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DIONYSIUS OF HALICARNASSUS
ON LITERARY COMPOSITION

MACMILLAI4 AND
LONDON

CO., Limited
BOMBAY CALCUTTA
MELBOURNE

THE MACMILLAN COMPANY

NEW YORK BOSTON CHICAGO

ATLANTA

THE MACMILLAN

SAN FRANCISCO

CO. OF CANADA, Ltd.

TORONTO

Dionysius of Halicarnassus

On

Literary Composition
BEING THE GREEK TEXT OF THE

DE COMPOSITIONE VERB OR VM
EDITED WITH INTRODUCTION, TRANSLATION, NOTES
GLOSSARY, AND APPENDICES

BY

W.

RHYS ROBERTS

LiTT.D. (Cambridge), Hon. Ll.D. (St. Andrews)

EDITOR OF

'

PROFESSOR OF CLASSICS IN THE UNIVERSITY OF LEEDS

FORMERLY FELLOW OF KING'S COLLEGE, CAMBRIDGE
DIONYSIUS OF HALICARNASSUS THE THREE LITERARY LETTERS,' ETC.
;

MACMILLAN AND
ST.

CO.,

LIMITED

MARTIN'S STREET, LONDON

19

EQVITI INSIGNI

NATHAN BODINGTON
VNIVERSITATIS LOIDENSIS VICE-CANCELLARIO PRIMO

HVNC LIBRVM DAT DICAT DEDICAT

EDITOR COLLEGA AMICVS

Tantum series iwncturaq'ue pallet,

Tantum de medio swmptis accedit honoris.
Horace Ars

Poetica 242, 243.

See Dionysius Somer's thoughts refine,

And

call

new

beauties forth from every line.

Pope Essay on

Criticism 665, 666.

CONTENTS
Intboduction

PA.OE

Summary of the

,,--

'

de Compositione

'
.

Greek

The Order oe Words in

A. Freedom and Elasticity
^B. Normal Order

II.

C.

E.

^^--F.

.15

Euphony

17

27

Greek and Latin and Modern Languages

Khythm and Metre

^G. Prose and Poetry

Other Matters arising

III.

14

Lucidity

D. Emphasis

11

the 'de Compositions'

....
....

A.

Greek

B.

Accent in Ancient Greek

0.

Pronunciation oe Ancient Greek

D.

Greek Grammar

Music

in

Language

relation

the

to

29

33

Greek

.39
41
.

E. Sources op the Treatise

F.

47

Quotations and Literary Eeperbnces in

G. Manuscripts

and Text of

it

H. Recent Writings connected with

TEXT, Translation, and Notes

Glossary

43

.46

it

49

it
.

(Critical and Explanatory)

.56
.59
.

64

285

Appendices

A. Obscurity in Greek
B.

Illustrations of

335

Word-Ordee

in

Greek and Modern

342

Languages
C.

Greek

Indices

....

Pronunciation

Association

Scheme

op

....
the

348

......

A. Passages quoted in the 'de Compositione'

B.

Classical

Names and Matters

.353
354

'

PKEFACE
It

is

a happy

that leads Pope to find in Dionysius a

instinct

gifted interpreter of

Homer's poetry, who can

from
his
Homer but towards Sappho and

forth

every

In

line.'

new

beauties

entire attitude, not only towards

Simonides, Herodotus and Demo-

Dionysius has proved that he can

sthenes,

'call

above the debased

rise

standards of the ages immediately preceding his own, and can

and proclaim a

discern

not

little

to

He

classic excellence.

has thus contributed

confirm our belief in the essential continuity of

critical principles

in

the existence of a firm

and permanent

basis

for the judgrmnis of taste}

The breadth of

and

interest

the

discriminating enthusiasm

with which in the present treatise Dionysius of Halicarnassus (or

'

Denis of Halicarnccsse,' as we might prefer

to call

him) approaches

his special subject of literary composition, or word-order,

inferred

from

the table of contents, the detailed

brief statement on

page 10 of

which impels him

such topics as

to

Greek

'

is

him

to

of all poets the most many-voiced

and

Segarded from

of interest.
" Heference

may

to

attribute

'

It

made

to

'

an

old

is

an

as

t&v

world and
is

full

pages S7-29, S3, 34, 40-55, 74-85, 93-95, 98 ff.,

warm praise

prove that Dionysius

Homer

Table given on page 50

nZ-lZr, 134-137, 154-167, 184-193, WO-207, H3G-H1, S64-S8I.

noticed is that

is

(TroXv(f>o)v6TaTO^ dirdvTcov

this point of view, the Chronological

also be

interest

'

Thucydides

to

an

speak of words soft as a maiden's

{pvofjMTa frnkaica ical Trapdevanra), to describe

n-oiTjT&v),
^

It

be

the

but most suggestively, on

Pronunciation, Accent, Music.

enthusiasm which prompts

cheek'

the Introduction.^

touch, incidentally

may

summary, and

Especially to be

of simplicity {pp. 76-85, 134-137) which should

not a ' rhetorioiam in any invidious sense.
'

suffice to

DIONYSHIS OF HALICABNASSUS

viii

masterful nobility of style' {ap')(alK6v tl

vivid as these, together with the easy flow

that
treatise, tend to prove

and

Expressions so apt

aiOaSei Ka\\o<s),

icaX

the whole
compiling his matter as he goes along,

and natural arrangement of

Dionysius

is nx)t laboriously

a full mind,

is

dealing with a subject which

has long occupied his thoughts, and

is

imparting one section only of

but is writing out of

which he feels

Thai

command

well-ordered body of critical doctrine in the

and

large

secure.

Greeks literature was

the

to

sound was echo

to

sense

the

that

an

artr-that with them the

they were keenly alive to all

magic and music of beautiful speech : where shall we find

truths more vividly brought out than in the present treatise ?
the

if we are

to teach the great

still

Chreek

language and not in translations, surely

to

lay

stress

on points of

writer

artistic

And

authors in the original

it is

of supreme importance

form, most especially in a

form and
and when we are fortunate enough

litera-

who knows

seldom read

and

which

lately been discovered

at Herculaneum.

life.

Nevertheless, the

is

it

noble

de Compositione

forgotten, seldom mentioned

and one

curiosity with

page ^1) thai

of those noble thoughts and feelings which

should inspire a nation's

almost dead

have the aid of a

to

so well as does Dionysius (see

style is but the reflection

lies

these

substance are so indissoluily allied as in that

ture where

of Greece

of

sometimes tempted

dill

more

think of the eager

to

would most certainly

and

welcomed hid

be

it

in the sands of Egypt or in some buried house

new ode of Sappho, and a 'precious

hearted scroll of pure Simonides,' would rejoice the

man

tender-

of

letters,

while the philologist would revel in the stray hints upon Greek
pronunciation.

So striking an addition

to

the

Greek criticism of

Greek literature would be hailed with acclamation, and

be

gladly acknowledged that

enliven

difficult subject

variety in vocabulary

had made

its

skilful

his readers realize that the beauty of

sounds of which

would
to

by means of eloquence, enthusiasm, humour,

and in method of presentation

prose period largely depends upon

those

it

author had known how

human

the

harmonious

gerverally,

and

verse or of
collocation

speech primarily consists.

a
of

PREFACE

word may

he said

treatise.

Dionysius

summate

poets are

poet as
to

Homer

ix

wpon some of

modern bearings of

the

imdoubtedly right

is

consummate craftsmen

holding that con-

in

even so early a

that

Our British habit of thought

fiXorexNeT.

the

leads us

dwell on the spontaneity of literary achievement rather than on

its

We

artistic finish.

are apt to sneer, as some degenerate Greeks

did in Dionysius' time (jpages 262270), at the contention that

even genius

cannot

way on

in a one-sided

But a

end.

vnth literary pains, and

dispense
the

axiom that where genius

and

may

author

practice,

Lost or Lycidas

seem

more mature example of Milionic poetry

is the

soar far

to

above

these

so-called

any one

whether Hamlet or The

Two Gentlemen

To

be

able fully

to

and all-embracing humianity,

But, here again, coiold

play

be preceded

hesitate to say whether Paradise

Shakespeare, with his creative genius

may

must

literature

however eminent the natural gifts of an

Would any one

be.

insist

begins rules

names in our own

reference to the greatest

will confirm the view that the highest excellence

by study

to

trammels.

artificial

doubt, on grounds of style alone,

of

appreciate

small result of a literary eduxiation

Verona was
such

the earlier

no

differences is

and though

the rhetoric of

each language is in a large degree special to that language,

it is

notwithstanding true that our western literatures are closely inter-

related

thai they should continually be compared

and that modern

contrasted

gain much in stimulus and

had its origin

from
Greece, and which by way of Borne (where Dionysius taught
that avwient literary theory which

suggestion

in

literary theory can

and

Greek literature in the age of Horace) was transmitted

to

the

modern world.

In

the present edition

some of the

many

have been

the

English

been

made to suggest
and precepts

points at which Dionysius' principles

are applicable to the

too,

an endeavour has

made

to

modern languages and

literatures.

Efforts,

smooth away, by means of the Glossary and

Translation,

those

technical

difficulties

which might

easily deter

even the advanced Greek student {not to mention the

wider

of cultivated readers generally) from seeking in the

circle

DIONYSIUS OF HALIOARNASSUS

de Compositione that literary help which

well able to gvoe.

it is so

special

The edition has been many years in preparation; and'

pains have been taken with the Unglish Translation, as
first to be published

The

difficulties.

IHonysius'

towards

and it may
new Lexicon of Greek and Boman

that

It seems not unnatwral to treat

thus fully a work of which no annotated edition in

has appeared for a hundred years.

on

text,

the

hand,

other

Dionysius' literary essays by

highest importance.

it

to

report

(with

though he has thought

many

a good

aid)

may

serve

seemingly

throw some

to

on the comparative value of the chief documentary authorities.

He may add

that he has himself collated,

and

tains Aristotle's Ehetoric

for the purposes of the

(P 17^1, which

that he has explained

on pages

56-60

a pleasure further

to

ii.

ad Amm.,

treatise.

acknowledge the ever ready aid he

from Dr. A.

has received from his personal friends

has not only contributed

tJie

etc.),

his views with regard

some of the textual problems presented by the

It is

con-

Poetics, Demetrius de Elocutione,

Dionysius de Compositione Verborum and Ep.

to

of

of the

criticus, the exhaustive-

to equal,

which

is

desires here to acknowledge

present recension, the best Paris manuscript

and

edition

critical

and Badermacher

apparatus

their

any language

the constitution of the

recent

The present editor

insignificant errors or variants

light

the

which he has not attempted

desirable

For

Usener

the debt he owes to their admirable

ness of

is

as a

serve

also

Rhetoric %vhich is a pressing need.

Greek

and

obvious

show how rich and varied

will

terminology,

rhetorical

contribution

as its execution presents great

and

Glossary

the

%s

it

Way, who

S.

verse-translations throughout the treatise

but has given help of unusual range

and worth in

other directions

and from Mr. L. H. G. Greenwood, Mr. G. B. Mathews, Mr.

P. N. Ure, and Professor T. Hudson Williams, who have read the

also,

proofs and
care

made most

shown in

valuable suggestions.

Mr should

the printing of the book by Messrs.

able staff of compositors

and readers

be passed over

B.

&

the great

B. Clark's

without a word

of grateful mention.
It

may

perhaps not

be out

of place

to state

in conclusion that

PREFACE

xi

the editor hopes next to publish, in continuation of this series

of

contributions to the study of the Greek literary critics,

and

essays

of

The Ehetoric

Aristotle.

a remarkable

is

author's maturity, in reading which

made
and

to Aristotle's other works, to

to those later

many

ways.

Greek and

of science wrote,

weakened and

lost

'

that sort of rhetoric,

a completely

may

constant reference should be

Roman

critics

who

well as

falls within his scope to

and

men

may

may

as

and in

will only allow themselves to

a bad

rhetoric, but

it clear

be

predominant

be fitly described

The writer seems

make

much

contain

to

Not long ago a distinguished

mean, which

reason.'

in so

illustrate it

the scientific spirit becomes

of

great

its

the writings of his predecessors,

interest.

age

scientific

a good as

be

of

Ehetoric seeks above all to persuade,

persuaded by force of
there

'product

one literary art, the art of rhetoric,

when

insincere eloquence.

a number

Ehetoric

the

Studies of the kind indicated ought

of modern and permanent

man

round

grouped

dissertations

to recognize

perhaps

be

that

hardly

it

from whom

that the Greeks,

the term come, were themselves well

aware of this fact,

even though the age in which they lived might not he completely

the art

The

scientific.

which he justly censures

vicious type of rhetoric

exemplified in the Ehetorica ad

Alexandrum.

In

this book

is

for

whose date the antiquity of a recently-discovered manuscript (published in the

Hibeh Papyri

though Aristotle himself

rhetoric

assumed

is

to

114

i.

looks

Aristotle in the

certainly not the author

be

persuasion at

Ehetoric.

lover of wisdom.

abused; but 'so

may

all

any

the

aim of

But how

price.

in the Phaedrus and the Gorgias,

To

Se

He

take Aristotle only.

at rhetoric with the sincerity of

the breadth of
be

suggests the age of Aristotle,

is

different is the spirit of Plato

and of

ff.)

and with

lover of truth

recognizes that the art

good things except virtue

itself,

may
and

particularly the most useful things, such as strength, health, wealth,

generalship.'

any given
defence is
is

Its function is

case the available

a duty no

necessary to

less

'

not to persuade, but to ascertain in

means of

persuasion.'

Mental

self-

than physical self-defence; but though

know bad arguments in order

to

be

ready

to

it

parry

DIONYSIUS OF HALICAENASSUS

xii

them,

advocate of evil

'),

nor

judge {for this would

which you are about

we must have

he

we
'

like

to use

making crooked a

Reason must

').

and

true

carpenter's rule

our weapon, and

be

'truth
confidence that the truth will prevail {for

better is

than their opposites

by natu/re the easier

The whole work

convincing').

the feelings of the

warp

try to

justice are by natv/re stronger

and
is

mud

be the

must net

ourselves (for 'one

we must not use them

is

to

and what
'

'

prove and

conceived in the

the

same

more

spirit

that of attention to truth rather than to mere persuasion, to matter

rather than to manner, to the solid facts of human natwre rather

than

to the

shallow blandishments of

treatise that

scientific

and

insincere eloqtience, he says less than

and

the arts of style.

critical works, happily serves

to

so

far from commending an

we could wish about

from

so

literary

The method he

regard

to

his

no

less

than

own language
to

draws his

literary

unconsciously,

and imitation of
have been enlarged.
To

the reading

whom its capacities

his Soman pupil Bufus,

precepts of those Greeks

may

be

inculcates is thai which

aspirant follows, consciously or

great writers by

Though he has

wide a field that the art of literature

regarded as his theme.

every

literary

Sere Bimvysius, in his various

supplement him.

the art of speaking specially in view, Dionysius

illustrations

the most

has yet been written on rhetoric manifestly

held a lofty view of his subject

beauties

The author of

style.

the practice

who attained an unsurpassed

and

in
the
us,

the

excellence in

an enduring interest. For they help the

own
literature ; and that literature, we all
fruitful study of our
rejoice to think, has not only a great past behind it hut a great
the art of literature have

future in store for

it.

The University, Leeds,

December

6,

1909.

INTRODUCTION
I

Summary of the de Compositione

GENERAL account of the life and literary activities of Dionysius

found in the volume entitled Dionysius of JECalicarnassus :
the Three Literary Letters, where the de Compositione Verborum is
will be

connexion with the other

briefly described in

Here a

author.

critical essays of its

summary of the treatise seems

made to estimate its value and to

fuller

before an attempt

is

necessary
follow

up

some of the highly interesting questions which it raises.

The date of the de Compositione is not known, but may be
conjectured to lie between the years 20 and 10 b.c.
The book
is a birthday offering from Dionysius, as a teacher of rhetoric
in Eome, to his pupil Eufus Metilius.
c. 1.

This book

of speech,

and

is

a birthday present which deals with the art

so will be found particularly useful to youths

look forward to a public career.

skill exercised in two directions

who

Oratorical excellence depends on

in the sphere of subject matter
expression (Trpay /Mar iKhi tottos and AekthcSs

and in the sphere of

TOTTos).
In the former sphere, maturity

of judgment and experience

the latter the young are more at home, but they
need careful guidance at the start. The Aektik^s tottos has two
is

required

subdivisions,

in

eKX.oyrj

and

ovofiaTOiv

a-vv9e<ri's

now

dvo/iarajv.

The

com-

the choice of words is to

be treated next year, if Heaven keeps the author " safe and sound."
The chief headings in the present treatise are to be the following
position of

words

is

to be treated

(1)

The nature

of composition,

and

its effect;

(2) Its aims, and how it attains them;

(3) Its varieties, with their characteristic

author's preferences
(4)

The

features

and

the

among them

poetical element

in prose
1

and the prose element

B

in

DIONYSIUS OF HALICAENASSUS

flavour
and the means of cultivating both of imparting the
of poetry to prose and the ease of prose to poetry.
" Gompositim is, as the very name indicates, a certain mutual
c. 2.
some
arrangement of the parts of speech, or elements of diction, as
Theodectes
by
recognized
The parts of speech
prefer to call them."
viz.
and Aristotle and their contemporaries were three in number,

verse,

The number was raised, by the Stoics

nouns, verbs, and connectives.
of the article from the conthe
separation
through
and others, to four
Later were added the adjective, the pronoun, the adverb,
nectives.
These
the preposition, the participle, and certain other subdivisions.
principal parts of speech form, when joined and set side by side,
The union of cola completes the
the cola ('members,' 'clauses').
The functions
makeup
the
entire discourse.
these
and
"periods,"
of composition are to arrange the words fittingly, to assign the
proper structure to the cola, and to divide the discourse carefully
into periods.

In its effects, though not in order of time, the composition

words comes before the choice of words.

of

In
are uttered either in verse or in prose.
composition can invest the lowliest words with charm
and distinction. By way of foretaste, two passages (one of poetry,
The first is from
the other of prose) may be quoted in illustration.
the opening of the 16th Odyssey, where the lines allure not by
elaborate language or lofty theme, but by the sheer beauty with
which the words are grouped. The prose example is furnished by
that passage of Herodotus (i. 8-10) which describes the unworthy
Here, too, the charm
behaviour of Candaules towards his wife.
resides not in the incident nor in the words which describe it, but
c. 3.

both

Our thoughts

alike,

in the deft
c. 4.

realized

arrangement of the language.

The powerful effect of composition will be still further

if some choice passages of verse and prose be taken and the
the words disturbed.
Homer and Herodotus onpe more pro-

order of
vide examples.

Certain lines in the twelfth and thirteenth books of

the Iliai are chosen, and transformed, with disastrous effects, from
hexameters into two varieties of tetrameters.
A short passage of
Herodotus is turned about in a similar way, one of the two versions
being in the style of Thucydides, the other in the odious manner of
Composition may in fact be likened to the Homeric |
Hegesias.
Athena, who with a touch of her magic wand could make the same
Odysseus resemble either a beggar or a gallant prince.
The neglect
of composition has lamentable results in writers like Duris, Polybius,
Chrysippus, and others.
Failing to find the subject satisfactorily!
treated by previous authors, Dionysius has himself endeavoured to
discover some natural principle to form a starting-point (<f)va-iKfi
He has not succeeded, but he will describe his attempt.
d<jiopfj.ri).
|
c. 5. It had occurred to him that, in a natural order, verbs would I
'

INTRODUCTION

ollow nouns and precede adverbs, while things which happened first
Q time would come first in narration.
But these (and other) rules
rare seen to be untrustworthy, when tested by the actual practice of
he great authors.
c. 6. As far as words (or elements of discourse) are concerned,
he art of composition operates in three ways through (I) the choice
if elements likely to combine effectively
(2) the discernment of the
;
)articular shapes or constructions (i.e. singular or plural number,

lominative or oblique case, active or passive voice, etc.) to be given

each element in order that the structure may be improved
3) the perception of the modification which these shapes need in
fiew of the materials.
Each of the processes can be illustrated

rom the

arts

of house-building

and ship-building

of

civil

and

This analogy is developed at some length.

c. 7. In the case of the cola, the processes are two.
(1) The
ola must be rightly arranged.
For instance, in a passage of
Dhucydides (iii. 57) the order in which they come makes all the
lifference.
So, too, in Demosthenes de Corona 119.
c. 8. (2) The right " turn," or " shaping," must be given to the
ola, so that they may faithfully reflect the various aims and moods
if
the speaker or writer.
good example will be found in
Demosthenes de Corona 179.
0. 9. Under (2) it is to be noted that the cola may be lengthened
)r shortened for the sake of literary effect.
Examples are given
rom Demosthenes, Plato, Sophocles, and again Demosthenes. The
lame remarks will apply to periods as to cola.
Further, the art of
lomposition must determine when it is fitting to employ periods and
vhen not.
c. 10. Next
come the aims and methods of good composition.
Dhe two chief aims are charm and beauty or nobility
the ear
iraves these in composition, just as the eye in a work of pictorial
trt.
The two qualities are, however, not identical. Thucydides,
or example, and Antiphon possess beauty but lack charm.
Ctesias,
m the other hand, and Xenophon are charming (pleasing, agreeable),
)ut deficient in beauty.
Herodotus combines the two excellences.
c. 11. The chief sources of charm and beauty (or nobility) are
bur music, rhythm, variety, and propriety. Charm and beauty, themelves, have many subdivisions.
The instinctive appreciation of music
aad rhythm on the part of a popular audience may be noticed during
performance in some house of entertainment. Variety, too, and
)ropriety are indispensable.
As to the music of speech, it is to be
ibserved that there is a sort of oratorical cadence which differs from
ausic proper in quantity only, not in quality.
The speaking voice
it confines
loes not rise in pitch above three tones and a half
tself to the interval of the Fifth.
The singing voice, on the other
land, uses a greater number of intervals, not only the Fifth but
marine architecture.

\y'

DIONYSIUS OF HALICARNASSUS

the
(beginning with the Octave) the Fifth, the Fourth, the Tone, and
Other points
Semitone, and, as some think, still slighter intervals.
of difference are that, in singing, the words are subordinate to the
musical time.
air, and the length of the syllables is regulated by the
So the speaking voice can show good melody without being
" melodic," and show good rhythms without being " rhythmic." There
music.
is, in fact, music in speech, but not the whole of
The cause
c. 12. Various sounds affect the ear in various ways.
lies in the nature of the letters; and as their nature cannot be
changed, there should be a judicious intermixture of pleasant with
Short words, too, must be mingled with long,
unpleasant sounds.
and long with short. The same variety, too, must be practised in
But even variety must not be
the use of figures, and in other ways.
Tact
uniformity is sometimes equally pleasant.
carried to excess
It is to be rememis needed, and to impart tact is no easy task.
bered that not even the commonest words need be shunned by good
writers they can all be dignified by means of composition, as is seen
:

Homer's poems.
c. 13. Beauty of composition will be attained by the same means
as charm of composition,
by melody, rhythm, variety, propriety.
And the nature of the letters themselves will play an equal part in
in

determining the character of the composition.

c. 14. The twenty-four letters of the Greek alphabet are now
examined from the phonetic point of view. The object is to trace
to some of its ultimate elements the secret of the variety and music
found in beautiful language. The nature and the qualities of the
letters must be understood by the writer who would know how to
vary his style in an ever-changing and musical way.
The letterss
{ypdfx,jx^Ta), or elements {<TTOL-)(iia), may be
divided into vowels^
{(jitiivrjcvTa, (fxavai) and consonants {-^otjioi), and the consonants into
semivowels (i^/itc/xova) and mutes (acjfjtova).
The vowels can be pro+l
nounced by themselves ; the semivowels sound best when combined'
with vowels ; the mutes cannot be uttered at all except in combinaThere are seven vowels two short, e and o ; two long, ij and
tion.
and three common, a, t, and v. The semivowels are eight in
:

(1) ;

number five single, viz.

The nine mutes may be

A,

jj.,

v,

p, s,

classified as

and three double,

:

xf/iXA

(termes)

k,

viz.
it,

r;

(,

$,

\j/.

Sao-ea

(aspiratae) x> ^> ^ > ^^d /teo-a (mediae)

Or they may be
y, /3, 8.
arranged according to the part chiefly concerned in their production!
whether it is the lip, r, <^, /3 the teeth, t, 8, S; or the throat,
That is to say, Dionysius recognizes (though he does not use
. X. 7the technical adjectives) a division into labials, dentals, and gutturals.
Among these various letters a regular hierarchy is established by
him.
Long vowels are held to be more euphonious than short vowels.
The order of euphony for the vowels is, from the top downwards, as

follows

d,

?;,

0),

V,

I,

o,

and

(for the

semivowels)

first

the double.

INTRODUCTION

consonants, then A, [i, v, p, and lastly s, which is condemned in strong

terms.
Among the mutes, the rough (the aspirates) are regarded as
superior to the middle, and the middle to the smooth.
The physiological processes by which the several letters are produced are described

with some particularity in the light of the phonetics of the day.

well as letters considered singly, contribute to
syllables (or small groups of letters) there
are many different kinds.
The principal difference is that some are
short and others long.
But the difference does not end there, since
some are shorter than the short and others longer than the long.
Syllables, as

e. 15.

Of the

variety of style.

The

is that, from the metrical point of view, the vowels and

consonants alone count in determining the length of a syllable,
whereas in actual delivery the initial consonants also have to be
considered.
For instance, a speaker will find that the initial syllable
of o-T/)6^os takes more time to utter than that of r/aoVos; and so
with rpoTTOi by the side of 'PoSos, and with 'PoSos by the side of
In the same way, trn-Aj^v is really longer than the vowel rj
6S6s.
standing by itself.
And further syllables differ not only in
quantity but in sound, some being pleasant and others unpleasant,
according to the nature of the letters which compose them.
Great
poets and prose-writers have an instinctive perception of these facts,
and skilfully adapt their very syllables and letters to the emotions
which they wish to portray; e.g. Homer in Odyss. ix. 415, 416,
and in II. xvii. 265, xxii. 220, 221, 476, xviii. 225.
c. 16. Poets and prose-writers frame, or borrow from their predecessors in earlier generations, such imitative forms (words whose
sound suggests their sense) as pox6tt, /cAay^as, /^pefierai, a-fiapayet,
pot^oi
all of which are found in Homer.
Nature is here the great
teacher ; she prompts us to use, in their right connexion, words so ex-

fact

final

pressive as

and the

p-VKYjixa, T(/)e/ieTr/xos, <^/ot/i.ayju,os, ;8po/ios,

like.

The

first

Trdrayoi, trvpiyfios,

writer to broach the subject of etymology was

Plato, particularly in his Cratylus.

With regard to the music of sounds, the general conclusion is

that variety and beauty of style depend upon variety and beauty
To clinch the matter, Dionysius
of words, syllables, and letters.
quotes (with appropriate comments) further illustrations from Homer
Theophrastus, in his work
Odyssey xvii. 36, 37, vi. 162, 163, etc.
on Style, has distinguished two classes of words those which are
Our aim
beautiful (or noble) and those which are mean and paltry.
should be to intermingle the latter kind, when we are forced to employ
them (as sometimes we are), with the better sort, as has been done
by Homer {E. ii. 494-501) in his enumeration of the Boeotian towns.
c. 17. Rhythm, also, is an important element in good composition.
For our present purpose, a rhythm and a foot may be regarded as
synonymous. Of disyllabic and trisyllabip feet the following descrip-

tive list is given

^
'

"f

DIONYSIUS OF HALICARNASSUS
A.
Name.
1.

^yep.dv, TTvppixios-

2.

o-TTOvSeios.

Disyllabic Feet.
Qualities.

Quantities.

Wanting

in

seriousness

and

dignity.

3.

lafJtfio'S.

4.

rpoxatos.

Full of dignity.
Not lacking in nobility.
Less manly and noble
the iambus.

than

INTRODUCTION

by the writings of Hegesias, who would seem to have shunned good

rhythms out of sheer wilfulness. A passage is quoted from Hegesias'

History

a passage which, if well written, would have moved to

sympathetic tears rather than to derisive laughter. With it are
contrasted some famous lines of the Hiad (xxii. 395-411) which, we
are told, owe their nobility largely to the beauty of their rhythms.
c.
19. The third element in good composition
is variety (ij
furajioX-q).
In the use of rhythms to impart variety, prose enjoys
much greater freedom than poetry. Epic poets must needs employ
the hexameter line the writers of lyric verse must make antistrophe
correspond to strophe, however greatly they may strive for liberty
:

That prose style is best which exhibits the

greatest variety in the way of periods, clauses, rhythms, figures, and
the like ; and its charm is all the greater if the art that fashions it
lies hidden.
In point of variety, Herodotus, Plato and Demosthenes
in other respects.

hold the foremost place

Isocrates

and

his followers are distinguished

by monotony of style.
c. 20. The fourth
element is fitness or propriety (t6 Trpiwov).
Propriety is described as the harmony which an author establishes
between his style, and the actions and persons of which he treats.

rather

Common experience proves that ordinary people, in describing

event, will vary the order of their words (and the point here

an
is

the arrangement, not the choice of words) in accordance with the

emotions which it excites in them.
Similarly, artistic writers should
follow their own aesthetic instincts in the matter.
Homer has done
so with surpassing effect.
fine instance is furnished by the lines
{Odyssey xi. 593-598) which depict the torment of Sisyphus
the

slow upheaval of his rock, and its rapid rolling down the hill once
it has reached the top.
0. 21. After these theoretical and technical discussions there arises
the question what are the different kinds of composition or arrangement,
what are the different harmonies ? The answer given is that
:

there are three

(3) the

(1) the austere (ava-TTjpd), (2) the

harmoniously blended

c. 22.

The

(eiJ/c/oaTos)

smooth

or intermediate

(yXa^ivpd),

(koivjj).

characteristic features of austere composition are set

forth in considerable detail

words, clauses,

periods.

both generally and in reference to

Among

its

principal

representatives

are

mentioned Antimachus of Colophon and Empedocles in epic poetry,

Pindar in lyric, Aeschylus in 'tragic ; in history, Thucydides ; in
oratory, Antiphon.
The beginning of a Pindaric dithyramb and the
opening sentences of the introduction to Thucydides' History are
[Any attempt to
minutely examined from this point of view.
summarize fully this chapter and those which follow is hardly
The chapters
possible owing to the nature of the subject matter.
are important, and will repay a careful study.]
c. 23.
Smooth composition is next characterized in a similar
:

DIONYSIUS OP HALICAENASSUS

Hesiod, SapphOj
way.
Its chief representatives may be taken to be
Anacreon, Simonides, Euripides, Ephorus, Theopompus, Isocrates.
In illustration are quoted (with sundry comments) Sappho's Hymn to
Aphrodite and the introductory passage from Isocrates' Areopagiticus>
c. 24. " The third, the mean of the two kinds already mentioned,
which I call harmoniously blended (or intermediate) for lack of a proper
and better name, has no form peculiar to itself, but is a judicious
:

blend of the other two and a selection from the most efTective features
of each."
This third is the best variety of composition because it is
a kind of golden mean and its highest representative is Homer, in
whom we find a union of the severe and the polished forms of
arrangement.
On a lower plane are other votaries of the golden
mean among lyric poets Stesichorus and Alcaeus, among tragedians
Sophocles, among historians Herodotus, among orators Demosthenes,
a,nd among philosophers Democritus, Plato and Aristotle.
Illustrative
examples are, in this case, unnecessary.
c. 25. These discussions lead up to a final question,
that of the
relations between prose and poetry.
And first in what way can
prose be made to resemble a beautiful poem or lyric 1
It is in
metre, even more than in the choice of words, that poetry diflFers
from prose. Consequently prose cannot become like metrical and
lyrical writing, unless it contains, though not obtrusively, metres
and rhythms within it. It must not be manifestly in metre or in
rhythm (for in that case it will be a poem or a lyric and will desert
its own specific character), but it is enough that it should simply
appear rhythmical and metrical. It will thus be poetical, although
not a poem ; lyrical, although not a lyric.
Passages are then taken
from the opening of the Aristocrates and the Crown of Demosthenes and
are subjected to a minute metrical analysis. The result of the scrutiny
is (it is claimed) to show that many metrical lines are latent in good
prose, the author having taken care to disguise slightly their metrical
character.
In an eloquent passage Dionysius then submits that the
great end in view warranted all these anxious pains on the part of
Demosthenes.
Demosthenes was no mere peddler, but a consummate
artist who had the judgment of posterity always before his mind.
Isocrates, also, and Plato spent no less trouble on their writings, as
witness the story about the opening passage of the Republic.
It is,
further, to be noticed that such careful processes, though
deliberate at
first, become in the end unconscious and almost
instinctive, just as
accomplished musicians do not think of every note they strike on
their instrument, nor skilled readers of every single
letter which
meets their eyes in the book that lies open before them.
c. 26. Secondly
(and lastly) comes a question which is
the
counterpart of that asked in c. 25 namely, in what way can
a poem
or lyric be made to resemble beautiful prose ?
The two principal
means are (1) so to arrange the clauses that they do not
invariably
;

INTKODUCTIOiT

begin and end together with the lines (2) to vary the clauses and
periods in length and form.
These things are more difficult to do
where the metre is uniform, as in heroic and iambic verse.
In lyric
poems the task is easier, since the variety of their metres brings
them a point nearer to prose. At the same time, while avoiding
monotony and while generally causing his verse to resemble
beautiful prose, the poet must remember that the so-called "prosaic
character" is a defect.
We are, however, here thinking not of
In order to show
vulgar prose but of the highest civil oratory.
that, in poetry, clauses can be of different sorts and sizes, and can
also be so far independent of the metre as almost to give the effect
of an unbroken prose-narrative, Dionysius draws some concluding
illustrations from the 14th Odyssey, the Telephus of Euripides, and
the Danae of Simonides.
;

The following Tabular Analysis may help

structure of the treatise

Chapters 1-5.

I.

and

its effect.

still

clearer

Chapters 6-20.

II.

1.

cc.
(j8)

(y)
(8)
2.

the general

of composition,

of the fatal neglect of composition.

secret of composition not to be

Composition

make

The nature

Introductory.

Instances

to

found

in

The

grammatical rules.

General Theory and Technique of

6-9 (a) Three processes in the art of composition, c. 6.

Grouping of clauses, c. 7.
Shaping of clauses, c. 8.
Lengthening and shortening of clauses and periods, c. 9.
:

10-20 Charm and beauty of composition, and the four

means of attaining these qualities

cc.

(a)

Preliminary remarks,

{fi)

Four means:

(1)

cc.

/ieA.os,

10-13.
cc. 14-16.

(2) ^ven6s,cc. 17, 18.

(3) /icra^oAij, c. 19.
(4) TO TtpeiTOV,
III.

Chapters 21-24.
(1)

(Tvvdicri'S ava-Trjpd, C.

(3) crvvdecn'S

Chapters 25,
OF Poetry to Prose.

26.

20.

Three Modes of Composition

(2) (TvvOecris yXa<f>vpix,

IV.

C.

C.

22.

23.

evKparos (or Koivq),

C.

24.

Eelation of Prose to Poetry, and

Note. The existing division into chapters is not always a

happy one. As a help to the reader, a few words of summary have
been prefixed to each chapter of the English Translation.

DIONYSIUS OP HALICAENASSUS

10

original.
about one-third the length of the
EahcarmsDionym
de
Usener
(cp.
date
It is of early but uncertain
is preserved in the tollowsensis Libris Manuscriptis p. viii, n. 7), and
Eehdigeranus Vaticanus
Monacensis,
Darmstadiensis,

The Greek Epitome

is

ing codices:
original; and instead of
Urbinas.
It has survived along with the
work, as ancient
unabridged
superseding and extinguishing the
not
a little to its
contributes
it
done,
have
epitomes seem often to
Had it been preserved at the expense of the original,
elucidation.
possessed the Sappho, but should have lost the

we should have still

Towards the end, the Epitome
Simonides.
care than at the beginning.

is

executed with less

II

The Oedek of Words in Greek

The strong and the weak points of the de Compositione
Verborum will appear from the foregoing summary, and still
more from the treatise itself and the notes appended to it.
Dionysius' book is unique no other of its kind has come down
Its immediate subject is the
to us from classical antiquity.
But its author is happily led to
Order of Words in Greek.
raise fundamental questions such as the relations between Prose
and Poetry, together with incidental points of Greek Pronunciaand generally to take so wide a range
tion and Accentuation
:

less comprehensive than On Literary

The
seems to fit the contents of the work.^
Not less striking,
discursive enthusiasm of the writer is obvious.
however, is the sound literary taste which converts his quotations
into a true anthology and preserves some priceless remains of
Sappho and Simonides. It will be necessary to point out'certain
But his weaknesses
weaknesses of Dionysius from time to time.
are far more than counterbalanced by his great excellences.
Some of his shortcomings are those of his age, an age which

that

no

English

title

Composition

was a stranger

to the

modern method

to literary investigation.
real.

When,

of comparison as applied

Others, again, are

more apparent than

for example, certain omissions

are observable in

some directions along with ample expatiations in others, it is to

be remembered (1) that Dionysius is dealing with the department
'

See Glossary,

s.v. cr6vOe(ns.

INTRODUCTION
and not

of expression

witli

11

that of subject matter, (2) that, in

the department of expression, he

is concerned with the composiand not with their selection, and

composition, he is here interested primarily

tion (or arrangement) of words

(3) that, in regard to

not in lucidity nor in emphasis, but in euphony.

Hence we
must not expect him to dwell on that great governing principle j
of literary composition,
logical connexiqiL
To its importance,
however, he is fully alive, as is clear from a passage in his essay

on Isocrates " The thought " [in Isocrates, who pays excessive
heed to smoothness of style and a pleasant cadence] " is often the
slave of rhythmical expression, and truth is sacrificed to elegance.
:

But the natural course

ideas,

is

for the expression to follow the

not the ideas the expression."

And

though, in the de

upon sound
than upon sense, yet the orderly way in which the subject matter
of the treatise is presented shows in itself that Dionysius was
well aware that the chief essential for a book is a basis of clear
Compositione,

it

is

his business to discourse rather

thinking and broad logical arrangement, and that, as a consequence,

its

excellence

is

to be sought even

paragraphs than in

its

more in

flowing periods.^

It

its

may

chapters and

its

be well to touch,

with a similar regard to sequence and with occasional references

to modern parallels or contrasts, upon one or two aspects of his

main theme which

his

for further discussion

own treatment

and

of

it

suggests as suitable

elucidation.

A. Freedom and Elasticity

In his
with

fifth

much

chapter Dionysius shows, with no difficulty and

it is impossible to lay down universal

vivacity, that

He admits that he
words in Greek.
had been inclined to entertain a priori views on the question of
the natural precedence of certain parts of speech and to hold
that nouns should precede verbs, verbs adverbs, and so forth.^

rules governing the order of

'

de Isocrafe

ToWdKis

c. 2,

pv0/iip

Ti?

SovKeiet

yap

ij

didvota

X^f CMS, Kdl ToS

TTJs

/SoiiXerat
.
KOfi^oS Xciirerai t4 iXridivbv
S^ Tl (pins Tots voiiim(Ti.v lirecrBai rijv
Xi^iv, oi Tg Wfei rk vtrluMTa.
^ The Greek word {Ke<pd\aia, capita)
corresponding to 'chapters' occurs several
times in the O.K (see Glossary, s.v.);
and one (Trepiox^) of the words corre.

aponding to

'

paragraph

'

is

found in the

The paramount imde Thiicyd. o. 25.

portance and dignity of the TvpayixanKos
riiroi is indicated in the G. V. 66 9-15,
and in the de Demosth. c. 58 fin.
^ Quintilian
ix.
i.
23)
[Inst. Or.
applies the term naturcdis ordo to
such collocations as viros ac feminas,
diem ac noctem, ortum et occasum. But
even here the order, though perhaps
natural, is certainly not necessary.

^
y

DIONYSIUS OF HALICARNASSUS

12

But he had proceeded, with that sound

distinguishes him,

to test his

practical

judgment which
Homer's

theories in the light of

He

"Trial invariably
had then found them wanting.
worthlessness."
their
utter
The
wrecked my views and revealed
which
he
quotes
from
the
Iliad
examples of variety in word-order
But a
and the Odyssey are most interesting and instructive.
modern reader, familiar with languages whose paucity of inflexions
often offers freedom only at the price of ambiguity, has more
cause than any ancient writer to wonder at the liberty which
Greek enjoys in this respect. No doubt the long gap between
TToXvv and y^povov in the Frogs has, and is intended to have, a
comic effect.
But there is no sort of ambiguity in the sentence,
since the poet takes care to use no noun with which the adjective
could agree until the right noun at length comes and relieves the
listener of his suspense and growing curiosity,
usage.

el

iyo)

opOb'i

IBelv

^lov avepo<s

Tpoirov

rj

er

0(TTi<;

oifjbw^eTai,

ov TToKuv

oiiS

KXeijevrji; o

ovTOf 6 vvv ivoVK&v,

irlOrjKO'i

fii,Kp6<;,

7rov7jpoTaTO<;

f^evhoKiTpov

^aXaveix; oiroaoi Kparovcrt. KVKTjo-ire^pov

/covia<;

XPoVo. ivhaTpi^ei.

Aristophanes Ranae 706-13.

Here as many as twenty-one words divide an adjective from

noun, though noun and adjective are usually placed close
together.!
But, even in serious poetry, the same thing is to be

its

noticed, though on a less surprising scale.

rjv

ovT

ovhev

avroh ovre

avde/j,coSov<}

depov;

For example

x^t'/Miro';

riKjiap

^po^ ovre xapTrlfiov

Pe'jSoioi'.

Aeschylus Prometheus Vinctus 454-6.

Here the adjective follows the noun, but (as before)

there is
is much added emphasis
due to the

no ambiguity, though there

apparent afterthought.

Similarly

good example of the severance of

xpbvo, from its article by an adjectival
phrase will be found in the C. V. itself,
222 22 ^M.^ci^-V Tap 0a,.o. ...d^rreral
Tif.; P
t6 t Kal Siapi^-oKev dliiXo-yo.'

SiiBaciv 6 ueT-afi

rni! ,-<

" Tra.SaiSaW "

cvvJrou]'v^^ air

tarX

venience
obvious.

of

^
'^

T'T-"''

vnL?" T?"'

thTs^r'^ticuTa;
articular

""^"^

J^Ul
bracket

IS

INTEODUCTION
ev oe ronAi/ irolrjcre TrepiKKurb?
ev icaXf}

/3r]a-<7Tj

(jiEyai'

13
ajJLt^i/yvrjeL'i

apyevvamv}

oloov

Homer

Iliad

xviii.

587, 588.

And

in prose the dependence of a genitive may be quite

though the distance between it and the words on which it
depends be great e.g.
clear,

TUK

fiev

our

n-epl
olfiai,

ou? ovTO<;

Xoyoji^,

T&v

avm koI

-TrapajeypafM/jbivcov

fiavOdvew

vp,a<s

koltoo

v6p,(ov,

ovr

SiaKVK&v eXeye

ovre fia tov?

auro?

6eov<}

avvetvai

iSvvdfirjv

TOUS TToWoUS-

Demosthenes de Corona

111

(cp. 57).

In prose, again, the extremely antithetic and artificial arrangeof words possible (without complete loss of clearness) in a
highly inflected language may be illustrated from Thucydides

ment

KM

ov irepl

Trj<;

iXevOepia^ dpa

ov6 ol "EWiyz/e?
oe
o

/lev

01

Trjf

Sea-TTOTOV

iirl

rarepov
^

dWd

cr(j)tcnv

ovre ovtoi tcov 'EXX'^vcov

iavTwv Tw
fir)

M.ijSci)

eKeivp

fiera^okrj ovk

dvTeo-rrjcrav, Trepl

Kara^ovKaaeax;,

d^vveTcorepov,

Be.

Thucydides

oi

KUKO^vve^

76.^

vi.

The following sentence of Demosthenes, with its carefully

chosen position for the main subject $t\i7r7ro? and the main
verb iirrjyye'iXaTo, shows how well suspense and the period can be
worked in such a language
a>9

oe TaXaiTTcopovfievoi toU firiKeb tov TroXe/iov ol rore fiev

vvv

l3apei?

aru^et?

@ijj3aioi

avwyKaa-Orja-ofjievoi,

Kara^evjeiv

TOVTO yevoiTO

ervveKdoiev at

eKei,voi<;

firjSe

itj)

(pavepol
vfj,d<;,

7roXei<;,

irda-iv

<t>t\nnros,

rjtrav

"va

firj

v/xlv fiev elp^vrjv

Be ^orjOeiav eTrrjYyeiXaTO.

Demosthenes de Corona

19.^

In an analytical language such as English a separate introCp. dpvLBuv .

TrpoKaBi^bvTwv, Horn.
459-63.
Attention is called to the elaborate
word-order by Mr. P. N. Ure in his
edition of this portion of Thucydides.
The extent to which prepositions can be
parted from cases, in post-Homeric as
well as in Homeric Greek, is worth
^

II.

ii.

notice as a somewhat different illustration

of the freedom of Greek order.
See,
for example, the remarks in Liddell
and Scott's Lexicon on the position of
eis.

^ In Caesar B.G. ii. 25 more than a

hundred words come between the subject
(7acmr and the main verb ^ocessii.

DIONYSIUS OF HALICABNASSUS

14

ductoiy sentence

would be almost necessary in order to bring out

the point of a familiar passage in the Cyropaedia

TralSa

erepov

x'^^ww

6xv

/MiKpov

ju,67a?

7rat9

ainov, tov
fiiyav exovra ;)^fcTWi'a, eKhv(ra<i
eKelvov r^iJijiieae, tov Se eKeivov avTOS iveBv.
Xenophon Cyropaedia

/iiKpov

eavrov

fiev

i.

3. 17.

the force and variety gained by juxtaposition, or by

chiastic arrangement, is obvious in such examples as

And

(1) TtTTTe

fie,

iroalv Ta')(keacn

UnjXeoi; vie,

Homer
Tt

(2)

hrjTa,

M6'X77Te

Toaovrov

hiu>Kei,<:,

Iliad xxii.

ctu

Ifiou

8, 9.

<70<^d)repo<;

el

nf)\iK0i5T0u oi/TOS TTiXiKoo-Se Siv

Plato Apology 25 D.
ov yap

(3)

Kpivet,

eirl

Kai

SiKaiui'

yevoiTO

fjuev

avar^KT)

Tt?

yap

ovk av

Bi,Kaa9el<}

koI

eKev9epo<;

KaXui'

vyirji

ScopoBoKO)

tc3

ra

Longinus de Sublimitate

Twv

Xot,<;

KcoXaiv

Avlaotv

re

dfofioious T Kal dciaous

ovrtay

Kal

KOiovfievoi

The two
closely

last

oiKeia

fiev

c.

xliv.

di/ofioiui'

aWi]-

Ta? oiatpeceK.

Dionys. Halic. de Comp. Verb.

be

rmv

KpiTTji;

KaXi Kal Sixaia.

<f)ai.vecrdai

(4) Kao

etfi

av

c.

xxvi.

examples of elegant variation might, no doubt,

in modern languages.
To the more

reproduced

important matter of emphasis, which arises in sOme of the other

instances, a separate section

B.

must be devoted

Normal Order

Though Dionysius does

right

quarrel had arisen between

a big and a little boy about a big and a
'

e.g.

'

little coat.'
^ A good illustration of the freedom
of order possible (at any rate theoretically) in Greek, even within the limits of
verse, is supplied in a letter from Richard
Porson to Andrew Dalzel "There is a
passage of Sophocles three times' quoted
by Plutarch, and always in a different
order, but so as in the three variations
to remain a senarian. Now the fragment
:

later.^

to

deny the existence of a

consists of five words, and the sense is

this
(The physicians) wash away,
bitter bile with bitter drugs [TriKpots
:

'

Trixpav xXi^oviri (papfuiKois xo'^'?"]-'

The
five words, you know, will admit of one

hundred and twenty permutations, and

what is extremely odd, these words will
admit twenty transpositions [which
Porson proceeds to indicate], and still

constitute a trimeter iambic."

Luapd's
Correspondence of Ridhard Porson pp.
91, 92.

INTEODUCTION

15

natural or inevitable order in Greek and to emphasize the essential

freedom of the language, he might well have recognized more

what may be termed a normal or usual
order, and that it is precisely the departure from this normal

explicitly that there is

much

usage which does

may

to give a definite character (good or bad,

Greek authors.
For instance, it is usual in Greek for an adjective to follow its
noun, and for a negative to precede the word or words which it
qualifies.
There are, further, certain customary positions for the
as the case

article

be) to the style of individual

(according as

it

avr6<s,

or predicative); for the

attributive

is

demonstrative pronouns in

conjunction with

according to the meaning which

it

bears

the
;

for

article;

for the particles

and relative pronouns

and so
grammatical order sanctioned by
prevailing usage, an order which might be shown to hold good,

for

conjunctions,

prepositions,

forth.

There

in short, a

is,

commonly though not

universally, in

constructions indicated

by Dionysius

some of the grammatical

in his fifth chapter.

Now

between this normal order, and lucidity of expression, there exists

a close connexion.
C. I/wcidity

It

might easily be concluded, by a reader who knew the de

Compositione alone

among

Dionysius' critical essays, that he set

by that clear writing which, as it presupposes clear

thinking, is a rare and cardinal excellence of style. As the noun
<Ta^')]veia occurs but once in the treatise and the adjective
a-a<\)r)<; not much oftener, it might *be supposed that he underrated a quality to which Aristotle and other writers of antiquity
little

store

Aristotle, indeed, regards it as a first

assign so high a place.

essential

of good

mean " (Xefew?

Poet. xxii. 1

style,

which must be "clear without being

Se aperrj

cp. Bhet.

cratprj

iii.

2. 1).

ical

/mt]

raireuvriv

etvai, Aristot.

Similarly Cicero puts clearness

{sermo dilucidus) before ornament, asking

bow

it is possible, "

quod intellegamus, hunc posse quod admiremur

non dicat
(Cic. de Oral iii.
or'do has become

"

Horace's approving reference to lucidus

And Quintilian allots the primacy
proverbial.^
9. 38.).

Horace Ars Poetiea

qui

dicere

40,

...
cm lecta potenter
.

-,.,

ent
neo facundia deseret hunc nee lucidus
res

Can the obscure patenter here be a Latin

translation of some such technical term
^^^^^^ ^^ Neoptolemus in the
^^^^^^ ^^^^^^^ ^^ ^^^^/y criticism) as
Swarai or Suvm or vWavus ?

DIONYSIUS OF HALICARNASSUS

16

same great quality

to the

"

nobis prima

sit virtus

longum

propria verba, rectus ordo, non in

neque desit neque superfluat " {Iiist. Or.

high

and not always attainable

relation

possit, sed,

auditor:

judicial

his

to

ne omnino possit non

before

quare

non,

intellegere,

nihil

22), and puts

viii. 2.

ideal
"

perspicuitas,

dilata conclusio

the
ut

orator

a
in

intellegere

curandum"

{ibid.

24).
If Dionysius in the present treatise says little about lucidity,
the sole reason is that he assumes it as a necessary and indisviii. 2.

pensable quality of style. In the de Thucydide c. 23 it is classed

(together with purity and brevity) as one of the aperal avayxaiai,
(in contradistinction to the aperai iirCOeroi,
ri

T03V

re koI Tradcav

rjdmv

etc.).

fiifirjcn,?,

recognized, however, that the

plainer styles

such as ivdpyeia,

The Greek
were more

critics

likely

that, in this
than the more elaborate ones to excel in lucidity,
respect, a Herodotus and a Lysias might be expected to surpass
Among these authors let
a Thucydides and a Demosthenes.^

us choose Lysias and Thucydides, and see what praise or blame

In the fourth
Dionysius awards to them upon this score.
chapter of the de Lysia, the lucidity of Lysias

is

contrasted with

the obscurity often found in Thucydides and Demosthenes

it

is

pointed out that this excellence

admirable in that

it

is

is,

and

in him, all the more

combined with a studious brevity, an

opulent vocabulary, and a

mind

of great native force.

And

no

example of pellucid clearness of narration could well be

imagined than that quoted from Lysias in the sixth chapter of
finer

the de Isaeo

avaryKotov

irepl

T^s ^tXto.?

77/309

v/io.?,

ktX.

T97?

ficu

To the

Soxei elvai,

koI

e'/xij?

t^9

&

dvBpe<;

^epevl/eov

SiKacrrai,

Trpwrov

obscurities of Thucydides,

eiivelv

on the other

hand, as seen in his History and particularly in his Speeches,

constant and mournful reference is made in the essay which has
the historian for
fingers,"

its

subject.

"

You can almost count on your

who are capable of com-

says Dionysius, "the people

prehending the whole of Thucydides

1 Demetrius, for example, evidently
expects to find more lucidity in the plain
style (the laxviit xa/"/cTi)p) of a Lysias
than in the elevated style [neyaKosee
vpewiis xapaKTiJp) of a Thucydides
the summary in Demetrius on Style pp.
principal
reason
34.
And
a
for
this
33,
is that the former keeps more closely
:

and not even they can

than the latter to the normal order of

words in Greek {de Eloc. 191 ff.).
For Herodotus as compared with Thucydides cp. de Imit. ii. 3. 1 Tfjs <ra<prirela!
Si drainpur^fras 'B.pod6Tij) ri KaTbp0aim
SiSorai (quoted in the editor's Dionysius
of Saliearnassus : the Three UUrwry
Letters p. 173).

INTRODUCTION

17

do so without occasional recourse to a grammatical commentary." ^

Dionysius, further, gives it as his opinion that the language of
Thucydides was unique even in his own day and he combats
the view that a historian (as distinguished, say, from an advocate)
may plead in excuse for an artificial style that he does not write
for "people in the market-place, in workshops or in factories,
nor for others who have not shared in a liberal education, but
for men who have reached rhetoric and philosophy after passing
through a full curriculum of approved studies, to whom therefore
Obscurity
none of these expressions will appear unfamiliar." ^
and eccentricity, he says in effect, are not virtues except in the
presumably a speaker speaks, and a
eyes of literary coteries
;

writer writes, in order to be understood.^

T>.

Emphasis

Dionysius' inadequate recognition of a normal order is naturally

attended by some uncertainty in his attitude towards that kind
of emphasis which a departure from the normal order produces.
It

may, indeed, be thought that the

jbest

means

of attaining

it,

and the

effect of emphasis,

are considered at the opening of the

and that it comes under the headIn the fifth chapter,

of apfiovia.
and
a-'^T)fiaTca-fi6<;
recognition of the
clearer
a
welcomed
have
should
however, we
readers,
falls upon avSpa,
modern
seems
to
it
emphasis which, as
sixth chapter of the treatise,

ing both of

fii]viv,

and

when they come

^e\io>;,

at the begianing of the line

Certainly in his
words
the emphasis
appreciates
that
he
own writing Dionysius shows

and

accost the ear.

to

so are the first

e.g.
gained by thrusting a word to the front of the sentence
)(p6vov
roSe
Kaipov Be ovre prjrmp ovSeU ovre (j)i\6(TO<f>o<; eh
:

Towards the end of chapter 7 he

quotes from Demosthenes the words to Xa^eiv ovv ra SiSofj^eva
rexvvv mpiaev (132
o/ioiXoryav

fiav

TCL

evvo/MOV

He

<ypd<^ri.

21).

to 'Xapiv tovtcov airohovvai, irapavochanges the order to ofioXoy&v oZv evvo/iov

1 eiapie/iTiToi.

yAp Tivh

eovKvSLdov

irv/j,^a\eTv,

elvai,

eltnv oTot irdPTO,

koX

oiS'

oStoi

i^rrhixeiai ypaiJ,iMnKTis li-ia, de

Thucyd. c. 51.
2 oi> yip iyopalois iKBpilnrois oiS' imSitpploLs ij xcpo^^X"""' 0^^^ 'o" fi^Xow ot
Xiipli

nil

lieTiax""

dyuyris

dW

iXriXveSaiv,
iivov,

de

oh oiSii'
Thucyd.

comprehensive condemnation
is found in the same essay,
c. 52
^ wavra Xv/iatfo/i^T] toi. koXo, km
axbrov irapixoma rats dperaU iffiipeia.
c.

50.

j-

'

iyKVKKlbiv

roirav

of i^dipeia

dvSpdin.

iiaBriiJi,dTuv iirl p-irropi.Kfiv

(pi.\o<ro(plav

(pap-qireTat

iKevBeplov rairras

raToirKeuiifeo-Sai tIls ypa(l>ds,

Sm TUP

re Koi

'

= See, fuither, the ^Appendix headed

Obscurity in Greek.

DioNrsius or halioarnassus

18

ra SiSo/ieva, irapavoficav jpd4>r) to tovtcov

passage will be
Xdpiv a-n-oBovvat, and then asks whether the
To us it would seem that the
o/i,ot? BiKuviKT] Kol (TTpoyyvXrj.
chief loss is the loss of emphasis which is entailed (in Greek) by
elvai

TO

Xa^eiv

removing from the beginning of the clauses the important and

contrasted phrases to Xa^eip to, SiSofieva and to xdpiv to^twv
Possibly this loss of emphasis is implied (among
d-jroSovvai.
^

other things) in the words " SiKavtKr} koI a-TpoyyvXr]."

Where it occurs in Dionysius, the word e/ji^aa-i,^ bears the
sense

of

pa0vfia^

'soupqon'

'suggestion,'

'hint,'

iiriTeTpo'^aa-fiieva

Kol

ovSe

(de

ttjv

Thucyd.

eKa')^i(7T7jv

16

c.

efMpaaiv

a sense which is akin to its

eyovTa t^9 SeivoTrjTO? eKeiv7i<i)
technical use of 'hidden meaning' (" significatio maior quam
cp. QuintU. viii. 3. 83, ix. 2. 3,
oratio," Cic. Orat. 40. 139
:

In our sense of emphasis due to position, the word

and it is
6/i0ao-t9 is perhaps hardly used even in the scholiasts
possible that Greek has no single term to express the idea,
though it may doubtless be one of the elements in view when a
64).^

writer uses

such expressions

as

dp/jLovia,

cr^rj/jLaTta-fio?,

and

inrep^aTov.

of Greek, having to feel his way with

no help from ancient authorities, will probably reach
the conclusion that the rhetorical emphasis he has in mind is
attained by placing a word in one of the less usual positions open
The word thus emphasized may come at the beginning, in
to it.
the middle, or at the end of a sentence, the real point being that
the position should be (for that particular word) a little out of
In Greek, however, as contrasted with English,
the ordinary.
the emphasis tends to fall on the earlier rather than the later
words.^
In delivery, it would seem that the Greeks found it
more natural to stress the beginning than the conclusion of a

modern student

practically

'

In the same way,

Dionysius must

surely feel the loss both of clearness and

of emphasis involved in transferring
i)
nbvri iXiris (112 1 and i) from the
middle to the end of the sentence.
and iridos may cover these
Xdpis
"no clearness no
cardinal points:
charm," he might well say, "no
emphatic order no full expression of
feeling.
^

Cp.

Demetrius

on

Style

p.

278

(Glossary, s.v. ?A"^a<ris).

Review

301 and Goodellin the paper

p. 33 infra.
In the matter of
emphasis, Greek sentences are usually
constructed on a diminuendo, English
sentences on a crescendo principle. Thei
English of /iti '^eupeS^s fivous t koI
^^puv d/ia (Soph. Antig. 281) is, as
Jebb gives it, "lest thou be found at
once an old man and foolish." As fuller
examples, in prose and verse, Mr.
L.
H. 6. Greenwood suggests the
Fliaedrus 230 b, o (N^ t^ji/ "'Hflai'
iaiSpe) and the Rhemis 78-85 119-130.
iy.

named on

Cp, Lewis Campbell in the Classical

INTRODUCTION

19

But an emphatic word may be found

sentence.

may

well as at the beginning, and

at the end as

sometimes be placed neither

at the end nor at the beginning.^

Allusion has already been made to the rhetorical emphasis

which falls upon the opening words of the Iliad and the Odyssey.
As with " arma virumque cano " in the Aeneid, the words firjviv
and avhpa seem to strike the keynote of the following Epics.
And, in a less degree, a certain emphasis due to initial position

(and contributing either to emotional

ness)

is

effect or to logical clear-

be discerned throughout the poems

to

book of the Uiad

Se T TTatSe? ifiS

hu<TTf\v(i)v

in the sixth

e.g.

dvTtowaiv.

fievei,

Homer

Iliad

127.

vi.

and
eo'Tiv

Tov

o?

8',

ireirXoi'

TOt ')(apie(7TaT0<i r)Zk

fieyapm

ivl

'AOrjvaiTj^

de<;

fieyi,a-TO<;

toi ttoXu (fjiXraTo^

nat,

eVi yovvaaiv

rjiJKOfioio,

civrrj,

ktK.

Homer Eiad

271.

vi.

Similarly with the following ten miscellaneous examples of

various emphasis, taken chiefly from Dionysius' favourite speech:

ykp iroXKoixs eTriOvixrjra.'i Kol

Xa^MV, ouSera TTcoTTOTe /jLicrdbv rrj^

(1) eicelvo^

dXXa

^aro,

iraa-tv

(2) Koi rapa'XcoS7)<;

r\v

Trapajiyvofievac
fiev

(Jto^oc

^pvov
'

rot?

ol

i-jrrjpKei

vavfjua-xia,

7rapel')(pp

SeStore?

eirpd-

a-vvovcna<;

t&v eavTov.
Xenophon MemoraMlia i. 2. 60.

dcjidovm'i

rj

d(7Tov<; ical fevous

iv

AmKai

al

K.epKVpaioi,<;,

aTpaTrfyot

rrjv

Trie^oivro,

ttj;

e'l

ivavTiot<;,

TOt<;

vfj^^

Be

liaxis

"Trpopprjcriv

ovk

rmv

A07]vaia3v.^

Thucydides
(3) 'Aralayopou

o'lei

&

KaTTjyopelv,

49.

i.

MeXijre, ktK.

</)tX6

Plato Apology 26
The views of Quintilian and Demetriuswith regard to rhythm are applicQuintil. ix. 4. 67
able also to emphasis
"nam ut initia olausulaeque plurimum
momenti habent, quotiens incipit sensus
aut desinit sic in mediis quoque sunt
1

{de Eloc. 39)

Toiroiv

iiwh

fiera^ii

^aTTov

KivoifieOa,
&a-irep

leviter insistunt.

currentium pes, etiamsi non moratur,

Demetrius
tamen vestigium faoit "
;

iyKpvTTofiivwv

fj

ipa<l)avi^oi)ivav.

quidam conatus, iique

D.

yoSy ISlws tUv re

koX tG>v {ktt&twv,
ivh Sk twp

iwrnJ-oveioixev

n-ptiirav

xal

vivm

The

initial

emphasis

is

here reinby the

elsewhere
forced by lUv and Si
ohiastic arrangement, as in (10).
:

DIONYSIUS OF HALICARNASSUS

20

e^V ^e^Satow, fiaXa

(4) ov ry^p tA pVinaro ra? olKei6rr]Ta<;

oKTm to ravTa

crefivm ovofid^cov,

a-v/i<j)epeip.

Demosthenes de Corona

top (^bkiinrov '^yovvTOoiihe ^avrjv rjKOVOV eX ti?

amTrjpa

evepyeTrjp,

<l>lXov,

^v avToh'
^ovKoiTO Xeryeiv.

ndvT

iKetvo<;

aXKo

Tk

avaicrOrjTOi rj^aioi

OerraXot Kal

(5) ol fiev KaTaTrTva-TOi

35.

43.

id. ib.

(6)

Sun-as

ov'i a-v

TeOvedruy

(leV,

KoXa/cevav iraprjKoT^vdet's,

KivaBo<;,

OVK alcrddvei Karrjyopmv.

8'

id. i&.
'

(7) Koi TOT

Trj

SiafiapTvpopIvov Kol ^omvto<!

evOv'i ifiov

eKKXrjaM

'

'Arrt/c^j/

ttjv

ets

"iroXcfioc

irokefiov

Ala-yivr],

AfKJiiKTVovtKOV,

Ti

Ifiou

^iXiTnTKr/jLov,

ovTO? OVK av

eiiroi

kt\.

kol

yr)

dW'

ov

olfiat

fidWov

cIko';

143.

KaTTjyopel,

QeoC,

id. ib.

(9)

eV

elffdrjeK,

id. ib.

(8) 09 yap

162.

Svvdfieda-

eKeeia^ai

iaTip

vtto

ttov

ovv

v/i&v

294.
ttoXw

^fJid'S

t&v

Seiv&v

r/

'^aKeiralveaOai.

Plato Bepuhlic

(10)

p.'qh

etfiaai

Tidef

6eous

aTpdxraa

336

i.

E.

iirt^Oovov iropov

Tot Toia-Be TifidX^eiv ^pecov.

Aeschylus

Agamemnon

921.

from some of the above examples that words

if, though not actually placed at the very
beginning of a sentence or a clause, they come as early as they
It will be seen

may have

emphasis

well can.

The three following passages

point

will further illustrate this

(1) Kal e?

Nlkmv

fxaivev,

jrapaaKCvy,

Xa^elv
iroirja-ai

tov ^iKrjpaTov (TTpaT'qyov ovTa

i')(6po<i

Toil?

et

(ov

ai<8pEs

Kal
etei'

iv Trj vriao),

oi

crTpaTrjyoC,

Kal avT6<s

direari-

pdBiov

iTriTi/jb&v,

etvai

ifKevaavTWi
av,

el

?ip%^t

tovto.

Thucydides

iv.

27.

INTKODUOTION
(2) o

Tt

/Mev

Twv

vjieh,

ifi&v

avToi

avSpe^

a>

^AOrivaioi,

ovk

KaTTjyopcov,

21

otSa

avrmv oXCyov e/iavTOv

vir

TTiOavm

eKeyov.

KaiTOt,

&\rfii<i

ireirovdare

iym

eirekaOofi/rjv

ye,

vtto

Kal

oSj/

S'

ovrm

eVo?

eiirelv,

oiiSev elprjKaa-Lv.

Plato Apology

oKka

(3)

Tov

/j,r)v

itrre

tots

TavayKaiOTara
irovTo

^v

17

jMiicpa

Se

oi

TOV

Kal

7rXi]prj<;

a-vfi^avra

airavTe';,

fiev

iv

iroXei

rfj

aKOva-are

S'

a-aXiriyKT^v

Sopupoi'

avra

o/io)?,

(TTpaTr]yov<;

Toi/'i

init.

eKoXovv,

uereireu,-

Kal

Bopiipou

TroXt?.

Demosthenes de Corona

168, 169.

Sometimes, however, emphatic words will be thrust right

through such devices as the postponement of an

to the front

interrogative particle
iardvai,

Kal

elirov,

Swarov

e.g.

auTo

to

KU'EiaOai

a(j,a

Kara

outo

to

apa

Plato Bepublic

436

iv.

c.

and
8i<|fa

oioi'

iroXKov

T)

eoTi

oXLyov,

8ii|(a
rj

apa ye depfiov

Kal ivl Xoyrn iroiov

ttotov
tivo<;

y^vy^pov,

fj

Trmfiaro^

id. ib. iv.

An

uninflected

may

language

well

437

rj

D.^

envy the grammatical

resources which enable Greek or Latin poets to secure at once

clearness

and the utmost height of emotion in such

Zei) irdrep,
Tro'i7](70v

aXXA

<tv

pvcrai

aWpTjv, S09 S

Kal oXeaaov,

iy Be (fa'ei

xitt

rjepo<;

6<pdaXfioi(Tiv

iiret

feci,

in

'Ay^cu&v,

ISeadai

vv Toi evaBev ovto)?.

Homer
Me, me, adsum qui

vla<;

lines as

me

Iliad xvii. 645.

convertite ferrum,

Eutuli.

Virgil Aeneid
' Compare the occasional postponement
of a relative pronoun with the same
ohjeot : e.g. Thucyd. i. 77 pidor0ai yap

ofs i.v
'^

i^,

oiSh irpoaSioVTai.
and do, imitate the

SiK&ieaBai.

Our poets

can,

ix.

427.^

emphatic position of a word placed at

the beginning of a line with a stop immediately following (as pdW in Hom.
Kinrr' in Odyss. ix. 290,
i. 62,
haesit in Virg. Aen. xi. 803) :

II.

and

DIONYSIUS OF HALIOARNASSUS

22

sentence
as well as the beginning of a clause or
for the
position
unusual
an
is
it
when
emphasis

The end

may

bring

word or phrase which stands there. Illustrations may

"
perhaps be drawn from expressions conveying the idea of death,"
" heaviest of
the
is
Frogs)
the
in
Dionysus
which (according to
as any to be
iUs," and which (be that as it may) is as little likely
particular

entertained lightheartedly, or to be mentioned without some

At the beginning of a sentence,
degree of feeling and emphasis.

Tedvaai clearly has emphasis in

Tedvatr

aSeK^ol KoX irarrjp

ov(io<;

'^epmv.

Euripides Hercules Furens 539.

it will be seen that the
of a clause is more
beginning
the
comes
near
Tov Odvarov which
at the end of a
which
comes
emphatic than the rbv Odvarov

And

in the following passage of Plato,

clause

oltrBa

S',

?i

OTi Tof edmroi' rj<yovvTat "jravre^ ol aXkoi

Of,

Koi /moX', e(j)T).

T&v fieydXcov kuk&v ;
avr&v ol
virofjuevovaiv
fiei^ovav KaK&v
ddvarov, orav

virofjuevtoaiv

ecrrt

ovkovv ^o^tp
avSpeioi

tov

ravra.

Plato PJiaedo 68 D.

The TOV Odvarov before

r)<yovvrai is

here emphatic on the same

principle as the Odvarov before ela-eOriKe in the passage (already

alluded to) of the Frogs

eaVaroi'

yap

eiaeOi/jKe

^apvrarov kukov.
Aristophanes Ranae 1394.

But a word

like 0dvaro<;

may

also

come with emphasis

at the

rendered unusual by the interposition of additional words or by any other means which create

end of a sentence,

if

that order

is

a feeling of suspense and even of afterthought.

And

over
dart

them triumphant Death

his

Shook, but delayed to strike.

Milton Faradise

Lost

xi.

491.

Did

iirst create
choice,

For example
your leader

next,

free

With what besides in council or in fight

Hath been achieved of merityet this
loss,

(still nearer
Or---

to the 'me, me, adsum,'

of Virgil)

Me, though
thougl just
right,
and the fixed laws
_
_
'
of Heaven,
.

Thus far
more

at least recovered, hath

much

Established in a safe, unenvied throne.

Yielded with full consent,
Milton Paradise Lost ii. 18-24.

INTRODUCTION
Tt Si

rav AlBov

23

elvai re Kal Beiva elvau

r/yov/jLevov

Tiva Oavdrov dheij eaea-Bat Kal ev rai?

irpo ^ttt;? t6 koX SovKeiw; OAvaroy;

(rOai

Plato EepuUie

Here the ddvarov seems intended

the preceding Oavdrov to which,

prominence

aXX^

o'lei

aip-ijcre-

iMaj(ai<;

vojiov STi/iocria rbv

Kal 7ro\Xov<{

Kaaiv

386

b.

to repeat with emphasis

a considerable degree of

So, perhaps,

assigned.

is

itself,

iii.

rjBr]

ravra KeoKvaovra redeivrat tovtovI

irapa^dvTai; rov vofiov tovtov

i^Tjfiia)-

Ooi'dTu.

Demosthenes Midias

49.

and
.

Kal ^o^ep(OTipa<i

&9 iv SovXevovcry

ijyjycreTat
rfj

t^9 v^pet<; Kal ra? dn/Ma^,

TToXet ^epeiv dvajKr), toO Oacrfrou.

Demosthenes de Corona
of words

Some miscellaneous examples

at the

end of a clause or sentence are

(1) alrovfiai

KOI

S'

205.

coming emphatically

v/ia^ Sovvai Kal vvv -Tratal fiev Kal yvvaiKt

<j)l,\oi<;

Kal TTOT/JtSt

ifiol

u8ai|ioi'ia)',

Be olov irep

al&va BeBtoKare roiavTTjv Kal TeXevrrjv Bovvai.

Xenophon Gyropaedia
(2)

oKXd

Kal

tovtov;

KoXvfi^rjTal

viii. 7.

e^enr piov

Bvofievoi

|xia9ou.

Thucydides
v-^ov Be 6dcT(T<ov

(3)

iriiTTeo

TTjOO?

v'yfroOev

ovBa'i

vii.

25.

'x,afJ,ai'7reTri<i

fjbvpioi'i

ol/jLcajfiaa-i

UevQeus-^

Euripides Bacchae 1111.

(4)

I'o-re

yap

-TToXeif

Kal

B'^ttov

tov6' oto Trai/res ol ^evayovvTef ovTot,

KaTaXaii^dvovTe<} 'EXXrjvl.Ba'; dpxeiv

irdpTCDV,

oaoi irep

emphasized by Kai
by its position well in front
oftheverbwhicbgoverns it, while /iio-eoC
depends for its emphasis on its position
'But even these hidden piles
alone.
did divers (entering the water) saw off
Compare the analysis which
for pay.'
'

Here

as well as

roiirous is

v6fioi,<;

oIkcIv

^7]T0va-iv,

^ovXovrai

rrjp

Quintilian (ix. 4. 29) gives of Cicero's

" ut tibi neoesse esset in oonspeotu populi
B,oma.ni Yomere postndie.
^ For the rhetorical and metrical etteot
compares Milton
Sandys (ad loo.)
Firm they
912
Pa/radise Lost vi.

might have

stood,

Yet

tell.

DIONYSIUS OF HALICARNASSUS

24

avT&v

^'

iraa-av X'^P"'^'

^*'

TokrfOh

elirelv,

ex^poi.

Demosthenes Aristocrates

TOW

Se

(5) Set

^epeiv

iyxeipeiv

avhpa<;

avaaiv

H'^v

av o

B'

6eo<!

BiB yewaias.

Demosthenes de Corona
(6)

eW

ovToi

139.

KaXol<;, rrjv a/yad^v 'jrpo^dXXofievov'! iXiriSa,

roh

aeX

ayaOoix;

oirXa elxov iv

TO.

rat';

X^P'^^

97.

^^'

id. ib.

235.

yap ravra -TrpoeiT aKovirei, irepX wv oiiSiva Kivhwov

ovx vwefieivav ol irpoyovoi, rk ovx} KariKTvaev av <rou; fjuT) yap Tr)<; TroXew? ye, fj/r)B' i/iov,

61

(7)

icarh

irepiepxovrai

Koivol

eKevdepoi,

ovre^

ovTiv

id. ib.

(8)

^/uv

T&v

XotTTOt?

TOt?

Be

eirrjpTTjfievav

rax^o-TT/v

TTjv

Bore Kal

<j)6fimv

airaXKayrjv

o-oi-nipiai'

dar<t>aXYJ.

id. ib.

Ifc

200.

324.

be added that, occasionally, both the earlier and the

emphatic in the same clause or sentence e. g.

may

later positions are

T^Kpa

(1)

yap KaraKTevw

Tafi,

Euripides Medea 792.

(2) (JTa

yap Tvyx^'Vei avOptoiroKJi eovra airuTTOTepa

,,

Herodotus
TO ftev

(3) vvv Be

avTOfiar

Trapov

olofievoi,

interposition of a number of unemphatic

words the nsp of narticles such as uAv

rd'^,*tL7la:Lrof emphat Zo'l

contrasted

near

pairs

The order here

position of too

avoids the juxtaacousative-termina-

(1)

many

Trpoiefievoi,

xaXw?,

i.

ra Be fieWovr

Tju^i^crafiei',

avBpei;

o)

(2) provides a conclusion

;
satisfies ear and mind alike,

tions

The

8.

which

may

position of tSm' here

be

compared with that of %o>5s in Eurip.

^,^ m^K /d- ^<^,\Sa,
-
T yaius l|^ow
i 3..
iK
,1^^ *"
<

fff
^'^'

^^^''
^^/ ^^l^'' l ^"
l^^^'"*
"^ **
^^^ *^ beginning may be
"silver
and
goU have I
-S'

^"P^-

together or

remote from one another.

^

ael

o'T^iytreti'

1 In this sentence the orator would

probably pause slightly before yevvalus,
and thus (1) emphasize it; (2) sep^^^^^^^^^
from &5v Other means (illustrated by
various examples in this Introduction)
the
of throwing a word into relief are

in

o(|)6a\-

* Quoted by Dionysius (C. V. c.

3),
though without any special reference to

the point of emphasis.

INTRODUCTION
A6r]vaioi,

KovTov

fPlXiTTTTOV

rfKiKo^

xal KaTearrjaafiev

i^fiEis,

ovSei'i

25

Demosthenes Olynthiacs
(4) TToXXdKis

Tov

Se

aviaraT

KripvKO<;

t&v

fiev

Ma/ce-

9.

i.

ovBev

ipcoraivTO'i

airavTav

ouSeis,

rrjXi-

jiyovev

ySatrtXev?

ireo

fiaXkov

crrpaTmav

irapovTeav, ktX.

Demosthenes de Corona.^ 117.

(5) ical

Kal

fir/v

*epiis

Trpcorjv

@eTTaKiav iK9mv
Tol^
^

rdKanraapoi'i

Tou?

e<f)7j

jap

roK

a-vfji/jiA'^cov

(f)l,Xo<;

real

a-vfj./ia'x^O';

teal

ireiropb^evaL

m?

avTOv<;
S'

vocrovai

Kal

eivac

Kar

cucoiai''

koI

<7Taaid-

dXr]0ivSiv

(jjiXccv

XiOois

rrjv

irel-x^Lcra

ovBe

iroXiv

iii.

12.
iy6,

7r\iv0oi<;

Demosthenes de Corona
u-irep

eVt TOVTOt? jJ^ejKTTOV TMP i/jMVTOV ^pOvSs.

OllB

(7)

iv

TOLOvTOi^ Kaipol<; irapeivai,

Demosthenes Philippics
(6) ov

et?

reXevTala

to,

Upeirai'; tovtoktI iTTia-Keylrofievov;

o-T/jarttOTas

irvvdavea-Qai,

^ovaiv,

ft)?

KaraXa^mv,

ep^et

Ttii'

7^7^oX^Teuo"at

Ex^piii/

299.

S'

uirep

id. ib.

265.

trdvra, iyco

Ttjs

irarpiSos.

In connexion with the imperfect

de Compositione
1

Quoted by T.

appreciation which the

Verborum shows of a normal order and of an

D.

Goodell

School
^/ieis
296.
seems to owe some at least of its emphasis to its late insertion.
If placed

Grammar

of Attic

immediately after

Gruk

p.

would,
Goodell
does right to include some treatment of
the question of (Jreek word-order in a
Grammar intended primarily for use in
schools.
It should be pointed out even
to beginners that so simple a sentence
Tjifijo-a/ici',

it

surely, lose a little in weight.

as

ol 5*

'AdTivatoL ivlKTjjay Toi/s AaKeSaifio-

can be arranged in half-a-dozen

ways, each with its own separate shade
of meaning.
Compare the remarks of
W. H. D. Rouse with regard to the
teaching of Latin: "It is possible by
question and answer to make clear from
the first the essential structure of an
inflected language, as depending for
vlovs

emphasis on the order of words ; and

this lies at the root of style.
Thus a
simple sentence may give matter for
several questions.
Take Caesar Labielaudat.
I may ask, Quern laudat

num

Answer

Caesar ?

Question

Caesar.

Answer

Lahwnwm

laudat

Quid facit Caesar

Laudat Ldbienum Caesar.

If
all the texts read are treated in this
way, the pupils become used to cori'ect
accidence, syntax, and order, and learn
the elements of style " {Classical Beview

xxi. 130

op.

also

Teaching of Latin

W. H.
p.

33).

S.

Jones The

An

instruc-

tive contrast might be drawn, with

reference to the context in either case,

between Romanws sum ci/ms in Livy ii.

12, and Civis Bomanus sum in Cicero
Verr.

ii. v.

65, 66.

DIONYSIUS OF HALICARNASSUS

26

emphasis produced by departure from

it,

attention

may be drawn

no reference to the figure

figure had been recognized
the
although
and this
hyperhaton
to be recognized long
continued
and
time,
long before Dionysius'
who probably took
Plato,
by
mentioned
first
It is
afterwards.
'

to the fact that the treatise contains

;

dXX' virep^arbv Bei Oeivai

over the notion from the Sophists
Frotcy. 343 E, where the
(Plato
"iXadim"
eV Tffl oa-fjLaTi, to
The author of the
Simonides).
of
poem
reference is to a
:

JRhetorica

terms

aXX

ad Alexandrum
iav

ael

{nrep^aTa><;

fir)

ra ixofieva e^^?

30) indicates

(c.

avra

to,

[sc.

it

in the following

ovofiara]

Quintilian

raTreo/jLev.

beginning "Hyperhaton

quoque,

Tid&fiev,

treats

id

est

of

it

verbi

the passage
transgressionem, quoniam frequenter ratio comparationis et decor

in

non immerito inter virtutes habemus " (Inst* Or. viii.

The author of the Treatise on the Sublime describes
6. 62).^
ecrn Be Xe^ecov rj vorjo-eoiv e/c tov Kar
and defines it thus
poscit,

aKoKovdiav KeKivquevq Td^i<i KaX oloveX j(^apaKT7]p evajaviov

And, later
TrdOov; oXrideaTaTo^ (Longinus de SuUim. c. 22).^
acquainted
well
rhetoric
are
writers
on
still, Hermogenes and other
Dionysius, however, mentions it but seldom in
with the figure.

any of

his writings,

Kal

TToXuTrXoKov?
^ovXofieva<;
vorjo-eit;,

Kal

de Thucyd.

of desirable but

thought that

i^
Bia
c.

and even then

diroKoirri^

/laKpov
52

cp.

c.

its

iii.

arjfiaiveiv

aTroSoffet?

3 1 ihid.)

is

irpayfiaTa

Xafi^avowai

clearly thinking not

He may have

proper place was in poetry rather than in prose.

With "verbi transgressio" cp. "verhorum concinna transgressio " in Cic.

54. 207.

A modern

reader might be disposed

to see an example of emphasis in the
illustrative passage which "Longinus"
here quotes from Herodotus vi. 11.
In
hyperbata the Treatise on the Sublime
itself greatly abounds, being much influenced (in this as in other ways) by Plato.
For examples of hyperbaton in Plato
see Riddell's edition of the Apology,
^

iroKKa

to?

ra? virep^arow kuI

of highly undesirable " inversions."

de Orat.

(e.g.

is"; " the grand thing in teaching is to

have faith that some aptitudes for this
" one thing that Proevery one has"
testants have, and that the CathoUcs
think they have a right, where they are in
great numbers, to have too, this thing to
thePrussianCatholicsPrussia has given."
;

Such oddities are, in English, usually

of a playful and undress character : e.g.

.securing

and perhaps half-humorous trick of

emphasis by a "bold and

"it was really a party that one might

proud of having been asked to ; at
least I might, and did, very " {Life and
Letters of Sir Richard Claverhouse Jebb
op. J. D. Duff's remarks, on the
p. 93
same page, with regard to the literary
adequacy of the following English

hazardous " hyperbaton (cp. de Sublim.

xxii. 4), which keeps back the verb till
the end of the sentence: e.g. "And a
good deal of ignorance about these there
certainly, among English public men,

translation of a pathetic sentence in one

of Demosthenes' greatest speeches "this
woman in the first instance merely
quietly to drink and eat dessert they
tried to force, I should suppose ").

pp.

228

writers,

Among modern English

ff.
Matthew Arnold had a curious

feel

INTRODUCTION
Euphony

E.

27

modern writer on

style would probably lay more stress on

and emphasis than on euphony. The ancient critics,
on the other hand, seem to have taken the two former elements
more or less for granted. Because they were easily attainable
in languages so fully inflected as Greek and Latin, their attainment was regarded as an important matter indeed, but one which
called for no special recognition of any kind.
As Quintilian says,
in reference to clearness, "nam emendate quidem ac lucide
dicentium tenue praemium est, magisque ut vitiis carere quam

f^

clearness

ut aliquam

magnam

viii. 3. 1).^

Dionysius, too, in the de Compositione Verhorum, passes

virtutem adeptus esse videaris

" {Inst.

Or.

more readily over the two qualities of clearness and emphasis

He
because he is not concerned with the TrpayfiariKO'; Toiro'i?
keeps rigorously to his real subject and that is not the relation
It is,
of words to the ideas of which they are the symbols.

7-

rather, their relation to their

own

'

constituent elements (letters

and syllables of diverse qualities and quantities) and to the

pleasant impression which the apt collocation of many various
His task is to investigate the ^J
words can make upon the ear.
emotional power of the sound-elements of language when alone
their euphonic and their symphonic
and when in combination

effects.

words like

of

recurrence, throughout the treatise,

Hence the constant

ev<^covLa,

\et6rr]<;,

eva-TOfiia,

evpvOfJila,

apfiovia,

The illustrative excerpts which he gives are so

a-vvdea-i';.
numerous and so happily chosen that no others need be added

which
and
freedom
upon
the
they occur, will suggest many
euphony
test
of
absolute
But
no
adaptability of Greek order.

here.^

careful study of his examples, in the context in

reflexions

The immediately preceding sentence

in Quintilian is "venio nunc ad ornaturn, in quo sine dubio plus c^uam in

ceteris

dioendi

partibus sibi indulget

This may be compared with

Dionysius' view that it is the accessory
arts (such as the heightening of style)
that best reveal the orator s power ii
&v imKuTTO. SidS-nXos t) tov priToposylverai
In this
Siyafus {de Thucyd. ^. 23).
attitude there is always some danger
(unless, like Dionysius himself, a writer
has a saving belief in the virtue of
simplicity) of falling into that vice of
orator."

icrire

trap

lien,

which, according to
is the worst of all

M. Anatole France,
literary vices.

2 jj ^^ ^^j.^ ^.^
^.j^j^j } ^ (jreek
sentence there are two kinds of arrange-

^^.

,^^

^^^

grammatical arrangement

and (2) rhearrangement which aims at

,, emphasis, and (;8) euphony then it

^-^^^-^ ^:^^^

^^ clearness,

jgrical

^^^^^ ^^ admitted that Dionysius' real

gubiect is (2) (S)
t'
>

^
c.

The

'

lines

quoted from

16 are particularly telling.

Homer

in

DIONYSIUS OF HALICARNASSUS

28

can be based upon

v/

,4-

invariable rules

Dionysius himself formulates no

In the last resort, the court

them.

upon the

subject.

of appeal must, as he sees, be the instinctive

judgment of the

The part played by the

dXoyop rfj'; a/eojj? Trddo<;)}
" ergo quern in
ear has been well described by QuintiUan
poemate locum habet versificatio, eum in oratione compositio.
optime autem de ilia indicant aures, quae plena sentiunt et
ear (to

parum expleta desiderant

et

offenduntur

fragosis

et

levibus

mulcentur et contortis excitantur et stabilia probant, elauda

deprehendunt, redundantia ac nimia fastidiunt " (Inst. Or. ix.
4. 116).
Naturally the ear in question must be the individual

("aurem tioam interroga, quo quid loco conveniat dicere,"

tAulus Gellius Nodes Att. xiii. 21); the criterion is subjective,
not absolute.^
But it is assumed that the ear in question has
been trained and attuned by constant converse with the great
masters, and that (like Flaubert in modern times) an author
never writes without repeating the words aloud to himself.
Thus trained, the ear will work in harmony with the mind:
"aures enim vel animus aurium nuntio naturalem quandam in
se continet vocum omnium mensionem" (Cic. Orat 53. 177).
-^ Both Cicero and Dionysius are well aware that style is personal
and individual,
that it is no uniform and mechanical thing.
Dionysius' own position has been misunderstood by those who
have judged the de Compositione as if it were a complete treatise
on the entire subject of style.
In the eyes of Dionysius, words
are not what dead stone and timber are in the eyes of the
ordinary workman.
They are, rather, the living elements which,
ear

in the secret places of his

"

mind, the master-builder views

They are
^ potential parts of some great temple.^
individual makes them.
Hence, just as Cicero writes
sine, quaeso, sibi quemque scribere,

Suam quoique sponsam, mlhi meam

amorem, mihi

meum "

as

what an
"qua re

suum quoique

so Dionysius long ago anticipated the saying that the style

is

the man.*
1 C7. r.
Perhaps
244 23.
spontaneous
or
subconscious' would be
a better translation than 'instinctive.'
Dioaysius certainly does not intend to
'

excise tmmmg.
Ihe judgment

be indicated by the words toS vvKvi.'

KpiTvplov at the end. of

/leraTl'WTovros
c. 24.
=

Cp.

4 cio.

of the ear appears to

Halio.

C.F
ad
Ant.

^^

Att.' xiy.

Horn.

i.

20'.

0^'

Dionysius
^vieiKus yip

INTEODUCTION

29

Among the minor debts we owe to him is the fact that his
minute analysis of rhythms, or feet, in passages of Thucydides,
Pindar and others, helps to disclose the inner workings of the
beautiful Greek language and to impress us with the importance
attached by the ancients to what we moderns find it so hard

fully to appreciate,

charm of

He

the effect on a Greek ear of syllabic quantity

verse.
And he insists no less upon the
the paramount necessity of avoiding monotony.
saw, for example, that the Greek inflexions (notwithstanding

in prose as well
variety,

many

the

as

advantages which they brought with them) had at

they are apt to lead to a certain sameness

one drawback

least

Accordingly he would, for instance, have

approved (though he does not mention this particular passage)

in

case -endings.

of the separation of the words a-wrripLav aa-cpaXrj from the other

accusatives at the end of the de Corona

Trjv

a-mrqpiav
style

fitly

"music" are

rjfjAv

iTnjpTrjfievcov

Further reference to

aa-<^dXri}

may

rav

airaXKayrjv

Ta')(icrTrjv

be made

when

later,

he rot? \oiiToi<;

<p6^(ov

these

Sore

'koX

minutiae of

the topics of " rhythm " and

considered.^

Greek and Latin compared with Modern Languages,

F.

in regard

to

Word-Order

Something has already been said, incidentally, about certain

between the ancient and the modern
European languages.
In such a comparison Greek and Latin
may be placed upon the same footing, as their points of contact
are vastly more numerous than their points of divergence, considerable though these are.^
differences in, word-order

ctTTovres

vo/iitovffiv

elxdvas

eicoi

ttjs

Buffon
^vxns rois \6yovs.
Discours de rJcepti<mdrAcadimie,175Z:
Cp.
"le style est I'homme meme."
Plato Sep. iii. 400 o tI S' 6 rpdiros Trjs
ikia-Tov

X^Jeus, ^v
^vxrji

T^

S'

iyii,

ijffei

Kcd 6

\6yos

oi

r^

Sttctoi /

Cp. p. 24 supra. The desire to avoid

monotony of termination would seem to
be the main explanation of such coUoca'

dXXois etpyeaBai irpoo^PHieJouo-i TOis ToS (l)6vov <peiyov(n rhs

tions as oB
diKas

and

[ASphon

tois

t^j

oOt<P xP'^"'''" "('/'V Toirifi

V.].

Additional emphasis,

too^'falls on toTs iSXXois and tQ air^,

as on <rwT-qpiav &<r(l>a\ri in Demosthenes'

peroration.

^ In desoribing the smooth or elegant

style of composition (as practised by
Isocrates and his followers, including
Theopompus), Dionysins notes, as one
of its characteristics, the avoidance of
hiatus.
This avoidance is to be noticed

in the

recently

discovered

Sellenica

and without basing any positive conclusion on the fact, Grenfell and Hunt
point out that the author usually avoids
hiatus "even at the cost of producing
an unnatural order of words, e.g. ^irTjpfUvoi fuaeiv ^aav rois AaKedai.fi,ovl,ovs
iufiev,

&

dj/Spes,

lipri,

M
Papyri

ttoXh-oi,

and
rods

v. 124).
rvpAvvovs " [Oxyrhynchus
' e.g. the greater tendency in Latin
to place the principal verb at the end of

DIONYSIUS or HALICARNASSUS

30

become manifest when an attempt is

made to translate into Latin, and into English, the sentence
from Herodotus which Dionysius quotes, and twice recasts, in

The points

of contact

his fourth chapter

AvSo? fiev yevo'i, rral'i h' 'AXvarrov, Tvpavvo<}

6? peav UTro
idv&v TMv ivrb^ "AXuo? Trorafiov

(1) K/3otcros
B'

?jv

fiera^v

fiecTTjy.^pl.a';
i^irja-i,

"Zvpeov

^opeav

irpo'i

Koi

re

avepbov ei? rov

Uacpuiyovaiv

^v^eivov koKov-

p,eVOV TTOVTOV.

Herodotus
Croesus genere quidem fuit Lydus, patre autem Alyatte

6.

i.

eanim

nationum tyrannus, quae intra Halym amnem sunt:

qui, a meridie Syros ac Paphlagones interfiuens, contra
ventum Aquilonem in mare, quod vacant Euxinum, evolvitw.
vero

(2) Kootcro?

Be

aTTO

TTjOo?

rwv

p,ecr7jp,j3pia?

ryovtov

'AXvarrov,

/lev

vlo<;

?jv

rvpavvo's

evro<;

peoov

'

AXvo<;

p,era^v

'yevo<;

Xvpav Koi

eh rov ^v^eivov KaXovfievov

^opeav

Be

AuSos,

rrorafiov idv&v

o?

JIa(pXa-

rrovrov eKBiBwai

avep^ov.

Croesus erat filius quidem, Alyattis, genere autem Lydus, tyrannusque earum, quae intra sunt Halym amnem nationes ; qui,

a meridie interfiuens Syros ac Faphla^ones, in mare, quod

vocant Euxinum, evolvitur contra ventum Aquilonem.
(3)

'AXvarrov pev u(o? ^v Kpotcro?, yivo'; Be AvB6<;, r&v

ivro<i
AXvo'i 7rorap,ov rvpavvo^ edv&v o? aTro
B
'

pecrrjp^pia'i pecov Zvpecv re

7r/3o?

^opeav

e^lrjaiv

Kal TlatpXayovcov p,era^v

avep,ov

e?

rov

KaXovpevov

TTOvrov ^v^eivov.

Alyattis quidem filius erat Croesus, genere autem Lydus, earum,

Halym amnem, tyrannus nationum qui,

a meridie fiuens Syros inter ac Paphlagones, contra Boream
erumpit ventum in mare, quod vacant Euxinum.
quae intra sunt

Cp. Quintil. ix. 4. 26

cludere, multo, si comin verbis
positio patiatur, optimum est.
enim sermonis vis est. si id asperum
erit, oedethaeo ratio numeris, ut fit apud
surnmos Graeoos Latinosque oratores frequentissime. sine dubio erit omne quod
the sentence.

inter tropos vel figuras, quae sunt virtutes,

"verbosensum

receptum est." In Latin the words ;iTtk

Si raOra oi woXKifi iiffrepov Eif/3oia AiriiTTri
dir"A9i7i/a/wi' would natnrally run "hand
multum postea Euboea ab Atheniensibus
defecit " (J. P. Postgate Sermo Latitms

non

eludet,

hyperlaton,

et

ipsum hoc

p. 7).

INTRODUCTION

31

In these sentences the Latin follows the Greek order closely,

and might be made to follow it still more faithfully were it not
that it seems better to diverge occasionally for special reasons e.g.
:

it is

desirable, in rendering the original passage of Herodotus, to

secure (as far as possible) a good rhythm.

In English, on the
between a wide deviation and a
rendering which is ambiguous and possibly grotesque.
In fact
(to recur once more to the main point) the freedom with which
the order of words can be varied in a Greek or Latin sentence
is without parallel in any modern analytical language, and the
attendant gain in variety, rhythm, and nicety of emphasis is
other hand,

the choice

lies

incalculable.^

the

Still,

modern languages have great powers,

in this as in

powers which will be incidentally illustrated later.

M. Jules Lemattre has written, with reference to Ernest Eenan
" Je trahis peut-Stre sa pens^e en la
traduisant
tant pis
PourcLuoi a-t-il des finesses qui ne tiennent qu'a I'arrangement
These finesses are perhaps, as is here implied,
des mots ? " ^
hardly communicable, even though an earlier French writer has

other ways

commended Malherbe

as

an author who

D'un mot mis en sa place enseigna

It
'

may
On

the

well
other

be
side,

that
the

these
classical

writers not seldom yield to the temptation to write long and rambling sentences,
whereas the best English authors are
stimulated by the very absence of inflexions to arrange their thoughts
great care and clearness within

with
the

By these
sentence and the paragraph.
and other means English prose becomes,
in the hands of a great master, an
instrument of surpassing force and
beauty.
As there are differences in
word-order between Greek and Latin,
so are there among the modern analytical
languages, though (in a comparison) it
may be legitimate to group those
languages together. An order regarded
as natural (i.e. customary) in one modern
language will not be so regarded in
Further, a language like
another.
German (though it is often unable to
follow the Greek order without ambiguity
op. heasing'a Laocoon v. 18)
possesses a^reater number of inflexions
than English or French. Welsh, too,
has certain syntactical features which
:

matters,

if

le pouvoir.^

not

the

altogether

enable it often to reproduce the Greek

order more faithfully than English can
For example in St. John's Gospel
do.
xvii. 9 where the Greek has oi irepl toO
Kba/iov epiaru, dXX4 vepl iSiv SiSwK&s fwi.,
6ti <toI elaw, the Welsh version gives
Nid dros y byd yr wyf yn gweddio, ond
dros y rhai a roddaist i mi ; canys eiddot
And Plato Apol. o. 33 Kal
ti ydynt.
ihv raSra ttoi^te, SUcua TrewoveOis ^jii)
:

Iffo/icu

i(p'

ifiuv,

airds re Kal

ol

uiets:

Welsh, Ac os hyn a wnewch, yr hyn sydd

gyfiawn fyddaf fi wedi ei dderbyn oddiar
[These
eich Uaw, myfi a'm meihion.
Welsh instances are given on p. 38
of the present editor's chapter on the
Teaching of Greek, in F. Spencer's
Aims and Practice of Teaching.] In
Appendix II. at the end of this volume
will bo found a few idiomatic modern
renderings

(in

English,

German) from Greek prose

2

French,

j^igg Lemaltre Zes Contemporains

205
^

and

originals,

Boilenxi ' Art poStique

1.

133.

i.

DIONYSIUS OF HALICARNASSUS

32

''mysteries" which Dionysius terms them, are eternally elusive

because they depend upon the infinite variety of the human
mind.
Yet some studies in English literary theory, such as

might be suggested by
of interest, and might
kind has been already
other Greek critics, by

Dionysius' treatise, could not

fail

to be

Something of the
be instructive also.
done, without reference to Dionysius or
Eobert Louis Stevenson in his essay on
Some Technical Elements of Style in Literature} Each language
But the various languages,
has, in truth, a rhetoric of its own.
ancient and modern, can help one another in the

way

parison and contrast.

as regards
These methods of comparison and contrast have
been excellently applied to the ancient and the
modern languages by Henri Weil and T. D. Goodell. Weil's
chief service is to have pointed out so clearly the principle that
the order of syntax must be separated in thought from the order

word-order

of com-

and was by both Greeks and Eomans freely so separated

modern languages (owing to the lack

of ideas,

in practice, whereas in the

of inflexions) this practical separation

is

less frequent.

Goodell,

from the postulate that the order of words in a language

represents the order in which the speaker or writer chooses, for
starting

mind of another,
modern languages) the

various reasons, to bring his ideas before the

discusses

(with

constant

reference

to

order of words in Greek, from the standpoint of syntax, rhetoi'W,

and euphony.
In the course of a carefully reasoned exposition,
he corrects and supplements many of Weil's observations.

The

full title of

Weil's book

is

De

anciennes comparies aux langues modernes

(3rd edition, Paris, 1879).

There

^ Edinburgh
edition of Stevenson's
works, iii. 236-61 {Miscellanies).
"It
is a singularly suggestive inquiry into a
subject which has always been considered
too vague and difTioult for analysis, at
any rate since the days of the classical

writers on rhetoric, whom Stevenson

had never rend " (Graham Balfour's Life
of Sotert Louis Stevenson a. 11). S. H.
Butcher (Earvard Lectures pp. 242, 243)

regards the essay as "a pretty precise

modern parallel to the speculations of
Dionysius," and quotes some passages
in proof.
The following is an example
of such points of contact.
Stevenson :

I'ordre des
:

mots dans

question de

les

langues

grammaire gin&rde

an English translation by C. W.

is

Each phrase in literature is built of

sounds, as each phrase in music consists
of notes.
One sound suggests, echoes,
demands and harmonizes with another
and the art of rightly using these concordances is the final art in literature."
Dionysius [CV. u. 16): fflore iroXXi)
aviyicq Ka\i]v fjtiv elvai X^lic iv J KoXi
ianv ivbimra, koKCov 8k ivo/ii-Tuv avX'

'

Xo/Sds re kclI yp6.ii.iw.Ta, KoKi. ofria ehai,

riSeCdv re SidXeKTov ix twji T]SvvbvTiai> rijv
&kot)v ylveaSai..
Compare p. 40 infra as
to the music of sounds; and see
Deinetrvus on Style p. 43, as to Stevenson
and other English writers on style.

INTRODUCTION

33

Super (Boston, 1887), with notes and additions. Goodell's paper

on "The Order of Words in Greek" is printed in the Transactions of
the American Philological Association vol. xxi.
Other writings on
the subject are: Charles Short's "Essay on the Order of Words
in Attic Greek Prose,"
prefixed to Drisler's edition of C. D.
Yonge's English - Greek Lexicon,
which is an extensive collection
of examples, but is weak in scientific classification and in clear
enunciation of principles ; H. L. Ebeling's " Some Statistics on the
Order of Words in Greek," contributed to Studies in Honour of Basil
Lanneau GUdersleeve, and including some valuable investigations
into the order in which subject, object, and verb usually come in
Greek ; inquiries into the practice of individual authors, e.g. Spratt
on the "Order of Words in Thucydides" (Spratt's edition of Thucydides,
Book VI.), and Eiddell on the " Arrangement of Words and Glauses in

Plato " (Riddell's edition of Plato's Apology), or various dissertations

such as 'Th. Harmsen de verhorwm collocatione apud Aeschylum, Sophoclem,
Ewripidem capita selecta. Ph. Both de Antiphontis et Thucydidis genere
dicendi, J. J. Braun de collocatione verhorwm, apud Thucydidem dbservationes, F. Darpe de verhorum apud Thucydidem collocatione ; and in Latin
such elaborate studies as Hilberg's Die Gesetze der Wortstellung im
Pentameter des Ovid.
An interesting book which compares Cicero's
Latin translations (prose and verse) with their Greek originals is
V. Clavel's de M. T. Cicerone Graecorum Interprete. In Harvard Studies
vii. pp. 223-233, J. W. H. Walden discusses
Weil's statement that "an emphatic word, if followed by a word
which, though syntactically necessary to the sentence, is in itself unemphatic, receives an access of emphasis from the lingering of the
Referattention which results from the juxtaposition of the two."

in Classical Philology vol.

may also be made to A. Bergaigne's " Essai sur la construction

grammaticale consid6r6e dans son d^veloppement historique, en
Sanskrit, en Grec, en Latin, dans les langues romanes et dans les
langues germaniques," in the Mimoires de la Sociiti de Linguistique de
Paris vol. vii.
The subject is, further, glanced at in the Greek
Grammars of Kiihner and others. But in modern times, as in those
of Dionysius, it has on the whole failed to receive the attention which
its importance would seem to demand.
ence

G. Prose

and Poetry

Bhythm and Metre

Eeaders of the de Gompositione cannot fail to notice that,

in his literary tastes, Dionysius reserves his
Homer in poetry and
highest admiration for two authors,
catholic as he is

Demosthenes in prose; and that he seems to regard them as

equally valid authorities for the immediate purpose which he has
in view.

Homer

is

quoted throughout the

treatise,

on the

first

DIONYSIUS OP HALICABNASSUS

34

page and on the last; and Demosthenes inspires (in c. 25)

That outburst is a triumphant
most eloquent passage.
its
vindication of Demosthenes' methods as a sedulous artist.
Dionysius sees that he is one of those men who spare no
that Demosthenes, like Homer,
pains over the art they love

(200 18 cp. 154 20).

In seeming thus to draw no very clear line between verse
and prose, Dionysius is at one with most of the Greek and Eoman
and this attitude is readily intelligible in the light of
critics
<j)i\oTx.'"

the historical development of Greek literature, in which Homer

(who was a master of oratory ^ as well as of poetry) heralds the
intellectual life of all Greece, while

voice of free Athens.

Demosthenes

is

the last great

But the approximations of prose to poetry,

and of poetry to prose, which Dionysius describes in his twentyfifth and twenty-sixth chapters should not create the impression
that, in his opinion, the prose-writer was free to borrow any and
Of one poetical
every weapon from the armoury of the poet.
artifice

he

says, in

c.

6,

"this principle can be applied freely in

and elsewhere he calls attention

which he regards as over-poetical in the styles of
Yet he did clearly wish that good prose
Thucydides and Plato.^
should borrow as much as possible from poetry, while still remaining good prose. And although he agrees, in general, with Aristotle's
exposition of the formal differences between prose and poetry, he

poetry, but sparingly in prose "

to qualities

does not adhere quite firmly to the Aristotelian principles.^

^ Compare especially the speeches in
n. ix. and the warm eulogies they
have drawn from Quintilian (x. 1. 47
op. X. 1. 27, with reference to Theophrastus) and from many others since
,

his

time.

Dionysius'

versificaticm,

of

Demosthenes, and prosification of Simonides, in c. 25 and c. 26, may not seem

altogether happy, but one or two
points should be remembered in his
favour.
He does not recognize merely
mechanical conceptions of literature
such as are implied in the Latin-derived
words prose and verse, or in literature
itself.
He would probably have agreed
with Aristotle that
Homer and Empedocles have nothing in common but
the metre, so that it would be right to
call the one poet, the other physicist
rather than poet " (Aristot. Poet. i. 9,
S. H. Butcher).
He might probably
have also maintained that, in essentials,
'

'

Theognis

And

is less

of a poet than Plato.

modern times, if he had known

them, he might have called attention to
the rhymed rhetoric which often passed
in

as poetry in eighteenth-century England,

and have asked whether the elevation of
thought and the measured cadences of

Demosthenes did not entitle him to

higher poetic rank than that,
^

Of Thucydides

o-idfoiy

TJiyBeTo

(de

yap

n-oiijToCTp^Troi'^pelou-

Thucyd.
Trjs

c.

Idias

Of Plato:
iireipoKoMas Ktd

24).

air^ rh SiBipafi^ov, 8 I'Oi' h

toSto Si
d\ri8h iv.
-iraeeip loiKev, is iyui vofd^a, Tpa4>els lih
4v toIs ^taKpanKoU SiaXiyois laxvorina

hvofw. ^Bero

gdicrSriv iyij 'Kiyei.v

oSiri

/cai

dicpijSeo-rdTois,

airoh dXXd

oi /idvas

S'

Vopylov Kal eovKvSlSov

KaTaffKevrjs ipaa$els (Ep. ad On. Famp.
c. 2 ; de Demosth. c. 6.
See further ia
tijs

Demetrius on Style
j^

p. 14, n. 1).

^ju j^g noticed that the only ques-

INTRODUCTION
In the Rhetoric, Aristotle

The

prose are distinct.

35

insists that the styles of poetry

difference

this

is

" prose

rhythm but not metre,

or it will be poetry.
however, should not be of too marked a character

pass beyond

(C.F.

and

should have

The rhythm,
:

it

should not

In the same way, Dionysius

25) declares that prose must not be maaifestly metrical

c.

a certain point."

or rhythmical, lest

should desert

it

own

its

character.

specific

be the one and the other, so that it

may be poetical although not a poem, and lyrical although not a
lyric.
But, in practice, Dionysius is found to cast longing eyes
upon the formal advantages which poetry possesses, and to wish
to infuse into public speeches a definite metrical element, which
seems alien to the genius of prose, and which would have failed to
gain the sanction of Aristotle, though this appears to be claimed
for it.^
It is not here a question of the ordinary, methods of
In regard to
imparting force and variety to word-arrangement.
these, Dionysius' precepts are, in general, sound and helpful

It should simply appear to

enough

and

may seem

if,

now and

then, the process

extravagant terms,

we have only

extolled in

is

what

to think of the vast

which slight variations of word-order will make even

modern analytical languages. For example

difference
in our

Cut

is

the branch that might have grown full straight.

Marlowe Doctor Faustus.

tion here is about differences of form.

one of Dionysius' great merits

to have proclaimed so clearly the leading
part which beauty of form (not simply
verse, but expression generally) plays in
all high poetry. Aristotle was by no means
insensible to this essential element, but
he is apt to dwell more fully (though we
must remember the fragmentary condition of the Poetics) on the associations of
It is in
-TToHjTijs than on those of doi56s.
connexion with prose rather than with
poetry, that it seems necessary to lay
most stress upon the intellectual and
logical elements involved, and to pay
heed not only to the nature of the
subject matter itself but to the sustained

But

it is

argument in which it is presented.

Reason in prose and emotion in poetry
these are perhaps the two leading
elements, if any distinction of the kind

orationem esse debere, oarers versibus

sed ei numeri poeticine sint an ex alio
genere quodam deiuceps est videndum "
;

57.

19.5

"ego autem

sentio

dmnes in

oratione esse quasi permixtos et confuses

pedes nee enim effugere possemus animadversionem, si semper eisdem uteremur,

quia neo numerosa esse, ut poema,
neque extra numerum, ut sermo vulgi,
alterum nimis est
esse debet oratio
ut de industria factum
vinctum,
appareat, alterum nimis dissolutum, ut
pervagatum ae vulgare videatur." Also
68.
58. 198
57. 194-196
ibid. 51. 172
227. Cicero's correct attitude is the more
noticeable that he is commonly supposed
to have been swayed by Asiatic rather
;

than by Attic influences.

is

to be attempted.
1
Aristot. Bhet.

iii.

1.

8.

and

Op. Cic. Orai. 56. 187

3; 2. 1.
*
perspicuum est igitur numeris astrictam
'

25 x<^ph Si t7,s A/)rToSn dmyKativ^ ianv

nvas tj; Te^r, Xi^et
iiiTrepi\a)j.p6.ve<r0al.
^

C.V.

riXovs

c.

/mprvplas,

f^vB/Mis, el i^Woi. rb iroivnKbp iiraveiaeiv

iK t^s Trelpas tis avT-rjs
ofirg k6XKos,
yvdiireTai,.

DIONYSIUS OF HALICARNASSUS

36

Killed with report that old

man

eloquent.

Milton Sonnets.

Schon war ich auch, und das war mein Verderben.

Goethe Faust.

would be sadly marred if we were

man," and " ich war
branch
^
than
in Greek poetry,
less
no
prose,
In Greek
auch schon."
quite
legitimate.
would
be
This
quoted
inversions like those just
would
be
rash
to
attempt
to
though
it
lay
at least we can affirm,

The

effect of these

lines

is cut," " that eloquent old

to read " the

general rules with regard to the differences between

It is better to follow DionyGreek order in verse and in prose.

down any

example and to cull illustrations from both alike impartially,

First, the Greek word-arrangement
with only two qualifications.
is even freer in verse than in prose, though the clause-arrangement and the sentence-arrangement of Greek poetry show (as
Dionysius implies in c. 26) a general tendency to coincide with
the metrical arrangement. Second, an absolutely metrical arrangement is foreign to the best traditions of Greek prose. It is the
and notwithstanding
second point that is of importance here
the almost furtive character which he attributes to the metrical

sius'

detected by him in the Aristocrates, it is obvious that

Dionysius has in mind a very close and deliberate approximation
to the canons of verse and is prepared to strain his material in

lines

order to attain

it.^

Here, again, some modern illustrations may

The

Tudor period seem to have

and an ear attuned to, what may be
roughly regarded as hexameter measures.
This predilection

be of

interest.

had a

writers of the

special fondness for,

1 The modern custom is to view with

some suspicion these inversions when
found in prose composition, though in

German

prose they are

common enough.

would be interesting to take two

such sentences of the New TestaIt

ment

as /jieyiXyi }) "Apre^is 'E(pe<rlwv

(Acts xix. 28, 34) and iireffev, iTrea-ev

Ba^vKiii/

i]

lieydXri (^A-poa. xiv. 8),

and

see

how they have been

rendered into
various modern languages by translators
in authorised and
generally (both
unauthorised versions). It would probthat
the
ably be found
French
language here has been true to what

Dionysius

would

call

its

or essentially prose character.

'KoyoelSeia,

In Eng-

lish

the justification of the

inversion

would be the emotional nature of the

original passages, which may be held to
raise them to the same plane as poetry.
[It would, on the other hand, be not
good but bad journalism to write,
"Uproarious were the proceedings at
yesterday's

meeting of the Grand?

Committee."] For the effect of woid-'
order in English verse see an extract
from Coleridge's Biographia Literaria
in the notes, p. 79 infra.
Coleridge
was fond of offering, as a rough definition
of poetry, "the best words in the best
order."
^ See the notes on
that on 256 11.

c.

25

particularly

INTEODUOTION

37

appears both in their rendering of the Bible and in the Book

Common

of

How
How

Prayer

ij

ij

/"'/-x^t.

<j

ti

/'

'

thou fallen from Heaven,

Lucifer, son of the morning.
thou cut down to the ground, which didst weaken the nations.^
Why do the heathen rage, and the people im agine a vain thing ?
(He) poureth con tempt upon princes and weakeneth the strength of the mighty.
God is gone up with a shout, the Lord with the sound of a trumpet.
(The) kings of the earth stood up, and the rulers took counsel to gether.
Dearly be loved brethren, the Scripture moveth us
art
art

The rhythms

which modern prose-writers drop are usually

is so with Euskin and Carlyle, and it
quote examples from their writings.^
But, as

into

iambic or trochaic.

would be easy to

This

in ancient so in modern times, the best criticism looks with

favour on rhythmical, with disfavour on metrical prose.
Prose,

held, loses its true character

it is

reason rather than of emotion

rigid

if it

as the minister primarily of

is

made

to

conform to the

laws of metre.

Dionysius

If

disguised, are a

to

fails

marked

prove

that

metrical

thinly

lines,

feature of the style of Demosthenes, no

some attempts made in our own day

such exact rhythmical laws as that of the systematic

greater fortune has attended

to establish

avoidance, in Greek oratory, of a

number

of short syllables in

Demosthenes' ear, with that

kind of instinct which comes from musical aptitude and long training (cp. C.V. 266 13 ff., 268 12), shunned undignified accumulations of short syllables, but not with so pedantic a persistency
that he could not on occasion use forms like ire^evaKiKev or
SiareTeKeKev or "Trpoa-ayajofievov,
If he formulated to himself
close succession.

It

is

clear that

a principle, instead of trusting to inspiration controlled by long

experience, this principle
to

critic

"namque

would be that which Cicero

ego illud adsentior Theophrasto, qui putat orationem,

quae quidem

sit polita

atque facta quodam modo, non astride, sed

The words " How

art thou " are, it

be noticed, differently divided in
these two lines with a kind of Dionysian
^

attributes

who was almost contemporary with Demosthenes

will

freedom.
^ Ruskin
continually, and Carlyle
often (e.g. Sartor Besartus bk. iii. c. 8),
provides examples of iambic rhythm.
So George Eliot Mill on the Floss
bk. vii. ; " living through again, in one

supreme moment, the days when they

had clasped their little hands in love,
and roamed the daisied fields together.

And Blackmore, in Lorna Doone c. 3

"The sullen hills were flanked with
:

light, and

the valleys chined with shadow,

and all the sombrous moors between

awoke in furrowed anger. " [Blackmore
sometimes falls also into the hexameter
rhythm, as in the same chapter "And
suddenly a strong red light, cast by the
cloud-weight downwards, spread like
iingers over the moorland, opened the
alleys of darkness, and hung on the
:

steel of the

riders. "]

||

DIONYSIUS OF HALICARNASSUS

38

numerosam

remissius

esse oportere" (Cic. de Orat.

iii.

48. 184).

inquiries
The necessary limits to be observed in these curious
warnsensible
some
are well indicated by QuintiHan, who utters
prose
or
in
metre
ings against any attempts continually to scent

ban some feet while admitting others: "neque enim loqui

possumus nisi syllabis brevibus ac longis, ex quibus pedes
miror autem in hac opinione doctissimos homines
fiunt
to

uUus

ut alios pedes

fuisse,

esset,

quem non

Inst. Or. ix. 4.

eligerent aliosque damnarent, quasi

necesse in oratione deprehendi " (Quintil.

ita

sit

61 and

87).^

the subject of prose and poetry, Coleridge's Biographia

lAteraria (ed. Shawcross, Clarendon Press, 1907) is likely long to
Theodore Watts-Dunton's article on
hold its unique position.

On

in the Encyclopaedia Britamiica contains an appreciative

estimate of the good service done to criticism by Dionysius in the de
The article by Louis Havet on La Prose mdtrique (in
Compositione.
xxvii. 804-806) deals with what we should call
EncyclopMie,
La Grande
" rhythmical prose," the French terminology differing here from our

"Poetry"

Some account

own.

and modern illusThe recent writings on

Some of them will be

of enjambement (with ancient

trations) will be found in the Notes, pp. 270 ff.

Greek rhythm and metre are almost endless.

suggested by the names of Eossbach,Westphal,Weil, Schmidt, Christ,

Gleditsch, Wilamowitz-Moellendorff, Goodell, Masqueray, Blass.
With regard to the relation between metre and rhythm, there is
not a little suggestiveness in the saying of the historical Longinus
:

Heph. Ench. Westphal

an increasing
recognition of the intimate alliance between Greek poetry and Greek
music it is more and more seen that lyric stanzas are formed out
Nor
of figures and phrases, rather than from mere mechanical feet.
fxerpov 8k irarijp pvOfihs Kal

Script. Metr. Graeci

i.

82).

6e6s (Prolog, in

There

is also,

in our day,

it

is

to be forgotten that poetic

Cicero's conception of the require-

ments of rhythmical prose (as compared

with those of verbal fidelity) is curiously
illustrated by the way in which he is
supposed to have recast the letter sent

by Lentulus
cognosces

Sallust Cat.

to Catiline.

44 "quis sim ex eo

quem ad

te

misi

quanta calamivirum esse con-

fac cogites in

tate sis et memineris te

sideres quid tuae rationes

postulent

ab omnibus etiam ab
infimis."
Cicero Oat. iii. 12 "quis sim
cura ut vir
scies ex eo quem ad te misi
auxilium petas

ais

et

gressus

cogita quem in
:
vide ecquid

locum

sis

tibi

iam

prosit

rhythm may probably be

traced

necesse et cura ut omnium tibi axixilia

adiuugas, etiam infimorum." Cp. A. C.

Clark

(reviewing Zieliiiski) Classical

xix. 172.
^ Cp. 0. V. 176 20 oi y&p iireXaiverai
fivS/iis oiSels iK Trjt d/idrpov X^f eus, &<rirep
ec rrjs ifj-iiirpov.
With regard to the

Review

occasional presence in prose of metrical

or quasi-metrical lines, the likely explanation seems often to be one which
Dionysius does not favour (ttoXXA yap
airoo-xeS'iifei

ju^P"

'h

0i5<"S,

256

19)i

rather than one which recognizes p^pO'

pvS/iois
nvas
aS'r|\us (254 3).

Kal

7KOTaTeTa-y(i.^vos

INTRODUCTION

39

back to the regular movements of the limbs in dancing. The views

of Blass on ancient prose rhythm are given in his Die attische Beredsamkeit, Die Rhythmen der aitischen Kvnstprosa (Isokrates, Demosthenes,
Platon), and Die Bhythmen der asianischen und romischen Kwnstprosa
(Paulus,

Hehrderbrief,

Pausanias,

them are summarized

and some

of

after too

much uniformity

Cicero,

Seneca,

Cv/rtius,

Apuleius)

an article which he contributed,

"
shortly before his death, to Hermathena (" On Attic Prose Rhythm
Hermathena No. xxxii., 1906). Probably his tendency was to seek
in

in such matters as the avoidance of hiatus

and of successive short syllables, or as the symmetrical correspondences

between clauses within the period. The best Attic orators were
here guided, more or less consciously, by two principles to which
Dionysius constantly refers: (1) neTafBoX'q, or the love of variety;
This sense of propriety
(2) rh n-pkirov, or the sense of propriety.
rejected all such obvious and systematic art as should cause a
speech to seem, in Aristotle's words, ireTrXacr/ievos and dirt^ovos
Still, Demosthenes' greatest speeches were
{Rhet. iii. 2. 4 ; 8. 1).
no doubt carefully revised before they were given to the world
and so the blade may have been cold-polished, after leaving the
It is to be noticed that, in the matter of
forge of the imagination.
hiatus, for example, some of the best manuscripts of Demosthenes do
seem to observe a strict parsimony ; and this careful avoidance of
open vowels may be due ultimately rather to Demosthenes himself

Whatever the final judgment on

than to an early scholar-editor.
Blass's work may be, he will have done good service by directing
attention anew to a point so hard for the modern ear to appreciate
as the great part played in artistic Greek prose by the subtle use of
time,
of long and short syllables arranged in a kind of general

How
equipoise rather than in any regular and definite succession.
singularly important that part was reckoned to be, such passages of
Dionysius as the following help to indicate ov yap S^ <l>av\6v
TTpayna pvOpiii ev Adyois ov&e Trpocr^^Kijs rivhi p.olpav e'xov ovk dvayKaiai,

dkX

el Set

rdXij^es, ws

Sd^a,

e/J.^

elTretv,

Swa/jievoiv Kal KrjXeiv ras d/cods {de

diravriov Kvpiiararov

Demosth.

C.

Twv

yoTjTeveiv

39).

Ill

Othek Matters arising in the

A. Gh-eek Music

in Relation

dje

to the

Compositions

Greek Language

For the modern student there is perhaps no more valuable

treats of
chapter of the de Compositione than that (c. 11) which
the musical element in Greek speech.

It helps to bring

home

-V

40

DIONYSIUS OF HALICARNASSUS

the fact that,

among the ancient Greeks,

"

the science of public

oratory was a musical science, differing from vocal and instru-

mental music in degree, not in kind

TO)V

f)

ev

oahrj

TToXtTtK&V Xo<y(OV

yap rt? ^v koX

iToam hiaXkaTTOVija T^S

(/iovo-ikt)

"

TK)

iTTlCTT'^fJ/T)

The extraordinary
Kol 6pydvot<;, ovxi toS kolw, 124 20).
of Greek audiences to the music of sounds is

sensitiveness

described by Dionysius,

who

also indicates the musical intervals

observed in singing and in speaking, and touches on the relation

His statements,
borne by the words to the music in a song.

countenance to the view that " the chief elements of

were independent in ancient
pitch, time, and stress

further, give

utterance

Greek speech, just as they are in music. And the fact that they
were independent goes a long way to prove our main contention,
viz. that ancient Greek speech had a peculiar quasi-musical
character, and consequently that the dtEQculty which modern
scholars feel in understanding the ancient statements on such
matters as accent and quantity is simply the difficulty of conceiving a form of utterance of which no examples can now be
observed." ^
Even Aristotle, Greek though he was, seems to
have felt imperfectly those harmonies of balanced cadence which
come from the poet, or artistic prose-writer, to whom words are
as notes to the musician.
And if Aristotle, a Greek though not
an Athenian, shows himself not fully alive to the music of the
most musical of languages, it is hardly matter for wonder that
writers of our own rough island prose should be far from feeling
that they are musicians playing on an instrument of many
strings, and should be ready, as Dionysius might have said in
his most serious vein, eU jeXmra Xafifidveiv to, airovBaioraTa
hi aTreipiav (252 16).
It is true that, on the other side, we
have R. L. Stevenson, who writes " Each phrase of each sentence,
like an air or recitative in music, should be so artfully compounded
out of longs and shorts, out of accented and unaccented syllables,
:

as to gratify the sensual ear.

judge."

And

Dionysius and Stevenson

of this the ear

is

the sole

names
no reason why they
should not be allowed to supplement his statements when
he is too deeply concerned with matter and substance to
say much about manner and the niceties and enchantments
to set against that of Aristotle.

D. B.

Music

Monro Modes of Ancient Greek

p. 118.

are, admittedly, slight

But

this is

From the

essay (already mentioned)

on Style in Literature.

INTRODUCTION
of

form.

And

Dionysius

41

it
must in justice be conmere word-taster but a man genuinely alive to the
great issues that dignify and ennoble style.
He can, for
example, thus describe the effect, subsequent and immediate,
" When I take up one of his speeches,
of Demosthenes' speeches
I am entranced and am carried hither and thither, stirred now
by one emotion, now by another. I feel distrust, anxiety, fear,

ceded

no

is

disdain, hatred, pity, good-will, anger, jealousy.

by every passion in turn that can sway the human

am

heart,

agitated

and

am

who are being initiated into wild mystic rites.

When we who are centuries removed from that time, and are
in no way affected by the matters at issue, are thus swept off
like

those

our feet and mastered and borne wherever the discourse leads us,
what must have been the feelings excited by the speaker in the

minds of the Athenians and the Greeks generally, when living

interests of their own were at stake, and when the great orator,
whose reputation stood so high, spoke from the heart and revealed
the promptings of his inmost soul ? " ^
In addition to D. B. Monro's book on Greek music, reference
to such works as Eossbach and Westphal's Theorie der
musischen Kiinste der Hellenen, H. S. Macran's edition of Aristoxenus'
Harmonics (from the Introduction to which a quotation of some
length will be found in the note on 194 7), and the edition of
Plutarch's de Musica by H. Weil and Th. Eeinach.
The articles, by
W. H. Frere and H. S. Macran, on Greek Music in the new edition
of Grove's Dictionary of Music and Musicians should also be consulted,
as well as the essay, by H. E. Fairclough, on " The Connexion
between Music and Poetry in Early Greek Literature " in Studies in
Honour of Basil Latmeau Gildersleeve. The close connexion between
music and verbal harmony is brought out in Longinus de Sublim.
cc. 39-41.
In Grenfell and Hunt's Hibeh Papyri, Part i. (1906), p. 45,
there is a short " Discourse on Music " which the editors are inclined
to attribute to Hippias of Elis, the contemporary of Socrates.

may be made

B. Accent in Ancient Greek

If there were
of pitch
treatise

any doubt that the Greek accent was an

rather than of

would go

far to

stress,

remove

the eleventh
It

it.

is

describes the difference between the acute

as a variation of pitch,

clear that Dionysius

and the grave accent

and that he considers

^

de Demosth.

c.

22.

affair

chapter of this

this variation to

DIONYSIUS OF HALIOARNASSUS

42

be approximately the same as the musical interval of a fifth, or

Similarly
(as he himself explains) three tones and a semitone.
Aristoxenus {Harm. i. 18) writes Xiyerai <yap 8rj koI Xoy&Bi<i
rt

TO

fieXo<i,

a-vr/Keifjbevov

tcov

e'/e

Trpoa-aSi&v

r&v

iv

rot?

^vaiKov yhp to iirireiveiv koX avievao iv rm SiaXiovofiaa-iv

yea-dai (' for there is a kind of melody in speech which depends
upon the accent of words, as the voice in speaking rises and

by a natural

sinks

itself (cp. Tairet?

law,'

<f>a)vr)<;

Macran).

The expression

"jrpoa-aBia

ai icaXovfievai TrpocrtpStai, 196 16) implies

a melodic character, and the adjectives (ofv? and ^apv<;) which

denote 'acute' and 'grave' are used regularly in Greek music
It would be hard to
for what we call 'high' and 'low' pitch.^
believe that ^apv<; could ever have indicated

an absence of

stress.

That such a musical pitch such a rising or falling of tone

can be quite independent of quantity seems to be proved by the
analogy of Vedic Sanskrit, inasmuch as, when reciting verses in
that language, the native priests are said to succeed in keeping

quantity and musical accent altogether distinct.

"We

how Homer's verse sounded in the

Greeks themselves and yet we can tell even this more

now

say exactly

as

nearly than

Sanskrit verse, like Greek, had both

Matthew Arnold imagined.

quantity and musical accent

cannot

ears of the

and the recitation of the Vedic poems,

tradition, and as it may be heard

handed down by immemorial

to-day, keeps both these elements clear.

recitative,

most impressive and

It

is

a sort of intoned

agreeable to the sensitive ear."

handbook on the general subject

of Greek Accentuation
musical character) is Veridryes' Traitd d'accentuation
The volume is
grecqm, which is prefaced by a bibliographical list.
noticed, in the Classical Review xix. 363-367, by J. P. Postgate, who
supplements it in some important directions.
There is also a
discussion of the nature and theory of the Greek accent in Hadley's
Essays pp. 110-127.
As Monro {Modes p. 113) remarks, it is our
habit of using Latin translations of the terms of Greek grammar that
has tended to obscure the fact that those terms belong in almost
every case to the ordinary vocabulary of music.
The point of the
illustration drawn from the Orestes, in the G.V. c. 11, is that the
musical setting in question neglected entirely the natural tune, or
accent, of the words.
It is not to be assumed that Dionysius
approved (except within narrow limits) of this practice or of the

useful

(including

'

its

1 So that, in 126 15, rbv ii^tiv rl>vov=

the high pitch = the acute accent.
'

'

2 W. H. D. Rouse's edition oiMaUhm

Arnold on translating Somer Introd. p. 7.

INTRODUCTION

43

corresponding neglect of syllabic quantity (128 19). He probably

regarded such excesses as innovations due to inferior schools of music
and rhythm. In the hymns found at Delphi (and also in an inscription discovered by W. M. Eamsay) there is a remarkable
correspondence between the musical notes and the accentuation of
the words, as was pointed out by Monro (Modes pp. 90, 91, 116, 141
and Classical Review ix. 467-470).
It is the hymns to Apollo
(belonging probably to the early part of the third century B.C.), in
which the acute accents usually coincide with a rise of pitch, that
Dionysius would doubtless have regarded as embodying the classical
practice.
In early times, it must be remembered, words and music
were written by the same man cp. G. S. Farnell Greek Lyric Poetry
The chief surviving fragments of Greek music (includpp. 41, 42.
ing the recent discoveries at Delphi) will be found in C. Jan's Musici
Scriptores Oraeci (with Supplement), as published by Teubner.

'

C. Pronunciation of Ancient Greek

The de Compositione is not a treatise on Greek Pronunciaeven on Greek Phonetics.

The sections which touch upon
these subjects are strictly subsidiary to the main theme they

tion, or

than philological in aim.

There was, in
fact, no independent study of phonetics in Greek antiquity
the subject was simply a handmaid in the service of music
and rhetoric.
Hence the reference early in c. 14 to the
authority of Aristoxenus "the musician," and the constant
endeavour to rank the letters according to standards of beautiful
sound.
Still, though Dionysius' object in describing the way in
which the different letters are produced is not scientific but
aesthetic and euphonic, much praise is due to the rigorous
thoroughness which led him to undertake such an investigation

are literary rather

at

And

all.

it

has had important incidental results.

that, notwithstanding

One modern authority claims

difficulties

in the interpretation of the de Compositione due either to vague

statements in the text or to defective knowledge on our own

part, it is possible to reconstruct, with essential accuracy, the
" Dionysian Pronunciation of Greek," or (in other words) the pronunciation current

among

cultivated Greeks during the fifty years

preceding the birth of Christ

while another authority has given

a transliteration of the Lord's Prayer, according to the original text,

It is,
in the Hellenistic pronunciation of the first century A.D.^
further, maintained that, thanks to the general progress of philo1

A.

J. Ellis

and F. Blass

(in the publications

mentioned

later).

N-

1-

DIONYSIUS OF HALICARNASSUS

44

main reproduce with certainty the

sounds (including even the aspirates) actually heard at Athens in
with such certainty, at all events, s wUl
the fourth century B.C.
suffice for the practical purposes of the modern teacher.^
logical research,

we can

in the

Two

render

circumstances

Dionysius'

it

unsafe

evidence in determining

the

to

lean

unduly^, on

pronunciation of the

Greek period. Although he studied with enthusiasm the

literature produced by Greece in her prime, and would certainly
desire to read it to his pupils in the same tones as might have
earlier

been used by its original authors, it is hardly likely that the

pronunciation of the language had changed less in three or four
hundred years than that (say) of English has changed since the

The other circumstance is the uncertainty

days of Shakespeare.^
which attends some of his statements, quite apart from any
question of the period which they may be supposed to cover.
This uncertainty is due to the fact that there was no science of
phonetics in his day, and that consequently his explanations are
sometimes obscure, either in themselves or at all events to their
modern interpreters. But in many other cases he is, fortunately,
One example only shall be given,
explicit and easily understood.
but that an important one the pronunciation of f. In 144 91 2,
:

clearly indicated that f is a double letter, and that it is

composed of a and S (in that order)
BnrXd Be rpia to re ^
Kol TO ^ KOI TO ylr.
Bi-TrXa Se Xejovaiv avTO, fjToi Sia to

it

is

(TvvOeTa elvai to /lev ^ Bia tov a koI B, to Be f Bia tov ic

Koi 5; TO Be i{r Bta tov tt KaX a, ktX.
The manuscript
testimony is here in favour of ^ kol B (rather than the reverse
order),

and

it

may

be

noticed

the

that

similar

reading,

supported in Sappho's Hymn to Aphrodite

The statement is not in any way contradicted by the
(238 9).
further statements in 146 5 and 148 6 ; and taken together with
vTrairhev^aia-a, is well

other evidence

= KfoiMOL^eiv,

(e.g.

'

AOijvaaSe),

^ Arnold and Conway Mestored Pronunciation of Greek and Latin pp. iv.
Cp. also the pamphlet on
3, 7, 20-26.
the Pronunciation of Greek issued by
the Classical Association in 1908 (pp.
348-51 infra).
In the Contemporary
Heview of March 1897 the history of
Greek pronunciation in England is ably
sketched by J. Gennadius.
Even the pronunciation of the poet's
'^

= trvpi^eiv, KwpAaBeiv
seems to establish this as

such forms as a-vplaBeiv

'AO'^va^e

it

name has changed with the

centuries
preferred

lapae of

and the spelling Shakspere is

by some authorities not only

because

it has excellent
manuscript
authority, but because it may serve to
remind us that "he and his fellows

pronounced his name Shahk-spare, with

the a of father in Shahk, and with the
French e (our a) in spare" (Furnivall).

INTRODUCTION

45

at least one pronunciation of

The actual pronunciation may

^.
well have varied at different times and in different
places.
Some
authorities think that in fifth-century Greece the
sound was
like

that of English zd

century

Conway,

it

word 'glazed/ while in the fourth

roughly resembled dz in the word adze (Arnold and
in the

'

(yp. cit.

'

pp. 6, 7).

The book which

in relation to

deals most directly with the de Compositime

Greek pronunciation is A. J. Ellis' English, Dionysian,

and Hellenic Pronunciation of Greek, considered in reference to School and

College Use.
In applying great phonetic skill to the interpretation
of Dionysius' statements, the author of this pamphlet has
done much
service ; but he abandons too lightly any attempt to recover
a still
earlier pronunciation, and shows an uncritical spirit in
so readily
believing (p. 4) that Erasmus could be hoaxed in the matter of Greek
pronunciation.
A more trustworthy work is E. Blass' Fronimciation
of Ancient Greek (translated by W. J. Purton), in which the scientific
aids towards a reconstruction of the old pronunciation are marshalled
with much force.
Arnold and Conway's Restored Pronmiciation of
Greek and Latin, and Giles'Mamial of Comparative Philology
(pp. 114-118:
especially p. 115 for Q, contain a succinct statement of probable
results.
There is also a good article, by W. G. Clark, on Greek Pronunciation and Accentuation in the Journal of Philology i. pp. 98-108
;
with which should be compared the papers by Wratislaw and Geldart
in vol. ii. of the same journal..
The entire conflict on the subject of
Greek pronunciation, as waged by the early combatants in England
and Holland, is reflected in Havercamp's two volumes entitled
Sylloge Scriptorum qui de

commentarios reliquerunt,

linguae Graecae vera

et

recta pronuniiatione

Adolphi Mekerchi, Theodori Bezae,

Jacohi Geratini et Eenrici Stephani (Leyden, 1736), and his Sylloge
Altera Scriptorum qui
reliquerunt, videlicet Desiderii Erasmi,
Stephani Vintoniensis Episcopi, Cardahrigiensis Academiae Cancellarii,
Joannis Checi, Thomae Smith, Gregorii Martini, et Erasmi Schmidt
(Leyden, 1740).
Erasmus' dialogue de recta Latini Graecique sermonis
pronunciatione (Basle, 1528) was, in its way, a true work of science
in that it laid stress on the fact that variety of symbols implied
variety of sounds, and that diphthongal writing implied a diphthongal
pronunciation.
Attention has lately been directed to the fact that
Erasmus claims no originality for his views on this subject, and that
he had been anticipated, in varying degrees, by Jerome Aleander in
France, by Aldus Manutius in Italy, and (earlier still) by the Spanish
humanist, Antonio of Lebrixa (Bywater The Erasmian Pronunciation
It may be noted, in passing,
of Greek and its Precwrsors Oxford, 1 908).
that when enumerating the errors of his Byzantine contemporaries,
Antonio mentions that they pronounced Z " as a single letter, whereas
videlicet

DIONYSIUS OF HALICAENASSUS

46

was really composite, and stood for SD " (Bywater, p. 20). Among
the immediate successors of Erasmus in this field the most interesting,
perhaps, is Sir Thomas Smith (1513-1577), who, like Cheke, was one
of the " etists " and so incurred the wrath of Stephen Gardiner and
drew out that edict which threatened various penalties (including
corporal punishment for boys) against the practice of unlawful
innovations in the province of Greek pronunciation.
It was Smith
who, in his treatise de recta et emendata linguae Graecae pronuntiatione
(Havercamp, ii. 542), detected a lacuna in the text of CV. 140 16
as current in his time, and secured the right sense by the insertion
of Svo Se (ipa-)(io- to te e /cat t6 6 after rh to (in 1. 17).
Echoes,
more or less distinct, of the long dispute as to the pronunciation of
the ancient classical languages may be heard in such various quarters
as: (1) [Beaumont and] Fletcher's Elder Brother ii. 1, "Though I
can speak no Greek, I love the sound on't ; it goes so thundering as
it conjur'd devils
(2) King James I. (in an address to the
;
University of Edinburgh, delivered at Stirling), " I follow his [George
Buchanan's] pronunciation, both of his Latin and Greek, and am
sorry that my people of England do not the like ; for certainly their
pronunciation utterly fails the grace of these two learned languages";
and (3) Gibbon's reference to " our most corrupt and barbarous mode
of uttering Latin."
In modern times a constant effort is being made
to get nearer to the true pronunciation of the two classical languages
and (to speak of Greek alone) some interesting side-lights have been
shed on the subject by the discovery of Anglo-Saxon or Oriental
transliterations (cp. Hadley Essays pp. 128-140, and Bendall in
Jowrnal of Philology xxix. 199-201).
The application of wellascertained results to the teaching of Greek pronunciation could be
injurious only if it were allowed to impede the principal object of
Greek study contact with the great minds of the past. But an
attempt to recapture some part of the music of the Greek language
is hardly likely to have this disastrous effect.
it

D. Greek

.as

Grammar

Grammar, like phonetics, was by the ancients often regarded

a part of " music." ^
It would not, therefore, seem unnatural

to his readers that, in a treatise

on euphony, Dionysius should

continually be referring to the parts of speech {jk (iopia tov \6jov).
He also uses freely such technical terms of grammar as TTTwcrt?,
:

eyK\icri^, airapeiM^aTOf;, ttXtjOvvtikS)';, uTTTio?, appev(,ic6<;, 67]\vko<;,

,ovSeTpo<;,

apOpov, ovofia,

irpodecrti;,

a-vvBecrfio<i,

etc.

Though

himself concerned more immediately with the euphonic relations

1 Quintil.
i.
10. 17 "siquidem Arohytas atque Aristoxenus etiam subiectam
grammatioen musicae putaverunt," etc.

INTEODUCTION

47

of -words, he
relations.

is fully alive to the phenomena of their syntactical

His remarks on grammatical points show, as might

have been expected, many points of contact with the hrief treatise
Dionysius Thrax, who was born a full
of another Dionysius
century earlier than himself.
Dionysius Thrax was a pupil of
Aristarchus, and produced the earliest formal Greek Grammar.
Some interesting hints as to the successive steps in grammatical
analysis which had made such a Grammar possible may be found
in the second chapter of the de Compositione, where special
mention is made of Theodectes, Aristotle, and " the leaders of
In c. 5, a useful protest is raised against the
the Stoic School."
tyranny of grammar, which so often seeks to control by iron
" rules " the infinite variety and living flexibility of language.

The standard
by Uhlig

edition of Dionysii Thracis

grammar can be studied

lei

Ars Grammatica

The whole question

(Leipzig, 1883).

that

is

of ancient views

on

in Steinthal's Geschichte der Sprachmssenschaft

den Griechen und Bbmern, mit besonderer Bucksicht auf die Logik

(2nd

ed., Berlin,

1890-91).
E. Sources of the de Compositione

must strike every reader of the treatise, that Dionysius

combines some assertion of originality with many acknowledgIt

ments of indebtedness to predecessors. In this there is, of course,

The work covers a wide field, and
no necessary inconsistency.
many special studies. While rewith
implies an acquaintance
respect
to the admitted authorities
and
ferring with gratitude
in these various branches of learning or science, Dionysius claims
He
for himself a certain originality of idea and of treatment.

have written a separate treatise on this

particular subject, and he is the first to have attempted an

among the

is

to

first

adequate treatment of it.^

In making these acknowledgments, Dionysius does not specify
any Latin writers, nor indeed any recent writers whatsoever.
QuintQian, in the fourth chapter of his Ninth Book, is
himself writing a short de Compositione, he mentions "Hali^
"
carnasseus Dionysius " and (with special respect) M. TuUius."

When

C V

68 7-11

rijv

irepl

rrji

cxmSiaeas rdv dpoildri^y TrpayiMTdav i\l.

-vois iiiv iirl

prrropiKcis

oiSevl

S'

vow

i\eoCffav, Sffoi

^ SiaXexnaj

rffic

Apxaioiv

,Tvviypa,l^av t^xpo-!.

dKpi^iis oiS' iiroxptivras pi^pi toO

wapovTos
^

i^eipyaiTfiivriv, lis iyii irelBofiac.

Some

reference to Quintilian's

own

apparent indebtedness to the de /mitoDeHone of Dionysius will be found

rmtrius on Style p. 25.

DIONYSIUS OF HALIOARNASSUS

48

But Dionysius says not a word about Cicero or Horace, although

the former was partly and the latter fully contemporary with
himself, and although they, like himself, were students of literary

work on early Eoman history shows,

and it is unfortunate
that he did not think of comparing Greek writers with Latin.
But the comparative method of literary criticism hardly existed
in Greek antiquity, notwithstanding the reference to Cicero and
Demosthenes in the de Sublimitate, whose author (it may be
added here) not only treats of a-vvdea-Ls in two of his chapters,
but also tells us that he had already dealt with the subject in

As

composition.

his

not ignorant of Latin

Dionysius was

two separate treatises.^

To his Greek predecessors Dionysius often refers in general
terms.
For example, they are called ol irpo rffjumv in 140 7, oi
jrpoTepov in 96 7, and ol apy^aioi- in 68 9.
The last term best
suggests Dionysius' habitual attitude, which was that of looking
to the past for the finest work in criticism as well as in literature.^
And so it will be foimd that, though the de Compositione Verborum
contains incidental references to the Stoics and to other leaders of
thought, its highest respect seems to be reserved for Aristotle
and his disciples Theophrastus and Aristoxenus.^
But the
question of Dionysius'

obligations

the Peripatetics particularly)

to

his

predecessors (and to

and far-reaching that it

must be treated separately elsewhere.
Meanwhile, let it be
noted how considerably his various writings illustrate, and are
is

so large

illustrated by, the Rlietoric of Aristotle.*

As
for

book may well be

to its originality, the

does not read

It

itself.

like

duU

left to

answer

The
and none can doubt
that the writer has long thought over his subject and can

learning

is

give

others

to

there,

contagious

its

but

the

it

fruits

enthusiasm.

own, as though

is

it

compilation.

lightly borne,

of

his

The

reflexions

work

has

with verve and

an easy flow of

had been rapidly (but not

written, out of a well-stored mind, while its author

1

de

SuUim. xxxix.

1.

In the editor's

on the "Literary Circle of Dionyof Halioarnassus " {Olassical Review

439-42), an endeavour is made to

article

sius
xiv.

view the literary

relation to its

The more

of Dionysius in
surroundings.

life

Roman

recent writers on rhetoric

carelessly)

was busy

(o! vioi Texvoypa^oi, de Isaeoo.

14) would
not greatly appeal to Dionysius.
^ Cp. 254
23, 266 3 164 22 138 6
* The quotations
from Aristotle 'and
other writers in the Notes will serve
to indicate roughly the obligations of
Dionysius to his predecessors

INTRODUCTION
many

with his teaching and with the

which he so often

who

refers.

with so

deals

It

49
literary enterprises to

must be conceded that

a literary

many-sided, and elusive a

subject as that of composition can hardly avoid some errors of
detail, since he cannot hope to be a master in all the accessory

critic

difficult,

upon which he has

to lean.
But we may well be
he preserves for later ages much invaluable literature
and teaching which would otherwise have been lost, if he
himself maintains (amid corrupting influences) high standards
in his literary preferences and in his own writing,
and if he
sheds a ray of light upon many a hidden beauty of Greek style
which would but for him be shrouded in darkness.

sciences

content

if

Reference may be made to Gr. Ammon de Dionysii Halicarnassensis

Librorum Rhetoricorum Fontibus and to G-. Mestwerdt de Dionysii Halicarnassensis in lihro de Com/positions Verborwn Studiis.
One section of
the subject is also treated in G. L. Hendrickson's valuable papers on

Mean

of Style and the Three Stylistic Characters

and Meaning of the Ancient Characters of
Style in the American Jowrnal of Philology vols. xxv. and xxvi. ; and in
H. P. Breitenbach's dissertation on The De Compositione of Dionysius

the

Peripatetic

'

and on the

'

Origin

'

'

'

of Halicarnassus considered with reference to the

Quotations

F.

and Literary

The greatest
Sappho's

is

It

'

of Aristotle.

References in the de Compositione

of all the lyrical passages quoted in the treatise

Hymn

stand alone.

Rhetoric

'

to

Aphrodite.

But great

has companions,

if

as this

is, it

does not

not equals, in the Danae

The
of Simonides and in the opening of a Pindaric dithyramb.
very preservation of these splendid relics, as of some slighter
The total extent of the
ones, we owe to Dionysius alone.-'
quotations

made

the treatise

in the course of

may be

judged

from the references given at the foot of the translation these

illustrative extracts form a substantial part of the work they
illustrate.
The width of Dionysius' literary outlook may also
be inferred from the following roughly-drawn Chronological Table,
which (for the sake of completeness) includes some authors who
:

are mentioned but not actually quoted

Among

the shorter fragments preare one of Bacohylides

(in c. 25), and another from the Telephus
Two lines of
of Euripides (in c. 26).
the Danae are, it should in strict
1

served by

him

accuracy be stated, quoted as follows

Athenaeus ix. 396 E

by-

S>

ai

t^kos,
S'

olov ix<^ irivov

_

dw7e,

yaXaerivip

S'

Kviiaffeis.

iJTopi.

DIONYSIUS OF HALICARNASSUS

50

3
S3

* o

ill

INTRODUCTION

51

To this list might be added the minor historians, of the third

and second centuries B.C., who are mentioned together with
Polybius in c. 4, and of whom some account will he found in
the notes on that chapter Phylarchus, Duris, Psaon, Demetrius
of Callatis, Hieronymus, Antigonus, Heracleides, and Hegesianax.
:

And

it

number
ferred,

will be noticed, further, that the treatise contains a large

of unassigned verse-fragments, which can only be revaguely, to some lyric poet or to the lyric portions of

some tragic poet. By such anonymous fragments, as well as by

the poems quoted under the names of Sappho and Simonides,
we are reminded of the many lost works of Greek literature and
of the happy surprises which Egypt or Herculaneum or the
Sultan's Library
tions as a

whole

may

still

have in store for us. If the quotaand unidentified, previously known

identified

and previously unknown

are passed in review, it will be found

that Dionysius has given us a small Anthology of Greek prose

and

verse.

While

relevant to the main theme, his

with so much taste, and from so wide a
adapt his own words) ovk arjEr]^ 6 \d70s

strictly

illustrations are chosen

field of study,

that (to

iyepero TroXXot? mairep avdea-i hia-jroi,KtXk6fievo<; T049 eapivol<;}

Two prose -writers mentioned by Dionysius seem to invite
special comment: Polybius and Hegesias.
It is not without a
kind of shock that we find the great historian Polybius classed,
along with Phylarchus and the rest, among writers whose
works no man can bring himself to read from cover to cover.^

But we have to remember that the judgment is passed solely

from the standpoint of style
and from this restricted standpoint, it can hardly be said that subsequent critics
have
ventured to reverse it and to maintain that Polybius is (to, use
the modern expression) an eminently "readable" author.
Let
one modern estimate be quoted, and that from a writer who
appreciates fully the greatness of Polybius' theory of history, and
;

de C.V. 214 7. There is, perhaps,

for a book or dissertation on
Quotation in Classical Antiquity
with
reference to such points as the citation
ornon-citationof authorities, the employment of literary illustrations, the poetical
quotations in the Orators or in the
ASijvalofv IIoXiTe(a or in the Poets themselves ; and so forth.
On the question
of verbal fidelity, something is said in the
present editor's briefarticle on 'Dionysius
of Halicaruassus as an authority for the
^

room

Text of Thuoydides

'

Classical

Beview

xiv. 244-246) ; and such quotations as

that from Odyss. xvi. 1-16 in c. 3 of
the present treatise might be critically
examined from the same point of view,
A similar study of Translation in
Classical Antiquity would also be a
useful piece of work,

Of Phylarchus as a
de C.V. 94 4.
historian Polybius himself gives an unflattering account.
'^

DIONYSIUS OF HALICARNASSUS

52

who, on the other hand, is not concerned to vindicate the soundness of Dionysius' judgment: "Unfortunately, his [Polybius'J
We long for the ease,
style is a serious deterrent to the reader.
the finished grace, the flowing simplicity of Herodotus or again,
for the terse and rapid phrase of Thucydides, the energy, the
;

precision of each single word, the sentence packed with thought.

Polybius

has

the Greek artistic feeling for writing, the

lost

delicate sense of proportion, the faculty of reserve.

and distinction of the Attic idiom are gone.

insipid

The

freshness

writes with an

In arranging his materials he

always anticipating objections and

and colourless monotony.

He

equally inartistic.

is

He

is

he wearies you with dilating on the excellence of

his own method; he even assures you that the size and price of
Admirable
his book ought not to keep people from buying it.
as is the substance of his writing, he pays the penalty attaching
to neglect of form
he is read by the few." ^
Hegesias is not only mentioned, but quoted, in the treatise,
A few detached sentences are given from his writings, and one
In c. 4 Dionysius rewrites a brief extract
longer passage.
from Herodotus in utter defiance of the customary rules (or
practices) of Greek word-order, and then exclaims, " This form of
composition resembles that of Hegesias it is affected, degenerate,
enervated."
He proceeds " In such trumpery arts the man is
digressing

a hierophant.

He

writes, for instance, 'After a goodly festival

another goodly one keep we.'

land, a

man

of Sipylus

'

Of Magnesia am

'No

I.'

little

I,

the mighty

drop into the Theban

waters spewed Dionysus

yea, sweet is the stream, but
madness it engendereth.'
In c. 18 Dionysius illustrates the beauty of prose-rhythm
from Thucydides, Plato, and Demosthenes.
He then assigns to
Hegesias a bad pre-eminence among writers who have neglected
this essential of their art.
Quoting a passage of some length
from his History, he asks how it compares with Homer's descrip:

'

S.

H. Butcher Harvard Lectures mi

Wi. Op.

Strachan
Davidson in Sellemca pp. 414, 416
"The Nemesis of his contempt for the
form and style of his writing- has come
on Polybius in the neglect which he
has experienced at the hands of the
modern world. ... He has not the
genius, and will not take the trouble to
QreeTc Subjects

"p.

J. L.

acquire the trained sensitiveness of art

which might have supplied its place;
and thus his writing has no distinction
and no charm, and we miss in reading
him what gives half their value to great
writers
the consciousness that we are
in the hands of a master. " But, on the
other hand, see J. B. Bury's Ancievi
Greek Historians, e.g. pp. 196, 218, 220.

INTRODUCTION
tioa of a similar scene
latter to be

rhythms.'

and he holds the vast superiority of the

due chiefly, if not entirely, to the difference in the
In the words just cited there is obviously much

this

But we must allow

treatise

T6

n-oiTjTri'i

'

exaggeration.
in

53

(cp.

iroiTjTov

tovt

for Dionysius' preoccupation

m naXicrra BtaXXdrrei
KOi prjTwp piJTopof, TO avvTiOivai, Se|tft)9
^v

axeSbv

TO, 6v6/MiTa, 92 18-20), and must, at any rate, try to discover

wherein the main defect of Hegesias' rhythms is supposed to lie.

no single thing in the passage offends the ear

It is probable that

of Dionysius so

much

as the double trochees (or their metrical

equivalent) which are found at the end of so many of the clauses.
This double trochee, or dichoree, is found in its normal form

(-

v^

- o)

at the

end of such

cola as those

Tot? apicTTOi^, Koi TO irkrjOo'i,

eh to

^tXwra?, KoX to 'x^po)/j,a, a-Kaibv i^Opov.

^ w - c occurs in such instances as

v^

irpa^ai,

that

this

final

Quintilian as

added

KadiKeTevasv.

KaTaKOTrijvai,,

dichoree

is

characteristic

which terminate in

ToXfiav, Ty fia'^^aCpa, koI

The metrical equivalent

irpoTepov

outw?,

eveKa

It is interesting to observe

regarded

both

by Cicero and by

of the Asiatic orators.-^

Let it be
from Hegesias, the dichorees are not
of clauses but occur freely in other positions,

that, in the extract

confined to the close

' Cicero
{Or.
63.
212) says, with
reference to the various ways of ending
the period, " e quibus unum est secuta
Asia maxime, qui dichoreus vocatur,
cum duo extremi chorei sunt." And
Quintilian (ix. i. 103) "claudet et
diohoreua, id est idem pes sibi ipse iungetur, quo Asiani usi plurimum ; cuius
exemplum Cicero ponit Patris dictum
sapiens temeritas fiU comprobavit." The
dichoree is condemned also in the de
Sublim. c. 41 fUKpoiroi.oOi' S' oidkv ofirws
iv TOis itpr)\oh, us l>v6/jt.ds KeKXaafiivot
XAywj* KoX ff<To^Tjfi^i'os, oTov Sij TTvpplxLoi
KoX rpoxaioL Kal
riXeov els
Stxipeioi,
:

opxVTiKbv

a-vveKiriiTTovTes

ras

s ivloTE

KaraXiff"'
aiiTois viroKpoieiv rots X^yovai Kal ^$dvovTos lis ^i' x<>PV "''' TrpoaTToSMpai ttjv
pdnv. It is the constmU recurrence of
the same feet that is to be deprecated
(cp. Aristot. Bhet. iii. 8. 1, and Theon.
Progymn. in Walz Bhet. Or. i. 169); a
single dichoree would not be avoided
even by Dionysius himself, e.g. cow
ixivra" (192 5). Cicero's appreciation of
Carbo's patris dictum sapiens temeritas
fili comprobavit maybe instructively comirpoeiSSras

dtf^iXofiivas

pared with. Dionysius' attitude towards

the general question of good and bad
rhythms. They both seem to allow too
little for other considerations ; one of

them approves, and the other disapproves,

the final dichoree and both agree in the
main point, that there should be plenty
of variety
"hoc dichoreo (sc. comproba/vit) tantus clamor contionis excitatus
est, ut admirabile esset.
quaero nonne
;

id numerus effecerit ? verborum ordinem

immuta, fac sic
'comprobavit fili
temeritas,' iam nihil erit, etsi 'temeritas
:

ex tribus brevibus et longa est, quam

Aristoteles ut optimum probat, a quo
' at eadem verba,
eadem sendissentio.
teutia.' animo istuc satis est, auribus non
satis,
sed id crebrius iieri non oportet
primum enim numerus agnoscitur, deinde
satiat, postea cognita facilitate contemHegesias'
nitur" (Cic. Orat. 63. 214).
lack of ear seems, further, to be shown in
the awkward accumulation of disyllables;
iroSfiv
Sii tSiv
x'*^""'" v'''^^""'
Sielpavras &Mt\,v kvkXw 7U|I.v(Jv (188 17),
e.g.

and
132

Tpdircji

o-Kaibv 4x9pi5v (190 5).

(SXiyoo-iiXXa^a woWct.

3 ai^t'
Xa/ipdvovra.

Cp.
ij^s

DIONYSIUS OF HALICARNASSUS

54

while

and the reverse of periodic

be granted that Cicero has good ground for calling atten-

many

and it

of the sentences are short

will
tion to the jerky, or staccato, character of the style in question.
In the Orator (67. 226) the effect of Hegesias' writing is thus

numerosam comprehensionem) perverse

Hegesias, dum ille quoque imitari Lysiam volt, alterum
And his
Demosthenem, saltat incidens particulas."

described
fugiens

paene

manner
:

quam

(so.

amusingly parodied in one of the letters to Atticus

" de Gaelic vide, quaeso, ne quae lacuna sit in
6)
sed certe in coUubo est detrimenti
ego ista non novi
xii.

satis.

"

is

(ad Att.

auro

sed quid loquor ?

hue aurum si accedit
quod Varro laudat." ^
Hegesiae genus
|

habes

tu videbis.

Two

further

specimens (not given by Dionysius) of Hegesias' style will add

The first is preserved by Strabo
point to Cicero's parody.

396):

{Geogr.

eKeiOi

(TTjfielov

jjbVffTrjt;

6pS>

eKeivo

r^v aKpo-n-oXiv
6pa>

Tr)v

Kal to TreptTT^?

AecoKopiov

rpiaivr}';
\

'EXevatva,

tovto

twv

Kal

r}<Telov

lep&v yeyova

ov

ovvafiat

SrjX&a-ai.

Ka6' ev e/caa-rov.

The other specimen

is

quoted by

250) from Agatharehides, the geographer of

'We^avSpe, j^/Sa? Kara<TKa-<^a<i,
av el 6 Zev<; k t^s KaT ovpavov fiepiSo? iK^aXKoi rr]v creX.rjv'ijv.
Bvo yap avrai
v-n-oKeLirofiai <yap rov ijXtop rat? 'A^jjvats.
Sto Kal -nepl Trj<i erepa'i
TTf'Xet? T7J9 'EXXaSo9 ^(rav oi|r6t?.
ojymviSi vvv.
6 fikv jap el? avT&v o^daX/JLoi 17 @'q^ai<>>v
Photius

Cnidus

(Bill. cod.

ofiotop TreTroirjKa';,

eKKeKoirrat TroXt?.
It is quite clear,

from his express statements, that Dionysius,

in his criticisms, has in view, mainly if not entirely, the bad

rhythms of Hegesias.
But the passages which he quotes seem
open to criticism on other grounds as well.
The long extract in
c. 18 contains metaphors which might well seem violent to the
Greeks, who allowed themselves less licence than the moderns
do in this direction (e.g. r] fiev ovv iXirh avr-q aweSpafiev ek
TO ToX/jbdv, and tou? S' aWov; opyrj irpoar^aTO's inrlp.irpa) and
it is high-flown expressions of this kind which the author of the
de SuUimitate has in view when he writes rd ye firjv 'Afi^i;

' Modern parallels are dangerous, but

the detractors of Macaulay might be
disposed to compare his short detached
sentences (so different from the elaborate
periods of some earlier English prosewriters) with those of Hegesias.

In this last extract,

all

the sentences

The fragments of
Hegesias have been collected by C. Miiller
Seriptwes Serum Alexandri Magni pp.

end

iu

138-144.

dichorees.

INTEODUOTION
KpaTOVi TOiavra koX
ivOova-iav

iavroi^

'Hyrjcrtov

SoKovvre<;

ov

Kal

55

MarpiSoi;

^aKxevovaiv

TroXXaxov jap

aXXa

irai^ova-Lv

False emphasis, too, and a general desire to purchase

notoriety by the cheap method of eccentric word-order, would
appear to be implied in Dionysius' own parody in c. 4 (90 15-19).
For example, 'AXvolttov and iOv&v, though not in themselves
(iii.

