CHAPTER XXVI

HOW VERSE CAN RESEMBLE PROSE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·

ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲ

χῶρον ἀν’ ὑλήεντα 10

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

δι’ ἄκριας

ἔλαττον κώλου κομμάτιον. τέταρτον δὲ

ᾗ οἱ Ἀθήνη 15 πέφραδε δῖον ὑφορβόν

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

ὅ οἱ βιότοιο μάλιστα κήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20

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

τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον

οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.

ἔνθα οἱ αὐλὴ 25 ὑψηλὴ δέδμητο

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

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

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

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

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

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

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

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

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

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

Here we have one clause. Observe the next—

Up the wooded land.

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

through the hills:

a segment still shorter than a clause. The fourth—

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

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

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

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

By the house-front sitting he found him,

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

there where the courtyard wall Was builded tall.

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

περισκέπτῳ ἐνὶ χώρῳ,

πάλιν ἐποίσει

καλή τε μεγάλη τε 5

βραχύτερον κώλου κομμάτιον, εἶτα

περίδρομος

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

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

Ὦ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται, χαῖρ’,

τὸ πρῶτον ἄχρι τούτου κῶλον.

ὅς τε πέτραν Ἀρκάδων δυσχείμερον 15 <Πὰν> ἐμβατεύεις

τὸ δεύτερον μέχρι τοῦδε.

ἔνθεν εὔχομαι γένος.

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

Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ τίκτει λαθραίως Ἡρακλεῖ·

μετὰ τοῦτο

ξύνοιδ’ ὄρος Παρθένιον, 25

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

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

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

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

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

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

In a place with a clear view round about,

we shall find him subjoining:

Massy and fair to behold,

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

Free on every side,

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

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

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

Thus far the first clause extends.

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

So far the second extends.

Whereof I boast my birth.[195]

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

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

And afterwards—

This knows Yon hill Parthenian.[195]

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

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ἔνθα μητέρ’ ὠδίνων ἐμὴν ἔλυσεν Εἰλείθυια

καὶ τὰ ἑξῆς τούτοις παραπλήσια.

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

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

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

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

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

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

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

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

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

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

And similarly with the lines which follow these.

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

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

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

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

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

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

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

5. Schneidewin reads ταθείς.

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

11. =ἐμῶν ῥημάτων=: _constructio ad sensum_ with ὑπεῖχες οὖας (= ὑπήκουες).

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

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

20. From Hom. _Il._ xi. 514, 515—

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

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

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

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

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

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

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

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

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

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

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

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GLOSSARY

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

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

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

=ἀγεννής.= =90= 20, =170= 9, etc. _Ignoble_, _mean_: in reference to style. Lat. _ignobilis_, _degener_.

=ἀγοραῖος.= =262= 20. _Vulgar_, _colloquial_, _mechanical_. Lat. _circumforaneus_, _circulatorius_. Cp. Lucian _de conscrib. hist._ § 44 μήτε ἀπορρήτοις καὶ ἔξω πάτου ὀνόμασι μήτε τοῖς ἀγοραίοις τούτοις καὶ καπηλικοῖς.

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

=ἀγωγή.= =68= 1, _training_. =194= 9, _sequence_, _movement_. =244= 24, _cast_, or _tendency_. Cp. some uses of Lat. _ductus_. Other examples in D.H. p. 184: to which may be added _de Isocr._ c. 12 and _de Thucyd._ c. 27; Macran’s _Harmonics of Aristoxenus_ pp. 121, 143; Strabo xiv. 1. 41 παραφθείρας τὴν τῶν προτέρων μελοποιῶν ἀγωγήν, and (later) ἀπεμιμήσατο τὴν ἀγωγὴν τῶν παρὰ τοῖς κιναίδοις διαλέκτων καὶ τῆς ἠθοποιΐας.—In =124= 10 the adjective =ἀγωγός= is used (as in Eurip. _Hec._ 536, _Troad._ 1131) with the genitive in the sense _provocative of_, _conducive to_: cp. _de Demosth._ c. 55 ἃ δὴ τῶν τοιούτων ἔσται παθῶν ἀγωγά. [In _Troad._ 1131 Dindorf, ed. v., gives ἀρωγός without comment, against the MSS.]

=ἀγών.= =252= 2, =262= 23. _Contest_, _pleading_, _trial_. Lat. _certamen_, _actio_. Cp. Long. p. 194, D.H. p. 184, Demetr. p. 263.

