SMOOTH COMPOSITION
The smooth (or florid) mode of composition, which I regarded
[Page 234]
τῇ τάξει, χαρακτῆρα τοιόνδε ἔχει· οὐ ζητεῖ καθ’ ἓν
ἕκαστον ὄνομα ἐκ περιφανείας ὁρᾶσθαι οὐδὲ ἐν ἕδρᾳ πάντα
βεβηκέναι πλατείᾳ τε καὶ ἀσφαλεῖ οὐδὲ μακροὺς τοὺς μεταξὺ
αὐτῶν εἶναι χρόνους, οὐδ’ ὅλως τὸ βραδὺ καὶ σταθερὸν τοῦτο
φίλον αὐτῇ, ἀλλὰ κεκινῆσθαι βούλεται τὴν ὀνομασίαν καὶ 5
φέρεσθαι θάτερα κατὰ τῶν ἑτέρων ὀνομάτων καὶ ὀχεῖσθαι
τὴν ἀλληλουχίαν λαμβάνοντα βάσιν ὥσπερ τὰ ῥέοντα καὶ
μηδέποτε ἀτρεμοῦντα· συνηλεῖφθαί τε ἀλλήλοις ἀξιοῖ καὶ
συνυφάνθαι τὰ μόρια ὡς μιᾶς λέξεως ὄψιν ἀποτελοῦντα εἰς
δύναμιν. τοῦτο δὲ ποιοῦσιν αἱ τῶν ἁρμονιῶν ἀκρίβειαι, 10
χρόνον αἰσθητὸν οὐδένα τὸν μεταξὺ τῶν ὀνομάτων περιλαμβάνουσαι·
ἔοικέ τε κατὰ τοῦτο τὸ μέρος εὐητρίοις ὕφεσιν ἢ
γραφαῖς συνεφθαρμένα τὰ φωτεινὰ τοῖς σκιεροῖς ἐχούσαις.
εὔφωνά τε εἶναι βούλεται πάντα τὰ ὀνόματα καὶ λεῖα καὶ
μαλακὰ καὶ παρθενωπά, τραχείαις δὲ συλλαβαῖς καὶ ἀντιτύποις 15
ἀπέχθεταί που· τὸ δὲ θρασὺ πᾶν καὶ παρακεκινδυνευμένον
δι’ εὐλαβείας ἔχει.
οὐ μόνον δὲ τὰ ὀνόματα τοῖς ὀνόμασιν ἐπιτηδείως
συνηρμόσθαι βούλεται καὶ συνεξέσθαι, ἀλλὰ καὶ τὰ κῶλα
τοῖς κώλοις εὖ συνυφάνθαι καὶ πάντα εἰς περίοδον τελευτᾶν, 20
ὁρίζουσα κώλου τε μῆκος, ὃ μὴ βραχύτερον ἔσται μηδὲ μεῖζον
τοῦ μετρίου, καὶ περιόδου μέτρον, οὗ πνεῦμα τέλειον ἀνδρὸς
κρατήσει· ἀπερίοδον δὲ λέξιν ἢ περίοδον ἀκώλιστον ἢ κῶλον
1 ἓν EPM: om. FV 5 κεκινῆσθαι EF: κ[αὶ] κινῆσθαι cum rasura P: καὶ
κινεῖσθαι MV 6 φέρεσθαι EFM: φέρεσθαι καὶ PV || τῶν ἑτέρων PMV: τῶν
θατέρων F: θατέρων E || καὶ FMV: om. P || ὀχλεῖσθαι F 7 βάσιν om. F
|| τὰ ῥέοντα EF: τὰ ῥέοντα νάματα PMV 8 συνηλεῖφθαι F: συνειλῆφθ[αι]
cum rasura P, MV 9 ὡς E: om. FPMV || μιᾶς EF: τῆς PMV || ἀποτελοῦντα
PMV: διατελεῖν E: διατελοῦντα F 11 περιλαμβάνουσαι EFM: λαμβάνουσαι
PV 12 τοῦτο τὸ om. EF || εὐκτρίοις PM || ὑφέσιν F: ὑφαίσιν M: ὑφαῖσιν
cum rasura P, V: ὑφαῖς Es 13 τάφω τινα (sed suprascripto ε) P ||
σκιαροις P 14 τὰ EF: om. PMV 16 που ... παρακεκινδυνευμένον om. P
17 δι’ EF: καὶ δι’ PMV 20 εὖ E: om. FPMV 21 ὁρίζουσα Schaefer:
ὁρίζουσαν EFPM 22 μέτρον EF: χρόνον PMV
1. ‘It does not expect its words to be looked at individually, and from
every side, like statues.’ Cp. =210= 17 _supra_.
