaedr.

Horn. Odyss.

Horn.

246

E.

Horn.

//. xiv.

'alas
is

'

are merely

inserted cause-

433, xxi.

i.

v. 203.

//. 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

AHMHTPIOY HEPI EPMHNEIAI

100

Ot

59.

TTOLovcTLV,

ra Se cr^T^/Aara

eipi^Tai,

ttJ?

Xefew?

iom

ixkv

KoX avTOL (TVvOecreM^ tl elSos' to

yap

St9 hi7r\ovvTa

avOvrraWdcrcrovTa 8ta-

i7rava(j)povTa

rj

avTcov

olov tco

yap

ovpavov evpvv tKaver

jjbev

Trxftjcreft)?,

rj

ecj^rj,

Twv
crvvTjOoif;

'^Opyjpo^,

ft)?

ovTO) peyakeiorepov ivaWayeicrrjs

elirep ovr(o<;

jxeyako-

raGra*

Trpo/cetrat,

^vo aKoireKoL

ol Se

avra \eyeiv

tol

SuaraKTeov 8e

npcoTov pev ttjv avOvTraWayrjV

60.

he hvo cTKOTriXcov 6 pev ovpavov

yap

ikeyero.

evpvv

irav 8e ro crvviqOe^ pLKpoTrpeiTes,

aOavpaarov.

8t6 /cat

Tov 8e

61.

15

Srj

-^apaKTrjpL iKOLCTTcp,

ov

irpeireL piev irept

TToXv

tj

koI p^eracrvvTiOepTL eoiKev.

TarrojLteVft)

7rp6(r(j)opa

10

crvvBeciv fieyaXoTrpeTrrj

crvvSeoTfjiOL Tr)v

fjikv 87)

ft)?

avrov

Nipe'a,

ovra piKpov Kal

re

paypara avrov piKporepa, rpel^ vav^ Kal oXiyov^ avSpa<;,

peyav /cat peyaka i7roir)(rv Kal iroWa avr oXCycov, rw
TT

crxrjpaTL

Kal piKTco \py)crdpevo<; ef inavacj^opaf; re

SiTrXft)

'Ntpev? yap,'

Kal 8iaXv(jeft)9.
20

(j)7)crL,

rpei?

ayez/,

i^-^a?

l^Lpevs 'AyXaiT79 vtd?, Nt/oev?, 09 /caXXicrros dvrjp''

yap iirava^opd
fcat

17

Xd^ecos

Kal ax^^ov dira^ tov

SpdpaTL pepvrjpeOa ovSev

TOV

KaiToi

'08vcr(reft)9,

atria 8'

cr)(S6v.
L7rev,

'

Nt/)i;9 6

7re/)i

(TXT^Acaros

marg. P.

P:

/LC7dXous

'AyXata9 vto9

21

veipiaT.

Cor.

15

cKda-TUU P.
I

24

28

e/c

ovto)^

Xvprj^ Tpeis vrja^

ijyei','

versum

ajo-wep

19,

20

scripto)

vrjpeiis

vrjpem ubique P.

26

P.
P.

m.

yap

rec. P.

j/Tz/s^a

P.

iv Tat9
fiera-

6/j.ripos

17 fiiya Kal fieydXa

20

/card rwi' (ut videtur) P.

29

el

rd] Victorius, rcDv P.

16 6fir]po$ in marg. V.

PL*p4a F.

I'ci/j^ws

rou 'A^tXXeft)? Kal

8'

Nupea-

X^^ews titulus in P.

Greg. Cor.

?}

eKacTTOv XaXovpevcov

67709

tou a^^TjpaTOf; Svvapi^'

07

(yvvdecLv P, ixeraavvTidhTi {ti...ti supra

in

Ntpeft)? 6vopacr6ivTo<; iv

rJTTOv

/car'

7rapacre<TL(07rr)K6TL ew/cet roi/

I

Trpaypdrcov, Kairoi hvo

OVTOJV.

62.
25 Tft)

re

to avTO ovopa tov Nt/)ea,

iirl

8taXi;cri9, ttXyjOo^ tl e/x<^aij^et

TpL(x)V

rj

Trj<;

rj

vlbs re P.
:

/cara

ws P.

Gregorius


DEMETRIUS ON STYLE
59.

Now

lOi

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,

60.

And

must be assigned
'

first

of

all

Anthypallage,' as in Homer's

the twin rocks

one

line,

of the twain with

its

peak towers up to

the skies'.

With the grammatical case thus assimilated, the

more stately than if the poet had written

line

is

far

And

of the twin rocks one with

its

peak towers up to the

skies.

That would have been the ordinary way of putting it. But
everything ordinary is trivial, and so fails to win admiration.
61. Again, take Nireus he is personally mean, and his
share is meaner still, three ships and a handful of men.
But
Homer has made him great, and multiplied his following,
through using in combination the two figures of repetition
and 'disjunction.' 'Nireus,' he says, 'brought three ships,
Nireus Aglaea's son, Nireus the goodliest manl' The recurrence 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.

^

Horn. Odyss.

Horn.

//.

ii.

xii.

It is

with writing as with ban-

73.

671,

Nipeus a5

lidfiridev

dye rpets

vrias eiVas,

lUipevs 'AyXatrjs vlbs Xapdiroid t' dvaKTOs,

Nt/061's 6s

Twp

KoWta-Tos dvijp

dWuv

inrb "IXiov

^Xdeu

AavaCji^ fxer' dfxvjxova IlTjXeluva.

I02

AHMHTPIOY HEPI EPMHNEIAZ

kcTTidcrecTL

ra okiya hiaraydivra ttws

^aiverai,

ttoXXo,

ovTQ) KOLV rot? Xoyoi?.

YioWa^ov

63.
<jfreta,

ovTO

FXkrjves re

Ti aireipov

17

on

p(TL Tov

Kape? Kal

Acai

yap rou avroG

'

Se TotoGro

KOL
'

el elirev,

crvva-

icrrpaTev-

'

IlajLK^vXoi

/cai

crvvhicryLov decri^

'

'

Kvprd, (^akrjpiooiVTa,^

e/i,(^aii/ei

Kvprd koI

i^ai-

rrj

fxaWov,

(TvvhecTpuov fieyokeioTepov dnefirj

(l>a\iqpi6oiVTaJ

[To] iieyakelov /xeWot ev

65.

Av/ctoi

17

'jtX'yJ0o<;.

To

64.

rj

rrj Xvcret,

fieyeOovs oltlov yLverai fxaXkov, oTov

/cai <l>/)vyS.'

10

to ivavriov

fJievTOL

to'l<^

cr^rnxacriv to

fjirjhe
|

iirl T7J9 avTrj<5 fieveiv

dwo/Baivojv

15

p^eyakeioTepov,
(f)rj,

OTL

'

ttjv irape^ei peer lav^

i<;

eiirep

rj

SovKvSiSrj^,

eirecrev es

kol irpoiTo^

diro^dOpav i\enTo\\fv^(ri

ttjv

iirl

avTov

irecrovTo^;

iTTcocrecof;, fo>9

iirl

ttjv Trape^eipecriav

/cat

ydp

ourcos

7rTa>oreo}<;

ovt(x)<;

ttoXv

avTrj<;

Trj<;

re,

koX dne^ake Trjv

acTTTioa.

66.

Kav Kdcro)
TO

'

[xakiav.

oi

eirov^ elpydcraTo fxeyedof;,

(jy-qaiv,

kol fieyedo^ kol

oyKov

'rjcrav

ev

tS

819 prjdev

ttXtJ^o?.'

tlvol tjJ epfJLiqveLa Trapecr^ev.

^pyjcrOau

aTreipoKokov

S*

'hpdKovTe^ Se novj

fjueyedof;,

fjieye0o<;'

67.

25

di^aSi7rXft)cri9

*H/)dSoT09

0)9

20

Kal

Tot9

fxevTOL

ydp koI

cr^rnxacri

fJUT]

wvkvol^'

irapeyi^aivov Tiva tov \6yov dvo)-

yovv dpyaioi

woWd

o^-xy/xara ev Tot9 Xdyot9

TiOevTe^ orvvrjOecTTepoL tcov dcr^^iaTicFTcov

elcrCp,

Sud to

evTe^o)<i TiOevai.

68.
aXX(y9.

YiepX Se crvyKpovo'eoi^ (ficovrjevTcov vireXa/Sov dXkoL

^l(roKpdTr)<s

lo

ixeyoKibrepov v.

fieyaXidrepov P.

SlirXuffis d'

i(j)v\dTTeTo

avTov, aXXoi Se

avTd, KOL ol dir

15

ydp

fiev

i6

iwovs m. rec. P.

et

ante

elTrei/

rrepl

ct)9

erv^e crvve-

add. VictoriuS.

wape^eipaaiav P.

27

Ttz^e9

o-vpurXricrcreiv

avyKpo^em

i8

ii

ro seclusi.

d'a5t7rXc6(ras 5' ^rros P,

titulus in P.

28

ava-

<xvvir\-fi<T(Ti,v

P.

231^

DEMETRIUS ON STYLE

103

where a few dishes may be so arranged as

many.
63. In many passages, however, the opposite

quets,

to

figure to

separation, viz. combination, tends to elevation of style

*To the war

e.g.

flocked both Greeks and Carians and Lycians

and Pamphylians and Phrygians V

same conjunction
64.

seem

But

such a phrase as

in

The repeated

use of the

gives the impression of an innumerable host.

the omission of the conjunction

'

high-arched, foam-crested

and lends an

air of greater

'

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
And being the
the example of Thucydides, when he writes
first to step on to the gangway he swooned, and when he had
fallen upon the forepart of the ship his shield dropped into
This is far more striking than if he had retained
the seal'
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,
There were huge
as in the following passage of Herodotus
The reiteration
serpents in the Caucasus, huge and many^'
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
to the discourse than

distinction

its

insertion

'

it is true, employ a number of

works,
but they employ them so artistically
figures in their
writing
their
is
more natural than that of those who
that

The

of style.

eschew them

ancient writers,

entirely.

With regard

to hiatus different opinions have been

68.
held by different persons. Isocrates and his followers avoided
hiatus, while others have admitted it whenever it chanced to
1

Scr. Inc.

Horn.

//. xiii.

kv 84 re

798,

iroWa

K^fMtra Tra<p\d^ovTa iro\v(p>\oL(T^oLo daXdacnjs,

KvpTO, <pa\r]pi6(jJUTa, irpb fi^u t
^

Thucyd.

iv. 12,

TpavjxaTiadds ttoXXo, iXnroyj/ixV^^^ t^

irepiepp^T] es rrjv
^

ddXaaaav, kt\.

Vid. Herod,

i.

a\\\ avrap

kuI ireipu/xevos diro^aiveiv dvcKdin)

203.

'^ttt

iir^

virb

aXXa.
tCov 'Adrjpaitav,

ireadPTOS avTov is ttjv irape^eipeaLav

17

Kai

dcvis

AHMHTPIOY HEPI EPMHNEIAZ

104

Kpovcrav koL TravTaTracri'

are^oi^ avra

crvvOecTLVj

Set 8e ovre

yap tov \6yov to

eoLKev ovT

fjir)v

Kal

tolovtot^

e.Tv\e'

hiappi\\fei

iravrekw^ <^v\d(T a ecr 6 ai ttjv crvvi^eiav

ypafjufiaTcov Xeiorepa fxev

5 T(ji)V

kol w?

crvfJUTrXTJcrcrovTa

StacTTracr/xft)

iroieiv ttjv

rj-^coSr)

yap

ecrrat

ovTa)<;

tcraj9

rf

o-vvdecFLS, djJLovcroTepa Se Kal /cox^t) dTe)(yco<;, TroWrjv ev-

^(iiviav dcfyaipedelcra ttjv yivopiiviqv Ik Trjs (rvyKpov(reo}<;.

%Ke7rTeov

6g.
avTrj
lo

Se

irpcoTov /leV,

crvfJiTrXiJTTei

Kairoi (TTO^at^opieviq /xctXtcrra

TToXXa 8e

/cat ^twj/.

/cat

ev(^oivia<;,

8ta

TiOiqcriv ovofiara, oTov Alairj

voTepa

dWcov

TUiV

on

/cat

crvvrjO eia

rj

ypdfxfjiara ravra rot? ovofxaaLv,

rd

ecrrt

oiov ev tco Ata/cos

fjiovcov roiv (jxjJvrjevTCJv crvv-

Euto?, ovhiv re

/cat

ravra, dXX'

Svcrcfto)-

fxovcn-

/cat

tcrco?

Kcorepa.

Ta ye

70.

15

/cat
/cat

ironqriKd, olov to rjeXios, hirjpiqixivov

/x']7^'

(TvyKpovopievov eirinqhe^, V(f)cov6Tp6v ecrrt rov i^Xto?

ro 6p4(x)v TOV opoiv.

crvyKpovcTLS olov

yap

e^et

rti/a

iv crvva\oL(f)fj p.ev Xeyo/xeva Sva-<f)opa

20 /cat

o'vyKpovo'OevTa evcfxovoTepa,

Kal /caXd iaTLv.'

el

o)S

Xucrt? /cat

17

tjv,

17

dXXa

ttoXXo, 8e /cat

iTnyivofxivrjv.

(pSrjj/

ZiaipeOivTa 8e

to 'irdvTa fiev Ta via

8e (rvvakeC^as etTTot?

'

Kakd

^cftlvJ

SvacfycovoTepov ecTTai to Xeyojxevov Kal evTekicFTepov.

71.

AlyvTTTCp 8e /cat rov9 Oeovs vpivovcri 8td

'Ei^

CTrrct (fxovrjevTcov ol
25

avXov

/cat

d/coverat

ovSev dXXo

dWd

rj

evc^coz/ta?, cScrre

juteXo? dre^i^&i?

'El/

8e

rft>

6
17

ypa/xiJ.dTU}v

6/3^wj'

P.
etirots

i^aipcov P.

9
19

KoXd

ai/r?;

P.

<Tvva\ei(f>ri

'ariv in

27

13

i^alpei P.

/cat fiovcrav.

^apaKTrjpi cvyKpovcrL'S
hid fjiaKpcjv,

tjtoi

supra versum scripsit

rwv supra versum ante

in (rwaXot^i;

margine P.

dr^x^ws

^X^^

fjLrjKvveiv tcrw?.

fjieyakoTrpeTrei

et 7, h. e. irpayfiaTtov,

dfiova-drrepa P.

avvaXei^as

26

(tt

i^aipel tov \6yov

dv Trpiirovcra

30 TtapaXafjifidvoLT

roiz/

/cat di^rt

6 i^aupcov ttjv (TvyKpovaiv

ov /catpo?

irepL tovtojv fiev

72.

avrd,

Kiddpa<; TOiv ypafjLfjidTCov tovtcov 6

di^rt

vtt'

tepet?, icj^e^rjs rj^ovvTes

corr.

25

m.

rec.

Kiqddpas

(17

P.

to

ojs

m.

dWuy

rec.) P.

add. P.

21

el

8k

punctis notato) P.

DEMETRIUS ON STYLE
The

occur.

true course lies between the

composition should not be noisy, as

it

105

The

two extremes.

will

be

are allowed inartistically to collide just as they

if

the vowels

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

altogether

flat,

way, but

it

be

will

when robbed of

all

less

tasteful

and

fall

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
It also forms many words of vowels and
Ata/co9 and %ta)i/.
of vowels only, e.g. Klait] and Ei;to9, and these, so far from
being

pleasant to the ear than others, possibly seem

less

even more harmonious.

70. Poetical forms such as ^eA-^09, where the resolution
and the concurrence are designed, have a better sound than

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.
r)\io<^,

Egypt the priests, when singing hymns in

of the gods, employ the seven vowels, which they utter
71.

In

succession
that

men

and the sound of these

listen to

do away with

it

in

letters is so

praise

in due
euphonious

To

preference to flute and lyre.

simply to do
away entirely with the music and harmony of speech. But
perhaps this is not the right time to enlarge on these
concurrence, therefore,

this

is

matters.

72.

It is

the concurrence of long vowels which

appropriately employed

in

Scr. Inc.

the

Cp.

elevated

207 infra.

style,

as

is

in

most
the

AHMHTPIOY HEPI EPMHNEIAI

io6

Ik

avyKpovcrecof;,

Trj<;

Kol ^iav.

<l)opav

(TTV)(p^

kol

to

'

ea^ev

tl

fJLjJKO^;

rov \iOov

fJieixifjLrjTai

ttjv di/a-

eivai

TfTreipo^

firj

(TvyKpovovTai kol hi(f>OoyyoL hi^Ooy-

KaTcoKYjcrav

'TavTTjv

yoi9,

kol

0)cravT0)<;

TO ^ovKvhiheiov.
5

yap

koI

*Xaai/ az/w atOecTKe''

KepKvpoLOL'

jxev

0LKLcrT7)<;

8e

eyeveTO.

ovv kol

Tioiei fiev

73*

aura fxaKpa crvyKpovoixevcL

tol

fjieye0o<;, /cat

at avTol hi<l>6oyyoi.

crvyKpovcreLS

ojjlov

10 Trj<;

hia^ipovTa

fxiyeOo^ ttolovctlv

/cat

olov

7To\vr)-^Las,

at Se Ik hia^ep6vT0)V

tol ypdfjLfjLaToi

8e

ev

'rjco<;J

icTTLV,

/cat

tco

TroiKiKiav

'oi7)v'

aXka

/cat

ov

e/c

jxovov

ol rjxoi o fjuev

Sacrvs, 6 Se t/ztXd?, (^crT ttoXXo, di^o/xota eti^at.

Kat

74.

iv

wSat? Se

Tov avTov jJLaKpov

15

wSat?, wcrre

tol /xeXtcr/xara evrt

ypdfJiiJiaT0<;,

(ohrjs fxepo^s /cat /xeXtcr/xa.

0)9

*E<jTt Se /cat

fjueydkr)
20

/cat

ovpavov

rj

7rXav(OfjLvo<;'

/cat roi^

ydp

Xeyerat*

ecrrt

TroLiv

TrpdyixaTL.

Tft)

5 /cat SeoTTOfXTTOVy

Xday P.

/cat

KttJ

X^yoPTa P:

ToaavTa.

vavfia^ia,

17

yap tov jxeyaXov

rrepL

t]

d/covcwz/

XeyovTa oterat jxeydXcos Xeyeiv

rd Xeyofieva
jxeydXa

(TKoireiv,

fjLiKpo)<;

Sto /cat Seti'ous

dXXa

tto)?

XeyovTa airperre^

rti^ct? c^acrti/,

cocnrep

Setvd ov Setz^w? Xeyoi^ra?.

Goi^KuS^Stoi/ P.

od rroKxnjx^o-^ P: 06 om. Victorius.

21

Tre^o/xa^ta

Set yct/o ov

crvyKpovo-eco'?, /cat

S17

(Tvvde(Ti<;, \eKc)(6oi

irepl yr]<; X6yo<;'

TrpdyfiaTos v6v<;

/>Lej'

7r/ody/xacrt to /xeyaXoTrpeTre?, ai'

ei'

StaTrpeTTi^?

yiveTai

olov coScov iTrefJi/BaWofxevcov

Treyot

yivoiT av fJiyako7rpe7rr)<;
75-

vo<s

crvyKpovo-i<; fJUKpov ecrrat tl

TOiv ojxoioiv

r)

rov

t6i'

add. edd.

8
19

25

/caJ... 5^0^07701

in rasura P.

10

r^s

/ie7a\ P: fortasse fxeydXr} ^ legendum.

X^7oi'Ta5]

Hammerus, \4yovTa

P.

2^2^^

DEMETRIUS ON STYLE

107

heaved uphillward {avfjn wOearKeY.

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'^. Diphthongs also may clash with diphthongs, e.g. 'the place was
colonised from Corcyra; of Corinth, however, was its founder*

^P words:
The

he

rock

'that

may be

line, it

'

said, is longer

'

(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

number of sounds employed, variety

an instance being the word ^W9. In the

produces, through the

as well as elevation,

word

only are the letters different but also the

not

o'ir)v

breathings, one being rough and the other smooth, so that

many

there are here

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,

may

be regarded as
remarks must
on the question of hiatus and of the kind of com-

so that the concurrence of like vowels

a small part of a song and as a

suffice

trill.

These

position appropriate to the elevated style.

75.
matter,

Elevation resides also

when

nature of the subject-

in the

(for instance) the subject

battle on land or sea, or

The man who

when earth

is

a great and famous

or heaven

listens to a great subject

into thinking that the discourse itself

is

great.

is

is

the theme.

promptly beguiled
*

Beguiled,'

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
say

for

to forcible conceptions.
^

Horn. Odyss.

xi.

^ rot
Xaav

595,
6

nkv

avu)

ffKTjpnrrdfxevoi x^P^^"

wdeaKe

irorl

aKpov virep^akieiv, t6t*

X6<pov'

''"^

dW

irocrlv

re

3t /x^Woi

airo(rTpi\}/a<TK

Kparaus'

avTis ^weira ir^Sovde KvXlvdero Xdas dpaid'^s.

^

Thucyd.

vi.

Thucyd.

i.

i,

dietpyeTai to

jjlt}

ijireipos elvai.

24, TaOrrjv Airi^Kiaav fjih

Kopivdios y^vos tG)v d0' 'H/oa/cX^ous.

KepKvpaioiy oUiarijs

5'

iy^vero ^dXios

AHMHTPIOY HEPI EPMHNEIAl

io8

Nt/cia? S' 6 ^(oypdcjyo^;

76.

Te^Tjv
5

kol

ypd(j)eiv,

evjJLeyeOrj

opviOia

19 [JiLKpd, olov

TO)v

Trjv

dvOrj, dXX' iTTTTO/xa^ias

Tj

dv ns

o-;^i7/xaTa Seifetez/

dvOuaTafxevcov

Sk

Tcov

de6vT(i}Vy

fjiev

Xa^ovra

KaraKepixarit^eiv

fxr)

KOL vavfia^La^;, evOa iroXXd jxev

LTTTTcov

tovto evOvs ekeyev

Te^vrjs ov fJUKpov ^epos to

cTj^ai rrjs ypa(j)LKrj<;

vXrjv

/cat

opdcov,

dXXcoT/ 8e oKXa^ovTCJV, ttoXXou? S' aKovri^ovTa';, 7ro\\ov<;

yap kol

Se KaraTTiTTTovTa^ ratv LTnrioiv' ^ero

avTrjv

/x,eyoo9

Tcjv

10 [JivOovs

elvai ttJ?

t^(x)ypa(^iKrjf;

ovSei/

TTOUiqTOiv.

rot? Xdyoi9 [/cat]

ttjv virodea-iv

T')(V7j<^,

(ocnrep

ovv OavfjiacTTov,

tov<;

kol

el

'

ev

Trpayfjidrcov jxeydXcov yLeyakoirpiireia

e/c

yiv7)Tai.

^y}v 8e \e^iv iv tco ^apaKTTfpi totjtco TrepLTTrjv

77*
elvai
15

yap

Set /cat i^rjXkayfjievrjv /cat davvrjOrj fJLoXXov

efet roj^ oyKov,

Se Kvpia

rj

ovto)

o-a<^']^s /xeV,

/cat crvvrjdrjf;

Xetri^ Se /cat evKaTa(f)p6vr)ro<;.

ripwra

78.

OL'j'

/i/CJ^

6o<;,

20

rot? Xdyot? /cat fieye-

ypd^op^ev
avToOev

vrjTTjv
25

firjre

/cat e/c

iroppcxiOev

fjirjv

rov

ojjiOLOv,

7ravTe<;

yap

ovtol

ap^ovre^

dcr(^aXa)9 ovi^ eyoet /cat 6 roi^ crTpaTrjyov

Kvfiep-

keycov rrjs TrdXeoiS, /cat avdirakiv 6 rov Kvfiepv7]T7]v

dp^ovra
79*

ttj^ v7)6<;.

^^

TTctcrat

fxevTOL

dvTaTroSiSovTai,

(Ocnrep

TTpoeiprjfJievaL, inel rrjv vTrcopeiav fiev ttJ? *ISt7?

etTreti/

dXX'

ixeTev-qveyixevaLq,

oTov eoiKev dXXTjXot? arparr)-

Kv^epvTjTy)^, r^vio^o^'

elcriv.

\6yov

jxevToi TTVKval<;, eirei tol hiOvpap^^ov dvTi

fJirj

yd?,

avrai yap

/xerac^o/aat? ^iqcrreov'

fjidXiO'Ta /cat rjSovrjv crv yif^dWovr ai

roi^

TroirjTTJv,

rov Se rov

TrdSa

at

c^tJi' 232'

ovKen

dvOpcoirov TrdSa

vTTOipeiav elirelv,
I

veiKlas P.

scrips!
s

Haminerum

secutus

supra versum scripsit P.

etva P.

9
:

in rasura P.

dewvTOJV P.
11

/xeydXTj (ut videtur) in

16

fiTa<f)opds Kol irapa^oXiji titulus in

eviieyidei P.

^ovras add. in margine P.

P.

/cai seel.

TroWovi

Spengelius.

compend. P.

15

Xtir^] Spengelius, dei t^ P.

20

fieTevrjveyfx^vas P.

d' olkovt'l-

fxeydXuv
avv/jdris:

17

27

Trepi

iinbpeiav:

DEMETRIUS ON STYLE
The

76.

109

painter Nicias used to maintain that no small

part of the artistic faculty

was shown

at the outset a subject of

some amplitude, instead of dwarfing

in

the painter's choosing

example) or flowers.

his art to small subjects, little birds (for

The

and

right subjects, he said, were such as naval battles

cavalry engagements, which give an opportunity of intro-

many

ducing

figures of horses running or rearing or sinking

and of horsemen

to the ground,

falling

earthward or

His view was that the subject

charging javelins.

itself

dis-

was a

part of the painter's art, just as the ancient legends were

So

a part of the art of poetry.

that, in the

province of style

need awaken no surprise

it

also, elevation results

from the

choice of a great subject.

The

77.
elaborate,

diction used in this style should be grandiose,

and distinctly out of the ordinary.

thus

It will

possess the needed gravity, whereas usual and current words,

though

unimpressive and liable to be held cheap.

clear, are

78.
for they

In the

first

metaphors must be used

place, then,

impart a special charm and grandeur to

should not be numerous, however

writing

dithyrambic poetry

in

or

place

we

style.

find

of prose.

They

ourselves

Nor

yet

should they be far-fetched, but natural and based on a true

analogy.

There

is

a resemblance, for instance, between a

command.

general, a pilot,

and a charioteer

Accordingly

can correctly be said that a general pilots

it

they are

the State, and conversely that a pilot

79.

Not

foot,'
1

commands

the ship.

metaphors can, however, be used convertibly

all

like the above.

all in

Homer

could

call

the lower slope of Ida

its

but he could never have called a man's foot his 'sloped'

Horn.

//. XX.

218,

dW

^^'

vircopeias i^k^ov TroXviriSaKos "ISi/s,

AHMHTPIOY HEPI EPMHNEIAS

no
80.

'ETTctj'

fievTOL KLvSvv(oSr)<;

dv.

Oel^

eLTTOiy

BoKrj, fiera-

a(r(^a\(jTpa yiyvoir

yiera^opa TrXeovd^ovaay oiov

t/cacrta S' ecrrl

piovTi kolO^

T(a 'Tore to) ITv^wi^i rco prJTopL

5

^xeTa^opa

r)

yap

XafjL^avecrdo) et9 eiKacriav ovtco

piovri KaO*

(^(Tirep

ovto)

vjjlcjv.'

t rt?

rrpocr-

vfjicov

yap

fxev

eiKacria yeyovev koX dcr(j>a\e(rTepo<; 6 \6yo<;y eKeivcos Se

p^era^opd

koI

Sto

KivhvvoihicrTepoS'

Ylkdrcov iin-

/cat

cr^aXes tl SoKei iroieiv /xeTac^opai? jjlolWov

et/cao"iat9,

6 fxevroL

Kara ivipy eiav

elcrdyr)TaL

rw XpicrTorekeL
^

r)

orav rd dxjjv^a Ivepyovvra

KaXovfJuevr),

KaOdwep

rj

et/cacrtac? fjidWov.

'Bvo(j)a)T/

'ApicTTri he Sofcet p^era^opd

81.

10

-)(pa)fJivo<s

eiJL\\fv^a,

ct>9

to

tov ^eXov?'

iirl

6^v06Xrj<; /caO^ o/xtkov eirtiTTeaOai jjueveaivwvy

Ka\ TO
KVpTOL (f>a\.7]pi6(DVTa.

15

yap ravra,

TrdvTa

to

'

/cat

(f>a\.rjpL6o)VTa

to

'

pLeveaivoiVy

t^cjTLKals ivepyeiai^ eoiKev.

82.

"Ei^ta

(Ta<l>icrTepov

fxivToi

/xera^opai?

rats

ev

Xeyerai /cai Kvpi(x)TepoVy yjrrep iv aurot? toIs Kvpioi^, o)?

20

TO

'

e(^pi^ev Se

P'd^J

ov

yap dv

Sid Kvpioiv ovT d\rj6i(TTepov

yap

/c

T(ov hopdTcov

25 TT)^

7rpoLp'qfjiPr)^y

fxeTa/BaXcoi/

T179

770)9

P'd^v

TOVTOi'i

Trpocrrjyopevcrev,

ivepyeiav

Acar*

ixd^v

T7]v

top

ovTe cracfyecrTepov.

eliroi

k\6vov Kal top yivopievov

-^pejxa Tj^ov (Tweya)^ ^piacrovcrav

Kal d/xa eTreihqTTTai

avro

rt?

<l)pt(j<Teiv

ixTa(f)opd<;

elircjp

(oairep

^(OOV.

83.

Act fievTOL

yuKpoirpeir eiav

liTa(l>opd<; 77/309
30

a//,<^t

5']

20

oyKov
8'

arj tI <fyr]<riv

13

fidWov

irrnrTicxdai

23

fieya<;

a)<;

ante T6re add. Galeus.

r^J

iiriirTaladai (ut videtur) P.

ijpifia

P.

24

ttj^

ovpavo^'

ex

margine P.

fieTaff^opal

KaiToi

to

vepl tov i^pi^ev 5k fidxv ^^

rbv ins. Spengelius.

Ij^tat

/leye^o?,

rj

\afiPavofJLev7)<;y

iadXTrcy^ev

Victorius, dXX' P.

versum add. P.

\av6dveiv, otl

jX7)

ttolovctl

TlOduvi t^J supra

/xeTa^aXQv P.

iirl\r}irTai P.

19

efTre/)

22

P.
Kal

DEMETRIUS ON STYLE
When

80.

ill

the metaphor seems daring, let

security be converted into a simile.

metaphor, as when, instead of saying

'

for greater

it

an expanded
the orator Python was
simile

is

then rushing upon you in full flood,' we add a word of

comparison and say 'was like a flood rushing upon youV

way we obtain a simile and a less risky expression, in

other way metaphor and greater danger. Plato's em-

In this

the

ployment of metaphors rather than similes

regarded as a risky feature of his

is,

therefore, to be

Xenophon, on the

style.

other hand, prefers the simile.

In Aristotle's^

81.

phor

judgment the

so-called 'active' meta-

the best, wherein inanimate things are introduced in a

is

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-crested 1

All such expressions as

'

foam-crested

'

and

'

eager wing

suggest the activities of living creatures.

Some

82.
clearness

things are, however, expressed with greater

and precision by means of metaphors than by

means of the

precise

terms

themselves

e.g.

'

the

battle

No

shuddered ^'

change of phrase could, by the employment of precise terms, give the meaning with greater truth

and

The

clearness.

poet has given the designation of

'

shud-

and the low and continuous sound which these make. In so doing he has seized upon
the aforesaid 'active' metaphor and has repxesented the battle

dering battle

as

'

'

to the clash of spears

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.

And

with

An

instance

is

thunder-trumpet

the line
pealing

boundless

the

heaven

round
1

Demosth. de Cor. 136.

Horn. //. iv. 126.
Horn. //. xiii. 339.

2 Aristot.
*

Horn.
Horn.

RheU

iii.

11.

//. xiii.

798.

//. xxi.

388.

rang

AHMHTPIOY nEPI EPMHNEIAZ

112

ovpavov yap okov rjxovvTa ovk

(raXirLyyiy

el

ttXtji'

fXTJ

imvoijcrcoiJLev fxeTacffOpav fJLLKp6T7)To<;

aiTLav yivoyievrjv fiaXkov

6 aPO(f>(ov

TL
10

(fyiqcriv,

(^aXayyo?/

TTJs

'

8e

Trjif

yap

eK

roiiv

ov to ivavriov, oXov

fiLKpa,

iirel

yap

Set

fxeyeOov^'

rj

ra

jxeL^ovcov fjiTa(j)epii' et?

0)9

tov

oXos ovpav6<;.

^Tepav ovv

84.

virep

rj^crev /xeya? ovpavos, ws av

Ofjiijpov \iyoiV, 0)9 ovT(x)<;

'q^Tjcreiev craKTri^cov
5

ixPW '^pocreiKda- ai r))(ov(rr)

apa aTTokoyoiro

rt?

TTopevofiivo)!^

wapeKrpOTrrjv

rd^(o<;

rrj^

i^eKVfirjve

iKKvixaivovcxTj Oa\d(T(Tr) eiKacrev koL Trpoacovofiacrev.

el

Se Tt? fxeTa/SaXcDV eiTroi cACc^aXayytcracra^ Ty)v OdXacrcraVy

Ta^a

ovSe olKeiax;

jxev

Se

jjieToCcrei, iravTr)

fiiKpo-

ttcli/to)?

npencof;.

15

Oeroi^
o)9

8e Kal d(T(^a\it,ovT ai ra? /xerac^opa?

*Ei/tot

85.

orav avroi^ KLvSwcoheus

eTTLifiepofJievoi^,

eiri-

So/cwcrii^,

6 SeoyvL<; 7rapari0eTai tco to^co '(l)6piJiLyya d^opSov'

TOV

eiTL

/BdWoPTO^'

Tcp TO^co

7]

tov to^ov, tm Se d^dpSo)

v(i)Be<; iirl

86.
20 jLidXtcrra

Kal

he

IidvT(j)v

StSdcr/caXo?*

fjLeTa(j)opo)v

Xeyovo'a

(j)0)V7]v

(jyopfjuy^ klpSv-

r](T(j>d\i(TTai,

dkXcov

Tchv

TrdvTa iJLeTa(j)epov(Ta XavOdvei

XevKTjv re

yap

(jLev

Kal

o-vvrfdeLa

r)

yap

fxiKpov

or^ehov

to dcr<^aXo)9 iieTa^epeiv,

Sict

Kal o^vv dvOpoiirov Kal Tpa^v

T7^o9 Kal iiaKpov prjTopa Kal rdXXa, ocra ovto) peTacfyepe-

Tai

fjLOVo'LK(i)<;,

87.

25

(jyopds, TTjv

Trj<s

crvv7)9eia<;

i8e't]0rjpev,

dWd

Kvpiou^.

Te^rjv

Xdyot? peTa-

ei^

etre <j>vcrLv.

pepeviqKev

yovv

ovTOi

axTTe ovSe

Kvpioiv

peTa(f)opd KaTeyova-a

rj

o)? *6 Ti^s dfJiTTeXov

6(j)da\pos' Kal

erepov tolovtov.
dpaJ] edd., a/^a P.

ofirjpos in

16

toI^;

rt^e/xat ttJ?

(TwrjOeia /caXw?,

rj

TOV TOV KvpLov TOTTov,

30 el TL

hoKelv

Kavova

eyo)

peTrjveyKev

evLa

en

(wcrre opLOia

TovTOP

margine P.

T(p t6^<{; ^dp/xL-yya]

delendum ax'^bbvl

ws oCtwj] ap. Greg. Cor,,

iropevo/x^vu P.

rt

Nauckius, rbv To^o(p6pfiLyya P.

22

Xiyovaav

et

rpaxvv

(v

tlxrai^rajs

P.

(hpaiov et

r^s Xenophontis libri

18

t6 5e P.

ttJs

20

utroque punctis notato) P.

P.

an

233'

DEMETRIUS ON STYLE
The

113

firmament when resounding ought not to have

entire

been likened to a resounding trumpet, unless on Homer's

behalf the defence be advanced that high heaven resounded
in the

way

which the entire heaven would resound were

in

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

way

the other

Xenophon,

about.

march a part of the

line

for

example, says

He

surged outV

swerving from the ranks to a surging of the

term to

this

If,

it.

however,

the sea swerved from

be even appropriate

in

Some

85.

line,'

it

not

on the

thus likens a

sea,

and applies

were conversely to be said that

the metaphor would possibly not

any case

would be

it

utterly trivial.

by the addition of

writers endeavour

metaphors which they consider

to safeguard

less,

epithets

In this

risky.

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.'

'

Usage, which

86.

is

our

almost

Usage,

silvery,'

is

so

in fact, clothes

conceptions in metaphor, and that with such a sure

all

touch that we are hardly conscious of

*

everywhere,

teacher

particularly in regard to metaphors.

man

'

keen,' a character

and so on with metaphors

'

it.

It

calls

a voice

rugged,' a speaker

in general,

long,'

which are applied so

tastefully that they pass for literal description.

My own

87.
tion
in

is

the art

some

or

rule for the use of

nature

found

metaphor

in usage.

composi-

Metaphors have

by usage that we no
expressions, but the metaphor has

cases been so well established

longer require the

literal

definitely usurped the place of the literal term.

'

in

For instance,

the eye of the vine,' and so forth.

^

Xen. Anab.

Theog.

i.

trag.,

8, 18,

ws 5^

Nauck^,

iropevofx^vtav i^eKO/miv^ tl

p. 769.

t^s (l>6.\ayyo%.

AHMHTPIOY HEPI EPMHNEIAI

114

Sc^oJ^SvXo? fxevToi Kol AcXet? ra iwl tov

88.

Kol

oixoLOTiqTa

8g.

Sta

to

ioLKevau

to

dXXa Ka6*

an^d/xacrrai,
KTei^l

fiev

(TcofxaTo^;,

fxevTOL eiKacriav TroLCJjJiev ttjv fjLeTa<f)opdvy

'Evrai/

wpoXeXeKTaL, crToyacTTeov tov crvvTop^ov,

irXeov TOV

'

ojcnrep

irpoTiOevai,

rov

/cat

tol

iirei

lo

'

yevvaio'^

KV(i)v

axrirep

Tit^oiV'^

linrof;

air povoiJTO)^

Sta

\v6e\^

TavTa yoLp ovk

jJirjSev

et/cacrta?

olvt

Trapa/SoXrj ecTTai TToirjTiKij, oTov to tov He^'O^wrro?,

8e

to 8e

fiepof;,

TO Se (rc^oz^SvXo).

/cXeiSt,

a>9

Kara ijueraiopav

KTeves, ov

ojarrep

iwl Kairpov (j)pTaiJ kol

irehiov yavpicov

kol airoXaK-

dXXa napa-

eoiKev,

et/cacrtat? ert

jSoXoLS TrOLrjTLKOLS.

Td? 8e TrapaySoXd? ravra? ovre

90.
Tre^ot?

Xdyot9 TiOivai

TTcpt iJLTa(f)opa<;

15 /cat

91.

Set,

'

d)?

20 ovofxaa-La^,

KaOoXov ydp

TavTif)v

Xiyovcrav

vofxoOeTa^

cjjvkaKrjs.

tol

SuOvpap.-

OeoTepaTovf; TrXdva^J ov8e 'dcTTpoiV

SopvTTvpov CTTpaTov,' dXX' ioLKOTa Tot5

cruy/ct/xeVot9*

rot?

ej/

eiTTeiv.

ri^TTOi

avvOeTa ovofxaTa, ov

A7)7rTeov 8e /cat

yStfcw? (TvyKifJiva, oToi'

oure dj^eu TrXeio-TT]^

TocravTa

fjuev

yoaStco?

v77"o

Kavova
kol

T^9

(rvv7)6eCa<;

Troiovp.ai Trdarj^;

dp^iTeKTovaf;,

koX

Totd8e TToXXd erepa dcr<^aXw9 (rvvTidelaav.

92.

TLva

e/c

25 otoi' di' Ti^i'

ovofxa

ydp

TOV (TiTov

TeOrfcreTai dvTi

KOfJiiSr)v

rd^a

ovTO) fJueuCov.

/cat

TroiKikiav

/cat /xeye^o?, /cat d/i-a /cat crvj^ro-

T7}9 crvv6eo'e(o<;

^tat* Tti^d.

ydp

TO (jvvOeTov ovofjua ofxov

''Efet ixivToi

8*

dv

oXov tov Xoyov,

(TLTOTTOfJiTriav XeyrjS'
/cat

XvOivTo^

Xdyoj' erepov Tpoirov fxeit^ov yevoiTO,

olov

ttoXv

ovofJuaTO^; et?

ctltov TrofiTTT)

dvTl crtTOTTO/XTTta?.
93.
30 cl)7jcrLP

"Ovop.a
OTL

OVK

8* dz^rt

'qv

Xoyov rt^erat,

Xa/3eLV

otoi^

ovov dypiov,

el

w? 6
fxr)

a^voificoj/

ol

tTTTrets

8tacrTdi/T9 drjp^ev StaSexd/xei^of ovopuaTL, olov otl ol jxev

15 roaavTa
14 divev in ras. P.
6 TOV fi7i8k TO P, fJL'qMv t\4ov tov in margine P.
16 Trept awd^Tuv dvofidTOJv titulus (post (pvXaKijs positus) in P.
add. Schneiderus.
18 avvrjeeias] Finckhius, aXTjOeias P.
TrXdvas: \ supra ir scripsit P.
17

22

KoX supra

versum add. P.

29

ova/ia P.

DEMETRIUS ON STYLE
The

88.

115

parts of the body, however, which are called

'

and
ribs
{KTif6<;), derive their names not from metaphor but from their
resemblance to a spindle-whorl, a key, and a comb respect*

vertebra

'

(a(j>6vBv\o(;),

'

collar-bone

'

(kXcU),

'

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

They should resemble the comordinary speech. In all word-formation I

battalions of the starsl'

pounds made

in

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.
'

'

compound word will usually, from the very fact

composite, derive a certain decorative quality and
grandeur, and a certain pith as well. One word will stand for
92.

that

it

is

For instance, you might speak of the

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 wildass unless the horsemen posted themselves at intervals and
gave chase in relays ^' The single word (8caSex6fJ'voc) is
an entire phrase.

transport of corn as

'

'

'

'

Xen. Cyrop.

i.

4, 21.
'

Lync. Fragm. Adesp. 128, Bergk^

Xen. Anab.

i.

5, 2.

82

AHMHTPIOY HEPI EPMHNEIAZ

ii6

OTTLcrOev iSiojKOv, ol S' ainjvTcov vireKavvovTe^ Trpocra), wcrre

Tov ovov iv

(l)v\dTTcr0aL ^evToi

aTroXajju^dvecrOaL.

/xecro)

yap

SiTrXa riOevai rd StTrXa ovofiara- tovto

efetcrt

koyov

Tre^ov TO tSo9.

Ta

94.

7r7roLr)iJiifa

8ia to

TTpeireiav

yap

ou

ofoi^

oj/ra ovofxaTa Xeyei,

10 zeal a/x,a cro(f)6v tl (^ati^erat

crvvy)6eia<;'

15

jxakicrTa

kclL

dXXa rdre

rw

yiv6p.eva,

6v6piaTo<; Kaivov yevecn*;, oiov

eoiKev yovv ovoyLaTovpycov

%To\aaTov

ovofxaTL kol

fxevo)

TO

TT/awrot?

toI<;

^e-

ovofxaTa.

TOL

96.

a)<;

8e /xaXto-ra fieyaXo-

Trotet

ioiKevai,

xjj6(j)0L<;

tol /caret

olov

TTpCty/XaTO?,

7)

Kol to 'XaTrroz^re?,' (95)

'crit.e''

jxiuoif;

ovofxara opit^ovrai fiev

TTaOoV^

iK(l)p6fJLVa

fJLip.7](TLV

^eVo)-

Se

TTpoiTov fiev Tov cra<^ov? eV roJ ttolov-

(rvvijdov^;, eireiTa

Ta KeL/xeva ovofxaTa, w?

Trj^;

<l>pvyil,iv

/X17

o^jloioti^to^ irpo^

cTKvOit^eiv

rj

rt?

Sofei fxeTa^ij 'F^WrfViKcov ovoixaTcov.

UoLTjTeov fxePTOL 7]T0L

97.

Ta TVfXTrava Kal raXXa

Kal

eLTTOiv
20

fxaXdaKcov

tcoj^

*ApLcrT0TeX7]<;

ajvo/xacrfxeva, oTov 6

TOL jXT)

tov

opyava

KeCfxeva irapovoixdtpvTa avTov, olov o)? tov

Toi^ Ty)v

e<^T7

cTKacjirjv

ipecraovTa, Kal

/cij^atSta?

irapd

tol

(TKa(j)LTii)v

ri9

iXecjyavTLCTTrjV'

tj

*ApL(rT0TeXrj<;

tov

aVTLT7]V olov TOV fXOVOV avTov OVTa,

98.

'Bvo(j)(ov

iXeXev dva^or^criv
ovofxaTL,

25 TTOiT^cra?

Acal

tjv

eiT^

ai^

cTTpaTos/ tyjv tov

dv/36a 6 aTpaTos o-vz^e^w? irapajxevTou Tovpyov,

CTTicrc^aXeg

auTot? 7019 TToo^rat?.

elSo?

(jirjcnv *6

Se ^rjXeXi^e'

Acai

w?

6(^17^',

to SiTrXoOz/ fxevTOi ovofxa

yap

irdv

Treiroiiqixivov 6v6fxaTo<;'

to ctvvtl-

Oe^evov K TLvcov yeyovev StjXovotl,

3

^XXa^ej*

P.

crrpaTTjybs P.

i6

Victorius, ^^ft P.

^^eicrt]

dudfiaaiv P.

i8
1

fjt-apddKOJv

arpards]

25

P.

Victorius,

20

t6

'EXXt/j'ikcD;'

a-Ka(pLTr}u

crTpaTTjybi

P.

ws] Victorius, Kai ws P.

P.

^j'o/xdrwj']

23

24

edd., 'E\X?;'t/coiy

-^XAi^e] Victorius,

arparbs] Victorius,

233'

DEMETRIUS ON STYLE

117

equivalent to saying that those in the rear were pursuing,

while the others rode forward to meet them, so that the wild
The compounding of words already
ass was intercepted.

Such double
compounded should, however, be avoided.
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
and Mapping^'
95. Homer impresses his hearers greatly by the employment of words descriptive of inarticulate sounds, and
He is not making use of
by their novelty above all.
which
were then coming into
existing words, but of words
creation
of
a fresh word analogous
Moreover, the
existence.
is
regarded
as
a kind of poetic gift.
to words already in use
action, as 'hissed

'

As a word-maker, Homer seems,

who first gave things their names.
96. The foremost aim in the

in fact, to

resemble those

formation of words should

the next, due analogy with
be clearness and naturalness
A writer should not have the appearance
established words.
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

by

'

solitary^'

Xenophon says

98.

the army huzzaed,' denoting

'huzza' which the troops kept
practice is, however, as I said, full

that

'

this derivative the cry of

raising continually*.

The

It may be added that

kind of manufactured word, everything
put together springing manifestly from certain

of risk even for the poets themselves.

compound

which

is

is

existing material.

Horn. Odyss.

Aristot. Hist.

Cp. 144

ix.

394;

//. xvi. 161.

Anim. Book

infra.

ii.

(i.

pp. 497, 610, ed. Berol.).

*

Xen. Anab.

v. 2, 14.

AHMHTPIOY HEPI EPMHNEIAI

Ii8

MeyaXelov Se

99-

icm

tl

koL

wg 6

/xaXicrra ev Tal<; dTretXats, oiov

aWrjyopia,

rj

Atoi^uo'io?,

koX

on

ol

TeTTLye<; avrot? acrovTai -^a/xodevJ

El

100.

S' ovTO)<; 0,77X0)9 eTnev,

KOL opyikcoTepo^ av

5 )((opav,

on

Se QJCTTTep o-vyKokvfxiJian tov Xoyov

yap

irav

rau-

aXXo

t/ca{et

refiei ttjv

AoKpiSa

kol eureXecrreyoo?.

i(f)dvr)

vvv

aXkrjyopia Ke^piq-

rfj

to virovoovixevov cj^o/BepCiiTepov, kol aXXo?

o Se crac^e? /cat (^yavepov, KOLTa^poveicrdaL

rt*

euKos, (Zcnrep rov<; aTToSeSv/xeVovs.

Aio

lOI.

10

eoLK Se Koi

ixvarrfpia iv aWrjyopiai'^ Xeyerai

TOL

aXkiqyopia

rj

aLVLyixa 6 Xd'yo9

jJir)

OiCnrep eV (TKOTCO KOL VVKTL.

(tkoto) kol rrj vvktl.

Tco

^vkaTTecrdai fxevTOi Kairl

102.
(09

Acat

K7rX7)^LV KOL ^plKT^V,

77/009

oiov

yivr)Tai,

y)fiLP

to cru^'e^e9,

TavT7)<;

to

inl

Trj<^

t^9 laTpLKrj^'

15 crLKva<;

avhp' elBov irvpl '^oKkov

eV

avepi KoWrjaavTa.

KOL ol KoLKCove^; ttoWgl iv aWiqyopiai^; eXeyov

otov TO

Aiovvo'Lo<; iv Kopivdo}

'

iK(f)ol3ovvTe<;,

^iXnnrov, kol dXXa

77/069

ToiavTa ovK oXiya.

20

'H

103.
fiaXio-Ta

rj

(f)aiveTaL

/cat

yap

/cat

'ra

yap

virovorjdevTa fiaXXov

Se

TOL

roil'

fJieyaXoTrpewij^;,

jjlv

kol

fxi)

prjOevTa jxeL^ova

wrj

Se jjLLKpoTrpeTnj^.

iv StXoytat9 yiveTai fjueyeOo^, oiov 0)9 Hei^oc^wi^,

ouTO) pLeit^ov,

Sta

771^

evua

0.7700" L0J7rr}O'L<;'

Se dpfiaTa

25 <f)iXCa)Vy

Se

crvvTOfJLLa

i(f)ipTo,'

/cat

rj

'

jxev

tol

avTcov tcov

St'

avTcov tcov 77oXe/xtwj/.'

St'

eiirep

cf>rjo-L,

wS'

eTirev, */cat

Sta

r&iz^

77oXv

yap

(^iXioiv, /cat

TToXepicov avTOiv.^

IloXXa^oO Se

104.

/cat

to rrXdyiov fiei^ov tov evOeo^,

ofoi^

in

7j

Se

Suoviyo-ioj

margine P.

ouTw
15

'

P.

tffcos
I

avdas P.

yvcofJiT)

p.

8
iv &8^Tif}

16

dpwPTai

<^aj'ep6']

m.

w9

tjv,

et9

Ta9 Tafet9 twi^

xa/id^e' P.

Goellerus, ipo^epdv P.

rec. in

a>'5pa P.

marg. P.
j

irvplxo-^KOV P.

12

W/iet P.

'EXXt^i^wi/

dpaiov

11

<r/f6rv] Victorius,

(tkAtc^]

Victorius, avru P.

234''

'

DEMETRIUS ON STYLE

119

There is a kind of impressiveness also in allegorical

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 terrorstriking, and its import is variously conjectured by different
hearers.
On the other hand, things that are clear and plain

99.

language.

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
Allegory also is not
associated with darkness and night.
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

fire

beheld

who

with

had welded brass

The Lacedaemonians conveyed many

means of

addressed to Philip, and in

103.

message

allegory, as in the

many

to a

man's

flesh

of their threats

by

Dionysius at Corinth
similar expressions^
'

In certain cases conciseness, and especially aposio-

produce elevation, since some things seem to be more

when not expressed but only hinted at. In other
Impressiveness may
cases, however, triviality is the result.
those
of Xenophon, who
result from repetitions such as
pesis,

significant

says: 'the chariots rushed,

some of them

right through the

ranks of friends, others right through the ranks of

Such a sentence
put

it

and

foes.'

in this

104.

is

way

far
*

more

striking than

e.g.

foes*.'

Xenophon had

right through the ranks both of friends

Often the indirect expression

than the direct:

if

is

more impressive

the intention was that they should charge

See note on Proverbs.

'

See note on Proverbs.

^
*

Cleobulina, fragm.

Xen. Anab.

i.

i,

8, 20.

Bergk^.

AHMHTPIOY nEPI EPMHNEIAZ

120

i\a)VTO)v Kol SiaKo^ovTcov

Koi

Tj

SvfJL^e^XyjTai Se kol

8v(T(l)a)Via

TTokv

Svo

yap

Sleuoovvto ikdcrai

yap to

Svcrcfycovop ttoX-

ojcnrep

TOP

jJLokXoi'

crvfJiTrXrj^L'^

ttJ?

To 8e

106.

iv

ofMOLorrj^; TOiv ovofjudrajv

rj

koL

(fyaLT/ojJLevr)'

Tj

Xa^ov oyKTjpov,

10 T19

tov

olt/tI

SiaKoxfjaL.'

105.

KOL

'

Atat'Ta

fxeyav

ii'<j>rjvei'

twv

r)

kiTTa^oeiov dcnriho^.

iin^iiiviq^a KaXovfxevov opit^oiTo p.kv

dv

\i^iv eiTLKocr^ovcrav, ecrri Se to ixeyaXoTrpeTrecrTaTov

Xdyot?.

To1<^

ttJs

yap

V7rr)peTL yukv

eTTi/cocr/xer.

oiai^

[mev

VTrrjpeTei,

r)

Se

7roi/JLV(;

avSpe^;

Karaarel^ovaiv,

Se TO

i7rL(l)p6fJLPOV

p^ayLtal

yap tovto

iTTevriveKTai

17

rotaSe,

vaKivdov iv ovpecn

Tcii/

irooral
15 iTTLKOO-jXeL

Xe^ecos
tj

TO

8e re irop^vpov av6o<;'

toI^ TTpoevrjveypievoLS

Koa-fjio^;

(ra<^w9

Kal /caXXo?.

107.

MecTTT) Se rovrw^'

icat

17

'Opajpov

TroiTycrt?, otoi^

^ Kairvov KaTcdrjKy eVel ovkcti rotacv iwKCL,

20

ol? TO 7rapo<;

TTpb^

TpolyvSe klwv KaTiXecirev ^OBvaaevf;.

TC Kal ToSe jxel^ov iirl

S'

olvcoBevre'^, epiv

fjLtJTTCOf;

^pealv epb^aXe

arrjaavre^ iv

Baificov,

v/jlIv,

aXXi]Xov<i Tpa)ar)T6.
25

etTa eTTK^wj/et,
avTOf;

108.

Kat KaOoKov to

i\ibvT(t)v]

13

oOpeaiv P.

9/v5e P.

yap i^eXKeTat avhpa

Xen.

libri,

iroifjiAves

i7n(f)covr}fJLa toI*;

iXdbvrwv P.

supra versum add. P.

25

criBrjpo^;.

upatop in margine P.

tcov irXovcricov

6pos (puvrjfMTos in

14

iro<Tl

P.

marg. P.

21

arpol-

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

same

contribute to the

Harshness of sound

result.

is

often effective, as in the words

And
Was

Aias the mighty at Hector the brazen-helmed evermore

aiming

his

The concurrence

lancet

more
Ajax than even his

of the two words (Ata?, alkv) gives a far

vivid impression

of the

greatness of

famous sevenfold buckler.

106. The so-called 'epiphoneme' may be defined as
^

diction that adorns.'

Some

highest degree.

produces elevation of style

It

parts of diction simply subserve the

thought, while others embellish

ing

is

an example

in the

Of

it.

the former the follow-

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

The addition thus made to the preceding

and beautifies.
107. The poetry of Homer abounds
^\ have taken

is

shed^

lines clearly

adorns

in instances, e.g.

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

and

And

ye

strife

jar.

wound one

and shame the

another,

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

'

Xen. Anab.

Sappho Fragm.

i.

it

may

8, 10.

94, Bergk*.

be said that the epiphoneme

2

Horn.

Horn. Odyss.

//. xvi.

358.
xix. 7

cp. xvi. 288.

AHMHTPIOY nEPI EPMHNEIAZ

122
ioLKev

7r\ovTov

oiov

yap

kol

rpiykv(l)oi<;

/cat

avro tov iv Xdyot?

tl koX

iariv.

criqixeiov

Adfetei^ 8' av kol to ipOvfJirjfjia i7n(f)0)vy]fJiaTO<;

lOg.
5

Xeyco

yeicrot?

eTTiSety/xacrti^,

Trop<l)vpaL<; TrXaretat?*

yap

elSd? TL elvai, ovk ov /xeV* ov

aXka

eveKev,

koct^jlov

aTroSetfeco? rrapaXafji/BdveTaL, TrXrjv iTTLKeyop^evov ye

iiru-

(f)(ovrjiJLaTLKCt)<;.

110.

8e

'XlcravTO)?

/cat

iincfxovoviJievco tlvI

yvcofjLT)

rj

'

OLKv iwl TTpoeipyjixevoL^;, dXX' ouS' avTT^ eTTK^ayvq^d icTTLlo /cat

yap Trpo\4yeTai rroWaKLS,

\afJi/3dveL

p^ivToi

^copav

TTore i7n(l>covrjfJiaTO<;.

To 81

111.

ovS* avTo

efieWe

ovS* dp'

vrjiTLOf;

av

i7rL(f)a)vr)iJia

ovS*

15 iiTLKocrixel,

/caKa<;

vtto Kr}pa<; aXv^eiv,

ov

eirf

cTrtc^wi^T^/xart

6\co<;

yap iinkeyeTaL ovSe

eoLKev, d\Xd irpoa-|

(f)CovTJ[jiaTL

To 8e

112.

TOiv

jJLLfjiijcreL

avTw

yvfivy irdw ^pwi^rat

fjuev

fiaXXov 8e ov

l^lov to Xr)(j)0v

inl ttJs KpuJTrj^

/caX?7

6 pikv

fxeyaXoir peire^;,

dXXoL

fJUfjujcreL,

*Hyod8oro9.

^poifxevo^i

K.pr)T7}

25

ot

jjikv

ov/cv8t8T79 fxevTOL Kav Xdfirj irapd ttoltjtov

113.

7roLr)Trj^

Xdyo t9 ort

77X171/

TroirjTOiv,

KaOdnep

20 fieTaOecreL,

t8ta)9

TTOirfTiKov ev

SrjXov c^acrt,

/cat TV(f)X(^
TT7

iirLKepTOfjajfJiaTL.

rj

olvottl ttovtw,

ivl

Kal irieipa, irepippvro'i.

inl tov

Sr)

tl,

6 fiev

ec^y;,

7ar eVrt fxeaw

Ti9

wo Lei, olov

fjieyeOov^

ra

ix^pujcraTo

'

irepippvTOf;,^

6 8e 0oi>/cv8t8779 ojjLOvoelv tov<; Xt/ceXtwra? /caXor oterat

|

eLTTcov, yrjv

30

/xtd? /cat irepLppvTov, /cat ravrct irdvTa

dz/ras

cti/at, y^J?

re dz^rt vrfcrov /cat irepippvTov wo-avro)?, d/xa>s

eTepa XkyeLv SoKel, 8l6tl ou^ w?

1

7e

^crrti'

avTo

fo-ois

supra versum add. P.

accentu supra

7ai' ^o-Ti]

25

(punctis superpositis) P.

codd.

irrjeipa P.

eraso.

Homeri,
26

4
|

tt/jos fxiyeOos,
2

ot

Trepi ivOvfiT^naros in

\L<}>dkv P.

7' ^(rri

exp'f}<TaTO

P.

t6 P.

23

24

dvoirt

28

dXXd

irpo^

P, oy hie supra versum addito.

margine P.

Kpirrjs in

Kp-Zir-qs

22

avT(^'.

corr. P.
]

posterius in rasura P.

raOra P.

234^^

DEMETRIUS ON STYLE

123

bears a likeness to the things on which the wealthy pride

themselves,

cornices, triglyphs, and bands of purple.

Indeed,

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 purposes 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.
a

in itself

it is

Again, the line

111.
Fool

for

was not

it

his

doom

weird from the blackness of

to

flee'

For

be no epiphoneme.

will

ornamental.

It

is

it

has no likeness at

not additional nor

all

to an

is

it

epiphoneme, but

rather to an allocution or a taunt.

112.

touch of poetic diction adds to the elevation of

Even a blind man can see that, as the proverb has it.
Or rather,
Still some writers imitate the poets quite crudely.
transfer
them
their
pages as
imitate
them,
but
to
they do not
prose.

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

Homer,

property.

land there

Fair, fertile,

is,

even Crete,

for instance, says of Crete

in the

midst of the dark sea-swell,

wave-encompassed*.

Now Homer

has used the word

cate the great size of the island.

wave-encompassed to
Thucydides, on his
'

indipart,

holds the view that the Greek settlers in Sicily should be

they belong to the same land and that a waveencompassed 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
at one, as

'

'

'

'

'

Horn.

//. xii.

113.
^

Thucyd.

iv.

Horn. Odyss.
64.

xix. 172.

AHMHTPIOY HEPI EPMHNEIAZ

124

ofiovoLav avTol'; expyjcraro.

irepl fxkv S17 /leyaXoTT/DeTreta?

Tocravra.

Qcnrep

oe

olov Odppei

fjLev

114.
TLCTLV,
5

Tov avTov Tpoirov kol

irapoLKeLvraL

rrjq

Tco

S*

alo-x^vri
to2<;

acrretot?
aiSot,

rrj

yapaKTrjpcriv
Se

rrpcjTa

Tive<;.

/xeyaXoTT/oeTTet

riva

(f)avXd
rj

epfji7jvLa<;

SiTj/JiapTrjfjLevoL

yLTPL(ovTOs

TrapoLKeirai

TO 6pdcro<;,

irepl

tov

6vop.a fxev ovv

Xe^ofxev.

avTco xfjvxpov, opCi^eTai 8e to ipv^pov ^eocjipacTTO^; ovtojs,

\\jvxp6v
10

VTrep^dWov

TO

icTTL

OLKeiav

ttjv

dirayyekiav,

olov
diTvvhaKWTO^i ov TpaTre^ovTat kvXl^,

dvTL TOV dirvOpLevoq inl Tpaire^r)^ kvXl^ ov ri^erat.

yap

Trpayfia

ov

crp.iKpov

Several oyKOv

ov

to

toctovtov

Xe^eo)?.

H5-

15

TiveTai

kol to

fJiivTOL

Kai TO ^leyakoTTpeTri^,

TOV Kv/cXw7ro9 Xi9ol3oXovvToq

6(^7^

iK

Tt9,

(pepojjievov

yap TOV

\\)V)(pov iv Tpicriv, a)cnrep

yap

rj

KaOdirep

hiavoia,

iv

inl

vavv tov 'OSucrcreo)?

Tr)v

tov \l6ov alyeg ivefiovTO iv avTO).*

v7rep/3el3X7)ixvov Trjs Staz/ota? /cat

dSvvdTOv

rj

20 y^JV^OTTj^.

116.

'''

'''

OTav

(rvvOeTcp,
ovofjiaTO<;,
25

Se Xefet

'Ei/

rerpa^ws,

^ApLo-TOTeXr)^

Sidvpajx^cohrjf;

w? to

ovTO}^ viripoyKov.
'

w? 'AXActSa/ta?

'

yiveTau Se

/cat

i(f)r)

yiveaOai

(jyrjcrl

vypov

crvvTeOrj

iprjixonXavof;'

TpifjLOVTa Kai oj^pa tol

'

ISpwTaJ
Kal

iv iJieTa(j)opa to

Trpay/xara.'

iv

StTrXwcrt? tov

rj

rt?,

rj

tl

aXXo

\jjv)(^p6v,

reryoa^w? pLv ovv

/cara Tr)v \e^iv ovtojs av yiyvoiTO.

117.

'Evv0e(TL<; Se

^v^pd

7) fjurj

evpvOfio^,

dXXa

ovcra Kal Sia rrdvTcov p^aKpdv e^ovcra, c^cnrep

3
in

trepl xj/vxpov

margine P.

indicavit Victorius.

rod dPTiKcifievov rip /xeyaXoTrpeTrei titulus in P.

15

<^V ^t'- ^^

24

el

rptalv

om. P

ex codd. Aristotelis: ypd/xfiara P.

29

ixxiKpav'\

Schneiderus, /xaKpbp P.

ij

xj/vxp^'rrjs

add. edd.

28

in

margine P.
26

eifpvdfios]

tj

dpvdfJiO<;

rotaSe,

8 6pos \//vxpov

22

hiatum

irpdyiJ.aTa] Victorius

Finckhius, ippvdjxos P.

DEMETRIUS ON STYLE
The

different.

reason

is

125

that he uses the words with reference

not to size but to concord.

Thus much with regard to eleva-

tion of style.

As

114.

by

exist side
for

the sphere of morals certain bad qualities

in

side with certain attractive qualities (audacity,

example, corresponding to bravery, and shame to rever-

We

distorted varieties.

speak of the style which

will first

next neighbour to the elevated.

is

by Theophrastus^

defined

Its

as that

pression appropriate to the thought,

Chalice imbased

Here the meaning

upon a

matched by

also the leading types of style are

ence), so

is

'
:

The

table.'

is

name

is

'

and

frigid,'

is
it

which transcends the exe.g.

not intabulated*.

a cup without a bottom

is

not placed

subject, being trivial, does not

admit of

such magniloquence.

115.
of these

Frigidity, like elevation, arises at three points.

the thought

is

when a

as

writer once said, in

how the Cyclops cast a boulder after the ship of

when the boulder was in mid career goats were

describing

Odysseus

itself,

One

'

browsing on

it^'

The words

are frigid because the conceit

is

extravagant and impossible.

In diction Aristotle says that frigidity

116.

from

origin, arising

[(i) 'strange

is

of fourfold

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

phors,' e.g.

'

crisis

may, therefore,
117.
or lacks

pale and trembling'.'

Theophr.

Scr. Inc.

(4)

'

meta-

Frigidity of diction

arise in four ways.

Composition
all

is

frigid

when

it

lacks

good rhythm,

rhythm, having long syllables from beginning to

tt.

X^^

Soph. Triptol. fragm., Nauck^

Alcid.

Scr. Inc.

p. 265.

AHMHTPIOY HEPI EPMHNEIAl

126
*

ovSev yap

iracnq^

t9 Tr)v ^(x)pav,

r)KO)v Tjfxwv

ej^ei Xoyi/coi/

opOrj^ ovarj^;.'

rj/Jicov

ouSe acrc^aXe? 8ta

Tr)v <TVvi)(eiav

jxaKpmv o-vXka^ojv.

T(t)v

^v)(pov 8e /Cairo

118.

Kol

5 TLve<;,

/xeryoa riOivai crvve^rj,

KaOaTTep

yap

KkeiTToixeva vtto ttJ? o-VT/e^eia^^' Troirjpia

fJLTj

OLKaipov xjjv^pov, MG-irep Kal to VTrepjieTpov.

Kai KaOoXov onolov tl icrriv rj akat^ovela,

o re yap dkal^ojv tol fxr) ir poaovra
rj xjjv^poTTj^;-

119.

ToiovTov KOI

avTO) avyei o/xcu?

10

Trpocrovra, o re fJUKpol^; Trpdyyuacriv

&)5

Kai avro^ iv puKpoi^ aKatpvevopLevco

7Tepi^aXk(x)v oyKOv,

Ka\ oiroiov tl to iv

eoiKev.

TrapoLfjiLa

ttj

Koapiovpievov

virepov, TOLOvTov tl iaTL Kal to iv ttj eppiqveLa i^yjppevov

iv pLKpoZ<; TTpdypao-LV.

KaLTOL

120.

TLV<; (j)acrL

Selv

ra pLKpd peyakoi^ \iyeLV,

cnqpeiov tovto rjyovvTaL virep^aWovcnq^; Svvdpecos.

15 /cat

iycb 8e rioXv/cparet p^ku tco pyjTopL avy)(0}pct) iyKcopLd^ovTL

'"'

^^

ct)9

TTCtCrt

Kyapipvova

iv

dvTL6eT0L<; /cat /xerac^oyoat?

TO t9 iyKCOpLaCTTLKol^ TpOTTOL^- eTTaL^eV ydp, OVK icFTTOV-

Sa^ev,

oyKOs naCyvLov iaTL.

i^ecTTO), co? (jyyjpL,

to Se wpeirov iv iravTL

avTO^

/cat

pev

20 TraC^eLV

St)

ttJ?

ypa(f)7J^

TrpdypaTL ^vXaKTeov, tovt

ra

/xez/

pLKpd

pLKpco<;,

KaOdwep

121.

pLKpov ovTOs
25

peyas pv
Kal

TTj

/cat

woTapco

oppojpLevos
30 ippLTfvevcov

/caXov

(Ti;

ttJ

'

e(f)r),

in

lacunam

peydXco^;.

iwl tov TrjXe/Soa iroTapov

(^lycrt^',

ovro? 8e

'

8e

'

povov ovk

cus

tcov

0,770

KaTaKprjpvL^^opevov

P.

26

25 fjt^ya**s P.
aliquid

erasum

versum

scripto) P.

30

rj

err}

tov

Sttws ivavHias

18 ia-rroOda^ev

dtTT^Set^cy, e

est in P.

iiriheL^ev rfplv
TO)

AavpLKCJV opicjv

'^IcTTpov

iK^dXXovTa.

i//u^/3ot7^s /caXetrai.
i<{

statuit Victorius.

i^i'

KaOdnep tov NelXov

e/c8t8ot es OdXacrcravJ

margine

TrorajLtos

ya/) ^pa^vTrjTL Trj^ (TvvOecrecjf;

Si TLS epprjVeVOiV OpOLOV

TepO^

TrdvTa ovv ra rotavra

7

ra pueydka 8e

aTToXtj^eL ttj et9 to

TrjXefioa

ecTTL 7rpo(T\(f)6po)<; ipprjvevTeov, 235'

Sevocjiojv

ov, /caXo? 8e-

pLLKpOV TTOTapOV.

17

/cat

(prjal

rdv aXKcav

in

prius in rasura P.

supra a scripto P.

-29

margine P.
20 Set P.

iKdtdoi: supra

iK^dWovra] Gennadius, i/x^dWovra

prius

(\ alt. supra

DEMETRIUS ON STYLE
end,

e.g.

find

all

This land, our land, which

On

upstirred^'

syllables, this sentence

127

now

reach,

which

account of the succession of long

highly questionable and entirely

is

lacking in prose rhythm.

118.

It is also

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

just as inartistic as the disregard of metrical rules in

is

poetry.

119.

There

is

ture and frigidity.

a sort of general analogy between impos-

The impostor

that qualities belong to

also, the writer

who
in

who

invests trifles with

gives himself airs about

connexion with a

pestle

boasts, facts notwithstanding,

him which do

trivial

trifles.

In like manner,

not.

pomp

resembles one

heightened style used

subject recalls the 'ornamented

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

who eulogised
like (another)
Agamemnon with antitheses, metaphors, and every trick of
eulogy. He was jesting and not in earnest the very inflation
the rhetorician Polycrates

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.

of his writing

is

but pleasantry.

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.

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

Another

writer,

'

the cataracts of the Nile or the

mouth of the Danube^

expressions of this kind are called

^

Scr. Inc.

*^

Xen.

'

frigid.'

A nab.

Scr. Inc.

iv. 4,

cf.

6 supra.

All

AHMHTPIOY HEPI EPMHNEIAl

128

122.

ViveTai fxevTOL

ov Sia Tov

rot [jbLKpa

fxeydka erepov Tpoirov,

oiov orav

OLTTpeirovs, aX.X' evioTe vtt' avdyKiqf;.

fiLKpd Karo p 6(0(7 avToi riva orrpanqyov i^aipeiv ^ovXw/ie^a

0)9
5

fxeydXa KarojpOojKOTa, <rj> olov otl

SaifiovL TOV 7repLpy(t)<; /cat

ev Aa/ce-

(f)Opo<;

iTTi\o)pi(x)^

yap avToOev

tovtoj

ijjia(TrLy(0(Tev

ovk

cr^aipicravTa

p.iKp(o dKov(r6rjvaL ovri

iTTirpayoihovixev, o)? ot rd fJUKpd TTOvrjpd eOrj i(OPTe<; oSov

p^LKpoZ^
lo

TrapavofirjixacTLV

T0t9 fieydXoLs.

irapoi^iav

KoX OTL OvSeV KaKOV JXLKpOV

OuT(U9

123.
i^aipeLV
15

dpyj] Se

(TyLlKp(x) /ca/cw, r^

to fjLLKpov /cardp^w/xa

aTrpeires

(o(jt.

ixrjv

iirt

icTTLV.

fjiev Srj i^ecTTO) /cat

ov

/xeya,

'

iiroLcrofjiev,

ioLKvlaV T0VT(0 TO)

Ct>5

rot?

iirl

jiaXkov, ovk

K^o\aiC,eiv

XPV

ttjv

/cat

rot TfyLKTV TTaVTO^J

kol otl

dvoiyvvovcriv,

iroviqpoi^

ixeitpcri

To2<;

tl

dXX'

ttoluv,

(ocnrep /cat to jxeya /caracrjutt/cpwerat y^prjcTLpuO}^ TtoWdKL^,

ovTCJ^ av /cat to fJLLKpov i^aCpoLTO.

MaXtcrra Se

124.

TpLTTTj Se icTTlV

20

'

SieLV

'

XevKOTepOL

ojioIolJ

dvep.OL(TLV

S'

vTrep^oXrj xjjv^poTaTOv irdvTMv.

rj

ydp KaO'

Tj

)(l6vo<^,'

OlLOLOTiqTa iK(j>pTaL, OJS TO

w? to

vTrepo-^ijv,

/ca^'

tj

/cara to dhvvaTOVy o)? to

tj

'ovpav^

icFTrjpL^e Kdprj.^

ydp dv ^Lovo^ XevKOTepov

avTrj fxevTOL

opuOLOv.
25

dSward?

Ilacra fxev ovv virepfioXr)

125.

dv dvifKo OieLV

ydvoLTO, ovt

vTrepfioXyj,

rj

rj

icTTLV ovt

lprjfJiV7jriicLLpT(o<;

ovopidt^eraL dSvi/aro?.

Sto St7 /cat pdXLCTTa i//v^d So/cet

Trdcra VTrep^oXrj, Stdrt

dSvmTw

126.

OlkV.

Atd TOUTO Se pdXLaTa

XpciiVTaL OLVTjj, OTL

c/c

KO)p.(oSo7roLol

ot

/cat

TOV dSvi^ctTOv i(l>XKOVTaL TO yeXolov,

(ocnrep iirl tcjv Ilp(T(t)v ttj^ dnXTjcTTLas vrrep^aXXopevo^

3 ^ovXdfieda P.
oucrti'

P.

77

husius, iwoLrjcrafiev P.

versum add. m.
margine P.

19

\ei/cdre/Joi xt<i'os in

10

-jrapoLfiia

roOro P,

11

rec. P.

6 tovto P.

inserui.

9 irapavofufiaariv P.
13

Toi;r(^ t^J

Set P.

dvifioiaiv ex

margine P.

in

24

m.

P.

fxivroi

margine P.
|

'/jtol ij

^
20

iTroLa-ofMep]

rec. P.

ar} 6tl 7'

17

dv^fioia-riv

(hpaiov in

margine P.

12

/cai

di'iryi'iJ-

Hemster-

P,

supra

virep^okr} xf/vxp^rarov in
ct;

v-rreppoXi]

rt
i]

^Tjortj/

Trept

elp7jfx4vr}

P.

toO

DEMETRIUS ON STYLE

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

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

won

great triumphs.

We

rather than for great.

shall, further,

adduce the proverb

wedgeV showing how it bears upon

or we shall go so far as to maintain that

'the thin end of the

this trifling offence

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

things, frigid,

is

that

it

why

every hyperbole seems, above

all

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,

Horn. //. X. 436,
rod

St]

KaWiffTovs

vfitrioi,

'iirirovs

XevKbrepoi x"^''os> deleip

'

Horn.

//. iv.

5'

8<r(p

w\iov

rjfuffv Travrbs.

tSov -qS^ fieylaTovi'

av^fioiaiv ofioioi, kt\.

443,
ovpavi^ icT-ffpi^e Kdprj, Kal

R.

ov5k t<Ta<nv

iirl

x^o''^ jSa/vct.

AHMHTPIOY HEPI EPMHNEIAI

130
Ti9

OTL ^TreSta i^4)(etpv

e<^7^,

Tou 8e avTOv etSov?

127.

evoiasj Kol TO
5

\pvcroTpa

'

on

/cat

to

ecrri Acat

'

^okaKpoTepo*;

'

to 8e

ko\okvvt7j<; vyiecrrepof;'

irXrjv

ov ^vxpOTTjTa.

ev tols

l3ov<;

TO ^air^iKov iv virep^oXyj XeycTat

'

aSvvdT(i)<;,

/cat

okaj

-^pvcro)

/cat

auTo

auTw ye tw dSwaTO) ^dpLV

e^et,

dv

Tt9

SaTTc^ov? ttJ? ^etag, OTt (j^vaei Kivhvvoihei irpdypiaTi

/cat

/cat

Srj

Oavfidaeiev

/xctXtcrTa

SvoTKaTopOwTO) i^prjcraTO eVt^ayotTOJ?.

VTrep^oXrj^ TOcravTa.

10 Tr)TOs /cat

^apaKTTJpos

/cat 7re/3t /xej^ ^v)(^p6-

vvv Se

tov y\a(j>vpov

7re/)t

Xe^ofxei'.

III.

*0 y\a(l)vpo<; \6yo<; ^apievTicrpio^ kol Ikapoq

128.
I

Xdyos

eo"Tt.

tcwz^

Se ^apiTOiv at /xeV

'^(i)(j)povos

/cat

Auo-tov to yap

dpiOfxyjaeiev tov^ 686vTa<;

ttJ? TT/Decr^vTtSo?, /cat

rj

/cat

AptcTTOTcXov?

15 KO)jjLLKa>Tpai, (TKcojJbiJLacrLV ioiKvZai, olov at

)(dpLTS /cat

/cat

[xaWov

at twi^ ttoltjtcov, at Se evTeXet?

crefJivoTepai,

Tt?

/let^oi^e?

etcrt

'179 /^ctoj'

ai^

tov<; Sa/cTu\ov9,' to cttI

to *ocra9 a^to?

Xa/Seiv TT\r)yd^,

17^'

TOcravTa<; elXrjffyev S/^a^/xa?,' ot TOtovTOt acTTetcr/xot ouSez/

20 hia<l)ipovcriv o-KcofxixdTcov,

ovSe iroppo) yeXcoTOTroua^ elai.

To Se

129.

Trai^ovar yeyrjOe Be re

<f)peva Ar)T(o'

KOL
peta

5
3

8'

TrapoL/Mia in

add. P.

apLyvcoTT) ireKerar

margine P.
iTri

titulus in P, rei partitione in

X\ap6s

16

P.

X'^'''*''"^'

P.

T sine 5^ P.

xa/'^7'<'S>

yXa<f>vpbs

19

/caXal Se re iraaai'

avrb ex aiyrw P.

accentu supra a eraso P.

margine quoque indicata.

\6yos

x<*/"f*'"<''/*05

dpay/jLas P.

20

f"'

Trpdy/xari in

12
|

l\apbs

Trepi

x'P''^^'''''<^f^os

\6yos

upaiov in margine P.

in

margine

y\a<pvpov
iarL \6yos

margine
23

P.

yiyrjdi

235'

DEMETRIUS ON STYLE
city of the Persians that
'

131

they voided entire plains,' and that

they carried bullocks in their jawsV
127. Of the same character are the expressions balder
'

'

than

the

and Mustier than

blue'

cloudless

Sappho's words 'more golden than

all

pumpkin

gold^' are themselves

hyperbolical and impossible, though from their very impossi-

they derive charm, not frigidity. Indeed, one cannot

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.
bility

sufficiently

CHAPTER

Elegance of expression includes grace and geniality.

