XVII

λέξεως, ἔνθα ὁρίζει, τίνα ὀνόματα φύσει καλά· παραδείγματοςἕνεκα, ὧν συντιθεμένων καλὴν οἴεται καὶ μεγαλοπρεπῆ γενήσεσθαιτὴν φράσιν, καὶ αὖθις ἕτερα μικρὰ καὶ ταπεινά, ἐξ ὧνοὔτε ποίημα χρηστὸν ἔσεσθαί φησιν οὔτε λόγον. καὶ μὰΔία οὐκ ἀπὸ σκοποῦ ταῦτα εἴρηται τῷ ἀνδρί. εἰ μὲν οὖν 5ἐγχωροίη πάντ’ εἶναι τὰ μόρια τῆς λέξεως ὑφ’ ὧν μέλλειδηλοῦσθαι τὸ πρᾶγμα εὔφωνά τε καὶ καλλιρήμονα, μανίαςἔργον ζητεῖν τὰ χείρω· εἰ δὲ ἀδύνατον εἴη τοῦτο, ὥσπερ ἐπὶπολλῶν ἔχει, τῇ πλοκῇ καὶ μίξει καὶ παραθέσει πειρατέονἀφανίζειν τὴν τῶν χειρόνων φύσιν, ὅπερ Ὅμηρος εἴωθεν ἐπὶ 10πολλῶν ποιεῖν. εἰ γάρ τις ἔροιτο ὅντιν’ οὖν ἢ ποιητῶν ἢῥητόρων, τίνα σεμνότητα ἢ καλλιλογίαν ταῦτ’ ἔχει τὰ ὀνόματαἃ ταῖς Βοιωτίαις κεῖται πόλεσιν Ὑρία καὶ Μυκαλησσὸς καὶΓραῖα καὶ Ἐτεωνὸς καὶ Σκῶλος καὶ Θίσβη καὶ Ὀγχηστὸςκαὶ Εὔτρησις καὶ τἆλλ’ ἐφεξῆς ὧν ὁ ποιητὴς μέμνηται, οὐδεὶς 15ἂν εἰπεῖν οὐδ’ ἥντιν’ οὖν ἔχοι· ἀλλ’ οὕτως αὐτὰ καλῶςἐκεῖνος συνύφαγκεν καὶ παραπληρώμασιν εὐφώνοις διείληφενὥστε μεγαλοπρεπέστατα φαίνεσθαι πάντων ὀνόματα·Βοιωτῶν μὲν Πηνέλεως καὶ Λήϊτος ἦρχονἈρκεσίλαός τε Προθοήνωρ τε Κλονίος τε, 20οἵ θ’ Ὑρίην ἐνέμοντο καὶ Αὐλίδα πετρήεσσανΣχοῖνόν τε Σκῶλόν τε πολύκνημόν τ’ Ἐτεωνόν,Θέσπειαν Γραῖάν τε καὶ εὐρύχορον Μυκαλησσόν,οἵ τ’ ἀμφ’ Ἅρμ’ ἐνέμοντο καὶ Εἰλέσιον καὶ Ἐρυθράς,οἵ τ’ Ἐλεῶν’ εἶχον ἠδ’ Ὕλην καὶ Πετεῶνα, 25Ὠκαλέην Μεδεῶνά τ’ ἐυκτίμενον πτολίεθρον.ἐν εἰδόσι λέγων οὐκ οἴομαι πλειόνων δεῖν παραδειγμάτων.[167]distinguishes two classes of words—those which are naturally beautiful (whose collocation, for example, in composition will, he thinks, make the phrasing beautiful and grand), and those, again, which are paltry and ignoble, of which he says neither good poetry can be constructed nor good prose. And, really and truly, our author is not far from the mark in saying this. If, then, it were possible that all the parts of speech by which a given subject is to be expressed should be euphonious and elegant, it would be madness to seek out the inferior ones. But if this be out of the question, as in many cases it is, then we must endeavour to mask the natural defects of the inferior letters by interweaving and mingling and juxtaposition, and this is just what Homer is accustomed to do in many passages. For instance, if any poet or rhetorician whatsoever were to be asked what grandeur or elegance there is in the names which have been given to the Boeotian towns,—Hyria, Mycalessus, Graia, Eteonus, Scolus, Thisbe, Onchestus, Eutresis, and the rest of the series which the poet enumerates,—no one would be able to point to any trace of such qualities. But Homer has interwoven and interspersed them with pleasant-sounding supplementary words into so beautiful a texture that they appear the most magnificent of all names:—Lords of Boeotia’s host came Leitus, Peneleos,Prothoenor and Arcesilaus and Clonius for battle uprose,With the folk that in Hyrie dwelt, and by Aulis’s crag-fringed steep,And in Schoinus and Scolus, and midst Eteonus’ hill-clefts deep,In Thespeia and Graia, and green Mycalessus the land broad-meadowed,And in Harma and Eilesius, and Erythrae the mountain-shadowed,And they that in Eleon abode, and in Hyle and Peteon withal,And in Ocalee and in Medeon, burg of the stately wall.[148]As I am addressing men who know their Homer, I do not

Βοιωτῶν μὲν Πηνέλεως καὶ Λήϊτος ἦρχονἈρκεσίλαός τε Προθοήνωρ τε Κλονίος τε, 20οἵ θ’ Ὑρίην ἐνέμοντο καὶ Αὐλίδα πετρήεσσανΣχοῖνόν τε Σκῶλόν τε πολύκνημόν τ’ Ἐτεωνόν,Θέσπειαν Γραῖάν τε καὶ εὐρύχορον Μυκαλησσόν,οἵ τ’ ἀμφ’ Ἅρμ’ ἐνέμοντο καὶ Εἰλέσιον καὶ Ἐρυθράς,οἵ τ’ Ἐλεῶν’ εἶχον ἠδ’ Ὕλην καὶ Πετεῶνα, 25Ὠκαλέην Μεδεῶνά τ’ ἐυκτίμενον πτολίεθρον.

ἐν εἰδόσι λέγων οὐκ οἴομαι πλειόνων δεῖν παραδειγμάτων.

[167]distinguishes two classes of words—those which are naturally beautiful (whose collocation, for example, in composition will, he thinks, make the phrasing beautiful and grand), and those, again, which are paltry and ignoble, of which he says neither good poetry can be constructed nor good prose. And, really and truly, our author is not far from the mark in saying this. If, then, it were possible that all the parts of speech by which a given subject is to be expressed should be euphonious and elegant, it would be madness to seek out the inferior ones. But if this be out of the question, as in many cases it is, then we must endeavour to mask the natural defects of the inferior letters by interweaving and mingling and juxtaposition, and this is just what Homer is accustomed to do in many passages. For instance, if any poet or rhetorician whatsoever were to be asked what grandeur or elegance there is in the names which have been given to the Boeotian towns,—Hyria, Mycalessus, Graia, Eteonus, Scolus, Thisbe, Onchestus, Eutresis, and the rest of the series which the poet enumerates,—no one would be able to point to any trace of such qualities. But Homer has interwoven and interspersed them with pleasant-sounding supplementary words into so beautiful a texture that they appear the most magnificent of all names:—Lords of Boeotia’s host came Leitus, Peneleos,Prothoenor and Arcesilaus and Clonius for battle uprose,With the folk that in Hyrie dwelt, and by Aulis’s crag-fringed steep,And in Schoinus and Scolus, and midst Eteonus’ hill-clefts deep,In Thespeia and Graia, and green Mycalessus the land broad-meadowed,And in Harma and Eilesius, and Erythrae the mountain-shadowed,And they that in Eleon abode, and in Hyle and Peteon withal,And in Ocalee and in Medeon, burg of the stately wall.[148]As I am addressing men who know their Homer, I do not

[167]

distinguishes two classes of words—those which are naturally beautiful (whose collocation, for example, in composition will, he thinks, make the phrasing beautiful and grand), and those, again, which are paltry and ignoble, of which he says neither good poetry can be constructed nor good prose. And, really and truly, our author is not far from the mark in saying this. If, then, it were possible that all the parts of speech by which a given subject is to be expressed should be euphonious and elegant, it would be madness to seek out the inferior ones. But if this be out of the question, as in many cases it is, then we must endeavour to mask the natural defects of the inferior letters by interweaving and mingling and juxtaposition, and this is just what Homer is accustomed to do in many passages. For instance, if any poet or rhetorician whatsoever were to be asked what grandeur or elegance there is in the names which have been given to the Boeotian towns,—Hyria, Mycalessus, Graia, Eteonus, Scolus, Thisbe, Onchestus, Eutresis, and the rest of the series which the poet enumerates,—no one would be able to point to any trace of such qualities. But Homer has interwoven and interspersed them with pleasant-sounding supplementary words into so beautiful a texture that they appear the most magnificent of all names:—

Lords of Boeotia’s host came Leitus, Peneleos,Prothoenor and Arcesilaus and Clonius for battle uprose,With the folk that in Hyrie dwelt, and by Aulis’s crag-fringed steep,And in Schoinus and Scolus, and midst Eteonus’ hill-clefts deep,In Thespeia and Graia, and green Mycalessus the land broad-meadowed,And in Harma and Eilesius, and Erythrae the mountain-shadowed,And they that in Eleon abode, and in Hyle and Peteon withal,And in Ocalee and in Medeon, burg of the stately wall.[148]

As I am addressing men who know their Homer, I do not

1 ἔνθα] καθ’ ὃ F 2 γενήσεσθαι] γίνεσθαι F 3 αὖθις om. F 4 χρηστὸν ἔσεσθαι] χρήσιμον F 5 ἄπο FPMV || εἴρηται τῷ ἀνδρὶ F: τῷ ἀνδρὶ εἴρηται PMV 7 καλλιρρήμονα s 11 ἢ ποιητῶν P: ποιητῶν FM 13 βοιωτίαις PV: βοιωτικαῖς F: βοιωτίας M 15 τᾶλλ’ ἐφεξῆς F: τἄλλα ἑξῆς PM, V 17 συνὕφαγκεν F, EP: συνύφαγγε M: συνύφανεν V 18 μεγαλοπρεπέστερα E || πάντων] τούτων V || ὀνόματα PMV: ὀνομάτων EF 25 ἥδ’ F: οἵδ’ M: ἰδ’ V1.παραδείγματος ἕνεκαlooks like an adscript (possibly on ὁρίζει: to indicate that there were many other topics in Theophrastus’ book), which has found its way into the text.4. For the distinction between poetry and prose cp. Aristot.Rhet.iii. 3 (1406 a) ἐν μὲν γὰρ ποιήσει πρέπει γάλα λευκὸν εἰπεῖν, ἐν δὲ λόγῳ τὰ μὲν ἀπρεπέστερα, τὰ δέ, ἂν ᾖ κατακορῆ, ἐξελέγχει καὶ ποιεῖ φανερὸν ὅτι ποίησίς ἐστιν, ἐπεὶ δεῖ γε χρῆσθαι αὐτοῖς, and iii. 4 (1406 b) χρήσιμον δὲ ἡ εἰκὼν καὶ ἐν λόγῳ, ὀλιγάκις δέ· ποιητικὸν γάρ.5.οὐκ ἀπὸ σκοποῦ= ‘haud ab re.’The minute variations in word-order between F and P are not usually given in the critical footnotes. But the fact that P places (here and in16417) the verb at the end of the sentence is noteworthy.18. Cp. Virg.Georg.iv. 334-44;Aen.vii. 710-21; MiltonPar. Losti. 351-5. 396-414, 464-9, 576-87 (especially 583-7); and see Matthew Arnold (On translating Homer: Last Wordsp. 29) as to Hom.Il.xvii. 216 ff.26. Dionysius (here as elsewhere) doubtless intended his remarks to apply to the lines that follow his quotation, as well as to those actually quoted.27.ἐν εἰδόσι: this expressive phrase is as old as Homer himself (Il.x. 250 εἰδόσι γάρ τοι ταῦτα μετ’ Ἀργείοις ἀγορεύεις). It occurs also in Thucyd. (ii. 36. 4 μακρηγορεῖν ἐν εἰδόσιν οὐ βουλόμενος ἐάσω).