7. More literally, ‘finding firmness in mutual support.’
9. Cp. _de Demosth._ c. 40 τὸ γὰρ ὅλον ἐστὶν αὐτῆς βούλημα καὶ ἡ πολλὴ
πραγματεία περὶ τὸ συσπασθῆναί τε καὶ συνυφάνθαι πάντα τὰ μόρια τῆς
περιόδου, μιᾶς λέξεως ἀποτελοῦντα φαντασίαν, καὶ ἔτι πρὸς τούτῳ περὶ τὸ
πᾶσαν εἶναι τὴν λέξιν, ὥσπερ ἐν ταῖς μουσικαῖς συμφωνίαις, ἡδεῖαν καὶ
λιγυράν. τούτων δὲ τὸ μὲν αἱ τῶν ἁρμονιῶν ἀκρίβειαι ποιοῦσι, κτλ.
14, 15. That is to say: the words it uses must be beautiful in sound
and smoothly syllabled.
20. =εὖ=, which Usener adopts from E, helps to balance ἐπιτηδείως
_supra_. At the same time, it could be spared and may have arisen from
a dittography of the first two letters in συνυφάνθαι. Similarly, in
l. 9 _supra_, the ὡς which E gives (together with the _infinitive_
διατελεῖν, as it should be noticed) cannot be regarded as indispensable.
22. =μέτρον=: the reading of PMV (περιόδου χρόνον) may be right, in the
sense of _periodi ambitum_. In the Epitome, μέτρον has possibly been
substituted (as a clearer word) for χρόνον. F’s reading is μέτρον οὐκ
ἂν ὑπομείνειεν ἐργάσασθαι, with all the four last words dotted out as
having been written in error: which suggests that μέτρον may be no more
than the last syllable of ἀσύμμετρον.
=οὗ πνεῦμα τέλειον ἀνδρὸς κρατήσει=: much will, clearly, depend on
the person in question, since some men (as Lord Rosebery once said of
Mr. Gladstone) have lungs which can utter sentences like “Biscayan
rollers.” The Greeks were so rhetorical that they tended to look at a
written passage constantly from the rhetorical point of view, and if a
‘period’ was too long for one breath they would try to analyze it into
two periods if they could: cp. note on =232= 1 _supra_.
[Page 235]
as second in order, has the following features. It does not intend that
each word should be seen on every side, nor that all its parts should
stand on broad, firm bases, nor that the time-intervals between them
should be long; nor in general is this slow and deliberate movement
congenial to it. It demands free movement in its diction; it requires
words to come sweeping along one on top of another, each supported
by that which follows, like the onflow of a never-resting stream. It
tries to combine and interweave its component parts, and thus give, as
far as possible, the effect of one continuous utterance. This result
is produced by so nicely adjusting the junctures that they admit no
appreciable time-interval between the words. From this point of view
the style resembles finely woven stuffs, or pictures in which the
lights melt insensibly into the shadows. It requires that all its words
shall be melodious, smooth, soft as a maiden’s face; and it shrinks
from harsh, clashing syllables, and carefully avoids everything rash
and hazardous.
It requires not only that its words should be properly dove-tailed and
fitted together, but also that the clauses should be carefully inwoven
with one another and all issue in a period. It limits the length of a
clause so that it is neither shorter nor longer than the right mean,
and the compass of the period so that a man’s full breath will be
able to cover it. It could not endure to construct a passage without
periods, nor a period
[Page 236]
ἀσύμμετρον οὐκ ἂν ὑπομείνειεν ἐργάσασθαι. χρῆται δὲ καὶ
ῥυθμοῖς οὐ τοῖς μεγίστοις ἀλλὰ τοῖς μέσοις τε καὶ βραχυτέροις·
καὶ τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι
βούλεται καὶ βεβηκυίας ὡς ἂν ἀπὸ στάθμης, τἀναντία
ποιοῦσα ἐν ταῖς τούτων ἁρμογαῖς ἢ ταῖς τῶν ὀνομάτων· 5
ἐκεῖνα μὲν γὰρ συναλείφει, ταύτας δὲ διίστησι καὶ ὥσπερ ἐκ
περιόπτου βούλεται φανερὰς εἶναι. σχήμασί τε οὐ τοῖς
ἀρχαιοπρεπεστάτοις οὐδ’ ὅσοις σεμνότης τις ἢ βάρος ἢ πίνος
πρόσεστιν, ἀλλὰ τοῖς τρυφεροῖς τε καὶ κολακικοῖς ὡς τὰ
πολλὰ χρῆσθαι φιλεῖ, ἐν οἷς πολὺ τὸ ἀπατηλόν ἐστι καὶ 10
θεατρικόν. ἵνα δὲ καὶ κοινότερον εἴπω, τοὐναντίον ἔχει σχῆμα
τῆς προτέρας κατὰ τὰ μέγιστα καὶ κυριώτατα, ὑπὲρ ὧν οὐδὲν
δέομαι πάλιν λέγειν.
