XV

2 αὐτὰ ἑαυτῶν REF: om. PMVs 4 ἡμιτελεῖς REF: ἡμιτελείας PMVs 5 δὲ ἐκφωνεῖται REFMVs: δὲ καὶ φωνεῖται P 6 ἀριθμὸς RFM: ὁ ἀριθμὸς PVs 11 εἰ δὲ RF: εἰ PMVs 14 τὰ RF: καὶ τὰ PMVs || αὐτοῖς RF: αὐτὴι P, MVs 16 μὲν βραχέα τότε (τὸ R) έ καὶ τὸ ό, δύο δὲ μακρὰ F, ER: μὲν μακρὰ PMVs 18 καὶ γὰρ ἐκτείνεται ταῦτα RFE: ἃ καὶ ἐκτείνεται PMVs 19 καὶ αὐτὰ RF: ἃ PMVs || μὲν] μὲν ἤδη R 20 φωνεῖται RF: ἐκφωνεῖται EPMVs || παρὰ τῆς EF: ἀπὸ τῆς M: τῆς RPVs 21 συνηχούσης R: συνεχούσης libri || τῶι πνεύματι R: τὸ π̅ν̅ι̅ F: τὸ πνεῦμα EPMVs || στόματος] σώματος R5. “On referring to the treatise of Aristotle περὶ ἀκουστῶν, the notion which underlies all Greek phonetics will be seen to be as follows. Breath is expelled by 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’ (αἱ τοῦ ἀέρος πληγαί) and the configurations of the mouth (οἱ τοῦ στόματος σχηματισμοί). On the state of the lungs, their hardness, dryness, thickness, or softness, moistness, freedom, much stress is laid; and also on the amount and strength of the ‘stroke,’ which drives out the air forcibly (ἐκθλίβῃ τὸν ἀέρα βιαίως). 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 (ὀξύτερον) 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 wiser than Aristotle in these matters. This must be well borne in mind for the full appreciation of what follows,” A. J. E. [But for λάρυγξ cp. the note on l. 21infra.]14.αὐτοῖς: στοιχεῖα (cp. ll. 9 and 10), rather than αἱ τῆς φωνῆς ἀρχαί, seems to determine the grammar here. The reference of αὐτά, αὐτό, τοῦτο, etc., is often very general; e.g. Aristoph.Ran.1025 ἀλλ’ ὑμῖν αὔτ’ [sc. τὰ πολεμικά, to be supplied from τὸν πόλεμον in the previous line] ἐξῆν ἀσκεῖν, ἀλλ’ οὐκ ἐπὶ τοῦτ’ [sc. τὸ ἀσκεῖν] ἐτράπεσθε, and 1464 εὖ, πλήν γ’ ὁ δικαστὴς αὐτὰ [sc. τὰ χρήματα, implied in πόρος] καταπίνει μόνος; Thucyd. vii. 55 2 τὰ πρὸ αὐτῶν (‘before the late events’). Cp. also note on19818infra.Dionysius makes no specific reference, here or elsewhere in his treatise, to the diphthongs. The probable inference is that he regarded them as true diphthongs, formed from the simple vowels whose pronunciation is separately described by him.16. See Introduction, p.46supra, as 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 of various vowels: “Quis Apelles aut Parrhasius faciem hominis penicillo vel coloribus exprimere potuit felicius, differentiamque constituere inter diversos vultus, quam hic verbis vocalium naturam distinxit ac separavit?”21. With συνεχούσης τὸ πνεῦμα the meaning would be ‘while the windpipe constricts the breath.’ But the reading given by R represents the facts with a fair degree of accuracy, and it may be compared with Aristot.Hist. An.ix. 4 τὰ μὲν οὖν φωνήεντα ἡ φωνὴ καὶ ὁ λάρυγξ ἀφίησιν, τὰ δ’ ἄφωνα ἡ γλῶττα καὶ τὰ χείλη.ἁπλῶς σχηματισθέντος: “meaning perhaps that the mouth is not continually varied in shape,” A. J. E.22.οὐδὲν πραγματευομένης: “that is, it does not move about, though it directs the breath,” A. J. E.ἀλλ’ ἠρεμούσης: “meaning that it does not vibrate as for λ and ρ,” A. J. E.

5. “On referring to the treatise of Aristotle περὶ ἀκουστῶν, the notion which underlies all Greek phonetics will be seen to be as follows. Breath is expelled by 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’ (αἱ τοῦ ἀέρος πληγαί) and the configurations of the mouth (οἱ τοῦ στόματος σχηματισμοί). On the state of the lungs, their hardness, dryness, thickness, or softness, moistness, freedom, much stress is laid; and also on the amount and strength of the ‘stroke,’ which drives out the air forcibly (ἐκθλίβῃ τὸν ἀέρα βιαίως). 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 (ὀξύτερον) 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 wiser than Aristotle in these matters. This must be well borne in mind for the full appreciation of what follows,” A. J. E. [But for λάρυγξ cp. the note on l. 21infra.]

14.αὐτοῖς: στοιχεῖα (cp. ll. 9 and 10), rather than αἱ τῆς φωνῆς ἀρχαί, seems to determine the grammar here. The reference of αὐτά, αὐτό, τοῦτο, etc., is often very general; e.g. Aristoph.Ran.1025 ἀλλ’ ὑμῖν αὔτ’ [sc. τὰ πολεμικά, to be supplied from τὸν πόλεμον in the previous line] ἐξῆν ἀσκεῖν, ἀλλ’ οὐκ ἐπὶ τοῦτ’ [sc. τὸ ἀσκεῖν] ἐτράπεσθε, and 1464 εὖ, πλήν γ’ ὁ δικαστὴς αὐτὰ [sc. τὰ χρήματα, implied in πόρος] καταπίνει μόνος; Thucyd. vii. 55 2 τὰ πρὸ αὐτῶν (‘before the late events’). Cp. also note on19818infra.

Dionysius makes no specific reference, here or elsewhere in his treatise, to the diphthongs. The probable inference is that he regarded them as true diphthongs, formed from the simple vowels whose pronunciation is separately described by him.

16. See Introduction, p.46supra, as 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 of various vowels: “Quis Apelles aut Parrhasius faciem hominis penicillo vel coloribus exprimere potuit felicius, differentiamque constituere inter diversos vultus, quam hic verbis vocalium naturam distinxit ac separavit?”

21. With συνεχούσης τὸ πνεῦμα the meaning would be ‘while the windpipe constricts the breath.’ But the reading given by R represents the facts with a fair degree of accuracy, and it may be compared with Aristot.Hist. An.ix. 4 τὰ μὲν οὖν φωνήεντα ἡ φωνὴ καὶ ὁ λάρυγξ ἀφίησιν, τὰ δ’ ἄφωνα ἡ γλῶττα καὶ τὰ χείλη.

ἁπλῶς σχηματισθέντος: “meaning perhaps that the mouth is not continually varied in shape,” A. J. E.

22.οὐδὲν πραγματευομένης: “that is, it does not move about, though it directs the breath,” A. J. E.

ἀλλ’ ἠρεμούσης: “meaning that it does not vibrate as for λ and ρ,” A. J. E.

ἠρεμούσης. πλὴν τὰ μὲν μακρὰ καὶ τῶν διχρόνων ἃ μακρῶςλέγεται τεταμένον λαμβάνει καὶ διηνεκῆ τὸν αὐλὸν τοῦ πνεύματος,τὰ δὲ βραχέα ἢ βραχέως λεγόμενα ἐξ ἀποκοπῆς τε καὶμιᾷ πληγῇ πνεύματος καὶ τῆς ἀρτηρίας ἐπὶ βραχὺ κινηθείσηςἐκφέρεται. τούτων δὴ κράτιστα μέν ἐστι καὶ φωνὴν ἡδίστην 5ἀποτελεῖ τά τε μακρὰ καὶ τῶν διχρόνων ὅσα μηκύνεται κατὰτὴν ἐκφοράν, ὅτι πολὺν ἠχεῖται χρόνον καὶ τὸν τοῦ πνεύματοςοὐκ ἀποκόπτει τόνον· χείρω δὲ τὰ βραχέα ἢ βραχέως λεγόμενα,ὅτι μικρόφωνά τ’ ἐστὶ καὶ σπαδονίζει τὸν ἦχον. αὐτῶνδὲ τῶν μακρῶν πάλιν εὐφωνότατον μὲν τὸ ᾱ, ὅταν ἐκτείνηται· 10λέγεται γὰρ ἀνοιγομένου τε τοῦ στόματος ἐπὶ πλεῖστον καὶτοῦ πνεύματος ἄνω φερομένου πρὸς τὸν οὐρανόν. δεύτερον δὲτὸ η̄, διότι κάτω τε περὶ τὴν βάσιν τῆς γλώττης ἐρείδει τὸνἦχον ἀλλ’ οὐκ ἄνω, καὶ μετρίως ἀνοιγομένου τοῦ στόματος.τρίτον δὲ τὸ ω̄· στρογγυλίζεται γὰρ ἐν αὐτῷ τὸ στόμα καὶ 15περιστέλλεται τὰ χείλη τήν τε πληγὴν τὸ πνεῦμα περὶ τὸἀκροστόμιον ποιεῖται. ἔτι δ’ ἧττον τούτου τὸ ῡ· περὶ γὰραὐτὰ τὰ χείλη συστολῆς γινομένης ἀξιολόγου πνίγεται καὶστενὸς ἐκπίπτει ὁ ἦχος. ἔσχατον δὲ πάντων τὸ ῑ· περὶ τοὺς[143]in the process but remains at rest. But the long vowels, and those common vowels that are 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 strongest, which also produce the most pleasing sound, are the long ones and those 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 short ones, or those pronounced short, are inferior, because they lack sonorousness and curtail the sound. Again, of the long vowels themselves the most euphonious is α, when prolonged; for it is pronounced with the mouth open to the fullest extent, and with the breath forced upwards to the palate. η 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 open. Third comes ω: in pronouncing this the mouth is rounded, the lips are contracted, and the impact of the breath is on the edge of the mouth. Still inferior to this is υ; for, through a marked contraction taking place right round the lips, the sound is strangled and comes out thin. Last of