128.

Some

III.

pleasantries

those of the poets are

dignified, while others are

resembling banter, as

loftier and more

more commonplace and jocular,

the case

is

with those of Aristotle

Such witticisms

and Sophron and Lysias.

could sooner be counted than her fingers

and

'

as

many blows

'

as

differ in no way from

removed from buffoonery.
129. Again, take the lines

whose teeth

woman)
many drachmas

as he deserved to win, so

has he won^'

'

(of an old

gibes, nor are they far

While the daughters of him whose shield

is

the Aegis

sport

at

her side,

The

nymphs of

beautiful

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*.
^

- Sophron, Fragmm. 108,

34, Kaibel C. G. F.
Sappho, Fragni. 123, Bergk^.

Scr. Inc.

Fragmm.

275, Baiter-Sauppe.

Lysias,

'

Horn. Odyss.

vi.

105,

T^

6' dfia

5,

vijfKpai,

KoOpai At6s aiyidxoio,

dypovdfxoi. iral^ovcn' yiyrjde 34 re (t>p4va ArjTd)'

iratxduv 5' vwep

ij

ye

Kdprj ^x^i rjSk fiiruTra,

peed r' dpiyvibrrj ir^Xerai, KoXal 54 re irdcrai'

ws

ij

7' dfKpiirdXoiai fxeT^irpeire irapdivos dd/x-qs.

AHMHTPIOY HEPI EPMHNEIAI

132

avrai

[/cal]

Xeyojxevai

at

elcriv

^apire?

aeiival

/cat

lieyakai.

XprJTaL Se aurat? "Oynqpo^;

130.

/cat 77/509

Seti^wcrti'

ivLore /cat e/K^acrti^, /cat irait^oiv (^yo^epoirepo^; ecrrt, irpcoTO^

5

re evpTjKivai So/cet (f^ofiepas \dpiTaq, ojcnrep to iwl tov

ayapiToyTOLTOv

TrpocrcJirov, to iirl

tov Ku/cXwtto?, to

[ovi/]

TrvfiaTOv iSofiaL, tovs Be XotTTOv? irpcjTov^J

*Ourti'

eyft>

TO TOV

Kv/cX(jt)7ro9

^ivLOv ov yap

avTov

ovt(o<;

ive(f>r)vev

SeLvov eK TOiv oikXcov, oTav Bvo Beiirvf) eratpovs, ouS'

10

TOV Ovpeov
131.

Tj

Ik tov poiraXov,

XprJTaL Se

o)? e/c

t&> tolovto)

tovtov tov

etSet /cat aevo(f)a)v, /cat

avTo<; BeivoTTjTa^ elcrdyeL Ik yapiTOiv, olov iwl

op^cTTpiho^,

at yvvaLKe<; avrot?
^5

tt}? ^ct^tro?,

dW 'A/xa^di^e?,
0)9 V770

20 TOtctSe.

Ta

ovi^

yap

Se at

aSot

/cat

Tj

''VLo'Te

Seti^drT;?

17

tJz/

elirovTOy

dcrdevrf^y

7)

ToadSe Kal

yapiTOJV

rj

^air^ovs

iroiiqai^.

yapievTd

l7nrcovaKTO<; XeyrjTai,

npayixa ef eavTOv'

OL'8et9

yap

ovSe tov ^Epoira ^F^puvvv

6pyLt,6p.evo<;,

25 TTOiTjcreLev ttJ ep^jnqveia rj

133.

/cat

et ourct)?

epoiTe^, oXrj

TOiavTa, Kav vtto

vfJLevaiov

avTau yap

iv T0t9 irpdyyuaai ydpLTe'^, olov

/xez^

ecTL, Kal avTO Ikapov to

av

e^rj-

yuj^at/ce? avrot?

rwi^

etSTy

vvfJL(j)a'iOL KrJTTOL, vfjuevaiOL,

TOL

/cat

(fyvyelv.

/i-ez/

eto'tz^

el

e/xe^ati^erat

Se /cara ySacrtXew?,

17

yvvaiKoyv

132.

ou

ort

jitei'

17

yap

Slttt)

iponXov

Trj<;

Tla(f)\ay6i'o<;,

crvveTroXefJLOVP,

eTpexpav tov fiacrikea.'

e/c

tov

vtto

ipcoTTjOels

'

0,770

acTTeicr puov

yiyavTa, ovSe to yeXdv Kkaieiv.

fxev Tt9 ev rrpdyfjuao-L X'^P^^ ecrTi, tol Se

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.

x^P^'^'^^t'^'^'oi'

P> a et

(Tto

supra versum scripto.

|

ovu P,

om. edd.

atram. pall. m. rec. P.

X670U

titulus in P.

Schneiderus, aSei P.
Victorius, Trpdy/xaTi P.

8 ^iveiov P.

iroiiiaTov P.

7
|

ir^povs ai supra

21

yi^/w^atot

25

P.

iroi-qaeiep]

28

Seij'wj'

versum scripto P.
22

19

Trepl xct/airos

X^7erat P: corr. edd.

Hammerus,

Ilai'Sa/D^ov]

in deivbv corr.

iroti^crei

iv P.

24
26

codd. Homeri, navdap^)} P.

qiSoi]

Tpdy/j.a<ri\

DEMETRIUS ON STYLE

The

and

dignified

so-called

noble

133

graces

are

of

this

kind.

130.

make

Homer sometimes

a scene

is jesting he is
have been the

uses such means in order to

more intense and telling. Even when he
somewhat awe-inspiring, and he seems to
first

to devise grim

the

pleasantries, as in

passage describing that most repulsive personage the Cyclops:

*

Noman

gift

but the rest before him,'

will I eat last,

of the Cyclops \

No

that guest-

other circumstance reveals so clearly

the grimness of the monster

not

supper made from two

his

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

and can (like Homer) turn a pleasantry into a sarcasm,

style,

as in the passage describing the

armed

"

dancing-girl.

Greek was asked by the Paphlagonian, whether their women

accompanied them to the wars. 'Yes,' he replied, 'for they
routed the Great

King^.' "

double point, implying

This pleasantry clearly has a

in the first place that

women who accompanied

them, but

Amazons

it
;

was not mere

and the other

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

hit

subject-matter,

if it

is

the gardens of the

lays, love-stories, or the

themes, even

in

the

Nymphs, marriageSuch

poetry of Sappho generally.

mouth

of a Hipponax, possess grace, the

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,

subject-matter having a winsomeness of

or transmute laughter into tears.

133.
itself,

at

sometimes inherent in the theme

other times diction can lend an added charm, as

While grace

in the lines

is

As Pandareus' daughter, the wan-brown

nightingale,

Trilleth her lovely song in the flush of the

1

Horn. Odyss.

ix.

369.
3

new-born Spring^

Xen. Anab.

Horn. Odyss. xix. 518.

vi. i, 13.

AHMHTPIOY HEPI EPMHNEIAI

134

ivravSa yap kol

^apiiarepa

ecTTL

ar)So)v

rj

re

rco

Trj

kol

'yXoyprjjX^^

dwep rod

KOvpT)' elirelv iwl opviOos,

to eap

/cat

koX

kp^jiiqveia,

*TlavSapeov

to)

ttoltjtov iStct icrn.

iom

IToXXaAct? Se kol rd fxev wpdyfJiaTa aTepTrrj

134.

yapiev opviOiov,

^dpiev, iroXv 8e eTrt/ceKoo'/iT^Tai

(jyvcrei

KOL (TTvyvd, VTTO Se Tov XeyovTO^ yiverai Ikapd.

(l)V(TeL

napd Sei^oc^wz^Ti So/cet irpcoTco evprjcrOai' XajSwz^

yap dyekacTTOv Trpocrcoirov Kal CTTvyvov, tov ^KyXairdhaVy

TOVTO Se

TOV

yeXcoTa evpev ef avTOv -^apievTa, otl

Jlepcrrjv,

10 eorrt

TTVp

iKTpZ\\sai diro crov

AvTT)

135-

Kal

Se ecrri

(TTvyvov

yap

6 S* (Lcnrep ivSeLKvvTai, otl /cat

0,770

^dpi^y

irpdyfjia

^dpiTi, cjcnrep

7)v /cat iroXefJUOv

paov
236'

SvvaTCOTdTT)

r)

to fxev

fjidXicrTa iv t(o XeyovTL.

'

yeXwra.'

rj

/cat

/cat

/cat (J>v<tl

'AyXatrctSa?.

tcov tolovtcov Trat^eti/

oicnrepel /cat utto OepfjLov xfjv-^eadaL, depfiaCvecrOai

15 ecTTiv,

Se VTTO TOZ^ -^v^poiv.

'ETret Se

136.
ecrrt /cat
(Sv at

vvv

tlctlv,

ei^

^dpiTe^.

avTO

-^dpiev,

^cnrep

25 fieTecrTL

T7/i-t^'

at

/lez^ e^' ttJ

d<\>

Xefet, at Se

ez/

Tovq tottov^ KaO^

/cat

ttJ^;

ouz^ TrpcoTT) ecrrt xdpi<;

ix7)Kvv6fJLvov

irapd

dfji(j>6Tpa

eTret

ra c^ra

TTjv -y^dpiv TTOtet, et

Se

dXr)6rj, crac^w?

d^api

'

rj

e/c

crvz'TO/xta?,

yevrjTau, vtto Se Tdyov<^

aVO(f)(ovTL,

*EXXaSo?,

TO yayo iTriXeyofxevov to

30

rovs tottoi;? TrapaSei^ofiev,

/cat

TrapaSeC^ofxev ovv

Ev^u?

137-

TavTa

yapiTOiv SeSet/crat, rti^a

TCxiV

7rp(OTOv<; Se tov<; ttJ? Xe^eo)?.

oral/ TO

Av86v,

etSr;

Tjcrav Se

20 Tolq TrpdyfJiacTLV.

eKdTepa-

ra

'

tco

ovtl tovtco

avTov

eyo)

ovSev

ojcnrepei

elSov,

TeTpvTrrjfJLevov /cat et^ez^ ovro)?.'

eiyev ovtoj<^' vtto

ifJir)Kvv0r)

yap

Trj<;

crvvTOfiLas

Sta nXeuovcov, otl 'eXeyev

iTeTpvTrr)TO,' SLijyrjfJia

dv

Finckhius, t6

r6 P.

xJjlXov

eyeveTO avTL ^ayotro?.

X'^P^^^ P-

Sapitj

10

P:

cp.

iKxpixj/ai

p.

P.

132
<r?7

V.

''<?

Te...Kat

T(J5]

28 supra.

p^tov]

pddidv ioTi irvp diroTpLipai dtrb aoG

Te.../fai

ITai'-

codd. Xen., pddiov

r}

yiXura

in

P.

margine P.

11

dvvaroTdTT} F.

26

Terpvirri/x^vovl

i8

irapaSel^ofiev] Galeus, Trapadei^ofiai F.

codd. Xen., Terpifi/j^vov P.

24

roOro 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

134.

these touches are the poet's own.

It often

happens

the subject-matter in itself

that, unattractive

may

be,

it

This secret seems to have been

hands.

Having

Xenophon.

and sombre as

sparkles in the writer's

for his subject so

first

discovered by

grave and gloomy a

personage as the Persian Aglaitadas, Xenophon makes at

expense the pleasant jest, One could sooner strike fire

his

'

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 Aglaitadas. 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

136.

is

Now

hot, or

warmed with

things cold.

sources.

and

its

next indicate

its

that the varieties of graceful style,

been indicated, we
As we have already said,

elements, have

expression and partly in subject.

will
it

partly

consists

So we

will

in

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.

Xen. Cyrop.

xi. 2, 15.

"^

Xen. Anab.

iii.

i,

31.

AHMHTPIOY HEPI EPMHNEIAI

136

)(apiv, olov iwl T7J9 ^AfjLai,6vo<; Ka9evSov(T7)<;

*

TO To^ov ivTeTafievop eKeuTO,

yeppov inl
5

yap

/cat

(j)apTpa

rj

TOVTOJ Kol 6 vop^o^ elpiqTai 6 irepl tov

/cat

ipjjLTjveia^;.

to

7TXrjp7)<;,

ev

^(t)(TTrjpo<;, /cat,

hvo irpdyfJiaTa Sua fjna^

/^(oaTrjpa, tol

(TvvTop.ia<; ravTrj^ y\a(j)vp6v tl

t^9

0,770

on

ris,

ecfyrj

8e ^wcrrTJpa? ov XvovTau.^

ttj K(j>a\7J' tov<;

ovK eXvae tov

OTL

wpos to

IToXXafcis Se kol Bvo </)/)a{Tat 8t* ivo^

138.

iaTL.

AevTepo^ Se totto^

139.
10

yayo avTO irpoiTov fxev TeOev

ixiaov a^api yiveTai- irn Se

rj

TOV Tekovs yapiev, olov w? 6

Kvpov,

'

(TTpeiTTOv,

/cat

TOVTOLS TO
15

T'^i^

avrw

StScocrt 8e

TeXeVTOLOV

fJUeV

xcopav

fJL7)KTL

/AT/zcert

(fyrjaLV

6 ai

atrto? Se 6

'

')(apLV

totto? T779

Scopa, TeXevTOLOv
OLTTdvTCOV

iTTijveyKev to

(TVVrJKTaL

At Se

140.

vvv Se

7)

0,770

25

vvfJL(l)r)

24

^uffTTJpas

87roi;edd.

ttoO P.

rasura
|

ol^tj

P.

irapdeveiav l\

versum atram. evan. add. P.

/cat

lttttov

/cat

drjOe^;,

i^

(Sv

Ta>v crxrjjxdTcov ydpiTe'^ hrjXai elcnv

OXTJfiaTL,

in

el

^OLyOt?.

XiTTOvcra

aVTCO

aVTTJV T(0

Scj pov

TrpoeiTTcov tol eWuo'fJidva

^evov

TTpos TTJV TTap0viav

devia, 770t fxe

TTOiOVV TO

olov otl ^hihoicnv

rjv,

Koi TTXeicTTaL TTapd Sa77<^ot, olov iK

0770V

yap

^dpLTO<;.

avTco Swpa, Tijv re ^(lipav fxyjKeTL dpirdt^ecrdai,

20

ip

Sta TO ^evov TOV

yovv npcoTOv eTa^Biq, dyapiTOiTepov

/cat crToXy]v /cat cTTpeTTTov.'

tov

inl

apird^eo-OaiJ

TO Tr)V

icTTL

OL piT dt^ecT

KOL TTjv tStoTTyra.

Hei^oc^oii^

Swyoa, lttttov /cat (ttoXtjv /cat

/cat

yo)pav

77)1'

to

icrTiv airo tt}? rafew?.

'

;
'

(f)r)crL,

r)

OVKTL
19

Se

/cat

24,25

'

TTapdevia, Trap-

aTTOKpiveTai TTpos

-^^CO

inter

d^'aSt77Xa)crew9,

tt}9

77/009
et

CTe,

crToXrjy

7ra/)^e*'ia

OVKTL

litura

in

P.

alterum supra

DEMETRIUS ON STYLE
The conveyance

138.

gives a graceful

Amazon

'
:

Her bow

by her head

same time
its

effect.

137

of two ideas in one sentence often

writer once

said of a sleeping

lay strung, her quiver

full,

the custom concerning the girdle

observance

in the present case,

And

one expression.

from

her buckler

At one and

their girdles they never loosed'

is

the

indicated and

the two facts by means of

this conciseness a certain

elegance

results.

139.

Grace of style comes, in the second place, from

The very thought which, if placed at the
beginning or middle of a sentence, would have no charm,

arrangement.

is

often

the case
presents

when it comes at the end. This is

with a passage of Xenophon relating to Cyrus
as
he gives him a horse, a robe, a linked collar, and the
full

of grace

'

assurance that his country should be no longer plundered^'

the last clause in this sentence

It is

(viz.

'

the assurance that

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 accustomed presents, and added in conclusion the novel and
his country should be

unusual

gift.

It

the total

is

effect

that

constitutes

the

charm.

140.

The

graces that spring from the

figures are manifest,

instance in point

and abound most of

employment of
in

Sappho.

the figure 'reduplication,' as

is

bride addressing her

all

An

when the

Maidenhood says

Maidenhood, Maidenhood, whither away.

Forsaking

And

her

figure

me?

Maidenhood makes

reply to

her

in

the

Not again unto thee shall I come

Not again unto thee !^
^

Scr. Inc.

"

Xen. Anab.

for aye,

i.

2, 27.

Sappho, Fragm. 109, Bergk*.

same

AHMHTPIOY HEPI EPMHNEIAI

138

/cat

yap X^pi^

irXeicov

7]^(0''

Tov

avV

ifJiifyaiveTai,

rj

Kairoi

cryrjiJiaTO^.

tj

Se koI

^apievTit^erai he irore koX i^ ava(j)opa^, wg inl

141.

TOV 'Ecnrepov,

Trdvra

'"Ecnrepe,

<^e/Di9,'

oivy (j)pL^ alya, (j>epL^ fiarepL waiSa.'

ecTTiv

X-apL^

rj

Setvo-

toI<;

KaTa^pyJTau eTTt^apiro)?,

TaTOL^;
5

Trpo^

avaSi7r\a)crL<;

rj

Seii^drr^ra? jjiaXkov Soicet evprjcrdai,

aira^ iXe^Orf

eiirep

tt}? Xefecos ttJ?

e/c

(^yr^o-i,

(fyepei^

yap ivTavOa

/cat

<^epeL^

'

'

eiri

to avTO

ava(j)epofJLvrj^.

IloXXas

142.

10

S'

av rt?

dXXa?

/cat

iK(f>epoi

^aptra?.

yiyvovTai 8e

Xefews ^a/otre?

0,770

8'

TOV Terrtyo?, 'wTepvycov

7rt

0)9

/cat

aoihdv,

TL

TTOT

OLV

-^

e/c

vTTOKaKyiei \iyvpav

KaOeTav

^\6yiov

jLterac^oyoa?,

iTrnrTa^evov

/caravXet*

143'

15
*

^'^

CTVvdeTov \tov\ oi^d/iaro?

nXouroat'

8eo"7roTa

[xeXavoirTepvycov,

TTTepvycov avTO TToCrjcrov.'

Kat ef

144.

20 ^Api(rT0Tkr]<;,

avTco,

'

ocrco

'

irpo

/xctXto-ra 817 KcofjLCoSiKa Traiyvid

to
to

icTTL,

rjSy]

yap J

8e

/cat

yap
'

[JiovcoTrjs

'

fJLOV(oTr)<;

fjiova>Tr)^'

avTLT7]<;'

(^tXo-

el^C,

w? o avro?

TreTroLrjfJLevov,

avTLTrj<;

fxev

'

(fyrjcri,

/cat e/c

ya^

oo-<y

SoTepoq yiyova!

25

Seivov

lSlcotlkov 8e 6v6p.aT0<^ yiyveTai, o)? 6

yiyova!

fjivOoTepos

eOovs

tovtI

aaTvpiKa.

icTTL /cat

Tftv

SiOvpajx/BLKOv,

/cat

elfjn,

ei/

(^tXo^v-

ISicoTLKcoTepov

TreTTOirip.evov

rou

e/c

avrd?.

HoXXa

145.

8e ovofxaTa

Tivo^ ^apUvTOL icTTLV, olov

3

vprj(r6ai

ex evpetadai P.

Paulus Manutius.
rasura P.
seel.

P.

oIj'oj'

\rjyvpap P.

Finckhius.
18

16

<raTi;/)iK(]

P.

/cat

vrapa

ri^i'

Becriv Tr)v inC

6 ya/D 6pvL<; ovtos /cdXaf ecrrt

^7rtxap^7"ws] Finckhius, ^tti

x'^P'-'^'o^

o'"]

viro in
12
viroKaKx^et
^ sine accentu P.
KaravXec' ij] Finckhius, KaravSelrj P.
15 tov
14, 15
irpoTTepvyuy
JlKo^ruv] Bergkius, ttXovtov P.
16, 17

11

Galeus, craripia P.

236^

DEMETRIUS ON STYLE
The

139

more grace than

thought, thus presented, has

had

if it

RedupHbeen expressed once only and without the figure.

it is true, seems to have been devised more particularly
with a view to giving energy to style. But in Sappho's hands
*

cation,'

even the most passionate energy

Sometimes

141.

figure 'anaphora,' as in

Evening

The
The

142.

transfigured with grace.

thou bringest

Star,

all

that's best

sheep, the goat, thou bringest home, to rest:

child thou bringest to the mother's breast \

Here the charm

bringest,'

is

Sappho makes graceful use of the

the lines on the Evening Star:

also

lies

in

the repetition of the verb 'thou

which has the same reference throughout.

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

strain of piercing notes

Far up that

Which

143.
as

fiery vapour-veil

it

soars

o'er the landscape floats

Another source

is

dithyrambic compounds such

Pluto, lord of sable-pinioned things,

This do thou

'twere

more dread than

Such freaks of language are best suited

all their

for

wings ^

comic and satyric

poetry.

Yet another source is unique expressions, as when

the more self-centered I am, the more mythenamoured I become
Coined words, again, are another
source, as in the same author and passage: 'the more solitary and self-centered I am, the more myth-enamoured I
become *. The word self-centered is of a more unique character 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

144.

Aristotle says

'

'*.'

'

'

'

'

'

'

'

Sappho, Fragm. 95, Bergk*.

Lyric. Fragm. Adesp. 126, Bergk^.
Aristot.

Fragm. 618

(ed. Berol.).

Cp.

Alcaeus, Fragm, 39, Bergk*. ^*

97 supra.

^^^'*

AHMHTPIOY HEPI EPMHNEIAZ

I40

ivravOa

Kal Ko/Sako^;.'

rj

opvLV KaOdrrep dvOpconov,

ovofxara

t(o

'^^^

rd

otl

/cat

at ixev ovv

opviBi.

^'^^

X^P^^

tov

(TKcoxjjaL

avvTJdrj eOero

jjltj

roiavTai ^dpiref; irap

aura? ra? Xefei?.

146.

'E/c

Se 7rapa^oXrj<;

7rppo')(^o<;

evravda yap

tov i^)(^ovros dvSpo^

6 AecrySto? dWoSaTTolcTLv.

doi,So<;

^dpiv

p.iye6o^y /catrot
10 Tcov aXXcui^

or

ax?

/cat iirl

inoirjo'ev

irapa^oXr)

r)

^cnrep

i^rjv eliTeiv ireppo-^os

acTTpcov,

r)

7]Xlo<;

fxaXXov

6 Xa/x-TTyoorepo?,

o-ekTjvrj

rj

ocra

r)

r)

aXXa

ecrrt Tron^rt/cwrepa.

'

(f)7)(rL,

Se

^axjypcov

147.

ocra

Odcrat,

avTos inl tov ofioCov

/cat

/cat

(f)vX\a

dvSpa<; ^aWilpvTi, olov nep

15

Atai^ra

rw

TraXw.'

TOV?

I^oXyj icTTL, /cat

'vxfjov 817,'

ort 'Suo /ewe?

edd.,

/c6/3a\os]

W^w

/cat

ort ovSet?

SeSeWo

ovofjiaTa elireiv

18

cTTt^apt?

/cat

e/c

OKTirep

tov

irapa-

17

/xera^oX'^s,
fJieTavoijcrrjy

depaTe TeKTOve^' yajx-

dvhpoq

"Kpiq'i,

rw

Tov Se avTov etSou?

149.

Tpct)a<;

jxeydkov

iroXkco

Mcnrep i.Tn\ap.^avop.ivri iavTrj^, otl dSvvdTO) ^XPV'

craTO v7rep/3o\y,

P.

tcro?

rous

Sta7rat{oucra axrirep TratSa?.

'to fJieXadpov

(jyrjcrL,

el<TpxTaL

fxeCi^cov,'

25

yap evTavOa

Tpwas

rov?

(f>avTL, <^tXa,

etTTOucra /xeraySaXXi^rat

orai^ Tt

20 y8/)os

Kdp(j)ea rot TratSes

"Eorrt 8e Tt9 tStaj9 X^P''^ Sa7r<^t/ci7

148.

oTov

/cat

etSov?

tcov

P.

/cat

dXXa

kvvcov.

et /Meravo-i^aei,

77

15

bis supra

laTiv.

to irapd TT^Xe/xa^oi,

77/30 ttJ? avXrj<;, /cat

Wilamowitzius, K6Xa/cos P.

fxeTa^dWeTai

'^Aprj'C tcro?

rt

a^

ttXw,

Swa/xat
/xot

/cat

ra

^ovKoito

a supra versum addito

versum scripto P.

19

V\pov]

DEMETRIUS ON STYLE
and a rogue

141

Here the charm is due to the fact that the

upbraided as though it were a person, and that the
writer has called the bird by unusual names.
Such graces
bird

'

is

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
as these are

fellows

men

Pre-eminent, as mid alien

is

Lesbos' bard^

charm rather than grandeur is the outcome of the

comparison. It would have been possible, had the aim been
In this line

speak of a superiority such as the moon or the

sun possesses in brightness over the other orbs, or to use
different, to

some still more poetical image.

147. The same point is
writes

illustrated

by Sophron, who

See, dear,

what rain of

The boys upon

the

leaf

men

and spray
are showering.

Thick as flew Trojan darts, they say.

At Aias huge in battle towering ^

Here again there

game

is

charm

in the

comparison, which makes

of the Trojans as though they were boys.

148. There is a peculiarly Sapphic grace due to recantaSometimes Sappho will say a thing and then recant, as
though she had a fit of repentance. For example
tion.

High uprear

the raftered hall,

Builders, of the bridal dwelling

She checks

The bridegroom comes,

as Ares

excelling^

tall

man's stature

herself, as

it

far

were, feeling that she has used an

impossible hyperbole, since no one

149.
machus

can

would

The same

tall

is

as tall as Ares.

feature appears in the story of Tele-

Two hounds were fastened in front of the court.

you the very names of the hounds. But what use
be for me to tell you their names^?' The narrator^
*

tell
it

'

Scr. Inc.

'^

'*

Sophron, Fragni. 32, Kaibel C. G. F.

Scr. Inc.

Sappho, Fragm. 92, Bergk*.

Sappho, Fragm. 91, Bergk*.

AHMHTPIOY HEPI EPMHNEIAl

142

ra ovofxaTa ravra

'

kol

yap ovto^

jutera^aXXd/xei^o? fiera^v

7]<TTeiaaro kol aTroaiyrjcra^ tol ovofiara.

Kat

150.
6

aTiypv 8e aWoTpiov yiverai

aWa

yovv

7r\eL(x)v

icrrlv

rj

151-

10

'

Zeus

fcw/xwSeicr^at

'OfxrjpLKos,

Wdrjvcov.

dXX'

So/cet,

dno

kol

totjtov

-^dpi^;.

Sen

crTWfjivXop kol aXkr)yopiaL nve^,

AeXc^ot, TratStoj/ vficov

Se ra

'^(x)(j)povo^

ov Kepavpol

^aWec, kol ^ovvlov aKpov

crTi^o^

"Eiypvcri

Oicnrep to,

eTTt rail/ yepovTcoi/,

ktjcov (jyepet.^

evddZe

cop

dpTeau yap

rjSrj

yvvaLKcov

KTjyo) Trap 237'

rots raXt/cotcrSe rat dyKvpai'^ ocra re

dWrfyopei,

olov

iir

l^Ovoiv,

fJLLfJLLKcoTepa

152.

/cat

TOiavTOL icTTL /Cat alcT^pd.

TOL

^Ecrrt Se Tt9 /cat

TOV Kv/cXa)7ro9, ort

20 TTyoocreSd/ca

eTrt

crwX'^z/e?,

yXvKVKpeov KoyyyXioVy yrjpdv yvvaiKOiv Xiyvev^xaJ

ct)s 17

ra

/cat

Tovs ojLtdrpt^a? e^oppiitp p.ai, ttXoov BoKoi^ajv ttovtiov

v/x,jLte

Tcjp

ve(i>

ov/ceVi

/cat

OfjLrjpo^

yapi<;, o)?

(ftrjciv,

TOV kavTov

aicnrep

on

tov Ata,

ApL(TTO(j>dvr)'; (tk(x)7Tto)v ttov

Toifs TTOvrfpov^y

15

airo

Trapa

'17

ri^z^

irpooSoKiap -^dpus,

vaTaTOv eSo/xat

ou yap

Ovrti^.'

rotouro ^iviov ovTe 'OSucrcreus ovre 6 di/ayt6

Apio-Tocfidvrjf;

v(x)(TK(ji)v.

/cat

StaTTj^as/

(f)r)crLV,

'

iwl tov So)KpdTOv<;,

etra SLa/BiJTrjv Xaficov,

e/c

'

Krjpov

ttJ? iraXai-

CFTpaS IpidTlOV V(J)l\TO.*

^HSt; puivTOi

153*

TTOV P.

ivddde

irovrlyai P.
Ix^eOfxaa-i.

Suo

tottcov

evTavOa eyeveTO

rj

OV yap napd TrpocrhoKiav fiovov iTn^ve^dr], dXX'

25 -)(dpL<;.

12

e/c

P.

margine P.

(hv]

dfcpo;'

ex aKpuv P.

lo

Schneiderus, ^v^aSeoj' P.
14
17

19

raXlKois d^rai P.
fxifjLi.K(bTpa]

k^kXotos P.

16

Victorius,

20

crrofi^Xov P.

13

ap. Athen.

X^x^'ei^A'ct]

/jLifirjTiKibTepa

^^veiov P.

ii

deX^oi P.

TrbvTLov dpr^at] Kaibelius,

P,

7/9. /cai

25

iii.

86

E,

ixiKpbrepa in

iiriv^x^ri P.


DEMETRIUS ON STYLE

143

with this sudden turn, puts you off by means of a

and

jest,

disclose the names.

fails to

Charm may

150.

also spring

from a reference to the

Aristophanes somewhere, when

mocking at Zeus because he does not smite sinners with his
another writer.

of

verses

thunderbolt, says
Nay,

his

own

fane

he smites, and his thunderbolt

Sunium, Attica's headland'

'

lights

upon

'.

seems as though it were not Zeus that is

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
In the end

it

burlesqued, but

'

'

'

weighed,'

trow I'

Similar allegories refer to

women,

as the

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
Noman will I eat last^' A guest-gift
the Cyclops' words
was
little
expected by Odysseus as it is by the
this
kind
as
of
reader. So Aristophanes says of Socrates that he first melted
some wax, and
following

in

pair of compasses the sage then grabbed,

And from
153.
sources.
^

the wrestling-ground

dW
'^

coat he nabbed ^

Aristoph. Nub. 401,

dXXa rhv avrov ye

'

The charm in these instances is derived from two

Such pleasantries are not only added unexpectedly,

Horn. Odyss.
^

'

fire

iii.

veCjv

/SdWet Kal "Zovpiov aKpov ^Adrjviuv.

278,

2o6vtop Ipbv d0tff6fic^', aKpov 'AOtjv^up.

Fragm. Adesp., Bergk* iii. pp. 742, 743.

^ Sophron, Fragm.
Sophron, Fragm. 52, Kaibel C. G. F.
Lyric.

Horn. Odyss.

ix.

369.

24, Kaibel.

Aristoph. Ntib. 149, 179.

AHMHTPIOY nEPI EPMHNEIAI

144

ovS" rjKoXovOeL to 19 irpOTepoi^'

KokeZrai

ovZev yap

BovXtag.

KpKTToreXiqq,

e/c

Irdyeipa rjkOov Sta

10

^TayeCpcov

et?

Karakrj^a^

yap

ovo/xa

irapa

/cat

MeacrrjVLa^;.

rrj^

IToXXa/cis Se /cat /cwXa o/AOta eTroirjO'ev ^dpiVy

154'
6

&)S

prjTopevcov

l^axfypovi

olkoXovOov avro) Xeyei*

MevavSpo) 8e 6 irpoXoyos
5

Se roiavTiq avaKoXovOua

r)

irapa

(Zcnrep

yp'L(f)o<;,

iv

Sta

irepov kcoXov to

Kat

rot?

edv

yapiv.

rov

S*

/Jbeyav

Se

e/c

rov

Se

fxeyav.^

/cwXots et9 to avTO

out'

oLTroKoxjjrj^;

o'ft'ac^atpetTat /cat

fieyav,

Kariqyopiai

iyco et?

'

(jynjaiv,

^Lp.o)va

roi^

dix(j)OTpoL<;

rrjv
'

^KOiqvoivJ

f^acrCkia

roi^

'A^T^va?

iTTOLrjcrev

155-

/lei^

17

tov

^apt?.
iviore

aTro/ce/c^vz-t/xei^at

OfjLOLOvvTaL -yapicriv, axrirep irapd a^voi^oivn 6 *Hpa/cXetS7y9

6 irapd TO) Sev0L npocTLcov rcjv crvvSeuTrpcov eKacTTq), /cat

15

hoipeiaOai Seu^et o Tt e^of TauTa yayo

ireidoiv

TLva

i.p.(j>aiveL, /cat

156.

At

jLtei'

/cat

-yapiv

KaTTjyopiaL eicriv aTTOKeKpvfJifjLevaL.

yapne^ rocravTai

ouz^ /caTct T17J' ipfxrjveiav

Kal ol TOTTOL, iv Se Tot? TrpdyfJiacrL Xajx^dvovrai ^dpire^

CK

TrapoLfiiaf;.

/cat

oKkayoSi

eypaxfjev

yap ydpiev

(f>v(TL

10 0)9 6 ^axfypcov fiev,

ttov

'

'JimoXr)^, ^4*V'

(j)rjo'LV,

e/c

Topvvav e^ecrev

'

yap tov XeovTa

Kvpuvov eTTpicrev'
/cat yap

TrXrjOvcjvTai avTco at -^dpLT<;'

157-

tou

ovv')(Os

-^prJTaL,

wg

eTrt-

cr^eSdi^ Te irdcra^

e/c

Toij/

avTOv Ta? Trapot/xta? e/cXefat

icTTLv.

Kat

/catyoto)?

icTTiVy r)T0L 6

Se

fJiv6o<;

KeCfievos,

Xa/x-ySat'd/jtet'og

w?

im

AptcrTOTeXrjf;

ev^ayot?

tov deTOv

OvrjCTKei iTTLKdjJLTTTOJV TO pdfji(f)0^'

TTCtcr^et

Se aL'TO, OTt dvOpoiiroq oiv iroTe rjSiKrjcrev ^evov.

6 fiev

(fyrjcTLV,

30

TrapoifjLLa,

irarepa TTviyoiv!

^ '^^^

Svo"t 7ra/oot/xtat9 /cat Tpicrlv eTraXXTyXot?

25 SpafjidTcov

icm

Trpayfxd

ow
3

17
X?7s]

TO)

OTL

XifJLCp

KeifJievo)

aiJT6 P.

Trept

Twv ^y

Kaibelius,

ovofxa in

fjLvOo)

II

Ki'^prjTai /cat /coti^w.

(ruva^e/seirat P.

15

rots irpdyfxaffiv xo-piTOju titulus in P.

^tt^t^s

margine P.

22

P.
23,

24

iirpi.<Tev'\

6'

19

rt]

Schneidetus, 6 tu P.

X'^P^^'"

iiriirX-qdOovTai P.

^o 'Httio-

P-

Hemsterhusius, ^(nreipeu P.

en; Kijpiov

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

it is furnished by Boulias in Sophron's mime, who delivers
an utterly incoherent speech. Another instance is the pro-

of

logue of Menander's

154.

Woman

'

of Messenia.'

Again, a similarity

often produces a graceful

in the

as

effect,

members of a sentence
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

'

he produces this pleasant effect

{fieyav) that

member you

strike out the

word

great,' the

'

from either

If

charm thereupon

vanishes.

155.

can sometimes be made to resemble

Persiflage

who

In Xenophon, for example, Heracleides

urbanity.

is

with Seuthes approaches each of the guests at table and

urges him to give whatever he can to Seuthes^
a certain urbanity in

this,

and

Such are the graces which appertain

156.

and

Among

the

we must reckon those

which spring from the use of proverbs. By

there is a certain piquancy in a proverb.
instance, speaks of

elsewhere

'

He

'

who

Epioles

is

time.

to style,

such the sources from which they are derived.

graces which relate to subject-matter

There

same

persiflage at the

its

very nature

Sophron, for

And

throttled his sire^'

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
Almost all the proverbs in existence might
with elegances.
;

be collected out of his plays.

A fable

157.

The

fable

may

also,

when neatly

says of the eagle

'
:

of hunger,

It perishes

more and more bent. This fate

it was human it broke the laws of
use of a familiar fable which
Fragm. 669:

Aristot.

Sophron, Fragfn. 68, Kaibel.

Aristot. Hist.

R.

is

it

Anim. Book

ix. (vol.

I.

when

suffers

is

very piquant.

p.

its

beak grows

because once when

hospitality".'

common

cp. 29 supra.

<*

introduced,

be a long-established one, as when Aristotle

He

thus makes

property.

Xen. Anab.

Sophron, Fragvi. no, Kaibel.

vii.

3, isff.

619 ed. Berol.).

10

AHMHTPIOY HEPI EPMHNEIAZ

146

IIoXXov? Se Koi

158.

7rpocr7r\d(T(TOiJLv

7rpo(T(f)6pov<;

Kai oi/cetovs rot? TTpdyfiacni', cocnrep rt? irepX alXovpov

Xeyojv, OTL o-VfKJiOLveL rrj

5 icTTiv,

0)9

p<f>aiveL

TrXdcnv ecrrat

Tr)v

^dpiiv

tl,

alXovpov

HoXXdKis

159.

yiverai ^dpL<;, orav

10 a>9

o<j)iv

avrd

7)

y]

Tpvovof;

p.v66^

yap

pLOvov

^dpis, dXXd koi 6 pivOo^

dXXaacropivov

t^o^ov

e/c

a>9

^acrpa

yrjq,

Trj<;

Ipdvra

^37'

anep Kai

icrriv.

eiKacriaL S' elo-lv evydpire^;, av tov dXeK-

Kvp^aaiav opOrjv

elKdcrr)^, otl Tr)v

/SacriXei Se, otl TTop(^vpe6<; icTTiv,

15

hiaKevrj^Ti<i (^o^rjOff, olov tov

Tov Kpi^avov

Kat

160.

kol

evOev

ttolcov o-eXijvrj^; TratSa.

Kal

Se

K(xipcohiK(x)Tepd

rpvova MijSco

'

ereKev top aiXovpov' ov

(Tekrjvy)

17

Kar avrrfv

on

auXovpo^ kol

[/cat]

crekrjvrj

TrpocriTrXacrev,

crvfjL7ra)(yveTai,

dvaTTTjSwpev,

(ftepei-

otl fioyjcravTO^ dXeK-

tj

Kal ySacriXecus /BoijcravTO^,

ajcnrep

Kal ^o^ovpeOa.
161.

Se vTTep^oXcov ^dpLTe<^ pdXLCTTa at iv rat?

'E/c

KOipcohiaL^, TTacra Se VTrep/BoXrj dSvvaTO<;, &)? ^ApLaTO(l)dvr]s

Hepacov

CTTt Trj<; aTrXT^crrtas tcov

20

KpL^avLTa<; dvTl dpTcov.'

Mt^So/ct^s o ^acrtXevs

'

Tov

162.

avTOv etSov?

Se

ra

'

^a7T(f)LKd

yap

fioXcjv evprjvTaL.

cotttovv /3ov<;

oXov iv yvdOo).'

ra rotavra iaTLV,

/cat

(^aXa/cyadre/ao? evStas,' /cat

at rotavrat

[/cat

rt

^a^tre?

p.ev Tjj vXrj' yapLT(xiv

e/c

rw^'

pev yap

/cat

ev^apL npcoTa

vXt) vvpcjyaloL ktJttol, p(x)T<s,

airep ov yeXarat* yeXcoTOs Se 'I/009 /cat SepcTLTTjf;.

30 TOi/ oSi' Stotcrovo't^, ocroi/ 6 SepaLTr)*;
3

/cai

seclusi.

c punctis notato P.

in ras.

4
9

Trpoo'^TrXao-ej']

(/yo^v^ij]

Victorius,

Schneiderus,

tt/jos

fieX^arepa P.

atram evan.

in P.

^irXacraeu P.

"^^

verba xai
29

alfKovpov,

19 dirXeKTTias P.

24

coll. titulo 30.

24, 25 XP^'^^'^^P^ P-

toctov-

tov Eyowros.

(po^rj P.

{dprovs fort, scribebat corr. nescio quis).

ex margine nata esse ratus

vnep-

Stat^epovcrt]

^La(l>epov(TL Se to yeXotoi^

163.

'

ttoXv Tra/crtSo? dhvpeXecTTepa, -^pva-ov Xpv-

iraaaL

croTepa.

/cat

otl

Se tcov SpaKOiv eTepo^, otl

y8oi)i^ e(f)epv

vyLecTTepos KoXoKVVTiq^,^

25

iirl

(J^tjcflv,

TroXuTra/cr/Sos P.

ri diacpepovo-i. seel.

/3o0s

aSu-

Spengelius

supra Ipos scriptum est

epojs

DEMETRIUS ON STYLE
We

158.

can often invent fables of our

the matter in hand.

147

own

apposite to

writer once referred to the belief that

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,
cats thrive or pine according as the

'

as

when

man

groundlessly fears a strap mistaking

snake, or a pan mistaking

it

for

an opening

in the

Such mistakes are rather comic in themselves.

160. Comparisons, also, are full of charm if
stance) you compare a cock to a Persian because of

upstanding

crest, or to

the Persian king because of

for a

it

ground.
(for

in-

its stiff-

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 hyperboles, 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

More golden than

all

lute,

gold*.

All these ornaments, different as they are from one another,

have their source

163.
confused.

in hyperbole.

The humorous and

They differ, first of

the charming
all,

in

their

must not be

The

material.

charm are the Gardens of the Nymphs, Loves,

things not meant for laughter
while laughter is provoked
Irus
by
or Thersites.
They will differ, therefore, as much
materials of

as Thersites differs from the

God

of Love.

Scr. Inc.

Aristoph. Ach. 86.

3 Scr. Inc.

Sappho, Fragnwi. 122, 123 (Bergk^).

10

AHMHTPIOY HEPI EPMHNEIAS

148

^la^ipovcri Se

164.

ev^api

koct^ov iKcfyeperai

jxeTOL

yala rroXvaTe^avo^
5

yeXotoz/

'

/cat

ovop^aTOiv

(^cnrep ^et-*

to

'

3t'

yap

ovofiaTcov KaXojVy

^(Xw^T^t?

to

aT^Swi^-'

pikv

8e

kol KOLvoTepcov,

evTekcjv

icTTlv

yap

ocrov

/cat

ra? ^aptra?, oXov to ^Trot/ctXXerat

fjudXicrra Troiei

/cat

to ^ev

Xe^eu avrrj.

/cat rfj

avTLTr)<; /cat jjLOpcoTr)^ et/it, <^tXo-

yiyova!

fivOoTepof;

^ETretra a^avi'QE.Tai vtto tov Kocrixov ttJ? ^Pf^V'

at /xeVrot yapLT4<i
veia^, /cat dj^rt yeXotov Oavfia yiverai,

165.

yeXo ta oixoiov

/xera crcocjypocrvi'rjs, to Se iKcfypd^euv tol

10 etcrt

ecTTt /cat /caXXcoTTt^eti' iriOiqKOv.

A to

166.

/cat

Sa7r<^ct)

17

Trept

/caXXovg dSovcra

jutez^

Se

/caXXt7ri79 eo-rt /cat T^Seta, /cat Trept ipcoTcoi'

dX/cT;d^'09,

Trept

/cat

15 avTrj<;

*AXXw9 Se

/cat

eapo?

ivv(f>avTaL

elpydaaTO.

avT']7

TOV dypoiKOv

vvpi(j)LOv, /cat

Ovpojpov TOV iv rot? ydixoi^, evTekicTTaTa

/cat ei' Tre^ot?

167.
roi^

Se

tol

Troirjcrei,

ttj

/cat

Kakov ovofxa

aTrai/

/cat

ovofxacTL fJLoXkov

'^OpOV

TOZ/

iv 7roLr)TLKo2s, cocTTe avTrj<; fxaXkov icTTu

Tj

TavTa SuakeyeaOai

TOL TTOLTjp.aTa
20 TTyOO?

(TKCoTTTeL

TTyOO?

7J

TT^Z^

rj

aSetv, ovS* av dpfjuocraL

\vpav,

fJLT]

Tt?

etT^

^OyOO?

StaXe/cTt/cd9.

MdXto'Ta Se Stac^epovcrt

168.

yap

ov

TTOLOJV,
25

Twi/

TrpoaipeiTai 6 eu^ayotcrro?

ofjLOLa

dXX* 6

/cat e/c ttJs 7rpoaLpecreco<;'

/;tei'

/cat

yeXcoro-

ev(j)paLViv, 6 Se yekaaOrjvai.

inaKoXovOovvTajv

Se*

rot?

/^tez^

v0a

/xev

ydp

/cat (Xtto

yeXo)?,

rots Se

eTTati^os.

Kat

169.
/cat

^ovcrai/, eVet
6

fort. 6(ry.

P.

14

yap

yeXo)TO<; re^z/at

Tpaycohia Se

/cat ez/ KcofjbcpSiaLf;.

TrapaXafJi^dveL iv 7roXXot9, 6 Se 'yeXw9 ixOpo^

fJLv

TpaycoSCas' ovSe

d^/jos

TOTTOU.

^apLToyv, iv craTvpco

)(dpLTa<s
30

e/c

ydp

av

iTTivorjcreiev

tls TpaycoSuav Trat-

adTVpov ypdxpet dvTl TpaycoSias.

10

7^0*0 P.

a\KiL>ouos P.

XviTTipa oCrwj \^70>'rcs

wVre

11 iridTjKov

16

in ras. P.

13 ^a/oos] Galeus,

iroiovaiv ol ffdrvpoi, to.

dypvKov P.

7eXT07roter' in

margine P.

28

30, 31

iri^ovaav P.


DEMETRIUS ON STYLE
They

164.

idea of charm

further, in

differ,

is

actual

149

expression.

The

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 rainbowhued,' and 'the paley-olive nightingale\'
Humour, on the
other hand, employs common and ordinary words, as in the
the more solitary and self-centered I am, the
sentence
more myth-enamoured I become I'
165. Moreover, a pleasantry loses its character and becomes incongruous when adorned by style. Graces of style
must be employed with discretion. To utter a mere jest
:

'

'

ornately

does so
too

like beautifying

is

When Sappho

166.

themselves beautiful and sweet.

in lines that are

when she

167.

is

are of her
It is in

own

invention.

a different

key that she mocks the clumsy

bridegroom, and the porter at the wedding.

then most ordinary, and couched
suited for use

in

is

168.
most of

169.
coincide.

They

are

unless indeed

such a thing as a conversational chorus.

The two kinds

in

all

of style under consideration differ

their purpose, the

other to be laughed
in

is

consequence, better

for a chorus or a lyre,

buffoon being different.

mirth

are, in

conversation than for singing.

by no means adapted
there

Her language

terms of prose rather than

in

These poems of hers

of poetry.

So

and springtime, and the halcyon.

inwoven with the texture of her poetry.

sings of love,

Every lovely word

And some

an ape.

celebrates the charms of beauty, she

at.

the one case,

aims of the wit and the

The one desires to give pleasure, the

The results, likewise, are different,

commendation

in the other.

Again, the provinces of the two kinds do not

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.

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.

Cp,

1^^ supra.

AHMHTPIOY HEPI EPMHNEIAI

ISO

XpijcrovTaL Se Trore kol ol

170.

T Toifs fcaipous, olov iv kopToiq KOL iv o-v/xTTOcrtots,

77/909

kol

Trj\avyrj<; 9v\aKO<;,
5 iyKcofjLLOj/

t)

av avayvco ri?

KpdTr]TO<;

ttoit^ti/ct^,

^yoeia? XafJL/3dveL tol^iv kol

10 Toi^

Traiyvias

rj

7rpo^v0VTa

avTiOecrL^

rj

iirKT^cxiv rts

^v'^p6rr)Ta rjOovf;

7)

/cat

(j)povTL<;

r]

TO

'

o)?

17

paKpov

icmv'

TOtouTOt?

pekava,

/cat

rov pcjpov

irpo^arov,^

pev

rol^

yctyo

Tiva

ificj^aiveL

^prjcrovTai re rat? rotavrat?

AlyvirTia K\r]paTL<;,

6a\d<T(TLov

dakdcrcrrj.

roiv

oXvov

/cat roz^

di^aywytaz^.

/cat

dvTi6ecri^ eurpaTreXo?.

15 et/cao"tat9,

/cat

Ik

iJi(l)acrLS

a>9

Ilept Se (TKCofJipdrcov pev, olov et/cacrta Tt9

172.

yap

tls

IlT^Xea dz^rt Oti^e'wg.'

ovop^ara

irepl tol

o)?

yap roiavTa yekota

d/coXao'ta?,

rj

/cat (j>aK7Js 238'

yvcofjirjf;.

^Ecrri Se /cat rov rjOov<;

171.

ye\oLO)v KOL

roi? dcrctJTOis* roiovro? Se

ei'

TO Trkiov Kai 6 Kvi^i/co? Tponos' ra

w? 6

e7mr\ri^e(TLv Se Trpo? tov^ rpv(f)po)Tpov'^,

Kol iv

yeXotot?

(l)p6viiJL0L

yjprjo-ovTai'

rov

iv Tjj

Se

et

prj,

(fyev^opeOa rd cTKcoppara axnrep XotSoyota?.

Ilotet Se ev)(apLv ttjv ipprjveiav /cat tol Xeyd-

17320

peva /caXd ovopara,

oipicraTO S' at'Ta SeocfypaorTO^; ovT(o<Sy

/cdXXo9 6v6paT6<; icTTL to tt/oos

^ TO

T^Sv,

Xeyopeva /caXd

25 /cat

TL e^et,

Kat

175"

(i}pTais

071/0!;, dj/

versum

i'Cj'

irepl

ci}0wi'/a']
I

dXftJS

scripsit P.

P.

/cat

P.

vouv ex dvvowv P.
ex

oxpLv

aKorjv

rjBea

ocra
77/909

7rp09

rj

tt^i^ oi/zti'

yap

rd Tocavra,

yap opdrai
Se

Xdp/SSa

re

17

twz' vv ypappudTcov.

TO vv

St'

rpvipepoT^povs P.

10

tcjv

27

poddxp^^ov P.

^x<^^^5: es supra

Galeus, eixprifdav P.

25

eu\a<cos,

^jJ

P.

ol

supra ev add. P.

(nr-fjXaia, v

supra versum

r^v rijv dKor}v P.

versum add.

KaXXt-

crvyKpovcri^

KdXkovs dvSfmros Kai iv riaiv titulus in P.

23, 24

poSo-

ravra

i<l)i\KovTai

evcjicjviav

iiriax^v t^

'

rjSecjSy

aKorjv

ti^z^

rj

supra versum add. P.

21

addito, P.

rr^v

eo"Tt.

'Avvocjv.'

crTpaTo<;,
Tf-^coSi's

/xe^*

dv9o(f)6pov ^pda?.'

tt^z^

SiavoCa evTipov.

IIpos

174.
y^poovj

T77

vvv P.

22

^ supra
26

28

av-

vv

DEMETRIUS ON STYLE
Even

170.

sensible persons will indulge in jests on such

when they

occasions as feasts and carousals, or

a

word of warning

ence to

would be well

it

Lentil

in a

'

party of free-livers.

the most part, of this character.

There

171.

jokes

his

refer-

be found

then

to read the

'

Praise of the

The Cynic humour

Such

jests, in fact,

is,

for

play the

Oeneus

instance,

for

or

their

the flow of wine

on the ground and muttered words

spilt

(0I1/09)

man's character

of a

indication

playfulness,

their

which had been

'

some

is

in

Somebody once dammed

extravagance.

about

maxims and admonitions.

part of

in

may

'

are addressing

living.

of the poetry of Crates

said

you were

if

good

inclined to

The same may be

salutary.

and

men

to

far-gleaming meal-bag

the

'

151

turned into Peleus

The play

(ttt^Xo?).'

on the proper names, and the laboured thought, betray a

want of

taste

172.

and breeding.
nicknames a

In

comparison

sort of

there being wit in a play on words.

comparisons as

man, or
I

'

Egyptian clematis

Writers
'

of a

and swarthy

tall

They may,
if we
nicknames as we

harmless jokes such as these, but

in

cannot stop there, we had better avoid

scurrility.

The

173.

so-called 'beautiful words' also

grace of diction.

word

is

that which appeals to the ear or

the eye, or has noble associations of

Among

174.

may be mentioned

double

and

'

n,'

175.

own^

roseate-glowing
is

'

and

of blossom-laden

'

seen with pleasure

is

also beautiful

Pleasing in sound are such names as

uttered.

stratus

its

expressions which call up pleasing images

Everything that

hue.'

conduce to

According to the definition given by Theo-

phrastus, beauty in a

when

implied,

use such

sea-wether' of a fool on the water.

say, indulge

would

is

may

'

Annoon,'

in

which the double

1,'

'

Calli-

and the

have a sort of resonance.

In general,

it is

out of regard for euphony that the

Theophrastus Tepi X^^ewj.

AHMHTPIOY HEPI EPMHNEIAl

152
'Arrtfcot

kol

Xeyovres

'

AyjfxocrOevrjv

'

^cjKpdTrjv.^

SiapoCa 8e evTifxa ra Toiavrd icmv, oTov to

Tov

'

TTokaLol

yap dp^aioi

ivTLjxoTepov 01

'

rfj

dp^oloi dvTi

'

dvSp<; ivn-

jJLOTepOL.

Hapd

176.

Se

Xeyerai rt ovop.a

Toi<; p.ovaiKOi'^

Kai erepov to Tpa^v, Kau aXXo

evTrayi<;, /cat

Xeiov fiev ovv eaTiv ovofia to 8ta

Xeioi^,

aXX' oyKrjpov.

cjxovrjdvTCJj/

iravTOiV

rj

rj

8ia TT\ei6vo)v, oiov Ata?, Tpa)(y 8e olov jBe^pcoKev kol

avTo 8e TOVTO to rpa^u ovofia Kara

p^ip^iqcriv

ievijvKTaL

evirayes 8e inafxcfyoTepL^ov koL piep.iyp.evov

10 eavroi).

lacD'i

rots ypdppacTLV.

To 8e oyKTjpov

lyy.

ev

TrXarei, prfKei, irXd-

Tpicri,

yap Tpa^vTrjTa

crpaTL, olov /BpovTa dvTi tov ^povTij' kol

eK
15

irpOTepaq crvXka^rjs

ttJs

prJKOs pev 8ta

crpov

ti^z^

yap

Scopi^ovTes,

roi^ Acopi-

irdvTa ol Awptet?.

dXXa

hioirep

TTLKpcjs y^TTiKit^ov
/cat

r)

817-

rat? rotaurat? evTpa7reXiai<; Trpewov.

/cat

Taura

178.

yap

SevTepas

tt}?

yXcoacra crvveaTpappevov tl e^et

^Attlkt)

poTLKov
20

eV

/cat

paKpdv, TrXaTVTTjTa 8e 8ta

TrXarea XaXovo't

ovhe iKO)p(pSovv

^et,

^Ltei^

Srj

8e elprjpevcov ovopdTcov

TrapaTe^oXoyeicrOoj aXXo)?.

tol

Xeta

pova

rail/

XrjirTeov o)s yXa(f>vp6v

TL e^ovTa.

TiveTaL Se

179-

pev ovv ov paSiov

25

0^86 yap

T(tiv

/cat e/c (rvvOecrecos

irepl

yXa^vpov eaTi

to

tov Tpoirov tov Toiovhe elwelv

TTplv eiprjTai tlvl irepl yXa<^vpa<; crvvdecrecx)^.

/cara to SvvaTov 8e opco^ ireipaTeov Xeyeiv.

Ta^a yap

180.

dpp6i,o)pev

ov prjv

e/c

(ocTTe

817

eorat rt?

rjSovr)

peTpcov ttjv crvvOecnv

7)

f^aiveaOai avTa peTpa ev

kol ^apt?, iav

oXcov
tco

rj

rjpCcrecov'

(rvveuppS tcjv

dXX*, el hiayatpit^oL rt? Ka0* ev eKacTTOv /cat 8ta-

30 X6yo)v,
I

KpLVOL, TOTe
4, 5

Srj v<^' yjpcjv

avTOiv (jycopaadai

ivTifidrepoi post Avdpes inter versus add. P.

rpaxO, Kai

ri

rb eu7ra7^s, Kai ri rb oyK-rjpbv titulus in P.

13

^povTO. P.

31

<popa<r6ai P.

19 eirpaTeXeiais P.

25

rii/i

peTpa ovTa.
ri \eiov ovo/xa, Kai tL

10
P.

iiraix(f)OTepl^o)P

P.

28 dpfio^o/xeu P.

238'

DEMETRIUS ON STYLE

and speak of At) fjuoaOevrjv and

Among
AyfioaOevr) and ^coKpdrr]).

Attic writers append an

of

(instead

%a)KpdT7)v

153

'n,'

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
and the
e.g. Ata9.
fie^pcoKe is an instance of a rough word
very roughness of its formation is designed to imitate the
A well-proportioned word is one which
action it describes.
and shows a happy blending of
characters
of
both
partakes
*

'

'

'

various

letters.

Weight

177.

consists in three things: breadth, length,

^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 pleaformation.

santries of the stage.

178.
all

But

this is a

mere digression

in

our

treatise.

Of

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 composition, I must endeavour to do so to the best of my
ability.

180.

Well, a certain charm and grace will perhaps be

we frame

the composition by measures

in whole
measures or half-measures. The actual measures must not,
however, force themselves on the attention, if the words
be read connectedly, but if the sentence is divided and

attained

if

analyzed part by part, then and only then ought the presence
of measures to be detected by us.

AHMHTPIOY nEPI EPMHNEIAI

154

Kai^ ixeTpoeihrj 8e y, ry)v avTrjv woLijcrei yapiv^

181.

\avOav6vTO)<; Se tol TrapaSveTai

vrj^

yapi^, Kol TrXeicTTov

e/c

rj

roLavTiqs 1780-

Trj<;

to tolovtov elSd? ecrri irapau

fjuev

rot? UepLTraTrjTLKOLs kol Trapa UXoltcovl kol irapa Uevo5 (fycovTL

Kal

rd^a

*H/3oSoT(y,

TToWa^ov' SovKvSiSr)<;

al

elSo9.

av roiaSe,
'iraXia?

t'^9

'

yap

tcov

kcoXcov
vtto

)(ov(Tlv,

crvvatjyeias KkeTTTeTai

fjuev

Se

to fxeTpiKov,

ovK oXiyr) eTrecm.

TjBovrj S*

HXaTCJv

183.

(j)vp6<; icTTLV

Kat

wS-yJ?

ixrJKo<;

fxe-

ra

KOjiXa,

/cat

eot/ce

rw

TTavTaTracriv ovt afxiTpoi^;, olov iv

Xoyco iirav

184.

8eiv6v, to oe

dXX* olov oXicrOco tlvi

iiJLfjLeTpoL<;

fjLOvaLKrjf;

Kal ovt iSpav ey^ovTi ovt

tto)?,

yap Icr^ov Kal

TO fxkv

avTM rw pvdp.M yXa-

iv ttoXXoI'?

fjievTOL

eKTeTafievo)

yaXoTT peire^;.

20 T'^9

Trj<;

ArjiioaOiveL

T19

(fyrjcn,

ovTa.'

a7ro\rj^eL<; /xer/aoeiSe? rt

Kal

Toi) elpfjiov

'EXea,'

e^

'

rjXiKiav

ttjv

rjSrj

10 aixcj^oTepcov

ovT

yiivToi Trec^euye to

6 ALKaLap)(o<;'

ft>9

Trpecr^vTrjv

15 jjLrJKo<;'

Trapa

HapaSeiyfiaTa 8e avTov Xa/3oi

182.
oTov

kol

he

vvv

'

<^fj

irdXiv,

'

Treyol

iXeyofxev.'

Srj

fjuvvpui^cov re

Kal yeyav(op.ivo<; vtto

Kai

StareXet tov ^iov oXov.^

to

ttolXlv,

fxev

TTpoiTov, el TL ^v/AoetSe? el^ev, c^cnrep criSrjpov ifJidXa^ev.'

ovT(o<s fJLev

yap

(TTpexfja^ etTToi?,

oXov TOV ^Lov,'

25

TOV Xoyov
St)

ttjv ^(dpLv

'

rf

iv

dva-

el

cracfycos'

ifidXa^ev Mcnrep criSrjpov/

iK-^el^

ov yap

ovcrav

pvOfJL^

yXa(f)Vpov Kal (oSlkov

otareXei

avT^ tS

hiavoia, ovS* iv rat?

iv ttj

Xe^ecTLV.

Kai wepl

185.

-^apuevTco^; -qpfjiocrev,

TTcrai Acara ttoXlv'

30 XetTrerat,'
2

el

irapadoieTai P.

yap
Aaia

versum additis) P.

oiIt' ififiirpois]

opydvcov

Se
^

Xvpa

dva(TTpe\jia<; enroL^
TrotT^cret?

P.

9
14

F. Hermannus,

(j>rj(TLV,

1 1

ofrre fiirpois

P.

18

^Trav

24

P.

Xei-

/caret ttoXlv

tovto

ojjlolov.

oVri P.

irdXiv

Sij <joi

Se

(TV<pLas /fX^Trrat

iKTerafi^vq}] Victorius,

iX^yopt^v'] Victorius e Plat., Xiyo/xev

iwd/MfKa P.
i^iX^is P.

fjiovcriKcov

fxeOapfJiocrafjievco

(fa et ex supra

17

Tcov

iv ofs St^

iKTera^hos P.

0^] Spengelius,
^/cxers] Dahlius,

T(p
I

ins.

Galeus.

28

ijpfji.u(XP

P.

30

ixedapixoxxaiihta P.

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

the

we

Peripatetics

as

and

it is

Herodotus

The

aware.

are

well

trait

with

as

found

in

many

An

Xenophon and

Plato,

passages of Demosthenes.

Thucydides, on the other hand, shuns

182.

a favourite one with

is

it.

may be quoted

of such writing

illustration

ffom Dicaearchus, who says

At

'

man now, and stricken

member has something of a

old

Elia in Italy sojourning, an

The

years \'

in

close of each

metrical cadence, but the fact

disguised through the linking of the words in one series

is

and

great charm results.

Now

183.

Plato in

directly to the rhythm,

many

which

is,

passages owes his elegance

drawn

so to speak, long

out,

and without basement or amplitude, of which the former

the plain and forcible, the latter the

suits

elevated

style.

His members seem to glide along and to be neither

nor unmetrical, as

gether metrical
music, beginning

And

184.

as

'

again

we were saying
'
:

in

wholly^'

moment

ago*^.'

warbling and revelling

And

once more

life

symptom

of passion, like steel would he temper

'

in

song he

should he see any

passes his

alto-

about

passage

the

in

Thus

it^'

framed, the sentences are manifestly elegant and harmonious.

But
steel

or

'

and say he would temper

invert the order

he passes

'

you

all his life,'

charm, which resides simply

its
it

you

if

will

the rhythm.

in

it

like

rob the language of

Certainly

not to be found in the thought, nor in the choice of

is

words.

185.

Plato employs a delightful cadence, again,

saying with regard to musical instruments

is left,

town

then, in the town^'

is left

for you,'

will

He

be doing what

adds

'

yea,

Dicaearchus, Fragm. 33, MUller F. H. G. il. p. 245.

Plat. Rep.ni. 41 1 P.
Plat. Rep. iii. 411 A.

when

the lyre for you

Invert the order and say

and you

to changing the melody.

*
:

is

and

in the

tantamount

in the fields

Plat.

Rep. Hi 399 D.

AHMHTPIOY HEPI EPMHNEIAl

156
iiTK^epei,

TL^

Kol av

'

yap

TYj

etr)-'

aypovs

/car*

TroL^iaiv crvpiy^ av

to'l^;

iKracrei kol tco

irdvv yapievro)^

fjLTjKei

TpoTTOv Tiva Tj^ov (Tvpiyyo^.

IJifJLifjL7)TaL

ecrrat 8e hrjkoVy

el Tt9 fxeracrvvdei^ XeyoL kol tovto.

Uepl

l86.

KaOdirep 8e

crvvOecriv y\a(^vpov

/caret

iv SvctkoXols.

cu?

7Tpl Tov '^(^apaKTrjpos

yiver ai.

rov

fxev hr)

rocravra,

(^aivofxevov

Tov yXa(l)vpov, ev

tco

av kol ovtos ev

S'

ottcos

hirjixapTy)-

tl<;

Se avTOv tco kolvco ovopaTi KaKo^rjXov.

ovop^dt^co

yivoLTo

kol

ocroL<;

kol

ixeyaXoTrpeneL Trape/cetro 6 xfjv^pof;

-^apaKTujp, ovTcos tco y\a<l>vpco irapaKeiTai

lo fJLevo^.

iiri-

Se

etprjTai

Tpicriv, cocrirep

/cat

ol XolttoI

irdvTes.

187.

LTTTrevcovJ /cat
15

crov

188.

peTdKeiTai

'

rt?

cj>7)

ovtcos'

'

^AXe^avSpe,

Se ovopacTiv yiyvoiT av ovtco^, oTov

Tf

T ydp peTac^opd

to avvOeTOv to

dirpeTTco^, /cat

TTOiTjpaTL OeLT)

eTwev,

KeWau/)o? kavTov

piqTpoq to ovopa.'

p68ov T^hv^poov'

TTOv

ev

Trj<;

'Ei/

'

inl tov /BovXevopivov ^AXe^dvSpov hpopov

dycovicracrO ai ^OXvpiridcriv

Spdpe

10

piv, w? 6 elrrcov

'El' hiavoicL

av

rj
'

'

iyeXa

'

iyeXa

rjSv^oov

rts aKpi^co^; crco^povcov.

rj

ndw

'

ovS'

co^

rt?

nepl pev

OTL XeiTTal^ virecrvpit^e ttltv^ avpats.'

Srj

TTJV Xe^LV OVT0)<;.

XvvOecTL^; 8e dvaTraiCTTLKr)

189.

/cat

paXicTTa eoiKvla

Tols KeKXacrpevoL<; /cat dcrepvoi^ peTpoLS, ola pdXicTTa ra

25

SwraSeta 8ta to paXaKcoTepov,

'

cr/cT^Xa?

KavpaTi KdXvxjJov/

/cat

olvtI

areicov

YlrjXiaha

KaKO^^Xiov

7^1^01x0] edd.,
6

XeirTois]

Radermacherus,

/jueXlrfv

Kar

lo

6ti koI rb

ar)

14
5^

Kara Be^iov

P.

in

titulus

yiverat P.

supra versum add. P.

13
21

25

/jL6Xir)v

w/jlov

tov

irepl

5
II

TlTjXcdBa Be^ibv

aeicov

Galeus,

KaKb^rfKov iv rpialv in

dXe^dvbpoi} P.

7c rats P.

Sfa^rdSeta] Victorius, ffibfiaTa P.

ovofjid^u}]

w/jlov'

Tnjrois P.

(TKeiXas P.

20

ws
23

dpofid^ei

P.

margine P.

res] edd.,

oans P.

dvatraiaTiKri

P.

'^19^

'

DEMETRIUS ON STYLE

157

long unbroken clause he has,

in a

who changes

will

be clear to anyone

the arrangement of this sentence also.

With regard

186.

to

elegance as depending on the

arrangement of words these observations must

subject being difficult.

We

We

originates.

it

shown where and

have seen that the

In the same

nearly allied to the elevated.

defective style perilously near to the elegant

name

give the current

falls

of

'

the

suffice,

have also treated of the essential

of the elegant style, and have

features

this

manner, quite charmingly-

This

imitated the sound of the pipe.

how

By

shepherds some manner of pipe shall be\'

for the

style

frigid

way
;

there

and

is

is

to this I

This, like all the rest,

affected.'

under three heads.

The

may reside

when
a writer speaks of 'a Centaur riding himself V or as when
somebody exclaimed on hearing that Alexander meant to
187.

affectation

enter for the races at Olympia,

in the thought, as

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 dulcetcoloured
be employed by any man of correct judgment.
*

'

'

'

'

This

is

true also of the words

the gentle gales^.'

The

189.

'

the pine was piping low to

Thus much with respect to expression.

structure of clauses

is

affected,

when

it

is

anapaestic and resembles most nearly such broken and undignified

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

in place of

above

Swinging the Pelian ash-beam over his rightward shoulder^.

Plat. Rep.

Sotad. Fragm.

iii.

399 D.

Scr. Inc.

Horn.

//. xxii.

133.

AHMHTPIOY nEPI EPMHNEIAZ

158

yap

OTTola

ol fivOevofxevoL

aSe

eoiKev

/xera/Ae/io/^c^cojuteVft)

cm^og,

ef appevcov fxera^dWeiv

(ocnrep
rocr-

els 6rj\La<;.

ixev /cat irepl KaKot,7]\ias.

IV.
190.
5

'EttI

Se Tov l<T)(yov yapaKTripo<^

tw yapaKTTjpi

TTpdyfJiaTa Lacos tlvol fJUKpd kol

olov TO irapd Avcria,

Trjv Se

dvo) Tols KaTco.'

TCL

KoX

crvvrjdi)'

10

Kal

StTrXa

ovofiaTa

p^eyakoirpeir iav

TO Se dcrvvheTOP

irav dSr)Xo<; yap

rj

Kpiaiv

rj

S* i(TTLV

Secr/xot?.

194.

r)

TreTrour^pLeva,
cracj^rj

SLaXeXvfjLevov oXov dcrac^e?

/cat

yap TavTa

/cat

cTKOTeiva Trotet

Xvcrt?.

/cat vttokpltlktj /caXetrat*

S' avTT)

ypa(f)LKr} Se Xe^ts

Xvcrt?.
7)

rj

StaXeXv/ieV?;

/cti^et

yap

vtto-

17

evavdyvoiCTTOS.

avTT)

crvpT) pT7) p.ev7) /Cat otoj' ri(T(f)aXL(Tp.evr) rot? crvz^-

Sta rouro Se

pevov iv T0t9
25

jjirjv

/xaXicrra 8e

"EvaycovLos pkv ovv tcrw? p^aXXov

193.
Xefts,

/;t7y8e

iroiei,

tov yap

eKdcTTOv kcoXov dp)(r) Sta ttjp Xvaiv,

rj

*Hpa/cXetTov

rot

TO TrXeicTTov

20

Tidevai'

lipoiTa pikv evTols Kvpioi<;, eneuTa iv toIs crvvSe-

192.
15 Se/xei^ot?.

wairep

rrdvTcov,

to Se crac^e? iv TrXeiocriv.

Xe^LV eTvat.

-^prj TTjv

Trpoacjiopa,

SlttXovv, icra e^ov

fxeTi>r)vyfJievov ju-eyaXoTrpeTre?.

/xT^Se

dXka

OCT a

av kol

\i^iv eivai irdcrav \py) Kvpiav

ivavTiov ^apaKTTJpos Kal TavTa,

p.rjS'

jjlol

yuKporepov yap to crvvrjOicrTepov

TO 8e dcrvvrjOes Kal

igi.

olklSlov ecrn

'

)(^OLfjLV

/cat

MeVa^Spoi/ vTroKpivovTai XeXv-

^iXrjpova Se dvayLvotiorKovaiv.

TrXetcrrot?,

"^Ort Se vTTOKpLTLKOv

T)

XvcTts,

TTapdheiypa iy-

Keicrdo) rdSe,
iSe^dfjbrjv,

dphcav P.

^XOiMC''] Victorius, iKe2

fih P.

mutato
13

et punctis supra

ip Sffois rb (Ta<ph in

twv

6TLKtov, iKTpecfxo,

Trepl

iaxvov titulus in P,

positis P.

margine

KpiTCKbv] edd., viroKpiTiKuJv P.

P.

?x'"' P-

25

(jiiXe.

eadem verba
8

daOvrjdes

ttSj'
:

<r

ex

in

margine P.

irdvT(av,

accentu

posterius in rasura P.

irepl viroKpLTLKdv titulus in P.

ifwo-

DEMETRIUS ON STYLE
The

line

fables

tell

159

seems transmuted as it were, like those who (so the

us) are changed from males to females.
So much

for the subject of affectation.

CHAPTER
190.

IV.

In the case of the plain style,

point to subject-matter which

the style

is

the passage in Lysias,

itself, e.g.

we can no doubt

homely and appropriate

*

to

have a cottage

with two storeys, the one above corresponding exactly to that

The

below^'

An

liar.

is

homelier the more familiar

the unusual and metaphorical

Compound words

191.

and fami-

diction throughout should be current

expression

while

it is,

elevated.

is

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

Above all, the style should be lucid. Now lucidity

number of things.
192. First of all it involves the employment of current

elevation.

involves a

words, and next of words bound together.

wholly disjointed
clearness.

It is

member owing

and unconnected

Writing which

entirely

is

is

lacking in

impossible to discern the beginning of each

to the looseness of the

structure.

This

is

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
illustrated

debate.

It likewise

bears the

name

On

broken structure stimulates acting.

best
this

'

is

literary

'

style

is

that which

the style which

is

of 'histrionic,' since a

is

the other hand, the

pleasant to read

compacted and

(as

it

and

were) con-

by the conjunctions. This is the reason why, while

Menander (whose style is for the most part broken) is
solidated

popular with the actor, Philemon

To show

194.

the following line as an instance

Thee

is

the reader's favourite.

that the broken style suits the stage, take

;

I received, I bare, I nurse,

Lys. Eratosth. ad

Menander, Fragm. 230

dear one*.

init.
:

Meineke

iv. pp. 284, 285.

AHMHTPIOY nEPI EPMHNEIAI

i6o

yap

ovTcos

Sta

VTTOKpivecrdai
*

Xvaiv

tt^v

iSe^dfxrjv kol tlktov

top

/cat

Oikovra

fjnr)

avvSujcra^

Se

el

koL iKrp<j)(o/

oiTraOes dvv-

TTOKpLTOV.
^EcTTi Se KOL

195.

KOL 6 Trapd

dWa

EuptmSet

Tft>

OecopTJfiaTa viroKpLTLKd, olov

rdfa

'^Icov

yap

Kai

Tcov
10 6771

To^a

TOL

irepl v7roKpL(Teo)<;

ig6.

Xt^i/zis

tj/jlIp tol

^evyiTO) Se
Se -xpTJcrOco

i7n(l>epoixivoi<;

ypa(f)r)

Kal

tols d//,^t^oXta5,

ijrapaXijxjjeL KaXovpiipTj.

oXop

Xdyotg,

vrjaop elkep, Kai ^vl^aPTiov

direScoKep,

TavTa

(jlep

iTrepe^Oel^;

O'vphea^JLO^i

Kai direKaTecrTTjcrep

ocra

iirl

err 0X16 pKiqcep,

iiravd-

fxev

ydp

TTOJS

Kal

enpa^e

Kik^ittoXip

cr^eSoz^

TTapaXeixfjco.'

dpeixprjcrep

rjiJia<;

Trj<;

yap

6 p.kv

TrpoOeoreo)^,

dp^v.

ttjp

^a^iqpeia^ 8e ipeKEP

197.
7]Slop

dXX* ov

TTeTTOLr)fjLPr).

Kal ws ttjp ^paKrjp KaTeaTpexjjaTo, Kal Xeppo-

<I>LXt7r7ro9,

25

Trdaa

Xolttt)

rj

TOV

Se icTTL crvvheo-yiov e7rt</)opd tov avTov ip toIs 8id

jjLaKpov

ovK

viroKpiTrj

vvp 6 \6yo<;.

tj cracjirjf;

ttj

dyaXfxd-

dpdfiXexjJLS

Kal

kvkvo),

TOP viroKpLTTjP

hiap,6p(^(j)(Ti^ Trpos

rw

d4pa

TTpo? TOP

7)

hiaXeyopbivov Ta

TrpocrcoTTOv

15 or)(T7/xaTi

TroXXa? irapi^ei

KLvrjo-eL<;

SpofJLO^ Kal

kol t&>

dpTrdt^cov

KTJKVcp dTTeik(t)v Tco opvL0L, diroTraTovvTi KaTOL Tcop

20

177019,

aTrdOeiav

7ro\\.rjP

rrdw 8e to

(TvvhiapiOL^ orvvefjifiakel^.

Tol<;
5

avayKoicreL

Xekvfxivov

Kal SiXoyrjTeop 7roXXd/C69*

TO avPTOficoTepop

rj

cra(f>crTpop'

01 7rapaTp)(0PT<; irapopcopTai ipLOTe,

ovtcjs Kal

ws yap
rj

Xe^ts

TrapaKoveT ai 8td to Td^o<^.

^evyeip 8e

198.
do-a(j)e<;,

ojcnrep

ovTos P.

Finckhius.

17

V.

23

SiXoyiT^ov P.

28

d(ra0ws P.

i<x

supra

i;

dp-rrd^uv F.

ri

15

scripto P.

24

/5to>'

rp^^u) TroXkijv

avpe/JL^aXeh] nos, (XVfi^aXels P: ifi^aXeis

vepl iTava\'q\f/eoi}s titulus in P.

iirKpepofx^vov,

ydp tovto

crvPTOfxaiTepop 8e 7ra-

Kai iK 5^ rb airadks in textu P,

3,

margine P.
liov

TrXayioT-qTa^* Kal

^lXlcttov Xe^t?.

rj

ffVfi^aXeis irdvv in

14

/cat Td<;

18
P.

Xoittt?

ianv

supra versum add. P.

iiravd\r)\l/i.s

in

margine P.

x^P^^^W^^ P*

20

tra^^o-repoj'] edd.,

ws aafpiarepov P.

irepCKd\p(a P.

23J

DEMETRIUS ON STYLE
Thus

disjointed, the

be dramatic even

words

conjunctions and say

unemotional

195.
Take,
his

is

for instance, the case of

by

And what

line quite lifeless.

actor's art deserve attention.

Ion in Euripides,

threatens the swan

which

Many
by

are offered to the actor

arrows,

to

you employ

if

essentially undramatic.

droppings upon the statues^

ment

But

received and bare and nurse,' you

Other aspects of the

bow and

man

themselves force a

despite.

same time make the

will at the
is

'

will of

own

in his

i6i

who

letting

is

seizes

fall

move-

opportunities of

Ion's rush for his

its

bow and

upturned to the sky as he addresses the

his face

swan, and by the rest of the detail contrived to aid the

actor.

the subject of stage-craft

Still,

not at present

is

before us.
1

96. Clear writing should

use of the figure termed

repetition of the

same

outburst

'

e.g.

'

epanalepsis.'

'

and make

Epanalepsis

'

is

the

particle in the course of a long-sustained

achievements indeed

Philip's

all

also shun ambiguities

how

he

subjugated Thrace, and seized the Chersonese, and besieged

Byzantium,

and

things, indeed,

neglected

restore

to

pass over^.'

shall

the repetition of the particle

'

It

indeed

'

Amphipolis,

may

these

be said that

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.

somehow more charm

For as men who race past us

There

than clearness in conciseness.

is

are sometimes indistinctly seen, so also the

sentence may, owing to

its

meaning of a

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.

Eurip. Ion, i6i seqq.

2 Scr.

Inc.

II

AHMHTPIOY HEPI EPMHNEIAI

i62

TrXayta?

pctSciy/xa

Trapa

oTov

'Bevocfycovn,

an

irXeovcra^

Xefew?

Iwi^ta?

ort

acra(f)ov<;

KiXuKLav Tdfjiov

ei9

to

rjKovev irepi-

rpajpeu^;

e^ovra ra?

tovto yap i^ ev^eta?

AaKeSaijJLOvicjv Koi avTov KTjpov.'

5

rouro

8ta

/cal

/cat

'

fiev coSe TTW? Xeyotro- 'TpLtjpeis TrpocreSoKcovTo et? KtXt/cta^'

TToXXal

/Aei^

AaKaLvaL, woXkal 8e

yrjOeiaai in avro) tovtco.

