XXIV

ἄλλῳ καθ’ ἓν ἕκαστον τῶν ἐξηριθμημένων ὑπ’ ἐμοῦ κατὰ τὴνπροέκθεσιν τοῦ χαρακτῆρος ἐπιλέγεσθαί τε καὶ σκοπεῖν ἐπὶπαραδειγμάτων κατὰ πολλὴν εὐκαιρίαν καὶ σχολήν· ἐμοὶ δ’οὐκ ἐγχωρεῖ τοῦτο ποιεῖν, ἀλλ’ ἀπόχρη παραδεῖξαι μόνονἀρκούντως ἃ βούλομαι τοῖς δυνησομένοις παρακολουθῆσαι. 5ἑνὸς ἔτι παραθήσομαι λέξιν ἀνδρὸς εἰς τὸν αὐτὸν κατεσκευασμένουχαρακτῆρα, Ἰσοκράτους τοῦ ῥήτορος, ὃν ἐγὼμάλιστα πάντων οἴομαι τῶν πεζῇ λέξει χρησαμένων ταύτηνἀκριβοῦν τὴν ἁρμονίαν. ἔστι δὲ ἡ λέξις ἐκ τοῦ Ἀρεοπαγιτικοῦἥδε· 10πολλοὺς ὑμῶν οἴομαι θαυμάζειν, ἥντινά ποτε γνώμηνἔχων περὶ σωτηρίας τὴν πρόσοδον ἐποιησάμην, ὥσπερτῆς πόλεως ἐν κινδύνοις οὔσης ἢ σφαλερῶς αὐτῇ τῶνπραγμάτων καθεστώτων, ἀλλ’ οὐ πλείους μὲν τριήρεις ἢδιακοσίας κεκτημένης, εἰρήνην δὲ καὶ τὰ περὶ τὴν χώραν 15ἀγούσης καὶ τῶν κατὰ θάλατταν ἀρχούσης, ἔτι δὲ συμμάχουςἐχούσης πολλοὺς μὲν τοὺς ἑτοίμους ἡμῖν ἤν τιδέῃ βοηθήσοντας, πολὺ δὲ πλείους τοὺς τὰς συντάξειςὑποτελοῦντας καὶ τὸ προσταττόμενον ποιοῦντας. ὧνὑπαρχόντων ἡμᾶς μὲν ἄν τις φήσειεν εἰκὸς εἶναι θαρρεῖν 20ὡς πόρρω τῶν κινδύνων ὄντας, τοῖς δ’ ἐχθροῖς τοῖς ἡμετέροιςπροσήκειν δεδιέναι καὶ βουλεύεσθαι περὶ σωτηρίας.ὑμεῖς μὲν οὖν οἶδ’ ὅτι τούτῳ χρώμενοι τῷ λογισμῷ καὶ[243]any one else, at your full leisure and convenience, to take each single point enumerated by me in describing the type, and to examine and review them with illustrations. But I really have no time to do this. It is quite enough simply to give an adequate indication of my views to all who will be able to follow in my steps.I will quote a passage of one more writer who has fashioned himself into the same mould—Isocrates the orator. Of all prose-writers he is, I think, the most finished master of this style of composition. The passage is from theAreopagiticus, as follows:—“Many of you, I imagine, are wondering what can be my view in coming before you to speak on the question of the public safety, as though the State were actually in danger, or its interests imperilled, and as though it did not as a matter of fact possess more than two hundred warships, and were not at peace throughout its borders and supreme at sea, and had not many allies ready to help us in case of need, and many more who regularly pay their contributions and perform their obligation. Under these circumstances it might be said that we have every reason for confidence on the ground that all danger is remote; and that it is our enemies who have reason to be afraid and to form plans for self-preservation. Now you, I know, are inclined on this account

πολλοὺς ὑμῶν οἴομαι θαυμάζειν, ἥντινά ποτε γνώμηνἔχων περὶ σωτηρίας τὴν πρόσοδον ἐποιησάμην, ὥσπερτῆς πόλεως ἐν κινδύνοις οὔσης ἢ σφαλερῶς αὐτῇ τῶνπραγμάτων καθεστώτων, ἀλλ’ οὐ πλείους μὲν τριήρεις ἢδιακοσίας κεκτημένης, εἰρήνην δὲ καὶ τὰ περὶ τὴν χώραν 15ἀγούσης καὶ τῶν κατὰ θάλατταν ἀρχούσης, ἔτι δὲ συμμάχουςἐχούσης πολλοὺς μὲν τοὺς ἑτοίμους ἡμῖν ἤν τιδέῃ βοηθήσοντας, πολὺ δὲ πλείους τοὺς τὰς συντάξειςὑποτελοῦντας καὶ τὸ προσταττόμενον ποιοῦντας. ὧνὑπαρχόντων ἡμᾶς μὲν ἄν τις φήσειεν εἰκὸς εἶναι θαρρεῖν 20ὡς πόρρω τῶν κινδύνων ὄντας, τοῖς δ’ ἐχθροῖς τοῖς ἡμετέροιςπροσήκειν δεδιέναι καὶ βουλεύεσθαι περὶ σωτηρίας.ὑμεῖς μὲν οὖν οἶδ’ ὅτι τούτῳ χρώμενοι τῷ λογισμῷ καὶ

[243]any one else, at your full leisure and convenience, to take each single point enumerated by me in describing the type, and to examine and review them with illustrations. But I really have no time to do this. It is quite enough simply to give an adequate indication of my views to all who will be able to follow in my steps.I will quote a passage of one more writer who has fashioned himself into the same mould—Isocrates the orator. Of all prose-writers he is, I think, the most finished master of this style of composition. The passage is from theAreopagiticus, as follows:—“Many of you, I imagine, are wondering what can be my view in coming before you to speak on the question of the public safety, as though the State were actually in danger, or its interests imperilled, and as though it did not as a matter of fact possess more than two hundred warships, and were not at peace throughout its borders and supreme at sea, and had not many allies ready to help us in case of need, and many more who regularly pay their contributions and perform their obligation. Under these circumstances it might be said that we have every reason for confidence on the ground that all danger is remote; and that it is our enemies who have reason to be afraid and to form plans for self-preservation. Now you, I know, are inclined on this account

[243]

any one else, at your full leisure and convenience, to take each single point enumerated by me in describing the type, and to examine and review them with illustrations. But I really have no time to do this. It is quite enough simply to give an adequate indication of my views to all who will be able to follow in my steps.

I will quote a passage of one more writer who has fashioned himself into the same mould—Isocrates the orator. Of all prose-writers he is, I think, the most finished master of this style of composition. The passage is from theAreopagiticus, as follows:—

“Many of you, I imagine, are wondering what can be my view in coming before you to speak on the question of the public safety, as though the State were actually in danger, or its interests imperilled, and as though it did not as a matter of fact possess more than two hundred warships, and were not at peace throughout its borders and supreme at sea, and had not many allies ready to help us in case of need, and many more who regularly pay their contributions and perform their obligation. Under these circumstances it might be said that we have every reason for confidence on the ground that all danger is remote; and that it is our enemies who have reason to be afraid and to form plans for self-preservation. Now you, I know, are inclined on this account

1 τὴν] τ(ων) P 2 πρόθεσιν F 3 παραδειγμάτων PMV: τῶν παραδειγμάτων F || δὲ F 4 ποιεῖ P || παραδεῖξαι Us.: πᾶσι δεῖξαι FM: δεῖξαι PV 5 ἀρκοῦντος F 6 παραθήσομαι F: παραθήσω PMV || αὐτὸν om. F || κατεσκευασμένου P: κατεσκευασμένον FV: κατεσκευασμένην M 7 ὃν] ἡ F 8 πεζῆ F: πεζῆι τῆι P, MV 9 ἀρεοπαγητικου ἡδε F 11 ὑμῶν] τούτων F || οἴομαι] οἶμαι Isocratis libri 12 ὥσπερ EPMV Isocr.: ὡς περὶ εἰ F 14 καθεστηκότων Isocr. 15 εἰρήνης F || καὶ τὰ PMV Isocr.: τὰ EF 16 [ἐ]χούσης cum litura P, MV || ἔτι ... ἐχούσης om. F 17 τοὺς om. E 18 τοὺς om. PM 19 ὑποτελοῦντας PMV Isocr.: ἐπιτελοῦντας EF 20 ἡμᾶς PMV Isocr.: ὑμᾶς EF 21 ὑμετέροις F 23 ἡμεῖς PV || οἶδ’] οἵ δ’ F6.παραθήσομαι: the Middle, as given by F, is to be preferred (cp.18212). In12214, on the other hand, F gives παρέξω, where the other MSS. supply the right reading παρέξομαι.11. In the English translation of this passage of Isocrates no attempt has been made to reproduce the effects to which Dionysius calls attention: to do so would involve sacrificing equivalence of meaning to equivalence of letter-combinations.—Bircovius compares, in Latin, the opening passage of Cic.pro Caecina: “si, quantum in agro locisque desertis audacia potest, tantum in foro atque in iudiciis impudentia valeret, non minus nunc in caussa cederet A. Caecina Sex. Aebutii impudentiae, quam tum in vi facienda cessit audaciae. verum et illud considerati hominis esse putavit, qua de re iure decertare oporteret, armis non contendere: et hoc constantis, quicum vi et armis certare noluisset, eum iure iudicioque superare.” Batteux (p. 253) quotes from Fléchier’s oratorical picture of M. de Turenne: “Soit qu’il fallût préparer les affaires ou les décider; chercher la victoire avec ardeur, ou l’attendre avec patience; soit qu’il fallût prévenir les desseins des ennemis par la hardiesse, ou dissiper les craintes et les jalousies des alliés par la prudence; soit qu’il fallût se modérer dans les prospérités, ou se soutenir dans les malheurs de la guerre, son âme fut toujours égale. Il ne fit que changer vertus, quand la fortune changeait de face; heureux sans orgueil, malheureux avec dignité. ... Si la licence fut réprimée; si les haines publiques et particulières furent assoupies; si les lois reprirent leur ancienne vigueur; si l’ordre et le repos furent rétablis dans les villes et dans les provinces; si les membres furent heureusement réunis à leur chef; c’est à lui, France, que tu le dois.” Batteux maintains that this passage shows the same qualities of style as Dionysius’ extract from Isocrates.13.ἢ σφαλερῶς: Koraes would read καὶ σφαλερῶς. His note (Isocr.ii. 102) runs: “οὐκ ἀλόγως ὑπενόησεν ὁ Λάγγιος γραπτέον εἶναι, Καὶ σφαλερῶς· ἔοικε δὲ καὶ ὁ Ἰταλὸς μεταφραστής, συμπλεκτικῶς, οὐ διαζευκτικῶς, ἀνεγνωκέναι, ἢ ἀναγνωστέον εἶναι κεκρικέναι, Quasi che la città in alcun pericolo si trovasse, et le cose sue in pessima conditione fossero.”18.συντάξεις: Koraesl.c.κακῶς τὸ ἐμὸν ἀντίγραφον, Συνάξεις. Συντάξεις δὲ λέγει, κατ’ εὐφημισμὸν Ἀττικόν, τοὺς φόρους, ἐπειδή, ὥς φησιν Ἁρποκρατίων (λέξ. Σύνταξις), χαλεπῶς ἔφερον οἱ Ἕλληνες τὸ τῶν φόρων ὄνομα. ὡσαύτως ἡ τῶν Γαλλῶν φωνή, τὴν πρόθεσιν παραλιποῦσα,Taxeὠνόμασε τὴν σύνταξιν, τὴν τοῖς Ἰταλοῖς καλουμένηνTassa, καὶ ῥῆμα ἐποίησεTaxer(Ἰταλ.Tassare), ἐπὶ τοῦ τάσσειν καὶ ἐπιβάλλειν τοὺς φόρους· ὅθεν ἡ τῶν Γραικῶν φωνή, τὰ ἴδια παρὰ τῶν ἀλλοτρίων λαμβάνουσα, ἐσχημάτισε τὰ χυδαῖα,ΤάσσακαὶΤασσάρω.

