HOW VERSE CAN RESEMBLE PROSE
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
[Page 272]
συντιθέντες ὅταν διαλύσωσι τοὺς στίχους τοῖς κώλοις
διαλαμβάνοντες ἄλλοτε ἄλλως, διαχέουσι καὶ ἀφανίζουσι τὴν
ἀκρίβειαν τοῦ μέτρου, καὶ ὅταν τὰς περιόδους μεγέθει τε καὶ
σχήματι ποικίλας ποιῶσιν, εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦ
μέτρου· οἱ δὲ μελοποιοὶ πολυμέτρους τὰς στροφὰς ἐργαζόμενοι 5
καὶ τῶν κώλων ἑκάστοτε πάλιν ἀνίσων τε ὄντων καὶ ἀνομοίων
ἀλλήλοις ἀνομοίους τε καὶ ἀνίσους ποιούμενοι τὰς διαιρέσεις,
δι’ ἄμφω δὲ ταῦτα οὐκ ἐῶντες, ἡμᾶς ὁμοειδοῦς ἀντίληψιν
λαβεῖν ῥυθμοῦ πολλὴν τὴν πρὸς τοὺς λόγους ὁμοιότητα κατασκευάζουσιν
ἐν τοῖς μέλεσιν, ἔνεστί τε καὶ τροπικῶν καὶ 10
ξένων καὶ γλωττηματικῶν καὶ τῶν ἄλλων ποιητικῶν ὀνομάτων
μενόντων ἐν τοῖς ποιήμασιν μηδὲν ἧττον αὐτὰ φαίνεσθαι
λόγῳ παραπλήσια.
μηδεὶς δὲ ὑπολαμβανέτω με ἀγνοεῖν ὅτι κακία ποιήματος
ἡ καλουμένη λογοείδεια δοκεῖ τις εἶναι, μηδὲ καταγινωσκέτω 15
μου ταύτην τὴν ἀμαθίαν, ὡς ἄρα ἐγὼ κακίαν τινὰ ἐν ἀρεταῖς
τάττω ποιημάτων ἢ λόγων· ὡς δὲ ἀξιῶ διαιρεῖν κἀν τούτοις
τὰ σπουδαῖα ἀπὸ τῶν μηδενὸς ἀξίων, ἀκούσας μαθέτω. ἐγὼ
τοὺς λόγους τὸν μὲν ἰδιώτην ἐπιστάμενος ὄντα, τὸν ἀδολέσχην
τοῦτον λέγω καὶ φλύαρον, τὸν δὲ πολιτικόν, ἐν ᾧ τὸ πολὺ 20
κατεσκευασμένον ἐστὶ καὶ ἔντεχνον, ὅ τι μὲν ἂν τῶν ποιημάτων
ὅμοιον εὑρίσκω τῷ φλυάρῳ καὶ ἀδολέσχῃ, γέλωτος ἄξιον
τίθεμαι, ὅ τι δ’ ἂν τῷ κατεσκευασμένῳ καὶ ἐντέχνῳ, ζήλου
καὶ σπουδῆς ἐπιτήδειον τυχάνειν οἴομαι. εἰ μὲν οὖν
διαφόρου προσηγορίας τῶν λόγων ἑκάτερος ἐτύγχανεν, ἀκόλουθον 25
ἦν ἂν καὶ τῶν ποιημάτων ἃ τούτοις ἔοικεν διαφόροις
ὀνόμασι καλεῖν ἑκάτερον· ἐπειδὴ δὲ ὅ τε σπουδαῖος καὶ ὁ
τοῦ μηδενὸς ἄξιος ὁμοίως καλεῖται λόγος, οὐκ ἂν ἁμαρτάνοι
τις τὰ μὲν ἐοικότα τῷ καλῷ λόγῳ ποιήματα καλὰ ἡγούμενος,
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. =278= 7
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. MV
4. =εἰς λήθην ἐμβάλλουσιν=: the following Epigram of Callimachus will
illustrate Dionysius’ meaning:—
ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέ
δυομένου Βασιλὼ κάτθανε παρθενική
αὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσα
οὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόν
πατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνη
πᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.
(The text is that of Wilamowitz-Moellendorff _Callimachi Hymni et
Epigrammata_ p. 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 Mimnermus
_Eleg._ ii.)
6. =ἑκάστοτε=: Upton here conjectures ἑκάστης, Schaefer ἑκάστων.
15. =τις= to 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?”
[Page 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
[Page 274]
τὰ δὲ τῷ μοχθηρῷ πονηρά, οὐδὲν ὑπὸ τῆς τοῦ λόγου ὁμοειδείας
ταραττόμενος. κωλύσει γὰρ οὐδὲν ἡ τῆς ὀνομασίας ὁμοιότης
κατὰ διαφόρων ταττομένης πραγμάτων τὴν ἑκατέρου φύσιν
ὁρᾶν.
εἰρηκὼς δὴ καὶ περὶ τούτων, παραδείγματά σοι τῶν 5
εἰρημένων ὀλίγα θεὶς αὐτοῦ κατακλείσω τὸν λόγον. ἐκ μὲν
οὖν τῆς ἐπικῆς ποιήσεως ταῦτα ἀπόχρη·
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. τρίτον
δὲ τουτί
δι’ ἄκριας
ἔλαττον κώλου κομμάτιον. τέταρτον δὲ
ᾗ οἱ Ἀθήνη 15
πέφραδε δῖον ὑφορβόν
ἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲν
ἐοικός. ἔπειτα τὸ τελευταῖον
ὅ οἱ βιότοιο μάλιστα
κήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20
ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇ
προσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθις
τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον
οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.
ἔνθα οἱ αὐλὴ 25
ὑψηλὴ δέδμητο
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 PM
3. =κατὰ ... ταττομένης=: cp. Ven. A Schol. on _Il._ xv. 347 ὅτι
Ζηνόδοτος γράφει #ἐπισσεύεσθον#. 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.—With =κατακλείσω= cp. _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 the
_Odyssey_ (xiv. 1-7) be given not bit by bit but as a whole:—
αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸν
χῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνη
πέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστα
κήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς.
τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴ
ὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ,
καλή τε μεγάλῃ τε, περίδρομος.
15. Compare (in Latin) the opening of Terence’s _Phormio_, 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!”
[Page 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 said
That 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 best
Gave heed to the goods of his lord, of the thralls that Odysseus
possessed,
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 wall
Was builded tall.
[Page 276]
ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδος
ἐν 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 τὸν
αὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;
ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου 10
ταυτί
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 δὲ
ἔλαττον. 20
Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ
τίκτει λαθραίως Ἡρακλεῖ·
μετὰ τοῦτο
ξύνοιδ’ ὄρος
Παρθένιον, 25
οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερον
στίχου τε ἔλαττον καὶ στίχου μεῖζον
1 καὶ V: κατὰ PM 4 ἐποίει P 5 καλήν τε μεγάλην τε PM 9 μηκύνειν
P: μηκύνειν τὸν λόγον MV 10 παρ’ εὐριπι [**TN: δ written above final
ι of εὐριπι] sic P: εὐριπίδου MV 15 ὅς τε s: ὥστε PMV || δυσχείμερον
ἀρκάδων PMV: transposuit Sylburgius 16 Πὰν inseruit Musgravius 19
μείζονα om. P || στίχου MV: στι [**TN: χ written above ι of στι] P:
στίχον s 21 αὐγὴ M: αὐτὴ PV 24 ξύνοιδ’ s: ξύνοιδε P: ξυνοὶδὲ MV 26
οὔθ’ ἕτερον PM: οὐδέτερον V
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 Τιρυνθίῳ
τίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄρος
Παρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴν
ἔλυσεν Εἰλείθυια.
25. =Παρθένιον=: cp. Callim. _Hymn. in Delum_ 70 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.
[Page 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 steeps
Of 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 wedlock
Bare to Tirynthian Heracles.[195]
And afterwards—
This knows
Yon 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—
[Page 278]
ἔνθα μητέρ’ ὠδίνων ἐμὴν
ἔλυσεν Εἰλείθυια
καὶ τὰ ἑξῆς τούτοις παραπλήσια.
ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲ
κατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε 5
κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλει
καὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁ
ῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτε
ἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷς
εἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς 10
ἑαυτῆς ἀποδυρομένη τύχας·
ὅτε λάρνακι ἐν δαιδαλέᾳ
ἄνεμός τε μιν πνέων <ἐφόρει>
κινηθεῖσά τε λίμνα,
δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς 15
ἀμφί τε Περσέϊ βάλλε φίλαν χέρα
5 ἄλλός τις P || κατεστεύασε P 6 ἀπετεῖ P || δὴ PM: δὲ V 7 κατὰ P:
ταῦτα κατὰ MV 9 ἀντίστροφον PM: ἀντιστροφὴν V || λόγος εἰσειρόμενος
P: λόγος οὑτωσὶ διειρόμενος MV 10 Δανάη] δ’ ἀν ἡ P 13 τέ μιν
Schneidewinus: τε μὴν PM: τ’ ἐμῇ V || ἐφόρει ante μιν Bergkius
inseruit, post πνέων Usenerus 14 τε Brunckius: δὲ PMV 15 ἤριπεν
Brunckius: ἔριπεν P: ἔρειπεν MV || οὐκ Thierschius: οὐτ’ P: οὔτ’ MV
4. Bircovius points out that Hor. _Carm._ iii. 27. 33 ff. might be
printed as continuous prose, thus: “quae simul centum tetigit potentem
oppidis Creten: ‘Pater, o relictae filiae nomen, pietasque’ dixit
‘victa furore! unde quo veni? levis una mors est virginum culpae.
vigilansne ploro turpe commissum, an vitiis carentem ludit imago vana,
quae porta fugiens eburna somnium ducit?’” etc. The short rhymeless
lines of Matthew Arnold’s _Rugby Chapel_ might be run together in
the same way, e.g. “There thou dost lie, in the gloom of the autumn
evening. But ah! that word, _gloom_, to my mind brings thee back, in
the light of thy radiant vigour, again; in the gloom of November we
pass’d days not dark at thy side; seasons impair’d not the ray of thy
buoyant cheerfulness clear. Such thou wast! and I stand in the autumn
evening, and think of by-gone evenings with thee.” The word-arrangement
from line to line is such that this passage might almost be read as
prose, except for a certain rhythm and for an occasional departure from
the word-order of ordinary prose.
5. =Aristophanes=: cp. note on =218= 19 _supra_.
8. Compare, for example, the last two stanzas, printed continuously, of
Tennyson’s _In Memoriam_ cxv.: “Where now the seamew pipes, or dives in
yonder greening gleam, and fly the happy birds, that change their sky
to build and brood, that live their lives from land to land; and in my
breast spring wakens too; and my regret becomes an April violet, and
buds and blossoms like the rest.”
11. =ἀποδυρομένη=: probably the _Danaë_ was a θρῆνος, and in any
case it illustrates, to the full, the “maestius lacrimis Simonideis”
of Catullus (_Carm._ xxxviii. 8), or Wordsworth’s “one precious,
tender-hearted scroll | Of pure =Simonides=.” Cp. also _de Imitat._
ii. 6. 2 καθ’ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ οἰκτίζεσθαι μὴ
μεγαλοπρεπῶς ἀλλὰ παθητικῶς: and Quintil. x. 1. 64 “Simonides, tenuis
alioqui, sermone proprio et iucunditate quadam commendari potest;
praecipua tamen eius in commovenda miseratione virtus, ut quidam in hac
eum parte omnibus eius operis auctoribus praeferant.”
12. Verse-translations of the _Danaë_ will be found also in J. A.
Symonds’ _Studies of the Greek Poets_ i. 160, and in Walter Headlam’s
_Book of Greek Verse_ pp. 49-51. Headlam observes that the _Danaë_ is
a passage extracted from a longer poem, and that the best commentary
on it is Lucian’s _Dialogues of the Sea_ 12. Weir Smyth (_Greek Lyric
Poetry_ p. 321) remarks: “It must be confessed that, if we have all
that Dionysius transcribed, he has proved his point [viz. that by an
arrangement into διαστολαί the poetical rhythm can be so obscured that
the reader will be unable to recognize strophe, antistrophe, or epode]
so successfully that no one has been able to demonstrate the existence
of all three parts of the triad. Wilamowitz (_Isyllos_ 144) claims to
have restored strophe (ἄνεμος ... δούρατι), epode (χαλκεογόμφῳ ...
δεινὸν ἦν), and antistrophe (καὶ ἐμῶν ...); ὅτε ... δαιδαλέᾳ belonging
to another triad. To accept this adjustment one must have faith in
the extremely elastic ionics of the German scholar. Nietzsche, _R.
M._ 23. 481, thought that 1-3 formed the end of the strophe, 4-12 the
antistrophe (1-3 = 10-12). In v. 1 he omitted ἐν and read τ’ ἐμάνη
πνείων with ἀλεγίζεις in 10, but even then the dactyls vary with
spondees over frequently. By a series of reckless conjectures Hartung
extricated strophe and antistrophe out of the lines, while Blass’
(_Philol._ 32. 140) similar conclusion is reached by conjectures only
less hazardous than those of Hartung. Schneidewin and Bergk, adopting
the easier course, which refuses all credence to Dionysius, found only
antistrophe and epode; and so, doubtfully, Michelangeli; while Ahrens
(_Jahresber. des Lyceums zu Hannover_, 1853), in despair, classed the
fragment among the ἀπολελυμένα. Since verses 2-3 may = 11-12, I have
followed Nietzsche, though with much hesitation. The last seven verses
suit the character of a concluding epode.”
15. =ἤριπεν= = ἐξεπλάγη (same sense as Usener’s conjecture φρίττεν).
[Page 279]
where the Travail-queen
From 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 drifting
Before the drear wind’s sighing
And the great sea-ridges lifting,
She shuddered with terror, she brake into weeping,
And she folded her arms round Perseus sleeping;
[Page 280]
εἶπέν τ’· ὦ τέκος,
οἷον ἔχω πόνον, σὺ δ’ ἀωτεῖς·
γαλαθηνῷ δ’ ἤθεϊ κνοώσσεις
ἐν ἀτερπέι δούρατι χαλκεογόμφῳ δίχα νυκτὸς ἀλαμπεῖ
κυανέῳ τε δνόφῳ σταλείς. 5
ἅλμαν δ’ ὕπερθεν τεᾶν κομᾶν βαθεῖαν
παριόντος κύματος οὐκ ἀλέγεις
οὐδ’ ἀνέμου φθόγγον, πορφυρέᾳ
κείμενος ἐν χλανίδι πρὸς κόλπῳ καλὸν πρόσωπον.
εἰ δέ τοι δεινὸν τό γε δεινὸν ἦν, 10
καί κεν ἐμῶν ῥημάτων λεπτὸν ὑπεῖχες οὖας·
κέλομαι, εὗδε βρέφος,
εὑδέτω δὲ πόντος, εὑδέτω ἄμετρον κακόν.
μεταβουλία δέ τις φανείη,
Ζεῦ πάτερ, ἐκ σέο· 15
ὅ τι δὴ θαρσαλέον ἔπος εὔχομαι
νόσφι δίκας, σύγγνωθί μοι.
τοιαῦτά ἐστι τὰ ὅμοια τοῖς καλοῖς λόγοις μέτρα καὶ μέλη,
διὰ ταύτας γινόμενα τὰς αἰτίας ἃς προεῖπόν σοι.