8'

IleyacriSes,

enkeov

avrats iireo-raTeL Ta/xo? AtyuTrrios.'

Kai

199XpiqcTTioVy

oXa)9

TO

ct)9

'

T17

8e^ta icnrXi-

'E7^t8a/^^'09 ecrrt ttoXi? eV

yap

fjiev

oivop^aaTai

ttoXls,

/cat tol

ifiwakLV,

w? to

i(f)^r]<;.

200.

ovv av

TiyvoLTO iiev

ov yap

*^EcrTt TToXt? ^E(j)vp7)/

ov8e t7)p eTipav

Ta^Lv,

Trjp

ovofiaTcov

ro)v

TO irepl ov, SevTepov 8e o tovto iaTiv, otl

15

vavap^o'^

ixaKporepov fiev

Ta^ei

(j)V(TLKrj

ovTi et TOi^ ^lovLOv koXttov' npcoTov

dWa

vavirrj-

iyivero tcrw?, cra(^eaTepov hi.

ovTco<;
lo

Kvpw

8' dir^ 'lcovia<;'

to

/cat

TavTiqv hoKifxat^oiJiev

iravTif]

KaOd

dTToSoKLpd^Ofxei',

iK-

TiOifJieOa ixovov to (^vaiKOv eT8o9 ttJ? ra^ew?.

201.
20

'Er

dpKTiov,

TO

a)

'

8e rot? hiiqyrjixao-iv tjtoi

'E7rt8a/>ti'd9 ecrrt TrdXtg,'

XiyeTaL ^EnCSafJivov

T7)v

ttoXlv.'

TTTwcrets do-d(f)Ldv Tiva Trapi^ovcn

XiyovTL avTco

Tft>

'

/cat

yoecoi'

e/c

yap 'A^eXa>o9

Trj<;

at

6p6y)<^

dWai

8e

^dcravov

tco

re

nt^'8ov opovs dvoiOev

pkv wapd STpdTov ttoXlv inl 6d\ao-crav

ttj^

atrtart/cTj?,

els p^rfKos iKTeiveiv ret? 7re/)t-

firj

ydp 'A^eXwo?

avToOev aTroXrjyeLV

diro

d/covoj^rt.

Heipdo-Oai Se

202.
25 aya)yd<;-

/cat

dno

r^

/cat

yoet /xez^

di/aTraveti^

ntV8ov

e/c

8te^etcrtz/-

tov aKOVovTa

'

dXX'

ovtco^;-

6pov<;, i^eicriv 8e et

Oakaacrav'' ttoXv ydyo ourws cratpiaTepov, (ocnrep av at

I,

10

Tw

Tra/xx

P.

vpoaedoKOVPTO P.
0v(ri/c^]

add. P.

3
|

ffiKcXlav P.

Victorius,

0i^o-ei fcai

inter aiKeXlav et rdyuov litura

12

P.
16

13 6 ToO t6 P.

litiv rasura exigua in P.

6 XaKcvai P.

aiKeXiau P.

22

Xihviov

8
P.

(hvoarai, jxa

20

Travri P.

to re P.

aiirois P.

26

ttAXt/s

maior in P.

9 ouros P*
supra versum

P.

arparov irdXiv P.

21

inter

DEMETRIUS ON STYLE
short

example of clearness

tions

is

sacrificed to

Xenophon

to be found in

163

dependent construc-

'He was informed

that

belonging to the Lacedaemonians and to Cyrus

himself were coasting round with Tamos on board from
triremes

Ionia to

This sentence might be written

Cilicia^'

straightforward construction
there

were

somewhat

as follows

many Lacedaemonian,

expected

'
:

in

In Cilicia

many

and

Persian ships, the latter built for Cyrus with this very pur-

They were

pose.

command

from

sailing

Ionia,

and the admiral

of them was the Egyptian Tamos.'

might thus have been longer

would certainly have been

it

in

The sentence

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

a town Ephyra^.' We do not absoone order nor condemn the other, when

is

lutely approve the

simply setting forth the natural method of arranging thewords.

201.

we should begin with the

Epidamnus ('E7r/SayLti/o?) is a town

In narrative passages

nominative case, as

in

'

or with the accusative, as

Epidamnus

in

'

The

(^^iri^aiLvov)!

it

is

town of

said of the

other cases will cause

some

obscurity and will put both speaker and hearer on tenterhooks.

202.
tions

An

attempt must be made to keep the amplificaTake this sentence

For the

within due bounds.

'

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.

Xen. Anab.

Horn.

i.

//. vi.

2, 21.

152.

It is

with sentences as with roads.

''

Thucyd.

i.

Thucyd.

ii.

24.

102.

Cp.

45 supra.

II

AHMHTPIOY HEPI EPMHNEIAI

i64
TToXXa

yap ra

TjyefJLocrL

203.
5

Ilepl

eoiKev,

cnqixela

lJiOVOL8T]<S, KOLV fJLLKpOL

Tj

Se

rj

^evyeiv Se iv

204.

irpcoTOv

yap

irav

rj

rfj

fjLTjKT]

(^cnrep Kal

ijl7Jko<;,

e/c

avvOicrei tov -^apaKrrjpo^

[y^pcoiKOiv^ yiiTpoiv to

rcxiv

iirl

fxeyaXoTTpeiTe^

K(x)X(x)v

Toiiv

KcofxcoSCa 8e crvvicTTaXTai et? to TpLfxeTpov

rj

via.

Ta

205.

TToXXa ovv acojXoi? TpifxeTpoL^

Kal ivioTe KOfJUfiao-LV, atcnrep 6 fxev UXoltcov

15

w? oXiya

XoyoL^ ^py)(TTiov.

[01^] /caXetrat vtto fieyeOov^ Kal wpe-

i^dixeTpov rjpcoLKOi'
10 TTOV yjpojcriv,

TCL

fJLev

kol

a(Tr}fJLLO)ro<;

CiSt^Xo? SofCCl.

TToXXcov, Koi fxaXiCTTa ivTol*; l(T)(vo2<; avrrj

TOTJTOV

avanavXa^'

iroXkas

G-a^rfv^ia^ rocravTa,

Srj

yi^ev

kol

oSol

e^ovo-au

ayjfJieLa

^rjv X^^^ ^^^ HeipaLOL /xera TXa-uK(ovo<;'

avdiravXai kol dnoOeaei^.
Alcrx^^V^ ^^
^iqcrivy

iirl

tcov

'

Acare-

yap

rrvKvat

'

'

-^prjo-oixeOa
(jyrjo-i,

iKaOrjfieOa

at

fjuev/

OaKCJV iv AvKeCo), ov ol dOXoOiTai tov

dy(t)va hiaTidiacriv.^

206.
Kal

TiXr)
20

'E^^^erw
/BdcTLV,

reXeurata
'

ra

a)9

oyKTjpov

yap irdaa

KpovdTiov

tcov fxaKpcov

toj ^apa/cTT^pt rouro) /cat

ei^

eKTao'L'^.

^paxicTLv,

a>9

Acara

Kal

e^rj<;.

crrot^etwi/

rwi^ Sicfydoyycov

ySyoa^ea

ttov

et

tol

ra SovkvSlSov,

HivSov opovs* Kal Ta

^evKTiov ovv Kal ra?

207.

ws

kcoXcov tol

yap

at

elprjfxiva'

'A^eXftjo? 7roTafxo<s picov iK

tcov

do'(j)aXrj

/xeyaXoTr/^eTret?,

iKTd(Tei<;

crv/xTrXi^fet?

25

Kal iSpav

Se

irdvTa fxev Ta via KaXd

crvy-

io'TLV,'

17

ySpa^^ea

w?

fxaKpol<;,

^pa^ifov Kai

'^eXto?,'

d/xoi?

17

ye

tto)?

Sta

oXoj^ e/x^atz^erat VKaTa(f)p6v7]T0<; 6 tolovto<;

rpoTTos Trjs Xe^eojs

/cat

tStwrtKO?,

avra ravra

/caTr'

TreTTOirj-

fiivos.

natum)
16

dcrrifjieioTos

P.

10

seclusi.

Xu/cfw P.

ijpojl'Kwv seel.

15

23 Kal subter versum add. P.

26

a/*ws] Finckhius, ctXXws P.

veadai P.

28

Spengelius.

TJpooaip} edd., i]p(h<av P.

Acai

aira

27

/cdTr'

/Spax^ws P.

aiJrd dedi.

oi/

(e

dittographia

di/aTraOXai ex di'dTravXai P.

17^105] Victorius, 17X10? P.

ifitpaberai] Victorius,

iii<t>aL-

240'"

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

may

it

be.

203. These are a few remarks, out of a possible many,

on the subject of clearness. Clearness must be studied most
of

the plain style.

all in

Long members must be

204.

Length always tends

composition of this type.

among

Thus,

tion.

owing

to

metres, the hexameter

amplitude which

its

particularly avoided in

Comedy, on the other hand,

fits

to eleva-

called 'heroic'

is

The New

for heroes.

it

compressed into the

is

tri-

meter.

Accordingly we shall for the most part employ

members and sometimes phrases, as when Plato
I went down yesterday to the Peiraeus together with
says
Glaucon\' Here the rests and cadences are many. So with

205.

trimeter
:

'

a sentence of Aeschines

'
:

We

sat

upon the benches

in the

Lyceum, where the stewards of the games order the contestsV

206.
precision,

members should end with

In the plain style the

and

examples

in the

Prolonged endings belong rather to the elevated

just quoted.

words of Thucydides

style, as in the

flowing from

207.

on a sure foundation, as

rest

Mount

'
:

the river Achelous

Pindus, etc.^'

In this style

we must

also

shun the concurrence of

long vowel-sounds and of diphthongs, since lengthening

variably suggests elaboration.
let

via

of

it

be of short

KoXd iariv
day:

'

letters

^)

concurrence be admitted,

with short (as

in

of

short

vowels

in

In general, this variety of style has

form.

distinction,

being

'

irdvra jMev ra

or of short with long (as in

or

rje\co<;)';

If

in

fact

Plat. /^ep.

i.

Cp.45.

202.

init.

'

the orb

some shape or
little

dignity or

fashioned with that very end

view.

'

in-

Aeschines Socr. /ragm.

Cp. 70.

in

AHMHTPIOY HEPI EPMHNEIAI

i66

208.

yap TO

^evyeTO)

kol to

ivdpyeLav
eTTtSe^erat.
5

tol

irepl

cr^^iara' irav

crr)iJiico8r)

kol ovk lSlcotlkov

Se

ttjv

iriOavov fxaXicTTa 6 -^apaKrrjp ovto<s

ovv

ivapyeuas

kol

TTiOavoTiqro^

irepl

XeKTeov.

npcoTov 8e

20g.

eKTepLveiv, olov

fjLTjS'

avTT)

elprjo-Oai

ra

w?

8*

yiveraL

8'

iv dpy eia

rj

or dvrjp ox^rrjyos

yap evapye ^
Kal

o-VfJu/BaLuovTa,

Kal

210.

to

irapa/SoXij'

7)

Trepl i vapye Lo^'

ef aKpi^okoyia^ kol tov TrapaKeiireiv

TTpayra fiev

10

kol

Srj

TTapdcrrjfjLov dcrvvrjOes

8e

LTTTToSpojJLLa

rj

/xt)

e)(i

tov irdvTa

e/c

7rapa\ekei(l)6ai

rj

jxr^hev

kol wdcra

'

fjirjSev.

inl UaTpoKXco, iv 019

Xeyet,
S'

TTVOlfj

^V/jL'^\0t0 /JLTd(j)pVOV,

Kai
alel

15

yap Bu^pov

iirL^Tja-OfJLevoKTLv iiKTrjv.

TrdvTa TavTa ivapYD ^^'^^^

'^o^ fiTjSev TTapa\eKei(j)dai

^'^

re (TvpL^aivovTOiv Kal (TVfJifidvTcov.

Tciiv

211.
fiakkov,

'Hcrre TroXXdKLs Kal

20 t,(i}VTa ekeye<; KaKcos,

yap

819

Sikoyia iudpyeuau

rj

TO dira^ \iyeiv, ^crrrep to

Tj

Keifxevov to

'

orv

8'

Kal vvv drroOavovTa y/9a<^ei9

'

KaKcos

'

Trotet

avTov

/cat

fca/coi?.'

ivapyecrTepay_ o-qpiaivei ttjv

l3\a(T(l>r}fJLiav.

212.
Te)ow
25

'Oirep 8e

rw KTrjaca iyKaXovcnv
TroWa^rj

Ta9 8tXoyta9,

Sid

fxev

iyKaXovcnv

ttj^

ivapyeia^ tov

yap TavTO Sid to woWdKLS

iroieiv fJi(j>a(rLV

opOo)^, 7roWa)(rj 8e ov/c alcrOdvovTai

dvSp6<;' TiOeTai

a8oXea"^o-

&)9

io-co^

TTkeiova.

Ofa ret TOidhe, ^Tpvayyalo^;

yvvoLKa SaKiSa KaTaf^aXcov dno tov
213.

30 ydp
3

8r)

at

yvfalKe^

ovTOS ex ourws P.

ivapydas
20

'

titulus in

^Xeyes:

margine P.
2iTpvdy\ios P.

es

iv

irvoi^

13

supra versum add.

30

dvrjp M'^809,

p^d^ovTai

lttttov

at

(oo-irep

A/xa{dz/9*

4 irepieudpyet, compend. tamen indicate, P.

P.

26

]Ea/cat9

T19,

irotetJ'

ex

adtfces, ai

P.

P.

ttoioOi'

supra

5/0/3ou

15

23

(Tt;

28

P.
e scripto

Trepi

P.

Homerus

Krrja-lov

6
:

Trepi

8l<ppu}
<pi]<nv

F.
in

llirpvayyacos] Finckhius,

fl

DEMETRIUS ON STYLE
208.

Peculiar figures should also be avoided, since

eccentricity

the

167

unfamiliar and extraordinary.

is

welcome

plain style will

representation and per-

vivid

suasiveness in an especial degree,

all

As, however,

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

by Homer

Patroclus, as described

For ever they seemed

as

Of Eumelus, and hot on

And

though they would mount the chariot-floor

his

back did the breath of their

nostrils pour,

heads overhung him as onward

his shoulders broad, for their

they flew^

The

entire description

detail

is

owing

vivid

to the fact that

which usually occurs and then occurred

From

211.

this

it

use of the words

no

omitted.

follows that repetition often gives the

more than a
are the man who, when he was
and now that he is dead write to

effect of vividness

single statement
alive,

'

e.g.

spoke to his

his discredits'

to his discredit

'

is

'

You

discredit,

The repeated

adds to the vividness of

the invective.

The charge

212.

brought against

of garrulity often

Ctesias on the ground of his repetitions can perhaps in

passages be established, but

who
is

fail

instances

it is

many

his critics

The same word

makes a greater impression.

to appreciate the writer's vividness.

repeated because this often

213.

Here

is

an example

woman

unhorsed a Sacian
in battle like
Horn.

//. xxi.

Horn.

//. xxiii.

"

Stryangaeus, a Mede, having

(for the

women

of the Sacae join

257.

379
ahl yap
TTvoiTj

5'

dl<ppov iin^TjaoixhoKnv itKTTjv,

'EvfiifiXoio

dip/xer'' iw' airry

Cp. 26.

Amazons), was struck with the youth and beauty

many

in

fierdcppevov evp^e r' wfua

yap Ke<pa\as KaTad4vT

ireT^adrfv.

AHMHTPIOY nEPI EPMHNEIAI

i68

OeaordjJLevos Srj ttjv Sa/ctSa evTrpeTrrj kol aypaiav ^LeOrfKev

/Acra 8e tovto cnrovScov yevofxevcov, ipacr-

dirocrcoi^ecrOaL.
Bel^; T7]S

yvvaiKOf; direTvyxavev' iSeSoKTO fiev avTO) awo-

Kaprepeiv
5 ixiJi(f)6jjLevo<;

'EvTavOa

214.

on

olofxevo^ elvai,

e/c

8t? ireOr) 77/309 ov^ev to

ivapyeiav irdOo^.

ttJs

dvjl rov

diroikopuqv

(Tvvrekeia iarr
Xoi'To?

fxev St'

to

ecrwora

T17J'

fcat

'

dpu^ojepa.

(T7)p^aivei

/cat

'

aXA.

ivapyeiav

/cat

to

iTrK^y^poiievov Se,

aTrdXXv/xat,' ivapyecrrepop avTrj rfj

hrj

yeyovo<; heivoTepov tov /xeX-

Irt.

Kat oXw? Se

215.

15

yap

to

yivofxivov

'^

av

Ppa)(y\6yo<;

lorcos rt?

d(^eXot9 Odrepov, crvz^ac^atpT^crets /cat

TO
*

av

eTnTipirjcreLev

ravrov yap

St' e/ie icra>07)^.'

10 t

yvvaiKi

rfj

/cat

fiev cre ecrcDcra,

eyco be Ota ere aTrcoAOfJirjv.

efjie ecrojurjf;'

'Eyw

TOidvSe'

iino-Tohqv

irpoTepov

8e

ypd<f>L

TTOiTjTrj';

ovto<;

{7roL7)Tr)i/

avTOv KaXoLT) Tt? et/coTW?) ivapyeiav hrjpnovpyo^

yap

Icttiv iv

Trj ypa(f)fj (rvfiTrdcrrj.

216.

Otot' /cat

vOv<; \4yeiv,
20

TO I'

aKpoaTrjv

KTT^ata?

/caTa fjuKpov, KpejxvcovTa

dz^ay/ca^oi^Ta

/cat

t^ dyyeXta

T17

tovto

crvz^ayw^'tdi^.

Kvpov

Trept

yap

Trapd

Tr)v

TiapvcrdTiv tovto yap

Tj

prjaC^;

Se rjaOr)

Se

TTfti?

pcoTa'

dkkd

icrTiv

Xeyofxevr]

Kupos

dno

S/cu-

wpcoTov fxev yjyyeikevr otl VLKa,

/cat r^ycoviacrev'

/xeTct

TrpdTTei; 6 Se 7re<^ei>ye

yap auTw

rj

TeOvecoTo^; TTotet.

iXOcbv

TLo-o-acjyepvrjf;

30

aXXa

otl iyivero,

Ta yevofieva ovk

6 dyyeXo^; ovk evOijs Xeyet ort diridavev

^oij'

25

ez^

Tot9 Tototo-Se* Set

e'j'

Se tovto ipcoTa, ySacrtXev?

(f)rjaL'

17

v7roXa/3ovaa-

/cat

irdXiv inave-

/cat

tovtwj^ atTtos*

Kvpo<; Se ttou z^w; 6 Se dyyeXos afxeC^eTaL' evOa

/caTct p^iKpov Kai

\py) Tov^ dyaOov<; dvSpa<; avXC^ecrOaL.
/caTct /3pa)(y irpoicbv /idXt?, to S17 Xeyofxevov, aTrepprjgev

avTOy fjidka rjOiKO)^

id^doKTU) p.

3
II

e/c

/cat
9

T^s supra versum add. P.

6av6.Tov Ki5/ooy in

margine

P.

ivapyo)^ tov Te dyyeXor

inter r et oi)t6j' litura in

t8

30

fuit fort,

70'6^'a] edd., 7i'6Ace'a P.

Airippi^ev P.

iix(j)T]va^
rd, avrbv.

21

7re/)i

240^

'

DEMETRIUS ON STYLE
of the Sacian and allowed her to escape.

169

Afterwards,

when

peace was declared, he became enamoured of her and failed in

his suit.

He

wrote a

letter

woman

upbraiding the

you were saved through me

thus

and now

first

he

saved you, ay

'

have perished

"

through you\'

214.

But

resolved to starve himself to death.

Here a

critic

might say that there

who

prided himself on his brevity

a useless repetition in

is

'

saved you

and 'you were saved through me/ the two statements conveying the same idea. But if you take away one of the two,
you will also take away the vividness and the emotional effect
Furthermore, the expression which follows

of vividness.

have perished'

in

place of 'I perish')

because the past tense

is

There

used.

impressive in the suggestion that

intimation that

215.

it is

all

more

is

something more

over,

is

about to happen or

is still

vivid just

than

an

is

An

216.

artist in vividness

the

in

happening.

may

Altogether this poet (for a poet Ctesias

be called)

(' I

is

well

throughout his writings.

example may be added

here.

When

a misfor-

tune has happened, we should not state the fact at once, but
unfold

gradually, thus keeping the reader in suspense and

it

forcing

him

This

to share our distress.

is

The messenger, out

death of Cyrus.

in his narrative of the

what Ctesias does

of consideration for Parysatis, does not immediately on his

arrival

announce that Cyrus

would be
of

(to use the

common

dead, for such a proceeding

is

expression) a brutal one.

he reports the victory of Cyrus.

all

and excitement.

The

reply

is,

till

First

all

joy
'

'

'

And

she asks further,

The messenger

'

is

Then she asks, And how fares the king }

He is fled.' She rejoins Yes, he owes this to

Tissaphernes.'

now?
Thus

Parysatis

replies,

'

But where

is

Cyrus

In the bivouac of the brave.'

warily does Ctesias advance

at last

little by little, step by step,

he breaks the news,' as the phrase goes, and indicates
*

very naturally and

^

Ctesias,

vividly

Fragmm.

the

messenger's reluctance

20, 21 (Ctesiae Persica, ed. J. GiJmore).

to

AHMHTPIOY HEPI EPMHNEIAZ

I70

dyyeXovvTa

OLKOVcrio)^

eW

ttjv (rviJi(l)opdvy /cat ttjv fnqrepa

aycoPLav ifi^aXcov kol tov aKovovra.

Tiver ai

217.

Trpdyfiao'L

\iyeiv

l^ahit^ovTos

e<^7^

ivdpyeua,

on

rt?,

ye XaKTL^ovTos

218.
T0V9,

'

olov

&>9

Ty)v yrjv.

TravTL SrjXov

icTTi,

r)

S'

K.aKO(f)a)VLa Se

15 ey/cec^aXo?,'

/cat

20 t

Se

'

ttoXXo,

Kat ra

/caret

l7nroKpdTr)<;.

TToXXa/cts,
S'

dvavTa,

'

Ik

kottt,

S'

/carai'Ta-' /x-e/At/xT^rat

dvcopakiav

ttjv

to

a>9

Se

Trdcra

ireTroviqp.eva

pbifXTjaL'^

Se ovopuora evdpyeiav Trotet

pipiqaiv e^evqve^Oai, ^cnrep to

TTLpovTes

'

etTrei',

'

XdiTTOVTe^;*

our' e/xt/xetro irivovTa^ tov^ Kvva^,

rt?

eyiveTo.

/cat

ro

yXcocrarjcn

TrpocKeipevov ert evapyecTTepov

XcLTrroi^re?

Xoyoi/.

ttj^

e)(ei.

evdpy eia dv

ovTe
Tft)

KaKO(j)(ovLa

ivapyeq tl

8ta to

y^-P VTTi(l>y)viv tl

ivdpyeia yiyovev eK

OTL vvKTOip Trpo's ovTov elo'rjXOei' 6

220.

^S''?

^^'^^t'^]

tov 'lirTTOKpa-

irrl

(f>r)alv

\6yov Koi TOV dTTopprfpovevcraiy

(j)povTLSo^ TTJs wepl TOP

TT^

avTov tojv

TO KaTa(j)av7] avTov yeviaOai,^ oti p^kv ivapyi-

10 ripiipas, 19

yap

dypoiKov

tov

iirl

tol^

OuSc ^aSi^OVTOS, dXX*

&)9

'Oirep Se 6 nXoLTWt'

2ig.

Trapeiro^eva

Trpoa-coOeu rjKOvcTTO

'

ipvOpidcra^ [ji^l ^V

(TTaTOV

rd

tov

Ik

6 KTVTTO^ TTpOCTLOVTOsJ

TToScOV
oloj^

koI

8e

/cat Treyot

evapyeia<; pev ws

ei^

rvTroi

Trotet

Se

'

roi^

rocr-

etTreti/

avra.

To TTiOavov Se

221.

25

(TWnjOer
2

wcrre

yap

TO

14

^5?; tt; i/i^kti seclusit

KaKO(pu}via:

ex dvofiaMav P.

16

6,v(>)fia\lav

22

t6 Xd*7rT0i'Te5 P.

&&6v6s m. rec. P.

ev re

rw

cra<^et

acrac^e? /cat d(TVPr)Oe<; dirLOavov

9

ifi^aXCiv P.
Plat.

ev Svolvy

25

Schneiderus.

10

a supra versum scripsit P.

19

Xd*7rroi'res P.

vepi iridavdTTjTos in margine P.

/cal

Xe^iv
eZs

to P:

Kbirrev 5'

20
26

ifiifii^o

P.

P.

da^vrjdes ex

'

DEMETRIUS ON STYLE

\J\

announce the calamity, while he himself causes the reader to

join in the mother's griefs

217.

may

Vividness

by mentioning

also be produced

the accompanying circumstances of any action.

It was, for

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
instance, once said of a countryman's

'

the ground, so to say.

Plato also provides an example

218.

Hippocrates

'
:

He was

now came

to betray him^'

description

is

when

referring to

first

glimmer of dawn

The extreme

vividness of this

blushing, for the

clear to everybody.

the result of the care

It is

shown in the narrative, which brings to mind the fact

was night when Hippocrates visited Socrates.
219. Cacophony is often vivid, as in the lines

that

it

And

together laid hold on twain,

Like whelps
flour

down gushed

and dashed them against the ground

and bespattered the rock-

the brain,

round\

Or,

And upward and downward and

thwartward and slant ward they

tramped evermore ^

Homer

intends the cacophony to suggest the broken ground,

imitation having an element of vividness.

all

220. Onomatopoeic words produce a vivid effect, because their formation is imitative. The participle lapping
If Homer had said 'drinking,' he
is an instance in points
would not have imitated the sound of dogs drinking, nor
'

would there have been any vividness. The word tongues

lapping makes the narrative
i^XoacrariGi) added to the word
But on the subject of vividness this outline
still more vivid.
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).

Horn. Ody^s.

ix.

Scr. Inc.

Plat. Protag. 312 A.

5i dOd} fidpxl/as ws re <r/fi;XaAfas irorl yalrj

ai)v

kSttt^'^

Horn.

//. xxiii.

'

Horn.

//. xvi.

iK

5'

iyK^(f>a\o$ xaAti5is p^e,

deve Se yaiav.

116

TToXXa

5'

avavra Kdravra Trdpaurd re

d6xfJ>-td

161

Xd^povrei y\u)<T<Tri<nv dpaiyaiv /x^Xav Od(ap.

289

r'

^\6op.

AHMHTPIOY nEPI EPMHNEIAZ

172

T ovi/ ov TTjv TrepLTTrjv ovSe viripoyKOV SucoKTeov iv

TTiOavorriTi, koX cjcravro)<; crvvOecriv

^e^aiovcrav kol

ttj

jxrjSev

)(ovcrav you^/xoetSes.

'Ev TOVTOL^ re ovv to inOavov, kol iv

222.

on

(j^rjcrLv,

5 (f)pa(TT6<;

ov Trdvra in

aKpi^eia^ Set fxaKpr}-

yopelp, aXX' ivua Karaknreiv Kai rco

Kol Xoyit^ecrOai ef avrov'

ovK aKpoaTTJs

crou

KOL

aKpoarfj avviivai,

yap to eWeK^Oev vtto

fJidpTVS aov yiveTai,
yap iavT(^ boKel Sta

ak\a koI

crvveTo^

eiffxeveaTepo^.

dfjia

Tov

lo ere

crvvel^

fxovov,

irapecr^KOTa avTot tov

d(j)opfJirjy

8e TrdvTa w? dvorjTOJ

ed-

co

crvvLevai,

to

Xeyeiv KaTayivaxTKovTi eoiKev tov

aKpoaTov.
223.

6 ra?

yapaKTr^p Setrat

iirLO-ToXiKOs

Kal irepl avTov Xefo/xez^.

icr^voTrjTO^,
15

Ka\ 6

8e

'ETret

KpidTOTekov^ dvaypd\jja<;

'A^re/xajz^

iTTLCFToXd^;

/xez^

ovv

otl Sel

(f>r)G'Lv,

Tw avTM TpoTTCo Sidkoyov re ypd^eiv Ka\ eTTicTTokd^'

yap ttjv eTncrTokr^v oXov to eTepov fxepos tov 8ta-

iv

elvai

Xoyov.

Kat Xeyet

224.
20

VTTOKaTecFKevdcrO ai
Xrjv 6 ixev
/cat

iro)^

ov

jjltjv

dirav Set yap

fxaXkov tov Suakoyov ttjv eVtcrro-

pLipLeiTai

avToa^ehidl^ovTay

Se ypd(f>TaL

rj

Scopov TrefxireTaL Tpoirov Tivd.

yovv

Ttg

225.
axTirep 6
25

yap

(xev tl lo-co^,

ovtco^

av

SLaXe-^deCrj

wpo^ ^KvTiTraTpov

ApicrTOTeXrj^;

ypdcfxov TOV yepovTOS cjyrjaLV

et

7rpo<;

(fyiXoi/,

virep tov cfyvydSo*;

Se vrpos oLTrdcras ot^erat

|

yd<; (f)vyd<; o5ro9, cucrre

^AtSov

KaTeXOeiv

ovTcos

StaXeyd^ez^o?

fxr)

KaTdyeiv, SrjXov
ovSet9

ySovXo/ieVot?

&>9

cfyOopo^;'

eoiKev

eTrtSet/ci'u/xeVaj

rotcrye et?
'

yap

jxdXXoVy

ov

XaXovvTL.

226.

30
7

Xucrets

i^avTov P.

margine P.
23

Kat

13

13. 14

et

crv^aX

otto tat

TTws Set ^Trio-rAXeiJ' titulus in P,

/*^'

supra versum add. P.

26

5ia\ex^f^>7] Schneiderus, diaXexBrj P.

KaTd7eti' ex KarayTJv P.

Victorius, laxva.1 P.

28

lacunam

^ ^ ov

i-jrideiKWixlvu)

ex

statuit Goellerus.

20

TrpiiTOVcriv

eadem verba

in

viroKaTaa-KevacrOal P.

7as] Valckenaerius, ras P.

eirideiKvo/x^vu) P.

30

(ri'Xi'ai]

241

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

must be steady-going and void of formal rhythm.

222. These, then, are the main essentials of persuasiveness to which may be added that indicated by Theophrastus

style,

when he says

that

all

possible points should not be punctili-

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

ously and tediously elaborated, but

a simpleton.

We

223.

next treat of the epistolary

will

style, since it

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.

too should

225.
friend, so

be plain.

Who

(one

may

ask) would, in conversation with a

express himself as does Aristotle when writing to

Antipater on the subject of the aged exile

to

'

.'*

wander to the uttermost parts of the

hopeless of return,

it is

clear that

If

he

earth,

is

doomed
an exile

we cannot blame such men

A man who

should they wish to descend to Hades' hallV

conversed in that fashion would seem not to be talking but to

be making a display.

226.

Frequent breaks

in

are not appropriate in letters.

Theophrastus

^ Aristot.

ir^pl

X^^ews.

Fragm. 615

a sentence such as

Such breaks cause obscurity

Cp. n- 3

infra.

(ed. Berol. v. pp. 1581, 1582).

in

AHMHTPIOY HEPI EPMHNEIAI

174

ov

fjLTjTLKOv

tS
5

Tt9

'

TTpoeKOcov iirK^yipei^

SteXeyou*

dycovos, oTov

(i)9

w x^^^

Sw/cpareg,

c5

ris

t)^' ;

aXXa

'

17

TOiavrr)

Tracra

fjuakkov, ov

TrpeiroL

'

jjll-

iv

o)<;

^^

Aufcetw

/cat

puKpov

^eVo? rtg (j^aiverai elvai,

/xot

yap

'

VTroKpirrj

fjiCfjirjo-L^

-i^z/,

koL to

Xvcrt?,

rj

ttoXu? v/xa? 6)(Xo'; TrepieicrTrJKeL'

rj

eV ypa(f)rj

ypa(j)7Jq ovTOJs olKeLOi/,

^vOvSijfJiq)'

SteXeyov

yap

dcrac^e?

CTrtcrToXat?"

ipfirjveia

/cat

eVt-

ypa(f)OfjLepaL<;

crroXat?.

10

8e

nXetcrroi^

227.

axTirep /cat 6 8taXoyo9*

eavTov ^v)(rj^ ypa(f)L

to

i^iro}

tjOlkov

crxeSoi^ ya^o

rrj^

ecrrt ^et*

/cat

ttjp eTTi(TTo\riv.

ef aXXou Xdyov iravTOs iSeiv to

iTno-Tokyj,

rj

eiKova eKacTTos
/cat

tov

r)6o<;

ypd(f)ovTO<;,

ef

ovSez^o? 8e ovtoj^, a) iTncTToXyjs.

To

228.
15

Oicnrep

/card

/cat

tt)!^

Se

piiyedo^

ov fxa

kpixrjveiav oyKOjSecrTepaL,

eTTiCTToXai yevoivTO

dv,

eTTtcrroXTj?,

ttJ?

8e dyai' jxaKpaC,

at

Xeft?.

17

crvveo'TaXOo}

dXXd

/cat

crvyypdfjiixaTa,

irpoo-eTL

aXrjOeiav

ttjv

to yaipeiv

eyovTa TrpocryeypayLpLivov, KaOdwep tov IlXdTCJvos TroXXal

/cat

20

7)

SovkvSlSov.

Kat Tjj awTd^ei pikvToi XeXvadco fjioXXov

yeXolov yap TrepLoSeveiv, (^cnrep ovk iTricrToXrjv, dXXd
229.

hiKrjv

ypd(f)OVTa'

(J)lXlkov {to

yap

230.
/cat

yeXotoi/

fiovov,

ovSe

dXX'

'

Srj

/caret ttjv TrapOifxCav

Xeyojjievov) eTTtcrroXats
25

ovSe

/cat

raura

rd

crv/ca crvKa

iTTiTiqheveiv

EtSez/at XP'7, ort

ov^

dXXd
yovv

ipp^rjveia [jlovov,

TTpdyfiaTd Tiva iiriaToXiKd icTTiv.

'ApL(TTOTeXr)<;

OS fidXio-Ta inLTeTev^ivaL 8o/ct rov [aurou] iiricrToXiKOVy

*

TOVTO ou

ypd(f)0)

croij

(fyyjcrLV'

'

ov

yap

tjv

iTTLCTTO-

XlkovJ
231.

30

Et ydp Tts iv

eTTLcrToXrj G-0(f)L(TiJLaTa ypd(j>oi /cat

12 Trdirwj P.
4 ijfxdsF.
3 Xu/ciw P.
d(ro0^s: es supra versum add. P.
20 rd^et, r^
rou llXdrwvos TroXXat] Finckhius, ra nXctTwyos TroXXd P.
23 racriJ
ffw supra versum scripsit m. rec. P. XeXiJcr^w : v in rasura P.
27 65] Spengelius, ws P. seclu{Kaaij
his litteris extra versum additis) KaP.
I

18

dendum,

ut videtur, avroO.

DEMETRIUS ON STYLE
and the

gift

to debate than

to

writing,

Euthydemus

of imitating conversation

was

conversing yesterday

Socrates, with

it,

Lyceum

in the

And

was surrounding your party\'

me

Nay, he seems to

adds

with

whom you

'

little

were

Who

on Plato

further

man

stranger, the

was

an actor

suits

whom you

Quite a large crowd

some

to be

were conversing.

such imitative style better

a better aid

is

Consider the opening of the

writing.

Who

'

175

he,

pray

?^'

All

does not suit

it

written letters.

227.

The

glimpses of character.
his

own

it is

the dialogue, should abound in

like

letter,

It

may

be said that everybody reveals

In every other form of composition

soul in his letters.

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

Those that are too

be carefully regulated.

its style,

long,

must

and further

are rather stilted in expression, are not in sober truth letters

'My

but treatises with the heading

true of

many

229.

of Plato's,

This

It

letter.

you were writing not a

letter

we should
230. We must

that

topics,

as

well

as

is

not merely absurd

remember that there

an epistolary

style.

the epistolary manner, says

'
:

it

it.

are epistolary

Aristotle,

thought to have been exceptionally successful

demand

a spade a spade,' as the proverb has

also

if

but a speech for the law-courts.

does not even obey the laws of friendship, which

call

in the

absurd to build up periods, as

is

such laboured letter-writing

'

is

and of that of Thucydides.

There should be a certain degree of freedom

structure of a

And

dear So-and-So.'

in

who

is

attaining

have not written to you on

it was not fitted for a letter^'

anybody should write of logical

this subject, since

231.

If

Euthyd. 271 A.
Euthyd. 271 A.

Plat.

Plat.

Aristot.

Fragm. 620

(ed.

BeroL).

subtleties or

AHMHTPIO'XnEPI EPMHNEIAI

176

(j)V(T LoXoy ia^, 'ypd(l)eL fxev,

Xo(j>p6vrjcri<;

nepl

Koi

yap

ov

fxrjv eTTiCTToXrjp ypd(f>L.

T19 j^ovkerai elvai

irpdypuaro^

oLTrXov

rj

(j)L-

eTTLCFToXrj (rvvTop.o<;,

koI

e/c^ecrt?

kv

6v6p.a(Tiv

0,77X019.

KctXXo?

232.

Kai

VT]crL<;

fjiivTOL

irvKvai

yiovov ivecTTO)

at re (jyikiKoi (f)L\o(l)po-

avTrj<s

ov

8t* iirLCTroXrjf; ert

olov

iTTLCTToXiKcof;,

OL

yap

eoiKev,

TO

ir

ybiqyavrj^.

on

StSctfat l3ovX6fJievo<;,

deol iv afxcj^orepai^

o/xotw? ^pr)

fjLLKpd<;,

(fyrja-iv,

yap

Kal

dfJL(f)OTepaiS''

avrS eTncTToXiKov koI

aTroSeLKvvfjievov

^Tjrat

wcrr' eTret at ydpiTe<;

tcrot,

Oeai, tcrat diro Keicrovr ai crot irap

15

dXXd

fxeydXas TToXetg kol ras

evepyereLv rot?
*

XaXowrt

rj

porperroyievo^

Kal

'A^torroreXT^? p^ivroi koI aTToSetfecrt ttov

233-

10

tl iariv

avrfj aocfyov, Slotl Stjijlotlkov

irapoLfjiia /cat kolvov, 6 Se yvcofJLoXoycov

yap

kol tovto

ivovcat'

Traponxiai

aTToSetfts

tj

aVTT].

234.

ypa/xjLta
.

77/909

'

to tavrat

eti^at

dz^r'

AXe^avS pov,

^cnrep

iTTLCTToXrjs,
/cat

toi;9

77/909

tot)

/cat

[/cat]

fievTot

i^TjpfJievr)

/cat

j^aaiXevcnv

CTrto'ToXat

[at]

aTO^aariov yap

770)?.

ypd(f)Tai'

irore

TroXecrLv

/cat

ia-Tcocrav

i^r)pfjiT/aL
20 <w

'Evret

ypdcfiOfxep,

ov^

fjuKpov

irpocraiTrov

dvy-

(^(rre

at 'A/jto-roreXov?

Ataii/09

ot/Ctov9

eTTiCTToXr)

Kara

17

nXaTa>^'09.

Ka^oXou

235.
25

epjx'qveiav
/cat tot)

e/c

Se

fxefJuixOo)

r)

ttjv

^apaKTrfpoiv totjtolv, tov re ^apievro^

Suotz/

/cat

tcr^^i'oi;.

77ept e77to"ToX'^9

/xe^'

rofravra,

/cat

-^apaKTrjpof; tov Icr^vov.

d/Lta 77/ot Toi)

241*

236.

ITapa/cetrat Se

/cat

30

Tpicriv
'

iv hiavoia

2 eiriaToK P.

i8 ai
\oyQv P.
^rjpov in margine P.

6
seel.

ipovaai

fJLeTa

oOtrai

Spengelius.

SirjfjiapTrjfjievos

yiveTai Se Kat o5ro9 iv

ojcrTrep Tt9

fxiv,

KaTe^aivev 6 aep^rj<s

layv^

toj

^apaKTrjp, 6 ^rjpos KaXovfiei'O';.

e77t

aep^ov

(l)r),

irdvTOiv to)v iavTOvJ

supra versum scripsit P.

20

Kal del. Goellerus.

otl

fidXa
8

yvo/xu-

28

Trepi

DEMETRIUS ON STYLE
questions of natural history in a

not a

letter.

wishes in brief;

letter
it

177

he writes indeed, but

letter,

designed to be the heart's good

is

the exposition of a simple subject in

is

simple terms,

232.

Its

beauty consists

in the

and the many proverbs which

only philosophy admissible in
property and

popular

it,

This

last is

the

common
man who

the proverb being

But the

character.

in

maxims and

utters sententious

expressions of friendship

contains.

it

exhortations seems to be no

longer talking familiarly in a letter but to be speaking

ex

cathedra.'

233.

of demonstration

show

well treated, he says

the other

in

'

The gods

one no

is fitted

are as great in one as in

the letter

It
is

is

and so

for a letter,

we

Since occasionally

heightened tone.

is

write to

be placed

will

The

point he

the proof

itself.

States or royal

must be composed

in

a slightly

right to have regard to the person to

addressed.

however, be carried so far that

letter, as is

instance, wishing to

than in the other\'

less

personages, such letters

whom

For

letter.

and small have an equal claim to be

and since the Graces are gods, they

wishes to prove

234.

fitly in

that large towns

by you

sometimes uses certain forms

Aristotle, however,

The heightening should not,

we have a treatise in place of a

the case with those of Aristotle to Alexander and

with that of Plato to Dion's friends.

235.

In general

may

it

be remarked that, from the

point of view of expression, the letter should be a com-

pound of two

styles,

the graceful and the plain.

viz.

much with regard to letter-writing and the

236. Side by side with the plain style
fective counterpart, the so-called

has three sources, the

first

R.

Aristot.

arid

of which

someone says of Xerxes that

'

*he

is

'

So

plain style.

style.

is

found a deThis, again,

the thought, as

when

was coming down to the coast

Fragm. 609

(ed. Berol.).

12

AHMHTPIOY HEPI EPMHNEIAI

178

yap

avrl rov

icTfXiKpvvev to Trpayfia,

a7rdar)<;

elweLv

'

'

fjbera

/xera TrdvTcov TOiv iavrov

Uepl Se

237.

'

'Acrtas

Trj<;

(jirjcra^;.

'

to ^rjpov, oTav wpayixa

Tr)v Xe^uv yiverai

fieya afXiKpols ovofxacnv dnayyeXkr), olov w? 6 TaSapev^;

5

inl

^akaplvL vavyLa^ia<;

TTJs iv

Tov Tvpdvvov
*

AKpayavTLVOLS.'

ov^i

wpLOTr^Ta

238.

15

'Ei^

Ta

Tj

6 ^LO<;

17

arra

/3pa)(v<;,

KeKopL^xivov

TO

Tj

'

tJtol

oTav

'A(j)opi(TfJLo'L<s

)(l'

oTav iv fieydXa) TTpdyp^aTi

fj

K(x)\ov

yap

ak\d

'

rj\6ev /cat

aTTOKOTrrj

/Cat

axjirep

K7r\ea)v,

pL7)

avTOKkrfTOf^J

eU

0,770-

Trjv iv

rt?

SaXa-

^'^^

H'^^

(jwevavixd^ei, 'ApLcrTeiSrjf;

Se

ou.'

rat?

jLtei/

/cat

drrpeTrrjf;

'

^(l>V>

a/catpo?.

/cat

TOtavratg aTTO/coTrat? eV eTepoL^; \prj(jTiov.

IToXXa/ct? fxevTOL to jxev Siavorjixa avTo xjjv^^pov

239.

w?

Tt

ecrrt,

8'

diTOKeKoixixevrj

/cat

6vop.dt,op.ev KaKoi^rjXov,

j^vj'

KkeiTTOvcra

/cat

aicnrep inl tov

ctSetai^,
25 Tt9,

oTt

'

veKpa

ou puiyvvTai av

Tjj

Tjj

KkewTeL
i/ui^

^pov

e/c ftez/ ri^s

Sta

yvvaiKl p,iy6evT0<i

yap

to fxev

^ /iera P.

scripto, P.

T7)z^
.(f)iq

Sta-

crvvOecns Se crvcrraXetcra

aSetaz^ rov 7rpdypaT0<;, TTotet Se

KaKo^r)\Las Sta to irpayp^a,

tt)!^

e/c Si>otz^

e/c

Se tot)

(Tvvde(riv,

T')j'

rwj'

Sapevs] edd., Vadijpeijs P.

fidx^f-

rj

crvvOecri^

rj

Stai^oT^/xaro?

ovofia e)(pvorav ^iqpoKaKotpqXiav (TvyKip.iviqv

KaKQ)Vy

ixev

tto)? ri^i^

tov

dvOpcoTTCp-'

voT^pia /cat TV(j)\(o SyjXov (jyacnv,

30

r)va>)(XL

Se Te^vrj fiaKpd, 6 Se /catpo? 6fv9,

rj

vavixa^iav,

At) fJLuJTTjp

20

'

^rjpov,

wcnrep iv rot?

'AptcrretSov KaTrjyopcov, otl ovk d(j)iKTO

7)

Tvpdvvoiv

/cat

tco

Trpeirovaiv tco vnoKeL-

/cat

8e crvvdeaeL yiveTai to

KOfjLjjiaTa,

Se neipa o'(f)a\epd

plvL

to'l<;

'

ovSe

ovofxaTi

'

r)V(o)(KL

TrpdyfjiaTL.

TTVKva
*

tco

ctrra

dXX* iv fjLeydkoi<;

Xeyet^',

iXPV^
10 fJLevo)

kol tov <l>aXapi8o9

(fyrjaC'

yap 6 <l>aXapt9
vavp^a^iav yap TOcravTrjv
'

rt9,

e<f)7)

8 7jv6x^t P.

ex (rvvevav/j.dxv P.

add. edd.
6

rjvdxf^ei

irpdyfjia P.

P.

I4> 15 d7ro/ce/co/w/*^>'w

25

7
17

4 dTrayY^X?; P.

Pa-

Tvpduvuu, ov supra versum

rw

/cwXo;

aS r^ dvdpjjinp conicio

P.

aur^j

18
di'

P.

(ruj'ei'au-

DEMETRIUS ON STYLE
with

He

his following\'

all

saying

with

'

all

179

has quite belittled the event by

his following

'

place of with the whole of

in

'

Asia.'

237.

In

expression

aridity

found when a writer

is

describes a great event in terms as trivial as those applied

by the Gadarene

Phalaris that

Phalaris inflicted certain

So momentous a

annoyances on the people of Acragas^'

sea-fight

And someone

to the battle of Salamis.

said of the despot

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.

so
*

238. Aridity may also be due to composition. This is

when the detached clauses are many, as in the Aphorisms

Life

opportunity

short, art long,

is

It is so, again,

ceptive^.'

member

matter, the

is

when

in

broken and not completed.

for

example, when accusing Aristeides

at

the battle of Salamis, said

bidden and fought on our side

the abrupt ending

is

experience de-

fleeting,

dealing with an important

being present

Why, Demeter came un-

'
:

for not

Someone,

Here

but Aristeides, no\'

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

of a

man who embraced

his wife

see,

when dead

'

The meaning even

embrace the creature againl'

can

Someone says

the licence of the thought.

as the saying goes

he does not
a blind

man

but the compression of the

phrasing hides to some extent the licence of the thing, and

produces
aridity,'

now called by
being made up of two
what

is

the

name

defects,

of 'tasteless

tastelessness

subject-matter and aridity of style.

Scr. Inc.

'

Hippocr. Aphor.

cp. 4 supra.

12

of

AHMHTPIOY HEPI EPMHNEIAZ

i8o

V.
Kat ra irepi ttJs SeLvoTrjTO^ 8e SrjXa av ei-q
Twv Trpoeipr^yiivoiv, on koI avrrj yivoij av iv

240.
XoLTTov

e/c

iv olcnrep

Tpicriv,

irpo

01

^apaKTTjpe^'

avTrjs

/cat

yap

TT/octy/iara riva i^ eavrcov iaTL Seuvd, (^are tov<^ XeyovTa^

5

avTa

Kav fjur) Seti^w? Xiyoxriv, KaOdnep

tS Ueipaiei avXiqrpia^ Kal rd nopveia

SoKelv,

8eLvov<;

6 eoTTO/xTTO? rag iv

Kal Toijs avXovPTa<; Kal aSovTa<;

/cat

6p)(ovfJLi'Ov<;,

irdvTa heivd ovopiaTa ovra /catrot dcrOevcof;

elircov

ravra
Setz^o?

80/cet.

Kara

241.

10

av irpoiTov

Se ttjv crvvdecnv 6 ^apaKrrjp ovto<; yivoiT

et

fiev

15

avTO,

'

TrapdSeuypa

SeivoTepov

Trpo^ ^iXiTnrov,

avrl

AaKehaipovioiv

to

Alovu(tlo<; iv KopivOco-'

'

yap

to

KcoXoyv

to Se eV oXiyco ttoXv ip-

(r(j)oSp6Tr)Ta,

p.rJKo<s e/cXvei Trjv

(jiaLvopevov

e^ot

Kopfjuara

Se i^eTeuvav

el

Aiovva-LOf; eKwecrcov ttJ^ dp-^^rj^ TTTco^evei iv KopivOco

ypdppaTa,' Si-qyrjpa

StSctor/cwr

cr)(eS6v

av

pdXXov dvTl

'^v

XotSopta?.
Kdi'

242.

SeivoTepov

KdKOive^'
20

paKprjyopelv Se rw
243.

dXXoL^ Se

Tol<;

Ato

/cat

/cat

inLTaKTUKov, to

TrpeVet

/cat

aiTeiv.

25

Set,

^ap66ev

Kaddirep

rj

otl ip(f)prj

tov /3pa^0j<; pr)0VTO<;

elirep

e/c

crvp^oXoyv

rail'

vplv acrovTai
dirXajs

'

Setz^o-

ipprjOr),

ra

v/AWj^ e/c/coTn^crerat.'

244.
TO TeXo*;'
I

e/c

ol TeTTLye<^

Tpov dXXrjyopLKOJf; prjOev,

SeVSpa

e)(et Setj/orT^ra?,

yap

/cat

vTrovorjaaL ra TrXetcrra
ovTO)^ /cat TO

ijSpa^vXoyovv ol

yap to jSpa^v
t/cereuetz^

ra avp^oXa

rat? l^payyXoyiai^;'

(jyvcreL

Ta9 ye /x'^^z^ TreptoSov? icr(j)Ly)(daL pdXa Set /cara

rj Se Xvcrt? ctTrXovcrTe7) yap irepiaycoyy) oeivov,

irepl SeivdrrjTos titulus in

diairep {are tovs

P,

eadem verba

supra versum scripto) P.

supra versum atram. pallid, add.) P.

21

ifJi<l>eprj

ex

Tjpp^dTi (e

ex

ifxtp^pei

supra

17

et

24

P.
77

supra

19

T^rrrye^

scripto) P.

in

margine P.

k-tnTariKhv P.
(17

\^you(nv P.

20

punctis notato) P.

27

wo-re to)>s ex

dvd/xaTa (ovra

t6 iKereveiv P.

25

/card] Victorius, Kal P.

^p/)'^^?;

2^2'

DEMETRIUS ON STYLE

CHAPTER
We

240.

now come

to the

from what has already been

styles previously described,

V.

qu ality of

may have

things are forcible in themselves,

them seem to be
speak forcibly. Theopompus,
utterance to

passage describes the

and the

sailors

employing

who

241.

'

who

if

give

they do not

in

certain

Peiraeus, the stews,

pipe and sing and dance; and through

is

really feeble.

phrases

all,

more

the

in

place of members.

much meaning conveyed

forcible.

An example

the Lacedaemonians to Philip:

they

even

instance,

flute-girls in the

paralyses vigour, while

is

forcible,

for

Some

three sources.

so that those

In respect of composition this type of style re-

quires, first of

form

It is clear,

strong language he seems to be forcible,

all this

although his style

force.

force also, like the

said, that

'

a brief

the message of

Dionysius at Corinth.'

expanded the thought

had

is

Prolixity
in

at

full

Dionysius has been deposed from his sovereignty and

now

If

saying

length,

is

a beggarly schoolmaster at Corinth,' the result would

have been a

bit of narrative rather

The Lacedaemonians had

242.

brevity of speech under

more

than a taunts

forcible

all

natural

circumstances.

Brevity

and peremptory, while prolixity

is

turn

for

indeed,

is,

suited for

begging and praying.

243.

For

this reason

symbolic expressions are

as resembling brief utterances.

We

are

left to infer

of the meaning from a short statement, as though

forcible,

the chief
it

were a

Thus the saying your cicalas shall chirp

from the ground is more forcible in this figurative form

sort of riddle.

'

'

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.

looseness of structure
^

Cf. 8 supra.

is

The

periodic form

is

forcible,

while

more naive and betokens an innocent

2

Cp, ^^, joq supra.

AHMHTPIOY UEP\ EPMHNEIAZ

i82

pov

/cat -^rjcrTorjOeias

Tov pvOfxov,

/cat

Trdcra

/cat /carac^evyetz^ jutaXtcrra

roiv

ovv kcoXcov at

ojixoXoyrjcra totjtol^,

w? av oto? re

inl TTjv vvv Kare^ovcrav SeLvoryjra.

Totaurat

OLTrodicrei^,

crvvepeivj c^ovrai fxaXiara ov elpiqKa pvOfxov,

ft),

246.

8e Ttz^a

Ilotet

/cat

oicnrep at di^cofiaXoi 680 1.

TO

tj

/Sua

ydp TToXXaypv

heivov

heivoTTjTa'
10

dp^aCa

rj

^ncrre Iv SeivoTrjTL (l)evyeLv Set to ap^atoetSe?

245.

Kol Tov TjOov^

5

KaOdirep

crrjixeiov,

dnXoLKol yap ol dp^aioi.

ipfXTji/eia'

Kara

/cat

ttjv

to

avvOecriv

Svcr(f>0oyyov,

TrapaSeiy/Jia to AyjfjLOcrOevLKOV

u/xas TO Souz/at vfjuv efet^at.'

'

Ta

247.

Se oLVTiOeTa

oyKOv ydp

(j)VKTov'

/cat irapofjiOLa

TroiovcTLVy

ov heivoTiqTa, woXXa^ov

8e /cat xpv^poTTjTa dvTl Setz^oTT^ro?, otoi^

15 /caret

SeivoTTjTa,

TTfv

Xeyoiv,

'

6 eoTTO/iTTO?

&)?

eTaCpcov tcjv ^lXlttttov Xeycov eXvcrev ttj dvTi-

rail'

Oeo-L

iv rat? TreptdSot?

'

dvSpo(f)6voL

Se ttjv ^vcfiv ovTe^y

tov Tponov rjcrav'

dvSpoTTopvoi

ttj

ydp

Trepicr-

croT)(yia, fiaXXov 8e KaKOTeyvia, Trpocriyoiv 6 aKpoaTrj^

^(0 yiverai

lioXXd

248.

20

6vp.ov iravTO^;.
fJLPTOL VTT

avTCJV TOiv wpayfJidTcov ojonrep

dvayKacrOrjcrojjieOa crvvOeivai (TTpoyyvXco<; /cat Seuvcos, olov

TO Arjfjioo'OevLKOv to tolovtov,
idXo),

cri)

Tct8'

ovk dv

dXXo<; ov ypdxfjeL'^
25

avTOv

crac/xys

TToXXot?

et Tt? eKeuvcov

Trpdy/Jia

ecr^ev

/cat

raft?

rj

avvOeo-LV,

Tr)v

/cat

paSico<; eTepo)^ crvveOrfKev avTO.

vtt'

t^cnrep

avvTuOefJiev,

Trpdyfjiao'L

/cara^acrets Tpi)(pvTe^,

yap

ouro)? av crv vvv aXws,

avTO ydp to

o-viJi7re<l>VKv2av

ydp

(ocnrep

eypaxjjaf;'

ovhe ^Lacrdfjievos dv rt?

iv

'

ol

Ta5

avTcov iXKOfievoi tcjv irpay-

fxdTCOV.

HOLTJTLKOV 8e 8Lv6Tr)T6s icTTL

249.

30

ol dpxo-Toi]

lituram scripto.

Spengelius, apxatoi P:

T^v dvrideaip in margine P.

Td5'

Demosth.

23

<r>

27

(Twrldeixev

fort, apxaioi.

/card bis in transitu

15

<ri)

versuum

21 a-rpoyy^Xojs,
5' P.

25

v posterius in rasura P.

/Cat

14

scripsit P.

TO

CTTt

deiuorrjT*,

er^pwi' P.

TcXct
supra
16

<rrj

a posterius supra versum addito, P.

a-v/jLTr<pvKv'iav'\Wictori\is, av/JLire^vKVia

F.

DEMETRIUS ON STYLE
This

nature.

is

183

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

Now, for the members, cadences of the following kind,

have agreed to plead, to the best of my ability, my clients'

goal.
'

keep closest to the rhythm I have mentioned.

Even violence conveys a certain impression of

case\'

246.
energy

in

composition.

Yes, in

many

passages harshness

we were jolted
Demosthenes' words are a case in point
'(he has deprived) you of the bestowal you of the pregives

the effect of vehemence; as though

all

on rough roads.

2.'

rogative

247.

We

should avoid antitheses and exact parallelisms

of words in the period, since in place of force they render the

style laboured

and often

when inveighing
invective

by the following

they were men-harlots

attention

frigid.

fixed

Theopompus,

for

example,

against the intimates of Philip, enfeebled his

on

this

antithesis

in

life^'

'
:

men-slayers

The

elaboration,

or

hearer,

rather

in nature,

having

his

affectation,

forgets to be angry.

248.

We

by the

shall often find ourselves constrained

very nature of the subject-matter to construct

sentences

which are rounded, indeed, but forcible too, as in the following 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
This particular arrangement obviously grew
in future ^'
naturally out of the subject and the order of words evoked
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,

by

just as

though we were running down a slope.

It also conduces to force to place the most

249.
^

Cp.

Theopomp. Fragm. 249

Demosth. Aristocr. 99: cp. 31 supra.

10, 20, 31 supra.

3
:

cp. 27 supra.

Demosth. Lept.

forcible

init.

AHMHTPIOY nEPI EPMHNEIAI

i84

TiOivai TO Seivorarov'

Trepikafx^avofJievov

Kaddirep

afil3\vvTaL,

6SvP7J(TL dvOpa)7ro<;

to

/c

^AvTicrOevov^,

dvOpoiiro^

ohvvTjo-eiJ

yap

ovSe iv

yap

/xera-

Ik (j)pvydvo)v di^acrras

KaiTOi tovtov

*H Se dvTiOecri^,

eliroiv

ov TavTOV ert

tov 0eo7rd/x7rou

rjv iirl

ecj^rji/,

^rjiiocrdeviKol^ rjpjjioo-ev, ev6a ^rfcriv^ ^ereXei?,

To2<;

eSiSacTAce?, iyo) Se icfyoLTcov

iyo) he eTeXovfjirjv'
iyat

10 vicTTeif;,

yap

Xeyeuv.

vofJLLcrOrjcreTaL

250.

iv fiecrco

cr^eSoi^

(jypvydvcov dvaa-Tas'' el

(TvvOeiy) rt? ovTOis avTo, ^cr^eSoz^

5

yap
'

Se

e^e7mrTe<;,

eOecofjLrjp-

KaKOTer^ovvTi yap eoiKev hid

eyco

eTpiTayo)-

he ecrvpiTTOv'

ttjv dpTaTToSoaLV,

fiaXkov

Se Trait^ovTLy ovk dyavaKTovvTi.

251.

Se

TlpeireL

heivoTrjTL /cat Totv

ttj

irepiohctiv

TrVKVOTTj^, KaiTOL iv To2<; XoLTTols ^apaKTTJpcriV

15

Seta oScra* crui^e^ws

yopiivG)

Kal tovto

icfie^rjSi

252.

cScrre

iTTLTrj-

Seti/aJ /xer/ooj,

TLve<?, eirei

cocnrep ol ^wXta/x^ot.

ea-Tcoaav

Kal

o-vvTopLOL,

tol ttoX-ukcoXol ye ovcrai AcaXXo?

Trape^ovcTLV, ov SeivoTrjTa.

253.

20

OVK

TiOep^eviq jxeTpco elKacrOrjO-eTai Xe-

pievToi irvKval

"Afia

Xeyco Se St/ccoXot

p.dWov

yap

rj

OvTO)

S'

7)

crvvTopia

^apaKTrjpi ^prjaip^oVy

iroWa^ov SeivoTepov, Kaddirep

aTroaioiTrrjcrai

fcat

'd\)C iyco

6 Ar}p.ocr6evr}S'

to)

ov ^ov\op.ai Se Svcr^epe?

/xeV,

ovSei' elirelv, ovto^ Se eK Treptovcrta? KaTiqyopel!

cr^ehov

o cna)7rrjo'a<; evTavOa heivoTepo^ iravTo^ tov eiTTovTo^ av.

254.

25

Kat

vr)

Tov^ Oeovq a^ehov

TToXXa^oi) SeLvoTT)^; ecrTi heivoTepov

TO

S'

\_av\

yap to

Kal

rj

da-dcjieLa

virovoovp^evov,

e^anXcoOev /cara^poi^etrat.

255.

^Ecrrt S'

oTTTj

KaKO(f)(ovLa BeivoTrjTa Trotet,

/cat

/xaXtcrra, idv to vTroKeipievov irpdyp^a Sey TOLavTrjs, a>cnrep

30

TO OfJLTJpLKOV, TO
Avdpojiros in
(ppvydvcov in margine supplevit P.
dpouTTiLS
5
3, 4
10 eaijppiTTov P.
68vv7i<Teie P.
compend. et ras. P. dbwrjaei dedi
deivCj fiirpwi supra Coairep
15. 6 Xeyoixivw P.
15 cwexwj] edd., <ruvex P.
ye]
iroXtj supra versum scripsit P.
iroXt/Ku^oi
1 8
scripsit m. rec. P.
:

Goellerus, re P.

24

eodem compendio quo

-ej/oi'

6]

Weilius, ws P.
v.

29

infra.

&,v

seel.

edd.

27 i^airXudh

ev

242'

DEMETRIUS ON STYLE

185

If this be surrounded and enveloped,

Let the following sentence of Antisalmost torment will be caused
thenes serve as an example
by a man from brushwood started \' If a writer were to
change the order thus, 'almost will a man from brushwood started cause torment/ he will be saying the same
thing but will no longer be believed to be saying the

expression at the end.

point

its

is

blunted.

'

same.

250.

Excessive antithesis, already condemned

case of Theopompus,

is

in

the

out of place even in Demosthenes, as

You were

was

in the following

passage

you

attended classes; you took minor parts in

taught,

the theatre,

The

'
:

was a spectator

initiating,

you broke down,

initiated

hissed

'''.'

elaborate parallelism of clauses produces the impression

of false artifice

251.

An

of

trifling,

rather than of honest indignation.

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

many-membered

{of two members, say), since

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
;

The

reserve is here more

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, especially if the subject requires harshness of sound, as in Homer's

a great advantage^.'

a.t

orator's

effective than

line

"^

Antisth./ra^w. 67, Mullach F. Ph. G.

Demosth. de Cor. 265.

Demosth. de Cor. 3, dXX'

Tov \6yov, ovTos

5'

iiiol yukv

oi

il.

p.

286.

^oiiXo/xai

iK irepiovfflas fiov KaTTjyopei.

dvax^p^s direiv ovUv dpx^/J^vos

AHMHTPIOY nEPI EPMHNEIAZ

i86

Tpwe?
Tjif

yap kol

jxev

T/oft)e9

aAA
5

OUT

6(f)ov'

ev^cDvoripdi^^ elirovTa crcocrai to fjuerpov,

ipptyrjaav, otto)?

S'

aloXov

6(j)iv

elBov'

o Keycov oeivo^ ovtcos eoogei^,

az^

ovre o

091?

avT09.

256.

dXXa
yivero
10

av eypaxpev

he'

rj

'

oTov

TO

'

TOV

ovK

're*

KaiToi irapayyiWeTaL
oXka 7ro\\a)(ov ^pT/crt/^o?
'

av

rfTLfxao-e Se,'

dXX' iv fXV ToTs

eU tovs

17

w?

0/X7^pi/COt9

avvSecrfJiov^ TeKevTTj.

wSe

ttotc Kal BeuvoTTjTa, et ri?

KatTOi

259.

oXw? ydp

re*'

7rd9 6

eo-Tt

7roXXa;)(ou

Kui'i/cos Tpoiro^;,

Tnjprj

ottXltov

Ta

Tt9 7at' eVri

&>?

ei^

Tat?

/Cft)/xaj8tat9,

Td KpdTrjTos

yLtecrw

olvotti Tv<f)(p.

eVt

'0Xv/x7rta,

eV

avT09

lTTiTpi)(0)v

SpafjLOVTOf;

7rat8td9 Trapa/xe/xiy-

e/c

tis, of01^

Kal TO AtoyeVou? to

260.

ovtoi

e<jTiv,

ivavTucoTaTOL Sokovctlv.

SeLv6Ty)<; ifXifyaLvofJiivrj

IJiV'rj<;

Xciott^? /cal to

17

ou Setz^oTi^TO?

tSta,

yXa(f)vp6Tr]T0<;

ot yapaKTTJpe'i

VLKOLV

rj

YioiTjcreie 8'

TOiavTr) av yevocTO,

a^iov ovTa,

T,

lepd re rd ocrid

evrjKoov

25

tov

aveTpexjjev 8e vtto T779 a<l)po(jvvrj<^ re utto T179 dcre^eta?

re rd

/cal

fxiv,

ev(j)7jiJbrjG'

258.

10 8'

ov irape-

(^vyeiv ttjv olttoXtj^lv

jJieyeOos iTroirjcrev

'

'

toL

rov

/Aei'

'ATToXTyyoj^reg Se ttotc Acai ets crvvhecTpLOV^;

^^olvOV T %K(0\6v

eiTTot

avri Se rov

eypaxpei^ avy

'

dz^rl

oloi^

irapeyivero ov\i.

T7)v ToiavTYjV'
'

'

o/xota,

tol

'

257'

ovy iiropLevoL rw TrapaSeiyjJiaTL kol

ToiJT(p

TTpocro'TO'^ao'oiJieOa

'TTOLvra

15

ipplyrjaav, otto)? iSov aloXov

S'

'OXvjLtTTia irdvTa^ dvOpcoirovs

tou

oVe

eavTov

eKijpvTTev

KaXoKayadia.

ydyo yeXo-Tat to elprjpievov dfjia /cat Oavfid^eTai,

fcat

/cat r^pip^a

KoX vTTohaKvei ttw? Xeyopevov.

4 6 ante o^ts add. Finckhius.
8

XacrdfJ-eda P.

lo

o"?;

in

margine P.

atram. pall. P.

13
17

supra versum add. m.

Victorius,

Travra

ykp P.

A/'
''7

irpocrcrTOxoi-o'ifxeda]

Goellerus, irpoaro-

^ypa^pev ^ypaxpev hv] edd., irdvrwv ^ypaxpev &v P.

inserui.

14

<r<fcDXo'

a supra Versum add.

dv^Tp\pv'] Weilius, du. ^ypaxj/ev P.

rec.

P.

tj)0v] Victorius,

24
irbpTifi

Tn/jpr]]

P.

Victorius, to

28

21

TraiStSs: as

iror-qprf

irpbi to P.

P.

ya,V'\
|

DEMETRIUS ON STYLE
Then shuddered

187

the Trojans, beholding the writhing serpent'.

would have been possible to construct the

It

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 experiments, such as the order ejpayjrev av in place of (iravTa)
av

ejpa-yjrev

257.

or irapeyivero

ov^^^l in

we

In this style

the conjunctions he or

we have

shall, also,

sometimes end with

notwithstanding the instructions

re,

received to avoid terminations of the kind.

endings are often useful, as

or

elevation

as

is

in

the words

'

He

Such

did not praise

he insulted him, on the contrary

Schoenus too, Scolus too^.' In
the result of ending thus with conjunc-

him, though he deserved

(yTi/uaae 3e)"';

Homer

place of ov irapeyevero.

it

in

'

tions.

258.
kind

'
:

He

Force of style will also mark a sentence of this

turned upside down, in his folly and his impiety

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
too, things sacred

Comedy:
There

260.

lieth

a dim land under a lurid smoke-pall smothered^

So with a saying of Diogenes

(at the conclusion

at

of the race between the

Olympia, when
in armour)

men

he ran up and proceeded to proclaim himself victor at the

Olympic games over all mankind in high personal character.
This exclamation excites mingled laughter and applause,
and there is a light touch of mordant wit about it too.

Horn.

''

Cratetis/ro^w/.

//. xii.

208.
7,

Bergk^.

Scr. Inc.

Horn.

//.

ii.

497.

AHMHTPIOY HEPI EPMHNEIAI

i88

Kal TO

261.

yap

TTokaioiv

/caXw

koKov prjOev

Tov

7Tp6<;

AtoyeV?^?

TratSt

alSolov, TOV Se TratSo? (jyo/BrjOevTOs

'

Odppeiy

ovk

iraihiov'

a>

262.

/cat

yap

eot/ce to)

^prjcrovTai

e)(pijcravTo, Avcrta?

ort

yekoZov yap

KevOojJLevrj

tj

ifjLcfyacns.

Kwikov

-^s yootor 77^

ot pijTopes iroTe,

/cat

epwvTa

Trpos roi^

/xez^

haKvovTi.

/cat

avTco

S'

dpiOpLTjcrai tov<; oSoz^ras

8e TO

'

OvTiv

/cat

ypao<; Xeycov,

Trj^

'^

rovs Sa/crvXov?-'

Seti^orara a/xa /cat yeXotorara iv(f)rjvv ttjv

'^OfjLrjpo^

to

d7roTrr}S7](TavTO<^,

/cat

crvveXovTL (fypdcrai, irdv to etSo? tov

oXcos,

Xoyov aaivovTi a/xa

10

8'

irpocr-

ttw?

SieKLvijOr)

elpl TavTT) o^jlolo^'

TO Trpoyeipov tov \6yov, heivrj

/cat

avTcp'

iyo) irvp^aTov eSo^utat,'

a)S

ypavv
irpoyi-

ypaiTTai.

263.

*fl? S'

15 Xe^ojJLev.

e/c

az^

ovoixatpjjiiviqf;

TToXet?

Ta9 eVt 0^01/079

eoi-'

/cat

8vo

/cat

rouro t9

yctyo

ej^

^"OXvvOov

ovtcx)^'

/cat M.e6(i)vr)v /cat 'ATroXXwt^tai^

Srj

heivoTT]^,

^ei^ ouz^ roii^ T179 8ta^'ota9 (r^rjfjbaTCJV, eK fxev

TrapaXeLxjjeoJS

tt}?

a^iiaTOiv yiyvoiTO

/cat e/c

fxev

TpiaKovTa

/cat elpiqKev
\

20

SeLvoTepa

Kat

265.

266.
ort

/xeV

tov Xoyov.

ai'

Sta^ota? 77^09

o-^rjfjia

/cat

Xeyeiv TdSe

Xa^ovcrav yvvaiKos

8ofaTe
TLpd

ecTTe

o-abouTi:

TraTepcjv

Xeyeiv,

prius in ras P.

P, 5e('6raTa...7tXot6Tara
P.

12

oijTiv

17

fiodwv-qv P.

irp'' 7) dpyjfjAvTj

dXXd

14, 15

(a... a

22

e/c

/cat

ov/c

v/xti'

ttjv

e/c

'

cS

7ratSe9,

tot)

t8tov

rov t(ov TraTepcop' ttoXv yap

10 pdSiov F.

11

div6raTov...ye\oi6TaTov

supra versum pallid, atram. scripto) m.

yi'yvono...<jxrilJ'dTU3v in

dTToXwj'tai' P.
I

P.

dya6a)v/

rj

cr^Tj/xa.'

'^flairep iv tco eVtrac^to) liXaTOiv to

Trpo(T(iiTTov

oveihit^eiv

T7)v TraTpiSa,

-^

8*

a^rou

aTrocrtwTTT^crt? roi)

7rpocr(i)7T07roua KaXovfxivrj, olov

17

Trpoy6vov<^

*EXXct8a

8'

rroirjo-ei

UapaXafji/Bdi'OLTO

8t^'orT7Ta

&)? 243'

<j)r)orLv,

erepa.

TTpoeiprjixivr)

SeuvoTepoy

i^ofjievrj

riOov<i

T0V9

77

TrapaXnrelv avToi

/cat

eiTreiv )(0)v

264.

25

i^ovXeTO,

ocra

TTOLVTa,

21

margine P.

i6

rec.

TrapaXifjipeojs

Kai ^ irpoeiptjixhri] Finckhius,

^dovs] Victorius, ^dovs P.

24

i)

ins.

Hammerus.

P.
P.
fcai

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

match

my

fear,

dear boy,' he exclaimed,

There

that way.'

in

is

am

not your

wit in the ready reply and

And

point in the hidden meaning.

'

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

this weapon of sarcasm.

Witness Lysias and his
remark to an old woman's lover that it was easier to count

employed,

'

He

her teeth than her fingers\'

in

has represented thegrandam

a most repulsive and a most ridiculous light.

Homer

with his already quoted words

We

263.

the speaker's
called

'

Noman

So, too,

will I eat lasf^*

next show how force can be secured by

shall

rhetorical figures.

'

can be secured by figures conveying

It

Take,

thought.

praetermission,' e.g.

'

for

instance,

that

which

is

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

proceed to weightier matters.

his desire to

The

264.

figure

'

aposiopesis

'

already mentioned, which

partakes of the same character, will also

more

make

expression

forcible.

265.
popoeia

'

Another

figure of thought

the

so-called

may be employed to produce energy of

the words

'
:

'

proso-

style, as in

Imagine that your ancestors, or Hellas, or your

woman's form, should address such

native land, assuming a

and such reproaches to you^'

266.

Plato

uses

the figure in his

Funeral Oration

'Children, that

you are sprung from noble

does not speak

in his

own name, but

Lys. Fragnu (cp. 128 supra).

Demosth. Philipp.

iii.

26.

Inc.

He

in that of their ances-

jjom. Odyss.

* Scr.

sires, etc.'"^

ix.
^

369: cp. 130 supra.

Plat.

Menex. 246 D.

AHMHTPIOY HEPI EPMHNEIAZ

190

ivepyecTTepa kol Seivorepa c^atj/erai vno to)v TrpocranrcoPy

fjiaXXov Se Spa/^ara dre^^z^w? yiverai.

267.
/3dvoLT
5

To,

av,

elSr)

iJikv

Siavoias kol cr^T^/xara Xa/x-

Trj<;

yap Tocravra

kol

elpy)Tai'

0)9

Xefews

7rapaSeLyfjLaT0<; eVcAca, to, 8e ttJ?

icm

Xcorepov iKkiyovrd

yap TO

ovofxa SeivoTrjra

268.

10

Kai Ik

rj^ai

Se,

cravTov /caXets, eVt rou? i^o/xou? /caXet?,

KpaTiav

/caXeis*'

icTTLV,

irravai^ip^crOaL

Xe^LV

avTTjv

to

o-xrjjjia

ttXovv Kal yap i7rava(j)0pd

15

XevTov hid ttjv diroXri^iv tov

'

ctti

TjOpOlCTTai

i.K

'

inl

St^/io-

t'i^i'

elpiqTai, hid

8'

to

ttji/

dp^v,

avT7)v

/caXel?

TOiV TpiCJV,

'

/cal

Kal

ofxoLOTe-

TroXXd/cts.

'

17701

/cat

TIS OVTW?,

eVt (ravTOP Kal tov^ v6p.ov^ Kal ttjv hiqixoKpaTiav /caXets,'

d/xa rot?

269.

20

TrjT0<s

ydp

MdXtcrra 8e

crvva(l)67j

ovS*

^evcra

to

ovk

drix^us P.

^(rTiv,

crvvhecrixois,

ovk

elirov

wpaoTepa

fxev

3
1 1

'

el

ecrrai.

TavTa,

ovk

eypaxpa

ovo

he'

eTrpecr-

ax^hop ydp eirava-

fiei^opcov

fxei^opa-

el

he

elncov iyco Kal ypdxpa^ irrpea^evcrd

Xa/x^dpoir'
kirl

eirl

'

/cXt/xa^ KaXovfJuevr], cocnrep

eireicra he Srj^aiovs''

v in transitu versus bis scripsit, prius

tamen

rovs vdfiovs KoXeis ex Aesch. C^es. supplevit Victorius.

16

wj] Victorius, fo-ws P.

24

(Tavrbv] Victorius, ivavrbv P.

fih in margine add. P.

tj

ovk eTrpea/Bevcra

/leV,

TavTa,

V postea delevit P.

13

'

TLvOoKXei'

icra /3aivo)v

i7rirjpK(o<;,

Xoyo^ eoiKev

ovT(o<s eiTTOi Tt9

iropeverai hid ttj^ dyopd<; Td^ ypdOovs

TavTa

eypa^a

/xeV,

l^aivovTi

TrdvTCDV laTeov tt^v hidXvcriv heivo-

AafJi^dvoiT dv Kal

Ar)iJioa6evi
he'

oc^pvs

Td<;

270.

i^aipijcrei Kal ttjv Seiv6T7)Ta.

crx^y/^cto-t^'

ipydTiv, olov

(l)vcr(ov,

25

ct>9

ttjv

iirl

to

o)<;

elprj fxevov tovto Tpi-

d(TvvheTov' St^a yd/o crvvhiayioiv XeXe/crat,

Seil^OTT^g

hiKoyqOkv

iTOiei.

TTJs dva(j)opd^ AcaXov/xeVT^?,

to 8e

e/c

^rj^au, ttoXls dcrrv-

'EXXdSo? dvyjpTrao-Tar'

rrj^

jJL4arj<;

o")(ijfxaTa ttolkl-

(^eivorepov iroieiv rov \6yov,

re TT^S dz^aSiTrXwcrect)?, cos

yeiTCJV, iK

elpiqixeva

tol

27

/caXets]

KXi/xa^ in

edd., /coXeto-^ai P.

margine P.

&d7]vaLovi P.

26

oi)5'

18

iirl

iirpia^evaa

II

DEMETRIUS ON STYLE
The

tors.

makes the passage much more

makes it quite dramatic.

personification

vehement and

191

forcible, or rather

The forms and figures of thought will, therefore,

in the way described
the instances cited may
As for the figures of language,
serve as a sample.

267.

be employed
suffice to

more ingeniously they are chosen, the more forcible can

Take the figure 'reduplication,' as for
example
Thebes, Thebes, our neighbour-state, has been
the

discourse be made.
'

The

torn from the heart of Greece \'

name has a powerful effect.

268. The same thing

is

the laws you

summon him

summon
is,

him^'

true of the figure

Here the

repetition of the'

clause

an

against

same word

'

against

the democracy you

figure in question

as has been already said, an

anaphora,'

'

summon him

against yourself you

as in the words

'

repetition of the proper

threefold.

is

It

epanaphora,' because of the

commencement

at the

of each

asyndeton,' because of the absence of conjunc-

and a homoeoteleuton,' because of the recurring termination 'you summon him.' And force is the cumulative
tions

'

result of the three figures.

Were we

to write

against your-

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
self

'

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:

did not speak thus, and then

did not

envoy

move

fail

to

a resolution, and then

move
fail

did not act as an envoy, and then

a resolution
act

to
fail

as

an

to convince

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

the

Aeschin. Ctes. 133.

'

Demosth. de Falsa Leg, 442.

"^

"

Aeschin. Ctes. 202.

Demosth. de Cor. ijg.

AHMHTPIOY HEPI EPMHNEIAI

192

re Koi eneicra @T7/3atov9,'

ipel fiovop, Seivov 8e

SiijyrjjjLa

ovSev.

