XXVI

εὑρεθῆναι ποικίλως μετακειμένην τὴν ἀρχὴν τῆς Πολιτείαςἔχουσαν τήνδε “Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνοςτοῦ Ἀρίστωνος.” τί οὖν ἦν ἄτοπον, εἰ καὶ Δημοσθένειφροντὶς εὐφωνίας τε καὶ ἐμμελείας ἐγένετο καὶ τοῦ μηδὲνεἰκῇ καὶ ἀβασανίστως τιθέναι μήτε ὄνομα μήτε νόημα; πολύ 5τε γὰρ μᾶλλον ἐμοὶ δοκεῖ προσήκειν ἀνδρὶ κατασκευάζοντιλόγους πολιτικοὺς μνημεῖα τῆς ἑαυτοῦ δυνάμεως αἰώνια μηδενὸςτῶν ἐλαχίστων ὀλιγωρεῖν, ἢ ζῳγράφων τε καὶ τορευτῶνπαισὶν ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας καὶ πόνους ἀποδεικνυμένοιςπερὶ τὰ φλέβια καὶ τὰ πτίλα καὶ τὸν χνοῦν καὶ 10τὰς τοιαύτας μικρολογίας κατατρίβειν τῆς τέχνης τὴν ἀκρίβειαν.τούτοις τε δὴ τοῖς λόγοις χρώμενος δοκεῖ μοί τις ἂν οὐδὲνἔξω τοῦ εἰκότος ἀξιοῦν καὶ ἔτι ἐκεῖνα εἰπών, ὅτι μειράκιονμὲν ὄντα καὶ νεωστὶ τοῦ μαθήματος ἁπτόμενον αὐτὸν οὐκἄλογον πάντα περισκοπεῖν, ὅσα δυνατὰ ἦν εἰς ἐπιτήδευσιν 15[267]death, with the beginning of theRepublic(“I went down yesterday to the Piraeus together with Glaucon the son of Ariston”[193]) arranged in elaborately varying orders. What wonder, then, if Demosthenes also was careful to secure euphony and melody and to employ no random or untested word or thought? For it appears to me far more reasonable for a man who is composing public speeches, eternal memorials of his own powers, to attend even to the slightest details, than it is for the disciples of painters and workers in relief, who display the dexterity and industry of their hands in a perishable medium, to expend the finished resources of their art on veins and down and bloom and similar minutiae.These arguments seem to me to make no unreasonable claim; and we may further add that though when Demosthenes was a lad, and had but recently taken up the study of rhetoric, he naturally had to ask himself consciously what the effects attainable

[267]death, with the beginning of theRepublic(“I went down yesterday to the Piraeus together with Glaucon the son of Ariston”[193]) arranged in elaborately varying orders. What wonder, then, if Demosthenes also was careful to secure euphony and melody and to employ no random or untested word or thought? For it appears to me far more reasonable for a man who is composing public speeches, eternal memorials of his own powers, to attend even to the slightest details, than it is for the disciples of painters and workers in relief, who display the dexterity and industry of their hands in a perishable medium, to expend the finished resources of their art on veins and down and bloom and similar minutiae.These arguments seem to me to make no unreasonable claim; and we may further add that though when Demosthenes was a lad, and had but recently taken up the study of rhetoric, he naturally had to ask himself consciously what the effects attainable

[267]

death, with the beginning of theRepublic(“I went down yesterday to the Piraeus together with Glaucon the son of Ariston”[193]) arranged in elaborately varying orders. What wonder, then, if Demosthenes also was careful to secure euphony and melody and to employ no random or untested word or thought? For it appears to me far more reasonable for a man who is composing public speeches, eternal memorials of his own powers, to attend even to the slightest details, than it is for the disciples of painters and workers in relief, who display the dexterity and industry of their hands in a perishable medium, to expend the finished resources of their art on veins and down and bloom and similar minutiae.

These arguments seem to me to make no unreasonable claim; and we may further add that though when Demosthenes was a lad, and had but recently taken up the study of rhetoric, he naturally had to ask himself consciously what the effects attainable

3 Ἀρίστωνος] κεφάλου P 4 εὐμελείας M15 εἰκῆι P || νόημα Schaeferus (dittographiam suspicatus et coll.26416,665): μήτ’ (μήτε V) ἐννόημα MV: om. P 9 ἀποδεικνομένοις Us.: ὑποδεικνυμένοις libri 10 φλέβια PMV: φλεβία E 12 τούτοις τε PM: τούτοις V || τις ἂν PM: τις V2. Demetrius (de Eloc.§ 21) calls attention to the studied ease and intentional laxity of the opening period of theRepublic: “The period of dialogue is one which remains lax, and is also simpler than the historical. It scarcely betrays the fact that it is a period. For instance: ‘I went down to the Piraeus,’ as far as the words ‘since they were now celebrating it for the first time.’ Here the clauses are flung one upon the other as in the disjointed style, and when we reach the end we hardly realize that the words form a period” (see also § 205ibid.). In the passage of Dionysius it may well be meant that the words whose order was changed by Plato were not merely κατέβην ... Ἀρίστωνος, but the sentence, or sentences, which these introduce. (Usener suggests that P’s reading Κεφάλου points to a longer quotation than that actually found in existing manuscripts; and Persius’Arma virum, and Cicero’sO Tite, i.e. theDe Senectute, may be recalled.) Quintilian, however, seems to think that the first four words only, or chiefly, are meant: though the possible permutations of these are few and would hardly need to be written down. He says (Inst. Or.viii. 6. 64): “nec aliud potest sermonem facere numerosum quam opportuna ordinis permutatio; neque alio ceris Platonis inventa sunt quattuor illa verba, quibus in illo pulcherrimo operum in Piraeeum se descendisse significat, plurimis modis scripta, quam quod eum quoque maxime facere experiretur.” Diog. Laert. iii. 37 makes a more general statement: Εὐφορίων δὲ καὶ Παναίτιος εἰρήκασι πολλάκις ἐστραμμένην εὑρῆσθαι τὴν ἀρχὴν τῆς Πολιτείας. But be the words few or many, the main point is that trouble of this kind was reckoned an artistic (and even a patriotic) duty. Upton has stated the case well, in reference to Cicero’s anxiety to express the words ‘to the Piraeus’ in good Latin: “Quod si Platonis haec industria quibusdam curiosa nimis et sollicita videtur, ut quae nec aetati tanti viri, nec officio congruat: quid Cicero itidem fecerit, quantum latinitatis curam gravissimis etiam reipublicae negotiis districtus habuerit, in memoriam revocent. is annum iam agens sexagesimum, inter medios civilium bellorum tumultus, qui a Caesare Pompeioque excitarentur, cum nesciret, quo mittenda esset uxor, quo liberi; quem ad locum se reciperet, missis ad Atticum litteris [ad Att.vii. 3], ab eo doceri, an esset scribendum,ad Piraeea,in Piraeea, anin Piraeum, anPiraeum sine praepositione, impensius rogabat. quae res etsi levior, et grammaticis propria, patrem eloquentiae temporibus etiam periculosissimis adeo exercuit, ut haec verba, quae amicum exstimularent, addiderit:Si hoc mihi ζήτημα persolveris, magna me molestia liberaris.” Nor was Julius Caesar less scrupulous in such matters than Cicero himself: their styles, different as they are, agree in exhibiting the fastidiousness of literary artists. Compare the modern instances mentioned in Long. p. 33, to which may be added that of Luther as described by Spalding: “non dubito narrare in Bibliotheca nostrae urbis regia servari chirographum Martini Lutheri, herois nostri, in quo exstat initium versionis Psalmorum mirifice et ipsum immutatum et subterlitum, ad conciliandos orationi, quamquam salutae, numeros.” See also Byron’sLetters(ed. Prothero) Nos. 247-255 and passim, and Antoine Albalat’sLe Travail du style enseigné par les corrections manuscrites des grands écrivains, passim.8.τῶν ἐλαχίστων: an interesting addition is made in thede Demosth.c. 51 πολιτικὸς δ’ ἄρα δημιουργός, πάντας ὑπεράρας τοὺς καθ’ αὑτὸν φύσει τε καὶ πόνῳ, τῶν ἐλαχίστων τινὸς εἰς τὸ εὖ λέγειν,εἰ δὴ καὶ ταῦτα ἐλάχιστα, ὠλιγώρησε.9. ἐνδεικνυμένοις may perhaps be suggested in place ofἀποδεικνυμένοις: cp.de Demosth.c. 51 οὐ γὰρ δή τοι πλάσται μὲν καὶ γραφεῖς ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας ἐνδεικνύμενοι τοσούτους εἰσφέρονται πόνους, ὥστε κτλ. If, on the other hand, ὑποδεικνυμένοις be retained, we may perhaps translate ‘pupils who have exercises in manual dexterity, and studies of veins, etc., given them to copy (cp. ὑπόδειγμα).’—With χειρῶν εὐστοχίας cp. χερὸς εὐστοχίαν (‘well-aimed shafts’) in Eurip.Troad.811.10.τὸν χνοῦν: cp. Hor.Ars P.32 “Aemilium circa ludum faber imus et ungues | exprimet et molles imitabitur aere capillos, | infelix operis summa, quia ponere totum | nesciet.” χνοῦς is the ‘lanugo plumea.’ Cp.de Demosth.c. 38 χνοῦς ἀρχαιοπινής.11.κατατρίβεινκτλ. = κατατήκειν εἰς ταῦτα τὰς τέχνας,de Demosth.c. 51.15. Afterἄλογον, ἦν may be inserted with Sauppe, who comparesde Demosth.c. 52 ὅτι μειράκιον μὲν ἔτι ὄντα καὶ νεωστὶ τοῦ μαθήματος ἁπτόμενον αὐτὸν οὐκ ἄλογον ἦν καὶ ταῦτα καὶ τἆλλα πάντα διὰ πολλῆς ἐπιμελείας τε καὶ φροντίδος ἔχειν. But the verb may have been omitted in theC.V.in order to avoid its repetition with ὅσα δυνατὰ ἦν.