=ἀδολέσχης.= =272= 19, 22. _Garrulous._ Lat. _loquax_. Cp. Demetr. p. 263.

=ἀηδής.= =100= 7, =124= 19, etc. _Unpleasant_, _disagreeable_. Lat. _iniucundus_, _molestus_. Similarly =ἀηδία=, =132= 21, =134= 14.

=ἀθρόος.= =222= 2. _Compressed_, _concentrated_. Lat. _consertus_, _stipatus_. In the passage specified it would seem that Dionysius compares the issue of the breath to the exit of people through a narrow door, whereby they are _crowded together_. The sound of _p_, which is under discussion, approaches whistling; and that is the maximum of breath-compression.

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=αἵρεσις.= =70= 15, =198= 3, 8, =246= 17. _School_, _following_. Lat. _secta_.

=αἴσθησις.= =130= 17, =134= 11, =152= 15, =218= 1. _Sense_, _perception_. Lat. _sensus_. So =αἰσθητός=, _perceptible_, =152= 22, =206= 6, etc.; and =αἰσθητῶς=, _perceptibly_, =126= 20, =202= 18.

=ἀκατάστροφος.= =232= 1. _Without rounding or conclusion._ Lat. _idonei exitus expers_. Used of a period which does not turn back upon itself—which is, in fact, _not_ a περίοδος. Cp. the use of εὐκαταστρόφως in Demetr. _de Eloc._ § 10.

=ἀκατονόμαστος.= =208= 25. _Unnamed_, _nameless_. Lat. _appellationis expers_.

=ἀκέραστος.= =230= 18. _Unmixed_, or _incapable of mixture_. Lat. _non permixtus_, _s. qui permisceri non potest_.

=ἀκοή.= =70= 3, =118= 23, =146= 8, etc. _The sense of hearing_: ‘_the ear_.’ Lat. _auditus_. So =ἀκρόασις=, =116= 19, =198= 8, etc.

=ἀκόλλητος.= =218= 13. _Uncompacted_, or _incapable of being compacted_. Lat. _non compactus_, _s. qui compingi non potest_.

=ἀκολουθία.= =212= 22, =232= 20, =254= 17. _Sequence_, _the orderly progression of words_. Lat. _consecutio_, _ordo_, _series_. ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, =212= 22 = _prone to anacolouthon_. Cp. Long. p. 102, D.H. p. 184, Demetr. p. 263. Similarly =ἀκόλουθος= is used of _what follows naturally_, =130= 9, =228= 17, etc.

=ἀκόμψευτος.= =212= 23, =232= 21. _Unadorned._ Lat. _incomptus_. Used of a style which is _sans recherche_, _sans parure_. Cp. Cic. _Orat._ 24. 78 “nam ut mulieres esse dicuntur non nullae inornatae, quas id ipsum deceat, sic haec subtilis oratio etiam incompta delectat.”

=ἀκόρυφος.= =230= 31. _Without a capital or beginning._ Lat. _sine fastigio_, _sine initio_. Used of a period without a proper beginning and therefore imperfectly rounded: whereas true periods are εὐκόρυφοι καὶ στρογγύλαι ὥσπερ ἀπὸ τόρνου (_de Demosth._ c. 43).

=ἀκρίβεια.= =118= 10, =206= 8, =266= 11, etc. _Exactitude_, _precision_, _finish_. Lat. _perfectio_, _absolutio_, _subtilitas_. Used of an _ars exquisita_, a _style soigné_. So =ἀκριβής= =196= 15, and =ἀκριβοῦν= =94= 14 and =242= 9. Cp. D.H. p. 184, and Demetr. p. 264 (where the slightly depreciatory sense of ‘correctness,’ ‘nicety,’ is also illustrated: cp. _C.V._ =274= 22).

=ἀκροστόμιον.= =142= 17. _The edge of the mouth or lips._ Lat. _summum os_, _labrorum margo_. Cp. =148= 22 τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένης κατὰ τοὺς μετεώρους ὀδόντας.

=ἀκώλιστος.= =234= 23. _Without members or clauses._ Lat. _sine membris_. Used of a period not divided, or jointed, into clauses.