KaOokov

271.

Xeyovri,

tco

eaTL SeuvoTrjTa.

fxev roiv

Aefts Se Xajx^aviado) iracra,

ovk

koX iv

ocriq

Tft>

inl to avTo reXos*

IxeyaXoTTpeneL ^apaKTTjpi,

TrXrjp

Koi yap

Seuvd iroieiv, w? to 'tS UvOcjvl

fjieTacjyipoi'Td icTTL

Opaavvop^evo) koX ttoXXw peovTi Ka0* vp^covJ

Kat

273*

TOUTO TO

wairep

olov to

prJKOf;,

'

TToXei KlvhvVOV

tt^

Seti^oTT^Tt

ov/c CTTtTT^Setat

cjcnrep Se kvo)v yei^i^ato?, aTretpo?,

yap

dTTpovorJTO)^ inl Kairpov (^epcTaf' KdXXo<;

)Seta Tt9

e^'

)8ouXeTat

27520 axTirep

TOUTOt?

/cat

Ttz^eTttt

koI

e/i,(^atz/eTat,

avvTopov,

rj

Se

napd

KoX

TrapanXrjya^

Se

/cat et Tt

Ste^tacraTO,'

dnovoia<;

fteTct

Xa9paio)<;

'

TTpTr6vTCo<;

27

navovpyia Spd(fyavepois

/cat

i^eKO^ev, l^elXevJ inl Se tov SoXtw?

/cat

CTrt

iTpvnrjaev^

rj

'

Stec^vyez^,'

-i)

/cat

el tl toiovtov npocr-

ex ddrjvaiovs P.

'

TO extra lineam

77

in rasura P.

ex

/i6i'oi'
|

additum

Xa^pa^ws] Victorius, Xddpa

:

^ta

Xiyetv

driPaiovi

t6t'

TTp-a

aXXo toiovtov

TTOtet

277*

12

Tr)v

npdypacLv ovopa.
To Se i^aipeaSai ncos Xap^avopevov ov peyepovov, dXXd /cat Seti^oTT^Ta, 0)9 to ov Xeyetj/

<f)opov TOts

^os

'

Se tou

'

Tt? evpoL ToiavTa.

di^

ovopaTa

Tct

T0t9 TTpdypacriv, olov inl pev tov ySta /cat

25 craj/T09

Seti^oTi^?,

crvvTidrjcTLV Seuvcos iroXXd,

crvvijOeia

UeLpdo'daL

ttXitittovctlv eoiKev.

avvOeTov ovopaTOS

TOts prjTopaL Se TToXXa

276.

/cat a/cpt- 243^

Se Setz^oTT;? cr(f>oSp6v tl

17

eyyvSev

/cat

/cat e/c

'^apaiTiJTrrjv' /cat 'Tot'

At) p.ocr0vov^,

TTj

ilTLOVTa

v(f)os.'

At 7rapa/3oXal Se

274.
8ta TO

TOZ^ TOT*

iTTOLYjcrev,

w? to

XiyovTa,

et/cacria?

l//T7<^lO-/i-a

TTapeXOeiv

30

to

jidkiCTTa

nepl

/cat

Tocravra.

dfji(f)OTp(t)v

272.

15

irapi^ei

SiaXeXyfievov, tovt
crxy)iiaLTO)v

10

aycjva

KOL

KpucFLv

8e rrj^ Xefews ra cr^cif/iara kol vtto-

cos

/ndvutv

est in P.

P.

P.

deivQv P.

1 1

et e//cd<reiay

P.

25 5ie/3iao-aTo] edd.,

5tej3ij8a(raTo

P.

St^^iryci'] edd.,

dUtpayev P.

30

5eii'6-

DEMETRIUS ON STYLE
convinced the Thebans/

would be a mere

it

with nothing forcible about

271.
in

193

recital of events,

it.

In a word, the figures of speech help the speaker

delivery and

of abruptness,

in

in

debate

lending especially the

other words, of energy.

With

both kinds of figures what has been said must

272.

suffice.

same kinds of

In the forcible style the

effect

regard to

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

'
:

caused the danger which then threat-

this decree

ened the city to pass by

274.
owing

like a cloud

2.'

But poetical images do not

to their length

e.g.

'

suit the forcible style

There

of danger, charges a boar recklessly I'

beauty and

demands

finish

about

a certain

vehemence and

terseness,

'slant-shelving,'

examples

may

276.

We

an

air

of

and resembles

also lend vigour, as

those which usage often forms so forcibly,

hurled,'

is

forcible style

at close quarters.

Compound words

275.

But the

this sentence.

combatants dealing blows

hound, ignorant

like as a gallant

and the

be found

e.g.

Many

like.

i^

seen in

'earthward-

equally good

in the orators.

should endeavour to use picturesque words.

For example, we may say of a man who has acted violently

his way through
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

and unscrupulously, that he has elbowed

'

'

of one

'

'

expression

277.

is

equally appropriate to the subject.

discreet

use of elaborate language produces

not only dignity but vigour of style.

^

Demosth. de Cor. 136: cp. 80 supra.

^ Xenoph. Cyrop. i. 4, 21: cp.

For instance: 'You

^

Demosth. de Cor. 188.

89 supra.

R.

13

AHMHTPIOY nEPI EPMHNEIAI

194

X^^P^ ixovra

TTjv

i(T(o

X^^P^ exovra.'

icro) TTjv

Kat TO

278.

FiV^otav eKeivo^ crc^erept-

T171'

vwep tov

dXX'

eTravdcTTacri^,

Alaxivov KaTTjyopLa, to 8e ^iXiTnrov

/cat

10 iKLVO<;

a7ro(^aiv6ixevov

/xt)

TTjv elprjv-qv,

TavTa

GLKOvovTa i^eXeyxofJiepcp ioLKOTa

exovTi' el Se coSe fxeTa^aXojv

ydp,

'H Se Kakovfxevr)

'

'"''

Td^a

Se

ttJ? Setz/0T7yT09,

/cat

/cat

'

'^St/cet

eXue

ecrrt

kpfxrjveia

/i-ei^

av

avjx/BdkoLT

et?

to Atj idLoo-Oevov^;, VdcrT^/xa

V(f)r)fiLo-iJio<;

6 tol

/cat

ri^z^

*EX-

ovx

eot/co?

6 ras Nt/ca? ra? ^yoi;ord9

otl

eiTTev irpox^^pf^^i

ovTO)<;

ret? Nt/ca? ets roz^ woXefJiov

XotSopov^Tt

a>9

KaXovfjievo^ fxeTexoL

eix^yiqixa ttolcov, /cat tol

Sv(T(f)rjjjLa

KaTaxpTjcrOai toIs xPVf^^^^^

^wz^euetj' /ceXevcoz^ /cat

aTroKpivaaOai

iTTijJLOvrj

do'e^yjIxaTa evcre/^T^/xara, otoz^

25 TToXefJLOV

dyei tov

ov/c ai/ ovto)^ rjv Seuvov.

'''

281.

ekvev

rt?,

dv8pe<; 'AOrjvaloi, Seupov ifiTrenTcoKev et9

cJ

XdSa-

/cat

/cat fjirjSev

icjirj

Setz^orr^ra* TrapctSety/xa Se avTrj^

20

eVtret^tcr/xa

et? aTropiav

tov 7rpdyixaT0<;, /xeytcrra Se

TrXeiojv

^v^oiav

7171^

crac^w? StSdcr/cotrt ew/cet /cat ovk iXeyxovTi.

15 tt)!^ elpyjv7)v,'

280.

TTOLcjv r)SLKL,

KaOdnep yap

ov;'

tj

tov<; aKOvovTa<; evua

KaTaaKevdl^cov

/cat

crcj)eTepL^6fJivos

^ATTLKrjvy TTOTepov

7rt T'^i/

yap

(^crirep

Tivo<i'

dXX'

'

i)

yiveTai Se tovto

icTTiv.

^eivov 8e Ka\ to ipcoTcovTa

279*
Xeyeuv,

tov \6yov

Troirjcrai

Seupov.

i^ap64vTe<; KaTTjyopcoyLev

fjiTa^v

eTTOLv

aXA.' 6

'

ov yap virep tov ^xiyav

^ofxevo^'
5

dXXa Trpea^eveiv

Alo-yivr],

Set,

7)z/

'

Svo-cfufjfJiov

rd? ^ed?,
Nt/cat?

avyxpyjcrofjieOa rat?

et?

'

/cara/cdi/zw/xez/

yap av

dXX'

^^^ '^^^

ovtco^ /cat

evfjirjiJiOTepov,.

toz^ rroXefjiov'

otl

ov yap

KaTaKOTTTOVTL xd? Nt/ca? eoLKev ovtcos prjOev, dXXd

crvfji-

30 )Ltd^ov5 yLerairoiovvTi.
ex

^/cetj'os

^/c/*'ws (ut

i^aiped^vres P.
12

icaT7/7opfas P.

16
icei/

ewi/xdvr]

P.

ras. P.

P.

20
30

17

videtur)

A/crx^j/ou

7
of

item

v. lo.

aZs in rasura P.

supra versum add. P.

TrXeZoi'

lacunam

15

^^ap^^vres] Spengelius,

/caTi770/)^a]

in TrXe/wi' atram. pallid, mut. P.

indicavit Victorius.

/xeTairoLovvTi in

margine add. P.

H. Stephanus,

o6k post xai add. Victorius.

28, 29

ou

19
701/)

/x^i'

Wtttw-

KaraKdirTovri in

'

DEMETRIUS ON STYLE
ought not, Aeschines, to

refrain

195

from holding out your palm

palm as an

as a speaker, but to refrain from holding out your

ambassador^'

Nay, he was appropriating Eu278. And similarly

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

279.

and Philip are respectively denounced.

it is sometimes forcible to address

speaking

In

own

questions to the audience without disclosing one's

view.

Nay, he was appropriating Euboea and establishing 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
he was wronging us and violating the
positive statement
peace' were substituted, the effect would be that of precise

For instance

'

'

information rather than of cross-examination.

The

280.

figure called

'

epimone,' which

expression going beyond the bare

is

statement of

contribute very greatly to vigour of style.

mode
fact,

An example

of

will

of

it

Men of Athens, a terrible

be quoted from Demosthenes
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
euphemism,' whereby a man makes inauspicious
is called
things appear auspicious and impious acts appear pious.
A
may

'

=*.'

'

speaker once urged that the golden Statues of Victory should

be melted down, so that the proceeds might be used to prosecute the war.
But he did not say outright, Let us cut up
'

the Victories for the war.'

Such a proposal would have seemed

impious and like an insult to the goddesses. He put it in

the more euphemistic form
We will seek the cooperation of
'

the Victories for the war.'

This expression seems to suggest

not the cutting up of the Victories, but the conversion of

them

into allies.
^

Demosth. De Falsa Leg. 421.

Demosth. de Cor.
* Demosth. de Falsa Leg. 424.
"^

71.

132

AHMHTPIOY HEPI EPMHNEIA2

196

Aetm

282.

Koi

Se

tol

Kairoi l^iov koI

ArjfjidSeia,

aroTTOV Tpoirov e)(eiv SoKOvvra, ecrri Se avrcov

K re

T(xiv

ifKJxio-ecov yivofievrj,

Koi rpirov i^

TrapaXajJL^avofJbevov,

283.

dvSpe^
TO

Oloi^

TO

icTTi

yap

'

'

o)C^v

ov

Kal virep^oXiKOV a/xa, to Se

ificfyavTiKov Trjs Svvdfxeo)^
10

e^et

iKirXrjKTLKOv

^AXe^avSpo^,

ycrOdveTO

dXXrjyopLKOv

'

Ty]v olKovfxevrji^

'AXe^dvSpov,

Trj<;

Xdyo9 r^Opoio'iiivov

(6

rod vEKpov.^

OLKOVjJievr]

rj

tov

olvtI

u7Tep/3oXr}<;.

riOvrjKev

yap av

KOrjvaioi' co^ev

p.v

'

SeuvoTrjf;

rj

ef dXXrjyopLKOv tlvo^

/cat

alcrOdveaOaL
a/xa Se tl

/cat

e/c

Tpioiv

rwi^

irdo-a Se e/CTrXi^ft?

Tov Se auTOV etSou?

284.

15

(f>LcrfJia

ovK

Sdpart

ypd<^(jiv,' /cat

to

'

to

ort tovto to

xpij-

rw 'AXefai^Spov
yap 17 Ma/ceSort/cJ) Swa/xt9,
tS KvkXcjttl TeTv^Xoiixivo)'

eot/ce

'AXe^avS pov,

Kat aXXa^ov

ttov,

'

ov ttjv

TrdXti^,

enl

npo-

dXXd ypavvy aavSdXua VTroSeSe/xeVryi/

to jxev yap ypavv dXXiqyopovv

yovctiv TTjV vavfjia^ov,

TTTicrdvriv poi^oicrav

/cat

dvTi TOV dcrOevrj

20

/cat

eyo) eypaxpa, dXX' 6 7rdXe/xo9

diroXajiXeKvIa tov

285.

244'

(jio/Sepov.

e7retSi7

Setz/oi/,

dhpaviav
CTret

/cai

e^LTrjXov

TOTe

/cpeaz/o/xtat?

ei'

a/xa

tJSt), /cat

e/xc^ati^oz^ ti^i'

avTrj^ VTrep/BoXiKco^' to Se TTTio-di/rjv po(f>ojcraT/,

Traz^Sato'tat?

/cat

Sidyovcrav

dwoXXveiv Ta o-TpaTioiTiKa ^i^/xaTa.

286.

ne/)t

ouz^ T7J9 Ar^/xaSetov

/xez^

TOcravTa, KaiTOi e-^ovcFT]^ tl e7n<T(f)aXe^

25

TiKov

ydp

evecTTL

ixdXa'

dXXrjyopia

Tj

Seti^OTT^To?

/cat ov/c evp^iynqTov

ye

tl /cat ttoltjtlkov tco etSet, et

/cat

vnep^oXrj

dpKei

ttolt)-

/cat e/x(^ao-t9, TTOir^TiKOv

Se fjLLKTOv /cw/xwStag.

To Se KaXovfxevov

287.
j/vi'

briiJ.dd7}s

a^ta in

margine P.

in

margine add. P.

( supra ou scripto) P.

vwep add. m.
dTroXjJeij'

25

eo-^T7/xaTtcr/xeVoi/

pTjTOpe^ yeXotcug iroiovcriv

P.

TO P.

rec. P.

23

29

Srj/xddia

16

19
irTiadvqv

{1761/1/01)5

P.

l>o<pCj<Tav

A*/

supra versum add. P.

TrdXtj'

ex ifxcpabuv P.

in

margine P.

24

ex dyevovs P.

Xdyo) ot

ez/

/xeTa e/xt^ao'eois dyev-

Lhardyus,

7r6Xi']

i/i<f>aivov

dTjfxadiov P.

/cat

ein<T(pa\^s

P.

18

20

pocpoDaav

virep^oXiKuts

22

d7ro\Xj/'] Victorius,

es

supra versum add. P.

DEMETRIUS ON STYLE
The sayings

282.

197

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,

283.

This

of Athens

allegorical

(lastly) to hyperbole.

an example

use of

scented

and hyperbolical

world perceiving

it

of the three causes.

it

284.
I

Alexander

men

not dead,

is

alike

place of

in

'

'

perceived,'

And

is

and the idea of the whole

suggests the might of Alexander.

the words convey a thrilling

since

'
:

or the whole world would have scented the

The

corpse ^'

is

and

effect,

which

is

Further,

the joint result

every such sensation

is

forcible,

inspires fear.

Of

the

same character are the words

that wrote this resolution, but the

ander's spear

'^
;

and these

'
;

war wrote

The might

it

It

'

was not

with Alex-

of Macedon, after

the Cyclops with his blinded

losing Alexander, resembles

eye\'

285.

And

elsewhere

'

State,

no longer the sea-

warrior of the days of our ancestors, but a lean and slippered

crone supping her possets'

figuratively for a
it

Here the expression

weak and declining

indicates in an exaggerated way.

State,

'crone'

is

used

whose impotence

The words supping her

*

and

posset' imply that the city was occupied with feasts

banquets and was squandering the war-funds.

286.

Enough has been

said with respect to the

dean vigour, which indeed has dangers of

There

easily copied.

allegory

is

in its

and hyperbole and innuendo

Next comes

own and

Demais

not

nature something poetical,

poetry with a dash of burlesque in

287.

its

are poetical.

But

if

it is

it.

the so-called

'

covert allusion.'

This

the orators of our day employ to a ridiculous extent, coupling

^

Demad. /ragfftm. Baiter-Sauppe n.

,

p. 315.

AHMHTPIOY HEPI EPMHNEIAI

198

vov^

Kal otov

oifxa

\6yov

288.
5

tovtoiv

EvTT^eTretas

Xeyofxevov,

oXov

/xeV,

KOL KXeofx^poTov koiSoprjaai

yovvTa<;

koX

Kpicrrnnrov

6eXijcra<;, kv hlyivri oxfjocj^a^

KOrjViqcriv

kiri

iroWa^

ws rov kraipov koI StSacr-

StaTrXevcraj/ra?

jxt)

evirperr eia<;

TVkoLTOiv

&)9

^oiKparov^

Seoe/xeVou

kol

rjiJiepa<;,

Se cyjujid ecrrt

avajjLvrjo-TLKrjsy olXtjOlvov

Svolv

fjiTa

KoKov, KaiTOL ou^ 0A.0V9 aTre^oz^ra? 8ia/cocrtou9 crraStous

XoiSopua yap
rpoTTOv.

yap

Karake^as
Kai

ApLaTL7r7ro<;
'

v KiyivTj

^aiverai

t(o

ko lSo prjcr at

ovv

TOV<; fxev

olklvSvi'ov

lctcos

Kal

avTOV

7TpdyiJLaT0<^

rovSe tov

Traprjcrav,

Alyivrj rjaav'^

kv

ovk eLTrev

ttcos

kTravepojTrjdei'^y

yap ra

Trdvra

fxev

Sw-

rov^ wapovTa^

^aiScoz^

Kkeofi/BpoTo^;

ov^L TOV kiyovTo^.

Kal

eKacrrov,

ycLp Tjcrav

koyo^ BoKL TOV

evTrpencos 8e

6 Xoyos'

rjv

ipojTrjdelf;

Kal

KpoLTTj,

15

ravra iravTa hiapprjZiqv

^KOrfVcov.

ra)^'

10

'

ou,'

el

KaX

(f>r)crLv,

7rpoipiqp.iva eyu-

irokv

Setz^ore/ao?

ififfyaCvovTos to heuvov,

tov 'ApCorTLTnrov

d/x<^i

ovto^

ev

cr^Ty/tart

YlkoLTOiv ikoiSoprjcrev.
20

289.

IloXXa/ct? 8e

7rpo9 Tvpavvov

r)

TLva OLakeyofxevoL Kal oveihicrai

dkko)^ ^iaiov

r)

oyo/xwi^re?

-^prj^ofiei'

ef

avayK7j<5 cr^T^/xaro? Xoyov, &)9 ArjfMrJTpLOS 6 '^akrjpev'^ tt/jo?

KpaTepop TOV MaKeSova inl

fjLTeo)pov,
25

SexofJievov

Kal iv wopcfyvpa -^kaviSi, Kal

ras Trpecr^eias

etirev oveiSicrTLKcos, otl

TO)

TOVTov

wacra

ri

P.

15

rb Xeyd/xevov

margine P.

24

yap

VTrep7j(f)avLa

7)

cr-xvixaTLcra^;

tco SeuKTLKCo

tov

KpaTepov

8ia\6aaPTas rbv ^repov, irXev supra Xu

ws add. Victorius.

dpicTTiirou P.

22

t6 P.

17

ttoi (h. e. iroios) Arjfii^Tpios

-xXavih,

(accentu non mutato) P.

virepiq^dvcxif; diro-

'Fikkrjvojv,

iv cr^iJiJLaTL,

margine P.

e(p) scripto, P.

KaOe^ofxevov

VTreSe^dfjieOd iroTe irpecr^evovTa^;

iiJL(j)aLveTaL

ajveiSicrfJievr)

supra

(TTLiros
(Tt;

'

irepl iXTjOeias in

et at

'

tcov

TOvcrSe Kal KpaTepov tovtov^ iv

r)iJiL<;
^

'^pvcrrj^ Kkivr}^

fxv

supra
27

;'t

dwixovra P.

dpi-

\6yov] P'inckhius, BXov P.

Kal tLs 6 rdde ypdcpov (leg. ypdcfxav) in

26

scripto P.

rdvde P.

28

tiTretj/

corr.

rd tovtov P.

in

e^Trei'

DEMETRIUS ON STYLE
it
*

199

with low, and (so to say) suggestive, innuendo.

covert allusion

depends on two conditions, good

'

The

true

taste

and

circumspection.

Good

288.

taste

is

shown

desires to reproach Aristippus

in the

'

Phaedo,' where Plato

and Cleombrotus because they

were feasting at Aegina when Socrates was lying

days imprisoned at Athens, and did not cross to

for

and master, although they were

friend

from Athens^

He

has not said

that would have been an open

Phaedo

reserve as follows.

He

is

less

visit their

than thirty miles

express terms (for

all this in

reproach), but with fitting

asked who were with Socrates.

enumerates the men one by one.

Next he

owes

*
;

its

passage

by the

they were in Aegina.'

point to the words

is all

the

fact itself

more

forcible

'

asked

is

whether Aristippus and Cleombrotus were present.

answers

many

No,' he

Everything that precedes

they were in Aegina.'

because

its

point

is

The

conveyed

So, although he

and not by the speaker.

might no doubt have reproached Aristippus and his companions without incurring any

Plato has done so under

risk,

cover of a figure.

289.

Often

in

wise ungovernable,

language

if

addressing a despot, or any person other-

we may be

driven to employ a figure of

we wish to censure him. Demetrius of Phalerum

way with the Macedonian Craterus who was

dealt in this

seated aloft on a golden couch, wearing a purple mantle and

Making

receiving the Greek embassies with haughty pride.

use of a figure, he said tauntingly

ceived these

By
is

men

as

'
:

We

ourselves once re-

ambassadors together with yon

the use of the demonstrative yon

all

Craterus'^.'

the pride of Craterus

indicated and rebuked in a figure.

Phaed. 59

Plat.

Demetr.

c.

Phaler./;-a^;//. 7, C. Mliller Oral. Att.

ii.

p. 476.

AHMHTPIOY nEPI EPMHNEIAI

200

Tov avrov

290.

^lovvcriov xfjevcrdfievov

Ukdrajv ovSev

yap

Kol

UoXka^rj
iOiXoL

eot/ceVat et rtg

TTcto-a

yap cr^eSo^
^ire

10 7rape)(0i,

15

jxivTOL

iTreihrj

Xoyos

tl

cj^ei

crot

6eov<^.[

/cat

019244'

eTra/xc^orept^oucrti^-

[^eXot

tou Atcr^^tVov eVt rou TT^Xavyovs*

Trept roi^ Ti^XauyTJ

diropiav

StT^yT^crt?

^kevacrpos icm.

etre

S* az/ rt?

KaiTOL

to

Se

ovk ov e^ei

elpcoveia

olov

/cat kripoi^ o-)(rjpaTi^eiv,

aKovovcriv ol SwdcTTai

0,1780)9

avTOiv

crTt8e9 TOi

eyw

tovs

vi)

/cat xjjoyov^ et/catoi/zdyov? eti^at

dptpC/BoXov,

Awatro

292.
ovTOJS'

'

elpcovetas epcj^aauv.

/cat

opct)S

kol

on

dcrc^aXe?.

/cat

Oavp^acrfJios

et8o9

TOtouTOJ^

Tivd

17

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i^evo-fievo^s,

TrapctSety/xa to

Tt?],

crv

a)iJio\6yr)0'a,

ekrjXeyKT ai

291.

apprjcrdfjiepov,

/cat

fjieyaXelov a/ia

5 cr^TJjLta

kol to UXdrcovo^ irpo^

etSoi;9 ecrrl

Svi^a-

/cat

dpapTijpaTa, TrapaivovvTe^ avTol<;

prj

dpapTdveiv ovk ef evdeia^ ipovpev, dXX' ^rot eTepov^

xjje^opev TLvas tol opoia 7T7roir}K6Ta<;, otov 7Tp6<; Alovuctlov
TOV Tvpavvov KaTOL <l>aXdyot8o9 TOV Tvpdvvov ipovpev

^aXdyot8o9 dwoTopCaf;'

T7J9

tj

iiraivecropeOd Tiva^ Aiovvcriq)

ivavTia TreiroLiqKOTa^, oiov TeXcjpa

20 ret

lepcova, otl ira-

rj

Tpdcriv i(pKcrav Trj^ 2t/ceXta9 /cat 8t8acr/cdXot9*

vov9eTLTaL

aKovoiv

dpa

ov

/cat

TeXcovL eTraivovpevo)

Tvirel T(p

/cat

Xot8oyoetTat

/cat yotyo

{77X0-

/cat

iiraivov opeyeTau /cat

/cat

0VT09.
rioXXct

293.

25

Tt9 ovopdaeiev
8'

8,

P.
TrjXaOyovs

dp(t)pLas P.

19

^dpidos P.

margine P.

rj

eX'^Xe/crai P.

ekatoi/'67ouj] Victorius,

ro

T7)\a\jy7j P.

15

22

dpyl^ero P.

auTcDi']

ep/jiias

26

TroXXax'?? P.

irapdaxoi. &"

P.

(Tt;

TaXXa

6 ypdyovs P.

Spengelius, avrCbv P.

XoiSwpeiTat P.

28

et /cai

m.

olov

ojpyil^eTo,

oipOaXpov

6 TOV 'ATapvecos dp^as, KaiToi

12

avTov KvKXcoira

iir

dfioKSyrjffa P.

3
l^ovaiv

Tot9 Tvpdvvoi^,

pev 8td to eTep6(f>0aXpo<; etvai

^iXL7nro<;

'Eppeias

wapd

8e TOtaura

et

oXa>9'

irpaos,

iirafM^orep^-

^^Xot rtj seclusi.

rec. P.,

aurats P.

3ri eTep6<pda\/j.os

Tup^xoi P.
16

ijroi

^LXnnros

r)v

P.
in

DEMETRIUS ON STYLE
Under

290.

having ever made

it

made any promise

sius

you

it is

Plato,

I,

by heaven,

Words

who have

it is

you

to

you

Diony-

!^'

are often used with an equivocal meaning.

anyone wishes to practise

which seem unintentional

hand

his

a promise and then denied

'It is not

once dignified and circumspect.

at

is

291.
If

thus convicted of falsehood, while the form of the

is

words

same heading comes the reply of Plato

the

who had broken

to Dionysius

201

in the

and

this art

to deal in censures

he has an example ready to

hits,

Almost

passage of Aeschines about Telauges.

the entire account of Telauges will leave one puzzled as to

whether

it is

eulogy or

satire.

This ambiguous way of speak-

although not irony, yet has a suggestion of irony.

ing,

The

292.

'

covert allusion

'

way as follows. Great

own faults mentioned.

another

them

terms.

to refrain from faults,

We

shall, rather,

acted in the same way.

we

Dionysius,
his cruelty.

the opposite

hearer

and

ladies

Accordingly,

we

shall not

yet

dislike to

when

speak

in

counselin direct

blame some other persons who have

For example,

in

addressing the tyrant

shall inveigh against the tyrant Phalaris

and

Or we shall praise individuals who have acted in

way to Dionysius, saying of Gelo or Hiero (for

example) that they were

The

be employed

lords

hear their
ling

may

is

and educators of

like fathers

Sicily.

admonished without feeling himself censured

he emulates Gelo, the subject of these praises, and covets

praise for himself

293.
with

the

One

has often to exercise such caution in dealing

great.

Because

would grow angry

if

had

he

only one eye,

anyone spoke of the Cyclops

presence or used the word

'

eye

'

at

Philip
in

his

Hermeias, the ruler

all.

of Atarneus, though for the most part of a gentle nature

Cp. Plat. Epist.

7, p.

349

B.

AHMHTPIOY HEPI EPMHNEIAI

202

ovk

Xeyerai,

&)?

ovo^dt^ovro^

ravra

8'

TOfjirjv

T)

Lp7)Ka

og KaXeLTau

10

\6yov

OL Srjixoi ol fxeyaXoL

dp^oiv

hrjyLO^,

KOL K6XaKa<;

kol KXeocfycovTa^;.

Kkeo)j/a<;

Tpi(j)(x)v

ovv KoXaKeveiv alcrxpov, to he

Kat

295.

Trj<;

'EXXctSo?

to

fjuei/

eVtcr^aXe?, dpicTTOv

ecr^Ty/Aartcr/xeVoi/.

avTov tov

TTore

019 rjp.apTev, dXX*

icf)

eTrtri/xct^'

koL

(ocnrep ol

Tvpavvoi, KaSdirep 6 ^ KOiqvaioyv

OVK

rjOo'i

dcr<^aXoi}5>

tolovtov elBovs tcov koycjv,

hiovTai

ok TO fxeTa^v, tovt ecTTi to

15

to

/xaXtcrra

icrxy)P'OLTLcrfJievoq.

KaiToi TToWaKLs Koi

294.
Icr^vpol

8ta to vvov)(os elvai.

l3ovX6fJievo<;

fjudkicrTa ^pfjt^ov

0)9

ixayaipiov

tivo<;

pahi(x)<;

iKTOfXTji/

rj

ejLt<^^i/at

TO Svj/acTTevTLKov,
5

r^vecr^eTO

ai/

e<^'

dfjLapToivoi'Ta iiraLveaofJiev,.

of?

oTov tov

ov)(^ rjfJidpTrjKei',

opyit^oixevov, otl x^^^ iTTTjveiTO irpao^ (jyavels eVt rot?

TOV Selpos djxapTrjp.a(Tiv, kol otl l,rfKo)TO<^ tols TroXtrat?

avueaTii/'

rjSeax;

ydp

817

iavToi'

e/cacrro? /xt/xetrat
8'

crumi/zat ySouXerat eTrai^w erraivov, p.d\\ov

kol

eva op.akrf

eiraivov TTOirjcrai.

KaOokov

296.
20

Kvva

iTrXacrev,

TavTov 6
OTL

'

/xeV rt?

diro^aivopievos

KaTiqyopcov

koi

(f)rjaLV,

01 dvOpcjTTOL )(prjfjiaTa fiev diroXeLTrovo-L toIs iraLcrLVy

8e ov (TVvaTrokeLTrovcFLVy tt^v ^piqaoyLeviqv

inLCTTTJfJiTjv

d7ro\L(f)0ei(TLV'^
25

8e oicnrep tov avTov KTjpov 6 jxev tl^

6 8e ^ovv, 6 8e lttttov, ovto) kol Trpcty/xa

Xeyeraf

eTepo<; 8e

'Bevo^oiVTo^

toI'^

tovto 8e to el8o9 tov \6yov ^ApLaTLTTTreLOV

tovtov

TToXXd,

TOi

v7ro0eTLK(o<; TrpooicreTaL,
otoi/

on

KaOdnep

ou y^prjfxaTa

Set yd/9

fjLOvov diToXLTreLV 7019

To 8e

297*
30

fxdXLCTTa
ct;

t8i<y9

SoKovcTLV

margine P.

dpiffTiirirov P.

(punctis

30

dXXd

/cat iTTLaTrjp.rjv

KaXovfJLevou

tpqXoticraL
14

iirrjvei

22

t6 P.

^coKpaTLKov,

eT8o9

h.L(T)(Lvr)<;

/cat

tamen

P.

25

viroderiKws trpooiaeTai

superpositis) ante jxbvov habet P.

24

t^ et of in las. P.

28

nXdrcui^,

6ti oi] edd., Srt de P.

Tots AiroKeKpdeTaLv] Victorius, rots crvuairoXeKpdeiaiv P.

23, 24

ex

in

kavT(xiv iraLCTLv,

avTol^J

T7)v 'XprjaofjLei'rjv

aiJr^s (ot

dpiffTlmrioy

27 yitej'
supra ^ scripto) P.

245'

DEMETRIUS ON STYLE
as

it

became

said,

is

was a eunuch) at
amputahave mentioned these facts out

furious (because he

hearing anybody speak of a

tion,'

203

or of 'excision.'

surgeon's knife,' of

'

of a desire to bring into reHef the true character of great

and to show that it specially calls for that

wary form of language which bears the name of 'covert
potentates,

allusion.'

294.

must be observed, however, that great and

powerful populaces no less than despots usually require
It

An

these ceremonious forms of language.

is

instance in point

the Athenian republic, which in the hour of

its

ascendency

over Greece, harboured such flatterers as Cleon and Cleophon.

Flattery no

dangerous.

doubt

is

shameful, while adverse criticism

It is best to

is

pursue the middle course, that of

the covert hint.

295.

At

times we shall compliment a man who has

on his failings but on his proved avoidance of them.
remind an irascible person that yesterday he was

failings not

We

shall

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,

out of which one

One

horse.

it is

man

will

with language as with a lump of wax,

fashions a dog, another an ox, another

with his subject

deal

in

way

the

of

exposition and asseveration, saying (for example) that men

leave property to their children, but they do not therewith
'

leave the

way

knowledge which will rightly use the legacy '^r a

it which is
called
Aristippean.'
Another

of putting

'

Xenophon commonly does) express the same

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
will

(as

thought

in

'

'

'

one which seems to have excited the emulation of Aeschines

^

Scr. Inc.

AHMHTPIOY HEPI EPMHNEIAZ

204

av tovto to

jxeTapvOfJiLcreLev

w8e

ip(0T7)criv,

TToXXd,
5

olov

ttcos,

6 Trarijp

aTTekiirev

e/SaXep rov TraiSa XeXrjOoTox;, kol

Koi

icTTL,

Koi

TjdiKCJs

/cat

Koi ov)(l

dTTeXnriv

diropiav

els

on

rjvefjLvrjcrev

dveTnaTrj-

Tovra iravra

TrpoeTpexjjaTO'

7TaiSeij(T6aL

ifJifJieXcJS,

^pT^/Aara

ctol

iirLCFTijiJirjv

yap

a/xa

avrots;'

croL TTjv -^prjcToiJievrjv

fjicov

irocra

dpa ovv Kai

^(oKpares.

(L

nal,

d>

rroXXd Tiva koI ovk evapiOynqra

tj

Trpayfjia ro Trpoeipy^ixevov et?

'

to Xeyop^evov tovto diro

Sr)

'%Kv6(t)V.

298.

lo

EvrjjjLeprjcrav

XoyoL t6t i^evpi-

ol tolovtol

S'

0evTes TO TrpcoTOv, fxaXXov 8e i^iirXirj^av tS re

T(o

ivapyel kol tw /xera

fxev S17 TrXdcrfJiaTOf;

*H 8e

299.
15

XeLOTr)^;

^(prjvTaL fJidXiCTTa

avyKpovaiv TOiV
yevoLTo

(TTdvTos

'tov
OV

cret

TroXXd

yap [raj
olov

c/xc,

to"a)9

K^^ y^P

8t'

eymye
inel

SeivoTTjTos,

300*

St'

ydp ov

crvyKpovcreois
25

OV

e7roXiTev6p.7}v

TTJs

'IcroKpdTov<;,

aTT

'

oca

k-

<^vXa^dfxevoL

Tr)v

avvOeoriv,

ttjv

Trepl

ov fxdXa iTnTrjSeCa

ifjue

ttco

av

ttjs avfJLTrXiQ^eciJs

e/c

yap

tov

^(x)klkov

OV ydp eycoye

8e p.eTa/3aXcov rts

el

TToXefJLOv

ydp

rj

heivoTepa,

TToXefJLOv,

TOTeJ

20 TTO)

irepi

ravra.

(jxoT/rfePTcov ypafjufjidTcoVy

ecrrt SeLV(^ Xoyco-

avTTJs

ol

vov6eTiK(^.

(T^p,aTi(Tp.ct)v apKeuTO)

fjieyaXo(j)poo''uvr)<;

Xoyov kol

koi

fiLfJLTjTLKco

iTToXiTevofjLjjv

G-vpd\pa<;

Acat

<tv-

w8'

etTTOt*

tov ^(oklkov crvaTdvTos'

ovk oXiyov oiegaLprj-

TOTe,^

Kal to

TToXXa)(^ov

rj^(oSe<; ttJs

ecrrat SeuvoTepov.
'^^

avTo

d(f)p6vTLcrTov

/cat

to (ocnrep

avTO(j)ves SeivoTrjTa TrapacrTijcreL TLvd, /laXtcra ewav op-

yitfipievovs

ifji<f)aLi'0)fjiev

T7]v XeLOTTjTa

avTovs

rj

rjSiKTjiJievovs.

rj

Se wepl

appLOviav (^povTis ovk opyit^opievov, aXXa

/cat

TTaitpvTO'^ ecrrt /cat eTTiheiKwyievov pidXXov.

I

lAiTapvOfiiaeuv

Xeiirev P.

oiJ/c

Galeus,

ti/xtitikQ P.

versum

scripto, P.

rdre] edd. c. codd.

i^atp^ffei P.

Schneiderus,

&/]

fxeTapyd/ni^a-eiav P.

supra versum scripsit P.

14
15

aiJT6s (s

17

irwirore P.

punctis notato) P.

irpdy/m P.

edrj/j-ipKrav

rrepi XeidrrjTo^ titulus in

tVw/f/adrous P.

Demosth.,
25

10

P.

tA
22

P.

ola P.

seel.

ii
|

K^x/"7''at "

Spengelius.

dir4-

fiifnjTiKip]

supra

20

tru rdre] edd., irwiroTe P.

27

auroi>s P.

ttw
|

5i

DEMETRIUS ON STYLE
and Plato

in

no common degree

would

proposition in an interrogative form,

*

My

Is

dear

lad,

how much

recast the foregoing

somewhat

Socrates.

Well now, has he also

which

use

will

In this

rightly.'*'

it

as follows.

property has your father

considerable and not easily assessed?

it

205

drives the lad into a corner

left

way

left

you

It is considerable,

you the knowledge

Socrates insensibly

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-

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

dactic character.

concurrence of vowels)
language.

In

many

actual clashing,

owing not

nally,

the Phocian war broke out origiI

was not then engaged

in

public

life,'

fault of

them

conflict

was not then engaged

in

their force,

passages even the jingle of clashing vowels

be held to make a sentence more

The

300.

fit

mine the

you would rob them of a good part of

many

in public

rearrange the words and

to

when through no

the Phocian War, since

began

since in

to me, as

'
:

not altogether suited to forcible

cases greater force will result from an

when

'

you were

If

life\'

together thus^

may

e.g.

is

fact

meditated, and are as

forcible.

that words which are actually unpre-

is
it

were a spontaneous growth,

will give

an impression of vigour, especially when we are venting our

anger or our sense of
niceties of

much
^

^
i/j.^,

as elegant trifling

Demosth. de Cor.
Sc. in such a
ov

injustice.

Whereas anxious

attention to

smoothness and harmony does not betoken anger so

^yurye

way

and a

desire to exhibit one's powers.

18.

as to

iTroXiTevdfxrjv:

remove the various instances of hiatus:

imitated in the English version.

iroKifiov, oi

AHMHTPIOY HEPI EPMHNEIAI

2o6

Kat

301.

avvOecFLS.

yap
5

(Za-nep to StaXeXu/xeVoi^ axtjixa SetvoTTjra

TTpoXekeKTaL, ovto)

TTOiet, o)?

^oikov

iTToiiqo-ev

TTpenov

XoiSoprjcraL

TOV9 i)(^Opovs eOpavo-ev to [xerpov,

ydp eppvdfxov

XotSopta* to

^jiaWov

Trpeiroi

kol

kol apvOfJiov, Tovrecm Seuvo-

olvtI v6io<;,

/cat

av

iyKcofJLiOLf;

oXwg

SiakeXvfxevT)

7)

8e /cat to 'lTnr(ovaKTo<;.

(irjfjLeLov

/3ovX6fJivo<^

Tr)TL

TTOirjcrei

i/zoyotg.

7)

/cat

evrjKoov

TocraOTa

/cat irepl

crvyKpovcrect)^.

UapoLKeLTaL 8e Tt?

302.
10

TO

et/cd?,

hi'iqpiaprr)p.4vo<;

yiveTai oe

ez^

apa(f)avSov

/cat

tw

Setz^w ^apaKTrjpL,

avTd9,

/cat

ct>9

Se a^api^.

/caXetTat

Tot9 npayfjiacnv, eirdv Ttg alcr\pa /cat hvcrpr^ra

keyrj,

Kaddirep 6

Karrjyopcoi/

Ttjitai^Spa?

Trj<;

TTeiropvevKvias rrjv XeKaviSa /cat tov9 6/3oXovs kol rr^v

CDS

\\fiaOov /cat ttoXXtJv

15

Tiva roiavriqv

Karrjpacrev

Svcrcj^rjfjLiav

245'

Tov hiKacTTiqpiov.
303.
/AeVi^

*H o-vvOeais Se
rj,

ifji(f)pr)s

TO, /cTet^'at.'

/cat

dXXrjXa
20 TTepiohoi

8e at

elrrcov,

KcoXa

/cat CTrai^ to,

orvvSeo'Li',

dXX*

crvz^e;)(et9

adapts, idv Steo'Tracr-

c^at^'CTat

KaOdnep

'

fjLrjSefiLav

fxaKpal

304.

T^

8e ovofJiacria^TroXXdKLS

TTjs

(jiaiveTai,

TevOprjSovos Xeycjv,

75 fxerat

ixev,'

(furjcTL,

KOiXas Spvs.^

'

ttjv

KaOdnep

opeivrjv,

Kairpov Xeycov, aXX

77
5

6 KXeirap'^os irepX

ioLKOTOS'

S^LTTTaTai

dypiov

rj

est

^i/o/iao-t^]

26

/ciJXas

fort. eraipQv.

Victorius,

i}

8e etg Tct?

tov 'EpvfjiavOCov

12

irapdKeiTai

ctjutc^oTeyoa.

evdios] Victorius, ei/d^us P.

erasum

Karave-

'

ov)(l irepl piXi(Tar)s rivos, (ocTTe /cat

w? dXXi^Xots TavTa

XapaKTrip in margine P.

drepTres.

/cat

a)(apiv TOV Xoyov dpua /cat xjjv^pbv yevecrOai.

hi

at

^apUvra irpdyfiara

t,coov fieXicrcrrj

(^CFTTep irepl /3oos

wpos

/cat

aTTOTn^tyovcrat

/cat

tov? Xeyovras ov fiouov KaraKopes, dXXd

ovra aTepirecTTepa

)(7}

hiepprjypiivois.

ofJLOia
/cat

ovrcocrl 8' e^oi^ to

Trp^Trei

Kaddirep 6tl dv

17

5^ opofiaa-La P.

10

P.

P.

rijs TrjfidfSpas

oiirus t5' ^x'*"'

"'"^

'^'^^

dxdpii P, axapti
|

supra kut aliquid

22

KTcTuat. P.

24 TevdpL86vos P.

fieXla-a-r)
|

riy

5^

in ras. P.

P.

ArjfniTpLov irepl ip/xriveias subscriptio in P.

il

DEMETRIUS ON STYLE
301.

207

has already been said that the figure of dis-

It

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

suitable for energetic invective, since correct

rhythm would be

much with regard

302. Side by

eulogy than

for

fitter

the measure
and melodious

for

satire.

Thus

to the collision of vowels.

side with the forcible style there

is

found,

as might be expected, a corresponding faulty style, called

*

the

repulsive.'

It

occurs

the

in

subject-matter

when

speaker mentions publicly things which are disgusting and

defile

the

lips.

The man,

mandra of having

lived a

who accused

instance,

for

wanton

life,

Ti-

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

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, continuous periods which run the speaker out of breath cause
disjointed, as (for

'

not only satiety but also disgust.

304.
lose

Often objects which are themselves

their

owing

attr activeness

to__

the

full

choice

when describing

of charm,

of

words.

an
It lays waste the hill-country, and
insect like a bee, says
dashes into the hollow oaks^' This might have served for a
Cleitarchus,

for

instance,

some wild

ox, or of the

The

rather than of a species of bee.

is

both repellent and

frigid.

And

Scr. Inc.

Clitarch.

Erymanthian

result

in a

are close neighbours.

wasp,

'

description of

the

Fragm.

is

way

boar,

that the passage

these two defects

>/..

fill III

Hi

IIfJ^^

<2

I
>r

TEXT.
The

text of this edition

is

the editor, of the foHa (226''

De

is

well

literary criticism,

and

several

P 1741 which

of

contain the

This famous codex (preserved in the Bibliotheque

Elocutione.

Nationale)

based on a new collation, made by

245^)

known

to

be a veritable treasure-house of Greek

containing as

it

De

does, not only the

Elocutione

works of minor rhetoricians, but also

Aristotle's Rhetoric,
Aristotle's Poetics

Dionys. Halic. de Compositione Verborum

Dionys. Halic. Ep.

the

ad Amm.

11,

De

Vet. Scr., etc.

The date of P 1741 is given by M. Henri Omont

nth century {Notice sur le manuscrit grec 1741 de

Nationale

p. vii

as the loth or
la Bibliothlque

prefixed to the facsimile of the Poetics published in

While Omont

L. Cledat's Collection de reproductions de tnanuscrits).

has the Poetics principally in

Roemer

{Aristotelis

Ars

mind when

describing the manuscript,

Phetorica^, pp. v

ff.)

views

with special

it

[De Dionysii Halicarnassensis

and Usener-Radermacher Dionysii

reference to the Rhetoric, and Usener

Libris Manuscriptis

pp.

Halicarnasei Opuscula

XLix pp. 390

ff.,

iv

ff.

cp. also L.

Cohn

in Philologus

Handschriftliches zu Dionys von Halikamass) with

special reference to the

works of Dionysius.

P 1741 which

the part of

ff.,

pp. vii

contains the

De

No

separate study of

Elocutione has recently

appeared, with the exception of H. Schenkl's very valuable paper

entitled

Zur Kritik der

Wiener Studien iv pp.

Graeci

by

wo\.

Schrift des Demetrios inpi 'Ep/xrjvetas (in

55

76).

Spengel in

in: Leipzig, 1856) used the collation

Victorius.

Wonderfully well as

his

text

{Rhetores

made long

this, like all his work,

before

was accom-

plished by Victorius, a fuller record of the readings of so important

a manuscript seems desirable.

R.

The almost

exhaustive catalogue here

14

DEMETRIUS ON STYLE

210

given of the errors, and corrections, found in

the respect generally

absence of

(e.g. itacism,

and

of

oo)

many

the manuscript,

felt for

easily

and

subscr.

tends only to confirm

rarity of

(e.g.

show the causes

to

adscr., confusion of

And

remediable mistakes.

important form not hitherto observed

i]v]jLvrj(rv

and

occasionally an

dTreKaTea-Trja-cv

196,

297) emerges to prove that some things recently learnt

The

from papyri might also have been learnt from existing mss.

The headings

marginalia, likewise, are of considerable interest.

are interesting

also

but they are better printed in the critical footnotes

than in the body of the

they are often inappropriate, mis-

text, since

and cannot be regarded

placed, or inadequate,

as the

work of the

author himself
Schenkl's paper raises the important question of the value of the

numerous corrections or

alterations

found

The

in P.

great majority

of these are written either in the original hand or in one almost

equally early

and not

therefore, better to

easily to

be distinguished from

indicate

them by some formula

and

it;

it

seems,

the con-

(e.g.

venient ex) which simply calls attention to the change, than by any precarious 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.

The

the character of the ink.

corrections

rec.

seem

or by a reference to
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

for the better.

rectified

Many

that the text

is

usually altered

obvious blunders (such as those afterwards

by Victorius) are, indeed,

it the more probable

untouched; but

this fact

seems

that the corrections actually

made

left

to render

have manuscript authority behind them and are not due to the mere

some revising -scribe.

The remaining manuscripts (fifteen,

conjecture of

De Elocutione
a

list

or more, in

number) of the

are of late date, belonging chiefly to the 15th century;

of them will be found in the Praefatio prefixed by Usener to

Dionysii Halicarnasei Opuscula

Graeci, vol. ix pp. ix

xi).

They

pp.

viii,

(cp.

ix

Walz, Rhetores

are all derived from

1741, the

better readings they present pointing rather to individual emendation

than to difference of descent.

15th or

To

Usener's

6th century MS. containing the

tt.

list

cp/x.

should be added a

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
The manuscript

Henry Hastings,
first leaf, and
Thomas Church. Church

in question belonged, in 1583, to

Earl of Huntingdon, whose autograph appears on the

who appears
left it to

to

have given

Queens' College

TT.

of

Halicarnassus,

it

to his tutor

Ars Rhetorica

contains the

the

p/x.,

it

at his death, in or

Alexander

7rpi

Though

Apsinis

the identification

is

Besides

Dionysius

Menandri Rhetoris

crxrjfj^rwv,

Atatpcri9, Aristides Trcpl tc^vcSv prjToptKwv,

TTcpi TrpooLjxLov.

about 1606.

attributed to

T)(yr) prjTOpLKrj

not free from

and

difficulty,

would seem, from the readings communicated to me, that this

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

it

manuscript

Queens' ms., except that

the heading

Trept

in the latter,

o/AoioTeA-evTODi/

there appears to be

is

no ms. of the

between

found.
tt.

epp,.

and

It

2 of Gale's

may be added

in the

list,

that

Gale Collection in

the Library of Trinity College, Cambridge; and the Bodleian ms.

MS. Auct. T.

(Misc. 230:

3.

13)

which contains the

treatise is

15th century manuscript which belonged to Giovanni Saibante of

Verona

in

1732 and

MS. has o-uvcpyotcv in

w^as

bought

29,

in

1820 by the Bodleian.

This

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
{'edd.'),

it

may

manuscripts;

the early editors in general

more of the later

and 12; 190, 13; 136, 24;

often have the support of one or

e.g.

pp. 106, 10; 118, 11

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

made

in

1741, reference

to the Introduction, p. 61 supra.

14-

may be

NOTES.
made to lines and sections of the text as above
(=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.
The

references are usually

66

printed, e.g.

66

(o/xo)

Trjv

perhaps of

rj

x"p =

P's 7r?;xt9

xf tpcf

It

Muretus,

8i/x,T/3ots

Hecataeus

66 14

P^or

6vvxe<s.

be used in

oloi^

12).

Ill p.

66 19, 20

infra.

Tw

y]fji.ifxTpoL<;

Gr.

J^/ief.

Herod.

'arm,' cp.

may,

TpLixTpoL<s

rj

some corruption

that, in this context, x^'-P

and

less usual sense, or that SdKTvXot

its

12

121 aTroTaixovra iv

11

hovi^ever, point to

seems unlikely

(Spengel

Cp.

226.

p.

v\\f.

tt.

tt^^^s

would
would

proceed in the order of minor to major.

68

oXoKXrjpca appears to

Laert., Lucian.

The

Cp. Introduction

Clem. Alex.,

p.

adj.

56.

late
(

word: lxx., Plutarch, Diog.

however, occurs

2),

o-v/xTrepaiow (66

18)

ri

6$v<s,

"

La

vie est

courte,

I'art

I'experience trompeuse, le jugement

faire

t]

ov fxovov eavTOV Trapex^Lv

Sci Se

dA.Xa Kol Tov vocreovTa^ kol tov<; irap^ovras, kol

:

est

tol

long,

difficile.

soi-meme ce qui convient, mais encore

here in question see

Croiset Lift.

to,

fjiaTLcrfXvr),

Seovra

who

non seulement

que

le

malade,

les

For the clauses

238 and Norden's Kunstprosa

pp. 21, 22;

Schneider proposed KaraKeKOfxixivr] and

which palaeographically would be hardly a change

entail.

occasion fugitive,

KCKcpat

all,

apart from the corresponding alteration of VKaTa<f>p6vrjTos which

seems to

Trotevi/Ta,

I^co^cv (Littre,
1'

II faut

faire

Grecque iv 189 for the style of Hippocrates in

68 21, 22

general.

Philo,

Sc irelpa o-<^aXepa,

assistants et les choses exterieures y concourent").

also

earlier.

of the Aphorisms (11) runs as follows

Se Tkxyf] /xaKpa, 6 8e /catpo?

Se KpLCTLS x^XcTTi^.

translates

also late:

is

etc.

The passage

68 20
ySios /Spaxvs,

be a

oX-oKXrjpos

it

NOTES
70

The

supply a

to

reading of P,

ypai/ret

213
probably due to a desire

is

ci/,

without regard to the fact that av has

preposition,

preceded.

70
in

ovTos

14

13,

8' vjf

KttXo? /AcV, /xcya?

8'

ou

is

The author

our manuscripts of Xenophon.

the reading found

of the

cp/x. is

tt.

loose in his quotations, relying as he appears to do on his

but

be noticed that in

to

it is

end of the

at the

{Kunstprosa

102

Se

Norden
agreement with Demetrius on

expresses his

n. i)

he has the

121, as well as here,

and comments on

clause,

often

memory

its

position.

the main point.

70 19
stood,

if

6 Xcyo/Ltevo? i/^rxpos

not inserted in the

unfamiliar term

and not

But

ij/vxpo^

commonly been under-

has

\a.pa.KTy]^

text.

If,

(on some such principle as that expounded in

style, it

iilruxeTO

yap ktX.

might be qualified by

For the use of

Lacedaemonians

fikv /3paxi^ apK<j)(TL

70 25

fxrj

ttoXA-ois

fxovoorvkXa^o^

86) to person rather

Cp.

Xeyo/xevos.

is

tt.

vif/.

xxvii

(metrically, or semi-metrically)

Thucyd. iv 17

in

an

cytyvcro, cp. 102.

^paxvXoyoL: cp. what

70 23
said of the

to indicate

( 239) was the novel

however, i/^uxpos were applied

but KaK6^r}Xo<;

expression in the author's time.

than to

seems

Xcyo/^evos

[cTrtx^ptoi/ 6v rjiMv]

ov

xPV^^^'"

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
70 26

28

the question of the date of the

Possibly

abrupt asyndeton
fact that the
p.

116

1.

13)

at

this

sentence

tt.

kpfx.

The

an interpolation.

is

Airal excites suspicion, notwithstanding the

author of

tt.

kp^.

sometimes

(e.g. p.

74

1.

and

1.

22,

omits the copula in his desire for brevity; and the

interpretation of

Homer

is

There

very strange.

are,

however, other

indications that the author was given to 'allegory,' for which see

Jebb's Introduction

to

Homer

same passage of Homer by a

Sr](reL<i

p. 89.

The

scholiast

is

explanation offered of the

x^^at

^ikv 8ta

to /xoyis d%

epxca-Oaf pv(T(Tal 8e 8ia to (XKvOpuiTnoi^eLV' 7rapa/3X(37rS

7rapt8oi/TS Tt Twi/

in his note

ad

dvayKaiwv TrapaKaXov/xtv vcmpov.

ioc, the epithets are transferred

suppliant to his prayers.

8c, oTt

As Dr Leaf says

from the attitude of the

DEMETRIUS ON STYLE

214

For the proverbs here and elsewhere

70 30

the short excursus headed

it

As yap

hand.

seems better to adopt

-q

is

reading than to

this

in the treatise, see

Elocutione.^

in a very old,

is

>y

appropriate and

is

De

Proverbs in the

P's correction ccrrtv yap

72 21
original,

'

not the

if

almost indispensable,

make any

conjectural

restoration.

The meaning

72 25

by

The

720.

of tov TratSo?

Neue Jahrbiicher fur

Blass in

author of the

tt.

epju-.

be 'son' rather than 'servant':

74 6

Kv/cXoctSeo-i

Athenaeus, vii 328

d,

late,

rov Xa/3piov

etvc/ca

seems

to

have taken the meaning to

cp. 11.

Plutarch,

Athenaeus

74 9

Victorius reads

/xcvct in

opposition

the

in

(But in

etc.

seems to be part of a quotation from

it

Euthydemus, a medical writer of the second century

however,

discussed

is

Classische Philologie xxxiii 717

place of

B.C.)

There

/xeVct.

is

point,

and the future

present /xcVa

of the

co-rat.

74 17

the reading of P,

prjTwv,

some compendium

is

possibly due to the use of

Roemer

for prjTopetojv.

R/ief.
p.

xii)

Here Spengel

2.

that for oXat

retains

eio-tV,

{A7'istot.

and

p. xxvii) notices the confusion of py\Topda.%

Ars Rhetorica

prjTopLKrj<s in

but suggests

prjriov,

should be written

Aristot.

{Praefatio,

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

74 19

rJTrep

after comparatives:

1.

7.

cp. n. referring to p.

no

1.

19

infra.

Transcribed by Gregorius Corinthius (Walz, R/iet Gr.

74 20
VII

1 2

15,

2 16)

with a

number of

variants which usually

seem due

rather to paraphrase or loose citation than to differences of reading

oBiv

e.g.

Koi

T-i]v

TOLavTY)v epfxr]VLav ot TraXaiot Sirjprjixivrjv oji'O/xa^oV

(OS Ttt

TrX^lara 6Xt twv *Hpo8oTOV, kol

okrf

apy^ata.

-q

raSc
Kttt

ypdcfyio,

w?

ycXotot Kat

TrapaScty/Aa 8e avrqs
/xot

8oKt aX-qOia

ifxoi

'

eti/at,

<^atVovrat Kat

<os

17

'EKaratov e^et

*E Karat os MtXiyctos
ot

larropia, kol

ciSSe

fxvOeLTai'

yap ^XKrjvoiv Xoyoi ttoWol re

eto-tV.'

opas ort

(r(riopVfJivoLS

Itt

aXkrjXoL^, ktX.

74

27

Ix'^vcTLVy

dat. plur.

of the participle

supposed, third person plural present indicative.

not,

as has been

NOTES

For the analogies drawn by the Greek rhetoricians from

74 30

various fields of

76

Twv XoydSrjv

For

13

dpyal Se rtves Kat

TroWaxiJ kol dvriTVTrots rats

n.

Ixxiii

La

yap

Blass Griechische Beredsamkeit pp.

Rhetorigiie et son Histoire p, 449.

The view

^oKLfid^u}

avTO(T;(8toi.

and suggestive comparison, see Sandys

this fine

Orator of Cicero p.
Chaignet
224, 225
76

)(prj(rOaL

Iv otKoSo/xtai? XiOiov at p-'qT cuywvtot /ai^tc

a-vvTiOifxeviDV

<ruv^o-/xvat ^dcnis,

emphasis,

cp. the use of a-vvTiOefxivtov in Dionys. Hal.

22 rpap^ciat? tc

C.

202.

p.

ovSkv avrfj (sc. rrj avfTT-qpa. ap/xovLo) Sia^epct, olov yivovraL

a-VfJifSoXalq

D. H.

art, cp.

(rvyKLfXvoi<;

de Comp. Verb.

76 3

215

here maintained
cywye)

Sri

strong

(with

clearly right,

is

there

happy combination of the periodic and the looser

personal

should be a

Some

structure.

of the longer passages of Shakespeare's prose will be found to

47: "This oratorical character of Macaulay's style

by one of

most

its

salient

and

familiar traits

may b^
mean,

illustrated

his habit of

Take

placing very short sentences between his longer periods

speeches of almost any great orator, and you

though perhaps

less

and

will

the

find a similar,

abundant, use of short sentences, in alternation

Such short sentences are not merely pauses

with long periods.

breath

illus-

Cp. Sir Richard Jebb's lecture on Macaulay pp. 46,

trate the point.

for

they are not merely deliberate efforts to vary the rhythm

arrest the ear:

they are dictated,

if

one may say so, by the

and the short sentence

oratorical instinct; such alternations of the long

correspond with a certain surging and subsidence of thought and

feeling in the orator's mind."

76

pvOfiov,

Cp.

16

15,

Xeyofxivoyv

TT.

V\\l.

C.

41 O^TWg Kat

ivLOT

to9

TTpoctSoras ras

Kp0VLV TOtS XeyOVCTL KOL <f>6dvOVTa<Z

pd(Tiv.

of the

TO.

KaTppvOfJLL(TfJLVa

TWV

ov to tov \6yov ttu^os evStSwcrt rot? aKovovcn, to 8k tov

KaraAiy^ct? aurovs viro-

6(j>uXop.va.<;

TrpoaTToStSovaL T7]V
X^P^
Attention may be called to the verb vavTidv in this passage

TT.

/3/x.

Iv

0)9

as being specifically Attic.

interest as occurring only here in extant

76 23, 24

AristOt. Rhet.

ioTLV' ^'UpoSoTOV ovpLOv

fikv a7rai/T9,

-qS*

111 9, 2

77

L(TTOpLr)<;

vvv Sk ov 7roXA.ot ^pwvTat.

comes nearer than the Rhetoric

wrong) found

''"''''^

in extant

to

-n-poava/Sodv

Greek

pXv ovv

also of

is

literature.
dpofxevr] Xc^t?

aTToSet^ts*' TavTYj

-rj

dpxata

yap TrpoTcpov

In this quotation the

TT.

ipfi.

the reading (whether right or

manuscripts of Herodotus.

DEMETRIUS ON STYLE

2l6

For

76 24, 25

in this

<^(3s

connexion, cp.

TO.

KaXa

which the editor

is

unable to assign to

(Can

the reference.

hope

p.

90

78

Se

correction

fxrj

this

same age
78 17

20

which

is

The

dvifjivr],

'

lost.

is

of the slightest, and

is

'

that

in P.

probably of

it is

(as

'

duly observed.

is

distinguished

from the

and the

rhetorical

to a certain extent,

in the loose or undress state

still

Goeller would supply or insert /aaXAoi/

of ordinary

'

but, granted

word may have fallen out after the last two

insertion would hardly give a satisfactory
la-TopiKT]

has been described in 19 as

of

syllables

sense, since

its

the TTcptoSos

which the

in

what English writers on com-

dialogue

of

rounded
is

is

principle of suspense

period

close-knit)

conversation.
that this

invented by the author himself;

one of the many cases

is

The meaning

which

historical

-n-epl

(e.g.

as the manuscript.

position have called the

78 21

able to supply

seems clearly preferable to the original reading

'

Palaeographically the change

the

may be

of the sentences thus marked

no doubt drawn from works now

others are

yap tw

c^w?

a quotation

sentence be drawn from the

may possibly be examples

28)

1.

Some

?)

30

c.

vj/^.

author has been marked

its

that others

this particular

of Theophrastus

AeicijDS

ovofiara.

Scr(iptor) Inc(ertus),' in the

tt.

Here and elsewhere

ovTt tSiov Tov vov

fx/qr

dveL/xevrj

<r<f>6Spa.

80

2,

Quoted

antithesis in
TTi^evcrai Se Blol

Stopv^as.

also

(more correctly and

Aristot. R/ief.
t7}<;

iii

9,

it

in the

De

classibus tantisque
iuncto,

80

Athone
18, 19

parody
n.

in the

Finibus

11

equestribus

and Cicero has

34, 112,

"Ut

Tqvinv

8'

AOu)

translated, or

Xerxes,

si

pedestribus

et

Aristot. Rhet.
7ro6i,

'

iii 9,

TOKa

10 ctVlv 8c

\xkv

v Trjviiiv

Probably the author of the

words of Epicharmus

so

tt.

copiis,

cum

tantis

Hellesponto

-nyVots,

/cat

i/^cuSet?

iywv

kpfx. is

rjv,

dvrigecrets,

TOKa qjyrapa

right

\Y]^mding

Norden Kunstprosa

Blass, however, maintains that there

2.

cywv.

fycov.'

ryVetpov,

perfosso, maria ambulavisset terramque navigasset."

<^ov KQx 'ETTt^ap/xos

T>jvoL<s

t^s

also occurs in the (almost certainly spurious)

funeral oration attributed to Lysias

imitated,

an example of

8ta

fxh

'KWrjcnrovTOV ^cu^as, tov

Oa\dTTrj<s, tov [xlv

The passage

fully) as

TrAcvo-at

is

and that exception can only be taken to eyojv

is, it may be added, very seldom mentioned

Epicharmus

the late rhetorical writers.

25

a true antithesis in

in

NOTES
of

217

80 26

Also quoted in Aristot. Rhet.

Homer

has already been referred to in

82

hand

late

in

iii

9,

corrects wo-7rep into wo-Tra

At first sight we might expect a preposition; but

and 6, and p. 190 lines 24, 25.
82

The same

5,

6av6vTa^ 211)

w9 Trapa).

mention of

There, however, Bavovra.

9.

9,

(i.e.

cp. p. 70 lines

illustration is used, without

Rhet. in

author, in Aristot.

same passage

the

7.

its

(0.770-

not given, though clearly needed in a sentence of

is

this artificial kind.

The passage

82 13, 14

Theopompus from which

of

these words

and

are taken has been preserved by Athenaeus (vi 260 f)

found in Miiller F. H. G.
there as follows

ns

o^cv SiKaicu? av

a.vTov%

aSX

kTfxipov^

ov)(^

VTTcXa^cv, ov8c CTTpariwras aA,A.a ^a/xaiTV7ras Trpoarjyopevaiv.

yap

Trjv (f)v(Tiv 6vt<s

dvSpoTropvoL rbv rpoirov

quoted by Norden Kwistprosa

see

TT.

the

TT.

v\\f.

Theopompus

feeble-forcible

The

rjcrav.

'

is

represented as a

passage

is

also

In

c. 6.

75 of

forcible- feeble

or

'

Dionysius, on the contrary,

cp. 240, 247, 250.

krcLipoM

dv^pocjiOvoL

For Theopompus,

pp. 122, 123.

242 and Dionys. Hal. Ep. ad Pomp.

p.

Ipik.

be

will

320, the words themselves running

p.

excites regret for the loss of his writings.

82

Ovp})%

16, 17

indignatio versus.'
oo(Ttv,

it

98

on the principle that

250 KaKOTex^ovvn yap coikcv 8ta

Schenkl suspects

82 19, 20

and

Cp.

rexvr]^ ov Setrai

'facit

rrjv avraTro-

fxaXXov Se Trat^ovrt, ovk dyavaKTovvn.

is

eSet^a

cJs

because written

But the addition seems to be made by the

margin of P.

yap

thoroughly characteristic

(cp.

ws

<f>r]fiL

in

first

the

hand

120, w?

cf>7jv

etc.).

The sentence quoted from

82 22, 23

BLKaLoavvrjs closely

Aristotle's lost treatise

resembles Lysias Eratosth.

40

cttcI

ttTToSct^at, OTTOv TOtrovTOvs Ttuv 7roA./xi<i>j/ ctTTCKretvav oo-ovs

vai)? OTTOV Too-avra^

eXa^ov,

6cra<;

avrol 7rap8o(rav,

17

mpl

kcAcvctc avrov

Twv

TToXiTwr,

ri

ttoXlv rfvriva rotav-

rr]v TrpoacKTija-avTO, oiav rrjv rjfiCTipav KareBovXtoo-avTO.

84

5,

(TvvepyoLev av has

whether any certain example of

is

found in

84 19

tt.

ipfx,.

21

close parallel in

(cp. n.

on

been suggested; but

plur.

it

is

doubtful

verb with neut. plur. nominat.

Ixovo-t 12).

This quotation from Demosth. Aristocr.

Demosth. A?idrot.

years earlier than the Aristocrates).

99 has a

7 (delivered in 355 b.c, three

DEMETRIUS ON STYLE

2l8

The

86 13

and

reference to Archedemus, here

such a nature as to suggest that the author of the

in 35,

tt.

is

of

may have

epya.

drawn a good deal of his doctrine from him and may be acknowledging
indebtedness to him in the passages where

person singular

gives a verb in the third

and subsequent
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
186

(e.g.

The

editors to ovo/Aa^w).

oi/o/xa'^ct,

altered by Gale

Stoic

Demetrius

The

angesetzt (Abhandl. der Berl. Ak. t886

Trept kpiK-qv^ia^

date of Archedemus

Real-Enc.

86

is

440.

11 p.

See Syrianus,

22

24).''

discussed by Brzoska in Pauly-Wissowa

quoted

as

in

the

Introduction

61.

p.

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

ep/x.

tt.

a date subsequent to the birth of Christ simply on the ground of

Few would

classification of styles.

(say) purely

attempt to date a Greek

by the internal evidence afforded by

its

its

Grammar

classification

of

the declensions.

The

86 27
'

elevated

(or

'

Dionysius

'

nature of the fundamental difference between the

grand

ropyta?

TToXtriKOVs,

ovK

TovvavTLOv

eTTocqcre'

itpjXitxrev

and the

Koi

distinction

ct^tcov

ofJiOiov

ttjv

is

style is well indicated

plain,'

clearly

Tov prjTopa TOLs iStwratg

yap

cjjavepav

tov

cti/at

(Dionys.

ac^eXc's

pXv ovv dpxaioL

'

by

fxev t^i/ iroL-qTiK-qv ipfJir)vLav /xeTTJveyKev eis X6yov<;

cyy terra vo/xt^a>v

6i/ojw,ao-tas

o\

'),

marked

ttolvv

koL

oltt

a7ra(rt

Trcto-at

kol

Avata? 8e
Xi^iv

tov lShottjv to kolvov

Hal. de Imitat.

in the

cti/ai*

TeTpL/jipLevrjv

11

7).

Tyj<

The same

same author's de Thucyd.

c.

23

avTiov' /xovov yivoio-KOfxevoL rwi/ ovofxaToiv

TTOiav Tiva. Xe^LV eTTCTT/Scvo-av, ovk e^oi avp^fSaXiiv, rrorepa Tr)v Xlt^v kol

kol

aKoa-fx-qTov

dvayKola,

rj

tyjv

fxrjSlv

)(^ov(Tav

irop.TTLKrjv

TreptTTor,

aA.A.'

avra

to.

^qcnp.a

koI

koX a^tw/xartKr/i/ koX iyKaTacTKcvov kol T0V<i

and in Cic. Brut. 55, 201 'oratorum

enim quaerimus) duo genera sunt, unum attenuate
presseque, alterum sublate ampleque dicentium."
It may be added
7rt^Tovs irpoarnX-q^viav Koa-p-ovi:

bonorum

(hos

NOTES

219

here that Greek specimens of the various types of style will be found

and

in Jebb's Attic Orators

88
to

be

13

this

the

Selections

The argument

from

the Attic Orators.

compared with

in 37, as

yXa^vpo? and the

yo.pa.KTr)p

mere subdivisions of the

x^P-

and the

^^^^0%

respectively, since they have a separate existence

seen combined in one and the same author,

88 18

lo'Tiv

ov ttpx^'

t*'^^

is

fjLiyaXoTrperrrjs

Homer.

e.g.

"^

avTtKt)w,eva

ctSr;

;j(p(oi/Tat*

oSro?

S'

8'

e^

tr^po^

TcAcuTwcTti/ Se rpet? ^pay(jeiaL

jtxa/cpa,,

vavTta?, ov /3paxLai ap)(ovcnv rpei?,

Tratiov

ya.p.

uxnr^p kcu

iv dp)(rj dpfJiOTTei,

fxlv

seems

and can be actually

AristOt. Rhet. III 8, 6 tcrriv Se Tratavos hvo

mv TO

aAA,7^Ao(.9,

36,

xa.paKry)p Sctvos are not

That the

8e jxaKpd reXevraLa.

not expressly stated by Aristotle, but

/xyako7rp7r7Js is

it

implied in his rejection of the iambic rhythm on the ground that

crefivoT-qTa yivicrdai koi kK(TTrj(raL.

cp.

IT.

'Primarily the infection

came from

probably misleading.

and

221,

connexion,

For
cp.

this extract

the Soudan' might also

But

be suggested as an English equivalent.

Att. Ber.

in this

41.

pfx.

88 27

For Theophrastus

is

Set

all

such parallels are

from Thucydides, see Blass

Sandys Orator of Cicero

would usually be written

p. 229.

Greek cp.
As illuscux'^pt).
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."
88 29

TO Ti\.o%

in earlier

163, Sia^epovat Se to ycXolov kol ev^ctpi (for to

(Some occasional
in

illustrations

from the poets

accordance with the practice of the

tt.

may perhaps be allowed

cp/x.

and with the

itself,

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

Cp. also Isaiah

St

Matthew

AgresteSy

90

90 13

'

xii

is

liv

28,

a kind of poetry," Jowett's Notes

i,

Jeremiah

ix i,

Job xxxvii 16

(as

Habakkuk

ii

The paeonic

telian 'A^T/i/aiW no\iTia

90 18
other cases

late

ii

9,

Strabo,

tt.

?
').

Plutarch, etc.

vi(/.,

Cp. Sandys Orator pp. 227, 228.

ff.

90 17

Sayings.)

Nahum

quoted by Ruskin in Frondes

Know'st thou the balancings of the clouds

eva(f)avL^ofiv(jiv

and

12,

ttXXo>9
'

or

'

character of the composition in the Aristois

noted by Blass Att. Bereds. in

seems = 'merely,' as

otherwise.'

in

178

in 48,

2,

289

348.
it

'in


DEMETRIUS ON STYLE

220

p.

90

22

118

1.

7rapa\a(3Lv

for the infinitive, cp. p. 102

27, p. 162

1.

The same example

90 28
variant)

160

13, p.

and no

in 117,

164

suggest

where P has

Hill's

edition

verse.
11

51):

my

used once to be sadly plagued with a

who

1.

1.

2,

23.

tJkwv (without

Cp. Boswell's Zi/e of

"I have not been

troubled for a long time with authors desiring

I

ii6

22, p.

192

to be that the succession of long

some kind of

Johnson (G. Birkbeck

works.

1.

6, p.

1.

c/cct.

The meaning seems

90 29

syllables will

24, p.

1.

opinion of their

man who

wrote

had no other notion of a verse but that it

Lay your knife and your fork across your
consisted often syllables.
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,
verses, but

literally

though he did not know

cp. p. 92

2 TToA-Xot

1.

yow

it."

With the

the persons there meant are free from

M.

Jourdain.

last clause

of this extract,

though

[xerpa la^^tKo, Xakovaiv ovk t8oT5,

ambition and as innocent as

metaphorical sense of

in the

we/jTriTrreti/,

all

'

exceed,'

does not elsewhere occur earlier than the fourth century a.d.

92

I,

AristOt. Toet. IV 14 /xaAtcrra

ia/x^toi/ icTTLv'

StaXe/cTO)

TYJ

crrjixeiov

Trpos

XcKTiK-^^ app.ovia<5.

92

24

8,

vttc/o-

howevcr, used by Plutarch in this sense.

K7rL7rTLv is,

Se

tcuv /xerpwv to

lap/Sela Aeyo/xcv iv rrj

aXXyXovs, ciafxerpa 8e oXtyaKis kol K^atVovT?

Cp. also

III 8,

Trjs

ibid.

As showing P's variation

and (XTroSe^ts.

yap Xcktlkov

tovtoV TrXelaTa yap

in spelling, cp. p. 76 lines 23,

kXiKapvaa-rjof;

92 14
in the

94

tt.

The
cp/x.

variations

between Thucydides'

text

are noted in

Hude's Thucyd. Hist,

p.

and

that given

192.

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

vTrepjSoXrj is

suggested by Weil (after Walz).

however, seems to be in the same construction as

8'

p.4>aLvov(Ta

would certainly be doubtful Greek

8v(r7JKoo<s
if it

vTrcppoX-rj,
:

v7rp(3oXr]

stood for

rj

8'

VTrepfSoXr] c/x^atVci.

The rhetorician, from his

deliberate much that is simply
94 10

as

writer's nature

cp. 40.

point of view, tends to regard

the instinctive expression of a


NOTES
94

221

Cp. such an ending as 'admittedly was' in English.

14.

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
he means that these expressions are actually used by Thucydides.
94 26, 27
that

before olov

*cai

96
96

olov

2,

For

ao-^V9
is

an

a gloss.

be noticed

It will

editorial insertion.

see Classical

Kara;(o>i/,

Review xiv 221.

P's accent (iyyvrepov) probably points to a corruption,

be adopted, though

iyyvrepa) should therefore

96

maybe

Cf. the lines

if

in

and

a later hand.

Tennyson's Princess, beginning "Eight

in

daughters of the plough."

96 22

For

ff.

The

96 27

and the following

this

(Walz, Rhet. Gr. vii

author, here as often elsewhere, intends the single

line to indicate the entire passage.

Dionys. Hal. de Comp.

art, cp.

sections, cp. Gregor. Cor.

1213).

2,

For a

Verb.

similar estimate of

16 ad

c.

fin.,

Homer's

xat TrapairXrjpii)-

fiacTiv V<fi(ovoL<s 8LL\r](fiV ktX.

98

cp.

in TTporepov

98
in

Horn.

//.

xxiii 405, 420, 431.

Trporepov: especially

TrptV.

The

4, 5

by the words

passage in the Phaedrus 246

6 pkv

Sr]

/xcya? iv ovpai/oJ Zevs

ff.,

which

is

ushered

(words perhaps suggested

174, as quoted in the Introduction p. 44 supra), is often

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

by Soph.

referred to

rendered

'lo,'

so as to give something of what seems to have been

the effect of this o-wSco-jaos

TT.

Ip/w,.,

whose words tcoWoX

upon the mind of the author of the

a.p\ax seem to suggest a number of

breaks in the sentences quoted:

Zeus in heaven,' and

reached the

98 16
is left for

e.g.

'and

He behold!

when the time came

he

is

mighty

that behold

they

The remainder of the

memory to supply.

sentence (avrUa vvv c^cActs Uvau;)

the

Praxiphanes

98 17

592,

but

ford.'

author of a treatise
p.

'

with

Marcellinus

the

(^Life

disciple of Theophrastus

Trept Trotry/xarwi/.

references

of Thucyd.^

there
c.

29),

grammarian;

See W. Christ Griech.

given.

and

also

He

is

Litt.^

mentioned

by Philodemus.

by

DEMETRIUS ON STYLE

222
98
*

Cf. the reiterated

Ay me

'Locksley Hall' and the

in

of

In Memoriam.'

98

Gregorius Corinthius (Walz, vii

2o

in the following

form

KaOoXov yap,

(sic) /cai TO 7rdOo<?,

ojcrTrcp

TovTo 8c

</>cv*

Kat

Kttt

VTJ

k'

avTos

7rd6ov<:

words avros

probably to the former.

cj/cSet^aro.

98 23, 24

Trpo? ovSev Itto?

'Apropos of nothing.'
p. 168 1. 8.

Ill 9,

cp.

not altogether

cp/x.,

and

ovSev Trpos

Trpos

ovtojs

Ittos

simply

ovSei/

Roemer

in his

hey, ho, the

100

4, 5

J.

H.

Aristot.

Ars

p.

98

Rhet.^ p.

29, p.

100 13, 14
eto-tV,

wind and

Review xv 32)

that

might have expected

104

1.

19, p.

136

and tt

<ro-

TO

The

;)(ptaj8e9

but cp.

dv,

17, p.

1.

Cp. Aristot. Rhet.

III 2,

and

'.

162

1.

22,

xlix.

Bower

and

line

in recently published

tt.

p.

100 24

The

has

/Aeya,

expounded,

in

5, p.

198

1.

98

1.

11,

10.

35, 5 evTropLaTOV [xlv

v\^.

8'

o/xws act to irapd-

arts of style.

cp. P's reading

same passage of the Iliad

effectiveness

1.

10, p.

finds this principle illustrated in

vi}/.

not fxeyav

rule.

72

3 Oavfxaa-Toi yap rcor aTTOVTWv

tt.

y kol dvayKotov, Oav/xaaTOv

author of the

100 17

its

K^aA.o5.

and

men's attitude to natural objects as well as to the

of

the rain, in 'Twelfth Night.'

Se TO OavfxacrTOV laTiv

T/Si)

dvOpioTTOL's

Bo^ov.

lines

cp. Introd. p. 58 supra,

Moulton's statement ('Grammatical Notes from the

We

100 13
1.

750 ov yap tov

dvoijTOiS

'Eden Bower'; and Shakespeare's burlesque

dvdvTraXXda-crovTa StaTaTTOjjLevio

Papyri,' Classical

100

avrbs

suggests, there

cp. Aristoph. Eccles.

