) 
 
 Zbe TOntvecsttg of Chicago 
 
 FOUNDED BY JOHN D. ROCKEFELLER 
 
 THE METAPHORICAL TERMINOLOGY 
 OF GREEK RHETORIC AND LITERARY 
 CRITICISM 
 
 A DISSERTATION 
 
 SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS 
 AND LITERATURE IN CANDIDACY FOR THE DEGREE OF 
 DOCTOR OF PHILOSOPHY 
 
 (DEPARTMENT OF THE GREEK LANGUAGE AND LITERATURE) 
 
 
 
 BY 
 
 LARUE VAN HOOK ty\/ 
 
 BOSTON COLLEGE LIBRARY 
 CHESTNUT HILL, MASS, 
 
 CHICAGO 
 
 THE UNIVERSITY OP CHICAGO PRESS 
 
 1905 ^ 
 
 K5Y3 
 
~PAVJ?( 
 
 Copyright 1905 
 
 By the University of Chicago 
 
 1313B0 
 
 i 
 
 
 f 
 
PREFACE 
 
 This dissertation, which is a study in the metaphorical termi¬ 
 nology of Greek Rhetoric and Literary Criticism, has the following 
 chief aims: first, after the origin and sources of the more obvious 
 figurative terms have been determined, to classify them accord¬ 
 ingly ; and, second, to define their uses as critical terms by English 
 and Latin equivalents. One or more examples of actual usage 
 which best illustrate the meaning or history of each term are 
 generally quoted. Further, the occasional citation of English 
 terms of similar origin or meaning, and the quotation of parallel 
 passages from both Latin and English literary critics, have been 
 considered not inappropriate. 
 
 A number of useful books are cited in the Appendix, to which 
 references are made by giving author’s name and page. But I 
 owe the most to the Lexicon of Ernesti and to Roberts’ editions 
 of Longinus, Dionysius of Halicarnassus, and Demetrius, which 
 have been exceedingly helpful and freely used. 
 
 To Professor Paul Shorey, at whose suggestion this thesis was 
 written, I am greatly indebted for assistance. To both Professor 
 Shorey and Professor Edward Capps, as inspiring teachers and 
 friends, I wish to express my deepest gratitude. 
 
 3 
 
TABLE OF CONTENTS 
 
 I. INTRODUCTION page 
 
 1. The Development of the Terminology in Ancient Criticism - 7 
 
 2. Faded and Unconscious Metaphorical Terms 9 
 
 3. Plan of Classification.10 
 
 II. CLASSIFICATION AND DEFINITION OF THE METAPHORICAL 
 
 TERMINOLOGY. TABULAR VIEW OF THE SOURCES 
 
 1. Terms borrowed from Nature.12 
 
 a) Water and its Properties. " - - 12 
 
 b ) Heat and Cold - -- -- -- -- 13 
 
 c ) Light and Darkness. - 14 
 
 d) Weight, Height, and Length.15 
 
 e ) Flowers - - -.17 
 
 2. Terms borrowed from the Human Body; its Condition, Appear 1 
 
 ance, Dress, Care, etc..18 
 
 3. Terms borrowed from Athletics, War, and the Sea - - - 23 
 
 4. Terms borrowed from Youth, Age, and Sex - - - - 26 
 
 5. Terms borrowed from Social Status - - - - - 27 
 
 6 . Terms borrowed from the Sense of Taste.28 
 
 7. Terms borrowed from Deities and Religion - - - - 29 
 
 8 . Terms borrowed from the Theater and Festivals - - - 31 
 
 9. Terms borrowed from the Disposition and Morals - - - 31 
 
 10. Terms borrowed from the Trades and Arts - - - - 33 
 
 a) Household Management.33 
 
 b ) Roadmaking.33 
 
 c) Medicine - -- --. 34 
 
 d ) Weaving, Spinning, and Embroidery.35 
 
 e) Carpentry.37 
 
 /) Metal-working.38 
 
 g) Engraving.39 
 
 h) Architecture -.40 
 
 i) and j) Painting and Sculpture.42 
 
 III. APPENDIX 
 
 1. List of Books. ----45 
 
 2. List of Authors Cited.45 
 
 3. Indices.47 
 
 a) Greek.47 
 
 b) Latin - - -.49 
 
 c) English.50 
 
 5 
 
I. INTRODUCTION 
 
 1. The Development of the Terminology in Ancient 
 
 Criticism 
 
 To trace the gradual development and increasing technicality 
 of the terminology in ancient Greek Criticism and Rhetoric with 
 completeness would be impossible owing to the almost total loss 
 of critical literature between Aristotle and Dionysius of Halicar¬ 
 nassus. Rhetoric had its beginnings in Sicily and Empedocles 
 (ca. 450 B. C.) is said to have been the inventor (Diog. L. 8, 57). 
 Then follow the names of the real founders, Corax and Tisias of 
 Syracuse, Gorgias and the Sophists. Aristophanes, in the Clouds 
 and Frogs , employs some new terms, although they are mainly 
 ludicrous coinages of comedy. Of the Attic orators Isocrates 
 (436-338 B. C.) is of the most importance for our study, as his 
 rhetorical discourses and political pamphlets contain considerable 
 discussion of literary style and composition. A number of 
 references are made to his writings. 
 
 In Plato (428-347 B. C.) and especially Aristotle we find a 
 different method of treating Rhetoric, viz., the philosophical. In 
 Plato this criticism is to be found for the most part in the Gorgias 
 and Phaedrus; in Aristotle, in the Rhetoric and Poetics. In the 
 technical terminology as developed by Aristotle we do not find 
 any great number of metaphorical terms, which more literary and 
 imaginative and less philosophical critics were to develop. Some 
 examples are: arycoviaTucrj, a<TT€ia, rjSvafJLa, gBvvew, eipopevrj, ei tl^oX- 
 Keveuv , larpevfjiaTa , /ca^apo'?, nTOuaXla, /coWrjaiS, Xtro?, 07 /co?, 7 r\o/cr}, 
 rcureivos, uSapr/^;, yjrvxpd?. Nettleship (pp. 49 and 56) speaking 
 of the later literary criticism, of which Dionysius is the best 
 extant example, says that it employs a number of technical terms 
 of criticism which are unknown, at least to Plato and Aristotle; 
 many of the terms cited, however, are found in Aristotle, Plato, 
 and Isocrates, some of them in a technical sense. For example: 
 avdypos, Isoc. 13, 18 and frequent; avOaSrfs, Arist. Rhet. 3, 3; 
 
 Arist. Rhet. 3, 2; a<£e\?j?, Arist. Rhet. 3, 9; 7 reiOcb, Plat. 
 
 7 
 
8 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 Gorg. 453 A; ^eyaXoirpeirr}^, Arist. Rhet. 3, 12; cre/W?, ibid. 3, 3; 
 avarpe(f)6Lv, ibid. 2, 24 and 3, 18. 
 
 The Ars Rhetorica ad Alexandrum, commonly attributed to 
 the rhetor Anaximenes, is probably later than Aristotle. It con¬ 
 tains considerable technical terminology, but little metaphorical. 
 From this point to Dionysius of Halicarnassus (first century B. C.) 
 we possess little or no Greek literary criticism. Doubtless the 
 lost New Comedy contained some literary discussion (Baker, “De 
 Comicis Graecis Litterarum Iudicibus,” Harvard Studies , XV). 
 Four great critics, whose writings, if extant, would form connect¬ 
 ing links, are: Demetrius of Phalerum (300 B. C.), Hegesias 
 (third century B. C.), Hermagoras, largely followed by Cicero, 
 and Cmcilius of Calacte, a contemporary of Dionysius at Rome 
 
 In the works of Dionysius, the great representative of a later 
 school of criticism, we meet for the first time a wealth of rhetorical 
 terminology. In his numerous writings we find freely used a 
 fully developed vocabulary which is completely adequate for the 
 purposes of the professional rhetorician and the broad literary 
 critic. Nor is he, like the representatives of the school which 
 was to follow, lacking in imagination. Figures of speech and 
 comparisons abound in his works. Thus his metaphorical vocabu¬ 
 lary is rich and varied, and furnishes the largest number of 
 examples of the terms considered in this study. 
 
 Two important works of doubtful authorship and date are the 
 treatises, On the Sublime , attributed to Longinus, and On Style , 
 assigned to Demetrius of Phalerum. Neither Longinus nor 
 Demetrius of Phalerum are to be considered as the probable 
 authors. As for their date, Roberts would assign both treatises 
 to the first century A. D. The interesting treatise On the Sublime, 
 which discusses the noble, the grand style, and treats of literary 
 criticism generally, while it possesses a sufficiently wide vocabu¬ 
 lary, yet does not present us with many new or metaphorical 
 terms. The treatise irepl eppLiiveias ( de HI.), attributed to 
 Demetrius, is extremely rich in rhetorical terms, and possesses a 
 very technical critical vocabulary. Some old terms are used in a 
 new sense, while new and expressive words have been invented. 
 Both of these works are frequently quoted in this study. 
 
INTRODUCTION 
 
 9 
 
 The title, literary critic, can hardly be applied to Plutarch and 
 Lucian, though some literary criticism is found in their writings. 
 Consequently, a few references to them will be made. The scho¬ 
 liasts and the Anthology are of so little importance for our study 
 that they, too, may be dismissed without comment. 
 
 Hermogenes ( ca . 170 A. D.) was a rhetorician of great repute, 
 whose treatises assumed the importance of textbooks for succeed¬ 
 ing centuries. His works, five in number, form a complete system 
 of Rhetoric, and enjoyed such vogue that innumerable commen¬ 
 taries were written on them by later rhetoricians and grammarians. 
 The works of Hermogenes fairly bristle with technical terms, but 
 as he belongs to the school of cut-and-dried rhetoricians rather 
 than to that of the imaginative literary critics, the metaphorical 
 terminology is not large. x 
 
 Photius (IX cent. A.D.), Patriarch of Constantinople, is the 
 last Greek writer to be considered. His fiifiXioOtf/crj, a review or 
 account of some 280 books, contains scattered literary criticisms 
 on writers, mainly ecclesiastical. While his critical vocabulary is 
 neither extremely varied nor copious, yet some references may 
 profitably be made to him. 
 
 We need only mention the chief Roman rhetorical works: the 
 Phetorica ad Herennium (ca. 85 B. C.) ; the lost work of Varro; 
 the rhetorical works of Cicero; the Ars Poetica of Horace; the 
 rhetorical writings of Tacitus and Quintilian. The value of these 
 works is greatly enhanced by the fact that their sources are to a 
 large extent lost Greek works. These writers have been freely 
 drawn upon for illustrative terms and comparisons. 
 