[143]in the process but remains at rest. But the long vowels, and those common vowels that are 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 strongest, which also produce the most pleasing sound, are the long ones and those 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 short ones, or those pronounced short, are inferior, because they lack sonorousness and curtail the sound. Again, of the long vowels themselves the most euphonious is α, when prolonged; for it is pronounced with the mouth open to the fullest extent, and with the breath forced upwards to the palate. η 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 open. Third comes ω: in pronouncing this the mouth is rounded, the lips are contracted, and the impact of the breath is on the edge of the mouth. Still inferior to this is υ; for, through a marked contraction taking place right round the lips, the sound is strangled and comes out thin. Last of

[143]

in the process but remains at rest. But the long vowels, and those common vowels that are 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 strongest, which also produce the most pleasing sound, are the long ones and those 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 short ones, or those pronounced short, are inferior, because they lack sonorousness and curtail the sound. Again, of the long vowels themselves the most euphonious is α, when prolonged; for it is pronounced with the mouth open to the fullest extent, and with the breath forced upwards to the palate. η 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 open. Third comes ω: in pronouncing this the mouth is rounded, the lips are contracted, and the impact of the breath is on the edge of the mouth. Still inferior to this is υ; for, through a marked contraction taking place right round the lips, the sound is strangled and comes out thin. Last of

7 ἠχεῖ R (ut videtur) 8 οὐκ ἀποκόπτει τόνον RF: οὐκ ἀποκόπτει χρόνον E: οὐ κατακόπτει τὸν τόνον PMVs 9 σπαδονίζει PMVs: σπανίζει R (sed vid. n.1381) EF 10 πάλιν REF: om. PMs 12 ἄνω φερομένου RaPMVs: ἀναφερομένου RbEF 13 διότι REF: ὅτι PMVs || κάτω τε F: τε κάτω R: κάτω EPMVs 14 ἀλλ’ οὐκ REF: ἀκόλουθον ἀλλ’ οὐκ PMVs || τοῦ στόματος REFM: om. PVs 16 περιστέλλεται REF: περιστέλλει PMVs 17 ἔτι RF: ἔστι EPMVs 18 γινομένης REF: γενομένης PMVs5. With regard to the euphoniousness of theEgyptianvowels there is an interesting passage in Demetr.de Eloc.§ 71: “In Egypt the priests, when singing hymns in praise of the gods, employ the seven vowels, which they utter in due succession; and the sound of these letters is so euphonious that men listen to it in preference to flute and lyre.”9.σπαδονίζει: see Gloss., s.v.10. For the effect of theasound in Latin cp. Cic.Tusc. Disp.ii. 9. 22 “haec dextra Lernam taetram, mactata excetra, | placavit: haec bicorporem afflixit manum: | Erymanthiam haec vastificam abiecit beluam: | haec e Tartarea tenebrica abstractum plaga | tricipitem eduxit Hydra generatum canem” (a translation of Soph.Trach.1094-99).11. Cp.Le Bourg. Gent.ii. 4 “la voix A se forme en ouvrant fort la bouche”; and the rest of Molière’s comic phonetics furnish similar points of coincidence 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 eitherain ‘father,’ or, with a still more depressed tongue, the Frenchain ‘passer,’ which is a common Scotch pronunciation of the vowela,” A. J. E.13. “The description which Dionysius gives of the production of η and of ε is unfortunately not of such a kind that we can with any certainty infer the distinction of an open or closed sound,” BlassPronunciation of Ancient Greekp. 36 (Purton’s translation).14. Theκαίintroduces a specification which is parallel to those which follow κάτω.15. For the effect of theosound (notwithstanding any differences in the two languages) cp. Cic.Cat.iv. init. “video, patres conscripti, in me omnium vestra ora atque oculos conversos. video, vos non solum de vestro ac reipublicae, verum etiam, si id depulsum sit, de meo periculo esse sollicitos.” And in Greek, the Homeric lines quoted on15423,1564infra.—The question whether ω = ‘open’ or ‘closed’odepends upon what position of the lips Dionysius’ description is taken to indicate.17.ἧττον, ‘less,’ might mean inferior either in quality of tone or in the degree of opening of the mouth (A. J. E.).τὸ ῡ: this vowel can, as in Aristoph.Plut.895, be so pronounced as to convey the sensations of a sycophant in the presence of roasted meats:—ἀρνεῖσθον; ἔνδον ἐστίν, ὦ μιαρωτάτω,πολὺ χρῆμα τεμαχῶν καὶ κρεῶν ὠπτημένων.ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ,where B. B. Rogers remarks: “This line [ὒ ὗ etc.], as Bentley pointed out, isnaso, non ore, efferendus. It represents a succession of sniffings, produced by the nose; and not words or inarticulate sounds spoken with the mouth.”18. Cp. scholium on Dionysius Thrax p. 691. 27B: τὸ ῡ τὰ χείλη συστέλλει κατὰ τὴν ἐκφώνησιν. φησὶ γὰρ Διονύσιος ὁ Ἁλικαρνασσεὺς ἐν τῷ περὶ στοιχείων καὶ συλλαβῶν λόγῳ ὅτι περὶ αὐτὰ τὰ χείλη συστολῆς γινομένης ἀξιολόγου πνίγεται καὶ στενὸς ἐκπίπτει ὁ ἦχος.19. “So far as the lips are concerned, this description would suit either the Frenchuor the Englishoo, but the latter part of the description is better suited to Frenchu, and from the Latins having at this time represented this sound by their new sign Y (the usual form of Greek Υ in inscriptions) in place of their own V (which was ouroo), we may feel sure that the sound was not Englishoo, and, if not, that it was most probably Frenchu, as we know that it was so subsequently,” A. J. E.τοὺς ὀδόντας: “as the lips are not closed, there are only the teeth to limit the aperture,” A. J. E.—The position (ἔσχατον πάντων) assigned to iota is to be noticed: cp. Hermog. π. ἰδ. p. 225 (WalzRhett. Gr.vol. iii.) τὸ ῑ ... ἥκιστα σεμνὴν ποιεῖ τὴν λέξιν πλεονάσαν.

5. With regard to the euphoniousness of theEgyptianvowels there is an interesting passage in Demetr.de Eloc.§ 71: “In Egypt the priests, when singing hymns in praise of the gods, employ the seven vowels, which they utter in due succession; and the sound of these letters is so euphonious that men listen to it in preference to flute and lyre.”

9.σπαδονίζει: see Gloss., s.v.

10. For the effect of theasound in Latin cp. Cic.Tusc. Disp.ii. 9. 22 “haec dextra Lernam taetram, mactata excetra, | placavit: haec bicorporem afflixit manum: | Erymanthiam haec vastificam abiecit beluam: | haec e Tartarea tenebrica abstractum plaga | tricipitem eduxit Hydra generatum canem” (a translation of Soph.Trach.1094-99).

11. Cp.Le Bourg. Gent.ii. 4 “la voix A se forme en ouvrant fort la bouche”; and the rest of Molière’s comic phonetics furnish similar points of coincidence 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 eitherain ‘father,’ or, with a still more depressed tongue, the Frenchain ‘passer,’ which is a common Scotch pronunciation of the vowela,” A. J. E.

13. “The description which Dionysius gives of the production of η and of ε is unfortunately not of such a kind that we can with any certainty infer the distinction of an open or closed sound,” BlassPronunciation of Ancient Greekp. 36 (Purton’s translation).

14. Theκαίintroduces a specification which is parallel to those which follow κάτω.

15. For the effect of theosound (notwithstanding any differences in the two languages) cp. Cic.Cat.iv. init. “video, patres conscripti, in me omnium vestra ora atque oculos conversos. video, vos non solum de vestro ac reipublicae, verum etiam, si id depulsum sit, de meo periculo esse sollicitos.” And in Greek, the Homeric lines quoted on15423,1564infra.—The question whether ω = ‘open’ or ‘closed’odepends upon what position of the lips Dionysius’ description is taken to indicate.

17.ἧττον, ‘less,’ might mean inferior either in quality of tone or in the degree of opening of the mouth (A. J. E.).

τὸ ῡ: this vowel can, as in Aristoph.Plut.895, be so pronounced as to convey the sensations of a sycophant in the presence of roasted meats:—

ἀρνεῖσθον; ἔνδον ἐστίν, ὦ μιαρωτάτω,πολὺ χρῆμα τεμαχῶν καὶ κρεῶν ὠπτημένων.ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ,

where B. B. Rogers remarks: “This line [ὒ ὗ etc.], as Bentley pointed out, isnaso, non ore, efferendus. It represents a succession of sniffings, produced by the nose; and not words or inarticulate sounds spoken with the mouth.”

18. Cp. scholium on Dionysius Thrax p. 691. 27B: τὸ ῡ τὰ χείλη συστέλλει κατὰ τὴν ἐκφώνησιν. φησὶ γὰρ Διονύσιος ὁ Ἁλικαρνασσεὺς ἐν τῷ περὶ στοιχείων καὶ συλλαβῶν λόγῳ ὅτι περὶ αὐτὰ τὰ χείλη συστολῆς γινομένης ἀξιολόγου πνίγεται καὶ στενὸς ἐκπίπτει ὁ ἦχος.

19. “So far as the lips are concerned, this description would suit either the Frenchuor the Englishoo, but the latter part of the description is better suited to Frenchu, and from the Latins having at this time represented this sound by their new sign Y (the usual form of Greek Υ in inscriptions) in place of their own V (which was ouroo), we may feel sure that the sound was not Englishoo, and, if not, that it was most probably Frenchu, as we know that it was so subsequently,” A. J. E.

τοὺς ὀδόντας: “as the lips are not closed, there are only the teeth to limit the aperture,” A. J. E.—The position (ἔσχατον πάντων) assigned to iota is to be noticed: cp. Hermog. π. ἰδ. p. 225 (WalzRhett. Gr.vol. iii.) τὸ ῑ ... ἥκιστα σεμνὴν ποιεῖ τὴν λέξιν πλεονάσαν.