Kat

Homer; more

w.

papyri seem to defy any attempt to reduce them to

p.

Acat

It is

Cp. D. G. Rossetti's refrains Sing Eden

98 29

Alas the hour

and

to at at

This line seems to be attributed to Sophocles by Aristot.

98 25

With

tt.

Mr Mathews

Perhaps, as

ISpioTa KOL ^ctScoXtav

RAe^.

the

in

cf>7)a-i

a fanciful suggestion of KatVw in Kat

ifjiov

olvtI jJLvy/xwv

Iv toJ*

liri(jr)p.rjvaLTO

Greg. Cor., refer to Praxiphanes or to

eTrea-rjfxtjvaTo in

is

<j>rj(TLV^

<TTf.vayfxitiv, (jjonrep

ohvpopiivoLcnv eSv <^aos tJcXlolo.

yap TLva olktov kol

/x<f>a(TLV

clear whether the

21

i$ekr}<s (sic), (Tvv^aipaL<;

6 TIpa$icfidvr}<;

TrapeXafjL^dvovTO ol tolovtol (rwSccr/jtot koL

TO ^cv

12 13) gives lines 16

2,

yo9v tov awScafxov

is

on

p.

84

1.

4.

quoted, and the secret

Aristot. Rhet. in

12,

4: as also

Demetrius) in Greg. Cor. (Walz Rhet. Gr. vii pp. 1189, 1190).
Elaine, the lily
Cp. in English: "Elaine the fair, Elaine the lovable,

(after

NOTES

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
6ivT0<i

Gregorius

Tw

iv

has

(1-C.)

o-^^liov

yap aira^ rov

ovSlv

ypd/xixaTL

TToirycrccos

TTJs

rJTTOV

rj

'^Lp<D<;

ovo/xaa-

'A^tXAews

-qh*

'OSvo-o-cws ixifxv-qixiOa' kultol Kara cttos CKatrTtov (sic) XaXov/xevoiv cr^^eSov

ama

tov a-xruxaro^

8* 77

read in place of
iv

T<tJ

Gregorius thus confirms P's AaAov-

Svvafxi<s.

eKoicrTwv,

and

iv

tw

passage of Gregorius

Cp. Gregor. Cor. (Walz,

ovT(D<i cTttc,

NtpU5 6 'AyAatttS vio? e^

<rL(ji}7rr}KvaL

av Ntpca

Ta oAtya

toi/ icaAAio-Tov

2,

1190):

<f>opdv, lyrts ccrrt

102 9

a/xopcfita

tocTTrcp

yap

iv rat? io-Tidaea-L

rov TrpocTWTrov Vi'8iav

iartv

yap

cttci

Bid tovto kol ttjv i-rrava-

Koa-ixov/xevov,

fioiXXov

For instances,

superlatives

thus

Grammaiik^

ii

cp.

p.

ii8 lines

21,

22 and

and

in earlier Greek, of comparatives

may be made

intensified, reference

to

Kiihner

English examples (such as 'more braver'

pp. 25, 26.

and 'most unkindest'

in the Tempest,

8'

o-^pia rov KotAAov^, TrapeXajSev.

yueyaActoTcpov
17.

1.

Alavp.vy]'; rpil^ vija^ ^ye, Trapaae-

cSo^ev

cr)(rjpa ifxifxria-aro rrjv

TrpocrtOTToV rt vTreKctro

in

Gr., vii

R/iel.

ttoAAo, 8taAv^ep'Ta ttoo? t^atverat, ovtu) /cav rot? Aoyot?

opa Sk TTws TO

128

in place of

rrjs Trotifo-ctos Spd/xaTL

TT^s TTotifo-ews ypdfjLfxaTi, in this

100 28

p.

Should not cKaarov be

against the vulgate KaXovixevmv.

as

fjiV(Dv,

va

Grammar

Abbott's Shakespearian

Julius Caesar) will be found

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."
Just as the insertion of 'and' would (quite apart from

102 10

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
" That all the decks were dense with
shall run " {Locksley Hall)
Black-stoled, black-hooded, like a dream" {Passing
stately forms,

considerations

of Arthur).

W
wk

223

102

1 1

This section seems intended to show that the opposite

advocated

practice to that

elevation
effective,

just

as

each in

(
its

63)

in

place.

may sometimes conduce

The same passage

Bfc| quoted by Dionys. Halic. Ep. ad

60

to

both asyndeton and polysyndeton are

Amm.

c.

of Thucydides

4: see D. H.,

p.

is

179.


DEMETRIUS ON STYLE

224
Here

14), as often

(1.

quotation
avTov

impHed

is

airepaXi

acnriha

rrjv

that

is

ir.

es ttjv

eU

re koI hreaev

re koI -rredovTOfi

OdXaaa-av

is

more
kol

ttjv Trapc^cipco-iav

Kiihner {Grammatik^

Odkacra-av.

rrjv

the remainder of the

ipfx.,

iXeLTroij/vxrja-e

ao-Tri? Trepieppvr}

rj

ikeLTroxj/vxyicre

667) gives

665

the point

c? ry]v Trape^cipecrtav

impressive than

is

elsewhere in the

II

pp.

examples (which are more numerous than

classical

usually supposed) of the genitive absolute used where the nominat.,

or

ace.

dat.,

Probably

of the

participle

was due,

this free use

in

agreement might have stood.

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,
while Blass {Gramjjiar of New Testament Greek pp. 251, 252)

p. 500),

gives instances of

from

use, over-emphasizing perhaps the departure

its

classical usage.

102 18
102

19,

elpydaaTo: gnomic aorist.

These words are not found

20

the nearest parallel

is

203

whom

Herodotus, in

in

koI ra pikv Trpo? t-^v ia-n-iprjv (fjepovra Trjs

6 KavKacros TraparetVei, icov ovpeuiv kol irXifjOei fxeytarov

Oa\(i(T(rr]<i TavTr]<;

What

KOL fxeydOd vi/^iyXorarov.

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;

esteem

Prince

102 24

o\

Memnon's

sister

Black, but such as in

might beseem."

The

dpxcuoi: cp. 15, 175, 244.

reference some-

times seems to be to the writers (such as Hecataeus and Herodotus)

earlier

than the

'artistic

prose' initiated by Gorgias

to the classical writers generally (the 'ancients,' as

at other times

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,

and

in "faery lands forlorn" (Keats,

104 23, 24
clearly

176.

Ti^v eTTTo.

(jiwvTjevTwv

Ode
:

to

the writer of the

much interested both in Egypt and in

The number seven would apply either
*

the Greek alphabet.

Bk

i),

ipfi.

is

a Nightingale).

'

For the seven vowels

tt.

music, cp. 158, 74,

to the Egyptian or to

in

Greek, cp. Dionysii

NOTES
Ars Grammatica

Thracis

a(fi

9 (ed Uhlig)

p.

<f)<ovy]VTa fxiv icTTLV ctttci*

225

17

o v w.

totttwi/ {rOiv ypa/x/xaTwv)

0a)i/T7i/Ta 8c

Xeycrat, ort

(foDvrjv

iavToiv airoTeXeL.

The author

104 28

about the
that he

may have

104 30

17x01

in 6,

up

when speaking

(as in 195,

but he has said enough perhaps to imply

lived at Alexandria.

occurs in

sections a following y
K(jiX.(j)v

pulls himself

of acting)

art

6, 30, 72, 97,

(TvyKpovovTai

kcu

M<l>doyyoi

iroXXov? Se KOL TrpoaTrkda-a-ofxev in 157.

106

So Eustathius

epyov

Tov avo)

(fxDvrjevTCDv

6 A.oyo9,

Tp)(i.v

ifxcfyatvei

yap

7raX.\7]XLa,

dW

oKvqpa

rrjv 8vo-;;(eptai/

Bl

and

does not seem to be

'

namely.'

to 8c 'Xaav av(o wOea-Ke ttotl X6<f>ov'

''"^5 crvvOrJKr]<;.

raJv

rfj

carat

these

in 72,

8L(f>d6yyoL<;

It

all

Be fxiKpQv

t<oi/

used, as has sometimes been thought, in the sense of

vctrat X"-P'-^

In

157, 201.

either expressed or implied,

is

rov

iirai-

ttj? wOr](Toi<s

wv oyKOvvToyv to

ovk

(TTOfxa

jSaivei (rvv6$oixoLOviXVo<s Trj ipyoiBca

(oOelv.

Cp. Pope

"When

Ajax strives some rock's vast weight to throw,

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
|

The

line too labours,

kvXlvBcto Xaa<; aVat8>;s {Odyss. XI 598), which Sandys translates

ward anon

to the valley the boulder remorselessly

Rhetoric in 126).

Cp. D. H.

p. 18.

The example seems

106 5

the note referring to

p.

124

1.

"Down-

bounded " (Cope's

be introduced abruptly, but cp.

to

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^

OLTra^

TrpoXa/i-ySai/co/xcv.

a-vXXaftrj<:
*

rj

Kara
It

is

/xovcrtKOi/

/icXo?

/xcra

rtvos

thus equivalent to a

IvdpOpov

shake

'

or

trill.'

106 18
is

made

One

106 23, 24
a7rpc7r?79,

R.

of the comparatively few passages in which reference

to Trpay/Aara or 8iavoia.
aTrpcTTc?

TTotctv

Tw

TrpdyfxaTL:

see the passages quoted in Stephanus

for
s.

the dative with

v.

15


DEMETRIUS ON STYLE

226
108

The

painter Nicias here in question seems to have been

the contemporary of Praxiteles mentioned by PUny.

108 lo

Anastasius Gennadius suggests

108 12

The

has a parallel

subjunctive with

The usage

this treatise.

later writers such as

108 13

16

retained in the text, since

is

ci

yap awatfiOr} ravTa

(et

(u?

av v

contrast Aristot. R^ef.

on

tovtois

iroLrj rts, co-rat

iii

2,

6 t6 Sk

Trpos rrjv tiov if/iXoiv

)(pyj(TLixa

fiovoi'S Travrcs ;(po3vTaf

oiKct'ois

kol toIs KVptots,

yap

Trctvres

wore ^rjXov

re ^cvlkov kol XavBdveLv cj/8e;(CTat kol aa<jir}vu2.

For metaphors, see

Aristot. R/iet in cc. 2, 3, 4, 6, 10,

together with Cope's l7itroduction

it

23 of

1.

very rare in Attic prose, but frequent in

is

Compare and

a-rj/JieLOV 8'

108 17
II

190

p.

Diodorus, Plutarch, and even Lucian.

StaXcyovrat koX rots

lxeTacl>ofjaL<;

on

crvvSccrjUois)

Kvptov Koi TO OLKclov Kol fxeTaffyopa fxova

Xoytuv \e^LV.

TroLrjixdTwv for Trotryrwi/.

to Aristotle^ s

Rhetoric

286,

^i^.

und Romer'^ pp.

Whenever a metaphor is either praised or condemned
421.
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
374
417

379, and Volkmann's Rhetorik der Griechen

and Cope's edition of

Orators'^ p. xvi

Aristotle's Rhetoric vol.

in

p. 46.

108 20
Rhet.

Ill

/xry'rc

12

2,

108 21
it is

by

we should expect

and

eotKv

dWyjXoL's

(Walz Rhet. Gr.

TroppmOev

/-tr/Se.

cp. Aristot.

iii 3, 4.
:

the singular verb

and three separate

Vll 2,

is

to

be remarked, followed as

subjects.

I161) gives ioiKacnv

Gregorius Corinthius

d\X7]\oL<s 6 o-rparTyyos Kttt

6 Kvl^cpv^TY]^ Koi 6 rjvLoxo<i.

The form

108 25

vryos

may

point to a poetical quotation

but

cp. Introduction p. 59 supra.

As Cope

108 26

(Introduction to Aristotle's Rhetoric p. 292)

points out, Demetrius has in

and wishes

the reciprocity of metaphors

An

108 28
TroirjTY},

110

Aristot. Rhet.

iii

4 and Poet.

is

c.

21

not uniform.

made in P to change ttoit/t^i/

more obvious construction with $r}v.

attempt has been

so as to get the
I,

mind

to explain (in qualification of Aristotle's statements) that

For the relation of metaphor and

simile, see

Introduction p. 290 and Volkmann's Rhetorik p. 418.

into

Cope's

NOTES
p. 100.

110

Cp.

TT.

XXXII 3 StoTTcp o fiev *Api(rTOTtXr)<; koI 6 0orua twv OpacreLiov etvat ravra fjaraffiopijiv, to

vif/.

fxLXLyfiaTOL cfiaac

<f)pa(rTo<i

kol 'otoKci,' Kal

*<iX77rpt' (jidvaL

Set TrapaKLvSvvcvTiKWTepov

By

ToXfjLT]pd.

-yap

77

here meant

/xctXty/xara is

i7rtv

tov rpoTrov' kol

'ct

larat

to.

rTTOTt/xrycri?,

(f>aarLv,

emollitiones,' while a little

'

used with reference to the

is

may be

110

7,

consulted with advantage.

For Plato's tendency

ad Pomp.

Halic. Ep.

Norden's Kunstprosa
110 10

pp. 104

D. H.

1.

iii

11,

4,

132

Compare

110 15

in

1.

and

cp. p.

illus-

419.

p.

200

8, p.

1.

130

6,

"Where the
and Ballads)

English such personifications as

wind's feet shine along the sea " (Swinburne, Poems

And Autumn

30

where the same

See also Volkmann, Rhetorik,

12, p.

27

pp.

ff.

TO hv\ TOV ^iXovs, sub. lpr}fXvov

142

see Dionys.

to poetic diction,

together with

Cp. Aristot. Rhet.

110 12
17, p.

2;

c.

trations are quoted.

"

7rd6r).

chapter on 'Simile and Metaphor' in Abbott and Seeley's English

Lessons

1.

tovtov

'ct )(p-q

Xe'^at.'

later dXe^icfidpfxaKa ('remedia')

The

De

For Python, see W. W. Goodwin's edition of the

110 4

Corona

227

and there

laying here

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.

110 20

Cp.

of wheels

hurtling

different yet

Also found in

"Air shudders with

that

roar"

12.

shrill

spears

crossing,

(Swinburne, Erechtheus)

or

and
the

metaphor, " Dash'd on every rocky square

parallel

Their surging charges foam'd themselves away

the

Death of

the

110 28

Duke

"

(Tennyson, Ode on

of Wellington).

familiar instance in English is:

"While England's
" (Sheridan, The

Like a clipped guinea, trembles in the scale

fate,
I

Critic^

112

II

306).

2,
I

repetition

Criticism

and defence

alike

seem

laboured,

the

Would

the

of the verb ^'xetv being especially clumsy.

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
critic in the

152

DEMETRIUS ON STYLE

228
passage of the

ep/x.

tt.

reproduced, with certain variations, by

is

Gregor. Cor. (Walz, Rhet. Gr. vii

112

1161).

2,

Cp. Volkmann Rhetorik der Gr.

Mr Dakyns

112 8

smith (Essay XVI, on

Works of

XetiopJion

Metaphor

'),

(
'

who

Romer^

u.

p.

421.

107) refers to Gold" part of the

translates

phalanx fluctuated on the march."

An

112 16
is

He

c'oyvts.

question arises as to which Theognis

interesting

Bergk proposed eoStKr??? or eoScupos

here meant.

thought that the metaphor in

have been used by Theognis of Megara.

pupil

Mr

Hudson

T.

My

friend

who has made

Williams,

in place

of the remains of Theognis, writes as follows

of

could not

question

and former

a special study
" It seems quite

impossible to father the expression (popfnyya axopSov on Theognis

of Megara, as his

style

is

pared with
light)

cfjopfjuyi

axopBo<; are

name

ayycA-o?

If the reading eoyvis

549.

1.

assign the words to Theognis Tragicus.

to

regard

Theognis

the
'

com-

that might be

we

beacon-

(of a

acfi6oyyo<:

correct,

is

The

and straightforward.

simple

so

only words in the collection bearing his

are compelled to

Although

it

seems natural

Megarian as the Theognis 'par excellence' the

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).

some of

poems

the

Megarian.

Suidas says of Theognis of Megara

Tovs (T0)6VTa<i T(2v %vpaKo(TLi}iv Iv

puzzled

all critics

proposes to read

TTj

TToXtopKca, a

and commentators.
ts

Possibly

of the Athenian were falsely attributed to the

TOv<i

aioOevTaq iv

eypaxf/v eA-cyctav

dq

Statement wliich has

Sitzler {T/ieog. Reliq. p. 52)

rrj

TroXiopKLa rwv iSvpaKovtrwv,

an elegy composed by Theognis of Athens

and refers the words to

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

should be

Theognis of Megara.

set the parallel

On the other side, however,

Mr Williams, together with

adduced by

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
AristOt. Rhet. in

ro^ov

of the

ao-Trts

>;

must have added the name of the writer on

112

ig,

20

Cp.

91 Ktt^oAov yap

112

own

account.

Tavrryi/ (t^i/ crvvr]B^io.v)

Kavova

Poet., yi, 72.

a voice dear in timbre (Neil's Knights

\vio]v T (jiwvrjv:

22

from the Rhetoric, he

his

and Horace, Ars

iroLovfxaL Tracrr/? oi^o/xaorta?,

has borrowed his

p/A.

tt.

lyre' directly

stringless

^Lakrj "Apcws, koX

Io-tl

<f>afXV

If the author of the

axopSos.

(fiopfjiLy^

illustration

11 olov

11,

229

of Aristophanes p. 167), opposed to </)ata as in Latin vox Candida

opposed to vox/usca, Quintil. xi 3, 15, Cic. N. D. 11 146.

is

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

Demetr. de

parallel in the Lat. oculus ('oculus

its

and the Greek

Col. 4, 24, 16),

The

eloc. 87)."

606'aA/x6s (6
tt.

ipfx.

may

gemmans'

a/xTre'Aov 6<fi0akfx6s,

t-Ti'^

here have Theophrastus

in mind.

114

KTve<i

body

the parts of the

apply are as various as the

which

to

this

word may

the pudenda (cp. Lat. pecten), the

ribs,

fingers, the incisors.

114 15

Cp.

114 16

220

/cat TTcpI

Cf. AristOt. Rhet.

ff.

XpwvTtti, orav dviovv/xov

aAA*

ttV

ws Iv

ei'apyctas /xv

in

3,

ot

8'

tutto) ctTTcti/ TO(ra{)ra.

avOpuiiroi rot? SittAois

koX 6 Aoyos vcrvvOTO<s, olov to )(povoTpLf3iv

TToAv, TTaVTWS TTOtryrtKOt'.

114 25

cnTOTrofXTTiav

cp.

Demosth. de Cor.
aud 3OI Ibid.

241 koI

Tyj<s

(tlto-

TTO/XTTiaS T7y? T<j3v 'EAAt/I/COI/ KVptO?,

The 'word'

114 29
5, 2

runs

yap Twv
TavTov

noun

in question is not a

The passage

been usually supposed, but a verb.

(oi/aypo?), as

in

has

Xen. Anab.

koX ol fxkv ovol, iircL tls Slwkol, TrpoSpa/xovTes eo-Tacrav ttoAv

LTTTrwv

iiroLovv,

erpe^^ov

Kal

ovk

Oolttov'
rjv

kol TraAtv

XajSelVj

i-rrel

TrXr^aidt^ouv

8ta(rTavrS ot

p.^

ol

iTTTTCts

lttttol

drjptacv

8ta8;^op,ci^ot [rots tTTTTots].

114 31
substitute

116

There seems no construction

some such word

pounds, such as
TT.

vk(/.

ovo'/Aart,

unless

we

Spengel suggests (though he does not print in his text)

Set TToAAa TLdivat.

the

for

as BrjXwv for otov.

But

(i) the

author

Trpoa-Trepiopi^ea-Oai,

and comparatively few

is

thinking of double com-

of which there are so

in the

tt.

p/x.

(though

VTroKaracTKCva^oj, av^vTraAAao-o-w, a-vve^aipo) OCCUr)

for imperative

is

rather a favourite idiom with him.

many

in

ixiTaavvriB-qixi,

(2) the infinitive

DEMETRIUS ON STYLE

230
116

and

has been suggested that hpitpvrai

It

8c TreTToiry/xcVa ovo/Aara the subject to

TO.

II, 34, 106,

a passive verb,

is

But elsewhere

it.

173) 6pt^o/xat in the sense of 'define'

114,

( 9,

middle;

is

and no certain instance of plural verb with neuter plural nominative

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

is

TO {ra 6v6/jiaTa) olov

Sto.

means

6pl^Lv

116
to

116

The

some

\f/6cf>oL<i

[In

coiKcVat.

Cp. opoc in

'to limit.'

and

with

35 the active

opo'i in 34.]

may

repetition of /AaA-io-ra in the following line

point

corruption.

Homer as that quoted from //. xxiii

"The sound of many a heavily-galloping

E.g. such lines of

8.

Tennyson's

in 219, or

hoof" {Geraiiit and Enid).

116 15
suggests
c.

I.

Ammon

fTKvBilQe.iv.

In English,

116 15, 16

Don Juan,

cp. Byron's

is

point

'EAc^ai/TcVrys iorriv 6

ipp..,

rots

who

Tyyc/xocrtv

o-Ka</>irr7s

occurs elsewhere

/xtKpos

KaTapdKTr]<;,

eTrtSet/ci/vi/rat.

specially interested in

is

Here he seems

mind.

dis-

31.

by P.

The word

116 20

TT.

well

is

iripX ep/xryi/eta?,' p.

(as

evidence goes) only in Strabo, Geograph. xvii 817,

crKa<f}LTai

207)

apparently no authority in late Greek for /xcralv with the

dative, as given here

Trj<s

p.

15, 16, 17.

vii, st.

The grammatical

8o|t.

0)9

canto

cussed by Dahl in his dissertation 'Demetrius

There

1900:

(^\\xs\2ix{ s Jahj-esbericht,

comparing Dionys. Halic. Z)e Antiq. Orat. prooem.

fxva-L^eiv,

( 115, 121, 126, 187, 188,

an offending author,

8'

our
virlp
ol

author of the

the

Egypt, has this passage in

be compHmentary

to

as

Oeav rtva

kol

a>

icf>

Possibly

far

fxiKpov

other passages

in

236, 237, 238, 239) Tis usually introduces

mostly some

schoolman occupied with scho-

lastic futilities.

116 22
Kttt

/jLovos

TTOTafxovs

irvpo'i^

and avros are found combined

VLOT Tov yTjyivov^ Ik^lvov Kol avTov

'that pure

mean one who

and unmixed subterranean

lives

'

independent authority
fiovioTr]<;

116 23

found

The

all alone,'

fire.'

tt.

xxxv 4

vif/.

7vpo)(iov(rLV

ixovov

Here the words

There is no

recluse.

for the existence of avTiT-qs in Aristotle,

in Ef/i. Nic.

verb

an eremite, a

in

l\f.\it,^iv

7 etc.

Cp.

occurs in Xen. Anab.

iroptvofxivwv i$KV[JLaLV tl ttJs (f>d\ayyo<s (cp.

though

144.

tt.

epfx.

8,

18 ws Sc

84), to

iittoXcitto-

fievov rjp^aro Spo/AO) 6iLV kol afxa ifjiOey^avTO Travres olov t<5 *Evva\i(a

NOTES
eXcA-t^ovcrt, Kai ttcii/tcs Se c^eoi/

Kai

231

and Anab. V

14

2,

craXTny^ c^^cy^aro, a/xa re tw 'EvvaXto)

ry

cttci

8'

hrixiavicrav

Kat l^cov Bpofno

>;A.A.i^ai/

ol OTrXtrat, ktA..

118

Abrupt

used to

The same example

transition to dXXrjyopLa.

is

illustrate Seivdrrys in 243.

118 3

Possibly x^f^^iOev should be read

118 6

(TvyKaXv/jifjiaTL

and

see Liddell

Scott,

s.v.

The

118 II

hand

later

in the

118 16
Aristot.

a late word,

This

line

J^/ie^. iii 2,

preserved

etc.

suggestion cV dSvTco (for P's cV avrw)

margin of P

given

is

Aristot.

in

xxii

J^oef.

Life (Sonnet xlv)

And moon-track

control

and

2,

452).

Perhaps

modern

as

lines in T/ie

" Because our talk was of the cloud-

of the journeying face of Fate,"

human

talked of the uncertainty of

destinies.

For

Plut. Sept. Sap. Conviv.

In the

p.

to

it

86.
in

10.

c.

the preposition Iv

kpyi.

tt.

We

i.e.

Cleobulina, see

Bergk P. L. G.* 11 p. 62, and Bursian's Jahresber. xxviii

The Hne is inferred to be by Cleobulina from a reference

118 23

in

line ovto> o-fyKoA-Xw? (ocrrc avvaifia ttoulv

by Athenaeus (x

specimen of 'allegory' might be quoted D. G. Rossetti's

House of

made by a

distinctly interesting.

is

where the notes of Cope and Sandys should

12,

be consulted, the second

being

LXX,

is

occasionally used

with something of an instrumental force, as in the Greek Testament

66

cp. p.

178

9, p.

1.

9, p.

1.

Xen. Anab.

118 24

8,

148
20

17.

1.

to, 8'

apfxara e<f>pTo

TToXcfxCwV, TO. Se Koi 8ta

TWV

120 3

for the tense,

T<JJV

The

(TVfi^e^XrjTaL

'E\\.7JV(DV

Kvd

Cp. "

120 6

cp.

and

it

strikes

On

a wood,

and

splits" (Tennyson, Princess), or

pipes of wretched straw" (Milton, Lycidas).

Iliad

is

i<f>

In

elliptical, as often.

E/CTopt ;(aX/coKo/3V(rT^

120
Xafial

the

8l

avTUiV

p.

86 Hues 4 and

6.

perfect has almost a 'gnomic' force in these passages.

cracks,

ojxv

Ttt fikv

rjvLO^^OiV.

16
8'

Bergk,

iTn7rop(f>vpL

who

full

lct

takes,

and breaks, and

"Grate on their scrannel

The quotation from the

the passage runs

Aia?

8*

6 /xcyas

aKOVTicrcraL.

claims the fragment for Sappho, reads:

dvOos.

But

this

involves the shd^tening of

V.

120 20

26

by Demetrius.

Some
With the

lines are

omitted in

last line, cp.

this

passage as quoted

William Morris, Story of Sigurd

DEMETRIUS ON STYLE

232

Book

the Volsung,

ii

in a golden sheath

" Therewith was the

And

blade was fain of death

broad blue
list

light of day,

Wrath of Sigurd

the peace-strings knit around

And

Or

'tis

laid soft
for that

show such edges

to

ill

it

to the

to let the hall-glare light them,

ye

if

not play the play."

122

The word band

'

rather than

'

the Translation, so as not in any

way

stripe

'

well suggest

has been chosen in

difficult

some domestic decoration

that

question

The immediate

referred to in the Introduction p. 54 supra.

may

'

beg the

to

is

context

intended,

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
carpet, or a

And

fjLiya cf>povovvTa.

use of

in the

be a direct reference to the

and

>7

7r\aTvar}fjio<; (sc. ia6r]<;) for

This

122 13
first

is

OLTTOvocTTyaeLV irpoTL

1243

'

"Wlov

irapaKctrat

Homer

part of the study of style which

is

may

for 'clavus'

(//.

xii 113), but the

viro Kripa<i

vrjwv

aij/
|

Tjveixoecrcrav.
:

'adfinia vitia sunt'

"finitima et propinqua vitia" (ad Herenn. iv

to avoid

3 there

1.

dyaWofxevos Trapa

o)(^ecr(fiLv

defects of qualities

122

ap e/xeXXe xa/cas

vrj-mo^, ays'

LTnroLaLV koI

p.

was used

tunica laticlavia.'

not a final line in

of three consecutive lines:

aA-V^as (not d.\v^Lv)

on

o-rjixeLov

fact that (r-qp-^lov

negative

is

even more useful than the

c.

10).

Cp.

Perhaps

that

which teaches us what

that which teaches

positive,

us what to admire.

124

y^iTviQiVTo^

yetTVidv i^Rhet.

124

the

kpp..

tt.

shares this use of yctrvtav with

koi oAcos Se to tlixlov dytLv

Aristotle,

For Sophocles

1 1

The

i<s

to KaXov, cTTCtVcp yc Sokcl

9, 30).

in his less inspired

who

moments,

cp.

tt.

v\\f.

him are mentioned

The fault here censured is of the same order as
in Nauck^ p. 265.
Wordsworth's "prominent feature like an eagle's beak" (of the
p. 241.

human
jaws."

authorities

ascribe this line to

nose), or Milton's " with hatefuUest disrelish writhed their

It

even when

is
it

a fault to which the heightened style

does not actually

fall

into

it:

cp.

is

always liable,

Tennyson's description

of a fish-basket in Enoch Arden, or of a game-pie in Audley Court.

For a bujpBsque of
Johnson's Ghost

is

this

made

style, see

Rejected Addresses^ where Doctor

to describe a

door with knocker and

as " a ligneous barricade, decorated with frappant

appendages."

The parody

here

is

bell

and tintinnabulant
not much more extreme than Dr

NOTES

233

own change of " when we were taken upstairs, a dirty

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

Johnson's
fellow

man

our entrance a

as black as a Cyclops from the forge " (the

sentence in a private
in

letter,

the second

the Journey to the Hebrides;

example

the

first

same incident
given by Lord

relating the
is

Macaulay).

124 17

Ai^o/?oAowT09

124 21

The

reference

(i)

The

compound

There

is

to Aristot. Rhet.

iii

ev t tol<s SiTrXols ovo/xacTLV,

mentioned by Aristotle

four points

Se yf/vxpa.

to,

3,

etc.

oiov

are, in order:

words, (2) obscure words, (3) 'epithets,' (4) metaphors.

gap in our text of the tt. ipfx.

clearly a

is

124 22
Ill

late, LXX, N. T., Plutarch,

Kara r^v Ac^tv,

ev TeTTapan, ytyviTat

KvKof^piov ktX.

Alcidamas

mentioned also

See

in 12.

3; Brzoska's article in Pauly-Wissowa

pp.

Aristot. R/iet.

1533 1539;

D.H.

p. 41-

124 24

For the insertion of

124 25
cp. p. 162

20, p.

1.

124 26

whom

ct,

cp. p. 102

1.

10.

does not seem necessary to insert oiov after

It

180

15, p.

1.

106

1.

"x^wpa

koI evaifxa

5.

Possibly the author of this conceit

the words

il/vxp6v

TO.

may be

Gorgias, to

Trpay/Aara " are attributed in

Aristot. R/iet. in 3, 4.

126
line

Cp.

"And

On

Criticism).
fine

effect in

whole

"

90

1.

28 supra.

In English, cp. Pope's

satirical

the other hand, a succession of long syllables has a

Swinburne's "All thy whole

life's

love, thine heart's

{Songs before Sunrise).

126 4
fierpov Bi

iav

p.

ten low words oft creep in one dull line" {Essay on

Cp. Aristot. Rhet. in

7rotr//xa

/xry*

p-xpt.

Tov

yap

carat.

Abbott and

Ruskin's Frondes Agrestes

pvOfxov h\

fxrj

Ix'^iv

rov koyov,

dKpi/?ws* tovto Be lorat

this principle in

Seeley's English Lessons pp. 94

if.,

or

60 and certain passages in Blackmore's

In Latin, cp.

habuere," Tac. Anftal.

126 10

3 8to pvOfxov Set

For examples of the neglect of

77.

F^nglish prose, see

Lorna Doone.

8,

"Urbem Romam

a principio reges

init.

The analogy between imposture and

frigidity% certainly

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

good.

But

it


DEMETRIUS ON STYLE

234

when he
a

field

Charles

Lamb

Bows

For

126 14

Gorgias and Isocrates

end of Notes.

as well as other proverbs, see

this,

may

The

be specially meant.

aXXwv) probably

{a-qfxuoia-at ottws eVai/rtcos ^y^al r<Zv

our author's dissent from the doctrine of the

to

120.

fond of such mock-heroics and quaint elegances.

is

marginal note in

when

as

Cp.

ears before the roaring East."

all its

126 II

refers

hand

describes ladies' angular handwriting as "such a

of corn

Isocratic

school.

For Polycrates, see Jebb Att. Or.

and Spengel Art. Script, pp. 76, 77.

126 16
p.

103

n. 2,

pp. 94

11

126 17
E. Maass {Hermes xxii 576) would supply
some such name.
Cp. Pope

126 29

mock-heroic

(in

with disemboguing streams

Thames"

{Dunciad, Book

tioned together in

11).

For the inserted ^

128 6

aKovarOyjvat

Sprache^

X-yt<;

11

The Nile

xxxv

v\\i.

Fleet-ditch

and the Danube

are

4.

cp. p. 128

11

1.

aKovaaL jxaXOaKa.

ort kt\.

/cat

r;

more

the active would be

usual, e.g. Eurip.

But as Kiihner {Gramm.

side even in writers of the classical period, e.g. Isocr.

ovk

128 24
specified

men-

gr.

d.

585) remarks, the active and the passive are found side

TTOtrycro/xat tx^v

prjOrjuai 8'

or

Rolls the large tribute of dead dogs to

128 4

Med. 316

by

rr.

and

p(rLTr)v,

"To where

style):

96

A-t^^T/cro/xcVtuv aKoCcrat ^iXv

o.pyr\v tQv
dcrvfxcfiopov.

oSov duoLyvvvai

The meaning

(elprjixevrj)

bears that name.

is

'j)

= 'viam

12,

rtcrtv

156

ar}8rj,

aperire.

that the last of the three varieties, that

as 'impossible'

i$aLpT<jj<;

(I.

tcrcos

= Kar'

(1.

20),

i$ox7]v,

is

the one which specially

par

excellence

Attic

word.

late,

Philo,

Plutarch, etc.

128

27

KWfxioSoTTOLOL

Review xiv 211

and K(o/xa>8o9).
128 29
Twv Hep(rojv

116

I.

specifically

As Hammer has pointed

4, p.

tt. tuf/.

124

I.

out, the

characteristic of the

as well)

5, p.

See

by H. Richards on the use of

rrjq a7rXr]<TTLa<; is

be added, of the
p.

(article

126

1.

cp. p. 78
19, p.

I.

164

10, p.
I.

18.

Classical
rpayioSo^

mannered inversion
tt.

epfx..

96

I.

(and,

24, p.

Here

it

106

may
I.

2,

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)
:

NOTES
some account of Sophron's rhythmical

gives

on

of interest in

this revival

to which he assigns the

tt.

marked rhythm was much

says

235

during the

it

ist

an4 comments

prose,

century a.d. (the period

when composition with a

p/x.),

affected by the

Greek

strongly

Suidas

rhetoricians.

Sw^pwx' SvpaKOvo-to?, *Aya^oKA.ov? kox Aa/AvacrvAXtSo?- rot? Sc

kol EvptTrtSryv, kol eypaij/e pLixovi di'Spctovs Kal

yfiovoi^ y)V Kara. ap$7]v

yvvaiKiov'i'

fjiijxovi

UXdrtova tov

avT^v

4>iX6<to<j>ov

ecrd' ore, viz.

KaraA-oyaSryv,

Se

cto-i

det avrot?

8taA.KTa)

i/Tvy;(aviv,

kol

i^uipihi.

(f>aal

KaOivh^iv

^at

cos

lir

" Sophron of Syracuse, the son of Agathocles and

Damnasyllis, was contemporary with Xerxes and Euripides and wrote

men and mimes

mimes

for

Doric

dialect.

reading them,

In

pillow."

It

for

women;

they are in prose and in the

Plato was always

said that the philosopher

is

in fact, that

he sometimes slept with them under

confusion between Epicharmus and Sophron, whose date

inferred from the fact that his son

By /xtju.01

Dionysius.
'AA.it9,

by

Aristotle says

ovofjLacraL kolvov tov<; 2co^poi/os Kai

Aoyoi;s,

ovSk

rt?

a^vap^ov

8ta rpifjiiTpiov

iXcyeLwv

*/

rj

H. Butcher's

The

kpp.,

184,

tt.

156 his

(in

Der Dialog

20

refer to

/xt/>tot

yap

lyoip.^v

a.v

kol tov^ ScoKpariKovs

dWwv

rwv

tlv(Zv

twv

edltiott, pp. 142, 143).

Sophron

128, 147,

are called Spd/Aara).

Cp.

ff.

For the humour of Lysias, see Jebb's Atiic Orators i

Blass
194, and Blass Att. Bereds. i pp. 398, 632.

130 16
pp.

'^2

i5^>

53'

^S'j
L. Hirzel
1

as the reporre?,

ovSci/

/xt'jaov?

TOLovT(Dv TTOLOLTo Trjv jXipirjaLv (cp. S.

following sections of the

may be

under the tyrant

lived

yvvaLKLOL SUch as the 'ladfiLdt^ova-aty

fjufxai

In the Poetics

etc.

Xenarchus

meant such subjects

avSpetot are

"AyyeA-os, etc.)

UivOepd,

his

passage, the mention of Xerxes seems to point to

this

185,

Griech. Bereds, p. 5

may

to Maslovius' (Maslow's)

'Apio-TOTcAovs in

this

also be consulted, especially with regard

proposed substitution of

passage

as

Api(TTO(fidvov<; for

he points out, prose-writers (not

poets) are here in question.

Cp. such English examples as: "Like a

130 17

supper of a cheese-paring

when

a'

man made

was naked, he was,

world, like a forked radish, with a head fantastically carved

with a knife," Second Part of King

ots

132 6

ovv

132

7,

(if

the reading

is

Henry IV, Act in

right)

must mean

Horn. Odyss. IX 369 Oviw cyw

erdpoLO-L,
|

tov<:

8'

dA.Aou? Trpoa-Qev

should be noticed that

upon

it

Sc. 2.

deniquei^^

Trvfiarov

ISo/Attt

to Se rot $iyrjiov

gives $ivLov, both here

after

for all the

and

Itrrai.

in 152.

/JLerd

It

DEMETRIUS ON STYLE

236
132

Xen. Anab. vi

13

13

i,

yv

Kporoq

kvra.vQix

Iia<fiXay6vi<s r/povTO t Koi yvi/aiKCS <rvvfxd)^ovTo avrots*

61

OTL avTUL KOL

134

ttt

Tpeij/dfJLevaL LV

The

Xenophon':

cp. p.

152

been maintained that

but usually,
prominent,
TTO-pio.

if

e.g.

TracTLV,

w<s

TOVTO oe ofxoLOv

5, p.

1.

in later

80

Greek

Trapa

Dionys. Hal. de Thucyd.

(TTt

the writings of

in

'

is

94

18, p.

1.

vtto

dat.

is

will

be found to be

c.

Aeyetv otl irapa

c.

genit.

23 ov& at 8tao-w^o/xvat

c.

ovaat twv dvBpwv, Trto-reuovTat

T(i)

indeed,

It has,

28.

1.

not always, the local sense

iKUViiiV

kol

eXeyov

^acrikia Ik rov crrpaTOTrcSov.

translation probably

literal

ttoAv*;,

ol 8'

/A

id.

C.

39

rvpavvoLS ov fiKTOvvTat

roi<i

Tvpavvoi.

More than one example

134 9

found

Finckh would expunge wanip Kal

134 13
14,

1.

of this kind of pleasantry will be

opening scene of the Merchant of

in the

and

substitute wairep for wa-n-epel in

134 18

1.

Venice.

in

13 and wcnrip in

1.

15.

Possibly P's TrapaSei^ofxai should be preserved, as another

instance of that curious love of variety which gives

292 but

eTraLV(rofJLv in

295,

vrcpl

eTratvco-o/Ac^a in

KaKO^ryAta? in 189 but Trepl rrjv

A^ii/in 188.

134 26

wcTTTC/)

AvBov

ovt

dfJL<f>6Tpa

rd

31 aAAa tovtw ye

I,

'EAAaSo?

Trys

TravTOLTracrtv,

kol

(Sra TeTpvTrrjixevov.

ovt-c

Trjs

BotwTtas

cyw avTOV eiSov

CTrct

ctp^ef ovTUiS.

Weil says that he would rather see the shield of the sleep-

136 4
ing

Xen. Anab. in

ovSev

7rpo(Tr/KL

Amazon under her head than on her head ("ich sahe den Schild
Amazone lieber unter ihrem Kopfe vtto rfj K(f>aXrj

der schlafenden
als

auf ihrem Kopfe

i-rrl

rfj

Kcc^aAr}," 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

Greek IttX with the dative may mean simply beside^ as
Sc v/xovTat

Trap

KdpaKos

ireTpr)

liri

Kpijvri

late as in early

in

Homer's

at

'ApeOova-rj (Odyss. XIII

407), or

01 8'

dyopds dyopevov

where

ctti

Ilpta/xoto OvprjaL

yepovrcs,

men and

young were seated on the doors.

the

it

is

7rai/TC<
\

ojxrjyepces,

certainly not implied that the old

>]fxv vioL -qBk

In

138 and

137

the author shows a clear perception of the fact that style owes as

much

to

brevity

is

most

effective.

is

left

is

said,

that

a pointed

Or "the exemption of his territory from further pillage,"

Mr Dakyns more neatly renders it in his Translation of

136 13
as

unsaid as to what

what

NOTES
The

Xenophon's Works.
/ACTOL

full

237

sentence in Xen. Anab.

cVct CTVi'cyeVoi/TO ttA-XT/Xoi?,

TttVTtt

)(prjfxaTa 7roXA.a ts t-^v crrparidv, KiJpos ckciVw 8(3pa

^aa-iXiZ

tmrov

TLfjLLa,

aKLvoLKrjv ;(pvorovi/ Kat cttoA-t/v npa"tK7;v, Kat

8c rjpTraarp.iva avSpd-TToBa,

^(.ardai, to,

136 23

Cp. the repetition of

or of 'the love

As You

in

of

-^njipav

is

Kvpo)

vofML^erai rrapa
i/^eAia

Kat

SiapTra-

/xriKeTi

ttov ivTvy)(avoi(Tiv, aTroXafxfidvuv.

'till

I die' in

Tennyson's Maud,

Idylls, or of 'all

made of

2.

The fragments

136 24

tt)!/

Dedication of his

in the

Like // v

tjv

arpiTrrov )(pv(rovv kol

fcat

;(pv(ro;^(iA.tvoi'

27

2,

IStoKC

/Acr

2vi/veo-ts

of Sappho quoted in the

tt.

are for

kpp..

the most part given in an abbreviated or allusive form and without

much

regard to verse-arrangement.

Perhaps, therefore,

is

it

better

them remain imbedded in the text, rather than attempt to

arrange them metrically.
For the present fragment, see H. Weir
to let

Smyth Greek Melic Poets

138 3
1.

e7rt;j(aptTW9

130

p.

1.

cp,

p.

132

emendation, Finckh com-

in support of his

9.

H. Weir Smyth Greek Melic Poets

Wharton's
and
H.
T.
Sappho pp. 136 138.
249, 250;
For

138 6
pp. 34,

But

Seti/orryra.

p. 145.

21.

1.

138 4
pares

Spengel suggests

SctroTryras.

12 p. 180

35 and H. T. Wharton Sappho

p.

this passage, see

See H. Weir Smyth

138 12

op.

reference there given to Hesiod Op. et

140

Hist.

be to the

to

An.

VIII

dvTopxovfxevos aA-to-Kcrat.

but

bred'),

D. 582

ff.

Wilamowitz-Moellendorff {Hermes xxxiv

the reference
AristOt.

pp. 20, 220, 221, with the

cit.

the

plural

<Sto9,

or long-eared

p.

owl,

629) takes

and quotes

597 b 23 lo-rt h\ K6/3aXo<: koL fxtprjTrj<; koI

Weil suggests kcik KoAaKos ('and of flatterers
ra

Wilamowitz' emendation.

prj

seems

to

favour

ff.

for

KopaKos

has been suggested that

T17?

a-\y]vr}<;

a-wyjOrj

ovofxara

Cp. Aristoph.

Fesp.

42

converted into KoAaKos by the lisping Alcibiades.

140

Cp. H. T. Wharton's Sappho pp. 131, 132.

140 TO

6 A.a/x7rpoTpos

should be supplied.

on

p.

76

1.

it

Spengel, however, proposes Aa/ATrporaro?, just as

17 he proposes /xtKporarat for fjuKporepat.

for the confusion of the

comparative and superlative

See, however,
in later

Greek,

Moulton 'Grammatical Notes from the Papyri' (Classical Peview

J. H.
XIV 439), and cp. Blass JVew Test. Grammar (H. St J. Thackeray's
translation) pp. 33, 141.

Cp. Mod.

Gk

o Aa/ATrpdrcpos (superl.).


DEMETRIUS ON STYLE

238

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,
As thick as bees o'er vernal blossoms fly, As
or morning dews,
:

Ward

thick as eggs at

140 16

8ta7rat^ovo-a

Diog. Laert.,

late in

this

sense,

Josephus,

Plutarch,

etc.

Sappho's lines are thus written and arranged in Smyth's

140 19

Greek Melic Poets

TKTove<s avSpcs'

p.

33

"Xx^ioi

to jxkXaOpov

Srj

ya/x^pog ecrep^^cTat

'Yfxijvaov.

'Y/xT^vaoi/

tcra-os

dcppin

"ApevL,

avBpo<;

fjLeydkiii

{Dunciad, Book in.)

in pillory."

See also H. T. Wharton's Sappho pp. 130,

TTokv fxci^wv.

131-

140

W.

Some

23

Telhnaque seems

ancient

grammarian Telephus of Pergamus who

(cp.

Midler
142

'tis

E H.
me

not for

iii

boast

to

TrjXeffno,

meaning a

under the Antonines

lived

634).

Donjimn

Cp.

G.

be in question.

to

Christ {Griech. Litt.^ p. 592) suggests Trapa

(of College)

c.

Though

"For there one

acquired

but

learns

pass over

that:'

142 3 Kttt
dWoTpiov

(TTL^ov

8e

occurs also on

see Introd.

142

KOifxiodeLo-OaL

same sense

not

8eX(^or,

He

ScA^vs.

^allegory'

1.

20 and

p.

The

meaning

148

1.

25.

reference

ctTro

is,

of

11, 6.
(kco/xwScii/

used in

three lines above).

(^Rhein. Mus. xxiii 336) has pointed out that

would be the locative form corresponding to

suggests

probably

76

specifically Attic

o-kojtttcii/

Usener

142 II
S\<f>vL,

as

p.

63 supra.

Cp. Aristot. Ehet. in

course, to the art of parody.

the

p.

dS^Xcfjov

as

lies,

he

iraihiov

says,

vjXLV

in

the

kvo)u

use

of

The

(f>epL.

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,

142 19

144 3
" Bulias

Cp.

Boulias

non

KpL<ri^ in

9.

130 supra, where the same passage

:

is

quoted.

cp. Kaibel Comic. Graec. Eragm. pp. 171, 172

rhetor sed index dva^aXX6fxvo<s del koI vTrepTtOifxevos rds

proverbio est

BovAtas StKa^ct Zenob. vulg. n. 79.

est nomine suo semper condigne faciens."

homo

NOTES

239

144 4 See Meineke F. C. 6^. iv 78 for ''Ai/an^c/xcVr; ^ Mco-a-qviaJ

For Menander in general, cp. Croiset Zi'U. Grecque iii pp.

611

620 and G. Guizot's Menandre.

144

According

1 1

following example

not because

it

to this

Hume

gave pain to the bear, but because

the spectators" {^History of England^

c.

2); (2)

gave pleasure to

it

Hume: "Even

and unchristian

baiting was esteemed heathenish

7rpLcrv

Cobet {Collectanea

Critica p.

bear-

the sport of

not the inhumanity gave offence" {History of England,

144 22

the

in

Macaulay: "The Puritans hated bear-baiting,

(i)

view Macaulay, by repeating the word

more elegant sentence than

constructs

'gave,'

it,

c. 62).

237) suggested

which he thinks was written tirpiuv and so corrupted into

7rpLv,

But the aorist

<T7rLpv.

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

144 28

The words

p.

104

30 supra.

1.

Anim. ix 32) are

of Aristotle {Hist.

yrjpdar-

Kovai Se TOts derot? to pvyx^'* av^averat to avo) yafxxpov fx^vov dei /xaXAov,
Koi TiXo<s XifxS OLTToOi'rjcrKovaLv.

146
et Osir.

aOai

ixkv

Another fragment of Egyptian

ff.

63

at

8'

Cp. Plutarch

lore.

Is,

iv Tot? o/x/xao-tv avTo9 (sc. tov alXovpov) Kopat TrXrjpov-

kol irXarvvccrdat Sokovo-lv iv TravaeXrji'i^, XeirrvveaOaL

Sc koi

fiapavyeLv iv Tats fXi(ocrcn tov acrrpov.

146 8

The author

mind throughout
486

8ta TttVT* dp' )(wv

T17S K<fiaXrj<; tyjv

146 19

clearly has scenes,

159,
/cat

160,

161.

With

and
1.

lines,

of

comedy

13, cp. Aristoph.

vvv waTrcp ^aa-tXevs o /xcyas Sia^dcTKCt

in

Aves
I

crrt

Kvp/Saaiav twv opviOmv fxovo^ opOrjv.

Aristoph. Ac/l. 85 irapiTiOu

8'

TjfXLv

oXov<;

K KpijBavov
I

/3ovs.

146 23
146 24

Cp.

127 supra, with the references there given.

See H. T. Wharton's Sappho

on Hermogenes' there referred

Ehet. Graeci, vii

146 29

2,

is

The 'commentator

p. 153.

Gregorius Corinthius (Walz)

1236).

"Epws, written by a later hand in P,

repetition of epwrcs

148 15

to

is

due

to a confused

and anticipation of "EpwTos.

Cp. H. Weir Smyth, Greek Melic Poets,

p. cxv.

DEMETRIUS ON STYLE

240
148

versus,

aypoLKov: specifically Attic word.

148 27

ut

matrona moveri iussa diebus,

festis

paulum pudibunda
solum
I

protervis.

non ego inornata

148 28

&

31

o-arv/oov

KaXelv

TTotfj^,

the plural

For the

e/x.

Review xiv 205) quotes

the

TT.

intererit

singular,

G. 2758

C. I.

In P's marginal note,

tp/x.

The

150 3

Thesm. 157 oiav a-arvpoL?

Richards {Classical

Mr H.

KWfXLKOiv

KaKTjyopoL

Koi pv7rapoTr]Ti fitov

Koa/xcoSet,

Casaubon conjectured
8'

Tre^v/cacri

cTi/at,

rw TrjXavyiL KpLTO^ovXov tov

fiev

ei^

be observed.

may perhaps have been

'far-gleaming pouch'

ToJv

cfuXoaocfiwi/

Swf/aartKO?

passage of

iv as well as this

ot a-drvpot will

comparing Athenaeus v 220 a

Tr]\avyov<;,

yc

KOi

Alcr^Lvr)^

Kpircoi/os

TrActo-rot

ot

ctt'

a^aBia

tov Se TrjXavyrjv avrov IfxaTtov /xev

aU)s KaO* y/xepav iJ/jlko/SoXlov Kvacftel reXovvra fxtaOov, /cwSto) 8e

Koi

satyris

dominantia^nomina

et

more usual than the singular

is

cant expression for a protuberant body.

T<ji)v

217.

verbaque, Pisones, satyrorum scriptor amabo."

in this sense of 'satyric play'; cp. Aristoph.

TOLvvv

Also found in

Cp. Hor. Ars Poet. 231 "effutire leves indigna tragoedia

ff.

cfiopr]-

lt,{ji(Tixivov

TO, vTrohrjfxaTa crTraprtots kvT^fXjxivov aa7rpot<s.

Telauges as a proper name occurs

in

291 infra

there

here a

is

play on the personal name.

Athenaeus IV 158 B

150 4
Trpo

<j>aKyj<i

XoirdS'

av^wv

els

kol KpaxTys

8'

lAcyev

6 ^rj/Satos

Crates the

(TrdaLv a/x/xe fSdXrjq.

fiTj

Theban

was a Cynic philosopher, a pupil of Diogenes, and a contemporary of

He wrote in prose and verse, praising simplicity of

Theophrastus.

may

here

TToirjTiKr]

life.

refer to

some

position, or to his poetry in general.

150 6

TO

ojs

TrXeoj/,

'for the

satirical

Cp.

'

Poetic

of his com-

'

259.

most part':

only here in

this

particular form.

150

Cp.

6, 7

"quamquam ridentem

dicere

verum

quid vetat?"
|

(Hor. Sal.

i,

24).

Ridendo praecipere

as laudando praecipere.

150 8

true

word may well be spoken

"Nothing," says Goethe, "is more

character than what they find laughable."

this

as important a principle

is

remark

in her

in jest.

significant of

George

Eliot,

Essay on Heine^ would say " culture

men's

who quotes

" rather

than

" character."

150 10

Apparently some such word as iKdXa or

out before UrjXea.

383 c

The

correction HrjXea

is

cTTtTtjuwrTcs 84 TLVL (ot fxdyeLpoi) (fiacTiV'

cr7r

has fallen

confirmed by Athen. ix
fXT]

8ctv TOV

Olvea UrfXia

NOTES
and by Eustath. ad

TTotctv,

irepl

Tov

II.

772

p.

241

iirl

Koi TOV rpvytav (rvveixTToXav.

rjK0vcr

yap

(09

Xw?

TTOUL TOI^ OtVCtt HrjX^a, r0VT(TTL

/XT]

kut olvov ewoLa

acTTeiov

koI

<f}7]V

TapaTTOVTL,
TO'

8c ToiavT-q

-q

\6yov

Oiv4oi<s

)7po)09

TOf

Kpr^TTJpt irapafxtyvv^; jU.CTa/3aXA.

oti/oi'

TOV TpVyloV

fJLT]

cts TrryXov, (S

oJ?

olvov

KarrrfXio

ttoOcv cvrpaTreKVKIJiV Kttt TO)

SoKCt Trapcovo-

fiacrOat Traiyvrjp.ovoi'i 6 IlryXcvs.

150 15

Cp. Seneca, Z)m/.

"Chrysippus

ii

Constantia Sapientis)

{de

quendam indignatum, quod

ait

mariniim dixerat^^ (quoted by Schneider), and Diog. Laert.

/cat

'ATToAXtuvtos Sc

oOev

fX\dy)(^pov<;,

6 Tvpio? ort icr;(vo9 ^v (Z>yvo>v),

(f>r)a-LV

avrof

Tts

this

passage of the

17,

KXrjfxaTLSa,

vii i, 2

VTrofxrjK-qfSy

KaOd

(quoted by Finckh and Liers).

Xpva-L7nro<5 iv Trpwrw Ilapoi/xicoi/

seeming dependence of

AlyvirTLav

ctTrei/

c.

ilium aliquis vervecem

tt.

ipfx.

<j>r](TL

The

on Chrysippus

is

another indication of comparatively late date.

For similar expressions

South-Wales man,

150

'

Aristoph.

Ahrens

'

finds himself in

New-

Scotian, etc.
Trj

Oakda-a-r) as

With

a boat.

a gloss on

follies

of the

-rrpof^aTov

cp.

would be specially helpless and foolish.

1203 dptOpios, Trpo/SaT aXXois. Sophron is thought by

sheep at sea

JVt/d.

to

Nova

of a

But there seems a special allusion to the

landsman when he
:

'

Victorius brackets tov iv

16, 17

6aXd(T(TLov.

vervex

in English, cp. 'corn-stalk' of a

blue-nose

'

have coined a phrase

(Kaibel C. G. F.

p. 173).

It is

irpo/SaTov Trpo/^aTepov, 016s oloTepov

unnecessary to suppose that a fish

is

here meant by OaXda-a-Lov irpo^aTov.

150 21
(jDcrirep

Aristot. Rhet.

iii 2,

Xeyet, ev rots

ALKijfJiVLO<s

13 has

\p6<j>oL<i

7]

KdXXo<s Sk 6v6^aTo<; to

toJ cr>7/x,aivo/jtva),

jxiv,

koL at(r^os Sk

tucravrw?.

150 24

Th. Gomperz (Pki/odem und die dsthetischen Schriften

der He7-culanischen Bibliothek^

compares Eurip.

Cycl.

Any

P* 7i)

suggests dvOo^opov ;(Aoas,

and

541 dvOrjpa x^oy-

who has had lessons from

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?.
150 26

a good

152
point,

English learner of Italian

teacher will

The

though

expression

Aristot. J^/ief. iii 11, 16

R.

ot 'Attikoi

ot 'AxTtKot pyJTop<:

and

seems

to

betoken a

late stand-

(perhaps an interpolation) occurs in

ot 'AOtjvrja-L pryropes

in

Ji/iet.

in 17, 10.

16

DEMETRIUS ON STYLE

242
At

all

events, the extract from Theophrastus ( 173) does not

Gramm.

see Kiihner

Gramm.
Gramm. ^
prisci

About

152
is

'

formed,

Halic.

with

p.

kp^.

tt.

noteworthy);

is

apx^tot there

This use of
late

is

8ta, to

perhaps

23, p. 176

1.

denote the material of which a thing

not earlier than Diodorus and Dionys.

p.

76 I 10 (which should be compared

74

25), p.

1.

1.

The

is itself

104

18, p.

152 17

general standpoint here

12.

1.

TrXaretacrSoicrat airavTa.

The

surely late.

is

past

significant.

Spengel suggests

any change were

to

aA.A.019;

be suggested,

but see

n.

152 24

Gennadius suggests

152 25

Dionysius treats of the yka(f>vpa

The author

of the

date than Dionysius, or

tt.

on

p.

90

1.

18 supra.

might be (with Goeller) that

it

of 7rapaTe;(voA.oyto-^o) tO TrapaTere^voXoyrja-Oo) (cp.

Verb.

Griech.

something of the notion conveyed

is

Cp. Theocr. xv 88 iKKvaicr^vvn

152 20

Meyer

G.

homines.

152 16

tense

If

the

Other instances on
Zd

i pp.
Meisterhans
394, 395
107 (the confirmation here given to

321.

p.

152 3
'

Sprache^

d. gr.

hischrifteti^ p.

statement in

the

by

att.

d.

seem

On the question of the grammatical forms,

to extend as far as here.

A.A.;^^o>

41).

tottov in place of rpoTrov.

kpp..

(if later)

crvv6e(Ti<i

in his de

Comp.

must, therefore, either be of earlier

have been ignorant, or have feigned

ignorance, of his work.

152 29

Cp.

152 30

For

126

5 supra.

1.

cp.

SiaKpcvoL

'mark

'distinguish,'

154 8

p.

where

i,

C. Miiller {Fragm. Hist. Graec.

the reference

is

to

it

means

Xenophanes.

11

p.

(for

whom

245) suggests that

The Dicaearchus
'

no doubt Dicaearchus Messenius and not the

Dicaearchus'

'differentiate,'

out.'

'

in question is

so-called

little, if

Pseiido-

and Dicae-

see Ancie7it Boeotians p. lo);

archus Messenius would be

any, earlier than Demetrius of

Phalerum.

154 15

Lit.

'for the

vehement, while length

154 18

is

former

The few words

whole of the passage

(i.e.

to eSpav exetv)

is

plain

and

elevated.'

here quoted are meant to indicate the

ovkovu orav

ixev tls /xovcrLKy

TrapixQ KaravX^LV

NOTES
yXvKctaq

kol

243
Kat

/xaXa/cas

iXeyofxev

ras

ixivvpit,(jiv

re Kat yc-yai/co/xei/o? vtto T175 wSiy? oiareXT^ rot'

TO

fxkv TrpwTOv, t Tt ^u/xoctScs e*X**'j

fxov i^ a)(pi](TTOv KOL

as

a/ji<l)(D

ctt'

wairep dihiqpov IfxdXa^^v koX

8'

orav

iTroLrjcrev'

Hammer

A, b).

Trepl povaiKrj'i A.oy<o

orav

oAov, ovtos

/Jt'ov

eTrexoiv

xptjcTL'

ktX.

avLrj

fX7]

xxxvi 357) defends

meaning " nach beiden Richtungen findet man iv tw
411

(Plat. J^ep. Ill

cV

aK\r)pov

koI

dpfxovLas,

^pryj/oiScts

(F/ii/o/ogus

des Plato, dass er yXtt<^vpos

Aps. 383, 12

vgl.

ist,

a/x^to ctTroSci^?."

154 24

Spengel adopts the reading

that the author has the regular future

c^cXcts,

though he points out

in 29

alpTJa-u)

cp. 57, 214,

268, 299.

The

154 28

full

passage in Plat.

I^ejf. iii

399 d

KiOdpa XctVcTai, kox Kara ttoXlv XRV^'-f^^'

roLS vofxevdL avpty^ av rts ?>;.
8'

yw,

Kttt

156 10

a conjecture of Gale for

oi/o/xa^o) is

Possibly the third person singular

741.

ground that

be supplied (cp. tt.

particular authority such as Archedemus
13)

1.

is

rts is to

meant.

In other passages

nominant,' though reading

Xvpa

Srj a-ot, rfv

Kar dypovs

cir

given in

6vop.dt,^i as

may be defended on
p. 171),

vx^f.

or that

the

some

(see note referring to p. 86

94) the plural

(e.g. ^

order to indicate more than one authority

'

is

'^^i^

used, in

is

here Victorius translates

ovofxd^eL.

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.

The name

156 15

of the mother of Alexander the Great being

Olympias.

156 18
English

'

Tj^vxp^^v

perhaps

sweet-breasted

156 21

'

see

AcTTTttt?:

'

sweet-complexioned,' just as in

has been appHed to the nightingale.

for

emendation by Radermacher,

this

Rhein. Mus. xlviii 625.

Wilamowitz, Hermes^ xxxiv 629, suggests

Norden {Kunstprosa i 148) calls attention to the Ionic

Atyetats.

rhythm

in vVeo-vpt^e Trtrv? avpats

156 22
is

Hammer

right in his

found

(p.

query " quidni

in other similar

(^^

v^^v./

).

72 of his dissertation) thinks that Spengel

Xe^cw?

? "

passages (such as

p.

ttjs

The
158

1.

genitive

and

but we must allow for our author's love of variety

Too-aSe for the usual roo-avra).

may have been

avoided.

See

is,

indeed,

130

p.

(e.g. p.

1.

158

9)1.

3,

Here, too, the concurrence of sigmas

n.

on

p.

134

1.

16.

16

':

DEMETRIUS ON STYLE

244
156 25

Sotades lived in the time of Ptolemy Phila-

SwraScta.

and the use of the term

rhythms is probably of still

delphus, whose court he visited

F.

and

feeble

for

affected

De

Podhorsky's dissertation

Versu Sotadeo

v pp.

Philologae Vindobonenses,'

io6

'I(oi/iKW9

dXA.'

o 8e

schol.

ytvcrai

Ekm.

The

158 6

taa ex^

Iva 8e

15.

misreading of
for

KaXov^va

c.

22)

irav (cp.

i.e.

1.

says

of the

ttIvov

Rhet.

iii

In

twi/.

Gr.

Ill

158 27

among
to

rj

fitJTrjp

Kara t^?

kol

avro

/cA.t)u,aKOS

D. H.

pp. 10,

rcavr^av

is

5,

1741, however, the

way about.
due

is

Dionysius

6.

apfxovLa as

ava-Trjpa

fxeyaX6(f>po)v,
e)(pv<Ta

Gr.) and QuintiUan

158 24

Tr)v yvvacKiDvlTLv
rjixlvy

is

oIklSlov

16), the circumflex having been mistaken

chiefly to asyn-

Comp.

{de

Verb.

seen in ancient writings:

au^cKao-ro?,

KaXXos.

On

the

virepoTTTiKr]

aKopuf/evTo^,

subject

ambiguity, see also Theon's Progymn. pp. 79

Litt.

init.)

laTL irepl ra? Trrworets, ttolklXyi Trepi rov<; o'X'V/xaTto-p.ov?,

avOrjpd,

TOV

KOL

etc.

yvvatKCS Karo), ktX.

oXtyoavvSeaixo'i, avap6po<s, iv ttoXXol^

r]KL(TTa

Kara

iyevero

the obscurity of Heracleitus

Aristot.

ayxicrTpo<fi6<;

Lucian

vfxlv Strjyyja-aa-daL),

effective use of familiar words, see

cp.

Test.,

ingeniously suggests that in this line

an abbreviation of the syllable

158 18

New

/carto,

iraiScoi/

corruption seems to have been the other

deton

ff.

Philo,

/xkv avco StT^Tw/xT^i/, at Sk

For the

wfxov.'

irpo tq-vtov 'Iwi/t/ca

ottotc XoveaOai Scot, KivSwevrj

/J-t],

Kara^aLVOvca, cyw

Hammer

^"' "-^^ '^^'-^

tVeiS^ Be to

ttjv avSpoiVLTiv.

158 8

xar

XIV 620 E

yap koI ravO'

(Set

4,

cp. Athen.

passage of Lysias {de caede Eratosth., ad

ia-TL fxoL Siirkovv,

eOy]Xat,v

consulted,

of Sotades have been collected by

late,

may be

ix^\vr]v n>;A.ta8a Sc^ioi/

to,

date.

Dissertationes

ovTo<i 6 crri^o^ /w,TaTt6'e/xvos

Doctr. Metr. p. 444

w avSp9

TrpcoTOV fxXv ovv^

Kara

o-etoji/

iSwraSov kol

to.

/xcra/xc/xop^to/xeVo)

'

The fragments

ktX.

G. Hermann,

158

xxii 133 says

'

Sotadean

later

4 and Quintil. ix

c.

Tov appeva tovov TeOtjXvKev

Xoyo?

*1<s)Vlk6<;

TTourjixaTa

//.

a.-KO /xct^oi/os*

(TvvOaL<s KOL

>7

on

(in

184)

together with Dionys. Hal. de Comp. Verb.

6 and 90.

'

J?ist.

Or. vii

Nauck

Trag.

Date, 361

ap^diaixov

of d/x^i/?oXta,

81

or

(Spengel Rhet.

d. gr. Litt.^ p.

262

316, Croiset

b.c.

Graec. Fragm.^ p. 864 reckons this line

tragic 'adespota,' but the context favours

Menander.

tov

9.

Philemon: W. Christ Gesch.

pp. 609, 610.

dKoXov6'ta9,

rrjs

Cobet Nov. Led.

p.

Meineke's ascription

92 suggested <^iAw for

<jf)tA,

thus

NOTES
multiplying the verbs unduly perhaps

160

3,

suggest a-jraOuav

Nauck

{Rhein. Mus. vi 468),

'along with the conjunctions you will infuse a

lit.

plentiful lack of

245

emotion into the

a/txa

190

line,' cp. p.

(The author of the

here.

ir.

1.

19,

which may

does not seem

kpfi.

to have disapproved of crvv in composition with another preposition,

cp.

78

p.

160

168

p.

14,

1.

So

10.

1.

the conjecture

therefore,

far,

appears possible.)

arvve/jipaXeU

This interesting passage shows that the Young Samuel of

had impressed the imagination of the Greeks. The

word KVKvos was substituted for kvk\o<s in Eurip. Ion 162 by Victorius,
their Hterature

with the aid of the present passage.

160

1 2

SLa/jL6pcf)0}(TL<s

late,

Clem. Alex.,

Plut.,

Liddell and

etc.

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

The

idea here appears to be that of 'construction or

kpi^.
arrangement of the episode' (what the actors call 'business') devised
TT.

by the dramatist with an eye

to the actor

stage-directions, in fact,

expressed or implied.

160 18

T771/

160

airKari(TTy}(T^v

22

Mr Moulton

there noted by

appearing in

avip.vrj(Tiv

160 27

<f)ivyiv'.

this section,

207 and

For

D. H.

p.

162
(here

174

but

in

also

tt.

classical

p.

on

p.

The

435.
in

yjvipvyja-^v in

this

(f>VKTov in

v\\;.

1.

Ep. ad Pomp.

c.

and

p. 237.

16,

determine whether av should be added

184

1.

5,

194

usage and the usage of

1.

21,

this

200

1.

9) in accord-

author elsewhere.
is

In

perhaps

advantage in giving prominence to such aberrations from

accepted usage.
162 10
\<T)(y6%^

The

220 supra.

the present state of our knowledge of later Greek there

some

varia-

treatise,

section 297.

204 by the side of

Philistus, see Dionys. Hal.

and on pp. 168

ance with

<j>vyLv

It is difficult to

35 and

illustrated

208.

(f>vyTOi in

160 28

p.
is

for the infin., see n.

desire for variety explains

xi i.

H. Moulton's Grammatical Notes

cp. J.

from the Papyri, Classical Review xv

bility

Demosth. Or.

&paK7)v KaT(rTpiJ/aTo occurs in

just

Cp. Aristoph. Av. 180, Eurip. Andr. 929.

The natural

order of words

is

appropriate to the

as hyperbaton suits the x'^P^'^'^VP

Victorius' highly probable emendation, cp.

1.

xa.pa.Kri\p

/w-cyaXoTrpcTrrys.

18 to

For

<f>v(TLK6v elSo^ rfjs

DEMETRIUS ON STYLE

246
Tct^cws.

Dionysius

states his views with regard to the natural order

of words in de Coinp. Verb.

162 16

162 27

avToOcv:

162 29
TToXXa

(T.

164

If

12, 13.

'at once,' ^suddenly,' cp.

meaning

ttv is

is

'

of

itself,'

tt.

vif/.

In

195.

p.

'springing from itself

may be

right, etev or the like

supplied

locnrepavd

should possibly be read.

ex-

Z>. ZT. pp.

bears here and in 15.

it

32, 78, 122 the

4: cp.

late (Josephus, Plutarch, etc.) in the sense of

SoKt/i-a^oo:

'approve' which

c.

a(Tr]ixLWTo<s

late

The verb

imperial times.

Philo,

and an

inscription of

Roman

occurs in Theophrastus, but the

o-r;/xtow

derivative forms are late.

The treatment

164 4

The

TT.

more

is

ipfjL,

of

directly

a-acfir/veia

but to the point.

brief,

is

concerned with the rhetorical graces

than with that cardinal virtue of clearness which Aristotle rightly

places

in his definition of

first

was quite

that the author

164

As

Aristotle (R/ief.

iii

says, style " fails in clearness both

The

condensed."
laboro

fio "

obscurus

case

latter
;

But

style.

alive to the

is,

writing shows

lucidity.

is

it

prolix

p.

39 supra)

and when

it

is

of course, Horace's "brevis esse

but the lapses of the plain style from clear-

they

arise chiefly

from

rambling.'

164 8

own

quoted on

12, 6:

when

ness belong rather to the former category,

'

his

importance of

Cp.

5 for

164 9 P has
96 P has fxera^v

it

In

division of

Comedy

belongs to the Alex-

Philemon

in

suggests a later date than that of Demetrius Phalereus.

164 12

KtoXots TpLfXTpoLs IS uuusual,

marking pauses

divisions,
ts

Tietpaia

and Hahne has suggested

If Hght, TpLfxeTpoi<s uiust refer to the following three

K(oA.oi? ixTpLOL<s.

X^es

triple

Like the reference to Menander and

,andrian age.
193,

but

members.

irpiirov rjpoio-LV in 5.

'YiXX-qviKoi^ ovofxaatv.

The

164 10

elevation as due to long

TrpeTTOv rjpwwv here,

(1.

15)

fxera TkavK(jDvo<;,

in

the examples given:

and

iKaOrj/JLcBa fxkv

lirX

Kare^rjv

rdv 6aKwv

ov ot dOXoderat tov dy<Zva Siart^cacriv.

iv AvKcto)
I

164 24

Sc.

164 25

Kttt et

TTov {(TvyKpov(TTiov) ftpaxia (TvyKpovcTTeov, ktX.

Everything that

the short syllables.

is

young

is

pretty

'

will give

some

of

NOTES
The crasis /cdTrl occurs on
may be illustrated by kiii to avrb

164 28
of

cTTt

The

166 8

The

166 23

xxi 257

six lines //.

made

references

247
p.

94

supra; and the use

1.

on

reXos

p.

192

1.

8.

262 are meant.

in this

and the following sections

Dem. Phal., in whose

to Ctesias point to a later date than that of

time he had hardly attained the position of a

is

characterised in Dionys. Hal. de Comp,

crates,

c.

late date,

Plutarch,

The word

little

influenced

dSoXfo-xorc/ao) also indicates

etc.

Finckh {Philologus xv

166 28

Like Hippo-

10.

he was a writer who had been comparatively

by the rhetoric of the schools.

Ctesias' style

classic.

Verb.

p.

154) pomted out that instead of

^TpvayA-ios should be read i^Tpvayyato?, the reference being to the

Median king

son-in-law of the

Some Greek

168 15

Astibaras.

passages bearing on the relation of history-

writing to poetry are brought together in

Norden's Kunstprosa i
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/x^oVe/oai ov
p. 92.

yap av

oX(jyy\B(.iy]v ttoltJo-cls

avras Aeyoov.

168 16

KaXoLT] (without av), cp. n.

168 23

Trapa, in the

But

cp. AristOt. Rhet.

Tov ayaOov,

Philodem.
>7/>ia9

Isocr.

Vo//.

11

sense 'because
10, 8 St^Aov

52

6,

145.

Trapa

yap

Gregorius (Walz vii

iXOwv yap 6 ayycXos

usual accent) ovk

on

awopav

rrjv

croirrjpLav,

and

ov SvvavTai, irola Trap*

Trapa to Ttav Trpay/xartov

Trap*

avras ras Xc^ets

1180) transposes the clause and

thus getting the easy construction

Trpo? Ty)v Xlapvo-artv

evOioi's Ae'yct

avrovs ov Tuyxavova-L

Trap'

of things, as

2, p.

Trpo?,

rarely used of persons.

of,' is

Troiuiv StaTrtTrro/xei/

More commonly used

changes the preposition to

245 supra.

p.

tovtov yeveadat

Rhet. p. 297, 11 Sudh.

avrovs afiapToivofiev kol

oiV<f>LKTov.

on

(Gregorius gives the more

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

dTToixcTat in Aristoph.

168 30

cp. the similarly

Ran.

p-dAt? here,

but

ambiguous use of

/xdyt?

on

p.

92

of the love of variety seen throughout

Xtyofievov, cp.

dTroA.t7rwi/

ju,'

83.
1.

20

the

yet another instance

treatise.

such passages as Lucian's eo-o-aXtas

p,

With

to

St}

i$/3a\v oXiys

DEMETRIUS ON STYLE

248

TTaXtav d^tow Aeyctv, koX

Tratrav a7roKKXLK fxot ttjv OaXaa-crav oiuSe

Twv

iv KYjiroLS (fietaoifxivov a-evrXcwv,

fxoL

KaraAtTretv {ludic.

168 30

airepprj^ev: cp.

fiaOoyv ii olXXokotov

168 31

avTo:

Appian de

170

Xeyo/xcvov

Bell. Civ.

11

and

aypoiKo<i

170

rjKova-To:

81 d 8e

no/ATTT/ios

13 airepp-qyvv T

III

making

Gregorius

'it.'

too precise

it

dyycAowra: Spengel suggests dyycAoVra

TrdacraXov

(I.e.)

kol ovtoj Kara

airepprj^e to ^rjTOvfjiivov.

iJi6XL<s

170 4

fxrjBk

the indefinite, but useful,

rather spoils the phrase by

fXLKpov Trpo'Cwv

Srj

roo-ovrov airipprj^ev

0-1(077179

Xrjywv Tov Xoyov otl.

ws to

Vocal.., 9).

(aor.).

a specifically Attic word.

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

word, but

Feeding

hall,

down

all sat

at once,

And

Doorm

"

And none spake

ate with tumult in the

naked

when you hear them feed" {Geraint and

like horses

Enid).

170 9
praise

is

that

was blushing,

312 a

Protag.

Plat.

KaTa<f>avrj

VTricfyaLve rt rjiJiipas, (ocrre

koX

os

two things are made clear

(2)

in

Cp. "

day was dawning.

his eyes all wet, in

etTrci/

ipvOpida-as

avTOv ytviaOai.

The

a single sentence

And he

rjSrj

yap

point of the
:

(i)

he

and I saw
the sweet moonshine" (Tennyson, The Grandturn'd,

mother).

170 14

Elliptical

170 16

As

in

sub. ivapyyjs

Io-tl,

ivdpyaav

"Proputty, proputty, proputty

the

iroul, or

canter

like.

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

whit in the bush beside

its

170 19

Cp.

170 23

The

as 'whit' in Tennyson's

me

"And

whit, whit,

chirrupt the nightingale."

94.
TT.

epfx. is

remarkable

for the

number and

variety of

formulas of transition and conclusion.

172

/SefiaLovarav

another example, apparently, of a transitive

^e^aiav
p. 98 1. 29 supra),
might perhaps be suggested as the true reading.
For per-

verb used intransitively (cp. TrapiXKei on

ouorav

suasiveness (which comes under the heading of the xP- tVx^ds, in

opposition to the x^P- /AeyaAorrpcTnJs) as avoiding elaborate language

NOTES
and formal rhythm,
TTOtovi/Tas,

yap

Kttt

Aristot.

Rhet.

iii

SoKciv Xcyctv 7r7rA.aor/Xva)S

/x-^

2,

dXXa

810

Xav^avctv

Set

tovto

ttc^v/cotws*

iKelvo Se TOvvavTLOv.

TTLOavov,

172

cp.

249

7r' dKpi^ia<s
these adverbial expressions with 7rt, though
Demosthenes and Aristotle, are much more frequent in
later Greek.
Cp. Demosth. de Cor. % 17 eV dXr/^eias ovSe/xias
ilprjfiiva, i.e. 'with no regard for truth'; and ctti t^s dXry^ctas, 226

found

in

ibid.

The

172 13

sections treating of the epistolary style are

the best in the treatise.

The remains of the Greek

collected in Hercher's Epistolographi Graeci,

" Demetrii Phalerei tvttoi cTrto-ToXiKot "
in Fhilologus

lx

pp.

on pp.

among

letter-writers are

and reference made

i

(cp.

to

Th. Zielinski

In Latin antiquity and at the Revival

8, 9).

of Learning Cicero and Erasmus are celebrated as the great letterwriters

in

modern times

there are

many

distinguished

names

in

France and England^ especially perhaps before the era of cheap and

Much

rapid communication.

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

Episiolaire.

is

sensibly treated in Verniolles' Traite de

Justus Lipsius,

it

may be added, drew on

the

tt.

VArt

cp/x.

in

his Epistolica Institutio.

Ariemon date uncertain, possibly as late as 130 B.C. or

would seem, from this reference to him, that Artemon
not only edited Aristotle's Letters, but prefixed an introduction
172 14

even

It

later.

dealing with the general subject of letter-writing.

II

p.

See Pauly-Wissowa

1447.

Whatever the precise date of Artemon may have been, the

(here and elsewhere) of the tt. cp/x. to Aristotle suggests

relation

a follower
172 15
fxr]

TO.

cV

far

removed

dvaypd\f/a<:

'record,' or 'pubhsh.'

Cp.

v\f/.

xiii 3, el

ctSovs Koi 06 Trcpt *A/xfxoiVLOV CKAc^avre? dvypaif/av,

Dionys.

Hal. de Thucyd.

172 16

in time.

c. 5 ot \iXv 70.9 'EAAr/r/tKa?

So Goethe

(in

tt.

dvaypd<f>ovTs lo-ropta?.

Wahrheit und Dichtung) describes

letters

as " ideelle Dialoge."

172 30

174

Some such words

Plat.

AvKCio) SicXeyov

Euthyd.
rj

init.

as at toO 8iaA.oyov

(271 a) T15 ^v,

may have been

Sw/cparcs,

lost.

w x^

cV

ttoXvs v/xas o;(Xos irpL(TTi]KL, uxtt eytuye ^ovAo'/xevos

DEMETRIUS ON STYLE

250

aKovetv 7rpo(r\0a)V ovBev

Kai

KaTctSoi/,

174

irpiTToi

"

Le

r Academic,
words

a/cov(rat aa(f>i<;,

tl<;,

w SicXeyov

on

for the optat. without av, cp. n.

TrpeVoi

is

found on

206

p.