 2. Faded and Unconscious Metaphorical Terms 
 
 How much of the terminology is or can be non-metaphorical 
 is a question which confronts us at the very beginning of our 
 study. Real literary criticism does not begin until a language is 
 practically developed. Thus a critical vocabulary is formed more 
 by appropriating and borrowing words and extending their uses 
 than by the invention of terms wholly new. Many of these terms 
 in reality metaphorical are either unconscious or faded. Thus it 
 is difficult in our study to tell where to draw the line sharply in 
 
10 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 the selection of a strictly metaphorical terminology. Striking 
 and conscious images forcibly impress us and are immediately 
 evident. For example, when Dionysius speaks of Plato fioo-Tpvxi- 
 £cov /cal fcreuL^cov tou? StaAoyou?, curling and combing his dialogues , 
 indicating the elaborate care and attention given them, or when 
 Ben Jonson imitating the Roman critics, speaks of a bony and 
 sinewy style, there is no difficulty in the recognition and classifi¬ 
 cation of such figures. On the other hand, weak and faint figures 
 are more numerous, for any expressive word may have been used 
 with varying shades of meaning before it is employed by literary 
 criticism. The metaphor is thus minimized through the blunting 
 of the original force. The number of these words is very large. 
 It will be easy, therefore, to criticise any collection of terms 
 because of omissions. But it must be kept in mind that this 
 study is necessarily restricted to the consideration of the more 
 obvious and conscious metaphorical terminology. 
 
 3. Plan of Classification 
 
 It is impossible to make a precise and strictly accurate classi¬ 
 fication of the sources of the metaphorical terminology. A minute 
 subdivision would multiply the categories to an intolerable 
 degree. Nor is it necessary to our study and definition of the 
 various critical terms. For the student of metaphor and simile 
 in literature it is convenient to consider figures under two general 
 heads: first, tropes drawn from the field of Nature, and, second, 
 those having their source in Human Life. So broad a division, 
 however, is of little service to us, for the critical terms drawn 
 from Nature as a source are very few as compared with those 
 which have Man and Human Life as their origin. And this is to 
 be expected; for as oratory and rhetoric with the ancients were 
 regarded as fine arts, the result of painstaking endeavor, so it is 
 only natural to find the results of such human labor criticised in 
 terms originating in the Arts and man’s activities generally. 
 The plan of classification followed, then, is simply to collect in 
 groups terms which belong by virtue of apparent primary use or 
 significance to certain general fields. The order in which the 
 groups are treated is purely arbitrary, but an endeavor has been 
 
INTRODUCTION 
 
 11 
 
 made to place first the simplest images, and then groups of meta¬ 
 phorical terms which were suggested by an ever developing and 
 advancing civilization. So we consider first the terms from 
 Nature; then, in Human Life, we may naturally place near the 
 first Man’s Physical Constitution and his participation in War 
 and Athletics; then Youth, Age, and Sex; Social Status; the 
 Sense of Taste ; Deities and Religion ; the Theater ; Mental and 
 Moral Characteristics. It is convenient, last of all, to treat of the 
 Trades and Arts, from which general field a very large number 
 of critical terms and comparisons are borrowed. 
 
II. CLASSIFICATION AND DEFINITION OF 
 
 THE TEEMS 
 
 1. Terms Derived From Nature 
 
 We have already noted that figurative critical terms drawn 
 from Nature are few in number as compared with those having 
 their origin in Man and Human Life. Under the above heading, 
 however, the following classes may be considered: (a) Water 
 and its Properties; (6) Heat and Cold; (c) Light and Dark¬ 
 ness; (d) Weight, Height, and Length; (e) Flowers. 
 
 A. WATER AND ITS PROPERTIES 
 
 With the Greeks and Romans the conception of speech as a 
 stream which flows from the mouth is very common. In fact, 
 with the Romans, the metaphorical force in the expression flumen 
 orationis is weak, so generally is it used in place of the single word 
 oratio. For some exx. see Cic. de Or. 2, 15, 62; 2, 45, 188; 
 de Nat. Deor. 2, 1, 1; 2, 7, 20; Quint. 9, 4, 61; 10, 1, 61; etc. 
 The word flumen means literally merely something that flows , and 
 in application was quite general. 
 
 KaOapds, pure , clear , lucid. L. purus. k . (and its L. equivalent as applied 
 to style) is a metaphor taken from clean, white garments ( Od. 6, 61 of efyiara 
 and Verg. Aen. 12, 169, toga pura); and also perhaps more frequently, from 
 pure, clean water. Isoc. 5, 4, KaOapQ s used of X^ts. In Arist. a synonym of 
 e\\T]vit;eiv = idiomatic. Common term later. In Dion. H. de Lys. 2, Kad. is 
 given as a striking characteristic of Lysias’ diction. Vb. Kadapefciv; noun, 
 KaOapoTTjs, purity. In Hermog. ir. Id. chap. 3 (Spengel, Rhetores Graeci 2, p. 275) 
 it is an element of <ra^ma, lucidity. Opposed to Kadapdrrjs in diction or style 
 is 0o\ovcr0ai, to be turbid , properly of troubled water; Longin. 3, 1: Cf. 
 Horace’s famous disparaging comparison of Lucilius to a muddy stream. 
 (Serm. 1, 4,11). 
 
 KaTa<t>opiK6s and iwKpopLKds seem to have their origin in the rush or down¬ 
 pour of water, rain, etc. KaTa<|>opiK6s \6yos = an invective. L. oratio vehemens. 
 Ka.Ta<t>opd , Hermog. (Sp. 2, p. 249). Kcnatpopeiv , PI. Rep. 587 E, of pouring 
 forth a stream of arguments. 
 
 diroKvpaTtteiv, lit. to swell with waves. Met. in Dion. H. de Comp. 23, p. 
 212, of a harsh arrangement of words. L. perturbare sonum. In the same 
 chapter StcuraXetfe iv is used in the same sense. 
 
 12 
 
CLASSIFICATION AND DEFINITION 
 
 13 
 
 Siavy^s, translucent, transparent. L. pellucens. Dion. H. Ep. ad Pomp. 
 2, p. 758, of the language of Plato when he uses the plain style. 
 
 icpowds, lit. a spring. Of a torrent of words, Ar. Ran. 1005; cf. also Eg. 
 526 ff. and Cratinus (Fr. 186, Kock). ira^Xatav, to boil, of the sea. Of a 
 speaker, to bluster. Freq. in Ar., e. g., Av. 1243; Pac. 314, of Cleon. 
 
 KaTavrAtio-at, lit. of pouring water over one; also, a medical term, of 
 fomentations. Met. to flood with words: Ar. Vesp. 483; PI. Rep. 344 D; 
 Lys. 204 D; Longin. 12, 5. 
 
 pciv, lit. of water, to flow. Of language, Dion. H. Ep. ad Pomp. 6, p. 786, 
 t)8£us Kai naXcLKus ptovaa, of the diction of Theopompus. Phot. Bibl. 94, 
 X^is ptovo-a icai pa\aKi]. Ibid. 119; 141. Philostr. V. Soph. 1, p. 482. Cf. L. 
 flumen orationis. cvpovs, flowing well or easily. L. oratio pulchre fluens. 
 Dion. H. de Comp. 23, of X^is. 
 
 vypds, lit. fluid, running, of liquids. Of style, smooth, fluid. L. fluidus. 
 Also with meaning soft, pliant, supple. L. mollis. Alcid. irepl o-ocpio-ruiv 16; 
 Dion. H. de Dem. 20, p. 1013, bypa op.aX'/i, Kai tiairep eXcu ov axJ/ocprjTl 8ia tt\s 
 aKoijs ftovaa. Cf. PI. Theaet. 144 B for the figure. Longin. 34, 3. Cic. de 
 Or. 2,15. 
 
 vSap^js, watery, dilute, feeble, weak. Met. in ^Esch. Arist. Poetics 26, 
 v8. fivdos. Dion. H. de Dinarch. 11, 88. x a P a sr^p. 
 
 X«v and its derivatives furnish a number of words designating speech 
 and style, from the idea of water continuously flowing. So L. fundere; cf. 
 Nagelsbach Stil. p. 531. kcxv^vos, diffuse. L. fusus. Dion. H. de Isoc. 
 2; de Dinarch. 11, p. 660. aSidxvros, concise, compact. L. astrictus. 
 Longin. 34, 3, of Demosth. Tro\v\ov$, pouring forth words. L. copiosus. 
 Phot. Bibl. 35, et passim. x^K-^ stream, flow; Longin. 13, 1. x^aioXo^ia, 
 plebeian loquacity. x v ^ ai< ^ T7 ? s i Phot, passim, x^^v, in floods. L. 
 
 oratio soluta. Isoc. 238 A and Ep. 9, 5. Arist. Rhet. 3, 9, 3, rd x- opp. to ra 
 plrpa. PI. Legg. 811 D in prose. \v<r\.s, copiousness of speech; Longin. 12, 4. 
 
 Kcpawvvai, to mix, blend, unite styles or elements of speech , etc. L. 
 miscere, temperare. Arist. Poetics, 22, 30; frequent in the Rhetoricians. Cf. 
 also eijKparos, d^paaros and Kpatris. Of almost identical meaning are pci-yvvvcu, 
 to mix or blend. Cf. Isoc. 13, 16, puel^ai trpos aXX^Xas elements of discourse. 
 (ictKTds, blended, compounded. L. mixtus. 
 
 The origin of the terms, p.eiypvvai and Kepawvvai, their derivatives and 
 compounds in the rhetorical writers, is to be found according to Greilich 
 (p. 34) in painting—in the mixing of colors. This seems very doubtful. It 
 is true that the words are found in passages relative to the mixing of colors, 
 there being perhaps no other terms to use in such a connection. But the 
 verbs are of very general meaning and application and are used of mixing 
 and blending things generally, especially liquids, as wine and water (so 
 Kepawvva t). There is little or no metaphorical force in the terms. If any was 
 felt it would likely come, as has been said, from the idea of mixing liquids. 
 
 B. HEAT AND COLD 
 
 Metaphors derived from heat and cold are common in all 
 languages, particularly in literary criticism. Earnest and vehe- 
 
14 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 ment speech is naturally thought of as heated by the fire of passion; 
 as Tacitus says {Dial. 36): “It is with eloquence as with a 
 flame. It requires fuel to feed _it, motion to excite it, and it 
 brightens as it burns.” (Trans, by Wm. Pitt.) So Cicero {Brut. 
 24,93): “Vis et dolor” inflame the speaker, but when “ardor 
 animi” is absent, “omnis ilia vis et quasi flamma oratoris 
 exstinguitur.” 
 
 to Sidirvpov, heat , fire , passion. L. color. Longin. 12, 3 of Demosthenes, 
 and in the same connection, 4K<j>Xc-y€o-0ai, to burn with passion. L. exardescere. 
 Cic. Or. 29, 102. So 0€pfjtos, hot. Of speech, fiery , vehement. L. calidus, 
 vehemens. Philostr. V. Soph. 1, p. 542 ; 2, p. 578. 
 
 Similarly we find the characteristics of literary coldness, or frigidity 
 designated by the terms, t& \Jmxpa, to *|n>\p6v, ^J/oxp6ttjs, frigidity , tasteless¬ 
 ness , tameness. L. frigus. \|n>x.pos, frigid , cold , vapid , tasteless. L. frigidus. 
 See Arist. Rhet. 3, 3 and Longin. chap. 4, for the literary faults which cause 
 frigidity. The verb *|m>x€iv is found in Longin. 12, 3; 27,1. The idea is found 
 early in the Comedians. Cf. Ar. Thesm. 848, of the frigid play, Palamedes; 
 Ach. 138, of the frost that followed the play of Theognis; Eupolis (Kock, 244) 
 <r/cc3/x/m .... a<p65pa i pvxpbv. Isoc. 21 D; PI. Euthyd. 284 E. For the dis¬ 
 tinction between \pvxpfc and /ca/c6^Xos, affected, see Demet. de El. 186. 
 
