CHAPTER XXII

AUSTERE COMPOSITION

The characteristic feature of the austere arrangement is this:—It requires that the words should be like columns firmly planted and placed in strong positions, so that each word should be seen on every side, and that the parts should be at appreciable distances from one another, being separated by perceptible intervals. It does not in the least shrink from using frequently harsh sound-clashings which jar on the ear; like blocks of building stone that are laid together unworked, blocks that are not square and smooth, but preserve their natural roughness and irregularity.

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αὐτοσχέδιοι· μεγάλοις τε καὶ διαβεβηκόσιν εἰς πλάτος ὀνόμασιν ὡς τὰ πολλὰ μηκύνεσθαι φιλεῖ· τὸ γὰρ εἰς βραχείας συλλαβὰς συνάγεσθαι πολέμιον αὐτῇ, πλὴν εἴ ποτε ἀνάγκη βιάζοιτο.

ἐν μὲν δὴ τοῖς ὀνόμασι ταῦτα πειρᾶται διώκειν καὶ τούτων γλίχεται· ἐν δὲ τοῖς κώλοις ταῦτά τε ὁμοίως ἐπιτηδεύει 5 καὶ τοὺς ῥυθμοὺς τοὺς ἀξιωματικοὺς καὶ μεγαλοπρεπεῖς, καὶ οὔτε πάρισα βούλεται τὰ κῶλα ἀλλήλοις εἶναι οὔτε παρόμοια οὔτε ἀναγκαίᾳ δουλεύοντα ἀκολουθίᾳ, ἀλλ’ εὐγενῆ καὶ λαμπρὰ καὶ ἐλεύθερα, φύσει τ’ ἐοικέναι μᾶλλον αὐτὰ βούλεται ἢ τέχνῃ, καὶ κατὰ πάθος λέγεσθαι μᾶλλον ἢ κατ’ 10 ἦθος. περιόδους δὲ συντιθέναι συναπαρτιζούσας ἑαυταῖς τὸν νοῦν τὰ πολλὰ μὲν οὐδὲ βούλεται· εἰ δέ ποτ’ αὐτομάτως ἐπὶ τοῦτο κατενεχθείη, τὸ ἀνεπιτήδευτον ἐμφαίνειν θέλει καὶ ἀφελές, οὔτε προσθήκαις τισὶν ὀνομάτων, ἵνα ὁ κύκλος ἐκπληρωθῇ, μηδὲν ὠφελούσαις τὸν νοῦν χρωμένη, οὔτε ὅπως αἱ 15 βάσεις αὐτῶν γένοιντο θεατρικαί τινες ἢ γλαφυραί, σπουδὴν ἔχουσα, οὐδ’ ἵνα τῷ πνεύματι τοῦ λέγοντος ὦσιν αὐτάρκεις συμμετρουμένη μὰ Δία, οὐδ’ ἄλλην τινὰ [πραγματείαν] τοιαύτην ἔχουσα ἐπιτήδευσιν οὐδεμίαν. ἔτι τῆς τοιαύτης ἐστὶν ἁρμονίας καὶ ταῦτα ἴδια· ἀγχίστροφός ἐστι περὶ τὰς πτώσεις, 20 ποικίλη περὶ τοὺς σχηματισμούς, ὀλιγοσύνδεσμος, ἄναρθρος, ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, ἥκιστ’ ἀνθηρά, μεγαλόφρων, αὐθέκαστος, ἀκόμψευτος, τὸν ἀρχαϊσμὸν καὶ τὸν πίνον ἔχουσα κάλλος.