2. Demetrius (de Eloc.§ 21) calls attention to the studied ease and intentional laxity of the opening period of theRepublic: “The period of dialogue is one which remains lax, and is also simpler than the historical. It scarcely betrays the fact that it is a period. For instance: ‘I went down to the Piraeus,’ as far as the words ‘since they were now celebrating it for the first time.’ Here the clauses are flung one upon the other as in the disjointed style, and when we reach the end we hardly realize that the words form a period” (see also § 205ibid.). In the passage of Dionysius it may well be meant that the words whose order was changed by Plato were not merely κατέβην ... Ἀρίστωνος, but the sentence, or sentences, which these introduce. (Usener suggests that P’s reading Κεφάλου points to a longer quotation than that actually found in existing manuscripts; and Persius’Arma virum, and Cicero’sO Tite, i.e. theDe Senectute, may be recalled.) Quintilian, however, seems to think that the first four words only, or chiefly, are meant: though the possible permutations of these are few and would hardly need to be written down. He says (Inst. Or.viii. 6. 64): “nec aliud potest sermonem facere numerosum quam opportuna ordinis permutatio; neque alio ceris Platonis inventa sunt quattuor illa verba, quibus in illo pulcherrimo operum in Piraeeum se descendisse significat, plurimis modis scripta, quam quod eum quoque maxime facere experiretur.” Diog. Laert. iii. 37 makes a more general statement: Εὐφορίων δὲ καὶ Παναίτιος εἰρήκασι πολλάκις ἐστραμμένην εὑρῆσθαι τὴν ἀρχὴν τῆς Πολιτείας. But be the words few or many, the main point is that trouble of this kind was reckoned an artistic (and even a patriotic) duty. Upton has stated the case well, in reference to Cicero’s anxiety to express the words ‘to the Piraeus’ in good Latin: “Quod si Platonis haec industria quibusdam curiosa nimis et sollicita videtur, ut quae nec aetati tanti viri, nec officio congruat: quid Cicero itidem fecerit, quantum latinitatis curam gravissimis etiam reipublicae negotiis districtus habuerit, in memoriam revocent. is annum iam agens sexagesimum, inter medios civilium bellorum tumultus, qui a Caesare Pompeioque excitarentur, cum nesciret, quo mittenda esset uxor, quo liberi; quem ad locum se reciperet, missis ad Atticum litteris [ad Att.vii. 3], ab eo doceri, an esset scribendum,ad Piraeea,in Piraeea, anin Piraeum, anPiraeum sine praepositione, impensius rogabat. quae res etsi levior, et grammaticis propria, patrem eloquentiae temporibus etiam periculosissimis adeo exercuit, ut haec verba, quae amicum exstimularent, addiderit:Si hoc mihi ζήτημα persolveris, magna me molestia liberaris.” Nor was Julius Caesar less scrupulous in such matters than Cicero himself: their styles, different as they are, agree in exhibiting the fastidiousness of literary artists. Compare the modern instances mentioned in Long. p. 33, to which may be added that of Luther as described by Spalding: “non dubito narrare in Bibliotheca nostrae urbis regia servari chirographum Martini Lutheri, herois nostri, in quo exstat initium versionis Psalmorum mirifice et ipsum immutatum et subterlitum, ad conciliandos orationi, quamquam salutae, numeros.” See also Byron’sLetters(ed. Prothero) Nos. 247-255 and passim, and Antoine Albalat’sLe Travail du style enseigné par les corrections manuscrites des grands écrivains, passim.

8.τῶν ἐλαχίστων: an interesting addition is made in thede Demosth.c. 51 πολιτικὸς δ’ ἄρα δημιουργός, πάντας ὑπεράρας τοὺς καθ’ αὑτὸν φύσει τε καὶ πόνῳ, τῶν ἐλαχίστων τινὸς εἰς τὸ εὖ λέγειν,εἰ δὴ καὶ ταῦτα ἐλάχιστα, ὠλιγώρησε.

9. ἐνδεικνυμένοις may perhaps be suggested in place ofἀποδεικνυμένοις: cp.de Demosth.c. 51 οὐ γὰρ δή τοι πλάσται μὲν καὶ γραφεῖς ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας ἐνδεικνύμενοι τοσούτους εἰσφέρονται πόνους, ὥστε κτλ. If, on the other hand, ὑποδεικνυμένοις be retained, we may perhaps translate ‘pupils who have exercises in manual dexterity, and studies of veins, etc., given them to copy (cp. ὑπόδειγμα).’—With χειρῶν εὐστοχίας cp. χερὸς εὐστοχίαν (‘well-aimed shafts’) in Eurip.Troad.811.

10.τὸν χνοῦν: cp. Hor.Ars P.32 “Aemilium circa ludum faber imus et ungues | exprimet et molles imitabitur aere capillos, | infelix operis summa, quia ponere totum | nesciet.” χνοῦς is the ‘lanugo plumea.’ Cp.de Demosth.c. 38 χνοῦς ἀρχαιοπινής.

11.κατατρίβεινκτλ. = κατατήκειν εἰς ταῦτα τὰς τέχνας,de Demosth.c. 51.

15. Afterἄλογον, ἦν may be inserted with Sauppe, who comparesde Demosth.c. 52 ὅτι μειράκιον μὲν ἔτι ὄντα καὶ νεωστὶ τοῦ μαθήματος ἁπτόμενον αὐτὸν οὐκ ἄλογον ἦν καὶ ταῦτα καὶ τἆλλα πάντα διὰ πολλῆς ἐπιμελείας τε καὶ φροντίδος ἔχειν. But the verb may have been omitted in theC.V.in order to avoid its repetition with ὅσα δυνατὰ ἦν.

ἀνθρωπίνην πεσεῖν· ἐπειδὴ δὲ ἡ χρόνιος ἄσκησις ἰσχὺνπολλὴν λαβοῦσα τύπους τινὰς ἐν τῇ διανοίᾳ παντὸς τοῦμελετωμένου καὶ σφραγῖδας ἐνεποίησεν, ἐκ τοῦ ῥᾴστου τεκαὶ ἀπὸ τῆς ἕξεως αὐτὰ ἤδη ποιεῖν. οἷόν τι γίνεται κἀνταῖς ἄλλαις τέχναις, ὧν ἐνέργειά τις ἢ ποίησις τὸ τέλος· 5αὐτίκα οἱ κιθαρίζειν τε καὶ ψάλλειν καὶ αὐλεῖν ἄκρως εἰδότεςὅταν κρούσεως ἀκούσωσιν ἀσυνήθους, οὐ πολλὰ πραγματευθέντεςἀπαριθμοῦσιν αὐτὴν εὐθὺς ἐπὶ τῶν ὀργάνων ἅμανοήσει· μανθάνοντες δέ γε χρόνῳ τε πολλῷ καὶ πόνῳ τὰςδυνάμεις τῶν φθόγγων ἀναλαμβάνουσιν, καὶ οὐκ εὐθὺς αἱ 10χεῖρες αὐτῶν ἐν ἕξει τοῦ δρᾶν τὰ παραγγελλόμενα ἦσαν, ὀψὲδέ ποτε καὶ ὅτε ἡ πολλὴ ἄσκησις αὐταῖς εἰς φύσεως ἰσχὺνκατέστησε τὸ ἔθος, τότε τῶν ἔργων ἐγένοντο ἐπιτυχεῖς. καὶτί δεῖ περὶ τῶν ἄλλων λέγειν; ὃ γὰρ ἅπαντες ἴσμεν, ἀπόχρηκαὶ πᾶσαν αὐτῶν διακόψαι τὴν φλυαρίαν. τί δ’ ἐστὶ τοῦτο; 15τὰ γράμματα ὅταν παιδευώμεθα, πρῶτον μὲν τὰ ὀνόματααὐτῶν ἐκμανθάνομεν, ἔπειτα τοὺς τύπους καὶ τὰς δυνάμεις,εἶθ’ οὕτω τὰς συλλαβὰς καὶ τὰ ἐν ταύταις πάθη, καὶ μετὰτοῦτο ἤδη τὰς λέξεις καὶ τὰ συμβεβηκότα αὐταῖς, ἐκτάσειςτε λέγω καὶ συστολὰς καὶ προσῳδίας καὶ τὰ παραπλήσια 20τούτοις· ὅταν δὲ τὴν τούτων ἐπιστήμην λάβωμεν, τότεἀρχόμεθα γράφειν τε καὶ ἀναγινώσκειν, κατὰ συλλαβὴν‹μὲν› καὶ βραδέως τὸ πρῶτον· ἐπειδὰν δὲ ὁ χρόνος ἀξιόλογοςπροσελθὼν τύπους ἰσχυροὺς αὐτῶν ἐν ταῖς ψυχαῖςἡμῶν ἐμποιήσῃ, τότε ἀπὸ τοῦ ῥᾴστου δρῶμεν αὐτὰ καὶ πᾶν 25ὅ τι ἂν ἐπιδῷ τις βιβλίον ἀπταίστως διερχόμεθα ἕξει τεκαὶ τάχει ἀπίστῳ. τοιοῦτο δὴ καὶ περὶ τὴν σύνθεσιν τῶνὀνομάτων καὶ περὶ τὴν εὐέπειαν τῶν κώλων ὑποληπτέονγίνεσθαι παρὰ τοῖς ἀθληταῖς τοῦ ἔργου. τοὺς δὲ τούτου[269]by human skill were, yet when long training had issued in perfect mastery, and had graven on his mind forms and impressions of all that he had practised, he henceforth produced his effects with the utmost ease from sheer force of habit. Something similar occurs in the other arts whose end is activity or production. For example, when accomplished players on the lyre, the harp, or the flute hear an unfamiliar tune, they no sooner grasp it than with little trouble they run over it on the instrument themselves. They have mastered the values of the notes after much toiling and moiling, and so can reproduce them. Their hands were not at the outset in condition to do what was bidden them; they attained command of this accomplishment only after much time, when ample training had converted custom into second nature.Why pursue the subject? A fact familiar to all of us is enough to silence these quibblers. What may this be? When we are taught to read, first we learn off the names of the letters, then their forms and their values, then in due course syllables and their modifications, and finally words and their properties, viz. lengthenings and shortenings, accents, and the like. After acquiring the knowledge of these things, we begin to write and read, syllable by syllable and slowly at first. And when the lapse of a considerable time has implanted the forms of words firmly in our minds, then we deal with them without the least difficulty, and whenever any book is placed in our hands we go through it without stumbling, and with incredible facility and speed. We must suppose that something of this kind happens in the case of the trained exponent of the literary profession as regards the arrangement of words and the euphony of clauses. And it is not unnatural that those who