 C. LIGHT AND DARKNESS 
 
 It is altogether natural to consider a style which is clear and 
 lucid as illuminated by the daylight of perspicuity, while certain 
 literary faults as brachylogy, redundancy, frigidity cause a dark¬ 
 ness and gloom as of the night to obscure the sense. Greilich 
 (pp. 36, 37) classifies the words defined below, e. g., (/>&?, otcoto?, 
 as borrowed from painting, i. e., the light and shade of a picture. 
 Now the metaphorical force in these terms is weak, but it is 
 more natural to suppose that their primary force, when conscious 
 in the mind of the speaker, had reference to the brightness of 
 day and the darkness of night. This is shown by Dionysius, who 
 says {ad Pomp. p. 759), “Certain faults obscure what is clear, 
 and make it like unto darkness .” So Jonson, Timber , l p. 59, 
 “Many writers perplex their readers and hearers with mere non¬ 
 sense. Their writings need sunshine .” 
 
 1 A number of very apt quotations from Jonson’s Timber are cited in the following 
 pages, especially in Section II. These are often very close parallels, from the fact that 
 Jonson drew freely from the ancient critics, translating, imitating, or commenting on 
 passages which struck his fancy. Quintilian is an especial favorite with him; so also the 
 elder Seneca, Aristotle’s Poetics , and Plutarch, as well as the more usual classic writers. 
 (Cf. Schelling ed. of Jonson’s Timber , Ginn & Co.) For Jonson’s manner of “looting classi¬ 
 cal treasuries” see Symonds, “Ben Jonson” in English Worthies, pp. 52, 53. 
 
CLASSIFICATION AND DEFINITION 
 
 15 
 
 <{>«s, of style, clearness, perspicuity, light. L. lux. Dion. H. de Thuc. 9, 
 p. 828 speaks of rb rrfKavyks <pu>s iiceivo ical Kadapbv in narration. Philostr. V. 
 Soph. 1, p. 509, a’acptjvelas <pus h \6yip. Quint. 2, 5, 7, narrandi lux. 
 
 Xapirpos, bright, brilliant, shining, of sun, stars, water, white clothes, etc. 
 So of style, which is brilliant, splendid and conspicuous for any reason. L. 
 splendidus. Arist. Poetics 24, 23, rj \lav \ap.xpa \Qis, an over-brilliant or 
 ornamented diction. Ar. Av. 1388. Hermog. \anrpbs \6yos. Xap.'irpdTTjs, bril¬ 
 liancy. L. genus dicendi splendidum. In Hermog. tt. IS. chap. 9 (Sp. 2, p. 304), 
 XapLirpbTTjs materially assists in producing p.£yedos, grandeur, and a£lwp.a, dignity. 
 
 \cvk6s, light, bright, white. Of style clear, transparent. L. candidus. 
 Phot. Bibl. 193 praises in Maximus rb XevKbv eidos \6yov, genus dicendi 
 candidum, i. e., clearness and purity. Suidas, s. v. ipdpyeia = XevKbrris Kal 
 (pavbTrjs rw v \bywv. 
 
 «p<}>a<ris, a reflection in a smooth surface, then outward appearance. 
 Appearance, impression. Demet. de El. 47, 57. As a rhet. fig. emphasis lies 
 in a statement when it means more than it apparently conveys; cf. Volk- 
 mann, p. 445. 
 
 peXaCveiv, to obscure, blacken, obfuscate. L. orationis lucem obscurare. 
 Dion. H. ad Pomp. p. 759. So cirio-KOTeiv, Arist. Rhet. 3, 3, 8ia\vet. rb <ra,(pbs r<p 
 £m<rKOT€?v. o-Koretvos, dark, obscure. L. obscurus, tenebricosus. Of style, opp. 
 to Demet. de El. 192. Dion. H. de Dem. 35, p. 1064, .ZEschines is said 
 
 to have blamed Demosth. for (XKoreLvbv. Phot. 138. Heraclitus was called 
 6 <tkot€lv6s because of the obscurity of his writings; so Lycophron is called ater, 
 obscure, by Stat. Silv. 5, 3, 157, latebrasque Lycophronis atri. o-kotCJ^iv, to 
 obscure, darken, confuse. Cf. Quint. 8, 2, 18, who says “that the literary 
 fault of obscurity is not new. In Titus Livius there is mentioned an instructor 
 who ordered his pupils to obscure ( obscurare) their language, using the 
 Greek word ‘ <j-k6ti<xov.' ” Jonson Timber p. 63, is doubtless imitating Quint. 
 4,2 et passim when he says: “Rectitudo lucem adfert; obliquitas et cir- 
 cumductio offuscat. Obscuritas offundit tenebras.” 
 
 D. WEIGHT, HEIGHT, AND LENGTH 
 
 In this section we shall consider a number of critical terms 
 which have their origin in the ideas of weight or size of material 
 objects ; in height; and in position, length, or extension. Weighty 
 qualities in style which suggest solidity are generally commendable, 
 at least where gravity and dignity are desired. Greek style, how¬ 
 ever, whether poetry or prose is the medium, is characterized in 
 general by lightness and delicacy of touch rather than by the 
 weighty or the ponderous. As Symonds [Essays, Speculative 
 and Suggestive , p. 194) says, “Ponderosity is not the note of 
 Greek eloquence, yet two great poets, Pindar and iEschylus, 
 revealed the possibility of a massive Greek style.” Excellence, 
 too, is usually associated with height or elevation. So Dionysius 
 
16 
 
 METAPHORICAL TERMINOLOGY OP GREEK RHETORIC 
 
 ( de Dem. 34) says that in Demosthenes, propriety, to Trpeirov, 
 touches the stars. On the contrary, to vtttlov in style, for 
 instance, is a defect, for the word has the idea of loss of height or 
 position, viz., prostration and supineness ; so Eustathius ( ad II. 
 p. 827) aptly speaks of setting upright a prostrate style. 
 
 Weight — 
 
 Pdpos, lit. weight, heaviness. Of language, gravity, dignity. L. gravitas. 
 Dion. H. de Dem. 34, p. 1061. So Papvrrjs esp. in Hermog. Cf. the term epPpid^s, 
 lit. weighty. L. gravis. t 6 tufipidts, of style, weight, gravity, dignity. L. 
 gravitas. Dion. H. ad Amm. 2, p. 793 ; Longin. 9, 3, faPpideis iwoiai. 
 
 o-yicos, lit. bulk, mass, weight. Of style, dignity, pomp, impressiveness, 
 gravity. L. amplitudo, tumor. The word is freely used in both compli¬ 
 mentary and unfavorable senses and the context must often be the guide as 
 to the intended meaning. For the favorable sense, cf. Isoc. 15, 47, £vQvp.i\pja<nv 
 dyKuSea-T^poLs. Arist. Rhet. 3, 6 = amplification, as opposed to avi>Topla, concise¬ 
 ness; idem, Poetics 24, 5, of the massive heroic measure. Demet. de El. 36 in a 
 favorable sense (where 67 /cos and p.£yedos are joined); see also 54,66,77,83. 
 Longin. 8, 3 joins tSv 6jkov Kal t 6 tyrjXbv, dignity and elevation. Id. 15, 1. 
 Hermog. tt. IS (Sp. 2, p. 286) joins 6jkov, p.tye0os and &£l(ap.a. Phot. Bibl. 71. The 
 term 67 /cos often has an unfavorable sense, however. Volkmann (p. 557) is 
 clearly wrong when he says, “Das Wort 6jkos bezeichnet bei den Rhetoren 
 keineswegs, wie unser Schwulst, etwas schlechtes, sondern das os magnum, 
 die sublimitas.” For the meaning, pomp, magniloquence, inflation (causing 
 frigidity), tumidity, bombast (L. tumor) cf. Longin. 3,4; swellings (tiyicoi) both 
 of body and diction are evils. Cf. 30, 2. Demet. de El. 114,119,120, 247. Cf. 
 adjectives, byKTjpbs, SyKibSrjs, viripoyicos, and the verbs by kovv and Sioyicovp. It is 
 convenient to insert here several words, compounds of tmros which contain, in 
 general, the idea of size and bulk, which cause bombast: 'nnrb\o(j>oi (\byoi), At. 
 Ran. 818 ; 1-inrbKprjp.va ( p-f/para ), ibid. 929 ; imrofiapav (pyp. a), ibid. 821 ; imrorvcpla, 
 excessive ornamentation of unimportant subject-matter. Lucian and Diog. L. 
 
 Height — 
 
 Siijppivos, lofty, elevated. L. grandis, sublimis. Hermog. it. IS. (Sp. 2, 
 p. 415). 
 
 v\|n)\os, lofty, elevated (akin to p.eyaXoirpeTTr/s). L. sublimis, magnificus, 
 grandis (Quint. 10,1, 65). Frequent in Dion. H. and Longin. elevation, 
 
 sublimity, loftiness, dignity, grandeur, eloquence. L. sublimitas. Longin. 1,3 
 defines it as d.Kp6rris Kal ifyxi) ris \byo3v. A definition suggested is, “anything 
 which raises composition above the usual level, or infuses into it uncommon 
 strength, beauty, or vivacity.” (Cf. Roberts.) The term goes back to Caecilius 
 at least; see Longin. 1, 1. 
 
 IxeTcwpos, lit. raised above ground, high in air. Of style, inflated, bom¬ 
 bastic, tumid. L. tumidus. Longin. 3, 2 gives examples from Gorgias. Dion. 
 H. de Isaeo 19 of Isoc. in a good sense. 
 
 €VKdpv<|>o$, lit. with beautiful top. Of periods, ending well, having a suit¬ 
 able and rhythmical structure. Dion. H. de Dem. 43 (p. 1093) opp. to tnrnai. 
 
I 
 
 CLASSIFICATION AND DEFINITION 17 
 
 Pa0o$, depth or height. In Longin. 2,1 the profound, a synonym of fr/'os, 
 the lofty. In English Rhetoric, bathos, of course, always has an unfavorable 
 significance, anticlimax; cf. Martinus Scriblerus, xepl pdOovs: Or of the Art 
 of Sinking in Poetry (Elwin and Courthope’s edition of Pope’s Works, X, 
 pp. 344-409). 
 
 Position, Length, Extension — 
 
 virnos, lit. fallen on the back, prostrate, supine. Of language or style, 
 languid , spiritless, slow, flat, tedious, nerveless. L. supinus. Quint. 10, 2,17. 
 rb tnrnov, negligence, carelessness. L. tarditas, languor, absence of force or 
 energy. So vxtlSttjs. Verb, \nrrid£€tv, to be negligent or careless. Phot. Bibl. 
 79. Philostr. V. Soph. p. 495. Frequent term in Dion. II. as a fault of 
 style. Cf. de Isoc. 2. Hxna de Dem. 18. Hermog. x. Id. 2 (Sp. p. 412), 
 “Isoc. has no yopybrrjs, but rather rb \jxtlov .” 
 