6.παραθήσομαι: the Middle, as given by F, is to be preferred (cp.18212). In12214, on the other hand, F gives παρέξω, where the other MSS. supply the right reading παρέξομαι.

11. In the English translation of this passage of Isocrates no attempt has been made to reproduce the effects to which Dionysius calls attention: to do so would involve sacrificing equivalence of meaning to equivalence of letter-combinations.—Bircovius compares, in Latin, the opening passage of Cic.pro Caecina: “si, quantum in agro locisque desertis audacia potest, tantum in foro atque in iudiciis impudentia valeret, non minus nunc in caussa cederet A. Caecina Sex. Aebutii impudentiae, quam tum in vi facienda cessit audaciae. verum et illud considerati hominis esse putavit, qua de re iure decertare oporteret, armis non contendere: et hoc constantis, quicum vi et armis certare noluisset, eum iure iudicioque superare.” Batteux (p. 253) quotes from Fléchier’s oratorical picture of M. de Turenne: “Soit qu’il fallût préparer les affaires ou les décider; chercher la victoire avec ardeur, ou l’attendre avec patience; soit qu’il fallût prévenir les desseins des ennemis par la hardiesse, ou dissiper les craintes et les jalousies des alliés par la prudence; soit qu’il fallût se modérer dans les prospérités, ou se soutenir dans les malheurs de la guerre, son âme fut toujours égale. Il ne fit que changer vertus, quand la fortune changeait de face; heureux sans orgueil, malheureux avec dignité. ... Si la licence fut réprimée; si les haines publiques et particulières furent assoupies; si les lois reprirent leur ancienne vigueur; si l’ordre et le repos furent rétablis dans les villes et dans les provinces; si les membres furent heureusement réunis à leur chef; c’est à lui, France, que tu le dois.” Batteux maintains that this passage shows the same qualities of style as Dionysius’ extract from Isocrates.

13.ἢ σφαλερῶς: Koraes would read καὶ σφαλερῶς. His note (Isocr.ii. 102) runs: “οὐκ ἀλόγως ὑπενόησεν ὁ Λάγγιος γραπτέον εἶναι, Καὶ σφαλερῶς· ἔοικε δὲ καὶ ὁ Ἰταλὸς μεταφραστής, συμπλεκτικῶς, οὐ διαζευκτικῶς, ἀνεγνωκέναι, ἢ ἀναγνωστέον εἶναι κεκρικέναι, Quasi che la città in alcun pericolo si trovasse, et le cose sue in pessima conditione fossero.”

18.συντάξεις: Koraesl.c.κακῶς τὸ ἐμὸν ἀντίγραφον, Συνάξεις. Συντάξεις δὲ λέγει, κατ’ εὐφημισμὸν Ἀττικόν, τοὺς φόρους, ἐπειδή, ὥς φησιν Ἁρποκρατίων (λέξ. Σύνταξις), χαλεπῶς ἔφερον οἱ Ἕλληνες τὸ τῶν φόρων ὄνομα. ὡσαύτως ἡ τῶν Γαλλῶν φωνή, τὴν πρόθεσιν παραλιποῦσα,Taxeὠνόμασε τὴν σύνταξιν, τὴν τοῖς Ἰταλοῖς καλουμένηνTassa, καὶ ῥῆμα ἐποίησεTaxer(Ἰταλ.Tassare), ἐπὶ τοῦ τάσσειν καὶ ἐπιβάλλειν τοὺς φόρους· ὅθεν ἡ τῶν Γραικῶν φωνή, τὰ ἴδια παρὰ τῶν ἀλλοτρίων λαμβάνουσα, ἐσχημάτισε τὰ χυδαῖα,ΤάσσακαὶΤασσάρω.

τῆς ἐμῆς προσόδου καταφρονεῖτε καὶ πᾶσαν ἐλπίζετε τὴνἙλλάδα ταύτῃ τῇ δυνάμει κατασχήσειν· ἐγὼ δὲ δι’αὐτὰ ταῦτα τυγχάνω δεδιώς. ὁρῶ γὰρ τῶν πόλεων τὰςἄριστα πράττειν οἰομένας κάκιστα βουλευομένας, καὶ τὰςμάλιστα θαρρούσας εἰς πλείστους κινδύνους καθισταμένας. 5αἴτιον δὲ τούτων ἐστίν, ὅτι τῶν ἀγαθῶν καὶ τῶν κακῶνοὐδὲν αὐτὸ καθ’ αὑτὸ παραγίνεται τοῖς ἀνθρώποις, ἀλλὰσυντέτακται καὶ συνακολουθεῖ τοῖς μὲν πλούτοις καὶ ταῖςδυναστείαις ἄνοια καὶ μετὰ ταύτης ἀκολασία, ταῖς δὲἐνδείαις καὶ ταῖς ταπεινότησιν σωφροσύνη καὶ πολλὴ 10μετριότης. ὥστε χαλεπὸν εἶναι διαγνῶναι, ποτέραν ἄντις δέξαιτο τῶν μερίδων τούτων τοῖς παισὶ τοῖς αὑτοῦκαταλιπεῖν· ἴδοιμεν γὰρ ἂν ἐκ μὲν τῆς φαυλοτέρας εἶναιδοκούσης ἐπὶ τὸ βέλτιον ὡς ἐπὶ τὸ πολὺ τὰς πράξειςἐπιδιδούσας, ἐκ δὲ τῆς κρείττονος φαινομένης ἐπὶ τὸ 15χεῖρον εἰθισμένας μεταπίπτειν.ταῦθ’ ὅτι συνήλειπταί τε καὶ συγκέχρωσται, καὶ οὐ καθ’ἓν ἕκαστον ὄνομα ἐν ἕδρᾳ περιφανεῖ καὶ πλατείᾳ βέβηκενοὐδὲ μακροῖς τοῖς μεταξὺ χρόνοις διείργεται καὶ διαβέβηκενἀπ’ ἀλλήλων, ἀλλ’ ἐν κινήσει τε ὄντα φαίνεται καὶ φορᾷ καὶ 20ῥύσει συνεχεῖ, πραεῖαί τε αὐτῶν εἰσι καὶ μαλακαὶ καὶπροπετεῖς αἱ συνάπτουσαι τὴν λέξιν ἁρμονίαι, τὸ ἄλογονἐπιμαρτυρεῖ τῆς ἀκοῆς πάθος. ὅτι δ’ οὐκ ἄλλα τινὰ τούτωνἐστὶν αἴτια ἢ τὰ προειρημένα ὑπ’ ἐμοῦ περὶ τῆς ἀγωγῆςταύτης τῶν λόγων, ῥᾴδιον ἰδεῖν. φωνηέντων μὲν γὰρ ἀντιτυπίαν 25οὐκ ἂν εὕροι τις οὐδεμίαν ἐν γοῦν οἷς παρεθέμηνἀριθμοῖς, οἴομαι δ’ οὐδ’ ἐν ὅλῳ τῷ λόγῳ, πλὴν εἴ τί μεδιαλέληθεν· ἡμιφώνων δὲ καὶ ἀφώνων ὀλίγας καὶ οὐ πάνυ[245]to make light of my appeal; you expect to maintain supremacy over the whole of Greece by means of your existing forces. But it is precisely on these grounds that I really am alarmed. I observe that it is those States which think they are at the height of prosperity that adopt the worst policy, and that it is the most confident that incur the greatest danger. The reason is that no good or evil fortune comes to men entirely by itself: folly and its mate intemperance have been appointed to wait on wealth and power, self-restraint and great moderation to attend on poverty and low estate. So that it is hard to decide which of these two lots a man would desire to bequeath to his children, since we can see that from what is popularly regarded as the inferior condition men’s fortunes commonly improve, while from that which is apparently the better they usually decline and fall.”[178]The instinctive perception of the ear testifies that these words are run and blended together; that they do not individually stand on a broad foundation which gives an all-round view of each; and that they are not separated by long time-intervals and planted far apart from one another, but are plainly in a state of motion, being borne onwards in an unbroken stream, while the links which bind the passage together are gentle and soft and flowing. And it is easy to see that the sole cause lies in the character of this style as I have previously described it. For no dissonance of vowels will be found, at any rate in the harmonious clauses which I have quoted, nor any, I think, in the entire speech, unless some instance has escaped my notice. There are also few dissonances of semi-vowels and mutes, and those not very glaring or

ταῦθ’ ὅτι συνήλειπταί τε καὶ συγκέχρωσται, καὶ οὐ καθ’ἓν ἕκαστον ὄνομα ἐν ἕδρᾳ περιφανεῖ καὶ πλατείᾳ βέβηκενοὐδὲ μακροῖς τοῖς μεταξὺ χρόνοις διείργεται καὶ διαβέβηκενἀπ’ ἀλλήλων, ἀλλ’ ἐν κινήσει τε ὄντα φαίνεται καὶ φορᾷ καὶ 20ῥύσει συνεχεῖ, πραεῖαί τε αὐτῶν εἰσι καὶ μαλακαὶ καὶπροπετεῖς αἱ συνάπτουσαι τὴν λέξιν ἁρμονίαι, τὸ ἄλογονἐπιμαρτυρεῖ τῆς ἀκοῆς πάθος. ὅτι δ’ οὐκ ἄλλα τινὰ τούτωνἐστὶν αἴτια ἢ τὰ προειρημένα ὑπ’ ἐμοῦ περὶ τῆς ἀγωγῆςταύτης τῶν λόγων, ῥᾴδιον ἰδεῖν. φωνηέντων μὲν γὰρ ἀντιτυπίαν 25οὐκ ἂν εὕροι τις οὐδεμίαν ἐν γοῦν οἷς παρεθέμηνἀριθμοῖς, οἴομαι δ’ οὐδ’ ἐν ὅλῳ τῷ λόγῳ, πλὴν εἴ τί μεδιαλέληθεν· ἡμιφώνων δὲ καὶ ἀφώνων ὀλίγας καὶ οὐ πάνυ

