X

τῇ προσθήκῃ ταύτῃ γένηται χαριέστερον. καὶ ἔτι τὴνΠλατωνικὴν ἐκείνην περίοδον, ἣν ἐν τῷ ἐπιταφίῳ ὁ ἀνὴργράφει, τίς οὐκ ἂν φαίη παραπληρώματι λέξεως οὐκ ἀναγκαίῳπροσηρανίσθαι; “ἔργων γὰρ εὖ πραχθέντων λόγῳ καλῶςῥηθέντι μνήμη καὶ κόσμος γίνεται τοῖς πράξασι παρὰ τῶν 5ἀκουσάντων.” ἐνταυθοῖ γὰρ τὸ “παρὰ τῶν ἀκουσάντων” πρὸςοὐδὲν ἀναγκαῖον λέγεται, ἀλλ’ ἵνα τὸ τελευταῖον κῶλον τὸ“τοῖς πράξασι” πάρισόν τε καὶ ἐφάμιλλον τοῖς πρὸ αὐτοῦγένηται. τί δὲ δὴ τὸ παρ’ Αἰσχίνῃ λεγόμενον τουτί “ἐπὶσαυτὸν καλεῖς, ἐπὶ τοὺς νόμους καλεῖς, ἐπὶ τὴν δημοκρατίαν 10καλεῖς,” τρίκωλον ἐν τοῖς πάνυ ἐπαινούμενον, οὐχὶ τῆς αὐτῆςἰδέας ἔχεται; ὃ γὰρ οἷόν τε ἦν ἑνὶ κώλῳ περιληφθῆναι τόνδετὸν τρόπον “ἐπὶ σεαυτὸν καὶ τοὺς νόμους καὶ τὴν δημοκρατίανκαλεῖς,” τοῦτο εἰς τρία διῄρηται, τῆς αὐτῆς λέξεως οὐ τοῦἀναγκαίου ἕνεκα, τοῦ δὲ ἡδίω ποιῆσαι τὴν ἁρμονίαν πολλάκις 15τεθείσης [καὶ προσέτι πάθος τῷ λόγῳ]. τῆς μὲν δὴ προσθέσεωςἣ γίνεται τοῖς κώλοις οὗτος ὁ τρόπος· τῆς ἀφαιρέσεωςδὲ τίς; ὅταν τῶν ἀναγκαίων τι λέγεσθαι λυπεῖν μέλλῃ καὶδιοχλεῖν τὴν ἀκρόασιν, ἀφαιρεθὲν δὲ χαριεστέραν ποιῇ τὴνἁρμονίαν· οἷά ἐστιν ἐν μὲν τοῖς μέτροις τὰ Σοφόκλεια ταυτί· 20μύω τε καὶ δέδορκα κἀξανίσταμαιπλέον φυλάσσων αὐτὸς ἢ φυλάσσομαι·ἐνταυθοῖ γὰρ ὁ δεύτερος στίχος ἐκ δυεῖν σύγκειται κώλων οὐχὅλων· τελεία γὰρ ἂν ἡ λέξις ἦν οὕτως ἐξενεχθεῖσα “πλεῖον[117]the ear, 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 and remembrance to the doers from the hearers.”[125]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,”[126]a sentence of great celebrity, formed of three clauses: does it not belong to the class we are considering? What could have been embraced in one clause as follows, “you summon him 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, I open them, I rise—Myself the warder rather than the warded.[127]Here the second line is composed of two imperfect clauses. The expression would have been complete if it had run thus,

μύω τε καὶ δέδορκα κἀξανίσταμαιπλέον φυλάσσων αὐτὸς ἢ φυλάσσομαι·

ἐνταυθοῖ γὰρ ὁ δεύτερος στίχος ἐκ δυεῖν σύγκειται κώλων οὐχὅλων· τελεία γὰρ ἂν ἡ λέξις ἦν οὕτως ἐξενεχθεῖσα “πλεῖον

[117]the ear, 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 and remembrance to the doers from the hearers.”[125]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,”[126]a sentence of great celebrity, formed of three clauses: does it not belong to the class we are considering? What could have been embraced in one clause as follows, “you summon him 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, I open them, I rise—Myself the warder rather than the warded.[127]Here the second line is composed of two imperfect clauses. The expression would have been complete if it had run thus,

[117]

the ear, 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 and remembrance to the doers from the hearers.”[125]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,”[126]a sentence of great celebrity, formed of three clauses: does it not belong to the class we are considering? What could have been embraced in one clause as follows, “you summon him 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, I open them, I rise—Myself the warder rather than the warded.[127]

Here the second line is composed of two imperfect clauses. The expression would have been complete if it had run thus,

1 γεγένηται PMV || χαριέστερα F 6 ἐνταυθοῖ ... ἀκουσάντων F, E: om. PMV 7 τὸ ante τοῖς om. EF 11 ἐπαινουμένοις F 15 ἡδείαν F, M 16 καὶ ... λόγῳ secl. Us.: προσἔτι F, M: πρόσεστι PV 19 ποιῆι P, M: ποιεῖ EFV: ποιεῖν coni. Reiskius 20 ἁρμονίαν F: ἐρμηνείαν P, MV || οἵα F: οἷάπέρ PMV || μὲν F: om. PMV 21 καὶ ξυνίσταμαι P 22 πλέον ... (24) ἐξενεχθεῖσα om. P2.ὁ ἀνήρis used by Dionysius with various shades of meaning,—‘the author,’ ‘the Master,’ ‘the worthy,’ etc. Cp.968,1822,18412,1862,1984,22815,26425.5. In the actual text ofMenex.236Ethere is a slight difference of order, viz. τοῖς πράξασι γίγνεται instead of γίνεται τοῖς πράξασι (as Dionysius gives it).6. The Epitome makes the meaning quite plain by inserting παραπλήρωμα τῆς λέξεως between ἀκουσάντων and πρὸς οὐδέν.9. Here allMSS.agree in giving the formτουτί. The same agreement will be found in869,11017,11620,12024,15615,1585, 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 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 postulavit? Appius. Quis produxit? Appius. Unde? ab Appio” (Cic.pro Milone22. 59).11.τῆς αὐτῆς ἰδέας, ‘the same form of expression,’ i.e. the effectively pleonastic.16. If the wordsκαὶ προσέτι πάθος τῷ λόγῳare retained, ποιῆσαι (in a slightly different sense) must be repeated in order to govern πάθος: unless some such word as γίγνεται 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 οὐ χρὴ παννύχιον εὕδειν βουληφόρον ἄνδρα (Il.ii. 24). The ‘elliptical’ effect (an ellipse being implied by ἀφαίρεσις, cp.11617) is produced by the presence of αὐτός, which suggests that ἑτέρους and ὑφ’ ἑτέρων are to be mentally supplied.—Cp. Cic.in Q. Caec. Divin.18. 58 “hic tu, si laesum te a Verre esse dices, patiar et concedam: si iniuriam tibi factam quereris,defendam et negabo”; and RacineAndromaqueiv. 5 “Je t’aimais inconstant;qu’aurais-je fait fidèle?”

2.ὁ ἀνήρis used by Dionysius with various shades of meaning,—‘the author,’ ‘the Master,’ ‘the worthy,’ etc. Cp.968,1822,18412,1862,1984,22815,26425.

5. In the actual text ofMenex.236Ethere is a slight difference of order, viz. τοῖς πράξασι γίγνεται instead of γίνεται τοῖς πράξασι (as Dionysius gives it).

6. The Epitome makes the meaning quite plain by inserting παραπλήρωμα τῆς λέξεως between ἀκουσάντων and πρὸς οὐδέν.

9. Here allMSS.agree in giving the formτουτί. The same agreement will be found in869,11017,11620,12024,15615,1585, 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 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 postulavit? Appius. Quis produxit? Appius. Unde? ab Appio” (Cic.pro Milone22. 59).

11.τῆς αὐτῆς ἰδέας, ‘the same form of expression,’ i.e. the effectively pleonastic.