 Xajxaiire'nrjs, low, mean, vulgar, groveling. L. humilis. Lucian, Hist. 
 Conscr. 16. Phot. Bibl. 97; 180. Horace’s serpit humi, A. P. 28 and sermones 
 repentes per humum, Ep. 2,1, 251, may be compared. 
 
 orxoivoTcvfjs, lit. stretched out, like a rope or measuring line. Of style, 
 stretched out, long, prolix; cf. Eng. term wire-drawn , of spun-out style. 
 Pind. Fr. 47, (rxotwr^ma aoiSd. Hermog. x. evp. Sp. 2, p. 244; Anon. x. crx • Sp. 3, 
 p. 113; Phot. Bibl. 192; 164; 177. 
 
 op0os, straight, direct. L. rectus. Opp. term is a-yieuXos, lit. crooked, 
 curved; met. of style, involved, intricate. L. contortus, intricatus. 
 
 a^eX-fjs, lit. even, smooth. Of plains, Ar. Eq. 527 ; of language, simple, not 
 involved. Arist. Rhet. 3, 9; see Cope’s note. Of style, plain, simple. Dion. 
 H. ad Pomp. 2, p. 758, rb a<pe\ts and dQtXeia, plain, simple style. L. simplicitas. 
 Cf. Quint. 11, 1. Lysias is the great exemplar of rb acfieXts. ij d0e\->Js, also 
 designated i] \t ri] in Dion. H. de Dem. 2, is Cicero’s genus tenue {Orator). The 
 diffuse style of the speech On Concord (of the Sophist Antiphon) is like to a 
 smooth plain, xapaxXii<na rw v xeSlwv rots XcLols. (Philostr. V. Soph. p. 500.) 
 
 E. FLOWERS 
 
 Greek literature abounds in metaphors derived from flowers 
 and their blossoming. Literary criticism, too, from Isocrates 
 down, frequently designates a figurative, elaborate, or embellished 
 style as flowery. When not carried to excess, such a style is 
 commended by the critics. As Jonson Timber p. 61, says, 
 “Some words are to be culled out for ornament and color, as we 
 gather flowers to strew houses, or make garlands.” 
 
 av0^€tv, lit. to strew or deck with flowers. Met. to use a flowery or florid 
 style. This is expressed in Latin by a met. term of different origin, deping ere. 
 Dion. H. de Lys. 13, p. 481, speaks of the x^P ls of Lysias, dv0l$ovcra tt)v XQiv 
 avroO. Idem, de Isoc. 13. So ixavdlfav, Philostr. 500. Cf. ixavdelv, Dion. H. de 
 Dem. 13, p. 992; Longin. chap. 30. .av0t]p6s, flowery, florid. L. floridus 
 {floribus laetus, Quint. 8, 3, 88). Isoc. 294 E, dvd^pbrepov Xtyeiv. Dion. H. de 
 
18 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 Dem. 18, p. 1007; idem, de Comp. 21. The y\a<pvpa fj avd-qpa app.ovla, the smooth 
 or florid, is one of his three styles or modes of composition ; characterized in 
 L. by various terms, lene, hitidum, suave, compositum, medium. av0o$, flower. 
 L. flos. Dion. H. Ep. ad Pomp. 2, p. 759; Longin. 10, 4; Anon, in Sp. Rh. Gr. 
 1, p. 323. For flowers ( flores , flosculi) of Rhet., cf. Cic. Sest. 56,119; Quint. 2, 
 5, 22 ; 10, 5, 23; 12,10, 73; Gell. 17, 2, 1. In this category we may discuss the 
 word lirwjjvXXCSes used by Ar. Ran. 92 of petty poetasters. L. and S. follow 
 the scholiast, “Small grapes left for gleaners;” so Ern. “racemi post vin- 
 demiam collecti.” Fritzsche perhaps better takes the word to mean, “vines 
 of rank leafage,” i. e., abundance of leaves but little fruit. Cf. Pope, Es. on 
 Crit. 308-9: 
 
 “Words are like leaves; and where they most abound, 
 
 Much fruit of sense beneath is rarely found.” 
 
 So Quint. 8, Proem. 23: “Too many niceties obscure the sense and choke the 
 crop, as it were, with a superabundance of herbage — sensus obumbrant et 
 velut laeto gramme sata strangulant.” 
 
 2. The Human Body: its Condition, Appearance, Dress, 
 
 Care, Etc. 
 
 One of the most fruitful sources from which the ancient rheto¬ 
 ricians derived critical terms, figurative illustrations of style and 
 rhetorical characteristics is the human body, its appearance and 
 condition, and its constituent parts. The Ps. Plut. irepl iraih. 
 ay&) 7 . 7 says: “Just as the body should be sound and in a 
 healthy condition, so Ao'yo? likewise must be not only free from 
 disease, avoaos, but robust, ei/paxrro?.” So the necessity of health 
 and sanity, bona valetudo, sanitas , salubritas, integritas , in dis¬ 
 course is constantly emphasized in the Roman literary critics. 
 Cf. Quint. 2, 4, 9; 10, 1, 44; 12, 10, 15. Cic. Brut. 82, 284; 
 80, 278; 13, 51; de Opt. Gen. Or. 8; 11 and 12. Tac. Dial. 25, 
 26. Tacitus ( Dial. 21) gives a very striking comparison between 
 oratio and corpus hominis. “Oratio autem sicut corpus hominis 
 ea demum pulchra est in qua non eminent venae nec ossa nume- 
 rantur, sed temperatus ac bonus sanguis implet membra et exsurgit 
 toris ipsosque nervos rubor tegit et decor commendat.” This 
 may be the source of Jonson Timber p. 66: “Where juice 
 wanteth, the language is thin, flagging, poor, starved, scarce 
 covering the bone, jejuna , macilenta , striposa and shews like 
 stones in a sack.” A forcible comparison is given by Pliny 
 ( Ep. 5, 8): “The bare bones, muscles and sinews, ossa , musculi , 
 nervi , suit history; oratory needs swelling brawn and flowing 
 
CLASSIFICATION AND DEFINITION 
 
 19 
 
 hair, tori quidam et quasi iubae Demet. ( de El. 2) compares 
 sentence-structure to the arm and its parts. 
 
 As in the physical constitution there is a striking difference 
 between slender and robust persons, so, by analogy, in types of 
 style the rhetoricians opposed the plain, spare , and meager to the 
 full , ample, and forcible. The metaphor in the following two 
 terms is undoubtedly that of bodily condition. 
 
 t<rxv 6 s, lit. dry, withered, esp. of persons, lean, spare, meager. As one of 
 the three types of style, adpbv , hrxvbv, piaov. Plain, simple, unadorned, spare. 
 L. tenuis (Cic. de Or. 3, 52, 199), subtilis (Quint. 12, 10, 58), gracilis (Aul. 
 Gel. 6,14). Lysias was the typical example of the t<r%. x a P aKT ilP • Cf. Dion. H. 
 de Dem. chap. 11. Demet. de El. 36,183,190 et passim. Dion. H. Ep. ad Pomp. 
 2 , p. 758 (et passim). 1 <txv6tt]s is the noun. Perhaps the statement of Jonson 
 Timber p. 66 may be taken to describe the laxvos %. “There be some styles 
 again that have not less blood, but less flesh and corpulence. These are bony 
 and sinewy, ossea et nervosa; ossa habent, et nervos.” 
 
 aSpos, lit. thick, stout; of persons, large, strong. Of style, sometimes 
 opposed to the laxvos x a P aK1 "i)Pi strong, forcible expression. L. uber and 
 amplus. (Quint. 10, 1, 44; 12, 10, 58, grande atque robustum, quod adpbv 
 vocant.) Uber, grande, amplum, elatum, concitatum. Dion. H. de Comp. 
 4 (Sch. p. 62), adpa vQ'qp.a.Ta. Longin. 40, 4; Aul. Gel. 6,14; Eustath. ad Horn. 
 II. p. 406, 30. The Roman rhetoricians frequently use the words sanguis and 
 sucus to describe fullness, richness, warmth, robustness of style. For 
 sanguis, cf. Cic. Brut. 36,‘‘sucus ille et sanguis incorruptus” (of Attic orat.); 
 ibid. 68 , 283. Quint. 8 , 3, 6 ; 10, 1, 60; 10,1,115; 10, 2, 12; 11, 1, 34. Sucus 
 lit. vital juice, sap of life. Met.: Or. 23, 76; de Or. 2, 88 ; ibid. 93; 3, 96. 
 Brut. 36. Quint. 1, Proem. 24; 10,1, 31. Cf. also Quintilian’s striking phrase 
 (10,1, 32) Livi lactea ubertas, the milky richness of Livy. 
 
 dPpd-rqs, in its earliest use refers to beauty, grace, and delicacy of per¬ 
 sonal appearance. As a term of style it is rather late. Sweetness and charm. 
 L. dulcedo, amoenitas, suavitas. In Hermogenes (Sp. 2, p. 368), d/3 pbrTjs, 
 yXvK&rrjs, ijdovr) and &pa, are almost synonymous terms, and are produced by 
 the same means. Menander, Philostr., Eustath. Cf. Tp\>4>€p6$, delicate, dainty, 
 elegant, effeminate. L. elegans, nitidus. Dion. H. de Comp. chap. 22. 
 
 &Kp^j, most frequently of the prime of life, of greatest strength and vigor. 
 Of style, vigor. L. vigor orationis, vis. In Hermog. t. Id. 1 , chap. 10 (Sp. 2, 
 p. 308 ) a.Kp.i) arises from Xapirphr-qs and rpax^rr) s. ’A/cpatos A670S is a robust, 
 sinewy eloquence which pushes an adversary hard. (Jebb. 2, p. 299). 
 
 •ydvqios, lit. productive, generative, fruitful. L. fecundus. Ar. Ran. 96, 
 7 bvipov di ttol7]T7]v Up oi>x etipois ct l jtlov, i. e, a genuine poet of highest originality. 
 Longin. 31, dpexTiKArarov Kai y bvipov. Menander (Walz 9, p. 154). rb y bvipov, 
 fecundity, native ability in a writer. L. fecunditas, ingenium. Philostr. 
 V. Soph. 2, p. 582; Phot. Bibl. 6 . Of the opposite meaning is dyovos, barren, 
 unproductive, sterile. Plut. 2, 348 B, Ayovos 77-0177x17?. 
 
 tpij/vxos, living, keen, animated. L. sanguinis plenus, vivus, animatus. 
 Longin. 34, 4. Luc. Bern. 14, ip., \byos. So Hermog. Opposite term is & pvxos. 
 
20 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 to cfixjmxov, liveliness, vigor, animation in an orator, Dion. H. de Isoc. 13, p. 560. 
 So Urxvs, originally strength of body. Of style, strength, force , Dion. H. ad 
 Pomp. 3, p. 776. 
 
 kcLMos, beauty of persons, esp. of women. Of style, beauty. L. pulchri- 
 tudo. From Arist. down. Longin 5; Demet. de El. 106,166 et passim. So 
 cv}i.op4>(a, elegance, beauty of form. Dion. H. de Dem. chap. 32. 
 