2).

important,

are assigned prominent positions at the begiiming

and the end of the sentence. But the greatest of all the defects
of Hegesias
especially when compared with Homer
is a certain

vulgarity of tone.

The

contrast

overstrained,

Homer was

but

to

drawn between Hegesias and Homer may seem

it

is

him the

eminently characteristic of Dionysius.

great pure fount of Greek, and his

own

constant desire was "antiques accedere fontes."

Hegesias, on
the other hand, typifies to him the decline in Greek literature

which followed the death of Alexander, whose exploits he records

And yet the curious thing is

probably in the earlier part of the

with so feeble a magniloquence.

that Hegesias,

who

lived

But

third century, aspires (as Cicero tells us) to copy Lysias.

while endeavouring thus to imitate one of the most Attic of the

Attic writers, he came, by the irony of fate, to be regarded as the

founder of the degenerate Asiatic school

'Yi.j'q<Tia<;

pi^rmp,

o?

^p^e fiaXiarra rov 'Aa-iavov Xejofievov ^rfKov, Trapa^Beipa^ to

In
Kadea-T7]Kb<s edo<; rb 'Attikov (Strabo Geogr. xiv. 1. 41).^
the terms "Attic'' and "Asiatic" there often lurks some confusion

and rhetorical animosity.

compared with Hegesias, it is clearly within
the mark to say that, though he lived two centuries later, he has
and
vastly more of the true Attic feeling for purity of style
that, though he may himself have cherished wild dreams of
turning back the tide of language, yet in league with some
leading Eomans of his day he did good service by showing how
the best Attic models may hold out to future ages shining
examples of the skill and beauty which all men should strive
of thought, as well as no little prejudice

But

of Dionysius, as

after in handling the language of their birth.

"With TrapaipBdpa^ op. Cic. Brut. 83.
"atque Charisi [an imitator of
Lysias] vult Hegesias esse similis, isque
se ita putat Atticum, ut veios illos prae
at quid est
se paene agrestes putet.
tarn fractum, tam minutum, tarn in ipsa,
quam tamen consequitur, concinnitate
'

286

"
For the influence which
?
Hegesias had on style as late as the
time of Pausanias cp. J. G. Frazer'a

puerile

Pausanias i. Ixix. Ixx., and Blass Bie

Bhythmen der asianisehen und romischen
Kunstprosa pp. 91

ff.

DIONYSIUS OF HALICARNASSUS

56

For Dionysius in relation to contemporary Komans, and to the

struggle between Asianism and Atticism, reference may be made to
Dionysius of Ealicarnassus : the Three Literary Letters pp. 34-49.
Manuscripts and Text

Gr.

chief authorities for the text of the de Compositiom are

indicated in the following list of abbreviations employed in the

The

apparatus criticus of the present edition

Siglwum in

r = cod.
P = cod.
M = cod.
V = eod.

notulis criticis adhibitorum Index

Morentinus Laurentianus

lis.

Parisinus bibl. nat. 1741.

Venetus Marcianus 508.

1 5.

saec. xii.

saec. xi. (x.).

saec. xv.

Vergetii Parisiensis bibl. nat. 1798.

E = Atovvabov

'

irepX

'Zwdeerem'S 'Ovofidrav

saec. inc.

'EiriTO(xi/i.

E = Khetor

tov

KXiicapvacreai<;

saec. xvi.

Graecus (Scholiasta Hermogenis

Trepl

IBe&v,

i.

6).

saec. inc.

= editio

princeps Aldi Manutii (Aldi Manutii Ehetores Graeci,

torn,

i.),

Venetiis.

1508.

= editio Eoberti Stephani, Lutetiae. 1547.

1775.
r = exempluni Eeiskianum, Lipsiae.
Us = exemplum ab Usenero et Eadermachero Lipsiae nuper editum.
s

The Florentine
writings

of other

manuscript

authors, the

(F)

contains,

besides

certain

following works of Dionysius

(1) the essays on Lysias, Isocrates, Isaeus, and Dinarchus

and (2) the de Compositione Verborum (as far as the words
The
ireipariov 8rj kol irepX tovtcov Xeyeiv a (jipovai in c. 25).
Paris manuscript 1741 (P) is the famous codex which contains

not only the de Comp.

Verb., but also Aristotle's Hhetoric and

Demetrius de Mocutione, Dionysius Halic. Up. ad Amm. II.,
Be Vet. Scr., etc. Some notes upon the manuscript are given in
Demetrius on Style pp. 209 11
and the editor has examined it
Poetics,

once more at Paris for the purposes of the present recension.

The remaining manuscripts are considerably

later

than

and

P.

INTEODUCTION

belongs to the fifteenth century, and

57

was copied by the

Cretan calligrapher Ange Vergfece (as he was called in France)

in the sixteenth century.
The edition of Kobert Stephens is
based upon V.
In the Journal of Philology xxvii. pp. 83 ff.,
there
of

is

a careful collation, by A. B. Poynton, of "

MS. Canonici 45 "(C:

sixteenth

Some Headings

century) in the Bodleian

Library, with regard to which the collator says

care with which the work is done, the manuscript

"

is

Despite the
not of

much

value as a presentation of the Florentine tradition, since F exists

and the writer of C is rather a Staa-^euao-Tjj? than a copyist. The
interest of the manuscript is antiquarian

and bibliographical.
copy made at some time in the sixteenth century, probably
after 1560.
It is based on the Florentine MS. with variae
lectiones and marginal notes.
It has not the appearance of being
a mechanical copy rather it seems to be the work of a scholar
who was conversant with the MSS. of the treatise and, while he
was aware of the importance of the Florentine MS., saw that in
many cases it needed to be corrected."
The dates of the Epitome and of the Rhetor Graecus are
uncertain.
But both are early and highly important authorities.
.

It is a

The

latter

14 only of the treatise, but the quotashow that the text of F agreed in the
The result
the Mhetor and of the Epitome.

quotes

tion enabled

c.

Usener

to

main with that of

was to enhance greatly the authority of F, with which earlier
But
editors had merely an indirect and imperfect acquaintance.
by a not unnatural reaction against the excessive attention paid
and V
though
to what may be called the P group (PMV
inclined
too
is
Usener
P),
sometimes coincide with F against

readily to follow F, or even E,

when standing

alone.

Still,

while

should be carefully
the readings supported only by F, or E, or
testimony
concurrent
scrutinized and independently judged, the
of

FE

and any other MS.

is

very strong indeed.

passages taken almost at a venture (say, the first twenty

lines of c. 12 and the last twenty of c. 19) would be enough to
show that neither F nor P can be exclusively followed, and that

Two

Usener himself

often (more often

is

edition) driven to desert F,

other places, a large

1

e.g. KaOdirep

138 13

number

which in

is

indicated in this

fact contains, in these or

of impossible or even absurd readings.-'

dvaiaeios, iTode212 21-24 ; see

KTiK^, &K&fi\peva-Tov, Ixovra

than

The issue is often so

also 196 24, 25.
perplexing that no editor can feel certain

DIONYSIUS OF HALIGARNASSUS

58

Where, however, there are genuine instances of various readings

(as

eiiKaipoTepaK

evpocoTepai'i in the last of the passages just

seems best to follow F (especially when supported

even though the hand of an ingenious early
scholar may sometimes with reason be suspected.-'
One reason for accepting with reserve the unsupported testimony of F is that its evidence is sometimes far from sound in

specified), it

by other

authorities),

regard to quotations from authors whose text is well established

In the principal quotations from Pindar
from other sources.
and Thucydides this defect is not so manifest ; and it may even
its text of the Pindaric dithyramb, and of the
Herodotus extract on p. 82, is distinguished by many excellent
features, though not so many as Usener was at first inclined to
But in the extract from the
claim in the case of the Pindar.

be claimed that

which is given in c. 23, the text

compared vrith that presented by P) seems
to suggest that, in dealing with Dionysius' own words as well as
with his quotations, the transcriber may have felt entitled to
make rather free alterations on his own account. In order to
provide readers with the means of judging for themselves, the
Areopagiticus of Isocrates

presented by

critical

(as

apparatus has been

made

Usener's text of the de

respect

it is

specially full at this poiat.^

CompositioTie deserves the highest

the last undertaking of one of the greatest phil-

ologists of the nineteenth century,

must

and every succeeding

find himself deep in its debt.

to exhaustiveness.

editor

Its record of readings is full

In the present edition less wealth of detail is

F and R), though all really

attempted (especially in regard to

whether F's reading or P's should be
placed in his text he only knows that
both readings must he recorded either in
:

the text or in the critical footnotes.

For the strong points of F see such passages as pp. 182, 184 in c. 18.
^ Other examples of these variae leetiones, pointing perhaps sometimes to a
sort of double recension, are such as
oiSirepov fiiv e^fiop^oVy ^ttov 5^ Svffeidh
t6 e (144 4
REF), compared with
oiSirefiov fikv eifij^ox, ^ttov di Svarixh
t6
PMV), 66 2 cewo-ri PMV,
(144 4
&pn F 100 23 ivrauSa PMV, ^BdSe F
198 18 and 244 28 :riii/i; PMV, a^6Spa, F.
Continually F's readings differ from P's
in such a way that either alternative is
quite satisfactory and neither could well
:

have originated in any manuscript

cor-

ruption of the other.

Under the same

head will come minute variations

(not

always recorded in this edition) of wordorder in the traditions represented by

F and P. So, too, with such minutiae
as the elision or non-elision of final
vowels, and the insertion or non-insertion
of k itpeKuvanKliv.
^ F's irXelffrov kIvSwov for TKdiTTOVi
Kivdivovs in 244 5 seems due to a desire
to diminish the number of sigmas in the
sentence, while some minute changes in
word-order look like deliberate attempts
to improve the flow and sound of the

passage.
order of

the

Such discrepancies in the word-

F and P

treatise,

quotations.

occur in other parts of

and not simply

in the

INTRODUCTION
important and typical variations have,

59
it

is

hoped, been duly-

and particular attention has been paid to the minute

coUation of P. But apart from the correction of misprints (as on
pp. 124 13, 132 23, 250 7), it is hoped that the following among
other readings will commend themselves (on an examination of
the sections of the Notes or Glossary in which they are defended)
as superior to those adopted by Usener (and indicated here in
brackets) from conjecture or on manuscript authority 64 11 (aol
omitted), 70 5 (efi ti), 78 17 {iraXaiat), 80 13 {iratSiKov), 94 13
(irpo^aiev), 94 16 {(yirovSd^eaeai), 98 20 {oU tlvo), 106 13
(eS ^), 132 20 (Oripav), 142 9 (<7'7ravo^t), etc.

registered,

H. Recent Writings connected with

the

de Compositione

fuU bibjiography, covering not only the de Compositione of

Dionysius but his rhetorical and critical works generally, is given
in the present editor's Dionysius of Halicarnassus : the Three

January 1901), pp. 209-219.

The following are (in chronological order) the early editors who
have done most to further the study of the de Compositione
Aldus Manutius (editio princeps), Eobertus Stephanus, F. Sylburg,

Literary Letters (pubhshed in

J.

Upton,

G. H. Schaefer, and F. Goeller.

J. J. Eeiske,

interest still attaches to C. Batteux' publication

V arrangement des mots

Much

(1788) Traiti de
traduit du grec de Denys d' Halicarnasse ;
:

avec des reflexions sur la langue fran^aise, comparie avec la langue

The translation is too free and based on too poor a

meet the needs of exact scholarship. But the Eiflexions
(which accompany the translation, in vol. vi. of the author's
Principes de littiratwre) are full of suggestive remarks.
Another
excellent literary study of Dionysius is that of Max. Egger
Denys d' Halicarnasse : essai sur la critique litt4raire et la
As
rh&;origu6 chez les Grecs au sidcle d'Au^uste (Paris, 1902).
its title indicates, this volume takes a wide range
and it reveals
that full competence in these matters which it is natural to
expect from the son of mile Egger.
A short general account,
by Eadermacher, of Dionysius' critical essays will be found in
grecque.

text to

Pauly-Wissowa's Healencyclopddie

vol. v.

volume of Usener and Eadermacher's text was

In 1904
included in the bibliographical list mentioned above.
appeared the second volume, containing the de Compositione and

The

first

DIONYSIUS OF HALICAENASSUS

60

some other

critical

opusctda edidertmt

writings of Dionysius {DionysU Halicarnasd

Hermannus Usener

et

Ludovicus Badermacher.

The second volume

Zipsiae, 1904).
Voluminis sec. fase. prior.
is on a par with the first, which was welcomed, as a notable
achievement, in the Classical Review xiv. pp. 452-455, where
also attention was drawn (p. 454 a) to a questionable emendation
previously introduced by Usener into the text of the de ImitaThis emendation is withdrawn in Usener's second volume
tions.

a fact which

may

be mentioned as one proof

among many

that

grow more conservative and, in particular,

The titles of
more attentive to the testimony of P 1741.
" Oxford MSS. of
A. B. Poynton's articles on Dionysius are
Dionysius Halicarnasseus, Be Compositione Verborum" (Jburnai
of Philology xxvii. pp. 70-99), and "Oxford MSS. of the Opushis tendency

was

to

cula of Dionysius of Halicarnassus " (Journal of Philology xxviii.

162185). Among other useful subsidia lately published

be mentioned W. KroU's " Eandbemerkungen " in Ehein.
Mus. Ixii. pp. 86-101, and Larue van Hook's Metaphorical
Terminology of Greek Rhetoric and Literary Criticism (Chicago,
E. H. Tukey {Classical Review, September 1909, p. 188)
1905).
makes the interesting suggestion that " the De Compositione belongs
chronologically between the two parts of the I>e Demosthene."
The use of the present tense Br/XovTat in C. V. 182 8 may be held
pp.

may

to countenance this view.

In some recent books of larger scope it is pleasant to notice

an increased appreciation of the high value of the work done by
Dionysius in the
estimates

may

Companion
'

Attic revival

'

is

p.

criticism.

Certain of these
C.

Jebb, in the

" The maturity of

p. 137:
represented at Eome, in the Augustan

A. and M.
371: "Les uns

rh^teurs des

literary

the
age,

literary critic of antiquity, Dionysius of Halicar-

nassus."
V.

of

Greek Studies

to

by the best

field

be quoted in conclusion.

%es

Croiset Histoire de
et

les

autres

[les

la litt&ature grecgue

contemporains

et

les

suivants] appr^ciaient avec raison I'^rudition

de Denys, la justesse de son esprit, sa finesse dans le discernement des ressemblances et des diff(5rences, la solidity de sa
doctrine, son goiit dans le choix des exemples.
De plus, Us se

comme nous et plus que nous, par la vivacity

de ses admirations, par cette sorte de foi communicative, qui
faisait de lui le d^fenseur des traditions classiques."
Wilamowitzsentaient touches,

INTRODUCTION

61

Moellendorf Die griechische Ziteratur des Altertums pp. 102 and

148 " Von unbestreitbar hohem und dauerndem Werte ist die
andere Seite der rhetorischen Theorie und Praxis, die sich auf
:

den Ausdruck

erstreckt, die

tJberzeugung

vertritt

Es
im Grunde
und wir

Stilistik

dass er (Dionysios von Halikarnass)

wie Cicero,

ein hohes Lob,

ist

dieselbe stiliatisehe

ihm

sind

fiir

die

Erhaltung von ungemein viel "Wichtigem zu Dank verpflichtet

seine Scbriften iiber die attischen Eedner und iiber die Wortfiigung sind auch eine nicht nur belehrende, sondern gefallige
Lekture."
J. E. Sandys History of Classical Scholarship i.
p. 279: "In the minute and technical criticism of the art and
craft of Greek literature, the works of Dionysius stand alone in
all

the centuries that elapsed between the Bhetoric of Aristotle

and the

treatise

Criticism

On

the

pp. 136, 137,

i.

Sublime."

G.

Saintsbury History

132: "Dionysius

of

a very consider-

is

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,

able critic,

into the proper province of literary criticism.

[sc.

the de Compositione],

This treatise

studied carefully, must raise some

if

astonishment that Dionysius should have been spoken of dis-

by anyone who himself possesses competence in

From more points of view than one, the piece gives
Dionysius no mean rank as a critic."
S. H. Butcher Harvard
"Of his fine perception
Lectures on Greek Subjects pp. 236, 239
of the harmonies of Greek speech we can entertain no reasonable

respectfully
criticism.

doubt.

We

cannot dismiss his general criticism as unsound

The whole history

or fanciful.

of the evolution of

and the practice of the great masters of the

contention."
Spectator of

art,

Greek

prose,

support his main

With these extracts may be coupled one from the

March 23, 1901 "In this treatise Dionysius reviews

and attempts

to explain the art of literature.

It is a brilliant

analyse the sensuous emotions produced by the harmonious arrangement of beautiful words. Its eternal truth might
effort

make

to

it

a textbook for to-day."

"v',

In the Notes and Glossary, as in the Introduction, references are usually given
e.g. 80 7 = page
80 line 7 of the De Compositione. The following abbreviations are used in refening
to volumes already issued by the editor
to the lines, as well as the pages, of the Greek text here printed

D.H. =
Long. =

'

'

Dionysius of Halicarnassus
Longinus on the Sublime.

Demetr. = Demetrius on Style.

'

62

the Three Literary Letters.'

AIONTSIOT AAIKAPNA^EQS

HEP I XTNeEXEnX ONOMATDN

aiont:^iot aairapna^eo^

nEPI XTNSEXEnX ONOMATIIN

I

"

Awpov

5 Kadd'Trep

irap

r)

KoX

TOO

'OjjLrjpa

tekvov

iyco,

(jtiXe,

tovto

SiBmfjLi,

'EXeyi? ^evU^ovaa tov TtjXifia^ov,

<j)7)crlv

rjfiepav w^ovTi ravTrjv jeviOXiov, a<^' ov irapayeyova^

riXiiciav, rjZiaT'qv Kol TiiMucrdTrjv eopr&v ifiol' TrXrjv
avSpo<;
eh
)(^eipS)v
SrjfiiovpjTjfia irep/jrai coi rav ifJL&v, to? eKeivrj
ovre
irpdiTrjP

10

&pav

Kol yafieTT]!;

vqfjLa

iraiSela';

kol

c? yafiov fiovov

tov ireifKov, ovt

SiBovcra to3 /jbeipaKia)

dtrjcyl

evQerov,

%ajOti'
\^v)(ri'i

aXXa

Krij/ia

e'/i'^?,

t'JJ?

ivoirjfia

[jLev

aol

Se

Kai yev-

avTo

to

Koi yprj/Ma 7rpo9 dirdcra^ ra? ev tg3 ySip ^/aeta? oiroaab

Xoyav w^eXi/Mov, dvajKaiorarov dirdvTCOv

Tvyydvco t&v BeovTiov (ppovcov, a/iraai,
d(TKOvcn Tous iroXiTOKoii^ Xoyov<;, iv y ttot

Sid

rai

Koyo)

ei TO
15 T019

aXiKapvaa-creuis

7 rjSLa-T-qv om.

11

o-ot

om.

d><f>eXiiJ.oi

2.

8 x^'pov
12 Tao-as EF

PV^

14

Tt] Ti Sri

kol

5.

13

In 11.

5, 8, 9, 10,

the reference

is

to

:-

'EWpt; Se irapldTaTo KaWLiripjjos

Ik

Aupiv

t'

TOi

iv

ijKA^nafe

Koi

SlSufu,
'BX^kt;!
livrip.'

x^pcrii',

t'

^0ot'

^l\e,

roSro

^ttos

riKvov

xeipwv,

ravrrjvl

||

ovre

cis

ui^eXj'/iwv

PMV
PMV
EFM
:

Tro\vi\pirov

conjectures ya/ierTi for ya/iernsFor diScros cf. de Thucyd. c. 55 t6

/lipos
airrji irXV iMyuc
Trdcu BavfjUKTTWs ^x^"" '^''i ^'s irdtraj elrai
t4s xP^'cs eHBerov, rh Si Sri/iriyopiKbv oix
llwav eU /d/irijiv iirin^Setov eXvai.

Si^yrifuiTiKiv

^7(i,

(J<^eA.t/iov

rfXiKia

f
Sauppe

"

iriirKov ixo^a'

PV

e<)f>ij

ofioiiOi'i

dv

10. The word Yaficrfj is used by

Dionysius in the interesting and highly
characteristic passage which opens the
Here
^'^^- Oratonbus (c. 2).

For the meaning and rendering of

326 infra.

"

-^^prifidTav,

fiev

MV

o-uvOeo-is see Glossary, p.

Odyssey xv. 123-127

om.

PVl

'^ivov-

11.

is

ydjMv &pj)v,
aS dXixv <popieiv.

KT{]|ia

xpfj|i,a,

'a compliment
ment': similarly 264 14

64

tool,'

'

a treasure and

and an impletpB6v(j)

Koi xP^'"f

DIONYSIUS OF HALICARNASSUS
y s ON

LITERAEY. COMPOSITION

CHAPTEE

OCCASION AND PUEPOSE OF THE TREATISE

To

Eufus Metilius,

you,

in

whose

worthy father

Homer, says while entertaining Telemachus.

keeping your

and

of

hands

(to

young

am

this

is

me

to

guest),
"

To-day you are

the most welcome and most

you the work of

not, however, sending

when

quote Helen's words

marriage and

most

as Helen,

birthday after your arrival at man's estate

first

feasts

all

precious.

my

is

friend, " I also offer this gift, dear child,"

honoured

what

nor

meet

only

fitted

is

the

for

to pleasure a bride withal."

product and the child of

my

my own

she offers the robe to her

studies

and

my

season

No,

it

and

brain,

of

the

is

also

something for you to keep and use in all the business of

which is effected through speech an aid most necessary, if

life

my

estimate
^

is

Homer

of any account, to all alike

^

Odyssey xv. 125.

(the reading of PMV), and 268 9 xp^'"e

re ToWtfi Kal irbvif, 184 25 Ayvolas
irpovolas.
Cp. the jingles found in the
fragments of Gorgias, or in Aristophanes
(piiliTj
.
ypti/iri, Ai>. 637, 638 ; (rxvi^a
.

\TJiia,

Han.

463).

practise civil oratory,

Homer

i" Krrum

Odyssey xv. 126, 127.

XPW<

cv/m, 28, Cic.

de Eer. Nat.

op- Isoor.

ad Fam.
iii.

vii.

ad Demoni-

29, 30, Lucr.

971.

(except E') omits

thus securing brevity at the price
Cp.
of rhythm, antithesis, and point.
66 13, where E omits olKeioripa.
the xal gives a modest
14. Ka7u
tone, as in Soph. Philoct. 192 ctwep Kiyd

The Epitome

""oi.,

who

Such rhyming

tendencies (frequent in the orations of

Cicero) are condemned in prose-writing
by modern taste, though they have, in
the course of centuries, found much
acceptance in poetry. For the antithesis

ti <ppovw (Jebb).

15. iroXiTiKOiis

65

see Glossary,

s.

v.

DIONYSIUS OF HALICAENASSUS

66
T6 KaX

rvyvdvaxTiv oWe?'

e^et,

KoX vecoa-rl tov

jap

SiTTrj<;

Xoyov;,

MeriXte

Pov<f)e

jrdvTa<s

voTjp^ara koX t^9 irepl

tov;

elirelv

o)<}

mv

ovofiara,

Tci

e^dirreavai oo^eiev

fiaXKov

irpwyfiaTiKov tottov

TOV

fiev

irepl

acrKrjae(iD<;

ovcrrji!

irepl to,

tjj?

fieipaKioit re

toi<}

&

v/uv,

KUfiol n/MitoTaTov <j>i\cov.

ar/a0ov,

7raT/)o?

fwXt<7Ta Be

airTOfievoi<s

[ia6riiJbaT0<i

chap.

t)

av,

Se TOV \6KTiKov, Koi TrdvTcov ocroi tov Xeyeiv ev (TTO'^d^ovTai irepl dp^oTepai ra? 0eo)pia<; tov Xoyov tuvtu^ airovBa-

rj

iaov,

i^

tpvTcov

p,aXKov Se dSvvaTO<i et? dyeveicov

veoK,

rjXiKLav

KaTTjpTVfievrji;

rfKuKiai;

iradav

Xefet?

^X

^"^"^ov

TOV T^?

a>paiap,ov,

PV

FP:

FM
EMV

dcTK^creajs

EPMV

6 fiaXkov

efjidiTTea-Oai

om.

F^

11 Kal

rjprvijxvr]^

FMVs

yvmris ecnlv

KaXov

MV

et(odev

2.
xii.

hv

'PoScj)

cum

F^MV

ir(tiv

fiiv

cp.
i/ieis

Long.
['

you

MrrtXw:

on

'

E
om. E

KardXrj\f'is

\\

om.

||

ras

15
koi

ir<f>VKhs <rvvav6eiv

tovtidv

ij

F,PMV
EFP cfiiXoTifiov

litura

Zei>s liiyas

ff>tX6-

(rvvavdetv

M) ovx ^ttov

EFM

om.

ws S\ly(p

MV

PV

t\aos dXXA S4xolto, koI cUr^mev

&oi.S6v,

-ireM/j.evos Xi^duif.

on birthdays

compare

Ileliriavi

yevi6\tov

Antipater Thessalonio.

The

clearly numbered many Romans among

his friends and pupils.
Dedicatory
books, or poems, were not uncommon

XvrliraTpos

tovtuv

may

reference

editor's article

Literary Circle of Dionysius of Halicarnaasus' in the Classical jReview xiv.

(year 1900), pp. 439-442.
Dionysius

'

ij

5re<^VKos arvvavOeiv {eiiaOev addit

ifiet-vov ^TrLKpLvotre.

be made to the

gifts

PMV

apri
Kal e/tot F
Kal t^i/ Xe^tv &v

veiaa-rl

||

icrrlv

cti tovtov

For the plural

5 dXXi TaDra

Romans ']

16 (piXoKaXov

EF

TOVTO EF^

P,MV

Trejol

evOov-

iroWrji irdvv

oil

opfid<i

crvvavdeTv Keiskiu8

iritfivKe
II

^i'%7

5 vcyq/juira
EF
9 tovtois EPMV avrois F
10
12 d-y/iafowijs F^ TroAiats Kar^ P
P
13 5jA.tKiais M^ (cf. v. 17 infra)

otKei[o]Te/3a

||

Ta<s

Trepl

||

yjO

Be

<Tvvav6elv

EFMV

PMV
PMV

ovx ^ttov

eirl

KiKoa-fiyjiikvri'i

TOVTbiv KaTaXfj^K

airaaa veov

3 Ka/ioi

viTodecreu>i

iiruTTr]fJ.-rji

arvvav^avofievri

re om.

II

iieXiTie

to

ire^vKe

d\oyov<i Tiva<! Kal Sairep

tovto Xap^dvovaa

eirl

ttoWi?

ol/ceiorepa,

avvav^o/ievr]

yap

irecrelv

TroXiaii

Be Treipa Kal avfi(popa

veapaii

Tali

eTrTorjTai

ijXiKiai'i.

re Koi

{ji.iTiX.ie

Kal

<j)ikoKa\ov

epp/qveia';

(TimBeK

19

iroWy

^aXevri

Kal

iaTi

KaTdXr)y^i<;

dXKoTpLwv

Kal

re

olKeuov

Ta?

ij

tovtoiv

rj

Kat

fieipaKLmv

icai

avveaed)';

tjSij

laTopia Xoymv re Kal epyoov,

/Mev
15

yap

dKpM^ovcrr)<s

ev tovtoi<;

tijv

eaTi

fipaSeia

eTTia-T^p/rj

rjp,a';

koi

irpdr/fiara

to,

errl

fiev

ri

ayovcra

10 (jipovrja-tv

^gr. ArUhol.
66a

aol

rbSe ypdnim

Pal.

ix. 93.

yevcd'KiaKatffi.v

in

(Spots,

Kataap, NeiXofij MoOira Acuvtdiw.

KoXXiiTnjs ydp &Kawvot> del $ios ek Si
k^wto,
^v idiX-ns, Biitra rovSe irepura-in-epa,

Leonidas Alexandr.

&ira<re

ib. vi. 321.

/Si/SXov
li.iKpi]v,

iv Si lu^ vvktI iropritrdiievos.

3.

Reiske's conjecture <7roi>

is

plans-

ON LITERARY COMPOSITION

67

whatever their age and temperament, but especially to youths

like you who are just beginning to take up the study.
"We may say that in practically all speaking two things
must have unremitting attention the jdeas^and the words. In
the former case, the sphere of subject matter is chiefly concerned
in the latter, that of expression
and aU who aim at becoming
good speakers give equally earnest attention to both these aspects
of discourse.
But the science which guides us to selection of
matter, and to judgment in handling it, is hampered with
difficulties for the young; indeed, for beardless striplings, its
:

insurmountable.

difficulties are

perfect grasp of things in -4

The

bearings belongs rather to a matured understanding, and

all their

an age that is disciplined by grey hairs,

an age whose powers are
developed by prolonged investigation of discourse and action, and
by many experiences of its own and much sharing in the
to

But the love

fortunes of others.

of literary beauty flourishes

much

naturally in the days of youth as

elegance of

making them

ible rather
109 Trarpbs

feel

impulses that

than necessary
8'

cp. II. xxi.

dyadoto and

et/ji,'

Odyss.

In the
AyaBoTo.
words Kafiol TifiuiiTdTov <|>C\<ov Dionysius
illustrates his own contention (in c. 25)
that fragments of metrical lines are
ocoasionally found in prose writings.
iv.

611

aXixaroi

[F, however,

eh

has xal

irpa7|jiaTiKov
Gloss., s.v.
6.

13.
'

in,'

Xcktikov

see

op. the sense of

as in Soph. Antig. 477 aiMKpQ
:

5*

oT5a Toi)s Sufioufi^vovs iinrovs

KarafyrvBivTas and Plut. Vit. The7nist. c.
2 Kdl rods Tpax^rdTovs inljKovs &pl(TTOvs
imrovs ylviixBai, (pdiTKWV, Srav ^s irpoaiiKei
Tii^wtrt TraiSeias
So
Kal Karapriireios.
Plato Legg. 808 D (of a child regarded as
'
the most intractable of animals ') Sitij)
XttXtj'^J

fidXiffTa

^xet

ir7}yiji'

On

tqu

(ppoveTv

pii^ww

(although
supported by FMV) Usener candidly
remarks "fort. voKiaTs interpolatum. "
Against KaTdXr)i|'is (notwithstanding its
strong manuscript support) must be
weighed
(1) Dionysius' anti-Stoicism,
(2) the likely intrusion of a comparatively late word.
KarripTvpL^viiv.

iroXiois

14. <rv|uj>op^

all

instinctive

comparison of,' as (according to a

possible interpretation) tAs |i/M0opots .
tQp pov\evp,dTuv in Soph. Oed. Tyr. 44,
'

is

45.
15. <rvva.vi,o^vr\
the form ai^&via
(and its compounds) does not seem to be
used by Dionysius.
:

diJ.ol.'\

KOTi]pTU(i4vi]s

break

are

For
life.
young minds,
and akin to

as in later

expression has a fascination for

perhaps the meaning

^TTov (EFMV) should be

on line 13. The words
can hardly be regarded as a gloss on Kal
Tois veapaTs, though ettaBev (see critical
notes) is probably a gloss on jri^vKe,
which would subsequently be changed

oix

17.

retained

to

cp. n.

ire</>VK6s.

not infrequent in earlier

Aesch. Prom. V.
0p^cos ( with their hearts

lirT<5T|Toi

and in
856

later Greek.

iwTOTiiUvoi.

'

Plato Phaedo 68 O irepl

T&s iwiBv/ilas iJ.il iirroTJaBai (so Pep. 439 d),

wildly beatifig
Plut. Mor. 40

;8\cif HvBpuyiros

iirT0^(r8ai

tjtCKeX

"Kbytfi

'),

Her'acleitus), id.
Trepi

Td

6\j/a,

ib.

iwl iravrl

(quoted

1128 B

from

iirTOti/iivovs

Ghrysostom de Sacerdotio

1 irepl rds iv t^ (tk^jv^

(i.e.

c.

the theatre)

For youth in relaTipij/eii iirToinxivov.

tion to the arts of style cp. Plut. Vit.
Demosth.
18.

i>.

(last sentence).

p|i.t|vcCas

see Gloss., s.v.

DIONYSIUS OF HALICARNASSUS

68

Koi

fiiXkovai
XeYetv

T^9

Set

6fi<l)povo<}

"6

irav

/irj

el

aKaipifiav jX&a-a-av eTTO? e\07)

e-jr

ra

crvvdrjaeiv

elKy

/iijS'

ri xev

Koi ayayrj';,

re

eVto-rao-eco?

7rpa>r7i<;

chap

irpoa-TV^ovra

aXK

aXK7fKoi<;,

iuXoyr) re xp'qaeadai xaffap&v &fia koX yevvaiav ovofidrcov Kal

ravTU

5 (7Vv0e(Ti

Koanrjcreiv

rm

exova-p

fiefiiy/ievov

aefivm

to

tovto to fiepof, o Bel nrp&rov veoc<s atTKetadai,

" a-Vft^dWo/iaC aot fieXof eh epmra" ttjv irepl rr}^ a-vvdeaeto^
T&v ovofidrrcov Trpaj/iaTetav o\l,yoi,<; jxev eirl vovv ekOovaav,

ijSv.

ek

oeroi

T&v

10 oiiBevl

Bt]

dpy(^aicov pr)TopiKh<;

w?

yaff/ievTjv,

15

eav

iyo) ireiOofiai.

t&v

eKKoyr)<i

Tij?

irepX

BiaXeKTiKo,'; a-vveypa-ijrav Tej(ya';,

t)

ovS" diro')(pdiVT(0'i /J'S^pi tov irap6vTo<i e^eip-

dKpi,^Si<i

B'

Xva

TOV XeKTiKov tottov TeXeta?

fiev

oiv TTJV irpay/jiaTeiav

irpoaBeyov 0eS>v
SjjTTOTe
fjv

r]fid<i

eh

TO Bai/ioviov
KetfidXaia

Tt9 re iffTlv

Kal

20 Tivfov (TToyd^eTai,

PF^

PMV

fioi

T1JS

eiKei

II

eis
:

eirivovv

||

rhv

EF

PMV

ovSk

10

II

et

r,M

|{

fiekos

12
16 apa om. F

ravra Set^at

Kal iroiav
{|

eiKij sine

xprja-aa-dai.

cum

o-e/ivai[t]

M. Schmidt

fiepos

||

PMV

om. F
17 Se^ov
19 t om.

o-ot

Kal

e'^ei,

rhv P,V in marg. to r

in marg.
eX6ov(rav

||

11 8e

||

kol A.KTiKas

10 aTrox/awvTws
13 ex'js ? sine

F:

TrpocrSexov

21 TtVes

koX
ovS'
iota

PMV

eKaxrrr)i

reference is to the indiscretions

Whatever,

'

without rhyme and reason, Occurs to

the tongue out of season': "LaX. guicquid
in iuccwm. Op. Luoian de consorib. hist.
c. 32 i,van\i.TT0VTes 8 n Ktv in' dxaiplnav
|

y\S)a-(Tav, ipaalv, fKOxj.

The

re

PMV

of an impertinent tongue,

4.

sine iota

<re/tva!

rrjv (ex tjJs)

||

PF^V

/iijSe

j^p^treo-^at s

8 oAtyots] ovk oAtyots

9 dp^ofiivutv
8ia\EKTiKas F

II

)(apaKTrjpS

tw

4 re

7 o-D/ij8aA.A.o/tlv

MV

15 dvovcrovi
18 8e PMV

eKdaTri<; '^apaKTrjp

dWa PMV

TavTa,

Bei^ai,

la-'^vv

Tvyx^dvei, Kal TtVe? al yeviKw-

PMV

eTrio-rao-ias

fioi

Kal Tiva

PMV

dK/3ij8u)s

The

ecr

eis

om.

SmXiKTiKas

2.

F^

irpayfiaTeLav he)(pv.

<j)vtn<i

avT&v

TV)(elv

^efiaia)<;

a irpoKeiTai

ecrTiv

ira';

KexprjorOai sine re

litura
libri

EF

en-rTao-Ci)S

eKeivqv

rat? avToiii
el

TaTai avTTj^ elau Bta^opal Kal Ti?

iota

ejffjl-

Be

ireTrpcoTai

avvdetreco^

tjj?

ypaipi^v,

vim

aur^?

rj

croi

apaK

irdXiv

koX

a'^^oXrj,

fioi

i^oia-m

i^eipyaafiivov

vecoTa

vovv ^yaye

eirl

B'

erepav

^vKaTTOVTcav derives re Kal dvoaovi,

apa tovtov

T^fuv

iyyev7]Ta[

B'

ovo/iaTeov

of

Kex/o^ffSai

EF

perhaps

points to re xp?"'*"' as the right reading.

We should then have \iyav

amKoaii.'fiaeiv:
B'liaeiv,
a
xP^if*<"
combination of present and future in.

which would be in keeping with

Dionyaius' lore of varietp (/ierojSoXi}).
6. "Write viovs.
The dative with
the pagsive present, though of course
possible, is unlikely in Dionysius.
aaKw
can take two accusatives," H. Richards
finitives

in Classical Review xix. 252.

7. M. Schmidt's conjecture jiAos (M.
Schmidt Diatribe in Dithyrambwm,
Berol. 1845) seems to be established by
Athenaens xv. 692 d ^irei 8' ^//toCSo to5
\lyyov iaiiiv, <ru/ij3oXoC/ia

n /i4\os

i/itv els

ON LITERARY COMPOSITION

69

Young people need, at the beginning,

oversight and guidance, if they are not to utter
inspiration.

What word
To the
nor

to

form at
pure and

much prudent

may have sprung

an ill-timed tongue,^

soe'er

tip of

random

any chance combinations, but to

and to place them in the
beautiful setting of a composition that unites charm to dignity.
So in this department, the first in which the young should
exercise themselves, " for love's service I lend you a strain," ^ in
the shape of this treatise on literary composition.
The subject
has occurred to but few of all the ancients who have composed
manuals of rhetoric or dialectic, and by none has it been, to the
best of my belief, accurately or adequately treated up to the
present time.
If I find leisure, I will produce another book for
you
one on the choice of words, in order that you may have
select

noble

words,

the subject of expression exhaustively treated.

You may

^,

'

expect

that treatise next year at the same festive season, the gods
guarding us from accident and disease, if it so be that our
destiny has reserved for us the secure attainment of this blessing.

But now accept the

to

treatise

which

my

good genius has suggested

me.

The

chief heads under

which I propose to treat the subject

what is the nature of composition, and
where its strength lies what are its aims and how it attains
them; what are its principal varieties, what is the distinctive

are

following

the

Bergk Poetae Lyrici Grraed, Fragm. Adesp. 85.

2 Bergk ibid.
Philoxenus Fragm. 6.
;

Ipura, Kwri, rbv Kuflii/Moi/ iroiip-qv : op.

ib. vi. 271 B av/i^oKoOfMl
xal airis

/u^Xos

els

ipara tQ <Foip(fi Kal

In itself, however,

Ari/i,oKplT<f.

XoMwA^pos gives good sense

Legg.^

836

ri

vpbsapeT-^v;)

(jiCkr&Tif

a-v/x^dX-

(cp.

/aposwiv
and the repetition

Plato
&v

f u/^jSaXXoiT-

oi/i^pos

might be deliberate,-' to this part of

the subject
I contribute as my part
-fpavov [corrupted into ipov, ipu,v ip^ra]
might be conjectured in place of epa,,
if any considerable change were needea.
8. In estimating Dionysius' obligations to his predecessors, it should be
noticed that the correct reading here
is not ovK dUyois (as in the editions of
Reiske and Schaefer) but S\iyois,oT
.

11. Either (1) ikv S' ^yy^i^jrof fwi

(without crxo\':ri), or (2) iav 3i yiviiral /ioi
Op. H.
o^X^M; would be more natural.
Eiohards in Classical Beview, I.e.

Dionysins

^g. Either

did not

fulfil

^jg design, or this treatise on the ' choice

Poj. otj^ej, jo^t
^f ^^j.^^ jj^^g ^gg^ i^^^
^^^^^ ^f Dionysius see D.H. p. 7.
.

o-iiv6e(r(os see Gloss., s.v.

Hesychius, eh rh ^4.

P^ ThLv-^v. de

c.

PI.

iii.

J^

,
,
,
t^
n.
17. tJ. 8ai,|i^yiov : cp de Demosth. c.
4av d^ <r<ptv ri SmjjMvmp r,nas
f.

58 ad
'^''^

18.

raOra

12, 27,

106

5,

100 16, 17, 18.

compare 86 4, 90
and contrast 98

15,

100

20, 21,

DIONYSIUS OF HALICARNASSUS

70

chap.

KpaTiaTTjv avT&v elvai ireidofuii, xal ert ttjoo? tovtok, ti ttot

earl to -irovrfTiKOV eKelvo KaX eir/Kmacrov koX fieXi'^pov iv rat?
aKoal<i, o

ire<^vKe rfj a-vvffia-ei

iroir)nKfj<!

iv

5 a-<j)6Bpa

av

TTOia?
fiev

T17

eTnTTfieixrewi;

nvd

Sjj

eyyevoiTO

iKfiifJLOVfievr)(;

KpaTO<i,

eKarepov

avrmv.

&v

ecrnv w? rvirtp irepiKa^elv virep

apjferai Se ivdevB

Xoyov Kai

to

irov

KaTopBova-rji;

fiifi'^crei

Xefetu? irapaKoXovdelv,

Tre?''??

rrj<i

re KaTaerKeinj<; tov aTrotTjrov

Sia

teal

roiavri

fiiXXo) Xeyeiv,

-Trpayfiareia.

17

II

avv0eai<;

17

10 irotd

Tt9

(Troiy(eid

Kal

TouTou?

-irpStTa

yevo/ievoi,

7776/401/6?,

Kal

eKTOv

ovo/xdrav

ol

Zrwt/c^?

Be

Kal
fiera

aipeaem'i
diro

iiroLTjaav.

Be

ol

Kal

r&v prj/idrav Kal Ta? irpo9ea-eK

PMV

tov<;

prjfiaTa

t&v
rk irpoatfyopiKct,
dire^vavro to, Trp&ra
diro^ev^avrei; diro r&v

irevre

tovt

aroi'^elov

BielXov diro

einpprjfiaTa

Kal

'^copiaavrei;

erepoi Be Kal ras dvTOvofia(ria<;

fiepr].

20

rij?

koI

ol fierayevetTTepoi

t&v ovo/jmtik&v

diro

ol

Srj

eoSe/CTi;? /lev

TroiovvTei.

nrpov^i^aaav,

eW

avvBeo'ficov to, apQpa.

BieXovTe^

fiaKiara

Tovvofia,

(f)i,Xo(ro(f>'^cravTe'i

ovofutTa

Xe^eai<;

rrji;

fiepT]

iiopLwv,

ravra Se

eKeivov;

jrpcqyayov,

reTTapav

6ft)9

KaT

01

rpiwv

^^(pL

a-vvSeafiov^
15

Kal

'ApKj-roTeXrji;

ypovovi

BrfKoi

aWijXa twv toS Xoyov

t^s Xefew? /caXova-iv.

Tive<;

avTO

Kal

mtTTrep

/lev,

ecrrc

trap

6e(n<s

to,

dtro

re om. P
kKft-qfwviJ.ivrf'i P^
6 lyyevotro F yivono PMV
Se om. V
8 apxerai Se kvdkvS' ij TrpaypstTiia om. s
Ivdiv PF^
ecrnv PV
tvTivdev F^MV
9 eo-Tt pv EFM
13 irporiyov F
14 fiera tovtovs F: /iT avTovs
16 Tioxraptov F
19
20 tovto
21 eir\^b\pprf[x,a.Ta cum litura P
avTiavvfiiai V
1

etvat

om

PV

5 irod] avrov

FM

toOto

TroLrjTiKrjs

||

a^TcjJ s

||

||

PMV

PMV

Biiikov
4.

PMV

KaracTKEvfis

SieAovres
:

see Gloss.,

s.

v.

Usener'a conjecture eB ri may

derive some colour from the manuscript
But 270 11 shows
readings in 72 10.
that ej is not necessary here, and ttoB is
nearer the manuscript tradition.
Cp.
also 250 3 {KaTopBov/jApois), 198 11 {Karipflu/ta), de Thucyd. c. 1 (t^s Swdneus o6k
5.

Other
examples are quoted in Long. p. 202.
irepl, 68 12.
7. imip
cp. 72 3, 17
iv iwaffi rois Ipyois KaropBoiaris).

||

Demosth. c. 48 rois irpiirois

lioploK T^s Xi^eas, & S^ aroixeXa iiri nvwv
10. de

KoXeiroi, e?TC rpla toOt' iarlv,

lbs

BeoS^KTj;

re koI 'ApurToriXa Sokci, 6vbnara koX

p^imra, Kai (rivSeiriioi, etre rh-rapa, as
rots irepi Z-^vupa riv '2,tu>i.k6v, efre TrXe/u,
Siio ravra clkoXovSci fiiXos Kal xpl""'^ ^<">"
Quintil. i. 4. 18, 19 "turn videbit, ad
quem hoc pertinet, quot et quae partes
orationis ; quamquam de numero parum
convenit. veteres enim, quorum fuerunt
Aristoteles quoque atque Theodectes,
verba modo et nomina et convinctiones
tradiderunt ; videlicet quod in verbis
vim sermonis, in nominibus materiam
(quia alteram est quod loquimur, alterum

de quo loquimur),

in

convinotionibus

ON LITEKARY COMPOSITION

II

71

feature of each, and

which of them I believe to be the most

and still further, what is that poetical element, so
pleasant on the tongue and so sweet to the ear, which naturally
accompanies composition in prose, and wherein lies the effectiveness of that poetical art which imitates plain prose and succeeds
excellently in doing so, and by what method each of those two
effective;

results

may

be attained.

with which I intend to

is

Such, in broad outline, are the topics

deal,

and on

programme

this

my

treatise

based.

CHAPTEE

II

/'

COMPOSITION DEFINED

Composition is, as the very name indicates, a certain -'arrangement of the parts of speech, or elements of diction,
as some call them.
These were reckoned as three only by /
Theodectes and Aristotle and the philosophers of those times,
who regarded nouns, verbs and connectives as the primary
of speech.

parts

the

Stoic

school,

Their successors, particularly the leaders of

raised

the

number

to

four,

the

separating

from the connectives.

Then the later inquirers divided
the appellatives from the substantives, and represented the
primary parts of speech as five.
Others detached the pronouns
Others,
from the nouns, and so introduced a sixth element.
again, divided the adverbs from the verbs, the prepositions
articles

autem complexus eorum

esse

iudica-

quas coniunotiones a plerisqne

dici soio, sed haeo videtur ex avvSiaiuf
paulatim a
magis propria translatio.
verunt

philosophis ac maxime Stoicis auetus est

numerus, ac primum oonvinctionibus
post praepositiones
artiouli
adieeti,

nominibus appellatio, deinde pronomen,

mixtum verbo

participium, ipsis
noster sermo artioulos
verbis adverbia.
non desiderat, ideoque in alias partes
Quintilian elseoi-ationis sparguntur."
where (ii. 15. 10) writes ; "a quo
non dissentit Theodectes, sive ipsius
id opus est, quod de rhetorics nomine

delude

eius insoribitur, sive ut creditum est

It is hardly likely that in
Aristotelis."
4. 18 Quintilian is translating from
the de 0. V. c. 2 the coincidences are,
rather, due to the use of common sources.
Dionysius does not mention Dionysius
i.

Thrax, the author of the first Greek

Grammar, nor does he seem to take
account of Aristot. Poet. c. 20.
13. The Arabic grammarians in the
same way reckon 'verbs,' 'nouns,' and
15. Cp. 96 8, 12 infra.
17. Ttt irpoo-T|7opiKd 8iXdvTs

Gramm.

Dionysius Thrax Ars

(Uhlig) ToO Sf \iiyov
Svofia, pfj/M, /leTOX^,
iirLppr]/m,

TrpbBetrK,

irpoariyopla

is

elSos

liifn)

p.

cp.

23

iarlv dKTii'

dpSpov, ivTUVvpia,
ffivSea'/ios

t$

"

bvbiiuTi,

i)

ycip

iiro^i-

/SXtjtoi.

21. This seems to imply that adverbs

were originally included in verbs that,
for example, eS jroieo' (like bene facere

was regarded as a quasi-comremembered that the

division of words in writing is a later
in Plautus)

pound.

It is to be

invention.

DIONYSIUS OF HALICARNASSUS

72

avo t&v

rSiv crvvBea-fitov Kal Tai; /ieroj^a?

Kal aXKa<; Tiva<i irpocrar/ayovTeii

T^s Xe^ew?
ye T&v

fi

5 ovTdov

"TrpcoTdv

rpi&v

e'lre

Kal

irKo/CTj

fiep&v

av

fiiKpcxs

irkrjv

ocrcov

eXB'

ra

'jrapd0etTi<;

Xoyoi,

et-q

reTTapcov

rj

ol Be

'rrpoa-r)yopiK&v,

"TroWa ra Trp&ra jiopia

TOfia<}

&v ov

virep

i-rrol/r^ffav

chap.

Sij-TTore

voiet

XeyofJLeva

tovtwv apfwvia ra/i KaXovfMeva<s avfiirXrjpoi

rj
ecrri S^
avrat Be tov avfiirapTa reKeiovcn Xoyov,
aXX/ijXa
Tfj<; (Tvvde(yea)<: epya to, re ovofiara otAretta? detvai Trap
Kal Tot9 Kco\oi'; aiToBovvai, rrfv irpoarjKovaav dpfioviav Kal rat?
irepioSoi'} SiaXa^eiv ev tov Xoyov.
Bevrepa B' oixra fiolpa TOiv Trepl tov Xgktikov tottov
K&\a,

e-ireiS'

irepioBov;,

10

Kal

rfBovrfV

KpeiTTOV

TToXX&v

wv

virep
X6yo<iy

ovBe,
20 ej^et

Kal

7)

Kal

iyeveTO

t&v

Bet,

'iamv

axTTs

Svva/J,iv

irepielvai

irdvTwv

Kal

oti

ev9vfiovfievo<;

Bia^opovi

Tvj^ovcra

eKeivrj

iirl

Xa/jb^dvovcrai

vXa<i

el

eKXoyrp,

ttjv

nrepl

Kai ttoXitlkoii; dvBpdai

re

^iXoa'o<f>oi,<;

oXiym

irapdSo^ov,

rjyrjtrriTai

demprj/idToiv

t&v

(pvo'iv)

ovk

Xoyoi<;

rot?

ev

fiTjBeh

ovtwv

TavTri<;

tj

crvvdecTK BevTepav e'xpvcfa -y^dapav t^ To^et Kal

KpaTelv,

ocrai

KpaTOi
Kal

e'^ei.

yap
xaTa

(j^yeiTai

jrpov^io'TaTat,

fieydXeov

TToXv's

tu^iv

ttjv

Kal

ireidm

KeLV7]<s

iroXXov
Kal

Kal

eKXoyr}

ovo/j-aTcov

15

yovv

kuto,

Oecoprj/MaTcav

Xoyav

ToaavTTfv

iaj(yv

t&v eKeiv7)<i epymv

tmv oXT^mv Teyy&v,
tovtwv

eK

a-vfJL^oprjTov

iroiovai TO reXo?, to? oIkoBo/iiktJ re Kal TeKTOviKrj Kal ttoiklXTiKT]

Kal oaai rai? TOtaurat?

ry /lev Ta^ei
Bvvd/iei irpoTepaf &(tt

25 Bwd/Meii;

ovk Utoitov

PMV

eicrayovTes

el<ri,

tj}

Be

Xoytp to avTo avfifie^TjKev,

ovBev Be KcoXvei

r)yr)Teov.

2 irpoiTayayovTis

t&v eKXeKTiK&v

tS

Kal

el

al (rvvBeTiKal

Ofioioyevel^,

elcrlv

BevTepai

PVa

4 twv

Kal

7rt<7Tet?

irapaa'')(elv

irpoiurayayovre'i

PMV

* * * rpiiov
5 Ktti om. Pi
* * * * F
8 oiKeiws Oeivai rd re dvo/iara
(verbis in hunc modum dispositis) PMV
vapaXkriXa PM, corr. F'^
dppoviav F sic passim
9 diToSiSovai F
10 Aa^Seii' F^
eS t&v
EF: avTov oA,ov tov PMV
11 8e PMV
12 Kara yoCv F:
Karavoovvri EPMV
14 rots EF om. PMV oAiyov
15 Kpeirrov
EFM: K/aeiTTO) PV fjy^qirerai F
17 Kai prjropiKois PMV dvSpSxri'F
dvSpda-iv P
18 xdipav exovtra F (rvvrd^ei F^
19 tKuvy) (sine iota) FP
21 kin EF: al Trepl PMV
22 8((,a)a<f>6povs pi
Xap/Sdvovcnv F:
Xapjidvovcri
TroXiriKrj E
23 Te om. EF
24 Tais TotaiJTats
PMV: TauTTjs F o/;ioioyevers P: oyttoyeveis FMV
25 twv AeKTtKwv E
01U

/itKpbs

iroXAiis sic

Tpiiov

||

||

||

||

||

||

||

||

||

||

apiiovta: see Gloss., s.v.

8. Cio. de Orat. iii. 43. 171 "sequitiir
coutinuatio verborum, quae duas ves
6.

maxime, oolloeationem primum, deinde

modum quendam formamque

oollocationis

est

oomponere

desiderat.
et

struero

verba sic, ut neve asper eorum ooncursus

neve hiulcus sit, si'd quodam modo coag-

ON LITERARY COMPOSITION

II

73

from the connectives and the participles from the appellatives

while others introduced still further subdivisions, and so
multiplied the primary parts of speech.
The subject would
afford scope for quite a

the

combination

or

long discussion.

juxtaposition

they three, or four, or whatever

the

members

so-called "

of

Enough

these

to say that

primary

parts, be
be their number, forms

may

" (or clauses) of a sentence.

Further,

the fitting together of these clauses constitutes what are termed '^
the " periods," and these make up the complete discourse.
The

function of composition

to put

is

words together in an appropriate

and to distribute

order, to assign a suitable connexion to clauses,

the whole discourse properly into periods.

Although in

logical order

arrangement of words occupies the

when the department of expression is under investigation, since" the selection of them naturally takes precedence and
is assumed to be already made
yet_it is upon arrangement, far

second place

more than upon

power depend.

many

selection, that persuasion,

And

no one deem

let

of words,

it

which have given

investigations

among philosophers and

political orators,

regarding the choice

rise to

much

debate

composition, though

holds the second place in order, and has been the subject of

it

than the other, yet possesses so much solid

it triumphantly outstrips
all the other's achievements.
It must be remembered that, in
the case of all the other arts which employ various materials
and produce from them a composite result, arts such as building,
carpentry, embroidery, and the like,
the faculties of composition
are second in order of time to those of selection, but are nevertheless of greater importance.
Hence it must not be thought
abnormal that the same principle obtains with respect to discourse.
But we may as well submit proofs of this statement,
far fewer discussions

strength, so

much

active energy, that

mentatus et levis

mei persona

lusit

quo lepide

in

is,

facere potuit, Luoilius

quam lepide X^feis
tesserulae omnes
arte
9.

pavimento

vermiculato."
the actual

In

sooeri

qui elegantissime id

oompostae

atque

ut

emblemate

contents

of

ireplodoi.

periods judiciously

is

indifeated in

118

12. KaravoovvTi
(the more
and better supported reading)

right, op. 90 12 eliTwKiovTi (from

dides).

difficult

may

be

Thucy-

13. Cio. Brut. 72. 253 "primoque in

libro dixerit (Caesar) verborum dilectum
originem esse eloquentiae.

his

more attention
the KwKa and
The importance of employing

treatise Dionysiua pays

to the dvb/uiTa than to

15.

25.

For the antithesis

Olynih.

iii.

InL

charm, and literary \

"^
strange that, whereas

made

serious investigations have been

15 t6

cp.

Demosth.

yi,p irpiTTeiv tov \iyeii'

Kal x^tporoi'etv {ttrrepov by r^ T(|ei, irp6repov ri; Svvd/J^i. Kal xpeiTrbv iffTiv.

DIONYSIUS OF HALICARNAS8US

74

rod

irpoKeifievov,

Xafi^dveiv

erol/J.ov

e|

Bo^w/iev

ri

fiv

chap.

t&v

i'^ovTcov \oyo)v.

a(i(j)i<Tl3i]Trj<Tiv

III

roivvv

eart
efifieTpoi,
5

o'La

Xvai

TO

Kal

Kal

KaXa<;

erv^ev

to?

irpocrairoX-

ttoWoi

yovv

eKXe^avTef
Tiva

eiKaiav

aTToSoi/re?

afiovaov ovBev yprjaTOV dtrkXavaav eKeivov tov ttqvov.

S'

S'

evKaTa<j)p6vriTa

15

r)

Kal

TO,

voTjfiaTa.

el

/JUTj

dvdXoydv

(T')(eBov

eKXoyqv,

ttjv

Trpof

crvvOea-ii

aairep yap ovBev

avTrj

Ti<i

ovofiaTa,

Kal TrejOtTTW? iroXXriv ttjv

avTCL rfBeoDf

TrepiiOrjKav.

XaySwre?

Taireiva

Kal

7rda-')(et

awdevTef
tw Xoyw
Bo^eiev av

6vo/j.aTa

to,

Biavoia<; eVrt

o(j)eXo<;

KaXiji;

diroBdxrei

Koa/jLov

el

Xvprjfiova,

KovTa

Kal

fir)

aiiTy

koo-jmov

Ti<s

irpof

XP'"}""'^'''

ovto)

ovofiaa'La<;,

KavTavda ovBev eVrt "jrpovpyov Xi^iv evpelv Kadapav

20

Kai

eTepoi

d(j)poBl,Tr]v

-ireTrovOevai

rt

koI

Xe^eK

f)TjTope<;

viroKei/iivoK

rot?

koX tov

fierpov

Kal

re

<\>iK6<ro^oi

aurat?

Be

to

/xev

17

app,ovia^

fiev

pnrTO/xevr}

'^^p'^ffifiov.

TT/oeTTOVo-a?

apiMovLav

10 eTTt/ieXftJ?,

Kal

KaXfj<s

Kol

TTOieiv

Biavoia

ttj

a-vyypa^el<;

Kal

iroirjTal

Trdvv

ev

iicaTepa

iarl

Be

\6yov, aveiria-raTODi

tAs vo^ffei?

aTj/iabVOfiev

a)V

a/MeTpo<!-

^e

r)

kuXov

Tvvova-a

Xeft?

Tracra

dpfiovia^

Kai,

tov

koK-

irpoa-q-

irepidrjcrei.

Be

Xva

Bo^a

fiT)

iireiadrfv KpeiTTov

4 a/xerpoi

5 oia T

exvxev] eoiKe
yoZv Kal F,E

rj

(ex

S'

old t

1|

TeXeioTepov

eivai Kal

ij'S'

PV

corr.)

pnrTOfj,evr]

F,E

PMVE

daKyj/ia

av

e'f

tt)?

e/eXo'/jj?

Ka\{Ss) P
fiev om.
6
FE rb
1 rh om. F^
pnrTovfievr] F

F,E

//jueT/30s

old re

Xeyeiv,

dva-jroBeiKTOv

^dtriv

||

||

Kal rh

||

PMV

||

yow PMV
10 oTroSovTes E yp M [ajroSovjTts cum
13 Be PV
litura F: TrepiOiVTe's PV
Trapa^evres M
12 Se PMV
rm
dvTo. Pi
ISim EFMi ijSews ex IBitos Pi I'Seus M^
t((3) X6y{m) P
:

||

II

Xoyiiiv

17 Koa-pov

irovpyov pi (p suprascr.
dvaTToSeiKTOv

trpovpyov

P,MV
F^MV

t(^s)

dvaTroBeiKra

TeAeTurepov
II

16

diroBuio"rj
II

P^*)

19 T4S F:

p-qpovaY
KpeiTTOv

14 av om.

*****

||

ecrri

ante Siavotas ponunt BF

18 Kal ivravda EF
||

||

KaXAtpij/xova

21

<^ao-tv libri

aTroSeiKra F^

FM,P

KaWip-

corr. Krueger
22 KpeiTTOv] koi

||

M
/iiiv Sn ye iroWoi Kal arxryypaipiiiv
Kal iroiijTuc oiK Svres i^ijXol ^liirei, /nijiroTe
S^ Kal dfi^^Beis, S/xas koivois xal SrniiiSen

1. 15 iToCfiou XapPdvEiv :
cp. 78 13
i^ irolfiov Xo|8ii)i' ^xpiJo-aTO.
9. There is much similarity, both in

dWd,

thought and in expression, between this

tois 6v6/w,(ti Kal oiBiv iirayo/tivois itepirrhv

passage and the di Sublimitate

us t4 iroXXd crvyxpiili^voi.

xl,

Sib,

libvov tov

ON LITERAEY COMPOSITION

in
that

we may

75

not be thought to assume off-hand the truth of a

doubtful proposition.

CHAPTEK

III

THE MAGICAL EFFECT OF COMPOSITION, OE WOKD-OEDEK

Every utterance, then, by which we express our thoughts is
Whichever it be, it can, when
aided by beautiful arrangement, attain beauty whether of verse
or prose.
But speech, if flung out carelessly at random, at the
same time spoils the value of the thought. Many poets, and
prose -writers (philosophers and orators), have carefully chosen
expressions that are distinctly beautiful and appropriate to the
subject matter, but have reaped no benefit from their trouble
because they have given them a rude and haphazard sort of
arrangement whereas others have invested their discourse with
great beauty by taking humble, unpretending words, and arrangiug
them with charm and distinction. It may well be thought that
composition is to selection what words are to ideas.
For just

~^-

either in metre or not in metre.

as a fine thought

is of

no avail unless

it

be clothed in beautiful

language, so here too pure and elegant expression

less it

is

useless un-

be attired in the right vesture of arrangement.

But to guard myself against the appearance of making an

unsupported assertion, I will try to show by an appeal to facts
(Tvvdeivai Kai &pii6a'ai

raSra

S'

S/ius SyKov

ns

iaBijs,

oStws Kal

Kal rb fiij Taireiyol doKetv

elvai irepie^dXovTO, Kaddirep dXXoi re iroX\ol Kal ^iKiaros, 'ApusToipArqi Iv Tiaiv,

Tts ivo^aala.

Ixavus ijiuv
of the de Subl.
had, as he himself tells us, dealt with
the subject of composition iv Sv^lv awTi/yiiaaiM (xxxix. 1 iMd.).

Odetf re

Kal

didffTTjfM

4v Tois

TrXeiffTOiS

SeS'/iXoirat.

^OpnriSTjtj

The author

18. irpoiipyov

149 E

fiffxe

voTiiJ,a.(nv

cp.

oiSh

apii,bTToviii,

Plato AUib.

airoh

fjv

II.
irpoSpyov

kclI Siopa TsKeiv /jLdTTjv.

21. MS. Canon. 45 has (pda-iv, dvairbSeiKTov, as reported (Journal of Philology

xxvii. 84) by A. B. Poynton, who compares Aristot. Eth. Nic. 1143 b 12 fio-re

twv ifiireipiav Kal Trpeo-^uripojv

^ (Ppovinwv rals &vairo5dKToi.s <pd(re<n Kal
did ydp
S6fais oix ^ttov tuv dxoM^euv.
dec irpQff4xeiv

13. Idlm may be right, meaning with

irepiTTus ' in a special and distinctive

manner.

The Aristotelian d^-aXoYfo is

the author's mind here, just as
14.

t-^

before
is

the

Aristotelian doctrine of ri ijAaov 'later

in the treatise (246 16).
17. de Demosth. c. 18 oix iiravra S4
ye t4 Trpdy/mra t^v airiiv dvanei SidXeKTOv, dXX' iffnv ilxrirep aili/um irpiirovad

^^.^lv

iK ttjs

i/iireLplas

6^[ia

opwfftv

P/otably -Dionysius

has this
Passage of Aristotle in his mind, and
'* * be understood that he does
"^'f^^^
"t
jn to dogmatize simply on the
score of being an old and experienced
teacher.
In the Bhet. ad Alex. 1432 a
^P^^'-

33, an oath is deiined as : /ierd

irapaX'^^eas (pdiris dvair6SeiKTos.

delas

DIONYSIUS OF HALICARNASSUS

76

Se

troirjTwv

yap SK TOVTWv koX

5 'Ofjurjptp

rr/v

etodivijv

e6o<s

rjv

tS

Hekotrovvrjaov

dirohrjiiiai;

avroK

S'

or)

irap'

rot?

iraXaioi^

ein^aivofievot sk t^s ek

Xna

Trpay/Marta

irov

virepev.

ripfjurjvevfjLeva

w?

fieWmv,

aKparl^eaBai

copav

a.TTO'x^pr}

etrn

elKcuraL.

KaTay6fievo<s 'OSva-a-eiii irepi

ctv^cotij

eireira 6 Tri\efMa'x,o<;

Kai

Xa/M^aveadco

'H/joSoto?"

Be

t&v oKKmv

Trepl

irapa

p,ev

crvyypa^emv

"Op/rjpo^,

fiev

re

ififierpcav

oXoya^ Kpoy^eipitrdfievo';.

\6ycov airap^k';

irel^Siv

BetKvvvai,

"rreipdao/iai

epytp

(TvvBetnv,

TTjv

chap.

ia-rlv

tjj?

rj

^loariKa

Ka(,

epfiT)veia<!

dperrj

iroirnxara BrfKaxj-ei TraparedevTa avrd'

10 TO,

T(B

aSr' eV

S'

ivTvvovT

KXierirji;

apoarov

eKirepr^dv re

'OSucreu? Kal Sto? v(l)op^o<;

rjol

afi

TrjXip.a'^ov Be irepiacraivov Kvve<;

IS

ovS'

vXaov TrpoaiovTa.

irvp

Ketafievo)

dypop,evoi,ai,

ap,

vo/j,fja<;

aveircri,.

vXaKop^topoi

Be Blo^ 'OSwfftreu?

voTjcre

aaivovrdi; re Kvva<i, vtro Be ktvtto'; rfKde iroBoliV

alyjra

ap' ^vfiaiov "Trpocre^diveev e^yy? iovra'

S'

Evp.ai',

KoX

7]

?i

/MoKa rt? rot eXevaerat, ivffdB' eralpoi

yva>pi/jio<;

aXXof, eVet /ewe? ov^ vXdovcriv,

ciKXh irept,<yaaivovcn' nroBSsv

inro

B'

oinrm trav eipr)TO eVos, ore ol

ecTTf]

evl

racpwv B

nrpoOvpoiab.

Bovttov aKoveo,

<piXo<;

vlb<i

dvopov<Te av^atTT)^'

Sewcvwai F iv[ieTpiiiv F
4 eticao-ai F
5 ofi-qf^m) P
ifyym !F
om. P
dSTJo-eiis P
8 irpay(T'Cl3(!yTr)i P
corr. in margine P^
fiaria Atra koI PV
Trpaypdria arra F Trpay/j^TiaTTa Xira koi
9
S' ea-Tiv
Si (ecrTLv) P
dSvcrcrew
11 kAio-iijct EFV kAictij; Horn.
FP^Miy
dypo12 evTvvoVT{es) P,V
13 e/cTre/xfavTe EFPM
lJ.voi,(r{iv)
P
16
14 wepia-aivov FEV
15 oSvcrev^ P
Trepi re KTmroi Horn.
17 ap sic FP
eTrea TrrepoevTa Trpo(rr]v&a
Horn.
18 Jv/zai' P ci'/toie V
22
20 Trepia-aCvovo-i FV
1

||

||

T(j)

II

||

II

||

||

||

771

II

Trpodvpour^Lv)

The extract from the Odyssey well

Homeric nobleness which
pervades even the homeliest scenes and
5.

illustrates that

Dionyaius

right in pointing out that

this nobleness does not depend on any
striking choice of phrase, since Homer's
language is usually quite plain and
straightforward.
6.

the

ia

On

Odyss. xvi. 2 {Apiarov) there is

following scholium, Sti Kal iv ry

'IXidSt

6i;na

rg dcaToXg

similarly on Theocr.

i.

iiT0lomi.v:

50,

irpoitas

and
(n

6\lyo rivk <tSIoimv

&KpaTov olvav wlvofiev.
oSo-tis

g.

but

&pTor

Kal

The charm of a simple

scene, simply
beautifully described, is seen in

Virg. Bel.

vii.

1-15

ffeorg.

ii.

385-9

_4en. v. 328-30, 357-60.

(The Latin
illustrations, here and elsewhere, are
for the most part the exempla Latina
suggested by Simon Bircov (Bircovius),
a Polish acholar who lived early in the
aeventeenth century.)
11.

By "Hom."in

the critical notes

ON LITERARY COMPOSITION

ni

77

the reasons which have convinced

me that composition is a more

important and effective art than mere selection of words. I will
first examine a few specimen passages in prose and verse.
Among
Homer

be taken, among prose-writers Herodotus from

be formed an adequate notion of the rest.
Well, in Homer we find Odysseus tarrying in the swineherd's
hut and about to break his fast at dawn, as they used to do in
ancient days.
Telemachus then appears in sight, returning
poets let
these

may

from his sojourn in the Peloponnese.

Trifling incidents of
everyday life as these are, they are inimitably portrayed.
But
wherein lies the excellence of expression?
I shall quote the
lines,

and they

will

speak for themselves

As anigh came Telemachus'

feet, the king and the swineherd

wight
Made ready the morning meat, and by this was the fire alight
They had sent the herdmen away with the pasturing swine at
the dawning;
Lo, the dogs have forgotten to bay, and around the prince are
they fawning
And Odysseus the godlike marked the leap and the whine of the
hounds
That ever at strangers barked
and his ear caught footfall;

sounds.

Straightway he spake, for beside him was sitting the master of

swine
" Of a surety, Eumaeus, hitherward cometh a comrade of thine.

Or some one the bandogs know, and not with barking greet.
But they fawn upon him moreover I hear the treading of feet."
Not yet were the words well done, when the porchway darkened
;

a face

Was

there in the door,

his son

and Eumaeus sprang up

in

amaze.
meant the best attested reading in
kKufLtq^, however,
the text of Homer.
has some support among the manuscripts
of Homer and so has the form So in
I
: .7C 1
!. ;
J iriffev
in 78 1.
and
76
10 17,
1, a,uu
is

J.

14. Monro (Odyss. xiv. 29) regards

i\aK6fUi>pos as a kind of parody of the

heroic epithets iyx^alli^i^poi and 16/jt.apos,

and thinks that we cannot tell what

meaning

(if any) was conveyed

part of the compound,
See, further, his note on Iliad ii. 692.

precise

by the

latter

itv
The construction
.. .. must, be ivb
op. n. 11. 465 vwb x^ibi/ o-juepdaXiov xovd^cl^e iroSfij'. The force of iir6
^.n

20.

rn.

4.

TtoSiiiv:

half-way between the literal sense of

under and the derived sense of caused

is
'

'

'

by (Monro).
'

DIONYSIUS OF HALIOARNASSUS

78

eK

S'

Kipva<;

apa ol ^etpoiv
aWoira olvov.

dyyea, rot? eirovelTO

"rreaev

chap.

avaKTO<s-

eSpafi

avrio'i

S'

Kvaae he fiiv Ke^aXrjV re koI a/u,<pco ^dea Koka

velpd^ T CLfi^oTepa^' daXepov Be ol eKirecre SaKpv,
5

ravd^

olB'

OTI,

Bia

Ti

Sia

rj

10

OTi

koI

eTrajyerai

fiep

Twv irdvv rfhiaTmv

re

S^

Totavrd ean, jrorepov

Sict

crvvdeaiv

tmv

Bia ryap

67W Treidofiaf

ovofiaTtov ireifKeKTai, irdcra

OakaTTOvpyoi; Kal
Xeyetv

i^

eS Troiovfievo';

yovv Tov fierpov (pavXa

15

yap

ovre

fieraipopai

ovre

VTraXXayai,

ovSefiM, oiiSe

KoXXovi T^?

odp

ovt

nal

2 aWoiira

Kal

koX

<opav

rov

XvdevTO<;

e'xprjaaro.

fjuq

rrjv

roiavTa

PM

ovre

BidXeKTO'i
jreTroirj-

r)

tov

ffvvdecriv

iarl irapa tu

S'

8pafi{ev)

||

^iva

ovSe

a^rjXa'

eveuriv

TpoTriKij

ovy(l

w?

yewpjo';

evyeve2<}

Tivei

iroXXai,

XeiTverai

eKXay^v,

TaireivoTarav

/j,r]Sefj,iav

aXXrj

koI

t&v ovofidrav

ra avra ravra Kal

avTolg

iv

alnaadai

ep/ji'r]veLa<;

av

TreiOm

r)

rr/v

av

ol?

Xa^wv

eTot/juiv

yX&TTai

Sta

xal Tra?

(jtav^trerai,

Tivef

Horn.

irk(Tov

PMV

\e^4?,

f)

Kara'^prjcrei';

Bfj

ovofiara.

jMeva

e<rTiv

eiireXecTTartov

'^eipori'^vri';

TroiTjfiudTav

iravre^

ej^et,

eKXojrjv

ttjv

av elVot

ovBel<;

dKoa<;

fiolpav

avr&v

'rrov

fiaprvpr^a-eiav.

TTjv

ra?

KTJXel

ovSevo<; rjTTaj

eSjoa/i

^X9ev

5 kirdyerai re Kal F
6
Kal tiuv
TU>v F
o^S' kvh<s Fi
ijttov F
7 eS ante otS' habet
F
TTOTepa F
8 ToiavTTj F^
9 eKAoy['^]v cum litura P
'
0)5 lyto iruOoiiai. om. F
10 koI FE
t koX
12 Sipav
Sylburgius &pav
Sipav F yp (j>povTiSa in marg.
13 Xa^w

Horn.

3 Kal

PMV

<^aA.ijv

||

||

II

PMV

14

eveuriv

70S1/

PMV:

elirlv

SidXeKTos
ovSe Sauppius
ovre
oijSe/tia

II

7.

Perhaps

9.

Cp. Hor.

notum

iroC S^ Si}

y odv P
evyeveii

PMV
:

cp.

116

15
ev

is

illustrated

by

avTois (auTOis P) euyeveis

BF
16 ovTe aWrj PV
ovre Sr)
yAcScrcrai F
li/

FMV

19

||

||

Toia{iT(a) (ecrri)

P,MV

though

9.

Ars

iunctura novum."
On the other hand, the importance
of iK\oy/i

avTObi

17 ouSeSij P:
7) in rasura F^

P. 47 " dixeris egregie

callida verbum
reddiderit

si

||

PMV

Aristotle's

it did not originate with him

(KX^rerai S' ed, iAv tis ix rqi eiuBvlas
dioKiKrov iKK^ojy (TvhtW^- Strep mpiTlSi/s

kcU iiridci^e irp&Tos, Aristot. Hhet.

4 : op. Long. p. 146). So "tantum

iroiel
iii.

2,

iuncturaque poUet,
tantum de
medio sumptis accedit honoris" (Hor.
series

comparison {Poetics

x.xii.

7) of vvv d^

iiiv SKlyos T6 Kal oiTiSapbs Koi deiKiJs

/n,'

with

vSv Si n' iiiv fUKp6s re Kal daSeviKbs Kal

deiS^s.

J. W. Maokail
Class. Sev.
" A quality of the finest Greek
poetry, from Homer to the late anthologists, is its power of taking common
language and transforming it into poetry
by an all but imperceptible touch."

10.

Cp.

xxii. 70,

The

quality

is

exemplified in Euripides,

Ars

P. 242-3).
13. XuS^vros yovv,

Bvag. 10

koI pvBiuov

^ei

kt\.

Cp.

Hvavra

iroiovai.v

Aroaainiv

x^P'", ^ct' &v Kal tJ \4^et Kal rots

ivBviiiiijjiinii

^xv KaKus, Sfim airaU

cipue/daif Kal Tais a-vfifjier plats

7oC(rt rods aKoiovras.
yvoh)

^KeWev

t&v

Isocr.

oi /i^c (so. TroiijTai) /ji^ri ii^rpav

tV

Sivafiiv

iroirnidToiv

t&v

airwv

rais

t//vxay(iiS.v

ns

yip

tis

rd

/t^K

S'

f/v

eiSoKi/wivTioi'

ON LITERARY COMPOSITION

"I

79

Dropped from his hands to the floor the bowls, wherein erst he
began
The flame-flushed wine to pour, and to meet his lord he ran
And he kissed that dear-loved head, and both his beautiful eyes
And he kissed his hands, and he shed warm tears in his glad
surprise.^

Everybody would, I am sure, testify that these lines cast a

enchantment on the ear, and rank second to no poetry
whatsoever, however exquisite it may be.
But what is the
secret of their fascination, and what causes them to be what
spell of

they are?

No

Is

one will say

it

the selection of words, or the eompositionX^^Vof that I am convinced.

For

" the selection "

the diction consists, warp and woof, of the most ordinary, the
humblest words, such as might have been used off-hand by a
farmer, a seaman, an artisan, or anybody else who takes no
of elegant speech.
You have only to break up the
metre, and these very same lines will seem commonplace and
unworthy of admiration.
For they contain neither noble

account

metaphors nor hypallages nor catachreses nor any other

nor yet many unusual terms, nor foreign
coined words.
"What alternative, then, is left but to
the beauty of the style to the composition ?
There are
language

Homer

out, are

Odyssey xvi. 1-16.

from the hand of Mr. A.

SiaXiffy,

TroXi

<parii<reTai

Kara-

Seiarcpa TTji Si^rjs ^s vvv ?x''A'f "'^p'

airwv.
14. &T)Xa : this adjective occurs also
in the de Demosth. c. 28, and more than
once in the Antigq. Horn.
Kaxaxp^o-eis :
see
16. iiroWa-yaf,
Glossary, s.vv.
17. Usener reads -yXuTTOi xaXaiai Tives.
But (1) yXCiTTm are usually iraXaial (op.
Galen Gloss. Mipp. xix. 63 Sira roivvv
Ttav 6voiU,Tav iv niv toTs irdXai xp4''ots
Si oiKiri iarl, ri liiv
f/v <Tvv/i$r], vvv
TOMvra yXiSyrras KoKovn, kt\.) : (2) the
phrase voWol Tirer is elsewhere used by
DionySius, e.g. de Lysia c. 1 oUre ttoXXois
Tifft

KariXiirev inrep^oX'/iv, kt\.

18. 19.

An interesting modern

or

new-

attribute

countless

The verse-translations, here and throughS. Way.

ovbjjaTa xal tAs Siavotas /caToXiiri;, ri Si

fiirpov

figurative

parallel

is that passage in Coleridge's BiograpMa

Literaria (c. 18) which touches on the

stanza (in Wordsworth's Lyrical Ballads)

beginning ' In distant countries I have
been." Coleridge remarks, "The words
here are doubtless such as are current in
all ranks of life
and ot course not less
so in the hamlet and cottage than in
the
shop, manufactory,
college,
or
palace.
But is this the order in which
the rustic would have placed the words ?
I am grievously deceived, if the following less compact mode of commencing
the same tale be not a far more faithful
copy, ' I have been in a many parts, far
and near, and I don't know that I ever
saw before a man crying by himself in
the public road ; a grown man I mean
that was neither sick nor hurt,' " etc.
'

In this connexion see also F. W. H.

Myers' Wordsworth, pp. 106 ff., for the
music in Wordsworth's Affliction of

'

DIONYSIUS OF HALICABNASSUS

80
ironiTT]

^epe

KaX&^

koX

fieTa^&fiep

Sf]

tovto

KUKeivp

el

KoX

fiiKpa

ort

otS'

taaaiv

irdvre<;

eveKa Xeyovrt apxei ravra fiova

a-KOTT&fiev,
5

w? ev

/jLvpia,

/iv>]<r6co<:

a-v/a^e^ijKe rb

irpdyfiaTa

(j)avXa

koI

re

tA?

yiveadai

ifiol

viro-

elprja-dai.

ScaXeKrov

ire^rjv

rrjv

eirl

chap.

ovofiara

ical

aare

irddoi;,

Trepl

crvvra'^OivTa

trapa rm
^acrtKew rt? AvS&v, ov iKelvo<i K.avBavXrjv <KaXel,
M.vpat,\ov Be> KoKelaQai ^rjffiv v^ '^XKrjvwv, ttj^ eavTOv
yvvaiKof ip&v, eireira d^i&v riva t&v eraipiov avrov ryvfivrjv
T^v avdpco'Trov IBelv, 6 Be aTro/ia'^ofJbevo'; firj dvar/Kaa-Brjvai, w?
Be ovK enreiBev, inrofievcov re koI demfievog aiirijv
irpay/ia
ov'^
OTi ffefivbv r)
KaWiXoyeiadat iwiTijBeiov, dWa Koi
fieydXa';

eari

j^a/stray.

Br)

'HjOoSoTft)

10

Taireivov Koi iiriKivBxfPov koi tov ait^'^pov /laXXov

dX\'

iyyvTepoo'

Xeyofievov

15 dKovcrdrivat

v-TToXd^jj

e'iprjrat

rrjv

rj

xal

Be^iw^,

(r<j>6Bpa

o^Orjvat

tov koXov

"va

Be

alriav

ry

yivofievov.

BidXexTov elvai t^?

rj

KpeiTTOv yeyovev

^Bovrji

tk

fi'q

Xe^ec,

et? ttjv ^KrdiBa yXmrrap

koI
ovBev oKKo Trepiepyacrdfievoii ovrcoi; e^oLaa tov BidXoyov.
" Tvyr), ov yap ae BokS) ireiOeadai /jloi XeyovTi Trepl tov

fieraOeU avrrit tov -xapaKTripa

20 eiBov<;

Sc

yvvaiKOt;'

&Ta

yap

o(f)6aXfj-a)v'

Trotei

ottw? eKelvtjv

Tiji;

airuTTOTepa

P,MV

ante koI

eirl

2 elpe'urdai
add. F
SidXe^iv

Tvyydvei

cum

/i[e]Ta|Sa)/Aev

4 koi

ovTa

dvdpmvoi'i
Oedarj

eKeivr]

yv\wt]v.
litura

tovto

o
^87;

||

rb
tovto avTh
rb F om. PMV
6 ^Sovas post /ieyoAas
add.
ras PMV: koI F
7 icaXei MvpaiXov Se om.
:
KoAet
Mvpa-iXov S KaXeicrdai om. PV
supplevit Sylburgius coll. Herod, i. 7
9 Tiva post avTOv ponit P
10 6 8e PMV: So- F
11 Se om. F
avTYjv- Trpayim F: avT^v rb irpayiLo. P: avr^v ^v to 8e 7rpay/*a
12 liriT^Sciov] hwa-nevov E
13 Tainivhv
iraiSiKbv F
14
aXXa PM
16 Tr)i P
17 yA.wtro-av F
18 Tnpieipyaxrijivo'i P
TO)/ Ao'yov F
19 Trept] t(ovs) TrepiV: to. trepl Ya
20 ruyxav"]
ai;To

PV
F

||

||

||

FM

II

||

EPMV

MV

|(

VTrdp)(ei,
4.

Usener's conjecture

Trapi. (for irepl)

may

be held to find some support from

92 21 and 256 10, but on the other hand
Dionysius' love of iierapo\-fi has always
to be remembered.
6. F's reading riSovlii ylveaBai Kal adds
still
another Kal to the four already
used in this sentence. The two nouns
are
superficially
attractive, but the plural iiSoval is not
common in this sense.
some light is thrown
9. 7unv^v :
on various phases of Greek and nonGreek feeling with regard to any exilSovb,^

x'i/"Ttts

posure of the person by such passages

as Thueyd. i. 6, Plato Menex. 236 D,
Herod, i. 10 (ad f.). As to the women
of Sparta cp. Gardner and Jevons Greek
Antiquities pp. 352, 353.

For the participles cp. p. 76 11. 5-7.

o4x Sri (in a context which gives
the meaning of non solum non) occurs
10.

12.
it

elsewhere in Dionysius: e.g. Antigq.

ii. c. 18 Kal oix Sn BeCov dXX' oiS'

Som.

6.v6pi!nrav

iyaOwv

13. raireivov

df(ous.

(which is weightily supported) seems to correspond better than

irai.Si.Kbv to (7eij,vbv.Ts reading iraidiKbv

ON LITERARY COMPOSITION

ni

81

passages of this kind in Homer, as everybody of course is well

aware. It is enough to quote this single instance by way of
reminder.

Let us

now

pass on to the language of prose and see

if

the

same principle holds good of it too that great graces invest

trifling and commonplace acts and words, when they are cast
into the mould of beautiful composition.
For instance, there is
Lydian king whom he calls Candaules,
adding that he was called Myrsilus by the Greeks.
Candaules
is represented as infatuated with admiration of his wife, and
then as insisting on one of his friends seeing the poor woman
in Herodotus a certain

The friend struggled hard against the constraint put

upon him but failing to shake the king's resolve, he submitted,
and viewed her. The incident, as an incident, is not only lacking
naked.

in dignity and, for the purpose of embellishment, intractable, but

vulgar and hazardous and more akin to the repulsive than

is also

But

to the beautiful.

it

has been related with great dexterity:

made something

far better to hear told than it was to

And, that no one may imagine that it is to the dialect
that the charm of the story is due, I will change its distinctive
forms into Attic, and without any further meddling with the
it

has been

see done.

language will give the conversation as it stands

"
Of a truth, Gyges, I think that thou dost not believe what
:

'

I say concerning the beauty of

my

ears less fully than their eyes.

wife

indeed,

men

trust their

Contrive, therefore, to see her

reference to the critical footnotes) con-

It is no doubt possible that S"s reading rby \6yov ('the story') is original,
and was changed to t&v SidXoyov ('the
conversation ') because the whole story is
not quoted. But such readings of Fas
against the
iirdpxei. (for rvyxdvei 1. 20
MSS. of Herodotus) show that its unreceived
testimony
must
be
supported
with much reserve.
20. This passage of Herodotus may
have been before Horace's mind (Ars P.
180): " segnius irritant animos demissa
quam quae sunt oculis
per aurem
ipse sibi
subieota fidelibus et quae
tradit spectator."
Cp. also Shakespeare
Coriolanus iii. 2 "the eyes of the ignorant (are) more learned than the ears."
In the Greek the emphatic position of
both fflra and d^eoKfuiv is to be noticed ;
cp. Introduction, pp. 19-25, for emphasis
at the end and at the beginning of

siderable.

clauses.

'
sportive
or 'freakish' (with a reference to boyish
pranks); cp. D.H. p. 196 (s.v. /letpa-

might perhaps be translated

and

KuiSTis)

p.
Jthet.

Aristot.
/SoXai

199
iii.

/tei/)OKi(i5ets

(s.v. vaiduiidris), and

fin. elirl S^ iirep-

11
.

Scb

irpea^vripif

T^yeiv airpeirh.
17. So, in de Demosth. c. 41, p-eraKeKliluarai. S' els ttjv 'Ardlda SidXeKTOv ij X^fis
(the passage in question being Herod.
For the charm of the Ionic
vii. 8).
18 "in
4.
Quintil. ix.
dialect' cp.
Herodoto vero cum omnia (ut ego quidem
sentio) leniter fluunt, turn ipsa SidXeKTOi
habet earn iucunditatem, ut latentes
etiam numeros oomplexa videatur."
18. ovhhi &XXo irepwpYao-dtiwos : not-

withstanding

this

undertaking,

the

variations from the traditional text of

Herodotus are (as will be seen on

DIONYSIUS OF HALIOARNASSUS

82
ava^oriaa<s

S'

KeKevcov

XiT&vi
5 ev

avdpcoiroi';

opav Tiva

iraamv

ywatK&v

Tt a-oi

vqcTOfiai

7)

15 6povo<i'

re

diTiovTa

S'

fiera Be

iroWrjv

^a-v^Cav

Kaff'

Bia

aoX

fteXeTca

dvpSiv.

^v

[trokelv

8e

oh
fir)

ifii,

Tr)V

w?

e/irjv,

/irj^a-

elcreKvovTa

ifie

iyyii^

B'

ev

Btj

fiev

ela-oBov

exaaTov

ixBdaa

TrapeerTai

a)?

(toi

evvrjv

ottw?

to evrevOev,

p.rj

eBvvaTO

oiiK

irapecTai

tt}?

Oeaaaadai.

Kara
<7e

vcotov
oyjreTcu

Bia<j>vyeiv,

TavTa\,

PMV

3 skSdo/icv^ F, Her.
ev T<ot 8e

fi'^T

dpxvv yap eyw

ySXaySo?.

eh koIttjv. Kelrai
rovrov Tmv i/iarloov Ka0'

yevy,

Beofiat,

yvvaiKU

fii]Te

ev

eKeivTjv

direfia'^^ero,

aTTo tov dpovov iropevrjTai ctti t^v

airrji;

20 eTOifio'i

(tov

<j)0^ov

/itj

ifiT]

7]

iirl

B'

"Koyov TOvBe,

cTTjcrco'

Ovpa'i

Kal

O'^aeL,

orav

ere

yvvT)

iraXai,

ryvvrj.

&aTe p/qBe fjuaOeZv avTrjv oi^deiaav vtto <70v.

eh to otKrjfoa, ev m Koi/imfieda, birurOe t^?

ovTco<;,

dvoiyofievr]<i

Tvyr}, koX

yivrjTai

airrjii

e'f

dyaycbv ydp
KoX

\eyoi

a-ov

Treipmfievov
fiij

koX

ravra

\eyoDV

Br)

ov^ vyia,
a/m Be

&v fmvddveiv Setiyw Be ireiOofiav

KaWia-rrjv,

fiev

yvfivrjv

alBa>

ttjv

eavrov.

to,

dpaei

TolaBe-

rnjuei^ero

10

dvo/imv.

Seia-dai,

Kal

i^evprirai, i^

ToS' icTTiv,

elvai,

deda-acrdai

ifjt-rjv

a-vveicSveTai

eKSvofievq>

KoKa

Bk TO,

rr]v

Xoyov XiyeK

rLva

Aea-n-ora,

eiTre-

hecnroivav

jxe

chap.

St

iViCTTiv corr. F^,

II

PMV

Xeyets A-dyov Her.

AGP)
5 ev ruSe (rdiSe corr.) F,
6 eivai post yvvatKuiv traiciunt
raijTa] roiavra
dvofiZv P

piya Her.

eK8vop.evri

(exc.

||

MV

PMV

MV

7 Selcrdai F, Her.
x/'ijifetv P,
post aTre/idxeTo haec verba habet Her., dppuiSewv ix-q r'l ol i^ avriav
yiv-qrai KaKov
8 ai9 creo irebptopevov (vel wupiipevoi) Her.
8e P

Her.

{|

||

II

||

9 \6yov Xky(a

JPMV

cum

rtcr

kyii om. add. in marg. P^

10 T[t] <roi
kcr P,M
oirurOev PMV
12 aytav P eyo) Her.
13 dvpcuTTqa-w Pl
6e PMV
14 Kal post irapearai om F.
9 PMV
15 iKSva-a ante KaO' ponunt PMV
IkStjvoucto Her.
16 Trape^ei Her.
17 OT av FP ut Solent
cTreav Her.
Se P,
18 pekeru) crot F
19 lovTa Her. 5[i]a cum litura P eBvvaro F, Her. (eic. RSVb) ^Svvaro
PMV Sia<f>evyeiv P
20 ^v ?Tot/ios Her.
ttoiciv ravra (rd y
avrd P) om. Her.

litura

||

rdvSe

||

||

||

||

||

||

MV

||

||

||

II

_3.

Tg

Op. Diog. Laert. Vit. Pythag. 43

irpis rbv tSiov dvSpa /ieXXoi)<rj7

Si

irapijvet (so. Qeavii) &fia rots

Kal t^v alirxivqv ciiroTl6e<r0ai,
dvurra/iiv^v re viXiv H/j,' avToiaiv avoKafi,piveiv,

TTopeieffBai
ipSificurt

14. eh Kotrriv and iyyis ttjs dffdSov are

Dionysius' Attic equivalents for 4s koXtov

and d7xoO
15.

ttjs

113 ^K Si tSiv
Kar' dXlyovs.

i.

cp.

ij.

In The Famous History

by B.

of

E. (i.e., probably,
Barnaby Rich), Dionysius' extract from
Herod, i. 8 is freely Englished thus
My faithful servant Gyges, whereas
thou seemest not to credit the large
vaunts and often brags which 1 mate
of my lady's beauty and comeliness (the
'

Herod, viii.
dXXwK o-u/t/idxwi' ^{eX^ero
:

and

Herodotus,

'

iabSov.

Ko9' iv ^KooTov

20. Perhaps the effect of Herodotus'

style is best conveyed by the Elizabethan
translation (publishedinl584)ofBarBaby
Rich, which is, however, confined to books

ON LITERARY COMPOSITION

83

But he cried out and said: 'My lord, what is this

word thou sayest, bidding me look upon my lady naked ?
a woman, when she puts off her dress, puts off her shame-

naked.'
foolish
for

Men of old time have found out excellent prebehoves us to learn and observe and among them
is this
" Let a man keep his eyes on his own." As for me, I am
fully persuaded that she is the fairest of all women, and I beseech
thee not to require of me aught that is unlawful.'
Thus he

fastness also.

which

cepts,

it

and strove with him. But the other answered and said
'Be of good cheer, Gyges, and fear not that I say this to
prove thee, or that harm will come to thee from my wife.
spoke,

For, in the first place, I will contrive after such a fashion that

she shall not even

know

that she has been seen by thee.

bring thee into the room where

we

I will

and set thee behind the

door that stands ajar and after I have entered, my wife will
come to bed. Now, near the entrance there is a seat and on
this she will place each of her garments as she puts them off, so
that thou wilt have time enough to behold.
But when she
passes from the seat to the couch, and thou art behind her back,
then take heed that she see thee not as thou goest away through
Forasmuch, then, as he could not escape, he consented
the door.'
^
to do after this manner."
sleep,

ears of

Herodotus

men being much more incredulous

behold I will so bring

to pass that thou shalt see her naked.
Whereat the poor gentleman greatly

than their

eyes),

abashed, and in no wise willing to

assent thereto, made answer as foUoweth,
lord (quoth he) what manner of

My

this which unadvisedly you

persuading me to behold my
lady's secrets, for a woman, you know,
the more in sight the less in shame
who together with her garments layeth
Honest precepts
aside her modesty.
have been devised by our elders which
we ought to remember, whereof this is
one, that every man ought to behold his
own. For mine own part I easily believe
you that of all women in the world there
is none comparable unto her in beauty.
Wherefore I beseech your grace to have
me excused, if in a case so heinous and
unlawful I somewhat refuse to obey your
will. Gyges having in this sort acquitted
himself, fearing the danger that might
nsue, the king began afresh to reply,

speech
use in

is

i.

8-10.

My

sajdng.
good Gyges, take heart at
grace, and fear not, lest either myself do
go about to examine and feel thy meaning by the coloured glose of feigned
speech, or that the (jueen
lady take
occasion to work thy displeasure hereby.
Pull up thy spirits, and leave all to me :
it is I that will work the means, whereby
she shall never know any part of herself
to have been seen by. any creature living,
Listen then awhile and give ear to

my

my

counsel
When night is come, the door
of the chamber wherein we lie being wide
set open, I will covertlylplace thee behind
the same straight at my entrance thereinto, her custom is not to be long after
me, directly at her coming in, there
standeth a bench, whereat unclothing
herself,
she accustometh to lay her
garments upon it, propounding her
divine and angelical body, to be seen
and viewed for a long space. This done,
as she turns from the bench to bedward,
her back being toward thee, have care to
slip privily out of the doors lest haply
:

DIONYSIUS OF HALICAENASSUS

84

a-efivoTT]^

r)

dveTTiT'^SevTa

avfi^oXa
5

10

ivravda

av evoi n<; ovSe

oi)K

t&v
yap

ovo/idrcov

ovBe yap

irpdyfiairiv

T0t<;

to

on,

rj

d^lco/ia Kal
rrjv

(fipdatv

(^v(ti<;

redeiKev

ire'rroCrjKe

dveKKsKra, ota

Kal

i<7TC

elirelv,

ev/JLoptjiov

chap.

Kpetrroat

TJpfiorrep to-a?

orav toi<s KVpuordroif

yp'qaaaOai, irepoK,
iK(j)ipr}Tai
rh vorj/iaTa, ji/qBev
ovofiaaiv
Te Kal irpoaeyeo'TdTOK
icmv.
Se
ovBep
ev avTo2<; iari
on
aefivorepov etvai, ^ old
dvdyKr] Se

aefivov

oiiBe

on

Tr}v

/JUT}

irepirrov,

pov\6fievo<;

TroWa

dpjjboViav.

Brjirov,

irapa roimp

Toiavrd icrnv, i^ &v dv n<} TeK/irjpaiTO,

ratv ovofidrmv

Kal

irepl fiev

rj

ireido)

tjj?

rjv,

epfirjvei,a<s

ovSev

/leradei'i

e'icrerac

Kal

Se

tS dvBpl
tw KdXKei

on ovk ev
dXV iv rfj

crv^vyia.

tovtcov iKava ravra.

IV
Iva

TToXv

Be

fiaXXov

tk,

a'c<ydr]TaC

avvOeriKr) Bvvafii'; ev re iroirniaat Kal

15 eS

e^eiv BoKovaa^

&v ra?
rd fierpa koI

Xefet?,

^aiveo'dai, ironja-co Kal

Be irp&Tov fiev eK

dW'
rj

e')(ev

dpiiovLa<i
rovi;

j(ei

pmp/rjv

dWoia

fieradel^

Xoyov^.

nvai

X'^yfro/iai

Xa/i^avecrdo)

twv 'O/MrjpiK&v ravri'

&<TTe

rdXavra

yvvr/ j^epvrjn^ dXtjO'^i,

re arafffiov e^^ovaa Kal etpiov

lad^ovcr

20

oerrjv

'Ko'yoL';,

dfjL(j)l<!

dveXxec

Xva TraiiAv deixia fiiaOov apoiTO.

rovTO TO fieTpov ^pai'Kov eaTiv e^dirovv TeXeiov, KaTd BaKTvXov

ovSiv

reOeiKe

EMV

2 TreiroirjKev

Kpeirroa-^iv)

5 Se

rj

Sij

om.

PV

[irov]

T^deiKev

||

FM

5e

FP

Sfj

Vs

8 irepiTTov ovSe (re/iv6v F

9 tovto (-to> corr.) T(b>) P
11 ^v * *
d\X' P
12 Kal] ^v Kai M: ^ koX
13 rts
om. PV
14 TTOiriiiaa-iv P
15 dAXotas P
17 pkv om.
Tavri PMV:
ravra F
18 e'x'"
'ixov PV Horn.
19 dpiov delete accentu P
20 ajorjTat Horn.
21 ijputKov PMV fjpi^v Y

FM

PMV

^M

||

she espy thee. The gentleman seeing

himself taken in a trap, that in no wise
he could escape without performance of
his lord's foUy, gave his assent." [From
the rare copy in the British Museum,
with the spelling modernized.]
If Dionysius does not quote the
sequel of the story, the reason may well
be that he expects his readers to find it,
or to have found it, in the pages of

TierjKeji

Herodotus himself.

mental

3.

gives

6,<p7,icii>at

in 262 22,

and

may possibly be right here. The

forms are found in "some Mss. of
Eurip. ffel. 1059 and Demosth. Chers.
34.
But cp. 108 13.
9. Kal
iropA toutcj
perhaps 'in
Herodotus as well as in Homer.' Eeiske,

-ij-

TroXXd Sk Kal <iSXXo> iropi roiiri)) ti?

avSpl Totavrd ianv.
10. Dionysius seems to allow too little
for the charming nalveti of Herodotus'
teristic,

attitude,

which is surely characwhether or no Herodotus was

ON LITERARY COMPOSITION

85

Here again no one can say that the grace of the style is
due
and the dignity of the words. These have ';
not been picked and chosen with studious care they
are simply
/
the labels affixed to things by Nature. Indeed, it
would perhaps
,have been out of place to use other and grander words.
I take
/ it, in fact, to be always necessary, whenever ideas are expressed
in proper and appropriate language, that no word
should be more <
<
dignified than the nature of the ideas.
That there is no stately
or grandiose word in the present passage, any one
who likes
may prove by simply changing the arrangement. There are n
'

to the impressiveness

many similar passages in this author, from which

seen that the fascination of his style does not after
the beauty of the words but in their combination.

it

can be

all

We

lie

in

need not

discuss this question further.

CHAPTEE
TO CHANGE OEDER

IS

IV

TO DESTROY BEAUTY

To show yet more conclusively the great force wielded by the

faculty of composition both in poetry and prose, I will quote
some passages which are universally regarded as fine, and show
what a different air is imparted to both verse and prose by
a mere change in their arrangement.
First let these lines be
taken from the Homeric poems
:

But with them was

it

as with a toil-bowed

woman

righteous-

souled

In her scales be the weights and the wool, and the balance on
high doth she hold
Poised

level, that so

may

the hard-earned bread to her babes be

doled.i

This metre

is

the complete heroic metre of six feet, the basis

1

Homer Eiad

Op. D.H.
the first to tell the story.
The narrative which opens
p. 11 n. 1.
in Livy xxxix. c. 9 may be compared

and

contrasted.
18. The verse illustrations used on pp.
84, 86 are similarly treated by Hermogenes
(Walz Hhett. Gr. iii. 230, 231 ; cp. p.

715

ibid.).

seems better to read ^^pu'iK^v

here (with PMV) rather than iipifov
21.

It

xii.

4335.

(with F), as the form TjpcaMs is found

consistently elsewhere (86 3, 88 7, 172

206 10).
Dionysius tends to regard the
Homeric hexameter as the original and
perfect metre, from which all others
17,

are

inferior

deflexions.

Metres, after

have their associations the associations of the Homeric hexameter were

eminently noble ; and so even the choral
all,

DIONYSIUS OF HALICAENASSUS

86

a-vvOeaiv

Trjv

iyoa

^aivofievov.

'TToZa

TOVTOV

rjpalKmv

Be

avTi

fieruKiv^aa^

ovo/xdrcov tovtcov

avrov<i an'xpv'i

Toii'i

Terpafierpov^,

r&v

Sr}

chap.

olvtI

/lev

i^a/ieTpmv

iroirjaoi

rov

irpoa-oBiaKoiiv

Tpoirov

aX\' exev mare yvvrj ^(^epvrjrtt; toKovt aKr]dri<i,

T e'lpiov afi(fH<; koX araQ/wv e')(ova aveKKei
?!
ia-d^ova, Xv demka. iraKrXv apoiTO jjlktOov.

Toiavrd

irptd-jreia,

to,

iiTTi

nvav

vtto

ldv(f>aWia

S'

Xeyofieva,

TaVTV
10

Koyo)

aXKov;
avToi<;

&

0e/3r)'Ko'i,

oi)

e^

B'

ovre

wpyiacrp^evoi; tikco.

evepyecrtr]<;

\a^mv

irdXiv

ovBev

reXerai rov veov Aiovva-ov,

oiire

'OfirjpiKovi;,

ari'^ov';

d(f>e\cov,

a-vvdeaiv

Be

Trjv

o trpoa-G'

ft)?

j3ej3pvy(a>'i,

ft9

TrpocrO^

TToSa SdKTvX.ov

1
:

Trpoa-CjiSiKovs

Bi<^pov Kelro Tavv(ydei^,

Kovio? SeBpayfievo<;

aifiaroia-a-'ij';

FP

/cal

'vntraiv

PMV

MV

alfiaroea-a-r]ii.

"ifKmv koI Bl^pov Kelro

kovio<;
T(3v]

BeBpajfievo<i,

tZv avrZv

II

e'xei'

PMV

p,ovov

ImviKov

erepov dtroBaxrco yivo<; to reTpdfierpov KoXov/ievov

15

irpoaOel's

aWafa?

FMV:

PV

exv

FM

Tavvadei,<i,

/SeySpu^o)?.

3 wpoa-(oiia,Kovi

schoU. Hermogenis

PV

||

P
avcAfcei P
eA.Ket F
8 [uJtto rtvuv Se Idv^dKXia cum
e'xoi^a-a
Sic^iAta P
10 o-v/ty8e;87jAos F TeXeral (sic) P AeycTOt
litura F, MV
epyacriai
11 eu/3yeo-tij9 P
efyycuriris MV
FMV Spovvo-ov P
14 yevos
u/3'yia*o-/i6vos P
opyiacrfj-ivoi F
13 oiuStv avTots PV
p,eX.oi PMV
to ante KaXovp.vov dant PMV
rb F
16, 17 om. F
16 aijji,aTocrea'{r))s P alpaTOicrrj'S V
rdXavT

F
F

rdXavTa

6 ^

t'

^^

ex(.<^v)ovcr'

||

||

||

II

\\

||

odes of Aeschylus gain where the heroic

line is most employed.
So much, at
any rate, may be conceded to Dionysius'
point of view, prone though he is to the
kind of exaggeration which Tennyson
(Life i. 469, 470) so effectively parodies.

Maximus Planudes (Wafz

Mhett.
referring to this passage,
ft ttus &v elev irptxrifSiKa (v. irpoirif:
Biaxd) Kai irpoabiioLa tois rpiarreloi.s, ij
3.

Gr.
says

V.

491),

irdXu' TTus

ffwopay.

raCra Trpiiirem,
For the prosodia

oida/juis

ixu

{irpoa-dSia, sc.

pcr/iaTa

:
also called irpoffoSioKof), or processional songs, see Weir Smyth's Greek
Melio Poets p. xxxiii. ; and for the various
metres employed see pp. xxxiv., xxxv.
ibid.
It is clear that Dionysius is not
here thinking specially of the so-called

irpoffoSio/cis iroiis

\j).

Fragm. 19 (Bergk

7,

Cp. Bacchyl.

Jebb). Reading

irpocrifSiKois (with the inferior MSS.), and

translating by 'accentual,' A. J. Ellis
{English, Dionysian, and Hellenic Pronunciation of Greek p. 37) thinks that
Dionysius means "Terses in which the
effect of high pitch was increased by
superadding stress, so as to give it preponderance over mere (Quantity " ; and
he points out that E. M. Geldart shows
{Journal of Philology 1869, vol. ii. p.
160) tliat these transformed lines of
Homer, if read as modern Greek, would
give rather rough (rrixoi voKmKol, or the
usual modern accentual verse [the ' city
verses ' referred to by Gibbon, c. 53].
Though it is perhaps unlikely that Dionysius makes any direct reference to such a
change, a stress-accent may, even in his
day, have gradually been triumphing
over that pitch-accent which was con-

ON LITERARY COMPOSITION

IV

which is the dactyl.

and will turn the same
of

I will change the order of the words,

lines into tetrameters instead of hexa-

meters, into prosodiacs instead of heroics.

But

87

Thus

was with them as with a righteous-souled woman toilbowed,

In her scales weights and wool lie, on high doth she hold the
balance
it

Level-poised, so that bread hardly-earned

may

be doled to her

babes.

Such are the following Priapean, or

ithyphallic, lines

some

(as

call

them)

am no profane one,
By his favour come I

young Dionysus'

votaries

too initiate as one of his.

Taking again other lines of Homer, and neither adding nor

withdrawing anything, but simply varying the order, I will
produce another kind of verse, the so-called Ionic tetrameter
:

So there outstretched was he lying, his steeds and his chariot

before.

Groaning, convulsively clutching the dust that was red with his
gore.^

So there outstretched was he lying, his steeds and his chariot

before,

that was red with his gore clutching convulsively,

At the dust

groaning.
1

Euphorio Chersonesita
2

sistent

Homer Iliad

with the observance of metrical

Cp. F. Spencer French Verse

quantity.

The metrical

cp.

difficulties

presented

sections of the C. V. are discussed in Amsel's de Vi atqtie Indole

Bhythmorum quid Veteres hidieaverint
The unprofitably ingenious
pp. 32 ff.
etforts of some ancient writers to derive
every kind of metre from the heroic
hexameter and the iambic trimeter
might be capped, and parodied, by an
attempt to turn such a line as II. xxlii.
644 {^pydiv ToioiTw. i/ii Si xp^ y^paC
\vyp0) into an iambic trimeter the only
thing needed being that the t of yiipaC
should be not adscript but subscript.
So Sehol. Ven. A (ad loc.) 6Vt 6 <ttIxos

by these

oStos Kal i^dficrpos ylverai. xal rplpterpos

Hephaest.

16.

c.

392, 393.

irapa tt)v Ayayipi t^s

Townl. ivnirevKTai

irpo(j>opS,s,

and Schol.

6 (rrixos rats Koivats,

d^Xufiev Kal tafi^os ^ffrai, (us rb

KiSpov vrfKei kuttv^"
(for the doubtful ascription of this last
line to Callimachus see Schneider's
fitrr'

p. 70.
5.

xiii.

iiv

"aij.ipvrji 6,Kp6,Tov Kal

Callimachea ii. 777).

10. For the author of these Priapean
verses Euphorion (or Euphronius)
of
the Chersonese
see the long discussion
in Susemihl's Gesch. d. griech. Litt. in
der Alexandrinerzeit i. 281, 283.
It
is Hepliaestion (de Metris Enchiridion
c. 16, ed. Westphal) who attributes the

'

'

t$ 'Keppovqiruirij.
The commentators on Hermogenes
secure trochees by changing the order of
lines

Eicfioploiri.

15.

the words in this line

iKaro Kal Sl<j>pov

ravvaSels, or TavvffBels Ketro Kal Slippov,

DIONYSIUS OF HALICARNASSUS

88

TOMVT earl ra ZwraSeta

ivS"

oi

yfjis

771

fipwiKov i/i7rt7rrov(ra^

10 fievov<r7]<s,

ri}?

Be

Trj<;

TO,

<T')(r)iuvTa,

awdea-eco';

OempTj/jtdroDV,

&v

ovj^

Kal

i.'<76)?

ra

Kal

crvfifieTa-jri'TrTetv

ra

rjB'r],

irddr),

rh,

oXtjv

r&v

rrjv

evia oXbyoK rrdvv ecrl yvcopifia.

ayjraa-0ai

TroXXmv

eTrt

rwv roiovrmv KaX&<; av

itrl

re

ra,

avTot^

dXX' dva/yKaaBrjO'oiiai rrXeiovtav

rjKKira

pvd/jbol^

t^? avrrji

ovofiareov

fieraTrecrovaT]^

fiovrj?

Kal

'X^pcofiara,

a^leocriv

TTOiTjfidrav

r&v

eKXoyfj^

fiev

re

/juerpot^

<rvfi^e^j]KO<;

avro Kal toZ?

to S

eiriSeiKVvvat,

crrl'^^pv

"jraa-i

irpoa-ayirov.

r)\i,ov

tSea? fierpcov Kal Sia<l>opov^ ets tov

fierappvdfJbi^eaOai,

fierpa

15

Seiv

w(7Te

aTro<^alvebv,

KaXov

en TroWa?

Trarpcor)^,

ea-rirjii

fiV')(pv

eparrjv Kal

T
av

dXKoK oXiyov

Kal

ieprj'i

-^/Sriv

Bvvaip/ijv S'

optpava rei^ea irpoXi'irovTe's

^evr)<;,

'EWaSos

ravTu'

aicpaiai Trvpai^ veKve^ exeiVTO

iir

fjbev

chap.

e'xpi

ra ^vpiTTiSeia ravra iireveyKelv

fioi

firi

Qiyyave

XeirrSiv

ri rrepicra-a (fjpoveK
20

ravra
Kai
rcov

fiev

r&v

fJLev

Xe^ew^
T0t9
1

FM

ovv idaeiv

rrjv

dp'^rjv

7roX\ot9j

Toiavra

aKpaa
Hermannus
:

PMV

PMV

dW

M:

t(rropLa<i,

rov

ejKetvTo

etreiBrj

^(apaKrfipa

Be

II

iccii/

10

avvdeaewi,
t^? 'HpoSoTou

rr]<;

e/e

Kal

||

6 Svvaifiriv PV
8 tc om.

MV

/uaAicrTa Tr&rovcrrji

PV

12

toI

Trddr/

om.

marg.)F:

/ieTairiTrroucnjs (Trfcrova-Tjs in

dvayKao-d'qa-o/mi] dvayKatr^ijo-o/tot Se

ipwrrp/

eSui/o/tijv

Kav

/lovov.

2 aKpauri
v P^

supraser.

^/Sij,

ian

yva>pi,fjb6<;

BuaXeKrov

tjj?

crbyrdSia libri

PMV

eparctvijv

Kal
7 Se
ofiMTwv, supraser. vo pi
fiiTaTrea-ovcrrjs

on

rrapov,

Be

Xri->^op.ai S'

SuraSeia Planudes

||

{|

kpaxTTriv

FM

aXXarrofievrj^

(TKOTrelv.

rfj^

fieraBel^

PV

fieXXei<s

firj

Kara to

SokS>

fiot

ovo/judreov,

^ovXofievm

tcS

el

01x0101%,

to a^iTO Bvvarai rraQeiv ry e^ipMrpip fievov-

Xe^t?

ire^r)

rj

rrapecm
25

trap

crefjbvvveadai,

'^vj(t]'

fivOcov,

13

di'(av)Kao-^ijcro/jioi

aA.A.'

14 yvwpuriM. F^
15 Se PMV
koX om. P
19
/icA-AotsF
21 oSi/F
22 /i./neT/3ft) ovrwv PMV
23 rwF;
rmv avToiv E om. PMV
dX\aa-op,kvr)<; P
dXX(KTa-Ofj,evrjs
24
Tu fiovXop.ev((i>) P
Se PMV et 90 1
25 lireiSij F tirel PMV
II

airrecrdat

||

||

II

1. These lines of Sotades are quoted by

two of the commentators on Hermogenes
by John of Sicily (Walz vi. 243) and by
an anonymous scholiast (Walz vii. 985).

See further in Glossary, s.v. SuTaScios.

7. Palaeographically
k&v
(MV) is

MV

||

tempting, since the other readings

{kS-h

and Kai) could easily be derived from it.

But the difficulty is that Dionysius seems
elsewhere to use the simple dative with
av/ipalvw, and would probably have expressed the meaning 'in the case of by

ON LITERARY COMPOSITION

IV

Such are the following Sotadean

lines

89

There upon the summit of the burning pyres their corpses lay^^
In an alien land, the widowed walls forsaken far away,
Walls of sacred Hellas and the hearths upon the homeland shore,
;

Winsome

youth, the sun's fair face

I could,

forsaken all for evermore

^
!

I wished, adduce many more different types of

belonging to the class of the heroic line, and show
that the same thing is true of almost aU the other metres and
rhythms, namely that, when the choice of words remaias unaltered and only the arrangement is changed, the verses invariably
lose their rhythm, while their formation is ruined, together with
the complexion, the character, the feeling, and the whole

measures

if

all

But in so doing I should be obliged

on a number of speculations, with some of which very
few are familiar.
To many speculations, perhaps, and particularly
to those bearing on the matter in hand, the lines of Euripides
may fitly be applied
effectiveness of the lines.

to touch

With

subtleties meddle not thou,

soul of mine
Wherefore be overwise, except in thy fellows' eyes
Thou lookest to be revered as for wisdom divine ? ^

So I think
present.

wise to leave this ground unworked for the

it

But anyone who

cares

may

diction of prose can be affected in the

when

satisfy himself that the

same way

the words are retained but the order

is

as that of verse

changed.

I will

take from the writings of Herodotus the opening of his History,

since
^

it

is

familiar

to

most

Sotades Fragm.

Kal 'iv ye ry ipxaiq,

eiri with the genitive.
tS i)/ieT4pg, (pwv^ airii avfi^alvei t4 Svo/io,
(Plato Orat. 398 b) is not parallel.
12. Quintil. Inst. Or. ix. i. 14, 15
quaedam et sententiia parva et
elocutione modica virtus haeo sola com-

"nam

denique quod cuique visum

eritvehementer, duloiter, speciose dictum,

mendat.

solvat et turbet : aberit omnis vis, iucunditas, decor . . illud notasse satis
habeo, quo pulchriora et sensu et elocutione dissol veris, hoc oratiouem magis
deformem fore, quia neglegentia coUocationis ipsa verborum luce deprehenditur."

omiMere
21. edcreiv (ioi Sokm
placet; cp. Ariatoph. Plut. 1186,
671, Vespae 177.

mihi
Aves

simply

people,
^

changing

the

Euripides Fragm. 924 (Nauck).

22.

Compare the

interesting passage in

" Quantum autem

licet, si aut compositi oratoris bene structam coUocationem dissolvas permutatione verborum
perierit
oorrumpatur enim tota res
Cic.

sit

Orat.

70.

232

apte dioere, experiri

verborum
paululum cotnmutato, eisdem tameu
verbis stante sententia, ad nihilum omnia

tota res

videsne, ut ordine

cum sint ex aptis dissoluta

[Various examples are given in the
course of the section. ]
recidant,

23. The Epitome here has iievbvruv

y&p twv airav dvo/idruv, dXKaTToiihijs di
ttjs avvBiaetos, KaTa(pavis rb iv airy
&novcrbv re Kal dKaWiivi.ffTOi',

DIONYSIUS OF HALICAENASSUS

90

" Kpoia-oi

AvSo? jiev
iOv&v r&v ivTb<; "A\vo?

Trat?

<yevo<},

rjv

irorafiov'

Tov Wj^eivov KoXovfievov

6t?

6 ravrrji;

dpfioviav,

rrjv

^AXvarrov, rvpavvo<} B

S'

pewv

o?

jiera^i) "^vpaiv re koX IIa(}>Xay6v6)v

airo

fiea-r/fi^piaii

^opeav avefwv

irpo<;

i^Lrja-i

fjLeTanBTjfii

ttoz/toi'."

Kal

chap.

yev^ffeTai,

fioi

Xefew?

Trj<;

VTraymyiKOV

ovKeTi

TO TrXaafia ovS' IcrTopiKov, aX\' 6p0ov fiaXKov icai evwymviov

" Kpoia-o'i rjv vlo<; fiev 'AXvarrov, yevo^ Be AvBo^, Tvpavvoi Be
tSjv

eOvmv 09 airo fiecrTifi^pia^ petav

Xvpav Kal TlaipXayovtov eh tov ^v^eivov KoXovfievov
"AXi/o?

evTO<i

fiera^v
10 TTOVTOV

'^apaxrijp ov
ovto<;
^opeav avefiov.
av Bo^eiev t&v @ovKvBiBov rovrav " E-TrtBafivot

iKBiBacri,

TToXi) dire'^eiv
i<7Ti

TToXt?

oiKOvcn

15

Bwcrm
767/09

09

irpo's

tov

elairT^ovri

TavXdvnot

avTrjv

dXXd^a?

ttjv

loviov

irpoff-

IWvpiKov

^dpfiapoi,

Xe^iv eTepav

avTtjv

koXttov'

aiiTTj

e6vo<;,

/iop<f>rjv

diro-

tovtov "'AXvdTTOV fiev uto? ^v Kpotco?,

AuSo9, T&v B' ej'T09 'AXuo9 iroTafiov Tvpavvo^ eOvmv

tov
Be

diro

tt/so?

Be^ia

iv

B'

irdXiv Be

Trorafiov

Tpoirov

foecr7]fij3pia';

^opeav

pemv %vpa)v re koI IIa(p\a/y6vo}V

ave/nov

e^irjaiv

to

'HyijcrtaKov

EiJ^ew/ov.

dr/evv^<;,

20 /ii/cpoKOfiyfrov,

tov

tovto

a'^rifia

fiaXQaKov

fiSTa^i)

irovrov

KaXovfievov

t^9

<rvv6e<rea>v,

yap

tovtcov

X'qpwv

to3v

FMV

2 aXvos
ut 8, 16 infra FPMV
5 -yevij4 /tatraTt^ij/At P [laprvpa ridyjjjt,i
(reTifMi suprascr. ai pl
iTraywyticov F
eTray{b))yiKOV suprascr. v P
eTTaywyiKov
6 o^Se P,MV
7 ^v 'AXvaTTOv juev irats E
1

KpouTo-o's

II

aXvarrm E

e^trja-iv

||

MV

dXv*dTTOv
11 So^eie
8e

16

dXXd^as
S'

supra

om.

PV

||

9
:

12 (etrri) * * F
SiaXXd^as PMV
18 i^ir]<Tiv

20 dyevvei P,

\\

koI a-vpwv

Tra<f>Xay6v(i}v

7rp{ocr)oi.Kovo-iv

auT'^t add. in

||

FM

dyivh

3. Hude (following Dionysius) conjecturally restores t in the text of

Herodotus.
Usener, on the other hand,

thinks that Dionysius has deliberately

inserted re here and in 1. 17 while
omitting it in 1. 9.
10. This rugged re-writing of Herodotus shows a real appreciation of style
and should be compared with the re-

e^eitrtv

10 o

suprascr. P^

13 Se PV

avTrjv
margine F^
:

PV

||

ik

14

PM

PMV

ut

FMa
o/iokis r^s awBiaetiis,

Kal del iJiSM.6r

irpo<rKpoiovTi Ioikcv, Siairep ol t&s T/>axe(os

oSods Tropevi/icvoi,

S^

ft-os,

us

iirci,v

X^s in

uixoKbyriTo,

&voitov

"rb
is

pJti/

t4j

48)
of

4XXas iffBevelas iT&YK"-"^" "''" PfO' 1'^'

yap Kal -^Siov US' S.i/ rts eiTrei', Bn " &voaoii
rds liWas do-fleveias iv iTiyxa'^,"
es
dip-fipryro d' aiiroC Trji- neyaXorp^eiav.
He'rmogenes ("Walz Bhett. Gr. iii. 206)
shows how the passage would be changed
for the worse by such a TrKayiaapis as

smoothness and evenness of composition,

the use of a genitive absolute at the

and on his liking for jolting rhythms

(e.g. "from other maladies this year, by
common consent, was free," rather than
" by common consent, this year was free

start

marks which Demetrius (de Eloc.

makes on Thucydides' avoidance

from other maladies ") Kal 6 QovKvdLdris

di TavTaxov <rxeSbv ^e6yei t6 Xeiox Kal
:

e.g. Kpolcrov ivros ktK.

From

this point onwards, the less

important of the manuscript variants are
not recorded in the critical apparaiiis,
except in the case of P which the editor
has examined personally.
11.

ON LITERARY COMPOSITION

IV

nature of the

dialect

"

Croesus was a Lydian by birth and

lord over all the nations on this

He was

the son of Alyattes.

side

91

of the river Halys, which flows from the south between

Syria and Paphlagonia, and

which

is called

the Euxine."

falls,

towards the north, into the sea

I change the order here, and the cast

-^

become no longer that of a spacious narrative,

" Croesus was the son of Alyattes,
and by birth a Lydian.
He was lord, on this side of the river
Halys, over all nations
which river from the south flowing
between Syria and Paphlagonia runs into the sea which is called
the Euxine and debouches towards the north."
This style would
seem not to differ widely from that of Thucydides in the words
" Epidamnus is a city on the right as you enter the Ionian Gulf

of the passage will

but tense rather and forensic

next neighbours are barbarians, the Taulantii, an lUyrian race." ^

Once more I will recast the same passage and give a new form

its

" Alyattes'

son was Croesus, by birth a Lydian.

Lord over all nations he was, on this side of the river Halys which
river, from the south flowing between Syria and Paphlagonia,
falls, with northward run, into the Euxine-called sea."
This
affected, degenerate, emasculate way of arranging words resembles
He
that of Hegesias, the high-priest of this kind of nonsense.
to it as follows

Herodotus

i.

12. Demetrius {de Eloc. 199), in

quoting this passage, reads iaifKiovn
eif
and this may be the correct reading
:

Thucyd.

24.
19. Hegesias, in the eyes of Dionysius,
was a wi'iter whose originality displayed
itself in unnatural contortions of Ian-

in

i.

guage ; cp. Introduction, pp. 52-55

supra.
The merits of a natural, untutored prose-order have been indicated
once for all by Moliire {Le Bourgeois
Gentilhomme ii. 4) : " Monsieur JotjrDAIN. Je voudrais done lui mettre
dans un billet: Belle Marquise, vos
beaux yeux me font mourir d'amiowr ;
mais je voudrais que cela fut mis d'une
manifere galante, que cela fut tourn^
Non, vous dis-je, je ne
gentiment
veux que oes seules paroles-Ik dans le
billet ; mais tourn^es k la mode, bien
Je vous prie
arrangees comme il faut.
de me dire un peu, pour voir^ les diverses
maniires dont on les pent mettre.
MaItre de Philosophie. On les pent
mettre premierement comme vous avez
dit Belle Marquise, vos beaux yeux me
.

6.

Thucydides

i.

24.

Ou bien D'amour
Marquise, vos teatix
yeux. Ou bien Vbs yeux beaux d'amour
me font, belle Marquise, mourir, Ou
bien
Mourir vos beaux yeux, belle
Marquise, d'amour me font. Ou bien :
Me font vos yeux beaux mourir, belle
Marquise, d'amour. [This is, apparently,
the crowning absurdity.] M. Jotirdain,
Mais de toutes oes fafons-li, laquelle est
la meilleure ?
MaItre de Philosophie.
Celle que vous avez dite Belle Marquise,
vos beaux yeux me font mourir d'amowr.
M. Jotjkdain. Cependant je n'ai point
4tudi^, et j'ai fait cela tout du premier
coup."

font mourir d'amour.

mourir me font,

belle

20. The phrase is perhaps suggested

by Aristoph. JVm6. 359 <ri re, "KeirTOTdTUv
X-fipuv lepeS, <ppd^e irpbs iiiias S

xp^feis.

Sestio 17. 39 "stuprorum

saoerdos," and also D.H. p. 169 (note
toTs
on Kal irdXis 6 reWTTjs iffrlv

Op.

Cicero

Hierophant,'
'adept,' 'past master,' will give something of the idea.

toioi)tois

irap'

aiT<f).

'

DIONYSIUS OF HALICARNASSUS

92
Upeii?

chap.

"
TOiavra lypa^wv
'Ef ayadrj'} eoprij^
" 'Atto Majv7)cria<i etpX rfj^ fieyaXijii
aWrjv."

avrjp

6Kelvo<;

ayadrjv dyo/j^ev
" Oil
SiTTvXev'i."
Ai6vv(T0<i'

a\t?

Kevai

eareo

(j)avepov

irpovKeiTo

eKXoyrji;

rj

elKacra'i

avrrjv

top

ainov

'OBvco'ea
10

yap fiixpav eh rj^aimv vhasp einvaev 6

yap icrri, Troiel Be fiaiveaffai.
iKav&<; yap oXofjMi, irevoirjTrapaBeiy/jMTcov,

lySv? /lev

Tore

crvvdecL's.

/loi,

on

fiot

BoKel

Tt?

'Adrjva'

'Ofirjpitcy

ovra

jjbei^ova

rrji;

ej(^ei

av

a/jLapreiv

yap

re

eKeivr)

ciKKoiov

cOCKoTe

i<T')(pv

oiiK

rov

<j)aiveauai,

cTTOtet

fiiKpov ical pvcrov ical aitry^pov

fjLev

iTTCO'^a

Tore Be

Kai

XevyaXea ivaXiyKtov

yipovri.

iJSe

avrrj pd^B<p iraXiv i^aylrafievrj

tjJ

Hei^ovd T

Kal Trda-trova drJKev IBeadai,

eitriBeeiv

Be Kdpr)ro<s

KciB

ovX<x9 ^/ce Ko/j,ai iiaKivOLvc^ av6ei ofioia'i,

15

ra avra Xafi^dvovcra ovofiaTa Tore fiev dfiop^a Kal

raireiva iroiet ^aiveaOai rd vorjiiaTa, Tore B'

avrr) re

Kal

iTTay^a

Kal

v^fr7)7M

(T'^eBov

dp'^aCoi'S

oXCyov Belv

KaXd

Kal

icTTiv

dBpa\

{jcal

BiaXXdrrei

avvTiOevat

to

20 priTopo<;,

irkovaria

/idXia-ra

aiiT&v

dvrjp libri

PMV

cf.

iKav((3s)

D.H.
Pi

rd re

fiirpa

afxapTaveiv
II

PMV

PMV

10 pev

/jiiKpov

av

yjv

psv

avrov,

rjv

Kal ra

ovkbtl irXrjv
5 oA,ts

tout

koI prjTWp

Tot?

ovofiara.

7 SoKii Tis ovK

II

Kal

ttoitjtov

eimriBevcn';

169

p.

re

iroXXr)

Xoyoi' Tot? Se fierayevecTTepoK

Twv

ra

Be^iw^

jrairi

KoXd.

Kal

nroirjT'^i}

fieXT/

ovv
"Trap

Kal ol

oXLyav XP^V ^
rro)
av P
ea-rta F
:

||

PV

ov Soxet Tts

EF

Kal pv(rov

EFM

fiev pvcrhv Kal

15
Kal F
ykpovra P
12 pa)88(0 P
Sylburgius
a^nj libri
17 jTTftJXa ko'
TttTretva PMV: raweiva Kal Trrtoxa EF
fie
18 Kal aSpa
delevit Sadaeus
toUt' ^v o-xeSbv St PE : tout' ^v S (^ M)
tow^ V
19 SiaXaTTEi P
20 to EFP tu
eTrtT^Seuo-is
21 iracriv T
Sylburgius: iirlSoo-is libri
22 te cm. PV
23 ovk soti P XPoK") ^

p-iKpov

iaKiv9iv((i>)

11

ijSe] riSk

16

||

aiJTT;

PMV

||

FM

||

MV

\\

||

Possibly Hegesias began one of

his books in this grandiloquent fashion,
'"''''''' "' ^'^

Vettori suggested
here of B^Kev lSi<r$ai.

J^^rJCun^S^yt!"

,^- CP. I-r. P.^.

>j/"'Pp''= understand ^o.dSa or

U^iSa. Casaubon conjectured ^^apav

Jg

2.

Reiske, lUKpdv <YoAi'>.

4.

T|0s

sc.

iroTO/ios.

An

^.

,i,.\

^^^^^^g
i

'

17.

i 8

j-S),

J
^X

[*^a. air
^^

/-

easy

course would be to change ijSis to ^Sii

with Reiske ; but there is no manuscript
variant, and the ambiguity and awkward
ellipse may be part of Hegesias' offence.

thU omission

13.

a-

TroXXaxCs
^^e..4
\
i

The antitheses are O^Xii )(Ta7rei>'ii,

The
vXoiata )( irroixii, KaXd )( S/nop0a.
order irruxa icoi raireivi in PMV gives
a chiasmus.
&Spi, is the gloss of some

ON LITERARY COMPOSITION

IV

93

writes, for instance, " After a goodly festival another goodly

" Of Magnesia am I, the mighty land,
keep we."

Sipylus

"No
Oh yea,

man

one
of

drop into the Theban waters spewed

Dionysus
sweet it is, but madness it engendereth." ^
Enough of examples. I think I have sufficiently proved my
I."
:

little

point that composition

seems to

me

Homer.

in

now

in

is

more

effective

than

In

selection.

fact, it

that one might fairly compare the former to Athena

For she used to make the same Odysseus appear

one form, now in another,

at

one time

puny and

wrinkled and ugly,

In semblance like to a beggar wretched and

at another time,

by

eld-forlorn,^

a fresh touch of the selfsame wand.

She moulded him taller to see, and broader his wavy hair
She caused o'er his shoulders to fall as the hyacinth's purple
:

rare.^

composition takes the same words, and makes the

they convey appear at one time unlovely, beggarly and

So, too,

ideas

mean

at another, exalted, rich

and

beautiful.

main

differ-

ence between poet and poet, orator and orator, really does
in the aptness with which they arrange their words.
Almost
the ancients

made a

poems, their

lyrics,

among

p.

their

lie
all

and consequently their

special study of this
and their prose are things of beauty. But
successors, with few exceptions, this was no longer so.
;

^ Hegesias Fragm. ;
cp. C. Miiller Scri/ptores Rerum Alexandri Magni
138.
2 Homer Odyssey ivi. 273, xvii. 202, xxiv. 157.
* Cp. Homer Odyssey vi. 230, 231 ; viii. 20; xxiii. 157, 158; xxiv.

369.
rhetorician on i^rjKd (cp. de Derrwsth.
0. 34, where this gloss actually occurs
in one of the manuscripts). The word
&dp6s does not belong to Dionysius'
rhetorical terminology ; cp. Long. p.
194.
18. flv, 'was all the time,' 'is after
all

'

(cp.

192

8, etc.

20. Quintil. ix.

paene
confiteor,

).

4.

16

"itaque

ut

ultimam

oratoribus
artem compositionis, quae quidem perfeota sit, contigisse : ita illis quoque
priscis habitam inter curas, in quantum
neque enim
adhuc profecerant, puto.
mihi quamlibet magnus auctor Cicero
Sersuaserit, Lysian, Herodotum, Thucyiden parum studiosos eius fuisse " ;

Dionys. Hal. de Demosth.

tis

iyhero

c.

36

iroXXij'

iv tois ipxalois iwt$v/ila Kal

irpSvoia roO koKSis ap/i^TTsiv ri,

dviiiara

Iv re /lirpois Kal Slxa nirpuv, koX irdrrei,

crirovdaias
i^ovMj8ri(rav
i^eveyKeiv

SffOi

oi fihvov ^f^ijtrav dpofidffac ra

voi^fmra koKSs, dWd, Kal airra <ja 6v6fmra^ eiKdff/juf avvBiaei irepiXa^eTv.
21. The conjecture eiriTi^jSeucris may
be illustrated by 70 6, 212 19, 256 18,
and also by de Demosth. c. 36 (the
sentence preceding that just quoted).
7/)a0(s,

The manuscript reading Mdoffis might

possibly be retained and translated

"made numerous contributions to it."

Disselbeok suggests SSa-is, and compares
de Demosth. cc. 18, iS, 51.

y^/

DIONYSIUS OF HALICARNASSUS

94

iravrdiracriv

iiarepov

ovBe

elvat

aiiTo

ToiydoToi TOiauTaf

TloXv^iov

KoX

'lepmvvfiov

re

koI

dXXovs

Kal

va/cra

"Vdtova

TOVTOVi

tS

koX

oiai

Xeya

^vXap'^ov

r&v

KoKXei

ovoel';

Aovpiv

koI

KaXXanavov

tov

Xoytov
vTrofievei

xal

Ar)/ii]rpiov

'Avriyovov

koX

'UpaKkeLBTjv koI 'Hyqaid-

fivpiov}

mv

dirdvTtav

rh

el

ovofiara

t^? ^fiepa^ ')(povo<s.

koI tL
davfid^eiv, oirov ye xal ol ^iXoao(l)iav iirayyeX-

^ovXot/jLTjv Xeyeiv,

Set

mero Beiv avajKaiov

oiSel<;

tl

KareKiirov

crvvrd^eiii

SieXdelv,

Kopa>vLho<;

fte'x^pt

xal

^/leXijffr)

avfi/SaXXeadaL

chap.

iiriXeui^ei,

fie

e/c^e/Joi/Te? re^j^vas ovrw^ elcriv

twv ovofidrav mere aihelaOat, koX
Xeyeiv ; diro'^pr) he Te/cfiT/pio) j^-^a-acr6ai rov Xoyov 'K.pval'inrtp
TcS %TtolKm (jrepanepo) yap ovk av TrpojSairjv)' tovtov yap

Kal

ra?

irepl

rfjv

10 Xofievoi

dffXioi

ovT

ovSet?

afieivov

yeipovi

15 dpfiovia

ovSeia-

<l)VTap)(ov

StaXeKTi,Kd<s

o-actfva

||

PMV

rJKpL^caa-ev

Xoyovi

yovv
Tive<i

kultoi

CTrovSd^eiv

ye

3 KareXenrov

KaXaruxvhv P
6 dvTiyovov F
dvTiXoyov
a-Tartova

ovre

t&v

t((i))

re'^va'S

i^ijveyKe

d^ioodevTwv.

2 Ti om.

PM

MV

ra?

a-vvray^devra^

Kal So^t;?

ovofiaTOi;
1

BiaXeKTiKa^

avvOeo'iv

||

4
:

KaXav-

KaXavSiavhv F
PMV
qyr)(Ti,{a)vaKTa P,F
rjyrjcrivvaKTa
^yrjcriav i^dyvrfTa
1 li post
ovofiaTa ponunt PMV
9 ot F^P
om. F^
ot t^v
12
run Xoyioi xpyiriTTTrov tov CTTiMKov PMV
13 tovto F
14
owe (ante dfieivov) PMV
15 x^VO"' ^^^ dp/xovii} habent PMV
y' ovv F,M
om. PV
16 a-irovSd^eiv PMV cnrovSa^eo-dat F
Tiavhv

||

MV

||

1.

iiero

pleonasm.

avaYKaiov airh etvai

Perhaps ^er* &(rKeiv dvayKotov

Beiv

fiirb elvai, or

the

like.

Phylarchus
a native of Athens,
or (ace. to some ancient authorities) of
Naucratis in Egypt.
He flourished
under Ptolemy Euergetes (247-222 B.C.),
4.

and continued (in 28 books) the historical

works of Hieronymus and Duris. The
period covered was that from Pyrrhus'
invasion of the Peloponnese to the death
of Cleomenes (272-220 B.C.). Remains in
C. Miiller Fragm. Mist. Gr. i. 334-58.

Duris of Samos

a pupil of TheoFlourished under Ptolemy

Philadelphus (285-247 B.O.); wrote a
history which extended from the battle
of Leuctra to the year 281 or later.
Among his other writings was a Life of
Agathocles.
Fragments in C. Miiller
li. 466-88.
He is mentioned in Cic.
Att. vi. 1. 18
"num idciroo Duris
Samius, homo in histona diligens, quod
cum multis erravit, irridetur ?

phrastus.

Polybius : see Introduction, pp.

52 swpra,
Psaon, of Plataea a third-century
historian, who wrote in thirty books,
^P- ^- Miiller m. 198 (and.ii. 360).
5.

51,

Demetnus (of
Callatia, or Callantia

Callatis,

Calatis,

the town appears

*6Se names): wrote thirty
^""^.^"^
*P
books of history in the third century,
^P- ^- duller iv. 380, 381.
- Hieronymus, of Cardia
wrote, in
*'^^ *'^"^ century, a history of the
Diadoohi and the Epigoni. Fragments
in C. Miiller ii. 450-61.
Antigonus of uncertain date (probably second century) and country, but
apparently identical with the Antigonus
mentioned, among writers who had
:

touched

on

Aniiqq.

Bom.

elSivai,

early Roman history, in

i. 6 ttowtoh u.iv, Sira Kifii

-riiv

'PuiiaXKriv

6.pxato\<yyiay

iirtSpafi6vTos'Iepuivi/jt,ovrovKapSiai'Ovavy

nareif
ri. piip

ry

'%mybvmv wpayInena Tifialov toO S6Xk6tou,

dpxoeo tCSv laropiCv iv rah Kotvau

ypa<t,4us, iv

irepi tSiv

ON LITERARY COMPOSITION

IV

At

in later times,

last,

was utterly neglected

it

absolutely indispensable, or that

it

beauty of discourse.

no

that

tions

to end.

has

mean men

Demetrius

of

the

no one thouo-ht

contributed anything to the

it

Consequently they

one

95

left

patience

behind them lucubrafrom beginning

to read

like Phylarchus, Duris, Polybius, Psaon,

Hieronymus,

Callatis,

Hegesianax, and countless others

Antigonus, Heracleides,
a whole day would not be

enough if I tried to repeat the bare names of them all.^ But

why wonder at these, when even those who call themselves
professors of philosophy and publish manuals of dialectic fail so \1
wretchedly in the arrangement of their words that I shrink from
even mentioning their names ?
It is quite endugh to point, in
'

proof of

my

wUl not

go.

statement, to Chrysippus the Stoic

Among

who have

writers

for farther I

achieved any

name

or

none have written their treatises on dialectic with

greater accuracy, and none have published discourses which are
And yet some of them claimed
worse specimens of composition.
distinction,

Op. Demosthenes de Corona 296.

loTopiais

Tois

atjni'yiqaaiJ.ivov,

Si

wpbs

ot

ijpaes

ILi^ppov rhv ''H.treLpdyrTjv iroX^fiovs els iSlav

HXdrava,

Si
dfia
KaTax<^P^o.vros TrpayfiaTeiav
T0i5T0ts 'AvTLydvov re Kal ILoXv^lov, Kal
'SiXrivov, Kal /i.vploiv AWav rots airocs
irpiyfianv oix o/wlws im^d\6vT<af Siv
iKaffTOS 6\iya, Kal oiSi ai5rd SLeffirovSaclUvdti oiSk AKpi^uis, dXX' iK tUv im,TVxbvTWv 6,KovfffidT(tJv ffvvQels, dv^ypa^ev,
In the present passage 'AvTlXoyov,
'AptIXoxov, 'AvtIoxov, and 'Afi^lXoxov
are also read or conjectured.
Heracleides : a historian who probably flourished during the reign of

Svres

'

Ptolemy Philometor (181-146 B.C.).

Hegesianax : a second -century

who seems

historian,

to have written

on the history and legends of Troy

Op. C. Miilleriii. 68-70.
Demosth. de Cor. 296
8.
Cp.
imXelipei /ie \iyovTa t) iifiipa t& tQv
irpoSoTuv dvS/mTa, and Epist. ad Sebr.
(TpiaiKd).

xi.

32 Kal

tI 'in

Sirfyoi/ievov

Xiya ;

XP^""^

eirikelfei. ixe yd.p

TeSeiiv,

""^P'

kt\.

Hose. Am. 32. 89 "tempus,

hercule, te citius quam oratio deficeret,"
and Verr. li. 2, 21, 52 "nam me dies,

So

Cic.

vox,

latera deficiant,
velim, quam

si

vooiferari

dignumque
9.

t/

Biroii

nunc

hoc

miserum

in-

sit," etc.

cp.

Set TCpl tcfialov

Long, de Subl.
Xiyeiy,

Sirov

iv.

ye Kal

Sevoipayra
iK r^s

iKeivoi,

KaLroiye

iraXaiiTTpas,

S/uns

Si6,

\4yia

Kal

'ZiiiKpirovi

rk

olSras

/UKpoxapij TTore eavrdv iwiXaySdvovrai ;

12. The reading t^ Xdyqi Xpvtrlirirov

Tov XtuikoO (PMV) would mean "to

point, in proof, to the style {t<J X6yip=
'discourse,' 'writing,' 'style'; cp. 96 2)
of Chrysippus."
With the general

estimate compare Cic. de Fin. iv. 3. 7

"quamquam soripsit artem rhetoricam
Cleanthes, Chrysippus etiam, sed sic, ut,
si quis obmutescere concupierit, nihil
aliud legere debeat.
13. The manuscript reading vpopairiv
should be retained, as against Usener's
conjecture irpopaiev, which perhaps could
hardly mean none could sink to greater
depths than he,' if that is the sense
intended by Usener. Cp. Aeach. Prom.
V. 247 p.-!] Tvoi n jrpot(/3);r rwvSe Kal irepairipu words which Dionysius may have
had in mind ; and Plato Phaedr. 239 D &
'

S7}Xa Kal oiK &^iov irepaLjipta irpo^aiveiu.

16. <rirovSd|(iv
Usener adopts
:

reading

Fs

with the remark

"medii rari vestigium servandum erat."
Buthequotesnoexamples; and Dionysius
ffirovSd^effdaij

elsewhere uses the active (e.g. avovSa^dvTuiv, 66 8 supra).

The verb is so
frequently found in a passive form and
signification, that it seems unlikely that

DIONYSIUS OP HALICARNASSUS

96

irpoaeTTOiridria-av

avrmv Koi

T&v

Xoyov

Tov

aXiy^eia?
5

TO

eXprjTao

^iKoarotpotf,

XeKTiKov

TOTTOV

ovBap-y

10 pelv.

elSm^

a?

vpayfiaTeiav,

irpoyprj/iai

BiTTaf

a-vvTci^ei?

T&v TOV Xoyov

15 BiaXsKTiKriv,

ov pr)TopLKr]v

fiepoiv "

'laaaiv

w<;

fiapTv-

KaToXekoL-rre

t^9

irepl

trvz/Ta^eoj?

i'^ovaa'}

aWa

dveyvcoKOTS'^,

virep

detoplav

KaX

re

d\r]6S>v

<rvvTd^ea)<s

d^icofiaTrnv

"

^i0Xov<;

ras

ot

ToXriOi)

'S.pva-i-inro'i

i^ova-a<;

iiriypa^fjv

ti

dnro t^?

toI<;

op&v t&v yovv

sSmttov et? fjv iyat

ovt

Se-

ore

ei

ovBevo<i

vir

fiei^ov

yovv

fiiKpdv cfipovnBa tov

yap aurot?

elpr]fievov

ovtb

iarl

ttot'

iyoi

koX fidXia-Ta

Bel

ri

i^'^TOVv

virodea-iv,

avBpa<i ov

T0v<i

ovBev

B'

avvOeaiv.

ttjv

avrrj'i

TTOiovfievovis'

rj^ia>p,ivasv

6v6fiaT0<s

elBov,

t^?

utto

Travre?

ti

ovap

ttjv

TavTrjv
irepl

ttoKv

ovB'

icaX

koKtjv

kuI

^Beiav

irpoTepov

'ZToa<;

aXSA

/jLopiav

avvTaTTeffOat

Biijvmp

TOW

Ti,va<s

aire'TrXd'^'xd-qcTav

TTOiovv

rovro to fiepo? 5 dvajxalov

er^pai^av virep t^9 o-wra^ew?

irepX

ov To3 Xoy^j KaX Te^i/a? ye

chap.

KaX

ifrevB&v

BvvaTwv

KaX dBvvaTeov evBej(Ofiev(ov re KaX fieTairiirTOVTiov KaX dfi^i,p6\wv KaX oKKcov Ttv&v ToiovTOTpoirwv, ovBep,iav ovt axfteXeiap
oiJre

y^peiap

toi<s

KaXKo?

KaX

20 qBovrjv

a-vvdeaiv

ravTi;?

Stt

avT0<i

(jiva-iKrjv

trew?

BoKel

avTt}

KpanffTT)

F,M

2 ov

PM ypa\j/v F errey
oiiSe P, MV
^Tjo-av PMV
Steyvuv PMV ot' eyvoiv F
eypa\f/av

el

to

fioi

dyovcrav

TavTT)v

Bel

pa'if/a.v

||

||

t((o)

evpeiv

Kai iraari^

^T]Tr]-

Be

nveov

ympelv

e?

ov^

OTrot

oBov,

e/iadov
irpov-

ye om. PMV
4 aTTOrAavij* P
0T
eyojy* oSv PMV

Aoy(a))

wrep *

eaKoirovv

Bvvaifirjv

dylrdp,evo<i

||

||

eyw y ovv F
9 tottov] \6yov F
re TroirjpAvovi P
yoiJi'
S' om. P
iipTqpivov om.
PM
14 ov\ koX P
16 re] Se
18 oijt' w^eXeiav om. P
19 cru/^i/SaA5

II

Tr]v

dTriaTrjv,

irpar/iia
ttjv

ifie

om.

<TT0')(a^ecT6ai,

Tiva

dpj0.

elvai

oBm

yovv

Trpdy/iaTO'i

TravTO'}

eireiBr)

el<s

a-vfi^aWofieva<;

TrpayfiaTeiaii

yevo/jLevoi;,

KaX So^a?

iroi,

avTwi

t^9

pkv

ifiavTOv

d^opfirjv,

25 detapTjfidTav

eTepaxre

XoyoK
&v
epfji/qveLa<;,

ttoXltikoIi;

||

||

10 ovSafiei (suprascr. ijt) P^

PMV
13 Trepl] ov jrepi
om. PV
17 dfi<j>i\6j3ii>v P
PMV
Ao/iei/ft)v PMV
20 Kal: ^ PMV
22 Se PMV
24 Sokei]
25 /iot FP Ttvt
rd irpdyfiaTa TrpoXiapeiv F
SoKet Kol P
26
7r/)[ov]5e/iT;v 'Tropevoi/jLTjv cum litura F
Trpovdkfi.ii]v PMV
JjUe om. F
||

||

MV

||

||

II

oommon to passive and middle

would be used in the middle when the
A middle future,
active was available.
airovSiffOfiM, occurs in Plato Euthyphro
but the
3 B and in Demosth. il/id. 213
fonns

future

middle in

many

verbs stands
and in the passage of

by itself,
Demosthenes we have
quite

<rTovSd(rcTa,L

while in the passage of Plato

there is an important variation in the
reading.
4. ov8' SvapI8ov='nesomnioquidem
viderunt,'
'ne per
somnia quidem
viderunt.'
(TTovSAjrare,

6. For iyvav
(as a v.l. for Siiyvuv)
mivr&TTiirBai op. Antiqq. Rom. i. 1 . .

ON LITERARY COMPOSITION

IV

97

make a serious study of this department also, as being

absolutely essential to good writing, and wrote some manuals on
the grouping of the parts of speech.
But they all went far

to

astray from the truth and never even dreamt what

makes composition

attractive

and

At any

beautiful.

it

rate,

that

is

when

resolved to treat of this subject methodically, I tried to find out

whether anything at all had been said about it by earlier writers,

and particularly by the philosophers of the Porch, because I

knew

that

these

worthies were accustomed to pay no

attention to the department of discourse

their

But

due.

in no

contribution,

great

reputation at

all

two

the

or

single

instance

small,

made by any

did

events, to the subject of

treatises

little

one must give them

my

light

upon any
of any

author,
choice.

As

for

to

us,

which Chrysippus has bequeathed

"

on the grouping of the parts of speech," they

contain, as those who have read the books are aware, not a

entitled

rhetorical

but

grouping

of

dialectical

propositions,

investigation,

true

and

dealing

false,

with

the

and

possible

admissible and variable, ambiguous, and so forth.

These contribute no assistance or benefit to civil oratory, so far
at any rate as charm and beauty of style are concerned
and
yet these qualities should be the chief aim of composition.
So

impossible,

and falling back upon my own

resources proceeded to consider whether I could find some
starting-point indicated by nature itself, since nature is generally
accepted as the best first principle in every operation and every
So applying myself to certain lines of investigation, I
inquiry.
was beginning to think that the plan was making fair progress,
when I became aware that my path of progress was leading me
in a quite different direction, and not towards the goal which I
I

desisted

from

aire Sia;8oXois Ka6'

o-ffai

avyypa<pi('iv.

this

Mpav

inquiry,

^yvuKiis

Troiei-

The passage which

begins here and ends with the words

quoted under
the heading Dialectica in von Amim's
Stoicorwm Veterum Fragmenta ii. 67.
irpayfMTelas

dv^ffrriv

is

9 S. Cic. Brut. 31. 118 " Turn Brutus :

hoc idem in nostria oontingere
intellego quod in Graecis, ut omnes fere
Stoici pruVtissimi in disserendo sint
et id arte faciant sintque architecti
paene verborum, idem traduoti a disputando ad dicendum inopes reperiantur."

Quam

13. Diogenes Laertms (vii. 192. 3), in

enumerating Chrysippus' logical works,

aivra^is Sevripa
irepl tCov (Ttoi.^/lyo" foi tuv \eyofi4vai' e', irepi
ttjs (rvvri^eus rSiv \iyojihiwv S , irepi t^s
avpTd^eus koI a-roixciuv t&v Xeyofihav
irpds ^i'Kiinrov y, wepl twv aToix^ion* rod
xiy ^rptis TSiKlav a', vepl toB rrpis grepa

writes

x^'""

''''''

Xe70|i^j'oii

a.
.

.i

ii,-

j.
'

,
23<;,t';'^^t
the
Stoic point

ofvTe"^^
of
view,

^^

26. The reading of F looks like an

attempt to gloss irpoiBiiaiv.

/|

I
j

DIONYSIUS OF HALICARNASSUS

98

KoX avcuyicalov

defirjv

a?

e^ekmrov

aXKa

avTr)v

iBoKei

ayjracr0ai

KaKel,V7]<;

'i(TO)<s

"va

avrijv,

Kul ra? alnat;

0eo)pia<;

Trj<;
fjii]

Bo^p

/j,e

tcaXvaet,

airecrrr}v.

Bi

irapekOelv

aiyvoia

Ti'i

oiiBev

ebirelv

irpoaipeaei.

/lot

Bi]

Trj

ra

apfWTTeiv

Belv

ekdeiv,

?}V

chap,

(pvcrei,

fiaXicrra

tov

fiopia

'^fiai

Xoyov,

d><;

eTTOfievov;

ovTto

^ovKerai,

eKebvrj

ra ovofiara irpwra iy^ovp/riv ra/rreiv r&v prjfidraiv (ra

yap rr/v oixriav BtjXovv, ra Be ro crv/i^e^TjKO^, irporepov
eivai r^ ^vcrei, rrjv ovcriav r&v avfi^e^ijicorcov), m? ra

ainiica
fiev
B'

10 'OfiripiKci,

e;y;e{

ravrl

avBpa

fioi

/ifjviv

deiBe,

evveire,

Mowcra,

rroKxirpo'jrov

ical

6ed

KOLl

rh

IcaX

TTapaifKrja-ia

ovofiara,
a\nf)9rj<i

errerai

Be

eBo^ev elvau

Beiyfiara irapd

20

dvopovae Xvitwv

^eXto? B

15

rovroi<;

ra

fiyelrai,

prjjxara.

iv

ra

rovroi<!

dW'

\0709,

erepa yovv nrapdcr'^oLr

fioi.

rm avrm

yap

fjuev

in.Oavo's

ovk

av Tt? irapa-

ivavriwi crvvrerayfieva
crvvreraKrav,
icaka
ravra
Be
ov'^
rjrrov
kol iriOavd.
riva
^
ovv eart ravra ;
1

Se

PV

TTjOWTo post 6v6[iara.

add.
T27

PMV

(ftva-ii

om.

Trapdcrxoi tls av

rroiTjry Keifieva

3 ayvoia
om. PMV

6 eKiivrfi /3e/3ovAijTai

PMV rj^lovv F
ova-iav FY
airiav PM
SrjXoi P
10 ravri om. PMV
18 Trapda-xoir

||

rjyovii.'rjv

19

= iiyovimi

Seiv.

The following passage

of Quintiliau
(ix. 4. 23-27) illustrates this chapter in
many ways: " est et alius natiiralis ordo,
ut viros ac feminas, diem ac noctem,

||

||

T(a)) avr{o))

seems to be a touch of
5. There
quiet humour in Dionysius' retrospection (during this causcrie of his) on the
simplicity which had led him to think
that he could frame a priori rules as to
Nature's Order. Cp. 102 15 in particular.
7. F's reading, Trpfflra twv prifi.dTwv,
receives some support from 174 18 infra.
But cp. Steph. s.v. irpioTos. F's reading ij^lovv is probably due to some
corrector who was unaware that there
is good classical authority for ^voB/toi

irph ante

9 Se P,

twv

||

av ris PMV:
20 Si Sauppius re libri
:

ortum et occasum dicas potius quam

retrorsum.
quaedam ordine permutato
fiuut supervaoua, nt fratres geminir, nam
gemini praeoesserint, fratres addere
est necesse.
ilia nimia quorundam
fuit observatio, ut vocabula verbis, verba
si

non

rursus

adverbiis,

nomina

appositis

et

pronominibus essent priora.

nam fit
contra quoque frequenter non indecore.
nee non et illud nimiae superstitionis, uti
quaeque sint tempore, ita facere etiam
ordine priora
non quin frequenter sit
hoc melius, sed quia interim plus valent
;

ante

gesta idqoque levioribus superponenda sunt.

verbo sensum clndere,
multo, si compositio patiatur, optimum
est.
in verbis enim sermonis vis est.

ON LITERARY COMPOSITION

sought and which I

must

99

and so I gave up the

on that inquiry also,
and state the reasons which led me to abandon it, so that I may
not be open to the suspicion of having passed it by in ignorance,
and not of deliberate choice.
attempt.

may

felt

attain

as well, perhaps, touch

CHAPTEE V
NO GEAMMATICAL ORDER PRESCRIBED BY NATURE
Well,

my

notion was that

to the utmost,

and

we ought

to follow

mother nature

<

to link together the parts of speech according

to her promptings.

For example, I thought I must place nouns ^

verbs: the former, you see, indicate the substance, the

the accident, and in the nature of things the substance
takes precedence of its accidents
Thus we find in Homer

before
latter

The hero

to

me

chant thou. Song-queen, the resourceful

man

^
;

and

The Wrath

sing.

Goddess, thou

and

The sun leapt up,

he

as

left

^
;

and other lines of the same kind, where the nouns lead the way
and the verbs follow. The principle is attractive, but I came to
the conclusion that it was not sound.
At any rate, a reader
might confront me with other instances in the same poet where
the arrangement is the opposite of this, and yet the lines are
no less beautiful and attractive.
What are the instances in
point

Homer

Odyssey
^

i.

1.

Homer

id asperum erit, cedet haeo ratio

numeris, ut fit apud summos Graecos
Latiuosque oratores frequentissime. sine
dubio erit omne, quod non cludet,
hyperbaton, et ipsum hoc later tropos
vel figuras, quae sunt virtutes, receptum
non enim ad pedes verba dimensa
est.
sunt, ideoque ex loco transferuntur in
locum, ut iungantur, quo congruunt
sicut in struotura saxorum
maxime.
rudium etiam ipsa enormitas invenit, cui

Odyssey

applioari et in quo possit insistere.

felicissimus tamen sermo est, cui et rectus
ordo et apta iunctura et cum his numerus
opportune cadens contigit."

Horn.
15.
is

Homer

Iliad

i.

1.

1.

probably adverbial ; cp.

424 and ix. 551.
The completed Ime {Odi/ss. iii. 1)

irpdrepov

8.

si

iii.

II. vii.

rj^Xtos d' Avbpovffe^

XcTthv irepiKaW^a

Xliiv-qv ktK.

18. iropdcrxoiT" ftv ns

for the middle
voice cp. 214 6 and 122 14.
20. Usener's oU npa seems a needless
and somewhat violent change for the
manuscript reading rlva oSi>. No doubt
ofci ia-ri. ravra is found in 100 27 ; but
(1) Dionysius' love of /iero^oX^ in style
:

should be remembered, (2) oU nva is not

a usual phrase, (3) the lively rhetorical
question is characteristic.

<"

DIONYSIUS OF HALICARNASSUS

100
KXvdl, /lev,

alytoxoio Ato? re/co? 'ATpvTcovrj

edirere vvv

fioi,

chap.

Movcrai, 'OXu/iTria Swyxar' e'^ova-ai

fivrjaai iraTpof aelo,

deoi<;

iirieiKeX,

'A'^iSXev.

yhp TovTOK '^yelrat /u-ev to, pij/jbara, viroTeraKTai Be

koX ouSet? av alndcraiTO T7]v avvra^iv avT&v
ovouara

to,

5 iv

bs

a7}0r].

en

TTOO?

TOLTTetv

tS)V

10 TToiovv

roirov

TOVTOK

Kot

jrapaBelyfiacn
e7ricrTpo<f)dB7)v,

ripLire

S'

e^oirlaca,

jdp

iv arrraai

to

jSorpvBbv Be iverovTai

)(eip6<;.

fiev

cu?

to irpmrov,
toS

avOeaiv elapivoiai

eir

avBpa <^doaBe

(Trjfiepov

deiKrj<i
.

avTW

ovk

iroirjT'^

eKeiva etpTjrai

-^

e/CTrea-e

rdBe yap B^ irapa

Be w? ovB' eKelvo.

ivavri(o<;

&pvvT

vcrrepa reraKTai [a/Mo] tSsv prj/idrav

tovto iridavov

koX

tovtocv

Be crTovoi;

SeTra? Be 01

Tovroi,(;

Bfj

eiripprjiiaTa.

t&v

Be ^^v^rjv e/caTrvcnrev

aTTO

eKKivOrj S' erepcoa-e,

20

xpd)fJi,evo<;

S'

a\,7)de<s

^verei

rrj

t&v crvveBpevovrcov avrol's, Tpoirov X67&) koX

vpovov koI t&v irapatfKTjcrLaiv, a Bf) KaXovfiev

Tt/TTTe

Tc'

irporepov ia-rt

iireiBij

iraxfyov

rj

eTTipp'^fiara,

15

iSoKovv elvai ra prjfjMTa nrporepa

a/jteivov

eTrippTjfidTcov,

jioyoa-TOKOt;

^iXeiOvia

eK^avel.
dp" oiiv

TOK

rd Trof^fiara viroTa-^devTav ivravOa

owSet? av eX-jroi.
pijfiaTcov ;

xeipco yeyove

rav

iTTippijfiacri

en

25

Tt

Kal roBe mp/riv Belv

Kal

Tol<; )^ovoi<;

jTpoTepa

fir)

tj}

irapepytoi;

(j>v\dTTeiv,

O'ttoj?

rd^ei irporepa Tut/i^dvrjrai

Tci

old

iffn TavTi
3

((TTrere

PMV

||

e)(oviTai.

