Documente Academic
Documente Profesional
Documente Cultură
TRANSLATION
This volume brings together the three
most original and influential ancient Greek
treatises on literature.
EDITED BY
G. P. GOOLD
PREVIOUS EDITORS
T. E. PAGE E. CAPPS
W. H. D. ROUSE L. A. POST
E. H. WARMINGTON
ARISTOTLE
XXIII
LCL 199
sl, ·--~ ~'\ ~
~-~-·~ ~ ~ ,'
--------------------------------~
ARISTOTLE
POETICS
EDITED AND TRANSLATED BY
STEPHEN HALLIWELL
LONGINUS
ON THE SUBLIME
TRANSLATION BY W. H. FYFE
REVISED BY DONALD RUSSELL
DEMETRIUS
ON STYLE
'
EDITED AND TRANSLATED BY
DOREEN C. INNES
BASED ON W. RHYS ROBERTS
Jl!JliJI~ J!JJ!lUllU!Jillll
Copyright © 1995 by the President and Fellows
of Harvard College
All rights reserved
POETICS 1
Introduction 3
Text and Translation 27
ON THE SUBLIME 143
Introduction 145
Text and Translation 159
ON .STYLE 309
Introduction 311
Text and Translation 343
3
INTRODUCTION
4
INTRODUCTION
5
INTRODUCTION
6
INTRODUCTION
7
INTRODUCTION
8
INTRODUCTION
9
INTRODUCTION
10
INTRODUCTION
11
INTRODUCTION
12
INTRODUCTION
14
INTRODUCTION
16
INTRODUCTION
baum (1992).
18
INTRODUCTION
20
INTRODUCTION
21
INTRODUCTION
22
INTRODUCTION
BIBLIOGRAPHY
23
INTRODUCTION
Commentaries
Bywater, Ingram. Aristotle on the Art of Poetry. Oxford:
Clarendon Press, 1909.
Else, Gerald F. Aristotle~s Poetics: the Argument. Cam-
bridge, Mass.: Harvard University Press, 1957.
Lucas, D. W. Aristotle Poetics. Oxford: Clarendon Press,
1968.
Monographs
Belfiore, Elizabeth S. Tragic Pleasures: Aristotle on Plot
and Emotion. Princetop.: Princeton University Press,
1992.
Halliwell, Stephen. Aristotle~s Poetics. London: Duck-
worth, 1986.
House, Humphrey. Aristotle"s Poetics. London: Rupert
Hart-Davis, 1956.
Translations
The following contain extensive annotation or commen-
tary.
Golden, Leon, and 0. B. Hardison. Aristotle"s Poetics: a
Translation and Commentary for Students of Litera-
ture. Englewood Cliffs: Prentice-Hall, 1968.
24
INTRODUCTION
26
ITEPI ITOIHTIKH~
-~
JllJJliiiJJJJ!JU!llJLIIli~Jl
- ·- -- . - .
ITEPI ITOIHTIKH~
1447a ITEpt 1TOLYJ'TLK~~ av'T~~ 'TE Kat TWV El8wv av'T~~' ijv I
I
~/
TLVa OVVafLLV e/
EKaO"'TOV >I
EXEL, KaL' 1TW~
'"" ~'""
DEL /
O"VVLO"'TaO" aL e
TOV~
' fLV'8 OV~ '
EL
/\ \
f.LEJ\1\EL \ '""
Kai\W~ E~
e/ (:
ELV 'Y]~ /
7TOLYJO"L~,
>I
E'TL ~'
OE
10 , 7TOO"WV
EK ...
KaL' 7TOLWV
... , ' fLOpLWV,
EO"'TL ... ~ ...
OfLOLW~
~'
OE KaL' 7TEpL'
TWV a'A.'A.wv oa-a 'T~~ av'T~~ EO"TL fLE8o8ov, 'A.€ywfLEV
28
POETICS
29
ARISTOTLE
30
POETICS 1
a Or perhaps "sufferings."
h Ar. notes the lack of a collective name for mimesis in prose
or metre, and rejects the standing equation of "poetry" with
verse.
c Sicilian authors, father (late 5th cent.) and son, of prose
mimes, i.e. comic sketches; cf. Ar. On Poets, fr. 15 Gigon/72
Rose. Sophron allegedly influenced Plato's dialogues: e.g. D. L.
3.18, P. Oxy. XLV 3219 fr. 1.
d The metre both of some "iambic" poetry (e.g. Archilochus;
cf. 48b31-2) and of dialogue in drama (49a21-28).
e Used mostly in "elegiac" poetry such as that ofTheognis.
f E. (c. 495-35) composed two philosophical!scientific works,
On Nature and Purifications, in hexameters.
31
rI
ARISTOTLE
~ ~/ ~~
f.LE"TpOV, OtO
/
TOV f.LEV 1TOt'Y}TYJV OtKatOV
'
Kai\EtV, TOV
' ' ' \ !". '
o~
1
oi~ Vettori: ai~ A
32
POETICS 2
33
--
ARISTOTLE
Q ' '
tJOV~ Kat 1TEpt TOV~ VO!J-OV~, WCT1TEp yap
' / "' ' 1 K/ \
VKJ\W1Ta~
25 ' / '
apxa~, EV OL~ 'e' 'TE Kat' "a' Kat' "W~. ' WCT'TE
"' 'TYJ,.... J.LEV ' e0 aV'TO~ ''
av ELY] J.Lt!J-Y]'TTJ~ eOJ.LTjpcp ~OcPOKAfj~, J.LtJ.LOVV'TaL yap
!), ,..~.. ~
/ ,.... ~ , 'A ,..~.. / /
a~-to/W CT1TovoaLov~, TYJ oE ptcrroo/avet, 1rparrovra~
yap '
J.LtJ.LOVVTaL,....
Kat' opwvra~ ~ ,.... !)/
aJ.Lo/W. ,../..
o~'f) ev Kat' opa- ~ /
~-tara
\'"'f)/
Kai\Etcr at TLVE~ avra , /,../.. o/acrtv, O'Tt p.,tJ.LOVV'Tat
~~ ,....
34
POETICS 3
35
ARISTOTLE
""
TWV )
EV II€1\01TOVV'Y}(T'Cf)
\ 1TOtOVfLEVOt Ta OVOfLaTaI ) I ' ' I
36
POETICS 4
37
ARISTOTLE
3/ ~E' ' , 1 ('/ (} , ' , 1'"1
at/TtOV V Kat TOVTOV, OTt fLaV aVEtV OV fLOVOV TOt~
38
POETICS 4
39
ARISTOTLE
Cf. on 47bll.
a
b See on 49b24.
c I.e. containing tnuch direct/personative speech; cf. 48a21-
2, 60a5-ll.
40
POETICS 4
41
ARISTOTLE
42
POETICS 4
d I.e. with the tone of a satyr play. Did Ar. connect this tone
with the early dithyrambs from which tragedy developed
(49al0-ll)?
e Trimeter: see on 47bll; trochaic tetrameter: apparently the
main metre of early tragedy, used sporadically by later tragedi-
ans; cf. 59b37, Rh. 1404a30-31.
fAr. seems to imply that in the earliest tragedy everything
was musically accompanied.
g Cf. 49al5 above; see 60a4 for "natural" appropriateness of
metre to genre.
h Sc. unintentionally.
43
ARISTOTLE
\ / ~"'~ ~"'~
7Tp01\0YOV~ TJ'' 7TI\'Y}
\ '(} r
TJ V1TOKptTWV Kat' O(J"a
r:f
TOtaVTa,
5 ~YVO'Y}Tat. TO 8€ f.L~Oov~ 7TOtELv 1 TO f.LEV E~ apxi]~ EK
'ItKEAia~ ~ABE, Twv 8€ 'AO~v'Y}(J"tv KpaTTJ~ 7rpwTo~
~p~EV acpEf.LEVO~ Tij~ laf.L{3tKij~ l8ea~ Ka8oAov 7rOtELV
\ ' '(}
1\0yov~ Kat f.LV ov~.
/
1
1TOLELV 'E1Ttxap!J-O') Kat ifJ6pfLL') AB: 'E. K. ifJ. secl.
Susemihl (om. Arab.)
44
POETICS 5
45
ARISTOTLE
fLEya'Aov A
3 ava'Aaf3ovTEt;; Bernays: U1TO- AB
4 EKU(J"TW Reiz: -ov AB
•
5 TrafJYJfLUTwv B: fLafJYJfLUTwv A Lat.
46
POETICS 6
47
ARISTOTLE
\ /
1\0yov '
TOV 3/
EXOVTa e (}
pv '
fJ-OV KaL' e /
apfJ-OVLav, 1 TO' o~E'
' "" 3/~ ' ~ ' / 3/ / /
XWPL~ TOL~ ELOEO""L TO OLa fJ-ETpWV EVLa fl-OVOV 7TEpaLVE-
~ ' ~'
30 a- () aL KaL' 1Tai\L1J
/\ t!/
ETEpa OLa fJ-EJ\OV~.
/\ )
E7TEL OE
' /
1TpaTT01J-
TE~ 1TOLOVJJTaL T~JJ fJ-LfJ-YJO""LV, 1TPWT01J fJ-EV E~ avayKYJ~
av ELYJ TL fJ-OpLOJJ rpayqJDLa~ 0 Tij~ otj;Ew~ KOO""fJ-0~·
-;-
ELTa f1-EJ\01TOLLa KaL
\ / ' \
1\ES
/(;
L~,
)
Ell
/
TOVTOL~ yap 7TOLOVJJTaL
' ""
EO""Tt f.LV()o~ Kat Tj()YJ Kat AE~L~ Kat OLaVOLa Kat otj;L~
10 Kat f.LEAo1ToLia. oi~ f.LEV yap f.LLf.LOVVTaL, ovo fl-EPYJ
' / e ~' "" t!l c.\~' "" / '
EO""TLV, W~ OE f.LLf.LOVJJTaL, EV, a OE fJ-LfJ-OVVTaL, TpLa, KaL
1Tapa TaVTa OVOEJJ. TOVTOL~ fJ-EV oilv OVK oA.[yoL
1
apfJ-OVtav KUL fJ-tAoc; AB: KUL fJ-· del. Tyrwhitt
2
post TLvac; seq. 1rec/JvKEV atTLa 8vo Twv 7rpatEwv Eivat,
Otavota [ -av, A] KaL ~(}oc; in AB: 1rEcPVKEv ... ~(}oc; sed. Else
3 T-ryc; B: om. A
48
POETICS 6
1 ' '"'
avrwv ~
w~ ' '"' AB :
Et/TTEtv ~
w~ ' '"' post 1rav
Et1TEtV '"' (a 13) transpos.
Bywater
2
ol/Jet~ rec.: ol/Jt~ AB
3 1rpagew~ A: -ewv B
4 A.€get Ka'i Dtavo[q, Vahlen: A.€get~ Ka'i Dtavo[a~ AB
50
POETICS 6
51
ARISTOTLE
~~ ~
5 (T {) at Ta' ' '
f.VOVTa Kat' Ta
' e /
apf.LO'T'TOV'Ta, 01T€p ''
f.1Tt 'TWV
'A6ywv r-ry~ 1To'AtrtKij~ Ka'i pYJroptKij~ f.pyov f.a-riv· ol
f.LEV yap apxatot 1TOAt'T~KW~ E1TOLOVV A.iyovra~, OL 8€
vvv PTJTOptKw~. E.a-rtv 8€ ~{)o~ f.LEV ro rotovrov o
DYJAOL 'TTJV 1Tpoaip€a-tv, 01TOta 1 'Tt~ EV or~ OVK f(T'Tt
8ij'Aov T] 7rpoatpE'irat T] ¢EvyEt ( Dto1TEp ovK E.xova-tv
~{)o~ TWV 'Aoywv EV or~ f.LYJD' o'Aw~ f(T'TtV 0 'Tt 1Tpoat-
lo
.
~ .,, A. / e \ ' ) ~ / ~ ' '
pEtTat TJ 'PEVJIEt 0 Af.JIWV , OtaVOta OE f.V
'e'
Ot~
'
a1TOO€t-
~
1 017"0La
( "'' TL') AB : 017"0La
( ' 71.8 L at.
52
POETICS 6
53
ARISTOTLE
~' :)'.1. .1. ' / ' / ~'
TWV, YJe OE O'PlS 'PvxaywytKOV f1-EV, aTEXVOTaTOV OE Kat'
i}Kurra olKEtov rf}~ 1TOtYJTtKf}~· T] yap rf}~ rpaycp8ia~
~ / ' :)/ ' "' ' e "' :)/ :)/ ~'
ovvap..t~ Kat aVEV aywvo~ Kat V1TOKptTWV EO"TtV, E'Tt OE
54
POETICS 7
1 8~ Bywater: 8€ AB
55
ARISTOTLE
56
POETICS 8
57
ARISTOTLE
,~ 1"\ ,, ~ ' / .,, ~ ' ,./.,. / '0 <:::- / '
toEtv, YJTOt ota TEXVYJV YJ ota 'Pva-tv· ova-a-Etav yap
25 1TOtWV OVK E1TOLYJCTEV aJTavra oa-a avr~ a-vv€f3YJ ( otov
1TAYJyf/vat fLEV €v T~ IIapvaa-a-~, ~-tavfjvat S€ 1Tpoa--
l (} ' ~"'~) 1' '~' (} I
1TOtYJa-aa- at ev Tlp ayEpfLlp , wv ovoev 1"\ '
arepov yevo-
1 ' "' 'i' .,, ' ' () / I (} ' \ \ '
fLEVOV avayKatov YJV YJ EtKo~ arepov yevea- at, aAAa
1TEpt '
fLLaV '
1rpas LV 1"\ ( ; ~'
Otav 1\EYOfLEV
\ /
TYJV ' '0 OVCTCTEtaV
<:::- '
'
fLtfL'Y]CTt~
' ,
ECT'Tt, f-tta~
,....,
'TE
-;-
EtVat Kat' TaVTYJ~
' ~'\
01\Y]~, Kat' Ta'
~' ~'
fLEpYJ
/
CTV~'ECTTaVat
'
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1"\ '
OV'TW~ WCT'TE fLETa-
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~'
'
Kat KtVEta- at TO OAov· o yap 1rpoa-ov YJ fLYJ 1rpoa-ov
1"\ () ' \ (.\ ' ' .,, ' '
IX
<:::-' 1"\ , -'<:::- \ , <:::-' / 1"\ ~'\ , /
35 fLYJOEV 1TOtEt E1TLOYJAOV, OVOEV fLOptOV 'TOV 01\0V ECT'TtV.
IX <I>avepov 8€ EK rwv elpYJfLEvwv Kat ore- ov ro ra
' \ / 1"\ ,...., ,, ' / ' \ \ '
yevOfLEVa 1\Eyetv, TOVTQ 1TOtYJTOV epyov ea-rtv, al\1\
1' .,, ' ''~ ' ' ' ,, .,, '
ota av yevoe-ro Kat ra ovvara Kara ro EtKo~ YJ ro
' "'
avayKatov. oe yap
' e
ta-roptKo~
'
Kat' oe 1TOtYJTYJ~
'
ov' rep
"' .,,
YJ
145lb Ef.Lf.LETpa A.E.yetv ~ Uf.LETpa StacpE.pova-tv• ELYJ yap av
'Ta' eH pOOO'TOV
<:::- /
Et~
' '
f.LETpa (} "' ' ' <:::- ' 1' .,,
'TE YJVat Kat OVOEV 'YJ'T'TOV av
'' e '
EtYJ ta-ropta Tt~ f.LETa' fLE'Tpov
' .,,
YJ ''
avev '
f.LETpwv· ' \ \ '
aAAa
~
'TOVT(f) ota'Pepet,
'
Tlp rov fLEV ra yevofLEVa AEYEtv, rov
,./.,. ' 1"\ ' ' ' ' \ / '
58
POETICS 9
/
1TE1TOL'Y}fLEVa, EV EVtat~ OE OV EV, OLOV EV TqJ
,
ya W-
' / ~' ::1 ( ) / ~ ::1 1'"'1 'A /()
VO~ ::1 Av8EL· 1 oJ.Loiw~ yap f.v TovTcp Ta TE 1rpayJ.LaTa
' ' ' / / ' ::1~, ~ >,.t. /
KaL Ta OVOJ.LaTa 1TE1TOL'YJTaL, Kat OVOEV 'YJTTOV EV'f'pat-
VEL. WCTT' ov 1TUVTW~ Elvat ''Y}T'Y}TEOV TWV 1Tapa8E8o-
/ /() ., (.\ (' ~ / ' / ::1 /
J.LEVWV J.LV WV, 1TEpt OV~ at Tpaycpotat ELCTLV, aVTEXE-
25 a-Oat. Kat yap yE'AoLov TovTo ''YJTELv, E1TEt Kat Ta
yvwptJ.La o'Aiyot~ yvwptfLU ECTTLV, d'A'A' OJ.LW~ Evc/Jpai-
VEL /
1TaVTa~.
~ ~'"'~\
O'Y}I\OV ";'
OVV '
EK ~'
TOVTWV OTt / '
TOV '
1TOL'Y}T'Y}V
J.La'A'Aov Twv J.LV8wv Elvat DEL 1TOLTJTTJV TJ Twv fLETpwv,
oo-cp 1TOLTJTTJ~ KaTa TTJV fLLfLTJCTiv f.o-Ttv, fL"fLELTat 8€
'
Ta~ 1Tpa~ EL~.
/ (; .,, ,,
KaV apa CTVJ.LtJYJ YEVOJ.LEVa 1TOLELV,
Q 1'"'1 / 1'"'1 8 '
OV EV
::1
60
POETICS 9
e
V1TOKptTa~·
/2' /
aywvtCTJLaTa yap ' ""
1TOtOVVTE~ Kat' 1Tapa'
1452a r~v 8vvaJLtV 1TapaTEivovTE~ rov JLV()ov 1TOAAaKt-~ 8t-a-
/"'
CTTp6pELV ' /r
avayKasOVTat TO' 6~ES '"' c""YJ~· ' ' OE
E1TEt ~, OV' JLOVOV/
TEAEta~ ECTTt 1Tpa~EW~ Yj JLLJL'Y}CTt~ aAAa Kat cpo{3Epwv
~ '3 /
Kat- €1\EEtVWV, TaVTa OE
' '\ 1"\
yt-VETat 1"\
Kat' jLal\tCTTa
/\ 4
OTaV t:!
62
POETICS 10
63
ARISTOTLE
1 1TEp~1TETELCf
" "
YEV1JTa~ G ornperz: "
1TEp~1TETE~a
"
1TEp~1TETELa~ y~vovTa~ " A
2 '
Ka~ '
yap , "
. .. avayvwpura~ om. B
3 EO"T~V w~ 01TEp Spengel: EO"TtV W0"1TEp A
64
r
i' POETICS 11
TLVWV,..., '
ECT'TLV ' I
avayvwptCTlS, ate /LEV I '
ELCTL () I
arEpov 1rp0~
\
I \ \ ) I -'I I() I ~
10 1rEpt1rETEta !LEV Kat av.ayvwpta-t~ EtpYJrat, 1ra o~ oE
ECTTL 1rpa~~-~ cp()aprtKTJ ~ oDVVYJpa, oiov OL 'TE EV r(i>
cpavEp(i> eava'TOL Ka'i al 1rEpLwDvvtaL Ka'i rpwa-Et~ Ka'i ~I
~~ ,...,
oa-a rotavra.
XII MEpYJ 8€ rpaycp8[a~ oi~ !LEV w~ ELDEa-t DEL xpij-
I 'I \ ~\ \ \ t.\ \ '
(T aL 1rp07Epov EL'lrO/LEV, Kara OE 'TO 'TTOCTOV KaL EL~ a
()
66
r
I POETICS 12
67
ARISTOTLE
XIII ~nv DE
DEL O"Toxa,Ea-{}at, Kat DEL EVAa/3ELa-{}at, a
I
O"VVLO"TaVTac; '
TOVc; fLVI() OVc; KaL' 11'0I() EV EO"TaL
~~
'TO' T'Y]c;
,. . ,
1
oAYJ Susemihl: oA.ov AB 2 w~ EtOEo-L rec.: om. AB
68
POETICS 13
69
ARISTOTLE
'\ \ ' ,, ''\ ,, ,/... / Q (: ' '
a/\1\ OVTE E/\EOV OVTE 'POtJOV, 0 fLEV yap 7TEpL' TOV
' ' /
ava-
~ ~.-6v Ea-T LV 8va-TvxovvTa, o 8€ 7TEpt TOV OfLOLov
5 ( €AEo~ 1 fLEV 7TEpt Tov dva~ ~.-ov, cp6{3o~ 8€ 7TEpt Tov
~~
OfLOLOV , W<JTE OVTE
) ~~ :J/ '\ ' ,,
OVTE 'PO Epov E<J'Tat TO
E/\EELVOV
,/... f3 ' :J/ '
<IVfLtJULVOV.
Q I"\
0
l: t: ' ,, / \ /
fLE'TU~ V apa 'TOV'TWV 1\0L7TO~.
,, 8'
E<J'TL E
TOLOVTO~ 0 fLrrJTE apEri} 8~.-acpepwv Kat 8t-KaLO<JVVYJ
fLrrJTE 8ul. KaKtav Kat fLOX(}YJptav fLETa{3aAAwv El~ T~v
8va-rvxiav aAAa 8~.-' dJ.LapTtav TLVa, 'TWV EV fLEyaAYJ
10 / t:YJ OVTWV
80~ ,, Kat' EVTVXLq_,
, / ~
OLOV 0 L'8 L7TOV~
/ KaL' 8 VE<ITYJ~
/
Kat ol EK TWV 'TOLOVTWV YEVWV E7TLcpavE'i~ av8pE~.
dvayKY) apa TOV KaAw~ €xovra fLV(}ov a7TAOVV ElVaL
fLaAAov ~ 8t-7TAovv, wa-7TEp Tt-v€~ cpaa-~.-, Kat fLETa{3aA-
\
1\ELV OVK
, ,
EL~
,
EVTVXLaV EK
/ , 8V<J'TVXLa~
/ a/\1\a
'\ \' ,
TOVVaVTLOV
/
E~ E'VTVXLa~ EL~ 8va-rvxiav fL~ 8~.-a fLOX(}YJpLav aAAa
15 8~.-' dfLapriav fLEyaA YJV ~ otov ELPYJTaL ~ {3EA Ttovo~
fLUAA~v ~ XELpovo~. ( <IYJfLEtov 8€ Ka'i TO y~.-yvofLEVov·
7rpwrov fLEV yap oi 7T~LYJTat Tov~ TvxovTa~ fLV(}ov~
a7TYJpL(}fLOVV, vvv 8€ 7TEpt oA[ya~ OLKLa~ at KaAALa-TaL
rpaycp8[a~.- a-vvTL(}EvTaL, oiov 7TEpt 'AAKfLEWva Kat
20 Ol8[7Tovv Kat 'Opea-TYJV Kat MEAeaypov Kat 8vea-TYJV
Kat Trr}AEcpov Kat O<JOL~ aAAoL~ <IVJ.L/3E/3YJKEV ~ 7Ta(}E'iv
8Et-va ~ 7Tot-ija-a~.-.) ~ fLEV oilv KaTa T~v TEXVYJV KaAA[-
<ITYJ Tpaycp 8La EK
/ , TaVTYJ~/ I"\
TYJ~ <JV<JTa<JEW~ E<JTL.
8LO' / / ,
Kat- OL
' l: EVpL7TL
' /8 YJ EyKai\OVVTE~
' \ ""' TO' aVTO
' ' afLapTaVOV<JLV l: /
lN\ ~
€1\EOS' . . . OfLOLOV Om.
B
70
POETICS 13
71
ARISTOTLE
72
POETICS 14
73
ARISTOTLE
~'
TWV" a1rEp .,,
av 1ra'f) Ot Tt~ aKOVWV
,
TOV TOV 0 t0t1TOV
,~, I' ' 1"1
, :)/
OVK Ea-TtV, J\EYW OE ~' 'e'
OtOV '
\I
TYJV K\J\VTatf.LYJCFTpav a7TO f) a- I ,
1 8~ Spengel: DE AB
74
POETICS 14
comes about (as one would feel when hearing the plot of
the Oedipus). a To create this effect through spectacle has
little to do with the poet's art, and requires material
resources.h Those who use spectacle to create an effect
not of the fearful but only of the sensational have nothing
at all in common with tragedy, as it is not every pleasure
one should seek from tragedy, but the appropriate kind.
And since the poet should create the pleasure which
comes from pity and fear through mimesis, obviously this
should be built into the events.
Let us, then, take up the question of what sorts of inci-
dents strike us as terrible or pitiable. Now, such actions
must occur between friends,c enemies, or neutrals. Well,
if enemy acts towards enemy, there is nothing pitiable in
either the deed or the prospect of it, except for the
sufferingd as such; nor if the parties are neutrals. What
tragedy must.seek are cases where the sufferings occur
within relationships, such as brotper and brother, son and
father, mother and son, son and mother-when the one
kills (or is about to kill) the other, or commits some other
such deed. Now, one cannot break up the transmitted
stories (I mean, e.g., Clytemnestra's death at Orestes'
hands, e and Eriphyle's at Alcmaeon's), f but the poet
should be inventive as well as making good use of tradi-
tional stories. Let me explain more clearly what I mean
by "good use." First, the action can occur as in the early
b Cf. the final sentence of ch. VI.
c Philoi, "friends," here embraces all (esp. kin) who share
strong personal or social ties.
d Defined at the end of ch. XI.
e See on 53a37.
fA. killed his mother (in different versions) either acciden-
tally (in Astydamas, 53b33), or to avenge his father, Amphiaraus.
75
ARISTOTLE
1454a '
yaKL~,. ~
OLOV ,
EV 'A VTLYOVYJ
/ '
TOV K pEOJJTa
' 0e At:'LfLWV. TO'
OE 1TpataL OEVTEpov. {3i.ATLOV OE TO ayvoovvra fLEV
"'(:.
1rpac.:,aL, /(:.
1Tpac.:,avTa ~' , / ' '
oE avayvwpta-at· TO TE yap fLLa-
1 post
M1}8ELav lacunam stat. Gudeman (cf. "quod non faciat
... ubi cognoscunt," Arab.)
2
'AAKfLULWV 0 Vettori: aAKfLULWVOr; AB
3 To Theod. Rentius, Bonitz: Tov AB
76
POETICS 14
78
POETICS 15
79
ARISTOTLE
\
1\0V ' A Vl\tOt
YJ~ EV '\ I~ 'JA...
'PtYEVELa
1 '~'
• OVOEV yap
'
EOtKEV
''
YJe tKE-
e
80
POETICS 15
a See 48al7-18.
82
POETICS 16
83
ARISTOTLE
~'
7TaCTat, atc: OE
1"'1 '
EK /
1TEpt1TETEta~,
t:/
WCT1TEp ?'c} EV'
TOt~
1"'1
30 /
N t1TTpOtS, f3 EI\TtOV~.
\ / ~ /
OEVTEpat ~' c: /
OE at 1TE1TOL?Jf.LEVat V1TO
c: '
84
POETICS 16
85
ARISTOTLE
' r (J ~, '\
a7TEpya~:;,EO" at OTt fLal\tCJTa 7Tp0 OJ.LJ.LaTWV Tt EfLEVOV"
' ' , (J,
OVTW~'
yap ' av .,, EVapyEa-TaTa
' / (
opwv ,..., ~'
W0"7TEp 7Tap ' aVTOt~
' ~
1
ecpYJ B Arab.: om. A
2 (JeaTpov AB: OaTepov Hermann
3 EV'TELVELV
' I 'C OV B: Om. A
••• 'TO~
4 yvwa-ea-Oat A: evTeivetv B
5 8t' AB: 8-ry Tyrwhitt
86
POETICS 17
KaL'TOV~
' 7rE1TOLYJfLEVOV~
/ ~I"\'''
OEL KaL aVTOV 7rOLOVVTa EKTL- I"\ ' /
88
POETICS 17
cAr. implies that acting out a role will help to induce the con-
comitant feelings.
d A textual emendation would make this .. rather than," on the
grounds that .. manic" sounds too passionate for the psychology of
composition posited by Ar.
e Cf. 5lbl5-26.
f K.atholou, the same term as .. universal" at 5lb8-9: the sense
is not different here (it refers to the kinds of event), though its
emphasis is more limited than in ch. IX.
g Eur. IT.
89
ARISTOTLE
f.xO pov~ cn€¢0EtpE. 'TO fLEV ofJv LDLOV 'TOV'TO, 'Ta 8'
a'A'Aa E1TELa-OCLa.
XVIII !)'Ea-Tt 8€ 1raa-'YJ~ Tpaycp8ia~ To fLEV 8€a-t~ To 8€
\ / ' ' !)/(; (} ' !)/ ,... !)/ (} \ \ /
J\V(J'L~, 'Ta fLEV Es W EV Kat EVLa 'TWV f(J'W EV 1TOJ\J\aKL~
92
POETICS 18
c Women of Phthia, perhaps Sop h.'s play of this name: its sub-
ject is unknown; TrGF IV 481-2.
d Both Soph. and Eur. wrote plays about P., father of Achilles.
e The text is badly damaged here; the passage needs a ref. to
the "simple" tragedy (ch. X, cf. 59b9). Phorcides, "Daughters of
Phorcys" (guardians of the Gorgons), may be Aesch.'s work of
that name (TrGF III 361: a satyr play?), as may Prometheus: but
we cannot be sure.
f I.e. a plot of epic scope.
93
r
ARISTOTLE
/ {) ' ~' ,... ~ / \ ' ' ' e /\
p.eyE 0~, EV 0€ TOt~ opap.acrt 1TOI\V 1Tapa TYJV V1TOAYJ-
15 ,o.ytV , a /
', a1TOfJatVEt. ,. . 0€,
O"YJfLELOV ~ / t:l
OO"OL 1TEpcrtV 'I\1\LOV
/ / 01\Y]V
t:l \
94
POETICS 19
a In Trojan Women.
h We do not know what was distinctive about Aesch.'s treat-
ment of Niobe's suffering (cf. OCD s.v.); TrGF III 265-80.
c Cf. on 55a28.
d Ref. unknown; for Agathon, see 51 b21.
e A difficult sentence; but Ar. apparently allows that "awe"
(see on 52a4) can be achieved by simple as well as complex plots.
f Cf. on 52b38.
g We cannot identify the stories/plays about Sisyphus (OC D
s.v.) which Ar. has in mind.
h Fr. 9 TrGF (I 164); see Ar.'s quotation at Rh. 1402a9-13.
i Sc. "in the action.''