[269]by human skill were, yet when long training had issued in perfect mastery, and had graven on his mind forms and impressions of all that he had practised, he henceforth produced his effects with the utmost ease from sheer force of habit. Something similar occurs in the other arts whose end is activity or production. For example, when accomplished players on the lyre, the harp, or the flute hear an unfamiliar tune, they no sooner grasp it than with little trouble they run over it on the instrument themselves. They have mastered the values of the notes after much toiling and moiling, and so can reproduce them. Their hands were not at the outset in condition to do what was bidden them; they attained command of this accomplishment only after much time, when ample training had converted custom into second nature.Why pursue the subject? A fact familiar to all of us is enough to silence these quibblers. What may this be? When we are taught to read, first we learn off the names of the letters, then their forms and their values, then in due course syllables and their modifications, and finally words and their properties, viz. lengthenings and shortenings, accents, and the like. After acquiring the knowledge of these things, we begin to write and read, syllable by syllable and slowly at first. And when the lapse of a considerable time has implanted the forms of words firmly in our minds, then we deal with them without the least difficulty, and whenever any book is placed in our hands we go through it without stumbling, and with incredible facility and speed. We must suppose that something of this kind happens in the case of the trained exponent of the literary profession as regards the arrangement of words and the euphony of clauses. And it is not unnatural that those who

[269]

by human skill were, yet when long training had issued in perfect mastery, and had graven on his mind forms and impressions of all that he had practised, he henceforth produced his effects with the utmost ease from sheer force of habit. Something similar occurs in the other arts whose end is activity or production. For example, when accomplished players on the lyre, the harp, or the flute hear an unfamiliar tune, they no sooner grasp it than with little trouble they run over it on the instrument themselves. They have mastered the values of the notes after much toiling and moiling, and so can reproduce them. Their hands were not at the outset in condition to do what was bidden them; they attained command of this accomplishment only after much time, when ample training had converted custom into second nature.

Why pursue the subject? A fact familiar to all of us is enough to silence these quibblers. What may this be? When we are taught to read, first we learn off the names of the letters, then their forms and their values, then in due course syllables and their modifications, and finally words and their properties, viz. lengthenings and shortenings, accents, and the like. After acquiring the knowledge of these things, we begin to write and read, syllable by syllable and slowly at first. And when the lapse of a considerable time has implanted the forms of words firmly in our minds, then we deal with them without the least difficulty, and whenever any book is placed in our hands we go through it without stumbling, and with incredible facility and speed. We must suppose that something of this kind happens in the case of the trained exponent of the literary profession as regards the arrangement of words and the euphony of clauses. And it is not unnatural that those who

1 πεσεῖν EP: ἐλθεῖν MV 3 σφαγίδας P: σφραγίδας V 4 ᾔδει ποιεῖν E 8 ἅμα Us.: ἀλλὰ PMV1: ἀλλὰ καὶ V221 δὲ EM: τε PV 23 μὲν inseruit Sadaeus coll. comment. de Demosth. c. 52 || ἐπειδὰν E: ἐπεὶ PV: ἔπειτα M 25 ποιήση EM1: ποιήσει PM2V 27 τοιοῦτο EM: τοιούτω P: τοιοῦτον V 29 τοὺς ... ἀπείρους E: τοῖς ... ἀπείροις PMV3.ἐκ τοῦ ῥᾴστου: cp. ἀπὸ τοῦ ῥᾴστου l. 25infra.5. Dionysius is thinking of Aristot.Eth. Nic.i. 1 διαφορὰ δέ τις φαίνεται τῶν τελῶν· τὰ μὲν γάρ εἰσιν ἐνέργειαι, τὰ δὲ παρ’ αὐτὰς ἔργα τινά. ὧν δ’ εἰσὶ τέλη τινὰ παρὰ τὰς πράξεις, ἐν τούτοις βελτίω πέφυκε τῶν ἐνεργείων τὰ ἔργα.8. If ἀλλὰ νοήσει be retained, the meaning will be ‘not with much trouble, but by means of their acquired skill.’ Butἅμα νοήσειderives support from the parallel passages inde Demosth.c. 52 ἅμα νοήσει [νοήσει Sylburg, for the manuscript reading νοήσεις] and ὥστε ἅμα νοήσει κεκριμένον τε καὶ ἄπταιστον αὐτῆς εἶναι τὸ ἔργον.16. Referring to this description in theCambridge Companion to Greek Studiesp. 507, the late Dr. A. S. Wilkins remarks: “Some have supposed that Dionysius here describes the method of acquiring the power of reading, not by learning the names of the letters first, but by learning their powers, so combining them at once into syllables. But this is hardly consistent with his language, and is directly contradicted by a passage in Athenaeus, which tells how there was a kind of chant used in schools:—βῆτα ἄλφα βα, βῆτα εἶ βε, etc. A terracotta plate found in Attica, doubtless intended for use in schools, contains a number of syllables αρ βαρ γαρ δαρ ερ βερ γερ δερ κτλ.”26.ἀπταίστως: Usener reads ἀπταίστῳ. But the adverb goes better with διερχόμεθα than the adjective would with ἕξει τε καὶ τάχει. Cp.de Demosth.c. 51 (the later version of the present passage) ἀπταίστως τε καὶ κατὰ πολλὴν εὐπέτειαν, and PlatoTheaet.144Bὁ δὲ οὕτω λείως τε καὶ ἀπταίστως καὶ ἀνυσίμως ἔρχεται ἐπὶ τὰς μαθήσεις τε καὶ ζητήσεις μετὰ πολλῆς πρᾳότητος, οἷον ἐλαίου ῥεῦμα ἀψοφητὶ ῥέοντος (these last words are echoed in thede Demosth.c. 20).29.ἀθληταῖς: cp.de Demosth.c. 18 καίτοι γε τοῖς ἀθληταῖς τῆς ἀληθινῆς λέξεως ἰσχυρὰς τὰς ἁφὰς προσεῖναι δεῖ καὶ ἀφύκτους τὰς λαβάς, andde Isocr.c. 11 fin.; also δεινοὺς ἀγωνιστάς2823infra.

3.ἐκ τοῦ ῥᾴστου: cp. ἀπὸ τοῦ ῥᾴστου l. 25infra.

5. Dionysius is thinking of Aristot.Eth. Nic.i. 1 διαφορὰ δέ τις φαίνεται τῶν τελῶν· τὰ μὲν γάρ εἰσιν ἐνέργειαι, τὰ δὲ παρ’ αὐτὰς ἔργα τινά. ὧν δ’ εἰσὶ τέλη τινὰ παρὰ τὰς πράξεις, ἐν τούτοις βελτίω πέφυκε τῶν ἐνεργείων τὰ ἔργα.

8. If ἀλλὰ νοήσει be retained, the meaning will be ‘not with much trouble, but by means of their acquired skill.’ Butἅμα νοήσειderives support from the parallel passages inde Demosth.c. 52 ἅμα νοήσει [νοήσει Sylburg, for the manuscript reading νοήσεις] and ὥστε ἅμα νοήσει κεκριμένον τε καὶ ἄπταιστον αὐτῆς εἶναι τὸ ἔργον.

16. Referring to this description in theCambridge Companion to Greek Studiesp. 507, the late Dr. A. S. Wilkins remarks: “Some have supposed that Dionysius here describes the method of acquiring the power of reading, not by learning the names of the letters first, but by learning their powers, so combining them at once into syllables. But this is hardly consistent with his language, and is directly contradicted by a passage in Athenaeus, which tells how there was a kind of chant used in schools:—βῆτα ἄλφα βα, βῆτα εἶ βε, etc. A terracotta plate found in Attica, doubtless intended for use in schools, contains a number of syllables αρ βαρ γαρ δαρ ερ βερ γερ δερ κτλ.”