16. If the wordsκαὶ προσέτι πάθος τῷ λόγῳare retained, ποιῆσαι (in a slightly different sense) must be repeated in order to govern πάθος: unless some such word as γίγνεται 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 οὐ χρὴ παννύχιον εὕδειν βουληφόρον ἄνδρα (Il.ii. 24). The ‘elliptical’ effect (an ellipse being implied by ἀφαίρεσις, cp.11617) is produced by the presence of αὐτός, which suggests that ἑτέρους and ὑφ’ ἑτέρων are to be mentally supplied.—Cp. Cic.in Q. Caec. Divin.18. 58 “hic tu, si laesum te a Verre esse dices, patiar et concedam: si iniuriam tibi factam quereris,defendam et negabo”; and RacineAndromaqueiv. 5 “Je t’aimais inconstant;qu’aurais-je fait fidèle?”

φυλάσσων αὐτὸς ἑτέρους ἢ φυλασσόμενος ὑφ’ ἑτέρων,” τὸ δὲμέτρον ἠδίκητο καὶ οὐκ ἂν ἔσχεν ἣν νυνὶ χάριν ἔχει. ἐν δὲτοῖς πεζοῖς λόγοις τὰ τοιαῦτα· “ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦνταπάντας ἀφαιρεῖσθαι τὴν ἀτέλειαν τῶν ἀδίκων ἐστίν,ἐάσω.” μεμείωται γὰρ κἀνταῦθα τῶν πρώτων δυεῖν κώλων 5ἑκάτερον· αὐτοτελῆ δ’ ἂν ἦν, εἴ τις αὐτὰ οὕτως ἐξήνεγκεν·“ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦντα ὡς οὐκ ἐπιτηδείων ἔχειντὴν ἀτέλειαν πάντας ἀφαιρεῖσθαι καὶ τοὺς δικαίως αὐτῆςτυχόντας τῶν ἀδίκων ἐστίν, ἐάσω.” ἀλλ’ οὐκ ἐδόκει τῷΔημοσθένει πλείονα ποιεῖσθαι πρόνοιαν τῆς ἀκριβείας τῶν 10κώλων ἢ τῆς εὐρυθμίας.τὰ δ’ αὐτὰ εἰρήσθω μοι καὶ περὶ τῶν καλουμένων περιόδων·καὶ γὰρ ταύτας χρὴ τάς τε προηγουμένας καὶ τὰς ἑπομέναςοἰκείως συναρμόττειν, ὅταν ἐν περιόδοις προσήκῃ τὸν λόγονἐκφέρειν· οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον. 15καὶ αὐτὸ δὲ τοῦτο τὸ θεώρημα τῆς συνθετικῆς ἐπιστήμης ἴδιον,πότε δεῖ χρῆσθαι περιόδοις καὶ μέχρι πόσου καὶ πότε μή.Xδιωρισμένων δή μοι τούτων ἀκόλουθον ἂν εἴη τὸ λέγειν,τίνα ἐστὶν ὧν δεῖ στοχάζεσθαι τὸν βουλόμενον συντιθέναι τὴνλέξιν εὖ καὶ διὰ τίνων θεωρημάτων τυγχάνοι τις ἂν ὧν 20βούλεται. δοκεῖ δέ μοι δύο ταῦτ’ εἶναι ‹τὰ› γενικώτατα, ὧνἐφίεσθαι δεῖ τοὺς συντιθέντας μέτρα τε καὶ λόγους, ἥ τε ἡδονὴκαὶ τὸ καλόν· ἀμφότερα γὰρ ἐπιζητεῖ ταῦτα ἡ ἀκοή, ὅμοιόντι πάσχουσα τῇ ὁράσει· καὶ γὰρ ἐκείνη πλάσματα καὶ γραφὰς[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.”[128]Here, too, each of the two first clauses is abbreviated. They would have been each complete in itself if worded thus: “I will pass by the fact that it is a piece of injustice, simply because a man brings charges against some individuals and declares them unfit for exemption, to attempt to withhold that privilege from every one—even those who are justly entitled to it.” But Demosthenes did not approve of 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 also to 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 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.CHAPTER XAIMS AND METHODS OF GOOD COMPOSITIONNow that I have laid down these broad outlines, the next step will be to state 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 and beauty. The ear craves for both of these. It is affected in somewhat the same way as the sense of sight which,

διωρισμένων δή μοι τούτων ἀκόλουθον ἂν εἴη τὸ λέγειν,τίνα ἐστὶν ὧν δεῖ στοχάζεσθαι τὸν βουλόμενον συντιθέναι τὴνλέξιν εὖ καὶ διὰ τίνων θεωρημάτων τυγχάνοι τις ἂν ὧν 20βούλεται. δοκεῖ δέ μοι δύο ταῦτ’ εἶναι ‹τὰ› γενικώτατα, ὧνἐφίεσθαι δεῖ τοὺς συντιθέντας μέτρα τε καὶ λόγους, ἥ τε ἡδονὴκαὶ τὸ καλόν· ἀμφότερα γὰρ ἐπιζητεῖ ταῦτα ἡ ἀκοή, ὅμοιόντι πάσχουσα τῇ ὁράσει· καὶ γὰρ ἐκείνη πλάσματα καὶ γραφὰς

[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.”[128]Here, too, each of the two first clauses is abbreviated. They would have been each complete in itself if worded thus: “I will pass by the fact that it is a piece of injustice, simply because a man brings charges against some individuals and declares them unfit for exemption, to attempt to withhold that privilege from every one—even those who are justly entitled to it.” But Demosthenes did not approve of 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 also to 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 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.CHAPTER XAIMS AND METHODS OF GOOD COMPOSITIONNow that I have laid down these broad outlines, the next step will be to state 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 and beauty. The ear craves for both of these. It is affected in somewhat the same way as the sense of sight which,

[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.”[128]Here, too, each of the two first clauses is abbreviated. They would have been each complete in itself if worded thus: “I will pass by the fact that it is a piece of injustice, simply because a man brings charges against some individuals and declares them unfit for exemption, to attempt to withhold that privilege from every one—even those who are justly entitled to it.” But Demosthenes did not approve of 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 also to 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 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.

Now that I have laid down these broad outlines, the next step will be to state 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 and beauty. The ear craves for both of these. It is affected in somewhat the same way as the sense of sight which,

2 νυνὶ χάριν ἔχει EPMV: νῦν ἔχει χάριν F 4 ἀτέλειαν] δωρειὰν Demosth. 6 ἀτελῆ δὲ F 12 τὰ δ’ αὐτὰ F: ταῦτα δὲ MV: ταῦ(τα) δι’ P 13 ταύτας E: ταῦτα F: ταύταις PMV || ταῖς τε προηγουμέναις καὶ ταῖς ταύταις (ταύταις om. E) ἑπομέναις EPMV 14 ἐν FE: ἐν ταῖς PMV 17 περιόδωι P 18 ὡρισμένων P || τὸ λέγειν PMV: λέγειν F 21 τὰ add. Sauppius || γενικώτατα F, M: τελικ(ω)τατα P, M1V 22 μέτρα FP: εὖ μέτρα MV4. Dionysius does not appear to feel thatτῶν ἀδίκωνis in any way ambiguous,—that it might, at first sight, seem to depend on τὴν ἀτέλειαν. In Greek a dependent genitive usually (at any rate in Thucydides; see p.337infra) precedes the noun on which it depends; and, in any case, the speaker would here pause slightly between τὴν ἀτέλειαν and τῶν ἀδίκων.15.οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον.For an instance of the ‘running’ style, interspersed with the periodic, see Thucyd. i. 9. 2, where Shilleto remarks: “This paragraph seems to me to convey far more than any other which I have read an exemplification of the εἰρομένη λέξις of Aristot.Rhet.iii. 9. 2 (λέγω δὲ εἰρομένην, ἣ οὐδὲν ἔχει τέλος καθ’ αὑτήν, ἂν μὴ τὸ πρᾶγμα λεγόμενον τελειωθῇ). How Thukydides, so great a master of the κατεστραμμένη, ἐν περιόδοις, λέξις, should have written it, is to me a marvel.”

4. Dionysius does not appear to feel thatτῶν ἀδίκωνis in any way ambiguous,—that it might, at first sight, seem to depend on τὴν ἀτέλειαν. In Greek a dependent genitive usually (at any rate in Thucydides; see p.337infra) precedes the noun on which it depends; and, in any case, the speaker would here pause slightly between τὴν ἀτέλειαν and τῶν ἀδίκων.