ἀκόλουθον δ’ ἂν εἴη καὶ τοὺς ἐν ταύτῃ πρωτεύσαντας
καταριθμήσασθαι. ἐποποιῶν μὲν οὖν ἔμοιγε κάλλιστα τουτονὶ 15
δοκεῖ τὸν χαρακτῆρα ἐξεργάσασθαι Ἡσίοδος, μελοποιῶν δὲ
Σαπφὼ καὶ μετ’ αὐτὴν Ἀνακρέων τε καὶ Σιμωνίδης, τραγῳδοποιῶν
δὲ μόνος Εὐριπίδης, συγγραφέων δὲ ἀκριβῶς μὲν
οὐδείς, μᾶλλον δὲ τῶν πολλῶν Ἔφορός τε καὶ Θεόπομπος,
ῥητόρων δὲ Ἰσοκράτης. θήσω δὲ καὶ ταύτης παραδείγματα 20
τῆς ἁρμονίας, ποιητῶν μὲν προχειρισάμενος Σαπφώ, ῥητόρων
δὲ Ἰσοκράτην. ἄρξομαι δὲ ἀπὸ τῆς μελοποιοῦ.
1 χρήσεται P 2 ῥυθμοῖς EFM: ῥυθμῶν PV || μεγίστοις EF: μηκίστοις PMV
3 καὶ om. P 4 ἂν EF: om. PMV 6 ταύτας EV: ταῦτα F: τας αυτας P,
M 7 φανεροὺς F 8 ὅσοις F: ὅσοις ἢ PMV || πῖνος PV: τὸ πῖνος M:
τόνος F 9 πρόσεστιν PMV: πάρεστιν F || κολακικοῖς FPM: μαλακοῖς V:
θεατρικοῖς E 11 δὲ καὶ F: δὲ PMV 12 τῆς προτέρας EFM: τῆι προτέρα
P, V || καὶ κυριώτατα FM: om. PV 14 ταύτη F: αυτῆι P, MV 15 ἔμοιγε
EF: ἔγωγε PMV || κάλλιστα EFP: κάλλιστα νομίζω M: μάλιστα νομίζω V 16
δοκεῖ EFP: om. MV 17 μετ’ αὐτὴν EF: μετὰ ταύτην PMV 20 ταύτης EF:
ταῦτα PMV
6. =ἐκ περιόπτου=, ‘ex edito loco,’ ‘undique.’
16-20. The list that follows may seem somewhat ill-assorted if it be
not remembered that the point of contact between the authors mentioned
is simply smoothness of word-arrangement.—For =Hesiod= cp. _de Imitat._
B. vi. 2 Ἡσίοδος μὲν γὰρ ἐφρόντισεν ἡδονῆς δι’ ὀνομάτων λειότητος καὶ
συνθέσεως ἐμμελοῦς: and Quintil. x. 1. 52 “raro assurgit Hesiodus,
magnaque pars eius in nominibus est occupata; tamen utiles circa
praecepta sententiae levitasque verborum et compositionis probabilis,
daturque ei palma in illo medio genere dicendi.”—In _de Demosth._ c. 40
Hesiod, Sappho, Anacreon, and Isocrates are (as here) considered to be
examples of the ἁρμονία γλαφυρά.
17. =Simonides= is thus characterized in _de Imitat._ B. vi. 2:
Σιμωνίδου δὲ παρατήρει τὴν ἐκλογὴν τῶν ὀνομάτων, τῆς συνθέσεως τὴν
ἀκρίβειαν· πρὸς τούτοις, καθ’ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ
οἰκτίζεσθαι μὴ μεγαλοπρεπῶς ἀλλὰ παθητικῶς. The _Danaë_ (quoted in c.
26) will illustrate the concluding clause of this estimate.
18. =Euripides:= cp. Aristot. _Rhet._ iii. 2 κλέπτεται δ’ εὖ, ἐάν
τις ἐκ τῆς εἰωθυίας διαλέκτου ἐκλέγων συντιθῇ· ὅπερ Εὐριπίδης ποιεῖ
καὶ ὑπέδειξε πρῶτος, and Long. _de Subl._ c. xl. διότι τῆς συνθέσεως
ποιητὴς ὁ Εὐριπίδης μᾶλλόν ἐστιν ἢ τοῦ νοῦ.
19. With respect to =Ephorus= the opinions of Diodorus and of Suidas
are somewhat at variance: (1) Diodorus Sic. v. 1 Ἔφορος δὲ τὰς κοινὰς
πράξεις ἀναγράφων οὐ μόνον κατὰ τὴν λέξιν, ἀλλὰ καὶ κατὰ τὴν οἰκονομίαν
ἐπιτέτευχεν, (2) Suidas ὁ μὲν γὰρ Ἔφορος ἦν τὸ ἦθος ἁπλοῦς, τὴν δὲ
ἑρμηνείαν τῆς ἱστορίας ὕπτιος καὶ νωθρὸς καὶ μηδεμίαν ἔχων ἐπίτασιν.
=Theopompus:= cp. an article, by the present writer, in the _Classical
Review_ xxii. 118 ff. on “Theopompus in the Greek Literary Critics:
with special reference to the newly discovered Greek historian
(Grenfell & Hunt _Oxyrhynchus Papyri_ part v. pp. 110-242).” Reference
may also be made to D.H. pp. 18, 96, 120-6, etc. Gibbon (_Decline
and Fall_ c. 53) classes Theopompus in high company: “we must envy
the generation that could still peruse the history of Theopompus,
the orations of Hyperides, the comedies of Menander, and the odes of
Alcaeus and Sappho.”