1.παραδείγματος ἕνεκαlooks like an adscript (possibly on ὁρίζει: to indicate that there were many other topics in Theophrastus’ book), which has found its way into the text.

4. For the distinction between poetry and prose cp. Aristot.Rhet.iii. 3 (1406 a) ἐν μὲν γὰρ ποιήσει πρέπει γάλα λευκὸν εἰπεῖν, ἐν δὲ λόγῳ τὰ μὲν ἀπρεπέστερα, τὰ δέ, ἂν ᾖ κατακορῆ, ἐξελέγχει καὶ ποιεῖ φανερὸν ὅτι ποίησίς ἐστιν, ἐπεὶ δεῖ γε χρῆσθαι αὐτοῖς, and iii. 4 (1406 b) χρήσιμον δὲ ἡ εἰκὼν καὶ ἐν λόγῳ, ὀλιγάκις δέ· ποιητικὸν γάρ.

5.οὐκ ἀπὸ σκοποῦ= ‘haud ab re.’

The minute variations in word-order between F and P are not usually given in the critical footnotes. But the fact that P places (here and in16417) the verb at the end of the sentence is noteworthy.

18. Cp. Virg.Georg.iv. 334-44;Aen.vii. 710-21; MiltonPar. Losti. 351-5. 396-414, 464-9, 576-87 (especially 583-7); and see Matthew Arnold (On translating Homer: Last Wordsp. 29) as to Hom.Il.xvii. 216 ff.

26. Dionysius (here as elsewhere) doubtless intended his remarks to apply to the lines that follow his quotation, as well as to those actually quoted.

27.ἐν εἰδόσι: this expressive phrase is as old as Homer himself (Il.x. 250 εἰδόσι γάρ τοι ταῦτα μετ’ Ἀργείοις ἀγορεύεις). It occurs also in Thucyd. (ii. 36. 4 μακρηγορεῖν ἐν εἰδόσιν οὐ βουλόμενος ἐάσω).

ἅπας γάρ ἐστιν ὁ κατάλογος αὐτῷ τοιοῦτος καὶ πολλὰ ἄλλα, ἐν οἷς ἀναγκασθεὶς ὀνόματα λαμβάνειν οὐ καλὰ τὴν φύσιν ἑτέροις αὐτὰ κοσμεῖ καλοῖς καὶ λύει τὴν ἐκείνων δυσχέρειαν τῇ τούτων εὐμορφίᾳ. καὶ περὶ μὲν τούτων ἅλις.XVIIἐπεὶ δὲ καὶ τοὺς ῥυθμοὺς ἔφην οὐ μικρὰν μοῖραν ἔχειν 5τῆς ἀξιωματικῆς καὶ μεγαλοπρεποῦς συνθέσεως, ἵνα μηδεὶςεἰκῇ με δόξῃ λέγειν ῥυθμοὺς καὶ μέτρα μουσικῆς οἰκεῖα θεωρίαςεἰς οὐ ῥυθμικὴν οὐδ’ ἔμμετρον εἰσάγοντα διάλεκτον, ἀποδώσωκαὶ τὸν ὑπὲρ τούτων λόγον. ἔχει δ’ οὕτως·πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως, ὅ τι μὴ 10μονοσύλλαβόν ἐστιν, ἐν ῥυθμῷ τινι λέγεται· τὸ δ’ αὐτὸ καλῶπόδα καὶ ῥυθμόν. δισυλλάβου μὲν οὖν λέξεως διαφοραὶ τρεῖς.ἢ γὰρ ἐξ ἀμφοτέρων ἔσται βραχειῶν ἢ ἐξ ἀμφοτέρων μακρῶνἢ τῆς μὲν βραχείας, τῆς δὲ μακρᾶς. τοῦ δὲ τρίτου τούτουῥυθμοῦ διττὸς ὁ τρόπος· ὁ μέν τις ἀπὸ βραχείας ἀρχόμενος 15καὶ λήγων εἰς μακράν, ὁ δ’ ἀπὸ μακρᾶς καὶ λήγων εἰς βραχεῖαν.ὁ μὲν οὖν βραχυσύλλαβος ἡγεμών τε καὶ πυρρίχιοςκαλεῖται, καὶ οὔτε μεγαλοπρεπής ἐστιν οὔτε σεμνός· σχῆμαδ’ αὐτοῦ τοιόνδελέγε δὲ σὺ κατὰ πόδα νεόχυτα μέλεα. 20[169]think there is need to multiply examples. All his Catalogue of the towns is on the same high level, and so are many other passages in which, being compelled to take words not naturally beautiful, he places them in a setting of beautiful ones, and neutralizes their offensiveness by the shapeliness of the others. On this branch of my subject I have now said enough.CHAPTER XVIION RHYTHMS, OR FEETI have mentioned that rhythm contributes in no small degree to dignified and impressive composition; and I will treat of this point also. Let no one suppose that rhythm and metre belong to the science of song only; that ordinary speech is neither rhythmical nor metrical; and that I am going astray in introducing those subjects here.In point of fact, every noun, verb, or other part of speech, which does not consist of a single syllable only, is uttered in some sort of rhythm. (I am here using “rhythm” and “foot” as convertible terms.) A disyllabic word may take three different forms. It may have both syllables short, or both long, or one short and the other long. Of this third rhythm there are two forms: one beginning in a short and ending in a long, the other beginning in a long and ending in a short. The one which consists of two shorts is calledhegemonorpyrrhich, and is neither impressive nor solemn. Its character is as follows:—Pick up the limbs at thy feet newly-scattered.[149]

ἐπεὶ δὲ καὶ τοὺς ῥυθμοὺς ἔφην οὐ μικρὰν μοῖραν ἔχειν 5τῆς ἀξιωματικῆς καὶ μεγαλοπρεποῦς συνθέσεως, ἵνα μηδεὶςεἰκῇ με δόξῃ λέγειν ῥυθμοὺς καὶ μέτρα μουσικῆς οἰκεῖα θεωρίαςεἰς οὐ ῥυθμικὴν οὐδ’ ἔμμετρον εἰσάγοντα διάλεκτον, ἀποδώσωκαὶ τὸν ὑπὲρ τούτων λόγον. ἔχει δ’ οὕτως·πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως, ὅ τι μὴ 10μονοσύλλαβόν ἐστιν, ἐν ῥυθμῷ τινι λέγεται· τὸ δ’ αὐτὸ καλῶπόδα καὶ ῥυθμόν. δισυλλάβου μὲν οὖν λέξεως διαφοραὶ τρεῖς.ἢ γὰρ ἐξ ἀμφοτέρων ἔσται βραχειῶν ἢ ἐξ ἀμφοτέρων μακρῶνἢ τῆς μὲν βραχείας, τῆς δὲ μακρᾶς. τοῦ δὲ τρίτου τούτουῥυθμοῦ διττὸς ὁ τρόπος· ὁ μέν τις ἀπὸ βραχείας ἀρχόμενος 15καὶ λήγων εἰς μακράν, ὁ δ’ ἀπὸ μακρᾶς καὶ λήγων εἰς βραχεῖαν.ὁ μὲν οὖν βραχυσύλλαβος ἡγεμών τε καὶ πυρρίχιοςκαλεῖται, καὶ οὔτε μεγαλοπρεπής ἐστιν οὔτε σεμνός· σχῆμαδ’ αὐτοῦ τοιόνδε

λέγε δὲ σὺ κατὰ πόδα νεόχυτα μέλεα. 20

[169]think there is need to multiply examples. All his Catalogue of the towns is on the same high level, and so are many other passages in which, being compelled to take words not naturally beautiful, he places them in a setting of beautiful ones, and neutralizes their offensiveness by the shapeliness of the others. On this branch of my subject I have now said enough.CHAPTER XVIION RHYTHMS, OR FEETI have mentioned that rhythm contributes in no small degree to dignified and impressive composition; and I will treat of this point also. Let no one suppose that rhythm and metre belong to the science of song only; that ordinary speech is neither rhythmical nor metrical; and that I am going astray in introducing those subjects here.In point of fact, every noun, verb, or other part of speech, which does not consist of a single syllable only, is uttered in some sort of rhythm. (I am here using “rhythm” and “foot” as convertible terms.) A disyllabic word may take three different forms. It may have both syllables short, or both long, or one short and the other long. Of this third rhythm there are two forms: one beginning in a short and ending in a long, the other beginning in a long and ending in a short. The one which consists of two shorts is calledhegemonorpyrrhich, and is neither impressive nor solemn. Its character is as follows:—Pick up the limbs at thy feet newly-scattered.[149]

[169]

think there is need to multiply examples. All his Catalogue of the towns is on the same high level, and so are many other passages in which, being compelled to take words not naturally beautiful, he places them in a setting of beautiful ones, and neutralizes their offensiveness by the shapeliness of the others. On this branch of my subject I have now said enough.

I have mentioned that rhythm contributes in no small degree to dignified and impressive composition; and I will treat of this point also. Let no one suppose that rhythm and metre belong to the science of song only; that ordinary speech is neither rhythmical nor metrical; and that I am going astray in introducing those subjects here.