26.ἀπταίστως: Usener reads ἀπταίστῳ. But the adverb goes better with διερχόμεθα than the adjective would with ἕξει τε καὶ τάχει. Cp.de Demosth.c. 51 (the later version of the present passage) ἀπταίστως τε καὶ κατὰ πολλὴν εὐπέτειαν, and PlatoTheaet.144Bὁ δὲ οὕτω λείως τε καὶ ἀπταίστως καὶ ἀνυσίμως ἔρχεται ἐπὶ τὰς μαθήσεις τε καὶ ζητήσεις μετὰ πολλῆς πρᾳότητος, οἷον ἐλαίου ῥεῦμα ἀψοφητὶ ῥέοντος (these last words are echoed in thede Demosth.c. 20).

29.ἀθληταῖς: cp.de Demosth.c. 18 καίτοι γε τοῖς ἀθληταῖς τῆς ἀληθινῆς λέξεως ἰσχυρὰς τὰς ἁφὰς προσεῖναι δεῖ καὶ ἀφύκτους τὰς λαβάς, andde Isocr.c. 11 fin.; also δεινοὺς ἀγωνιστάς2823infra.

ἀπείρους ἢ ἀτριβεῖς ἔργου ὁτουοῦν θαυμάζειν καὶ ἀπιστεῖν,εἴ τι κεκρατημένως ὑφ’ ἑτέρου γίνεται διὰ τέχνης, οὐκ ἄλογον.πρὸς μὲν οὖν τοὺς εἰωθότας χλευάζειν τὰ παραγγέλματα τῶντεχνῶν ταῦτα εἰρήσθω.XXVIπερὶ δὲ τῆς ἐμμελοῦς τε καὶ ἐμμέτρου συνθέσεως τῆς 5ἐχούσης πολλὴν ὁμοιότητα πρὸς τὴν πεζὴν λέξιν τοιαῦτάτινα λέγειν ἔχω, ὡς πρώτη μέν ἐστιν αἰτία κἀνταῦθα τὸναὐτὸν τρόπον ὅνπερ ἐπὶ τῆς ἀμέτρου ποιητικῆς ἡ τῶν ὀνομάτωναὐτῶν ἁρμογή, δευτέρα δὲ ἡ τῶν κώλων σύνθεσις, τρίτηδὲ ἡ τῶν περιόδων συμμετρία. τὸν δὴ βουλόμενον ἐν τούτῳ 10τῷ μέρει κατορθοῦν τὰ τῆς λέξεως μόρια δεῖ πολυειδῶς στρέφειντε καὶ συναρμόττειν καὶ τὰ κῶλα ἐν διαστήμασι ποιεῖνσυμμέτρως, μὴ συναπαρτίζοντα τοῖς στίχοις ἀλλὰ διατέμνοντατὸ μέτρον, ἄνισά τε ποιεῖν αὐτὰ καὶ ἀνόμοια, πολλάκις δὲκαὶ εἰς κόμματα συνάγειν βραχύτερα κώλων, τάς τε περιόδους 15μήτε ἰσομεγέθεις μήτε ὁμοιοσχήμονας τὰς γοῦν παρακειμέναςἀλλήλαις ἐργάζεσθαι· ἔγγιστα γὰρ φαίνεται λόγοιςτὸ περὶ τοὺς ῥυθμοὺς καὶ τὰ μέτρα πεπλανημένον. τοῖς μὲνοὖν τὰ ἔπη καὶ τοὺς ἰάμβους καὶ τὰ ἄλλα τὰ ὁμοειδῆ μέτρακατασκευάζουσιν οὐκ ἔξεστι πολλοῖς διαλαμβάνειν μέτροις ἢ 20ῥυθμοῖς τὰς ποιήσεις, ἀλλ’ ἀνάγκη μένειν ἀεὶ ἐπὶ τοῦ αὐτοῦσχήματος· τοῖς δὲ μελοποιοῖς ἔξεστι πολλὰ μέτρα καὶῥυθμοὺς εἰς μίαν ἐμβαλεῖν περίοδον· ὥσθ’ οἱ μὲν τὰ μονόμετρα[271]are ignorant of this or unversed in any profession whatsoever should be surprised and incredulous when they hear that anything is executed with such mastery by another as a result of artistic training. This may suffice as a rejoinder to those who are accustomed to scoff at the rules of the rhetorical manuals.CHAPTER XXVIHOW VERSE CAN RESEMBLE PROSEConcerning melodious metrical composition which bears a close affinity to prose, my views are of the following kind. The prime factor here too, just as in the case of poetical prose, is the collocation of the words themselves; next, the composition of the clauses; third, the arrangement of the periods. He who wishes to succeed in this department must change the words about and connect them with each other in manifold ways, and make the clauses begin and end at various places within the lines, not allowing their sense to be self-contained in separate verses, but breaking up the measure. He must make the clauses vary in length and form, and will often also reduce them to phrases which are shorter than clauses, and will make the periods—those at any rate which adjoin one another—neither equal in size nor alike in construction; for an elastic treatment of rhythms and metres seems to bring verse quite near to prose. Now those authors who compose in epic or iambic verse, or use the other regular metres, cannot diversify their poetical works with many metres or rhythms, but must always adhere to the same metrical form. But the lyric poets can include many metres and rhythms in a single period. So that when the writers of monometers break up

περὶ δὲ τῆς ἐμμελοῦς τε καὶ ἐμμέτρου συνθέσεως τῆς 5ἐχούσης πολλὴν ὁμοιότητα πρὸς τὴν πεζὴν λέξιν τοιαῦτάτινα λέγειν ἔχω, ὡς πρώτη μέν ἐστιν αἰτία κἀνταῦθα τὸναὐτὸν τρόπον ὅνπερ ἐπὶ τῆς ἀμέτρου ποιητικῆς ἡ τῶν ὀνομάτωναὐτῶν ἁρμογή, δευτέρα δὲ ἡ τῶν κώλων σύνθεσις, τρίτηδὲ ἡ τῶν περιόδων συμμετρία. τὸν δὴ βουλόμενον ἐν τούτῳ 10τῷ μέρει κατορθοῦν τὰ τῆς λέξεως μόρια δεῖ πολυειδῶς στρέφειντε καὶ συναρμόττειν καὶ τὰ κῶλα ἐν διαστήμασι ποιεῖνσυμμέτρως, μὴ συναπαρτίζοντα τοῖς στίχοις ἀλλὰ διατέμνοντατὸ μέτρον, ἄνισά τε ποιεῖν αὐτὰ καὶ ἀνόμοια, πολλάκις δὲκαὶ εἰς κόμματα συνάγειν βραχύτερα κώλων, τάς τε περιόδους 15μήτε ἰσομεγέθεις μήτε ὁμοιοσχήμονας τὰς γοῦν παρακειμέναςἀλλήλαις ἐργάζεσθαι· ἔγγιστα γὰρ φαίνεται λόγοιςτὸ περὶ τοὺς ῥυθμοὺς καὶ τὰ μέτρα πεπλανημένον. τοῖς μὲνοὖν τὰ ἔπη καὶ τοὺς ἰάμβους καὶ τὰ ἄλλα τὰ ὁμοειδῆ μέτρακατασκευάζουσιν οὐκ ἔξεστι πολλοῖς διαλαμβάνειν μέτροις ἢ 20ῥυθμοῖς τὰς ποιήσεις, ἀλλ’ ἀνάγκη μένειν ἀεὶ ἐπὶ τοῦ αὐτοῦσχήματος· τοῖς δὲ μελοποιοῖς ἔξεστι πολλὰ μέτρα καὶῥυθμοὺς εἰς μίαν ἐμβαλεῖν περίοδον· ὥσθ’ οἱ μὲν τὰ μονόμετρα

[271]are ignorant of this or unversed in any profession whatsoever should be surprised and incredulous when they hear that anything is executed with such mastery by another as a result of artistic training. This may suffice as a rejoinder to those who are accustomed to scoff at the rules of the rhetorical manuals.CHAPTER XXVIHOW VERSE CAN RESEMBLE PROSEConcerning melodious metrical composition which bears a close affinity to prose, my views are of the following kind. The prime factor here too, just as in the case of poetical prose, is the collocation of the words themselves; next, the composition of the clauses; third, the arrangement of the periods. He who wishes to succeed in this department must change the words about and connect them with each other in manifold ways, and make the clauses begin and end at various places within the lines, not allowing their sense to be self-contained in separate verses, but breaking up the measure. He must make the clauses vary in length and form, and will often also reduce them to phrases which are shorter than clauses, and will make the periods—those at any rate which adjoin one another—neither equal in size nor alike in construction; for an elastic treatment of rhythms and metres seems to bring verse quite near to prose. Now those authors who compose in epic or iambic verse, or use the other regular metres, cannot diversify their poetical works with many metres or rhythms, but must always adhere to the same metrical form. But the lyric poets can include many metres and rhythms in a single period. So that when the writers of monometers break up

[271]

are ignorant of this or unversed in any profession whatsoever should be surprised and incredulous when they hear that anything is executed with such mastery by another as a result of artistic training. This may suffice as a rejoinder to those who are accustomed to scoff at the rules of the rhetorical manuals.