ταύτης δὲ τῆς ἁρμονίας πολλοὶ μὲν ἐγένοντο ζηλωταὶ κατά 25

1 εἰς F: ἐκ PMV 2 συλλαβὰς F: συλλαβῆς PMV 3 ποτε καὶ ἡ ἀνάγκη F 5 ὁμοίως Us.: ὁμοίως ἢ οὐχ ἧττον P: οὐχ ἧττον ὁμοίως F: οὐχ ἧττον MV 6 καὶ (alt.) EF: καὶ τοὺς PMV 7 καὶ οὔτε EF: ἐκλέγεται καὶ οὔτε PMV || εἶναι om. P 8 παρ’ ὅμοια F || ἀναγκαίαι P, M: ἀνάγκηι F, E: ἀναγκαῖα V || ἀκολουθίαι ἀλλ’ P, MV: ἀκόλουθα δὲ καὶ EF 9 λαμπρὰ EF: ἁπλᾶ PMV 10 ἡ τέχνη F || λέγεται EF 11 συναπαρτιζούσας E: συναπαρτιζούσαις F: συναρτιζούσας PM: συναρμοζούσας V || ἑαυταῖς EF (coniecerat Uptonus): om. PMV 12 οὐδὲ EF: οὔτε PMV 17 ἔχουσα Sylburgius: ἔχουσαι libri || τοῦ δέοντος P 18 συμμετρουμένη Schaeferus: συμμετρούμεναι libri || πραγματείαν secl. Usenerus 19 ἔχουσα P: ἔχουσαν FM: om. V || ἐπίτηδ’ οὐδεμι(αν) P: ἐπιτηδεύει οὐδὲ FMV || ἔτι Uptonus: ἐπὶ libri || ἐστὶν F: om. PMV 20 καὶ FP: κατὰ MV || ἴδια] δὲ MV || ἀγχίστροφός PM: ἀντίρροπός F 21 ἄναρθρος] ἀναίσθιος F 22 ὑπεροπτικὴ] ὑποδεκτικὴ F 23 ἀκόμψευστον F || τὸν EF: τὸ PMV 24 πῖνον libri || ἔχοντα F || κάλλος om. F 25 δὲ om. EF

8. Perhaps ἀνάγκῃ δουλεύοντα, ἀνακόλουθα δὲ καί: with ἐπὶ (‘in the case of’) retained in l. 19.

11. The meaning is that the austere style does not seek for periods containing a complete thought, and that, if accidentally it stumbles into them, it wishes to emphasize (by means of careful abstention from all artificial means of rounding off the sentence) the absence of premeditation.—With regard to Upton’s conjecture ἑαυταῖς it should be noticed that this is only one of many instances in which his acuteness has since been confirmed by manuscript authority.

18. =μὰ Δία=: cp. (for the order) νὴ Δία =120= 9. μά is here used because of the preceding negatives.

22. =ἐν πολλοῖς ὑπεροπτική= κτλ.: in other words, such a style delights in anacolutha.

19-24. It is to be noticed, in this and other sentences, that Dionysius often so writes as to reflect the character of the style he is for the moment describing.—Baudat (p. 58) illustrates the style in question by quotations from Malherbe and Boileau, and adds: “Chacun connaît ces vers du _Cor_ d’Alf. de Vigny:

Roncevaux! Roncevaux! dans ta sombre vallée L’ombre du grand Roland n’est donc pas consolée!

Le son _on_ y revient six fois, le son _an_ trois fois, le son _au_ deux fois; ils sont tous trois sourds et la rime en _ée_ seule est sonore. La succession de ces sons produit une harmonie dure, qui a quelque chose de voilé et de funèbre; on croit entendre le grondement de l’orage.”

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It is prone for the most part to expansion by means of great spacious words. It objects to being confined to short syllables, except under occasional stress of necessity.