6 avrSv

Kal

PMV

TavTrjv

(roio

Horn.
5 rot prius om.
8 irporepa raTTeiv PMV

9 ecrrt Trporepov F
10 irda-x^tv F^
12 TrapaSeiy13 opvvT PMV
16 yap Sij F yap PMV
apa tUv
FPM: Kal tZv V^ tuv V^
18 ov8e PMV
raSe yap S^ F: Kal
auTwt F: om. PMV
yap 8ij Kal ravTa PMV
19 ^ eKeiva PMV:
eKeivois F
21 ^aos Se F c^acucrSe P
elX-qOvia PM
23 X"P"
PMV yeyovev P ivravda PMV: kvdahe F
24 o^Seis av aVoi
25 roSe Sylburgius raSe libri
F om. PMV
wioprjv
tot/iijv F,
P, V
26 Trjt rd^ei Kal tois xpovots F
27 ravTi PMV touto F

TrpoTamiv
pacriv

||

||

||

''''

||

||

II

||

8.

irpcSrcpa

rdrTeiv

^eiS^j

irpd-

probably this pointed repetition is intentional on tne part of

Dionyaius. vp&repa Tirreiv might afterwards be changed to irpordTTetv for the
sake of brevity.

TcpiSv

i<TTi

18. raOra (PMV) may be right, as

raOra in Dionysius can be used of what

follows as well as of what precedes ; op.

n. on 106 5.
So in Plato Bep. vi. 610
pg,ov

yiip

toiJtwi/

and Xen. Anab.

irpoetoTjfi^ptav
iii.

1,

41

tbs

iMdiiaei,

tovtO'

ON LITERARY COMPOSITION

Hear me, thou Child

101

of the Aegis-bearer, unwearied

Power

^
;

and
Tell to me. Muses,

now

in

Olympian

halls that abide

and

Eemember thy

father, Achilles,

thou godlike glorious man.^

In these lines the verbs are in the front rank, and the nouns
stationed behind them.
Yet no one would impugn the arrangement of the words as unpleasant.
Moreover, I imagined it was better to place verbs in front ^

what acts or is acted

upon takes precedence of those auxiliaries, modal, local, temporal,
and the like, which we call adverbs. I relied on the following
as examples

of adverbs, since in the nature of things

Smote them on
groan

side

this

and on

that,

and arose the ghastly

*
;

and gasped her spirit away

the cup from his hand-grasp

Fell she backward-reeling,

Eeeled he backward

fell

to the

floor.

In

all

these cases the adverbs are placed after the verbs.

principle, like the other, is attractive

but

it is

This

equally unsound.

For here are passages in the same poet expressed in the opposite

way:
Clusterwise hover they ever above the flowers of spring

To-day shall Eileithyia the Queen of Travail bring

man

to the light.^

Well, are the lines at

after the adverbs

all

No

inferior because the verbs are placed

one can say

Once more, I imagined that

so.

most scrupulously
be
The following are examples

I ought always

to observe the principle that things earlier in time should

inserted earlier in the sentence.

1

*
*

Homer
Homer
Homer

Homer
Iliad

ii.

Iliad

v.

115

Odyssey

484.

iv.
^

Iliad xxi 20.

Odyssey xxii. 17.

Homer

762,

vi.

324.

Homer Iliad xxiv. 486.

Homer Iliad xxii. 467.
Homer Iliad ii. 89.

Iliad xix. 103-4.

Ii6pov ivvoSivTai. tI irdaovTai, dXXct /cat t(

For Thuoydides' usage cp.

Shilleto's note on Thucyd. i. 31 4.
In 100 16-102 25 (and fm-ther) there are
several instances in which F's readings
(though given in the text) may emanate
frora some early Greek editor rather than

irovfiffovai.

from Dionysius himself

112 5.

ep.

100 24 with

And/r.
i.
1.
100
procedit ; sequimur ;
ad sepulcrum venimus ; in ignem impositast ; fletur."
26.

Cj).

" funus

Ter.

interim

DIONYSIUS OF HALICARNASSUS

102

aS epvaav
Xiy^e

vpSira Koi ea-^a^av koI eBeipav

fiev

Se fiey

vevpr)

fii6<ii

chap,

SXto

'ia')(ev,

oiaro';

S'

Koi

Aia,

vr)

rts ap,

^aiT]

avvTerayfieva

el

ava(T')(piJievo<i

<yap Si]irov to

10 TTpoTepov

ye

e/i^aXe

aXKa

koI

fir;

ovBev rJTrov

iroi'qfjbaTa

S"

n-Xrj^e

afmpre, ^aOeiy

fiev

a/JLcjiC'iroXov

afi^iiroXov ^acriXeia

eppvy^e fier

e-jreiT

a-<f)aipav

XiVe

rjv

Spv6<;,

a-'X^i^y

Sivrj.

ovx oinm

iroXTiA

?iv

ravra KoXa

r)

Kelcov.

iiravaTeivaa-Oai ierri tov TrXri^ai.

Koi,

if

en
ffkaaev a7%t ffra?, TreXe/eu?

aireKo-^e rivovra<;

S'

avxevlovi.

yap

TTp&Tov
15

619

Tous

TivovTai

irXrjo-iov.

en

tt/jos

TOVTOif

T&v

TaTTeiv

iiriffeTCOV,

Iva

^vXcLTTeiv,

ri^iovv

ireKeKvv

avTov

a-Trjvai

ovofianica

fiev

to,

t&v

'Trpoa-TjyopiKa

Be

to,

tov

fieWovri
Tavpov to

irpo-

ovofiaTiKwv,

tmv TrpoarjyoptK&v, ev Te to?? prjfiacri

t&v iyKXivo/Mevcov rjyrjTat icai Ta
airape/J,^dTcov, Kau aXka ToiavTU iroWa,
opOa

to,

t&v
TavTa BteaaKevev f] irelpa koX tov p/rjBevo<; a^ia
TOTe fiev yap e'/c tovtcov iyvveTO Kai, t&v o/iomv
dire^aive.
avTOii} rjBela rj a-vvOecn'; Kol KaXi], TOTe S' e/e t&v firj toiovtwv
rawra? /iev Brj Ta? alTia<; t^? ToiavTrji;
ahX' evavTiav.
Bih,
decopLa'i direa-Triv.
ifiv^a-Brjv B' avT&v /cal vvv ov^, <? o-ttouS^S

20 '7rapeiM(^aTiKa

Be

"TTcivTa

25

tov

avTOVO/MacrCa^

S'

Tcl<}

tw

Trpoa-TJKev

Stjttov

i/i/SdWeiv

3 SAto

PMV

ovTWi FPi
Ko^e & Horn.
TTpoa-^Kei

5 eppiipev P
"^^'^ suprasor. F^

ovx * P^

8
||

^v

Xiire]

PMV
PF^M^

eyKSKXipevwv

PMV

SiecrdXtvaev

25

Se

1.

PV

MV
:

Ta Se

^ M ^v P
KaWiire P

ye

ei

aiipvaav.

9 ttA^^e
||

||

S'

14

P
F^V

PMa

^v

ttA^^cv

aXXa

Kal

||

ttoXXo.

Se

F:

PMV

p^/xacrii' P
wvopaa-ias M} avrtovu/iias
20 aTrape/i^aTiKa PV
7rapep<JMTiKZv P
22 d7re<^aivev P d;re<^)jv
23 t6t

24 dXX']

MV

/xijS'

||

||

19

||

21

||

||

PMV

Trpoa-rJKev

18

^^lov

Homer

aS Ipvaav
should
be printed as one word,
Op. note on 71 21 supra.

ToiaiJTijs

gives TrX'^Je

om.

vii.

i.vapxl>liei>os.

In

'i^j?*!^?^

All this passage

Homer's
S'

is

with
Here Dionysius

line actually begins

dvo(7x6/iCTO!.

avaaxi/ievoi,

S'

Antiqq. Rom.

in close oorre-

9.

d PM

kiiov libri

MVs

spondenee witfi Qumtil. ix. 4. 24, as

quoted in the note on 98 7 supra.

Kl>\j/e

8"

PMV

PMV

In

probably
7.

firj

^v iroWa

16 rovrots Kal

avTO)vo/*acrtas

TOTE Se

FV

ij

T
||

while

62 he has xb^jie
both oases he

^T
l?^J^\
adopted
actuaUjr

in
S'
is,
'

v
by
Homer
these passages la that which
the rhetoricians describe as wpaamTepor,
order
10- The '^'^f''^

iarepov irpirepov, i(TrepoXoyla.

16. fi^Covv

tA

(liv

dvo|iaTiKa irpoTor-

ON LITER AEY COMPOSITION

They drew back the

and flayed

beasts'

necks

first,

103

then severed the throats

and

Clangeth

the

shaft

and
The

horn, loud

singeth the sinew, and

by the princess was tossed

ball

leapeth

the

^
;

one of her

thereafter to

girls

But

missed the maid, and was lost in

it

swirls.^

" Certainly," a reader

might reply,

the

eddying

river's

" if it were not for the fact

that there are plenty of other lines not arranged in this order
of yours, and yet as fine as those you have quoted
as
;

And

he smote

it,

upstrained to the stroke, with an oak-bUlet

cloven apart.*

Surely the arms must be raised lefore the blow

further

He

dealt

is

And

struck as he stood hard by, and the axe through the sinews
shore

Of the

neck.^

Surely a

man who

is

about to drive his axe into a

should take his stand near

Still

further

substantives before

I imagined

bull's

sinews

it first

the correct thing to

it

my adjectives,

put

my

appellatives before substantives,

pronouns before appellatives and v/ith verbs, to be very careful

that primary should precede secondary forms, and indicatives
But trial invariably wrecked these views
infinitives,
and so on.
At one time charm
and revealed their utter worthlessness.
and beauty of composition did result from these and similar
at other times from collocations not of this sort
collocations,
but the opposite. And so for these reasons I abandoned all such
;

Nor

speculations as the above.

1
^

Homer
Homer

Iliad

i.

Odyssey

459, ii. 422

115-6.

etc.

Homer

Odyssey

the Greek adjective

(unleas emphatic) is usually placed after
Bat it could easily be shown
the noun.
from the varying usage of the modern
European nations that there is no law
of nature,' one way or the other, on the

Tmv hnikriav

'

for

it

vi.
5

Ttiv

is

iii.

any

Homer
Homer

serious value

Iliad

iv.

it

125.

Odyssey ^yv. 425.

449-50.

In general, however, these logisubject.

cal notions of grammatical order which
Dionysius felt himself prompted to reject
on behalf of Greek (which is synthetic in
character) tally with the actual practice
of the

modern

analytical languages.

DIONYSIUS OF HALICAENASSUS

104

a^lav, Koi Ta<!

Bi,d\eKriKa<;

Kalm, aX\' "va

fir]Seh

irapovaav QewpLav

on

eVt rrjv i^

S'

iTrdvei/jLt

e^e^rjv,

elBevat, Bripevdeh Tal<i

riva

Kai

i')(pv<rai<;

rfj

crvvTa^afievcov avTa<}.

tS)V

5 Zo^ri

ri avTa<i

iroLriTai,

ofioioTTird

irpayfiarei&v

tS>v

iiri,jpa(j)aii!

ttoXXoO

ovx <? avarixPW''f^v et? rr)v

Tkyyaf}

Trapedifj/nv

Bok&v e^eiv

irepl

chap.

rots

pi]Topai,

T7J<;

eh ravr

^<s

a.<j)'

koX

rjV

apxa't'Oi-'i

^iXoaoipOK re Kol

a-vyypadieva-i,

v-irodecriv

dp'xfi'S

irpovoia

"ttoXXtj

koX

7roir)Tai'!

tSea? ravT7]<;, koX

ovofiara toi<s ovofiaatv oiire ra KcaXa rot? kci)\oi<}

TO,
ovre Ta9 jrepioSov; aXk'qXai<; elKrj a-vvaTTTeiv movTO Beiv, Texv)
Be Ti<s r)v irap avTOi<s koI decaprnxarcL. ol? ^j^pto/ievot crvveTi6eaav

oine
10

ravra, iym irebpacrofMii BiBdoaa fiot, Byvap-K iyevero (Twe^evpelv,

ovv airavra Xeyav aXX' avra ra dvayKaioTara.
Tiva

eii.

cTKetv,

^v

S'

av

ft)?

decoprjfkara

TO,

ol6<;

re &,

VI
BoKel

15

Ti

IBelv,

jxev

T^9 cvvdenKrj^

fiot

p>eTCL

av^vyiav

rjBelav X'^^lrecrdai

fxeXXovrav

aXXifXa

<f>aivea'0ai, Trjv

iroiriaebe

20 (TKevr]<;

tt/so?

twv

p^/STyca/iei/o?

av eKaarov

dpfiovLav

eiKTjt

f^evpciv

19
20

EF

12

n-poa-O'^Krii

PMV

tirixaviiinaioi,

||

||

ei

21 t

Xeya koL

TrpoaOeaeco'i

rrjv

^peiav

fieXXovtrav

FM

re] koi ^lAocro^ois F

13
inipcuropai PV

Se

ti

PMV
EFMV

te

tus

||

KaTa(r/cei;(jjs)

om.

PMV

EF

appo^opevov

||

Trpoo'Oetrew

22

on F

ti

PM^V

4. 4iriYpa(t>ats
cp. the excerpt from
Diog. Laert., 96 13 supra, and Cic. de
Or. ii. 14. 61 " in philosophos vestros si
quando inoidi, deceptus indicibus librorum, qui sunt fere insoripti de rebus notis
:

de

Beirai, fiera-

dA,A.oi(ucr0)S

Toirois iireip&TO t^jx (pCKlav B^qpeiav.

et illustribus, de virtute,

KpeiTTOva

ti

et

appoTTopevov

ti

cp. Eur. Sippol. 957

aefwoh \6youriv alaxp^
and Xen. Cyrop. viii. 2. 2
:

yip

Kat,

<f>i\cxT6(fiois

||

\eym

23 STjpiovpyQv

6r|pEi>6Cs

BripeioviTi

II

ev

6 ti Be tovtcov eKaarov BvvaTai, aa(peelKOcrt, rcov BrifiiovpyticSiv re^yav riaiv

16 fierd nvos

a.<f>aipiT{(i>s)

Trpo?

eyut TTEipao-o/uat

4>a.ivea-eai iroiria-aev P,

PMV
3.

FP

sic

eivat,

KoXrjv

o-j^i;/iaTfo-0ei'

rpcTov B

d<j)aipea-eeo<;

8 (TvyypacjiewTiv et pfjToptrw

10

iri^VKe

erepov Be yv&vai t&v dpfioTreffdai

'it5)<;

yv&vai re Kot

e^epydcraa-dai.

arepov ipm

rpia epya

iTria-Trjfir]';

dpiMorrofievov

Xa/i^avofieveov,

Koi dXXoiaxrem';,
olKeL(o<s

tlvo^

iustitia,

de

honestate, de voluptate, verbum prorsus

nullum intellego ; ita sunt angustiis et
ooncisis disputationibus illigati."
5. rfiv (rvvTa^a)i^av avrds : Zeno and
Chrysippus in particular.
6. The statement in 92 21 is here

resumed.
13.

tigate

(rvvE|cvpEtv
together,'

method.

perhaps, ' to invesby a comparative

i.e.

ON LITERARY COMPOSITION

VI

105

possesses that I recall this mental process now.

those manuals on dialectic not because I think

u^

I have cited
it

necessary to

/i

.*

have them, but in order to prevent anyone from supposing that^

they contain anything of real service for the present inquiry,
and from regarding it as important to study them.
It is easy to
be inveigled by their titles, which suggest some affinity with the
or by the reputation
wiU now revert to the

subject
I

of their compilers.
original proposition, from

which I
was that the ancients
(poets and historians, philosophers and rhetoricians) were greatly
preoccupied with this branch of inquiry.
They never thought
that words, clauses, or periods should be combined at haphazard.
They had rules and principles of their own; and it was
by following these that they composed so well.
"What these

have strayed into these digressions.

It

principles were, I shall try to explain so far as I can

not

all,

~t^
^

stating,

but just the most essential, of those that I have been

able to investigate.

CHAPTEE

VI

THREE PEOCESSES IN THE AET OF COMPOSITION

/

My

view

functions.

is

The

that

first is

the

science

composition

of

has

three

that of observing the combinations which

'

are naturally adapted to produce a beautiful and agreeable united

the second is that of perceiving how to improve the

harmonious appearance of the whole by fashioning properly the
several parts which we intend to fit together the third is that
effect;

of perfeeiving

what

is

required in the

way

of modification of the

material
I mean abridgment, expansion and transformation
and of carrying out such changes in a manner appropriate to the
end in view.
The effect of each of these processes I will explain
more clearly by means of illustrations drawn from industrial arts
14. aird to, dvayKaidTOTa
as in
Demosthenes, e.g. de Cor. 126, 168.
ap)i.oTT^|icvov
16. Probably
(rather
than ap/io^biievov) should be preferred
here, as apii&rTeaBai is used in the next
It seems likely that
line but one.
Dionysius would use the Attic form
ap/iSTTU with aorist ijpfiotra, iip/ibaBriv,
etc. ; op. 98 6, 106 6, 7, 110 6, 13, 112
Perhaps
2, 4, 124 19, 198 23, 230 22.
106 7 should be changed accordingly.
:

17. X^i|/e<rflai after witpvKe=ii4XKei.

Dionysius rightly recognizes

that a word-order, already settled in the
a-vt,vyCav

wiiter's

mind,

may

choice of language
forms he adopts.
20.

irpoo-Blo-cws

influence both his

and the grammatical

(cp.

116

16)

seems

though generally
used of the part added (114 11, 150 13,
right.

152

12),

But

may

the process

irpocrB-^Krj,

(in

212 14, 274 22) refer to

cp.

N.T. use o{ pdvTurjM.

-/

DIONYSIUS OF HALICARNASSUS

106

a? airavrei;

irapair\r](Tiai<;

ef

rSXKa

Kal

KepafjLov

olKoB6fio<}

epyov rpia Tavra

leal

vavirrjyiKrj

ical

rat?

orav

TTopia-riTat

rrjv

vXrjv

\i6ov<i

olKiav,

rrjv

Karaa-icevd^etv

fiiXkei

^<!

yap

o re

Xeyw

oIkoSojjlikt}

'ia-aaiv,

/cat

to

^Bt)

km

re

Set \i,dai

irpayiiaTevofievof;, iroiai

fuXa

ical

rovrcov

ex

a-vvTidrjcnv

iravra,

chap.

^vKm

KoX irKivBcp irdiov apfidtrai XlQov r\ ^v\ov rj irXivOop, kireira irS)^

T&v apixo^ofievoov sKaarrov koX em Trota? TrXeu/ja? iBpacrai, /cal
rpirov, el ti hvtreBpov ea-riv, airoKpovcyai Kal irepiKO'^ai koI
aiiro

eveBpov

Tovro

10 TTparfnaTeveTaL.

(TKOirelv,

15

yap

Br)

ovofia

fj

ra

eiriTTjBeiw';

TO prjfia

t&v a\Xa>v

rj

prjfia

ovo/idToov, TTOTepov evcK&'i

a-v^vyiav, Kal

20 iTT&a-iv

MV

vavTiKT^i P,

^vX{(o) et TrkLv9{(i))

eSpaiov

10

Tot

14

/j.iTa

irdv sic

irXrjdvvTiKm'i]

tc

ovk

ttS?

rj

iroTepov

OrfKvKoi,

rj

t&v

Be sttI fiev

kutcl

Kal

Tivd,

eK^epofieva

6p0r]v

ttjv

ire^vKev

Tiva

et

ex drfKvK&v dppeviKa

EV

e'f

ovBerepa

f)

FM

ex Srji P 8^
5 Set
3 XidoK F
9
Kal rh avro EF
8 Ka{Ta)Kpov(Tac Pl
xoteiv om. F
12 7rot(w) P
S)j
6^] ra F
:

||

||

PMV

||

||

(yriipiyii6s,

dpcreviKiov s

OXi),

Xeym

TrKtjdvvTiK&'i 'Kafi^avop.eva KpevTTto

tecture cp. 0. V. c. 22, Quintil. Inst.

Or. vii. 1 (proem.), Cio. de Or. iii. 171.
metaphor from building underlies
the rhetorical use in all or most of
such words as Kaviiv, y6fiApos, vvpyovv,
riKTUV,
KardaKevos.

Bia-

6 TV BrjiroTe '^apieo'Tepov IBpvOrjaerai

2. For comparisons between literary

composition and civil or marine arehi-

ISpa,

afieivov

o/ioia)<;

BiaKpiveiv, irm'i <T')(rjfiaTt,a6ev TOvvo/j,a

suprascripto

dppevoiv F,

ivTepelSeiv,

fiev

nroim

fiopLCOv

18
16 '&pvOrj<TiTai P i^pvvdrf(7iTai F, EMV
KpetTTo F
KpeiTco P : KpeiTTOva E
^ P
dp'
21 dppevi(K(ov) P,
20 Koi riva F

tr

PE

19 TTorepa
IviKcov

nrpSiTov

fiopva,

Kal

Keifjuevov

kut^ t&v irkayiwv

rj

dppeviK&v yiveo'Oav
1

Ti^yov

t&v aWojv

rj

vTTOKeifieva TrpeirwSeffTepov

TO,

X'^yfrerat

ra avra Tavra

vavTTTjyoi

Trdvra ye fierk -jravTiov Tide/ieva ire^VKev

Brj

Kal Trpo?

tov

ea-Tai,

Tidevai Ta<; aKods:)' e-rreiTa

Tj

o re

irapf^irKricnd ^rjfii Beiv iroielv Kai tou?

crvvOrjaeiv

jTolov

avvra')(dev
(oil

to,

ev

/jiiXXovTa<;

iroirjaai

avTi(rTiipiyfji,6s,

KaraaKeva^eai,

ey-

5. TaOra refers forward here, cp. 112

8 with 112 i.
In 110 9 ^Se refers backward 'the foregoing.'
hr\
iroCas irXevpds, 'on what side,'
7.
i.e.' with what attention to stratification
or grain.'
builder likes to place stone
in courses as it lay in the quarry he
knows that, if what lay horizontally is set

perpendicularly, it will not last so well,

Or the reference here may be simply to
the difference iu general appearance
made by laying a stone in one of several
possible ways.

omitted with F,

If iroictv be

10.

must be mentally supplied from

it

the

general sense of the verba that follow.

Cp. Plato Gorg. 491 D ^ tovto ixh oiSh
Sei, aiiTdv eavrov &pxiv, tu)v S^ AWtaf
Demosth. de Cor. 139 KalroL Svoh airhv
6,vAyK-q

Soph.

ddrepov,

JPhiloct.

&v iiVTi<rSw, 6i\ei

Antig. 497 64Xeis
;i*'

e5

i\iiv ;
13. For
ij

ovk

S.fi.ei.vot'.

fi

jitiSkv

310 feco^o
\

crSiaal

iyKoXSv
fn.'

fueij^ov

&ijieivov

ktK.,

oiSels, t)v^k

S'

es oIkovs, id.

KOTa/cTcii'ol

Usener substitutes

The corruption

of eB

fl

to

ON LITEEARY COMPOSITION

^i

lOV

familiar

to
all
^house-building, ship-building, and the like.
"When a builder has provided himself with the material from
which he intends to construct a house stones, timbers, tiling,
and all the rest he then puts together the structure from these,

studying the following three things: what stone, timber and

brick can be united with what other stone, timber and brick
next, how each piece of the material that is being so united should

and on which of its faces thirdly, if anything fits badly,

that particular thing can be chipped and trimmed and made
to fit exactly.
And the shipwright proceeds in just the same
way,
like course should, I affirm, be followed by those who
are to succeed in literary composition. They should first consider
be

set,

how

in

what groupings with one another nouns, verbs, or other parts

and how not so well for

of speech, will be placed appropriately,

surely every possible combination cannot affect the ear in the

same way it is not in the nature of things that it should be so.

Next they should decide the form

in which the noun or verb, or

whatever else it may be, will occupy its place most gracefully
and most in harmony with the ground-scheme. I mean, in the
case of nouns, whether they will offer a better combination if used
in the singular or the plural
whether they should be put in the
nominative or in one of the oblique cases or which gender should
be chosen if they admit of a feminine instead of a masculine form,
;

might easily happen in uncial writing,

and the reading oiK is as old as the
Epitome. But the e5 comes unexpectedly
after iiriTittSdois, and the emendation is
qix

not convincing. The manuscript reading has, therefore, been kept, though
oiK Hficivov
15.

or

is

a difficult

<rxi)naTicr6ev

litotes.

grammatical form,

cojis^rMcSiora, is clearly

meant

here.

From

here to the end of the

chapter the general sense is We must,
in the interests of harmonious composition, make the fullest possible use of
alternative forms now a noun, now a
verb ; now a singular, now a plural
now a nominative, now an oblique case
now a masculine, and then a feminine
or neuter ; and so with voices, moods,
and tenses with forms such as tovtovI
and TovTov, IStiv and KanSdv, xwpo0iX'5(7Oi
16.

and

(piXoxup^a-ai, XeKia-erai

and

with

elision,

and "KvO^ffeTM,
and the

hiatus,

employment of vV i(l>eKKvaTiK6v. Many

of these points will be found illustrated
in ^. ad Amm. II., where the subject

some of the chapters is as follows

5 use of noun for verb, u. 6 use of
verb for noun, o. 7 substitution of active
for passive voice, c. 8 substitution of
passive for active voice, o. 9 interchange
of singular and plural number, c. 10
interchange of the three genders, c. 11
use of cases, c. 12 use of tenses.
See
D.H. pp. 138-49, together with the
notes added on pp. 178-81.
As Ep.
ad Arrnn. II. shows, Dionysius is fully
alive to the dangers of this continual
straining of language.
Absolutely interchangeable expressions are not common,
18. ir\7|ewTiKMs
cp. the use of the
plural in Tirg. Aen. 155 "vos arae
ensesque nefandi, quos fugi."
21. 6k 6T|\vKwy appcviKd : of. Quintil.
Inst. Or. ix. 3. 6 " flunt ergo et circa
genus figurae in nominibus, nam et
oculis capti talpae [Virg. Georg. i. 183]
et timidi damae [Virg. Eel. viii. 28,
Georg. iii. 539] dicuntur a Vergilio ; sed
subest ratio, quia sexus uterqiie altero
signifioatur, tamque mares esse talpas
of

c.

DIONYSIUS OF HALICAENASSUS

108
TovTcov,

Toiavra

09

Tol<;

ravra Kal
KaG"

p,r]

7]

ra inrna, Kal Kara Tro/a?

rive<;

Trrtuo-ei?

rtov

CTTt

Xeym)

Beirat

ri

e'i

(T'jraviajTepov

eyycopr]

rfj

fiepwv

ovofia

fieTaa-Kevfj<;

Baip'iXea'Tepov
yCverai,

ifK'qv

ay&va

e')(jdpa^

2 re

yhp

rb

EFMVi

om. F
Usener

TTws

ocro*!/ F,

F:

evsK

E:
II

EF

KpeiTTU)

||

EPMV

ws

PMV

o re

LKiv Pl,

12

libri

o?rocrov

TrpoaredeiKe

crwaAett^ais
II

SvvA/iepov."

Batteux Eiflexiims

p. 181
[so. /terao-zceui)] ne peut
pas avoir lieu en fran5ais, paroe que nos
mots sont faits et oonsacrds dans leur
forme par un usage que les fcrivaiiis ne
peuvent ni changer ni alt^rer la po6sie
n'a pas sur oe point plus de privilege
que la prose mais cela n'emplche pas
:

" Cette operation

EF

||

om.

Xeycov

" fi'^r

ypdcfiav

||

/iera

lBia<;

rfXdrrccKe ra

Xa^ofieva

6 Tri^vKcv

ecrrat
||

Sc

Ka(Ta)o-Kv(;s)

PMV

14 dvT((o)vv/ita
18 x^/>as] ex^pas

tion (excessive biioioriXevTov) also counts.

The present passage may further be
illustrated by Dionysius' own words in
Ep. ad Amm. II. e. 10: "Examples of
the interchange of masculines, feminines
and neuters, in contravention of tlie
ordinary rules of language, are such as
the following.
He [Thuoydides] uses
Tiipoxos in the masculine for rapaxh in
the feminine, and similarly ilxXos for
ixKtriins.
In place of t^v ^oi'Kiiai.v and
T^v divaiuv he uses t4 jSouXA/iei/oc and t6

Cp.

PMV

Sei

irAijv

apriov

irpoOeaei, iraprjv^T^Kev

PMV

Kpdrrova

TrefoZ?

Kal rroKiv

(yvva\oi,^al<;

ral<;

damasque quam feminas, certum est."

Besides the reason given by Quintilian,
the desire to avoid monotony of termina-

8.

Kal 6

4 KaXovcriv

9 Seixat
:

d-rre)(fir]Kev

PV

aire^x^pt]

eVe^' rjKeiv

firjBefiia'i

ea-rat \afil3av6fjKva

IBaiv

av

baov av

i<f>

avTcovv/Mia ypd/j,/j,a T'^? crvvdeaeco^ aTO')(a^ofievo'i

rovvo/ia,

61/

ttw?

crToi')(elov

Xoyot<;

Be

\rj<^9evTa

prjfia,

tovtoi<;

ev

yap rjv " et? tovtov rov ay&va

elireiv
" KariBcov NeoirroXefiov rov viroKpirrjv
rfj

II

rj

ev

icrriv,

Kal

ye

ra

rovro to

Iva

<f)v7utKTeov,

Tovroif

Be

iirl

6 re y^p Xeyav " et? tovtovI top

eK<j)ep6-

iyKTda-et'!

pTjfiariKa,'}

aXXmv rov Xoyov

eKaffTov

"jToirjTiKri

fiev

Tci

Xa/i^avofieva

Kpeirrco

irorepa

pTj/iaTcov,

iravra

Kal

(T'^rifj.aricrBelri,

ivapfiovtMTepov re Kal eiieBporepov jevoiro

ev

15

tSsv

ev

BiaKpiveiv,
10

Be

ufieivov

KaXovcn, KpaTiarTjv eBpav

Kal irola's irapepi^aLVOVTa Bia^opa<; j(^pova)v koI e'o
prjiiaaiv aXKa irapaicoKovOelv ire^vKe {ra B aiira

Bij

5 X'^'^erai,

Tiva

av

ra opOh

ea-rav,

fMva,

TTW?

iirl

chap.

P
l/xe

(rvvaXt^ats

re

PV

om.

PMV
P,

F^EM

||

17 dTrexprj Koi
Demosth.
wex F:
||

que nous ne fassions dans notre langne

grande partie des op&ations qu'in-

line

Denys d'Halioarnasse dans le

chapitre vi.
Nous mettons dans nos
verbes un temps pour un autre, Tactif
dique

pour le passif, le passif pour I'actif;

nous prenons les substantifs adjectivement, les adjeotifs subs tan tivement,
quelquefois adverbialement, les singuliers

pour

les pluriels, les pluriels pour les

singuliers; nous changeons les personnes

nous various

masounous renversons les constructions, nous faisons des

ellipses hardies, etc. etc.
Tons ceux
qui font des vers savent de combien de
manieres on tourne et retourne les expressions d'une penste qui r^siste ceux
les finales, tant8t

tant6t feminines

lines,

qui travaillent leur prose le savent de

mSme que les poetes."
9. For Usener's
correction irffis cp.
106 15, 108 1
and for F's SetToi cp.
;

104 19.
11.

Examples in Latin poetry would

ON LITEEARY COMPOSITION

VI

109

or a masculine instead of a feminine, or a neuter instead of either

on.
With reference to verbs, again which form it will
be best to adopt, the active or the passive, and in what moods (or

and so

some

verbal cases, as

them) they should be presented so as to

call

what difierences of tense should

and so with all the other natural accidents of
These same methods must be followed in regard to the

receive the best setting, as also

be indicated;
verbs.

other parts of speech also

there

no need to go into

is

Further, with respect to the words thus selected,

details.

any noun or

if

its form, it must be decided how

can be brought into better harmony and symmetry with its
This principle can be applied more freely in poetry
neighbours.

verb requires a modification of

it

than in prose.
tunity

offers.

Still,

in prose also,

is

it

applied,

where oppor-

The speaker who says " 6t9 tovtovX tov

arjSiva'

has added a letter to the pronoun with an eye to the effect

ciently conveyed

The bare meaning would have been suffiby saying "et? tovtov tov aiySsvar So in the

words " KaTiSwv

TSieoTTToXe/jLov

of the composition.

tov inroKpiTrjv"

the addition of

merely expanded the word into KUTiSav,

So, too,
alone would have conveyed the meaning.

the preposition has

since IBcov

in the

expression "

fii^T

IBm<; e')(9pa<;

the writer has cut off some of the

letters,

eve'^ rjKeiv "

'

Demosth.

irdXiV Tolvvv,

'SeoirT6\efwv
T^YVijs
/caKoi S'

trepl

ttjs

Elpi^iis %

6,

dvSpes 'A6r]vam, KanSiiv

Tbv iiTOKpiTiiv T(f p^v t^s

Si

Tvyx^vovT idetas,
ipyalilievov ri /idyiara t^v irb'Ki.v
trap' ifuov 8iotK0WTa ^MirTCfi Kal
irpotrx'i/"'"

Kal tA,
irpvTaveiovTa,

nothing more than

irapeXBiiv

etirov

els

ifias,

Ix^pas oike (TVKO^aMas

ipyuv yiyove
ivexev c!)s 4k twv
I KanSiiv here means little or
SfjKovl
oiSe/ilas ISias oUt

/teri toCt'

Aristocr. 1.

Idtliy,

we might com-

pare 'entreat' in the sense of 'treat,'

or Chaucer's use of ' apperceive
for
'perceive.' Dionysius' meaning, however,
probably is not that rovrovl and tovtov,
xaTiddiv and iSdp, are actual synonyms,
but rather that the shorter form would
'

have
17.

sufficed.

Demosth. Kara 'ApiffToxpirovs 1,

iipuav, S> &v^es 'Kd-qvaloi, vofiUyg
idias ^9pa.s i/jii /iijSe/uSs Svex ^f "'

firiSels
ju-^r'

'ApcffTOKptxTovs

is Treoifftrhv.

and has condensed the

1 Demosthenes de Gorona, init.

^ Demosthenes
Demosthenes de Pace 6.

be 'gnatus' for 'natus,' or 'amanmt'

and 'amavere' for 'amaverunt.'
13. We have an English parallel in
the dialect forms 'thik' and 'thikky,'
or ' the
both of which stand for this
forthcoming' and 'the coming' might
be employed in the translation, and
'
syllable ' be substituted for letter.
the meaning cp.
for
14. ftpriov
The implication is
i,iriym 108 17.
that TOVTOvl (as compared with tovtov)
16.

fiTjSe/jbua';

/I'/p-e

tovtovi,
Kal (JMvKov ap.dpTtifji,'
ToiTtp Trpodyeiv i/iavTiv

KaTT]yop^<roi'Ta

/xiKphv bpavTi,

erolfius oStois iirl

els &irix^nav, dXX' elirep Up' 6pBus iydi

\oyt^o/mi Kal aKoird, vir^p tov Xc/jpiSvijiroj'

^X""

vfiai

a(T<j>aKuis

Kal pA\

irapaKpov-

aBivTas AirotrTepTiB^vaL iriXiv air^s, irepl

to&tov fiol eUTLV &Traa' r) airovS-fi.
The
passage is fully discussed (from the
rhythmical, or metrical, point of view)
in C. V. o. 25.

DIONYSIUS OF HALICARNASSUS

no

chap.

Xoyov Ka-rroKeKpovKe riva r&v '^pafiiMarav koX o

" e-iroir)(Te" Xeycov xw/5t9 rov v Koi " eypa-yjre
avn tov a<l)ai,peavrl TOV eypa-^lrev "Keywv koI " d^aiprja-o/iai
" e'X(opo(piK'r]a-e
Xeycov rb
B'^aofiai Kot irdvTa to, ToiavTa, o t
Tov

IJtopia

avrl TOV

iiroltjo-ev

koX "XeXvcrerat" to XvOrjaeTai Kol to, ToiovTOTpoira

ras Xe^ei'i, "v avTW yevoiVTO dpfjMadrjvat KaXXtov^

5 e^iXoycoprja-e
^

/j,eTa(TKevd^ei

Koi

i7riTr)Betf0Tepai.

VII
deapia

Srj

fiev

fiia

avTo,

7rpS)Ta

TO,

uxnrep koX kut

10 Si,

re

jroiKiXfOTepa';

avTiKa

TavTa

ayvjMaTiaai

Kol

(f)l,Xa

15 (TKevdaat,

re,

"wov

e'i

Trepl

fj

Xijeov

av

<b9

tl

wctt'

virep ^9

fiei^ovo^,

Kai

jpco/jltj^.

KpaTtaTa Trpoo'KaTa-

koI TrXeovaafiS

fieimcrei

<yap

^avvecrQai, koX

oltcela

ivBi'xrjTai,

Beoi,

eTepa

'ijBe'

KaXovfieva KtbXa,

to,

koX

e^a)

0)9

Set

XefetB?

-irepl

f]

eTria-T']]fj,7]<;

Trj';

7rpa'yfiaTeia<;

dXXi]\a

irpb^

appifOaab

(7T0L-)(eia

e^rjv,

dp-xa,<;

Seofisvrj

Tretpdcro/Mai,

St)

crvv6eTiKrj^

tt)?

Kol

/j-opia

Kal

el

K&Xa- tovtcov B
BtBdaKei7roXXa:t9 jdp tovtI to
eicaaTov 17 irelpa avTrj
KcoXov TOVTOV fiev irpoTeQev rj eirt tovtw TeOev evo'TOfiiav
Tivd i/M(j)alvei Kal crefjLVOTrjTa, erepav Be Tiva av^vyuav Xa^ov
Sj;

20 d'x^api

Kal

0VKvBiBri Xe^i<; ev

KaTTOKeKpovKk Us.

o avTi TOV

eTToiTjcrev

KOI om.

avrl tov

om.

II

ejrotTjtre

5 cj}iXox<p7Ja-ai

PMV

PMV

Kal] Kal
II

Kal KttT] KaT

MV

||

t&

EF
Ta EF
II

M,

e^'Tiv

||

"

Si

re.

P,EFM

icat

tw

j(apievTa>^

AaKeBaifiovioi,
TrapaKeKpovKe

(to

V
V)

2 eypaxpe avrl tov eypaij/ev Ae-ywv

EFM

4'(^a/iev

X(opoi/>tXijo-6

om.

^Ypaij/E

PV

PMV

2. xoipls ToB v:
Dionysius implies
that, in his opinion, the so-called vS
c<t>e\Kv<mK6v
is,
or has become, an
integral part of the verbal termination
and is not reserved for use before vowels
only.
His view has some support in
the usage of the best manuscripts.

Usener brackets the words

vfi.el';

PMV

14 ffjOOKaTao-Kcvao-ai
17 eKao-ra EF

Tt9 irapd

irdw

x'^P'P'-^W"''- FM.V
apfLoarOatrai

Xeyoiv t&
6 tva P,
8 (TVvdiTiKrj'sl a-vvdicreois

ijSe

F:

Sj;

o iwoirjcre avrl rov iTroirjcrev

i)((opo(j>iXrja-e

KaXXiovK

a-Kevfjv libri

ecrrt

BT]fi7]yopt,a

Kal 7r(epb)KkKp{pv)Kk

iTTOirjcrev tTrotijtre

EF

ijBe'

a-a^eo'Tepov e<TTai,

Xeyoa,

iBoi.

TlXaTaiemv

rfj

Kal fiearr) 7rddov<;

(rvyKetfievT)

II

o Be

dcre/j,vov.

irapaBeiypMTO';

iirl

ra

Several

jjbeTaaKevr^v

^altveTat

avTo

Tt9

e'i

dXXrjv

Tti''

MV

ijjuets

9 irpZra

10 8e om. P
&Trep P
13 <5o-T P: Sxtts F: ois
||

16 /iETao-Kev^v

23

||

Schaefei"

||

Kara-

EF

Kal.
But rfj/ra t4 ToiaCra suggests
their retention, and their omission in
an epitome (E) is natural. Dionysius
wishes to indicate that his statement is
general and does not apply simply to
the particular verb 4irolri<re.
4. (jiiXoxupelv
and x<>>po(|>i\eiv : see
Glossary, under ^iXoxupeiy.
.

ON LITERARY COMPOSITION

VII

discourse through the elisions.

(without the v) in place of

of

ejpay^ev,

and

all instances of

for i<jiiXo^coprj(Te

that sort

new

by

and

the kind
"

" iiroitja-e

So again by using

i-n-oiTjo-ev,

" a^aLprjo-ofiai, "

and

111

and

" eypayjre "

place

in

of

and by saying

in place

a^aipeO'^a-Ofjiai,

" i'^topot^iXTjae

XeKva-erai " for Xvd'ijcrerai, and things of

such devices an author puts his vyords into a

shape, in order that he

may

fit

them together more

beauti-

and appropriately.

fully

CHAPTEE

VII

GROUPING OF CLAUSES

The
which

foregoing, then,

is

"^

one branch of the art of composition

namely, that which relates

and elements of speech.
But there is
another, as I said at the beginning, which is concerned with the
so-called " members " (" clauses "), and this requires fuller and
more elaborate trea,tment. My views on this topic I will try to
requires

consideration

the primary parts

to

express forthwith.

The clauses must be fitted to one another so as to present

they must be given the
an aspect of harmony and concord
they
must further be readmit
of
they
form
esfhich
best
modelled if necessary by shortening, lengthening, and any other
As to each of these
change of form which clauses admit.
It will often
details experience itself must be your teacher.
happen that the placing of one clause before or after another
brings out a certain euphony and dignity, while a different
My meaning will
grouping sounds unpleasing and undignified.
an
example.
There
is a well-known
by
illustrated
if
be clearer
speech
of
the
Plataeans,
in
the
a delightThucydides
passage of
full
of
deep
feeling,
which
is
as
follows
sentence
fully arranged
;

men

"

And we

2, ttSs 6 TrapCov (pb^oi XeXiitreTai.

5.

9.

fear,

Op. Demosth.
{jSe

'

the

of Sparta, lest you, our only hope, should

irepl rffic

foregoing,

ToSh-a p. 106 supra.

10. &<rmp Kal Kar'

'

'Sv/i/j.opiQv

cp.

on

n.

apxas ?<|)riv 72
The reading l<priv (rather
104 9.
than iijianev) accords best with Dionysius'
9

usage.

23. Cp. Cic. Orat.

co. 63,
66 for
similar Latin instances of the effect of
The complete
a. change in word-order.
sentence in Thuoyd. iii. 57 runs : /coi
offre tS>v rkre fyixiiAxwv ii<pe\eL oidels,

i/te re,
SiSi/iev

fi/)]

AaKcSai/iiSvioi,

oi ^i^aioL

^e.

/ji^vt]

iXirls,

DIONYSIUS OF HALICARNASSUS

112

'X.va-af;

"

BeSi/Mev

ik-Trk,

fjLovq

r)

crv^vyLav

ttjv

re,

vfiei<;

ap"

en

^re."

fie^aiot

SiSifiev

ov

/J.rj

rt?

ovtcd^'

^re,

^efiaiot

tovtov top rpoirov

fievei

S^

<f)ep6

K&Xa

ra

lu^eBapfioffdrco

AaKeSai/iovioi,,

fiovT) eXTTt?."

ov

/mt)

Tavrrjv

chap.

^pfioa-/jLevav

f)

r&v

n
%a/9 V to avrb ird6o<s ; ovSel9 an einroi.
"
Xa^eiv
ovv
ra
to
ravTfjv
A7ifioa-6epov<; Xeftv
el
S'
TTJV
SiSo/J^va o/jioXojMV ewofiov elvai, to %a/3"' tovtcov diroSovvai
KooXav

r)

avri]

ypd^"

irapavo/Mcov

" ofioXoymv ovv evvofiov eivai to Xa^eiv

rbv TpoTTOV i^eveyKai,'

dp'

ypd^y to tovtwv

Trapavofitov

BtBo/ieva,

10 TO,

BiKaviKr)

ecTTai,

o//.ot&)9

ra KtoXa Tovrovl

rt? Kal /ji,eradel^

Xvcrai;

/cat

diroSovvai,^

')(dpi,v

a-TpoyyvXr]

iyw

ovk

/jLev

oLOfiac.

VIII
^

/Mev

15 TJj?

to,

dKoXovdai<; Kal ttjv

20 B-^-rrov

0U9

Kal direipoi'
oil

Brj

17

ov-^
irepl

fji.6vrj

eXirii add. in

^T add. in marg.

P:

TrapavoiJ.ov

irapdvopov

15 T^s om.
It

is

re

Kal

FP
P

F
:

||

ypa^i- F

aTravToiv
II

impossible

to

EF
give

Tpoira

Ta

fiev

co?

a>?

to,

ra

Sia-TropovvTef,

oh

<ry(rj/jLaTi,^ovT6<;,

iroXXoi,

ay^rj/jjaTi^eiv.

maTrep

elcruv

Kal

TrepiXa^eiv,

ia'(o<;

Xoyog Kal ^aOela r)

to avTO KmXov ovtco

Be
Tfj<}

Be

decopia.

iroielv

a'xrjiui-

||

W9

S'

Ke<j)aXaieoBa)<;

||

17

imvt]] ij/nuv

Se

ypdcftrji-

dXXd

TotavTi],

el<;

7roXv<; 6

marg. F
6 S'

Trapavop^

ecTTiv

irw;

Xe^em<;

TJ79

olov
SiV

to,

dXXa<;

ireipcofieffa

Kal

avTO BvvaTat,

TO

(4)

2.

Xe^iv

ovk

TTwdavofievoi,

(b?

S'

Be

to,

a-')(T)fiaTi(y/j,ol

Biavotwi,

to,

dempia

kcoXcov

voTjfidTcov,

iiriTdTTOVTe'i,

ox;

S"

v7roTiOep,evoi,

0)9

t&v

Xeyofiev,

dTro(j>aiv6fievoi

S'

irohairrj

<7'^r]fiaTi(rp,bv

drrdvTeov

eK(f>opd'i

ev'^o/jbevoi,

dpfioy^v t&v

ttjv

irepl

St)

he TrepX tov

7)

el

om.
real

English equivalents in cases like this,

partly because of the fundamental
differences between the two languages,
and partly because we do not know
Dionysius- own estimate of the exact
effect which the changes he introduces
have upon the rhythm, emphasis, and
clearness of the sentence. The same considerations apply in lines 6-10, where the
English principle of emphasis makes it
necessary to depart widely from the
Greek order in both the original and
the re-written form.
See Introduction,

PMV:

MV

P,

aTroSiSovai

ij

EF^M^

<^ep

||

8 Tapavofiov
tovtov PMV
10

14

tojv

{|

PV

6ai

om.

||

PMV
PMV

TroraTnj

dvo/xarcov

A
pp. 17 ff. supra (under Emphasis).
striking instance of effective emphasia
in English is Macduff's passionate outburst :
-ht

, torrid
^^
,

,^^^\

,,

,,

^'

hell can
,

ii_

'

lg'=
a devil more

t''^

come
^t

1 ^^^ * '"P Macbeth,

" If you dispose the words in the usual

manner, and say,

'

A more damned devil

in the legions of horrid hell cannot come

to top Macbeth in ills,' we shall scarcely
be persuaded that the thought is the

ON LITERARY COMPOSITION

vni
fail

in steadfastness."

Now

let this order

clauses be re-arranged as follows

be disturbed and the

And we

fear, men of Sparta,

in steadfastness, that are our only hope."
the clauses are arranged in this way, does the same fine

you should

lest

"

113

When

fail

'

charm remain, or the same deep

feeling ?
Plainly not.
Again,
take this passagp of Demosthenes, " So you admit as constitutional the acceptance of the offerings
you indict as unconstitu;

tional the rendering of thanks for them."^

Let the order be

and the clauses interchanged and presented in the

following form " So the acceptance of the offerings you admit
disturbed,

as constitutional

effective

for

I,

them you indict

Will the sentence be equally neat and
part, do not think so.

the rendering of thanks for

as unconstitutional."

my

CHAPTEE

VIII

SHAPING OF CLAUSES

The

principles

now been

governing the arrangement of clauses have

principles govern their shaping ?

What

stated.

The complete utterance of our thoughts takes more than one

We throw them at one time into the shape of an assertion,
at another into that of an inquiry, or a prayer, or a command, or
a doubt, or a supposition, or some other shape of the kind and into
conformity with these we try to mould the diction itself.
There
form.

are, in fact,

many

figures of diction, just as there are of thought.

It is not possible to classify

perhaps innumerable.

and profound

quisition

them exhaustively;

indeed, they are

Their treatment would require a long disinvestigation.

But that the same clause

modes of presentation,

is not equally telling in all its various

Thucydides

iii.

same," Ga,mTpbell Philosophy of Bhetoric

496.

p.

Biblical

instances

are

(1)

" Nevertheless even him did outlandish

women cause to sin" {Nehem. xiii. 26)

(2) "Your fathers, where are they? and
the prophets, do they live for ever
(Zech.
8.

i.

5).

Sometimes the manuscript

mony

testi-

quite clear as between such

forms as tovtovI and tovtov : op. 116
In doubtful cases the -I form
9 n.
might be adopted in 64 6 and 84 17
as well as in 112 8 and 178 10.
is

Demosthenes de Corona 119.

57.

14. Cp.

Quintil.

vi.

3.

70

"figuras

quoque mentis, quae axlllMTa, Sidvoiat

dicuntur, res eadem reoipit omnes, in
quasnonnuUidiviseruntspeciesdictorum.
nam et interrogamus et dubitamus et
afBrmamus et minamur et optamus,
quaedam ut miserantes, quaedam ut
irasoentes dioimus," and Hor. Ars F.
108 "format enim natnra prius nos
intns ad omnem fortunarum habitum
iuvat aut impellit ad iram aut ad
humum maerore gravi deducit et angit
post effort animi motns interprete
|

lingua."
I

"K,

DIONYSIUS OF HALICAENASSUS

114
ria-dev

rj

ep& Se eVi vapaSeirytiaTO<i- el tovtov e^rjverfKe

elircbv
rrjv X^^ip ravrnv " ravT

ovrm.
6

TpoTTov

Tov

A'i}fioa-6ev7)<;

eypa'fa,

ypdyjra';

^al,ov<;,"

ap

5"ovK

T&v

fiev

&v

\0709,

fioi

e'lri

irepl

el

17-

e-rreia-a

B'

evexa Tocravra

PovKoifi/t}V

iravreov

K&\a

rh

oa-ov;

a-xnfiaricrfiMV

eltTOP/wyrj'i

jrpeer^eva-a'i

av a-wUeno ;;^;a/ot6i'T<B9, to? vvv ffvyKeirai

ravra, ovk eypayjra Be- ovB' eypa'fa fiev, ovk
ovS' eirpea^evcya fiev, ovk eiretaa Be rj^aiov^."

iirpeafieva-a BeB'

iirpea^evaa,

S'

ovtqx:

elvop

TToXv?

chap.

'^ey^iv

Be

aTTOj^pV

eTTtSej^eTat.

eiprjcraai.

IX
aXKa

10

TOT6

TOTe Be

vovv,

15

\6yov.

Xafi^dvovra ovk

a<j)aipierei,<;

to

"

dir(fi)v)

yap oh av

PV

P,

etTr(as)

8'

6/ioA.oyijo-jt

FM

||

F,

ifiol

PMV

om.

cliriJv

line 5 (elxoK, not

(rather than eftros) ep.

though P gives
lu the Epitome efiras

elira),

in 280 19.
found in V only, the other three
In Hellenistic times
Mss. giving elviiv.

TrpoeiTra
is

to

5 ovk prim. Dem.

14 yevoiro

ovj(^

ijSu

aKov-

kol ovk libri

PMV

With

t^s

15 o/ioAoy^<rai
/xev post r^vSe habet F
19 IvravOa ... (21)
21 jSpaxvrepov Y /JpaxiTepa ex ySpaxwepa P

1. Cioero {PMlipp. xii. 3. 7) has the

following climax: "Quid enim potest,
per deos immortales rei publicae proProdesse dico 1
desse nostra legatio ?
quid, si etiam obfutura est? Obfutura?
quid, si iam nocuit atque obfuit ?
Obviously it would be fatal to re-write
this passage thus: " nostra legatio non
immo
poterit prodesse rei publicae,
obfutura eat, et iam nocuit."
2.

avar^Kaia

ravra irpaTTfov
TroXe/tet, kov /irjTrco ^aWy
rov dvayKalov %a/)ti' irpoo'TeXevTaiov KOiKov to " Kav

Tpay(yTepov tov BeovTO<; 6v Kal

MV

pdXXri aervarunt

ovk

iyo) \r)(f)0ei7)v,

ov'^l

dX\' iva

To^eveiv,

"TrXeovd^eiv

-Trpoadi^Ky

eXprjKe

^dWr/ "

Sk alt om.

tov

dreXTJ iroiovaai rijv Btdvoiav, a? ovk

Kal KaTaa-Keva^6fievo<i, ovto';

evravOa yap
Hr)Be TO^evrj."
yjfirw

evia

tt/jo?

irOiovat iroiijTai

yap

Tt9

dp/iovlaf eveKa

20 Keirat

ax;

r]Beia

'iv

A7)/io<T6evr]<;

dvayKai,a<i

re koX (Tvyypa^el<; r) t)?

Kal KaXr/ yepTjrai, iravv oluyov Beiv oio/iai
ovk av o/jLoXoyqaai T'^vBe Ttjv Xe^iv ^v o

aXKov TM/o? eveKa

apfjLOViCK,

t&v KwXav

ori ye koI fjbeTaa-Keva<} Bey(eTai

/Jbijv

Trpoa6riKa<i

fiev

the non-sigmatic aorists constantly occur

with the -a of the sigmatic aorists but
it is hardly likely that so good an
Atticist as Dionysius would attribute
;

to Demosthenes, and introduce

cacophony.
4. Cp. Demetr. de Eloc. 270 'KanpiefTros

iv koi i) KXt)nof KaXov/iivri, Sitrirtp

ArjiioaBhei ri " oiiK clirov /liv ravra, oix
fypa^a 54' oiS' (ypa-^a iih, oA/c ?7rei(ra
Sh OriPaiovs "
crxeSbv yli,p iirava^alvovri.
yoir'

i\byos
oHrios

^oikcv iiri p-ei^bvinv iiel^ovaetiroi

ris

ravra,

"eliriiiv

iyii

el

Si

Kal

ypa^asiirpiapevadre Kal lireuraQTipalovs,"

JtiJ-yij/ia ipei nbvov, Suvbv Si oiSiv.
8. Dionysius seems subsequently to
have written a special treatise Tspl
ffxof'&rwv. cp. Quintil. ix. 3. 89 "haec
omnia copiosius sunt exaecuti, qui non
ut partem operis transourrerunt sed
proprie libros huic operi dedicaverunt,
sicut Caecilius,
Dionysius, Rutilius,
Cornificius, Visellius aliique

non pauci."

ON LITERARY COMPOSITION

IX

115

I will show by an example.

If Demosthenes had expressed
himself thus in the following passage, " Having spoken thus, I
moved a resolution; and having moved a resolution, I joined

the embassy; and having joined the embassy, I convinced the

Thebans," would the sentence have been composed with the
charm of its actual arrangement, " I did not speak thus, and
then fail to move a resolution
I did not move a resolution,

and then fail

and then fail

embassy I did not join the embassy,

to convince the Thebans " ? ^
It would take me a
long time to deal with all the modes of expression which clauses
admit.
It is enough to say thus much by way of introduction.
to join the

CHAPTEE

IX

LENGTHENING AND SHORTENING OF CLAUSES AND PERIODS

I think I can in a very few words show that some clauses
admit changes which take the form now of additions not necessary
to the sense,

now

of curtailments rendering the sense incomplete

and that these changes

are introduced by poets and prose-writers

simply in order to add charm and beauty to the rhythm.
Thus
the following expression used by Demosthenes indisputably contains a pleonastic addition made for the sake of the rhythm " He
who contrives and prepares means whereby I may be captured
^
is at war with me, though not yet shooting javelins or arrows."
:

Here the reference

to " arrows

is added not out of necessity,

but in order that the last clause "though not yet shooting
javelins," being rougher than it ought to be and not pleasant to
1

Demosthenes de Corona 179.

The use of

vDi/

in

de Demosth,

o.

39

seems to point to an intention of the

kind on Dionysius' part: i^apiBfieiaBai.
Si

vvv, 8<ra yivti <rx>]l">''''^<''f'^'' ^<''" ''"'' ''^

KaTUi'oiJ.a<r/i4i'<av

xal tSiv

AKarovo/JuiffTb)!',

roia^rj fiti\t(rTa w^ipvKev

ap/iovla xa'pe"', ovK ?x<" KaipSv.
10. This sentence of Dionysius himself
may serve to show how successfully and
conveniently Greek, as compared with
English, can make a conjunction depend

KoX tIciv

a^TtJbv

i)

on words which come long

after (viz.

dXlyov Seiv oto/iai 'KSyov in line 14).

16. irpoo-O^Ku OVK dvo7Ka(j : compare,
for example, such harmonious redundancies as ol S' iirei odv ijyepSev ofir/yepies
t' (yivovTO (II. i. 57) and "when we
iriivv

''

Demosthenes PMlipp.

iii.

17.

assemble and meet together" (Book of

Common

Prayer).

20. Quintil. ix. 4.63

"namqneeo fit ut,

"uni Demosthenis severa videatur compositio, irpOyrov liiv, S> tvdpes ' AStivaioi,
rots deoLS etf^o^at Tratrt Kal TdffaiSf et ilia

(quae ab uno, quod soiam, Bruto minus

probatur, ceteris placet) k&v iii\Tw pdWij
/iT/Si Tofeiig, Ciceronem carpant in his :

Familiaris coeperat

esse

balneatori,

et

arcMpiratae.
Nam
halneatori et archipiratae idem finis est
qui irdin Kal irdirais et qui fajSi ro^eiji :
sed priora sunt severiora."
21. In rpaxiiTepov Dionysius is apparently referring to the sound of two
spondees (each forming a separate word)

Nbn nimium dura

i/

DIONYSIUS OF HALICARNASSUS

116

irpoadriKri Tavrri <^kv'r\Tai '^apiedTepov.

ry

a-0r}vat

ovBev dvayKoiop
tC he

to

Stj

aavTov KoXelf, eVl

en

rrjv

TeKevToiov

iiraivovfievov,

to

avTOv
tovtl " 7rt
SajfiOKpariav

Tr)v

evri

kojXov
irpo

'KeyojJbevov

Ka\ei<;,

vofiovi

tok

i<j)dfj,iXX,ov

Kla-'^wr)

rpiKcoXov iv toi? "jrapv

a\6t9,"

to3

to

iva

Kal

re

trap

tov<s

iv

rjv

dW'

Xiyerai,

"rot? trpd^acn" irdpiaov

yevqrai.
10

Kai,

eVtra^tp o avrjp
UXaTcoviKTjv 6Keivr)v
ovk avarjKau^
Xefew?
irapaTr^p^iiaTi,
ypd^ei, rli ovk olv (pair)
"
Xoyq) KoKm
'irpa')(devTay
yap
eS
ep<y(ov
Trpoa-'^pavia-dat ;
irapa rmv
irpd^avi
yiverai,
rot's
prjdevri p^vrip/r] xal KOfffw;
"
aKovaavTcov
wpos
t&v
Trapci
ivravdol yhp to
dicova-dvTcov."
TrepioZov,

chap.

oi/'x}

Trj<i

avTrj's

TovSe
eveTai ; o yhp olov re ?iv evl KwKtp
"
rrjv
Kal
S7)fi0Kpanav
eiri creavTov koI tovs vofiov;
Tov Tpoirov
KaXet?," TOVTO eh Tpia BijjpjjTat, tjj? avTrj's Xe^ecois oil tov
"jrepiXTjifiBrjvai

lBia<;

15

dvayKaiov evexa, tov Be

tS

[kuI TrpocreTi irddo's

Tedeia-rj'S

dpfioviav TroXK,dKi<s

Troifjaai ttjv

fjBlas

\6yai\-

ttJ's

fiev

Brj

irpoa-

t^?
yiverai rot? KwXot? ovto<s o
oTav r&v dvayKaicov ti \eyea6ai, "Kvizelv fieWrj Kai
Bio'^Xeiv rrjv uKpoaa-iv, d^aipedev Be '^apieaTepav iroiy ttjv
deo'eco'S

TK

Be

20

rpoirois'

f}

dpfioviav

old ecTTiv iv fiev

fjLvco

fieTpofs to,

toi<s

ivTavOoi yap 6 BevTepo<s

TeXeia

Zo^oKkeia Tavri-

re Kal BeBopKa Ka^aviaTafiai

irXeov (^vXdaaaiv avTO<s

oKcav

acftaipetreoxs

yap dv

PMV

Xe^i<s

<f)vXda(rofiaf

ix Bvelv avyKeirai, KaXccv ov^

(TTt'^o?

rj

rj

i^evey^delaa " TrXelov

ovtw<s

rjv

(XKOvo-avTOjv
.
^ ivravdot
11 eTraivovfievoLS F
Xoyto seel. Us.: Trpoa-eri F, M: irpoo-15 rjSeiav F,
16 Kal
20
irotet EFV
Troteti' coni. Eeiskius
ecTTL PV
19 TToifji P,
o'ia F
oTaTrip
lpij.rjveiav P,
ph F om. PMV
apii6viav F
21 KOI ^vvofrrafiai P
22 ttX^ov
(24) J^evex^ewra om. P
1

yeyevijTai

E: om.

F,

||

PMV

x^-P'^^'^'^'^P"-

7 rh ante rots om.

M
MV

PMV

||

and to the
by the addition
of a cretic followed by a spondee.
and V give ppaxirepov, which is perhaps
right, since a clause that is shorter than
it ought to be can be improved (op. 114
16) by extension.
2. 6 dv<jp is used by Dionysius with

ylverai rots

improvement

it).

'theauthor,'
various shades of meaning,

Cp.
'the Master,' 'the worthy,' etc.
96 8, 182 2, 184 12, 186 2, 198 4, 228
15,

264 25.
In the actual text of Meiiex. 236

5.

E there
viz.

Tois

is

a slight difference of order,

Trpd^aai ylyverai instead of

||

at the end of a sentence,

effected

EF

6.

irpd^affi. (as

Dionysius

gives-

The Epitome makes the meaning

quite plain by inserting n-apair'Kr/ipuiia

rijs X^Jews between &kovs6.vtoiv and irpit
oiSiv.
9.

Here

all MSS.

agree in giving the

form toiitC. The same agreement will

be found in 86 9, HO 17, 116 20, 120
24, 156 15, 158 5, etc.
10. Demetrius, de Eloc. 268, regards
this sentence as an example of three
'figures,'
anaphora, asyndeton, and
homoeoteleuton.
He adds, "Were we
to write 'you summon him against

ON LITEEAEY COMPOSITION

IX

117

may be made more attractive by this addition. Again,

the famous period of Plato which that author inserts in the
Funeral Speech has beyond dispute been extended by a supplement not necessary to the sense " When deeds have been nobly
done, then through speech finely uttered there come honour
the ear,

and remembrance to the doers from the hearers."' Here the

words "from the hearers" are not at all necessary to the sense;
they are added in order that the last clause, "to the doers,"
may correspond with and balance what has preceded it. Again,
take these words found in Aeschines, " you summon him against
yourself you summon him against the laws you summon him
;

against the democracy,"^ a sentence of great celebrity, formed

of three clauses: does it not belong to the class we are con-

What

sidering

follows,

"you summon him

could have been embraced in one clause as

against yourself and the laws and
the democracy," has been divided into three, the same expression
being repeated not from any necessity but in order to make the

rhythm more

agreeable.

In such ways, then, may clauses be expanded how can they

be abridged ?
This comes about when something necessary to
the sense is likely to offend and jar on the ear, and when,
consequently, its removal adds to the charm of the rhythm.
An example, in verse, is afforded by the following lines of
:

Sophocles

I close mine eyes, 1 open them, I rise

Myself the warder rather than the warded.^

Here the second line is composed of two imperfect clauses.

The expression would have been complete if it had run thus,
1

Plato Menex.
*

236

2 Aeschines
e.
Sophocles Fragm. 706 (Nauck).

yourself and the laws and the democracy,'

the force would vanish together with
the figures." Similarly, ' Appius eos
[servos] postulavit et produxit" would
be less telling than "Quis eos postu-

lavit

Unde

'

Appius. Quis produxit ? Appius.

ab Appio " (Cic. pro Milone

22. 59).

'the same form

the effectively pleon-

of expression,'

i.e.

astic.

16.

If the
are

Tu \6yio

words Kal

irpoo-^Ti

retained,

7roi^<rat

irdSos
(in a

Gtes.

202.

slightly diflFerent sense) must be repeated

in order to govern wdSos : unless some
such word as ylyverai can be supplied,
21. The context of these lines of
Sophocles is not known, but the idea
may well be that of ' uneasy lies the

head

'

or oi xph TacciJxioi' eSdeiv jSovXij-

ip6pov ILvSpa (II.

11. Tfjs oiJTfjs IS^as,

c.

ii.

24).

The

'

elliptical

being implied by i,<palpeais, cp. 116 17) is produced by the

presence of airrbs, which suggests that
h-ipovs and i<p' h-ipuv are to be mentally
supplied.
Op. Cio. in Q. Caec. Divin.
effect (an ellipse

DIONYSIUS OF HALICAENASSUS

118

iripovi

(jivXda-a-mv avrb';
/jLerpov

TjUKTjro koX ovk av e^xev

Tot9 Tregbt?

povvra

on

B'

fiev

KavravOa t&v
fjLefiebcorai yelp
eKUTepov avroreXri S' av ^v, el tk avrb,
" e'7Q) S' OTi fiev tiv&v KarriyopovvTa a)? ovk
driXetav

TVYwra?

irXelova

Koi

aurij?

St/cotft)?

ovk

dX>C

irpovoiav

irovel<T6ai

exeiv

iTrirrjSeicov

TOV<i

edaoa"

eariv,

e^rjveyKev-

ouTffl?

t&v

aKpi^eia^

Tf)<;

rm

iSoKei

eipvO/xiai;.

T'^s

rj

avTO, elprjcrdm fioi Koi irepl tSiv KaXovpAvoov -TrepioSasv

rb. S'

Kal yhp Tavrwi VRV

atruap/Jiorreiv,

olKei(o<;

d^aipeiaOai

7rdvTa<;

T&v dhuKfov

10 Arjpioardevei,
KcoXttiv

iariv,

dSlieav

irpdoTcov Bveiv kcoXwv

5 id(Tos."

T7JV

^'^

t&v

dreKeiav

rrjv

dj>aipei(T6ai,

irdvTa'i

^^
^X"Tivmv Karrfyo-

vvvl X"-P''^

rjv

XoyoK ra roiavra- " iym

to he

erepav,

vj)

^vXa<ra-6/j,evo'}

rj

chap.

yap

ov

15 eK(pepeiv'

Bf/

Trporjyovfieva^

'"'^

otuv

iv

Kal aiiTO Be tovto to deaypijfia

to

ye

iravraxy

ra^

Kai

eiro/jLevaf

Xoyov

rov

irpoarrjKr)

irepiohoi<;

ijiirepioBov

xP''!'^''!^^'

<xvv6eTiKri<i eTrto-Tij/wj?

t?7?

TTOTe Bel XPV'^^^'' "TepioBoi^ Kal p-e^pi ttoctov Kal iroTe

XBlov,

firj.

X
Bi(opia-p,eva)V

nva
20

av

so-tIv

Xe^iv

Kal

ev

Bia

tIvcov

BoKel Be

j3ovXeTai,

aKoXovOov av

tovtcov

/iot

817

eirj

Bel arTOxd^ea0ai, tov ^ovXofievov

Tvy)(dvoi

QecoprifidTcav

Bvo TavT

/JiOi

<Ta>

elvai

Tt

irdaxovaa
2 vvvl

Tfj

X'*/""'

Demosth.
Tav(ra,)

Si'

dp^orepa yap

opdcei

^'x^'

EPMV

6 aTeXrj Se

FB
PMV:

ev Tats

Aeyctv

K((o)TaTa P,

vvv

S'

17

re

i]

aKO'^,

fjBovrf
o/j,oiov

a-ura

^ dreAeiav] Bapeiav
F ravTa Se MV

Tai;Tu,ts

PMV

||

rais

re

14
E) ETro/tei'ais EPMV
17 ire/)io8a)i P
18 (apurfievtav V
rb Acyciv
yeviKUTOTa F, M: tcXl21 rot add. Sauppius
22 /xirpa FP
eS /xcTpa

TavTan

PMV

(ravTai'S om.

\\

||

MIV

tu, si

dices, patiar et

" Je t'aimais inconstant

qu'aurais-je
fwitfidile ?"
4. Dionygjius does not appear to feel
that Tfiv doucwv is in any way ambiguous,
that it might, at first sight, seem to
depend on rijv drAeiax.
In Greek a
;

to.

ravTa

-^

X^P'"

Siv

irXdafuiTa Kal ypa<f>ai

eKeivrj

12

laesum te a Verre esse

concedam si iniuriam
tibi faotam quereris, defendam et neand Kaoine Andromaque iv. 5
gaho "

"hio

18. 58

e'x^'

13 rawas

Trporjyov/Ji^vais Kol rats

Iv

Kal yap

TavTa

eirt^tjTel

av

Tt?

yeviKiOTUTa, (ov

e^[ea-6ai Bel tou? avvTidevTai; /jbeTpa re Kal Xoyov;,

Kal TO KaXov

to XeYCM/,

crvvTiOevai ttjv

MV

dependent genitive usually (at any rate

in Thucydides ; see p. 337 infra) precedes the noun on which it depends
and, in any case, the speaker would
here pause slightly between t^v dxAeioi'
and tuv &SIkuv.
15. ov y&.p &)] iravrax'S 7* to l|i,irepCo8ov xP'^jo^'^l^ov. For an instance of the
'running' style, interspersed with the
periodic, see Thucyd. i. 9. 2, where

ON LITERARY COMPOSITION

119

"myself warding others rather than being warded by others."

But violence would have been done to the metre, and the line
would not have acquired the charm which it actually has.
In
prose there are such instances as "I will pass by the fact that
it is a piece of injustice, simply because a man brings charges
against some individuals, to attempt to withhold exemption
:

from every one."

Here,

too,

each of the two

first

clauses is

They would have been each complete in

worded thus " I will pass by the fact that it is a
abbreviated.

injustice,

simply because

individuals and declares

man

them

brings charges against

to

some

unfit for exemption, to attempt

to withhold that privilege from every one

justly entitled

itself if

piece of

even

those

who

are

But Demosthenes did not approve of

it."

paying more heed to the exactitude of the clauses than to the

beauty of the rhythm.
I

wish what I have just said to be understood as applying

what are called "periods." For, when it is fitting to

express one's meaning in periods, these too must be arranged so
as to precede or follow each other appropriately.
It must, of
also to

course, be understood

that the periodic style is not suitable

everywhere: and the question when periods should be used and
to what extent, and when not, is precisely one of those with
which the science of composition deals.

CHAPTEE X
AIMS AND METHODS OF GOOD COMPOSITION

Now that
wUl be

I have laid

down

these broad outlines, the next step

what should be the aims kept in view by the

man who wishes to compose well, and by what methods his
object can be attained.
It seems to me that the two essentials
to be aimed at by those who compose in verse and prose are
charm_j,nd beaujy.
The ear craves for both of these. It is
affected in somewhat the same way as the sense of sight which,
to state

Demosthenes

Lept. 2.

remarks:
"This paragraph
me to convey far more than
any other which I have read an ex-

^ oiBip ^x" ri'Kos Ka8' airiiv, &v /jiij

t6 wpay/ia XeyS/xtvov reXeiwflj).
How
Thucydides, so great a master of the

emplification of the clpo/jtivi} \^f(s of

Aristot. Mhet. iii. 9. 2 {X^ya Si elpofUvrjv,

have written

Shilleto

seems to

KareaTpaiinivri, iv wepMois, X^|is,

it, is

to

me

should

a marvel."

]\

DIONYSIUS OF HALICARNASSUS

120

chap.

KoX oaa Brj/jbiovpy^fjLaTa %et/3wv ia-riv avdpayinvasv

op&aa orav evpLcTKri to re r)Zi) evov iv avTOK Kal rb koKov,
koI firj TrapdBo^ov n'^rjarfrai
apKeirai koI ovSev en nrodel.

KaX

y\v<f)^<s

Tt?,

el

Svo iroi& reXi] koI X'^P''^^

aroTTOv elvai vo/iia-r), e'l nva

/j/rjS"

ffvyKeladai,

rye

/j^

yhp

<}>epet

waXw?

Kal

Toi ovkvSlBov Xe^if

avyKevrai

p^v

KaXS)<;

av Tt? avTa<i

10 oiiK

'Ai/rt^wi'TO?

r]

^ia,

vr]

Tive<;

e'lirep

^Beeoi

fiev

Kal ijSews

fir/v

tov 'VafivovaLov
Kal aXXac, Kal

Kara tovto, ov

pAp-i^acrdat

ej^ot

ov

fiev,

^Sovfji,

tjj?

a/iro

Xe^tv

koL ovBev a^i& Kaivov

toiovtov

aXriQeta ro

r)

'^yovfiai

^ KaX&^

Se,

fcaXov

'''^

p.'qv

'fjBea><;

r]
Be ye tov KviBiov (xvyypa^eca's ^rrjaiov Kai r)
ye iravv
TOV "ZouKpariKov 'Bievo<j)&VTO'; ijSew? p^v a? evi pbaXiara, ov
ov'^i'
Xeyco Be KoivoTepov, aXX
eBei
p,rjv KaX&<i 7* e^' oaov
'

Kaddira^,
15

Kal

iirel

iraph

tovtoi,<;

TavTa

evei,

^pp,0(rTaC

eKeivoi';

Trap'

KaX&i;.

Be

rj

Kal yap ^Beid

'UpoBoTOv

Tiva

Kal

lySews

dp,^0Tepa

<TVvde<n<;

Kat koXt].

eaTi,

XI
6^ &v B' oXpMi, yevrftreaOai Xe^iv fjBelav Kal KdXrpi, rerrapa
eart Tavra ra KvpiatTaTa Kal KpaTia-ra, p,eXo<i Kai pvOpoi Kal
Tpicrl tovtok irpeTrov.
mpav Kal ttjv xa/Jiv Kal
Trjv evaTop,Cav Kal ttjv yXvKVTr/Ta Kal to iriOavov Kai, irama
TO, ToiavTa, VTTO Be to koXov ttjv re pieyaXoirpeireiap Kai to
fidpo^ Kal Trjv <7ep.voXoyLav Kal to d^uopa Kal tov ttivov Kai
TOi TOvroK 6p,ota,
tuvtI ydp p,oi SoKel KvpimTara etvai Kai
S>v p-ev ovv a-TOj(a&a-irep Ke(f>dXaia rmv aXXcov ev eKareptp,

Kal

p^era^oXrj
20 TOLTTa)

25

^ovrai

TrdvTef

Xeyop,ev7]v
ecTTiv

PMV
PMV

14
:

suprascr.

oi

irapaKoXovdovv

toI<;

ela-iv
fcai

Ittei

FE

T^v

PV

ij

TavT

om.

PMV

KoiKeivoK

Kal

eerrt

ovk

p,eXo^

rj

olB'

ei

PV

Kol

pArpov

ypd^0VTe<i

crirovBy

Xe^iv,

ire^rjv

yevea-dai

EFM

to

Be VTTO fi^v Tr]v rjBovrjv rrjv re

||

ttjv

rj

irapa

2 evov ev avTois F evov avrois

9 koI ovk
tovto F om.
Kal posterius] us koi EF
17
ois
:

EF

18 KpaTurra PMV: to KpaTurraV

20
23 tov ttivov] T07rt(^a)v(ov) P, EFM^V
26 ixkrpov rj pk\o<s P,
piXo's fj pirpov F

MV

rrjv re
:

irivos

rb KoX(Jv see Glossary, s. v. icaXis.

For Ctesias cp. Demetr. de Eloc.
218-16, where a fine passage is
quoted from him ; also p. 247 ibid.
Photius (Bibl. Cod. 72) says of Ctesias

6,<l>eMp'Klav Sib Kal tjSov'q airr^ aiyKpwrbs

iffru/ b X67os.

ian

19.

2.

11.

Si o8to! o (rvyypa^eits aaify^s re Kal

12.
6.

57

gevoc^uvros
iKaXeho Si

63

cp. Diog. Laert.

Kal

'Attlk^

ii.

MoCao

ip/nivelas, and Cio. Orat.

"et Xenophontis voce Musas

yXuKiniTi. t^s

ON LITERARY COMPOSITION

XI

when

121

looks upon moulded figures, pictures, carvings, or any

it

other works of

human

residing in them,

hands, and finds both charm and beauty

and longs for nothing more. And

my assuming that there are two
and at my separating beauty from charm

is satisfied

not anyone be surprised at

let

distinct objects in style,

nor

him think it strange if I hold that a piece of composition

charm but not beauty, or beauty without charm.

let

may

possess

Such

is

novel

the verdict of actual experience

axiom.

Ehamnus

The

styles

of Thucydides

am introducing no
and of Antiphon of

are surely examples of beautiful composition,

there were any, and are beyond

all

if

ever

possible cavil from this point

On

of view, but they are not remarkable for their charm.

the

other hand, the style of the historian Ctesias of Cnidus, and that
of

Xenophon the

charming in the highest

disciple of Socrates, are

possible degree, but not as beautiful as they should have been.

I

am

speaking generally, not absolutely

I admit that in the

former authors there are instances of charming, in the latter of

beautiful arrangement.
But the composition of Herodotus has

both these qualities

it is

at once

charming and

CHAPTEE

beautiful.

XI

GENERAL DISCUSSION OF THE SOUECES OF CHAEM AND BEAUTY

IN COMPOSITION

Among

the sources of charm and beauty in style there are,

which are paramount and essential, melody,,

rhythm, varfety^ and the appropriateness demanded by these three.
Under "chaxrn^' I class freshness, grace, euphony, sweetness,
and under " beauty
persuasil^eness, and all similar qualities
grandeur, impressiveness, solem^iiity, dignity, mellowness, and
the like.
For these seem to me the most important the main
The aims set before themheads, so to speak, in either case.
I conceive, four

selves

by

all serious writers in epic,

in the so-called "language of

quasi locutaa ferunt."

KpariKov

phon non

sally,'

18.

toO So)75 "Xeno-

exoidit mihi sed inter philo-

sophos reddendus
14.

1.

est.

'absolutely,'
'univerSo in 132 16.
exclusively.'

KaSdiro^,
'

Cp. de Demosth.

o.

47

dramatic, or lyric poetry, or

prose,'' are

For

cp. Quintil. X.

^^

eiipuTKe dii

rd

those specified, and I think

iiiv

airi,

A,ii,<j>oTifMv

&vTa aina,

rk

koX rois pyBnois xal t4s /lerajSoX&s

(coi rb irapaKoKovdovv dirtunv airols irpiwov,
oi /i^v Kard, rbv airbv rpdirov exirepa

ixikri

(7X')/taTif(i/ie>'o.

25. iKoiTepov means (here

i]Sovri Kal rb KoKbv.

^ re

and in 122

1)

DIONYSIUS OF HALICARNASSUS

122

Tavd' erepov

re koX ar/aOol avhpe'i

ev a/i^oripoK ttoXXol

6'

T9J9

eirdveifii Be iraXiV

W9

<^a<Ti,

X'^PV Xojo^.

e^r]v

Brj

aira<7i

fidprvpa, ^v

ofioXojovfievriv

15 irdOea-iv

fjLe\mBl,a<;

TOVTCOV

Be

Sto^XetTfitt

av0p(idTroTdTOL<; 6edTpoi,<;,

eBo^a KaTafiaOeiv,

20 o'X^o'i,

olKetOTrji

dyadov

ia-riv

acpoBpa
OTI,

/i6Xo9,

re

/cal

j^opBijv

avXrjTrjv

eTepai Be

t&v

Tt?

ttoKv-

Tot<s

afiovcFO's

dirdvTav iarlv rjfmv

tov

vtto

e^etos

FM

T0t9

-x^pdofievov

opydvoi^ TO avTO tovto iraOovTa, oti (rofi^ov ifiirvevaat;

re

KiOapia-TTjv

expovae Koi Bue^Oeipev

aKpa<;

Ti)^

oi,icet,ovrav,

Kai

6opv^7]6evTa

d<Tv/j,<f)iovov

aTTo

ovBev

ri,vo<;

pvdfJL&v

evpv6fiiav,

IBmv

avTrjv

koivok

rot?

eryw^e Kai ev

(pvaiK'^

B9

tovtok

6? oi'^ vtto fiev TavTri<;

v<^'

B'

riBij

evBoKifiovvTa

jjiLav

Kol

jjuekeaiv,

Be

ireipav

ttjv

(yv/jbirKTjpoi iravToBaTro'}

e/j,fieXetdv

7r/309

ifKriOov<s,

TO

ydp

Tts

&yeTaL koI ryoTjTeverai,

rots
iv

Bia^dWeiv

re

olov

iTTOiTjadfirjv

KOi Kad oBov,

fiev

X7&),

aXTjOr]

ou^

fioi

/iera/SoXat?,

toiovtov, koI vtto fiev tovtiov

vda-yei
VTTO

TrpcoToif

rat?

Be

wa

a\^?,

7]Bea-0ai,

oti

&9

ra<; Biaipeaei<;,

tij?

rpirov

irpeirovTi.

t(S

jrape^oixai,

TTJ';

aKorjv

TTjv

pvOjxol^,

rol<;

inrl

(TVvOeaem^ Koi

ijSeta?

eireiTa

25

TrapaBeiyfiara Be

avT&p eKaarov ^kpeiv ev ra irapovri ovk e7%pet, 'iva fiij

koX afia el tl Xex^vvai
TrepX ravra KaTaTpiyJrco tov \6<yov
avTuv KaOrjKei koI herjaei, irov fxapTvpimv, erepo^
Tre/ot Tivo<;
avToi<; ea-TM Kaipo'i eTTtTiySaoTepo?, orav rovf ')(apaicTfipa<; twv
irepl
avT&v
elpria-dai
vvv Se ravr
v'lroypdipco.
apfioviSiv
airoyprj.

10

eKaTepm re tovtcov koI

iv

ol he n-pcoTevcravTe';

chap.

/irj

rj

e/cacrTov
TovTOiV om. PV
3 avroiv
avrriv P
T om.
Kad' eKaa-TOV PV
ev Tij) TrapovTi. om. P
4 e? ti V ei' rtva
9
F KOL ei' Ti P koi e" rtva
6 CTtnjSetos F
7 vvvl F
12 ev tVi
Kal Kad' o8dv] Kal om.
11 S^ F Se
14 Trapezia F
18 totjtuv fit EF
20 Io-tIv airavrdiv
24 dTrb F Ka(Ta) P,
25 rb aurb F Kal a^TO PV
Kal avTov
cro/xcjibv F yp
da-vp(f>(ov{ov) P, M^V
1

FM

II

||

||

PMV

PMV
PMV

Ko8'

oSiJv,

||

Ss

<j)aa-i,

PMV

MV

9.

x^pfl o

Xrf'yos.

13. A clearer rendering might be

the appropriateness which these three

The metaphor here may be rendered

'

'
keep to the track or ' keep to the path
prescribed.'
But possibly it is not felt
much more strongly than in Cicero's "non
quo ignorare vos arbitrer, sed ut ratione
et via prooedat oratio " {de Finibus i. 9.
('rationally and
Ratione et
29).
methodically,' ' on scientific principles ')
often corresponds to /ieddSif in Greek.
In 96 25 6S(f x'^P^iv is found, and 65o0
re Kal T^xfii^ x<^p's
262 21.
'

require.

ma

19. iravTo8o'ir<5s
cp. Hor. Ars P.
212 "indootus quid enim saperet liberque laborum rusticus urbano oonfusus,
turpis honesto ?
20. Probably Dionysius has in mind
a Greek theatre.
But Roman theatres
also contained sensitive hearers
cp.
Cic. de Orat. iii. 196 "quotus enim
quisque est qui teneat artem numerorum

'

ON LITERARY COMPOSITION

xi

these are

all.

There are

many

excellent authors

distinguished in one or both of these qualities.

at present to

them

123

who have been

It is not possible

adduce examples from the writings of each one of

must not waste time over such details and besides, if

it seems incumbent on me to say something about some of them
individually, and to quote from them anywhere in support of
my views, I shall have a more suitable opportunity for doing
so,

when I sketch

the various types of literary arrangement.

Eor the present, what I have said of them is quite sufficient.

So I will now return to the division I made of composition into
charming and beautiful, in order that my discourse may " keep
to the track," as the saying

is.

first of all in melody,

then in rhythm, thirdly in variety, and finally in appropriateness

"Well, I said

that the ear delighted

As

as applied to these other qualities.

my

of

words

I will

bring

forward

cannot be challenged, confirmed as

ment
the

of mankind.

of

spell

one

Who

is

it

there that

melody while

he

itself,

by the general
is

for

it

senti-

not enthralled by

remains

unaffected

in

any such way by another,

that is not captivated by this
rhythm while that does but jar upon him ? Ere now I myself,
even in the most popular theatres, thronged by a mixed and
uncultured multitude, have seemed to observe that all of us
have a sort of natural appreciation for correet^_melody and
good riiythm.
I have seen an accomplished harpist, of high
repute, hissed by the public because he struck a single false
I have seen, too, a flutenote and so spoilt the melody.
player,

who handled

his instrument with the practised skill of a

master, suffer the same fate because ,he blew thickly

ac

modorum

at in eis si

panlum modo

offensum est, ut aut oontraotione brevius

fieret aut productione longius, theatra
quid, hoc non idem fit
tota reclamant.
in vocibus, ut a multitudine et populo
non modo eatervae atque ooncentus, sed
etiam ipsi sibi singuli discrepantes
eiciantur ? mirabile est, cum plurimum
faciendo intersit inter doctum et
rudem, quam non multum differat in

or,

through

Farad, iii. 26
reolamat "
id.
"histrio si paulum se movit extra
numerum aut si versus pronuntiatus est
syllaba una brevior aut longior, exIn modern Italy
sibilatur, exploditur. "
(so it is sometimes stated) the least slip
on the part of a singer excites the
audience to howls of derision and execraipsa

At

iudicando"; id. ibid. iii. 98 "quanto

moUiores sunt et delicatiores in. cantu

an actor's false
as fatal as a singer's
false note: cp. the case of Hegelochus
(Aristoph. Ean. 303, 304).

flexiones et falsae vocnlae quam certae

quibus tamen non modo
et severae
austeri, sed, si saepius flunt, multitudo

MSS. )

in

tion.

articulation

Athens,

was

25. Aaiix^uvov (found in

is

a witness to the truth

experience
is

P and in other

probably an echo from line 23.

Y
;

DIONYSIUS OF HALICABNASSUS

124

TO

TTiia-a^

KaiTot

rjvXrja-e.

0pv\iyfiov

(TTofia

ivEKoXei TOt? Tevftrat?

av

ovk

opyava,

TO,

5 iiruTTrjiiT)'; icrriv,

r)

ore rt?

TO.

koL

yap

15 Ti?

OVK

opyaviK7J<}

<fiev> ev
evKaipovf

av

rj

Kivrjaiv

Toi/ii

evpvOfia

tmv

pvdfiSsv

iirt

ev aavfifie-

pvdfiovi

d,<j)avi(reiev.

d/ycoyd

^Sovrj<;

KaKeiva

ofioXoyijceiev

^(dpw

irdw

oj(\r)aiv
;

ayei

TeKfjLalpofjuai

koI t^9 iv mSjj koI

t?)?

diroTrXavr)0eUj-ri<i

vvo

ouS'
Krj\et

iaTi

kol
KaX

trdvroiv

irdvra';

ij/ao?

Siafiapravo/ieva

on

Be,

koX t^s

ev op'^rjo'ei 'xdpiToi;
Se

iroiTjtrafievr]^

fir)

^apv<; fikv 6 Kopo^,

Tot9 viroKeifievoi's dp/juorrov (paiverai.

firj

fiev

Trddov;

al fiera^oXai, Se kol to Trpeirov

iroWr/v

tov irpeirovrof

tovto

i/celvo Se

<f>mvr]v

rj

atraxri, 8i,evaTO'^ov(rr)<;, fj,eTa^o7iA<;

rj

Be to

dr)Be<;

20

aWa

ei<;

fiova-7i<!

on

&v

dyavaKTOVvra'; Kol Svaape-

&pav koX

avrrjv

SiaKovovrai

KaTop0ovfieva

ical

Koi

KTjXovfieda,

ttjv

ej^ovcrt

op.oiw;

Kpovaiv

rj

ififteXi]

avT&v

vir

TrdvTe<i

OVK

/jikv

^rjiroTe

avro koX

S'

nrdvTa';

)(p6voi^

TTOtTjcratTo

Tpoi<;

10 ov'xl

to

<f)V(Ti<s,

yivofievov ideaa-d/jLrjp, afia

a-TOVfiivovi,

tL

7^a/3ovTa

Troirjcrai.

ov irdvre^ fiereiXij^a/jbev,

rj<s

o iracTiv aTriSeoKev

avrov

to? '^/jbapr'rjfievav,

Svvairo.

eK/neXeiav

rbv iStmrrjv rovrmv

Tt? KeXevtreie

ei.'

KdXoviievqv

ttjv

rj

chap.

Koi ovk

dXXorpia Ke')(pr]p,ai rov irpdyfx.aTO'; eiKovi,

fiovaiKr} ydp Tt?
^v Kol Tj T&v iroXiTtK&v Xoycov i'jricrr'^fiTi to3 iroaw BidXKaTTOv<ra T^? iv wBy koX opydvoK, ov-^l tcS ttoiw
Kal yap ev

TavTji Kal fieXoi ey(pv(7iv al Xefet? Kal pvd/iov Kal fieTa^oXrjv

Kai

Kal

atare

-TTpeirov,

25 fiiXeatv,

ar/erai Be

rol<;

TavT7)<!

eirl

tj

aKof) TepireTai fiev

toI<;

pvdfioh, dcnrd^eTaL Be rd^ fieTa^oXd<;,

PMV ira6'os F
8
PMV
PMV dycoya F, suprascr. M /iOTxa PM^V
13 SiaKovovTai. Y SwiKovvTai FPM
14 d/tapTavo/^ieva PMV"
16
wiSrji. F, E
(ItSais yor/reias P, MV
17 fikv ins. Us. ex E
19
(jiaiveTai FF
ec^dvj; PMV
21 StaXkarrova-i toi^ F
22 mSrji F
(oiSats EPMV Syriamis
23 pvO/jLov PMV Syrianus
pvdfiov^ EF
F

3 lyKaAet

/wpfjtrjv

5 Trddovs

10

evp.eXrj

<l>(ovrjv

||

It

3.

add

would weaken the argument to

been suggested) dpBws or

(as has

The critic may be right, even

he cannot play at all and' tlie player
may retort, 'Play it yourself, then,"
without adding 'right' or 'better.'
dfieivov.
if

5.

9.

15

JiruTT'^iiitis

cp.

Ov. ex Ponto

iii.

"non eadem

demere morbos

ratio est sentire et

sensus inest cunctis,

toUitur arte malum," and Cic. de Orat.

iii.
195 "omnea enim tacito quodam
sensu sine uUa arte aut ratione quae sint

in artibus ac rationibus recta ao prara

diiudieant ; idque cum faciunt in picturis et in signis et in aliis operibus,
ad quorum intellegentiam a natura minus
habent instrumenti, turn multo ostendunt
magis in verborum, numerorum voeumque iudicio ; quod ea sunt in communibus
infixa sensibus nee earum rerum quemquam funditus natura esse voluit expertem. itaque non solum verbis arte
positis moventur omnes, verum etiam
numeris ac vocibus."

ON LITERARY COMPOSITION

XI

125

not compressing his

lips, produced a harsh sound or so-called

"broken note" as he played. Nevertheless, if the amateur
critic were summoned to take up the instrument and himself to
render any of the pieces with whose performance by professionals he was just now finding fault, he would be unable to do
it.
Why so ? Because this is an affair of technical skill, in
which we are not all partakers the other of feeling, which is
nature's universal gift to man.
I have noticed the same thing
occur in the case of rhythms.
Everybody is vexed and annoyed
when a performer strikes an instrument, takes a step, or sings a
note, out of time, and so destroys the rhythm.
Again, it must not be supposed that, while melody and
rhythm excite pleasure, and we are all enchanted by them,
variety and appropriateness have less freshness and grace, or less
effect on any of their hearers.
No, these too fairly enchant us
;

when they

all

upon us

are

just as

really attained,

This

intensely.

is

their

surely beyond dispute.

absence jars

may

refer,

in confirmation, to the case of instrumental music, whether it

accompanies singing or dancing if it attains grace perfectly and

throughout, but fails to introduce variety in due season or
;

deviates from

what

appropriate, the effect

is

that disagreeable impression which

harmony with the

of

Nor

subject.

The

to the matter in hand.

is

dull satiety

and

made by anything out

is

my

is

illustration foreign

science of public oratory

is,

after

a sort of musical science, differing from vocal and instruIn oratory, too, the words
mental music in degree, not in kind.
all,

involve melody, rhythm, variety, and appropriateness so that, in

deligBS~in the melodies, is fascinated
;

this case also, the ~eaF

by the rhythms, welcomes the

the meaning

will
If irdeos be read,
be the other is an instinct imparted to
all by nature.'
8. With /iop^i);- the translation will
'

'when a note on an instrument, a

step in dancing, or a gesture (pose,
attitude) in dancing, is rendered by a
performer out of time, and so the rhythm
run

iroUrc^a^,

16. x^pi'^'OS

(the

quoted

is

Walz Mett.
21.
cp.

fjv,

'

and the

depends on

same construction

compounded verb
20. This

like,

in Plato.

as with the un-

einToxeiv).

passage

(|i.ovo-iKf|

7dp

'

is

after all

'

92 18.

22. For the passage that follows ep.

Aristoxenus ^ar^umics i._3 irpwrov ixiv
"f' c"rdvy rnv rvs 4>o,vr,t Klvr,aiv dio/""tt^o"

^V /^AWTt -^pay^reveffBai^

JJ^ ^^^

Siei)erTOXoi)<rr)S

Syrianus) in

(after

Sr. v. 474.
was all along,"

Kara

IJ\ovs avTt)v Tt]V

IS lost

rw^.

and craves always

variations,
oUelov)

^^^-JJ^;^^

^api S^Xov us

Tinrov.

ov

irefil

yap

eis

J!^^^^^ ^^^'^^^^ ^^^

d/i4>0Tipoi,s toIjtois

ivcanv

Kari, rlyirov xaS' ^v 6^6

ylyverai dXX' oi rairbv elSos

oSr?; 5' iarlv

ii

re koX papi
t^s Kir^acias iKaripas iaHv.

DIONYSIUS OF HALICARNASSUS

126
iroOel

eVt

B'

oUelov,

to

TrdvTcov

Kara to

BiaXKayrj

Se

17

chap.

fioXXoV KOb TO rJTTOV.

BiaXeKTOV

TrevTe

Bia

Xeyofiivcp
5

to

iirl

rjfiiTOviov

TOVTOV irXeov

X^topLov

koI

eyyia-Ta,

tu?

Tovcov Kal

T&v Tpi&v

to j3apv.

itrl

Kaff ev iMopiov \6yov TaTTOfievrj eVt

aXX'

fiev

17

eirl

T&v

afi<f>otv.

KuXovfiev

vwpt? eKwrepov iif eavTOV

TaU
16 &<riv,

Tov o^iiv Tovov e'xpvaa

rj

^apeiaif evea-TCV.

r)

yprjTai

fiaav re

TOV Sia
Be

irXeCoaiv,

o'iovTai,

Ttves

^apuT-qro^

av

ttot

rfkiKai

aWaK

ov

Bta

to3

TrevTe

a\X

/movov,

wtto

Kal rb Bia Trevre fieXcpBei Kal rb Bia

<Tpimv Kal Tbv> tovov Kal to

Kal ttjv

Biecrtv

rk

rffiiToviov,

ra?

aler6r)T&<;-

ov

Kal

TOi? fiiXea-iv inroTaTTeiv a^iol

ft>?

km

(pvcriv.

'x^copiov

iroWai^ rat?

ev

fiia

a?

eTepa

Be opyaviKrj Te Kal wBiKr] fiovcra BiatTTrj-

Tvaa-lav ap^afievrj

TeTTcipeov Kal rb Bia

20 <B?

[Leaov

troXvavKKa^oi';,

Be

Tal<;

6^vT7jTO<;'

^apv,
Kai

re

^vXclttov

oiiceiav

ttjv

eTepq

ev

BiavXKa^oK ovBev to Bta

p,ev

Kal

Te

Be

ai

eV

8'

rj

ai pV kuto.

o^el to

toi

fj

Xeyerai rao-ew?,

^apeia'i,

tjJ?

e'xpvai

(TVve(f>dapp,evov

Trepia-Tra/Mevai;

Bt)

fif/v

tt)? avTrj<;

eVl

B'

17

airaaa Xe^t?

Be a(i^0Tepa<i ra? Taerei,^ i'^ova-mv

<rvXKa^r)v

10 fiiav

6^eia<i,

tTj';

dvUrai rov

ovt

o^ii

oil

Tripa

iiriTeiveTat

ovts

rm

Biaa-TrniaTi,

jjLeTpeiTai,

ivl

fieXoi

oi)v

fiev

/leXij

re

rat?

Xe^et?

Xe^eaiv,

twv EujOitti'Sow
e'/e
^HXeKTpav Xeyovaav ev 'Opea-Ty Trpo?

ef aXKcov Te iro'KkSiV BrjXov Kal p,aXi,<TTa

/jieX&v,

ire-TToiriKev

ttjv

TOV j(ppov
2 Kol TO
r/fiiTOVLOv

EF

KoX

rjfiLTOviiav

PMV

4 Trcpa] irapa

em

MV

FB

5 tovcov om.

PMV

om.

||

10 trvvBu^Oappivov

'irepai re koI erepai P

14
11 ev Te/3M T6 Ktti krkpt^
ei Kal vor rjXiKav
av Us. rjXiKai av E et Kal iror av
om. PV
19 to 8ta
15 Tais aXXais
F oiat TTOT av
Sia tovov
tovov F
Stovov P
<T/jiwv Kal rov> tovov Radermacher
22 Ik twv EF Toiv
rh Sidrovov EV

rfXiKni TTOT

PM

EFM

3.

litrpelrai,
'

'

is

measured,'

terminatur,

'

coercetur.

is

oon-

For

PMV

fined,

tone into the voice than usual. Roughly

I found that he began his sentences

various points in this chapter see Intro-

eduction, pp. 39-43 supra. With regard

to the late Mr. W.E. Gladstone's oratorioal delivery, on a special occasion, Sir
Walter Parratt obligingly makes the
following communication to the editor
"1 heard him make his famous
'Upas tree' speech at Wigan, in a
wooden erection, and watched with some

o"!

/^:

^^

$'-'

g,

generally

but sometimes

a-

ending

on

falling the

Addresscare the inflection of his voice.

ing so large a crowd I think he put more

aj..
full octave to C-'

'

i. <is ^Yvwrra,
approximately.'

^
'

."

as nearly as possible,'

ON LITEKARY COMPOSITION

XI

what

is

12V

in keeping with the occasion.

The distinction between

simply one of degree.
Now, the melody of spoken language is measured by a single
interval, which is approximately that termed a
When the
fifth.
voice rises towards the acute, it does not rise more than three
tones and a semitone and, when it falls towards the grave, it does
not fall more than this interval.
Further, the entire utterance
during one word is not delivered at the same pitch of the voice
oratory and music

is

/,]

throughout, but one part of

at the acute pitch, another at the

the words that have both pitches,
some have the grave fused with the acute on one and the same

grave, another at both.

syllable

those which

pitches

falling

quality.

Now

it

Of

we

call circumflexed;

on

separate

syllables,

in

disyllables

there

each

is

others have both

retaining

its

own

no space intermediate

between low pitch and high pitch while in polysyllabic words,

whatever their number of syllables, there is but one syllable that
;

has the acute accent (high pitch) among the many remaining
On the other hand, instrumental and vocal music
uses a great number of intervals, not the fifth only
beginning
with the octave, it uses also the fifth, the fourth, the third, the

grave ones.

tone, the semitone, and, as

a distinctly perceptible

some think, even the quarter-tone in

way.

Music, further, insists that the

words should be subordinate to the tune, and not the tune to
the words.
Among many examples in proof of this, let me
especially instance those lyrical lines which Euripides has
represented Electra as addressing to the Chorus in the Orestes

5. "Which measure a Fifth, C to D

one Tone, D to E one Tone, E to F half
a Tone, F to G one Tone,total C to G,
In
or a Fifth, three Tones and a half.

Norwegian the interval is said by Professor Storm to be usually a Fourth, and

in Swedish it is said by Weste to be
about a Third or less," A. J. Ellis
English, Dionysian, and Hellenic Fronwndations of Gveeh ^. ZS. (Under the

"A. J. E." occasional quotations

be made from this pamphlet, to

initials

will

its author
lend special interest, even when his
conclusions cannot be accepted.)

which the phonetic studies of

10. " That is, the voice ^Zfes from the

high to the low pitch, and does not jump
from high
to low," A. J. E.
12.

" That is, one pitch does not

glide

into the other, but each is distinctly

separated, as the notes on a piano "
A. J. E.
20. Slea-iv
see Gloss., s.v. Stent.
23. Line 140 of the Orestes is assigned
to Electra (rather than to the Chorus) not
:

only by Dionysius but seemingly also by

Diogenes Laert. yii. 5 (Cleanthes). 172
ipofiivov nvbs H irorlSeffdat SeT rip vli},

"t6

"BX^Krpas, Itpr/
aiya <nya,
If the reading XcvKbv
(rather than XeirTbv) is right, the word
may possibly be understood (like apybs)
of swift, glancing feet,
though the
notion of rest rather than of movement
is prominent here,
Keference may be made to Kuelle's
, , I*'
riji

\eirTbv

ixvot."

-.

>

musique d une
^*
.fl in the Annumre del' passage
a &xcvp\Ae
Associalion des

Andes

grecgues, 1882, pp. 96

ffi.

/l
(f

DIONYSIUS OF HALICARNASSUS

128

XevKov

(jv^a al^a,

Tidere,

fir)

eKela, airoirpo

yap

Bt)

ap/rj'^dvov ovro^ ^v ovo/ia Svo "Ka^elv

e')(i,
tov " ridere " ^apvrepa fiev r] Trpmrrj yiverai,
tov re
Svo S' ai jjiST avTrjv o^vrovoi re Kal o/io^iovoi,.
" KTVirelre" o 'irepKr'Traa'fib'i rj^avto'Taf fiia yap ai ovo avXXa^al
6/x.6tovov

rpirrjv

Koi

6^eia<i.

XeyovTai

Kal to " aTTOTTjOO/SaTe

Tcierei.

irpoaaihiav

avXKa^fj'}

pAa-rj'i

(TvWaff'^v fiBTa^e^TiKev

15

KoiTa<;.

fiot

e'^' ivoi tpOoyyov

toutoj? to " criya (7iya XevKov
fieXtoSeiTat, kuItoi t&v rpi&v Xi^ecov eKaaTrj fiapeiai re rao-gts
Kal to " a/j/SuA^s " rjj /lia-rj a-vWa^y Tr/v
exet KoX o^eia^,

iv

10

apfiv\r]<;

cy(vo<;

KTVtretT

airoirpo^aT

chap.

yivsTai

Kal

ovSevo^

ovre

Ta?

Kal

Te

^paj(eia<i,

a-lya a-iya

M^

ToiavTa<;

KTVTT^Ti pi

j^6vov<!

avWa^^^
t)

fieTaj(copetv

he

Kal

/letovcrai

ov

criya crlya cett.

||

FE

||

Ikefo-e libri

||

wiroTrpopoi F,

Y
EPM

diroTrpodi

Vs

EMV

Tt^eirc
PMV
8 ridtTai FP
9 S' at Us.
11 diroTrpo^aT' V: a;ro Tr/JOjSare P airo irpoySaTc EF airo
13 KaTa/SejSrjKev PMV
18 Kal av^ovcrai PMV
tKeia-e

6e libri

67ri

irpo/3a,T

2. rlSeTt

is

clearly

right,

notwitli-

standing the strong manuscript evidence

(FEMV)

Xeft?

(necnon codd. Eur.)

kevKov cod^.
2 TidtT^ai) Pi : riOeiriai) P2 Tideire FEMV
an-o irpo^aT PM
KTVTreiTe cett.
3 dwoTrpo^aT
:

II

OTTO irpojSaT

tow?

Ta?

avTo

S"

ire^rj

<f)vXdTTef

TavavTia

et?

to

avTa<;

Aetttov Eurip.

T^i F,

<l)va-ei

fieTajSaXXova-iv

mare iroWdKi<!

TTapav^ovo'at,

Dionys.

pvO/jUKrj

^id^erai
ttj

t^?

ttjv

TeTdprrjv

ttjv

yap

fiev

17

pijfiaToi;

eVl

TpiTr}<;.

tTjs

irapeCXtf^ev

oXa<;

fiaKpm Kal Ta?

Te

fiovcTiKri

rj

pv6p.ov<;.

ovTe

6v6fiaTo<;

ovBe fieTarWrja-iv, dXfC

Tao-t?

ij

tov<;

irepl

ov Xafi^dvet

dW'

o^eiav,

for TiSeiTe.

The general sense is that <riya is

sung upon a monotone, though the spoken
word had two tones or pitches (the acute
and the grave, the high and the low),
and, " indeed, both of them combined in
4.

the circumflex accent of its first syllable"

(Hadley Essays p. 113).
" in speak7. Dionysius clearly means

"on two successive syllables."

Without the latter addition, the case of
an enclitic throwing back its accent on a
proparoxytone word seems to be left out
ing," and

of account.
14. D. B. Monro Modes of ATicient
Greek Music p. 117 writes " In English
the time or quantity of syllables is as
But in
little attended to as the pitch.
:

Greek the distinction of long and -short

furnished a prose rhythm which was a,
serious element in their rhetoric.
In the

rhythm of music, according to

Dionysius,
the quantity of syllables could be
neglected, just as the accent was neglected
in the melody.
This, however, does
not mean that the natural time of the
syllables could be treated with the
freedom which we see in a modern composition.
The regularity of lyric metres
is sufficient to prove that the increase or
diminution of natural quantity referred
to by Dionysius was kept within narrow
limits, the nature of which is to be
gathered from the remains of the ancient
system of Rhythmic. From these sources
we learn with something like certainty
that the rhythm of ordinary speech, as
determined by the succession of long or

ON LITERARY COMPOSITION

XI

Hush

129

hush ye light be the tread

no jar let there be
Afar step ye thitherward, far from his bed.^
ye,

Of the sandal

In these lines the words ai,'^a arlr^a XevKov are sung to one
and yet each of the three words has both low pitch and
high pitch.
And the word ap^vXr}<; has its third syllable sung
at the same pitch as its middle syllable, although it is impossible
for a single word to take two acute accents.
The first syllable
of rlOere is sung to a lower note, while the 't^!)^hat follow it
are sung to the same high note.
The circuni^ accent of
KTVTrelre has disappeared, for the two syllables arl^ uttered at
one and the same pitch.
And the word airoirpo^aX does not
receive the acute accent on the middle syllable
but the pitch of
the third syllable has been transferred to the fourth.
The same thing happens in rhythm. Ordinary prose speech
note

does not violate or interchange the quantities in any noun or

It keeps the syllables long or short as it has received
them by nature. But the arts of rhythm and music alter them
verb.

by shortening
opposites

or lengthening, so that often they pass into their

the

time
1

of

production

16. T? <|>il(r6i
cp. Cio. Orat. 51. 173
"et tamen omnium longitudinum et
brevitatum in sonis sicut acutarum
graviumque vooum indicium ipsa natura
:

And with
in auribus nostris coUoeavit."
regard to accentuation as well as
quantities: id. *. 18. 57 "est autem
etiam in dicendo quidam cantus obscurior
in quo illud etiam notandum mihi
videtur ad studium persequendae suaviipsa enim natura, quasi
tatis in vocibus
modularetur hominum orationem, in
posuit
aoutam vocem neo
omni verbo
una plus nee a postrema syllaba citra
tertiam ; quo magis naturam ducem ad
aurium voluptatem sequatur industria."
17 ff. Op. Goodell Chapters on Greek
" We find ample recogniMetric p. 52
tion [sc. in these two sentences] of the
fact that in Greek lyric metres, so far as
.

not

regulated

by the

Euripides Orestes 140-2.

short syllables, was the basis of metres

not only intended for recitation, such as
the hexanieter and the iambic trimeter,
but also of lyrical rhythm of every kind."
With this statement should be compai-ed
the extract (given below, 1. 17) from
Goodell's Greek Metric.

is

they come under what we have seen

fiL^Xr] and ^vSfioi or
rhythmi, long
and short syllables alike were more or
less variable.
In some way the reader
knew in what rhythmical scheme or
pattern the poet intended the verses
to be rendered.
To reproduce the
rhythmical pattern which the poet had
in mind, the singer, if not also the
reader, made some long syllables longer
and others shorter than two xp/tvoi irpuTOi,
called

'

'

and made some short syllables longer

than one xpiScos irpSros. It seemed to
Dionysius in those cases that one did
not so much regulate the times by the
syllables,
but rather regulated the
syllables by the times.
19. The compound irapau|oiiirai,

as

may

be compared with
in 152 18.
Dionysius does
not avoid hiatus after nal, and so he

given;_by _EF,
irapavi^riBeLffa.

would not prefer irapai^ovaai to aiS^ovaai

on this account, though an early reviser
of his text might do so.
eIs TavavrCa |i,eTa)(<i>piv : e.g., a
short syllable will sometimes be treated
as if it were long and were oircumflexed.

DIONYSIUS OF HALICARNASSUS

130

Srj

BeBeiyfieVT)^

on

T&v fiopiav

10

to /mbv

tjj?

ikv

ovk

/teXos,

<j)C0vri<;

Biartdij

rfUta^

iv rot?

fieXiKov

o'XVH'"'

fj

ifi,fie\i<:-

a-a^ovaa to

'^*'

'KoyiKTji,

fiova-iKri

tjj?

\}ri\.rj<;,

ahX

avfifierpia

^^^

XP^^'^'

y Sia^epei

Bia^opa<i

Tf}<;

av d-q Kaxelva \eyeiv,

ov rrji wSt^? aXXa
Be
bXeyo)
eu/ieX^s Xiyoir av,
aKorjv,
rriv
Xoiirov

Xp6voi<!

Toii?

airevOvvovat,

a-vXKa^ai<!

rat?

yap

chap.

evpvd/j,o<;, aXX' ovk evpvdfio<s- iry Se Bi,a<pepei Tavra aWrjXMV,

vvvl Be TaKoXovd' UTroBovvai
KUTo, Tov olnelov Kaipov epa>.
avTtjv ttjv
ttoXitikt) irap
yevotTo
Xeft?
av
"Trm
jreipdaofiai,

r}Bvvovaa Trjv aKpoaauv kuto. re ra /leXTj t&v

KaTci ras o-VfifieTpLai; r&v pvOfi&v koI kuto, tu's
kuI
<j>66yya)v
fieTa^oX&v Kot kuto, to irpeirov rot? uTro/cett&v
iroiKiXia'i
trvvOetTiv

Tavff viredefj/qv Ta KecjtaXaia.

eireiBr}

lievoi<!,

XII
ovv airavTa

15

7re<f>VKe

ra

ovBe

&<nrep

aKorjv,

TTjv

ra

irdvTa ovBe ttjv yevaTiKrjv

Ta opaTa

aXaOritrtv

ra? aXXa?

yevffTO, oiiBe

aiaOrj-

KivovvTa eKcicrTrjv dXXa Ka\ yXvKaivova-iv avTrjv nve<s

Ka\ iriKpaivovtri, Kal Tpaj(vvov<Ti, Kai Xeauvovai,, Kai

rivoi

aXKa

TToXXa

T&v

tj)vcTi<i

iravToBa'jr&i;

av

i^

Bvvdfi,ei<!,

Kau

f/

re

TToXXas

t&v trvXXa^&v

r]

touivttjv

ary(rjfiaTi,^op,ev7].

Be

avveo'TTjKev,

^oovrj

Tf

alTia

avT'qv.

irepl

troiovcn,

trddrj

ypa/ifiaTiov

Kal BiaAopov; eyovaa

25

opaTtKrjv

TO,

a-ei,<s

20

Xi^ecoi ofioioof BiaTi6evat

ri)?

ftepT)

ttjv

"irXoKri

Bvvafuv eyovTWV

Brj

T&v T^? Xefews /lopbwv iiretBr) fieTadelvai ttjv eKaiTTov <f)v<nv

ovy olov re, XeCireTai to ttj /ii^et, Kal Kpdaei Kal TrapaQeaei
avyKpv-^aii ttjv irapaKoXovdovaav avT&v Tiav aTOTrlav, Tpaj^effi
3
Kolv

T^s PMV
S fih

brj

PV

FPM

(Tii^ova'a

om.

EF

F,
II

crvfiiieTpid^ovo-a

P,

rrji

droTTiav om.

MV

Twv

in)|i|i6Tpa
/ivB/iui',

18

23 S^]
/cat

is,

of

12 t4s ffvufterplas
264 10 reray/U^KOus

cp.

and

ff((ifou(ro jivSnois.

25

fiiv rb
6 ev/ievh

/iev]

FM
V
riji

tt^

5 eav Us.

7 crvufjKTpia
Trji

^Sjj

F
F
:

8e

EF
^Sij E

a'UTijv rives

||

dA.A^A.(ov

Ttves avTTjV

25 rh

26 (TvyKpmreiv

Kpacrei

1. The subject of airoiBVivovcri

course, ^ /jouffDo) re Kal ^vS/ukt/i.

7.

4 rh

SLaTiOrja-t,
II

14 iwiiSr) 8e ravd'
20 ^ te] 17 EF

PMV
Trji

T^s

FM

1.

9.

KarA rbv

oIkciov

Kaiptfv

i.e.

in

cc. 25, 26.

10. irop' aiTf|v ripr OTPv9eo-iv.

With
this use of irapi cp. 156 12 irap' oiSiv
oStus Irepov ^ rds tQd o-uXXo/SiSi' kotoiTKeuds,

160 9 wapa

Tcks

tGiii

ypa/iiiATUv

i]

ON LITERARY COMPOSITION

xii

131

quantity of the syllables, but the quantity of the syllables

is

regulated by the time.

The

between music and speech having thus been

points remain to be mentioned.
If the
melody of the voice not the singing voice, I mean, but the
ordinary voice
has a pleasant effect upon the ear, it will be
called melodious rather than in melody.
So also symmetry in
difference

shown, some

other

the quantities of words,

when

it

preserves

rhythmical rather than in rhythm.

On

a lyrical

effect,

is

the precise bearing of

these distinctions I will speak at the proper time.

For the
present I will pass on to the next question, and try to show how
a style of civil oratory can be attained which, simply by means

charms the ear with its melody of sound, its

rhythm, its elaborate variety, and its appropriateness
to the subject.
These are the headings which I have set before
of the composition,

symmetry

of

myself.

CHAPTER
HOW

XII

TO RENDER COMPOSITION CHAEMING

It is not in the nature of all the

words in a sentence

the ear in the same way, any more than

all visible objects

to affect

produce

same impression on the sense of sight, things tasted on that

of taste, or any other set of stimuli upon the sense to which they
the

No, different

correspond.

sounds

affect

the ear with

different sensations of sweetness, harshness, roughness,

and so

ness,

on.

The reason

is

to

many

smooth-

be found partly in the

which make up speech,

and partly in the extremely various forms in which syllables

many

different qualities of the letters

Now since words have these properties,

put together.
and since it is impossible to change the fundamental nature
of any single one of them, we can only mask the uncouthness which is inseparable from some of them, by means of
are

aviarKoKis ktK., 202 11 Kal irap& tI 7^oc6

Toirav Ikoo-tov ; In airrji/ t^v ttivSeaiv
the contrast implied is with ^ iKKoy^
T&v dvofi.dTwf ep. 252 21 xarh yovv rijv
iwel Kal ij ^(tXoyi; tSv
aiyBe&iv air-fiv

ivo/xArwi' fiiya
23.

If

meaning

ij57i

divarai.

be read (with F and E) the

be, "the data being the

will

letters -witli their invariable qualities."

Cp. the German schon.
25. Quintil. ix. 4. 91 "'miscendi ergo
sunt, curandumque, ut sint plures, qui

placent, et circumfasi bonis deteriores

lateant.
nee vero in litteris syllabisque

natura mutatur, sed

quaque optime coeat."

refert,

quae cum

DIONYSIUS OF HALICAENASSUS

132

chap.

koX Ka/eo^mvoK ^ ev^ava

/laKpa, koX raXKa
^paxkat
KOi Bva-eK<p6poi<;
koI
ixrjT oXiyoavKXa^a
(TvvTi,9evTa
Tov avTov Tpoirov evKaipm
yhp
(Koirrerai
v dKp6aa-i<;) fi'nre
TToXXA 6^97? Xa/JL^dvovra

Xeia

koX aKX^pol^

iMiffrfovTa

Virp6<popa

6fWi,OT6voi,<;

t&v

irXeia

iroXvavKKa^a

fjuaXaiccL

koI

O/Moioxpopa Trap

fJ/n^

o/ioiorova

S^

/J/qSe

Ixavrnv,

XPV

6fioi.oxp6voi<S.

Trap'

Kal

^e

/J^eraXafi^dveiv (/irjicwofievai

ra? TTTwo-et? r&v ovofiariKcov raxv

yap e^eo tov p^rpLov irdvv irpoa-iarTavTai,
koI

TToXXaiv

4>vXaTTOfievov<s,

Kopov

awexm

StaXveiv

ofioioTTjra

Tr)v

10 Tidenivtov

prj/idTtov

Kal t&v
re

o-^if/iiao-t

rail

re

ovofidrtov

/mt)

aKoah) Kal
t&v e^<;

dXXcov fiep&v

tov

avTOii

del

toi<;

eirl

pAveiv dXXa Oaiiiva /MeTa^dXXeiv Kal Tpoirovi firj tov? avroi)';

TroWa/ct? aTTO
iTrei<7<l>ipeiv, aX\ai rn'oiKuXXeiv, /jirjBe Si) a.pxea-0a(,
tov eKavtrepTelvovTa';
avTci
T&v avT&v iMrjSe Xrjyeiv eh to,
15

Tepov Kaipov.
Kal

a'iTia

riBovr]<!

TOTB

rjBov^v,

yev&v
yap

Kal

17S0VJJ?

p-^TCop

TrdvTWV

etrl

e^

o'lojjiat

evijiopa

v-!rp6<f)opa,']

ovto<}

7 p,ir]Kvv6pva re

9 T Tuv Us.

oiire

&pi<Tev,

ypd<j)iv

Topyiaf

3 crvvreOevra

P
F

dvofioio-

^pwow Texvqv

oiSeh ovTe ^iXoa-o^o^ eh ToBe

irp&TO'; eirexeipw^ irepl avrov

(5) TToXva-uXXalSa om.

8 irpo'uTTavrai

t&v

tov Kaipov opav

Kaipov Se
/leTpov.

Belv

oa-irep

ovB'

ovx
iroXXaKK

ytvofiivtjv

d/ji,<poiv

KpdricTTOv

ajySta?

irapa/yyeXXeiv

Tavavna oxXijaear

r]

ofioioyev&v. Tore Se iK

Sk t&v

fiev

aXX'

yap

olSa

el/if

TavTa

KaOd-rra^

fie

iravro'i eaoi^eva

hici

dvoriTO'i

ovT(o<;

20

olrjd'p

p,r)hel<i

4 jroXAa

yap

....

p.t]Kvv6pvaC re

re tivojv F,

tivwv

yap

PMV

del p,eveiv
exi FE
om. PMV
17
14 inrepreCvovTas Us. vTrepretvovTa libri
19 bpoioyevwv EM opoiav yevlav
rovvavrlov PMV
TavavTttt FE
22 roSe
avopoioyivZv EFM
o/xoycvuv PV
F dvopoLuiv PV
23 irpwrov P
Xpovov FMV rh Xkynv P

11 ^vXaa-a-opivovs "ES

EF

Siafiiveiv

(jivXaTropevov 8

\\

PMV

||

||

2. Compare the scholia of Maximus

Planudes on the ir. IS. of Hermogenes

toCto

'yi.p

Kal

<t>rin

Aioviffios,

Sri

Set

/iaKpb. Kal jroXuffuXXdjSois

dXiyoffiXKapa, toCto y&p fiSiws SiarWriai
Ti]v i,Koiiv (Walz Rhett. Or. v. 520).
12. Op. Anonymi scholia on Hermog.
T. IS. (Walz vii. 1049), Sii, tovto kAWovs

/uyviav Ppax^ai.

iSiov

iiraSij

jivO/jAs,

kotcI

Kal iroiKlWei.,

aiTwv, foiS^

cfre

^i^rixev

\i.oviai.ov

Kal

\iiyet.v

/ii)

eis

liSivei

efre

t^v

fiif
dicojji'

Apx^irBai dirb rCiv

oird, dXX4 t6 i^

koKwv pvBuCbv, TOvriaTi iroSwi',

avyKeiaSai, rbv \byov
iydr/Kr] yhp airriv
oStu Ka\bv eXvaf Tarra 8i rbv eTrovSAov
6.Tr&vTav

/Jter'

airfii'.

Kaipdv lit. exceeding due measure in either case.*

On the whole, Usener is perhaps right
in reading the plural here and in 1. 11
clearness, and variety of termination,
recommend the change.
But (1) all
MSS. have iireprelpovTa, (2) the singular
has been used in U. 1, 3, 4 supra, and
14. {iirEpTeCvovras

'

',

ON LITERARY COMPOSITION

xii

133

mingling and fusion and juxtaposition,

by mingling smooth
with rough, soft with hard, cacophonous with melodious, easy
,to pronounce with hard to pronounce, long with short; and
generally by happy combinations of the same kind.
Many
words of few syllables must not be used in succession (for this

K^

upon the ear), nor an excessive number of polysyllabic words

and we must avoid the monotony of setting side by side words
similarly accented or agreeing in their quantities.
We must

jars

quickly vary the cases of substantives (since, if continued unduly,

they greatly offend the ear)
and in order to guard against
satiety, we must constantly break up the effect of sameness
;

by placing many nouns, or verbs, or other parts of

We must not always adhere to the \
same figures, but change them frequently we must not reintroduce the same metaphors, but vary them; we must not exceed
due measure by beginning or ending with the same words too often/
Still, let no one think
that I am proclaiming these as
universal rules
that I suppose keeping them will always produce pleasure, or breaking them always produce annoyance.
I
am not so foolish. I know that pleasure often arises from both
sources
from similarity at one time, from dissimilarity at
another.
In every case we must, I think, keep in view good
f
ta^ifi,, for this is the best criterion of charm and its opposite.
I6ut about good taste no rhetorician or philosopher has, so
/
The man who first undertook
far, produced a definite treatise.
to write on the subject, Gorgias of Leontini, achieved nothing
entailed

speech, in close succession.

^i:-...

might well be maintained to the end,

while <pv\aTTOfi4vovs (instead of tj>v\aTTbIKvov) might arise from the initial a of
so

(Tx/i/mai..

20. Tov Kaipbv opov, 'to have an eye

to (or observe) the rules of good taste,'
is a natural and appropriate expression.
The use of dijpaT6i in 134 3 is no argument for reading df)pav here, but rather
tells against the anticipation of so pro-

Moreover, the
nounced a metaphor.
middle voice is found in this sense in
o. 40 riiv ei(pavlav BTipa/iirri
With opav cp. de
ei/i^\ay.
Demosth. o. 49 fiXXus re Kal tov xaipoS t4
and de Thucyd. o. 1 ttjs
/t^T/ja opQv

de D&TTWSth.
Kal

tV

wpoaipiaeas oix &iravTa KaT& rhv cLKpipiaraTov \oyi.<Tiiiiv opilxrris (where Byipdiar)^
is given in Usener-Eadermacher's text).

21.

Quintil.

xi.

1.

"parata, sicut

superiore
libro
continetur,
facultate
scribendi cogitandique et ex tempore
etiam, cum res poscet, oraudi, proxima
est cura, ut dicamus apte ; quam virtutem
quartam elocutionis Cicero demonstrat,
quaeque est meo quidem iudicio maxime
necessaria. nam cum sit ornatus orationis
varius et multiplex conveniatque alius
nisi fuerit aocommodatus rebus
atque personis, non modo non illustrabit
eam sed etiam destruet et vim rerum in
contrarium vertet."
alii

22. TiiSe xpi^vov

TJsener reads riSe
ye (without xpl"'o^\ in '"is^ of P's Ti
\iyeiv.
But rdSe ye is unusual in this
sense, whereas ? Kal eis rbSe xpivo^ is
found in Antiqg. Bom. i. 16. Op. i. 38
ibid. Kal irapb, KeXrois eh riSe xplx'ov
:

yivercu: also

i.

61, 68,

iii.

31, vi. 13.

DIONYSIUS OF HALIOARNASSUS

134

\6yov a^iov eypa-^lrev

eh kuOoXik^v xal evrexvov riva

ovSev o

o AeovTivo?

TO 'Trpayfia

<f>v(Tiv

oXw?

ovS"

irea-elv,

ravrriv

Sofj7.

5 a-avre^

chap.

di^parog

iirteyTtj/iri

oi

B'

woXK&v

irrl

jmIv

aWtav

t&v

a/jueivop

ireptX/rjyjrcv

yvpva-

TroWa/ci?

koX

a\Xa

Kaipo'S

ia-Tiv

avrov,

evpLa-Kovcnv

exet

oiiS"

koX

ri

ol

S"

ayvfivaa-Tov a<pevTe<; a-TraVKorepov koI mairep airo rv^Vi-

KoX

Se

'iva

tmv aXXav

irepi

r)hea)<;-

Siariderai

ravra a\X?fXot?

aiarffrja-K,

r)

SwafievoK avrrjv

rol'i

Kal yap

eiceivoi,

avTOii

Kal yhp
o

ovBev

Kal

ala-^vvrj

pvTrapbv
j(o>pav

FM

tl

iroiovcTiv

oi

ev

o-iSiv

F:

om.

PV

a-7ravL(0Tep(a,v) P,

MV

F: fiaXaTTerai

PMV
EF

1 6 TriKpvirTov(Ti

om.

Kai

ri

yap

ovBev

(r&fj,a

Xoyoi';.

MV:

ov8'

Bvaaireladat, B

prjfia,

e^ov

Bvcrj(epet,av

ti

a-rjiiaiveTaL

at

reXevraiov
V^^diroBiBovai rots

oiKeLav

dpfioviav.

ovre

Xeyeadai fieXXov

iiriTTjBelav

evKaipovi ela^epovra-

XRVH^

KparicrTov,

ovofia

aXXrjV nvci

rj

epyov

iravro'i

ea-ecrOal,

irpayixa,

rj

||

Kal

F,

y/o

ry

e^ei

aiivBecrei

5 avrov

avao-KijTov

1]

Xoyov

^-rjfii,

fi-qBejxiav

Be

firj

raireivov

PMV

om.

ovBev

Terpiirrai,

ovrto

irapaKeXevofiai

dyvfivao-rov

Biavairayeiv

a^pv^^^^'

Belv /ieraySoXa?

vpeTrova-av

ovre

Belv

25 iiopiov,

olov

arjSlav

Bvvd/jiea<;

T'^?

(prj/jLi

irdvrcov

Kal

{iTTOKeifiivoK

<Tvv

yorjreveiv, wcrre viro tj)? eKeuvcov ;j^ajOtT09

fiera^oXr)

ri

Br)

o'io/jLai

ra

rj

avvvi^aiveiv

Kara ra? trwrafet? r&v aTparev/Marav

iinKpvirTOvai, toi5 l<T')(ypol<; ra aaSevfj, Kal

Be TTjv ravTOTrjTO,

20 Be

re Kai

ixj)

otKeiiov

crTpaT7)Xa.Tai,

15 ^povifioi

yiverai

ovofiara,

oXov

to

a-vvapfioTreiv,

iyKaTairXeKeiv

tovtcov

ttjv

iiria'KOTeia'dai,

%p^mt

oiojj.ai

eiKJxava

koX

iKfiaXdrreTai

Kal

Toiavrriv e^ovra (jtvaiv

fir)

kuI

evpvd/ia

kou

ei/jLeXr]

to,

rj

yXvKaiveTai re

10 o)v

ravr

eiirco,

fieXKovra Biadijcreiv rrfv aKor]v

rov

^vXarreiv iv ry awOeaei,

PM^V

||

9 ^ EFM
om. PV
10 eKfrnXdrTeTaL
15 o-vvrd^eK FM
Ta^[6i]s cum litura P, V
:

a-vyKpvTnovcriv P,

MV

17

PMV

a\pfq(TTOv

FE

20 KpdruTTov EF
icrTi KpdTimov PMV
21 Kttt 7rpiirov(rav om. F
22 Seiv om. F
on Kal T^Tpunai EF
OT {ovT V) iTriTiTpainai PMV
24
23 jxkXXov EF om. PMV
pvTraphv EF
pvirapov rj p,tapbv PV
^^
fji,iaphv
e'x'"' o- -^

/*j0os

d^pr](7Tov

||

Sk

EF

Se iv

7.

oI5

= otSa),

oiSh, oiS' otiovv.

The passage that begins here

10. rb

8\ov

Long.

op.

p.

207,

s.v.

<rivo\ov.

The

description in Iliad iv. 297be in Dionysius' mind. Cp.

Cio. Brut. 36. 139 "omnia veniebant
Antonio in mentem eaque suo quaeque
15.

is,

a good example of rhythmical and

melodious writing.

itself,

||

PMV

1. For oid' 8n (as read by Schaefer)

Dobree suggested a number of alterna-

tives,

300

may

ON LITERARY COMPOSITION

xii

135

worth mentioning.
The nature of the subject, indeed, is not
such that it can fall under any comprehensive and systematic
treatment, nor can good taste in general be apprehended by
science, but only by personal judgment.
Those who have
continually trained this latter faculty in

many

more successful than others in attaining good

who
of

leave

connexions are

whUe those
untrained are rarely successful, and only by a sort

it

taste,

lucky stroke.

To proceed.
by

in composition

I think the following rules should be observed

a writer

who

looks to please the ear.

Either

he should link to one another melodious, rhythmical, euphonious words, by which the sense of hearing is touched with a
feeUng of sweetness and softness,
those which, to put it broadly,
come home to it most or he should intertwine and interweave
those which have no such natural effect with those that can
so bewitch the ear that the unattractiveness of the one set is
overshadowed by the grace of the other. We may compare the
practice of good tacticians when marshalling their armies
they
mask the weak portions by means of the strong, and so no
part of their force proves useless.
In the same way I maintain
we ought to relieve monotony by the tasteful introduction of
variety, since variety is an element of pleasure in everything we
do.
And last, and certainly most important of all, the setting
which is assigned to the subject-matter must~^be appropriate

And, in my opinion, we ought not to

and becoming to it.
feel shy of using any noun or verb, however hackneyed, unless
for I venture to
it carries with it some shameful association
assert that no part of speech which signifies a person or a thing
will prove so mean, squalid, or otherwise offensive as to have no
;

fitting

place in discourse.

My

loeo, ubi plurimum proficere et valere

possent, ut ah Imperatore equites pedites
levis armatura, sic ab illo in maxime
opportuuis orationis partibus coUocabantur " ; Xen. Oyrop. vii. 5. 5 ivairrvx6cUrris d' otroi ttjs (pAXayyo^ dvdyKri rods
irpiirovs &pl<rT0vs eXvai xal roiis reXeuro/ous,
4v /jAaif Sk Toiis KaKltrrovs reTdxOai.

i9.

Cp.

Pompeium

Dionys. Hal. j^.

3 is ^5i> xpijim

c.

ypa^y nera^oXij

xal

iroiKiXov

'

ad

Cn.

Iffroptas

Aristot.

Eth. vii. 1154 b liera^oXii dk irAvrav

Eurip. Orest.
yhiKi, Kark rbv iroaiTiiv
234 /xera^oKTi irivToiv ykmi. Dionysius'
:

advice

is

that, trusting to the

whole-hearted faith

in the virtues of
(considered in its widest bearings) rests on a basis of permanent
truth.
If we
open Shakespeare at
random, we can see how the verbal forms
('remember,'
'bequeathed,'
'sayest,'
'
charged, ' ' begins ') are varied in the
opening sentence of As You Like It
and this though our language is almost
wholly analytical. And the words that
/iera/SoXiJ

fall

Lear

from Lear in his madness (King

iv. 6) are full of the

/xerapoXaL, as well as of the

most moving
most pathetic

variations from rb ei/ieXis to t6 e/i/ieWs.

DIONYSIUS OF HALICABNASSUS

136

TrapaSeiy/xari

re

'Ofi'^pw

KaX

Ka6'

Toi<s

av

oXiya

uAtwv, iKava Be w? KetjiaXaia

koX

to,

Arj/ioadevei,

ical

va-repov

oXtyo)

ravTo,

eicdinov.

avv6e(Tea)<;,

elprjaOco

ri^eia':

&v

Trepl

apfiOTTy

Koi

ovo/iaTrnv,

fivTjaff'^a-oiiai
-rrepl

fioi

troXK&v

virep

fiev

eKtpepeiv

Trap"

x^ptofievov;,

twv
aXkoK,

KeiTai

evrekia-TaTa
'H/joSoTW

avra

redapprjKorai

koI

irdvv

avhpeito'i

in(7TevovTa<i

chap.

Trj<!

Oemprj-

etvai.

XIII
KoXrj

elev.

KaX SK
10

ovK i^ dWcov

riVQ)v

to

fieyaJKoTrpeirrj'i,

yap

mcrirep

eiiyevh,

fieKo^

dfKpoiv,

jToiriTiKa
jSciXr)

r/Beid

mvrrep

i^

rj

aWw?

oiiK

TO

TTLVOV

Be

fyx^V

fiepo<i,

TOVTcav

(f)V(ri<;

KaX

wv

virep

Bt)

irpeirov

^^

t&v

97

uvWa^mv
av

koXov

rt?

ovtw

KaX

d-rrdvrcov

B'^

dpfiovia

iv

ma-irep

ti?

a-efivo<;

ex^''>

?)

re

e^ei
ijyrjfii

'Ke^etot;

e^

t&v ypafifidrmv

e^ &v TrXe/cerat

Bvvafii<;,

Xeyeiv,

ecrj

fierairpeirov.

koXov ifKeiaTOV
i^

Tiv6<;.

to

Beiv

J^apti'

avra

yevvaia

ovto) KaX

tov

fir)

av

yap

to,

Kao

ovtco

Tt?,

aoTia Be KavTavOa

rjBv.

Kaipo<;

el

fie

(^aur^v

irapaKoXovOovv

0}<nrep

dWov

eTTiTrfSevecrOai

&V7rep KaX to
20

fieTa^dXXeiv

to

KaX

15 erepo'i,

epotro

d^ia)/j,anKo<!,

pvdfj,o<;

Xe^K,

yiverai

ti,<;

Aia

rjBela-

r)

irepa, KaX pvOjJLOS mairep yXatpvpof

ei Ti?

/la

ttcb?

TOVTOif

iraai,

av

yevouT

ttw?

dpfiovla

B'

OeooprjfiaTeov,

TToiayv

to,

ovofiaTW

vTreo'XPfi'rjv.

XIV
dp^aX

fiev

2 x/""/^ evovs
7 M/ar

v^

PMV

ovT(a

15

PE

EFMV
FM

at

inrip

t^?

14
(^'x^"'

dv0pcoin,v7]<;

xpH/*ei'(os)

eiiv

Ire/aa

V)

M:

10 0^8'] ovK

TO irivov
dvo/iara ravra

cfxavfj^

6.

P: ex"

e'xei

TTkOavov

elcri

eilv sic P,

PMV:
:

ovv

PV

II

17

ttovov

FMV

22

<f>wvrji

Kai

/xe

F
F

apa

'''''"

KaX

4 dA.tyov F

PMV
FMV

(pcovrji;

sed

cf.

PMV

PMV

om.
||

evdpdpov

o-/tvo9 tis

13

154

fjA

ovt(o Kal

(refivhs

PMV

16 irivov {6 suprascripto) P:
18 Suv] Srj F
20 ovofmra
Kal ivdpOpov REF
koX evdpOpov
:

PMVs

irepl:

1.

21 infra, 96

2, etc.

dwi is attractive
but does
S\lyaTeBl\j=6\lya Seoip-ZjiiaTa^
"
"
The breathing on
8. stiv =
So
the last syllable (as given by the best
manuscripts, here and in other authors)
Reiske's

helps to distinguish this word from the

third pars. plur. optat. of el/il.
9. In a negative sentence, |ioL Ala is
to be preferred to vi) Ala.
13. X^gis
m^Xos (cp. 1. 11 supra) is
here
in
question.
Hence IJsener
:

ON LITERARY COMPOSITION

xiii

137

we should bring out such expressions

with a bold and manly confidence, following the example of
Homer, in whom the most commj3Bplace_ words are found, and
of Demosthenes and Herodotus and others, whom I will mention
a little later so far as is suitable in each case.
I think I have
now spoken at sufi&eient length on charm of style. My treatment has been but a brief survey of a wide field, but will furnish
the main heads of the study.

effect of the composition,

CHAPTEE
HOW

XIII

TO RENDER COMPOSITION BEAUTIFUL

So far, so good.
But, if some one were to ask me in what
way, and by attention to what principles, literary structure can
be made beautiful, I should reply

In no other way, believe me, "T^

and by no other means, than those by which it is made charming,
/ since the same elements contribute to both, namely noble melody,
// stately rhythm, imposing variety, and the appropriateness which
/
all these need.
For as there is a charming diction, so there is

another that

is

noble

there another that

is

as there
dignified

is

a polished rhythm, so also

is

as variety in one passage adds

grace, so in another it adds mellowness

and as

for appropriate-

prove the chief source of beauty, or else the source of

nothing at all. I repeat, the study of beauty in composition should
The
follow the same lines throughout as the study of charm.
of
the
is
to
found
in
the
nature
before,
be
here
as
prime cause,
letters and the phonetic effect of the syllables, which are the
raw material out of which the fabric of words is woven. The
time may perhaps now have come for redeeming my promise to
ness, it will

discuss these.

CHAPTEE XIV
THE LETTERS

THEIR CLASSIFICATION, QUALITIES, AND

MODE OF PRODUCTION

There are in human and articulate speech a number of

Perhaps X^|is ('the
suggests fUXiaiS.
words,' 'the libretto') is here felt to
'a passage set to
include the music,

music

'

cp.

124 22 Kal ykp

iv rairri Kai

Wfeis (' the words ') Kal

ovBiibv Kal nera^oMiv Kal vpiirov, and
contrast 126 20-1.
'mellowness,' 'ripeness'
16. irtvov,

lUXos ixomLv

ai

first-

FPMV

The readings of
point in this direction,
7r6i'o;' (F's reading) might possibly mean
either involve trouble (to the author)
or suggest painstaking (to the reader).
(see

Gloss.).

seem

all

to

'

'

'

'

TJsener conjectures ricov.

22.

spects

Chapter
is

xiv.,

the most

which in some

re-

interesting in the

DIONYSIUS OF HALICAENASSUS

138

fypdfjbfiaTa

wrdaa

dxovr)

Bidkvffiv
5

Kol

on

fjbev

ravra

TO.

10 Brj

tSjv

rfl)

diroTeKelv

nva<s

dfioipa

Koi

(fxovT]^

Sib

Sfj

ravra

ol

Be

TpLj(ri

fiev

Xoiira

iravTa.

a-iyfibv

rj

ra?

oevrepa Se

r]')(eladai,

koi

re

fivjfiov

rj

eKaXeaav, Odrepa

irp(OTa<;

/lev

(jjcovijevTa

rjv

ra

ianv

a 8

Kal oii^ old re

yjro^ov

d<pa>va nve<s

KaO
fiev

KaO' eavra i/roc^ou? ottoLov;

fiev

rj'^av BrfSjconKOv;'

veLfiavre<;

15 ^eovi]<i Bvvdfiei,<;

re

avrStv

oe

^eovat

\jr6(j}OV<;

pot^ov

"jre^VKe,

aXKwv

Tuvav

roiovTCOv

on
rrjv

o/iro^aiveTat,

/jLOVa-i,fco<s

Se

oe
tcau

aroi')(ei,u>v

Br/

Sta(f>opa

<j)vcri<;,

Se to,

i{r6^ov<;

t&v

reKevToia.

to,

^covrjevrcov

firj

rypafi/j-aTa'

crrof)(ela

a-r/fialveTai,

ttuvtcov

fila

aTroreXet,

<j)ci)va<;

XeyofjLeva dxovrjevra,

KaG"

iic

'Apia-T6^evo<; 6

a><;

fiiv,

fiev

Tiai

koI

a-Toi,)(ela

tovtcov Xafju^avei irpancov

Troielrai

ov

lypa/ifjidrcov

irpcarr)

ypa/j,fiai<!

>yeveaiv

ttjv

el<!

a xaXov/iev

Siacpeaiv,

Be'^o/j.evai

fiT/Keri,

chap.

Ka6
Be

rj

aiTdarj<i

eavrd'

rjiiL^cova,

t^?

<7T0i'^et,(!)Bei<;

oaa koI Ka6 eavra

eKaXeaav,
T

a R as libri
irpwrov
3 irpdriov F irpca P
reXivrala P
reXivralav FVs
reXivraiov R
reAenTatav
(f)(i)V7]evrii)v REFM
pev <f)tovrjevr(i)v PR*" (jnovrjivrotv Ye
1

TTTVcrphv

Vs

13

<f>(0V7Js

1|

TrowTrva-phv

EPMVs
T^s

PMVa

(Tvpiyphv

RFM

might

Sio Sr)
:

cjxovrji

rj

pvyphv
pvyphv

REF

om.

one of those

easily

scoffers

whom

vers est prose," and (particularly) his

" Pour bien
I' orthographie:
suivre votre pens^e et traiter cette
matiere en philosophe, il faut commencer
selon I'ordre des choses, par une exacte
connaissance de la nature des lettres, et
de la diff^rente maniere de les prononoer
toutes.
Et Ik-dessus j'ai k vous dire que
les lettres sont divis^es en voyelles, ainsi
dites voyelles parce qu'elles expriment
les voix ; et en eonsonnes, ainsi appelies
consonnes paroe qu'elles sounent avec
les voyelles, et ne font que marquer les
diverses articulations des voix."
These
remarks include descriptions (many of
which are taken almost verbatim from

remarks on

RE

piyphv

M
PMVs

^ P^

10 (7iyphv

Tromrvcrpov

11 SrjXoyriKoiJi RF
Odrepa] KaOaTrep
||

airo-

SrjXoynKa,

PVs

be ridiculed by
Dionysius
elsewhere (252 17) mentions with aversion.
In Le Bourgeois Gentilhomme
(ii. 4) there is much that could serve for
a parody of the 0. V. the Maitre de
Philosophic with his "Sans la science,
la vie est presque une image de la mort
[nam, sine doctrina vita est quasi mortis
imago), his "tout ce qui n'est point
prose est vers
et tout ce qui n'est point
treatise,

RMVs

REF

De Cordemoy's ZHscours physique de la

parole, published in 1668) of the mode
in which various letters are formed, and
(incidentally) M. Jourdain's exclamation,
"A, E, I, I, I, I. Cela est vrai. Vive
"
la science
1. The following note, given in Usener!

Eadermaoher

ii.

1, p.

48, is

important

on the text of the C V.

" Scholiasta Hermogenis Ilepi ISeQv 16

for its bearing

in Walzii rhet. gr. VII. p. 964, 23 (correctus ex codd. Paris. 1983

Ret 2977 =
R'') dWd irepl
/u^v
(ttolx^Iov ipurra
irapaSLSuinv 6 ^wviaioi iv tI} irepl
\iyei,
o-vvB-^kiis ivoixAruv
(rvyyp6.fi.ij.an
yhp tI avfifii^riKev iK&arif tCiv ffrotx^lav
xal volav iiiv Sivafuv ?x" ''^ ^uiv^evra,
Tolav di ret (ripttfava koX irdXiv aS tA
iip.l<ptiivarrX'^v Ua ti
Kal Bavp-iaaiuv
rbv &vSpa t^s 8c|i6T9p-os, aurrjc vapaSdpieda -riiv Xi^iv 'Apxal p.kv
ctvai
iKeiva (p. 969. 18 W.). koI ravra piv 6
Aioi'iio-tos
oTs irpoir^xuv oiK S.v SiapAprois
toO irpoaiiKovTos.
el y&p (Tep,viv iroicw

^flAeis

(sic

XAyoc,

iKKe^dpi.evos

rerapiivov

ie^Xois

rd

{reTayp^vav

a Walzius)

rbv

p.aKpd koI iaa

\ap.^i,vu ral

W)

ON LITERARY COMPOSITION

XIV

beginnings admitting no further division which

and

letters

certain

" letters "

lines

139

we

call

elements

(ypafifiara) because they are denoted

and

(ypafifiai),

"elements"

by

because

{a-TOfxeia)

made by the voice originates in these, and is

ultimately resolvable into them.
The elements and letters are

every sound
not

all

the

iirst

same nature.

of the

Of the

between them,
some
represent vocal sounds, while others represent noises
the former
differences

as Aristoxenus the musician

is,

makes

clear, that
:

being represented

by the

A second

other letters.

so-called " vowels," the latter

difference

some

that

is

of the

by

all

the

non-vowels

by their nature give rise to some noise or other, a whizzing, a

hissing, a murmur, or suggestions of some such sounds, whereas
others are devoid of all voice or noise and cannot be sounded by
themselves.
Hence some writers have called the latter " voice"
("
less
mute^ "), the others " semi-voiced " (" semi- vowels ").

who make

Those writers

a threefold division of the

name

elemental powers of the voice give the

to

Siy]veKTi

which can be

letters

all

uttered,

rbv aiKbv toO irvei/j.aTOi \d/j.^averk jSpax^ws i^ dTroKoirijs re Ae76-

(peOye Si
/xeva

Kal

ApTijpLas iirl
Tot

ir\i)yg

fuq,

pax^
rwv

irveifiaTOS

Kal

rrjs

KivTjdelcrTjs iK(pep6fieva

7A/) fiaKpk

tptiivq^vTuv

tQ

ce^iv^

""-^

aiyiibv ^ fivyiibv

Walzius) riv
rd
Xafi^dvav, dXXi rd Kard t^v

tt^^'

SeT

o^X

ffiravl^ovTo,

kirXSis oi5i (otfre libri)

iKcpopdv

SioyKovura.

XiyeraL

toG

dvotyo/j^vov
(pepo/j^vov

t6

<rT6/j,a

iTTdfiaTOS

Kal

rod

iirl

Sei

b)

6(Ta

jrXeiffTov

Trve6/jMT0S

[dvacpepofiivov

oipavhv, fi Sera jrepi(rTiKKei

rb TTvevfjia irotel irepl rb
SxTTe

Kal

&v(a

vpds

rd x^^^V

dKpoarb^uov,

/idXiara

XP^"'^'" '""'s "Ki^eaiv

re a Kal Ttf w."
2. Dionysius Thrax Ars Cframm. 6
(Uhlig p. 9) ypd/i/iara Si XiyeTai Sid rb
ypafifjiais Kal ^va-fiais rvirovaBai' ypd^ai
yap rb ^v(rai irapd Tois TraXatoiS.
3. With
this passage generally op.
Aristot. Foet. c. 20 o-toix^Tov fih oBi'
^arty tpuvij dSiaiperoSf ou iraffa Si dXX'
Kal
^1 ^s ire<f>VKe awer^ ylyveaBai. ^uivt)
ydp Tav 6'r]plwv eialv dSialptTOi (jxaval, &v
oiSe/ilav X^yw CTOix^tov raiJTijs Si fji^prj
t6 re tpdjvTJev Kal rb Tjfii^djvov Kal dtfxavoy,
^(rriv Si (piavrjey fiiv <Td> &veu irpoc^oX^s
<^ov tpojv^v dKovffr'^Vj oXov rb S Kal rb P,
Sa-ai v'Keoj/dl^ovffi t(?

ix"" 'piii'it'', pterd Si rwv

ixbvrwv rtvd (puv^v yiyvbuevov dKovffrbv,
oXov rb T Kal rb A.
ravra Si Sia^ipeL

rbv

{(TiraSciii'll^ovTa

rb fierd TrpocjSoX^s Kad* airb

oiSefilav

fn^p

re roS arbixaroi Kal rbirois Kal

Kal
^CKbrip-L Kal
/tij/cet
Kal
paxirtyn, In Si d^irr/n Kal ^apirrin Kal
irepl S>v Ka6' ^Kaarov ev roh
iiiaifrifi
fierpiKoh Trpo(TT)Kei BeuipeXv.
6. Aristoxenus,
of Tarentum, the
great musical theorist of Greece, lived
during the times of Alexander the Great.
Dionysius refers to him also in de
Semosth. 0. 48.
9. Cp. Sext. Empir. adv. Math. i. 102
Kal 7)idtj>ii>va ixiv Sua SC airwv poi^ov fj

/iSXXoc apiibrrei dre (ct re b) firiKwd/icva

Kara t^v iK<l>opli.v Kal irokiv ^oSvto,
Xpbvov AvolKeia (Walzius dvoiKei.ov a b)
5^ rd ^pax^t^s Xeybfieva, koX ffiradovi^ovTa

^XO"fiaKpd

Si

or

by themselves or

either

d<pujvov

first

of voiced (vowels)

<rx''lpi^ffi-v

SacT&rriri

Kard

rT)v

/)

nva

iK(pd)VT]cr.LV

irapairK'/iaiov Jixov
diroreheiv Tre^u/c^ra,

Kr\.
irowirva-iJ.bv, the reading of P, might
'a popping sound.'
13. The division into vowels, consonants, and mutes appears in Plato
Cratyl. 424
dp' oSi> Kal rj/ids oSrta Set
irpuirov iiiv rd ^ujvijeyra (* vowels') Sl-

10.

mean

e\i(rSai,

Sweura rCiv eripoiv Kara

elSri

rd

('consonants') koI d<j>9oyya

('mutes') &(pava seems in this passage
in later times
consonants
to mean
In the
so used.
o-i/jupoiva was often
Philebus 18 D the origination of an 'art
of grammar' is attributed to the Egyptian
re

dtpoiva

'

Theuth.

'

DIONYSIUS OF HALICABNASSUS

140

koX

(fiavelrai

/led'

erepav Kol

oiire

TekeLa'i
5 erepcov

Be

yhp

10 Tcov

Qempia

Kal

Tt?,

TCOV

oh

elKoa-iTeaa-dpcov

Tovrcov

k8

elvai

mrjBrfO-av

Be

Karea-Kevda-dai

crTOi')(ela,

'^(^pwfieda

re koo

olKeiorepa

TrXet'ou?

vvv

irKeiio.

Ta<;

Kal

ovv virep

Be

^ovKeral

/j,r]T

eXarrovi

el

^covfj<;

tiJs

t&v

ttjv dp'^^^v aTTo

<pmvrji

Be

ol

fiev

Be diro'^pTj

elvat

VTrodefievoi,<;

tovtcdv

/JbeTpi,icrj<;,

rj/iiv

axpi^m,

elirelv

Trdvra t^?

to,

ek

Xoiira

to.

avfi^e^TjKora aurot? Xeyeiv,

TO,

fieO

airoplav to 7rpayp,a>

-rrpo 7]p,Siv

rpia/caiBetca

<YpafiiJi,artKf)<;

(j>tXo<To<f}La<;

fi'^re

ov pahuov

avreov ocrn'; eanv,

iroWrjv irapea'xe koX Toh

ol p,ev

ra<i

eavrd,

iK<f>a)veiTat.

S'

apid/jbbv
eirei

rai,^

icad

oaa oine

S'

Ka9'

e^et

(j}(ova<;

oa-a

iK<pepeTai,

iavT&v Kpelrrov
Herk fiev ^avqevrcov
a^cova
awToreXw?'
eavra Se xeipov Koi ovk

avrh

^/MTeXe2<;

rjfLi^cova

avToreXr)-

ecrTiv

chap.

ap')(a<i

<peovrjevTa)v

15 Tj-OLrja-a/jiivoi^.
ecTTt

KoX

TO

ravra tov

Br}

dpi,dfj,bv

Bvo Be fiuKpa to Te

o,

a Kal to I Kal to
avaTeWeTai
Kal avTa ol

TO

Te

20 fieTaiTTCOTiKa

dpTrjpla^

KaXovcrLv.

crvvrj^ovarji;

cT'^TjftaTiaOevTO';

tco

v,

Bvo

f,

/j,ev

Kal to

rj

&,

Siairep

Bi'^pova,

^coveiTai

Kai tov

ovBev

2 avra eaiJTwv REF

om. PMVs
Se
5 Sc iKcjXtiveiTai REFMVs
PMVs
11 i 8e RF
RFM; o dpidpoi PVs
Tot PMVs
avTois RF
avrrfi P, MVs
:

ol

ecfiTjv,

Be

TavTa iravTa irapa t^9

Be

TTvevp^aTi

t^? te ^Xwtti^s

Te

TpLa Be Bi'^ova

yap eKTeiveTai TavTa kul

koI

fiev

to

^pa')(ea

crTO/jMTO'i

irpayp^aTevop^vrji;

4 ^p.ireXe'k
kol ^xoveiraL
el

aTrXw?

REF
P

aXK

rjfiiTeX^m

6 dpidfih

PMVs

14

rot

RF

Kai

16 pev Ppax^a totc (rb R)

18 koi yap cKTUVcrai
e KOL rh 6, Svo Se paKpa F, ER: pev paKpa PMVs
ravTo. RFE
a koi eKreiverai PMVs
19 Kai avra RF a PMVs pev]
Trapo, t^s EF
pev ^Sij R
20 <^ft)VtTat RF iK<f>a>virai EPMVs
rut
u-uviy^oxxTTq'S libri
aTTO TTJi
21 (Tvvq\ov(T7)<s R
Trjs RPVs
:

II

TTvivpaTL

t8

TTvi

to

irvevpxt.

5. "On referring to the treatise of

Aristotle irepl Akovo-tuv, the notion which
underlies all Greek phonetics will be seen
Breath is expelled by
to be as follows.
the lungs through the windpipe into the
mouth, whence it passes out. The chief
differences of speech-sounds are effected
by the strokes of the air ' (ai toD Aipos
wXtiyal) and the configurations of the
mouth (oi ToO (TrbixaToi axqimruxixol).
On the state of the lungs, their hardness, dryness,
thickness, or softness,
moistneas, freedom, much stress is laid
and also on the amount and strength of
'

||

||

EPMVs

||

a-Topa.TO's] cr(opaTOS

||

the 'stroke,' which drives out the air

forcibly {4KS\ipiri rbv d4pa /3iaws). Much
is said of a long and short windpipe,
'All that have long necks speak forcibly,
as geese, cranes, and cocks.
When the
windpipe is short, the breath necessarily
falls out quickly, and the stroke of the
air becomes stronger, and all such persons
must speak sharper (d^irepov) because of
the rapidity with which the breath is
borne on.' But there is not the least
reference to the larynx or vocal chords,
to the real organ by which voice proper
is formed.
No doubt Dionysius was not

ON LITERARY COMPOSITION

XIV

141

together with others, and are self-sufficing; semi-vowels to all

which are pronounced better in comMnation with vowels, worse
and imperfectly when taken singly ; mutes to all which by themselves

admit of neither perfect nor half-perfect utterance, but

are pronounced only in combination with others.

It is not

easy to say exactly what the number of these

and our predecessors also have felt much doubt upon
the question.
Some have held that there are only thirteen
elements of speech all told, and that the rest are but combinations
of these
others that there are more than even the twenty -four
which we now recognize.
The discussion of this point belongs
more properly to grammar and prosody, or even, perhaps, to
philosophy.
It is enough for us to assume the elements of
speech to be neither more nor less than twenty-four, and to

elements

is,

specify the properties of each, beginning with the vowels.

These are seven in number

two short, viz. e and o two

and three common, viz. a, i and v. These
last can be either long or short, and some call them " common,"
as I have just done, others "variable."
All these sounds are
produced from the windpipe, which resounds to the breath, while
long, viz.

the

r]

and a

mouth assumes a simple shape

wiser tlian Aristotle in these matters.

This must be well borne in mind for
the full appreciation of what follows,"
A. J. E.
[But for y^&pvy^ cp. the note
on 1. 21 itifra.']
14. aiTots
rather than

a.1

<TTOLX'ua. (cp. 11.

rris

<p<^v^^

and

d.px<^l,

10),

seems

The
to determine the grammar here.
reference of aird,
toCto, etc., is
often very general
e.g. Aristoph. Man.
1025 dXV iiuj, a.Br' [sc ri iroXef^LKd, to
be supplied from t6v irSXe/iov in the
previous line] ^f^y aa-Ketv, &XK' oix iirl
tout' [sc. rb d(r/ce'] irpdireaBe, and 1464

aM,

the tongue takes no part

to Sir Thomas Smith on this passage.

It is interesting also to notice the praise
which Smith, in the same treatise on

Greek pronunciation (Havercamp ii. p.

537), lavishes on Dionysius' description
us vowels " Quis Apelles
^
^"t Parrhasius faciem hominis penicillo

}^

ooloribus expnmere potuit fehcms,

differentiamque constituere mter divevsos

X^l

vultus,

quam hic verbis yocalmm naturam

e5, trMiv y 6 Si.Ka(rTTis aiVd [sc. t6, xP^/MTa, implied in irdpos] Karairlva (u6os
Thuoyd. vii. 55. 2 tA ir/id a^TiSi' ('before
the late events ').
Cp. also note on 198

18 infra.

21. With avvexoio'i}! ri irveviia the

meaning would he 'while the windpipe
constricts the breath.'
But the reading
given by K represents the facts with a
fair degree of accuracy, and it may be
compared with Aristot. Mst. An. ix. 4
rb, ix.h

oSv (pwvifevTa

d<plri(nv, ri, S' S.(j>uiva

Dionysius makes no specific refer"or elsewhere in his treatise,

The probable inferto the diphthongs.
ence is that he regarded them as true
diphthongs, formed from the simple
vowels whose pronunciation is separately
described by him.
ence, here

16. See Introduction, p.

distmxit ao separavit?

46 supra, as

tj

t]

^uvti xal 6 "Kdpvy^

khI rk x^l-^V-

ykwTTa

airXus <rxil|ittTio-9VTos "meaning

:

perhaps that the mouth is not continually

varied in shape," A. J. E.
22. o48lv irpa7|iaTDop.^VT|s

does not move about, though

the breath," A. J. E.
jt

"that

is,

it directs

ix\' ^pcnovo-ris " meaning that it

does not vibrate as for \ and p," A. J. E.
:

DIONYSIUS OF HALICARNASSUS

142

7r\r]V

r)peiiovar)<;.

/laKpa Koi rmv Boxpovmv a fiaKpSm

Kal StrjveKT] tov avKov rov irvev-

fiev

to,

chap.