τοῦθ’ ἕξεις δῶρον ἡμέτερον, ὦ Ῥοῦφε, “πολλῶν ἀντάξιον 20
ἄλλων,” εἰ βουληθείης ἐν ταῖς χερσί τε αὐτὸ συνεχῶς ὥσπερ
1 τέκος Athen. ix. 396 E: τέκνον PMV 2 σὺ δ’ ἀωτεῖς Casaubonus: οὐδ’
αυταις P: σὺ δ’ αὖτε εἷς Athen. (l.c.) 3 ἐγαλαθηνωδει θει P, V:
γαλαθηνῷ δ’ ἤτορι Athen.: corr. Bergkius || κνοώσσεισ P, V: κνώσσεις
Athen. 4 δούρατι Guelf.: δούνατι PM: δούναντι V || δίχα νυκτὸς
ἀλαμπεῖ Us.: δενυκτι λαμπεῖ P, MV 5 σταλείς Bergkius: ταδ’ εἰσ P,
MV 6 ἅλμαν δ’ Bergkius: αὐλεαν δ’ P, V: αὐλαίαν δ’ M 9 πρὸς κόλπῳ
κ. πρ. Us.: πρόσωπον καλον πρόσωπον P: πρόσωπον καλὸν MV 10 ἦν
Sylburgius: ἦι P: ἦ M: ἢ V 11 καί M: κἀί V: κε cum litura P || λεπτὸν
s: λεπτῶν PMV 14 μαιτ(α)βουλία (i.e. μεταβουλία: cp. =90= 4 supra)
P: μαιτ(α)βουλίου M: ματαιοβουλία V 17 νόσφι δίκας Victorius: ηνοφι
δικασ P: ἣν ὀφειδίασ MV 19 προεῖπά PMV (cf. εἴπειεν P, Aristot. Rhet.
1408 a 32) 21 αὐτὸ Sylburgius: αὐτὰ PMV
4. =δίχα νυκτός=: cp. δίχα μελέτης τε καὶ γυμνασίας (=282= 4), which
may be an unconscious echo of this passage. “To me the expression seems
to indicate that Simonides took a view of the story different from the
ordinary one, and imagined that the chest was not open or boat-like
but closed over,—a ‘Noah’s ark.’ This would not have suited the
vase-painters, but there is nothing inconsistent with it in the poem.
Danaë does not speak of _seeing_ the waves, nor of the wind ruffling
the child’s hair, but only of ἀνέμου φθόγγον—she _heard_ it. Hence I
think the words imply—‘which, even apart from its being night, would be
gloomy, and thou wert so launched forth in the darksome gloaming.’ She
makes no reference to seeing the stars” (A. S. Way).
5. Schneidewin reads ταθείς.
7. =ἀλέγεις=: rarely constructed with the accusative case.
11. =ἐμῶν ῥημάτων=: _constructio ad sensum_ with ὑπεῖχες οὖας (=
ὑπήκουες).
12. =εὗδε βρέφος=: the βαυκάλημα (‘cradle-song, lullaby’) was familiar
to the Greeks, and the mother does not forget it amid the perils of the
sea. Cp. Theocr. xxiv. 7-9—
εὕδετ’ ἐμὰ βρέφεα γλυκερὸν καὶ ἐγέρσιμον ὕπνον·
εὕδετ’ ἐμὰ ψυχά, δύ’ ἀδελφεώ, εὔσοα τέκνα·
ὄλβιοι εὐνάζοισθε καὶ ὄλβιοι ἀῶ ἵκοισθε.
20. From Hom. _Il._ xi. 514, 515—
ἰητρὸς γὰρ ἀνὴρ πολλῶν ἀντάξιος ἄλλων
ἰούς τ’ ἐκτάμνειν ἐπί τ’ ἤπια φάρμακα πάσσειν.
‘For more than a multitude availeth the leech for our need,
When the shaft sticketh deep in the flesh, when the healing salve
must be spread.’
[Page 281]
And “Oh my baby,” she moaned, “for my lot
Of anguish!—but thou, thou carest not:
Adown sleep’s flood is thy child-soul sweeping,
Though beams brass-welded on every side
Make a darkness, even had the day not died
When they launched thee forth at gloaming-tide.
And the surf-crests fly o’er thy sunny hair
As the waves roll past—thou dost not care:
Neither carest thou for the wind’s shrill cry,
As lapped in my crimson cloak thou dost lie
On my breast, little face so fair—so fair!
Ah, were these sights, these sounds of fear
Fearsome to thee, that dainty ear
Would hearken my words—nay, nay, my dear,
Hear them not thou! Sleep, little one, sleep;
And slumber thou, O unrestful deep!
Sleep, measureless wrongs; let the past suffice:
And oh, may a new day’s dawn arise
On thy counsels, Zeus! O change them now!
But if aught be presumptuous in this my prayer,
If aught, O Father, of sin be there,
Forgive it thou.”[197]
Such are the verses and lyrics which resemble beautiful prose; and they
owe this resemblance to the causes which I have already set forth to
you.
Here, then, Rufus, is my gift to you, which you will find “outweigh a
multitude of others,”[198] if only you will keep it in
[Page 282]
τι καὶ ἄλλο τῶν πάνυ χρησίμων ἔχειν καὶ συνασκεῖν αὑτὸν
ταῖς καθ’ ἡμέραν γυμνασίαις. οὐ γὰρ αὐτάρκη τὰ παραγγέλματα
τῶν τεχνῶν ἐστι δεινοὺς ἀγωνιστὰς ποιῆσαι τοὺς βουλομένους
γε δίχα μελέτης τε καὶ γυμνασίας· ἀλλ’ ἐπὶ τοῖς
πονεῖν καὶ κακοπαθεῖν βουλομένοις κεῖται σπουδαῖα εἶναι τὰ 5
παραγγέλματα καὶ λόγου ἄξια ἢ φαῦλα καὶ ἄχρηστα.
1 αὑτὸν ταῖς Us.: αὐτὸν ταῖσ P: αὐτὸ ταῖς M: αὐταῖς V 3 ἀγωνιστὰς
Sylburgius: δεινοῦσ αν ταγωνιστασ sic P: ἀνταγωνιστὰς etiam MV 4 γε
Us.: τε P: om. MV 5 βουλομένοις PM: om. V || σπουδαῖαν εἶναι (sic)
P: ἢ σπουδαῖα εἶναι MV 6 Διονυσίου αλικαρνα(σεως) πε(ρὶ) συνθέσεως
ὀνομάτων: ~ litteris maiusculis subscripsit P
2. The training meant would consist chiefly in that general reading
of Greek authors which is indicated in this treatise or in the _de
Imitatione_, and in Quintilian’s Tenth Book: it would carry out the
precept “vos exemplaria Graeca | nocturna versate manu, versate
diurna.” Afterwards would follow the technical and systematic study of
style or eloquence, regarded as a preparation for public life.
3. =ἀγωνιστάς=: cp. note on =268= 29 _supra_ and Plato _Phaedr._ 269 D
τὸ μὲν δύνασθαι, ὦ Φαῖδρε, ὥστε ἀγωνιστὴν τέλεον γενέσθαι, εἰκός—ἴσως
δὲ καὶ ἀναγκαῖον—ἔχειν ὥσπερ τἆλλα· εἰ μέν σοι ὑπάρχει φύσει ῥητορικῷ
εἶναι, ἔσῃ ῥήτωρ ἐλλόγιμος, προσλαβὼν ἐπιστήμην τε καὶ μελέτην, ὅτου δ’
ἂν ἐλλείπῃς τούτων, ταύτῃ ἀτελὴς ἔσῃ.
4. The best Greeks and Romans at all times believed in work, and in
genius as including the capacity for taking pains. Compare (in addition
to the passage of the _Phaedrus_) Soph. _El._ 945 ὅρα· πόνου τοι χωρὶς
οὐδὲν εὐτυχεῖ: Eurip. _Fragm._ 432 τῷ γὰρ πονοῦντι χὠ θεὸς συλλαμβάνει:
Aristoph. _Ran._ 1370 ἐπίπονοί γ’ οἱ δεξιοί: Cic. _de Offic._ i. 18.
60 “nec medici, nec imperatores, nec oratores, quamvis artis praecepta
perceperint, quidquam magna laude dignum sine usu et exercitatione
consequi possunt”: Quintil. _Inst. Or._ Prooem. § 27 “sicut et haec
ipsa (bona ingenii) sine doctore perito, studio pertinaci, scribendi,
legendi, dicendi multa et continua exercitatione per se nihil prosunt.”
See also note on page =264= _supra_.
[Page 283]
your hands constantly like any other really useful thing, and exercise
yourself in its lessons daily. No rules contained in rhetorical manuals
can suffice to make experts of those who are determined to dispense
with study and practice. They who are ready to undergo toil and
hardship can alone decide whether such rules are trivial and useless,
or worthy of serious consideration.
[Page 285]
GLOSSARY
(INCLUDING TERMS OF RHETORIC, GRAMMAR, PROSODY, MUSIC, PHONETICS, AND
LITERARY CRITICISM)
In the Glossary, as in the Notes, the following abbreviations are used:—
Long. = ‘Longinus on the Sublime.’
D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’
Demetr. = ‘Demetrius on Style.’
=ἀγεννής.= =90= 20, =170= 9, etc. _Ignoble_, _mean_: in reference to
style. Lat. _ignobilis_, _degener_.
=ἀγοραῖος.= =262= 20. _Vulgar_, _colloquial_, _mechanical_. Lat.
_circumforaneus_, _circulatorius_. Cp. Lucian _de conscrib.
hist._ § 44 μήτε ἀπορρήτοις καὶ ἔξω πάτου ὀνόμασι μήτε τοῖς
ἀγοραίοις τούτοις καὶ καπηλικοῖς.
=ἀγχίστροφος.= =212= 20. _Quick-changing_, _flexible_. Lat.
_mutabilis_. Instances of its rhetorical use are cited in Long.
p. 194. The word has more warrant as a term of rhetoric than
ἀντίρροπος, which is given by F.
=ἀγωγή.= =68= 1, _training_. =194= 9, _sequence_, _movement_. =244= 24,
_cast_, or _tendency_. Cp. some uses of Lat. _ductus_. Other
examples in D.H. p. 184: to which may be added _de Isocr._ c.
12 and _de Thucyd._ c. 27; Macran’s _Harmonics of Aristoxenus_
pp. 121, 143; Strabo xiv. 1. 41 παραφθείρας τὴν τῶν προτέρων
μελοποιῶν ἀγωγήν, and (later) ἀπεμιμήσατο τὴν ἀγωγὴν τῶν
παρὰ τοῖς κιναίδοις διαλέκτων καὶ τῆς ἠθοποιΐας.—In =124=
10 the adjective =ἀγωγός= is used (as in Eurip. _Hec._ 536,
_Troad._ 1131) with the genitive in the sense _provocative of_,
_conducive to_: cp. _de Demosth._ c. 55 ἃ δὴ τῶν τοιούτων ἔσται
παθῶν ἀγωγά. [In _Troad._ 1131 Dindorf, ed. v., gives ἀρωγός
without comment, against the MSS.]
=ἀγών.= =252= 2, =262= 23. _Contest_, _pleading_, _trial_. Lat.
_certamen_, _actio_. Cp. Long. p. 194, D.H. p. 184, Demetr. p.
263.
=ἀδολέσχης.= =272= 19, 22. _Garrulous._ Lat. _loquax_. Cp. Demetr. p.
263.
=ἀηδής.= =100= 7, =124= 19, etc. _Unpleasant_, _disagreeable_. Lat.
_iniucundus_, _molestus_. Similarly =ἀηδία=, =132= 21, =134= 14.
=ἀθρόος.= =222= 2. _Compressed_, _concentrated_. Lat. _consertus_,
_stipatus_. In the passage specified it would seem that
Dionysius compares the issue of the breath to the exit of
people through a narrow door, whereby they are _crowded
together_. The sound of _p_, which is under discussion,
approaches whistling; and that is the maximum of
breath-compression.
[Page 286]
=αἵρεσις.= =70= 15, =198= 3, 8, =246= 17. _School_, _following_. Lat.
_secta_.
=αἴσθησις.= =130= 17, =134= 11, =152= 15, =218= 1. _Sense_,
_perception_. Lat. _sensus_. So =αἰσθητός=, _perceptible_,
=152= 22, =206= 6, etc.; and =αἰσθητῶς=, _perceptibly_, =126=
20, =202= 18.
=ἀκατάστροφος.= =232= 1. _Without rounding or conclusion._ Lat. _idonei
exitus expers_. Used of a period which does not turn back upon
itself—which is, in fact, _not_ a περίοδος. Cp. the use of
εὐκαταστρόφως in Demetr. _de Eloc._ § 10.
=ἀκατονόμαστος.= =208= 25. _Unnamed_, _nameless_. Lat. _appellationis
expers_.
=ἀκέραστος.= =230= 18. _Unmixed_, or _incapable of mixture_. Lat. _non
permixtus_, _s. qui permisceri non potest_.
=ἀκοή.= =70= 3, =118= 23, =146= 8, etc. _The sense of hearing_: ‘_the
ear_.’ Lat. _auditus_. So =ἀκρόασις=, =116= 19, =198= 8, etc.
=ἀκόλλητος.= =218= 13. _Uncompacted_, or _incapable of being
compacted_. Lat. _non compactus_, _s. qui compingi non potest_.
=ἀκολουθία.= =212= 22, =232= 20, =254= 17. _Sequence_, _the orderly
progression of words_. Lat. _consecutio_, _ordo_, _series_.
ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, =212= 22 = _prone to
anacolouthon_. Cp. Long. p. 102, D.H. p. 184, Demetr. p. 263.
Similarly =ἀκόλουθος= is used of _what follows naturally_,
=130= 9, =228= 17, etc.
=ἀκόμψευτος.= =212= 23, =232= 21. _Unadorned._ Lat. _incomptus_. Used
of a style which is _sans recherche_, _sans parure_. Cp. Cic.
_Orat._ 24. 78 “nam ut mulieres esse dicuntur non nullae
inornatae, quas id ipsum deceat, sic haec subtilis oratio etiam
incompta delectat.”
=ἀκόρυφος.= =230= 31. _Without a capital or beginning._ Lat. _sine
fastigio_, _sine initio_. Used of a period without a proper
beginning and therefore imperfectly rounded: whereas true
periods are εὐκόρυφοι καὶ στρογγύλαι ὥσπερ ἀπὸ τόρνου (_de
Demosth._ c. 43).
=ἀκρίβεια.= =118= 10, =206= 8, =266= 11, etc. _Exactitude_,
_precision_, _finish_. Lat. _perfectio_, _absolutio_,
_subtilitas_. Used of an _ars exquisita_, a _style soigné_.
So =ἀκριβής= =196= 15, and =ἀκριβοῦν= =94= 14 and =242= 9.
Cp. D.H. p. 184, and Demetr. p. 264 (where the slightly
depreciatory sense of ‘correctness,’ ‘nicety,’ is also
illustrated: cp. _C.V._ =274= 22).
=ἀκροστόμιον.= =142= 17. _The edge of the mouth or lips._ Lat. _summum
os_, _labrorum margo_. Cp. =148= 22 τῆς γλώττης ἄκρῳ τῷ στόματι
προσερειδομένης κατὰ τοὺς μετεώρους ὀδόντας.
=ἀκώλιστος.= =234= 23. _Without members or clauses._ Lat. _sine
membris_. Used of a period not divided, or jointed, into
clauses.
=ἀλήθεια.= =198= 26. _Human experience._ Lat. _veritas vitae_, _usus
rerum_, _vita_, _usus_. The actual facts of life are meant, as
opposed to the theories of the schools. Cp. _de Isaeo_ c. 18
ὅτι μοι δοκεῖ Λυσίας μὲν τὴν ἀλήθειαν (‘the truth of nature,’
‘a natural simplicity’) διώκειν μᾶλλον, Ἰσαῖος δὲ τὴν τέχνην.