In point of fact, every noun, verb, or other part of speech, which does not consist of a single syllable only, is uttered in some sort of rhythm. (I am here using “rhythm” and “foot” as convertible terms.) A disyllabic word may take three different forms. It may have both syllables short, or both long, or one short and the other long. Of this third rhythm there are two forms: one beginning in a short and ending in a long, the other beginning in a long and ending in a short. The one which consists of two shorts is calledhegemonorpyrrhich, and is neither impressive nor solemn. Its character is as follows:—

Pick up the limbs at thy feet newly-scattered.[149]

1 αὐτῷ Toupius: αὐτῶν libri 6 μηδεὶς EF: μή κέ (καὶ M2) τις PM: μή μέ τις V 7 με om. PMV 10 καὶ ῥῆμα om. P 12 τέσσαρες E 13 βραχέων FM 20 νεόχυτα EF: νεόλυτα PMV1. Usener’sαὐτῷ(“all his Catalogue is on the same high level”) is perhaps preferable to the manuscript reading αὐτῶν, which, however, may be taken to refer to πόλεσιν (16613). Usener’s suggestion has, it should be pointed out, been anticipated by Toup (ad Longin. p. 296).5. In this chapter Dionysius seems to have specially in view Aristotle’sRhetoriciii. 8 (cp. note on25525infra) and the Ῥυθμικὰ στοιχεῖα of Aristoxenus. But his general standpoint probably comes nearer to that of Aristophanes of Byzantium and Dionysius Thrax: he is, that is to say, primarily a metrist and a grammarian, and at times looks upon the rhythmists and musicians with some distrust.11, 12. Dionysius agrees here with Aristoxenus, Ῥυθμικὰ στοιχεῖα ii. 16 ᾧ δὲ σημαινόμεθα τὸν ῥυθμὸν καὶ γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς ἐστιν εἷς ἢ πλείους ἑνός: and § 18ibid.ὅτι μὲν οὖν ἐξ ἑνὸς χρόνου ποὺς οὐκ ἂν εἴη φανερόν, κτλ.17. See Introduction (p.6supra) for a classified list of the metrical feet mentioned in this chapter. Voss says as to the πυρρίχιος, “nullum ex eo alicuius momenti constitui potest carmen, cum numero et pondere paene careat. aptus dumtaxat ad celeres motus exprimendos, cuius modi erant armati saltus Corybantum apud Graecos, et Saliorum apud Romanos”; see also Hermog. II. ἰδ. i. (Walz iii. p. 293, lines 1-11). Some sensible remarks on the whole question are made by Quintil. ix. 4. 87: “miror autem in hac opinione doctissimos homines fuisse, ut alios pedes ita eligerent aliosque damnarent, quasi ullus esset, quem non sit necesse in oratione deprehendi. licet igitur paeona sequatur Ephorus, inventum a Thrasymacho, probatum ab Aristotele, dactylumque, ut temperatos brevibus ac longis; fugiat molossum et trochaeum, alterius tarditate alterius celeritate damnata; herous, qui est idem dactylus, Aristoteli amplior, iambus humanior videatur; trochaeum ut nimis currentem damnet eique cordacis nomen imponat; eademque dicant Theodectes ac Theophrastus, similia post eos Halicarnasseus Dionysius: irrumpent etiam ad invitos, nec semper illis heroo aut paeone suo, quem, quia versum raro facit, maxime laudant, uti licebit. ut sint tamen aliis alii crebriores, non verba facient, quae neque augeri nec minui nec sicuti modulatione produci aut corripi possint, sed transmutatio et collocatio.”20.λέγε δὲ σύκτλ.: source unknown; perhaps the reference is to the tearing of Pentheus limb from limb.—A similar line in Latin would be: “id agite peragite celeriter,” Marius VictorinusArs Gramm.iii. 1.

1 αὐτῷ Toupius: αὐτῶν libri 6 μηδεὶς EF: μή κέ (καὶ M2) τις PM: μή μέ τις V 7 με om. PMV 10 καὶ ῥῆμα om. P 12 τέσσαρες E 13 βραχέων FM 20 νεόχυτα EF: νεόλυτα PMV

1. Usener’sαὐτῷ(“all his Catalogue is on the same high level”) is perhaps preferable to the manuscript reading αὐτῶν, which, however, may be taken to refer to πόλεσιν (16613). Usener’s suggestion has, it should be pointed out, been anticipated by Toup (ad Longin. p. 296).

5. In this chapter Dionysius seems to have specially in view Aristotle’sRhetoriciii. 8 (cp. note on25525infra) and the Ῥυθμικὰ στοιχεῖα of Aristoxenus. But his general standpoint probably comes nearer to that of Aristophanes of Byzantium and Dionysius Thrax: he is, that is to say, primarily a metrist and a grammarian, and at times looks upon the rhythmists and musicians with some distrust.

11, 12. Dionysius agrees here with Aristoxenus, Ῥυθμικὰ στοιχεῖα ii. 16 ᾧ δὲ σημαινόμεθα τὸν ῥυθμὸν καὶ γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς ἐστιν εἷς ἢ πλείους ἑνός: and § 18ibid.ὅτι μὲν οὖν ἐξ ἑνὸς χρόνου ποὺς οὐκ ἂν εἴη φανερόν, κτλ.

17. See Introduction (p.6supra) for a classified list of the metrical feet mentioned in this chapter. Voss says as to the πυρρίχιος, “nullum ex eo alicuius momenti constitui potest carmen, cum numero et pondere paene careat. aptus dumtaxat ad celeres motus exprimendos, cuius modi erant armati saltus Corybantum apud Graecos, et Saliorum apud Romanos”; see also Hermog. II. ἰδ. i. (Walz iii. p. 293, lines 1-11). Some sensible remarks on the whole question are made by Quintil. ix. 4. 87: “miror autem in hac opinione doctissimos homines fuisse, ut alios pedes ita eligerent aliosque damnarent, quasi ullus esset, quem non sit necesse in oratione deprehendi. licet igitur paeona sequatur Ephorus, inventum a Thrasymacho, probatum ab Aristotele, dactylumque, ut temperatos brevibus ac longis; fugiat molossum et trochaeum, alterius tarditate alterius celeritate damnata; herous, qui est idem dactylus, Aristoteli amplior, iambus humanior videatur; trochaeum ut nimis currentem damnet eique cordacis nomen imponat; eademque dicant Theodectes ac Theophrastus, similia post eos Halicarnasseus Dionysius: irrumpent etiam ad invitos, nec semper illis heroo aut paeone suo, quem, quia versum raro facit, maxime laudant, uti licebit. ut sint tamen aliis alii crebriores, non verba facient, quae neque augeri nec minui nec sicuti modulatione produci aut corripi possint, sed transmutatio et collocatio.”

20.λέγε δὲ σύκτλ.: source unknown; perhaps the reference is to the tearing of Pentheus limb from limb.—A similar line in Latin would be: “id agite peragite celeriter,” Marius VictorinusArs Gramm.iii. 1.

ὁ δ’ ἀμφοτέρας τὰς συλλαβὰς μακρὰς ἔχων κέκληται μὲνσπονδεῖος, ἀξίωμα δ’ ἔχει μέγα καὶ σεμνότητα πολλήν·παράδειγμα δ’ αὐτοῦ τόδεποίαν δῆθ’ ὁρμάσω, ταύτανἢ κείναν, κείναν ἢ ταύταν; 5ὁ δ’ ἐκ βραχείας τε καὶ μακρᾶς συγκείμενος ἐὰν μὲν τὴνἡγουμένην λάβῃ βραχεῖαν, ἴαμβος καλεῖται, καὶ ἔστιν οὐκἀγεννής· ἐὰν δ’ ἀπὸ τῆς μακρᾶς ἄρχηται, τροχαῖος, καὶ ἔστιμαλακώτερος θατέρου καὶ ἀγεννέστερος· παράδειγμα δὲ τοῦμὲν προτέρου τοιόνδε 10ἐπεὶ σχολὴ πάρεστι, παῖ Μενοιτίου.τοῦ δ’ ἑτέρουθυμέ, θύμ’ ἀμηχάνοισι κήδεσιν κυκώμενε.δισυλλάβων μὲν δὴ μορίων λέξεως διαφοραί τε καὶ ῥυθμοὶκαὶ σχήματα τοσαῦτα· τρισυλλάβων δ’ ἕτερα πλείω τῶν 15εἰρημένων καὶ ποικιλωτέραν ἔχοντα θεωρίαν. ὁ μὲν γὰρ ἐξἁπασῶν βραχείων συνεστώς, καλούμενος δὲ ὑπό τινων χορεῖος[τρίβραχυς πούς], οὗ παράδειγμα τοιόνδεΒρόμιε, δορατοφόρ’, ἐνυάλιε, πολεμοκέλαδε,ταπεινός τε καὶ ἄσεμνός ἐστι καὶ ἀγεννής, καὶ οὐδὲν ἂν ἐξ 20[171]That which has both its syllables long is called aspondee, and possesses great dignity and much stateliness. Here is an example of it:—Ah, which way must I haste?—had I best fleeBy this path? or by that path shall it be?[150]That which is composed of a short and a long is callediambusif it has the first syllable short; it is not ignoble. If it begins with the long syllable, it is called atrochee, and is less manly than the other and more ignoble. The following is an example of the former:—My leisure serves me now, Menoetius’ son.[151]Of the other:—Heart of mine, O heart in turmoil with a throng of crushing cares![152]These are all the varieties, rhythms, and forms of disyllabic words. Those of the trisyllabic are distinct; they are more numerous than those mentioned, and the study of them is more complicated. First comes that which consists entirely of short syllables, and is called by somechoree(ortribrach), of which the following is an example:—Bromius, wielder of spears,Lord of war and the onset-cheers.[153]This foot is mean and wanting in dignity and nobility, and

ὁ δ’ ἀμφοτέρας τὰς συλλαβὰς μακρὰς ἔχων κέκληται μὲνσπονδεῖος, ἀξίωμα δ’ ἔχει μέγα καὶ σεμνότητα πολλήν·παράδειγμα δ’ αὐτοῦ τόδε

ποίαν δῆθ’ ὁρμάσω, ταύτανἢ κείναν, κείναν ἢ ταύταν; 5

ὁ δ’ ἐκ βραχείας τε καὶ μακρᾶς συγκείμενος ἐὰν μὲν τὴνἡγουμένην λάβῃ βραχεῖαν, ἴαμβος καλεῖται, καὶ ἔστιν οὐκἀγεννής· ἐὰν δ’ ἀπὸ τῆς μακρᾶς ἄρχηται, τροχαῖος, καὶ ἔστιμαλακώτερος θατέρου καὶ ἀγεννέστερος· παράδειγμα δὲ τοῦμὲν προτέρου τοιόνδε 10

ἐπεὶ σχολὴ πάρεστι, παῖ Μενοιτίου.