15.οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον.For an instance of the ‘running’ style, interspersed with the periodic, see Thucyd. i. 9. 2, where Shilleto remarks: “This paragraph seems to me to convey far more than any other which I have read an exemplification of the εἰρομένη λέξις of Aristot.Rhet.iii. 9. 2 (λέγω δὲ εἰρομένην, ἣ οὐδὲν ἔχει τέλος καθ’ αὑτήν, ἂν μὴ τὸ πρᾶγμα λεγόμενον τελειωθῇ). How Thukydides, so great a master of the κατεστραμμένη, ἐν περιόδοις, λέξις, should have written it, is to me a marvel.”

καὶ γλυφὰς καὶ ὅσα δημιουργήματα χειρῶν ἐστιν ἀνθρωπίνωνὁρῶσα ὅταν εὑρίσκῃ τό τε ἡδὺ ἐνὸν ἐν αὐτοῖς καὶ τὸ καλόν,ἀρκεῖται καὶ οὐδὲν ἔτι ποθεῖ. καὶ μὴ παράδοξον ἡγήσηταίτις, εἰ δύο ποιῶ τέλη καὶ χωρίζω τὸ καλὸν ἀπὸ τῆς ἡδονῆς,μηδ’ ἄτοπον εἶναι νομίσῃ, εἴ τινα ἡγοῦμαι λέξιν ἡδέως μὲν 5συγκεῖσθαι, μὴ καλῶς δέ, ἢ καλῶς μέν, οὐ μὴν καὶ ἡδέως·φέρει γὰρ ἡ ἀλήθεια τὸ τοιοῦτον καὶ οὐδὲν ἀξιῶ καινόν· ἥγε τοι Θουκυδίδου λέξις καὶ ἡ Ἀντιφῶντος τοῦ Ῥαμνουσίουκαλῶς μὲν σύγκειται νὴ Δία, εἴπερ τινὲς καὶ ἄλλαι, καὶοὐκ ἄν τις αὐτὰς ἔχοι μέμψασθαι κατὰ τοῦτο, οὐ μὴν ἡδέως 10γε πάνυ· ἡ δέ γε τοῦ Κνιδίου συγγραφέως Κτησίου καὶ ἡτοῦ Σωκρατικοῦ Ξενοφῶντος ἡδέως μὲν ὡς ἔνι μάλιστα, οὐμὴν καλῶς γ’ ἐφ’ ὅσον ἔδει· λέγω δὲ κοινότερον, ἀλλ’ οὐχὶκαθάπαξ, ἐπεὶ καὶ παρ’ ἐκείνοις ἥρμοσταί τινα ἡδέως καὶπαρὰ τούτοις καλῶς. ἡ δὲ Ἡροδότου σύνθεσις ἀμφότερα 15ταῦτα ἔχει, καὶ γὰρ ἡδεῖά ἐστι καὶ καλή.XIἐξ ὧν δ’ οἶμαι γενήσεσθαι λέξιν ἡδεῖαν καὶ καλήν, τέτταράἐστι ταῦτα τὰ κυριώτατα καὶ κράτιστα, μέλος καὶ ῥυθμὸς καὶμεταβολὴ καὶ τὸ παρακολουθοῦν τοῖς τρισὶ τούτοις πρέπον.τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν χάριν καὶ 20τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ πάντατὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸβάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶτὰ τούτοις ὅμοια. ταυτὶ γάρ μοι δοκεῖ κυριώτατα εἶναι καὶὥσπερ κεφάλαια τῶν ἄλλων ἐν ἑκατέρῳ. ὧν μὲν οὖν στοχάζονται 25πάντες οἱ σπουδῇ γράφοντες μέτρον ἢ μέλος ἢ τὴνλεγομένην πεζὴν λέξιν, ταῦτ’ ἐστὶ καὶ οὐκ οἶδ’ εἴ τι παρὰ[121]when it looks upon moulded figures, pictures, carvings, or any other works of human hands, and finds both charm and beauty residing in them, is satisfied and longs for nothing more. And let not anyone be surprised at my assuming that there are two distinct objects in style, and at my separating beauty from charm; nor let him think it strange if I hold that a piece of composition may possess charm but not beauty, or beauty without charm. Such is the verdict of actual experience; I am introducing no novel axiom. The styles of Thucydides and of Antiphon of Rhamnus are surely examples of beautiful composition, if ever there were any, and are beyond all possible cavil from this point of view, but they are not remarkable for their charm. On the other hand, the style of the historian Ctesias of Cnidus, and that of Xenophon the disciple of Socrates, are charming in the highest 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 beautiful.CHAPTER XIGENERAL DISCUSSION OF THE SOURCES OF CHARM AND BEAUTY IN COMPOSITIONAmong the sources of charm and beauty in style there are, I conceive, four which are paramount and essential,—melody, rhythm, variety, and the appropriateness demanded by these three. Under “charm” I class freshness, grace, euphony, sweetness, persuasiveness, and all similar qualities; and under “beauty” grandeur, impressiveness, solemnity, dignity, mellowness, and the like. For these seem to me the most important—the main heads, so to speak, in either case. The aims set before themselves by all serious writers in epic, dramatic, or lyric poetry, or in the so-called “language of prose,” are those specified, and I think

ἐξ ὧν δ’ οἶμαι γενήσεσθαι λέξιν ἡδεῖαν καὶ καλήν, τέτταράἐστι ταῦτα τὰ κυριώτατα καὶ κράτιστα, μέλος καὶ ῥυθμὸς καὶμεταβολὴ καὶ τὸ παρακολουθοῦν τοῖς τρισὶ τούτοις πρέπον.τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν χάριν καὶ 20τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ πάντατὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸβάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶτὰ τούτοις ὅμοια. ταυτὶ γάρ μοι δοκεῖ κυριώτατα εἶναι καὶὥσπερ κεφάλαια τῶν ἄλλων ἐν ἑκατέρῳ. ὧν μὲν οὖν στοχάζονται 25πάντες οἱ σπουδῇ γράφοντες μέτρον ἢ μέλος ἢ τὴνλεγομένην πεζὴν λέξιν, ταῦτ’ ἐστὶ καὶ οὐκ οἶδ’ εἴ τι παρὰ

[121]when it looks upon moulded figures, pictures, carvings, or any other works of human hands, and finds both charm and beauty residing in them, is satisfied and longs for nothing more. And let not anyone be surprised at my assuming that there are two distinct objects in style, and at my separating beauty from charm; nor let him think it strange if I hold that a piece of composition may possess charm but not beauty, or beauty without charm. Such is the verdict of actual experience; I am introducing no novel axiom. The styles of Thucydides and of Antiphon of Rhamnus are surely examples of beautiful composition, if ever there were any, and are beyond all possible cavil from this point of view, but they are not remarkable for their charm. On the other hand, the style of the historian Ctesias of Cnidus, and that of Xenophon the disciple of Socrates, are charming in the highest 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 beautiful.CHAPTER XIGENERAL DISCUSSION OF THE SOURCES OF CHARM AND BEAUTY IN COMPOSITIONAmong the sources of charm and beauty in style there are, I conceive, four which are paramount and essential,—melody, rhythm, variety, and the appropriateness demanded by these three. Under “charm” I class freshness, grace, euphony, sweetness, persuasiveness, and all similar qualities; and under “beauty” grandeur, impressiveness, solemnity, dignity, mellowness, and the like. For these seem to me the most important—the main heads, so to speak, in either case. The aims set before themselves by all serious writers in epic, dramatic, or lyric poetry, or in the so-called “language of prose,” are those specified, and I think

[121]

when it looks upon moulded figures, pictures, carvings, or any other works of human hands, and finds both charm and beauty residing in them, is satisfied and longs for nothing more. And let not anyone be surprised at my assuming that there are two distinct objects in style, and at my separating beauty from charm; nor let him think it strange if I hold that a piece of composition may possess charm but not beauty, or beauty without charm. Such is the verdict of actual experience; I am introducing no novel axiom. The styles of Thucydides and of Antiphon of Rhamnus are surely examples of beautiful composition, if ever there were any, and are beyond all possible cavil from this point of view, but they are not remarkable for their charm. On the other hand, the style of the historian Ctesias of Cnidus, and that of Xenophon the disciple of Socrates, are charming in the highest 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 beautiful.