[Page 287]
=ἄλογος.= =66= 18, =146= 14, =152= 15, =174= 2, 3, =206= 13, =244=
22. _Irrational_; _unguided by reason_; _subconscious_;
_incalculable_; _instinctive_; _spontaneous_. Lat. _rationis
expers_. With the use in =146= 14 (where the Epitome has
ἀλάλου) may be compared the process by which ἄλογον in Modern
Greek has come to mean ‘horse.’ With ἄλογος αἴσθησις in =152=
15 and =244= 22 cp. the use of “tacitus sensus” in Cic. _de
Orat._ iii. 195 “omnes enim tacito quodam sensu sine ulla arte
aut ratione quae sint in artibus ac rationibus recta ac prava
diiudicant” and _Orat._ 60. 203 “aures ipsae tacito eum (modum)
sensu sine arte definiunt”: see also _de Lysia_ c. 11, _de
Demosth._ c. 24, _de Thucyd._ c. 27. For the doctrine of ἀλογία
in relation to metre see p. 154 _supra_ and Goodell _Greek
Metric_ pp. 109 ff. (with references to Aristoxenus, Westphal,
etc., pp. 150 ff.). The notion of _incommensurability_ is, of
course, present in the term: cp. Aristox. p. 292 ὥρισται δὲ τῶν
ποδῶν ἕκαστος ἤτοι λόγῳ τινὶ ἢ ἀλογίᾳ τοιαύτῃ, ἥτις δύο λόγων
γνωρίμων τῇ αἰσθήσει ἀνὰ μέσον ἔσται, which Goodell (p. 110)
translates, “each of the feet is determined and defined either
by a precise ratio or by an incommensurable ratio such that it
will be between two ratios recognizable by the sense.”
=ἀμεγέθης.= =176= 11. _Wanting in size or dignity._ Lat. _exilis_. Cp.
Long. _de Sublim._ xl. 2 οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ
ἀμεγέθεις.
=ἄμετρος.= =74= 4, =176= 1, 21, etc. _Unmetred_, _unmetrical_. Lat.
(_oratio_) _soluta_. It is interesting to note the variety of
Dionysius’ expressions for ‘prose’ or ‘in prose’—λέξις ἄμετρος,
λέξις πεζή, λέξις ψιλή, λόγος ἀποίητος, λόγοι ἄμετροι, λόγοι or
λόγος simply (=272= 9, 13), δίχα μέτρου (=252= 20), λεκτικῶς
(=258= 3), etc. Cp. Plato _Rep._ 366 E, 390 A, etc.
=ἀμορφία.= =184= 18, =198= 10. _Unsightliness._ Lat. _deformitas_. So
=ἄμορφος= =92= 16.
=ἄμουσος.= =74= 11, =122= 19. _Rude_, _uncultured_. Lat. _insulsus_,
_illiteratus_, _infacetus_.
=ἀμυδρός.= =206= 22. _Faint_, _obscure_. Lat. _subobscurus_.
=ἀμφίβολος.= =96= 17. _Ambiguous._ Lat. _dubius_, _ambiguus_, _qui in
duos pluresve sensus verti potest_.
=ἀμφίβραχυς.= =172= 6, =184= 11. _Amphibrachys._ The metrical foot ᴗ –
ᴗ.
=ἀναβολή.= =164= 5, =220= 13. _Retardation._ Lat. _mora_,
_intervallum_. So =ἀναβάλλειν= =180= 15, =216= 18: cp. _de
Demosth._ c. 54 (ταῦτ’ ἐσπευσμένως εἰπέ, ταῦτ’ ἀναβεβλημένως),
and c. 43.
=ἀναισθησία.= =184= 21. _Insensibility_, _stupidity_. Lat. _stupor_.
Compare =ἀναίσθητος= =190= 8, and see the editor’s _Ancient
Boeotians_ pp. 4-8.
=ἀνακοπή.= =164= 5, =230= 28, =232= 16. _Stoppage_, _clashing_.
Lat. _impedimentum_, _offensio_. Fr. _refoulement_. Cp. _de
Demosth._ c. 38, and also the verb =ἀνακόπτειν= =222= 9.
=ἀνάπαιστος.= =172= 10, etc. _Anapaest._ The metrical foot ᴗ ᴗ –.
=ἀνάπαυλα.= =196= 11. _Rest_, _pause_. Lat. _mora_, _intermissio_. The
‘reliefs’ afforded by variety of structure, etc., are meant.
=ἀναπλέκειν.= =264= 23. _To bind up the hair._ Lat. _caesariem reticulo
colligere_.
=ἄναρθρος.= =212= 21. _Without joints or articles._ Lat. _sine
articulis_.
[Page 288]
=ἀνδρώδης.= =174= 17. _Manly, virile._ Lat. _virilis._ Cp. _de
Demosth._ cc. 39, 43, and Quintil. v. 12. 18.
=ἀνέδραστος.= =232= 4. _Unsteady._ Lat. _instabilis._ Used of a period
which has no proper base or termination. The opposite of
ἑδραῖος (Demetr. p. 277).
=ἀνεπιτήδευτος.= =84= 3, =212= 13, =260= 14. _Unsought, unstudied._
Lat. _nullo studio delectus, non exquisitus._ So =ἀνέκλεκτος=
=84= 3: _not picked with care._
=ἄνεσις.= =210= 5. _Loosening._ Lat. _remissio._ Cp. Plato _Rep._ i.
349 E ἐν τῇ ἐπιτάσει καὶ ἀνέσει τῶν χορδῶν πλεονεκτεῖν, and
=ἀνίεται= =126= 5.
=ἀνθηρός.= =212= 22 (cp. =208= 26, =232= 25). _Florid._ Lat.
_floridus._ Fr. _fleuri._ Cp. Quintil. xii. 10. 58 “namque unum
[dicendi genus] subtile, quod ἰσχνόν vocant, alterum grande
atque robustum, quod ἁδρόν dicunt, constituunt; tertium alii
medium ex duobus, alii floridum (namque id ἀνθηρόν appellant)
addiderunt.” ‘Florid’ (like ‘flowery’) has acquired rather a
bad sense, whereas the Greek word suggests ‘flower-like,’ ‘full
of colour,’ ‘with delicate touches and associations.’
=ἀντίθετος.= =246= 6. _Antithetic_ (σχηματισμοὶ ... ἀντίθετοι). Cp.
Demetr. pp. 266, 267, s.v. ἀντίθεσις.
=ἀντιστηριγμός.= =164= 6. _Resistance, stumbling-block._ Lat.
_impedimentum, obstaculum._ Cp. _de Demosth._ c. 38 ἀνακοπὰς
καὶ ἀντιστηριγμοὺς λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς
τῶν ὀνομάτων ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ [ἡ αὐστῆρα ἁρμονία]
βούλεται.
=ἀντίστροφος.= =174= 2, =194= 6, 9, 11, =278= 9. _Corresponding,
counterpart._ Lat. _respondens._ Frequently used by Dionysius
of the second stanza (ἀντιστροφή, =254= 18), sung by the Chorus
in its counter-movement. Cp. schol. ad Aristoph. _Plut._ 253
μεταξὺ τῆς τε στροφῆς καὶ τῆς ἀντιστρόφου: and _de Demosth._ c.
50 κἄπειτα πάλιν τοῖς αὐτοῖς ῥυθμοῖς καὶ μέτροις ἐπὶ τῶν αὐτῶν
στίχων ἢ περίοδων, ἃς ἀντιστρόφους ὀνομάζουσι, χρωμένη.
=ἀντιτυπία.= =202= 25, =222= 17, =224= 15, =230= 6, 232 6, =244=
25. _Repulsion, clashing, dissonance._ Lat. _conflictio,
asperitas._ So the adjective =ἀντίτυπος= in =162= 23, =210= 20,
etc. Hesychius, ἀντιτύποις· σκληροῖς.
=ἀντονομασία.= =70= 19, =102= 18. _Pronoun._ Lat. _pronomen._ In =108=
14 ἀντωνυμία is found; and this (the more usual) form should
perhaps be read throughout.
=ἀνωμαλία.= =232= 19. _Unevenness._ Lat. _inaequalitas._ Fr.
_inégalité._
=ἀξίωμα.= =84= 1, =120= 23, =170= 2, =174= 19. _Dignity._ Lat.
_dignitas._ Fr. _dignité._ In =96= 16 the sense is _a
proposition (pronuntiatum,_ Cic. _Tusc._ i. 7. 14;
_enuntiatio,_ Cic. _de Fato_ 10. 20).—The adjective
=ἀξιωματικός= (‘dignified’) occurs in =136= 11, =168= 6, etc.,
and the adverb =ἀξιωματικῶς= in =176= 24.—In =88= 13, =186= 7,
=ἀξίωσις= = _reputation, excellence._
=ἀπαγγελία.= =204= 18. _Narration._ Lat. _narratio._ Sometimes the word
is used, like ἑρμηνεία, of style (_elocutio_) in general: cp.
_de Demosth._ c. 25, and Chrysostom (in a passage which, as
revealing the pupil of Libanius and as illustrating many things
in the _C.V._, may be quoted at some length): ἐγὼ δὲ εἰ μὲν τὴν
λειότητα Ἰσοκράτους ἀπῄτουν, καὶ τὸν Δημοσθένους ὄγκον, καὶ τὴν
Θουκυδίδου σεμνότητα, καὶ τὸ Πλάτωνος ὕψος, ἔδει φέρειν εἰς
μέσον ταύτην τοῦ Παύλου τὴν μαρτυρίαν. νῦν δὲ ἐκεῖνα μὲν πάντα
ἀφίημι, καὶ τὸν περίεργον τῶν ἔξωθεν καλλωπισμόν, καὶ οὐδέν
μοι φράσεως, οὐδὲ ἀπαγγελίας μέλει· ἀλλ’ ἐξέστω καὶ τῆ λέξει
πτωχεύειν, καὶ τὴν συνθήκην τῶν ὀνομάτων ἁπλῆν τινα εἶναι καὶ
ἀσφαλῆ, μόνον μὴ τῇ γνώσει τις καὶ τῇ τῶν δογμάτων ἀκριβείᾳ
ἰδιώτης ἔστω (_de Sacerdotio_ iv. 6).—The verb =ἀπαγγέλλειν=
occurs in =200= 9, 11.
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=ἀπαρέμφατος.= =102= 20. _Infinitive._ Lat. _infinitivus_ (sc.
_modus_). [The infinitive, unlike the indicative and other
moods, _does not indicate_ difference of meaning by means of
inflexions denoting number and person. Whence the Greek name:
cp. παρεμφατικός, p. 315 _infra._]
=ἀπαριθμεῖν.= =268= 8. _To recount_, _to run over_. Lat. _percensere_.
=ἀπαρτίζειν.= =194= 16. _To round off_, _to complete_. Lat.
_adaequare_, _absolvere_. Cp. _de Demosth._ c. 50 καὶ μέτρα τὰ
μὲν ἀπηρτισμένα καὶ τέλεια, τὰ δ’ ἀτελῆ: _Ev. Luc._ xiv. 28
τίς γὰρ ἐξ ὑμῶν, θέλων πύργον οἰκοδομῆσαι, οὐχὶ πρῶτον καθίσας
ψηφίζει τὴν δαπάνην, εἰ ἔχει τὰ πρὸς ἀπαρτισμόν (_completion_);
So κατὰ ἀπαρτισμόν, in =246= 18, means _completely,
absolutely, narrowly_. In _Classical Review_ xxiii. 82, the
present writer has suggested that κατὰ ἀπαρτισμόν are the words
missing in _Oxyrhynchus Papyri_ vi. 116, where Grenfell and
Hunt give ἐν πλάτει καὶ οὐ κ[.............]ν. θεωρητέα ἐστίν,
or the like, may have preceded: cp. =152= 26 _supra_ (and note).
=ἀπαρχαί.= =76= 2. _Firstfruits._ Lat. _primitiae_. Used here in
connexion with the verb προχειρισάμενος, _cum delibavero_.
=ἀπατηλός.= =236= 10. _Seductive._ Lat. _suavis et oblectans_,
_illecebrosus_.
=ἀπερίγραφος.= =232= 4. _Not circumscribed._ Lat. _nullis limitibus
circumscriptus_.
=ἀπερίοδος.= =234= 23, =276= 1. _Without a period._ Lat. _periodo non
absolutus_.
=ἀπευθύνειν.= =130= 1. _To regulate._ Lat. _tamquam ad regulam
dirigere_.
=ἀπηνής.= =228= 15. _Crabbed_, _rugged_. Lat. _durus_.
=ἁπλοῦς.= =144= 8, 17, =176= 3. _Simple_, _uncompounded_. Lat.
_simplex_.
=ἀποίητος.= =70= 4. _In plain prose._ Lat. _prosaicus_. Cp. s.v.
ἄμετρος.
=ἀποκλείειν.= =144= 23. _To shut off_, _to intercept_. Lat.
_intercludere_.
=ἀποκόπτειν.= =142= 8, =230= 19. _To cut short._ Lat. _rescindere_. So
ἐξ =ἀποκοπῆς= (=142= 3) = _with a snap_, _abruptly_. See the
exx. given, s.v. ἀποκοπή, in Demetr. p. 268.
=ἀποκυματίζειν.= =240= 22. _To ruffle._ Lat. _reddere inquietum_,
_fluctibus agitare_.
=ἀπορριπίζειν.= =144= 24, =150= 1. _To blow away._ Lat. _flatu
abigere_. In both these passages there is some manuscript
support for ἀπορραπίζειν. In =144= 24 the sense (with
ἀπορραπιζούσης) would be ‘to send out the breath in beats,’ ‘to
cause the breath to vibrate.’
=ἀποτραχύνειν.= =218= 9, =230= 24. =To roughen.= Lat. _exasperare_.
=ἀργός.= =210= 22. _Unwrought._ Lat. _rudis_. In =250= 8 =ἀργία= is
used for ‘idleness,’ with reference to the Epicurean attitude
towards the refinements of style.
=ἄρθρον.= =70= 17. _Article._ Lat. _articulus_. See D.H. pp. 185, 186;
Demetr. p. 269. ἄρθρον (‘joint’) and σύνδεσμος (‘sinew’ or
‘ligament’) are terms borrowed from anatomy.
[Page 290]
=ἀριθμοί.= =244= 27. _Numbers_, _cadences_. Lat. _numeri_, _numeri
oratorii_. Cp. _de Demosth._ c. 53 φέρε γὰρ ἐπιχειρείτω τις
προφέρεσθαι τούσδε τοὺς ἀριθμούς· Ὄλυνθον μὲν δὴ καὶ Μεθώνην
κτλ. As Aristotle (_Rhet._ iii. 8. 2) says, περαίνεται δὲ
ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως ἀριθμὸς ῥυθμός
ἐστιν, οὗ καὶ τὰ μέτρα τμητά.
=ἀριστεῖα.= =182= 12. _Lead_, _supremacy_. Lat. _primas_ (_dare_).
=Ἀριστοφάνειος.= =256= 13, =258= 9. _Aristophanic._ Lat.
_Aristophaneus_. The reference is to the anapaestic tetrameter
called ‘Aristophanic.’ Hephaestion (_Ench._ c. 8) explains the
term thus: κέκληται δὲ Ἀριστοφάνειον, οὐκ Ἀριστοφάνους αὐτὸ
εὑρόντος πρῶτον, ἐπεὶ καὶ παρὰ Κρατίνῳ ἐστί·
χαίρετε δαίμονες οἳ Λεβάδειαν Βοιώτιον οὖθαρ ἀρούρης·
ἀλλὰ διὰ τὸ τὸν Ἀριστοφάνην πολλῷ αὐτῷ κεχρῆσθαι.
=ἁρμογή.= =112= 13, =218= 9, =236= 5, =270= 9. _Junction_,
_combination_. Lat. _coagmentatio_.
=ἁρμονία.= =72= 6, 9, =74= 4, 10, 19, =84= 9, 15, =90= 5, =94= 15,
=104= 19, =114= 14, 17, =116= 15, 20, _passim_. _Adjustment_,
_arrangement_, _balance_, _harmonious composition_. Lat.