τοῦ δ’ ἑτέρου

θυμέ, θύμ’ ἀμηχάνοισι κήδεσιν κυκώμενε.

δισυλλάβων μὲν δὴ μορίων λέξεως διαφοραί τε καὶ ῥυθμοὶκαὶ σχήματα τοσαῦτα· τρισυλλάβων δ’ ἕτερα πλείω τῶν 15εἰρημένων καὶ ποικιλωτέραν ἔχοντα θεωρίαν. ὁ μὲν γὰρ ἐξἁπασῶν βραχείων συνεστώς, καλούμενος δὲ ὑπό τινων χορεῖος[τρίβραχυς πούς], οὗ παράδειγμα τοιόνδε

Βρόμιε, δορατοφόρ’, ἐνυάλιε, πολεμοκέλαδε,

ταπεινός τε καὶ ἄσεμνός ἐστι καὶ ἀγεννής, καὶ οὐδὲν ἂν ἐξ 20

[171]That which has both its syllables long is called aspondee, and possesses great dignity and much stateliness. Here is an example of it:—Ah, which way must I haste?—had I best fleeBy this path? or by that path shall it be?[150]That which is composed of a short and a long is callediambusif it has the first syllable short; it is not ignoble. If it begins with the long syllable, it is called atrochee, and is less manly than the other and more ignoble. The following is an example of the former:—My leisure serves me now, Menoetius’ son.[151]Of the other:—Heart of mine, O heart in turmoil with a throng of crushing cares![152]These are all the varieties, rhythms, and forms of disyllabic words. Those of the trisyllabic are distinct; they are more numerous than those mentioned, and the study of them is more complicated. First comes that which consists entirely of short syllables, and is called by somechoree(ortribrach), of which the following is an example:—Bromius, wielder of spears,Lord of war and the onset-cheers.[153]This foot is mean and wanting in dignity and nobility, and

[171]

That which has both its syllables long is called aspondee, and possesses great dignity and much stateliness. Here is an example of it:—

Ah, which way must I haste?—had I best fleeBy this path? or by that path shall it be?[150]

That which is composed of a short and a long is callediambusif it has the first syllable short; it is not ignoble. If it begins with the long syllable, it is called atrochee, and is less manly than the other and more ignoble. The following is an example of the former:—

My leisure serves me now, Menoetius’ son.[151]

Of the other:—

Heart of mine, O heart in turmoil with a throng of crushing cares![152]

These are all the varieties, rhythms, and forms of disyllabic words. Those of the trisyllabic are distinct; they are more numerous than those mentioned, and the study of them is more complicated. First comes that which consists entirely of short syllables, and is called by somechoree(ortribrach), of which the following is an example:—

Bromius, wielder of spears,Lord of war and the onset-cheers.[153]

This foot is mean and wanting in dignity and nobility, and

5 ἢ κείναν κείναν ἢ ταύταν PMV: ἢ κείναν ἢ ταύταν E, F 10 μὲν om. PMV 11 ἐπεὶ σχολὴ EMV: ἐπὶ σχολῆι FP 13 κήδεσι κεκυκώμενε sic F 14 μὲν EPMV: om. F 17 χορεῖος MV: om. FP 18 τρίβραχυς] τροχαῖος F. uncinis includendum vel τρίβραχυς πούς vel χορεῖος tamquam glossema quod, margini olim adscriptum, in textum postea irrepserit 20 καὶ ἀγεννής om. P2. The high rank assigned to the spondee is noted in schol. anon. ad Hermog. II. ἰδ. (WalzRhett. Gr.vii. 1049): τάττει (sc. Διονύσιος) δὲ τὸν σπονδεῖον μετ’ αὐτῶν (sc. μετὰ τῶν καλῶν ῥυθμῶν).—For Dionysius’ view of the spondee and other feet see also Walz viii. 980 Διονύσιος μὲν ἐν τῷ περὶ συνθέσεως ὀνομάτων φησὶν ὅτι ὁ δάκτυλος κτλ.4. Euripides’Hec.162-4 runs thus in G. G. A. Murray’s text:—ποίαν ἢ ταύταν ἢ κείνανστείχω; †ποῖ δ’ ἥσω; †ποῦ τις θεῶν†ἢ δαιμόνων †ἐπαρωγός;As the editor remarks later, “metrum nec in se perfectum,” etc. See also Porson’s note on the same passage of theHecuba.—For a Latin spondaic line cp. Ennius “olli respondit rex Albai longai” (Annal. Reliq.i. 31 Vahlen).7. The iambus and the trochee abound in ordinary speech, and must therefore be used in oratory with moderation: cp. Cic.de Oratoreiii. 47 “nam cum sint numeri plures, iambum et trochaeum frequentem segregat ab oratore Aristoteles, Catule, vester, qui natura tamen incurrunt ipsi in orationem sermonemque nostrum; sed sunt insignes percussiones eorum numerorum et minuti pedes”;Orator56. 189 “versus saepe in oratione per imprudentiam dicimus; quod vehementer est vitiosum, sed non attendimus neque exaudimus nosmet ipsos; senarios vero et Hipponacteos effugere vix possumus; magnam enim partem ex iambis nostra constat oratio”; Aristot.Rhet.iii. 8. 4 ὁ δ’ ἴαμβος αὐτή ἐστιν ἡ λέξις ἡ τῶν πολλῶν· διὸ μάλιστα πάντων τῶν μέτρων ἰαμβεῖα φθέγγονται λέγοντες:Poet.iv. 14 μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἐστιν· σημεῖον δὲ τούτου· πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς ἀλλήλους, ἑξάμετρα δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς λεκτικῆς ἁρμονίας: Demetr.de Eloc.§ 43 ὁ δὲ ἴαμβος εὐτελὴς καὶ τῇ τῶν πολλῶν λέξει ὅμοιος. πολλοὶ γοῦν μέτρα ἰαμβικὰ λαλοῦσιν οὐκ εἰδότες.9. Cp. Aristot.Rhet.iii. 8 ὁ δὲ τροχαῖος κορδακικώτερος· δηλοῖ δὲ τὰ τετράμετρα· ἔστι γὰρ ῥυθμὸς τροχαῖος τὰ τετράμετρα.11. As in Hor.Epod.ii. 1 “Beatus ille, qui procul negotiis.”13. This line of Archilochus is preserved (together with the six that follow it) in StobaeusFlorileg.i. 207 (Meineke). For a similar Latin trochaic verse see Marius Victorinus i. 12 “Roma, Roma cerne, quanta sit Deum benignitas.”18. For the effect of tribrachs in Latin cp. Marius Victorinus i. 12 “nemus ave reticuit, ager homine sonat.”20.καὶ ἀγεννής: these words are absent from P; perhaps rightly. They do not sort well with καὶ οὐδὲν ... γενναῖον.

2. The high rank assigned to the spondee is noted in schol. anon. ad Hermog. II. ἰδ. (WalzRhett. Gr.vii. 1049): τάττει (sc. Διονύσιος) δὲ τὸν σπονδεῖον μετ’ αὐτῶν (sc. μετὰ τῶν καλῶν ῥυθμῶν).—For Dionysius’ view of the spondee and other feet see also Walz viii. 980 Διονύσιος μὲν ἐν τῷ περὶ συνθέσεως ὀνομάτων φησὶν ὅτι ὁ δάκτυλος κτλ.

4. Euripides’Hec.162-4 runs thus in G. G. A. Murray’s text:—

ποίαν ἢ ταύταν ἢ κείνανστείχω; †ποῖ δ’ ἥσω; †ποῦ τις θεῶν†ἢ δαιμόνων †ἐπαρωγός;

As the editor remarks later, “metrum nec in se perfectum,” etc. See also Porson’s note on the same passage of theHecuba.—For a Latin spondaic line cp. Ennius “olli respondit rex Albai longai” (Annal. Reliq.i. 31 Vahlen).

7. The iambus and the trochee abound in ordinary speech, and must therefore be used in oratory with moderation: cp. Cic.de Oratoreiii. 47 “nam cum sint numeri plures, iambum et trochaeum frequentem segregat ab oratore Aristoteles, Catule, vester, qui natura tamen incurrunt ipsi in orationem sermonemque nostrum; sed sunt insignes percussiones eorum numerorum et minuti pedes”;Orator56. 189 “versus saepe in oratione per imprudentiam dicimus; quod vehementer est vitiosum, sed non attendimus neque exaudimus nosmet ipsos; senarios vero et Hipponacteos effugere vix possumus; magnam enim partem ex iambis nostra constat oratio”; Aristot.Rhet.iii. 8. 4 ὁ δ’ ἴαμβος αὐτή ἐστιν ἡ λέξις ἡ τῶν πολλῶν· διὸ μάλιστα πάντων τῶν μέτρων ἰαμβεῖα φθέγγονται λέγοντες:Poet.iv. 14 μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἐστιν· σημεῖον δὲ τούτου· πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς ἀλλήλους, ἑξάμετρα δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς λεκτικῆς ἁρμονίας: Demetr.de Eloc.§ 43 ὁ δὲ ἴαμβος εὐτελὴς καὶ τῇ τῶν πολλῶν λέξει ὅμοιος. πολλοὶ γοῦν μέτρα ἰαμβικὰ λαλοῦσιν οὐκ εἰδότες.

9. Cp. Aristot.Rhet.iii. 8 ὁ δὲ τροχαῖος κορδακικώτερος· δηλοῖ δὲ τὰ τετράμετρα· ἔστι γὰρ ῥυθμὸς τροχαῖος τὰ τετράμετρα.

11. As in Hor.Epod.ii. 1 “Beatus ille, qui procul negotiis.”

13. This line of Archilochus is preserved (together with the six that follow it) in StobaeusFlorileg.i. 207 (Meineke). For a similar Latin trochaic verse see Marius Victorinus i. 12 “Roma, Roma cerne, quanta sit Deum benignitas.”

18. For the effect of tribrachs in Latin cp. Marius Victorinus i. 12 “nemus ave reticuit, ager homine sonat.”

20.καὶ ἀγεννής: these words are absent from P; perhaps rightly. They do not sort well with καὶ οὐδὲν ... γενναῖον.