95
r
ARISTOTLE
~
1TEpL' 1\E~
\ /(; EW~ KaL'1 OLaVOLa~
/ '
EL1TELV. 1"'1
Ta fJ.-EV OVV 1TEpL
' ' '";' '
OEOL
/
Kf!L fl-Y} OLa TOV 1\0yov; TWV OE
' '
1TEpL TYJV
' ' \ / 1"'1 ' ' \
1\E~
/(;
LV EV
(.\
96
POETICS 19
97
ARISTOTLE
~'
XX TYJ~ 1"1
OE 1\ES EW~ a'1TafFYJ~
\ / (; t: /
Tao~' EfFTt Ta /LEpYJ, fFTOt-
/ ' ' ' /
XX
20 XELOV a-v'A'Aaf3~ a-vv8Ea-!LO~
OVO!La PiJILa apOpov
'3' ' A.. ' '~ /
1"1
7TTWfFt~ 1\0yo~.
\ /
fFTOtXEtOV /LEV OVV EfFTtV
1"1
o/WVYJ aotat- '
30
/ ,
ytVO/LEVOV aKOVfFTOV, OtOV TO
/ '1' , r Kat, TO, .u.
A
TaVTa OE
1"1 ~,
~' ' (; /
OE OS VTYJTt Kat' f3 apVTYJTt
/ Kat' T(f! /LEa-cp· 7TEpt WV
'1'
Ka (}' 1"1 / '
98
POETICS 20
h I.e. animals make some vocal sounds, but these do not com-
bine to produce the syllables and words of language.
c From now on "sound," phone, denotes speech sounds.
d Sometimes termed "semi-vowel."
e Sc. in itself (unlike a stop).
f Also known as "mute." g Of vowels.
h Pitch accent, not dynamic stress.
i Works which treated phonology within analysis of metrical
patterns; cf. Part. An. 660a8.
j I.e. not a semantic unit.
k I.e. (apparently) vowel or continuant.
99
ARISTOTLE
1 1TE4>vKvta B: -av A
2 ijv ... fLEa-ov (57a3-10) om. B
3 avTr]v TylWhitt (Lat.): avTov A
4 8r] To[ Bywater: YJTOt A
5 a-YJfLUVTtKwv Robortelli: -ov A
6
afL4>£ Hartung: cP·fL·t. A
7 8Eo8wpo<; To 8wpo<; Ritter (Arab.): fJEoDwpcp To 8wpov AB
101
ARISTOTLE
/
30 O""YJf.La~VEtV.
\ ' OVK
f.LOV, 1TI\Y}V '' '"'' /
EV T(f) OVOf.LaTt
2 O""Y}f.LatVOVTO~
/ Kat' ' /
aO""YJ-
~ ~'
f.LOV, TO' '
OE EK
' /
O""YJf.LatVOVTWV /
o-vyKEtTat. :>/
EtYJ 0
.,,
av Kat'
Tpt1TAovv Kat TETpa1TAovv ovof.La Kat 1ToAAa1TAovv,
35 otov Ta 1TOAAa TWV Mao-o-aAtWTWV, 3 eEpf.LOKatKO~av-
1457b JJ
UO~
* * * . 4 a1TaV ~~ ~
OE
' :>/ / '
OVOf.La EO""TLV YJ KVptOV YJ y 1\WTTa
.,, / .,, \ I"\
1 Kara ro
Reiz: ro Kara AB
Vahlen: -ro~ AB
2 ovofLaTL
3 Maa-ua.A.uvrwv Diels (ex Arab.): fLeyaJuwrwv AB
4 lacunam stat. edd. (cf. Arab.: "supplicans domino caelo-
rum")
102
POETICS 21
103
r
ARISTOTLE
,, ,./.. ,.,, , .,, , .,,_, ,
TJ f.LE'Ta'Popa TJ KOO"fLO~ TJ 7ff.1TOtTJf.LEVOV TJ f.1Tf.K'Tf.Taf.LE-
vov ~ VcPYJPTJf.LEVov ~ €~TJAAayf.L€vov. A.€yw 8€ Kvptov
f.LEV ~ xpwvrat EKaO"'TOt, y Awrrav 8€ ~ ETEpot. WO"'Tf.
c/JavEpov ort Kat yA.wrrav Kat Kuptov Eivat 8vvarov
5 TO' avro,
, , f.LTJ' "" aVTOt~
'TOt~ , "" Of."
~"
'TO' yap
' O"tYVVOV
" K V1Tptot~
,
f.LEV Kvptov, TJf.LLV 8€ yA.wrra.
f.LETac/Jopa 8€ EO"'TtV OVOf.LaTo~ aAAorpiov E1Ttc/>opa
~ U1TO 'TOV yevov~ E1TL E18o~ ~ U1TO rov f.t8ov~ E1TL 'TO
/ .,, ' ' 1"'1 _,,~ ' ' -;-~ .,, ' ' ' "\
YEVO~ TJ a1TO 'TOV f.tOOV~ f.1Tt f.tOO~ TJ KaTa 'TO aVal\0-
yov. A.€yw 8€ a1ro y€vov~ f.LEV E1TL E18o~ oiov ~~VTJV~
~, (',~, ('/ _, ' ' ~ 1"'1 ) ~ /
10 Of. f.LOt TJO f.O"TTJKf.V " 'TO yap Opf.LEtV f.O"'TtV f.O"'TaVat 'Tt.
a1T' f.t8ov~ 8€ E1TL yevo~ e~~ 8~ f.LVpi' '08va-a-ev~
€a-OA.a €opyEv" · ro yap f.Lvpiov 1roAv €a-rtv, ({> vvv
dvrt rov 1roAAov KEXPTJTat. a1r' Et8ov~ 8€ E1TL EL8o~
oiov e.~xaAKCi> U1TO lfivx~v apva-a~" 1 KaL e~'TEf.LWV
rava~Kf.t xaAKCi>" · €vrq.,v8a yap ro f.LEV apva-at
15 raf.LELV, 'TO 8€ Taf.LELV apva-at f.LPTJKf.V" CLf.LcPW yap
-'A-.. \ ~' ~
a'Pf.l\f.tv Tt f.O"TtV. ro
1"'1 / ' "
of. aval\oyov 1\Eyw, orav
) "\ \ / ('/ /
Of.LOtW~
~
EXYJ ro oEvrEpov
_,, ' /
1rpo~
'
ro 1rpwrov Kat ro Tf.raprov
' 1"'1 ' ' ,
E.pva-aa-KE rEfLwv B
Onoma, used above for "noun," but here carrying the wider
a
sense; cf. e.g. 57b7, 25.
104
POETICS 21
105
ARISTOTLE
106
POETICS 21
107
ARISTOTLE
TO
'
fJ-EV
'
KaTai\El/lTTJ
\ /
TO
' ~'
OE 1TOLYJ,
""
OLOV
'e'
TO
' (( ~
OE~
t. LTEpov
'
KaTa p.-asOV
' r/,,aVTL, ""~
TOV DEC::, LOV.
t. /
' ""
aVTWV ~'
OE ""
TWV ' /
OVOJLaTWV '
Ta '
JLEV ~~
appEva '
Ta 0~E'
/\
() 1'}1\Ea ' ~'
Ta OE f.LETa~ V,
t. / ,,
appeva JLEV ocra TEI\EVTq.
' (:/ \ "" EL~
, TO
'
10 8' EO"TtV 8vo, 'It Kat S), Orrj'AEa 8€ ocra EK TWV ~WVYJ-
/
EVTWV
,,
EL~ TE ,
Ta aEL JLaKpa, OLOV
, ' / 'e' ,
EL~
H KaL
' r\
~L, KaL TWV
' ""
,
E1TEKTELVOfJ-EVWV
/
EL~
, A t:l
• WCTTE
,,
LCTa CTVJLtJaLVEL 1TI\Y}
a / \ /() EL
EL~
'
/ ()
t:l
oa-a '
Ta ''
appEva KaL' Ta
'
/2 , , ~ ' ,, ,./-.
() / \ '
Y}I\Ea. TO '
yap
, ~ ' ,,
'\TI'
':l' KaL' TO
'
\
=
,......
""
CTVV ETa ECTTLV. EL~ OE a'f'WVOV OVOEV OVOJLa TEI\EVTq.,
KOV
' ~'
OE \ / \""
1\E/'W /' 1\WTTaV KaL f.LETa...,...,opav KaL E1TEKTaCTLV
' ,./-. ' ' , /
1
ot/J Vettori: OYJ~ A: DYJ~
B
2 frvvOera Arab.: TavTa AB: TavTa rec., Lat.
3 post 1TEVTE add. nomina quinque Arab.
108
POETICS 22
109
ARISTOTLE
' :1~
fLYJ tVtWTtKOV 1TOtYJCI"€t,
' / ~ '
o~a
~'
0€
' f) I
TO KOtVWV€tV TOV EtW 0-
,..., ,..., :1
1 ({A.Awv
Twining (Arab.): om. AB
2
p.,eTacPopwv Bywater: -av AB
3 _,E1TtXrLPYJV Bursian CH- Tyrwhitt): ~ E1TtxapYJv B: YJTEL
xaptv A
110
POETICS 22
4
EYKEpafLEVO~ coni. Kassel: av yepafLEVO~ A: av YE apafLE-
vo~ B
111
ARISTOTLE
\ "' ~E' ~
YEI\OLOV" TO' 0
,
f.LETpov '
KOLVOV ,
a1TaVTWV ' ' TWV
ECTTL ""'
' 'PaLVETat
J.LEV ,~.... , \ ' TO' o~'
Kai\OV ,
EVTEAE<;.
\ , A,tcrxvAo<;
'\ '
J.LEV
yap <l>tAOKT~TY1 E1TOLYJCTE
EV T/i>
cpay€oatvav 3 ij J.LOV a-apKa<; €a-8iet 1ToOo<;,
~ ~
0 OE
'
aVTL TOV
, ' 1"1 '
ECT LEt TO
{}, ' {}
OLVaTaL
1"1
f.LETE
'{}
YJKEV. Kat '
lr r
ap/LOTTOV rec.: ap/LOTTOVTO~
i'
: ap/LOTTOV 1TW~ B
Ar' i'
112
r
POETICS 22
113
ARISTOTLE
114
POETICS 23
the palace," and ''of thee," and ''I him ... ," and "Achilles
round" instead of "round Achilles,~~ etc. a Because absent
from standard speech, all such expressions make an out-
of-the-ordinary impression; but Ariphrades failed to
realise that. It is important to use aptly each of the fea-
tures mentioned, including double nouns and loan words;
but much the greatest asset is a capacity for metaphor.
This alone cannot be acquired from another, and is a sign
of natural gifts: because to use metaphor well is to discern
similarities.h Of word types, double forms particularly
suit dithyramb, c loan words suit epic, and metaphors suit
iambic verse.d In epic, everything mentioned has some
use, but in iambic verse, because of the very close relation
to ordinary speech, e suitable words are those one would
also use in prose-namely, standard terms, metaphors,
ornaments.
Let that, then, count as sufficient discussion of tragedy
and enactivef mimesis. .
XXIII As regards narrative mimesis in verse,g it is clear that
plots, as in tragedy, should be constructed dramatically,
that is, around a single, whole, and complete action, with
beginning, middle, and end, so that epic, like a single and
whole animal, may produce the pleasure proper to it. Its
115
ARISTOTLE
~
povv ' fLEV
EK ' 'I\1\taooc;
I ~
Kat' '0 OVlfa"ELac;
~ I I
fLtU ~I
Tpaycpota
~ ~
7TOt€tTat EKaTEpac; YJ OVO fLOVat, EK
I .,, ~ I I ' ~ '
0€
K V1TptWV I \
1TOI\-
1
ia-ropiats ras crvv()f.cretc; Sophianus, Dacier (i. T. crvve~-
(TElS B): tcrropiac; ras crvvr]Oetc; A
2
o11-vOo~ B: om. A
3 oic; rec.: Dtcr (sed erasum) A: om. B
4 Kv1Tpta Castelvetro: Kv1TptKa AB
116
POETICS 23
117
ARISTOTLE
V7TEpf3~f3AYJKEV.
~LacpepEL DE KaTa TE Tij~ crvcrTacrEW~ TO fLiJKo~ 7]
,E7T01TOUa KaL' TO' fLETpov.. TOV,..., fLEV
/ ' OVV
";'
/ ~'
fLYJKOV~ opo~
/
1 DE rec.: yap AB
118
POETICS 24
119
ARISTOTLE
,
1TapYJKOtEV. ,,
EXEt ~' ' ' ' , () ' ,
oE 1rpor; TO E1TEKTEtVEo- at To J.LeyE-
LJ
uor; \ ' 'Tt YJe E1T01TOtta
11'01\V ' ' ''~ ~ ' 'TO
tOtOV ota '
EV
'
J.LEV
'
'TYJ"" Tpa-
yq>DLft J.L~ f.v8ixEo-0at aJ.La 1TpaTTOJ.LEVa 1ro'A'Aa J.LEPYJ
25 J.LLJ.LELo-Oat a'A'Aa 'TO E1TL Tijr; O"'KYJVi}~ KaL 'TWV V1TOKpt-
TWV fLEpor; J.LOVOV" EV 8€ TV E1T01TOtiq. Ota 'TO Dt~YYJO"'tV
Elvat EO"''Tt 7To'A'Aa J.LEPYJ aJ.La 1TOtELV 1TEpatVOJ.LEVa, vcp'
WV
1' OtKEtWV
' / OV'TWV
'' avs
'' (; E'Tat 0e 'TOV"" 1TOtYJJ.LaTOr;
' oyKor;.
''
120
POETICS 24
121
ARISTOTLE
122
POETICS 24
of the poefs own voice. For the poet should say as little as
possible in his own voice, as it is not this that makes him a
mimetic artist. a The others participate in their own voice
throughout, and engage in mimesis only briefly and occa-
sionally, whereas Homer, after a brief introduction, at
once "brings onto stage~~b a man, woman, or other figure
(all of them rich in character). In tragedy one needs to
create a sense of awe, but epic has more scope for the
irrational (the chief cause of awe), because we do not
actually see the agent. The entire pursuit of Hector, c if
put on stage, would strike us as ludicrous-with the men
standing and refraining from pursuit, and Achilles forbid-
ding them-but in epic this goes unnoticed. Awe is plea-
surable: witness the fact that all men exaggerate when
relating stories, to give delight. It is above all Homer who
has taught other poets the right way to purvey falsehoods:
that is, by fal~e inference. When the existence or occur-
rence of b follows from that of a, people suppose that, if b
is the case, a too must exist or be occurrent; but this is
false. So, if the antecedent .is false, but were it true some
further fact would necessarily exist or occur, the poet
should supply the latter: because it knows the truth of the
consequent, our mind falsely infers the truth of the
antecedent too. One example of this comes from the
Bath Scene. d Things probable though impossible should
123
ARISTOTLE
r
"" \ \
f.Lai\1\0V YJ.,, ovvaTa
~ ' a1Tt/() ava · TOV~ TE 1\0yov~
) / \ /
J.LYJ' crvv-
ia-Taa-Oat EK J.LEpwv aA.6ywv, aAAa J.LaAtCT'Ta fLEV
J.LYJDEV EXEtV aAoyov, El 8€ f.L~, €tw 'TOV J.LVOE'vJ.La'TO~,
~~
W(J"1TEp 0 t0t1TOV~
'~ /
'TO' fLY}' EtOEVat
'~ / "" ( A atO~
1TW~ 0
/ ' /() a-
a1TE
30 VEV, aAAa J.LTJ EV 7cp Dpap_,aTt, WCT1TEp EV 'HAEK7p~ oi
Ta ITvlha a1Tayy€AAOV'TE~ ~ EV MvcroL~ 0 acpwvo~ EK
T EyEa~ / ) ' 1\..4" /
Et~ 'TY}V J.nVa-taV YJKWV.
~' ~'
WCT'TE 'TO' 1\EyEtV
\ / ~/
O'Tt
aviJpYJ'TO av 0 J.LV()o~ yEAOLOV" €t apxfJ~ yap ov DEL
a-vvia-Tao-Oat 'TOtOV'TOV~. av 8€ Ofl Ka'i cpaiVYJ'Tat 1
~~
EVJ\OYWTEpW~ EVOEXECT at, Kat a'T01TOV" E7TEt Kat Ta EV
'\ ' ) () ':J/ , ' ' ')
35 '0 OVCTCTEt~
~ ' al\oya "' \ Ta' 1TEpt' TYJV
' E"' K{) Ea-tV W~ e
OVK
'
av
.,,
YJV
-;-
124
POETICS 25
I 125
ARISTOTLE
r
DEL. ravra 8' E~ayy€AAE7at AE~Et €v 1 n Kat y'Awrrat 2
Kat' f.LE'Tao/opat
,./.,. ' Kat' 1TOI\I\a
\ \ ' 1Ta/() 'Y} "" \ / c
'T'Y}~ /\€~ EW~
/ '
E(J"''Tt.
8£8of.LEV yap ravra ro'L~ 1TOt7Jra'L~. 1rpo~ S€ rovrot~
OVX TJ aVTTJ opfJOT'Y}~ Ea-TtV r..q~ 1TOAt'TtK..q~ Kat r..q~
1TOt'Y}'TtK..q~ ov8€ a'AA 'Y}~ TEXV'YJ~ Kat 1TOt'Y}'TtK..q~. avr..q~
15 8€ r..q~ 1TOt'Y}TtK..q~ 8trr7} af.Lapria, 1] f.LEV yap Ka8'
~ /
aV'T'Y]V, 'Y~J OE
<;:- '
KaTa' (J"'VfL(3 E(3 YJKO~.
/ Et' fLEV
' yap
' 1Tp0Eti\E'TO
/\
f.Ltf.1/rl(J"'aa-8at * * *3 aOvVaf.Ltav, avr..q~ 1] Uf.Laprta. el
<;:-' ~I
OE 'TO' 1Tp0Ef\E(J"'uat
\ / {)
fLY}' ' {)""
opuw~,
'\ \ '
a/\1\a '
'TOV 31 ,./.,.
t1T1TOV afLo/W
ra OE~LCX 1Tpof3ef3AYJKO'Ta, ~ 'TO Ka()' EKU(J"''T'Y}V TEXVYJV
20 Uf.LUPTYJf.La, oiov 'TO Kar·' larptKTJV ~ aAAYJV TEXVYJV 4
~ {)' ~ ~I <;:- ""
Ta' E1Tt'TtfLY}fLaTa
' /
""
01TOtaVOVV, OV' Kau
/
EaVTYJV. W(J"''TE OEt
'
EV ""
'TOt~ 1rp0{3\1\Y}f.Laa-tV
/ ' 'TOV'TWV
EK / ' ""
E1Tt(J"'K01TOVV'Ta \ /
1\VEtV.
1TpWTOV f.LEV Ta 1Tpo~ avr~v 'T~V TEXVYJV" aovvara
a'A'A' op8w~ EXEt, el rvyxavEt
1TE1TOt'Y}'Tat, TJf.LUPTYJTat•
rov"" TEI\OV~
/\
rov"" aVTYJ~
e ""
. ( TO' yap
' /\
TEI\O~ EtpY}Tat , Et :!II ) '
126
r POETICS 25
127
T
ARISTOTLE
128
POETICS 25
129
r
ARISTOTLE
Hom. Il. 1.50; the issue was why Apollo would have sent the
a
plague first upon animals. But oureis, unlike ouroi, does mean
"mules," as also at 10.84.
b Hom. Il. 10.316; the "problem" stemmed from the continu-
ation, "but was swift of foot."
c Hom. Il. 9.203; Greeks rarely drank undiluted wine.
d Hom. Il. 10.1-2, garbled (but cf. 2.1-2), and 10.11, 13: "he
marvelled at" is in Homer but not Ar.'s quotation.
130
POETICS 25
131
T
ARISTOTLE
25 r ' 1 TE 1Tptv
swpa ' KEKPTJTO
' ~'
" . 2 ra' oE ' ,.~.... Q
ap."-t-'LfJOJ\.L~,
\ ' ee '
1Tapcp-
~ ' \ / / (;" ' ' \ / , ,./.. / Q \ / ,
XYJKEV oE 1T1\.EW vvc; • ro yap 1T1\.ELW afL'f-'LtJO"-OV Ea-T LV.
Ta' ~'
OE KaTa' '
TO 'If) 0~
E TTJ~
'"' \ / (; Ew~·
1\.Ec; '
TOV /
KEKpafLEVOV
"' / ,.1..
OLVOV '1-'aa-LV ELVaL, 0
"' ~:1(}
EV 1TE1TOLTJTaL
/ ee
KVTJfLL~
'
VEOTEV-
/
'
KTOV Kaa-a-LTEpOLO " • KaL' \ /
xai\.KEa~ TOV~
' ' (.TLOTJpOV
TOV /~
Ka ra fLEra¢o pav.
~'"' ~' ' ~I 'I / <: / / ~ '"'
OEL OE KaL OTaV OVOfLa TL V1TEVaVTLWfLa TL OOKYJ
/ , '"' '"' .,, / '"'
(.TT}fLaLVELV, E1TL(.TK01TELV 1TOa-axw~ av (.TT}fLTJVELE TOVTO
EV ret> ElpYJfLEVC[), oiov rii>
4 e<:TD Ea-XETO xaAKEOV p'
€yxo~" ro ravrn KwAvf)iJvaL 1roa-axw~ €v8€xEraL,
e ~' .,, <: ~ / e /\ ' 'I <: \ / Q ' '
WOL TJ WOL, W~ fLaJ\.L(.TT av TL~ V1TOJ\.afJOL. KaTa TTJV
35 KaTaVTLKpV TJ
, .,, <:
W~
r 1\.aVKWV
\ , \,
1\.EYEL,
~~
OTL EVLOL
'I s al\.oyw~
,\ ,
146lb 1TpOV1TOAafLf3avova-t TL Kat avrot KaratfJTJ¢La-afLEVOL
a-vAAoyt,OVTaL, Kat w~ ElpYJKOTO~ 0 TL DOKEL E1TLTLfLW-
.,, <: / "' ""' <: '"' , / '"' ~ '
a-LV, av V1TEVaVTLOV YJ TYJ aVTWV OLTJ(.TEL. TOVTO OE
1
2
'wpa Vettori ex Athen. 423F: '~a AB
KEKP'YJTO A: KEKptTO BA 2
3 add. Heinsius (Arab.)
Kat 4 T~ Bywater: To AB
5 Evtot Vettori (Arab.): Evta AB
132
POETICS 25
than" to mean "the greater part of' or "full"; cf. fr. 385 Gigon/161
Rose.
c Hom. Il. 21.592: i.e. "tin" means "tin alloyed with copper."
d Cf. Hom. Il. 20.234; gods drink nectar.
e "By analogy": 57b16 ff.
f Hom. Il. 20.272; the problem is how a spear, having pene-
trated two layers of bronze, could be stopped by a presumably
outer layer of gold. Ar. gives no solution.
g Unidentifiable, but cf. Pl. Ion 530d. h In Hom. Od. bk.
4, where Icarius (Penelope's father) does not appear.
133
ARISTOTLE
t:/
OVTW Kat' OTt
TE
t:l
1TOTE' OVK
' -'I\ I
al\oyov '
E(TTU'" ' '
EtKO~ yap
'
134
POETICS 25
135
ARISTOTLE
0
'0 7TOVVTLO~.
C I
f.LTU OVO€ ~ I>;' ~I
' \ ,
KLV'Y}(JL~ a7raa-a U7TOOOKLp.,a-
~
136
POETICS 26
137
ARISTOTLE
138
1 POETICS 26
139
ARISTOTLE
140
POETICS 26
141
LONGINUS
ON THE SUBLIME
REVISED BY
DONALD RUSSELL
T
INTRODUCTION
1 145
INTRODUCTION
146
INTRODUCTION
147
INTRODUCTION
Analysis
Analysis of the treatise is rendered difficult by the dam-
age which P has suffered; there are six long lacunae, and
something missing at the end. We have lost about a third
of the book. Nevertheles.s, we can see the author,s plan
clearly enough, except in one important respect, the
treatment given to 1Tal}oc;. We can also see that some of
his central theses are presented not in the course of the
argument as he advertises it in chapter 8, but in the elo-
quent and powerful digressions. He is a sophisticated
artist, both in his style and in his economy. This has
always been recognized. Pope,s famous remark (Essay on
Criticism 675-680) that he is ~~himself the great sublime
he draws,, has antecedents in the earliest period of
Longinian criticism: Francesco Porto (1569) says of him:
"non solum docet sed etiam rapit, et quodammodo vim
affert lectoribus,-exactly what "Longinus, says himself
of the writers he admires.
Let us set out the analysis as far as we can.
148
INTRODUCTION
149
INTRODUCTION
(i)
9.1-4: Beginning of the discussion of great thoughts.
9.5-15: Homer~s greatness of thought, with a remark
(9. 9) on the beginning of Genesis, seen as a worthy rep-
resentation of the divine, and a comparison (9.11-15)
of Iliad and Odyssey.
10: Selection and accumulation of detail as a means to
sublimity; including an analysis of a poem by Sappho
( 4>aivera[ fLOL Kijvo~ ... )
12.4-13.1: Following the lacuna, we find the author still
discussing amplification, with a comparison between
Cicero and Demosthenes, and an example of Plato~s art
of combining abundance with sublimity.
13.2-14: The mention of Plato raises the question of imi-
tation as a means of attaining sublin1ity, since Plato
drew on Homer, and we should draw on, and try to
think like, the great men of the past.
15: Phantasia-visualization or imagination-as a means
to sublimity; the difference between rhetorical and
poetical visualization.
(iii)
16-17: General introduction to the discussion of figures
(16-29), including a detailed examination of the
Marathon oath in Demosthenes (de corona 208), and
advice on concealing one's ingenuity, so as not to be
suspected of trickery: the best concealment is sublimity
and emotion.
18: Rhetorical questions. A lacuna follows.
19: Asyndeton.
20-21: Anaphora and asyndeton.
22: Hyperbaton, including a detailed analysis of a passage
in Herodotus.
150
INTRODUCTION
151
INTRODUCTION
(v)
39-42: Word arrangement: examples of the ways in
which rhythm is decisive in producing sublime effects,
and common words can be given grandeur by skilful
placing. Dangers of excessive rhythmization and brevity.
43.1-5: seems to belong under ~~choice of words'' not
under ~~arrangement." We have a lengthy discussion of
a passage of Theopompus, in which the effect of a
grand situation is marred by the intrusion of common-
place words and details.
43.6: In general, the opposites of the devices that pro-
duce sublimity will produce its opposite, lowness of
style.
44.1-11: The deeper causes of failure are examined in a
dialogue, in which an unnamed philosopher makes the
case that it is loss of liberty that produces the current
dearth of lofty writing, and the author attributes it
rather to moral decline ..
44.12: Transition to the promised discussion of 7raO'YJ,
broken off short in our text.
INTRODUCTION
153
INTRODUCTION
154
~
I
INTRODUCTION
Influence
Parisinus 2036 was copied for Bessarion in 1468, and at
least once again later in the century. Other copies of
these copies were also made, and Latin translations circu-
lated in manuscript before the first printed editions
(1554-5) and printed Latin translations (1566, 1572). But
the work made little impact on the literary world at large
until much later. The Italian translation of Niccolo da
Falgano (1560) remained in manuscript; the first pub-
lished English version is by John Hall (1652). All was
changed in 1674 by Boileau's Traite du sublime ou du
merveilleux dans le discours, traduit du grec de Longin.
This made "Longinus" a central text in European criti-
cism throughout the eighteenth century. In England, its
influence was first advanced by John Dennis' Advance-
ment and Reformation of Poetry (1701), and Grounds of
Criticism in Poetry (1704). No·doubt the book's moral
stance was congenial to a t;hinker who regarded religion
and "enthusiastic passion" as the natural subjects of
poetry. But Dryden and Addison were also familiar with
it, Sir Joshua Reynolds' Discourses on Painting adapt
many of its ideas, Gibbon and Dr. Johnson both admired
it, and Burke at least used it as a starting point of specula-
tion, though the main contentions of The Sublime and the
Beautiful go far beyond Longinus' scope. This eigh-
teenth-century admiration faded with the coming of
Romanticism, when that liberty of thought and compara-
tive freedom from rule which Longinus authorized came
1
to be taken for granted and no longer needed special
j· defence. The eloquence of the book, however, has always
1 continued to earn it enthusiastic readers and a wide
1
155
1
I
I
I
I
'
INTRODUCTION
l
response; the wealth of learned work on its text and inter-
pretation, and the special place it always holds in histories
of criticism, are testimony to its enduring significance.
Text
The text rests on Parisinus 2036 (P), supplemented by the
apographa in two places where P was damaged after the
primary copies were taken (viz. w~ Kav ... TJpKeo-0YJV
[8.1-9.4] and TO E1T' ovpavov ... l8€a-Oat [9.4-9.10])
and also by two miscellanies (Parisinus 985 and its copy
Vaticanus 285) which alone preserve the "fragmentum
Tollianum,'' viz. q,vo-t~ ... Oewp[av (2.3). Our brief and
very selective apparatus mentions also (as CCK marg.")
some variants (conjectures, no doubt) in the margin of
Cantabrigiensis KK.VI.34, a copy of Bessarion's copy,
made by Francesco Porto, apparently in connection with
the preparation of the Aldine edition of 1555.
Translation
This is a revision of W. Hamilton Fyfe's version, and I
have tried not to tamper with it where it did not seem
positively misleading. Thus I have left the poetical quota-
tions for the most part as they were, though their style is
now very dated, and made even more artificial by Fyfe's
attempt to render Greek hexameters into English hexam-
eters. I have also left some of Fyfe's notes, but have
replaced or supplied others. The text and punctuation
have also been revised.
156
INTRODUCTION
BIBLIOGRAPHY
The literature on On the Sublime is vast. Apart from the
bibliographies in the principal editions (see below), there
are bibliographies by D. S. Marin (Bibliography of the
Essay on The Sublime, privately printed, 1967) and by
D. Tavani (La .filologia recente di fronte al Peri Hypsous,
Rome 1971), and a survey article by G. Martano in
ANRW II, 32.1 (1984), 364-403.
Of older editions, those of J. Toll (Utrecht 1694),
J. Toup (Oxford 1778), B. Weiske (Leipzig 1809, Oxford
1820) are especially worth consulting. The fullest appara-
tus and list of conjectures is to be found in 0. Jahn-
J. Vahlen, Dionysii Longini de sublimitate liber, 4th ed.
(1910), re-issued with index by H. D. Blume (1967).
The principal modern editions with commentary are
those ofW. Rhys Roberts (Cambridge, 2nd ed. 1907; con-
tains also a translation), D. A. Russell (Oxford 1964), and
C. M. Mazzucchi (Milan 1992; especially useful for its
study of the Renaissance tradition of the text). A. Ros-
tagni's edition (Milan 194 7) is also of importance.