Xeyerai, reTafievov Xafi^dvec

TO,

fiaTOi,

tovtcop

eKAiperai.

rd

airoTeXei

Kal

on

Tfj<!

apT'qpla';

KpaTiara

Brj

flip

^pa')(y

iirl

ea-n Kal

-n-oXiiv Tf^^eirai

re Kal

Ki,V7]del,a-7]<s

(peov^v

Kal r&v Bixpovayv oara

re fiaKpa

eK<popdv,

rrjv

e'f airoKOirrj';

^pa'X^ew; Xeyofieva

rj

JrXrjyrj irvev/j^aTO^

fiia
5

Sk ^pa'xea

ijSio-tijj'

ftnfjKvverai

Kara

yjpovov Kal rov rov -Trvevfiarof

xeipm he ra ^pa^e*^ V ^paxew? Xe70ovK airoKoirrei rovov

avrwv
earl Kal airaZovL^et, rov ?fxpv.
r
jMiKpo^avd
Heva, on
eKreivr^rai
d,
orav
ro
eixptavorarov
iraXiv
fiev
he r&v fiaKp&v

10

rov crrofiaro^ errl irXetcrrov Kai

Xiyerai yap
hevrepov he
wpo? rov ovpavov.
dva>
<f>epo/jAvov
rov irvevfiaro^
re

dvoiyojxevov

TO

hiori Kdro)

fj,

dXX' OVK

^jyov
15

rpirov

he

ro

avrd rd

en

awaviCet

yivo/Mevrj^

KciTu

REF:

REF

Kara)

PMVs

||

kcEto)

yevontei/jjs

preference to flute and lyre."

<nro8ovCSi.

For the

see Gloss., s.v.

effect of the

Cio.

Tiisc.

"haec dextra Lernam

placavit

sound in

u.

Disp. ii. 9. 22
taetram, mactata

haec

bicorporem

afllixit

manum

R''EF

EPMVs

REFM

PMVs
PMVs

seven vowels, which they utter in due

succession and the sound of these letters
is so euphonious that men listen to it in

excetra,

17

TrepMrTeAXei

"In Egypt the priests, when singing

hymns in praise of the gods, employ the

cp.

ro

irepi, yap
rovrov ro v
d^ioXoyov irviyerai Kai

tov a-Toparo^

5. With regard to the euphoniousness

of the Egyptianvo^As there is an interesting passage in Demetr. de Eloc. 71

Latin

Kal

wvevfia Trepl

ea^xarov he Trdvrtov ro

dva<^e/30/iV0u

II

yivojj.kvqs

10.

ro

crro/JMro^.

arofia

"Trepi

rov^

R^PMVs
re F re

7rejOKrTeAA.eTai

9.

avra rb

iv

aKoXovdov dXX' OVK

18

rov

ovk atroKOTrrei
^ ('^'- videtur)
8 ovk airoKOTrret rovov RF
ov KaraKOTrrei rov tovov PMVs
9 tnraSovtfei PMVs
12
10 ttolXiv REF om. PMs
(sed vid. n. 138 1) EF

av<a (pepo/xivov

PMVs

rjrrov

epeihei rov

yXiorrrj';

rfj<;

dvoiyofievov

re rrXrjyriv

S'

crv(TroXri(;

crrevo<; eKTriirrei 6 ^Yo?.

7 '5x^'
T^jodvov

^dcriv

fj,erplco<;

rrjV

X^'iXr)

rroielrai.

yelXr]

rrjv

Kal

arpoyyvXl^erai yap

rd

rrepicrreXKerai
aKpoaro/jLiov

re irepl

dvco,

Erymanthiam haec

haec e
vastificam abiecit beluam
Tartarea tenebrica abstractum plaga tri"
cipitem eduxit Hydra generatum canem
(a translation of Soph. Track. 1094-99).
11. Cp. Le Baurg. Gent. ii. 4 "la
voix A se forme en ouvrant fort la
:

13 SidrtREF: oVi
14 akX' ovk REF
16
om. PVs

ert

RF

ea-ri.

EPMVs

bouche" and the rest of Moliere's eomie

phonetics furnish similar points of coinoidence with this chapter of Dionysius.
12. "The position of the tongue has
to be inferred from the presumed direction
of the breath, on which many other
writers besides Dionysius have laid
stress ; for A probably the tongue was
depressed, so as to allow the breath to
enter the mouth freely, and the sound
was either a in father,' or, with a still
more depressed tongue, the French a in
'passer,' which is a common Scotch pronunciation of the vowel a," A. J. E.
13. " The description which Dionysius
gives of the production of ij and of e is
unfortunately not of such a kind that
we can with any certainty infer the distinction of an open or closed sound,"
Blass Pronuiiciation of AncieiU Greek
p. 36 (Purton's translation).
;

'

ON LITERARY COMPOSITION

XIV

in the process but remains at rest.

common vowels

those

143

But the long vowels, and

pronounced

long, have an
extended and continuous passage of breath, while those that are
short or pronounced as short are uttered abruptly, with one
burst of breath, the movement of the windpipe being but brief.

Of these the

that

are

which

strongest,

also

produce the most pleasing

common ones which are

lengthened in utterance, the reason being that they are sounded
for a long time, and do not cut short the tension of the breath.
the long ones and those

sound, are

The short

ones, or those pronounced short, are inferior, because

they lack sonorousness and curtail the sound.

vowels themselves the most euphonious

is

Again, of the long

a,

when prolonged;

pronounced with the mouth open to the fullest extent,

and with the breath forced upwards to the palate. 17 holds the
second place, inasmuch as it drives the sound down against the
base of the tongue and not upwards, and the mouth is fairly
in pronouncing this the mouth is
Third comes a>
open.
rounded, the lips are contracted, and the impact of the breath is
Still inferior to this is v;
for,
on the edge of the mouth.
through a marked contraction taking place right round the
Last of
sound is strangled and comes out thin.
lips, the

for it is

The Ka

14.

which

introduces a specification
to those which follow

is parallel

Kiru.

sound (not15. For the effect of the

withstanding any differences in the two
languages) op. Cic. Cfcrf. iv. init. "video,
patres consoripti, in me omnium vestra
video, vos
era atque ooulos oonversos.
non solum de vestro ac reipublicae, verum
etiam, si id depulsum sit, de meo pericnlo
And in Greek, the
esse soUicitos."
Homeric lines quoted on 154 23, 156 4
infra.

The question whether w =' open

or ' closed ' depends upon what position

of the lips Dionysius' description is taken
to indicate.
17. fJTTov, 'less,' might mean inferior
either in quality of tone or in the degree
of opening of the mouth (A. J. E.).
rbii: this vowel can, as in Aristoph.
Fltd. 895, be so pronounced as to convey

the sensations of a sycophant in the

presence of roasted meats :
,

iviov iarlv, o luapardTW,

"al KpiuivoinTr,iJAvuv.
,

ipvciadov
7ro\i>

xpwa refrnxOy
A

0Si)6i)56Bi)5,
n.

^.

ii

9:

where B. B.

S:

i\

Si

i\

-ft

Rogers remarks:

Vi

rt

"This

line [0 B etc.], as Bentley pointed out,

non ore, efferendus. It represents

a succession of sniffings, produced by the
nose ; and not words or inarticulate
sounds spoken with the mouth."
is tuiso,

18. Cp. scholium

p. 691. 27 B : t6 u
Karct Triv ^K^ilivijcnji.

'

AXiKapvaaaeis

tv

on Dionysius Thrax
ra x^"^') (rvffriWei
j^ricrl yhp Aioviaios

ry

ircpl

aroix^lav Kal

<Tv\KaP&i> Xiyqi 8n irepl airli ri, xeA?;

ffWToXijs ywonivt]! i.^Lo\6yov irvtyeTM Kal

arevbs iKirlTrei 6 ^x<>'19. "So far as the lips are concerned,

this description would suit either the
French u or the English 00, but the
latter part of the description is better
suited to French u, and from the Latins
having at this time represented this
(the usual
sound by their new sign
form of Greek T in inscriptions) in place

of their

may

own

(which was our

we

00),

sure that the sound was not

English 00, and, if not, that it was most
probably French u, as we know that it
was so subsequently," A. J. E.
^^^^ 68dvTos : " as the lips are not
.
^^^^^ ^^^ ^^^ ^j^^ ^^^^j^ ^^ jj^^j^.
'
j;
.
The position
the aperture," A. J. E.
(?(rxoTov wovtoov) assigned to iota is to
feel

.^

be noticed: cp. Hermog.

tt.

15.

p.

225

DIONYSIUS OF HALIOAENASSUS

144
re

yap

dvoiyofievov

rov

6B6vTa<{

rod

Kpovcri^

r]

ytverat

Trveu/iaros

ovk

Kal

crTO/ttaro?

chap.

fiiKpov

rwv

i-7ri\afi7rpvvovrcov

r&v Be ^paj(ea)v ovSiTepov fiev evfiop^ov,

veiX&p TOP r)yov.
BdcrTi^cn yap to a-TO/ia KpeiT^TTOV Be SvcreiSe? rod e ro o
rov OaTipov ical ttjv "TrS/rjyrjv Xafi^dvei irepl rr/v dpTrjptav

fiaXXov.
^(ovTjevTav fiev

TotdBe

TO
10

KaX TO

BittXm

ylr.

f Bia tov of koI B, to Be

Bid rov it Kal a ffwe^dapjievav

Bveiv ypa/ifidTCOv

Toti;

TOVTcov

iv

icrri

awdyecrQai

ToiovBe Tivd TpoTTOv

Kal

20 i<7Tafiev7j<i

aTOfiaTOt T0(?
pcodcovcov

TOV

fjy(pv

25 irvevfia
1

j^eCXecri

TO

Kai

Be

Kpova-ii E.

irivre] f

Be

rov ovpavov
rov

p,

fieTa<j}epov(77i<s

^opdv tov

ttjv

pwOwvai;

Toii^

iiri

fiev

Bia t&v

irvevfiaTO';

^Xcottij?

tt)';

Be

aKpa^ diroppiTTi^ovarfi; to
p
tov ovpavov eyyvi t&v oBovtoov dvio'Tafievrji!

EF

K/aoTJjo-is

PVs

3 evfiofxpov

||

rov

2 ovk eTfiXainrpwovTav]

EEF

9 SnrXa Se rpla F,

to 5 Us.
8 oktw

PVs

tov

to

lyXcoTTi;?

REF Sva-r]xh PMVs

rrjv Se PMVs
Triv EEF

Sva-eiSk

Be

Kal

TJj9

KpLcris

eKa-

7rpo<;

ovKCTi XapTrpvvovTwv

5 Kal

to

y\djTT7f<; Tryao?

Tri<i

crvvr]'^ova-rj<;

'iriea-devTO'i,

d'iroK\eiova'q<;
'

dpTTjpia^

fiepi^ofievov

TrvevfiaT0<!

eirey^eiv

ra

e<TTi

TO fikv

'

t?}?

j((opav

'jrapaXafi^avofievov

BnfKd t&v dirkav,

fiev
twv eTepmv Kal fidWov eyyi^eiv BoKei
Be ra aTrXa Bid to et? ^pa'^VTepovi
tov ^xpv,
B'
avT&v exaarov
<f>c0veiTai

rjTTO)

Bid to

-fj

(7vXKa^ai<s

Tal<;

Kpe'iTTa)

Bt)

fiei^ovd

TeXeioi<;

TOTTOvi

avra

Xeyovcriv

Be

fiev

^ Bid tov id Kal a-, to Be ifr

aW^jXot? IBiav tjjcovfjv 7uifij3dvovTa,

eTreiBrj

Be

'

Jl

f Kal TO

Bia TO

15 (TTOv,

rj/iitjxovmv

avT&v irevre fiev iaruv aTrXfi

BiTrKa Be
Kal TO V Kal TO p Kol TO 9

f Kal TO
avvQeTa etvat, to

Tpla TO T
i]Toi

avTTj (jtvaK

ypafifiaTCOv

o?iv

OKTO) Tov dpidfibv 8vTa)v

E^E

EF

4
PMVs
EEFMV, to o Ps
okto) yap EPMVs

evrjxov

to
:

SnrXa

||

Se Kal rpia

rpia

11 toS 5 Kai toC d= E

tov S Kal ff R''
(y P) 8i SiTrXa PMVs
13 I8iav EF Kai iStW PMVs
14 TrapaXap/Bavop^vov eKaorov RF
jrapaXap^avopeva.
iKcio-Tov PMVs
17 /Spaxvrepovs F /Sapvrepovi
E: /Bpaxvrepovs avrZv E,
18 tottovs RFM^
Tovovs EPMWs
:

PM

EEF avurrapivri's PMVs crvvrixovo-rfs EEF o-vvf]XOV(rrj^

M: o-ui/exoijcnjs to irviVfia PVs
21 8ta toJv
(23)
TTvevparo's EEFM
om. P
22 P] S= E
23 tovs p(!idiava<s EPMs
rbv ptiOtova FE
24 d.TroppiTri^ova-rj's EF
airoppain,(ova-qs, EVs
20

la-rapevrj^

||

TO TTvevpa

a/iropairi^oxxTT!)'} (p alt. siipraaor.)

(Walz Meit. Or.

vol.

t6

iii. )

tV W^"

P.

iJKurTa

TrXeovdaav.
1. [iiKpiiv Avoi70(Uvo\j
"no limitatiou is necessary, the lips may be as open
o-e/ii/V TToiei

for our ee as for our ah, but they may

also be slightly open from the centre to

the corners, no part being in contact,"

A. J. E.

ON LITERARY COMPOSITION

XIV
all

stands

for the

impact of the breath

is

145

ou the teeth as the

mouth is slightly open and the lips do not clarify the sound.
Of the short vowels none has beauty, but o is less ugly than e
former parts the lips better than the latter, and receives
the impact more in the region of the windpipe.
for the

So

much

for the nature of the vowels.

They

as follows.

simple, viz. X,

They

are

fi, v,

are
p,

eight in

and

double

called

a,

The semi-vowels are

five of them are

number, and

while three are double,

either

because

they

are

viz. f, f,

\Jr.

composite,

receiving a distinctive sound through the coalescence respectively

of

o"

and S into

^,

of k

and

o-

into

^,

and of

and

tt

cr

into

yjr

because they each occupy the room of two letters in the

syllables where they are found.
Of these semi-vowels, the double

or

are superior to the single, since they are ampler than the others

and seem

to approximate more to perfect letters.

The simple
ones are inferior because their sounds are confined within smaller

somewhat as follows \
by the tongue rising to the palate, and by the windpipe helping
the sound fi by the mouth being closed tight by means of the
lips, while the breath is divided and passes through the nostrils
V by the tongue intercepting the current of the breath, and
diverting the sound towards the nostrils
p by the tip of the
tongue sending forth the breath in puffs and rising to the palate
spaces.

They

are severally pronounced

"There can be no doubt that our

meant, and, although this is usually
bright sound, it
considered to be a
will be found that if, while singing it,
and without moving the tongue, the
lips be as much closed as for our oo, the
result, which will be French u, is much
Whatever doubt may
more musical.
remain from this description of the
precise shades of sound, there can be
2.

ee is

'

'

r],
v, i had different sounds,
as indeed transcriptions of Greek into
Latin letters and Latin into Greek
letters shew that they had, partially
at least, down to the 12th century a.d.,
although the confusion was complete in
the 15th, as it has since remained.
Dionysius does not describe the diphthongs AT, BT, or the digraphs AI, EI,

nrnie that

01, OT, " A. J. E.

5.

avm

"This would best suit our aw in

shortened, that is, very nearly our

Short e is not referred to, nor

in on.
the short sounds of a, i, u," A. J. E.

11. For the pronunciation of J see

Introduction, p. 44, and, cp. Dionysius
7 (tJhlig p. 14)
'' "viKpdiviav SiirKS, niv icrn rpla
t""'-^^
SnrXS S^ dfyqTaL, Sri Iv SKacrrov
f, f, \5.
oi5c ix Sio crv/iipiivuiv aiyKarai, rb /liv
f ix tov a Kai S, rb Si f Ik tov k koX cr, rb
Sk rf iK tov tt koX a.
For the late use of
Sia (with the genitive) of the means or
material by or of which a thing is oomposed cp. 154 10 and 180 6 ; also Antigq.
Horn. i. dv 6pe(n rd TroKKA, Trri^a/i^vois Sid,
^i\ui> Kal KoKiiiov oKiivhs airopbipovs.
17. ([rrio
.
fi\ov : a true phonetic
explanation.
20. For
and n in Greek and Latin
(especially at the end of clauses) cp.
Quintil. xii. 10. 31 "Quid? quod pleraque
nos ilia quasi mugiente littera cludimus
M, in quam nullum Graece verbum cadit
at iUi ny iucundam et in fine praecipue
quasi tinnientem illius loco ponunt, quae
est apud nos rarissima in olausulis."
25. oipavbv . 6S6vTav. Demosthenes'

Thrax Ars Oramm.

DIONYSIUS OF HALICAENASSUS

146

TO Be
oKr)<;,

TOv<;

T7?

a-

yXmrTTji; irpocrayofievij'! avco

/jLev

CHAP.

tov ovpavov

jrpo';

TOV he irvevfiaro'; Sia jxecrcov avr&v (pepofievov Kai irepi

oSwras Xeirrov koX a-revov i^ioBovvTO'; to a-vpiy/ia. Tpia
yjrocfyov ef evoi fiev
Tov a, Tpi&v Se dcfxuvaiv tov re S Kol tov ic

8e TO, XoLTra rjiiLi^cova fiiKTov Xa/i^dvei tov

5 t5)V

rjfjbi^mvoiv

Koi rov

7f.

ovToi

ovy

Kbvelv

Kol

Twv

eo'Ti

Sia

TO,

0r](Ti,

15

t5)V

Kal

XoytKrji}

rj

iraXai&v

TrpocTayofMvrjS

XvTrel'

Boicel

cnravico';

EF

to

Te

difficulty in

pronouncing this

letter (the

trilled palato-dental r) is well

known

||

oiiK la-Tiv,

Vs

Kal
Trpo-

fisrmv avTlav
5 8 kol

Kal

crvpiy-

avTtS

e'^pSivTO

REF

PM

dtjhe^

yap

Trpooravayofievrjs P,

to v

kol

<f)cov^<}

oAcds Se
2 oAjjs REF
om. PVs
ptecrov avrov EPVs
R yuecrov avTwv F jxidovv aurou
Toij K REF
K Kai tov S PMVs
1 3 koI irXeovdcrav
TrAeovoo-ai
kol ei TrAeovacrete Vs
14 dXoyov EPMVs
avoiyo/Jiivrjs

Kai

p,

Se

67)pid>hov<;

e<pd'7rTecrdat

Trpoayo/xevrj'S

Tpajfvveb Se to p
Se ttcbs Sian-

%apt

^^01/9.

Tive<;

avTtjv

/Me(Tti)<i

(rvvrj-^ovfieva

tov<s

cr^oSpa

TrXeovdcrav

dXoyov /MoXXov
/io?T&v yovv

yXvKVTaTOV

yap

/lev

rjhvvei

yevvaioraTov

p(a6(ov(ov

ovvaTai

'^fjbi<f)cov(ov.

a/iravTa'

'^/Mitpeovcov

o/ioyev&v

diroTeXovvTa

KepaToeiBeZ'i

TO

aKoiqv

tijv

twv

to X, Kal eaTt,
10

jpofifidrap

(7'^;rijULTi(r/Mol

o/jioieo';

koi

el

dXdXov EF

oiK ianv Sttus THjAprere, dvSpa

'A^T/catot, T^jf virkp ttjs airdvTCiiv i\ev0epias

i. 11. 5 "(rho littera), qua

Demosthenes quoque laboravit."

Kal

Perhaps the variations in the readings here (op. also 148 16) indicate that
one or two of the words originally stood
in the dual number.
Sid, liia-ov airoO
(EPV) would mean through the middle
of the palate.
9. As in Virgil {Aen. viii. 140
cp. v.

Kal Toirs ^v JTKaTaiats Trapara^afihovs KoX

rods iv 'ZaKafuvi vavpuxx^cayras Kal rois
^tt' ' A-prrefutrii^ koX irdKKois iripovs roiis iv

e.g. Quintil.
2.

'

217),

"at Maiam,

auditis si

quicquam

credimus, Atlas,
idem Atlas genei'at
oaeli qui sidera toUit."
The same view of
I is expressed in Demetr. de Eloc. 174
7rp6s 8k TT]v Ako^v (sc. ijdka ifrri) *' KaXXf|

arpnTOS, 'Avi'offlj'."
if re yii,p tuv 'Kd/i.pSa
a&yKpouffts T]X^Sh tl ^ei, koX ij tuv vG
ypaiJ.ii6.Tuiv (for the effect of the double
I and n cp. such words as ' bella
and
'
donna ' in Italian).
that
12. It is well known
the Comic
Poets make fun of Euripides' line lo-uirii a',
lis tcranv "E\Xi}i'toi' iffoi (Med. 476
with
Person's note).
Pericles is said to have
led the way in substituting tt for the
'

Lncian's Indicium
Vocaliv/m for the substitution itself).
On the other hand, it has been observed
(with reference to de Corona 208 dXX'

less pleasing air (see

(TixiTTjpias

/m

kIvBvvov dpdfiGvoif

MapadwvL TrpoKivdwe^ffavras rwv

Tois Sri/ioa-loLS /irrifUKri, Keifiivovs,

dvSpaSj
airijs

oOs

fiTra^/raj

d(ub<Ta<ra

ofioius

Ti/t^s

ij

(Ba\j/ev,

Tois

irpoy6vittv

dyaSoiSs

t6\is

ttjs

Xlaxlvij,

cvxl Toiis KaTopBibffavTai a^Twc oHk toi)s

Kpan^cravTas /iSvovs) :
"in defence of
English we may note that this renowned
passage, perhaps the most effective ever

spoken by an orator, has no less than

fifty sigmas in sixty-seven words" (Goodwin's edition of Demosth. de Cor. p. 148).
There is also an interesting article on
" Sigmatism in Greek Dramatic Poetry "
in the American Journal of Philology
xxix. 1 (op. xxxi. 1).
Mr. J. A. Scott
there proves by means of examples that

Homer, Pindar, Aeschylus, Sophocles,

Euripides, Aristophanes and the Comic
Poets, do not avoid recurrent sigmas ; and
he adds that " the phrases 6 ipiXoirlyiMTos
and 'Euripidean sigmatism,' which rest
on the assumption that Euripides in
a peculiar way marred his style by an
excessive use of sigma, have no basis of

ON LITERARY COMPOSITION

xrv

near the teeth

the palate and

147

and o- by the entire tongue being carried up to

by the breath passing between tongue and palate,

and emitting, round about the teeth, a light, thin hissing. The
sound of the three remaining semi-voiced letters is of a mixed
character, being formed of one of the semi-voiced letters (a-)
and three of the voiceless letters (S, k and tt).
Such are the formations of the semi-vowels. They cannot

affect the sense

all

pleasurably on

it,

and

is

same way.
the sweetest of the semi-vowels

of hearing in the

\
;

falls

while

The ear
p has a rough quality, and is the noblest of its class.
is affected in a sort of intermediate way by /m and v, which are
pronounced with nasal resonance, and produce soimds similar

a is an unattractive, disagreeable letter,

when used to excess. A hiss^ seems a sound
a brute beast than to a rational being.
At all

to those of a horn.

positively offensive

more suited to
events, some of the ancients used
truth to support them.''
He further
remarks, "It is Las as of Hermione
[Athen. 455 c], the so-called teacher of
Pindar, who won a certain kind of fame
by producing asigmatio verses hut it was
evidently a species of poetic gymnastics
such as was later achieved by the poets
of the 'I\tas Xeiiroypd^fiaros and the
'OSOfftreia XenroypdfifiaTOs, where the trick
was to write the first book of each poem
without a, the second without ft and so
on."
In Sappho's Hymn to Aphrodite
(C. V. c. 23) there is no lack of sigmas.
But we may be sure that neither Demosthenes, nor any good reader of Sappho,
would be guilty of undue sibilation in
the actual delivery of the speech or of
it is the continual hissing
the lines
that, as in English, has to be avoided.
(For the pronunciation of a, a^, ay, (rf/.,
as see Beport of Classical Association
on Oreek Pronunciation, p. 349 infra, and
Giles' Comparative Philology p. 115).
Instances of not unpleasant accumulations of the s sound in Latin are to be
found in Virg. Aen. v. 46 "annuus
exactis oompletur mensibus orbis" ; Virg.
Georg. i. 389 "et sola in sicca secum
Topic,
i.
1
Cic.
apatiatur harena "
"maiores nos res scribere ingressos,
C. Trebati, et lis libris, quos brevi
tempore satis multos edidimus, digniores
e cursu ipso revocavit voluntas tua." Cp.
Quintil. ix. 4. 37 "ceterum consonantes
quoque, earumque praecipue quae sunt
;

sparingly and guardedly.

it

asperiores,
in
commissura
rixatitur, ut si s ultima cum
confligat
quarum tristior

etiam, si
binae coUidantur, stridor est, ut ars
studiorum. quae fuit causa et Servio,
ut dixi, subtrahendae s litterae, quotiens
ultima esset aliaque consonante susciperetur
quod reprehendit Luranius,
Messala defendit." An example of the
recurrence of the s sound in English
poetry is
;

the golden sheaS, the nestling treasurearmful

the nutbrown tresses nodding inter!

laced

George Meredith,
Love in the Valley

verborum
x proxima

" This precious stone set in the silver sea

or

many of the lines in Marlowe's 'smooth

Come live with me, and be my

song

'

'

'

love." Of its deliberate elimination an

instance is furnished by John Thelwall's
English Song mthout a Sibilant, entitled
"The Empire of the Mind," in which
the last of the four stanzas runs :

But when

to radiant form and feature.

Internal worth and feeling join
With temper mild and gay goodnature,
Around the willing heart, they twine
The empire of the mind.

DIONYSIUS OF HALICARNASSUS

148

TOVTO

SrjXol Se

TToXv

8'

elal

ire^vkayfievm';,

ical

ot

rpi&v Be T&v aXkmv

TTjV

fjidWov TtBvvei
ic

tovto

a/j^oTepeov,

koI

irepX

Koi

BacrvveTat
tSiv

fiev

ovtwv

\{nXu)v

a-n-oBLBma-i,

wvevfiaTi

Baa-ia, Tpia

Be

Ka\

TO

K Kal

to

7f

Koivci

Be

dfi^olv

avTMV

eKaa-TOV

etc

ylnXov p,ev

TO 0- TOV

f,

etrrt

'^fii^covmv

irpev/ia

Kal

to

tt,

B.

to

Kal to

%,

(ficoveiTat

Be

t&v

^eiXwv

irpo^aXKofievov

to

iriea-devTO^

p,ev

</)

a-rro

/juev

tov

'

ecm

fiev

\^i\a

koI to

Tpia

Xvcttj

Tpia

ovtoov

tovtcov

to

TovBe-

a-T6/j,aT0<;

ia-nv avT&v to
fiev

/j-eTa^ii

to

Kal

TpoTrov

dpT'Tjpiai;

TTJ'}

Be

Baa-ia Be

to

tov

oTav

aKpcov,

a^mvav ewea

KaXovjjbivcov

Be

\lnXd, Tpia

20

S'

tS

'f]CTV')(rj

ToaavTa.
tS)v

15

tov (Tvpiyfiov

tt

yewaioTaTOV.

ofLoyevmv

tS>v
10

a Br) BiTrXa KoXelrai to f

tmv erepeov to p,ev yap f Sia tou

ypa/jL/jt-aTcov

aKorjv

TO ^ Bca tov

ical

aoiha Sidvpafi^m

av6pd)7roi<;.

Koi TO ffhv ici^bifKov

5

^rja-f

a'^^oivoreveid

elpTre

fJLSv

oh

iv

IlivSapo<s

eirotovv

ouSa?

oXa'i

aa-lyfiov;

/cal

chap.

Kai

avTov.

Beap-ov

Baai) Be to ^, fieaov Be dp,^oiv

yhp i^CKoTepov

tov Be

eaTt,

BaavTepov-

fiia

(TV^vyia Tpt,S>v ypa/jUfidToiv d^aveov ofLoim crj(7]fiaTi

P'ev avTt]
Tpia Be
Xeyopeptov, ^CXottjti Be Kal Baa-VTijTi Bia^epovTwv.
7rpoa-epeiBop,evri<i
aTopuaTi
aKpw
too
aXXa XiyeTai ttj^ yXcoTTrj^
tov TrvevfiaT0<;
v-tto
KaTa Toii<; fieTewpov; 6B6vTa<;, eireiO

REF om. PMVs oAag [dtSajs cum litura F, E oXas a^Sas

tovto
2 SijXot ... (4) avdpbnrois om. R
oXas P, MVs
trxotvo^/otire
EPs
3 ^pTre F
TOVTO PVs
Kol EF
9jpx^
trxoivoTOvet [-rev^s aSa M] (^tovijevra P, V
Tev6r[aTa] otSa cum raaura F
om.
Stdvpafji,/3ov F
8i6vpdpl3<av EPMVs
o-xotvorev^ (^(nvqiVTo, Ea
dvdpaiirois
4 Kifi^Xov EF Athenaeus KifSSaXov PMVs
Athenaeus
11 KaXov7 Kal to )/ RE
Tb Se ^ FPMVs
EFM dvdpoyiroi PVs
"14 CK^uveirat jVIVa
16 aKpwv RFM
/ievMV RPMVs: om. EF
TO T P
17 Tb TTVevpM P OcO-llOV
aKpblV TO 7? Koi TO f KOI TO [3 EPVs
23 p^Tewpovs REF jucTetojooTe/aous PMVs
18 avTwv] a^Tou P
R
KOI

||

tliSas

||

MV

||

||

||

|{

||

Athenaeus quotes the lines of Pindar

4 infra,) in x. 455 o and in xi.

1.
(11.

3,

467

B.

The fonner passage

closely illusJUvSapos Si
ibs i
&nytwiroi,Ti0ei(rai'
ifSif),

ravra

<T7)iieuicraiT'

ovTas

Kiaov tou

ifSiiv,

trates Dionysius'

Tpbs
oiVis

vplv ij,iv etpire irxpivirrivei& t ioiSti,

koX rd ahv xl^Sifkov &v0piiirMS.

T^v
ijrriin

remarks

KX^ap^os,

olovel ypt^'ov Tivbs

iroKKSiv

toiJt<j)

els

irpotTKpovSvTUV Sid tS d.SivaTov Svai AiroffX^tJ'^at TOV ffiyfia Kal 5ni t6 fiT) SoKipA^uv,

rip

/ieXoTToi/ji Trpa^X-riBhiTtK, <is

iiroliiije

&v

ns

irpis Toi>s voBei-

''Epiuoviwi ttji' itfiiiiov

ijns iviyp6,if>cTai 'Kivravpoi.
koX 6

r^v AijfaiTpa Si t^v iv 'Ep/udvg voiri9eh

Kiaip Slfivos daiyfids ianv, &s tjrriaiv

'Hpa/cXeiSijs
iM)viri,injs,

IIoi/Tt/cds

oS iariv Apx^l

'

ev

rpirtp

Tepi

ON LITERARY COMPOSITION

XIV

149

There are writers who used actually to compose entire odes without a sigma.
Pindar shows the same feeling when he writes
:

Ere then crept in the long-drawn dithyrambic song,

And san that rang false on the speaker's tongu6.^

Of the three other letters which are called double," ^ falls

more pleasurably on the ear than the others. For ^ and yjr give
the hiss in combination with and tt respectively, both of which
letters are smooth, whereas ^ is softly rippled by the breath and is
the noblest of its class.
So much with regard to the semi-vowels.
Of the so-called " voiceless letters," which are nine in
number, three are smooth, three rough, and three between these.
The smooth are , tt, t the rough ^, (^, ^ the intermediate,
They are severally pronounced as follows three of
j3, 7, S.
them (tt,
/3) from the edge of the lips, when the mouth is
compressed and the breath, being driven forward from the wind''

(f),

pipe, breaks through the obstruction.

Among

these

tt is

smooth,

comes between the two, being smoother than the

This is one set of tliree
latter and rougher than the former.
mutes, all three spoken with a like configuration of our organs,
The next three are
but differing in smoothness and roughness.
pronounced by the tongue being pressed hard against the
extremity of the mouth near the upper teeth, then being blown

rough, and

/8

AA/iarpa
k\oxov.

K.6pav

fJiiXirui

^-""
^osSs
^

''^' *'^

Pindar Fragm. 79 (Schroeder).

re

'KXvfjtii'oi'

"'"' "^''"'
_

wplv nkv g/JTre (rxoivoriveid t' doiBh

^
diBvpati^uv Kal rb <Tav Kl^SrfKov ivSpiSiTTOtaiv i,vh <rTop.6.Tav.

Mr. P. N. Ure suggests that Pindar's

real reference was not to the sound of
san but to its form, and that kI^StiXov
means either 'misleading' with referenoe to the similarity in form of san to
mu, or spurious,' as not being the form
for the sibilant employed at Thebes,
where letters were introduced into Greece.
unusual feminine of
3. o-xoivorlveia
axoivorerfis, stretched out like a measuring line.'
5. " 'That the o- in ffS meant z appears
from what Dionysius presently says, that
f is quietly roughened by the breath,'
implying that it was voiced," A. J. E.
'

'

'

The statement (p. 43 ibid. ) that

^s was probably an impossible initial

p. 44.

^^t^<z^cS't.in^:4^
well as with more ancient evidence.
13_ Dionysius' various statements as
to the aspirates are discussed in E. A.
Dawes' Pronunciation of the Greek
Aspirates pp. 29 S. (as well as in Blass's
Ancient Greek Pronimciation).
15. Dionysius does not actually use
Greek equivalents for the adjectives
labial, dental, and guttural ; but he
clearly knows the physiological facts in
which those terms have their origin,
18. As illustrating Dionysius' own love
of variety, compare [leo-ov d|tiotv here
with Koi.vd ^lupoiv (1. 14), /ieTo|i> Toinav
(1- 12), li-erplm Kal fiera^fi i/M^oiv (150 9),
ju^iro;' Si Kal iirlKowov (150 4).
23.

koto

tovis |ieT<JpoDS oScJvTas.

"The

pronunciation of the Greek and Roman

t by placing the tongue against the roots

DIONYSIUS OF HALICARNASSUS

150

Koi

aTToppfn-i^ofievrji

6B6vTa<;

i/rtXw

koX

Bk

fiea-ov

KaX

d}dpvyyo<!

Tpta Be
dpT7jpla<i

Trj<;

to3

w/jo?

cr'^'^/iaTt

d^mvwv

XoittA tS)V

to,

ovpavov

tov

tw

v'ir7]')(pva-rj<s

JriX&i XeyeTai, to Be

ic

to f, Ba<7v Be ro 6,
BevTepa av^vyta Tpi&v

icrri

aijTi}

B.

dvi(rTafiev7i<;

ravTa Bia^epovTa

ovBe
(lev

to

e-irUoivov

yXcoTTTji;

Trj<;

yap avr&v

/lev

a^mvmv.

5 jpa/jifidToiv
fiev

BiaXKarTet

airoSiBova-ri';-

yfriXoTTiTf

avTm Karm irepl tou?

ravra Baa-vTtjTi Kcd
Be

Bie^oSov

rr)v

chap.

to

to

oti

ttKtjv

Be

tov
ovBev

Trvev/iaTi,

dWr/X-cov,

Batrea}<s,

'KeyeTai

eyyv;

xat

fieTpiax;

tovtwv icpdno'Ta fiev ia-Tiv oa-a tw irvevfiaTi

d/i^oiv.
iroXKm XeyeTai, BevTepa Be oca fieffa, KdKitrTa Be oaa i/rtXcaTavTa fiev yap Trjv avTwv Svva/jLiv eja^i fiovqv, to, Be Baaea

10 fieTa^i)

e77V? ttov TeXeioTepa

KoL Tr)v TOV TTvev/iaTO^ irpocrO'^Krjv, wffT

eivai ixeivcov.

XV
eK

15

twv

Bt]

ey^ovTiov

Be

fiaKpal

eio'l

rdv

fJMKp&v

rf

fiev

oaai

t&v

Bf^^povcov

p,aKpov

T&v

-^fitipcovcov

eaTrjKacnv
Kai

eK

aTroppivi^ojj.evri's

vrropairi^oiLivqs

avT(ov

PM

avTi^

o^Sei'

Vs

2
4

ovU R;

6e

R:

o^Sev Se

jxev eo-Tiv

[E]

ot5
:

KparuTra

tovtcov.

Vs

||

aTroStSoTjcrrjg

RFM

rpMV

||

^mvrievTcov

RF

/S/aayi/TijTOS

Kara)

diroStSowrris ro

T'^s (fidpvyyoi

'*"''

||

RF

t koi to

REF

6 Trpos

PMVs
''
7 EPMVs
o^Sevi PMVs
10

d/jicftoiv

avv-

otrat

Xafi^avofiivov,

kolto)

om. PVs

eh

rj

airopairi^ofiJkvrii

avTiov

Be

Kal

Be

Kai

eK^eprjTai,

^pa'^eax;

fir/KOVi

aTroppairi^ojj,kvr)^

tov <j>a.pvyyo^ REF

irvevfmri to ic koX to x

Kparicna
icrriv

RF

vTroppaTri^opivrji

fiaKpw
^pay^etai

rj

TavTa.

el<i

PMVa

d Kal rh S
Kara PMVs

RF

di^wvcov

(fxuv^evTO^

l3pa'^eo<;

Xr)yov(7iv

bcfai

tovtcdv

t&v

jjbaKpw Xeyofievov ypdfifia

tj

Kal

T6

BwdfieL's

ex

avveoTrjKaa'iv

OTav

xal

crvXXa^ai.

ovtcov

re

KaXovfievai yvvovTai

al

ocrai Xriyovaiv et?

20 Ti

ToaovTcov

ypafifiaToov

TOi,avTa<s

7 Jrveu/iOTi

ovSev ovSk

Us.

rovnov

a.p.<^olv.

tovtoiv (tovtwv b)" Kpariara jikv o?v

PMVs
11 Se REPMVs 8'

oSi/ ccttiv

fjisv

F juecroj EPMV, s /^[eo-wi] cum rasura F /tetra R KOLKurra REF Ka/c/o)

PMVs iZ-tAcj"] v^iA,uit P, EMVs: ^i\Z F: i/"A.(Ss R <pi.Xd Bf>
13
eyyijs ttov R
eyyiis tov libri
reXuorepa REF reXeioTepov P reXuoTOTa MVs
14 eKcivbiv P eKeiva RFMa, V:om. E
19
eis
Ti] ts Tt F
Tt EP
rjroi MV
20 T Kai EF ^ PMV
21 ^
:

II

||

II

||

H)

/Spaxeoi

rf

of the guma in lieu of the upper teeth is

not one of the more serious errors [in
the modern pronunciation of Greek and

Latin], at leaat it does not strike our

ears as such.
But it has always seemed
to me that the taunting veraea of Ennius,

ON LITERARY COMPOSITION

XV

151

back by the breath, and affording it an outlet downwards round

These differ in roughness and smoothness, t being
the smoothest of them, 9 the roughest, and B medial or common.

the teeth.

This

is the second set of three mutes.

The three remaining
mutes are spoken with the tongue rising to the palate near the
throat, and the windpipe echoing to the breath.
These, again,
differ in no way from one another as regards formation
but k
is pronounced smoothly, ^^ roughly, 7 moderately and between
;

Of these the

the two.

best are those which are uttered with a

next those with moderate breath worst those with
smooth breath, since they have their own force alone, while the
rough letters have the breath also added, so that they are somewhere nearer perfection than the others.

full

breath

CHAPTEE XV
SYLLABLES AND THEIE QUALITIES

Such

the

is

From them
those

are

number

of the letters, and such are their properties,

are formed the so-called syllables.

long which contain long vowels

when pronounced

long,

Of

these syllables,

or variable vowels

and those which end in a long

letter or

letter pronounced long, or in one of the semi-vowels and one of

Those are short which contain a short vowel or one
the mutes.

taken as short, and those which end in such vowels.

Tite tate Tati t\h\ fenia iyranne

iulisii,

nous avons des syllabes

There
brfeves

is

nous

t'

sommes presque persuadfe que toutes

jjgg syllabes le sont, tant nous sommes
Nous
pressls quand nous parlous.

lose a good deal of their effect if the i's

are muffled behind the gums instead of

traitons de meme les syllabes latines

nous les falsons presque toutes brfeves,
quand nous lisons : il n'y a guere que
les u et les v grecs que nous allongions

as of Sophocles,

TvdAbi
AuuttT

Td

t'

ffira

Thv

-re

vovv

ri.

el'

being hurled out from the rampart of

the teeth," J. P. Postgate Sow to
pronounce Latin p. 11.
11. Usener seems to carry his faith in
F to excess when, in one and the same
he prints S' Saa and Sk Saa.
line
Dionysius can hardly have extended his
love for fiera^oMi so far as that.
20. Batteux (p. 208), when comparing
French with the ancient languages in
relation to long and short syllables, has
"II
the following interesting remarks
n'est pas question de prouver ici que
:

Selon toute apparenoe, lea

en lisant.
Grecs et les Italiens anciens, qui, h, en
juger par les modernes, n'Ataient ^as
moins vifs que nous, ne devaient guere
se donner plus de temps pour peser sur
Aussi n'6tait-ce
leurs syllabes longues.
pas dans la conversation qu'ils mesuraient
leurs syllabes ; o'dtait dans les discours
oratoires, et encore plus dans leurs vers
c'6tait la qu'on pouvait observer les
longues et les brives, et c'est la aussi
que nous les devons observer dans notre
langue."
:

DIONYSIUS OF HALICARNASSUS

152

ffvWa^&v

t&v

OfioXoyelrai

t&v

6v

ypdfijxa

T&v

TavTrj
10

aKapfj

to

'trapa

koI

TrXrjv

irpocrTeOrjTm

'Pooo?'

yevea-dco

dXK

o/i.oitB9,

ov')(^

ert

irpoTepav.

ttjv

iroiel (jxavrjev

rfv

TavTTj

oSoi;.

fievei

e^ei Tivh

TrpocrTeOrjTeo

t koI yevetrOas

ypafifMaTcav ev to

KoX yeveaQm a-Tp6<f>o^'

ovKovv

yevrjaeTat

TJJ9

avTai

Terra/je?

t/j ottos-

Tpuriv avTrj

7rpocr9r]Kai<;

^pw^^yTarr)^

fievovaa

/Spay^eia.

Sia<popal

<7vWa^7J<i

jSpa'^eiai;

aKovaTal<i

ert

ttjv

o 8' avT0<i
aXoyov aiaOrjcriv e'^ovtrat 7^9 irapaXKajr]!; ixerpov.
X070? Koi iirl T^s fiaKpa<;.
r)
yap iic tov rj yivo/J-evt} (rv\\a^rf fiaxpa ttjv ^ixriv ovca TeTTaptov ypafjLjjbaTtov TrpoaBrjKaK
7rapav^i]dei<ra Tpi&v
irpoTaTTOfievav, evo<i Se viroTwrTOfiev
fiivov, Kad' rjv XeyeTai (TirXrjv, fieC^cov av Brjirov XeyotTO eivai
/Mei,ov/j,evi]
T^9 TrpoTepaf eKeivrj'; T179 fiovoypafi/iaTov
yovv

a5^i9

Kad'

ev

t&v

e/ca<7Tov

ToiiXuTTov 7rapaWayoL<;

67ri

eaTi TOV

Ta.9

firiTe

av

Tcig

fjLi]Te

TToW&v ypafifiaTOiv crvaTeXXofieva^

dXka Kdiceiva<; ev Ziiikaaiai \6y(p

Se Tt9

ex'"

cbiTLa

aiiT&v

^vaiv

^paj(eia<;

el<s

eK^aiveiv ttjv

fiMKpa<;

eKiriiTTeLV

to 9

ypafi/iaTcov

-TrpocrTeOivTav

al(70r)Ta<;

ypa/ifiaTcov nrevTe fi7)Kwofieva<;

25

tovto

Se

jMi^mv avTTj T&v TrpoTepwv eaTau crvXKa^&v koI ert ^pa'^eia

Tp'iTov eTt ypdfifia Trj avT crvKKa^y TrpocrTedtjTO) to
fievei.

20

w? XeyeTat

avXha^ri,

rj

d(f>d>veov

fiaxpoTepa

15

^pa-^ela etvai avXKa^rj,

6,

'^fiKpcovmv

Ppa'^eia

irapoKKayrjv

t&v

Ttve? elai

earai

Ppa')(ei,mv.

"jrapaBeiyfiaTcov.

Srj

ypdfifw, ^pavi) to

fiev eTi

t&v

^pa'xyTepat

<jiavepbv iirl

oKKa koX /laKporepai

ov jxia ^uo-ty,

Kol

fiaKp&v

chap.

p-^'Xpi

diro

ev

^paj(yTriTO^,

ttji}

Oeeopeitrdai t&v ^pa'^et&v

t&v fiuKp&v, ovk dvayxalov iv tw
KapovTi aKoirelv.
dpicel yap 6<tov et? ttjv -irapovcTav virodeaiv
rjp/ioTTev
elprjadai,
oti BiaWaTTei koI
avKKa^r)
^paj^ela

Kai

TavTai;

4 S^]

MV

aKapel

EF: om.

PM,

EF

EP

tis irpoarOkTb)

EPMV

n-poa-TeO'qTto

||

15 aA.oyov

Ppax^iav

EFV

PM

ix.

4.

84 "sit in hoo

fortasse raomenti,

longiores

et

brevibus

quod
sunt

||

iv

/tetfova

y' oSv a^^is

||

PMV

?v

||

8 aKaprj
9

19

fieiovpAvoiv

o-vA,Xaj8^v

||

ypa.p.p.a,

Trpoa-OiTU)

dvaAoyov
:

PV

Ppa-X" ypd/Mfm

p-eiovfievr/] fietovfievr]^

aWis F

Cp. Quintil.

longis

ySpaxea

||

quoque aliquid
et

EM

I3pa)(y
Trpo<TTi9eT<a

5' aS TraAiv "V

t aS TrdXiv E
21
22 TotiAaTTov] to AetTrov PM
tls ex ri con.
eavTwv PMV
23 avTiov F
24 e fji.r]Kvvofievas
om. F
wevre Uptonus, e Us.
eTrra PM
8 V

T o5v

ypafifiixTbiv
2.

om.

20

EF

PpaxiM

II

PMV

om.

-^/itaei

ypafjifxa

EPV

Trpoa-reOi^Tb)

P,

Sei

PV

av

ev

rj

t/s

(25)

breviores syllabae ; ut, quamvis neqne

plus duobus temporibus neque uno
minus habere videantur, ideoque in

ON LITERARY COMPOSITION

XV

more than one kind

153

length and shortness of syllables

some
and some shorter than the short. And
be made clear by consideration of the examples which
of

are longer than the long

this will

am

about to adduce.

It will be admitted that a syllable is short

by the short vowel

o,

for example, in the

as,

which is formed
word 6S09. To

the semi-vowel p be prefixed and 'PoSos be formed.

still remains
short
but not equally so, for it

this let

The

syllable

will

show some

Further,

let

slight difference

one of the mutes,

when compared with

the former.

be prefixed and

tjootto? be
This again will be longer than the former syllables;
yet it still remains short.
Let still a third letter, a, be prefixed to the same syllable and a-Tp6<f>o<; be formed.
This will
t,

formed.

have become longer than the shortest syllable by three audible

prefixes
and yet it still remains short. So, then, here are
four grades of short syllables, with only our instinctive feeling
for quantity as a measure of the difference.
The same principle
;

to the long syllable.

The syllable formed from 17,
though long by nature, yet when augmented by the addition
of four letters, three prefixed and one sufBxed, as in the word
a-rrXijv, would surely be said to be ampler than that syllable,

applies

At

in its original form, that consisted of a single letter.

events, if it were in turn deprived, one

would show perceptible changes

letters, it

As

tion.

by one,

why

to the reason

long syllables

when lengthened

their natural quality

in the

all

added
diminu-

of the

way

of

do not transcend

to five letters, nor short

drop from their shortness when reduced from many

letters to one, the former being stQl regarded as double the
syllables

shorts,

and the

latter as half the longs,

demand examination.

It

is

metris omnes breves longaeqne inter sese

lateat tamen
sapersit aut desit.

nescio quid,

pai-es,

quod

propria

condicio

est,

nam versmim

ideoque

in

his

quaedam etiam communes."

dKopfi

8.
T<.'a

cp. de Isocr.

c.

20 dKaprj S4

i/ev^/^ra.

the meanirpoo-fl^iKois
12. Tpicrlv
ing apparently is that the iirst prefix
increases the length hy one augmentation the second, by two the third, by
.

to

say what

is

really

22. ivi roCXaTTov

cp. Ariitot. Mh.
Nic. ii. 7. 12 ^ Si TrpocTolrins ij /ih iirl
rb /iel^ov dXa^ovela Kal 6 Ix'^" "i'Tiiv
dXa^dv, 17 5' iiri ri ^Xottov elpaveta
xal eCpoiv [6 ^(ov], iv. 7. 14 oi 5' etpaves
^ho'Te, xa.pci^repot^i^
jj"
:

^l'^*

aikyi=-^ crvWa^i/i arrpo^-.

^^^J'-""

f'"O"'; and Lon-

f?" at
00

de

Subhm

vireppoXal Kaaatrep eirl to

yUCffoK, oih-MS Kal ixl ToSkaTTOv.
26. 6e(i>pir6ai here (and in 204 3, 210
9) may perhaps supply a parallel (though
vj.

three.

this does not at present

to the present subject, namely, that one short syllable

germane
sint

sufficient

not a complete one) of the kind desired

in Classical Quarterly

i.

41

u. 1.

DIONYSIUS OF HALICARNASSUS

154

Ppaxeia^
OVT

\6yoK

iv

Koi

iJ,aKpd<}

ovt

^frlXoX';

ov

avrrjv

rr/v

iv iroirifiaffiv

he

roiovSe-

Sia^opa<; ov fiovov

ra

erepov

iraOSiv

KoX -Kepi Toixs

irepl

t&v

wv

Kal

rrjv

airdvTcov,

Koivrjv

avrmv

irapa6ecreco<;

i^

aKKrjpaX Kal Xeiai koI

KaX

jn/cpaivovarai,

Sia

wv

fiaXaicai

(fxaval

yXvKaivovcrab

Tpa'^elai,

Kal (rrvcfyovaai Kal

nrXrjQo'i

ravra

Karafiadovrei;

koI
koi

hia')(eovaai,

dXXrjXoi<;,

oh av

irpoa-rjvefuov

ra

^ovXcovrai,

w? iroiel
alyiaX&v ry

20 i^tXore')(yov(nv,

y^apiecrraTOi

oi

S'

aKorjv

rrjv

iraa'av

Kat,

elal fivpiai

Be

re

-TroiTjr&v

KaTaffKevd^ovaiv

ainol

/lev

eVtTijSeto)?

olKeta^

/3a9

re

ocrai,.

Brj

(Tvyypa^emv ra
KOVTe<;

Bia

yivovrai,

re

aXXijv KaTaa-Kevd^ovaai SidOea-iv <f>vcnKi^v avrai

TO

rj

BvvafMV

ami^eiv
Kpacreco'}

ri]<;

re

aWa
iraaa

elpTjKa,

a-vXXa^ai

crwio'Tafieva'i

jiverai

fj

i^ovrav

/3pa^vTrjTa<}

trporepov

6\l/yq)

rovTmv

e/e

ra?

kuI

TOVTWV TrXeKOfiiva'; afMi rriv re ihCav eKaa-rov

15

Sia fierpiov

iroXXa<;

rypa/jifidroov

/i'ijkt)

v-irep

ijy^pvi;,

ra?

Koi

avarfKt)

10

Bvva/uv

e;\;et

/juiXea-iv

rj

pvOfi&v Karaa-Keva^ofievoi'i iraaa jSpaxeia ical iraaa fW,Kpa.

Tcbv iv rat? a-vWa^a2<!
irpSiTov
fiev Srj 0e(opri/ia rovro

rj

fiaKpa

ical

chap.

ovofiara

avXXa-

ypdfifiara Kal ra^

'

ein

jiev

tosv

<7vXXal3S)V

rov

OfJi/rjpo<i,

irapeKTaaei

ttoi/wXcb?

iradecriv

TrapacrrTJaai,

jroXXdKi'i

t5)v

Kau

<7Vfnr\e-

airavcTTOv eK(J3aiveiv ^ovXofievo<; rj^ov

fjlove'i

ou

^oomaiv

PMV

oiVe
8 Kat EF: om.
:

2 fiirptav

pv6/xwv

rj

e^w

dXo<;

epevyo/jievrj^

pvOp-oiv

pkrpiav

EF koi t^9 PMV

17 a^Toi
13 TraoravEFM: iraa-av rijv PV
PMV: r)^ EF
EF: avTol T PMV
19 oikeios F:
18 toi Se FM ra EPV
6e otKetas E
oiKi'im PM
Se oiKeitos V
20 twv EF om. PMV
21 Tov om. P
22 eKcjiaiveiv EF ip<j>aiviv PMV

PMV

PMV

10 xat
16 Si)

(posterius)

1.

H. Richards

{Classical

Beview

xix.

252) suggests oSn, in place of the oSre

and the o* of F.
of
3. If this passage (from 152 4 up to
this point) be taken in connexion with
one from the scholia to Hephaestion and
another from Marius Viotorinus (see
Goodell's Oreei: Metric pp. 6, 7), we find
the following difference indicated as
between the school of the metrici and
that of the rhythmici; "The metrici
considered the long syllable as always
twice the length of the short ; whatever
variation from this ratio the varying
constitution of syllables produced was
treated as too slight to affect the general

PMV

The rhythmici, on the

flow of verse.
other hand, held that long syllables
differed greatly from each other in
quantity,
and that short syllables
differed from each other in some degree,
The
apart from variations in tempo.
doctrine of &\oyla or irrationality,
whereby some syllables were longer or
shorter by a small undefined amount
than the complete long, was associated
by some with this theory, as in a
passage of Dionysius Halic. (C F. c. 17
ol S' d.Tb ttjs /mKpas . . twv vivu koKuv
oi

jivBiioi

cp.

c.

20

ibid.).

Some, at

affirmed also that a single consonant required half the time of a short

least,

ON LITERARY COMPOSITION

XV

155

may

differ from another short, and one long from another long,
and that every short and every long syllable has not the same
quality either in prose, or in poems, or in songs, whether these

be metrically or rhythmically constructed.

The foregoing is the first aspect under which
different
letters

qualities

of

we view the
As

as follows.

is

have many points of difference, not only in length and

sound points of which I have spoken a
while ago
it must necessarily follow that the syllables,

shortness, but also in

little

The next

syllables.

which are combinations or interweavings of

preserve at

letters,

once both the individual properties of each component, and the

joint properties of all, which spring from their fusion and juxta-

The sounds thus formed are soft or hard, smooth

or rough, sweet to the ear or harsh to it; they make us pull
a wry face, or cause our mouths to water, or bring about any
position.

of the countless other physical conditions that are possible.

These

and prose-writers have careand not only do they deliberately arrange their
words and weave them into appropriate patterns, but often, with
curious and loving skill, they adapt the very syllables and
letters to the emotions which they wish to represent.
This is
Homer's way when he is describing a wind-swept beach and
wishes to express the ceaseless reverberation by the prolongation
fully

facts the greatest poets

noted,

of syllables

Echo the

cliffs,

as bursteth the sea-surge

1

Homer

down on

Iliad xvii. 265.

vowel, and that two consonants or a

double consonant required the same
time as a short vowel
these writers
accordingly set up a scale of measurement for syllables, simply counting the
number of time-units required, on this
theory,by the constituent vowels and consona,nts," Gooiell Greek Metric p'p. 8, 9.
20. Cp. the use of the long o in such
passages as Virg. Aen. iii. 670 if. "verum
ubi nulla datur dextra adfeotare potestas
neo potis lonios fiuctus aequare seqnendo,
clamorem immensum tollit, quo pontus
et omnes
contremuere uudae " v. 244
ff. "tum satus Anchisa cunctis ex more
vocatis victorem magna praeconis voce
;

See

also

Demeti'.

for A.
C.
Virgil's
line

tendebautque manus ripae ulterioris

amore."
23. Aristotle {Poetics o. 22) points out
that it would be disastrous to substitute
the trivial Kpd^ovnv for Poocoo-iv in this
passage.
With regard to the sound of
the line cp. schol. on II. xvii. 265 xal
Iffriv iSeiv xv^a ^1^70 SaXda-a-ris iirujxpb'

'

ixivov irorap.oO pei/ian Kai

42

p.

comments on

Bradley's

iroraiiov

$a\a<r<rlas

i/un'^ffaro

dii,

^obiaaiv.

ailrri

tcl

Troii^/JUTa-

tQ

avaKbirTeaSai

iKaripuBev toO
S
^i'6cas -^oiaus,
iireKT6,<reo>s
roO

rds

Kal

^pvxililJ^of,

the strand.^

rijs
ii

elxiiv IXXdroiyos Ixavire

oStms

ivapyiarepov

toC

Cloanthum

viridique advelat
muneraque in navis

magnum

et
iuvencos vinaque
dat ferre talentum."

declarat

tempera lauro,
temos optare
argenti

opwfiivov t& aKov6/ievov Trapiarriaev . . ttjs

yi,p ^FaXXiJXou twv {tSdroiv iK^oXijs 17 toO
"^obwnv" avaSiv'KiiKns o/iolav dTrcrAeire
irvvifSlav.

DIONYSIUS OF HALICAENASSUS

156

Tov

Se

i-n-l

rervtjiXcofievov

kol

lie<ye6o<i

Bia

rr]v

rStv

chap.

Kv\7ro9 to re tjj? oKjijBovo^

^paBetav epevvav ri?? tov
xet/acSj/

cnrffKaiov 6vpa^

KvkXwi/t Se (TTeva-^wv re at mSivcov otvvrjaiv,

yepai

aXKoOi

Koi

\jr7jXa<f>oa}v

irov

ivBei^aadai

Biritriv

ttoW^j'

^ov\6fjLevo<;

koI

KaTea-TrovBaafievrjv
ovB''

iroWa

Kev fJLoXa

e'i

'AttoWoji',

exdepryoii

irdOri

TrpoTrpoKvXivBofievoi; TraTjOO? Ato? alyio'^pio.

o-tB/iaro?

Trap

evpetv

ea-Tiv

10 fivpia

fiiye6o<;

nrdOovi

rj

avTW

Toiavra,

virep^oXrjv

rj

)(^povov
a-Taaecoii

fifjico<;

r/

Tjpep.iav

rj

T&v 7rapaTr\.rjal,a)v tl BrfKovvTa Trap ovBev ovtco<; STepov rj Ta<;

T&v (TvKKa^SiV KaTa(TKevd<;- koI aXKa tovtok evavTico^ eipyaarfieva eh ^pa-xvTrjTU icaX Ta^^o? koX cnrovBrjv Kal ra tovtol';
15 ofioioyevfj,

TavTL

^'%^'

a)?

dfJ-l3Xi]Br]v

<yo6a>aa fieTO,

eenrev

Bp,a>7J<7iv

Kal
7]vlo')(pi,

e^'
20

57?

yap

iJi,ev

eKTrXr/jev,

tov

r)

(fxovfj^

mv

TOV

BeifiaTOt;

S'

dirpoarBoKriTOV

TTvcjiX.(oiJievov

Slo.

EMV

om.

ofioyevrj

Siol

11

19 ^s F:

irafi'g

5v

to

twv

r)

EF

Tix^Aov/xevou
Tra^ot

PMV

15

PMV

PMV

o/xocoyei/rj

Tpi^ycriv Horn.

'20

eKO-rao-is

2 Tijv

10 eiipeiv
F: bpo^yevq P:
18 EKTrA.ijyov

Horn.

FM

e/cTao-is

PV

PV
a,

somewhat

poetical

word, though used by Herodotus and

Plato.
Its use in a highly figurative
passage of Herodotus (v. 18) is censured
in the de Sublim. iv. 7 (cal tA "RpoSbrreiov
oi v6ppw, tA (pdvat ras KaX4s yvvaiKas
" i,\y7iS6vas 6^Ba\nuv."
4. In these lines, and in 154 23, the
reiteration of the long u, and of the
long 1;, is particularly to be noted.
9.

tovtcov eitaTepov

Be

FM

S/xtoi^uriv

Kav

i\dTT(oai<;.

TeTu^(U|U.i/ov

16

21 Sety/taros
o\7T]8<6v

E
FP

ripefiiavj ofiikiav

MV

PMV
1.

TTjv

avyKOirr]

T^s BiavoLa<; eKaTa(7i<i Kai to

17

iroiei

(TvWa^cov T6 Kal ypafifiaTcov

iBov aKa/iaTov Trvp.

BrfKovTai

irvevfiaTO';

uTa/CTOv, 60'

T^9

iirel

xpon'poKv\iv8i!)i.cvos

imitated by

Ap. Enod. Argon, i. 386 wponrpo^ia^b/texoi, and ii. 595 irpoirpoKaTatySriv.

Cp.

Odyss. xvii, 524 fvSfv

I'lcero

n-fi/j.ara

Sri

Trdirxuy,

vvv Sevpo riS'

irpoirpoKvKii'Si-

fieyos.

10. xp<5vo

|i.f|Kos

Aen.

cp. Virg.

i.

272 "hie iam ter centum totos regnabitur

annos," and iii. 284 "interea magnum
sol circumvolvitur annum."
11. (rci|iaTas piy^^os ' cp. Virg. Aen.
vii. 783 "ipse inter primos praestanti

corpore Turuus." TrdSovs iirepPoX^v

cp. Virg. Aen. ix. 475 "at subitus
miserae calor ossa reliquit, excussi
manibus radii revolutaque pensa."
|

ON LITERARY COMPOSITION

sv

Or again when,
to express

after the Cyclops

the greatness of

has been blinded,

and

his anguish,

search for the door of the cavern

157

And when

of anguish sore.

slow-groping.^

in another place

passioned prayer

Not though

desires

The Cyclops, with groan on groan and throes

With hands

Homer

his hands' slow

he wishes to indicate a long im-

in an

agony Phoebus the Smiter from Far should

entreat

Low-grovelling at Father Zeus the Aegis-bearer's

feet.^

Such lines are to be found without number in Homer, representing length of time, hugeness of body, stress of emotion,
immobility of position, or similar effects, simply by the
manipulation of the syllables.

Conversely, others are framed to

give the impression of abruptness, speed,

hurry, and the like.

For instance,
Wailing with broken sobs amidst of her handmaids she
and

And

cried,*

scared were the charioteers, that tireless flame to behold.*

In the first passage the stoppage of Andromache's breath is

and the tremor of her voice in the second, the startled
dismay of the charioteers, and the unexpectedness of the terror.
The effect in both cases is due to the docking of syllables and

indicated,

letters.

Homer
Homer

12.
iis,

blending of

{2) Trap'

,.

Odyssey

oidh

-,r.

Cp. Virg.

}?:
.
infelix et

415-16.

ix.

Iliad xxii. 476.

(1) irap

^repov

IX-

477

,,

evolat

femmeo ululatu scissa comam

murosamens atque agmma cursu prima
I

petit,

Iliad xxii. 220-1.

Iliad xviii. 225.

consonnes ^paisses
notre sang

flats;

ij.

-^-

oidh oihus

Homer
Homer

etc.

avproche, se Irise

p^^ ^^^^

^j^_

effroyable

du fo-nd des
glac4 ; L'onde
Son front large est
sorti

s'est

^^

heurtent
le crin

cri redordable;

cri ;

Uriss4.
D'autres mots larges et
spaoieux
Oependani, sur le dos de la
plaine liquide, S'^ive d gros iouillons
(S'SUve rejete k I'autre vers comme
oelui-oi de Despreaux, S'iUve un lit de
j.^^j

Batteux (Reflexions pp. 219-21)

c[Uotes and analyzes the well-knowa
18.

passage of Eacine's PMdre (v. 6) which

begins: "Un effroyable cri, sorti du
fond des flots, Des airs en ce moment
He says : "Dans
a trouble le repos."
le dernier morceau de Racine qui peint
robjet terrible, il n'y a pas un vers qui
n'ait le oaraetere de la chose exprim^e.
Oe sont des sons aigus et perijans, des
syllabes charg^es de consonnes, et de

plume) une montaigne humide; cornes

onena^antes

icailles jaunissantes ;

In-

domptable taureau,

Des syllabes qui

sur les autres

Sa croupe

replis tortueux.
aneien, eut &t6
sieole."

se

impMueux.
renversent les unes
dragon

se recourbe en
dans un poeme
c^lebre de si^ole en

Ce

vers,

DIONYSIUS OF HALICAENASSUS

158

chap.

XVI
Koi avTol
rypdSoi

T&v

5 TiKO,

&atrep

Xafi^dvovaiv

epi-irpoa-Q^j)

Trpay/Marcov

eanv

KXay^as

avTO<; Be

alyiaXm fMeydXa

tovtwv

Be

-Trerero

Kal

dp'^r)

phr

re

EF
poyx^^' ^

6
Kal OeTiKovi
12 T7JS EF:

EF

v^'

PMV

2 Trpos

17/tas

XP'il'''''

EF

"P"""*

S6?im.

fvx^

0.

ToO

iip/iaros,

virevavrla.

XV.

ofe

(cai

ffweirr^piorai

oi

yap

&;<

itp^pero, TOiavT &v

&v,

^pyois

iKeivoLS

oipavioLS

and Long, de

in ^

efrois,

(ru7/>'5wei5ouiro
;

tois
el

toD

jTnrois

firj

rois

IcroSpo/Moucra

TaT6i'

i(m

IMii'/l(reois

dWuv

fijiuK Sri fupi-rinKii-

Kal rds /*a9i)i7is iroieirai

ris rpdiras), Kal rb x^'pE'"

5m
i""''

TdpTas.
6. For the repeated r sound cp. the
passage of the Aeneid (i. 108) which
'begias " talia iactanti stridens Aquilone
/ii/i^/nao"'

ravpcov

re

-jrotiOvaa

rj

to,

Biavoia^

t?)?

Xeyeiv

fiVKij/iara

rpdr/cov

(ppt,fiayfjLov<;

irvpo^

re

PM

P^ ^poarxrjpa
5 Trpayyuarcov] ypappdruiv

XPW'^

on Odyss. v. 402
^ W|is (sc. pbxSei)-

schol.

raj' 8^ TreTroiiy/uA/uy

^^

y^p rb

p,

rb

ixoL^-M

to x-

0,

^p. schol. ad

g^

Tpdywv] ravpcov

||

and

procella,"
rpaxii

PM

EM Horn. p^ydXa F 11
V Kal Ostikovs M ij/^as P
EFMV
14 (l>pipaypow

II.

ii.

210

rerpdx>n'Tm rb

<rvp.<t,vS,s

?,ros rals

^yo^^To^oda,,.-ln this line F's reading

^^^

^^^^^.^^
Bentlev'*^
,,.
^

^.^j^

conjecture
.^^

,,

o!
,

^"- '^^ ^^^ "=**

^g"
X^'S"
S^'^''^ Entellus msuque immotus eodem
o?^P .t^J,* ^odo atque oculis vigilantlDus exit.
^-

11. I^ot all languages, however, have

the same powers in this direction cp.
:

Quintil.

TTore i(pavrdff6r].

op. Aristot. Poet. o. iv.

4. |ji.i|ji,T|TiKd
crip^vrov
fu/ieiffBai
tois
t6
t6 ydp
iarl (xai roirif
AvSpiitroLS iK valSav

Siaipipovn ruv

'7rovTO<;.

BrfKovrai

0I9

KiV7]riKa<;

(fypv/xay pay's

for xp^/tct cp.

<rwe/3a;i

7pi0o./Tos

Kal

wtnrep Trap avTois yiyvojj.evos rots irparrou4voi,s eiplffKoi. rb irpiirov Kal iiKKTra Si,v

rk

<f>vai<;

ovofidrcov,

deriKow
Sv
13 ^s P

160 4. The writer must, in Matthew

Arnold's phrase, have his "eye on the
object" Op. Aristot Poei. c xvii Se?
di Tovs fwdovj avmcrr^uac Ka.1 ry W5
avm^epydte^rea,. br, fmX^jyra. wp^ 5^^'^;/
rMf^evo^- ^olir,^y^p &^ ivapy^^rara. op^v

-KavBdvoi

rj

8 peydXai P,

(^puay/ioiis

rSsv

r/pas Kal

PMV

ora.

PMV

PMV

POX^^'

'

Kal

"irnTmv

pLprjTLKitiTara

<f>pLypom

2. irpbs

rip,d<;

iBiBd'^Brjfiev

^?

"^pefiertcr/jiov^
1

rjireipoio.

afiapayel Be re

Bi,Bd<TKd\o<;

Kard riva^ evKoyov;

piprjTiKo,

fitp,7]-

dvifioio.

iTVOi<;

^pe/j,erat,

Trpdy/Mara

Kal

^epov

ttotI

Kal 6enicov<i

baa

6%6' ravTi

cos

/jbi/j,r}rtKov<;

6fj,oi,6T7}Ta<;

rwv

irapa

icai

OICTT&V T6 pol^OV Kol BoVTTOV aKOVTCCV.

(TKeiTTeT
10 p.eyd'Krj

Be

KareaKevacrav,

ixeLVOi

yap fieya KVfia

p6')(6ei

vroXXa

ecprjv

09

Kai \oyo-

Troirjrai

ol

xal SijXconKa t&v VTroKei-

oliceia

6pa)VTe<s

ovofiara,

TO,

fievcov

Karacr/cevd^ovacv

Br)

/J.ev

yprjfia

TT/Jo?

i.

conceasa
ferat, si

X'7|e

5.

est

72 "sed minime nobis

6vop,aroTroua
quis enim
;

quid simile

|8iSs

audeamus

et

illis

o-fe

lam ne

merito laudatis

6(p8aXii6s

fingere

balare quidem aut

hinnire fortiter diceremus, nisi iudicio

vetustatis niterentur " (Quintilian has
just before, 67 ' and 70, referred to
Paouvius' repandirostrum and incurmcervicum : which may be compared with
"Epp.oKa'CK6^av8os,

Aristot.

Poet.

a.

21)

ON LITERARY COMPOSITION

XVI

159

CHAPTEE XVI

POETIC SKILL IN THE CHOICE AND IN THE

COMBINATION OF WORDS

The poets and prose-writers themselves, then, with their eye

on each object in turn, frame as I said words which seem
made for, and are pictures of, the things they connote. But they
also borrow many words from earlier writers, in the very form
in which those writers fashioned them
when such words are

imitative of things, as in the following instances

For the vast sea-swell

on the

beach

crashed

down with

thunder-shock.-'

And adown

the blasts of

the wind

he darted with one wild

scream.^

Even

as

when

the surge of the seething sea

(On a league-long

falls

dashing

strand, with the roar of the rollers thunderous-

crashing).^

And

his eyes for the hiss of the arrows, the hurtling of lances,

were keen.*

The great

originator

and teacher in these matters

is

Nature,

prompts us to imitate and to assign words by which things

who

are pictured, in virtue of certain resemblances

which are founded

It is by her that
in reason and appeal to our intelligence.
of
the
bellowing
of bulls, the
speak
we have been taught to
of
goats,
the
roar
of fire, the
snorting
whinnying of horses, the
1

and

Homer
Homer

viii.

6.

31

Odyssey
Iliad

ii.

v.

402.

209 (and

210).

" ivoiMTOiroita quidem,

nominis, Graeois inter

maximas habita virtutes, nobis vix
permittitur ... vix ilia, quae ttcttou;liiva vocant, quae ex vocibus in usum
id

est

fiotio

quocunque modo deolinantur,

nobis permittimus, qualia sunt SuUaturit
Greek, English and
et proscripturit."
German admit onomatopoeia more readily
than Latin and French. Any undue restriction (such as that indicated by Quinreceptis

tilian

the

when defining irevoirjfji.ha) hampers

Words should
of a language.

life

serve their apprenticeship, no doubt ; but

there should be no lack of probationers.
feel that the language itself is growing when Cicero uses dulcescit ' of the
growing and ripening grape, or when

We

'

Homer
Homer

Iliad

xii.

207.

Iliad xvi. 361.

Erasmus uses the same word to indicate

that England 'grew' upon him the more
he knew it. For the general question
of the right of coining new words or
reviving disused words see Demetr. pp.
255, 297, 298 (and cp. 94, 220 ibid.).
Many of Dionysius' remarks, here and
elsewhere, seem to concern the choice
or the manufacture of words rather than
their arrangement but, from the nature
of the case, he clearly finds it hard to
draw a strict dividing-line either in this
direction or in regard to the entire
XeKTixis rdiros as distinguished from the
;

Trpayfi.anKbs tAitoj.

13. In giving the singular, P seems

clearly right here, and as clearly wrong
when giving the plural in 156 19.

X
/

DIONYSIUS OF HALIOARNASSUS

160
^pojMOv KoX

avificov

irdra'yov

Tovroif

ofioia

-TrafnrXrjdrj

/iop<f>7)^,

rk Se

epr^ov,

ripep.ia<;,

tcl

ra

TToXKa TOt? irpo

Tra6ov<;,

Kivijaem,

Se

to.

Kpanara

to,

'rjp.&v,

w?

B'

Hkdrtovi

elaarya'^ovTi Xoyov,

eTvp.oKo<y[a<;

fii/J-v/iara,

^cov'f)<;

mv

irepX

XPW"''^o<i otov hrjiroTe-

akXov

Z"

[ih

Be

koXmv Kai oKXa

avpiyf/^v

ical

to,

chap.

ZcoKpaTiKm, ttoX-

8' iv Ta> KparvXtp.

Xayfj fiev koX aXKr) fiaXia-ra
tovtov rov
icyn
Ke(jidXai6v
fioi
tL Sr/ TO

p,6v elvai Xe^iv iv

f)

ware

Xorym'

7roXvp,op(j>o^

dppovia<;

KcCkd

XeKTOV ex t&v

tjBvvovtoov

KUTO, p-ipo's iv

Kal
Kal

irdSr)

TO,
TO,

TOVTOK
Kal ai

ttoXXtj

aina

elvai,

ryiveadao

aKorjv

avXXa^&v Kot

koI

re

irXojenov ovop,dTa>v

rrjv

on

tSsv

kuXtjv

avaryKTj

Be Bid-

r/Beiav

Kara to

irapa-

ypap.p^dTwv, ras re

xaO a? BTjXovTai ra re 7]67i

to,
epya t&v irpoa-wirwv

Bia<f>opd<;,

BiaOea-eii

r)

ovopara, KoXXovi Be ovopdrcov

itj-riv

(TuWa/Sas re Kal jpdppiara KoXa

15

Xor/ov

avXXa^aiv
"Kapa pev ra'i tmv
a-vvdea-w
a-vXXa^&v
twv
ttjv
Trapa
Be
iToiKiXT],
yuverai Bvvap,i<;
ra?
t&v
Be
ovofiaTcov
irapa
iravToBairrj,
T&v ovopdrwv <f>vcn<s
7]
crvpnrXoKa,';

jpafip^drcov

10

eiprjTai,

tov virep

Trpmrtp

T<p

ra Se
rd S'

Kal

avveBpevovTa tovtok, diro

7rpd)rrj<;

Trji;

KaTacrKevrj<;

t&v

20 rypapp.dTOJV yivea-dai ToiavTa<;.

yprj(Top,ai

iptjixlas

PMV
10

EPM

II

Svvafju? 'RY

PMV

Seiyp.a(rtv

11

Br]

iJUfjirjTiKa

FMV

Trapoi]

Trepl

(rw^eorts

EPV

Si)

R
||

airavrcov

3 Ipywv

6' cos

Se

vepw

ypa/t/iaTtov] Trjoay/taTtov
||

EF

o-w0O-eis

MV

Ty?

ipya

(vi/jnov

of.

PMV

t&v

M) u9
158 5

Oeireis'R
:

MV

MV

vuy(Toidvoi<ri.v.

5. So Diog. Laert. (auctore Favorino

in octavo libro Omnigeuae historiae)

Tp&Tos

fi-qvipaTa

cn;v6leo-ii/

Kai

TToXvcpcovoTaTO?

1. Cp. Virg. Aen. i. 87 "insequitur

olamorque virura stridorque nidentum";
Ap. Ehod. Argon, i. 725 {nr6 irvoi^ 6i
SvXa re vrjia wAvto, Ti.vda'creTo
Kti\oies

iSeiipijffe

rijs

ypaii/MTiKiJ!

Siva/uv ( Fit. Plat. 25).

8. The following passage (from 8ti to
KoXcL atria) is quoted in schol. anon, in
Hermog. (Walz lihett. Or. vli. 1049),
with the prefatory words dXXd koX iv
Tif irepl (TvvOiffeas 6vofiAT(ai> irepl X^fews
StaKaix^Avun Xiyei Uri kt\.

riiv

TOvBe

Xdyos [yjtverat cum litura P,

13 KaA.A.oi;s RBF
14 aiTia RMV
amav F: aiViov EP
15 Kara
21 TrapaSeLypaxri
20 TO tavTas Us. roiavTa Y, PMV
23 aTravTOiv twv
aTravriov FP
P,

REF
PV

12 Adyos

SijiroTc

9, 10,

KaXZv
F: Kat

evpriaei<;.

2 fLifiriiMTa

Xoyov

rd yap dXXa iroXXa bvTa ein aavTOv avp-

eveKa-

cradiTjveLa^

^aXX6pevo<;

tov

irapaBelypao'i

6Xlyoi<i

S'

10.

The endless possibilities of these

and other pennutations

syllabic, verbal,

had evidently impressed the imagination

of Dionysius together with their climax
in literature itself, and in all the great
types of literature,
12. "This
sentence
{Sum TroXX'f|
dvd7KT| . . 'YpoL)i.)i.aTa KoXd atrux clvai)
puts boldly the truth which Aristotle
had evaded or pooh-poohed in his excessive devotion to the philosophy of literature rather than to literature itself"
(Saintsbury History of Criticism i. 130).
21. irapaSeC'yii.ao-i is perhaps to be preferred to Selyiiaat here : cp. 164 16.
:

ON LITEEAKY COMPOSITION

XVI

161

rushing of winds, the creaking of hawsers, and numerous other

similar imitations of sound, form, action, emotion, movement,
stillness, and anything else whatsoever.
On these points much

has been said by our predecessors, the most important contributions being by the first of them to introduce the subject of
etymology, Plato the disciple of Socrates, in his Cratylus especi-

but in

ally,

many

What

is

it is

due

that

syllables is

other places as well.

sum and

the

my

substance of

the nature of words has such wide diversity

of

words that discourse takes on so

is

inevitable

words,

letters,

that style

is

It is

that language

is

arrangement

to the

many forms. The conclusion

when it contains beautiful

beautiful

that beauty of words

argument

interweaving of letters that the quality of

so multifarious ; to the combination of syllables that
to the

is

due to beautiful syllables and

rendered charming by the things that

charm the ear in virtue of affinities in words,

and that the differences in detail between

syllables,

and

letters

which
are indicated the characters, emotions, dispositions, actions and
SO forth of the persons described, are made what they are through
the original grouping of the

these, through

letters.

To set the matter in a clearer light, I will illustrate my

Other instances
and there are
argument by a few examples.
you will find for yourself in the course of your
plenty of them
own investigations. When Homer, the poet above all others

ipsum,

22. Iirl a-a,vrov=per te

tiiopte

cp. 96 21 iaKbirom S' airds iw'

i/iavTov yev6/ievos.
^
,
^
In this respect
23. iro\v(|)a>v6TaTos.

Marte

Homer's great compeer is Shakespeare,

in whose dramas " few things are more
remarkable than the infinite range of
style, speech, dialect

they unfold before

us" (Vaughan Types of Tragic Drama

p. 165).The passage of Dionysins which
follows might be endlessly illustrated
from Shakespeare; e.g. from Sonnet civ.,
Eomeo and Juliet ii. 2 and v. 3, Antony
and Cleopatra ii. 2 (speeches of EnoIn the scene
barbus). Tempest iii. 1.
of the Tempest, correspondence and
Ferdivariety are alike conspicuous.
address (beginning "Admired
Miranda ") tallies to the line and even
to the half-line-with Miranda s reply
the one
and the concluding lines are,

nand's

gg
'

But

you,

you,

So perfect and so

Of every

yeerless, are created

creature's best

and, in the other,

g^^
Something too wildly, and

cattle

my

father's

j^recepts
j ^jjerein

do

forget,
1>

,.

In the same scene the lines

_

Ten times more gentle than her

."1^",'
,,

And

he

i !v
father s

composed of harshness,

would have a very

different

efifeot

(cp.

quotation from Aristotle's Poetics on 78

9 supra) if written as follows
:

q
^en times more "wacioMS than her

^j^^ j^

sire is

^^^^

^^^ ^' ^
,

^^^^^
,

^^^
j

('merely being understood, 01 course, in

the Shakespearian sense of absolutely ').
'

chap.

DIONYSIUS OF HALICARNASSUS

162

koXKo^
^avqevTav
re
t&v
^Bovr}'; iirajmyov iiriBei^aadai ^ovXtjtm,
fiaXaKoaTaTois,
Tots KpaTLaToi<s XP^'^erat ical Tcav ^/iKpcovav tow
woirjT&v

orav

"OtX7)po<},

fixov<}

Sia Trji

S'

T)

eK OaXdfioio

'lev

irpaeiav

SvaeK<}>opa,

Be

koX peovaav aXvirm

rypafi/jLcircov

e%et Tavrl

o)?

aKofi<{,

r&v

apfioviav

iTOtria-ei ttjv

Tiva

a-v\Xa^h<; ovSe o-vyKofei^

ra

aXXrjXotv

-TraparideU

eiifiop^ov Kal

6->^ew^

toI<; a<^wvoi<i Ta<i

Kal ov KarairvKvcoa-ei
5 Toix!

&pav

/lev

HrjveXoTreia

7repl,tj)p(ov

^AprifiiBi iKeKt} ^e XP^'V 'A^'poBbTrj.

ArfKeo

10

S^TTore roiov 'Air6Wcovo<; irapa ^m/icp

^olviKoif veov epvo<i ca'epj(p/ievov ivorjcra.

Koi 'KX&piv elBov irepiKaXKea, t^v ttotc NijXeu?

y7J/j,ev

orav

olKTpap

B'

ov

15 (bavrjitncov

ddxovcov rk
Ta<;

aWo?,

ebv fiera

(fyo^epav

rj

Trope /ivpia eBva,

wyepw)(pv

fj

xparia-Ta

to,

i-Trel

o-^jriv

dXXa

Briffei

Trj

B"

S'

avryai ^dvr)

KeKaK<ofievo<;

aXfiy.

eVt fiev Topyo} ^Xoavprnirt,'; ia-Te<fidvcoTo

Beivov BepKOfievrf, irepl Be Aeifjio? re ^6^o<i

eh

irorafi&v Be ye avppvffiv
ava/Miayofievtov

2 kirayayiiv
o-vyKOJTTtt

F
6

Trout.

yrjixev kov] Trjfiivaiov

l(T'^vpa<;

/xera P,

||

||

^ijcret

KdXXos

{/ielaffai) ttus

3.

vpijo-eTai
.

scholium in P,

cp.

kIWos

riSo(vijs)

at)-

iirayiiiybv

KaramiKvcio-ei
general truths
of the future tense.
.

iroi^<rei:

expressed by means

8. Cp. Vii-g. Aen. i. 496 "regina ad

templum, forma puloherrima Dido, incessit magna iuvenum stipante oaterva.
|

II

'^ov

PMV

F
19 yopym

EV

(metri, ut videtur,

||

fjV

22

gratia)

23 dvTiTwoW F

veluti violaverit ostro

dvTi-

quis ebur, aut

alba rosa
tales virgo dabat ore colores."

mixta rubent ubi

qualis in Eurotae ripis aut per inga

exercet Diana chores," etc. ;
(Jynthi
and Aen. xii. 67 "Indum sangiiineo

i^

lilia

si

multa

xi. 282 the textual

reported as follows: "Sta
ss.
XTU^ Dion. Hal. comp.
verb. 16; Sia P ; /lerck XDSTUW, An.

13.

evidence

0(ij/ss.

is

FHJK,
Ox.

iv.

/iera

/iaXaKtoTOTOis om.

EPMV

SelKvv{<riv) 'Oi4.ri}p{os).

cn(7Kiii|iri

EPMV

TWODS

Kal aj/TtruTrow?

12 x^'^PH^ ^
Kara F 6ta

pXoa-vpanrts
yopyu) ceteri
tVt
ipyaxrerai Us. : epyd^erai F
:

ovk ipya-

Xe^ei ^ovXofj,evo<i

ttj

3 )^p^(reTai

re.

Kal iraTariov vBdratv

ev

)((opiov

iK/JUiJ,i]a-a<70ai

aerau Xeia<; a-vXXa^h^ dXX'

1.

ij

<7vXKa0d<;, old iaTi ravri

20

13

t6

-^o^oeiBSiV

BvaeK^opdarara X'^ffrerat Kal KarairvKVcoa-ei TovroLf

(TfiepBaXeo<i

sic

t&v

elaarfrj,

rSiv

Bekker An. 1158, Bust.

(Ludwich ad loc).
In the

310. 5,

G"

present passage of Dionysius the reading fieri gives an additional |i, in the
line:

yrjfi.ev

iiv

[lexct

ndXXos, irel ripe

ON LITERARY COMPOSITION

XVI

163

many-voiced, wishes to depict the young bloom of a lovely

countenance and a beauty that brings delight, he will use the

vowels and the softest of the semi-vowels ; he wiU

not pack his syllables with mute letters, nor impede the utterfinest of the

ance by putting next to one another words hard to pronounce

He will make the harmony of the letters strike softly and
pleasingly

upon the

ear, as in

the following lines

Now

forth of her bower hath gone Penelope passing-wise

Lovely as Artemis, or as Aphrodite the Golden.^

Only once by the Sun-god's altar in Delos I chanced to espy

So stately a shaft of a palm that gracefully grew thereby.^
Eose Chloris, fair beyond word, whom Nereus wedded of old.
For her beauty his heart had stirred, and he wooed her with
gifts untold.^

But when he introduces a sight that is pitiable, or

or august, he will not employ the finest of the vowels.

terrifying,

He

will

take the hardest to utter of the fricatives or of the mutes, and

will

pack his syllables with

But dreadful he burst on

these.

For instance

their sight, with the sea-scum all fouled

o'er.*

And

thereon was embossed the Gorgon-demon, with stony gaze

Grim-glaring, and Terror and Panic encompassed the Fearful

Face.^

When he wishes to reproduce in his language the rush of

meeting torrents and the roar of confluent waters, he will not
employ smooth syllables, but strong and resounding ones
:

2
*

Homer
Homer

jLvpla Idva.

Homer

Odyssey

vi.

Odyssey xvii.

162-3.

Odyssey vi. 137.

For some instances in which

the authorities vary between /terd and

Kard see Ebeling's Lexicon Homericum,
s.v. fi^ri,.
'

14. In his selection of tragic qualities

Dionysius seems perhaps to have in view,
once more, the Aristotelian doctrine of
two extremes and a mean. As the epithet

36-7
^
^

xix.

Homer
Homer

53-4.
Odyssey

xi.

Odyssey

xi.

281-2.
36-7.

ayipaxo'S so closely follows the quotafrom Homer, it is natural to

suppose that Dionysius uses the word
in the Homeric sense of lordly, august,
rather than in the later (bad) sense of
tions

^a"?^.

insolent.

Sauppe would insert rk SvaifxiOTwra Kal between dXXck and tQv \j/o<j>oeiSC>v.
15.

DIONYSIUS OF HALICARNASSUS

164
8'

o)?

ore '^eifiappoi irorafjLol /car

rh

Kal

ottXcov
5

riva

Be

0ia^6/j,evov

dvaKoirdi;

re

'jrpo<i

ra

/lev

avWa^&v

iroiriaei

ela-dycov

viro^epofievov

S'

dva^6Ka<;

koX

tcov

fiera

irorafiov

pev/ju

ivavriov

avre')(pvTa,

peovre<s

ope(r<f>i,

o^pi/J>ov vBcop.

avfi^dXXerov

e? fiiaydfYKeiav

chap.

Kai

'X,pova>v

dvTiaTT/pi'Yp.ov'} rypafifiaTCOV

Beivov

wOei

dparTOfievmv Be Trepl
oiKTpov

tcvfia,

ev ffdKel irLirrwv p6o<i, ovSe TroBeaffiv

aTrjpi^aaSai,

ely^e

10

XcnaTO

'A'^iXrja KVKmfievov

dfi^'

S"

S'

dvOpayircov

Trer/aa?

iiriBeiKVV/ievoi;,

Km

re

\jro(}>ov

fiopov

t&v drjBeararoov re Kai KUKo^ca-

iirl

voTdrtov '^poviet ypafifidTtov,

Xeatvtov

ovBa/ifj

KaraffKevrjv

rrjv

ovoe Tjovvoiv'

aKvXaKa<; ttoti yaty

<Tvv re BvoD fidpyfra^ wcrre

KoiTT

15

iroXi)

B'

&v epyov

&v

(f>epeiv

aOel'i

eK

ovop^aTa,

eiXr]<j>ev

2 oPpiixov

FP

PMV

tirtSeiKvv/icvos

rf

rm

oii.Ppiii.ov

fieyaXoirpeTreiav

ae/jLvoTrjra

rj

Be

eiprjTai

avvdr/eiv.

Koivorepov

<f}i,Xocro(j)a

EM^V

ev

'F

\\

Tre/oi

PMV

14

F,

ttoti F,

202 6 infra.
17 Kara rhv tottov tovSe Sv av
Kara F
(hoc verborum ordine) PV
Kai Kara PV
:

||

Xoylav

Tj

KaXXiXoyiav Kai

PMV

1. Cp. Virg. Aen. ii. 496 "non sic,

aggeribus ruptis cum spumeus amnis
exiit oppoaitasque evioit gurgite moles,
fertur in arva furens cumulo oamposque
per omnes cum stabulis ai-menta trahit."
7. Cp. Virg. Aen. x. 305 "solvitur
(so. puppia Tarchontis) atque viros mediis
fragmina remorum
exponit in undis,
quos et fluitantia transtra impediunt
retrahitque pedes simul unda relabens."
14. Cp. Virg. ^e. v. 478, "durosque
reducta
libravit dextra media inter
cornua caestua arduus, effractoque iUisit
in osaa cerebro."
Demetr.(de.Bte.219),
in quoting this passage of Homer, couples
with it II. xxiii. 116 iroKKk S' S,vavTa
KiravTa iti.pa.vri. re SAxA"<4 t' fjKBov
|

nrepl

toii;

irepi

ira/oa P,

of.

21 t& avrb
(Virgil's

MV
Tts

irepi-

riva

9 a-T-qpC^aa-dai

10 ^paTTOfiivuiv
JvSeiKi/v/ievos

Taiirb

ei<;

rovToov Kal eo(j)pdcrr(p

(mj/3tf0-^01

Kard tov tottov rovBe mare dpxerd e^<; pierafiija-ofiai.

<f>r}/u Br) toi'
Xe^iv KaXr)P ev rS awTiOevai ra?

i-jrl

epydaaaOai
KaXXiXoyiav

ocra

Beve Be yaiav.

Xeyeiv, el Trdvreov TrapaBeiyfiara j3ovXoi/Mjv

elprj/jLevot<;

/SovXofievov
20 (f)(ovd<;,

e'li]

pee,

')(afidBi<;

Tt9 diraiT'^areie

CIV

TOO?

iyKe(j}aXo^

Horn.

M
irpori

11

diraiTi^eic

20 Kakkitovto

PMV

" quadripedante putrem sonitu

quatitungulacanipuni,".<ie. viii. 596).

Another good Virgllian instance of
adaptation of sound to sense is Georg.
iv. 174 " illi inter sese magna vi bracchia
toUunt in numeram, versantque tenaci
forcipe ferrum.
18. <|>r)|iC seems (cp. the legal use of
aio) to approximate to the sense of iceXciiw
(as in Find. Nem. iii. 28, Soph. Aj.
1108).
Either so, or (as Upton suggested) we may insert Mv, or the sense
may simply be, "I say that the man
who aims . . does combine, etc. (i.e.
when he knows his own business)."
19. For the construction Xe^iv KaXf|V
|

iv Tip

mvTi6cvai

tois (jxovds cp.

Fragm.

ON LITERARY COMPOSITION

XVI

And

165

even as Wintertide torrents down-rushing from steep

hill-

sides

Hurl

their wild waters in one

where a

the mountain

cleft of

divides.^

When

he depicts a hero, though heavy with his harness,

all his energies against an opposing stream, and now
holding his own, now being carried off his feet, he will contrive

putting forth

counter-buffetings of syllables, arresting pauses, and letters that

way

block the

Eound

And

Achilles the terrible surge towered seething on every side.

a cataract dashed and crashed on his shield all vainly he
:

sought

Firm ground

for his feet.^

When men

are being dashed against rocks, and he

ing the noise and their pitiable fate, he

and

harshest

most

ill-sounding

letters,

smoothness or prettiness in the structure

And

will

altogether

down gushed

portray-

on the
avoiding

together laid hold on twain, and dashed

ground
Like whelps

is

linger

them

against the

the brain, and bespattered the rock-

floor round.^

It
all

to attempt to adduce specimens of

would be a long task

the artistic touches of which examples might be demanded in

this

one

So, contenting myself with

field.

what has been

said,

I will pass to the next point.

hold that those

who wish

to

beautiful in the collocation of sounds

fashion

a style which

must combine

in

it

is

words

which all carry the impression of elegance, grandeur, or dignity.

Something has been said about these matters, in a general way,
by the philosopher Theophrastus in his work on Style, where he
Homer 7/mdiv. 452-3.
3 Homer

Homer

Iliad xxi. 240-2.

Duris of Samos, "B^opos 5^ ica.1

QedwofiTros tuiv yevofih/iav irKeuj-TOP direXetoSre yip /ufi'^irews ficriXa^ov
<j)Bri<ya.v,
oiSe/ilas oUre ijSov^s iv ry <ppdirai,
of

airroS Si toS ypAipeiv pivov iwepx\ij8ri(Tav.

.,

20. Here,

mean may
'

22.

Aristotelian
again,
the
possibly be intended.

Theophrastus

for other references

Odyssey

ix.

289-90.

to Theophrastus in the Scripta Bhetorica

of Dionysius see de Lysia cc. 6, 14 ;
de Isocr. c. 3 ; de Dm. c. 2; de Demosfh.
0.3. The passage of Theophrastus which
Dionysius has in mind here is no doubt

that mentioned by Demetr. cZe ^oc. 173

^^^^^ j^ ^^^^^^ ^^^ ipp.r,velav Kal ri
i,pl<raro 6' airi.
Xey6p.fa KaXA. 6vbp.a.Ta.
OeSippaaros oiirus kK\os iSyi/iaris icrn

DIONYSIUS OF HALICARNASSUS

166

Xe^ew?, ev6a opi^ei, riva ovofiara

adai

irdvT

iy^copoif)

to

Sr]Xova-0ai

^rjreiv

TToWoiv
10

ravra

o-kottov

diro

elvai

e^xei,

Kal

irXoKrj

rr}

TroXK&v

iroietv.

prjTopmv, Tiva a-ep,voTrjTa

Tpaia Kal 'Erewj'o? Kal

15

Kol

'EiVTpr)at<;

av

elireiv

tSW

Kal

ovS'

abv

Kal

eyoi

iirl

ttoitit&v

7]

Kal

Icr^rj

avra

ovt(o<;

Kat

'Oiy^Tjcrro';

ouSet?

TroiJjrrji /lifivijTai,

dXK

r]

e^64 ra ovo/jLara

/caXw?

SieiXTj^ev

ev^divoi<i

(paiveo'Bai TrdvTtov ovofiara

IIiji/eXetB?

/Mev

iirl

ireipaTeov
e'lmOev

0/j,rjpo<;

oiiv

TrapairXrjpw/ji.aa'iv

ware fieyaXoTrpeTrecrraTa
BotwTwi'

xal

&v

e<pe^<i

rpjTiv

(Tvvv^ayKep

e^etvo?

SkmXo';

fmviav

Kat Mu/caXijccos

TroXeaiv "Tpla

BotwTtats KeiTai

rat?

ci

'

KaWiXoyiav ravr

t)

fieWei,

rovro, aiairep

ovTiv

epoiro

ovv

fiev

(ov

irapaQecreb

oirep

<f>v<Tiv,

Tt?

'^dp

et

v<fi

KaXKi,pr)iMova,
eir]

Kal

fii^ei,

dAavi^eiv t^v t&v yei,pov(ov

el

Kal

re

dhvvarov

Se

el

Xefeo)?

t?)?

ev^eovd

%6t/3&)

dvZpi.

r(p

eUprjrai,

fiopia

to,

Trpayp-a

rci,

Siv

fia

eo'ecrdai

)(^p'ri(Trov

nroirifia

Ata ovK

epjov

irapaSel^fiaTO<;

erepa fiiKpa Kal Taireivd, e'f

Kai
oiire \ojop.
(}>T}cnv

Kal av0i<;

(ppdaiv,

rr)v

oiire
5

KoXd-

<jiv<Tei

a-vvnOe/ievcov KoXr/v oierat Kal fieyaXoTrpeTrrj jev-qcre-

&v

eveica,

chap.

Kal At^j'to? ^px^

A.pKealXao'; re TipoOorjvap re K.Xovi.0^ re,

20

01 6 "Tplriv ive/jbovTo Kal AvXlSa jrerprjeo'crav

^^otvov re XkmXov re iroXvKvqfiov t Ereow/ov,

eaireiav Vpaldv re Kal evpv')(ppov M.vKaXija-aov,

25

01

dfj,(j}'

01

'EXeav'

'QiKaXerjv
iv

F
P

ev6a] Ka6' o

dvSpl

T(j"

TToirjT&v

ovo/mTa

(Tvvv(j>avev
:

irXeiovav

PMV

PV

e^rjs

ovofidrwv

PM,

3 avdis om.
iiprjTai

||

Ka\Xipprjfj.ova s
:

/SotojTiKais

11

18 ixeyaXoirpeTr&rTepa E
25 ^8" F oiS'
diretv,

in

Tct 5^, B.V

ipavepbv

tS'

dvSpl

TrotijTtuv

EP

15
:

<rvvv-

ttolvtuv] rovroiv

||

tijJ

rj

/JoicoTtas

17 a-vvv<f)ayKv F,

EF

t6 irpis TTiv &Koiiv ij irp6s tV 1'A"' 'h^^? ^

t6 rg Siavolf hrifiov.
1. irapaSEC'yiiaTos SvEKa looks like au
adscript (possibly on ipffei to indicate
that there were many other topics in
Theophrastus' book), which has found
its way into the text.
4. For the distinction between poetry
and prose cp. Aristot. Wiet. iii. 3 (1406 a)
iv niv yap voiijira vpiirn 7dXa XevKiv
:

FPMV

5 airo

3 /JottoTiais

irapaBeiyfiarmv.

Seiv

2 yev^a-eirdai] yLvecrOai

F: raXXa

PMV

evKn/ievov irroXiedpov.

ocofiai,

e'iprjTai

FM

TaA,A,' icfie^rj's

(fiayye

ovk

rjK 'TXrjv Kal TLere&va,

idtu-dai] xp-qa-iiiov

XPW'^^
:

el-)(ov

MeSewm

Xeyeov

elSoa-i

evefiovTo Kal ^IXicriov Kal 'Epv6pd<;,

"A.piM

||

Sk \&y<p ri, flip iirpeTriffrepa,

KaTaKoprj, ^jeX^-yx^' i' "''""

Sn

irolrialt

iaTLv,

iirel

del

ye

andiii. 4 (1406 b) XP'S"''/""'

Kai iv \(r/if, dXiydxn Si-

XP^'''^'"<^'''<''S>

Si

i]

eixiiv

iroiriTtKbv

y&p.

ouk diri <rKOTroO= 'baud ab

5.

re.'

The minute variations in wordorder between F and P are not usually

given in the critical footnotes. But the
'

ON LITEEARY COMPOSITION

XVI

two classes of words those which are naturally

beautiful (whose collocation, for example, in composition will, he
thinks, make the phrasing beautiful and grand), and those, again,
distinguishes

167

which are paltry and ignoble, of which he says neither good

poetry can be constructed nor good prose. And, really and truly,
our author is not far from the mark in saying this.
If, then, it
were possible that all the parts of speech by which a given subject
to be expressed should be euphonious and elegant, it would
be madness to seek out the inferior ones.
But if this be out of
the question, as in many cases it is, then we must endeavour to
is

mask the natural

defects of the inferior letters by interweaving

and mingling and juxtaposition, and this is just what Homer is
accustomed to do in many passages.
For instance, if any poet

or rhetorician whatsoever were to be asked

elegance there

is

in the

Boeotian

what grandeur or
names which have been given to the

towns,
Hyria, Mycalessus, G-raia, Eteonus, Scolus,
Thisbe, Onchestus, Eutresis, and the rest of the series which the
poet enumerates,
no one would be able to point to any trace of

such qualities. But Homer has interwoven and interspersed them

with pleasant-sounding supplementary words into so beautiful a
texture that they appear the most magnificent of all names

Lords of Eoeotia's host came Leitus, Peneleos,

Prothoenor and Arcesilaus and Clonius for battle uprose.
With the folk that in Hyrie dwelt, and by Aulis's crag-fringed
steep,

And

and Scolus, and midst Eteonus' hill-clefts deep.

In Thespeia and Graia, and green Mycalessus the land broadin Schoinus

meadowed,

And in Harma and Eilesius, and Erythrae the mountain-shadowed.

And they that in Eleon abode, and in Hyle and Peteon withal.
And in Ocalee and in Medeon, burg of the stately wall.^
As I am addressing men who know their Homer, I do not
1

Homer

Iliad

fact that P places (here and in 164 17)

the verb at the end of the sentence is
noteworthy.
Virg.
334-44
18. Cp.
Georg. iv.
Aen. vii. 710-21 ; Milton Par. Lost
396-414,
464-9,
576-87
351-5,
i.
and see Matthew
(especially 583-7)
Arnold {On Translating ffomer: Last
Words p. 29) as to Horn. 11. xvii. 216 ff.
;

ii.

494-501.

as
26. Dionysius
(here
elsewhere)
doubtless intended his remarks to apply
his
follow
quotation,
to the lines that
as
well as to those actually quoted.
27. Iv ciSdo-i this expressive phrase is
as old as Homer liimself (II. x. 250 elShai
:

y&p tm ravra

fier'

'Apyelots iyopeieis).

occurs also in Thucyd.

(ii.

It
36. 4 iiaKprq-

yopeiv ev elSbaiv oi ^ov\6fieiios idaoi).

DIONYSIUS OF HALIOAENASSUS

168

yap

airaf

oh

ev

eTepot<i

avwyKa<7de\<i

6v6/j.ara

avTk

KaXol<;

TovTcav

TT)

KaTdKoyoi avrS

ia-rtv

Koa/iet

troWa aWa,

kui

toiovto<;

ov KoXa rtjv if)va-iv

Xvei TrjV eKelvmv hvaxepeiav

Xafi^dveiv

koX

koX irepl /lep rovrav

ev/iop<f)ia.

chap.

aXt<y,

XVII
koI tou?

Tj)?

a^i,(oiJMTiKfi<;

elxy

lie

eh
10

Be

iirel

Kal
ovS"

koI fxirpa

Kal Tov virep tovtwv Xoyov.

Kal
-n-av ovofia Kal prjfia

aWo

Xe^ecof,

fiopiov

ri

to S' avro
/j,ovo<TvXXa^6v iariv, ev pv0/im nvi Xeyerai
\e^eco<;
Sta<f)opal
ovv
p.ev
Sia-vWdjBov
TToBa Kal pvOfiov.

/J/rj

KciXS)
Tpei<!,

yap e^ dfjujiOTepav ea-rai ^pa^^eimv ^ e^ dfi^orepmv fUiKp&v

tov Be Tpirov tovtov
TTJi;
fiev ^paveia<;, Tri<s Be fiaKpa<;.

rj
7]

15

exeiv
firjBeU

atrohdia-a

BtaXe/crov,

ovTWi

ej^et

"va

oUeia deapiwi

iiova-iKri<;

elcrdyovTa

efi/ierpov

fioipav

fMKpoLV

a-w6ea-eco<;,

fieyaXoirpeTTov^

So^r/ Xeyeiv pvd/ioi>';

pvd/MiKriP

oil

oi

e^'qv

pvOfioix;

TpoTTOi

pvdfiov StTTo? o

Kal Xriyav eh /JUiKpdv, 6

yelav.

KaXeiTai,

fiev

oSv

Kal ovTe

Ti?

fiiv

S'

airb

/8/9a%ewi9

diTo

fMiKpa<;

^pa'xyavKXa^o'i

etrriv

fteyaXoTrpeiri^^

re

^yefimv

dpy(p/jievo<!

X^yav eh Ppa-

Kal
oine

/cat

irvppi')(io<s

crefwos

a-'^rjfia

avTov Toiovoe
20

Xeye Be
avT(^ Toupius

PM:
12

[JL-q

p-k

TEO-o-apes

I.

cru

Tts

KaTO, iroBa ve6')(yTa fieXea.

6

avriav libri

/AC

13 Ppax^tnv

om.

FM

Usener's airip ("all his Catalogue

on the same high level") is perhaps

preferable to the manuscript reading
airwp, which, however, may be taken

is

Usener's
to refer to wSXecnv (166 13).
suggestion has, it should be pointed
out,
been anticipated by Toup (ad

Longin. p. 296).
5. In this chapter Dionysius seems to
have specially in view Aristotle's Rhetoric
iii. 8 (cp. note on 256 25 infra) and the

jUTjSets

EF

PMV

20 veoxwa

k (kol M^) tis

/iij

10

EF

pr\pa

koX
:

vedAura

oni.

PMV

'PvB/ukci, aToix^la ii. 16 ij

Si ffrnjuuvd/ieSa rbv pvBfiiv Kal yviipiiiov
Troiovinev ry alaSiiaa, irois iffnv els ^
TrXelous iv6s : and 18 ibid. Sn fi^v oiv
^| ivis XP^""" '"'"^^ <"'* ^'' ^^V ^O'Veftby,
ktK.
17. See Introduction (p. 6 swpra) for

Aristoxenus,

a classified list of the metrical feet

mentioned in this chapter.
Voss says
'

his general standpoint probably comes

nearer to that of Aristophanes of

to the irvpplxi-os,
nullum ex eo
alicuiusmomenticonstitui potest carmen,
cum numero et pondere paene careat.
aptus dumtaxat ad celeres motus exprimendos, cuius modi erant armati

Byzantium and Dionysius Thrax

saltus

But

'PvBiuKi, aroixeia of Aristoxenus.

he

as

'

Corybantum apud
apud Romanos

primarily a metrist

Saliorum

and a grammarian, and at times looks

upon the rhythmists and musicians with
some distrust.
II, 12. Dionysius agrees here with

Hermog.

is,

that

is

to say,

Graecos,
"

see

et

also

(Walz iii.
1-11).
Some sensible remarks on the
whole question are made by QuintU. ix.
4. 87: "miror autem in hac opinione
IT. IS. i.

p. 293, lines

ON LITERARY COMPOSITION

XVII

think there

169

need to multiply examples. All his Catalogue of

is on the same high level, and so are many other
passages in which, heing compelled to take words not naturally
beautiful, he places them in a setting of beautiful ones, and
is

the towns

neutralizes their offensiveness

On

this

branch of

my

by the shapeliness of the

subject I have

CHAPTEE

now

others.

said enough.

XVII

ON EHYTHMS, OR FEET
I have mentioned that
to dignified

poiat also.

rhythm contributes in no small degree

and impressive composition and I will treat of this
Let no one suppose that rhythm and metre belong
;

the science of song only; that ordinary speech is neither

rhythmical nor metrical
and that I am going astray in introducing those subjects here.
to

In point of fact, every noun, verb, or other part of speech,

which does not consist of a single syllable only, is uttered in
some sort of rhythm. (I am here using " rhythm " and " foot
as convertible terms.)
A disyllabic word may take three
different forms.
It may have both syllables short, or both
long, or one short and the other long.
Of this third rhythm
there are two forms
one beginning in a short and ending in a
long, the other beginning in a long and ending in a short.
The
one which consists of two shorts is called hegemon or pyrrhich, and
is neither impressive nor solemn.
Its character is as follows
:

Pick up the limbs at thy

1

feet newly-scattered.^

Bergk P.L.O., Fragm. Adesp. 112; Nauck T.O.F., Fragm. Adesp. 136.

dootissimos homines fuisse, ut alios pedes

damnarent, quasi
ullus esset, quem non sit neoesse in oralicet igitur paeona
tione deprehendi.
sequatur Ephoras, inventum a Thrasy-

ita eligerent aliosque

macbo, probatum ab Aristotele, daetylumque, ut temperatos brevibus ao longis

fugiat molossum et troohaeum, alterius
tarditate alterius oeleritate damnata
herous, qui est idem dactylns, Aristoteli
amplior, iambus bumanior videatur

troohaeum ut nimis currentem damnet

eique cordacis nomen imponat eademque
;

dicant Theodeotes ac Theophrastus, similia post eos Halicarnasseus Dionysius

:

irrumpent etiam ad invitos, neo semper

heroo aut paeone suo, quem, quia
versum raro facit, maxime laudant, uti

illis

ut sint tamen aliis alii crebriores,

non verba faoient, quae neque augeri nee
minui nee sicuti modulatione produci
lioebit.

aut corripi possint, sed transmutatio et

eollooatio."
20. Xiyt Sk irv ktK.

source

unknown

perhaps the reference is to the tearing

of Pentheus limb from limb.
A similar
line in Latin would be: "id agite
celeriter,"
Marius
peragite
Viotorinus

Ars Gramm.

iii.

1.

DIONYSIUS OF HALIGARNASSUS

170
o

S'

ra?

a/i(f>OTepa<;

a^Lmfia

crirovSeio^,

TTOiav Brjd'

op/jLocrct},

^ Kelvav, Kelvav

S'

dyevv'ij'i

re

^paj^eiaii

Xd^rj

^yovfievTjv

iav

B'

17

xal

/lev

iroWrjv

crefivoTTjTa

ravrav
ravrav ;
fiaKpa<;

ical

^pay(elav,
diro t^?

darepov

fidXaKcorepoi

KefcKrjTai

e'XW

/la/cpa^

/leya

ej(i

avTov ToBe

jrapdSeij/ia B'

tap,^o<s

puiKpa?

Koi

iav

a-vyKei,fievo<;

KaXelrai,

dyevvecrrepoii

Kal

ovk

Kal

ecrri

rpojaalo^,

apy(7}rai,

Be

irapaBeiyfia

rrjv

fiev

ea-riv

rov

irporepov roiovBe

10 fJbev

eirel

rov

<Tj(o\r)

irdpecrri,

dvfi

dp.rj'^dvoKTi

BicrvWd^mv
Kal

p^ev

rpLtrvXKd^aiv

Kal iroiKiXarepav

elprjpevcov

e'^ovra

drraamv ^pa'^eimv

avvecrrdo^,

\rpi^payv<; ttou?],

oxj

3pop,ie,
20 raireiv6<;

ij

re

a<re/J,v6<;

Keivav Keivav

PMV

r]

B'

erepa

dewpiav.

rwv
yhp e^

irXeio)

p.ev

KaXovfievo^ Be viro rivmv

j(pp6io<;

irapdBeiypa roiovBe

Boparo(j)6p' ,

Kal

KVKCofieve.

K'^Becriv

fioplwv Xefew? Bia<f)opal re xal pv0p,ol

Br)

roaavra

a''xrip,ara

om.

M.evoi,rlov.

irat

eripov

B'

0v/j,e,

15

cri;\\a/3a?
S"

CHAP.

raijTav

evvoKte, iroXefioKiXaBe,

Kal dyewrfii,

ea-ri

PMV

11 iiru a-xoXfj

rj

EMV

Kiivav
Ijti

r)

koX

rawav

trxoA^t

FP

ovBev av
E,

10
13

MV

e'f

fiev

K'qS&ri.

F
14 /tev EPMV om. F
17 xop^'os
om. FP
18 rpi^paxv^'] rpoxaios F. uncinis includendum vel Tpi^paxvs jtoijs vel
Xopeioi tamquam glossema quod, margini olim adscriptum, in textum postea
irrepserit
20 Kal dyevvrj? om. P
KeKVKiopeve sic

2.

The high rank assigned

spondee

is

Hermog.
1049)

Xl.

IS.

T&TTa

to the
in schol. anon, ad
("Walz Rhett. Gr. vii.
(so.
AtovOo'ios)
5^
rhv

noted

airQv (so. /xerA Ttjiv koKwv

For Dionysius' view of the
spondee and other feet see also Walz
viii. 980 Aioi/i)(r(o: ii,kv iv t($ irepl (rwBiirebK
(XTTOvSeiov fier*

pvBiuiv).

6voiiAtwv

iprjalv

Sn

6 SAktvKos kt\.

Euripides' Sec. 162-4

in G. G. A. Murray's text :

runs thus

i.

^ rairav ^ Kclvav
UTelxm ; tToi S' f(<rw ; firoC

TToia;'

t^ SaijjMvuv ^ivaptjiylK

As the editor remarks

neo in se perfeotum,"

tis

Bfuv

Person's note on the same passage of

the Hemiia.
For a Latin spondaic line
cp. Ennius "olli respondit rex Albai
longai " (Annal. Reliq. i. 31 Vahlen).
7. The iambus and the trochee abound
in ordinary speech, and must therefore
be used in oratory with moderation : cp.
Cic. de Oraiore iii. 47 "nam cum sint

numeri plures, iambum et trochaeum

frequentem segregat ab oratore Aristoteles, Catule, vester, qui natura tamen
incurrunt ipsi in orationem sermonemque
nostrum ; sed sunt insignes percussiones
eorum numerorum et minuti pedes";
Orator 56. 189 "versus saepe in oratione per iraprudeutiam dioimus
quod
vehementer est vitiosum, sed non
attendimus neque exaudimns nosmet
;

later,
etc.

"metrum
See also

ON LITEKARY COMPOSITION

XVII

That which has both

and
an example

syllables long is called a spondee,

its

possesses great dignity and

of it

171

much

Here

stateliness.

is

had

Ah, which way must I haste ?

By this path ? or by that path

I best flee

shall it be

That which

is composed of a short and a long is called iambus if

has the first syllable short ; it is not ignoble.
If it begins
with the long syllable, it is called a trochee, and is less manly

it

than the other and more ignoble.

of the former

The following

is

an example

My
Of the other

leisure serves

now, Menoetius'

son.^

Heart of mine,
cares

me

heart in turmoil with a throng of crushing

^
!

These are all the varieties, rhythms, and forms of disyllabic

Those of the trisyllabic are distinct; they are more
numerous than those mentioned, and the study of them is more
complicated.
First comes that which consists entirely of short
syllables, and is called by some choree (or tribrach), of which the
following is an example
words.

Bromius, wielder of spears.

Lord
This foot
1

of

war and the

mean and wanting

is

onset-cheers.*

in

dignity and nobility, and

2 Nauck T.G.F., Fragm. Adesp. 138.

Cp. Euripides Hecuba 163-4.
3 Archilochus Fragm. 66 (Bergk P.L.G.).
* Bergk P.L.G., Fragm. Adey). 108.

ipsos ; senarios vero et Hipponaoteos

etfugere vix possumus ; magnam enim
]iartem ex iambis nostra constat oratio";
Aristot. lihet. iii. 8. 4 6 3' la/ipos aiH)

ianv

X^lis ^ twc
tCov fi^rpuv

i]

TTiivTiiiv

iroXXwy

Sid fi.aKi.a-Ta

^B^yyovrai

lafi^eia

'Kiyovres: Poet. iv. 14 fidXiara

y&p XeicnKby

lUrpwv ri lafc^Mv ea-nv ffriii.eiov Si

Toirov irKeXara ykp lafi^eTa Xiyo/iev iv
Tuiv

rj Sia\iKT(f Ty

i^dfierpa
Si 6\iydKis Kal iK^alvovTis rijs Xcktuc^s,
Demetr. de Eloc. 43 6 S^
dpfioftas
iafi^os iTe\Tjs xal rg rav iroXXS;' X^|ei
irpis dXXiJXous,

Snotos.

ToXKolyoOv /jJrpalap.^tKh'KaKoOffti'

oiK elS&res.
Aristot.
9. Cp.
Tpox'^'^os

Shet.

KopSaKtKdirepos

iii.

St]\q2

5^

Si

rd.

Ian yap pvBiihi t/joxo'os ri

rerp&iieTpa
Terpd/terpa.
11. As in Hor. Epod. ii. 1 "Beatus
ille, qui procul negotiis.
13. This line of Archilochus is preserved (together with the six that follow
it) in Stobaeus Florileg. i. 307 (Meineke).
For a similar Latin trochaic verse see

Marius Tictorinus i. 12 "Roma, Roma

quanta sit Deum benignitas."
For the effect of tribrachs in Latin
cp. Marius Victorinus i. 12 "nemus ave
cerne,
18.

reticuit, ager

homine sonat."

these words are

d7vv^s
absent from P ; perhaps rightly. They
do not sort well with Kal oiSiv
20.

Kal

yevvalov.

DIONYSIUS OF HALICARNASSUS

172

chap.

6 S' ef awaamv /j,aKp&v, fioXoTTOv S

avTOV yevoiTO yevpaiov.
avrov oi fierpiKol KaXovffvv, vi^r)'\.6<! re ical a^icofiaTiKO'; icrn
irapdSei/y/ia Se avrov TOiovSe
Kol Sia^e^rjKO)'; iirl ttoXv

&
5 6

eK

S"

Koi A7;8a? koXKkttoi

Zt/z/o?

fipaxet&v
mvofiaa-rai,, koI oi

/la/cpav aiJL^i,^pa')(y<i

aXKa

pvd/x&v

earl

10 o

r&vSe

a-ii

ev<T')(rifi,a)v

km

6fjXv

to

iroXii

j(^opaye.

Se TrpoXafi^dvcov raf Bvo ^pa')(eia<s dvd7rai,(rro<; /lev KaXelrai,

a-e/ivoT'rjra 8' y(ei ttoXX'^v

irpdynao'iv

roll

TOVTOV TO

Se aTTo

SaKTuXo?
TOVTOV

emKpavov

'\Xio6ev

to iroXv

pLe

(pepoav

avep,o<i

3 StaySc/Jr/Kug (5 suprascripto)

M^V
/3 F
EF

Siafie^rjKev

ToiovSe

1|

irapaBeiyp^a Se avTOv Tooe

roSe

ireXaa^ev.

K-iKovea'ai,

Tov TToSo?

pvdpiiKoX TOVTOV

ra? ^payeiai;

et?

Koi to ye rfpaiKov p^Tpov airo

iirl

(B?

Se

eVrt aeiivo<; Kai ets to KaXXo<;

S'

d^toXoycoraTO<i,

K0<Tp,elTai

20 oi pAvToi,

ej^ety.

Xtjyoov

dp')(Ofievo'i,

KaXeiTai, irdvv

fikv

irapaXafi^dveo'dai,

TOiovBe

fjuaicpa'i

epp/qveia';

Tr}<;

itrn

eViTijSeto?

Ke<f>aXd<;

fioi

Trji

koX ev9a Set /Meyedo'i Ti irepiTiOevai

irddo^,

rj

c'X^ij/ia

^apv
15 o

r&v

a-<f)oSpa

rr]V

ravn

dpLafi^e,

"laK')(e

Xa/Smv

fiev

fiea-rjv

koX

re

ZiaKitcXa<Trai

ota iarv

eyei,

ar/evve<;

Svelv

Koi

fiaKpa<;

a-a>Tripe<;.

Tr)v

pLaKpcLV ^pa'^VTspav

BLafikPrjKiv (os

PMV

M^

5 Sveiv

SiaPe^rjKois

Svoiv

PMV

fiaKpav eKarljOas tSv jS/oaj^eiwv

KeKXaxTrai
7 StaKeKoA-acrrat F

u)S

MV

emyripuyv
8
Si6vdyevves P,
dijSes F
9 Opiap-^e L. Dindorfius
pap^e libri
TrepiriSevai
11 peyeOos Tt F pieyedo? VY peyeOrjM.
F: irepideTvai 'PM.Y
12 TrepiXap^dvea-dai F
14 Ke<^aA.as E:
6 fjLaKpav

PMV
dyeves V

ev(Txriii,6vu>v

KtcjiaXas
:

F:

appovia<;

SaKrvXiicbs

PMV

d$iu|xaTiKiSs

2.

PMV

Ke<^aX?Js

SaKT

e'xetv

||

17

w& R

various

modem

amples of the rhythmical

||

Thicliier

ex-

effect of

"^
she

ex'

EFMV
ttJs ipprjveiai

16 SdKTuA,09
EF KaAAos
:

Here the long syllables in

be contrasted with

italics

may

jy^^^ ^^^ ^ unkindness,

rapid measure

'^

Even

'tis

but her

'

as in a dance

heal no

Hast deepens

Maiden

P:

|{

and her smile can

less.

crowd the shades as the grcwe

and

Glowing,
HI -J

rb xdAAos

long
and short syllables will be found in
Demetr., e.g. p. 219.
Here may be
added, from George Meredith's Love in
*~"

,.

EPM

||

.^n\i^'
the

still
is,

and

with crimson a long

morn

is

and strange

secret

Strange her eyes

as cold sea-shells.

her cheeks are cold

9- ""^S- ^"^^ viii. 68 might be fanci^"""y ^''^'^^^ ^" '""^ ^ ^^y *^ * f^'"^*

several feet of this kind

_ ^
rbe

^ _
domim

Daphnim.

n^ela

" [duoite] ab

carmYn|a,

_^^

duoui^

ON LITERAKY COMPOSITION

XVII

173

nothing noble can be made out of it.

But that which consists
entirely of long syllables
molossus, as the metrists call it
is
elevated and dignified, and has a mighty stride.
The following

is

an example of

it

glorious saviours, Zeus'

and Leda's

That which consists of a long and two

the middle, bears the

name

shorts,

sons.^

with the long in

and has no strong

claim to rank with the graceful rhythms, but is enervated and
has about it much that is feminine and ignoble, e.g.
of amphibrachys,

Triumphant lacchus that leadest

That which commences with two shorts
and possesses much dignity. Where it

this chorus.^
is

is

a subject with grandeur or pathos, this foot

used.
Its form may be illustrated by

Ah, the

coif

on mine head

all

called

an anapaest,

necessary to invest

may

be appropriately

too heavily weighs.^

That which begins with the long and ends with the shorts is
called a dactyl
it is decidedly impressive, and remarkable for
its power to produce beauty of style.
It is to this that the
heroic line is mainly indebted for its grace.
Here is an
example
;

me

Sped

from Ilium the breeze, and anigh the Ciconians brought

me.*

The rhythmists, however, say that the long

1

Nauck
Nauck

T.G.F.,
T.G.F.,

Euripides Hippolytus 201.

16. Cp. Long, de Sublim. xxxix. 4

S\ov re yhp iwl tuv daKTvXtK&v etprp-ai
pvO/iiov

eiyiviiTTaToi

S'

syllable in this foot

Fragm. Adesp. 139.

Fragm. Adesp. 140.
*

Homer

Odyssey

ix.

39.

etc.]"; ffeorg'. iii. 284 "sed fugitinterea,

fugit irreparabile tempus.",

oSroi Kal /ieyeffo-

Kal Ti ripi^ov, &v ta-fnev KdWtiTTOv,

/xirpov avvuTToaiv.
19. This is of course the very start of
Odysseus' adventures as recounted by
TTOiot, diii

He sails away from Ilium on

himself.
For dactyls
as many dactyls as possible.
freely used in the Virgilian hexameter
cp. Aen. ix. 503 "at tuba terribilem
sonitum procul aere canoro [inorepuit,

"Unless a
20. toutov tov iro8<5s.
lacuna be assumed, a rather violent
assumption, the phrase [i.e. roirov tov
iro56s] must simply resume the airov
just before the hexameter, the roirov
just before that, and the HktvXos two
lines earlier, which immediately follows
the phrase of description," Goodell ffrcefc
Metric p. 172.

DIONYSIUS OF HALICARNASSUS

174

ehai ^avt

avTTjv aXoyov.
airb

OS

ia-riv

erep6<;

^pa^eiMv

tS)v

rovTov

ovk exovre<; S' elireiv oa(p, KaXova-iv

avrlaTpo^ov 'ixfov tovtw pv6/iov,
ap^dfievo^ iirl rrjv aXojov reXevra

reXeia?,

Tri<;

r&v

anro

vwpLffavTe<;

ohap.

KoXovcn

kvkXikov

avairaCcrTcov

5 7rapdSei<y/j.a avrov ^epovTef roiovBe

KivvTat iroXi? ui^ittwXo? Kara

&v av erepoi
KaXmv ol pvO/ioi.
irepl

10

en

ev

Svo

eK

a-vvea-TijKev

X6yo<;

e'lrj

ryav.

ttXtjv

Koi

fiaxpcov

je tS>v ttovv

dfiCJiOTepoi

rpiavXXd^mv pv6/i&v

XeiireTat

rpia

^pa'X'^ia';,

761/0?,

Se

irotel

psv yap yivofievrj^ t^? ^pa^ei-a^, aKpwv he

fj,ia-r)<;
a'x/ip.ara
KprjTiKoi}
re Xeyerai Koi ecmv ovk dyevvt]<;.
T&v fiaKpcbv

inroSeiyfia Be aiirov toiovtov

iireiyovTo TrXwrat?

ol S'

15

^'^XKe/Ji^oXoii.

a/Trrfvaiai,

av he TTjv dp-^W ai hvo fiaxpal

V ^pa^eia, old icrri ravri

he reXeVT^v

rrjv

/cardtrx'^a-iv,

aol ^oijSe MoOo-at re avfi^tofioi,

to ayrjfia koI

dvhp&he<; irdvv eaTl

TO

fiaKp&v

k&v

avfi^rjaeTat

aiiTo

Kal yap ovto<;

'

ei<;

aefivoXoyiav einr'qheiov,

^paxeia

17

ej(ei>

tmv

reOrj

irpcoTij

d^icofia

pvdiMXi

Kal

/lie^e^o?

20 Trapdheiyfia he avrov rohe

vXav

tLv

dicrdv,

tLv

hpdfico

TTopevOm

ttoI

TOVTOK dfKpoTepoK ovofiara Kelrai Toi? iroaXv viro t&v

K&v 0aK')(eio<i fiev tw irpoTepw, Oarepcp he inro^dKy(eto<;.

0(7(0

Tiva Xoyov

4 KVK\iKhv
irvXov

FM^

IJ.lv

13

PMV
PMV Se

;8oXots

EF

FM^

F:

Ps

17 TTOVV OTTi t6

ext

EP

16

Ttv'

croi

PMV
EPMV

EF

18

e'x<<)i'

||

aXoyov P^

CTt

reAevrat

12 towvtov

MV

14 av
a-v

||

toio'vSc

PMV
EFMV

||

15
:

57

(rvfi/SQuev

ela- o-e/tvoTijra (o- pr.

||

MV

FV

x*"^"*/*"

lav

crijju,/3co/<,oi

irpuiT-q

PM

aTnjveo-o-i

PMV

Si irdvv

23 TraAt/i^SaKX^'OS

tiv

tovto
nOrji P,
liXav] T6va yav TivvSav F

PMV

erepov Se

eirt

6 v\pi*iroXos cum rasura F

itf/i9 (rvve<rTr]Kev F
a-vvea-TrjKC

dTrrjvea-i

ovToi

Karafierpovvrei;

tovtov TeXevrq,

PV

cp. 190 9, where there is the

1. ia-a
same divergence between F and PMV.
:

FM

xa^Ke/x/SdA.OMTtv

suprascripto) Xoylav

pvOfioTs

8e

dTnjvato-t

PMV

a/CTav,

FP^V

rrjv aA.oyoi'

II

F: om.

TLV

2 'drepos ia-riv

eirl

kvkXov PM^V
8 TpuTyXXafSov

iroui

irpmroi

01

elcrlv

reXcin-at tovtov

||

II

TrpiOTais

TroSe?

PMV

TToa-o)

PMV

Tiva

Kal

re

hcoheKa pvOfioi

/lerpi-

trwre^^e

22 rots

ttcktXv

21

FPM

E
2, 4.

See Glossary under &\o70s and

kvkXi.k<S5.

ON LITERARY COMPOSITION

xvii

shorter tlian the perfect long.

is

much, they

175

by howThere is another foot having

which starts with the short

Ifot being able to say

call it "irrational."

a rhythm corresponding to this,

syllables and ends with the "irrational" one.
This they distinguish from the anapaest and call it "cyclic/' adducing the
following line as an example of

On

the earth

is

it

the high-gated city laid low.^

This question cannot be discussed here but both rhythms are of

the distinctly beautiful sort.
One class of trisyllabic rhythms
;

still

remains, which

takes three shapes.

longs at the ends,

sample of

On
But

it is

it

composed of two longs and a short.

It
"When the short is in the middle and the
is called a cretic and has no lack of nobility.

is

they sped, borne on sea-wains with prows brazen-beaked.^

the two long syllables occupy the beginning, and the short
one the end, as in the line
if

Phoebus, to thee and the Muses worshipped with thee,^

the structure

is

exceptionally

The

language.

before the longs

Here

is

for this foot

an example of

To what

and is appropriate for solemn

same if the short be placed
also has dignity and grandeur.

virile,

will be the

effect

it

shore, to

what grove

shall I flee for refuge

*
?

To the former of these two feet the name of hacchius is assigned

by the metrists, to the other that of hypohaccMus. These are
the twelve fundamental rhythms and feet which measure all
1

2
3
*

Bergk
Bergk
Bergk
Bergk

P.L.G., Fragm. Adesp. Ill

Fragm. Adesp. 117

P.L.G., Fragm. Adesp. 110
P.L.G., Fragm. Adesp. 116

P.L.G.,

Usener suggests tliat this line

come from the Persae
of Timotheus, some newly - discovered
fragments of which were Issued by
13.

may

possibly

Wilamowitz - Moellendorff
Similarly,

in

found in such

in

1903.

Latin, cretics may be

lines of Terence as "turn

coacti neeessario

se

aperiunt "

{Andr.

iv. 1).

16.

"0

V
Phoebus

w
Muses

co-

Nauck
Nauck
Nauck
Nauck

Fragm.
Fragm.
T.G.F., Fragm.
T.G.F., Fragm.
T.G.F.,

Adesp. 141.

T.O.F.,

Adesp. 142.
Adesp. 143.
Adesp. 144.

worshipped" might give the metrical

eflfect, in a rough and uncouth way.
In
Latin cp. "hacchare, laetare praesente
Frontone'' (Rufinus de Metris Comicorum).
18. irpmri) TtBxj tov (laKpuv, 'at the
head of
cp. note on 98 7 supra.
21. After iropcvBui P has a gap which
would contain a dozen letters, and in
the middle of the gap the original
copyist has written oi5(ii') Xe/7r(ei).
'

n[

DIONYSIUS OF HALICAKNASSUS

176

airaaav e/ifierpov re

K&Xa

Kot

re

Tovrmv
5

&v yivovrat
pvOfioi

avXKa^&v ovre

oW on

Twv ovK

dfierpov Xi^iv, i^

aWoi

Ta

Set

koX

'7r6Se<;

airkov^ he pv6fw<;

avvOeToi.

elcrl

Svo

earai

ical

yoLp

oi

chap.

irov';

r)

Kal

rpi&v.

fiei^cov

a-Ti'Xpt

vavre^ sk
oiir ikarrav

irepl

fiev

rov-

Xeyeiv.

-rrXeico

XVIII
evexa vvv

Q)V S"

aWeB9

76

aXKcu rod avayKalov

QemprfnaTOSV,

10

pvOfiiKwv

ravr

eveKa),

Kal

d^ieofianKoiv

Brj

ttjv

airTeaOai,

on

ia-ruv,

fieye0o<;

Sia

iy^^ovTcov

pvOfi&v d^KO/jLaTiKTj yiverai, crvvdea-K koI yevvaia Kal fieyaXoSia Se r&v ar/evv&v re Kal raireiv&v dfieyeOiji; rt?
7r/}67n?9,
Kal

idv

aaefivo^,

vavrai

(TVfiTrXeKcovrai.

evj/nv

et

ws

Kal TToXXrjv

erv^ev),

'^dpin

olKovo/ielv

&v

Be

OVK dv

ej(^ovra'i

FM

{pvdjJMV

crTt

irAet'to

MV)

ecrrai

PMV

||

PV

ov yap

PMV:
FP
3.

d7rai/T0)v
:

oiSe

MV

EF

Bvo

airXoCs 8J

rS)V

Kar

rjfuv

rov^

F:

23

FPM

^Atfav rpitiv.

A.

drreXavverai pvdfioi
ttj?

J.

ififterpov.

Xva

fiot,

rroXXSiv.

irepl

re

MV

pvOjUKiav

FMV:

PM
V

eKKetrat
:

eWi

om.
:

||

Kai
<f)epe

avyKeltrQai,

P: Bvolv

Bvelv

Kal

dXXto^ re

Kal
5 to

pvO/iiKiav

10 yei'vata F: ^ePaia

17 xetrat

"This gives a simple

rule for practising the
quantitative pronunciation of words of
more than three syllables.
The effect
.
of quantity in prose is the most difficult
thing for moderns to appreciate. Hence
the only easy pronunciation of Greek is
the modern, where quantity is entirely
neglected, and a force-accent used preoisely as in English."
Ellis (p. 48) says,

and couvenient

<f)iXore')(ya)<i

Xotrrov,

/j^rpiKHv koi

PMV

ecrrai

e/c

oXtya

S'

14 SijAov post a-vjm-XiKUivrai praestant

oil

dwdvrwv
av

dvdr/K7]v

d^i,(ofiariKS)<;

TE Kai /teTjOtKuv

-^ij

rr]v

irapaOelvai

e'iprjKa

opLoXoyrjoreiev

EF:

4 eWai
TrAeto)

avrd

o'vvBecreco'i

dfierpov Xe^eo)?, aa'Trep

irUrnv 6 Xoyot; Xd^rj.

Tt?

ofio^vyiaf

Kpevrroai

roll

fiiayeiv

eXr)

ttj?

ciSeiav

rr)v

t?}?

fiaprvpia

S)7,

ef
eypi

St^i/a/tt?

Xe^iv,

rr)v

Xafi^d-

raf

eVt 7ro\Xwf yiverai (rd yap ovofiara Kelrat rot?

SiaKXeirreiv ry

e/e

earat

oZv

Kara

dXXijXoii;

a-vvdeivai

rovrmv

eKacrroi

eavToii<s

re

dvayKatov

S"

<b9

TTpdyfj.aaiv

ouSet?

idv

phf

pvOfi&v

el

')(eipova<;,

Ka9'

re

pvOfi&v,

ra>v

15 Kparicrrcov

20

Ka\

yevvaimv

rS)V

fiev

Kal

yap

(pv

irpoetTrelv

/lerpiK&v

"TrpoviceiTO

/tot

ravra

V'irri')(j9r)v

PMV

aTravrmv rlov

cyKeirat

20

5. On the subject of metrical feet

Aristotle (Rhet. iii. 8) is brief; Cicero
{Orator oc. 63, 64) is fuller
while
Dionysius in this chapter enters into
still further details.
Reference may
also be made to Quintil. ix. 4. 45 if.
and to Demetr. de Moc. 38 ff.
6. This passage (down to 1. 21) brings
out clearly the importance of rhythm
in prose-writing,
16. ttr) : the leas agreeable alternative
;

ON LITERARY COMPOSITION

XVIII

177

language, metrical or unmetrical, and from them are formed lines

and clauses. All other feet and rhythms are but combinations

of these.
syllables,

simple rhythm, or

nor will

it

not be less than two

foot, will

exceed three.

I do not

know

that more

need be said on this subject.

CHAPTEE

XVIII

EFFECT OF VARIOUS RHYTHMS

The reason why I have been led to make these preliminary

remarks (for certainly it was no part of my design to touch
without due cause on metrical and rhythmical questions, bjit
only so far as it was really necessary) is this, that/It is
/through rhythms which are noble and dignified, and contain an
element of greatness, that composition becomes digniiied, noble,
and splendid, while it is made a paltry and unimpressive sort
of thing by the use of those rhythms that are ignoble and
mean, whether they are taken severally by themselves, or are
woven together according to their mutual affinities. If, then, it

human capacity to frame the style entirely from the

rhythms, our aspirations will be realized but if it should
prove necessary to blend the worse with the better, as happens
in many cases (for names have been attached to things in a
haphazard way), we must manage our material artistically.
We
must disguise our compulsion by the gracefulness of the com-

is

within

finest

the more so that we have full liberty of action, since

no rhythm is banished from non-metrical language, as some
are from metrical.
It remains for me to produce proofs of my statements, in
order that my argument may carry conviction.
Wide as the
field is, a few proofs will suffice.
Thus it is surely beyond dispute
position

is

more than from the metrical "

17. H. Richards (CtoW itemew; xix.

252) suggests MKc^rai (or e^KenaL), in
order tS account for the &,ceirai of
and the lyKeirat of V.

author's point is brought out more

clearly in 192 21, 196 8, etc. Cp. Quintil.
ix. 4. 87, "miror autem in hac opinione
doctissimos homines fuisse ut alios
P^'^^? ",? ehgerent aliosque damnarent,
='' ""^"^^^
?"*^> ".l^"^
^"1,
^''S
i oratione deprehendi
(the passage la
more fully quoted on p. 169 supra).
23. irepi
no change in the reading is
necessary ; op. 200 4 6\iya nepi iroWuv,
andlZS 6 dl^lya iir^p t6K\w)> 8eupriiidT<ai>.

pleasantly treated as though it were

the more remote.
Cp. eir) on 166 8
(though there iyxapolij stands in the
clause,
earlier
166 6).

PM

21.

Would not

ififtirpov (or

required

if

&a-trep

oiSJ

iic

rrjs

the like
cp. 100 18) be
the meaning were "any
:

"T

The

/
'

DIONYSIUS OF HALICARNASSUS

178

"

ravrrjv

ovkvSlSov

rr)v

/ieyaXoTT/aeTTWS

Ol

Tov irpoaOevTa rm

vofitp

eK

dafTTOjj.evoi';

tS}v

TToKe/J^cov

iaruv o

TocovTcov ffvyKeiaOai, pvO/jMV

Ka>\ov

irporjyovfievoi

koXov

to?

fiev

TroSe?

airovheloi

ovv

Tt

arvvdeffiv

Tpet<;

tok

eiri,

avTOV.

r-qv

K&\a.

to,

CTrtTO^tp

elprj/cormv eiraivovai

aryopevecrdai,

fLeyaXowpeTri]

rm

ev

Trjv

i^Bri

top TiAyov rovSe,

ravrrjv

ireiroirjKe

jrpanov

Xe^iv

iroXKol tSiv ivOdSe

jjuev

CHAP.

to

yap

e/c

oi

tov

oe

ei,aiv,

TTapT0<; avairavaTO';, 6 Be /tera tovtov avdti; cnrovoelo'}, eTreiTa

TOUT

to

crefivov

ia-Tl

Be

to

Kal

a^tafiaTiKoL

airavTe';

KpriTiKOi;,

10 Sia

Trp&Tov k&Xov
" iiratvova-i tov

fiev

tovtL

e^rj'i

irpoadevTa tS vofim tov Xoyov TOvBe

Bvo

yeiov; e^et tov? 7rpcoTOV<; TToSa?, KprjTiKov Be

Bvo Kot crvXKa^rjv

ad6i<; viro^aK')(eLov';

KmKov

wo"t'

elKOTm'i

crefivov

TpiTov, eiT

TeXeiovrai

?9

v<}>'

tovto

Kal

ecTTb

viropaK-

fiev

tov
ex

to

evyeve-

t(ov

to Be Br)
re Kal KaWia-Tcav pvdfiSv <TvyKeip.evov.
rpiTov KwKov " ft)? Ka\ov eirl toI<; eK tcSv -iroXefimv QairTO-

15 ffTaTcov

IJLevoi<i

ayopevecrOai avTov" ap^eTat

7roSo9,

BevTepov

(TTTovBelov Kal
20

BaKTvKovi,

TerapTOV

Kal

evyeve<s

Xtj^LV.

Xafi^dvei

Be

avdi,<;

<nrovBel,ov<;

Bvo

row?

MV

^Sr; om.
2 ^Stj eijOTjKOTtov EP
3 TOV (ante Aoyov) om.
:

vv. 6, 7)

FM

jrpuTov avrZ

avdis om.

PV

10 tovto
14 (rvyyevecrrdTtav

rhv

viz,
t6v
irpoirSivTa kt\.
rbv Z6\a)j/a (schol.
ad Thucyd. ii. 35). Dionysius has this
passage of Thuoydides in view when he
writes (Antiqq. Bom. v. 17) 6\l/i yip ttot'
'Adiivatoi irpotxiBeaav rbv iimiijiiov ivaivov
T^ v6iJ.(fif etr* dTrd rdv iw Afyrefua-lttJ Kai
irepl 2a\aiMva Kal iv IIXaToiars iirip t^s
3.

vofiodh'Tjv^

irarpiSos d,iro6av6vT<ai' dp^dfieyoi, etr' dird

MapaSiiva pyu)v.
Bircovius
rhythmical effect of the
Greek by a similar analysis of the
exordium of Livy's History, " facturusne
operae pretium sim, si a primordio urbis
res populi Roniani perscripserim, neo satis
scio nee, si sciam, dicere ausim, quippe
qui cum veterem turn vulgatam esse rem
videam, dum novi semper scriptores aut
in rebus certius aliquid allaturos se aut
scribendi arte I'udem yetustatem superaturos credunt."
ircpl

illustrates the

6.

The

Kai

TpiTov

Bvo tovi ef^s

TeXevTatov;, eVra

tov<s

KaTo,-

yiyovev.

TroSa?

to,

F (perperam cf.
TrpwTov
9 KjotrtKOs PM
11 VTro^aKX^^ovi .
8e FM
21 S^ PV

ei/OTjKoruv ^Stj

||

PMV

BfjKoviyn

'

Tuv

elTa

dva/iraicTTOv,

koI tovto Bia

Btf

airb tov KprjTiKov

/lev

dvdiraiaTov

tov

first

clause

is

clearly

meant

be

to

divided

as

follows

\^ \j

iroXXol
I

Tuv

Iv{6d8c

ot

\j
IjISt)

ii^

cl{pi)K<STav.

The formation of the anapaest

able, and in other ways the

is notice-

metrical
division seems rather arbitrary.
For
ivB&Se ijSri (without elision of the final e)
op. n. on 180 8.
[Here and elsewhere, no
attempt has been made to secure metrical
equivalence between the Greek original
and the English version.]

Goodell {Chapters on Greek Metric

the analysis which begins
here: "It is incredible that the rhetor
supposed he was describing the actual
spoken rhythm, in the sense of Aristoxenus
he was giving the quantities
of the syllables in the conventional way,
and his readers so understood him."
p. 42) says of

9.

Cp. the metrical effect of

"Who

ON LITERARY COMPOSITION

XVIII

179

that the following passage in the Funeral Speech of Thucydides

composed with dignity and grandeur

is

commended

these occasions have usually

an oration to form part of

men who were

a fitting tribute to

it

from the

this funeral

of battle where they

fields

the composition here so impressive

composed of impressive rhythms.

are

usher in the

"

Former speakers on

ceremony

fell."

The

felt

What

has,

made

fact that the clauses

is

feet which
an anapaest,

all

stately feet.

For the three

the next a spondee once more, then a cretic,

Hence the dignity of the

they have

brought home for burial

clause are spondees, the fourth

first

who caused

the statesman

The next clause, " have

usually commended the statesman who caused an oration to form
part of this funeral ceremony," ^ has two hypohaccMi as its first
feet, a cretic as its third, then again two hypohaccMi, and a
syllable by which the clause is completed; so that this clause
too is naturally dignified, formed as it is of the noblest and
most beautiful rhythms.
The third clause, "they have felt it a fitting tribute to
men who were brought home for burial from the fields of battle
where they fell," begins with the cretic foot, has an anapaest
the second place,

in

clause.

first

spondee in the

third,

in

the

fourth

an anapaest again, then two dactyls in succession, closing with

two spondees and the terminal syllable. So this passage also
owes its noble ring to its rhythmical structure and most of the
;

Thucydides ii. 35.

Here and elsewhere, no attempt has been made to secure metrical
A metrical
equivalence between the Greek original and the English version.
analysis, or " scansion," of the original Greek is given in the notes.
1

v^
is this

^
Edom

yj

that cometh

from

dyed garm(ents)

from Bozrah

Second

clause

TTooo-IS^VTa

_
k

16.

yj

T^
I

Xd7ov

tuv

lirl

iroXE|i,(i>v
I

rbv

yj

t<!v|8e.

i-" ^.>

Third clause as KoXiv

wv/

Tov

"
?

eiraivoOlo-i

vdfjup

with

yj

10.

w
|

9airro|i|vois

Tois

^^
ayol-

It is to be noticed
pEvelo-Oai a,v\r6v.
that Dionysius treats the final syllable
of ir/opeieaSai as long before airbv, and
(more unaccountably) the final syllable

The length
of KoXbii as long before iirl.
of the diphthong -oi might, no doubt,
be maintained in prose utterance ; but
it is not easy to see on what principle
-Sv could be pronounced -ok before iiri.
It might indeed be urged that the final
syllable of a rhythmical phrase must
(like that of a metrical line) be regarded
as indifferent (long or short) : cp. Cic.
Orat. 63. 214 " persolutas ; dichoreus ;

enim ad rem, extrema ilia longa

But this is to remind
sit an brevis."
us once more that, though there is a
sound general basis for the observations
of Dionysius, it is easy for both ancient
and modern theorists to frame rules more
definite than the facts warrant.
nihil

DIONYSIUS OF HALIOARNASSUS

180
irXeia-Ta

ra

S'

ovKvSiSrj

"n-apa

e'ffrt

war

e'xpvra,

ovTa><s

ftfj

elvat,

vyfrTjko^

okirya

Be

fiaXKov

roiavra,

6t0TtB?

chap.

SoKel

ical

KaWieir^'; m? ewyevet? eTraryeov pv0/iov<;.

Se

TTjv

el

10

TWYwre?

ye

lafi^iKov

d)<;

^aKj(eio';

oiSe*

d^iaxrai/j,'

evdvfiov/jievo^

on

ovk

ev rovrotf Svo

'

KwXa,

irepioSov

rrjv

avp.rr'Krjpo'i

oL

Sia\afji^dvovre<;

fii^eiv
15

tropevovrai rrjv elfiapfievriv iropeiav.

earip

ravra
Btj

Sia t&v KaXKlarcov re ical a^ioXoycordyap Sri r&v iravv ^avepwv Kai irepi^orjreav,
dvrjp Kara rrjv rov iviratpiov dp^rjv " epyo)
e)(pva-cv
ra irpocrjjKovra (r(f>t,cn,v avroi<i' S>v

oiBe

rjfilv

pLev

aXXq>

ap kul koXtjv,

Tt?

(fiair)

ttotc

tlvi

TavT7]vl

ecrri

Kej(pr]rai

fiev

Xi^iv

ovtojs a^imfiariK-qv elvai

Tca avf/celffOat,

117]

rcov pvdficov

HXaraviKrjV

Sr)

5 Koa-fjL'qdelaav

Be

pvOfiol

irpmroi;'

jiev

oi

ov yap

av eytoye ro

kSXov rovrl pvd-

e7rirpoy(dXov<;

xal

ra^ets

a\X'

dva^e^XTj/iivovi; Kal /SpaSet? rot? olKri^o/ievoi<; irpoafJKev diroBiBocrOai

'^povov;'

Toil?

Sa/CTv\o9

crirovBelo<i

rij^

Biaipov/j,evrj<;

Sevrepoi'

S'

eW

a-vvd\oi(j}rj<;-

B'

fierd

e^rj^

rovrov

6 S' ef^? p.aXXov Kp'qriKO<; rj dvdirauaro'i' eireid',

Bo^a, ffiTovBelo^- o Be reXevraloi; v'iro^dKj(eio<i, el Be

cnrovBelo';'
a>?

20

ifi^

l3ovXerai

pvOfiwv

" S)v

rovBi

peiav

oi fierd
25

ovBe

raireivo's

rovrwv rmv
KmXov
e^fi<;

xardXTj^ii;.

rov

dyewrjs.

iropevovrai

rv'^ovre';

Bvo

'

elra

dvdirataTO<s'

Tt?,

ovBeX's

rrjv

Be

elfiapfievT/v

elaiv oi irpwroi ttoSc? KpTjriKOi,

fiev

Bvo'

roiirov;

rato? ii7ro;8a^6f09.

oO?

p.eff'

dvdrfKr/

Br)

aWi^

Be

eireira reXev-

/cprjri/co^,

rov i^ dtrdvrwv

PMV

tto-

airovBeioi,

(TvyKei/jLevov

oXtya
1 oXCya TO. P
3 KaXXia-rqs P
us] Kal FMV
ivyeveiai P
om. P
ivyevrji
eiraycov F
tos eKXeywv tovs PMV
ravrrjv d F
4 TavTi]vl Us.
ravT-qv
7 (jjaveptiv Kal Trepi/SoTjTov F
9 o'i8' e'xovo-iv P
oiS' 'ixpvcri
1 3 iap/SiKhv
FP: iap/Sov
15 Trpocn^Ket F
16 S 6 Sevrepo? F
Se cte/oos
P, V: S' Ite/oos
17 eW 6 F: eha PMV
19 ws F
(is
:

||

MV

II

PMV

||

FMV

MV

rj

PMV

25

Sfj]

SciP

The passage from the Menexenus

quoted by Dionysius in the de
Demosth. c. 24, with the remark ^ fjiv
4.

is

elff^oXi]

eav/Mo-ri)

iiroKetfiivois TrpAyixaui

Kal

wp^ovaa

SvcKa Kal ae/ivdTTiTos Kal apiiovlas,

iTi\ey6nem

tois

kAXKovs re dvo/idTwp

oiK^B' o/xoia

roh

to,

S'

Trpcirois ktX.

It is also given, as an illustration of the

musical and other effects of /jeWpArosis,
in the de Sublimitate c. 28
Upa S^
:

Toiirois fierplas &yKia<re ttjc v&qaiv,

Xa^iiv

tV

ap/iovlav

X^fi>'

i/ie\oirolri(re,

tj yjiCKiiv

KaBiirep

^k tt/s irepttppia-cm
Trfpixed/ievos
ei/iAeiax;
somewhat
similar period in Latin is that of Sallust
{Bell. Gatilin. i.\), " omnes homines, qui
sese student praestare ceteris animalibus,
summa ope niti deoet, ne vitam silentio
Twii,

rijv

transeantvelutipecora.quaenaturaprona
atque ventri oboedientia finxit."

ON LITERARY COMPOSITION

xvra

passages in Thucydides are of this stamp

indeed, there are few

So he thoroughly deserves his reputation

that are not so framed.

for loftiness

181

and beauty of language, since he habitually introduces

noble rhythms.

Again, take the following passage of Plato.

What can
be the device that produces its perfect dignity and beauty, if it
is not the beautiful and striking rhythms that compose it ?
The
passage is one of the best known and most often quoted, and
it is found near the beginning of our author's Funeral Speech

"in very truth these men are receiving at our hands their fitting
tribute
and when they have gained this guerdon, they journey
on, along the path of destiny."^
Here there are two clauses
which constitute the period, and the feet into which the clauses
fall are as follows
The first is a bacchius, for certainly I should
:

not think

an iambic line, bearing

movements, but retarded and
slow times are appropriate to those over whom we make mourning.
The second is a spondee the next is a dactyl, the vowels
which might coalesce being kept distinct after that, a spondee
next, what I should call a cretic rather than an anapaest
then,
according to my view, a spondee in the last place a hypobacchius
or, if you prefer to take it so, an anapaest; then the terminal
syllable.
Of these rhythms none is mean nor ignoble. In the
next clause, "when they have gained this guerdon, they journey on,
along the path of destiny," the two first feet are cretics, and next
after which once more a cretic, then
after them two spondees
Thus
the discourse is composed entirely
lastly a hypobacchius.
of beautiful rhythms, and it necessarily follows that it is itself

in

it

correct to scan this clause as

mind that not

swift, tripping

Plato Men,exenus

8.

First clause

^
%oo-iv

v^

^pyf

(i^v

^(tiv

upoo-^lKovra

yj

oiBe

^ ^

ra
I

such lengthening was uncommon in the

language of ordinary life) is preferred as
giving a cretic
(3) very strangely, it
;

thought possible to scan the final

<r(t>laiv as long (cp. 178 17,
184 2, 8).

syllable of

<r<|.C<riv

three points call for

comment (1) olSe xou(rw (and not oXS
^Xouo-i- with FPMV) was clearly (cp. 1.
16) read by Dionysius : so va the text
of Plato himself ; (2) the lengthening of
T& before wpoaiiKovTa (although the usage
of Comedy would seem to show that

d.

is

We have a

13.

Here

o4|Tots.

236

-^^^^^^^

_ _ _
-^

^|
"

^jy

jj

"^

For

^^

_^

^^^^ ^-^^

v^

^^
<-

Sdja cp. de Demosth.

Second

iropevjovToi

/>-

lis tji^

39.
22.

|^,

|
i

19.
c.

^^g

considerable part of an

clause

\j

S>v

,_,

ri[V ci{|i.ap|ii^vi]v

tux<5v|ts

iropcCav.

DIONYSIUS OF HALICARNASSUS

182

KoXwv pvOfimp KoXbv

a-vvdeivat

ovo/jLara i9
5

Tov

^rjiMoaOevq

KoX fidXiara iv oh av
a-Kevov

10

Aia,

ovK av ti?

Kal

&v

ereprndi

rj

KaX&f

vrj

fie/i-^aaOai

to

ij^ea? /cai

Kara

e'^oi

aa^e-

BrfKovTai,

fioi

Kal

ovofiara

tcl

avrov

irapeKaaarev
afi^rjpiarov

tj

eveKev,

KaX irepiTrrjv Kal iyKard-

vy^rfK-qv

vtrep

trvvnOrjcn Be

trrepov.

Kai vv ksv

eiipvO/iiav

eKke^ai rd

ovt(o<;

rjv

eKKoyrjv eariv ore Biafiaprdvei,

rrjv

rr/v

^pdtnv,

Si,diKy

Beiv6<s

ip/Mrjveiai;

vvv Be irepl /lev

edriKev.

ye

irepiTTO's,

aWow9

km

i/ifieXeidv re

avr/p
et

eartv evpeiv

/ivpia roiavr

elvai Xoyov.

6 yap
KoX irapd HXdrmvi.
awiSeiv Baifiovia>TaTO<;, Koi

chap.

tovto

fiepoij.

en

a>o<i

BeivoTTjTO'i

diroBlBcofii.

ovofidroov Kal

TOV

15 Trepl

ireptoBov

to,

yhp

Brj

irapadijaofiai Xe^iv,
opo'i

/taWov?

a-vvOecrea}^

Xoyw

a-Tetfjdvov

ol

t/?

ecniv

iK\oy7J<i

re

B^

iv

AT]fiocrdevrj<i.

a T-qv irpd)Tr)v
ecrTiv
TavTa KaTa/j^TpovvTe'i olBe

pMv

Tpia

KoiKa,

avfiTrXr/poL

dpiareia t^9 iv Xoyoiv

Be

0eoc<s

AOrjvalot,, toi^
"irpaiTov /lev, & dvBpe<;
eiiy^ofiat Tract Kal irdcrai,';."
^PX^'' ^^ tovBe tov

KmKov

jSaKxeloi;

pv0/j,or

elcrlv

20 TrawTTOS

KpTjTlKol

KcoKov
1

T/36t9,

PV

evvoiav

TovSe

TouSe

2. f|i.|Ji^eiav

seem to

9 uvvTiOrp-i

13

PM

5. For ^TiiwaBivTiv (as given by some

manuscripts) cp. Demetr. de Eloo. 175
Kal 8\us 7-4 vS Si' ei^vlav i^iiXKOvrat ol
" Afiixoir6hriv"
'AttikoI,
X^ovres Kal

6\ur0alvovn

S'

de
els

Siiblim,

tovto

c.

tA

iii.

7^1/05

roO irepiTTOv Kal weiroiriiiivov

Kai ftiXurra toS ijSios, iwoK^WovTes di els
rd juaviKhv Kal KaKdj^iXov.
Dionysius
perhaps fails to see that a high-pitched
style may sometimes be used /uer'
etpuveCas, as Aristotle {BJiet. iii. 7. 11)
says in reference to the Phaedrus.
8. MpuSi : cp. de Demosth. cc. 6, 7,
dpey6fiei'oi iiiv

e^?

BsVTepOV

F:

Sk

EPV

ot pvO/iot

8i;/to-

6 ore

(TvvTi6rfTiv

KaraSiSoj/ti

re

ev/teAeiav

P,

EF

MV

PMV
PMV

16
18

122 21, unless 130 6

support the reading

cp.

ei5/iAoi' in the present passage.

" SuKfidTTii'."
7. Cp.
Long,

5 Siy/too-^evjjv
koAA,os E

17 pv6fioi F:
ge

dvd-

eW
Be

EFM

efifieXeiav

EF

Se

dTToSlSiofii

PV

TOV

eVr

e^wv eym BiaTe\& Ty

||

(rirovBeio<},

T6X6l/TOt09.

etrri

should

airovBelo';,

eTepoi

PMV
2
3 ouTws EF: oStos PMV
M koAXods FMV Kal aXAous P

o PV: a Kai'
12 kvhs\ ev ots P
TavTo] Kara Tavra
Se

(riTOvBeiO^

evpeiv F,

lo-Ttv

o-devea

tovtov

fieTO,

" ocrriv

TovBe

eireTat

e-TreiB'

pv0fi6<;,

Kal

re

24-29, and ^. ad Cn. Pomp. cc. 1, 2.

the probable order in which the
'Soripta Rhetorica' appeared see D.H.
The de Comp. Verb, is referred
pp. 5-7.
to twice in the de Demosth. (ec. 49, 50).
With SijXoSrai (not SeSiJXwTOi, de Din.
c. 13, cfe iJemosiA. c. 49 ; nor S7;Xu9:}(r6Toi,
de Lysia cc. 12, 14) cp. de Isaeo c. 2, de
Demosth. a. 57.
9. Dionysius is fond of the asseveration v^ Aid, ' mehercule.'

For

\j

17. First

clause

koI

Tois eeots

irdo-ais.

KaTaiierpovvres

|iiv,

_^__v^_

v/^

&vSp|cs 'AOiilvafoi,
irdo-i

irpuTOV

may

The

cUxopul

expression
indicate
that

ON LITERARY COMPOSITION

xviii

183

Countless instances of this kind are to be found in

beautiful.

Plato as well as in Thucydides.

For this author has a perfect

genius for discovering true melody and fine rhythm, and if he

had only been as able in the choice of words as he is unrivalled

in the art of combining them, he " had even outstript " Demosthenes, so far as beauty of style is concerned, or " had left the
issue in doubt." ^
As it is, he is sometimes quite at fault in his
choice of words most of all when he is aiming at a lofty, unusual,
;

With

elaborate style of expression.

respect to this I explain

myself more explicitly elsewhere.

But he does most assuredly

put his words together with beauty as well as charm and from
this point of view no one could find any fault with him.
;

I will cite a passage of one other writer,

I assign the

palm

the one to

whom

Demosthenes most
certainly forms a sort of standard alike for choice of words and
for beauty in their arrangement.
In the Speech on the Grown
there are three clauses which constitute the first period and the
rhythms by which they are measured are as follows " first of all,
men of Athens, I pray to all the gods and goddesses." ^ A
for

oratorical

mastery.

then follows a spondee next

an anapaest, and after this another spondee then three cretics in
succession, and a spondee as the last foot.
In the second clause,
" that all the loyal affection I bear my whole life through to the
hacchius begins this first clause

Homer

Demosthenes de Corona

Iliad xxiii. 382.

Dionysius himself wrote marks of

quantity over the syllables in question
such marks are given by F in 178 2-4,
10, 11, 16, 17, and are also found in
the Paris manuscript (1741) of Demetr.
de Eloc. 38, 39. With the rhythmical
effect of this passage of Demosthenes,
Bircovius compares "Si, patres consoripti, pro vestris immortalibus in me
fratremque meum liberosque nostros
meritis parum vobis cumulate gratias
ne meae
egero, quaeso obtestorque,
potius,
naturae
quam magnitudiui
vestrorum beneficiorum, id tribuendum
putetis" (Oic. Post BedUum in Senatu
:

Oratio
22.

init.).

Second clause

w wwv/
SuiteXu

h/i>
I

itrrfv efi|voiov

WW

ttI te

v6\a

w
?|xv

Kal irao-iv

init.

