καὶ διὰ τῶν λήρων τούτων κοσμεῖ τὴν φράσιν.
=λιτός.= =76= 8. _Trifling._ Lat. _exiguus_, _humilis_. For λιτός =
_plain_, _simple_, cp. Aristot. _Rhet._ iii. 16 ποικίλος καὶ οὐ
λιτός.
=λογάδην.= =210= 21. _Casually._ Lat. _fortuito_. Dionysius has in mind
not _selected_ stones, but stones _collected_ (picked up) as
they lie. Cp. Joseph. _Antiqq. Iud._ iv. 8. 5 (Naber) καὶ βωμὸς
εἷς ἐκ λίθων μὴ κατειργασμένων ἀλλὰ λογάδην συγκειμένων (i.e.
_collecticiis_), and Thucyd. iv. 31 καὶ γάρ τι καὶ ἔρυμα αὐτόθι
ἦν παλαιὸν λίθων λογάδην πεποιημένον, vi. 66 καὶ ἐπὶ τῷ Δάσκωνι
ἔρυμά τι, ᾗ εὐεφοδώτατον ἦν τοῖς πολεμίοις, λίθοις λογάδην καὶ
ξύλοις διὰ ταχέων ὤρθωσαν.
=λογικός.= =146= 14. _Rational._ Lat. _rationalis_. This passage
(θηριώδους γὰρ καὶ ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ
φωνῆς ὁ συριγμός) helps to illustrate the use of λογικός in
=130= 3 (δεδειγμένης τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς),
where singing and ordinary speech (the sounds of music and
those of spoken language) are contrasted.
=λογογράφος.= =158= 1. _Prose-writer._ Lat. _solutae orationis
scriptor_. So perhaps Aristot. _Rhet._ ii. 11 καὶ ὧν ἔπαινοι
καὶ ἐγκώμια λέγονται ἢ ὑπὸ ποιητῶν ἢ λογογράφων, and Thucyd.
i. 21 καὶ οὔτε ὡς ποιηταὶ ὑμνήκασι ... οὔτε ὡς λογογράφοι
ξυνέθεσαν κτλ.: though in both these passages ‘chroniclers’
may be specially meant. For the meaning ‘professional
speech-writer’ cp. Aristot. _Rhet._ iii. 12. 2. In _C.V._ =154=
17 συγγραφέων is found in the same sense (‘prose-writers’) as
λογογράφοι in =158= 1.
[Page 309]
=λογοείδεια.= =272= 15. _Prose-character._ Lat. _color prosaicus_.
Fr. _la couleur prosaïque_. The word is well explained and
illustrated by a scholiast on Hephaestion (Westphal _Scriptores
Metrici Graeci_ i. 167): πολιτικὸν δέ ἐστι τὸ ἄνευ πάθους ἢ
τρόπου πεποιημένον, οἷον
ἵππους τε ξανθὰς ἑκατὸν καὶ πεντήκοντα [_Il._ xi. 680],
ὅπερ ταὐτόν ἐστι τῷ λογοειδεῖ.—In Demetr. _de Eloc._ § 41 τὸ
λογικόν is found in the same sense.
=λόγος.= =64= 13, =66= 5, 8, =70= 10, =72= 7, 10, 14, =74= 6, =76=
2, =84= 14, 16, =92= 23, =94= 2, _passim_. _Discourse_,
_language_. Lat. _oratio_, _sermo_. Often used of _prose_, as
opposed to poetry: cp. =84= 14, 16, =108= 11 (λόγοις πεζοῖς),
=118= 22, =154= 2 (λόγοις ψιλοῖς), =166= 4, =208= 6, =270=
17, =272= 9, 13, 17, 19, 28, =278= 6, 9 (where the meaning
probably is ‘a piece of continuous prose’), =280= 18; so καὶ
ἐν ποιήσει καὶ ἐν λόγοις (Aristot. _Rhet._ iii. 2. 7; further
references in Bonitz’ _Index Aristotelicus_ p. 433). In many
passages (e.g. =66= 5, =210= 8, =218= 1, =248= 4) ‘writing’
or ‘literature’ (cp. ἡ τῶν λόγων φιλοσοφία = ‘the study of
literature,’ _Rhet. ad Alex._ c. 1) will be a possible modern
equivalent, though we must always bear in mind the Greek point
of view, that what we call ‘literature’ was something conveyed
by the living voice,—something spoken or read aloud.—See also
s.v. ἄμετρος p. 287 _supra_.
=Λύδιος.= =196= 2. _Lydian._ Lat. _Lydius_. Cp. Monro’s _Modes of
Ancient Greek Music_, passim.
=μαλακός.= =132= 1, =154= 11, =162= 3, etc. _Soft._ Lat. _mollis_. So
=μαλθακός= =90= 20. In some passages (=90= 20, =170= 9) the
word suggests the idea of ‘lacking in backbone,’ ‘unmanly,’
‘effeminate.’ Fr. _délicat_, or (rather) _mou_.
=μεγαλοπρεπής.= =136= 12, =166= 2, 18, etc. _Grand_, _impressive_,
_splendid_. Lat. _magnificus_. Fr. _magnifique_. So
μεγαλοπρέπεια (_la grandeur_), =120= 22, =164= 20.
=μέγεθος.= =172= 11, =174= 19. _Grandeur_, _elevation_. Lat.
_magnitudo_, _sublimitas_. Fr. _ampleur_. Cp. Demetr. p. 292.
=μεθαρμόζειν.= =112= 2. _To arrange differently_, _to re-arrange_. Lat.
_aliter componere_.
=μειοῦν.= =128= 18, =152= 20. _To lessen_, _to curtail_. Lat.
_minuere_. Fr. _retrancher_. So =μείωσις= =110= 15. The word
does not, in the _C.V._, bear the special sense of _extenuare_.
=μελικός.= =130= 7, =252= 21, =254= 21, =278= 4. _Melodious_, _lyric_.
Lat. _lyricus_. In English ‘lyric’ is a more generally
intelligible rendering than ‘melic,’ though less exact. “To
the writers of the Alexandrian age, who introduced and gave
currency to the expression, ‘lyric’ meant primarily what the
name imports—poetry sung to the accompaniment of the lyre....
More appropriate than ‘lyric,’ as an exact and comprehensive
designation of all poetry that was sung to a musical
accompaniment, is ‘melic,’ the term in vogue among the Greeks
of the classic ages,” Weir Smyth _Greek Melic Poets_ pp. xvii,
xviii. Apparently the _adjectives_ μελικός and λυρικός are both
late.
[Page 310]
=μελιχρός.= =70= 2. _Honey-sweet._ Lat. _mellitus_. Cp. _de Demosth._
c. 48 ἔν τε ταῖς μεταβολαῖς τοτὲ μὲν τὸ ἀρχαιοπρεπὲς καὶ
αὐστηρόν, τοτὲ δὲ τὸ μελιχρὸν καὶ φιλόκαινον ἐμφαινόμενον.
=μέλος.= =204= 3, _limb_: =122= 24, =126= 21 (_bis_), =194= 7, 13,
_tune_, _melody_: =120= 18, =122= 11, =130= 4, 11, _melodious
effect_, _tunefulness_: =92= 22, =120= 26, =126= 23, =154=
2, =192= 21, =194= 5, =250= 11, 16, =254= 5, 8, 15, =272=
10, =278= 6, =280= 18, _words set to music_, _song_, _aria_,
_chant_, _lay_, _lyric_. Lat. _cantus_, _carmen_, etc.
Similarly also =μελοποιία= =214= 3: =μελοποιός= =194= 18, =236=
16, 22, =248= 13, =270= 22, =272= 5: =μελῳδεῖν= =126= 18, =128=
5: μελῳδία =122= 16, =194= 8, =196= 2.
=μερίζειν.= =144= 22, =220= 25. _To divide._ Lat. _distribuere_.
=μέρος.= =68= 6, =70= 14, =96= 1, etc. _Part._ Lat. _pars_. τὰ τῆς
λέξεως μέρη = ‘the parts of speech,’ =70= 14, =96= 14, etc. See
also μόριον, p. 311.
=μέσος.= =148= 18, =150= 11, =210= 6, 7, 8, =236= 2, =246= 10.
_Middle_, _intermediate_, _average_. Lat. _medius_. So =μέσως=
=146= 10, and =μεσότης= =246= 15 (_bis_) (with reference to
Aristotle’s use of the word for _le juste milieu_), =248= 11.
=μεταβάλλειν.= =194= 1, 2. _To change_, _to vary_. Lat. _mutare_. As
its passive, =μετακειμένην= =266= 1.
=μεταβολή.= =120= 19, =122= 12, =124= 11, 25, =134= 18, 19. _Variety._
Lat. _varietas_, _diversitas_. The object of μεταβολή, as
conceived by Dionysius, is to diversify style in order to avoid
a monotonous uniformity. Variety is one of the chief essentials
of good writing, not only in Greek but in all other languages.
=μεταλαμβάνειν.= =132= 7. _To interchange._ Lat. _commutare_.
=μεταπτωτικός.= =140= 20. _Variable._ Lat. _mutabilis_. So
=μεταπίπτειν= =96= 17, =250= 7.
=μετασκευή.= =104= 19, =108= 9, =110= 16 (e coni. Schaef.), =114= 10.
_Modification._ Lat. _mutatio_. So =μετασκευάζειν= =110= 6. Cp.
text in =110= 16 with =104= 19, =108= 9.
=μεταφορά.= =78= 15. _Transference_, _metaphor_. “The figure of
transport,” Puttenham. Lat. _translatio_.
=μετέωρος.= =148= 23. _Upper._ Lat. _superior_ (τοὺς μετεώρους ὀδόντας
= _dentes superiores_).
=μετοχή.= =72= 1. _Participle._ Lat. _participium_. Cp. D.H. p. 196.
=μετρικός.= =140= 11, =172= 2, =174= 22, =176= 7, =218= 19. _Metrical._
Lat. _metricus_. =172= 2 and =174= 22 οἱ μετρικοί = ‘the
metrists,’ ‘the theorists on metre’: cp. οἱ ῥυθμικοί =172= 20.
=μέτριος.= =132= 8, =150= 9, =214= 12, =222= 26, =230= 22, =234= 22,
=246= 13. _Moderate_, _fair_. Lat. _aequus_.
=μέτρον.= =74= 5, =84= 16, =88= 6, 8, =92= 22, =118= 22, =120= 26,
=172= 17, _passim_. _Measure_, _metre_, _verse_, _line_.
Lat. _metrum_, _versus_. In Aristot. _Poet._ iv. 7 metres
are described as sections of rhythm (τὰ γὰρ μέτρα ὅτι μόρια
τῶν ῥυθμῶν ἐστι φανερόν): that is, they are ‘measures,’ or
‘verses’; ‘parts of rhythm,’ which is indefinite and never
comes to an end—μέτρον being rhythm cut, as it were, into
definite lengths (Cope _Introduction to Aristotle’s Rhetoric_
p. 387). When contrasted with μέλη (cp. Plato _Gorg._ 502 C
τό τε μέλος—‘the music’—καὶ τὸν ῥυθμὸν καὶ τὸ μέτρον), μέτρα
seems to denote the non-lyrical metres generally (hexameters,
iambic trimeters, etc.): see =92= 22, =120= 26, =192= 21, and
especially =270= 18-23.
[Page 311]
=μῆκος.= =150= 22, =154= 6, =204= 2, =224= 15, =264= 4. _Length._ Lat.
_longitudo_. So =μηκύνειν= (_to lengthen_) =132= 7, =152= 24,
=224= 8, 13, =246= 8. In =246= 8 (and also in =276= 9, where
P gives μηκύνειν and MV give μηκύνειν τὸν λόγον) μηκύνειν is
used absolutely (= μακρηγορεῖν: cp. Aristoph. _Lys._ 1131
πόσους εἴποιμ’ ἂν ἄλλους, εἴ με μηκύνειν δέοι;). In =132= 7
the meaning is ‘to prolong, or continue, in the same case with
similar terminations’: just as Dionysius himself, inadvertently
no doubt, repeats -ων in =132= 9, 10.
=μῖγμα.= =208= 18. _Mixture_, _blend_. Lat. _mistura_. Cp. =μῖξις=
=130= 25, =166= 9; and also D.H. p. 197. It is possible that
Dionysius may have written μεῖγμα, as in earlier Greek: in _Ep.
ad Pomp._ c. 2 it is to be noticed that the manuscripts give
δεῖγμα, where the sense clearly calls for μεῖγμα.
=μικρόκομψος.= =90= 20. _Affected_, _finical_. Lat. _bellulus_.
=μικρολογία.= =266= 11. _Trifling_, _pettiness_. Lat. _rerum minutarum
cura_. In Theophrastus’ _Characters_ the word is used of
attention to trifles on the part of the mean or parsimonious
man. Cp. also Demetr. p. 293, s.v. μικρολογεῖν.
=μικρόφωνος.= =142= 9. _Small-voiced_, _non-resonant_. Lat. _qui vocem
habet exiguam_, _sonum exiliorem_.
=μίμημα.= =160= 2. _Imitation._ Lat. _imitamentum_. [F.’s reading here
is μηνύματα, ‘expressions which indicate’: cp. _de Demosth._ c.
51 init.]
=μιμητικός.= =158= 4, 11, =200= 11. _Imitative._ Lat. _ad imitandum
aptus_. So =μιμητικῶς= =202= 1.
=μνημεῖον.= =266= 7. _Memorial._ Lat. _monumentum_.
=μολοττός.= =172= 1, =184= 4. _Molossus._ Lat. _molossus_. The metrical
foot – – –.
=μονογράμματος.= =152= 20. _Consisting of a single letter._ Lat. _qui
unius est litterae_.
=μονόμετρος.= =270= 23. _Consisting of one metre._ Lat. _monometer_.
Applicable to poems, like the _Iliad_ and the _Aeneid_, which
are written throughout in a single metre.
=μονοσύλλαβος.= =168= 11, =202= 14. _Monosyllabic._ Lat. _monosyllabus_.
=μόριον.= =70= 10, =96= 3, =98= 6, =106= 11, 12, _passim_. _Part_,
especially _part of speech_. Lat. _pars_, _pars orationis_.
The meaning ‘part of speech’ appears in such passages as ποῖον
ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι μορίων (=106= 12), τὰ μόρια τοῦ
λόγου (=110= 1), ἓν μόριον λόγου (=126= 7), πᾶν ὄνομα καὶ ῥῆμα
καὶ ἄλλο μόριον λέξεως (=168= 10). ‘Words’ simply might serve
as a rendering in many cases, except that it is usually well
to preserve Dionysius’ idea of ‘words in their syntactical
relations,’ ‘words in a sentence.’ In =232= 18 the meaning may
be ‘in every word’: so =130= 7, =134= 25, =220= 3, =222= 10,
=224= 11.
[Page 312]
=μοῦσα.= =126= 16, =252= 20. _Music_, _melody_. Lat. _musica
concinnitas_. So =μουσική= =124= 20, =128= 18; =ὁ μουσικός=
=138= 6.
=μυγμός.= =138= 10. _A moaning_, _muttering_, _murmur_, _humming_. Lat.
_gemitus_. Cp. Demetr. p. 294, and Aesch. _Eum._ 117, 120.
=μύκημα.= =158= 13. _Bellowing._ Lat. _mugitus_.
=νεαρός.= =66= 16, =246= 5. _Youthful._ Lat. _iuvenilis_. Cp. note on
μειρακιώδης in D.H. p. 196.
=νήτη.= =210= 7. _Lowest note._ Lat. _ima chorda_. See L. & S. s.v.
νεάτη.
=νόημα.= =66= 5, =74= 16, =84= 6, =92= 17, =112= 15, =264= 16. _Idea._
Lat. _sententia_. Cp. νόησις (_thought_, _perception_) =74= 3,
=268= 9; and D.H. p. 197.
=νοῦς.= =212= 15, =276= 1, 8. _Meaning._ Lat. _sententia_. Fr. _sens_,
_pensée_.
=ξένος.= =78= 17, =252= 24, =272= 11. _Foreign_, _strange_,
_unfamiliar_. Lat. _peregrinus_, _inusitatus_, _arcessitus_.
Cp. D.H. p. 197, Demetr. p. 294, and _Classical Review_ xviii.
20 (as to ξενικός).
=οἰκεῖος.= =110= 13, =126= 1, =134= 20, =140= 12, =154= 19, =158= 2,
=168= 7. _Akin_, _appropriate_, _fitting_. Lat. _cognatus_,
_domesticus_, _decorus_. So =οἰκείως= =72= 8, =118= 14, =134=
10: =οἰκειότης= =122= 21, =240= 7: =οἰκειοῦν= =122= 17. If
the metaphors are to be fully pressed, we might render οἰκεῖα
καὶ φίλα in =110= 13 by ‘to seem loving members of the same
family,’ and οἰκείως in =118= 14 by ‘in harmony with their
inner significance.’ In =122= 21 οἰκειότης is ‘a natural
inclination or instinct.’ On =122= 17 there is the following
scholium in M: οἰκειοῦται ἀντὶ τοῦ εὐσταθῶς ἥδεται. In =126=
1 τὸ οἰκεῖον (_appropriateness_) seems almost to stand for
τὸ πρέπον and to be an illustration of Dionysius’ own love
for variety. It is this unusually copious vocabulary of his
that does much to relieve the dull monotony of a technical
treatise. “In the works of Dionysius, the great representative
of a later school of criticism [sc. than that of Aristotle],
we meet for the first time a wealth of rhetorical terminology.
In his numerous writings we find freely used a fully developed
vocabulary, which is completely adequate for the purposes of
the professional rhetorician and the broad literary critic”
(Larue van Hook _Metaphorical Terminology, etc._ p. 8).
=οἰκονομεῖν.= =176= 18. _To manage._ Lat. _administrare_, _tractare_.
So =οἰκονομία= =264= 16. Cp. Aristot. _Poet._ xiii. 6 καὶ ὁ
Εὐριπίδης, εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός
γε τῶν ποιητῶν φαίνεται: Long. _de Subl._ i. 4 καὶ τὴν τῶν
πραγμάτων τάξιν καὶ οἰκονομίαν: Quintil. _Inst. Or._ iii. 3. 9
“_oeconomiae_, quae Graece appellata ex cura rerum domesticarum
et hic per abusionem posita nomine Latino caret.”