20. =Isokrates=: see D.H. pp. 18, 20-22, 41, etc., and Demetr. pp.
8-11, 47, etc.
[Page 237]
without clauses, nor a clause without symmetry. The rhythms it uses
are not the longest, but the intermediate, or shorter than these. It
requires its periods to march as with steps regulated by line and rule,
and to close with a rhythmical fall. Thus, in fitting together its
periods and its words respectively, it employs two different methods.
The latter it runs together; the former it keeps apart, wishing that
they may be seen as it were from every side. As for figures, it is
wont to employ not the most time-honoured sort, nor those marked by
stateliness, gravity, or mellowness, but rather for the most part those
which are dainty and alluring, and contain much that is seductive and
fanciful. To speak generally: its attitude is directly opposed to that
of the former variety in the principal and most essential points. I
need not go over these points again.
Our next step will be to enumerate those who have attained eminence in
this style. Well, among epic poets Hesiod, I think, has best developed
the type; among lyric poets, Sappho, and, after her, Anacreon and
Simonides; of tragedians, Euripides alone; of historians, none exactly,
but Ephorus and Theopompus more than most; of orators, Isocrates. I
will quote examples of this style also, selecting among poets Sappho,
and among orators Isocrates. And I will begin with the lyric poetess:—
[Page 238]
Ποικιλόθρον’, ἀθάνατ’ Ἀφροδίτα,
παῖ Δίος, δολόπλοκε, λίσσομαί σε,
μή μ’ ἄσαισι μηδ’ ὀνίαισι δάμνα,
πότνια, θῦμον·
ἀλλὰ τυῖδ’ ἔλθ’, αἴ ποτα κἀτέρωτα 5
τᾶς ἔμας αὔδως ἀίοισα πήλυι
ἔκλυες, πάτρος δὲ δόμον λίποισα
χρύσιον ἦλθες
ἄρμ’ ὐπασδεύξαισα. κάλοι δέ σ’ ἆγον
ὠκέες στροῦθοι περὶ γᾶς μελαίνας 10
πύκνα διννῆντες πτέρ’ ἀπ’ ὠράνω αἴθε-
ρος διὰ μέσσω.
αἶψα δ’ ἐξίκοντο· τὺ δ’, ὦ μάκαιρα,
μειδιάσαισ’ ἀθανάτῳ προσώπῳ,
ἤρε’, ὄττι δηὖτε πέπονθα κὤττι 15
δηὖτε κάλημι·
κὤττι ἔμῳ μάλιστα θέλω γένεσθαι
μαινόλᾳ θύμῳ· τίνα δηὖτε πείθω
μαῖς ἄγην ἐς σὰν φιλότατα, τίς σ’, ὦ
Ψάπφ’, ἀδικήει; 20
καὶ γὰρ αἰ φεύγει, ταχέως διώξει,
αἰ δὲ δῶρα μὴ δέκετ’, ἀλλὰ δώσει,
αἰ δὲ μὴ φίλει, ταχέως φιλήσει
κωὐκ ἐθέλοισα.
2 διὸς δολοπλόκε FP 4 θυμὸν FP 5 τυδ’ ἐλθε ποκα κατ ἔρωτα P: τὺ δ’
ὲ|||λ’|||θε||| ποτὲ κατ’ έρωτα F 6 ἀΐοισ ἀπόλυ P 8 χρύσειον FP 9
ἀρμύ πᾶσδευξαισα F: ἁρμα ὑποζεύξασα P 10 γ(ας) P: τὰς F 11 διννῆν
τεσ F: δινῆντες P || πτερα· πτωρανω θερος F: πτὲρ’ ἀπ’ ὠρανὼ· θέρο σ
P 12 διαμέσω F: δ’ άμεσ πω P 13 αἶψαδ’ F: ἀῖψ’ ἄλλ’ P || τὺ δ’ ὦ
μάκαιρα P: συ δῶμα καιρα F 14 ἀθανάτω προσώπω FP sine iota (item
vv. 17, 18 F) 15 ἤρε’ ὅττι δ ῆυ (ἦν E) τὸ P, E 16 δ’ ηυτε καλημμι
P: δευρο καλλημμι F 17 κωττε μω F: κ’ όττ’ ἐμῶι P 18 μαινολαθυμῶι
P: λαιθυμω F || δηϋτε πειθω F: δ’ ἐυτεπεί θω P 19 μαι (βαι corr.)
σαγηνεσσαν P: καὶ σαγήνεσσαν FE: μαῖς Bergkius 20 ἀδικήει Gaisfordius
ex Etym. Magn. 485. 41: τισ σωψαπφα δίκη· P: τισ ω ψαπφα δίκησ· F 24
κωϋ κεθέλουσα F: κ’ ώυ κ’ ἐθέλοισ, P
1. To Dionysius here, and to the _de Sublimitate_ c. x., we owe
the preservation of the two most considerable extant fragments of
=Sappho’s= poetry. The _Ode to Anactoria_ is quoted by ‘Longinus’ as a
picture of παθῶν σύνοδος: it is imitated in Catullus li. _Ad Lesbiam_
(“Ille mi par esse deo videtur”). The _Hymn to Aphrodite_ has been
rendered repeatedly into English: some eight versions are printed in H.