There are fresh difficulties in the

"scansion" here. Dionysius speaks as

-Oiiiv.

if the last syllable of eHvoiav may (and

indeed preferably) be counted long this
involves the lengthening of a short
vowel before a single consonant, cp. n.
on 180 8. With regard to the paeons,
SmreKd will form a "catalectic" paeon
(wow ), but t% re irSKa will not form
a " procatarctic " paeon ( w w w) unless
the final syllable of 7r6Aet is reckoned
short.
To extract a molossus from koI
wairiv, the last syllable of iraaiv must be
lengthened. Strange as it appears, the
cumulative evidence seems (if our text
is sound) to show that Dionysius would
(at any rate, for the purposes of prose
rhythm) lengthen a short vowel before a
single consonant.
:

DIONYSIUS OF HALIGABNASSUS

184

chap.

'""
Kal jraaiv vfilv" jrp&TO<; fiev v7ro^axo?
'^f?'
AC/jT/TtKos'
elra
Uktv\o<;etra ^aX6to?, el Be ^ovKeral rt?,

iroXei,

/aoXotto?

eirerai
5

v68e^

Bvo avvdeToi

elai

ov<!

fied'

yap

er^x^pel

^aKX^^lot,

rj

iraiavet-

KcCKovfi^evoi

ol

oh

avrbv

eKarepcoi

rov Be Tplrov kwXov rovBe

Siatpeiv TeXevTaio<; Se o airovBeio's.

eU tovtovI tov
vp,5iv
"Toa-avTr)V virdp^ai fioi trap
Be KpririKOi;,
eirerai
ay&va" apxovai /j^v VTro^aicxetoi Bvo,
Kpr}Ti,K6<;,
Kal
rj
S a-vvfjirrai, a-7rovBelo<!- elr a?i6i<; ^aK^eiof
10

Ka\7]v dp/jioviav ehai Xi^eax;, ev y

Kal ov Xeym

ov KexpV''''^

aW'

yap15

XajSwre? rot? KpeiTToa-i

0^9

Be

iyeveTo

jxr)

Kal

avTov<;

Kexpv^ai

pvO/jLoii.

dr/evveaTepoi<i

toI<;

avyKeKpv^aaiv

eS

Troir?

^ rpoxaiav

tovto, ort rS>v dvBpmv eKeivwv e/cacrTOs

Kal

"rrore

r&v

;)^o/)6imv

eKcoKve

ia-ri

irvppixi^o'S

fiijre

/i^Te

dfi(jil,0paxv<s

lafi^i,Kb<i fi'^re

/i7jT6

/irjBeb'i ;

ovv

tl

KaToXrj^K.

KprjTiKov, etra

irakiv

reXeurato?

Bta-

irvvvtjidyKaa't

^ei/aoz/a?.

tov<;

irpovoia

tovtov tov

oi /lev Ta-

fiepov<;,

Treim?, ol Be KaTaKeKXacr/j,eva<;, ol S" aX\7)v nva ai(Txw7]v Kai

av ia-n TrpwTO? re
ap^op^Lav ixova-a<; e^rjveyKav xa? ypa<pd^.

Kal

TeXevraio^

Kal

p,^a-o<;

Mdyvr]^

liyTjaia<i-

<70<j)ia-Tr}<}

Kal row? aXXov<; 6eov<; wiravTa<; ovk olBa

Toaavrr)
Trepl avTov dvaicOria-La Kal Trap^uri;?
iroTepa
Xiyetv,
XPV
rjv &crTe p,7] crvvopdv, oirii/e? ela-LV dyeuvel<; rj evyevei<; pvOpoi,
ov

20 VTrep

deo^d/3eta Kal Bia<p6opd tS)v

Toa-avrr]

yj

KpeuTTOVi

Tov<s

25

pa tov ^la

ireldopaf
2

ydp

dyvola'; p,ev

F
F

Tovf

alpelcrOai

eiretTa

PMV

eVeira KpTqTLKoi
aurbv
kKarepovs
exetra Se P,
7 eVeTai 8e F

eiTo. KprjTiKO's

elBora

&a-T

paXXov

Kai,

to KaTopuovv TToXXaxHi

Kal

ecrrt

<f)pevS)v

;i^eipoi'a9,

3 waiavi'S

Tratioves

FM 5 TovSe
M eVetra V
8 Kai F
F rov PMV
tov rpoxaiuiv PMV
17
Kai 6 PMV
11 ta/A^os F
T/joxaiW F
19 fteo-os Kat reXevTatos F
KaraKeKXeurpivai F
Kal F
^ PMV
cro<^itrT^S PMV
20 otSa
o (ro<f)urrrjS F
reXevraioi Kal fiea-oi PMV
euyewis F
Ti F
oIS' o Tt PMV
22 dyevvw F evyevik PMV
d-yei/vets MV^
25 jroA.A.axi}t FP, M TroXXa\ov V
dycvets PV^
PMV

eKO.Tepca's

PMV

||

PV

ovrwv

II

||

||

7dp

^Kar^pus
aurbv
statement should be
noted, together with the a priori grounds
on which Dionysius elsewhere (e.g. 180
12-16) makes his choice between the
4.

^Txupci

Si.aipciv

this

alternatives

which present themselves.

\j

6.

(101

Third clause
Trap'

dYMJva.

||

{r||jiuv

If TouTovi

\j

Too-aiiTTiv iirdp^at

els

vj

todtovI

rhv

be scanned tovtovI
is

cretic, it

a bacchius,

it

must

and

rbv i,yCiv(a)

if

must be scanned

tov aywy\a.

There are, no doubt, many cases of

abnormal lengthening in Homeric versiiication (e.g. 0i\e Kaa-Lyvrjre at the beginning of a line, II. iv. 155), but not to

such an extent as would satisfy 'Eucleides

the elder': oTov EO/cXeiSijs & dpxaios, us
liq.SLOV

is

bvbuov

Troieiv,

et

/SoiiXeroi,

Tis

Siliaei

^KTelveiv

ia/Uj3o7ro4i}(r'"

^^

i<t>'

"^i

ON LITERARY COMPOSITION

XVIII

185

and all of you," ^ first comes a hypobacchius then a iacchius

you prefer to take it so, a dactyl then a cretic after which
there are two composite feet called paeons.
Next follows a

city

or, if

molossus or a haccMus, for

it can be scanned either way.

Last
comes the spondee.
The third clause, " may as fully be accorded
by you to support me in this trial," ^ is opened by two hypdbacchii.

which a spondee

cretic follows, to

Iacchius or a cretic

Then again a
then the terminal

attached.

is

more

last a cretic once

Is not a beautiful cadence inevitable in a passage

which contains neither a pyrrhic, nor an iamb, nor an amphibrachys,
nor a single choree or trochee ?
Still, I do not affirm that none
of those writers ever uses the more ignoble rhythms also.
They
do use them but they have artistically masked them, and have
only introduced them at intervals, interweaving the inferior with
syllable.

the superior.

Those authors who have not given heed to this branch of

art have published writings which are either mean, or
flabby, or have some other blemish or deformity.
Among them
the first and midmost and the last is the Magnesian, the sophist
Hegesias.
Concerning him, I swear by Zeus and all the other
gods, I do not know what to say.
Was he so dense, and so
their

devoid of artistic feeling, as not to see which the ignoble or

noble rhythms are ? or was he smitten with such soul-destroying

knew

lunacy, that though he

ably chose the worse

the better, he nevertheless invari-

to this latter view that I incline.

Ignorance often blunders into the right path
only wilfulness

It

is

Demosthenes

Tg \i^ei,,
"^'EiTTLX^t"!'' elSov MapaBurdSe
PaSltoyra " (Aristot. Poet. c. xxii. ).

de Corona init.

^
\J \j

11.
f>.i)SECs

la|iPiK&s

|i<iT

it

discover

is

TpoxaCuv

we could

obvious that

some of these

feet in the passage

if we were to choose our own way of

dividing it.
If in Latin, for example,
we were to take such a sentence as

quonam igitv/rpaetoprohari potest insidias

Miloni fecisse

Olodium

pro Milone

(Cic.

12. 32), we could extract dactyls, spondees,

trochees, iambi, cretios, anapaests, etc.
from the various sections into which we

chose
Kjyj

to

divide

it:

e.g.

igi\tur pac\to pro\hari

(1)

v^

v/

potest
\

<_>^

\j

Milo\ni fe\cisse

i\gUur
\

pacta

w
MUo\ni

\J

igi\tur pac\to

Clodium ?

(2)

quonam
\J ^^

v^

proia\ri po\test in\sidias

fe\cisse

<^^

v^ii

Clo\dium

(3)

proha\ri potest
v^

quonam

.j^j

vimdi\fts

^j^

Milo\ni /e\cisse Olo\dium ? And so with

several other possible scansions (cp.
Laurand iltudes sur le style de Cidron
p. 138).

19.

For Hegesias

Introduction,

cp.

pp. 62-5 supra.

quonam
v^ >.^

insi\dias
\

20.

)ia

rbv ACa .. Xeyciv

of Demosth. Philipp.
220.

iii.

reminiscent

64, Fals. Leg.

DIONYSIUS OF HALICARNASSUS

186

to

Be

7rpovoia<i

yovv Tat?

iv

/irjBeTrore.

chap-

T0<7avraL<;

ypatpat^,

ay evpoi rt? treXioa

eoiKev Br) ravra vtrdXa/Seiv CKeivav
avyKei/dfivrjv
euTWYWS.
KpeiTTta KaX fiera aTTovBfj^ avra iroieiv, eh a, Bi avarfKtfv av
KaTaXeXoitrev

al?

Tt? ifiTrecwv iv Xoyo)

drjaa

avrfp,

Be

ala')(yvr)<;

Oelro ^povrifia e-^wv

iva

caropLa?,

t^9

ex

ocrrjv

ala^vvrjv to

B'

ap/evve<i.

effTiv

opK&v Td^av '^copLOv ti Tfj<i 'Zvpia<; irdvv

Kara ttjv irpoa-^oXrjv Kol to ^((jopiov aipel

Tov

rp/ep,6va

Kol

Tvvi;?

^povip.

^&VTa
o'^et

ovB'

cro<l)iaTi]<;,

20

av

ovk

tovtcov

^o^epdyrepa.

o'yjret

a^iov

ti<s

Br]

d^uofian
KeXevaai;

iv Ty

elirelv

TawTa

Kal

(refiv&<;

iv

Bfj<rai

KpdTo<;

eypi

ttw?

iroTepa

IBelv,

dva

eXavveiv

avBpa

Bitppov

dpfiUTeiov

i^

wrTTow?

Bt,a<pdeipei.

jraffrj

tov ivTVXpirra KTeiveiv, Kai

\a^uiv,

al')(jj,d'K(OT0V

eiBovv,

T0U9

Kal

iyKarcCK'q^devTa^ w/roatfyaTTei

t'

toii Ma/ceSotrt

avT&v

Kal

tov?

6pyrj<;

i'7rtTpey}ra<;

TrdvTa'i,

15

vir

S'

'AXe^avBpo^ irdkii'^vpbv Tpav/iana^

ToiovBe.

(ro<f)i,<rTrj<;

Te yivBTai
Sepo/ievo';

troi

avTVTrapa6eae(0<s, oa-rjv fiev a^hwaiv ep^ei

TO euyeves iv pv0fioi^,

10

Bi

tovtov Xe^iv

rrj^

o Xafi^dvei irpdy/ia

ovk

fiiav

o^xeBitp

/cal

eK

yivrjrai BrjXov

avrjp,

irdvTmv
BeivoTepa

'^pfir)vevKev

injrr]\S><;

rj

TairetvS)';

Kal KaTayekdaTOi';.

" 6 Be ^aaCKev<;
2 ais

PMV
F

CIS

PMV

PMV

e^
11 XP^V "^epo/^fog
:

KaraXr]<j>devTas
eAai;vu)V

repas
TTiJk

PMV

MV

(-idt-

3 S^

av T19 F
8 eo-rtv

l/iffOTuiv

PMV

M)

^ F
:

to (rivTOP/pM

ej^toi'

6*

TOVTav

19

4 av rts

eOero

PMV

PMV

ri Se

xp6v(f <f>ep6pevos 6
re KaraXeitfidevTai F

S"

iiiirea-wv

6 Ik t^s

10 ex^P""]

e^pws F

PMV

12 re

ly-

PMV

14 avrov

16
8 ouSe o^eii ^oj8poirorepov
21 koI

rovrov

PMV

Trdre/oa

F:

Dryden Mac Flecknoe 11. 19,

to some faint meaning
But Shadwell never
into sense."
The vjilfulness a,ndi

"The rest
make pretence,
deviates

malice prepense {Trpbvoia) of Hegesias'

stupidity may be illustrated by Dr. John-

remark about Thomas Sheridan:

"Why,

Sir, Sherry is dull, naturally

dull ; but it must have taken him a
great deal of pains to become what we
now see him. Such an access of stupidity,
Sir, is not in nature " (Boswell's lAfe of

Johnson

i.

453).

of PMV seems prefernot infrequently attached

to adverbs or adverbial phrases such as

The reading

able, since iv is
St'

MV

1-3. Cp.

4.

Kai ttw?

PMV

20,

son's

8e P,

deiro

irporiyeiTO.

AviyKriv.

5. Belro : rWe/mi used for TiyoO/uu, as

in 208 13 and 232 25.
Contrast the active
6i)ao3 in the next line.

9. Arrian (Exped. Alexamdri ii. 25. 4)

thus describes the commencement of
Alexander's siege, and Batis' defence,
of Gaza (332 B.C.): 'AX^fovSpos 5^ iv

AlyiTrrov iyvoi woieuiBat rbv arbXov. Koi

Jjv airif rb. /liv &\\a t^s
JldKaurrlriis
KoKoviiivris Svplas TrpoffKexoifyqKdra ijSrf
eivovxoi d4 t, if 6vo/ia iji' Bins, Kparwv
rrji
Va^alav
v6\eia5,
oi
Trpoffeixe"
'AXe^drdpip, dXX4 "ApojSds re pnaSarois
iiraybixevos Kal airov ix iroKKov irapeffKevaKi)s Siapx^ is XP^''""' iroXi-opKlav Kai tQ
xwpdjj iriareiuiv, n-fproTe

(yvu

/lii

&1>

piti.

i,\uiiai,

Six^aeai t^ iriXei 'KKil,avSpov.

ON LITERAEY COMPOSITION

XVIII

At

never does.

man

all

187

events, in the host of writings

which the

behind him, you will not find one single page successfully put together.
He seems, indeed, to have regarded his
own methods as better than those of his predecessors, and to have
followed them with enthusiasm and yet anybody else, if he were
to be driven into such errors in an impromptu speech, would
has

left

blush for them, were he a

man

any

of

self-respect.

Well, I will

him also, taken from his History, in order

to make clear to you, by means of a comparison, how splendid
The
noble rhythms are, and how disgraceful are their opposites.
following is the subject treated by the sophist.
Alexander when
besieging Gaza, an unusually strong position in Syria, is wounded

quote a passage from

In a
during the assault and takes the position after some delay.
transport of anger he massacres all the prisoners, permitting the

Having captured
Macedonians to slay all who fall in their way.
commandant, a man of distinction for his high station and
good looks, he gives orders that he should be bound alive to a
war-chariot and that the horses should be driven at full speed
before the eyes of all
and in this way he kills him. No one
could have a story of more awful suffering to narrate, nor one
It is worth while to observe
suggesting a more horrible picture.
whether
in what style our sophist has represented this scene
their

with gravity and elevation or with vulgarity and absurdity

" The King advanced, at the head of his division.
It seems
:

In continuing and completing (co. 26,

27) his narrative of the siege, Arrian
makes no mention of the fate of Batis.

On

this point

{Vit. Alex.

Siculns

c.

xvii.

Plutarch, too,
25),
48.

and

is silent
so is Diodorus

7.

The obviously

rhetorical cast of Hegesias' narrative,

and of that of Curtius {Histor. Alexandri
Magni iv. 6, 7-30), should cause it to
be accepted with greater reserve than
Grote (xi. 469 n. 1) thinks needful to
maintain.
For the probable share of
Cleitarchus in propagating this story
about Alexander see C. Miiller Scriptores

Merum Alexandri Magni

and

for his

bombast

op.

pp. 75, 142

Long, de Sublim.

2 and Demetr. de Eloc. 304.

11. X9^^'9 ' ^'^- after a two months'
siege ('AX^fai'Spo! 5^ arpaTeiaas iirl Tdfac
(ppovpovnivriv 6ir6 IlcpiTwv xal Slfiyiiiov
iii,

Trpo<reSpei<ras etXe

Kara

Diod. Sic. xvii. 48.

7).

xpi/ros tt/k irSKw,

Batis

was sup-

ported by only a small force: "modico

praesidiomurosingentisoperistuebatur,"
Curtius iv. 6. 7.
14. '^7C|iuSva: Cm-tins iv. 6. 7 "praeerat ei Betis, exiniiae in regem suum
fidei."
Josephua (Ant. lud. xi. 8. 3
Naber) gives the name of the governor
Arrian gives Batis.
as Ba/ST/^iJcrijs.
Baetis seems the right form in 188 13,
and so perhaps in Curtius.
'

'

15.

cilSoiis.

It

must have been from

the point of view of his countrymen

that Batis possessed etdos (cp. 188 16).
Usener suggests ijBovs.
appiaTcCov Si4>pau : cp. Xen.
4. 9 raCr' elirHiv /cord rds
fltfpas toO app-arelov Sl<ppov ivi^aivtv iirl
rb &piia, where (as here) 5l<j>pos=sella
IJ

Oyrop.

vi.

aurigae.
21.

to

<riPVTaY|Jio

no

doubt

the

are meant : Alexander is

represented as advancing at the head
iiracrwuTTal

DIONYSIUS OF HALICARNASSUS

188

i^e^ovXeuTo twv -TroXe/jbiap tok

Tovro lyap eyvcoaro, Kparriaaa-iv
TrXijOo^.

waT 'AXe^avSpov
5

yap T&v
eKvevei

ware yeveaOai
avTO<i
10 aXXov<;

opyf/

Kara

Twv

liicrrj(Ta^

i<f)'

yaXicovv

TToBcbv

?]v,

Xeyas,

i^e/SovXevTO

Radermacher
ISaXXeiv Ps

10

Ihatv

PMV

1 1

avTO

aTravToiv om.

yap

flrtdi'Tt

||

crweK-

||

i^^Tacrev

MY

||

apa

outcos

PMV

ToXprjp^Tos

|{

F
P

ourais

rj

irpocrkpivo'i
6 iKerecas F
koX ttji/
8 riji/ F

i^ia-TTja-ev]

yvfwov.

fiev

2 o-uveK^aXeiv
4 TrpoTcpov
om. F

PMV
trai/Tos PMV
yap

-x^pafia),

KvicXip

eireTeive

vwh PMV eirt F

iirl iraAatais P
empTrpaTO MV
7

he iroXvcrapKOv

Kal to

iiceXevaev Bid t&v

eXxeiv

||

crvyKafi'iVas

aaXinyya

FMV

MV

P,

to ToXfiav

ei's

ejiovXeveTO

etcrtcSv

Ioovtcdv,

fiev

rrjv

Tpaj(yTr)Ta^ e/epa^ev.

dvOpcoirov;.

<TVvdrfov

PMV

PMV

PMV

eTTLixirpa

to

rjv

elSoi;

BieipavTa'i

yfrdXi,ov

eTriwv

5 <rvyKa[i,<l>ddi
Trpokp.evo's

to

ical

Be Kaicoif irepl iroXXd'i

TTiXovp^evoi;
B'

oh i^e^ovXevTO

S'

tov /levToi BatTtv avTov

Kal ^XoavponTaTOV {pAXa<i yap

nal fieyav

tS)v

vtto

koI ^iXmTa<;.

dvTiyayov %5iVTa A.e6vaT0<;

jxev

tovi

fia')(aipq,,

dpa eKaarov tov

dirovoia

k^aKVcfyCXiovi

Staff

eKeLvqv t5)V ^ap^dpeov KaraKoirrjvai.

15

Ty

ovray;

eirip,irpa.

tov To\yOMj/iaTO?

rj

dKova-dvTcov,

B'

dXXa tov

Kaiptmrdrriv.
tvtttcov

Ke<f)aXr]<:

7rp6cr(f>aTO<;

eXeov e^eaTTjaev

ov

TrXrjyrjv

rijv

dirmXeaev

rod OmpaKoi,

Trrepvyia

to,

AXef-

eyyu? jiiKpov

B'

'7rpo<re/ievo<;

vtto

dv7)p

tout

eho^e

to

roXfiav,

irporepov outo)?.

avyKafjL(j>9el<;

eviyicavTo<;

^i(^o^

Kat

eh to

crvveSpafiev

irpa^ai.

eveica

iKereia<i

ro

eTriovrt-

a-vveK^aXelv

ev6<;

KivSvvevcrai,

eh yovara

airavrav

dpia-Toi'i

avTt]

fir^ZeiroTe

TToXe/Mtaiv

avSjOft) T779

ekirh

ovv

/Jiev

rj

chap.

F
;

oiitius
toX/x,ij-

13
TeTpaKrx'A.toDS P
avrlav FM
avTov] Sylburgius
Ppoa-vpiirarov
avTov PV
15 Kol (ante fiXocrvphiTarov) F
(is
17
P /BSeXvptaTciTov
Kal to xP^f-"Tb a-iopa F
\j/aX.{i.ov) P
ipaXXiov
ij/eXXiov M.
18 iKpa^tv
xf/iXiov F

j3aia-r['i]v

12 e^aKKTXiXlov^ F,

cum

litura

jiaa-uXka

FMV

||

PMV

FMV
Y

PMV

||

Hegesias may have

used the article in order to avoid the
hiatus 'AXe^dvSpif Uerelai.
F omits it
TTJs

iKtTsJas

(as unnecessary).
7.

TO.

irrefniyuL

toO

SiipaKos

of his Guards.
In the English translation of the passage that follows no
attempt has been made to reproduce all
the peculiarities of Hegesias' style.
1. Blass
{Rhythm. Asian, p. 19)
would read elaidvri, comparing iiitramt
in Curtius iv. 6. 23.
3. iruvlSpa|jiEv : cp. Propert. iii. 9. 17
"est quibus Eleae concurrit palma
quadrigae ; est quibus in celeres gloria
nata pedes."
6.

||

cp.

Sohol. Venet.
ad Horn. II. iv. 132
IVa /itj x'^^f"'^ yivriTai ii irXijyi}, els toOto
t6 /Upos iyei., Ka$' S dXXi}Xois ^Tri^epi/tepo
to, irrepiyia tou ddpaxos ^<r(piyyeTO iiri
toO fuo-r^pos.
See also the references
given under vripv^ in L. & S., and in

Stephanus. Perhaps Hegesias has II. iv.

132 directly in mind. The meaning will
then be (with F's reading M), "as his
assailant had struck it [the sword] against
the skirts of Alexander's corselet." But
the account in Curtius iv. 6. 15 seems
to confirm 11x6: "quo conspecto, Arabs
quidam, Darei miles, maius fortuna sua
facinus ausus, gladium clipeo tegms,
quasi transfuga genibus regis advolvitur.

ON LITEKARY COMPOSITION

XVIII

189

enemy had formed the design of meeting

For they had come to the conclusion
they overcame him personally, they would be able

that the leaders of the

him
that,

as he approached.
if

out

to drive

Now

host in a body.

all his

this

hope ran with

them on the path of

daring, so that never before had Alexander

been in such danger.
One of the enemy fell on his knees, and

seemed to Alexander to have done so in order

to ask for mercy.

Having allowed him to approach, he eluded (not without difficulty)

the thrust of a sword which he had brought under the skirts of his
corselet, so that the thrust was not mortal.
Alexander himself slew
his assailant with a blow of his sabre upon the head, while the
king's followers were inflamed with a sudden fury. So utterly was
pity, in the breasts of those who saw and those who heard of the
attempt, banished by the desperate daring of the man, that six
thousand of the barbarians were cut down at the trumpet-call
which forthwith rang out.
Baetis himself, however, was brought
before the king alive by Leonatus and Philotas.
And Alexander
seeing that he was corpulent and huge and most grim (for he was
black in colour too), was seized with loathing for his very looks
as well as for his design upon his life, and ordered that a ring of
bronze should be passed through his feet and that he should be
dragged round a circular course, naked.
Harrowed by pain, as
his body passed over many a rough piece of ground, he
And it was just this detail which I now
began to scream.
mention that brought people together.
The torment racked him,
ille adsurgere supplicem, recipique inter
suos iussit. at barbarus gladio strenue
in dextram translato cervicem adpetiU
regis: qui exigua corporis declinatione
evitato iotu in vanum manum barbari

27 "non interrito modo sed contumaci

quoque vultu intuens regem." Usener

lapsam amputat

and Antiq. Rom. ii. 38 /tot

aiirV (Ttipireiav) Ipws eMpxerai tGiv
^a\luv, & wepl rots ipumpois ^paxloaai

10. I^Ciiirpa

gladio.
op. Curtius

"inter primorea dimicat

iv.

ira

6.

24

quoque

over and above the ancient iprfal, and

Hegesias wrote both
'

it is possible that

this and iirtfiirpa

gloss irp<S<r0aTOS.
12.

The number,

(iv. 6. 30),

imh
ri

dtov

or iwl waXatats
as given

may

by Curtius

was "circa decern milia."

Tf|v

aA\iri<r/i.a

iii.

Th

o-dXiriyya eKCvriv=u7r6
cp. Aristot. Rhet.
:

4Ke1vo

<f>6.vai.

rijv

ffiXiriyya eluai

/iiXos AXvpov.

15,

pXcoTipcSraTOV

17.

i|>dXiov

cp.

Hesyeh. ^dXia

KplKoi,

SaK-riiXioi,

accensus, quod duo in obsidione urbis

The reading
eiuB vulnera acceperat."
of P, ^Tri TraXaiafs, apparently means
'

conjectures p\o(rvpuT6v, with considerable probability : cp. 162 19 sMpra.

cp. Curtius iv. 6.

i(p6pow

(oi Sa/Sfyoi),

koI tS>v SaKTvKlav.

Probably here a large curb -chain is

meant, rather than a cheek-ring, which
would be too small. So Curtius iv. 6.
29 "per talosenim spirantis lora traiecta
sunt [cp. Virg. Aen. ii. 273], religatumque
ad currum traxere circa urbem equi
gloriante rege, Achillen, a quo genus
ipse deduceret, imitatum se esse poena
in hostem capienda."
In H.omev ifidjires
ai'e employed (190 13).
18. irtXelv ('to pound,' 'to knead') is
one of the many forced metaphors in
this excerpt from Hegesias,

DIONYSIUS OF HALICAENASSUS

190
ir6vo<i,

^dp^apov

aSpov.

erepov

aTpancoriKrjv v^piv

fiev

koI

elSexOv

v/3pi^a)v

t^9

to kvto^

Kal

a-riap

^mov

Ba^vXtoviov

eveirai^e,
5 CTKaibv

Be

to

eVotei.

aoXoiKia-fibi

eve^aive

yeXav Be

KadiKerevav

i^oa, Seairorriv

S'

chap.
6

o-a/)K09

ovv ox^-i
rm rpoira

i^dpov."

tok 'Ofj/rjpiKOL'i eKeivoi^, ev oh

'KxCK\ev<; ea-riv aiKi^o /leva's "ExTopa fiera rrjv TeXevTrjV ; tcaiTot
TO je irdOo'i exetvo eXarrov eh dvaia-d'qTov jap <r&fm rj
dXX' 6>w? a^iov earriv IBelv, oa(p Btevnvoxev 6 ttom/t^?
v^pi<Sapd 76

10

ravr

ofioia

earl

TOV CO^tCToO"

^ pa, Kal "^KTopa Biov deiKea

9 (Tcjivpbv

eK

irTepvr)';,

eK BCtppoio

S"

eBrjae'

Blfpop

6?

15

fidcrn^ev

B'
B'

epya'

firjBeTO

ttoBcov TeTprjve revovre

d/j,<f)OTepmv ixeTOTriade

^oiov;

Kaprj

S'

e^irrev

ifidvTa<},

eaaev

eXKecrdai

B'

dva^a<; dvd re kXvto, revxe

eKaav, rob

S'

oiiic

deipa'i

deKOVre ireTeaOrjv.

TOV B' rjv eXKo/Mevoio KovCa-aXo^- dfi<J3l Be x^^'^'^''

Kvdveai TrifnrXavTO, xdpr] B anrav ev Koviija'i
KeiTO irdpo'i T^aptei'' Tore Be Zeu? Bva/ieveeatn

B&Kev dei,KU(7<7a(70at ey ev iraTplBi, jair).

TOW p^ev KeKoviTO Kdprf atrav rj Be vv

20

0)?

TbXKe

TtjXoffe,

K(OKV<rev

^/Jboo^ev

S'

crapK^s
II

-TraTtjp

yacrTjobs

eaiBovaa'

Be jjudXa fieja iraiS'

eXeeiva

0t\o?, dfi^l Be Xaol

MV

oW

II

d8phv

ve<f>aive

MV^
9

kvtos

dv<j)aive

eo-Ttv

PMV
FMV Horn.
TTjAe PM

||

not clear whether the strict

2 koitos

Kal iKereviov libri

PMV

dSpov
ai/S/oos P
Tevovra^
12 revovTS F
F: irocro) PMV
deKovre
16 fjida-ri^ev p Horn.
ISTja-ev F
22 TtA.Ae F Horn.
18 TTip.TrXavTo] irlrvavTo Horn.

v^aiVeTO

fi^TTjp

dirb Be Xnraprjv eppi^jre KaXvTTTprjv

KadiKerevrnv Scliaefer

MV

KO/MTjv,

om.

14

F
P

lao-ev]

aKOvre

||

TciAe

distinction between jSap/Sapur/xis (wrong

vocabulary, spelling, or pronunciation)

be supposed that the reference here is

to grammatical blunders in other words
ejaculated by the unhappy Batis.

and o-oXoiKia-ji^s (wrong syntax) is here

Possibly Batis may have
maintained.
offended (1) by using a word {Seairbrqi)
abhorrent to all free men of Greek blood,
or (2) by using it in the wrong case, or

suggests itself with the Assyrian bulls

represented in reliefs (cp. Tennyson's
Mavd, "That oil'd and curl'd Assyrian
Bull "). The reading of P, h-tpov avdpSs,

1.

(3)

It is

by mispronouncing

it:

op.

Sandys

History of Classical Scholarship i. 148,

for the comprehensiveness of the term
<roXoiKiir/i6s.
But if it be held that
troXoiKiffjiis cannot occur in one isolated
word (op. Quintil. i. 5. 36), then it may

3.

BaPu\<&viov

Juov

a comparison

might mean
{viri
4.

not

'far different

from

a.

man'

avSpiiirov, hominis).

Hegesias' use of irrpaTUiiTiKiSs

may

be compared with de ys. c. 12 (of

Iphicrates) ^ re X^fis iroXi t6 tpoprrmbv
Kal (TTpaniariKbii ?x" ""^ o'X oSrwi

ON LITERARY COMPOSITION

XVIII

191

and he kept uttering outlandish yells, asking mercy of Alexander

as my lord ; and his jargon made them laugh.
His fat and his
'

'

bulging corpulence suggested to them another creature, a hugebodied Babylonian animal.

So the multitude scoffed at him,

mocking with the coarse mockery of the camp an enemy who

was so repulsive of feature and so uncouth in his ways." ^
Is

this

Homer

in

description, I

which Achilles

after his death

And

comparable with those lines of

ask,
is

represented as maltreating Hector

yet the suffering in the latter case

is less,

on a mere senseless body that the outrage is inflicted,

But it is worth while, nevertheless, to note the vast difference
between the poet and the sophist

for it is

He

spake, and a shameful mishandling devised he for Hector

slain

For behind each foot did he sunder therefrom the sinews twain

From

the ankle-joint to the heel

hide-bands through the gashes

he thrust

To

he bound them, and

his chariot

left

the head to

trail in

the

dust.

He

hath mounted his car, and the glorious armour thereon hath
he cast,
And he lashed the horses, and they with eager speed flew fast.
And a dust from the haling of Hector arose, and tossed wide-spread
His dark locks wholly in dust his head lay low that head
Once comely ah then was the hero delivered over of Zeus
In his very fatherland for his foes to despitefully use.
So dust-besprent was his head but his mother was rending her

hair

The

while,

and she flung therefrom her head-veil

glistering-fair

Afar, and with wild loud shriek as she looked on her son she
cried

And
1

in piteous wise did his father wail, and on every side

C. Miiller Scriptores

Berum Alexamdri Magni

cij aTpanoiaiOdSeiav Kal &\al^oveia,v.

not simply a
7. loTiv alKitiSpcvos :
periphrasis for olKll^eTeu.
For Hector's insensibility op.
8.
Murray's Rise of the Oreek Epic pp. 118,
132.
The savagery of AchiUes was,
generally felt to need
nevertheless,

4ii(palva priTopiKTiv iyxlvoiav

TLKriv

p.

141 (Hegesiae Fragmenta).

extenuation, as may be seen from the

curious explanations proffered in the
scholia : e.g. 6 Si KaWl/jiaxis ^rjaiv Sn
irArpidv kari QeaaaKoii rois tQv (ptKrirav
iporilas

aipew vepl

roils

tu;' <f>ovev$ivTuiv

rdipovs, kt\.

11. Cp. Virg. Aen. ii. 268

vision of the mangled Hector).

ff.

(the

DIONYSIUS OF HALICAKNASSUS

192

elyovTO koL olfiaryp Kara acrrw.

KCOKvrm r

hp

Be fjbdXta-T

TcS

ivoKiyKiov, ox; el airaaa

erjv

kut

"I\to? ocppvoeercra irvpl ayM-)(piTO

owTQ)?
5

evyeve'i

koX

crw/J,a

irddr)

hetvh,

dvhpSiv ^povrj/jM KoX vovv e-xpvTwv.

virb yvvaiK&v
roinmv fiera

ovv

TL

KareayoTcov

rj

eKeivwv

rjv

t&v

Be

ovBe

evravda Be ovBefiLa
Br)

elpr]icm<;

eirl

rmv

et?

trepioBo';

kov

dcrefivo<;

et

ovBe

evyeveLa<;,

tj)?

raTretvoTijTO?

Kai

Kal

icaTayeXoaTi.

Kat,

t&v

ev

[iovt],

fin)

ovB

dBoKifWi,

Bvvafj.iv

ey(pv(riv,

crTtT^o?

^Tt? ov Xwrjaeb.

r&v pvdfi&v

Trepl

av

\eyoiT

iroirjfidreov

t^?

he 6 M-dyvq'; eXpriicev,

yXevaa-jjiw

fidXiara,

irdvToiv

yap

/lev

eKeCvoi<i

fiev

(jiXvaprj/iaTcov

Bia(f)opa

10 pvOfjLMV

eirX

axprji;.

Xeyecrdai irpoa-fJKev

w<i

dvOpoiirtov

dTOC

airovBrj'i,

a'inov

TOVTcav

chap.

oarjv

Xeiiro/ieva fiera^rja-ofiai.

TO.

XIX
15

r&v iroiovvrtov KaXrjv dp/Moviav

Xiym Be ov ttjv ex t&v KpeiTTovcov eVt to,
veipw (jrdvv yap evr]0e<;), ovBe ye r7)v iic r&v ^(eipovtov em
Kopov yap
TO, KpelTTto, dXXa ttjv ev T045 o/ioeiBecri iroiKiXiav.
evei Kal ra KaXa Trdvra, wairep koI to, rfBea, fievovra ev ry

20

Be HOI rpiTOV decoprj/ia

rjv

fieTa^oXrj.

f)

TavTOTTjTf

iroiKiXXofieva Be

Tois fiev ovv

fierpa Kal

TO,

to,

fieXr)

xaiva

del

MV

fievei.

oup^ airavra

ypd(f)ov<riv

4 e^yeves o-w/xa F
e^yevcos apja PMV
6 V7r& F
us mrh
8 ^v F
ran.
om. PV
Kal d FPM: d Kal V
10 TravTWV
PMV
kv om. P
ouSets F
1 1 o^Se ets P,
ovSk {pvK V) aSoKt/.o5
:
ff dSd/cijuos F
12 i7Tts oi5 XvTT-qa-ei om. F
om. P
13
F 8e PMV
15
Se] Sij F
19 iiivovra PMV: ovra EF
20 Se EF S' kv PMV
om. P
ad EF us act
21 rots EF
kv tois PV
kv oh
2

Seivci

FP

a/3

FPM

ap

Setvtos

MV

|{

PMV

FM

^
'^

rat? fiera^oXalv

||

||

MV

||

MV

5. (|>p(Svi]|ui, 'pride,' 'spirit,'

'

feeling,'

'

self-respect

'

op.

'mettle,'

186

5.

KareaYcjTcov, ' enervated,'

effeminate' (Lat. frcKtus): op. Philo Jud. i.
262 (Mangey) dvavSpoi Kal KareaySres
Kal 6ri\vSplcu rk ^povij/tara, i. 273 iriOeai
6.

Tols
8,

'

Kareaybai Kal
9.

iKelviav

to

the

passage

quoted first.
The remoteness implied in iKelvw is
last quoted, roirtav to that

here that of greatness and antiquity

the nearness in roiruv, that of the

commonplace and recent.

10. The reading eZ Kal ('although')

||

would perhaps be preferable in sense, if

only it had better manuscript attestation.
[In 198 15 there is a similar fluctuation
between /coi eJ and ei ira.]
13. For various points of rhythm and
metre raised in co. 18, 19, and elsewhere,
reference

reffriXviifUvois.

refers

may

be

tion, pp. 33~9.

16. For the

made

to the Introduc-

importance of variety
(especially in relation to rhythm) cp.
a well-known fragment of Isocrates' Art
of Rhetoric : S\us di
Xi^os /li) X670S
lirru), ^ripbv yip
fiTjSi l/^terpos, koto^ax^s y&p.
dXXi n^idxew' travrl pvOiuf,

ON LITERARY COMPOSITION

XIX

Through the

193

city the folk brake forth into shriek

and wail at the

sight.

It

was

like unto this above

topmost height

To the ground,

as

though, from her

Troy in flame and in smoke were

beetling

all

things,

all

rolled.^

That

way

in which a noble corpse

and terrible sufferby men of feeling and understanding.

But after the fashion of this Magnesian they could be described
by women only or effeminate men, and even by them not in
earnest, but in a spirit of derision and mockery.
To what, then,
is due the nobility of these lines, as compared with the miserable
is

the

ings should be described

absurdities of the

other passage

Chiefly, if not entirely, to

In the quotation from Homer

there is not one unimpressive or unworthy verse, while in that
from Hegesias every single sentence will prove offensive.
Having now discussed the importance of rhythm, I will pass

the difference in the rhythms.

on to the topics that remain.

CHAPTEK XIX
ON VARIETY

'

The third cause of beautiful arrangement that was to be

I do not mean the change from the better
examined is variety.
to the worse (that would be too foolish), nor yet that from the
worse to the better, but variety among things that are similar.
For satiety can be caused by all beautiful things, just as by things
sweet to the taste, when there is an unvarying sameness about
them but if diversified by changes, they always remain new.
Now writers in metre and in lyric measures cannot introduce
;

fiiXiffTa

la/i^iK^

fj

must not be merely

Homer

Iliad xxii.

rpoxaiicv ("prose
prose, or it will be
or its art will be

nor metrical,
but it should be comundisguised
pounded with every sort of rhythm,
particularly iambic or trochaic"). The
views of Theophrastus on the point are
reported in Cic. de Oral. iii. 48. 184 ff.

dry

"namqueegoilludadsentiorTheophrasto,
qui putat orationem, quae quidem sit
polita atque facta quodam mode, non
sed remissius
oportere," etc.

astriote,

numerosam

esse

395-411.

18.

Kipov
52],

K(!pov
S'

^x,

ical fiiXi

and Horn.

ep.

Up. ad Cn. Fomp.

^rjirli'

6 Xlivdapos

[Nem.

o.

vii.

Kai ra Tipirv' dfOe' d(f>po5Lna,

636 n-dnTUH' fiiv Kbpos

II. xiii.

iari, kt\.

avoids
the
awkward
19. |vovTa
The fact that fiivei
hiatus 7)Sia ovra.
follows shortly is not a conclnsive objeotion, since Dionysius, and Greek authors
generally, were free from the bad taste
which avoids, at all costs, repetitions of
X^^erai
this kind : cp. Xa/i^aybfiepa
.
(106 18).
.

DIONYSIUS OF HALICARNASSTJS

194

fiera^dWeiv ^

e^ecTTt

avrUa

aW
ye
5

roii

aXXct

ye

ovSe

rdf
irepX

tA?

Se

dXXd

ev

rats

Set

^vXdrreiv

pvdfiov;

koX

dfi^orepa

Kiveiv

ravra

rd

K&Xa

ef S)v
SeBorai

hrX

ttoXX?}?

re

i^ovaia'}

aXXore dXKa fieyWr] koI a'^rifiara

k'Treira
av d-jrapncraxTt rrjv arpocfirjv

eo)?

avral<i Trepiri,6evra<;,

re

'XpmfiaTiKo.'i

7rda-ai<!

crrpo(f>ai

ra<;

pvOfiov.

TreptoSo?

hiaipelv

TrotKt'Xo)?

re

idv

olov

ov'x^

rovrov; tou? avrov<s Sia/ieveiv

iiraBoiii;

rov

ical

/jLeXo<;

avvearriKe

eKaarrj
15 avroi<i

Set koI

KaXovfievaij

re

ro

e^eari,

ypa^ovaiv

fieXt]

avrd'; dyci)yd<i

ra<s

oXai;

TrepUxovra?

roii'i

dvria-rp6(j)ov<;,

ra

Se

ivapjioviovi

avrtarrpo^oKs

koX

re

arpo<^aL<s

a-vKXafirj^

dvria-Tpotfxov

ical

ouSe

dpxop'evot';

Toh

diraat,.

fiera^aXKeiv,

e^a/ier/jou?-

ari'xpv's

fiaKpa'i

fiovXovTat.

oa-ov

i<f>

e^eari

viroO&vraL psXxphia'i,

Siar6vov<;

re

idv

tov<;

airo

d\X' idv

/ie\o<;,

ovh'

ovk

fiirpop

ehai,

rot?

vprjaovTai koX ovSk rovTOi';

TO fiev tS)v arpo^Siv re

aXKd^ai

10

Travra?

avd^KT)
pvdfiov,

avaaiv

ovj(,

eTroTrotot?

fiev

chap.

avrd fierpa koX K&Xa rroieiv. ol fiev ovv

dpyatoi (leKoirotoi, Xeym Be 'AXKatov re koX 2,a7r<})m, ft,i,Kpa<;
rd

Set

irdXiiV

iirotovvTO
20 ela-rjyov

vxir

crrpo^d<},

rd<i

ev

Se irepX 'Zrrja-i'^opov re ical

irepioBov;

dXXov

TroXXd

el<;

riv6<;

rj

EF

(rTpo<f>ai

irepioSos

V
PMV

15 avToii
18 Se om.
5.

7r(j)8as

<rvv(TTrjKe

Usener
20

seel.

EF

ovSi Toirrois Airacri

PMV
PM

{|

TrepioSoi

eicrrjyov Tois
e.g.

not the

and (strictly) not the trochee.

lvap|iovCov5
XP''I''''''''><''S
SiaT(Svous :
the distinction between
these scales is indicated in Maeran's
.

^. 6: "Was
then possible to determine for practical
purposes the smallest musical interval ?
To this question the Greek theorists gave
the unanimous reply, supporting it by a
direct appeal to facts, that the voice can
sing, and the ear perceive, a quarter- tone
but that any smaller interval lies beyond
the power of ear and voice alike.
Disregarding then the order of the intervals,
and considering only their magnitudes,
we can see that one possible division of
the tetrachord was into two quarter-

Harmonics of Aristoxenus

it

Sieveifutv

ol Se

iroXXa^
ol
rh,<i

avrai ovk

76 Sidvpafi^oiroiot,

PMV

eKOLCTTrj

ireptoSos

avvecrT'qKe

PMV avrots EF
PMV euryjyov EF

16 a^xats

oretio,
7.

Kal icmXa

di/Tio-T/ooc^as

12

ov

(of. 1. 6 supra)
9 re Kal
dvTitovs dvrurrpocjiov^ F
ravTO, Icttiv F
14 eKda-rr) trweoTrjKev

vTrodiavrai

Tcis

kq>Xoi<;

llLvBapov fieC^ov^ epyaadfievoi

fierpa

1 1

rot'i

re irdvv e'x^pSivro oXvyoii'

fiera^oXrj^ epcori.

ttj?

FE

8 inrodiovTai
Kot

oXv^oi%

iiera^oXd<i, eTrmSot?

||

av om.

F
F

tones and a, ditone, or space of two

tones the employment of these intervals
characterized a scale as of the Enharmonic genus.
Or again, employing
larger intervals one might divide the
tetrachord into, say, two -thirds of a
tone, and the space of a tone and fivesixths
or into two semitones, and the
space of a tone and a half. The eraployment of these divisions or any lying
between them marked a scale as
Chromatic.
Or finally, by the employment of two tones one might proceed
to the familiar Diatonic genus, which
divided the tetrachord into two tones
and a semitone.
Much wonder and
admiration has been wasted on the
Enharmonic scale by persons who have
;

ON LITERARY COMPOSITION

XIX

195

change everywhere; or rather, I should say, cannot all introduce

change, and none as much as they wish.
For instance, epic
writers cannot vary their metre, for all the lines must necessarily
be hexameters nor yet the rhythm, for they must use those feet
that begin with a long syllable, and not all even of these.
The
I

writers of lyric verse cannot vary the melodies of strophe

and
;

but whether they adopt enharmonic melodies, or

antistrophe,

chromatic, or diatonic, in all the strophes and antistrophes the

same sequences must be observed. Nor, again, must the rhythms

be changed in which the entire strophes and antistrophes are
written, but these too must remain unaltered.
But in the socalled epodes both the tune and the rhythm may be changed.
Great freedom, too, is allowed to an author in varying and
elaborating the clauses of which each period is composed by
giving them different lengths and forms in different instances,
until they complete a strophe
but after that, similar metres and
clauses must be composed for the antistrophe. Now the ancient
writers of lyric poetry
I refer to Alcaeus and Sappho
made

'

'

their strophes short, so that they did not introduce

many variations

which were few in number, while the use they

was very slight.
Stesichorus and Pindar and
their schools framed their periods on a larger scale, and divided
them into many measures and clauses, simply from the love of
in the clauses,

made

of the epode

The dithyrambic poets used

variety.

missed the true reason for the disappearaace of the quarter-tone from our modern
musical system. Its disappearance is due
not to the dulness or coarseness of modern
ear or voice, but to the fact that the
more highly developed unity of our
system demands the accurate determinatiou of all sound-relations by direct or
indirect resolution into concords ; and
such a determination of quarter -tones
is manifestly impossible.
as compared, say, with
18. apxaloi
Pindar.
20. oi Si irepV STi]<rCxop<5v re koL
nCvSapov the two possible,senses of this
and similar phrases may be illustrated
from Plutarch, viz. (1) the man and
:

followers,

his

(Plutarch

Vit.

e.g.

oi

Demosth. 28. 2)

man

himself, e.g. toi)s

16.
^iXoKpirrir {ibid.

=
oi

'

ArnxotrBivriv

Trepl

(2)

the

irepl Aia-xtpriv

Kal

2:

op.

Aeschines and PhUoorates.'

i,iji,<t>l

and

oi Ka.T&.

But sense

careful scrutiny wherever

it

30.

2)

So with
needs
seems to
(2)

occur

change the modes

to
;

the meaning

also,

may simply be men

like Aeschines,' etc.

'

For

the 'graves
Camenae of Stesichorus cp. Hor. Carm.
iv. 9. 8, and Quintil. x. 1. 62 "Stesichorus
quam sit ingenio validus, materiae quoque
ostendunt, maxima bella et clarissimos
canentem duces et epici carminis onera
lyra sustinentem."
21. Such long periods are particularly
effective (cp. 196 13) when they include
clauses of various lengths and end with
an impressive one : e.g. Cic. Catil. ii.
1. 1 "Tandem aliquando, Quirites, L.
Catilinam,
furentem audaeia,
scelus
anhelautem,
pestem patriae nefarie
molientem, vobis atque huic urbi ferro
flammaque minitantem,
ex urbe vel
eieoimus,
vel emisimus,
vel ipsum
egredientem verbis prosecuti sumus "
and similarly Bossuet Oraison fwnibre
de Henriette-Marie de France: "Celui
qui rJgne dans les cieux
et de qui
reinvent tous les empires,
k qui seul
appartient la gloire, la majesty et
'

DIONYSIUS OF HALICARNASSUS

196
Koi

AvBiovf

T^ avrS

iv

rare

e^rjXKaTTov,

Tore

Se XP^'
Kara irdWriv

7roiovvTe<;,

pv0fioi<;

KoX

Xe^t?

dvaTravX-wi re

irepioBo^

TO

eVet

Be

(TvyKeifievov

Xojav

20 olfiai

KdXXtaTov

Xo'yoi'i

avTJj?

Be

Xeym

om.
10

fiev

r}

rot?

to

rydp

iraaav

iroiov/jbat

tovtcov

ere/jou?

Kal

Be tov fiev

PMV

^
F

ovtcd'

Kai

re

fjBiaTov

elBevat

TreiOofiai.

Trjv

'UpoBoTOV

fiev

Be

Ar/fioa'Bevov^'

ttjv

irXeioai

t6

iroXveiBea-TepoK

a-^Vfiao'i

8 e^et Kal aSetav

to

Kai

eirei,(7oBioi<i

eV

to?

ai

Kal ov iro'KK&v Beiv

irdvTa'}

fieTa^oXi],

re

{pcovrji

nroiKikia tov

ttj

toi,ovtoi<;

oti

/Mepo<i-

pvOfioi,

rao-ets

KXeirTOV<rai

ev

evKaipoTepai,^

TToiKoXiaK

Xptjo-afievovi'

Kai

JlXdTcovo<i, Raaav

evpelv

dfirfvavov 'yap

aKpifiecrTepov,

Be

iravTola

"Xapiv

tovto

Xe^iv, irdaav Be ttjv

7 KoX

to

cvyKeiaOat BoKeiv.

firj

et?

iv

irapdBeij/Ma

Kal

fiev

Bid<j)opot

Tt,va

&aTe

rjBe

KwXmv, ^Be S' i^ ikarTOvmv,

^pa^yrepov rj, to Be fiaKpoTepov,

<Ty7]iiaTa

"jrpoawBLai

KoXovfievai
Kopov.

koX

koX

irepioBov,

efta

avTOvp'yoTepov,

dWot

av
k^V TrXeicrTas
orav tovtl fiev ev

ijTi'i

ivapfioviovg,

B'

^ovkerai,.

ottcb?

"TrXeKTjTai

r&v KwXmv to

pjev

aWoTe

tovtI

aheiav

ical

ex^i

avvOecnv,

iraaSyv,

/jLeTa^oXa<s

irKeiovmv

in:

Be

ikevdepiav

rrjv

KpaTicrTr]

ical

XejTjTah

TreptoSft)

Kal

fiera^oXai'?

rat?

ea-Ti

avr&v

toi<;

aTraa-av

Xe^t?

ire^rj

jTOiKiXketiV

25

kuI

Sidvpafi^o<i.

8e

17

15

ivapfiovlov^

Smtovov^,

Tore
aheiav ive^ov<nd^ovTe<i BiereXovv, o'i 76 Br] Kara ^iKo^evov xal
TifjLoOeov Kol TeXea-Trjv, eirei, irapd ye rots apxatoa Teray/^ew?

^v KoX

10

aa-jjuaTi.

fiev

Se

fiaTtKa.'i,
5

Awpuov; re koX ^pvyCov<; xal

koX tas fieKtpoia^
Trotouj/re?,

rpoirovi fieTe^aXXov,

Toil?

chap.

ia-Topia<s

PMV

o-xr^fiaTi,

tov

koX aSeiav e'x"

-^

EMV

11 ei/ap/towovs EF
14
avrtuv (om.
apfiovia's PMV
15 avrovpyoTepov F
E) yopyorepov rh Se ^paSvTepov EPMV
rh Se aKpi/Sianpov om. EF
18 Iv P2MV: Tt pi; om. F
19 koi F: om. PMV
Selv oTpai F:
20 toCto PMV: tovti F
Se oiopai Seiv
21 /iera/JoXij
24 dp-qxavov
25
FP r/ peTa^oX'^
dSvvaTov EF
evKaipoTepoii EF
TTOiKiAais F
ivpounipai^ PMV
26 pev u>s] pkv
4'xei

e'xT?

F:

e'x"
jj] ti

^'X"'

'

||

||

PMV

MV

PMV

II

t<TTOpiais
II

rind^pendance

PMV

II

crxij/iaxi

EF

<Txy]pa.TLcrpov

PM

(rxflpoLTurpi^

est aussi le seul qui

se glorifie de faire la loi aux rois,
et

t^s

platt, de
de leur donner, quand il
grandes et de terribles 1690118."
1. For the oharaoteristies of the various
modes cp. (besides the Sepublic and the

'luvtidjs rd yKacfivpdvi

lui

Polities)

Luoian Hwrmonides

apiwvlas iKdarrjs

i. 1 koI ttJs
Sia^vXdTTeiv rb tSiov,

3.

hBeov, t^s AvSlov rtt

Awplov ri ffe/iviv, t^s

^pvylov rd
t^s

Bokx'kAi',

tot^

where

[ji^v

(as here)

tot^ S^

op.

F and P have

5. lvc|ovo-ui^ovTcs,
'

'

c.

using

oiire

132

19,

t6t.

full liberty,'

showing their independence.

Thucyd.

Cp. de
irpoanBeh tois
'

ON LITERAEY COMPOSITION

XIX

197

introducing Dorian and Phrygian and Lydian modes in the same

song ; and they varied the melodies, making them now enharmonic,
now chromatic, now diatonic and in the rhythms they continually
;

showed the boldest independence, I mean Philoxenus, Timotheus,

Telestes, and men of their stamp,
since among the ancients even
the dithyramb had been subject to strict metrical laws.
/
/ Prose- writing has full liberty and permission to diversify com- f^
position by whatever changes it pleases.
A style is finest of all
when it has the most frequent rests and changes of harmony

when one thing

is said within a period, another without it

when
formed by the interweaving of a larger number of
clauses, another by that of a smaller
when among the clauses
themselves one is short, another longer, one roughly wrought,

one period

is

another more finished

now

and the

when the rhythms take now one

form,

and the voicepitches

the so-called " accents "
are various, and skilfully
avoid satiety by their diversity.
There is considerable charm,
among efforts of this kind, in what is so composed that it does
not seem to be artificially composed at all.
I do not think that
many words are needed on this point. Everybody, I believe,
is aware that, in prose, variety is full of charm and beauty.
And as examples of it I reckon all the writings of Herodotus, all
those of Plato, and all those of Blgmogthenes.
It is impossible
to find other writers who have introduced more episodes than
these, or better-timed variations, or more multiform figures
the

another,

first

figures are of all kinds,

in the narrative form, the second in graceful dialogue.

oi5h 8 /j-t) SUamv oUre d^aipSc,

oiSi 4ve^ovffidt<av t^ yficup^, AviyKK-qrov
Sk ical KaBaphv tt\v irpoalpeinv i,irb wavrbs
(j>vKiTTU>v,
tjj$6vov Kal iriiffris KoXaKelas
and 0. 24 ihid. iv B^ toIs awBermoti Kal
Tois irpoBeTiKots /ioplois Kal In fiaWov iv
Tois Siapdpovcn t&s twv ivo/jdrtav Swd/ieis
TTOtriTou rpiwov ive^ovind^tav (translated
irpdy/j.am'

So Hor. Garm. iv.

D.H. p. 135).
10 "seu per audaces nova dithyrambos
lege
verba devolvit numerisque fertur
in
2.

solutis."
oE Kom may refer simply to the
individuals mentioned, or to them and
cp.
note on 194 20.
:
their contemporaries
^
-^

For Philoxenus, Timotheus (ineluding the newly-discovered Persae),

and Telestes see Jebb's Bacehylideg pp.

47-65 Weir Smyth's Greek Melic Poets

pp. 460-7 ; W. von Christ Gesch. der
Griech. Litt.^ pp. 188, 189.
8. eXevBepCav 'i\ii Kal ASeiav : it is
a mistake to out out Kal USeiav on the
authority of E alone.
An Epitomizer
would naturally omit the words, while
Diouysius' liking for amplitude and
rhythm would as naturally lead him
to use them.
Cp. Demosth. Timocr.
205 el Si ns elacpipei. vbnov ^f oB rots
y/iSs ^ov\opJvois ddiKety i] Tracr' i^ovo'ta
;

S\v

dSiKeT

TrbXiy Kal KaTaiffX""" T'^'ra,

The

"^^ *??"

rw

yey-narerac,

oBros

^'W

^'/, "/= ^"^""^ '^^11' ^^f 20. The repetition within a

and 176
few sentences is not inconsistent with
Dionysius' practice in such matters
cp. note on 192 19 supra.

^
)(,

DIONYSIUS OF HALICARNASSUS

198

BiaXoyeov

iv

ax;

S"

aipe<TK Ofioia ravrai';

iroXXa

<f>a)vrjevT(ov

rd? fiera^oXa^ kuI

dW' ean Trap' avTOt?

irepl

^vkaKt]

ravTTjv

ctXKav

10 eTnjvdovv

iirLKpiirTova-aL

ekaTrovoav tmv

eKeivov utt

Se TOt? /leT

aWmv

TrepKbavea'Tepov yiverai, tovto

ttjv

;!|^d/3tT6?

irapa

dfiop^iav,

tijv

eh

Kara rovro

ov Sr) diroSexopMi' ttjv

Koi avTm fiev laax; t&) 'la-OKpdrei "TroWal

fiepo<;.

ttjv

a-vfiifXoKrj'i

KOtrTovra

roiavra

iroXKa

a'lpecnv e/ceivqv

aKpoacriv.

TO

aXKa

avrrj,

r)

twv eKeivov yvwplfiav

o/ioetS^? axVM'd'Twv Tali's,

irepiohov kvkXo^,

ivayaviav

\or^(ov

^^

*"^

Kaiirep ^Seax; Kol fieyaXoTrpeTr&i

oxtroi

evTVXOV<n,v

Trdvv

ov

dWa

rjv,

avSpe?

a-vvdevre'} ol

5 TTOiKiXiav

^'

7 'Ia-OKpdTov<i koX

o^TC ovx V

XP^i'1-

"^"^

X'^^P'''^'"

chap.

KaTop6a>p,aT(ov

to afiapTrj/ia.

XX
eh en

KaraXelTreTal,

aWoi?

Kal yap rots

15

Kal

aXKo epyov

Xojo^

fwi

^pto/iatrti'

rod

irepl

airacrL irapelvat Bel

rov fiepov;,

tovtov

7rpeirovTO<;.

to

irpeTTOV,

Kai

ei

p/q

irepl /lev oiiv oXij?

rod Kparitrrov ye drvxei.
fiadeia yap
lBea<i ravTTji ovx o^''"*'? Katpoi dvaaKOirelv
ocra he
avToO Kal "TToW&v Trdvv Seop-evrj Xoyav f] decopia.

rrj<i

TL

ei

TOW

aTK^^et

iravToi;,

TOVTO

TO

(TvvTelvet

20 X070J',

el

Kal

p,r}

virep

pjipoi;

to,

irdvra,

Srj

irapd

Tvyxdva

ov

fj,7]Be

iroiovp^vo^

to,

ifKelaTa,

oti

TrpeTTOv

Tt?
et?

tov

oaa ye ovv

eyxtapet, Xeyicrda).
6p,oXoyovfj,evov
v'7roKeifievoi<;

dpfiorrov

irdatv

TrpocrcoTroK

Kal

Te

Toh

to

e<TTl

Trpdypjaaiv,

aiaTrep

eiTi Tt? av 17 p^v Trpeirovtra Toh viroKeiTrapdBeiypM

ovtw Br)'irov Kal avvde<ri<i,
TOVTOV XPV Xap^dveiv ttjv dXijOeiav.
o Be Xeyco, toiovtov

eKXoyrj TOiv ovofidTtov

25 pAvoi'i

Be

7]

Be aTrpeTTiy?,

Iv A,o-y(ov) F
2 o^x yj ye PMV
o^x V -^
EF tKetvo) PM eKeivtov V
3 dXXa Kal irepiSeiacr P
5 ets TrepioSov om. FE
6 rts post kukAos add. E (vocabulis cis
(^uXa/cij EF
TrepioSov omissis)
Ae^is P
om. V
7
(ftvcriKri M
dWa F
Siaipea-iv P
8 aipecriv F
10 aAA.at EF
om.
PMV
11 ajr' EPV: ovk ajr' F, M
twv aXXwv om. F
12
ytverat om. F
13 ets en PMV: eTi rts F
ert E
14 Kal
Schaefer as libri
airaa-i om. F
xpuiiiaxri F: crxij/nao-tv PMV
15

ws vayo)VLiov (om.

ov)(l

57

eKibVov

II

||

||

||

||

om.

oA.A,o

Trdvv

21

Kal

PMV

Aeyeo-^to]

&(nrep

Xap/3dvLV

ij

ei

koi

PMV

18 awoi; P: avrr) FMV

20 rot irdvTa PMV trdvTa F
23 dppoTTov F, E
appo^ov PMV
25 Kal E
Kal -q FPMV
26

8eo/tevij (Tcj>6Spa

yeveo-^o)

wcnrep

F:

el

II

8eo/u.ev)j

PMV

TrapaXap/Sdveiv

||

||

PMV

ON LITERARY COMPOSITION

XX

work

the third in the practical

methods of Isocrates and his

As

of forensic oratory.

much with charm and

The

com-

Isocratic authors

distinction

but in regard

to

change and diversity they are anything but happy.

in

them one continually recurring

figures, the" invariable

for the

followers, they are not to be

pared with the styles of those writers.

have composed

199

We

find

monotonous order of

period, a

many

observance of vowel-blending, and

other similar things which fatigue the ear.

I cannot approve

In Isocrates himself, it may be conceded,

many charms were displayed which helped to hide this blemish.
But among his successors, by reason of their fewer redeeming
that school on this side.

excellences, the fault

mentioned stands out more

glaringly.

CHAPTEE XX
ON APPROPKIATENESS
It

remains for

still

me

to

speak about appropriateness.

the other ornaments of speech

appropriate

indeed,

if

must be

the main essential,

this, it fails to attain

Into the question as a whole this

is

is

perhaps

fails altogether.

treatise.

say what bears on the special department which I

(part,

or

if

not

all

that bears on

it,

much as is possible.
admitted among all critics that

But

am

it

me

actually

nor even the largest

appropriateness

treatment which suits the actors and actions concerned.

the choice of words

may be

statement I

had best

is

that

Just as

either appropriate or inappropriate to

the subject matter, so also surely must the composition

2.

let

at all events as

It is

'

is

fails to attain

not the right time to go

a profound study, and would need a long

discussing

what

associated with

any other quality whatever

All

illustrate

The following passage emphasizes

in a striking way the supreme importance of variety as an element in excellenoe of style.

P's reading X^|i! may,
6. (froXttKli :
as Usener suggests, be a relic of 0i5Xa|is.
14. The manuscript reading is sug-

from actual

life.

be.

This

refer

to

gests the possibility that some such words

as eiprp-ai irpoTepov have been lost after

druxeiin

1.

16.

18. dfrroS, 'the matter,' 'the question.'

Cp. Eurip. Phoen. 626 airb iXTiiMvei (res

See also note on 140
ipsa dedarabit).
14 supra.

DIONYSIUS OF HALICARNASSUS

200

itmv
ovBe

ofioia a-vvdea-ei j^/jco/ie^a dfryt^o/ievoi koI ;s(;aipoi/T6?,

}}
d\o(l>vp6fievoi koX (po^ovfievot, ovS" iv aXKq> rivl irdOei

ovx

KUKW
T61V

ivel

epm.

dtrayyeWcoeri

orav

6vTe<;

ofwia

ovx

10 Tvycoffiv,

fiip/qTiKol ylvovrai

ravra

KOL pijTopa
15

\070u?

dWa

ahXci

elvai

fiovov

/Mr)

rm

iv

o iroielv e'ltodev o BaifiovicoTaTO^,

%la'vdiov

dvaKvXia-fi

/tijSev

Seiyfiaroi

lo-TtvF

F:

(^

II

Se

rj

oA.a)S

TTiTpov om.

koX

/xijSe

irapaSeiy jjmtos

av F:

oSv

ij/ias

Tapdrrrji

M cW

FP:

diraXXayPj';,

tovto

Be

[j/qSiv

PMV

tov
deovi

/ivjSe

4 Seiy/JMTOi

PMV

[ivpia
5 ejret juipia
10 aXA.a
dXXa Kal EF
BF /cat roi P,
ev m]
:

MV

evM

||

13

P:
20
21

||

aXXa

17 KaUep
om. EF
18 ourots EF tovtois PV tovto>
TrapaSeiyfiaTi V
iroXkZv F Itti ToWlav PMV
26 irirpov F: irirpov riva. PMV
:

ovv

ttw?

irpaTTtiv

|)

MV

PMV

atTiaPMV

rwv

irepi

OTav virep o^^ov

elvai KaTa-

ireTpov.

oAws

ij/tas

irapaXinrrji P,

PMV

Ta

dp^rixavov

OTav eh aKpov eXdr) iraXiv tov

PMV

irapdSeiyfia

T&v Betv&v

ireTpov

eavTOV

oi^et?

KaTaxdovi,ov<;

Toii?

<f)acri

ipS)

ttoXSmv.

ttjv

Td<;

xai

tovtoi?

Br/

eiirwv

fir/Bev

opdv.

pjjp'ijcr^at

OBvaaev;

^aiaica<;

iv

irdOrj,

Trj^

TreiroirjcrQaL

TrapaX-mriiv

8r)

diroBLBaxnv,

BtfjyeLTai

ttItttovto';

tov?

eh aBov KaTd^aaiv

ttjv

KaKmv

6^

aXX

waTe

Xeyojieva

rj

BvvaiTO irapaBelrffiaa-i

Tt?
tt/so?

Br)

Kal

nrXdvqv

yivofieva to, irpdrfp.aTa

oh dv

dirayyeXXav

tovto

iirl

tov

Bel

Bia(f}epeiv

Ti,vo<s

<rwTi6evai

^vcnicS)<i

7]nlv

opov

aSiXa

iravTav,

deC Tt Kaivovpymv iv avTolf Kol ^iXoTexv&v,

eicel

<^V')(ri<S

Kaiirep fieTpov ej^wi' ev &>? Ka\ pv6fiov<{ oXiyov^,

oXlya,

tovt

Trapayevo/xevoi

ofico^

20 Be

Se

dyaQov TToirjrriv
r&v Trpayfidrmv virep av av tov?
Kara rrjv eKKoyrjv t&v ovofiaTtov

-jraparripovvTa

Ka\ KaTo, ttjv avvQeaiv.

"Ofiripo<;

25

av
Trepi

crvvOea-ei

iirtrrfBevovTe'i

fjLt/MrjTiKbv

iKipepT),

oh

n-pdyfiara

IBeai

ev

avTov,

virep

t&v dirayyeXKofievmv koI

Brj

t^?

exot

irpe'7rovT0<s

elireiv

oXiya

ecprjKa

ry avrrj Karaa-rdcrei t^?

j^jOwz'Tat

ovSev

ovo/jLara,

dyofievot.

KOivorarov

avOpwrroi iv

avTol

ol

koI

ej^w

TrpoyeipoTarov

tuvt

eliretv

tov

^ovXo/ievo'i

eK\o<^i^ea6ab

d'rrda-a(s

oaa tk av

fivpla

oXax; ^fia^ rapdr-

ixrjBev

eueKa

Set7/xaTo?

-irapaXvirelv.

iroXX&v,

5 Trepl

orav ivOv/iw/MeOa

wa-irep

6vTe<i,
firjBe

TO,

chap.

MV

27

toij

1. It is implied that no general rules

can be laid down on this point, but we
must trust to nature, to the aesthetic
on
perceptions of the individual author,
the principle that "tristia maestum
vultum verba decent, iratum plena

minarum,

seria diotu,"

ludentem
Hor. Ars

An

lasciva, severum
P. 105-7.

early reading
Srav
TapArrji utiSk irapaXvT^.
7.
irpoxciptSraTov
3.

litrirep ei8vii.oiiu,e8a

may

have been

/jLi/Siv

lit.

'

S\ws ^/ios

readiest to

ON LITERARY COMPOSITION

XX

201

the fact that we do not put our words together in the same
way when angry as when glad, nor when mourning as when
afraid, nor when under the influence of any other emotion or
calamity as when conscious that there is nothing at all to
agitate or

annoy

us.

These few words on a wide subject are merely examples of

the countless other things which could be added if one wished

But

to treat fully all the aspects of appropriateness.

make of a general
same state of mind report

When

have one

obvious remark to

nature.

in the

occurrences which they have

the same

men

actually witnessed, they do not use a similar style in describing

all of

them, but in their very

way

of putting their words together

imitate the things they report, not purposely, but carried

away

Keeping an eye on this principle, the

^by a natural impulse.
good poet and orator should be ready to imitate the things of
which he is giving a verbal description, and to imitate them not
I

only in the choice of words but also in the composition.

Uhe

This

is

Homer, that surpassing genius, although he has

but one metre and few rhythms.
Within these limits, nevertheless, he is continually producing new effects and artistic refinements, so that actually to see the incidents taking place would
give no advantage over our having them thus described.
I
will give a few instances, which the reader may take as repreWhen Odysseus is telling the Phaeacians
sentative of many.
the story of his wanderings and of his descent into Hades, he
practice of

brings

the

miseries

the

of

place

before

our

eyes.

Among

them, he describes the torments of Sisyphus, for whom they say

that the gods of the nether world have made it a condition
of release from his awful sufferings to have rolled a stone
over a certain
invariably

falls

hill,

down

and that

The verb n-pox^^ptt^cSai is

used often by Dionysius (76 2, 236 21,
250 13) in the meaning 'to select.'
hand.'

Tovra 8^ iraDOTTiDoBvTa Dionv

would (as the trend of his argument
throughout the treatise shows) have an
13

sins

author not only observe, but improve

upon, the methods of ordinary people.
There is no real discrepancy between
this passage and that quoted (78 18
from Coleridge's Biographia
supra)
Literwria.

impossible, as

this is

again just as

it

reaches the top.

Now

it is

oXtYous: the two

and spondee) apparently
Of course, the hexameter

pi>9|iois

17.

(dactyl

the stone

feet

are

line
meant.
'^^^ ^ ^ divided as to yield longer feet
<=h
the ^a,cxos (see 206 11) or the
colossus; but such divisions are not

natural.
18. KaivoDp-yfflv
see D.H. p. 46.

Kal <J)i.Xotxvv

26. Here, and in 202 8, ircTpos is used

to represent Homer's Xfias: in 202 10, 13,
iriTpa.
6x^os (202 9) = Homer's Xi^os.

DIONYSIUS OF HALICARNASSUS

202

ravra

STjXcoa-ei,

Kal

^ TOi

'^epcriv

6 fiev

a-KrjpiTTTOfjLevo^

avv6e(TL<;

17

re TTOcnv re

t&v

hriKovcra

fj

irorl \6<f>ov

eariv

e^ovra,

aXr/e

d/MipoTeprjcriv

Xdav avw adeaKe

10

Kparep

ela-elBov

%i,avc\)Ov

(ir)v

Xaav ^aerrd^ovra TreXcoptov

ivTavda

avvQecnv t&v

rr)v

avTr/v

a^iov toeiv

ovofjLaTwv,

Kar

koa,

fiifiTjTiKW

chap.

eKoarov,

yivo/juivcov

t^9 7^? KLvrjaiv, rov

KwKoi'i, tov dva^aivovra 7rpo<; tov B^Oov,
Si,epei,B6/j,Vov rots
Kai
ovSel<; dv aWw; enrol.
TTjv fi6Xt<; dvco6ovfiev7]v ireTpav
TO fidpo<}

Tov ireTpov,

irapd

ryeyove

iiriirovov

ttjv

iic

TL

irp&TOV

TavrofiaTOV.

aTTo

eKacrrov

tovtcov

ov

At

fid

Toh

ev

fiev

ei^

hval

ovB

76

oh

o-Ttj^ots

dvaKvXiei T7)v irerpav, e^co Bveiv ptj/idrcav rd Xoiird rrji Xefew?

eireira
fiopta irdvr iarlv fjTOi SiervXXa^a rj fiovoavKKa^a

15 Tto

TrXeiov;

r]ixL<Tei

t&v

ev eKwrepa)

20

crri'xcov

ovofiaTcov

dpfioviai

aia-0r]T&<;,

rj

ri/j,i,<f)a)V(ov

re Kal

Kol

t&v

TOV epyov

Be

Kal

ttot

Brj

pv6iio2<; re

jrXeiar'qv

t&v ovofiaTav

FMV

-^^vyfia

F
:

10

^apv Kai to fioXi,<;

Kal r) t&v TpayyvovTmv

to

/idA.is

EF

/ioyts

EMV

1|

Cp.

Demetr. de Eloc. 72
x''P'*'^'''W'

iv

Si

ciyKpovins

&v Trpiirovira firoi Slcl

Kal
IxaKpdv, &i t6 "\S,av Sew &6e<rK."
yap 6 ffrixos fiTJKds tl ^ux^v iK ttjs avyKpo6<rei>K,
Kal yue^uf/iMjrai toO 'KlBov ttji'
ava(pophv Kal piav.
rb
So Eustathius
Si "Xaav S,v<ii&$e(TKe !roTl\6<pov" iiraive'!rac x^P^^ '^'n^ (yvvdi^KTis.
ifupaivei ykp t^v
Svcrx^petav tov ttjs (iffijtrcws Ipyov rJ t&v
Trapa\afi^6.voLT

||

EF

ipiavTifvTuiv ciraWrjXltf, dt

arbiia,

PMV

19 re (post
22 toiis EF

piv iv
15

PV

diracrai

aXA,os

||

12

/ieyaXoirpeirel

PMV

av F
o^ yap PMV
13 dvaKvXUi EF dvaKivei

oi5k

e^ovaai

Tiva<i

crTr]pijfiov<!

avTiTViriav Kal

6.

Bta^aaiv

e')(pv<n

16 hreira Tra.o'ai F
hreid'
Sia^e/BkiqKaa-iv F
18 ypappdroiv FP
om.
21 ttot ovv F cm. PMV
pvdpok) F re Kal EPMV
25 fiapv EFM^V
om. PMV
poXis
fSpaSv PMi

T(?

SaKTvXoi'i

re Kal BiavXXa^oi Xe^eii, iroXXov^ toi/?

9 oxA.ov
8 ti.kTpov F
11 ov p,a At' Radermacher
Schaefer pev
Iv P, E

paKpal om.

t&v

rj

ovv tovtcov eKaarov BvvaTai

al Be jxaKpal crvXXa^al,

fieTa^v

(TvvaTTTOfjLevcov

iravv

Si.e(TT7]Ka(ri

{TvyKpovofievav

dXXijXcov diroXeiirovaai, to j(^poviov efiifi/qaavTO

Kal iyKadi(7fj,aTa, ttjv

TO

Kal

evfieyedei,<;

fj,7]Kla-T0ii

tL

/lovoa-vXXafioi

fjbeTa^v yp6vov<s

25

Sia^dtTec'S

d^&vwv

airovSeioK rots

fjuev

/jLaicpal

<p(0VT}evTa)v jpafjifidTcov

diravTa avyKevrai.
ai

avXTui^al tmv ^pay(eiS)v

eireiTa irdcrai Bia^e^rjKaaiv ai t&v

at

elcrlv

oix iarai. Tpix^i'"

poyK

PMV

&v dyKoivrwv t4
o

\lyyos,

dKVTjph ^alvei ffvve^ofioto^fievos

dXV

"tq ipyo)Sli^

toC Sku <i8etv.

The Homeric passage is
imitated in Pope's Essay on Criticism^

"When

Ajax

strives

some

rock's vast

weight to throw, The line too labours,

and the words move slow." For the
effect of the long unblended vowels cp.
the iirst of Virgil's two well-known lines,
|

ON LITERARY COMPOSITION

XX

203

worth while to observe how Homer will express this by a

mimicry which the very arrangement of his words produces
:

There Sisyphus saw I receiving his guerdon of mighty pain

A monster rock upheaving with both hands aye did he strain

With

feet firm-fixed,

That rock to a high

palms pressed, with gasps, with

hill's crest heaved he.-'

toil

most

sore,

Here

it is the composition that brings out each of the details

the weight of the stone, the laborious movement of it from

the ground, the straining of the man's limbs, his slow ascent

towards the ridge, the diificulty of thrusting the rock upwards.

No one will deny the effect produced. And on what does the
execution of each detail depend ?
Certainly the results do not

come by chance or of themselves. To begin with in the two

lines in which Sisyphus rolls up the rock, with the exception
of two verbs all the component words of the passage are either
:

Next, the long syllables are half

disyllables or monosyllables.

numerous again as the short ones in each of the two lines.

Then, all the words are so arranged as to advance, as it were,
with giant strides, and the gaps between them are distinctly peras

consequence of the concurrence of vowels or the juxtaand mutes and the dactylic and spondaic

ceptible, in

position of semi-vowels

rhythms of which the lines are composed are the longest possible
and take the longest possible stride. Now, what is the effect of
these several details ?
The monosyllabic and disyllabic words,
leaving many intervals between each other, suggest the duration of
the action while the long syllables, which require a kind of pause
and prolongation, reproduce the resistance, the heaviness, the difficulty.
The inhalation between the words and the juxtaposition
;

Homer

Odyssey

" ter sunt conati imponere Pelio Ossam

atque Ossae frondosum involvere

xi.

593-6.

Olympum"
, _

15.

(Georg.
,

281, 282).

i.

suit IS reached.
is counted long for the
syllable of
perception
purposes of the argument.
of the difficulty may have led to the
.
omission of iimpai

18.

The meaning

is:

'either

In

xparepd,

'KS.av

^aari,-

204 15 the words tt^SovSe

kuXIvBcto may be taken to express the
bumps of the stone as it rolls down.
22. Cp. Quintil. ix. 4. 98 "est enim
qoddam in ipsa divisione yerborum
\^ -^^ pentametri medio
{^^^^^ ^.^^^
^ovra].'
'

how this rePerhaps ml. 6 the last

,

It 13 not easy to see

dcreidop

"ZLavtjiov,

scilieet,

by

re-

petition of vowels [S.\ye' ^o^ra, XSaK] or

by the juxtaposition of semi-vowels and
mutes [with the semi-vowels first /lifv
:

'

jeo,

alterius

qui

alterius verbi fine

constat,
yersiim non
effect of the short syllables
nisi

initio

efl5cit." The
in counterfeiting delay may be illustrated by Cio. pro Milone 11. 28
"paulisper, dwm, se uxor, ut fit, comparat, commoratns est."

DIONYSIUS OF HALICARNASSUS

204

tA BiaXeififiaTa

jpafifidraiv irapddecri'i

tov

Kal to

iiro'x^a';

/ieye0o<i

fi6')(dov

ol

iv

S"

pvOfjiol

firjKei,

tov
t^v eKraaiv r&v /leK&v koI tov
TavTa
ov
OTl
Kal
KvXiOVTO'i Kal TTjV TOV TTETpOV epeiCTlV.
/it/^'jo'ao'^a'
iaTUV avTO/iaTi^ov<rr]<i epya dXKci, Te^vVS
(j)va-ed)9
SieXKya/iov

dempovjjievoi,

Kal ras

ivepyeia<i

Trj<;

chap.

Th

yivofieva,

to,

'7reipmixivt)<i

tovtoi,<;

Xejofieva SrjXoi.

efjj?

aTTO t?}? Kopv<pri<; iinffTpiipovcrav iraXiv Kai

yap
Kal

tov avTov

ov

irerpav

crvvdeaiv

ttjv

crva-Tpe-yfra<;

aW*

Tpoirov,

qpfji'^vevKe

re

iiriTa'^vvai

yap

irpoearuiv

ttjv

KaTaKvXiofievrjv

tw avTm

ev

10 <Tj(rjp,aTt

oKK

OTS fieXKoi

oLKpov virep^aXeecv

tovto

eiri/rlOrfai

TOT

T(ov

avvOeai';,

fiaXKov

TJj?

aTrayyeXiai;

Td')(p<i

aWia
20

tS

avyKaTaKeKvKicrTai

ov')(i

TOV

fjLovoavXXa^ov

aTi')(p<;

Se Bvo ii6va<s 6%6t

tout'

Xe^ei<;.

TOV'; vpovov<;

dXTC iirLTayvvei

ovawv

CTTi'x^ai

Kal

1
.

hma

ovK avTat

jxaKpai,

Be

iv T(S

Tcis eiroxas

EF

KaTaKvX.ioixevr]V

Kvkio/jLevov

TTiTpov

eiriCTTpeil/aiT

k P,

EF

ivTaKaiBeKa avXXa^&v

F
(TTiv F
'la-TTja-i F

EFMi

emcTT&jjaiT {p suprascr.) koI F,

ut P: Kparais F : KpaTaifj is
:

Kai
Srj

oijS'

F
If).

o^v

||

iirL(rTpi<j>ov(rav
.

Kara-

14

airoa-rpeipaxTKi

PMV
PM

15 a^di?
18 ipot re

iSeiv

PV

tSetv a^bov

MV

0^8'
21 oSi/ Kai F(E) ovk iat P,
ov fitio-TTja-t E
||
SceaTriKemi
24 Se F
Se /iovai
ovS' F
aSrai F: a^raj
rcAeiai
reXeioi FPV
KaraoTrao-Sai F
Karea-Trdcrdai
Karecnracrdai

PMV

PMV
PMV
the

PMV

to the valley

remorseless"

(Sandys, in Jebb'siJActorico^^mioWe p.
Voss marks the contrast between
172).
the slow and the rapid line by translating the one by "EinesMarmors Schwere
rait grosser Gewalt fortheben," and the
other by " Hurtig mit Donnergepolter
entrollte der tiickisohe Marmor."
For

1|

||

PM

II

boulder

PMV

II

"Downward anon

rebounded

PM^V

MV

MV

tovto)

PMV: crvyKvXieTai EF
ravTTjv PMV: ravT-q^ F
a^ioy

19

epol

iTrurrpecjiOVTa

Kai

KaTaa-irdarOab

Brj

6 rfiv
.

KparaXHorn.
16 (TvyKaTaKeKvXuTTai
II

a-vXXa^au, e-KTa

fipa'^elai

PMV

rov
13 toOto

SiavXXa^ov;

koI irpStTov ov hdaTrjai

ovv

to

KaTa<popav StjX&v

ttjv

ovSe/iiav,

dvdyKij

tcov ovofia-

rf

Xidov ^opav

Kal Tt? evTavOa iraXiv

fiev

elai

Jjroxas re

PMV

tov

eireiO^

fiAv

TeXeiot

werpav

irerpas

SoKel.

efioiye

t^9
tjji/

I3dpei

e^OaKe

Se

Kal yap TavTrjv a^iov iSelv

TTCTpov

eireiTa ireZovhe KvXlvBero \aa<; dvaiBys.

avTti;

15

KpaTau<;

i'n'to'TpeyfraaKe

||

similar adaptations of sound to sense

op. Lucret. iii. 1000 "hoc est adverse
nixantem trudere monte saxum quod
tamen e summo iam vertice rursura
volvitur et plani raptim petit aequora
campi" ; Virg. Aen. vi. 616 "saxum
ingens volvunt alii, radiisque rotarum
|

distrioti

pendent";

id.

ib.

viii.

596

" quadripedante putrem sonitu quatit

ON LITERARY COMPOSITION

XX

205

of rough letters indicate the pauses in his efforts, the delays, the

The rhythms, when it is observed how longbetoken the straining of his limbs, the struggle
of the man as he rolls his burden, and the upheaving of the
stone.
And that this is not the work of Nature improvising, but
of art attempting to reproduce a scene, is proved by the words

vastness of the

toil.

drawn-out they

are,

For the poet has represented the return of

summit and its rolling downward in quite
he quickens and abbreviates his composition.
in the same form as the foregoing,

that follow these.

the rock from the

another fashion

Having

first said,

but a

And
he adds to

atop of the ridge would

it

little

more.

rest

this,

Bushing the

pitiless

some Power back turned it again

boulder went rolling adown to the

plain.^

Do not the words thus arranged roll downhill together with the
impetus of the rock ? indeed, does not the speed of the narration
outstrip the rush of the stone ?
I certainly think so.
And
what is the reason here again ? It is worth noticing. The
line which described the downrush of the stone has no monoNow this, in the first
syllabic words, and only two disyllabic.
place, does not break up the phrases but hurries them on.
In the second place, of the seventeen syllables in the line ten
are short, seven long, and not even these seven are perfect.
So
1

Homer

Odyssey

596-7.

xi.

ungula oampum
(in imitation of Jl.
xxiii. 116); id. ib. v. 481 "sternitur
"

exanimisque tremens prooumbit humi

bos"; id. ib. ii. 304-8 "in segetem
de vertice pastor" Racine PMdre
.

I'in6 "L'essieu crie et se rompt

Voit voler en
Hippolyte
tr^pide
Dans les
dclats tout sou char fracass^ ;

V.

rSnes lui-meme il tombe embarrass^";

Pope's "Up a high hill he heaves a

huge round stone" (Odyss. xi.) or his

"That like a wounded snake drags Its
slow length along" {Essay on Criticism),
as compared with his "Thunders impetuous down, and smokes along the
ground"(0(i2/ss.xi.). It is an interesting
question whether Dionysius overstates
Homer as
his case when he makes
conscious and sedulous an artist (d ti
KaivovpyCiv xal (pCKorexyi'iv, 200 18) as any
'

later imitator.

It

is,

'

however, unlikely

Homer

Odyssey

xi.

597-8.

who were
lateenough toproiluoeoonsummatemusic
were insensible to the effect of the music
they produced. But great poets in all
ages have had their ear so attuned by
long use and practice to the music of
sounds as to choose the right letters, syllables, and words almost unconsciously.
Useuer reads ravr ijv
19. TailTT|v
but (1) Tairrp/ refers naturally to aWa
(8) with &^lov the verb is often omitted,
e.g. 186 19, 202 2
(3) if there were a
verb, iarlv would here be more natural
than ^c.
that even the earliest poets

22.

The meaning

is

that the absence

words implies the absence of

frequent breaks, and this absence oouof short

tributes to rapid utterance,

Thediph24. reXeioi, perfect longs.
thongs in oSris, ^Treira, and avaiSifs,
nature
they are
long
by
are simply
;
'

'

<
y

DIONYSIUS OF HALICARNASSUS

206

crvcTTeWecrdai ttjv ^pd<nv

en

KOfjAvtjv.

rjjjbtf^wvov

T^s

tovtok
ovre yap ifxovijevTi, (fxovfjep ovre rjfii^wvm
Srj
Tpa-^^yveiv ire^VKSV Kol Bucrrdvai,
a<p(i)vov, a

rj

a'Ta<Ti<; aladrjTrj

koI

yiverat,

Oavfid^etv

cnrovSeio<; ovre /Sa^^eio?

T^9 reXeuTJj?

ol

TrdvTeg

15

ovBev

tS)v Tpoyaimv.

eyy evrjTai,

av
20 KaXf)v

fioL

/Mev

Sera Be

(rvvdeaiv ev

ttjv

TrXijOo!;

re

BvcnrepoXi^'irTa

KaraXeiTro/Meva

elprjcrOai,

(TVCTTeXecrdai

PMV

iv

eiireiv.

tou?

/j,eXXovraq

iroirjTiKfi

TjBelav koX

Koi Xoyoi<;

dfj,eTpoi<;,

p,ia

ravT

ypa<f>y,

iv rats xad'

koI TroXXav Kal dyaOmv

koi crvyypa<f>e(ov xal prjTopcov fiapTVpioi'i

rd

dvaryKaia

Toiavra Bei^ai

Bo^ap icrn rd yovv Kvpimrara koX Kpdna-ra.

old re ?iv, eXaTToo re ovra tovtcov km, dfivBporepa

25 iroLTjTosv re

Be

e')(pi

toiovtcov

eic

<f>pd(7i,v

av

fjfiepav yvp,va(7l,ai<i irpocrvTroO'qa-ofiai a-oi,

vvvl

iroXv Bia^epeiv

ifirjv

oii'x^

Bid,

(rroy^d^ecrOai,

Set

oSi'

ein

koX ovroi

Be dTro-^prjv Boxel Kot ravra,

e/Mol

ovre

ir^.rjv

ro avrnrparrov icrrlv evrpoj(ov

koi irepX tS)v aXKoav

TTOirjaeiv

TavTa Kar
KOL

Xeyofieva

'Ojj/rjpm

T^palKov,

tTTtj^o),

firj

Be

twv

BdicTvkoi,

elcrl

Koi irepi^epri koI xarappiovaav elvai

iroXXd ti,<;
<TvyKeKpoT7]fievr)v pvdfi&v.
irap"

to3

p,ia

ovBeli;

pvdfio<;

d\6yov^, Sa-re
Br)

Tiva

aKpi^eiav.

fierpov

el<}

Sid-

avvoKiaOal-

rpoTTOv

dp/j,ovia>p

eyKaTa/jue/UKTai

dXXoi

B'

dWa

icai

a^iov,

yiverai

Br)

oil

Xe^ecov,

iriiTTeiv

irapaBeBifuy/jbivai; 'i-^ovTei Ta<;

e.vLov<;

t&v

rSiv

ttjv

Bi,ci

ej(ova-iv

(fyvcriv

o'l

TrapaKeifjuevov.

avyicara(f>epovTai

aWcov

r&v

/MaXicrra
10 fiaicpMV

eari

BorjpTTjfjLepcov

firj

dXKrfKai'i

i^ dTracMV

ovBiv

dpfiovla<;,

vovcriv

i<jie\-

owS' ovojMa airo ovofiaro^ a^ioXoyov

7roo9

Bidaraa-iv

eiXr}(j)ev

t&v crvXKa^&v

^paj(yT7)Tt

rrj

chap.

5 SidracrK

ravT

wv
ert

crvvTikeicrdai

koI

uTrec^o/iTyi/
irpocrdel';

to5

Xoya

4 Siurrdvai

8iij/3Ty/*ev7;

yp'^a-o/jbai.

ovBevbi

rjTTOv

-jravcrofiai
:

SiurTavetv

10 ^pmiKhv

MV

12 oStoiF: oBtoi ye PMV

17 Soke? koi YM
eSoKei P:
etSoKei V
19 ijSerai' Kal KaXrjv F: KaXrjv Kal ijScrov
PMV
23 /iiSi F: pri FU: om. V
24 o-ot Kal PMV Kal F
dyaOiav Kal 7roir]T(ov re (re om. M) Kal P,
25 papTvploii F
papTvpL(ai) P papTvpiaii
26 vvvl F vvv PMV
ijjowtov P,

MV

The o in
in KvXlvSero, are long
by position but not by nature. The a
in XSas, and the j; in dvaiSiis, are long
by nature but not (in the former case) by
position.
"Of the seven long syllables
not long by position as well.
iriSoi'Se,

and the

not one except the last contains more

elements than are needful to make it
pass for long and at the same time avoid
hiatus ; that is, no long vowel or diph-

||

thong

followed by more than one contwo consonants occur only where

required to extend a short vowel to a

sonant

is
;

long syllable " (Goodell Greek Metric p.

175). Compare 160 22-164 3, and see also
Gloss. s.v. riXews.
here has riXeiai
(not xAeioi) : op. -reXe^as in 174 1.
1. t^ PpaxvTT)Ti kt\.
i.e. the utterance must necessarily be rapid when the
syllables are short and trip along.

-.

'

ON LITERARY COMPOSITION

XX

20^

the line has to go tunibling down-hill in a heap, dragged forward

by the shortness of the syllables. Moreover, one word is not

divided from another by any appreciable interval, for vowel does
not meet vowel, nor semi-vowel or mute meet semi-vowel
conjunctions the natural effect of which is to make the connexions
harsher and less close-fitting.
There is, in fact, no perceptible

division if the words are not forced asunder, but they slip into

one another and are swept along, and a sort of great single word
is formed out of all owing to the closeness of the junctures.

And what

is most surprising of all, not one of the long feet

which naturally fit into the heroic metre
whether spondee or
bacchius
has been introduced into the line, except at the end.
All the rest are dactyls, and these with their irrational syllables
hurried along, so that some of the feet do not differ much from
Accordingly nothing hinders the line from being rapid,
trochees.
rounded and swift-flowing, welded together as it is from such
rhythms as this. Many such passages could be pointed out in
Homer. But I think the foregoing lines amply sufficient, and I
must leave myself time to discuss the remaining points.
The aims, then, which should be steadily kept in view by
those who mean to form a charming and noble style, alike in
poetry and in prose, are in my opinion those already mentioned.
But
These, at all events, are the most essential and effective.
those which I have been unable to mention, as being more
minute and more obscure than these, and, owing to their number,
hard to embrace in a single treatise, I will bring before you in
our daily lessons, and I will draw illustrations in support of my
But now
views from many good poets, historians, and orators.

I will go on to add to this work, before concluding

remainder of the points which I promised to treat

the discussion of which

is

as indispensable as

2. " Again, as between words, there is

no hiatus, no semi-vowel or mute meets a
semi-vowel, there is no rhetorical pause
and no el sion, the words almost run

tn^othpr into one

together
^'

11. paKxetos

" (Goodpll Greeh Metric

(i^ooaell hree/c Metrtc

see note

on 200 17 supra.

14. rpoxaCoiv

^pax'^wv,

Sauppe

any

it,

of,

viz.

the

and

what

Schaefer suggests rpixopefui'.

>

,o V7'v,,Tat
a^u^., ^om
vi
;
cp
_ l^^ ^ /^"dpioi. ti.h>, ofs &v iyyivnrai. rhv
^^j^ ^^ ^oXi^ov eplafipc Karayii-yeip.

A^m.

I" ^}

'"''"^J, t^^,^'

99^t'lc

k fZnl

long syllables in viSovSe and KvKlvSero.

With

Usener's conjecture Tapafie/uythe meaning will be "and these

too are such as have irrational syllables
incorporated with them."
/livas

23. 4v rots Kafl' ijit^pav -yviivao-tais :

this is one of the incidental references

which

show that
Rome.

rhetoric at

Dionysius

taught

'

DIONYSIUS OF HALICAENASSUS

208
*

\d/3rj
5

Be

ttot

^pdaiv

ev

koX

\070i;

Tre^m

Xo7p

a'^eBov

ravr

<yap

ol

ev

rf/

ej^ovaiv

tovtcov,

irepl

ire^rjv

fiev

rS tov
to3

efj,<f)ep7i

troirjaavTe';
Br)

ttjv

-Troiel

aefivoT-qra

woiTjriKfiv

Kpariara BiaXe'x^devTe'; rj
ireipaTeov
rdyaOd.
Xe^ei

^pov&,

dvo rov irpunov.

dp^o/jLat B'

\iyeiv.

BievKpivrjerai

fievovaav

avTal<i

orav oe ravTa
ra irapa rot?

irapaa')(etv,

<j)aive<r6ai

e/cacrTi;?

ev

irpcoTevtravTcav

iffTtv

iroi7]TiKr)v

ttjv

<f>vXdTTOV(rav

KCLKeiva

tL

TrotTj/iart

rrjv

(r)(riiiaTi,

10

rare

airopovfjueva,

Xe^iv 6/iolav

eKaarov

koX

crvv6e<rea)<;

rrji;

t&v re

ttoKv,

Seiyfiara

TeXo?,

fioi

TToXXot?

to

eirl

Kol

fiVi]<r6i]vai

Bta^opal

elcrl

Tii/6?

m?

vapaKTrjo

chap.

XXI

15 Siairep

ov

aKpi^rj,

avrd

<^dpp,aKa

ypd<J30VTe<;

ovBev

eoiKora

avTov rpoirov

Toh avToh

ayopevcrai

avcTTrjpdv,

Trjv

Be

yXa(f)vpdv

hiatum indicavit Schottius

Kal ravra

PMV

SuvKpiViqa-w

||

X6y(^ om.

Kara P

airdirri

PMV

(<j}y pa<f)ia

II

Hbri

aKaTovojuacTTois

(E)

13

iSuopaTa

PV

eis

Be

5 /iv

||

P,

MV

F:

om,
:

8e

14 'iSiov r/pav
16 ^avAo) F
19 Trda-g Us.:
25
om. PMV
:

PM
EF

ttjv

TpiTrjv

11 Sc djro
Sta^opas jroXAas

x<''P<'"''''W' -^

20 airavrts F
22 /tovas
26 ^ dvOrjpdv om. P

ttjv

irpoo'-

kuXm

MV

a-vWoyicrphv

{lu-y/Dat^taito

elvai

Bia^opa'i

avTa<;

4 KaKeiva

PMV

tSiKas

Jkoiotcj)

F:

dvOTjpdv^,

2 re om.

avv-

avTo,

ovo/iaTa OrjaeTai

ey^tov

FM:

irdcrrj

TavTa<;

avT&v Kal ra?

om.
9 ^ om. P

rot's

||

PMV

Xo.poi-KTrjpa]

<f>av\tiis

PV

12 t8iKas

TToXAas &ia(f>opas
Ikoio-t^

aXXy

o/j.ot,ci)<;

^ovXofievo'i

[^

tov

fiiyp^ara,

dKaTovofidcrTov; fieTa^opiKoh 6vop,acri

to?

yap ev
ra folia

ol

ttj

Bi,a<f)opd<i

ovofiaaiv ovk

Kvpi,oi<s

Ta

ical

ov'x^

aurij?

ah

ra? Tpeh,

iyco jxevTOi

dicovcrrj.

3.

irdvTe's

yeviKd<i

TrapaKoKovOeiv,

aairep

dXX7j\ot9

eh

j^apaKTrjpa

diravTe's

BcaXe/CTa)

eireiBav tov^ Te ')(apaKTfjpa<}

TO, olxeta,

pbev

Te

y^^pco/ievoi

jjuevTOi

p,ova<;

Treidofiat

25

ovofiaai
Td<;

TuOefiev.

^(pypa<f)ia

ttolovctiv

ironjTiKy

ev

eKdartp

ovofidroiv

Xafi^dvovrei

a-(f)oBpa

ovt

Bvvap,eva^

^fimv

iBiov

^pa)[ievo<;

to,

TroWa?

Bia(f)opa<}

ekdelv

avvdeaeeo';

TrapaBelyiiaTi

(f>avXq}

re

koX

/lev

avvo^^iv

oiofiai

ovrca

o-^emii,

i/ceivy

20

eh

koI ovr

etvai TiOefiai,
Xoyicr/jibv

elBiKa^

<rw6k(Te(o<;

TJjs

e'fyeb

PV

As the sentence

flnitives fivri<T6rjvat,

stands,

vapaax'^'i"

the

and

in5iew-

Kpivrjaai are without regular government.

PovXd/iepoi njay be inserted after jra/ij(rOTjvai., or (as IJsenor prefers to think)

something like ivayKoiov

y(i,p

iiyoO/juu

Tpurrov niv irapaaTriaai. may be supposed

to have fallen out between iraiaofuu and
rives.
7.

Dionysius' practice of variety in

ON LITERARY COMPOSITION

XXI

the different

are

styles

209

and what the usual

some mention
of those who have been eminent in them, and will also add
examples from each author.
"When the treatment of these points
is completed, I must proceed to dispose of certain difficulties very

mark

distinguishing

composition

of

of each

I will include

is.

what it can be that makes prose appear like a

retaining the form of prose, and verse like prose
though maintaining the loftiness of poetry; for almost all the
generally felt

poem though

best writers of prose or poetry have these excellences in their

style.
I must do my best, then, to set forth my views on these
matters also.
I will begin with the first.

CHAPTEE XXI
THREE MODES, OR STYLES, OF COMPOSITION
any hesitation that there are many specific
and that they cannot be brought into
a comprehensive view or within a precise enumeration I think
I assert without

differences of composition,

too

that, as in personal appearance, so

position, each of us has

in

also

an individual character.

literary

com-

I find not a

bad illustration in painting. As in that art all painters from

life take the same pigments but mix them in the most diverse ways,
so in poetry and in prose, though we all use the same words, we do
not put them together in the same manner.
I hold, however, that

the essentially different varieties of composition are the three follow-

ing only, to which any one

who

likes

may

assign the appropriate

names, when he has heard their characteristics and their differences.

For my own part, since I cannot find recognized names
for them, inasmuch as none exist, I call them by metaphorical
terms
the first austere, the second smooth (or florid), the third -^

his

own

dfiipeprj
1.

style is shown by his use of

here, as compared with o/iolav in

6.

12. This and the following chapters

should be compared carefully with de
Bemosth. cc. 36 ff.

21. For Greek views as to types of

style in general (not simply kpiuovlai)

reference

may

be made to Demetr. pp.

28 S.

At

this point in the Epitome, the

^^= ( *^, "'"gin) 6
P^*^"^* ^^^
S^
tA ^i- t,s <^l'e^w^ap6^
24.

H Wapxos

'"^

i
26.

'^X"/",

rbSi ^4aovKa\ei

av6T]pav
cp. 232 25 (where P
again omits the second epithet) and 248
9 (with critical note).
i[

DIONYSIUS OF HALIOARNASSUS

210

evKparov

OTrw?

rjv

yiveaOai

ttots

chap.

airopw,

eytoye

civ,

(fyairjv

Kurk <TTepri<nv
Kal "Uxa jMoi voo'i arpeKSiav elireivj'
yap pdSiov
ov
T&v uKptov eKaTepai eke Karh fii^iv
on Kara
Xeyeiv,
ovv KpeiTTov y
fii] ttot
elicda-ai to a-a(j>e^.
oi
Bia
opmv
TTfv avealv re koX rrfv eiriraa-tv t&v i<T')(aTa)v
/lovaiKj)
ev
ov yap (oa-irep
fieaov yivovTac ttoWoI ttovv ovTe<i
e'lre

TO

ia-QV

dire'xei

\6yoK

TpoTTOv Kal iv
XtTov

Te Kal

t&v iv irXaTCi Oeoapovfievcov

aXXa voWd. dWd yap ov^ ovto<;

eaTt

XeKTeov o wairep virT0 Oetapia TavTy

t&v ^apaKTijpav ov^ airavff' o<y av enreiv

Kal irepl

yap av

evpifii ijjMKp&v

tov avTOV

^earj,

fi

eKaTepov t&v aKpmv

^(apaKTrip

fiecro^

Kal

acopbi

vTrdT7]<;

T179

dpfioTTcov

Kai,po<i

eOifi/qv,

aXX'

d(j)ia-T'r)Kev,

10 dyeXj]

Kal

v^ttji;

Tri<;

irdw

/jloi

dW

\oya>v),

Sejytrete

avTa

^avepcoTaTa.

TO,

XXII
TJ}?

15

odv

p,ev

aviTTrjpdv

epeLhe(Tdai jSovXeTai
vetv

Te

direveiv

aladrjToii ypovoi^ Steipyofieva

20

dvTCTVTTOK

Kal

yivovTai t&v

1 iVKparov
3 pi^iv F

Koi T^v
veaTJjs

F:

(is

PMV
PMV
PMV

Schaeferus
Se^creiv

otP:
liJr)Ze

1.

XoydSr}v

olov

MV
apyoX

Kara t^v

FPMV
5 re

vjjtijs

||

aiSe

mi

irbrepov
Attice, consilio,
Slxf retxos fl^ioi',' id est utrum aperte
'

hominemaspemeretreapuam, '^(TKoXiais
dirdrois.'
ut enim Pindaro sic Slxa /loi
omnino moribus
1/605 arpixaav clTeiv.'
'

P
F
F

open to

it is

11 Sxnrep
av ins.
oo-a dwetv codd.

MV

yap

II

Here (and in 246 11)

iuva,

II

question whether Koiviiv does not lit the

context better than efcpaToi'.
2. The passage of Pindar is quoted
in Cic. Ep. ad Att. xiii. 38 "nunc

me

2 Kara

12 Kai F: om. PMV

13 av /^ot F: av olpai PMV
Se^trete F: Seijcrei
17 jrep^e/)6as F
18 Siaracrets F
20 oiat
21 at iJ.7)Y: ai /i^re P,
22 xai prj
Se]

ai

dpyaX Be nve<; Kai

P ^v F
Kara t^v FPMV
Kara E
KOI F
(cat E
6 ev om. P
7
8 xapaKTrjp om. PV
9 urias F

4 ^6

olat

XuBcov

olKoSofiiai'i

^daei's,

PMV

'irdKXa')(rj

hia^epei,

avTJj

avvTiOefievcov ev

Kotv^v

d^ioXoyov's

Te '^rjaOat

ovSev

avve^eap-ivai

opacrOai,

ovo/ia

Bia(rTd(rei<;

Tpa')(elai<i

Xafi^a-

{|

MV

EF

p,}}

avfi^oXal';

Tai<s

evymvLOi Kal

fii)

fiopia

to,

^apaKTrjp

cTTacrei'}

sKaaTov

Trepi^aveiai

eK

dXKrjXtov

dir

da^aX&i Kal

Ta ovofiaTa

wo"t'

l<x'vypd<:,

ToiocrSe

dpfiovia<}

meis illud
temporibus.
3.

Kard

|it|iv

de Demosth.
iKaripas rd

c.

36

sc.
oi

rdv

fortasse

S-Kpuv.

Op.

Si a-wOivrcs

xP';"'''A"fr''<"'<'

i^Xwsav

hoc

sed

aptins,

''"'I''

/jj-kttiv

&<p'

Kal

iyuyiiv.
i. f,i\ iroT . . g : a favourite Platonic
usage, e.g. Gorgicts i62 B /iii iypoiKlrrepov
j t6 &\iiSks elTreiv, Apol. 39 A dXXck /*!)
od toBt' ij x"^"*''! H dpSpes, diyarov
ii,ia-i)v

ON LITEEARY COMPOSITION

XXII

myHowmindam
whether
formed by
them

harmoniously Mended.

know

at a loss to

cannot see
or

"

is

to say the third is formed I am

too divided to utter truth "^ I

it is

by fusing

211

eliminating the two extremes

not easy to hit on any clear answer.

say that it is by relaxation and
tension of the extremes that the means, which are very numerous,
arise.
The case is not as in music, where the middle note is
equally removed from the lowest and the highest.
The middle
it

Perhaps, then,

it

is

better to

is

style in writing does not

in the

same way stand at an equal

distance from each of the two extremes

" middle " is here a

vague general term, like " herd," " heap," and many others.
But
the present is not the right time for the investigation of this

particular

point.

must say what

regard to the several styles

not

all

undertook to say with

that I could (I should heed

a very long treatise to do that), but just the most salient points.

CHAPTEE

XXII

AUSTERE COMPOSITION

The
this

characteristic

of the austere arrangement is

words should be like columns firmly

feature

It requires that the

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

like blocks of building stone

sound-clashings which jar on the ear

and smooth, but preserve

1

iKtpvyeiv,

dXAi

together unworked, blocks

that are laid

voKii

that are not square

their natural roughness

and

irregularity.

Pindar Fragm. 213 (Schroeder).

x'^''"<'''epoi'

irov-q-

Cic.

de Div.

ii.

4.

11),

in

the sense

5. The intermediate, or eclectic, styles

are numerous and differ greatly according
as they relax or strain the extreme, or
pronounced, styles: cp. deDemosth. c. 37

which it bears in Hor. Ep. ii. 1. 45-47

and Cic. Academ. ii. 16. 49.
15. Batteux (p. 249) would illustrate
t^ie austere style from Rousseau's Ode
\- 2 (tir^e du Psanme xviu.), "Les cieux

iuit.

instruiseut

plav.

'

.J
point worth considering is how
8.
far this may seem to make for or against
the view that the Dionysian doctrine
of styles IS Peripatetic in origm, being
derived from Theophrastus.

10. <rp<!s

,,

op. aiafdrrp (Lat. acervalis,

la terre
r^v6rer leur
auteur;
Tout ce que leur globe enserre
g^l^bre 4n Dieu cr^ateur," etc. -With
^ 22 of the C. V. should be compared,
throughout, co. 38, 39 of the de
^^x. : i.e. it (the austere
^g %^^^^
gtyl^j ^^^^ ^^ dividing its clauses from
one another by appreciable pauses.
|

BemoA

DIONYSiUS OF HALICARNASSUS

212
avTOff'^eSioi
<as

T^

re Koi Bia^e^rjKoa-iv et? TrXaros ovofiacriv

/j.eyaKoi';

^iKel

TTciKXA [inrjKvveadai

ev

tok

Br]

fiev

10

ovre

^ovXerai

Tovro

ovBe ^ovXeraf
rb

Kareve'^dei't],

ovre

dfj>eXi^,

dveTririjBevrov

Tialv

irpoaOrjKai'i

avr&v yevoivro
ovB

ey^pvaa,

avT7]v

ovB

Aia,

eTriT^Beva-iv

ey^pvcya

rov

avTopArwi;
iva

ovofidrcav,

')(^p<opev't],

iirl

Oekei

ep.<f}abveiv

kvk\o<;

ovre

Kal

07rca<;

Tives

al

oXXtjv

7]

tivcl

en

ovSep,Lav.

{TrpaypMreiav^
ttj^

ToiavTT)';

toi-

earlv

Kal ravra XBia' dyx^iarpo^o^ eari irepl ra<; irrdxrei';,

rov^ <T')(r]pariapMV<;, oXiyocrvvBea-po^, avap6po<;,

20 dppovCa<s

ttoikIXt]

irepl

TToWots

iv

pa

Kar

rj

eavrat^

yXa^vpai, airovBriv
tov XeyovTO^ Siaiv avTapKei^

dearpiKat,

Trvevp,aTL

t3

'iva

<rvp,p,eTpovpiv'r)

p^aXXov

Be ttot

el

eKirkTipmOy, p/r)Bev oD^eXovcraK tov vovv

^d<rei<;

pMWov avra

ioiKevai
\eyecrdai,

irddo';

(rvvnOevai <rvvairapTi^ovaa<;

Be

TToWA p^v

TO,

<j>va-et

Kara

Kal

Te'^vy,

rj

TrepioBovs

vovv

15

ikevOepa,

Kal

Xa/Mirpa

?l6o<i.

d^iafiaTiKOv^ Kal /xejaXoTrpeireiis,

roixs

^ovXerat ra K&Xa dWrfKoif etvai oiire

dvajKaia BovKevovra dKoKovOLa, dXK evyevrj

irdpuffa

irapo/ioia

Kal

ravra ireipaTat Sicoxetv Kal

Tiwrd re ofioi,co<; eTTiTT]-

ovofiacrt

Sevei Kal tow? pv6iMoii<s

ovTe

cruXKu-

^pct'^eia';

Trore avdrfKi] fiid^oiro.

e'i

iv Be toZ? KmXoi,?

Tovrtov yXi'veTai'

Kal

eh

to yap

)Sa? (yvvajye(ydai TToXefiiov avry, irXijv

chap.

v-jrepoTrriKr)

dKoXov6la<;,

rfj<;

rjKurr

dv6rjpd,

peyaXo^poov, avOeKaaroi;, aKop-yjrevro^, rov dpj(a'ia-p^v

Kal rov

irivov e'xpva-a. KdXXo<;.

Be tt}? dppovLa'i iroXXol /lev eyevovro ^TjXaral

ravr7j<s

25

PMV

:^

f)

dvdyKr]

CIS

TTore Kal

Ik

2 o-uAA,a/3as

5 o/toicos Us.

<rvX\a^^i PMV
^ ovx ^ttov

ojuouas

MV

F: o^x ^TTOv

Kara

ovx

6 koi (alt.) EF : Kal toiis PMV

cKXeyerai Kal ovre
eivai cm. P
8 irap
opoia F
dvayKaiai P,
dvdyK-qi F, E
dvayKaia
aKoXovdlai
dXX' P,
aKoXovOa 8e Kal EF
9 Xa/MTrpa EF
aTrXa PMV
Aeyerat EF
10 Tj rexvr] F
11 (rwaira/jTifoutras E: avvairapri-

fJTTOv 6/*otw9

7 Kal

EF

oi)T

II

MV

PMV

||

||

||

(ova-ais

Sylburgius:
Schaeferus
exova-a

FMV
Kara

om.

PMV

e'xouo-at

libri

Uptonus)

iecerat

II

avapOpo^}

o-wap/iofowas V
kavrai's EF (con12 o^Se EF ovre PMV
17 ex"*^"
tou Seovtos P
18 (rvpfixTpovphtj
:

^M

||

||

iSia] Ss

dvaurdio^

dKo/i^evo-Toi/

KakXos om.

F
F

II

rhv

om.

||

]|

22
:

irpayfiareiav seel. TJsenerus

||

ejrtVijS'

||

ea-rlv

dyxiOTpotfiOS

EF

libri

iirl

MV

||

a-vpfierpovpevai libri

P ex"''"'"''
en Uptonus

MV

PM

<rmaiyri(ova-as

rh

25 Se om.

ovSep,i{av)

om.

PM

PMV

dvrippoTros

virepcnrriKri]

wroSeKTiKij

PMV
EF

24

19

tTnrrjSivei ovSe

irivov libri

20 Kal

F
F
||

exovra

FP
21

23

|1

ON LITERAKY COMPOSITION

ixii

213

prone for the most part to expansion by means of great

It objects to being confined to short syllables,
except under occasional stress of necessity.
It is

spacious words.

In respect of the words, then, these are the aims which it

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,
strives

'

free.

stir

them

does not, as a rule, even attempt to compose

it

It wishes them to suggest nature rather than art, and to

emotion rather than to reflect character.
And as to periods,

way

that the sense of each

is

complete in

drifts into this accidentally, it seeks

to

itself

emphasize

in such

if it

its

ever

own un-

studied and simple character, neither using any supplementary

words which in no way aid the sense, merely in order that the
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
period

Perhaps

8.

dviyxri

dovXeiovra,

ava-

K6\ou6a di Kal: with e^l ( in the case

of) retained in 1. 19.
i^~ ;
o,-,of=vo
the austere
is +i,4that +i,o
11. Ti,
The ~,
meaning
style does not seek for periods containing a complete thought, and that, if
acddentall/ it stumbles into them it
wishes to emphasize (by means of carrful
abstention from all artificial means of
rounding oif the sentence) the absence
of premeditation.
With regard to
Upton's conjecture iavrats it should be
noticed that this is only one of many
instances in which his acuteness has
since been confirmed by manuscript
'

authority.
18.

120

9.

ua ACa
M<f is

^^

Eoncevaux

cp. (for the order) vi, Ala.

here used because of the

iv iroXXots {pirtpoirrtK^j ktX.

in

Ronoevaux

dans ta sombre

vallfe

L'ombre du grand Roland

consolee

n'est

done pas

six fois, le son an

son au deux fois ; ils sont
^^ ^rois sourds et la rime en ie seule
La succession de ces sons
est aonore.
Pduit une harmome dure qui a quelq^g chose de voile et de tunebre ; on
croit entendre legrondementde I'orage."

Le son on y revient

trois fois, le

preceding
'^
o negatives.
o
22.

other words, such a style delights In

anacolutha.
19-24. It is to be noticed, in this and
other sentences, that Diouysius often so
,
A
+u
^
writes as to reflect tne cnaracter
otf tne
style he ^g for the moment descnbing.B*"^^?* (P/ ^8) illustrates the style
^^ quotations from Malherbe
'i'^f^^'^,
Boileau, and adds : ''Chaoun con^"f, "'^ ^''^ "^^ ^"^
"'^^
^ ^^f- ^^ "^'^^^ =

DIONYSIUS OP HALIOARNASSUS

214

Koi

re

iroirjcriv

8e

T&v aXXmp

fiavof Kol
ev

^EifjL7reBoK\fj<;

rpay^Bia

koX

iffropLav

S'

Ato-^uXo?,

iv

Kal

oiiK

iapivoi,<;'

Toi<;

Se

virode<n<; airrjTei,

eKaaTOV

elprjfievav

Avtliv

@ovKvBtori<;,

fiev

fj

irapaSeiyfiara,

iroXX,oi<;

wairep avdetri

a\X' vTrep/ierpov

ep,eX\,e ^avrj-

av 6 Xoyog iyevero

drjSrj^

BiairoiKiKKofiLevot;

aeaOai to GvvTOuypxi KaX a-^^oXtKov fiaXXov rj jrapayyekfiariKOV

ov (lev Sr) ov8' ave^eXeyKTa irapaXiireiv to, pr]6ivTa ijpfiOTrev,

10

mi

Brj

p,eTpiov

ov

<f>avepa

Kal

ap,<poiv

Xa^eiv

eWiTretv

p^apTvpia^'

Beofieva

koI

Br)

eBei

TrKeovdaai,

p,r)Te

tovto

ttj? TriVreft)?.

Xa^mv oXiya
16

t&v

irapaffveadai,

iftrws

KoXo^covto?

/leKoTToua Tlivoapoi;,

Se

IcrTopia

ivravOa

5 7roXtTtot? 'Koyoii; 'Ai/rt^wj/.

TToWa

re

iv Se

(ftvffiKO^,

Bia^epovTei

ttoXitikov?,

X070U1?

Troiijaei

iv fiev eiriKfj

chap.

ttm?

Be

tov Kaipov

to

p,rjT

jreipdaop.ai, jroirjcrat, Bebyp,aTa

irapa tmv iiri^avea-rdTav dvBp&v.

TroirjT&v p,ev

ovv Yi.ivBapo<; apxea-ei irapaXijffyOebi, avyypaipemv Be @ovKvBi,Brj<;'

yap ovToi

KpoLTKTTOi

Be HCvBapo<;,

BevT
iiri

T^? avaTripoL'i

T6 kXvtclv
o'i

iv Tal<; lepal<;

dpyfeTco

dpp,ovi,a<i.
17

dp'^^rj-

^OXvp.inoi,

iv '^opov,

iroXv^aTov

20

iTotrjTal

koi tovtov Bidvpap.fi6<s Tt? ov eaTtv

ire/iireTe ^dpiv,

da'Teo<;

9eol,

op^aXov Qvoevra

KOdvai^

1 TToir/rtKoiis F
2 kirLKy Sylburgius Ijrteiioj F eirietKci PMV
om. E
5 TrowjTtKots F
8 ea/aivois] apidfiJipK) P
10 o^S*
ave^kXeyKra P: ovh' dve^eXeKxa M: ovh' av e^eXeyKra F
12
[KTpiov PV
/iTpov FM
13 8^ F
17 rt's oSv eo-riv apx^' P
t) apxn E:
18 Scot EFM^V tSer P, Ml
apxr] FMV
ev x^P^"
EFV: kv a-xo/)(ov) P
19 Tre/tTrerai P
20 o? t ] o? F
F (acTTcos praestat idem 222 14)
21 a^ijvats libri sed cf. n. crit.
ad 222 14
:

||

||

||

mmw

2.

For Antimachus of Colophon

de Imitat.
[i^p6vTurei'}

cp.

6 'Avrlfnaxos Si eirovlas
Kal aywvurnK^i rpaxiriiTos

ii.

Kal ToO <rvr/i$ovs Ti]S ^foWay^s

Catullus
xcv. 20 "at populus tuniido gaudeat
Antimacho " : Quintil. x. 1. 53 " contra
in Antimacho vis et gravitas et minime
:

vulgare eloquendi genus habet laudem.

sed quamvia ei seoundas fere grammaticorum consensus deferat, et affeotibus et
iucunditate et dispositione et omnino
arte defioitur, 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
f) <pmi.Kbv ri dii, t&v
oStu KaXeiv eliSiSoffw,
oiSiv &i Kowbv ianv 'Q/i-Qpip Kal 'E/ixeSoxXeT irXV t4 fUrpov, Sib rbv fiiv itohjtV
SUaiov KoXeTv, rbv Si 4>v<no\&yov pJaXKov
ToirjT^v.
But on the other side cp.
fi

Kal

y&p

p^pinv

6,v

larpiKhv

iK(j)ipa>(7i,v,

Luoret. i. 731 " carmina quin etiam

divini pectoris eiua
vociferantur et
exponunt praeolara reperta,
ut vix
humana videatur stirpe oreatus." The
fragments of Empedocles go far to justify
Lucretius' opinion ; and the true poetic
gifts of Empedocles, as of Lucretius him|

ON LITEEARY COMPOSITION

XXII

many

authors in poetry, history, and civil oratory

215

pre-eminently

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
in epic poetry

not be fitting to leave the statements unsubstantiated, as though

they were obvious and not in need of proof

doubt,

is

exceed

all

after all to take a sort of

measure, nor yet to

fall

The

right thing,

no

middle course, neither to

short of carrying conviction.

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
I will endeavour to

Shed

o'er

our choir, Olympian Dominations,

The glory

of your grace,
ye who hallow with your visitations

The curious-carven

place,

self, may have been seen in his work as a

whole, even more than in its parts.

3, 4. The M^7aXo^p^,ra of Pindar is

emphasized in the de Imitat. B. vi.
6 3'
Similarly i6i<e., as to Aeschylus
oiv Jdaxv-\os ^pj^os v^vU^ re Kal r,.

5.

For other references to Antiphon

see de

Ismo

20, de

u.

Thwcyd.

c.

51,

Sp. i. ad Amm.
Also Thucyd. viii. 68
twv Ka6' ^aurAc
dpSTH re ovdevds Seirepos Kal KpAnaros
ivSv/aiBrjuai yev&fiefos Kal & yvoiri eliretv.
For Thucydides himself see D.H.
passim (especially pp. 30-34, 104 ff.,
130 ff.).
17. G. S. Famell Cheek Lyric Poetry
"The excited nature of the
p. 417:
rhythm throughout, and the rapturous
enthusiasm with which the approach
of spring is described, are eminently
characteristic of the dithyramb at its

de Demosth.

and

8,

c.

C. V. c. 10.

'AvTi<t)Q)V dviip A.6i)valuiv

'

c. 2,

and it is easy to understand how

such a style, in the hands of inferior
P'^' degenerated into the florid inanity
which characterizes the later dithyrambio
best ;

^-

^^^^^

^^.
,

..

.^P^^'^.
(eight times in

the original stage of the language

had the functions
of the Latin m.
It is preserved in
Boeotian, Thessalian, North-West Greek,
Eleian, Arcadian, Cyprian, and perhaps
even in the Attic Ipi^paxv. The accusayyg ngg was abandoned on the rise of iv-s
(of. osi-s), which, before a vowel, became
^Is, before a consonant, is" (Weir Smyth
Greek Melic Poets p. 359). P's curious
reading ev <rxop{()v) is to be noticed,
20. i^^a\6v: the reference is to the
Athenian Acropolis, and the passage
suggested a fitting motto to Otto Jahn
Descriptio Arcis
for
his Pausaniae

relie of

-vyhen this preposition

Athenarum.

DIONYSIUS OF HALIOARNASSUS

216

olyvelTe iravhaiZcCKov t

chap,

ar/opdv,

ev/cXe

Xavere aTe^avtov rav

Aiodev re /j,e criiv ayXata

loSercov

iapiSpoTrav aoiBav

t'

aoihav Sevrepov

iSere Tropevdevr

iwl Tov KKTcroherav Oeov,

Tov ^po/jLiov ipi^oav re Pporol KaXeofiev,

virdreov p-ev irarepcov fieXirofiev

rfovov

'yvvaiK&v re K/iSp^eiav

[e/ioXoi/].

ivapyea reXemv crdp,aT

AotviKoedvoiv oiroT

10

ov \av0dvei,

Upav BdXdfiov

ol')(6ivro<;

evoS/wv iTrdyycriv eap t^vra veKrdpea'

eV

rore ^dXXerai, ror

20

ofi^al fieXewv

a^et

t'

O'X^^

"^^

ravS"

on

/xev

iroXv

ro

avarmjpov

15

la'xypd koI crri^apd Kal

icrriv

Ta?

dKod<;

eirl

iroXv

dva^e^Xr)rai
rat?

lyXa^vpov

eiriheiKwrai,

exeivo Kal avcrrTjpov,

2 ioSt(o)v) P,

MV

re

dppMViait;

kSeTOJi/

rol<;

Kal

ro

on

KaX

Sia-

P,

Sr;

dpyauKOV

ro

jjMprvp'qaeiav

Xax^n

||

Kal

iriKpaivei

dearpiKOV

dWa

KdXXo<;

oS' kyutv

Kal

j(povoi,<;

ov

av ev otK

a/iravre'i

d^ia/uirtKd

aXviru^

re

rpa'^vvei

ej^et

fierpl(o<i

rovro Kal

avXol<;,

criiv

^efieXav eXtiedfiirvKa 'XppoL

^e^TjKev

dfi^porov j(epaov eparaX

(fyo^M, poSa re KOfiaicn fiiyvvrat

tasv

EMV

ot

Aax"

rav r capiSpoTrwv Us.

avre d.pip6ir<ov F
r avr
eapiSpsTTdiv P
rdv re dpiBpiirrtov E
t' dvT iwapiSpeTrmv
Ttoi/ iapiSpeTrT(ov V
doSdv EFV Xoi^dv PM
3 Ai66ev re pe] SiareOevre F
4 iropevdevra ol Sav F
iropivd'evrei doiBaX (aotSaiS' EV) ceteri
5
(cp.

224

4)

II

II

Ktcro-oSerai'
Kia-croSar)

t(ov)

F,

Kro-o8ovTav

EMV

7 plv

6 tov

EFMV

||

EV

re

v priore P (KurcroSoTav leg. Us.)

ov ceteri
jSpopiov ov
y8/30/it(ov).
piv re
pAkire P
piXiropxu ceteri

deleto

FM
FM

||

a-epeXav EV
8 epoXov P
o-c/teA.j;v
9 evapyea rekemv Ue.
evapyea vejueo) P, E
ev dXyea Te/i5t F
ev dpyea vepAa
(rdpar
Us.: repdvTiv F: pdvriv cett.
10 ^otviKoeaviuv Kock
<^otvtKoeauv F
<j>oiviKos eavZv cett.
oix^ovres F
Sjoav F
&pav cett.
Odkapoi F
11 evoapov F
eTTciyoMriv F; eTraiwcrtv cett.
12
TOTC om. F
dp/3poTov xe/oo-ov EFV dp/Sporav {aptr/Sporai/ P) x^ov PM
12-13 eparal (eparas V) leov <^d/?ai poSare EV eparetov (^o/3epdfiaTE F:
Iparav lov <j>ol3epdTe P,
13 Ko/^icrt F
piyvurai PM ptyvvvrai
EFV
oix^e? r' EPM
14^ axet Te F
ot'xvetTe
:
vpi/etre a
d/*<;tai F:
opcjia E: optjiaY: d/^^ais PM
15 dxe? re Hermannus
:

MV

||

||

||

||

||

II

oixvet T6 libri: {i/iveire s

9 IttI
21 KOI
1

F ejTt rb PMV
FM: Kal rh PV
:

||

||

||

Kai
eS

\\

18 dva/SepXryrai F: avaKeKAi/Tat PMV

ov rh Us.
/cat oiVe PMV
ou to F
om. PMV
:

ON LITEEARY COMPOSITION

xxii

The heart of Athens, steaming with

217

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

By

to the Sire throned in the

empyrean.

he manifested
What time the bridal bowers
Of Earth and Sun are by their crimson-vested
surest tokens

Then

is

Warders flung wide, the Hours.

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.^

and dignified, and

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
That these

possess

much

lines

are vigorous, weighty

austerity

that,

Pindar Fragm. 75 (Schroeder).

\axe'V would be infinitive for imperative, or (rather) infinitive of purpose

aftr a verb of motion (just as I5oeckh,
in 1. 7 infra, reads ii.e\iriiiev).
\oipS,v (Xoi/3(i PM) might be taken
to refer to honey, or to drink-offerings
of spring-gathered herbs.
post lovem patrem
i. SciiTEpov
secwndo lorn ad Baochum filium," Boeckh.
Or the reference may be to a previous
visit of Pindar to Athens.
9.
The clear-seen tokens of his rites
In other words,
are not unnoticed.'
the return of spring indicates to the
god that his festival is at hand: cp.
Aristoph. Nub. 311 (Weir Smyth).
2.

'

'

' '

12. PaXXerai
Pindaricum.
15.

"Metre

10, Pyth. 5.

o\6l

a)(^t

schema

paeonio-logaoedio as 01.

Schmidt (Eurythmie 428)

regards the metre as logaoedio throughout.

The fragment belongs to the dn-oXeXv/iiva fieXtj, that is, it is not divided
into strophes," Weir Smyth.
'

readers
21. It is convenient to use
occasionally in the translation.
But
'hearers' (oi iKoiovra) would more
naturally be used by a Greek : just as
Xbyovs (218 1) is strictly 'discourse'
rather than 'literature.'
'

DIONYSIUS OP HALICAENASSUS

218

evovre^

fierpiav

KoX Xoyov

\6yovi;.

irepl

aia-07icn,v

koI

avTO/Mana-p,ip Be

Tivo'i,

rv'^r]

KaracrKeva-

Se

rivi

ye

dvev

yap

roiavra yiyovev {ov

eVtTTjSewffet

ffffevra

chap.

Teyvri's

tovtov

XRV'^'^f^^^"-

Tov j(apaKT7]pa), iyii) Treipda-Ofiai SeiKVvvai.

TO irpSiTov aiiTm kSiXov bk reTrdptov crvyKeirai Xefeo)?
fjbopiav, prjixaTO'i koX avvhevfiov Kol Zvelv irpoa-TjyopiK&v to
avvaXoiipy KepaaOevTa ovk
(Tvvhea'fio<;
fiev oiiv prjfia koI 6
l'\r}<j>e

a.TroTeTpd'^vicev

crvvTidifievov
10

iv

Koi ovk ewcTre?, tov /lev ervvBea-fiov

'X^opbv KaX dvTiTVirov

fifii^wvov

619

\riyovTO<i

Be Ty

fjLiKTa

7re<f)VKe

maTe ovBe crvWa^a>v opia

dvd/yKf]

tS)v

K&Xov

ovTCO

Xeyeiv

ou^^

p^eaT^v

d/M(f>otv

to

TpayvveTat

Ty

KoiXa

oZ?

avvOeaei.

'Api<rTO(f>dvr)<!

oh

oDOC

mBd^,

twv

rj

TovTfp

irapaKeifievov

Brj

fiev

aXKayv

^vcrt?

rj

to

v,

tov rfxpv, cCKK

ttjv Biopi^ovaav

ra? Bwdpueii.

Xoyov KaX pijTopcov TratSe? ras irepioSov^

TO Be

dKoXKr)Ta' ov yap

irpoTdTTeaBai

ypap,fidT(ov

Ta<;

20 BieK6a-p,r]a-e

tov

yivop,eva avvdirTei

yeveadai

Tiva

ai(i>'trr\v

eKUTepov

tov Be "TrpoaTjyopiKov
tov y^' acrv/M-

d<f>a>v(ov

aTot'^eia Kai

to,

(TvXXa^rjv

fi[av

v,

tmv

evo^

d<ji

TavTa

<f>v<rei

xaTOL

to

(TTOi^x^eiov

dp'xrjv Xa/i^dvovToi;

Trjv

15

dpfioviav to he irpoarfyopiKov tw cvvBecr/xq)

d^ioX6y(o<; ttjv dpfioyrjv to yap

rrjv

jreTTOLTj/ce

di]hri

Be

Be^ai

fieTpiK&v

ti<;

d^ioi

irp&Tov

fie

Biaipelv

tov

Biaipovtri.

k&Xov to

"

re

eiri,

kXvtuv

Tre/iTrere '^dpiv deol," Bia^e^rjKev dirb tov irpoTepov Bid^aaiv

d^ioXoyov Koi

ap'^ei fiev

e Kal

irapaKeiTai,

Kal

Aoyo'ug

PMV

II

avTw woWas dpfiovta^ avTiTVh> tmv (fxovrjevTtov to

^covyevTi tw I- ei? tovto yap eXyye

TrepieiXrjipev

25 TTOi;?.

ev

yhp avTOV aTOfxeiov

eTepep

rexvjs Kal om.

xpn/jo'dpevov

4 eyoi

Tti/t

|{

PMV
PMV

fie

3 Se koi P
5 aurft F

P
EP

ov kym

avTiTmrov t
eueires
evireres PMV
14 it/jototP: om. F^ t^ pva-n
Tio-Oai Pj irpoTTa.xde P,
15 o^Se PMV: ovre P
opia] opia
16
F 8i5o (j8 P) popia EPM Bvo to. popia V (Tvvdirreij rwret P
yev&rdai EF yiyvea-Oai ytvecr^at
jueo-oiv
17 eKarepiov
EP
18 /* Se^ai PV: fx ISo^e
19 keyetv P: vvvl Aryeiv

10 KoX avTirvwov
13 Tiji <^vcrii P,

EF

in marg.

||

MV

||

||

MV

||

EM

PM

PMV
om.

PV

22 Se TOTJTW PV: 8' ejri tovtwv F,

23 Beol FM
SMpi^TjKev F jSe/JrjKe re PMV
24 aircp] Sch., aOTW libri
:

II

26 eXrjyev o
avT^

cAij^ev t6 P,

MV

se. in this author, or in this

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
5.

passage.

'

its proper quality,' viz. if we say in

xop^' d not iy xoptiv.
19. 'ApurTO<|>dvt|S : not, of conrse, the
comic poet of Athens, but the gram-

with

marian of Byzantium. From this passage, and from 278 5 infra, it would

ON LITERARY COMPOSITION

XXII

219

whose literary sense has been tolerably developed. I will attempt

to show by what method such results have been achieved, since
it is not by spontaneous accident, but by some kind of artistic
design, that this passage has acquired its characteristic form.

The
nective,

first

clause

and two

consists of

appellatives.

four words

Now

verb,

con-

the mingling and the amal-

gamation of the verb and the connective have produced a rhythm

which is not without its charm; but the combination of the
connective with the appellative has resulted in a junction of
.

considerable roughness.

For the words

xopov are jarring

and uneuphonious, since the connective ends with the semivowel V, while the appellative begins with one of the mutes, j^.
These letters by their very nature cannot be blended and compacted, since it is unnatural for the combination vx^ to form part
of a single syllable and so, when v and
x ^^^ the boundaries of
adjacent syllables, the voice cannot be continuous, but there must
necessarily be a pause separating the letters if each of them is
uttered with its proper sound.
So, then, the first clause is
roughened thus by the arrangement of its words.
(You must
understand me to mean by " clauses " not those into which Aristophanes or any of the other metrists has arranged the odes, but
eV

those into which Nature insists on dividing the discourse and

into

deoL

which the disciples of the

The next clause to this

is

rhetoricians divide their periods.)

hrL

re

kXvrav

Trefiirere

xApiv

separated from the former by a considerable interval

and includes within itself many dissonant collocations. It begins

with one of the vowels, e, in close proximity to which is another
vowel, 4
the letter which came at the end of the preceding

appear that Aristophanes divided the

text of Pindar and other lyric poets
Such cola are found
into metrical co2a.
in the recently -discovered Baochylides
papyrus (written probably in Dionysius'
own century the first century B.C.),
which is also the earliest manuscript in

tuv Kepa/iiav Toidas, us iroMv

toi>s
xp^""" SiaKovoOvres Beupovai irplv dirreEarlier still we have
<r8ai toD Kepajxeieiv ;
the schools of the bards the 'OfoiplSai
or '0/i-^pov iraides, like the sons of the
As
prophets' in the Old Testament.
used by later writers, the periphrasis

which accents

with

The
iraWes jyqTbpuiv Luc. Anach. 19.
will include pupils or apprentices,
as well as sons : cp. Plato Mep. v. 467 A
fj
oix ytrff'i](rat rd irepl rds t^x"""; "foK

note on 194 20 supra),

26. "The passages relating to 'OXi/iirtot iirl, and /cai 'Affr]valuv (Thuc. i. 1),
where the word in each case is said to end
in i, have led some persons to suppose that
Dionysius pronounced oi and ai as real
diphthongs of two vowels ending in t.
We know, however, that at this time ai

are used.
21. pT]Top<v irotSes : cp. 266 8 fa>ypdtpuv re xal TopevrSiv iraiatv, 'the
generation of painters and sculptors.'
So ^uypAipoiv iratdes Plato Legg. 769 B,

term

'

iraldes

trepL, ol

may be compared with

dftipl (cp.

oi

DIONYSIUS OF HALICAENASSUS

220

a)CKr\Koi<i,

ov avvaXei^eTat, Se ovZe -ravT

TO Trpo avrov.

chap.

ovBe

tov a-iwin] 06 tl<s

(wpimv eKarepov koI
StepeiBova-a
twv
yiveTat,
fjueTa^i/ afj,<j)oiv
Be Ty KaTa fiepo^
air<pa\r].
iv
airoBiBovaa
T-qv ^daiv avToi'i

TpoTarreTai kuto, fiiav crvXKa^rjv

kmXov

tov

a-vvdeaeL

apveTM

TO K&Xov,

KoKelv,

to

to??

s'Its

Tpaj(^eiav

^pa-X"

15

yovv

TO

XvTav,

re

re

d^eXoi,

Xv6rj<TeTai

iraXiv

dpfjLovia<;.

prjfiaTiKov

rt?

ic

^^

'''^

dva^oXrjv

Bvo'eK^oprjTov
el

*/**

*^'*'

koX

iroiel

ovk

eTTiiceifievov

avvmBov

e'^ei

TUKTIKOV

Twv

TpoTTw

TOV

TOK

oBovat

TOVTOV

TT.

KaTa

ovTB

ypafi/idTCOv

ovpavov

irepl

25 fxodcoveov

TO

T(S

(T'^TjfiaTKTfibi

TOV

yiveTai

tov

2 irpoTixTTSTa.i] irap

o?s

Be

TOV

tov

KaX

tov

TTvevfiaToi;

TaTTerot

FM

Tts

||

ns

ij

dKpoL<;

Bia

tov

PMV

avTu>

yap

yXmTTrjii

re

tTTO/JUlTOi

/tev

Trj<;

/ivaavTO^

viro-

tw

ovTe

TOtrov

KaX

nf

iKavaf

yap

ov

^%os

irpoa-avicrTafievrji;

fiepi^ofievov,

t)?

evKepaaTov tov

v'

exdTepov

eK(f>epa)v

eiri

Tre/iTrere

7rie<rdevT0<i

OLTIOV

B'

aiiTov

ap/jLovioM.

Tpajfv

to

ovS"

^X^> dXX' dvdyKTj aTrjpi'^drjvat to v koI

TOV cTTOfjLaTO'; TOTe aKovffTov yevecrdai to
20

eiXiKpiv5><i

ypafifiaTWv

to

7rpocrr]yopi,Ka)

re

d(j)d)vov

irotrjcreiev

/cat

koX

^paBii

to

icaX

KXvTav

to3

t&v

to

crvXXa^rj

iyKOirrjv Trjq

ffuWaySTj?

ttj?

Kara

TrpcoTrj

r)

i^pdo'eb

'''V

kXvtuv

to

avvffeeriv

OTi ^ovKsTai fiev elvai

;
TOV kXvtolv, /laKporepa S' eo-rt t^9 ppa')(eia<; e^
to Be fir]
Koi r]p,i,<^a)vov KaX <j>a)v>]evT0^ avve<rTSi<7a.
.avTrj'}

<ov

Bel to ^yov/ievov

fiopiov

ttjv

^paj(ela

TTOTe
10

a^

a-vvBea/ioi^

avTwv

iiriKei/ievov

Koi

ireiroirjKe

re

irpodecriv

Trpoa-TjyopiKOV

avnTVTTOv

iiri

jj^v

apa

to

t&v

(TTOfiaTO'i

PV

5 tov KioXov
(TvvSea-pov F
twv kcoA.o>v
9
6 Set] Sij F
8 Kara ti ttots oti F
Kara tl Sijirore
11 koX -rjuKfxLvov om. P
13
fiev eivat] fiiveiv F
etrrhKro P
da-(l>aXfjf ev Srj

{|

PMV

||

F Sva-eKcfxtiV'rjTov E Sv(reK<jiopov PMV

1 4 irotijcrei
17 rhv om. EF
18 avayxiji P
19 tov o-TO/ioTOS
Tore E
tovtotc et in margine a-TOfi{aTos) F tov tt rdre
tots V
TOVTOV Ps
20 aiTiov EF
oiTios PMV
crTO/taros] o-xi?fiaTOS V
22 eK<j)epov F eKarepov F eKarejoov rb if kol to v PMV vv FM om. PV
23 ylverai F re ytverai PMV
yXtoTxiys F
24
yA.tuo-oTjs PMV
25 tc tou o-rd/iaTos om. F
irpodvuTTaiJi,vri^ F,
SvcreK(f>6prfTov

EF

||

||

|{

i|

was a single vowel e prolonged, and that

it was only called a diphthong because
written with two letters, just as ea in
each, great are often spoken of as a
diphthong, in place of a digraph. We
also that t subscript was not pro-

know

nounoed, and yet Dionyaius speaks of

d7Xat{i as ending with i.
Consequently
there is no need to suppose that oi was
a real diphthong either. The language
is merely orthographical.
As to the
amount of pause, we find similar com-

ON LITERAEY COMPOSITION

xxii

These

clause.

nor can
silence

do not coalesce with one another,

There is a certain

letters, again,

stand before

e in

between the two

elements and

221

the same syllable.

letters,

each

which thrusts apart the two

position.
In the detailed
arrangement of the clause the postposition of the appellative part
of speech KkvTav to the connectives etti re with which the phrase
opens (though perhaps the first of these connectives should rather
be called a preposition) has made the composition dissonant and
harsh.
For what reason ?
Because the first syllable of KXvrdv
is ostensibly short, but actually longer than the ordinary short,,
since it is composed of a mute, a semi-vowel, and a vowel.
It
is the want of unalloyed brevity in it, combined with the
difficulty of pronunciation involved in the combination of the
letters, that causes retardation and interruption in the harmony.
At all events, if you were to remove the k from the syllable
and to make it eVt re XvTav, there would be an end to both
Further
the slowness and the roughness of the arrangement.

gives

the verbal form

irifiireTe,

firm

subjoined to the appellative KXvrdv,

Theharmonious or well-tempered sound.

V must be firmly planted and the ir be heard only when
the lips have been quite pressed together, for the tt cannot

does not produce a

The reason of this is the configurabe tacked on to the v.

tion of the mouth, which does not produce the two lettersv is sounded
either at the same spot or in the same way.
on the arch of the

palate, with the tongue rising towards the-

edge of the

and with the breath passing in

teeth

currents through

the nostrils

tt

binations within the same Greek word :

01 and e in oterai, v and S in dt^/Spo, ai
and a in klax ; while v before r is quite
common as in ivTwv, and v before tt, k
becomes /t, y, as in Ifiiropos, iyKpari^.

Hence much of
But it
fanciful.

this criticism
is

may

certain that there

be
is

a different feeling respecting the collision

of letters which end and begin a word,

and those which come together in the

Thus in French poetry
same word.
open vowels are entirely forbidden.

It
cela ira ' in serious
'
French verse. Yet hair is quite adHence there may be some
missible.
foundation for the preceding observais

impossible to say

'

'

which, however, like many others

in the treatise, ride a theory very hard,"
tions,

with the
A.

J.

E.

himself,

separate-

lips closed, the

tongue

[The observations of the critic,.

obviously be accepted

must

with considerable reserve

ample, the note on 230 19

see, for

ex-

infra.'\

possibly an in15. \vt6.v, XuO^ireToi

tentional play on words.
18. Clearly Dionysius does not believe
that, in this passage, final v before initial
k\vt6,v as
ir
was pronounced as ju
KXvrd/j,: though final k sometimes appears under this form in inscriptions, as
:

also does medial v in such conipounds as.

avinrlxnov.
The literal meaning of the
passage seems to be, ' The v must be
firmly planted [pronounced distinctly,

dwelt upon], and KKmkv jr^/iirere cannot

be run together in one word, as KXi/ra/iir^/iirere

or the like

might

be.'

DIONYSIUS OF HALICARNASSUS

222
Kol

ovSev

TTjv

avot^iv

Kal irpoTspov

erepov e^ erepov

eryrj/iaTicr/jiov

rt?

t^?

eve-ire's

CLKorjv

TTjv

TO

XTjyovTO'i

T
15

Be

irpoTdTTecrdat

7re(f)VKe

da-Tea's

ofKpaXbv

Ty

Bmaiv avTiTviriav

tov

diro

TrapaKelp.evov

tov

Xafi^dvov

Ta

d<f)a>va)v

re

tov

inroTpa'^vvei,

to

Tat?

XijyovTi to

diroSi-

ofioiav
et?

(pmvrjev

iepali

'

ra

BiecriraKe

dp'^r/v

Trjv

OL

'AOdvaii;

iepal<;

tm dvoevra

" iv

ro

rjiiu^mva.

" TToXv^aTov

TOVTb

dp'^ofievov

trpoTepov, Kal

^evyvvfievov

XrjyovTt,

(^(ovrjevTOf

t&v

TpiTOV kSjKOV

Ovoevra iv rali;
evTavBa tS t6 ofi^aXbv et?

olj^veiTe"

tov ^%ov aXX'

e'^ei

Xelov

jrpo7)'yovp,evrj

fj

d^ioXoyov t&v fiopimv, tov fiev et9 fjiii^mvov

TOV Be a^covov ej(pvTO<; '^yovfievov to

V,

eiTi^ipeTai,

TO

Kal dfia ov8'

fidXaKOV

TOVTOK

dvoevra

irapofioiov

to

re ef d(f>covov Kal \rjr/ov(Ta el<; '^fiiipmvov.

9eol TrapaKelfievov dvaKOTrrei tov ^x^ **'

to

Biepeicr/jiov

ovBevb<;

fi^Te

Sua-raTai

dpjfpiievri

ydpiv

re

T(3

10 TTOiel

to aro/jba

iv

tu?

fieraKafi^dvetv
(TV^yevrj

fi'^re

')(fi6vo<s,

dpfiovta<;,

irefiTrere a-vWa^rj

rw

Kara

aOpovv,

Xafi^dvovTOi;

\lr6<f>ov

iv Be

fiof

eipTjrai,

S i/iirepiXaiM^dveTai
ical

tov

'^eiXmv

tS>v

re TTPev/iaTo^

avvepjov<7r]i tov

y\a>TT7]';

T7?

chap.

diro

fieTa^ii

T0UT019 iKeiva eireTai

XP^V '''^^ VX^ "^^ ^'^'' oXLy(p.
" iravBaiBaXov t evKXe dyopdv"
rpa^^Za Kavravda Kal
ai/TtTUTTO? rj av^vyla' '^fii^eovip yap d^covov avvdiTTeTai tw

20

TO f Kal

iJ

avrm

ovk

Be

fiec^av

yX.itiTTrj's

FMV

II

XeTov t

7 fiaKphv

PMV

t^9

oXtyo)

re

yA.Mtro-Tjs

PV

PMV

TO 0-TO/ia

t^/jovos"

e^ d<f>a)vov

evepyoijo-rjs

XeXov

Kal

fiaxpal

fieTpia';

t)

PMV
F

<us

||

PMV
V

tov tb

fiera^i)

(TVvaXoi(j}fj<s

fiev

yap

t^?

dftipoTepat,

rd

avvaXelipovcra

Bvo

(fxovrjevTav

el

crvvepyovcrrjsi] fjtepi^ofievr) a-vvepyova-ti^

is S^

PMV

6 eieirh
apxov(rd

3 Se

5 ev 5i Sua-rarai

8 dpxofievr)

t^s

Kal Bvelv avvecrTmcra

tov

Scd^aaiv

travBaiBaXov

tov

25 avvaTTTOfievij';

crvXka^ri,

d^toXoyov

Bia^e^r}Kev

TrpocrrjyopiKov

evTrerh

PMV

Sij

PMV

||

oS crvvtcrraTai

Sl

PV

10

evreXes

jrotei

irotei

e/oicr/ioi' P
Siopicr/wv FMV
11 to v
toC v (yv F) FMV
cm. P
OrJTa F
14 dddvaK F
dOijvaii PMV
16 dTJra F
18 ^evyvvp-evov F
eTre^evypivov
PMV
19 Xa/i,;8avovTOs P
20 ^Xv] XPO""" F
21 Tpaxeta,
KdvTa.v9a om. F
22 o-wdTrreTat P o-wairTETai ypdfipM PMV
23
Siaorao-tv PVM^
Sidj3axriv M}
25 crvvaTrTopevrjS F eTrKrvvaTTTOjuevTjs PMV
^- PMV
p-aKpa et dp^orepa F
xpo''os F
fikv yap]
>*ev P
yap euriv
yap F
26 ptrpim F
<rvp,peTpia PMV
_
Ta Svo (TvXX.a/3i^ Us. Tas Suo (^ P) o-iiAAaj8as libri
27 Sueiv FP

TOV

Sylburgius

II

Siepeurixov Us.

||

II

MV

||

||

||

^uoiv

MV

ON LITERARY COMPOSITION

XXII

223

doing none of the work, and the hreath forming a concentrated

when
mouth

noise

the lips are opened, as I have said before.

the

is

While

taking one after another shapes that are neither

akin nor alike, some time

is

consumed, during which the smooth-

ness and

euphony

of the

the

syllable

of Tre/iTrere has not a soft sound either, but

is

first

arrangement

rather rough to the ear, as

a semi-vowel.

it

Moreover,

interrupted.

begins with a mute and ends with

coming next

6eob

is

to xa/otj/ pulls the

sound up

short and makes an appreciable interval between the words, the

one ending with the semi-vowel

mute

And

0.

it

is

the other beginning with the

v,

unnatural for a semi- vowel to stand before

any mute.

Next
6fi<f>a\6v

follows

Ovoevra

dvoevra which

which ends in

third

this

iv

rat?

begins with
v,

'A0dvai<;

iepai<i
0,

ao-reos

ol'^veiTe.

Here

jroXv^aTov

clause,

oX

being placed next

to ofi^oKov

produces a dissonance similar to that previously

mentioned; and iv

rai<;

lepah which opens with the vowel

being linked to 0v6evTa which ends with the vowel

a,

e,

interrupts

by the considerable interval of time there is between

Following these come the words iravSaCSaXov t evK\e

the voice

them.
ayopdv.

Here, too, the

For the mute t

is

combination

is

and dissonant.

rough

joined to the semi-vowel v

and the interval

between the appellative iravSatBaXov and the elided syllable

which follows it is quite an appreciable gap for both syllables
;

are long, but the syllable which unites the two letters e and
consisting as

it

does of a mute and two vowels,

longer than the average.

At any

2. <s Kal vp6repov Apr\Tal (loi: the

passages which seem to be meant (144 22
and 148 15) do not exactly tally with the
present one.
must supply KarA, idav av\12.
Xo/3i}>', which words are found in 218 14
and 220 2 (op. 230 4) : otherwise we

rate, if the

So in

21. t' rf- are treated as

one syllable.

218 22, Dionysius probably in-

w ^

imrel-

k\vt6.v, etc.

gS.

In Dionysius'

own words,

it

might

^^^^ ^hat the interval between the

article 6 and the noun xpi^os with which
j|. agrees is quite an
'appreciable gap.'
q introduction, p. 12 supra.
-^^

.,

24.

luvov etc.

r in the syllable

tends us to divide as follows

We

are confronted with such examples to

the contrary as ivBa and (m this ammediate context) /ieraXaupdveiv, dpxo-

v,

considerably

is

Tijs

<ruvoAonj)T|S

blended syllable

ei-.

the fused or

DIONYSIUS OF HALICARNASSUS

224
yovv

Tt?

a^eXoi

avTri<s

to

dyopdv, eh to BtKaiov eXOovcra

TTOiijcrei

TTjv

eve-jreirrepav

" lohercav Xdy^^ere are^avtov.

icai ro X, ^va-iKr]v

TrapaKeiTat yap rjfiii^wva Svo aWjjXot? to v

KaO^

>

rov

yap

rj/iKpaivoi^

Kal

Xeyofievai

/j,aKpa>^

rfpLK^mvai

BiKaiov

^vaei fiaKpov Kai

ypdfifia

<j)iov'!]ev

to

jiopiov Bval

ravrr) rpial p/rjKvvofievr] ypdfifiaaiv

crvvaTTTOfievr)

to,

iapiSpoTrcav"

t'

are^dvtov

re Xrjyovaa rov

rj

p/rjTe

Kal

/cal oieaTriKC

trvXXa^al

avyKpovovTat,

Sevpo

irepiXafi^dvova-a

t&v

" iTTe<j)dvo)p

ttoXv

iirl

Kal

v'Trepalpovcrai fieTpov,

(fteovijevTi

<T07row?

avTOV<;

cTTofiaTOi; iK(j)epea'0at..

Xeyofieva p/qK^iveTaL Te Tats o-vWaySais

Tat? dpfiovMii;
10 fuiKoal

Kara tow

fjufjTe

o/jLoiov; (7'yriij,aTia-/M0V';

iirl T0VT0i<}

Kal

d<f>covrp

ovv

re

Biepeiafio'i

crvXXa^&v, Kal dvrirvTria ry irapadeaei

TMV ypafi/idraiv, ovk ej(pvT0<; rov f avvtoBov ra> v rov ^j(pv,
irapaKeirai Be Kal rm doiBdv eh to
b Kal irporepov e'iprjKa.

yeyove Tot?

rSiv

jjuriKeai,

V XriyovTi,

20

/lerpov

apixoviav.

ouK evovra av^vyCav tS

15

TravBaiSaXov

iroirjoreie

ew/cXe'

Ofioia TOVTOi<; icrrl /cdiceiva

5

Kal

chap.

d^mvov to Aiodev re

rov B dp'^o/ievov

dirb

Tm aiiv dyXa'ta eh to I
doiBdv dp')(ppvov diro rov

iroXXd

I.

roiavra

evpoi,

civ

ri<i

Kal

iropevOevr

iBere

to

Xrjyovri

oXrjv TTjv mBrjv (TKOirSiv.

"va

Kal

Be

JIivBdpov

earo),

fiev

6K TOW trpooifiiov r)Be

a<^A,o( Us.

PM^V

XaXere
t5,v t']

PM

t aBr' P

edpiSpeiTTWv

PMiy
re F
re F

II

14
Siodev re

M,

1.

266

fioi

irof^creie

/iot
.

PMV

V
:

yue

M:

Aoi/3av

iroi^orei:

PV
op.

/^'^

/iot

220

)liijt

t'

||

17 o

FM

d<f><ovov

19

iropevdkvra

j^/jovcdv

14,

6.
If Usener's supplement be not
aecepted, we might read ti? ixriSi Kwrb,
Tois 4/toIoi/s (rxi;A"(r/ioi}s, ktK.
10. SeCpo (TvyKpoJiovTai,
meet here
with a clash,' as it were.
17. xapdKciTai ktX. : viz. the v of

o 8' eyi>v

||

6
9

F eo/otSpETrtov
FM^ fi-qKVvOiUTa
F us PMV Se]
:

|i

aKJiiovov

ot 8e

dp-x6p.evov]

iapiSpoTrmv

V
20

[j,rjKvvofJi,evri

||

rwv

om. PMV
Ka6' ins. Usenerns

18

23.

'

twv

Stopitr/xds

PMV

V)

xpdi/os

rj

2 emreTetrrepav

yap F

PMV

-Savi

/wi,

iroXe/jLov

libri

4 leoSeruv

to-jtovs

av t F
13 ij]

6i|0T-/ids

doiSoiv codd.

aotSav (-Sav

22

t aS

Aaxet

6/;iotovs

a^kXoiTO

eueTrecTTaTJjv

PMV

a-Te<t>a.v(av

avTov's o/iotous

220 14)

M?

rov

^vveypayjre

'A67]valo';

(coll.

eveTrea-repav

eyyevTjrai

eiTreiv

ovkvSlBov Be Xafi^aveada Xefts

ou/cuStSiys

25

Xonrwv

rStv

irepl

dXi<;

PV
:

||

Siare^ti'

TropivOiVTa

dp)^aioi pjovov

25 twv] rov P

aoiSav comes next to the S in SMev,

and the i at the end of 6.y\ati} precedes
the i in Were.
For v and S in juxtaposition cp. English and (where the d
is often slurred in pronunciation) and,
on the other hand, English sound (where

the d
19.

is

not original).
t at the end of uYXatf, seems,

The

ON LITERARY COMPOSITION

XXII

225

be removed and iravSaiSaXov evKke ayopav be read, the syllable,

falling into the normal measure, will make the composition more
euphonious.

The words loSeTwv

are^dvmv are open to the same

For here two semi-vowels,

Xap^jere

criticism as those already mentioned.

come together, although they do not naturally admit of

amalgamation owing to the fact that they are not pronounced < at
the same regions nor > with the same configurations of the mouth.
The words that follow these have their syllables lengthened and
are widely divided from one another in arrangement
a-Te^dvmjf
For here also there is a concurrence of long
Tav T iapiSpoiroav.
syllables which exceed the normal measure,
the iinal syllable
of the word <TTej>dvcov which embraces between two semi-vowels
a vowel naturally long, and the syllable linked with it, which is
lengthened by means of three letters, a mute, a vowel pronounced
long, and a semi-vowel.
Separation is produced by the lengths
of the syllables, and dissonance by the juxtaposition of the letters,
since the sound of t does not accord with that of v, as I have
said before.
Next to doiZav, which ends in v, comes Aiodev re,
which begins with the mute 8, and next to aiiv wyKata, which
ends in t, comes tSere iropevdevr doihav, which begins with i.
Many such features may be found on a critical examination of

V and X,

the whole ode.

But

in order to leave myself time for dealing with

From Thucydides

remains, no more of Pindar.

passage of the Introduction

" Thucydides,

an Athenian, composed

to have been regarded by

Dionysius as a separate letter, and not
Perhaps it was
as an i &veK<piliviiTor.
op. the final e in
sounded in music
French.
In Dionysius' time it was not
uncommon to omit it even in writing
:

yd,p

X"P^^

'''""

'

yp&<t>ov<n

what

us take this

therefore,

iroW^h

let

rets

SoTiK&s, Kal iK^dXKova-i. di tA I0os (pvffiKTjv

aMav oiiK Ixo" (Strabo xiv. 1. 60).
cp. de Lysia c. 16
22. l-y7evT|ToC (jioi
iva Si Kcd irepl tCiv Idewv iyyivrfral /jioi
tA irpoaiiKovTa. elirelv, ktK.
:

with the
23. Bircovius compares,
following passage of Thucydides, the
opening of Sallust's Bell. lug. v. 1
" BeUum scripturus sum, quod populus
Komanus cum lugurtha rege Numidarum
gessit, primum quia magnum et atrox
:

this history of the

war

variaque victoria fuit, dehinc quia turn

primum superbiae nobilitatis obviam
itnm est ; quae contentio divina et
humana cuneta permiscuit eoque vecordiae processit nt studiis civilibus bellum
atque vastitas Italiae finem faceret."
probably the first
24. toB irpooi|i(ov
twenty-three chapters are meant as
far as the word 'ETriSo/icis ian wSXis
:

ktX.
25.

In the English translation no

attempt has been made to reproduce the
For this
style of the original Greek.
purpose the long sentences employed in
early English prose- writers are most
suitable
e.g. Francis Bacon's rendering
(Considerations touching a War with
Spain iii. 516, in Earleian Miscellcmy
;

DIONYSIUS OF HALICAKNASSUS

226

TieXoirowTjaieov Kal

'

Kdrjvaiwv

ta? iiroKefirjaav

\ou?, dp^dfievo9 ev0v<s Kadiarafievov Kai

koI d^ioXoyayraTOV t&v
ecreadai
re
TeKfiatpofievo'i

on

re

aKfid^ovTef

repot TrapacTKevrj ry irdtry, Kal rb

^vvicrrdfievov

ro

eKarepovf,

irph'i

chap.
irpoi aXKrf-

/leyav

ekiriaa's

jrpoyeyevrifji.evtov,

avTOV

yaav

e?

dWo

'EKXtjvikov op&v

ev0v<;,

fiev

afi(f>o-

ro Se

ical

yap avrij fieyicrr) Srj rot? EWijo-m;

eyivero Kal p-epei rivl r&v ^ap^dpcov, to? S eiirelv Kal
rd yap rrpo avrmv Kai ra en
iirl irKelaTov dvOpdyirwv.
kLvijo-k

Biavoov/ievov.