ὀδόντας τε γὰρ ἡ κροῦσις τοῦ πνεύματος γίνεται μικρὸνἀνοιγομένου τοῦ στόματος καὶ οὐκ ἐπιλαμπρυνόντων τῶνχειλῶν τὸν ἦχον. τῶν δὲ βραχέων οὐδέτερον μὲν εὔμορφον,ἧττον δὲ δυσειδὲς τοῦ ε̄ τὸ ο̄· διίστησι γὰρ τὸ στόμα κρεῖττονθατέρου καὶ τὴν πληγὴν λαμβάνει περὶ τὴν ἀρτηρίαν 5μᾶλλον.φωνηέντων μὲν οὖν γραμμάτων αὕτη φύσις· ἡμιφώνων δὲτοιάδε· ὀκτὼ τὸν ἀριθμὸν ὄντων αὐτῶν πέντε μέν ἐστιν ἁπλᾶτό τε λ̄ καὶ τὸ μ̄ καὶ τὸ ν̄ καὶ τὸ ρ̄ καὶ τὸ σ̄· διπλᾶ δὲτρία τό τε ζ̄ καὶ τὸ ξ̄ καὶ τὸ ψ̄. διπλᾶ δὲ λέγουσιν αὐτὰ 10ἤτοι διὰ τὸ σύνθετα εἶναι, τὸ μὲν ζ̄ διὰ τοῦ σ̄ καὶ δ̄, τὸ δὲξ̄ διὰ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ διὰ τοῦ π̄ καὶ σ̄ συνεφθαρμένωνἀλλήλοις ἰδίαν φωνὴν λαμβάνοντα, ἢ διὰ τὸ χώραν ἐπέχεινδυεῖν γραμμάτων ἐν ταῖς συλλαβαῖς παραλαμβανόμενον ἕκαστον.τούτων δὴ κρείττω μέν ἐστι τὰ διπλᾶ τῶν ἁπλῶν, 15ἐπειδὴ μείζονά ἐστι τῶν ἑτέρων καὶ μᾶλλον ἐγγίζειν δοκεῖτοῖς τελείοις· ἥττω δὲ τὰ ἁπλᾶ διὰ τὸ εἰς βραχυτέρουςτόπους συνάγεσθαι τὸν ἦχον. φωνεῖται δ’ αὐτῶν ἕκαστοντοιόνδε τινὰ τρόπον· τὸ μὲν λ̄ τῆς γλώττης πρὸς τὸν οὐρανὸνἱσταμένης καὶ τῆς ἀρτηρίας συνηχούσης· τὸ δὲ μ̄ τοῦ μὲν 20στόματος τοῖς χείλεσι πιεσθέντος, τοῦ δὲ πνεύματος διὰ τῶνῥωθώνων μεριζομένου· τὸ δὲ ν̄ τῆς γλώττης τὴν φορὰν τοῦπνεύματος ἀποκλειούσης καὶ μεταφερούσης ἐπὶ τοὺς ῥώθωναςτὸν ἦχον· τὸ δὲ ρ̄ τῆς γλώττης ἄκρας ἀπορριπιζούσης τὸπνεῦμα καὶ πρὸς τὸν οὐρανὸν ἐγγὺς τῶν ὀδόντων ἀνισταμένης· 25[145]all stands ι: for the impact of the breath is on the teeth as the mouth is slightly open and the lips do not clarify the sound. Of the short vowels none has beauty, but ο is less ugly than ε: for the former parts the lips better than the latter, and receives the impact more in the region of the windpipe.So much for the nature of the vowels. The semi-vowels are as follows. They are eight in number, and five of them are simple, viz. λ, μ, ν, ρ, and σ, while three are double, viz. ζ, ξ, ψ. They are called double either because they are composite, receiving a distinctive sound through the coalescence respectively of σ and δ into ζ, of κ and σ into ξ, and of π and σ into ψ; or because they each occupy the room of two letters in the syllables where they are found. Of these semi-vowels, the double 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 spaces. They are severally pronounced somewhat as follows: λ by the tongue rising to the palate, and by the windpipe helping the sound; μ by the mouth being closed tight by means of the lips, while the breath is divided and passes through the nostrils; ν by the tongue intercepting the current of the breath, and diverting the sound towards the nostrils; ρ by the tip of the tongue sending forth the breath in puffs and rising to the palate

[145]all stands ι: for the impact of the breath is on the teeth as the mouth is slightly open and the lips do not clarify the sound. Of the short vowels none has beauty, but ο is less ugly than ε: for the former parts the lips better than the latter, and receives the impact more in the region of the windpipe.So much for the nature of the vowels. The semi-vowels are as follows. They are eight in number, and five of them are simple, viz. λ, μ, ν, ρ, and σ, while three are double, viz. ζ, ξ, ψ. They are called double either because they are composite, receiving a distinctive sound through the coalescence respectively of σ and δ into ζ, of κ and σ into ξ, and of π and σ into ψ; or because they each occupy the room of two letters in the syllables where they are found. Of these semi-vowels, the double 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 spaces. They are severally pronounced somewhat as follows: λ by the tongue rising to the palate, and by the windpipe helping the sound; μ by the mouth being closed tight by means of the lips, while the breath is divided and passes through the nostrils; ν by the tongue intercepting the current of the breath, and diverting the sound towards the nostrils; ρ by the tip of the tongue sending forth the breath in puffs and rising to the palate

[145]

all stands ι: for the impact of the breath is on the teeth as the mouth is slightly open and the lips do not clarify the sound. Of the short vowels none has beauty, but ο is less ugly than ε: for the former parts the lips better than the latter, and receives the impact more in the region of the windpipe.

So much for the nature of the vowels. The semi-vowels are as follows. They are eight in number, and five of them are simple, viz. λ, μ, ν, ρ, and σ, while three are double, viz. ζ, ξ, ψ. They are called double either because they are composite, receiving a distinctive sound through the coalescence respectively of σ and δ into ζ, of κ and σ into ξ, and of π and σ into ψ; or because they each occupy the room of two letters in the syllables where they are found. Of these semi-vowels, the double 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 spaces. They are severally pronounced somewhat as follows: λ by the tongue rising to the palate, and by the windpipe helping the sound; μ by the mouth being closed tight by means of the lips, while the breath is divided and passes through the nostrils; ν by the tongue intercepting the current of the breath, and diverting the sound towards the nostrils; ρ by the tip of the tongue sending forth the breath in puffs and rising to the palate

1 κροῦσις R: κρίσις EF: κρότησις PVs 2 οὐκ ἐπιλαμπρυνόντων] οὐκέτι λαμπρυνόντων P 3 εὔμορφον REF: εὔηχον PMVs 4 δυσειδὲς REF: δυσηχὲς PMVs || τοῦ ε̄ τὸ ο̄ Us.: τὸ ε̄ REFMV, τὸ ο̄ Ps 5 καὶ τὴν REF: τὴν δὲ PMVs 8 ὀκτὼ RF: ὀκτὼ γὰρ EPMVs || πέντε] ε̄ PVs 9 διπλὰ δὲ τρία F, RbE: διπλᾶ δὲ καὶ τρία Ra: τρία (γ̄ P) δὲ διπλᾶ PMVs 11 τοῦ δ̄ καὶ τοῦ σ̄ Ra: τοῦ δ̄ καὶ σ̄ Rb13 ἰδίαν RF: καὶ ἰδίαν PMVs 14 παραλαμβανόμενον ἕκαστον RF: παραλαμβανόμενα. ἑκάστου PMVs 17 βραχυτέρους F: βαρυτέρους R: βραχυτέρους αὐτῶν E, PM 18 τόπους RFM2: τόνους EPM1Vs 20 ἱσταμένης REF: ἀνισταμένης PMVs || συνηχούσης REF: συνηχούσης τὸ πνεῦμα M: συνεχούσης τὸ πνεῦμα PVs 21 διὰ τῶν ... (23) πνεύματος REFM: om. P 22 ν̄] π̄ R 23 τοὺς ῥώθωνας RPMs: τὸν ῥώθωνα FE 24 ἀπορριπιζούσης RF: ἀπορραπιζούσης EVs: ἀποραπιζούσης (ρ alt. suprascr.) P, M1.μικρὸν ἀνοιγομένου: “no limitation is necessary, the lips may be as open for oureeas for ourah, but they may also be slightly open from the centre to the corners, no part being in contact,” A. J. E.2. “There can be no doubt that oureeis meant, and, although this is usually considered to be a ‘bright’ sound, it will be found that if, while singing it, and without moving the tongue, the lips be as much closed as foroo, the result, which will be Frenchu, is much more musical. Whatever doubt may remain from this description of the precise shades of sound,there can be none that η, υ, ι had different sounds, as indeed transcripts of Greek into Latin letters and Latin into Greek letters shew that they had, partially at least, down to the 12th centuryA.D., although the confusion was complete in the 15th, as it has since remained. Dionysius does not describe the diphthongs ΑΥ, ΕΥ, or the digraphs ΑΙ, ΕΙ, ΟΙ, ΟΥ,” A. J. E.5. “This would best suit ourawinawnshortened, that is, very nearly ouroinon. Short ε is not referred to, nor the short sounds of α, ι, υ,” A. J. E.11. For the pronunciation ofζsee Introduction, p. 44, and cp. Dionysius ThraxArs Gramm.§ 7 (Uhlig p. 14): ἔτι δὲ τῶν συμφώνων διπλᾶ μέν ἐστι τρία· ζ̄, ξ̄, ψ̄. διπλᾶ δὲ εἴρηται, ὅτι ἓν ἕκαστον αὐτῶν ἐκ δύο συμφώνων σύγκειται, τὸ μὲν ζ̄ ἐκ τοῦ σ̄ καὶ δ̄, τὸ δὲ ξ̄ ἐκ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ ἐκ τοῦ π̄ καὶ σ̄.—For the late use ofδιά(with the genitive) of the means or material by or of which a thing is composed cp.15410 and1806; alsoAntiqq. Rom.i. ἐν ὄρεσι τὰ πολλὰ πηξαμένοις διὰ ξύλων καὶ καλάμων σκηνὰς αὐτορόφους.17.ἥττω ... ἦχον: a true phonetic explanation.20. Formandnin Greek and Latin (especially at the end of clauses) cp. Quintil. xii. 10. 31 “Quid? quod pleraque nos illa quasi mugiente littera cludimusM, in quam nullum Graece verbum cadit: at illi ny iucundam et in fine praecipue quasi tinnientem illius loco ponunt, quae est apud nos rarissima in clausulis.”25.οὐρανὸν ... ὀδόντων.Demosthenes’ difficulty in pronouncing this letter (the trilled palato-dentalr) is well known: e.g. Quintil. i. 11. 5 “(rho littera), qua Demosthenes quoque laboravit.”