=ἀλήθεια.= =198= 26. _Human experience._ Lat. _veritas vitae_, _usus rerum_, _vita_, _usus_. The actual facts of life are meant, as opposed to the theories of the schools. Cp. _de Isaeo_ c. 18 ὅτι μοι δοκεῖ Λυσίας μὲν τὴν ἀλήθειαν (‘the truth of nature,’ ‘a natural simplicity’) διώκειν μᾶλλον, Ἰσαῖος δὲ τὴν τέχνην.

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

=ἀμεγέθης.= =176= 11. _Wanting in size or dignity._ Lat. _exilis_. Cp. Long. _de Sublim._ xl. 2 οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ ἀμεγέθεις.

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

=ἀμορφία.= =184= 18, =198= 10. _Unsightliness._ Lat. _deformitas_. So =ἄμορφος= =92= 16.

=ἄμουσος.= =74= 11, =122= 19. _Rude_, _uncultured_. Lat. _insulsus_, _illiteratus_, _infacetus_.

=ἀμυδρός.= =206= 22. _Faint_, _obscure_. Lat. _subobscurus_.

=ἀμφίβολος.= =96= 17. _Ambiguous._ Lat. _dubius_, _ambiguus_, _qui in duos pluresve sensus verti potest_.

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

=ἀναβολή.= =164= 5, =220= 13. _Retardation._ Lat. _mora_, _intervallum_. So =ἀναβάλλειν= =180= 15, =216= 18: cp. _de Demosth._ c. 54 (ταῦτ’ ἐσπευσμένως εἰπέ, ταῦτ’ ἀναβεβλημένως), and c. 43.

=ἀναισθησία.= =184= 21. _Insensibility_, _stupidity_. Lat. _stupor_. Compare =ἀναίσθητος= =190= 8, and see the editor’s _Ancient Boeotians_ pp. 4-8.

=ἀνακοπή.= =164= 5, =230= 28, =232= 16. _Stoppage_, _clashing_. Lat. _impedimentum_, _offensio_. Fr. _refoulement_. Cp. _de Demosth._ c. 38, and also the verb =ἀνακόπτειν= =222= 9.

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

=ἀνάπαυλα.= =196= 11. _Rest_, _pause_. Lat. _mora_, _intermissio_. The ‘reliefs’ afforded by variety of structure, etc., are meant.

=ἀναπλέκειν.= =264= 23. _To bind up the hair._ Lat. _caesariem reticulo colligere_.

=ἄναρθρος.= =212= 21. _Without joints or articles._ Lat. _sine articulis_.

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=ἀνδρώδης.= =174= 17. _Manly, virile._ Lat. _virilis._ Cp. _de Demosth._ cc. 39, 43, and Quintil. v. 12. 18.

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

=ἀνεπιτήδευτος.= =84= 3, =212= 13, =260= 14. _Unsought, unstudied._ Lat. _nullo studio delectus, non exquisitus._ So =ἀνέκλεκτος= =84= 3: _not picked with care._

=ἄνεσις.= =210= 5. _Loosening._ Lat. _remissio._ Cp. Plato _Rep._ i. 349 E ἐν τῇ ἐπιτάσει καὶ ἀνέσει τῶν χορδῶν πλεονεκτεῖν, and =ἀνίεται= =126= 5.

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

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

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

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

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

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

=ἀνωμαλία.= =232= 19. _Unevenness._ Lat. _inaequalitas._ Fr. _inégalité._

=ἀξίωμα.= =84= 1, =120= 23, =170= 2, =174= 19. _Dignity._ Lat. _dignitas._ Fr. _dignité._ In =96= 16 the sense is _a proposition (pronuntiatum,_ Cic. _Tusc._ i. 7. 14; _enuntiatio,_ Cic. _de Fato_ 10. 20).—The adjective =ἀξιωματικός= (‘dignified’) occurs in =136= 11, =168= 6, etc., and the adverb =ἀξιωματικῶς= in =176= 24.—In =88= 13, =186= 7, =ἀξίωσις= = _reputation, excellence._

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

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=ἀπαρέμφατος.= =102= 20. _Infinitive._ Lat. _infinitivus_ (sc. _modus_). [The infinitive, unlike the indicative and other moods, _does not indicate_ difference of meaning by means of inflexions denoting number and person. Whence the Greek name: cp. παρεμφατικός, p. 315 _infra._]

=ἀπαριθμεῖν.= =268= 8. _To recount_, _to run over_. Lat. _percensere_.