[245]to make light of my appeal; you expect to maintain supremacy over the whole of Greece by means of your existing forces. But it is precisely on these grounds that I really am alarmed. I observe that it is those States which think they are at the height of prosperity that adopt the worst policy, and that it is the most confident that incur the greatest danger. The reason is that no good or evil fortune comes to men entirely by itself: folly and its mate intemperance have been appointed to wait on wealth and power, self-restraint and great moderation to attend on poverty and low estate. So that it is hard to decide which of these two lots a man would desire to bequeath to his children, since we can see that from what is popularly regarded as the inferior condition men’s fortunes commonly improve, while from that which is apparently the better they usually decline and fall.”[178]The instinctive perception of the ear testifies that these words are run and blended together; that they do not individually stand on a broad foundation which gives an all-round view of each; and that they are not separated by long time-intervals and planted far apart from one another, but are plainly in a state of motion, being borne onwards in an unbroken stream, while the links which bind the passage together are gentle and soft and flowing. And it is easy to see that the sole cause lies in the character of this style as I have previously described it. For no dissonance of vowels will be found, at any rate in the harmonious clauses which I have quoted, nor any, I think, in the entire speech, unless some instance has escaped my notice. There are also few dissonances of semi-vowels and mutes, and those not very glaring or

[245]

to make light of my appeal; you expect to maintain supremacy over the whole of Greece by means of your existing forces. But it is precisely on these grounds that I really am alarmed. I observe that it is those States which think they are at the height of prosperity that adopt the worst policy, and that it is the most confident that incur the greatest danger. The reason is that no good or evil fortune comes to men entirely by itself: folly and its mate intemperance have been appointed to wait on wealth and power, self-restraint and great moderation to attend on poverty and low estate. So that it is hard to decide which of these two lots a man would desire to bequeath to his children, since we can see that from what is popularly regarded as the inferior condition men’s fortunes commonly improve, while from that which is apparently the better they usually decline and fall.”[178]

The instinctive perception of the ear testifies that these words are run and blended together; that they do not individually stand on a broad foundation which gives an all-round view of each; and that they are not separated by long time-intervals and planted far apart from one another, but are plainly in a state of motion, being borne onwards in an unbroken stream, while the links which bind the passage together are gentle and soft and flowing. And it is easy to see that the sole cause lies in the character of this style as I have previously described it. For no dissonance of vowels will be found, at any rate in the harmonious clauses which I have quoted, nor any, I think, in the entire speech, unless some instance has escaped my notice. There are also few dissonances of semi-vowels and mutes, and those not very glaring or

2 ταύτηι (ταύτην M) τῆι δυνάμει P, MV Isocr.: τῆι δυνάμει ταύτη F, E 5 πλείστους κινδύνους PM Isocr.: πλείους κινδύνους V: πλεῖστον κίνδυνον EF 8 πλουσίοις F (cum Isocratis codd. quibusdam) 9 ἄνοια ... ἐνδείαις om. F || ἀκολασίαι PMV 10 σωφροσύνη EPMV Isocr.: καὶ σωφροσύνη F 12 δέξαιτο PMV Isocr.: εὔξαιτο EF || τῶν μερίδων τούτων PMV Isocr.: τούτων τῶν μερίδων EF || αὐτοῦ libri 13 καταλιπεῖν PMV Isocr.: om. EF || ἴδοιμεν PV Isocr.: ἴδοι μὲν M: ἴδοι EF || ἂν om. F: ἄν τις E || εἶναι δοκούσης PMV Isocr.: om. EF 17 συνείληπταί τε EPMV: συνήλειπτέται F || οὐ καθ’ ἓν PMV: οὐδὲν EF 18 ἕδρα ... πλατεία (sine iota) P 19 οὐδὲ EF: οὐδ’ ἐν PMV 20 φορᾶι P 21 τε ... μαλακαὶ om. F 22 προπετεῖς PV: προσφυεῖς FM γρ V 25 ῥαίδιον P 26 εὕροι F: om. PM, post οὐδεμίαν ponit V 27 οὐθ F || ὅλωι τωῖ λόγωι P 28 πάνυ PMV: σφόδρα F17 ff. When expressing admiration, Dionysius often tends (as here) to reproduce the style admired.—For further estimates of Isokrates’s style reference may be made to Dionysius’ separate essay on Isokrates (in hisde Antiq. Or.); JebbAtt. Or.ii. 54 ff.; BlassAtt. Bereds.ii. 131 ff.19. The reading οὐδ’ ἐν is possibly right, viz. ‘at long time-intervals’; cp.2225.

17 ff. When expressing admiration, Dionysius often tends (as here) to reproduce the style admired.—For further estimates of Isokrates’s style reference may be made to Dionysius’ separate essay on Isokrates (in hisde Antiq. Or.); JebbAtt. Or.ii. 54 ff.; BlassAtt. Bereds.ii. 131 ff.

19. The reading οὐδ’ ἐν is possibly right, viz. ‘at long time-intervals’; cp.2225.

ἐκφανεῖς οὐδὲ συνεχεῖς. ταῦτα δὲ τῆς εὐεπείας αἴτια τῇ λέξειγέγονε καὶ ἡ τῶν κώλων συμμετρία πρὸς ἄλληλα, τῶν τεπεριόδων ὁ κύκλος ἔχων τι περιφερὲς καὶ εὔγραμμον καὶτεταμιευμένον ἄκρως ταῖς συμμετρίαις. ὑπὲρ ἅπαντα δὲταῦτα οἱ σχηματισμοὶ πολὺ τὸ νεαρὸν ἔχοντες· εἰσὶ γὰρ 5ἀντίθετοι καὶ παρόμοιοι καὶ πάρισοι καὶ οἱ παραπλήσιοιτούτοις, ἐξ ὧν ἡ πανηγυρικὴ διάλεκτος ἀποτελεῖται. οὐκἀναγκαῖον εἶναι δοκῶ μηκύνειν καὶ τὰ λοιπὰ διεξιών· ἱκανῶςγὰρ εἴρηται καὶ περὶ ταύτης τῆς συνθέσεως ὅσα γε ἥρμοττεν.XXIVἡ δὲ τρίτη καὶ μέση τῶν εἰρημένων δυεῖν ἁρμονιῶν, ἣν 10εὔκρατον καλῶ σπάνει κυρίου τε καὶ κρείττονος ὀνόματος,σχῆμα μὲν ἴδιον οὐδὲν ἔχει, κεκέρασται δέ πως ἐξ ἐκείνωνμετρίως καὶ ἔστιν ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων.αὕτη δοκεῖ μοι τὰ πρωτεῖα ἐπιτηδεία εἶναι φέρεσθαι, ἐπειδὴμεσότης μέν τίς ἐστι (μεσότης δὲ ἡ ἀρετὴ καὶ βίων καὶ 15ἔργων [καὶ τεχνῶν], ὡς Ἀριστοτέλει τε δοκεῖ καὶ τοῖς ἄλλοιςὅσοι κατ’ ἐκείνην τὴν αἵρεσιν φιλοσοφοῦσιν), ὁρᾶται δ’,ὥσπερ ἔφην καὶ πρότερον, οὐ κατὰ ἀπαρτισμὸν ἀλλ’ ἐνπλάτει, καὶ τὰς εἰδικὰς ἔχει διαφορὰς πολλάς· οἵ τε χρησάμενοι[247]continuous. The euphonious flow of the passage is due to these circumstances, combined with the balance of the clauses and the cycle of the periods which has about it something rounded and well-defined and perfectly regulated in respect of symmetrical adjustment. Above all there are the rhetorical figures, full of youthful exuberance:antithesis,parallelism in sound,parallelism in structure, and others like these, by which the language of panegyric is brought to its highest perfection. I do not think it necessary to lengthen the book by dealing with the points that are still untouched. This kind of composition also has now received adequate treatment on all points where it was appropriate.CHAPTER XXIVHARMONIOUSLY-BLENDED, OR INTERMEDIATE, COMPOSITIONThe third kind of composition is the mean between the two already mentioned. I call itharmoniously blendedfor lack of a proper and better name. It has no form peculiar to itself, but is a sort of judicious blend of the two others and a selection from the most effective features of each. This kind, it seems to me, deserves to win the first prize; for it is a sort of mean, and excellence in life and conduct [and the arts] is a mean, according to Aristotle and the other philosophers of his school. As I said before, it is to be viewed not narrowly but broadly. It has many specific varieties. Those who have adopted it have not all had the same

ἡ δὲ τρίτη καὶ μέση τῶν εἰρημένων δυεῖν ἁρμονιῶν, ἣν 10εὔκρατον καλῶ σπάνει κυρίου τε καὶ κρείττονος ὀνόματος,σχῆμα μὲν ἴδιον οὐδὲν ἔχει, κεκέρασται δέ πως ἐξ ἐκείνωνμετρίως καὶ ἔστιν ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων.αὕτη δοκεῖ μοι τὰ πρωτεῖα ἐπιτηδεία εἶναι φέρεσθαι, ἐπειδὴμεσότης μέν τίς ἐστι (μεσότης δὲ ἡ ἀρετὴ καὶ βίων καὶ 15ἔργων [καὶ τεχνῶν], ὡς Ἀριστοτέλει τε δοκεῖ καὶ τοῖς ἄλλοιςὅσοι κατ’ ἐκείνην τὴν αἵρεσιν φιλοσοφοῦσιν), ὁρᾶται δ’,ὥσπερ ἔφην καὶ πρότερον, οὐ κατὰ ἀπαρτισμὸν ἀλλ’ ἐνπλάτει, καὶ τὰς εἰδικὰς ἔχει διαφορὰς πολλάς· οἵ τε χρησάμενοι

[247]continuous. The euphonious flow of the passage is due to these circumstances, combined with the balance of the clauses and the cycle of the periods which has about it something rounded and well-defined and perfectly regulated in respect of symmetrical adjustment. Above all there are the rhetorical figures, full of youthful exuberance:antithesis,parallelism in sound,parallelism in structure, and others like these, by which the language of panegyric is brought to its highest perfection. I do not think it necessary to lengthen the book by dealing with the points that are still untouched. This kind of composition also has now received adequate treatment on all points where it was appropriate.CHAPTER XXIVHARMONIOUSLY-BLENDED, OR INTERMEDIATE, COMPOSITIONThe third kind of composition is the mean between the two already mentioned. I call itharmoniously blendedfor lack of a proper and better name. It has no form peculiar to itself, but is a sort of judicious blend of the two others and a selection from the most effective features of each. This kind, it seems to me, deserves to win the first prize; for it is a sort of mean, and excellence in life and conduct [and the arts] is a mean, according to Aristotle and the other philosophers of his school. As I said before, it is to be viewed not narrowly but broadly. It has many specific varieties. Those who have adopted it have not all had the same

[247]

continuous. The euphonious flow of the passage is due to these circumstances, combined with the balance of the clauses and the cycle of the periods which has about it something rounded and well-defined and perfectly regulated in respect of symmetrical adjustment. Above all there are the rhetorical figures, full of youthful exuberance:antithesis,parallelism in sound,parallelism in structure, and others like these, by which the language of panegyric is brought to its highest perfection. I do not think it necessary to lengthen the book by dealing with the points that are still untouched. This kind of composition also has now received adequate treatment on all points where it was appropriate.