T. Wharton’s _Sappho_ pp. 51-64. Two recent English translations are
of special interest: (1) that of the late Dr. Walter Headlam—immatura
eheu morte praerepti—in his _Book of Greek Verse_ pp. 6-9; (2) that of
Dr. Arthur Way, which is printed in the present volume. Dr. Way has, it
will be observed, succeeded in maintaining a double rhyme throughout.
24. “Bloomfeld’s ἐθέλοισαν was strenuously defended by Welcker _RM_
11. 266, who held that the subject of φιλήσει was a man. No MS. whose
readings were known before 1892 settled the dispute. Now Piccolomini’s
_VL_ show ἐθέλουσα (_Hermes_ 27),” Weir Smyth _Greek Lyric Poets_ p.
233. Notes on the entire ode will be found in Weir Smyth _op. cit._ pp.
230-3, and in G. S. Farnell’s _Greek Lyric Poetry_ pp. 327-9, and a few
also in W. G. Headlam’s _Book of Greek Verse_ pp. 265-7.
[Page 239]
Rainbow-throned immortal one, Aphrodite,
Child of Zeus, spell-weaver, I bow before thee—
Harrow not my spirit with anguish, mighty
Queen, I implore thee!
Nay, come hither, even as once thou, bending
Down from far to hearken my cry, didst hear me,
From thy Father’s palace of gold descending
Drewest anear me
Chariot-wafted: far over midnight-sleeping
Earth, thy fair fleet sparrows, through cloudland riven
Wide by multitudinous wings, came sweeping
Down from thine heaven,
Swiftly came: thou, smiling with those undying
Lips and star-eyes, Blessed One, smiling me-ward,
Said’st, “What ails thee?—wherefore uprose thy crying
Calling me thee-ward?
Say for what boon most with a frenzied longing
Yearns thy soul—say whom shall my glamour chaining
Hale thy love’s thrall, Sappho—and who is wronging
Thee with disdaining?
Who avoids thee soon shall be thy pursuer:
Aye, the gift-rejecter the giver shall now be:
Aye, the loveless now shall become the wooer,
Scornful shalt thou be!”
[Page 240]
ἔλθε μοι καὶ νῦν, χαλεπᾶν δὲ λῦσον
ἐκ μεριμνᾶν, ὄσσα δέ μοι τέλεσσαι
θῦμος ἰμμέρρει, τέλεσον· σὺ δ’ αὔτα
σύμμαχος ἔσσο.
ταύτης τῆς λέξεως ἡ εὐέπεια καὶ ἡ χάρις ἐν τῇ συνεχείᾳ καὶ 5
λειότητι γέγονε τῶν ἁρμονιῶν· παράκειται γὰρ ἀλλήλοις τὰ
ὀνόματα καὶ συνύφανται κατὰ τινας οἰκειότητας καὶ συζυγίας
φυσικὰς τῶν γραμμάτων· τὰ γὰρ φωνήεντα τοῖς ἀφώνοις τε
καὶ ἡμιφώνοις συνάπτεται μικροῦ διὰ πάσης τῆς ᾠδῆς, ὅσα
προτάττεσθαί τε καὶ ὑποτάττεσθαι πέφυκεν ἀλλήλοις κατὰ 10
μίαν συλλαβὴν συνεκφερόμενα· ἡμιφώνων δὲ πρὸς ἡμίφωνα ἢ
ἄφωνα <καὶ ἀφώνων> καὶ φωνηέντων πρὸς ἄλληλα συμπτώσεις
αἱ διασαλεύουσαι τοὺς ἤχους ὀλίγαι πάνυ ἔνεισιν· ἐγὼ
γοῦν ὅλην τὴν ᾠδὴν ἀνασκοπούμενος πέντε ἢ ἓξ ἴσως ἐν τοῖς
τοσούτοις ὀνόμασι καὶ ῥήμασι καὶ τοῖς ἄλλοις μορίοις ἡμιφώνων 15
τε καὶ ἀφώνων γραμμάτων συμπλοκὰς τῶν μὴ πεφυκότων
ἀλλήλοις κεράννυσθαι καὶ οὐδὲ ταύτας ἐπὶ πολὺ τραχυνούσας
τὴν εὐέπειαν εὑρίσκω, φωνηέντων δὲ παραθέσεις τὰς μὲν ἐν
τοῖς κώλοις αὐτοῖς γινομένας ἔτι ἐλάττους ἢ τοσαύτας, τὰς δὲ
συναπτούσας ἀλλήλοις τὰ κῶλα ὀλίγῳ τινὶ τούτων πλείονας. 20
εἰκότως δὴ γέγονεν εὔρους τις ἡ λέξις καὶ μαλακή, τῆς ἁρμονίας
τῶν ὀνομάτων μηδὲν ἀποκυματιζούσης τὸν ἦχον.