In respect of the words, then, these are the aims which it strives to attain, and to these it adheres. In its clauses it pursues not only these objects but also impressive and stately rhythms, and tries to make its clauses not parallel in structure or sound, nor slaves to a rigid sequence, but noble, brilliant, free. It wishes them to suggest nature rather than art, and to stir emotion rather than to reflect character. And as to periods, it does not, as a rule, even attempt to compose them in such a way that the sense of each is complete in itself: if it ever drifts into this accidentally, it seeks to emphasize its own unstudied and simple character, neither using any supplementary words which in no way aid the sense, merely in order that the period may be fully rounded off, nor being anxious that the periods should move smoothly or showily, nor nicely calculating them so as to be just sufficient (if you please) for the speaker’s breath, nor taking pains about any other such trifles. Further, the arrangement in question is marked by flexibility in its use of the cases, variety in the employment of figures, few connectives; it lacks articles, it often disregards natural sequence; it is anything rather than florid, it is aristocratic, plain-spoken, unvarnished; an old-world mellowness constitutes its beauty.

This mode of composition was once zealously practised by

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τε ποίησιν καὶ ἱστορίαν καὶ λόγους πολιτικούς, διαφέροντες δὲ τῶν ἄλλων ἐν μὲν ἐπικῇ ποιήσει ὅ τε Κολοφώνιος Ἀντίμαχος καὶ Ἐμπεδοκλῆς ὁ φυσικός, ἐν δὲ μελοποιίᾳ Πίνδαρος, ἐν τραγῳδίᾳ δ’ Αἰσχύλος, ἐν ἱστορίᾳ δὲ Θουκυδίδης, ἐν δὲ πολιτικοῖς λόγοις Ἀντιφῶν. ἐνταῦθα ἡ μὲν ὑπόθεσις ἀπῄτει 5 πολλὰ παρασχέσθαι τῶν εἰρημένων ἑκάστου παραδείγματα, καὶ ἴσως οὐκ ἀηδὴς ἂν ὁ λόγος ἐγένετο πολλοῖς ὥσπερ ἄνθεσι διαποικιλλόμενος τοῖς ἐαρινοῖς· ἀλλ’ ὑπέρμετρον ἔμελλε φανήσεσθαι τὸ σύνταγμα καὶ σχολικὸν μᾶλλον ἢ παραγγελματικόν· οὐ μὲν δὴ οὐδ’ ἀνεξέλεγκτα παραλιπεῖν τὰ ῥηθέντα ἥρμοττεν, 10 ὡς δὴ φανερὰ καὶ οὐ δεόμενα μαρτυρίας· ἔδει δέ πως τὸ μέτριον ἀμφοῖν λαβεῖν καὶ μήτε πλεονάσαι τοῦ καιροῦ μήτ’ ἐλλιπεῖν τῆς πίστεως. τοῦτο δὴ πειράσομαι ποιῆσαι δείγματα λαβὼν ὀλίγα παρὰ τῶν ἐπιφανεστάτων ἀνδρῶν. ποιητῶν μὲν οὖν Πίνδαρος ἀρκέσει παραληφθείς, συγγραφέων δὲ Θουκυδίδης· 15 κράτιστοι γὰρ οὗτοι ποιηταὶ τῆς αὐστηρᾶς ἁρμονίας. ἀρχέτω δὲ Πίνδαρος, καὶ τούτου διθύραμβός τις οὗ ἐστιν ἡ ἀρχή·

δεῦτ’ ἐν χορόν, Ὀλύμπιοι, ἐπί τε κλυτὰν πέμπετε χάριν, θεοί, πολύβατον οἵ τ’ ἄστεος ὀμφαλὸν θυόεντα 20 ἐν ταῖς ἱεραῖς Ἀθάναις

1 ποιητικοὺς F 2 ἐπικῇ Sylburgius: ἐπιεικη F: ἐπιεικεῖ PMV: om. E 5 ποιητικοῖς F 8 ἐαρινοῖς] ἀριθμ(οις) P 10 οὐδ’ ἀνεξέλεγκτα P: οὐδ’ ἀνεξέλεκτα M: οὐδ’ ἂν ἐξέλεγκτα F 12 μέτριον PV: μέτρον FM 13 δὴ F 17 τίς οὖν ἐστιν ἀρχῆι P || ἡ ἀρχὴ E: ἀρχὴ FMV 18 δεῦτ’ EFM^2V: ΐδετ’ P, M^1 || ἐν χορὸν EFV: ἐν σχορ(ὸν) P 19 πέμπεται P 20 οἵ τ’] οἳ F || ἄστεως F (ἄστεος praestat idem =222= 14) 21 ἀθήναις libri: sed cf. n. crit. ad =222= 14