=ὀλιγοσύλλαβος.= =132= 3. _Consisting of few syllables._ Lat. _qui
paucis constat syllabis_.
=ὀλιγοσύνδεσμος.= =212= 21. _Sparing in connectives._ Lat. _qui paucis
utitur convinctionibus_.
=ὁμογενής.= =146= 10, =148= 9. _Of the same race or family._ Lat.
_congener_. Cp. =ὁμοιογενής= (_of like kind_) =72= 24, =132=
19, =156= 15; also =ἀνομοιογενής= =132= 19.
[Page 313]
=ὁμοειδής.= =192= 18, =198= 6, =270= 19. _Of the same species or kind._
Lat. _uniformis_. So =ὁμοείδεια= =274= 1. Cp. Cic. _ad Att._
ii. 6 “etenim γεωγραφικά quae constitueram magnum opus est ...
et hercule sunt res difficiles ad explicandum et ὁμοειδεῖς nec
tam possunt ἀνθηρογραφεῖσθαι quam videbantur.”
=ὁμοζυγία.= =176= 13, =254= 17. _Connexion_, _affinity_. Lat.
_coniugatio_.
=ὁμοιοσχήμων.= =270= 16. _Like in shape._ Lat. _forma consimilis_.
=ὁμοιότονος.= =132= 6. _Similarly accented._ Lat. _qui similis est
toni_.
=ὁμοιόχρονος.= =132= 6 (_bis_). _Of like quantity._ Lat. _qui similia
habet tempora_.
=ὁμότονος.= =128= 7. _Of the same pitch or accent._ Lat. _eiusdem toni
s. accentus_.
=ὁμόφωνος.= =128= 9. _With the same note._ Lat. _eiusdem chordae s.
soni_.
=ὄνομα.= =66= 5, =70= 9, 13, 20, =74= 12, =84= 6 _passim_. _Word_,
_noun_. Lat. _vocabulum_, _nomen_. In =168= 10, =264= 5, etc.,
the meaning is ‘noun’; in =264= 3, etc., ‘word.’
=ὀνομασία.= =74= 17, =234= 5, =252= 23, =274= 2. _Wording_, _naming_,
_language_. Lat. _elocutio_, _appellatio_. Cp. _Rhet. ad Alex._
c. 27 ἀντίθετον μὲν οὖν ἐστι τὸ ἐναντίαν τὴν ὀνομασίαν ἅμα
καὶ τὴν δύναμιν τοῖς ἀντικειμένοις ἔχον, ἢ τὸ ἕτερον τούτων:
Aristot. _Poet._ vi. 18 λέγω δέ, ὥσπερ πρότερον εἴρηται,
λέξιν εἶναι τὴν διὰ τῆς ὀνομασίας ἑρμηνείαν: Dionys. Hal. _de
Demosth._ cc. 18, 34, 40: Demetr. _de Eloc._ §§ 91, 304.
=ὀνοματικά, τά.= =70= 18, =102= 16, 17, =132= 7. _Nouns substantive._
Lat. _nomina substantiva_.
=ὀξύς.= =126= 5, 8, 10, =128= 6, 8. _Acute_ (accent), _high_ (pitch).
Lat. _acutus_. So =ὀξύτης= =126= 14. Cp. s.v. βαρύς, p. 292
_supra_. In Aristot. _Poet._ c. 20 ὀξύτητι καὶ βαρύτητι καὶ τῷ
μέσῳ = ‘according as they [the letters] are acute, grave, or of
an intermediate tone.’
=ὀξύτονος.= =128= 9. _With high pitch or acute accent._ Lat. _qui
acutum tonum s. accentum habet_.
=ὅρασις.= =118= 24. _Seeing_, _the act of sight_. Lat. _visus_.
=ὄργανον.= =122= 25, =124= 4, 22. _Musical instrument._ Lat.
_instrumentum_. So the adjective =ὀργανικός= (_instrumental_)
in =124= 16, =126= 16.
=ὀρθός.= =106= 19. _Nominative._ Lat. _rectus_ (_casus_): viz.
‘uninflected.’ In =102= 19 ‘primary,’ as opposed to
‘secondary’; in =108= 3 ‘active,’ as opposed to ‘passive.’
In =258= 25 and =262= 5 the meaning is ‘correct’; in =90=
6 perhaps ‘tense’ (see the exx. given in L. & S. under the
heading ‘excited’), the opposite of ὕπτιος (_supinus_).
=ὁρίζειν.= =132= 22, =166= 1, =234= 21. _To define_, _to limit_. Lat.
_definire_.
=ὅρος.= =182= 13, =200= 25, =210= 5. _Standard_, _condition_,
_boundary_. Lat. _regula_, _condicio_, _finis_. With the sense
_norma et regula_ in =182= 13 cp. Long. _de Subl._ xxxii. 1 ὁ
γὰρ Δημοσθένης ὅρος καὶ τῶν τοιούτων, Dionys. H. _de Demosth._
c. 1 ἧς (λέξεως) ὅρος καὶ κανὼν ὁ Θουκυδίδης.
=οὐδέτερος.= =106= 21. _Neuter._ Lat. _qui neutri generis est_. Cp.
D.H. p. 198.
=οὐρανός.= =142= 12, =144= 19, =150= 6, =220= 23. _Palate._ Lat.
_palatum_. In the margin of R (with reference to =142= 12)
there is the note: τὴν ὑπερῴαν φησίν. This sense of οὐρανός is
found several times in Aristotle (see Bonitz’ _Index_), and
not (as has sometimes been supposed) for the first time in
Dionysius. Cp. the converse _caeli palatum_ in Ennius _apud_
Cic. _de_ _Nat. Deor._ ii. 18. 48 “sed dum, palato quid sit
optimum, iudicat [Epicurus], caeli palatum (ut ait Ennius) non
suspexit.”
[Page 314]
=οὐσία.= =98= 8. _Substance_, _essence_. Lat. _substantia_.
=ὄχλησις.= =132= 17. _Annoyance_, _disgust_. Lat. _molestia_.
=ὄψις.= =162= 1, 14, =234= 9. _Appearance_, _visage_. Lat. _vultus_,
_aspectus_.
=πάθος.= =66= 15, =88= 12, =110= 23, =112= 5, =122= 15, _passim_.
_Feeling_, _experience_, _emotion_, _affection_, _passion_.
Lat. _affectus_ (Quintil. vi. 2. 8), _animi motus_ (Cic. _de
Or._ i. 5. 17), _perturbatio_ (id. _Tusc._ iv. 5. 10). Cp.
D.H. pp. 198, 199.—In =154= 5, =268= 18 πάθη = ‘properties,’
‘modifications,’ ‘differences.’
=παιάν.= =184= 3, =260= 23, =262= 9. _Paeon._ Lat. _paeon_. The
metrical foot so called, consisting of three short syllables
and one long in four possible orders—(1) –ᴗᴗᴗ, (2) ᴗ–ᴗᴗ, (3)
ᴗᴗ–ᴗ, (4) ᴗᴗᴗ–. These four varieties are sometimes called the
_first_, _second_, _third_, and _fourth_ paeon respectively.
Cp. Aristot. _Rhet._ iii. 8. 4-6, Cic. _de Orat._ iii. 47.
183, Quintil. ix. 4. 47; and see Demetr. p. 296, s.v. παιών.
Demetrius (§§ 38, 39) refers to two varieties only: cp. the
note on =182= 22 _supra_.
=παιδεία.= =64= 11, =262= 20. _Culture._ Lat. _doctrina_, _humanitas_.
=πανηγυρικός.= =228= 7, =246= 7. _Festal_, _panegyrical_. Lat.
_panegyricus_. With the notion of _ornate_: cp. _de Demosth._
c. 8 (διάλεκτον) μεγαλοπρεπῆ λιτήν, περιττὴν ἀπέριττον,
ἐξηλλαγμένην συνήθη, πανηγυρικὴν ἀληθινήν, αὐστηρὰν ἱλαράν,
σύντονον ἀνειμένην, ἡδεῖαν πικράν, ἠθικὴν παθητικήν.
=παραβολή.= =232= 15. _Meeting_, _juxtaposition_. Lat. _concursus_.
=παράγγελμα.= =270= 3, =282= 2, 7. _Rule_, _precept_. Lat. _artis
praeceptum_. Cp. Long. _de Subl._ c. 2 τεχνικὰ παραγγέλματα,
c. 6 ὡς εἰπεῖν ἐν παραγγέλματι (‘if I must speak in the way of
precept’). So =παραγγέλλειν= =132= 16, =268= 11 (cp. _de Lysia_
c. 24 ταῦτα μὲν δὴ παραγγέλλουσι ποιεῖν οἱ τεχνογράφοι), and
=παραγγελματικός= =214= 9 (= _plenus praeceptis_, _doctrinis_,
_regulis_).
=παράδειγμα.= =92= 5, =136= 2, =152= 3, =214= 6, =232= 23, =240= 24,
etc. _Instance._ Lat. _exemplum_. τὰ παραδείγματα is often used
of appropriate (perhaps customary, or stock) examples: cp. _de
Isocr._ cc. 10, 15, _de Demosth._ cc. 13 (middle), 53, and
contrast _de Lysia_ c. 34 and _de Demosth._ cc. 13 (end), 20.
=παραδιώκειν.= =206= 13. _To hurry along._ Lat. _abripere_. Cp. the
use of συνδεδιωγμένον in Long. _de Subl._ c. 21, and of
κατεσπευσμένα c. 19 _ibid._—Usener adopts, in this passage, his
own conjecture παραμεμιγμένας.
=παράθεσις.= =130= 25, =154= 11, =166= 9, etc. _Placing._ Lat.
_collocatio_.
=παρακεκινδυνευμένος.= =234= 16. _Daring_, _bold_, _venturesome_. Lat.
_audax_ (as in Hor. _Carm._ iv. 2. 10). Fr. _aventuré_. Cp.
Aristoph. _Ran._ 99 τοιουτονί τι παρακεκινδυνευμένον, | αἰθέρα
Διὸς δωμάτιον, ἢ χρόνου πόδα: and see s.v. ἐπικίνδυνος p. 299
_supra_. The word is used also in _de Lys._ c. 13, _de Isocr._
c. 13, _Ep. ad Pomp._ c. 2.
=παρακολουθεῖν.= =108= 6, =130= 26, =136= 12. _To accompany._ Lat.
_accidere_, _consequi_.
[Page 315]
=παραλαμβάνειν.= =144= 14, =172= 12, =260= 2, =264= 14. _To introduce_,
_to employ_. Lat. _assumere_, _adhibere_.
=παραλλαγή.= =152= 8, 15, 22. _Divergence._ Lat. _discrimen_,
_permutatio_.
=παραπλήρωμα.= =116= 3, =166= 17. _Supplement_, _expletive_. Lat.
_explementum_, _complementum_. Cp. Cic. _Or._ 69. 230 “apud
alios autem et Asiaticos maxime numero servientes inculcata
reperias inania quaedam verba quasi complementa numerorum”; and
also Demetr. p. 296, s.v. παραπληρωματικός. The word occurs
elsewhere in Dionysius: _de Isocr._ c. 3, _de Demosth._ cc. 19,
39.
=παρατιθέναι.= =104= 1. _To bring forward_, _to cite_. Lat. _apponere_,
_in medium adducere_.
=παραυξάνειν (παραύξειν).= =128= 19, =152= 18. _To lengthen_, _to
augment_. Lat. _augere_.
=παρέκτασις.= =154= 21. _Prolongation._ Lat. _extensio_.
=παρεμφαίνειν.= =108= 5. _To hint at_, _to indicate_. Lat. _obiter
indicare_. Cp. Demetr. p. 297.
=παρεμφατικός.= =102= 20. _Indicative._ Lat. _indicativus_. Cp.
ἀπαρέμφατος p. 289 _supra_.
=παρέργως.= =100= 25. _By the way_, _cursorily_. Lat. _obiter_.
=παρθενωπός.= =234= 15. _Of maiden aspect._ Lat. _qui virgineo vultu
est_. The word seems to occur elsewhere only in Eurip. _El._
948 ἀλλ’ ἔμοιγ’ εἴη πόσις | μὴ παρθενωπός, ἀλλὰ τἀνδρείου
τρόπου [Gilbert Murray: “Ah, that girl-like face! | God grant
not that, not that, but some plain grace | Of manhood to the
man who brings me love”]. Cp. Cic. _Orat._ 19. 64 “nihil iratum
habet [oratio philosophorum], nihil invidum, nihil atrox, nihil
miserabile, nihil astutum; casta, verecunda, _virgo incorrupta_
quodam modo.”
=πάρισος.= =116= 8, =212= 7, =246= 6. _Parallel in structure._ Lat.
_qui constat similibus membris_. Cp. Aristot. _Rhet._ iii. 9.
9 παρίσωσις δ’ ἐὰν ἴσα τὰ κῶλα, παρομοίωσις δ’ ἐὰν ὅμοια τὰ
ἔσχατα ἔχῃ ἑκάτερον τὸ κῶλον (where ὅμοια τὰ ἔσχατα indicates
final letters that rhyme).
=παριστάναι.= =154= 19. _To represent_, _to describe_. Lat.
_depingere_. Cp. Long. p. 282.
=παρόμοιος.= =212= 8, =246= 6. _Parallel in sound._ Lat. _qui constat
similibus sonis_.
=παχύτης.= =184= 21. _Stupidity_, _fat-headedness_. Lat. _stupor_,
_ingenium crassum_. Cp. D.H. p. 200, s.v. παχύς.
=πεζός.= =70= 3, =76= 2, =80= 3, =108= 11, etc. _In prose_, _prosaic_.
Lat. _pedester_. πεζὴ λέξις, πεζὴ διάλεκτος, πεζὸς λόγος, πεζοὶ
λόγοι = _oratio soluta_. Cp. Quintil. x. 1. 81 “multum enim
supra prosam orationem et quam pedestrem Graeci vocant surgit
[Plato].” In =120= 27 the metaphor seems still to be strongly
felt—‘marching on foot,’ ‘pedestrian.’
=πειθώ.= =84= 11. _Persuasiveness._ Lat. _persuadendi vis_.
=πεῖρα.= =66= 14, =102= 21, =256= 5, etc. _Experience._ Lat.
_experientia_.
=πεντάμετρος.= =256= 23. _Consisting of five metrical feet._ Lat.
_pentameter_.
=πεντάχρονος.= =262= 9. _Consisting of five times._ Lat. _qui constat
temporibus quinque_. See s.v. χρόνοι p. 333 _infra_.
[Page 316]
=πεποιημένος.= =78= 17, =252= 24. _Invented_, _original_,
_newly-coined_. Lat. _factus_, _novatus_ (Cic. _de Orat._ iii.
38. 154; i. 34. 155). Fr. _forgé tout exprès_. Cp. Aristot.
_Poet._ xxi. 9; Demetr. p. 297; Quintil. viii. 6. 32 “vix
illa, quae πεποιημένα vocant, quae ex vocibus in usum receptis
quocunque modo declinantur, nobis permittimus, qualia sunt
_Sullaturit_ et _proscripturit_.”
=περιβόητος.= =180= 7. _Notorious_, _celebrated_. Lat. _decantatus_,
_celebratus_.
=περίοδος.= =72= 7, 10, =104= 10, =116= 2, etc. _Period._ Lat.
_periodus_, _comprehensio_, _verborum ambitus_, etc. See
Demetr. p. 298 for various references and equivalents, and also
p. 323 (Index); Sandys’ _Orator_ p. 217; Laurand’s _Études_
pp. 126, 128.—According to Dionysius, the period should not be
used to excess [see n. on =118= 15]. Another weakness of the
periodic construction is elsewhere noted by him: τοῦτο δὲ [sc.
τὸ παθητικὸν] ἥκιστα δέχεται περίοδος (_de Isocr._ c. 2).
=περισπασμός.= =128= 10. _The circumflex accent._ Lat. _circumflexio_,
_accentus circumflexus_. Cp. =περισπωμένας= =126= 11: ‘drawn
around,’ ‘twisted,’ ‘circumflexed.’ Aristotle denotes the
circumflex accent by the term ‘middle’: ἔστιν δὲ αὐτὴ μὲν ἐν τῇ
φωνῇ, πῶς αὐτῇ δεῖ χρῆσθαι πρὸς ἕκαστον πάθος, οἷον πότε μεγάλῃ
καὶ πότε μικρᾷ καὶ μέσῃ, καὶ πῶς τοῖς τόνοις, οἷον ὀξείᾳ καὶ
βαρείᾳ καὶ μέσῃ, καὶ ῥυθμοῖς τίσι πρὸς ἕκαστα (Aristot. _Rhet._
iii. 1. 4).
=περιστέλλειν.= =142= 16. _To contract_, _to pucker up_. Lat.
_contrahere_.
=περιττός.= =74= 13, =84= 8, =182= 4, 7. _Extraordinary_, _richly
wrought_; _exceedingly good_, _unsurpassed_. Lat. _excellens_,
_curiosus_, _elaboratus_. Cp. Long. _de Subl._ xl. 2 (where the
word is opposed to κοινὸς καὶ δημώδης), iii. 4, xxxv. 3. See
also _de Isocr._ c. 3, _de Demosth._ cc. 8, 56, _Ep. ad Pomp._
c. 2 (περιττολογία): also Demetr. p. 298 (περισσοτεχνία).
=περιφανής.= =244= 18. _Seen on every side._ Lat. _conspicuus_. So
=περιφάνεια= =210= 17, =234= 2 (‘so that each word should admit
an all-round view of it’).—PMV give περιφανές (not περιφερές)
in =246= 3.
=περιφερής.= =206= 15, =230= 31, =246= 3. _Circular_, _rounded_. Lat.
_rotundus_. Cp. [Dionys. Hal.] _Ars Rhet._ x. 13 τὰ στρογγύλα
καὶ τὰ περιφερῆ λέγειν προοίμια. In Demetr. _de Eloc._ § 13
περιφερεῖς στέγαι = _vaulted roofs_.