_apta structura_, _concinna orationis compositio_, _aptus
ordo partium inter se cohaerentium_. Fr. _enchaînement_. But,
as distinguished from ἁρμογή or from σύνθεσις, ἁρμονία seems
usually to connote ‘harmony’ in the more restricted (musical)
sense of notes in fitting sequence: cp. our ‘arrangement’ of
a song or piece of music. In fact, Dionysius’ three ἁρμονίαι
might well be described as three ‘modes of composition,’ and
‘tune’ (the meaning which ἁρμονία bears in Aristot. _Rhet._
iii. 1. 4) might sometimes serve as a suitable rendering even
in reference to literary composition or oratorical rhythm. The
original use of the word in Greek carpentry (which employed
dovetailing in preference to nails) finds an excellent
illustration in the words of a contemporary of Dionysius,
Strabo (_Geogr._ iv. 4): διόπερ οὐ συνάγουσι τὰς ἁρμονίας
τῶν σανίδων, ἀλλ’ ἀραιώματα καταλείπουσιν. We have perhaps
no single English word which can, like ἁρμονία, incline,
according to the context, to the literal sense (‘a fitting,’
‘a juncture’), or to the metaphorical meaning (‘harmony,’ as
‘harmony’ was understood by the Greeks); but see T. Wilson’s
definition of ‘composition’ under σύνθεσις, p. 326 _infra_, and
compare one of the definitions of ‘harmony’ in the _New English
Dictionary_: “pleasing combination or arrangement of sounds, as
in poetry or in speaking: sweet or melodious sound.”—The verb
ἁρμόττειν is found in =98= 6, =104= 17, etc.
=ἀρρενικός.= =106= 21. _Of the masculine gender._ Lat. _masculinus_.
=ἀρτηρία.= =140= 21, =142= 4, =144= 5, 20, =148= 17. _Windpipe._ Lat.
_arteria_.
=ἀρχαϊσμός.= =212= 23. _A touch of antiquity._ Lat. _sermonis prisci
imitatio_. Cp. =ἀρχαϊκός=, =216= 20, =228= 8. So =ἀρχαιοπρεπῆ=
σχήματα (=236= 8) = _figurae orationis quae vetustatem
redolent_. As Quintilian (viii. 3. 27) says, “quaedam tamen
adhuc vetera vetustate ipsa gratius nitent.” Cp. D.H. p. 186
(s.v. ἀρχαιοπρεπής) and Demetr. p. 269 (s.v. ἀρχαιοειδής): also
_de Demosth._ c. 48.
[Page 291]
=ἀρχαί.= =136= 22, =140= 13. _First beginnings._ Lat. _principia_.
=ἄσεμνος.= =110= 20, =170= 20, =176= 12, =192= 11. _Undignified._ Lat.
_dignitatis expers_, _minime venerandus_. Cp. D.H. p. 269.
=ἄσημος.= =256= 22, =262= 6. _Unnoticed._ Lat. _obscurus_.
=ἄσιγμος.= =148= 1. _Without a sigma._ Lat. _carens littera sigma_.
=ᾆσμα.= =196= 2. _Song_, _lay_. Lat. _carmen_, _canticum_.
=ἀσύμμετρος.= =124= 8, =236= 1. _Incommensurable_, _disproportionate_,
_incorrect_. Lat. _incommensurabilis_, _sine iusta
proportione_, _inconcinnus_. So =ἀσυμμετρία= =232= 19. Some
good illustrations (drawn from Cicero) of _constructions
symétriques_ will be found in Laurand’s _Études sur le style
des discours de Cicéron_ pp. 118-21.
=ἀσύμμικτος.= =218= 12. _Unblended_, or _incapable of being blended_.
Lat. _non permixtus_, _s. qui permisceri non potest_.
=ἀσύμφωνος.= =122= 23. _Out of tune._ Lat. _dissonus_.
=ἄτακτος.= =156= 20, =254= 16. _Disordered_, _irregular_. Lat.
_perturbatus_, _nullo ordine compositus_, _incompositus_.
=ἀτοπία.= =130= 26. _Awkwardness_, _clumsiness_. Lat. _rusticitas_,
_ineptia_.
=αὐθάδης.= =228= 9. _Wilful_, _headstrong_, _unbending_. Lat. _ferox_,
_pertinax_. Cp. Long. _de Subl._ xxxii. 3 ὁ δὲ Δημοσθένης οὐχ
οὕτως μὲν αὐθάδης ὥσπερ οὗτος (sc. ὁ Θουκυδίδης), κτλ.
=αὐθέκαστος.= =212= 23. _Outspoken_, _downright_. Lat. _rigidus_. In
Plutarch’s _Cato_ c. 6 Cato is described as ἀπαραίτητος ὢν ἐν
τῷ δικαίῳ καὶ τοῖς ὑπὲρ τῆς ἡγεμονίας προστάγμασιν ὄρθιος καὶ
αὐθέκαστος (cp. the _rigida innocentia_ attributed to him by
Livy xxxix. 40. 10). In Aristotle (_Eth. Nic._ iv. 7. 4) the
αὐθέκαστος hits the mean between the ἀλαζών and the εἴρων.
=αὐλός.= =142= 2. _Passage_, _channel_. Lat. _meatus_.
=αὐστηρός.= =208= 26, =210= 15, =216= 17, 21, =228= 15, =232= 22, =248=
9. _Austere_, _severe_. Lat. _severus_ (cp. Quintil. ix. 4.
97, 120, 128). Compare the antithetic expressions quoted from
Dionysius in D.H. p. 186, and add _de Demosth._ c. 38 init.
Also see s.v. στρυφνός, p. 323 _infra_.
=αὐτάρκης.= =212= 17, =282= 2. _Sufficient_, _self-sufficing_. Lat.
_sufficiens_, _per se sufficiens_.
=αὐτίκα.= =98= 7, =194= 2, =256= 7, =268= 6. _To begin with_, _for
example_. Lat. _exempli gratia_.
=αὐτόματος.= =256= 19. _Self-acting_, _spontaneous_. Lat. _spontaneus_,
_ultroneus_. Cp. =αὐτομάτως= =212= 12; =αὐτοματίζειν= =204=
5; =αὐτοματισμός= =218= 3, =258= 1, 24. In =256= 19 ἐκ τοῦ
αὐτομάτου = _sponte sua_, _fortuito_.
=αὐτοσχέδιος.= =212= 1, =260= 14, =262= 3. _Improvised._ Lat.
_fortuitus_, _extemporalis_, _inelaboratus_, _tumultuarius_. So
=αὐτοσχεδίως= =260= 25, and =αὐτοσχεδιάζειν= =256= 19 (πολλὰ
γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις = _multos versus sponte solet
natura effundere_). Cp. Demetr. p. 270 s.v. αὐτοσχεδιάζειν, and
see σχέδιος p. 327 _infra_.
[Page 292]
=αὐτοτελής.= =118= 6, =140= 1. _Complete in itself_, _absolute_.
Lat. _perfectus_, _absolutus_. So =αὐτοτελῶς= =140= 3. The
meaning of the word is well illustrated by Diodorus Siculus
xii. 1 init. οὔτε γὰρ τῶν νομιζομένων ἀγαθῶν οὐδὲν ὁλόκληρον
εὑρίσκεται δεδομένον τοῖς ἀνθρώποις οὔτε τῶν κακῶν αὐτοτελὲς
ἄνευ εὐχρηστίας.
=αὐτουργός.= =196= 15. _Self-wrought_, _rudely wrought_. Lat. _rudis_.
Cp. _de Demosth._ c. 39 (as quoted s.v. συναπαρτίζειν, p.
325 _infra_).—The _active_ sense of αὐτουργός finds a good
illustration in Euripides’ well-known line: αὐτουργός, οἵπερ
καὶ μόνοι σῴζουσι γῆν (_Orest._ 920).
=ἀφαίρεσις.= =104= 20, =114= 12, =116= 17. _Deduction_, _abridgment_.
Lat. _detractio_. In =116= 17 τῆς ἀφαιρέσεως δὲ τίς (τρόπος)
almost = ‘what is the nature of _ellipsis_?’ As line 18 shows,
something _necessary to the sense_ is supposed to be omitted:
e.g. the presence of αὐτός in =116= 22 implies a contrast with
ἕτερος (=118= 1).
=ἀφανίζειν.= =166= 10, =260= 1, =272= 2. _To put out of sight._ Lat.
_abscondere_.
=ἀφελής.= =212= 14. _Simple_, _plain_. Lat. _simplex_, _subtilis_. Cp.
D.H. p. 187.
=ἀφορμή.= =96= 23. _Starting-point._ Lat. _initium_, _principium_.
Cp. Dionys. Hal. _Antiq. Rom._ i. 4 τῆς ἀοιδίμου γενομένης
καθ’ ἡμᾶς πόλεως, ἀδόξους πάνυ καὶ ταπεινὰς τὰς πρώτας ἀφορμὰς
λαβούσης.
=ἀφροδίτη.= =74= 13. _Beauty._ Lat. _venustas_, _venus_. Cp. _de Lysia_
c. 11 ἐὰν δὲ μηδεμίαν ἡδονὴν μηδὲ ἀφροδίτην ὁ τῆς λέξεως
χαρακτὴρ ἔχῃ, δυσωπῶ καὶ ὑποπτεύω μήποτ’ οὐ Λυσίου ὁ λόγος, καὶ
οὐκέτι βιάζομαι τὴν ἄλογον αἴσθησιν: also c. 18 _ibid._
=ἄφωνος.= =138= 13, =140= 3, =146= 5, =148= 11, 20, =220= 10.
_Voiceless_, _mute_. Lat. _vocis expers_, _mutus_. From the
standpoint of the modern science of phonetics, in which
the term ‘voiceless’ is reserved for sounds that are not
accompanied by a vibration of the vocal chords, it might
be well in the translation of this word to substitute
‘non-vocalic’ for ‘voiceless,’ and ‘vocalic’ for ‘voiced.’
=ἄχαρις.= =110= 20, =146= 12. _Graceless._ Lat. _invenustus_.
=βαίνειν.= =86= 1. _To scan._ Lat. _scandere_. Cp. Aristot. _Metaph._
xiii. 6, 1093 a 30 βαίνεται δὲ [τὸ ἔπος] ἐν μὲν τῷ δεξιῷ ἐννέα
συλλαβαῖς, ἐν δὲ τῷ ἀριστερῷ ὀκτώ.—In =236= 4 βεβηκώς is used
of a firm, regular tread: Lat. _incedere_.
=βακχεῖος.= =174= 23, =180= 12, =182= 19. _Bacchius._ The metrical foot
– – ᴗ.
=βαρύς.= =126= 6, 8, 10, 16, =128= 5, 8. _Grave_ (accent), _low_
(pitch). Lat. _gravis_. Cp. Monro _Modes of Ancient Greek
Music_ p. 113: “Our habit of using Latin translations of the
terms of Greek grammar has tended to obscure the fact that
they belong in almost every case to the ordinary vocabulary
of music. The word for ‘accent’ (τόνος) is simply the musical
term for ‘pitch’ or ‘key.’ The words ‘acute’ (ὀξύς) and ‘grave’
(βαρύς) mean nothing more than ‘high’ and ‘low’ in pitch. A
syllable may have two accents, just as in music a syllable may
be sung with more than one note.” So =βαρύτης= =126= 13 = ‘low
pitch.’—In =120= 23 and =236= 8 =βάρος= = ‘gravity’ (in the
sense of ‘dignity’), Fr. _gravité_.
=βάσις.= =142= 13, =210= 22, =212= 16, =220= 4, =230= 31, =232= 4,
=234= 7. _Base._ Lat. _basis_, _fundamentum_.—The word is
specially used of a measured step or metrical movement,—of
a _rhythmical clause_ in a period and particularly of its
_rhythmical close_ (Lat. _clausula_). In =230= 30 and =232= 5
it is the iambic endings προγεγενημένων and διανοούμενον that
are considered objectionable (ἀνέδραστοι, ἀπερίγραφοι: endings
such as πορείαν and ἀκουσάντων would be regarded as ἀσφαλεῖς,
_de Demosth._ cc. 24, 26). Terminations of this kind will be
avoided in a style (like the γλαφυρὰ σύνθεσις) which desires
τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι,—desires that the
_chutes_ of the periods should be _nombreuses_.—Further light
on the meaning of βάσις will be found in _de Demosth._ cc. 24,
39, 43, 45.
[Page 293]
=βοστρυχίζειν.= =264= 22. _To curl_, _to dress the hair_. Lat. _crines
calamistro convertere_. Cp. the use of _concinni_ in Cic. _de
Orat._ iii. 25. 100.
=βούλεσθαι.= =220= 9, =234= 5, 14, 19, =236= 4, 7, etc. _To aim_, _to
aspire_. Lat. _studere_. Cp. D.H. p. 187, Demetr. p. 271.
This meaning (‘aims at being,’ ‘tends to be’) is, of course,
Platonic and Aristotelian.
=βραχυσύλλαβος.= =168= 17. _Consisting of short syllables._ Lat.
_brevibus syllabis constans_.
=βραχύτης.= =150= 22, =154= 6. _Shortness._ Lat. _brevitas_.
=γένεσις.= =138= 3. _Origin._ τὴν γένεσιν λαμβάνει = Lat. _originem
sumit_.
=γενικός.= =68= 20, =118= 21, =208= 21. _General_, _generic_. Lat.
_generalis_.
=γενναῖος.= =68= 4, =136= 13, =146= 10, =148= 9, =172= 1, =176= 9, 10.
_Noble._ Lat. _generosus_. Such English renderings as ‘virile,’
‘robust,’ ‘gallant,’ ‘splendid,’ ‘high-spirited’ may also be
suggested. In Plato _Rep._ ii. 372 B μάζας γενναίας = ‘lordly
cakes’; in Long. _de Subl._ xv. 7 οἱ γενναῖοι = ‘fine, grand,
gallant fellows.’ Cp. _C.V._ =170= 9 =μαλακώτερος= θατέρου =καὶ
ἀγεννέστερος=.
=γλαφυρός.= =136= 14, =208= 26, =212= 16, =216= 20, =232= 25, =248= 9.
_Smooth_, _polished_, _elegant_. Lat. _politus_, _ornatus_,
_elegans_. Fr. _élégant_, _orné_, _poli_. Cp. Demetr. p. 272,
and _de Isocr._ c. 2 ὁ γὰρ ἀνὴρ οὕτος τὴν εὐέπειαν ἐκ παντὸς
διώκει καὶ τοῦ =γλαφυρῶς= λέγειν στοχάζεται μᾶλλον ἢ τοῦ
=ἀφελῶς=, and _de Demosth._ c. 40 ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ
καὶ θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη.
=γλυκαίνειν.= =130= 18, =134= 10, =154= 12. _To touch with sweetness._
Lat. _delenire_, _voluptate perfundere_. Cp. γλυκύτης =120= 21,
γλυκύς =146= 9.
=γλυπτός.= =264= 18. _Carven_, _chiselled_. Lat. _caelatus_. So
=γλυφή=, _carving_, =120= 1.
=γλῶττα.= =78= 17. _An unfamiliar term._ Lat. _vocabulum inusitatum_.
So =γλωττηματικός=, =252= 23, =272= 11, and D.H. p. 187, s.v.
_Obsolete_, or _obsolescent_, words (_mots surannés_) are often
meant.—In =80= 17 γλῶττα = διάλεκτος (=88= 26).
=γοητεύειν.= =122= 16, =134= 13. _To entice._ Lat. _pellicere_.
=γράμμα.= =130= 21, =138= 5, etc. _Letter of the alphabet._ Lat.
_littera_. =ἡ γραμματική= (=140= 11) = _grammar_; =γραμμαί=
(=138= 2) = the _lines_, or _strokes_, from which γράμματα are
formed. In =264= 18 γραπτός = _written_.
=γραφή.= =68= 12, =184= 18, =186= 1, =206= 23, =228= 12. _Writing_,
_composition_ (in the wider sense). In =118= 24 and =234= 13
γραφαί = _pictures_.
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=γυμνασία.= =206= 24, =282= 2, 4. _Exercise_, _lesson_. Lat.