The third kind of composition is the mean between the two already mentioned. I call itharmoniously blendedfor lack of a proper and better name. It has no form peculiar to itself, but is a sort of judicious blend of the two others and a selection from the most effective features of each. This kind, it seems to me, deserves to win the first prize; for it is a sort of mean, and excellence in life and conduct [and the arts] is a mean, according to Aristotle and the other philosophers of his school. As I said before, it is to be viewed not narrowly but broadly. It has many specific varieties. Those who have adopted it have not all had the same

1 δὲ PMV: δὴ F || εὐπρεπείας P 2 τε om. P 3 ἔχων τι] ἔχοντι P || περιφερὲς F: περιφανὲς PMV || καὶ εὐθύγραμμον F 4 ἄκρως F: ἄκραις PMV 5 πολὺ F: οἱ πολὺ PM: οἱ πολλοὶ V 7 συντελεῖται cum rasura P 8 δοκῶ FP: μοι δοκῶ MV 9 συνθέσεως FP: θέσεως MV 10 τρίτη EF: τρίτη τε PMV || δυεῖν FPM: δυοῖν V 11 εὔκρατον F: κοινὴν PMV || σπάνει τε PMV: ἐγὼ ἀντὶ F: τε delevit Usenerus || τε F: om. PMV 12 δή P || πως PMV: ὡς EF || ἐκείνων] ἐκείνου F 13 ἑκατέραι P || κρατίστων] κρατίστη· ὧν F: κρατίστων· ὧν E 14 αὐτὴ PV 15 τις ἐστὶ E: τις F: ἐστι PMV 16 καὶ τεχνῶν om. FE 17 ὅσοι] οἳ F || αἴρεσιν FP || δὲ PMVE 19 εἰδικὰς EF: ἰδίας PMV8.καὶ: i.e. ‘by going through details as well (as by taking this general view).’9. This chapter (c. 23) should be compared throughout with chapter 40 of thede Demosth., which begins ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη, κτλ.10. The treatment of thethird harmonyin this chapter seems somewhat curt and vague.12. The third style (Dionysius means) has no special character of its own: it is a combination of the best things in the two others: this, in fact, constitutes its superiority, since, according to Aristotle, virtue is a mean (Aristot.Eth. Nic.ii. 5, 1106 b 27 μεσότης τις ἄρα ἐστὶν ἡ ἀρετή, στοχαστική γε οὖσα τοῦ μέσου).13.ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων: it is interesting to find Homer represented (2488-10) as a kind ofeclecticin style. There are many indications that Dionysius regards him as a diligent literary craftsman. See generallyde Demosth.c. 41 init. τῆς δὲ τρίτης ἁρμονίας ... ῥήτορες.16.καὶ τεχνῶν: it may possibly be better to bracket these words, as they are omitted by F as well as by E. But their retention would not be inconsistent with Aristotelian doctrine. Cp.Eth. Nic.ii. 5, 1106 b 8 εἰ δὴ πᾶσα ἐπιστήμη οὕτω τὸ ἔργον εὖ ἐπιτελεῖ, πρὸς τὸ μέσον βλέπουσα καὶ εἰς τοῦτο ἄγουσα τὰ ἔργα (ὅθεν εἰώθασιν ἐπιλέγειν τοῖς εὖ ἔχουσιν ἔργοις ὅτι οὔτ’ ἀφελεῖν ἔστιν οὔτε προσθεῖναι, ὡς τῆς μὲν ὑπερβολῆς καὶ τῆς ἐλλείψεως φθειρούσης τὸ εὖ, τῆς δὲ μεσότητος σῳζούσης, οἱ δ’ ἀγαθοὶ τεχνῖται, ὡς λέγομεν, πρὸς τοῦτο βλέποντες ἐργάζονται), ἡ δ’ ἀρετὴ πάσης τέχνης ἀκριβεστέρα καὶ ἀμείνων ἐστίν, ὥσπερ καὶ ἡ φύσις, τοῦ μέσου ἂν εἴη στοχαστική. Reference may also be made toPoliticsiii. 13, 1284 b 7-13, and toEth. Eud.ii. 1220 b 21 ἐν ἅπαντι συνεχεῖ καὶ διαιρετῷ ἐστιν ὑπεροχὴ καὶ ἔλλειψις καὶ μέσον, καὶ ταῦτα ἢ πρὸς ἄλληλα ἢ πρὸς ἡμᾶς, οἷον ἐν γυμναστικῇ, ἐν ἰατρικῇ, ἐν οἰκοδομικῇ, ἐν κυβερνητικῇ, καὶ ἐν ὁποιᾳοῦν πράξει, καὶ ἐπιστημονικῇ καὶ ἀνεπιστημονικῇ, καὶ τεχνικῇ καὶ ἀτέχνῳ, κτλ.18.πρότερον: cp.2106-10.19. Batteux (p. 257) well explains Dionysius’ meaning, and suggests the names of certain French authors who may be held to exemplify and adorn the ‘mean’ (‘middle’) style: “Denys d’Halicarnasse observe avec justesse que le mélange des deux extrêmes dans la composition mixte ne se fait pas dans un milieu précis, mais avec une certaine latitude; qu’on ne pouvait être plus près et plus loin de l’un des deux extrêmes; que le même auteur pouvait l’être plus dans une partie de son ouvrage, et l’être moins dans une autre partie. C’est ce que nous venons d’observer dans l’oraison funèbre de M. de Turenne, et qu’ainsi il n’est pas aisé de fixer avec précision la place des auteurs qui tiennent le milieu entre les deux compositions. Avec cette restriction, nous pouvons placer dans le milieu Fénelon, Racine, Despréaux, Molière, La Fontaine, Voltaire, qui ont les deux mérites de la force et de l’élégance, qui ont les nerfs et la grâce, les fruits et les fleurs.”

8.καὶ: i.e. ‘by going through details as well (as by taking this general view).’

9. This chapter (c. 23) should be compared throughout with chapter 40 of thede Demosth., which begins ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη, κτλ.

10. The treatment of thethird harmonyin this chapter seems somewhat curt and vague.

12. The third style (Dionysius means) has no special character of its own: it is a combination of the best things in the two others: this, in fact, constitutes its superiority, since, according to Aristotle, virtue is a mean (Aristot.Eth. Nic.ii. 5, 1106 b 27 μεσότης τις ἄρα ἐστὶν ἡ ἀρετή, στοχαστική γε οὖσα τοῦ μέσου).

13.ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων: it is interesting to find Homer represented (2488-10) as a kind ofeclecticin style. There are many indications that Dionysius regards him as a diligent literary craftsman. See generallyde Demosth.c. 41 init. τῆς δὲ τρίτης ἁρμονίας ... ῥήτορες.

16.καὶ τεχνῶν: it may possibly be better to bracket these words, as they are omitted by F as well as by E. But their retention would not be inconsistent with Aristotelian doctrine. Cp.Eth. Nic.ii. 5, 1106 b 8 εἰ δὴ πᾶσα ἐπιστήμη οὕτω τὸ ἔργον εὖ ἐπιτελεῖ, πρὸς τὸ μέσον βλέπουσα καὶ εἰς τοῦτο ἄγουσα τὰ ἔργα (ὅθεν εἰώθασιν ἐπιλέγειν τοῖς εὖ ἔχουσιν ἔργοις ὅτι οὔτ’ ἀφελεῖν ἔστιν οὔτε προσθεῖναι, ὡς τῆς μὲν ὑπερβολῆς καὶ τῆς ἐλλείψεως φθειρούσης τὸ εὖ, τῆς δὲ μεσότητος σῳζούσης, οἱ δ’ ἀγαθοὶ τεχνῖται, ὡς λέγομεν, πρὸς τοῦτο βλέποντες ἐργάζονται), ἡ δ’ ἀρετὴ πάσης τέχνης ἀκριβεστέρα καὶ ἀμείνων ἐστίν, ὥσπερ καὶ ἡ φύσις, τοῦ μέσου ἂν εἴη στοχαστική. Reference may also be made toPoliticsiii. 13, 1284 b 7-13, and toEth. Eud.ii. 1220 b 21 ἐν ἅπαντι συνεχεῖ καὶ διαιρετῷ ἐστιν ὑπεροχὴ καὶ ἔλλειψις καὶ μέσον, καὶ ταῦτα ἢ πρὸς ἄλληλα ἢ πρὸς ἡμᾶς, οἷον ἐν γυμναστικῇ, ἐν ἰατρικῇ, ἐν οἰκοδομικῇ, ἐν κυβερνητικῇ, καὶ ἐν ὁποιᾳοῦν πράξει, καὶ ἐπιστημονικῇ καὶ ἀνεπιστημονικῇ, καὶ τεχνικῇ καὶ ἀτέχνῳ, κτλ.

18.πρότερον: cp.2106-10.

19. Batteux (p. 257) well explains Dionysius’ meaning, and suggests the names of certain French authors who may be held to exemplify and adorn the ‘mean’ (‘middle’) style: “Denys d’Halicarnasse observe avec justesse que le mélange des deux extrêmes dans la composition mixte ne se fait pas dans un milieu précis, mais avec une certaine latitude; qu’on ne pouvait être plus près et plus loin de l’un des deux extrêmes; que le même auteur pouvait l’être plus dans une partie de son ouvrage, et l’être moins dans une autre partie. C’est ce que nous venons d’observer dans l’oraison funèbre de M. de Turenne, et qu’ainsi il n’est pas aisé de fixer avec précision la place des auteurs qui tiennent le milieu entre les deux compositions. Avec cette restriction, nous pouvons placer dans le milieu Fénelon, Racine, Despréaux, Molière, La Fontaine, Voltaire, qui ont les deux mérites de la force et de l’élégance, qui ont les nerfs et la grâce, les fruits et les fleurs.”