 Hvkt^p, lit. the nose; from the use of the nose to express ridicule (cf. 
 HVKTrjpLfriv), raillery , sarcasm. Longin. 34, 2 p.. possessed by Hypereides. 
 Quint. 8, 6, 59. So nasus in Lat., Mart. 1, 42,18. From the features also is, 
 64 >pv$, lit. brow. L. supercilium. Of style or diction, exaggeration. Ar. 
 Ran. 925, pr/para 6(ppvs ixovra. Philostr. 
 
 peyeOos, in Homer always of stature, size of persons. Of style, grandeur, 
 elevation. L. magnitudo, sublimitas. Demet., Longin., Hermog. 7r. Id. 1, chap. 5 
 (Sp. p. 286). Phot. (AiKpoTTjs, littleness, meanness , L. parvitas, exilitas , is 
 the opposite term. 
 
 pwjii], bodily strength. Of a writer, force. Of Thuc. in Dion. H. ’A px. 
 K p. p. 425 (R.). L. vis. (Quint. 10,1, 73, of Thuc.) Cf. Dion. H. de Thuc. 
 
 23 ad jin. So crnPapos, virile, robust , synonymous with austere. L. robustus. 
 <r. X^ts, de Thuc. 24; de Comp. 22. 
 
 xa-xos, swiftness of foot of animals and men. Rapid movement, rapidity 
 of language. L. celeritas. Arist. down. 
 
 tovos, intensity, energy. L. vis, robur, nervi orationis. Dion. H. de Thuc. 
 chap. 53; de Isoc. 13. Longin. 9,13, and 34. So cvTovia, Dion. H. ’Apx- K p. 
 2, 3. drovos, languid. 
 
 «pa, freshness, vigor and beauty of youth. Of style, freshness and beauty. 
 Dion. H. ad Pomp. 2, 4. 
 
 For these positive qualities of style, cf. L. nervus, vis, vires, vigor, nervi, 
 lacerti, ossa, robur. Similar English terms are: Animated, full-blooded, 
 full-bodied, hearty, lively, lusty, muscular, nervous, robust, sinewy, strenuous, 
 supple, vigor. 
 
 Weaknesses and faults of style are aptly designated by striking 
 
 terms properly applied to impaired bodily condition. Cf. the 
 
 English terms, cold-blooded, emasculate, exhausted, feeble, flaccid, 
 
 invertebrate, languid, lax, loose-jointed, meager, nerveless, weak. 
 
 avxp-'npfe, lit. dry, dirty, squalid, rb avxpypbv and 6 avxpbs refer to a dry, 
 meager, spare, jejune style. L. squalor, siccitas. Used esp. by Dion. H., cf. 
 ’A px. K p. p. 431, of Lysias, rb avxpypbv iK-n-ecpevyds; de Dem. chap. 44; de Thuc. 51. 
 A synonym is pvuapos, dirty, sordid. Longin. 43. 5. 
 
 pXaKtoS^s, lit. lazy, indolent, rb /SXa/ctDSes, Phot. Bibl. 94, of the slack, 
 languid character of the diction of Iamblichus. Similarly p.a\a»c6s of habit of 
 life, soft, languid, pleasant, lazy. L. mollis. Isoc. 5, 149 asks pardon if his 
 discourse be paXaKurepov , somewhat languid, feeble. So 12, 4. Arist. Rhet. 
 and Dion. H. So also iiaXdaKbs. 
 
 axjruxos, lifeless, lacking in spirit. L. inanimus, exsanguis. Dion. H. de 
 Dem. p. 1012, &\pvxos SlAXcktos. So diro\|/vxa. Longin. 42, cf. TcOvrjKds, dead, 
 lifeless. L. vita carens. Eunap. Vit. Liban. p. 98 (170), 6 \6yos avr£ .... 
 
 iravreXCos aadevTjs Kal Tedw]K<hs Kai Attvovs. 
 
CLASSIFICATION AND DEFINITION 
 
 21 
 
 virowo-T&Stiv, L. dormitare. A writer who occasionally lapses from his 
 usual excellence is sometimes conceived as nodding or napping. The best 
 known passage is Horace’s criticism of Homer, A. P. 359: “Et idem indignor 
 quandoque bonus dormitat Homerus.” Pope, however ( Essay on Criticism), 
 tells us, “Nor is it Homer nods, but we that dream.” Cicero claims that 
 Demosthenes occasionally “ snoozes; ” cf. Plut. Cic. 24. So Quint. 10, 1, 24: 
 “ Ciceroni dormitare interim Demosthenes, Horatio vero etiam Homerus ipse 
 videatur.” So 12,1, 22. See Longin. (33, 4) on this topic. 
 
 Ka,Ta<rK€\€T€V€iv, lit. to reduce to a skeleton. Pass, to be robbed of flesh 
 and blood. Isoc. 15, 268. Longin. 2,1: “Works of nature are made worse 
 and feebler, when wizened by the rules of art.” (Rob.) KarcurKeXris, Dion. H. de 
 Isoc. chap. 2. So Quint. Proem. 24 and Taine, of Tillotson : “What a style! 
 It is a skeleton with all its joints coarsely displayed.” 
 
 Sao-vTT]$, lit. shaggy, covered with hair. In Gram, roughness, aspiration. 
 L. asperitas. Arist. down. Adj. 5a<ri/s. Opp. is \Jm.Xottjs and \JnX6s, lit. bald. 
 Smoothness. L. lenitas, lenis. In Gram, of smooth breathing. ^tX6s \6yos, 
 bare, unadorned prose, as opposed to poetry, clothed in meter, Arist. Rhet. 3, 
 
 2, 3. PI. Menex. 239 C. 
 
 4£ao-0€v€tv, of physical weakness. Of composition, to fail in strength or 
 vigor. L. deficere, adj. enervatus. Demet. de El. 50; ibid, rb aadevts. Diod. 
 20, 78. 
 
 iraxvs, of large, stout bodies, of fat persons, opp. to laxvbs. Arist. Politica, 
 
 3, 2, 1, 7r ax^ws bpl£e<rdcu, to define roughly. Dion. H. Ep. ad Pomp. 2, p. 759, 
 coarse, heavy , of Plato’s language when he uses unusual phraseology and 
 embellishments. Dion. H. de Isaeo 19. rb irax^ tends to frigidity. Hermog. 
 and Rhetors. Cic. Or. 8, 25; “opimum quoddam et tamquam adipatae dic- 
 tionis genus.” So Aul. Gel. 17, 10, opima and pinguis. Cic. Arch. 10, 26. Cf. 
 Jonson Timber p. 65: “We say it is a fleshy style, carnosa , when there is 
 much periphrasis and circuit of words ; and when with more than enough it 
 grows fat and corpulent, adipata, redundans; arvina orationis , full of suet 
 and tallow.” 
 
 KoXopos, lit. docked, curtailed, mutilated. L. curtus, mutilatus. Arist. 
 Rhet. 3, 8, of periods. 
 
 k««|>6s, lit. dumb, mute. L. mutus. Demet. de El. 68, a-6vde<ns Kwcpii, of a 
 composition lacking in euphony. 
 
 £rjpos, lit. dry. Of bodily condition, Eur. El. 239. Arid. (Rob. suggests 
 dry, bloodless, sapless, lifeless, bald, jejune.) L. aridus, siccus, ieiunus, 
 exsanguis. Isoc. Tech. Fr. 6. Demet. passim. £tip6ttis, Longin. 3, 3. 
 
 X<oX6s, lit. lame in feet, halting. L. claudus. Demet. de El. 301, “Hip- 
 ponax, wishing to abuse his enemies, shattered his verse and made it limp, 
 iiroL-rjaev Cf. x^X^a/ijSos, L. choliambus, scazon. Demet. 18. Cf. Ascham 
 
 3, p. 251: “Carmen hexametrum doth rather trot and hobble than run 
 smoothly in our English tongue.” English is rich in terms taken from 
 impeded bodily progression to denote defects in the movement of language 
 or verse. E. g., club-footed, creeping, dragging, floundering, halting, hob¬ 
 bling, lame, limping, lumbering, jog-trot, rambling, shuffling. For opposites, 
 cf. leaping, nimble, skipping, sprightly, vaulting. 
 
22 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 Dress, Toilet, etc .—The literary critics and rhetoricians often 
 regard style as a person who is decked out in seemly or unseemly 
 garb, or who has made use of all the resources of the toilet-table. 
 The investiture of words should be a becoming one, however, and 
 not effeminate and luxurious, as Quintilian warns us in 8, Proem. 
 20. So, also, Dion. H. de Dem. 18, p. 1008: “Just as there is a 
 becoming raiment for the person so there is an appropriate 
 expression for thoughts.” 
 
 Koo-fjios, ornament, embellishment, dress. L. mundus, ornatus, is often 
 applied to the ornaments of speech. See Causeret, p. 172. Isoc. 9, 9 says: 
 “To the poets there are given voWol Kbapoi and these may be &voi, kcupoI, nera- 
 <popaL or any other embellishments.” Kbo-pos is almost a technical term in Arist., 
 cf. Poetics 21, 2; 22, 3, and 22,10, “ Kbapos is appropriate to prose as well as 
 verse.” Rhet. 3, 7, “ Kbapos is not to be added to a mean word as Cleophon 
 does; e. g., TrbTPia avici ).” Verb Ko<rp,€iv in Arist. Rhet. 3, 2, \$;is KCKoaprjphr] is 
 opposed to X. Tonreivi]. Cf. Isoc. 5, 27; 9, 5; 9, 9; 9, 76; Ep. 9, 5. Ar. Ran. 
 1027, Koap-rjaas cpyov Apiarov, i. e., H5sch. Pers. PI. Apol. 1. Demet. de El. 106 
 et passim. cmKoo-|mv, to adorn, embellish. L. ornare. Demet. de El. 106. 
 
 ko^os, lit. well-groomed, or dressed. Neat , elegant, superfine. L. comp- 
 tus. Cf. Norden, 1, p. 69, “ k. zierlich dann uberhaupt geistreich stammt aus 
 der alten Sophistenzeit.” Kop\J/bs = L. bellus. Cf. Dion. H. de Dem. 40; Ep. 
 ad Pomp. p. 759; de Isoc. 12. Ar. Eg. 18, Kop\f/evpnriKu>s, refined Euripidean. 
 KO(jn|f€V€o-0ai, to adorn language in a charming manner, to embellish. L. 
 nitida, comptaque oratione uti. Dion. H. de Isoc. 14, p. 564. Kop.\|/€£a, 
 daintiness , elegance. L. elegantia. PI. Phaedo, 101 C; Demet. de El. 36. 
 aK6|i\|/€UTos, unadorned, not refined. L. incomptus, unkempt , in disarray. 
 Cie. de Or. 1, 234; ad Att. 2,1,1; Quint. 8, 6, 41; Hor. A.P. 446. Cf. Cic. Or. 
 23, 78, Oratio compared to a mulier inornata. Dion. H. de Comp. 22. ko|i\|/6- 
 ttj$, elegance of language. Isoc. 12,1; 15, 195. |UKpoKop.\|/ov, tricked out with 
 small ornaments, finical. L. bellulum. Cf. Dion. H. de Comp. 
 
 to €v£am>v, lit. well-girdled, is a term taken from dress. Of style, graceful 
 slenderness. Hermog. tt. 18. (Sp. 2, pp. 286 and 290). In this style, ptyedos is 
 lacking, hence it may be almost synonymous with to etb-eXtls. 
 
 p.vpo0T)Kiov. Cic. says (ad Att. 2,1,1) that he lavished on a Greek version 
 of the story of his consulship totum Isocrati pvpodrjKiop, atque omnes eius dis- 
 cipulorum arculas, all the fragrant essences of Isoc. and all the little perfume- 
 boxes of his pupils. 
 