Concerning melodious metrical composition which bears a close affinity to prose, my views are of the following kind. The prime factor here too, just as in the case of poetical prose, is the collocation of the words themselves; next, the composition of the clauses; third, the arrangement of the periods. He who wishes to succeed in this department must change the words about and connect them with each other in manifold ways, and make the clauses begin and end at various places within the lines, not allowing their sense to be self-contained in separate verses, but breaking up the measure. He must make the clauses vary in length and form, and will often also reduce them to phrases which are shorter than clauses, and will make the periods—those at any rate which adjoin one another—neither equal in size nor alike in construction; for an elastic treatment of rhythms and metres seems to bring verse quite near to prose. Now those authors who compose in epic or iambic verse, or use the other regular metres, cannot diversify their poetical works with many metres or rhythms, but must always adhere to the same metrical form. But the lyric poets can include many metres and rhythms in a single period. So that when the writers of monometers break up

1 ἀτριβεῖς Reiskius: ἀτριβέσιν libri 2 κεκρατημένως PM: κεκροτημένως V 5 συνθήκης M 10 συμμετρία M: ἐμμετρία EPV 17 ἀλλήλαις EM: ἀλλήλοις PV2.κεκρατημένως, ‘vigorously’: cp. Sext. Empir. p. 554 (Bekker) οὐ κεκρατημένως ὑπέγραψαν οἱ δογματικοὶ τὴν ἐπίνοιαν τοῦ τε ἀγαθοῦ καὶ κακοῦ. The other reading κεκροτημένως would mean ‘with tumult of applause’; or perhaps ‘in a welded, well-wrought way.’5. For the relation of Verse to Prose see Introduction, pp.33-9.8. Other references to poetical prose occur in2085,25010, 16supra.13.μὴ συναπαρτίζοντα τοῖς στίχοις, ‘not allowing the sense of the clauses to be self-contained in separate lines,’ lit. ‘not completing the clauses together with the lines.’ Dionysius means that verse-writers must (for the sake of variety) practiseenjambement, i.e. the completion of the sense in another line. It is the neglect of this principle that makes the language of French classical tragedy [with exceptions, of course; e.g. RacineAthaliei. 1 “Celui qui met un frein,” etc.] so monotonous when compared with that of the Greek or Shakespearian tragedy. Besides the examples adduced by Dionysius, compare that quoted from Callimachus in the note on2724infraand, in English, Tennyson’sDoraand Wordsworth’sMichael. Such English poems without rhyme might be written out as continuous prose, and their true character would pass unsuspected by many readers, pauses at the ends of lines being often studiously avoided; e.g. the opening of Tennyson’sDora: “With farmer Allen at the farm abode William and Dora. William was his son, and she his niece. He often look’d at them, and often thought, ‘I’ll make them man and wife.’ Now Dora felt her uncle’s will in all, and yearn’d toward William; but the youth, because he had been always with her in the house, thought not of Dora.” Similarly Homer’s “ἀλλά μ’ ἀνήρπαξαν Τάφιοι ληίστορες ἄνδρες ἀγρόθεν ἐρχομένην, περάσαν δέ με δεῦρ’ ἀγαγόντες τοῦδ’ ἀνδρὸς πρὸς δώμαθ’· ὁ δ’ ἄξιον ὦνον ἔδωκε” (Odyss.xv. 427-9) might almost be an extract from a speech of Lysias. Some remarkable examples ofenjambement(or ‘overflow’) might also be quoted from Swinburne’s recent poem,The Duke of Gandia.17. Cp. Cic.de Orat.i. 16. 70 “est enim finitimus oratori poëta, numeris astrictor paulo, verborum autem licentia liberior, multis vero ornandi generibus socius, ac paene par.”

1 ἀτριβεῖς Reiskius: ἀτριβέσιν libri 2 κεκρατημένως PM: κεκροτημένως V 5 συνθήκης M 10 συμμετρία M: ἐμμετρία EPV 17 ἀλλήλαις EM: ἀλλήλοις PV

2.κεκρατημένως, ‘vigorously’: cp. Sext. Empir. p. 554 (Bekker) οὐ κεκρατημένως ὑπέγραψαν οἱ δογματικοὶ τὴν ἐπίνοιαν τοῦ τε ἀγαθοῦ καὶ κακοῦ. The other reading κεκροτημένως would mean ‘with tumult of applause’; or perhaps ‘in a welded, well-wrought way.’

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

8. Other references to poetical prose occur in2085,25010, 16supra.

13.μὴ συναπαρτίζοντα τοῖς στίχοις, ‘not allowing the sense of the clauses to be self-contained in separate lines,’ lit. ‘not completing the clauses together with the lines.’ Dionysius means that verse-writers must (for the sake of variety) practiseenjambement, i.e. the completion of the sense in another line. It is the neglect of this principle that makes the language of French classical tragedy [with exceptions, of course; e.g. RacineAthaliei. 1 “Celui qui met un frein,” etc.] so monotonous when compared with that of the Greek or Shakespearian tragedy. Besides the examples adduced by Dionysius, compare that quoted from Callimachus in the note on2724infraand, in English, Tennyson’sDoraand Wordsworth’sMichael. Such English poems without rhyme might be written out as continuous prose, and their true character would pass unsuspected by many readers, pauses at the ends of lines being often studiously avoided; e.g. the opening of Tennyson’sDora: “With farmer Allen at the farm abode William and Dora. William was his son, and she his niece. He often look’d at them, and often thought, ‘I’ll make them man and wife.’ Now Dora felt her uncle’s will in all, and yearn’d toward William; but the youth, because he had been always with her in the house, thought not of Dora.” Similarly Homer’s “ἀλλά μ’ ἀνήρπαξαν Τάφιοι ληίστορες ἄνδρες ἀγρόθεν ἐρχομένην, περάσαν δέ με δεῦρ’ ἀγαγόντες τοῦδ’ ἀνδρὸς πρὸς δώμαθ’· ὁ δ’ ἄξιον ὦνον ἔδωκε” (Odyss.xv. 427-9) might almost be an extract from a speech of Lysias. Some remarkable examples ofenjambement(or ‘overflow’) might also be quoted from Swinburne’s recent poem,The Duke of Gandia.

17. Cp. Cic.de Orat.i. 16. 70 “est enim finitimus oratori poëta, numeris astrictor paulo, verborum autem licentia liberior, multis vero ornandi generibus socius, ac paene par.”

συντιθέντες ὅταν διαλύσωσι τοὺς στίχους τοῖς κώλοιςδιαλαμβάνοντες ἄλλοτε ἄλλως, διαχέουσι καὶ ἀφανίζουσι τὴνἀκρίβειαν τοῦ μέτρου, καὶ ὅταν τὰς περιόδους μεγέθει τε καὶσχήματι ποικίλας ποιῶσιν, εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦμέτρου· οἱ δὲ μελοποιοὶ πολυμέτρους τὰς στροφὰς ἐργαζόμενοι 5καὶ τῶν κώλων ἑκάστοτε πάλιν ἀνίσων τε ὄντων καὶ ἀνομοίωνἀλλήλοις ἀνομοίους τε καὶ ἀνίσους ποιούμενοι τὰς διαιρέσεις,δι’ ἄμφω δὲ ταῦτα οὐκ ἐῶντες, ἡμᾶς ὁμοειδοῦς ἀντίληψινλαβεῖν ῥυθμοῦ πολλὴν τὴν πρὸς τοὺς λόγους ὁμοιότητα κατασκευάζουσινἐν τοῖς μέλεσιν, ἔνεστί τε καὶ τροπικῶν καὶ 10ξένων καὶ γλωττηματικῶν καὶ τῶν ἄλλων ποιητικῶν ὀνομάτωνμενόντων ἐν τοῖς ποιήμασιν μηδὲν ἧττον αὐτὰ φαίνεσθαιλόγῳ παραπλήσια.μηδεὶς δὲ ὑπολαμβανέτω με ἀγνοεῖν ὅτι κακία ποιήματοςἡ καλουμένη λογοείδεια δοκεῖ τις εἶναι, μηδὲ καταγινωσκέτω 15μου ταύτην τὴν ἀμαθίαν, ὡς ἄρα ἐγὼ κακίαν τινὰ ἐν ἀρεταῖςτάττω ποιημάτων ἢ λόγων· ὡς δὲ ἀξιῶ διαιρεῖν κἀν τούτοιςτὰ σπουδαῖα ἀπὸ τῶν μηδενὸς ἀξίων, ἀκούσας μαθέτω. ἐγὼτοὺς λόγους τὸν μὲν ἰδιώτην ἐπιστάμενος ὄντα, τὸν ἀδολέσχηντοῦτον λέγω καὶ φλύαρον, τὸν δὲ πολιτικόν, ἐν ᾧ τὸ πολὺ 20κατεσκευασμένον ἐστὶ καὶ ἔντεχνον, ὅ τι μὲν ἂν τῶν ποιημάτωνὅμοιον εὑρίσκω τῷ φλυάρῳ καὶ ἀδολέσχῃ, γέλωτος ἄξιοντίθεμαι, ὅ τι δ’ ἂν τῷ κατεσκευασμένῳ καὶ ἐντέχνῳ, ζήλουκαὶ σπουδῆς ἐπιτήδειον τυχάνειν οἴομαι. εἰ μὲν οὖνδιαφόρου προσηγορίας τῶν λόγων ἑκάτερος ἐτύγχανεν, ἀκόλουθον 25ἦν ἂν καὶ τῶν ποιημάτων ἃ τούτοις ἔοικεν διαφόροιςὀνόμασι καλεῖν ἑκάτερον· ἐπειδὴ δὲ ὅ τε σπουδαῖος καὶ ὁτοῦ μηδενὸς ἄξιος ὁμοίως καλεῖται λόγος, οὐκ ἂν ἁμαρτάνοιτις τὰ μὲν ἐοικότα τῷ καλῷ λόγῳ ποιήματα καλὰ ἡγούμενος,[273]the lines by distributing them into clauses now one way now another, they dissolve and efface the regularity of the metre; and when they diversify the periods in size and form, they make us forget the metre. On the other hand, the lyric poets compose their strophes in many metres; and again, from the fact that the clauses vary from time to time in length and form, they make the divisions unlike in form and size. From both these causes they hinder our apprehension of any uniform rhythm, and so they produce, as by design, in lyric poems a great likeness to prose. It is quite possible, moreover, for the poems to retain many figurative, unfamiliar, exceptional, and otherwise poetical words, and none the less to show a close resemblance to prose.And let no one think me ignorant of the fact that the so-called “pedestrian character” is commonly regarded as a vice in poetry, or impute to me, of all persons, the folly of ranking any bad quality among the virtues of poetry or prose. Let my critic rather pay attention and learn how here once more I claim to distinguish what merits serious consideration from what is worthless. I observe that, among prose styles, there is on the one side the uncultivated style, by which I mean the prevailing frivolous gabble, and on the other side the language of public life which is, in the main, studied and artistic; and so, whenever I find any poetry which resembles the frivolous gabble I have referred to, I regard it as beneath criticism. I think that alone to be fit for serious imitation which resembles the studied and artistic kind. Now, if each sort of prose had a different appellation, it would have been only consistent to call the corresponding sorts of poetry also by different names. But since both the good and the worthless are called “prose,” it may not be wrong to regard as noble and bad “poetry” that which