αὐτῇ οὐ τὰ αὐτὰ πάντες οὐδ’ ὁμοίως ἐπετήδευσαν, ἀλλ’οἱ μὲν ταῦτα μᾶλλον, οἱ δ’ ἐκεῖνα, ἐπέτεινάν τε καὶ ἀνῆκανἄλλως ἄλλοι τὰ αὐτά, καὶ πάντες ἐγένοντο λόγου ἄξιοι κατὰπάσας τὰς ἰδέας τῶν λόγων. κορυφὴ μὲν οὖν ἁπάντων καὶσκοπός, 5ἐξ οὗ περ πάντες ποταμοὶ καὶ πᾶσα θάλασσακαὶ πᾶσαι κρῆναι,δικαίως ἂν Ὅμηρος λέγοιτο. πᾶς γὰρ αὐτῷ τόπος, ὅτου τιςἂν ἅψηται, ταῖς τε αὐστηραῖς καὶ ταῖς γλαφυραῖς ἁρμονίαιςεἰς ἄκρον διαπεποίκιλται. τῶν δ’ ἄλλων ὅσοι τὴν αὐτὴν 10μεσότητα ἐπετήδευσαν, ὕστεροι μὲν Ὁμήρου μακρῷ παρ’ἐκεῖνον ἐξεταζόμενοι φαίνοιντ’ ἄν, καθ’ ἑαυτοὺς δὲ εἰ θεωροίητις αὐτούς, ἀξιοθέατοι, μελοποιῶν μὲν Στησίχορός τε καὶἈλκαῖος, τραγῳδοποιῶν δὲ Σοφοκλῆς, συγγραφέων δὲ Ἡρόδοτος,ῥητόρων δὲ Δημοσθένης, φιλοσόφων δὲ κατ’ ἐμὴν δόξαν Δημόκριτός 15τε καὶ Πλάτων καὶ Ἀριστοτέλης· τούτων γὰρἑτέρους εὑρεῖν ἀμήχανον ἄμεινον κεράσαντας τοὺς λόγους. καὶπερὶ μὲν τῶν χαρακτήρων ταῦθ’ ἱκανά. παραδείγματα γὰρτούτων οὐκ οἴομαι δεῖν φέρειν, φανερῶν πάνυ ὄντων καὶ οὐδὲνδεομένων λόγου. 20εἰ δέ τινι δοκεῖ καὶ πόνου πολλοῦ ταῦτα καὶ πραγματείας[249]aims nor the same methods; some have made more use of this method, others of that; while the same methods have been pursued with less or greater vigour by different writers, who have yet all achieved eminence in the various walks of literature. Now he who towers conspicuous above them all,Out of whose fulness all rivers, and every sea, have birth,And all upleaping fountains,[179]is, we must admit, Homer. For whatever passage you like to take in him has had its manifold charms brought to perfection by a union of the severe and the polished forms of arrangement. Of the other writers who have cultivated the same golden mean, all will be found to be far inferior to Homer when measured by his standard, but still men of eminence when regarded in themselves: among lyric poets Stesichorus and Alcaeus, among tragedians Sophocles, among historians Herodotus, among orators Demosthenes, and among philosophers (in my opinion) Democritus, Plato, and Aristotle. It is impossible to find authors who have succeeded better in blending their writings into harmonious wholes. As regards types of composition the foregoing remarks will suffice. I do not think it necessary to quote specimen passages from the authors just mentioned, since they are known to all and need no illustration.Now if any one thinks that these things are worth much toil

ἐξ οὗ περ πάντες ποταμοὶ καὶ πᾶσα θάλασσακαὶ πᾶσαι κρῆναι,

δικαίως ἂν Ὅμηρος λέγοιτο. πᾶς γὰρ αὐτῷ τόπος, ὅτου τιςἂν ἅψηται, ταῖς τε αὐστηραῖς καὶ ταῖς γλαφυραῖς ἁρμονίαιςεἰς ἄκρον διαπεποίκιλται. τῶν δ’ ἄλλων ὅσοι τὴν αὐτὴν 10μεσότητα ἐπετήδευσαν, ὕστεροι μὲν Ὁμήρου μακρῷ παρ’ἐκεῖνον ἐξεταζόμενοι φαίνοιντ’ ἄν, καθ’ ἑαυτοὺς δὲ εἰ θεωροίητις αὐτούς, ἀξιοθέατοι, μελοποιῶν μὲν Στησίχορός τε καὶἈλκαῖος, τραγῳδοποιῶν δὲ Σοφοκλῆς, συγγραφέων δὲ Ἡρόδοτος,ῥητόρων δὲ Δημοσθένης, φιλοσόφων δὲ κατ’ ἐμὴν δόξαν Δημόκριτός 15τε καὶ Πλάτων καὶ Ἀριστοτέλης· τούτων γὰρἑτέρους εὑρεῖν ἀμήχανον ἄμεινον κεράσαντας τοὺς λόγους. καὶπερὶ μὲν τῶν χαρακτήρων ταῦθ’ ἱκανά. παραδείγματα γὰρτούτων οὐκ οἴομαι δεῖν φέρειν, φανερῶν πάνυ ὄντων καὶ οὐδὲνδεομένων λόγου. 20εἰ δέ τινι δοκεῖ καὶ πόνου πολλοῦ ταῦτα καὶ πραγματείας

[249]aims nor the same methods; some have made more use of this method, others of that; while the same methods have been pursued with less or greater vigour by different writers, who have yet all achieved eminence in the various walks of literature. Now he who towers conspicuous above them all,Out of whose fulness all rivers, and every sea, have birth,And all upleaping fountains,[179]is, we must admit, Homer. For whatever passage you like to take in him has had its manifold charms brought to perfection by a union of the severe and the polished forms of arrangement. Of the other writers who have cultivated the same golden mean, all will be found to be far inferior to Homer when measured by his standard, but still men of eminence when regarded in themselves: among lyric poets Stesichorus and Alcaeus, among tragedians Sophocles, among historians Herodotus, among orators Demosthenes, and among philosophers (in my opinion) Democritus, Plato, and Aristotle. It is impossible to find authors who have succeeded better in blending their writings into harmonious wholes. As regards types of composition the foregoing remarks will suffice. I do not think it necessary to quote specimen passages from the authors just mentioned, since they are known to all and need no illustration.Now if any one thinks that these things are worth much toil

[249]

aims nor the same methods; some have made more use of this method, others of that; while the same methods have been pursued with less or greater vigour by different writers, who have yet all achieved eminence in the various walks of literature. Now he who towers conspicuous above them all,

Out of whose fulness all rivers, and every sea, have birth,And all upleaping fountains,[179]

is, we must admit, Homer. For whatever passage you like to take in him has had its manifold charms brought to perfection by a union of the severe and the polished forms of arrangement. Of the other writers who have cultivated the same golden mean, all will be found to be far inferior to Homer when measured by his standard, but still men of eminence when regarded in themselves: among lyric poets Stesichorus and Alcaeus, among tragedians Sophocles, among historians Herodotus, among orators Demosthenes, and among philosophers (in my opinion) Democritus, Plato, and Aristotle. It is impossible to find authors who have succeeded better in blending their writings into harmonious wholes. As regards types of composition the foregoing remarks will suffice. I do not think it necessary to quote specimen passages from the authors just mentioned, since they are known to all and need no illustration.

Now if any one thinks that these things are worth much toil

8 ἂν om. F || ὅτου EF: ὅπου M: τὸ οὗ P 9 ἅψοιτο EF || ταῖς γλαφυραῖς] ἀνθηραῖς EF 10 αὐτὴν EF: αὐτὴν ἐκείνωι P, MV 11 μὲν] μέντοι EF 13 Στησίχορος ... τραγῳδοποιῶν δὲ om. F 16 γὰρ F: δὲ PMV 19 φέρειν om. F 21 τινι MV (τῳ Demosth.): τι μοι F: τις P5. Homer is a beacon (a watchtower) set upon a hill.—The close correspondence between Dionysius and Quintilian has often been illustrated in these notes; and with the present page should be compared Quintil. x. 1. 46 “igitur, ut Aratusab Iove incipiendumputat, ita nos rite coepturi ab Homero videmur. hic enim, quemadmodumex Oceanodicit ipseamnium fontiumque cursus initium capere, omnibus eloquentiae partibus exemplum et ortum dedit.”10. Neither here nor elsewhere does Dionysius say anything about the poets of the Epic Cycle. Attention is called to his silence by T. W. Allen in theClassical Quarterlyii. 87.13.Stesichorus: cp.de Imitat.B. vi. 2 ὅρα δὲ καὶ Στησίχορον ἔν τε τοῖς ἑκατέρων τῶν προειρημένων πλεονεκτήμασι κατορθοῦντα, κτλ.; Long.de Sublim.xiii. 3 (as to Stesichorus, Herodotus and Plato, in relation to Homer) μόνος Ἡρόδοτος Ὁμηρικώτατος ἐγένετο; Στησίχορος ἔτι πρότερον ὅ τε Ἀρχίλοχος, πάντων τε τούτων μάλιστα ὁ Πλάτων ἀπὸ τοῦ Ὁμηρικοῦ κείνου νάματος εἰς αὑτὸν μυρίας ὅσας παρατροπὰς ἀποχετευσάμενος.14.Alcaeus:de Imitat.B. vi. 2 Ἀλκαίου δὲ σκόπει τὸ μεγαλοφυὲς καὶ βραχὺ καὶ ἡδὺ μετὰ δεινότητος κτλ.; Quintil. x. 1. 63 “Alcaeus in parte operisaureo plectromerito donatur, qua tyrannos insectatus multum etiam moribus confert; in eloquendo quoque brevis et magnificus et diligens et plerumque oratori similis: sed et lusit et in amores descendit, maioribus tamen aptior.”Sophocles: Σοφοκλῆς δὲ ἔν τε τοῖς ἤθεσι καὶ τοῖς πάθεσι κτλ. (de Imitat.,ut supra).Herodotus: cp. D.H. pp. 10, 11, 12, etc.15.Demosthenes: cp. D.H. pp. 13, 15, 16, 19, 22, 23, etc., and Demetr. pp. 11, 12, etc.Democritus: cp. Cic.Orat.20, 67 “itaque video visum esse nonnullis, Platonis et Democriti locutionem, etsi absit a versu, tamen, quod incitatius feratur et clarissimis verborum luminibus utatur, potius poëma putandum quam comicorum poëtarum”; id.de Orat.i. 49 “quam ob rem, si ornate locutus est, sicut et fertur et mihi videtur, physicus ille Demokritus, materies illa fuit physici, de qua dixit, ornatus vero ipse verborum oratoris putandus est”; id.ib.i. 42 “Democritii ... ornati homines in dicendo et graves.”16.Plato: cp. D.H. pp. 16, 19, 27-30, 36, etc. and Demetr. pp. 12, 13, 14, etc.Aristotle: cp.de Imitat.B. vi. 4 παραληπτέον δὲ καὶ Ἀριστοτέλην εἰς μίμησιν τῆς τε περὶ τὴν ἑρμηνείαν δεινότητος καὶ τῆς σαφηνείας, καὶ τοῦ ἡδέος καὶ πολυμαθοῦς· τοῦτο γὰρ ἔστι μάλιστα παρὰ τοῦ ἀνδρὸς τούτου λαβεῖν.

5. Homer is a beacon (a watchtower) set upon a hill.—The close correspondence between Dionysius and Quintilian has often been illustrated in these notes; and with the present page should be compared Quintil. x. 1. 46 “igitur, ut Aratusab Iove incipiendumputat, ita nos rite coepturi ab Homero videmur. hic enim, quemadmodumex Oceanodicit ipseamnium fontiumque cursus initium capere, omnibus eloquentiae partibus exemplum et ortum dedit.”

10. Neither here nor elsewhere does Dionysius say anything about the poets of the Epic Cycle. Attention is called to his silence by T. W. Allen in theClassical Quarterlyii. 87.