ἔλεγον δ’ ἂν καὶ τὰ λοιπὰ τῆς συνθέσεως ταύτης ἰδιώματα,
καὶ ἀπεδείκνυον ἐπὶ τῶν παραδειγμάτων τοιαῦτα ὄντα οἷα
ἐγώ φημι, εἰ μὴ μακρὸς ἔμελλεν ὁ λόγος γενήσεσθαι καὶ 25
ταυτολογίας τινὰ παρέξειν δόξαν. ἐξέσται γὰρ σοὶ καὶ παντὶ
3 ϊμαρερερει F: ϊμέρει P 4 ἔσο F: ἔστω compendio F 5 συνεχεία EF:
συνεπεία PMV 8 τε καὶ ἡμιφώνους om. EF 9 διὰ πάσης EF: δεῖν δι’
ὅλης PMV 10 πέφυκεν ... συνεκφερόμενα EF: om. PMV 11 συνεκφερόμενα
E: συνεκφέρεσθαι F || ἢ ἄφωνα PM: καὶ ἀφώνων FE 13 ἔνεισιν EF: εἰσίν
PMV 14 ἐν F: εὗρον ἐν PMV 15 τοσούτοις Sylburgius: τοιούτοις PMV 16
καὶ ἀφώνων F: om. PMV 18 εὑρίσκω MV: εὑρίσκων F: om. P 19 ἔτι] ὅτι
F 21 εὔνους τις F 23 δὲ ἂν F 24 ἀπεδείκνυ F 25 ἐιμιμακρ(ῶς) P
26 παρέξειν δόξαν F: δόξαν παρέχειν PMV
5. W. G. Headlam (_Book of Greek Verse_ p. 265) well says that
Dionysius’ comments on the smooth style (especially in relation to
Sappho) are worth the attention of those who would gather the effect
which Sappho’s language made upon a Greek ear practised in the minute
study of expression; and he proceeds: “There is always in the verse of
Sappho a directness and unlaboured ease of language, as if every lovely
sentence came by nature from the mouth at once; as though she spoke in
song, and what she sang were the expression of her very soul, the voice
of languorous enjoyment and desire of beauty:
My blood was hot wan wine of love,
And my song’s sound the sound thereof,
The sound of the delight of it.”
22. Dionysius shows good judgement in not subjecting Sappho’s _Hymn_ to
a detailed analysis, letter by letter.
24. =ἐπὶ τῶν παραδειγμάτων=, ‘in the light of the appropriate
examples.’ Cp. =152= 3, =232= 23. The phrase sometimes indicates
‘familiar,’ ‘stock,’ or ‘previous’ examples; cp. _de Demosth._ c. 40
ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας, τοὺς ἀναγινώσκοντας ἐπὶ τὰ
ἐν ἀρχαῖς ῥηθέντα παραδείγματα κελεύοντες ἀναστρέφειν, κτλ.—In =242= 2
_infra_, ‘with illustrations’ (no article in PMV, though F has τῶν).
[Page 241]
Once again come! Come, and my chains dissever,
Chains of heart-ache! Passionate longings rend me—
Oh fulfil them! Thou in the strife be ever
Near, to defend me.[177]
Here the euphonious effect and the grace of the language arise from
the coherence and smoothness of the junctures. The words nestle close
to one another and are woven together according to certain affinities
and natural attractions of the letters. Almost throughout the entire
ode vowels are joined to mutes and semi-vowels, all those in fact
which are naturally prefixed or affixed to one another when pronounced
together in one syllable. There are very few clashings of semi-vowels
with semi-vowels or mutes, and of mutes and vowels with one another,
such as cause the sound to oscillate. When I review the entire ode, I
find, in all those nouns and verbs and other kinds of words, only five
or perhaps six unions of semi-vowels and mutes which do not naturally
blend with one another, and even they do not disturb the smoothness of
the language to any great extent. As for juxtaposition of vowels, I
find that those which occur in the clauses themselves are still fewer,
while those which join the clauses to one another are only a little
more numerous. As a natural consequence the language has a certain easy
flow and softness; the arrangement of the words in no way ruffles the
smooth waves of sound.