Translations are innumerable. Boileau's was well
edited by C.-H. Boudhors (Paris 1942). Contemporary
English versions include those by G. M.A. Grube (New
York 1957), T. S. Dorsch (in Penguin Classical Literary
Criticism 1965), D. A. Russell (in Ancient Literary Criti-
cism, Oxford 1972, and World's Classics Classical Liter-
ary Criticism, Oxford 1985). The version of W. Smith
(London 1739) is a good example of an eighteenth-
century rendering.
Brief general interpretations are to be found in most
manuals of the history of criticism: e.g. G. M.A. Grube,
157
INTRODUCTION
158
r
I
IIEPI T'I'OT~
TIEPI T'l'OT~
1. T 0' fLEV
, TOV,. . . K atKLI\.LOV
\" "
a-vyypap.,p.,aTLOV, (., '
0 1TEpt
160
ON THE SUBLIME
161
LONGINUS
r
()Oat xaptv, cpepE, Et TL 8iJ DOKOVfLEV dv8pa(JL 7TOALTL-
KOL~ TE8EWPYJKEVaL XP~()LfLOV E7TL(JKEtf}(.VfLE8a. avro~
162
ON THE SUBLIME 1
163
LONGINUS
\ ,
1T1\TJCTLa,
T EpEVTLaVE' (''~
TJOUTTE, KaV
.,, , '
aVTO~ EK
, ,
1TELpa~
vcp1Jy~a-aLo.
2. ('HfLLV 8'
EKELVO 8La1TOPYJTEOV EV apxfl, EL ECTTtV
t'l,/, '' '() 1 / -' / t'/\ :>I
Vo.rOV~ Tt~ 1J 1Ta OV~ TEXVTJ, E1TEt TLVE~ 01\W~ OtOVTaL
0LTJ1TaTija-Oat TOV~ Ta TOtaVTa ayovTa~ EL~ TEXVLKa
7rapayy€AfLaTa. yEvvaTaL yap, cpTJa-i, Ta fLEyaA.ocpvij
Kat' ov, oLoaKTa
~~ ' 7rapaytvETaL,
/
Kat' fLLa
/ /
TEXVTJ '
7rpo~
, '' ,/... / / 'A... '3/ ('
avTa TO 1TE\f'VKEvat· XEtpw TE Ta \f'va-tKa Epya, w~
!)/ ~
OLOVTaL, KaL' TqJ
""'
1TaVTL' OELI\OTEpa
\ /
Ka ( )ta-TaTaL
'
Tat~
""'
2 TEXVOI\oyLaL~
\ / \
Karaa-KEAETEVOfLEVa. Eyw oE EAEYX
/ , ' ~' '\ () 17-
/
""' {) '
a-Eo- () aL TOV (' ' :.t A... ' ' '.I,
ETEpW~ EXOV \f'TJfLt, Et E1TLCTKEo.raLTO
' TL~
/
TOV TC Kat' ' /
apXETV1TOV YEVECTEW~
/ ""'
CT'TOtXEtOV ''
E1Tt /
1TaV-
t',J...' ' ~' /
TWV Vo/ECTTTJKEV, Ta~ OE 1TO(TO'TTJTa~ Kat' '
'TOV ',/.,.'
E\f'
(' / ' !)/ ~ ' ' ' \ / !)/ /
EKaa-TOV Katpov ETL OE TTJV a1TI\aVECTTaTTJV aCTKTJCTtV
TE Kat xpiJa-tv LKav-q 1Topia-at
2 Kat (TVlJEVEYKELV ~
flE
'f) 000~·
~
KaL' W~
(' E1TtKtlJOVVOTEpa
' ~ / ' ' E\f'
avTa 'A..' aVTWV ~/
(' ""' otxa
1 1ra8ovr;
is an old conjecture, presupposed by the translation
of G. da Falgano (1575) and found in many later editions: P has
{3a0ov~.
2 1ropicrat P marg., for 1rapopicrat.
164
ON THE SUBLIME 1-2
165
LONGINUS
KVpLWTaTOV, OTL/~'
KaL'aVTO
' ' TO' ' ;ELVaL
'
TLVa TWV EV '\/
1\0YOlS / /"\
166
ON THE SUBLIME 3
167
LONGINUS
168
ON THE SUBLIME 3
\ '
1\tKa 7Tapa'PEPOVTUL 7TU YJ, EtTa
,../...., '() -';'
7Tp0~
' , ~'
OVOEV 7TE7TOV O-
() ,
170
ON THE SUBLIME 3-4
171
LONGINUS
1 add.
Spengel.
2 EtKoa-t
Faber.
3 <Kat> added by early editors.
4 P has JLEV before yovv, but this is incorrect Greek, and is
172
ON THE SUBLIME 4
173
LONGINUS
,./. . ' ,
o/WVYJV aKOVCTalS YJ TWV 1\L LVWV, TJTTOV
/ ., "" \ 8/ 'e' ~'
0
.,,
av OJ.LJ.LaTa
!>/
1
Kayser deleted lrafLOV ... cf>YJcriv. The introduction of the
Homeric parallel is very abrupt.
2 Kara Reiske, for Kat.
174
ON THE SUBLIME 4
175
LONGINUS
1TpWTOL~
/
Ka apav TOV KaT
{) ' i"'' '
ai\T} f.LaV
'\ '{) ~',f,
V'YOV~
' I
f.1TLO"TTJ-
' ' / / ' i"'' ~~ \ ~
f.LT}V KaL f.1TLKpLO"LV. KaLTOL TO 7rpayf.La OVO"J\T}1TTOV" T}
yap rwv 'A6ywv Kpia-t~ 7ToA'A ij~ f.a-TL 1TEipa~ rEAEv-
raZov E1TLYEVVT}f.La. ov f.LTJV a'A'A'' w~ El1TELV EV 1Tapay-
yEAf.LaTL, EVTf.v{)E.v 1TO{)Ev LO"W~ TTJV Dtayvwa-LV aVTWV
' ,~1 l'f ()
ovK aovvaTov 1TOPL'=>Ea- at.
1
tJ-ETacpopa'i Wilamowitz
176
ON THE SUBLIME 4-7
177
T
LONGINUS
178
r ON THE SUBLIME 7
2
1TapaUTYJfLU Manutius, for avaUTYJfLU.
3'' ' ' Pearce, .cror avEv
av avTo ,, '
TO.
179
r
LONGINUS
4 1TTO~.
c.'/\
01\W~
~'
OE
\ '
Kal\a / r V'f'TJ
VOfLt«:;,E ('',t~ '\ 0 tVa' Ta' Ota
Kat' ai\T} ~ '
I
1TaVTO~
' 3
apECTKOVTa Kat' TraCTtV.
"" c.'/
OTaV '
yap TOt~
"" 3 '
aTrO
8tacp6pwv ETrtTTJDEVjLaTwv {3£wv ~rr}Awv T]AtKtwv
'A6ywv 1 EV Tt Kat TaVTOV a!La 7TEpt TWV avTWV aTraa-tV
~
OOKYJ, TO
"" /0' c.'
TJ
3 (; 3
aCTVfLtpWVWV W~ Kpta-t~ Kat a-vyKaTa-
E~
,../... I t I ' I
'~ /
Ka () ' f.KaCTTYJV
t I
toEaV I
TOVTWV ' ,/, /
f.7TLCTKE'f'WfLE () ""
a, TOCTOVTOV
1TpOEL1TOVTf.~,
/ ~I
OTt TWV 1T€VTf. f.LOpLWV
..... / / t
0
K atKLJ\tO~
1\ ~~
ECTTtV
180
T
(
'
ON THE SUBLIME 7-8
181
r
LONGINUS
c.\ "\ 1: ' ' i' L} , i'\ , \ \ ' , ' 1:
2 a 1TapEI\I/lTEV, W~ KaL TO 1Tauo~ afLEI\EL. al\1\ EL J.LEV W~
~'
EV TL TaVT !"'. ' .rl..
aJ.Lo/W,
:Jt
TO" ~"1 I r
TE V~O~ n " KaL'
KaL' TO' 1TaU'YJTLKOV,
:J/~ (; , !"'. i' i' , \ \ i' \ '
EOOS EV aVTqJ 1TaVT'YJ a-VVV1TapXELV TE ai\1\'Y}I\OL~ KaL
,./... / ~ / ' ' /L} ' ~
crVJ.L1TEo/VKEVaL, OLaJ.LapTaVEL" KaL yap 1TaU'YJ TLVa OLE-
W~
~:
1rp0~
'
J.LVpLOL~
, :J/\ \
ai\1\0L~ KaL' Ta' 1TEpL' TOV~
' 'A\1\Waoa~
,~
7~ 1TOLTfj1TapaTETOAJ.LYJJ.LEVa •
:J/0
a-a-av E1T
, ' 0 VI\VfL1TqJ
,\ i' /
J.LEJ.Lacrav uEJ.LEV" avTap
L} / , '
KaL TO
' '
TOVTOL~
, :JI
ETL J.LEL~.:,OV
!"'. r , ,~..
E1TLo/EpOJ.LEVOV
"
aV-;- 1Tai\LV
"\ 'C ~ \ ' , /
Es 01\0V J.L'YJ EVOJ.LL(F'EV
< 01 : > 1 K aLKLI\LO~
"\ TO'
1
182
ON THE SUBLIME 8-9
a Odyssey 11.315.
3 Morus, for EK7Tv€ov.
183
LONGINUS
r
, ,.... "''\ \
EXEL 'TWV ai\1\WV TO 1rpwTov, 1\eyw oE TO
' ,.... \ , ~' ' \ ,./.,.
f.LE'yal\o"+'vE~,
,
XP~ KavTav8a, Kat El owpYJTOv To 1rpO..-yf.La f.Lii'A'Aov ~
,
K'T'Y}'TOV, "'
Of.LW~ Ka ()' "'
0(]"0V ~ , 'TE Ta~
OLOV ' ~vxa~ ' avaTpE-
, , ·'·
2 .J..
"+'ELV '
1rpo~ Ta' f.LEYE'8 YJ Kat' wa-1rEp
el
EYKVf.LOVa~
' I
aEL
' '
1TOL-
,.... I I I .J..I I
ELV yEvvatov 1Tapaa-TYJf.LaTo~. 'Ttva, "f''YJa-EL~, Tpo1rov;
y€ypa4>a 1TOV Kat E'TEpw8L 'TO 'TOLOV'TOV" vlfio~ f.LEya'Ao-
4>poa-VVYJ~ a1T~XYJf.La. o8Ev Kat 4>wvfj~ oixa 8avf.La,E-
'TaL, 1TO'TE ,/, \ '
~LI\ 'Y} Ka (}' EaV'T'Y}V
e '
EVVOLa
"'' ~ ' aV'TO
OL ' '
'TO' f.LEya-
Aoc/Jpov, w~ T] 'TOV AtavTO~ EV N EKviq- (J"LW1T~ f.LEya
3 Kat 1TaVTO~ vl/JYJAOTEpov 'Aoyov. 1TpW'TOV oilv 'TO E~ oiJ
yivETaL 1TpOV1TO'Tt8Ea-8at 1TcLV'TW~ dvayKa'iov, w~ EXELV
8E'i TOV d'AYJB-ry p~Topa f.L~ Ta1TEtvov c/JpoV'Y}f.LU Kat
ayEVVE~. OVOE yap oiov f.LLKpa Kat 00VA01TpE1T-ry
'TE
,./.,.
"f'POVOVV'Ta~
,.... ' ~ I
Kat' E1TL'TYJOEVOV'Ta~ 1Tap ' 01\0V
el\ '
'TOV {3'LOV
1
p lost a whole quaternion (8 pages) after a8perrYJf3o'Aov
(above, 8.1); but the two outer pages are preserved in copies
made when the damage was less; these however fail us at this
point. presumes at EV 8€ c/>aEL Kat o'AEa-a-ov (9.10).
184
ON THE SUBLIME 9
185
LONGINUS
5 /
fLETpov. cp'? aVOfLOLov
' / / /~
yE TO' ~H crtooEtov , '
E1TL TYJc;
i"\
'A XJ\VOc;,
\ / "' ~H crtooov
ELYE /~ Kat' TYJV
' 'A CT1Ttoa
/ ~ (} ETEov,
/
' OELVOV
OV' yap ~ ' E1TOL
' / YJCTE TO' ELOWJ\OV,
"'~ \ '\ \ '
aJ\J\a /LLCTYJTOV.
/
0~
~'
OE 1TWc; fLE'YE VVEL Ta'~
i"\
oaLfLOVLa;
(}/ /
t:/ '
YJfLEVOc; EV CTK01TLYJ, J\EVCTCTWV E1TL OLV01Ta 1TOVTOV,
i"\ \ / ' ' "' /
Small is the crest that she rears at the first, but behold her
thereafter
Planting her head in the skies, while she treads with her
feet on the earth.
186
ON THE SUBLIME 9
187
LONGINUS
\ , ~ /' / () / / /
o-p..EpoaA€ EvpwEvTa, Ta T€ o-TvyEovo-t Eot 1T€p.
~
oaKpva
/ ~
oEo-p..a ' 1ra/() 1J 1rap..o/vpTa
,../.. ' ' , ' ""'
TOV~ p..Ev €1Tt TWV
/
188
T
ON THE SUBLIME 9
I
I
and danger of that battle. Terrible as these passages are,
they are utterly irreligious and breach the canons of pro-
priety unless one takes them allegorically. I feel indeed
I
I that in recording as he does the wounding of the gods,
their quarrels, vengeance, tears, imprisonment, and all
their manifold passions Homer has done his best to make
the men in the Iliad gods and the gods men. Yet, if we
mortals are unhappy, death is the ~~harbour from our
troubles,''b whereas Homer has given the gods not only
immortal natures but immortal sorrows. The Battle of
the Gods, however, is far surpassed by those passages
which represent the divine nature as truly uncontami-
nated, majestic, and pure. Take, for instance, the lines
about Poseidon, though they have been treated fully
enough by others before us:
Trembled the woods, and trembled the long-lying
ranges
Yes, and the peaks and the city of Troy and the
ships of Achaia
189
LONGINUS r
1TOCTCTLV ' e ''(}
V1T /
a avaTOLCTL IT OCTELOaWVO~
~/ '/
LOVTO~.
' ""'
avrov
1TclVTO(}Ev EK KEv(}p.,wv, ov8' TJYVOLYJCTEV avaKra·
'YYJ(}ocrvvn 8€ (}ciA.acrcra 8d:crraro, rot 8€
/
1T€TOVTO.
9 raVTYJ Kat 0 TWV 'Iov8aiwv 8Ecrp.,o8€rYJ~, ovx 0 rvxwv
'
aVYJp,
/ ' ~'
€1T€LOYJ ' TOV""' (} ELOV OVVaf-1-LV
TYJV ~ /
Kara' TYJV
/ ' a~, (;/LaV
EXWPYJCT€ Ka~EcPYJVEV, Ev8v~ EV rfj Elcrf3o'Afj ypatfia~
""' / (( -;- ( (} , ,./....
/ /(} ,./.... ""'
/ (( /
rwv vop.,wv EL1TEV o Eo~, \fJYJCTL" rt-; YEVECT w \fJw~,
Kat f.yivEro· yEvicrOw yij, Kat f.yivEro."
10 OvK ox'A.YJpO~ av L(TW~, ETaLp€, 86~aLf.LL, EV ETL TOV
1TOLYJTOV Kat TWV ave pw1TLVWV 1Tapa(}€p.,EVO~ TOV
f.La(}ELV xapt-v, W~ El~ ra TJPWLKa f-1-E'YE(}YJ CTVVEp.,{3at-
'{)/ r , \, 3/ ,.~.... c , , 3/ , ,.... ,
VEtV € L'='EL. ax 1\V~ a\{JVW KaL VV~ a1ropo~ aVTqJ TYJV
TWV eE'A.'A.~vwv E1TEXEL f.L4XYJV" €v(}a 8~ 0 Ata~ Uf.LYJxa-
,....
vwv
eez EV,. . 1Ta7Ep,
/ , \fJYJCTLV,
,./. . / (( a/\1\a
' \ \ ' CTV' pvcraL
e,. . ( '
V1T
T]E.po~ ota~ 'Axa~.-wv,
/
1TOtYJCTOV o~' at-3/(} PYJV, oo~
~' ',./....(} aAf.LOLCTtv
o~' o\fJ \ ""'
l8€cr8a~.-·
,
EV \{JaEL KaL' '01\ECTCTOV.
~',./..../
0€
'\ ,,
190
T
l
I ON THE SUBLIME 9
should not have known it; and the tradition that Caecilius may
have been a Jew suggests a possible source. The syntax of the
sentence is controversial; see now Mazzucchi, pp. 172-4. For
the considerable influence of the passage in the eighteenth cen-
tury, see esp. Boileau, Reflexions sur le Sublime X, and Robert
Louth's Oxford lectures De sacra poesi Hebraeorum (1753).
c Iliad 17.645-7.
191
T
LONGINUS
,....
7TVp
ovpEa-t fLaLVYJTat, f3a0EYJ~ EV TapcpEa-tv vA. YJ~'
',./.,.\ ' ~' '
a'f'I\OtU"fLO~ OE 7TEpt U"'TOfLa ytyVE'Tat•
/ /
1
The manuscripts here add rov Tpwi:Kov noAEJLOV, but these
words spoil the sense, and are perhaps a gloss on rwv 'IA.taKwv
naBruuirwv.
192
ON THE SUBLIME 9
a Iliad 15.605.
2 1rpoeyvwapi.vot.s Reiske (i.e. it is the heroes, not the
lamentations, which are "long known").
193
LONGINUS
~'
EV a
,, (}
0
, ' ,../.,/\
Ef.LO~ o/t/\0~ VtO~.
f: /
/
TOVOV, OVO'~' '(; Wf.Lal\tCYfLEVa
Es \ / Ta' V~'Y}
<:1,1, Kat' e ts'Y}f.LaTa
y/
/~ ~'
14 TOt~ f.LV WOECYt Kat a'lrtCYTOt~ 'lrl\aVO~. 1\EYWV OE TaVT
1'"1 (} ' , / \ / \ / 1'"1 '
1
So John Price (a seventeenth-century scholar, professor at
Pisa: quoted by Toup) for P's EPYJJJ-OVJJ-Evov ("made desolate").
194
T
ON THE SUBLIME 9
195
LONGINUS
,...., ,....,
€~71~
<:/ /
a1TaCTL TOVTOL~ TOV 1TpaKTLKOV TO'
f.LV0tKov.
ITapE~E/3YJV o' Et~
, 1"'.0' ,
Tav w~ EcpYJV, tva Of.t~atfLL w~
el~ Afjpov E.vtoTE pq.crTov KaTa' TYJV
' , ' 1 Ta'
a1TaKfLYJV
"e'
JLeyaAocPvfi 1TapaTpE1TETat, Ota Ta' 7T€pt' TOV
' ~ '
aCTKOV
KaL TOV~ EK KtpKYJ~ CTVOfLOpcpoVfLEVOV~, ov~ 0 ZwtA.o~
:>/ ,./.,. /~ \ / ' ' ~ ' ,...., \ / ~
6f'YJ XOLptota KA.aLOVTa, Kat TOV V1TO TWV 1Tf.J\.f.LaOWV
~ ' ,J,./ A/
W~ Vf.OCTCTOV 1TapaTp6f'OfL€VOV uta Kat' TOV
' ' '
€1TL TOV,....,
/ ~/' ~ / :>/ / ' '
vavaytov oex YJfLEpa~ acrtTov Ta TE 1TEpt TYJV fLVYJ-
,.~.,. /
CTTYJPO'f'ovtav a1Tt ava. TL yap av aA.A.O 'f'YJCTatfLEV
' /0 / ' ., ~I\ \ ,./.,. /
196
ON THE SUBLIME 9-10
197
r
LONGINUS
'\/
EKI\EYELV ' 'Ta
aEt ' KatpuvTaTa
/
Kat' ""'
TaVTa TYJ""' '
1Tpoc;
''\ \ \ ' () / ~I
al\1\ 'Y}I\a E1TUTVV €(TEL Ka () a1TEp
/
EV ""'
TL (TUJ{-La ""'
1TOLELV
o
8vvaa-Oat• 1 f-LEV yap Ti} EKAoyiJ TOV aKpoaTT]v TWV
AYJf-Lf-LcLTwv, o 1 8€ Ti} 1TVKvwa-Et Twv EKAEAEYf-LEVWV
~/
KapotaV EV '
' (TTY)/() Ea-LV E1TTOata-EV.
/
198
ON THE SUBLIME 10
199
LONGINUS
3 /r
OV' (} aVf.LasEtS, ~
W~, ~ <'0 TO>
V1T ' 1 aVTO
' ' TYJV
' .1. '
'f'VXYJV TO'
lfWf.La TQS aKoa~ T~V yA_wo-o-av Ta~ oljJEtS T~V xpoav,
/ ()'
1rav w~
~ '\\ /
a/\.1\0Tpt-a ~ /
OLOLXOf.LEVa ' r . . . Kat-' Ka ()'
E1TLsYJTEL
~
V1TEVaVTLWCTEL~ af.La
-:1
'f'VXETaL Kf!:ETaL,
/
·'· / '
ai\Oyto-TEL
' \
t.ppO-
..... ,/...
200
ON THE SUBLIME 10
Aeyf.a-()w •
,.....
vavTaL
~ ~ / A../
OELOLOTE~· TVT {)'OV yap
' e '
V1T€K {) /
avaTOLO '+'€pOVTaL.
,.....
K€LV"
,\ / ~' ~ ' t /\ !>/··~, , /
01\L')IOV 0€ OLa S VJ\OV aLO €pVK€L.
OVK
' '
EL~
c
a1Tas
t:/
1TapopL~::,EL
/r TO' OELVOV,
~ / aJ\1\a
'\ \ ' TOV~
' ' ' KaL'
aEL
f.Lovovovx'i KaTa 1rnv Kvf.La 1To'A'AaKL~ a1ToAAvf.Lf.vov~
, A.. ,. . .
ELKOVO')Ipa'+'EL. KaL' f.LTJV
' '
Ta~ 1rp0 () EO"EL~
/ ,
aa-vv () /
ETOV~
!>/ / ' A.. / ' , ,\ \ /\
ova-a~ a-vvavayKaa-a~ 1rapa '+'va-Lv KaL EL~ a AA T}Aa~
a-vf.Lf3Laa-af.LEvo~ [ v1reK 8avaToLo] 3 T~ f.LEV a-vvEf.L-
/
1TL1TTOVTL 1Ta/ { ) EL TO' !>/
E7TO~
e /
Of.LOLW~ E
'{3 aa-aVLCYEV,
/ TTJ,. . . ~'
OE
1
Manutius: P has a1TEipyEL.
2
OVKOVV a1TELPYEL (omitted by Robortello) may be a gloss on
€pvKEL (so Ruhnken, Mazzucchi).
3 [ v1TEK Oavarot-o] deleted by "G.S.A." (1811).
202
ON THE SUBLIME 10
aIliad 15.624-8.
h Aratus, Phaenomena 299.
c I.e.1nreK is a compound of 1nro ('under') and EK ('from').
203
LONGINUS
' / , , / ,... \ /l; ,... ~ / '
Kat fLOVOV OVK EVETV7TWCTEV TYJ 1\E~ Et TOV KLVOVVOV TO
'~ / ee e ' f) / rf.... / " ' 3/ \ \ e
7 tOtWJ.La V7TEK avaTOtO 'YEPOVTat. OVK ai\1\W~ 0
'Apxi'Aoxo~ E7Tt
Tov vavayiov, Kat E7Tt Til 1Tpoa-ayye-
\ I e A f) / tt t / ' ' 1' " rf.... /
1\tf!- 0 U.'YJfLOCT EVTJ~· ECT7TEpa fLEV yap TJV o/TJCTtV.
'\ \ ' ' 'C ' e ~' 1 Et7TOt
3/ ' ~
Ta~ E~ ox a~ W~ <av> Tt~ apta-TtVOTJV
1
al\1\a
EKKafJ-r}pavTE~ E7TtCTVVEfJ1]Kav, ovS€v cpA.otWDE~ ~
3/ ~' \ ' , / ~' /
aCTEfLVOV 'YJ CTXOI\tKOV EyKaTaTaTTOVTE~ Ota fLECTOV.
e ' ,fr /
\ I
1\VfLatVETat yap TavTa TO OI\OV, wa-avet
' ""' ' ('/\
~vyJ.LaTa 17~\
apatWJ.LaTa EfL7TOtOVVTa <el~> 2 fLEYEf)TJ CTVVOtKOOO-
fLOVfLEVa 3 Ti7 1rpo~ aA_A_'YJA_a CTXECTEt CTVVTETEtXtCTfLEVa.
11. ~vveSp6~ ECTTt Tat~ 7TpOEKKEtfLEVat~ apETTJ Kat
~v KaAova-tv avfTJa-tv, OTaV DEXOfLEVWV TWV 7TpayJ.La-
' , ' /~ , / \ \ '
TWV Kat aywvwv KaTa 7TEptooov~ apxa~ TE 7TOI\I\a~
/
204
ON THE SUBLIME 10-11
205
LONGINUS
~'\\
aJ\J\WV
'l:.
av~
I'"\ ~'
'Y}TtKWV OTOV 1TEp av TO V'fJ'Y}J\OV
,, '~,,t \' ',.1.,.1\
a'PEJ\YJ~, W~
~
206
ON THE SUBLIME 11-12
207
LONGINUS
3 \
. . . 1TJ\OVCTLWTaTa, Ka () a7rEp TL
/ / /\
1TEJ\ayo~,
'
EL.~
'
ava-
1TE1TTapi.vov KEXVTat 1TOAAaxiJ fLEYE()o~. oeEv OtfLaL
KaTa A.6yov 0 fLEV P~TWP aTE 1Ta()YJTLKWTEpo~ 1TOAV TO
8ui1rvpov EXEL Kat ()vfLLKw~ EKcPAEYOfLEvov, o S€ Ka{}E-
a-Tw~ EV oyKcp Kat fLEyaAo1TpE1TEL CTEfLVOTYJTL OVK
4 E..rVKTaL
"'· ' ·
fLEV,
/
aJ\1\
' \ \ '
OVX
' ~!
OVTW~ E1TECTTpa1TTaL.
' / 1 OV' KaT '
aAAa 8€ TLVa :q TavTa, EfLOt 8oKEL, cPLATaTE TEpEv-
TL.aVE, (A.€yw 8€, <El> 2 Kat ~fLLV w~ ~'EAAYJCTLV EcPELTaL
/
TL YLVWCTKELV ) Kat' K LKEpwv
/ ~
0 TOV. . . UYJfLOCT
A ()/ '
EVOV~ EV
'"'
TOL~ fLEYE/() ECTL 1TapaJ\J\aTTEL.
\\ / ~ ' ' ' ~'.1.
0 fLEV yap EV V'f'EL TO
'
\ / , /
1TJ\EOV a1TOTOfLqJ,
~
0
~'
OE
K LKEpWV
/ ,
EV
/
XVCTEL" KaL
' 0
~ '
fLEV
~fLETEpo~ 8ul TO fLETa f3£a~ EKaa-Ta ETL 8€ Taxov~
pWfLYJ~ 8ELVOTYJTO~ oiov KaLEtv TE &./La Kat 8Lap1Ta,ELV
CTKYJ1Tp(i> TLVL 1TapELKcL,OLT' UV ~ KEpavv(i>· 0 8€ KtKE-
pwv ws UfLcPLAacP~~ TL~ EfL1TPYJCTfLO~ OtfLaL 1TcLVTYJ
VEfLETaL KaL avELAELTaL, 1!oAv E.xwv KaL E1TLf.J-OVov aEL
TO' KaLOV
'"'
KaL' OLaKJ\YjpOVOf.J-OVfLEVOV
~ \ / ,, \ \ ' aJ\1\0LW~
aJ\1\0T '\ \ / '
EV
5 avT(i> Kat KaTa 8ia8oxas avaTpEcPOfLEVOV. aAAa
TavTa f.J-EV VfLEL~ av afLELVOV E1TLKPLVOLTE, KaLpo~ 8€
TOV LlYJfLOCT()EVLKOV fLEV vlj.Jov~ Kat V1TEpTETafLEVOV EV
TE Ta'i~ 8Etvwa-Ea-L Kat To'i~ a-cPo8po'i~ 1Ta()Ea-L Kal,
E.v()a 8EL TOV aKpoaT~V TO a-vvoA.ov EK1TAij~aL, Tij~ 8€
xvo-Ew~ 01TOV XP~ KaTavTA ija-aL.. T01TYJYOPLaL.~ yap TE
KaL.' E1TLJ\OYOL~
' \ / KaTa' TO' 1TJ\EOV
\ / KaL.' 1TapEKf3 aCTECTL
/ KaL'
'"',./... '"'~~ ~
TOL~ o/paa-TLKOL~ a1TaCTL KaL' ' '"'e /
E1TLOELKTLKOL~, LCTTOpLaL~
TE KaL' ,./... \ /
o/VCTLOJ\OyLaL~, KaL' OVK
' '\ / "'\ \
01\LYOL~ aJ\1\0L~
/
fLEpECTLV
~ /~
apfLOOLO~.
209
LONGINUS
, ' , , ,. ., II \ / , / , , ,. .,
aveyvwKWt; Ta EV TYJ 01\tTEU/: TOV TV1TOV OVK ayvoEtt;.
((OL apa crpov~a-Ewt;," cPYJCYL, ((KaL apET1j~ U1TEtpot
' / ~'
' ' / ' / e ""' /
EVWXtat~ OE Kat
aEt U"VVOVTE~ KaTW W~
TOt~ TOtOV'TOt~
OE TO a/\ YJ
, ,\ e, avw
, OV'T,, , aVEfJI\E.f'aV
, /(.)\ ,,t 1TW1TOTE
E~
/ ,, , ,
OVT aVYJ-
VEX8YJa-av Ka8apa~ rofJDov1j~
OVDE {3e(3a£ov TE KaL
' / '\ \ ' (.) / ~/ ' ' (.)\ /
eyeva-aVTO, al\1\a fJOU"KYJfLaTWV OtKYJV KaTW aEt fJAE-
/
IIv etav
~
Tpt1TOOt 1TAYJU"ta~:,ova-av, ev a
1\0')'0t; EXEt
a Theaetetus 144B.
210
ON THE SUBLIME 13
211
LONGINUS
1
3
el8wv Toll. 2~ Jahn: ~ P: nFyfe.
lrrav0£a-at BUhler.