1.μικρὸν ἀνοιγομένου: “no limitation is necessary, the lips may be as open for oureeas for ourah, but they may also be slightly open from the centre to the corners, no part being in contact,” A. J. E.

2. “There can be no doubt that oureeis meant, and, although this is usually considered to be a ‘bright’ sound, it will be found that if, while singing it, and without moving the tongue, the lips be as much closed as foroo, the result, which will be Frenchu, is much more musical. Whatever doubt may remain from this description of the precise shades of sound,there can be none that η, υ, ι had different sounds, as indeed transcripts of Greek into Latin letters and Latin into Greek letters shew that they had, partially at least, down to the 12th centuryA.D., although the confusion was complete in the 15th, as it has since remained. Dionysius does not describe the diphthongs ΑΥ, ΕΥ, or the digraphs ΑΙ, ΕΙ, ΟΙ, ΟΥ,” A. J. E.

5. “This would best suit ourawinawnshortened, that is, very nearly ouroinon. Short ε is not referred to, nor the short sounds of α, ι, υ,” A. J. E.

11. For the pronunciation ofζsee Introduction, p. 44, and cp. Dionysius ThraxArs Gramm.§ 7 (Uhlig p. 14): ἔτι δὲ τῶν συμφώνων διπλᾶ μέν ἐστι τρία· ζ̄, ξ̄, ψ̄. διπλᾶ δὲ εἴρηται, ὅτι ἓν ἕκαστον αὐτῶν ἐκ δύο συμφώνων σύγκειται, τὸ μὲν ζ̄ ἐκ τοῦ σ̄ καὶ δ̄, τὸ δὲ ξ̄ ἐκ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ ἐκ τοῦ π̄ καὶ σ̄.—For the late use ofδιά(with the genitive) of the means or material by or of which a thing is composed cp.15410 and1806; alsoAntiqq. Rom.i. ἐν ὄρεσι τὰ πολλὰ πηξαμένοις διὰ ξύλων καὶ καλάμων σκηνὰς αὐτορόφους.

17.ἥττω ... ἦχον: a true phonetic explanation.

20. Formandnin Greek and Latin (especially at the end of clauses) cp. Quintil. xii. 10. 31 “Quid? quod pleraque nos illa quasi mugiente littera cludimusM, in quam nullum Graece verbum cadit: at illi ny iucundam et in fine praecipue quasi tinnientem illius loco ponunt, quae est apud nos rarissima in clausulis.”

25.οὐρανὸν ... ὀδόντων.Demosthenes’ difficulty in pronouncing this letter (the trilled palato-dentalr) is well known: e.g. Quintil. i. 11. 5 “(rho littera), qua Demosthenes quoque laboravit.”

τὸ δὲ σ̄ τῆς μὲν γλώττης προσαγομένης ἄνω πρὸς τὸν οὐρανὸνὅλης, τοῦ δὲ πνεύματος διὰ μέσων αὐτῶν φερομένου καὶ περὶτοὺς ὀδόντας λεπτὸν καὶ στενὸν ἐξωθοῦντος τὸ σύριγμα. τρίαδὲ τὰ λοιπὰ ἡμίφωνα μικτὸν λαμβάνει τὸν ψόφον ἐξ ἑνὸς μὲντῶν ἡμιφώνων τοῦ σ̄, τριῶν δὲ ἀφώνων τοῦ τε δ̄ καὶ τοῦ κ̄ 5καὶ τοῦ π̄.οὗτοι σχηματισμοὶ γραμμάτων ἡμιφώνων. δύναται δ’οὐχ ὁμοίως κινεῖν τὴν ἀκοὴν ἅπαντα· ἡδύνει μὲν γὰρ αὐτὴντὸ λ̄, καὶ ἔστι τὼν ἡμιφώνων γλυκύτατον· τραχύνει δὲ τὸ ρ̄καὶ ἔστι τῶν ὁμογενῶν γενναιότατον· μέσως δέ πως διατίθησι 10τὰ διὰ τῶν ῥωθώνων συνηχούμενα τό τε μ̄ καὶ τὸ ν̄κερατοειδεῖς ἀποτελοῦντα τοὺς ἤχους. ἄχαρι δὲ καὶ ἀηδὲςτὸ σ̄ καὶ πλεονάσαν σφόδρα λυπεῖ· θηριώδους γὰρ καὶἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ φωνῆς ὁ συριγμός·τῶν γοῦν παλαιῶν τινες σπανίως ἐχρῶντο αὐτῷ καὶ 15[147]near the teeth; and σ by the entire tongue being carried up to the palate and 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 (σ) and three of the voiceless letters (δ, κ and π).Such are the formations of the semi-vowels. They cannot all affect the sense of hearing in the same way. λ falls pleasurably on it, and is the sweetest of the semi-vowels; while ρ has a rough quality, and is the noblest of its class. The ear is affected in a sort of intermediate way by μ and ν, which are pronounced with nasal resonance, and produce sounds similar to those of a horn. σ is an unattractive, disagreeable letter, positively offensive when used to excess. A hiss seems a sound more suited to a brute beast than to a rational being. At all events, some of the ancients used it sparingly and guardedly.

[147]near the teeth; and σ by the entire tongue being carried up to the palate and 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 (σ) and three of the voiceless letters (δ, κ and π).Such are the formations of the semi-vowels. They cannot all affect the sense of hearing in the same way. λ falls pleasurably on it, and is the sweetest of the semi-vowels; while ρ has a rough quality, and is the noblest of its class. The ear is affected in a sort of intermediate way by μ and ν, which are pronounced with nasal resonance, and produce sounds similar to those of a horn. σ is an unattractive, disagreeable letter, positively offensive when used to excess. A hiss seems a sound more suited to a brute beast than to a rational being. At all events, some of the ancients used it sparingly and guardedly.

[147]

near the teeth; and σ by the entire tongue being carried up to the palate and 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 (σ) and three of the voiceless letters (δ, κ and π).

Such are the formations of the semi-vowels. They cannot all affect the sense of hearing in the same way. λ falls pleasurably on it, and is the sweetest of the semi-vowels; while ρ has a rough quality, and is the noblest of its class. The ear is affected in a sort of intermediate way by μ and ν, which are pronounced with nasal resonance, and produce sounds similar to those of a horn. σ is an unattractive, disagreeable letter, positively offensive when used to excess. A hiss seems a sound more suited to a brute beast than to a rational being. At all events, some of the ancients used it sparingly and guardedly.

1 προσαγομένης R: προαγομένης EF: προσἀναγομένης P, Vs: προανοιγομένης M 2 ὅλης REF: ὅλως δὲ M: om. PVs || μέσων αὐτῶν R: μέσον αὐτῶν F: μέσουν αὐτοῦ M: μέσου αὐτοῦ EPVs 5 δ̄ καὶ τοῦ κ̄ REF: κ̄ καὶ τοῦ δ̄ PMVs 13 καὶ πλεονάσαν REF: καὶ εἰ πλεονάσαι PM: καὶ εἰ πλεονάσειε Vs 14 ἀλόγου RPMVs: ἀλάλου EF2. Perhaps the variations in the readings here (cp. also14816) indicate that one or two of the words originally stood in the dual number.—διὰ μέσου αὐτοῦ (EPV) would mean ‘through the middle of the palate.’9. As in Virgil (Aen.viii. 140: cp. v. 217), “at Maiam, auditis si quicquam credimus, Atlas, | idem Atlas generat caeli qui sidera tollit.”—The same view oflis expressed in Demetr.de Eloc.§ 174 πρὸς δὲ τὴν ἀκοὴν (sc. ἡδέα ἐστι) “Καλλίστρατος, Ἀννοῶν.” ἥ τε γὰρ τῶν λάμβδα σύγκρουσις ἠχῶδές τι ἔχει, καὶ ἡ τῶν νῦ γραμμάτων (for the effect of the doublelandncp. such words as ‘bella’ and ‘donna’ in Italian).12. It is well known that the Comic Poets make fun of Euripides’ line ἔσωσά σ’, ὡς ἴσασιν Ἑλλήνων ὅσοι (Med.476: with Porson’s note). Pericles is said to have led the way in substituting ττ for the less pleasing σσ (see Lucian’sIudicium Vocaliumfor the substitution itself). On the other hand, it has been observed (with reference tode Corona§ 208 ἀλλ’ οὐκ ἔστιν, οὐκ ἔστιν ὅπως ἡμάρτετε, ἄνδρες Ἀθηναῖοι, τὸν ὑπὲρ τῆς ἁπάντων ἐλευθερίας καὶ σωτηρίας κίνδυνον ἀράμενοι, μὰ τοὺς Μαραθῶνι προκινδυνεύσαντας τῶν προγόνων καὶ τοὺς ἐν Πλαταιαῖς παραταξαμένους καὶ τοὺς ἐν Σαλαμῖνι ναυμαχήσαντας καὶ τοὺς ἐπ’ Ἀρτεμισίῳ καὶ πολλοὺς ἑτέρους τοὺς ἐν τοῖς δημοσίοις μνήμασι κειμένους, ἀγαθοὺς ἄνδρας, οὓς ἅπαντας ὁμοίως ἡ πόλις τῆς αὐτῆς ἀξιώσασα τιμῆς ἔθαψεν, Αἰσχίνη, οὐχὶ τοὺς κατορθώσαντας αὐτῶν οὐδὲ τοὺς κρατήσαντας μόνους): “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 theAmerican Journal of Philologyxxix. 1 (cp. 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 ὁ φιλοσίγματος 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 truth to support them.” He further remarks, “It is Lasus of Hermione [Athen. 455c], the so-called teacher of Pindar, who won a certain kind of fame by producing asigmatic verses; but it was evidently a species of poetic gymnastics such as was later achieved by the poets of the Ἰλιὰς λειπογράμματος and the Ὀδύσσεια λειπογράμματος, where the trick was to write the first book of each poem without α, the second without β, and so on.” In Sappho’sHymn 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 the lines: it is the continual hissing that, as in English, has to be avoided. (For the pronunciation of σ, σβ, σγ, σμ, σσ seeReport of Classical Association on Greek Pronunciation, p.349infra, and Giles’Comparative Philologyp. 115).—Instances of not unpleasant accumulations of thessound in Latin are to be found in Virg.Aen.v. 46 “annuus exactis completur mensibus orbis”; Virg.Georg.i. 389 “et sola in sicca secum spatiatur harena”; Cic.Topic.i. 1 “maiores nos res scribere ingressos, C. Trebati, et iis 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 asperiores, in commissura verborum rixantur, ut sisultima cumxproxima confligat; quarum tristior etiam, si binae collidantur, stridor est, utars studiorum. quae fuit causa et Servio, ut dixi, subtrahendaeslitterae, quotiens ultima esset aliaque consonante susciperetur; quod reprehendit Luranius, Messala defendit.” An example of the recurrence of thessound in English poetry is:—O the goldensheaf, the nestling treasure-armful!O the nutbrown tresses nodding interlaced!George Meredith,Love in the Valley;or Shakespeare’s“Thispreciousstoneset in thesilversea;”or many of the lines in Marlowe’s ‘smooth song’ “Come live with me, and be my love.” Of its deliberate elimination an instance is furnished by John Thelwall’sEnglish Song without 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 joinWith temper mild and gay goodnature,—Around the willing heart, they twineThe empire of the mind.