 KaX\(o<ir^€o-0ak, lit. to make the face beautiful. Of language, to elaborate, 
 to polish and adorn. Dion. H. de Dem. 18, p. 1008, Sia tw v dearpiKup <rxvn6- 
 tuv Ka\\u)irl^€Lv rbv \byov. Hermog. Ka\\wir£o-p.aTa, adornments. L. mundus 
 orationis. Dion. H. de Thuc. 46, p. 928. 
 
 irepiPoXri and irepipdXXeiv are metaphorical terms derived from dress. In 
 Isoc. 5,16 i] ir. tov \byov, “ the compass of the matter,” the sense is perhaps 
 rather from TrepifidWeiv, to inclose, but in Philostr. V. Soph. (511) vepipoXr) is 
 equivalent to L. amictus, dress, rd ... . diKaviKbv ao<pi(TTiKy irepi^o\ri iKbo’prjo’ev. 
 In Hermog. tt. 18. 1, chap. 11, tt. = amplification. 
 
CLASSIFICATION AND DEFINITION 
 
 23 
 
 ko\ttw 8 t| 5 } diffuse. L. sinuosus. Of discourse, Dion. H. de Dem. 18, p. 
 1007. The metaphor is probably from puffed out and flowing vesture, as is 
 seen from chap. 19, ravra KeKoXirojp.bi'a (T(f>lyt;cu fxdWov evijv, “ the drooping folds 
 might have been pinned up more neatly.” (Jebb.) 
 
 Poo-Tpvxttnv and ktcvC^iv are two interesting terms found in Dion. H. de 
 Comp. 25, 6 db II Xdruv robs eavrov SiaXSyovs Krevlfav ical (iotTTpvxlfav, Plato, Comb¬ 
 ing and curling his dialogues. £., lit. to curl or dress the hair, hence of lan¬ 
 guage, to adorn, elaborate, ktcv^iv, to comb, to devote an excess of care and 
 attention to composition. Cf. Cic. Or. 23, 78, calamistri, lit. curling-irons, i. e., 
 rhetorical adornment. Also Brut. 262; Tac. Dial. 26. Cincinni, de Or. 3,25, 
 100. Quint. 8 , Proem. 22, protests against eloquence employing the manicure 
 and hairdresser. 
 
 A few w'ords of miscellaneous origin applied to literary embellishments 
 are k» 8 «v, lit. a bell on the trappings of a horse ; of style, excessive ornamenta¬ 
 tion, jingling. L. tintinnabula. So Tac. Dial. 26, tinnitus, jingling style. 
 See Longin. 23, 4. Cf. kpotoXov, castanet, of a talkative fellow, Ar. Nub. 259. 
 Ibid. 448. ponriKos, pain-os, petty wares, rb puTrucdv, Longin. 3, 4 is, in style, the 
 tawdi'y, cheap gloss, trumpery ornamentation. Cf. also Plut. and Polybius. 
 The following English terms designate over-adornment or embellishment; 
 gaudy, painted, tawdry, tinsel, finery, over-jeweled, high-colored, brocaded, 
 embroidered, gloss, jingle. This style is well described by Pope, Essay on 
 Criticism, 293: 
 
 “Poets, like painters, thus, unskilled to trace 
 The naked nature, and the living grace, 
 
 With gold and jewels cover evr’y part, 
 
 And hide with ornaments their want of art.” 
 
 3. Athletics, War, and the Sea 
 
 Athletics .—When we consider the importance and prominence 
 of athletics and war in the training and life of the Greeks, we 
 should not be surprised to find even more terms than we do from 
 this source, as the orator is frequently compared to a fighter or 
 wrestler. 
 
 d0XT]T^s, L. athleta. Lit. a combatant, fighter, and then one who is well- 
 versed, practiced, or master of a subject, e. g., rhetoric. Dion. H. de Isoc. 11, 
 Trjs Karacncevyjs &0 Xt]tt]v lax^pdrepov, as a master of elaboration Isoc. is superior 
 to Lysias. Id. de Dem. 18, ddXtjral rrjs dXrjdivrjs Xb&ios. 
 
 d'yamcTT'fjs, a fighter, combatant in political and judicial contests. Isoc. 
 13, 15 ; PI. Phaedr. 269 D, a/yamo-r^s rbXeos. Dion. H. ad Amm. 1, 2, dyuvurTal 
 Xbyuv pyiTopiK&v. Id. de Isaeo 20, says of Antiphon, dyuviarris Sb X&yuv otire 
 <rvpL(3ovXevTiKu)v oire diKaviKuv ear t. a-ywv, contest in assembly or law-court and 
 the speech delivered in these places. L. certamen, contentio. Dion. H. ad 
 Amm. 1, 2 (p. 721) of Demosth. orations, et passim. d-yomo-TiK^ (X^ts) is the 
 controversial style used by speakers in political and judicial contests. L. 
 genus dicendi contentiosum, opposed to the ypatyiKT) X<?£is in Arist. Rhet. 3,12,1. 
 
I 
 
 24 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 cva-ywvios (\6yos), a speech in a contest of a controversial character. L. con- 
 tentionibus aptum dicendi genus. Dion. H. de Isaeo 20; de Thuc. 23; de 
 Bern. 18. On rb tvaydviov, the art of grappling, see Jebb. 2, p. 305. d-ycovItearOai, 
 Alcid. 7r epl aocpLarCov 25, rois /nerct tOjv ypairruv dyuvi{opL£vois \6ycjv. 
 
 irpo-y\j|ivd<r(jiaTa, lit. preparations for war (Ath. 631 A); in Rhetoric, pre¬ 
 liminary exercises for training youths. L. exercitationes. Hermogenes was 
 one of the numerous writers of xpoyvp.vdap.aT a. 
 
 Wrestling gives us the following terms: iraXcdo-Tpa, lit. a wrestling 
 school. Met. of the School of Socrates, Longin. 4, 4. So the L. ludus , a 
 training-school for children and gladiators, was used of orators; cf. Cic. de 
 Or. 2, 94 of the school of Isocrates. ird\cu<r|jLa, a bout at wrestling. Ar. Ran. 
 878, xa\alapara = lists, of the poetical contest between ^Eschylus and Eurip¬ 
 ides. Ibid. 689, x. — tricks, x. ducaarrjpLov, trick of the court-room, iEschin. 
 83, 16, legal contest, = contentio. Hermog. x. ped. Seiv. to evirakaio-Tpov, 
 Longin. 34, 2, of Hypereides, skill in contests of irony. XaP^j and d<j>^, a grip 
 or hold, of pugilists and wrestlers, grasp, hence oratorical power and strength. 
 Dion. H. de Dem. 18. Xa/S^, ibid. 20. a de Lys. 13. irpoc^ayKtovO^iv, of 
 boxers, to move the arms before fighting. Of beginning a speech with a 
 procemium, Arist. Rhet. 3, 14. Xvyio-jioC and o*Tpo<(>a£, twistings and turn¬ 
 ings of wrestlers to avoid a blow or hold. Of Euripides’ sophistical devices, 
 Ar. Ran. 775. 
 
 cvo-toxos, hitting the mark, aiming well, is from archery or javelin-throw¬ 
 ing. Of Hypereides, Dion. H. ’A px. K p. 5,6. In Diog. L. 6, 74, ready at repartee, 
 of Diogenes Cyn. So cvOiktos. ebO. xpoolpia, Hermog. x. evp. 1, 2. 
 
 Grjpdv, to hunt, pursue, aim for, is a term from hunting. L. venari. Ar. 
 Nub. 358, 6iward \6yuv <t>i\opobauv. Dion. H. de Dem. 40, t^v eixpuvlav dijpcap^vrj. 
 Ath. 3,122 C. Cicero is fond of the term aucupor, lit. to snare or trap birds. 
 Cf. Or. 19, 63; de Or. 2, 30, of Rhetoric. 
 
 TrcptiraTos, lit. a walking-about. The beginning of its metaphorical use as 
 a rhetorical term, meaning a discourse during a walk, then simply argumenta¬ 
 tion or disquisition, L. disputatio, is seen in Ar. Ran. 953: touto pbv iaaov, <3 
 rav • od aol y dp ian irepLiraTos ndWicrra irepl ye totjtov. t. = Siarpi^ii according to 
 the Scholiast. Both the primary and transferred meanings are seen in the 
 use of the word in Ran. 942. Later ol £k tov x epnrdrov is the designation of the 
 Peripatetics, school of Aristotle, nepbrarov xoLeiadcu \6yuv, Introd. to 2 Mac¬ 
 cabees (B. II, 30). Cf. Philologus, Band LXIII, Heft I, p. 7, Radermacher. 
 Verb ircpiiraretv, lit. to walk up and down, then to walk about while teaching. 
 PI. Ep. 348 C ; Diog. L. 7,109; then simply, to discourse. 
 
 War — 
 
 KaraarpaTiryciv, of an orator, Dion. H. de Isaeo 3, k. robs dacao-rds. Kara- 
 Tpfyciv, lit. to run down, to ravage, lay waste. Of a speaker, PI. Legg. 806 C. 
 Cf. £iriTp£x €lv i ixirpoxd^eiv, £xirp6xa\os, ixirpoxdd-rjv, which have the meaning, 
 to run lightly over, to touch lightly on a subject, to treat cursorily. L. 
 negligenter narrare. KaTaSpop/fj, an invasion, inroad, is an oratorical assault, 
 an invective. L. impetus, vehementia. iEschin. 1,135; PI. Rep. 472 A ; Dion. 
 H., etc. So KOLTadelv, PI. Theaet. 171 C. £p.p<>X-fj, assault, attack, of an orator, 
 Longin. 20, 3. 
 
CLASSIFICATION AND DEFINITION 
 
 25 
 
 licSpo^, a sally, charge. In speaking, a digression. L. digressio. Cf. 
 also irapeKdpOfjnfi , ^/c/SoXt). 
 
 cvo-toA^s, of armies, well-equipped. Also of dress. Demet. de El. 14, of 
 the old method in writing, clean-cut. L. succinctus. 
 