Among the sources of charm and beauty in style there are, I conceive, four which are paramount and essential,—melody, rhythm, variety, and the appropriateness demanded by these three. Under “charm” I class freshness, grace, euphony, sweetness, persuasiveness, and all similar qualities; and under “beauty” grandeur, impressiveness, solemnity, dignity, mellowness, and the like. For these seem to me the most important—the main heads, so to speak, in either case. The aims set before themselves by all serious writers in epic, dramatic, or lyric poetry, or in the so-called “language of prose,” are those specified, and I think

1 ἐστιν F: εἰσιν M: om. PV 2 ἐνὸν ἐν αὐτοῖς F: ἐνὸν αὐτοῖς PMV 8 καὶ ἡ PMV: καὶ EF 9 καὶ οὐκ ... τοῦτο F: om. PMV 14 ἐπεὶ κἀκείνοις P || καὶ posterius] ὡς καὶ EF: ὡς M 17 γενέσθαι FE 18 κράτιστα PMV: τὰ κράτιστα F 20 τήν τε EFM: τὴν PV 23 τὸν πίνον] τοπι(θα)ν(ον) P, EFM1V: πῖνος suprascr. M 26 μέτρον ἡ μέλος P, MV: μέλος ἢ μέτρον F2.τὸ καλόν: see Glossary, s.v. καλός.11. ForCtesiascp. Demetr.de Eloc.§§ 213-16, where a fine passage is quoted from him; also p. 247ibid.Photius (Bibl. Cod.72) says of Ctesias: ἔστι δὲ οὗτος ὁ συγγραφεὺς σαφής τε καὶ ἀφελὴς λίαν· διὸ καὶ ἡδονῇ αὐτῷ σύγκρατός ἐστιν ὁ λόγος.12.Ξενοφῶντος: cp. Diog. Laert. ii. 6. 57 ἐκαλεῖτο δὲ καὶ Ἀττικὴ Μοῦσα γλυκύτητι τῆς ἑρμηνείας, and Cic.Orat.19. 63 “et Xenophontis voce Musas quasi locutas ferunt.”—Forτοῦ Σωκρατικοῦcp. Quintil. x. 1. 75 “Xenophon non excidit mihi sed inter philosophos reddendus est.”14.καθάπαξ, ‘absolutely,’ ‘universally,’ ‘exclusively.’ So in13216.18. Cpde Demosth.c. 47 εὕρισκε δὴ τὰ μὲν αὐτὰ ἀμφοτέρων ὄντα αἴτια, τὰ μέλη καὶ τοὺς ῥυθμοὺς καὶ τὰς μεταβολὰς καὶ τὸ παρακολουθοῦν ἅπασιν αὐτοῖς πρέπον, οὐ μὴν κατὰ τὸν αὐτὸν τρόπον ἑκάτερα σχηματιζόμενα.25.ἑκάτερονmeans (here and in1221) ἥ τε ἡδονὴ καὶ τὸ καλόν.

2.τὸ καλόν: see Glossary, s.v. καλός.

11. ForCtesiascp. Demetr.de Eloc.§§ 213-16, where a fine passage is quoted from him; also p. 247ibid.Photius (Bibl. Cod.72) says of Ctesias: ἔστι δὲ οὗτος ὁ συγγραφεὺς σαφής τε καὶ ἀφελὴς λίαν· διὸ καὶ ἡδονῇ αὐτῷ σύγκρατός ἐστιν ὁ λόγος.

12.Ξενοφῶντος: cp. Diog. Laert. ii. 6. 57 ἐκαλεῖτο δὲ καὶ Ἀττικὴ Μοῦσα γλυκύτητι τῆς ἑρμηνείας, and Cic.Orat.19. 63 “et Xenophontis voce Musas quasi locutas ferunt.”—Forτοῦ Σωκρατικοῦcp. Quintil. x. 1. 75 “Xenophon non excidit mihi sed inter philosophos reddendus est.”

14.καθάπαξ, ‘absolutely,’ ‘universally,’ ‘exclusively.’ So in13216.

18. Cpde Demosth.c. 47 εὕρισκε δὴ τὰ μὲν αὐτὰ ἀμφοτέρων ὄντα αἴτια, τὰ μέλη καὶ τοὺς ῥυθμοὺς καὶ τὰς μεταβολὰς καὶ τὸ παρακολουθοῦν ἅπασιν αὐτοῖς πρέπον, οὐ μὴν κατὰ τὸν αὐτὸν τρόπον ἑκάτερα σχηματιζόμενα.

25.ἑκάτερονmeans (here and in1221) ἥ τε ἡδονὴ καὶ τὸ καλόν.

ταῦθ’ ἕτερον· οἱ δὲ πρωτεύσαντες ἐν ἑκατέρῳ τε τούτων καὶἐν ἀμφοτέροις πολλοί τε καὶ ἀγαθοὶ ἄνδρες· παραδείγματα δὲαὐτῶν ἑκάστου φέρειν ἐν τῷ παρόντι οὐκ ἐγχωρεῖ, ἵνα μὴπερὶ ταῦτα κατατρίψω τὸν λόγον· καὶ ἅμα εἴ τι λεχθῆναιπερί τινος αὐτῶν καθήκει καὶ δεήσει που μαρτυριῶν, ἕτερος 5αὐτοῖς ἔσται καιρὸς ἐπιτηδειότερος, ὅταν τοὺς χαρακτῆρας τῶνἁρμονιῶν ὑπογράφω. νῦν δὲ ταῦτ’ εἰρῆσθαι περὶ αὐτῶνἀπόχρη. ἐπάνειμι δὲ πάλιν ἐπὶ τὰς διαιρέσεις, ἃς ἐποιησάμηντῆς θ’ ἡδείας συνθέσεως καὶ τῆς καλῆς, ἵνα μοι καὶ καθ’ ὁδόν,ὥς φασι, χωρῇ ὁ λόγος. 10ἔφην δὴ τὴν ἀκοὴν ἥδεσθαι πρώτοις μὲν τοῖς μέλεσιν,ἔπειτα τοῖς ῥυθμοῖς, τρίτον ταῖς μεταβολαῖς, ἐν δὲ τούτοιςἅπασι τῷ πρέποντι. ὅτι δὲ ἀληθῆ λέγω, τὴν πεῖραν αὐτὴνπαρέξομαι μάρτυρα, ἣν οὐχ οἷόν τε διαβάλλειν τοῖς κοινοῖςπάθεσιν ὁμολογουμένην· τίς γάρ ἐστιν ὃς οὐχ ὑπὸ μὲν ταύτης 15τῆς μελῳδίας ἄγεται καὶ γοητεύεται, ὑφ’ ἑτέρας δέ τινος οὐδὲνπάσχει τοιοῦτον, καὶ ὑπὸ μὲν τούτων τῶν ῥυθμῶν οἰκειοῦται,ὑπὸ δὲ τούτων διοχλεῖται; ἤδη δ’ ἔγωγε καὶ ἐν τοῖς πολυανθρωποτάτοιςθεάτροις, ἃ συμπληροῖ παντοδαπὸς καὶ ἄμουσοςὄχλος, ἔδοξα καταμαθεῖν, ὡς φυσική τις ἁπάντων ἐστὶν ἡμῶν 20οἰκειότης πρὸς ἐμμέλειάν τε καὶ εὐρυθμίαν, κιθαριστήν τεἀγαθὸν σφόδρα εὐδοκιμοῦντα ἰδὼν θορυβηθέντα ὑπὸ τοῦπλήθους, ὅτι μίαν χορδὴν ἀσύμφωνον ἔκρουσε καὶ διέφθειρεντὸ μέλος, καὶ αὐλητὴν ἀπὸ τῆς ἄκρας ἕξεως χρώμενον τοῖςὀργάνοις τὸ αὐτὸ τοῦτο παθόντα, ὅτι σομφὸν ἐμπνεύσας ἢ μὴ[123]these are all. There are many excellent authors who have been distinguished in one or both of these qualities. It is not possible at present to adduce examples from the writings of each one of them; I 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. For 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.Well, I said that the ear delighted first of all in melody, then in rhythm, thirdly in variety, and finally in appropriateness as applied to these other qualities. As a witness to the truth of my words I will bring forward experience itself, for it cannot be challenged, confirmed as it is by the general sentiment of mankind. Who is there that is not enthralled by the spell of one melody while he 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 correct melody and good rhythm. I have seen an accomplished harpist, of high repute, hissed by the public because he struck a single false note and so spoilt the melody. I have seen, too, a flute-player, who handled his instrument with the practised skill of a master, suffer the same fate because he blew thickly or, through

[123]these are all. There are many excellent authors who have been distinguished in one or both of these qualities. It is not possible at present to adduce examples from the writings of each one of them; I 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. For 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.Well, I said that the ear delighted first of all in melody, then in rhythm, thirdly in variety, and finally in appropriateness as applied to these other qualities. As a witness to the truth of my words I will bring forward experience itself, for it cannot be challenged, confirmed as it is by the general sentiment of mankind. Who is there that is not enthralled by the spell of one melody while he 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 correct melody and good rhythm. I have seen an accomplished harpist, of high repute, hissed by the public because he struck a single false note and so spoilt the melody. I have seen, too, a flute-player, who handled his instrument with the practised skill of a master, suffer the same fate because he blew thickly or, through

[123]

these are all. There are many excellent authors who have been distinguished in one or both of these qualities. It is not possible at present to adduce examples from the writings of each one of them; I 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. For 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.