[273]the lines by distributing them into clauses now one way now another, they dissolve and efface the regularity of the metre; and when they diversify the periods in size and form, they make us forget the metre. On the other hand, the lyric poets compose their strophes in many metres; and again, from the fact that the clauses vary from time to time in length and form, they make the divisions unlike in form and size. From both these causes they hinder our apprehension of any uniform rhythm, and so they produce, as by design, in lyric poems a great likeness to prose. It is quite possible, moreover, for the poems to retain many figurative, unfamiliar, exceptional, and otherwise poetical words, and none the less to show a close resemblance to prose.And let no one think me ignorant of the fact that the so-called “pedestrian character” is commonly regarded as a vice in poetry, or impute to me, of all persons, the folly of ranking any bad quality among the virtues of poetry or prose. Let my critic rather pay attention and learn how here once more I claim to distinguish what merits serious consideration from what is worthless. I observe that, among prose styles, there is on the one side the uncultivated style, by which I mean the prevailing frivolous gabble, and on the other side the language of public life which is, in the main, studied and artistic; and so, whenever I find any poetry which resembles the frivolous gabble I have referred to, I regard it as beneath criticism. I think that alone to be fit for serious imitation which resembles the studied and artistic kind. Now, if each sort of prose had a different appellation, it would have been only consistent to call the corresponding sorts of poetry also by different names. But since both the good and the worthless are called “prose,” it may not be wrong to regard as noble and bad “poetry” that which

[273]

the lines by distributing them into clauses now one way now another, they dissolve and efface the regularity of the metre; and when they diversify the periods in size and form, they make us forget the metre. On the other hand, the lyric poets compose their strophes in many metres; and again, from the fact that the clauses vary from time to time in length and form, they make the divisions unlike in form and size. From both these causes they hinder our apprehension of any uniform rhythm, and so they produce, as by design, in lyric poems a great likeness to prose. It is quite possible, moreover, for the poems to retain many figurative, unfamiliar, exceptional, and otherwise poetical words, and none the less to show a close resemblance to prose.

And let no one think me ignorant of the fact that the so-called “pedestrian character” is commonly regarded as a vice in poetry, or impute to me, of all persons, the folly of ranking any bad quality among the virtues of poetry or prose. Let my critic rather pay attention and learn how here once more I claim to distinguish what merits serious consideration from what is worthless. I observe that, among prose styles, there is on the one side the uncultivated style, by which I mean the prevailing frivolous gabble, and on the other side the language of public life which is, in the main, studied and artistic; and so, whenever I find any poetry which resembles the frivolous gabble I have referred to, I regard it as beneath criticism. I think that alone to be fit for serious imitation which resembles the studied and artistic kind. Now, if each sort of prose had a different appellation, it would have been only consistent to call the corresponding sorts of poetry also by different names. But since both the good and the worthless are called “prose,” it may not be wrong to regard as noble and bad “poetry” that which

1 διαλύσωσι P: διαλείπωσι M: διαλίπωσι V 3 μεγέθη P 5 τὰσ τροφὰς P 6 ἑκάστοτε Us.: ἑκάστου libri || τε ὄντων M: ὄντων PV 8 ἄμφω δὲ M: ἄμφω PV 11 τῶν ἄλλων Us.: τῶν ἄλλων τῶν libri 15 καλουμένη om. M || τις] τησ P || καταγινωσκέτω MV: καταγιγνωσκέτω P (sed cf.2787 et alibi) 17 κ’ ἂν P 19 τοὺς λόγους Schaeferus: τοῦ λόγου libri || ἁδολέσχην P 20 τὸ πολὺ PM: πολὺ τὸ V 21 ποιημάτων PM: ποιητῶν V 22 ἁδολέσχηι P || ἄξιον P: ἄξιον αὐτὸ MV 28 ὁμοίως compendio P: om. MV4.εἰς λήθην ἐμβάλλουσιν: the following Epigram of Callimachus will illustrate Dionysius’ meaning:—ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέδυομένου Βασιλὼ κάτθανε παρθενικήαὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσαοὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόνπατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνηπᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.(The text is that of Wilamowitz-MoellendorffCallimachi Hymni et Epigrammatap. 59. Upton, who quotes the epigram, adds: “En tibi ea omnia, quae tradit Dionysius, accurate praestita: sententiae inaequales, disparia membra: ipsi adeo versus dissecti, nec sensu, nec verborum structura, nisi in sequentem usque progrediatur, absoluta. quibus factum est, ut prosaicae orationi, salva tamen dignitate, quam proxime accedatur.” Compare also the first eight lines of MimnermusEleg.ii.)6.ἑκάστοτε: Upton here conjectures ἑκάστης, Schaefer ἑκάστων.15.τιςto be connected with κακία. In the next line κακίαν τινά come close together.19.μαθέτω: supply πᾶς τις, or the like, from μηδείς in l. 14. Cp. Hor.Serm.i. 1. 1 “qui fit, Maecenas, ut nemo, quam sibi sortem | seu ratio dederit seu fors obiecerit, illa | contentus vivat, laudet diversa sequentes?”

4.εἰς λήθην ἐμβάλλουσιν: the following Epigram of Callimachus will illustrate Dionysius’ meaning:—

ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέδυομένου Βασιλὼ κάτθανε παρθενικήαὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσαοὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόνπατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνηπᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.

(The text is that of Wilamowitz-MoellendorffCallimachi Hymni et Epigrammatap. 59. Upton, who quotes the epigram, adds: “En tibi ea omnia, quae tradit Dionysius, accurate praestita: sententiae inaequales, disparia membra: ipsi adeo versus dissecti, nec sensu, nec verborum structura, nisi in sequentem usque progrediatur, absoluta. quibus factum est, ut prosaicae orationi, salva tamen dignitate, quam proxime accedatur.” Compare also the first eight lines of MimnermusEleg.ii.)

6.ἑκάστοτε: Upton here conjectures ἑκάστης, Schaefer ἑκάστων.

15.τιςto be connected with κακία. In the next line κακίαν τινά come close together.

19.μαθέτω: supply πᾶς τις, or the like, from μηδείς in l. 14. Cp. Hor.Serm.i. 1. 1 “qui fit, Maecenas, ut nemo, quam sibi sortem | seu ratio dederit seu fors obiecerit, illa | contentus vivat, laudet diversa sequentes?”

τὰ δὲ τῷ μοχθηρῷ πονηρά, οὐδὲν ὑπὸ τῆς τοῦ λόγου ὁμοειδείαςταραττόμενος. κωλύσει γὰρ οὐδὲν ἡ τῆς ὀνομασίας ὁμοιότηςκατὰ διαφόρων ταττομένης πραγμάτων τὴν ἑκατέρου φύσινὁρᾶν.εἰρηκὼς δὴ καὶ περὶ τούτων, παραδείγματά σοι τῶν 5εἰρημένων ὀλίγα θεὶς αὐτοῦ κατακλείσω τὸν λόγον. ἐκ μὲνοὖν τῆς ἐπικῆς ποιήσεως ταῦτα ἀπόχρη·αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲχῶρον ἀν’ ὑλήεντα 10ἔλαττόν τε τοῦ προτέρου καὶ δίχα τέμνον τὸν στίχον. τρίτονδὲ τουτίδι’ ἄκριαςἔλαττον κώλου κομμάτιον. τέταρτον δὲᾗ οἱ Ἀθήνη 15πέφραδε δῖον ὑφορβόνἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲνἐοικός. ἔπειτα τὸ τελευταῖονὅ οἱ βιότοιο μάλιστακήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇπροσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθιςτὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενονοὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.ἔνθα οἱ αὐλὴ 25ὑψηλὴ δέδμητο[275]resembles noble and contemptible prose respectively, and not to be in any way disturbed by mere identity of terms. The application of similar names to different things will not prevent us from discerning the true nature of the things in either case.As I have gone so far as to deal with this subject, I will end by subjoining a few examples of the features in question. From epic poetry it will be enough to quote the following lines:—But he from the haven went where the rugged pathway led.[194]Here we have one clause. Observe the next—Up the wooded land.It is shorter than the other, and cuts the line in two. The third is—through the hills:a segment still shorter than a clause. The fourth—unto where Athene had saidThat he should light on the goodly swineherd—consists of two half-lines and is in no way like the former. Then the conclusion—the man who bestGave heed to the goods of his lord, of the thralls that Odysseuspossessed,which leaves the third line unfinished, while by the addition of the fourth it loses all undue uniformity. Then again—By the house-front sitting he found him,where once more the words do not run out the full course of the line.there where the courtyard wallWas builded tall.

αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·

ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲ

χῶρον ἀν’ ὑλήεντα 10

ἔλαττόν τε τοῦ προτέρου καὶ δίχα τέμνον τὸν στίχον. τρίτονδὲ τουτί

δι’ ἄκριας

ἔλαττον κώλου κομμάτιον. τέταρτον δὲ

ᾗ οἱ Ἀθήνη 15πέφραδε δῖον ὑφορβόν

ἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲνἐοικός. ἔπειτα τὸ τελευταῖον

ὅ οἱ βιότοιο μάλιστακήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20

ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇπροσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθις

τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον

οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.

ἔνθα οἱ αὐλὴ 25ὑψηλὴ δέδμητο

[275]resembles noble and contemptible prose respectively, and not to be in any way disturbed by mere identity of terms. The application of similar names to different things will not prevent us from discerning the true nature of the things in either case.As I have gone so far as to deal with this subject, I will end by subjoining a few examples of the features in question. From epic poetry it will be enough to quote the following lines:—But he from the haven went where the rugged pathway led.[194]Here we have one clause. Observe the next—Up the wooded land.It is shorter than the other, and cuts the line in two. The third is—through the hills:a segment still shorter than a clause. The fourth—unto where Athene had saidThat he should light on the goodly swineherd—consists of two half-lines and is in no way like the former. Then the conclusion—the man who bestGave heed to the goods of his lord, of the thralls that Odysseuspossessed,which leaves the third line unfinished, while by the addition of the fourth it loses all undue uniformity. Then again—By the house-front sitting he found him,where once more the words do not run out the full course of the line.there where the courtyard wallWas builded tall.

[275]

resembles noble and contemptible prose respectively, and not to be in any way disturbed by mere identity of terms. The application of similar names to different things will not prevent us from discerning the true nature of the things in either case.

As I have gone so far as to deal with this subject, I will end by subjoining a few examples of the features in question. From epic poetry it will be enough to quote the following lines:—

But he from the haven went where the rugged pathway led.[194]

Here we have one clause. Observe the next—

Up the wooded land.

It is shorter than the other, and cuts the line in two. The third is—

through the hills:

a segment still shorter than a clause. The fourth—

unto where Athene had saidThat he should light on the goodly swineherd—

consists of two half-lines and is in no way like the former. Then the conclusion—

the man who bestGave heed to the goods of his lord, of the thralls that Odysseuspossessed,

which leaves the third line unfinished, while by the addition of the fourth it loses all undue uniformity. Then again—

By the house-front sitting he found him,

where once more the words do not run out the full course of the line.

there where the courtyard wallWas builded tall.

1 οὐδὲν ... ταραττόμενος MV: om. P 3 ταττομένης Sauppius: ταττομένη libri 5 εἰρηκὼς ... θεὶς Us.: καὶ περὶ τούτων [μὲν add. MV] ἅλις. ὧν δὲ προυθέμην τὰ παραδείγματα θεὶς PMV 8 ὅ γ’] ὁ Hom. 11 τέμνον EV: τέμνοντος PM 14 τέταρτον δὲ E: om. PMV 15 ᾗ Hom.: ἧ V: οἷ [fort. οἷ] PM, E 22 ἔπειτ’ ... ἥμενον om. P 25 ἔνθά οἱ PM3.κατὰ ... ταττομένης: cp. Ven. A Schol. onIl.xv. 347 ὅτι Ζηνόδοτος γράφειἐπισσεύεσθον. συγχεῖται δὲ τὸ δυϊκὸν κατὰ πλειόνων τασσόμενον.6.αὐτοῦ, ‘here,’ ‘on the spot.’ Cp. Diod. Sic. ii. 60 ἡμεῖς δὲ τὴν ἐν ἀρχῇ τῆς βίβλου γεγενημένην ἐπαγγελίαν τετελεκότες αὐτοῦ περιγράψομεν τήνδε τὴν βίβλον.—Withκατακλείσωcp.Antiq. Rom.vii. 14 τελευτῶν δ’ ὁ Βροῦτος, εἰς ἀπειλήν τινα τοιάνδε κατέκλεισε τὸν λόγον, ὡς κτλ.7. In Latin, Bircovius well compares Virg.Aen.i. 180-91.8. Dionysius’ point will be better appreciated if the passage of theOdyssey(xiv. 1-7) be given not bit by bit but as a whole:—αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸνχῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνηπέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστακήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς.τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ,καλή τε μεγάλῃ τε, περίδρομος.15. Compare (in Latin) the opening of Terence’sPhormio, if written continuously: “Amicus summus meus et popularis Geta heri ad me venit. erat ei de ratiuncula iam pridem apud me relicuom pauxillulum nummorum: id ut conficerem. confeci: adfero. nam erilem filium eius duxisse audio uxorem: ei credo munus hoc corraditur. quam inique comparatumst. ei qui minus habent ut semper aliquid addant ditioribus!”

3.κατὰ ... ταττομένης: cp. Ven. A Schol. onIl.xv. 347 ὅτι Ζηνόδοτος γράφειἐπισσεύεσθον. συγχεῖται δὲ τὸ δυϊκὸν κατὰ πλειόνων τασσόμενον.

6.αὐτοῦ, ‘here,’ ‘on the spot.’ Cp. Diod. Sic. ii. 60 ἡμεῖς δὲ τὴν ἐν ἀρχῇ τῆς βίβλου γεγενημένην ἐπαγγελίαν τετελεκότες αὐτοῦ περιγράψομεν τήνδε τὴν βίβλον.—Withκατακλείσωcp.Antiq. Rom.vii. 14 τελευτῶν δ’ ὁ Βροῦτος, εἰς ἀπειλήν τινα τοιάνδε κατέκλεισε τὸν λόγον, ὡς κτλ.

7. In Latin, Bircovius well compares Virg.Aen.i. 180-91.

8. Dionysius’ point will be better appreciated if the passage of theOdyssey(xiv. 1-7) be given not bit by bit but as a whole:—

αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸνχῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνηπέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστακήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς.τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ,καλή τε μεγάλῃ τε, περίδρομος.

15. Compare (in Latin) the opening of Terence’sPhormio, if written continuously: “Amicus summus meus et popularis Geta heri ad me venit. erat ei de ratiuncula iam pridem apud me relicuom pauxillulum nummorum: id ut conficerem. confeci: adfero. nam erilem filium eius duxisse audio uxorem: ei credo munus hoc corraditur. quam inique comparatumst. ei qui minus habent ut semper aliquid addant ditioribus!”

ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδοςἐν κώλοις τε καὶ κόμμασι λεγόμενος· ἐπιθεὶς γὰρπερισκέπτῳ ἐνὶ χώρῳ,πάλιν ἐποίσεικαλή τε μεγάλη τε 5βραχύτερον κώλου κομμάτιον, εἶταπερίδρομοςὄνομα καθ’ ἑαυτὸ νοῦν τινα ἔχον. εἶθ’ ἑξῆς τὰ ἄλλα τὸναὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου 10ταυτίὮ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται,χαῖρ’,τὸ πρῶτον ἄχρι τούτου κῶλον.ὅς τε πέτραν Ἀρκάδων δυσχείμερον 15‹Πὰν› ἐμβατεύειςτὸ δεύτερον μέχρι τοῦδε.ἔνθεν εὔχομαι γένος.τοῦτο τρίτον. τὰ μὲν πρότερα μείζονα στίχου, τοῦτο δὲἔλαττον. 20Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳτίκτει λαθραίως Ἡρακλεῖ·μετὰ τοῦτοξύνοιδ’ ὄροςΠαρθένιον, 25οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερονστίχου τε ἔλαττον καὶ στίχου μεῖζον[277]This, too, does not balance the former. Further, the order of ideas in the continuation of the passage is unperiodic, though the words are cast into the form of clauses and sections. For, after addingIn a place with a clear view round about,we shall find him subjoining:Massy and fair to behold,which is a segment shorter than a clause. Next we findFree on every side,where the one Greek word (περίδρομος) by itself carries a certain meaning. And so on: we shall find him elaborating everything that follows in the same way. Why go into unnecessary detail?From iambic poetry may be taken these lines of Euripides:—Fatherland, ta’en by Pelops in possession,Hail![195]Thus far the first clause extends.And thou, Pan, who haunt’st the stormy steepsOf Arcady.[195]So far the second extends.Whereof I boast my birth.[195]That is the third. The former are longer than a line; the last is shorter.Me Auge, Aleus’ daughter, not of wedlockBare to Tirynthian Heracles.[195]And afterwards—This knowsYon hill Parthenian.[195]Not one of these corresponds exactly to a line. Then once more we find another clause which is from one point of view less than a line and from the other longer—

ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδοςἐν κώλοις τε καὶ κόμμασι λεγόμενος· ἐπιθεὶς γὰρ

περισκέπτῳ ἐνὶ χώρῳ,

πάλιν ἐποίσει

καλή τε μεγάλη τε 5

βραχύτερον κώλου κομμάτιον, εἶτα

περίδρομος

ὄνομα καθ’ ἑαυτὸ νοῦν τινα ἔχον. εἶθ’ ἑξῆς τὰ ἄλλα τὸναὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου 10ταυτί

Ὦ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται,χαῖρ’,

τὸ πρῶτον ἄχρι τούτου κῶλον.