13.Stesichorus: cp.de Imitat.B. vi. 2 ὅρα δὲ καὶ Στησίχορον ἔν τε τοῖς ἑκατέρων τῶν προειρημένων πλεονεκτήμασι κατορθοῦντα, κτλ.; Long.de Sublim.xiii. 3 (as to Stesichorus, Herodotus and Plato, in relation to Homer) μόνος Ἡρόδοτος Ὁμηρικώτατος ἐγένετο; Στησίχορος ἔτι πρότερον ὅ τε Ἀρχίλοχος, πάντων τε τούτων μάλιστα ὁ Πλάτων ἀπὸ τοῦ Ὁμηρικοῦ κείνου νάματος εἰς αὑτὸν μυρίας ὅσας παρατροπὰς ἀποχετευσάμενος.

14.Alcaeus:de Imitat.B. vi. 2 Ἀλκαίου δὲ σκόπει τὸ μεγαλοφυὲς καὶ βραχὺ καὶ ἡδὺ μετὰ δεινότητος κτλ.; Quintil. x. 1. 63 “Alcaeus in parte operisaureo plectromerito donatur, qua tyrannos insectatus multum etiam moribus confert; in eloquendo quoque brevis et magnificus et diligens et plerumque oratori similis: sed et lusit et in amores descendit, maioribus tamen aptior.”

Sophocles: Σοφοκλῆς δὲ ἔν τε τοῖς ἤθεσι καὶ τοῖς πάθεσι κτλ. (de Imitat.,ut supra).

Herodotus: cp. D.H. pp. 10, 11, 12, etc.

15.Demosthenes: cp. D.H. pp. 13, 15, 16, 19, 22, 23, etc., and Demetr. pp. 11, 12, etc.

Democritus: cp. Cic.Orat.20, 67 “itaque video visum esse nonnullis, Platonis et Democriti locutionem, etsi absit a versu, tamen, quod incitatius feratur et clarissimis verborum luminibus utatur, potius poëma putandum quam comicorum poëtarum”; id.de Orat.i. 49 “quam ob rem, si ornate locutus est, sicut et fertur et mihi videtur, physicus ille Demokritus, materies illa fuit physici, de qua dixit, ornatus vero ipse verborum oratoris putandus est”; id.ib.i. 42 “Democritii ... ornati homines in dicendo et graves.”

16.Plato: cp. D.H. pp. 16, 19, 27-30, 36, etc. and Demetr. pp. 12, 13, 14, etc.

Aristotle: cp.de Imitat.B. vi. 4 παραληπτέον δὲ καὶ Ἀριστοτέλην εἰς μίμησιν τῆς τε περὶ τὴν ἑρμηνείαν δεινότητος καὶ τῆς σαφηνείας, καὶ τοῦ ἡδέος καὶ πολυμαθοῦς· τοῦτο γὰρ ἔστι μάλιστα παρὰ τοῦ ἀνδρὸς τούτου λαβεῖν.

μεγάλης ἄξια εἶναι, καὶ μάλα ὀρθῶς δοκεῖ κατὰ τὸνΔημοσθένην· ἀλλ’ ἐὰν λογίσηται τοὺς ἐξακολουθοῦντας αὐτοῖςκατορθουμένοις ἐπαίνους καὶ τὸν καρπὸν τὸν ἀπ’ αὐτῶν ὡςγλυκύς, εὐπαθείας ἡγήσεται τοὺς πόνους. Ἐπικουρείων δὲχορόν, οἷς οὐδὲν μέλει τούτων, παραιτοῦμαι· τὸ γὰρ “οὐκ 5ἐπιπόνου τοῦ γράφειν ὄντος,” ὡς αὐτὸς Ἐπίκουρος λέγει, “τοῖςμὴ στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου” πολλῆςἀργίας ἦν καὶ σκαιότητος ἀλεξιφάρμακον.XXVτούτων δή μοι τέλος ἐχόντων, ἐκεῖνά σε οἴομαι ποθεῖν ἔτιἀκοῦσαι, πῶς γίνεται λέξις ἄμετρος ὁμοία καλῷ ποιήματι ἢ 10μέλει, καὶ πῶς ποίημά γε ἢ μέλος πεζῇ λέξει καλῇ παραπλήσιον.ἄρξομαι δὲ πρῶτον ἀπὸ τῆς ψιλῆς λέξεως, ἕνατῶν ἀνδρῶν προχειρισάμενος ὃν ἐν τοῖς μάλιστα οἶμαι τὴνποιητικὴν ἐκμεμάχθαι φράσιν, βουλόμενος μὲν καὶ πλείους,οὐκ ἔχων δὲ χρόνον ἱκανὸν ἅπασι. φέρε δὴ τίς οὐκ ἂν 15ὁμολογήσειεν τοῖς κρατίστοις ἐοικέναι ποιήμασί τε καὶ μέλεσι[251]and great effort, he is, according to Demosthenes, decidedly in the right.[180]Nay, if he considers the credit which attends success in them and the sweetness of the fruit they yield, he will count the toil a pleasure. I beg pardon of the Epicurean choir who care nothing for these things. The doctrine that “writing,” as Epicurus himself says, “is no trouble to those who do not aim at the ever-varying standard”[181]was meant to forestall the charge of gross laziness and stupidity.CHAPTER XXVHOW PROSE CAN RESEMBLE VERSENow that I have finished this part of the subject, I think you must be eager for information on the next point—how unmetrical language is made to resemble a beautiful poem or lyric, and how a poem or lyric is brought into close likeness to beautiful prose. I will begin with the language of prose, choosing by preference an author who has, I think, in a pre-eminent degree taken the impress of poetical style. I could wish to mention a larger number, but have not time for all. Who, then, will not admit that the speeches of Demosthenes

τούτων δή μοι τέλος ἐχόντων, ἐκεῖνά σε οἴομαι ποθεῖν ἔτιἀκοῦσαι, πῶς γίνεται λέξις ἄμετρος ὁμοία καλῷ ποιήματι ἢ 10μέλει, καὶ πῶς ποίημά γε ἢ μέλος πεζῇ λέξει καλῇ παραπλήσιον.ἄρξομαι δὲ πρῶτον ἀπὸ τῆς ψιλῆς λέξεως, ἕνατῶν ἀνδρῶν προχειρισάμενος ὃν ἐν τοῖς μάλιστα οἶμαι τὴνποιητικὴν ἐκμεμάχθαι φράσιν, βουλόμενος μὲν καὶ πλείους,οὐκ ἔχων δὲ χρόνον ἱκανὸν ἅπασι. φέρε δὴ τίς οὐκ ἂν 15ὁμολογήσειεν τοῖς κρατίστοις ἐοικέναι ποιήμασί τε καὶ μέλεσι

[251]and great effort, he is, according to Demosthenes, decidedly in the right.[180]Nay, if he considers the credit which attends success in them and the sweetness of the fruit they yield, he will count the toil a pleasure. I beg pardon of the Epicurean choir who care nothing for these things. The doctrine that “writing,” as Epicurus himself says, “is no trouble to those who do not aim at the ever-varying standard”[181]was meant to forestall the charge of gross laziness and stupidity.CHAPTER XXVHOW PROSE CAN RESEMBLE VERSENow that I have finished this part of the subject, I think you must be eager for information on the next point—how unmetrical language is made to resemble a beautiful poem or lyric, and how a poem or lyric is brought into close likeness to beautiful prose. I will begin with the language of prose, choosing by preference an author who has, I think, in a pre-eminent degree taken the impress of poetical style. I could wish to mention a larger number, but have not time for all. Who, then, will not admit that the speeches of Demosthenes

[251]

and great effort, he is, according to Demosthenes, decidedly in the right.[180]Nay, if he considers the credit which attends success in them and the sweetness of the fruit they yield, he will count the toil a pleasure. I beg pardon of the Epicurean choir who care nothing for these things. The doctrine that “writing,” as Epicurus himself says, “is no trouble to those who do not aim at the ever-varying standard”[181]was meant to forestall the charge of gross laziness and stupidity.

Now that I have finished this part of the subject, I think you must be eager for information on the next point—how unmetrical language is made to resemble a beautiful poem or lyric, and how a poem or lyric is brought into close likeness to beautiful prose. I will begin with the language of prose, choosing by preference an author who has, I think, in a pre-eminent degree taken the impress of poetical style. I could wish to mention a larger number, but have not time for all. Who, then, will not admit that the speeches of Demosthenes