Well, I said that the ear delighted first of all in melody, then in rhythm, thirdly in variety, and finally in appropriateness as applied to these other qualities. As a witness to the truth of my words I will bring forward experience itself, for it cannot be challenged, confirmed as it is by the general sentiment of mankind. Who is there that is not enthralled by the spell of one melody while he 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 correct melody and good rhythm. I have seen an accomplished harpist, of high repute, hissed by the public because he struck a single false note and so spoilt the melody. I have seen, too, a flute-player, who handled his instrument with the practised skill of a master, suffer the same fate because he blew thickly or, through

1 τε om. M || τούτων om. PV 3 αὐτῶν FM: αὐτὴν P || ἑκάστου FM: καθ’ ἕκαστον PV || ἐν τῷ παρόντι om. P 4 εἴ τι V: εἴ τινα F: καὶ εἴ τι P: καὶ εἴ τινα M 6 ἐπιτήδειος F 7 νυνὶ F 9 καὶ καθ’ ὁδόν] καὶ om. PMV 11 δὴ F: δὲ PMV 12 ἐν F: ἐπὶ PMV 14 παρέξω F 18 τούτων δὲ EF 20 ἐστὶν ἁπάντων PMV 24 ἀπὸ F: κα(τὰ) P, MV 25 τὸ αὐτὸ F: καὶ αὐτὸ PV: καὶ αὐτὸν M || σομφὸν F γρ M: ἀσύμφων(ον) P, M1V9.καθ’ ὁδόν, ὥς φασι, χωρῇ ὁ λόγος.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 utratione et via procedat oratio” (de Finibusi. 9. 29).Ratione et via(‘rationally and methodically,’ ‘on scientific principles’) often corresponds to μεθόδῳ in Greek. In9625 ὁδῷ χωρεῖν is found, and ὁδοῦ τε καὶ τέχνης χωρίς in26221.13. A clearer rendering might be “the appropriateness which these three require.”19.παντοδαπός: cp. Hor.Ars P.212 “indoctus quid enim saperet liberque laborum | rusticus urbano confusus, 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 ac modorum? at in eis si paulum modo offensum est, ut aut contractione brevius fieret aut productione longius, theatra tota reclamant. quid, hoc non idem fit in vocibus, ut a multitudine et populo non modo catervae atque concentus, sed etiam ipsi sibi singuli discrepantes eiciantur? mirabile est, cum plurimum in faciendo intersit inter doctum et rudem, quam non multum differat in iudicando”; id.ibid.iii. 98 “quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae quam certae et severae! quibus tamen non modo austeri, sed, si saepius fiunt, multitudo ipsa reclamat”; id.Parad.iii. 26 “histrio si paulum se movit extra numerum aut si versus pronuntiatus est syllaba una brevior aut longior, exsibilatur, exploditur.” In modern Italy (so it is sometimes stated) the least slip on the part of a singer excites the audience to howls of derision and execration. At Athens, an actor’s false articulation was as fatal as a singer’s false note: cp. the case of Hegelochus (Aristoph.Ran.303, 304).25. ἀσύμφωνον (found in P and in otherMSS.) is probably an echo from line 23.

9.καθ’ ὁδόν, ὥς φασι, χωρῇ ὁ λόγος.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 utratione et via procedat oratio” (de Finibusi. 9. 29).Ratione et via(‘rationally and methodically,’ ‘on scientific principles’) often corresponds to μεθόδῳ in Greek. In9625 ὁδῷ χωρεῖν is found, and ὁδοῦ τε καὶ τέχνης χωρίς in26221.

13. A clearer rendering might be “the appropriateness which these three require.”

19.παντοδαπός: cp. Hor.Ars P.212 “indoctus quid enim saperet liberque laborum | rusticus urbano confusus, 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 ac modorum? at in eis si paulum modo offensum est, ut aut contractione brevius fieret aut productione longius, theatra tota reclamant. quid, hoc non idem fit in vocibus, ut a multitudine et populo non modo catervae atque concentus, sed etiam ipsi sibi singuli discrepantes eiciantur? mirabile est, cum plurimum in faciendo intersit inter doctum et rudem, quam non multum differat in iudicando”; id.ibid.iii. 98 “quanto molliores sunt et delicatiores in cantu flexiones et falsae voculae quam certae et severae! quibus tamen non modo austeri, sed, si saepius fiunt, multitudo ipsa reclamat”; id.Parad.iii. 26 “histrio si paulum se movit extra numerum aut si versus pronuntiatus est syllaba una brevior aut longior, exsibilatur, exploditur.” In modern Italy (so it is sometimes stated) the least slip on the part of a singer excites the audience to howls of derision and execration. At Athens, an actor’s false articulation was as fatal as a singer’s false note: cp. the case of Hegelochus (Aristoph.Ran.303, 304).

25. ἀσύμφωνον (found in P and in otherMSS.) is probably an echo from line 23.

πιέσας τὸ στόμα θρυλιγμὸν ἢ τὴν καλουμένην ἐκμέλειανηὔλησε. καίτοι γ’ εἴ τις κελεύσειε τὸν ἰδιώτην τούτων τι ὧνἐνεκάλει τοῖς τεχνίταις ὡς ἡμαρτημένων, αὐτὸν ποιῆσαι λαβόντατὰ ὄργανα, οὐκ ἂν δύναιτο. τί δήποτε; ὅτι τοῦτο μὲνἐπιστήμης ἐστίν, ἧς οὐ πάντες μετειλήφαμεν, ἐκεῖνο δὲ πάθους 5ὃ πᾶσιν ἀπέδωκεν ἡ φύσις. τὸ δ’ αὐτὸ καὶ ἐπὶ τῶν ῥυθμῶνγινόμενον ἐθεασάμην, ἅμα πάντας ἀγανακτοῦντας καὶ δυσαρεστουμένους,ὅτε τις ἢ κροῦσιν ἢ κίνησιν ἢ φωνὴν ἐν ἀσυμμέτροιςποιήσαιτο χρόνοις καὶ τοὺς ῥυθμοὺς ἀφανίσειεν. καὶοὐχὶ τὰ μὲν ἐμμελῆ καὶ εὔρυθμα ἡδονῆς ἀγωγά ἐστι καὶ 10πάντες ὑπ’ αὐτῶν κηλούμεθα, αἱ μεταβολαὶ δὲ καὶ τὸ πρέπονοὐκ ἔχουσι τὴν αὐτὴν ὥραν καὶ χάριν οὐδ’ ὑπὸ πάντωνὁμοίως διακούονται· ἀλλὰ κἀκεῖνα πάνυ κηλεῖ πάντας ἡμᾶςκατορθούμενα καὶ εἰς πολλὴν ὄχλησιν ἄγει διαμαρτανόμενα·τίς γὰρ οὐκ ἂν ὁμολογήσειεν; τεκμαίρομαι δέ, ὅτι καὶ τῆς 15ὀργανικῆς μούσης καὶ τῆς ἐν ᾠδῇ καὶ τῆς ἐν ὀρχήσει χάριτος‹μὲν› ἐν ἅπασι διευστοχούσης, μεταβολὰς δὲ μὴ ποιησαμένηςεὐκαίρους ἢ τοῦ πρέποντος ἀποπλανηθείσης βαρὺς μὲν ὁ κόρος,ἀηδὲς δὲ τὸ μὴ τοῖς ὑποκειμένοις ἁρμόττον φαίνεται. καὶ οὐκἀλλοτρίᾳ κέχρημαι τοῦ πράγματος εἰκόνι. μουσικὴ γάρ τις 20ἦν καὶ ἡ τῶν πολιτικῶν λόγων ἐπιστήμη τῷ ποσῷ διαλλάττουσατῆς ἐν ᾠδῇ καὶ ὀργάνοις, οὐχὶ τῷ ποιῷ· καὶ γὰρ ἐνταύτῃ καὶ μέλος ἔχουσιν αἱ λέξεις καὶ ῥυθμὸν καὶ μεταβολὴνκαὶ πρέπον, ὥστε καὶ ἐπὶ ταύτης ἡ ἀκοὴ τέρπεται μὲν τοῖςμέλεσιν, ἄγεται δὲ τοῖς ῥυθμοῖς, ἀσπάζεται δὲ τὰς μεταβολάς, 25[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 all when they are really attained, just as their absence jars upon us intensely. This is surely beyond dispute. I 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 is appropriate, the effect is dull satiety and that disagreeable impression which is made by anything out of harmony with the subject. Nor is my illustration foreign to the matter in hand. The science of public oratory is, after all, a sort of musical science, differing from vocal and instrumental music in degree, not in kind. In oratory, too, the words involve melody, rhythm, variety, and appropriateness; so that, in this case also, the ear delights in the melodies, is fascinated by the rhythms, welcomes the variations, and craves always