TraXatorepa

10

ix Se

^vp^^alvei,

ov

fieydXa

Kara tou?

'rro\efiov<i

'EWa?

dSew

ydp

Kard
eavrmv eKacrroi

aKXriXou<; ovre

ovaLav ^p7}/idr(ov ovk

1

Ktti]

T Kai

EF

epeiv

irXfUTTwv

akXa F

dSeaJs)

irXeia-ruv

11 fULKporepov

MV

Sid daXdaarj^,

dTro^rjv

xal

irepi-

dSrjXov

||

||

Kal ra

13

yrjv tjivrevovTes

84) of Thuoyd. i. 23: "The truest

cause of this war, though least voiced,
conceive
to have been this : that the
I
Athenians being grown great, to the
terror of the Lacedemonians, did impose upon them the necessity of a war ;
but the causes that went abroad in
speeches were these," etc.
Thomas
Hobbes' translation of the opening of
the History keeps close to the sentencestructure of the original:
"Thueydides, an Athenian, wrote the war of
the Peloponnesians and the Athenians
as they warred against each other,
beginning to wiite as soon as the war
was on foot ; with expectation it should
prove a great one, and most worthy the
relation of all that had been before it
coi^ecturing so much, both from this,
that they flourished on both sides in all
V.

ocrov

del

eTrifiiy-

16 aTToAiTrovTes

20 ovSe

yrjv ovre

ouS'

EF ^o-av libri sed apud Thucyg Schol. Plat Rep. 449 a Suid. Phot.
8tavooi!/*Vov om. P
9 TrXeurrov

4 re om.
6 irpos

sic

ovarj^

17

dXXd

eKacrroi

rivwv

ej(ovre<; oiiSe yrjv ^vrevovrei;,

lectio potior 'crav [" ytrav

^crav cett."]

ovk

einropia/;

paSi,a><}

inro

jSia^ofievoi

/loi

oiire

ydp

<}>aiverai

ovaat rd irporepa Kal

re

re rd

vefji6p,evol

rd dXXa.

i<{

diroXeiirovre'i

t^?

trXeiovcav.

vvvre'i

ovre

yeveaQai

vofii^a

KaXovpAvf] ov -TrdXai /Se/Satw? oiKovfievq,

eavr&v

rtjp

didem

fiaKporarov aKoirovvn

errl

iricrreva-ak

fieravaffrdo'et'i

20

evpelv Sid ^(jpovov irXfjdoi; dBvvara

Sni

vvv
15

fi^v

cra<j}S>';

reK/jLTjpicnv,

rjv

EFs

n-oAe/iious

PMV

Kal
|{

10

akka PMV:
dXkqXoK (om.

Tot

17 eTrtjuiyvwTcs
om. F

manner

of provision; and also because

rest of Greece siding with
the one or the other faction, some then
presently and some intending so to do,"
etc.
Hobbes' version is well known
but the unpublished translation of

he saw the

Francis Hickes [1566-1631], from which

the following extract has been taken by
the courtesy of the Librarian of Christ
Church, Oxford, is also of much interest:
" Thuoydides the Athenian hath written
the warres of the Peloponnesians and
Athenians, with all the manner and
fashion of their fight, and tooke in hande
to put the same in writinge, as soone as
ever the said warres weare begone, for a
hope he had, that they would be great,
and more worthy of memorie, than all
the warres of former tyme have been
conjecturinge so much, because he sawe

ON LITERARY COMPOSITION

xxn

227

which the Peloponnesians and the Athenians waged against one

He began as soon as the war broke out, in the expectation that it would be great and memorable above all previous wars.
This he inferred from the fact that both parties were entering upon

another.

at the height of their military power,

and from noticing that the

Greek races were ranging themselves on this side or on
that, or were intending to do so before long.
No commotion ever
troubled the Greeks so greatly it affected also a considerable
section of the barbarians, and one may even say the greater part of
mankind.
Events previous to this, and events still more remote,
could not be clearly ascertained owing to lapse of time. But from
such evidence as I find I can trust however far back I go, I conclude that they were not of great importance either from a military
or from any other point of view.
It is clear that the country
now called Hellas was not securely settled in ancient times, but
that there were migrations in former days, various peoples without
hesitation leaving their own land when hard pressed by superior
numbers of successive invaders. Commerce did not exist, nor
did men mix freely with one another on land or by sea.
Each
tribe aimed at getting a bare living out of the lands it occupied.
They had no reserve of capital, nor did they plant the ground
with fruit-trees, since it was uncertain, especially as they had
it

rest of the

them both so riohlie abound with all

provisions thereunto belonginge, and all
the rest of the Grecian nations, readie
to joyne themselves to the one side or
the other ; some, presentlie upon their
fallinge out,

do the

like.

and the

rest intendinge to

no doubt, was the

that ever was amonge

This,

greatest stirre,
the Grecians, consistinge likewise partly
of the Barbarians, and to speaks in a
word, of many and sundrie nations. As
for the acts achieved by them before the
tyme of this warre, or former matters
yet of more antiquitie, it is impossible
to finde out any certaintie, because the
tyme is so longe past, since they weare
performed : but, by these conjectures,
which upon due examination of former
tymes, I believe to be true, I must
thinke they weare of no great moment,
either for the course of warre, or any
other respect. Now it is most probable,

that the country which we now call

Grece, had not in old tyme any settled
inhabitants, but did often change her
dwellers, who weare still easie to be

removed from their possessions if they

weare urged by any greater forces, for
when there was as yet no trade of
Marohandise amongst men
no free
enterconrse of traffique one with another,
either by land or sea
none that tilled
any more ground, than what would
:

serve to sustaine their present lives

none that had any money in his purse
nor any that planted the earth with
fruits

for

they knewe not

how

soone

others would come and bereave them of

it, their cities beinge all unwalled and
bearing the mind, that they should
everie where finde enough to serve their
turnes for their dailie sustenance, they
weare therefore easie to be driven out
of any place ; and for that cause, did
nether strengthen themselves with great
cities, nor warlike furniture for defence."
,
,
,
,
ti,j
cp. schol. ad Thuoyd.
, 4- Tl>-av:
B-ra^] /teri ff^uS^s ^Tropeuo^-ro.

i.

9. rd (before Iti) is omitted by the

Palatine and the Ambrosian Mss. in
de Tlmcyd. c. 20.

DIONYSIUS OF HALIOAKNASSUS

228

koX

inreKdrnv

bv oTTore rts

avrri

'^yovfievoi iiriKpareTv

on

Xe^i,'}

fj

5 aKpi^S)<i

fjuev

ovk

ov '^aXeir&'i avicravTO.
Xeta?

ovSe

eueTr^?

ical

e'^ei

eanv

ovB

dp/iovia';

TaL<;

aWos

afia ovrcov

^fiipav avayKai,ov T/so^Jj? iravra-

a^aipijffeTai, t^? re /cad

vpv av

aTei')(l<yTwv

chap.

avve^ea-fiivai

kol

fiaXaKij

oKiaOdvovaa Bia Trj<; aKorji; dXXa ttoXv to dvrirvirov Kol rpa'^ii Kal arpv^vov ifitpalvei, ical on Travrj'YvpiKrj'i
'xapi/ro'i, dpj^al/Jkev fj 6earpiKf)<i ovBe Kara fiiKpbv e^awTeTai
Kov S4 n Kal avdaSe'i iTTiBeiKwrai koXXo'}, w? 'jrpo<; etSoray
XeXrjOoTioi;

10 o/u.ot(09

evTraiSevTOVi

Toil's

re

Kal

avTOV tovto

6t?

fiev

aKpoaaiv rjTTOv

elaael fiaXXov

aoi

oXiyuiv

BeiyfiaTa

XovOov

16

dvijp

ia-Tai

io-ri

15

PM
PMV

and the

dirr)vi]

a-r)pavS

M:

EFV

it.

250-3)

maintains,
in detail, that these comments on the
style of

Si

elvai

EF

avrrj irdkiv

||

Thucydides would also apply to

a passage of Bosauet (in the Oraison

fwiibre de JSenriette Anne d' Angleterre,
duchesse d!OrUans), which "a tons les
caraotires d'une composition austere ;

||

aTntvij

F:

p^Siov Us.

18 fLerajBaivova-ai

lucidity possible to
(pp.

/MiKpd fieydXav

4 avrr)

Batteux

dpfioviav.

tov ofioiov re Kal aKO-

FMV
PMV

203-44 Norden Kunstprosa i. pp. 96101 ; Jebb in Hellenica pp. 306 ff.
4. This long sentence (11. 4-14) is,
itself, a good example of Sreek word7.

^prjaafjuevoi;

ttjv

5 Kal /iaXaKij
om. PV
6
7 Kal Tpa)(y om. EF (TTpit^ivhv
avTov te F avroii E
14 6 dvrjff

3. For estimates of Thucydides' style

in general cp. not only this passage of
Dionysius but also D.H. pp. 131-59,
175-82 (Text and Translation of Ep.
ii. ad Amm., together with notes and
some references to Marcellinus) ; Croiset
Thucydide : Livres i.-ii. pp. 102 ffi and
Histoi/re de la litt&rature grecgue iv.
pp. 155 ff. ; Girard JEssai sur Thwydide
pp. 210-19 ; Blass Att. Bereds. i. pp.

order

ttjv

ol?

EFM

EV

6\i(T6aivov(Ta

PMV

S'

Oecapiav.

11 avTov TOVTO ye

(Toi a-rjfji,avZ

ire-TrotrjKe

paBiov yap earai

eirl

on

" KTfjfia

eiTTi,

to irapavTiKa aKoveiv

el<;

aTravicTTavTo Thucyd.

a-vve^evypivas
II

oAio-^avovcra

F
EF:

'^aXe'jrw

fjueTa^aivovcriv

3 dvicTTaro

PMV

/iT]

ypa^rj

rj

aWw?

ofioXoyija-avTOi,

Ta OewprjfiaTa

eVrt

S'

<7r]fiavS>

rots

eiriTepirr]^

Kal avaTrjpav

dTrrjvrj

oiirft)?

ovSev Seo/Mat Xiyeiv,

a-vyypa<j>eQ}<;

dymviafia

rj

nva

o-vyKeiTai.
15 dvijp

a/iravTa<;

ye tov

em-ivy}

paiSia

PV
F
:

||

SiaXoyavV^

palov P,

/ieTojSaivovcri

MV

MV

||

c'est partout uu style robuste, nerveux,

^pre meme quelquefois,
presque
et
rustique." The passage is that which
describes the abasement of all human

grandeur by Death "La voila, malgr^

ce grand coeur, cette princesse si admir^e
et si ch^rie
la voilk, telle que la mort
nous I'a faite. Encore ce reste tel quel
va-t-il disparaitre
cette ombre de gloire
va s'^vanouir, et nous I'allons voir d4pouilUe meme de cette triste decoration.
Elle va descendre k ces sombres lieux,
a ces demeiires souterraines, pour y
dormir dans la poussiere avec les grands
de la terre, comme parle Job avec ces
rois et ces princes
aneantis, parmi
lesquels h, peine peut-on la placer, tant
les rangs y sont pressfe, tant la mort
est prompte k remplir ces places," etc.
Batteux begins his careful and interest:

ing analysis as follows: "Nul choix

des sons. Malgri ce grand eceur est dur.

ON LITEBARY COMPOSITION

XXII

no

229

when some invader would come and rob them

They also thought that they could command

fortifications,

of their property.

the bare necessities of daily

reasons, they

made no

There

no need

know

is

as well as

it

life

difficulty

for

me

anywhere

when

to say,

that this passage

I,

and

so, for

all

about giving up their land."

all

these
^

educated people

not smooth or nicely

is

and is not euphonious and

and does not glide imperceptibly through the ear, but shows
many features that are discordant and rough and harsh; that
finished in its verbal arrangement,

soft,

does not make the slightest approach to attaining the grace

appropriate to an oration delivered at a public festival or to a
it

speech on the stage, but

willed beauty.

is

marked by a

narrative is but little calculated to give pleasure

" it

has been composed as a possession for

an essay

all

self-

when heard

time rather than as

be recited at some particular competition."

to

and

sort of antique

Indeed, the historian himself admits that his

I will

you the principles by following which the

author has made the arrangement so rugged and austere.
Small
things will readily serve you as samples of great you can easily
go on noting resemblances and making comparisons for yourself.
briefly point out

to

Thucydides

i.

1.

si admirSe
choc de voyelles. La voilA telle
jetes
mots
que la mort nous I'a faite
plut6t que places. Encore ce reste tel
Ve
quel va-t-il dis pointes de rochers.
cette triste decoration n'est gufere plus
doux.
Et ces trois monosyllables brefs
et rocalUeux, com/me parte Job, " etc.

Cette princesse si est sifflaut

et si

9.
a<!6aSes . . KciXXos : this happy
description of Thucydides' style shows
that Dionysius saw in style a mirror of
the man (cp. ivSpis x'^P'"'''^/' ^^ ^^ov

Fragm.

Menand.

yvapiierai,

Dionys. H. Antiqq, Rom.

yap

i.

72,
1

and

iiriaKGis

&iravTS vo/iifovnv elKbvas elvai rijs

The general
ikdcTTOv \j/vxTi^ Tois \6yovs).
drift of Dionysius' phrase is, of course,

commendatory

he does not
9) mean but such beauty as
:

'

dides' style)
perverse.'
12.

dides
)

is

it

archaic

and

These well-known words of Thucy4) are

22.

(i.

Thiieyd.
(I.e.

displays

120 8,
(Thucy-

(cp.

c. 7.

runs

quoted also in de
on Thucyd.

A scholium

Krij/m']

xipSos.

kttjim,

t^jc

dyJiviajm, rbv y\vKiv \l>yoi>.

iCMiBeiav
The
alvlTTcrai Si rd /ivBiKd "Hpod&rov.

Thucydides

i.

22.

passage is well elucidated by Lucian,

and by Pliny the Younger (1) Lucian
de conscribenda historia e. 42 o S' oSv
:

QovKvdldrjs eS /liXa toSt' ivoiioBiTii<Te, koL

Si^/cpicec dperriv Kal Kaxlav <Tvyypa4)iKriv,

opSc

fjui\uTTa Sau/iofiynevoc ric 'JipSSorov,

fixp'

'''o^

/Si^Xia.

""'^

KkriB^vai airov tL
/uSiWov 4s del
is tA irapbv Ayivuriui,

Moi)<ras

yip

Krij/ia

avyyp&<t>av ijwep
Kal fii] rb fivdwSes

<prjn

dirirdi^effBai, dXXa tV
tQv yeyevTjfiivuv aTroKeiTrecv rots
Oa-repov, (2) Pliny I!p. v. 8 "nam plurimum refert, ut Thucydides ait, kt^/ho
sit an dydivur/ui,
quorum alterum oratio,
alterum historia est.
13. iliraet: Thucydides himself no
see Marcellinus
doubt wrote ^s aleL
52 for aUl (rather than del) as con-

dXiJ^etai'

mark of -q dpxala 'AtOLs in

Thucydides.
14. 6 avifp (divisim) should probably
be read: cp. 230 23.
stituting a

17.

The meaning

possibly

is,

"you

can easily proceed with the same, line

of observation right through work which
is consistently of a similar character to
this."

DIONYSIUS OF HALIOAKNASSUS

230

ainUa
ypaylre
fioviav

10

yap

ov

aftoXoym?

SucrTria-iv

S tov ^ Kara

to

irpoTcerTeTat

avXXa^TJ yivofievqv

tov

Se

Set

to

irpoo-TiyopiKm

'A0rivalo<;

'^^

dpxv

i^apfiOTTOfievov

prjfia

iv /iid

TTjv
5

iv

chap.

dp-

t7VveK(})opdv

(TUOTrrj

ff

fi/ve-

ttjv

xaTa-

tovto Be Tpa^vTrjTa
\7]^devT0<; tots uKOva-Tov yeviaffai to f
ai fieTa tovto
eireid'
irddoi}.
ipyd^eTat koI dvTiTvrriav to
tov
Tr> icaX tov
<Kal
yivofjievai crvyKOTral tS>v fi')(cov, tov re v
TrapaKeifievtov,
aXKriXoK
f Ka\ TOV Tf Kal TOV ic TETpaKif ef?5?
yapdTTOvaiv e5 jxaKa Trjv dxorjv Kal Biaa-aXevovcriv d^ioXoymf
.

Tas

OTav

dpfiovia'i,

Kal 'Adrjvaiav"
o

ov

Ti

TOV

avrm

re

Kadapdv

Kal

T&v

Tj

Kal

Set

TeXevTotov

to

irepl

Tpavrjv

TOVTOK

TTOo?

15 ert

tovtwv yap t&v fiopiav t^s Xefe? ovhev

'

KaTaX7)^0rjval.

ffTOfJLaTOi

fievov

"tov iroXefiov tmv JleXovovvqaitov

4>fj

<^(OvrievT(ov

to

tov

alaOrjTov

irapdde<Ti<i

hiearaKev

Kal aZ6t<; iv t^ BevTepa TrepioSqj

Tr)v

yap

dKepaaroi

'

irdvv

rij(ov

Kal ol avXXeaivofievoi iroiovaiv

oi avveyel's re

eueTre?

Kara

ra Kal 'Adrivaicov
Kal

^^povov

rj

tov a Kai dTroKOirrovaai, tov

Kal

vtro

crvva/mo-

eavTov Xd^rj hvva/iiv.

dpfiovia<;

Trj^

Xa^ovaa

fiera^i)

Aaval TOV re
20 S'

o-uve^e?

to

iva

ypdfi/ia,
ttjv

TeXevTaiav tov kcoXov TovSe yevofiivT) iv

SiaKeKpovKe

TrpoTepov

Tnea-drjvai

to

irpoiijyovfievov

al
ro

vy^oi.

k&Xov

" dp^dfievo<; v6v<; Kadia-Tafievov

fierpia)<; dpfioaa^
o dvrjp ft)? av evdxovov re /laXio'Ta (paovoiTO Kai fiaXaKov, to
fieTo, TOVTO TToXiv diTOTpavvvei KaX Siaaira toi? Siaj(aXdar/jLaa'i
"Kal iXiriaa'; fiiyav re eaecrOat Kai
Twv dpfiovtmv
tovt'l

25

d^toXoymTarov rmv
ov

e^r]<i

Sid

ipya^ofieva Kal

KwXov

Xa^eZv

"t&v

to

et?

0da-iv evypafifiov

Kal

2 e<fiafj,apT6p,v{ov)
KOI TOV

7f

(post v) ins.

11 ovSh

libri
<<Ti<im-fj>

Kal aSrts F
hnrpa^^vvei

Sauppe

(Ttav
9.

13

Us.

Siea-raKev P,

MV

irapaKeiTai

dvaK0ira<i

ervve'xpv?

30Xi]yov(Ta

r/at? yap dXXrjXoK

Ta (pmvrjevTa avyKpovaeK
Kal ovk i&VTa ttjv dKpoaatv evo<:
t]
irepioSo^ avrm
re
(fyavraaiav

jrpoyeyevrj/d.evav."

fiaKpov

Trpoyeyevrj/ievrnv"

irepi^epii,
cTrayo/ievov

Uptonus

lirl

ovk

dKopv<^o<;

ej^et

Trjv

^aiverai

Tt?

6 /nera tovtidv

Trapa/cct/iEvai
8 TrapaKcip.iviov Us.
ov
EF
12 oSv F: o^xi
IT
reXivraiav F,
om. P
:

PMV: ovOh
wo]

dTOC

EPMV

MV

||

Sda-rrjKe EF
21
18 yap EF re yap PMV
aWn PMV to F om. PMV
24 aTroTpaxvvei PV
FM SiaxaXacrfiao-iv P a3roxaAaa-/iacri F
26 Tph
:

||

||

rpia libri
^avToa^iav

Perhaps an

effect

27
Xap.jid.ve.iv

l^'^s ov]

analogous to that
is meant.

of syncopation in music

e^ la-ov

29 Xa^dv ^avTa-

PMV
10, 11. Different words, and a different
If
order, seem hardly possible here.

ON LITERARY COMPOSITION

XXII

At

231

the very beginning the verb ^vveypa-ijre, being appended

to the appellative 'A0r)vaio<!,

makes an appreciable break in the

never placed before | with a view to
being pronounced in the same syllable with it.
The sound
of a must be sharply arrested by an interval of silence before

verbal structure, since

a- is

and this circumstance causes roughness and

Moreover, the interruptions of the voice in what
follows, in consequence of the four successive juxtapositions vir,
the f

is

heard;

dissonance.

upon the

grate violently

and cause a remarktov -iroKeiJ.ov t&v

TleKoirovvqarlmv koI 'AdTjvaitov.
Of these words there is not
one that must not first be checked by the mouth with a stress
on the last letter, in order that the next letter to it may be
uttered clearly and purely With its own proper quality.
Furthermore, the juxtaposition' of vowels which is found at the end of
this clause in the words kuI 'AOrjvaicov has broken and made a
gap in the continuity of the arrangement, by demanding quite
an appreciable interval, since the sounds of and a are unmingled
and there is an interruption of the voice between them whereas
euphony is caused by sounds which are continuous and smoothly
VT,

VK,

vir,

able

succession

of

jolts

when

he

ear,

says

t,

blended.

Again, in the second period the

first

clause ap^dfievo^ ev6v<;

by the author
would produce the most smooth and
But he roughens and dislocates the very next

Kadia-Tafievov has been pretty successfully arranged

in the

way

euphonious
clause

in which
effect.

by sundering

Koi d^ioXojcoTaTov
succession

it

its

joints

koI iXwiaa'; fib^av re eaecrOat

tcov irpoyeyevrjfievafv.

vowels are juxtaposed

obstructed utterance, and

make

which

For thrice in
cause

clashings

close

and

impossible for the ear to take

it

and the period

the impression of one continuous clause
which he ends with the words r&v n-poyeyevrjfjsvmv has no welldefined and rounded close, but seems to be without beginning or
in

put

raent.

Blass {Andent Greek Prop. 66) remarks, that the

educated pronunciation of the Augustan
period did not confuse ai with e.

16. TXciiToCav : it may be that some

to be suplike (rvyKoir-ffv is
Or TcKem^v may be read or
plied.

22-5. Here, again, the author would

hardly have much choice in the arrangement of the words in question.

irSXefiov

were

after

'ASrivatuv,

the juxtaposed letters would be much

the same as in the existing arrange-

word

19.

The present passage

(lines

15-19)

shows,

as

mmdation

26. TpCs : viz. in the words koX iKiri<ra!,

re (aeadM, xal a^idKojiiraTov.

DIONYSIUS OF HALICAENASSUS

232

KoX aKaTda-rpo^o<;, wairep

[t^9

avTO ireirovde koX rf rpiTT) -jrepiohof Koi <yhp e/eei'vij?

d7rep[ypa<f)6<i eari koL aveSpa<TTO<i ij /3acrt9 TeXevraiov ixova-7)<;
fwpiov "to Se Kal Ziavoovfievov"- ttoWAv a/^a km avTrj
amiTViruii Kat,
^mvrjevTfov re tt/jo? ^oovijevTa
irepievova-a
S'

irpof ^/li^cuva Kal

^fj,i<f)d)va)v

(TVvaZa Ty

ova&v a?
to

7rpo<s

10 fiepi^oi

TavTaK ovK iXuTTOvcov

Kal avve^efffieva rats

w\a,

irdvTa

TO,

oXiyov

TreptoSot?

koX

dvaKoiral

Te

17

Tmv

Kal

aXXa

re

Kai,

67ri

Bv<TeK^6p<ov

oTuyov

KaivoTr}<s

oaa

a"

cov

yeyove,

t&v

r]

kcoKoov

dvm/jiaXia Kal

irepioBcov

Kal to t^? dKo\ov6ia<i VTrepoiTTiKov

^apuKTrjpiKa

ovra

t^?

Kal

Kal

re

dKo/iiJrevTou

airavTa yap Bie^cevai

dpfiov'ia<;.

irapaBeiyfidToov

t&jj/

a^covwv

eKacTTOV awT^s

xal

Be

t&v

f]

Kad

Betv

"TroXXrj

ocooeKa

Xe^ei

ttj

eiTTa

iy

ef

7rapafi6Xd<i,

eyKaOiafuiTa

oi)(7Te

iireXoyia-d/iTjv

av(TTr}pa<s

irdXiv

iv

rfni^covcav

dWrjXa Kal

(ryrjixaTOiv

TO,

avfi^oXa^

twv toiovtwv.

Trpos

acrv/jLfjieTpCa

e^

Tt?

Se

KOI

ttX^^o?

to

Toaavra<i

fiopiov eXvai ti

evpoi

TpiaKOVTa,

iroXKd

to,

iv

fiev eveir5><; crvyKeifieva

to,

ovk av

rat?

(fxovrjevToyv

Beiv

o-VfifieTpai

irepiXafi^avofievmv

Be

TpiaKOVTa,

rj

fiij

omBeKo,

eiTTO),

aiiTaf

Tt?

e'l

KeoiXmv

apfjLoviai<;

Kal 'TTiKp&v

15 dvTiTVTTCov

"va he a-vveXmv

TrapeOefirjv,

irvevfia,

tA

aairep ipyd^eTai

d<j)(ova,

Tpa')(yT'rp-a<;.

<f>V(rei,

irov irepioScov

20

ovjf^i,

TeXo<!.

7r/3Q)T;9]

TO

aW

Seurepa?

tj)?

oiia-a

/iepo<;

chap.

et?

Tavra

BevTepav

inde-

KaTaBairavav

Tov '^povov OVK dvayKoiov '^yov/iat.

XXIII
25

yXa^vpa

Se

17

Kal

airep

PMV

tiTrep

II

PM^

II

||

PMV

||

FMV
M^V

ert^lprjv

Uptonus

Tocraura

ide/JL-qv

P^

2 Tis

l^'^S

d.<f>(av(av

libri

(cf.

||

koi

160

PMV

X'^P''"'''"'7P"'"''"''

eTre^ievai

l^sre/oiAa/i-

21 ra aAXa

22 awmjpas] to-xvpas
Ste^ievai

||

F
1

PMV

acnrep]

9 e? tis]

14 Kat
:

||

PMV

PMV

exovira

FMV

x^P""'''''?/"''^"'"

4 ex'"''^^ Us.
P om.

?repi\a[j,/iavofji.iv(ov

a-UTOis

o-xi^iUaTto-jutov

Dionysius seems to discern three

first sentence of Thucy-

periods in the

Too-a-uras
:

a<f>ti)va

rjv

Kal rpaxvnjTas

13 crvXXaPa.^
17

eTreXoyrjo-dfiriv

Taijrats

11

(Txrjfx.a,T(i)v

oKO/i^eiWov

av^jypa om.
1.

Se twi'

j(/"'"''''?P"<a F

20

dvTiTVTro>v

TaWa F

Se

KZXa F

TaiJTa

crvvdecnt;,

||

8 Tjoa^iJTijTas

10

20)

PMV

^avofievoDV
jrai/Ttt

dvdTjpa]

uncis inclusit Usenerus

epyd^erai om. F
koI

Trji irpwrrjs

libri

[Kal

'^"'

cilreXoyria-djMrjv

PMV

25 koi

PMV
didea,
(2)

viz.

BovkvSIStis

(1)

dpfd^evos

dXXiJXous

vpoayiyerqiUvav,

(3)

ON LITERAEY COMPOSITION

XXIII

conclusion, as if it

233

were part of the second period and not

its

termination.

The third period has the same characteristics.

and stability in its foundation,

lack of roundness

for its concluding portion to

too contains

many

There
since

is

Further,

Be koI Biavoovfievov.

has

it

it

clashings of vowel against vowel and of semi-

vowels against semi-vowels and mutes

discords produced by
things in their very nature inharmonious.
To sum up, here

some twelve periods adduced by me

are

if

the breathing-

space be taken as the criterion for the division of period from

and they contain no fewer than

period

these

not

six

or

seven

in

clauses

Yet of

thirty clauses.

all

wiU be found

euphoniously composed and finished in their structure

to

be

while of

hiatus between vowels in the twelve periods there are almost

and mutes
which are dissonant, harsh, and hard to pronounce.
It is to this
that the stoppages and the many retardations in the passage are
due and so numerous are these concurrences that there is one of
the kind in almost every single section of it.
There is a great
lack of symmetry in the clauses, great unevenness in the periods,
much innovation in the figures, disregard of sequence, and all the
other marks which I have already noted as characteristic of the
I do not consider it necessary to
unadorned and austere style.
waste our time by going over the whole ground once more with
thirty instances, together with meetings of semi-vowels

the illustrative passages.

CHAPTEE

XXIII

SMOOTH COMPOSITION

The smooth

(or florid)

mode

SMvooifievov.
The
'as there is no
is
connexion between dp^d/ievos and tskfutipd/ievos, we must take the latter as
beginning a new period, and yet logically
If the words
ip^dfievos belongs to it.'
TeKfUupdiJ-evos

general sense here

T^s

irpdrriis

are to

be retained at

all,

they might possibly be transposed with

as though it were a part
TTJs devripas
of the first period and not the end of
:

'

the second.'
4.

ITsener's

seems
Ix"^"'']*
koI yi,p
.

though the words

likely,
ii

^dais

of composition,

which I regarded

as parenthetical and
in agreement with ireptodos.
18. iroXX^ Sk Kal kt\.
cp. Cic. Orat.

might be regarded
^x"""''' ^s

ix. 32.

33 "itaque

numquam

est

(Thn-

sed, cum
cydides) numeratus orator .
mutila quaedam et hiantia locuti sunt,
quae vel sine magistro facere potuerunt,
.

germanos se putant esse Thuoydidas."

25. For a.v6r\pa, cp. n. on 208 26 supra.
The whole chapter should be compared
with de Demosth. o. 40. In o. 4? of

that treatise Dionysius refers expressly

to his previously written de Gomposi-

'

"

DIONYSIUS OF HALICARNASSUS

234

T^

/i/riv

roiovBe

"xapaKrripa

ra^ei,

eKaa-Tov

sk

ovofia

oi

ej^et-

KaO

fijTet

ev

eSpa iravra

ovSe ev

opaadai,

7repi(f)avia<i

chap.

^e^T/Kevai irXaTeia re koX aa^aXel ovBe fjLaKpoii<{ tow? /lera^ii

avr&v elvai ')(p6vov<i, ovS" oXax; to ^pahv koX araOepov tovto
^lXov avTy, oKKa KeKivfjaOai ^ovXeTM Ttjv ovoiiaaiav koX

Kara t&v

ddrepa

<l>epea-dai

TOVTO

10 Svva/jLiv.

y^povov

0dvova-af

ai

iroiovaiv

Se

diroTeXovvra eU

oyjriv

t&v dpfiovi&v aKpi^eiai,

t&v ovofiaTcov irepiXap,-

tov fieTu^ii

ovheva

alaOTp-oif

xai

a^ioi

aXKriKoif

re

6')(e'itr6ai

peovra koX

to.

axrirep

A.e^eu?

/tta?

fiopia to?

to,

(rvvv(j)dv0ai

^da-cv

avvrfKei^daL

aTpefiovvra'

fiTjSiiroTe

Kal

ovo/idreop

ereptov

Xafi^dpovra

aXXrjXovxiav

TTjv

Kara rovro to fjuepo^ euiyr/atot? v(f)etTiv rj

ra ^coreivd rol<s <TKiepoi<i e^ovvaK.
fiovXerai iravra rd ovofiara Kal Xela km

re

eoi/ce

<Tvve<\>dappva

ypa<f)aK

ev^wvd re

elvai

Kal irapOevmird,

15 fiaXaKo,

rrov

TTOK dTrivderal,

rpa-)(eiai<s

ro

avnrv-

Kai

he a-vWa^at<;

dpaav irdv Kal irapaKeKivBvvev-

Se

evXa^ela^ ^X^'"

fiivov Bt

eVtTT/SeKB?
ovofiaaiv
rd ovojjuara Tol'i
Be
^ovKerai Kal crwe^ecrdai, dXKa Kai ra Ktika
irdvra eh nrepioBov reXevrav,
To2<; KmKotv eS avvv^dvdai Kal
op'v^ovaa kwKov re ixriK0<;, o firj ^pa^vrepov earai fitjBe p,6i^ov

ov

fiovov

a-vv7)pfi6(rdai

20

TOV /Merpiov,

EPM

ev

rasura

oxXiurOai

PV

t<dv

6 ^epe.a-&ai

Oarkpuiv

(TvvrjXettfidai
1|

/iias

F
EF

cum

rasura P,

a-Kiapois
II

KiKiv&vvivpAvov om.

FPMV
:

xpovov

V:

||

EF

vi^ais

17

Qarepw

EF

ra peovra

cum

FMV

PM

e^Krptots

Es

EF
EF
:

Si

[]

MV

rasura P,

u<^eo-tv

||

om.

||

peovra vafiara.

rot

||

||

cum

PV

(jxpea-Oai Kal

Kai

||

k&Xov

r)

Kivrja-Oai

K[ai]

EFM

diroreAoSvra
r^s PMV
11 irepiXap.^dvova-ai. EFM:

21 opi^ova-a Schaefer

PMV

Siare-

Xafi^avova-ai
:

v^aCaiv

13 ra^o) rtva (sed suprascripto

irapa16 ttov
om. PMV
.

PMV
optfowav BFPM
:

koI

20

Si

c?

22

om.

ju,erpov

PMV

el Si tis diraiTijffei Kai raSr' (n

:
fMOelv Srg wot ^c(, toi>s inrofivr)iMTi(TfwM ii/uiv Xa/Stic, oOs vepl t^s <rvv84<reus
T&i' dvoftdruv TreTpay/tjiTei/KOa, wdvra
Saa voBei twv ivSiSe irapoKaToiiivuv

tione

e(<reTai (cp. u.

o-DvciA.'^<^^[at]

14 ra

F
F

aKcoXtarov

EF

dvopo^

reXeiov

irvevp^a

oii

TrepLoBov

5 KeKLvrja-Oai

7 ^ao-iv om.

FPMV

rj

MV

12 ToCro TO om.

v<^atcriv

EF

FV

E: SiarcAoCvra F

Xeiv

e)

PMV
8

om.

om.

PMV
(OS

koI KiveurOai

Irepmv

tIov

pArpov,

irepioBov

ical

dm-epLoBov Be Xe^iv

Kparrjaei-

50

ibid,).

1.
It does not expect its words to
be looked at individually, and from
every side, like statues.'
Gp. 210 17
supra.
finding firmness
7. More literally,
in mutual support.'
'

'

ON LITERARY COMPOSITION

XXIII

235

as second in order, has the following features.

It does not intend

that each word should be seen on every side, nor that all its
parts should stand on broad, firm bases, nor that the time-

between them should be long nor in general is this

slow and deliberate movement congenial to it.
It demands free

intervals

movement

it requires words to come sweeping

on top of another, each supported by that which

in its diction;

along one

follows, like the onflow of a never-resting stream.

combine and interweave

as far as possible, the

component

its.

eflfeet

parts,

It tries to

and thus

of one continuous utterance.

give,

This

produced by so nicely adjusting the junctures that they

admit no appreciable time-interval between the words.
From
this point of view the style resembles finely woven stuffs, or
pictures in which the lights melt insensibly into the shadows.
result is

words shall be melodious, smooth, soft as

shrinks from harsh, clashing syllables,
and carefully avoids everything rash and hazardous.
It requires not only that its words should be properly dovetailed and fitted together, but also that the clauses should be
carefully inwoven with one another and all issue in a period.
It limits the length of a clause so that it is neither shorter nor
longer than the right mean, and the compass of the period so
that a man's full breath will be able to cover it.
It could not
endure to construct a passage without periods, nor a period
It requires that all its

a maiden's face

9.

Op. de Demosth.

iarlv air^s

/SoiiXj/yua

and

c.

Kal

it

40 rb ykp S\ov
^ iroWi] irpay-

IMTela irepl rd avairaaB'iivai re Kal awv^dvdat TrdvTa rd, fidpca rijs 7rept.6SoVj fuas
A^^ews dworeKovvTa (pavraffiaVf Ktd ^tl
irpbs Toirip trepl rb iraaav elpcu tt]v \i^i.v,
Sicnrep iv

rah

p,ov(TiKais <rvp.(l>uvlais, ijdeTav

Kal 'ktyvpiv.
roirav Sk rb p.iv
ci,pp,oviG)P dKpl^euxL irotoOtri, ktX.

aX

rum

is to say : the words it

beautiful in sound and
smoothly
syllabled.
'

That
must be

14, 15.

uses

'

20.

eS,

which Usener adopts from E,

helps to balance imifMas swpra. At

the same time, it could be spared and
may have arisen from a dittography of
the first two letters in awv^ijiBai.
Similarly, in 1. 9 swpra, the (is which E
gives (together with the infinitive Siarekeiv, as it should be noticed) cannot
be regarded as indispensable.
the reading of
22. (x^Tpov
:

PMV

{irepMov XP'^""") m^iy be right, in the

of periodi ambitum.
In the
Epitome, /iirpov has possibly been
substituted (as a clearer word) for xp^^ov.
F's reading is pArpov ovk clv iirofielveiev
ipyda-affdm, with all the four last words
dotted out as having been written in
error
which suggests that p-iTpov may
be no more than the last syllable of
sense

&<"if^l^lPo>'-

"* ?^'\V;^

"= "?^

will

^^'f

clearly,

^^^P*'

"^P^JJI-

depend on the

person in question, since some

(as Lord Eosebery once said of

men
Mr.

Gladstone) have lungs which can utter

sentences like " Biscayan rollers." The
Greeks were so rhetorical that they
tended to look at a written passage
constantly from the rhetorical point of
view, and if a ' period ' was too long for
one breath they would try to analyze it
into two periods if they could cp. note
on 232 1 supra.
:

DIONYSIUS OP HALICARNASSUS

236

oil

repoi'}-

Koi

^ovXerac

T&v

rovrav

dp/jboyati;

^aveph<;

dXKa

10

TToXXd

iv

^iXel,

)(^pr](r0ai,

Beofiai,

ra
Kol

CXW"'

e'x^ei

av

Trporepa'i Kara, rd fiejia-ra Kal KvpicoTara, virep

TTj?

irLvo<s

ft)?

to dirarmfKov iari

oZ? ttoXv

iic

roti

rj

KoXaKiKol^

iva Be koX Koivorepov eXnra, rovvavriov

dearpiKQV.

oiiBev

irdXiv Xeyeiv.

aKoKovdov
15

toI^

0dpo<;

rj

ri<;

koI

re

ov

re

<r'Xi]fiaa-i,

a-ep,v6r7i<i

ovofidriov

Kol mairep

SdcrrTjcri,

elvai.

rpv^epoi<}

t&v

rat?

rj

rawra? Be

dp^aio-Trpevea-rdrotis ovB' oaot<i

irpoa-ecTTiv,

koX fipa^v-

ft)?

crvvaXei^ei,

^ovXerai,

TrepioTTTov

koX

Se

-xprjrai,

re

fiia-oif

roi<!

TeXevrh^ evpv0fiov<i elvat

t^?
rdvavria
av arrb a-rd6/iri<;,

TreptoSmv

raZ?

ydp

iiceiva fiev

aX\a

^e^rjKviiK}

koX
iv

ipyda-atrdai.

vTrofieiveiev

/jLeyia-TOK

TOt?

pvOfiOK

5 TToiova-a

av

ovk

aa-vfifierpop

chap.

av

B'

Kal

eXrj

7rpa>reva-avTa<s

TavTj)

iv

rov<;

KaWicrra tovtovi

iiro-TTOi&v fiev oiv efioiye

KaTapid[XTjCFaadai.
'HaboBof;,
BoKei TOP vapaKTrjpa i^epyda-aadai

SaTT^ft) Kal

BoTTOt&v

20 prfTopwv

Be

Be

Orjam

'IcroKpariy?.

dpfiovlaf,

T?7?

t&v troKk&v

Be

iroi7}T&v

Kal

fiev

eoirofiiroi,

TrapaBeiyfiaTa

TavTrji;

prjTopav

Zairipo},

7rpoy(eipt(rdijLevo<;

fiev

Kat

Be

Tpaytp-

dKpi^&<}

Be

re

"^<popo<s

Be

fieXoTTOiwv

Aifi^vtBr]';,

<7vyypaijjewv

^vpiirCBrji;,

fji,6vo<}

/idWov

ovBei^,

^AvaKpecov re

avrrjv

fier

Be

Kal

dp^ofiat Be diro t?)? p^eKamoiov,

ItTOKpaTTjv.

EFM

pvO/imv PV
/ieytcrTois EF
6 ravTos
EF om.
8 ocrots F ocrots rj
7 <f>avepovi F
EV Tavra F ras auras P,
irdpea-Tiv
TTti/os PV
9 Trpoa-ea-rtv
TO TTtfos
toi/os F
11 Se KatF: Se PMV
F KokaKiKOK FPM: fiaXaKoisY: dearpiKOK E
Kal Kvpiunara
om. PV
12 Trjs irpoTepai EFM rrji npoTepa P, V
KakXia-ra
15 e/ioiye EF cywye
14 Tavrr) F aur^i P,
EFP KaA,A,tcrTa vofii^m
pAXia-ra vo[j,i^u>
16 SoKei EFP om.
1

yj>y\<iTeTa.i

/jirjKicrTOK

PMV

2 pvdfj.oi'i
3 Kal om. P

PMV

11

1|

PMV

M
M

PMV

4 av

II

MV

17

TauTtt

6.
'

/jxt'

FM
PMV

||

MV

avriiv

EF

(jLtTO.

Tavrr)v

1|

V
PMV

20 ravrrjs

EF

PMV

Ik

irpi(5irTo,

undique.
16-20. The

list

'ex

edito

that follows

loco,'

may seem

somewhat ill-assorted if it be not remembered that the point of contact

between the authors mentioned is simply
smoothness of word-arrangement. For
Hesiod op. de linitat. B. vi. 2 "HirloSos
jxiv yhp i(l>pbvTi.(rev ijSov^s Si' dvotiAruv

XeiArTjTos

Kai

Quintil. X.

1.

avvBiffem

i/iiieKoSs

and

52 "raro assurgit Hesiodus,

magaaque pars

eius in

nominibus

est

;
tamen utiles circa praecepta
sententiae levitasque verborum et compositionis probabilis, daturque ei palma
in illo medio genere dicenai."^In de

ocoupata

Demosth.

40 Hesiod, Sappho, Ana-

c.

creon, and Isocrates are (as here) considered to be examples of the ip/wvla
y\a<j>vpi,.

17.

Simonides

de Imitai. B.
Tijpet

tV

avvBiaeijK

vi.

is

^fcXoyiji'

rifv

thus characterized in
:

Si/uavlSov Si Tapat?s
SvoiiAtuiv,

TfiK

&Kpleui.v

irpis

roirois,

ON LITERARY COMPOSITION

XXIII

237

without clauses, nor a clause without symmetry.

it

these.

It requires its periods to

by

and

line

and to

rule,

together

fitting

periods and

its

march

The

its

As

every side.

time-honoured

words respectively,

for figures, it is

may
wont

be seen as
to

Thus, in

fall.

latter it runs together

keeps apart, wishing that they

as with steps regulated

close with a rhythmical

two different methods.

it

The rhythms

uses are not the longest, but the intermediate, or shorter than

employs

it

the former

it

were from

employ not the most

nor those marked by stateliness, gravity, or

sort,

mellowness, but rather for the most part those which are dainty ^
and alluring, and contain much that is seductive and fanciful.

To speak generally

its

attitude

is

directly opposed to that of

the former variety in the principal and most

I

essential

points.

'

need not go over these points again.

Our next

step will be to enumerate those

eminence in this

has best developed the type

after

alone

of historians,

more than most

And

olKTi^c<r9ai

/it)

poets, Sappho, and,

lyric

Euripides

of tragedians,

I will quote examples of

among

among

poets Sappho, and

I will begin with the lyric poetess

/iyd\oirpeTrus

The Dancte (quoted

iraerrnKuis.

among

of orators, Isocrates.

Ka$' 6 peSrlbju eiplaKerai Kal XiivSdpov,

ri

attained

none exactly, but Ephorus and Theopompus

this style also, selecting

Isocrates.

and Simonides;

Anacreon

her,

who have

Well, among epic poets Hesiod, I think,

style.

in

dWi
e.

Kal

iiirnos

vindpbi

orators

Kal

fajSefiiav

ix'^'^

iirlraaiv.

Theopompus

26)

an

cp.

article,

by the

will illustrate the oonoluding clause of

present writer, in the Classical Review

this estimate.

on "Theopompus in the
with
reference to the newly discovered Greek

2 kX^tttctm

3'

op. Aristot. BJiet.

e3,

i&v

ns

4k

rijs

iii.

etadvlas

StaX^KTov 4ic\4yup (rvvTiS^- Sirep'EipnrlSTis

and Long, de

Kal iiriSei^e irpioTos,

iroiet

Subl.

xl.

c.

Siin

ttjs

avvSiaeois vouifriii

6 '&ipnrlSi)s fiaWSv iffnv

19.

With

respect

fi

rov yoO.

to

Ephorus

1 "E^opos Si rks xoivas Trpdjeis

V.

dvaypd^uj/ oi /i&vov Kari, t^v \4^iv, (tXXA

tV olKovo/ilav imriTevxev, (2)

Kol Kari,

Suidas
dTrXoCs,

fiii/

T^jc

y&p 'E^opos ^v rb
5^

Ip/jLiivdav

ttjs

Greek

i5*os

laroplas

ff.

Literary Critics

historian (Grenfell

Papyri part
ference
18,

the

opinions of Diodorus and of Suidas are

somewhat at variance
(1) Diodorus
Sic.

118

xxii.

18. Euripides

96,

may

v.

& Hunt OxyrAyncAus-

120-6,

110-242)."

pp.

also be

and Fall c. 53)

high company:

made

etc.

to

Gibbon

Re-

D.H. pp.
{Decline

Theopompus in
"we must envy the

classes

generation that could

still

peruse the

history of Theopompus, the orations of

Hyperides, the comedies of Menander,

and the odes of Alcaeus and Sappho.

20. Isocrates: see D.H. pp. 18, 20-22,
41, etc., and Demetr. pp. 8-11, 47, etc.

DIONYSIUS OP HALICARNAS8US

238

IloiKi\60pov\ dddvar
iral

daaicri

jM

fi/q

AtfypoSira,

BoXo-rrXoKe, Xiaaofiai,

Al,o<;,

fiTjB'

dXXa

dv/iov

eXd\ dl iroTa KarepcoTa

TVtS"

Tas e/ia?

ae,

oviaiai hafiva,
iroTvia,

chap.

dioiaa irrjXvv

avBto<i

e\ues, "TraTpof Be Bofiov XinroKra

^XOet

j(^pvaiov

aiKee<s

10

koXol Be a

viraarBev^avcra.

dpfi

arpovdoi

7a?

irepl

TTVKva BivvrjvTe^ irTep

ah\ra

B'

e^iKOVTO

15

mpdvm aWe-

Bia fieaaa.

&

tv B\

fidxaipa,

nrpoacoircp,

k&tti

ireirovOa

SijSre

"''"'''*

VP^^'

ddavdrtp

fieiBidaauT

jj.eXaiva';

dir

po<i

Br/Sre KoKrjfii

K&TTi

e?

ouyrfv

Tiva BrivTe TreiBm

trav

^iXoTara, Tts

Koi yap ai ^evyei,

al Be BSipa

tpCXei,

/jlt)

dXXd

Taj(eio<i

tu
;

Bico^et,

Ta')(eai<;

BexeT,

fir)

o",

dBiK'qei

'^d'rr^',

20

ai Be

fidXiara deXm yevecrOai

efiqi

fiaivoXa 6vfia>
fiai's

w^ov

Bcoaei,

^CKrjaei,

K(ovK edeXoicra.

FP
5 tuS' iXde ttoko kot
kot' kputra F
6 atour aTroXu P
10
appa inro^ev^acra P
9 dppv Trao'Sev^aura F
Sivrjvns P
11 Sivvrjv recr F
irrepa TTToypavta

2 8169 SokorrkoKe
epaira

tu

8 xpvcreiov
y(as)

P
F

8"

FP

4 dvpiiv

Trork

|||X'|||0e]||

FP
F

Tois

TTTep ajr utpavut

depos
P
13 at^aS' F dt\j/'
:

aW

Oepo

|{

rv

o-

8'

\\

P
12
& paKatpa P

Siapecrbt
:

av

8' dpecr tto)

Siipa Kaipa

14

15 rjpe orrt S
ddavdrui wpocrdiroi FP sine iota (item vv. 17, 18 F)
Sevpo KaXkrjppi F
17
16 8' rjvre KaXq/ipi P
rjv (^v E) TO P, E
18 paivoXxiOvpioi. P: XaiOvpui F
SrjiiTf
KUTTC pia F: k ott epwi P
19 /xai (^at corr.) (ray?jv<r<rav P: xat
TreiOoi F: 8' evreirei 6u>
20 dSiKrjei Gaisfordius ex Etym.
o-ay^vecro-av FE
pats Bergkius
24
Magn. 485. 41 tut a-<o\paTr<JM Sikt]- P: tut m \f/aTr<j>a SiKr/a-- F
k <av k iOekour, P
K(av KcOeXovcra F
:

||

1. To Dionysius here, and to the de

SublimUate 0. x., we owe the preserva-

tlon of the

two most considerable extant

The Ode

fragments of Sappho's poetry.

XXIII

ON LITERARY COMPOSITION

239

Eainbow-throned immortal one, Aphrodite,

Child of Zeus, spell-weaver, I

Harrow not

my

spirit

bow

before thee

with anguish, mighty

Queen, I implore thee

Nay, come hither, even as once thou, bending

Down from far to hearken my cry, didst hear me,
From thy Father's palace of gold descending
Drewest anear me
Chariot-wafted

far over midnight-sleeping

Earth, thy fair fleet sparrows, through cloudland riven

Wide by

multitudinous wings, came sweeping

Down
Swiftly

from thine heaven,

came

thou, smiling with those undying

Lips and star-eyes. Blessed One, smiling me-ward,

Said'st, "

What ails thee ? wherefore

me thee-ward ?

uprose thy crying

Calling

Say for what boon most with a frenzied longing

say whom shall my glamour chaining
Yearns thy soul
Hale thy love's thrall, Sappho and who is wronging
Thee with disdaining ?

Who

avoids thee soon shall be thy pursuer

Aye, the gift-rejecter the giver shall now be
Aye, the loveless now shall become the wooer.
Scornful shalt thou be
!

to

Anactoria

is

quoted by 'Longinus'

as a picture of iraSwv <r6voSos : it is

Lesbiam
imitated in Catullus li.
("lUe mi par esse deo videtur"). The

Ad

Hymn

Aphrodite has been rendered

some eight
repeatedly into English
to

versions are printed in H. T. Wharton's

Two recent English
> pp. 51-64.
translations are of special interest : (1)
that of the late Dr. Walter Headlam
immatura eheu morte praerepti
in his Book of Oreek Verse pp. 6-9 ;
which
(2) that of Dr. Arthur Way,
printed in the present volume.
is
Dr. Way has, it will be observed, sue-

eeeded in maintaining a double rhyme

throughout.
24. " Blomfield's i6i\ourav

was strenu-

RM

defended by Welcker
11.
266, who held that the subject of ^iXi)(rei
was a man.
No MS. whose readings
were known before 1892 settled the
ously

dispute.
idiXovaa.

Now

Piccolomini's

VL show

{Hermes 27)," Weir Smyth

Notes on
Greek Lyrk Poets p. 233.
the entire ode will be found in Weir
op. ait. pp. 230-3, and in G. S.
Farnell's Greek Lyric Poetry pp. 327-9,
and a few also in W. G. Headlam's Book

Smyth

of Greek Verse pp. 265-7.

DIONYSIUS OF HALICAENASSUS

240

eXde

Koi vvv, '^aXeirdv Be Xvaov

lioi

offaa Be

/lepi/ivdv,

iic

dvfjLO^

chap.

reXecrcrai

fioi

reKecrov

Ifi/aeppei,

cv

avra

avfifia'xpi etrtro,

Tavrrji tt)? Xefew?

eveweia

17

icaX

yeyove t&v apfwvimv

XeioTTiTi

Kara

ovofiara koX awvi^avrat

T&v

tfiva-ncaii

ypafi/idrcov

yap ^(ov^evTa

ret

avvexeia koX

rrj

ryap

aXKrjXoi<i

Bia

rh

koi av^vyia^

olKeiorrjTav

Tiva<;

re

a^tBj/ot?

toi<s

rrj^

oaa

avvanrrerai fUKpov
ri/Mi^mvoi,';
irpordrreadaC re Koi virordrrecrdai ire^VKev aXKrjKoK Kara
-q/iKJicovayv Be irpo<; rifii<l)a)va r)
IMiav <TvKka^7]v avveK^epofieva
adxuva <Kal d<f)a>va)v> Kal (ficovrjevrcov rrpos aKKrjXa avjiiya>
iTro)(Tei<s' al Btaa-aXevova-ai, roix; ri-^ovi oXiyai irdvv eveiaiv
Kal

10

xapt? iv

tj

TrapaKeirat

Tracr?;?

ft)8^9,

'

yovv oXrjv
15

rrjv

roaovroK ovofiacn Kal prjfUKn Kal

d^mvmv

Kal

re

ypafifidroov

dXX'^Xoi's Kepdvvva-dai Kal

everreuiv

rrjv

TOW

evpla-Kw,

aXXoL's p,opiot<i rffii^crnxov

rol<i

r&p

trvfiirXoKO,';

irapa6eaei<s

Be

etKorwi

en iXdrrov; rj
ra K&Xa oXt/yo) rivl

r&v

via<i

dXX'^Xoi<s

yeyovev evpov^ Tt?

Bt)

B'

av Kal ra

drreBeLKWov

25 iyco

el

(jtr/fii,,

i'/iapepepei

Sioi

ev

fiev

ras Be

rovratv wXeLOva^.

Xeft? Kal fiaXaKtj,

17

dpfio-

ttj?

/irj

Xoiirb, tjjs a-ypBea-em^ ravrrj<;

r&v

eirl

fiaKpo<;

TrapaBecy/idrcov
e/ieXXev

EF

i/*epi

crvveTreCa

EF
EF
a^ura PM:
irdcrqi

(rvviK<\>tp6fiva

Setv

om.

ecro

PMV
81'

re

otto)

ovra

ola

Kal

11

<roi Kai, iravri

compendio

Kal

qfiKfxavovs

PMV

oAijs

PMV

X6yo<;

IBimfiara,

yevrjaeadai

roiavra

e^earai yap

ravroXoyCa'i riva irape^eiv Bo^av.

{rvve)(ia

ra<;

ro(Tavra<s,

ovofidrtov /njBev diroKV/iart^ovarji; rov i^xpv.

eXeyov
Kol

ire^vKormv

fi-q

iwl iroXv rpa'^yvovaai

ravra<;

ovBe

(jxavrjevrmv

ef tVw? iv rot?

rj

KcuXot? avrol^ yivofieva<i

20 a-vvairrovcra<;

irevre

mBrjv dvaaKOT-ov/jbevo^

10

om.

ire<^uKev

BF
.

E ojw6K<^epo-0at
eia-iv PMV
iveiaiv EF

o-vveK^epofieva

Kai dcjuovrnv FE
13
^
rotoiJTOts PMV
15 too-ovtok Sylburgius
14 fv F: eBpov ev PMV
om. P
evpia-Kutv F
18 evpta-Kto
16 KOI d<j)wvii>v F om. PMV
21 ewovs tis F
23 Se av F
24 direSeiKw F
19 en] oTiF
26 irape^eiv So^av F Sd^av Trajoexetv PMV
25 et/ii/xaK/)(c3s) P

II

MV

W.

G. Headlam {Book of Greek

265) well says that Dionysius'
comments on the smooth style (especially
in relation to Sappho) are worth the
attention of those who would gather
the effect which Sappho's language made
5.

Verse

p.

ear practised in the minute

study of expression ; and he proceeds
There is always in the verse of Sappho
a directness and unlaboured ease of

upon a Greek
'

'

language, as if every lovely sentence

came by nature from the mouth at once

ON LITER AEY COMPOSITION

XXIII

Once again come

Come, and

Chains of heart-ache

Oh

fulfil

them

Near, to defend

chains dissever,

Passionate longings rend

Thou

my

241

me

in the strife be ever

me.-'

Here the euphonious effect and the grace of the language

from the coherence and smoothness of the junctures. The
words nestle close to one another and are -woven together
according to certain afiSnities and natural attractions of the letters.
Almost throughout the entire ode vowels are joined to mutes
and semi-vowels, all those in fact which are naturally prefixed

arise

one another when pronounced together in one

syllable.
There are very few clashings of semi -vowels with
semi-vowels or mutes, and of mutes and vowels with one another,

or

affixed

to

such as cause the sound to

When

oscillate.

I review the entire

nouns and verbs and other kinds of words,

only five or perhaps six unions of semi-vowels and mutes which
do not naturally blend with one another, and even they do not
disturb the smoothness of the language to any great extent.
As for juxtaposition of vowels, I find that those which occur in
the clauses themselves are still fewer, while those which join the
As
clauses to one another are only a little more numerous.
a natural consequence the language has a certain easy flow and
softness; the arrangement of the words in no way rufiles the
ode, I find, in all those

smooth waves of sound.

I would go on to mention the remaining characteristics of
this kind of composition, and would show as before by means of
appropriate illustrations that they are such as I say, were it not
that my treatise would become too long and would create an
It will be open to you, as to
impression of needless repetition.
1

Sappho Fragm.

i.

(Bergk)

translated

by A.

S.

Way.

as though she spoke in song, and what

she sang were the expression of her very
soul, the voice of languorous enjoyment
and desire of beauty :

24. Iiri tov irapaSei'yii.drtDv, ' in the

light of the appropriate examples.'
Cp

My

jio^V examples ; cp. de Demosth e 40

^"^ ^^/'J ^'^l^'" ^'''P^"' '^^f ^''o^^oiieia,,

blood was hot

And my

wan wine

of love,

song's sound the sound thereof,

of the delight of it."

The sound

22. Dionysius shows good judgment

in not subjecting Sappho's Syiwn to a

detailed analysis, letter

by

letter.

162

3,

232 23.

indicates

:"%

The phrase sometimes

'familiar,'

i''a7"'"<rK<'>'ras

ffrpi^iv,

ktX.

illustrations
P has tuv).

'

In

'stock,'

ri.

or

h,

'pre-

apxa^s

242 2 infra, 'with

(no article in

PMV, though

DIONYSIUS OF HALICARNASSUS

242

aWftj KaQ^ ev eKao-rov t&v

i^rjpiOfirj/jLeveov

rov

iirCKeyeadai

irpoeKdeai/v

j^apaKTripof

Kara

TrapaSei/Yfidrcov

ovK
5

tovto

iy^oypel

a ^ovXofiat

apKOvvTa}<s
evQi;

'in

TOi<i

'^apaKrrjpa,

I(roKpdTov<;

irdvTcov

aKpi^ovv

rr]v

t&v

olopMi

dpfMovLav.

Be

etrri

ov

prjTopo<},

rov

eK

eya)

Tavrrjv

y^prjcrafiivcov

Xe^i'i

rj

rov aiirov xare-

rod

Xe^ei

ire^rj

S'

fiovov

-irapaKoXovOrjaai.

Sw7j<rofievoi,<;

Xe^tv dvSpo<; et?

fidXiara

eTTt

ifiol

irapahel^ai

diro'^pr)

jrapadtjerofiai

(TKevatrfievov

10

oKX

iroLelv,

ttjv

ifiov

koI (y^^oXrjv

evKaipiav

iroXXijv

Kara

Kai aicoireiv

vir

re

chap.

Apeoirayi-

TiKov ^Se*

TToWovf
Trepl

'i')(0)v

T^?

v/Mcbv

ovar)^

dW

KadeaTmrmv,

Trpay/Mdrcov

rjVTivd iroTe ryvwp/rjv

irpocroSov

tiji*

KtvBvvoi^

iv

7ro\ea)?

6av/id^etv,

ocofuii

acoTTjpi.a'}

ov TrXetou?

rh

BiaKoala'i KeKTrj/Mevr]^, elprivriv Be KaX

15

koI toiv Kara OdXarrav

dyova-r)i;

Bey

^orjOrjaovTa'i,

fiev

1 rijv] t(<ov)

fiety/iOTUV

]|

PV

Set^ai

tov<s

Be

avp.-

fjpdv

ra?

tl

ijv

trvvrd^eK

to

on

ovv olB

Se

en

f^ev

rjfid's

Kal ^ovXeveadai Trepl

TepoL<i TrpoariKeiv BeBievai

vfiei<i

rj

TrpocrTaTTOfievov iroiovvTa<i.
mv
av rt? (jj'^aeiev 6i/eo; elvat Oappelv
tS)v KivBvvmv ovrag, rot? B' i'^Opolf rots ij/ue-

"TToppat

u)<i

Tpi'qpeK

irepl ttjv ')(a>pav

eroifiovi;

TrXeCov;

t&v

aiirfj

/lev

dpy(ovcr7]<;,

roii^

fiev

Be

iroXii

Kal

VTTOTeXovvra'i
virap'^ovToov

20

7roXXov<;

iy(ov<rT}'}

fid'xpv';

aairep

eiroirja-dfi-qv,

(T^aXepS)<i

rj

2 7rp66e(riv

F
P

5 dpKovvTos

rovrcp

acoTTjpiai;.

tw Xoyia-pM

3 irapaSeiy/juxTiav

PMV

TrapaSei^ai Us.

Tracrt

Troiet

'^^paifievoi

||

6 irapad'qtropMi
KarecrKevaa-pevov

TrapaOrjO-ia

Kal

rlov Trapa-

FM

Set^oi

PMV

avrhv

||

F Ka.Ti(rKivaxrpivov
FV KaTeaKevaa-pevrjV
7 ov] 17 F
8 ire^rj F
irefiji rrji P,
9 dptOTrayrjTiKov qSt F
oto/iai] oi/xat Isocratia libri
11 vpiov] TOVTii)v
12 &(rTrep EPMV
wepl el F
laocr.
14 KadeoTrjKorbiv Isocr.
15 et/o^vijs F

om.

II

Kal

TO,

en

II

PMV
.

||

Isocr.

ex"'""'^^

o-

^/tSsEF

EF

16

^
Isocr.

17
:

toxis

[eJxovoTjs

om.

eirireXovvTai

21 iperepois

irapa8^a-o|iai
the Middle, as given
F, is to be preferred (op. 182 12).

6.

by

rot

PMV

19 im-oreXovvTas
Isocr.:

MV

E
EF

23
tions.

cum

rifieis

litura

MV

P,

18 tovs om.

20

\\

ij/tas

oZ8']

01'

jj

PM
PMV
8'

Bircovius

compares, in Latin,
the opening passage of Cic. pro Caedna
"si, quantum in agro locisque desertis
audacia potest, tantum in foro atque in

In 122 14, on the other hand, F gives

where the other Mss. supply the
right reading irapi^o/mt.
iudioiis impudentia valeret, non minus
11. In the English translation of this
nunc in caussa cederet A. Caecina Sex.
passage of Isoerates no attempt has been
Aebutii impudentiae, quam tum in vi
made to reproduce the effects to which
faoienda cessit audaciae. verum et illud
^
Dionysius calls attention to do so would
oonsiderati hominis esse putavit, qua de
involve sacrificing equivalence of meanre iure decertare oporteret, armis non
ing to equivalence of letter-combinacontendere
et hoc constantis, quicum
irapiiu,

ON LITERARY COMPOSITION

XXIII

243

your full leisure and convenience, to take each

enumerated by me in describing the type, and to
examine and review them with illustrations.
But I really have
no time to do this.
It is quite enough simply to give an

any one

else, at

single point

adequate indication of
in

my

my

views to

I will quote a passage of one

himself into the same mould

writers he
of

is,

who

will be able to follow

more writer who has fashioned

Of all prose-

Isocrates the orator.

I think, the mosB^^-finrsEed" master of

composition.

follows

all

steps.

The passage

is

from

the

this

style

Areopagiticus,

as

" Many of you, I imagine, are wondering what can be my

view in coming before you to speak on the question of the public
safety, as though the State were actually in danger, or its interests
imperilled, and as though it did not as a matter of fact possess more
than two hundred warships, and were not at peace throughout its
borders and supreme at sea, and had not many allies ready to
help us in case of need, and many more who regularly pay
Under these
their contributions and perform their obligation.
have
every
reason for
circumstances it might be said that we
remote
and that it is
confidence on the ground that all danger is
form
plans for
our enemies who have reason to be afraid and to
this
account
Now you, I know, are inclined on
self-preservation.
;

vi et armis certare noluisset, eum iure

iudicioque superare." Batteux (p. 253)
quotes from Fltehier's oratorical picture
of M. de Turenne : "Soit qu'il falliit
preparer les affaires ou les decider;
chercher la victoire avee ardeur, ou I'attendre aveo patience ; soit qu'il fallut
pr^venir les desseins des ennemis par la

qualities of style as Dionysius'

extract from Isocrates.
13. 'i) o-(|>aXep<os : Koraes would read (cai
o-0a\eps.
His note (/socr. ii. 102) runs
"oi)k d,\6yus iirev&iiaev i XdyYios ypattt^ov etvai, Koi cr<pd\epSis- Imkc S^ xal
6 'IraXJs /tcra^pao-T^s, av/iTXeKTiKus, oi

hardiesse, ou dissiper les craintes et les

jalousies des allife par la prudence ; soit
qu'il falliit se mod^x-er dans les prosp^ritds, ou se soutenir dans les malneurs
de la guerre, son S,me fut toujours egale.
II ne fit que changer de vertus, quand
la fortune changeait de face ; heareux
saus orgueil, malheureux aveo dignity.
.
.
Si la licence fut r^primfo ; si les
haines publiqnes et particulieres furent
si
les lois reprirent leur
assoupies
ancienne vigueur ; si I'ordre et le repos

KeKpixhai, Quasi che la citti in

alcun perioolo si trovasse, et le cose sue
in pessima conditione fossero."
18. o-uvTd^cis : Koraes I.e. KaKws rb
i/i^v avHypaipov, Swdjcts.
Swrdlets Si
'ArmKiiv, Tois
\iyei,
Kar
ei^rjfuffpidi'
'ApiroKpariuv
(jtbpovs,
iveiSi), Sis
<jni<7i,v
( Wf ^ivra^is), xaXeirffls Stpepov oJ "EXXijces
liffoiiTus
ri tSiv (pbptM tvofia.
^
VdWHv ipoiv^, riiv wpbOeaiv irapaKiirovca,
Taxe thvbimre ttjk aivra^iv, t^jk tois

furent r^tablis dans les villes et dans

les provinces ; si les membres furent
heureusement riunis k leur chef; c'est
Batteux
ii lui, France, que tu le dois."
maintains that this passage shows the

same

Siofeu/CTiiciSs,

iveyvoiK^vai,

i)

avayvwariov

eli/ai

'IraXois
ivolri<re

rdcra-eiv

KoKoviiivipi
Tasm, koX (njfw,
Taxer {'ItoK. Tassare), iH toS
xal iTn^dWeiv rois (pipovs- iSev

v t&v TpaiKwv ij>iav^, tA, tSia irapi,

dWorplur 'Ka/ipdvovaa, icrxvMTi(re
xvSaia, Tdo-ira

/cat

Tairirdpa.

tSiv
tA,

\,

DIONYSIUS OF HALICARNASSUS

244
Ttji

KaTa^poveire KaX jracav eXTn^ere

"TTooffoBov

i/ifji

'EWaSa

iym

t>]v

Be

St'

ryap ratv TroXemv

Tat

apicrra irpdrTeLV olofiivat KaiciaTa ^ovkevo/ievai, Kai

Ta':

ry

Tavrrj

avra ravra

Swd/jLet

Karao-'Xi^aei.v'

SeStw?.

Tvy')(avco

eh

fiaXio'Ta dappovaa<;

chap.

6pa>

kivBvvov; Kadia-Tap,eva<i.

'7rkeLaTOV<i

Be rovrmv icTiv, on t5>v arfaO&v koX t&v kukSiv

avTO KaG' avro TrapayiveTai rots av9pa>7roi<;, aXX^
avvreraKTac Koi avvaKoKovdel rot? pkv ttXovtok Kat rats
Bwaareiaif avoia koI fiera ravTrji aKokaaia, rat? Be

aXriov

ovSev

ware

fierpioTT}!;.

Tt? Be^aiTO

tG)v

KaraXiTreiv

iBoifiev

BoKOVO'Tj'S

aas^pocrvvT]

Siayv&vai,

rovrcav

fieplBwv

KaX

TraiaX

rot?

voKkr)

av

irorepav

avrou

rot?

yap av ex fiev rij^ ^av\oTepa<; elvai,

w? eirX to iroXv ra? TT/aafets

TO ^ekTiov

iirX

eK

i7nBiSov<ra<;,

16

raireivoTrja-iv

j(aKeirov elvai

Tat9

icaX

evBeCai<i

10

t^9

Be

KpetTTOvo<;

eVt

^atvofievTjt

to

j(eipov eWurpAvai; fieTairivTeiv.

Tav9' oTi avvrfKenrTal re

exaaTOV

ev

ovojia

ovBe /xaKpoX? Tot9

pvaet

al

avT&v

re

25 TavTfji;

TOiV

TViriav

ovk

tA

rj

oti

BiaXeXTjBev

ovB

rifii^covatv

2 Tavn]i (ravTrjv M)

KaX

^e^rjKey

Bia^e^rjKev

^opa KaX

oXa

ev

KaX

ovk dXXa Tivd TovTtov

irepX t^9 dyiayr^t

<f>(ovTjevTa>v

/Jbkv

yovv

ol<;

iv

Xoym,

too

MV

Swa/tet P,

koX

aXoyov

to

dp/ioviai,

dt})a)veov

Isocr.

yap

tI

eX

KaX

7-^6

dvTi-

7rape6efj/rjV

irXrfv

6Xt,ya<;

PM

fidXaKaX

ifiov

ovBefiiav

Be

Trji,

B'

vir

IBeiv.

ti?

evpoi,

oio/jLai

dpid/Jbol<;,

irpoeipr^fieva

Xoycov, paBiov

av

ifKaTeLa

KaX

eiai

Xe^iv

tt/v

o'vvd'TrTovcrai

a'lTia

KaX

BieipyeTai

')(^p6voL<;

eirifiapTvpel t^s d/co^9 Trd^o?.

iaTXv

KaX ov Kaff

avyick'^fiiaTai,,

icaX

"irepiipavei

ev Kivqaet re ovTa <f>at,veTai KaX

irpaeiaL

<Tvve')(el,

TT/aoTrerets

fisTa^ii

dW'

aXki^Xtov,

20 aTr'

iv eBpa

ov

fie

irdvv

Svvdfiei

TavTq

5 TrXeia-Tovs klvSvvovs
Isocr.
irXeCov? kivSvvovs
irXeia-rov kCvBvvov EF
8 irAoucrtois F (cum Isocratis oodd. quibusdam)
evStiais om. F
d.KoXa(riai
9 avoia .
.
10 a-<iicj>poa~vvrf
Kat (r<o<j)poa-vvr] F
Isocr.
12 Se^atro
eS^airo
Isocr.
F,

EPMV
EF

PMV

||

PMV

rZv

II

juepiStov tovt<j)v

PMV
PMV

Isocr.

tovtiov

twv

/lepiSmv

EF

||

avrov

13 KaraXbireiv
Isocr.: om. EF
tSoe
iSoifiev PV Isocr.
av om. P
av rts E
tfiot EF
[jLiv
eivai SoKovirrjs PMV Isocr.
om. EF
17 0-WtA.ij7rTai re EPMV
o-vvqXenrTiTai F
ov KaO' iv
18 eS/oa
jrAoTeta (sine iota) P
PMV oith EF
19 orSe
20 ^opai P
EF 0^8' tv PMV
21 re
paXaKal om. F
22 Trpoirereis PV irpoa-^vu^ FM yp V
25 paiStov P
26 tipoi,
F om. PM, post ovSeplav ponit V
27 ovO" F
oA.a)t rut Xoyojt P
28 Trdvv PMV (r<^oS/ja F
libri

||

||

II

\\

||

ON LITERARY COMPOSITION

XXIII

to

make

my

light of

appeal

you expect

245

to maintain

supremacy

over the whole of Greece by means of your existing forces.

it

precisely on these grounds that I really

is

observe that

am

But

alarmed.

those States which think they are at the height

it is

of prosperity that adopt the worst policy,

and that it is the

most confident that incur the greatest danger.
The reason is
that no good or evil fortune comes to men entirely by itself:
and

mate intemperance have been appointed to wait on

wealth and power, self-restraint and great moderation to attend
on poverty and low estate.
So that it is hard to decide which of

folly

its

these

two

since

we can

man would

lots

see that from

inferior condition

that which

is

desire to bequeath to his children,

what

popularly regarded as the

is

men's fortunes commonly improve, while from

apparently the better they usually decline and

fall."i

The

perception of the ear

instinctive

words are run and blended together

testifies

that

these

that they do not individually

stand on a broad foundation which gives an all-round view of each

and that they are not separated by long time-intervals and planted
far apart

from one another, but are plainly in a

state of motion,

being borne onwards in an unbroken stream, while the links which

And

bind the passage together are gentle and soft and flowing.
it is

easy to see that the sole cause

lies in

have previously described

style as I

the character of this

For no dissonance of

it.

vowels will be found, at any rate in the harmonious clauses which

1 have quoted, nor any, I think, in the entire speech, unless

instance has escaped

of

semi-vowels

my

notice.

some

There are also few dissonances

and mutes, and

not

those

very

glaring

or

Isocrates Areopagiticus 1-5.

17 S. When expressing admiration,

Dionysius often tends (as here) to reproduce the style admired. For further

Jebb Att.
Bereds.

ii.

Or.

131

ii.

54 S.

Blass Att.

ff.

estimates of

may

'

Isoerates'

be made

to

style

reference

Dionysius' separate

essay on Isoerates (in his de Antiq. Or.)

19.

The reading

right, viz.

222

5.

'

oiiS'

iv

is

possibly

at long time-intervals '

op.

'

DIONYSIUS OF HALICAENASSUS

246

yiyove

koX

kvkKoi;

"TrepioBcav

ravra

ol

"

koI
i^

rovroi<s,

koI

rraparrKrja'ioi

ol

dvayicaiov elvai Bokm nrj/cvveiv KaX rd "Koirrd Bie^icov

yap

eXpTjrai KaX irepl

t^?

ravrr}<s

a-vvde(rea)<s

Be

yap

eia-l

ovk

airoreKelrai.

BiaKeKro<i

re

koI

uTravTa

eyovrei;

koI

irdpiaoo

iravrjyvpiKr)

rj

veapov

ro

r&v

evypafx/iov

virep

a-v/Mfierpiai?.

ttoXv

irapofioboi

Siv

koI

Xefet

rrj

aWi^Xa,

irpb';

"jrept^epe^

rt

Tai<;

cry^rifiaria-iiol

avrlderoi

avfifieTpia

i'^cov

aKpoa^

TTafiiev/ievov
5

KcoKav

tSsv

rj

Be t^? eveireCa? alria

ravra

eK^avel<i ovBe a-vveyel<i.

chap,

iKav&'i

ocra ye ijpfiorrev.

XXIV
^^ rpirt} Koi

10

Kokm

eiiicparov
a-j(7Jfia

KaX

eartv

15 fieaort)';

fiev

epycav {jcaX

eKeivqv

e(priv

TrXdrei,

KaX ra^ elBiKa<;

PMV

6e

e^ovTi
OK/Jtos

P
F

S^

oK/oais

rt?

ivirrjBeCa

aipeatv
ov

irporepov,

Trepi(l>eph

II

dpfioviSyv,

Be

i^

ttw?

fjv

6vofiaro<i,

eKeCvfov

rwv ev eKarepa Kparvarav.

(/iecoTTj?

rrjp

marrep

KaX

Bvelv

Kpeirrovo';

Be

etvai

<^epeadab,

dperr)

rj

KaX

eireiBrj

^icov

KaX

w? ^ApiaroreXei re BoKel koi rot? aXKofs

re')(yS}v\,

Kar

ocrot

iari

rt?

KaX

re

KCKepacrrai

e'^ei,

eKXayrj

ra Trpareia

avrri BoKel fiot

elprnievatv

Kvpiov

ovSev

'iBiov

fjLev

fierpioji;

r&v

fieat}

airdvec

epjjet

emrpeireias

PMV

5 Trokv

B\

dW'

aTrapricfiov

2 T om.

PMV

Treptcjiaves

Kara

Biaipopai TroXXd?-

II

oparai

^iXoao^ovo'iv),

iv

re '^pTjad-

oi

3 eX"""

koi ev6vypap,fiov F
ot ttoXv
oi TrokX.ol
:

^O
4

||

PM

MV

(TwrekeiTai cum rasura P

8 Sokoi FP /toi SokQ
9 <rwdio-im FP dia-tm
Sveiv FPM
10 t/oitij EF Tpir-q re
SvoTv
lytli dvrl
11 evKparov F Koii/^v
(nrdvei re
F: T delevit Usenerua
re F
ttcos PMV:
om.
12 817 P
ws EF EKeivcov] l/ceivov F
13 eKarepai P Kparurrmv] Kparlxrrq- &v
F: KparuTTtov Sv E
14 avrrj PV
15 rts eoTi E: tis F ecrTt
16 KOI TXi"5v om. FE
aipca-iv FP
17 oa-oi] 01 P
:

MV

PMV
PMV

PMV
PMV

||

||

||

||

||

II

PMV
Se PMVE

||

19

etSi/cos

EF

iSt'as

||

PMV

airt), ktK.

12. The third stylo (Dionysius means)

has no special character of its own it
is a combination of the best things in
the two others this, in fact, constitutes
its superiority, since, according to Aristotle, virtue is a mean (Aristot. MA.
Nic. ii. 5, 1106 b 27 lieadrris tk &pa
iarlv i] aper'fi, (TTOxooTt/ci} ye oiaa toO

10. The treatment of the third liarin this chapter seems somewhat
onrt and vague.

lUaov).
13. IkXoy^ tis tuv Iv cKarlp^i KpaTto-twv : it is interesting to find Homer

8.

Ka:

as well (as

by going through
by taking this general

i.e.

'

details
view).'

This chapter (c. 23) should be

compared throughout with chapter 40
of the de Demosth., which begins ii Si
fierA, Tairijv ^ y\a^vp& xal flcarpiiri) Kal
9.

t4 Konijibv aXpoviUvq irph roO

many

ae/iiiov toi-

ON LITERARY COMPOSITION

XXIV

247

The euphonious flow of the passage is due to these

circumstances, combined with the balance of the clauses and the
cycle of the periods which has about it something rounded and
continuous.

well-defined

adjustment.

and perfectly regulated in respect of symmetrical

Above all there are thejrhetorical figures, ^11 of

youthful exuberance

antithesis, jparallelism irT soumt'i'pwrallelism

in structure, and others

like these, by which the language of

brought to its highest perfection.
I do not think it
necessary to lengthen the book by dealing with the points that are
still untouched.
This kind of composition also has now received
'
adequate treatment on all points where it was appropriate.

panegyric

is

^ CHAPTER XXIV
HAEMONIOUSLY-BLENDED, OK INTERMEDIATE, COMPOSITION

The

third kind of composition

already mentioned.

proper and better name.

is

the

mean between

the two

it

a sort of judicious blend of the two others and a selection from the
most effective features of each. This kind, it seems to me, deserves
to win the first prize
for it is a sort of mean, and excellence in
life and conduct [and the arts] is a mean, according to Aristotle
and the other philosophers of his school. As I said before, it
is to be viewed not narrowly but broadly.
It has many specific
varieties.
Those who have adopted it have not all had the same
;

represented (248 8-10) as a kind of ecZeciJc

in style.
There are many indications
that Dionysius regards him as a diligent
See generally de
literary craftsman.
Demosth. c. 41 init. ttjs Si rplrqs
p^TOpes.
.
16. Kal nyyav : it may possibly be
better to bracket these words, as they
But
are omitted by F as well as by E.
apfiovias

,.

their retention would not be inconsistent

Cp. Eth.
with Aristotelian doctrine.
Nie. ii. 5, 1106 b 8 ei Sr; iraaa iirurTri/ii]
oiirw 7-4 kpyov eS itnTeXei, irpbs tA //.iaov
p\iirov(ra xal els toDto iyovira ret Ipya
(S6ev eliliBaaiv iiriKiyeiv rois eS ^ouiriv
ipyois &Ti oSt' 6.<pe\eiv l<rnv otre irpoaSeivai, <ls TTJs /J-h irreppoXrjs Kal ttjs
iWel^eias (pBeipoiriis ri eS, t^s 5^ pieaST5p-os

irijj^oiffris, oi

5'

Aya0ol rexvirai, us

xiyofiev, vpis toSto pXivovres ipyd^ovrai),

ij

S'

iperii

Trdcrijs

>/

harmoniously blended for lack of a

It has no form peculiar to itself, but is

I call

t^x""?' AKpi^earipa Kal

iarlv, ibairep koL i/ ^i<ri,s, toO

hv e(ri oroxoirTtK^.
Reference may
also be made to Politics iii. 13, 1284 b
7-13, and to Eth. Evd. ii. 1220 b 21
&wavTi (ruvex^^ '"'^ Siaiperif iariv vTrepoxh
Kal ^XXet^ts Kal iiiffov, koX ravra if irpbs

d/ielvav

iiiuov

4XX7;\a ^ irpJs ^mSs, olov iv yviivaariKri,

iv

la.rpiK'y, iv olKodo/uxy, iv Kv^epvufnic^,

koX iv oiroLtfovv irpd^ei, Kal iirnrTTjfioviicy
khI
i,veinaT-qnovi.K%,
Kal
^"^
tcx'^kv

Arix"'?, i^tX.
18. irpoTEpov

cp. 210 6-10.

Batteux (p. 257) well explains
Dionysius' meaning, and suggests the
names of certain French authors who
may be held to exemplify and adorn
the 'mean' ('middle') style: "Denys
d'Halicarnasse observe avec justesse que
le melange des deux extremes dans la
composition mixte ne se fait pas dans
un mUieu prteis, mais avec nne certaine
19.

>'

DIONYSIUS OF HALICARNASSUS

248
ov

aiiTr}

fievoi

tol

avra

ol fiev

ravTa fiaXKov,

aXK<o<i

aXkoi

Trdaaf

ra<;

ovS"

irdvTe'i
8'

ol

aW

iireTijSeva-av,

o/iot'ca?

koX

re

iTrireivdv

eKelva,

chap.

avrjKav

avrd, Kol 7rdvTe<s iyevovro \6yov a^ioi Kara

Kopv^r) fiev ovv dtravTav koX
t&v \6ymv.

ret

iSia<;

5 CTKO'iro'i,

i^

irep

oil

irorafioX koI

irdvre's

ddXaaaa

iraaa

KoL irdaai Kpi]vai,

10

Tra? yap aiirm totto?, otov rt?

BiKaCm^ av "Ofi7)po<i Xeyoiro.
av OAlrijTai, rat? re avcrTTjpai^ koL toIv y\a<f>vpaii dpfioviaK
t&v S aXXoov oaoi, rrjv aiirrjv
dxpov hiaireiro'iKiXTai.
el<s
enTerrjhevaav,

/MeaoTTjTa

i^era^ofievoi

ifcelvov

d^io0earoi,

avTov^,

T49

va-repoi,

(paivoiVT

tcaS"

fieXoiroiaiv

Se

AT]fi,oa-devTj<;,

Kal

re

fWKpLTO'i

Kal

he

Trap

Oeapoirj

el

re

2,Tri<T[j(ppo<;

fiev

xar

Se

<j)iKoa-6(f)a)v

YVkAtcov

eavTov<;

Kal

avyypa^ioiv Be HpoSoro?,

'AX/eato?, rpayaSo-jroi&v Se ISo^okX'^?,

15 prjTopeov

fiaKpw

'Ofirjpov

fiev

av,

ifir/v

'Apia-TOTeKrji;'

So^av

Arj-

yap

tovtcov

iripovi evpeiv dfirij(avov d/ietvov Kepdcravra<; rov; Xoyov<;.

irepl

ravO

r&v -vapaKTripcov

/xev

TOVTCOV ovK

o'iofiai

iKavd.

Kai,

yap

TrapaBeiy/jbara

Beiv (pepeiv, (pavep&v irdvv ovtcov Kal ovBev

20 Beo/Mevcov \6yov.

Tivi

Be

el

8 av om.

||

BoKei

juei/]

fi^vTOi

yap F
Tt poi

PMV

Se
:

EF

Tis

EF
EF

otov

y\a<^vpai'i\ dv6rjpats

Kal
:

oVov
1

13 2Tijo-t)(o/)os
19 (ftipuv om.

Aveo cette restriction, nous

pouvons placer dans le milieu F^nelon,
Racine, Despr^aux, Molifere, La Fontaine, Voltaire, qui ont les deux mirites
de la force et de l'4Ugance, qui ont les
nerfs et la gr&oe, les fruits et les fleurs."

Homer

a beacon (a watchtower)
The close correspondenoe between Dionysius and Quintilian
has often been illustrated in those notes

upon a

is

hill.

EF
.

TavTa

Kai

9 axpoiTO

avr^v

eicetVaJt

T/oa-y^SoTrotaJv Se

21 rivi

MV

P,

EF

MV

om.
(tij)

irpay-

||

rats
1

16
Demosth.)

positions.

5.

rb oS

avrrjv

latitude ; qu'on ne pouvait tre plus pres

et plus loin de I'un des deux extremes ;
que le mSme auteur pouvait I'Stre plus
dans une partie de son ouvrage, et I'gtre
C'est
moins dans une autre partie.
ce que nous venons d'observer dans
Toraison funebre de M. de Turenne, et
qu'ainsi il n'est pas ais4 de fixer aveo
la
place des auteurs qui
precision
tiennent le milieu entre les deux com-

set

ttoXXoO

irovov

and with the present page sliould be

compared Quintil. x. 1. 46 " igitur, ut
Aratus at love incipiendum putat, ita
nos rite coepturi ab Homero videmiu:.
hio enim, quemadmodum ex Oceano dioit
ipse amnium fontiumque cursus initium
capere,
omnibus eloquentiae partibus
exemplum et ortum dedit."
10. Neither here nor elsewhere does
Diouysius say anything about the poets
of the Epic Cycle.
Attention is called
to his silence by T. W. Allen in the
Classical Quarterly ii. 87.
13. Stesichorus: cp. delmitat. B. vi. 2
Spa di Kal 'Sn-qalxopov iv re toU ixaripav
rfli' irpouprrnjivuv
irKeoveKHiimai xaropBovvra, kt\. ; Long, de Sublim. xiii, 3
(as to Stesichorus, Herodotus and Plato,
in relation to Homer) mAkos 'Hp68oTos
"O/tj/ptKiiToros iyivero ;
2iTri<Tlxopos In

ON LITERARY COMPOSITION

XXIV

249

aims nor the same methods

some have made more use of this
method, others of that; while the same methods have been
;

pursued with less or greater vigour by different writers, who

all achieved eminence in the various walks of litera-

have yet

Now

ture.

Out

And

of

he who towers conspicuous above them

all.

whose fulness

have

and every

sea,

birth,

upleaping fountains,^

all

we must
him

all rivers,

admit, Homer.

For whatever passage you like to

manifold charms brought to perfection
by a union of the severe and the polished forms of arrangement.

is,

take in

has had

its

Of the other writers who have cultivated the same golden mean,
be found to be far inferior to Homer when measured by

all will

men

his standard, but still

selves

among

of eminence

poets

lyric

among

tragedians ^ophocles,

and ArlSotle.

succeeded
wholes.
will

It

is

(in

my opinion) Democritus,

impossible to find authors

better in blending their

As

in themand Alcaeus, among

historians Herodotus, among__orators

Demosthenes, and among philosophers

Plato,

when regarded

Stesichorus

writings

who have

harmonious

into

regards types of composition the foregoing remarks

I do not think

suffice.

it

necessary to quote specimen

passages from the authors just mentioned, since they are

knQwn

and_need no illustration.
Now if any one thinks that these things are worth much

tp_all

Homer Eiad

vpbTspov S re 'Apxt^oxos, irdi>Twv re

to6tuii fiAXurra 6 nXdroiv airb tov 'OjiitpiKou Kelvov vd/iaros eh airiv /ivplas 8(Tas
wapaTpoTrds dirox^Tevadiievos.
14. AlcaeuB :
de Imitat. B. vi. 2
'AXkoJoHv Sk trK6iret tA fieyaXoipvh Kal
If"'
Seivia-riTos
ktK. ;
^Si>
iiiTi,
Quintil. X. 1. 63 " Alcaeus in parte
operis OMreo plectra merito donatur, qua
tyrannos insectatus multum etiam moribus confert ; in eloquendo quoque brevis
et magnificus et diligens et jJerumque
oratori similis
sed et lusit et in amores
desoendit, maioribus tamen aptior."
Sophocles So0oA^ Si
r. toU
ijeen mlroU irdee<n Kr\. (de Imitat., ut

PpaxP

&

mpra).
Herodotus:

cp.

D.H.

pp. 10, 11,

12, etc.

Demosthenes: cp. D.H. pp. 13,

16, 19, 22, 23, etc., and Demetr. pp.
12, etc.
Democritus : cp. Cic. Orat. 20. 67

.15.
''5,
^

i^

\
I

xxi.

toil

196-7.

"itaque video visum esse nonnullis,

Flatonis et Demooriti locutionem, etsi
absit a versu, tamen, quod incitatius
feratur et olarissimis verborum Inminibus
utatur, potius poema putandum quam
comioorum poetarum " ; id. de Orat. i.
49 "quam ob rem, si ornate locutus est,
sicut et fertur et mihi videtur, physicns
ille Democritus, materies ilia fuit physioi,
de qua dixit, ornatus vero ipse verborum
oratoris putandus est "
id. ib. i. 42
"Democritii
.
ornati homines in
dioendo et graves."
;

,/.

t^ tt

-.^

-^

^n

D"^; PP" ^% ^%
..^\.^^^^
S?"
^l'
^^' ^6 etc. and Demetr. pp. 12, 13, 14
^"^
=

Aristotle: cp. de Imitat. B. vi. 4

irapoKiprT^ov di Kal ' ApiffTor^Xrjv els fdfiTja-iv ttjs re irepl t^v ipuJivelav SavbTryros
Kal ttjs (ra(pTjvelaSi Kal roO tjS^os Kal iroXvfia$ous
toOto ydp ^ffn fidXttrra trapd tou
dvSpbs roirov XapeTr.

-/-^
(

DIONYSIUS OF HALICARNASSUS

250

a^ia

fieyaXr]<!

fjiareiai;

eav XoyiarjTai row? e^aKoXov6ovvra<i avToh

iiraivov; Kol rov Kapirov top air avrtov w?

KaTopdov/iivoK
7\uU9,

eviraOeiai;

eirnrovov tow

<ypd(f)iv

E'lriKovpeitov

yap

to

/cpiTTjpiov

fieTamirTOVTO'}

TTv/cva

Be

" ovk
avTO<; 'ETTtKow/ao? Xeyet, " T049

ovtoi," q)?

Tov

ttwou?.

rovrav, TrapaiTOv/Mai-

fieXei

<7TOj(a^op,ivot<i

/jiT)

tou?

ijyjjcreTat

ovhev

ol<;

Kara top

6p6&<i BoKel

fiaXa

ical

aW'

Arjfioaffevrjv

5 ')(pp6v,

elvai,

CHAP.

ttoX-

koi crKaioTrjTOi; aXe^i^dppMKOv.

Xi]^ dpiyiai; rjv

XXV
TOVTCov
10

Koi

fieXei,

ttw?

tSiv

dvBpmv

xaXm

fieXo<;

TrefiJ

Xe^ei

irpwrov

Be

eKfiefidjfOai,

OVK

Be

op,oXoyi]<7etev

ofioia

rj

rot?

Ikuvov

KpaTi<7T0L<;

t^?

ev

rot?

PMV

ian

irbvuv

linXoyiafp-ai

oip,ai

koi

irXeiov^,

ovk

rt?

Brj

ttjv

av

MV

5 ovkIttI ttovov P,

A.^is

a/xiTpos

||

Tefg

1.
Kara rhv Ai]|jiO(r64vT|v
op.
de
Vemosth. c. 52 ei 5^ Tif Sokci raOra Kal
irbvov TToWoC koX Trpayfiaretas fiyd\7js
elyatj
Kal /j.d\a 6pdws doKei Kara rbv
Ariii,ocr6ivtiv
oiSh yip twv neyaKav

lUKpGni

eva

Xe^eo)?,

/lev

rj

irapa-

ioiKevai Tron^iMatrL re koX /leXeat

3 TOV OTT a^riuv Y tcov dirdvTOiV

6 iirnrovov F
10 Ae^is aytieTpos] Jref^
om. F
13 ov
PovXofievos cm. P
.

KaXy

^tXij?

^^p^

diraai,.

iroirjfuiTi

p^dXiaTa

^ovXop.evo<;

^pdtriv,

^povov

dirb

ov

en

ocofiai troOelv

ere

a/MeTpo'i

'!Tpoj(eipt,crdpevo<s

iroiTfTiK^p
e')(tov

ye

nroirjfid

ap^ofiai

irX'^eriov.

15

Te\o9 i'^ovTcov, eKeivd

fioi

Z'q

aKovaai, ttw? yiveTai Xe^i';

d\X'
iav
dKoKovdoOvras a^Tois
5* ^av ^va fidvov t6v
SivLov.

6 iraiSelav Si iraaav

(i.e.

r)p>

iyKiK\iov

iratdeiav)f fiaKdpie, tpevye rb dKdriov dpd-

ficvosy ; Cic. de Finibus

existimo te minus ab eo
delectari,

5.

14 "sed

[so.

Epicuro]

i.

quod

Theophrasti

ista Platonis, Aristotelis,

orationis oi-nanienta ne-

iiratvov^ 6v dirodidwtriv 6 "x^phvos koX fwtrt

Probably the Epicurean

philosopher Philodemus is among those
who are criticized in the irpaynarela ijv

KoX juera

crvvera^dfiTjv inrip ttjs ttoKltiktjs ipiXoao^las

ttJi'

roiis

fidWov

KapiroOs,

TeXei/TiJj/,

r'ifv

[re] irpayiMTelav

Tra<rav

AdrTU

iiy^treTai
ttjs

irpotr-

The

reference in both cases is

to Demosth. Chers. 48 el di Tip doxei
ravTa Kal SairdvTis fitydXiis Kal irbvuv
iroXXffiv icai vpayfiarelas ehai, Kal p,d\'
dpOQs SoKei'
idv '\oyia'7}Tai rd t^
TjKoi<rr]s.

dW

raOra yevriadfieva, &c raCra /iii

eiprfiaa XvaneKovv t6 iKbvrai iroieir

irSKei /itETd
'0i\r],

rd S^ovTa.
4. For the general attitude of Epicurus
cp. Quintil. ii. 17. 15 "nam de Kpicuro,
qui diaciplinas

and

omnes
24

fugit, nihil

miror,"

"nam

in primis nos
Epicurus a se ipse dimittit, qui fugere
ib.

omnem

xli.

2.

disciplinam navigatione quam

velocissima iubet [Diog. Laert. Fit. Epic.

glexerit."

Kararp^xovTas aCir^s dSiKUs {de

Thiieyd. c. 2).
5-8. Usener (Epicurea, fragm. 230)
gave this passage as follows : rb yb,p
iiriwovoy tov ypdipeiv 6vtuSj ws aiiTbs

irpbs Toi/s

'ETrlKOvpos Myei, Tois fii) araxaioiiivoLi

rov TrvKvb. fierairiTrTOVTOs Kpi/rt^piov ttoXX^j
dpyiai ^p Kal trKaibrTjTOS a\e^L<pdpfiaKov.
5.

oiK

iTriirdvov

Sheridan

cp.

Olio's

" You write with ease, to shew

your breeding;
But easy writing's
Protest

hard reading " ; Quintil. x. 3. 10

haec est rei
cito scribencx
non fit, ut bene soribatur ; bene scri]
bendo fit, ut cito."
vile
'

'

summa
7.

KpiTT]pCov

for

Kpirfipioy

as

ON LITEKARY COMPOSITION

XXV

and great

he is, according to Demosthenes, decidedly in

Nay, if he considers the credit which attends success

effort,

the right.^
in

251

them and the sweetness

of the fruit they yield, he will count

I beg

pardon of the Epicurean choir who

the toil a pleasure.

care nothing for these

The doctrine that "writing,"

things.

as Epicurus himself says, " is

no trouble to those who do not aim

at the ever- varying standard " ^ was meant to forestall the charge
of gross laziness and stupidity.

CHAPTER XXV
HOW

PROSE CAN EESEMBLE YEESE

Now that I have finished this part of the subject, I think

you must be eager for information on the next point how

unmetrical language
lyric,

made

is

and how a poem or

beautiful

prose.

poem

to resemble a beautiful

or

lyric is brought into close likeness to

will

with

begin

choosing by preference an author

the

who

language

of

prose,

has, I think, in a pre-

eminent degree taken the impress of poetical style.

I could
wish to mention a larger number, but have not time for all.
Who, then, will not admit that the speeches of Demosthenes
^

cp.

Demosthenes

Ohers. 48.

Epicurean term cp. Diog.

Laert. Vit.
t4 Kpa-fipiov Utrav iK^oKiis.
The variable criterion ' or ' shifting
standard,' in Dionysius' quotation, is
either the jvdgment of the ear (regarded
as a part of sensation generally) or the
literary fashion of the day.

I^. 147

fio-re

'

Chapter 24 may be
with de Dekosth.
throughout

8.

compared

9.

For the relations of Prose to Verse

c.

41.

see Introduction, pp. 33-9.

16. The metrical lines which Dionysius
thinks he detects in Demosthenes are

not more (nor less) convincing than the

rude hexameters which have been pointed
latent lines cannot be
out in Cicero
expeoted to be obvious. Ad Quirites post
reditum 16 "sed etiam rerum mearum
gestarum auctores, testes, lavdatoresqwe
fuere" [but the better reading here is
lavdatores fueruntj. Pro Archia Poeta
i. 1 "si quid est in me ingenii, iudices,
yquod sentio quam sit exigunm, aut si
:

qua

exercitatio dicendi,

in,

qua me non

Epicurus Fragm. 230 (Usener).

infiteor mediocriter esse

Tusc. Disp.

versatum,"

31 "illud

iv. 14.

etc.

auimorum

corporumque dissimile, quod animi

valentes morbo temptari possunt, ut corpora possvM."
Pro Sosdo Amer. i. 1
"credo ego vos, iudices, niirari quid si<
quod, cum tot swmmi oratores homines^"^ nobilissimi sedeant, ego potissimum
surrexenm.
Cp. Livy xxi 9 "nee
tuto eos adituros inter tot tarn enrenatarum gentium arma, nee Eannibali
^^ tanto discrimine rerum operae esse
legationes audire," and Tacitus Ann. i.
1 "urbem Momam a principio reges
hdbuere. "
In most of these passages
except the last, the natural pauses in
delivery would destroy any real hexameter effect. See further in Quintil. ix.
4.

72

ff.

Among later Greek writers, St.

John Chrysostom, in his de Sacerdotio

iii. 14 and 16, is supposed to yield one
entire hexameter and part of another
[dir'

iKeivov] rod

KaTvoO

fi/iaipuxrev airaffav,
ttjs

and

ycurrpis ivdymiv.

irpo<ri<l>\e^e

/Sid^uxrai

koX

Std, tjjk

yl^

DIONYSIUS OF HALIOAENASSUS

252

tow

koX

B'Tjfji/riyopia'}

e'f

evo<;

afidpTTjfia

aW'

10

TOVTOV

ireipaTeov

ap'

^epovr)crov

ey(ei.v

trdXiv

aTrocTTeprjdrjvai,

eKCJiepeadai,

aTrovhrj.

r)

fjLVffTrjpioii}

eVl ra? reXeras tov Xoyov, " dvpa'i

ijKeiv

eirkdecrdai" Xeyoifjii rat? dKoai<; Toi>g "ySe/SijXov?."

aroTTov

Qeaiv

avTTjv

Kal

BvvaTai,

0x1

Kal
rt?

ea-Tt

ovo/jiacria

Kal ^evwv Kal TpoinK&v Kal

Kopov iyKaTa/iiyivTcov

25 6ts

Kal ov-^

T6 TToXKol

dXX'

iKXoyrj<;,

Trepl

to trapov

eo'Tco

avTrj<i

fieya

Ti

r^Bwerai,

o%<;

ov

iToi/q(n<;,

iroiovaiv aXkoi

Bt)

trepl

rj

Xeym irepl Trjf

TavTa ffKei^t?.

Qewpia t^? ev rot?

r)

avv-

yXeoTTijfiaTiKwv

dfieTpm Xefet,
YiXdTtav

d<f)eiadco KaTO,

avvQeaeoyi

Trj<}

ttJ

fiovaav

ttjv

ovofidTcav

jroirjriK^

Treiroitjiievtov,

fiKiara

yovv

KaTo,

t&v

eKXoyr)

r)

Xeyetv, TOidBe

"TroirjTiKrjv

crxjyKeiiievr)

Bvvarai irpoaXa^eiv

iirel

8'

yeXara

elf

direipiav, Kai tVo)?

Bi

^ovXoixai,

o?)V

S'

fierpov

Bl'^a

17

xdpiv

fieXiKTjv

jrd(T')(pvai,v.

irdcra Xeft?
Tj

(nrovBaiOTUTa

evioi Xap-^dvovffi to,

20

Kai
wepl

avTfj<;,

ij^rj

6 ep,i,<s ia-Tlv"

oiiBev

koX

TavTa Kal ovk et? "TroWov; ola re iaTiv

oxtt ovk av eirjv (^opTiKOi;, el jrapaKoKolrjv " ot?

uev oZv eoiKev

yap

el<!

iym Xoyi^ofiai
da^aXS)^ vfidf

6p65)<;

Kal irepl rovrav \iyeiv a i})pov&.

Brj

<j)av\ov

etirep

diTacTa

/IOC

ecTTi,

fi'qT

kutti-

hrX tovt<p irpodyeiv ifiavTov

Tov

irepX

fie

Kot

op&VTO, Ti

fiiKpov

firjTe

vofilari

'Apia-TOKpdTOV<:

rjKeiv

eve-)^

7rapaKpovadevTa<s

/i^

&v

ovtco's

eTOLiJLa)<s

d'ire')(6etav
(TKOTTOi,

iivSpev 'Adrjvatoi,

fJi/rjB6fiid<:

tovtovl,

rjopriaovTa

STjfioa-iov^

Trpooi/iiov tovtI-

&

vfiSiV,

e')(6pa<;

IBiai;

tou9

ay&va<;

SiKaviKoix;

apKea-ei Xa^eiv to

" MiySets

15

Kal fiaXia-ra ra? re Kara ^iXittttov

^rjfiotrOevov; \070u?,

TOii?

chap.

Koivol<i

ovofjUKTi Kal TeTpififievoK Kal rjKtaTa irotrjTiKolf Ta? TroMjTtKas

3 dpKea-ei] apfwa-u
iyOpa'i

Demosth.

BF

om.

EFM

ifTTi

ij

EPM

EF,

Toi'vvv

D.:

17

MV
MV povcrav MV
pmriav MV
yeXota.
II

apa P

6(m
kpri

/*e

om.

p-qBifi.ia.'s

codex Florentinus (F)

P:

PV^

xepovrjcrov

II

px)i

II

8 ap'

oxr<faX.m

vp,a^

||

opdm PV

eyo)

Trjv

ijjA

om. P, Demosth.

apa

||

iripX] virep

x^PP^^V^"^

||

Demosth.

FMV^

||

pr)Ti

PMV

eVcKa
oSv V-:

om.
||

dxr<t>aX(Ss

to?5t<ji

opOai

||

tov

ejri

eyoi

EFPM tov
v/^as PMV
:

11 tovtov] tovtwv EF
vvv
ecrrt p,oi
/ioi
eo-Tt poi vvv E
/tot kariv
Io-tiv F
F om.
12 cum (f>povm voce deficit
16 im9cr9e
pe)MT{a)
iTrCeetrdai
||

PM

18 ovSev] ouS' P
oScrav P
om. E
25 syKaTaTeraypivovs
:

20
23

EPM

crvyKeipevrj

rts dvo/xao-ias
:

||

EP

kyKUfiivri

t^v

eyKaTapep,iypivovs

ovo-

ON LITERARY COMPOSITION

XXV

253

poems and lyrics particularly his harangues

and his pleadings in public law-suits ? It will
be enough to take the following exordium from one of these
" Let none of you,
ye Athenians, think that I have come

are like the finest

against Philip

forward

to

indulge

personal

have got

accuse

the defendant

hate of

my

Aristocrates with

own, or that

it

is

intent to

because

my

eye on some small and petty error that I am

thrusting myself with a light heart in the path of his enmity.
No, if my calculations and point of view be right, my one aim

and object

is that you should securely hold the Chersonese, and

should not again be deprived of it by political chicanery." ^

I must endeavour, here again, to state

we have now reached

subject

divulged to people in masses.

in inviting those only " for
rites of style,

is like

my

But the

views.

the Mysteries

it

cannot be

I shall not, therefore, be discourteous

whom

it is lawful " to approach the

while bidding the " profane " to " close the gates of

their ears." ^
There are some who, through ignorance, turn the
most serious things into ridicule, and no doubt their attitude is

natural enough.

No

Well,

passage which

my

views are in

effect as follows

composed absolutely without metre can

be invested with the melody of poetry or lyric grace, at any rate
from the point of view of the word-arrangement considered in
itself.
No doubt, the choice of words goes a long way, and there
is a poetical vocabulary consisting of rare, foreign, figurative and
coined words in which poetry takes delight.
These are sometimes mingled with prose-writing to excess
many writers do
so, Plato particularly.
But I am not speaking of the choice of
words let the consideration of that subject be set aside for the
is

present.

Let our inquiry deal exclusively with word-arrangement,

which can reveal

^

Demosthenes

possibilities of poetic grace in

^

Aristocr. 1.

4-11. In Butcher's and in Weil's texts

(which are here identical) the opening
of the Aristocrates runs as follows
fiTjSels

iifiuVf

(&

dvdpes 'A$T]Vuoif

vofda-Q

^x^P^s iiji /u/Se/tias ?cex' fiKuv

'ApurTOKpdrovs
Karrfyop^iirovTa
rovrovi,

/ii^r'

ISlai

firp-e

lUKphv opwvri,

Kal ^aCXoi'

ci,/iipTriti,'

H'ol/ius olhws ^irl roirif irpoAyeiv iimvrbv

els dTr^x^*""'> ^^^' ^('"'^P ^p' ip6S>i iyO)
Xoyll'ofjt.ai

Ix^^"

Kal aKoirw, iirip toO Xcppiv7]<rov

dir^aXfis koI fi/i) irapaKpov-

ii/ms

aOivras diroarepi^Orivat v&\iv

airrjs,

irepl

common

Fragm. Orphioa, MuUach

i.

every-

166.

roirov /lol ianv iraa t) aTovS-q.

The
minute differences between this text
and that presented with metrical comments by Dionysius deserve careful
notice.
The collocation rrjs ISlas ^ck'
?xfi/)os is found in de Cor. 147.
12. Here, with the word KJipovQ, the

codex Florentinus Laurentianus (F) unfortunately ends.

24. It is hardly necessary to insert
dvofidTuv before oU, since the word may
be supplied from 1. 22 supra.

n(.

DIONYSIUS OF HALICAENASSUS

254

ry

Ofioia ryevea-Bai

Xe'^i?

oSv

o-irep

iiriBeiKvvfiivr]';.

Xaptra<;

i/J^fiirpm

Svparai

ov

e<f)'r)v,

koX

chap.

eav

e/JU/jieXel,

yjriX^

irepieyrj

fir]

ov fievToi
ixirpa KoX pv6fiov<; Tiva<; iyKaTaT6Tayfievov<; a8rjX,eo<;.
Trpoa-^icei je e/ifierpov ovB' eppvdfiov aiiTrjv elvat. hoKelv (Trolrifm
5

yap ovrta

koX

ea-rai

rbv

dirXw-;

re

eK^rjaeTai

jieXo^

avrrji;

Xapa/crripa), aXX' evpvOfiov avrifv airoxpv ^ ev/ierpov <^aive-

adai fiovov
Koi

ye,

yap &v

ovtco';

Tt9 S" ia-rlv

Kul Kara aTi^ov

im

t5)V

irepioBov

rj

crTi')(0)v

fj

avrolf
rj

TOVTO fieypt -TToXKov iroiovo'a eppvOfioi

15 ovofiara

Kelrat,

jreirXavrifieva

Kai

rfi

TotavTTjv

ifi^aivei,

to

Xd^oi

Tvpia<s

eireiBr]

Be,

ov^

Kai fieXtKOV
oti

av

aXrfOrj

Kai

ti<;

ofio^vyiav

tS

yap

TroXiTiKrji;

firfre

ovBe Kara

aiiTOK

r)Ti<;

AjjfioaOevTj

iyw

oiiBev

'Apia-TOTeXov^ fiap-

tjJ?

(f)iXoa'0(f>a

iv tjj

Be

Tiaiv

Xe^iv afierpov,

Br) koI tov

TavT e<TTl Kai
eK

Kai

17

ifiTrepiKafi^dvovaa

rot?

eivai

iracyav

<^r}fu

eiprjTat

BiaTreTTOiKiXraL

Bi]

Xefews t^?

/^teXo?

fiijre

/lev

iricTTiv

Trfu

25 Trepl ttj?

Koi

fierpov

Kot

efifkeTpo<s,

iTreiBr)

Kai

^r]fii.

KaifVOTOfiS),

Kai

ierri

fieTpoi<}

ai/rmv

-TTOirjTiKov

Kevprja-dai

koX

^pQifievrj

e<TTiv,

fiev

fiev

r)

ifitfyaivovaa

evpv0fio<;

ovK eppv9fio<;

pv6fjbol<i,

20 TO avTO.

tBelv.

pv6fioi<;

arpoip&p

Kai draKTOVi; pvdfiov<;

aKoXovdCav

firjTe

avTiffTpofprfv

Xe^et

roiavTr;

fierpa

troi'qfid

aw^ovaa pvfffiov^
Btd rmv avT&v a-j(rifidTa)v

arTpo^rjv

rot?

irepioBwv

rj

/irjv

Koi Terayfiivovi

TrdXiv

Kaireira

e^rj<s

ov

flip,

Be.

Tovrmv Bia^opd, Trdvv paBiov

rj

10 ofioia 7repi\a/ji^dvova-a fiirpa

Trepaivofiivr)

TroirjTi/ci)

el'?;

ov /xeXos

fiiv,

efj,fMe\rj<;

Te

aXXa

twv

prjTO-

ra

TpiTrf ^iffXq>

ptK&v TexvMV oiav avTrjv elvai TrpoariKev, Kai Brj Kai nrepl t^9
iv r) tov; eiriTrfBeiOTaevpv6fiia<; i^ SiV av TOiavTrj yevoiTO

3 dS^Xcos
9 pdiSiov P
21 fieXixpov

irpoa-riKei

Cp.

MV:

dSijAovs

M
MV

8r]p,ocrdivr]V

II

27 av

Coleridge Biogr. Lit.

"Whatever

EP

10 crai^ova-a

is

combiued

with

5 a^rijs

EM
MV

c.

18

metre

^K/9ao-a t6i' aiTTjs

avdxpil

xipif^P"!
(jialveaSai

i^^^' f''P''^A'<'

koI

etfierpov.

tut

EPM

25 rpiTto
:

must, though it be not itself essentially

poetic, have nevertheless some property
in common with poetry."
50 oi ydp hv
3. So de Demosth. c.
SXXuis yivoiTo iro\iTiK^ \4^is Trap' air^v
T^v aivBeaiv ifitpep^ ironlifm<Tiv, &v /jt)
ireptixv l^^pa Kai i)v$p,ois nvas iyKaraoi pAvToi ye irpoaKexi^pio-fiUpovs ASiiXus.
flKei air^v t/ipsTpov oiS' ippvOptov eXvai
SoKelv, iva p.ii yivifrai Tolfip-a i) pAos,
airiiv

PV

20 afisTpov

6 efifierpov

ififierfiov

26

TTfmtrqKlev)

oStu 7clp hv
wolrnid ye,

iroiijTiKj)

/ifv,

oi

i)ki'

iieXll^ovaa

lUv,

oi

li^v

etri

Kai

fJiiXos.

4.
ttjs

Op. Aristot. Bhet.

Wfeus

UppvBiwv

Set ;ni)re

iii.

8 rb Si a-xfllM

l/i/ierpm'

etvac

idyre

riv
X470V, /ih-pov Si /ti}- irolriiia yd,p lariu:
and Cio. Orat. 56. 187 "perspicuum est
igitur numeris astrictam orationem esse
debere, carere versibus," and 57. 195
.

Sib

pv8/j,ir

Set

Ix^'-"

'

ibid.
quia nee numerosa esse, ut poema,
neque extra numerum, ut sermo vulgi,
esse debet oratio."
So Isocr. (fragm.
'

of

his

rix"!

preserved

by Joannes

ON LITERARY COMPOSITION

XXV

day

255

are by no means reserved for the poets'

Well, as I said, simple prose cannot become like

words

that

vocabulary.

metrical and lyrical writing, unless

it

unobtrusively introduced into

It does not, however,

contains metres and rhythms

do for it
metre or in rhythm (for in that case it will be
a poem or a lyric piece, and will absolutely desert its own specific
character)
it is enough that it should simply appear rhythmical
and metrical.
In this way it may be poetical, although not
a poem lyrical, although not a lyric.
The difference between the two things is easy enough to see.
That which embraces within its compass similar metres and
preserves definite rhythms, and is produced by a repetition of the
same forms, line for line, period for period, or strophe for strophe,
and then again employs the same rhythms and metres for the sucit.

to be manifestly in

ceeding lines, periods or strophes, and does this at any considerable

rhythm and in metre, and the names of " verse " and
"song" are applied to such writing. On the other hand, that which
contains casual metres and irregular rhythms, and in these shows
neither sequence nor connexion nor correspondence of stanza with
length, is in

stanza, is rhythmical, since it is diversified by rhythms of a sort,

but not in rhythm, since they are not the same nor in correspondThis is the character I attribute to all language
ing positions.
which, though destitute of metre, yet shows markedly the poetical
or lyrical element; and this is what I mean that Demosthenes
among others has adopted. That this is true, that I am advancing
no new theory, any one can convince himself from the testimony
of Aristotle for in the third book of his Rhetoric the philosopher,
;

speaking of the various requisites of style in civil oratory, has

He
described the good rhythm which should contribute to it.-'
1

Siceliotes,
dXus 5^ o

y&p
iwi,

Walz

fii]

l/iixeTpos

pvB/ji^,
piiXuTTa
Kal rpoxaiKCfi (Isoer. Tech. fr. 6

iiiilx8<^

la/iPiK(fi

Gr. vi. 166)

Xdyos ^aroj- ^pbv
Ka,Ta(pavis ydp.

Bhett.

\6yos

fitjSi

Aristot. Rket.

iravrl

KP'<i<rerai

rbv

airfjs

X'^P"''

KTiipa op. the construction of excedere

egredi with the accusative.
:

and

6. S/iiierpov is given not only by E

but by Joannes Sioel. (Walz Bhett. Gr.
vi. 165. 28) and by Maxinius Planudes

V. 473.

8.

dirixpv t^" iroKinK^v X^|ik eipv0/iov dvai

Kai ^^fierpov.
17. Cp. Cic. de Orat. iii.
44. 176
"nam cum [orator] vinxit [sententiam]
forma et modis, relaxat et liberat imordinis,
ut verba neque
sint quasi certa aliqua lege
versus neque ita soluta, ut vagentur."
25. The reference is to Aristot. Ehet.
iii.
8 (the passage of which part is
quoted in the note on 1. 4 supra).
27. ToiaiTT) : i.e. eilpvSiios, the subject
to yivoiro being ij ttoXitik^ \4^i5.
The

mutatione

Benseler-Blass).
5.

iii.

4) Kal Aiovia-ios di

<j>y)inv,

alligata

DIONYSIUS OF HALICARNASSUS

256

pv6[wv^ koX

ovofid^ei

Tov<i

YW/Jt? ^e

TOP \6yov.

ah

rim?

5 el

Treiparat ^e^aiovv
oti avcvy-

fiaprvpiai;,

^Apia-rore\.ov<;

Tri<i

Kolov ia-nv ifiirepiXafM^dvea-dai

avr&v Kara-

eKaa-TOi

^pij<Tif/,o'i

ttj]

^alverai, koX \e^ei<; irapaTiOria-l riva^

chap.

Xe^ei pv0/iov<!,

ire^rj

rfj

fieXKoi to TroirjTtKov iiravOrja-ei.v avTrj KaX'\o<;, eK t^s irelpa^

Tt? avTTJi; yvatceTat.

axiTiKa 6 KaTO, 'ApicrTOKpaTOVi X6yo<: od koI fitKpm irpoTepov

t&v

dvanraia-TCov

'Adrjvaioi,

iroBa fjTOi KWT

<})dveiov

^\

if

fir]

Bi

tov

avBpe'i

Trpo&Xd^oi, ro fieTpov
iirl

y)

TeXeiov

TeXevTrji;,

KaXovahV

&

vfimv,

Bel';
el

fieaov

avairaiaTiKOv,

ttoSI

ApicrTO-

Tive<;

/LwySei?

15

Bta

rj

"

Se

XeiireTai

tovto yap

fie"-

dpya,';

TeTpdfieTpov

ea-Tai

XeKrjdev

/cal

vofiia-t)

TeTpafierpov

aTi-)(pv

KcofivKov

iyKei/iivov,

pvOfiStv

Trap'

10 TeXeiov,

aTrb

/lev

ap')(eTai

e/ivija-drjv

vfiibv.

Si

avBpe<; 'AOrivaioi,

vofiiarj

fie

irapelvai,

laov oe Ta>

Xe^m ToLvvv

Tava

d\V
20

epel

Tt9

dp'xalav iraiBelav

ttjv

jrpo<;

ravTa,

eK TavTOfiaTov iyeveTo

tovto

ecTTft)

d)wo"t?.

ovk

oti

dXrjde'i

e^

einTrfBevaea)^

yap

-rroXXa

BiexeiTo.

co?

aXXa Kat to

eivai.

tovto

avTotr'^eBid^ei fierpa

avTOv

cvvaTTTO-

BevTepav
TOWTW K&Xov,
iiruTwdTrTova-a
Tm
avTO
aarffiov
awaXoi^rjv ^ ireiroirfKev
iXeyeiaKov
eaTai
o-vvTeTeXeafiivov
TpiTa KwXcp, TrevTafieTpov
BiaXva-ete

el

fievov

Tt?

ttjv

TOVTb
25

IBLa^ ej(6pa<; /irjBefiiaii evexa

firfT

OflOOOV TOWTOt?

Kovpai eXa<f)pa iroB&v

"^"^
avayKaiov V y/a M:
8 Si MV: Si' sic P
18 TouTuMjE: TOVTO PV
sic

eXacf>po;iroS(av

av SiKatov FM}
6 t(is) P, V
11 fie irapeivai
15 jtw/Seis]
24 tovti EP: dK/atjSwsTouTt

iXacfipoiroSwv

MV

of P may be due to a dittography

or it
of the first syllable of roiair'q
may originally have stood with roiairr]
(Totoiiri) Tts=<(Ks/ere).
:

irpbTepov

viz.

, o
252 3 mpra.

daTai^nKwu has been suggested

here and in 260 2 ; but cp. 8dTW ,r5a
84 21 and /i9/.o SaKrvXoi, 202 19.
9.

10. irop' 8

cp.

note on 80 4 supra.

tX""'

|{

-P^

'X"^""

T^s
firjSe

MV

Tiff

7.

deipdfievai.

i'Xvi,

P
27

|i,c
this (together with
other remarks that follow) confirms the reading adopted in 262 4
supra.
Dionysius' metrical arrangement of the clauses may
' be indicated

11. voiiCo-g

the

^^^^

^
^ 4.Spes 'Ae^.oloi,
''g
^.g^^^^j;^^
-^ ^
^g

voMtv I^

^^^^^^ Ap.arLpdrovs
Totf,]

KaT^opWa

rou-

ON LITERARY COMPOSITION

XXV

257

names the most suitable rhythms, shows where each of them is

clearly serviceable, and adduces some passages by which he
endeavours to establish his statement.
But apart from the
testimony of Aristotle, experience itself will show that some
rhythms must be included in prose- writing if there is to be upon
it the bloom of poetical beauty.
For example, the speech against Aristocrates which I
mentioned a moment ago begins with a comic tetrameter line
(set there with its anapaestic rhythms), but it is a foot short of
completion and in consequence escapes detection /i-TjSetv vfi&v,
:

dvBpe^ 'Adfjvaloi,

had an additional
foot either at the beginning, in the middle, or at the end, it would
be a perfect anapaestic tetrameter, to which some give the name
03

vofiiarj

fie.

If this line

" Aristophanic."

Let none of you,

ye Athenians, thHnk that I

am

standing

before you,

corresponds to the line

Now

then shall be told what in days of old was the fashion of

boys' education.^

perhaps be said in reply that this has happened not from

but accidentally, since a natural tendency in us often
improvises metrical fragments.
Let the truth of this be granted.
It will

design,

Yet the next clause as well, if you resolve the second elision,
which has obscured its true character by linking it on to the third
clause, will be a

Come with

complete elegiac pentameter as follows

intent to indulge personal hate of

similar to these words

Maidens whose
1

feet in the

dance lightly were

^

Kal ipavKov a/iiplUKphv bpS>vT&

Toirtp
nj/ia irol/ujis ofirws
Trpo&yeai iixavrbv els dTr^x^^""'

dXX' eiirep

S,p'

dpSus iyii Kayl^oimi.

[(coi aKotru,']

irepl

ToO
Kal

[jrepi

ix^iv dcripaXus i/ms

irapaKpovffSivras
drotrreprjSijvai, TniXtc air^s,
Xep6vr](Toi>

/iii

Toirov iarl

/ioi &ira<xa

i)

(tttouSi^-]

or truncated lines, of verse are

thus interspersed with pieces of pure
prose,
those here enclosed in brackets.
Lines,

own,

Aristophanes Nuhes 961.

/iijrc

my

lifted

on high.^

Oallimachus Fragm. 391 (Schneider).

In constituting the verse-lines Dionysius
has damaged a rather strong case by
overstating

it.

21. 8i,a\vcrcie

from this

it

is

clear

that hex (lather than iveKo) should

be read in 252 6. The verse-arrangement in line 25 infra shows the same
thing, and also that we must not follow
^ ^^ reading /iiijTe (without elision) in
262 4.
27. For this line cp. Schneider's Calli-

machea

pp. 789, 790,

among

the Fragmenta

where

it is classed

Anonyma.
S

DIONYSIUS OF HALIOARNASSUS

258
KoX TOUT

Kara top avrov vTroXd^co/iev avTOfiantrftov avev

eVt

"rjKeiv

rov

XeKTiK&i

tovtovl" to

outw?

Kai <f>avXov
el
yhp to

67rt

eTnOaXafiiov tovtl

Tts

ov yap

Tov

"

op&VTO, ri
touto)'

/iiKpov

fjujre

erot/io)?

d/jLaprrjfia,
'Zair<l>iK6v

ttoKiv kSiXov ek Sveip avv-

crvfiTrXeico/ievov rovrep

fierpcov

5 ecrTT)KV

Kal

aXK' evo? rov fiera^v KooiXov ffvyKei/ievov

KaTTjyoprjaovTa
'Apia-roKpdrov<:

yeyovivai.

yvcofiT)';

chap.

dripa

?iv

Trai'?,

Se

Xeyo/j,evov

TETpafieTpov,

KcofiiKov

<7roTa>

ya/i^pi, TOiavTa

Apia-TO<f>aveiov

10 TOuSfc

rd

eya>

ot'

Xeywv ^vdovv Kal

Si/caia

vevo-

cro)<f>poa-vviri

flKTTO

TekevTaiov;

TOW?

Kal

rpeii

7r6Sa<;

Karakri^iv

rf/v

eKXa^mv

{Twd-^eie rovTOV tov Tpoirov

ov yap

15

?iv

aTepa

ovSev

" Trpodyeiv

efxavTov

op&vrd

tov

Kal ^avXov

to

aKoXovOov

yap

reXeiov

iroSa

d^yprifiev^

ea-'xarov

direjf^Beiav"

ei<;

Tt

toutw.

i'Trl

TptfieTp^

lafijSiKM

IcttIv

iffov

ovto3<s

roiavra <7roTa> xal

yafjL/3pe,

fiixpov

" ft'^re

6T0i/ii)9

dfidpTrjfia,

20

tov

St,ol(Tei

&

Trai.?,

vevofJuaTO

<7(o<ppoa-6v7)

ecrrai

iroha Trpo&Xa^bv Kal yevofievov toiovto

TTpodiyeiv ijxavTov et9 airer^fQuav Tiva.

en

Trapihw/iev

TavTa

Kal

avTOfiaTicTfim yevofieva

K&Xov

25 TovTcp

dXV
a pa

TOV

Kal

fierpwv
ei ye Toi

eVi
il

11

TTOTa add.

MV

Trpotrej^e?

TpLfieTpov opdov

fiaKpdv Xa/j,^dvovTo<; Trjv irpoTepav crvX-

vq Aia,

76,

Se Kot

Kal rh

PM

M
:

V
[xepQv

V
V

ydp toi

erepav Bv

Usenerus
13 TOiis

irapefnrecrovTO';

fiecrov

lav Kai

et suprascr. pvdfiZv

drepa] erepa vvv

dXX

i'lriTTjSevo'eeoi

ef

dp' op6Si<; iyai XoyC^ofiai,

a-vvSio'fiov

Kal

Xa^rjv,
1

e'lirep

ovk

ydp icm Kal tovto

lafJi^elov

&)?

ovv ^ovXerai iraXiv to

Tt

4 Svilv
6

7 tis

ei

PV

Svolv

P,

i.e.

MV

yap rb Sauppius
om.

correxit Blomfieldius

1011 rovSe tot

PM

tov "kuI

8 ^v
drepa Seidlerus

rouSei ot'

ToilSc

V eKXa/3(tiv Sauppius: eK/iakm

15 erepa vvv PM
erepav ijv V
P ip-PaXiiu MV
cf. adnot. ad
8 supra
21 iroSa irpocrXa^ov PM Trpoo-ka/Shv voSa V
roiovTO
22 Tiva PM Tivt V
P: TotoiiTov MV
24 yev6fiev(ov) ; P
25
26 dp P, V dpa M
IdfijSeiov MV
idp,l3iov P
27 apa com-

OT

toijs Te

||

1.

||

pendio

ON LITERARY COMPOSITION

XXV

Let us suppose that

this, too,

259

has happened once more in the

design.
Still, after one inter-

same spontaneous way without

mediate clause arranged in a prose order, viz. ^xeiv 'Apia-roKparovi Karrjyop^a-ovTa rovrovi, the clause which is joined to
this consists of

^avXov

Kal

two metrical

afidprrjfia

lines,

viz.

fitKpov op&vTo, ri

/iijre

ovtoj? evrt

eTol,fio)<i

For

rovrq>.

we

if

were to take this line from Sappho's Bridal Song

For never another maiden

there was,

son-in-law, like unto

this one,^

and were also to take the last three feet and the termination of
the following comic tetrameter, the so-called " Aristophanic "

When

was the popular preacher, and temperance

of righteousness I

was in

fashion,^

and then were to unite them thus

ov ryap

rjv

avvrj

will

it

Trat?,

correspond

to

erot/iw?

ovtooi

dfidpT7]fia,

an iambic trimeter

like

takes this shape

it

< trora >

Kot aeo^po-

iirl

docked of

fjuKpov

What

final

its

6pS>vra

rovra.

foot,

Kal

follows

-n-podyeiv
is

added

irpodyeiv i/iavTOV

Are we once more

/ijjre

It will be complete if a foot

ifiavTov 649 dire'xOeiav.

and

yafi^pe, rotavra

vevofitcTTO,

precisely

^avKov
is

arepa

el<s

d'ire')(6eidv

Tiva.

to neglect these facts as if they

What,

about not on purpose but by accident?

significance of the next clause to this

For

were brought
then,

is

the

this too is a correct

iambic trimeter line

a\X'

dp" 6pd&<; iyoo Xoyi^opui,,

elirep

the connective dpa has

if

further
1
8.

was

by your

Sappho Fragm. 106

Tor
like

leave

no other
unto her.'

girl,

its

first

(Bergk).

bridegroom,

Usenet's

insertion
15 infra, will

of iroTtt, here and in 1.

secure metrical correspondence between
this passage and that of Demosthenes.
Blass would attain the same result by
reading a/iipniii iTafids in the passage
If d/id/n-ij/i' ^ol/uis be
of Demosthenes.
read (as in the best texts of Demosthenes), then the choice will be to suppose either (1) that the first syllable of
irol/uas is to be suppressed in the

made

syllable

the words koi

^

o-koitS)

long,

and

if

are regarded as

Aristophanes Nuhes 962.

'scansion,' or (2) that Dionysius has

pressed his case too far and that it is
just by means of this extra
that Demosthenes escapes any unduly
poetical rhythm.
26. The scansion here supports those
manuscripts which give Up' in 262 8.
For &pa as being "in Poets sometimes much like &pa" see L. & S. s.v.
(with the examples there quoted),
28. v<| Aa
op. /ii, Ala In 260 25.
The general sense of the passage is well
:

DIONYSIUS OP HALICAKNASSUS

260
(TKOirw,"

ov

iHf)'

chap.

to fiSTpov iTTia-KOTOviMevov rj^dviarai.

Bt}

ro

TovTw irapaXaiM^avonevov kSHKov i^ dvairMarav (rvyKeirai pvdfMV Kol irpodyet fJi^XP'' """^^^^ okto) to avTO o^XVM'

S'

iirl

Biaarm^ov

vepl TOW "Kepovqaov e^^iv d(r<j)a\w

kui

v/id';

fir)

irapa-

KmKov

fiepo<t

Kpova6evTa<;,

Tm

o/jLOiov

t^? iroKv^mKov

jSacriXev ^to/sa?

irehiov irvpi /Mapfiaipei.

Kto-trei),

10

TO

Kal

rmSe

^vptiriBri

Trap'

tovto

fieTci

irdXiv

TToSl

iffTi

Kal

wdXiv

dTTOCTTepTjOrjvai

TWUT

6Ti

TToXXa ovTa

TovTOK

6^999

Kal

etvai

owtoj?

dveirtTijSevTa,

ovTot

ovk d^ia>

fiev

iroW&v

eaTC,

evpeiv

ofjLOia

dv TeXeiov

iv (lepei.

eym

TpifisTpov

la/jL/3iKov

iyeveTO B

aiiTrj'}

ainoa")(e.Bia

(f>S)fjiev

Kal

15 TTOiKlXa

auT^?

Xeiiro/ji^vov

'^fiicrei,

avTov

tov

KeLiievov

traXiv

tovtL " dirocTTeprjdrivai,

Kal yap Ta

Kal

iravToZairmv

dvdfie(7Ta fierpav re Kal pvdfi&v.

dW'

"va

20 rjpfirjvevcrdai

tov

Tovrm

KprfTiKov pvOfiov,

yap

(Biobo-ei,

eTepov

TrdvTcov

irpoa-ayopevcnv
eiT6

t5)v

dpa iraiavd
tov

oiiSev),

sk

fiovov

ti<;

irdXiv

ti9

irevTe

Xoyoov

6eoi<;

Trdvv

'AOrjvaicov

ov

Kdv

Br)

eidiax;

tov

avTov ^ovXeTai KaXeiv

avyKeCfievov

Aia dXX' a)? olov re fidXiaTa

oXov TOV KwXov irXeKOfievov tovtov
Tol<i

aiirS

tov

6pS>

25 ovTotr^eStto? fid
Bt'

ovtco<;

d^^ofiai

tov VTrep TS.Trfcn^&VTO';,

Bokovvto<;,

diro^aivofMat

TTjv

fiETO,

viroXd^r)

Xoyov,

BaifiovLco'i

KpaTKTTOV

iya>

tovtov

fir)

KaTea-KevdcrBat

j^oveai',

oiiK

iiriTeTifBevfievoaf

ev^ofiai irda-i xal irderai^.

ov toi,ovto<; fievToi KdKeivo<{ eaTiv 6 pvfffio^

4 Siatrwtfov P
Tui P,

7ratSi(oi')

Xeiirofifvov

5 x^P^V'''^
8 ^aa-iXed

10
Us.:

fiepos

om.

keiTrov libri

^^

X^PP^^W^^

MV

ySacrtAei

11 Tpifiirpov

14 toot

'?

MV

cVt

Us.:

fierpov

ravra

MV

'''^^^

ireSiov

F
t'i

U^-

MV

12

PMV:

TauTt s
15 KoX n-oA.Aa om. P
17 ava/iecrra
avaXvea-Oai'?
18 o^TMs avT^ Us.: ouT(o MV: avT(a)) P
23 /SovXerai avrhv PV
26 TOVTOV Us. TOVTOV libri
:

Kal (n ri
:
" wapc/iweffiv iiriaKiyroiiievov

brought out in the Epitome

Dionysius scanned dtr^aXiSs (or

" Koi

as an anapaest

tA

o-KoTrfl

ii.iTpoll

^^dvicre.

Here, again, is a serious metrical

difficulty.
We can hardly believe that
5.

/Se/Sofas)

likely that he
regarded the middle syllable of i.is^a\m
as slurred (compare note on 268 8 supra,
and also the reading \nrovir' irSp^Tira.
:

it is

more

ON LITERARY COMPOSITION

XXV

261

an intermediate excrescence by means of which the metre is

obscured and vanishes from sight.
The clause placed next to

composed of anapaestic
same form

this is

stiU keeping the

TOW

irpo

feet,

and extends

to eight feet,

e^eiv ao-^a\w? v/^a? kol

HepovTjiTov

firj

irapa-

KpovadevTai;,
like to this in Euripides

King

of the country with harvests teeming,

Cisseus, the plain with a fire is gleaming.^

And

the part of the same clause which

diroa-repTjdrjvai,

foot

and a

comes next to it
an iambic trimeter short of a
It would have been complete in this form

iraXiv aurij?

half.

d7roffTep7)0rjpai

Are we
unstudied,

is

irdXiv avrrj^ iv

to say that these effects too are spontaneous

many and

various as they are

for it is easy to see that the clauses

full of

many

But

fiipet.

metres and rhythms of

lest it

and

I cannot think so

which follow are similarly

all kinds.

be thought that he has constructed this speech

alone in this way, I will touch on another where the style

is

admitted to show astonishing genius, that on behalf of Ctesiphon,

which I pronounce to be the finest of all speeches. In this, too,

immediately after the address to the Athenians, I notice that the

cretic foot, or the paeon if you like to call it so (for it will make
no difference), the one which consists of five time-units, is
interwoven, not fortuitously (save the mark !) but with the utmost

deliberation right through the clause

Tots

^049 ev'xpfiai, m-dcn, koX nrdaai'}?

rhythm of the same kind

Is not the following

1

Euripides Archelaus
2

(cai

ij^rjv

in II. xvi. 857).

Nauck

If (against

the manuscripts) we could omit dir^aXffls

and read wepl roS Tipi Xeppdvviiaop Ix""
ifias KoX iiAi irapaKpovffOivTas, the metre
would he comparatively normal.

comparison of this line with

266 9 seems to confirm the conjecture
Xeiirdiievov, though 'Kelvu is sometimes
12.

intransitive.

nide iambic trimeter of the

13.
colloquial kind : cp. 258 26 supra.
26.

The metrical

T.G.F., Eurip.

Demosthenes de Oorona

analysis of the fol-

Fragm. 229.

1.

lowing passage of Demosthenes sliould

be compared and contrasted with its
previous division into feet on 182 17 ff.
27. A rough metrical equivalent in
English might be "Hear me, each god
Op.
<"i high, hear me, each goddess.'
QuintU. ix. 4. 63 (as quoted on 114 20
sM^m). Demosthenes' muoh-admired
exordium in the Crovm may be compared
with the Homeric invocation-

k^kXut^

fiev

Biaivai..

irdvTes re

Seal,

iraffal

re

DIONYSIUS OF HALICAENASSUS

262
YLpijaloif

chap.

iv pvdfJiOK iraiha iii\y^mfiev

efw yap tov reXevTaiov ttoSo? to, ye aXKa

effrm xal tovto, el ^ovXerai rii, aiiroXaa.

yovv BoKei'

ifiol

iravTuiraa-iv

aXKa Koi to avvaTrrofievov rovrq) k&\ov lafi^elov

op66v, avKka^y tov TeXeLov Seov, iva Br/ Kavravda

a-xeSiov

5e<TTiv

da-rjixov
Te0eicr7]<;

to

yevnTUb

eireX

fieTpov,

avKKa^rj^

ye

fiia<}

irpoa-

TeXeiov ecTai

" oarjv evvouav ej^wv eya> StareXw.

KciireiTa
10 pv0iMo<;

iraiav

6
iv

virdp^at

Toa-avTqv

dy&va."

Bvo TToSa? iv

dp')(ai<i,

kuto,

ti

yovv

firj

rj^ec

ifiiv

KaTaKkcofievovi

exet

vfi&v

eoiKev,

'irevTd')(povo<i

Kal iraa-iv
eh tovtovI

iroXei

tj}

irap

/moi

yovv

tovto

"

tovtok

ixetvoi;

Kpr)TiKo<i

rj

e^ij?

TOL<;

tov

aX\a iravTa t&

to,

irapb.

Ba/ej^wXtSj;
ov'X eBpav

15

dWck
^pr] Trap

06vTa<;

vAop&fial,
20

Tiva

epyov ovS dfi^o\d<iy

'XpvcralyiBo's 'iTCOviat

evBaiBaXov vaov e\-

d^pov

tt/jo?

ti Bei^ai.

TavTa

dvOpwirav

KaTaBpofjJqv

t^s

p^v iyKVKXbOV jrai,Bela<; direiptov, to Be dyopatov tj)? pTjTopiKrji

ous
e7rtTr}BevovTcov,
Trpof
X<op\<i
fiipoi oBov T6 Kal Te'^vrj's

dvayKalov diroXoy^a'aa'dai,
ipovai Brj TavTady&va.

a^eiKevai tov

eprjfiov

Bo^oafiev

firj

outm?

ovv

Aijfji.ocT0iv7)<;

d0\.io<;

PM
ura io-Tia
iv n-acrtv
iv airaa-ri PM
lafijiiKov
laft.pi(pv) P
4 akka] [j.dka P
12 Kar{a.)Kk{o))pev{<j)s)
11 vTrdp^ai p,oi P
10 T17 re 7roA.t Demosth.
KaraKeKkaa-pevovi Sylburgius
KaTaKeKkmpevovi
P KaraKktofievoi
d/*j8oA.as
22 dvayKaioivov
15 dfj-Pokas T
13t(J)V: rh PM
d<j>LKevai
d<j)rjKevai P
8o^o;.(ev) P
P : dvajKaiOV [loi
3 iravTajrao-iv Us.
ra upuTTai

|{

with the first syllable

1. pii6|j,ots
short, as (e.g.) in Aristoph. Nub. 638.
As already pointed out, the lengthening
of such syllables would be abnormal in
:

Cp. mediocrifer in the passage of

Cicero on p. 251 supra.
7. Dionysius can surely only mean
that we have here the materials, so to
say, for an iambic line, and that but
one additional syllable is needed (e.g.
the substitution of SmreKiui for SiareXfi).
He can hardly have intended to retain
etfi/oioK in its present position, but must
have had in mind some such order as
His language, howSffrjv ^x"" ^^''oiay.

prose.

MV

V
MV

||

||

]|

has subjected him to grave

suspicion, and Usener reads I7W7C in
place of iy<i, remarking that "Dionysius
numerorum in verbo eivoiap
vitium non sensit." This particular
insensibility of
Dionysius does not
ever,

seem borne out by 182 22 supra (see

note ad loc), where the last, but not
the first, syllable of tUvoiav
sented as doubtful,
12. Here,
too,
there are
difficulties.

The

close

dpxaK

from

clear.

is

repre-

metrical

correspondence
of which Dionysius speaks is not obvious;
and, in particular, the reference of if
is far

According to

ON LITERAEY COMPOSITION

XXV

263

we ^

Cretan strains practising, Zeus's son sing

my

In

judgment, at

this

you

too, if

events, it

all

the final foot there

is

for with the exception of

But suppose

complete correspondence.

have

will

is

to be

so,

it

accidental.

Well, the

adjacent clause

is

of completion,

with the object (here again) of obscuring the

addition of a single syllable the line will be

a correct iambic

one syllable short

line, falling

With the

metre.

complete

eym

oaTfv evvoiav e'^av

Further, that paeon or cretic

the words which follow

virdp^ai
that

it

rhythm

of five beats will appear in

koX

iroXet

rrj

SiareXo).

vfuv Tocravrrjv

iraa-iv

tovtovI rov dyava.

This, except
has two broken feet at the beginnings, resembles in all
fioi,

v/i&v

trap

el<i

respects the passage in Bacchylides

This

is

no time

to sit still nor wait

Unto yon carven shrine let us go.

Even gold-aegis'd Queen Pallas' shrine.

And

the rich vesture there show.^

I have a presentiment that an onslaught will be

statements by people

who

made on

practise the mechanical parts of rhetoric unmethodically

scientifically.

Against these I

am bound to

defend

I should seem to let the case go by default.

will doubtless be

"

Was

Usener,

"Dionysius pedes tj

{Too-aiynjii

et

inrdp^ai dicit."

Perhaps

The

prose translation of this

hyporcheme, as given in Jebb's edition
(p.

416), is

" This

is

no time for sitwe must go to

still or tarrying :
richly- wrought temple of Itonia
[viz. Athena Itonia] with golden aegis,
and show forth some choice strain of
Jebb's notes
song": Sei^ai <|uAos>.
(pp. 415, 416 ibid.) may be consulted.

ting

tlie

lest

Their argument

Bacchylides Fragm. 11 (Jebb).

iriXei Kal

the ipxat rather are (1) rj [re] ir6\ei

10, from
(if the TE be added, in 1.
Demosthenes), and (2) [icoi] roo-ic ifi-.
14. See Long, de Sublim. xxxiii. 3
for an estimate of Bacchylides' poetry
which has been confirmed by the general
character of the newly discovered poems
(first published by Kenyon in 1897).
15.

and un-

my position,

Demosthenes, then, so poor a creature

Bergk P.L.G., Fragm. Adesp. 118.

these

are destitute of general culture a.nd

19.

'vehement attack,'
Used in this sense by

KaraSpopL'iiv,

'invective.'

Aeschines and Polybius, as well as by

Dionysius (e.g. de Thucyd. c. 3 Ian Sr;
ri /3oi)Ai);U(i nov ttjs irpay/iaTelas oii Karat^s QovKvdldov wpoaipiaeihs re Kal
Cp. the verb KaraTpix^iv,
and D.H. p. 194 ; and our own use of
Spo/j,ii

dm>&/j,em).

'run down.'
cp. de Antiqq. Bom. iv. 4
:
Si iprip,om a<pS>tnv {rhs KpLceis), and

22. ^pT||i.ov
ii.v
iv.

11 ibid.

t6,s

With

re

Si/cos ip^f^ovs

iKKmivras.

and the following pages

should be compared the later version
23.

this

found in the de Demosth. cc. 51, 52.

There &e\ios (which in itself is a good
prose word, used frequently by Demosthenes himself as well as by Dionysius
94 11 supra) is represented by KaKodaliiav.

DIONYSIUS OF HALICAENASSUS

264

&ad\ ore

^v,

ol irXda-rai

ra

TVTToi?

ra

T&v

Toiii

/cal

fi-^Kt}

Kdrco ra

Kal

avco

ovo/idToov Kal ra? iyK\iaei<i

pv0fiov<! (aatrep

ovo/iara,

koX

Kav ra? Trrcoa-eK

j(^povov<;,

Ttov

tovtoi^ Toh

eTreipdro

ivap/iOTTetv

K&Xa, a-rpe^tav

TapatpvXdTTcav

/lirpa Kal

X6yov<{,

ypd<f>oi TOV<i

iraparidefievo?,

chap.

Kai iravra ra

p'^fiarcov

tov \6yov TroXvirpayfiov&v ; ^Xi6io^

pAvTOLV bIt} eh ToaavTqv aKevcoptav Kal ipXvapiav o tt/Xikovtoi!
ravra Si} koI ra TOUTOt? irapaTrXriaia
dvrjp eavTov SiSov<;.
KmiKpSovvraif avroi><s Kal Kara^Xevd^ovra<; ov ^aXeTTW? av
a-v/ijSejStjKora rot? fioptot^

diroKpovaairo ravra elircov

10 Tt?

<o>

el

fjv,

roaavrri'i Soft;?

rrporepov ovofiacrdivrcov

Kal

ala>via

15 Xa/jLJ3dveiv

firjSev .eiKy

iroXX^v

ovofia,

fi/qr

ovBev aroTrov
ovSel<s

offij?

rm rrdvra

virevOvvov

e^ovXrjOT)

on

fiev

dvrjp

r&v

Xoycov, epya crvvrarrofievo^

iirl Seivorijri

eavrov

SiBov<;

Kal '^povo)

(f)dovq)

irpmrov

rf^ta/ievoii

^a<Tavi,^ovrt

Trpayfia irapa-

firjre

d/i^oiv

e'^eiv

rovrcov

irpovoiav r^? re iv Tot? votJ/juktiv olKovofiia^ Kal rrji evfiop(pia^

Ti}?

ra

Trepl

Xoyovi;,
20 o

Xeyat

rov

rrdvra

yeyovco<;
25 irepi
Bt)

ropevrol^

Kal

irav'qyvptKov

Xoyov,

rrji;

yap

iraa-i

err)-

rdvBpo^

(j)iXo'!rovla<;

Kal ra irepl

rr/v

Bi^ttov

BeXrov,

fjv

rov

ol

eb?

BeKa

iXdy(iarov

avverd^aro, 6

Kal fioarpv^l^wv

KrevL^mv
ov

dvairXeKutv

eK^epovraiv

r&v cro^Krrwv'

TlXdrcovo'i

eavrov BtaX6yov<;

rpoirov

rore dvOpayirwv ov

ioiKora<s

ypd^ovre<; drro^aivovcriv, iv erecri

Bk TiXdrcov rovi

Kai

'Icyotcpdrov;

Kal r&v

re

Kal

yXv7rroi<!

Be

yap

fiev

')(povov

aWw?

ovojxara,

dXKa

yparrroh

oyBorjKovra

BieXetrrev

ra

(jitXoXoyoiv yvdopifia

rots

laropovfieva

aXKa Kal

rd re

reXevr'^<ravro';

avrov Xeyova-iv

MV

MV

1 wcrS'] &trT 'iiTTiv

ypd<jyr)
ore compendio P
orav
4 TO /iijKj;
dvo/iarcuv om. P
10 a pkv P
8 Bihovcra- P
11 6 inseruit Sadaeus (coll. commentario de adm. vi die. in Dem. c. 51)
13 StSo{)o-(iv) P
kavTov EM: auTov PV
14 <l>66vbi Kal xpovo)
.

PMV
MV:
23

||

{|

II

xpov(f

fiev

ye

SteAeiTrev

yv(i>pL(Tp,aTa

E
EP

ri^ovX-fidr,

PM

II

21
:

om.

PMV

drro<j)aivov(Tiv, iv

SieXnrev

EV

dKrji

||

MV

20

EP
yvwpifia PV

24

om.

1|

fikv

yap

a-vveTa^avro
yvutpia-jm

The Philistine critics of Dionysius' day,

and indeed of that of Demosthenes, regarded the capacity for taking pains as
anything but a necessary adjunct of
genius cp. Plut. Vit. Demosth. c. 8 4k
:

Toirov Sb^av (ax^" 'is oiifc ei)0uf;s fie, d\X'

iK irbvov (rvyKeitiii/ji SavbrriTi. Kal Swivel
Xpd/i^i'os.
iSbKei 8i TO&rov arifieiov elvai
liiya ri /ii) ^fSlus &KoS<ral Tiva Ai)iilo-

KaipoS XiyovTos, dXXi (co^t}TroWd/cis tov Si)/iow

KaXovvros dvo/maTl /ij; irapeKBeiv, iiti
Tiixoi ire^povnKds Kai TtapeffKevaa/iivof.
ets toOto S' &\\oi re iroWol tSiv dri/iayiaywv i-x}^eia^ov ain-iv Kal TlvBiat iiri(rBivovs

iirl

iv

iKK\i)(rlq.

ckiSitttuv

iWvxviiav

/iecox

The

l<pri<rei/ i^'eiv

airoS

ri,

really artistic Athens

had, as Dionysius so forcibly indicates
ivSviiijiiaTa.

ON LITERARY COMPOSITION

XXV
that,

whenever he was writing

his speeches,

265

he would work in

metres and rhythms after the fashion of clay-modellers, and

would try to fit his clauses into these moulds, shifting the words
to and fro, keeping an anxious eye on his longs and shorts, and
fretting himself about cases of nouns,

accidents of the parts of speech

fool

moods

of verbs,

So great a

and

all

man would

the

be a

indeed were he to stoop to

all this niggling and peddling."

and jeer in these or similar terms, they may
be countered by the following reply
First, it is not

If they scoff
easily

surprising after all that a

man who

is

held to deserve a greater

reputation than any of his predecessors

who were

distinguished

was anxious, when composing eternal works and

submitting himself to the scrutiny of all-testing envy and time,
not to admit either subject or word at random, and to attend
carefully to both arrangement of ideas and beauty of words
particularly as the authors of that day were producing discourses which suggested not writing but carving and chasing
those, I mean, of the sophists Isocrates and Plato.
For the
for eloquence

former spent ten years over the composition of his Panegyric,

according to the lowest recorded estimate of the time; while
Plato did not cease,
dialogues
is

when

eighty years old, to

and reshape them

in every way.

comb and

curl his

Surely every scholar

acquainted with the stories of Plato's passion for taking pains,

especially that of the tablet

which they say was found

in this passage, always considered as a

crime not preparation, but the want of
preparation.
4. Ta |J.'<JKT|
we cannot (for example)
imagine Thucydides as anxiously counting the long syllables that find a place in
:

dictum

his striking
Tois

iroXXofs

i)

oifrus

^^rriffis

ttjs

draXalTroipos
aXrjBetas (i.

But they are there, all the same,

and add greatly to the dignity of the
20).

utterance.

a slight word-play on
23 supra may be intended.
^^^ word-play
14. <f)6dv(i> Kal XP"'"'?
might be represented in English by
some such rendering as "submitting
himself to the revision of those scrutineers of all immortality, the tooth of
envy and the tooth of time," or (simply)
" envious tongues and envious time." To
Buch jingles Dionysius shows himself
partial in the C. V. (cp. note on 64 11
It may be that, in his essay on
supra).
6.

'f|XC6ios

tfSXtos in 26,2

'

after his

Demosthenes, he omits the words <pdbvip

Kal deliberately and on grounds of taste ;
but the later version differs so greatly
from the earlier that not much significance can be attached to slight variations
of this kind.
18. vpoirTots, 'mere mechanical writing,' 'scratching,' ' scribbling.'
21. For this period of ten years cp.
Long, de Sublim. iv. 2, and also Quintil.
x. 4. 4.
Quintilian writes: "temporis

quoque esse debet modus, nam quod

Oinnae Smyrnam novem annis accepimus
scriptam, et Panegyricum Isooratis, qui
paroissime, decern annis dicunt elaboraturn, ad oratorem nihil pertinet, cuius
nullum erit, si tarn tardum fuerit, auxilium." In using the words "qui parcissime " Quintilian may have had the
present passage of the G. V. in mind.
' tablet '
originally so
26. S^tov,
called because of its delta-like, or triangular, shape.
:

DIONYSIUS OP HALIOAKNASSUS

266
evpedrjvai

Tov

ev<pcovla^

ri

ovv

re

koL

yap fiSXKov

Xoyov;

ifiol

Boki

oKiyapeiv,

droirov,

?iv

i/JL/jLeKeiw;

iirjre

rj

Koi

el

Atjfioa-devet

tov

koi

iryevero

ovofia (irjTe voTjfia

firiSev

iroXv

Karaa-Kevd^ovTi

dvSpl

irpoarjKeiv

TrdkiriKoix; /ivrjfiela rrj^

e\aj(i(ncov

rS>v

el<s

;\;^^?

eiKy Kol a^aaavi<Trm<; ndevai

T

apyrjv t^? IIoXtTeia?

Heipaid /lera T\avKa>vo<{

rrjv

/jberaiceiiievTjv

" Kare^rjv

'Apia-rcovoi"

^povrli;
5

itolkLXo)';

rrjvBe

ej(^ov<rav

CHAP.

eavrov Svvdfieoo^ almvta p/rjBevo'i

^aypdt^cov re
koX ropevr&v

yeip&v evaroj^Lat; koI irovov; uTroBeiKKal ra irr'iXa Koi tov 'xyovv Kal
tA? TOiavTa<; fiiKpoXoylw; KaTaTpi^eiv t^9 te'^vi]^ tijv OLKph^eiav.
TovTOi<; re hrj roi? \oyoL<; '^pmfievo^ SoKel fiou rt? av ovBev
iraicrlv iv

e^co

vXr) <j)0apTrj

ra

irepX

10 vvfiivoi<;

TOV etKOTOS

ipXe^ia

d^iovv

Kal

en

exelva

on

elirav,

ovTa Kal vecoaTl tov fia6'r}fiaT0<i dirTO/ievov

dXoyov TrdvTa irepia-Koirelv, oaa BvvaTa rfV eh

15

'

Api(TTiiivo%]

KiipdXov

4 evpeXiiai

vorifM Schaeferus (dittograpliiam suspicatus et coll.

V)

11

MV

om. P
10 <j>\el3ia PMV
Tis av PM
TLS V

Ivvorffia

libri

/leipaKiov

avTov

fiev

"M}

264 16, 66

ovk

itnTriBeva-iv

eiK^i

5):

fji,rJT

||

{[i-qre

vTroSeiKVvpevois
9 an-oSeiKvo/ievois Us.
^Ae^t'a E
toijtois
12 tovtoii t PM
:

2. Demetrius
(de Mloc. 21) calls
attention to the studied ease and intentional laxity of the opening period
of the
Bepublic :
"The period of
dialogue is one which remains lax, and
is also simpler than the historical.
It
scarcely betrays the fact that it is a
period.
For instance : ' I went down
to the Piraeus,' as far as the words
'
since they were now celebrating it for
the iirst time.'
Here the clauses are
flung one upon the other as in the disjointed style, and when we reach the
end we hardly realize that the words
form a period" (see also 205 ibid.).
In the passage of Dionysius it may well
be meant that the words whose order
was changed by Plato were not merely
KaT^prjv .
'Apifl'Twi'os, but the sentence,
or sentences, which these introduce.
(Usener suggests that P's reading Ke^d\ov points to a longer quotation than
that actually found in existing manu-

hardly need to be written down. He says

" nee aliud potest
{Inst. Or. viii. 6. 64)

and Persius' Arma virum, and

;
Cicero's
Tite, i.e. the De Senectute, may
be recalled. ) Quintilian, however, seems
to think that the first four words only, or
chiefly, are meant
though the possible
permutations of these are few and would

quantam

scripts

facere numerosum
portuna ordinis permutatio ;

sermonem

ceris Platonis

quam

op-

neque

alio

inventa sunt quattuor Ula

verba, quibus in illo pulcheirimo operum

in Piraeeum se descendisse significat,

plurimis modis scripta,

quoque

maxime

experiretur."

37 makes a more general

Diog. Laert.

iii.

statement

Eiipoptav

quam quod eum

facere
Si

(coi

IIovafTios

iroWaKLs iffTpafi^vtjv eiiprjffOat

T-qv ipxh" T^s IIoXiTeias.
But be the
words few or many, the main point is
that trouble of this kind was reckoned
an artistic (and even a patriotic) duty.
Upton has stated the case well, in reference to Cicero's anxiety to express the
words ' to the Piraeus ' in good Latin :
"Quod si Platonis haec industria quibusdam curiosa nimis et sollicita videtur,
ut quae neo aetati tanti viri, nee ofBcio
congruat : quid Cicero itidem fecerit,
eifyfiKOffL

latinitatis curam gravissimis

reipublicae negotiis
distriotus
habuerit, in memoriam revooent.
is
annum iam agens sexagesiraum, inter
medics civilium bellorum tumultus, qui
a Caesare Pompeioque excitarentur, cum

etiam

ON LITERARY COMPOSITION
death, with

yesterday

the

to

Ariston"-')

beginning

of

the

("I went down

Glaucon the son of

Republic

the Piraeus together with

arranged

in

267

varying

elaborately

What

orders.

Demosthenes also was careful to secure euphony

and melody and to employ no random or untested word or
thought?
For it appears to me far more reasonable for a man
who is composing public speeches, eternal memorials of his

wonder, then,

own

if

powers, to attend even to the slightest details, than

it

is

and workers in relief, who display

the dexterity and industry of their hands in a perishable medium,
to expend the finished resources of their art on veins and down
and bloom and similar minutiae.
These arguments seem to me to make no unreasonable claim
and we may further add that though when Demosthenes was
a lad, and had but recently taken up the study of rhetoric, he
naturally had to ask himself consciously what the effects attain-

for the disciples of painters

Plato Republic

i.

1.

quo mittenda esaet uxor, quo

ad looum se reciperet,
missis ad Atticum litteris \_ad Att. vii.
3], ab eo doeeri, an esset soribendum,
ad Piraeea, in Piraeea, an in Piraeum,
an Piraeum sine praepositione, impensius
quae res etsi levior, et gramrogabat.
patrem eloquentiae
maticis
propria,

iiirepdpas

temporibus etiam periculosissiuiis adeo

exerouit, ut haec verba, quae amicum
Si hoc mihi
exstimularent, addiderit

ipipovTat,

nesoiret,
liberi

quern

i-rfrqiw,

magna wie molestia

Nor was Julias Caesar less

persolveris,

liberaris."

scrupulous in such matters than Cicero

himself: their styles, different as they
are, agree in exhibiting the fastidiousCompare the
ness of literary artists.
modern instances mentioned in Long,
p. 33, to which may be added that of
Luther as described by Spalding " non
dubito narrare in Bibliotheca nostrae
nrbia regia servari chirogi'aphum Martini
Lutheri, herois nostri, in quo exstat
initium versionis Psalmorum mirifice et
:

ipsum immutatum

et

subterlitum,

ad

conciliandos orationi, quamquam solutae,

See also Byron's Letters (ed.
Prothero), Nos. 247-255 and passim, and
Antoine Albalat's Le Travail du style
enseign4 par les corrections manuscrites
des grands iarivains, passim.
an interesting
eXax'oTwv
8. Twv
addition is made in the de Demosth.
C. 51 iroXiTiKis S' &pa drifuovpyds, iravras

numeros."

toi)s

el dij
9.

avrbv

Ka6'

irhvi^, Tiov iXaxio'TOjv

4>iffi.

re

Kai

rivbs els t6 e 'K^eLV,

Kai ravra iXAxt-f^ra, ^Xiyibprjo'e.

may perhaps be sug-

ivSei.Kvvixivoi,s

gested in place of airoSiKvv|x^vois : cp. de

Demosth. c. 51 oi yap Si] toi wKd.&Tai,
piiv KoX ypatpeis iv {IXt; ^dapTTJ x^tpw^
hbeiKvifievoi

edffTOxias

irSvovs,

Touoirovs

Ibare kt\.

If,

elff'

on the

be retained,
translate 'pupils who
have exercises in manual dexterity, and
studies of veins, etc., given them to
other hand,

iiroSeiKvvixivois

we may perhaps
copy

(cp.

iirbSeiyjia).'

With

xeipSi'

x^P^^ edtTToxict-y ('wellaimed shafts') in Eurip. Troad. 811.

10. tJ>v \vovv : cp. Hor. Ars P. 32
"Aemilium circa ludum faber imus et
ungues exprimet et moUes imitabitur
acre oapillos,
iufelix operis summa,
quia ponere totum
nesciet."
x"'""' is
the 'lanugo plumea.' Cp. de I)emosth.
cp,

eiffToxlo-s

c.