αὐτοῦ γένοιτο γενναῖον. ὁ δ’ ἐξ ἁπασῶν μακρῶν, μολοττὸν δ’αὐτὸν οἱ μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστικαὶ διαβεβηκὼς ἐπὶ πολύ· παράδειγμα δὲ αὐτοῦ τοιόνδεὦ Ζηνὸς καὶ Λήδας κάλλιστοι σωτῆρες.ὁ δ’ ἐκ μακρᾶς καὶ δυεῖν βραχειῶν μέσην μὲν λαβὼν τὴν 5μακρὰν ἀμφίβραχυς ὠνόμασται, καὶ οὐ σφόδρα τῶν εὐσχήμωνἐστὶ ῥυθμῶν ἀλλὰ διακέκλασταί τε καὶ πολὺ τὸ θῆλυ καὶἀγεννὲς ἔχει, οἷά ἐστι ταυτίἼακχε θρίαμβε, σὺ τῶνδε χοραγέ.ὁ δὲ προλαμβάνων τὰς δύο βραχείας ἀνάπαιστος μὲν καλεῖται, 10 σεμνότητα δ’ ἔχει πολλήν· καὶ ἔνθα δεῖ μέγεθός τι περιτιθέναι τοῖς πράγμασιν ἢ πάθος, ἐπιτήδειός ἐστι παραλαμβάνεσθαι· τούτου τὸ σχῆμα τοιόνδεβαρύ μοι κεφαλᾶς ἐ πίκρανον ἔχειν.ὁ δὲ ἀπὸ τῆς μακρᾶς ἀρχόμενος, λήγων δὲ εἰς τὰς βραχείας 15δάκτυλος μὲν καλεῖται, πάνυ δ’ ἐστὶ σεμνὸς καὶ εἰς τὸ κάλλοςτῆς ἑρμηνείας ἀξιολογώτατος, καὶ τό γε ἡρωϊκὸν μέτρον ἀπὸτούτου κοσμεῖται ὡς ἐπὶ τὸ πολύ· παράδειγμα δὲ αὐτοῦ τόδεἸλιόθεν με φέρων ἄνεμος Κικόνεσσι πέλασσεν.οἱ μέντοι ῥυθμικοὶ τούτου τοῦ ποδὸς τὴν μακρὰν βραχυτέραν 20[173]nothing noble can be made out of it. But that which consists entirely of long syllables—molossus, as the metrists call it—is elevated and dignified, and has a mighty stride. The following is an example of it:—O glorious saviours, Zeus’ and Leda’s sons.[154]That which consists of a long and two shorts, with the long in the middle, bears the name ofamphibrachys, and has no strong claim to rank with the graceful rhythms, but is enervated and has about it much that is feminine and ignoble, e.g.—Triumphant Iacchus that leadest this chorus.[155]That which commences with two shorts is called ananapaest, and possesses much dignity. Where it is necessary to invest a subject with grandeur or pathos, this foot may be appropriately used. Its form may be illustrated by—Ah, the coif on mine head all too heavily weighs.[156]That which begins with the long and ends with the shorts is called adactyl; it is decidedly impressive, and remarkable for its power to produce beauty of style. It is to this that the heroic line is mainly indebted for its grace. Here is an example:—Sped me from Ilium the breeze, and anigh the Ciconians brought me.[157]The rhythmists, however, say that the long syllable in this foot

αὐτοῦ γένοιτο γενναῖον. ὁ δ’ ἐξ ἁπασῶν μακρῶν, μολοττὸν δ’αὐτὸν οἱ μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστικαὶ διαβεβηκὼς ἐπὶ πολύ· παράδειγμα δὲ αὐτοῦ τοιόνδε

ὦ Ζηνὸς καὶ Λήδας κάλλιστοι σωτῆρες.

ὁ δ’ ἐκ μακρᾶς καὶ δυεῖν βραχειῶν μέσην μὲν λαβὼν τὴν 5μακρὰν ἀμφίβραχυς ὠνόμασται, καὶ οὐ σφόδρα τῶν εὐσχήμωνἐστὶ ῥυθμῶν ἀλλὰ διακέκλασταί τε καὶ πολὺ τὸ θῆλυ καὶἀγεννὲς ἔχει, οἷά ἐστι ταυτί

Ἴακχε θρίαμβε, σὺ τῶνδε χοραγέ.

ὁ δὲ προλαμβάνων τὰς δύο βραχείας ἀνάπαιστος μὲν καλεῖται, 10 σεμνότητα δ’ ἔχει πολλήν· καὶ ἔνθα δεῖ μέγεθός τι περιτιθέναι τοῖς πράγμασιν ἢ πάθος, ἐπιτήδειός ἐστι παραλαμβάνεσθαι· τούτου τὸ σχῆμα τοιόνδε

βαρύ μοι κεφαλᾶς ἐ πίκρανον ἔχειν.

ὁ δὲ ἀπὸ τῆς μακρᾶς ἀρχόμενος, λήγων δὲ εἰς τὰς βραχείας 15δάκτυλος μὲν καλεῖται, πάνυ δ’ ἐστὶ σεμνὸς καὶ εἰς τὸ κάλλοςτῆς ἑρμηνείας ἀξιολογώτατος, καὶ τό γε ἡρωϊκὸν μέτρον ἀπὸτούτου κοσμεῖται ὡς ἐπὶ τὸ πολύ· παράδειγμα δὲ αὐτοῦ τόδε

Ἰλιόθεν με φέρων ἄνεμος Κικόνεσσι πέλασσεν.

οἱ μέντοι ῥυθμικοὶ τούτου τοῦ ποδὸς τὴν μακρὰν βραχυτέραν 20

[173]nothing noble can be made out of it. But that which consists entirely of long syllables—molossus, as the metrists call it—is elevated and dignified, and has a mighty stride. The following is an example of it:—O glorious saviours, Zeus’ and Leda’s sons.[154]That which consists of a long and two shorts, with the long in the middle, bears the name ofamphibrachys, and has no strong claim to rank with the graceful rhythms, but is enervated and has about it much that is feminine and ignoble, e.g.—Triumphant Iacchus that leadest this chorus.[155]That which commences with two shorts is called ananapaest, and possesses much dignity. Where it is necessary to invest a subject with grandeur or pathos, this foot may be appropriately used. Its form may be illustrated by—Ah, the coif on mine head all too heavily weighs.[156]That which begins with the long and ends with the shorts is called adactyl; it is decidedly impressive, and remarkable for its power to produce beauty of style. It is to this that the heroic line is mainly indebted for its grace. Here is an example:—Sped me from Ilium the breeze, and anigh the Ciconians brought me.[157]The rhythmists, however, say that the long syllable in this foot

[173]

nothing noble can be made out of it. But that which consists entirely of long syllables—molossus, as the metrists call it—is elevated and dignified, and has a mighty stride. The following is an example of it:—

O glorious saviours, Zeus’ and Leda’s sons.[154]

That which consists of a long and two shorts, with the long in the middle, bears the name ofamphibrachys, and has no strong claim to rank with the graceful rhythms, but is enervated and has about it much that is feminine and ignoble, e.g.—

Triumphant Iacchus that leadest this chorus.[155]

That which commences with two shorts is called ananapaest, and possesses much dignity. Where it is necessary to invest a subject with grandeur or pathos, this foot may be appropriately used. Its form may be illustrated by—

Ah, the coif on mine head all too heavily weighs.[156]

That which begins with the long and ends with the shorts is called adactyl; it is decidedly impressive, and remarkable for its power to produce beauty of style. It is to this that the heroic line is mainly indebted for its grace. Here is an example:—

Sped me from Ilium the breeze, and anigh the Ciconians brought me.[157]

The rhythmists, however, say that the long syllable in this foot

3 διαβεβηκῶς (ῶ suprascripto) P: διαβέβηκεν ὡς M1: διαβεβηκὼς ὡς M2V: διαβέβηκεν F || τοιόνδε F: τόδε PMV 5 δυεῖν P: δυοῖν MV: β F 6 μακρὰν F: μακρὰν ἑκατέρας τῶν βραχειῶν PMV || εὐσχήμων EF: εὐσχημόνων PMV 7 διακεκόλασται F: κέκλασται E 8 ἀγεννες P, M: ἀγενὲς V: ἀηδὲς F 9 θρίαμβε L. Dindorfius: διθύραμβε libri 11 μέγεθός τι F: μέγεθος PV: μεγέθη M || περιτιθέναι F: περιθεῖναι PMV 12 περιλαμβάνεσθαι F 14 κεφαλᾶς E: κεφαλὰς F: κεφαλῆς PMV || ἔχειν P: ἔχει EFMV 16 δάκτυλος EFM: δακτ̑ P: δακτυλικὸς V || τὸ κάλλος τῆς ἑρμηνείας EF: κάλλος ἁρμονίας PMV 17 ὑπὸ R2.ἀξιωματικός: various modern examples of the rhythmical effect of long and short syllables will be found in Demetr., e.g. p. 219. Here may be added, from George Meredith’sLove in the Valley—Thicker crowd the shades as thegrave EastdeepensGlowing, and with crimson along cloudswells.Maiden still the morn is; and strange she is, and secret;Strange her eyes; her cheeks are cold ascold sea-shells.Here the long syllables in italics may be contrasted with:Deals she an unkindness, ’tis but her rapid measure, – ᴗ ᴗ ᴗ ᴗ Even as in a dance; and her smile can heal no less.9. Virg.Ecl.viii. 68 might be fancifully divided in such a way as to present several feet of this kind:ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ “[ducite] ab urbe | domum me|a carmin|a, ducit|e Daphnim.”16. Cp. Long.de Sublim.xxxix. 4 ὅλον τε γὰρ ἐπὶ τῶν δακτυλικῶν εἴρηται ῥυθμῶν· εὐγενέστατοι δ’ οὗτοι καὶ μεγεθοποιοί, διὸ καὶ τὸ ἡρῷον, ὧν ἴσμεν κάλλιστον, μέτρον συνιστᾶσιν.19. This is of course the very start of Odysseus’ adventures as recounted by himself. He sails away from Ilium on as many dactyls as possible.—For dactyls freely used in the Virgilian hexameter cp.Aen.ix. 503 “at tuba terribilem sonitum procul aere canoro [increpuit, etc.]”;Georg.iii. 284 “sed fugit interea, fugit irreparabile tempus.”20.τούτου τοῦ ποδός.“Unless a lacuna be assumed, a rather violent assumption, the phrase [i.e. τούτου τοῦ ποδός] must simply resume the αὐτοῦ just before the hexameter, the τούτου just before that, and the δάκτυλος two lines earlier, which immediately follows the phrase of description,” GoodellGreek Metricp. 172.

2.ἀξιωματικός: various modern examples of the rhythmical effect of long and short syllables will be found in Demetr., e.g. p. 219. Here may be added, from George Meredith’sLove in the Valley—

Thicker crowd the shades as thegrave EastdeepensGlowing, and with crimson along cloudswells.Maiden still the morn is; and strange she is, and secret;Strange her eyes; her cheeks are cold ascold sea-shells.

Here the long syllables in italics may be contrasted with:

Deals she an unkindness, ’tis but her rapid measure, – ᴗ ᴗ ᴗ ᴗ Even as in a dance; and her smile can heal no less.