[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 all when they are really attained, just as their absence jars upon us intensely. This is surely beyond dispute. I 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 is appropriate, the effect is dull satiety and that disagreeable impression which is made by anything out of harmony with the subject. Nor is my illustration foreign to the matter in hand. The science of public oratory is, after all, a sort of musical science, differing from vocal and instrumental music in degree, not in kind. In oratory, too, the words involve melody, rhythm, variety, and appropriateness; so that, in this case also, the ear delights in the melodies, is fascinated by the rhythms, welcomes the variations, and craves always

[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 all when they are really attained, just as their absence jars upon us intensely. This is surely beyond dispute. I 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 is appropriate, the effect is dull satiety and that disagreeable impression which is made by anything out of harmony with the subject. Nor is my illustration foreign to the matter in hand. The science of public oratory is, after all, a sort of musical science, differing from vocal and instrumental music in degree, not in kind. In oratory, too, the words involve melody, rhythm, variety, and appropriateness; so that, in this case also, the ear delights in the melodies, is fascinated by the rhythms, welcomes the variations, and craves always

3 ἐγκαλεῖ F 5 πάθους PMV: πᾶθος F 8 φωνὴν PMV: μορφὴν F 10 εὐμελῆ PMV || ἀγωγά F, suprascr. M: μεστὰ PM1V 13 διακούονται V: διοικοῦνται FPM 14 ἁμαρτανόμενα PMV 16 ὠιδῆι F, E: ὠιδαῖς γοητείας P, MV 17 μὲν ins. Us. ex E 19 φαίνεται EF: ἐφάνη PMV 21 διαλλάττουσι τοῖς F 22 ὠιδῆι F: ὠιδαῖς EPMV Syrianus 23 ῥυθμὸν PMV Syrianus: ῥυθμοὺς EF3. It would weaken the argument to add (as has been suggested) ὀρθῶς or ἄμεινον. The critic may be right, even if he cannot play at all; and the player may retort, ‘Play it yourself, then,’ without adding ‘right’ or ‘better.’5.ἐπιστήμης: cp. Ov.ex Pontoiii. 9. 15 “non eadem ratio est sentire et demere morbos: | sensus inest cunctis, tollitur arte malum,” and Cic.de Orat.iii. 195 “omnes enim tacito quodam sensu sine ulla arte aut ratione quae sint in artibus ac rationibus recta ac prava diiudicant; idque cum faciunt in picturis et in signis et in aliis operibus, ad quorum intellegentiam a natura minus habent instrumenti, tum multo ostendunt magis in verborum, numerorum vocumque iudicio; quod ea sunt in communibus infixa sensibus nec earum rerum quemquam funditus natura esse voluit expertem. itaque non solum verbis arte positis moventur omnes, verum etiam numeris ac vocibus.”If πάθος be read, the meaning will be ‘the other is an instinct imparted to all by nature.’8. With μορφήν the translation will run: ‘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 is lost.’14.διαμαρτανόμενα,manqué: cp. ἡμαρτημέναι πολιτεῖαι, and the like, in Plato.16.χάριτοςdepends onδιευστοχούσης(the same construction as with the uncompounded verb εὐστοχεῖν).20. This passage (μουσικὴ γάρ ... οἰκεῖον) is quoted (after Syrianus) in WalzRhett. Gr.v. 474.21. ἦν, ‘was all along,’ ‘is after all’: cp.9218.22. For the passage that follows cp. AristoxenusHarmonicsi. 3 πρῶτον μὲν οὖν ἁπάντων τὴν τῆς φωνῆς κίνησιν διοριστέον τῷ μέλλοντι πραγματεύεσθαι περὶ μέλους αὐτὴν τὴν κατὰ τόπον. οὐ γὰρ εἷς τρόπος αὐτῆς ὢν τυγχάνει· κινεῖται μὲν γὰρ καὶ διαλεγομένων ἡμῶν καὶ μελῳδούντων τὴν εἰρημένην κίνησιν, ὀξὺ γὰρ καὶ βαρὺ δῆλον ὡς ἐν ἀμφοτέροις τούτοις ἔνεστιν—αὕτη δ’ ἐστὶν ἡ κατὰ τόπον καθ’ ἣν ὀξύ τε καὶ βαρὺ γίγνεται—ἀλλ’ οὐ ταὐτὸν εἶδος τῆς κινήσεως ἑκατέρας ἐστίν.

3. It would weaken the argument to add (as has been suggested) ὀρθῶς or ἄμεινον. The critic may be right, even if he cannot play at all; and the player may retort, ‘Play it yourself, then,’ without adding ‘right’ or ‘better.’

5.ἐπιστήμης: cp. Ov.ex Pontoiii. 9. 15 “non eadem ratio est sentire et demere morbos: | sensus inest cunctis, tollitur arte malum,” and Cic.de Orat.iii. 195 “omnes enim tacito quodam sensu sine ulla arte aut ratione quae sint in artibus ac rationibus recta ac prava diiudicant; idque cum faciunt in picturis et in signis et in aliis operibus, ad quorum intellegentiam a natura minus habent instrumenti, tum multo ostendunt magis in verborum, numerorum vocumque iudicio; quod ea sunt in communibus infixa sensibus nec earum rerum quemquam funditus natura esse voluit expertem. itaque non solum verbis arte positis moventur omnes, verum etiam numeris ac vocibus.”

If πάθος be read, the meaning will be ‘the other is an instinct imparted to all by nature.’

8. With μορφήν the translation will run: ‘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 is lost.’

14.διαμαρτανόμενα,manqué: cp. ἡμαρτημέναι πολιτεῖαι, and the like, in Plato.

16.χάριτοςdepends onδιευστοχούσης(the same construction as with the uncompounded verb εὐστοχεῖν).

20. This passage (μουσικὴ γάρ ... οἰκεῖον) is quoted (after Syrianus) in WalzRhett. Gr.v. 474.

21. ἦν, ‘was all along,’ ‘is after all’: cp.9218.

22. For the passage that follows cp. AristoxenusHarmonicsi. 3 πρῶτον μὲν οὖν ἁπάντων τὴν τῆς φωνῆς κίνησιν διοριστέον τῷ μέλλοντι πραγματεύεσθαι περὶ μέλους αὐτὴν τὴν κατὰ τόπον. οὐ γὰρ εἷς τρόπος αὐτῆς ὢν τυγχάνει· κινεῖται μὲν γὰρ καὶ διαλεγομένων ἡμῶν καὶ μελῳδούντων τὴν εἰρημένην κίνησιν, ὀξὺ γὰρ καὶ βαρὺ δῆλον ὡς ἐν ἀμφοτέροις τούτοις ἔνεστιν—αὕτη δ’ ἐστὶν ἡ κατὰ τόπον καθ’ ἣν ὀξύ τε καὶ βαρὺ γίγνεται—ἀλλ’ οὐ ταὐτὸν εἶδος τῆς κινήσεως ἑκατέρας ἐστίν.