_exercitatio_. So =γυμνάζειν= (=134= 4), _to practise_, _to
train_.
=δάκτυλος.= =84= 21, =172= 16, =202= 19. _Dactyl._ The metrical foot –
ᴗ ᴗ.
=δασύς.= =148= 12, 13, 18, 19, =150= 3, 12. _Rough_, _aspirated_. Lat.
_asper_. So =δασύτης= =148= 21, =150= 2 and =δασύνειν= =148=
8. Cp. Aristot. _Poet._ c. 20 for δασύτης and ψιλότης, and see
A. J. Ellis _English, Dionysian, and Hellenic Pronunciations
of Greek_ pp. 45, 46, where δασύς and ψιλός are translated by
‘rough’ and ‘smooth,’ which seems the safest course to follow
when (as here) the terminology of Dionysius’ phonetics is full
of difficulties. Aristotle (_De audibilibus_ 804 b 8) defines
thus: δασεῖαι δ’ εἰσὶ τῶν φωνῶν ὅσαις ἔσωθεν τὸ πνεῦμα εὐθέως
συνεκβάλλομεν μετὰ τῶν φθόγγων, ψιλαὶ δ’ εἰσὶ τοὐναντίον ὅσαι
γίγνονται χωρὶς τῆς τοῦ πνεύματος ἐκβολῆς.
=δαψιλής.= =108= 11. _Plentiful._ Lat. _abundans_.
=δεῖγμα.= =200= 4, =208= 3, =214= 13, =228= 17. _Sample._ Lat.
_exemplum_.
=δεινότης.= =182= 13, =264= 12. _Oratorical mastery._ Lat. _facultas
dicendi_, _eloquentia_. So =δεινός= =282= 3: see also =182= 3.
Cp. D.H. pp. 187, 188; Demetr. pp. 273, 274.
=δεξιῶς.= =80= 14, =92= 20. _Deftly._ Lat. _sollerter_, _feliciter_. In
=80= 14 σφόδρα δεξιῶς = ‘with great dexterity, or adroitness,’
‘with great delicacy of touch.’
=δεσμός.= =148= 17. _Fastening._ Lat. _vinculum_.
=δηλωτικός.= =158= 2. _Indicative of._ Lat. _significans_.
=δημηγορία.= =110= 22, =252= 2. _A public discourse_, or _harangue_.
Lat. _contio_. Cp. D.H. p. 188.
=δημιούργημα.= =64= 8, =120= 1. _A piece of workmanship._ Lat. _opus_,
_opificium_. So δημιουργικός (‘industrial’) =104= 23. Cp. D.H.
p. 274. Quintil. (ii. 15. 4) translates πειθοῦς δημιουργός by
_persuadendi opifex_.
=διαβεβηκέναι.= =172= 3, =202= 16, =212= 1, =216= 18, =218= 23, =222=
23, =244= 19. _To have a mighty stride_, _to be planted
wide apart_. Lat. _latis passibus incedere_. Fr. _marcher
à grands pas_. In =202= 17, 20, =218= 23, and =222= 23 the
noun =διάβασις= is used with reference to the intervals which
long syllables and clashing consonants make in pronunciation
by retarding the utterance. The μεγάλα τε καὶ διαβεβηκότα
εἰς πλάτος ὀνόματα of =212= 1 are _les grands mots à larges
allures_.
=διάθεσις.= =154= 14, =160= 18. _Condition_, _arrangement_. Lat.
_affectus_, _dispositio_.
=διαιρεῖν.= =180= 17, =184= 5, =194= 15, =218= 20, 21, =272= 17. _To
divide_, _to resolve_. Lat. _seiungere_, _resolvere_. So
=διαίρεσις= =122= 8, =138= 1, =272= 7.
=διακεκλάσθαι.= =172= 7. _To be broken_ or _enervated_. Lat. _frangi_,
_corrumpi_, _in delicias effundi_. Cp. similar uses of
διαθρύπτεσθαι. In _de Demosth._ c. 43 ῥυθμοὶ διακλώμενοι are
opposed to ῥυθμοὶ ἀνδρώδεις.
=διακλέπτειν.= =176= 19. _To disguise._ Lat. _obscurare_, _occulere_.
=διακόπτειν.= =268= 15. _To cut short_, _to silence_. Lat. _praecidere_.
=διακοσμεῖν.= =218= 20. _To arrange._ Lat. _ordinare_.
=διακρούειν.= =230= 17. _To break into._ Lat. _interrumpere_.
[Page 295]
=διαλαμβάνειν.= =72= 10, =166= 17, =180= 12, =184= 14, =270= 20, =272=
2. _To divide_, _to diversify_. Lat. _distinguere_.
=διαλέγεσθαι.= =208= 9. _To write in prose._ Lat. _soluta oratione uti_.
=διάλειμμα.= =204= 1. _A pause._ Lat. _intermissio_.
=διάλεκτος.= =78= 16, =80= 3, 16, =88= 26, =126= 3, =160= 14, =168= 8,
=208= 19, =246= 7. _Language._ Lat. _sermo_. Sometimes used
with special reference to a ‘dialect,’ as in =80= 16, =88=
26 (so τὴν Ἀτθίδα γλῶτταν =80= 17 = τὴν Ἀτθίδα διάλεκτον _de
Demosth._ c. 41); and in other passages, with much the same
sense as λέξις (_elocutio_).—In =68= 9, =94= 10, 14, =96= 15,
=104= 1, the adjective =διαλεκτικός= means ‘pertaining to
dialectic.’
=διαλλαγή.= =126= 1. _Difference._ Lat. _differentia_. So
=διαλλάττειν=, =92= 19, =150= 2, =152= 29.
=διάλογος.= =198= 1, =264= 22. _Dialogue._ Lat. _dialogus_. Cp. Demetr.
p. 274.
=διαλύειν.= =132= 9, =272= 1. _To break up_, _to resolve_. Lat.
_dissolvere_. So =διάλυσις= =138= 4.
=διαναπαύειν.= =134= 17. _To relieve_, _to break up_. Lat. _diluere_.
=διάνοια.= =74= 7, 16, =112= 21. _Mind_, _thought_. Lat. _mens_,
_cogitatio_.
=διὰ πέντε.= =126= 4, 17. _The interval of a fifth._ Lat.
_diapente_, _quinque tonorum intervallum_. So =διὰ πασῶν= =126=
18, of the _octave_.
=διαποικίλλειν.= =214= 8, =248= 10, =254= 18. _To variegate._ Lat.
_depingere_, _distinguere_.
=διαρτᾶν.= =206= 6. _To separate_, _to break up_. Lat. _seiungere_. Cp.
_de Demosth._ c. 40 ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας.
=διασαλεύειν.= =102= 21, =230= 9, =240= 13. _To shake_ (as by storm),
_to disturb_. Lat. _perturbare_, _concutere_. In =230= 9 and
=240= 13 the reference is to troubling the smooth waters of the
cadences by sounds that jolt and jar.
=διασπᾶν.= =222= 19, =230= 24. _To dislocate._ Lat. _divellere_. Cp.
Demetr. p. 274, s.v. διασπασμός, and Quintil. ix. 4. 33 “tum
vocalium concursus; qui cum accidit, hiat et intersistit et
quasi laborat oratio.”
=διάστασις.= =206= 3, 5, =210= 18. _Distance._ Lat. _distantia_.
=διάστημα.= =126= 3, 16, =270= 12. _Interval._ Lat. _spatium_,
_intervallum_.
=διαστολή.= =278= 5, 7. _Division._ Lat. _divisio_. By διαστολαί (which
he opposes to metrical cola) Dionysius means the natural
divisions, or pauses, observed in prose in order to bring out
the sense and to secure good delivery, in accordance with the
requirements of grammar and rhetoric. Cp. the later use of
διαστολή for division by means of a comma—for _punctuation_, as
we should say.
=διατέμνειν.= =270= 13. _To cut up._ Lat. _discindere_, _concidere_.
=διατιθέναι.= =130= 5, 15, =134= 8, 11. _To affect._ Lat. _adficere_.
=διάτονος.= =194= 8, =196= 4. _Diatonic._ Lat. _diatonicus_. For the
diatonic scale see n. on =194= 8.
=διαφορά.= =68= 21, =152= 14, etc. _Difference_, _variety_. Lat.
_differentia_.
=διαχάλασμα.= =230= 24. _Loosening._ Lat. _resolutio_. Cp. Epicrates
(ap. Athen. xiii. 570 B) on Lais in her old age: ἐπεὶ δὲ
δολιχὸν τοῖς ἔτεσιν ἤδη τρέχει | τὰς ἁρμονίας τε διαχαλᾷ τοῦ
σώματος.
[Page 296]
=διελκυσμός.= =204= 3. _Struggle_, _tussle_. Lat. _luctatio_.
Cp. argum. Aristoph. _Acharn._ εἶτα γενομένου διελκυσμοῦ
κατενεχθεὶς ὁ χορὸς ἀπολύει τὸν Δικαιόπολιν, i.e. “a tussle
(wrangle) arises, in which the Chorus is overborne and lets go
Dicaeopolis.”
=διέξοδος.= =150= 1. _Outlet_, _egress_. Lat. _exitus_.
=διερείδειν.= =220= 3. _To thrust apart._ Lat. _disiungere_. The object
of the thrusting apart (or separation) is to give each word
a firm position (as with the combination of strut and tie in
Caesar’s bridge over the Rhine, for which see E. Kitson Clark
in _Classical Review_ xxii. 144-147). So =διερεισμός= =222= 10,
=224= 14. In =202= 9 =διερείδεσθαι= = _conniti_.
=δίεσις.= =126= 20. _A quarter-tone_, or _any interval smaller
than a semitone_. Lat. _diesis_. As to the reason for the
disappearance of the quarter-tone from our modern musical
system see n. on =194= 7 (extract from Macran’s _Harmonics of
Aristoxenus_). See, further, L. and S., s.v. δίεσις and λεῖμμα.
The word occurs also in _de Lys._ c. 11 ὥστε μηδὲ τὴν ἐλαχίστην
ἐν τοῖς διαστήμασι δίεσιν ἀγνοεῖν. Suidas defines δίεσις as τὸ
ἐλάχιστον μέτρον τῶν ἐναρμονίων διαστημάτων. Cp. Vitruv. _de
Arch._ v. 3.
=διευκρινεῖν.= =208= 4. _To determine._ Lat. _diiudicare_.
=διευστοχεῖν.= =124= 17. _To go straight to the mark._ Lat. _recta ad
scopum tendere_. For the genitive cp. Polyb. ii. 45 (of Aratus)
ἄνδρα δυνάμενον πάσης εὐστοχεῖν περιστάσεως.
=διηνεκής.= =142= 2. _Unbroken_, _uninterrupted_. Lat. _continuus_,
_perpetuus_.
=διθυραμβοποιός.= =194= 23. _Writer of dithyrambs._ Lat. _dithyrambicus
poëta_. Cp. D.H. p. 188, s.v. διθύραμβος.
=διιστάναι.= =144= 4, =202= 17, =204= 21, =206= 4, =222= 5, =224= 8,
=236= 6. _To keep apart._ Lat. _diducere_. Cp. Diog. Laert. iv.
6 ἦν δὲ [ὁ Ἀρκεσίλαος] ἐν τῇ λαλιᾷ διαστατικὸς τῶν ὀνομάτων,
i.e. distinct in his enunciation. In =230= 17 διέστακεν =
διέσπακεν.
=δίκαιος.= =224= 2, 10. _Legitimate_, _regular_. Lat. _iustus_. The
normal measure of a long syllable is meant.
=δικανικός.= =112= 11, =252= 2. _Forensic._ Lat. _iudicialis_,
_forensis_.
=διορίζειν.= =218= 16. _To separate by a boundary._ Lat. _disterminare_.
=διοχλεῖν.= =116= 19, =122= 18. _To distress._ Lat. _sollicitare_.
=διπλοῦς.= =144= 9, 10, 15. _Double_, _compound_. Lat. _duplex_. Cp.
Demetr. p. 276.
=δισύλλαβος.= =126= 13, =168= 12, =170= 14, =202= 14. _Disyllabic._
Lat. _disyllabus_. αἱ δισύλλαβοι (λέξεις) = _disyllables_.
=δίχρονος.= =140= 17, 19, =142= 1, 6, =150= 18. _Double-timed_,
_doubtful_, _common_. Lat. _communis_, _anceps_.
=δόξα.= =134= 4. _Opinion_, _personal judgment_. Lat. _opinio_. Opposed
to ἐπιστήμη.
=δύναμις.= =72= 25, 26, =130= 22, 23, =134= 17, =136= 20, etc. _Power_,
_faculty_, _function_. Lat. _potentia_, _facultas_. Used, more
than once in this treatise, of ‘phonetic value’ or ‘effect.’
Fr. _valeur_. In =266= 7 τῆς ἑαυτοῦ δυνάμεως denotes ‘mental
powers,’ τῆς ἑαυτοῦ διανοίας being used in the parallel passage
of _de Demosth._ c. 51.
[Page 297]
=δυσειδής.= =144= 4. _Ungraceful._ Lat. _deformis_.
=δυσέκφορος.= =132= 2, =162= 5, 16, =232= 15. _Hard to pronounce._ Lat.
_difficilis pronuntiatu_. Cp. =δυσεκφόρητος= in =220= 13.
=δυσηχής.= =162= 15. _Ill-sounding._ Lat. _ingratus auditu_. [According
to Sauppe’s conjecture on p. 163 n.: cp. δυσηχές =144= 4, as
given by PMV.]
=δυσπερίληπτος.= =206= 23. _Not easily included._ Lat. _qui facile
includi nequit_.
=δυσχέρεια.= =134= 24, =168= 3. _Offensiveness._ Lat. _molestia_.
=δυσωπεῖσθαι.= =134= 21. _To be shy of._ Lat. _prae pudore
reformidare_. The active voice is found in _de Lys._ c. 11.
=Δώριος.= =196= 1. _Dorian._ Lat. _Dorius_, _Doricus_. Cp. Monro’s
_Modes of Ancient Greek Music_, passim.
=ἐγγίζειν.= =144= 16. _To approach._ Lat. _appropinquare_.
=ἐγκάθισμα.= =202= 25, =232= 16. _Dwelling on a syllable_,
_prolongation_. Lat. _sessio_, _mora vocis tamquam
considentis_. Fr. _temps d’arrêt_. Cp. _de Demosth._ c. 43 ἐν
τούτοις γὰρ δὴ τά τε φωνήεντα πολλαχῇ συγκρουόμενα δῆλά ἐστι
καὶ τὰ ἡμίφωνα καὶ ἄφωνα, ἐξ ὧν στηριγμούς τε καὶ ἐγκαθισμοὺς
αἱ ἁρμονίαι λαμβάνουσι καὶ τραχύτητας αἱ φωναὶ συχνάς.
=ἐγκαταπλέκειν.= =134= 12. _To interweave._ Lat. _innectere_. The
uncompounded =πλέκειν= occurs in =154= 9.
=ἐγκατάσκευος.= =182= 7. _Highly-wrought._ Lat. =elaboratus=. Cp.
Demetr. _de Eloc._ § 15 οὕτω γὰρ καὶ ἐγκατάσκευος ἔσται (ὁ
λόγος) καὶ ἁπλοῦς ἅμα, καὶ ἐξ ἀμφοῖν ἡδύς, καὶ οὔτε μάλα
ἰδιωτικὸς οὔτε μάλα σοφιστικός. See, further, D.H. pp. 189,
194, and Demetr. p. 276.
=ἔγκλισις.= =108= 3, =264= 5. _Mood_ (of verb). Lat. _modus_. Cp. _de
Demosth._ c. 52 γένη, πτώσεις, ἀριθμούς, ἐγκλίσεις. In =102= 19
τῶν ἐγκλινομένων = ‘derivative, or secondary, forms.’