2. For =Antimachus of Colophon= cp. _de Imitat._ ii. 6 Ἀντίμαχος δὲ εὐτονίας [ἐφρόντισεν] καὶ ἀγωνιστικῆς τραχύτητος καὶ τοῦ συνήθους τῆς ἐξαλλαγῆς: Catullus xcv. 20 “at populus tumido gaudeat Antimacho”: Quintil. x. 1. 53 “contra in Antimacho vis et gravitas et minime vulgare eloquendi genus habet laudem. sed quamvis ei secundas fere grammaticorum consensus deferat, et affectibus et iucunditate et dispositione et omnino arte deficitur, ut plane manifesto appareat, quanto sit aliud proximum esse, aliud parem.” Plato’s admiration for his poetry is said to have been great.

3. For =Empedocles= as being a physicist rather than a poet see Aristot. _Poet._ i. 9 καὶ γὰρ ἂν ἰατρικὸν ἢ φυσικόν τι διὰ τῶν μέτρων ἐκφέρωσιν, οὕτω καλεῖν εἰώθασιν, οὐδὲν δὲ κοινόν ἐστιν Ὁμήρῳ καὶ Ἐμπεδοκλεῖ πλὴν τὸ μέτρον, διὸ τὸν μὲν ποιητὴν δίκαιον καλεῖν, τὸν δὲ φυσιολόγον μᾶλλον ἢ ποιητήν. But on the other side cp. Lucret. i. 731 “carmina quin etiam divini pectoris eius | vociferantur et exponunt praeclara reperta, | ut vix humana videatur stirpe creatus.” The fragments of Empedocles go far to justify Lucretius’ opinion; and the true poetic gifts of Empedocles, as of Lucretius himself, may have been seen in his work as a whole, even more than in its parts.

3, 4. The μεγαλοπρέπεια of =Pindar= is emphasized in the _de Imitat._ B. vi. 2.—Similarly, _ibid._, as to =Aeschylus=: ὁ δ’ οὖν Αἰσχύλος πρῶτος ὑψηλός τε καὶ τῆς μεγαλοπρεπείας ἐχόμενος, κτλ.

5. For other references to =Antiphon= see _de Isaeo_ c. 20, _de Thucyd._ c. 51, _de Demosth._ c. 8, _Ep. i. ad Amm._ c. 2, and _C.V._ c. 10. Also Thucyd. viii. 68 Ἀντιφῶν ἀνὴρ Ἀθηναίων τῶν καθ’ ἑαυτὸν ἀρετῇ τε οὐδενὸς δεύτερος καὶ κράτιστος ἐνθυμηθῆναι γενόμενος καὶ ἃ γνοίη εἰπεῖν.—For =Thucydides= himself see D.H. _passim_ (especially pp. 30-34, 104 ff., 130 ff.).

17. G. S. Farnell _Greek Lyric Poetry_ p. 417: “The excited nature of the rhythm throughout, and the rapturous enthusiasm with which the approach of spring is described, are eminently characteristic of the dithyramb at its best; and it is easy to understand how such a style, in the hands of inferior poets, degenerated into the florid inanity which characterizes the later dithyrambic poets.”

18. =δεῦτ’ ἐν χορόν=, ‘come ye to the dance.’ “ἐν _cum accus._ (eight times in Pindar, chiefly in the Aeolic odes) is a relic of the original stage of the language when this preposition had the functions of the Latin _in_. It is preserved in Boeotian, Thessalian, North-West Greek, Eleian, Arcadian, Cyprian, and perhaps even in the Attic ἔμβραχυ. The accusative use was abandoned on the rise of ἐν-ς (cf. _ab-s_), which, before a vowel, became εἰς, before a consonant, ἐς” (Weir Smyth _Greek Melic Poets_ p. 359). P’s curious reading ἐν σχορ(ὸν) is to be noticed.