=πεφυκέναι= (c. infin.). =66= 16, =70= 3, =104= 16, etc. _To have a
gift for_, _a liking for_. Lat. _solere_, _amare_.
=πεφυλαγμένως.= =148= 1. _Guardedly._ Lat. _caute_. The word is used in
the Attic period by Xenophon and Isocrates.
=πιέζειν.= =144= 21, =148= 16, =220= 18, =230= 12. _To close tight_,
_to compress_. Lat. _comprimere_.
=πιθανός.= =98= 17, 20, =100= 17, =120= 21. _Attractive_, _plausible_.
Lat. _probabilis_, _verisimilis_.
=πικρός.= =232= 15. _Bitter_, _harsh_. Lat. _acerbus_. So =πικραίνειν=
=130= 19, =154= 13, =216= 17.
=πίνος.= =120= 23, =136= 16, =212= 24, =236= 8. _Mellowing deposit_,
_tinge of antiquity_, _flavour of archaism_. Lat. _antiquitas_,
_antiquitas impexa_ (Tac. _Dial._ c. 20), _nitor obsoletus_
(_Auct. ad Her._ iv. 4. 46). There is a suggestion of
_négligé_ or _abandon_ about the word, but on the whole it
is not uncomplimentary: cp. _Ep. ad Pomp._ c. 2 ὅ τε πίνος ὁ
τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ λεληθότως ἐπιτρέχει, and _de
Demosth._ c. 38 ἀλλ’ [ἵνα] ἐπανθῇ τις αὐταῖς χνοῦς ἀρχαιοπινὴς
καὶ χάρις ἀβίαστος. The compound εὐπίνεια is found in Long.
_de Subl._ xxx. 1. There is a scholium (preserved in M) on
=120= 23, which is, unfortunately, vague and uncertain: =πῖνος=
κυρίως ὁ ῥύπος, ἀφ’ οὗ πιναρὰ ῥάκη. λέγεται δὲ καὶ τὸ ἐπανθοῦν
τισὶ χνοῶδες ὡς ἐπὶ μήλων καὶ ἀπίων. ἀπὸ τούτου καὶ ἐπὶ τοῦ
λόγου τὸ ἐπιφαινόμενον αὐτῷ ἐν τῇ συνθήκῃ τῆς λέξεως ποιὸν
πίνον ὀνομάζει. ἔστι δὲ πῖνος καὶ ὄνομα τόπου.
[Page 317]
=πλάγιος.= =106= 20. _Oblique._ Lat. _obliquus_ (_casus_).
=πλανᾶσθαι.= =254= 16, =270= 18. _To wander_, _to be irregular_.
Lat. _vagari_. Used in reference to vague, elastic metre. So
περιπεπλανημένα μέτρα in _de Demosth._ c. 50.
=πλάσμα.= =90= 6, =118= 24. _Cast_, _form_. Lat. _imago_, _forma
dicendi_. Cp. _Ep. ad Pomp._ c. 4 ὕψος δὲ καὶ κάλλος καὶ
μεγαλοπρέπειαν καὶ τὸ λεγόμενον ἰδίως πλάσμα ἱστορικὸν Ἡρόδοτος
ἔχει (viz. “elevation, beauty, stateliness, and what is
specifically called the ‘historical vein’”); Long. _de Subl._
xv. 8 ποιητικὸν τοῦ λόγου καὶ μυθῶδες τὸ πλάσμα (the ‘form’).
In _de Demosth._ c. 34 πλάσμα seems to have the same meaning
as χαρακτῆρ in c. 33 _ibid._ [The musical meaning of _moulded
delivery_, _modulation_ does not emerge in the _C.V._]
=πλάστης.= =264= 2. _Modeller, in clay or wax._ Lat. _fictor_.
=πλάτος.= =210= 9, =212= 1, =246= 19. _Breadth._ Lat. _latitudo_. So
=πλατύς= =244= 18. In =210= 9 the meaning is, ‘belongs to the
class of ideas which are regarded with a wide indefiniteness.’
So in Latin _platice_ = πλατικῶς = ‘broadly,’ ‘generally’: cp.
Usener _Rhein. Mus._ xxiv. 311. See also under ἀπαρτίζειν, p.
289 _supra_.
=πλεονάζειν.= =146= 13, =214= 12. _To exceed due bounds._ Lat.
_redundare_. So =πλεονασμός=, _redundantia_, =110= 15.
=πληγή.= =142= 4, 16, =144= 5. _Stroke_, _impact_. Lat. _ictus_,
_percussio_.
=πληθυντικῶς.= =106= 18. _In the plural number._ Lat. _pluraliter_.
=πλοκή.= =72= 5, =130= 22, =166= 9. _Combination._ Lat. _copulatio_.
=πλούσιος.= =92= 18. _Rich._ Lat. _opulentus_. The word is contrasted
with =πτωχός= (=92= 17), _beggarly_, _mendicus_: for which cp.
the expression τῇ λέξει πτωχεύειν in the passage quoted, from
Chrysostom, under ἀπαγγελία p. 288 _supra_.
=πνίγειν.= =142= 18. _To stifle_, _to smother_. Lat. _suffocare_.
=ποίημα.= =76= 10, =78= 5, =100= 23, =154= 2, =166= 4, =192= 8, =250=
10, 16, =254= 4, 7, =272= 14. _Poem_; _line of a poem_ (in this
sense, more commonly στίχος or ἔπος). Lat. _poëma_, _versus_.
So =ποιεῖν= =208= 9, ‘to write poetry,’ and =ποιητής= =74= 8
(but in =214= 16 ποιηταί means ‘writers’ generally: cp. _de
Demosth._ c. 37 παρ’ οὐδενὶ οὔτε ἐμμέτρων οὔτε πεζῶν ποιητῇ
λόγων). ποίημα sometimes refers specially to epic and dramatic
poetry (in contrast to song-poetry). In =64= 10 the meaning is
‘product’ simply. For ‘poetry’ =ποίησις= is found: =214= 1, 2,
=252= 24, =270= 21, =274= 7, =276= 10.
[Page 318]
=ποιητικός.= =70= 2, 4, =108= 11, =206= 20, =208= 8, 19, =252= 20, 23,
29, etc. _Poetical._ Lat. _poëticus_. In =136= 11 the meaning
is ‘productive of.’
=ποικιλία.= =130= 13, =192= 18, =196= 17, 25, =198= 5. _Variety_,
_decoration_. Lat. _varietas_. So =ποικίλλειν= =132= 13, =192=
20, =196= 9; and =ποικίλος= =110= 11, =154= 19, =160= 10, etc.
ποικίλος may be rendered by such adjectives as ‘elaborate,’
‘curious,’ ‘laborious,’ ‘multifarious,’ ‘kaleidoscopic,’
‘ever-varying.’
=πολιτικός.= =64= 15, =72= 17, =124= 21, =130= 10, =214= 1, 5, =254=
25, =266= 7, =272= 20. _Civil_, _parliamentary_, _political_,
_public_. Lat. _civilis_. See D.H. p. 203 for an explanatory
note on πολιτικός. In =72= 17, P has ῥητορικοῖς ἀνδράσι, which
is an unlikely periphrasis for ῥήτορσι (=104= 8), but may well
indicate the _general meaning_ of πολιτικοῖς ἀνδράσι: cp.
_de Demosth._ c. 23 ταῦτα δὲ πολιτικοῖς καὶ ῥήτορσιν ἀνδράσι
μελήσει. Compare generally, in Aristot. _Poet._ c. vi., the
words τῆς πολιτικῆς καὶ ῥητορικῆς ἔργον ἐστίν, and οἱ μὲν γὰρ
ἀρχαῖοι πολιτικῶς ἐποίουν λέγοντας, οἱ δὲ νῦν ῥητορικῶς.
=πολύμετρος.= =272= 5. _Of many measures or metres._ Lat. _qui multis
constat metris_.
=πολύμορφος.= =160= 12. _Of many forms._ Lat. _multiformis_. Cp.
=πολυειδής= =196= 25, =πολυειδῶς= =270= 11.
=πολυπραγμονεῖν.= =264= 6. _To bother about._ Lat. _summa cura
elaborare_.
=πολυσύλλαβος.= =126= 14, =132= 5. _With many syllables._ Lat. _qui
syllabis pluribus constat_.
=πολύφωνος.= =160= 23. _Of many voices._ Lat. _qui multas voces
emittit_. Used of the variety of tones in Homer’s
‘composition.’ In the _de Sublim._ c. xxxiv. the term is
applied to Hypereides, who οὐ πάντα ἑξῆς καὶ μονοτόνως [i.e. at
one sustained high pitch] ὡς ὁ Δημοσθένης λέγει.
=πούς.= =86= 1, =168= 12, =172= 20, =174= 22, 24, =178= 7, =184=
1, =256= 9, 12, =258= 19, =260= 3. _Metrical foot._ Lat.
_pes_. τὸ δ’ αὐτὸ καλῶ πόδα καὶ ῥυθμόν =168= 11. Aristoxenus,
Ῥυθμικὰ στοιχεῖα ii. 16, writes: ᾧ σημαινόμεθα τὸν ῥυθμὸν καὶ
γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς ἐστιν εἷς ἢ πλείους. Cope
(_Introduction to Aristotle’s Rhetoric_ p. 383) thinks that
Dionysius neglects the important distinction between βάσις,
the unit of rhythm, and πούς, the unit of metre. Goodell
(_Greek Metric_ p. 47) thus paraphrases a passage of Marius
Victorinus (p. 44 K.): “Between foot and ‘rhythmus’ there is
this difference, that a foot cannot exist without rhythm, but
a ‘rhythmus’ moves rhythmically without being divisible into
feet.” [It is this kind of ‘rhythmus’ that counts in rhythmical
prose.]
=πραγματεία.= =68= 8, 14, 17, =70= 8, etc. _Inquiry_, _treatise_,
_work_. Lat. _studium_, _commentatio_, _opus_. So
=πραγματεύεσθαι= =106= 5, 10, =140= 22, =268= 7.
=πραγματικός.= =66= 6. _Pertaining to subject matter or invention._
Lat. _negotialis_. Cp. Quintil. iii. 7. 1 “a parte negotiali,
hoc est πραγματικῇ.” The πραγματικὸς τόπος (“tractatio rerum
et sententiarum”) covers subject matter, things, thoughts; the
λεκτικὸς τόπος includes expression, form, style.
=πραΰς.= =162= 5, =244= 21. _Gentle._ Lat. _lenis_. Cp. Demetr. p. 299.
=πρέπον, τό.= =120= 19, =122= 13, =124= 11, =136= 12, =198= 13, 14.
_Propriety_, _appropriateness_, _fitness_. Lat. _decorum_. Fr.
_la convenance_. Cp. Cic. _Orat._ 21. 70 “ut enim in vita, sic
in oratione nihil est difficilius quam quid deceat videre.
πρέπον appellant hoc Graeci; nos dicamus sane decorum; de
quo praeclare et multa praecipiuntur et res est cognitione
dignissima: huius ignoratione non modo in vita, sed saepissime
et in poëmatis et in oratione peccatur.” The Greek rhetoricians
drew the term from the language of ethics. Aristot. _Rhet._
iii. 7. 1 τὸ δὲ πρέπον ἕξει ἡ λέξις, ἐὰν ᾖ παθητική τε καὶ
ἠθικὴ καὶ τοῖς ὑποκειμένοις πράγμασιν ἀνάλογον. So =πρεπώδης=
=106= 17.
[Page 319]
=πριάπειος.= =86= 8. _Priapean_: as a metrical term. Lat. _Priapeius_.
Effeminate and ribald verse, written in honour of Priapus, and
involving a mutilation of the heroic line.
=προέκθεσις.= =242= 2. _A prefatory account._ Lat. _expositio antea
data_.
=πρόθεσις.= =70= 21, =108= 16, =220= 6. _Preposition._ Lat.
_praepositio_.
=πρόνοια.= =184= 16, =186= 1. _Deliberation._ Lat. _consilium_.
=προοίμιον.= =224= 24, =252= 3. _Introduction._ Lat. _exordium_.
=προπετής.= =244= 22. _Flowing._ Lat. _volubilis_, _profluens_.
=προσαγόρευσις.= =260= 22. _Address._ Lat. _allocutio_, _compellatio_.
=προσερανίζειν.= =116= 4. _To augment._ Lat. _cumulare_. The period in
question has been aided (so to say) by the alms of expletives.
For the metaphor cp. συνερανιζόμενα _de Isocr._ c. 3 and ἔρανον
_de Imitat._ B. vi. 2.
=προσερείδειν.= =148= 22. _To drive against._ Lat. _impingere_,
_allidere_. In =220= 24 προσανίστασθαι is similarly used of
‘rising against.’
=προσεχής.= =84= 6. _Obvious_, _natural_, _allied_, _appropriate_. Lat.
_proximus_, _cognatus_ (_cum re coniunctus_). In =258= 24 the
sense is ‘adjoining.’
=προσηγορικός.= =70= 17, =102= 17, 18, =218= 6, 11, =220= 7, 16,
=222= 24, =230= 1. _Appellative._ Lat. _appellativus_. ὄνομα
προσηγορικόν = _common noun_, Lat. _nomen appellativum_.
It would appear from Dionysius Thrax (_Ars Grammatica_ p.
23 Uhlig) that ὄνομα might include προσηγορία (= ὄνομα
προσηγορικόν), while προσηγορία could cover participles
(μετοχαί) and adjectives (ἐπίθετα) as well as common nouns.
But the strict division is that of proper names and general
terms, as given by Dionysius Thrax (_ibid._ pp. 33, 34): κύριον
μὲν οὖν ἐστι τὸ τὴν ἰδίαν οὐσίαν, σημαῖνον, οἷον =Ὅμηρος=,
=Σωκράτης=. προσηγορικὸν δέ ἐστι τὸ τὴν κοινὴν οὐσίαν σημαῖνον,
οἷον =ἄνθρωπος=, =ἵππος=. In such passages as =222= 24 and
=230= 1 ‘adjective’ would be an appropriate modern rendering.
Quintil. i. 4. 21 “_vocabulum_ an _appellatio_ dicenda sit
προσηγορία et subicienda nomini necne, quia parvi refert,
liberum opinaturis relinquo.” In =272= 25 =προσηγορία= =
_appellation._
=προσίστασθαι.= =132= 8. _To offend._ Lat. _obstrepere_. Cp. _de
Isocr._ c. 2 προσιστάμενος ταῖς ἀκοαῖς, c. 14 _ibid._ τῷ γὰρ
μὴ ἐν καιρῷ γίνεσθαι, μηδ’ ἐν ὥρᾳ, προσίστασθαί φημι ταῖς
ἀκοαῖς, _Antiqq. Rom._ i. 8 μονοειδεῖς γὰρ ἐκεῖναί τε καὶ ταχὺ
προσιστάμεναι (= _cito offendunt_) τοῖς ἀκούουσιν.
=προσκατασκευάζειν.= =110= 14 (v.l. προκατασκευάζειν). _To model
further_, _remodel_. Lat. _insuper instruere_.
=προσοδιακός.= =86= 3. _Processional_: see n. _ad loc._
[Page 320]
=προσῳδία.= =128= 12, =196= 17, =268= 20. _Accent._ Lat. _accentus_.
The word is defined in =196= 17 τάσεις φωνῆς αἱ καλούμεναι
προσῳδίαι. See further s.v. τόνος p. 329 _infra_, and compare
Bywater _Aristotle on the Art of Poetry_ p. 336 “προσῳδία
with Aristotle comprises accent, breathing, and quantity—all
the elements in the spoken word which in the ancient mode of
writing were left to be supplied by the reader.” The symbols
used in accentuation are supposed to have been introduced
by Aristophanes of Byzantium, if not by some still earlier
scholar, in order to recall to Greeks and teach foreign
learners the true intonation of the language, which was in
danger of being corrupted and forgotten when the Greek world
grew vast and came to include so many foreign elements.
=πρόσωπον.= =160= 18, =198= 23. _Person_, _character_. Lat. _persona_.
Cp. Demetr. p. 300.
=πτῶσις.= =106= 20, =108= 4, =132= 7, =212= 20, =264= 4. _Grammatical
case._ Lat. _casus_. ‘_Verbal_ cases’ are mentioned in =108= 4;
in Aristotle the term πτῶσις includes inflexions in general.
=πυρρίχιος.= =168= 17. _Pyrrhic._ Lat. _pyrrhichius_. The metrical foot
ᴗ ᴗ.
=ῥῆμα.= =70= 13, 21, =168= 10, =218= 6, 7, =264= 5. _Verb._ Lat.
_verbum_. So =ῥηματικός= =108= 4 (_verbal_), =220= 17 (_verbal
form_).
=ῥήτωρ.= =74= 8, =132= 22, =166= 12, =200= 14, =206= 25, =218= 21,
=236= 20, =242= 7, =248= 15. _Orator_, _rhetorician_. Lat.
_orator_, _rhetor_. As in English we have no similarly
two-sided word, it is often hard to decide between the
renderings, ‘speaker’ and ‘teacher of speaking.’ So =ῥητορικός=
=68= 9, =254= 25, =262= 20.
=ῥοῖζος.= =138= 10. _A whizzing._ Lat. _stridor_.
=ῥυθμίζειν.= =180= 13. _To bring into rhythm_, _to scan_. Lat.
_scandere_. Cp. the use of βαίνειν and διαιρεῖν.
=ῥυθμός.= =120= 18, =122= 12, =124= 6, 9, _passim_. _Rhythm_,
_harmonious movement of speech_. Lat. _numerus_. For _le
nombre oratoire_ in Cicero (whose prose, however, like Roman
prose generally, must not be taken to follow exclusively
Attic standards) see Laurand’s _Études_ pp. 109-11, and cp.
Cic. _Orat._ 20. 67 “quicquid est enim, quod sub aurium
mensuram aliquam cadat, etiamsi abest a versu—nam id quidem
orationis est vitium—numerus vocatur, qui Graece ῥυθμός
dicitur.” Quintil. _Inst. Or._ ix. 4. 45 “omnis structura
ac dimensio et copulatio vocum constat aut numeris (numeros
ῥυθμούς accipi volo) aut μέτροις, id est dimensione quadam.”