=ἐγκοπή.= =220= 13. _Hindrance_, _interruption_. Lat. _impedimentum_.
Cp. _Ep. i. ad Cor._ ix. 12 ἵνα μὴ ἐγκοπήν τινα δῶμεν τῷ
εὐαγγελίῳ τοῦ Χριστοῦ. [In Long. _de Subl._ xli. 3 κατ’ ἐγκοπάς
seems to refer to notches or incisions as made by carpenters in
dovetailing.]
=ἐγκύκλιος.= =262= 20. _Broad_, _general_ (of education). Lat. _orbis
doctrinae_. (Quintil. i. 10. 1.) Wilamowitz-Moellendorff
_Greek Historical Writing_ p. 15: “At latest in the school of
Posidonius—and I think a little earlier—the so-called ἐγκύκλιος
παιδεία, or ‘universal instruction,’ was formed into a system
which has continued to our own Universities in the form of ‘the
seven liberal arts.’ The study of history has no place in it;
astronomy, architecture, and medicine have.”
=ἕδρα.= =108= 4, =234= 2, =244= 18. _Position_, _foundation_. Lat.
_sedes_. Cp. Demetr. p. 277. So =ἑδράσαι= =106= 7, =ἀνέδραστος=
=232= 4, =δύσεδρος= =106= 8, =εὔεδρος= =106= 9.
=εἰδικός.= =208= 12, =246= 19. _Specific._ Lat. _specialis_.
=εἰκαῖος.= =74= 10. _Random_, _casual_. Lat. _temerarius_.
=εἰκών.= =124= 20. _Illustration._ Lat. _similitudo_.
=εἰλικρινῶς.= =220= 11. _Completely_, _with no alloy_. Lat. _sincere_.
=εἰσαγωγή.= =114= 9. _Introduction._ Lat. _praefatio_.
[Page 298]
=ἐκλογή.= =68= 4, 12, =74= 15, =78= 8, =182= 6, =200= 15, =246= 13,
=252= 27. _Choice._ Lat. _delectus_. The ἐκλογή of words is
constantly contrasted with their σύνθεσις. Cp. =ἐκλέγειν= =74=
9, =182= 3.
=ἐκλογίζεσθαι.= =200= 6. _To consider fully._ Lat. _expendere_,
_percensere_.
=ἐκμαλάττειν.= =134= 10. _To soften._ Lat. _emollire_, _mulcere_.
=ἐκμάττεσθαι.= =250= 14. _To take the impress of._ Lat. _exprimere_,
_imitari_. Cp. _de Demosth._ c. 4 τὴν ἐπίθετον καὶ
κατεσκευασμένην φράσιν τῶν περὶ Γοργίαν ἐκμέμακται, and c. 13
τὸν Λυσιακὸν χαρακτῆρα ἐκμέμακται εἰς ὄνυχα (i.e. _ad unguem_,
_ad amussim_).
=ἐκμέλεια.= =124= 1. _False note._ Lat. _dissonantia_.
=ἐκμιμεῖσθαι.= =70= 4. _To copy._ Lat. _imitari_, _imitando effingere_.
=ἐκπληροῦν.= =212= 15. _To fill out_, _to round off_. Lat. _orbem
orationis implere_.
=ἔκστασις.= =156= 20. _Astonishment._ Lat. _stupor_. Cp. _Ev. Marc._
xvi. 8 εἶχε δὲ αὐτὰς τρόμος καὶ ἔκστασις.
=ἔκτασις.= =204= 3, =268= 19. _Stretching_, _lengthening_. Lat.
_productio_. Cp. Demetr. p. 277.
=ἐκτείνειν.= =140= 18, =142= 10. _To lengthen_, _to prolong_. Lat.
_producere_.
=ἐκφαίνειν.= =154= 22. _To reproduce._ Lat. _referre_.
=ἐκφανής.= =246= 1. _Prominent._ Lat. _conspicuus_.
=ἐκφέρειν.= =68= 12, =84= 6, =94= 10, 15, =106= 19, =108= 3, =112= 9,
=114= 1, =116= 24, =118= 6, 15, etc. _To utter_, _to produce_:
with various cognate meanings. Lat. _edere_, _promere_.
=ἐκφορά.= =112= 15, =142= 7. _Utterance._ Lat. _pronuntiatio_.
=ἐκφωνεῖν.= =140= 5. _To pronounce._ Lat. _pronuntiare_. Cp. Demetr. p.
278.
=ἐλάττωσις.= =156= 22. _Curtailment._ Lat. _imminutio_.
=ἐλεγειακός.= =256= 23. _Elegiac._ Lat. _elegiacus_. Coupled with
πεντάμετρον.
=ἐλεύθερος.= =212= 9. _Unfettered._ Lat. _liber_. Epithet applied to
κῶλα.
=ἐμπερίοδος.= =118= 15. _In periods_, _periodic_. Lat. _periodo
inclusus_.
=ἐμφαίνειν.= =110= 19, =212= 13, =228= 7, =254= 17, 21. _To indicate._
Lat. _indicare_, _ostendere_.
=ἐναγώνιος.= =90= 6, =198= 1. _Forensic._ Lat. _forensis_. With some
notion of _combative_, _incisive_, _vehement_. Cp. δικανικός,
p. 196 _supra_.
=ἔναρθρος.= =136= 22. _Articulate._ Lat. _articulatus_.
=ἐναρμόνιος.= =194= 7, =196= 3, 11. _Enharmonic._ Lat. _enarmonicus_.
For the enharmonic scale see note on =194= 7.—In =108= 10 and
=196= 11 the word is used in a less restricted sense. Cp.
_de Demosth._ c. 24 νῦν μὲν γὰρ δυσὶ περιλαμβανομένη κώλοις
σύμμετρός ἐστι [ἡ περίοδος] καὶ ἐναρμόνιος καὶ στρογγύλη καὶ
βάσιν εἴληφεν ἀσφαλῆ.
=ἐνδεχομένων.= =96= 17. _Admissible._ Lat. _licitus_.
=ἐνεξουσιάζειν.= =196= 5: see n. _ad loc._
=ἐνέργεια.= =204= 1, =268= 5. _Activity._ Lat. _actio_.
=ἑνικῶς.= =106= 18. _In the singular number._ Lat. _singulariter_.
=ἔντεχνος.= =134= 2, =272= 21, 23. _According to the rules of art_,
_artistic_, _systematic_. Lat. _artificiosus_.
[Page 299]
=ἑξάμετρος.= =194= 3. _Of six measures_, _hexameter_ (line: στίχος).
Lat. _hexameter_.
=ἑξάπους.= =84= 21. _Of six feet._ Lat. _sex constans pedibus_.
=ἕξις.= =66= 1, =122= 24, =268= 4, 11, 26. _State_ or _habit_ (_of
body_ or _mind_); _skill based on practice_. Lat. _habitus_,
_habilitas_, _peritia_.
=ἐπαγγέλλεσθαι.= =94= 9. _To profess to teach a subject._ Lat.
_profiteri_.
=ἐπαγωγός.= =162= 2. _Conducive to._ Lat. _aptus ad inducendum_. For
the genitive cp. s.v. ἀγωγή, p. 285 _supra_.
=ἐπανθεῖν.= =198= 10. _To bloom._ Lat. _efflorescere_.
=ἐπεισόδιον.= =196= 24. _Pleasure-giving addition_, _episode_. Lat.
_episodium_.
=ἐπιγραφή.= =96= 13, =104= 4. _Title._ Lat. _inscriptio_.
=ἐπιδείκνυσθαι.= =162= 2, =228= 9, =254= 1. _To make a display of._
Lat. _prae se ferre_, _ostentare_.
=ἐπιθαλάμιον= (sc. ποίημα). =258= 7. _Bridal song._ Lat. _epithalamium_.
=ἐπίθετον.= =102= 17. _An addition_, _epithet_, _adjective_ (‘the
qualifier,’ Puttenham’s sixteenth-century _Arte of English
Poesie_). Lat. _ad nomen adiunctum_, _appositum_ (Quintil.
viii. 3. 43; 6. 29). The ἐπίθετον seems to be regarded
by Dionysius as a separate part of speech: cp. Steinthal
_Geschichte der Sprachwissenschaft bei den Griechen und Römern_
ii. p. 251 “Was das ἐπίθετον, das Adjectivum betrifft: so ist
es im Alterthum vielleicht von Niemandem, höchstens aber nur
von dem einen oder andren Grammatiker zum besonderen Redetheil
gemacht.”
=ἐπικίνδυνος.= =80= 13. _Hazardous._ Lat. _periculosus_. _Aventuré_
would perhaps be a better French equivalent, in this context,
than _risqué_.
=ἐπίκοινος.= =150= 4. _Common_ (i.e. belonging equally to both). Lat.
_communis_.
=ἐπικός.= =214= 2, =274= 7. _Epic._ Lat. _epicus_. ἐπικὴ ποίησις =
_epic poetry_.
=ἐπικρύπτειν.= =134= 16, =198= 10. _To hide_, _to veil_. Lat.
_occultare_.
=ἐπιλαμπρύνειν.= =144= 2. _To make crisp and clear._ Lat. _clarum
reddere_. Cp. Plut. _Mor._ 912 C καὶ οἱ βάτραχοι, προσδοκῶντες
ὄμβρον, ἐπιλαμπρύνουσι τὴν φωνὴν ὑπὸ χαρᾶς.
=ἐπίρρημα.= =70= 21. _Adverb._ Lat. _adverbium_.
=ἐπισκοτεῖν.= =134= 14, =260= 1. _To overshadow._ Lat. _obscurare_.
=ἐπίστασις.= =68= 1. _Attention._ Lat. _cura_. Cp. ἀνεπιστάτως,
_heedlessly_, =74= 6: so Long. _de Subl._ xxxiii. 4 ὑπὸ
μεγαλοφυΐας ἀνεπιστάτως παρενηνεγμένα, ‘introduced with all the
heedlessness of genius.’
=ἐπιστήμη.= =104= 15, =110= 8, =124= 5, 21, =134= 3. _Knowledge_,
_science_. Lat. _scientia_.
=ἐπίτασις.= =210= 5. _Tightening._ Lat. _intentio_.
=ἐπιτάφιος.= =116= 2, =178= 1, =180= 8. _Funeral speech_ (sub. λόγος).
Lat. _oratio funebris_.
=ἐπιταχύνειν.= =204= 8, 22. _To quicken._ Lat. _accelerare_.
=ἐπιτείνειν.= =126= 4. _To raise the pitch._ Lat. _intendere_.
=ἐπιτερπής.= =228= 12. _Delightful._ Lat. _iucundus_.
=ἐπιτετηδευμένως.= =260= 25. _Deliberately._ Lat. _de industria_. Cp.
ἐπιτηδεύειν =136= 18, and ἀνεπιτήδευτος (p. 288 _supra_).
[Page 300]
=ἐπιτήδευσις.= =70= 6, =212= 19. _Pains_, _study_. Lat. _studium_,
_industria_.
=ἐπιτρόχαλος.= =180= 14. _Running_, _tripping_. Lat. _velox_,
_volubilis_. Cp. _de Demosth._ c. 40 ἐπιτρόχαλος δή τις γίνεται
καὶ καταφερὴς ἡ ῥύσις τῆς λέξεως, ὥσπερ κατὰ πρανοῦς φερόμενα
χωρίου νάματα μηδενὸς αὐτοῖς ἀντικρούοντος.—In Hom. _Il._ iii.
213 ἐπιτροχάδην = _trippingly_, _unfalteringly_.
=ἐπιτυχής.= =268= 13. _Successful._ Lat. _voti compos_.
=ἐπιφέρειν.= =88= 16. _To quote._ Lat. _citare_, _laudare_, _proferre_.
Cp. Demetr. p. 281.
=ἐποποιός.= =194= 2, =236= 15. _Epic poet._ Lat. _poëta epicus_. So τὰ
ἔπη (=270= 19) = _versus epici_.
=ἐποχή.= =204= 2. _Delay_, _suspense_. Lat. _impedimentum_, _retentio_.
=ἐπῳδός.= =194= 12, =278= 9. _After-song_, _coda_, _epode_. In this
sense (that of the part of a lyric ode which is sung after the
strophe and antistrophe) the word is feminine. In =194= 20, if
the masculine ὀλίγοις is rightly read, the special meaning of
ἐπῳδός will be _refrain_, _burden_: a meaning somewhat nearer
that of the Latin _epodos_.
=ἐρείδειν.= =142= 13. _To thrust._ Lat. _trudere_. So ἔρεισις =204= 4.
In =210= 16 ἐρείδεσθαι = _to be firmly planted_.
=ἑρμηνεία.= =66= 18, =76= 9, =78= 19, =84= 11, =172= 17, =182= 5.
_Expression_, _style_. Lat. _elocutio_. The word appears in the
title of the treatise περὶ ἑρμηνείας which passes under the
name of Demetrius. So =ἑρμηνεύειν= (_to express_) in =76= 9,
=186= 18, =204= 8, =260= 20. Cp. Demetr. p. 282 (s.v. ἑρμηνεία
and ἑρμηνεύειν).
=ἐτυμολογία.= =160= 6. _Etymology_: with reference to Plato’s
_Cratylus_. For Latin equivalents cp. Quintil. i. 6. 28
“_etymologia_, quae verborum originem inquirit, a Cicerone
dicta est _notatio_, quia nomen eius apud Aristotelem invenitur
σύμβολον, quod est _nota_; nam verbum ex verbo ductum, id est
_veriloquium_, ipse Cicero, qui finxit, reformidat. sunt qui
vim potius intuiti _originationem_ vocent.”
=εὐγενής.= =136= 11, =178= 14, 21, =180= 3. _Well-born_, _noble_.
Lat. _generosus_. So =εὐγενεία= =192= 8. The εὐγενής is not
necessarily γενναῖος (Aristot. _Rhet._ ii. 15. 3).
=εὔγλωσσος.= =70= 2. _Pleasant on the tongue._ Lat. _suavis_.
=εὔγραμμος.= =230= 31, =246= 3. _Well-drawn_, _well-defined_. Lat.
_definitus_.
=εὐγώνιος.= =210= 22. _Four-square._ Lat. _qui angulis rectis constat_,
_quadratus_.
=εὐέπεια.= =240= 5, 18, =246= 1, =268= 28. _Beauty of language._ Lat.
_verborum elegantia_. In this treatise Dionysius clearly uses
the word with special reference to his main subject—_beauty
of sound_, _euphony_. So also εὐεπής =218= 10, =222= 6, =224=
2, =228= 5, =230= 20; and εὐεπῶς =232= 11. In the _Classical
Review_ xviii. 19 the present writer has tried to show that,
even in an author so early as Sophocles (_Oed. Tyr._ 928),
the word εὐέπεια is to be understood in a rhetorical sense
(‘elegant language,’ ‘neatly-turned phrase’: with direct
reference to the employment of a ‘figure’ of rhetoric). But,
later, the word was used of ‘eloquence’ generally (as in
the well-known epigram of Simmias on the tomb of Sophocles
himself); and to this wider meaning Dionysius here gives a
special turn of his own.
[Page 301]
=εὐήτριος.= =234= 12. _With fine thread_, _well-woven_. Lat. _bene
textus_.
=εὔκαιρος.= =134= 18, =196= 25. _Timely_. Lat. _opportunus_,
_tempestivus_. So =εὐκαίρως= =132= 3, =εὐκαιρίαν= =242= 3.
=εὐκαταφρόνητος.= =74= 12. _Contemptible_. Lat. _abiectus_, _humilis_.
=εὔκρατος.= =210= 1, =246= 11. _Well-blended_. Lat. _temperatus_. Cp.
_de Demosth._ c. 3 ἡ Θρασυμάχειος ἑρμηνεία, μέση τοῖν δυεῖν
καὶ εὔκρατος: Cic. _Orat._ 6. 21 “est autem quidam interiectus
inter hos medius et quasi temperatus,” etc.—Both in =210= 1 and
in =246= 11 the well-supported variant κοινήν is to be noted:
it may conceivably have originated in a gloss on εὔκρατον.—In
=220= 17 the similar adjective εὐκέραστος is used, though not
in reference to the three ἁρμονίαι.