ὅς τε πέτραν Ἀρκάδων δυσχείμερον 15‹Πὰν› ἐμβατεύεις

τὸ δεύτερον μέχρι τοῦδε.

ἔνθεν εὔχομαι γένος.

τοῦτο τρίτον. τὰ μὲν πρότερα μείζονα στίχου, τοῦτο δὲἔλαττον. 20

Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳτίκτει λαθραίως Ἡρακλεῖ·

μετὰ τοῦτο

ξύνοιδ’ ὄροςΠαρθένιον, 25

οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερονστίχου τε ἔλαττον καὶ στίχου μεῖζον

[277]This, too, does not balance the former. Further, the order of ideas in the continuation of the passage is unperiodic, though the words are cast into the form of clauses and sections. For, after addingIn a place with a clear view round about,we shall find him subjoining:Massy and fair to behold,which is a segment shorter than a clause. Next we findFree on every side,where the one Greek word (περίδρομος) by itself carries a certain meaning. And so on: we shall find him elaborating everything that follows in the same way. Why go into unnecessary detail?From iambic poetry may be taken these lines of Euripides:—Fatherland, ta’en by Pelops in possession,Hail![195]Thus far the first clause extends.And thou, Pan, who haunt’st the stormy steepsOf Arcady.[195]So far the second extends.Whereof I boast my birth.[195]That is the third. The former are longer than a line; the last is shorter.Me Auge, Aleus’ daughter, not of wedlockBare to Tirynthian Heracles.[195]And afterwards—This knowsYon hill Parthenian.[195]Not one of these corresponds exactly to a line. Then once more we find another clause which is from one point of view less than a line and from the other longer—

[277]

This, too, does not balance the former. Further, the order of ideas in the continuation of the passage is unperiodic, though the words are cast into the form of clauses and sections. For, after adding

In a place with a clear view round about,

we shall find him subjoining:

Massy and fair to behold,

which is a segment shorter than a clause. Next we find

Free on every side,

where the one Greek word (περίδρομος) by itself carries a certain meaning. And so on: we shall find him elaborating everything that follows in the same way. Why go into unnecessary detail?

From iambic poetry may be taken these lines of Euripides:—

Fatherland, ta’en by Pelops in possession,Hail![195]

Thus far the first clause extends.

And thou, Pan, who haunt’st the stormy steepsOf Arcady.[195]

So far the second extends.

Whereof I boast my birth.[195]

That is the third. The former are longer than a line; the last is shorter.

Me Auge, Aleus’ daughter, not of wedlockBare to Tirynthian Heracles.[195]

And afterwards—

This knowsYon hill Parthenian.[195]

Not one of these corresponds exactly to a line. Then once more we find another clause which is from one point of view less than a line and from the other longer—

1 καὶ V: κατὰ PM 4 ἐποίει P 5 καλήν τε μεγάλην τε PM 9 μηκύνειν P: μηκύνειν τὸν λόγον MV 10 παρ’ εὐριπδιsic P: εὐριπίδου MV 15 ὅς τε s: ὥστε PMV || δυσχείμερον ἀρκάδων PMV: transposuit Sylburgius 16 Πὰν inseruit Musgravius 19 μείζονα om. P || στίχου MV: στχιP: στίχον s 21 αὐγὴ M: αὐτὴ PV 24 ξύνοιδ’ s: ξύνοιδε P: ξυνοὶδὲ MV 26 οὔθ’ ἕτερον PM: οὐδέτερον V12.ὁρίζεται:sibi vindicat, ‘annexes.’—The fragment of Euripides, taken as a whole, runs thus in Nauck’s collection:—ὦ γαῖα πατρίς, ἣν Πέλοψ ὁρίζεται,χαῖρ’, ὅς τε πέτρον Ἀρκάδων δυσχείμερον‹Πὰν› ἐμβατεύεις, ἔνθεν εὔχομαι γένος.Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳτίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄροςΠαρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴνἔλυσεν Εἰλείθυια.25.Παρθένιον: cp. Callim.Hymn. in Delum70 φεῦγε μὲν Ἀρκαδίη, φεῦγεν δ’ ὄρος ἱερὸν Αὔγης | Παρθένιον, together with the scholium ὄρος Ἀρκαδίας τὸ Παρθένιον, ἔνθα τὴν Αὔγην τὴν Ἀλεοῦ θυγατέρα, ἱέρειαν τῆς Ἀθηνᾶς, ἔφθειρεν Ἡρακλῆς.

12.ὁρίζεται:sibi vindicat, ‘annexes.’—The fragment of Euripides, taken as a whole, runs thus in Nauck’s collection:—

ὦ γαῖα πατρίς, ἣν Πέλοψ ὁρίζεται,χαῖρ’, ὅς τε πέτρον Ἀρκάδων δυσχείμερον‹Πὰν› ἐμβατεύεις, ἔνθεν εὔχομαι γένος.Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳτίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄροςΠαρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴνἔλυσεν Εἰλείθυια.

25.Παρθένιον: cp. Callim.Hymn. in Delum70 φεῦγε μὲν Ἀρκαδίη, φεῦγεν δ’ ὄρος ἱερὸν Αὔγης | Παρθένιον, together with the scholium ὄρος Ἀρκαδίας τὸ Παρθένιον, ἔνθα τὴν Αὔγην τὴν Ἀλεοῦ θυγατέρα, ἱέρειαν τῆς Ἀθηνᾶς, ἔφθειρεν Ἡρακλῆς.

ἔνθα μητέρ’ ὠδίνων ἐμὴνἔλυσεν Εἰλείθυιακαὶ τὰ ἑξῆς τούτοις παραπλήσια.ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲκατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε 5κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλεικαὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτεἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷςεἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς 10ἑαυτῆς ἀποδυρομένη τύχας·ὅτε λάρνακι ἐν δαιδαλέᾳἄνεμός τε μιν πνέων ‹ἐφόρει›κινηθεῖσά τε λίμνα,δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς 15ἀμφί τε Περσέϊ βάλλε φίλαν χέρα[279]where the Travail-queenFrom birth-pangs set my mother free.[196]And similarly with the lines which follow these.From lyric poetry the subjoined lines of Simonides may be taken. They are written according to divisions: not into those clauses for which Aristophanes or some other metrist laid down his canons, but into those which are required by prose. Please read the piece carefully by divisions: you may rest assured that the rhythmical arrangement of the ode will escape you, and you will be unable to guess which is the strophe or which the antistrophe or which the epode, but you will think it all one continuous piece of prose. The subject is Danaë, borne across the sea lamenting her fate:—And when, in the carved ark lying,She felt it through darkness driftingBefore the drear wind’s sighingAnd the great sea-ridges lifting,She shuddered with terror, she brake into weeping,And she folded her arms round Perseus sleeping;

ἔνθα μητέρ’ ὠδίνων ἐμὴνἔλυσεν Εἰλείθυια

καὶ τὰ ἑξῆς τούτοις παραπλήσια.ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲκατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε 5κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλεικαὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτεἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷςεἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς 10ἑαυτῆς ἀποδυρομένη τύχας·

ὅτε λάρνακι ἐν δαιδαλέᾳἄνεμός τε μιν πνέων ‹ἐφόρει›κινηθεῖσά τε λίμνα,δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς 15ἀμφί τε Περσέϊ βάλλε φίλαν χέρα

[279]where the Travail-queenFrom birth-pangs set my mother free.[196]And similarly with the lines which follow these.From lyric poetry the subjoined lines of Simonides may be taken. They are written according to divisions: not into those clauses for which Aristophanes or some other metrist laid down his canons, but into those which are required by prose. Please read the piece carefully by divisions: you may rest assured that the rhythmical arrangement of the ode will escape you, and you will be unable to guess which is the strophe or which the antistrophe or which the epode, but you will think it all one continuous piece of prose. The subject is Danaë, borne across the sea lamenting her fate:—And when, in the carved ark lying,She felt it through darkness driftingBefore the drear wind’s sighingAnd the great sea-ridges lifting,She shuddered with terror, she brake into weeping,And she folded her arms round Perseus sleeping;

[279]

where the Travail-queenFrom birth-pangs set my mother free.[196]

And similarly with the lines which follow these.

From lyric poetry the subjoined lines of Simonides may be taken. They are written according to divisions: not into those clauses for which Aristophanes or some other metrist laid down his canons, but into those which are required by prose. Please read the piece carefully by divisions: you may rest assured that the rhythmical arrangement of the ode will escape you, and you will be unable to guess which is the strophe or which the antistrophe or which the epode, but you will think it all one continuous piece of prose. The subject is Danaë, borne across the sea lamenting her fate:—

And when, in the carved ark lying,She felt it through darkness driftingBefore the drear wind’s sighingAnd the great sea-ridges lifting,She shuddered with terror, she brake into weeping,And she folded her arms round Perseus sleeping;

Back to Index Next