20. =ὀμφαλόν=: the reference is to the Athenian Acropolis, and the passage suggested a fitting motto to Otto Jahn for his _Pausaniae Descriptio Arcis Athenarum_.

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many authors in poetry, history, and civil oratory; pre-eminently in epic poetry by Antimachus of Colophon and Empedocles the natural philosopher, in lyric poetry by Pindar, in tragedy by Aeschylus, in history by Thucydides, and in civil oratory by Antiphon. At this point the subject would naturally call for the presentation of numerous examples of each author cited, and possibly the discourse would have been rendered not unattractive if bedecked with many such flowers of spring. But then the treatise would probably be felt to be excessively long—more like a course of lectures than a manual. On the other hand, it would not be fitting to leave the statements unsubstantiated, as though they were obvious and not in need of proof. The right thing, no doubt, is after all to take a sort of middle course, neither to exceed all measure, nor yet to fall short of carrying conviction. I will endeavour to do so by selecting a few samples from the most distinguished authors. Among poets it will be enough to cite Pindar, among prose-writers Thucydides; for these are the best writers in the austere style of composition. Let Pindar come first, and from him I take a dithyramb which begins—

Shed o’er our choir, Olympian Dominations, The glory of your grace, O ye who hallow with your visitations The curious-carven place,

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οἰχνεῖτε πανδαίδαλόν τ’ εὐκλέ’ ἀγοράν, ἰοδέτων λάχετε στεφάνων τᾶν τ’ ἐαριδρόπων ἀοιδᾶν· Διόθεν τέ με σὺν ἀγλαΐᾳ ἴδετε πορευθέντ’ ἀοιδᾶν δεύτερον ἐπὶ τὸν κισσοδέταν θεόν, 5 τὸν Βρόμιον ἐριβόαν τε βροτοὶ καλέομεν, γόνον ὑπάτων μὲν πατέρων μέλπομεν γυναικῶν τε Καδμεϊᾶν [ἔμολον]. ἐναργέα τελέων σάματ’ οὐ λανθάνει, φοινικοεάνων ὁπότ’ οἰχθέντος Ὡρᾶν θαλάμου 10 εὔοδμον ἐπάγῃσιν ἔαρ φυτὰ νεκτάρεα· τότε βάλλεται, τότ’ ἐπ’ ἄμβροτον χέρσον ἐραταὶ ἴων φόβαι, ῥόδα τε κόμαισι μίγνυται ἀχεῖ τ’ ὀμφαὶ μελέων σὺν αὐλοῖς, ἀχεῖ τε Σεμέλαν ἑλικάμπυκα χοροί. 15

ταῦθ’ ὅτι μέν ἐστιν ἰσχυρὰ καὶ στιβαρὰ καὶ ἀξιωματικὰ καὶ πολὺ τὸ αὐστηρὸν ἔχει τραχύνει τε ἀλύπως καὶ πικραίνει μετρίως τὰς ἀκοὰς ἀναβέβληταί τε τοῖς χρόνοις καὶ διαβέβηκεν ἐπὶ πολὺ ταῖς ἁρμονίαις καὶ οὐ τὸ θεατρικὸν δὴ τοῦτο καὶ γλαφυρὸν ἐπιδείκνυται κάλλος ἀλλὰ τὸ ἀρχαϊκὸν 20 ἐκεῖνο καὶ αὐστηρόν, ἅπαντες ἂν εὖ οἶδ’ ὅτι μαρτυρήσειαν οἱ