It was a suggestive saying of Scaliger’s that metre gives
the exact ‘measure’ of the line, rhythm its ‘temperament.’
As Dionysius identifies ῥυθμός and πούς (=168= 11; cp. =176=
2, 3), we may translate ῥυθμός by ‘foot’ in =180= 11, =182=
19 (cp. σπονδεῖος πούς =178= 7), =200= 17, =206= 9, etc.—Cp.
Aristot. _Rhet._ iii. 8. 2 τὸ δὲ ἄρρυθμον ἀπέραντον, δεῖ δὲ
πεπεράνθαι μέν, μὴ μέτρῳ δέ· ἀηδὲς γὰρ καὶ ἄγνωστον τὸ ἄπειρον.
περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως
ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά· διὸ ῥυθμὸν δεῖ
ἔχειν τὸν λόγον, μέτρον δὲ μή· ποίημα γὰρ ἔσται. ῥυθμὸν δὲ μὴ
ἀκριβῶς· τοῦτο δὲ ἔσται ἐὰν μέχρι του ᾖ. So =ῥυθμικός= =128=
18 (where the reference is to lyric metres), =168= 8, =172= 20
(cp. οἱ μετρικοί), =176= 7. Quintilian (ix. 4. 68) provides a
good example of the divisions recognized by the _rhythmici_:
“quis enim dubitet, unum sensum in hoc et unum spiritum esse:
_animadverti, iudices, omnem accusatoris orationem in duas
divisam esse partes?_ tamen et duo prima verba et tria proxima
et deinceps duo rursus ac tria suos quasi numeros habent
spiritum sustinentes, sicut apud rhythmicos aestimantur.”
[Page 321]
=ῥυπαρός.= =134= 24. _Filthy_, _sordid_. Lat. _sordidus_.
=ῥύσις.= =244= 21. _Flow._ Lat. _fluxus_.
=ῥυσός.= =92= 10. _Wrinkled._ Lat. _rugosus_.
=ῥώθωνες.= =144= 22, 23, =146= 11, =220= 25. _Nostrils._ Lat. _nares_.
In =146= 11 διὰ τῶν ῥωθώνων συνηχούμενα = _nasal_.
=Σαπφικός.= =258= 7. _Of Sappho._ Lat. _Sapphicus_.
=σαφήνεια.= =160= 22. _Clearness_, _lucidity_. Lat. _perspicuitas_. Fr.
_clarté_, _netteté_. The adjective =σαφής= occurs in =210= 4.
=σελίς.= =186= 2. _Page._ Lat. _pagina libri_.
=σεμνότης.= =84= 2, =110= 19, =164= 20, =166= 12, =170= 2, =172= 11,
=236= 8. _Gravity_, _majesty_. Lat. _granditas_, _dignitas_,
_gravitas_. Fr. _majesté_. So =σεμνολογία= =120= 23, =174=
17; =σεμνός= =68= 5, =80= 12, =84= 8, etc. It is not easy to
find a good equivalent for σεμνός, as ‘dignified’ comes nearer
to ἀξιωματικός; ‘impressive’ (or the like) to μεγαλοπρεπής;
‘lofty,’ ‘elevated,’ or ‘sublime,’ to ὑψηλός. ‘Solemn,’
‘majestic,’ ‘august,’ or ‘stately’ will sometimes serve.
=σημαίνειν.= =74= 3, =134= 25. _To betoken_, _to express_. Lat.
_significare_.
=σιγμός.= =138= 10. _A hissing._ Lat. _sibilus_. Fr. _sifflement_.
=σιωπή.= =218= 16, =220= 2, =230= 4. _Silence_, _interval_, _pause_.
Lat. _silentium_, _intermissio_. Modern metrists who
confine their attention to syllables are apt to neglect the
interrelations of silence and sound. Dionysius would, on
the contrary, have recognized that the pauses denoted by
punctuation are the key to the metre in such lines as “Thy
rankest fault; all of them; and require” (_Tempest_ v. 1).
=σκαιότης.= =250= 8. _Clumsiness_, _stupidity_. Lat. _rusticitas_,
_imperitia_. Fr. _gaucherie_: cp. the editor’s _Ancient
Boeotians_ p. 6.
=σκευωρία.= =264= 7. _Elaboration_. Lat. _cura artificiosa_. Cp. _de
Thucyd._ c. 5 σκευωρίαν τεχνικήν, c. 29 μᾶλλον δὲ διθυραμβικῆς
σκευωρίας οἰκειότερον: Hesych. σκευωρία· κατασκευή.
=σκιερός.= =234= 13. _Shady_, _dark_. Lat. _obscurus_.
=σκληρός.= =132= 1, =154= 12. _Hard._ Lat. _durus_. Cp. D.H. p. 205.
=σομφός.= =122= 25. _Thick_, _husky_. Lat. _subraucus_, _fuscus_. Cp.
Schol. in M, σομφὸν ἤγουν θρυλιγμὸν καὶ ἐκμέλειαν. Some of the
MSS. give ἀσύμφωνον, thus repeating a word used a few lines
earlier.
=σοφιστής.= =190= 10, =264= 19. _Sophist._ Lat. _sophista_. The
comprehensiveness of the term is well illustrated by the fact
that in the former passage it is applied to Hegesias, in the
latter to Isocrates and Plato. In the parallel passage of the
_de Demosth._ (c. 51) ὁρῶν γε δὴ τούτους τοὺς =θαυμαζομένους
ἐπὶ σοφίᾳ= καὶ κρατίστων λόγων ποιητὰς νομιζομένους Ἰσοκράτην
καὶ Πλάτωνα γλυπτοῖς καὶ τορευτοῖς ἐοικότας ἐκφέροντας λόγους.
Cp. Demetr. p. 301.
[Page 322]
=σπαδονίζειν.= =142= 9. _To emasculate_, _to cramp_. Lat. _spadonium
sonum reddere_. This reading seems preferable on several
grounds: (1) it is the more difficult of the two; (2) the sense
of ‘choke the voice’ seems to agree well with οὐδὲ συγκόψει
τοὺς ἤχους (=162= 4 ‘and will not impede the voice’); (3)
σπανίζειν (intransitive: cp. _de Demosth._ c. 32, _de Thucyd._
c. 19) τοῦ ἤχου would be more common than σπανίζειν τὸν ἦχον:
(4) σπαδονισμοὺς τῶν ἤχων (‘impediments to sound,’ ‘arrested
sounds’) occurs, without variant, in _de Demosth._ c. 40,
and is adopted by U.-R. as well as by other editors; (5) the
authority of R seems to support σπαδονίζει rather than (as
U.-R. think) σπανίζει.
=σπονδεῖος.= =170= 2, =178= 7 (with πόδες), =202= 20. _Spondee._ The
metrical foot – –. Vossius thus describes the effect of the
spondee: “hic pes incessum habet tardum et magnificum; itaque
rebus gravibus, et maxime sacris, vel ipso attestante vocabulo,
imprimis adhibetur.” Cp. Hor. _Ars Poet._ 255 “tardior ut
paulo graviorque veniret ad aures, | spondeos stabiles in iura
paterna recepit [sc. iambus],” and Cic. _Orat._ 64. 216.
=σπουδάζειν.= =66= 8, =94= 16. _To be eager._ Lat. _studere_, _sedulo
operam navare_. For the middle voice of this verb see note on
p. 95 _supra_. The noun =σπουδή= occurs in =156= 14, =186= 4,
=192= 7, =212= 16.
=σταθερός.= =234= 4. _Steadfast._ Lat. _stabilis_. τὸ σταθερόν = _la
lenteur grave_.
=στάθμη.= =236= 4. _A carpenter’s line or rule._ Lat. _amussis_. ἀπὸ
στάθμης = _velut ad amussim_, ‘regulated by line and rule, by
square and level.”
=στενός.= =142= 19, =146= 3. _Narrow._ Lat. _angustus_. In =146= 3 it
is coupled with λεπτός.
=στηριγμός.= =202= 24. _A sustaining_ (of the voice on certain
syllables), _a pause_. Lat. _mora_. See under ἐγκάθισμα,
p. 297 _supra_; and under ἀντιστηριγμός, p. 288 _supra_.
So =στηριχθῆναι= =220= 18, ‘to be firmly planted,’ ‘to be
sustained.’
=στιβαρός.= =216= 16. _Hardy_, _robust_. Lat. _robustus_. The word
occurs also in _de Thucyd._ c. 24. Cp. the French _nerveux_.
Hesych. στιβαρόν· εὔρωστον, βαρύ, εὔτονον, στεῤῥόν, ἰσχυρόν.
As is pointed out by Larue van Hook (_Metaphorical Terminology
of Greek Rhetoric_ p. 20), both Latin and English abound in
similar terms of style drawn from good physical condition:
_nervi_, _vires_, _vigor_, _lacerti_, _ossa_, _robur_:
_full-blooded_, _hearty_, _lively_, _lusty_, _muscular_,
_nervous_, _robust_, _sinewy_, _supple_, _strenuous_,
_vigorous_, etc.
=στίχος.= =86= 2, 12, =88= 7, etc. _A line of poetry._ Lat. _versus_.
In _de Thucyd._ c. 19 the word is used with reference to prose:
ὅτι πολλὰ καὶ μεγάλα πράγματα παραλιπών, τὸ προοίμιον τῆς
ἱστορίας μέχρι πεντακοσίων ἐκμηκύνει στίχων.
=στοιχεῖον.= =70= 11, 20, =108= 10, =110= 9, =138= 1, etc. _Element._
Lat. _elementum_. So =στοιχειώδης= =138= 14. With the use of
στοιχεῖον in c. 14 cp. Aristot. _Poet._ c. 20, where the word
is defined as φωνὴ ἀδιαίρετος, οὐ πᾶσα δέ, ἀλλ’ ἐξ ἧς πέφυκε
συνετὴ γίγνεσθαι φωνή. In =108= 10 the meaning practically is
‘principle,’ ‘rule.’
[Page 323]
=στρέφειν.= =264= 3, =270= 11. _To turn_, _to twist_. Lat. _torquere_.
In =270= 11 the meaning may be conveyed by ‘to change the words
about,’ ‘to permute or vary the order of the words,’ ‘to give a
new turn to the sentence.’
=στρογγύλος.= =112= 11. _Compact_, _rounded_, _terse_. Lat. _rotundus_.
Fr. _arrondi_. See the examples quoted in D.H. p. 205, and add
_de Lys._ c. 9 στρογγύλη καὶ πυκνή, _de Isaeo_ c. 3 στρογγύλη
τε καὶ δικανικὴ οὐχ ἧττόν ἐστιν ἡ Ἰσαίου λέξις τῆς Λυσίου. So
=στρογγυλίζειν= =142= 15. Latin equivalents, or parallels, may
be found in Horace’s _ore rotundo_ (_Ars P._ 323), Cicero’s
_contortus_ (_Orat._ 20. 66), Quintilian’s _corrotundare_ (xi.
3. 102). “στρογγύλος is used of the new stylistic artifices
of the sophistical rhetoric by Aristophanes _Acharn._ 686
(στρογγύλοις τοῖς ῥήμασι), and by Plato _Phaedr._ 234 E. In
later usage it is constantly used of periodic composition” (G.
L. Hendrickson in _American Journal of Philology_ xxv. 138).
=στροφή.= =194= 6, 9, 10, 16, 19, =254= 13, =272= 5, =278= 8.
_Strophe_, _stanza_. Lat. _stropha_.
=στρυφνός.= =228= 7. _Harsh_, _astringent_. Lat. _acerbus_. See D.H. p.
205 (s.v. στριφνός: in _C.V._ =228= 7 F has στριφνόν), with the
reference to Jebb’s equivalent ‘biting flavour’ (_Att. Orr._ i.
35).
=στύφειν.= =154= 13. _To draw up the mouth._ Lat. _astringere_. Used
of sounds that make the hearer pull a wry face and screw up
his lips. Cp. _de Demosth._ c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς
λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων
ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ βούλεται.
=συγγραφεύς.= =74= 8, =76= 3, =154= 17, =206= 25, =214= 15, =228=
11, =236= 18, =248= 14. _Prose-writer_, _historian_. Lat.
_scriptor_ (_prosaicus_); (_scriptor_) _historicus_.
ἱστοριογράφος (_de Thucyd._ c. 2) is a less ambiguous
expression than συγγραφεύς (c. 5 _ibid._) or than λογογράφος
(c. 20 _ibid._).—In =68= 9 =συγγράφειν= = _to compose_ (a
treatise).
=συγκοπή.= =156= 19, =230= 7. _Stoppage._ Lat. _impeditio_. So
=συγκόπτειν= (‘impede the voice,’ ‘check the utterance’) =162=
4. [This meaning seems to bring the three passages fairly into
line: otherwise συγκοπαὶ τῶν ἤχων, in =230= 7, might well mean
‘durae sonorum collisiones et concursiones.’]
=συγκροτεῖν.= =206= 16. _To weld together._ Lat. _compingere_,
_coagmentare_.
=σύγκρουσις.= =230= 27. _Collision_, _concurrence_, _consonance_. Lat.
_concursus_. Fr. _rencontre_. So =συγκρούειν= =202= 18, =224=
10. Cp. Demetr. p. 302. The reference is to a succession of
two vowels which do not form a diphthong, either in the same
word (e.g. λᾶαν) or with hiatus between two words (e.g. ἄλγε’
ἔχοντα: or καὶ ἐλπίσας, τε ἔσεσθαι, καὶ ἀξιολογώτατον). Cp.
_de Demosth._ c. 43. Cicero’s opinion of the ‘concourse of
vowels’ (quoted by Quintil. ix. 4. 37) is given in _Orat._
23. 77 “verba etiam verbis quasi coagmentare neglegat; habet
enim ille tamquam hiatus et concursus vocalium molle quiddam
et quod indicet non ingratam neglegentiam de re hominis magis
quam de verbis laborantis.” On the other hand, Pope (_Essay on
Criticism_) states and exemplifies the weak side of hiatus by
means of the line, ‘Tho’ oft the ear the open vowels tire’; and
Cicero himself (_Orat._ 44. 150) writes, “quod quidem Latina
lingua sic observat, nemo ut tam rusticus sit qui vocales nolit
coniungere.” In English, the question of hiatus raises sundry
points of an interesting kind. Should we, for example, say
‘_an_ historian’ and ‘_an_ historical book,’ on the ground that
the initial aspirate is evanescent when the accent falls on the
second syllable; and similarly ‘_an_ united family’ but ‘_a_
union of hearts’?
[Page 324]
=συγκρύπτειν.= =130= 26. _To hide_, _to disguise_. Lat. _occulere_.
=συγξεῖν.= =210= 22, =228= 4, =232= 12, =234= 19. _To polish._ Lat.
_expolire_. Cp. _de Demosth._ c. 40 πολλὴν σφόδρα ποιουμένη
φροντίδα τοῦ συνεξέσθαι καὶ συνηλεῖφθαι καὶ προπετεῖς ἁπάντων
αὐτῶν εἶναι τὰς ἁρμονίας.
=συγχρώζεσθαι.= =244= 17. _To be closely joined._ Lat. _cohaerere_,
_mutuo se contingere_.
=συζυγία.= =84= 11, =104= 17, =106= 19, etc. _Coupling_, _grouping_,
_combination_. Lat. _coniunctio_. Fr. _liaison_. So _de
Demosth._ c. 40 (the passage quoted s.v. συμβολή, _infra_).
=συλλαβή.= =150= 16. _Syllable._ Lat. _syllaba_. Words like this serve
to remind us how much of our modern rhetorical and grammatical
terminology is taken direct from the Greek.
=συλλεαίνειν.= =230= 20. _To rub smooth_, _to polish_. Lat. _levigare_,
_polire_. Cp. _de Demosth._ c. 43 ἐν δὲ τῇ δευτέρᾳ περιόδῳ
τραχύνεται μὲν ἡ σύνθεσις ἐν τῷ “μεγάλη γὰρ ῥοπή” διὰ τὸ μὴ
συναλείφεσθαι τὰ δύο ρ ρ, καὶ ἐν τῷ “ἀνθρώπων πράγματα” διὰ τὸ
μὴ συλλεαίνεσθαι <τὸ ν> τῷ ἑξῆς.
=συμβεβηκότα, τά.= =98= 8, 9, =140= 14, =264= 6, =268= 19. _The
accidental, non-essential, qualities of a thing._ Lat.
_accidentia_. In =268= 19 the reference is to the changes which
words undergo in the way of contraction, expansion, acute or
grave accentuation, etc.
=συμβολή.= =210= 20, =232= 13. _Clashing._ Lat. _concursus_. In
=232= 13 the reference is to _les chocs des voyelles_. Cp.
_de Demosth._ c. 40 καὶ διὰ τοῦτο φεύγει μὲν ἁπάσῃ σπουδῇ
τὰς τῶν φωνηέντων συμβολὰς ὡς τὴν λειότητα καὶ τὴν εὐέπειαν
διασπώσας, φεύγει δέ, ὅση δύναμις αὐτῇ, τῶν ἡμιφώνων τε καὶ
ἀφώνων γραμμάτων τὰς συζυγίας, ὅσαι τραχύνουσι τοὺς ἤχους καὶ
ταράττειν δύνανται τὰς ἀκοάς.
=σύμβολον.= =84= 4. _Token_, _label_. Lat. _signum_.
=συμμετρία.= =130= 7, 12, =246= 2, 4, =270= 10. _Due proportion._ Lat.
_iusta mensura_. In =270= 10 συμμετρία would seem to mean _the
arrangement of the periods within the lines or verses_ (μέτρα:
the variant ἐμμετρία is to be noticed); and with it should be
compared συμμέτρως in =270= 13, though there Upton suggests
ἀσυμμέτρως and Schaefer συμμέτροις. =συμμέτρως= occurs also
in =232= 9; and =συμμετρεῖν= in =212= 18, =276= 26. Cp. _de
Demosth._ c. 43 ὥστε συμμετρηθῆναι πρὸς ἀνδρὸς πνεῦμα.
=συμπληροῦν.= =180= 11, =182= 16. _To complete_, _to constitute_. Lat.
_absolvere_.
=συμπλοκή.= =160= 9, =198= 6, =240= 16. _Intertwining_, _blending_.