38 x^^^

dpxatOTTtv'^s.

Karar'^Keiv els
11. KaraTpCpuv kt\.
rai/Ta ras rixvas, de Demosth. u. 51.
15. After ftXo7ov, fiv may be inserted

with Sauppe, who compares de Demosth.

c. 52 6ti lieip&KLov /liv in ivra Kai veuarl
ToO liaB'^p.aTos d-Trbnevov airrbv oiK dXoyav
^v Kai Tavra Kai rSXXa irdvTa Sib. iroXX^s
iiri/ieXeias

re Kai (ppovrlSos ^eiv.

may have

But

been omitted in the

C V. in order to avoid its repetition
with Sffa Sward, ^v.
the verb

DIONYSIUS OF HALICARNASSUS

268

Tui^ovaa

iroWTjv

eVetS^

Treaelv

avdptoirivrjv

tvitovs

koX

fieXerafiivov

aXXat?

S rats

aiirh

^Si;

ry

ev

Siavola

ri

olov

rt?

aiiTiKa 01 Kidapi^eiv re koI f^aXKeiv xal avXeiv

orav

10

Be irore koi ore

T6\o9elBore^

TroWa

iroWrj

ttoWoS

avTal<;

aa-KT}<ri<;

Trpwyfia-

Kat

ra?

evdm
^a-av,

^vcreco<;

ei<}

a/ia

jrovto

ai

o^k

la-j(yv

epyav iyevovro einrv')(el<i. koX

n Bei irepi t&v aXXtov Xeyeiv ; o yap airavTei; lar/iev, awo'^pr}
rl S' e<TTi tovto ;
ical iraaav avrwv BiaKO'^Jrai ttjv ^Xvaplav.
TO,
ypd/Mfiara orav jraiBevco/ieda, irpmrov fiev ra ovofiara
aiirwv

eW

to 6^09, Tore

cvWa^a^

Kal

orav

rovrot<s'

Be

iv

Kal

re

ravrai,<s

a-v/i^e^rjKora

Bvvdfiei<;,

Koi fiera

avral<i,

eKrdaei<i

Kal ra irapaifKriffia

irpoatpBla'i

rovrcov

rr/v

ypdipeiv

dpy^ofieda

Kal

triio-ToXas

ra?

irdBrj,

tuttov? Kal

rovi

rd

Kal

Kal rd

\e^ei<;

rd<}

fjBri

Xeytii

tS)v

eireira

eK/Mavddvofiev,

ovTco rd<i

TOVTO
20 re

25

to

r&v opyavtav

eirl

re

'^povtp

re

Kav

aicptof;

BvvdfieK Twv <f)d6yyosv dvaXa/jb/Sdvova-iv, Kol ovk

'Xetpe^ avT&v iv e^ei rov Bpav ra irapayyeWofieva
KarecTTrja-e

15

he ye

(lavOdvovre^

vorjffei,'

evdv^

avrrjv

aTraptdfiova-iv

ov

aavvrjOov:,

aKoixrcoaiv

Kpovaeto^

Tev0evTe<i

rov

ryCverai,

iroirjo-i^

t]

la-'^vp

jravroi

rov paarov

ex

"Troieiv.

ivipyeid

d>p

Tey(vai<},

aa'Krjai'i

j(povi,o<;

eveirouqaev,

a-<f)payiSa<;

avb T^? efew?

Koi

Be

ri,vh<s

chap.

rore

Xd^oofiev,

emarrjiMrfv

Kara

dvayivdta-Keiv,

avWa^r/v

<fiev> Kol yS/aaSeo)? to trp&rov' eireiBdv Be o y(povo<; d^ioX0709 irpoaeKdaiv rvirovs ia-'^vpov<; avr&v ev Tat? ^vyait
fijimv ep/iroiria-ri, rore diro rov paarov BpS>fiev avra Kal rrav
6 Tt av e7riB(S ri<; ^i^Xiov dirraLarcoi; Biepy(Ofi60a e^ei re
roiovro

Kal rd'^ei diriarai,

Kal

ovofidrccv
yivea-ffai
1

8e

EM

c.

52

PM^V
.

3.

irapd

EP
E

ireireiv

voLCiv

lySet

re

Brj

MV

23

II

27

Ik tov p^o-tou

PV

tois
cp.

ii7r6

fireira

EM

ToiouTo

akXa PMVl

/xev inseruit

tTrel

25 infra.
6. Dionysius is thinking of Aristot.
Mh. Nic. i. 1 Smipop^ Si tis ipalverai tSv
reK&v rh /iJy yip elnv ivipyaai, ri 8h
&v S' eW riXri
Trap' airi,! fpya Ttvd.
Tivii irapd, t4s irpi^eis, iv roiroii /SeXriu
8.

ajrcipots

L:

tQv ivepyeiwv rd. Ipya.

If dXX4 voi)(7ei be retained, the

iriipVKe

Sadaeus

avvQecriv

rov<i

coll.

r&v

viroXriTrreov

rovrov

Be

cr<f>payiSa'i

V^

21
comment, de Demosth.

dA.A.a koI

25

toioijto)

toC ^jtrrou

rrjv

KmXwv

epyov.

3 (ri^aytSas

8 a/ia Us.:

PV

irepl

r&v

rov

ddXr^ral^

ikOetv

koI

eveireiav

rijv

Tot?

lireiSav

direipovs

irepl

wohjo-ij

TotoiJTOV

EM^

ttoi^o-ci

29 tovs

PMV

meaning will be not with much trouble,

but by means of their acquired skill.'
But d|i.a vo^o-ci derives support from
'

the
a.

the

parallel passages in de Demosth.

52 &ixa vo^irei [TOi}(ret Sylburg, for
manuscript reading co7)ireis] and

Smttc d/w, voiiaei KeKpi/iAvor re Kal iirraiarov auT^s elcai tA (pyov.

16. Referring to this description in the

ON LITERARY COMPOSITION

XXV

by human

269

when long training had issued

graven on his mind forms and
impressions of all that he had practised, he henceforth produced his
effects with the utmost ease from sheer force of habit.
Something
able

in perfect

skill

were, yet

mastery, and had

similar occurs in the other arts

whose end is activity or production

For example, when accomplished players on the lyre, the harp
or the flute hear an unfamiliar tune, they no sooner grasp it
than with little trouble they run over it on the instrument
themselves.
They have mastered the values of the notes after
much toiling and moiling, and so can reproduce them. Their
hands were not at the outset in condition to do what was
bidden them; they attained command of this accomplishment
only after

much

time,

when ample

had converted custom

training

into second nature.

Why pursue the subject ? A

enough to silence these quibblers.
we

we

fact familiar to all of us is

What may

this be

When

names of the letters,

then their forms and their values, then in due course syllables.
and their modifications, and finally words and their properties,
viz. lengthenings and shortenings, accents, and the like.
After
acquiring the knowledge of these things, we begin to write
and read, syllable by syllable and slowly at first. And when
are taught to read, first

learn off the

the lapse of a considerable time has implanted the forms of

words firmly in our minds, then we deal with them without the
least difficulty,

and whenever any book

we go through

it

without

placed in our hands

is

stumbling,

and

with

incredible

We must suppose that something of

and speed.
the
case of the trained exponent of the
this kind happens in
literary profession as regards the arrangement of words and the
euphony of clauses. And it is not unnatural that those who
facility

Cambridge Companion

Greek Studies
A. S. Wilkins
Some have supposed that
remarks
Dionysius here describes the method of
acquiring the power of reading, not by
learning the names of the letters first,
but by learning their powers, so combining them at once into syllables. But
this is hardly consistent with his Ianp.

the late

507,

'

to

Dr.

'

guage, and is directly contradicted by

a passage in Athenaena, which tells
how there was a kind of chant used in
|3^Ta &\<t)a ^a, pijra et fie,
schools :

etc.

A terracotta

plate found in Attica,

doubtless intended for use in schools,

containg a

yap Sap

number

ep pep

of syllables ap pap-

yep dip kt\."

Usener reads &TTal~

better with
diepxi/ieffa than the adjective would with
?f re Kal rdxei. Cp. de Demosth. c. 61
26. airraCo-rais

(ttij).

But the adverb goes

(the later version of the present passage)

dTTToiVrus re Kal Karb, iroXX7)i eiirireLav,
and Plato Theaet. 144 b 6 5^ oiiTw 'Kelat
re Kal iTrrala-Tus Kal Avva-lfuas Ipxerai
iirl t4s paBiiaeis re Kal
fijTiJtreis
/iercL
ttoWtjs Trpq.bTifros, oTov iXalov pevp,a d,\j/oijnfrl piovros (these last words are echoed

in the de Demosth. c. 20).

29. dSXriTais: cp. de Demosth.

c.

18

DIONYSIUS OF HALICARNASSUS

270
aire'ipovi

chap.

arpi^eK epyov otovovv davfid^eiv koX

t)

dirta-reiv,

erepov yiverai Btd Texvv^y ow aXoyov.

elmd6ra<; ')(\evd^ei,v rd irapayyiKfiara r&v

Tt K6KpaTri/ieva>i v^'

ei

n-pof fiev ovv rov<;

Tevy&v TavTa

eiprjcrdo).

XXVI
t^?

Be

irepl

evw,

Xiyeiv

Tiva

e/A/*e\ou9

avTov rpoirov

a>?

ovirep

Kal

re

Ofioiorrjra

-TroXXriv

iypvar]<;

irpayrr)

d/jierpov

/laTwv avT&v dpfioyrj, Bevrepa Be

10 Be

r&v

rj

rco /juepei

firj

dvicrd

fierpov,

eh

oBov^

KOjifiara

dXXi]Xat';

rrepl

ovv rd

re

arvvdyeiv

pvdjJLOV'i

rov<;

aW'

eh

dr/otjSets

EPV

Be

roll

a-yv/jMro'!'

KeKpOTTjixevoii

6iJ,oiocrj(i]fiova<;

fiiav

dvd/yKr)

fji,eXo7roioi<;

efx^aXelv

Reiakius

ttoXXo??

aTpi/Sio-iv

KTous Tcl! Xa/3ds, and de Isoer. c. 11 fin.;

also Seivoiis dyupurrdt 282 3 infra.

vigorously '
cp.
Sext. Empir. p. 564 (Bekker) oi KeKparqfUvas iviypa\jia,v oi Soyit.aTiKol t^v iirlThe other
I'oiai' ToC re iyadoO Kal KaKov.
reading KeKporri/iivus would mean ' with
tumult of applause'; or perhaps 'in a
-

well-wrought way.
For the relation of Verse to Prose

Vf elded,
5.

yovv

del

fieveiv

see Introduction, pp. 3S-9.

8. Other references to poetical prose
occur in 208 5, 250 10, 16 supra.
13. |J.<| orvvoirapTCSovTa Tots otCxois,

rots fjxv

ol

fiirpa

/j-erpoii;

r/

eVi rov airov

TToXXa

10

irapa-

ofioeiBi)

BiaXa/i^dveiv

libri

5 ctdvSijkijs
17 dXX-qXaii EM: aA.A.^A.ots

'

aXka rd

e^etrri

KcKpaTr||i^V(i)S,

to.?

Be

irepi-

yap ^aLverai Xoy oc<;

rreploBov mcrS"

Kalrot ye Tois dSXrirah Trjs i\ri$ivr}s 'Ki^cujs

A0is irpoffeivai Set Kal 6^6'
iffX^P^^

2.

eyyiara

re

ra<!

Kal rd fierpa ireirXavij/Mevov.

rdf

pv6fiov<s

KtoXav,

Biarefivovra

7roWat9

dvo/juoia,

0paj(yrepa

fjbrjre

e^ea-n

iroiri<Tei,<;,

dXXa

ari'^ot'}

Kal rows Idp.^ov'i Kal rd

eiTT}

pvdiiot';

rol<;

epyd^ecrOai-

Karaa-Kevd^ovcnv ovk

crvvdecri^, rpiTT)

^ovKofievov ev rovra

Brj

avrd Kal

rrocelv

la-o/jLeyeSeii;

jjirire

Kei/Mevaf

20

ffvvairaprl^ovra

aviJbnerpa)<i,

ro

rov

Karop$ovv rd rrj^ Xe^eax; fiopia Bet rroXveiBa)<; arpeawapfiorreiv koX rd K&Xa ev Biaarrjfiaat iroielv

rb
Kal

r&v kwKwv

r]

crvfifierpia.

KavTavOa tov
t]
t&v ovo-

atria

7roir)TiKi]<;

re Kol

d>evv

15

TrepioBcov

t^?

roiavrd

Xe^iv

ire^rjv

ecrnv

fiev

rfj^

iirl

trvvOeaea^

ififiirpov

t^v

jr/ao?

fierpa

fiev

rd

KeKjoaTij/ivo)s

a-V[i[iiTpl,a

Kai
fiovo-

PM

e/i/JXTpia

PV

'not allowing the sense of the clauses

to be self-coutalned in separate lines,'
lit.
'not completing the clauses together with the lines.' Dionysins means
that verse-writers must (for the sake of
variety) practise enjambement, i.e. the
completion of the sense in another line. It
is the neglect of this principle that makes
the language of French classical tragedy
[with exceptions, of course; e.g. Racine
Athalie i. 1 " Celui qui met un frein, " etc. ]
so monotonous when compared with that
of the Greek or Shakespearian tragedy.

Besides the examples adduced by Dionycompare that quoted from Callimaohua in the note on 272 i infra
sius,

ON LITER AEY COMPOSITION

XXVI

are ignorant of this or unversed in

271

any profession whatsoever

should be surprised and incredulous

when they hear that anyexecuted with such mastery by another as a result of
artistic training.
This may suffice as a rejoinder to those who
are accustomed to scoff at the rules of the rhetorical manuals.

thing

is

CHAPTEE XXVI
HOW
Concerning

TERSE CAN EESEMBLB PEOSB

melodious

a close affinity to prose,

The prime
is

metrical

my

composition which bears

views are of the following kind.

factor here too, just as in the case of poetical prose,

the collocation of the words themselves

next, the composition

arrangement of the periods.

He who
wishes to succeed in this department must change the \w)rds
about and connect them with each other in manifold ways, and

of the clauses

third, the

make the

clauses begin and end at various places within the

not allowing their sense to be self-contained in separate
verses, but breaking up the measure.
He must make the clauses

lines,

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

many metres and rhythms in a

So that when the writers of monometers break up

lyric poet# can include

single period.

and, in English, Tennyson's Dora and

Wordsworth's Michael. Such English
poems without rhyme might be written
out as continuous prose, and their true
character would pass unsuspected by
many readers, pauses at the ends of
lines being often studiously avoided
e.g. the opening of Tennyson's Dora:
"With farmer Allan at the farm abode
William and Dora. William was his
He often look'd
son, and she his niece.
at them, and often thought, 'I'll make

them man and

wife.'

Now

Dora

felt

her ^uncle's will in all, and yearn'd

but the youth, betowards William
cause he had been always with her in
;

the house, thought not of Dora."

larly

Homer's

Td^ioi

Xrilaropes

Simi-

dWd /*' dv^piraiav

dydpes &ypb6ev ipxoSi p.e SeSp' d7a76>'Tes
"

wepiffav
ipSpis irphs Sw/iaB'o 3' &^iov
iHvov IBoiKe" {Odyas. xt. 427-9) might
almost be an extract from a speech of
Lysias.
Some remarkable examples of
enjambement (or 'overflow') might also
be quoted from Swinburne's recent poem,
The Duke of Gandia.
17. Cp. Cic. de Orat. i. 16. 70 "est
enim finitimus oratori poeta, numeris
astrictior paulo, verborum autem lieentia
fiiyriv,

toC5'

liberior,

socius,

multis vero ornandi generibus

acpaenepar."

DIONYSIUS OF HALICAKNASSUS

272

BiaXvccocn Toiii ari'Xpv'i

orav

avvTidevre';

fieToa

aWore aXKa^,

SiaXafi^dvovTe<s

chap.

rot?

Kwkob<i

Kot a<pavb^ov(rt

Biaj^iovai,

rrjv

uKpi^eiav Tov fiBTpov, Koi orav ra? TreptoSov? fieyedei re Kal

cry^fian TTOtKtXa? voicocriv, eh XrjOrjv ifi^aXXovcrtv r)fia<; tov
6

fierpov ol Be jxeXoTTOiol iroXvfierpovg ra? a-Tpo<^a<; epya^Ofievoc

Kal Tcov KoiXasv eKadTore iraKiv dvLcreov re ovrcov koI dvofioiosv

ravra

Be

dfidxo

Bi

re xal

avo/iolov^

aXKrfK,oi<i

Xa^eiv pvdfiov iroWrjv

to4s

ev

10 (7Kevd^ov<Tip

dvLcyov;

ovk
rrjV

Xajip

aWcov

15

Be

VTroXufi^aveTco

XoyoeiBeia

KoKovfievrj

rdTTo}

TrotrjfjLaTav

/le

BoKel

dyvoeiv oti KaKia

Trovfip,aTo<i

eXvai,

ti<}

Xoyov^; tov

roii^

TOiV

KaTe(TKeva(T fievov eVrt

Tt

Ti6ep,ai,

Kal

Tw

Xovdov

Tjv

TOV

fj,ev

ovTbiv

KaXm

SiaA.t'jrwo'i

(sed

cf.

278

||

ns]

Tijer

PM

/xeyedrj

aAAwv
||

re ovrtav

|{

Us.

tQv

Karayivoycr KiT(o
k'

MV

the follow4. els X'^9t]v 4|JiBiiXXoDoriv

ing Epigram of Callimaohus will illustrate
Dionysius' meaning

TjyovjjLevo'i,

||

KaXa

17

7 et alibi)

dfiapTdvoc

tov Xoyov libri aSoXea-xr/v

Tovs Aoyous Schaeferus
ttoiijtojv
iroX.v to
21 iroirjpdTiav
28 o/iotcos compendio P
ci^iov P
a^tov avri)
:

Kal

av

11 rZv

ovv
aKO-

Bia^opoi^

cr7rovBalo<;

Ikciotov libri

re

Xoyof, ovk

8 ap,^ta Se
ap<f><j> PV
15 Kakovpevrj om.

KaTayi-yvwo-KCTO)

^'^Xov

fj,ev

eTvy-^avev,

Xoya> Troir/fiaTa

6 iKOJTTOTe Us.

PV

el

eKdrepoi}

KaXelTai

SiaXearuxri

3.\X(av T(3v libri

:

ivTe'^va,

oio/jLai.

Be

eTreiBrj

o/MOLa'i

eoiKOTa tco

8iaA.T;o"ft)0"t

TOO- Tpo(f>a,s

t&v Xoycov

eKdrepov

d^io<;

/irjBevof

Tt9 Tct

Tvy^dveiv

ttoXv

iroiTjfui-

yiXcoTO'; d^iov

Kal

av Kal twv TroiTjfidTav a tovtoi<; eoiKev

KaXelv

ovofiaa-i

e'lyo)

to

av rcov

(lev

dBoXeo'y^ij,

KaTecrKevacfiivta

iiriTijBeiov

7rpo(77]yopia<;

<pXvdpa> Kal

T<p

ttoXitikov, ev

evTej(yov,

/cat

av

ctttovSt)?

25 Bia(j)6pou

tov Be

(jiiXvapov,

Tcov ofioiov evpi<TK(i>

d^iav, dKOV<Ta<s /iadeTco.

fir]Bevo<i

IBiwttjv i'jri(ndfjievo<; ovtu, tov dBdXetry^rjv

fjiev

Kal

TOVTOV Xeyoj

PM

KaTayivaffKeroi

firjBe

to? dpa iyco KaKiav nva ev dpeTai<!

Xoycov w? Be d^icb Biaipetv Kdv tovtoi^

rj

diro

(TTTOvSaia

TO,

MV

(^aiveadai,

ra^Trfv Trjv dfiaOuav,

fjbov

20

al

avrd

rjTTov

jxrjBev

iTOLrnJLacnv

TpoiriK&v

ttoitjtik&v ovo/idrav

jrapaifKriaia.

fjt/rjBel'?
r)

rot?

ev

Kal

re

evetrri

^ev(ov Kal j\a>TTrifianK&p Kal twv

fievovTcov

dvTtk7y<^i,v

o/j,oeiBov<;

rjiid^

toii? \070i'? ofioioTTjra /cara-

tt/jo?

p-eKetriv,

ra? Btaipeaei^,

Trocovfievoi

ia>VTe<;

22
om.

av

20 rh

19
ttoXv

dSoA.eo'X'ji

MV

||

^^oi 'M.e\dvi7nrov

iSdirro/jiei', ijeXiow 5^
Svo/iipov Ba(nX<i) KdrBave irap$a>ii^

airoxepl

fiicii'

yap &de\^ei>v

iv irvpl dd<ra

ON LITERARY COMPOSITION

XXVI

273

the lines by distributing

them

another, they dissolve

efface the regularity of the

and

now one way now

into clauses

metre and
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

when they

diversify the periods in size

so-called " pedestrian character " is

in poetry, or

impute to me, of

all

commonly regarded

as a vice

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 o n the other side the language of
gublicjjfe wbip.b _Js,_in_the__ma.in, 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
But
the corresponding sorts of poetry also by different names.
since both the good and the worthless are called " prose," it may
not be wrong to regard as noble and bad " poetry " that which
;

oiiK IrXri.

dldvfji,ov d'

oTkos iffeXSe xaxdv

proxime acoedatur."

'

irarpbs XputtIttvoio, Karfitj>yiaev Si Kvp^vri

irda-a rbv e^TGKVov xvpov ZSoutra dSuov.

first

eight lines of

,.

tt

that of WilamowitzCallimachi
Hymni et
Epigrammata p. 69.
Upton, who
quotes the epigram, adds: "En tibi ea
omnia, quae tradit Dionysius, accurate
text

is

Moellendorff

praestita
sententiae inaequales, disparia membra : ipsi adeo versus dissecti,
nee sensu, nee verborum struotura, nisi
in sequentem usque progrediatur, absoquibus factum est, ut prosaioae
luta.
orationi, salva tamen dignitate, quam
:

also the

ii.

j_

Ka<rroTC
Upton here conjectures
ixd^rvs, Schaefer iKdcrruv.
6.

(The

Compare

Mimnennus Meg.

'^'S

to be connected

"i^^* li" '"*"''"'

-ii.
with

'^

Ka^lii.

^'''^^ <=1^

*Ji
J"
together.

supply

or the
Cp. Hor.
Serm. i. 1. 1 "qui fit, Maecenas, ut
sen ratio
nemo, quatn sibi sortem
dederit seu fors obiecerit, ilia contentus
vivat, laudet diversa sequentes ?
18.

like,

)i,a6^ti>

from

/iriSeis

in

1.

ttSs

tis,

14.

DIONYSIUS OP HALICAENASSUS

274

rw fioxdvp^

Se

TO,

Kara

oiSev

t^?

r)

^pay/jArcov

TaTTOfiivrji;

Si,a(j)6pcov

rod \6yov

irovripd, ovBev viro rij?

KcoXvaei yap

TapaTT6fjLevo<;.

chap.
6fioetS6ia<i

6voiia<Tia<i
rrjv

ofioioTij's

eKarepov

ipvaiv

opav.

eVt^?

tt)?

ev fiev

7'

tSiv
fiev

e'/e

rprj^elav arapirov

trpocre^i}

\ifievo<;

e'/t

Xoyov.

erepov Se

tovto kSsKov.

Sr)

^wpov av

10

avrov KaraKkeiam rov

ravra aTro'x^pr]

iroirjueca^

avrap 6

aov

irapaSeiyfiaTo.

TOinmv,

irepl

oXiya deU

eiprj/jiSvmv

oZv

Kul

Srj

elprjK0i)<;

vXrjevTa

eXuTTOv re tov irporipov

U')(a TejMvov

icai

rov

rpirov

(TTi-)(pv.

Be roxni
it

aKpia<;
S
i

eKarrov kmKov

TerapTov Be

KO/jU/MaTiov.

15

ol 'Adijvr)

ire^paBe Biov v<pop^6v

Bvo

rjiLiaTivlmv

e'f

iocKoi;.

eTreira ro

koI

(7vyKeifj,evov

rot?

trporepoi';

ovBev.

TeXevralov
6 ol j3iOTOio fioKiuTa
oS? KTiqaaTO Sto?

KrjBeTo olKrjoav

20

aTeXr)

tov

fjuev

iroiovv

aicpi^eiav

ttjv

irpoo'driKri

rpiTov

ap

TOV o

evi

eTreir

d(f)r]pr)/jLevov.

irpooofio)

ov avveKTpey(pv ovBe tovto

rm

evp

OBvaaevi
tov

a-Ti'^pv,

reraprov ry

Be

a?idi<;

rjfievov

(TTUjfO).

evda ol avki)

25

BeB/irjTO

vyfr7)Xr)
1

ovS'ev

rapaTTOfi^vo'i

MV]

&v

oiAts.

om.

deli Us.

3 raTTo/ievTyg Sauppius
koi irepl tovtiav (jnev add.

Se irpovOe/irjV to, irapaSetyfiara Oels

Horn.
1 1 T6fivov
15 y Horn.
^
25 evOd 01
:

MV

5 eijOijKus

TaTTO/ievrj libri

EV

rifivovro^

[fort, of)

o'i

PM

PM, E

PMV

8 o y'] 6

4 Teraprov Se

22

eVeiT'

om. PMV
^/mvov om. P

PM

3. KOTcl
TaTT0(i4vris
Sohol. on n. XV. 347
.

ypiipei, iin,a-(Teie<T$ov.

SvXk6v

cp.

87-1

Veu.

ZiivdSoTos

(rvyxeirai Si t6

/caret irXetdptov Taffcrdfievoy.

airoO, ' here, ' on the spot." Cp.

Diod. Sic. ii. 60 ij/nets Sk Ti\v iv ApxS
rijs pipXov yeyevTifi^viiv iirayyeXlav tctc\eKin-es ai>ToC Trepiypd^l/o/iev rifvSe t^v
6.

'

With KaraKXeio-u cp.

vii. 14 reXeurav S' 6 BpoOros, ek
dweiX-^v riva roiAvSe Kwr^KXeure Tbv \6yop,
ciJS kt\.

pipXov.

Rom.

7. In Latin, Biroovius well compares

Virg. Aen. i. 180-91.
8. Dionysius'
point will be better
appreciated if the passage of the Odyssey

ON LITERARY COMPOSITION

XXVI

275

and contemptible prose respectively, and not

disturbed by mere identity of terms.
The
application of similar names to different things will not prevent

resembles
to

noble

way

be in any

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

be enough to quote the following

will

lines

But he from the haven went where the rugged pathway

Here we have one

Up

led.-*

Observe the next

clause.

the wooded land.

It is shorter

third

than the other, and cuts the line

in

two.

The

is

through the
a segment

That he should
consists of

The fourth

shorter than a clause.

still

two

light

hills

unto where Athene had said

on the goodly swineherd

half-lines

and

is

way

in no

like the former.

Then

the conclusion

the

Gave heed

goods of his

to the

man who

lord, of the thralls that

best

Odysseus

possessed,

which leaves the third line unfinished, while by the addition of

Then again
the fourth it loses all undue uniformity.

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.
1

Homer
by

(xiv. 1-7) be given not bit

as a whole

Odyssey xiv. 1-7.

bit but

Compare (in Latin) the opening

Terence s Fhormio, if written continuously
Amicus summus meus et
erat
popularis Geta heri ad me venit.
ei de ratiunoula iam pridem apud me
relicuom pauxiUulum nummorum
id
adfero.
confeci
nam
ut conficerem.
erilem filium eius duxisse audio uxorem
quam
ei credo munus hoc corraditur.
inique oomparatumst, ei qui minus
habent ut semper aliquid addant ditiori"
bus
15.

of

mirkp & 7* 4k

Xifiivos

irpoffi^tj

Tfyrjxetai'

drapirdv
xSipo"

"i"'

v\-rieyTa 3i' &Kpias,

rj

ol

'Xdiivq

iritppaSe Siov {Kpoppif, S oJ /SiAroio /idXurra

KiJSero olK-fjOiv, o8s KT^iroro Sios 'OSvaireis.

Tiv

S'

&p

ol

ai\ij

wpoSifufi eSp' iiptevov,

xcipft
i^ijMi S45/ir]To, irepurKiirTif
re fieyiXri re, irepiSpo/JMs.

KoX'/i

Ivda,

'

'

chap

DIONYSIUS OF HALICAKNASSUS

276

avbaov KoX rovro

KmKoK

oSos eV

tc3

irporep^.

Kaireira

KOfi/iacri,

Xeyofievo'i

re koI

vepiaKeiTTtp ivl

vow? direpi-

e^rj<;

yap

eVt^el?

%'/'!>.

iraXiv eiroiaei
KoXri re fiejaXrj re

^payvrepov tcaXov

eira

KOfifiariop,

irepiBpo/io';

Tiva

eavro vovv

KaS"

ovofia

avTov KaTaa-Kevdaei rpoirov

eK

10

Be

TJ?9

'iroi7]<Tem<i

yap

t[

eW

exov.

rfj-i

e^<;

Set fi-qKvveiv

lafi^iKrji;

rd

aXXa

to,

rov

Evpi-jriBov

Trap'

ravTt

'O yaia irarpU

neXoi|r opi^erai,,

fjv

Xaip\
TO Trp&TOV dxpi TOVTOV K&Xov.
o? re Trerpav ^ApicdBcov Bva-'xeifiepov

]5

< Ildv >

ifi^areveK

TO BevTepov p-expi rovBe.

evOev evj(P/JMt yevo<i.

TOVTO
20

TpvTov.

TTpoTepa

fiev

TO,

tovto

crTtp^ov,

fiei^ova

Be

eXarrov.

Avyrj yap 'AXeov Trat?

TiKTet Xadpaimi;

tw Tipwdiq)

fie

UpaKXei

fierd TOVTO

^vvoio

opo<;

lIap6eviov,

25

avTwv

ovOeTepov

o-tij^w

etr

avfi/ieTpovfievov.

erepov

av6i<;

(TTLyov re eXuTTOv koI o-ti^ou fiei^ov

Koi

Kara

PM

moUi P

5 koAijv re jxeyaX-qv re

PM

MV

10 Trap' vpnri sic P cupiiriSov

P firjKvveiv Tov A.dyov
transposuit
Sva-x^^iJi'epov dpKaSwv PMV
15 OS TE s: SxTTs PMV
16 Hav inseruit Mnsgravius
19 fi.u(ova om. P trrixoi'
Sylburgius
9 wnKVViiv

MV

||

||

MV

(TTi

^uvot8c

(TTixov

^ui/ot3

MV

21 auyij

26

avrrj

oW 'irepov PM

12. opCjcTai: sibi vindicat, 'annexes.'

The fragment of Euripides, taken as a

whole,
tion
:

runs

PV
:

24

ovSerepov
thus in

^vvoiS'

Nauok'a

coUec-

ON LITERARY COMPOSITION

XXVI

This, too, does not balance the former.

ideas in the continuation of the passage

277

Further, the order of

is

unperiodic, though the

words are cast into the form of clauses and sections.

adding
In a place with a clear view round about,

we

For, after

him subjoining
Massy and fair to behold,

shall find

which

a segment shorter than a clause.

is

Free on every

Next we

find

side,

where the one Greek word (7rept,Bpofiov) by itself carries a certain

meaning.
And so on we shaU find him elaborating everything
that foUows 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!^

Thus

far the first clause extends.

And

thou. Pan,

who

haunt'st the stormy steeps

Of Arcady.^
So

far the

second extends.

Whereof I boast
That

the third.

is

my

birth.^

The former are longer than a

line

the last

is shorter.

Me

Auge, Aleus' daughter, not of wedlock

Bare to Tirynthian Heracles.^

And

afterwards
This knows

Yon
Not one

we

hill Parthenian.^

Then once more

from one point of view less than

of these corresponds exactly to a line.

find another clause

which

is

a line and from the other longer

1

dj

Euripides Telephus

yaia imrpls, ^v

Nauck

liiXoij/ opl^erai,

^s re ir^Tpov 'ApK&Stav dvjx^^f^po^

<IIAj'> iii^areieii, v0ev eilxo/uu yhos.

X^p\

T.O.F., Eurip. Fragm. 696.

25. IIap96vi.ov

Delum 70 ^eOye

cp. Callim. Hymn, in

'ApKadii], ^evyev 8'

fi^v

rlKTeiXaBpalbis'H.pa.KXei- ^ivoiS' tpos

IlapB4i>wv, iv0a lityrip' lidtvuv i/x^v

napBii/Lov, together
AHyris
the scholium 6pos 'ApKaSlas rh
HapBiviov, ivBa tt}v Aiyriv rijv 'AXeoC
ffvyaripa, iipuav ttjs 'ABtjvas, i(pBeipev

IXvffev 'ElXelBvia.

'HpaicX^s.

Ai57)7

yap 'AXiov

Trais /ic

tQ

Tipvrffitp

Spos

lepbv

with

DIONYSIUS OF HALIOARNASSUS

278

ev6a

Kol

TO,
i/c

Kara

T^?

7ret,o<;

KoX avayivaxTKe Kara

ovt

dvri<rTpo<})ov

eavTi]<;

'K6''^o'i

ov'^

e^et?

Be

Bia

rj

dvoBvpofievr) rv'^a'i

yeypairrai

Se

aXKo<; rt? KaTeerKevaere

Trpoaeye

fieKei

ovre arpo^rjv ovre

cot

(pav^aerab

jre'Kdr/ovg

rS

Stj

ore XTjaerai, ae o

ev Xcr6

crvfi^aXeiv

dXKa

eiraiBov,

e<rrt

ravra

rj

wiraiTel.

Bia<7rd\d<;, icaX

koX

dBrj'i

10 elp6fivo<i.

i/irjv

"Zi/imvLBeia

ov'X, oiv 'Api,a-To<j)dvrj^

KmKmv aXX' av
Tr]!}

ra

fieXiK)]'}

Staa-To\^<;

pvdfio<i

oySCvmv

tovtoi<s irapaTrKricna.

e^ri<;

Be

/MTjrep'

chap.

(fjepofievT]

\070s 6??
Aavdrj ra?

ore XdpvaKi ev BaiBaXea

ave/jLO';

re /iiv irveav <e<p6pei>

re Xifiva,

KiV7]6elffd

Beifian Tjpnrev ovk dBidvTovcri

15

dfjL<^i

/SaWe

re Tiepaei

(f>CXav

irapet.al';

yepa

KaTea-Tevacre P
Si) PM
Se V
6 aTrerei P
5 aAAos Tis P
avTixTTpoi^v
Tavra Kara
9 avruTTpo<^ov PM
Kara P
10
V Aoyos eitreipopevos P Xoyos ovtoktI Sieipofievoi
13 re jiiv Schaeidewinus
re p^ PM
AavaTj] B' dv rj
t' ipy V
e(j}6pei ante piv Bergkius inseruit, post rrvitov Usenerus
14 re
Sc PMV
1 5 rjpLirev Brunckius
epnrev P
eptiirtv MV
Brunckius
:

||

II

MV

MV

II

II

II

ovt

ovt

MV

points out that Hor.

4. Bircovius
Carm. iii. 27. 33 ff. might be printed as
continuous prose, thus
quae simul
centum tetigit potentem oppidis Creten
'Pater,
relietaefiliae nomen, pietasque'
dixit victa furore unde quo veni ? levis
:

'

OVK Thierschius

'

'

una mora est virginum culpae. vigilansne

ploro turpe commissum, an vltiis oarentem Indit 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
'

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 Menwriam 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

my mind

brings thee back, in the light

of thy radiant vigour, again ; in the
floom of November we pass'd days not
ark 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 bygone 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

rest.

11. diroSvpoiifv'n

was a

dprivos,

and

probably the

any

in

case

X>ai?iae

it illus-

trates, to the full,

the "maestiuslacrimis
Simonideis " of Catullus (Carm. xxxviii.
8),

or

Wordsworth's

"one

precious,

tender-hearted scroll Of pure Simonides."

Cp. also de Imitat. ii. 6. 2 KaS' S
/SeXHwi' eipio-fterai rai HiKSipou, tA oi/trffe|

<r8ai

fici)

fieyoKoirpeTras dXKi. iradrp-iKGi!

and Quintil. x. 1. 64 "Simonides, tenuis

alioqui, sermone proprio et iuonnditate

ON LITERARY COMPOSITION

XXVI

From

And

birth-pangs set

similarly with the lines

From

279

where the Travail-queen

my mother free.^

which follow

these.

lyric poetry the subjoined lines of

Simonides

may

be

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
win 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 Danae, borne across
taken.

the sea lamenting her fate

And when,
She

in the carved ark lying.

felt it

through darkness drifting

Before the drear wind's sighing

And

the great sea-ridges

She shuddered with

And

Nauck

quadam commendari potest praecipua

tamen eius in commovenda miseratione
virtus, ut quidam in hac eum parte
;

omnibus eius operis auotoribus praeferant."

12. Verse-translations of theZlamae will

be found also in J. A. Symonds' Stvdies

of the Greek Poets i. 160, and in Walter
Headlam's Sook of Greek Verse pp. 4951.
Headlam observes that the I>anae
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 ffrceA ij/ric Poeiri/ p. 321)

remarks
"It must be confessed that,
if we have all that Dionysius trans(

he has proved his point [viz.

that by an arrangement into Siao-roXoi
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
Wilamowitz (Isyllos
parts of the triad.
144) claims to have restored strophe
Soipan), epode {xoKKcoydfi^ip
{ivefios
dembv ^p), and antistrophe (/cai ^liSiv
daiBaXiif belonging to
Sre
)
scribed,

brake into weeping,

she folded her arms round Perseus sleeping;

Euripides Telephus

lifting.

terror, she

T.G.F., Euri/p. Fragm. 696.

another triad.
To accept this adjustment one must have faith in the extremely elastic ionics of the German
scholar.
Nietzsche, S. M. 23. 481,
thought that 1-3 formed the end of the
strophe, 4-12 the antistrophe (1-3 = 10In v. 1 he omitted iv and read t'
12).
iiiAvq irveliav with aXeyltas 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 conelusion is reached by conjectures only
less hazardous than those of Hartung.

Schneidewin and Bergk, adopting the

which refuses all credence
to Dionysius, found only antistrophe
and epode and so, doubtfully, Micheleasier course,

Ahrens {Jahresber. des

Lyceums zu Hannover, 1853), in despair,
angeli

while

classed the fragment among the iwoXeXv11-12,

/i^va.
Since verses 2-3 may
I have followed Nietzsche, though with
much hesitation. The last seven verses
suit the character of a concluding epode."
15. ijpiirev = i^eirXdyi] (same sense as
Usener's conjecture ipplrTev).

DIONYSIUS OF HALICAENASSUS

280

ei/irev

TeKO<},

co

olov e'^m TTovov, ai)

yaXadrjvm

S'

awTet?

Kvomcra-ei^

7]6e'i

Si^a vvKTOf

iv a/repirei, Sovpart y^aXiceojofi^q)

Kvavea re

aKfxav

chap.

aXa/jLTrei

trraXet?.

Svo<j)q)

inrepQev redv KOfidv j3a0elav

S'

irapiovTog KVfiaTO<! ovk dXeyeiv

^Ooyyov,

ovB' dvifjLov

Kai Kev

pi^fidrcov XeTrrbv

efiSiv

evBerco dfierpov kukov.

Be irovTO'i,

evSereo

fiera^ovXia Be Ti?

Zev

irdrep,

o Tt

tpaveir),

creo

e/c

QapcraXeov eVo?

Br)

vocr<j)i

avyyveoOt

BiKav,

roiavrd ecm,

to,

ofiota

eu-^ofiai,

fiot.

rot? KoXol'i Xoyoi<; fierpa koI

Bid TavTa<; yivo/ieva ra? alTia<; a? 'rrpoelirov

Tov9' ef6t? Bospov

20

dXXcov,'

el

vTret^e? ova<i

evBe ^pe^ot,

KeXofiac,

15

koXov irpoam-wov.

Se rot Beovov to ye Beivov ^v,

6t

10

Tropijivpia

iv '^XaviSo irpo'i koKtto)

Ketiievo<;

T6K0S Athen.

'^fierepov,

iv

^ovX7]6eiri<;

396 b

Tai<;

'Pov^e, "

p^epci re

fieKt),

croi.

ttoWwv dvrd^tov

avro

crvve'^ai mairep

PMV

rkKvov
2 ori S' dioTets CasauaSre ets Athen. (I.e.)
3 kyaXad-qvutin 6u
yaXadrjvip 8' rjropL Athen.
P,
corr. Bergkius
KvoaJcro-eMT P, V
Kvmra-eis Athen.
4 Sovpari Guelf.
Sovvari
SovvavTi V
Si)(a vvKrhs dAa/iTret Us.
SevvKTi Xapwei P,
5 o-raAei's
Bergkius raS' tio" P,
6 dXyitav S' Bergkius
dvA-eav S' P, V
a^Aatav S'
9 Trphs koXttu} k. irp. Us.
irpoa-bnrov KaXov Trpotruyirov
P ir/joo-wxov KaAbv
^' V
10 ^i/ Sylburgius
^6 P
^
11 Ka'i M: /cat V: ke cum litura P
Aetttov s: AeirTtDv
14
pMiT{a)^ovXta (i.e. peraPovXia
cp. 90 4 supra) P
paiT(a)/3ovXiov
paTaiojSovXta
17 v6a-(f>i StKas Victorius
^v
rjVO(j>t Sikoxt P
1

bonus

ov8' axirais

ix.

cri)

6'

||

PM

MV

MV

MV

PMV

||

19

21 avrb Sylburgius:

PMV
PMV

TrpoeLTrd

avra

4. il\a vuKTds
cp. dlxa /ie\4T7is re
Kai yvfivafflas (282 4), which may be an
unconscious echo of this passage.
"To
:

me

the expression seems to indicate

that Simouides took a view of the story
different from the ordinary one, and
imagined that the chest was not open
a 'Noah's
or boat-like but closed over,

This would not have suited the

vase-painters, but there is nothing in-

ark.'

||

o<^et8tao-

MV

(cf.

ctTretev P, Aristot.

Ehet. 1408 a 32)

consistent with it in the poem.

Danae
does not speak of seeing the waves, nor
of the wind rufHing the child's hair, but
only of &tiifi,ov 09(5yyoj
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

(A. S. Way).

stars"

ON LITERARY COMPOSITION

XXVI

And

"

Oh my

Of anguish

Adown

281

my

baby," she moaned, " for

but

lot

thou, thou carest not

thy child-soul sweeping.

sleep's flood is

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

And

slumber thou,

Sleep, measureless

Sleep, little one, sleep

wrongs

the past suffice

let

And oh, may a new day's dawn arise

On thy counsels, Zeus
change them now
!

But if aught be presumptuous

If aught,

unrestful deep

my

in this

prayer,

Father, of sin be there.

Forgive

it

thou."

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, Eufus,

"

is

my

Simonides Fragm. 37 (Bergk)

Homer

only you will keep

if

translated

by A.

it

in

Way.

S.

Iliad xi. 514.

Sclineidewin reads radeis,

dX67is
rarely constructed with
the accusative case.
construdio ad sen11. i^L&v pr,f,&T,ov
5.
7.

you, which you will find

to

gift

outweigh a multitude of others,"

eSder'

^jttot

8X/3ioi

eivd^ourSe Kal 8Xj3iot

/>

^vx<i>

-m

From

20.

5ii'

tt

Horn.

dde\<ped), eUtroa

rr

iZ. xi.

dS

r^Kva

'Uoia-ffe.

514,

ci c
516-

sum with

iireix^^ oZas

12. eSSe Pp^<|>os:

= UTr^Koues).

the (3auKiiX9;jiia ('cradle-

song, lullaby') was familiar to the Greeks,

and the mother does not forget it amid
the perils of the sea. Cp. Theoor. xxiv.

'""

Ifjrpbs

lois

t'

4/i.i,

^piipea yXvKepbv Kal iyipn/iov

vTrvov

&vi]p iroWi^v ^vrd^tos d\\o}v

iKT&iiveiv

iiri

ijina

(pipfMKa

irdixa-eiv.

.^^^ ^^^^ ^^^^ ^ multitude availeth

^^^^^ f^^ ^^ e3d_
the shaft sticketh deep in the
flesh, when the healing salve must
be spread.'
^-^^

When

eVSer

ykp

DIONYSIUS OF HALICARNASSUS

282

dWo

rt Kal
rai<;

xaff'

irdvv

tS)v

fievov^

ye

5 TToveiv

Kal

hlj^a

Setvoi)^

/j,eXeT7}<;

avvaa'/celv avrov

Kal

'i')(eiv

ov jap avrdpKT] ra -Trapar/yeX-

fjfiepav r^Vfx.vacriaL'i.

rmv TeyySiv icm

/Mara

'x^prjO'L/j.cov

chap.

drye0vi,crra<;

Kal

re

KaKoiraOelv ^ov\o/x.evoi^

irapayyeKjJbaTa Kal Xoyov a^ia

rj

Troiijaai

yvfivaaia^

tow? ySowXo-

dXS,

67rt

eivai

(rirovSaia

Keirai,

rot?

ra

(f)avXa Kal o/^rjaTa.

avrai's
avrhv rais Us.
avrov raicr P avTO rats
3
dvTaycovKTTas etiam
Seivova- av Taytovia-Tacr sic P
Sylburgius
om. V
re P
om.
4 ye Us.
5 ^ovAo/xevots PM
(TTTOvSaiav iivai (sic) P
ij
(nrovBaia eivai
6 Aiovvcriov
1

aytui/MTTcis

MV

MV

aA,iKapva(o-eo)s)

2.

ir(/oi)

crvvOeaeta^

ovofiATtav

litteris

maiusculis

sub-

The

meant would

training

consist

chiefly in that general reading of Greek

authors which is indicated in this treatise

and in Quinwould carry out

or in the de Imitatiorte,
tilian's

||

MV

scripait

Tenth Book

the precept

'

'

it

voa exemplaria Graeca

nooturna versate manu, versate diurna."

Afterwards would follow the technical
and systematic study of style or eloquence^ regarded as a preparation for
public life,
3. a-yuvurrds

cp.

note on 268 29

ON LITERARY COMPOSITION

XXVI

283

your hands constantly like any other really useful thing, and
yourself in

exercise
rhetorical

lessons

its

manuals can

suffice to

daily.

make

No

rules contained in

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.

mpra and

Plato Fhaedr, 269

rb

/Miv

SivaaSai, S> iaidpe, SxTre iyuvurri))' T4\eov

yeviaBdi, eUis
tffws dk /col AvayKoiov

T&Wa

^Xety

itiffirep

tj}i(Fi

prp-optKt^ elvai,

el
^ffTj

fi^v

iirdpx^^

pifiap ^Wdyipios,

irpoirXa^iiv 4nurHijX7iv re Kai

S'

troi

fJi.e\iT7]v,

&v AXciirijs TO&rwv, Tairrj dreXrjs

The

Stov

?(7j7.

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 ipa
irbvov
Toi x<^P^^ oiSiv eirvxet: Eurip. Fragm.
4.

'

t4! y^p TTovovvn xii 8ebi avWa/i^dvei

Aristoph. Mem. 1370 iiriirovol y' oi de^iot
Cic. de Offic. i. 18. 60 "neomedici, nee
imperatores, neo oratores, quamvis artis
praeoepta perceperint, quidquam magna

432

laude dignum sine usu et exereitatione

oonsequi possunt "
Quintil. ItiM. Or.
Prooem. 27 " sicut et haec ipsa (bona
:

ingenii) sine doctore perito, studio pertinaoi, scribendi, legendi, dicendi multa
et continua exereitatione per se nihil
prosunt." See also the note on page 264

swpra.

GLOSSAKY
(Including Terms of Rhetoric, Grammar, Prosody, Music,
Phonetics, and Literary Criticism)
In the GlossMy, as in the Notes, the following abbreviations are used

Long. = Longinus on the Sublime.'

D.H. = Dionysius of Halicarnassus
Demetr. = Demetrius on Style.'

'

'

the Three Literary Letters.'

'

90 20, 170

Ayevv^s.

Ignoble,

9, etc.

mean

in reference to style.

Lat.

igndbilis, degener.

262

Vulgar, colloquial, mechanical.

Lat. eircv/mforaneus,
Cp. Lucian de conscrib. hist. 44 /iiyre d.Tropp'qTOLs Kal
iraTov 6v6[j.acri jj/qTt rots ayopaiois Tovroi'i koX KaTrrjXiKols.

dyopaios.

20.

cvrculatorius.
^o>

212

dYxiorTpo<(>os.

20.

Quick-changing, flexible.

Lat. mutabilis.

Instances

The word has more

rhetorical use are cited in Long. p. 194.
warrant as a term of rhetoric than dvrippoTros, which is given by F.

of

its

training.
194 9, sequence, movement.
244 24, cast, or
Other examples in D.H.
Cp. some uses of Lat. ductus.
to which may be added de Isocr. c. 12 and de Thucyd. c. 27 ;
p. 184
Macran's Harmonics of Aristoxenus pp. 121, 143 ; Strabo xiv. 1. 41

68

ayay-f).

1,

tendency.
:

rrjv

Trapa(j>dipa^

twv

Trporepiav

p,eX.o7roi(ov

dyojyjv,

and

(later)

dywyrjv tSv Trapa tois KtvatSots SiaXeKT(ov Kal T^y

In 124 10 the adjective dyuytSs is used (as in Eurip. Hec.

aTre/ii/iijtraTO Trjv

5j^o7ro6ias.

1131) with the genitive in the sense provocative of,

c. 55 a Srj tQ>v tolovt(i>v eo-rai TraOQv
[In Troad. 1131 Dindorf, ed. v., gives d/auyos without

Troad.

536,

conducive

to

cp. de Deimosth.

dywyd.
comment, against the MSS.]
ayt&v.

252

Long.

2,

p.

d8o\^(JXi]S.
di)8i]s.

100

molestv^.

262

23.

Oontest, pleading, trial.

Lat. eertamen, actio.

Cp.

194, D.H. p. 184, Demetr. p. 263.

272
7,

19, 22.

124

Garrulous.

19, etc.

Lat. loquax.

Cp. Demetr.

Unpleasant, disagreeable.

Lat.

p.

263.

iniucundu^,

Similarly dt)Sia, 132 21, 134 14.

222 2. .Compressed, concentrated. Lat. consertus, stipatus. In the

d8poo9.
passage specified it would seem that Dionysius compares the issue of
285

DIONYSIUS OF HALICAENASSUS

286

the breath to the exit of people through a narrow door, whereby they
The sound of p, which is under discussion,
crowded together.
approaches whistling ; and that is the maximum of breath-compression.
are

70

aipetns-

130

oiaet)(ns.

198

15,

3, 8,

134

17,

246

11,

Lat. secta.

School, follomng.

17.

152 15, 218

152 22, 206

Lat. sensus.

Sense, perception.

1.

6, etc.

and aviQi\T&^, percepUhly,

So
126 20, 202 18.
Lat. idonei
Without rownding or conclusion.
232 1.
dKaT(i<rTpo(t>os.
Used of a period which does not turn back upon itself
exitus expers.
which is, in fact, not a TrepioSos. Cp. the use of evKaraxTTpodia's in
Demetr. de Eloc. 10.
Unnamed, nameless. Lat. appellationis expers.
208 25.
dKaTorouaoTos.
Unmixed,
or incapable of mixture. La-t. non perniMctus,
18.
230
dKEoaoTOs.
s. qui permisceri non potest.
aiaeriTcSs, perceptible,

70

aKoif.

118 23, 146 8, etc. The sense of hearing

So dxpoairis, 116 19, 198 8, etc.
Uncompacted, or incapable of being
218 13.

3,

auditus.
dKciXXTiTo;.

non compactus,

212

dKo\ou6ia.

s.

oLKoXovdla^,

qui compingi rum

232 20, 254

22,

Lat.

of words.
p.

consecutio,

212 22;=prone

Lat.

compacted.

Lat.

potest.

17.

ordo,

'the ear.'

Sequence, the
kv

series.

orderly progression

jroA.Aots

inrepoTTTiKr)

rijs

Cp. Long. p. 102, D.H.

Similarly dKoXouOos is used of what follows

184, Demetr. p. 263.

to

anacolouthon.

130 9, 228 17, etc.

Unadorned.
Lat. incom/ptus.
Used of a
212 23, 232 21.
style which is sans recherche, sans parure.
Cp. Cic. Orat. 24. 78 " nam
ut mulieres esse dicuntur non nullae inomatae, quaa id ipsum deceat,
naturally,

dK6)j,<|ieuTos.

sic

haec subtilis oratio etiam incompta delectat."

230 31. Without a capital or beginning. Lat. sine fadigio, sine

Used of a period without a proper beginning and therefore

dK(Spu<^09.
initio.

imperfectly rounded

yvkai

&(T7rep djrb

118

whereas true periods are evK6pv<f>oi Kal a-rpoyropvov (de Demosth. c. 43).

206

266

Exaditude, precision, finish.

Lat.
an ars exquisita, a style soigne.
So dKpiPiis 196 15, and dRpiPour 94 14 and 242 9. Cp. D.H. p.
184, and Demetr. p. 264 (where the slightly depreciatory sense of

dKpl^Ela.

10,

8,

11, etc.

perfectio, absolutio, subtilitas.

Used

of

'correctness,' 'nicety,' is also illustrated

142

cp. G.V.

274

The edge of the mowth or lips.

labrorum margo.
Cp. 148 22 t^s yXdrrrj^ aKpi^
epeiSo/xevrii Kara, tovs p^Teiopows oSovra's.

dKpooTop.ioi'.

234

dKciXioTos.

17.

23.

Without members or

clauses.

22).

Lat.
t(j)

Lat. sine

swmmwm

os,

a-TopxiTi vpoa--

memhis.

Used

of a period not divided, or jointed, into clauses.

dXi^Ocia.
usus.

198 26. Human experience. Lat. Veritas vitae, usus rerv/m, vita,
The actual facts of life are meant, as opposed to the theories of

the schools.
Cp. de Isaeo c. 18 on fioi, Soxei Auo-ias ju.v rr/v dkriOeiav
('the truth of nature,' 'a natural simplicity') SuoKtiv uaXXov, 'Io-aio9
6

aXoyos.

TljV

TE^VJJV.

66

18,

146

14,

152

15,

174

2,

3,

206

13,

244

22.

GLOSSARY
Irrational

unguided hy reason

287

subconscious

With

incalculahle

instinctive ;

146 14 (where
the Epitome has d\dX.ov) may be compared the process by which
akoyov in Modem Greek has come to mean 'horse.' With dXoyos
aurdiip-is in 152 15 and 244 22 cp. the use of "tacitus sensus"in
Cic. de Orat. iii. 195 ''omnes enim tacito quodam sensu sine uUa
Lat. rationis expers.

spontaneous.

the use in

aut ratione quae sint in artibus ac rationibus recta ac prava

and Orat. 60. 203 "aures ipsae tacito eum (modum)
sensu sine arte definiunt": see also de Lysia c. 11, de Demosth
arte

diiudicant"

c.
27.
For the doctrine of dXoyia in relation
154 supra and Goodell Oreek Metric pp. 109 ff. (with
The notion
references to Aristoxenus, Westphal, etc., pp. 150 flf.).
cp. Aristox.
of vncom/mensv/rability is, of course, present in the term
p. 292 iopuTTai Se t(ov iroSdv eKao-Tos rJToi X.6y<j} Tivl rj dkoyi^
Toia-uTrj, T^Tis Svo \6y(ov yviopi[i<av tq aia-Oricrei, dva, f/Aaov e(Trai,
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."
c.

Thucyd.

24, de

to metre see p.

176

duEVEdris.

Wanting in

11.

de Sublim. xl. 2 ovk ovres

auETOos.

74

4,

176

1,

size

Lat.

or dignity.

lui/'ijAot (l>viri, [xi^TroTe

Urvmebred, unmetrical.

21, etc.

Cp. Long.

exilis.

Se koi djjteyeOeK.

Lat. (oratio) soluta.

It is interesting to note the variety of Dionysius' expressions for

or 'in prose'

koyoi afiiTpoi, Adyot or Adyos

(252 20), Aektckcos (258 3), etc.
duop<)>ia.

184

198

18,

92 16.
74
auouiTos.

122

11,

prose
Ae^is ^'^^i Aoyos diroirjTOi,
simply (272 9, 13), 6tX" p-erpov

Ae^is dfurpoi, Xe^is

Cp. Plato Rep. 366

Unsightliness.

10.

e,

390

Lat. deformitas.

So

Bude, uncultured.

19.

'

Tefij,

Lat.

insulsus,

a, etc.
a)ji,op(t>os

illiteratus,

infacetvis.

duuSpds.
du,<f>i^oXos.

Lat. subobscurus.

206 22. Faint, obscure.

Ambiguous.
96 17.

d(i,<t(iPpaxus.

172

184

6,

Lat.

The

AmpMbrachys.

11.

amMguus, qui in duos

dubius,

metrical

ioot^-^.

164 5, 220 13. Retardation. Lat. mora, intervallum. So di/ad,va^o\i\.

cp. de Demosth. c. 54 (rauT ia-ireva-pevioi
pdWEic 180 15, 216 18
ciTTE, TavT dva^e^Xripevbis), and c. 43.
:

Insensibility, stupidity.
184 21.
190 8, and see the editor's Ancient

dfaio-Otio-ia.

dcaivOriTos

dvaKOTT^.

164

offensio.

draKdiTTEii'

di/diraioTos.

5,

230

28,

232

Fr. refoulement.

222

16.

Compare
Lat. stupor.
Boeotians pp. 4-8.

Stoppage, clashing.

Cp. de Demosth.

c.

38,

Lat. impedimentvm,

and

172 10,

etc.

Anapaest.

The

metrical foot

196 11. Rest, pause. Lat. mora, intermissio.

drdirauXa.
afforded by variety of structure, etc., are meant.
drnTrXE'REif.

ampdpos.

264
212

23.

21.

also

the verb

9.

To Und up

the hadr.

Without joints or

.^

The

'reliefs'

Lat. caesariem reticulo colligere.

articles,

hat. sine articulis.

DIONYSIUS OF HALICARNASSUS

288

174 17. Manly, virile. Lat. mrilis. Cp. de Demosth. cc. 39,
and Quintil. v. 12. 18.
Lat. instabilis.
Used of a period which
Unsteady.
232 4.
dfeSpaoTOs.
The opposite of eSpaiog (Demetr.
has no proper base or termination.
ArBpciSr)?.

43,

p. 277).

84

di'CTriT^BeuTos.

212 13, 260

3,

non

studio delectus,

Unsought, unstudied.

14.

So di^^KXeKTOS 84 3

exquisitus.

Lat. nulla

not picked with

care.

Lposening.
Lat. remissio.
5.
Cp. Plato Bep. i. 349 e ev
koi dvea-ei rZv )(op8(ov TrXeoveKreiv, and drierai 126 5.

210

avecris.

eTTiToa-ei

212

dt-etipos.

22

208 26, 232

xii. 10.
58

(cp.

Cp.

fleuri.

quod

Lat.

Florid.

25).

"namque unum

Quintil.

floridus.

[dicendi

rrj

Fr.

genus]

alterum grande atque robustum, quod

medium ex duobus, alii floridum
(namque id dvdripov 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.'
subtile,

vocant,

ia-)(y6v

dS/oov dicunt, constituunt ; tertium alii

'

246

drri6Tos.

Antithetic {(TXr)iiaTi(Tiwl

6.

pp. 266, 267,

S.V.

164

dmoTir)piY(j.6s.

dvTidiToi).

Cp. Demetr.

dvTJ^eo-is.

Resistance,

6.

stvmibling-hlock.

Lat.

imvpedimentv/m,

Cp. de Demosth. c. 38 dvaKoirds Kal a.VTi<TTi]pi,yfxm]S

Xa/x^dveLV koI TpaxvrrjTas ev rats cri;/i7rAoKats rlav ovofidriov hri-

obstaculu/m.

aKOTjV '^o'vxy

<TTV(f>ova^a'S TYjv

174

di'Ti(rTpo<|)05.

2,

194

6,

9,

[ij

11,

avaTrjpa. dp/uiviaj ySovAerat.

278

Corresponding, covMterpart.

9.

Frequently used by Dionysius of the second stanza

(dvTUTTpocjyq, 254 18), sung by the Chorus in its counter-movement.
Cp. schol. ad Aristoph. Plut. 253 p^Ta^v ttjs re <rTpo<ft7Js koi rrjs
and de Demosth. c. 50 Kaweira 7rdA.1v tois avroTs
dvTi,a-Tp6<f>ov
pvOpols KoX peTpois eTvl toiv avTcov o-Tixiav rj TreptoSav, ds dvTi-

Lat.

respondens.

(TTp6cj>ovi 6vop,d^ovcn,

202

dcTiTuma.

25,

222

clashing, dissonamce.

\p(ap.vr].

17,

210 20, etc.

70 19, 102

in 162 23,
dirrorap.ao'ia.

224

15,

230

6,

232

dvT(ovvp.la is found

6,

244

25.

Repulsion,

So the adjective

Lat. conflictio, asperitas.

drriruTros

Hesychius, avTiTvirois' orKXrjpols.

Prorwun.

18.

and

this

(the

Lat. pronomen.
In 108 14
more usual) form should perhaps

be read throughout.
Unevenness.
232 1 9.
Lat. inaequalitas.
Fr. inegalite.
84 1, 120 23, 170 2, 174 19. Dignity. Lat. dignitas.
dignity.
In 96 16 the sense is a proposition (pronuntiatum, Cic.

di'ufj.aXia.

dgiujia.

i.

7.

14

enuntiatio, Cic. de Fato

10. 20)

The

Fr.

Tuse.

adjective diiup,OTiKos

136 11, 168 6, etc., and the adverb d|ia)|jiaTiKas

In 88 13, 186 7, a.i,lbi<ii<i = reputation, excellence.

('dignified') occurs in

in

176

AirayyeKLa.
used,

24.

204
like

Narration.

18.

kpp,7}veLa,

of style

Lat. narratio.
(elocutio)

in

Sometimes the word

general

cp.

is

de Demosth.

25, and Chrysostom (in a passage which, as revealing the pupU of

Libanius and as illustrating many things in the G. V., may be quoted
at some length)
kyui 8e d plv rfjv XetoTijra 'lo-oKjodroi;? dTrgrovv,
Koi Tov Ajj/ioo-^lvous oy Kov, Kal t^v QovkvSlSov a-ep.v6Tr]Ta, Kal rh
c.

GLOSSARY
IIAdiTOJVOS

v\j/os,

fiafyrvpiav.

wv

eSei

St

(jtepeiv

tKuva

/*ev

289

/xco-ov

ets

irdvra

e^iodev KaXXtaTTUT/xov, koI ovSev fioi

Tavrriv

d^irj/xt,

<f>pda-etoi,

tov

IlaijAoi;

tt^v

Kat rbv TrepUpyov tSv

oiSe djrayyeAiag piXei

Kol tq Xe^ei TrT<j))(eveiv, kol rr)V crwdrjKrjV twv ovofmTOiv

airXTJv Tiva eivai Kai ocrc^aXij, /xovov jj/tj rrj yvuxrei t6S Koi Ty
rOiv Soyfidrmv aKpi^eiq, iSiwttjs e<TTu> (de Sacerdotio iv. 6).
The verb
AirayyeXXEii' occurs in 200 9, 11.
dA.A.' e^ecTTUi

102

dirap^fiiljaTos.

20.

Lat. infimitivus

Infinitive.

[The

modus).

(sc.

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. n-ajoe/i^art/cds, p. 315 infra^

inflnitive,

268

dirapiOfi.Eii'.

To

8.

recount, to

run

Lat. peroensere.

over.

194 16. To rownd off, to com/plete. Lat. adaequare, absolvere.

dTrapTij^Eif.
Cp. de Demosth. c. 50 koi pirpa to, p^v d,in}pTixrp,eva koi TeXeia, to, 8'
aTeXij
Ev. Luc. xiv. 28 tis yap e^ vp.G>v, OeXinv irvpyov oiKoSopTJa-ai,
:

ov)(l TrploTOv KaOiO-ai

<rp,6v {completion)

ip-qt^i^u

So Kara

J-

absolutely, narrowly.

Tr)V Sairdvrjv, el 6)(ei to, xjoos airapri-

diraprrurpov, in

In Glasdcal Review

18, means completely,

82, the present writer

246

xxiii.

has suggested that Kara dTrapTi(Tp,6v are the words missing in

Oxyrhynchus Papyri vi. 116, where Grenfell and Hunt give ev jrAdiTei.
6e(aprjTa ecTTiv, or the like, may
]v.
Kal ov k[
have preceded cp. 152 26 supra (and note).
:

76

dirapvai.

cum

the verb Trpo^^etpicrd/xevos,

236 10.
232
dirEpiYpa<(ios.

Seductme.

diraTr|Xi5s.

Not

4.

Used here

Lat. pri/imtiae.

Firstfruits.

2.

in connexion with

delibavero.

Lat. suavis

circwmscribed.

et dblectans, illecehrosus.

Lat.

wullis

Umitihus cvrcv/m-

scriptus.'

Without a period.
Lat. periodo non ahsolutus.
234 23, 276 1.
regulam dirigere.
ta/mquam,
ad
Lat.
regulate.
1.
To
130
diTEudi!i'ii'.
228 15. Grabbed, rugged. Lat. durus.
dirr|r^S.
144 8, 17, 176 3. Simple, uneompounded. Lat. simplex.
dTrXous.
70 4. In plain prose. Lat. prosaicus. Cp. s.v. ap,irpo's.
dTroir)Tos.
144 23. To shut off, to intercept. Lat. interclvdere.
diroKXEiEii/.
So e^
Lat. rescimdere.
diroKinTEii/.
142 8, 230 19. To cut short.
diTEpioSos.

diroKoirf]S

(142 Z) = u)ith a snap, abruptly.

Demetr. p. 268.

See the exx. given,

s.v.

diroKOTnj, in
diroKup.aTi^Eii'.

240

22.

To

ruffle.

Lat. reddere inquietum, fluotibus agitare.

In both
Lat. fiutu abigere.
dTroppim^Eic.
144 24,150 1.
In
these passages there is some manuscript support for aToppairi^eiv.
144 24 the sense (with diroppaTri(ova-r)^) would be to send out the
To blow away.

'

breath in beats,'
diroTpax5i'Eii'.

218

'

9,

to cause the

230

24.

breath to vibrate.'

To roughen.

Lat. exasperare.

In 250 8 dpyia is used for

Unwrought.
Lat. rudis.
dpY^s.
'
idleness,' with reference to the Epicurean attitude towards the refine-

210

ments of
apOpor.

70

22.

style.

17.

Article.

Lat.

a/rticulus.

See

D.H. pp.

185,

186

DIONYSIUS OF HALICAENASSUS

290
Demetr.

apOpov

269.

p.

and crwSecr/ios ('sinew' or

('joint')

'liga-

ment ') are terms borrowed from anatomy.

244 27. Nwnbers, cadences. Lat. numeri, nwmeri oratorU. Cp.
dpi6u,oi.
de Bemosth. c. 53 (j>ipe yap kwtxupdrtit Tts TrpoKfiepecrdai rovcrSe rois
As Aristotle (Ehet.
apidp.ov<i- "OXvvOov p.h Srj Kal MeOwvriv kt\.
iii.

2) says, TrepatveraL Se apiOp^ Travra 6 Se tov

pv0p.6s kcrriv, o-S kol to, fterpa Tp,rjTa.

8.

iTX''jf''<'-TOS

ttjs

A,6^e<09 dpi6p,hi

182

dpioTEia.

Lat. primas (dare).

Lead, supremacy.

12.

The
Lat. Aristophaneus.
tetrameter called ' Aristophanic'
the anapaestic
KeKXrjTai Se
Hephaestion (Ench. c. 8) explains the term thus
ovK ' ApicrTO(f)dvovs avrb evpovTos irparov, eiru Kat
' ApL(rTO(f>dviov,

256

'Api(TTO<|)(ii'ios.

reference

is

13,

258

Aristophanic.

9.

to

Trapa KpaTivif ecrri

yaipere Sai/ioves oi AefSdSeiav Botturiov

dXXa. Sta TO rhv ' ApicrTO<f)dvr)v

dpfioYTi-

112

13,

218

9,

236

5,

3roAA.(j>

270

avraJ

oWap

Ke)(firjcr6ai.

Junction,

9.

dpovpr^i

combination.

Lat.

eoagmentatio.

72 6, 9, 74 4, 10, 19, 84 9, 15, 90 5, 94 15, 104 19, 114 14,

opuon'a.
Adjustment, arrcmgement, balance, harmonious
17, 116 15, 20, passim.
composition.
Lat. apta structwra, concinna orationis compositio, aptus
But, as disFr. enchalnemant.
ordo partiwm inter se cohaerentiwm.
tinguished from apfioyrj or from a-uv6efTi% dppovla seems usually to
connote ' harmony in the more restricted (musical) sense of notes in
'

our arrangement of a song or piece of music.

In fact, Dionysius' three dpp.ovMi might well be described as three
' modes of composition,' and
tune (the meaning which dp/iovia bears
in Aristot. Bhet. iii. 1. 4) might sometimes serve as a suitable renderThe
ing even in reference to literary composition or oratorical rhythm.
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) SioTrep

fitting

sequence

cp.

'

'

'

'

rds apfiovias rijiv craviSoyv, dXX' dpanip,aTa KaraXeiTTova-iv.

We have perhaps no single English word which can, like
app,ov'ia, 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 (rvvd&ris, p. 326 infra, and compare one of the
ov (Tvvdyovcri

" pleasing
harmony in the New English Dictionary
combination or arrangement of sounds, as in poetry or in speaking
sweet or melodious sound."
The verb dpp.oTTEii' is found in 98 6,
definitions of

'

'

104

17, etc.

106 21. Of the masculine gender. Jja-t. masculinus.

140 21, 142 4, 144 5, 20, 148 17.
Windpipe.
Lat. arteria.
dpxaia|x6s.
212 23. A touch of antiquity. Lat. sermonis prisci imtatio.
Cp. dpxaiK(5s, 216 20, 228 8.
So dpxaioirpemi (rxfip^ra (236 8) =

dppEviKcSs.

dp-nipia.

figurae orationis quae vetustatem redolent.

As Quintilian (viii. 3. 27)
says, " quaedam tamen adhuc Vetera vetustate ipsa gratius nitent."
Cp.

GLOSSARY
D.H.
&p\aL
Saejiros.

a<riY)Jios.

aafta.

and Demetr.

dpxaioTrptirqs)

(s.v.

also de Demosth.

269

p.

dpxaio-

(s.v.

48.

c.

136 22, 140 13. First

110 20, 170 20, 176

heginnings.

Lat. principia.

192
Op. D.H.

269.

11.

12,

Trdnime venerandus.

expers,
a(n]fj.os.

186

p.

eiS^s)

291

p.

Undignified.

Lat. dignitatis

Unnoticed.
256 22, 262 6.
Lat. obscurus.
Without a sigma.
148 1.
Lat. carens littera sigma.
196 2. Song, lay. Lat. ean-men, canticwm.

124 8, 236 1. Incommensurable, disproportionate,

Lat. incommensurabilis, sine iu,sta proportione, inconcinnus.

dcuft^erpos-

232

Some good

incorrect.

So dauu-

(drawn from Cicero) of

found in Laurand's Andes swr le style
discours de Ciceron pp. 118-21.

fi.ETpia

19.

illustrations

constructions symetriques will be

des

218 12.

do-ufifiiKTos.

permixtus,

Unblended, or incapable of being blended.

qui permisceri non potest.

s.

122

d<Tu)x,<f>ci)i/os.

Out of tune.

23.

Lat. dissonus.

Stuktos.
156 20, 254 16. Disordered, irregula/r.
ordine compositus, incompositus.

130

dToiria.

Long,

Awkwardness, clumsiness.

26.

228

auOdSijs.

de

&cnrep oStos

c.

212
6 Cato

is

mrep t^s
rigida

6 5e

In Plutarch's

Lat. rigidus.

&v

described as an-ajoaiTTjros

ev

tu

SiKaLO) Kal rots

Koi avdeKOO-TOS (cp. the

xxxix. 40. 10).
In
4) the avdiKacnos hits the mean between

TrpoaTay fiacriv opdio'S

rj-j/eiiovias

attributed

Aristotle (Eth. Nic.

avOdSrjs

jjl^v

ktA.

Outspoken, downright.

innocentia

Cp.

Lat. ferox, pertinax.

ovx ovtuk

^rjij^ocrdevrji

o QovKvSiSij'i),

(sc.

23.

au9Ka<rros.

Gato

xxxii. 3

Subl.

Lat. perturbatus, nullo

Lat. rusticitas, imeptia.

Wilful, headstrong, unbending.

9.

non

Lat.

iv.

7.

to

him by Livy

the dXa^iav and the eipoiv.

au\6s.

142

Lat. meatus.

Passage, channel.

2.

17, 21, 228 15, 232 22, 248 9. Austere,

severe.
Compare the
Lat. severus (cp. Quintil. ix. 4. 97, 120, 128).
antithetic expressions quoted from Dionysius in D.H. p. 186, and add

208 26, 210

au<m)p6s.

de Demosth.

38

c.

212

auTdpKi];.

15,

Also see

init.

282

17,

216

2.

Sufficient,

323

(npvt^vos, p.

s.v.

infra.

Lat. sufficiens, per se

self-sufficing.

siifficiens.

auTiKa.

98

194

7,

256

2,

268

7,

6.

To begin with, for example.

Lat.

exempli gratia.
ouTiSfiaTOS.

256

19.

Self-acting,

Cp. auTOfidrtus 212 12;

258

212

temporalis,

1,

260

14,

262

3.

inelaboratus, tumultuarius.

auTooxESid^Eii'

multos

spontaneus,

Lat.

204 5;

versus

Improvised.

s.v. a-uTotr;)(8ta^iv,

soht natura effundere).

and

see crx^Sios p.

218

3,

fortuito.

Lat. fortuitus, ex-

So airoaxeZiws 260 25, and

256 19 (TToXXa yap ovToo-xeSiafet

tponte

ultroneus.

auTOfiarurfids

In 256 19 ck tov avTop,dTov = sponte sua,

1, 24.

ouToorx^Sios.

spontaneous.

auTop.uTi^Eii'

327

p,Tpa

rj

Cp. Demetr.

infra.

</>ucris

p.

270

DIONYSIUS OF HALIOARNASSUS

292

118 6, 140 1. Complete in itself, absolute. Lat.

So afiroTEXus 140 3. The meaning of the word is well
illustrated by Diodorus Siculus xii. 1 init. ovre yap rtav vofii^ofieviov

auTOTcXi^S.

dbsolutus.

dyadiov ov8ev oXoKk-qpov eiipuTKeraL 8eSop,ivov rots dvdponrois ovre rZv

KaKuiv avToreXi's avev fv)(prj(rTiai.
Lat. rudis.
196 15. Self-wrought, rudely wrought.
Cp. de
Demosth. c. 39 (as quoted s.v. (rvvairapri^eiv, p. 325 infra).
The active
sense of avrovpyoi finds a good illustration in Euripides' well-known
line
avrovpyos, oiirep Kal p,6voi cn^^ovcri yrjv (Orest. 920).

auToupY<Ss.

104

d<t>aipe<Ti9.

114

20,

In 116 17

detractio.

116

12,

Deduction,

17.

rijs d^ai/oeo-eus

abridgment.

Se ti9 (rpoTro^) almost

Lat.

=' what

the nature of ellipsis V

As line 18 shows, something necessary to

supposed to be omitted e.g. the presence of avro^ in 116 22
implies a contrast with erepo's (118 1).
To put out of sight. Lat. abscondere.
A^avl'tfiw. 166 10, 260 1, 272 2.
is

the sense is

212
96

d<|>EXi^S.
d<f>op|xi^.

Hal.

Simple, plain.

Lat. simplex, suUilis.

Starting-point,

hat. initium, principium.

Bom.

Antiq.

i.

doi8ipx)v

rijs

Se

74

^Sovfjv

Kal

Svo-coTTW

Beauty.

13.

fj,r]Sf/j,iav

Lat. venustas, venus.

dXoyov

138 13, 140

d<^po8iTrjv 6

/tijSe

vTroTTTevb)

^id^ofiai TYjv
&4>a>vo'i.

3,

d<j)oppa.s

p.-f\iror

aia^Brjo-iv

146

5,

From

Lat. vocis expers, mutus.

ov
also

rijs

18

;rdA,(us,

Aa^owTys-

Cp. de Lysia

c.

11 kav

A,e^tos X"/'""''^/'

Ava-iov
c.

Cp. Dionys.

KaO' rjfm^

yevofJi,evrjs

dSo^ovs iravv Kal TaTreivas ras wpioras

d(|>po8i-n].

Cp. D.H. p. 187.

14.

23.

A.oyos,

Kal

^X3>
ovKert

ibid.

148 11, 20, 220 10.

Voiceless, mute.

modern

the standpoint of the

science of

which the term voiceless is reserved for sounds that

are not accompanied by a vibration of the vocal chords, it might be
well in the translation of this word to substitute non-vocalic for
voiceless,' and vocalic for voiced.'
110 20, 146 12. Graceless. Lat. invenustus.
axopis.
phonetics, in

'

'

'

'

'

86 1.
1093 a 30

To

^aivav.

iv Se

T(fi

PaKXEios.

scan.

Lat. scandere.

Cp. Aristot. Metaph. xiii. 6,

[rh eiros] kv p-lv rt^ 8^i<^ evvea a-vWa^ak,

/3aiVTai Se

dpia-Tep<^ oktw.

regular tread

'

'

'

In

236 4 Pe/Sr/Km

used of a firm,

is

Lat. incedere.

174 23, 180

12,

182 19.

Bacchius.

The

metrical foot --.y.

Papus.
126 6, 8, 10, 16, 128 5, 8. Grave (accent), Zow (pitch). Lat. gravis.
Cp. Monro Modes of Ancient Greek Music p. 113: "Our habit of
using Latin translations of the terms of Greek grammar has tended
to obscure the fact that they

belong in almost every case to the

ordinary vocabulary of music.
The word for 'accent' (tovos) is
simply the musical term for 'pitch' or 'key.'
The words 'acute'
(d^us)

in

and

syllable

= 'low
of

'

pitch.

'

grave

'

(Papvi)

syllable

high ' and ' low

as in music a
So PapuTTjs 126 13
'

accents, just

may be sung with more than one note."

pitch.' In 120 23 and 236 8 pdpos = ' gravity

dignity

'),

'

(in the sense

Fr. gravity.

142 13, 210 22, 212

Lat. basis, fandamentvm.

Pdo-is.

mean nothing more than

may have two

16,

The

220 4, 230 31, 232 4, 234 7. Base.

word is specially used of a measured

'

GLOSSARY
movement,

or metrical

step

293

and
In 230 30 and 232 5

of a rhythmical clause in a period

particularly of its rhythmical close (Lat. clausula).

is the iambio endings irpoyeyevqij.eviav and Siavoovfievov that are

considered objectionable (aveSpaa'roi, dTrepiypa<j>oi
endings such as
rroptiav and aKovo-civTcav would be regarded as dcrc^aAets, de Demosth.

it

Terminations

kind will be avoided in a style

twv TrejoioScuv ras reXevras
desires that the chutes of the periods should be
eipvdp^vi etVat,
Further light on the meaning of /8ao-is will be found
nombreuses.

cc.

24,

26).

of this

which

(like the yXa(j>vpa. a-vvdea-i's)

in de Demosth.

24, 39, 43, 45.

cc.

264

(SooTpuxi^cii'.

desires

To

22.

curl, to dress

Lat. crines calamistro

the hair.

Cp. the use of concinni in Cic. de Orat.

convertere.

220

234

236

25. 100.

iii.

To aim, to aspire.
Cp. D.H. p. 187, Demetr. p. 271.
Lat. studere.
This meaning
('aims at being,' 'tends to be') is, of course, Platonic and Aristotelian.

^odXeaOai.

9,

5,

168 17.

PpaxucuXXa^os.

14,

19,

4,

etc.

7,

Consisting of short syllables.

ha,t.

hrevibus syllahis

constans.

150

ppaxuTT);.

138

YecECTis.

154

22,

Origin,

3.

Lat. brevitas.

Shortness.

6.

ttjv

yevea-iv \afi,^a,ve.i

originem sumit.

lja,t.

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

Noble.
ysfi-aios.
68 4, 136 13, 146 10, 148 9, 172 1, 176 9, 10.
Lat. generosus.
Such English renderings as virile,' robust,' gallant,'
In Plato Rep. ii.
'splendid,' 'high-spirited' may also be suggested.

YEfiKtSs.

'

372b

'

'

yevvatas = ' lordly cakes'; in Long, de Subl. xv. 7 ot

grand, gallant fellows.'
Cp. G.V. 170 9 p,a\aK(>>Tpos

[idea's

yevvatot

'

fine,

darepov Kai dyei'i'^oTcpos.

136

Y\a<|)up6s.

208 26, 212

Sinooth,
16, 216 20, 232 25, 248 9.
Lat. poKtus, ornatus, elegans.
Fr. elegant, orne, poli.

14,

polished, elegant.

Cp. Demetr. p. 272, and de Isocr. c. 2 o yap dvrjp oStos ti^v eviireiav
Ik Travrbs Siiokci /cat tov yXaijjupus A.eyetv crTO\d^Tai /jlSlXXov r) tov
d<|iXus, and de Demosth. c. 40 rj Se /terot TavTrjV rj yXa<t>vpa, Koi
dearpLKrj /cat rb KOfiyphv aipovp.kvq Trpb tov (rep,vov TOtavTrj.

130

yXuKaii'cii'.

134

18,

154

12.
To touch with sweetness.
Cp. yXvKvrri's 120 21, yXvKv^ 146

10,

delenire, volvptate perfwndere.

264

yXuTTTos.

120

Garven,

18,

Lat.

chiselled.

So

caelatus.

yXu(|>i^,

Lat.
9.

carving,

1.

78

yXuTTa.

An

17.

YXuTnr)|j[,aTiK6s,
obsolescent,

wnfamilia/r term.

252 23, 272

Lat.

vocabulu/m inusitatum.

and D.H.

11,

p.

words {mots surannes) are often meant.

187,

s.v.

Obsolete,

So
or

In 80 17 yXZTra =

SidXeKTOi (88 26).

yoniTeueic.
Ypdfi)i,a.

122 16,134
130 21, 138

To

13.
5,

La,t. pellicere.

of

the

alphabet.

Lat.

littera.

i^

2) = the lines, or
(140 11) = gramTnar
YpajifJitit (138
from which y/oa/i/xara are formed.
In 264 18 ypairr<5s =

YpafijiaTiKi^
strokes,

entice.

Letter

etc.

vrritten.

Ypa<|)n.

68

(in the

12,

184

wider

18,

sense).

186

1,

206 23, 228

12.

Writing, composition

In 118 24 and 234 13 ypa<l>aL= pictures.

DIONYSIUS OF HALICARNASSUS

294

206

yupaaia.
Jeif

(134

SiIktuXos.

84

282

24,

Lat. exerdtatio.

Exercise, lesson.

2, 4.

So

yujicd-

4), to practise, to train.

21,

172

202

16,

The

Dactyl.

19.

metrical foot

- w^.

Lat. asper.
148 12, 13, 18, 19, 150 3, 12.
So SaauTrjs 148 21, 150 2 and Sao-iSceir 148 8. Cp. Aristot. Poet. c. 20
for Sacn;Tijs and ^tAorijs, and see A. J. Ellis English, Bionysian, and
Hellenic Pronunciations of Greek pp. 45, 46, where Saorvs and ^iA.ds
are translated by rough and smooth,' which seems the safest course
Boiigh, aspirated.

Saao's.

'

'

'

the terminology of Dionysius' phonetics is full

Socretai
Aristotle (Be avdiUlihus 804 b 8) defines thus
of difficulties.
S' eio-t tZv <j)(iivwv Serai's ecradev rh irvevfjui evdews o-weKpaA.Ao/iei'

when

to follow

(as here)

twv

jxera,

T7JS

108

Sa^l'iX'^S.

200

heZyfui.

<j)66yyb>v,

rj/iXai

S'

ela-l

TovvavTLOV oa-ai yiyvovrai ^topis

Tov TTvevixaTos eK^oX^s.

11.

4,

182

Seitottis.

eloguentia.

Plentiful.

208

3,

214

13,

264

So

Scii/ds

Lat. abundans.

13,

12.

282 3

228

17.

Lat.

Sample.

see also

182

3.

exemphm.

Lat.

Oratorical mastery.

facultas dieendi,

Cp. D.H. pp. 187, 188

Demetr. pp. 273, 274.

80

Se^ius.

Septus

14,

'

92

20.

Deftly.

Lat.

In 80 14 a-ijtoSpa
with great delicacy of

sollerter, feliciter.

with great dexterity, or adroitness,'

'

touch.'

148 17. Fastening. Lat. vinculum.

158 2. Indicative of. Lat. signifkans.
110 22, 252 2. A public discourse, or harangue. Lat. contio.
8Y)fiT)Yopia.
Cp. D.H. p. 188.
64 8, 120 1. A piece of worhmanship. Lat. opus, opificium.
8i)(jiioupYt)|xa.
So SriniovpyiKos ('industrial') 104 23. Cp. D.H. p. 274. QuintiL
(ii. 15. 4) translates Tret^oiJs 8rjfiiovpy6s by persuadendi opifex.
172 3, 202 16, 212 1, 216 18, 218 23, 222 23, 244 19.
SiaPePriK^mi.
Secrfids.

SijXcdTiKos.

To have a mighty

stride, to

he planted wide apart.

Lat.

latis

pcmibus

In 202 17, 20, 218 23, and 222

23 the noun 8id|3aais is iised with reference to the intervals which long
syllables and clashing consonants make in pronunciation by retarding
the utterance.
The fieydXa re xat StajSeySTjKOTa ets TrXaros ovofiara

incedere.

Fr. marcher A grands pas.

212 1 are les grands mots A larges allures.

154 14, 160 18. Condition, arrangement. Lat. affectus, dispositio.
Siaipeii'.
180 17, 184 5, 194 15, 218 20, 21, 272 17.
To divide, to
resolve.
Lat. sdungere, resolvere.
So Siaipeais 122 8, 138 1, 272 7.
SiaKExXdcrSai.
172 7. To be broken or enervated. Lat. frangi, corrumpi, in
of

Ziideais.

delicias effundi.
0.

43 pvOfiol

SiaKX^iTTEii'.
SiaKdirreii'.
SiaKoo'fiEii'.

SiaxpouEii'.

In de Demosth.
opposed to pvO/iol dvSpdSeis.

Cp. similar uses of SiadpvTTTearOai.

SiaKX.6fievoi, are

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

268 15. To cut short, to silence. Lat. praecidere.
218 20. To arrange. Lat. ordinare.
230 17. To break into. h&t. intemvmpere.

GLOSSAKY
72 10, 166 17, 180

SioXonPeii'eii'.

12,
Lat. distinguere.

divide, to diversify.

295

184

14,

270 20, 272

To

2.

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

204 1. A pause. Lat. intermissio.
78 16, 80 3, 16, 88 26, 126 3, 160 14, 168 8, 208 19, 246

SiaX^yeo-Sai.
SidXeififia.

SiiXeKTos.

Language.

7.

Sometimes used with special reference to a

'dialect,' as in 80 16, 88 26 (so t^i/ 'ArOiSa yktaTrav 80 17 = t^v
'ArSiSa SidXeKTov de Demosth. c. 41) and in other passages, with much
the same sense as Xe^is (elocutio).
In 68 9, 94 10, 14, 96 15, 104 1,
the adjective SiaXcKTiKos means pertaining to dialectic'
Lat. sermo.

'

126
152

SiaXXayi^.

150

2,

198

SidXoYos.

So

Lat. differentia.

Bifference.

1.

8iaX\(iTTeii',

92 19,

29.

264

1,

22.

Dialogue.

Op. Demetr. p. 274.

Lat. dialogus.

132 9, 272 1. To break up, to resolve. Lat. dissolvere. So

SMiXucris 138 4.
Siai'airauEii'.
134 17. To relieve, to break wp. Lat. diluere.
Sidraia.
74 7, 16, 112 21. Mind, thought. Lat. mens, cogitatio.
Siol trivre.
126 4, 17. The interval of a fifth. Lat. diapente, quinque
tonorum intervallum.
So 8i& Trao-Si' 126 18, of the octave.
SiairoiKiXXcii'.
214 8, 248 10, 254 18.
To variegate.
Lat. depingere,
SiaXiJEii'.

dislinguere.

SiapTaf.
c.

206

6.

'iva

Se

40

To

separate, to break up.

S6^ii}fj,ev

fj^rj

Siaprav

toIs

Op. de Demosth.

Lat. seiungere.

aKoXovdias.

13.
To shake (as by storm), to distv/rb.
In 230 9 and 240 13 the reference is
to troubling the smooth waters of the cadences by sounds that jolt
and jar.

102 21, 230

Siao-aXeu'eic.

Lat. perturbare,

222

Siaariraf.

p.

274,

cursus

Sidarao-is.
Sidorrifjia.

230

19,

s.v.

9,

qui

cum

206
126
278

3, 5,

To

24.

Siao-!racr/j.6s,

3,

240

concutere.

dislocate.

and Quintil.

Lat. divellere.
ix.

4.

Op. Demetr.

33 "tum vocalium con-

accidit, hiat et intersistit et quasi laborat oratio."

16,

210 18.
270 12.

Distance.
Interval.

Lat. distantia.
Lat. spatium, intervallum.

By ^laa-ToXal (which he
opposes to metrical cola) Dionysius means the natural divisions, or
pauses, observed in prose in order to bring out the sense and to secure
good delivery, in accordance with the requirements of grammar and
rhetoric.
Op. the later use of Siao-roAij for division by means of a

SiooToXi^.

comma

SiaTie^rai.

SidTorag.
scale

Sia^iopd.

Division.

7.

for punctuation, as

270

SiaWfifcii'.

5,

13.

To cut up.

Lat. divisio.

we should

say.

Lat. discindere, eonddere.

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

194 8, 196 4. Diatonic. Lat. diatonicus. For the diatonic
see n. on 194 8.
68 21, 152 14, etc. Difference, variety. Lat. differentia.

SiaxdXoo'iJ.a.

Athen.

230 24.
Loosening.
Lat. resolutio.
570 b) on Lais in her old age

xiii.

erea-iv ijSrj rp'exii

tois ap/j.Ovla'S

Op. Epicrates
lirei

te StaxaA.^ rov

Se

(ap.

SoXix^v tois

o-to/Ji.aTO'S.

DIONYSIUS OF HALICARNASSUS

296

204 3. Struggle, tussle. Lat. luctatio. Op. argum. Aristoph.

Acharn. eira yivop,ivov SifX.KV(Tfiov KarevexOtls 6 )(opos airokvei rhv
AiKaimroXiv, i.e. "a tussle (wrangle) arises, in which the Ohorus is
overborne and lets go Dicaeopolis."

8iE\KU(r|i,(Ss.

150 1.
220 3.

8i^$o8os.

Lat. exitus.

Outlet, egress.

Lat. disiungere.
The object of the
thrusting apart (or separation) is to give each word a firm position (as
with the combination of strut and tie in Caesar's bridge over the
Rhine, for which see E. Kitson Clark in Classical Review xxii. 144-

Ziepeihav.

To

thrust apart.

So 8i.p6io-|i,69 222 10, 224 14.

In 202 9 8iepEi8aeai = con?ii<i.
126 20. A quarter-tone, or any interval smaller than a semitone.
As to the reason for the disappearance of the quarterLat. diesis.
tone from our modern musical system see n. on 194 V (extract from
Macran's Harmorms of Aristoxenus).
See, further, L. and S., s.v.
The word occurs also in de Lys. all wo-re fi-qBe
SCea-ii and Xeififia.
147).

8iEO'is.

eXa\urTriv ev rots StacTTij/iatrt SU(tiv dyvoeiv.

Suidas defines
as rh eAa;(i(7T0v fteTpov tZv kvapjxov'miv 8ia<TTrjjj,d.T(ov.
Op.
Vitruv. de Arch. v. 3.
TTjv

fiiecris

208 4. To determine. Lat. diiudicare.

124 17. To go straight to the mark. Lat. recta ad seopum
For the genitive cp. Polyb. ii. 45 (of Aratus) dvSpa Svvdfievov

8iEUKpii'Eri'.

81EUOTOXE11'.
tendere.

TraoTjs ev(TTO)(LV Treptcrra.<re(as.

142

SiTifEKi^S.

Op. D.H.

p.

144

Suorrdi'ai.

Unbroken, uninterrupted.

2.

SiSupap.po'iroios.

194

23.

188,

S.V. Sievpaij./3oi.

4,

202

17,

Lat. diducere.

apart.

Lat. continuus, perpetuus.

Writer of dithyrambs.

204

21,

206

4,

222

5,

224

iv.

^v

Op. Diog. Laert.

ry XaX.i^ Siaa-raTiKoi t(ov ovopATOiv,

In 230 17 SiEtTTaKEv = SteoraKei'.
ev

224

8iKaios.

2,

10.

Legitimate,

measure of a long syllable

8iKai'iK(Ss.

8iopiEii'.

SioxXeii'.

8nrXous.
p.

is

i.e.

regular.

236

6.

To

keep

distinct in his enunciation.

Lat.

ivstv^.

The

normal

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

218 16. To separate by a boundary. Lat. disterminare.
116 19, 122 18.
To distress. Lat. sollicitare.
144 9, 10, 15. Double, compound. Lat duplex. Op. Demetr.

276.

126 13, 168 12, 170 14, 202 14.

SuTvXXa^oi (Ae^Ets) = disyllables.

140 17, 19, 142 1, 6,

Lat. com/munis, anceps.

8ixpoi'os.

134

Sogo.

8,

Se [6 'ApKeo-CXaos]

meant.

SwruXXaPos.
al

hsA. dithyramMcus poeta.

4.

Opinion,

150

18.

DisyllaUc.

Lat. disyllahis.

Double-timed, doubtful, common.

personal judgment.

Lat.

opinio.

Opposed

to

ETTtO-T^/lJJ.

72 25, 26, 130 22, 23, 134 17, 136 20, etc. Power, faculty,
Lat. potentia, facultas.
Used, more than once in this treatise,
of 'phonetic value' or 'effect.'
Fr. valeur.
In 266 7 t^s eovtou
Svvdfiem denotes 'mental powers,' t^s kavrov Siofotas being used

8u'm(iis.

function.

in the parallel passage of de Demosth.

c.

51.

GLOSSARY
144

SucTEiSrjs.

Ungraceful.

4.

132

8ua'^K(t>opos.

5, 16,

Lat.

232

deforrrvis.

Ewrd

15.

proncnmce.

to

Lat.

difficilis

Cp. Sucre KiftdpniTos in 220 13.

pronwitiatu.

162

8u(n)x^S-

162

2,

297

Lat

Ill-sounding.

15.

Sauppe's conjecture on p. 163 n.

cp.

ingratus auditu.

SwTjxes 144

4, as

[According to
given by PMV.]

206 23. Not easily included. JjSit qui facile includi neqmt.
134 24, 168 3. Offensiveness. Lat. mohstia.
Suo'&iTTETa'Oai.
134 21. To he shy of. Lat. prae pudore reform/ida/re. The

SuCTTrepiXirjirTos.

Suox^pEia.

active voice is

196

AtSpios.

Ancient Greek

144

eYYi^Eif.

Afitsic,

sessio,

Demosth.

25,

232

43

c.

Lat. appropinquare.

Dwelling on a

16.

tamquam,

vocis

Kpovojxeva Srjkd la-Ti Kal ra

re

Kai

kyKadurp,ov^

ol

Sr]

rd

-^ixiifiOiva

apfioviai

Lat.

syllable, prolongation.

temps

Fr.

considentis.

tovtoh yap

ev

Cp. Monro's Modes of

Derive, Doricus.

Lat.

passim.

To approach.

16.

202
mora

iyKAQuTfia.

found in de Lys. ell.

Dorian.

1.

re

d'arrSt.

cfxovqevTa

Cp.

de

7roX\a)(rj crvy-

Kal dcjiwva, e^ &v crrrjpLyfwvs

Kal

\afj,/3dvovcri

Tpa\VT'qTa's

at

<f>mvai (TV)(yds.

134

EyKaTairXEKEii'.

pounded

itXekeii'

To

12.

occurs in

interweave.

154

Lat.

The uncom-

innectere.

9.

182 7. Highly-wrought. Lat. elahoratus. Cp. Demetr. de

15 ovToi yap Kal lyKardcrKevos 'icrrai (o Adyos) kol dirXovs apa,
Kai e^ dpcftoiv ijSi's, Kal ovre pdXa ISlcotlkos ovt pAXa (ro^to"Tncos.
See, further, D.H. pp. 189, 194, and Demetr. p. 276.

EYKaTiio-KEuos.
Eloc.

108

EyKXto-is.
c.

52

p-eviav

EyKoin^.
i.

3,

yevrj,

'

264

Mood

5.

(of verb).

dpiOpow,

TTTiicreis,

Lat. modus.

iyKXicreis.

Cp. de Demosth.

In 102 19 twv iyKXivo-

derivative, or secondary, forms.'

220 13. Hindrance, interruption. Lat. impedimentum. Cp. Ep.

ad Got. ix. 12 'iva p/q kyKowqv riva SoJ/aev to! evayyeXitf tod

[In Long, de Subl. xli. 3 Kar eyKoirdi seems to refer to

notches or incisions as made by carpenters in dovetailing.]
Xjoto-Tou.

262 20.

eyKijKXios.

(Quintil.
p.

"

15:

earlier

Broad, general (of education).

10. 1.)

i.

At

the

latest

Lat. orhis

doctrinae.

Wilamowitz-Moellendorff Greek Historical Writing

and I think a little
in the school of Posidonius

so-called

iyKvKXio's

TraiSeia,

or

'

universal

instruction,'

was formed into a system which has continued to our own Universities
The study of history has no
in the form of the seven liberal arts.'
place in it
astronomy, architecture, and medicine have."
'

108

eSpo.

4,

Demetr.
8,

234

2,

244

124

ciXiKpifus.
eurayurfti.

20.

Position, foundation.
7,

dc^aaros 232

Lat. sedes.

Cp.

4, 8iJ<r8pos

106

9.

208 12, 246 19.

74 10. Random,

EiKaiog.

18.

So iSpdo-ai 106

277.

EUE8pos 106

EtSiKos.

EiKcii'.

p.

Specific.

casual.

niustration.

Lat. specialis.
Lat. temerarius.

Lat. simiUtudo.

220 11. Completely, with no alloy. La.t

114 9. Introdv^ion. Lat. praefatio.

sincere.

DIONYSIUS OF HALICARNASSUS

298
68

cKXovVi.

74

12,

4,

15, 246 13, 252 27.

words is constantly conOp. iKX^yeic 74 9, 182 3.

78
The

15,

kh,o\(tti)'.

^KadTTcaGai.
de Demosth.

of

L^t. expendere, percensere.

To consider fully.

200 6.
134 10.
250 14.

200

6,

e/cAoyi}

Lat. delectus.
Chmce.
trasted with their (ruvOoTK.

^KXoyiJeaeoi.

182

8,

Lat. emollvre, muleere.

To

soften.

To

take the impress of

Lat exprimere,imit(m.

Cp.

4 t^v iTri^erov Kat Karecr/cevcKr/ievJjv ^poo-iv tmi' jrepl

Topyiav (KfieixaKTai, and c. 13 Tor AiJO-iaKOi/ x/>"'<'^P' (KfiefrnKTat
ets ovvxa. (i.e. acJ wijfMfim, ad amMssim).
c.

124 1. J'aZse Mot. Lat. dissonantia.

70 4. To copy. Lat. imitiwi, imitando effingere.
K(j,i(i.i<r6ai.
212 15. To Jill out, to round off. Lat. orbem orationis implere.
eKirXripoOi'.
156 20. Astonishment. Lat. siu^or. Op. Ev. Marc. xvi. 8
cKoraais.
iKfiiXeia.

8e a^Tols rpofioi koI l/ccTTao-ts.

X*

204

KTa(ris.

Demetr.

268

3,

Lat. products.

lengthening.

Stretching,

19.

p.

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

154 22. To reproduce. Lat. referre.
246 1. Prominent. Lat. conspicuus.
68 12, 84 6, 94 10, 15, 106 19, 108 3, 112 9, 114 1, 116

eKTEti'eii'.
K(|>aii'Eii'.

iK^a\rfis.

iKi,ipw.

118

To

15, etc.

6,

Cp.

277.

produce

utter, to

24,

with various cognate meanings.

Lat. edere, promere.

Lat. pronuntiatio.
Utterance.
112 15, 142 7.
140 5. To pronounce. Lat. pronuntiare. Cp. Demetr. p. 278.
156 22. CwrtaiVment. Lat. imminutio.
IXdrTuins.
256 23. Elegiac. Lat. eUgiacus. Coupled with Trevra/MTpov.
k\e<fe\.a,K&<i.

iK^opd.

EK<|>(>'Eii'.

EfiiTEpLoSos.

212 9. Unfettered. Lat. liber.

118 15. In periods, periodic.

iii^aiveiv.

110

eXeiSOepos.

212

19,

228

13,

Epithet applied to KwXa.

Lat. periodo inclusus.

254

7,

To

21.

17,

Lat.

indicate.

indica/re, ostendere.

90

ivaydnos.

198

6,

Forensic.

1.

136

EfapOpos.

22.

194

Empp.6i'ios.

enharmonic
is

Svcrl

For the
Enharmonic.
Lat. enarmonicus.
7.
In 108 10 and 196 11 the word
restricted sense.
Cp. de Derfnosth. c. 24 vvv [lev yap
3, 11.

scale see note

used in a

less

TrepiXafj,/3avoiJ.ivr]

on 194

Ktokoi?

o-v/;i/ATpds

ecrrt

kvapjxovio^ KoX (TTpoyyvXrj kol pdcriv eiXiji^ev

96

ci'SExop.^i'ui'.

ivipyeia.
IfiKus.

iv^e)^vos

204
106

1,

134

268
In

18.

systematic.

Admissible.

17.

196 5

iv^ou<ndt,eiv.

2,

notion of

Lat. articulatus.

Articulate.

196

7,

With some

Lat. forensis.

Cp. SiKaviKOS, p. 196 supra.

combative, incisive, vehement.

see n.

5.

ad

Activity.

21,

23.

Lat. artificiosus.

7rpioSos]

koi

licitv^.

loc.

the singular

272

Lat.

[ij

da-<f)aX.rj.

Lat. actio.

number.

Lat. singula/riter.

According

to

the

rules

of art,

artistic,

GLOSSARY
194

l|ii|ji.ETpos.

0/

3.

hexameter

measures,

six

299
(line

Lat.

o-tlxos).

hexameter.
c|dirous.

66

IJis.

84 21.

Of six feet. La,t. sex

268 4, 11, 26.

122

1,

skill based

on

ivayyiKKeaQai.

consta/ns pedibus.

State or habit

24,

94

To

9.

{of body or

profess to teach

162 2. Conducive
eirayuYos.
genitive cp. s.v. dyioyrj, p.

285

subject.

Lat. profiteri.

ad indueendum.

optus

Lat.

to.

lirEUTcSSioi'.

Eiriypai^.

ciriSeiKi'uo'Oai.

162

228

2,

254

9,

For the

supra.

To bloom.
198 10.
Lat. efflorescere.
196 24. Pleasure-giving addition, episode.
96 13, 104 4. Title. Lat. inscriptio.

lirai'Oeii'.

mind);

Lat. habitus, habilitas, peritia.

practice.

Lat. episodiv/m.

To make a display

1.

Lat. prae

of.

seferre, ostentare.

imQoKdiiiov

(sc. TTOHj/ia).

102

iiriBeToy.

An

17.

258

Lat. epithalamium.

Bridal song.

7.

addition, epithet, adjective ('the qualifier,' Putten-

ham's sixteenth -century Arte of English Poesie).

Lat. ad nomen
adiunctum, appositwm (Quintil. viii. 3. 43 ; 6. 29).
The eTriderov
seems to be regarded by Dionysius as a separate part of speech cp.
SteLnthal Geschichte der Sprachmssenschaft bei den Griechen und Biimern
:

ii.
"Was das kiridiTov, das Adjectivum betrifft so ist es
p. 251
im Alterthum vielleicht von Niemandem, hochstens aber nur von dem
einen oder andren Grammatiker zum besonderen Eedetheil gemacht."
Aventure would
80 13.
Lat. periculosus.
liriKifSui'os.
Hazardous.
:

perhaps be a better French equivalent, in this context, than

150

Ittikoii'os.

Gommon

4.

belonging

(i.e.

equally

to

risqu^.

both).

Lat.

com/munis.

214 2,274 7. Epic. hat. epicvs. iTriKri irotrjO-LS = epic poetry.

134 16, 198 10. To hide, to veil. Lat. occulta/re.
liriXajjiirpiii'Eii'.
144 2. To make crisp and clear. Lat. clarvmb reddere. Cp.
Plut. Mor. 912 c Kal ot ^drpaxoi, TrpoaSoKiovTei ofi^pov, liriXa/i-

liriKOS.

liriKpuirreii'.

^apas.

Trpvvovcri rijv (jxovijv virb

70 21. Adverb.
134 14, 260 1.

^irippT){j,a.

eirto-KOTeil'.

emoraais.

74 6

68
so

104

Long,
15,

To overshadow.
Lat.

Attention.

1.

TrapevrjveyiJieva,

em(n^/tr).

Lat. adverbiu/m.

'

de

Subl.

xxxiii.

introduced with

110

8,

124

cura.

5,

all

21,

Lat. obscurare.

Cp.

av7ricrTOT(us,

heedlessly,

4 vtto p,eyaXo<j>vtas aveTrto-TaTWS

the heedlessness of genius.'

134

3.

Knowledge,

science.

Lat.

scientia.
ETriTacTis.

emT<i<|>ios.

210 5. Tightening.
116 2,178 1, 180

Lat. intentio.
8.

Funeral speech

(sxib.

Aoyos).

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

126 4. To raise the pitch. Lat. intendere.
ImTepTn^s.
228 12. Delightful. Lat. iucundus.
eiriTETiiSEup.^i'ais.
260 25. Deliberately. Lat. de industria.
136 18, and dveiri-n^Seuros (p. 288 supra).

Lat. oratio

eiriToxiii'cii'.

iirireiveiv.

Cp.

eiriTtiSeiJcn'

DIONYSIUS OF HALICARNASSUS

300
liriT^8cu<7is.

cmTp6xa\os.
Demosth.

70 6, 212
180 14.

Lat.

study.

Running, tripping.

stuMwm,

industria.

Cp. de

Lat. velox, ^olubilis.

kiriTp6-)(aXo9 S)j rts yiverai kol

40

o.

Pams,

19.

/cara^cpTjs

ij

pva-ii

T^S Ae^etus, SxTTTip Kara irpovoCs <f>p6iJi,eva xwpiov vap^Ta prjSevhs

In Horn. II. iii. 213 fTriTpoxoiSrjv = trippingly,
a^Tofs dvTiKpovovTOS.

unfalteringly.

268 13.
88 16.

eiriTux'^S.

iiTi^ipeiv.
p.

Lat.

Successful.

To

quote.

Lat.

compos.

oioti

citosre,

Cp. Demetr.

lavdare, proferre.

281.

194

iroiroi<5s.

19)

236

2,

= uersMS

Epic

15.

poet.

Lat. poetaepious.

So to

cttt;

(270

epici.

204 2. Delay, siispense. Lat. impedimentum, retentio.

194 12j 278 9. After-song, coda, epode. In this sense (that of the
part of a lyric ode which is sung after the strophe and antistrophe)
the word is feminine.
In 194 20, if the masculine oAtyots is rightly
read, the special meaning of 67r(j)8ds will be refrain, hwrden
a meaning
somewhat nearer that of the Latin epodos.
epeiScii'.
142 13. To thrust, h-^t. trudere. So epeio-is 204 4. In 210 16

eiroxii.

iirahos.

ipetSetrOai

= to

be

firmly planted.

Expression, styU.
9, 78 19, 84 11, 172 17, 182 5.
The word appears in the title of the treatise irepl
tpprjveia's which passes under the name of Demetrius.
So epfut^i/eieiv
(to express) in 76 9, 186 18, 204 8, 260 20.
Cp. Demetr. p. 282

66 18, 76

epjXYji'Eia.

Lat. elocutio.

(s.v. epprjveia

160

and

pp,rjvevLv).

Etymology with reference to Plato's Cratylus.

For
Latin equivalents cp. Quintil. i. 6. 28 "etymologia, quae verborum
originem inquirit, a Cicerone dicta est notatio, quia nomen eius apud
Aristotelem invenitur crvp,j3oXov, quod est nota]
nam verbum ex
verbo ductum, id est veriloquium, ipse Cicero, qui finxit, reformidat.
sunt qui vim potius intuiti originationem vocent."

TU|jio\oYia.

136

euyev^s.

So

ii.

178 14, 21, 180 3. Well-horn, noble. Lat. generosus.

192 8. The evyevqi is not necessarily yevvaios (Aristot.

11,

EuyEi'Eia

Rhet.

6.

15.

3).

70 2. Pleasant on the tongue. Lat. suxtvis.

euYpaixfuos.
Well-dramn, well-defined.
230 31, 246 3.
Lat. defmitus.
cuycSfios.
210 22. Four-square. Lat. qui angulis rectis constat, quadraius.
eu^TTEia.
240 5, 18, 246 1, 268 28.
Beauty of language.
Lat.
euY\(i)(T<7os.

verborum elegantia.
In this treatise Dionysius clearly uses the word
with special reference to his main subject beauty of sound, euphon/y.

So also

evcjr^s 218 10, 222 6, 224 2, 228 5, 230 20

and euotus
232 1 1. In the Classical Review xviii. 19 the present writer has tried
to show that, even in an author so early as Sophocles (Oed. Tyr. 928),
the word eueTreta is to be understood in a rhetorical sense (' elegant

language,'

'

neatly- turned phrase':

ployment of a

'

figure

'

of 'eloquence' generally (as in the

on the tomb of

with direct reference

of rhetoric).

But, later, the

to the

em-

word was used

well-known epigram of Simmias

this wider meaning

Sophocles himself) ; and to

Dionysius here gives a special turn of his own.

GLOSSAEY
234
134

Eui^Tpios.

EUKaipos.

196

18,

132

EUKuip&is

With fine

12.

74 12.
210 1,24611.

c.

" est

Orat. 6. 2 1

temperatus,"

242

Lat. bene textus.

opportunus,

So

tempestivus.

3.

epfi-qveCa,

Lat. abiectus, humilis.

C^. de Bemosth.

Lai. temperatus.

Kot evKparos

roiv Svetv

fiea-)]

autem quidam
Both in 210

medius

interiectus inter hos

etc.

Lat.

Well-blended.

Qpaa-vfJi.a.x^i'OS

17

Timely.

Contemptible.

euKaTa<|)p5i^TOs.

EUKparos.

thread, well-woven.

25.

EUKaipiaf

3,

301

Cic.

et quasi

and in 246 11 the well-supported

be noted
it may conceivably have originated in
In 220 17 the similar adjective evKepaa-ros is
a gloss on evKparov.
used, though not in reference to the three apfioviai.
variant Koivrjv

234

E^Xd^Eia.

to

is

Used in the phrase

Lat. cautio.

Caution.

17.

evka-

St

/^Etas e'x^'*

158 12.

EuKoyos.
is

grounded in reason.

are

130

Eup[,E\i^S.

and so

On

Melodious.

9.

melody,

l,ip,fl^ia

254

Eup,ETpos.

134

6,

= in

ifi,fi.e\{]'i

1,

Lat. rationi consentaneus.

The reference
which are not aAoyot, but have a natural basis and

Reasonable.

to resemblances

the other hand,

254

21,

music

122 21, 182

Metrical

6.

to

set

EfjijjiETpos

= ii

m^tre:

In 270 10

5.

Op. Aristot. Bhet. iii. 8.

etvat jUijte appvdp,ov.

authority.

On

130

10,

the other hand,

254

6,

possessing good metrical qualities.

270

14,

2, 4,

2,

Lat. canorus.

124
266 4.
:

74

270

Lat. metricus.

168

1,

8,

176

has good manuscript

ep.fji.eTpia.

to Se

76

4,

2, 8^

ax^p^a

T'ijs

Al^etus Sit

p,rjTe 'efip,Tpov

84

EU|jiop4)os.

250

Euirddsia.

218

4,

222

So

Lat.

6.

Flowing

in each

Lat. doctus.
Lat.

easily.

But

passage.

ewd^Etat = Lat.

Plur.

volu/ptas.

[According to
should probably be

volubilis.

eiieires

Op. evpovi in 240 21 and (according to P) in 196 25.

read.]

132

EuirpiS(fiopos.

240

Eupuep,os.

Lat. formosus.

beautiful form.

Of

1.

16.

Scholarly, cultured.

10.

10,

162

Pleasure.

the reading of

Eupous.

3,

264

4.

228

euituiSeutos.
EUTTET^S.

144

2,

168

evp,op(l)ia

2.

21.

124

10,

Easy

to

130

8,

Lat. facilis pronuntiatu.

pronounce.

Flowing, copious.

134

9,

236

nnmerosus, moderatus (Cic. de Orat.

See also

Lat. copiosus.

3,
iii.

254 6,
184;

48.

18.
ii.

s.v.

e-uttetijs,.

Bhythmical.
8. 34).

Lat.

So EupuBjiia

122 21, 182 2, 254 27 cp. Cic. Orat. 65. 220 "multum
utrum numerosa sit, id est, similis numerorum, an plane e
numeris constet oratio," and Quintil. ix. 4. 56 " idque Cicero optime
videt, ac testatur frequenter, se, quod numerosum sit, quaerere; ut
magis non appvOfwv, quod esset inscitum atque agreste, quam ivpv6p,ov,
quod poSticum est, esse compositionem velit." For ci'puOfios see 130 8..
118

11,

interest

u(rrop,io.

Lat. soni suavitas.

110 18, 120 21.

405 d, 412 B.

Beauty of sound.

172

Lat. decorus, speciosus.

Plato Crat.
Euox'tfios-

6.

Graceful.

Cp.

DIONYSIUS OF HALICARNASSUS

302

Lat. mlis.
Op.
Gommonplace, chea/p, vulgar.
78 10, 136 3.
euTe^s.
D.H. p. 193, and Aristot. Bhet. iii. 7. 2.
Op. yXZcra-a,
Lat. celer, voluW/is.
206 14. Bunning easily.
EuTDoxostvTpoxoi = a glib tongue (Eur. Bacch. 268).

Op. eutuxoGo'ii'
Happily, successfully.
Lat. felieiter.
186 3.
and druxEi 198 16.
266 4. Euphony, musical sound. Lat. vocis dulcedo s. suavitas.
eu^uvia.
So 3<|>o'os 132 1, 134 9, 142 10, 166 7, 17, 230 23, 234 14. For
a modern view of the effect of euphony cp. the words of Jowett
EUTuxfis-

198

5,

{Dialogues of Plato i. 310): "In all the higher uses of language the
sound is the echo of the sense, especially in poetry, in which beauty
to human thoughts by the harmonious
composition of the words, syllables, letters, accents, quantities, rhythms,
rhymes, varieties and contrasts of all sorts." Hence, though no lover
of the vicious style sometimes termed " poetic prose," Jowett says in his
Notes and. Sayings " If I were a professor of English, I would teach
my men that prose writing is a kind of poetry."

and expressiveness are given

116

E(|)(ifii\Xos.

168

r\yeii,iiv.

47

c.

BivalUng, a match for.

8.

The

Hegemon.

17.

Sxrirep oiovral rtves koi

pvdfMiv

Lat. aemulus,

^w

metrical foot
Cp. de
KaXovo-i tov outo)? Ka.Ta(7Kiva(TdivTa.

rfyijjxiva.

90 19. Hegesicm, recalling Hegesias.

Hegesias see Introduction, pp. 52-55 supra.

Lat.

'HyriCTiaKos.

^WV).

118 22, 120 20, 132 19, 21.

Ft. cha/rme, agrdment, attrait.
Op.

80

Tr^v

YjSovrjV

tt^v

re

lapav

Kal

For

Hegesiacus.

Gharm.

16,

dulcedo.
fiev

haud impar.

Lat.

iucunditas,

120 20-24 TaxTO)

t^v xapiv koi

rrjv

Se vtto

eixTTOfiiav

mo

Ka\ TYjV yXvKVTTjTa Kal rh iriOavov koX Travra rot TOiavra,

8e
TO KaXbv Tijv re fieyaXoTrpiireiav kol rh papa's koX ttjv (refivoXoyiav Kai rh a^i(i>fji,a Kal tov irivov Kal to, tovtol? o/ioia.
See also
Demetr. p. 284.
So ^8i5s (suavis, iucundus ; sweet, pleasing, ctgreeable, attractive,

130

flhiveiv.

88

148

8,

6,

Lat. dulce reddere

cha/rm.
?ieos.

68

charming),

146

11,

160

17,

212

p.

193.

6, 74 13, etc.
160 15, 164 13.

To sweeten;

to delight, to

demulcere.

11.

Character.
Lat. mos, indoles.
Op. Demetr.
See Jebb's Attic Orators i. 30, 31 for pathos
and ethos in Antiphon (with reference to C.V. 212 10). According
to Aristotle's Bhetoric, a speech may be in, or out of, character in
p.

12,

284, D.H.

reference to (1) speaker, (2) audience, (3) subject.

274

iq(i.ioTiX"'-

Demetr.

p.

i^fiiTEXi^S.

140

4.

126

5, 19.

138

13,

vocal.
s.v.

half-line,

Half-perfect.

hemistichiwm.

Cp.

140

292

Lat. semiperfectus.

half-tone, semitone.
1,

Lat. semivocalis.

ai^uvos, p.

Lat.

half-verse.

s.v. rifji,Cfji.eTpov.

'f\^VT&vi.av.

-^fii+ojras.

17.

284,

supra.

144

7,

rifi,i<f)(i>va

146

5,

Lat. hemitonium.

220

ypafifiara

11.

= litterae

Semi-voiced, semir
semivocales.

Cp.

GLOSSARY
156 11, 160
142 1.

i\pe\i,la.

4.

303

Best, immobility.

Lat. qmes, tranquillitas.

So

T|pE|lEll'

84 21, 86

^puiK^s.

hexameter

148 8.
138

^ffuxfj.

{jXEiirSai.

130

11X09.

88

172 17, 206 10. Heroic (sc. o-Tt'xos the

In 172 17 and 206 10, with fiirpov.

7,

Softly, gently.

19,

12,

142

138

11,

212

eearpiK^s.

3,

Lat. heroicus.

line).

To

142

14, 19, etc.

216

16,

Lat. sensim.

7.

be sounded.

228

19,

Cp. de Demosth.

theatralis.

236

8,

25

c.

Lat. pronuntiari, sonare.

Sound.

(ttI

Lat. sonus.

11.

Trapayiverai, Tcis dvTideareis Koi Tois 7ra/)r(U(7ets

184 23.

6coP\(iPta.

Madness, blindness.

Lat. quaesUo

tion; rule.

praeceptum

102 25, 104 3, etc., and

106 21. Of the feminine
1^2 7. Effeminate. Lat.

98

2,

6Ti\uK(is.

OtiKus.

Lat.

72 12, 16, 88 14, 96 25, 104 11,

6edipr\]ia.

Hook

146

13.

and

xxviii. 4,

word

ij

OpuXivuos.

OrfpiaK-q

('

9.

muliebris, effeminatus.

The term

Cp. Larue van

s.v.

dvSpwSrj^.

will,

of course,

t& Orjpiov in Acta Apost.

antidote against a poisonous bite '), whence
:

cp.

treacle.

To

122 22.
124 1.

SopupEii'.

t5 TTjOWTOv

Lat. explodere.

hiss off the stage.

Harsh sound,

Cp.

dissonantia.
1(01/

96 14,

210

3,

8,

hat. femininus.

gender,

apply to vipers as well as other animals

the

specula-

Cp. Oeupia 66

152 26, 204

Lat. ferinus.

Beast-like.

laesa.

ete. . Investigation,

Metaphorical Terminology of Oreek Rhetoric, p. 26,

6T|piiSt)$.

Lat.

A.ey(i).

mens divinitus

artis.

eeupeii'

sUwy.

Theatrical,

deaTpiKo, to. Vopyieia ravrl

to,

Hymn.

Horn, in Merc.

7rifa(^eA,a)s

ipeeCvg,

murmur

Lat.

false note.

486

os

o-iVtos

/^lai/'

Se

inconeinnum,
Kev a-urijv vijis
|

kev hrura fierrjopd

re dpvXi^oL.

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

170 7,270 19. Iambus. The metrical foot v^ -. The adjective
TojiPos.
Eap,piK<5s in 184 11, 258 19, 276 10.
88 6, 104 8, 116 12, 198 17, 200 5, 248 4. Kind, aspect. Lat.
iS^a.
lajiPEioi'.

genus, aspectus.
i8i'w(xo.

p.

240

Peculiarity.

23.

Cp. Long.

Lat. proprietas.

p.

278, D.H.

193.

124

iSicS-nis.

2,

272

19.

Amateur, uncultivated.

Lat. imperitus.

Idiots

long bore this meaning of ' ordinary persons in English cp. Jeremy
Taylor, "humility is a duty in great ones as well as in idiots."
:

'

i0uij)dXXioi'.

86

8.

Ithyphallic poem.

poem composed in the measure

Masqueray Abriss der

270

lao|j,EY^6T)S.

214

toTopia.

90
taxupds.

6.

1.

16.

the

carmen ithyphallicum.

hymns

Priapus.

to

A
Cp.

griechischen Metrik pp. 191, 192.

Equalinsize.

History.

Lat.

of

Lat.

Lat. hdstoria.

In 66 14 'wropia^ inquiry,

162 23,210 17,216

16.

par magnitudine.

So

tcrropiKos, suited to na/rrative,

investigation.

Strong, vigorous.

La,t.

firmus, robustus.

DIONYSIUS OF HALICARNASSUS

304

tVxus occurs in 68
In 216 16 ttere may be some sense of nerveux.
72 19, etc. piafirj in 84 13 Kparos in 72 14.

86

'I(i>i'ik6s.

19,

14.

Lat. lonicus.

Ionic.

Op. Masqueray,

op. cit. pp.

137

The

Ionic tetrameter

is

meant.

ff.

68 4, 74 18, 230 14. Pwe. Lat. purus. For Greek and

Latin authors as consciovis purists, cp. Terence's "in hac est pura
oratio," or Dionysius' to Kadapeveiv tijv BidXeKTov {de Lysia c. 2).
See C. N. Smiley's dissertation on Latinitas and 'EA.AijVMr/ios, and L.
Laurand's Etudes sur le style des discours de CMron pp. 19 i (the
section headed " Puret^ de la langue ").

Ka9op(5s.

KuOoXiKos.
KaicoTt];.

134
232

Lat. universalis.

General.

2.

Novelty.

20.

Lat.

Used

novitas.

in

a condemnatory

sense: 'innovation,' 'singularity,' 'eccentricity.'

254

Kan'OTOfi.Eri'.

metaphor
Kawoupytlv.

23.

To

break

from the opening

200

18.

new ground.
of a

To introduce

new

Lat. nova/re.

It is a

Cp. de Thucyd.

vein.

c.

mining
2.

hat. novitati studere.

riew features,

132 15, 20, 21. Sense of measure, tact, taste. See S. H. Butcher's
Harvard Lectwres on Greek Subjects, pp. 117-120, for Kaipoi as a word
without any single or precise equivalent in any other language. Cp.
EUKaipus 132 3
euKaipia 242 3.
EUKaipos 134 18, 196 25

Kaipos.

KaKO(|>(ai'os.

p.

132

1,

164

11.

lU-soundi/ng.

hat. male sonans.

Cp. Demetr.

286.

Ghoice in diction.
Lat. sua/oiloqitens.
180 3.
It is the word
used of Agathon in Aristoph. Thesm. 49 (Classical Review xviii. 20).
Cp. D.H. p. 193, with the passages there quoted
to which may he
added Plato Apol. 17b KeKaXKiar-qpAvovi Aoyous, and (for tiro's only)
Thucyd. iii. 67 Aoyoi orecri Koa-fir^devTes and ii. 41 oVtis screen fiev
TO avTLKa ripxpii.

KoXXiEii^S.

KaWiXoyia.
164 20, 166 12. Elegant language.
Lat. venusta
So KaXXiXoyeiv of 'verbal embellishment,' 80 12.
KaXXipi^p.ui'.

omatus

74 18, 166

7.

Gouched in elegant phrase.

elocutio.

Lat. elega/iUibus

verbis.

KdXXos.
78 19, 84 10, 94 2, 160 13, 172 16, 182 5, 256 5.
language).
Lat. pulchritudo.
Cp. Ariatot. Rhet. iii. 2. 13.

Beaviy

(of

118 23, 120 22, 136 8, 160 13, 14, 178 15, passim. Beautiful.
The word is inadequately translated by beautiful
and 'fine' has unfortunate associations of its own, especially in relation,
to writing.
Noble would often be nearer the mark, but that rendering is needed for jivvalos and euycv^s (cp. 136 13, 178 15, etc.).
In English we lack a single word to denote that nohle beauty which
is sometimes seen in a human face, and which suggests an ultimate
harmony of things. The meaning of /caAds, as distinguished from
ijSiJS (in reference to composition), may be gathered from such passages
as 68 5 (t<J) o-ejavy to yjU) and 120 22-24 (see under ijSov^,
p. 302
supra).
The antithesis is not, as has sometimes been thought, that
of pleasure to the ear and beauty to the mimd.
In this treatise

KaXos.

Lat. pulcher.

'

'

'

'

GLOSSARY

305

Dionysius is dealing not with subject matter (6 irpay/iariKhs tottos)

but with expression, and that chiefly from the euphonic point of view.
KaA.os includes certain forms of pleasure
of the ear as well as of the

mind

cp. Aristot. Bhet.

a-ura (/caAa

iii.

dvojuara)

rb irpbs rrjv aKorjv

1405 b and Demetr.

Trphs ttjv oipiv

rj

Cp., further, gramtas){suavitas, Cic. Or.

146

Quintil. ii. 4.

17.

rompu.

faible, maigre,

seems to indicate
{TOa-av)Tr]V

oiov

jjAvo'S,

Brolcen,

So'Long. de Subl.

iii.

12.

mollis.

Fr.

xli.

fiiKpoiroLovv S'

ovSh

pvdpo's KiKXaa-p.kvo's Ao-ytov koX a-eo-of3r]TTvpptxi'Ot Kal T/aoxatot kol St^ojoeiot, reAeov ets

v\j/rjXoi's,

Sfj

(os

op^rjCTTiKov o-vveKTriTTTOVTe^.

230

KaraXajxPdi'eii'.

Lat. fractus,

nerveless.

Cp. KaraKXafievovs, 262 12, where Dionysius

the broken (but by no means nerveless) foot

virdp^ai.

ouTios ev TOts

ijSeiav /cat fieyaXoTrpeirrj Aristot. Ehet.

184

KaTaKEK\aa')i.^i'os.

de Eloc. 177 i>picraTo

KaAAos ovd/xaros eo-ri
rjSv, r] rh ry Siavoiq, 'ivTifiov.
^ 62, 182 honestus){imundus,

Sepc^pacrTos o-utws"

To

4, 12.

Cp. Demetr.

230 12

insertion of a-KMry in

Lat.

check.

287.

p.

coMbere, premere.

perhaps unnecessary.

Usener's

Herod,

v. 21
Uepcremv ddvaro^ ovToy KaTakap.<f>6els itriyqd'q (i.e. " Persarum
caedes ita silentio compressa est ") does not decide the point.

is

Tcui'

178 20, 184 9,258 13. Final syllable,

With 178 20 cp. 178 13 Kal a-vXkafirjV

KaT(iXY]|is.

syllaba terminalis.

liat.

reXeiovrai to
kZXov.
See also Long, de SvM. xli. 2 ras 6<l>etXop,evas KaraA^^ets,
and Demetr. p. 287 (8.v. KaraXrjKTiKos).

1681.

KaTdXcyos.
(in

II. ii.) is

KaTaixeTpETi/.
c.

hat. enumeratio.

Catalogue,

v<t>'

^s

The Homeric Catalogue

'

meant.

174 24,182

To measure.

16.

Lat. emetiri.

Cp. de Demosth.

39.

KaTaTTUKcoGi'.

162
70

KaraoTKeu^.

omatus.

Topack.

4, 16.

4,

The

Lat. stipare.

Fr. charger.

156

Artistic treatment.
Lat.
13, 160 19, 164 12.
Latin apparatus, and French a/ppret, will also give some-

Cp. Karao-KEud^Eii' 106 3, 140 9, 154 3, 14,

p. 194, under Karao-Kc-uij (with
the passages there quoted) and Karaa-Kevd^etv.
thing of the meaning.
17,

158

1,

etc.

4,

See also D.H.

Lat. detrahere.
Cp. the use
204 24.
To pull down.
and KarecnrevcrOai in Long, de Subl. xix. 2, xl. 4.
possible that KaTecnreva-dai, should be read in O.V. 204 24.]

KOTaoTrai'.

of /car[It is

icr7rev(rp,eva

200 8.
204 19.
KUTaxXEud^Eif.
264
Kardxprjo-is.
78 16.

Lat. condicio.

KOTooTao-is.

State.

Karaitiopci.

Doiimrush.

To

9.

jeer.

Lat. decursus.

hat. cavillari, irridere.

definition is given by
Lat. abusio.
" eo magis necessaria Ko.rdxp'qo'is, quam recte
dicimus abumonem, quae non habentibus nomen suum accommodat, quod
Cp. Cic.
in proximo est
sic Equum dimna Palladis arte Aedijicant."
Quintil. viii.

6.

Catachresis.

34

Orat.

27.

94, where the

same Latin equivalent

the same description of the figure

is

given, though not

" Aristoteles autem translation! et

haee ipsa subiungit et abusionem, quam Kardxpn^criv vocant, ut cum

minutum dicimus animum pro parvo, et abutimur verbis propinquis,

DIONYSIUS OF HALIOARNASSUS

306

vel quod delectat vel quod decet " (cp. Auct. ad Her. iv.
In Cic. Acad. ii. 47. 143, "Quid ergo Academici appellamur?
an abutimur gloria nominis ? " the meaning probably is 'do we use
?
the glorious name of ' Academic ' in an unnatural way

opus

si
c.

est,

33).

156

KaTEOTTouSao-fi^i'os.

Cp. Herod,

Lat. anxius, instans.

Earnest.

7.

ii.

174.

To mix, to temper.
12, 248 17, etc.
Cp. the adjectives evKparoi and evKepacrTOs,
The general sense in 248 17 is, 'qui aient su mieux
p. 301 supra.
qu'eux faire un heureux melange des couleurs.'

218

Kepavvimi.

240

7,

246

17,

Lat. cormmscere, temperare.

146

KEoaroEiS^S.

Lat. sonus veluti corneus.

Sounding like a horn.
horn
cp. Hymn.
' sounds like (the sounds of) a
81 fivpo-ivoeuSeas 6(ovi, 'branches like (the branches

12.

KeparoeiSei's iJxoi'S

Horn, in Merc.

'

of) myrtle.'

68

K<|)<Xaioi'.

18,

12413.

ktiXeii*.

120 25, 130

14,

Lat. caput, sum/ma.

substance.

To charm.

136 7, 160 8. Heading, topic, sum and

So KE^iaXaiuSus, 112 21, under heads.

Lat. pernmlcere.

194 12. To excite, to disturb. Lat. movere. So kii'tjo'is,

and kh^qtikos, 158 12.
movement, 124 8, 160 3, 244 20
Lat. dissimulare, obtegere.
Cp.
196 17.
To cheat, to disguise.
kXettteii'.
KicEii'.

146

8,

Demetr.

288.

p.

122 14, 148 14, 164 22, 200 7, 210 1 (according to one
236 11, 252 28. Common, mixed, general. Lat. com/munis.
For the meaning in general terms cp. de Dinarcho c. 8 Xiyia St
Tttura ovK iv T(a nadoXov Tpoirw, los /irjSev rovTiav Ka.Top6ovvTOi,

KoiTOs.

120

13,

reading),

'

d\K

kv Tta KOivoTepw kou (is enl rh ttoXv.

236

KoXuKiKos.
Kofifia.

62.

'

Lat. hlandus.

Alluring.

9.

270 15, 276

211; Quintil.

incisum (Cic. Orat.

Cp. Demetr. p. 288;

Lat.

Short clause, phrase.

2.

4.

ix.

t. incise.

22).

Quintil. ix. 4. 122 "incisum (quantum mea fert opinio) erit sensus
non expleto numero conclusus, plerisque pars membri" G.V. 270 15
/3pa)(VTepa. k(oXij>v.
KOfifiaTa
So Koixp,6.Ti,ov 27 i 14, 276 6.
[The terms comma, colon, and period are now specially applied to
punctuation.]
For illustrations of /ccSXa and Ko/i/iara drawn from
;

Cicero
Ktti

Laurand's

see

adjective

Etudes

Ko/t/iartKus

TO, TrXeiia

Kop.p.aTLKia'i

(i.e.

In de Demosth.

128.

p.

found

is

aTrotiJrws

per

brevia

Se

ttus

commata

et

c.

koi

39 the
dtjieXuis

incisa)

kot-

ifTKevajrOai ^ovXerai.
K^iTTEii'.

132

4,

198

To smite upon,

7.

in reference to the ear,

K^pos.

124

132 11, 192

18,

Pindar Nem.

Kopu^'f\.

248

4.

vii.

18,

it

to

receives

Used
Lat. obtundere.
hammer-strokes of sound.'

weary.
'

196 18, 252 25. Satiety. Lat. satietas

this word Dionysius often has in mind

In using

(Cic. Orat. 65. 219).

dfjipoSla-ia)

when

52 (Kopov 8' e)(ei koi fiiXi Kal to, reprv avdi

which he quotes in Ep. ad Pomp. c. 3.

a passage

Top,

and aKopvcjiOi (230

head.
31).

Lat.

caput.

Op.

K0jov<^atos

{headman)

GLOSSARY
94

Kopidi'is.

Colophon, finis.

4.

Lat.

usque ad calcem perlegere,'

'

'

307

coronis.

from

y^XP'' KopoiviSos SieXdeiv

title to

colophon.'

130 25, 154 10, 220 12. A mixing, blending. Lat mistura.
KpdTKTTOS.
70 1, 120 18, 134 20, 142 5, 150 10, 160 5, 162 3, 15,
176 15, 196 10, 206 21, 214 16, 250 16, 260 21. Strongest, fimst,
best.
Lat fortissimus, optimus. It is not always easy to determine
in ttese passages whether the meaning is general or special.
But in
162 3 KpaTtcTTOts is opposed to fx.aXa.KiaTa.Toi's. When he wishes to be
Kpao-is.

quite explicit, Dionysius can use itrx^pos (162 23), or pkkrurros.

Force, power.
70 5, 72 14, etc.
174 11, 260 23,262 9. Oretic.

KpdiTos.

Lat. vis, robur.

The metrical foot - _ For

183 and Or. 64. 218
Quintil.
ix. 4. 81, 97, 104, 107.
In the Epitome c. 17 the equivalent term
of Kpij-riKos.
dfj,<f>ifiaKpo's is used instead
For the excessive use in
prose of the cretic (as, indeed, of any other distinctly metrical) rhythm

KpriTiK(5s.

the cretio foot cp. Oic. de Orat.

Walter 0. Summers in

cp.

Kpingpioi'.
KpoSiris.

250 7. Criterion.
124 8, 144 1, 268

264

ktci'iJeii'.

To

22.

iii.

47.

Classical Quarterly

it.

173.

Lat. iudicium.

Stroke;

7.

comb.

Lat.

note {of

an instrwment).

metaphors from

Parallel

pectere.

Lat.

Latin literature are quoted in Larue van Hook's Metaphorical Terminology

of Greek Rhetoric p. 23.

174

kukXikiSs.

Cyclic.

4.

Lat. cyclicus.

Goodell {Greek Metric pp. 168

points out that the much-debated question of

ff.)

'

cyclic

'

or

'

three-

timed' anapaests and dactyls hinges on this passage (174 4), together
with part of c. 20 (204 16-206 16).
As he says (p. 175 ibid.), " It is
clear that Dionysius does not regard even these irrational dactyls as
three-timed merely ; the nearest approach to that view is in the
remark that some are not much longer than trochees.
But that
implies that even the briefest are somewhat longer than trochees."
Goodell also suggests (p. 181) that kvkX.ik6s in Dionysius corresponds
to o-TjOoyyuAos in a passage of Aristides Quintilianus.
Clearly the
elaborate structure of the ' cyclic dactyl ' cannot stand securely upon
so slight a foundation as these statements of Dionysius.
See further in
Goodell (op. cit.), and also in L. Vernier TrwM de mdriqw grecque et

Mine c. 14 pp. 169 ff.

198 6, 212 14, 246 3.
jciipios.
84 5, 208 24, 246 11.
kijkXo;.

Fr. propre (in

and

(in

le

mot

propre).

circle,

a round.

Lat. orbis, ambitus.

Lat. proprius.

Accredited, regular, proper.

Cp. D.H.

p.

195, Demetr.

addition to the passages there quoted) Quintil.

i.

5.

p.

289

71 "propria

cum id significant, in quod primo denominata sunt transcum alium natura intellectum, aliimi loco praebent" The meaning
proper,' literal,' is well illustrated by 208 24, where Kvptoi.'s (' used

sunt verba,

lata,
'

'

in the ordinary sense

') is

opposed to

fiTa(f>opiKoi's.

110 10, 176 2, 178 6, 7, 194 13, 22, 218 18,

230 16, 234 20, 21, 276 2, 6, 14, 278 6, etc., passim. Member, clause,
Cp. Demetr.
growp of words.
Fr. membre de phrase.
Lat. membrum.
p. 289, and Aristot Rhet. iii. 9. 5 Kwkov S' ia-rlv to erepov fwpiov

kS>\ov.

72

6,

9,

104

9,

DIONYSIUS OF HALICAENASSUS

308

quae kcuA,o
vepioSov], Quintil. ix. 4. 22 "membra,
Long, de Suhl. xl. 1 ij tZv [leXmv [this illustrates the
metaphor in kwXov] eiria-vvdeo-ii. For the length of the kioXov cp.
Sandys' Orator of Cicero p. 222 and Laurand's Andes pp. 127-9;
and see, generally, A. du Mesnil tJber die rhetorischen Kv/nstformen,
ravTTjs

[sc.

(dicuntur),"

Kom/ma, Kolon, Periode.

264

Koaaielv.

To

9.

100 26, 104

\aii.pdvew.

106

17, 20,

18,

19,

108

2, 5, 8,

passim.

To

Lat. sumere, adhibere.

employ.

take, to

Lat. iocari, illudere.

scoff.

130 19,164 12. To smooth, to fall softly on. hsit. polire, mulcere.
132 1, 154 12, 162 23, 222 5, 228 4, 234 14. SmA)oth. Lat.
levis.
So Xei^tijs (doucew) 240 6.
Cp. Demetr. de Eloc. 176 ira/joi

XeaifEii'.

Xeios.

XkyiTal tl ovofia Xeiov, Koi erepov rh Tpa)(v, kol

aAA,' oyKrjpov.
Aetov /xev o5v ItrTtv ovo/xa rh

Se Tots /J,ov(TiKois

aAA.0
Sia

evTrayes,

/cat

<jiO)V7]iVTij)V

vd,VT(ov

7]

Sio.

irAetovtov,

oioi/

Aios, Tpa)(y 6e

otbi'

ySeySjOlDKEl/.

speetat.

Relating to style or expression.

Lat. gsii ad ehcutionem
7, 96 9.
6 Acktikos tottos = the province of expression, as distinguished

from o

Trpayfji,aTLKhs

66

XcKTiKos.

totto^.

258

Xcktikus,

3,

= after

the

manner of

prose.

Uiis.

66

16,

70

4,

110

9,

90

style;

14,

11,

3,

112

of the later periods, cp.

268 19.
90 20.

210

21.

('passages'),

88

22,

Lat. dictio, elocutio, verbum

iii.

25,

s.

locutio.

'

'

T^v

Cp. de Demosth.

c.

25 koi Sta

<j>pdcriv.

Lat. eviguus, humilis.

For Xitos plain,
16 ttoikCXos xal ov Atros.

Trifling.

8.

84 15

Lat. ineptiae.

TOJV Xrjpotv TovTtiiv Kocrp.ii

cp. Aristot. Bhet.

8,

Speech or hmgvage; utterance; diction;

word or phrase,' common in Greek writers

66 16, 124 23, 128 5, 168 10, 202 22, 206 6,
'

Trumpery.

Xrjpos.

76

3,

word, expression, passage.

For the broad meaning

XiTos.

74

passim.

6,

simple,

Dionysius has in mind not

(picked up) as they lie.
Cp. Joseph.
Antiqq. lud. iv. 8. 5 (Naber) koi /3a)/i69 tis eic XiOwv fjoj KaTUfyywcr/xeviav dXXa AoyaSiyv (rvyKeip,ev<jDV (i.e. collecticiis), and Thucyd. iv. 31
Kai yap Ti Kai epvfia avroOi fjv TraAatov At^ojv AoyaS?;i' TreTroirjpivov,
vi.
66 Kai Ittl T(j) Ada-Kwvi epvfm ti, fj eve<f>o8<oTarov ^v toi?
TToAe/itois, At^ois AoydSijv Kai ^vAots Sia Ta)(i(av wpduxrav.

XoYi8ir|i'.

selected stones,

Casually.

but stones

Lat. fortuito.

collected

146 14. Rational La,t. rationalis. This -passage (drjpiiaSovs yap

dAoyoD yuaAAov rj XoyiK^^ tfjidiTTidOai Sokei ^(ovijs o a-vpcyfws)
helps to illustrate the use of AoyiKos in 130 3 (SeSei-y/xevi^s t^s Siacjiopai
8ta<^e/)ei fiova-iKfj XoyiKrjs), where singing and ordinary speech (the
sounds of music and those of spoken language) are contrasted.
158 1.
Prose-writer.
XoYOYpci(|>os.
Lat. solutae orationis scriptor.
So
perhaps Aristot. Rhet. ii. 11 Kai &v eWtvot Kai eyKio/^ia Aeyovrai
fj wb
TTonjTwv
Xoyoypd<l>(ov, and Thucyd. i. 21 Kai owe os Troiijrai
XoyiKos.

Koi

-fj

vp,vrjKa(rt

oijTe

both these passages

'

us

Xoyoypdtfioi

chroniclers

'

^vvedeo-av

may be

ktX.

specially meant.

though in
For the

GLOSSARY

309

meaning 'professional speech-writer' cp. Aristot. Bhet. iii.

In G.V. 154 17 o-uyy/aat^ewv is found in the same sense
writers') as Xoyoy pdtfioi, in 158 1.

272 15. Prose-cha/rader, Lat. color

The word is well explained and

XoyoEiSeia.

on Hephaestion (Westphal
Se

k(m

TO aviv irddov^

LTTirovi

rj

rpoirov

TavTov ecm T(j) koyoeiSei.

found in the same sense.

is

In Demetr.

i.

167)

scholiast

ttoXiTiKhv

otbi'

ireiroirjii^vov,

re ^av^as e/carov Kal irevTijKOVTa

oTrep

by a

illustrated

Sorvptores Mebrici Graeci

2.

Fr. la coulew

prosaicus.

prosdique.

12.

('prose-

[7Z.

xi.

680],

de Eloc. 41 rb Xoyi/cov

64 13, 66 5, 8, 70 10, 72 7, 10, 14, 74 6, 76 2, 84 14, 16,

92 23, 94 2, passim. Discourse, language. Lat. oratio, sermo. Often
used of prose, as opposed to poetry: cp. 84 14, 16, 108 11 (Xoyois
Trefois), 118 22, 154 2 (Xoyots tpiX-ois), 166 4, 208 6, 270 17,
272 9, 13, 17, 19, 28, 278 6, 9 (where the meaning probably is 'a

Xiyos.

280 18 ; so Kal kv iroirjo-ei Kal ev Adyois

further references in Bonitz' Index Aristotelicus
7
In many passages (e.g. 66 5, 210 8, 218 1, 248 4) 'wTiting'
p. 433).
or literature (cp. 17 Ttov Xoytav (jiiX.o(Tocf>La = ' the study of literature,'
BhA. ad Alex. c. 1) will be a possible modern equivalent, though we

piece of continuous prose'),

(Aristot. Bhet.

'

iii.

2.

'

must always bear in mind the Greek point of view, that what we
somecall 'literature' was something conveyed by the living voice,
See also s.v. a/^eT/oos p. 287 supra.
thing spoken or read aloud.
196 2. Lydian. Lat. LydiMS. Cp. Monro's Modes of Ancient
AiiSios.

Oreek Music, passim.

idea of

lacking in backbone,'
mou.

(rather)

136

(leyaXOTrpcWis.
Lat.

'

'

magnificus.

12,

166

Fr.

magnifique.

120 22, 164 20.

172 11,174 19.
u^Ye9o$.

112

2,

p.

9)
'

the

word

-suggests the
Fr. ddlicat, or

effeminate.'

Grand, impressive, splendid.

etc.

So neyaXowpiireia
La,t.

(la

grandewr),

magnitudo, sublimitas.

292.

To arrange

2.

18,

GroMdeur, elevation.

Cp. Demetr.

Fr. ampleur.
|ic9op|ji,5ieii'.

unmanly,'

So ,ia\9aK<5s

Lat. molKs.

132 1, 154 11, 162 3, etc. Soft.

90 20. In some passages (90 20, 170

iio\aK<5s.

differently,

to

re-arrange.

Lat.

aliter

componere.
iieioOi'.

128 18, 152 20. To lessen, to curtail.

So |j,ciuctis 110 15. The word does

trancher.

Lat. mdmuere.

Fr.

re-

not, in the G.V., bear

the special sense of extenuare.

(i\iK(5s.

130

7,

252 21, 254

21,

278

4.

Melodious,

lyric.

Lat. lyricus.

than
In English 'lyric' is a more generally intelligible rendering
" To the writers of the Alexandrian age,
melic,' though less exact.
who introduced and gave currency to the expression, 'lyric' meant
accompaniment
primarily what the name importspoetry sung to the
an exact and
as
'lyric,'
than
appropriate
More
of the lyre.
musical
comprehensive designation of all- poetry that was sung to a
Greeks of the
the
among
vogue
in
term
the
melic,'
is
accompaniment,
'

'

DIONYSIUS OF HALICAKNASSUS

310

Weir Smyth Greek Melic Poets pp. xvii, xviii. Apparently

the adjectives fieXiKos and XvptKos are both late.
t
c. 48
70 2. Honey-sweet. Lat. mellitus. Cp. de Derrwsth.
jjieXiXpiSs.
awrrrjpov, tots Be
rafs /jteralBoXaTs Tore jxlv rh dpxai-OTrpeirk Kal
TO [jieXixp^v Kal <f>i\6Kaivov l/i<^atvo/ivov.
classic ages,"

3, limb

204

ji^os.

122 24, 126 21

(fiis),

194

278

280

6,

18, words

to

set

music, song,

a/ria,

120
15, 272

92

120

melody:

7, 13, m?i,

18 122 11, 130 4, 11, melodious effect, tun^ulness

126 23, 154 2, 192 21, 194 5, 250 11, 16, 254

22,

5, 8,

chant, lay,

26,
10,

Lat.

lyric.

(ieXoiroios 194
Similarly also (lEXoiroua 214 3
126
18, 128 5
jjieXuSeii'
5
272
270
22,
248
13,
18, 236 16, 22,
(icXuSCa 122 16, 194 8, 196 2.
To divide. Lat. distribuere.
u.epijEii'. ' 144 22, 220 25.
PaH. hat. pa/rs. ra ttjs Ae^ews /ie/)rj =
etc.
96
70
14,
1,
68 6,
(i^pos.
See also fiopiov, p. 311.
'the parts of speech,' 70 14, 96 14, etc.
Middle, intermediate,
10.
246
148 18, 150 11, 210 6, 7, 8, 236 2,
fiiiTos.
So fi-iaias 146 10, and jjieo-o-nis 246 15 (bis)
Lat. medius.
average.
(with reference to Aristotle's use of the word for le juste milieu), 248 11.
194 1, 2. To change, to vary. Lat. muta/re. As its passive,
(iexapdXXEii'.

cantus, carmen, etc.

266

fiETaKEip.EI'Y)!'

120

(jiETaPoXii.

1.

122 12, 124

19,

The

diversitas.

varietas,

Dionysius,
formity.

(lETaTTTOJTiKos.

132
140

20.

19,

108

19,

108

fi,TO\r\.

Lat. commutare.

interchange.

Lat.

Variable.

9,

110 16

110

6.

148
72

Transference, metaphor.

15.

fair.
ji^rpoi'.

96

10.

Modification.

Op. text in 110 16 with 104

23.

Upper,

Participle.

1.

140

132

8,

"The

l&t

figure of transport,"

superior {tovs p.eT(opovi oSovras

Lat. participium.

11,

150

9,

214

12,

Cp. D.H.
19.

p.

metrists,'

= denies

196.

Metrical.

Lat. metricm.

'the theorists on

222 26, 230 22, 234 22, 246

13.

Moderate,

Lat. aequus.

74

5,

84

16,

88

92

6, 8,

22,

118

22,

120

Lat. metrum, versus.

Measure, metre, verse, line.
7 metres are described as sections of rhythm {to.

Twv

(j.ETOiriirTEii'

Lat. translatio.

'

H^Tpios.

114

(e coni. Schaef.),

(j.ETao-KEud^Eii'

172 2, 174 22, 176 7, 218

172 2 and 174 22 ol p,TpiKoi = the
metre': cp. ot pvOp-iKo'i 172 20.

(lETpiKos.

So

mittabilis.

9.

78

Puttenham.
ILeriiapos.

all other languages.

To

v.

So

Lat. mutatio.

(j,ETa<J)opd.

by

7.

104

(lETaffKEuVi.

Lat.

conceived

as

to diversify style in order to avoid a monotonous uniVariety is one of the chief essentials of good writing, not

only in Greek but in

250

Variety.

18,^ 19.

/AEra^oA.^,

of

is

[lETaXafi^di/Eii'.

17,

134

11, 25,

object

26,

In

yap

172

17, passim.

Aristot. Poet. iv.

fikrpa

on

/iopta

they are ' measures,' or ' verses ;

'parts of rhythm,' which is indefinite and never comes to an end
fierpov being rhythm cut, as it were, into definite lengths (Cope
pv6p,()iv

ea-Ti

(j>avep6v)

that

is,

'

GLOSSAKY

311

Introduction to Aristotle's Bhetoric p. 387).

fitXrf (cp. Plato Gorg. 502 o to te jxeXos

When
'the music'

generally (hexameters, iambic trimeters,

contrasted with

Kot tov
pvdjxbv Kal rh fierpov), fierpa seems to denote the non-lyrical metres
etc.)

92 22, 120 26, 192

see

270 18-23.
204 2, 224 15, 264 4. Length.
150
22,
154
6,
(iTJKos.
So (it]Kui'ii' (to lengthen) 132 7, 152 24, 224 8, 13, 246
(and also in 276 9, where P gives firjKvveiv and MV
21, and especially

Tov Xoyov) /mjKuveiv

1131

Lys.

is

208

18.

also

D.H.

and

'

132

9, 10.

Lat. mistwra.

Greek

fiijis

Pomp.

in Ep. ad

c.

130 25, 166 9

may have
to

it is

written

be noticed

give SeTyp.a, where the sense clearly calls for

90

20.

Affected, finical.

266

11.

Trifling, pettiness.

)i,iKp6Kop,i|(os.

Cp.

It is possible that Dionysius

197.

p.

that the manuscripts

uiKpoXoyia.

used absolutely ( = (jtaKpriyopiTv cp. Aristoph.

av aXXovs, ei' p-e p,r]KvveLv 8eoi ;).
In
to prolong, or continue, in the same case with
just as Dionysius himself, inadvertently no

Mixture, blend.

as in earlier

fielyfia.,

'

is

terminations

doubt, repeats -uv in

(iiyfia.

In 246 8

8.

give firjKvveiv

irdcrow shroifi

132 7 the meaning

similar

Lat. longitudo.

Lat. bellulus.
Lat. rerum

minutarum

In

cura.

Theophrastus' Characters the word is used of attention to trifles on the

Op. also Demetr. p. 293, s.v.
part of the mean or parsimonious maji.
piKpoXoyeiv.
uiKpo<{i(di'os.

exigiia/m,

Small -voiced,
142 9.
sonum exiliorem.

160

|ii)jii]fia.

Imitation.

2.

firjvvpxira, 'expressions

uiuriTiK^g.

Lat.

vocem hahet

non-resonant.

Lat.

qui

imitamentum.

[F.'s

reading here

which indicate'

cp. de Demosth.

c.

51

is

init.]

158 4, 11, 200 11. Invitative. Lat. ad imvitandumi a^tus.

202 1.
266 7. Memorial. Lat. monumentum.
The metrical
Molossus.
Lat. molossus.
172 1, 184 4.

So

fJl.l|I.1)TlKUS
)i.n|)jiEioi'.

jioKoTTos.

uoraYpduiiaTos.

152 20.

Gonsisting of

single

letter.

foot

Lat. qui urdus

est

litterae.

270 23. Consisting of one m^tre. hat. manometer. Applicable

poems, like the Iliad and the Aeneid, which are written throughout
in a single metre.

luiv6fi.eTpos.

to

168

p.oi'oaijXXaPos.
y.6pioy.

70

sveech.

10,

96

202 14.
98 6, 106

11,
3,

Lat. vars,

pars

orationis.

Part, especially pa/rt of

The meaning

appears in such passages as iroiov ovop.a

popttov (106 12), Tci p.6pLa. ToC

Lat. monosyllabus.

Monosyllabic.
11, 12, passim.

Xoyov (110

rj

1),

p-rjp,a

'part
ij

tojv

of

speech'

aAAwv

ri

Xoyov (126 7),

'Words'
(168 10).

ev popiov

ovopa Kal pfip,a Kal aXXo fwpiov Ac^etos

simply might serve as a rendering in many cases, except that it is
usually well to preserve Dionysius' idea of ' words in their syntactical
In 232 18 the meaning may be 'in
relations,' 'words in a sentence.'
every word' so 130 7, 134 25, 220 3, 222 10, 224 11.
ttSi/

DIONYSIUS OF HALICAENASSUS

312

So
Music, melody.
Lat. mudca concinnitas.
126 16, 252 20.
124 20, 128 18 6 (iouctik^s 138 6.
138 10. A moamng, muttering, mu/rmur, hvmvmvng. Lat. gemitus.
uuvu^s.
Cp. Demetr. p. 294, and Aesch. Eum. 117, 120.

lioGira.

fiouaiKV)

158

uijKr)fi.a.

66

VEapos.

16,

Lat. nmgitus.

Bellowing.

13.

246

Lat. iuvenilis.

Youthful.

5.

Op. note on fieipaKui&qs

in D.H. p. 196.

210
66

i^TT).
i'6n(Aa.

Cp.

iivos.

74

5,

15,

276

Lat.

note.

Meaning.

78 17, 252 24, 272 11.

oiKeTos.

110

13,

20

xviii.

126

S. s.v. vedrrj.

1, 8.

Review

&

See L.

chorda.

Lat. sententia.

p. 197.

Fr. sens, pens^e.

Foreign, strange, unfamdUar,

Cp. D.H,

Lat. pere-

197, Demetr. p. 294, and

p.

(as to ^eviKos).

134 20, 140

1,

appropriate, Jittimg.

Lat. sententia.

6,

grinus, inudtatus, ajrcessitus.

Classical

ima

92 17, 112 15, 264 16. Idea.

perception) 74 3, 268 9
and D.H.

84

16,

voTjo-ts {thought,

212

cous.

Lowest

7.

12,

154

19,

158

2,

168

7.

Akin,

So oikeius 72

Lat. cognatus, domesticus, decorus.

8,

122 21, 240 7 oIkeioui' 122 17. If the

metaphors are to he fully pressed, we might render oiKeia Kal (j>iX.a
in 110 13 by 'to seem loving members of the same family,' and oikeicos
in 118 14 by 'in harmony with their inner significance.'
In 122 21
otKEtoTiys is 'a natural inclination or instinct.'
On 122 17 there is the

118

14,

134 10

oiKeuJ-njs

following scholium in

oiKeiovrai oivrl tov eiiTTaOios rjSeTai.

In
TO oiKiiov (appropriateness) seems almost to stand for to irpeirov
to be an illustration of Dionysius' own love for variety.
It is
this unusually copious vocabulary of his that does much to relieve
" In the works of Dionysius,
the dull monotony of a technical treatise.
the great representative of a later school of criticism [sc. than that of
Aristotle], we meet for the first time a wealth of rhetorical terminology.
In his numerous writings we find freely used a fully developed
vocabulary, which is completely adequate for the purposes of the professional rhetorician and the broad literary critic" (Larue van Hook

126
and

Metaphorical Terminology,

176

etc.

p. 8).

To manage.

Lat. adminisirare, tractare.

So olKocouia
Cp. Aristot. Poet. xiii. 6 Kal 6 EvjOiTrtSiys, Et Kal to aX.ka
ei)
oiKovofiei, dX.\a T/oa'yucwTaTos ye tc3v Troiiqrmv ^aiverai
firj
Long, de SvM. i. 4 Kal tyjv tQv wpayfidrrutv rd^iv Kal olKovo/iiav

oiKoi'0)ji.Eii>.

264

18.

16.

Quintil. Inst. Or.

oXiYoo'uWaPos.

132

3.

iii.

rerum domesticarum

9 "oeconomiae, quae Graece appellata ex cura

abusionem posita nomine Latino caret."

et hie per

Consisting of few syllables.

3.

JjSit

qui paucis constat

syllabis.

SKiyoaivietriios.

212 21.

Sparing in connectives.

Lat. qui

pauds

vtitur

convinctionibus.

146

10,

148

9.

6(AoioYnf)s

{of

like

kind)

djioyEn^s.

132

19.

Of the same race or family.

72 24, 132 19, 156 15

Lat. congener.
:

Cp.

also dTOuoiovEWis

GLOSSARY
192 18, 198 6, 270
So SfioEiSeia 274

313

Of the same species or land. Lat. uniCp. Cic. ad Att. ii. 6 " etenim yewypa^iKo, quae constitueram magnum opus est
et hercule sunt res
difflciles ad explicandum et 6/ioeiSets nee tam possunt dvdrjpoypa-

6|ioi8i^5.

formis.

19.
1.

(^iurOai

quam

videbantur."

254 17. Connexion, affinity. Lat. cmiiugatio.

270 16. Like in shape. Lat. forma consimilis.
ofioioTocos.
132 6. Similarly accented. Lat. qui simiUs est toni.
132 6 (bis). Of like quantity. Lat. qui similia hdbet tempora.
6|ioi6xpoi'os.
6|ji6toi'os.
128 7. Of the same pitch or accent. Lat. eiusdem toni s. accentus.
JVith the sa/me note.
128 9.
Lat. eiusdem chordae s. soni.
6fj,6<^(i)i'os.
66 5, 70 9, 13, 20, 74 12, 84 6 passim. Word, noun. Lat.
orona.
wcabulum, nomen.
In 168 10, 264 5, etc., the meaning is 'noun'j in
264 3, etc., word.'
Warding, naming, language.
woiJiaCTia.
74 17, 234 5, 252 23, 274 2.
Lat. eloeutio, appellatio. Cp. Bhet. ad Alex. c. 27 dvTiOerov /xev oSv etm
176

ofjio^uYia.

13,

6|jioio(TXi^|ji,(di'.

'

TO kvavTiav T^v ovofLOxrlav a/ia koX rijv Svya/JLiV to?s avTiKeifievots

4')(ov, rj TO erepov tovtwv
Aristot. Poet. vi. 18 Aeyu Se, wcnrep rrporepov etprjTai, Xe^iv eivai rrjv Sia t^s ovop.ao'ia's ipp,7]Viav Dionys.
Hal. de Demosth. cc. 18, 34, 40
Demetr. de Eloc. 91, 304.
:

oTOfiaTiKcl, Tci.

18,

102

16, 17,

So

5, 8, 10,

oJuTTjs

c.

126

7.

Nouns

substantive.

Lat.

nomina

128

14.

letters] are acute, grave, or of

oJiiTOTOs.
s.