9. Virg.Ecl.viii. 68 might be fancifully divided in such a way as to present several feet of this kind:

ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ “[ducite] ab urbe | domum me|a carmin|a, ducit|e Daphnim.”

16. Cp. Long.de Sublim.xxxix. 4 ὅλον τε γὰρ ἐπὶ τῶν δακτυλικῶν εἴρηται ῥυθμῶν· εὐγενέστατοι δ’ οὗτοι καὶ μεγεθοποιοί, διὸ καὶ τὸ ἡρῷον, ὧν ἴσμεν κάλλιστον, μέτρον συνιστᾶσιν.

19. This is of course the very start of Odysseus’ adventures as recounted by himself. He sails away from Ilium on as many dactyls as possible.—For dactyls freely used in the Virgilian hexameter cp.Aen.ix. 503 “at tuba terribilem sonitum procul aere canoro [increpuit, etc.]”;Georg.iii. 284 “sed fugit interea, fugit irreparabile tempus.”

20.τούτου τοῦ ποδός.“Unless a lacuna be assumed, a rather violent assumption, the phrase [i.e. τούτου τοῦ ποδός] must simply resume the αὐτοῦ just before the hexameter, the τούτου just before that, and the δάκτυλος two lines earlier, which immediately follows the phrase of description,” GoodellGreek Metricp. 172.

εἶναί φασι τῆς τελείας, οὐκ ἔχοντες δ’ εἰπεῖν ὅσῳ, καλοῦσιναὐτὴν ἄλογον. ἕτερός ἐστιν ἀντίστροφον ἔχων τούτῳ ῥυθμόν,ὃς ἀπὸ τῶν βραχειῶν ἀρξάμενος ἐπὶ τὴν ἄλογον τελευτᾷ·τοῦτον χωρίσαντες ἀπὸ τῶν ἀναπαίστων κυκλικὸν καλοῦσιπαράδειγμα αὐτοῦ φέροντες τοιόνδε 5κέχυται πόλις ὑψίπυλος κατὰ γᾶν.περὶ ὧν ἂν ἕτερος εἴη λόγος· πλὴν ἀμφότεροί γε τῶν πάνυκαλῶν οἱ ῥυθμοί. ἓν ἔτι λείπεται τρισυλλάβων ῥυθμῶν γένος,ὃ συνέστηκεν ἐκ δύο μακρῶν καὶ βραχείας, τρία δὲ ποιεῖσχήματα· μέσης μὲν γὰρ γινομένης τῆς βραχείας, ἄκρων δὲ 10τῶν μακρῶν κρητικός τε λέγεται καὶ ἔστιν οὐκ ἀγεννής.ὑπόδειγμα δὲ αὐτοῦ τοιοῦτονοἱ δ’ ἐπείγοντο πλωταῖς ἀπήναισι χαλκεμβόλοις.ἂν δὲ τὴν ἀρχὴν αἱ δύο μακραὶ κατάσχωσιν, τὴν δὲ τελευτὴνἡ βραχεῖα, οἷά ἐστι ταυτί 15σοὶ Φοῖβε Μοῦσαί τε σύμβωμοι,ἀνδρῶδες πάνυ ἐστὶ τὸ σχῆμα καὶ εἰς σεμνολογίαν ἐπιτήδειον.τὸ δ’ αὐτὸ συμβήσεται κἂν ἡ βραχεῖα πρώτη τεθῇ τῶνμακρῶν· καὶ γὰρ οὗτος ὁ ῥυθμὸς ἀξίωμα ἔχει καὶ μέγεθος·παράδειγμα δὲ αὐτοῦ τόδε 20τίν’ ἀκτάν, τίν’ ὕλαν δράμω; ποῖ πορευθῶ;τούτοις ἀμφοτέροις ὀνόματα κεῖται τοῖς ποσὶν ὑπὸ τῶν μετρικῶνβακχεῖος μὲν τῷ προτέρῳ, θατέρῳ δὲ ὑποβάκχειος. οὗτοιδώδεκα ῥυθμοί τε καὶ πόδες εἰσὶν οἱ πρῶτοι καταμετροῦντες[175]is shorter than the perfect long. Not being able to say by how much, they call it “irrational.” There is another foot having a rhythm corresponding to this, which starts with the short syllables and ends with the “irrational” one. This they distinguish from the anapaest and call it “cyclic,” adducing the following line as an example of it:—On the earth is the high-gated city laid low.[158]This question cannot be discussed here; but both rhythms are of the distinctly beautiful sort. One class of trisyllabic rhythms still remains, which is composed of two longs and a short. It takes three shapes. When the short is in the middle and the longs at the ends, it is called acreticand has no lack of nobility. A sample of it is:—On they sped, borne on sea-wains with prows brazen-beaked.[159]But if the two long syllables occupy the beginning, and the short one the end, as in the linePhoebus, to thee and the Muses worshipped with thee,[160]the structure is exceptionally virile, and is appropriate for solemn language. The effect will be the same if the short be placed before the longs; for this foot also has dignity and grandeur. Here is an example of it:—To what shore, to what grove shall I flee for refuge?[161]To the former of these two feet the name ofbacchiusis assigned by the metrists, to the other that ofhypobacchius. These are the twelve fundamental rhythms and feet which measure all

κέχυται πόλις ὑψίπυλος κατὰ γᾶν.

περὶ ὧν ἂν ἕτερος εἴη λόγος· πλὴν ἀμφότεροί γε τῶν πάνυκαλῶν οἱ ῥυθμοί. ἓν ἔτι λείπεται τρισυλλάβων ῥυθμῶν γένος,ὃ συνέστηκεν ἐκ δύο μακρῶν καὶ βραχείας, τρία δὲ ποιεῖσχήματα· μέσης μὲν γὰρ γινομένης τῆς βραχείας, ἄκρων δὲ 10τῶν μακρῶν κρητικός τε λέγεται καὶ ἔστιν οὐκ ἀγεννής.ὑπόδειγμα δὲ αὐτοῦ τοιοῦτον

οἱ δ’ ἐπείγοντο πλωταῖς ἀπήναισι χαλκεμβόλοις.

ἂν δὲ τὴν ἀρχὴν αἱ δύο μακραὶ κατάσχωσιν, τὴν δὲ τελευτὴνἡ βραχεῖα, οἷά ἐστι ταυτί 15

σοὶ Φοῖβε Μοῦσαί τε σύμβωμοι,

ἀνδρῶδες πάνυ ἐστὶ τὸ σχῆμα καὶ εἰς σεμνολογίαν ἐπιτήδειον.τὸ δ’ αὐτὸ συμβήσεται κἂν ἡ βραχεῖα πρώτη τεθῇ τῶνμακρῶν· καὶ γὰρ οὗτος ὁ ῥυθμὸς ἀξίωμα ἔχει καὶ μέγεθος·παράδειγμα δὲ αὐτοῦ τόδε 20

τίν’ ἀκτάν, τίν’ ὕλαν δράμω; ποῖ πορευθῶ;

τούτοις ἀμφοτέροις ὀνόματα κεῖται τοῖς ποσὶν ὑπὸ τῶν μετρικῶνβακχεῖος μὲν τῷ προτέρῳ, θατέρῳ δὲ ὑποβάκχειος. οὗτοιδώδεκα ῥυθμοί τε καὶ πόδες εἰσὶν οἱ πρῶτοι καταμετροῦντες

[175]is shorter than the perfect long. Not being able to say by how much, they call it “irrational.” There is another foot having a rhythm corresponding to this, which starts with the short syllables and ends with the “irrational” one. This they distinguish from the anapaest and call it “cyclic,” adducing the following line as an example of it:—On the earth is the high-gated city laid low.[158]This question cannot be discussed here; but both rhythms are of the distinctly beautiful sort. One class of trisyllabic rhythms still remains, which is composed of two longs and a short. It takes three shapes. When the short is in the middle and the longs at the ends, it is called acreticand has no lack of nobility. A sample of it is:—On they sped, borne on sea-wains with prows brazen-beaked.[159]But if the two long syllables occupy the beginning, and the short one the end, as in the linePhoebus, to thee and the Muses worshipped with thee,[160]the structure is exceptionally virile, and is appropriate for solemn language. The effect will be the same if the short be placed before the longs; for this foot also has dignity and grandeur. Here is an example of it:—To what shore, to what grove shall I flee for refuge?[161]To the former of these two feet the name ofbacchiusis assigned by the metrists, to the other that ofhypobacchius. These are the twelve fundamental rhythms and feet which measure all

[175]

is shorter than the perfect long. Not being able to say by how much, they call it “irrational.” There is another foot having a rhythm corresponding to this, which starts with the short syllables and ends with the “irrational” one. This they distinguish from the anapaest and call it “cyclic,” adducing the following line as an example of it:—

On the earth is the high-gated city laid low.[158]

This question cannot be discussed here; but both rhythms are of the distinctly beautiful sort. One class of trisyllabic rhythms still remains, which is composed of two longs and a short. It takes three shapes. When the short is in the middle and the longs at the ends, it is called acreticand has no lack of nobility. A sample of it is:—

On they sped, borne on sea-wains with prows brazen-beaked.[159]

But if the two long syllables occupy the beginning, and the short one the end, as in the line

Phoebus, to thee and the Muses worshipped with thee,[160]

the structure is exceptionally virile, and is appropriate for solemn language. The effect will be the same if the short be placed before the longs; for this foot also has dignity and grandeur. Here is an example of it:—

To what shore, to what grove shall I flee for refuge?[161]

To the former of these two feet the name ofbacchiusis assigned by the metrists, to the other that ofhypobacchius. These are the twelve fundamental rhythms and feet which measure all

1 ὅσω F: πόσω PMV 2 ἕτερός ἐστιν F: ἕτερον δὲ PMV || ἔχων F: τινα PMV 3 ἐπὶ τὴν ἄλογον FP1V: ἐπί τιν’ ἄλογον P2: ἐπί τινα λόγον M || τελευτᾶι τοῦτον FM: τοῦτον τελευτᾷ V: τελευτᾶι P 4 κυκλικὸν FM2: κύκλον PM1V 6 ὑψί*πολος cum rasura F: ὑψίπυλον PMV 8 τρισύλλαβον F 9 συνέστηκεν F: συνέστηκε μὲν PMV || δὲ ποιεῖ F: δὲ ἔχει PV 12 τοιοῦτον PM: τοιόνδε FV 13 πρώταις FM2|| ἀπήναισι EP: ἀπήνεσι MV: ἀπήνεσσι F || χαλκεμβόλοις EF: χαλκεμβόλοισιν PMV 14 ἂν F: ἐὰν PMV 15 ἡ F: om. PMV 16 σοὶ EPMV: σὺ F || σύμβωμοι EFMV: συμβῶμεν Ps 17 πάνυ ἐστὶ τὸ EF: δὲ πάνυ τοῦτο PMV || εἰσ σεμνότητα (σ pr. suprascripto) λογίαν P 18 πρώτη τεθῆι P, MV: συντεθῆι F 21 τίν’ ἀκτάν, τίν’ ὕλαν] τίνα γᾶν τινυδἂν F 22 τοῖς ποσὶν FPM: ῥυθμοῖς V 23 παλιμβάκχειος E1.ὅσῳ: cp.1909, where there is the same divergence between F and PMV.2, 4. See Glossary underἄλογοςandκυκλικός.13. Usener suggests that this line may possibly come from thePersaeof Timotheus, some newly-discovered fragments of which were issued by Wilamowitz-Moellendorff in 1903.—Similarly, in Latin, cretics may be found in such lines of Terence as “tum coacti necessario se aperiunt” (Andr.iv. 1).16.– – ᴗ – – ᴗ – – ᴗ “O Phoebus | O Muses | co-worshipped”might give the metrical effect, in a rough and uncouth way. In Latin cp. “baccare, laetare praesente Frontone” (Rufinusde Metris Comicorum).18.πρώτη τεθῇ τῶν μακρῶν, ‘at the head of’; cp. note on987supra.21. After πορευθῶ P has a gap which would contain a dozen letters, and in the middle of the gap the original copyist has written οὐδ(ὲν) λείπ(ει).