212
ON THE SUBLIME 13
213
rI
l
LONGINUS
,
14. 0 VKOVV 1"\ ' (
Kat 'Y}fLac;, 'Y}VtK
1"\ ( / ' .,, ~
av ota7TOVWfLEV V..,_,YJ-
1"\ ('I I
, '
yoptac; 'Tt Kat fLE'Yai\O'Ppoa-VVYJc;
\ ,../... / ~ /
OEOfLEVOV, Kai\OV
\'
214
T ON THE SUBLIME 14-15
1 1TE1TE'ia-OatReiske.
2,3 These changes are by Russell (1964).
215
T
J
LONGINUS
~I
VOfLa, orav a(.\ AE'}'ELS
\ I ~
V1T ' '
EV 8ovaertaerfLOV,. . , KaL' 1Ta18 ov~
{3AE1TELV 8oKfj~ KaL V1T' ot/Jtv TL8fj~ TOL~ aKO'VOVerLV.
2 w~ 8' ETEpov TL ~ PYJTOPLK~ cpavTaer[a f3ovAETaL KaL
E7Epov ~ 1Tapa 1TOLYJTaL~, OVK av 'Aa8oL erE, ov8' OTL
r-q~ fLEV f.v 1Totr}erEL re'Ao~ f.err'iv EK1TAYJ~L~, T-q~ 8' f.v
'Aoyot~ f.vapyEta, dfLcpoTEpat 8' OfLW~ To TE <1Ta8YJTL-
Kov>1 E1TL,YJToverL Kat ro ervyKEKLVYJfLEvov.
-;- ,...., ~ I ' ' I I
W fLYJTEp, LKETEVW erE, f1/Y} 1TLerEL€ J.LOL
~
'
Ta~ aLfLaTW1TOV~
'
KaL'~ ~~
opaKOVTWOEL~
I
Kopa~·
"e' I "e' \ I I I
aVTaL yap, aVTaL 1T1\ YJerLOV 8pwerKOVerL fLOV.
KaL'
~~ ""' ,...., ~I
OLfLOL, KTaVEL fLE" 1TOL o/V'}'W;
~
OYJ~
~ I
OVO TaVTL' 1Ta18YJ, I
fLaVLa~ T€ KaL' ''
EpWTa~, EKTpayq>-
'
'
€1TLTVXEerTaTO~,
I
OV' fLYJV
'
UJ\1\a
' \ \ '
KaL' TaL~
,...., '' \
ai\1\aL~
\
€1TLTL-
' I
~
8Eer8aL o/aVTaerLaL~
I '
OVK ''
aTOJ\fLO~.
\ t:l I
YJKLerTa '}'€
I
TOL
fLEya'Aocpv~~ wv OfLW~ T~v avro~ avrov cpvert-v f.v
7TOAAot~ '}'EVEer8at- rpa'}'LK~V 1TpOerYJVU'}'KUerEV KUL
1Tap' EKaerTa E1TL TWV fLE')'E8wv, w~ 0 1TOLYJTrJ~,
1
add. Kayser.
2
Manutius added <ovK>: "the poet did not see Furies."
216
ON THE SUBLIME 15
217
LONGINUS
''\ ~,
EJ\a OE f.L'Y}TE
_, a , at'() Ep
A LtJVKOlJ _, ' ELa-fJaJ\WlJ"
, a \ _,
Kpaa-tv yap vypav OVK exwv alfl'i8a a-T]v
Katwv 1 8trr}a-et .
~~
tEL o~' E\f-'
'.r/....' E1TTa
e ' IT\1\Etaowv
/~ ''
exwv ~ /
opOf.LOV.
roa-avT' aKova-ac; 1Tatc; Ef.Laplflev ~viae;·
/
Kpova-ac; ~' \ ' ,/....-' ' /
oE 1TAEvpa 1TTEpo\f-'opwv OXYJf.LaTwv
,..,
f.LE () YJKEV, ate 0~' E1TTaVT
" ' ' ' '(} / /
E1T at Epoc; 1TTVXac;.
' ~' ,, () ,.., / Q Q'
1TaT'Y)p 0 01TLa- E VWTa a-Etptov fJEfJWc;
~~ ,.., ~
· L1T1TEVE 1Tatoa lJOV ETWV" EKELa- EAa,
() ,.., ' ,.., ' ''\
t.
218
ON THE SUBLIME 15
His tail at his ribs and his flanks now lashes on this,
now on that side,
Ever he spurs himself on to share in the joys of the
battle.a
For instance, when Helios hands over the reins to
Phaethon:b
"And do not drive into the Libyan sky.
Its torrid air with no damp humour tempered
Will burn your wheel and melt it."
And he goes on,
''But toward the seven Pleiads hold your course."
This heard, young Phaethon caught up the reins,
Slashed at the flanks of his wing-wafted team,
And launched them flying to the cloudy vales.
Behind, his sire, astride the Dog-star's back,
Rode, schooling thus his son. "Now, drive on there,
Now this way wheel yo~r car, this way."
Would you not say that the writer's soul is aboard the car,
and takes wing to share the horses' peril? Never could it
have visualized such things, had it not run beside those
heavenly bodies. You find the same sort of thing in his
Cassandra's speech:
219
LONGINUS
r
i
,, ~ (,../.,. / ) c ' () / \ /
avopEc; \.f.JYJO"LV E7TTa OVpLOL 1\0XaJIETaL,
Tavpoa-~ayovVTEc; ELc; fLEAavDETOV a-aKoc;
' () ' / ,../.,.
KaL t-yyavovTEc; XEPO"L TavpEt-ov \.f.Jovov
/ /
c
0
~'
0
E'vpL7TtOYJc;
/~
TO' aVTO
' ' TOV""'{)' ETEpwc;
e / ',../.,. ~ /
E\.f.JYJOVVac; 'C E-
E~
~WVYJO"E,
""'~' {3" ,,,
7TaV OE O"VVE aKXEV opoc;.
1
add. Morus; K marg. has wa-7TEp oi.
2 Faber: P has avrwv.
Euripides fr. 935 Nauck2. This may come from the Alexan-
a
dros, and may have to do with Cassandra's warning against the
220
ON THE SUBLIME 15
221
LONGINUS r
7 aKpwc; 8€ Kat 0 Io~oKA -rye; E1Tt 'TOV 8vricrKOV'TOc; Ol8i-
~
1TOV Kat' EaVTOV c '
J.LE'Ta' OLOCTYJJ.LELac;/
'TLVOc;
'
a1T'TOV'TOc;
{)/
A.. /
1T6paVTaCTTat, Kat' Ka'Ta' 'TOV ' ' / 1\0VV
a1T01T \ 'TWV CE 1\1\
\ \ YJVWV
/
1"'1
~ / (3\J\E1TOVCTLV
/ 'E ptvvac;
/
rpayq>?OL, Kat' OVOE , ~' EKELVO
' 1"'1
222
r
ON THE SUBLIME 15
223
LONGINUS r
/ ";", :)/ t!) / '~ /
CTTYJptWV, Et'T Et1TOt aVEqJK'Tat 'TO OECTf.LWTYJptOV, 'Tt~, W~
e ~' ~ ""' ,./..,. / 'f) ' t:l :)/ /
Ot OE OECTf.LWTat '+'EVYOVCTtV, OV Et~ OV'TW~ OV'TE yepwv
:)/ / , \ / / ) c.\ , ' (.} f) / f)'
OVTE veo~ Ol\tywpo~ ECTTtV, o~ ovxt JJOYJ YJCTEt Ka
t:l ~ 1 ' ~ ' ~ 1 :)/ \{) / e e /
OCTOV OVVaTat• Et OE OYJ Tt~ Et1TOt 1TapEI\ <VV, W~ 0 TOV-
',.1..,. ' 'e' / , ,~, \ / ' / '
TOV~ a'+'Et~ OVTO~ ECT'TtV, OVOE 1\0YOV TVXWV 1TapaV'TtK
10 '' a1TOI\Ot'TO.
av ' /\ " W~
e VYJ' uta
A /
Kat' 0
t eT 1TEpEtOYJ~
~~
KaTYJYO-
pOVf.LEVO~, E1TEt8T] rov~ 8ovAov~ f.LETa ri}v -ryrrav €Aev-
f)f.pov~ Et/JYJcptcraro, t!t!'TOV'TO TO t/J~cptcrf.La," Ei1TEV, eeovx
0 p~rwp €ypat/Jev aAA' ~ EV Xatpwveiq. f.LaXYJ·, af.La
yap r~ 1Tpayf.LaTtKw~ E1TtXEtpliv o p~rwp 1TEcpavra-
~ ' e (.} / (.} ""'
CTTat, OtO Kat' TOV
'
'TOV""' 1TEt'{) EtV opov
t:l
V1TEpfJEfJYJKEV 'T!p
\I ,.1..,.1 ~~ ' ""' / t:l ''
11 1\Y}f.Lf.La'Tt. '+'VCTEt OE 1TW~ EV 'TOt~ 'TOtOV'TOt~ a1TaCTtV aEt
TOV KpEt'T'TOVO~ aKOVOf.LEV, of)ev a1TO 'TOV a1T00EtK'TtKOV
\ / f) , ' ' ,./..,. / , \ / 'e'
1TEptEI\KOf.LE a Et~ 'TO KaTa '+'aVTaCTtaV EK1TI\YjK'TtKOV, qJ
' ,EyKpV1T'TETat
TO' 1Tp_ayf.La'TtKOV / \ /
1TEptl\af.L1TOf.LEVOV. Kat'
'TOV'T' OVK a1TEtKO'TW~ 1Tacrxof.LEV" DVELV yap CTVV'TaTTO-
/
f.LEVWV t! ,./..,.'
V'+' t.\
EV ,
aEt'
TO' KpEtT'TOV
""' , t! ' '
Et~ EaVTO TYJV
f) aTEpov
/
8vvaf.Ltv 1TEpta-1Tf?:. ·
12 Toa-avra 1TEp'i rwv Kara ra~ vo~a-Et~ vt/JYJAwv Ka'i
V1To f.LEyaAocppoa-vvYJ~ <1]> 1 f.Ltf.L~a-ew~ 1] cpavraa-ia~
, / , /
a1TOYEVVWf.LEVWV apKECTEt.
,
16. Avroet f.LEvrot Kat
, , ,
o 1Tep'i
..... ' .,,
a-xYJf.Larwv E.cpetf}~
c.\ ~ ""' , r
TETaKTat T01To~· Kat yap TaVT, av OV OEt CTKEVasYJTat
rpo1TOV, w~ EcpYJV, OVK av ~ rvxovCTa f.LEyf.f)ov~ ELYJ
I ~
f.LEpt~. OV' f.LYJV
' '\ \'
a/\1\ '
E1TEt
'
TO' 1TaVTa
/ (.}
OtaKptfJOVV""' \'
11'01\V
€pyov 2 EV 'T~ 1TapovTt, f.LaAAov 8' a1TEptoptCT'TOV,
224
ON THE SUBLIME 15-16
were to tell us, 'The prison has been broken open and the
prisoners are escaping,' there is no man, old or young, so
unheeding that he would not run to give all the assistance
in his power. But suppose someone were to come and
actually tell us that this was the man who set them free,
he would be killed on the moment without a hearing."a
And then, to be sure, there is H yperides on his trial, when
he had moved the enfranchisement of the slaves after the
Athenian reverse. "It was not the speaker that framed
this measure, but the battle of Chaeronea. "b There,
besides developing his factual argument the orator has
visualized the event and consequently his conception far
exceeds the limits of mere persuasion. In all such cases
the stronger element seems naturally to catch our ears, so
that our attention is drawn from the reasoning to the
enthralling effect of the imagination, and the reality is
concealed in a halo of brilliance. And this effect on us is
natural enough; set two forces. side by side and the
stronger always absorbs the virtues of the other.
This must suffice for our treatment of sublimity in
ideas, as produced by nobility of mind or imitation or
visualization. c
16. The topic of figures comes next, for these too, if
rightly handled, may be, as I said, d an important element
in the sublime. However, since it would be a long, and
indeed an interminable task to treat them all in detail
a Demosthenes, Oration 24.208. b After Philip's victory
at Chaeronea (338 B.C.), Hyperides proposed the enfranchise-
ment of slaves, and defended this panic 1neasure, it is said, in
these terms: see Rutilius Lupus 1.19, [Plutarch] Lives of the Ten
Orators, 849A. c This summary is puzzling: it omits the con-
tents of chap. 10. d In chap. 8.
225
LONGINUS
r
oA.iya TWV oa-a p.,eyaAYJyopiac; U1TOTEAEa-TLKa TOV
1TL(JTWa-aa-() aL TO' 1TpOKELP.,EVOV EVEKa
/ / ~'
KaL' OYJ
~' ~ /(;
OLEs LP.,EV.
2 U1TODEL~LV 0 ~YJp.,oa-()EVYJc; V1TEp TWV 1TE1TOALTEVP.,EVWV
ela-cpEpEL. TLc; D' ~v 7] KaTa cpva-Lv xpi}a-Lc; avrijc;;
eeovx Y]p.,apTETE, 6J TOV V1TEp rijc; TWV eEA.A.1}vwv EAEV-
()epiac; aywva apap_,EVOL" EXETE DE OLKELa TOVTOV
1rapaDeiyp.,ara · ovDE yap oi ev Mapa()wvL ijp.,aprov
OVO '~' OLe EV ' ~al\ap_,LVL OVO
""' \ '"' '~' OLe EV ' II\1\aTaLaLc;. '"' " al\1\ '\ \,
E1TELDTJ Ka()a1TEp ep.,1Tveva-()e'ic; e~aicpvYJc; v1ro ()eov Ka'i
e ' A.. (.} /\ / ' '"' ' / '"'
OLOVEL 'POLJJOAYJ1TTOc; YEVOP.,EVOc; TOV TWV apta-TEWV T'YJc;
eEAAaDoc; opKOV E~EcpWVY](JEV eeOVK Ea-TLV 01TWc; 1-jp.,ap-
TETE, p.,a rove; EV Mapa()wvL 1TpOKLVDVVEva-avrac;,"
cpaiveraL Dt' E.voc; rov op.,orLKov a-x1}p.,aroc;, o1rep
f.v()aDE U1TOa-Tpocpi}v eyw KaAw, rove; P.,EV 1Tpoy6vovc;
'{)/ ~~ ~'"' ' ~~ '{) / e
a1ro Ewa-ac;, OTL oEL rove; ovrwc; a1ro avovrac; we;
() EOVc; ,
' OP.,VVVaL /
1Tapta-TC4VWV, TOLe;
/ '"' ~'
OE KpLVOV(JL TO' TWV
/ '"'
226
ON THE SUBLIME 16
227
LONGINUS
[
ov yap !La T~v MapaOwvt T~v €/L~v ~LaxYJv
xaipwv Tt~ aVTWV TOV~LOV dA. yvvEt KEap.
yKatOV. cc TOV~
1"\ ' ~ /
7TpOKtVOVV€VCTaVTac:;, ,
o/YJCTt,/ CCM apa-
,../..
1
opKWV deleted by Kayser.
2 KaL <KaT'> Mazzucchi.
228
ON THE SUBLIME 16
229
LONGINUS f
€0alfie 8TJJ.Loa-ic!/' cpTJa-iv ((~ 1roAts, Ala-xivTJ, ovxL Tov~
,
KaTop () wa-avTa~ fLOVov~.
, "
230
ON THE SUBLIME 16-17
231
LONGINUS r
3 E.~af.Lavpo'i 1TEptxv{}€v 1TavTo{}ev
/ ~' :>I /
1T0ppw 0 UTW~ TOVTOV Kat' E1Tt
' '
/ ,, '
crvf.L(3 at vEt·
1"'1, 1"'1
' / ~ ~ ~I
a1TOKptcrEW~ Kat' TO' 1rp0~
' '
EaVTOV W~ 1rp0~
'
ETEpov
av0v1TaVTUV ov f.LOVOV Vt/JYJAOTEpov E1TOLY)(]"E T~ a-xYJ-
2 f.LaTt(J"jL~ TO pYJ{}Ev aAAa Kat 1Tt(J"TOTEpov. ayEL yap
~I
ra' 1ra () YJTtKa' TOTE
/ ""'\\
f.La/\1\0V, oTav ' '
avTa ,./.,. /
'+'atV'Y}Tat f.LYJ'
232
ON THE SUBLIME 17-18
233
LONGINUS
1
Perhaps €<ypalfie>, if Longinus was about to compare
Herodotus' actual use of the figure with the ineffective alterna-
tive of doing without it. Cf. chap. 21.
2 So K marg., Manutius.
3 So Faber for P's fTvv8t-oLKOVfT'YJ~·
234
ON THE SUBLIME 18-19
235
LONGINUS
236
ON THE SUBLIME 20
237
T
I
LONGINUS
238
ON THE SUBLIME 21-22
239
LONGINUS
, ' ' ,... ' A...' c ,... ,
VO'Y}O*El8 T'Y}V EK TOV KaTa 'PVO*LV ELpf.LOV 1TaVTOLWc;
' , ' ' \ \ , , (; t:l '
1rp0~ f.LVpLa~ rpo1ra~ EVal\.1\.aTTOVO*L Tas LV, OVTW 1rapa
'TOL~ apia-TOL~ a-vyypacf>eva-L 8u1 TWV V1TEp{Jarwv ~
f.LLJLYJO*L~ €1r'i Ta Tijc; c/Jvo-Ewc; €pya ¢€pETaL. roTE yap
~ 'TEXV'Y} TEAELO~, ~viK' av cpvo-Lc; EivaL OoKi}, ~ o' av
cf>vo-L~ E1TL'Tvx-rJ~, OTav Aaveavova-av 1TEpLEXYJ TTJV
, t:l \' C,:n 'A , ',...
TEXV'Y}V. wo-1TEp 1\.EYEL o "-¥WKaEvc; uLovva-Loc; 1rapa rep
CHpo86rcp· CCE7TL ~vpov yap aKf.Lijc; EXETaL ~f.LLV Ta
1Tpayf.LaTa, avOpE~ ~'IwvE~' EivaL EAEv{)f.poL~ ~ oov-
AoL~ Ka'i 'TOVTOLc; w~ 8pa1TETYJO*LV. vvv JJv Vf.LELc; ~v
f.LEV f3ovA'YJo-{)E raAaL1rwpia~ €v8€xEa-{)aL, 1TapaxpiJf.La
f.LEV 1rovoc; Vf.LLV, oioi TE 8€ Eo-Eo-{)E V1TEpf3aA.f.a-{)aL
2 '
'TOV~ \ '
1TOI\.Ef.LLOVc;. " ' '"'{)' 'Y}V
EVTaV -;- TO' KaTa' Tas
'(; LV" ec W
-;-
~~
avopE~
~ ~'I
WVE~,
,. . KaLpoc;
VVV ' EO*'TLV
' e ,...
Vf.LLV '
1TOVOV~
'
E1TLOE-
~ '
240
ON THE SUBLIME 22
a Herodotus 6.11.
1
yap Spengel.
241
I
i
LONGINUS
TraVTWV
/ ,
o~' EV T(f;J
"" /
YEVEL TOVTCf:J KaTaKopECTTaToc;
/ /
KaL
'
\' ', ', ""~:: QQ/Y ':J' '
1TOI\V TO aywVUTTLKOV EK TOV V1TEpfJLfJa«:,ELV KaL ETL V'Y}
A / ' '(; ~:: / \ / ,./... / ' '
uLa TO Es V1TOYVOV 1\EYELV CTVVEJ1"-tJaLVWV KaL 1rpoc;
TovToLc; Etc; Tov Kiv8vvov Twv fLaKpwv V1TEp{jaTwv
4 ' , /
TOVc; aKOVOVTac; CTVVE1TLCT1TWfLEVoc;· 1TOI\I\aKLc; yap TOV
/ \\/ ' '
vovv ov WPfL'YJCTEV Et1TELV avaKpEfLUCTac; Kat fLETa~v
Trwc; 1 Etc; aAAocpv'Aov Kat U1TEOLKVLav TU~LV a'A'A' E1T'
:J/ \ \ ~ ' / ' :JI (; () / () 3 \ "" 3
ai\1\0Lc; OLa fLECTOV KaL Es W EV 1TO EV E1TELCTKVKI\WV ELc;
KaTa' TOVc;
' '
apL (} '
fLOVc; OV' fLOVa
/ ""
TaVTa ""
KOCTfLELV, e /
01TOCTa
""/ e ':JI ""~ / ' ' '(}/
TOLe; TV1TOLc; EVLKa OVTa TYJ OVVafLEL KaTa T'YJV ava EW-
\ (} ' e /
PYJCTLV 1TA'YJ VVTLKa EVPLCTKETaL·
242
ON THE SUBLIME 22-23
is the most lavish of all in this kind of use and not only
employs hyperbata to give a great effect of vehemence,
and indeed of improvisation, but also drags his audience
along with him to share the perils of these long hyperbata.
For he often suspends the sense which he has begun to
express, and in the interval manages to bring forward one
extraneous idea after another in a strange and unlikely
order, making the audience terrified of a total collapse of
the sentence, and compelling them from sheer excite-
ment to share the speaker>s risk: then unexpectedly, after
a great interval, the long-lost phrase turns up pat at the
end, so that he astounds them all the more by the very
recklessness and audacity of the transpositions. But there
are so many examples that I must stay my hand.
23. Again, accumulation, variation, and climax, the so-
called ''polyptota,n are, as you know, very powerful, and
contribute to· ornament and to sublimity and emotion of
all kinds. And consider, too, what variety and liveliness
is lent to the exposition by changes of case, tense,
person, number, or gender~ In the category of number,
for example, not only are those uses ornamental where
the singular in form is found on consideration to signify a
plural-take the lines:
And straightway a numberless people
Scatter the length of the beaches and thunder, "the
Tunny, the Tunny! »a
243
LONGINUS
e ' '"' \ /
W~ EKE'LVa 1TE1TI\EOVaO"TaL,
244
ON THE SUBLIME 23
245
LONGINUS
~I / 'l\' \/ ' / ' ,..,
Ell TL TOVTWV YJ Ta 1TI\ELOVa, E1TEL TOL TO 1TaVTaXOV
KwOwva\; f.~ijljJ(}aL 'Aiav crol/JurTLKOV.
24 . 'A\1\1\a
\ ' ' KaL' TOVVaVTtOV
fLYJV , , Ta' EK
, TWV
,. , 1TI\7}
\ (} VV-
,.., ' e, lr \ ,./.... '
TtKWV Et\; Ta' EVtKa
e ' ' '
E1TtCTVVa)IOfLEVa ' '
EVtOTE V'rYJI\O"PaVE-
CTTaTa.
ee 'I
E1TEt
(}' e
YJ
IT EI\01TOVVYJCTO\;
\ / ~~
a1TaCTa OtELCTTYJKEt
~ ' "
l/JYJcri. eeKaL 87}
Mt'A'Y}Tov a'AwCTLV ci>pvvix4! opilfLa
OLOa~avTt el\; oaKpva E1TECTE To (}f.YJTpov." 1 To EK Twv
OLYJPYJfLEvwv el\; Ta i}vwiLE.va E1TtcrvcrTpel/JaL Tov dpte-
2 fLOV CTWfLaTOEtOECTTEpov. aLTLOV o' E1T' dfLl/JOLV TOV
'
KOCTfLOV ''
TaVTOV '3'
OtfLat ~~
• 01TOV ' eEVtKa' e
TE yap '
V1Tapxet Ta'
, , ' \\' 1"'1 ' ' ' ~'(; '
OVOfLaTa, TO 1TOI\I\a 1TOtEtv avTa 1rapa oo~ av EfL1Ta-
(}ov\;, o1rov Te 1T'AYJevvTtKa, To el\; lv Tt evYJxov
,./....""
CTV'}'KOPV"POVV Ta' \ '
1T 1\EtOVa ~''
OLa TYJV '
Et\; ' ,
TOVVaVTtOV
fLETafLopl/JwcrLV TWV 1TpayfLaTWV EV T[iJ 1Tapa'Aoy(f!.
25.. ~~OTav ye fLTJV Ta 1Tape'AYJ'Av(}oTa TOL\; xpovoL\;
elcrayYJ\; w\; ytvofLEVa ~<._a'i 1rapovTa, ov ot'Y}yYJcrtv ETt
' \ / ' \ \ , ' ' ,..., ' ee
TOV 1\0'}'0V a/\1\ evaywvtov 1rpayfLa 1TOtYJCTEL\;. 1TE-
1TTWKW\; 0€ Tt\;,
' ~ / " ,./....·
"PTJCTLV 0
' e ,_...
t;::.EVO"PWV,
,./.... ,..., ee e '
V1TO Tlf!
,.., K vpov
'
~I ' / / ,.., / ' '
t1T1T{f! Kat 1TaTOVfLEVO\; 1TatEt TYJ fLaxatpq_ Et\; TYJV
/ ' ~I
yacrTEpa TOV L1T1Tov· o oE cr"Paoq.swv a1TOCTEtETat TOV
e ~ ' ,./.... ~ / r ' / '
,. ,
K vpov, e
0
~'
OE
/
1Tt1TTEt.
" ,...,
TOtOVTO\; EV TOt\; 1TI\EtCTTOL\; 0
' ,., \ / e
8ovKvDtDYJ\;.
26 . 'E Va'}'WVLO\;
' 0~' OfLOtW\;
e '
KaL' YJe TWV
,.., '
1Tp0CTW1TWV
, '(} ' \ \ , , , ,., , ~
aVTtfLETa ECTt\; KaL 1TOI\I\aKL\; EV fLECTOt\; TOt\; KtVOVVOL\;
1TOtO'VCTa TOV aKpoaT~V OOKELV CTTpel/Jecr(}at.
1'' '(}/E"f]TpOV rr
E7TEO"E 'TO ~0
II£!Of E7TEO"OV
,, rf) EWfLEVOL.
OL
/
246
ON THE SUBLIME 23-26
247
LONGINUS
~'A
Kat' o
t:
paroc;
fl./'f}' KEtV4}
/ ' '
EVL fl./'f}VL' 1TEpLKI\VC:::,OLO
\ /'f (} \ /
aAaCTa-YJ.
' /
aVT01TpOa-W1TOV ,
aVTLfLE () La-TaTaL,
/
KaL' f(JTL
~~ ' TOLOV'TOV
TO """
a Iliad 15.697-8.
b Aratus, Phaenom,ena 287.
248
ON THE SUBLIME 26-27
c Herodotus 2.29.
d Iliad 5.85.
249
LONGINUS
Ka~ TOta 0
' e e'E KTWp, " VVV~' 0~' E'P
1"1 rl..() aKEV a'PVW TOV /LETa- :.t :.t ,./... '
250
ON THE SUBLIME 27
a Iliad 15.346-9.
b Hecataeus fr. 30 (FGrHist 1). By descendants, Hecataeus
means the descendants of Heracles, as the intrusive gloss indi-
cates: Ceyx, king ofTrachis, is unable to help them, and so sends
them away. See Diodorus Siculus 4.57.2.
c [Demosthenes] Or. 25.27-8.
251
LONGINUS
r
ov fLLav A.e~tv 8u1 Tov fJvfLov Els 8vo 8ta(rrra<Ta~
1rpo<Tw1Ta ~~o~, 6J fLtapwraTE, EiTa 1Tpo~ Tov 'Apt<TTo-
yEirova TOV Aoyov 1 U1TO<TTpet/Ja~ KaL a7TOAt7TEL1J
~ ""'
OOKWV, ~'
OfLW~
~ ' TOV
Ota \ ' 1TI\EOV
""' 1Ta'() OV~ 1TOI\V \ , ·'·
E1TE<TTp6yEV. / /
252
ON THE SUBLIME 27-28
8€ "!.Kv8€wv TOL':;
1"'\
1
a·vv pi.rplfJ Morus for CTVf.Lf.LETpwc;.
2
1TaXVTYJTOc; Manutius, for 1raxvrarov.
254
I
I ON THE SUBLIME 28-29
255
LONGINUS
r
NOfJ-018 'A.E.yovTa 1:\v~ OVTE apyvpovv DEL 1TAOVTOV OVTE
xpva-ovv EV 1TOAEL iDpVfJ-EVOV E:iiv OLKE'iv'' 8taXAEva-
'ova-tv, w~ El 1Tpo{3aTa, ¢YJa-LV, EKWAVE KEKTija-Bat,
8ij'A01/ OTt 1Tpo{3aTEtOV av Ka'i {3oEtOV 1TAOVTOV EAEyEv.
2 'A'A.'A.a yap a'A.t~ V1TEp Tij~ EL~ Ta Vt/JYJAa TWV a-xYJ-
fJ-cLTWV xp~a-Ew~ EK 1TapEv8~K'YJ~ TOa-avTa 1TE¢t'A.o'A.o-
yi]a-Bat, TEpEVTtavf. ¢i'ATaTE" 1TcLVTa yap TaVTa
L) , ' , ' \""'
1TaU'YJTLKWTEpOV~ Kat a-vyKEKLV'YJfJ-EVOV~ a1TOTEI\Et TOV~
\ , , Ll ~' ~~.,. , I"\ <: ,
1\0yov~· 1rauo~ OE V~OV~ fJ-ETEXEL TOa-OVTOV, 01TO(JOV
~Bo~ Y,8ovi]~.
30 . 'E1TELO'~Y'J fJ-EVTOt , 'Y~:J TOV"" 1\0yov
\ , ,
VO'Y}(Jt~ 'YJ TE ~pa-
~~ .rl.... ,
TaVTOV'' ~'
av .rl....' 1:
~atVOtTO, W~ EL TL~ TpaytKOV 1TpOa-W1TEtOV
31 ' I"\
256
ON THE SUBLIME 29-30
257
LONGINUS
r
I ~\ () I I
fLeya 1TatOL 1TEpt ELTJ VTJ1TL(f!.
Kat' L.
(: 1
~'2
31 . () pE1TTLKWTaTOV
yoVLfLOV, TO 0
I
Kat
\ I \
'A JJaKpeovro'}
I (:(: , I
ovKETt
8 pT]tKtT}'}
I I \ 3 , I
<1TWI\.ov> E1Ttcrrpe-
,.~.,. n I \ \ 1'\ 8 I \
o/OfLaL. TaVTYJ Kat TO TOV E01TOfL1TOV KatVOV
' I 4 ~ \ \ ' 1\ :)/ I
E1TatVETOV -ota TO aVal\.oyov EfLOL YE CFTJfLaVTLKW-
:)1 ~ '"' r:l (: K "\ , -;-~, t:l
Tara EXELV OOKEL-01TEp 0 atKLI\.LO'} OVK OLO 01TW'}
KaTafLEfLo/ETat.