 Tdfjis, lit. the order or disposition of troops or an army. In Rhet. y rov 
 \6yov tc££is, as opposed to its matter, order. L. ordo, dispositio orationis; die 
 oratorische Taktik (Ern.). Alcid. irepl (toQkjt&v, 33. Isoc. Arist. Rhet. 3, 12. 
 Longin. 20, 3; ^Eschin. 3, 205; Dem. 226,11. ara£la oltcovopLas , Dion. H. ’Apx. 
 K p. 3, 2. Quint. 2,13 (3, 4 and 5) gives an elaborate comparison between the 
 disposition of an army and that of discourse and the analogous duties of 
 general and orator. 
 
 ire^os, lit. on foot, as opposed to a horseman. Met. of language, in prose, 
 prosaic, pedestrian. L. oratio pedestris. PI. Soph. 237 A, t reft re d>5e eKdarore 
 \4yiov icai tiera pirpuv. Luc. Hist. Conscr. 8, iref?) ns Tron)TLKTfi , of bombastic his¬ 
 tory. Demet. de El. 90, 93,167; Dion. H. ad Amm. 2, 2. Quint. 10,1, 81. Cf. 
 Hor. Sat. 2, 6,17, where Palmer says : “ the metaphor is from a person soberly 
 jogging along on foot contrasted with the dashing pace of a mounted cavalier.” 
 The truth of this is shown by some examples given by Norden (1, p. 33): In 
 Lucian ( Demosth. Encom. 5) Dem. champion says to the defender of Homer: 
 “ It is clear that you are considering poetry only, and despise rhetorical dis¬ 
 courses precisely as the knight riding with infantry.” So Aristides, Or. 8 
 (Vol. I, p. 84, Dind.): “It is more natural for a man to use prose, tt efe \6y<p, 
 just as to walk, I think, is more natural than to ride.” 
 
 rjvla, reins, L. habenae orationis. PI. Protag. 338 A, xaXdo-ai ras yvlas rois 
 \6yois. Philostr. V. Soph. 2, p. 570, gives an interesting figure: “Alexander’s 
 fingers were long and well suited to handle the reins of discourse.” 
 
 XaXivds, bridle, bit. L. freni. The curbing bit is a very frequent figure 
 in Greek and Latin. It is particularly common as applied to orators and 
 eloquence. Suidas (s. v. 'EQopos) tells us that Isocrates said that “ Theo- 
 pompus needs the bit, but Ephorus the spur.” This statement is found in 
 Cic. de Or. 3, 9, 36; Brut. 204 ; ad Att. 6,1,12; Quint. 2, 8, 11; 10, 1, 74. Cf. 
 Diog. L. 5, 39. Cf. Plin. Ep. 9, 26, 7, “laxandos esse eloquentiae frenos.” 
 Longin. 2, 2 says of the sublime, “ that it often needs the spur, Karpov, but 
 often, too, the curb, &x&Xivo$, unbridled, uncurbed. Ar. Ran. 837, 
 
 the ax. arbpa of ^Eschylus. Eur. Bacch. 385. 
 
 K^vrpov, spur, goad. L. calcar, aculeus. In style is sting, incisiveness, 
 pungency; so 6&tt )s and rop.ii. Philostr. V. Soph. p. 511. Lucian, Demosth. 
 Encom. 20, attributes to Pericles 7rei0ovs n Ktvrpov. So Eupolis Fr. 94. (Kock). 
 aKcvrpov, pointless, devoid of force. Longin. 21,1. 
 
 The tongue or the keen thought expressed by it may be considered a 
 sharp, pointed weapon, or instrument which does execution by its incisiveness. 
 So in Aristophanes (Nub. 1160) Strepsiades comically speaks of his son ap<f>i)Kei 
 y\Arry \dpnuv. So ibid. 321, Strepsiades’ soul longs to prick or puncture 
 acute opinion with opinion. So the L. pungere or compungere. Cf. Cic. de 
 Fin. 4, 3, 7. 
 
 TptyriKds, lit. cutting. Met. trenchant, incisive, concise. Dion. H. de 
 Dem. 58, Dem. uses ry rpyriKn fipaxvKoylq.. rp. ri/iros, Hermog. Anon. (Sp. Rh. 
 Gr. 3, p. 139) has a chapter 7 repl rpyriKov ax^ip-uros. Top,^, conciseness, Eunap. 
 
26 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 19, 3 (Didot ed., p. 461), and o-uvropla, conciseness , L. succincta brevitas and 
 concisus are common from Isoc. and Aristotle down. On the other hand, the 
 point or edge of a sentence or thought, like that of a weapon, may be dulled 
 or blunted; so djxpXvveiv, to blunt, dull, take the edge off. L. obtundere, 
 hebetare. Demet. de El. 249. 
 
 The Sea .— Greek life and history without the sea and naviga¬ 
 tion can scarcely be imagined. The literature abounds in allusions 
 to and figures from this source. Yet critical terms of nautical 
 origin are few. Among the Roman critics Quintilian, Praef. ad 
 Tryph. 3, speaks of “giving sail to the winds and praying 
 success as we loose the cable.” Id. 7, Proem. 3: “Speech lacking 
 in dispositio is confused and floats like a ship without a helmsman.” 
 
 X€ifJL<x£€<r0<H, lit. to be storm-tossed, esp. on the sea. Of an embarrassed or 
 labored style, PI. Phileb. 29 B; Dion. H. Ep. ad Pomp., p. 760. 
 
 liroKeXXtiv, lit. of a ship, to run ashore, aground. Longin. 3, 4 of writers 
 who run aground on the tawdry and affected. This word, or rather QontWeiv, 
 is frequently used figuratively; cf. Isoc. Ep. 2, 13 drifting into a long dis¬ 
 course. Id. 15, 268 ; 7, 18. 
 
 4. Youth, Old Age, and Sex 
 
 Youthful qualities in style may add spirit and force, but for 
 the most part contribute undesirable and injurious elements, viz., 
 over-elaboration or tawdry ornamentation, causing frigidity or 
 injudicious innovations the reverse of elevation. 
 
 (jL€ipaKi»8r)s, youthful. Of style, puerile, affected, foppish, sophomoric. 
 L. puerilis. From Arist. Rhet. 3,11 (where it does not have an invidious sense) 
 down. Cf. Norden, 1, pp. 69, 70. vcaviKos, to vcaviKov may imply either praise 
 or blame. Cf. veapbs. to iraiSapiuSEs, childishness, puerility. L. puerilis 
 affectatio. Longin. 4,1. Dion. H. ad Pomp., p. 787. TraiSidSrji, of Theopompus’ 
 childish digressions. 
 
 Kopu£a, lit. running at the nose. Met. driveling. PI. Rep. 343 A. Polyb. 
 and Luc. 
 
 The characteristics of old age as well as those of youth may cause faults 
 which are to be condemned. As Demet. de El. 7 says, oi ytpovres fxa.Kpo\6yoi 8ia 
 tt]v acrdheiav. to irpeo-pvTiKov, L. senile dicendi genus, is characterized by 
 slowness and prolixity. Isocrates was a favorite example; cf. Hermog. i r. 18. 
 2 (Sp. 2, p. 412). 
 
 Terms denoting sex which are used in criticism are: dv8p»8ris, virile, 
 masculine. L. virilis,validus; cf. Quint. 5,12. The opposite term, feminine, 
 effeminate, which is very common in Latin, effeminatus, and in English, is 
 apparently not used in Greek criticism to denote weaknesses and faults of 
 style. 
 
 irap0€v«ir6s, of maiden aspect, hence soft, charming. L. venustus, mollis. 
 Dion. H. de Comp. 23, i r. ivS/xara. 
 
BOSTON COLLEGE LIBRARY 
 ' CHESTNUT HILL, MASS. 
 
 CLASSIFICATION AND DEFINITION 27 
 
 5. Social Status 
 
 A number of critical terms will be defined under this heading 
 which have their origin in the rank, occupation or financial con¬ 
 dition of members of society. With a few exceptions the terms 
 designate mean qualities of style. 
 
 The opposition of the rustic or boorish and the urbane or 
 elegant is a time-honored one. So in style we have: 
 
 a-ypoiKos, lit. of the country, then boorish, rude, rough. L. rusticus, 
 agrestis. Dion. H. de Dem. 57, p. 1126, 4>opriKai Kai dypoiKoi Karaaiceval. For 
 <f>opnKos, mean, low , vulgar, banal, inflated , see Isoc. 238 A and 150 D. Arist. 
 Rhet. 2, 21,15. 
 
 d<rmo$, lit. of the town or city, hence polite, elegant , “smart” L. urbanus. 
 Arist. Rhet. 3,10,1, ra acrreia are clever, witty, pointed sayings, r a evSoKipiovvTa 
 he calls them; metaphor, antithesis and vividness are helpful to them. Rhet. 
 ad Alex. chap. 22. In general, nice,pretty, witty language, “smart sayings ” as 
 in Ar. Ran. 901; Nub. 204. do-Teurjios, witticism. L. urbanitas = facetiae. 
 The word is late. Demet. de El. 128,130; Long. 34, 2; Dion. H. de Dem. 54; 
 Philostr. 540. Cf. Gerber 2, p. 320. Verb, ao-retfeo-dcu. Quint. 6 , 3,17 defines 
 urbanitas as follows: “Nam et urbanitas dicitur, qua quidem significari 
 video sermonem praeferentem in verbis et sono et usu proprium quendam 
 gustum urbis et sumptam ex conversatione doctorum tacitam eruditionem, 
 denique cui contraria sit rusticitas.” 
 
 8 tip,» 8 r]s, of the common people. Of diction, style, vulgar, commonplace, 
 trite, plebeian. L. oratio trita, vulgaris. Longin. 40, 2. SrjpioTiKd dvipiara, 
 Luc. Hist. Conscr. 22. tSiwr^s, of common rank. Dion. H. de Lys. 3, p. 457, 
 15. <ppd<ris, plain, ordinaiyj. L. vulgaris ratio dicendi. Longin. 31, 2. tSwonorpLos, 
 commonplace, homely language. Longin. 31; Diog. L. 7, 59. 
 
 Taimvos often of low, mean rank. Of style, low, mean. L. humilis, exilis. 
 Alcid. 7 repl <rocf)i<TTG)v, 19. Freq. in Arist., cf. Poetics 22,1, X&jews 5k aperr) <ra<prj 
 Kai p.T) TaireivTjv chat. Hor. A. P. 229, humili sermone. Quint. 10,1, 9, humilia 
 verba, vulgaria. Id. 11,1, 6 , humile et cotidianum sermonis genus. 
 
 ayopcuos, lit. of the market; ayopaioi = the market-loafers, circumforanei, 
 low class. Ar. Ran. 1015; PI. Protag. 347 C. Dion. H. Art. Rhet. 10, 11, 
 dyopalus \tyeiv, to use vulgar, commonplace words. L. vulgaribus verbis uti. 
 Luc. Hist. Conscr. 44: “ The first aim is to reveal and make clear the matter 
 puf/Te tols ayopalois Kai KaTT)\iKois 6vbp.a<n.” ayopaios is sometimes equivalent to 
 8iKavLK6s, however, as in Philostr. V. Soph. 2, p. 570, ayopaioi \6yoi are forensic 
 speeches. Ka-irrjXiKos, lit. of a huckster ; of words and style, vulgar, common¬ 
 place. 
 
 pdvav<ros, lit. working by the fire, of mechanics or artisans, a despised 
 vulgar class; so of language or style, vulgarity, triviality, or bad taste. 
 Plutarch. 
 
 o-TpancDTiKos, of the military class, like a rough soldier, so vulgar, rough, 
 rude. L. militaris. Dion. H. de Lys. 12 of speeches of Iphicrates. 
 