1.

style

245 supra.

p.

7.

meme "

in

style

{Discours de Reception a

still

nearer Greek parallel in the

yap aTravre? vofXi^ovcnv

et/coVas tj/at tt^s c/cao-rov \J/V)0^

which has a

^753)>

7rtei/ccos

I'homme

est

[x.ivTot

v7rpKV{f/a<s

yv

tl<;

Cp. Buffon's famous saying with regard to

174 10
general,

^v

ot6<;

ISo^ev etvat Revo's

fioL

But the regular av

Xoyovq (Dionys. Halic. Ant.

Tov<;

::

Rom.

i).

Epicurus in his letter-writing seems to have avoided the

174 15

condemned

faults here

see

Norden Kunstprosa

pp. 123, 124.

Cp. Abbott and Seeley, English Lessons,

174 17

124

p.

n.

" 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

of a

letter."

It is to

common

the beginning in

sir' at

be noticed

that, unlike the

the critical essays of Dionysius, the

kpp..

tt.

with the style

v\\;.

tt.

and most of

not couched in the

is

epistolary form.

174 18
heading.
p.

202

1.

Hermann

C. F.

TTpoayeypafxfxevov,

which

suggested

Strictly refers to

If P's ra nXarwi/os ttoXXo,

26 Hevo^covTos ra

7roAA.a,

place of

in

Trpoyeypa/x/xei/ov

an addition rather than to a

be retained, we should compare

though the words are there

in the

natural order.

174 19

had access

What

It is clear

from

p.

172

1.

15 that the author of the

174 24
I

Finckh would

The

supra.

174 27

Peripatetic

cp. p.

70

instrumental.

may mean

'this

same

admiration for Aristotle appears once

here.

176 9

probably

Ruhnken
rightly,

suggests the insertion of

as 8ta

ixrjxavfj';

could

" ov 8l

(Afnemosjyne N.

S.

aAXA.

Supplendum aXV 'AITO

usu."

But

insert Iv before cTrta-roXats.

may be

kp^.

15.

Possibly tov a.vrov IttkttoKikov

epistolary style.'

more

dative

tt.

writers.

we do not know

the letter here attributed to Thucydides was

possibly that of Nicias in Thucyd. vii 11

1.

eminent

to collected editions of the letters of

fxrjxa-vv'S'

p.

42),

In the English Translation,

(xtto

iirL(TToXrj<i

*'to

before

hardly stand.
tl

/jLr])(avrj<s,

/jirjxavr}':

Cp. Cobet

\a\.ovt/TL

noto

et

koiKcv

frequenti

be playing the 'deus ex

::

NOTES

251

machina'" might sound archaeological rather than Hterary

have mounted the pulpit is the general idea.

'to

'

There

176 13

and

'

176 18

be retained,

If the at

and

iina-ToXal
little

an obvious play on the two senses, 'Graces'

is

favours.'

translate

to

The

ad Alex,

176 28

be best

to

punctuate after

three extant letters purporting to be from Aristotle

to Alexander are probably spurious

5, J^/ief.

will

it

the letters be in keeping, viz. a

let

Victorius reads rot avrai.

heightened."

176 22

"

Valer.

(init.),

iii

they are found in Aul. Gell.

cp. 114, 186, 302,

TrapoLKeLTai:

xx

79.

same use

for the

304

of this verb.

The examples

176 30

the age of decadence,

178 4

'

'

P's reading TaSr]pev<; has

(1) FaSapev?,

vk{/.

in

9,

his

Latin
this

last

Demetrius of Phalerum.

for

whom

(2) raSeipV9, or

242;

pp.

By

^a\r)pv<s.

been variously emended into

Theodorus of Gadara,

i.e.

54 and TT.
Antimachus

p.

(3)

239 are clearly drawn from

declamations of the later schools.

236

in

from the

version

(1540 a.d.) gives

conjecture

The

see Introduction

'man of Cadiz':

that

of Blass

use of the form

so

Gadireus

a-fXLKp6<;

is

meant

shows the

influence of Atticism.

178

The

must apparently be repeated before tov $aXa-

7rt

pt8o9, unless there is

As

178 16

may be

statement

this

fact (as established

it

a lacuna in the text.

referred with

not in accordance with historical

is

by Herodotus

viii

79 and subsequent historians),

some confidence

to the rhetorical exercises of

the later schools.

The on

178 17
that in

1.

in this line

seems a superfluous repetition of

16.

178 24

Weil reads

drjSiav for aSciav, here

and

in

1.

27

perhaps

rightly.

The reading

178 25
dvdpioiro) is

(i) the use of a

(so in

206

is

for dvOpioirca, as in ^

157, 249, 260, in

used)

1.

P is avrav. If rrj
may have been due to

passage in

(2) the

all

296 avoi =

dvdpu)7roL

of which cases a similar

comparative rarity of the feminine

Perhaps we should read KaOdirep

dvOpu)7ro<s.

p.

compendium

145,

79,

abbreviation

on

of this

the right reading, the corruption

12 infra, where P's reading

is

rj

6 rrj^ dvOpi^-n-ov TL/xdvBpa<:

KaOdmp

o avTTtjfxavhpa.^.

DEMETRIUS ON STYLE

252

The

conceit here

mortal creature) for

the

the substitution of

in

lies

There

ywry'.

thought being as far as possible removed

womanly "
180

sized,

'next' or 'now': cp. p. 86 1. 23 supra.

See Rutherford, Scholia Aristophanica^ 11

Frequent

XotTTov,

from the "pure

of Hood's Bridge of Sighs.

in later Greek.

180

avOpioTros {/lomo,

r^

an admixture of cynicism, too

is

Cp.

that

it is

Again the

75 supra.

574.

p.

empha-

writer's standpoint is

best to appraise Ae^t? as

and not

A.e|t9,

to give to

it

form

is

any credit which rightly belongs to the subject-matter.

180 6

avk-qrpia: late,

180 16

For

this

Walz, Rhett. Gr. vii

182 5

words

It

pp. 1179

classical

sections, cp. Gregor. Cor. in

ff.

from the

to infer the date of the treatise

and

vvv Kare^ovaav here

Tr]v

The

Laert., etc.

and the following

2

difficult

is

Diog.

vvy pr/Top<i in 287, except that

ol

the general standpoint seems post-classical.

182
'

Cp. Hermog.

tovtol^,

(i)fj.o\oy7]aa

^ef3r}Kv,
X^-P'-^
fjiiv

ovK

yap

TTtto-tt?

et

jSe/^-qKoiq

Id.

c^e

pvOfxb^ Sc ov* ovSe

ctTrev

'

yjyovfjiaL,

342

p.

av 616^ re

(os

ofxoiov av

fxr}

av

/xrj

6 toiovto<s

ctry

pv0fi6<;,

t w, (TvvcLTTeLV

ol6<i

yeveaOai tov

tva

fxrj

ei/vota

i(3ov\TO, cttci tov

KaTekrjyev, o ccttl tov /SeftrjKOTo^ pvOfiov.

lt

yap

pikv

rj

yap tovto 6 pyroyp

wixoXoyrjcra tovtol^, 009

Sia to

(Sp.) roiovrov eo-rt Kat to

avvepelv.'

w,

"^X^^^

ov

iravTr]

fxrjv

tw

BoKL TTcpt Ac^coj? TL TTCTTpayfxaTevcrOaL, dvTiXy(ii/xv, SrjXov

cyw

'

/>ta/cpas

^^^

dW*

lt

Alovvctlio, os

(09

tov KCtWovs

IottIv lBlo<s.

182 12

Demosth.

IeJ)t.

iv /xkv

yap tw

aTckr],' ToiJS x^vTa<; d<fiL\.eTo Trjv areXeiav,

TO XoiTTOV i^CLvai Bovvat,' v/xas to Sovvac

v/jllv

iv Se

ypd^f/ai

tw

Stephen

Phillips'

"Thou

last

'

Du

cTvaL

/x-qSev
'

/arySc

i^etvai.

For a troubled movement of words used with

" Betend dass Gott dich erhalte " (in

'

Trpoa-ypaxpai

bist

effect, cp.

Heine's

wie eine Blume

sea of the navigator, last

'),

and

Plunge of

the diver, and last hunter's leap" (in Ulysses).

182 13

Though

the plural verb with neuter plural nominative

frequent in later Greek and even in Aristotle, yet (as there

other certain instance in the
at

ToiavTat TrepioBoij

subject to

182 14
English.

tt.

kptx.) it

rather than

to.

may be
avTiOera

is

is

no

better here to supply

Kal

TrapofJioia,

as

the

TTOLOVa-LV.
otoi'

ws: a pleonasm of the same kind as 'like as' in

NOTES
182 27

TOL? KaTa(3d(rL<;

182 30

perhaps the meaning

Roman and

cp. KaTaf3d<TLov in

253
'a flight of steps/

is

Byzantine Greek.

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

found

The

The fragment of Antisthenes (the Cynic) will

W. Winckelmann's Antisthenis Fragmenta pp.

of Antisthenes, of Aeschines

floruit

Aristippus

184 3

may be

296)

(f)pvydvo)v

meaning

the

365

given as 400

victim being possibly referred

205, 291, 297),

52, 53.

and of

B.C.

some hunted human

obscure,

is

be

also

in A.

to.

Either 68vvy](Tiv...68vvy](rLv, or 68vv^(Tl

184 3, 5
oSwuja-eij
seems necessary, as any variation here _obscures the point.
.

184

We

The

247.

might have expected

treatise contains

many

250 to follow immediately on

and many addi-

afterthoughts,

whether due to the original author or to some

tions,

reference in

184 8

ctti

tov coTrd/xTrov

is

. .

later

The

hand.

to 27, 247.

Milton seems to have

passage of the

this

when he
among other young

ir.

ipjj..

in view

in his Apology for Smectymnuus,

writes: "There, while they

acted and overacted,

scholars, I

they thought themselves gallant men, and

they

made
and

and

sport,

make up

laughed

was a spectator

thought them fools;

they mispronounced, and

mis-

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.

liked

to

the atticism, they were out,

'

The

184 16 and i8

idiomatic use of koX tovto, and of Acyw

8e, is

to be noted as specially Attic.

184 22

For aposiopesis, see also

103 supra.

paraphrased by Greg. Cor. (Walz, Rhct. Gr. vii

184 26

This

tt.

vi//.

Has

the writer the

date must be

186 6

digamma

in

mind when he

its

still

'

scan

calls
'

If

late.

corrupt,

Trpocra-ToxoLcrofjieda

and

is

p. 32.

attention to the fact that the reconstructed line will

so, his

passage

1170).

For Burke's view of the relation between obscurity and

sublimity, see

186

2,

and possibly interpolated,

section.

(so Goeller for Trpo<TTo-)(acr6jXi6cL)

construction with an accusative

is

is

The

word

found only here,

remarkable.

DEMETRIUS ON STYLE

254

As Goeller points

186 13

words read

out, these

paraphrase (possibly by the author himself) of Iliad

These

186 20

and the

yXa(f>vp6<;

As

186 21
at the skies,

x^P-

made

^"vos hardly

bully,

tall

disputable matter.

with regard to

with

tallies

the

the head, and

lifts

x"/^-

36, 37.

"Where London's column,

in Pope's Hnes,

Like a

much

contain

later sections

Here, for instance, the statement

like a prose

11, 22.

pointing

lies " {Epistle to

Lord Bathurst).
186 23

Elliptical

toiovto';^

or the like, should be supplied

cp.

170.

This hne of Crates

186 24

Epicae Graecae Ludibundae

whom

(for

Homer quoted

parody of that of

vTToSaKvto

188 4

Gregorius Cor. (Walz vii

e<f>'r],

inserted

late,

ravrrj

elfxl

between

ctTrev

one of those

as

this

ovk

fxeipaKLov,

(5

Wachsmuth)

vol. 11 (ed. C.

Appian, de

186 29

TraiSiov

is

and

But

p. 196.

loi.

1181) has

p.

2,

ovk.

If^t]

{Odpa-eij

editors have

usually

seems better to regard

it

which the author

of

ellipses

Bell. Civ.

ofxoios),

and

see p. 240 supra)

113 :cp. Corpusculum Poesis

in

Gregorius deals too freely with the text to have

fond.

so

is

much

weight in

critical questions.

188 28
avTO

Plat.

ixr]vvL

Menex. 246 D w

to vvv irapov

fxaWov TeXevTav,

yjfjuv

8'

irplv luyaas re koX Toy<s

Trplv Tovs T^fxerepovs Trarepas kol irav

t,rjv

/jlv

fxrj

hruT

icrre Trarepuyv

KaX(o<;,

ayaOwv,

KaA.a>s alpov/JieOa

ets ovetSrj KaTaa-Trjarat, /cat

ro irpoaOev yeVos ala-xvvai, ktX.

Spengel suggests Sia to t^v

190 16

on

TratSe?,

i^bv

airoX-rj^LV

Tov

'KttXcts' keyearOai

TToXA-aKts.

These words may suggest

190 19
1.

3 TroWrjv aTrdOetav dfxa

as a possible reading

Tot's o-wSccr/Aots ifxjSaXcLS

on

(instead of

p.

160

a-vve/x-

)8a\ets as there suggested).

190 21
ipyoLTLv

has ipyaT, which

156

cp. p.

handmaid

of,'

190 22

'

1.

22,

ancillary to

')

seems

stand either for epyaT-qv or

Here

ipyaTLv ('the

clearly right.

Demosth. de Falsa Legal. 442

OoiixaTLOV KaOils d-xpi tiov a(f>vpwv,

(fiVCTtxiV,

may

Xc^'^ttjv Xi^iv.

tcra

kox 8ta T179 dyopag Tropevcrat

^aiviav TLvOokX^I,

tols

yvddovs

ktX.

190 23
(rvva<f>0Lr].

For

with the subjunctive, cp.

76 supra.

Schneider,

NOTES
Quoted

190 27

an example of

as

255
KXlfxa^, or gradatio,

Non enim

54) in the Latin form, "

by Quin-

quidem sed non

scripsi, nee scripsi quidem sed non obii legationem, nee obii quidem
Aquila Romanus (Halm Rhet. Lat.
sed non persuasi Thebanis."
Min. p. 34) remarks "Haec autem animadvertis, quanto elatius dicta
tilian (ix 3,

quam

sint,

si

simpliciter enunciasset

'

dixi

Et dixi haec,

et scripsi, et in

The

legationem profectus sum, et persuasi Thebanis'."

of the passage

Corona

Cp. Glossary

p. 130.

192 4

carefully explained in

is

Cp. Aristot.

s.v. Kkl/xa^.

in 12,

R/ief.

2.

With the

text as

TO StaAcAv/xeVov seems to be in the accusative case.

would be obtained by placing

cTLv, i.e.

192
in

TT.

and

c.

v\}/.

xxxix

stands,

especially asyndeton (cp. 301),

etc.

The rhythm

it

better sense

to StaXcA-v/xeVoi/ before viroKpi-

/xaA-to-ra

'the figures of speech,

help the speaker,'

structure

Goodwin's edition of the de

4.

of this sentence of Demosthenes

Cp. Goodwin,

o/>.

cit.^

p.

is

discussed

134 (where read In

TTpOCnriTTTiL for TL CTiy/XaiVct).

"

may be

192 15

ctTreipos

192 20

Cp. Courthope Zi/e in Poetry:

The

here

a gloss on aTrpovotjTUis.

Law

i?i

Taste

p.

21:

new words or
time when the

question, for example, as to the right of coining

reviving disused words in poetry was

(sc.

at

the

Quarterly reviewed Keats' Endymion) as old as Horace

it had been
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
The ruling on the point is given with admirable
Lyly's Euphues.
Multa renascentur quae iam
clearness in Horace's Ars Poetica
cecidere, cadentque
Quae nunc sunt in honore vocabula, si volet
usus,
Quem penes arbitrium est et ius et norma loquendi.' Usus\

debated in Italy by Castiglione

in his Courtier

it

'

usage; the genius of the language; there was the law.

question was whether Keats had violated the law, and

The
if so,

sole

with

what amount of justification."

192

i.e.

192 27
as

harlot

8ic<^ayi/, if

'

and

'

madman.*

retained, will have

much

the

same meaning

TpV7r7j(TV.

194 3
fully

ed.

'

(T<i>TpL^6fXvo<;

no doubt,
1828,

'.

the English verb spheterize

in a letter of Sir

109),

''Remember

William Jones

to reserve for

is

used, play-

(S. Parr's

me

Works,

a copy of your

DEMETRIUS ON STYLE

256
book.

am

reference

resolved to spheterize

Dr

given, after

is

some passages of

(The

it."

A. H. Murray, in Goodwin's edition of

J.

the de Corona^ p. 53.)

194

without av

fXTxoi

cp. n.

on

245 supra.

p.

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

Ran- 720 rw

Aristoph.

eret ctti 'Ai/rtyeVovs 'EAXai/iKos

Trporepo)

kol

to

Xpvaovu

vofxiaixa

^LK<Zv.

Quintil. ix 2, 92 " confinia sunt his celebrata

KOirrjvat

$iA.o;(opo9

o/xoLOiS

Ik

durum

deponerent, quia

aureas in

usum

196
is

urbem

ut

apud

deos

Et, qui Victorias

erat dicere, ut relinquereni.

utendum

and the Auctor de Elocutione may have drawn

common

from some

apud Graecos

belli conflari volebat, ita declinavit, vidoriis

Quintilian

esse.'''

Atheniensibus,

existimatur

suasisse

<^y](Ti

Xpv(T(av

nam Themis-

schemata, per quae res asperas mollius significant,

tocles

twi/

source.

As Sandys (Orator of

Cicero p. loi) points out, the author

apparently referring to a collection of some of Demades' striking

on

sayings, though there are divergences of ascription (cp. n.

infra).

Sandys' note ad

may be

loc.

consulted

he

is

1.

14

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

8'

/taXa TTtovo?, wcrSc

The

oTTojpa?.

which deals with the xapaKT^ip

satisfactory in the

vr\

Aia

and not
Kat,

iv

The

Xacpwyeia
style

explain this to you

is

in
:

meant

tovto to

how-

Cp.

simply *Dematt.

v\\f.

'

i/^i7<^icr/xa,'

cp. Plut.

Addresses

Rejected
is

Moral. 849

yucro,

ov^ o

ttjv

pyjTOip

A.

it.

stirs

" I

will

endeavour to

a large earthenware pipkin.

Taxes are the hot water he

fuel that blazes

the ladle that

'

cittcj/,

xv 10 ws

of the same order as that of William

is

England

Rotten boroughs are the

is

'

fJi-oixV

the beef thrown into

Parliament

may be

by Demades himself.

iiJ/r)(f>icraTO,

Cobbett, parodied

7,

be regarded as the least

d 'YTrcptSry? KaTr]yopovfivo<s, CTTctS^ tovs Sovkovs

eypaif/ev dAA.'

Bull

may

of the examples quoted

actually

rJTTav iXvOpov<;

196 18

Scii/os

1.

chapter, as a whole,

ep/i.

tt.

Some

196 14
dean,'

The

another and a late date.

ever, points to

TraVr' worSei/ Okp^o'i

interpretation given in

under

this

the hodge-podge."

same

John

boils in.

pipkin.

NOTES
196 21

Sauppe's hii rov for

the infinitive.
the doctors
(*

TrTia-avrj is

'

gives an easier construction for

lir^i

barley- water,' or

'

('concerning

gruel').

o^cW

StatVrys

Trept

by the name

also goes

')

It

by

gruel,' as prescribed

example, Hippocrates' treatise

for

concerning diet in acute diseases

TTTto-aVr;?

257

Trepl

not easy to suppose that

is

seems to

his contemporary, would thus have played the

Demades. /cpcavo/xta is a somewhat late word. But it
have been used by Theopompus, and Kpeavd/xos and

Kpeavofieiv

occur in writers of the classical period.

Demetrius Phalereus,

scholiast to

198

doubtful whether SiaXvo-avra? (the original reading

It is

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

198 21

6pfn2vTs

Cp.

180).

2, p.

198

TT.

Finckh

22

1.

6.

6pfjioifjivoL,

vif/.

to

refers

which Greg. Cor. gives (Walz

4 TOV VOVV, OV

xxii

287 and

290 in support of
But Gregor. Cor. (Walz

reading (here adopted) crxwoiro<s koyov.

2,
*

p.

180) has

complete

on

p.

200

198 26

1.

may be

so by

way

pp.

6.

6i/t8t<jTtK(os

the adverb and the adjective are

The fragments

C. Miiller's Oratores Attici

II

vii

of contrast with Trap.<^onpit,ov(rLv

Lucian, Marcus Aurelius, Hermogenes, Chrysostom,

198 27

his

i$ dvdyKrj^ liriKpv\pno<i o-^fxaTO'S oXov.

)(pyt,oiXV

figure

'

vii

wpflTJCTeV etTTCtV.

late,

etc.

of Demetrius Phalereus are collected in

11

pp. 475

477 and Fragm. Hist.

Graec.

362369.

200 6

After

Weil would write

ware

cTratVots

cotKcVai, t Tis iOiXoL, KOI if/oyoL^, el koI \f/6yov<s eTvat OeXoi tis.

Cobet

iirapiffiOTepL^ova-iv

{Collectanea Critica p. 237) suggests

The

word

eiKaioij/oyo^

ct

koX Trapaxf/oyovs cTmt OiXoi rts.

(Victorius' suggestion)

is

not found else-

where.

200 9
Socraticus

The

Telauges was one of the seven dialogues of Aeschines

which were admitted in antiquity to be genuine, viz.

MtXTtaSr/?, KaXXta?, 'A^to^o?, 'Ao-7racrta, 'AXKtyStaSry?, T?;Xavyi;s, 'PtVwv

(Pauly-Wissowa

1049).

and possibly

297;

in

(Aeschines the orator

R.

is

Aeschines
170.

is

mentioned also in

See Norden Kunstprosa

mentioned

in 267,

205,

p.

103.

268.)

17

DEMETRIUS ON STYLE

258

These references

200 14

to potentates

not only the

suggest

scholastic point of view, but also something of the KoXa^

of TO
a-fievov

(tt,

c. xliv).

inj/.,

8wao-Tt9: found only here, cp.

200 15
200

ixeya\ocf)vrj<;,

aTrapp't]cria(TTov /cat olov efxcfipovpov vtto (TwrjOetas act kKovSvX.l-

airorofxia

19

late,

Diodorus,

ySao-tXts.

New

Philo,

Testament,

Plutarch, etc.

200 22

with the dative

tpqXoTviriiv, rare

of the Latin aemulari (though

as

apparently

^7;A.oTV7rti/

200 26

aemulari,'

more

here,

is

Tp6<j>da\fjLo<;

'

perhaps on the analogy

when used

good sense

found in

specifically Attic word,

in a

usually has the accusative).

Aristot.

R/ie^. Ill 10, 7 etc.

202 4

SvvaaTiVTLKov

Roman

the

references of this kind might well apply to

Cp.

empire.

It has,

234, 289, 294.

however, been

294 would also accord with the chequered career of

For the point of view, contrast tt. v\]/. xvii i
Demetrius Phalereus.

suggested that

dyavaKTii yap

202 12

evOij<i,

kt\.

Spengel suggests

form into harmony with

section

as

1.

Natorp points out

XeXrjOoTo}^

Dionys. Halic,
Pollux, etc.)
7jvefjivr)(Tv,

is

in

order to

'

laudando praecipere.'

Pauly-Wissowa

905.

11 p.

a late word, occurring in Cic.

and should be noted

as

This

Aristippus of Cyrene him-

Aai/^ai/oVrws ( 181) is later

etc.

the

bring

19 and with regular usage.

The words quoted may be by

204 6

still

an index of date.

l^Letters)^

(Dio Cassius,

For the form

see p. 210 supra.

For

204 8

12

The occurrences

ov^t here, cp. 256 irapcy cVcto ovxt.

of ovxL in Demosthenes are noted in Preuss'

204

in

iTratveaofjLcOa,

200

a good illustration of the Baconian

is

202 24
self,

p.

Weil suggests

\xero.

/n{;^ex

^tAo^/soo-wr;?,

Demosthenicus.
in

place

of /xera

fXyaX.ocf>po(Tvvrj s.

206

206 3

TrpoXeXeKTat

Hipponax

is late

SO also TOVTe(TTL,

see 132 supra,

1.

5.

and W. Christ Griech,

Litt.

P- 137-

206 10

The

coarse, as the counterpart of the forcible, style

abundantly exemplified in Pope's writings;

the

Dunciad Book
206

1 1

11.

^v(spr)To%

appriTO<Sf Bv(T<fi'qfxo<;.

is

especially, perhaps, in

hardly found elsewhere in

the

sense

of

NOTES
For the reading, see

206 12

on

n.

259
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

cation of the two (though

able

would read

But the

earlier date.

in

2,

29.

identifi-

question-

is

Wilamowitz-Moellendorff

oK'kt^ov^ instead of o/ioXovs.

206 14

xj/taOos:

206 14

Kanpav:

specifically Attic

and Scott

in Liddell

an

has the support of Suidas)

Blass Aff. Bereds.

cp.

in use at
it

late,
s.v. is

Strabo,

word.

The

Plutarch, etc.

to the present passage ("cited

reference

from Dem.

Phal.").

206 15

Blass

reports the reading

(I.e.)

here as

roiavrt^v 8va<f>r]ixLav craiptov KaTi]pa(T rov hiKaar-qpiov

206 19

form

SupprjyjxivoLs

The

Greek.

pass,

perf.

one of the many cases

in

Homer and Herodotus)

through

(familiar

tpp-qyixai

is

used

ttoXAt/i/

rcva

cp. Facsimile.

which an Ionic

reappears in later

by Arrian among

(e.g.)

later writers.

206
TT.

kpjx.

The

2 1

(e.g. p.

predicate in the neuter

184

1.

I, p.

158

1.

found frequently in the

is

25); here

we have a

example

rare

of the same construction with a plural subject.

206 23

Cleitarchus:

Cleitarchus,

quoted

see

tt.

v\p.

greater

at

p. 223.

length,

The same passage

appears

in

Diodor.

of

Sic.

XVII 75.

ADDITIONAL NOTE.
PROVERBS IN THE
An
ciation

BE ELOCUTIONE.

interesting feature of the treatise

it

On

Style

is

shows of a proverb when used in season.

clearly alive to the risk

it

is

to

keep

language of the people,

It is the

in

author

is

He

sees

how

touch with the familiar thought and

with

the vulgar tongue.

Lord Chesterfields of

on the score of

The

which book-writing runs of parting company

with the liveliness and raciness of the vernacular.

important

the due appre-

literature

and

life

who condemn,
The

vulgarity, the use of proverbial expressions.

manlier natures have always used them boldly.

In the

tt.

17

kpy..

are

DEMETRIUS ON STYLE

26o

"Dionysius

found two

threats,

and " You

shall hear

at

(is)

100, 243), attributed respectively to the

tyrant Dionysius^

Corinth"

8,

9,

102, 241)

The

" ( 99,

Lacedaemonians and

Had

Zimri peace,

who

And

as

Jehu entered

in at

slew his master?" (2 Kings,

"I also have given you cleanness of teeth in all your

(Amos iv. 6) or the reply (including some words from the

31) and

ix.

cities "

Old Testament)

have been given by Richard Coeur de Lion

said to

demand

to the Pope's

the release of "

for

My

son, the

Bishop."

Richard sent the Pope the coat-of-mail worn by the bishop

battle, with the
it

to the

true analogues of these threatening messages

are such verses in the Old Testament as "

the gate, she said,

your cicalas chirping on the ground

message, "This have we found:

be thy son's coat or no" {Genesis

made

of proverbs used or

(it

in the

know now whether

Homelier examples

xxxvii. 32).

often difficult to say which) are

is

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

" (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

head

In antiquity

subserve the other).

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
praeteritis, loquere verbis praesentibus

scriptum

habe semper

est,

sic

ergo moribus

quod a

C. Caesare,

in

memoria atque

in pectore, ut

tamquatn

fugias inauditum atque insolens verbuin " (Favorinus

philosophus ap. Aul. Gell.

Aristotle

id,

ac prudentiae viro, in primo de analogia libro

excellentis ingenii

scopulum,

" Vive

atque

is

i.

x.).

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

supposed to have been addressed by the Lacedae-

is

by Dionysius to the Locrians (though, according to

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.

monians

to Philip, the latter

Aristot. J^Aei.

ii.

21, 8

'

irws

Synesius
S'

ov-x).

calvit.

'

encom.

(ro<pbv irepl

c.

22 p. 234 Krab. (1850)

wv ApcaroTiXrjs
'

(pr}alv otl

el 5k

TraXatas

koI

elcrl

t]

Trapoi/mia <yo(pbv'

(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

'*

the proverbs in

all

existence might be collected out of Sophron's plays"

cp/x.

(tt.

a statement which receives some confirmation from

his

156)

fragments

and from the Adoniazusae of Theocritus, and might also be abundantly

by the practice of Shakespeare or Cervantes ^

illustrated

Examples of the proverbs used by Sophron are given in the same

section of the De Elocutione^.
There is ancient authority for supposing that the well-known proverb apx"^

begun half-done

but the truth rather seems to be that Hesiod

TravTos,

upon, and giving a different application

rrXkov

'wellrjfjLLo-v

improving

is

a proverb already in

to,

Curiously enough, too, the highly

existence ^

122

7ra.vro% (

ij/xto-u

formed on the model of Hesiod's

is

')

artificial line

to Sophocles, aTTwSaKWTOs ov TpaTTC^ovrat kvXl^

( 1 1 4),

attributed

was by some

fieylaraii dvdpdiruv (pdopaTs airoXoixht]^ iyKaTaXeififiaTa irepiaojd^vTa

(TwrofiLav

did.

Kal de^Ldrrira ; (Berlin Aristotle v. 1474).

^

See the copious

in Bonitz'

list

htdex Aristotelicus pp. 569, 570

Rhetoric in particular, Sandys' Index to Cope's edition,

^

iii.

and

for the

pp. 268, 269.

See the Index to Jowett's Dialogues of Plato, s.v. Proverbs

und sprichwortliche Redensarten bei Plato.

and

also

Grlinwald's Sprichiuorter

Among

much use of proverbs (cp. the recent

who thinks that he drew on Chry-

Polybius makes

later writers

Polybius- Forschungen

of Carl Wunderer,

'

sippus' collection of proverbs), while Byzantine appreciation (running to excess)

is

reflected in the marginal references to 'Ilapot/xia' in

later rhetoricians assigned proverbs a place

^

be noted that the

It is to

references to Sophron,

its

tt.

who

kpix.
is

among

the

'

1741.

stands apart from other works of

not

named by any

505

the beginning of the Poetics

and

its

class in

who however men-

t(^ wepl ttoitjtQu

(Athen.

xi.

c).
*

as

him near

of the

of the Greek rhetoricians

(including Dionys. Halic), nor in the Rhetoric of Aristotle,

tions

Some

figures.'

E.g. iK Tov 6vvxo% rbv Xiovra ^ypa\pv and Topvvav ^^eaev

Mr Way

sentiments which,

points out, have usually a jingling sound in English,

The

'from seeing

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
but a claw

lion

cheveu en
^

o-PXV

iravrbs iv
TT)v

Greek

cjttatre.
riy^i-<yv

rah

dpxw

= 'L2i\.m

cumini sector.
E {6.pxh yap Xkyerai /xh rifiiav
I {dappQv yap &w ris etiroi, ovx Vfiiffv
rb tAoj diareLveiv) and elsewhere.
author.
Cp. Leutsch and Schneide-

iravrbs occurs in Plat. Legg. vi. 753

irapoifjiiais

?''"

KVfjiivoirpiaT-qs

''01^

ipyov), Polyb. v. 32,

Traprds,

dWd

Kal irpbs

Pythagoras was sometimes supposed to be

win, Paroem. Gr.

i.

p.

213,

ii.

pp. 13, 14.

its

DEMETRIUS ON STYLE

262
writers

may

Whether

ranked as a proverb ^

ever really

it

became

we

such,

take leave to doubt, remembering that (as the late Archbishop

Trench has pointed out

however true or

may

it

book on Proverbs) an aphorism,

his

in

striking

cannot be classed as a proverb

be,

be shown to have vogue ^

The part which the proverb plays as popular philosophy

unless

it

indicated in 232

of the world."

"it

wisdom of a people,

the

is

Its frequent

use in letters

we know, by

precept endorsed, as

is

the

is

The

the practice of Cicero ^

(notably Chrysippus, as mentioned in the note on

Stoics

well

is

wisdom
there recommended a
it

172)

studied proverbs, but hardly for the purpose of letter-writing.

Their

means of proverbs and ancient poetry, the

and so the etymology, of words. The particular
172 (AtyvTrxia kXyjixutIs and OaXda-cnov irpo^arov)

object was to discover, by

primitive meaning,

phrases quoted in

may

fairly

be regarded

Among
in the

tt.

may be mentioned

kpix.

VTrepov^ ( 119),

and

TO.

avKa

TO Xeyofxivov rovTo

Ta avKa avKa
<^os a7ro>
diripp-q^f.v

as proverbial

the remaining proverbial or quasi-proverbial expressions

28

Koa-fx-ovixevov

\cyofx4vr) diro %kv6<j)v p^CTL':

:

deus ex machina

'

') ;

'broke the news'); to

gaiety at a funeral

'

216

Trapot/xi'a

(i^ 216,
the brutal side of
297
simply
referring
to
the
use of jargon)
96

232:

fxr^yavrj^: (

avrb

Iv tyj

tj

'^kvOwu

oltto

a-KvOl^eLv in

ro

crvKa^ ( 229);

tu(^X(3 SrjXov ( 112,

')

ro Sy Xeyofxevov,

iv -tt^vOovo-l Trai^eiv

239

'
:

as plain as

a pikestaff').
^

Leutsch-Schneid. op.

Thus

yvCJdi

cit. ii.

p. 747.

aeavTou and ^ttou

6($

are

9)

airo(pd^yn,aTa

than

rather

irapoLixlaL.
^

See Tyrrell and Purser's Index

Cp. Leutsch-Schneid.

iiirepov Kocrfieis

Aldi6ira

(XfiTJX^i'^

to the

Correspondence of Cicero, pp. 86, 97.

op- cit., Praef., p. v.

6/xolov tc^, 'Kiirpav TroLKiWeLS

SrjXov to tolovtov

same

187).

This proverb

165),

and as Plutarch's selection of proverbs

Schneid.
^

is,

in fact, of the

pp. 343 ff.

Cp. Luc. de hist, conscrib.

cit. i.

459);

iroiKiWeis, cfbu riXXets {idid.

class as KaWojirl^eiv irLdiqKov

tQu ddwaTU))/ given

irepl

in

i.

ep/i.

(tt.

Leutsch-

i.

c.

41 toioZtos ovv

ddiKaaroi, iXe^depos, irapprjalas Kai dXrjdeia^ <pi\os,

TT]v CKatpriv bk aKd<p7jv dvoixd^wu,

mata)

(Leutsch-Schneid. op.

bixoia, xurpai/

tCov

Se irepl Aaad^yrjv

kt\.

Plut.

fioL
cbj

Moral,

6 <rvyypa<peus ^crru}, &(po^os,

6 KwpuKds (prjaL,

p.

rbv 'OX^jpOlov 4yKa\o^vT(av Kal

rijv

aKd(f>r]u

crvKa,

dyavaKToivrwv

irpoSdras auroi>s hioi tCov wepl tov ^LXlttttov dtroKaXovai, (XKaiovs

dypoiKOVs elvai MaKedduas, Kal

rd auKa

178 B (Philippi Apophtheg-

aKd<pTju X^yovras.

^<pr)

(pvcrei

6tl

Kal

TERMS OF RHETORIC,
GRAMMAR, METRE, AND

GLOSSARY.

LITERARY CRITICISM.
The

226, 271.

A-ywv.

word

is

more

194 and D. H.

p.

In

184.

p.

'contending

in its ordinary sense of

b),

and

dGpo^Sciv.

al'viYfia.

is,

9,

Cp.

coacervare.

ad

in Cic.

therefore,

To muster^

a0f}OLaiJL6<;,

Riddle.

Att. xvi. 11,

2,

an indication of

268, 283.

102.

6, 52).

loquax.

Lat.

The comparative

presupposes not the classical dSoXcVx^y? but the hellen-

istic d8oAor;^os (as

509

Garrulous.

212.

d86X6<rxos.

viii.

used

is

The

Lat. certainen^ contentio.

v\\f.

tt.

prize.'

d8oXa-;(OTepo9

p.

to the sections of the irepl 'Ep/jLTjveias.

Contest, debate.

fully treated in

187 the verb dywvt^co-^at

for

made

references in the Glossary are

tt.

vj/^.

to

Plut. de Garrul.

compress.

13,

Lat.

colligere,

p. 194.

Lat. aenigma

allegoria obscurior (Quintil.

s.

AristOt. Poet. xxii. 2 aivLyfiaros re

Xeyovra virdpxovTa dSwara

c,

late date.

Trypho

(Tvvon(/aL.

yap tSca

avrrj co-rt, to

(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/,

alriariKos.

rj

201.

dSwarov

tl koI dfxrj)(avov irapLaTavovaa.

Accusative.

Lat.

casus accu-

Lat. intempestivus.

The word
when

Trrwo-ts alTiariK-q

sativus.
ttKatpos.

118, 238.

Inopportune.

can be used of persons no

less

describing the brevity of Lysias

ctTTiv, v Tot9 TrpdyfxacTLV

30.

koX ovk

votjixaa-L,

p.

291

infra.

toiovtos
ct

tis

kt\. {de Lys. C. 5)*

Sequence, consequence.

and dvaKoXovOia (all

and Dionys. Hal. p. II. ad Amm.

Aov^os, d.Ko\ovBCiv

iirl fxkv rrj<; cp/xr^vetas

aKatpo? Tt? Kai /xaKpog, o-wco-TpaTTTat Se

KOL d\ko<i KOX imrvKvoyTaL tols

dKoXov8a.

than of things, as by Dionysius

c.

Cp. aKo-

Lat. consecutio.

in 153)^ also
2.

tt.

vi//^.

See further

c.

s.v.

22, i
/xdx^,

DEMETRIUS ON STYLE

264

41, 53, 222, 274.

dKppia.

in 53, 222, 'correctness,'

ars exquisiia, Fr,

53, 188),

and

'

Technical finish (slightly depreciatory

nicety'

cp. tt. v\\/. cc. 33, 35, 36). Lat.

Similarly aKpifirj^ (14), aKpi/Sws (41,

style soigne.

and

H.

see references in JD.

latter,

216, 222 (ter), 247.

dKpoanjs.

p.

and

Isocr. {Faneg.

This meaning

aTrryKpi^w/Acvos with airXws.

frequently found in Aristotle's Rhetoric^

the

So

aKpLfiokoyta (209, 'exact narration').

11) contrasts aKpL^rjs

also in Dionysius

is

for

84.

But

Hearer.

(and also

6 aKpoaTTJ?

be better translated by 'the reader,'

6 aVovoDi/, e.g. 216) will often

the rhetorical point of view not being so natural to us as to the

Greek

critics.

Cp. D. H.

gorie.

V7rovocv is

tKa^t

illustration as in
i(TTLV K
Xo-fJ^oOev

the

184,

p.

tt.

TOV

ttuv

Ki\py]TaL'

aWo

fjiT]

v\\f.

6,

tt.

kp\x..

In

194.

p.

yap to

veiled

Fr. alle-

44).

100 the word

tpo^epwrepov,

VTrovoov/jievov

Aristot. [Rhet.

iii.

koI tiov diro<j>dyimToiv 8e

to,

koL

same

11, 6), quoting the

daTitd

following passages throw additional light on

Latin equivalents

Cic.

Or. 94 " iam

fluxerunt plures continuae tralationes alia plane

genus hoc Graeci appellant dXk-qyopiav, nomine

ille,

Allegory,

viii.

Xcyttv, otov TO ^rqa-L^opov otl ol TCTTiyc? cavTot?

The

its

296.

151,

vvv 8e wo-Trep crvyKaXvjXfxaTL Tov Xoyov

99, says

kp^.

<fir)aL

da-ovrat.

word and

So

ri.

tt.

102,

(bis),

Lat. inversio (Quintil.

used in explanation

Ty dWrjyopLa

aAXos

101

100,

99,

(iWriYopta.

meaning, dark saying.

fit

recte,

qui ista omnia tralationes vocat": cp. de Or.

iii.

cum

oratio

con-

itaque

genere melius

41, 166.

Quintil.

44 "at dW-qyopta, quam inversionem interpretantur, aut aliud

verbis aliud sensu ostendit aut etiam interim contrarium."
id. ix. 2,

viii. 6,

46 " dXXrjyopiav

facit

continua metaphora."

The word

not found earlier than Philodemus and Cicero

same

aAXr/yopta

ii.
In the general sense of
p. 378 d.
meant than meets the ear,' allegory has

sense), see Plat. Rep.

Milton's 'where

more

is

always been a great instrument in the hands of the masters of

ture

cp.

TT.

v\f/.

vii.

3 ey/caraAeiTretv

"This

dvaOetopov/xivov.

the

is

for v-n-ovoLa (in the

figure,

tt} hiavoLo.

therefore,

for

his

figure of false semblant or dissimulation''^

English Foesie,

P-

i55 ed. Haslewood).

litera-

ttXciov tov Xcyo/xevou to

duplicitie

we

Similarly

dWrjyopelv (151,

285), aXA-iyyopi/cos (282, 283), dWrjyopiKciiS (243).

dp.pXi!>viv.

249.

To take

the edge

off.

call

(Puttenham Arte of

Lat. obtundere, hebetare.

GLOSSARY
4

afjiTpos.

Without measure.

183.

(bis),

But

iusto lo7igior.

in

183 there

mensura,

sine

3 Xe^is a/xcrpo?

c.

= oratio

soluta.

dfXTpLa, 4.

Cp. Aristot. Poet. xxv.

that clearness

is

Lat. suavitatis expers.

Ambiguous.

291.

a(ji<}>{poXos.

196.

may

Without charm.

68.

fijiovoros.

Lat.

a special reference to verse, just

is

as in Dionys. Hal. de Comp. Verb.

So

265

So

ambiguus.

Lat.

As

13.

the cardinal virtue of style (however

bring), cp.

Quintil.

viii.

2,

a/u,<^ij8oXta,

enforcing Aristotle's view

praise

little

it

16 " vitanda in primis ambiguitas,

non haec solum, de cuius genere supra dictum est, quae incertum
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
intellectum facit

nam

scribentem.

homine

etiamsi librum ab

scribi patet

composuerit feceritque ambiguum, quantum in ipso

Introduction, pp. 37

Want of

de Antiq. Or.

c.

dva8TrX<ris.

28)

66,

140

(bis), 267.

*Attik7}i/

Euripides

is

ridiculed

interempto "

'

use of repeated words in

omnis

Hor. Odes

et fortuna

Matthew's Gospel

St.

ii.

labuntur anni," and

7rava8i7rAa)0"i9, -TraXtXAoyia, ctti^cv^is.

nostri
xxiii.

8ia

twv

avrwi/

(Walz Rhet. Gr.

dvairaio~rtK6s.

foot so called.

189.

(rvfxtf>(jc>viov
iii.

"eheu

4, 70
nominis Hasdru-

37

The

The word

14,

Odes

"

figure

O
is

iv.

Jerusalem
also called

avaStTrAoxrt? is

times used of grammatical reduplication, being defined as

K<l>opd

iv.

Eurip. A/c. 1085)

Aix(f>LKTVovLKov ;

Jerusalem, thou that killest the prophets."

arvWa^rjq

the

those quoted in the tt. ep/x. itself,

Demosth. de Cor. 143 ttoAc/xoi/ eis ttJv

by Aristophanes)

spes

('

(Aquila).

iteratio, repetitio

KardaviLv (the excessive

"occidit, occidit

bale

206)

'

Herennium

(in addition to
140), cp.

Postume, Postume,

fugaces,

Reiteration, 'reduplication

iii.

icrayci5, Alcr)(tvr], ttoXc/xov

xpo*'?

Cp.

incultus.

and Dionys. Hal.

Lat. conduplicatio (Auctor ad

geminatio (Cic. de Orat.

For good examples

and in the note on
1086

animus

i.

Redouble,' Puttenham).
c.

Lat.

breeding.

xxxiv. 2 cTKixi^fxaTa ovK a/xovcra ovK dvdytoya,

v\^.

See also

ff.

171.

dvaYw-yCa.
TT.

male tamen

fuit."

someirpiinrjs

avXXajSrjv ttolovvtwv C7raAAr/Xos

566).

Anapaestic.

Lat. anapaesticus.

The

metrical

DEMETRIUS ON STYLE

266
dvairavciv.
cti/ttTravAa,

word

To

202.

45,

1,

cause to pause.

'resting-place,' in 46, 202, 205.

for 'pause,' in the sense of

To

58.

ava(rTp^(f>iv.

184, 185.

Cp.

sedare.

the usual

is

rov \6yov Kara'Ary^ts).

77

use expletives.

avairXTipovv.

Lat.

(amTrauo-t?

To invert

Lat. infercire.

the order.

Lat. evertere compo-

sitionem.

141, 268.

dva<|>opa.

13

Quintil.

in the

ix. 3,

Lat. repetitio (Auct.

Repetition.

The term

29).

commonly used

is

ad Herenn.

show) of the repetition of a word, or words,

tt. cp/x,.

iv.

examples

(as the

in successive

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
clauses

(Lat. re/atio),

the repeated word carries the

i.e.

mind back. See

Puttenham calls
"when we make one word begin, and as they

further in Sandys' Orator of Cicero, pp. 137, 138.

it

the figure of report,

wont

are

dvacfiopa

used in

dv0viraXXa"yt].

interchange

'

Herod.

(cp.

Re/axed, loose (of a period).

Substitution.

60.

Trept axrjimdToyv,

Dysc,

Lat.

tt.

ep/x.

72,

Lat. remissus.

Not

commutatio.

strictly

Spengel Rket. Gr.

darkness

e.g.

hvo a-KoireXoL for rwv Bvo crKOTviXwv

ot

whom we

86).

iii.

guess;

The term

21).

Cp. in Eng-

Him

found

not

viraXkayrj does not

The corresponding verb dvOvn-aXXdacreLv used

words, Philo, Apollon.
is

Both the verb and the noun are

late

etc.

dvTairoSoo-is.

Correspondence, parallelism.

23, 250.

contraria (Quintil.
cially

in

sun" (In Memoriam,

occur in the
in 59.

In

of cases, but substitution of one case for another

"The Power

in world or

verses in sute."

'

in the instance given in 60, of

lish,

many

to

sense of uplifting.'

its literal

19, 21.

dvifjL^vos.

daunce

to say, lead the

is

viii.

3,

77).

So

Lat. redditio

di/ra7roSi8oVat ( 53,

79): espe-

used of the convertibility of metaphors, as in Aristot. Rhet.

iii.

4, 4-

dvTpwris.

12.

Propping, buttressing.

(that of interlacing support)

invicem' used by Quintil.

singulis

rotunda

non membris sed

et

is

viii.

dvT86o-is.

tentio (Auct.

5,

frustis

undique circumcisa

verb avTcpctSeiv in

the

The

coUata structura caret,

insistere

idea

invicem nequeant."

cum

ilia

So the

13.

24, 171, 172, 247, 250.

ad Her.

Lat. fultura.

same as in the words 'insistere

27 "unde soluta fere oratio et e

iv.

Antithesis, contrast.

Lat. con-

45), contrapositum (= dvTLOerov, Quintil. ix.


"

GLOSSARY
3,

The

81).

subdivisions of antithesis in

ad Alex.

with Rhet.

267

H.

26: cp. D.

c.

play on words.

In

247 avTiOeTov

29, 120,

is

22 correspond

In

mean

seems, as Victorias pointed out, to

^(rt9

cp/x.

tt.

p. 185.

171, 172 aVrt-

more than a

little

found; in

24 avri-

Cic. ((9r. xxxix. 135) describes

in 22, 23, 24, 36 avTiKeia-Oai.
Norantithesis in the words " cum sunt contrariis relata contraria."

Oerwq

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.
;

together with St Augustine's

vi. 7 ff.),

figures.

The
9, 8)

iii.

and has a

merit of an antithetical style

that

is

Dei

in de Civ.

been the most generally used of

Antithesis has, indeed,

Rhet.

comments

xi.

all

18.

the

(according to Aristot.

brings contraries into emphatic juxtaposition,

it

syllogistic character.

use in excess was,

Its

it

from a current journal, disliked by Bishop Westcott

would seem
Macaulay,

in

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).
:

dwiroKpiTos.

Undramatic.

194.

Late word,

ah histrionia.

dv|iaXa.

246

in

114.

dirayyeXCa.

literal

Lat.

Style.

Dionys. Halic, Plut., Dio Chrys.,

ably used the word Xc^ts.
yrja-L'i.

yiWiLv

guileless.'

'

194.

lentia.

So the

dirapTCtciv.

I.

the

To round

10.

absolvere.

Hermogenes

StaVota, 'a

completed

paiow.

avtaiLoXia.,

Late in this sense,

is

c. 30 d7rayyeA.ta = hvqused in 114 and aTray-

ad Amm., aVayycAXciv

is

used

(Further references

\w. 253.)

Lack of emotion.

adj. aVa^Tys, in
2,

219

In Rhet. ad Alex.

In Dion. H. p.

Review

dirddcia.

Theophrastus himself prob-

repeatedly in the sense of delivering a speech.

in Classical

In

meaning.

elocutio.
etc.

For 'narrative' simply, ayycXta

in 237.

it

Lat. inaequalitas.

have their

Only

N. T., Marcus Aurelius.

elsewhere,

Inequality.

67.

aV<o/u.aA.o9,

Lat. remotus ab actione, alienus

LXX.,

here in the sense given above

and

Lat. respondens.

Converse, counterpart.

38.

dvT<rTpo<})os.

(Sp.

sense.'

ii.

Lat. affectuum vacuitas, indo-

same

section.

to

complete.

off,

241) defines

Cp. the use of

Schol. Rav. ad Aristoph.

aTrovBd^wcTL Oottov tl d-n-afjTLa-OrjvaL

Tots SovXots Iva OSlttov ivepywa-Lv.

Ran. 812
('

tO

Lat. adaequare,

k(oA.ov

as

o-vi/tcXciv

orav yap

be polished

aTrr/pTto-yaeVr/

and
ol

(tv/xttc-

SecnroTai

ofif') lTn.TrXr)Trovcri

DEMETRIUS ON STYLE

268

To

11.

aireiKateiv.

67.

dircipoKaXos.

C. 2 Tr(f>vyv (XTrrjpxo-tfofxevoiv

and

>.

H.

63.

1,

dirieavos.

kol

15,

yap 8okl

Lat. infinitus.

Unconvincing,

221.

i.e.

Philo, Lucian,

celare arte??i

in (Dionys. Hal.)
OrjfXL,
1^

Trjs

243 (see also

Ars Rhet.

p.

(ed. Usener),

99

word

a7rAoT>7T09 Trpo(nroir]cn^ to Tri^avoi/

t(o (Ikovovtl.

<L\rj

ars

ctTrAoVi/s,

8e koI irpoari-

ytVcrat, tva

cr)(T]fx.aTo<;

substituted for Aristotle's

d-n-kov^ is

34

Acyw

Late

aVXdTTy?

The

aKpL/Seia).

v.

s.

OTL KOL orav Tts ctTrXaJ? X^yrj, kol tovto T)(yr]

noticed that in

s.v. TnOav6<s.

in 15, 17, etc.

well described, in connexion with the

is

d-n-LOavov

Lat. simplex, non fucatus.

aVA-ovs occurs

in 19; ctTrAw? in 100,

8,

alienus

Lat.

iii.

See also

'hollow,'

'artificial,'

etc.

unreal.

Cp. Aristot. Rhet.

Simple, naive.

244.

dirXoiKos.

word,

Dionys. H. de Isaeo

ovofxaTtov rrjv aTrcipoKaXiai/,

(rrjfxeLoySlov

Limitless.
19,

persuadendo, non probabilis.

triTrXaxrBaL

Lat. assimilare, comparare.

Lat. ifieptus.

185.

p.

aircipos.

compare.

liken^ to

Tasteless.

It is to

dcfy^Xyjs,

be

and

further that neither a^cA'^? nor a<^A.cia occurs in any part of the
IT.

As the words occur

epfjL.

treatise

may

(so far as

in

Dionysius and in Hermogenes, the

such indications are to be trusted at

At

assigned to the period between the two.

word

rently deliberate avoidance of the

19, 205, 245.

dirdeo-is.

sitio.

The

the voice at the beginning of a

28.

diroKoirt].

de

Thucyd.

TToWa

'

238.

6,

52

C.

Ta.<i

cadence.

and

its fall

Lat. depo-

^eVts, the rise of

at the end.

In the same

aj/eTrtTiyScvTos

(Dionys. Halic. de Lys.

Abruptness.

Lat. abscisio.

VTrcp/^arovs

Ktti

iii.

an abrupt end

')

8,

koI BtJXtjv

in

c. 8).

Cp. Dionys. Hal.

7roA.v7rA.oKOVs

So dTroKKoixfxivo<;
6 dXka Set rri p.aKpa

be

noteworthy.

Lat. sine arte /actus.

vorj(reL<5.

Aristot. Rhet.

dTTomis.

member and

all)

events, the appa-

koX

c^ d7roK07rrj<s

TrpdyjxaTa ySovXo/xcva? kol Sia p,aKpov ras

(TrjfxatveLV

Xajxfiavova-as

and

that of apo-is

is

Inartificial.

sense, aTcxviVevTos

a</)X>)s is

Tall (of the voice)

distinction implied

diroCriTos.

all

18,

238,

diroKOTTTiarOaL

('

d7roSo(rts

cp.
239
brought to
:

cti/at rrjv rcA-evrr^V.

121, 182, 257, 268.

Conclusion.

So

Lat. terminatio.

d-Kokriy^iv 20, 202, 257.

diroTTv^Ytiv.

303.

speaker of his breath.

diroo-iwiTT^o-is.

figure of

To choke: used of long periods which rob the

Lat. suj^ocare.
So TrviyiLv in i.

103, 264.

silence,'

Sudden

Puttenham).

reticence,

suppressed clause

Lat. reticentia

(Quintil.

ix.

2,

('

the

54

GLOSSARY
"

quam idem

d7rooriwV7;o-i9,

Cicero reticentiam, Celsus ohticentiam^ nonCicero uses

nulli inierruptionem appellant."

53, 205).
/Aot [x.kv

ov ^ovXo/xat

Virg. Aen.
tUS."

Cp.

adj. is not

found

See

Lat.

fluc-

See further

sententiosus.

Unbecoming.

Lat. /^^-

225 supra.

p.

Article: in the grammatical sense.

23.

d'pOpov.

iii.

dW

init.,

earlier than Plutarch.

75, 122, 123, 188 (-ws), 238.

dirpemjs.
^^rz^j-.

in de Or.

motos praestat componere

atrocFvya.v in 1 49.
and
253

Sententious.

9.

The

'

sed

aTTOo-ttOTrav in ,44,

V. yvwfjLT].

reticentia

'

Demosth. de Cor. ad

8c 8v(r;(pg t7rtv ovScv d/3;j(d/xvos tov A.oyov

135 " quos ego

i.

airo<j>0YnaTiK6s.
s.

Examples

Fr. reticence.

269

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

'

'

dpKTiKos.

Dysc, Hephaest.,

Adjustment of words.
Cp. D. H.

cinna orationis compositio.

word

discussed

is

PP- 379

Late,

Apoll.

Pollux.

300.

dp|iova.

see n. on p. 258 supra.

Lat. initialise principalis.

Initial.

56.

noun.'

Aristippean

296.

'ApwrTiiriretos.

'

in

Lat. apta

Cope's Introduction

3875 and (on the musical

side) in

structura, con-

The meaning

p. 186.

Aristotlis

to

of the

Rhetoric

D. B. Monro's Modes of

Ancient Greek Music.

42, 117,

apvOfjios.

Used

is

c.

23) uses

of

ot

dpx(n.o7rpTrrj<:

dpxcuoL in the
39,

apxij.

tence.

8,

Lat.

56,

tt.

in

ep/x.

192,

numeri

expers.

i.

much

The

Lat. antiquitatem redolens.

Dionysius Hal. {Ep. ad Po7np.

dp.

ttTT.

iii.

Oldfashioned.

245.

dpxttto6i8iis.

word

Without rhythm.

301.

in Aristot. Rhet.

same

the

c. 2,

sense.

(67, 175, 244), see n.

de Comp. Verb.

For the

on

p.

meaning

224 supra.

196, 268.

Beginning: of a clause or sen-

Obscurity.

\u2X. obscuritas.

Lat. principium.

d<rd<j>6ia.

201,254.

So

192,

minime

vene-

d(Ta<f>7Js

198, 221, 226.

dore|ivos.

randus.

189.

Late,

Undignified.

Dionys.

Hal,

Lat. dignitatis expers^

Plut.,

tt.

vi/r.,

Lucian.

(Sometimes

said to occur in Aristotle, but not found in any genuine writing of

his.)
dcrreio-jios.

the

civil

jest,'

128, 130.

Witticism:

Puttenham).

Lat.

('the merry scoff;

urbanitas

otherwise

{a<TTd<T1101= facetiae).


DEMETRIUS ON STYLE

270

The word

late,

is

da-TuC^a-OaL (

Dionys.
In

specifically Attic.

Hal.,

tt.

vi/^.,

In the same sense

etc.

though the particular form seems

49),

114 dareios

be more

to

found, but with a moral rather

is

than an intellectual connotation.

Absence of conjunctions.

268.

192,

d<rvv8Tov.

Herennium

(Auct. ad

30

iv.

cp. Quintil.

dcrvvTJeTjs.

77, 190, 208, 221.

dor<j)aXT]s.

19, 41, 78, etc.

to a

'

opposed

safe,' as

same way

the

guard,'

'

Josephus, N. T.

Cp. D. H.

p.

186.

draKTOTcpws.

53.

in

With some

comparative, in this form,

Especially applied

In

'to ensure,' 'to safe-

Polybius,

late,

Diodorus,

Dionys.

negligence.

Lat.

Hal.,

qui nullis

Quintil.,

Lat. inordinatius.

etc.

The

is anr. sip.

134, 303, 304.

dTpirr\s.

means

'

v.

Lat. inusitatus.

avoids figures.

sense,

this

s.

287.

who

One

67.

Late

utitur.

dissolutum

See also

(Ktv8wwSr;s), use of language.

'

criticism

aa-cfidXeLa,

Lat.

50).

Lat. tutus.

Safe.

risky

beyond
Cp.

do-x-np-dTioTTos.

figuris

'

Unusual.

ao-t^aXt^co-^at (85, 193)

place

to

to a

ix. 3,

Disagreeable^ disgusting.

Lat. insuavis^

odiosus.
68.

dTc'xvws.

hiartistically.

arcxvws ('simply,' 'entirely')

is

Lat.

found

sine
in

be noticed that the word occurs twice

will

where (except

in

i)

inartificialiter.

68, 71, 266.

5,

in 68,

It

and that every-

gives the accent not as dr^yvQ^ but as

Probably the distinction by accent

aTx^<09.

arte,
i,

though convenient in practice.

dT^yyQi<^

arbitrary in origin,

is

(= dXy]BQii) was regarded as

specifically Attic.

To write

177.

dTTiKitiv.

In the same section

of

o\

'AxTtKot

is

4.

224.

To

improvise.

Cp. Dionys. Hal. de Comp. Verb.

8td^t fxerpa
c.

tj

and

Lat.

atticissare.

in 175 the practice

mentioned.

avTocrxcSidtciv.
dicere.

in the Attic dialect.

'AttiktJ yXwo-o-a is used,

^vcrts,

The word

and

is

Lat.
c.

ex tempore facere

25 ttoXAo, yap

s,

avToa-yi.-

Aristotle's use of avTocrx^SLda-/xaTa in Poetics

classed as

specifically

Attic

by the ancient

grammarians.
avTo<})viis.

naturalis.

27,

300.

The same

Self engendered, spontaneous, natural.

idea

is

Lat.

expressed by the words quae sua sponte

nascuntur and innatus in the following passages

Tac. Dial, de Or.

GLOSSARY
c.

"sed exiemporalis audaciae atque

cipua iucunditas

quam

est

nam

in ingenio

quae sua sponte nascuntur;" Quintil.

cum

et inanis affectatio,

and

Inanimate.

literal

its

sense,

metaphorical sense,

language

itself in

tt.

<f>povTLs.

Lat.

139; with the

which presents

itself

tt. v\\i.

Ip/x.

LXX.,

x.

6 tw

Used
same

expers, inanimus.

the opposite of

in the

efjLij/vxos

to lifeless writing, Lat. exsanguis.

Lat. quaestio, poena.

Torture.

201.

pdo-avos.

the

130,

-lorros,

animae

Lat.

as

not applied in the

s. v.

ev\dpi(rjo<;.

81.

at|n)xos.

See

Grace/ess, uncouth, coarse.

a similar sense a\a.piro^ in

as to the termination -tro? or

in cTTi^aptTos

per se frigida

innatam gratiam

sensus,

Lat. incuriosus.

137, 139, 302, 303, 304.

In

same doubt,

section

Unstudied.

300.

d<|>p6vTiarTos.

d'xapis.

"nam

74

ix. 3,

in acres incidit

non arcessitam."

videtur habere,

here in

ipsius temeritatis vel prae-

quoque, sicut in agro, quam-

quae diu serantur atque elaborentur, gratiora tamen

grata

invenustus.

271

N. T., Lucian,

etc.

/xev o-wc/ATTiVToi/Tt irdOei

word

late
;

to

in

applied to
cttos o/xotws

ifiacrdvLO-ev.

206.

pdo-is.

Lat.

Step.

For

clausula.

/Jao-t?

as

meaning a

rhythmical clause, see Cope's Introductiofi to Aristotle's Rhetoric

" ySacrts in rhythm corresponds to 7rot;s in metre.
It
p. 388, n. 4
:

takes

name from

its

/Sdaiv ei/Sovs riva pvOfxov

xxxix. 2

Kttt

ySatVeti/

ev pvOfjiw,

The

safe step

'

'

where fidcn^

is

To

the 'step' in marching or dancing."

passages there quoted from Plato and Aristotle

Trpof;

may be added

tt.

the
vx^/.

TavTiqv dvayKd^ei (sc. o avA.os^

pvOfxov clearly

- numeri

one of which the penultimate

'

syllable

incessus.'
is

long, in

contradistinction to iambic endings which are regarded by Dionysius

as dviBpaa-TOL and dTreptypacfiOL (Blass,
Violent movement.

246.

pa.

here meant by y
povXtaGai.

D. H.

p.

2, 28,

minus

i.

135

n. 2).

to Sv(T(fi6oyyov

is

as the context shows.

231.

To

be desigfied, to tend.

Lat.

velle.

Cp.

187.

viii.

Brevity of speech.
Lat. breviloquentia.
Cp.
82 "ac merito laudatur brevitas integra ; sed ea

243.

ppaxvXo'yia.

Quintil.

ySta,

Att. Bereds.^

Lat. violentia.

3,

praestat, quotiens nihil dicit

nisi

quod necesse

est

{/Spaxv-

Xoyiav vocant, quae reddetur inter schemata), est vero pulcherrima,

cum

plura paucis complectitur."

Xoyo9

( 7,

214).

So /BpaxvXoyelv ( 242), and I3paxvFor the ppa-^Xoyla. of the Lacedaemonians, see

DEMETRIUS ON STYLE

272
Lycurg.

Plut.

Vit.

Tacitus {Hist.

I.

19; theirs was

c.

the

imperatoria

brevitas

18).

^^ayy-rq^ OCCUrs in 9, 121

163,

170,

of

^pa.yy^ in 207,

242.
126,

YcXoios.

Laughable.

etc.

Lat.

The

ridiculiis.

and to cv^apt is explained in 163.

which so many ancient writers assumed

difference between to yeXolov

The

deprecating attitude

towards laughter

reflected

is

168, 169; yeAai/,

163,

Quintil.

in

vi.

3.

t68, 260; ycXtoroTrotta,

occurs

yeA.o>9

128;

168.

24,

x^P^k^VP yXo.^vpo? being one of the four types of

Fr. elegant, orne.
Lat. politus, floridus, ornatus, elegans.
Cp.

style.

Dionys. Hal. de Comp. Verb.

and de adm. vi

23

c.

in Dein.

die.

8e yXacjivpa

ly

40

c.

/cat

avOrjpa crvvOeaL<;

Sc ^^rh. TavTrjv

ri

^ovXeTaL Xa/x/SdveLv

ovofMOLTOiv tttct

('grand')

avTwv

Se to

illustrations of this

style

also be

made

not in the

yvwii-q.

yvio/iir},

tt.

vxJ/.

p.

may

Reference

poets.
196.

given in the

The

noun

yXa<^v-

Lat. lingua, dialectus.

Dialect.

The

word does

bear the Aristotelian sense {Poetics and Rhetoric)

ep/x.

of 'foreign term'

ciple of the

p.

18 and

It is tO

lijSv.

258.

177.
tt.

H.

to L>.

occurs in

7X<r<ra.

yap

and comic

are taken from the lyric

epfx,.

XciOTara kol /xaXaKwrara,

rot,

TTjv Vcf>(i)VLav Orjpoiyixivr} kol ttjv ev/xeXetav, c^

be noted that many of the

for

which see D. H.

Maxim.

110, 170.

(bis),

yvoifXTj is
ata-Trep

p. 187,

expounded by
etprjTaL,

v.

s.

The

Lat. sententia.

Aristotle (Rhet.

a7r6cf>av(rL<s

yXwrriy/xaTtKos.

KaOoXov

ii.

21, 15)

ccttlv,

printj

fiev

^aipovcn

8e

KaBokov Xiyofxevov b Kara fxipoq TrpovVoXa/x/Javovrc? Tvy;(avovcrt* otov

Tt9 yetToaL tv)(ol K^prjixvo';
'

tkvol<; <f>avkoL<;, OLTroBeiaiT

rj

ovSiv yctTovta? ^^aXetrwTepov

wcrre

Set

arTO)(dt,(T6aL

0VTa>9 Trepl TOVTOiV

may be

ttcos

'

otl

rj

'

KpuTTw

av tov

ovhev TjXcOnoTepov

Tvyxdvova-L

KaOoXov Xeyeiv.

yv(x)fxo\oyLV, Kol ercpav

yvwfxr]

y\a(f>vpa koI

tj

OeaTpLKTj Kol TO KOfixf/bv ('neat') alpovjxivy] trpo tov cre/xvov

TOLavTYj-

poTT)^

Smoof/i,

127, 128, 138, 178, 179, 183, 184, 186.

36,

7Xa<j,vpo's.

polished, elegant

TT.

in

ycA.a)T07rotti/,

TavTYfv re

tjOlkov^s

yap

rcKVOTrotia?,'

TrpovTroXa/x^avovTC?,

irola

ex^i fxlav

8r]

Troiel

said to differ in these two points

lO

)(^prj(TLV

rou? Xdyov9.

(viz.

ctTrdi/ros

to

The

general applica-

and moral purpose) from the airof^dtyixa, which is a dictum or

bon mot, and is specially used of the AaKOJviKo, aTro^^ey/xara, menOn
tioned by Aristotle {Rhet. ii. 21, 8) and collected by Plutarch.
the use of yvw/xat by Demosthenes there are some good remarks in
Rehdantz-Blass, Rhetorischer und stilistischer Index pp. 20, 21.
tion

GLOSSARY

The latter is
ad Alex.) not earlier than
But yi/<i>/AoA.oytv and yi/to/xoXoym are found

yviii^okoyCiv occurs in 232,

occurring

late,

(if

273

and

we except

Theon's Progymnasmaia.

yvw/AoXoyt/co? in 9.

the Rhet.

in Aristotle's Rhetoric.

In

226, stress

in

style:

This use

Lat. scriptio.

sense).

the

fact,

L>.

H.

Lat. littera,

lVritt?ig,

composition (in the wide

found

Philodemus and Strabo.

is

in

on the distinction between written and spoken

laid

is

Xe^t? of

ypa<fiLKr]

76 ypa<^iKos means

Cp.

of the alphabet.

120, 196, 215, 226.

7pa<j)TJ.
'

Letter

48, 69, etc.

7pd|ijjia.

'

193

same

Dark

153.

Ypi<j>os.

The

Lat. griphus.

saying.

ws

Ivtot (^acrt,

ravrov

OLVLyfxa ofxoXoyei Tt? dyvoetv,

icm

olov atvLyixa fxiv

8rfXov TO epajTrj/xa.

yplcfios is

tov 8k yptcfyov ayvoei

and

/xcv

73.

8ao-vs.

Cp.

is

toi'

Sokwi/ eTriVrao-^at,

on

84,

other, with

an equivoque or double

Setvds.

vehemens.

Rough: breathing

(^x^)-

element of ambiguity

its

Lat. asper:

spiritus.

sc.

7,

8ff.

Lat. demonstrativus.

Demonstrative.

289.

Fr.

240

ff.

passim.

283

energique, vehement.

vehement:

vigorous,

Forcible,

Reference

Lat. gravis,

may be made

to

With the passage there quoted

188) from Dionys. Hal. ad Amm. ii. may be compared tt. ep/x.
187, 188

LI. pp.

(on p.

s. V.

8ti/oT7/s.

Trao-a 8\ cKTrXry^i? 8(.iv6v,

Xeyiov Setvos

yap

-^v

entendre.

XapaKTrip Sctvos being one of the four types of style.

8iOfX7]8r]';

frankly presents itself as an enigma,

Z>. iT-.p. 15.

SetKTtKos.

D.

84

to fikv

Ilpta/xov Ato/AT/Sr/? KTavv

to prjOev, ayvoei

ciSci/ai

Thus the one

conundrum while the

mystification,

on

to tl StVow, tl rpiirovv, tl TeTpdirovv ; ivravOa

avrip 6 'AxiXXevs.

riddle or

thus

ypt</>os

8ta<^povcrt yap,

toJ aiviyfxaTt'

ypi^os 8k olov ExTopa

ivTav6a SoKet

avrjp.

section.)

p. 187.

distinguished from the amy/xa by Schol. Aristid. p. 508

iarrtv ov^,

(In

kept in view.

is

pictorial,' as ^o>ypa<^tKos in the

firJKO^

('

formidable

')

k'K(.i8r\

ovT<i)<i

ckA-vci ttjv a-<f>o8p6Tr)Ta,

8iv6Tpov (cp. 274).

^o^tpov ;

e8oiv, ovt

ro 8k

Perhaps in the

255

6(f>L<;

ev oXtyw ttoXv
tt.

4pp..

(as

is

ovt

av 6

241 to

iix<f)aiv6fXVOV

compared with the

Scripta Rhetorica of Dionysius) SctvoVrys carries with

idea of hitting the mark which

aXV

avTOS

it

less of that

so well illustrated from Plato

and

by Rehdantz (op. cit. p. 57). In Dionysius (as later in

Hermogenes) the word sums up the oratorical virtues, especially as
In the tt. cpp,., it is only one of four types of
seen in Demosthenes.
Aristotle

R.

18

'

DEMETRIUS ON STYLE

274
style

it is

indeed chiefly illustrated by examples drawn from Demo-

sthenes, but

it is

expressions

tt^s

SctvoTrys

Cp.

245).

occurs in

SeLvoTT)^

found

not associated solely with him, as appears from the

in

243

52 supra.

p.

240 and passim (the plural

cp. fxiyedr) 5).

cation': cp. Quintil.

286) and 7 vvv Karexpva-a

huvoTxp-o^ (

Ar/zxaSctov

vi.

2,

24 " haec

est

Sctvorr/ra?

130 means

SctVwo-is in

quae

ilia,

being

'intensifi-

SctVcocrts

vocatur,

rebus indignis, asperis, invidiosis addens vim oratio; qua virtute

plurimum Demosthenes

praeter alias

215.

8Ti|xiovp'y6s.

Tret^ovs BrjfjiLovpyb^

Cp.

rrys Arjfxahitov Suvoryjros,

is

Lat. dicta

De-

to the Attic dialect

and

286.

Popular: applied

177, 232.

Stihotikos.

Lat. popularis^ communis.

to proverbs.

Cp. Plat. Gorg. 453 a

(Gorgias' definition of rhetoric).

Sayings of the orator Demades.

282.

AtjiidSeia.

madC'a.

prjTopLKrj

tj

valuit."

Lat. opifex.

Artificer.

In

o 'AOrjvatwv Srj/xos

294

used of the Athenian democracy.

223

8101X070$.

(bis),

ytKo? in 19, 21,

tional,'

though the

formal Dialogue

is

Dialogue.

224.

Lat.

So

dialogus.

StaXo-

which may be conveniently rendered 'conversa-

employed

illustration

chiefly meant,

in

shows that the

21

hiakiy^ardai occurs in 167, 225,

167 x^P^"^ StaXeKTLKos means a conversational chorus

of the Gilbertian type.
Cp. R. Hirzel Der Dialog i pp. 305, 306.

289

while in

'

To break

13, 15, 21, 46, 192, 193, 271, 301.

8iaXi5iv.

The

dissolvere.

perf.

participle pass,

same sense as

sections, with the

is

275

Sirjprjfjievos (p.

the meaning borne by StaXveLv elsewhere in the

8taA.vo-avTa9 in

Lat. sententia.

hiavor^iia,

hiaXv(Ti^

'

Lat.

In view of

infra).

tt.

ipfx.,

the reading

asyndeton, 66, 269.

2 (quinquies), 3 (quater), 30, 38, 44 et passim.

8tavoia.

sentence.

288 seems unlikely.

up.

found in several of these

thought

'

or

'

Thought,

notion,' in 30,

23968.

8tdppix|/is.

the use of

8iao-7rao-(ji6s.

word,

Severance: used of
in

8ippi/x/>iei/o9

68.

Dislocation:

LXX., Plutarch,

8iaTdTTiv.

59.

etc.

To place

Lat. distractio.

style.

of

style.

Cp. the use of

in order,

Lat.

180.

To

divide.

divulsio.

Sica-Trao-fxevos in

Late
303.

Lat. digerere, ordine collocare.

Fr. ordonner.
8taxpittv.

Cp.

13.

Lat. separare.

GLOSSARY
SiSao-KoXfa.

Formal

9.

AristOt. Poet. xix. 3

Late,

recit.

by a

rr.

cpfx.

Lat.

narrative.

Dionys.

Hal.

narratio.

though the

distinction

adj.

SLtjyyja-L?

drawn between the two words

(quoted in Volkmann's Rhetorik^ p. 150 n. i) is:

(8ir;y77/xa) Strjyrjaio)^, tw TavTqv fxkv tivai Ka^oXtKwrepav,

scholiast
8k

SLa<f>pL

Thc samc

cKctvo St fjLcpLKioTepov.

and

Cp.

ratio.

in the latter part of the Poetics.

The

291.

270.

Polyb.,

used

SirjyrjfxaTLKo^ is thrice

occurs in

241,

201,

LXX.,

docendi

Lat.

i?istructio7i.

Sel <^aij/or^at avv SiSacKaXias.

to. fxkv

137,

8,

8iii7T](ia.

Fr.

275

distinction holds

between

irocrja-Ls

the former being appropriately applied (say) to the entire

TTOLTjfjLa,

Book

I/iad, the latter to

186,

114,

8tT,}iapTTiHivos.

xviii. ('OTrAoTroua).

302.

236,

Defective,

Lat.

distorted.

vitiosus.

(Also Siatpct and Siatpctrai in

'

to joint,' or

'

'

See AristOt. Rket.

306

ff.

i^
iii.

Ernesti,

is perhaps nearer the meaning than

more depreciatory than the Greek original.)

(with Cope's note)

9, 7

Lexicon

pp. 74, 75.

Aristotle {Rhet.

(=

BLaXeXvfxivTj,

htriprjixevr],

Technologiae
9, i)

iii.

Cope's Introduction,

Graecorum Rhetoricae,

distinguishes the Xc^ts

Stcppi/x/xtVr; in

tt.

cp/x.)

from the

cp.

Norden Kuntsprosa,

i.

pp. 27, 38

41

sur la Rhetorique grecque avant Aristote, pp. 86, 112

Dem.

Some

et Pa?iegyr., p. xii.

works

torical

Rhetorique

elpofjiivrj

Karc-

A.c^ts

For Herodotus as the leading representative of the

a-TpafxixivT).

lpofx,fvq,

Lat. divisus,

loose.

StaipeOevTa in 70; in

i,

to articulate,'

which

to disjoint,'

pp.

Resolved, disjointed,

12, 21, 70.

SixipTjjt^vos.

dissolutus.

will

be found

useful references

8t^vpa/x/?co87;? 1 16, St^upa/xyStKOS

8k\os.

34, 252.

ZikoyCa.

103, 211, 212.

IVith

Isocr.

rhe-

Lat.

dithyrambus.

Also

143, SiOvpafX^tKuis 91.

two ''members'
Repetition.

It is clear

hiKoyCiv 197, 267.

Sandys

dans Ciceron, pp. 20, 148.

Dithyrambic poetry.

78.

to Cicero's

Causeret j^tude sur la langue de la

in

et de la critique litteraire

StOupafipos.

Xe^is

Navarre Essai

from

Lat. bimembris.

Lat. iteralio, repetitio.

So

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
Volley'd and thunder'd" (Tennyson Charge of the
front of them
|

Light Brigade)

Who

saith,

"

By my

saying she saith to you, in your ears she

hear these things,

Put no

trust in

men's

royalties,

nor

in

great

men's breath,

Nor words of kings" (Swinburne Super

182

DEMETRIUS ON STYLE

276

Flumina Babylonis)

" Stars in the firmament above

him beaming,
dnd of stars the
|

Stars

firmament, alive and

the

in

Deep
W. H. Myers Saint Paul).

innumerable streaming,
(F.

Stars,

the deeps, a river in the sea"

in

free,

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

the days of the years of

my

days of the years of the

noun

iii.

evil

have

Lat. duplex.

So the verb

i.

3,

of their

18.

'^nvXovv in 59,

Cp.

and

in 116.

StTrA-wo-ts

72,

8t(j>0o"y7os.

Rhet.

few and

fathers in the days

iii.

Double, compound.

61, 93, 98, 191.

SiirXoCs.

Aristot. Poet. xxi.

the

my

of

life

So also Book of Daniel

pilgrimage."

been, and have not attained unto the

life

Having a

207.

73,

a diphthong.

double sound.,

Lat. diphthongus.
8pa|xa.

word

Action, play.

156.

62,

interesting

Review

Mr H.

the article by

cp.

388

xiv. pp.

393.

lAtaSos ypacfiOfxev'qs ev

For the

dK/xfj

The

Lat. fabiila.

8pa/xa with reference to the Iliad

and

Mimes

Richards in the

Iliad, cp.

tt.

oXov to

Trveufxaro^

use of the

to Sophron's

ix.

v\\i.

crco/xaTtoi/

is

Classical

13 t^5

[jXv

SpafiarcKov

VTrea-rrjaaTO.

Unpleasant

48.

Svo-TJKoos.

Hardly found with

this

the

to

Lat.

ear.

meaning elsewhere

molestus

and a

auribus.

late

word

al-

effici

vix

together.

Late,

Cp. D. H.

is

is BvacfxavLa,

Cp.

Harsh- sounding.

Lat. obscu-

Lat. asper, difficilis enuntiatu.

105.

Harsh- sounding.

Lat.

asper,

69,

70,

word, found elsewhere only in Pollux.

difficilis

Late also

48, 105.

To write

Awptcr/xo's,

^YKarao-Kcvos.

elaboratus

follow, unintelligible.

late

177.

8p^iv.

Dorico.

to

not found elsewhere.

8v(r4)vos.

enuntiatu.

Hard

4.

Lat. qui recte

etc.

p. 189.

246.

8v(r<|>8oYyos.

The word

acco7nplish.

Galen, Chrysostom,

Svo-irapttKoXoiiGTiTos.

rus.