ποθεῖ δ’ ἐπὶ πάντων τὸ οἰκεῖον, ἡ δὲ διαλλαγὴ κατὰ τὸμᾶλλον καὶ τὸ ἧττον.διαλέκτου μὲν οὖν μέλος ἑνὶ μετρεῖται διαστήματι τῷλεγομένῳ διὰ πέντε ὡς ἔγγιστα, καὶ οὔτε ἐπιτείνεται πέρατῶν τριῶν τόνων καὶ ἡμιτονίου ἐπὶ τὸ ὀξὺ οὔτ’ ἀνίεται τοῦ 5χωρίου τούτου πλέον ἐπὶ τὸ βαρύ. οὐ μὴν ἅπασα λέξις ἡκαθ’ ἓν μόριον λόγου ταττομένη ἐπὶ τῆς αὐτῆς λέγεται τάσεως,ἀλλ’ ἡ μὲν ἐπὶ τῆς ὀξείας, ἡ δ’ ἐπὶ τῆς βαρείας, ἡ δ’ ἐπ’ἀμφοῖν. τῶν δὲ ἀμφοτέρας τὰς τάσεις ἐχουσῶν αἱ μὲν κατὰμίαν συλλαβὴν συνεφθαρμένον ἔχουσι τῷ ὀξεῖ τὸ βαρύ, ἃς 10δὴ περισπωμένας καλοῦμεν· αἱ δὲ ἐν ἑτέρᾳ τε καὶ ἑτέρᾳχωρὶς ἑκάτερον ἐφ’ ἑαυτοῦ τὴν οἰκείαν φυλάττον φύσιν. καὶταῖς μὲν δισυλλάβοις οὐδὲν τὸ διὰ μέσου χωρίον βαρύτητόςτε καὶ ὀξύτητος· ταῖς δὲ πολυσυλλάβοις, ἡλίκαι ποτ’ ἂνὦσιν, ἡ τὸν ὀξὺν τόνον ἔχουσα μία ἐν πολλαῖς ταῖς ἄλλαις 15βαρείαις ἔνεστιν. ἡ δὲ ὀργανική τε καὶ ᾠδικὴ μοῦσα διαστήμασίτε χρῆται πλείοσιν, οὐ τῷ διὰ πέντε μόνον, ἀλλ’ ἀπὸτοῦ διὰ πασῶν ἀρξαμένη καὶ τὸ διὰ πέντε μελῳδεῖ καὶ τὸ διὰτεττάρων καὶ τὸ διὰ ‹τριῶν καὶ τὸν› τόνον καὶ τὸ ἡμιτόνιον,ὡς δέ τινες οἴονται, καὶ τὴν δίεσιν αἰσθητῶς· τάς τε λέξεις 20τοῖς μέλεσιν ὑποτάττειν ἀξιοῖ καὶ οὐ τὰ μέλη ταῖς λέξεσιν,ὡς ἐξ ἄλλων τε πολλῶν δῆλον καὶ μάλιστα ἐκ τῶν Εὐριπίδουμέλων, ἃ πεποίηκεν τὴν Ἠλέκτραν λέγουσαν ἐν Ὀρέστῃ πρὸςτὸν χορόν·[127]what is in keeping with the occasion. The distinction between oratory and music is simply one of degree.Now, the melody of spoken language is measured by a single interval, which is approximately that termed afifth. When the 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 throughout but one part of it at the acute pitch, another at the grave, another at both. Of the words that have both pitches, some have the grave fused with the acute on one and the same syllable—those which we call circumflexed; others have both pitches falling on separate syllables, each retaining its own quality. Now in disyllables there is 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 grave ones. 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 tone, the semitone, and, as some think, even the quarter-tone in a distinctly perceptible 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 theOrestes:—

[127]what is in keeping with the occasion. The distinction between oratory and music is simply one of degree.Now, the melody of spoken language is measured by a single interval, which is approximately that termed afifth. When the 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 throughout but one part of it at the acute pitch, another at the grave, another at both. Of the words that have both pitches, some have the grave fused with the acute on one and the same syllable—those which we call circumflexed; others have both pitches falling on separate syllables, each retaining its own quality. Now in disyllables there is 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 grave ones. 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 tone, the semitone, and, as some think, even the quarter-tone in a distinctly perceptible 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 theOrestes:—

[127]

what is in keeping with the occasion. The distinction between oratory and music is simply one of degree.

Now, the melody of spoken language is measured by a single interval, which is approximately that termed afifth. When the 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 throughout but one part of it at the acute pitch, another at the grave, another at both. Of the words that have both pitches, some have the grave fused with the acute on one and the same syllable—those which we call circumflexed; others have both pitches falling on separate syllables, each retaining its own quality. Now in disyllables there is 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 grave ones. 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 tone, the semitone, and, as some think, even the quarter-tone in a distinctly perceptible 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 theOrestes:—

2 καὶ τὸ EF: καὶ PMV 4 πέρα] παρα F 5 τόνων om. P || ἡμιτόνιον P: ἡμιτονίων M 7 ἐπὶ om. PMV 10 συνδιεφθαρμένον FE 11 ἐν ἑτέρῳ τε καὶ ἑτέρῳ MV: ἕτεραί τε καὶ ἕτεραι P 14 ἡλίκαι ποτ’ ἂν Us.: ἡλίκαι ἂν E: εἰ καί ποτ’ ἂν PM: εἰ καί ποτ’ ἡλικἂν F: οἷαί ποτ’ ἂν V 15 ταῖς ἄλλαις EFM: om. PV 19 τὸ διὰ ‹τριῶν καὶ τὸν› τόνον Radermacher: τόνον F: διάτονον P: διὰ τόνον M: τὸ διάτονον EV 22 ἐκ τῶν EF: τῶν PMV3.μετρεῖται, ‘is measured,’ ‘is confined,’—terminatur,coërcetur.—For various points in this chapter see Introduction, pp.39-43supra. With regard to the late Mr. W. E. Gladstone’s oratorical delivery, on a special occasion, Sir Walter Parratt obligingly makes the following communication to the editor: “I heard him make his famous ‘Upas tree’ speech at Wigan, in a wooden erection, and watched with some care the inflection of his voice. Addressing so large a crowd I think he put more tone into the voice than usual. Roughly I found that he began his sentences one above middle c, generally ending ong sharp below middle c, but sometimes falling the full octave toe below middle c.”4.ὡς ἔγγιστα, ‘as nearly as possible,’ ‘approximately.’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, or a Fifth, three Tones and half. In 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. EllisEnglish, Dionysian, and Hellenic Pronunciations of Greek, p. 38. (Under the initial “A. J. E.” occasional quotations will be made from this pamphlet, to which the phonetic studies of its author lend special interest, even when his conclusions cannot be accepted.)10. “That is, the voiceglidesfrom the high to the low pitch, and does notjumpfrom 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.δίεσιν: see Gloss., s.v. δίεσις.23. Line 140 of theOrestesis assigned to Electra (rather than to the Chorus) not only by Dionysus but seemingly also by Diogenes Laert. vii. 5 (Cleanthes). 172 ἐρομένου τινὸς τί ὑποτίθεσθαι δεῖ τῷ υἱῷ, “τὸ τῆς Ἠλέκτρας, ἔφη: σῖγα σῖγα, λεπτὸν ἴχνος.”—If the readingλευκὸν(rather than λεπτὸν) is right, the word may possibly be understood (like ἀργός) of swift, glancing feet, though the notion of rest rather than of movement is prominent here.24. Reference may be made to Ruelle’s “Note sur la musique d’une passage d’Euripide” in theAnnuaire de l’Association des Études grecques, 1882, pp. 96 ff.

3.μετρεῖται, ‘is measured,’ ‘is confined,’—terminatur,coërcetur.—For various points in this chapter see Introduction, pp.39-43supra. With regard to the late Mr. W. E. Gladstone’s oratorical delivery, on a special occasion, Sir Walter Parratt obligingly makes the following communication to the editor: “I heard him make his famous ‘Upas tree’ speech at Wigan, in a wooden erection, and watched with some care the inflection of his voice. Addressing so large a crowd I think he put more tone into the voice than usual. Roughly I found that he began his sentences one above middle c, generally ending ong sharp below middle c, but sometimes falling the full octave toe below middle c.”