=ἀπαρτίζειν.= =194= 16. _To round off_, _to complete_. Lat. _adaequare_, _absolvere_. Cp. _de Demosth._ c. 50 καὶ μέτρα τὰ μὲν ἀπηρτισμένα καὶ τέλεια, τὰ δ’ ἀτελῆ: _Ev. Luc._ xiv. 28 τίς γὰρ ἐξ ὑμῶν, θέλων πύργον οἰκοδομῆσαι, οὐχὶ πρῶτον καθίσας ψηφίζει τὴν δαπάνην, εἰ ἔχει τὰ πρὸς ἀπαρτισμόν (_completion_); So κατὰ ἀπαρτισμόν, in =246= 18, means _completely, absolutely, narrowly_. In _Classical Review_ xxiii. 82, the present writer has suggested that κατὰ ἀπαρτισμόν are the words missing in _Oxyrhynchus Papyri_ vi. 116, where Grenfell and Hunt give ἐν πλάτει καὶ οὐ κ[.............]ν. θεωρητέα ἐστίν, or the like, may have preceded: cp. =152= 26 _supra_ (and note).

=ἀπαρχαί.= =76= 2. _Firstfruits._ Lat. _primitiae_. Used here in connexion with the verb προχειρισάμενος, _cum delibavero_.

=ἀπατηλός.= =236= 10. _Seductive._ Lat. _suavis et oblectans_, _illecebrosus_.

=ἀπερίγραφος.= =232= 4. _Not circumscribed._ Lat. _nullis limitibus circumscriptus_.

=ἀπερίοδος.= =234= 23, =276= 1. _Without a period._ Lat. _periodo non absolutus_.

=ἀπευθύνειν.= =130= 1. _To regulate._ Lat. _tamquam ad regulam dirigere_.

=ἀπηνής.= =228= 15. _Crabbed_, _rugged_. Lat. _durus_.

=ἁπλοῦς.= =144= 8, 17, =176= 3. _Simple_, _uncompounded_. Lat. _simplex_.

=ἀποίητος.= =70= 4. _In plain prose._ Lat. _prosaicus_. Cp. s.v. ἄμετρος.

=ἀποκλείειν.= =144= 23. _To shut off_, _to intercept_. Lat. _intercludere_.

=ἀποκόπτειν.= =142= 8, =230= 19. _To cut short._ Lat. _rescindere_. So ἐξ =ἀποκοπῆς= (=142= 3) = _with a snap_, _abruptly_. See the exx. given, s.v. ἀποκοπή, in Demetr. p. 268.

=ἀποκυματίζειν.= =240= 22. _To ruffle._ Lat. _reddere inquietum_, _fluctibus agitare_.

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

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

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

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

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=ἀριθμοί.= =244= 27. _Numbers_, _cadences_. Lat. _numeri_, _numeri oratorii_. Cp. _de Demosth._ c. 53 φέρε γὰρ ἐπιχειρείτω τις προφέρεσθαι τούσδε τοὺς ἀριθμούς· Ὄλυνθον μὲν δὴ καὶ Μεθώνην κτλ. As Aristotle (_Rhet._ iii. 8. 2) says, περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά.

=ἀριστεῖα.= =182= 12. _Lead_, _supremacy_. Lat. _primas_ (_dare_).

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

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

=ἁρμογή.= =112= 13, =218= 9, =236= 5, =270= 9. _Junction_, _combination_. Lat. _coagmentatio_.

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

=ἀρρενικός.= =106= 21. _Of the masculine gender._ Lat. _masculinus_.

=ἀρτηρία.= =140= 21, =142= 4, =144= 5, 20, =148= 17. _Windpipe._ Lat. _arteria_.

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

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=ἀρχαί.= =136= 22, =140= 13. _First beginnings._ Lat. _principia_.

=ἄσεμνος.= =110= 20, =170= 20, =176= 12, =192= 11. _Undignified._ Lat. _dignitatis expers_, _minime venerandus_. Cp. D.H. p. 269.

=ἄσημος.= =256= 22, =262= 6. _Unnoticed._ Lat. _obscurus_.

=ἄσιγμος.= =148= 1. _Without a sigma._ Lat. _carens littera sigma_.

=ᾆσμα.= =196= 2. _Song_, _lay_. Lat. _carmen_, _canticum_.