I would go on to mention the remaining characteristics of this kind
of composition, and would show as before by means of appropriate
illustrations that they are such as I say, were it not that my treatise
would become too long and would create an impression of needless
repetition. It will be open to you, as to
[Page 242]
ἄλλῳ καθ’ ἓν ἕκαστον τῶν ἐξηριθμημένων ὑπ’ ἐμοῦ κατὰ τὴν
προέκθεσιν τοῦ χαρακτῆρος ἐπιλέγεσθαί τε καὶ σκοπεῖν ἐπὶ
παραδειγμάτων κατὰ πολλὴν εὐκαιρίαν καὶ σχολήν· ἐμοὶ δ’
οὐκ ἐγχωρεῖ τοῦτο ποιεῖν, ἀλλ’ ἀπόχρη παραδεῖξαι μόνον
ἀρκούντως ἃ βούλομαι τοῖς δυνησομένοις παρακολουθῆσαι. 5
ἑνὸς ἔτι παραθήσομαι λέξιν ἀνδρὸς εἰς τὸν αὐτὸν κατεσκευασμένου
χαρακτῆρα, Ἰσοκράτους τοῦ ῥήτορος, ὃν ἐγὼ
μάλιστα πάντων οἴομαι τῶν πεζῇ λέξει χρησαμένων ταύτην
ἀκριβοῦν τὴν ἁρμονίαν. ἔστι δὲ ἡ λέξις ἐκ τοῦ Ἀρεοπαγιτικοῦ
ἥδε· 10
πολλοὺς ὑμῶν οἴομαι θαυμάζειν, ἥντινά ποτε γνώμην
ἔχων περὶ σωτηρίας τὴν πρόσοδον ἐποιησάμην, ὥσπερ
τῆς πόλεως ἐν κινδύνοις οὔσης ἢ σφαλερῶς αὐτῇ τῶν
πραγμάτων καθεστώτων, ἀλλ’ οὐ πλείους μὲν τριήρεις ἢ
διακοσίας κεκτημένης, εἰρήνην δὲ καὶ τὰ περὶ τὴν χώραν 15
ἀγούσης καὶ τῶν κατὰ θάλατταν ἀρχούσης, ἔτι δὲ συμμάχους
ἐχούσης πολλοὺς μὲν τοὺς ἑτοίμους ἡμῖν ἤν τι
δέῃ βοηθήσοντας, πολὺ δὲ πλείους τοὺς τὰς συντάξεις
ὑποτελοῦντας καὶ τὸ προσταττόμενον ποιοῦντας. ὧν
ὑπαρχόντων ἡμᾶς μὲν ἄν τις φήσειεν εἰκὸς εἶναι θαρρεῖν 20
ὡς πόρρω τῶν κινδύνων ὄντας, τοῖς δ’ ἐχθροῖς τοῖς ἡμετέροις
προσήκειν δεδιέναι καὶ βουλεύεσθαι περὶ σωτηρίας.
ὑμεῖς μὲν οὖν οἶδ’ ὅτι τούτῳ χρώμενοι τῷ λογισμῷ καὶ
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’ F
6. =παραθήσομαι=: the Middle, as given by F, is to be preferred (cp.
=182= 12). In =122= 14, 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=: Koraes _l.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,
_Taxe_ ὠνόμασε τὴν σύνταξιν, τὴν τοῖς Ἰταλοῖς καλουμένην _Tassa_, καὶ
ῥῆμα ἐποίησε _Taxer_ (Ἰταλ. _Tassare_), ἐπὶ τοῦ τάσσειν καὶ ἐπιβάλλειν
τοὺς φόρους· ὅθεν ἡ τῶν Γραικῶν φωνή, τὰ ἴδια παρὰ τῶν ἀλλοτρίων
λαμβάνουσα, ἐσχημάτισε τὰ χυδαῖα, #Τάσσα# καὶ #Τασσάρω#.
[Page 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 the _Areopagiticus_, 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
[Page 244]
τῆς ἐμῆς προσόδου καταφρονεῖτε καὶ πᾶσαν ἐλπίζετε τὴν
Ἑλλάδα ταύτῃ τῇ δυνάμει κατασχήσειν· ἐγὼ δὲ δι’
αὐτὰ ταῦτα τυγχάνω δεδιώς. ὁρῶ γὰρ τῶν πόλεων τὰς
ἄριστα πράττειν οἰομένας κάκιστα βουλευομένας, καὶ τὰς
μάλιστα θαρρούσας εἰς πλείστους κινδύνους καθισταμένας. 5
αἴτιον δὲ τούτων ἐστίν, ὅτι τῶν ἀγαθῶν καὶ τῶν κακῶν
οὐδὲν αὐτὸ καθ’ αὑτὸ παραγίνεται τοῖς ἀνθρώποις, ἀλλὰ
συντέτακται καὶ συνακολουθεῖ τοῖς μὲν πλούτοις καὶ ταῖς
δυναστείαις ἄνοια καὶ μετὰ ταύτης ἀκολασία, ταῖς δὲ
ἐνδείαις καὶ ταῖς ταπεινότησιν σωφροσύνη καὶ πολλὴ 10
μετριότης. ὥστε χαλεπὸν εἶναι διαγνῶναι, ποτέραν ἄν
τις δέξαιτο τῶν μερίδων τούτων τοῖς παισὶ τοῖς αὑτοῦ
καταλιπεῖν· ἴδοιμεν γὰρ ἂν ἐκ μὲν τῆς φαυλοτέρας εἶναι
δοκούσης ἐπὶ τὸ βέλτιον ὡς ἐπὶ τὸ πολὺ τὰς πράξεις
ἐπιδιδούσας, ἐκ δὲ τῆς κρείττονος φαινομένης ἐπὶ τὸ 15
χεῖρον εἰθισμένας μεταπίπτειν.