/ ,./.,. (:(: ~
OELVO'}
' :)/
WV,
, ,./.,.
o/TJCFLV,
/ (:(: (:
0
"""'"\
'-¥LI\.L1T1TO'}
dvayKoc/>ayija-at 1TpayfLaTa." E(TTLV ap' 0 lDtWTL-
' , / 1'\ / ' \ ' , ,./.,. /
(TfLO'} EVLOTE TOV KO(TfLOV 1Tapa 1TOI\.V EfLo/aVt(TTLKWTE-
pov· E1Ttytvwa-KETat yap avroeev EK TOV KOLVOV {3iov,
TO 8€ a-VVTJ()E'} 1/DTJ 1TL(TTOTEpov. OVKOVV E1Tt TOV ra
ala-xpa Kat pv1Tapa TATJfLOVW'} Kat fLE()' iJSovij'} EVEKa
2 7TAEOVE~La'} KaprepoVVTO'} TO dvayKoc/>aye'iv ra
1TpayfLara f.vapyf.a-rara 1TapetATJ1TTat. ~8€ 1TW'} exet
'
Kat
' (:H poOOTEta"
Ta
~ I tt t
0
K 1\.EOfLEVTJ'},
\ / " o/TJ(TL,
,./.,. / tt
fLaVEL'}
'
1
ia-ropiq, (Toll) must be the word that is broken off.
Perhaps ro ravaKpeovro~ (Russell 1964); but it is possible
2
that ovKETt is not part of the quotation, and that the writer means
that Anacreon's phrase (by contrast with something just men-
tioned, and lost to us) is not admirable.
3 <7rwAov> supplied by Bergk.
4 So Vahlen; Kat rov E7r7}verov P.
258
ON THE SUBLIME 30-31
259
T
LONGINUS
€1\aVVETat..,
'\ '
Kat..' T'Y)V '
1TOJ\V1TJ\'Y}
\ \ '{)
Et..aV aVTWV' ,...,
W~ avay-
e '
260
ON THE SUBLIME 32
261
LONGINUS
~ '
,.., ' ) '\ \
EXEt~ Kat E1Tal\l\ 1}1\0t Tpo1Tot.
\ /
ot 'F'
wv Kat' 1rapa' =Evo-
1--i
'<::' /
tOEaV ) ...J.. /
EVE\.f-'VTEVa-av, \
fLal\aK7JV ' Kat' avatJ.LOV
3/
Kat'
a-~payya~ EVTO~ €xova-av o1ro'iov J.LaA.ayJ.La, Zv' o
{}VJ.LO~ 01TOT' EV avTi} 'Ea-YJ, 1T1]8wa-a El~ 1J1TELKOV J.L~
A.vJ.LaLV1]Tat." Ka'i T~v J.LEV Twv E1Tt{}VJ.LtWV OLK7Jcrtv
1Tpoa-EL1TEV w~ yvvatKWVLTtV, 'T~V 'TOV {}VJ.LOV 8€ W(J1T€p
av8pwv'iTtV" 'TOV YE J.L~V CT1TA.ijva 'TWV EVTO~ J.LayE'iov,
262
ON THE SUBLIME 32
263
LONGINUS
J.LETao/opat, ,./.... /
Kat'~' OTt Ote 7Ta {) YJTtKOt' ' Kat , . I .o/pacrTtKOt . ' KaTa '
264
ON THE SUBLIME 32
265
LONGINUS
/ ,,.,. / (} ' ' C'/~ \ / '\ ~' '
yap, ~a<Tt, EOV TO Vowp 1\EYELV, KOI\a<JLV 0€ TYJV
1"'1 1"'1 1"'1 !J/ ~ ' /,,.,. / ~
Kpaa-tv, 1TOLYJTOV TLVO~ TC[) OVTL OVXL VYJ~OVTO~ €<TTL.
8 Tot~ TotovTot~ €AaTTwp.,aa-tv E1TLXEtpwv op.,w~ avTo
Kat' 0r K atKLI\LO~
/\ '
EV TOL~
,. , r '
V7T€p AV<TLOV
1 1
a-vyypap.,p.,a<TLV
~ (}
a1TE appYJ<TEV TC[) 1TaVTL
/ 1"'1 ' AV<JLaV
/ ~ /
ap.,ELVW
II\1\aTWVO~ I
:!1/
ETL VYJ uta, 1TOTEpov 1TOT€ at
'A' ' / c: \
1TI\€LOV~
/ ~
apETat TO 1TpW-
' '
266
ON THE SUBLIME 32-33
267
LONGINUS
O"TEpa~
' ~ ,
OLafLEVELV, Ta' OE
~' fLE')'al\a
'\ ' ..,../... \ ""' ~ '
E1TLO"'-{Jai\Y} ' '
OL aVTO
3 yivea-Oat- TO fLE')'EOo~. aAAa fL~V ov8€ EKELVO ayvow
TO'~, t:l
OEVTEpov, OTL .J..' ,
o/VO"EL 1TaVTa Ta' ' L} ,
avupW1TELa ''
a1TO TOV""'
xeipovo~ aEt fLUAAov E1TL')'LVWO"KETaL Kat TWV fLEV
UfLapTY]fLUTWV avE~aAEL1TTO~ Y] fLVTJfLYJ 1TapafLEVEL, TWV
4 Ka'Awv 8€ TaxE.w~ a1Toppe'i. 1TapaTE0ELfLEVO~ 8' OVK
oAiya Kat aVTO~ UfLapTTJfLaTa KaL eOfL'Yjpov Kat TWV
!>/\ \ t:l , ' t:l ""' ,
ai\1\WV OO"OL fLE')'LO"TOL, KaL YJKLO"Ta TOL~ 1TTaLO"fLaO"LV
apEa-KOfLEVO~, OfLW~ 8€ ovx UfLapTTJfLaTa fLUAAov
) ' t , \ ""' .,, , ~ ' ' /\
avTa eKova-La Kai\WV YJ 1TapopafLaTa OL afLEI\ELav
EtKfj 1TOV Kat w~ ETVXEV V1TO fLEyaAocpvta~ UV€1TLO"Ta-
, '~' 'e' .-;- ' ''I
TW~ 1TapEVYJVE')'fLEVa, OUOEV YJTTOV OLfLaL Ta~ fLEL~:,OVa~
1 apErac;
' , p etra, .cror atrtac;.
' ,
268
ON THE SUBLIME 33
LONGINUS
~ ' / ._, e ' / '(; ~ / \
oatfLOVtOV 1TV€VfLaTO~ YJV V1TO VOfLOV ras at OVcrKOI\OV,
';" '
~ ,r , , , '
~ '\ r'l \ \ .,,
apa OYJ fLEt~::,WV 1TOtYJTYJ~; Tt OE; EV fL€J\€(J"t fLai\1\0V av
Elvat BaKXVALDYJ~ EAoto ~ IIivDapo~ Kat f.v rpayqJDtq-
''1WV 0e X"tO~ YJ'' uta A ' ~
40'POKI\Yj~; €1T€tOYJ Ot fLEV aota-
,/.... \ ,.... ' ~ ' e ' ' ~ '
1
add. Toup.
2 del. Schurzfleisch.
3 del. Weiske: viJ ~[a Richards.
270
ON THE SUBLIME 33-34
LONGINUS
, ' :!>/ '~' ' ,
O"KWfLfLaTa OVK afLOVO"a OVO avaywya, KaTa' TOV~
'
272
T ON THE SUBLIME 34
273
LONGINUS
~ A.. /
rov oEtVOTYJTa Kat'~/ ovvap.,tv, E1TEtO'Y}
/ ~'
ravra, \.f-IYJP.,t, ~
w~
' 1"'\
EXEt Ka'Ao'i~ CL1Tavra~ aEt VtKfi- Kat V1TEp &v OVK EXEt
Kat' WG"1T€p€t
e ' a
KaTafJpOVTft ""' Kat' KaTa'f-IEYYEt
A..' '
TOV~ a1T
' '
274
T
i
275
T
LONGINUS
276
T ON THE SUBLIME 35-36
tors; and she therefore from the first breathed into our
hearts an unconquerable passion for whatever is great
and more divine than ourselves. Thus the whole universe
is not enough to satisfy the speculative intelligence of
human thought; our ideas often pass beyond the limits
that confine us. Look at life from all sides and see how in
all things the extraordinary, the great, the beautiful stand
supreme, and you will soon realize what we were born for.
So it is by some natural instinct that we admire, not the
small streams, clear and useful as they are, but the Nile,
the Danube, the Rhine, and above all the Ocean. The lit-
tle fire we kindle for ourselves keeps clear and steady, yet
we do not therefore regard it with more amazement than
the fires of Heaven, which are often darkened, or think it
more wonderful than the craters of Etna in eruption,
hurling up rocks and whole hills from their depths and
sometimes shooting forth rivers of that earth born, sponta-
neous fire. But on all such matters I would only say this,
that what is useful or necessary is easily obtained by man;
it is always the unusual which wins our wonder.
36. In dealing, then, with writers of genius, whose
grandeur is of a kind that comes within the limits of use
and profit, we must at the outset observe that, while they
are far from unerring, yet they are above all mortal range.
277
LONGINUS
278
r
ON THE SUBLIME 36
.
1"\ \ \ '
-~f
L
A.arrovCTat . . . oJ
\ '1 \ e 1"\ ee , , , rr
38. <KarayEJ\a>CTTOL Kat at 'TOLaVTat. EL J.L'YJ 'Tf.t.V
' I,J... \ ' I I
1
EYKEt.pai\OV EV Tate; 1TTEpVatc; KaTa1TE1Ta'T'YJJ.LEVl'_.·'
1"\
lJ
cPOPELTE. '' 8t<J1TEp Et8€vat XPTJ ro J.LEXPL 1TOV 1TapOfft~,
I et \ \ ' I I I
CT'TEOV EKaCTTOV" 'TO yap EVLO'TE 1TEpatTEpw 1TpOEK1T:H¥
1TTELV dvatpEL 'TTJV V1TEp{3oA. i}v Kat ra 'TOtavra V1TEpU
TELVOfLEVa xaA.arat,' ECT8' O'TE 8€ Kat Etc; V1TEVaVTLWCTE~l;: 0
280
ON THE SUBLIME 36-38
1 Reiske.
281
T
LONGINUS
, / ~ \ n 1"1 , , 1"1 r~.. / 'I /
apxatW~ OtEI\UEtV -OVKOVV, 'f'YJO""t Tt~, O""OKpaTE~,
t!/
OVTW~ fLEI\1\Et~
/\ \
Kat' Ta' 1TEpt' A aKEOatp.,OVtWV
~ / Kat' 'AnUYJ-
/ , \\/ ~' ' ' 1"1 \/ , /
VatWV EVal\1\aTTEtV; O""XEOOV yap TO TWV 1\0YWV EYKW-
' / 1"1 il' ~ 1"1 1"1 , / /
fLtOV a1TtO""Tta~ TTJ~ Kau aVTOV TOt~ aKOVOVO""t 1Tapay-
3 yEAfLa Kat 1TpOOLfLtOV ete0YJKEV. fL~1TOT' oiJv apta-Tat
TWV V1TEp{3o'Awv, w~ Kat E1Tt TWV O""XYJfLUTWV 1TpOEL1TO-
~ , ' 1"1 ~ \ L)/ t!/ , ' ~
fLEV, at aVTO TOVTO Otal\aVuavova-at OTt EtO""tV V1TEp-
Q \ / / ~ ' ' / ~ , ~ ' ~ ' , n· /
fJOI\at. ytVETat OE TO TOtOVOE, E1TEtOaV V1TO EK1TauEta~
/L) ' ,/.,. 1"1 / t!/ ~
fLEYEVEL TLVL O""VVEK'+'WVWVTat 1TEpta-TaO""EW~, 01TEp 0
ON THE SUBLIME 38
a!socrates, Panegyricus 8.
b See chap. 17. c Thucydides 7.84.
d Herodotus 7.225.
283
LONGINUS
r
, , ~'()
aKELa TL~ Ta' '
eyyv~ EKCTTaO"EW~
' ' , 3/
Epya KaL' 1ra, () 'YJ· 0 EV
KaL' Ta
' KWfLLKa' ,
KaLTOLY ' EL~
'' ,
a7rLCTTLaV ',
EK1rL1r'TOVTa
nteava ota To yE'Ao'-ov·
' '
aypov
E.a-x' €'AaTTw yijv E.xovT' €nta-To'Aij~
<AaKWVLKij~>l
6 Kat' yap
' o( YEAW~
'\ na'() o~ EV
' 'YJOOVYJ.
(~ 1"'1
at o~' V1rEPtJOAaL
( ( (.} \ '
284
ON THE SUBLIME 38-39
285
LONGINUS r
UYJf.LatvovTEr;, Tatr; Twv 1Jxwv f.LETa{3oA.a'ir; Kat Tfj
1Tpor; aAA-r}Aovr; Kpaa-EtJ Kat f.LLtEL Tfjr; U"Vf.LcPWVLar;
' -'I \\1 (' -'I
3 (} aVf.LaU"TOV E1TayoVU"L 1TOJ\J\aKLr;, Wr; E1TLU"TaU"aL,
1\ ( I """ V~ \ ' I I(}
(} EJ\YYJTpov KaLTOL TaVTa ELOWJ\a KaL f.LLf.LYJfl-aTa VO a
-' ' :~lA.._
EU"TL 1TEL (}""" -''
ovr;, OVXL """
TYJr; -'
av (} I
pw1TELar; A.._l
'Pva-Ewr;, ('
wr; E'PYJV,
EVEPY-r7fl-aTa yv-r}a-La), OVK OLOf.LE8a 8' apa TTJV a-vv8E-
(JLV, apf.LOVLav TLVa oi)a-av Aoywv av8pw1TOLr; Ef.LcpV-
TWV Kat Tfjr; tfivxf7r; avTfjr;, ovxt Tfjr; aKofjr; f.LOVYJr;
-',/..,. I 1\ """ '~I -' I
E'Pa1TTOf.LEVWV, 1TOLKtl\ar; KtVOVU"aV tOEar; OVOf.LaTWV
I I 1\ \ -' \ I I
VOYJU"EWV 1Tpayfl-aTWV Kai\1\0Vr; EVf.L€1\Etar;, 1TaVTWV
TJf.LLV E.vTpocpwv Kat a-vyyEvwv, Kat af.La Tfj f.LLtEL Kat
1ToAvf.Lopcp[q.. Twv f.avTfjr; cp86yywv To 1TapEa-Twr; T(i>
1
1\EYOVTt
\ I
1Ta (} or; ELr;
'
Tar;
' tit '
'Yvxar; """
TWV /\
1TEJ\ar; 1TapELU"-
I
ayova-av Kat' ELr;
' I
f.LETOVU"LaV -'"""''I
aVTOV -''
TOVr; aKOVOVTar; aEt
1Ta8ur:Taa-av, Tfj Twv A.€tEwv E1TotKoDof.L-r}a-EL Ta
TE
286
ON THE SUBLIME 39
a De corona 188.
287
LONGINUS
r
I
Kat To ~p~ov ~v tO"fJ-EV KaAALa-Tov fJ-ETpov a-vv-
[TO/ ]1 €7T€LTOLYE
, / , ,. .,
,..., 3~/ , ' /
LO"TaO"L • T€ EK TYJ~ LOLa~ aVTO xwpa~
~I ~ ' ~~ ~I
fJ-ETafJE~ 07TOL OYJ
'(} / \ ,..., ' ,/ 1 / ,./.,.
€ €/\EL~ TOVTO TO ~YJo/LO"fJ-a W0"7T€p
VEo/0~
/ ,./.,. ' / ' / / ~ \(} ,..., " .,,
€7TOLYJO"€ TOV TOTE KLVOVVOV 7rap€1\ ELV, YJ VYJ
'
Liia 11-iav a7roKot/Jov a-vAAaf3~v 11-ovov ~~E7TOLYJO"E
\ (} ,..., ~ / ,./.,. " ' 'I / ~ ~ / ,...,
7rap€1\ €LV W~ VEo/0~, KaL ELO"YJ, 7TOO"OV YJ apfJ-OVLa T~
1
Manutius omitted ro rE; Pearce and others propose a
lacuna to follow it, e.g. TO TE <TEA.EvraZov KOf.Lf.La Bavf.Laa-rwr;;
a-vvreTaKrat> Mazzucchi.
288
ON THE SUBLIME 39-40
2
KaTafLE'Tpovpivov Toll for KaTafLETpOVfLEVov.
'K marg. !Of
3 W(J"1TEpEL
( .c W(J"1TEp.
.,
289
LONGINUS
I
I
\ ' KaL' a-vyypa'f"EWV
rf-.. / e I~ \
1\0L KaL' 1TOLYJTWV
""' '
OVK !>/
OVTE~
'
V'f''Y}J\OL
1
rl-.. /
'f"VCYEL, fLYJ1TOTE OE KaL afLE'YE
/ ~ ' ' ) /f) EL~, <:/
OfLW~ KOLVOL~
1"'1
KaL
'
1
8eovTws- von Amim for 8' op.,ws-; but it may be best to make
a lacuna after 8' (Mazzucchi).
2 Add. Bergk.
290
ON THE SUBLIME 40
291
LONGINUS
I
(
\
TOV~
' ,
aKpoara~
' )
a1TO TOV ' 1"'1 /
1Tpayf.LaTO~ a'-PEAKEt Kat E'-P
, ,./... ' \ ' , ,./...'
/y
~ '
avra Q
fJta~.:,Erat, ovrw~
~'
Kat' ra' KarEppv (} f.LLCTf.LEVa
/
rwv 1"'1
292
ON THE SUBLIME 40-42
293
LONGINUS
I
I
i
294
T
!
a Herodotus 7.188.
b Herodotus 7.191, 8.13.
c Fr. 263a (FGrHist): the passage is quoted by Athenaeus
(2.67F), but somewhat differently. It refers to the expedition of
Artaxerxes Ochus against Egypt in the middle of the fourth cen-
tury (cf. Diod. Sic. 16.44ff).
295
LONGINUS
otovet
c '
a-rtyfLara
/
Ka (}'ta-rarat 1rapa' Katpov '
eyKara-
'
296
ON THE SUBLIME 43
298
i
l
a Memorabilia 1.4.6.
2
trEpt/ryfJT,ILara Pearce, for trEpdJT,/LaTa.
3 etr' EtDov') Toll, for EtrLDov').
4
E1TLtrpolffJE'ivaL Manutius for E1TL7TpolffJijvaL.
5 <Ka'i> add. K marg., Manutius.
6
trpo') <elL€> €vayxo') Cobet, for trpolfEvayxo').
299
LONGINUS
( /{}
V1TEpfLeyE ElS, 11'1\'Y]V Et fLYJ Tt 0"1TaVtOV, OVKETt YEVVWV-
\ ' , / / , / ,...
rl. / / \ / / , / '
Tat o/VO"Et~. TOO"aVTYJ 1\0YWV KOO"fLtKYJ Tt~ E1TEXEt TOV
2 {3iov d¢opia. ~ vT] di'" EcP'YJ ((1Tta-TEVTEOV EKEtvcp T(i>
fJpvAOVfLEVCf, w~ "' 8'Y}fLOKparia TWV fLEya'Awv dyafJT]
rtfJYJv6~, ii
fLOVYJ a-xE8ov Kat a-vv~KfLaa-av oi 1TEpt
'Aoyov~ 8Etvo'i Kat a-vva1T€fJavov; fJp€l/Jat rE yap,
¢aa-iv, iKavT] Ta ¢povf}fLaTa TWV fLEya'Ao¢p6vwv T]
'\ {} / ' , \ / ' (/ ~ / 1 ' /
EJ\EV Epta Kat E1TEJ\1Tta-at Kat afLa otEYELpEtv TO 1Tpo-
~ / / {} at pYJropa
~: /
oEva ytvEa- · EV'{}'v~ yap
' avasEtv
' r ,. . 2 To' a1Tap-
'
300
ON THE SUBLIME 44
a Odyssey 17.322.
3 <o> add. Pearce.
301
T
LONGINUS
{.:l/
Kat' VYJ' uta
A / '
1rp0~
/
TOVT(f! Ta' o/povpoVVTa
,./...
TOV VVV fJtOV 1"\ ' 1"\
.It ' ~
,./...
lfVf.to/V'YJ TOVT(f! KaKa 1"\ / ' '
Et~ Ta~ 'rvxa~
'
'YJfLWV 1"\
E1TEtlftOVTa ' /
Kat
' lfVVOtKt~ETat.
/r XPOVtlfaVTa
/ ~'
OE TaVTa
1"\ '
EV TOt~ fJtOt~
1"\ a/
302
ON THE SUBLIME 44
303
LONGINUS
r
I
""'
VEO'T'T07TOtEt'Tat Ka'Ta' 'TOV~ ' A..' '
CTO'POV~ Kat TaXEW~ YEVO-
/ /
304
ON THE SUBLIME 44
305
LONGINUS
r
EO"fLEV ~fLElS, afLEtVOV apxEa-eat ~ EAEv(}€pot~ Etvat•
, ' , .r/... (} Eta-at
""' ~ ~
E7TEt70t/'E ao/E TO' O"VVOI\OV,
' \ W~ Es
'C EtpKTYJ~
""' '' .r/...
ao/E-
' ""' \ , ~ \ C' .,, ' \ ,
TOt, KaTa TWV 1TI\Y}O"tOV at 7T/\EOVEs tat KaV E1TtKI\V-
~'\ ~' ~ /
11 O"EtaV l ""'
TOt~ KaKOt~
""' '
TYJV ' /
OtKOVfLEVYJV. 01\W~ OE oa1Ta-
VOV2 E.cpYJv Eivat rwv vvv yEvvwfL€vwv cpva-Ewv T~v
pfJ:(}VfLtav, Yl 1TA~v oAtywv 1TUVTE~ f.yKaTaj3tOVfLEV,
OVK ' ,, \ \a/\1\W~ 1TOVOVVTE~
""' ., ' \ f3 /
YJ aVal\afL aVOVTE~ Et
' fLY}' E1Tat-
' /
VOV KaL ~8ov-ry~ f.vEKa, dA.A.a IL~ T-ry~ '~A.ov KaL TtfL-ry~
12 d~ia~ 1TOTE wcpEAEta~." ~~KpaTtO"TOV ELK-ry TavT' E.av,"
E1TL 8€ Ta O"VVEX-ry xwpE'iv· ljv 8€ TaVTa Ta 1TU(}YJ, 1TEpL
Cbv E.v l8i 41 1rpoYJyovfL€vw~ v1TEa-xofLEea ypalj;Etv v1To-
fLV~fLaTt, UTE 3 T~V TE TOV aAAov Aoyov KaL aVTOV TOV
~',It ~ ~ ""'
v._,.,ov~
""'
fLOtpav ' '
E1TEXOVTWV, wr; Y}fLtV . ... 4
306
ON THE SUBLIME 44
307
r
DEMETRIUS
ON STYLE
because no one else has treated the subject before; he also fails
to integrate some of his disparate sources, especially in the ele-
. gant style. His strength is in analysis of individual topics and
examples.
311
INTRODUCTION
2
The fragments are edited by F. Wehrli, Die Schule des Aris-
toteles vol. 4 [Basell968]).
3
o
AYJJLYJTpiov <l>aAYJpEw~ 7TEp'i EPJLYJVEta~, E(JT~ 7TEp'i £/Jpa-
(JEW~ (so also N and H; on the manuscripts see below).
Manuscript attributions are in any case unreliable, as we can see
from P's misattribution of Aristotle's Rhetoric to Dionysius and
the similar problem of "Longinus".
4 Probably first in the fourth to fifth centuries in Syrianus, In
312
INTRODUCTION
mon (§§ 34-35, 223), both perhaps second century B.C.; see Chi-
ron, p. xxxiii and J. M. Rist, "Demetrius the Stylist and Artemon
the Compiler," Phoenix 18 (1964) 2-8. Reference to the Augus-
tan critic Theodorus of Gadara, in § 237, is very doubtful, and
the context suggests a historian, not a critic. Chronological
deductions in general depend also on whether Demetrius cited
contemporaries, as Aristotle did, or followed the usual later prac-
tice of citing earlier authors.
8 Text of the former in Anecdota Graeca 1.77-116 Bekker
314
INTRODUCTION
317
INTRODUCTION r
spicuous hyperbaton. Only then does he bring in Aristo-
tle ( § 11). Aristotelian influence is then seen particularly
in periods with parallelism of structure (§§ 22ff), in some
of the terminology (e.g. § 12 KaTecrrpafLf-LEVYJ) and in the
inclusion of the one-clause period ( § 17). 14 Yet other
vocabulary is post-Aristotelian (e.g. a1TYJpTtCTf-LEVoc;, Kv-
KAoc;, 1TEptaywyTj), as is the upper limit of four clauses,
and the three types of period (§§ 16 and 19-21).15 So too
"enthymeme>> in §§ 30-33 has the Aristotelian meaning,
but some of the terminology is later, as is the possible
confusion with the epiphoneme in § 109 (we may com-
pare Quint. 8.5.11, where the enthymeme may be used
for decorative purpose, added "epiphonematis modo").
Demetrius also gives strong personal endorsement in§ 15
to a moderate use of periods, a formulation which sug-
gests the Peripatetic mean but is not in Aristotle.
This combination of material from Aristotle modified
by later theory is typical. In §§ 78ff, for example, the the-
ory of metaphor16 shows' strong Aristotelian influence,
14 A type unimportant in later theory, but cf. Quint. 9.4.124,
with the same criteria of length and rounding, "simplex, cum
sensus unus longiore ambitu circumducitur." See also Hermo-
genes in the next note.
15 In itself a triad found only here, but compare the looser
style of philosophy and the distinction of periods for history and
rhetoric in Cic. Orator 62ff. For the number of clauses, cf. Her-
mogenes 180 Rabe, "There are single-clause periods; there are
also two-clause and three-clause periods, formed from <two or>
three clauses, and a four-clause period formed from four clauses;
and a clause is a thought brought to a conclusion." Cic. Orator
221 and Quint. 9.4.125 allow more than four.
16 For a more detailed analysis see Schenkeveld, Ch. IV;
319
INTRODUCTION
brevity, Stoic origin may also lie behind the second series of
items on arrangement in§§ 103-5 and 253-.58, brevity, aposiope-
sis, and cacophony. But much about Stoic theory of style
remains obscure and controversial: see C. Atherton, "Hand over
Fist: the Failure of Stoic Rhetoric," Classical Quarterly 38
(1988) 392-427.
19 On grammar see Schenkeveld, p. 137 (but Peripatetic
320
INTRODUCTION
321
INTRODUCTION
I
I
Structure
The overall structure of On Style is clear and methodical,
a preliminary account of sentence theory(§§ 1-35), fol-
lowed by analysis of four styles: the grand, elegant, plain,
and forceful ( §§ 36-304). In the absence of any formal
introduction or conclusion, these may seem two indepen-
dent accounts, but there are links and cross references
(e.g. §§ 6 and 121, §§ 7-9 and 241-42), and the first, a
useful preliminary to a topic common to all the styles in
the second part, is too long to fit within any one style: con-
trast, for example, the inclusion of general remarks on
prose rhythm, metaphor, and neologism on their first
occurrence within the grand style ( §§ 38 and 78ff), clarity
and vividness within the plain style ( §§ 191 and 209ff),
and forms of open and oblique rebuke in the forceful
style(§§ 287ff).
Clauses and periods are analysed in an orderly text-
book progression of top'ics (§§ 1-35). 23 The unusually
detailed account of the clause (§§ 1-9) moves from origin
and definition to appropriate use of long and short
clauses, while the period is analysed under definition, ori-
gin and history, length, and subtypes, with remarks inter-
spersed on use. Finally, there are two appendices, revert-
ing to definition ( §§ 34-35), just as additional topics tend
to follow the main analysis in the individual styles.
After a preliminary defence of the four-style theory,
Demetrius analyses each of the four styles in turn. Each.
ends with a brief discussion of its faulty counterpart, the
23
Cf. e.g. Cic. Orator 174. The sequence of definition and
use is natural and common, cf. §§ 22-29, M. Fuhrmann, Das sys-
tematische Lehrbuch, Gottingen 1960.
322
INTRODUCTION
324
INTRODUCTION
326
1 INTRODUCTION
327
INTRODUCTION
328
INTRODUCTION
and wit, and both concepts are part of T]Sovf], the pleasur-
able, in contrast to grandeur and force, 32 they do not
always coincide, and it is charm, not wit, that is suggested
by the subject matter recommended in §§ 132-33, gar-
dens of the nymphs, wedding songs, love, birds, and
spring.
Within Demetrius the elegant style has closest links
with the plain style (note how ''small" birds and flowers
contrast great battles in § 76), and classification of it as
part of the plain style, its probable origin (cf. § 36), may
be compared to Cicero, Orator 20, where the plain style
has two subdivisions, the first deliberately like ordinary
speech (cf. Demetrius § 207), but the second "more ele-
gant and witty, even given a brightness and modest orna-
mentation." Yet when exemplified by the smoothly
euphonious Isocratean type of sentences, elegance may
also both be in polar contrast to forcefulness (§§ 258,
300-301) and combine with. grandeur ( § 29). Since
Demetrius is struggling to express this style, parallels in
other authors are hard to find, but we find a more unified
concept of charm in the later quality of sweetness, yA.v-
K'VTYJ~, with its beautiful landscapes and themes of love
(Hermogenes 330-39 Rabe), and the importance of
charm as an independent element of style is already clear
in the first century B.C. from its place in the theory of
qualities and from the varying attempts to add it to the
theory of styles, as part of the middle style (Cic. Orator
329
INTRODUCTION
330
INTRODUCTION
331
INTRODUCTION
332
T
'
INTRODUCTION
333
INTRODUCTION
334
INTRODUCTION
SYNOPSIS
1-35: Sentence Structure
1-9: clause (kolon)
1-3: definition of clause
4-8: length and use of clause
9: definition of short clause or phrase (komrna)
10-35: period and combinations of clauses
10-11: definition of period
12-15: periodic and unperiodic; origin and use
16-18: length of period: number of clauses
19-21: t)pes of period: historical, dialogue, rhetorical
22-29: periods with symmetrical clauses
22-24: antithesis
25-26: assonance
27-29: their use
31-33: period and enthymeme: the difference
34-35: definition of clause in Aristotle and Archede-
mus
335
INTRODUCTION
J
38-127: the grand style, f-LeyaAo7Tperr~c;
38-74: composition: series I
38-43: rhythm
44: length of clauses
45-47: period
48-49:cacophony
50-52: word order
53-58: connectives and particles
59-67: figures
68-74: hiatus
75-76: subjects: battles; earth and heaven
77-102: diction
77: introduction
78-90: metaphor and simile
91-93: compounds
94-98: neologisms: onomatopoeia and derivatives
99-:-102:allegory
103-5: composition: series II
103: brevity and repetition
104: oblique construction
105:cacophony
106-11: the epiphoneme (appendix I)
112-13: poetic words in prose (appendix II)
114-27: the frigid style, lfivxpoc;
114: definition
115: subjects
116: diction
117-18: composition
119-23: propriety
124-27: appendix on hyperbole
128-89: the elegant style, yA.acpvpoc;
128-35: introductory: the types of charm
336
INTRODUCTION
337
INTRODUCTION
BIBLIOGRAPHY
Select editions
Aldus Manutius, Venice 1508 (editio princeps)
Victorius, P., Florence 1552 (with Latin translation and
commentary, 1562)
Gale, T., Oxford 1676 (ed. Glasg. = revised reprint, Glas-
gow, 1743)
Schneider, J. G., Altenburg 1799
Goeller, F., Leipzig 1837
338
INTRODUCTION
339
INTRODUCTION
ABBREVIATIONS
Ar. Aristotle
Art. Scr. Artium Scriptores (Reste der
voraristotelischen Rhetorik), ed.