2. Perhaps the variations in the readings here (cp. also14816) indicate that one or two of the words originally stood in the dual number.—διὰ μέσου αὐτοῦ (EPV) would mean ‘through the middle of the palate.’

9. As in Virgil (Aen.viii. 140: cp. v. 217), “at Maiam, auditis si quicquam credimus, Atlas, | idem Atlas generat caeli qui sidera tollit.”—The same view oflis expressed in Demetr.de Eloc.§ 174 πρὸς δὲ τὴν ἀκοὴν (sc. ἡδέα ἐστι) “Καλλίστρατος, Ἀννοῶν.” ἥ τε γὰρ τῶν λάμβδα σύγκρουσις ἠχῶδές τι ἔχει, καὶ ἡ τῶν νῦ γραμμάτων (for the effect of the doublelandncp. such words as ‘bella’ and ‘donna’ in Italian).

12. It is well known that the Comic Poets make fun of Euripides’ line ἔσωσά σ’, ὡς ἴσασιν Ἑλλήνων ὅσοι (Med.476: with Porson’s note). Pericles is said to have led the way in substituting ττ for the less pleasing σσ (see Lucian’sIudicium Vocaliumfor the substitution itself). On the other hand, it has been observed (with reference tode Corona§ 208 ἀλλ’ οὐκ ἔστιν, οὐκ ἔστιν ὅπως ἡμάρτετε, ἄνδρες Ἀθηναῖοι, τὸν ὑπὲρ τῆς ἁπάντων ἐλευθερίας καὶ σωτηρίας κίνδυνον ἀράμενοι, μὰ τοὺς Μαραθῶνι προκινδυνεύσαντας τῶν προγόνων καὶ τοὺς ἐν Πλαταιαῖς παραταξαμένους καὶ τοὺς ἐν Σαλαμῖνι ναυμαχήσαντας καὶ τοὺς ἐπ’ Ἀρτεμισίῳ καὶ πολλοὺς ἑτέρους τοὺς ἐν τοῖς δημοσίοις μνήμασι κειμένους, ἀγαθοὺς ἄνδρας, οὓς ἅπαντας ὁμοίως ἡ πόλις τῆς αὐτῆς ἀξιώσασα τιμῆς ἔθαψεν, Αἰσχίνη, οὐχὶ τοὺς κατορθώσαντας αὐτῶν οὐδὲ τοὺς κρατήσαντας μόνους): “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 theAmerican Journal of Philologyxxix. 1 (cp. 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 ὁ φιλοσίγματος 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 truth to support them.” He further remarks, “It is Lasus of Hermione [Athen. 455c], the so-called teacher of Pindar, who won a certain kind of fame by producing asigmatic verses; but it was evidently a species of poetic gymnastics such as was later achieved by the poets of the Ἰλιὰς λειπογράμματος and the Ὀδύσσεια λειπογράμματος, where the trick was to write the first book of each poem without α, the second without β, and so on.” In Sappho’sHymn 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 the lines: it is the continual hissing that, as in English, has to be avoided. (For the pronunciation of σ, σβ, σγ, σμ, σσ seeReport of Classical Association on Greek Pronunciation, p.349infra, and Giles’Comparative Philologyp. 115).—Instances of not unpleasant accumulations of thessound in Latin are to be found in Virg.Aen.v. 46 “annuus exactis completur mensibus orbis”; Virg.Georg.i. 389 “et sola in sicca secum spatiatur harena”; Cic.Topic.i. 1 “maiores nos res scribere ingressos, C. Trebati, et iis 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 asperiores, in commissura verborum rixantur, ut sisultima cumxproxima confligat; quarum tristior etiam, si binae collidantur, stridor est, utars studiorum. quae fuit causa et Servio, ut dixi, subtrahendaeslitterae, quotiens ultima esset aliaque consonante susciperetur; quod reprehendit Luranius, Messala defendit.” An example of the recurrence of thessound in English poetry is:—

O the goldensheaf, the nestling treasure-armful!O the nutbrown tresses nodding interlaced!

George Meredith,Love in the Valley;

or Shakespeare’s

“Thispreciousstoneset in thesilversea;”

or many of the lines in Marlowe’s ‘smooth song’ “Come live with me, and be my love.” Of its deliberate elimination an instance is furnished by John Thelwall’sEnglish Song without 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 joinWith temper mild and gay goodnature,—Around the willing heart, they twineThe empire of the mind.

πεφυλαγμένως, εἰσὶ δ’ οἳ καὶ ἀσίγμους ὅλας ᾠδὰς ἐποίουν·δηλοῖ δὲ τοῦτο καὶ Πίνδαρος ἐν οἷς φησι·πρὶν μὲν εἷρπε σχοινότενειά τ’ ἀοιδὰ διθυράμβωκαὶ τὸ σὰν κίβδηλον ἀνθρώποις.τριῶν δὲ τῶν ἄλλων γραμμάτων ἃ δὴ διπλᾶ καλεῖται τὸ ζ̄ 5μᾶλλον ἡδύνει τὴν ἀκοὴν τῶν ἑτέρων· τὸ μὲν γὰρ ξ̄ διὰ τοῦκ̄ καὶ τὸ ψ̄ διὰ τοῦ π̄ τὸν συριγμὸν ἀποδίδωσι ψιλῶν ὄντωνἀμφοτέρων, τοῦτο δ’ ἡσυχῇ τῷ πνεύματι δασύνεται καὶ ἔστιτῶν ὁμογενῶν γενναιότατον. καὶ περὶ μὲν τῶν ἡμιφώνωντοσαῦτα. 10τῶν δὲ καλουμένων ἀφώνων ἐννέα ὄντων τρία μέν ἐστιψιλά, τρία δὲ δασέα, τρία δὲ μεταξὺ τούτων· ψιλὰ μὲν τὸκ̄ καὶ τὸ π̄ καὶ τὸ τ̄, δασέα δὲ τὸ θ̄ καὶ τὸ φ̄ καὶ τὸ χ̄,κοινὰ δὲ ἀμφοῖν τὸ β̄ καὶ τὸ γ̄ καὶ τὸ δ̄. φωνεῖται δὲαὐτῶν ἕκαστον τρόπον τόνδε· τρία μὲν ἀπὸ τῶν χειλῶν 15ἄκρων, ὅταν τοῦ στόματος πιεσθέντος τὸ προβαλλόμενονἐκ τῆς ἀρτηρίας πνεῦμα λύσῃ τὸν δεσμὸν αὐτοῦ. καὶψιλὸν μέν ἐστιν αὐτῶν τὸ π̄, δασὺ δὲ τὸ φ̄, μέσον δὲ ἀμφοῖντὸ β̄· τοῦ μὲν γὰρ ψιλότερόν ἐστι, τοῦ δὲ δασύτερον. μίαμὲν αὕτη συζυγία τριῶν γραμμάτων ἀφώνων ὁμοίῳ σχήματι 20λεγομένων, ψιλότητι δὲ καὶ δασύτητι διαφερόντων. τρία δὲἄλλα λέγεται τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένηςκατὰ τοὺς μετεώρους ὀδόντας, ἔπειθ’ ὑπὸ τοῦ πνεύματος[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,Andsanthat rang false on the speaker’s tongue.[130]Of the three other letters which are called “double,” ζ falls more pleasurably on the ear than the others. For ξ and ψ give the hiss in combination with κ and π respectively, both of which letters are smooth, whereas ζ 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 κ, π, τ; the rough θ, φ, χ; the intermediate, β, γ, δ. They are severally pronounced as follows: three of them (π, θ, β) from the edge of the lips, when the mouth is compressed and the breath, being driven forward from the windpipe, breaks through the obstruction. Among these π is smooth, φ rough, and β comes between the two, being smoother than the latter and rougher than the former. This is one set of three mutes, all three spoken with a like configuration of our organs, but differing in smoothness and roughness. The next three are pronounced by the tongue being pressed hard against the extremity of the mouth near the upper teeth, then being blown

πεφυλαγμένως, εἰσὶ δ’ οἳ καὶ ἀσίγμους ὅλας ᾠδὰς ἐποίουν·δηλοῖ δὲ τοῦτο καὶ Πίνδαρος ἐν οἷς φησι·

πρὶν μὲν εἷρπε σχοινότενειά τ’ ἀοιδὰ διθυράμβωκαὶ τὸ σὰν κίβδηλον ἀνθρώποις.