3 τὸν ἀπ’ αὐτῶν F: τῶν ἁπάντων PMV 5 οὐκἐπὶ πόνου P, MV 6 ἐπίπονον F 10 λέξις ἄμετρος] πεζὴ λέξις F || ἄμετρος ... πεζῇ om. F 13 ὃν ... βουλόμενος om. P1.κατὰ τὸν Δημοσθένην: cp.de Demosth.c. 52 εἰ δὲ τῷ δοκεῖ ταῦτα καὶ πόνου πολλοῦ καὶ πραγματείας μεγάλης εἶναι, καὶ μάλα ὀρθῶς δοκεῖ κατὰ τὸν Δημοσθένην· οὐδὲν γὰρ τῶν μεγάλων μικρῶν ἐστι πόνων ὤνιον. ἀλλ’ ἐὰν ἐπιλογίσηται τοὺς ἀκολουθοῦντας αὐτοῖς καρπούς, μᾶλλον δ’ ἐὰν ἕνα μόνον τὸν ἔπαινον, ὃν ἀποδίδωσιν ὁ χρόνος καὶ ζῶσι καὶ μετὰ τὴν τελευτήν, πᾶσαν ἡγήσεται τήν [τε] πραγματείαν ἐλάττω τῆς προσηκούσης. The reference in both cases is to Demosth.Chers.§ 48 εἰ δέ τῳ δοκεῖ ταῦτα καὶ δαπάνης μεγάλης καὶ πόνων πολλῶν καὶ πραγματείας εἶναι, καὶ μάλ’ ὀρθῶς δοκεῖ· ἀλλ’ ἐὰν λογίσηται τὰ τῇ πόλει μετὰ ταῦτα γενησόμενα, ἂν ταῦτα μὴ ’θέλῃ, εὑρήσει λυσιτελοῦν τὸ ἑκόντας ποιεῖν τὰ δέοντα.4. For the general attitude ofEpicuruscp. Quintil. ii. 17. 15 “nam de Epicuro, qui disciplinas omnes fugit, nihil miror,” andib.xii. 2. 24 “nam in primis nos Epicurus a se ipse dimittit, qui fugere omnem disciplinam navigatione quam velocissima iubet [Diog. Laert.Vit. Epic.6 παιδείαν δὲ πᾶσαν (i.e. τὴν ἐγκύκλιον παιδείαν), μακάριε, φεῦγε τὸ ἀκάτιον ἀράμενος]”; Cic.de Finibusi. 5. 14 “sed existimo te minus ab eo [sc. Epicuro] delectari, quod ista Platonis, Aristotelis, Theophrasti orationis ornamenta neglexerit.”—Probably the Epicurean philosopher Philodemus is among those who are criticized in the πραγματεία ἣν συνεταξάμην ὑπὲρ τῆς πολιτικῆς φιλοσοφίας πρὸς τοὺς κατατρέχοντας αὐτῆς ἀδίκως (de Thucyd.c. 2).5-8. Usener (Epicurea, fragm. 230) gave this passage as follows: τὸ γὰρ ἐπίπονον τοῦ γράφειν ὄντως, ὡς αὐτὸς Ἐπίκουρος λέγει, τοῖς μὴ στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου πολλῆς ἀργίας ἦν καὶ σκαιότητος ἀλεξιφάρμακον.5.οὐκ ἐπιπόνου: cp. SheridanClio’s Protest: “You write with ease, to shew your breeding; | But easy writing’s vile hard reading”; Quintil. x. 3. 10 “summa haec est rei: cito scribendo non fit, ut bene scribatur; bene scribendo fit, ut cito.”7.κριτηρίου: for κριτήριον as an Epicurean term cp. Diog. Laert.Vit. Epic.147 ὥστε τὸ κριτήριον ἅπαν ἐκβαλεῖς. The ‘variable criterion’ or ‘shifting standard,’ in Dionysius’ quotation, is either thejudgment of the ear(regarded as a part ofsensationgenerally) or theliterary fashion of the day.8. Chapter 24 may be compared throughout withde Demosth.c. 41.9. For the relations of Prose to Verse see Introduction, pp.33-9.16. The metrical lines which Dionysius thinks he detects in Demosthenes are not more (nor less) convincing than the rude hexameters which have been pointed out in Cicero:latentlines cannot be expected to be obvious.Ad Quirites post reditum16 “sed etiam rerum mearum gestarumauctores, testes, laudatoresque fuere” [but the better reading here islaudatores fuerunt].Pro Archia Poëtai. 1 “si quid est in me ingenii, iudices, quod sentio quam sit exiguum, aut si qua exercitatio dicendi,in qua me non infiteor mediocriter esseversatum,” etc.Tusc. Disp.iv. 14. 31 “illud animorum corporumque dissimile, quod animi valentesmorbo temptari possunt, ut corpora possunt.”Pro Roscio Amer.i. 1 “credo ego vos, iudices, mirari quidsit quod, cum tot summi oratores hominesquenobilissimi sedeant, ego potissimum surrexerim.” Cp. Livy xxi. 9 “nec tuto eos adituros inter tot tam effrenatarum gentiumarma, nec Hannibali in tanto discrimine rerumoperae esse legationes audire,” and TacitusAnn.i. 1 “urbem Romam a principio reges habuere.” In most of these passages except the last, the natural pauses in delivery would destroy any real hexameter effect. See further in Quintil. ix. 4. 72 ff.—Among later Greek writers, St. John Chrysostom, in hisde Sacerdotioiii. 14 and 16, is supposed to yield one entire hexameter and part of another: [ἀπ’ ἐκείνου] τοῦ καπνοῦ προέφλεξε καὶ ἠμαύρωσεν ἅπασαν, and βιάζωνται διὰ τὴν τῆς γαστρὸς ἀνάγκην.

3 τὸν ἀπ’ αὐτῶν F: τῶν ἁπάντων PMV 5 οὐκἐπὶ πόνου P, MV 6 ἐπίπονον F 10 λέξις ἄμετρος] πεζὴ λέξις F || ἄμετρος ... πεζῇ om. F 13 ὃν ... βουλόμενος om. P

1.κατὰ τὸν Δημοσθένην: cp.de Demosth.c. 52 εἰ δὲ τῷ δοκεῖ ταῦτα καὶ πόνου πολλοῦ καὶ πραγματείας μεγάλης εἶναι, καὶ μάλα ὀρθῶς δοκεῖ κατὰ τὸν Δημοσθένην· οὐδὲν γὰρ τῶν μεγάλων μικρῶν ἐστι πόνων ὤνιον. ἀλλ’ ἐὰν ἐπιλογίσηται τοὺς ἀκολουθοῦντας αὐτοῖς καρπούς, μᾶλλον δ’ ἐὰν ἕνα μόνον τὸν ἔπαινον, ὃν ἀποδίδωσιν ὁ χρόνος καὶ ζῶσι καὶ μετὰ τὴν τελευτήν, πᾶσαν ἡγήσεται τήν [τε] πραγματείαν ἐλάττω τῆς προσηκούσης. The reference in both cases is to Demosth.Chers.§ 48 εἰ δέ τῳ δοκεῖ ταῦτα καὶ δαπάνης μεγάλης καὶ πόνων πολλῶν καὶ πραγματείας εἶναι, καὶ μάλ’ ὀρθῶς δοκεῖ· ἀλλ’ ἐὰν λογίσηται τὰ τῇ πόλει μετὰ ταῦτα γενησόμενα, ἂν ταῦτα μὴ ’θέλῃ, εὑρήσει λυσιτελοῦν τὸ ἑκόντας ποιεῖν τὰ δέοντα.

4. For the general attitude ofEpicuruscp. Quintil. ii. 17. 15 “nam de Epicuro, qui disciplinas omnes fugit, nihil miror,” andib.xii. 2. 24 “nam in primis nos Epicurus a se ipse dimittit, qui fugere omnem disciplinam navigatione quam velocissima iubet [Diog. Laert.Vit. Epic.6 παιδείαν δὲ πᾶσαν (i.e. τὴν ἐγκύκλιον παιδείαν), μακάριε, φεῦγε τὸ ἀκάτιον ἀράμενος]”; Cic.de Finibusi. 5. 14 “sed existimo te minus ab eo [sc. Epicuro] delectari, quod ista Platonis, Aristotelis, Theophrasti orationis ornamenta neglexerit.”—Probably the Epicurean philosopher Philodemus is among those who are criticized in the πραγματεία ἣν συνεταξάμην ὑπὲρ τῆς πολιτικῆς φιλοσοφίας πρὸς τοὺς κατατρέχοντας αὐτῆς ἀδίκως (de Thucyd.c. 2).

5-8. Usener (Epicurea, fragm. 230) gave this passage as follows: τὸ γὰρ ἐπίπονον τοῦ γράφειν ὄντως, ὡς αὐτὸς Ἐπίκουρος λέγει, τοῖς μὴ στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου πολλῆς ἀργίας ἦν καὶ σκαιότητος ἀλεξιφάρμακον.

5.οὐκ ἐπιπόνου: cp. SheridanClio’s Protest: “You write with ease, to shew your breeding; | But easy writing’s vile hard reading”; Quintil. x. 3. 10 “summa haec est rei: cito scribendo non fit, ut bene scribatur; bene scribendo fit, ut cito.”

7.κριτηρίου: for κριτήριον as an Epicurean term cp. Diog. Laert.Vit. Epic.147 ὥστε τὸ κριτήριον ἅπαν ἐκβαλεῖς. The ‘variable criterion’ or ‘shifting standard,’ in Dionysius’ quotation, is either thejudgment of the ear(regarded as a part ofsensationgenerally) or theliterary fashion of the day.

8. Chapter 24 may be compared throughout withde Demosth.c. 41.

9. For the relations of Prose to Verse see Introduction, pp.33-9.

16. The metrical lines which Dionysius thinks he detects in Demosthenes are not more (nor less) convincing than the rude hexameters which have been pointed out in Cicero:latentlines cannot be expected to be obvious.Ad Quirites post reditum16 “sed etiam rerum mearum gestarumauctores, testes, laudatoresque fuere” [but the better reading here islaudatores fuerunt].Pro Archia Poëtai. 1 “si quid est in me ingenii, iudices, quod sentio quam sit exiguum, aut si qua exercitatio dicendi,in qua me non infiteor mediocriter esseversatum,” etc.Tusc. Disp.iv. 14. 31 “illud animorum corporumque dissimile, quod animi valentesmorbo temptari possunt, ut corpora possunt.”Pro Roscio Amer.i. 1 “credo ego vos, iudices, mirari quidsit quod, cum tot summi oratores hominesquenobilissimi sedeant, ego potissimum surrexerim.” Cp. Livy xxi. 9 “nec tuto eos adituros inter tot tam effrenatarum gentiumarma, nec Hannibali in tanto discrimine rerumoperae esse legationes audire,” and TacitusAnn.i. 1 “urbem Romam a principio reges habuere.” In most of these passages except the last, the natural pauses in delivery would destroy any real hexameter effect. See further in Quintil. ix. 4. 72 ff.—Among later Greek writers, St. John Chrysostom, in hisde Sacerdotioiii. 14 and 16, is supposed to yield one entire hexameter and part of another: [ἀπ’ ἐκείνου] τοῦ καπνοῦ προέφλεξε καὶ ἠμαύρωσεν ἅπασαν, and βιάζωνται διὰ τὴν τῆς γαστρὸς ἀνάγκην.

τοὺς Δημοσθένους λόγους, καὶ μάλιστα τάς τε κατὰ Φιλίππουδημηγορίας καὶ τοὺς δικανικοὺς ἀγῶνας τοὺς δημοσίους; ὧνἐξ ἑνὸς ἀρκέσει λαβεῖν τὸ προοίμιον τουτί·“Μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με μήτ’ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα 5τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλονἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰςἀπέχθειαν· ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι καὶσκοπῶ, περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶμὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ 10τούτου ἐστί μοι ἅπασα ἡ σπουδή.”πειρατέον δὴ καὶ περὶ τούτων λέγειν ἃ φρονῶ. μυστηρίοιςμὲν οὖν ἔοικεν ἤδη ταῦτα καὶ οὐκ εἰς πολλοὺς οἷά τε ἐστὶνἐκφέρεσθαι, ὥστ’ οὐκ ἂν εἴην φορτικός, εἰ παρακαλοίην “οἷςθέμις ἐστὶν” ἥκειν ἐπὶ τὰς τελετὰς τοῦ λόγου, “θύρας δ’ 15ἐπιθέσθαι” λέγοιμι ταῖς ἀκοαῖς τοὺς “βεβήλους.” εἰς γέλωταγὰρ ἔνιοι λαμβάνουσι τὰ σπουδαιότατα δι’ ἀπειρίαν, καὶ ἴσωςοὐδὲν ἄτοπον πάσχουσιν. ἃ δ’ οὖν βούλομαι λέγειν, τοιάδεἐστί.πᾶσα λέξις ἡ δίχα μέτρου συγκειμένη ποιητικὴν μοῦσαν 20ἢ μελικὴν χάριν οὐ δύναται προσλαβεῖν κατὰ γοῦν τὴν σύνθεσιναὐτήν· ἐπεὶ καὶ ἡ ἐκλογὴ τῶν ὀνομάτων μέγα τιδύναται, καὶ ἔστι τις ὀνομασία ποιητικὴ γλωττηματικῶν τεκαὶ ξένων καὶ τροπικῶν καὶ πεποιημένων, οἷς ἡδύνεται ποίησις,εἰς κόρον ἐγκαταμιγέντων τῇ ἀμέτρῳ λέξει, ὃ ποιοῦσιν ἄλλοι 25τε πολλοὶ καὶ οὐχ ἥκιστα Πλάτων· οὐ δὴ λέγω περὶ τῆςἐκλογῆς, ἀλλ’ ἀφείσθω κατὰ τὸ παρὸν ἡ περὶ ταῦτα σκέψις.περὶ τῆς συνθέσεως αὐτῆς ἔστω ἡ θεωρία τῆς ἐν τοῖς κοινοῖςὀνόμασι καὶ τετριμμένοις καὶ ἥκιστα ποιητικοῖς τὰς ποιητικὰς[253]are like the finest poems and lyrics: particularly his harangues against Philip and his pleadings in public law-suits? It will be enough to take the following exordium from one of these:—“Let none of you, O ye Athenians, think that I have come forward to accuse the defendant Aristocrates with intent to indulge personal hate of my own, or that it is because I have got my eye on some small and petty error that I am thrusting myself with a light heart in the path of his enmity. No, if my calculations and point of view be right, my one aim and object is that you should securely hold the Chersonese, and should not again be deprived of it by political chicanery.”[182]I must endeavour, here again, to state my views. But the subject we have now reached is like the Mysteries: it cannot be divulged to people in masses. I shall not, therefore, be discourteous in inviting those only “for whom it is lawful” to approach the rites of style, while bidding the “profane” to “close the gates of their ears.”[183]There are some who, through ignorance, turn the most serious things into ridicule, and no doubt their attitude is natural enough. Well, my views are in effect as follows:—No passage which is composed absolutely without metre can be invested with the melody of poetry or lyric grace, at any rate from the point of view of the word-arrangement considered in itself. No doubt, the choice of words goes a long way, and there is a poetical vocabulary consisting of rare, foreign, figurative and coined words in which poetry takes delight. These are sometimes mingled with prose-writing to excess: many writers do so, Plato particularly. But I am not speaking of the choice of words: let the consideration of that subject be set aside for the present. Let our inquiry deal exclusively with word-arrangement, which can reveal possibilities of poetic grace in common everyday