=εὐλάβεια.= =234= 17. _Caution_. Lat. _cautio_. Used in the phrase δι’
εὐλαβείας ἔχει.
=εὔλογος.= =158= 12. _Reasonable_. Lat. _rationi consentaneus_. The
reference is to resemblances which are not ἄλογοι, but have a
natural basis and are grounded in reason.
=εὐμελής.= =130= 6, =134= 9. _Melodious_. Lat. _canorus_.—On the other
hand, =ἐμμελής= = _in melody_, _set to music_: =124= 10, =130=
6, =254= 2, 8, =270= 5; and so =ἐμμέλεια= =122= 21, =182= 2,
=266= 4.
=εὔμετρος.= =254= 6. _Metrical_; _possessing good metrical qualities_.
Lat. _metricus_.—On the other hand, =ἔμμετρος= = _in metre_:
=74= 4, =76= 1, =168= 8, =176= 1, 21, =254= 2, 4, 14, =270=
5. In =270= 10 ἐμμετρία has good manuscript authority. Cp.
Aristot. _Rhet._ iii. 8. 1 τὸ δὲ σχῆμα τῆς λέξεως δεῖ μήτε
ἔμμετρον εἶναι μήτε ἄρρυθμον.
=εὔμορφος.= =84= 2, =144= 3, =162= 1. _Of beautiful form_. Lat.
_formosus_. So εὐμορφία =168= 4, =264= 16.
=εὐπάθεια.= =250= 4. _Pleasure_. Lat. _voluptas_. Plur. εὐπάθειαι =
Lat. _deliciae_.
=εὐπαίδευτος.= =228= 10. _Scholarly_, _cultured_. Lat. _doctus_.
=εὐπετής.= =218= 10, =222= 6. _Flowing easily_. Lat. _volubilis_.
[According to the reading of P in each passage. But εὐεπές
should probably be read.] Cp. εὔρους in =240= 21 and (according
to P) in =196= 25.
=εὐπρόφορος.= =132= 2. _Easy to pronounce_. Lat. _facilis pronuntiatu_.
=εὔρους.= =240= 21. _Flowing_, _copious_. Lat. _copiosus_. See also
s.v. εὐπετής, _supra_.
=εὔρυθμος.= =124= 10, =130= 8, =134= 9, =236= 3, =254= 6, 18.
_Rhythmical_. Lat. _numerosus_, _moderatus_ (Cic. _de Orat._
iii. 48. 184; ii. 8. 34). So =εὐρυθμία= =118= 11, =122= 21,
=182= 2, =254= 27: cp. Cic. _Orat._ 65. 220 “multum interest
utrum numerosa sit, id est, similis numerorum, an plane e
numeris constet oratio,” and Quintil. ix. 4. 56 “idque Cicero
optime videt, ac testatur frequenter, se, quod numerosum sit,
quaerere; ut magis non ἄρρυθμον, quod esset inscitum atque
agreste, quam ἔνρυθμον, quod poëticum est, esse compositionem
velit.” For =ἔνρυθμος= see =130= 8.
=εὐστομία.= =110= 18, =120= 21. _Beauty of sound_. Lat. _soni
suavitas_. Cp. Plato _Crat._ 405 D, 412 E.
=εὔσχημος.= =172= 6. _Graceful_. Lat. _decorus_, _speciosus_.
[Page 302]
=εὐτελής.= =78= 10, =136= 3. _Commonplace_, _cheap_, _vulgar_. Lat.
_vilis_. Cp. D.H. p. 193, and Aristot. _Rhet._ iii. 7. 2.
=εὔτροχος.= =206= 14. _Running easily._ Lat. _celer_, _volubilis_. Cp.
γλῶσσα εὔτροχος = _a glib tongue_ (Eur. Bacch. 268).
=εὐτυχῶς.= =186= 3. _Happily_, _successfully_. Lat. _feliciter_. Cp.
=εὐτυχοῦσιν= =198= 5, and =ἀτυχεῖ= =198= 16.
=εὐφωνία.= =266= 4. _Euphony_, _musical sound_. Lat. _vocis dulcedo
s. suavitas_. So =εὔφωνος= =132= 1, =134= 9, =142= 10, =166=
7, 17, =230= 23, =234= 14. For a modern view of the effect
of euphony cp. the words of Jowett (_Dialogues of Plato_ i.
310): “In all the higher uses of language the sound is the
echo of the sense, especially in poetry, in which beauty and
expressiveness are given to human thoughts by the harmonious
composition of the words, syllables, letters, accents,
quantities, rhythms, rhymes, varieties and contrasts of all
sorts.” Hence, though no lover of the vicious style sometimes
termed “poetic prose,” Jowett says in his _Notes and Sayings_:
“If I were a professor of English, I would teach my men that
prose writing is a kind of poetry.”
=ἐφάμιλλος.= =116= 8. _Rivalling_, _a match for_. Lat. _aemulus_, _haud
impar_.
=ἡγεμών.= =168= 17. _Hegemon._ The metrical foot ᴗ ᴗ. Cp. _de Demosth._
c. 47 ὥσπερ οἴονταί τινες καὶ καλοῦσι τὸν οὕτως κατασκευασθέντα
ῥυθμὸν ἡγεμόνα.
=Ἡγησιακός.= =90= 19. _Hegesian_, _recalling Hegesias_. Lat.
_Hegesiacus_. For Hegesias see Introduction, pp. 52-55 _supra_.
=ἡδονή.= =80= 16, =118= 22, =120= 20, =132= 19, 21. _Charm._ Lat.
_iucunditas_, _dulcedo_. Fr. _charme_, _agrément_, _attrait_.
Cp. =120= 20-24 τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν
χάριν καὶ τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ
πάντα τὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸ
βάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶ τὰ
τούτοις ὅμοια. See also Demetr. p. 284. So =ἡδύς= (_suavis_,
_iucundus_; _sweet_, _pleasing_, _agreeable_, _attractive_,
_charming_), =68= 6, =74= 13, etc.
=ἡδύνειν.= =130= 11, =146= 8, =148= 6, =160= 15, =164= 13. _To
sweeten_; _to delight_, _to charm_. Lat. _dulce reddere_;
_demulcere_.
=ἦθος.= =88= 12, =160= 17, =212= 11. _Character_. Lat. _mos_,
_indoles_. Cp. Demetr. p. 284, D.H. p. 193. See Jebb’s _Attic
Orators_ i. 30, 31 for _pathos_ and _ethos_ in Antiphon (with
reference to _C.V._ =212= 10). According to Aristotle’s
_Rhetoric_, a speech may be in, or out of, _character_ in
reference to (1) speaker, (2) audience, (3) subject.
=ἡμιστίχιον.= =274= 17. _A half-line_, _half-verse_. Lat.
_hemistichium_. Cp. Demetr. p. 284, s.v. ἡμίμετρον.
=ἡμιτελής.= =140= 4. _Half-perfect._ Lat. _semiperfectus_.
=ἡμιτόνιον.= =126= 5, 19. _A half-tone_, _semitone_. Lat. _hemitonium_.
=ἡμίφωνος.= =138= 13, =140= 1, =144= 7, =146= 5, =220= 11.
_Semi-voiced_, _semi-vocal_. Lat. _semivocalis_. ἡμίφωνα
γράμματα = _litterae semivocales_. Cp. s.v. ἄφωνος, p. 292
_supra_.
[Page 303]
=ἠρεμία.= =156= 11, =160= 4. _Rest_, _immobility_. Lat. _quies_,
_tranquillitas_. So =ἠρεμεῖν= =142= 1.
=ἡρωϊκός.= =84= 21, =86= 3, =88= 7, =172= 17, =206= 10. _Heroic_ (sc.
στίχος: the hexameter line). Lat. _heroicus_. In =172= 17 and
=206= 10, with μέτρον.
=ἡσυχῇ.= =148= 8. _Softly_, _gently_. Lat. _sensim_.
=ἠχεῖσθαι.= =138= 12, =142= 7. _To be sounded._ Lat. _pronuntiari_,
_sonare_.
=ἦχος.= =130= 19, =138= 11, =142= 14, 19, etc. _Sound._ Lat. _sonus_.
=θεατρικός.= =212= 16, =216= 19, =228= 8, =236= 11. _Theatrical_,
_showy_. Lat. _theatralis_. Cp. _de Demosth._ c. 25 ἐπὶ τὰ
θεατρικὰ τὰ Γοργίεια ταυτὶ παραγίνεται, τὰς ἀντιθέσεις καὶ τὰς
παρισώσεις λέγω.
=θεοβλάβεια.= =184= 23. _Madness_, _blindness_. Lat. _mens divinitus
laesa_.
=θεώρημα.= =72= 12, 16, =88= 14, =96= 25, =104= 11, etc.
_Investigation_, _speculation_; _rule_. Lat. _quaestio_;
_praeceptum artis_. Cp. =θεωρία= =66= 8, =96= 14, =98= 2, =102=
25, =104= 3, etc., and =θεωρεῖν= =152= 26, =204= 3, =210= 9.
=θηλυκός.= =106= 21. _Of the feminine gender._ Lat. _femininus_.
=θῆλυς.= =172= 7. _Effeminate._ Lat. _muliebris_, _effeminatus_. Cp.
Larue van Hook _Metaphorical Terminology of Greek Rhetoric_, p.
26, s.v. ἀνδρώδης.
=θηριώδης.= =146= 13. _Beast-like._ Lat. _ferinus_. The term will, of
course, apply to vipers as well as other animals: cp. τὸ θηρίον
in _Acta Apost_. xxviii. 4, and ἡ θηριακή (‘antidote against a
poisonous bite’), whence the word _treacle_.
=θορυβεῖν.= =122= 22. _To hiss off the stage._ Lat. _explodere_.
=θρυλιγμός.= =124= 1. _Harsh sound_, _false note_. Lat. _murmur
inconcinnum_, _dissonantia_. Cp. _Hymn. Hom. in Merc._ 486 ὃς
δέ κεν αὐτὴν | νῆϊς ἐὼν τὸ πρῶτον ἐπιζαφελῶς ἐρεείνῃ, | μὰψ
αὔτως κεν ἔπειτα μετήορά τε θρυλίζοι.
=ἰαμβεῖον.= =258= 25, =262= 4. _Iambic line._ Lat. _versus iambicus_.
=ἴαμβος.= =170= 7, =270= 19. _Iambus._ The metrical foot ᴗ –. The
adjective =ἰαμβικός= in =184= 11, =258= 19, =276= 10.
=ἰδέα.= =88= 6, =104= 8, =116= 12, =198= 17, =200= 5, =248= 4. _Kind,
aspect._ Lat. _genus_, _aspectus_.
=ἰδίωμα.= =240= 23. _Peculiarity._ Lat. _proprietas_. Cp. Long. p. 278,
D.H. p. 193.
=ἰδιώτης.= =124= 2, =272= 19. _Amateur_, _uncultivated_. Lat.
_imperitus_. _Idiots_ long bore this meaning of ‘ordinary
persons’ in English: cp. Jeremy Taylor, “humility is a duty in
great ones as well as in idiots.”
=ἰθυφάλλιον.= =86= 8. _Ithyphallic poem._ Lat. _carmen ithyphallicum_.
A poem composed in the measure of the hymns to Priapus. Cp.
Masqueray _Abriss der griechischen Metrik_ pp. 191, 192.
=ἰσομεγέθης.= =270= 16. _Equal in size._ Lat. _par magnitudine_.
=ἱστορία.= =214= 1. _History._ Lat. _historia_. So =ἱστορικός=,
_suited to narrative_, =90= 6. In =66= 14 ἱστορία = _inquiry_,
_investigation_.
=ἰσχυρός.= =162= 23, =210= 17, =216= 16. _Strong_, _vigorous_. Lat.
_firmus_, _robustus_. In =216= 16 there may be some sense of
_nerveux_.—ἰσχύς occurs in =68= 19, =72= 19, etc.; ῥώμη in =84=
13; κράτος in =72= 14.
[Page 304]
=Ἰωνικός.= =86= 14. _Ionic._ Lat. _Ionicus_. The Ionic tetrameter is
meant. Cp. Masqueray, _op. cit._ pp. 137 ff.
=καθαρός.= =68= 4, =74= 18, =230= 14. _Pure._ Lat. _purus_. For
Greek and Latin authors as conscious purists, cp. Terence’s
“in hac est pura oratio,” or Dionysius’ τὸ καθαρεύειν τὴν
διάλεκτον (_de Lysia_ c. 2). See C. N. Smiley’s dissertation
on _Latinitas and Ἑλληνισμός_, and L. Laurand’s _Études sur le
style des discours de Cicéron_ pp. 19 ff. (the section headed
“Pureté de la langue”).
=καθολικός.= =134= 2. _General._ Lat. _universalis_.
=καινότης.= =232= 20. _Novelty._ Lat. _novitas_. Used in a condemnatory
sense: ‘innovation,’ ‘singularity,’ ‘eccentricity.’
=καινοτομεῖν.= =254= 23. _To break new ground._ Lat. _novare_. It is
a mining metaphor—from the opening of a new vein. Cp. _de
Thucyd._ c. 2.
=καινουργεῖν.= =200= 18. _To introduce new features._ Lat. _novitati
studere_.
=καιρός.= =132= 15, 20, 21. _Sense of measure_, _tact_, _taste_. See S.
H. Butcher’s _Harvard Lectures on Greek Subjects_, pp. 117-120,
for καιρός as a word without any single or precise equivalent
in any other language. Cp. =εὔκαιρος= =134= 18, =196= 25;
=εὐκαίρως= =132= 3; =εὐκαιρία= =242= 3.
=κακόφωνος.= =132= 1, =164= 11. _Ill-sounding._ Lat. _male sonans_. Cp.
Demetr. p. 286.
=καλλιεπής.= =180= 3. _Choice in diction._ Lat. _suaviloquens_.
It is the word used of Agathon in Aristoph. _Thesm._ 49
(_Classical Review_ xviii. 20). Cp. D.H. p. 193, with the
passages there quoted: to which may be added Plato _Apol._ 17
B κεκαλλιεπημένους λόγους, and (for ἔπος only) Thucyd. iii. 67
λόγοι ἔπεσι κοσμηθέντες and ii. 41 ὅστις ἔπεσι μὲν τὸ αὐτίκα
τέρψει.
=καλλιλογία.= =164= 20, =166= 12. _Elegant language._ Lat. _venusta
elocutio_. So καλλιλογεῖν of ‘verbal embellishment,’ =80= 12.
=καλλιρήμων.= =74= 18, =166= 7. _Couched in elegant phrase._ Lat.
_elegantibus ornatus verbis_.
=κάλλος.= =78= 19, =84= 10, =94= 2, =160= 13, =172= 16, =182= 5, =256=
5. _Beauty_ (of language). Lat. _pulchritude_. Cp. Aristot.
_Rhet._ iii. 2. 13.
=καλός.= =118= 23, =120= 22, =136= 8, =160= 13, 14, =178= 15, _passim_.
_Beautiful._ Lat. _pulcher_. The word is inadequately
translated by ‘beautiful’; and ‘fine’ has unfortunate
associations of its own, especially in relation to writing.
‘Noble’ would often be nearer the mark, but that rendering
is needed for γενναῖος and εὐγενής (cp. =136= 13, =178= 15,
etc.). In English we lack a single word to denote that _noble
beauty_ which is sometimes seen in a human face, and which
suggests an ultimate harmony of things. The meaning of καλός,
as distinguished from ἡδύς (in reference to composition), may
be gathered from such passages as =68= 5 (τῷ σεμνῷ τὸ ἡδύ) and
=120= 22-24 (see under ἡδονή, p. 302 _supra_). The antithesis
is not, as has sometimes been thought, that of pleasure to the
_ear_ and beauty to the _mind_. In this treatise Dionysius is
dealing not with subject matter (ὁ πραγματικὸς τόπος) but with
expression, and that chiefly from the euphonic point of view.