2 ιοδέτ(ων) P, MV: ἰαδέτων E: ὅδ’ ἐγὼν F || λαχετε P, EMV: λάχει F (cp. =224= 4) || τᾶν τ’ ἐαριδρόπων Us.: ἄντε ἀριδρόπων F: τ’ ἀντ’ ἐαριδρέπων P: τάν τε ἀριδρέπτων E: τ’ ἀντ’ ἐπαριδρέπων M: τῶν ἐαριδρέπτων V || ἀοιδάν EFV: λοιβάν PM 3 Διόθεν τέ με] διατεθέντε F 4 πορευθέντα· οἱ δἂν F: πορευθέντες ἀοιδαὶ (ἀοιδαῖς EV) ceteri 5 κισσοδέταν s: κισσοδόνταν deleto ν priore P (κισσοδόταν leg. Us.): κισσοδαη F, EMV 6 τὸν P: ὃν ceteri || βρόμιον ὃν EFMV: βρόμι(ον). τ(ον) P 7 μὲν P: τε EV: μέν τε FM || μέλπε P: μέλπομεν ceteri 8 ἔμολον P: σεμέλαν EV: σεμέλην FM 9 ἐναργέα τελέων Us.: ἐναργεα νεμέω P, E: ἐν ἄλγεα τεμεῶι F: ἐν ἀργέα νεμέα MV || σάματ’ Us.: τεμάντιν F: μάντιν cett. 10 φοινικοεάνων Kock: φοινικοεάων F: φοίνικος ἐανῶν cett. || οἰχθόντες F || ὧραν F: ὥραν cett. || θάλαμοι F 11 εὐόαμον F || ἐπάγοισιν F: ἐπαΐωσιν cett. 12 τότε om. F || ἄμβροτον χέρσον EFV: ἀμβρόταν (αμσβρόταν P) χθόν’ PM 12-13 ἐραταὶ (ἐρατὰς V) ἴων φόβαι ῥόδατε EV: ἐρατέων φοβερόδατε F: ἐρατὰν· ΐον φοβεράτε P, M 13 κόμισι F || μίγνυται PM: μίγνυνται EFV 14 ἀχεῖ τε F: οἰχνεῖ τ’ EPM: οἰχνεῖτε V: ὑμνεῖτε s || ὀμφᾶι F: ὀμφᾶ E: ὀμφα V: ὀμφαῖς PM 15 ἀχεῖ τε Hermannus: οἰχνεῖ τε libri: ὑμνεῖτε s 18 ἀναβέβληται F: ἀνακέκληται PMV 19 ἐπὶ F: ἐπὶ τὸ PMV || καὶ οὐ τὸ Us.: καὶ οὔτε PMV: οὐ τὸ F 21 καὶ FM: καὶ τὸ PV || εὖ F: om. PMV

2. λαχεῖν would be infinitive for imperative, or (rather) infinitive of purpose after a verb of motion (just as Boeckh, in l. 7 _infra_, reads μελπέμεν).

λοιβᾶν (λοιβάν PM) might be taken to refer to honey, or to ‘drink-offerings of spring-gathered herbs.’

4. =δεύτερον=: “post Iovem patrem _secundo loco_ ad Bacchum filium,” Boeckh. Or the reference may be to a previous visit of Pindar to Athens.

9. ‘The clear-seen tokens of his rites are not unnoticed.’ In other words, the return of spring indicates to the god that his festival is at hand: cp. Aristoph. _Nub._ 311 (Weir Smyth).

12. =βάλλεται ... ἀχεῖ ... ἀχεῖ=: _schema Pindaricum._

15. “Metre: paeonic-logaoedic as _Ol._ 10, _Pyth._ 5. Schmidt (_Eurythmie_ 428) regards the metre as logaoedic throughout. The fragment belongs to the ἀπολελυμένα μέλη, that is, it is not divided into strophes,” Weir Smyth.

21. It is convenient to use ‘readers’ occasionally in the translation. But ‘hearers’ (οἱ ἀκούοντες) would more naturally be used by a Greek: just as λόγους (=218= 1) is strictly ‘discourse’ rather than ‘literature.’