Hard to

127.

8vo-KaTop0Tos.
potest.

16.

artificiose,

in the Doric dialect.

in the

same

Elaborate, embellished.
cultu

Lat. sermone uti

section.

exornatus.

Fr.

Lat.

arte fabricatus,

travaille.

Cp. D. H.

GLOSSARY
and

KaTaa-Kiva^o),

7K<ofjiiov.

which do not occur

170,

301.

Eulogy.

I20,

and

cyKtu/Aia^cii/

iyKiofxiaaTLKO'i

occurs in

168, 292,

295

when

means commendation

it

and see

illustrative passages,

189 for

p.

277

Lat.
in

tt.

ipfi.

Fr.

laiidatio.

same

the

KaraaKevrj

ibid, for

194

p.

in the

cTratvos

from

this is distinguished

iyKuj/xiov,

rather than a

for isolated acts

So

eloge.

section.

sustained

eulogy.
183, 206.

iBpa.

Foundatioti.

By

Lat. sedes.

cSpa

meant a

is

termination (of a clause or period) containing some long syllables.

Cp. Dionys. Hal. de adm. vi

/xcyaAots

/^/^. C.

40

tovto Kat

is

TTcivv yScyST/Kuiats

8ia

evypafx/jLOL

Verb.

23 ov

C.

^r/rct (sc.

opacrOai,

7rpi<^avta9

Dem. c. 38 ovo/xao-t xPV^^^'- ^t^^t

* * Kat rats cSpats avT(5v ctvat TrA-ovtroo?

die. in

ixaKpo(rvX\dl3oL<i

Kttt

VK6pvcf>0L 8r) ^atvovrat (sc. ot pvOfioi) kol

cSpav

>;

ovSc

reXevTwai

(i(Tcf>a\rj

id.

cSpa

Travra

19.

cSpatos.
vi/^.

xl.

vf

p.

80 (quinquies), 89
Lat.

similes.

In

182.

TOV KaTOi

elpva.

291

rr.

1,2A.

forma,

Cp.

species.

ahud verbis

ctKtov

viii. 6,

is

used

for
iv.

ctKa^ctv,

'image,'

'

to

liken,'

'reflection,'

34.

Lat. nexus, series.

Assumed

Cp.

tt.

ignorance, dissembling:

Cp. Aquila

Lat. illusio, simulatio.

simulatio, frequentissima

significamus, aliud re sentimus

tp(DVta 8c coTt \kytiv Tt

ovofiaa-L TO, irpayfioTa

So

Auct. ad Her.

series.

Compari-

160, 172 (bis), 273.

similitudo.

v\\i.

xxii.

ttpocr

p.1]

apud oratores figura, ubi

and Rhetor, ad Alex.
'

'

Trpoa-TroLOVfxtvov Acyctv,

ay opeunv.

'the dry

Rom. (Halm,

It is tO

rj

iv Tots cvavTiois

be noticed that Philo-

demus (Trcpt KaKiwi/ X. 2 2, 38) uses a.p.^ipoXo^ of expressions such

w ycvratc which exemplify the Attic ctpwvcta.
^Krao-ts.

185,

elpjXOV Ttt^tV.

(bis).

mock,' Puttenham.
p. 24) "ctpwi/eta,

227

Train,

(f>V(TLV

(ter),

co?nparatio,

Cp. Quintil.

tlpfids.

Form., kind.

20, 21, et passim.

'mirror.'

Cp.

Lat. stabilis, iinmotus.

Stable^ well-based.

84, 160, 251.

T-^V K

avrfj.

197.

lKa<ra.

sons,

Kat

oAws to

7rpo9 iSpoiov Stafte/^rjKOTa /xiyeOos.

ctSos.
IT.

<f>L\ov

re

(iefSrjKevaL TrXarcia

acr^aXct, ovSc fxaKpovs Tous /xiTa^v avrtov ctvat ;^povovs, ouS*

^paBv KOL (TTadipov TOVTO

Comp.

^(?

yXacftvpa (TVvOecn^) KaG' c/cacrrov ovofxa Ik

206, 207.

Extension:

lengthening of short syllables.

especially applied

Lat. extensio, productio.

to

The

as

the

verb

DEMETRIUS ON STYLE

2/8
found

KTLVLv IS

ill

6, 8, 9 (here the

middle voice

given by P:

is

perhaps wrongly), 183, 202, 241.

So

age

To

The term

To

utter:

with various

Lat. verbis ornare, ornate aliquid

elaborate.

K(fipa<TL^

seems to belong

to the later rhetorical

that of the Trpoyvfjivda-jxaTa.

To pronounce,

15.

K<}>viv.

voce edere.
tion,'

Lat. expo-

Lat. edere, promere.

165.

6K<j>pdtiv.

forth quote, expound.

124, 142, 164, 176, 220.

94,

cognate meanings.

enuntiare.

set

in 231.

k6(ti<s

Ui^ipiiv.

To

35, 41, 200.

KT96cr0ai.

nere.

(iK<f>wvrja-L'i

Lat. pronuntiare, clara

to deliver.

sometimes used not only

is

for 'pronuncia-

but also for 'exclamation' and in later times for the 'peroration

of a sermon.')

Impact.

39.

Ip-poXij.

Lat.

iniectio,

If the text

impetus.

sound,

is

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.^oky]v is unnatural, and dpxv^ may
a
gloss
on iiJL^o\r]u, though the real meaning of the word is
be
'impact' rather than 'opening': cp. tt. v\f/. xx. 2, 3, where (as here)
ifx^oXr] and TrArjo-o-eti/ are found together.
the

literal

'

297.

}ji|jLXs.

ful' or
TTi

e/x^eA-^s

The word

D. H.

p. 190.

IjiiraGws.

28.

With

?}i<j)ao-is.

47, 57, 130, 171, etc.

183

cp.

(the difference in

and

ix.

2,

and

found

are late,

'

cum

in

tunec.

tt.

is

iixcf>aLveLv

in the treatise, e.g. 171.

Plutarch, etc.

Quintil.

etc.

em-

i/xtfiav-

in 51
ifji(f>av-

figure of l/x^ao-ts

25

epfi.

affectu.

283 and iix<f>aTLK6<;, 'striking,'

spelling being apparently designed).
Both

cp.

viii.

(Sp. Rhet. Gr.

was
Zt^,

3,
iii.

65

199).
cva-ywvtos.

ad

Lat.

Volkm. Rhet.^ pp. 445, 446

Tiber, tt. o-x^/oi. and Tryph. tt. rpoTrwi/
:

is

The corresponding verb

occurs in

i/xKJ^arLKos

recognised

sense of

Appearance, hint, impression,

ployed some twenty or thirty times

TtK09

ixfxeTpo<i

emotion, with feeling.

Lat. species, significatio.

TtK09, 'indicative,'

its

occurs in Dionys. Hal. de Comp.

kol ifi/xeXel Ae^ei.

i/JLixerpco

In

Lat. eleganter.

Tastefully.

'harmonious,'

certamen.
lvaXXd<r<riv.

literal

Combative.

193.

Lat. aptus

Cp. references given

meaning

60.
in

To
60

is

in

tt.

v\\i.

vary, to substitute.

contentionibus, accinctus
p. 194.

Lat. immutare.

The

'with the grammatical case thus varied'

GLOSSARY
more obvious

with the nominative substituted for the

(i.e.

Cp. D. H.

279

p. 190,

208, etc.

cvap^ycia.

See

evidence.

tt.

words as

to such English

Min.

R/iet. Lat.

(p.

imaginem

et

Lat.

Vividness.

197 and D. H.

p.

The words

there quoted.

rerum

v\^.

genitive).

IvoXkayr).

V.

S.

and

ivapyeta

evidentia,

illustratio.

correspond

ivapyrjq ( 50, etc.)

'realism,' 'life-like,' 'telling,' 'graphic'

Halm):

62,

^'

Fr.

190, with the examples

p.

Cp.

qua formam

ivdpyeta est figura,

oratione substituimus, ut lectoris ocuHs prae-

ita

sentiaeque subiciamus."
Iv^pYcia.

Rhet.

iii.

3,

So

pp. 316, 318.

30,

lv0i5}iT]}ia.

sometimes

82.

81,

11,

Activity,

ad

and evcpy^s

31,

109.

32,

33,

Cp. D. Z^

and

loc.

kv^pyCiv 81,

ratiocinatio.

190

Aristot.

his Lntroduction^

266.

Enthymeme.
p.

Cp.

Lat. actio.

actuality.

with Cope's notes

enthymema^

Lat.

for various references, to

which should be added Cope's Lntroduction

Aristotlis Rhetoric

to

and De Quincey's "Essay on Aristotle's View of Rhetoric " (where he follows Pacius and Facciolati).
The author of the
TT. kpp.. marks clearly the distinction between the enthymeme and the
pp. loi

ff.,

period, the latter referring to the form, the former to the content

whether conveyed

in

a period or not.

common

pointing to the use of a

draws the same

31

illustration

"optimum autem

nam

scripsisses ; ita,
s.

291

VT^XV"s-

67.

^v<j>aviv.

poena

liberari ;

actum

quin

cum
est,

14, 4)
tt.

kpp..

in propo-

Demo-

idqite tu es

e contrario

eorum damnatus

in

quale est

subiungitur,
leges

(v.

found

damnari

esset,

tu haec non

tu si fueris, non scribet alius. ^^

See further

si quis

damnatus

v. fiax>7, p.

ratio

quid unquam contra

ut,

is

videtur enthymematis genus,

imitatus, idcirco te convenit

multo magis.

that Quintil.

from Demosthenes as

sitione dissimili vel contraria

sthenis, non enim, si

noteworthy, as probably

It is

source,

infra.

166.

Artistically.

To weave

Lat. artificiose,
into the texture

Cp. drkx^ws.
(of a

poem).

Lat.

intexere.
I^afpeiv.

and the

like.

l|a|A6Tpov.

119, 122, 123, 234, etc.

1, 4, 12,

204.

or measures, a hexameter.
IgairXovv.

To

exalt, to heighten

of style,

Lat. efferre.

254,

To

line (sc. Ittos) consisting

of six metres

Lat. hexametrum.
unfold,

to

explanare^ distincte aliquid exponere.

state

outright.

Lat.

explicare,

Cp. the paraphrase of Gregor.

DEMETRIUS ON STYLE

28o
Cor. (Walz,

Wjo^h^ivompov yap ro

vii. 2,

KaracfipoveLTai,

VTrovoov/xevov, to 8c e^aTrXioOiv

yiXouov to TrpoSryXov Acyctv.

/cat

Sextus Empiricus,

etc.

the fact that

late

word

machia (1. 106) may be added to the other indications of

which that poem presents.

To fail

50.

Ilao-Gcvciv.

I^TjWaYfwvos.

Cp. D.

Lat. anceps

196

eiravdXTj\J/ts.

k'KavaXy]^i% the

author of the

repetition

iteratio

(ai/aStTrXoxrt?,

'

characters,

Epanalepsis, resumption ('echo

(bis).

Lat.

To partake of two

to

be

esse.

Puttenham).
a

Lat. immutatus, va-

p. 191!

291.

176,

'iran<J>oTptiv.

ambiguous.

H.

late date

\uZX. deficere.

Distinguished, elaborate.

77.

riatus, exornatus.

in strength.

in prose,

occurs in the Batrachomyo-

it

p.

sound,'

By

8).

seems to understand not simply

kpp..

tt.

Halm

Rutilius Lupus,

(cp.

and the Hke), but what might be termed

a 'resumptive repetition.'

or

swelling

'

Rise in rhetorical

278.

iravaorTao-is.

Lat. elata composition

tone.

The metaphor may be

oratio assurgens.

medical, that of a 'rising'

on the person.
61

6irava<}>opa.

268.

(bis),

Identical with dvacf>opa (q.

corresponding verb

as

may

Lat. repetitio.

be seen from

occurs in

iiravacfiipeLv

To make a

225, 300.

liriSeCKvvireat.

Recurrence, repetition.

v.),

The

268.

59, 268.

Lat. se

rhetorical display.

stentare, declamare.

The
In

reference

is

to the eTriSeiKxtKov ycVo?,

108, cTTiSety/xaTa

is

'

Feloquence d'apparat.'

used of the appointments

in the

mansions of

the rich.

6, 29).

addition,

Sp.

iii.

111.

eTTtKepTO/xrytrts,

(Halm

('the

epithet

ra XcTTTO/xepetrTtpa raSe,

KaraycA-OJ?,

severe proposita vafre excutit."

sometimes recognised
^mKoo-ficiv.

106

under

iTrtKepTop^rjais

"

viii.

Putten-

43

3,

Herodian

cipwj/cta

crapKa(rp,6^^

-)(apuvTi<Tpi6<i.

tKaor/>tos,

Rhet. Lat. Min. p. 39) says

qualifier,'

(Quintil.

obiurgatio.

Lat.

taunt.

92) classifies

tpo)^tas KaOecTTrjKev ciSr)

jjLos,

an

ad nomen adiunctum, appositum

Cp. D. H. p. 191.

Lat.

en"iKepT6}iT)|jia.

cr^p..,

An

85.

cirCeeTov.

ham).

(tt.

Ty<s

Rufinianus

haec figura risum excitat

similar

'

figure

'

of

Sc

Stacrvp-

hnrLp.f\(Ti%

et

was

cp. the use of kTnrip.a.v in 294.

(ter),

133.

To adorn,

to embellish.

Lat. ornare.

GLOSSARY

To make an additional statement^

32, 109, 111, 137.

iiriX^'yeiv.

add.

281
to

Lat. adiungere.

Ondwelling, lingering, elaboration ('the figure of

280.

liriiiovT].

de Oral.

Cp.

53).

iii.

ad Her.
is meant

Lat. commoratio (Auct.

abode,' Puttenham).

tt.

expression of the point

'

What

199.

p.

v\\i.

the repetition

iv.

45, Cic.

is

'a fuller

of the sense, rather than

is

simply of the words.

To superabound,

156.

4TrnrXTj0va0ai.

in this form, occurs only here

The

Lat. accrescere.

iTnTrXrjOvveLv

verb,

however, found in the

is,

LXX.
^wTToXiKos.

223,

233.

230,

Epistolary, suited to letter-writing.

Lat. epistolaris, accomniodatus epistolis.

Cf

S.

and

the use of KivSwcoSry?

Lat.

lubricus,

in 80,

aa-<f)a\rj<s

and see

270 supra.

V. d(r<f>a\7J<;, p.

266.

Ivird^ios.

Dangerous.

294.

286,

98,

80,

27,

l7ri<r<}>aXi^s.

periculosus.

funeral oration

Lat. funebris

Xoyos).

(sc.

oratio.

more rem

common

c.

in his Trcpt Xc'^ew?.

85,

34,

Cp.

adiungere.

one of

'

adduce

Comp. Verb.

C.

'

122,

106,

in

i7n<f>opa

or

'

cite

4 KaAws av

gives inoLT^a-afAfv in 122

has been adopted in the

It

ix.

found

is

rant.

to

this
8,

Lat.

verb (not a
:

possibly

it

in Dionys. Hal. de

In

196.

in

to

Lat.

subjoin.

122 the meaning

(Lat. laudare)

'

tyoi

is

the

cp. Dionys. Halic. de

ra EvpiTrtScta ravra

e7ri/yKtv.

but Hemsterhuis' conjecture

(P

iTroLo-ofxiv

text.)

Lat.

finishing touch, Pefivoy.

"et addita

To add,

etc.

106, 109, 110 (bis). 111 (bis).

lirwjMtfVTjjAa.

tion,

tragic tones,

be noted that

28.

ktri^puv.

late

in

It is to

amplificare.

one) occurs in Theophr. Hist. Pla^it.

was also used

Thucyd.

To declaim

122.

ImTpaYcpSeiv.

tragico

Concluding exclama-

epiphonema.

clausula est epiphonematis

Quintil.

viii.

modo non tam

5,

11

probatio

quam extrema quasi insultatio. est enim epiphonema rei narratae

summa acclamatio Tantae molis erat Romanam condere

vel probatae
ge?item !"

Hermogenes (Spengel

section

Trcpt

fxaTLK<i)<s

109.

4irx()^P^s-

Cp.

in<}>(i)V7JixaTo^.

1^7.

iTTLxoipiTws in

Graceful,
127,

Rhet. Gr.

Cp. cVt^wvcti/

140,

charming.

and

ii.

pp. 252

107,

Lat.

254) has

no, and
venustus,

eirixaptTUiTcpa

133.

i7n<fiuivy)-

amoenus.


DEMETRIUS ON STYLE

282
37, 62.

?iros.

ference to

'

Verse^

special re-

'

12

1,

6pfiT]Va.

13,

(bis),

Fr. elocution.

elociitio.

Used with

Lat. versus.

liiie.

Epic poetry.

as a rhetorical term,

is

The

as

Expression^

passim.

14,

Lat.

style,

The meaning

elocuzione.

Ital.

of

ep/xTyi/eia,

discussed in the Classical Revieuu, xv. 252

ff.

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.
Concerning Style is the most convenient modern rendering, though the
word style suggests the pen in hand, whereas epfx-qveU, A-e^ts and
TTcpt

pfXYjV(a's,

its

title

'

'

cf>pd<rLs

The

'

rendering than i^iterpretatio

Auctor. ad

Herennium

definition of

some good remarks

there are
143.

On

ip/jLtji^eia itself.

Among
for

in

ground

its

kpfxrjvcLa

<f)pd(rL<s,

we never

But a comparison of

example.

To

46, 120, 121 (bis).

7]p/x7]Vvixva vTTtpiVy

ipfi-qveva-at

find a-xvp-oLra

136 with
the

tt.

156 shows

ep/x,.

express, to phrase.
Verb.

and de

ttdni.

It

EEAarcoi/.

epfxrjvfia in

Cp. Dionys. Hal. de Comp.

Satjuoi/tos

")

et

for

other things, he points out that in certain phrases Xe^ts,

pjiTivViv.

^LtaTLKCL,

might stand

and ep/xyjveia
G. Thiele's Hermagoras^ pp. 140

the substantial identity of Ae^ts and

nere.

orator.

clearly a better

idoneorum verborum

the use of Ac^ts,

as the original term, always held

epiJir]vLa<s,

is

the definition of elocutio given by the

3 ("elocutio est

2,

i.

sententiarum ad inventionem accommodatio

word of the

suggest rhetorical expression, the spoken

Latin elocutio likewise connotes delivery, and

is

c.

vi

Lat. expo-

Trpay/xana Atra koL

3
die.

ift

De7nosth.

c.

26

one of the advantages of

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.
'

193.

vavaYvw<rTos.

Cp.

Arist. Rhet.

Koi V(fipa(JTOV

5,

e(TTi Sk

Easy

to

6 oAa>9 8c

read,

8d

Pleasant

to the ear.

stated in the Introduction, p. 56, the

have been there added that

senses

298.

Lat.

lectu facilis.

is

Lat. auditu iucundus.

is

late; but

late in this sense only.

To have a good

it

should

In other

Aristotle.

time, to floicrish.

Lat. secunda

This verb, together with the corresponding noun and

uti.

is classical

it

word

found as early as Hippocrates and

it is

cvT)p.piv.

fortuna

readable.

evavayvcoo-TOV Hvai ro yeypafjLfxivov

TO aVTO.

48, 258, 301.

evtJKoos.

As

'

iii.

'

here

it

is

adj.,

used of the success of the Socratic dialogues.

GLOSSARY
Cp.

Nominative case: sub.

198.

6v0cia.

In

104.

iv6 da's =

292 e^

Lat. casus rectus.

TTTwcrts.

recta via.

With a happy

10.

VKaTa<rTpo<j>as.

283

Lat. callide.

turn.

The word

is arr. cip.

TT.

CK Tov cfiol^epov Kar

iii.

iui/'.

oXiyov virovodTcl Trpo? to evKura-

and Dionys. Halic. de Comp.

cfipovrjTov,

Lat. abiectus, humilis.

Contemptible.

4, 77, 207.

VKaTa<|>p6viiTos.

Cp.

Verb.

VKaTa(f>p6vr)Ta koL

c.

TaTTctvo, \a/36uT<; ovd/utara.

compounds

in

is

ev/x.t/x.r;T09,

Easily

286.

vnCni]Tos.

used by Plato

The

a).

cp/x.

rather fond

is

76, which,

is

of

Hke

a classical word.

176

eiiTttYTis.

Used of a word which

vowels and consonants in

287, 288.

is

Lat.

composed of

equal proportions and so escapes

fairly

the two extremes denoted by the adjectives

ewp4iria.

well-compounded.

Well-proportioned,

(bis).

co?npactds, coagmentatus.

So

The word

imitabilis.
tt.

('good-sized') in

ev/zcye^rys

tv-. e.g.

Lat.

copied.

605

x.

(i?^/.

Seefnliness^

good

and

A.eto?

Lat.

taste.

rpayy^.

studium

decori.

cvTrpcTTws 288.

{Rhet.
117,

iii.

184;

48,

iii.

8,

ii.

used by Aristotle

is

P, however, gives evpvOfxo^ or eppvO/xo^ in 42,

7).

Dionys. Hal. de Comp. Verb.

c.

between
ad

1 1

and

evpvOfios

lppv6p.os,

cp.

fin.

Well-equipped^ trim.

14.

ei&oTaXTJs.

The word

34).

8,

for the distinction

301;

Lat. numerosus, moderatus (Cic.

Rhythmical.

42, 117.

vpvO(ios.

de Oral.

decenter ornatus, suc-

Lat.

cinctus.
cvTeXtfs.

D. H.

43,

54,

Cheap, mean, paltry.

etc.

177.

i5Tpairc\{a.

Cp. AristOt. Rhet.

ivrpa-mkLa

ii.

Wit.

I>at.

urbanitas.

So cvrpaVcXo?,

12, 16 koX <f>L\oye\o)T<;, 8l6 koI cvrpctTreXot'

281.

Euphemism.

This tendency of speech

is

ayaOfj Kkyja-ec TTipLo-TiWinv to <jiav\ov, wcnrep kol

v<f>7)ixov

dulcedo

s.

tJ

yap

Lat. vocabulum boni ominis adhi-

well described in the

by the words 6 ra Sva<f>7)fxa ev(f}rjiJ,a TTotwi/ koI tu

So Eustathius on Odyss. i. 121 lo-rt to
fjLara.

v<|>vCa.

172.

TrcTratSev/xei/Ty vjSpLS lariv.

v<j>Ti(i,i<rnos.

bere.

Ota TO

Cp.

Lat. humilis.

p. 193.

same section

aaejSijfxaTa ivai^-q<rxr}p.a

Tcts

v<l>rjfjLiafx6^f

'Eptvus Eu/ti/i8a?

KaTUivofia^ov KalroL 8uo-/xVts ovo-as.

68,

69,

suavitas.

71, 175.

So

Euphony, musical sound.

cvi^wvos,

70,

255

(cp.

Cic.

Lat. vocis

Or. 24, 80

DEMETRIUS ON STYLE

284

"simplex probaturin propriis usitatisque verbis, quod aut

rem maxime explanat

aut

In

").

occurring in Dionys. Halic,

Cp. Quintil.

etc.

notari possit velut vocalitas, quae

idem

ut inter duo, quae

est,

i.

dicitur

exxjiuiVLa

5,

4 "sola

word,

quod

valent,

Rehdantz-Blass

in general, cp.

and Earle's English Prose, pp. 309 ff. In

which may sometimes have been used in the

Indices, pp. 18, 3, 4, 5;

175,

has

same sense

ev(j)7)fjiLa,

as

evcfxjDvia

157,

i5xapis.

In

164,

163,

v.

s.

173.

168, evxapio-ro?

charming.

Graceful,

used to describe a

is

Lat.

man

of

and breeding.

wit, taste,

To bring

126, 175.

<{>^Xkiv.

the verb

cp. Steph.

160,

lepidus, venustus.

quae

est,

cuius in eo delectus

tantundem

significant ac

On euphony

melius sonet, malis."

optiine sonat

this sense, cvc^wvia is a late

in train.

In

Lat. attrahere.

used with reference to the addition of a

is

final v

175,

cp. the

expression vv ec^cX/cvoriKov.

Full of

81.

twTiKos.

Lat.

life.

^wTtKai?

vita lis.

evepyetats

vitalibus aciionibus.
r^Qvx\.

181,

180,

78,

Charm.

182.

Fr. charme, agrement, attrait.

D. H.

The

193.

p.

Cp.

adj. tJSus is

6 (quoted on p. 39 supra)

Lat.

used of

iucunditas,

voluptas.

15, 166, 173, 174; and

rJSvs,

style in Aristot. Rhet.

12,

iii.

but the noun in this appHcation seems

not to be earher than Philodemus and Dionysius.

28

^0os.

See further
in

227

297.

(bis),

in

tt.

vi/^.

171
p.

tjOlkw^ ('in a

Cp. Volkmann

langue de la Rhetorique

Sandys Orator of
1.

r\Y.L^(Tpov.
)](/.

Lo-TLxiov is
rjpwos.

D. H.

way

true to character,' 'naturally

p. 193.

Rhetorik^, pp.
et

273

vj^t/cos

5,

('moratus') occurs
in 216,

')

Causeret Etude sur la

ff.,

de la critique litteraire dans Ciceron, p. 98

Cicero, pp. 80, 131.

Hemistich, half-line.

Lat.

used elsewhere in the same sense.

42.

Lat. mos, indoles.

227, 245, 264, 293.

(bis),

200,

Heroic.

Lat.

herous.

metrum dimidiatum.
Cp.

180.

The word

applied to the hexameter Hne, and to spondaic

especially

is

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.

8, 4 (with Cope's notes); Cic. Or. 57, 192; Quintil.

204

TjpwtKos

t^xos.

mean

is

ix.

4, 88.

iii.

In

found.

71, 73, 82, 185.

Sound.

'breathing,' 'spiritus';

Lat. sonus.

In

though the usual term

73 ^x^^ seems to
for this

is irvfvy.a.


GLOSSARY
In
*

sonorous,'

'

'

Lat. clamosus, sonorus.

Philodemus, Plutarch, Hermogenes,

analogous formation,

and nowhere

again

the time of

till

ineptum

cp.

ir.

iv.

vif/.

occurs in Demosth. de

else in classical literature, not

Plutarch.

In

165, ^av/xa

ye tov MaKcSovos y

2 OavfxaaTrf

late

is

a word of

It is curious that

etc.

c^crao-ftos (for c^cVaorts)

Cor, 16

The word

Lat. admiratio.

Eulogy.

291.

6av)ia<r|i6s.

word) occurs, with the meaning

(a late

299 7jx<^'8r;s
resonant

42, 68, 174,

noisy,'

285

being found

^av/xao-roi/ i.e.

tt/oos

tov aoffaa-

rrjv (TvyKpta-Lq.

63, 145.

Q4<ris.

IT.

ii.

vil/.

the

Observation.

3, xxxix.

Lat. positio^ usus.

animadversio.

Lat.

To

Oeoipia,

Used with reference

Hipponax converted the

Lat. infringere.

shatter.

or choliambus, into which

scazofi,

Cp.

I.

301.

6paviv.

to

Use, application.

195.

0pTina.

iambic senarius.

iambic

The

Lat. vulgaris.

Not

in accordance with the rules

of

meanings;

(i) untutored^ ordinary^ com-

irregular., unique.

128, 132, 134.

IXapos.

In the same section

general sense of unprofessional shades off

into the apparently opposite

monplace ; (2)

iambus.

Lat.

lines.

15, 144, 207, 208.

18itik6s.

art.

A?! iambus.

43.

I'afjLpos.

fxirpa iajx^LKCL

Cp. Sandys Orator of

Lat. hilaris, amoenus.

Genial^ pleasant.

Cicero., p.

115

^^

hilariora,

'more genial'

(the

opposite of graviora), and corresponding to the suavitas of the genus

medium whose object

and

delectare

is

Ur^KwXos.

ad Her.

Rom., Halm

cp.

Cic.

Or.

38)

The meaning

p. 30).

is

ii.

236

p. 193.

Consisting of equal members.

25.

20

iv.

Or.

So IXapoTpayiahia^tragico-

Cp. D. H.

comoedia (Plautus), tragedie-bouffe.

De

conciliare.

*ipsa hilaritas benevolentiam conciliat.'"

Lat.

compar (Auct.

exaequatus membris (Aquila

illustrated ( 25)

by a sentence

of Thucydides, in the second part of which r (rather than tc) should

perhaps be read
to-TopiKos.
7rpio8(oi/

in

19.

order to obtain an exact equality of syllables.

Historical.

Lat. historicus.

that appropriate to narrative

Urxvos.

unadorned :

is

36, 183, 190, 203, 226, 235, 236.

\ci.po.K7y]p

Ifiyyo^

Lat. tenuis (Cic. de Oral.

iii.

One

of the rpta

ykvt)

thus described.
Spare, plain, simple,

being one of the four types of

52, 199), subtilis (Quintil. xii.

style.

10, 58).

DEMETRIUS ON STYLE

286

The metaphor

Fr. simple.

used as

its

in tcrxvo?, as in dSpos (which

deceptive ease of the

quoted

ad

The

loc.

xxiii.

Steele's

be compared with the chapter on the xp-

'^^yyo% in the

not found in the

dcfiiXeta are

vr.

ipfx.

are such familiar rhetorical terms as

iSt'a,

treatise

122,

In

fact,

the

Peripatetic

and

nor again

Ka0ap6<;, dvOrjpo^,

vifz-qkos,

and

TroA-tTt/cds,

Karopdiufxa

occur

do not bear the specifically

vx]/.
p. 202 and T). H. p. 194].

tt.

kpp..

tt.

The

they

123),

which see

rhetorical sense [for

Guardian
ip/x.

('intermediate' Style),

fxecros

"nam

d<^A.r/s

-k.

268 supra)

(cp. p.
vi{/o<;,

223.

14,

Similarly, although KaropOovv

yopyoTTj'i.

the

in

/xttpaKtojSry?,

ctSpos,

For the
76

de Lysia of Dionysius should

corresponding noun laxvorrjs occurs in

av(rrr]p6<;,

sometimes

esse existimanti, sed

and the passage of

experienti minus,"

in Sandys' edition

quidem videtur

ilia

Or.

^P- Cic.

'o'X^^'^'

x^P^-'^'^VP

orationis subtilitas imitabiHs

nihil est

is

opposite), was probably that of bodily condition.

seems

stand

to

from

apart

far

Dionysius (with his Isocratic traditions) and from Hermogenes.

189, 239.

KttKotiiXfa.
'

fond

affection,'

viii. 3,

239.

Affectation^

Puttenham.

The

Fr. affectation.

56).

Dionysius does not,

the other hand, the

found

tt.

does not use

4 (see

in the

tt.

vij/.

iii.

ii.

256

258).

TT.

and

vij/.,

between
TO

TT.

\j/vxpo^

which

epfx.,

and

last

201

p.

ij/vxpo^

Volkmann

in 186,

ilfid.,

on

But to kuko-

and cp. Hermog.

occurs in Dionys. Hal.,

186 the distinction

(Rhet.

und
an account of the word

manirirte,

mowitz-Moellendorff gives

found

/xctpaKtcuSrys.

formulates in

KaK6^r]\o<s.

KaKoCrjXov as " das

affectatio (Quintil.

adj. KaKo^rjXo^ is

in Spengel R/iet. Gr.

^7)\ov is

mala

think, use KaKo^ryAos or KaKo^YjXta;

cp/x.

maniierism^ preciosity:

conceit^

Lat. cacoze/ia,

schwiilstige

p.

541) describes
Wila-

alberne."
in

Hermes

xxxv.

p. 28.

KaKOTcxvia.

27, 247.

Artifice.

28,

nimium atque intempestivum

So /caKOT;(i'crv in

Kiinstelei.

250.

KaKo4>a)via.

soni.

Lat.

Germ.

artis et concinnitatis studium.

219

(bis),

255.

Harshness of sound.

Fr. durete, dprete (des sons),

to KaKoaTOjxov

is

Lat. asperitas

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,

special interest, since attention

of

6<f>Lv

etc.

The

seems

to

255 is of
be called to the scansion
illustration in

(and possibly also to the neglect of the

reconstructed

line).

Milton

digamma

in

the

has a good example of designed caco-

GLOSSARY
phony

On a sudden open fly,

With
and jarring sound, The infernal doors, and on
Harsh thunder, that the lowest bottom shook Of

Paradise Lost, Book

in

impetuous

287

recoil

ii.

"

their hinges grate

Erebus."
Choice in diction.

166.

KoXXiemfs.

word used of Agathon

suaviloquens.

1.2^,

It is the

Cp. D. H.

Thesm. 49.

in Aristoph.

p. 193,

with the passages there quoted.

KdXXos.

166,

106,

occurs in

irUQiiv

tt.

l^^t Jiexio, rotunditas.

201.

Kcpyu-art^ctv

and

Lat. C07icidere
KaraKOTrrcti/ are

" oratio
4, where the meaning is (as Ernesti gives it)
membris minutis et veluti frustulatim adspersis constans."
303.

KaTttKopTJs.

favourite

writers
die.

on rhetoric
in

Dem.

c.

satietatis plenus.

Lat.

e.g. Aristot.

45,

tt.

Rhet.

This

late

elsewhere used, by writers on metre, of a verse which has

TcXtJcos,

and

viz.

To diminish,

KaTco-rpanfi^vos.

Compacted,

21.

12,

Fr. ra?nasse, arrondi.

KaTco-Tpa/x/Acv*;

and the

The

Ae^ts eipo/xivr]

etc.

close-knit.

distinction

is

Lat. conterere.

to belittle.

LXX., M. Aurel. Ant., Lucian, Athenaeus,

explained

Lat.

in Aristot.

The former denotes a periodic style (the otov in

being virtually = to wit '), the latter a loose or running
'

KKXaflrp.^vos.
Xli.

189.

I pvOfJLO^

Broken, effeminate.

KK\a<TflVOS AoyoOV

Lat.

coiitortus,

between the

9.

Vl/^.

last

it

44, 123.

KttTao-jiiKpvvetv.

vinctus.

word

its

('termination') in 19.

KaTdXr]$L<s

Late,

3, 3,

must have the same sense as Xtjktlkos or

'forming the conclusion.' So KaTak-qyav in 4, 154,

Here

foot incomplete.

TT.

iii.

xxii. 3.

v\\i.

Lat. tenninalis.

Final.

38, 39.

KaTaXT)KTiKos.

wearisome.

Satiating,

word with

Dionys. Halic. de adfn. vi

is

verb KoXkin-

Lat. norma, reguia.

cut Up, to fritter away.

p.

v\\i.

The

in

concisa,

To

76.

KaTaKcpjiarCtciv.

Cp. exx. quoted in

13.

2,

adj. KaXos in 166, 173, etc.

Rule, standard.

87, 91.

Kttvwv.

iii.

Bend, ivunding.

10, 17 (bis).

Ka|nnj.

found

and the

165,

Beauty (of language).

232, 252, 274.

173,

Cp. Aristot. Rhet.

Lat. pulchritudo.

fractus,

tt.

Xc^ts

Rhet.

iii.

12

ipfx.

style.

mollis.

Cp.

Kttl aCr0^r)fJLVOS.

80 (bis), 85 (bis), 127. Hazardous, risky. ha.t. periCp. the use of periclitantia in Quintil. xi. i, 32: "in

kiv8vv8t|s.

culosus.

'

'

iuvenibus etiam uberiora paulo et paene periclitantia feruntur."

word

is,

for the

Hippocr.), etc.

most

part,

cTriKiVSwos

is

late

Polybius,

more usual

Cicero,

Galen

The
(after

in earlier writers, or Trapa-

DEMETRIUS ON STYLE

288

Dionys. Hal.).

KKLv8vviVfxevo<; (Aristoph.,

have counterparts
the treatise.

In

40

Sorry laughter.

7rta-<^aX^s

both of which occur in

cum risu.
Kunst bet den

Lat. fletus

E. Miiller {Theorie der

rire mele de larmes.

ii.

and

Kti/SuvcJ^T/?

acr<f>aX,ij<;^

KtvSvvViv occurs in its specifically Attic sense.

28.

KXavoTk-yeXcrts.

and

in olklvSwo^

Fr.

un

Alien,

241) translates /cXavo-tycAwTa by "das weinerUche Lacheln," and

freilich

Xen.

as " eine

Mischung von Lachen und Weinen, die aber

von Homers SaKpvoev yeXSv himmelweit entfernt ist." Cp.

speaks of

it

rw

JTellen. vii. 2, 9 Traj/ras 8e tov^; TvapovTa^ rore ye

ycXws

and Pollux Onomast.

cix^v,

section to

fun at a funeral

ii.

64.

helps to

'

The
fix

ovtl kXclvo-l-

reference later in this

meaning of KXaval-

the

ycA-o)?.

Cp. Aristot. Rhet.

de adm. vi

in

die.

Dem.

iii.

disguise, to hide.

Well

Fr. gradation.

c.

19,

2.

c.

('

marching, or climbing,

gradatio (Cic. de Oral.

Lat.

Lat. occul-

Dionys. Hal. de Comp. Verb.

2, 5,

Ladder, climax

270.

KXijiag.

Puttenham).
54).

To

118, 182, 239 (bis).

KXeiTTciv.

tare.

illustrated,

in

iii.

54;

same

the

figure,'

Quintil.

ix.

section,

3,

from

Demosth.rt'^ Cor. 179: an illustration which brings out the elaboration

with which the ancient

Blass refer to

As You Like

Joel

It

i.

'

4,

climax

Cp.

v. 2.

'

was usually constructed.

Epistle to the
p.

Cp. D. H.

x.

Rehdantz-

13, Shakespeare's

255 supra.
Ordinary, current.

157, 164, 186, 232.

Koivos.

Romans

Lat. communis.

pp. 194, 195.

9, 10,

KOfuxa.

(Cic. Or. 62, 211

Short

205, 238, 241.

;

Quintil.

ix. 4,

122).

tion given in 9, cp. Spengel Rhet.

TTipiohov KoX

KwXov

IXttTToi/,

clause,

Gr.

Lat. incisum

phrase.

Fr. incise.

28

iii.

and Walz Rhet. Gr.

vii.

With the

defini-

Ko/A/xa 8' la-ri to

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
" For not only single words, but also groups of words are
Use, p. 6
'

'

and when they are so, we call

may sometimes be broken by the
speech, e.g. 'will very commonly be

capable of being parts of speech

them phrases.

And

insertion of other parts of

found,' where will be

36.

K0|ix|/6ia.

Plato Phaedr. loi

D. H.^. 195
quoted on

s. v.

such phrases

found

is

a phrase.")

Lat. elegantia.
The word occurs in
and may be regarded as specifically Attic. Cp.
KOfxif/os, and see the passage of M. Aurel. Ant. iii. 5

Daintiness.
c,

p. 19, n. i supra.

GLOSSARY
Adornment.

165.

106, 109, 164,

K6(r(tos.

289
orna-

ornatus^

Lat.

mentum.

To

216.

Kpnvdv.

Used

Lat. suspensum tenere.

keep in suspense.

with reference to the art of Ctesias.

Circular.

30.

kvkXikos.

Cp.

Kv/cA.ot8^'9,

rotundus (Cic. Brut.

Lat.

(together with n.

II

30,

31 (cp. Cic. Or. 62, 207 "ut

oratio

").

"

to the

272).

78,

214); and kvkKo% in

p.

tamquam

Belonging

170, 259, 271.

KvviKos.

KuvtKo? rpoVo?

on

in

orbe inclusa currat

Lat. Cynicus.

Cynics.

methodus iocandi Cynica, quae acerbas morda-

cesque facetias habet" (Ernesti).

\,2X.

is

'literal,'

TT.

v\\r.

p.

202

(s. V.

defined in

ix.

122

4,

membrum
is

'

3,

and

at pains to state that

'

K<jifXLK6<;

{dTrrjpTccrfxevT)

occurs in
150, 177)

Quintilian,

Siavoia).

tt.

incisum

kp^k. 2

(Kofifxa),

the writer

he means to use KdXov of a logical division,

See also Sandys Or.

for breath.

KCD/xwSta

rj

In

circuitus (TreptoSos).

Comedy.

169, 204, 259, 286.

KiofjuaBiiv (

p. 195,

10,

completed sense

{KQikov),

the allusion to

meaning

Cp. D. H.

from metaphorical.

KvpLoXoyio).

and not of a mere pause

adj.

Accredited, regular,

86, 87 the

distinguishes carefully between the

fif.,

Kn<{)8a.

82,

Fr.

34.

the K<Z\ov as a

In

12 (bis), 13, 22, 34, et passim.

Member.
membre de phrase. A subdivision of the period
Hermogenes (Speng. Bhet. Gr. ii. 241) describes

2,

1,

membrum.

190, 192.

(bis),

Yy. propre.

proprius.

as distinguished

KXov.

Lat.

87

77, 82 (ter), 86,

KiJpios.

current.

and

p. 222.

In

Lat. comoedia.

128,

and

kw/xwSi/co? in

143,

ko/xwSottoios ( 126), see notes

204

The

via seems indicative of late date.

-q

For

159.

on pp. 238,

234 supra.
KOKfxJs.

^^prorsus
cp.

68.

Dumb.

muia

oratio,

oLfiova-orepa in the
Xajipaveiv.
Xios.

Lat. mutus.
i.e.

By o-vi'^co-ts kod^^

same

176

(bis),

178.

To

S7nooth.

Lat. levis.

XctoTTy? in 48, 258, 299, 300.

sius {de Imit.

verborum in Quintilian

I,

icat

o/LtaXcs

ii.

n7s o-w^ctrew?

2) with levitas

52), the reference in

R.

meant

(Goeller)

Lat. adhibere.

employ.

= levis et
Compare

Xctov

"

context.

43, 49, 57, 83, et passim.

48, 68,

a.T)(y(^^ is

quae nullos numeros habet

aequabilis

In

48 to

compositio.

Xciorr/s oi/o/xaroov in

{Inst.

So

DionyOr.

both cases being to Hesiod.

19

x.

DEMETRIUS ON STYLE

290

22, 38, et passim.

21,

X^gis.

Lat. elocutio.

Style.

Sometimes

145, 184) found in the plural for 'expressions,' locutiones ; some-

( 88,

times also
diction^

when used

142),

in the singular,

See

or choice of words.

refers specially to

it

cp/xT^vcta,

v.

s.

282 supra, for

p.

various references.

Lat. simplex.

Simple, unpretending.

77.

XiTos.

of Spengel's

rendered improbable perhaps by two

conjecture

facts,

the

(i)

form XciTos is found in inscriptions, but occurs rarely or never in

kpfx. elsewhere avoids Atros in the
written documents
(2) the
same way as it avoids d<^X^s (for which last cp. p. 268 supra).
-rr.

Xo-yiKos.

is

by

similarly used

In

Aristotle.

almost =

is

ju,yaXo7rp7rr/s,

'

colloquial

'

(ap^oyaat ^\

in

90

and

Xcktikos

cp. Xcktlktjs apixovtas

RM.

Lat. facundus.

Eloquent.

38.

Xo-yios.
cp/x.

Lat. aptus orationi

Hal., Diog. Laert.,

iii.

'

col-

8, 4).

With the words of the

tov /acyaXo7rpc7rov9, ovTrep vvv Xoyiov 6uo/xd-

airo

should be compared the statement of Phrynichus

^ova-Lv)

is

41 XoytKos, as distinguished from

loquial intonation' (Aristot. Poet. 4, 19

IT.

to prose.

Dionys.

Suited

late in this sense,

found with the same meaning

TTc^os is

etc.

41, 42 (bis), 117.

1,

The word

solutae.

198

(p.

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'

c/xTTctpoDs, i.e.

cTTtxwpict e^rjyovfjiivov

history).

As bearing on the date

who belonged

that Phrynichus,

tions the identification

This identification
author, Plutarch,
Glor. Athen.

Alax^iXov

who

X670S.

it

is

noteworthy

vij/r]\6s

(i.e.

fji^yaXoTrpemjs).

uses the corresponding

(ro(f>La

Koi

Tj

noun

Aoyidr?;? in de

%)cfiOKXov<; Xoytdrrys kol to

to the three tragedians

be subtlety, elevation, and full-mouthed

utter-

a still earlier writer, has (Ceogr. xiii. 2) a-n-avTa^ pXv

irroirjae

tovs /xa^T^Taq *ApLaTOT\r)s,

Plutarch (Cic.

reference to Cicero

in

iv CKaa-ro) iOvei

age of the Antonines, men-

of Xdytos with

EvpiTrtSov

to

TO,

perhaps foreshadowed by a somewhat earlier

is

-q

TOV

of the treatise,

to the

where the qualities attributed

seem

Strabo,

yap Xoytovg
cf)pa(TTov.

5,

cTTOfxa,

respectively

ance.

C.

7rt

a learned chronicler of national

c.

Xdytos

4, 32, 37, 41, et

XoytcuTaTOv

cd-

3c

49) reports a saying of Augustus with

o.v]^p, <S ttol,

passim.

Xdyios kol

Discourse.

</)tXo7raTpts.

Lat. oratio.

Often

the plural, with perhaps a special reference to 'speeches.'

92 Xdyo9, as opposed to

oi/o/xa,

means the

of a term as distinguished from the term

In

definition, or description,

itself

cp. Aristot. Rhet.

iii.

GLOSSARY
6,

In

I.

RAef.

iii.

The word

is

194

Pt

cp. Aristot.

tt.

vj/^.

Lat. disso-

loose language,'

cp. Aristot. Rhet.

Pt.

i.

p. xxxi.

and

The

instances of asyndeton in Demosth. de Cor.

p. 121, for

ii.

(*

See Abbott and Matheson's edition,

12, 4.

'

Separation.

(bis).

especially applied to asyndeton

Puttenham), or absence of connecting particles

iii.

prose

p. 196.

63, 70, 192 (bis), 193,

Xvo-is.

lutio.

See further in

cV TTOLTJa-eL /cat ev Aoyot?).

(/cat

H.

p. 203, Z>.

291

78 {SiOvpafxpov dvTL \6yov) Xoyos =

2,

tends not only to force but sometimes to obscurity, as in

Demosth. de Cor. 94 (8o^av cwotav, if that be the right reading)
and in the poetry of Robert Browning. The term Xvo-is is also

figure

used of hiatus

The corresponding

( 70).

verb Xv^iv will be found

in 92, 193, 194, 229, 247.

and

= a long
*

'

30.

(xdxTi.

will

speaker.

Long.

Lat. prolixe

noun

Lat. pugna.

meaning:

In

Lat. longus.

In 40 the

opposition.

the

illustrate

be prolix.

So

dicere.

/u.aKpoAoyos in 7.

38, 41, 72, etc.

jittKpos.

prfTopa

To

242.

222,

|wxKpti"yopiv.

fJLaKpoXoyia

Aristot.

The

Rhet.

86 fiaKpov

fxaKpoT-qq is used.

following

22

ii.

eo-rt

passages

pXv

to

8e

SeiKTtKOV ivOvfxrjfjLa to i^ o/xoXoyovfiiviiiv trin'ayctv, to ok IXiyKTiKov

dvo/xoXoyov/xeva
lvBvp.y]p.a.

yLVTaL...rj

Enchir. 5 2
Tt

ij/vSos;

communis

avvdyiLv

rt

Apsines (Speng.

R/iet.

i^ aKoXovOov avXXoyLO-TiKws

ydp i&TCv

Cic.

Top.

conclusio,

ctTroSci^i?

14,

56

quae... a

tl

*'illa

aKoXovOia

ex

rhetoribus

"rj

Gr.
ck

i.

p.d)(y)^

tC p-d)(q

repugnantibus
ivOvfxrjfjia

376)
\

to.

-kov

Epict.

tl dXrjOes

sententiis

nuncupatur":

Inst. Or. v. 10, i, 2 "nam enthymema (quod nos commentum sane aut commentationem interpretemur, quia aliter non possumus, 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
quamquam 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

Quintil.

appellat.

mum

Hunc

alii

rhetoricuni syliogisf?ium, alii imperfectum syllogis-

vocaverunt, quia nee distinctis nee totidem partibus conclude-

quod sane non utique ab oratore desideratur." Possibly the

was ivOvfirjfjia ck /xaxofxivwv ("a reasoning from
contraries or contradictories," Hamilton ; e.g. " hunc metuere ? alteretur

original expression

19

DEMETRIUS ON STYLE

292

rum

metu non ponere?"

in

viated into

Cp. Cope's Introduction

39,

14,

(jLc-yaXeios.

viii.

nient rendering for

noun and

sometimes

also

term to

stately,

12, 6

iii.

and

and

e. g.

Dionys. Hal. de Thiicyd.

de Lys.

C.

13

kol

lofty,

Lat.

elevated.

it

has a corresponding

impressive, dignified will

39 supra).

p.

37, 45, 48, et passim.

p/x.

TT.

often used side by side

23

c.

v\\io%

with

vij/rjXr]

Xcyco Kai KaXXipiy/xoo-wr^v kox

Ep. ad Pomp.

TrapaKeKivSvievfxevr]^

C.

ovk

T17S

eanv

tj

koL

v\}/r)X-^<;

e^te/nci/ov

<j>pa<r(j}<i

Se KOL /AcyaXoTrpcTT'j)?

may sometimes
John Knox, "God knows

IlXaTwva,

Avaiov

Xe^ts.

serve as a rendering of ftcyaXoTrptTrr/s (cp.

Coloured

did use no rhetoric nor coloured speech,"

Men and

as quoted in R. L. Stevenson's
st\\\,

v\^.

(neither of which words are found in this treatise)

crefivoXoytav Koi /xeyaXoTrpeVetai/,

jjieyakoirpeTTOV^

Grand,

(quoted in Introduction,

/>teyaXo7rpc7r^9 are

vi/^09

{ii/^ryXos

tt.

discusses the application of the

Aristotle

serve.

/xeyaXoTrpeVeta occurs in

ju,yaXo7rpe7rcia

Cp.

dictio.

the most generally conve-

is

especially as

ju-eyaXoTrpcTTTy's,

style in Rhet.

The noun

amp la

Lat.

Elevated

But grand,

verb.

amplus^

Lat.

(fxiyak-^yopoq).

Yx. magnifiqiie.

mag7iificus.

ff.

stately.

18, 36, 37, 39, et passim.

lAe-yaXo-irpcinis.

was abbre-

this

56 Gregorius has ixeyaXetoTrjTa.

rt in

lo/ty utterance.

29.

\LeyaK't]yopCa,

XV. I, xvi. I,

Rhetoric^ pp. 99

Impressive,

etc.

56,

and

^ ^^^^ word, in this sense.

^^

fJ^aixV

to Aristotle's

For /xeyaXctoV

magnijicus.

Cic. Top. 13, 55);

eK ixd^q's.

evOv/jLrjfjLa

Books, p. 378); or better

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
The passage quoted from the De Vulgari Eloin English prose.
|

'

quentia in Norden's Kunstprosa

753 exhibits clearly the attitude of

ii.

Dante towards the "gradus constructionis excellentissimus" and the

" vocabula nobilissima."
|jL67aXo<j>po<riivTi.

animi sublimitas.

Greatness of soul,

298.

Cp.

tt.

well-known phrase of the

H^YcOos.

v\\i.,

v\f/ovv

75,

tt.

203.

p.

v\^. ix.

fxL^(}v

in 92,

103

of thought.

word used

Grandeur,

The word

/xeyc^oTrotciv,

and the opposite of fxiKpoTroieZv.

120;

the

Lat.
in the

2, vi/'og /xeyaXocjipoa-vvT]^ ainrj)(y]ixa.

Fr. ampleur.

which also has the verb

elevatio7i

It is

5 (bis), 36, 44, et passim.

magnitudo, sublimitas.
TT.

v\^.

Cp.

is

elevation.

Lat.

often found in the

of similar meaning to

/^tcyas in

fxiyiarov in 40.

278; /xcyaXwgin

The meaning

in

GLOSSARY
the last clause of
stately,

40 seems to be that, while Thucydides is always

which produces his greatest stateliness.

his o-vv^co-ts

it is

To change

184.

(jte0ap|iot<r0ai.

or harmony^ of a

the structure^

The uncompounded

Lat. structuram mutare.

sentence.

293

verb

a.pix.Q-

used in the same section.

^iv is

Music, melody.

71.

(i^Xos.

For

Lat. cantus.

ficAtcr/xa in 74,

see n. on p. 225 supra.

Withdrawal^

148.

HerapoXii.

D. H.

'variety of style,' see

297.

(i,Tappv9fitiv.

Other interesting

mare.

that

it

To change

does not occur elsewhere than in the

A
tt.

78, 80 (ter), 81, et passim.

The corresponding

p. 226.

281.

/jieTaTrotttj/

48,

the figure of transport,' Puttenham.

on

p. 203.

v\\f.

Lat. miitato ordi?ie componere.

p.Ta<|>opd.
*

For the meaning

Lat. transpositio.

11, 59, 185, 249.

(iTeurvvTi0^vat.

148, 149.

To change the form, to remodel. Lat. reforcompounds with /xcra, denoting change, are

fXTaXaix/3dviv 80, fXiTavoclv

a sentence).

tt.

Transference.

112.

}j,Tae<ris.

p. 196,

Lat.

recantation.

self-correction,

Cp. /xera^aAXo/xat in

consilii mutatio.

arrangement (of

the

a7r. cip.,

Transference, metaphor:

See references

Lat. translatio.

verb

in the sense

cp/x.

ixTa<f>epeLv in 78,

84, 86, 87,

190, 272.
ji^Tpov.

GrTLxo<i)

terminates.'

(a

ilp.)

air.

in

The
181,

adj.

182

In

(s.

translated

should be consulted.

v. eifxiXrj^)

Length.

44, 72, etc.

Lat. metrum.

'when the line (ix4Tpov =

/acrpiKos is found in 182, and /xcrpociS^?
for which two sections Ernesti's Lex.

may be

/xiTpov

Techn. Grace. Rhet. p. 141

(jiTJKos.

Measure, metre.

35, 42, et passim.

1,

4 KaraXryyovTos tov

Lat. longitudo.

\u\Kvviiv,

'

to en-

large,' in 71, 137.

'

56.

To

/AtKpoXoycto-^ai

opposite of

Cp.

oi/o/xarwr.

die.

TT.

v^.

So

in

/utcyaXoTrpcTTJ^s.

4, 6, 36, 84.

p-iKpoTtis.

tas.

xliii.

p.

The

Lat. de pusillis rebus loqui.

Dem.

c.

the

act.

is

The

used by

21.

Petty trivial
^

So

reference seems

250 supra.

more common, but

53, 60, 84, 103.

}tiKpoTrpin]s.

Cp.

be trivial.

is

Dionys. Hal., de adtn. vi

The

Lat. ?nachina.

deus ex machina.'

(iiKpoXo^civ.

middle

Machine.

232.

RX^Hto be to the

Lat. tenuis^ pusillus.

/AtKpo7rp7ria, 82.

Littleness, meanness.

Lat. parvitas, exili-

Scti/^ 8' atcr;(vvat ra. ^i.-ykBr] Kat

fxiKpos in 54, 61, 75, etc.

?;

fXiKporqi: T<av

DEMETRIUS ON STYLE

294

be seen that

imitation.'

112 only

in

/xt/xcto-^at

is

occurs in

there

mixtus.

I.at.

Imitation.

176, 220, 226.

94, 112,

|iC|jLT|<ris.

will

Mixed, compounded.

41, 61, 286.

fxiKTos.

Lat. imitatio.

any approach

24, 72, etc.

in 226,

fjLLfxrjTLKos

It

to a doctrine of

298.

Suited for mimes.

151.

jj,i|xik6s.

does not occur in the

^i/Ao?

as S/oa/xara

tt.

The noun

Lat. aptus mimis.

Sophron's mimes being described

kpfx.,

56.

Consisting of a single member.

Cp. Aristot. Rhet. iii. 9, 6.

(jiovoo-vXXapos.

Monosyllabic, curt.

7.

mem-

Lat. unius

17.

liovoKwXos.

bri {periodus).

Lat. utiius syllabae {domi-

nus).

In

in

Musical,

accomplished.

m?ght be translated

Lat.

So

'deftly.'

71.

Lat. gemitus.

Legend.

76, 157.

(jlCOos.

185.

183,

/xova-tKo3s

Moaning.

57.

|i.v7n6s.

86

'harmony,' in

fiova-a,

176,

86,

69,

[xovariKos.

musicus, sciius.

So

Lat. fabula.

y^vBeo^iv

'

to

fable,'

189.

Admonitory,

298.

vovOcTiKos.

Lat.

didactic.

monitorius.

vovO^-

Tiiv occurs in 292.

Foreign,

139.

95,

|vos.

Lat. peregrinus,

strange.

inusitatus.

Sometimes 'distinguished,' or 'bizarre,' will

For the use of uncommon words by
serve as a rendering of ^kvo%.
Cp. D. H.

197.

p.

the tragic poets, see Aristot. Poet. xxii. 14, 15.

|tipoKaKotti\a.

term, which

which

it is

giipos.

Fr.
*

is

239.

used.
4,

Tasteless aridity.

said to be

is

237,

238.

Arid.

Lat.

aridus,

Other English renderings might be:

sec.

sapless,' 'lifeless,' 'bald,' 'jejune.'

6V0S.

Cp.

tt.

v\\/.

from the instances

illustrated
ol

ieiunus.

'bloodless,'

3, Quintil.

ii.

4, 3.

Pomp, dignity.
The word oscillates

Fr. enflure, grandeur.

between the favourable and the unfavourable sense, as

Xoyojv,

literature.

siccus,

'dry,'

iii.

section in

36, 54, 66, 77, 83, 114, 119, 120, 247.

Lat. tumor, amplitudo.

be

The

Lat. arida affectatio.

explained in the

does not occur elsewhere in Greek

It

236,

modern,

in this treatise.

from

)(avvoL

tt.

kol

rovvavTLOv ovBkv yap

vy\f.

iii.

4 KaKoi

dvaAiy^tt?
</>a<rt

koL

will

be seen

The unfavourable meaning may

Sc oyKot koi
/jLtj-rroTC

^riporepov v^po)TrLKov

iirl

croifxdTOiv

TrepuaTciivTis
;

yfia^

kol
cis

the favourable from

GLOSSARY
Chrysostom de Sacerdot.
nAotToovos

yap

fxidov TavTTjv Tov JlavXov rrjv fxaprvptav.

vif/o^, ISct <fiepLV CIS

word Chrysostom uses

the

{k6ix7to<; is

ad Thessal.

c.

For

tt.

vTTcpoyKo? in T16,

ep/A.

20

^^

tamen

Of such

The

17),

adj.

228;

p. 198.

cum

opoLOTXiVTov),

hoc pacto

turpiter

cadunt verba

and Auct. ad Her.

roiavra,

to,

in verbis,

audes facere, nequiter

delinquis studiose, loqueris odiose."

the author of the

^rjo-Lpia

Lat. similiter

terminatio?is.

similiter vel

cum, tametsi casus non insunt

vivis invidiose,

iv SiLvorrjTL

rjOecTLv.

and

(i.e. o/xotoTTTWToi/

artificial figures

iii.

Lat. aequabilis.

Having similar

similiter desinens est,

studes dicere

SrJTa

Cp. D. H.

Levels even.

similes exitus sunt,

pp. 11

In other authors the verbs oyKovv and

Cp. Cic. Or. 135 "aut

vel desinunt"
iv.

i.

oyKwSiys in

105, 176, 177, 207;

26, 268.

6|ioiotA.utos.

desinens.

oIkov-

Tr]v

3 in Ep. 2

bei Aristoteles {Eth. Nic. x. 7).

221.

48, 295.

Wiener Studien, 1900,

(in

StoyKow are sometimes found.

6(iaXils.

o/xo)9

Hom.

Aristotle's use of the word, see Rhet.

and also E. Arieth's article

Die Bedeutung von oy ko%
oyKrypo? OCCUrs in

aAA

aypa p,fxar o'i ;

Se IleTpos 6

irotio

2.)

unfavourable meaning

for the

\6yov navA.09 IXcycv

ko/xtto)

p.Oi, ttoio)

i7r(rTpil/v.

fJLevrfv

XetOTTyra *l(roKpdTov<s

ct \jXv ry\v

KoX rov Arffxoa-Oevov^; oyKOV kol Tr]v ovkvBCSov areixvoTrjra kol to

aLTrYjTOvv

i7r

6 eyo> 8c

iv.

295

wg

tt.

kpp,.

cSet^a,

rightly says

ovt

outc Iv iraO^cn kox

Demosthenes avoids homoeoteleuton, whereas Isocrates and

Theopompus) use it freely. For o/xotoTcXevrov in
to Trapo/xotWts, see D. H. p. 199.
Cp. Aristot. Rhet. iii. 9, 9.

his disciples (e.g.

relation

D. H.

Word.

23, 49, et passim.

6vopta.

In the

Lat. verbum.

tt.

seems never to be used with the special sense of 'noun.'

it

'

and

p. 198,

naming,'

'

6p6os.

as

201.

'

p.

269 supra.

6ro/x,aT07rotti/,

Nominative.

case-terminology of the

irdOos.

(Quintil.

Lat. rectus,
tt.

(id.

Tusc.

See also

28 (quater),
vi.
iv.

2,

5,

8),

kppu.

is

57, 94, 214.

Cp.

tttwo-i? opQy\

The

treatise.

casus

rectus.

more developed than that of

^vBCia and TrXaytorrys in 198,

s.v. TrroJo-ts p.

animi motus

10).

Cp.

Svofxaaia

verba fingere.

Lat.

which does not occur in the

Aristotle: cp. amartKry in this section,

TO TrXaytov in 104.

In 91, 304

the application of words to things.

i.e.

To form words.

95.

6vo\i.aTovpyiiv.

apOpov

v.

appellatio

same meaning

The

s.

kpp,.

300

infra.

Emotiofi, passion.

(Cic. de Or.

i.

5,

Lat. affectus

17), perturbatio

the adv. Tra^r/TtKcS? in 57.

DEMETRIUS ON STYLE

296

Eun.

120, 143.

iraCTviov.

Cp. 7rai^iv 120, Traiyvia

two forms

for this metrical foot.

171,

38, 39, 43.

-iraCwv.

in Latin the

paeon.

The

89

irapapoXtj.

bearing of the author's conception of

occurs in

146

(bis),

Cp. Quintil.

Lat. collatio.

to quips:

Alike in Greek and

paeon and paean, are used

Traiav,

kp^i.

it.

Dahl's dissertation entitled "Demetrius

adj. Traicovt/co?

is

Lat. paeon.

and

Tratwi/

reference

TraiSta 259.

the paeon upon the date of the

The

The

Lat. lusus.

pp. 99

loi.

38, 41, 43.

(bis),

147, 209,

"nam

11, 23

v.

excellently discussed in

is

Trept ipfjLrjvelas"

Image, imagery.

274.

quam

7rapa/3oA.7J,

Cicero

collationem vocat, longius res quae comparentur repetere solet."

Aristot.

in

To

181.

irapaSvccrOai.

Lat. exemplum.

Instance, example.

182, 194, etc.

irapd8i-y|xa.

(Not used, as

Rhet., of a rhetorical induction.)

Steal upon.

Of

Lat. irrepere.

a pleasing

literary sensation.
irapaXajjtpdveiv.

57,

72,

To

etc.

introduce,

employ.

to

Lat.

assumere, adhibere.
263.

irapdX6i\|/is.

The
is

enough

la^-t.

recognidon of

to justify the

Hebrews

the

Praetermission.

Yx. pretention.

praeteritio.

frequent occurrence of the verb TrapaXu-miv in Demosth. de Cor.

'

Cp. Epist.

figure.'

is

The word

Lat. appendix.

Addition.

55.

jrapd|va-[jta.

the metaphor

this

to

32.

xi.

dp.

is a7r.

possibly that of a dint, or nail-mark, on a piece

of statuary.
irapairXTjpwp.aTiKos.

The

adj.,

like

de adm. vi

KaO

die.

eKacTTrjv

Lat. expletivus.

Expletive.

55.

the

noun

in

Dem.

TrapaTrkrjpoifjia,
C.

19

-rroXXa

rotavra

ian

TrapairX-qpojixaTa

oXtyov Sctv TrcpioSov ovk avayKaiav t)(OVTa -^mpav, a

rrjv epfxrjvuav dfjbTpoTpav, ryjv hk TreptoSov KO/xi//OTpav

TrapaTrXrjpwfxaTa

inania

Fr. expletive.

Cp. Dionys. Hal.

late.

is

twv

quaedam verba

irapairowiv.

98.

ovk

ovofxaTtov

To

quasi

= Cic

id.

Or.

ib.

ttolcl
C.

39

" inculcata

complementa numerorum."

counterfeit.

slightly different sense, Aristot.

irapdorTiiios.

di^ay/cata

Lat. imitari,

Rhet.

208.

Stamped awry,

62.

To pass over in

iii.

simulare.

In a

6.

11,

eccentric.

Lat.

pefperam

sig-

natus.
irapocruoirdv.

sous silence.

Quintilian

ix. 3,

silence.

Lat.

silere.

99 mentions a figure of

Fr. passer

Trapao-tojTrr/o-ts.

GLOSSARY

To introduce irrelevantly

178.

irapaTtxvoXo-yeiv.

297
a

treatise.

The

intransi-

in

Lat. praeter institutum proferre.

irapAKciv.

To

58.

be superfluous.

tive use of TrapikKCLv, in the sense

Sext.

Empir., Clem. Alex.,

gives as the

Xoywv

Hal. de Thucyd.
lxyidov<;

ryj'i

Lat. abu?idare.
is

dragged

^cm

19

ttoXXo,

to.

195), however,

(vii.

koL

Ik^vo.

*EAXa8o? ovk avayKaL<o<s avTo)

Arrian,

Ucpl twv TrapeX/covrwi/

For the more usual construction,

/3'.

C.

late,

in,' is

Diog. Laert.

etc.

of a work of Chrysippus

title

Haavkov

7rpo<s

'

cf.

Dionys.

Kara/SXrjTLKa

rov

For examples,

TrapeX-KecrOaL.

Ravenna scholia, of both irapiXKti and irapeAKCTai with the

meaning 'is redundant,' see Rutherford, Schdlia Aristophanica ii. 579.
in the

To give a passing

67.

irap|jL<|)atv6iv.

Ota^opa?

25

irap<5jtoios.
is

(ter), 28, 29,

The
word

Trapoji'd/xao-ttv),

for

D. H.
Norden

reference

Z>. If.

p.

93, 167.

or Aoyot

Trit,oi,

In prose, prosaic.

in

6<f>0a\fA.6s

fortiter

si

namque,

ferat,

si

leviter com-

new form from an

p. 200.

Invented^ newly-coined.

sounds), see

Quintil.

si

recepta sunt,

i.

is

nova non sine

modicam laudem
audendum

repudiata, etiam in iocos exeunt,

ut Cicero

quid simile

fingere

71,

5,

enterprise)

ait,

etiam quae primo dura visa sunt,

sed minime nobis concessa est ovofiaToiroua

diceremus,

Lat.

154; i. 34, 155). On the

or the formation of new words

compared with Greek

nam

Aoyos

Lat. pedester.

" usitatis (sc. verbis) tutius utimur,

usu molliuntur.

enim

(as

periculo fingimus.

afferunt orationi
;

verbum

38,

iii.

imitation of natural

clearly indicated

tamen

Lat.

Cp. D. H.

pedestris.

Orat.

where Latin conservatism

quodam

and add Volkmann

59, Cic. Orat. 38, 175.

200.

question of ovo\xa.roTToda,

(especially

i.

to the derivation of a

= oratio

novatus (Cic. de

general

is

94, 98, 144, 191, 220.

'irirotTi|jivos.

/actus,

cit.

Strab. Geogr. xi. 518 ra /acv Kaiva eO^a-av, to, 8e

and not to the usual technical sense of Trapovo/xaaCa,

90,

iretos.

The

(cp.

which see

Trego's,

obiter

Lat. assimilis.

pp. 199, 200:

op.

To modify a word.

97.

irapovo^dtckv.

mutare.

Similar.

247.

in

pp. 479, 482, 514,

existing

Lat.

6 Troias irap^fxcfiaLvovTa

to the figure Trapo/xotWi? ('like letter,' Puttenharn), for

which see the references

cit.

c.

)(povii)v.

reference

op.

impression.

Cp. Dionys. Hal. de Comp. Verb.

indicare.

illis

audeamus?

merito

laudatis

Aty^c

/Sto?

quis

et a-C^e

iam ne balare quidem aut hinnire

nisi iudicio vetustatis

niterentur": so

viii.

6,

31,

DEMETRIUS ON STYLE

298
32

ibid.

was a principle of Julius Caesar "tamquam scopulum

It

inauditum atque insolens verbum

fugere

(Aul.

"

Gell.

x.

i.

see

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.
p.

Wpas.

Limit.

3.

8,

iii.

rounding.

axrjfJ-O'TiDi'

TT.

circum-

Lat.

(Sp. R/i. Gr.

= rfj

TTctpao-^at ktX.

With

Xeyeti/

crvvOicTet
viii.

2,

virtus perspicuitas, propria verba, rectus ordo,

sit

The

dilata conclusio."

use

as

is late,

c/c

114)

p.

iii.

202 cp. Quintil.

in

to-

2,

used.

2 ireptypa^ti^ is

avvrtOeifxivov {crvvTiOivai here

^nd with

" nobis prima

longum

Anon.

45 cp.

K 7repLayu)yrj<i

i" 45)^

in

244.

202,

(bis),

In

303.

p.

circumductus, rotunditas periodica., orationis ambitus.

irpLayu)yijs in
a>s

45

19,

trtpiayiayri.

actio,

Aristot. Rhet.

Cp.

Lat. finis.

gether with Cope's Introduction

22

non

that of Trepiaycti/

is

in i9> 30-

Col. 19,

Moral. 693 B

Lat.

same sense

to be used in the

In

122

Trepicpycug

and

the rhetorical

as

Cp.

xP^^ov

seems

post-classical

'over-labour; otherwise called the curious' (Puttenham:

TTc/otepyta, i.e.

H.

86.

delicate., eleganter.

at yvi/atKC? cf>VKovixvaL kol /x-vpt^d/xevat kol

<f>opov(raL KOL 7rop(f)vpav Tre/aiepyot Sokovctlv.

cp. L>.

Cp. a^ccrros as used

Lat. politus.

and by Schol. ad Aristoph. Ran.

Like an exquisite.

122.

TTcptcpYws.

Plut.

Polished.

14.

ircpi|o-jjLvos.

by Soph. Oed.

Cp. Quintil.

p. 201).

viii.

55 "est etiam, quae Trcpiepyta

3,

vocatur, supervacua, ut sic dixerim, operositas, ut a diligenti curiosus

et a religione superstitio distat."
ircpioSos.

10,

p.

205,

duction

D. H.
pp.

Kunstprosa

11,

On

ambitus, etc.

p.

201,

306

ff.,

p.

42

i.

passim.

et

the general

Volkmann

Hammer

periodus, verborum

Rhet.

Dent.

it.

pp.

507

Ipfx.

pp.

ff..

124; Cic. Or. 61,

de la Rhet. dans Cicero?i pp. 135, 136.

The

tt.

v\\;.

Cope's Intro-

Various Latin equivalents

n. 2.

in Quintil. ix. 4, 22,

Lat.

Period.

question of the period, cp.

13,

will

Norden,
be found

204; Causeret Langue

verb

TrcptoScvetv

occurs

in II, 229; the adj. TrcptoStKos in 13, 16, 33.

nepitraTifTiKoC.

181.

spoken of thus collectively

irepwro-oTtxvCa.

247.

cp.

and

is

an

his followers should

be

Peripatetici.

The word

221: cp. D. H.

It

Introduction p. 53.

Unnecessary elaboration.

nimium ornandi studium.

TTcptTTos in ^ 77,

Lat.

Peripatetics.

indication of late date that Aristotle

is

Lat. studium inane,

found only here.

p. 201.

The adj.

GLOSSARY

The

TTtKpo?

Lat. probabilitas^

veri-

208, 221, 222.

Pungently.

Lat.

Cp. D. H.

a7nare.

p.

201

caustique).

Fr.

104, 198.

irXaYios.

Persuasiveness.

TnOavb^ in

adj.

177.

iriKpcSs.

s.v.

221.

208,

iriOav^TTis.

similitudo.

299

Used with

Lat. obliquus.

Oblique.

special

reference to the 'casus obliqui,' as opposed to the 'casus rectus.'

So

TrAayioTT/?,

158.

irXdo-is.

same

198.

Invention.

same section

So

Lat. latitudo.

cp. Theocr. xv. 88,

TrpoaTrXda-a-cLv in

the

nXda-fia 177, 298.

296,

Breadth.

177.

irXdros.

in the

So

Lat. fictio.

Cp. TrXda-aeLv

section.

and

TrXarv?

quoted on

TrA-arv-ny?

242 supra.

p.

Ernesti {Lex. Techn. Gr. Rh. pp. 270, 271) has a good article on the
various meanings of TrXarvrrys

269

and

on

similarly

irkda-ixa (pp.

268,

ibid.).

irXcovdteiv.
80.
To be expanded. Lat.
metaphor when expanded into a simile.

70, 89, etc.

iroiTjTiKos.

word =

'efficient

'

frequently in the

by

illustrated

iroiKuXfa.

267,

and

is

air.

Stryyiy/xa,

TroLr}fx,a

249 the

also occur

Variety of sound.

is

well

275 supra.

p.

So

Lat. varietas.

illustration) ttolklWclv 164.

Cp.

L>.

H.

irotKtXo?

p. 202.

plurium vocalium sonus.

Lat.

ilp.

With many me7nbers :

252.

iroXvKwXos.

and

irou/o-t?

Variety, decoration.

73.

iroXvTix^-

The word

an

Cp.

167.

73, 92.
(in

and the difference between them

cp/x.,

tt.

166,

p. 202.

In

Lat. poeticus.

Poetical.

D. H.

cp.

Used of a

amplificari.

of a

period.

Lat.

multorum membrorum.

From a

78.

ir6pp<0Ocv.

far-fetched

metaphors

'

distance.

metaphorae

Lat.

longinquo.

longinquo

Used of

petitae,

longe

translatae.'
irpa7}ia.

Lat. res.
irp^os.

11,

6, 72, 120,
irpoaCpeo-is.

same

etc.

269, 293, 295.

irpeirovTws.

the

22,

Subject-matter

Cp. Trpay/xariKos D. H.

11, 276.

p. 203,

Mild, tame.
Appropriately.

(usually
TT.

vi//.

p.

in

the

plural).

206.

Lat. mitis.
Lat. decenter.

Cp.

vpeTriiv,

etc.

168.

section.

Purpose.

Lat. consilium.

Cp. TrpoaLpilaOat in

DEMETRIUS ON STYLE

3CXD
irpoKaTopKTiKos.

Late,

reference

to

is

o-KwfxixaTa

genus," Cic. de Or.

exspectationem."
Sp.

iii.

66).

iii.

II,

6,

irapa

Lat.

viii.

and Tiber.

15,

5,

good Greek example will be found

and in English we have such instances
overpowering knell,

three realms obey,

Don Juan

To

83.

ii).

a-xv/^-

"Than

as

soul

tocsin of the

whom

thou, great Anna,

and

that

the

sometimes

Lat. comparare.

liken.

59, 120, 158, 190, 276.

'irp6<r<}>opos.

ir.

in Aristot. P/iet.

Dimprevu a aussi du charme.

Lat. additamentum.

Addition^ appendage.

55.

irpoo-eTiKT].

v);

The
"Here

Dost sometimes counsel take

(Pope, Rape of the Lock

irpoo-aKciteiv.

ridiculi

"iocus praeter

in allusion to the

Quintil.

The

exspectatio.

notissimum

("

Trpoo-SoKiav

255:

63,

ii.

Cp.

dinner-bell" (Byron,

"

Lat. exordium.

all-softening,

tea

Lat. prologus.

4).

Expectation.

153.

152,

irpoo-SoKCa.

xii.

Openings introduction.

32.

irpootfjitov.

principalis.

initialise

Prologue: that part of a play which precedes

chorus (Aristot. Poet.

first

Lat.

Initial.

etc.

153.

irpoXoYos.

the

39.

38,

Plutarch,

Lat. aptus, accom-

Suitable.

modatus.
address.

sonification

'

cp.

is

is

a7r.

simply the

is

by Gregorius Corinthius).

c/o/a.

The word

but this

Person.

266,

and

Cic.

In
de

265

Or.

Lat. persona.
7rpoo-a7ro7roaa

205,

53,

iii.

The

=' per-

Quintil.

31.

261.

irpoxfipos.

here

1213

vii.

post-classical in this sense.

is

2,

Walz

130, 134, 195, 234, 266.

irpoo-wirov.

word

tt.

Lat. allocutio^ compellatio.

Lat, accretio.

accretion.

(Liddell and Scott refer to

transcript of the

ix.

An

55.

<jrp6(r<|>vna.

ip.

An

111.

irpo<r<}>wvT]p.a.

Ready

smart.

Lat.

to ready wit; in 281 -Trpoxcipois

60, 201.

TTTwo-ts.

The

alacer.

reference

'inconsiderately,' 'bluntly.'

Grammatical case, Lat. casus. In the tt. kp^L.

is more fully developed (perhaps through

the doctrine of the cases

the influence of Chrysippus) than in Aristotle,

TTTwo-ts to inflexions in general.
TTVKvoTT^s.

7rvKv6<;

pijo-is.
17

42, 251.

in 67,

\yoiJivr]

216.

Cp.

who

104, 198,

Close succession.

applies the term

and

p.

Lar. crebritas.

295 supra.

The

adj.

78, etc.

Speech,

anb ^kvOwv

reply.

prj(TL<;,

Lat.

oratio,

responsio.

The words

of a brutal answer, derive from Herod.

GLOSSARY

(The word does not occur

127.

iv.

sense of a speech in a play.

in

the

in

But the verb

tt.

in its special

ep/x.

p-qTopeveiv

so used

is

153.)

pT]Topa.

PM.

Cp. Isocr.

12.

9,

In

artificio elaborata.

Panath.

26,

of oratory.

piece

12 prp-opeioiv

24, 262, 275, 287.

pilTwp.

These sections

Redner.

from

301

Lat.

oratio

an emendation

is

2.

Orator, rhetorician.

at various epochs,

down to those of the writer himself. In 19, the

used to describe one of the three kinds of period.

So

Late,

Dionys.

satyric play.

Lat. satyrus.

Cp.

n.

on

p.

240

o-arvpiKo?, 143.

203.

197,

<ra<j)iivia.

Lat. perspicuitas.

Clearness.

Fr.

clarte,

For brevity as tending to obscurity, cp. Dionys. Halic. Ep.

nettete.

ad Amm.

ii.

18,

19,

Gravity, majesty.

The

Lat. granditas.

adj.

etc.

The word,

205.

p.

adj. cra<^^s in 77, 82, etc.

Striking, remarkable.

208.

<rT)(ii8Tis.

The

fin.).

56.

44,

in

Cp. D. H.

(ad

c.

o-|jiv6ti]s.

o-c/xvos

169.

Lat. numerosus.

pv6^o<i itself occurs in 183, 184, 245.

2, etc.

o-ttTvpos.

supra.

Rhythmical.

221.

pv0(xoi8TJs.

Germ.

Lat. orator.

Greek rhetors

refer to the

Sicilian times

adj. prjTopLKo^ is

Hal. de Isocr.

rhetorices
for prjrwv.

Lat. insignis, reconditus.

meaning,

in this

late,

is

Strabo,

Dionysius, etc.

o-Kwpi|ia.

verb

15.

TT.

V\\f.

'

p.

or

is
'

307

150,

To

obscurus,

tenebricosus.

Artificial,

sermonem adhibere

Lat. dictum, opprobrium.

Cp.

to

depreciate.

KaTaa-fxiKpvveLv, p.

formal.

287 supra.

Y,2X.exquisitus.

o-o<^tcrT^s

being

extenuare.

I^at.

'strained,' 'bookish,' 'professorial,' as

unsophisticated,'

The

167.

belittle,

etc.