Lat. _implicatio_. So =συμπλέκειν= =154= 17, =258= 4. For the
metaphor from weaving cp. ῥάπτειν and ὑφαίνειν: Pindar _Nem._
iv. 153 ῥήματα πλέκων: Swinburne _Erechtheus_ 1487 “I have no
will to weave too fine or far, | O queen, the weft of sweet
with bitter speech.”
[Page 325]
=σύμπτωσις.= =240= 12. _Concurrence._ Lat. _concursus_.
=συμφορητός.= =72= 22. _Collected promiscuously_, _miscellaneous_. Lat.
_collatus_, _collecticius_.
=συνάγειν.= =144= 18, =212= 3. _To contract._ Lat. _contrahere_,
_coarctare_.
=συναλοιφή.= =108= 18, =180= 17, =218= 7, =222= 24, =256= 22.
_Blending_, _fusion_, _amalgamation_. Lat. _coitus_, _vocalium
elisio_. Fr. _synalèphe_ (_contraction, ou jonction de
plusieurs voyelles_). So =συναλείφειν= =220= 1, =222= 26, =234=
8, =236= 6, =244= 17. Compare Demetr. p. 303, together with
the passage there quoted from Quintil. ix. 4. 35-7 (including
the words “coëuntes litterae, quae συναλοιφαί dicuntur”), and
see (as to hiatus) Sandys’ _Orator_ pp. 160 ff. and Laurand’s
_Études_ pp. 114-6. Cp. _de Demosth._ c. 43 καὶ κατ’ ἄλλους δύο
τόπους ἢ τρεῖς τὰ ἡμίφωνα <καὶ ἄφωνα> παραπίπτοντα ἀλλήλοις τὰ
φύσιν οὐκ ἔχοντα συναλείφεσθαι ἔν τε τῷ “τὸν Φίλιππον” καὶ ἐν
τῷ “ταύτῃ φοβερὸν προσπολεμῆσαι” ταράττει τοὺς ἤχους μετρίως
καὶ οὐκ ἐᾷ φαίνεσθαι μαλακούς· ἐν δὲ τῇ δευτέρᾳ περιόδῳ κτλ.
(the remainder of the passage is given under συλλεαίνειν, p.
324 _supra_).
=συναπαρτίζειν.= =212= 11, =270= 13. _To complete_ (_the sense_)
_simultaneously_. Cp. Demetr. _de Eloc._ §§ 2, 10 (together
with ἀπαρτίζειν in Glossary p. 267 _ibid._), and also the
note on pp. 270, 271 _supra_. Cp. _de Demosth._ c. 39 ἔτι τῆς
ἁρμονίας ταύτης οἰκεῖόν ἐστι καὶ τὸ τὰς περιόδους αὐτουργούς
τινας εἶναι καὶ ἀφελεῖς καὶ μήτε συναπαρτιζούσας ἑαυταῖς
τὸν νοῦν μήτε συμμεμετρημένας τῷ πνεύματι τοῦ λέγοντος μηδέ
γε παραπληρώμασι τῶν ὀνομάτων οὐκ ἀναγκαίοις ὡς πρὸς τὴν
ὑποκειμένην διάνοιαν χρωμένας μηδ’ εἰς θεατρικούς τινας καὶ
γλαφυροὺς καταληγούσας ῥυθμούς.
=συνάπτειν.= =202= 19, =240= 20, =262= 4. _To link together._ Lat.
_adiungere_, _connectere_. Dionysius’ love of variety may be
seen by comparing together =262= 4, =258= 4, =256= 20, 22,
=258= 24.
=συναρμόττειν.= =118= 14, =134= 11, =234= 19. _To adapt one thing to
another._ Lat. _accommodare_. Used with reference to adjusting,
dovetailing, interlinking.
=συνασκεῖν.= =282= 1. _To practise simultaneously._ Lat. _simul
exercere_.
=σύνδεσμος.= =70= 14, 17, =72= 1, =218= 7, =220= 5, =258= 27.
_Conjunction_, _connective_, _connecting word_. Lat. _copula_,
_coniunctio_. ‘Particle,’ or ‘connecting-particle,’ will
sometimes be a suitable rendering, as the term includes
particles like ἄρα (=258= 27) and μέν and δή (Demetr. _de
Eloc._ §§ 55, 56, 196), and may even be applied to prepositions
(=220= 5, 6). In a difficult passage of Aristot. _Poetics_ (xx.
6), among the examples offered of σύνδεσμος are ἀμφί, περί,
μέν, ἤτοι, as well as δέ. A good account of the word will be
found in Cope’s _Introduction to Aristotle’s Rhetoric_ pp.
371-4, 392-7. See further Quintil. i. 4. 18; Aristot. _Rhet._
iii. 6. 6.
=συνεδρεύειν.= =100= 10, =160= 19. _To attend_, _to accompany_. Lat.
_assidere_, _adiungi_. Used, in =100= 10, of the accompanying
relations (mode, place, time, etc.), which adverbs denote in
reference to verbs.
[Page 326]
=συνεκτρέχειν.= =274= 24. _To run out together_, _to be of the same
length_. Lat. _aequis passibus concurrere_.
=συνεκφέρειν.= =240= 11. _To pronounce concurrently._ Lat. _simul
pronuntiare_. Cp. =συνεκφορά= =230= 3.
=συνεφθαρμένος.= =126= 10, =144= 12, =234= 13. _Imperceptibly blended_,
_melting into each other_. Lat. _commistus_. φθορά is the
technical term for the mixing of colours in painting: e.g.
Plut. _Mor._ 346 A καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων
πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν. Perhaps
it is this sense of ‘fusion’ that led to φθορά being used, in
Byzantine music, in some such sense as ‘modulation.’
=συνεχής.= =230= 17, 20, =244= 21, =246= 1. _Continuous_, _unbroken_.
Lat. _continuus_. So =συνεχῶς= =132= 9, =230= 29, =280= 21.
=συνέχεια= (=240= 5) = _coherence_, ‘continuus compositionis
tenor.’
=συνηχεῖν.= =140= 21, =144= 20, =146= 11. _To sound at the same time._
Lat. _consonare_. In =140= 21 the translation of the manuscript
reading συνεχούσης may be “while all these are pronounced, the
windpipe constricts the breath,” A. J. Ellis _op. cit._ p. 41
(with the note, “probably this is what Dionysius considered the
cause of voice”).
=σύνθεσις.= =68= 5, 7, 19, =70= 3, 9, =72= 8, =74= 15, =78= 9, =86=
2, 13, =90= 19, =134= 26 etc., =200= 10, 16, =202= 1, 7,
=204= 9, =232= 25, =240= 23, =270= 9. _Composition._ Lat.
_compositio_. ‘Composition’ (with the addition of ‘literary,’
to mark it off from other kinds of composition) seems the least
inadequate English rendering of σύνθεσις, and comes nearest
to the usual Latin title. To judge by the actual contents
of the treatise (which go beyond Dionysius’ occasional and
fragmentary definitions), the term ‘putting-together’ can be
applied not only to ὀνόματα, but (on the one side) to γράμματα
and συλλαβαί and (on the other) to κῶλα and περίοδοι, and to a
poem of Sappho or the proem of Thucydides. Hence ‘arrangement
(or _order_, _ordonnance_) of words’ proves, in practice, too
narrow a title, though the euphonic and symphonic arrangement
of words and the elements of words is the main theme, and
though there is (as has been pointed out in the Introduction,
p. 11 _supra_) some danger of ‘literary composition’ seeming
to promise a treatment of the πραγματικὸς τόπος. One of the
definitions of composition in the _New English Dictionary_
will apply very fairly to the _de Compositione Verborum_: “the
due arrangement of words into sentences, and of sentences into
periods; the art of constructing sentences and of writing
prose or verse,” while ἁρμονία (which is σύνθεσις in special
reference to skilful and melodious combination) might well be
defined in the words there quoted from the _Arte of Rhetorique_
of T. Wilson (1553 A.D.): “composition ... is an apt joyning
together of wordes in such order, that neither the eare shall
espie any jerre, nor yet any man shalbe dulled with overlong
drawing out of a sentence.” The form συνθήκη is found, in
practically the same sense as σύνθεσις, in the _Epitome_ c.
3; in Lucian _de conscrib. hist._ c. 46 καὶ μὴν καὶ συνθήκῃ
τῶν ὀνομάτων εὐκράτῳ καὶ μέσῃ χρηστέον; and in Chrysostom _de
Sacerdotio_ iv. 6 (quoted under ἀπαγγελία p. 288 _supra_). As
Latin equivalents (in addition to ‘de Compositione Verborum’),
‘de Collocatione Verborum’ or ‘de Constructione Verborum’
might be supported out of Cicero’s _Orator_ and _de Oratore_;
and something might be said, too, in favour of ‘de Structura
Orationis’ or (more fully) ‘de compositione, seu orationis
partium apta inter se collocatione.’—=συνθετικός= occurs in
=104= 15, and =σύνθετος= in =144= 11, =176= 3, =184= 3.
[Page 327]
=σύνοψις.= =208= 13. _A general view._ Lat. _conspectus_. εἰς σύνοψιν
ἐλθεῖν δυνάμενος would, in Aristotle’s conciser phrase, be:
εὐσύνοπτος.—The verb =συνορᾶν= occurs in =184= 22, =συνιδεῖν=
=182= 3.
=συντάττεσθαι.= =80= 5, =94= 15, =96= 6, =98= 19, 20, =104= 5, =106=
13, =264= 21. _To put together_, _to compose_, _to treat of_.
Lat. _componere_, _tractare_. So =σύνταγμα= =214= 9, and
=σύνταξις= (‘arrangement,’ ‘co-ordination,’ ‘treatise’) =94= 3,
=96= 2, 13, 16, etc.
=συντιθέναι.= =68= 3, =74= 12, =106= 11, etc. _To arrange words or
sounds_, _to compose_. Lat. _componere_.
=συνυφαίνειν.= =134= 12, =166= 17, =184= 14, =234= 9, 20, =240= 7. _To
weave together._ Lat. _contexere_. Lucian (_de conscrib. hist._
48) uses the word: καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα,
πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν κτλ. [The passage is
given in full under χρῶμα, p. 333 _infra_.]
=συνῳδός.= =220= 17, =224= 16, =232= 8. _In harmony with_, _accordant_.
Lat. _concors_.
=συριγμός.= =146= 14, =148= 7, =160= 1. _A hissing._ Lat. _sibilus_.
So =σύριγμα= =146= 3. In =160= 1 the reference is to the
‘whistling of ropes,’ the ‘shrieking of tackle’: cp. Virg.
_Aen._ i. 87 “insequitur clamorque virum _stridorque rudentum_.”
=σύρρυσις.= =162= 21. _A flowing together_, _conflux_. Lat.
_concursus_. Two forms of the word are found: σύρρευσις and (as
here) σύρρυσις.
=συστέλλειν.= =140= 19, =152= 25, =206= 1. _To compress._ Lat.
_contrahere_, _corripere_. So =συστολή= =142= 18, =268= 20.
=συστρέφειν.= =204= 9. _To abbreviate._ Lat. _contrahere_. Cp. D.H.
p. 206, and Demetr. p. 305 (s.v. συστροφή). The condensation
indicated in =204= 9 consists in the fact that the rolling
_down_ of the stone is described in a single line, whereas the
rolling _up_ takes four lines.
=σφραγίς.= =268= 3. _Seal_, _impression of a seal_. Lat. _signum_.
=σχέδιος.= =186= 5. _Sudden_, _off-hand_, _impromptu_. Lat.
_extemporalis_. Cp. αὐτοσχέδιος p. 291 _supra_.
=σχῆμα.= =88= 12, =90= 19, =130= 7, =132= 11, =148= 20 etc., =196= 25,
26, =198= 6, _passim_. _Figure_, _attitude_. Lat. _figura_. See
D.H. p. 206, and Demetr. p. 305, for various quotations and
references (to which may be added Causeret _La Langue de la
rhétorique et de la critique littéraire dans Ciceron_ pp. 176
ff.). Sometimes ‘construction’ will be a good rendering (e.g.
_de Isocr._ c. 3), or ‘form’ (_de Thucyd._ c. 37): cp. Cic.
_Brut._ 17. 69 (‘sententiarum orationisque formae’). ‘Turns of
expression’ (_tours de phrase_) will also serve occasionally.
=σχηματίζειν.= =104= 18, =106= 15, =108= 1, =110= 14, =112= 18, 19,
etc. _To use a figure_, _to shape_, _to construct_. Lat.
_figurare_. Cp. D.H. p. 206, Demetr. p. 305.
=σχηματισμός.= =112= 14, 20, =146= 7, =212= 21, etc. _Configuration_,
_construction_; _the employment of figures or turns of phrase_.
Lat. _conformatio_, _figuratio_.
[Page 328]
=σχολικός.= =214= 9. _After the manner of lectures_, _tedious_. Lat.
_longus_. Dionysius has in mind treatises which are ‘academic’
rather than practical. Cp. Long. _de Sublim._ iii. 5 πολλὰ γὰρ
ὥσπερ ἐκ μέθης τινὲς εἰς τὰ μηκέτι τοῦ πράγματος, ἴδια ἑαυτῶν
καὶ σχολικὰ παραφέρονται πάθη.
=σῶμα.= =134= 25. _Person._ Lat. _persona_. Same sense as πρόσωπον:
compare, in _Ep._ ii. _ad Amm._ c. 14, πρόσωπα δὲ παρ’ αὐτῷ τὰ
πράγματα γίνεται with πράγματα δὲ ἀντὶ σωμάτων τὰ τοιαῦτα ὑπ’
αὐτοῦ γίνεται.
=Σωτάδειος.= =88= 1. _Sotadean._ Lat. _Sotadeus_. So called from
Sotades, a native of Maroneia or of Crete, who lived under
the early Ptolemies. The structure of the Sotadean verse is
analyzed in P. Masqueray’s _Abriss der griechischen Metrik_ pp.
141-4. For some further references see Demetr. p. 244.
=ταμιεύειν.= =246= 4. _To regulate_, _to manage_. Lat. _temperare_,
_dispensare_.
=τάξις.= =72= 12, 18, =198= 6, etc. _Order._ Lat. _dispositio_. Not
identical in sense with σύνθεσις, which (in =72= 18) forms
part of one and the same sentence as τάξις. τάξις often (e.g.
Aristot. _Rhet._ iii. 12. 6) refers to the marshalling of the
subject matter of a speech.—The verb =τάττειν= occurs (with
various senses) in =126= 7, =196= 6, =254= 10, etc.
=ταπεινός.= =74= 12, =78= 10, =80= 13, =92= 17, =134= 23, =166= 3,
=176= 11, =186= 19. _Low_, _mean_, _vulgar_. Lat. _humilis_,
_abiectus_. So =ταπεινότης= =192= 9.
=τάσις.= =126= 7, 9, =128= 5, 11, =196= 16. _Tension_, _pitch_,
_accent_. Lat. _intentio_ (_vocis_), _accentus_. Cp. προσῳδία
p. 320 _supra_, and τόνος p. 329 _infra_. Definition in =196=
16: τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. Quintil. i. 5. 22
“adhuc difficilior observatio est per _tenores_, (quos quidem
ab antiquis dictos _tonores_ comperi, videlicet declinato a
Graecis verbo, qui τόνους dicunt) vel _accentus_, quas Graeci
προσῳδίας vocant,” etc.
=ταυτολογία.= =240= 26. _Verbal reiteration_, _tautology_. Lat.
_eiusdem verbi iteratio_. This is, apparently, the earliest
recorded use of the word, though Polybius employs the verb
ταυτολογεῖν. Quintil. viii. 3. 50 “sicut ταυτολογία, id est
eiusdem verbi aut sermonis iteratio. haec enim quamquam non
magnopere a summis auctoribus vitata, interim vitium videri
potest, in quod saepe incidit etiam Cicero, securus tam
parvae observationis: sicut hoc loco, _Non solum igitur illud
iudicium iudicii simile, iudices, non fuit._” The English word
_tautology_ must have been unfamiliar when Philemon Holland
translated the _Morals_ of Plutarch, since it is one of the
terms included in the “explanation of certain obscure words”
appended to Holland’s volume.
=ταυτότης.= =134= 18, =192= 20. _Sameness_, _monotony_. Lat. _rerum
earundem iteratio_. Contrasted with μεταβολή: as in =134= 18
διαναπαύειν δὲ τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους
εἰσφέροντα.—Aristotle uses the word several times, in the sense
of ‘identity.’
=τέλειος.= =84= 21, =116= 24, =144= 17, =150= 13, etc. _Complete_,
_perfect_. Lat. _absolutus_, _perfectus_. See, further, note on
=204= 24.—So =τελειοῦν= =178= 13.—In =120= 4, =268= 5, =τέλος=
= ‘end,’ ‘object.’
[Page 329]
=τελεταί.= =252= 15. _Rites_, _mysteries_. Lat. _sacra arcana_, _ritus
et caerimoniae_. αἱ τελεταὶ τοῦ λόγου = _sacra eloquentiae_.
=τετράμετρος.= =86= 3, 14, =256= 8, 13. _Consisting of four metres or
measures._ Lat. _tetrametrus_ (sc. _versus_: στίχος).
=τετριμμένος.= =252= 29. _Homely_, _ordinary_. Lat. _tritus_. Fr.
_ordinaire_. The word sometimes inclines to the sense ‘vulgar,’
‘hackneyed,’ ‘_banal_,’ ‘_rebattu_’: cp. τέτριπται =134= 22.
=τέχνη.= =68= 9, =94= 10, 14, =96= 2, =104= 10, =132= 22, etc. _Art_,
_handbook_. Lat. _ars_. αἱ τέχναι in Dionysius (cp. αἱ τέχναι
τῶν λόγων, Aristot. _Rhet._ i. 1. 3) refers specially to
rhetorical handbooks: e.g. =270= 4, =282= 3. αἱ ῥητορικαὶ
τέχναι is often used to designate the _Rhetoric_ of Aristotle:
e.g. =254= 25, and _Ep. i. ad Amm._ cc. 1, 2, etc.—In =124= 3
τεχνίτης = ‘craftsman,’ ‘professional.’