τοὺς Δημοσθένους λόγους, καὶ μάλιστα τάς τε κατὰ Φιλίππουδημηγορίας καὶ τοὺς δικανικοὺς ἀγῶνας τοὺς δημοσίους; ὧνἐξ ἑνὸς ἀρκέσει λαβεῖν τὸ προοίμιον τουτί·

“Μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με μήτ’ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα 5τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλονἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰςἀπέχθειαν· ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι καὶσκοπῶ, περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶμὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ 10τούτου ἐστί μοι ἅπασα ἡ σπουδή.”

πειρατέον δὴ καὶ περὶ τούτων λέγειν ἃ φρονῶ. μυστηρίοιςμὲν οὖν ἔοικεν ἤδη ταῦτα καὶ οὐκ εἰς πολλοὺς οἷά τε ἐστὶνἐκφέρεσθαι, ὥστ’ οὐκ ἂν εἴην φορτικός, εἰ παρακαλοίην “οἷςθέμις ἐστὶν” ἥκειν ἐπὶ τὰς τελετὰς τοῦ λόγου, “θύρας δ’ 15ἐπιθέσθαι” λέγοιμι ταῖς ἀκοαῖς τοὺς “βεβήλους.” εἰς γέλωταγὰρ ἔνιοι λαμβάνουσι τὰ σπουδαιότατα δι’ ἀπειρίαν, καὶ ἴσωςοὐδὲν ἄτοπον πάσχουσιν. ἃ δ’ οὖν βούλομαι λέγειν, τοιάδεἐστί.πᾶσα λέξις ἡ δίχα μέτρου συγκειμένη ποιητικὴν μοῦσαν 20ἢ μελικὴν χάριν οὐ δύναται προσλαβεῖν κατὰ γοῦν τὴν σύνθεσιναὐτήν· ἐπεὶ καὶ ἡ ἐκλογὴ τῶν ὀνομάτων μέγα τιδύναται, καὶ ἔστι τις ὀνομασία ποιητικὴ γλωττηματικῶν τεκαὶ ξένων καὶ τροπικῶν καὶ πεποιημένων, οἷς ἡδύνεται ποίησις,εἰς κόρον ἐγκαταμιγέντων τῇ ἀμέτρῳ λέξει, ὃ ποιοῦσιν ἄλλοι 25τε πολλοὶ καὶ οὐχ ἥκιστα Πλάτων· οὐ δὴ λέγω περὶ τῆςἐκλογῆς, ἀλλ’ ἀφείσθω κατὰ τὸ παρὸν ἡ περὶ ταῦτα σκέψις.περὶ τῆς συνθέσεως αὐτῆς ἔστω ἡ θεωρία τῆς ἐν τοῖς κοινοῖςὀνόμασι καὶ τετριμμένοις καὶ ἥκιστα ποιητικοῖς τὰς ποιητικὰς

[253]are like the finest poems and lyrics: particularly his harangues against Philip and his pleadings in public law-suits? It will be enough to take the following exordium from one of these:—“Let none of you, O ye Athenians, think that I have come forward to accuse the defendant Aristocrates with intent to indulge personal hate of my own, or that it is because I have got my eye on some small and petty error that I am thrusting myself with a light heart in the path of his enmity. No, if my calculations and point of view be right, my one aim and object is that you should securely hold the Chersonese, and should not again be deprived of it by political chicanery.”[182]I must endeavour, here again, to state my views. But the subject we have now reached is like the Mysteries: it cannot be divulged to people in masses. I shall not, therefore, be discourteous in inviting those only “for whom it is lawful” to approach the rites of style, while bidding the “profane” to “close the gates of their ears.”[183]There are some who, through ignorance, turn the most serious things into ridicule, and no doubt their attitude is natural enough. Well, my views are in effect as follows:—No passage which is composed absolutely without metre can be invested with the melody of poetry or lyric grace, at any rate from the point of view of the word-arrangement considered in itself. No doubt, the choice of words goes a long way, and there is a poetical vocabulary consisting of rare, foreign, figurative and coined words in which poetry takes delight. These are sometimes mingled with prose-writing to excess: many writers do so, Plato particularly. But I am not speaking of the choice of words: let the consideration of that subject be set aside for the present. Let our inquiry deal exclusively with word-arrangement, which can reveal possibilities of poetic grace in common everyday

[253]

are like the finest poems and lyrics: particularly his harangues against Philip and his pleadings in public law-suits? It will be enough to take the following exordium from one of these:—

“Let none of you, O ye Athenians, think that I have come forward to accuse the defendant Aristocrates with intent to indulge personal hate of my own, or that it is because I have got my eye on some small and petty error that I am thrusting myself with a light heart in the path of his enmity. No, if my calculations and point of view be right, my one aim and object is that you should securely hold the Chersonese, and should not again be deprived of it by political chicanery.”[182]

I must endeavour, here again, to state my views. But the subject we have now reached is like the Mysteries: it cannot be divulged to people in masses. I shall not, therefore, be discourteous in inviting those only “for whom it is lawful” to approach the rites of style, while bidding the “profane” to “close the gates of their ears.”[183]There are some who, through ignorance, turn the most serious things into ridicule, and no doubt their attitude is natural enough. Well, my views are in effect as follows:—

No passage which is composed absolutely without metre can be invested with the melody of poetry or lyric grace, at any rate from the point of view of the word-arrangement considered in itself. No doubt, the choice of words goes a long way, and there is a poetical vocabulary consisting of rare, foreign, figurative and coined words in which poetry takes delight. These are sometimes mingled with prose-writing to excess: many writers do so, Plato particularly. But I am not speaking of the choice of words: let the consideration of that subject be set aside for the present. Let our inquiry deal exclusively with word-arrangement, which can reveal possibilities of poetic grace in common everyday

3 ἀρκέσει] ἀρμόσει F 4 με om. P, Demosth. || μήτε F 5 ἔχθρας ἐμὲ Demosth. || μηδεμιᾶς om. F || ἕνεκα PMV 7 ἐπὶ τούτῳ om. EF 8 ἆρ’ E: ἆρα P: ἄρα M: οὖν V: om. F || ὀρθῶς ἐγὼ EFM: ἐγὼ ὀρθῶς PV 9 περὶ] ὑπὲρ Demosth. || τοῦ EFPM: τοῦ τὴν V || χερόνησον PV1: χερρόνησον FMV2|| ἀσφαλῶς ὑμᾶς PMV: ὑμᾶς ἀσφαλῶς EF, D 11 τούτου] τούτων EF || ἔστι μοι M: νῦν ἐστί μοι P: τοίνυν ἔστι μοι V: ἔστι μοι νῦν E: ἐστὶν F: μοί ἐστιν D || ἡ EPM D.: ἡ ἐμὴ F: om. V 12 cum φρονῶ voce deficit codex Florentinus (F) 16 ἐπίθεσθε PM: ἐπίθεσθαι V || μέλωτ(α) P: γελοῖα MV 18 οὐδὲν] οὐδ’ P 20 συγκειμένη EP: ἐγκειμένη MV || μοῦσαν MV: οὖσαν P: om. E 23 τις ὀνομασίας P: τὴν ὀνομασίαν MV 25 ἐγκατατεταγμένους EPM: ἐγκαταμεμιγμένους V4-11. In Butcher’s and in Weil’s texts (which are here identical) the opening of theAristocratesruns as follows: μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ μήτ’ ἰδίας ἔχθρας ἐμὲ μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημ’ ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς ἀπέχθειαν, ἀλλ’ εἴπερ ἄρ’ ὀρθῶς ἐγὼ λογίζομαι καὶ σκοπῶ, ὑπὲρ τοῦ Χερρόνησον ἔχειν ὑμᾶς ἀσφαλῶς καὶ μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ τούτου μοί ἐστιν ἅπασ’ ἡ σπουδή. The minute differences between this text and that presented with metrical comments by Dionysius deserve careful notice.—The collocation τῆς ἰδίας ἕνεκ’ ἔχθρας is found inde Cor.§ 147.12. Here, with the word φρονῶ, the codex Florentinus Laurentianus (F) unfortunately ends.24. It is hardly necessary to insert ὀνομάτων before οἷς, since the word may be supplied from l. 22supra.

4-11. In Butcher’s and in Weil’s texts (which are here identical) the opening of theAristocratesruns as follows: μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ μήτ’ ἰδίας ἔχθρας ἐμὲ μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημ’ ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς ἀπέχθειαν, ἀλλ’ εἴπερ ἄρ’ ὀρθῶς ἐγὼ λογίζομαι καὶ σκοπῶ, ὑπὲρ τοῦ Χερρόνησον ἔχειν ὑμᾶς ἀσφαλῶς καὶ μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ τούτου μοί ἐστιν ἅπασ’ ἡ σπουδή. The minute differences between this text and that presented with metrical comments by Dionysius deserve careful notice.—The collocation τῆς ἰδίας ἕνεκ’ ἔχθρας is found inde Cor.§ 147.

12. Here, with the word φρονῶ, the codex Florentinus Laurentianus (F) unfortunately ends.

24. It is hardly necessary to insert ὀνομάτων before οἷς, since the word may be supplied from l. 22supra.

Back to Index Next