τριῶν δὲ τῶν ἄλλων γραμμάτων ἃ δὴ διπλᾶ καλεῖται τὸ ζ̄ 5μᾶλλον ἡδύνει τὴν ἀκοὴν τῶν ἑτέρων· τὸ μὲν γὰρ ξ̄ διὰ τοῦκ̄ καὶ τὸ ψ̄ διὰ τοῦ π̄ τὸν συριγμὸν ἀποδίδωσι ψιλῶν ὄντωνἀμφοτέρων, τοῦτο δ’ ἡσυχῇ τῷ πνεύματι δασύνεται καὶ ἔστιτῶν ὁμογενῶν γενναιότατον. καὶ περὶ μὲν τῶν ἡμιφώνωντοσαῦτα. 10τῶν δὲ καλουμένων ἀφώνων ἐννέα ὄντων τρία μέν ἐστιψιλά, τρία δὲ δασέα, τρία δὲ μεταξὺ τούτων· ψιλὰ μὲν τὸκ̄ καὶ τὸ π̄ καὶ τὸ τ̄, δασέα δὲ τὸ θ̄ καὶ τὸ φ̄ καὶ τὸ χ̄,κοινὰ δὲ ἀμφοῖν τὸ β̄ καὶ τὸ γ̄ καὶ τὸ δ̄. φωνεῖται δὲαὐτῶν ἕκαστον τρόπον τόνδε· τρία μὲν ἀπὸ τῶν χειλῶν 15ἄκρων, ὅταν τοῦ στόματος πιεσθέντος τὸ προβαλλόμενονἐκ τῆς ἀρτηρίας πνεῦμα λύσῃ τὸν δεσμὸν αὐτοῦ. καὶψιλὸν μέν ἐστιν αὐτῶν τὸ π̄, δασὺ δὲ τὸ φ̄, μέσον δὲ ἀμφοῖντὸ β̄· τοῦ μὲν γὰρ ψιλότερόν ἐστι, τοῦ δὲ δασύτερον. μίαμὲν αὕτη συζυγία τριῶν γραμμάτων ἀφώνων ὁμοίῳ σχήματι 20λεγομένων, ψιλότητι δὲ καὶ δασύτητι διαφερόντων. τρία δὲἄλλα λέγεται τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένηςκατὰ τοὺς μετεώρους ὀδόντας, ἔπειθ’ ὑπὸ τοῦ πνεύματος

[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,Andsanthat rang false on the speaker’s tongue.[130]Of the three other letters which are called “double,” ζ falls more pleasurably on the ear than the others. For ξ and ψ give the hiss in combination with κ and π respectively, both of which letters are smooth, whereas ζ 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 κ, π, τ; the rough θ, φ, χ; the intermediate, β, γ, δ. They are severally pronounced as follows: three of them (π, θ, β) from the edge of the lips, when the mouth is compressed and the breath, being driven forward from the windpipe, breaks through the obstruction. Among these π is smooth, φ rough, and β comes between the two, being smoother than the latter and rougher than the former. This is one set of three mutes, all three spoken with a like configuration of our organs, but differing in smoothness and roughness. The next three are pronounced by the tongue being pressed hard against the extremity of the mouth near the upper teeth, then being blown

[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,Andsanthat rang false on the speaker’s tongue.[130]

Of the three other letters which are called “double,” ζ falls more pleasurably on the ear than the others. For ξ and ψ give the hiss in combination with κ and π respectively, both of which letters are smooth, whereas ζ 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 κ, π, τ; the rough θ, φ, χ; the intermediate, β, γ, δ. They are severally pronounced as follows: three of them (π, θ, β) from the edge of the lips, when the mouth is compressed and the breath, being driven forward from the windpipe, breaks through the obstruction. Among these π is smooth, φ rough, and β comes between the two, being smoother than the latter and rougher than the former. This is one set of three mutes, all three spoken with a like configuration of our organs, but differing in smoothness and roughness. The next three are pronounced by the tongue being pressed hard against the extremity of the mouth near the upper teeth, then being blown

1 καὶ REF: om. PMVs || ὅλας [ὠιδὰ]ς cum litura F, E: ὅλας αὐδὰς R: ὠιδὰς ὅλας P, MVs 2 δηλοῖ ... (4) ἀνθρώποις om. R || τοῦτο καὶ EF: τοῦτο PVs 3 ἧρπε F: ἦρχε MV: ἤριπε EPs || σχοινοτενεῖ[ατα] οἶδα cum rasura F: σχοινοτονει [-τενὴς ἀδα M] φωνήεντα P, V: σχοινοτενῆ φωνήεντα Es || διθυράμβου F: διθυράμβων EPMVs: om. Athenaeus 4 κίβδηλον EF Athenaeus: κίβδαλον PMVs || ἀνθρώποις EFM: ἄνθρωποι PVs 7 καὶ τὸ ψ̄ RE: τὸ δὲ ψ̄ FPMVs 11 καλουμένων RPMVs: om. EF 14 ἐκφωνεῖται MVs 16 ἄκρων RFM: ἄκρων τὸ π̄ καὶ τὸ φ̄ καὶ τὸ β̄ EPVs || τό τε P 17 τὸ πνεῦμα P || θεσμὸν R 18 αὐτῶν] αὐτοῦ P 23 μετεώρους REF: μετεωροτέρους PMVs1. Athenaeus quotes the lines of Pindar (ll. 3, 4infra) in x. 455Cand in xi. 467B. The former passage closely illustrates Dionysius’ remarks: Πίνδαρος δὲ πρὸς τὴν ἀσιγμοποιηθεῖσαν ᾠδήν, ὡς ὁ αὐτός φησι Κλέαρχος, οἱονεὶ γρίφου τινὸς ἐν μελοποιίᾳ προβληθέντος, ὡς πολλῶν τούτῳ προσκρουόντων διὰ τὸ ἀδύνατον εἶναι ἀποσχέσθαι τοῦ σίγμα καὶ διὰ τὸ μὴ δοκιμάζειν, ἐποίησε·πρὶν μὲν εἷρπε σχοινοτένειά τ’ ἀοιδὰκαὶ τὸ σὰν κίβδηλον ἀνθρώποις.ταῦτα σημειώσαιτ’ ἄν τις πρὸς τοὺς νοθεύοντας Λάσου τοῦ Ἑρμιονέως τὴν ἄσιγμον ᾠδήν, ἥτις ἐπιγράφεται Κένταυροι, καὶ ὁ εἰς τὴν Δήμητρα δὲ τὴν ἐν Ἑρμιόνῃ ποιηθεὶς τῷ Λάσῳ ὕμνος ἄσιγμός ἐστιν, ὥς φησιν Ἡρακλείδης ὁ Ποντικὸς ἐν τρίτῳ περὶ μουσικῆς, οὗ ἐστιν ἀρχή·Δάματρα μέλπω Κόραν τε Κλυμένοι’ ἄλοχον.In Pindar’s own text the right reading possibly is:—πρὶν μὲν ἕρπε σχοινοτένειά τ’ ἀοιδὰδιθυράμβων καὶ τὸ σὰν κίβδηλον ἀνθρώποισιν ἀπὸ στομάτων.Mr. P. N. Ure suggests that Pindar’s real reference was not to the sound of san but to its form, and that κίβδηλον means either ‘misleading’ with reference 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.3.σχοινοτένεια: unusual feminine of σχοινοτενής, ‘stretched out like a measuring line.’5. “That the σ in σδ meantzappears from what Dionysius presently says, that ζ is ‘quietly roughened by the breath,’ implying that it was voiced,” A. J. E. p. 44. The statement (p. 43ibid.) thatdzwas probably an impossible initial combination to a Greek may be compared withClassical Reviewxix. 441 as well as with more ancient evidence.13. Dionysius’ various statements as to the aspirates are discussed in E. A. Dawes’Pronunciation of the Greek Aspiratespp. 29 ff. (as well as in Blass’sAncient Greek Pronunciation).15. Dionysius does not actually use Greek equivalents for the adjectiveslabial,dental, andguttural; but he clearly knows the physiological facts in which those terms have their origin.18. As illustrating Dionysius’ own love of variety, compareμέσον ἀμφοῖνhere with κοινὰ ἀμφοῖν (l. 14), μεταξὺ τούτων (l. 12), μετρίως καὶ μεταξὺ ἀμφοῖν (1509), μέσον δὲ καὶ ἐπίκοινον (1504).23.κατὰ τοὺς μετεώρους ὀδόντας.“The pronunciation of the Greek and Romantby placing the tongue against the roots of the gums in lieu of the upper teeth is not one of the more serious errors [in the modern pronunciation of Greek and Latin], at least it does not strike our ears as such. But it has always seemed to me that the taunting verses of Ennius,OTitetuteTatitibitantatyrannetulisti,as of Sophocles,τυφλὸςτάτ’ ὦτατόντε νοῦντάτ’ ὄμματ’ εἶ,lose a good deal of their effect if thet’s are muffled behind the gums instead of being hurled out from the rampart of the teeth,” J. P. PostgateHow to pronounce Latinp. 11.

1. Athenaeus quotes the lines of Pindar (ll. 3, 4infra) in x. 455Cand in xi. 467B. The former passage closely illustrates Dionysius’ remarks: Πίνδαρος δὲ πρὸς τὴν ἀσιγμοποιηθεῖσαν ᾠδήν, ὡς ὁ αὐτός φησι Κλέαρχος, οἱονεὶ γρίφου τινὸς ἐν μελοποιίᾳ προβληθέντος, ὡς πολλῶν τούτῳ προσκρουόντων διὰ τὸ ἀδύνατον εἶναι ἀποσχέσθαι τοῦ σίγμα καὶ διὰ τὸ μὴ δοκιμάζειν, ἐποίησε·

πρὶν μὲν εἷρπε σχοινοτένειά τ’ ἀοιδὰκαὶ τὸ σὰν κίβδηλον ἀνθρώποις.