=τὴν ἄλλως.= =176= 6. _To no purpose._ Lat. _temere_. Coupled here
with a negative: cp. Suidas, τηνάλλως. μάτην. καὶ οὐ τηνάλλως
μετὰ τῆς ἀποφάσεως λέγεται.
=τομή.= =72= 2. _Division._ Lat. _partitio_. Fr. _partie_,
_subdivision_.
=τόνος.= =126= 5, 15, 19, =142= 8. _Tone_, _tension_, _pitch_,
_accent_. Lat. _tonus_, _intentio_ (_vocis_), _accentus_. If
τόνον be read in =136= 16 and τόνος in =236= 8, the meaning
will be _energy_: cp. D.H. p. 207. See also under τάσις p. 328
_supra_, and under περισπασμός p. 316 _supra_ (for a passage of
Aristot _Rhet._ iii. 1. 4).
=τόπος.= =66= 6, =96= 9, =144= 18, =164= 17, =248= 8. _Place_,
_heading_, _department_. Lat. _locus_. The πραγματικὸς τόπος
(=66= 6) is the _locus rerum_, as opposed to the λεκτικὸς τόπος
(=96= 9). In this connexion not only τόπος, but τρόπος, τύπος,
χαρακτήρ and μέρος are sometimes used by Dionysius.
=τορευτός.= =264= 18. _Worked in relief_, _chased_. Lat. _caelatus_. So
τορευτής = _caelator_, =266= 8.
=τραγῳδοποιός.= =236= 17, =248= 14. _Tragic poet_, _tragedian_. Lat.
_tragicus poëta_. [For the Greek expressions used to denote
tragic and comic poets see H. Richards in the _Classical
Review_ xiv. 211.]
=τρανός.= =230= 14. _Clear_, _distinct_. Lat. _perspicuus_. In earlier
Greek the form τρανής is used: cp. Soph. _Ajax_ 23 ἴσμεν γὰρ
οὐδὲν τρανές, ἀλλ’ ἀλώμεθα.
=τραχύτης.= =230= 5, =232= 8. _Roughness._ Lat. _asperitas_. Fr.
_âpreté_, _dureté_. So =τραχύς= =130= 26, =154= 12, =228= 7,
=234= 15, etc.; and =τραχύνειν= =130= 19, =146= 9, =202= 26,
=206= 4, =216= 17, =218= 18, =240= 17. By ‘rough’ letters, in
=202= 26, Dionysius may probably mean the following letters
found in the four lines quoted in =202= 3-6: Σ, σ, φ (?), σ, γ,
χ, στ, ζ, σ, σκ, πτ, σχ, σκ, φ (?); and among these, σκ, σχ and
πτ may be regarded as ‘juxtapositions of rough letters.’
=τρίκωλον.= =116= 11. _A sentence consisting of three members or
clauses._ Lat. _oratio trimembris_. τὸ τρίκωλον is here a noun:
on the same principle as, for example, ἡ τρίοδος (= _trivium_).
=τρίμετρος.= =258= 19, 25. _Consisting of three metres or measures._
Lat. _trimetrus_ (sc. _versus_: στίχος).
=τρισύλλαβος.= =170= 15, =174= 8. _Consisting of three syllables._ Lat.
_trisyllabus_.
[Page 330]
=τρόπος.= =196= 1. _Mode_ (in music). Lat. _modus_. Cp. Monro’s _Modes
of Ancient Greek Music_ p. 2. In =132= 12 the word means
_trope_ (_metaphor_ particularly: cp. Quintil. viii. 6. 4):
so =τροπικός= (_figurative_; Fr. _figuré_) =78= 16, =252= 24,
=272= 10.
=τροχαῖος.= =170= 8, =184= 11. _Trochee._ The metrical foot – ᴗ.
=τρυφερός.= =236= 9. _Delicate_, _dainty_. Lat. _delicatus_, _nitidus_.
=τύπος.= =70= 7, =268= 2, 17, 24. _Outline_, _form_. Lat. _forma_,
_figura_.
=ὕλη.= =266= 9. _Material._ Lat. _materia_. Fr. _matière_.
=ὑπαγωγικός.= =90= 5. _Drawn slowly out_, _prolonged_. Lat.
_dilatatus_. Cp. _de Demosth._ c. 4 διώκει δ’ ἐκ παντὸς τρόπου
τὴν περίοδον οὐδὲ ταύτην στρογγύλην καὶ πυκνὴν ἀλλ’ ὑπαγωγικήν
τινα καὶ πλατεῖαν καὶ πολλοὺς ἀγκῶνας, ὥσπερ οἱ μὴ κατ’ εὐθείας
ῥέοντες ποταμοὶ ποιοῦσιν, ἐγκολπιζομένην. It is possible,
however, that in the _de Comp. Verb._ the word has an active
meaning similar to that of ἐπαγωγικός, in which case the
rendering will be ‘the effect of the passage will no longer be
that of a narrative which gently carries the reader on.’
=ὑπαλλαγή.= =78= 16. _Hypallage._ Lat. _hypallage_. Quintil. ix. 6. 23
“nec procul ab hoc genere discedit μετωνυμία, quae est nominis
pro nomine positio. cuius vis est, pro eo, quod dicitur,
causam, propter quam dicitur, ponere; sed, ut ait Cicero,
ὑπαλλαγήν rhetores dicunt. haec inventas ab inventore et
subiectas res ab obtinentibus significat: ut _Cererem corruptam
undis_, et _receptus Terra Neptunus classes Aquilonibus
arcet_.” Cp. Cic. _Orat._ 27. 93 “hanc ὑπαλλαγήν rhetores,
quia quasi summutantur verba pro verbis, μετωνυμίαν grammatici
vocant, quod nomina transferuntur.”
=ὑπάτη.= =210= 7. _Top note._ Lat. _chorda suprema_. See L. & S. _s.v._
=ὑπεραίρειν.= =224= 11. _To exceed._ Lat. _transgredi_.
=ὑπερβολή.= =156= 11. _Excess_, _violence_. Lat. _impetus_, _ardor_.
[Not here used in the technical sense of _superlatio_,
_traiectio_.]
=ὑπέρμετρος.= =214= 8. _Exceeding due measure_, _excessively long_.
Lat. _excedens mensuram_. [Not here used in the technical sense
of passing beyond the bounds of metre: Demetr. _de Eloc._ § 118
ποίημα γὰρ ἄκαιρον ψυχρόν, ὥσπερ καὶ τὸ ὑπέρμετρον, ‘a bit of
verse out of place is just as inartistic as the disregard of
metrical rules in poetry.’]
=ὑπεροπτικός.= =232= 20. _Disdainful._ Lat. _ad contemnendum pronus_.
=ὑπερτείνειν.= =132= 14. _To exceed._ Lat. _transcendere_.
=ὑπηχεῖν.= =150= 7. _To sound in answer to_, _to re-echo_. Lat.
_resonare_.
=ὑποβάκχειος.= =174= 23, =178= 11, 13. _Hypobacchius._ The metrical
foot ᴗ – –. The _Epitome_ (c. 17) gives παλιμβάκχειος in the
same sense as ὑποβάκχειος.
=ὑπογράφειν.= =122= 7. _To sketch._ Lat. _adumbrare_. Fr. _esquisser_.
=ὑπόδειγμα.= =174= 12. _Pattern_, _specimen_. Lat. _documentum_,
_exemplum_.
=ὑπόθεσις.= =104= 6. _Subject_, _theme_. Lat. _argumentum operis_. So
=τὰ ὑποκείμενα= (_the subject matter_) =74= 9, =106= 17, =130=
13, =134= 21, =158= 2.
=ὑπόμνησις.= =80= 1. _Reminder._ Lat. _admonitio_. ὑπομνήσεως ἕνεκα =
_memoriae causa_.
[Page 331]
=ὑποτακτικός.= =220= 19. _Subordinate._ Lat. _subditus_. Dionysius
seems to mean that π is not apt to be amalgamated with,
or absorbed in, a preceding ν. [The second vowel in a
diphthong could be described as ὑποτακτικὸν φωνῆεν.] The verb
=ὑποτάττειν= occurs in =100= 23 and =126= 21.
=ὑποτίθεσθαι.= =194= 8. _To take as a subject._ Lat. _argumentum sibi
sumere_. This (rather than ‘to postulate’) seems to be the
meaning.
=ὑποτραχύνειν.= =222= 7. _To grate slightly on the ear._ Lat. _leni
horrore aures afficere_.
=ὕπτιος.= =108= 3. _Passive._ Lat. _supinus_.
=ὕφος.= =234= 12. _Woven stuff_, _a web_. Lat. _tela_. The word is used
metaphorically in Long. _de Subl._ i. 4 τοῦ ὅλου τῶν λόγων
ὕφους.
=ὑψηλός.= =92= 18, =172= 2, =180= 2, =182= 7. _Lofty_, _elevated_. Lat.
_sublimis_.
=φαντασία.= =230= 29. _Representation_, _image_. Lat. _imago_.
=φάρμακον.= =208= 17. _Colour_ (for painting). Lat. _pigmentum_. For
φάρμακα (= βάμματα, χρώματα) cp. Horace’s “lana Tarentino
violas imitata veneno” (_Ep._ ii. 1. 207).
=φάρυγξ.= =150= 7. _Throat._ Lat. _guttur_. Here used in the masculine
gender, according to the best-supported reading. Galen (on
Hippocr. _Progn._ p. 45), ὅτι φάρυγγα τὴν προκειμένην χώραν
στομάχου τε καὶ λάρυγγος ὀνομάζει δῆλόν ἐστι.
=φθαρτός.= =266= 9. _Perishable._ Lat. _mortalis_, _periturus_.
=φθόγγος.= =128= 4, =130= 12, =268= 10. _Sound_, _note_. Lat. _sonus_.
=φιλόκαλος.= =66= 16. _Loving beauty_, _artistic_. Lat. _pulchritudinis
studiosus_.
=φιλόλογος.= =264= 24. _Loving literature_, _literary_; _a scholar_.
Lat. _litterarum studiosus_; _litteratus_, _philologus_.
=φιλοπονία.= =264= 25. _Loving care_; _industry_. Lat. _diligentia_:
which (etymologically) contains the same suggestion of ‘work
done _con amore_.’
=φιλόσοφος.= =74= 8, =132= 22, =164= 22, =248= 15. _Philosopher._ Lat.
_philosophus_. The comprehensive sense in which philosophy
is understood may be illustrated from =φιλοσοφία= (=140= 12)
and =φιλοσοφεῖν= (=70= 12). Cp. in modern times such academic
vestiges of ancient usage as ‘Natural Philosophy’ or ‘Ph. D.’
In _Le Bourgeois Gentilhomme_ (ii. 4) rhetoric is taught by the
_Maître de Philosophie_; and Dionysius is fond of contrasting
the philosophical, or scientific, rhetoric (ἡ φιλόσοφος
ῥητορική) of the best Attic times with the later and purely
empirical Asiatic rhetoric, to which he applies the epithet
ἀμαθής. See further in D.H. p. 208.
=φιλοτεχνεῖν.= =154= 20, =200= 18. _To practise an art lovingly_, _to
be devoted to it_. Lat. _artem amare_, _in artem incumbere_. So
=φιλοτέχνως= =176= 18. φιλοτεχνεῖν, φιλότεχνος and φιλοτεχνία
are all used by Plato in reference to art pursued _con amore_;
and Cicero (_ad Att._ xiii. 40. 1) uses φιλοτέχνημα of an
elaborate work of art—a _chef-d’œuvre_: “Ubi igitur φιλοτέχνημα
illud tuum quod vidi in Parthenone, Ahalam et Brutum?”
=φιλοχωρεῖν.= =110= 5. _To cling to a place_, _to haunt it_. Lat.
_libenter in loco commorari_. φιλοχωρεῖν is used repeatedly
by Dionysius in the _Antiqq._ _Rom._ (e.g. i. 13 Ἀρκαδικὸν
γὰρ τὸ φιλοχωρεῖν ὄρεσιν and v. 63 παρεκελεύοντο ἀλλήλοις μὴ
φιλοχωρεῖν ἐν πόλει μηδενὸς αὐτοῖς ἀγαθοῦ μεταδιδούσῃ) and
φιλοχωρία in i. 27 (ὑπὸ τῆς φιλοχωρίας κρατουμένους). Plutarch
uses the word in reference to his birthplace Chaeroneia,
telling us that he ‘clung fondly to the spot,’ lest by leaving
it he should make a small place, but one which had witnessed
thrilling scenes, ‘smaller yet’ (ἡμεῖς δὲ μικρὰν οἰκοῦντες
πόλιν, καὶ ἵνα μὴ μικροτέρα γένηται φιλοχωροῦντες, Plut.
_Demosth._ c. 2). The form =χωροφιλεῖν= seems to occur twice
only in good Greek authors: (1) Antiphon _de Caede Herodis_ §
78 εἰ δ’ ἐν Αἴνῳ χωροφιλεῖ [probably it is to this passage that
Dionysius here refers]; (2) _Ep. Thaletis ap. Diog. L._ i. 44
σὺ μέντοι χωροφιλέων ὀλίγα φοιτέεις ἐς Ἰωνίην.
[Page 332]
=φλυαρία.= =264= 7, =268= 15. _Nonsense_, _foolery_. Lat. _nugae_,
_ineptiae_. So =φλυάρημα= (_futility_) =192= 9. Notwithstanding
the remarks in Stephanus, it would seem more natural to take
=φλύαρος= as an adjective (than as a noun) in =272= 20, 22,
and this for two reasons: (1) the form φλυαρία has been
used shortly before; (2) the adjectival use is sufficiently
established by Hesychius’ note (φαῦλος, εὐήθης) and by that of
Thom. M. p. 376 Ritschl (πολύλογος), while ἡ φλύαρος φιλοσοφία
occurs in the Septuagint (_Maccab._ iv. 5, 10) and καὶ ὅλως
ἀποδείκνυσι τὸν Πυθαγόρου λόγον φλύαρον in Plut. _Mor._ 169 E.
=φορά.= =144= 22, =204= 17, =244= 20. _Current_, _rush_. Lat. _cursus_,
_impetus_.
=φορτικός.= =252= 14. _Coarse_, _rude_. Lat. _insolens_, _importunus_,
_insulsus_.
=φράσις.= =84= 2, =166= 3, =182= 8, =206= 1, 15, =208= 7, =250= 14.
_Style_, _expression_. Lat. _elocutio_. Cp. Quintil. viii.
1. 1 “igitur, quam Graeci φράσιν vocant, Latine dicimus
_elocutionem_. ea spectatur verbis aut singulis aut coniunctis.”
=φριμαγμός.= =158= 14. _Snorting._ Lat. _fremitus_. It is hardly likely
that the word here means no more than βληχή, _bleating_.
=Φρύγιος.= =196= 1. _Phrygian._ Lat. _Phrygius_. Cp. Monro’s _Modes of
Ancient Greek Music_, passim.
=φυλακή.= =198= 6. _Preservation._ Lat. _conservatio_.—In the _de
Imitat._ B. vi. 3 the reading φυλακή (if correct) will
correspond to the middle φυλάττεσθαι (not to φυλάττειν).
=φυσικός.= =96= 23, =214= 3, =224= 5, =240= 8, etc. _Natural._ Lat.
_naturalis_. So =φυσικῶς= =200= 12. ὁ φυσικός, in =214= 3, =
‘the natural philosopher,’ ‘the physicist’ (of Empedocles). In
=134= 2 οὐδ’ ἔχει φύσιν τὸ πρᾶγμα ... πεσεῖν the meaning is
‘nor is the subject of such a nature that it can fall.’
=φωνή.= =130= 4, 21, =136= 22, =138= 7, etc. _Voice_, _sound_. Lat.
_vox_, _sonus_, _sonus vocalis_. Cp. =φωνεῖν= (‘to pronounce,’
etc.) =140= 1, 20, =144= 18, =148= 14.
=φωνήεις.= =138= 8, 9, 15, =140= 2, =144= 7, =150= 17, =152= 4, =220=
11. _Voiced._ Lat. _vocalis_. φωνήεντα γράμματα = _litterae
vocales_ = _vowels_. For the term ‘voiced’ see s.v. ἄφωνος p.
292 _supra_. Cp. Dionys. Thrax _Ars Gramm._ p. 9 (ed. Uhlig)
φωνήεντα δὲ λέγεται, ὅτι φωνὴν ἀφ’ ἑαυτῶν ἀποτελεῖ.
=φωτεινός.= =234= 13. _Full of light._ Lat. _lucidus_, _luminosus_.
[Page 333]
=χαρακτήρ.= =68= 21, =80= 17, =90= 10, etc. _Characteristic stamp_,
_type_. Lat. _forma_, _nota_. So the adjective =χαρακτηρικός=
in =232= 21 (cp. _de Demosth._ c. 39 init.). See further in
D.H. p. 208, Demetr. p. 308.—In =230= 9 the verb =χαράττειν= =
‘to irritate.’
=χάρις.= =112= 5, =120= 20, =124= 12, etc. _Charm_, _grace_. Lat.
_venustas_, _lepor_. Fr. _grâce_. Cp. Demetr. p. 308. So
=χαρίεις= (‘refined,’ ‘elegant,’ ‘accomplished,’ ‘consummate’)
=106= 16, =116= 1, =154= 16; =χαριέντως= =110= 22.
=χλευασμός.= =192= 7. _Scoffing_, _satire_. Lat. _derisio_, _illusio_.
=χλευάζειν= =270= 3.
=χορδή.= =122= 23. _String_, _note_. Lat. _chorda_.
=χορεῖος.= =170= 17, =184= 11. _Choree._ Lat. _choreus_. The metrical
foot ᴗ ᴗ ᴗ. In =170= 18 the reading τρίβραχυς πούς (τροχαῖος
πούς F) seems to be a gloss. The term χορεῖος is applied to the
trochee more commonly than to the tribrach. The Epitome (c. 17)
gives χορεῖος (without addition).
=χρεία.= =104= 21, =198= 2. _Use_, _practical work_. Lat. _usus_. Cp.
_de Demosth._ c. 45, _de Thucyd._ c. 55. There may also be some
notion of _practical need_, _stress_: cp. ἐν χρείᾳ δορός (Soph.