1.ὅσῳ: cp.1909, where there is the same divergence between F and PMV.

2, 4. See Glossary underἄλογοςandκυκλικός.

13. Usener suggests that this line may possibly come from thePersaeof Timotheus, some newly-discovered fragments of which were issued by Wilamowitz-Moellendorff in 1903.—Similarly, in Latin, cretics may be found in such lines of Terence as “tum coacti necessario se aperiunt” (Andr.iv. 1).

16.

– – ᴗ – – ᴗ – – ᴗ “O Phoebus | O Muses | co-worshipped”

might give the metrical effect, in a rough and uncouth way. In Latin cp. “baccare, laetare praesente Frontone” (Rufinusde Metris Comicorum).

18.πρώτη τεθῇ τῶν μακρῶν, ‘at the head of’; cp. note on987supra.

21. After πορευθῶ P has a gap which would contain a dozen letters, and in the middle of the gap the original copyist has written οὐδ(ὲν) λείπ(ει).

ἅπασαν ἔμμετρόν τε καὶ ἄμετρον λέξιν, ἐξ ὧν γίνονται στίχοιτε καὶ κῶλα· οἱ γὰρ ἄλλοι πόδες καὶ ῥυθμοὶ πάντες ἐκτούτων εἰσὶ σύνθετοι. ἁπλοῦς δὲ ῥυθμὸς ἢ ποὺς οὔτ’ ἐλάττωνἔσται δύο συλλαβῶν οὔτε μείζων τριῶν. καὶ περὶ μὲν τούτωνοὐκ οἶδ’ ὅτι δεῖ τὰ πλείω λέγειν. 5XVIIIὧν δ’ ἕνεκα νῦν ὑπήχθην ταῦτα προειπεῖν (οὐ γὰρ δὴ τὴνἄλλως γέ μοι προὔκειτο μετρικῶν καὶ ῥυθμικῶν ἅπτεσθαιθεωρημάτων, ἀλλὰ τοῦ ἀναγκαίου ἕνεκα), ταῦτ’ ἐστίν, ὅτι διὰμὲν τῶν γενναίων καὶ ἀξιωματικῶν καὶ μέγεθος ἐχόντωνῥυθμῶν ἀξιωματικὴ γίνεται σύνθεσις καὶ γενναία καὶ μεγαλοπρεπής, 10διὰ δὲ τῶν ἀγεννῶν τε καὶ ταπεινῶν ἀμεγέθης τιςκαὶ ἄσεμνος, ἐάν τε καθ’ ἑαυτοὺς ἕκαστοι τούτων λαμβάνωνταιτῶν ῥυθμῶν, ἐάν τε ἀλλήλοις κατὰ τὰς ὁμοζυγίαςσυμπλέκωνται. εἰ μὲν οὖν ἔσται δύναμις ἐξ ἁπάντων τῶνκρατίστων ῥυθμῶν συνθεῖναι τὴν λέξιν, ἔχοι ἂν ἡμῖν κατ’ 15εὐχήν· εἰ δ’ ἀναγκαῖον εἴη μίσγειν τοῖς κρείττοσι τοὺςχείρονας, ὡς ἐπὶ πολλῶν γίνεται (τὰ γὰρ ὀνόματα κεῖται τοῖςπράγμασιν ὡς ἔτυχεν), οἰκονομεῖν αὐτὰ χρὴ φιλοτέχνως καὶδιακλέπτειν τῇ χάριτι τῆς συνθέσεως τὴν ἀνάγκην ἄλλως τεκαὶ πολλὴν τὴν ἄδειαν ἔχοντας· οὐ γὰρ ἀπελαύνεται ῥυθμὸς 20οὐδεὶς ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου.μαρτύρια δὲ ὧν εἴρηκα παραθεῖναι λοιπόν, ἵνα μοι καὶπίστιν ὁ λόγος λάβῃ. ἔσται δ’ ὀλίγα περὶ πολλῶν. φέρεδή, τίς οὐκ ἂν ὁμολογήσειεν ἀξιωματικῶς τε συγκεῖσθαι καὶ[177]language, metrical or unmetrical, and from them are formed lines and clauses. All other feet and rhythms are but combinations of these. A simple rhythm, or foot, will not be less than two syllables, nor will it exceed three. I do not know that more need be said on this subject.CHAPTER XVIIIEFFECT OF VARIOUS RHYTHMSThe reason why I have been led to make these preliminary remarks (for certainly it was no part of my design to touch without due cause on metrical and rhythmical questions, but only so far as it was really necessary) is this, that it is through rhythms which are noble and dignified, and contain an element of greatness, that composition becomes dignified, noble, and splendid, while it is made a paltry and unimpressive sort of thing by the use of those rhythms that are ignoble and mean, whether they are taken severally by themselves, or are woven together according to their mutual affinities. If, then, it is within human capacity to frame the style entirely from the finest rhythms, our aspirations will be realized; but if it should prove necessary to blend the worse with the better, as happens in many cases (for names have been attached to things in a haphazard way), we must manage our material artistically. We must disguise our compulsion by the gracefulness of the composition: the more so that we have full liberty of action, since no rhythm is banished from non-metrical language, as some are from metrical.It remains for me to produce proofs of my statements, in order that my argument may carry conviction. Wide as the field is, a few proofs will suffice. Thus it is surely beyond dispute

ὧν δ’ ἕνεκα νῦν ὑπήχθην ταῦτα προειπεῖν (οὐ γὰρ δὴ τὴνἄλλως γέ μοι προὔκειτο μετρικῶν καὶ ῥυθμικῶν ἅπτεσθαιθεωρημάτων, ἀλλὰ τοῦ ἀναγκαίου ἕνεκα), ταῦτ’ ἐστίν, ὅτι διὰμὲν τῶν γενναίων καὶ ἀξιωματικῶν καὶ μέγεθος ἐχόντωνῥυθμῶν ἀξιωματικὴ γίνεται σύνθεσις καὶ γενναία καὶ μεγαλοπρεπής, 10διὰ δὲ τῶν ἀγεννῶν τε καὶ ταπεινῶν ἀμεγέθης τιςκαὶ ἄσεμνος, ἐάν τε καθ’ ἑαυτοὺς ἕκαστοι τούτων λαμβάνωνταιτῶν ῥυθμῶν, ἐάν τε ἀλλήλοις κατὰ τὰς ὁμοζυγίαςσυμπλέκωνται. εἰ μὲν οὖν ἔσται δύναμις ἐξ ἁπάντων τῶνκρατίστων ῥυθμῶν συνθεῖναι τὴν λέξιν, ἔχοι ἂν ἡμῖν κατ’ 15εὐχήν· εἰ δ’ ἀναγκαῖον εἴη μίσγειν τοῖς κρείττοσι τοὺςχείρονας, ὡς ἐπὶ πολλῶν γίνεται (τὰ γὰρ ὀνόματα κεῖται τοῖςπράγμασιν ὡς ἔτυχεν), οἰκονομεῖν αὐτὰ χρὴ φιλοτέχνως καὶδιακλέπτειν τῇ χάριτι τῆς συνθέσεως τὴν ἀνάγκην ἄλλως τεκαὶ πολλὴν τὴν ἄδειαν ἔχοντας· οὐ γὰρ ἀπελαύνεται ῥυθμὸς 20οὐδεὶς ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου.μαρτύρια δὲ ὧν εἴρηκα παραθεῖναι λοιπόν, ἵνα μοι καὶπίστιν ὁ λόγος λάβῃ. ἔσται δ’ ὀλίγα περὶ πολλῶν. φέρεδή, τίς οὐκ ἂν ὁμολογήσειεν ἀξιωματικῶς τε συγκεῖσθαι καὶ

[177]language, metrical or unmetrical, and from them are formed lines and clauses. All other feet and rhythms are but combinations of these. A simple rhythm, or foot, will not be less than two syllables, nor will it exceed three. I do not know that more need be said on this subject.CHAPTER XVIIIEFFECT OF VARIOUS RHYTHMSThe reason why I have been led to make these preliminary remarks (for certainly it was no part of my design to touch without due cause on metrical and rhythmical questions, but only so far as it was really necessary) is this, that it is through rhythms which are noble and dignified, and contain an element of greatness, that composition becomes dignified, noble, and splendid, while it is made a paltry and unimpressive sort of thing by the use of those rhythms that are ignoble and mean, whether they are taken severally by themselves, or are woven together according to their mutual affinities. If, then, it is within human capacity to frame the style entirely from the finest rhythms, our aspirations will be realized; but if it should prove necessary to blend the worse with the better, as happens in many cases (for names have been attached to things in a haphazard way), we must manage our material artistically. We must disguise our compulsion by the gracefulness of the composition: the more so that we have full liberty of action, since no rhythm is banished from non-metrical language, as some are from metrical.It remains for me to produce proofs of my statements, in order that my argument may carry conviction. Wide as the field is, a few proofs will suffice. Thus it is surely beyond dispute

[177]

language, metrical or unmetrical, and from them are formed lines and clauses. All other feet and rhythms are but combinations of these. A simple rhythm, or foot, will not be less than two syllables, nor will it exceed three. I do not know that more need be said on this subject.