L. Radermacher, Vienna 1951
DH. Dionysius of Halicarnassus (CV =
On Composition ofWords)
Die Fragmente der Vorsokratiker,
ed. H. Diels, W. Kranz, revised edi-
tion, Berlin 1951-52
EGF Epicorum Graecorum Fragmenta,
ed. M. Davies, Gottingen 1988
340
INTRODUCTION
341
T
i
INTRODUCTION
342
ITEPI EPMHNEIA~
IIEPI EPMHNEIA~
344
ON STYLE
6
1TTJXV~ H: 1r-r}XH~ PN (cubiti Lat.).
345
DEMETRIUS
1"1 ~I ' ~~~ / ) ~/ ' ~ / 1
fLEpwv EKaa-TOV, Kat LOLa fLEp'Y} , OVTW Kat otaVOLa~
346
ON STYLE 2-4
each of these has its own shape and indeed its own parts,a
so too a complete thought, when it is extensive, may sub-
sume within it parts which are themselves whole, (3) as at
the beginning of Xenophon's Anabasis in the words ''Dar-
ius and Parysatis" down to "the younger Cyrus."h This is a
fully completed thought, yet it contains two clauses, each
is a part of it, and in each part a thought is completed
within its own limits. Take the words "Darius and
Parysatis had sons": the thought that Darius and Parysatis
had sons has its own completeness. In the same way the
second clause has the complete thought, "the elder was
Artaxerxes, the younger Cyrus." So a clause will, I main-
tain, in all cases and circumstances form a thought, either
a complete one or a complete part of a whole one.
(4) You should not produce very long clauses; other-
wise the composition has no limitsc and is hard to follow.
Even poetry only rarely goes beyond the length of the
hexameter, since it would be ab.surd if metre had no lim-
its, and by the end of the line we had forgotten when it
began. But if long clauses are out of place in prose
because they have no limit, so too are brief clauses, since
their use would produce what is called arid composition,
as in the words "life is short, art long, opportunity
348
ON STYLE 4-6
349
DEMETRIUS
aIn§§ 114-27.
h §§ 241-42 repeat the same advice and the example in § 8.
For Spartan brevity cf. e.g. Hdt. 3.46.
c Strongly iambic, perhaps from comedy (Adesp. 538 Kock).
Later citation as a proverb derives from Demetrius (Paroem. Gr.
ii.606).
350
r ON STYLE 6-8
351
DEMETRIUS T
TaL pYJ()€v OVTW (3pax€w~, ~ ELTTEP avTO f.LaKpw~ EK-
/ -;- ~~ ~ A , / / .,,
TELVaVT€~ EL'TTOV, OTL 0 u.LOVVCTLO~ 7TOT€ f.Leya~ WV
,
TVpavvo~
~'
WO"TTEp O"V' ~'
Of.LW~
"" LOLWTEVWV
VVV '~ , , ""
OLKEL K opLV-
,
0ov. ov yap €rt 8ta TTo'A'Awv pYJOf.v ETTLTT'ATjtEt €c[JKEt
d'A'Aa DLYJYTJf.LaTL, Kat f.La'A'Aov TLvt 8L8aa-KovrL, ovK
',./...(.}""
€K'¥0tJOVVTL ~'
• OVTW~ ' /
€KT€LVOf.LEVOV '\"
€KI\V€TaL TOV""\"
1\0yov
To Ovf.LLKov Kat a-cpo8p6v. wa-TTep <yap> 1 Ta f)YJpia
/' II ~ ' / / .,, ~I
o-vo-Tpe'fJavTa EavTa !LaXETaL, TOLaVTYJ TL~ av ELYJ
,./...'
O"VO"TPO'¥YJ KaL' 1\0yov
\/
Ka ()" , /
aTTEp €0"7T€Lpaf.LEVOV 7rpo~
'
DELvorYJra. (9) T] 8€ ToLaVTYJ (3paxvTYJ~ KaTa TTJV
/ f) / , /7 ~ /7 ~' , ' 'e' ~
O"VV fO"LV KOf.Lf.La OVOf.Laf:JE.TaL. opLf:JOVTaL 0 aVTO WOE,
/ ' ' ~'\
KOf.Lf.La EO"TLV TO' KWJ\OV
/ \
€1\aTTOV, 'e'
OtOV TO' 7TpOELpYJf.LE-
/
VOV, TO' [ T€ ] 2 ~~ A /
.u.LOVVCTLO~
,
EV / 0cp, ,
K opLV KaL' TO' ~~ "" 0L
yvw
/ , KaL' TO'
O"EaVTOV, 0E(f),
"" , Ta' TWV""
~~ ~'
€7TOV ,./. . ""
CTO'¥WV. ~'
EO"TL
'
yap KaL' aTTO'¥
, ,./...0EYf.LaTLKOV
' YJ~ tJPaXVTYJ~
(.} )' KaL' YVWf.L0/\0-
\
, . ' ,./... / ' ' '\ / \\' ~ /
'}'tKOV, KaL O"Oo/WT€pOV TO €V 01\t'}'(f) 'TT0/\1\T}V OLaVOLaV
~f) po'io-f)aL, Kaf)aTTep €v· To'i~ o-TTEpf.Lao-Lv 8E.v8pwv
o'Awv OVVUf.LEL~· EL S' EKTELVOLTO TL~ TTJV YVWf.LYJV EV
fLaKpo'i~, DLDao-KaA[a yivETai Tt~ Kat PYJTOpEia avTt
/
'}'VWfLYJ~·
(10) Twv / /\
fLEVTOL KWJ\WV KaL KOfLfLaTWV TOLOVTWV
' / /
352
r ON STYLE 8-10
l
l.
I
1
353
I
DEMETRIUS
'
f.J--EV ELVEKa 'TOV
<:I ,-. I r
VOf.J--L~::,ELV
..,./...I ,-.
O"Vfl--'PEPELV 'T"[J 1TOAEL 1\.EAV-
1\ \ \ I
354
r ON STYLE 10-11
I interest of the state for the law to be repealed, but also for
the sake of Chabrias' boy, I have agreed to speak to the
best of my ability in their support."a This three-clause
period has a sort of backward bend and compactness at
the end. (11) Aristotle gives this definition of the period,
"a period is a portion of speech that has a beginning and
an end."h His definition is excellent and apt. For the very
use of the word "period" implies that it has had a begin-
ning at one point, will end at another, and is speeding
towards a definite goal, like runners sprinting from the
starting place. For at the very beginning of their race the
end of the course is already before their eyes.c Hence the
name "period," an image drawn from paths which go
round and are in a circle. In general terms, a period is
nothing more nor less than a particular arrangement of
words. If its circular form should be destroyed and the
arrangement changed, the subject matter remains the
same, but there will be no period: Suppose, for example,
you were to invert the period I have quoted from Demos-
thenes to say something like this, "I will speak in their
support, men of Athens. For Chabrias' son is dear to me,
and much more so is the state, whose cause it is right for
me to support. "d No longer is there any trace of the
period.
l 355
DEMETRIUS
T
( 12) rf.vEO"lS 8' avTfj~ ij8E· Tfj~ EP!LYJVEta~ T] !LEV
' ''1 / 'e' ~ ' /~
OVO/La~::,ETaL KaTEO"Tpa/L/LEVYJ, OLOV YJ KaTa 1TEpLOOOV~
'
ELO"LV.
/ , W0"1TEp
~' ' O"EO"WpEV/LEVOL~ E1T
yap , ' a/\1\
, \ \ Y}I\OL~
\
/
Ta' /
KWI\a'"' \ ,,
EOLKEV Kat' E1TEPPL!L!LEVOL~
' Kat' ovK/ "
' EXOVO"LV a-vv- /
1
friJTOpEdrlv Weil: PYJTWJJ P.
356
T
I ON STYLE 12-14
357
DEMETRIUS
e ~/
,./.... \
K6yal\aL '
pq.ounc:; e ""
ECrraaTV, e
we; ' '
E1TL TWV"" ' /
OLVWf.LEVWV, OL~~
, "" ~ ' ' , )'(}
TE aKOVOV'TEc:; VaVTLWCTL OLa TO a1TL aVOV, TOTE OE Kat.,
)' ' ~' '
, ,./.... "" ' )'\
EK'PWVOVCTL Ta TEI\Y} TWV 1TEpLOOWV 1TpOELOOTEc:; Kat.,
"" )'~ ~ )' '
1Tpoava{3owcrL.
( 16) Twv 8€ 1TEpu58wv ai f.LLKpoTEpaL f.LEV EK 8vo'iv
/ \ ~ '
KWI\OLV CTVVTL/(} EVTaL, aLe f.LEYLCTTaL
/
OE
'
EK /
TETTapwv· TO'
8' V1TEp TETTapa OVKET' av EVTOc:; ELY] 1TEpLo8LKijc:; CTVjL-
f.LETp(ac:;. ( 17) y[vovTaL 8€ Ka'i TptKwAo[ TLVEc:;· Ka'i
f.LOVOKWAOL 8€, as KaA(?'VCTLV a1TAOS 1TEpLoDovc:;. OTav
yap To KwAov f.LiJKoc:; TE €xn Ka'i Kaf.L1TTJV KaTa To
TEAoc;, TOTE f.LOVoKwAoc:; 1TEpio8oc:; yivETaL, Ka0a1TEp i]
/ ~ eeeH ~ / eA \ "" e / ' /
TOLaoE, poooTov 1\LKapvaCTYJOc:; LCTTOPLYJc:; a1To-
~ C ~~~ , , /\ ee e ' ,./.... ' ,./.... / \ '
OES Lc:; YJOE . Kat., 1Tai\LV, YJ yap CTao/YJc:; 'Ppaa-Lc:; 1TOI\V
,./...."" / "" "" ' / ~ / " e '
o/Wc:; 1TapEXETaL TaLc; 'TWV aKOVOVTWV OLaVOLaLc:;. V1T
df.Lcf>o'iv f.LEVTOL CTVVLCT'TaTaL -ry a1TAij 1TEptoDoc:;, KaL V1TO
TOV f.L'Y}Kovc:; Ka'i V1TO Tijc:; Kaf.L1Tijc:; Tijc:; 1TEp'i TO TEAoc;,
V1TO 8€ OaTEpov ov8€ 1TOTE. ( 18) EV 8€ TaLc; crvvOETOLc:;
1TEpLo8oLc:; TO TEAEV'TaLOV KwAov f.LaKpOTEpov xpT]
-;-
ELVaL, Kat.,' WCT1TEp
~'
1TEpu:xov Kat.,' 1TEpLELI\
\ ,./.... '
YJo/Oc:; ,, \ \
)'
Ta/\1\a.
ovTw yap f.LEyaAo1TpE1TT]c:; ea-TaL Ka'i CTEf.LVTJ 1TEpio8oc:;,
358
ON STYLE 15-18
1 8€ Schneider: TE P.
359
T
I
DEMETRIUS
' \ \ \ \ I "'\ ' ~\ I
ElS O"EfJ.-VOV Kat p.,aKpOV 1\'Y}yova-a KWI\OV" EL 0€ fl-'YJ,
a1TOK€KOf1-f1-EV'Y} KaL xw'Aij op.,ota. 1Tapa8Etyp.,a 8'
av'T-ry~ 'TO 'TOLOV'TOV, ccov yap 'TO EL1T€LV Ka'Aw~ Ka'A6v,
' \ \ \ ~
a/\1\a TO\ EL1TOV'Ta
' I
opaa-at I
Ta Etp'Y}p.,Eva. " 1"1 \ '
1
fLUAAov add. Goeller.
2
io-ToptK~~ Victorius: PYJTOptK~~ P.
3 Tov add. P: om. M Plat. codd.
360
ON STYLE 18-21
a Author unknown.
b Xen. Anab. 1.1 (cf. § 3).
c Dem. Lept. 1 (cf. §§ 10-11, 245).
361
DEMETRIUS
1
/ 1"'1 cc t:l 1"'1 1"'1 :v ,, , /
fLEXpt TOV arE VVV 1TpWTOV ayovTE~. E1TEppt-1TTaL
' , \ \ /\ ' 1"'1 \ 'A..' c / 1 <:/ <:/ ,
yap a/\1\ Y}I\Ot~ Ta KWI\a E'P ETEpqJ ETEpov, W0"1TEp EV
TOt~ 8t-aAEAVfLEVOL~ 'Aoyot~, Kat a1To'A'Y}~avrE~ fLOAL~
av EVVOYJ ELfLEV 2 KaTa' TO'
,, ' () 1"'1 /\
TE/\0~,
~'
OTL TO' 1\EYOfLEVOV
\ /
,
EO"TtV, .OtOV
/ ~
W~
c c
0 TYJV
' CE1\EVYJV
\ / 1rapa ai\WJJ T4_)
{3 \ ' 1"'1 CH pa-
\ 1"'1 ,/... ~I CC 1"'14 \ l I \ \ / ~
KI\EL 'PYJO"LV, OTt TOV fLEP E1TL1TOVOV KaL 1TOI\VKLVOVVOV
'
TOV {3/tOV E1TOLYJO"EV,
, / TYJ~
1"'1 ~'
OE 1TEpL/{3\I\E1TTOV KaL' 1TEptfLa-
/
XYJTOV rT]v cpva-Lv Karf.a-rYJa-Ev." dvriKELraL yap Kat
ap() pov ap() p4_), Kat a-vv8EO"fLO~ a-vv8EO"fL4_), Of.LOta
e / ~'
OfLOLOL~, KaL' Ta/\1\a
''\ \
OE KaTa' TOV
' ' '
aVTOV /
rpo1TOV, T([J fLEV 1"'1 '
cc ' / " ~
E1TOLYJO"EV TO' ce /
KaTEO"TYJO"EV, ''
T([J 1"'1
OE
' ee ' /
E1TL1TOVOV "
TO'
ec
1TEpL I\E1TTOV,
/{3 \ " T4_)
1"'1 ~
OE
' ee
1TOI\VKLVOVVOV
\ / ~ "
TO
' ee
1TEpLf.LaXYJ-
/
1
ETEPCf! edd.: EKaTepw P.
2
€vvoYJ8ELfLEV Spengel: €vvoYJ8WfLEV P.
3 7TAE'vcrat ... 7TE,evcrat codd. Isoc.
362
ON STYLE 21-24
4
Tov scripsi, cum codd. I soc.: T~ P.
363
DEMETRIUS
' .rl,. / ~ '
E/l""f'aLVEL TLVa' aVTLUEO"LV
' ILJ
OLa TO' Tcp O"XYJfLaTL aVTLUE- 1"'1 / ' {]/
.rl..
'f'EL~ KaKW~
'"'" .,,
• YJ OTaV
t:l
EL~
, \\{3'
O"V/\1\a YJV KaTal\ YJYYJ TYJV
\/ '
aVTrrJV, W0"7TEp Ta EK TOV IlaVYJYVPLKOV 7TpOELPYJfLEVa.
1
Muretus: fLEfLLYfLEVO{) P.
fLEfLLfLYJfLivo{)
TJTOL Lockwood: 8~ P.
2
3 TE M, Thuc.: To (sic) P. 4 TavTa P: corr. edd.
5 a1To8avovTa Orth (cf. § 211): BavovTa P: omittitur apud Ar.
Rhet. 1410a34-35.
364
'4
ON STYLE 24-26
365
DEMETRIUS
'~I'
LOLaV a17E
' "/3 ai\OV,
\ " OV' p.-a' TOV
' A I'
uta 17a" ( ) or; KLVYJO"EL
I' '~'
OVOE
:J/\ , \ \ ' ' \ / \ ~'\ ' '
E/\EOV, al\1\a TOV Kai\OV!J-EVOV Kl\aVa-LyEI\WTa. TO yap
,
EV 17EV ( ) OVO"L
1"'1 "7
17aLsELV, KaTa' TYJV
' /
17apotp.-LaV, TO' Ta' TOL-
avTa EV TOLr; 17a()Ea-L KaKOTEXVELV EO"TL. ( 29) ytvETaL
p.-ivToL YE xpiJa-tp.-a 170TE, wr; 'Apta-ToTi'A YJr; cf>YJa-iv,
ee€yw EK ~J-EV , A()YJVWV ELr; !.TayEtpa i}A.()ov Ota
366
T
I
l ON STYLE 27-29
I
(27) The use of such clauses is full of risk. They do not
suit the forceful speaker, since their studied artifice dissi-
pates the force. Theopompus proves our point in his
invective against the friends of Philip when he says,
"men-slayers by nature, they were men-harlots in
behaviour; they were called companions but were
concubines."a The assonance and antithesis of the clauses
dissipate the force by their artificiality. For anger needs
no artifice; in such invectives what is said should be, in a
way, spontaneous and simple. (28) Such clauses are of no
use for force, as I have shown, nor yet for the expression
of emotion or character. For emotion is properly simple
and unforced, and the same is true of character. In Aris-
totle's dialogue On Justice, for instance, a speaker weeps
for the city of Athens. If he were to say, "what city had
they taken from their enemies as great as their own city
which they had lost,"h he would have spoken with emo-
tion and grief; but if he creates assonance, "what city from
their enemies had they takeri as great as their own city
which they had forsaken," he will certainly not evoke
emotion or pity, but rather the so-called "tears of
laughter."c For artificiality of this kind in emotional con-
texts is no better than the proverbial "fun at a funeral."
(29) Assonance is however sometimes useful, as in the
following passage of Aristotle: "I went from Athens to
367
DEMETRIUS
O"ELEV OE ~ ' ~~
OVTW" ~~
fLY}' E7TLTpE7TETE
' / """ '
TOL~ ra 7TapaVOJLa
/
368
T
ON STYLE 29-32
369
DEMETRIUS
PYJTOptKoc;, TJ 1TEpio8oc; 8€
crv'A'Aoyt,ETat fLEV ov8€v,
/
crvyKEtTat ~'
OE fLOVOV"
/
Kat' 1TEptOOOVc;
/~ ' EV
fLEV ' TraVTt'
fLEpEt rov 'Aoyov riOEfLEV, otov f.v ro'ic; TrpootfLtOtc;,
'(}
EV VfLYJfLaTa
/ ~'
OE TraVTt"/
Kat' TO' fLEV
'
WCT1TEp
t!l
OVK
'
E1Tt-
' '
EV
\ /
1\EYETat, TO' EV
' (}VfLYJfLa,
/
YJ~ 1TEptoooc;
/ ~ ~ ' ' /(} \ /
OE aVTO EV /\EyE-
Tat• Kat'TO
' '
fLEV 'e'
OtOV \\ /
CTVJ\1\0ytcrfLOc; '
ECT'TtV ' \/
aTEAYJc;, 'Y~J ~'
OE
Etp'Y}rat.
(34) To 8€ Kw'Aov 'AptcrTOTEA 'Y}c; OVTWc; opt,E'Tat,
~~ ...... \ / ' ' t!l / / ~ " ';" ' A-. /
KWJ\OV. ECT'Tt TO ETEpov fLEpoc; 1TEptOOOV • EtTa E1T'to/E-
ee / ~ ' ' e \ ,. . . / ~ " t!l e /
pEt" ytvErat oE Kat aTr,\'Y} TrEptoooc;. ovrwc; optcra-
fLEVoc;, ~~To ErEpov fLEpoc;," 8tKw'Aov €{3ov'AEro Etvat
rY,v TrEpto8ov 8YJ'Aov6rt. o 8' 'Apx€8'YJfLOc;, crv'A'Aaf3wv
'
TOV t!l
opov 'TOV...... 'AptcrTOTEJ\OVc;
/\ Kat' TO' E1Tto/EPOfLEVOV
' ,.~.,. , ...
TqJ
t!l ,./.,. / ' \ / t!l e /
opcp, crao/EcrrEpov Kat TEAEWTEpov ovrwc; wptcraTo,
e~ "" \ / ' ~~ ~ \ "" / ~ .,, {) /
KWJ\OV ECT'TtV 'YJTOt aTrAYJ 1TEptoooc;, 'YJ CTVV E'TOV 1TEpt-
o8ov fLEpoc;." (35) 'TL fLEV oilv aTr'Aij 1TEpio8oc;, ELP'YJTat•
/ ~' A-. / /~
' ' TrEptooov / ~
crvv (} Erov oE o/'YJcrac; avro fLEpoc;, ov' overt
'
'\ \ '
/\
KWJ\Otc; ' 1TEptOOOV
'T'YJV / ~ ~ /'( ~~
EOtKEV
opt~::,EtV al\1\a Kat' Tptcrt'
KaL' 1TJ\ELOCT"tV"
\ / ~ ......
'YJfLELc; ~'
OE
/
fLETpov ' 1TEptOOOV
fLEV /~ ' (} /
EKTE Et-
371
DEMETRIUS
372
1 ON STYLE 36-38
(36) There are four simple styles, the plain, the grand,
the elegant, and the forceful. In addition there are their
various combinations, though not every style can combine
with every other. The elegant combines with the plain
and the grand, and the forceful similarly with both. Only
the grand and the plain cannot combine, but the pair
stand, as it were, in polar opposition and conflict. For this
reason some writers maintain that only these two styles
exist, and the other two are subsumed within them; and
instead they assimilate the elegant to the plain, and the
forceful to the grand, as though the first contained some-
thing slight and refined, the second something massive
and imposing. (37) Such a theory is absurd. We can see
for ourselves that, with the exception I have mentioned of
the two polar opposites, any style may combine with any
other. In the poetry of Homer, for example, as well as in
the prose of Plato, Xenophon, Herodotus, and many
other authors·, considerable grandeur is combined with
considerable forcefulness and cliarm. Consequently the
number of the styles is as I. have already indicated. The
form of expression appropriate to each will be as follows.
(38) I shall begin with grandeur, which men today
identify with true eloquence. Grandeur has three
aspects, thought, diction, and composition in the appro-
priate way. According to Aristotlea composition with
paeans is grand. There are two kinds of paean, the initial
paean, beginning with a long syllable and ending with
three shorts (e.g. erxato de, "it originated~~b), and the final
1 s~o Victorius: 8E 0 P.
2
ElpYJfLEVWV Victorius: opWfLEVWV P.
373
T!
DEMETRIUS
I
I
374
ON STYLE 38-41
1 roM: om. P.
375
DEMETRIUS
E7TELOTJ
~'
~tKTOc;
/ /
TIS ECTTL
,
KaL' , ,./.,.\"
acro/af\E(YTEpoc;, TO' \
~EYO..I\01TpE1TEr:;
' ' ,EK TT}c;
~EV
""'
376
ON STYLE 41-44
377
T
I
DEMETRIUS
,. , II \
TWV EI\01TOVVY](J"LWV Kat
_, , :)A(} _,
YJVaLWV, Kat
33 , ee ~:H
pooOTOV
~ _,
eA 1\LKapvaa-EW~
\ / e
L(J"TOpLYJ~
/ ' / ~ (;
a1TOOEc.:, L~ YJOE. el ~ "
TO' yap '
EK II/LVOOV
3 ~ ~I ~ ' A
opov~ OLa uOI\01TLa~ Kat
\ / ' 'A yptaVWV ,. , 1 Kat'
, AJL¢t'Aoxwv, avwfJEv <JLEV> 2 1Tapa !.TpaTOV 7TOALV €s
fJaA.aa-a-av 8tE~tEis 3 1rap' Olv~.-a8a~, Kat. T~v 1roAtv
aVTOl8 1TEptALJLVU,WV a1Topov 1TOLEt V1TO TOV v8aTO~ EV
""'
XELJLWVL a-TpaTEVEa- / (} at. " a-VJL1Taa-a
/ yap' YJe TotaVTYJ /
JLEyaAo7TpE7rEta EK T~~ 1TEptaywy~~ y€yovEv, KaL EK
,.., / , ,.., !1/ ' ' , /
TOV JLOYL~ ava1Tava-at aVTOV TE Kat TOV aKOVOVTa.
(46) EL 8' OVTW el 8Lai\Va-a~
\/ aVTO ' ' EL1TOL ~~
TlS" ee 0e yap '
'A XEA(f!O~
\ ""' ' e ,.... ' ' II_,LV 8ov opov~,
7T'OTafLO~ pEL .JLEV EK
'' ' CJ _, \
EKpaA-
AEL 8€ 1rap' Olv~.-a8a~ €~ fJaA.aa-a-av· 1rpo 8€ T~~ €K{3o-
A.~~ TO Olvta8wv JrE8iov ALJLVYJV 1TOtli, wa-T' aVTOt~
1rpo~ Tas XELJLEptva~ €cf>68ov~ Twv 1ToAEJLtwv €pvJLa
Kat' 1Tp0pl\ / (.}\
YJJLa YLVEa- / (}
at TO' vowp el~ "
. EL 8YJ/ TL~ OVTW
3 el
378
ON STYLE 44-47
a Th. 1.1.1.
b Hdt. 1.1 (cf. § 17).
c Th. 2.102.2 (cf. §§ 202, 206).
d See on§ 202.
2
fLEV addidi ex§ 202, Thuc.
3 OLE~LEtS Thuc.: OLe~[eurL P.
379
DEMETRIUS
~~ e~ '
W0"7TEp OLe Tac;
' 1
TpaXELac; OOOVc; 1
7TOpEVOfLEVOL, ' '
E7TaV
AEyYJ, eeO'TL 'TO fLEV 8~ ETOc;, we; WfLOAOYYJTO, aVOO"OV Ec;
rae; aAAac; a0"0EvEiac; ErvyxavEv ov." pfi,ov fLEV yap
' ~~ ~ 1' ~, :)/ -;- ~~ ee ~~ ' ' ~~ \ \
Kat YJOLOV WO av 'TLc; EL7TEV, O'TL aVOO"OV Ec; Tac; al\1\ac;
a0"0EVELac; ov ETvyxavEv," d¢nPYJTO 8' aVTOV T~V
fLEyaAo7TpE7TEtav. ( 49) w0"7TEp yap ovofLa Tpaxv
/ (} ' 'Y e/ / (} ' I ~'
fLEYE oc; Epya«:,ETaL, OVTW O"VV EO"Lc;. OVOfLaTa OE Tpa-
XEa 'TO eeKEKpaywc;"
cLV'Tt 'TOV eef3owv," Kat TO
7E
380
ON STYLE 48-50
a Hom. Il. 16.358. The whole line is harsh, but the focus is on
Ajax and§ 105 specifies a clash of two sounds, so note either Aias
and aien, with their internal hiatus, or the "irregular" lengthen-
ing ofho mmegas (see note on of!E_hin in§ 255).
b Th. 2.49.1. It ends on a monosyllable.
c He does not in fact use these particular examples.
381
DEMETRIUS
Kat' 1TpOO"E'Tt
, 1: · ' t
V~Y}J\OV
\ ""' ,,
opov~
1: .,../.... ,
Kat' V1TEp'f'atVOfLEVOV ""'
'TWV
,, \ \
ai\1\WV opwv.
' ""' , ' ' ,
aEt yap KatTOt fLEYaAa OVTa Ta 1TpO'TE-
,\ ,, ' /
382
T
ON STYLE 50-53
383
DEMETRIUS
a Antiph.fr: 50 Blass.
384
ON STYLE .53-56
yoVVTL
'"' ' /
Eq>KEL KaL' ETL
''
W~
e
1TEpL' EVO~
e ' /
1Tpay/LaTO~
A..€yovTL.
(57) Aa!Lf3avETaL 8€ Kat 1rafJYJTLKw~ 3 1roAAaKL~ o
crvv8Ecr!LO~ oilTo~, WCJ1TEp E1Tt Tfj~ KaAvt/Jov~ 1Tpo~ TOV
'08vcrcr€a,
386
ON STYLE 56-58
manvwiles,
.I
387
DEMETRIUS
e ""
V7TOKpLTaLc; ""
'TOLe; TO' KaL' 'TO
' ' \'
E7TLI\E'Y0V(TLV l\ '
1\E'YOV(TLV,
oiov Et rLc; 6J8E Aeyo~,;,
(61) ~'
""f'ov oE NLpEa,
A. ' ' ' TE ovTa
avrov '' ' Kat' ra'
fLtKpov
7TpayfLaTa avrov fLtKporEpa, rpEtc; vavc; Ka'i oAtyovc;
388
T
l
ON STYLE 58-61
389
DEMETRIUS
,, ~
avopac;, /
fLeyav 1 KaL' J.Leyal\a
/\ ' /
E1TOLYJa-Ev KaL' 1TOJ\J\a
\ \ ' avT
' '
1
f.LEyav edd.: f.LEya P.
2 1nro ''I}uov ,ryA.Oev add. Greg. M.
3 EKaa-Tov edd. EKaa-Twv P.
390
~
l
!
ON STYLE 61-64
391
DEMETRIUS
I
I
/ ,
ptowvTao
(65) [To] 2 fLEyaAELOV fLEVTOt EV TOL~ crx~fLaCFtV TO
fLYJDE E1TL Tfj~ avTfj~ fLEVEtV 1TTWCFEW~, w~ 8ovKVDLDYJ~,
ee Kat' 1TpWTO~
""' , {3 atVWV
a1TO / ' ' TYJV
E1Tt ' a1TO, {3 a/{).pav EJ\Et1TO-
-'\
l/JvxYJCFE TE, Kat 1TEcrovTo~ avTov €~ T~v 1TapE~EtpEcriav
0 0 1roAv yap ovTw~ fLEyaAEtOTEpov, ~ li1rEp E1Tt Tfj~
0,
,,
ETVXE CFVVEKpovcrav Kat' 1TaVTa1TaCFt. OEt
/ / ~""' ~' ,,
OE OVTE
392
~
I
j
j
I ON STYLE 64-68
I
i
l
j
j
j
s1ve than if Homer had said "high-arched and foam-
crested."