ταῦτα σημειώσαιτ’ ἄν τις πρὸς τοὺς νοθεύοντας Λάσου τοῦ Ἑρμιονέως τὴν ἄσιγμον ᾠδήν, ἥτις ἐπιγράφεται Κένταυροι, καὶ ὁ εἰς τὴν Δήμητρα δὲ τὴν ἐν Ἑρμιόνῃ ποιηθεὶς τῷ Λάσῳ ὕμνος ἄσιγμός ἐστιν, ὥς φησιν Ἡρακλείδης ὁ Ποντικὸς ἐν τρίτῳ περὶ μουσικῆς, οὗ ἐστιν ἀρχή·

Δάματρα μέλπω Κόραν τε Κλυμένοι’ ἄλοχον.

In Pindar’s own text the right reading possibly is:—

πρὶν μὲν ἕρπε σχοινοτένειά τ’ ἀοιδὰδιθυράμβων καὶ τὸ σὰν κίβδηλον ἀνθρώποισιν ἀπὸ στομάτων.

Mr. P. N. Ure suggests that Pindar’s real reference was not to the sound of san but to its form, and that κίβδηλον means either ‘misleading’ with reference 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.

3.σχοινοτένεια: unusual feminine of σχοινοτενής, ‘stretched out like a measuring line.’

5. “That the σ in σδ meantzappears from what Dionysius presently says, that ζ is ‘quietly roughened by the breath,’ implying that it was voiced,” A. J. E. p. 44. The statement (p. 43ibid.) thatdzwas probably an impossible initial combination to a Greek may be compared withClassical Reviewxix. 441 as well as with more ancient evidence.

13. Dionysius’ various statements as to the aspirates are discussed in E. A. Dawes’Pronunciation of the Greek Aspiratespp. 29 ff. (as well as in Blass’sAncient Greek Pronunciation).

15. Dionysius does not actually use Greek equivalents for the adjectiveslabial,dental, andguttural; but he clearly knows the physiological facts in which those terms have their origin.

18. As illustrating Dionysius’ own love of variety, compareμέσον ἀμφοῖνhere with κοινὰ ἀμφοῖν (l. 14), μεταξὺ τούτων (l. 12), μετρίως καὶ μεταξὺ ἀμφοῖν (1509), μέσον δὲ καὶ ἐπίκοινον (1504).

23.κατὰ τοὺς μετεώρους ὀδόντας.“The pronunciation of the Greek and Romantby placing the tongue against the roots of the gums in lieu of the upper teeth is not one of the more serious errors [in the modern pronunciation of Greek and Latin], at least it does not strike our ears as such. But it has always seemed to me that the taunting verses of Ennius,

OTitetuteTatitibitantatyrannetulisti,

as of Sophocles,

τυφλὸςτάτ’ ὦτατόντε νοῦντάτ’ ὄμματ’ εἶ,

lose a good deal of their effect if thet’s are muffled behind the gums instead of being hurled out from the rampart of the teeth,” J. P. PostgateHow to pronounce Latinp. 11.

ἀπορριπιζομένης καὶ τὴν διέξοδον αὐτῷ κάτω περὶ τοὺςὀδόντας ἀποδιδούσης· διαλλάττει δὲ ταῦτα δασύτητι καὶψιλότητι· ψιλὸν μὲν γὰρ αὐτῶν ἐστι τὸ τ̄, δασὺ δὲ τὸ θ̄,μέσον δὲ καὶ ἐπίκοινον τὸ δ̄. αὕτη δευτέρα συζυγία τριῶνγραμμάτων ἀφώνων. τρία δὲ τὰ λοιπὰ τῶν ἀφώνων λέγεται 5μὲν τῆς γλώττης ἀνισταμένης πρὸς τὸν οὐρανὸν ἐγγὺς τοῦφάρυγγος καὶ τῆς ἀρτηρίας ὑπηχούσης τῷ πνεύματι, οὐδὲνοὐδὲ ταῦτα διαφέροντα τῷ σχήματι ἀλλήλων, πλὴν ὅτι τὸμὲν κ̄ ψιλῶς λέγεται, τὸ δὲ χ̄ δασέως, τὸ δὲ γ̄ μετρίως καὶμεταξὺ ἀμφοῖν. τούτων κράτιστα μέν ἐστιν ὅσα τῷ πνεύματι 10πολλῷ λέγεται, δεύτερα δὲ ὅσα μέσῳ, κάκιστα δὲ ὅσα ψιλῷ·ταῦτα μὲν γὰρ τὴν αὑτῶν δύναμιν ἔχει μόνην, τὰ δὲ δασέακαὶ τὴν τοῦ πνεύματος προσθήκην, ὥστ’ ἐγγύς που τελειότεραεἶναι ἐκείνων.XVἐκ δὴ τῶν γραμμάτων τοσούτων τε ὄντων καὶ δυνάμεις 15τοιαύτας ἐχόντων αἱ καλούμεναι γίνονται συλλαβαί. τούτωνδὲ εἰσὶ μακραὶ μὲν ὅσαι συνεστήκασιν ἐκ τῶν φωνηέντωντῶν μακρῶν ἢ τῶν διχρόνων ὅταν μακρῶς ἐκφέρηται, καὶὅσαι λήγουσιν εἰς μακρὸν ἢ μακρῶς λεγόμενον γράμμα ἢ εἴςτι τῶν ἡμιφώνων τε καὶ ἀφώνων· βραχεῖαι δὲ ὅσαι συνεστήκασιν 20ἐκ βραχέος φωνήεντος ἢ βραχέως λαμβανομένου,καὶ ὅσαι λήγουσιν εἰς ταῦτα. μήκους δὲ καὶ βραχύτητος[151]back by the breath, and affording it an outlet downwards round the teeth. These differ in roughness and smoothness, τ being the smoothest of them, θ the roughest, and δ medial or common. 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 κ is pronounced smoothly, χ roughly, γ moderately and between the two. Of these the best are those which are uttered with a full breath; 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.CHAPTER XVSYLLABLES AND THEIR QUALITIESSuch is the number of the letters, and such are their properties. From them are formed the so-calledsyllables. Of these syllables, those are long which contain long vowels or variable vowels when pronounced long, and those which end in a long letter or a letter pronounced long, or in one of the semi-vowels and one of the mutes. Those are short which contain a short vowel or one taken as short, and those which end in such vowels. There is

ἐκ δὴ τῶν γραμμάτων τοσούτων τε ὄντων καὶ δυνάμεις 15τοιαύτας ἐχόντων αἱ καλούμεναι γίνονται συλλαβαί. τούτωνδὲ εἰσὶ μακραὶ μὲν ὅσαι συνεστήκασιν ἐκ τῶν φωνηέντωντῶν μακρῶν ἢ τῶν διχρόνων ὅταν μακρῶς ἐκφέρηται, καὶὅσαι λήγουσιν εἰς μακρὸν ἢ μακρῶς λεγόμενον γράμμα ἢ εἴςτι τῶν ἡμιφώνων τε καὶ ἀφώνων· βραχεῖαι δὲ ὅσαι συνεστήκασιν 20ἐκ βραχέος φωνήεντος ἢ βραχέως λαμβανομένου,καὶ ὅσαι λήγουσιν εἰς ταῦτα. μήκους δὲ καὶ βραχύτητος

[151]back by the breath, and affording it an outlet downwards round the teeth. These differ in roughness and smoothness, τ being the smoothest of them, θ the roughest, and δ medial or common. 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 κ is pronounced smoothly, χ roughly, γ moderately and between the two. Of these the best are those which are uttered with a full breath; 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.CHAPTER XVSYLLABLES AND THEIR QUALITIESSuch is the number of the letters, and such are their properties. From them are formed the so-calledsyllables. Of these syllables, those are long which contain long vowels or variable vowels when pronounced long, and those which end in a long letter or a letter pronounced long, or in one of the semi-vowels and one of the mutes. Those are short which contain a short vowel or one taken as short, and those which end in such vowels. There is

[151]

back by the breath, and affording it an outlet downwards round the teeth. These differ in roughness and smoothness, τ being the smoothest of them, θ the roughest, and δ medial or common. 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 κ is pronounced smoothly, χ roughly, γ moderately and between the two. Of these the best are those which are uttered with a full breath; 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.

Such is the number of the letters, and such are their properties. From them are formed the so-calledsyllables. Of these syllables, those are long which contain long vowels or variable vowels when pronounced long, and those which end in a long letter or a letter pronounced long, or in one of the semi-vowels and one of the mutes. Those are short which contain a short vowel or one taken as short, and those which end in such vowels. There is