The reason why I have been led to make these preliminary remarks (for certainly it was no part of my design to touch without due cause on metrical and rhythmical questions, but only so far as it was really necessary) is this, that it is through rhythms which are noble and dignified, and contain an element of greatness, that composition becomes dignified, noble, and splendid, while it is made a paltry and unimpressive sort of thing by the use of those rhythms that are ignoble and mean, whether they are taken severally by themselves, or are woven together according to their mutual affinities. If, then, it is within human capacity to frame the style entirely from the finest rhythms, our aspirations will be realized; but if it should prove necessary to blend the worse with the better, as happens in many cases (for names have been attached to things in a haphazard way), we must manage our material artistically. We must disguise our compulsion by the gracefulness of the composition: the more so that we have full liberty of action, since no rhythm is banished from non-metrical language, as some are from metrical.

It remains for me to produce proofs of my statements, in order that my argument may carry conviction. Wide as the field is, a few proofs will suffice. Thus it is surely beyond dispute

4 ἔσται EF: ἐστὶ PMV || δύο EF: δυεῖν P: δυοῖν MV 5 τὰ πλείω FM: πλείω PV 7 μετρικῶν καὶ ῥυθμικῶν F: ῥυθμικῶν (ῥυθμῶν MV) τε καὶ μετρικῶν PMV 10 γενναία F: βεβαία PMV 14 δῆλον post συμπλέκωνται praestant FMV: om. P || ἁπάντων τῶν PMV: ἁπάντων F 17 κεῖται F: ἔκκειται PM: ἔγκειται V 20 οὐ FP: οὐδὲ MV 23 ἔσται FPM: ἔστι V3.ἁπλοῦς δὲ ... μείζων τριῶν.A. J. Ellis (p. 48) says, “This gives a simple and convenient rule for practising the quantitative pronunciation of words of more than three syllables.... The effect of quantity in prose is the most difficult thing for moderns to appreciate. Hence the only easy pronunciation of Greek is the modern, where quantity is entirely neglected, and a force-accent used precisely as in English.”5. On the subject of metrical feet Aristotle (Rhet.iii. 8) is brief; Cicero (Oratorcc. 63, 64) is fuller; while Dionysius in this chapter enters into still further details. Reference may also be made to Quintil. ix. 4. 45 ff. and to Demetr.de Eloc.§§ 38 ff.6. This passage (down to l. 21) brings out clearly the importance of rhythm in prose-writing.16.εἴη: the less agreeable alternative is pleasantly treated as though it were the more remote. Cp. εἴη on1668 (though there ἐγχωροίη stands in the earlier clause,1666).17. H. Richards (Classical Reviewxix. 252) suggests ἐπίκειται (or σύγκειται), in order to account for the ἔκκειται of PM and the ἔγκειται of V.21. Would not ὥσπεροὐδὲἐκ τῆς ἐμμέτρου (or the like: cp.10018) be required if the meaning were “any more than from the metrical”? The author’s point is brought out more clearly in19221,1968, etc. Cp. Quintil. ix. 4. 87, “miror autem in hac opinione doctissimos homines fuisse, ut alios pedes ita eligerent aliosque damnarent, quasi ullus esset, quem non sit necesse in oratione deprehendi” (the passage is more fully quoted on p.169supra).23.περί: no change in the reading is necessary; cp.2004 ὀλίγα περὶ πολλῶν, and1366 ὀλίγα ὑπὲρ πολλῶν θεωρημάτων.

3.ἁπλοῦς δὲ ... μείζων τριῶν.A. J. Ellis (p. 48) says, “This gives a simple and convenient rule for practising the quantitative pronunciation of words of more than three syllables.... The effect of quantity in prose is the most difficult thing for moderns to appreciate. Hence the only easy pronunciation of Greek is the modern, where quantity is entirely neglected, and a force-accent used precisely as in English.”

5. On the subject of metrical feet Aristotle (Rhet.iii. 8) is brief; Cicero (Oratorcc. 63, 64) is fuller; while Dionysius in this chapter enters into still further details. Reference may also be made to Quintil. ix. 4. 45 ff. and to Demetr.de Eloc.§§ 38 ff.

6. This passage (down to l. 21) brings out clearly the importance of rhythm in prose-writing.

16.εἴη: the less agreeable alternative is pleasantly treated as though it were the more remote. Cp. εἴη on1668 (though there ἐγχωροίη stands in the earlier clause,1666).

17. H. Richards (Classical Reviewxix. 252) suggests ἐπίκειται (or σύγκειται), in order to account for the ἔκκειται of PM and the ἔγκειται of V.

21. Would not ὥσπεροὐδὲἐκ τῆς ἐμμέτρου (or the like: cp.10018) be required if the meaning were “any more than from the metrical”? The author’s point is brought out more clearly in19221,1968, etc. Cp. Quintil. ix. 4. 87, “miror autem in hac opinione doctissimos homines fuisse, ut alios pedes ita eligerent aliosque damnarent, quasi ullus esset, quem non sit necesse in oratione deprehendi” (the passage is more fully quoted on p.169supra).

23.περί: no change in the reading is necessary; cp.2004 ὀλίγα περὶ πολλῶν, and1366 ὀλίγα ὑπὲρ πολλῶν θεωρημάτων.

μεγαλοπρεπῶς τὴν Θουκυδίδου λέξιν τὴν ἐν τῷ ἐπιταφίῳταύτην· “Οἱ μὲν πολλοὶ τῶν ἐνθάδε ἤδη εἰρηκότων ἐπαινοῦσιτὸν προσθέντα τῷ νόμῳ τὸν λόγον τόνδε, ὡς καλὸν ἐπὶ τοῖςἐκ τῶν πολέμων θαπτομένοις ἀγορεύεσθαι αὐτόν.” τί οὖνἐστιν ὃ πεποίηκε ταύτην μεγαλοπρεπῆ τὴν σύνθεσιν; τὸ ἐκ 5τοιούτων συγκεῖσθαι ῥυθμῶν τὰ κῶλα. τρεῖς μὲν γὰρ οἱ τοῦπρώτου προηγούμενοι κώλου σπονδεῖοι πόδες εἰσίν, ὁ δὲτέταρτος ἀνάπαιστος, ὁ δὲ μετὰ τοῦτον αὖθις σπονδεῖος, ἔπειτακρητικός, ἅπαντες ἀξιωματικοί. καὶ τὸ μὲν πρῶτον κῶλονδιὰ ταῦτ’ ἐστὶ σεμνόν· τὸ δὲ ἑξῆς τουτί “ἐπαινοῦσι τὸν 10προσθέντα τῷ νόμῳ τὸν λόγον τόνδε” δύο μὲν ὑποβακχείουςἔχει τοὺς πρώτους πόδας, κρητικὸν δὲ τὸν τρίτον, εἶτ’αὖθις ὑποβακχείους δύο καὶ συλλαβὴν ὑφ’ ἧς τελειοῦται τὸκῶλον· ὥστ’ εἰκότως σεμνόν ἐστι καὶ τοῦτο ἐκ τῶν εὐγενεστάτωντε καὶ καλλίστων ῥυθμῶν συγκείμενον. τὸ δὲ δὴ 15τρίτον κῶλον “ὡς καλὸν ἐπὶ τοῖς ἐκ τῶν πολέμων θαπτομένοιςἀγορεύεσθαι αὐτόν” ἄρχεται μὲν ἀπὸ τοῦ κρητικοῦποδός, δεύτερον δὲ λαμβάνει τὸν ἀνάπαιστον καὶ τρίτονσπονδεῖον καὶ τέταρτον αὖθις ἀνάπαιστον, εἶτα δύο τοὺς ἑξῆςδακτύλους, καὶ σπονδείους δύο τοὺς τελευταίους, εἶτα κατάληξιν. 20εὐγενὲς δὴ καὶ τοῦτο διὰ τοὺς πόδας γέγονεν. τὰ[179]that the following passage in theFuneral Speechof Thucydides is composed with dignity and grandeur: “Former speakers on these occasions have usually commended the statesman who caused an oration to form part of this funeral ceremony: they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell.”[162]What has made the composition here so impressive? The fact that the clauses are composed of impressive rhythms. For the three feet which usher in the first clause are spondees, the fourth is an anapaest, the next a spondee once more, then a cretic,—all stately feet. Hence the dignity of the first clause. The next clause, “have usually commended the statesman who caused an oration to form part of this funeral ceremony,”[163]has twohypobacchiias its first feet, a cretic as its third, then again twohypobacchii, and a syllable by which the clause is completed; so that this clause too is naturally dignified, formed as it is of the noblest and most beautiful rhythms.The third clause, “they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell,” begins with the cretic foot, has an anapaest in the second place, a spondee in the third, in the fourth an anapaest again, then two dactyls in succession, closing with two spondees and the terminal syllable. So this passage also owes its noble ring to its rhythmical structure; and most of the

[179]that the following passage in theFuneral Speechof Thucydides is composed with dignity and grandeur: “Former speakers on these occasions have usually commended the statesman who caused an oration to form part of this funeral ceremony: they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell.”[162]What has made the composition here so impressive? The fact that the clauses are composed of impressive rhythms. For the three feet which usher in the first clause are spondees, the fourth is an anapaest, the next a spondee once more, then a cretic,—all stately feet. Hence the dignity of the first clause. The next clause, “have usually commended the statesman who caused an oration to form part of this funeral ceremony,”[163]has twohypobacchiias its first feet, a cretic as its third, then again twohypobacchii, and a syllable by which the clause is completed; so that this clause too is naturally dignified, formed as it is of the noblest and most beautiful rhythms.The third clause, “they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell,” begins with the cretic foot, has an anapaest in the second place, a spondee in the third, in the fourth an anapaest again, then two dactyls in succession, closing with two spondees and the terminal syllable. So this passage also owes its noble ring to its rhythmical structure; and most of the

[179]

that the following passage in theFuneral Speechof Thucydides is composed with dignity and grandeur: “Former speakers on these occasions have usually commended the statesman who caused an oration to form part of this funeral ceremony: they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell.”[162]What has made the composition here so impressive? The fact that the clauses are composed of impressive rhythms. For the three feet which usher in the first clause are spondees, the fourth is an anapaest, the next a spondee once more, then a cretic,—all stately feet. Hence the dignity of the first clause. The next clause, “have usually commended the statesman who caused an oration to form part of this funeral ceremony,”[163]has twohypobacchiias its first feet, a cretic as its third, then again twohypobacchii, and a syllable by which the clause is completed; so that this clause too is naturally dignified, formed as it is of the noblest and most beautiful rhythms.

The third clause, “they have felt it a fitting tribute to men who were brought home for burial from the fields of battle where they fell,” begins with the cretic foot, has an anapaest in the second place, a spondee in the third, in the fourth an anapaest again, then two dactyls in succession, closing with two spondees and the terminal syllable. So this passage also owes its noble ring to its rhythmical structure; and most of the

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