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The heart of Athens, steaming with oblations, Wide-thronged with many a face. Come, take your due of garlands violet-woven, Of songs that burst forth when the buds are cloven.

Look on me—linked with music’s heaven-born glamour Again have I drawn nigh The Ivy-wreathed, on earth named Lord of Clamour, Of the soul-thrilling cry. We hymn the Babe that of the Maid Kadmeian Sprang to the Sire throned in the empyrean.

By surest tokens is he manifested:— What time the bridal bowers Of Earth and Sun are by their crimson-vested Warders flung wide, the Hours. Then Spring, led on by flowers nectar-breathing, O’er Earth the deathless flings Violet and rose their love-locks interwreathing: The voice of song outrings An echo to the flutes; the dance his story Echoes, and circlet-crowned Semele’s glory.[174]

That these lines are vigorous, weighty and dignified, and possess much austerity; that, though rugged, they are not unpleasantly so, and though harsh to the ear, are but so in due measure; that they are slow in their time-movement, and present broad effects of harmony; and that they exhibit not the showy and decorative prettiness of our day, but the austere beauty of a distant past: this will, I am sure, be attested by all readers

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μετρίαν ἔχοντες αἴσθησιν περὶ λόγους. τίνι δὲ κατασκευασθέντα ἐπιτηδεύσει τοιαῦτα γέγονεν (οὐ γὰρ ἄνευ γε τέχνης καὶ λόγου τινός, αὐτοματισμῷ δὲ καὶ τύχῃ χρησάμενα τοῦτον εἴληφε τὸν χαρακτῆρα), ἐγὼ πειράσομαι δεικνύναι.

τὸ πρῶτον αὐτῷ κῶλον ἐκ τεττάρων σύγκειται λέξεως 5 μορίων, ῥήματος καὶ συνδέσμου καὶ δυεῖν προσηγορικῶν· τὸ μὲν οὖν ῥῆμα καὶ ὁ σύνδεσμος συναλοιφῇ κερασθέντα οὐκ ἀηδῆ πεποίηκε τὴν ἁρμονίαν· τὸ δὲ προσηγορικὸν τῷ συνδέσμῳ συντιθέμενον ἀποτετράχυκεν ἀξιολόγως τὴν ἁρμογήν· τὸ γὰρ #ἐν χορὸν# καὶ ἀντίτυπον καὶ οὐκ εὐεπές, τοῦ μὲν συνδέσμου 10 λήγοντος εἰς ἡμίφωνον στοιχεῖον τὸ ν̄, τοῦ δὲ προσηγορικοῦ τὴν ἀρχὴν λαμβάνοντος ἀφ’ ἑνὸς τῶν ἀφώνων τοῦ χ̄· ἀσύμμικτα δὲ τῇ φύσει ταῦτα τὰ στοιχεῖα καὶ ἀκόλλητα· οὐ γὰρ πέφυκε κατὰ μίαν συλλαβὴν τοῦ χ̄ προτάττεσθαι τὸ ν̄, ὥστε οὐδὲ συλλαβῶν ὅρια γινόμενα συνάπτει τὸν ἦχον, ἀλλ’ 15 ἀνάγκη σιωπήν τινα γενέσθαι μέσην ἀμφοῖν τὴν διορίζουσαν ἑκατέρου τῶν γραμμάτων τὰς δυνάμεις. τὸ μὲν δὴ πρῶτον κῶλον οὕτω τραχύνεται τῇ συνθέσει. κῶλα δέ με δέξαι λέγειν οὐχ οἷς Ἀριστοφάνης ἢ τῶν ἄλλων τις μετρικῶν διεκόσμησε τὰς ᾠδάς, ἀλλ’ οἷς ἡ φύσις ἀξιοῖ διαιρεῖν τὸν 20 λόγον καὶ ῥητόρων παῖδες τὰς περιόδους διαιροῦσι.