_Aj._ 963) and ὑπὸ τῆς χρείας αὐτῆς (schol. on Hom. _Odyss._
viii. 163).
=χρεμετισμός.= =158= 14. _Neighing_, _whinnying_. Lat. _hinnitus_.
=χρῆμα.= =158= 2. _Object._ Lat. _res ipsa_. Cp. note on p. 158 _supra_.
=χρόνοι.= =130= 1, =164= 5, =204= 22 (lit. ‘does not divide the
times’), =210= 19, =216= 18, =234= 4, =244= 19, =264= 4.
_Times_, _time-intervals_, _time-spaces_, _rests_, _pauses_.
Lat. _tempora_, _morae_. So in =128= 15 χρόνους = ‘the length
of syllables,’ and in =130= 7 ἐν τοῖς χρόνοις τῶν μορίων = ‘in
the duration of words,’ ‘in quantity.’ χρόνων = ‘tenses,’ =108=
5; χρόνιος = _diuturnus_, =202= 23; χρονίζειν = _immorari_,
=164= 12.
=χρῶμα.= =88= 12, =198= 14. _Colour._ Lat. _color_. In =198= 14
χρώμασιν should be retained (in place of Usener’s χρήμασιν)
in the sense of ‘ornaments’; the ornaments in question being
μέλος εὐγενές, ῥυθμὸς ἀξιωματικός, μεταβολὴ μεγαλοπρεπής (=136=
11, where compare τὸ πᾶσι τούτοις παρακολουθοῦν πρέπον with
τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι δεῖ τὸ πρέπον in =198=
14). Compare too _de Demosth._ c. 22 κοσμοῦντος ἅπαντα καὶ
χρωματίζοντος τῇ πρεπούσῃ ὑποκρίσει ἧς δεινότατος ἀσκητὴς
ἐγένετο, and the use of χρῶμα (or χρώματα) in _de Isaeo_ c. 4
and _de Thucyd._ c. 42. Photius (_Bibl. Cod._ 214) has ἔστι
δὲ ἡ φράσις τῷ ἀνδρὶ σαφὴς μὲν καὶ καθαρὰ καὶ σπουδῇ φιλοσόφῳ
πρέπουσα, οὐ μήν γε τοῖς κεκαλλωπισμένοις καὶ περιττοῖς
ἐξωραϊζομένη χρώμασι καὶ ποικίλμασι τῆς ῥητορείας. Similarly
_color_ in Quintil. x. 1. 116, and Cic. _de Orat._ iii. 25.
100. The stage at which the χρῶμα would best be introduced in
a historical work is suggested in a passage of Lucian (_de
conscrib. hist._ 48): καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα,
πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν καὶ σῶμα ποιείτω
ἀκαλλὲς ἔτι καὶ ἀδιάρθρωτον· εἶτα ἐπιθεὶς τὴν τάξιν ἐπαγέτω τὸ
κάλλος καὶ χρωννύτω (i.e. ‘tinge’) τῇ λέξει καὶ σχηματιζέτω καὶ
ῥυθμιζέτω. But might it not be more truly said that a great
historian like Gibbon has his χρῶμα from the beginning, —from
the moment when he stands in the Forum and conceives his vast
theme? It is in fact one aspect of his inspiration.
[Page 334]
=χρωματικός.= =194= 7, =196= 3. _Chromatic._ Lat. _chromaticus_. For
the chromatic scale see note on =194= 7.
=χώρα.= =144= 13. _Room_, _space_. Lat. _locus_, _spatium_. χωρίον in
=126= 6 = ‘distance,’ ‘interval.’
=ψιλός.= =130= 5, =148= 7, 12 (_bis_), 18, 19, =150= 3, 9, =154= 2,
=250= 12, =254= 1. _Bare_, _smooth_, _unaspirated_. Lat.
_lenis_. So =ψιλότης= =148= 21. See s.v. δασύς p. 294 _supra_,
with the reference there given to A. J. Ellis’ pamphlet. In
=148= 7 Ellis takes ‘smooth’ to mean ‘unaccompanied by voice,
but in this case possibly not mute.’ In =130= 5 the ‘ordinary’
voice, the voice ‘pure and simple’ (or ‘without addition’), is
meant: cp. =154= 2, =250= 12, =254= 1. So ἐν τοῖς ψιλοῖς λόγοις
Aristot. _Rhet._ iii. 2. 3, and “nuda oratio” Cic. _Orat._ 55.
183.
=ψοφοειδής.= =162= 15. _Sounding._ Lat. _sonans_. If the term is
technical, it may perhaps be translated by _fricative_; it can
hardly be so wide as _consonantal_.
=ψόφος.= =138= 7, 8, 9, 12, =146= 4, =222= 2. _A sound_, _a noise_.
Lat. _sonus_, _strepitus_. The consonants (_litterae
consonantes_) are called ψόφοι, as contrasted with the φωνήεντα
γράμματα.
=ψῦγμα.= =202= 26. _Inhalation._ Lat. _respiratio_. Used particularly
of the ‘catch of the breath’ (_interspiratio_) between one word
and another. [ψῦγμα must, of course, be distinguished from
ψῆγμα: cp. Long. p. 174.]
=ᾠδή.= =124= 16, 22, =148= 1, =224= 21, =278= 8. _Song_, _lay_, _ode_.
Lat. _cantus_, _carmen_. So =ᾠδικός= = _vocal_ (of the voice
accompanied by music), =126= 16, =130= 5.
=ὤρα.= =78= 12. _Care_, _heed_. Lat. _cura_. Cp. Hesychius: ὥρα ...
ψιλῶς δὲ φροντίς, ἐπιμέλεια· ὅθεν ὀλίγωρον (i.e. ‘a _poco
curante_,’ ‘a Hippocleides’) λέγομεν τὸν ὀλίγην ἔχοντα
φροντίδα. In =78= 12 M has γρ φροντίδα in the margin.
=ὥρα.= =120= 20, =124= 12, =162= 1. _Freshness_, _bloom_, _beauty_.
Lat. _venustas_, _flos_. Fr. _fraîcheur_. Cp. _Ep. ad Cn.
Pomp._ c. 2 (quoted from _de Demosth._ c. 5: in reference to
Plato’s style ὅ τε πίνος ὁ τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ
λεληθότως ἐπιτρέχει ἱλαρόν τέ τι καὶ τεθηλὸς καὶ μεστὸν ὥρας
ἄνθος ἀναδίδωσι, καὶ ὥσπερ ἀπὸ τῶν εὐωδεστάτων λειμώνων αὔρα
τις ἡδεῖα ἐξ αὐτῆς φέρεται).—In =68= 14 and =76= 6 ὥρα =
‘time,’ ‘season.’
=ὡραϊσμός.= =66= 18. _Adornment_, _elegance_. Lat. _elegantia_.
[Page 335]
APPENDIX A
OBSCURITY IN GREEK
The natural lucidity of the Greek language is sometimes assumed by
its modern admirers to extend to all the writings of Greek authors.
But the ancients themselves made no such extravagant claims. They
might praise Lysias as a model of clearness; but they knew well the
difficulties, of subject matter or expression, to be met with not only
in Heracleitus[199] or Lycophron, but in masters so great as Pindar,
Aeschylus, Thucydides, and the author of that excellent definition
which sees in lucidity a fundamental virtue of style—Aristotle himself.
Thucydides (to take one writer only out of this group of four) is taxed
with obscurity by critics other than Dionysius. Marcellinus, although
not otherwise in entire agreement with Dionysius, attributes this
particular defect to Thucydides and regards it as deliberate: ἀσαφῶς
δὲ λέγων ἐπίτηδες, ἵνα μὴ πᾶσιν εἴη βατὸς μηδὲ εὐτελὴς φαίνηται παντὶ
τῷ βουλομένῳ νοούμενος εὐχερῶς, ἀλλὰ τοῖς λίαν σοφοῖς δοκιμαζόμενος
παρὰ τούτοις θαυμάζηται ... τὸ δὲ τῆς συνθέσεως τραχύτητος μεστὸν καὶ
ἐμβριθὲς καὶ ὑπερβατικόν, ἐνίοτε δὲ ἀσαφές ... ἀσαφὴς τὴν διάνοιαν
διὰ τὸ ὑπερβατοῖς χαίρειν (Marcell. _Vita Thucyd._ §§ 35, 50, 56). An
epigram in the Greek Anthology is pitched in the same key:—
ὦ φίλος, εἰ σοφὸς εἶ, λάβε μ’ ἐς χέρας· εἰ δέ γε πάμπαν
νῆϊς ἔφυς Μουσέων, ῥίψον ἃ μὴ νοέεις.
εἰμὶ δέ γ’ οὐ πάντεσσι βατός· παῦροι δ’ ἀγάσαντο
Θουκυδίδην Ὀλόρου, Κεκροπίδην τὸ γένος.
_Anth. Pal._ ix. 583.
And Cicero, in a more uncompromising way, condemns the Speeches as
scarcely intelligible: “ipsae illae contiones ita multas habent
obscuras abditasque sententias, vix ut intellegantur; quod est in
oratione civili vitium vel maximum” (Cic. _Orat._ 9. 30).
Obscurity in matter and obscurity in expression are intimately allied.
Euripides, in the _Frogs_, says of Aeschylus that he was obscure in
setting forth his plots (ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων,
Aristoph. _Ran._ 1122). Dionysius attributes to Lysias, as compared
with Thucydides
[Page 336]
and Demosthenes, a lucidity which embraces matter as well as expression
and treats words as the servants of thought: τρίτην ἀρετὴν ἀποφαίνομαι
περὶ τὸν ἄνδρα τὴν σαφήνειαν, οὐ μόνον τὴν ἐν τοῖς ὀνόμασιν, ἀλλὰ
καὶ τὴν ἐν τοῖς πράγμασιν· ἔστι γάρ τις καὶ πραγματικὴ σαφήνεια οὐ
πολλοῖς γνώριμος. τεκμαίρομαι δέ, ὅτι τῆς μὲν Θουκυδίδου λέξεως καὶ
Δημοσθένους, οἳ δεινότατοι πράγματα ἐξειπεῖν ἐγένοντο, πολλὰ δυσείκαστά
ἐστιν ἡμῖν καὶ ἀσαφῆ καὶ δεόμενα ἐξηγητῶν ... τούτου δὲ αἴτιον, ὅτι
οὐ τοῖς ὀνόμασι δουλεύει τὰ πράγματα παρ’ αὐτῷ [sc. Λυσίᾳ], τοῖς δὲ
πράγμασιν ἀκολουθεῖ τὰ ὀνόματα (_de Lysia_, c. 4). So far as the two
can be separated, it is with wording rather than with subject matter
that the present appendix is concerned.
One principal cause of obscurity is the anxious search for brevity.
Dionysius sees this, especially in regard to Thucydides; and “brevis
esse laboro, | obscurus fio” has many an analogue in his critical pages
(e.g. ἀσαφὲς γίνεται τὸ βραχύ and διὰ τὸ τάχος τῆς ἀπαγγελίας ἀσαφὴς ἡ
λέξις γίνεται, _de Thucyd._ c. 24 and _Ep. ii. ad Amm._ c. 2). At the
same time, he does not seem to concede enough to the claims of brevity
in _C.V._ =118= 1, 2, where it is not simply a question of ‘offending
the ear,’ or of ‘spoiling the metre,’ or even of ‘charm.’ The two lines
there quoted from Sophocles have something of that πολύνους βραχυλογία
which has been justly attributed to Thucydides.[200]
But too many words may be just as fatal to clearness as too few. As
Aristotle says (_Rhet._ iii. 12. 6), lucidity is imperilled when a
style is prolix, no less than when it is condensed. A disjointed
and rambling diffuseness is condemned by Demetrius (_de Eloc._ §
192); and Dionysius (_Ep. ii. ad Amm._ c. 15) remarks that numerous
parentheses make the meaning hard to follow (... αἱ μεταξὺ παρεμπτώσεις
πολλαὶ γινόμεναι καὶ μόλις ἐπὶ τὸ τέλος ἀφικνούμεναι, δι’ ἃς ἡ φράσις
δυσπαρακολούθητος γίνεται).[201]
It is, however, the arrangement of words (even more than their
number, large or small) that contributes to lucidity or its opposite.
Quintilian (ix. 4. 32) says “amphiboliam quoque fieri vitiosa locatione
verborum, nemo est qui nesciat”; and certainly the importance of a
right order, in its bearing on clearness, is very great even in the
highly inflected languages. Elsewhere (viii. 2. 16) Quintilian gives
some good examples of ambiguities to be avoided: “vitanda est in
primis ambiguitas, non haec solum, de cuius genere supra dictum est,
quae incertum intellectum facit, ut _Chremetem audivi percussisse
Demean_,[202] sed illa quoque, quae, etiamsi turbare non potest sensum,
in idem tamen verborum vitium incidit, ut si quis dicat, _visum a se
hominem librum scribentem_. nam etiamsi librum ab homine scribi patet,
male tamen composuerit feceritque ambiguum, quantum in ipso fuit.”
Quintilian’s ideal is a fine one, but it is not always possible to
[Page 337]
attain it in Latin or in Greek. The freedom of the classical
word-order, so desirable on other grounds, stands in the way here.
Illustrations of a certain degree of ambiguity will be found in some
instances of the dependent genitive in Greek, as used especially in
Thucydides. Thucydides usually places the dependent genitive _before_
the noun on which it depends.[203] As, however, his rule is not
invariable, it cannot be said that in all the following examples (which
are designedly of a promiscuous character) the reader is absolved, as
Quintilian evidently thinks he should be, from making his conception of
the general sense help in determining the grammatical construction:—
(1) καὶ μετὰ τῆς ἥσσονος ἅμα ἐλπίδος ὀλίγων ἡμερῶν ἕνεκα μεγάλου μισθοῦ
δόσεως ἐκείνοις ξυναγωνίζεσθαι, Thucyd. i. 143.
(2) εἴ τις ὑπομένοι καὶ μὴ φόβῳ ῥοθίου καὶ νεῶν δεινότητος κατάπλου
ὑποχωροίη, iv. 10.
(3) Κερκυραῖοι δὲ μετὰ τῆς ξυμμαχίας τῆς αἰτήσεως καὶ ταῦτα πιστεύοντες
ἐχυρὰ ὑμῖν παρέξεσθαι ἀπέστειλαν ἡμᾶς, i. 32.
(4) οἵπερ τῶν ὁλκάδων ἕνεκα τῆς ἐς Σικελίαν κομιδῆς ἀνθώρμουν πρὸς τὰς
ἐν Ναυπάκτῳ ναῦς, vii. 34.
(5) ἄπιστα μὲν ἴσως, ὥσπερ καὶ ἄλλοι τινές, δόξω ὑμῖν περὶ τοῦ ἐπίπλου
τῆς ἀληθείας λέγειν, vi. 33.
(6) τά τε τῆς ἀντιμιμήσεως αὐτῶν τῆς παρασκευῆς ἡμῶν τῷ μὲν ἡμετέρῳ
τρόπῳ ξυνήθη τέ ἐστι κτλ., vii. 67.
(7) τοὺς γὰρ ἂν ψιλοὺς τοὺς σφῶν καὶ τὸν ὄχλον τῶν Συρακοσίων τοὺς
ἱππέας πολλοὺς ὄντας, σφίσι δ’ οὐ παρόντων ἱππέων, βλάπτειν ἂν
μεγάλα, vi. 64.
(8) καὶ τοῦ Κλέωνος καίπερ μανιώδης οὖσα ἡ ὑπόσχεσις ἀπέβη, iv. 39.
(9) καὶ τριήρης τῇ αὐτῇ ἡμέρᾳ ἁλίσκεται τῶν Ἀθηναίων ὑπὸ τῶν Συρακοσίων
ἐφορμοῦσα τῷ λιμένι, vii. 3.[204]
Similarly in other authors: e.g. καὶ δὴ καὶ τότε τοῦ Θρασυμάχου τὴν
ἀπόρρησιν οὐκ ἀπεδέξατο, Plato _Rep._ ii. 357 A (where, however, the
meaning may be “would not accept from Thrasymachus his withdrawal”);
and ὣς φάτο, τῷ δ’ ἄρα πατρὸς ὑφ’ ἵμερον ὦρσε γόοιο, Hom. _Il._ xxiv.
507; and
=τούτων= ἐγὼ οὐκ ἔμελλον, ἀνδρὸς οὐδενὸς
φρόνημα δείσασ’, ἐν θεοῖσι =τὴν δίκην=
δώσειν.
Soph. _Antig._ 458-60.[205]
If in some of these instances the order is not absolutely unambiguous,
still less is it so in other and more miscellaneous extracts about to
be given. The writer of artistic prose, as of poetry, has to satisfy
claims which are often hard to reconcile: those of clearness, of
emphasis, and of euphony.[206]
[Page 338]
The result may often be a more or less unconscious compromise in which
one of the elements prospers at the expense of the others. Euphony,
to take that element alone, is expected to please the ear in many
different ways—by the avoidance of harsh letters (found singly or in
combination), of short syllables in close succession, of monotony in
word-terminations, of monotony in every shape and form. Obscurity may
well ensue, especially in a literature which does not aid the eye by
means of punctuation, capital letters (to denote proper names or the
beginning of a sentence), italic type, or division into paragraphs
and chapters. To set against these deficiencies, there was the help
provided by the reciter or the skilled _anagnostes_; and it is often
interesting to speculate how, by a slight pause or modulation of the
voice, a practised reader would be able to remove a seeming ambiguity.
In poetry, again, metre would often be an aid to clear delivery, though
its exigencies might on the other hand have led to some ambiguities
in the actual writing. No careful modern student of a highly-wrought
speech, like the _Crown_ of Demosthenes, can have failed to be arrested
momentarily, here and there, by some slight ambiguity which, as far as
he can judge, might have been removed by an equally slight change in
the word-order; and he gains much in the appreciation of Demosthenes
if he is thus led to consider what are the subtle laws of rhythm and
melody to which an absolutely unimpeachable lucidity has (in however
small a degree) given way. He will certainly be led to the conclusion
that, in Greek, good order is by no means the simple thing it may seem
when achieved, but rather is the highly complex result of the play of
many forces. The following examples, drawn from various authors in
poetry and in prose, may be found suggestive. They are of set purpose
presented without any attempt at sequence or classification, except
that a considerable number of extracts from the _de Corona_ are grouped
together:—
(1) καί μοι τὸν υἱόν, εἰ μεμάθηκε τὸν λόγον
ἐκεῖνον, εἴφ’, =ὃν= ἀρτίως εἰσήγαγες.