(65) Grandeur in figures is also produced from variety
in the use of cases, as in Thucydides, ~'the first to step on
the gangway, he fainted, and in his falling on the oars, his
shield ... "a This is far more striking than if he had kept to
the same case and said, "he fell on the oars and dropped
his shield.~~ (66) Repetition of a word is also imposing, as
in this passage of Herodotus, "there were serpents in the
Caucasus, <vast> in size, yes in size and number."b The
repetition of the word "size" adds weight to the style. (67)
Do not, however, crowd figures together. That is tasteless
and suggests an uneven style. The early writers, it is true,
use many figures in their works, but they position them so
skilfully that they seem less unusual than those who avoid
figures altogether.
(68) Next; hiatus, on which opinions have differed.
!socrates and his school avoided any clash of vowels,
while others admitted it wholesale wherever it happened
to occur. You should, however, neither make your compo-
sition too sonorous by a random and unskilful use of hia-
tus (for that produces a jerky and disjointed style), nor yet
393
DEMETRIUS
1
1ravrEAw~ cpvAacrcrEcr()aL rT]v crvvexELav rwv ypafLfLU-
\ / ' ' ~~ :J/ :J/ e /{)
TWV" 1\ELOTEpa fLEV yap OVTW~ ECTTaL LCTW~ YJ CTVV E-
, / ~' ' rl..' , "" \\'
CTL~, afLOVCTOTEpa OE KaL KW'-PYJ aTEXVW~, 1T'OI\I\YjV
evcpwviav dcpat-pE()licra TTJV YLVOfLEVYJV EK r1}~
crvyKpOVCTEW~.
/ ""(69) CTKE1TTEOV
1rpWTOV / OTL
fLEV, t!//KaL' ~'
OE
' 1
YJe CTVVYJ/{) ELa aVTYJ
' ' \ /
CTVfL1T'I\YjTTEL Ta' ypafLfLaTa
/
Ta' EV
TOL~
"" , / /
OVOfLaCTLV, KaLTOL CTTOXasOfLEVYJ fLai\LCTTa EV'-PW-
r / /\ 'rl..
/
VLa~,
'?
OLOV EV
' ""A'LaKO~
Tcp ' KaL' XUJJV.
/ 1T'OI\I\a
\ \ ' OE
~' KaL'~'
OLa
fLOVWV rwv cpwvYJEVTWV crvvr[()YJa-Lv OVOfLaTa, otov
, / KaL' E VLO~,
A LaLYJ ,, ,~ / ~ r~.. / "" ''\ \
OVOEV TE OVCT'-PWVOTEpa TWV a/\1\WV
ECTTt ravra, dAA' LCTW~ Kat fLOVCTLKWTEpa. (70) Ta YE
fLTJV 1T'OLYJTLKa, otov ro ~eALo~, 8LYJPYJfLEvov Kat
/ , / ~ 'rl.. / / ' ""
crvyKpOVOfLEVOV E1T'LTYJOE~, EV'-PWVOTEpov ECTTL TOV
ijALO~ Kat TO opewv TOV opwv. EXEL yap TLVa T] AVCTL~
'~'
KaL' YJe /
crvyKpOVCTL~
'?
OLOV cpoYJV ' /
E1T'LYLVOfLEVYJV. \\'
1T'OI\I\a
8€ Kat aAAa EV crvvaALcpfl fLEV AEYOfLEVa 8vcrcpwva 2
~v, 8t-aLpE()f.vra 8.€ Kat crvyKpovcr()E.vra evcpwvorEpa,
e ~,
W~
/
TO'
1T'aVTa '
fLEV ee
Ta' VEa
/
KaL' Kal\a
\ / '
ECTTLV. "
EL, OE
crvvaAEtt/Ja~ EL1T'OL~ eeKaA' ECTTLv," 3 8vcrcpwvorEpov
€crraL AEYOfLEVov Kat evrEAecrrEpov. (71) E:v
ro
' /
A LYV1T'Tcp ~' KaL' TOV~
OE ' {) EOV~
' VfLVOVCTL
e "" ~ ' TWV
OLa "" e '
E1T'Ta
cpWVYJEVTWV OL tEplis, €cpE~1j~ ~XOVVTE~ avra, Kat dvrt
avAov Kat aVTt KL()apa~ TWV ypafLfLUTWV TOVTWV 0
~xo~ aKOVETaL V1T'' Evcpwv[a~, WCTTE 0 E~aLpwv TTJV
1 Ta EV Roshdestwenski: ravra P.
2
8vu-cpwva edd., 8vcrcpopa P.
3 KaA' E.crr[v (sic) Ahrens: KaA.a 'crrt-v P.
394
ON STYLE 68-71
395
T
I
DEMETRIUS \
!
f.LYJKVVEtV
I
tCTWc;.
''
~'
av \ ' crvv
JLE'}'aAo1TpE1TYJc; \ \ ' ( ) w TocravTa.
'() Ecrtc;, AEAEX ""
396
ON STYLE 71-75
397
DEMETRIUS
I
l
llv f.LeyaAYJ Ka'i 8tanperrTjc; 'TTE,Of.Laxia 1} vavf.Laxia, 1}
'TTEp'i ovpavov 1} 'TTEp'i y-ryc; Aoyoc;· 0 yap TOV f.LEya'Aov
aKOVWV npayf.LaTO<; EvOvc; Ka'i <Tov> 1 'A€yovTa OLETaL
f.LEya'Awc; A.€yEtv, n'Aavwf.LEvoc;· 8E'L yap ov Ta 'AEyo-
,..,
f.LEVa o-KO'TTELV, ' \ \ ' 'TTW<;
al\1\a ,.., \ /
1\EYETat• ,,
Eo-TL '
yap Kat'
f.LEyaAa f.LLKpwc; AEyovTa anpE'TTE<; <rt> 2 'TTOLEtV T(iJ
~'
,
npayf.La'TL. OLO Kat'~ /
OELVOV<; /
TLVa<; .r/. ,
'Pao-LV, ~'
Wo-'TTEp Kat'
8eonof.Lnov, DELva ov DELvwc; 'A€yovTac;. 3 (76) N tKtac;
8' 0 'wypacpoc; Ka'i TOVTO EvOvc; EAEyEv ElVaL r-qc;
ypacptK7}c; TEXVYJ<; ov f.LLKpov f.LEpoc; To 'Aa{3ovTa vAYJl'
'
EVf.LEYE , .,./..,.
'(} YJ ypa'PELV, Kat' f.LYJ' KaTaKEpf.LaTL«:,ELV
, '( '
TYJV
TEXVYJV ElS f.LLKpa, otov opviOta 1} avOYJ, d'A'A' L'TT'TTOf.La-
/ ' ,, (}
/ \\' ' , ~,
xtac; Kat vavf.Laxtac;, Ev a 'TTOI\1\a f.LEV o-xYJf.LaTa oEL-
cELEV av
~
,, TL<; ~'L'TT'TTWV TWV
,. , f.LEV
' (} EOVTWV,
/ ,. , OE
TWV ~ ' ' (} to-Ta-
av
f.LEVWV opBwv.. a'A'Awv 8€ OKAa,OVTWV, 1TOAAovc; 8'
aKOVTL,OVTa<;, 'TTOAAov'c; 8€ KaTa'TTt'TTTOVTa<; TWV
L'TT'TTEWV" q)ETO yap Ka'i TTJV vnoBEo-LV avT~V fLEpoc;
Elvat T7jc; 'wypacptK7}c; TEXVYJ<;, wo-nEp TOV<; f.LVBovc;
TWV 'TTOLYJTWV. ov8€v oiJv Bavf.Lao-TOV, EL Ka'i EV TOt<;
'Aoyotc; [Ka'i] 4 EK npayf.Larwv f.LEya'Awv 5 f.LEya'Aonp€-
/
'TTELa YEVYJTaL.
(77) TTjv 8€ AE~LV EV T~ xapaKT-qpt TOVTq> 'TTEpLT-
TTJV ElVaL DEL Ka'i E~YJAAayf.LEV"fJV Ka'i ao-vvfJBYJ f.LfiA-
\ ~~ ' ~~ (; ' '' ~'
1\0lJ" OVTW yap EL TOV
E~ oyKOV, YJe OE /
KVpta Kat' (]"'VVYJ-
'
398
ON STYLE 75-78
4
Kat del. Spengel.
5 f.Leya'Awv M: tnagnis Lat.: f.LEya'AYJ P.
6 aEt rij P: semper et Lat.: AEtTTJ Spengel.
399
DEMETRIUS
\ I'(
17"1\EOVa':,OVCTa, 1'
OtOV Et,, TtS < 74_)"">3 cc TOTE
/ ,.., II '()
74_) V WVt T4_)""
p'Y}ropt pE.ovTt KaO' VfLwv" 1Tpocr0Et8 EL7rot, ccWCT1TEp
p€ovTt Ka()' VfLwv.'' ovTw J.LEV yap ElKacr[a y€yovEv
rf.... ~ ~' rf.... ' '
Kat aa-o/ai\ECTTEpO~
' 3 \I
0 1\0yo~, EKEtVW~ OE fLETao/opa Kat
\I ' I
1
~v£oxov Finckh: apxovra P. 2 8' Victorius: dA.A.' P.
3 rfiJ add. Gale.
400
ON STYLE 78-81
401
DEMETRIUS
., (; Q \ '
OS VfJ€1\Y}~ Ka ()' Of.LLI\OV
t:l \ ., I
€1TL1TT€CT () I
aL fLEVEaLVWV,
402
ON STYLE 81-84
403
DEMETRIUS
404
ON STYLE 84-87
405
DEMETRIUS
/
pav, W~ ~ \ /\
7TpOJ\EI\EKTat, CTTOXaCTTEOV 70V'"' CTVVTO/LOV, Kat'
/ /
-
dvr' ElKaa-[a~ 1rapaf3oA.~ Ea-Tat 7TOtY]7tKrr}, otolJ 70 TOV
,./.. '"'
t=.Evo'PwvTo~,
((
A..
~'
WCT7TEp ~' / '"'
oE Kvwv yEvvato~ a7TpOVOYJTW~
' /
, , 1
E7Tt Ka7Tpov 'PEpE7at,
1 n
Kat' ~~ WCT7TEp
~~ f!/ \
t7T7TO~ 1\V Et~ ota
(} ' ~ '
1
Tov ILYJDE To P 1: ILYJDEv 7rAEov Tov P 2 in mg.
2 Toa-avTa add. Schneider.
3 a-vvYJfJE[a~ Finckh: dA. YJfJE[a~ P.
The eye is normal Greek for the bud of a plant or tree, e.g.
a
Xen. Oeconomicus 19.10.
406
1 j
ON STYLE 87-91
place of the proper term, for example the eye of the vine, a
and so forth. (88) The parts of the body,b however, which
are called the ~~disk~~ (vertebra), the ~~key" (collarbone),
and the "combs" (back of the hand) derive their names
not from metaphor but from the physical resemblance.
(89) When we turn a metaphor into a simile in the way
I described,c we must aim at conciseness, and do no more
than prefix ~~like,~~ or else we shall have a poetic compari-
son instead of a simile. Take, for example, "like a gallant
hound which recklessly charges a boar" (from Xeno-
phon)d and "like a horse let loose, kicking and proudly
prancing over the plain. "e Such descriptions no longer
seem similes but poetic comparisons, (90) and poetic
comparisons should not be used freely in prose nor with-
out the greatest caution. This concludes my outline on
the subject of metaphor.
(91) Next, we should use compound words, but not
those in dithyrambic formations, for example ~~god
prodigied wanderings" or "the fiery-speared army of the
stars. "f They should be like those formed by usage. In
l
l general, in all word formation I regard usage as the
l
l b The connection of thought is unclear, but the term
metaphor is now restricted to analogical metaphor (cf. § 78).
I' c See§ 80.
d Xen. Cyrop. 1.4.21 (cf. § 274).
e Author unknown, an imitation of a famous simile in Hom.
Il. 6.506ff.
r ~' o/ ' o/ ' / ' ' ,/.,. /
Wr; 0 OTE TIS O"'TUTOr; L1T1TOr;, UKOO"TYJO"Ur; E1TL 'o/aTVYJ~
~ ' '
OEO"fLOV U1ToppYJs ar;
/(; () / ~/ /
ELYJ 1TEOLOLO KpoaLVWV •••
Kv8u5wv.
f PMG Adesp. 962(a) and (b).
407
DEMETRIUS
/
1TpOo-W, ~I
WO""TE '
TOV "I
OVOV '
EV /
fLEO""qJ ' \
a1TOJ\afL{3'a~'EO"" (} at.
<{Jv'AaT'TEo-Oat fLEVTOt DEL Tt0€vat Ta Dt1T Aa 7TOAAa 2
' , c 3 \ , '/ ';"~
1"1 ' ,, 1"1 '
OVOfLaTa. TOVTO yap E£ E'o-t 1\0yov 1TEsOV TO EtOO~.
(94) Ta 8€ 1TE1TO.tY)J.LEVa OVOJ.LaTa opi,ovTat J.LEV Ta
' / ' A. / '(} .,, /
KaTa fLtfLY)O""tV EK'fJEPOfLEVa 1Ta OV~ YJ 1TpayfLaTO'l,
( S)
1'
OtOV TO' cc O""tsE
''/" c
Kat' TO' cc\J\a1TTOVTE'l,
W~
/ "
9 1TOtEt,. . OE
~'
c Cf. e.g. Ar. Rhet. 1404b23. Less probably, keeping the text
of the mss, translate "The doubling of double compounds ... ," a
warning against triple compounds, cf. Ar. Po. 1457a34.
d Hom. Od. 9.394; Il. 16.161 (cf. § 220).
409
DEMETRIUS
1 aadd. Rutherford.
2
lacunam statui, ut transeamus ad conficta et declinata, cf.
etiam § 98 ws- Ef/>YJv.
3 oilv addidi.
4 eAAYJVt,wv To"is- ovoJLaa-t Lockwood: eAAYJVLKo"is- ovoJLao-t
410
ON STYLE 95-98
411
DEMETRIUS
1 w~ Victorius: Kat w~ P.
2
~U'OV'Tat edd.: apwvTat P.
3 xaJLo8Ev M (cf. § 243): xaJLa0Ev P.
4
~avEpov Goeller: ~o{3Epov P.
412
ON STYLE 98-102
413
DEMETRIUS
7TOCTCTt Ka'TaCT'TEt{3ovCTLV,
414
ON STYLE 103-106
415
DEMETRIUS
416
--r
l
I
ON STYLE 106-111
417
DEMETRIUS 1
\
!
'
ELYJ" ov yap E1TtAEYETat ov8€ E1TtKOCYfLEL, ov8' OAW~
E1Tt¢wv~fLaTt EOtKEV aA.A.a 1Tpoa-¢wv~fLaTt ~ E1TtKEp-
/
TOfL'Y}fLaTt.
(112) To ~'
OE
' EV
1TOt'Y}TtKOV , 1\0yot~
\ / t:l
OTt ' fLEyai\0-
fLEV \
1 yat,..,, EO"'Tt
'' co dd . H om.: y ' EO"'Tt
' ' P•
2 ravra P.
418
i i
1
ON STYLE 111-114
419
DEMETRIUS
I
l
~' ~1. /
V1TEpoyKOV.
e /
ytVETat
/
OE Kat EV fLETa'f'opq_ TO ~vxpov,
' ' ,/... ""' '
420
ON STYLE 114-117
422
ON STYLE 117-120
423
DEMETRIUS
1
i
l
i
'Awe;, (121) Ka8a7TEp 5Evo¢wv E7Tt Tov TYJAE{3oa 7TOTa-
JLOV JLLKpov OVTOc; Kat KaAov cPYJO"LV, ~~oiJToc; 8€ 7TOTa-
JLOc; ~v JLEyac; JLEV ov, KaAoc; 8€·'' TV yap f3paxVTYJTL
ri}c; a-vvBEa-Ewc; Kat TV a7To'Arr}fEt riJ ELc; TO ~~8€'' JLOVOV
ovK E7TEOEtfEv TJJLtV JLLKpov 7TOTaJL6v. ETEpoc; 8€ Ttc;
EPJLYJVEVWV OJLOLOV T0 TYJAE/30(/: 1TOTaJLOV 1 f.¢YJ, we;
~~a7TO TWV AavptKWV opf.wv OPJLWJLEVOc; EK8t8ot Ec;
,\
(} al\aa-a-av, , Ka () a7TEp, rov ' N ELI\OV EPJLYJVEvwv
~""~\ ~ , KaTa-
r"
KPYJJLVL~.::,OJLEVov YJ rov
.,, ' ~'I
a-rpov EJL , f3 a/\1\0VTa.
"\ \ "
7TavTa
olJv Ta rotavTa lfivxporYJc; KaAEtTat. ( 122) yivETat
/ ' ' /\ ~I / ~
JLEVTOL Ta JLLKpa JLEyal\a ETEpov Tp07TOV, OV ota !I '
TOV
1""1
424
r
ON STYLE 121-123
425
DEMETRIUS
1
ov ~~v W<TTE a1TpE1TES Tt 1TOtliv, aAA' W<T1TEp Kat TO
/ / / \\/ t:/
~eya KaTa<T~tKpvvETat XPYJ<Tt~w~ 'lTOI\1\aKt~, ovTw~
.,, ' ' ' 'C ,
av Kat TO ~tKpov E~ atpotTO.
(124) MaAta-Ta S€ iJ v1TEp{3oA~ 1./JvxpoTaTov
1TaVTWV.
/
TptTTTJ 0€ E<TTtV" YJ yap Ka
' ~ / , .,, ' ()' (
O~OtOTTJTa
, EK-
,
,./... / ( ' ((() / ~' , / ( 1"'1 , .,, ()'
'PEPETat, W~ TO EEtV 0 avE~Ot<TtV O~OtOt, YJ Ka
( , ( ' (( \ , , , .,, ' '
V1TEPOXYJV, w~ TO 1\EVKOTEpot xtovo~, YJ KaTa TO
a8vvaTOV, w~ TO ((ovpavfi! E<TT~pttE KUPYJ·, ( 125)
1rao-a1"'1 '
~Ev oilv V1TEp{3oA ~ aSvvaTO~ E<TTtV" OVTE yap
,, / \ / , 3/ ' .,, , , (} /
av XtOVO~ 1\EVKOTEpov '}'EVOtTO, OVT av avE~~ EEtV
o~otov. aVTYJ ~EVTOt [ i]Tot]
1
V1TEp{3oA~ ELPYJ~EVYJ iJ iJ
'C
E~ atpETW~ ovo~asETat aovvaTo~.
' ' '7 '~' ~ ' OYJ
oto ~' Kat' '\
~ai\L<TTa
,,, ' ~ 1"'1 1"'1 ( r:J \ , ~ / , ~ , 3/
'rvxpa OOKEt 1Ta<Ta V1TEpfJOI\"f}, OtOTt aovvaTqJ EOtKEV.
( 126) 8ta TovTo 8€ ~aAta-Ta Kat ol Kw~~8o1rotot
XPWVTat avTfJ, OTt EK TOV a8vvaTOV f.cpeAKOVTat TO
'}'EAOLOV, W<T1TEp E1Tt TWV IIEpo-wv T1]~ a1TATJ<TTta~
e a \\ , , 3/ r1.. t:l (( ~, , c ,
7 t:l \ ,
V1TEpfJai\I\O~Evo~ Tt~ E'PYJ, oTt 1TEota E~ EXEsov Ol\a,
Kat oTt (({3ov~ f.v Tat~ yvaOot~ f.cpEpov." (127) Tov 8€
, 1"'1 3/~ , ' ' ' (( ,./... \ , , ~, , '
aVTOV EtOOV~ E<TTt Kat TO 'Pal\aKpOTEpo~ EVota~ Kat
TO ((KOAOKVVTYJ~ V'}'tE<TTEpo~." TO 8€ ((xpvo-w xpvo-o-
TEpa
/ , ,
TO
~
~a1T'PtKOV
A.. ' , (
EV V1TEpfJOI\YJ 1\E'}'ETat Kat aVTO
a \ 1"'1 \ , ' , '
426
ON STYLE 123-127
a Hom. Il. 10.437 (of horses). hHom. Il. 4.443 (of Strife).
c Author unknown; cf. Arist. Achamians 82 KaXE,ov oKrw
JL~Va~ l-rrl. xpvuwv opwv. dAuthor unknown, a proverb
(Paroem. Gr. ii. 749). In§ 161 it describes a Thracian.
e Sophron 108 and 34 Kaibel (cf. § 162).
f Sappho 156 L-P (cf. § 162 for a longer citation).
427
1
!
!
DEMETRIUS
KaL'
~~~
EOOJLaL, ' ~-' \ ' ,
'TOV~ OE I\OL7TOV~ 1TpWTOV~,
, TO' 'TOV"" K VKI\.W1TO~
, \
1 t\
<o~> xaptEVTUTfLO~
, ,
ECTTt Kat
' \ ,
1\0)10~
e\ ,
tl\apo~
KasseI : '
Kat
om. P: 0 yA.acpvpo~ A.oyo~ xaptEVTUTfLO~ Ka~ I.A.apo~ A.oyo~ in
mg. P. 2 OE om. P.
3 Kat del. Schneider.
428
ON STYLE 127-130
4 ovv P, om. edd.: fort. delenda sunt verba omnia To E1TL ...
ro o15v Roberts.
429
DEMETRIUS
~'
~EVLOV" OV yap
, ' , ' , / ,./.,. c;::- ' , ""'
OVTW~ aVTOV EV6pYJVEV OEtVOV EK TWV
~~ c;::- / c;::- ""' e / 'c;::-, ' '
a'AA.wv, OTaV OVO OEl/lTVYJ ETatpov~, OVO a7TO TOV""'
(}vpEov YJ.,, EK '
TOV""' po7Tai\OV, e / \
W~
e '
EK TOVTOV
/
TOV""'
aa-TELCTf.LOV. ( 131) XPiJTat 8€ Tit> TOtOVT(f) ELOEL KaL
- ,./.,.""'
t=.EVO'PWV, Kat' aVTO~ , ' c;::- /
OEtVOTYJTa~ EUTayEt EK xaptTWV,
, / , /
1
AeyeTat P: AE')'YJTat edd.
2 aOoL Schneider: aOEL P.
L
430
ON STYLE 130-133
431
T
i
DEMETRIUS
AE~EW~.
( 137) Evev~ ovv 1TpWT'Y} ECT'Tt xapt~ T] EK a-vvro-
I ~I ' ' ' I 'I I C'
fLLa~, orav TO avro fL'Y}KVVO~EVOV axapt YEV'Y}Tat, V1TO
1 TW"' TE
~
KUL' TW
"' o o o
~
FolllCkh : TO I
TE o o o KUL' TO
' p o
2 ITav8apE7J Po
432
ON STYLE 133-137
433
~ ' / /
DEMETRIUS
~~ ' ~--< ,./.. ,... ee ,. . !)/
l
OE TaXOV~ xapLEV, W(J"7rEp 1rapa t:::J.EVO'f..IWVTL, T(f) OVTL
TOVTcp 1 ov8€v p.i.TE(J"TL Tf]~ eEAAa8o~' E7r€t €yw aVTOV
Et8ov W(J"7rEpEt Av86v afLcpOTEpa Ta 6JTa TETPV1rYJfLE-
2 ' ,. ~' ,, ' ' , \ / '
VOV" KaL EL XEV OVTW~. TO yap E7rLI\EYOfLEVOV TO
ee ')' ~~ " e ' ,. . / ' / ,. . ,
EL XEV OVTW~ V7r0 TYJ~ (J"VVTOfLLa~ TYJV xaptv 1TOLEL, EL
~'
OE
, /e
EfLYJKVV YJ OLa 11"1\ELOVWV,
~ ' \ / ~' ee !)/\
OTL E/\EYEV TaVTa ai\Yj YJ,
e,... ,... , \
~'
L7r1TOV \'
(J"TOI\YjV KaL'
KaL' o-TpE7rTOV,
/ ' xwpav
KaL' TYJV /
/ e /y
fLYJKETL ap7ra~::,Eo- aL. EV yap TOVTOL~ TO fLEV TE/\EV-
e " , ' / ' ' \
,... / ' ' ' / ,... ' ee ' /
TaLOV f(J"TL TO TYJV xapLV 1TOLOVV TO TYJV xwpav
fLYJKETL
eat" OLa' TO' S(;/EVOV TOV,. owpov
/ e
ap7ra~::,Eo-
/ KaL' TYJV'
/y ~ ~
1
TovTw M: istius Lat.: TOVTo P.
L
434
ON STYLE 137-39
2
TErpV1TYJJli.vov codd. Xen.: peiforatas Lat.: TETPLfLfLEVov P.
435
DEMETRIUS
~~ o , e , '"'
Trap EVta, 7rap EVta, 7TOt fLE J\L'1TOVO"a Ot XYJ; YJ OE
\ ,. . ,, , c;;:- , ~
'
a1TOKptVETat / ' ' ' '"'
7rp0~ aVTYJV TqJ aVTqJ O"XYJfLaTt,
' '"' / ~~ '
OVKETt /
436
ON STYLE 139-142
the second line may contrast the bride who does not return home
to her mother.
437
DEMETRIUS
.1~ ' ~I
'-rat T.OV >/
opvtV Ka (} aTTEp
/ >/ (}
av pWTTOV, Kat' OTt ra' fLY}'
O"VVYJ/(} YJ E' ' ( } ETO OVOfLaTa
' / ""
,T(f! !J/
opvt (}
L. atc fLEV
' -;-
OVV ""
TOtaV-
rat xaptTE~
/
Trap ' ' '
\ /(;
avra~ ra~ 1\€~ Et~.
'
1rpo' 1T'TEpvywv
, p.
5 a-aTvpLKa Gale: a-aTvpLa P.
6 et8ovs- Orth: E.Oovs- P.
7 Ko{3aA.os- Wilamowitz: KoAaKos- P.
438
ON STYLE 142-145
439
DEMETRIUS
440
T ON STYLE 146-150
, \ \ ' TOV
al\1\a ' EaVTOV
f: ""' VEW
' fJai\1\EL,
a '\ \ Kat' ""' '
40VVLOV
aKpov , AfJYJVWV.
442
ON STYLE 150-152
a Arist. Clouds 401; cf. Hom. Od. 3.278 dA.A.' orE ~ovvtov
~ ' 'A.. , f)' ,,
Lpov ao/LKOf.LE , aKpov
'Af)YJVEWV.
,
h Author unknown ( = PLG. Adesp. pp. 742-43). Text and
meaning are both uncertain.
c Sophron 52 and 24 Kaibel. In the latter crwA.-r}v, a pipe or
tube, is a slang term for the penis as well as a type of fish.
d Hom. Od. 9.369 (cf. §§ 130, 262).
443
DEMETRIUS
~'
VEX 1], al\1\ ovo
/ (}
1]KOI\OV ' \ \ ' ' ' \ /(}
EL 1"'1
TOL~ 1TpOTEpOL~·
/
1]~ OE
~
TOL- '
1 .,..,M : avro
avrw ' ' p.
~
0 TL M''
2·' : 0 TL~ p•
444
~
I
ON STYLE 153-156
coat.na (153) Here the wit came from two sources: the
last words were not only added unexpectedly, they had no
connection with what precedes. Such incoherence is
called a puzzle; and an example is Boulias making a
speech in Sophron=-s mimeb (he is utterly incoherent), or
the prologue of Menander=-s Woman of Messenia. c
(154) Again, assonance often produces a charming
effect, as in Aristotle: ''I went from Athens to Stagira
because of the great king, and from Stagira to Athens
because of the great storm.=-=-d Through the use of the
same lexical ending in both clauses, he adds charm. If
you remove the word ''greaf' from the second clause, the
charm also disappears.
(155) An innuendo also has an effect sometimes which
resembles wit. In Xenophon, for example, Heraclides,
one of Seuthes' men, goes up to each guest and urges hiln
to give all he can to Seuthes.e This shows some wit, and it
is an example of innuendo. .
(156) These then are the varieties and sources of
charm in style. Charm in content comes from the use of
proverbs, since they are by their nature delightful.
Sophron, for instance, speaks of "Epioles, who throttled
his own father''; and somewhere else, "off one claw he
445
DEMETRIUS
1
I
' rl.
1TOV 'P'YJ(TLV,
ee '
EK TOV
,., ~~
OVVXO~
' '
yap TOV 1\EOVTa Eypa'PEV"
\ ' ~~ , Ir
I
/
TOpvvav ~'t
Es Ea-EV" KV~LVOV
/ ~~
E1Tpta-EV. "1 Kat' yap
' ~ '
OV(TL
1Tapot~LaL~ KaL Tpta-LV E1Ta'A'Af]'Aot~ XPiJTaL, w~ E1TL-
1T A'Y]OvwvTaL 2 avT[iJ ai xaptTE~· a-xE8ov TE 1Taa-a~ EK
1'"'1 ~ / , 1'"'1 ' / , \ '(; , /
TWV opa~aTWV aVTOV Ta~ 1Tapot~La~ EK/\ES at E(TTLV.
446
r ON STYLE 156-159
drew the lion," «he polished even the ladle," and ''he split
cumtnin seeds.~~a He uses two or three proverbs in quick
succession, to accumulate the charm, and almost all the
proverbs in existence could be collected from his mimes.
(157) A neatly introduced fable is also attractive, either a
traditional fable, like Aristotle~s fable of the eagle: "It dies
of hunger, when its beak grows more and more curved. It
suffers this fate because once upon a time when it was
human it wronged a guest. "b Here Aristotle has used a
traditional, familiar fable. (158) But we can often also
invent fables which fit closely and match the context, for
example one writer on the topic of cats said that they
thrive and pine in phase with the moon, and then added
his own invention, "and this is the origin of the fable that
the moon gave birth to the cat. ''c Not only will the new fic-
tion in itself be attractive, but the actual fable is charming
in making the cat the child of the moon.
(159) Release from feard is. also often a source of
charm, for example a man needlessly afraid, mistaking a
strip of leather for a snake· or a bread oven for a gaping
hole in the ground-mistakes which are rather comic in
mare and cold fevers, chokes the sleeper, its «father" (cf. Arist.
Wasps 1038-39). The first of the three proverbs, building a
whole picture off a detail, is common, as is the third, an exa1nple
of miserliness (Paroem. Gr. i.252 and ii.178), but the second is
attested only here.
h Ar. Hist. Anim. 619a16.
c Author unknown. There was an Egyptian story that a eat's
eyes wax and wane with the moon (Plu. Mar. 376f).
d The text here may be corrupt, but the type of joke is clear
from the examples. Compare the parasite frightened by a
wooden scorpion thrown into his cloak in Plu. Mar. 633b.
447
DEMETRIUS
1
I
I
!