καλός includes certain forms of pleasure—of the ear as well as
of the mind: cp. Aristot. _Rhet._ iii. 1405 b and Demetr. _de
Eloc._ § 177 ὡρίσατο δ’ αὐτὰ (καλὰ ὀνόματα) Θεόφραστος οὕτως·
κάλλος ὀνόματός ἐστι τὸ πρὸς τὴν ἀκοὴν ἢ πρὸς τὴν ὄψιν ἡδύ, ἢ
τὸ τῇ διανοίᾳ ἔντιμον. Cp., further, _gravitas_)(_suavitas_,
Cic. _Or._ §§ 62, 182; _honestus_)(_iucundus_, Quintil. ix. 4.
146; ἡδεῖαν καὶ μεγαλοπρεπῆ Aristot. _Rhet._ iii. 12.
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=κατακεκλασμένος.= =184= 17. _Broken_, _nerveless_. Lat. _fractus_,
_mollis_. Fr. _faible_, _maigre_, _rompu_. Cp. κατακλωμένους,
=262= 12, where Dionysius seems to indicate the broken (but by
no means nerveless) foot
– ᴗ – –
(τοσαύ)την ὑπάρξαι.
So Long. _de Subl._ xli. 1 μικροποιοῦν δ’ οὐδὲν οὕτως ἐν τοῖς
ὑψηλοῖς, ὡς ῥυθμὸς κεκλασμένος λόγων καὶ σεσοβημένος, οἷον δὴ
πυρρίχιοι καὶ τροχαῖοι καὶ διχόρειοι, τέλεον εἰς ὀρχηστικὸν
συνεκπίπτοντες. Cp. Demetr. p. 287.
=καταλαμβάνειν.= =230= 4, 12. _To check._ Lat. _cohibere_, _premere_.
Usener’s insertion of σιωπῇ in =230= 12 is perhaps unnecessary.
Herod. v. 21 ὁ τῶν Περσέων θάνατος οὕτω καταλαμφθεὶς ἐσιγήθη
(i.e. “Persarum caedes ita silentio compressa est”) does not
decide the point.
=κατάληξις.= =178= 20, =184= 9, =258= 13. _Final syllable._ Lat.
_syllaba terminalis_. With =178= 20 cp. =178= 13 καὶ συλλαβὴν
ὑφ’ ἧς τελειοῦται τὸ κῶλον. See also Long. _de Subl._ xli.
2 τὰς ὀφειλομένας καταλήξεις, and Demetr. p. 287 (s.v.
καταληκτικός).
=κατάλογος.= =168= 1. _Catalogue._ Lat. _enumeratio_. The Homeric
‘Catalogue’ (in _Il._ ii.) is meant.
=καταμετρεῖν.= =174= 24, =182= 16. _To measure._ Lat. _emetiri_. Cp.
_de Demosth._ c. 39.
=καταπυκνοῦν.= =162= 4, 16. _To pack._ Lat. _stipare_. Fr. _charger_.
=κατασκευή.= =70= 4, =156= 13, =160= 19, =164= 12. _Artistic
treatment._ Lat. _ornatus_. The Latin _apparatus_, and French
_apprêt_, will also give something of the meaning. Cp.
=κατασκευάζειν= =106= 3, =140= 9, =154= 3, 14, 17, =158= 1, 4,
etc. See also D.H. p. 194, under κατασκευή (with the passages
there quoted) and κατασκευάζειν.
=κατασπᾶν.= =204= 24. _To pull down._ Lat. _detrahere_. Cp. the use of
κατεσπευσμένα and κατεσπεῦσθαι in Long. _de Subl._ xix. 2, xl.
4. [It is possible that κατεσπεῦσθαι should be read in _C.V._
=204= 24.]
=κατάστασις.= =200= 8. _State._ Lat. _condicio_.
=καταφορά.= =204= 19. _Downrush._ Lat. _decursus_.
=καταχλευάζειν.= =264= 9. _To jeer._ Lat. _cavillari_, _irridere_.
=κατάχρησις.= =78= 16. _Catachresis._ Lat. _abusio_. A definition is
given by Quintil. viii. 6. 34 “eo magis necessaria κατάχρησις,
quam recte dicimus _abusionem_, quae non habentibus nomen suum
accommodat, quod in proximo est: sic _Equum divina Palladis
arte Aedificant_.” Cp. Cic. _Orat._ 27. 94, where the same
Latin equivalent is given, though not the same description
of the figure: “Aristoteles autem translationi et haec ipsa
subiungit et abusionem, quam κατάχρησιν vocant, ut cum minutum
dicimus animum pro parvo, et abutimur verbis propinquis, si
opus est, vel quod delectat vel quod decet” (cp. _Auct. ad
Her._ iv. c. 33). In Cic. _Acad._ ii. 47. 143, “Quid ergo
Academici appellamur? an abutimur gloria nominis?” the meaning
probably is: ‘do we use the glorious name of ‘Academic’ in an
unnatural way?’
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=κατεσπουδασμένος.= =156= 7. _Earnest._ Lat. _anxius_, _instans_. Cp.
Herod. ii. 174.
=κεραννύναι.= =218= 7, =240= 17, =246= 12, =248= 17, etc. _To mix_, _to
temper_. Lat. _commiscere_, _temperare_. Cp. the adjectives
εὔκρατος and εὐκέραστος, p. 301 _supra_. The general sense
in =248= 17 is, ‘qui aient su mieux qu’eux faire un heureux
mélange des couleurs.’
=κερατοειδής.= =146= 12. _Sounding like a horn._ Lat. _sonus veluti
corneus_. κερατοειδεῖς ἤχους = ‘sounds like (the sounds of)
a horn’: cp. _Hymn. Hom. in Merc._ 81 μυρσινοειδέας ὄζους,
‘branches like (the branches of) myrtle.’
=κεφάλαιον.= =68= 18, =120= 25, =130= 14, =136= 7, =160= 8. _Heading_,
_topic_, _sum and substance_. Lat. _caput_, _summa_. So
=κεφαλαιωδῶς=, =112= 21, _under heads_.
=κηλεῖν.= =124= 13. _To charm._ Lat. _permulcere_.
=κινεῖν.= =146= 8, =194= 12. _To excite_, _to disturb_. Lat. _movere_.
So κίνησις, _movement_, =124= 8, =160= 3, =244= 20; and
=κινητικός=, =158= 12.
=κλέπτειν.= =196= 17. _To cheat_, _to disguise_. Lat. _dissimulare_,
_obtegere_. Cp. Demetr. p. 288.
=κοινός.= =120= 13, =122= 14, =148= 14, =164= 22, =200= 7, =210= 1
(according to one reading), =236= 11, =252= 28. _Common_,
_mixed_, _general_. Lat. _communis_. For the meaning ‘in
general terms’ cp. _de Dinarcho_ c. 8 λέγω δὲ ταῦτα οὐκ ἐν
τῷ καθόλου τρόπῳ, ὡς μηδὲν τούτων κατορθοῦντος, ἀλλ’ ἐν τῷ
κοινοτέρῳ καὶ ὡς ἐπὶ τὸ πολύ.
=κολακικός.= =236= 9. _Alluring._ Lat. _blandus_.
=κόμμα.= =270= 15, =276= 2. _Short clause_, _phrase_. Lat. _incisum_
(Cic. _Orat._ 62. 211; Quintil. ix. 4. 22). Fr. _incise_.
Cp. Demetr. p. 288; Quintil, ix. 4. 122 “_incisum_ (quantum
mea fert opinio) erit sensus non expleto numero conclusus,
plerisque pars membri”; _C.V._ =270= 15 κόμματα ...
βραχύτερα κώλων. So κομμάτιον =274= 14, =276= 6. [The terms
_comma_, _colon_, and _period_ are now specially applied to
punctuation.] For illustrations of κῶλα and κόμματα drawn from
Cicero see Laurand’s _Études_ p. 128. In _de Demosth._ c. 39
the adjective κομματικῶς is found: ἀποιήτως δέ πως καὶ ἀφελῶς
καὶ τὰ πλείω κομματικῶς (i.e. per brevia commata et incisa)
κατεσκευάσθαι βούλεται.
=κόπτειν.= =132= 4, =198= 7. _To smite upon_, _to weary_. Lat.
_obtundere_. Used in reference to the ear, when it receives
‘hammer-strokes of sound.’
=κόρος.= =124= 18, =132= 11, =192= 18, =196= 18, =252= 25. _Satiety._
Lat. _satietas_ (Cic. _Orat._ 65. 219). In using this word
Dionysius often has in mind Pindar _Nem._ vii. 52 (κόρον δ’
ἔχει καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ ἀφροδίσια): a passage which
he quotes in _Ep. ad Pomp._ c. 3.
=κορυφή.= =248= 4. _Top_, _head_. Lat. _caput_. Cp. κορυφαῖος
(_headman_) and ἀκόρυφος (=230= 31).
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=κορωνίς.= =94= 4. _Colophon_, _finis_. Lat. _coronis_. μέχρι κορωνίδος
διελθεῖν = ‘usque ad calcem perlegere,’ ‘from title to
colophon.’
=κρᾶσις.= =130= 25, =154= 10, =220= 12. _A mixing_, _blending_. Lat.
_mistura_.
=κράτιστος.= =70= 1, =120= 18, =134= 20, =142= 5, =150= 10, =160= 5,
=162= 3, 15, =176= 15, =196= 10, =206= 21, =214= 16, =250= 16,
=260= 21. _Strongest_, _finest_, _best_. Lat. _fortissimus_,
_optimus_. It is not always easy to determine in these passages
whether the meaning is general or special. But in =162= 3
κρατίστοις is opposed to μαλακωτάτοις. When he wishes to be
quite explicit, Dionysius can use ἰσχυρός (=162= 23), or
βέλτιστος.
=κράτος.= =70= 5, =72= 14, etc. _Force_, _power_. Lat. _vis_, _robur_.
=κρητικός.= =174= 11, =260= 23, =262= 9. _Cretic._ The metrical foot
– ᴗ –. For the cretic foot cp. Cic. _de Orat._ iii. 47. 183
and _Or._ 64. 218; Quintil. ix. 4. 81, 97, 104, 107. In the
Epitome c. 17 the equivalent term ἀμφίμακρος is used instead
of κρητικός. For the excessive use in prose of the cretic (as,
indeed, of any other distinctly metrical) rhythm cp. Walter C.
Summers in _Classical Quarterly_ ii. 173.
=κριτήριον.= =250= 7. _Criterion._ Lat. _iudicium_.
=κροῦσις.= =124= 8, =144= 1, =268= 7. _Stroke_; _note_ (_of an
instrument_). Lat. _pulsus_.
=κτενίζειν.= =264= 22. _To comb._ Lat. _pectere_. Parallel metaphors
from Latin literature are quoted in Larue van Hook’s
_Metaphorical Terminology of Greek Rhetoric_ p. 23.
=κυκλικός.= =174= 4. _Cyclic._ Lat. _cyclicus_. Goodell (_Greek Metric_
pp. 168 ff.) points out that the much-debated question of
‘cyclic’ or ‘three-timed’ anapaests and dactyls hinges on this
passage (=174= 4), together with part of c. 20 (=204= 16-=206=
16). As he says (p. 175 _ibid._), “It is clear that Dionysius
does not regard even these irrational dactyls as three-timed
merely; the nearest approach to that view is in the remark that
some are not much longer than trochees. But that implies that
even the briefest are somewhat longer than trochees.” Goodell
also suggests (p. 181) that κυκλικός in Dionysius corresponds
to στρογγύλος in a passage of Aristides Quintilianus. Clearly
the elaborate structure of the ‘cyclic dactyl’ cannot stand
securely upon so slight a foundation as these statements of
Dionysius. See further in Goodell (_op. cit._), and also in L.
Vernier _Traité de métrique grecque et latine_ c. 14 pp. 169 ff.
=κύκλος.= =198= 6, =212= 14, =246= 3. _A circle_, _a round_. Lat.
_orbis_, _ambitus_.
=κύριος.= =84= 5, =208= 24, =246= 11. _Accredited_, _regular_,
_proper_. Lat. _proprius_. Fr. _propre_ (in _le mot propre_).
Cp. D.H. p. 195, Demetr. p. 289; and (in addition to the
passages there quoted) Quintil. i. 5. 71 “_propria_ sunt verba,
cum id significant, in quod primo denominata sunt: _translata_,
cum alium natura intellectum, alium loco praebent.” The
meaning ‘proper,’ ‘literal,’ is well illustrated by =208= 24,
where κυρίοις (‘used in the ordinary sense’) is opposed to
μεταφορικοῖς.
=κῶλον.= =72= 6, 9, =104= 9, =110= 10, =176= 2, =178= 6, 7, =194= 13,
22, =218= 18, =230= 16, =234= 20, 21, =276= 2, 6, 14, =278=
6, etc., _passim_. _Member_, _clause_, _group of words_. Lat.
_membrum_. Fr. _membre de phrase_. Cp. Demetr. p. 289, and
Aristot. _Rhet._ iii. 9. 5 κῶλον δ’ ἐστὶν τὸ ἕτερον μόριον
ταύτης [sc. περιόδου], Quintil. ix. 4. 22 “_membra_, quae
κῶλα (dicuntur),” Long, _de Subl._ xl. 1 ἡ τῶν μελῶν [this
illustrates the metaphor in κῶλον] ἐπισύνθεσις. For the
length of the κῶλον cp. Sandys’ _Orator of Cicero_ p. 222 and
Laurand’s _Études_ pp. 127-9; and see, generally, A. du Mesnil
_Über die rhetorischen Kunstformen, Komma, Kolon, Periode_.
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=κωμῳδεῖν.= =264= 9. _To scoff._ Lat. _iocari_, _illudere_.
=λαμβάνειν.= =100= 26, =104= 17, 20, =106= 18, 19, =108= 2, 5, 8,
_passim_. _To take_, _to employ_. Lat. _sumere_, _adhibere_.
=λεαίνειν.= =130= 19, =164= 12. _To smooth_, _to fall softly on_. Lat.
_polire_, _mulcere_.
=λεῖος.= =132= 1, =154= 12, =162= 23, =222= 5, =228= 4, =234= 14.
_Smooth._ Lat. _levis_. So =λειότης= (_douceur_) =240= 6. Cp.
Demetr. _de Eloc._ § 176 παρὰ δὲ τοῖς μουσικοῖς λέγεταί τι
ὄνομα λεῖον, καὶ ἕτερον τὸ τραχύ, καὶ ἄλλο εὐπαγές, καὶ ἄλλ’
ὀγκηρόν. λεῖον μὲν οὖν ἐστιν ὄνομα τὸ διὰ φωνηέντων ἢ πάντων ἢ
διὰ πλειόνων, οἷον Αἴας, τραχὺ δὲ οἷον βέβρωκεν.
=λεκτικός.= =66= 7, =96= 9. _Relating to style or expression._
Lat. _qui ad elocutionem spectat_. ὁ λεκτικὸς τόπος = the
province of expression, as distinguished from ὁ πραγματικὸς
τόπος.—=λεκτικῶς=, =258= 3, = _after the manner of prose_.
=λέξις.= =66= 16, =70= 3, 11, 14, =74= 3, 8, =84= 15 (‘passages’),
=88= 22, 25, =90= 4, =110= 9, =112= 6, _passim_. _Speech
or language_; _utterance_; _diction_; _style_; _word_,
_expression_, _passage_. Lat. _dictio_, _elocutio_, _verbum
s. locutio_. For the broad meaning ‘word’ or ‘phrase,’ common
in Greek writers of the later periods, cp. =66= 16, =124= 23,
=128= 5, =168= 10, =202= 22, =206= 6, =268= 19.