4.ὡς ἔγγιστα, ‘as nearly as possible,’ ‘approximately.’

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, or a Fifth, three Tones and half. In 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. EllisEnglish, Dionysian, and Hellenic Pronunciations of Greek, p. 38. (Under the initial “A. J. E.” occasional quotations will be made from this pamphlet, to which the phonetic studies of its author lend special interest, even when his conclusions cannot be accepted.)

10. “That is, the voiceglidesfrom the high to the low pitch, and does notjumpfrom 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.δίεσιν: see Gloss., s.v. δίεσις.

23. Line 140 of theOrestesis assigned to Electra (rather than to the Chorus) not only by Dionysus but seemingly also by Diogenes Laert. vii. 5 (Cleanthes). 172 ἐρομένου τινὸς τί ὑποτίθεσθαι δεῖ τῷ υἱῷ, “τὸ τῆς Ἠλέκτρας, ἔφη: σῖγα σῖγα, λεπτὸν ἴχνος.”—If the readingλευκὸν(rather than λεπτὸν) is right, the word may possibly be understood (like ἀργός) of swift, glancing feet, though the notion of rest rather than of movement is prominent here.

24. Reference may be made to Ruelle’s “Note sur la musique d’une passage d’Euripide” in theAnnuaire de l’Association des Études grecques, 1882, pp. 96 ff.

σῖγα σῖγα, λευκὸν ἴχνος ἀρβύληςτίθετε, μὴ κτυπεῖτ’·ἀποπρόβατ’ ἐκεῖσ’, ἀποπρό μοι κοίτας.ἐν γὰρ δὴ τούτοις τὸ “σῖγα σῖγα λευκὸν” ἐφ’ ἑνὸς φθόγγουμελῳδεῖται, καίτοι τῶν τριῶν λέξεων ἑκάστη βαρείας τε τάσεις 5ἔχει καὶ ὀξείας. καὶ τὸ “ἀρβύλης” τῇ μέσῃ συλλαβῇ τὴντρίτην ὁμότονον ἔχει, ἀμηχάνου ὄντος ἓν ὄνομα δύο λαβεῖνὀξείας. καὶ τοῦ “τίθετε” βαρυτέρα μὲν ἡ πρώτη γίνεται,δύο δ’ αἱ μετ’ αὐτὴν ὀξύτονοί τε καὶ ὁμόφωνοι. τοῦ τε“κτυπεῖτε” ὁ περισπασμὸς ἠφάνισται· μιᾷ γὰρ αἱ δύο συλλαβαὶ 10λέγονται τάσει. καὶ τὸ “ἀποπρόβατε” οὐ λαμβάνει τὴν τῆςμέσης συλλαβῆς προσῳδίαν ὀξεῖαν, ἀλλ’ ἐπὶ τὴν τετάρτηνσυλλαβὴν μεταβέβηκεν ἡ τάσις ἡ τῆς τρίτης. τὸ δ’ αὐτὸγίνεται καὶ περὶ τοὺς ῥυθμούς. ἡ μὲν γὰρ πεζὴ λέξιςοὐδενὸς οὔτε ὀνόματος οὔτε ῥήματος βιάζεται τοὺς χρόνους 15οὐδὲ μετατίθησιν, ἀλλ’ οἵας παρείληφεν τῇ φύσει τὰς συλλαβὰςτάς τε μακρὰς καὶ τὰς βραχείας, τοιαύτας φυλάττει· ἡ δὲμουσική τε καὶ ῥυθμικὴ μεταβάλλουσιν αὐτὰς μειοῦσαι καὶπαραύξουσαι, ὥστε πολλάκις εἰς τἀναντία μεταχωρεῖν· οὐ[129]Hush ye, O hush ye! light be the treadOf the sandal; no jar let there be!Afar step ye thitherward, far from his bed.[129]In these lines the words σῖγα σῖγα λευκόν are sung to one note; and yet each of the three words has both low pitch and high pitch. And the word ἀρβύλης 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 τίθετε is sung to a lower note, while the two that follow it are sung to the same high note. The circumflex accent of κτυπεῖτε has disappeared, for the two syllables are uttered at one and the same pitch. And the word ἀποπρόβατε 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 does not violate or interchange the quantities in any noun or verb. It keeps the syllables long or short as it has received them by nature. But the arts of rhythm and music alter them by shortening or lengthening, so that often they pass into their opposites: the time of production is not regulated by the

σῖγα σῖγα, λευκὸν ἴχνος ἀρβύληςτίθετε, μὴ κτυπεῖτ’·ἀποπρόβατ’ ἐκεῖσ’, ἀποπρό μοι κοίτας.

ἐν γὰρ δὴ τούτοις τὸ “σῖγα σῖγα λευκὸν” ἐφ’ ἑνὸς φθόγγουμελῳδεῖται, καίτοι τῶν τριῶν λέξεων ἑκάστη βαρείας τε τάσεις 5ἔχει καὶ ὀξείας. καὶ τὸ “ἀρβύλης” τῇ μέσῃ συλλαβῇ τὴντρίτην ὁμότονον ἔχει, ἀμηχάνου ὄντος ἓν ὄνομα δύο λαβεῖνὀξείας. καὶ τοῦ “τίθετε” βαρυτέρα μὲν ἡ πρώτη γίνεται,δύο δ’ αἱ μετ’ αὐτὴν ὀξύτονοί τε καὶ ὁμόφωνοι. τοῦ τε“κτυπεῖτε” ὁ περισπασμὸς ἠφάνισται· μιᾷ γὰρ αἱ δύο συλλαβαὶ 10λέγονται τάσει. καὶ τὸ “ἀποπρόβατε” οὐ λαμβάνει τὴν τῆςμέσης συλλαβῆς προσῳδίαν ὀξεῖαν, ἀλλ’ ἐπὶ τὴν τετάρτηνσυλλαβὴν μεταβέβηκεν ἡ τάσις ἡ τῆς τρίτης. τὸ δ’ αὐτὸγίνεται καὶ περὶ τοὺς ῥυθμούς. ἡ μὲν γὰρ πεζὴ λέξιςοὐδενὸς οὔτε ὀνόματος οὔτε ῥήματος βιάζεται τοὺς χρόνους 15οὐδὲ μετατίθησιν, ἀλλ’ οἵας παρείληφεν τῇ φύσει τὰς συλλαβὰςτάς τε μακρὰς καὶ τὰς βραχείας, τοιαύτας φυλάττει· ἡ δὲμουσική τε καὶ ῥυθμικὴ μεταβάλλουσιν αὐτὰς μειοῦσαι καὶπαραύξουσαι, ὥστε πολλάκις εἰς τἀναντία μεταχωρεῖν· οὐ

[129]Hush ye, O hush ye! light be the treadOf the sandal; no jar let there be!Afar step ye thitherward, far from his bed.[129]In these lines the words σῖγα σῖγα λευκόν are sung to one note; and yet each of the three words has both low pitch and high pitch. And the word ἀρβύλης 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 τίθετε is sung to a lower note, while the two that follow it are sung to the same high note. The circumflex accent of κτυπεῖτε has disappeared, for the two syllables are uttered at one and the same pitch. And the word ἀποπρόβατε 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 does not violate or interchange the quantities in any noun or verb. It keeps the syllables long or short as it has received them by nature. But the arts of rhythm and music alter them by shortening or lengthening, so that often they pass into their opposites: the time of production is not regulated by the

[129]

Hush ye, O hush ye! light be the treadOf the sandal; no jar let there be!Afar step ye thitherward, far from his bed.[129]

In these lines the words σῖγα σῖγα λευκόν are sung to one note; and yet each of the three words has both low pitch and high pitch. And the word ἀρβύλης 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 τίθετε is sung to a lower note, while the two that follow it are sung to the same high note. The circumflex accent of κτυπεῖτε has disappeared, for the two syllables are uttered at one and the same pitch. And the word ἀποπρόβατε 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 does not violate or interchange the quantities in any noun or verb. It keeps the syllables long or short as it has received them by nature. But the arts of rhythm and music alter them by shortening or lengthening, so that often they pass into their opposites: the time of production is not regulated by the

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