ταῦθ’ ὅτι συνήλειπταί τε καὶ συγκέχρωσται, καὶ οὐ καθ’
ἓν ἕκαστον ὄνομα ἐν ἕδρᾳ περιφανεῖ καὶ πλατείᾳ βέβηκεν
οὐδὲ μακροῖς τοῖς μεταξὺ χρόνοις διείργεται καὶ διαβέβηκεν
ἀπ’ ἀλλήλων, ἀλλ’ ἐν κινήσει τε ὄντα φαίνεται καὶ φορᾷ καὶ 20
ῥύσει συνεχεῖ, πραεῖαί τε αὐτῶν εἰσι καὶ μαλακαὶ καὶ
προπετεῖς αἱ συνάπτουσαι τὴν λέξιν ἁρμονίαι, τὸ ἄλογον
ἐπιμαρτυρεῖ τῆς ἀκοῆς πάθος. ὅτι δ’ οὐκ ἄλλα τινὰ τούτων
ἐστὶν αἴτια ἢ τὰ προειρημένα ὑπ’ ἐμοῦ περὶ τῆς ἀγωγῆς
ταύτης τῶν λόγων, ῥᾴδιον ἰδεῖν. φωνηέντων μὲν γὰρ ἀντιτυπίαν 25
οὐκ ἂν εὕροι τις οὐδεμίαν ἐν γοῦν οἷς παρεθέμην
ἀριθμοῖς, οἴομαι δ’ οὐδ’ ἐν ὅλῳ τῷ λόγῳ, πλὴν εἴ τί με
διαλέληθεν· ἡμιφώνων δὲ καὶ ἀφώνων ὀλίγας καὶ οὐ πάνυ
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 F
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 his
_de Antiq. Or._); Jebb _Att. Or._ ii. 54 ff.; Blass _Att. Bereds._ ii.
131 ff.
19. The reading οὐδ’ ἐν is possibly right, viz. ‘at long
time-intervals’; cp. =222= 5.
[Page 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
[Page 246]
ἐκφανεῖς οὐδὲ συνεχεῖς. ταῦτα δὲ τῆς εὐεπείας αἴτια τῇ λέξει
γέγονε καὶ ἡ τῶν κώλων συμμετρία πρὸς ἄλληλα, τῶν τε
περιόδων ὁ κύκλος ἔχων τι περιφερὲς καὶ εὔγραμμον καὶ
τεταμιευμένον ἄκρως ταῖς συμμετρίαις. ὑπὲρ ἅπαντα δὲ
ταῦτα οἱ σχηματισμοὶ πολὺ τὸ νεαρὸν ἔχοντες· εἰσὶ γὰρ 5
ἀντίθετοι καὶ παρόμοιοι καὶ πάρισοι καὶ οἱ παραπλήσιοι
τούτοις, ἐξ ὧν ἡ πανηγυρικὴ διάλεκτος ἀποτελεῖται. οὐκ
ἀναγκαῖον εἶναι δοκῶ μηκύνειν καὶ τὰ λοιπὰ διεξιών· ἱκανῶς
γὰρ εἴρηται καὶ περὶ ταύτης τῆς συνθέσεως ὅσα γε ἥρμοττεν.
XXIV
ἡ δὲ τρίτη καὶ μέση τῶν εἰρημένων δυεῖν ἁρμονιῶν, ἣν 10
εὔκρατον καλῶ σπάνει κυρίου τε καὶ κρείττονος ὀνόματος,
σχῆμα μὲν ἴδιον οὐδὲν ἔχει, κεκέρασται δέ πως ἐξ ἐκείνων
μετρίως καὶ ἔστιν ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων.
αὕτη δοκεῖ μοι τὰ πρωτεῖα ἐπιτηδεία εἶναι φέρεσθαι, ἐπειδὴ
μεσότης μέν τίς ἐστι (μεσότης δὲ ἡ ἀρετὴ καὶ βίων καὶ 15
ἔργων [καὶ τεχνῶν], ὡς Ἀριστοτέλει τε δοκεῖ καὶ τοῖς ἄλλοις
ὅσοι κατ’ ἐκείνην τὴν αἵρεσιν φιλοσοφοῦσιν), ὁρᾶται δ’,
ὥσπερ ἔφην καὶ πρότερον, οὐ κατὰ ἀπαρτισμὸν ἀλλ’ ἐν
πλάτει, καὶ τὰς εἰδικὰς ἔχει διαφορὰς πολλάς· οἵ τε χρησάμενοι
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 PMV
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 the _de Demosth._, which begins ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ
θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη, κτλ.
10. The treatment of the _third harmony_ in 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 (=248= 8-10) as a kind of _eclectic_ in style. There
are many indications that Dionysius regards him as a diligent literary
craftsman. See generally _de 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 to _Politics_ iii. 13, 1284 b 7-13, and to _Eth. 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. =210= 6-10.
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.”
[Page 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.