132

Lat.- acutus.
Acute (accent), high (pitch).
6, 8.
In Aristot. Poet.
Cp. S.V. Papvi, p. 292 supra.
20 d^-uTijTt Kal ^apvTrjTi Kal t<^ /uoto) = ' according as they [the

126

oSu's.

70

128

an intermediate

With high pitch

9.

tone.'

qui acutwm tonwm

Lat.

or acute accent.

accenPwm hdbet.

opaais.
opyai'oi'.

118 24. Seeing, the act of sight.

122 25, 124 4, 22. Musical

Lat. visus.

instrument.

instrwnentum.

Lat.

So the adjective 6pYai<iK6s {instrumental) in 124 16, 126 16.

In
uninflected.'
106 19. Nomvnatvve.
Lat. rectus (casus): viz.
102 19 'primary,' as opposed to secondary'; in 108 3 active,' as opposed
to 'passive.'
In 258 25 and 262 5 the meaning is 'correct'; in
90 6 perhaps tense (see the exx. given in L. & S. under the heading

6p96s.

'

'

'

'

'excited

'),

'

the opposite of

vtttio'; (sv/pinus).

132 22, 166 1, 234 21. To defme, to limit. Lat. defkiire.

Spos.
182 13, 200 25, 210 5. Standard, condition, bounda/ry. Lat. regula,
condicio, finis.
With the sense norma et regula in 182 13 cp. Long.
de Subl. xxxii. 1 o yap Arjfjioa-Oevrji opos Kal tZv toiovt(ov, Dionys.
H. de Demosth. c. 1 ^s (Ae^etos) opog kol Kavmv 6 BovKvSiSrji.
ouS^TEpos.
106 21. Neuter. Lat. qui neutri generis est. Cp. D.H. p. 198.
oupocos.
142 12, 144 19, 150 6, 220 23. Palate. La,t. palatum. ^ In the
opi^eii/.

margin of

(with reference to

142 12) there

is

the note

rijv virep(av

This sense of ovpavoi is found several times in Aristotle (see

Bonitz' Index), and not (as has sometimes been supposed) for the first
time in Dionysius.
Cp. the converse caeli palatum in Ennius apud Cic. de
<l>r](T'i,v.

DIONYSIUS OF HALICABNASSUS

314

Nat. Deor. ii. 18. 48 "sed dum, palato quid sit optimum,
[Epicurus], caeli palatum (ut ait Ennius) non suspexit."

98

ouo-ia.

162

o\|/i.s.

Annoyance,

17.

234

14,

1,

199.

112

17), perfurbatio (id. Tusc.

5.

i.

Lat. vultus, aspeetus.

Feeling, experience,
5, 122 15, passim.
Lat. affectus (Quintil. vi. 2. 8), animi motus

66 15, 88 12, 110 23,

emotion, affection, passion.
(Cic. de Or.

Lat. molestia.

disgust.

Appearance, visage.

9.

irdOos.

198,

Lat. substantia.

Substance, essence.

8.

132

ox\i<ris.

In

154

5,

23,

262

iudicat

268 18

Tra^?;

'

5.

iv.

Cp. D.H. pp.

'modifications,'

10).

properties,'

differences.'

'

iroicii'.

184

260

3,

possible orders

metrical foot

and one long in four

^^^K^,(2)^-^^,{3)^^^

(1)

The

Lat. paeon.

Paeon.

9.

consisting of three short syllables

so called,

^, (4)

v^

^ ^

These

four varieties are sometimes called the^st, second, third, Sini fowth paeon
Cp. Aristot. Bfiet. iii. 8. 4-6, Cic. de Orat. iii. 47. 183,
respectively.

47

Quintil. ix. 4.
(

and see Demetr.

two varieties only

38, 39) refers to

64

iraiSfia.

262

11,

228

irarTjYupiKd;.

7,

246

cp.

Lat. doctrina, humanitas.

Culture.

20.

Demetrius
296, s.v. Traitor.
the note on 182 22 supra.

p.
:

With

Lat. panegyricus.

Festal, panegyrical.

7.

the notion of ornate cp. de Demosth. c. 8 (SidXeKTOv) [Ji,yaX.OTrpeTrrj X.LT'qv,

TrejOtTTTjv dwepiTTOV, e^XXayfjiivrjV (rvvrfdrj, Travr/yvpiKrjv dX-qdiv^v,
aviTTrjpdv tXapdv, o'vvrovov dvei/jtevrjv, ijSetav TTiKpdv, rjdiKrjv TTadrynKrjV.
:

irapa^oXi^.
irap(iiYYEX)xa.

232 15.
270

Meeting, juxtaposition.

282

3,

2,

Rule,

7.

Lat. concursus.
Lat.

'precept.

artis praeceptum.

2 TexviKO, TrapayycXfiara, a. 6 us etxeiv iv

TrapayyiX/jiaTi (' if I must speak in the way of precept ').
So iropoyY^Weic 132 16, 268 11 (cp. de Lysia c. 24 ravra fiev Sr/ TrapayyeXXovcri

Cp. Long,

de Subl.

TToteiv

Te)(yoypd(j>oi},

ot

c.

and

irapaYY^XptaTiKos

214 9 {=plenus

praeceptis, doctrinis, regulis).

92

irapd8eiY(Aa.

136

5,

2,

152

3,

214

6,

232 23, 240 24,

Instance.

etc.

exemplwm.
to.
TrapaSeiyp.aTa is often used of appropriate
(perhaps customary, or stock) examples
cp. de Isocr. cc.
10, 15,
de Demosth. cc. 13 (middle), 53, and contrast de Lysia c. 34 and de
Demosth. cc. 13 (end), 20.
Lat.

206

irapa8i(^Kii'.

To hurry

13.

along.

a-vvSeSidjypevov in Long, de Subl.

ibid.

Usener

c.

Lat. abripere.

and of

21,

adopts, in this passage, his

own

Cp.

the use of

Kareo-Trevcrfiiva

c.

19

conjecture irapap.ep.iy-

pAvas.

130 25, 154 11, 166

Trapddea-is.

234

Placing.

9, etc.

Daring,

Lat. collocatio.

Lat. audax
Hor. Carm. iv. 2. 10).
Er. aventure.
Cp. Aristoph. Ban. 99
ToiovTovi Ti wapaKeKivSwevpIvov,
aiOepa Atos Scu/ianov, rj \p6vov

7rapaKEKii'Sui<EU|x^i'os.

16.

bold,

venturesome.

(as in

TToSa

de Lys.

iiriKLvSwos p. 299 supra.

13, de Isocr. c. 13, Ep. ad Pomp. c.

and see
c.

TropaKoXoufleii/.

consequi.

s.v.

108

6,

130 26, 136

12.

The word

is

used also in

2.

To accompany.

Lat.

accidere,

GLOSSARY
144

TTopaXauPdi'eii'.

172

14,

260

12,

2,

315

264

To introduce,

14.

employ.

to

Lat. assumere, adhibere.

irapoXXayii.
irapa'ir\i^pcd|i.a.

152 8, 15, 22.

116 3, 166

complementum.

Divergence.

Lat. discrimen, permutatio.

Supplement,

17.

Lat. explementumi,

expletive.

230 "apud

autem et Asiaticos
maxime numero servientes inculcata reperias inania quaedam verba
quasi complementa numerorum "
and also Demetr. p. 296, 8.v.
7rapairA,7;pa)/*aTtKos.
The word occurs elsewhere in Dionysius
de
Op. Cic. Or. 69.

alios

de Demosth.

Isocr. c. 3,

104

irapaTiS^cai.

19, 39.

cc.

To bring forward,

1.

Lat. apponere, in

to cite.

medium

adducere.

128

irapau|di'Eii' {itapaii^eiv).

154 21.
108 5.

irap^KTairis.
irapEp.(t>ai)'Eii'.

Demetr.

289

152

Prolongation.

To hint

To

18.

lengthen, to augment.

Lat.

Lat. extendo.

Cp.

Lat. obiter indicare.

at, to indicate.

297.

p.

102 20.

irapefi<|>aTiK6s.
p.

19,

Indicative.

Cp.

indicativus.

Lat.

aTrapefi,<i>aTos

supra.

irap^pycdS.
irapOercdir^s.

100 25. By the way,

234 15. Of maiden

Lat. oJnter.

cursorily.
aspect.

Lat. qui virgineo vultu

dXX

word seems to occur elsewhere only in Eurip. Ul. 948

The

est.

tfLoiy

eirj

aXXa TavSpeiov Tpoirov [Gilbert Murray " Ah,

that girl-like face
God grant not that, not that, but some plain
grace
Of manhood to the man who brings me love "]. Cp. Cic. Orat. 19.
TToo-is

irapOcvbyjro's,

fitj

64 " nihil iratum habet [oratio philosophorum], nihil invidum, nihil

astutum ; casta, verecunda, virgo incorrwpta
quodam modo."

atrox, nihil miserabile, nihil

116

iripttros.

212

8,

7,

246

Parallel

6.

structure.

Lat.

qm

constat

simUibus membris.
Cp. Aristot. Bhet. iii. 9. 9 irapia-oxris S' eav ixra ra
KwAa, irapo/jLOibXTis S' loti' o/iota to, OTXara e'xjj eKixTepov to kuiXov
(where optoia to, etrxara indicates final letters that rhyme).

154

TTopKrrdi'ai.
p.

To

19.

Lat. depingere.

represent, to describe.

Cp. Long,

282.

212

irap^fioios-

8,

246

6.

Pa/rallel in

Lat. qui constat similibus

sound.

sonis.

184

iroxu'-nis.

Stupidity, fat-headedness.

21.

Cp. D.H. p. 200,

ml6s.

70

76

3,

2,

S.V.

80

Lat. stupor, ingenium crassvm.

iraxis.
3,

108

11, etc.

In

prose, prosaic.

Lat. pedester.

Xoyoi = oratio soluta.

Cp. Quintil. x. 1. 81 "multum enim supra prosam orationem et quam
In 120 27 the metaphor
pedestrem Graeci vocant surgit [Plato]."
pedestrian.'
' marching on foot,'
seems still to be strongly felt
m^ij Xe^is,

ire^r)

SidXeKTOS,

rref&s Xoyos, Trcfot

ireiOiu.

84

11.

Persuasiveness.

La,t.

'

persuadendi

vis.

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

irerrdfiETpos.
256 23. Consisting of fwe metrical feet. Lat. pentameter.
ireipo.

ireiTdxpoi/os.

262

9.

quinque.

See

s.v.

GonsisUng of five times.

xpovoi p. 333 infra.

Lat.

qui constat temporibus

DIONYSIUS OF HALICARNASSUS

316

78

irciroiti(i.^i'os.

factus,

24.

Invented,

" vix

32

quae

ilia,

newly-coined.

original,

154;

38.

iii.

Op. Aristot. Poet. xxi. 9

tout exprks.
6.

252

17,

novatus (Cic. de Orat.

34.

i.

Demetr.

297

p.

Lat.

Fr. forgd
Quintil. viiL

155).
;

usum

vocant, quae ex vocibus in

TreTroirj/ieva

quocunque modo declinantur, nobis permittimus, qualia sunt

receptis

Sullatwit et proscripturit."

180

irepip(Sii]Tos.

72

TrepioSos.

Lat. decantatus, celebratus.

Notorious, celebrated.

7.

104

7, 10,

verborum ambitus,

116

10,

and equivalents, and

Lat. periodus, conyprehermo,

Period.

2, etc.

See Demetr.

etc.

298

p.

various

for

references

323 (Index);

Sandys' Orator p. 217;

Laurand's J^tudes pp. 126, 128.
According to Dionysius, the period
should not be used to excess [see n. on 118 15]. Another weakness of
the periodic construction is elsewhere noted by him
tovto Se [sc.
rb iradrjTiKovl rjKio'Ta Sixerai TrepioSos (de Isocr. c. 2).
also

p.

128

ircpi(nroo-(ji.<5s.

The circumflex

10.

Lat. circumflexio,

accent.

accentus

Cp. -rrepurnuiiivas 126 11: 'drawn around,' 'twisted,'

circumflexed.'
Aristotle denotes the circumflex accent by the term

circumflexus.
'

middle

'

'

ecmv

Se

Ty

/uev iv

a-urij

eKouTTov irado'S, oiov

irpoi

142

irepiarAXeii'.

74 13,
ceedingly good,

To

16.

84

contract, to

182

8,

Lat.

fJ-eo'Tg,

richly wrought

curiosus,

excellens,

p^y,

Kal pvdfjkois

Lat. contrahere.

Extrcuyrdinary,

7.

4,

unswrpassed.

pucker up.

Set )(prj(rdai,

fiiKp^ Kai

irore

Kai TTWS TOLS Toi/ois, oiov o^eKji. KOI Papei^ koi

TUTi Trpo? eKao-ra (Aristot. Bhet. iii. 1. 4).

irpiTT(5s.

airy

TrtSs

<f>(ovy,

irore fieydXy /cat

elahoratus.

ex-

Cp.

Long, de Subl. xl. 2 (where the word is opposed to Kotvbs Kal 6ij/iwSijs),
iii. 4, XXXV. 3.
See also de Isocr. c. 3, de Demosth. cc. 8, 56, Ep. ad

Pomp.

2 (TrepiTToXoyia)

c.

also

Demetr.

298

p.

(Trepura-oTiX"^")-

244 18.
210 17, 234 2

'n'pi(f>an^S.

of

it

').

PMV

Seen on every side.

Lat. conspicuus.
So irepi^HifEia
('so that each word should admit an all-round view
give irepi^avk^ (not wepi<j>epe<s) in 246 3.

206 15, 230 31, 246 3. Circular, rounded. Lat. rotwndus.

Op. [Dionys. Hal.] Ars Bhet. x. 13 roi a-rpoyyvXa koX to. ^epKJteprj
Xeyeiv n-pooip.ia.
In Demetr. de Eloc. 13 Trepi<l>epeii <rreyai,=

Trpi<t>epif)s.

vomited roofs.

ire+uK^TOi

66

infin.).

(c.

Uking for.

148

iTEtftuXaYixcVus.

miUw.

144 21, 148

Lat. comprimere.

TTiKprfs.

154

98

232
13,

70

3,

104

15.

Lat.

Xenophon and
16,

100

17, 20,

216

Gua/rdedly.

1.

the Attic period by

TTieards.

16,

To have a

16, etc.

gift for,

Lat. solere, amare.

220

17,

Bitter,

18,

120

hwsh.

21.

The word

caute.

is

used in

tight, to

compress.

Isocrates.

230

12.

To

close

Attractive, plausible.

Lat. acerbus.

So

Lat. probabilis.

iriKpaiftii'

130

19,

17.

120 23, 136 16,

flavour of archaism.

TTiVos.

nitor obsoletus (Auct.

212

24, 236 8. Mellowing deposit, tinge of antiqwity,

Lat. antiquitas, antiqy/itas impexa (Tac. Dial. o. 20),

ad Her.

iv. 4. 46).

There

is

a suggestion of

GLOSSARY

317

or abandon about the word, but

on the whole it is not uncomplimentary

Ep. ad Pomp. c. 2 o t ttivos 6 rijs apxaioTijTOS ripe/ia avry Kal
XeAijSoTws 6iriT/3cxt, and de Demosth. c. 38 dXA.' [tva] tTravdrj tis awais
Xyovi dpxai'OTnvrjs Kal X"/"s a/JtWros. The compound einrivtia is
found in Long, de SitR xxx. 1.
There is a scholium (preserved in M)
on 120 23, which is, unfortunately, vague and uncertain mcos Kvpiia^
6 pvTTOS, a<l> oil TTLvapa paKr),
Xiyerai 6e koI rh iiravdovv Ticrl
^(VOtDSes CDS iiri firjXuiv KaX 6/!tmv,
a.Trh tovtov
koX kirl rov Xoyov
:

cp.

TO

avri^

ein<f>aivofjxvov

ev

rrj

a-vvd-qKy

Ae^eois

Trjs

rroihv

ttivoi'

irtvos Kal ovo/xa tottov.

koTTi Se

dvo/icifet.

106 20. Oblique. Lat. dbliqwis (casus).

254 16, 270 18. To wander, to he
Used in reference to vague, elastic metre. So

irXdyios.

irXamaOai.

in de Demosth.

Lat. vaga/ri.

50.

c.

90 6, 118
liKAafia.
ad Pomp. c. 4

24.

8e

/caAAos

/cat

IcrTopLKov

and what

stateUness,

Lat. imago,

Gast, form.

lii/'os

\ey6p,ivov iSmds irA.ao-/ta

beauty,

irregular.

irepnre'irXavrjp.iva p.eTpa

is

Kal

forma

dicendi.

pLeyaXoTrpiireiav

'H/joSotos ex^'
speoiiically

(^^^'

''

Op. Ep.
Kal to

elevation,

the 'historical
Xoyov Kal fivdwSei

called

vein '

Long, de Subl. xv. 8 TroirjTiKov tov

") ;
In de Demosth. c. 34 TrXaa-p.a seems to have
TO TrXda-fia (the ' form ').
[The musical meaning
the same meaning as xapaKTrip in c. 33 ihid.
of moulded delivery, modulation does not emerge in the G. V."]

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

210 9, 212 1, 246 19. Breadth. Lat. latitudo. So irXariJS 244
18.
In 210 9 the meaning is, 'belongs to the class of ideas which are
regarded with a wide indefiniteness.' So in Latin platice = irXaTiKios =

irXiioTiijs.

irXdros.

'broadly,' 'generally':

under

146

cp.

289

aTrapTi^eiv, p.

214

VBenev Bhein. Mus. xxiv. 311,

12.

To

irXeoracTfuSs, redundantia,

110

nXeov&leiv.

ttXyiy^.

142

72

144

4, 16,

irXi(|9uiTiKSs.

irXoK^.

13,

5,

18.

130

22, 166

exceed due bounds.

the
9.

Lat. redundare.

So

15.

Stroke, impact.

5.

In

106

See also

supra.

Lat. ictus, percussio.

plural number.
Combination.

Lat. pluraliter.

Lat. eopulatio.

The word is contrasted with

Lat. opulentus.
18.
Eich.
TTTuxos (92 17), beggarly, mendicus: for which cp. the expression
Ty Xe^ei TTTwxeveiv in the passage quoted, from Ohrysostom, under

irXoijffios.

92

oTrayyeXia p. 288 supra.

nvlyew.

142

18.

To

stifle, to

smother.

La.t. suffocare.

76 10, 78 5, 100 23, 154 2, 166 4, 192 8, 250 10, 16, 254
Poem; line of a poem (in this sense, more commonly
4, 7, 272 14.
So iroiEii' 208 9, 'to write
a-Tixo^ or exos).
Lat. poema, versus.
poetry,' and iroitiTrjs 74 8 (but in 214 16 iroi.rjTai means 'writers'
generally
cp. de Demosth. c. 37 Tap' ovSevl ovTe efip,eTpoiv ovre Trefwi'
TToiT/Ty Xoyiiiv).
iroirjiJ.a sometimes refers specially to epic and dramatic
In 64 10 the meaning is product'
poetry (in contrast to song-poetry).
simply.
For 'poetry' ttoitio-is is found: 214 1, 2, 252 24, 270

aoinfia.

'

21,

274

7,

276

10.

DIONYSIUS OF HALIOARNASSUS

318
70

7roiriTiK(5s.

2,

130

TToiKiXia.

154
'

10, etc.

20, 23, 29, etc.

'productive of.'

is

198 5. Variety, decoration. Lat.

192 20, 196 9 ; and iroiKiXos 110 11,
ttoikiAos may be rendered by such adjectives

'curious,'

'elaborate,'

252

19,

8,

In 136 11 the meaning

iroiKiXXeii'

160

19,

206 20, 208

11,

192 18, 196

132

13,

So

varietas.

as

108

4,

LaX. poeticus.

Poetical.

IV, 25,
13,

'laborious,'

'kaleidoscopic,'

'multifarious,'

ever- varying.'

64

iroKiTiKos.

72 17, 124 21, 130 10, 214 1, 5,

parliamentary, political, public.
Lat.

15,

254

25,

266

7,

272

See D.H. p.
203 for an explanatory note on ttoXitiko^. In 72 17, P has prjTopiKOK
dvSpdxri,, which is an unlikely periphrasis for prjTopcri (104 8), but
20.

Oivil,

may

civilis.

cp. de
well indicate the general Tneaning of ttoAitikois dvSpaxTt
avSpcuri p.iK'qtrei.
c. 23 ravra Se tto Airt/cots Kot pTqTopcriv
:

Demosth.

Compare

generally, in Aristot. Poet.

prjTopLKrjs

epyov

AcyovTas,

01

and

the words t^s jtoAitik^s koX

dp\aioi, iroAtTtKws iiroiow

c. vi.,

ot fiev

yap

Se vvv pr/TOpiKSi's.

272

-iroXiSfiETpos.

ecrriv,

Of many measures

5.

or metres.

Lat. qui

muUis

constat

metris.

160 12. Of many forms. Lat. multiformis. Gp. iroXueiSi^s

196 25, TToXueiSus 270 11.
264 6. To bother about. Lat. summa cura elahorare.
TroXuirpaYfioKeTc.
-n'o\ufi.opi|>os.

126 14, 132

-iroXuffiiXXaPos.

With many

5.

Lat. qui syllabis

syllables.

pluribus constat.

160 23. Of m/my voices, hat. qui multas voces emittit. Used
of the variety of tones in Homer's ' composition.'
In the de Sublim. c.
xxxiv. the term is applied to Hypereides, who ov wavra e^fjs Kal

-iroXij<f><i>i'o9.

povoTOvu)^
TToiSs.

[i.e.

at one sustained

high pitch]

ois

6 Arjfwa-devrjs

A,eyi.

86 1, 168 12, 172 20, 174 22, 24, 178 7, 184 1, 256 9, 12, 258
Metrical foot.
19, 260 3.
Lat. pes.
rh S' avrh KaXio ttoSo Kal
pv6p,6v 168 11.
Aristoxenus, 'PvdfiiKa a-rof^eia ii. 16, writes: ^
a-rjfiaiv6jj.e6a rbv pvdphv Kai yviopifiov TrowvfJLev Trj al(r6iqcrei, ttotjs
fo-Tiv is rj TrXelovs.
Cope (Introduction to Aristotle's Rhetoric p. 383)
thinks that Dionysius neglects the important distinction between
/Maoris, the unit of rhythm, and ttovs, the unit of metre.
GoodeU
(Greek Metric p. 47) thus paraphrases a passage of Marius Victorinus
"Between foot and ' rhythmus there is this difference,
(p. 44 K.)
that a foot cannot exist without rhythm, but a
rhythmus moves
rhythmically without being divisible into feet."
[It is this kind of
'rhythmus' thatscounts in rhythmical prose.]
'

'

irpaYfiaTEio.

68

8, 14, 17,

So

commentatio, opus.

66

-irpayfioTiKis.

70

8, etc.

Inquiry, treatise, work.

irpaYfjiaTeuEcreai

Pertaining

6.

'

to subject

106

5, 10,

140

Lat. studium,

268 7.
Lat negotialis.
TrpayfiariKy."
The
22,

matter or invention.

Cp. Quintil. iii. 7. 1 "a parte negotiali, hoc est

irpaypjiTiKb^ tottos (" tractatio rerum et sententiarum ") covers subject
matter, things, thoughts ; the Aektikos totos includes expression,
form, style.
-Trpafis.

irp^TTOk,

162
T(5.

5,

244

120

21.

19,

Gentle.

Lat. lenis.

122 13, 124

11,

136

Cp. Demetr.
12,

198

p.

299.

13, 14.

Propriety,

GLOSSARY
appropriateness,

Lat.

fitness.

70 "ut enim in

Orai. 21.

319

decorum.

Fr. la convenance.

Cp.

vita, sic in oratione nihil est difficilius

Cic.

quam

quid deceat videre.

irpknov appellant hoc Graeci ; nos dicamus sane
decorum ; de quo praeclare et multa praecipiuntur et res est cognitione
dignissima
huius ignoratione non modo in vita, sed saepissime et in
poematis et in oratione peccatur."
The Greek rhetoricians drew the
term from the language of ethics.
Aristot. Rhet. iii. 7. 1 rb 5e irpkirov
:

e^et

kav

Ae^ts,

})

TraOr)TiKrj

dvdXoyov.

Trpdyfiaa-iv

So

koi rjOiKrj

irpeir(u8T]s

106

Kal rots vitokhijAvol's

17.

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

irpiii'irEios.

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

70 21, 108 16, 220 6. Preposition. Lat. praepositio.
184 16j 186 1. Deliberation. Lat. consilium.
irpiSraia.
224 24, 252 3. Introduction. Lat. exordium.
irpooifjLioi'.
244 22. Flowing. Lat. volubilis, profluens.
irpoT7Tiis.
260 22. Address. Lat. allocutio, compellatio.
Ttpoaay6peu<n,s.
Trpoaepocijeii'.
116 4. To augment. I^at. cumulare. The period in question
has been aided (so to say) by the alms of expletives.
For the metaphor
cp. crvvepa.vi^6iJ,va de Isocr. c. 3 and 'ipavov de Imitat. B. vi. 2.
To drive against.
irpoo'cpEiSEii'.
148 22.
Lat. imvpingere, allidere.
In 220
irpoEKOccris.
'Trpodeo'is.

24

TrpotravifTTaa-dai is similarly used of

84

irpoo'e)(if)s.

Obvious,

6.

230

70

17,

102

17,

218

18,

Lat.

Appellative.

1.

Thrax (Ars Grammatica

Lat. proximus,

appropriate.

11,

6,

appellativus.

com/mon noun, Lat. nomen appellativum.

= 6vo/j,a

rising against.'

In 258 24 the sense

cognatus (cum re coniunctus).

Trpo(niyopiK<5s.

'

natv/ral, allied,

is

220

'adjoining.'
7,

16,

222 24,

Trpoa-ijyopiKov

ovofia

would appear from Dionysius

23 Uhlig) that ovop,a might include

p.

It

while Trpocrriyopia could cover

common nouns.
But the strict division is that of proper names and general terms, as
given by Dionysius Thrax (ibid. pp. 33, 34) Kvpiov p.ev oSv Iitti to
TTpoa-rjyopia

participles (pteroxai)

jrpoa-rjyopiKov),

and adjectives

(eTridera) as well as

olov

Trjv ISiav ovcriav, (Tr)p,awov,

Si JtTTt rh TTjV

KOLvrjv

OfJiT|pos,

ZiiiKp(iTT|S.

irpoirrjyoptKhv

In

oiov avQpbnros, iinros.

ovcriav (rrjp.oLvov,

such passages as 222 24 and 230 1 'adjective' would be an appropriate

modem rendering. Quintil. L 4. 21 "vocabulum an appellatio dicenda
sit Trpocrriyopia et subicienda nomini necne, quia parvi refert, liberum
opinaturis relinquo."

132

irpocrtoTao-floi.

8.

In 272 25
To

[ir/S'

ev

c.

= appellation.

Lat. obstrepere.

offend.

irpoo-tOTTa/tevos rat's a/coats,

iTpo(7riyopia

14

ibid. T<^

yap

p,rj

Cp. de

Isocr.

c.

kv Kaipi^ yivecrOai,

&p^, TTpoa-UTTacrdai <f>rifii rats aKoat's, Antiqq. Bom. i. 8

yap eKeivai re Kal Ta)(y Trpoa-ucrTafievai ( = cito offendunt)

fiovoeiSeis

TOIS dKOVOV(TlV.
Trpoo-KaTourKEuii^Eii'.

remodel.

irpoaoSiaKds.

110 14

(v.l.

irpoKaraicrKevd^eiv).

Lat. insuper instruere.

86

3.

Processional

see n.

ad

loc.

To model further,

DIONYSIUS OF HALICARNASSUS

320

128 12, 196 17, 268 20. Accent. Lat. accentus. The word
See
defined in 196 17 raereis (fxavrj^ at KaXovfievai Trpo(T(pSiai,
further a v. tovos p. 329 infra, and compare By water Aristotle on the
Art of Poetry p. 336 " irpoa-ipSia with Aristotle comprises accent,

irpo(r<d8ia.
is

all the elements in the spoken word which

breathing, and quantity
in the ancient mode of writing were left to be supplied by the reader."
The symbols used in accentuation are supposed to have been introduced

by Aristophanes of Byzantium,

if not by some still earlier scholar, in order

and teach foreign learners the true intonation of the
language, which was in danger of being corrupted and forgotten when the
Greek world grew vast and came to include so many foreign elements.

to recall to Greeks

160

irpoa-uiroc.
p.

198

Person, character.

23.

Grammatical case.
20, 108 4, 132 7, 212 20, 264 4.
Lat.
Verbal cases ' are mentioned in 108 4 ; in Aristotle the term
includes inflexions in general
'

casus.
TTTfocrts

TTuppixios.

70

168

17.

13,

21,

prifiariKos

74

pVjTup.

248

8,

15.

Pyrrhic,

168

108 4

218 6,
220 17

10,

(verbal),

132 22, 166

hsit. pyrrhich/ius.

12,

200

Orator, rhetorician.

7,

the renderings,
9,

poTi^os.

'

speaker

254 25, 262

138 10.
180

'

and

264

5.

Verb.

metrical foot

vy

Lat. verbum.

So

206 25, 218 21, 236 20, 242 7,

As in English we

14,

Lat. orator, rhetor.

'

it is

often hard to decide between

teacher of speaking.'

So

pijTopiKo;

20.

whizzing.

Lat. stridor.

To bring into rhythm,

the use of ySaiveiv and Siaipeiv.

puSp.i^Eii'.

The

{verbal form).

have no similarly two-sided word,

68

Cp. Demetr.

Lat. persona.

106

TrTuo-is.

pijfjia.

18,

300.

13.

to scan.

Lat. scandere.

Cp.

120 18, 122 12, 124 6, 9, passim. Rhythm, ha/rmonious movement of speech. Lat. numerus. For le nombre oratoire in Cicero (whose
prose, however, like Roman prose generally, must not be taken to follow
exclusively Attic standards) see Laurand's Audes pp. 109-11, and
cp. Cic. Orat. 20. 67 "quicquid est enim, quod sub aurinm mensuram
aliquam cadat, etiamsi abest a versu
nam id quidem orationis est
vitium numerus vocatur, qui Graece pvO/ios dicitur." QuintiL Inst. Or.
ix. 4. 45 " omnis struotura ac dimensio et copulatio vocum constat aut
numeris (numeros pvdfwvs accipi volo) aut p^erpoK, id est dimensione
quadam." It was a suggestive saying of Scaliger's that metre gives the
exact 'measure' of the line, rhythm its 'temperament.'
As Dionysius
identifies pvOpAs and ttoiis (168 11
cp. 176 2, 3), we may translate
pvdp.o's by 'foot' in 180 11, 182 19 (cp. o-irovSefos 7roi;s 178 7),

pudfids-

200

17, 206 9, etc.

Cp. Aristot. Bhet. iii. 8. 2 to 8e appvdfwv
dmpavTov, Set Se Treirepavdai fxkv, p.f) p.kTp(f Se- dijSes yap Kal

ayvoKTTov

to

aireipov.

Ae^cws

irepalverai

6e

pvOpoi

dpi6p,<a

irdvTa-

Se

tov

&ttw, oB koi to. pArpa

T/^jjraSih pvdpbv Sei e'xeiv tov Adyov, perpov 6e pr/- TroiTjpa
yap eo-Tai. pvOpov Se prj dKpifBw^- tovto Se ea-rai eav pexpt tov ij.
So puejAiKos 128 18 (where the reference is to lyric metres), 168 8,
o-xiJftaTOS

rrj'S

dpi.dp.hi

GLOSSARY
172 20
'

176

(cp. ot fiiTpiKoC),

321

Quintilian

7.

(ix. 4.

68) provides a good

example of the divisions recognized by the rhythmici

dubitet, unum sensum in hoc et unum spiritum esse

"quis enim
animadmrti,

omnem accusatoris orationem in dims dwisam esse partes ? tamen

duo prima verba et tria proxima et deinceps duo rursus ac tria
SUDS quasi numeros habent spiritum sustinentes, sicut apnd rhythmicos

vudiees,

et

aestimantur."

134 24. Filthy, sordid. Lat. sordidus.

244 21. Flow. lisX. fluxus.
92 10. Wrinkled. Lat. rugos-us.
puaos.
ptie^es.
144 22,23,146 11,220 25. Nostrils.
Stot Twv pio9(ov(jiv iTvvrf)(ovjxeva = nasal.

puirap(Ss.
piiffis.

258 7. Of Sappho.
160 22. Clea/rness,

2air(f>iK6$.
aa(|)i^i'ia.

The

nettet

186

atXis.

110

2,

Gravity, majesty.

na/res.

(ra(t)'^5

Lat.

lucidity.

occurs in

210

Fr.

perspicuitas.

cla/rt^,

4.

lihri.

164

20, 166 12, 170 2,

Lat. granditas, dignitas, gravitas.
19,

In 146 11

Lat. Sapphieus.

Lat. pagina

Page.

2.

84

atpcJTTis.

adjective

Lat.

172

11,

236

Fr. majesti.

8.

So

ffejiroXoYia 120 23, 174 17 ; o-e(ic<5s 68 5, 80 12, 84 8, etc.

It is
not easy to find a good equivalent for o-e/ti/os, as ' dignified ' comes
nearer to d^Mo/xartKos ; ' impressive ' (or the like) to /ieyaAoirjoETr^s
'

lofty,'

'

or

elevated,'

'

sublime,'

'august,' or 'stately' will

vip7j\6s.

to

To
74 3, 134 25.
138 10. A hissing.
218 16, 220 2, 230

<n\ji,aiviv.

betoken, to express.

(nyp.6i.

Lat. sibilus.

a\,iinti\.

Modem

intgrmissio.

'

Solemn,'

'

majestic,'

sometimes serve.

Silence, interval, pomse.

4.

metrists

Lat. sigrdflcaa-e.

Fr. sifflement.

who

Lat. silentiiim,

confine their attention to syllables

are apt to neglect the interrelations of silence

and sound.

Dionysius

would, on the contrary, have recognized that the pauses denoted by

punctuation are the key to the metre in such lines as " Thy rankest
fault; all of them; and require" (Tempest v. 1).
<TKai6Tt\i.

250

gaucherie
(TKEuupia.
0.

8.

cp.

264

Lat. rusticitas, vmperitia.

GVwmsmess, stupidity.
the editor's Ancient Boeotians p. 6.

Elaboration.

7.

5 (TKevbipiav re^iK-qv,

oiKeionpov
(TKiEpds.
(7kXtip(5s.

c.

Lat.

cura

29 jiaXXov

a/rtificiosa.

Op.

Fr.

de Thucyd.

Se Si9vpaiJ.fiiKrjS (TKivuipiai

Hesych. arKivdipia' KaTao-Kevrj.

234 13. Shady,

132 1, 154 12.

dark.

Hard.

Lat. dbscv/rus.

Lat. durus.

Cp. D.H.

p.

205.

122 25. Thick, husky. Lat. subraitcus, fuscus. Cp. Schol. in M,

Some of the mss. give
a-op^hv riyovv OpvXtypbv Kot eKpeXeiav.
da-vp,(j>uvov, thus repeating a word used a few lines earlier.

(rop,<|ios.

The comprehensiveSophist.
Lat. sophista.
well illustrated by the fact that in the former
passage it is applied to Hegesias, in the latter to Isocrates and Plato.
In the parallel passage of the de Demosth. (c. 51) opwv ye Sij rovrovi
Tovs 6auu,a^ouii<ous eiri ao^ia Kal Kpa.ri(TTWv Xoyiav TrOMjras vopi^o-

o-ocjiKrrijs.

190

ness of the

10,

264

term

19.

is

DIONYSIUS OF HALICARNASSUS

322

TiXariava yXwno'i's
p. 301.

koX

'l(TOKpaTy)v

/iV0i;9

koi,

ropevrois

eoiKoras

Cp. Demetr.

cK^povras Adyovs.

Lat. spadorwum sonum

To emasculate, to cramp.
9.
This reading seems preferable on several grounds
(1) it is
the more diflScult of the two ; (2) the sense of ' choke the voice ' seems
to agree well with ovSe (rvyKOxf/ii tovs rixovi (162 4 'and will not

142

o'lraSoi'iiEii'.

reddere.

impede the voice

') ;

32, de Thucyd.

19) rev i7X^ would be

T&v ^X"**

c.

')

(intransitive

cp.

Demosth.

de

c.

more common than airavi^av

rtav ri\(i>v

o'T^oZovurp.ovi

(^)

arrested sounds

'

cnravi^eiv

(3)

('

impediments

occurs, without variant, in de Demosth.

to
c.

sound,'

40, and

is

adopted by U.-R. as well as by other editors ; (5) the authority

of R seems to support a-iraSovi^u rather than (as U.-E. think) a-iravl^n.

178 7 (with irdSes), 202 20. Spondee. The metrical

" hie
Vossius thus describes the eflfect of the spondee
pes incessum habet tardum et magnificum ; itaque rebus gravibus, et
maxime sacris, vel ipso attestante vocabulo, imprimis adhibetur." Cp.

170

(titoi'Seios.

2,

foot

Hoi. Ars Poet. 255 "tardior ut paulo graviorque veniret ad aures,

spondeos stabiles in iura paterna recepit [sc. iambus]," and Cic. Oral.
64. 216.
I

66 8, 94 16. To be eager. Lat. studere, sedulo opera/m wtmme.

For the middle voice of this verb see note on p. 95 supra. The noun
tnTouSV) occurs in 156 14, 186 4, 192 7, 212 16.

aTrouiAt,eiy.

234

inaQepos.

236

(rrdBfjuij.

= velut

4.

rb tTraOepov =

Lat. staMlis.

Steadfast.

4.

carpenter's line or rule.

ad amussvm,

by

'regulated

La.t amussis.

line

and

rule,

la lenteur grave.

dvo (rrdOiJ.-q'i
by square and

level'
orei'tSs.

142

with

19,

146

Narrow.

3.

Lat. cmgustus.

In 146 3

it is

coupled

XeTTTos.

(m]piY|ji,6s.

202

piyp.o's, p.

24.

on certain syllables), a pame.

297 supra ; and under dvTiKTTT]So oTT|pix9r))'ai 220 18, 'to be firmly planted,'

sustaining (of the voice

See under eyKd6urp.a,

Lat. mora.

288

supra.

p.

'to be sustained.'

imPapiSs.
216 16.
in de Thmcyd.

Hardy, robust Lat. robustus.

The word occurs also
24.
Cp. the French nerveux.
Hesych. a-ri^apov
fvpoxTTov, /3apv, evTOVov, areppov, 'urxvpov.
As is pointed out by
Larue van Hook (Metaphorical Terminology of Greek Ehetoric p. 20),
both Latin and English abound in similar terms of style drawn from
good physical condition
nervi, vires, vigor, lacerti, ossa, robur
fullc.

blooded,

hearty,

lively,

lusty,

muscular, nervous, robust, sinewy, supple,

strenuous, vigorous, etc.

oTixos.

86

2,

88

12,

7,

etc.

line

of poetry.

Lat.

versus.

In

de

Thucyd. c, 19 the word is used with reference to prose: on iroXXa

Kai fjxyaXa Trpdyfiara irapaXnruiv, rh vpooip.iov rrjs loTopias
fi^XP''

jrevTaKotriO)!' eKfirjKvvei (rri'Xtav.

108 10, 110 9, 138 1, etc. Elemmt. Lat. elementwm.

138 14. With the use of o-Toixtov in c. 14 cp.
20, where the word is defined as <^(ov^ dSiaiperoi, ov

70 11, 20,
So' oToiXEi(S8i)s

oToixeioi'.

Aristot. Poet.

c.

GLOSSARY
Se,
dXX c^ ^9
the meaning practically

Traa-a

264

<rrpi^w.

Tre^jivKe
is

'

yiyvea-Oai

o-vverij

principle,'

'

323
In 108 10

<^fc)i/^.

rule.'

270

11.
To turn, to twist. Lat. torquere. In 270 11
be conveyed by 'to change the words about,' 'to
permute or vary the order of the words,' ' to give a new turn to the
3,

may

the meaning
sentence.'

112 11. Compact, rounded,

See the^ examples quoted in D.H.

<rrpoYY<5^os.

kol TrvKvrj,

a-TpoyyvX.T]

de

Isaeo

hut. rotvmhis.

terse,

3 a-rpoyyvXr)

c.

Fr. a/rrondi.

205, and add de Lys.

p.

re

Kal

c.

SiKaviKr)

ovx ^TTOV ea-riv rj "lo-atoi; A,e^ts riys Avo-iov. So orpoYYuXigeii'

142 15. Latin equivalents, or parallels, may be found in Horace's ore
rotundo (Ars P. 323), Cicero's eontortus (Orat. 20.
66), Quintilian's
corrotundare (li. 3. 102).
" a-rpoyyvXai is used of the new stylistic
artifices
of the sophistical rhetoric by Aristophanes Acha/rn. 686
{a-Tpoyyv\oi9 Tofs p-qfiaa-i), and by Plato Phaed/r. 234 E.
In later
usage it is constantly used of periodic composition " (G. L. Hendrickson
in

American Journal of Philology xxv. 138).

194

<rTpo<|)V).

stanza.

228

arpu^vo^.
(8.V.

6,

10,

9,

16,

254

19,

272

13,

Harsh, astringent.

7.

<TTpi<f>v6s

228

in C.V.

Lat. acerius.

has

(7Tpi<f>v6v),

Jebb's equivalent 'biting flavour' {Att. Orr.

154

<rTi5<|)ii'.

5,

278

Strophe,

8.

Lat. stropha.

To draw up

13.

the mouth.

i.

See D.H. p. 205

with the reference to

35).

Lat. astringere.

Used

of sounds

make

the hearer pull a wry face and screw up his lips.

Cp. de
Demosth. c. 38 dvaKoira^ koi dvricrTrjpiyp,ovi Xafi^dveiv koi rpaXUTTjTas ev Tats crvfjorXoKais Twv ovoixdnav Ixicrru^oijcras rrfv d/conv
that

OTYYpo+eu's.
14.

74

76

8,

154

3,

Prose-writer, historian.

17, 206 25, 214 15, 228 11, 236 18, 248
Lat. scriptor (prosaicus) ; (scriptor) historicus.

c. 2) is a less ambiguous expression than

or than XoyoypdtjiO's (c. 20 ibid.).
In 68 9

uTTopioypd<l>os {de Thucyd.

(Tvyypaipevs
auYYpii'^cii'

(c.

= to

ibid.)

compose (a

156 19, 230

impede the voice,'

cuYKOinq.
('

7.
'

treatise).

Stoppage.

im^editio.

Lat.

check the utterance

')

162

So

cruYKtSirTEii'

[This meaning
otherwise o-vyKOTral
4.

seems to bring the three passages fairly into line

in 230 7, might well mean ' durae sonorum ooUisiones et
:

riav rjxtov,

concursiones.']
cuYKporeii'.

206

4ruYKpouo'i9.

230

16.
27.

So

To weld

together.

Lat. compingere, coagmentare.

concwrrence,

Collision,

consonance.

224

Lat.

concursus.

Op. Demetr. p. 302.

The reference is to a succession of two vowels which do not form a
diphthong, either in the same word (e.g. Xaav) or with hiatus between
two words (e.g. aXye' 'e)(0VTa
or Kal eAxtcras, re ea-ea-Oai, Kal d^ioFr. rencontre.

202

o-uYKpoiJcii'

18,

10.

XoywruTov).

Oicero's opinion of the 'concourse

Op. de Demosth. c. 43.
of vowels' (quoted by Quintil. ix. 4. 37) is given in Orat. 23. 77
" verba etiam verbis quasi coagmentare neglegat ; habet enim ille
tamquam hiatus et concursus vocalium moUe quiddam et quod indicet
non ingratam neglegentiam de re hominis magis quam de verbis

DIONYSIUS OF HALICARNASSUS

324

On

the other hand, Pope (Essay on Criticism) states and

side of hiatus by means of the line, ' Tho' oft the
ear the open vowels tire' ; and Cicero himself (Orat. 44. 150) writes,
" qnod quidem Latina lingua sic observat, nemo ut tam rusticus sit qui
In English, the question of hiatus raises
vocales nolit coniungere."
sundry points of an interesting kind. Should we, for example, say
'
an historian and cm historical book,' on the ground that the initial
laborantis.''

exemplifies the

weak

'

'

when the accent falls on the second syllable

and similarly cm united family but a union of hearts ?
130 26. To hide, to disguise. Lat. occulere.
oruyKpijTrTeii'.
210 22, 228 4, 232 12, 234 19. To poUsh. L3.t. expolire. C^p.de
auyUiv.
Demosth. c. 40 TroXXrjv (T<l>6Spa woiov/ievrj <f>povTiSa Tov (TWi^ea-Qai,
Kal (rvvrjX.i(fi6ai, /cat Tr/JOTrerets airdvTiav avrlav uvai ras apjjujvias.
aspirate is evanescent
'

o-uYXpf^^EorOai.

au^uyia.

84

'

244

17.

104

17,

11,

To

106

'

Lat. coha^ere,

closely joined.

mutuo

se

GowpUng, grov/ping, combmation. Lat.

c. 40 (the passage quoted b.v.

19, etc.

So de Demosth.

Fr. Ucdson.

coniunctio.

he

'

(rvuPoXr), infra).

aMia^{\.
Lat, syllaba.
Words like this serve to
150 16. &yllcbble.
remind us how much of our modern rhetorical and grammatical
terminology is taken direct from the Greek.
Lat. levigare, poUre.
230 20. To rub smooth, to polish.
Op. de Demosth. c. 43 iv Se ry Sevrepiji. irepioSc^ Tpaxvverai /liv q
(Tvvdecris iv T(^ " p-eyaXr) yap poirrj" Sto. ro fir^ (TvvaX.ei<}>ea'dai to.
Svo p p, Kot iv T(j) " dvdpunruiv TrpdyjxaTa" Sia rb fji,rj <rvX.keaLve<Tdat

o'uXXEaii'Eii'.

<Tb v>

^^S.

T<j)

140 14, 264 6, 268 19. The accidental, nona thing. Lat. accidentia. In 268 19 the reference
to the changes which words undergo in the way of contraction,

98

<ru)iPEPT)K<iTa, Ti.

8, 9,

essential, qualities of
is

expansion, acute or grave accentuation,

(TUfiPoXTJ. 210 20,
reference is to

232

13.

Clashing.

chocs des voyelles.

les

etc.

Lat

concursv^.

Cp. de Demosth.

In 232 13 the
c. 40 Kal Std

toCto ^eijyet jxiv dTrda-rj cnrovBy ras tojv (fxavr/evTOiv crv/tySoAas los
XiWTrjra Kai ttjv eveTreiav SiaoTrwo-as, <j>ivyei Se, otrrj SvvafUi
airy, tZv yfjucJMvotv re Kal difxivmv ypafjipLdrtov ras (rv^vyiai, ocrat
Tpa)(vvov(ri tods ijxovs Kai Tapdrreiv Svvavrat toLs aKods.

Trjv

trdnfioKor.
au(ji(iTpia.

84

Token,

4.

menswra.

label.

Lat. signum.

246 2, 4, 270 10. Due propm-tion. Lat. iusta

In 270 10 (Tvp-fieTpia would seem to mean the a/rrangement of

130

7,

12,

the periods within the lines or verses (jitTpa

be noticed)

and with

it

though there Upton suggests

CTU(j[.(i^Tpws

occurs also in

Cp. de Demosth.

c.

43

the variant e/i/jxTpia

should be compared

cn)/i/i,6Tjoa)s

in

is

270

to
13,

and Schaefer (rvfip,eTpoK.

and jaufjinETpEii' in 212 18, 276 26.

da-vfipxTpcas

232 9

acrre (rvp,[JteTpridrjvai irpbs dvSphs Trvevfia.

180 11, 182 16. To complete, to constititte. Lat. dbsolvere.

(rufiirXripoSi'.
(rufirirXoKi^.
160 9, 198 6, 240 16. Interlining, blending. Lat. implicatio.
So o'u|iir\^KEii' 154 17, 258 4.
For the metaphor from weaving cp.
paTTTSiv and v<f>aive(,v
Pindar Nem. iv. 153 p'^Qp.ara irAeKtov
:

GLOSSARY

325

Swinburne Erechtheus 1487 "I have no will to weave too

queen, the weft of sweet with bitter speech."

240
72

(Tufiirrcdais.
(rufi.(f)opT)T6s.

Concurrence.

12.

22.

Lat.

fine or far,
|

concv/rsits.

Oollected promiscuously, miscellaneous.

Lat. collatus,

collecticms.
aov&>in,v.
CTurnXoicI)!!.

144 18, 212 3.

108 18, 180

oujonction de plvsieurs

236

244

6,

contract.

218

7,

Lat. contrahere, coa/rctare.

222 24, 256 22.

Lat. coitus, vocalvwm

a/malga/mation.

8,

To
17,

17.

voyelles).

So

o'ui'aXEi<|>eii'

Compare Demetr.

passage there quoted from Quintil. ix.

4.

Blending, fusion,

Fr. synalbphe (contrctction,

elisio.

220

1,

222

26,

234

303, together with the

35-7 (including the words
p.

"coeuntes litterae, quae a-vvakoicjiai dicuntur"), and see (as to hiatus)

Sandys' Orator pp. 160 ff. and Laurand's Mtvdes pp. 114-6.
Cp.
de Demosth. c. 43 Kat Kar aAAow Bvo tottovs rj r/aeis to. ^fiicfxova
<Kai a(f>(i>va> TrapaTTiiTTOvra dXX.ijXoi'S ra <j>vcrLV ovk exovTa crvvaXa(f)e(r9ai ev re t^ " tov ^lXittttov" Kal kv r<^ " TavTrj (fio^ephv
rrpotnroXiiirjcrai" raparru toiis rj\ovs fierpius koi ovk J^ (f)aive<r6ai
p.aXaKO'Ui'
ev Se ry SenTcp^i 7re/3i.o8(j) ktX. (the remainder of the
passage is given under a-vXXeaiveiv, p. 324 supra).

212 11,270

13.
To complete (the sense) simMltomeously. Cp.
10 (together with airapri^nv in Glossary p. 267
Cp. de Demosth. o. 39
iUd.), and also the note on pp. 270, 271 supra.
eVt T^s app.0VLai tclvttjs oiKemv ecrri Kal rh ras vepioSovs avrovpyoTJS Ttvas elvai Kal dcfjeXei? Kal /iijre crvvaTrapTi^ova-ai tavrai's rhv
vovv p.-qre orvp.p.efieTprjfi.eva'S T(j) irveufiaTi tov AeyovTOS /xjjSe ye
TrapaTrXrjpt!>iiaxTi tZv ovop-droyv ovk dvayKaiois (ds Trpos tyjv VTTOKei-

o'umlrapTi^Eii'.

Demetr. de Eloc.

2,

Siavotav j^pw/tevas

fiivTjV

/*rjS'

etg

OearpiKovs Ttvas

/cat

yXa^vpovs

KaTaXriyov(7a^ pvOp/yvi.
Lat. adiungere, conTo link together.
19, 240 20, 262 4.
Dionysius' love of variety may be seen by comparing together

202

(Tui'iiTrTeii'.

nectere.

258 4, 256 20, 22, 258 24.

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

262

4,

<rui'op(i6TTii'.

Lat.

interlinking.
o'ui'ao'KeTi'.

282

auVSeo-jAos.

To

1.

70 14,

72

17,

connecting word.

practise simultaneously.

Lat.

1,

218

7,

220

5,

258

copula, coniumctio.

Lat. simul exercere.

27.

Gonjundion, connective,

'Particle,' or 'connecting-

sometimes be a suitable rendering, as the term includes

apa (258 27) and /iev and Srj (Demetr. de Eloc. 55, 56,
In a
196), and may even be applied to prepositions (220 5, 6).
difficult passage of Aristot. Poetics (xx. 6), among the examples offered
A good account
of a-vvSea-fios are aju<)bi, mpi, fJLev, iJToi, as well as Se.
particle,' will

particles like

word will be found in Cope's Introduction to Aristotl^s Rhetoric

Aristot. Bhet.
See further Quintil. i. 4. 18
371-4, 392-7.

of the
pp.
iii.

6. 6.

o-ui-eSpeueiK.

adiimgi.

100

10,

Lat. assidere,
To attend, to accompany.
160 19.
100 10, of the accompanying relations (mode,
which adverbs denote in reference to verbs.

Used, in

place, time, etc.),

DIONYSIUS OF HALICARNASSUS

326

To run out

274 24.

<Tui'KTp^Xi''-

together,

to

be

of the same length.

Lat. acquis passibus concurrere.

240

(rui'6K<fi^pii'.

Cp.

To pronounce

11.

230 3.
126 10, 144

concv/rrently.

LaX. simul pronuntiare.

o-ufEKitjopci

CTui'c<|>eap(ji^i'os.

into each other.

234

12,

Lat. convmistus.

13.

Imperceptibly blended, melti/ng

term for the

if>0opd is the technical

e.g. Plut. Mor. 346 a kol yap 'AttoWoavOpmruiv Trpwros e^evpoyv <j}6opav Kai arrox/Moati'
Perhaps it is this sense of 'fusion' that led
CTKias, 'A9rivato<s ^v.
to <j>Oopd being used, in Byzantine music, in some such sense as

mixing of colours in painting

S(i)/30S

'

^(oypoi<f>os,

modulation.'

230 17, 20, 244 21, 246 1. Continuous, unbroken. Lat. continuus.
auvixaa (240 5) = coherence,
So (Tuyexus 132 9, 230 29, 280 21.

<Tu>'x^S.

'continuus compositionis tenor.'

CTui^X"''-

140 21, 144 20, 146

In 140 21 the

11.

(Tvve-)(ov(7ri<s

may be "while

the

" probably

this is

68 5,
26 etc., 200

7,

all

A. J. Ellis op. cit. p. 41 (with the note,

what Dionysius considered the cause of voice ").

breath,"

constricts

aivdeais.

To sound at the same time. Lat.

of the manuscript reading
these are pronounced, the windpipe

translation

consona/re.

19,

10, 16,

70 3, 9, 72 8, 74 15, 78 9, 86 2, 13, 90 19, 134

202 1, 7, 204 9, 232 25, 240 23, 270 9. Composi-

Composition (with the addition of ' literary,' to

from other kinds of composition) seems the least inadequate
English rendering of a-vv&ea-is, and comes nearest to the usual Latin title.
To judge by the actual contents of the treatise (which go beyond Dionysius'
occasional and fragmentary definitions), the term putting-together can
be applied not only to ovofiaTa, but (on the one side) to ypafifiara and
a-vWa/Sai and (on the other) to KtUAa and TrepioSoi, and to a poem of
Sappho or the proem of Thucydides. Hence 'arrangement (or order,
ordonnance) of words proves, in practice, too narrow a title, though the
euphonic and symphonic arrangement of words and the elements of
words is the main theme, and though there is (as has been pointed out
in the Introduction, p. 1 1 supra) some danger of literary composition'
seeming to promise a treatment of the Trpayp.ariKos tottos.
One of the
definitions of composition in the New English Dictionary will apply very
" the due arrangement of words
fairly to the de Gompositione Verborum
into sentences, and of sentences into periods ; the art of constructing
sentences and of writing prose or verse," while apfhovla (which is
avvOea-i's in special reference to skilful and melodious combination)
might well be defined in the words there quoted from the Arte of
Bhetorique of T. Wilson (1553 a.d.)
"composition ... is an apt
joyning together of wordes in such order, that neither the eaxe shall
espie any jerre, nor yet any man shalbe dulled with overlong drawing
out of a sentence."
The form o-vvOtJkt] is found, in practically the same
sense as crvvdea-i's, in the Epitome c. 3 ; in Lucian de conscrib. hist. c. 46 koX
/trjv Kal a-vvdrjK-Q tuJv dvo/iarov evKpartf Ka\ fisTTj y^pria-rkov ; and in
Chrysostom de Sacerdotio iv. 6 (quoted under airayyeX'ia p. 288 supra).
As Latin equivalents (in addition to de Gompositione Verborum '), de
CoUocatione Verborum or de Oonstructione Verborum might be
tion.

Lat. compositio.

mark

it off

'

'

'

'

'

'

'

'

'

'

'

GLOSSARY

327

supported out of Cicero's Orator and de Oratore ; and something might

be said, too, in favour of 'de Structura Orationis' or (more fully)
'de compositione, seu orationis partium apta inter se coUocatione.'

104

o-ui/eeriK^s occurs in

208

(ruVo<|(is.

o-ui'opai'

80

auvrArreaBai.

pui

and

15,

general view.

144

<TuV6eTos in

Lat. conspectus,

184

3,

exxrvvoirroi.

184 22, (runScrc 182 3.

96 6, 98 19, 20, 104 5, 106

15,

13,
Lat. componere, tractare.

together, to compose, to treat of.

'

To
So aivrayfui.

134 12,166 17,184 14,234 9,20,240

Lucian
anavra r) ra

Lat. contexere.
a,6poia"Q

(de eonsorib. hist.

3,

to

224

17,

To weave

7.

48) uses the

word

together.

(cat e?rei8oiv

TrkeiiTTa, irpGna fiev VTr6p,vrifid rt (Tvvv<f)aiveT<ji

[The passage

ktX.

220

(Tuviii&6s.

'

Lat. componere.

compose.

awtiii/

264 21.

214 9, and aui'Ta^is (' arrangement,' co-ordination,' treatise ') 94

96 2, 13, 16, etc.
68 3, 74 12, 106 11, etc. To arrange words or sounds,
duiTiGei'ai.
(Tuvu^alyeiv.

3.

eXdeiv

occurs in

94

5,

176

11,

els crvvoif/iv

would, in Aristotle's conciser phrase, be

Sw<x/iVos

The verb

13.

is

given in full under XP"/*") P- 333 infra.}

232

16,

In harmony

8.

with, accordant.

Lat.

concors.

146

aupiyfjios.

148

14,

In 160

3.

7,

160

1.

Lat. sibilus.
So aupiyfin 146
whistling of ropes,' the 'shriek87 " insequitur clamorque virum

hissing.

1 the reference is to the

ing of tackle

'

op.

Virg. Aen.

i.

'

rudentum."

stridorque

162 21. A flovnng together, conflux. Lat. concursus. Two forms

word are found a-vppevaris and (as here) a-vppvuis.
Lat. contrahere,
au<rTeXXEii'.
140 19, 152 25, 206 1. To compress.
corripere.
So o-ucrToXVi 142 18, 268 20.
o'u<TTpe<|)cii'.
204 9. To abbreviate. Lat. contrahere. Cp. D.H. p. 206,
and Demetr. p. 305 (s.v. o-ucrTjOo<^ij).
The condensation indicated in
204 9 consists in the fact that the rolling down of the stone is described
in a single line, whereas the rolling up takes four lines.
auppuais.

of the

Lat. signum.

^(^paYis.

268

3.

Seal, impression of

oxeSios.

186

5.

Sudden, off-hand, impromptu.

p.

88

90

12,

passim.

Lat.

extemporalis.

Cp.

291 supra.

avTocrxeSws
axijuo.

seal.

19,

130

7,

Figv/re, attitude.

132

11,

148 20

etc.,

196 25, 26, 198 6,

p. 206, and Demetr.
which may be added

See D.H.

Lat. figura.

305, for various quotations and references (to

Causeret La Langue de la rhetorique et de la critique Utteraire dams
Giceron pp. 176 ff.). Sometimes ' construction will be a good rendering
cp. Cic. Brut. 17. 69
(e.g. de Isocr. c. 3), or 'form' (de Thiicyd. c. 37

p.

'

('

sententiarum orationisque formae

').

'

Turns of expression

'

(tours de

phrase) will also serve occasionally.

ox>l(iaTiSii'.
figv/re,

p.

18,

106

15,

construct.

108

1,

Lat.

110

14,

figu/ra/re.

To use a
18, 19, etc.
Cp. D.H. p. 206, Demetr.

112

305.

oxT)[j,aTia|ji6s.

the

104

to shape, to

112 14, 20, 146

7,

212 21,

etc.

employment of figures or turns of phrase.

Configuration, construction

Lat. conformatio, figuratio.

DIONYSIUS OF HALICAENASSUS

328
214

oxoXiK^s.

manner of

the

After

9.

lectures,

Lat.

tedious.

longus.

Dionysius has in mind treatises which are ' academic rather than
practical.
Cp. Long, de SubVim. iii. 5 ttoXXo, yap &cnrp Ik p,edr]S Tivh
eis TO, jjurfKeTi rov x/oay/iaros, iSi-a, eavrwv Kal crxoA.tKa irapa^epoVTai
'

Tadr).

134 25.

o-uua.

Same

h&t. persona.

Person,

Amm.

ad

vpocrtoTra

14,

in Ev.

ii.

yiverai

with TrpayfJtaTa oe

c.

compare,
sense as tt/doo-wttov
Sk Trap avri^ ra jvpaypara
:

avTi (rmfiaruiv

wr

ra Toiavra

avTOv

yivtrai.

88

luTiiSEio;.

Sotadeus.

Lat.

Sotadean.

1.

who

native of Maroneia or of Crete,

So

called

from Sotades, a

lived under the early Ptolemies.

structure of the Sotadean verse is analyzed in P. Masqueray's

For some further references
Abriss der griecMschen Metrik pp. 141-4.

The

Demetr.

see

246

Ttniieieiv.

244.

p.

To

4.

rd^is.

regulate, to

198

72

etc.

mcmage.

6,
12, 18,
sense with crvvdea-is, which (in

Lat. tempera/re, dispensare.

Lat. di^ositio.

Order.

72 18) forms part

Not

of one

identical in

and the same

ra^is often (e.g. Aristot. Rhet. iii. 12. 6) refers to

The verb Ti-rreiy
the marshalling of the subject matter of a speech.
occurs (with various senses) in 126 7, 196 6, 254 10, etc.
sentence as ra^ts.

74

TaTTEif^s.

12,

Low, mean,
rdo-is.

126

(vocis),

78

10,

7, 9,

128

Definition

in

Quintil.

5.

80

13,

92

17,

134 23, 166

Lat. hwmilis, ahiectus.

vulga/r.

accentus.

1.

196

11,

5,

So

3,

176

Taireii'OTiis

Tension, pitch, accent.

16.

186

19.

9.

Lat. intentio

329 infra.
at KaXov/ievai 7rpo(r(fSiai.
racrets (fxavrj^
196 16
22 "adhuc difficilior observatio est per tenores, (quos
Cp. Trpoa-ifSCa

p.

320

11,

192

supra,

and tovos

p.

quidem ab antiquis

dictos tonores comperi, videlicet declinato a Graecis

verbo, qui tovovs dicunt) vel accentus, quas Graeci 7rpo(r(fSias vocant,"
etc.

240 26. Verbal reiteration, tautology. Lat. eiusdem verbi iteratio.

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

TauToXoyia.

134

Sameness, monotony.
18, 192 20.
Lat. rerum earv/ndem
Contrasted with /ieTa^oAij
as in 134 18 SiavaTravetv Sk
rrjv TavTOTrjTo, <^r);ui Setv /ieraySoXas evKaipovi dcrfftepovTa.
Aristotle
uses the word several times, in the sense of ' identity.'

TauT6T)S.

iteratio.

T^Xeios.

84

21,

116 24, 144

17,

150

13,

dbsolutus, perfectus.

See, further, note

13. In 120

5,

4,

268

etc.

Complete, perfect.

on 204 24.

t^Xos =' end," object.'

So

Lat.

TeXcioSf 178

GLOSSAEY
252

reXerai.

15.

Lat. sacra arcana, ritus

Eites, mysteries.

et

caerimoniae.

Tov X6yov = sacra eloquenUae.

at TeXeral

86

TTp(i(iTpos.

329

256

3, 14,

Lat. tetrametrus

8, 13.

versus

(so.

Consisting of four metres or measures.

a-rixos).

252 29. Homely, ordinary. Lat. tritus. Fr. ordinaire. The

word sometimes inclines to the sense vulgar,' hackneyed,' tonal,'
'rebattu'
op. TTp6irTai 134 22.

TTpi[j.|Ji^i'os.

'

'

'

Art, hamdiooh.
Lat.
9, 94 10, 14, 96 2, 104 10, 132 22, etc.
al re^vai in Dionysius (cp. at rex""^'' '' Xoy<^v, Aristot. Bhet. i.
at
e.g. 270 4, 282 3.
1. 3) refers specially to rhetorical handbooks
ptjTopLKal Texvai is often used to designate the Rhetoric of Aristotle

68

Ti\v^.

ars.

254

e.g.

craftsman,'

'

nil'

25,
'

and Ep.

i.

ad

Amm.

cc.

126

Toros.

tX'''''''J9

[idrrjv.

Coupled here with a

koI ov TijvaAXus ptTo, rijs

Xeyerai.

a7ro<^a(ra)S
TO(i^.

In 124 3

Lat. tenure.

142

19,

15,

5,

Fr. partie, subdivision.

Lat. partitio.

Division.

2.

2, etc.

professional.'

176 6. To no purpose.
aXXus.
negative cp. Suidas, TrjvdXXws.
72

1,

tension, pitch,

Tone,

8.

accent.

Lat.

tonus,

136 16 and rovos in

236 8, the meaning wiU be energy cp. D.H. p. 207. See also under
Too-is p. 328 supra, and under irepto-Tratr/ids p. 316 swpra (for a passage
If tovoj' be read in

accentus.

intenfio (vocis),

of Aristot. Bhet.
TOTTOs.

66

96

6,

The

Lat. loaus.

1.

iii.

9,

4).

164 17, 248 8. Place, heading, department.

n-payfiariKO's tottos (66 6) is the locus rerum, as opposed
144

18,

In this connexion not only tottos, but

xapcKTijp and jjipos are sometimes used by Dionysius.

to the A.KTiKos TOTTOS (96 9).

T/)OTOs, TOTOS,

Worked in relief, chased. Lat. caelatus. So ropevr^s

266 8.
236 17,248 14. Tragic poet, tragedian. Lat. tragicus poeta.
TpoYuSoiroiiSs.
j^For the Greek expressions used to denote tragic and comic poets see

264

TopUT6s.

18.

= caelator,

H. Richards in the
rpav6s.

230

form

14.

Classical

Beview xiv. 211.]

In earlier Greek the

Lat. perspicuus.
Soph. Ajax 23 la-fMV yap ovSev rpavk, dXX.

Clear, distinct.

T/aavijs is

used

cp.

a\(iij,e6a.

Tpoxiirris.

230

5,

232

8.

Lat. asperitas.

Roughness.

Fr.

234 15, etc.; and

216 17, 218 18, 240 17.

So TpaxiSs 130 26, 154 12, 228

7,

dprete',

dwrete.

xpaxiifeii'

130

By 'rough'
19, 146 9, 202 26, 206 4,
letters
letters, in 202 26, Dionysius may probably mean the following
2, o-, <^ {% cr, y, x, o-t,
found in the four lines quoted in 202 3-6
ttt may be
o-K, TT, o-x, (TK, <j> (?) ; and among these, o-k, crx and
i, a-,
:

regarded as 'juxtapositions of rough

TpiKuXoi'.

oratio

116

11.

rpiKiaXov

rb

trimembris.

principle as, for example,

TpifieTpos.

258

trimetrus

TptauXXaPos.

(sc.

19,
versus

170

15,

letters.'

sentence consisting of three

25.
:

17

rpioSos

Consisting

is
(

here

members or clauses. Lat.

a noun: on the same

= trivium).

of three

metres or measures.

Lat.

o-Tt'xos).

174

8.

Consisting of three syllables.

Lat. trisyllabus.

DIONYSIUS OF HALICARNASSUS

330
196

Tpo-iros.

Mode

1.

particularly

cp.

music).

(in

Ancient Greek Music

p.

Quintil.

viii.

rpoxaios.

78 16, 252 24, 272 10.

170 8, 184 11. Trochee.

Tpu(|>p6s.

236

figure)

damty.

70 7,268 2,17,24.

Tuiros.

266

SKi\.

Delicate,

9.

Material.

9.

6.

4)

tlie

word means

trope (metaphor

so rpoiriKos (figurative

The metrical

Fr.

foot yj.

Lat. delicatus, nitidus.

Outline, fm-m.

l,a,t.

forma, figwa.

Fr. matih-e.

Lat. materia.

Drawn

Cp. Monro's Modes of

modus.

Lat.

In 132 12

2.

Cp. de
Lat. dilatatus.
Demosth. c. 4 Smoki S' ck jravxbs rpoirov rijv TrepwSov ovSe ravrqv
vTraycayiKrjV Tiva ku-I irXareiav Kal
(rrpoyyvXrjv Kot irvKvfjV
TTokkovs dyKwvas, Sxrirep ot /iij Kar tvdeia'S peovres irorafioi Troiova-tv,
It is possible, however, that in the de Gomp. Verb.
iyKo\Tri^o/j.evriv.
the word has an active meaning similar to that of IjraywytKos, in

90

u'n'aY(dYi'''S-

5.

slowly out, prolonged.

dW

case the rendering will be the effect of the passage will no

longer be that of a narrative which, gently carries the reader on.'

which

'

uiraWayi^.
78 16. Hypallage. Lat. hypallage. Quintil. ix. 6. 23 "nee
procul ab hoc genere disoedit /ieTcow/ito, quae est nominis pro nomine
positio.
cuius vis est, pro eo,
quod dicitur, causam, propter
quam dicitur, ponere ; sed, ut ait Cicero, vTra\X.ay^v rhetores dicunt.
haec inventas ab inventore et subiectas res ab obtinentibus significat

ut Oererem corruptam undis, et receptus Terra Neptwnus classes Aqmlonihus

a/rcet."
Cp. Cic. Orat. 27. 93 "hanc vTraAXayijv rhetores, quia quasi
summutantur verba pro verbis, fieTOivviJiiav grammatici vocant, quod

nomina transferuntur."
uirdTi).

210

Top

7.

224

uTTEpaipEii'.

156

uirep^oXi^.

11.

11.

note.

To

Lat. chorda suprema.

exceed.

See L.

&

S.

s.v.

Lat. tra/nsgredi.

Excess, violence.

in the technical sense of superlatio,

liSit.

impetus, ardor.

[Not here used

traiectio.'\

214 '8.

Exceeding due measure, excessively long.

Lat. excedens
[Not here used in the technical sense of passing beyond
the bounds of metre: Demetr. de Eloc. 118 iroirffxa yap aKaipov
ypv)(p6v, &cnrep Kal to virepfitrpov, ' a bit of verse out of place is

uir^pp,ETpos.

meTiswra/m.

just as inartistic as the disregard of metrical rules in poetry.']

232 20.
Disdainful.
Lat. ad contemnendum pronus.
132 14.
To excccd. Lat. transcendere.
150 7. To sound in answer to, to re-echo. Lat. resonare,

uTrepoTTTiKos.
uTTEpTEii'Eii'.

uTTTixEic.

uiroPdKXEios.
yj

174 23, 178

The Epitome (c.

11, 13.
Hypobacchius.
The metrical foot
17) gives 7raA,t/x^a/c)(e6os in the same sense

as VTro/3a,K^fios.

To sketch. Lat. adwmhra/re. Fr. esquisser.

122 7.
174 12. Pattern, specimen. Lat. documentum, exenvplvm.
fiir69E(ris.
104 6. Subject, theme. Lat. argwmentwm operis. So t& uitokei(AEm (the subject matter} 74 9, 106 17, 130 13, 134 21, 158 2.
uir(5fi,i'r](Tis.
Lat. adm^nitio.
80 1. Berrdnder.
{yirop.vqa-eoi's
evKa =
u'n'OYpcl<^Eii'.

u7r68EiYp.a.

memoriae causa.

GLOSSARY

331

220

uiroraKTiKos.

19. Subordinate.
La,t. suMitiis.
Dionysius seems to mean
not apt to be amalgamated with, or absorbed in, a preceding v.
[The^ second vowel in a diphthong could be described as vTroraKTiKov
<^u)vijv.]
The verb uirortiTreii' occurs in 100 23 and 126 21.

that

TT is

194

1707166(7601.

To

8.

This (rather than

222

fiiroTpaxuVeii'.

awres
uTTTios.
u(|)os.

'

take as

to postulate

')

To grate

7.

slightly

Passive.

Woven

sibi sumere.

on

the

Lat.

ear.

horrore

leni

Lat. supinus.

a web.

stuff,

metaphorically in Long, de Subl.

92

18,

172

230 29.
208 17.

^arrao-ia.
(^dpfiaKOf.
{

argumentum

afficere.

108 3.
234 12.

ui|.Ti\6s.

Lat.

subject.

seems to be the meaning.

= Pd-ixfiara,

180

2,

182

Lat.

Lofty, elevated.

V.

OoZoMr (for painting),

ii.

1.

cp.

The word

tela.

is

used

4 tov '6\ov tZv Aoywv v4>ovs.

Representation, image.

T^jow/iara)

veneno" {Ep.

150

2,

i.

Lat. sublimis.

Lat. imago.

liat pigmentum.

'For <f>dp[mKa

Horace's "lana Tarentino violas imitata

207).

Lat. guttur.
Here used in the masculine
gender, according to the best-supported reading.
Galen (on Hippocr.
Progn. p. 45), bri <f>apvyya tyjv TrpoKei/j.ivrjV xuipav (rrofia-^ov re koX

(jxipuyl.

Throat.

7.

Xdpvyyos

ovofid^et SrjXov ecrri.

266 9. Perishable. Lat. mortalis, periturus.

128 4, 130 12, 268 10. Sound, note. Lat. sonus.
66 16. Loving beauty, artistic. Lat. pulchritudinis studiosvs.
264 24. Loving literatwre, Utera/ry a scholar. Lat. litterarum

<)i6apTds.

iiBoyyo's.
<tii\(SKa\os.
<|>i\iSXoYos.

studiosus

litteratus, philologus.

264

<t>iXoiroi'ia.

Loving

25.

care

imdustry.

Lat.

diligentia

which

(etymologically) contains the same suggestion of 'work done con a/more.'

74 8, 132 22, 164 22, 248 15. Philosopher. Lat. philosophus.

The comprehensive sense in which philosophy is understood may be

<|)t\(5o-o<J)os.

from <t)i\oo'o<f>ia (140 12) and (|)i\o(roit>eTi' (70 12). Cp. in

modern times such academic vestiges of ancient usage as Natural
Philosophy or Ph. D.'
In Le Bourgeois Oentilhomme (ii. 4) rhetoric
is taught by the
and Dionysius is fond of
Mattre de Philosophie
illustrated

'

'

'

contrasting

the philosophical, or scientific, rhetoric (17 <^tA,ocro<^o9

fn^ropiK-q) of the best Attic times with the later and purely empirical
See further
Asiatic rhetoric, to which he applies the epithet dfuidrji.
in

D.H.

jiiXoTExmi'.

Lat.

it.

p.

208.

154 20, 200 18.

To

practise

an

artem amare, in curtem incwrnbere.

<^tA.oTX>'e?i',

(f>iX6Texvo<s

and

<j)iXoTe)(yia

reference to art pursued con amore

art lovingly, to be devoted to

So

176 18.
by Plato in

(|>i\oTex>'(>>S

are all used

and Cicero (ad

Att. xiii. 40.

1)

a chef-d'oeuvre:
an elaborate work of art
" Ubi igitur ^tXoTex>"?/* iUud tuum quod vidi in Parthenone, Ahalam

uses

et

(l>i\oTe)(yir] /jca

of

Brutum?"

<|>iXox<>>pri'.

110

commorari.

5.

To

Lat. libenter in loco

a place, to haunt it.
used repeatedly by Dionysius in the Antiqq.

cling to

cfuXoxoipeiv

is

DIONYSIUS OF HALICARNASSUS

332
Rom.

(e.g.

13 'ApKaSiKhv yap rh

i.

TrapeKeXevovTO

dA.A,ijA.ots

l^f)

and v. 63
ttoXu ^ijSevos auTOis
27 (iurb t^s <j>iko-)(iapiai

^iXoxtD/oeti/ opeo-iv

ev

(f>iX.ox(i)piv

and ^iXoytapla in i.
Plutarch uses the word in reference to his birthplace
Chaeroneia, telling us that he clung fondly to the spot,' lest by leaving
it he should make a small place, but one which had witnessed thrilling
(ij/iets Se p-iKpav oikowtcs ttoKiv, kol iva fi,ii
scenes,
smaller yet
The form
fiiKporepa yevrjTai (j)iX.ox(opovvTei, Plut. Demosth. c. 2).
Xupoi|>i\ii' seems to occur twice only in good Greek authors
(1)
Antiphon de Oaede Herodis 78 el S' ev AtVcj) x<>)po(f>iXeL [probably it
is to this passage that Dionysius here refers] ; (2) Ep. Thaletis op.
Diog. L. i. 44 (tv [levroi )((iipo(f>i\i(av oXiya <f>oiTeLS Is 'Iwvlrjv.
ayaOov

fieraSiSovcrri)

Kparovp-ivovi).

'

'

'

264

<|>\uapia.

268

7,

Nonsense, foolery.

15.

nugae,

Lat.

So

ineptiae.

192 9. Notwithstanding the remarks in Stephanus,

would seem more natural to take <|>Xuapos as an adjective (than
a noun) in 272 20, 22, and this for two reasons
(1) the form
(futility)

<t>Xu(ipT]|j.a

it

as

been used shortly before

has

<f}Xvapia

(2) the adjectival

Hesychius' note (ipavXos, evrjdrjs)

use

is

by
and by
that of Thorn. M. p. 376 Ritschl (TroXvXoyos), while ij <j}Xvapos
<jiiXoa-o<l)ia occurs in the Septuagint (Maccab. iv. 5, 10) and koI oAcds
aTToSeiKwiri tov ILvOayopov Aoyov (j>Xva.pov in Plut. Mor. 169 E.
sufficiently established

144

^opd.

84

<|)p(i<ris.

204

22,

252

i^opTiKog.

244 20.

Goarse, rude.

166

2,

pression.

17,

14.

3,

182

8,

Lat. cursus, impetus.

Current, rush.

Lat. insolens, importunus, insulsus.

206

1,

15,

208

7,

250

14.

Style, ex-

Cp. Quintil. viii. 1. 1 "igitur, quam Graeci

Latine dicimus elocutionem. ea spectatur verbis aut

Lat. elocutio.

vocant,

(jipdcriv

singulis aut coniunctis."

158 14. Snorting. Lat. fremitus. It is hardly

word here means no more than fiXrixq, bleating.

likely that

<t>pifiaYfi6s.

the

1961. Phrygian.
Greek Music, passim.

puyios.

198

(|)u\aKi^.

LAt. Phrygius.

Preservation.

6.

3 the reading (jivXaK-q

Lat.

will

M.onTo's Modes of Ancient

In the de Irmtat. B. vi.

correspond to the middle

conservatio.

correct)

(if

C-p.

(jivXaTTea-dat (not to <^-uA.aTTetv).

96 23, 214
200 12.

224 5, 240 8, etc. Natural. Lat. naturalis. So

o ^vo-tKos, in 214 3,
'the natural philosopher,'
'the physicist (of Empedocles).
In 134 2 ovS' e^e' <^TJO-tv rb Trpay/ta
Trea-etv the meaning is 'nor is the subject of such a nature that

<|)U(7iK(5s.

3,

(fruo-iKus

'

it

can

fall.'

130

<|)a)ni].

<t.a)Wiis.

Lat.

136 22, 138

4, 21,

Voice, sound.

7, etc.

Cp. ^lavelv ('to pronounce,'

vocalis.

138

8,

9,

vocalis.

term 'voiced'

Gramm.

p.

15,

140

KJiUivqevra

2,

7,

ypdp,fmTa

150

140
17,

litterae

1,

Lat vox,sonus, sonus

144 18, 148 14.

20,

152

4,

220

iavTtov aTTOTeXei.
<|>o>Tii'(5s.

234

13.

Full of

light.

11.

Voiced.

= vowels.

For the
Cp. Dionys. Thrax Ars

vocales

aqbuvos p. 292 supra.

Uhlig) <j><av^VTa SI Xeyerai,

see s.v.
(ed.

144

etc.)

L&t. lucidus, lyminosus.

Srt

(jxovriv

onj)

GLOSSARY

333

68 21, 80 17, 90 10, etc. Ohwraeteristic stamp, type. Lat.

forma, nota.
So tte adjective x^paK-rnpiK^s in 232 21 (cp. de
Demosth. c. 39 init).
See further in D.H. p. 208, Demetr. p. 308.
In 230 9 the verb xapA-rrew = to irritate.'

XapaKTVjp.

'

112

X<ipis.

Fr.

120 20, 124

5,

Gharm,

12, etc.

Lat. venustas, lepor.

grace.

Cp. Demetr. p. 308.

So x<*pieis ('refined,' 'elegant,'
'accomplished,' 'consummate') 106 16, 116
1, 154 16:J xapUvru^
A ^'
grdce.

110 22.

192

xXua(Tp,(5s.

7.

122 23.

XopSV).

Xopeios.

Lat. derisio, illusio.

Scoffing, satire.

String, note.

17017,18411.

270

x^^^'^U''"

3.

Lat. chorda.

Choree.

The

Lat. choreus.

metrical foot

^ ,^.

v^

In 170 18 the reading rpt^paxvs ttous (rpoxatoi ttous F) seems to

be a gloss.
The term xope'os is applied to the trochee more commonly
than to the tribrach.
The Epitome (c. 17) gives xo/'e'os (without
addition).
Xpei'a.
c.

104 21, 198

45, de Thucyd.

need,^ stress

Xp>i(ia.

158

ev

work

may

Cp.

(Ze

Demosth.

also be

Odyss. viii. 163).

Neighing, whinnying.

14.

Lat. usus.

some notion of practical

xpe'? Sopos (Soph. Aj. 963) and wb t^s xP^'"S

Object.

2.

There

55.

on Horn.

158

XpEfieTio-fids.

c.

cp.

avTrji (schol.

Use, practical

2.

La.t. res ipsa.

Lat. hinnitus.

Cp. note on p. 158 swpra.

Xpom. 130 1, 164 5, 204 22 (lit. 'does not divide the times'), 210 19,
216 18, 234 4, 244 19, 264 4.
Times, time-intervals, time-spaces,
rests, pauses.
Lat. tempora, morae.
So in 128 15 xp6vovs = th^
length of syllables,' and in 130 7 ev rots XP^'-'^ ''"'"'' /fopio)v = 'in
the duration of words,' 'in quantity.'
xpovfov =' tenses,' 108 5 ;
Xp6vio'i = diut'wrnus, 202 23; XP'""'C'^"' = *^'"'*) 164 12.
^

Xpufia.

88

198

12,

14.

Golowr.

Lat. color.

In 198 14 xp<"Ao"'v should

be retained (in place of Usener's xPVl^"-oriv) in the sense of ' ornaments

the ornaments in question being jueXos evyevh, pvdfib^ d^KofiaTtKos,
/tTa/8oA.ij p,yakoTrp7rrjs (136 11, where compare to rraa-i toijtois
TrapaKoXovOovv wpeirov with rots aAAots XP'^I''"-"'''^ airacri Trapeivai
'

Se? TO irperrov in
airavTo.

koX

198

14).

xP*"/"'*''''^'''''''''*

Compare too de Demosth. c. 22 koct/iowtos

ry TrpeTrovcri^ viroKpiaei ^s SetvoraTos

a(rK)jT)js eyivero,

and the use of

and de Thucyd.

c.

42.

xp(i3fj.a

Photius

(Bibl.

(or

XP'"/^"''''''')

in de Isaeo

214) has

Cod.

eari

c.

Se

4
ij

dvSpl (Ta<f)rj'S p,ev Kal Kadapa, Ka\ (nrovSy (j>i,\o(r6<l>(i>

ov p.rjv ye rots KtKaXXuyirKrp.ivoi'i Kal irepirrol^ i^iapai^o/cat
iroiKiXp.ao'i rrji pvjTopeia^.
Similarly color in
P-evrj
XP''^I^0L(TI
The stage at which
Quintil. X. 1. 116, and Cic. de Orat. iii. 25. 100.
the XP'^H-"' would best be introduced in a historical work is suggested
koi kirnBav dOpoicry
in a passage of Lucian {de conscrib. hist. 48)
<f>paa-i,s

r(f

irpiTTOvtra,

diravTa

i]

to,

TrXeiara, TTpwTa fiev

VTr6p,v7]fj,d

Tt (rvvvfjiaiveTm

avriav

aKaXXes en Kal dSidpdpioTov tira 67rt#ts rrjv

tinge ') Ty Xe^ei koI
rd^Lv kiraykriii t& KaXXos koX x/"''i'''i^Tft) (i.e.
But might it not be more truly said
(rxr)[iaTi^T(o Kal pv6p.i(ir(a.
that a great historian like Gibbon has his X/'^/*" from the beginning.
Kal

ar<op.a

TTOteiTio

'

DIONYSIUS OF HALIOARNASSUS

334

from

moment when he

the

theme

vast

Ghromade.
194 1, 196 3.
chromatic scale see note on 194 7.

144

130

<|i,\<5s.

Boom,

13.

distance,'

'

conceives his

xmpiov in 126 6

Lat. locus, spativm,.

space.

For the

chromaUcm.

Lat.

Xp(>))iiaTiK6s.

Xiipa.

Forum and

stands in the

It is in fact one aspect of his inspiration.

interval.'

'

148

5,

12

7,

(bis),

Bare, smooth, tmaspirated.

18,

150 3,
So

19,

hat.

lenis.

9,

154

250 12, 254 1.

148 21. See s.v.

2,

i|>i\(STr]s

Saa-vi p. 294 supra, with the reference there given, to A. J. Ellis'

pamphlet.
In 148 7 Ellis takes 'smooth' to mean 'unaccompanied
by voice, but in this case possibly not mute.' In 130 5 the ' ordinary
voice, the voice pure and simple ' (or ' without addition '), is meant
'

iii.

250 12, 254 1.

3, and "nuda oratio"
162 15. Sounding.

154

cp.

2.

i|io(|>oi8^s.

may

So

2,

Cic.

ev rots if/ikoii X.6yois Aristot. Ehet.

Oral 55. 183.

If the

Lat. sonans.

perhaps be translated by fricative

it

term

technical, it

is

can hardly be so wide as

consonantal.

138

<|/6<|)os.

12, 146 4, 222 2.

The consonants (litterae

7, 8, 9,

strepitus.

sound,

consoruintes')

Lat. sonu^,

noise.

are called

\l'6cj>oi,

as

contrasted with the <j)(ovrjevTa ypa/t/iara.

202

t|/uY|j,a.
'

Inhalation.

26.

[xlwyfia

Lat.

Used

respiratio.

particularly of the

between one word and another.

must, of course, be distinguished from ^pyyyiui.
cp. Long.

catch of the breath

'

(interspiratio)

p. 174.]

uSV).

124

16,

upa.

126
78

16,

148

22,

So

carmen.

130

1,

a}hiK6s

224

21,

= vocal

(of

278
the

8.

Song, lay, ode.

voice

Lat. cantus,

accompanied by music),

5.

Lat. cura.
&pa
Cp. Hesychius
if/iXms St
oOev oXlyutpov (i.e. ' a poco curante,' ' a Hippocleides') keyofiev rhv oXiyr/v e)(0VTa <f>povTiSa.
In 78 12
has -y/O
<f>povTiSa, in the margin.
12.

Oare, heed.

^jOovTts, eiTifikXeia

bipa.

120

20,

124

Fr. fraicheur.

12,

162

1.

Freshness, bloom, beauty.

Cp. Ep. ad Cn. Pomp.

Lat. venustas,

2 (quoted from de Demosth.

flos.

5
in reference to Plato's style o re ttivos 6 t-^s dpxaioTrjTO'i qpip.a airy
Kal XeXrjdoTOi'S iirirpexit, IXapov re ri Koi TeOrjXbi Kal fiea-rhv &pas

avuos

ai/aoiouMTt,

/cat

&(nrep

Tis rjSeia e^ auTijs <f>epeTai).

aipaio-ficSs.

66 18.

Adom/ment,

d/!rb

c.

tQv

fvu>8e(rTdT<i>v

Xei(i(ovo)v

In 68 14 and 76 6 &pa='
elegance.

Lat. eleganiia.

c.

aipa

time,' 'season.'

APPENDIX A
OBSCURITY IN GREEK
The

natural lucidity of the Greek language

sometimes assumed by its

Greek authors. But the
ancients themselves made no such extravagant claims.
They might praise
Lyaias as a model of clearness ; but they knew well the difficulties, of
subject matter or expression, to be met with not only in Heracleitus ^ or
Lycophron, but in masters so great as Pindar, Aeschylus, Thucydides,
and the author of that excellent definition which sees in lucidity a
Aristotle himself.
fundamental virtue of style
Thucydides (to take one
writer only out of this group of four) is taxed with obscurity by critics other
Marcellinus, although not otherwise in entire agreement
than Dionysius.
with Dionysius, attributes this particular defect to Thucydides and regards

modern admirers

is

to extend to all the writings of

it

as

juijSe

TOis

deliberate
weA,ijs

Xiav

a-o<f)OL9

Se

ao-a<^tSs

KJjatVTjTaL

Xeytav

Travrl

SoK6/iafo/iVos

eTrtTijSes,

/3ov\ofj,evtp

T(j)

Trapa

iva

fj,r]

ttoo-iv

voov/ievos

ei-q

ev)(epws,

tovtok Bavfm^rjTai

/Sar&s

dX,Xa
to Se

T^S (rvvdia-e(OS Tpa'^yT'rjTO'S [LetTTbv koi ep^^piOh Kal inrep^ariKOV, Ivtore

Se acra<^es
.
acra^^s rfjv Sidvoiav Sta rh VTrep^aroii )(ai,peiv
.

(Marcell. Vita Tkueyd.

is

35, 50, 56).

pitched in the same key

<5

An

epigram in the Greek Anthology

Xd^e /i' ^s x^pas" el S^ ye ird/Mirav

?0us Movaiwv, plipov & fiT] voxels,
d4 y' o6 ir&vTeaci Paris' icavpoi S' dydaavro
QmKvSlSrii> '0\6pov, KeKpovldriv to yhos.
Anth. Pal. ix. 583.

<l>i\os,

el (To^tbs et,

y^Jis

elfil

in a more uncompromising way, condemns the Speeches as

" ipsae illae contiones ita multas habent obscuras
abditasque sententias, vix ut intellegantur ; quod est in oratione civili

And

Cicero,

scarcely

intelligible

vitium vel maximum " (Cic. Orat. 9. 30).

Obscurity in matter and obscurity in expression are intimately allied.
Euripides, in the Frogs, says of Aeschylus that he was obscure in setting
forth his plots (ao-a^ijs yap ^v v ry <j>pd(rL i' irpayfidrav, Aristoph.

Bm.
'

Rhet.

1122).
6 OKOTeaibi
iii.

Dionysius attributes to Lysias, as compared with Thucydides

:

op. Dionys. Hal. de Thuoyd.

5. 6.

335

c.

46, Demetr. de Eloc. 192, Aristot.

DIONYSIUS OF HALIOAKNASSUS

336

and Demosthenes, a lucidity which embraces matter as well as expression

and treats words as the servants of thought rpiTrjv dpeTrjv aTro<j>ai,vojjMi
:

trepl

T&v avSpa

rfjv

ev

Trpdy/j.ao-iV

TOis

TToAAois

rifv (ra^rjv^iav,

ecrnv qpuv
aiTiov, OTi oi TOiS
Kocrrd

acra<^7j

ovo/JLacri

Kal
to,

TrpayfiaTLKr/

(cat

<ra<jyriveia

OTi Trjs p,V QovKvSiSov

8e,

k^uireiv eyevovTO,

Seofjxva

i^rjyrjToiv

to,

Xe^fiDS

Kal

ov
Kal

Trokka Svoreitovtov Se

Trpdyfiara Trap' avT<^

ovo/iara (de Lysia, c. 4).

Sovkeuei

aKokovdei

Trpdyp,aa-iv

Se

Tots

Kal

tis

Trpdyp,aTa

Seivoraroi

oi

ArjfjLOtrdevovs,

yap

etrri

TKfM,ipopxi,i

yviopip.o'S.

dWa

ov fiovov rijv ev tois ovo/juktiv,

[sc. A-uo-t^],

So

far as

the two can be separated, it is with wording rather than with subject
matter that the present appendix is concerned.
One principal cause of obscurity is the anxious search for brevity.
Dionysius sees this, especially in regard to Thucydides ; and " brevis esse
laboro,
obscurus fio " has many an analogue in his critical pages (e.g. ocrai^es
|

/y'lverai t& j3pa)(y and

Stol

to

Tamo's

tijs

djrayyeAtas

da-a(j>i]i

ij

Ae^tS

and Ep. ii. ad Amm. c. 2). At the same time, he

concede enough to the claims of brevity in G.V. 118 1, 2,

yiverai, de Thucyd.

c.

24,

does not seem to

it is not simply a question of ' offending the ear,' or of ' spoiling the
metre,' or even of ' charm.'
The two lines there quoted from Sophocles have
something of that irokvvov^ Ppa^vkoyla which has been justly attributed

where

to Thucydides.1

But too many words may be just as

Aristotle says {Ehet.

no
is
c.

iii.

12.

6),

lucidity

fatal to clearness as too few.

is

imperilled

when

a style

As

is prolix,

less than when it is condensed.

A disjointed and rambling diffuseness
condemned by Demetrius {de Eloc. 192) and Dionysius {Ep. ii. ad Amm.
15) remarks that numerous parentheses make the meaning hard to follow
;

at fiera^v irapeiiinijiiTei^ 7roA,A,at yiv6p,evai Kal juoXts Itti rh

Tekos dcfiiKvovp^vai, Si as ij (j)pd<7is SvcnrapaKokovOrjTos yiverai).^
It is, however, the arrangement of words (even more than their number,
large or small) that contributes to lucidity or its opposite.
QuintiUan (ix.
4. 32) says "amphiboliam quoque fieri vitiosa locatione verborum, nemo
est qui nesciat" ; and certainly the importance of a right order, in its
bearing on clearness, is very great even in the highly inflected languages.
Elsewhere (viii. 2. 16) Quintilian gives some good examples of ambiguities
" vitanda est in primis ambiguitas, non haec solum, de cuius
to be avoided
genere supra dictum est, quae incertum inteUectum facit, ut Gh/remetem
OAidim percussisse Demean,^ sed ilia quoque, quae, etiamsi turbare non
potest sensum, in idem tamen verborum vitium incidit, ut si quis dicat,
visum a se hominem librum scribentem.
nam etiamsi librum ab homine
scribi patet, male tamen composuerit feceritque ambiguum, quantum in
ipso fuit."
Quintilian's ideal is a fine one, but it is not always possible to
(.

A good practical recipe for

brevity combined with clearness is given in the Shet.

Tpay/xdTwv xal tuv dvoi/Aroiv
ivayKola lyi)89)vai, touto iibva KaraXelirovTes, &v iipaipedivTiiiv
fi.^
iaa^s 4(rTai i X47os.
" He illustrates from the Introduction {wpool/juov) of Thucydides
the passage quoted
in G. V. 0. 22.
good example of the elpo/jiivri X^fis in Thucydides (who is an acknowledged master of the KaTcoT/jn/i/i^i'i; X^f is) is furnished by Thucyd. i. 9. 2: cp. p. 119 so^wa.
' Earlier (vii. 9. 6) in his treatise, Quintilian has quoted 'Aio te,
Aeacida, Eomanos
vincere posse ' ; and these oracular ambiguities had been glanced at previously by
Aristotle {Rhet. iii. 5. i).
^

ad Alex.

30
Trepiaipffl/io' t4
c.

trvvrd/uas Si [SrfKiiiToiiev'], ^Ak &irb tS>v

APPENDIX A
Latin or 'in Greek.

attain it in
so desirable

337

The freedom

on other grounds, stands in the way

Illustrations

of the classical word-order,

here.

of a certain degree of ambiguity will be found in

some
dependent genitive in Greek, as used especially in
Thucydides.
Thuoydides usually places the dependent genitive hefore the
noun on which it depends, i As, however, his rule is not invariable, it
of the

instances

cannot be said that in all the following examples (which are designedly
of a promiscuous character) the reader is absolved, as Quintilian evidently
thinks he should be, from making his conception of the general sense
help in determining the grammatical construction
(1) KoX fieri, tiJs ijc^rovos

eif

(2)
iv.

iKirlSos 6\lyo>i> ijfiepQp Ivexa iJt,ey\ov

&/ji.a

Thuoyd.

iKetvois ^vvayavL^ea-Bai,

juaBov

143.
Tis VTTOfjAfOi Kal fi^ 06j8(jJ podlov Koi vwv deivbnjTOs KardTrXov

86<reo>s

i.

{/Trox(opoiij,

10.

KepKvpaioi Si

(3)
i/fuv

rijs

fieri,

^vfifMxlas r^s alr^aeois Kal raOra iriffreiovres ^X^P^

irap^^effdai airicrreiKav ijfiaSj

oiirep

dtTTiora

fiiv

taat,

32.

rrjs

Kal

Siairep

(5)
iXriBelas 'Myeiv, vi. 33.

rd re

i.

Ivexa

tS)V
(4)
NauTrdKTij) xaOs, vii. 34.

6\K6,S(ini

SixeXiav KOfMdtjs

is

&Woi

airwv r^s

rivis,

S6^oi

dvffjipfiow

ifuv

rou

irepl

r^

ris

irphs

iiriirXov

^i'

rijs

7jfierip(fi rpbin^
ri iari Kr\., vii. 67.
(7) robs yip B,v ^iXoiJs rods i7<piov Kal rhv 6x\ov rijcv "ZvpaKoaloiv rois linrias
TrohXois Svras, u^lai S' oi irapbvroiv Iwitav, ^Xiirreiv h,v fieyd\a, vi. 64.
(8) Kal roO KX^aivos Kalirep fiayiiidris oS<ra i) iTrSffxecLS diri^-i], iv. 39.
(9) Kal rpiijpTjs TTJ airjj iffUpq, dXiffKerat. rijov 'A07]vatiov iirb Twv ^vpaKOffiuv

(6)

rrjs

dvrLfitfji'^crews

irapaffKevijs

TjfUiJv

fikv

^un'/iBii

itjiopfiovaa riff \ifi4vi,

3.^

vii.

e.g. Kal 8ij koI Tore tov QpouTv/jhdxpv t'^v

ovk direSe^aTo, Plato JJep. ii. 357 a (where, however, the meaning
may be " would not accept from Thrasymachus his withdrawal ") ; and

Similarly in other authors

diropfnja-Lv

(Ss (jidro,

T(^ S'

apa Trarphs

v<ft

ip-epov Zpcre yooio,

Hom.

II.

xxiv.

507

and

^(b oiK ^fieWov, dvdpbs odSevbs

fftpbvTffW. 5eiffa.(7\ iv Beotai t^v SCkt]v

ToiiTcov

Sibffeiv,

Soph. Antig. 458-60.3

some of these instances the order is not absolutely unambiguous,

in other and more miscellaneous extracts about to be given.
The writer of artistic prose, as of poetry, has to satisfy claims which are
often hard to reconcile
those of clearness, of emphasis, and of euphony.*
If in

stiU less is it so

/3ou\^s)

L.

vi. 1142 b dXX' 6p66rris rls iariv ii ei^ovkla

Cp.
seems to be emphatic because so far separated from dpSdrrfs.

In a passage of Aristotle (Eth. Nic.

'

PovVfjs

H. G. Greenwood in the Classical Review xix. 18, and the same writer's translation
Mcomachean Ethics Book Six p. Ill), "But deliberative excellence is

{Aristotle

Tightness in deliberation."
^

Short and simple as

order.

T-piijpijs is

It

is,

this last sentence 16 a good example of effective

it with (ppoipioy in the previous sentence.

put early, to contrast

word-

Then

(removed from Thucydides^ usual position

for a dependent genitive) is put in expressive juxtaposition to virh rav 'Z.vpaKoalav.
And the rhythm of
iipopfwvaa r<p Xifiivi.
Lastly, the reason or circumstance is given
the sentence is not unpleasant.
oBj- iyii Kr\.
^ Aristotle {Rhet. i.
15), in quoting the first Une only, gives ravr'
* In
English it would be interesting to test, by these criteria, such usages (for usages
they may be called in so far as they rest on the authority of many good writers) as the
'split infinitive,' or the preposition coming at the end of a sentence.

the time is indicated.

Next

tuj'

'

A.er]va'u>iv

DIONYSIUS OF HALICARNASSUS

338

result may oftea be a more or less unconscious compromise in which

Euphony, to
one of the elements prospers at the expense of the others.
take that element alone, is expected to please the ear in many dififerent
ways by the avoidance of harsh letters (found singly or in combination),
of short syllables in close succession, of monotony in wordObscurity may well
terminations, of monotony in every shape and form.
ensue, especially in a literature which does not aid the eye by means of
punctuation, capital letters (to denote proper names or the beginning of a
sentence), italic type, or division into paragraphs and chapters. To set against
these deficiencies, there was the help provided by the reciter or the skilled
anagnostes ; and it is often interesting to speculate how, by a slight pause
or modulation of the voice, a practised reader would be able to remove a
In poetry, again, metre would often be an aid to clear
seeming ambiguity.
delivery, though its exigencies might on the other hand have led to some
ambiguities in the actual writing.
No careful modern student of a highlywrought speech, like the Grown of Demosthenes, can have failed to be
arrested momentarily, here and there, by some slight ambiguity which, as
far as he can judge, might have been removed by an equally slight change
in the word-order
and he gains much in the appreciation of Demosthenes
if he is thus led to consider what are the subtle laws of rhythm and melody
to which an absolutely unimpeachable lucidity has (in however small a
degree) given way.
He will certainly be led to the conclusion that, in
Greek, good order is by no means the simple thing it may seem when
achieved, but rather is the highly complex result of the play of many
forces.
The following examples, drawn from various authors in poetry and
in prose, may be found suggestive.
They are of set purpose presented
without any attempt at sequence or classification, except that a considerable
number of extracts from the de Corona are grouped together

The

(1)

Kal

fioi

iKeivov,

rhv vlbv, el
et(p\

8v

fjt^fuiBTjKC

rhv \byov

iffrlus eiff'^ayes.

Aristoph.

dXXd

(2)

TT&VTOV itr

iViiJ.

1148.

aSris dvapird^aaa SieXKa

Ix^vdevra tpipev ^txpia OTSvaxovra.
(1,1V

Horn. Odyss. xxiii. 316. ^

(3) ^5' Cis

^VXV

eU

*Aide(i)

Sdfiov

^XuOcv eipdievra,

XRV^^f'^'os QriPalov Tapcalao,

vtfi iroXvKX'^iiSi.

id. ib. xxiii. 322.^

(4)

Sn

'Iirirlas fxiv irpeffpiTaTOS ibv

^px^

tG>v JletauTTpdrov vU(ov.

Thucyd.

Here

tcov Tleuria-Tpdrov vliutv

(5)

depends on

Trpecr/B-VTaTos &v,

KpdrLora Tolvvv rwc irapdvTiov iffrl v^v

ffeuv l6vTe irpoffvecrttv tov irpbs jSp^as.
Aristoph.

Here the actor would pause

slightly after vfv, at the

i.

20.

not on vpxe.

.By. 30, 31.

end of the metrical

line,
(6) tout' oBk

?/3Xa^a rl Spdcas
id. Jian.

But

The

1064.

authenticity of these portions of the Odyssey was suspected in antiquity.

compare Iliad xviii. 587-8 (quoted in Introduction p. 13 supra) or Odyss. xi. 160-1.

APPENDIX A
make

Careful delivery jvould

e'jSAo^a, Spdtras tovto ;
(7)

ffa^us yb,p

&.V Siao-Koi.|Jii

|i'f|

veiSoiiu

el

S.v,

339

quite plain that the meaning

it

i/uis xal

t^

delffOai

is

pta^ol/itiv d/ibi/WK&ra!,

TiSxM irpbs iroXX^ SvyaTUTlpovs

(bs

iriiiroTe

irpbs

oXovs

0.

24.

i.

69.

dywxifiS/iiecot KaTaa-Trjvai.

Thucyd.
(9) 0158' iK\oyt<ra<r8ai

Kal

Oeotis

{JYeta-Sai ii^ds etvai.

Plato Apol.
(8) Kal is

ri oSv

vjntv 'ABrjvatovs

ivras Kal Saov

ifiSiv

dia^povTas 6 dyibv Sarai.

Tray

id.

70.

1.

probably to be connected with o dyojv ecrrai.

Its present
position has the effect of marking the contrast between v/j,Tv and 'A^jjvaiovs, and further of breaking the monotony of the accusative-endings oTous
'AOrjvaiou^ oVras.
It should, however, be remembered that in a highly
inflected language like Greek a noun may stand in a vague general case
relation (genitive, dative, or accusative) to the whole sentence in a way
that is impossible in an uninflected language.
This may be so here, and
in some of the other passages quoted.
vfuv

is

(10) pijSiJireToi Si oi irapair/faeas iiSXKov Ivexa ^ fiaprvplov Kal irfKiliaeus

/iij eS ^ovKevo/iivois o dyiiv KaraarliaeTai,.

irpis

o'Uv 4|itv 7r6Xu'

id.

73.

i.

Similarly vfilv (' you will find,' etc.) is to be taken with o dyoiv Karao-T)jo-Tai.
It is contrasted with jroAiv and paves the way for ^ovKevojiivoK.

&S'

(11)

ye Tois

&

S'

/Ji'^Trjp

IXccivd. KaT'^<r$ee

&p,(t>eiroraTO ddvpofiivr)

Terpiyuras'

^CKa T^Kva,
Horn.

Coimect eAcetvot TerptytoTas, and

(12)

iis

a.fi,<^iirorS.ro

odv SeicA iri\wpa 9eS)V

11.

314-1.

ii.

<^tAa re/cva.

eliTij\d'

iKaTd/l^as.
id. ib.

ii.

321.

Connect Oeiav eKaroiifia^.

"' iyui 'Hfiriaa tois tjipovovaai eB.
(13) ko/toi

Soph. ATitig. 904.

eS

The line occurs in the suspected portion of the

eTifirjcra.
But, so far as this particular point is concerned, cp. the order of

with

Antigone.
jiovoi in

rk

Koivb, xaipoiv

o6 SlKaia Sp^

|i.<Svos.

Eurip. Ion 358.

'ArpetSai toDS' S.yav oiirii) XP^'V
ToaipS iTre(Tri<l>ovTo Trpdyfiaros X"^/"";
vp6v<.ov ^/cSeSXjjK^res
Sv y elyov

(14) Tivos

5'

Mn

Soph. PMloct. 598.

Here

strict

lucidity

is

sacrificed

to

emphasis,

rtvos

must be joined

with Trpdyfj.aTO's (not with rovSe).

'AiroXXuvos
(15) ffTi/i/MT' ixwv iv xepffi" cKiiPdXoD
Xpvaiip dvik ffn^TTpip.

Horn. M.

1.

14.

wAvtoiv 6/totos ipjiv

(16) repl roirav S' bvTOS tovtovI toS iyuvos, dfiiS Kal Siofmi
OKoBo-oi iwv irepl twv KaTtjyoprjpjivuv d.iro\oyovp,ivov SiKaCus, fflffTrep ol vbiwi KeXeiouinv,
oOs 6 TiBels ii

SAXwi' ktX.
dpyns
'^'^

Demosth. de Cor.

% 6.

DIONYSIUS OF HALIOAENASSUS

340

cp. the position of yevvaims in de Cor. 97

The present order is not only
Introduction p. 24 supra).
emphatiCj but also serves to connect StKatcos closely with Sxrvep ktA.., and
thus to a certain extent actually to avoid ambiguity.

SiKaiois qualifies aKovcrai

(quoted in

(17) aKi\pa<rB' (5 AvSpes 'ABrivatoc koI Seup^ffare Half

TiviiTepov iydi irepl ttjs rixv^ Toirov BioKexB'^iToimi,.

ical

&\riBi(STepov

Demosth. de

koL &v6pia-

Cor. 252.

irpoeKiaBai ri, xiXKurra xal rh rQiv olriBivroiv 'EXX^i/wc, et

wpboivTO 71/ms, iv eiSai/iovtg, dii^ew, a^Tuv dfieivov irpdrrHv ttjs 6,ya6ijs rixV! rris
ir6Xews cTvoi HBtj/u.
(18) tJ

Tolvvv

/iiv

id. ib. 254.

(19) ToO (liv oBv Ypdij/ai irpdrrovTa Kal Xiyorra ri, piXnirTd /ic t$ Sijiuff diareXeiv
Kal irpbBvfwv etvat iroiAv 8 ti hv SivwiMi i,yaB6v, Kal iiraivciv ivl roirois, iv rots
ireiroKiTevfiivocs r^v KpCiriv elvat vofii^ta.
id. ib. 56.

(20) oi

yhp

h,v

^^ar' airdov

TrapbvTtav ^^wy, kt\.

id. ib. 30.

The

and elsewhere, may serve to indicate the

and Aristotle's remarks on the
obscurity of Heraoleitus may be recalled
ra yap 'HpaKAeiToi; SiaxTTi^ai
('to punctuate') kpyov Bia. rh aSrjXov elvai iroripcp irpocrKeiTai, T<fi vimpov
ij T(j)
Trporepov, oiov ev ry ap)^^ avrov to{) crvyypa./j.p,aros
(jyrjai yap
" Tov Xoyov TovS lovTos del d^vveroi avdpunrot y ly vovr ac"
aSrjkov yap
here

vertical stroke,

possibility of a slight pause in utterance,

rh

dei,

irph^ mrorkpi^ <8t> Siaari^ai.

(21) Xotvbv Toivvv

ivavTLovffBai diKaiojs.

fjv

Kal dvayKoiov S/iO

ir5,<nv

oh

Aristot. Bhet.

iii.

ixeivos lirpa-rr

dSiKQv

Demosth. de
(22) toSto Toifvi' elSiis Alffxivrj! oiSiv iJTTor ^/loC

5.
ifuis

Cor. 69.

irofiireiav di/rl
iVTl TOU
tov KaTTjyi
KaTrfyopelv

elXero.
id. ib. 124.

(23)

avvi^Mve

S'

aiT<^

T(fi

iroKi/up KpaTovvn, kt\.

id. ib. 146.

(24) tStc jolvvv (car' ixeivov Tbv Kaipbv b IIota;'ei>s iyii

'KoBtaKldov ffov
irKeiovos &^ios &v ifjtdvTiv tq iraTpidt.

BdrraXos Olvoiidov to5

id. ib. 180.

(25)

el

TllxaprrriKivai.

ydp

lis

Sb^ere, oi

oA

tA.

^ArioTa

ifioO

iroXiTevo^a/iivov

rg t^s Tixts dyvwixoaivri t& ov/i^dyTa

TovSl

KOTa^i;0i(r9e,

iraffetv.

id. ib. 207.

(26) oiK &v oTa <ri vvv IXeyts,

^/ifiara Kal (Tx'^fi'aTa /uiioinevos kt\.

roiavTa Karriybpa,

irapadelyfuiTa irKdrrav

Kal

id. ib. 232.

Tolvvv TavT d^eis iiii Tbv vapd rouToio-i ireiroXiTcvu^vop airij, Kal toCt'I
elSiis in, Kal d fi^ rb SXov, /lipos y' iiripdWei Trjs pXaaiprifilas
S.na<ri, Kal fidXiara <roi.

(27)

a-i

id. ib. 272.

Here may be added, from R. Y. Tyrrell's edition of Eurip. Bacchae

p. 36,
an interesting note suggested by the distance which parts p.6o-xoyv from
dyekala Po(TKrip.ara in Bacch. 678 "The Greek writers are not nearlv
so
sensitive about the order of words as we are.
Surely we have something at
least as strange in the order of words in 684 where
kXarrj's certainly
depends on <^d^ijv not on vwra.
See Comm. on 860 for more curious
inversions of the natural order; and compare in Soph. Oed.
R. 1251 YWTrus
p.iv Ik tZvS' ovKkr' oIS' dirdWurai
0. 0. 1427 ti's 6^ rokp.'qo-ei k\-6o>v
to
:

APPENDIX A

341

Perhaps the best instance in Greek of a violent

;
Thesm. 811 ov8' av liKi^aaa yvvfj ^EiiyEi Kara irevT'qiroXiv eXOoi tuc ^fuxruav 'nor would a lady ride in
Kovra rdXavra
her chariot to the town after pilfering the public exchequer to the tune of 50
Probably the Greek authors, in such instances, were not blind
talents.' "
to the liberties they were taking with the natural and lucid order of words ;
And about the order adopted in
but they trusted to delivery's artful aid.
the passage quoted from the Thesmophoriazv^ae there seems to be a touch of

TovS' cirEo-Oai ravS/ods

hyperhaton

is

Ar.
|

comedy.
worth notice, in connexion with Thucydides and word-order, that
the Vatican manuscript B, which is at its best from vi. 92 to the end of
viii., frequently exhibits an order of words which is peculiar to it and may
In reference to
point to a reviser's deliberate effort after greater lucidity.
the text presented by the newly discovered Commentary on Thucydides ii.,
Grenfell and Hunt (Oxyrhynchus Papyri vi. p. 113) say: "As usual, the
text of the papyrus is of an eclectic character and does not consistently agree
but it supports the ABEFM
with either family [of the mss. of Thucydides]
group seven times against only four agreements with the other [viz. CG].
Several new readings occur of which we append a list."
With regard to the 27 passages quoted above from various authors it
may be remarked in general that, while in some of them there are real
And it might
obscurities, in others the ambiguity is purely grammatical.
almost be laid down as a principle of Greek language that grammatical
rules may be freely neglected where the neglect of them does not make
the meaning seriously ambiguous, and is desirable in order to secure
emphasis, euphony, or some similar object.

intentional
It is

APPENDIX B
ILLUSTRATIONS OF WORD-ORDER IN GREEK AND

MODERN LANGUAGES
A

FEW modem translations of some short Greek passages may be appended,

in order to exemplify some of the leading differences, in regard to wordFrom these it will be seen
order, between ancient and modem languages.
how much English, French, and German differ among themselves ; and,
indeed, how great is the variety presented by good English versions of one
Dionysius himself (p. 266 supra) refers to the
opening of Plato's Republic, and that opening passage may here be given at

and the same Greek passaga

and clause-order as well as

be added, from the de Gorona (which Dionysius
regards as the greatest of all speeches), the opening, the conclusion, and a
suf&oient length to illustrate sentence-order

Then

word-order.

will

famous piece of narrative.

MODERN TRANSLATIONS
I.

Opening of Plato's Republic

X^^* *'* TLeipaia fiera. T X.avK(xivoi tou 'AptoTiovos

ry de(i Kal afia ttjv eoprrjv ySovAd/icvos demraxrOai
riva rpoTTOv ttoi^o-odo-iv are vvv Trpurrov ayovres.
KaA.^ p!kv o^v /loi
Kal r) T(ov eirixopioyv 7ro/*7ri) eSo^ev eivai, ov juevroi ^ttov IqboiveTO
irpeiruv rfv ol Qp^Kes eTrc/itirov.
Trpoa-ev^dfievot St
Kal demp^a-avres
KariSwv oSv Troppotdev ij/tas otKoSe mpfL-qpAvovi
aTrgfiev irpos fh atrru.
o Ke^aAov eKeXevcre Spafiovra rbv TralSa Trepifulvai k
TLoX,eiJi,ap)^os
KeXfvcrai,
Kai fwv oincrdev 6 wois Xa^op.tvo'S rov i/iarioi), KcAcvci
KareySijv

(1)

n-poo-eu^d/tei/os

vfias,

offov

xepi/ievere.
(2)

TIo\efw,p)(0'i

e<jyr],

qpofjajv

re

aurfes

Kai

irepifiiivai.

OStos,

'AA.A,a Tripi/xivovufv,

e<f>r],

8'

os 6

eyw

oiria-dev

re

p,eTea-Tpd(f>rjv

Trpoa-epx^Tai

Kal

dkXa

VXavKmv.

au Pirie avec Olaucon, fils d'Ariston, pour /aire

comment se passerait la file, car c'etait la
ciUhrait
La pompe, formde par nos compatriotes, me

J'itais descendu hier

notrepriire A la d^esse

prmdire
parut

eiV/.

fois qu'on la

telle, et

celle des

et

voir aussi

Thraces ne VMait pas mains.

342

Aprh

avoir fait notre

APPENDIX B

343

et vu la ciremonie, nous regagndmes le ehemin de la ville.

Comme nous
nous dirigions de ce cdte, Polemarque, fits de Gephale, nous apergut de loin, et
dit a son esclave de courir apris nous et de nous prier de Vattendre.
Oelui-ci
m'arritant par derrihre par man manteau
Polemarque, dit-il, vous prie de

prihe

me retourne et lui demande

attendez-le un moment.
Eh hien, dit
Je

Vattendre.
suit,

son maitre : Le voilA qui

Olaucon, nous I'attendrons.
oii est

me

Victor Cousin.
(3) Ich ging gestern mit Qlauhon, dem Sohne des Ariston, in den Peiraieus
hinunter ; theils um die Gdttin anzubeten, dann aber wollte ich av^h zugleich
das Fest sehen, wie sie es feiern wollten, da sie es jetzt zum ersten Mai hegehen.

Schon

nwn

minder

diinkte

vortrefflich

Nachdem

mich auch unserer Einheimischen Aufssug zu sein; nicht

jedoch nahtn sich auch der aus, den die Thrakier geschickt

nun

gehetet und die Feier mit angeschaut hatten, gingen

Wie nun Polemarchos, der Sohn des Kephalos, uns
mn fern nach Sause zu steigen sah, Mess er seinen Knaben laufen und uns
heissen, ihn erwarten.
Der Knabe also fasste mich von hinten beim Mantel und
sprach: Polemarchos heisst Euch, ihn erwarten.
Ich wendete mich um und
Hier, sprach er, hommt er hinter Euch, wartet
fragte, wo denn er selbst ware.
hatten.

loir

wir fort nach der Stadt.

Nun ja,

nur.

wir wollen warten, sagte Glaukon.

Feiedrich Schleiermachee.

I went down yesterday to the Piraeus with Glaucon the son of Ariston,
up prayer to the goddess, and also from a wish to see how the festival,
I was very much
then to be held for the first time, would be celebrated.
pleased with the native Athenian procession ; though that of the Thracians
We had finished our prayers and satisfied our
appeared to be no less brilliant.
the son of
curiosity, and were returning to the city, when Polemarchus
Gephalus caught sight of us at a distance, as we were on our way towards
The servant
home, and told his servant to run and bid us wait for him.
came behind me, took hold of my cloak, and said, Polemarchus bids you wait'
There he is,' he replied,
I turned round and ashed him where his master was.
We will wait,' answered Glaucon.
coming on behind : pray wait for him.'
Davibs and Vauqhan.
(4)

to offer

'

'

'

'

I went down yesterday to the Piraeus with Glaucon the son of Ariston,
I might offer up m/y prayers to the goddess ; and also because I wanted to
in what manner they would celebrate the festival, which was a new thing.
(5)

that
see

but that of the

When we had finished our
Thracians was equally, if not more, beautiful.
prayers and viewed the spectacle, we turned in the direction of the city ; and
at that instant Polemarchus the son of Gephalus chanced to catch sight of us
from a distance as we were starting on our way home, and told his servant to

I was delighted with the procession of the inhabitants;

run and bid us wait for him.

The servant took hold of me by the cloak behind,
and said : Polemarchus desires you to wait. I turned round, and asked him
where his master was.
There he is, said the youth, coming after you, if you
will only wait.
Certainly we will, said Glaucon.
B. JOWETT.

As

(6)

I went

this

was

down

to the

Peiraeus yesterday with Glaucon, the son of Ariston.

I wished to make my prayers

the first celebration of the festival,

DIONYSIUS OF HALICAENASSUS

344
to the

goddess

and

see

the ceremony.

UJced the procession of the residents, hut

We had
I thought that the Thracians ordered theirs quite as successfully.
offered our prayers and finished our sight-seeing, and were leaving for the city,
when from some way off, Polemarchus, the son of Gephalus, saw that we were
The
starting homewards, and sent his slave to run after us and hid us wait.
Polemarchus hids you wait.' I
lad caught my cloak from behind and said :
'
He is coming behind,'
twrned round and asked him where his master was.
'
SwreVy we will,' said Glaucon.
hut will you please wait ?
he said ;
A. D. Lindsay.
'

'

'

II.

Opening of Demosthenes' Speech on the Ceown

dvSpes 'Ad-qvaioi, tow 6eoh cuxo/^tat Tracri Kal

fiiev, &
evvoiav e\(i)v eyio SiareXw tq re iroXei Kai irSiriv vp.iv,
Toa-avrriv virdp^ai poi trap' vp.(av ets tovtovI tov dymva, iTreiO' OTrep
ioTi fidXurd' virep vpiMV koi rrjs vp.eTcpai evcre/Selas re Kal So^rjs,
TOVTO Trapatrftja-ai Tois Oeovi vfiiv, prj tov dvriSiKov <rujj,povX.ov
(1)

Hp&rov

wda-aK,

otrrjv

Trepl tov ttws aKOveiv v/iias e/M>v Set (a")(^eT\Lov yap av eirj
TOVTO ye), d\Xa tovs v6/j,ovs Kal Thv opKov, iv (S tt/jSs airaa-L tols
aXAots SiKaioi's Kal tovto ykypaTTTai, Tb o/iOtO)S dp,(f>oiv aKpodcraxrOai.
TOVTO S' co-tIv ov povov t6 prj TrpoKaTeyvbiKevai /iijSev, ovSe to ttjv
evvovav urrjv aTroSovvoLi, d\Xa to Kal Ty Ta^et Kal Ty dwoXoyiiji,, lis
jSejSovXrjTai
Kal TrpoyprjTai twv dywvi^op,evmv eVacTTOs, ovt(i>s eaxrai
7roi-qcra(r6ai

Xfqcraa-Oai.

AtMniens, fadresse d'ahord une prikre a tous les dieux, & toutes les
Si fai toujours voulu le hien de la repuhUque et de vous tous, fassent
ces dieux qu'aujourd'hui, dans cette lutte, je trouve en vous la mime bienveillance !
Puissent-ils vous persuader aussi, comme le veulent voire int&it, votre
religion, votre gloire, que, sur la manikre de m'entendre, ce n'est pas mon
(2)

de'esses.

adversaire qu'il
dure,

ce

est

juste

sont les his

paroles, pleines d'equiti,

et

de consulter,
votre

comme

tout

Cela ne veut pas dire seulement

ma

condition en deviendrait trop

Votre serment, oil, sont e'crites ces
reste: ecouter egalement les deux parties.

serment
le

nous n'apporterons aucune prevention, et

nous donnerons d tous deux une faveur e'gale.
Gela veut dire aussi : nous ne
contraindrons personne, ni dans la disposition de ses moyens ni dans I'ordre
de sa defense ; quel que soit le plan adopts par celui qui vient plaider sa
cause, nous lui permettrons de le sii/ivre en toute liberie.
:

E.ODOLPHB DaRESTE.

Manner Athens, flehe ich alle Getter und Gottinnen

Wohlwollen, als ich jederzeit der Stadt und Euch alien
hewiesen, mir in gleichem Maasse von Euch fiir den gegenwdrtigen Handel zu
Theil werde ; dann, dass die Gotter Euch das in den Sinn geben, was Euch
und Euerm Gewissen und Ansehn am meisten ziemt : nicht von dem Gegner
Rath zu nehmen, wie Ihr mich anhoren sollt denn arg ware das sondern
(3)

Fiir das Erste, Ihr

an, dass so viel

von den Gesetxen und dem Eide, in welchem, ausser alien andern Rechten, auch
diess verordnet ist : beiden Parteien auf gleiche Weise Gehor zu geben.
Biess
heisst aher nicht hloss, keine Meinung vorher zu fassen ; auch nicht, heiden
gleiches Wohlwollen zu schenken ; sondern ehenfalh, Jedem der Streitenden

APPENDIX B
Anordmmg und

diejenige

und gewahlt

345

Vertheidigungsart zu gestatten, die er gut gefunden

hat.

Friedeich Jacobs.

men of Athens, hy praying to every Ood and Goddess, that the

which I have ever cherished towards the commonwealth and
all of you, may he requited to me on the present trial.
I pray likewise and
this specially concerns yourselves, your religion, and your honour
that the Gods
your minds, not to take counsel of my opponent touching the
may put it
manner in which I am to be heard that would indeed be cruel
but of the
laws and of your oath; wherein {besides the other obligations) it is prescribed
This means, not only that you must
that you shall hear both sides alike.
pass no pre-condemnation, not only that you must extend your good/will
I

(4)

same

begin,

good/toill,

you must allow the parties

and course of defence as they severally choose and prefer.
equally to both, but also that

to

adopt such order

Kennedy.

0. R.

III.

(1)

Mij

fidXuTTa

ap

To.yuTTrjv

est

^rfr,

5ravT6s

S>

deoi,

raij^'

fnjSels

ev

aTraA.A.ay^v

TtSv

(2) Dieux puissants !

hommes un autre esprit

eirrjpTTjfiivuiv

n'ecoutez
et

pas

t^o^div

ces vceux

et

fiore

impies

Kai
rrjv

(T(i)T7jpiav

inspirez plutdt

dangers qui nous menacent, sauvez-nous, prote'gez-nous A

tSt des

R- Darbstb.

jamais!
(3)

/cat

ei

Ou, si leur mechancete

Pour nous, delivrezsur mer.

des pens^es meilleures

incurable, frappez-les, exterminez-les sur terre

nous au plus

aXKa

iirivewreiev,

vfilav

Koi roVTOis /BeXrCco Tiva vovv Kal (^pevas kvOd-qre,

dvia/rios,
rcoTOVi p,v avTovs KaB' kavrovs e^toAcis
yy Koi OaXdrry 'KovffTom, ij/niv Se tois Xonrovi

fiev

e)(ov(rtv

TTpouiXws

ces

Conclusion of Demosthenes' Speech on the Crown

Moehte

doch,

Gemiith verleihen;

all'

Ihr Gotter!

Bingen auch

sondern Ihr vor alien

wenn

sie

keiner von

Euch

diesen hier einen bessern

aber unheilbar dnd,

sie

dieses

Sinn und

allei/n,

fv/r

besseres

sich

dem

Verderben iiberUefern, uns, den tjbrigen, aber die schnellste Befreiung von den,
obschwebenden Besorgnissen und unerschiltterte Wohlfahrt gewahren.
F. Jacobs.
the Immortals be bent in
(4) Never, Powers of Heaven, may any brow of
Bather, if it may be, breathe even into these men a
approval of that prayer !
then
better mind and heart ; but if so it is that to these can come no healing,
grant that these, and these alone, mxi/y perish utterly and early on land and on
terrors
the deep : and to us, the remnant, send the swiftest deliverance from the

gathered above our heads, send us the salvation that stands fast perpetually.
E. C. Jbbb.

(5)
be,

Never, ye gods, vouchsafe assent

indeed past healing,

to

Rather, if it may
such a prayer !
heart; but, if they are
swift and utter ruin by

men with a better mind and

bring them, and them alone, to

inspire even these

DIONYSIUS OF HALICARNASSUS

346
land and sea

and

us who yet remain grant the speediest release from the

gra/nt us a sure salvation !

to

hang over us ;

terrors that

H. Butcher.

S.

from Demosthenes' Speech on the Crown

IV. Narrative Passage

(1) 'EoTrepa

yap

f).ev

^K

?)V,

Kal

KaTiiXrjirrai,

'YiXdreia.

169, 170)
S'

ayykKXxav Tis
ravd'

/leTO.

ot

Tovs irpvTavtK
i^avcwrdvTe^

<os

evOvs

/itv

SeiTTVovvres totjs t' eK tZv CTKrjviav tQv Kara riji/ dyopav

e^eipyov Kal ra yipp eviriij,irpacrav, ot Si tovs CTTpaTrjyovi neTeirep/irovTo
Kal Oopv^ov TrXrjprqs rjv ij ttoXis.
tq 6
Kal rhv (raX/iriyKTrjv iKaXovv
vcTTepaiq,, djj,a ry fifikpti,, ol fjiev TrpvrdveK rijv PovXrjv eKaXovv eis to

fiera^v

fSovXevT-qpwv,

8'

v/xets

t^v tKKXrja-iav

ets

eTropcveirde,

Kal irpiv eKeivrjv

Kal p,eTa
Trpo^ovXevaai Trai 6 Stj/xos dv(ji KaOrjTO.
TaiJTa (OS TjXOev ^ ^ovXrj Kal aTr^yyeiXav ol irpvravets Tcl TrpocrrjyyeXp,iv'
eavToli Kal rbv rjKOVTa Kaprf^yayov KaKcivos ehrev, ^ptora p,ev 6
Kijpv^ " '"'* dyopcveiv fiovXiTai ; " Trapyei S' ovSets.
woXXaKii Se tov
KTjpvKO's eptuToJvTos orliSev fiaXXov dvio-rar
ovSeii, aTravrmv pkv ruiv
Kal

XprjfiaTio-ai

crrpaTTfjytov irapovriav,
Trjs TraTpiSos
Toil's

vo/tovs (fxovrjv

(2)

VElatie

C'etait

le

est prise.

appellent

le

d(f>[rja-i,

Aussitdt
et

trompette

au point du

Kotv^s

KaXova-rji Se riys

prqroptov,

rjv

yap

Krjpv^

Kara

ravTriv Koivfjv Trji TraTpiSo'S SiKaiov ^yeurOac.

Arrive

soir.

de la place publique

tov

dirdvru>v 6e

rbv ipovvd' VTrep (rwTijptas

cjxavfji

les

un homme qui annonce aux

uns

se

Uvent de

hrAlent leurs tentes;

les

autres

prytanes que

marchands
mandent les strat^ges,
ville.
Le lendemain,

table, chassent

les

que trouble dans toute la

le conseil.
Vous, de votre c6t^, vous
avant que le conseil eAt rien agit^, rien resolu,

ce n'est

jour, les prytanes convoquent

vous rendez A I'assemhlee, et

tout le peuple etait range a ses places sur la colline.
Bientdt a/pris, les
membres du conseil arrivent; les prytanes declarent la nouvelle, et font
parattre celui qui I'a apportee; cet homme parte lui-mSme.
Le heraut

demande :

Qui veut monter d

'

recommence plusieurs

orateurs etaient presents;

appelait

un

et

quand

les lois

tribune ?

Personne ne

'

Et

encore.

tons

les

se

II

live.

strateges,

tous

les

la patrie, de cette voix qui est la voix de tous,

citoyen qui parldt

fait entendre,

la

Personne

fois.

pour

la sauver

I'ordonnent,

(iest

car la voix

du hdraut qui

se

la voix de la patrie.

R. Darestb.

Es war Abend. Da ham Einer mit der Meldung zu den Prytanen,

Elateia eingenommen sey.
Hierauf standen diese sogleich von der
Mahlzeit auf, trieben die Leute aus den Buden auf dem Markte fort, und
steckten das Hohwerh davon in Brand ; andere schickten nach den Strategen,
und riefen den Trompeter herbd. Die Stadt war in grosster Bewegung.
(3)

dass

Am

folgenden Morgen, bei Tages Anbruch, riefen die Prytanen den Senat auf das
Stadthaus, Ihr aber begabt Euch in die Versammlung, und ehe der Senat noch
sein Oeschaft vollbracht und einen vorlaufigen Beschluss gefasst hatte, sass das
ganze Volk schon oben.
Und als hierauf der Senat eintrat, und die Prytanen
das, was ihnen gemeldet warden war, offentlich bekannt maehten, und den

APPENDIX B

347

und auch dieser gesprochen hatte, fragte

Herold : Wer will sprechen ? Niemand aber meldete sich.
Wiewohl nun
der nerold seine Frage oft wiederholte, trat darwm doch Keiner auf, obgleich
alle Strategen gegenwartig wa/ren, und alle Redner und das Vaterland mit
gemeinsamer Stim/me einen Sprecher fur seine Bettimg avfrief ; denn die
Stvmme, die der Herold dem Gesetze gemass ertonen lasst, hann mit allem
Bechte fiir die Stimme des gesammten Vaterlandes gehalten werden.
F. Jacobs.
t/berbringer der Nachricht vorfuhrten,

der

was evening when a courier came to the presidents of the assembly

had been seized. The presidents instantly rose from
they were supping at the moment : some of them hastened to clear the
table
market-place of the shopmen, and to burn the mckerwork of the booths : others,
to send for the generals and order the sounding of the call to the Assembly.
At dawn next day the presidents convoked the
The city was in a tumult.
Senate, you hurried to the Ekklesia, and before the Senate could go through its
(4) It

with the news that Elateia

Then,
forms or could report, the whole people were in assembly on the hill.
when the Senate had come in, when the presidents had reported the news that
they

had

received,

and had introduced

Who

the messenger,

who

told his

tale,

the

speak ? But no one came forward.

Again and again he put the question in vain. No one would rise, though
all the generals, though all the public speakers were present, though our Country
was crying aloud, with the voice that comes home to all, for a champion of the

herald repeatedly asked.

wislies to

commonwealth
if in the solemn invitation given by the herald we may truly
K. C. Jbbb.
deem that we hear our Country's summons.

APPENDIX

GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL

ASSOCIATION
In October 1908 the Classical Association adopted a number of recommendations made by its Greek Pronunciation Committee, and has since
published them for the use of teachers and others.
They are put forward
"not as constituting a complete scientific scheme, but as approximations
which, for teaching purposes, may be regarded as practicable, and at the
same time as a great advance on the present usage, both for clearness in
teaching and for actual likeness to the ancient sounds."
The period (the
early fourth century b.c.) to which they are intended mainly to apply is one
whose literature Dionysius studied rather than that in which he lived (cp.
pages 43-46 above).
But his scattered hints are of great moment in the
whole inquiry ; and if they are read with care and with reference to their
bearing, not only on disputed points, but on points which (largely through
the evidence they furnish) are undisputed, it will be seen how much we
owe to them when making any attempt to reconstruct the pronunciation
of the classical period.
The principal passages of Dionysius' text which
throw light upon the question of Greek pronunciation and accentuation will
be found on pages 126-130, 136-150, 218-224, 230 above.
The follow-

ing are the suggestions

made by

the Classical Association

VOWELB
to

may

be pronounced as the corre-

I,

as

r,

as i in Fr. piqmt, nearly as

Eng.

e,

as e inj'rei.

a and a, i and t, e and o,

sponding vowels in Latin, i.e.
a, as
d, as

o,

rj

and

a in f&ther.
a in a^.
ee in /eed.

as

in fit.

in not.

(long

e),

0)

(long

o),

a in mate.
Roma, Eng. home.

as e in Lat. meto, Eng.

as

in Lat.

348

APPENDIX C

349

The pronunciation recommended for ri and a is dictated by practical consideraBut in any School where the pupils have been accustomed to distinguish

tions.

the sounds of French e and 6, the Committee feels that the open sound (of e in il
mene), which is historically correct for rj, may well be adopted. In the same way
there is no doubt that the pronunciation of oi in the fifth century b.c. was the open
sound of oa, in Eug. broad, not that of the ordinary English o.
But since the
precise degree of openness varied at different epochs, the Committee, though
preferring the open pronunciation, sees no sufficient reason for excluding the
For both Greek and
obviously convenient practice of sounding w just as Latin 6.
Latin the diphthongal character of the English vowels in mate and home, i. e. the
But the
slight K sound in mate and the slight & sound in Jiome, own, is incorrect.
discrepancy is not one which any but fairly advanced students need be asked to
notice, unless indeed they happen to be already familiar with the pure vowel
sounds of modern Welsh or Italian.

V as Frenoli

tl

in da. pain.

V as French,

in fue or Germ,

ii

in grnn.

In recommending this sound for the Greek v, the Committee is partly guided by
the fact that its correct production is now widely and successfully taught in
But in any
English schools in early stages of instruction in French and German.
school where the sound is strange to the pupils at the stage at which Greek is
begun, if it is felt that the effort to acquire the sound would involve a serious
hindrance to progress, the Committee can only suggest that, for the time, the v
should be pronounced as Latin u (short as oo in Eng. took, long as oo in Eng. loose),
though this obscures the distinction between words like XOw and \oi<a.

Diphthongs

ot

=a +
=o+

as

i;i

= +

as Fr. ni in Im.

ai

1)

nearly as ai in Isaiah (broadly pronounced), Fr. email.

Eng. oi in oil.

vowel was long, and the second only faintly heard.

sound of ei is difficult to determine, but in Attic Greek
the disit was never confused with tj till a late period, and to maintain
tinction clearly it is perhaps best for English students to pronounce it as
Eng. eye, though in fact it must have been nearer to Fr. /e in passee, Eng.
The Greek 'AA<^eios is Latin AlpMus.
ey in grey.
av = au, as Germ, au in HaMs, nearly as Eng. ow in gowri.
ev = eu, nearly as Eng. ew in /ew, U in tune.
ov as Eng. 00 in moon, Fr. ou in roue.
In

</.,

<jy

27,

The

ei.

the

first

precise

Consonants
TT, ;8,

T, S, K,

and 7 as
and x)

(before y, k,
ankle, anger.
that

p,
is

Latin except
b, t, d, h, and g respectively in
used to denote the nasal sound heard in Eng.
;

/*, V as Lat. r, I, m, n.
where
always as Lat. S (Eng. S in mouse), except before /3, y and_/t,
e.g. ao-/3OTTos,
made:
has
gone,
has
been,
has
Eng.
in
the sound was as

p, A,
a-,

<jid(ryavov,

ecr/Jios.

and \j/ as Eng. ps in

I as Eng. X in wax,
in a&ze, ds in treads on.
Eng.
dz
as
f

lapse.

DIONYSIUS OF HALICAENASSUS

350

Aspirates

The Committee has

carefully

aspirated consonants in Greek.

considered

the

pronunciation

It is certain that the primitive

of

the

prommcia-

tion of X, &, <i> was as k.h, t.h, p.h, that is as k, t, p followed by a strong
breath, and the Committee is not prepared to deny that this pronunciation
Further, there is no doubt that the
lasted down into the classical period.
adoption of this pronunciation makes much in Greek accidence that is

otherwise

obscure

but

if it

The

If (f>aiv(i) be
comprehensible.
understood why the reduplicated perfect

pronounced

perfectly

irhalviD, it is readily

be pronounced faivw, the perfect, pronounced Trefqva,

relation of d<^tcrTr;/ui

and the like to

i<TTrjfju,

is Treirhtjva

is

anomalous.

of (fipovSoi to oSos, of

dpi^ to T/at'xa. becomes intelligible when it is seen that 6, <l>, and x contain
This advantage seems to be one of the reasons why it has
a real h-sound.
been adopted in practice by a certain number of English teachers.
In the course of time the pronunciation of the aspirates changed by
degrees to that of fricatives, which is now current in most districts of
Greece, (f> becoming f, 9 pronounced as th in English thin, and x acquiring
the sound of the

German

ch.''

If the later sounds are accepted, no change in the common pronunciation of $

<p in England will be required, but it will remain desirable to distinguish
between the sounds of k and %> which are at present confused : fi/cos and &xo5, Kahta

and

and x"'""^ being now pronounced alike. This may be done by giving x the sound
of kh, or of German oh, as in auch. The Committee would, on the whole, recommend the latter alternative as being more familiar in German, Scotch, and Irish
place-names.^
The Committee, though loath to do anything to discourage the primitive pronunciation of the aspirates, has not been able to satisfy itself that it would be easy
and it is of
to introduce this pronunciation into schools to which it is strange
opinion that it is not advisable to recommend anything at present that might
the
increase the labour of the teacher or
student of Greek.
It therefore abstains
from recommending any change in the common pronunciation of the aspirates
the
case
of
except in
%.
;

Accentuation
no doubt that in the Classical period of Greek the accented
marked by a higher pitch or note than the unaccented, and
not by more stress, not, that is, with a stronger current of breath and more
There

is

syllables were

muscular effort.
Therefore, unless the student is capable of giving a
musical value to the Greek signs of accent, it is doubtful whether he should
1 The dates and stages of these changes cannot as yet be settled
with precision. But
the practical choice seems to be between the earliest and the latest values, though there
is no doubt whatever that a distinct h was heard in all these sounds long after the
fourth century B.C.
^ It is not easy to determme precisely the sound of
x^, (jiB {x^div, <j>Sbvoi) at the
beginning of words, and the Committee therefore thinks it best to leave the option of
(1) sounding the first consonants as k and tt respectively, and the 5 as it is in other
positions (this applies both to students who adopt the fricative and to those who adopt
the primitive aspirate pronunciation of the letters in other positions), or (2) where the
fricative pronunciation is adopted, of sounding x and 0, in this position also, respectively
as Scotch ch and English/.

APPENDIX C

351

attempt to represent them in pronunciation ; for in many cases we should

make our pronunciation more, not less remote from that of the Greeks
themselves if we gave to their accented syllables the same stress as we do to
the accented syllables in English ; for example, in paroxytone dactyls
{Ke)^prifji.hos)

when

the penult

is

apt to be shortened and

is

no

its

is stressed,

the quantity of the long antepenult

But where there

metrical value destroyed.^

between accent and quantity (dyaOo's), something may be said

moderately the accented syllable, and so distinguishing e.g.
and KaAws, Aids and 6ios, ravrd and ravra.^

conflict

for stressing

KaXw

This had actually happened in spoken Greek by the second century A.D.
This paragraph Is taken from The Restored Pronunciation of Greek and Latin,
4th edition, Cambridge, 1908.
^

A.

INDEX OF PASSAGES QUOTED IN THE

DH COMPOSITIONE
The thick numerals indicate the pages on which the quotations are found.

Aeschines Ctes. 202, 116

Archilochus Fragm. 66, 170
Aristophanes Nvies 961, 266
258
Aristotle Rhet.

iii.

8,

Odyssey i. 1, 98 iii.
98 iii. 449-50, 102 v. 402, 158
vi. 162vi. 115-16, 102
vi. 137, 162
ix. 39, 172
vi. 230-1, 92
3, 162
xi.
ix. 289-90, 164 ; ix. 415-6, 156
36-7, 162 ; xi. 281-2, 162 ; xi. 593-8,
202-4; xiv. 1-8, 274-6; xiv. 425,
102 XV. 125-7, 64 xvi. 1-16, 76-78 ;
xix.
xvi. 273, 92 ; xvii. 36, 37, 162
xxii. 17, 100
53, 54, 162

xxiv. 486, 100.

1,

it.

962,

254

Bacchylides Fragm. 11, 262

Callimachus Fragm. 391, 256

262.
Dezuostlienes Aristocr.
1, 108,
Ghers. 48, 260.
De Cor. 1, 108, 182,
Lept.
184, 260 ; 119, 112 ; 179, 114.
De Pace 6, 108. Fhilipp. iii.
2, 118.

Isocrates Areop. 1-5, 242-4

Orphica JVag'm., 262

114

17,

Fhiloxenus Fragm. 6, 68
Piadar Fragm. 75, 214^6 79, 148 213,
210
Plato Menex. 236 D, 180 236 B, 116
Eep. i. 1, 266

Epicurus Fragm. 230, 260.

Euphoric Chersonesita Fragm. 86
BipEuripides Hecula 163-4, 170.

Orestes 140-2, 128.

polytus 201, 172.
Fragm. 229 (Archelaus), 260; 696
(Telepims), 276-8 ; 924, 88

Sappho Fragm.

{Hymn

to

Aphrodite),

238-40 106, 258

Simouides Fragm. 37 (Danae), 278-80
Sophocles Fragm. 706, 116
Sotades Fragm. 88
;

Hegesias Fragm. 92 ; 186-90

Herodotus i. 6, 90 i. 8-10, 80-82.
Homer Iliad i. 1, 98 1. 459, 102 ; ii.
ii. 209, 168 ; ii. 422, 102
89, 100
ir. 125,
ii. 484, 100
ii. 494-501, 166
102 ; iv. 452-3, 164 v. 115, 100 ; xi.
514, 280; xii. 207, 168; xii. 433-5,
xvi. 361, 158
xiii. 392-3, 86
84
xvii. 265, 164 ; xviii. 225, 156 ; xir.
103-4, 100 ; xxi. 20, 100 ; xxl. 196-7,
xxii. 220-1,
xxi. 240-2, 164
248
166 xxii. 395-411, 190-2 ; xxii. 467,
100 xxii. 476, 156 ; xxiii. 382, 182
,

Thucydides

24, 90

i.

1,

224-28

35, 178

iii.

228
110

22,

i.

57,

353

i.

(chiefly Lyrical)

on pages 68 (Bergk 85), 168 (Bergk

112, Nauck 136), 170 (N. 138; B.
108) ; 172 (N. 139, 140) ; 174 (B. 110,
N. 143 ; B. Ill, N. 141 B. 116, N.
144 B. 117, N. 142) 262 (B. 118)
;

ii.

Anonymous Fragments

2a

INDEX OP NAMES AND MATTEES

B.

The numerals indicate the pages to which reference is made. As the contents of the Greek
text are fully summarized on pp. 1-9 au^a, and as many of the more characteristic Greek words
find a place in the Glossary, the brief entries in Index B will be found to refer mainly to the
Introduction and the Notes.

Accent 41-43, 126

ff.,

196,

292,

320,

328, 329

Athenaeus 148, etc.

Auctor ad Herennium 316

Adjective 102, 103, 299

Adverb 70, 100, 299
Aeschines 116

Audiences, their sensitiveness to the

music of sounds 40, 120 ff.
Austere composition or harmony 210 ff.

Aeschylus 12, 20, 214, 215

Agathou 304
Alcaeus 194, 248, 249
Alexander of Macedon 186, 187
Amphibrachys 172, 184, 287
Anacreon 236
Anagnostes 338
Anapaest 172, 287

Anazimenes

xi

(Preface).

under 'Rhetoriea

See

Bacchius 174, 292

Bacchylides 49, 219, 262, 263
Bacon, Francis 225
Beauty of style. See under nobility
'

also

ad Alexandrum,'

p. 357 infra
Anthology, epigrams from 66, 335
Antigonus 94
Antimachus 214
Antiphou 29, 120, 332
Antithesis 247, 288
Aphrodite, Sappho's Hymn to 238-41
Apollonius Bhodius 156
Appellative 71, 319
Archaism 212, 290
Archilochus 171
Architecture in relation to literary
composition 28, 106
Aristophanes 12, 22, 123, 143, 290,
304, 311, 314, 335
Aristophanes of Byzantium 218, 278,
320

Aristotle x-xii (Preface), 15, 34, 35, 39,

40, 48, 71, 75,
166, 168, 171,
248, 249, 254,
301, 308, 309,
318, 319, 320,
340, passim
Aristoxenus 42,
287, 318

Arnold,

139,
176,
255,
310,
325,

Matthew

43,

153,
189,
268,
312,
329,
48,

Article 70, 289

Aspirates 149, 294, 350

155,
214,
290,
313,
334,

163,
246,
291,
315,
336,

Biblical illustrations 24, 31, 36, 37,

113, 178, 289, 297, 298, 303, 332, etc.
Blackmore, B. D. 37

Boeotian towns 166-68

Boileau 31
Bossuet 195, 228
Buchanan, George 46
BufFon 29
Caesar, Julius 13, 267, 296
87, 256 (attribution doubtful), 272, 277
Candaules, story of 81
Carlyle 37
Case 320, with references there given
Catullus 239, 278
Chapters, division into 9, 11
Charm of style 120 ff., 130 tf.
Cheke, Sir John 45, 46
Chiastic arrangement 14, 19
Choice, or selection, of words 69, 73,

Callimachus

79, etc.

Choree 170, 333

Chromatic scale 194

165,
247,
292,
316,
337,

Chronological table of authors quoted

or mentioned in the C. V. 50
Chrysippus 94, 95, 96, 97
Chrysostom 67, 251, 288
Cicero 15, 18, 25, 26, 28, 35, 37, 38, 48,

125, 138, 168,

53, 54, 55, 72, 73, 89, 114, 124, 159,

26, 158, 167,

278

203, 266, 271, 286, 301, 305, 306, 315,

316, 319, 330, 331, 334, 835, passim

Arrian 186, 187

354

INDEX
Circumflex accent 126 if.
Clearness in Greek word-order 12-13,
15-17.
See also under Obscurity,'
p. 356 imfra
Cleitarchus 187
Climax 114
Coleridge, S. T. 36, 38, 79, 254
See under Member
Colon.
'Comma' 306, with references there
given
Common vowels. See under Doubtful

'

'

'

'

Comparative

Method

(in relation

to

literary study) 48

Composition

10,

71

ff.,

208

ff.,

326,

Conjunctions or connectives 71, 325

Coray 243
Cousin, Victor 343
'Cratylus' of Plato 160
Cretic 174, 307
Ctesias 120
Curtius 187, 188, 189
'Cyclic' 174, 307

'
Danae of Simonides 278-81
Dareste, Bodolphe 344, 345, 346
Date of the de Compositione ' 1, 60
Delphi, hymns found at 43
Demetrius of Callatis 94
Demetrius, the supposed author of the
De Elocutione 16, 18, 19, 90, 91, 286,
'

'

305, 308,

17, 20, 23, 24, 25,

146,

182, 196,

248, 249, 339, 340, passim.

See also

33,

Index

34,

39,

41,

'

Dentals 149

Dependent genitive, order of 337

Dialectic 69, 94, 104

Diatonic scale 194

Diodorus Siculus 187, 237, 274
Diogenes Laertius 82, 97, 251
Dionysius of Halicamassus 1, 10, 11,
15, 16, 17, 29, 48, 207, 229, passim
Dionysius Thrax 47, 71, 139, 145, 319,
332

Diphthongs 219
Dithyramb 214
Dorian mode 196
Doubtful vowels 296, with references
there given (s.v. Sixpovos)
Diyden 186
Duris 94

57, 65, 89, 116, 197,

Euphorio Chersonesita 87
146,

236,

237.

the musical interval so called

126
Flaubert, Gustav 28
FWchier 243
Fletcher 46 ('Elder Brother')
Florentine manuscript of the C.V.
56-58
Foot, metrical 168
France, Anatole 27
Freedom of Greek word-order 11-14
French language 31, 36, 270, 342 ff.,
passim,

Galen 331
Gardiner, Stephen 46
Gellius, Anlus 28
Gender 106, 107

German language 33, 36, 342 ff., passim

Gibbon, Edward 46, 86, 237
Gladstone, William Ewart 126, 235
Glossary 285-334 (cp. Preface ix, x)
Goethe 36
Gorgias 132
Grammar 46, 47
Grave accent 126 ff.
Gutturals 149
290, with references there

'Harmony'
given

Havercamp 45
Hector and Achilles
Hegemon 168

190, 191

Hegesianax 94, 95
Hegesias 52-55, 90, 184-92
Heracleides 94, 95
Heracleitus 335, 340

Hermogenes

26, 85, 87, 90

24, 26, 30,

16,

80

ff.,

120, 196, 248, 249

Hesiod 236, 237
Hesychius, 69, 189, 288, 322, 332

Eliot,

Enharmonic scale 194

209

Epode 300, with references there given

Erasmus 45, 159
Etymology 160, 300
Euphony 27-29, 338, etc.

Herodotus
George 37
Empedocles 34, 214, 332
Emphasis 17-26
English language 31, 35, 36, 342

275, 278, 325

Fifth,

Dactyl 172, 173

29,

Enjambement 270-73,

Ennius 170, 314

Ephorus 236, 237
Epic Cycle, poets of the 248
Epic poetry 214, 274, passim. See also
under 'Homer,' p. 356 infra
Epicnnis 250, 251
Epitome Greek Epitome of C. V. 10,

Euripides 22, 23, 24,

See also Index A
Eustathius 202

passim

passim
Democritus 248, 249
Demosthenes 13, 16,

355

if..

Hexameter

85, 87

Hiatus 39, 323

Hibeh Papyri xi

(Preface), 41

90,

DIONYSIUS OF HALIOARNASSUS

356

Eickes, Francis 226

Hieronymus 94
Hobbes, Thomas 226
Holland, Philemon 328
Homer vii-ix (Preface), 13, 14, 19, 33,
34, 76 ff., 136, 248, 274, 337, passim.
See also Index A

Horace ix

(Preface), 15, 48, 78, 81, 113,

195, 197, 200, 267, 273, 278, 322,
323, 336, passim

78, 330
Hyperbaton 26, 340

Hypallage

Hypobacchius 174
Hysteron proteron 102

Metaphor 54, 310

Metre 33-39, 310
Metrici 154, 172, 174, 218, 310
Milton 22, 23, 36, 167
Mimnermus 273

Modern languages

(especially in relation to word-order) 12, 29-33, 103,

etc. ; 342-47
Modes, musical 196

Moliere 91, 138

Molossus 172
Music 39-41, 124 ff.
Mute letters 138 ff., 292

Natural order of words 98

ff.

Iambus 170

Neoptolemus 15

Intermediate or harmoniously blended

composition 246 F., 301
Invention (of subject matter) 1, 67, 318,

Nobility of style 120

Normal word-order in Greek 14, 15
Noun 71, 98-100, 313
Number, grammatical 106, 107

etc.

Ionic tetrameter 86, 304

'Irrational' 154, 174, 207, 286, 287
Isocrates 11, 29, 78, 92, 192, 198, 236,
237, 242

ff.,

Ithyphallic

264

poem

86, 303

Jacobs, Friedricb 345, 346

James I., King 46
Johnson, Samuel 186

ff.,

Obscurity

16,

17,

136

335-41.

See

also

under 'Clearness,' p. 355 supra

Onomatopoeia 158, 159, 316
Order of words in Greek and other
languages 11-39, 98 ff., passim
Orphic fragments 252
Ovid 33, 124
Oxyrhynchus Papyri 29, 237, 289

Josephus 187, 308

Paeon
Labials 149
Latin (especially Latin word-order, as
compared with that of Greek and the
modem languages) 13, 21, 25, 29-33,
48, etc.

Lemaitre, Jules 31
Lesaing 31
Letters 138 ff.
Literature 34, 217, 309
Livy 178
'Longinus' de Sublimitate
'

'

14, 26, 48,

74, 239, passim
Lucian 68, 196, 229, 279, 327, 333

See under
Lucretius 204, 214
Luther 267
Lydian mode 196
Lysias 16, 55
Lucidity.

'

Clearness

Blalherbe 31

Manuscripts of the C.V. x (Preface),

56-69
Marcellinus 228, 229, 335

Marlowe

35, 147

Maximus Flanudes

86

Melic poetry 309, with references there

given
Member (clause, 'colon') 73, 110 ff.,
307
Menander 229
Meredith, George 147, 172

314, with references there given

Fainting in relation to literary composition 208
Paris Manuscript of the C.V. x
(Preface), 56-58
Participle 72, 310
Farts of speech 71 ff.
Passion 314, with references there given
Pentameter 256, 315
Period 13, 73, 118
Peripatetics
48.
See
also
under
Aristotle
354 supra),
and
(p.
' Theophrastus
(p. 357 infra)
Philo Judaeus 192
Philosophy '331
Philoxenus 196, 197
Phonetics 43, 44, 140 ff.
Photius 333
'Phrase' 306, with references there
given
Phrygian mode 196
Phylarchus 94
Pindar 49, 194, 214 ff. See also under
Index A
Plato 14, 19, 20, 21, 22, 23, 26, 29,
'

'

'

31,

33, 34,

249, 264

ff.

139,

180, 182, 196, 248,

See also under

passim.

Index A
Pliny the Younger 229
Plural 106, 107
Plutarch 67, 187, 264, 299, 326, 330,
332

INDEX
Poetry (in relation to
250 ff., etc.
PolybiUB 51, 52, 94, 296

prose)

33-39,

Pope, Alexander vii (Preface), 202, 205,

324
Foraon, Bichard 14, 146
Preposition 71, 319
Pronoun 70, 102, 288
Pronunciation 43-46, 140 if., 348-51,

passim
Propertiua 188
Propriety 39, 198 ff., 318, 319, passim
FroBe (in relation to poetry) 33-39,
250 ff., 287 (dfierpos), 309 (Xiyos), etc.
Frosodiacs 86
Psaon 94
Pimctuation 306, 340
Puttenham 299
Pyrrhic 168
'

'

Quantity, effect of syllabic quantity

in prose 29
Quintilian 11, 15, 18, 19, 23, 26, 27,
28, 30, 34, 38, 46, 47, 53, 70, 71, 81,
89, 93, 98, 145, 152, 168, 195, 203,
248, 250, 265, 266, 300, 301, 305,
306, 315-21, 325, 328, 330, 332, 336,

passim
Quotations in the C.V.
also Index A

49-56.

See

Eacine 118, 157, 205, 270

Beading (learning

to read) 268, 269

Benan, Ernest 31
Bhetor Graecus 57, 138
Bhetorica ad Alexandrum zi
'

'

26, 75, 313,

(Preface),

336

Bhetorical Handbooks 270, 282, 329

Bhyme or jingle 64, 65, 315
Ehythm 33-39, 168 ff., 176 ff., 320
Ehythmioi 154, 172
Bich, Barnaby 82
BouBseau 211
Bufus Metilius xii (Preface), 1, 66
Buskin 37

SaUust

(Preface), 49, 194, 236 ff.,

See also Index A
Scales, tausical 194
Schema Pindarioum 217
Schleiermacher, Friedrich 343
Scholia (to Homer and other authors)

188, 191, 229,

274, 277, 288, 333, etc.

Semivowels 138 ff., 302

SextuB Empiricus 139
Shakespeare 44, 81, 112, 135, 147, 161,
321

146, 147

Simonides
278 ff.

vii-viii

(Preface),

236,

49,

Simplicity of diction illustrated and

commended 75-85, 134-37
Smith, Sir Thomas 45, 46, 141
Smooth composition or harmony 232 ff.,
293
Socrates 120, 160
Solecism 190'
Sophist 184, 264, 321
See also
Sophocles 248.. 249, 337.

Index
Sotades

A
88,

328

Sound an echo to the sense 156

ff.,

200 ff.
Sources of the C.V. 47-49
Spondee 170, 322
StesichoruB 194, 195, 248
Stevenson, Bobert Louis 32, 40
Stoics 48, 71, 94-97, 104
Strabo 55, 285, 290
Strophe 194 etc., 323
Styles of composition 208 ff.

Substance and Form

Demetr. pp. 34 ff.
Suidas 237, 296

Summary

viii (Preface)

cp.

of the C.V. 1-9

Suspense 13
Swinburne, Algernon Charles 271, 325
Syllables 150 ff., 324
Sjmaloepha 108 etc., 325
'

'

Tacitus 316
Taste 132, 134, 304
'Tautology' 240, 328
Taylor, Jeremy 303
Telestes 196, 197

Tennyson 86, 190,

Tense 108, 333

271, 278

Terence 101, 275

Tetrameters 87, 329
Text of the C.V. x (Preface), 56-59,
passim
Thelwall, John 147
Theocritus 281
Theodectes 47, 71
34, 37, 48, 164, 165, 193,

305, etc.

258.

Sheridan 250

Sigmatism

Theophrastus

38, 180, 225

San 148, 149

Sappho vii-viii

76, 132, 155, 158, 170,

357

Theopompus
Thucydides
33, 34,

passim.

29, 236, 237

16, 17, 19, 20, 21, 23,

13,

120, 178, 214, 224

See also Index

ff.,

335-7,

Timotheus

175, 196, 197

Title of the C.V. 10, 326
Tragic poets 236, 248, 329
Tribrach 170. See also under

364 supra
Trimeter 258, 329
Trisyllable 170, 329
Trochee 170, 330
Types of style 208 ff.
p.

'

Choree,'

DIONYSIUS OF HALIOARNASSUS

358

Usage as the sovereign arbiter 102

Welsh language 31

Thomas [of Eton and King's

College, Cambridge ; earliest translator of any part of Demosthenes into

Wilson,

Variety 29, 39, 192 S., 310

Vedic Sanskrit 42
Verbs 71, 98-100, 108, 320
Vigny, Alfred de 213

English] 826

Wordsworth

Virgil 19, 21, 156, 157, 164, 173, 204,

327, etc.

Vowels 138

ff.,

Xenophon

viii (Preface), 79,

14, 19, 23,

120

Zeta, pronunciation of 44, 45

332

THE END

Printed by R.

&

R. Clark, Limited, Edinburgh.

271

By Peofessok W. EHYS EGBERTS.

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M.

Dr.

Ph.

Weber

Critique d'histoire

et

de Ktt^rature), Professor Oh.

Michel

{Revue de I'Instruction puUique en Belgique), and Professor Giovanni

Setti

{La

Oultura).

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