Aristoph. _Nub._ 1148.
(2) ἀλλά =μιν= αὖτις ἀναρπάξασα θύελλα
πόντον ἐπ’ ἰχθυόεντα φέρεν βαρέα =στενάχοντα=.
Hom. _Odyss._ xxiii. 316.[207]
(3) ἠδ’ ὡς εἰς Ἀίδεω δόμον =ἤλυθεν= εὐρώεντα,
ψυχῇ χρησόμενος Θηβαίου Τειρεσίαο,
=νηῒ πολυκλήιδι=.
id. _ib._ xxiii. 322.[207]
(4) ὅτι Ἱππίας μὲν πρεσβύτατος ὢν ἦρχε τῶν Πεισιστράτου υἱέων.
Thucyd. i. 20.
Here τῶν Πεισιστράτου υἱέων depends on πρεσβύτατος ὤν, not on ἦρχε.
(5) κράτιστα τοίνυν τῶν παρόντων ἐστὶ νῷν
θεῶν ἰόντε προσπεσεῖν του πρὸς βρέτας.
Aristoph. _Eq._ 30, 31.
Here the actor would pause slightly after νῷν, at the end of the
metrical line.
(6) τοῦτ’ οὖν ἔβλαψα τί δράσας;
id. _Ran._ 1064.
[Page 339]
Careful delivery would make it quite plain that the meaning is: τί οὖν
ἔβλαψα, δράσας τοῦτο;
(7) σαφῶς γὰρ ἄν, εἰ πείθοιμι ὑμᾶς καὶ τῷ δεῖσθαι βιαζοίμην
ὀμωμοκότας, =θεοὺς ἂν διδάσκοιμι μὴ ἡγεῖσθαι ὑμᾶς εἶναι=.
Plato _Apol._ c. 24.
(8) καὶ ἐς τύχας =πρὸς πολλῷ δυνατωτέρους= ἀγωνιζόμενοι
καταστῆναι.
Thucyd. i. 69.
(9) οὐδ’ ἐκλογίσασθαι πώποτε πρὸς οἵους =ὑμῖν= Ἀθηναίους ὄντας
καὶ ὅσον ὑμῶν καὶ ὡς πᾶν διαφέροντας ὁ ἀγὼν ἔσται.
id. i. 70.
ὑμῖν is probably to be connected with ὁ ἀγὼν ἔσται. Its present
position has the effect of marking the contrast between ὑμῖν
and Ἀθηναίους, and further of breaking the monotony of the
accusative-endings οἵ=ους= Ἀθηναί=ους= ὄντ=ας=. It should, however,
be remembered that in a highly inflected language like Greek a noun
may stand in a vague general case relation (genitive, dative, or
accusative) to the whole sentence in a way that is impossible in an
uninflected language. This may be so here, and in some of the other
passages quoted.
(10) ῥηθήσεται δὲ οὐ παραιτήσεως μᾶλλον ἕνεκα ἢ μαρτυρίου καὶ
δηλώσεως πρὸς οἵαν =ὑμῖν= πόλιν μὴ εὖ βουλευομένοις ὁ ἀγὼν
καταστήσεται.
id. i. 73.
Similarly ὑμῖν (‘you will find,’ etc.) is to be taken with ὁ ἀγὼν
καταστήσεται. It is contrasted with πόλιν and paves the way for
βουλευομένοις.
(11) ἔνθ’ ὅ γε τοὺς =ἐλεεινὰ= κατήσθεε τετριγῶτας·
μήτηρ δ’ ἀμφεποτᾶτο ὀδυρομένη =φίλα τέκνα=.
Hom. _Il._ ii. 314-15.
Connect ἐλεεινὰ τετριγῶτας, and ἀμφεποτᾶτο φίλα τέκνα.
(12) ὡς οὖν δεινὰ πέλωρα =θεῶν= εἰσῆλθ’ ἑκατόμβας.
id. _ib._ ii. 321.
Connect θεῶν ἑκατόμβας.
(13) καίτοι σ’ ἐγὼ ’τίμησα τοῖς φρονοῦσιν =εὖ=.
Soph. _Antig._ 904.
εὖ with ἐτίμησα. The line occurs in the suspected portion of the
_Antigone_. But, so far as this particular point is concerned, cp. the
order of μόνος in—
τὰ κοινὰ χαίρων οὐ δίκαια δρᾷ =μόνος=.
Eurip. _Ion_ 358.
(14) =τίνος= δ’ Ἀτρεῖδαι τοῦδ’ ἄγαν οὕτω χρόνῳ
τοσῷδ’ ἐπεστέφοντο πράγματος χάριν,
ὅν γ’ εἶχον ἤδη χρόνιον ἐκβεβληκότες;
Soph. _Philoct._ 598.
Here strict lucidity is sacrificed to emphasis. τίνος must be joined
with πράγματος (not with τοῦδε).
(15) στέμματ’ ἔχων ἐν χερσὶν =ἑκηβόλου Ἀπόλλωνος=
χρυσέῳ ἀνὰ σκήπτρῳ.
Hom. _Il._ i. 14.
(16) περὶ τούτων δ’ ὄντος τουτουὶ τοῦ ἀγῶνος, ἀξιῶ καὶ
δέομαι πάντων ὁμοίως ὑμῶν ἀκοῦσαί μου περὶ τῶν κατηγορημένων
ἀπολογουμένου =δικαίως=, ὥσπερ οἱ νόμοι κελεύουσιν, οὓς ὁ
τιθεὶς ἐξ ἀρχῆς Σόλων κτλ.
Demosth. _de Cor._ § 6.
[Page 340]
δικαίως qualifies ἀκοῦσαι: cp. the position of γενναίως in _de Cor._
§ 97 (quoted in Introduction p. 24 _supra_). The present order is not
only emphatic, but also serves to connect δικαίως closely with ὥσπερ
κτλ., and thus to a certain extent actually to avoid ambiguity.
(17) σκέψασθ’ ὦ ἄνδρες Ἀθηναῖοι καὶ θεωρήσατε ὅσῳ καὶ
ἀληθέστερον καὶ ἀνθρωπινώτερον ἐγὼ περὶ τῆς τύχης =τούτου=
διαλεχθήσομαι.
Demosth. _de Cor._ § 252.
(18) τὸ μὲν τοίνυν προελέσθαι τὰ κάλλιστα καὶ =τὸ= τῶν
οἰηθέντων Ἑλλήνων, εἰ πρόοιντο ἡμᾶς, ἐν εὐδαιμονίᾳ διάξειν,
=αὐτῶν= ἄμεινον πράττειν τῆς ἀγαθῆς τύχης τῆς πόλεως εἶναι
τίθημι.
id. _ib._ § 254.
(19) =τοῦ μὲν οὖν γράψαι= πράττοντα καὶ λέγοντα τὰ βέλτιστά με
τῷ δήμῳ διατελεῖν καὶ πρόθυμον εἶναι ποιεῖν ὅ τι ἂν δύνωμαι
ἀγαθόν, καὶ ἐπαινεῖν ἐπὶ τούτοις, ἐν τοῖς πεπολιτευμένοις =τὴν
κρίσιν= εἶναι νομίζω.
id. _ib._ § 56.
(20) οὐ γὰρ ἂν ἥψατ’ αὐτῶν | παρόντων ἡμῶν, κτλ.
id. _ib._ § 30.
The vertical stroke, here and elsewhere, may serve to indicate the
possibility of a slight pause in utterance, and Aristotle’s remarks
on the obscurity of Heracleitus may be recalled: τὰ γὰρ Ἡρακλείτου
διαστίξαι (‘to punctuate’) ἔργον διὰ τὸ ἄδηλον εἶναι ποτέρῳ πρόσκειται,
τῷ ὕστερον ἢ τῷ πρότερον, οἷον ἐν τῇ ἀρχῇ αὐτοῦ τοῦ συγγράμματος· φησὶ
γὰρ “τοῦ λόγου τοῦδ’ ἐόντος ἀεὶ ἀξύνετοι ἄνθρωποι γίγνονται”· ἄδηλον
γὰρ τὸ ἀεί, πρὸς ὁποτέρῳ <δεῖ> διαστίξαι.
Aristot. _Rhet._ iii. 5.
(21) λοιπὸν τοίνυν ἦν καὶ ἀναγκαῖον ἅμα | πᾶσιν οἷς ἐκεῖνος
ἔπραττ’ ἀδικῶν ὑμᾶς ἐναντιοῦσθαι δικαίως.
Demosth. _de Cor._ § 69.
(22) ταῦτα τοίνυν εἰδὼς Αἰσχίνης οὐδὲν ἧττον ἐμοῦ | πομπεύειν
ἀντὶ τοῦ κατηγορεῖν εἵλετο.
id. _ib._ § 124.
(23) συνέβαινε δ’ αὐτῷ | τῷ πολέμῳ κρατοῦντι, κτλ.
id. _ib._ § 146.
(24) τότε τοίνυν κατ’ ἐκεῖνον τὸν καιρὸν ὁ Παιανεὺς ἐγὼ
Βάτταλος Οἰνομάου τοῦ Κοθωκίδου σοῦ | πλείονος ἄξιος ὢν ἐφάνην
τῇ πατρίδι.
id. _ib._ § 180.
(25) εἰ γὰρ ὡς οὐ τὰ βέλτιστα ἐμοῦ πολιτευσαμένου | τουδὶ
καταψηφιεῖσθε, ἡμαρτηκέναι δόξετε, οὐ τῇ τῆς τύχης ἀγνωμοσύνῃ
τὰ συμβάντα παθεῖν.
id. _ib._ § 207.
(26) οὐκ ἂν οἷα σὺ νῦν ἔλεγες, τοιαῦτα κατηγόρει, παραδείγματα
πλάττων | καὶ ῥήματα καὶ σχήματα μιμούμενος κτλ.
id. _ib._ § 232.
(27) σὺ τοίνυν ταῦτ’ ἀφεὶς ἐμὲ τὸν παρὰ τουτοισὶ πεπολιτευμένον
αἰτιᾷ, καὶ ταῦτ’ | εἰδὼς ὅτι, καὶ εἰ μὴ τὸ ὅλον, μέρος γ’
ἐπιβάλλει τῆς βλασφημίας ἅπασι, καὶ μάλιστα σοί.
id. _ib._ § 272.
Here may be added, from R. Y. Tyrrell’s edition of Eurip. _Bacchae_ p.
36, an interesting note suggested by the distance which parts μόσχων
from ἀγελαῖα βοσκήματα in _Bacch._ 678: “The Greek writers are not
nearly so sensitive about the order of words as we are. Surely we have
something at least as strange in the order of words in 684 where ἐλάτης
certainly depends on φόβην not on νῶτα. See Comm. on 860 for more
curious inversions of the natural order; and compare in Soph. _Oed. R._
1251 χὤπως μὲν ἐκ τῶνδ’ οὐκέτ’ οἶδ’ =ἀπόλλυται=; _O.C._ 1427 τίς δὲ
τολμήσει κλύων | τὰ
[Page 341]
τοῦδ’ =ἕπεσθαι= τἀνδρός; Perhaps the best instance in Greek of a
violent _hyperbaton_ is Ar. _Thesm._ 811 οὐδ’ ἂν =κλέψασα= γυνὴ
=ζεύγει= κατὰ πεντήκοντα τάλαντα | ἐς πόλιν =ἔλθοι τῶν δημοσίων= ‘nor
would a lady _ride in her chariot_ to the town after _pilfering the
public exchequer_ to the tune of 50 talents.’” Probably the Greek
authors, in such instances, were not blind to the liberties they were
taking with the natural and lucid order of words; but they trusted
to delivery’s artful aid. And about the order adopted in the passage
quoted from the _Thesmophoriazusae_ there seems to be a touch of
intentional comedy.
It is worth notice, in connexion with Thucydides and word-order, that
the Vatican manuscript B, which is at its best from vi. 92 to the end
of viii., frequently exhibits an order of words which is peculiar to it
and may point to a reviser’s deliberate effort after greater lucidity.
In reference to the text presented by the newly discovered Commentary
on Thucydides ii., Grenfell and Hunt (_Oxyrhynchus Papyri_ vi. p. 113)
say: “As usual, the text of the papyrus is of an eclectic character
and does not consistently agree with either family [of the MSS. of
Thucydides]; but it supports the ABEFM group seven times against only
four agreements with the other [viz. CG]. Several new readings occur of
which we append a list.”
With regard to the 27 passages quoted above from various authors it
may be remarked in general that, while in some of them there are
real obscurities, in others the ambiguity is purely grammatical. And
it might almost be laid down as a principle of Greek language that
grammatical rules may be freely neglected where the neglect of them
does not make the meaning seriously ambiguous, and is desirable in
order to secure emphasis, euphony, or some similar object.
[Page 342]
APPENDIX B
ILLUSTRATIONS OF WORD-ORDER IN GREEK AND MODERN LANGUAGES
A few modern translations of some short Greek passages may be appended,
in order to exemplify some of the leading differences, in regard to
word-order, between ancient and modern languages. From these it will be
seen how much English, French, and German differ among themselves; and,
indeed, how great is the variety presented by good English versions
of one and the same Greek passage. Dionysius himself (p. 266 _supra_)
refers to the opening of Plato’s _Republic_, and that opening passage
may here be given at sufficient length to illustrate sentence-order and
clause-order as well as word-order. Then will be added, from the _de
Corona_ (which Dionysius regards as the greatest of all speeches), the
opening, the conclusion, and a famous piece of narrative.
MODERN TRANSLATIONS
I. OPENING OF PLATO’S _REPUBLIC_
(1) Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνος τοῦ Ἀρίστωνος προσευξόμενός
τε τῇ θεῷ καὶ ἅμα τὴν ἑορτὴν βουλόμενος θεάσασθαι τίνα τρόπον
ποιήσουσιν ἅτε νῦν πρῶτον ἄγοντες. καλὴ μὲν οὖν μοι καὶ ἡ τῶν ἐπιχωρίων
πομπὴ ἔδοξεν εἶναι, οὐ μέντοι ἧττον ἐφαίνετο πρέπειν ἣν οἱ Θρᾷκες
ἔπεμπον. προσευξάμενοι δὲ καὶ θεωρήσαντες ἀπῇμεν πρὸς τὸ ἄστυ. κατιδὼν
οὖν πόρρωθεν ἡμᾶς οἴκαδε ὡρμημένους Πολέμαρχος ὁ Κεφάλου ἐκέλευσε
δραμόντα τὸν παῖδα περιμεῖναί ἑ κελεῦσαι. καί μου ὄπισθεν ὁ παῖς
λαβόμενος τοῦ ἱματίου, Κελεύει ὑμᾶς, ἔφη, Πολέμαρχος περιμεῖναι. Καὶ
ἐγὼ μετεστράφην τε καὶ ἠρόμην ὅπου αὐτὸς εἴη. Οὗτος, ἔφη, ὄπισθεν
προσέρχεται· ἀλλὰ περιμένετε. Ἀλλὰ περιμενοῦμεν, ἦ δ’ ὃς ὁ Γλαύκων.
(2) _J’étais descendu hier au Pirée avec Glaucon, fils d’Ariston, pour
faire notre prière à la déesse et voir aussi comment se passerait la
fête, car c’était la première fois qu’on la célébrait. La pompe, formée
par nos compatriotes, me parut belle, et celle des Thraces ne l’était
pas moins. Après avoir fait notre_
[Page 343]
_prière et vu la cérémonie, nous regagnâmes le chemin de la ville.
Comme nous nous dirigions de ce côté, Polémarque, fils de Céphale, nous
aperçut de loin, et dit à son esclave de courir après nous et de nous
prier de l’attendre. Celui-ci m’arrêtant par derrière par mon manteau:
Polémarque, dit-il, vous prie de l’attendre. Je me retourne et lui
demande où est son maître: Le voilà qui me suit, attendez-le un moment.
Eh bien, dit Glaucon, nous l’attendrons._
VICTOR COUSIN.
(3) _Ich ging gestern mit Glaukon, dem Sohne des Ariston, in den
Peiraieus hinunter; theils um die Göttin anzubeten, dann aber wollte
ich auch zugleich das Fest sehen, wie sie es feiern wollten, da sie
es jetzt zum ersten Mal begehen. Schön nun dünkte mich auch unserer
Einheimischen Aufzug zu sein; nicht minder vortrefflich jedoch nahm
sich auch der aus, den die Thrakier geschickt hatten. Nachdem wir nun
gebetet und die Feier mit angeschaut hatten, gingen wir fort nach der
Stadt. Wie nun Polemarchos, der Sohn des Kephalos, uns von fern nach
Hause zu steigen sah, hiess er seinen Knaben laufen und uns heissen,
ihn erwarten. Der Knabe also fasste mich von hinten beim Mantel und
sprach: Polemarchos heisst Euch, ihn erwarten. Ich wendete mich um und
fragte, wo denn er selbst wäre. Hier, sprach er, kommt er hinter Euch,
wartet nur. Nun ja, wir wollen warten, sagte Glaukon._
FRIEDRICH SCHLEIERMACHER.
(4) _I went down yesterday to the Piraeus with Glaucon the son of
Ariston, to offer up prayer to the goddess, and also from a wish
to see how the festival, then to be held for the first time, would
be celebrated. I was very much pleased with the native Athenian
procession; though that of the Thracians appeared to be no less
brilliant. We had finished our prayers and satisfied our curiosity, and
were returning to the city, when Polemarchus the son of Cephalus caught
sight of us at a distance, as we were on our way towards home, and told
his servant to run and bid us wait for him. The servant came behind me,
took hold of my cloak, and said, ‘Polemarchus bids you wait.’ I turned
round and asked him where his master was. ‘There he is,’ he replied,
‘coming on behind: pray wait for him.’ ‘We will wait,’ answered
Glaucon._
DAVIES and VAUGHAN.