Lat.

infra.

/est, gibe.

145,

Appian,

<ro<|>i<rTiKos.

natural

236.

The meaning
'

172.

128,

o-KowrTti/ in

LXX.,

use Scythian words.

<f)pvyi^iv, p.

o-(jLiKpvviv.

Late,

To

96.

Cp.

Lat.

obscure.

question.

(tkotlv6<; is in

cTKvQlliiv.

Scyihicum.

Dark,

192.

<rK0Tiv6s.

Heracleitus 6

r. travaille.

opposed to

= Kunstredner

(cp.

207).

<nrtpd<r0ai.

8.

To

be coiled.

Eratosth., Lucian, Pausanias, etc.

Lat.

in gyros contrahi.

Late,

'

DEMETRIUS ON STYLE

302

Element,

207.

o-Toix^iov.

Defined by

Lat. versus.

sound.

elemefitary

elementum.

Lat.

Aristot. Poet. c. xx. 2 as <^a)v^ dStaipcTos, ov Trao-a 8c, aA.V

yLyveadat

7re<f>vK crvviTrj

^ ^9

Line ofpoetry.

72, 150, 189.

oT^xos.

(TTpoyyvXos.

See the references given

in

Lat.

D. H.

in

207 of VOVvel-SOUnds.

rotundus.

Fr.

arrondi.

seems to

205.

p.

Lat. loquax.

Gossipy.

151.

oTTwjivXos.

Used

<fnov7J.

Rounded.

248.

20,

be partly favourable, partly unfavourable,

(rruiixvXov

kind of raciness,'

'a

*a flavour of gossip.'
228, 234.

<rv7-ypa)jL(ia.

(rvYypaix.ixa

avr

place of a

letter.

To end

2.

Gregorius

work,' or

simultaneously.

(bis), 70,

72

68,

simul

Lat.

(bis), 73, 74, 174,

shock, clashing, concurrence, consonance.

In

In 234,
volume,' taking the

'

desinere.

of Nyssa (4th century a.d.).

68

<nl7KpoD<ris.

'

Germ. Abhandlung.

crv7KaTaXt]76iv.

Late,

Lat. commentarius.

Treatise.

means a

lirLa-ToXrj^

299, 301.

Lat. concursus.

Collision,

Fr. rencontre.

299 orvyKpovais <f>(i)vr]VT(Dv = hiatus; and in other passages

though not expressed, must be supplied. As hiatus
'

(fnovrj^vTiov,

usually

has

somewhat depreciatory

sometimes serve as a rendering

open vowels

On

of consonants.

Rhetorik

In

tire ").

p. 513,

(cp.

sense,

'

open vowels

Pope's "though

1 74, cnjyKpovo-is is

u.

may
the

applied to the concurrence

the general question of hiatus,

Rehdantz-Blass Rhet.

'

oft the ear

Stil.

cp.

Index

Volkmann

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).

25, 26, 117, 177.

(TvXXaprj.

occurs twice in

<rv|jtpoXov.

reference

243
is

<rv)jL|jiTpCa.

otJiattXiiIis.

Cp.

and

av\XoyL(r/xo<s arcXT^s.

Lat. ratiois

described

The verb

(TvXXo-

32.

(bis).

Symbolic expression.

Lat. signum, indicium.

to the use of dXXrjyopLa.

Due

16.

opposite of dfiiTpca

co?icursus.

Lat. syllaba.

In the same section the enthymeme

as orvXXoyt(T/xo9 prjTopLKOS

The

Syllable.

Demonstrative argument, syllogism.

32.

o-vXXo-yio-fjLo's.

cinatio, syllogismus.

yL^ar6aL

see

Lat.

proportion.
s.v.

48, 105, 207,

crvyKpovcrL<i.

dfXTpos p.

299

(bis).

The verb

mensura.

iusta

The

265 supra.
Clashing, concurrence.

a-v/xTrXTJa-a-eiv

in 68, 69.

Lat.

GLOSSARY
<rvvaXow|>Tj.

Blending, fusion.

70.

303

Lat.

coitus^

vocalium

general question of hiatus and ehsion, see Quintil.

ix.

elisio.

For the

Fr. syjialephe {contraction, ou jonction de plusieurs voyelles).

35

4,

37

"quare ut neglegentiae passim hoc pati, ita humilitatis ubique

perhorrescere, nimiosque non immerito in hac cura putant omnes
at Demosthenes et
Isocraten secutos praecipueque Theopompum.
nam et coeuntes
Cicero modice respexerunt ad hanc partem.
quae

litterae,

quam

<jvvaXoi<\iaX

dicuntur, etiam leniorem faciunt orationem,

omnia verba suo

si

nonnumquam

cludantur, et

fine

hiulca

etiam decent faciuntque ampliora quaedam, ut pulchra oratione

iacta

cum

te,

medii temporis inter

et velut

re utar Ciceronis potissimum

hiatus

concursus

et

verbis,

habet,

vocalium molle quiddam,

inquit,
et

Or. 44,

a late word,

is

Strabo,

Dionys. Halic,

occurs in the same section

(Tvva\L<f)Lv

150.

There

are

some

cp.

tamquam

ilk

quod

labo7'antis."

The

etc.

interesting remarks

on 'the

trvvaprav.
is

12,

193,

To knit together.

In

asyndeton

63, 182.

Combination.

W.

P.

(Xvo-t?,

269,

Lat. connexio.

closer

295, 299.
Fr. connexion,

used of polysyndeton, as opposed to

63, (Tvvd(f>La is

conduce

Lat. colligare.

implied by this word than by (swairr^iv,

<rvvc<|>ia.

liaison.

figures

rule of

pp. 10, 11.

ii.

union

verb

Lat. coniungere, Cic.

the synaloepha' in Dryden's Essays (selected and edited by

Ker)

non

indicet

ingratam neglege?itiam de re hominis magis quam de verbis

(TvvakoK^y)

ista

opimae syllabae aHquid etiam

vocales, quasi intersistatur, adsumunt.
qua de

longae per se

As the author points

SiaAvo-ts).

to elevation, each in

its

place.

out,

He

both these

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,

men, and the chief captains, and

the mighty men, and every bondman, and every free man, hid

and the

great men,

and the

rich

themselves in the dens and in the rocks of the mountains

"And these things

no man could number,
vii.

and
"
and behold, a great multitude, which
out of every nation, and of all tribes and

saw,

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
:

DEMETRIUS ON STYLE

304
Kirghizzes,"

the figure

Puttenham gives the name 'couple-clause'

etc.

has also sometimes been described as

it

as distinguished from
51.

As

No-ands

'

(asyndeton).

ovre

aXXo ovSlv

ovt

cf>6l3os

Kol

SiKaLiov

Cp. Quintil.

ix.

Demosth. de Cor.

cp.

ovre /catpo? ovt (faXavOpiOTria Aoycuv ovt

cXttI?

to

Many-ands/
3,

examples of the analogous figure of paradiastole (or accu-

mulation of negative conjunctions),

k\tX

'

avfxcfiepovTUiv

298
ovt*

ov^k

lirrjpiv

it po-qy

ovSlv TrpoSovvai,

iraTpiSi

rfj

e7rayycA.t,a)V /xcye^o?

ay to wv CKptva

and Epistle

to

39 "For I am persuaded, that neither death,

nor angels, nor principalities, nor powers, nor things present,

the

Romans

nor

life,

t^Z,

viii.

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."

23

(rx;v8o-p.os.

257

/xeV, S>7, etc.,

See the

so called.

as well as of 'conjunctions'

374,

392

Cope's Intro-

in

397. The

verb

192, 194; o-wSeo-t? in 12, 303.

180.

<rvvtp|i6s.

series.

Lat. copula., coniunctio.

account of the word

full

duction to Aristotle's Rhetoric pp. 371

o-vi/Sctv in

193, 194, 196 (bis),

(ter), 54, 55, 56, 63, 64,

196) used of

( 55, 56,

strictly

53

Conjunction^ connective.

sometimes be a convenient rendering, since the term

'Particle' will
is

(bis),

268, 269.

(bis),

The word

is

Joining together.

Lat. connexio,

The verb

dp.

air.

a-vviipca-Oai

continuata

occurs in

15

with reference to the 'stringing together' of periods.

<rw|aipiv.

Cp.

iiaupetv,

To

5.

(rwc(rTpa(jL(Uvos.

occurs

'continuous,'

in

Polybius, Diodorus,
Lat.

Succession.

82,

47,

So

'unbroken.'

in

98,

Lat. continuatio.
118,

102

that the

is

oddly placed

if it

goes with

word may be taken with

otherwise established: unless

ovofxaTi)

rotundus.

orui^cxcs

In

22, 5.

ytvo/Aci/oi/, it

The

adj.

and means

303,
'

continuity,'

where

82,

has been suggested

the sense (not

Trpoa-rjyopeva-ev in

avvx<j^s ovo/xart in

gS

= TrapaTrXrja-Lios

of 'appropriately.'

o-vvi;9ia.

69, 86,

Lat. consuetudo, usus.

(Tvvr'jOcia

251,

to

'exaggeration,' 'excess': cp. Aristot. Poet.

o-wexws

contortus^

etc.

Or. 19, 66.

12,

is late,

Compact.

177.

Cic.

68, 117, 118.

o-vv^X"''=^-

crwe^^s

The word

20,

For 'contortus,' cp.

Lat. simul extollere.

elevate simultaneously.

234, 277.

is

found

in

87

(bis),

91, 95, 275.

In Dionys. Hal. ad
the

same

sense.

Usage, ordinary speech.

Amm.

ii.

c.

it

?J

Koir^

If P's reading t^s a\r]0La<s

GLOSSARY
be retained

on

fxoi

a-vv7]6r)^

we should compare Dionys. Hal. de Isaeo

in 91,

c.

18

SoKL Avcrtas fxev ttjv aXijOeLav Shokclv /xaXXov, *Ia-atos Se Trjv

and de Lys.

Tyyr)v^

305

occurs in

c.

4, 8, 9, et

o-vv9(ris.

r-i]v

ovv rt? i-mTrjBeviov kt\.

dX-tjOciav

adj.

Composition^ arrangement of words.

passim.

Lat. composition collocatio (cp. Cic. de Or.

The word

des mots., disposition.

The

145, 190.

60, 67, 77, 96,

Fr.

171).

iii.

occurs in the

title

arrangement

of Dionysius'

treatise IIcpi o-vi/^eo-cws oj/o/xarwv.

frvvOtTos.

18, 34, 35, 91, etc.

oTJVTo^is.

229.

sense of o-wra^is

by

Structure.

Aristid. Techn. Rhet. (Sp.

<rwTi0^vat.

103,

137,

Fr. concision.

So

92,

In

30, orvcTTao-ts

(TvoT-aXciv.

14,

507) o-vvra^ts kwA-wi/ kox Ko/A/xaTwv

Cp. the USe of ra^t? in the tt. ipfi.

To form,

138, 253.
otji/to/xos,

composite whole,

To

228, 239.

204,

8,

<r<|>o8pos.

meant

244.
7,

p.

7,

Lat. succincta

89, 197, etc.

Lat. coagmentatio.

collection.

Lat. contrahere.ln

co7npress.

artificial

Vehement.

^<?

^w. vi

die.

Lat. constringere.

71? ^/;?^ /^^>^/.

274.

Lat. conversio, concinna brevi-

53,

in

Dem.

18.

304 supra.

figures,'

So

Lat. vehemens.

24, 30, 59, et passim.

(Tx^jxa.

Lat. componere.

Conciseness.

Concentration.

10.

<TvvcrTpafxfjLvos,

<r^Cyyiiv.

3.

= constitutio.

So Dionys. Hal. de Thucyd.

Cp.

Lat. perfectio, prae-

tense.

compound.

to

eis

spareness.

crv(TTo\y\

on)<rTpo<j>TJ.

tas.

are

10.

<nJoT-r)p,a.

usual rhetorical

ii.

verb a-wrcXcti/ in

69, 91, etc.

<rwTO|iCa.

brevitas.

The

The

also used of 'arrangement,' as

it is

Consummation, past

214.

<rvvTA.6ia.

Lat. compositus.

Lat. structura.

but

'treatise';

is

Stavotai/ airrjpTLcrixivr] <f>pd(n<;.

ieritum (tempus).

Composite.

or

Figure.

Fr. resserrer.

cr<f>oSp6Tr)s,

Lat. fgura.

By

241.

a-xvfJLCLTa

forms,' of language (" sententiarum

orationisque formis, quae vocant axvi^o^Ta" Cic. ^rw/. 69

crxw<^
i(TTLV c^aAAa^ts <^pao-to9 aTro tov KaTaXA.iyA.ov ctti to KpiiTTOv fXT(i tlvo^
;

dmXoyta?, Herodian
further
*

tt.

a-x-qp-dTtav init.).

Modern Language Notes

i.

Classification of Rhetorical Figures

<rxTl|iaTtiv.

to construct.

R.

'

by C.

287, 289, 292, 293, 294.

Lat. fgurare.

Cp.

Z>.

p. 140, for

Xo'yos

Z^

p.

206; and see

a short paper on the

B. Bradley.

To

use a figure, to shape,

co^ry/naTio-zxcVos

(or ro icrxwo.-

20


DEMETRIUS ON STYLE

3o6

means ora^w

simply)

TLCTfxivov

'figured language' which

In
p.

298,

207)

(rx>7/xaTto-/xos

that

discours figure^

le

employment of

the

figurata,

often designed to veil the thought.

is

figures'

D. H.

(cp.

Lat. conformation figuratio.

SwKpaTiKos.

297.

The

Socratkus.

Lat.

Socratic.

'Socratic'

dialogues are here in question.

SwrdScios.

c.

257.

Rapidity.

Lat. celeritas.

Efid, termination.

206. TeA.09
27.

Tp0pca.

is

to

The

dispositio.

Cp. ro Tdxo<;

Trj<;

ad Amm.

136,

Toiros.

It will

TOTTos is

may

Tc'xvat

but cp. Jebb's Att. Or.

be used

Tpa-yu)8ia.

139,

153,

156,

be remembered

koX totto^,

177.

Tpaxv9, 48, 49,

TpfKwXos.

The term

17.
is

TpfiTpos.

l<s

169.

in arie tradere.
in

TT.

v\J/.

p.

Place^

208.

many

rhetorical arguments

o ttoXXo, ivOvfiTJ/JLara

Lat.

iA.apoTpay(t)8ta

Roug/mess.

headings source.

Lat.

according to Aristot. Rhet.

that,

Tragedy.

169.

would be a kind of
Tpaxvnjs.

58.

ii.

in the sense of artes, handbooks.

a head under which

yap anoLx^Zov

nimium studium.
Suidas gives
The word was regarded

repOpcia.

To state in a treatise.
Lat.
on p. 297 supra, and TexyoXoyia

41.

Cp. 7raparxvoA.oytv
169

Lat.

Artifice.

as specifically Attic;
TcxvoXo^civ.

Cp. reXcvTato^

Lat. terminatio.

in 139, 206, 244, 272.

an equivalent of

AeiTToXoyta as

locus.

Lat.

(with reference to Thucydides) in Dionys. Hal.

TcXcvTT].

Order.

248.

200,

reference

244 supra.

2.

i39

In

cp. p.

139.

197.

137,

Tttxos.

The

Lat. Sotadeus.

of Sotades
199,

170,

rao-crctv in

xrrjfiaaLa^
ii.

{j^krpo)

139,

Tcl^s.

verb

Sotadean.

189.

the measures

Lat.

26,

Iutw

ifXTrcTTTCL.

tragoedia.
cp.

fall

ii.

TpaywSta Trai^ovcra

tXapog, p.

285 supra.

asperitas.

Fr.

members.

Lat.

durete.

So

176.

Consisting of three

trimembris.

applied to a three-membered period.

204,

Having

205.

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,

Lat. ratio, modus.

In

185, 207, 223, 224, 259, 282.

120

rpoiroLs

Manner.

has sometimes been understood

in the rhetorical sense (not elsewhere

found

in the

tt.

cp/x.)

of 'trope.'

GLOSSARY
Bridal

132.

vfi^vaios.

reacher,' Puttenham).

285

virep^dXXeiv

Cp.

14,

Going beyond metre or measure.

p.fvov TTpayfxa

'

226;

p.

'

elaborate

To

In

296,

paulum

Lat.

slightly.

etc.

to vTroKct-

Lat. subesse.

underlie.

Acting,

271.

195,

pronuntiatio.

studium

Lat.

delivery.

vTroKpLveo-Oai

193, 194; vTroKptTrjs

vrroKpiTiKos 193, 194, 195.

To

100, 103, 243, 254.

suspect.

hidden meaning

'

'

Lat. suspicari.

and see

Cp.

akXrjyopLa

s.v.

264 supra.

Dionys.

Late word,

<j>opp6s.

Expression offriendship.

231, 232.

<}>iXo(|>povii<ris.

Awe-inspiring.

130, 283.

Lat. amicitiae

Hal., Plutarch, Josephus, etc.

Cp. D. H.

Lat. terribilis.

208.

The

verb

tt.

kpp..

<f>pdCLv is

<|)povTs.

soin

Expression.

17.

<|)pao-is.

only in the

Fr.

To

224.

hidden thought,'

declaratio.

p.

argumentum.

Lat.

the subject-matter.'

actio,

virovoiv.

Lat. inflatus, turgidus.

Josephus, Clem. Alex., Origen,

193,

inroKpio-is.

vTTovoia,

pompous.

theme.

44, 237, 255.

{iroKi<r0ai.

58, 195,

Inflated,

Subject,

Late,

histrionum,

Lat. superans

tov XoyiKov fxirpov 42.

suggestively.'

'

vn-oKaTao-Keudt^i-v.

elaborare.

v-n-ep/SoXLKos 283,

15, etc.

viripirLirr^L

76.

vir6eo-is.

v7ro$TLKio^=

116, 221.

inr^po-yKos.

Excess, hyperbole (*the over-

125, etc.

Lat. superlatio, traiectio.

118.

virc'p(iTpos.

Tnensuram.

Lat. hym^naeus.

song.

48, 52, 124,

inrepPoX^.

Lat. materia.

Subject-matter.

76, 163.

(JXt].

307

and

found

In

27

300.

The word

minutieux.

expression.

in 138,

218,

171,

27,

Lat. elocutio.

is

it

The word

occurs once

that as a quoted (or invented) example.

and iKt^pd^uv
Anxious

is

in 165.

care.

Lat.

sollicitudo.

used of studied and

coupled with repOpela, and in

artificial

300

it

is

contrasted with to d<fip6vTLaTov.

^pvyClav.

|>vXaKii.

cr<rOai,

To

96.

The

Fhrygium.

use Phrygian words.

reference

90.

is

Lat.

sermonem adhibere

to the use of barbarous solecisms.

Caution, circumspection.

Lat. cautio.

Cp.

tfivXda-

68, 299.

20

DEMETRIUS ON STYLE

3o8

Natural

199, 200.

4>v<riK6s.

(In 231, <f>v(TioXoyia

naturalis.

68, 69, 71, 177, 299.

4)vijis.

(with or without ypdfxixaTa)

To

180.

iJMopav.

opposed to

(as

Lat.

'artificial').

'natural philosophy.')

ra

Lat. vocalis.

Voca/.

(fiiavrjevTa

vowels.
Used of

Lat. deprehendere.

detect.

the detec-

tion of metrical phrases in prose composition.

35, 36, 59, 72, et passim.

xapaKTTip.

The word
Cp. D. H. p. 208.

Lat. forma, nota.

of Style.
xapis.

cleverness,

37, 127

is

142, 150,

smartness,

Characteristic stamp, type.

used in the

tt.

etc.

of the four Types

Charm,

162, et passim.

sprightliness,

Ip/z.

Lat.

wit, pleasantry,

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.
iqv

ras apcras y /^"qiioa-Bivov;

Tracra? e)(OV(Ta

54

C.

ol

iroXKoi Kokovai )(apLv.

yA.a</)vp69

Xoyos

number of

books of jests

(Cic. de Or.

meaning of
yLv6fJivos

141,

The

^^a/atcj/Tta-jaos

l\ap6<;

/cat

followed by a

^^

'^-

^PH'-

1^8 6

yap

x^ptcvrtcr/Aos

is

were collected in ancient

Dionysius helps again to

54).

ii.

'the

Xoyos iarl: a definition which

witticisms, such as

XetVcTat evr/oaTreXta?,

fix

the

ttSs iv aTrovSfj kol Ka/cot?

awpov irpayixa kol TroXiiximrarov cAcw, de

Isocr.

C.

In

12.

xapicvTi^erai refers rather to graceful expression than to wit.

adv. xapiivrni^

137, etc.

On

is

found

in 185

xXcvaorjjios.

291.

167.

xopds.

Chorus.

170.

xpcia.

Lat.
s.v.

Maxitn.

which we find

the adj. x^ptet? in 132, 133,

293,

Lat. irrisio.

For the 'conversational

chorus.

StaAoyo?, p.

274 supra.

Lat. praeceptu??i.
in

Rhet. pp. 284

145.

Scoffing, satire.

chorus' in question, see

xp'^'

98,

Volkmann

wit in rhetoric, see

Sandys Orator of Cicero pp.

of

\i^L<i

x^^P^^^'^'-^H'^'^

('grace,' 'liveliness,' 'pleasantry';

;!^aptVTt(r/xo9

Puttenham)

privy-nipp,'

Cp.

Hermogenes

Possibly the treatment

originated, together with

among

the rhetoricians of Pergamus. Between

seem to cover the whole ground of sententious
philosophy: 'wise saws and modern instances.' Cp. Quintil.
9,
3
6, and see s.v. yvta^r], p. 272 supra.

other TTpoyvfxvda-fiaTa,

them,

XP^*^"

^^^

yvwfXTj

i.

XpT|<rroi]9ia.

Fr.

ingenuite.

244.

Goodness of

Used with

7iature.

reference

to

Lat.

ingenium probum.

primitive

simplicity:

cp.

'

GLOSSARY

an iambus

251.

XttfXCaiipos.

invention of the

halting

'

choliambic
'

Lat.

line.

The

choliambus.

iambic line (with a spondee substituted for

in the last foot)

was attributed

and the synonymous term

V. ipfi. 301,

309

Hipponax

to

scazon.

The

compare

adj.

^w^os in

18, 301.

I"

(^X^^)-

Saovrrys

i37>

and

^/o-yos.

i|/dj>os.
*

Smooth.

73.

x(/iXos.

if/LXoTrjs,

95.

sound

Censure, satire.

sound, a noise.
'

Used

of the smooth

'

For

or

'

noise,' is

Lat. sonus, strepitus.

\f/6<l>o^,

sometimes contrasted with

an

(jnovij

'articulate

also Aoyos).

4n)Xpo'TTjs.

frigus.

breathing

Lat. vituperatio.

('voice': also <f>06yyos), or with SiaXcKTos ('discourse,'

speech

'bare,' 'bald,' 'unadorned.'

cp. Aristot. Poet. c. 20.

291, 301.

inarticulate

Lat. lenis.

word means

the

6,

115,

English renderings.

121,

119,

'Tameness' and

'

171,

127,

tastelessness

Cp. Aristot. Rhet.

'

247.

iii.

3,

Frigidity.

Lat.

occasionally serve as

will

tt.

v\p. c. 4.

So

ifrvxpo<s

(Lat. 'frigidus,' 'insulsus'; Fr. 'froid'), 6, 114, etc.

ia^.

70,

74.

Song, melody.

applied to words like

rii\io%

and so 'sing themselves.*

Lat. cantus.

which are

Cp. wSikos,

chiefly

184.

In

70, the

term

is

composed of vowels

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.

Editions and Translations in Chronological Order.

I.

Aldus Manutius.
Arisiotelis

Hermogenis

Rhetor icorum ad Theodecten

ad Alexandrum.

Volumine habentur

Rhetores in hoc

Aphthonii Sophistae Progymnasmata.

Eiusdem ars

libri tres.

Eiusdem Rhetorice

Sopatri Rhetoris quaestiones

Poetica.

de componendis declamationibus in causis praecipue iudicialibus.

Sophistae differentiae statuum.

didionis.

et

Menandri Rhetoris

Alexandri Sophistae de figuris

Adnoiationes ifinominati de figuris Rhetoricis.

causarum in genere demonstrativo. ArisEiusdem de simplici oratione. Apsinis de arte

divisio

teidis de civili oratione.

Rhetorica praecepta,

Cyri

Dionysii Alicarnasei ars Rhetorica.

Demetrii Phalerei de interpretatione.

senstis

hi.

ars Khetorica.

Venetiis, in aedibus Aldi.

1508, 1509.

EDITIO

PRINCEPS.
Demetr. Phal. de Interp.
published in 1508

is

printed in vol.

i,

pp. 545-573.

This volume was

the second volume in 1509.

M. Antonius Antimachus.

Geniisti Plethonis de gestis Grae-

pugnam ad Mantineam per capita tractatio, duobus libris

M. Antonio Antimacho interprete. Ad haec Dionysii Hali-

coruni post
explicata,

carnassei praecepta de oratio?ie panegyrica,

oratione natalitia, de epithalamiis.

de

oratione nuptiali,

de

Demetrii Phalerei praecepta de

membris

et incisis, de periodis^ de

dicendi.

Polyaeni de re militari praefatio eodem interprete,

componendis

epistolis,

de characteribus

M. Antonii

DEMETRIUS, ON STYLE

312

Antimachi de laudibus Graecarum literarum

primum
Of

in lucem edita^

this version

oratio.

cum privilegio ad triennium.

Schneider

(p. xix. of his edition) says:

Omnia nunc

Basileae^ 1540.

"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

PetruS VictoriuS.

Demetrit

Trcpi ep/xi/vcias.

De-

ArfixrjTpiov ^aXr/pcco? TTcpi ipfXT^vitas.

metrii Phalerei de elocutione,

Florentiae,

apud Juntas, 1552.

worth notice that Victorius had edited the Rhetoric of Aristotle four years

[It is

earlier.]

^aXr/pews

Florentiae^ 1542.

Phalerei de Elocutione.

[G. MoreliuS.]

Demetrit

Ar/p-r/Tpibi; <I>aXT7pea)s Trcpi kpixy]Vf.ia<i.

Phalerei de elocutione.

Parisiis,

1555.

Apud

Guil. Morelium, in

Graecis typographum Regium,

[Anonymous.]

'Ep/uoycvr/s Trept /xc^oSov SctvoTryros.

$aA,T7pco9 TTcpi pixr]VLa<;.

'ApLcmiSov

irtpl ttoXltlkov

genis de gravitate apta eiusque tractandi ratione.

de elocutione.

Aristidae de genere dicendi

This edition, and that published

Hermo-

Demetrii Phalerei

Argefttorati, 1556.

civili.

at Paris in the

A-qfi-qxptov

\6yov.

preceding year, closely follow

Victorius' edition of 1552.

Stanislaus Ilovius.

Demetrii Phalerei de Elocutione Liber,

Annotationibus

illus-

quaedam Opuscula, eodem

inter-

a Stanislao Ilovio Polono Latinitate donatus,

Item, Dionysii Halicarnassei

tratus.

prete

quae versa pagi?ia recensentur.

conferri a studiosis possint.

F. Maslovius.

Basileae,

Adiecimus eadem

Dasypodius.

Demetrii Phalerei de elocutione

illustratus.

et Graece,

ut

per loannem Oporinum, 1557.

Maslovio Polo7io in Latinum conversus,

corum explicationibus

et

et

liber a Francisco

ab eodem obscuriorum

lo-

Patavii, 1557.

'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.
ditus est

rerum

in officina

et

verborum memorabilium index

Juntarum, Bernardi

This edition, with

scale than the small

its

translation

copy of the

copiosus.

Ad-

Florentiae,

F., 1562.

and commentary, is on an altogether larger

by Victorius ten years earlier.

text issued

BIBLIOGRAPHY
Demetrius Phalereus de

J. Caselius.

primum

Germania

Latin translation of the

ir.

epfx.

elocuttone,

Rosiochii,

Caselii.

op. J.

Jo. Simonius.

together with notes,

Demetrii Phalerei

editus

nunc

1584.
to be found in the
Rostock in 1585.

is

editor's Phalereus sive de Eloaitione liber, published at

same

in

31 3

Trcpi ipfirjv eta? liber utilis et

vere aureus, quaestionibus explicatus studio et opera Joannis Simomt,

Rhetorices in

Academia Rostochiensi Professoris

Rostochii,

publici.

1601.

Demetrio Falereo delta locuzione volgarizzato da Pier

testo, ed exempli Toscani, conformati a^ Greet

P. Segni.

con pos title at

Segni

Firenze, 1603.

// Predicatore di F. Francesco Pani^ard\la

Panigarola.

overo Para/rase, Commento,

di Demetrio Falereo.

An

Italian paraphrase,

Discorsi intorno at libro

deW

Elocutione

and commentary, on Victorius' Latin version.

[Anonymous.]

Ary/xr/Tpiov ^a\r]p(ii<s TTipl epfxrjveias

Cum

Phalerei de Elocutiofie.
pretatione.

Venetia^ 1609.

Demetrii

Petri Victorii Florentini Latina Inter-

{Degli autori del ben parlare,

etc.

pt. 2.

torn.

1.

Venetia^

1643-)

[Anonymous.]

Operum Graecorum,

rhetorum tomus secundus.

Venetiis,

Latifwruni^ et Italorum

1644.

This volume contains a Greek text and Victorius' Latin version.

Thomas
berius
et

Gale.

Rhetores

Selecti.

Demetrius Phalereus,

Rhetor, Anony?nus Sophista, Severus Alexandrinus.

Latine.

Ed. T, Gale.

Oxonii, 1676.

The

tt.

kpp..

Ti-

Graece

was separately

reprinted from this edition by Foulis at Glasgow in 1743, with the

title

ArjfxrjTpiov

^aXr]po)<i

trepl

'Ep/xryvetas.

Demetrii Phalerei de

Elocutione, sive dictione rhetorica.

Marcello Adriani.

Demetrio Falereo delta Locuzione tradotto

dal Greco in Toscano da Marcello Adriano.

Firenze, 1738.

J. F. Fischer. Rhetores selecti. Detnetrius Phalereus, Tiberius

Rhetor, etc.
Iterum edidit, varietatemque lectionis Aldinae adiecit

Joh. Frider. Fischerus.

This edition
Praefatio.

is

Lipsiae,

1773.

based on Gale's, whose work

is

freely criticized in P'ischer's

DEMETRIUS ON STYLE

314

Arj/xr/TpLov inpi kpfx-qviia^; ^l/SXlov.

Demetrii
J. G. Schneider.
de Elocutione liber.
Curavit Johann. Gottlob Schneider.
Alten-

burgi,

1799.

Ch. Walz.
lanensibus

Rhetores

emendatiores

etc.

Graeci ex codicibus Florentinis Medioet auctiores edidit, suis

aliorumque anno-

tationibus instruxit^ indices locupletissimos adiecit Christianus

1832-183 6.

Stutlgartiae,
vol.

ix.

pp.

F. Goeller.
Goeller explains
its

pp. 259

Walz.

'Epfxrjveia^s

in

how

it

came about

Edidit

[In a note to his Preface^, xxxii.

Lipsiae^ 1837.

that his edition

was issued several

completion in 1830.]
Rhetores Graeci ex recognitione Leonardi Spengel.

[Text

1856.

of

ArjfxrjrpLov

nepl

'Ep/xiyvcta?

in

vol.

iii.

ff.]

E. Durassier.

Demetrius de Phalere.

du grec enfran^ais avec notes remarques

^

Durassier.

De P Elocution.

et table

Traduit

analytique par

Edouard

Paris, 1875.

L. Radermacher.

Demetrii Phalerei qui dicitur

De

Elocutione

Praefatus recensuit adnotavitque Ludovicus Radermacher.

Libellus.

Lipsiae,

-n-ipl

Demetrii Rhetoris de Elocutioite Liber.

L, Spengel.
Lipsiae,

ArifxrjTpiov

ff.]

Franciscus Goeller.

years after

[Text of

1901.

Occasional and Periodical Publications in

Chronological Order.

II.

Bonamy.
VAcademie

Memoires de Litteraiure, tires des Regis tres de

Roy ale des Inscriptions et Belles Lettres, 1773, viii.
'Vie de Demetrius de Phalere.^

157-177.

pp.

Arnaud.
Memoires de Litterature, tires des Registres de
VAcademie Roy ale des Inscriptions et Belles-Lettres, i774> xxxvii.
pp. 99-1

1 1.

Hardion.

'

Examen de quelques
Histoire

de

passages des anciens rheteurs.'

VAcademie des

Inscriptions

Lettres tiree des Registres de cette Academic, 1823,

d'un

passage du

Phalere.'

traite

de

TElocution

iii.

attribue

p. 162.

et

Belles-

'Examen

Demetrius

de

BIBLIOGRAPHY
H. Dohrn.

Commentatio hisfortea de vita

W.

De

Grauert.

et rebus

Demetrii

Demetrii Phalerei.

Kiliae,

Kiliae^

Phalerei^ philosophi peripatetici.

H.

315

vita et rebus

1825.

1825.

C. E. Finckh.
1838,

xxii.

Neue JahrbUcher fiir

C. E. Finckh.

und Pddagogik^

Philologie

'Demetrius de Elocutione, ed. GoUer.'

pp. 291-303.

Observationes criticae in Demetrii rhetoris de

Heiibronnae, 1841.

elocutione libellmn.

C. E. Finckh.

In Longini artem rhetoricam

libellum de elocutiofie annotationes criticae.

De

Chr. Ostermann.

A. Nauck.

Demetrii Phalerei

Hersfeld 1847

scrip torum reliquiis.

Rheinisches

Demetrii

et in

Heiibronnae^ 1847.
vita, rebus gestis et

Pulda 1857.

Museum, 1848,

vi.

p.

'Mis-

469.

cellen.'

De

Th. Herwig.

Legrand

S. J.

VAcademie Royale

Demetrii Phalerei

et

des

F. Tychon.

Memoire couronne par

et des Beaux-Arts de

Lettres

des

Sciences,

Rinteln, 1850.

Scriptis.

Belgique sur Demetrius de Phalere, considkre comme orateur,

erudit et philosophe.

d'etat,

xxiv. pp.

Bruxelles, 1852.

*Zu Demetrius

pp. 704-706.

C. E. Finckh.
metrius

H.
*

etc.,

I 190.)

H. Weil. Neue JahrbUcher fiir

Ixxii.

homme

{Mhnoires coui'onnes

und Pddagogik, 1856,

Philologie

ir^pi cp/xiyi/ciW

'Zu De-

Philologus, i860, xv. pp. 153, 154.

TTCpl pnr)VLa<s, 213.'

Usener.

Rheinisches

Museum,

1868,

xxiii.

336.

p.

Callone.'

C.

Hammer.

Beitriige zu

C.

Philologus, 1876, xxxv. pp. 711-713.

Demetrius

Hammer.

Philologus, 1876, xxxvi. pp. 355-358.

ische Beitrage zu Demetrius

H. Liers.
Phalerei -mpl

De

Krit-

ir^pi kpp.r\vda.%.'

aetate

'Ep/xrjviia^.

C. G. Cobet.

Kritische

'

Trcpt epfjLrjveias.'

et

scriptore

Vratislaviae,

Mnemosyne N.

S.,

libri

qui fertur Demetrii

1881.

1882,

x.

nonnullis apud Graecos epistolarum scriptores.'

lectanea Critica, pp. 236, 237.)

p.

42.

'

De

locis

(Cp. Cobet, Col-

'

DEMETRIUS ON STYLE

3i6

H. Schenkl.

Wiener Studien, 1882,

Kritik der Schrift des Demetrios

Hammer.

C.

scher Versuch.

Demetrius

rrcpl

*Zur

55-76.

pp.

Ein

Trepl 'Epjuryvctas.

literar-histori-

Landshut, 1883.

H. Liers. Neue JahrbUcher fiir

cxxxv. pp. 681-717.

A. Altschul.

Philologie

'Zur Geschichte der

De

und Pddagogik^

Libellus

Lipsiae, \ZZ().

irepl

metrii nomine inscriptus est quo tempore compositus

Papasis. Demetrius Phalereus

1887,

Stilarten.'

Demetrii Rhetoris Aetaie.

Beheim-Schwarzbach.

F.

iv.

'Ep/xr/vetW

cp/xr/i/et'as

^ui De-

Kiliae^ 1890.

sit.

u?id die Stadt Athen.

Erlangen,

1893.

K. Dahl.

mung
Part

Demetrius

II.

W.
antiken

ZweibrUcken; Part

i.

1894,

p. 144.

'Zur

1895.

Schmid.

Rheinisches

Museum, 1894,

xlix.

Stillehre.'

Roshdestwenski.

S.

Ein Beitrag zur Bestim-

Trcpt kpfxiqviLas.

der Abfassungszeit der Schrift.

Xapto-rr/pta

Moscow, 1896,

'Et9 TO ^-qfx-qrpLOV rov ^aXrjpeios KaXovfxevov ^if^Xiov

370.

pp.

361-

Trepl f-ppfq-

rcia? crvp.j3o\a.'

G.

Ammon.
729736.

xxxiv. pp.

Sprache

U.
p.

629.

ira

V.
'

Gymjtasialschulwesen,

ircpX pp7}veLa<5,

"Wilamowitz-Moellendorff.

1898,

besonders seine

Jlermes,

1899,

xxxiv.

Roberts.

Classical Review, 1901, xv. pp. 252-255.

for Style

with special reference to Demetrius

'Ep/xryvcta?.

W. Rhys
*

Zu Demetrius

Lesefriichte.'

The Greek Words

TTC/ot

'

Lichte der Ciceronianischen Korrespondenz.'

W. Rhys
*

Blatter fiir bayr.

Roberts.

Classical Review, 190 1, xv. pp. 453,454.

Milton and Demetrius de Elocutione.^

INDICES.
INDEX OF NAMES AND MATTERS.

I.

References are

made

to the

ep/x.

ir.

itself

by sections;

to the introduction,

notes and glossary by pages.

Accusative Case.

in

-rju

Greek term,

201,

Case-termination (3rd decl.)

p. 263.

or

-V,

i75' P- 242

Cp. Index

AescMnes
297, p.

205,

Cp. Index

291,

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

(

Cp. pp.

189).

Agathon, pp.
AJax.

in its

5,

55, 286,

rhythms

See Index

II.

editio princeps of the

ir.

dressed to him, 187.

letters to

ip/x. (as

part

pun, ad-

or

Aristotle's

Alexander, 234.

Dema-

225, 246

100, 243;

impressiveness,

its liability

60

p.

lines

not appropriate to grave themes, 5

Anapaestic rhythms are

sometimes used affectedly in prose

composition, 189
Repetition

p.

word

of a

in

Cp.

266

style,

99,

to abuse, 102;

of

Characteristics
14,

244.

their

See also pp. 53,

224, 269

is

due

A word whose

Antiphon.

shows

pleasing sound

to the double consonant, 174

in

The happy
using

only once, 53.

iiiv

negligence he
repeatedly,

Cp. Index

II.

6^

and

pp. 6, 7
Antisthenes, 249, pp. 20, 253
Antitliesis,

Its

kpfx.,

Anapaest.

Annoon.

dean references to him, 283, 284

Alexandria and rhetoric, p. 18. The
TT. kpi*.. and Alexandria, pp. 62, 63,
Allegory.

ir.

His short and jerky

Anacreon.

'Ancients.'

the

of his Rhetores) in 1508, p. 311

conceit,

265

p.

Anaximenes supposed author of the

Rhetorica ad Alexandrum, p. 11

Alas, 176

Alcidamas, 12, u6, p. 233

Aldus Manutius issued
Aldus.

Cp.

successive clauses, 141, 268.

'smooth' (euphonious) word

Alexander.

succinct description of a

Ammonius, the son of Hermeias; ap-

Anaphora.

294

41, 287

Greek form

Alcaeus.

Amazon, 138, p. 236

Ambiguity. Must be avoided in the

parently mentions the

II.

Affectation. Affectation (KaKo^rjXla), the

Cp. pp. 213,

sleeping

plain style, 196.

II.

Socraticus,
257.

allusiveness, 151.

264

Amazons.

Remarks on, 193 195

AescMnes (the Orator), 267, 268.

Acting.

its

24, etc.

(full

given on p. 266 supra).

and

references

Antithesis

antithetic periods impair force,

DEMETRIUS ON STYLE

3i8

Example of

247, 250.

Apophthegms,
Cp.

9.

false anti-

216

thesis, 24, p.

Should be pithily put,

'sudden

of

figure

reticence,' 103, 264.

Cp. pp. 268,

269

Asyndeton.

Improves on the Aristo-

The

and other

See pp. 218, 243

'

example of a

an

91.

vi'ord

happily compounded

The

Arid style.

187.)

and

Aristippus

cp.

the

refer-

Olympias,

187,

The

Cleombrotus.

gentle irony with which Plato in the

Phaedo

reproaches

them

their

for

absence from the side of their imprisoned master Socrates, 288

('for

For Aristip-

they were in Aegina').

pus, see also p. 258 supra

Aristophanes, 150, 152,

Index

and pp.

11.

Aristotle.

To

the

See

161.

5 n. 2,

13 n. 2

given

references

II.

should be added 41, 116, 234.

The actual quotations from Rhet. iii.
give but a faint idea of

tp. ep/i.

the influence of the former upon the

latter.

See also pp. 14

5052,

209, 214, 215, 216, 217, 218,

passim.

et

16,

35

39,

For Aristotle and pro-

verbs, cp. pp. 260, 261

Arnold, Matthew.
PP- 303. 304
Analogies
Art.
arts
p.

by Greek

which

p.

ep/A.,

TT.

words

Specifically Attic

241.

the

p.

57;

cp.

is

175,

in

Notes

the

219,

265, 267, 276, 288,

247, 260,

303. 304

De

Authorship of the
49

Elocutions pp.

ff.

Bombast.

Its

dangers illustrated, 121,

304
'Breaking the news.'

An example

of

Ctesias' delicacy of feeling, 216

Rough and smooth breath-

Breathings.

ings, 73. PR- ^73' 284,

{conciseness).

309

great aid to

vigour and impressiveness of style,

7. 103, 137, 253.

Broken rh3rthm.

Cp. pp. 271, 272

and abuse,

Its use

Cp.

6, 238, 239.

p.

268

S.V. aTTO-

Koiri]

Browning. Quoted
and the

p. 44,

also p.

Bulias.

in the introduction,

notes, p.

248.

See

291

character

in

mime

of

Sophron, 153
Byron. Quoted in the Notes and Glossary, pp. 238,

300

His poetry quoted,

Cacophony.

drawn from

various

rhetoricians, 13, 14,

and

Editor of Aristotle's Letters:

May

minister to vividness

force of style, 219, 255.

Cp.

pp. 286, 287

Cadences.

215

Artemon.

Attic' writers (a designation

Brevity

under Aristotle's name in Index

in the

The

177.

lustrative passages quoted from, pp.

p.

ences to the Cyclops, 115, Ephor,

Centaur,

pungency

its

(Examples of the

practice-schools:

122,

294

238,

kind here given savour of the rhetori-

qualities,

passim

of the plain style, 236

cal

(Xi/fl-ts)

Attic dialect

Atticism and Asianism, pp. 45 49

Authorised Version of the Bible. Il-

defective counterpart

Aristeides, 238.

192

(a.a{)vh(.rov),

perhaps a mark of late date),

Archilochus, 5. Cp. Index II.

Architect ('master-builder'),
as

291

(StaXuetJ'),

Attic.

article to

and abuse,

Its use

telian definition of the period, 34.

Given

one side

Cp. p. 269

See also pp. 270

194.

274

Archedemus.

Correspondence of

Article.

article, 23.

The

Aposiopesis.

letter to

of a dialogue, 223, p. 249

269

p.

comparison of a

his

Cp. references given on

268, S.V. a7r6^e(ris

p.

INDEX OF NAMES AND MATTERS

/.

Caecilius of Calacte, p. 20

His study of language,

Caesar, Julius.
260, 298

pp.

Callistratus,

Annoon

see s.n.

174:

Monotony

to

be avoided

in the

in its stricter sense) occurs very fre-

The

use of

quently in the treatise

use of cases, 65, p. 224.

oblique cases and constructions

be effective

may also

104), but

obscurity

to

may
lead

Nominative

198).

and accusative

cases, 198, 201, pp.

263, 283, 295, 300

His

Lord.

Chesterfield,

aversion

to

proverbs, p. 259

Apparently followed in

Cp.

172.

are

Cp. pp. 285,

forcible, 251, 301.

309
Chrysippus.

lines

Chrysostom.

p.

241

Proverbial and figurative ex-

Cicala.

74, 92,

4, 8, 9,

237,

239,

Cp.

241,

246, 248,

tiplication

54,

absence

an

is

p.

effective aid to style,

Their

304.

63,

pp.

may

cause obscurity, 192

303,

Corax

as a teacher of rhetoric, pp. i, 2

Comificius the supposed author of the

ad Herennium,

Rhetorica

cuipi^eia,

Craterus.

24

p.

References

One

of Alexander's generals,

243

a figure,' 289

His rhetorical standpoint, pp.

Quoted in the Notes and

25.

Glossary, passim

tial

a prime essen-

is

of the plain style, 191

lucidity in general,

246, 265, 301

quoted from him,

Clematis.

'

cp. pp.

37, 38,

An example

Cleitarchus.

For

fF.

of bombast

Cp.

304.

Egyptian clematis

'

259
used as

a sobriquet for a dark and

p.

Cleon.

See

Referred

102, p. 231
to

Mentioned

as

Athenian demagogue,
Cleophon.

notorious

294

The

together

charm,

169.

Allusion

riddling description

102

Cyclops.

The grim

pleasantry of his

unexpected guest-gift, 130, 152, 262

Cynics.
The Cynic manner' is dis'

by

tinguished

259

mordant

wit,

Elocutione, pp. 49

flF.,

its

261

De

and Notes and Glossary passim

Demades. His highly figurative

283286, pp.

53,

say-

256

Demetrius of Alexandria. Possibly the

270,

Demetrius of Phalerum.

with mirth and

The employment of
New Comedy,
to New Comedy ': its

the trimeter by the

204.

by name

Its alliance

Cp. D.//.

247.

with

pp. 255, 288

Comedy.

of,

author of
figure so called,

Cupping-glass.

ings,

Cleon, 294

Climax.

212 216, p.

'3

Date of the

in

lanky

person, 172

Cleobulina.

'

Crates, 170, 259, pp. 240, 254

Ctesias,
P-

Lucidity

Clearness.

s.v.

264

p.

rebuked by Demetrius Phalereus

24,

1,

305
Conjunctions [connectives). Their mul^99' 30^. 303-

pression concerning the cicala, 99,

Cicero.

117, 121, 179, 180, 186, 189,

221,

204,

Correctness of style.

Quoted, pp. 294, 295

30, 31, 38, 40, 43, 45, 48, 49, 58, 68,

Choliambic

Choliambics.

Comparative and Superlative. For

their use in later Greek see p. 237,
and cp. 146
Composition.
The word civQ^ai'i
(which corresponds to 'composition'

supra
Cases.

319

'

bearing on date of treatise, pp. 53, 246

tt.

epytt.,

in 289.

18, 52, 62, 257,

Demosthenes.

p.

6^

Mentioned

See also pp.

311

17,

fT.

Mentioned or quoted

the following sections:

10,

11,

in

20,

31, 80, 245, 246, 248, 250, 253, 263,

268

273,

277

280, 299.

It

is

to

DEMETRIUS ON STYLE

320

be noticed that most of the references

Demosthenes occur in the

sections, those which deal with

Elegant style, 128189, PP-

later

to

5eiv6-

For references to the passages

quoted, see Index II. Cp. pp. ii, \^
Dialogue. Resemblance, and difference,
between a dialogue and a letter,

'

Dicaearchus,

Digamma.

182',

to,

255.

(Some papyrus-

containing

of

sayings

Diogenes have been published, since

completion of this edition, by

the

Wessely

Theodor Gom-

in Festschrift

'

Corinth

'

does

the

threat

to

refers

clearly

younger Dionysius

the

and so probably

addressed

to

the

may be

In 292 also, he

Locrians.

meant rather than his father

Dionysius Of Halicamassus, pp. 20

23,

42, 45, 63, 218, 242, etc.

The concurrence

Diphthongs.

thongs produces elevation

of diph-

( 73),

but

should be avoided in the plain style

(

Dithyxambic compounds.

p.

To be avoid-

116: cp. 143

Its broad sounds,

91,

Doric dialect.

P-

229

and double tt. Both forms

found side by side in the tt. ^pfi.,
a-a-

58,

pp.

on

p.

His Essays,

Dual number.

Its

epfx.,

p.

p.

and

fXTjveia

'

occurrence in the

p.

With

'Epfirjs.

The

on

The

priests in

Egypt employ

the seven vowels in their

the gods, 71, pp.

hymns

224, 225

to

'facundi-

290 supra.)

p.

father of Rhetoric,

The distinction between

enthymeme and the period,
3033- Cp. pp. 279, 291, 292

Enthjrmeme.
the

Epanalepsis, 196, p. 280

Epanaphora,

61, 268, p.

Epicharmus,

24, p. 216.

280
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

Defined and

106 III,

letter

illustrated,

p. 281

style.

the letter as a

the length,

structure, topics of a letter

235,

between

Relation

and dialogue

249
Epithets.
Their use and abuse,
116.
Cp. p. 280

Erasmus.

p.

223

p.

The proverb
'

85,

omnis herus

in his

Erasmus as a

Adagia,

letter- writer,

249

Euphemism.

58

and suggests

elocution,'

\6yios

ously,' cp.

p. 213.

303

(The

Hawes quoted

the supposed connexion between ep-

from
Egypt.

as

310 provides an example of the

older use of

servo monosyllabus

222

Dryden, John.

TT.

29,

but cp.

s.v. epfirjuela.

revelation of character;

242

93'

given on p. 282,

Epistolary
177,

Double augment, pp. 210, 245

Double compounds. To be avoided,

Double

pp.

Obsolete in English

Elocution.'

Epiphonema.

207)

ed,

'

36127,

218, 292, etc.

39,

33,

Empedocles.

perz.)

Dionysius the Younger, 8, 9, 99, 100,

The proverb Dionysius
102, 290.
at

Elevated style,

passage of Stephen

Cp. pp. 253, 286

Diogenes, 260, 261.

word

the Latin, French and Italian terms

242

p.

{iXecpavTiar-qi).

'

applied to rhetorical style

Possible allusion

fragments

Elephanteer

coined by Aristotle, 97

TTjs.

223, 224, p. 274

29, 30,

33' etc.

the

Defined, and illustrated

incident

Victories, 281, pp.

Euphony.

Practice

of

of

the

golden

256, 283

Isocrates

de-

scribed and a middle course advised,

INDEX OF NAMES AND MATTERS

7.

Common

68.

Poetical forms,

Egypt,

parlance,

69.

who

58

his play of that

to the

affords

name,

of ex-

296

His jerky

Hegesias.

Quoted

Heine.

attractive

element in writing, 157, 158

Must not be used in excess,
Fig^ures.

Peculiar

67.

avoided in the plain

Figures

263

305,

style,

contribute

will

271,

280,

be

should

figures

force,

to

Cp.

281.

/3eia,

s. v.

a.Kp[-

264 supra

p.

Forcible style, 240

31,

pp.

of

How

style.

114 121.

Cp.

pp.

caused,

232,

233,

Gadarene

see under Theodorus, p. 325

Described as a father and edu-

cator of Sicily, 292

Genitive

absolute.'

Used

the

for

Giraldus Cambrensis.

On

a metrical

term,

of letters in England, p. 45
/Gorg^ias.
His periods and antitheses,
12, 15,

29.

Cp. pp. 25, 47, 48,

Com-

Graces (or ornaments) of style.

arrangement, figures,

pression,

contribute

136156
Grand style

to

grace

etc.,

of style,

The hexameter,

the

as

longest of Greek poetical measures,

is

suited to heroic themes, 4,

(TvyKpovffis
'

on

Euphony

'

in

in

5.

under

and

supra,

302

p.

Index.

this

Also, p. 303 supra under

<xvvaXoL<(>-f}

Mentioned, together with Gelo,

292

Hippocrates.

Quoted

p. 5

show

to

drawbacks of a jerky

style,

the
4,

Cp. pp. 212, 257

How and why Hipponax
Hipponax.
238.

Cp.

see references

s.

v.

'

ele-

Corinthius.

p. 309, 132

History and poetry, 215, p. 247

Homer. Quoted throughout the treatise,

vated,' p. 320 supra

and more frequently than any

(Like
cp. Index II.

other writer

other rhetoricians, the author of the

Metropolitan

of Corinth and scholiast on

Hermo-

genes, pp. 61, 214, 222, 223, etc.

R.

invented the choliambic metre, 301.

233. 234

Gregorius

5,

261

Hippias and prosody,

the decline

pp.

Possibly referred to in 122

p.

Hiero.

sake of variety, 65, p. 224

Cp.

etc.
II.

284

under

infra

cp.

17,

Cp. p. 278
Hiatus. See references given

309

Gelo.

As

Heroic'
42, p.

12,

and Index

224, 275,

Hexameter.

34, etc.

Frigidity

Herodotus,

Hesiod.

304,

the varieties of style,

27

p.

'

References

21

p.

Hermogenes and

pp.

306

Finish of style.

Elaborates a system of

Hermagoras.

208.

244

scurity, 192, p.

rhetoric,

20

style, p.

in Notes, p. 252

Chief reason of his ob-

Heracleitus.

Sometimes form an

Cp.

212

2, p.

58, p.

modem

'

clauses from Hecataeus, 12.

195

The employment

pletive particles, 55

FaWes.

153,

would use reader,' p. 264

of
detached
Example
Hecataeus.
writers

takes the part of Ion in

Expletives.

where

Often found

Hearer.

His use of expletives,

the opportunities he

actor

mystification,

i.e.

273

Attic writers, 175.

71.

Cp. pp. 283, 284, 302

Euripides.

Gripbus,

in

Priests

70.

32

IT.

ipfi.

draws

as freely

from the

poets as from

prose-writers,

believing that

the study of

clearly

21

poetic

DEMETRIUS ON STYLE

322

style should help, rather than injure,

the study of prose style

The avoidance

See also pp. 213, 219, 221,

supra.)

his followers, 68,

222, 225, etc.

Their character and

28;

their dangers, 26

Or.

Some of the examples in

may be classified under

128

that of

Wit, q. v.

Hypallage.

name

For

under the

this figure,

a'^i;7raXXa777, cp. 60, p.

May

Hjrpertoole.

in

comedy and elsewhere, as an ornament of style, 161, 162. But there

is

P-

danger of abuse, 124

I,

cura

Index

and pp. 8^11,

[t]

Trapd TT]v irpoaSoKiav xd/)is), p.

Johnson, Samuel.

Quoted

Cp.

ff.

Quoted, p. 224
Knox, Jolm. Quoted, p. 292

Keats.

Lacedaemonians. Their love of brevity

speech illustrated, and

its

vigo-

7,

8,

241,

in the

ir.

rous effect indicated,

measure

iambic

knowing
Imagery.

it,

220

p.

43,

imagery

Poetical

be

to

in the

forcible style especially, 274

'

Imitation

{filnrjats),

'

tt.

Infinitive.
p.

220,

cp. pp. 21

294
Used for imperative see

ipfi.

ff.,

where

found in the w.
Interrogation.

list
is

epfi.

To

of

an audience in such a way that

admits of only one answer

in

the

tp.

epfi.,

The young Ion

An

excellent

Phaedo, 288.
Isocolon.
ternate

ff.,

Notes and Glossary passim

Supposed allusion

to, 108,

This

maxim

Lawgiver (vofiod^Trjs).
Cited as a
model of a compound word, 91
Lincoln, Abraham.
His use of pro260

verbs, p.

Long^us.

'

His attitude towards

style

and imitation, pp. 25 27

Lucidity.
See clearness,' p. 319 supra
Lysias.
The exemplar of the plain
'

style, 190.

7,

8,

His wit and sarcasm,

II. and pp.

Cp. Index

216, 217, 255

234
in

the play of

example from the

Cp. p. 277

Equality of syllables in

members,

25, p.

Macaulay.

His

style

from

various

points of view, pp. 215, 239, 267

Euripides, 195, p. 244

Irony.

cp.

128, 262.

279
Inversion of words
59

it

more

than a direct assertion,

effective

PPIon.

is

and

epfi.

Introduction pp. 56

anticipated, 295, p. 258

put a question to

lists in

PP- 53' 54. 232

Laudando praecipere.

instances

given

see

Laticlave.

in

the full rhetorical sense, hardly occurs

in the

Late words and forms

iambics without

talk

avoided in prose, 89, 90

Imitation.

242

re-

sembles ordinary conversation, and

many people

300

in the notes,

pp. 220, 233

Jonson, Ben.
Quoted, p. 223

in

The

Cp.

47, 48, 216

Jests contrary to Expectation, 152

307

Iambus.

diligens

reprehendatur."

eius

II.

{Inst.

concluding with the

79),

266

employed,

be

X.

ut

flf.

head, or perhaps rather under

this

cp. Quin-

words "in compositione adeo

cp. p. 295.

For the connexion between homoeoteleuton and modern rhyme, cp. p. 48

Horace and the Ars Poetica, p. 25

Humour.

299

estimate of Isocrates

tilian's

Homoeoteleuta.

His periodic writing, 12.

of hiatus by him and

Isocrates.

cp. p. 219

285

al-

Manuscripts of the

De

Elocutione, pp.

209211
Maxims. Their nature and use,
no, 170, pp. 272, 273, 308

9,

INDEX OF NAMES AND MATTERS

/.

Member

Origin and use,

His

Why

153-

actor,

'

is

Cp.

195.

pp.

53,

Contributes to elevation of
discrimination,

Convertible and non-convert-

pansion

The

metaphor into

of

80,

So-called

89.

simile,

or

Effective

metaphor,

Metaphors

84.

83,

of

use

ineffective

82,

ex-

'active,'

metaphors, 81.

'vivid,'

289

Messenia,'

ible metaphors, 78, 79.

and

p.

popular with the

when used with

78.

their

safe-

Usage the true guide,

Frigidity due to misuse

guarded, 85.
86,

The two kinds

use in

3841.

87.

Cp. pp. 226,

of metaphors, 116.

'

Mirth amid

224,

51,

tears.'

The

rueful laughstyle,

Kinds of words distinguished

by musicians, 176. Verbal music,

Music.

69-72,

174,

184,

Elocutione,

cal, figurative) character,

loi

Aristotle's

Poetics , etc., pp. 209,

210, 219

An

Parody.

Cp.

150.

Their use and abuse,

Particles.

55

instance,

13 n. 2

p.

A happy

58.

negligence in their

use, 53

Parts of speech.

men-

List of those

tioned in the

tt.

p.

ep^u,.,

269

s.

v.

apQpov

Should be characterised by

Passion.

and

simplicity

rhetoric, p.

and

Definition

10

and

28.

p.

295

for various references

Period.

naturalness,

267 (dTrd^cia)

p.

(Trd^os)

19
description,

Number and

ff.

a period,

in

length
16

of

18.

Simple and composite periods, 17,

The

18.

and

185

Their allegorical (symboli-

Mysteries,

De

the

Rhetoric and

members

288

28, p.

23, 250;

Paris Manuscript, No. 1741, contain-

Pergamus and

caused by over-elaborate

ter

264,

253,

Cp. p. 296

260

p.

See
Milton: pp. 44,
287

of paeon and

elevated discourse,

Parallelism of clauses.

ing

239
Metaphor.
style,

Cp.

7.

Woman of

he

194,

Paeon.

34.

Archedemus,

and

Menander.

from

Definition

{kwXoj').

'

Aristotle

323

conversational

historical,

rhetorical period, 19

tithetic periods, 22

21.

An-

24.

Excessive

use of periods, 12, 303.

Judicious

combination of periodic and running

Naivete.

ed

Characteristic of old-fashion-

style, 244,

p.

Natural expression.
27,

Its effectiveness,

painter Nicias and

the

importance of a right choice of subject,

Nireus.

76,

p.

226

Homer, by employing

Contrast between the

15.

styles,

244,

periods in the

New

p. 26 n. 3.

300

28,

The

Nicias.

styles,

two

268

Peripatetics.

See

287. For

also p. 298

Referred to as writers

possessing

common

181, pp.

18,

characteristics,

53

Personincation.

Examples

figures,

exalts Nireus, 61, 62

p.

Testament, cp.

in 265,

266, 285, p. 300

Pheidias.

The

characteristics

of his

sculpture, 14

Obscurity.
obscurity

Paradoxical, but true, that

Philemon.

sometimes contributes to

that of

force, 254, p.

253

Onomatopoeic Words.

Add

His

style contrasted with

Menander,

193,

pp.

53

244
Defined, 94.
Cp. p. 297

to vividness, 220.

Why he could not

bear to hear the Cyclops mentioned,

Philip of Macedon.

'

DEMETRIUS ON STYLE

324

under

293: cp. references

p.

'tyrants,'

Cp.

198.

obscurity arises,

his

Quotations.
the

245

p.

Quoted on

Phillips, Stephen.

Philodemus and

19, 60,

Definition,

10.

'

Phrases, rather than members, con-

duce to force of

may

they

style,

241

but

Cp. p. 288
Plato

to

II.

and also

in

Cp. pp. 12

181, 228, 234, 297.

80,

with

p.

singular

than

length

six

feet,

4.

Poetic diction in prose must be used

with discretion, 112, 113

Polybius.
His use of proverbs,

40.

Polycrates.

See under

occur in the

PP- 303> 304

Pope, Alexander,

tt.

^/)/*.,

36

16,

Cp.

passim.

n. Aristotle

s.

Some

cpfi,.

Rhythm.

Its author-

on

of these given

Points of rhythm are raised

6,

5,

but see

117,

42, 48,

184,

183,

Cp. pp. 40

301, et passim.

does

if.,

271,

283, 301 etc.

may become

Language

Cp. pp. 263, 273

The word KU'8vi^J}8r)s is used

riddle, 102.

225, 233, 234,

'

etc.

II.

Riddle.

pp.

for

aposiopesis,

'

209, et

51.

50>

in
itself

or

Cp. pp. 265,

pp. 268, 286

261

rhetorician mentioned

Cp. p. 234
Polysyndeton. The term

for effect,

267;

ship and character, pp. ir, 59

Rhetorical terms not found in the

in 120.

not

214,

Rhetorica ad Alexandrum.

IT.

p.

Cp.

318 supra

Index

Rarely written in measures of

ava.-

280

266, 275, 276,

Reticence.

verb, pp. 214, 217, 230, 252

greater

211

Rhetoric of Aristotle, pp. 14

Neuter plural

Poetry.

Words repeated

clearness, 196, 197.

14,

261, etc.

227,

Plural.

rhetorical figure,

Illustrated in 58.

62,

61,

be

37,

pp. 296, 298

found in the sections enumerated in

Index

in

265

p.

Redundancy.

etc.

will

As

293
Redouble.' Puttenham's term for

Repetition.

References

made

loosely

cp. p. 213

148, p.

5t7rXwa-ts,

also cause aridity, 238.

Plain style, 199-239, pp. 30, 34,

Plato.

Often

e/)/x.

Recantation.

(/c6/t/ta).

TT.

252

p.

rhetoric, pp.

218

Phrase'

Notes and Glos-

in the

sary passim

How

Fhillstus.

Quoted

44.

326 infra

Risky.'

which makes
a show of passing over points which

of daring experiments in the use of

are really stated, 263, p. 296

(do"0aXi7s),

Praetermission.

Praxiphanes.

On

figure

language, as in 80.

'Principle of Suspense.'

See

p.

216

Sappho. Cp. Index

His study of etymology and

synonyms, p. 5
Pronunciation of the letter v, p. 224

Satyric drama.

Protagoras and grammar,

Scazon.

Prodicus.

Proverbs.
the

TT.

262

p.

The proverbs occurring

epii.

{klv-

the use of particles,

Cp. pp. 221, 222

57.

Cp. pp. 270

281 (^TTtcr^aX^s), 287

in

are collected on pp. 259

supra

p.

132,

Mentioned

in

240
See references under

'

169.

choli-

ambics,' p. 319 supra

Scythians.
pTJffis

cours

Quintilian as a student of style, pp. 25,

and add

167

166,

Cp.

II.

The words

dTrb

were used proverbially

d,

216,

la scythe^

297.

I^Kvdwv
for dzs-

Gothic bluntness,

Cp. pp. 262, 300

INDEX OF NAMES AND MATTERS

/.

As

'Shake.'

a musical

term,

74,

Shakespeare: pp. 41, 44, 223, 235,

236, 237, 288
Quoted,

Sheridan.

The

Sicily.

rhetoric,

of

birthplace

227,

Expanded metaphor,
Cp.

89.

method

their

Dialogues

Socratic

and

success,

their

Their contributions to the

Sophists.

study of prose style, pp.

Sophocles.

5,

Sophocles,

Cp.

114, p. 232.

See references in Index

II.

together with 128, 153 and pp. 234,

235, 261

Used with

character of the Sotadean

measures, 189,

244
Effects produced by the use

Sounds.

literature,

Summary

pp. 34

p.

of harsh or sweet sounds, 48, 49,

Cp. pp. 283,

69, 70, 105, 219, 255.

32, 267,

et,

76, 269,

Greek

in

critical

ff.

ir. kpii., pp. 28

34
Quoted, pp. 227, 233, 275
Impressive effect of long

of the

Syllables.

beginning and the

the

end of a member,

39,

219

p.

The enthymeme

Syllogism.

from

the

distin-

syllogism,

32,

See under

'al-

p. 302

Symbolical language.
317 supra

legory,' p.

The

Sotades.

Greek

to the

226

guished

pp. 44, 222, 261

Sophron.

p.

syllables at

bombastic line attributed

es-

282, 290, 307

Swinburne.

297, 298

'Le

[b)

this

see pp.

Substance and Form

277

p.

The

Socrates.

80,

As

250.

p.

for 'style,'

Subjunctive.

Simile.

to

'

pecially true of the epistolary style,

words

227

p.

what is said, 222;

I'homme meme

as in

style est

2^5

p.

325

Symmetry.

and abuse,

Its use

25,

29. 53

The

Synaloepha.
70, p.

of

fusion

vowels,.

303

Syrianus: refers to

'

Demetrius,' p. 61

284, 286

His philosophical

Spencer, Herbert.

on Style,

treatise

Telauges.

Greek,

schines

proverbial expression

Teleboas.

Cp.

pp. 255, 256.

the

ascribed by Aristotle to Stesichorus,

243.

99.

Cp.

260

p.

n.

literary

essay on Style, p. 43

'ele-

vated,' 'elegant,' 'forcible,' 'plain,'

'epistolary,'

etc.,

the Introduction, Notes

passim.
tions

Among

of what

posed to be

the

are

modem

may be mentioned:

as well as

and Glossary,

many

anticipa-

sometimes supviews of
(a)

style,

Distinction

shown (according to Theophrastus) as much in what is omitted

of style

the

Xenophon,

small

in

speaking of

Teleboas, suits his

river

Tennyson: pp.
Tense.

See the references under

'arid,'

291, p. 257:

44, 220, 221, 223, 227,

230, 231, etc.

Stoics and rhetoric, p. 19

Style.

Ae-

Title of a dialogue of

Socraticus,

language to the theme, 6, 121

His

Stevenson, Robert Louis.

265, 268

cp. 170, p. 240

278

how shown

of taste,

171, pp.

William

Sir

of

imitation

Stesichorus.

Want

Taste.
67,

43

Used by

'Spheterize.'

Jones in

p.

The

use of the past tense

may

contribute to vividness, 214

Text of the
pp. 209

Theodorus.

tt.

^/j/u.

See

Theodorus of Gadara pro-

bably meant in 237:

54.

on

note

211 supra

cp. pp. 21,

251

Theognis.

The

the expression

a bow, 85.

Theophrastus.

use
'

by Theognis of

stringless

lyre

'

for

Cp. Index

II.

See

references

the

DEMETRIUS ON STYLE

326
given in Index

Also pp.

II.

i6,

etc.

51,

His reference

Theophylact.

to the

tt.

Theopompus.

Cp. Index II. and see

also 75,

See Index

II.

and

5,

also

Cp. pp. 5, 219,

laid on the rugged-

40, 49, 181, 228.

Stress

220, etc.

is

ness of Thucydides, in 48 and else-

where

scribed and illustrated in connexion

with the plain style of which

an element,

essential

Cp.

Tisias the pupil of Corax, p. 2

ep/i.

tt.

See pp. 61

63,

and both facsimiles

Tragedy.

is

it

208

Long vowels render

so

220.

style im-

Concurrence of vowels

contributes to elevation of style,

68

73;

but must be avoided in the

See also under

plain style, 207.

'sportive tragedy' almost

279

p.

Vowels.

pressive, 39.

Title of the

This quality de-

Vividness {realism).

240, 250, p. 217

TlirasyTnachus and the period, pp.

Thucydides.

with caution in prose, 118, 180

Prose has its 'members,' cor185.

responding to the measures of verse,

pp. 60, 61

e/3/i.,

Metrical cadences to be used

Verse.

'Egypt,' p. 320 supra

a contradiction in terms, 169, p.

306

Used

Transitive verbs.

intransitively,

TpaweXia, and xapts on pp. 269, 272,

pp. 248, 297

Archbishop.

Trench,

His book

on

proverbs, p. 262

Trimeter.

Style.

uses the

Cp. pp. 246, 306

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 exclusive,

37
'T3rrants. Various references

289

p.

Words.

and

Wit and buffoonery

differ,

Order of words
plain

the

199

201.

in

the

how

168
in the elevated

styles,

50 55^

Rugged words may produce elevation, 49, 105. Compound words can be used effectively
elevated

styles, 91, 92,

and

the

forcible

275; but should be

avoided in the plain

style,

191.

294,

283, 308.

they

The New Comedy

trimeter, 204.

Types of

Watts-Dunton, Theodore: pp. 35, 36

References under aaTe'Caixot, evWit.

to,

237,

258

Formation of new words, 94 98,

pp. 297, 298. Dithyrambic compounds

Kinds of words
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
cause frigidity, 116.
distinguished

Usage.
86,

Usage
91.

as the sovereign arbiter,

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

and Glossary)
Wordsworth: pp.

44, 232

Xenophon. See the references

II.

and also

in

Index

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)

267;

Ctes. 133,

Epicharmus Fragm.

Aeschines Socraticus Fragm., 206

Anacreon Fragm.
Antiphon Fragm.

Hecataeus Fragm. 332, 2, 12

Herodotus i. i init., 17, 44; i. 203, 66
Hesiod Op. et D. 40, 122

62, 6
50, 63

Antisthenes Fragm. 67, 249

Archedemus Fragm., 34

Hippocrates Aphorism.

Homer

Iliad

Archilochus Fragm. 89, 5; 94, 5

Aristophanes Ach. 86, 161; Nub. 149,
179, 152; 401, 160

200;

ix.

124;

xii.

Aristotle Rhet.

339,82;

iii.

II, 81.

8, 38;

iii.

iii.

Anim.

Hist.

68

Alcaeus Fragjn. 39, 142

Alcidamas Fragm., 116

9, 11, 34;

97;

ii.

ix.

Fragmm .7i,28;6o9,233;6i5,

167.

24

147,

Euripides Ion 161, 196 Meleag. fragm

202, 268

61

iv.

ii.

238

4,

i,

1.

497, 64, 257;

ii.

671,

126, 81; iv. 443, 124; vi. 152,

502, 7; ix. 526, 26;

113, 111;
xiii.

x.

208, 265;

xii.

436,
xiii.

798, 64, 81; xiv. 433,

66; xvi. 161, 94, 220; xvi. 358, 48,

106; XX.

218, 79;

xxi.

66;

i,

xxi.

226; 618, 97, 144, 164; 619, 29, 164;

257, 209; xxi. 388, 83; xxii. 133, 189;

620, 230

xxiii. 116,

219;

xxiii.

Odyssey

379, 210.

154, 67; xxiii.

iii.

278, 160;

v.

Caeitarchus Fragm., 304

203, 57;

Cleobulina Fragm.

ix.

289, 219; ix. 369, 130, 152, 262;

ix.

394, 94;

Crates Fragm.
Ctesias

7,

Fragmm.

i,

102

259
20, 21, 213;

36,

216

105, 129; ix.

vi.

xi.

xvi. 220, 67;

595, 72;

xix.

7,

52;

190,

xii.

73, 60;

107; xix. 172,

113; xix. 518, 133; xxi. 226, 67

Demades Fragmm.,

283, 284, 286

Demetrius Phalereus Fragm. 7, 289

Demosthenes Aristocr. 99, 31, 248 (cp.
De Cor. 3, 263; 18,
n. on p. 217).
299; 71,279; 136,80,272; 179,270;
188, 273; 265, 260.

De

Falsa Leg.

421, 277; 424, 280; 442, 269.

init.,
iii.

10, 11, 20, 246, 246.

Lept.

Philipp.

Isocrates
I,

L3nric.

Hel. 17, 23.

Fragmm. Adesp.

126, 143;

'Lj&\S^B

Eratosth. ad

init.,

190;

128; 275, 128, 262

26, 263

Dicaearchus Fragm.

33, 182

Panegyr.

128,

262; Bergk p. 742, 161

91,

5,

Enc

26; 58, 22

Menander Fragm.

230, 194

Fragmm.

DEMETRIUS ON STYLE

328
Euthyd.

Plato

A,

271

Mmex.

226.

Phaed. 59 C, 288.
246 D, 266.
Phaedr. 246 E, 56.
Politicus 269 C,
5.

Rep.

Protag. 312 A, 218.

21, 205

iii.

399 D, 185
Epist.

51, 183, 184.

7,

iii.

i.

Theopompus Fragm.
Thucydides

init.,

iv.

64, 113

106;

94,

162

Sophocles

127

127
;

Triptol.

52,

156

109,

140;

122,

21, 198;
i.

24,
;

151

156

68,

104;

iii.

147

i.

i.

8,

i.

18,

i.

19;
5,

84;

93;

8,

i.

2,

i.

2,

20,

31, 137; iv. 4, 3, 6, 121;

i,

98;

4, 21, 89,

vi.

I,

274;

xi.

13, 131.

Cyrop.

134

2, 15,

108,

Scriptores Incerti 17, 18, 26, 42, 63,

Theognis Fragm., 85;

70, 115, 116, 117, 121, 126, 138,

cp.

n,

on

p.

228 supra

149,

158,

161, 187,

211,

217,

236,

237,

188,

238,

258, 265, 281, 296, 302.

Fragmm.

Theophrastus

65

12,

iv.

init., 3,

139;

27,

2,

i.

V. 2, 14,

32,

Sotades Fragm., 189

41, 114,

8. 10,

103;

fragm., 114

151

10,

146;

1^

Sophron Fragmm.
34,

92,

91, 148;

141;

95,

123, 127,

49, 48

290
XenoTglhon Aiiab.

Sappho Fragmm.

206;

25

5,

i.

ii.

72

vi. I,

44;

48, 39

ii.

45, 202,

102,

ii.

249, 27, 247

init.,

24, 72, 199

i.

411 A, B,

i.

196,

145,

207,

239, 257,

Cp.

p.

216

Xe^ews),

(tt.

173, 222

CAMBRIDGE

PRINTED BY

J.

AND

C. F.

CLAY, AT

THE UNIVERSITY

PRESS.

BY THE SAME
Dionysius of Halicarnassus

k
'

The Greek

EDITOR.

the Three Literary Letters.

text edited with English Translation, Facsimile, Notes, Glossary

of Rhetorical Terms, Bibliography, and Introductory Essay on Dionysius as a

Cambridge University Press, 1901. Demy 8vo. qj-.
Literary Critic.

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
Dionys wird S. i 49 als ein
Schriftstellerei der Augusteischen Zeit bevv'ahrt.
"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
Die gegeniiberstehende
(Tvvdecrecjs und von den drei hier veroffentlichten Briefen
englische Uebersetzung, die dem Verfasser begreiflicherweise grosse Schwierigkeiten 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 chronologische Verzeichniss der Ausgaben der rhetorischen opuscula und der einschlagigen 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 Halicarnassensis librorum rhetoricorumfontibus) in the Wochenschrift fiir klassische Fhilologie.

vies de Demosthene
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 extremement 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 catalogues ; 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

'En presentant annee par annee un tableau synoptique des

et d'Aristote

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

Roberts ha fatto

il

buona ed

utile

in tutto

continuazione.'

il

suo lavoro, che e buono ed utile ed e arra di

C. O. Zuretti in the Bollettino di

Professor

Filologia Classica.

'An excellent edition of The Three Literary Letters of Dionysius of Halicarnassus 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

with much satisfaction, that the whole subject of

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 enthusiasm
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).
'

Greek

observe,

criticism

therefore,

is

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
But he will add greatly to our obligation if he will print us the famous
censure.
treatise Ile/oi avvd^aeus dyo/u.a.Tuv, of which we should welcome a scholarly edition.
in
this
treatise Dionysius reviews and attempts to explain the art of litei-ature.
For
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
Spectator.
to-day
'

'

In this volume every scholar will welcome with pleasure a right worthy companion 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 translation 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
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 conclude that Dr Rhys Roberts' general introduction will quicken the desire to see the
There is no trace of effort in
rest of Dionysius' extant works worthily edited
Even the reader who is innocent of Greek could relish the letters
the translation.
An introductory essay on Dionysius as a literary critic, the
in their English dress.
Greek text, a translation, a glossary, and a bibliography combine to make the
volume singularly complete.' Church Times.
*

of

"Longinus on

'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
leaves nothing to be desired.'

all

necessary information.

Altogether, the editing

Academy.

'Along with Professor Lindsay's edition of the CaptivU

By

credit to English scholarship.

his edition of the treatise

book does great

the Sublime, and
out the Greek literary
this

On

magazines, Professor Roberts has marked

He has produced a work not only indispensable to
His introductory
also readable to a much wider circle.
essay is excellent in matter and in manner; his translation is always successful and
often brilliant his notes and glossary show comprehensive and careful scholarship.'
Cambridge Review.

by many

articles in

demesne
students of Greek but
critics as

his

An

introductory essay passes the whole literary production of the great critic
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.
'

under review.

'
The editor has done excellently an important piece of work one which ranks
worthily with his edition of the " De Sublimitate " and which augurs well for the
Mr Roberts' introductory essay is admirable.'
editions promised in his preface

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 Halicarnassus," we can testify that it is worthy to rank with its predecessor as far as the
The text has been carefully edited, after a new collaeditor's work is concerned.
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
The translation is lucid and idiomatic,
recension than any of his predecessors
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
This book is the second of a series of Greek critical works which
of the book
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' transNotes and Queries.
lation is not lacking in so essential a quality.'
'

'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
Homer, Herodotus, Demosthenes, and Thucydides analysed by one
antiquity
who spoke their own tongue.' St James'' s Gazette.
'

Last year we were indebted to Professor Rhys Roberts, of Bangor, for the
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
The
already so justly acquired for the writer both here and on the Continent
translation, while closely following the Greek original, is yet a model of lucid and
Daily News.
vigorous English.'
'

first

'

Every student of Greek who wishes thoroughly to understand the formal

its literature must read this writer, and he could not be read in a

aspects of

EXTRACTS FROM

REVIEWS-continued.

better edition.
The work is worthy of its place beside its editor's " Longinus,"
will substantially enrich any classical library.'
Scotsman.

and

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

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
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.
glossaire.

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 discretion 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 travailleurs, 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 d histoire et de litterature.
'

ALSO PUBLISHED BY THE CAMBRIDGE

UNIVERSITY PRESS.
The Ancient Boeotians
their Reputation.

their Character and Culture, and

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

(Including a chapter on the

by Frederic Spencer, M.A., Phil. Doc.
Teaching of Greek by W. Rhys Roberts, M.A.) First edition, 1897

second edition, 1899.

Crown

8vo.

Longinus on the Sublime.

ts.

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.

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