τὸ δὲ τούτῳ παρακείμενον κῶλον τὸ “#ἐπί τε κλυτὰν πέμπετε χάριν θεοί#” διαβέβηκεν ἀπὸ τοῦ προτέρου διάβασιν ἀξιόλογον καὶ περιείληφεν ἐν αὑτῷ πολλὰς ἁρμονίας ἀντιτύπους. ἄρχει μὲν γὰρ αὐτοῦ στοιχεῖον ἓν τῶν φωνηέντων τὸ 25 ε̄ καὶ παράκειται ἑτέρῳ φωνήεντι τῷ ῑ· εἰς τοῦτο γὰρ ἔληγε

1 λόγους ... τέχνης καὶ om. F || τινὶ δε P 3 δὲ καὶ F: καὶ PMV || χρησάμενον F 4 ἐγὼ PMV: ὃν ἐγὼ F 5 αὐτὸ F 10 καὶ ἀντίτυπον EF: ἀντίτυπόν τε PMV || εὐεπὲς EF: εὐπετὲς PMV 13 τῆι φύσει P, M in marg. F: om. F^1: τῆ ῥύσει V 14 προτάττεσθαι F: προτετάχθε P, MV 15 οὐδὲ PMV: οὔτε F || ὅρια] ὄρια F: δύο (β̄ P) μόρια EPM: δύο τὰ μόρια V || συνάπτει] τύπτει F 16 γενέσθαι EF: γίγνεσθαι P: γίνεσθαι MV || μέσοιν EM 17 ἑκατέρων EF 18 με δέξαι PV: μ’ ἔδοξε FM 19 λέγειν F: νυνὶ λέγειν PMV 22 δὲ τούτω PV: δ’ επι τούτων F, M 23 θεοὶ FM: om. PV || διαβέβηκεν F: βέβηκέ τε PMV 24 αὑτῷ] Sch., αὐτῷ libri 26 ἔληγεν ὁ F: ἔληξεν τὸ P, MV

5. =αὐτῷ=: sc. in this author, or in this passage. Cp. =168= 1, =230= 29.

13. Dionysius’ general object is to show that there is a kind of intentional discord or clash in Pindar’s dithyramb.

17. ‘If each of the letters is uttered with its proper quality,’ viz. if we say ἐν χορόν and not ἐγ χορόν.

19. =Ἀριστοφάνης=: not, of course, the comic poet of Athens, but the grammarian of Byzantium.—From this passage, and from =278= 5 _infra_, it would appear that Aristophanes divided the text of Pindar and other lyric poets into metrical _cola_. Such _cola_ are found in the recently-discovered Bacchylides papyrus (written probably in Dionysius’ own century—the first century B.C.), which is also the earliest manuscript in which accents are used.

21. =ῥητόρων παῖδες=: cp. =266= 8 ζωγράφων τε καὶ τορευτῶν παισίν, ‘the generation of painters and sculptors.’ So ζωγράφων παῖδες Plato _Legg._ 769 B, παῖδες ῥητόρων Luc. _Anach._ 19. The term will include pupils or apprentices, as well as sons: cp. Plato _Rep._ v. 467 A ἢ οὐκ ᾔσθησαι τὰ περὶ τὰς τέχνας, οἷον τοὺς τῶν κεραμέων παῖδας, ὡς πολὺν χρόνον διακονοῦντες θεωροῦσι πρὶν ἅπτεσθαι τοῦ κεραμεύειν; Earlier still we have the schools of the bards—the Ὁμηρίδαι or Ὁμήρου παῖδες, like ‘the sons of the prophets’ in the Old Testament. As used by later writers, the periphrasis with παῖδες may be compared with οἱ περί, οἱ ἀμφί (cp. note on =194= 20 _supra_).

26. “The passages relating to Ὀλύμπιοι ἐπί, and καὶ Ἀθηναίων (Thuc.