=ἀσύμμετρος.= =124= 8, =236= 1. _Incommensurable_, _disproportionate_, _incorrect_. Lat. _incommensurabilis_, _sine iusta proportione_, _inconcinnus_. So =ἀσυμμετρία= =232= 19. Some good illustrations (drawn from Cicero) of _constructions symétriques_ will be found in Laurand’s _Études sur le style des discours de Cicéron_ pp. 118-21.

=ἀσύμμικτος.= =218= 12. _Unblended_, or _incapable of being blended_. Lat. _non permixtus_, _s. qui permisceri non potest_.

=ἀσύμφωνος.= =122= 23. _Out of tune._ Lat. _dissonus_.

=ἄτακτος.= =156= 20, =254= 16. _Disordered_, _irregular_. Lat. _perturbatus_, _nullo ordine compositus_, _incompositus_.

=ἀτοπία.= =130= 26. _Awkwardness_, _clumsiness_. Lat. _rusticitas_, _ineptia_.

=αὐθάδης.= =228= 9. _Wilful_, _headstrong_, _unbending_. Lat. _ferox_, _pertinax_. Cp. Long. _de Subl._ xxxii. 3 ὁ δὲ Δημοσθένης οὐχ οὕτως μὲν αὐθάδης ὥσπερ οὗτος (sc. ὁ Θουκυδίδης), κτλ.

=αὐθέκαστος.= =212= 23. _Outspoken_, _downright_. Lat. _rigidus_. In Plutarch’s _Cato_ c. 6 Cato is described as ἀπαραίτητος ὢν ἐν τῷ δικαίῳ καὶ τοῖς ὑπὲρ τῆς ἡγεμονίας προστάγμασιν ὄρθιος καὶ αὐθέκαστος (cp. the _rigida innocentia_ attributed to him by Livy xxxix. 40. 10). In Aristotle (_Eth. Nic._ iv. 7. 4) the αὐθέκαστος hits the mean between the ἀλαζών and the εἴρων.

=αὐλός.= =142= 2. _Passage_, _channel_. Lat. _meatus_.

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

=αὐτάρκης.= =212= 17, =282= 2. _Sufficient_, _self-sufficing_. Lat. _sufficiens_, _per se sufficiens_.

=αὐτίκα.= =98= 7, =194= 2, =256= 7, =268= 6. _To begin with_, _for example_. Lat. _exempli gratia_.

=αὐτόματος.= =256= 19. _Self-acting_, _spontaneous_. Lat. _spontaneus_, _ultroneus_. Cp. =αὐτομάτως= =212= 12; =αὐτοματίζειν= =204= 5; =αὐτοματισμός= =218= 3, =258= 1, 24. In =256= 19 ἐκ τοῦ αὐτομάτου = _sponte sua_, _fortuito_.

=αὐτοσχέδιος.= =212= 1, =260= 14, =262= 3. _Improvised._ Lat. _fortuitus_, _extemporalis_, _inelaboratus_, _tumultuarius_. So =αὐτοσχεδίως= =260= 25, and =αὐτοσχεδιάζειν= =256= 19 (πολλὰ γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις = _multos versus sponte solet natura effundere_). Cp. Demetr. p. 270 s.v. αὐτοσχεδιάζειν, and see σχέδιος p. 327 _infra_.

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

=αὐτουργός.= =196= 15. _Self-wrought_, _rudely wrought_. Lat. _rudis_. Cp. _de Demosth._ c. 39 (as quoted s.v. συναπαρτίζειν, p. 325 _infra_).—The _active_ sense of αὐτουργός finds a good illustration in Euripides’ well-known line: αὐτουργός, οἵπερ καὶ μόνοι σῴζουσι γῆν (_Orest._ 920).

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

=ἀφανίζειν.= =166= 10, =260= 1, =272= 2. _To put out of sight._ Lat. _abscondere_.

=ἀφελής.= =212= 14. _Simple_, _plain_. Lat. _simplex_, _subtilis_. Cp. D.H. p. 187.

=ἀφορμή.= =96= 23. _Starting-point._ Lat. _initium_, _principium_. Cp. Dionys. Hal. _Antiq. Rom._ i. 4 τῆς ἀοιδίμου γενομένης καθ’ ἡμᾶς πόλεως, ἀδόξους πάνυ καὶ ταπεινὰς τὰς πρώτας ἀφορμὰς λαβούσης.

=ἀφροδίτη.= =74= 13. _Beauty._ Lat. _venustas_, _venus_. Cp. _de Lysia_