448
ON STYLE 160-164
b This last phrase may well be a later addition (so J.D. Den-
niston, Classical Quarterly 23 (1929) 8).
c Arist. Acharnians 85-87
1TapETt8Et D' TJI/iv oAov~
EK Kpt{3avov f3ov~. ( ~"') Kat rl.~ ElDE
{3ov~ Kpt{3av[ra~;
d Author unknown (cf. § 126, there of the Persians).
e Sophron 34 and 108 Kaibel (cf. § 127).
f Sappho 156 L-P (cf. § 127) andfr: Add. (a) p. 338 L-P.
g Irus, the beggar in Hom. Od. 18.1ff, and Thersites, the ugly
common soldier in Il. 2.216ff.
449
1
DEMETRIUS
/
VELa~, Kat.,' aVTL
' ' \/
')'EI\OLOV (}""
/
avp..,a ')'LVETaL. ate f.LEVTOL
/
3 del. Hahne.
4
a-w~poa-vvYJr;; P: Koap.ov Schenkeveld: an Ev~pofTVVYJr;;?
(cf. § 168).
5 E.apor;; Gale: aE.por;; P.
450
ON STYLE 164-168
a PMGAdesp. 964(a).
b Hom. Od. 19.518 (cf. §133).
cAr. Jr. 668 Rose (see also on §§ 97, 144), but neologism at
least is a curious example of ordinary speech, and interpolation is
more likely (so Hahne). d Text corrupt, concealing "with
elaboration" or "with resulting pleasure."
e Compare the proverbial "ape in purple," which even
dressed up is ugly (Paroem. Gr. i.303).
. f Cf. Sappho llO(a) L-P.
451
DEMETRIUS
'\\' e ' '..,../... e ~' \ (}""
aAA o fLEV Ev'PpaLVELV,1
o oE YEAacr YJVaL. KaL' '
a1ro' rwv
""
~ ~'
E1TaKOAOV
' \ ()
ovvrwv
I
oE·
I
roL~
""
fLEV
'
yap
'
YEAW~,
1\
roL~
""
oE
:!J/
E1TaLvo~.
( 169) KaL' EK
' T01TOV. I :!J/
EV ()
a fLEV yap ' '
YEAWTO~
I\
1
'TE
I
XPELa KaL' xapLTWV,
I
EV
' I
crarvpcp KaL' '
EV KWfLc_pOLaL~,
~~
1 TE
XPELa Weil: r€xvat P.
2
T1JAavyovs- Casaubon: T1JAavyTJs- P.
3 Delevi.
4 o
Gartner (iam add. Goeller): Kat P. o
5 E1Tta-KwtjJa~ von Arnim: IT1JAEa Sophianus: E7Tta-xwv ra :!J I ' '
a-7T~ Aata P.
6 ro
add. von Arnim.
452
ON STYLE 168-172
453
DEMETRIUS
\
1\0~. XP'YJa-OvTaL TE' ' 1"\
TaL~ TOLavTaL~ ELKaa-LaL~, w~
' ' ' e eeA L-
'
YV1TTta KI\'Y}fLaTL~, \ , ,
<a1TOKai\OVVTE~
' \ 1"\
TOV >2 fLaKpov
' KaL'
'
(]"TO~ OVTW~,
~' \ \
Kal\1\0~
, '
OVOfLaTO~
, , '
E(J"TL TO' 1rp0~
'
' T'YJV
' ' .,, ' ' !>l,ft e ~ ' .,, ' 1"\ ~ ' !>/
aKO'Y}V 'Y} 1rp0~ T'Y}V O'f'LV 'Y}OV, YJ TO TYJ OLaVOLf!- EVTLfLOV.
(174) 1Tpo~ fLEV TTJV ol/JLV Tj8f.a Ta TOLaVTa, eepo8o-
xpoov,
" ee av
' (} oo/opov
A,. ' \ '
XI\Oa~.
"3 ~~
oa-a yap
' e
opaTaL
1"\
e~' ~'
'YJOEW~, TaVTa KaL 1\EYOfLEVa Kal\a Ea-TL.
1"\ ' \ ' \' '
1rp0~
'
OE T'Y}V
'
1 del.Gale.
2 TOV addidi, a7TOKaAOVVTE~ post p.-wpov iam Radermacher.
3
XA.oa~ Gomperz: xpoa~ P.
454
ON STYLE 172-176
a Both are attributed to the Stoic Chrysippus (SVF i.1 and ii.
Chrysippus 11).
b Theophr. F 687 Fortenbaugh, an adaptation of the defini-
tion in Ar. Rhet. 1405b17-8.
c Authors unknown.
d Probably corrupt. It occurs only here.
e I.e. the accusative ending in -e becomes -en.
455
DEMETRIUS
1
1Taparerexvo'Aoy~a-8w Goeller: 1Taparexvo'Aoye£a-8w P.
2
avra Kroll: avrwv P.
456
ON STYLE 176-181
457
DEMETRIUS
KaL' ~H pooOT~,
~ / /
Taxa ~'
OE KaL' napa' UYJJLO(J"
A (} / \ \
EVEL nOJ\1\a-
xov· 8ovKvSi8'Y}~ f.LEVTOL n€c/Jevye TO ei8o~. (182)
napa8eiyJLaTa S€ aVTOV Aa{3oL TL~ av TOLa8e, oiov w~
~ A / ~~ :!1 :!IE\ / " rl-.. / ~~ ""' :!II \/
0 uLKaLapxo~· EV 1\Efl:, 'f'YJa-L, TYJ~ Tai\La~
331
npea-{3vTYJV 7J8YJ TTJV 'l]At-Kiav ovTa. Twv yap KwAwv
' rl-.. / ~ :!1 \ /(; ~ / "' ~ '
afL'f'OTEpWV aL a nO I\ YJS EL~ fLETpOELOE~ TL EXOV(J"LV, VnO
8€ TOV Etpf.LOV Ka'i T1j~ a-vvac/Je[a~ KAEnTETaL JLEV To
/
fLETpLKOV, ~ ~ '
YJOOVYJ ~'
0
' 01\LYYJ
OVK '\ / "'
EnEa-TL.
( 183) IIAaTWV JLEVTOL EV noAAo'i~ avT/j> T/j> pv8 JLii>
\ rl-.. / :!1 :!1 / 2 ' "' ~~~
yl\a'f'vpo~ E(J"TLV EKTETaJLEV~ nw~, KaL OVTE Eopav
EXOVTL
"'
OVTE
"'
f.LYJKO~·
""'
TO f.LEV yap
' ' ':!1
La-XVOV
'
KaL'~
OELVOV,
/
TO'
8€ JL1JKo~ JLEyaA.onpen€c;. d'AA' oiov oA.ia-8cp TLVL
,, ' ""' \ ' ,, ' :!1 / 3 / "' '
EOLKE Ta KWAa, KaL OV'T. Ef.Lf.LETpOL~ navTanaa-LV OVT
afLETpOL~, oiov EV T/j> nep'i JLOV(J"LK1}~ Aoycp f.nav ¢i7 4
~~vvv 8T] f.A€yoJLEv"~ S ( 184) Kat naALv, ~~fLLVVpt,WV TE
Ka'i yeyaVWJLEVO~ vno T1j~ 081]~ OtareA.e'i Tov {3iov
~' \
01\0V " ' Kat' nai\LV,
/ \ '
~~ 'TO ' npWTOV,
f.LEV ""' EL"' TL (} Vf.LOELOE~
~'
330
eixev, wa-nEp a-i8YJpOv EJLaAatEV OVTWc; f.LEV yap
yAac/Jvpov Kat cb8tKOV a-ac/Jw~· EL 8' avaa-TpEljla~
e'inoL~, ~~EJLUAatev wa-nep a-i8YJpOV, ~ cc8taTEAEL oAov
33
458
ON STYLE 181-184
1 Tw L
add. Gale.
2
ovop.,a'w Gale: ovop.,a'et P.
460
ON STYLE 184-188
1
w~ TIS edd.: OU"Tt~ P.
2
AE7TTa'i~ Radermacher: S€ JIE Tat~ P.
3 KaKo,YJAo~ iJ add. Goeller.
4 !wTaSEta Victorius: u-w/LaTa P.
5 'ExotjLEV Victorius: EKE'i jLEV P.
6 7TUVTwv in 7Tav corr. P.
462
ON STYLE 188-191
a Author unknown.
h For the dissolute reputation of Sotadeans cf. e.g. DH. CV 4,
Quint. 1.8.6.
c Sotades 17 (meaning obscure) and 4(a) Powell.
d Hom. Il. 22.133. e Lys. 1.9.
463
DEMETRIUS
~~ '~
€0€~
cafLYJV, 3
,I !>/
ETLKTOV,
'
EKTp6pW,
,I,./... ,./... , I \
o/LI\€.
" ~~
OVTW~ yap
'
\ \ I
1\€1\VfLE·lJOV avayKaa-EL KaL TOV fLY}
, , , , , e€1\0VTa V1TOKpLV€-
1\ ~ ,
e ~
a- aL OLa TYJV f\V(TLV" EL
' ' \ I ' ~ '
0€
~ I
a-VVOYJa-a~
!>/
EL1TOL~,
~~ '~ (; I
€0€~ a-
fLYJV KaL' ETLKTOV
!>/
KaL.
'
EKTPEo/W,
'
1TOI\I\ YJV a1Ta"8 ELaV TOL~ ,I,./... " \ \ ' ' 1".
464
ON STYLE 192-195
465
DEMETRIUS
1rp0~
' TOV ' 1TE1TOLYJf-LEVYJ.
' V1TOKpLTYJV
~ / '\\'
al\1\ OV, 1TEpL' V1TO-
~
466
ON STYLE 195-198
467
DEMETRIUS
468
ON STYLE 198-202
469
DEMETRIUS
Kav fLLKpa YJ, a8YJ'AO~ 8oKEL. (203) 7TEpt JLEV 8T] a-acpYJ-
/ 1"'1 t: '\/ ' \\ 1"'1 ' /\ '
VELa~ TOa-avTa, W~ 01\tya EK 7TOI\I\WV, Kat fLai\La-Ta EV
.J..
o/YJ(JLV,
/ A VKEL4_),
cc , / -e'
E7TL TWV
c '
, () \ () /
OV OL a 1\0 ETaL
1"'1 () /
aKWV
,
EV
/ • att :
fLEVa ' KaTa' Ta
yap ' TEI\EVTaLa
\ 1"'1 ' /
EKTaa-EL~ JLEyai\0- \
470
ON STYLE 202-206
a Cf. § 5.
h I.e. a length of roughly 15-16 syllables. The phrase is
shorter (see note on § 5).
c Pl. Rep. 327a (cf. § 21). The whole sentence is intended.
d Aesch. Soc. 2 Dittmar, probably the beginning of the Alcibi-
ades. Compare also the beginning of his Miltiades (in P.Oxy.
2889), «It happened to be the great Panathenaic festival, and we
were sitting ... "
e Cf. § 183.
471
DEMETRIUS
1 7J€A.toc;Victorius: i}A.toc; P.
2 dfLwc; Finckh: aA.A.wc; P.
3 EfLcPatvETat Victorius: EfLcPaivecrBat P.
4 Kat' ' ' P: Ka1T
avTa ' ' avTa
''Rb o erts.
472
ON STYLE 207-210
Pindus ... "a and so on. (207) In this style we should also
avoid hiatus between long vowels and diphthongs, since
any lengthening is imposing. If there is any, we should
have it between short vowels (e.g. kala estin at the end of
the sentence ''all that is young is beautiful"h) or between a
short and a long (e.g. eelios, "the sun"), or at any rate
shorts in some shape or form. In general, this type of
style is unimpressive and ordinary, and that is the very
effect it intends. (208) Conspicuous figures should also
be avoided, since anything conspicuous is unfamiliar and
out of the ordinary. Vividness, ho\vever, and persuasive-
ness will be particularly welcome in this style, so we must
speak next about vividness and persuasiveness.
(209) First, vividness: it comes first from the use of
precise detail and from omitting and excluding nothing,
for example the whole simile beginning "as when a man
draws off w~ter in an irrigation channel. "c This compari-
son owes its vividness to the fact that all accompanying
details are included and nothing is omitted. (210)
Another example is the horse race in honour of Patroclus,
in the lines where Homer describes "the hot breath on
Eumelus' back" and "for they always looked as if they
were about to mount the chariot."d The entire passage is
473
DEMETRIUS
erxorEp<p ota
/ ~' ' Oti\Oytac;,
rae; ~ \ / \\
1TOI\I\axYJ ""' ' ,,terwc; EyKa-
f.LEV '
AovertV op8wc;, 1TOAAaxfJ DE OVK alcr8avovTat rfjc;
f.vapyEtac; TOV av8poc;· Tt8ETat yap TaVTO <D'ic;> 1 Dta
ro 1ToAAaKtc; 1Totliv Ef.L¢aertv 1TAEtova. (213) oia ra
TOtaDE, ee!rpvayya'i6c; 2 Ttc;, avi}p Mf}Doc;, yvva'iKa
~
4aKtoa /~
Kara f3 aAWV \ ' a1ro ' ' rov""' ~~t1T1Tov· f.Laxovrat
/ ' OYJ
yap ~ '
474
ON STYLE 211-214
475
DEMETRIUS
Ka~
' TO' ' ,/... /
E1T~'¥EPOfLEVOV
8E,/
TO' ee a1TWI\Of.LYJV
' \ / " ' ' ,...
aVT~ TOV
av M:om .p.
1 ,,
2 yEvop.,Eva Greg.: ytvop.,Eva P.
3 Ka~ Lockwood: Ka~ ovrw Greg.: om. P.
476
ON STYLE 214-216
477
1!
DEMETRIUS
478
ON STYLE 217-221
480
ON STYLE 221-225
2
8t.aAEX8ELYJ Schneider: 8t.aAEx87J P.
3 y&s Valckenaer: Ta~ P.
481
1
DEMETRIUS
482
ON STYLE 225-228
483
i I
DEMETRIUS
/ , 1"'1 t , /
, \ ' ' ( , /~
KVVfLEVOJJ avTcp E1TtU"TO/\tK01J Kat YJ a1TOOEts t~ aVTYJ.
1
ai del. Spengel. 2 Kat del. Goeller.
3
~ P: del. edd. 4 rwv add. edd.
5 a1rayy€A.A.YJ edd.: a1TayyiA.YJ P: a1rayyeA.i7 Radermacher,
fort. recte.
486
ON STYLE 234-237
a Pl. Epist. 7.
b Author unknown.
c The "man of Gadara," the probable text, may but need not
be Theodorus of Gadara, a rhetorician of Augustan Rome.
d A quotation seems lost.
e Author unknown.
487
DEMETRIUS
Roberts.
488
ON STYLE 237-239
489
DEMETRIUS
, ~I ~
' ' 1"1 ' ' 3 \ 1"1 '
Tpta~ Kat Ta 1TOpVELa Kat
Kat fl-OOV- TOV~ aVI\OVVTa~
' e ~ ee A / .
K optv. ~· EL OE Es ETELVaV aVTO, uLOVV(JLO~ EK1TE(JWV
33 ' ' '(; / 3 / 3 ,
~(JOVTat'
3
490
ON STYLE 240-243
1 KaTaVictorius: Kat P.
2OL apxa'iot M: apxa'iot P.
492
ON STYLE 244-248
494
ON STYLE 248-251
you would not have made this proposal if any of them had
been convicted, so if you are convicted now, no one will
make it in future.,,a This particular arrangement clearly
grew naturally out of the subject itself and the order it
demanded, and not even by violent dislocation could any-
one have easily constructed it differently. In many topics
in constructing sentences we are swept along by the sub-
ject itself, just as though we were running down a steep
slope. (249) It also creates force to put the most striking
part at the end, since if it is put in the middle, its point is
blunted, as in this sentence of Antisthenes, "for almost a
shock of pain will be caused by a man standing up out of
brushwood. ~,b If you were to change the order, ~~for a man
standing up out of brushwood will cause almost a shock of
pain/, you will be saying the same thing but will no longer
be believed to be saying the same. (250) But to revert to
antithesis, _which I condemned in Theopompus:c it is not
suitable either in that passage of Demosthenes where he
says, "you were initiating, I· was initiated; you were a
school teacher, I went to school; you took minor roles in
the theatre, I was in the audience; you were driven off the
stage, I would be hissing.,,d The elaborate parallelism
seems too artificial, and more like word play than honest
anger.
(251) A massive series of periods fits the forceful style,
though it does not suit the other styles. Put continuously,
they will suggest successive lines of metre, and forceful
4
ypap.,p.,aTa add. M, Dem.: om. P.
5 (TVvexws- edd.: (TVvexe'i P.
495
DEMETRIUS
496
ON STYLE 252-256
7 ~~1TUVTa
' ~,
av e dd .: '
1TUVTWV P : ~~ eypa-yEV
,, ·1• " '
1TUVTU add . Rad er-
macher.
497
DEMETRIUS
1 Kat Radermacher: w~ P.
~ 1 "{Xl '1 ' P.
1 1
2 avErpE-.yEV
,/,
vvel : av. eypa-yEV
' ,/,
498
ON STYLE 257-260
h Author unknown.
c Hom. Il. 2.497 (cf. §54).
d Author unknown.
e Cf. § 170. Crates VH 70 Giannantoni, a parody of Homer's
description of Crete (quoted in § 113). Demetrius (or a copyist)
is too close to Homer: compare the correct version in Diog.
A,.
Laert. 6 .85 , II'YJP'YJ TIS 1TOJ\l8 ECTTt., fLECTqJ EVt., Ot.,V01Tt., TV'-(Jq},
I I\ '' I ' \ '' I
499
DEMETRIUS
' ,
yap TOVTOt~ Kat EtpYJKEV 1TaVTa, oa-a ' :1/ / t:/ ~{3 /\
E OVJ\ETO, Kat
'
1rapaAt1TELV avTa rpYJcrtv, w~ DEtVOTEpa EL1TELV EXWV
ETEpa. (264) Kat ~ 1TpOEtpYJf.LEVYJ 8' a1Toa-u{J1TYJ(J"tr; TOV
aVTOV Et8ov~ 2 EXOf.LEVYJ DEtVOTEpov 1TOt~(J"EL TOV A.6yov.
1 EcP7J Greg.: om. P: ei1rev post 7Tat8iov M.
2 ef8ovs- Orth: €0ovs- P.
500
ON STYLE 260-264
501
DEMETRIUS
1 ~ add. Hammer.
2 3 KaL del. Spengel.
DTJ Spengel: ELD7J P.
4 E7TL Tov~ VOfLOV~ KaA.e'is add. Aesch., M in mg., om. P.
5 EO"TtV, w~ Victorius: 'ta-w~ P.
502
ON STYLE 265-268
503
DEMETRIUS
'I
E1TELa-a oE
~ \ 8 YJtJaLov~
Q I n ~\ \ ' Q e
· a-xEoov yap E1TavafJaLvovTt o
I
\ I
1\0yo~ EOLKEV
''
E1TL
' \ rI
fLELsOVWV 1 7
fLELsOVa • '
EL OE
~ \ ~I
OVTW~ EL1TOL
''
TL~
,..,
TCf-VTa, ee ' '
EL7TWV '
EYW
'
KaL' ypa'Pa~
I, It ' I a I
E1TpECTtJEVCTa 7E
504
If
ON STYLE 268-272
506
ON STYLE 272-277
507
DEMETRIUS
508
llf
ON STYLE 278-281
but as an envoy not to hold your hand out. "a (278) And
sin1ilarly: "No, he was annexing Euboea ... "b The rise in
tone is not aimed to make the style dignified, but to rr1ake
it forceful. This happens vvhen the heightening is intro-
duced as we attack so1neone, just as the former passage is
an attack on Aeschines. the latter on Philip. (279) It is also
forceful to express some points by asking the audience
questions rather than by rnaking a staten1ent, for exa1nple
"No. he was annexing .Eu boea and establishing a base
against Attica-and in doing this vvas he wronging us and
breaking the peace, or was he not ?"c J)einosthenes forces
his listener into a sort of corner. so that he seen1s to he
cross-examined and unable to reply. If you were to
redraft and substitute this version~ "he was wronging us
and breaking the peace,,. it \Vould see1n an open state-
ment rather than a cross-exa1nination. (280) The figure
called epimoi}t\ which is an elaboration going beyond the
bare statement of fact d can contribute verv successfully
to a forceful effect. I-I ere is an' example from D<-nno;-
thenes~ "men of Athens. a terrible disease has fallen on
c; reece,, < ... > the sentence would not then have had
force.
(281) Perhaps some force 1nay be found even in what
is called euphen1isrn, language "'hich n1akes inauspicious
a l)enl. De Pals. Leg. 2.5.'5. Aeschines n1ay use the hand ges-
tun~s of the orator, but should not takf' bribes.
h De1n. De Cor. 71. e The sa1ne passage now illustrates a
different point, the use of rhetorical questions.
d I.e. the same idea is variously expressed, as in the example
fro1n IJen1. De Pals. Leg. 259, which continues with a list of vari-
ants on 8Etv(5v. This will have been clarified in the lacuna. Add
e.g. "If it were cut short at this point."
509
DEMETRIUS
511
DEMETRIUS
512
ON STYLE 285-288
a Fr. 18 de Falco.
h I.e. roughly twenty-five miles.
513
DEMETRIUS
514
ON STYLE 288-291
515
DEMETRIUS
, "' A,.
VELU\; E~\f-JU(J"LV.
516
ON STYLE 291--294
.517
DEMETRIUS
\ I
1\0YWV, ~'
W(J"1TEp OL( 'TVpaVVOL,
I
Ka () a1TEp
I
0
( 'A() 'Y}VaLWV I
518
ON STYLE 294-297
519
DEMETRIUS
/
pv (J J1-LCI"€Lf..Jl '']I"
az; TOVTO TO' 1Tp0..')1Jl-O..
,...
TO' 1TpOELpYJJ1-€~1 0V
/ '
El8
EpWTY)U'LI/ JJ8€ 1TW~ otol' r~JJ 1TO..t_~ 1T<)<ra (T()L XP~Jl-O..Ta
U7rEAL7TfV 0 1TO..T~p; ~ noAAa TLVCL Kat OVK Evapi-
(}p.YJT0.. ;--7ToAAa, JJ '2.wKpaTE~.-rtpa oiJv Kat E7Tt-
(T7-r}p.YJP dn€At7TE1J (TOL TTJt' XfYfJCTOpi.l'YJI' avrol.,;, aJLa
yap KO.. L EL~ a?Topiaz} E{:3aAElJ TOl-' 1Ta'i8a AEAYJHOTW~,
' ' ,• t:l ' / , , ' ~~
KO..L YJl'EfJ.ZJ'Y]CT€1/ OTL O..l'E7TUTTY)f.LlJJl/ ECTTL. KO..l 1TaLOEV~ 7
L) ".I. - , :) fj ,. ., ' :)
f(.TUat, 1Tp0€7pE\f'O.TO' TO..VTO.- 1Tal'Ta YJ LKW~ Kat EJl-J.LE-
AW<;,
\ ""'·
Ka~,
'
ovxt.
' ' ~ '
OYJ ro ' \ I
AEYOJLEPOI' rovro
.-
a1ro
' '
....
"" iJ
Kvuwv. I"
.520
ON STYLE 297-300
a Cf. § 216.
b Dem. De Cor. 18. Note especially the jerky hiatus between
the clauses, pole1nou, ou dt eme, ou. On hiatus cf. §§ 68-74.
3 ra del. Spengel.
521
DEMETRIUS
/ / /\ , , , r /
TYJTa 7rapaa-TYJ(JEL TLVa, j.Laf\L(JTa E7ralJ opyL•::PJ.LEVOVc;
EJ.L~atVWJ.LEV avrovc; ~ i}DLKYJJ.LEVOVc;. i] 3€ 7rEpt T~V
\/
1\ELOTYJTa KaL
'e /
apJ.LOVLaV 'PPOVTLc;
,./.,. ' ,
OVK
, r /
opyL~:,OJ.LEVOV,
'\\,
a/\1\a
/r
7rat~:,OVTO~
/ ,
E(JTt Kat
, E1rtOELKVfLEVOV
, / ~ '""\\
fLa/\1\0V.
(301) Kat wa-1rEp ro DLaAEAVfLEVov a-xiJfLa DELvorYJra
1rOLEL, w~ 7rpoAEAEKTaL, OVTW 1rOLrrJ(JEL i] DtaAEAVfLEVYJ
('/\
01\W~
/ (} Ea-L~. (JYjfLELOV
(JVV ,. . ~'
OE KaL' TO' el1r1rWVaKTOc;·
/ \
1\0L-
Dopi]a-aL yap {jovAOfLEVOc; rove; f.xfJ povc; €8 pava-EV TO
/ ' ,
J.LErpov, KaL E7rOLYJa-Ev XWAOV
/ \' , ' '(} ' ,, (}
avrL EV Eoc; KaL apv -
/
/ ~ /
J.LOV, TOVTE(JTL OELVOTYJTL 7rpE1TOV KaL 1\0LOOptq_ • TO yap
/ '\ ~ / ''
E.ppvfJJ.LOV Kat EVrrJKOOV EJIKWJ.LLOLc; av 7rpE7rOL fLaA'Aov
YJ"' ,~oyotc;.
lr / '""
roa-avra Kat' 1TEpt' a-vyKpova-Ewc;.
/
522
r
1
ON STYLE 300-303
a Cf. § 269.
b Hipponax turned the iambic trimeter into "limping"
iambics by making the final iamb a spondee. Cf. § 251.
c Author unknown; perhaps Hyperides in his attack on this
famous prostitute (=Jr. 165).
d Author unknown, text very uncertain.
523
DEMETRIUS
524
ON STYLE 304
525
INDEX
Poetics
Note: 5lb21 = 145lb21, 6lb21 = 146lb21, etc.
527
POETICS
Eurypylus, see Sophocles Nkochares. Deiliad, 48a1.3
Niobe. see Aeschylus
Glaucon, 6lbl
528
INDEX
(?)Phthiotides, 56al. (?)Sinon, Thyestes, 53all, 21. See also
59b7. (?)Spartan Women, 59b6. Carcinus
Tereus,54b36. Tyro,54b25 Timotheus, Cyclops, 48al5. Scylla,
Sophron, 47bl0 54a31, (?)6lb32
Sosistratus, 62a7 Trojan Wmnen, see Euripides
Spartan ""'omen, see Sophocles Tydeus, see Theodectes
Sthenelus, 58a21 Tyro, see Sophocles
Telegonus, 53b33
Xenarchus, 47bl0
Telephus, 53a21
Xenophanes, 6lal
Tereus, see Sophocles
Theodectes, Tydeus, 55a9.
Lynceus, (?)52a27, 55b29 Zeuxis, 50a27, 6lbl2
529
INDEX
On The Sublime
Aeschylus, 15.5-6. Seven against 23.113, 6.3; 24.208, 15.9;
Thebes 42-6, .51, 15.5;Jr. .58, 2.5.27-8, 27.3
15.6;Jr. 281, 3.1 Dion, 4.3
Alexander, 4.2
Ammonius, 13.3 Eratosthenes, Erigone, 33.5
Amphicrates, 3.2, 4.4 Eupolis,Jr. 106 Kassel-Austin, 16.3
Anacreon,Jr. eleg . .5, 31.1 Euripides, 15.3-6, 40.2-3.
Apollonius of Rhodes, 33.4 Bacchae 726, 15.6; Electra 379,
Aratus, Phaenomena 299, 10.6; 44.12; Hercules Furens 124.5,
Phaenomena 287, 26.1 40.3; Iphigenia in Tauris 291,
Archilochus, 13.3, 33 ..5. Fr. 10.5-6 15.2; Orestes 255-7, 15.2;
\Vest, 10.7 264-.5, 15.8;Jr. 221 Nauck2,
Aristeas, Arimaspea Jr. 1 Kinkel, , 40.4;fr. 668, 39.2;fr. 779, 15.4;
10.4 Jr. 93.5, 15.4
Aristophanes, 40.2 Gorgias,Jr. .Sa Diels-Kranz, 3.2
Aristotle,Jr. 131 Rose, 32.3
Hecataeus,Jr. 30 Jacoby, 27.2
Bacchylides, 33.5 Hegesias, 3.2
Heraclides, 4.3
Caecilius, 1.1, 4.2, 8.1, 8.4, 31.1, Hermocrates,4.3
32.1, 32.8 Hermon, 4.3
Callisthenes, 3.2 Herodotus, 4.7, 13.3, 18.2. 1.105,
Cicero, 12.4 28.4; 2.29, 26.2; 6.11, 22.1;
Clitarchus, 3.2 6.21, 24.1; 6. 7.5, 31.2; 7.181,
31.2; 7.188, 191, 43.1; 7.225,
Demosthenes, 2.3, 12.4, 14.1-2, 38.4; 8.13, 43.1
22.3, 27.3, 32.1, 34.1-3, 36.2. Hesiod, Shield of Heracles 267,
Orations 4.10 and 44, 18.1; 9.5; Works and Days 24, 13.4
7.4.5, 38.1; 18.18, 24.1; 18.169, Homer, 9.4-15, 13.3-4, 14.1-2,
10.7; 18.188, 39.4; 18.208, 16.2; 33.4, 36.2. Iliad 1.22.5, 4.4;
18.296, 32.2; 21. 72, 20.1; 4.442, 9.4; 5.85, 26.3; .5. 7.50,
530
' INDEX
9.6; 13.18, 9.8; 13.27-9, 9.8; 264c, 36.2. Republic 573e, 44.7;
15.346-9, 27.1; 15.605-7, 9.11; 586a, 13.1. Theaetetus 144b,
15.697--8, 26.1; 17.645-7, 9.10; 13.1. Timaeus 65c-8.5e, 32.5
20.60, 9.8; 20.61-5, 9.6; Polyclitus, 36.3
20.170-1, 15.3; 21.388, 9.6. Pythia, 13.2
Odyssey 3.109-111, 9.12;
4.681-9, 27.4; 10.251-2, 19.2; Sappho,fr. 31 Lobel-Page, 10.1
11.315-7, 8.2; 11.563, 9.2; Simonides,fr: 52 Page, 15.7
17.322-3, 44 ..5 Socrates, 4.4
Sophocles, 33.5. Oedipus
!socrates, 4.2, 31.1. Panegyricus 8, Tyrannus 1403-8, 22.3.
38.2 Oedipus at Colonus 1.586ff,
15.7. Fr. 523 Radt, 15.7;fr: 768,
Jews, the lawgiver of, Genesis 1. 3, 3.2
1.9-10, 9.9 Stesichorus, 13.3
531
INDEX
()n Style
Note: RefPrence is to the section numbers.
532
INDEX
533
fresh rendering of the work is based on
the earlier Loeb translation by W. Rhys
Roberts. Her new introduction and notes
represent the latest scholarship.