1 ἀποῤῥιπιζομένης RF: ἀπορραπιζομένης E: ἀποραπιζομένης P: ὑποραπιζομένης M: ὑπορραπιζομένης Vs || αὐτῶν κάτω E: κάτω RF: αὐτῶν PM: αὐτῷ Vs 2 ἀποδιδούσης RF: ἀποδιδούσης τὸ τ̄ καὶ τὸ θ̄ καὶ τὸ δ̄ PMVs 4 τριῶν RFM: om. PVs 6 πρὸς REF: κατὰ PMVs || τοῦ φάρυγγος REF: τῆς φάρυγγος PMVs 7 πνεύματι RF: πνεύματι τὸ κ̄ καὶ τὸ χ̄ καὶ τὸ γ̄ EPMVs || οὐδὲν οὐδὲ Us.: οὐδὲν δὲ οὐδὲ R: οὐδὲν δὲ οὐ F: οὐδενὶ PMVs 10 ἀμφοῖν. τούτων κράτιστα μέν ἐστιν F [E]: ἀμφοῖν τούτοιν (τούτων b)· κράτιστα μὲν οὖν ἐστιν R: τούτων. κράτιστα μὲν οὖν ἐστιν PMVs 11 δὲ REPMVs: δ’ F || μέσω EPMV,s: μ[έσωι] cum rasura F: μέσα R || κάκιστα REF: κακίω PMVs || ψιλῷ] ψιλῶι P, EMVs: ψιλῶ F: ψιλῶς Ra: ψιλά Rb13 ἐγγύς που R: ἐγγὺς τοῦ libri || τελειότερα REF: τελειότερον P: τελειότατα MVs 14 ἐκείνων P: ἐκεῖνα RFMs, V: om. E 19 ἢ εἴς τι] εἴς τι F: ἤ τι EP: ἤτοι MV 20 τε καὶ EF: ἢ PMV 21 ἢ βραχέος V11. Usener seems to carry his faith in F to excess when, in one and the same line, he prints δ’ ὅσα and δὲ ὅσα. Dionysius can hardly have extended his love for μεταβολή so far as that.20. Batteaux (p. 208), when comparing French with the ancient languages in relations to long and short syllables, has the following interesting remarks: “Il n’est pas question de prouver ici que nous avons des syllabes brèves: nous sommes presque persuadés que toutes nos syllabes le sont, tant nous sommes pressés quand nous parlons. Nous traitons de même les syllabes latines; nous les faisons presque toutes brèves, quand nous lisons: il n’y a guère que le ω et les η grecs que nous allongions en lisant. Selon toute apparence, les Grecs and les Italiens anciens, qui, à en juger par les modernes, n’étaient pas moins vifs que nous, ne devaient guère se donner plus de temps pour peser sur leurs syllabes longues. Aussi n’était-ce pas dans la conversation qu’ils mesuraient leurs syllabes; c’était dans les discours oratoires, et encore plus dans leurs vers; c’était là qu’on pouvait observer les longues et les brèves, et c’est là aussi que nous les devons observer dans notre langue.”

11. Usener seems to carry his faith in F to excess when, in one and the same line, he prints δ’ ὅσα and δὲ ὅσα. Dionysius can hardly have extended his love for μεταβολή so far as that.

20. Batteaux (p. 208), when comparing French with the ancient languages in relations to long and short syllables, has the following interesting remarks: “Il n’est pas question de prouver ici que nous avons des syllabes brèves: nous sommes presque persuadés que toutes nos syllabes le sont, tant nous sommes pressés quand nous parlons. Nous traitons de même les syllabes latines; nous les faisons presque toutes brèves, quand nous lisons: il n’y a guère que le ω et les η grecs que nous allongions en lisant. Selon toute apparence, les Grecs and les Italiens anciens, qui, à en juger par les modernes, n’étaient pas moins vifs que nous, ne devaient guère se donner plus de temps pour peser sur leurs syllabes longues. Aussi n’était-ce pas dans la conversation qu’ils mesuraient leurs syllabes; c’était dans les discours oratoires, et encore plus dans leurs vers; c’était là qu’on pouvait observer les longues et les brèves, et c’est là aussi que nous les devons observer dans notre langue.”

συλλαβῶν οὐ μία φύσις, ἀλλὰ καὶ μακρότεραί τινές εἰσι τῶνμακρῶν καὶ βραχύτεραι τῶν βραχειῶν. ἔσται δὲ τοῦτοφανερὸν ἐπὶ τῶν παραδειγμάτων.ὁμολογεῖται δὴ βραχεῖα εἶναι συλλαβή, ἣν ποιεῖ φωνῆενγράμμα βραχὺ τὸ ο̄, ὡς λέγεταιὁδός. ταύτῃ προστεθήτω 5γράμμα ἓν τῶν ἡμιφώνων τὸ ρ̄ καὶ γενέσθωῬόδος· μένειμὲν ἔτι βραχεῖα ἡ συλλαβή, πλὴν οὐχ ὁμοίως, ἀλλ’ ἕξει τινὰπαραλλαγὴν ἀκαρῆ παρὰ τὴν προτέραν. ἔτι προστεθήτωταύτῃ τῶν ἀφώνων γραμμάτων ἓν τὸ τ̄ καὶ γενέσθωτρόπος·μείζων αὕτη τῶν προτέρων ἔσται συλλαβῶν καὶ ἔτι βραχεῖα 10μένει. τρίτον ἔτι γράμμα τῇ αὐτῇ συλλαβῇ προστεθήτω τὸσ̄ καὶ γενέσθωστρόφος· τρισὶν αὕτη προσθήκαις ἀκουσταῖςμακροτέρα γενήσεται τῆς βραχυτάτης μένουσα ἔτι βραχεῖα.οὐκοῦν τέτταρες αὗται βραχείας συλλαβῆς διαφοραὶ τὴνἄλογον αἴσθησιν ἔχουσαι τῆς παραλλαγῆς μέτρον. ὁ δ’ αὐτὸς 15λόγος καὶ ἐπὶ τῆς μακρᾶς. ἡ γὰρ ἐκ τοῦ η̄ γινομένη συλλαβὴμακρὰ τὴν φύσιν οὖσα τεττάρων γραμμάτων προσθήκαιςπαραυξηθεῖσα τριῶν μὲν προταττομένων, ἑνὸς δὲ ὑποταττομένου,καθ’ ἣν λέγεταισπλήν, μείζων ἂν δήπου λέγοιτο εἶναιτῆς προτέρας ἐκείνης τῆς μονογραμμάτου· μειουμένη γοῦν 20αὖθις καθ’ ἓν ἕκαστον τῶν προστεθέντων γραμμάτων τὰςἐπὶ τοὔλαττον παραλλαγὰς αἰσθητὰς ἂν ἔχοι. αἰτία δὲ τίςἐστι τοῦ μήτε τὰς μακρὰς ἐκβαίνειν τὴν αὑτῶν φύσιν μέχριγραμμάτων πέντε μηκυνομένας μήτε τὰς βραχείας εἰς ἓν ἀπὸπολλῶν γραμμάτων συστελλομένας ἐκπίπτειν τῆς βραχύτητος, 25ἀλλὰ κἀκείνας ἐν διπλασίῳ λόγῳ θεωρεῖσθαι τῶν βραχειῶνκαὶ ταύτας ἐν ἡμίσει τῶν μακρῶν, οὐκ ἀναγκαῖον ἐν τῷπαρόντι σκοπεῖν. ἀρκεῖ γὰρ ὅσον εἰς τὴν παροῦσαν ὑπόθεσινἥρμοττεν εἰρῆσθαι, ὅτι διαλλάττει καὶ βραχεῖα συλλαβὴ[153]more than one kind of length and shortness of syllables: some are longer than the long and some shorter than the short. And this will be made clear by consideration of the examples which I am about to adduce.It will be admitted that a syllable is short which is formed by the short vowel ο, as, for example, in the word ὁδός. To this let the semi-vowel ρ be prefixed and Ῥόδος be formed. The syllable still remains short; but not equally so, for it will show some slight difference when compared with the former. Further, let one of the mutes, τ, be prefixed and τρόπος be formed. This again will be longer than the former syllables; yet it still remains short. Let still a third letter, σ, be prefixed to the same syllable and στρόφος be formed. This will 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 applies to the long syllable. The syllable formed from η, though long by nature, yet when augmented by the addition of four letters, three prefixed and one suffixed, as in the word σπλήν, would surely be said to be ampler than that syllable, in its original form, that consisted of a single letter. At all events, if it were in turn deprived, one by one, of the added letters, it would show perceptible changes in the way of diminution. As to the reason why long syllables do not transcend their natural quality when lengthened to five letters, nor short syllables drop from their shortness when reduced from many letters to one, the former being still regarded as double the shorts, and the latter as half the longs,—this does not at present demand examination. It is sufficient to say what is really germane to the present subject, namely, that one short syllable

[153]more than one kind of length and shortness of syllables: some are longer than the long and some shorter than the short. And this will be made clear by consideration of the examples which I am about to adduce.It will be admitted that a syllable is short which is formed by the short vowel ο, as, for example, in the word ὁδός. To this let the semi-vowel ρ be prefixed and Ῥόδος be formed. The syllable still remains short; but not equally so, for it will show some slight difference when compared with the former. Further, let one of the mutes, τ, be prefixed and τρόπος be formed. This again will be longer than the former syllables; yet it still remains short. Let still a third letter, σ, be prefixed to the same syllable and στρόφος be formed. This will 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 applies to the long syllable. The syllable formed from η, though long by nature, yet when augmented by the addition of four letters, three prefixed and one suffixed, as in the word σπλήν, would surely be said to be ampler than that syllable, in its original form, that consisted of a single letter. At all events, if it were in turn deprived, one by one, of the added letters, it would show perceptible changes in the way of diminution. As to the reason why long syllables do not transcend their natural quality when lengthened to five letters, nor short syllables drop from their shortness when reduced from many letters to one, the former being still regarded as double the shorts, and the latter as half the longs,—this does not at present demand examination. It is sufficient to say what is really germane to the present subject, namely, that one short syllable

[153]

more than one kind of length and shortness of syllables: some are longer than the long and some shorter than the short. And this will be made clear by consideration of the examples which I am about to adduce.

It will be admitted that a syllable is short which is formed by the short vowel ο, as, for example, in the word ὁδός. To this let the semi-vowel ρ be prefixed and Ῥόδος be formed. The syllable still remains short; but not equally so, for it will show some slight difference when compared with the former. Further, let one of the mutes, τ, be prefixed and τρόπος be formed. This again will be longer than the former syllables; yet it still remains short. Let still a third letter, σ, be prefixed to the same syllable and στρόφος be formed. This will 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 applies to the long syllable. The syllable formed from η, though long by nature, yet when augmented by the addition of four letters, three prefixed and one suffixed, as in the word σπλήν, would surely be said to be ampler than that syllable, in its original form, that consisted of a single letter. At all events, if it were in turn deprived, one by one, of the added letters, it would show perceptible changes in the way of diminution. As to the reason why long syllables do not transcend their natural quality when lengthened to five letters, nor short syllables drop from their shortness when reduced from many letters to one, the former being still regarded as double the shorts, and the latter as half the longs,—this does not at present demand examination. It is sufficient to say what is really germane to the present subject, namely, that one short syllable

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