28 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 €K<J>v\oS) lit. out of the tribe, alien, foreign , L. alienus, has the idea of 
 loss of caste. Longin. 15, 8 deLval Kai *K(pvXoi irapa^daeis ; Luc. Lexiph. 24; 
 Philostr. V. Soph. 2, p. 578. 
 
 cv'yevcia, nobility of birth, nobility of speech or style. L. nobilitas. Longin. 
 34, 2 of Hypereides. Phot. Bibl. 77. Ael. N. A. Epilogus, rb eir/evbs ttjs X&jews. 
 
 tttwxos, beggarly, poor. Commonplace. L. humilis. Dion. H. de Comp. 
 4, 38, 7 r. voimcLTa. Opp. term is ‘irXoxicrios, rich, of financial condition. Of style, 
 rich, opulent, lofty , dignified, L. opulentus , opp. to 7 rrwx<k. Dion. H. de 
 Comp. 4, 38. 
 
 6. Taste 
 
 Some very striking critical terms were suggested by the 
 sense of taste. Certain qualities of style, such as freshness and 
 charm of subject-matter, beauty of diction, euphony in compo¬ 
 sition, give the hearer or reader a feeling akin to sensuous grati¬ 
 fication. So, too, the absence of these pleasing qualities or the 
 presence of disagreeable elements produce on the minds of reader 
 or listener an effect comparable to that of insipid or disgusting 
 food or drink on the organs of taste. 
 
 a-yXcvK^s, lit. sour, as of wine. In a writer, lack of yXvKbrrjs, sweetness and 
 charm. Hermog. ir. id. 1, chap. 12 (Sp. 2, p. 330); ibid, of Thuc. (Sp. 2, p. 423), 
 ayXevK^s £<ttl <rxedbv 5 l6\ov. So dijSVjs, lit. unpleasant to taste (cf. PI. Legg. 
 660 A), of style, lack of charm, dreariness. Dion. H. Ep. ad Pomp. 2, p. 766: 
 “In Plato rb v\J/os rrjs X&jews sometimes falls els to Kevbv Kai aijd^ s.” 
 
 avo-T'qpos, lit. bitter, harsh to the tongue, as of water, wine. A favorite 
 critical term of Dion. H. Austere, stern. L. severus. Dion. H. de Comp. 
 chap. 22, av. ap/jLovla, severe, dignified mode of composition. Id. de Isaeo, 
 chap. 20, Antiphon has only rb abaTTjpbv Kai dpxcuov. Ad Amm. 2, 2; de Dem. 8 
 and 48. 
 
 Spi|i.vTT)s, Spipvs, lit. of taste, bitter, acrid, pungent. Of style, tartness, 
 pungency. L. acrimonia. Arist. Soph. Elench. 33, 5, dpipI>TaTos Xbyos. As a 
 technical critical term it seems to be late, however. Hermog. v. id. 2, chap. 5, 
 dp. contributes to ijdos. Cf. ibid, the synonym ogvrris (lit. acidity, pungency), 
 keenness. 
 
 iriKpds, of taste, sharp, pungent, bitter. Of style, pungent, bitter. L. 
 amarus. Dion. H. Ep. ad Pomp. p. 775. 'iriKpo'rqs and to iriKpov, pungency, 
 incisiveness, sting. L. amaritudo, acerbitas; cf. also sales. Frequent in 
 Dion. H., e. g. de Thuc. chap. 53, of style of Antiphon, irucpcdvciv, to be 
 repellent in composition. Dion. H. de Dem. 34, p. 1061. 
 
 otk\t]p6s, of taste and smell, harsh and unpleasant. L. durus. Arist. 
 Rhet. 3, 7, ovbpLara aKXrjpd. Of style, Dion. H. ad Pomp. p. 760. 
 
 errpv<|> v6tt]s and to crTpv<(>v 6 v, lit. bitter, astringent, of sour fruit. L. acri¬ 
 monia. A favorite word of Dion. H.; cf. de Thuc. chap. 53, on which Jebb, 
 Att. Or. 1, 35, says: “Dionysius adds rb (npvQvbv, which seems to be a meta¬ 
 phor of the same kind as ava-Tijpbv, and to mean his biting flavor .” Cf. de 
 
CLASSIFICATION AND DEFINITION 
 
 29 
 
 Dem. 34; de Comp. 22. Cf. <rTpi<f>v6s in ad Amm. 2, p. 793, of Thuc., where 
 Roberts says, “ arpKpvb s = firm, solid , of the close texture of language. But it 
 may be doubted whether in this and similar passages <rrpv(f>v6s is not the right 
 reading.” Of similar meaning is Kapxapos, lit. of teeth of animals, sharp, 
 jagged. Of style and criticism, biting , keen; Luc. Hist. Conscr. 43, Ath. 251E. 
 
 ’yXuKVTtis, lit. sweetness of taste. Of style, sweetness, charm. L. suavitas. 
 Pliny, Ep. 5, 8 , 10. Dion. H. de Comp. 11, y\. ttjs X^eus. Hermog. tv. 15. 2, chap. 
 4, makes y\. contribute to fjdos and the use of myths help to 7 X. rijs X^eus. So 
 y\. is a characteristic feature of style of Herod. Also of Xen., cf. Diog. L. 2, 
 57. Adj. y\vi<vs = dulcis; cf. Quint. 10, 1, 73, dulcis Herodotus. 
 
 t|8oW|, lit. pleasure, delight. Freq. of pleasure in eating and drinking. 
 Of style, charm, the agreeable. L. iucunditas, voluptas, defined by Dion. H. 
 de Comp. 11, as possessing upav, freshness; x6p LV -> grace; evaToplav, euphony; 
 y\vKtJTijTa, sweetness; t5 tv i0av6v, persuasiveness. Freq. in Demetrius. 
 
 p^Xi\p 6 s, lit. honey-sweet , of wine and fruit, then of speech. Cf. II. 1, 
 248, 249, Nestor’s speech, sweeter than honey. Dion. H. de Comp. 1; Philostr. 
 V. Soph. p. 522. Cic. Or. 9, 32, Xenophon’s sermo, melle dulcior. 
 
 Closely related to the subject of taste just considered are a few 
 very expressive terms taken from the seasoning of food and the 
 culinary art. A favorite Latin term is sal , sales , salsum , lit. salt, 
 seasoning, relish, trop. the salt of wit , witticism , facetiousness , 
 etc. The Attic salt was proverbial. “ Sprinkled, seasoned (asper- 
 gere, spargere, perspergere) with the salt of wit” is a metaphor 
 in Cic. Or. 87; de Or. 1, 159; ad Att. 1, 13, 1. Cf. Dryden, 13, 
 p. 88, of Horace: “His wit is faint and his salt .... almost 
 insipid.” 
 
 tjSvvciv, lit. to sweeten, season, flavor. Arist. Poetics 6 , 3, h^va-pivov Xbyov, 
 embellished language, i. e., exovra pvdpbv /cat a ppovlav nal pIXos. Ibid. 24, 38. 
 Cf. PI. Rep. 607 A; Sophist. 223 A. 4<j>T]8vv€iv, lit. to sweeten, give a relish to. 
 Used met. by Plut. Longin. 15, 6 ; 34, 2. The Latin equivalent for the 
 two words defined above is condire; cf. Cic. Or. 185: “Omnino duo sunt, 
 quae condiant ( give a flavor to) orationem.” •qSvo-p.a, lit. in cookery, relish, 
 seasoning; met. of style, embellishment, piquant charm. L. condimentum. 
 Arist. Rhet. 3, 3, 3 of Alcidamas, the orator, 01 ) yap ^vapan xpvrai, aXX’ us 
 idta/ian rots iTvidtrois. Id. Poetics 6 (1450b), 17 peXoiroda is the most important of 
 the embellishments, ptyi<rrov tuv ^Sva-paruv. Dion. H. de Thuc. 23, p. 864. Phot. 
 
 rpay^nara, sweetmeats, dessert. L. bellaria. Dion. H. Art. Rhet. 10,18, 
 rjyovvrai robs iiri\6yovs, uxrrrep iv ddirvip, rpayi/para elvai tuv X6yuv. 
 
 7. Deities and Religion 
 
 ’A<|>po8£ti), grace, charm, attractive beauty of language or style. L. venus- 
 tas, decor. So Venus, cf. Hor. A. P.; Quint. Dion. H. de Comp. 3; Luc. Scyth. 
 11. For a definition of dcppoSlrr) nal Xbpa, see Lowell, Essay on Lessing, p. 226. 
 A synonym is, t6 €ira<f>p 68 iTov, charm, grace = x^P^- L. lepor. Isoc. 10, 65, of 
 
30 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 Homer’s tir. Trotrjais. Longin. 34, 2, ap.lp.t]Tov £k., inimitable charm , of the wit 
 of Hypereides. Phot. Bibl. 79, rb y\a<pvpbv Kal iwa(pp68iTov. 
 
 SUip^jv, Siren, charm of persuasion and eloquence. L. venustas. ACschin. 
 3, 228; Dion. H. de Dem. 35. Sculptured figures of Sirens were frequently set 
 up as embodiments of eloquence and persuasion as monuments on the tombs 
 of orators and poets. Several such sculptures are in the National Museum 
 at Athens. 
 
 Just as Aphrodite or the Sirens seem to be present in speech 
 exerting their charming influence, so Bacchus, or a divine inspira¬ 
 tion apparently coming from him, arouses speaker or writer to a 
 passionate fury with a result sometimes good, sometimes bad. 
 
 PaKx^Ca, frenzy, furor, madness. L. furor dicendi. Longin. 32, 7 
 attributes this to Plato in his frequent excessive use of tropes. Id. 16, 4, 
 pa.Kxttp.aTa of agitated state of mind of orator. TrapdpaKxos, of an orator pos¬ 
 sessed of a frenzied vehemence. L. bacchari. Plut. Dem. 9. Cf. also Philostr. 
 V. Soph. 511, of Nicetes, virbpaKxos St Kal didapap-Pudys. irapevOvpo-os, misplaced 
 or exaggerated passion, Longin. 3, 5. 
 
 piavCa, L. furor. Poets especially, “with eyes in a fine frenzy rolling,” are 
 often regarded as being mad, possessed, or supernaturally inspired. This 
 idea begins in Homer, Od. 8, 499 and 22, 347. Arist. Poetics 17, 2 says that 
 “Poetry implies either a happy gift of nature or a strain of madness — in the 
 latter case, he is lifted out of his proper self.” (Butcher.) So Plato, Apol. 7; 
 Ion 533 E and 534 C; Phaedrus, p. 245; Legg. 4, 719. In Roman writers, 
 Cic. de Or. 46,194; de Div. 1, 34; Hor. A. P. 296. 
 
 4v0ov<rid?€iv, of a writer or speaker, to be divinely inspired. In PI. Phaedr. 
 241 E, Socrates says, ap’ olaO’ , 6'ri virb tQv Nvpcp&v, .... <ra0ws £ vdova tc£<ra> ; SO 
 ibid. 238 D. Soc. jestingly predicts that as the discussion proceeds he may 
 often become vvp.<f>6\rjTrTo$, caught by the Nymphs, i. e., in a state of rapture 
 or inspiration. 
 
 4>otP6Ar]‘irTos, Longin. 16, 2 speaks thus of Demosth. when he uttered his 
 celebrated oath, p.a robs £v M apad&vi kt\. {de Cor. 208) as being divinely inspired 
 and, as it were, frenzied by the god of Prophecy. (jjoiPa^tv, to fill with frenzy, 
 cf. Longin. 8, 4. 
 
 KopvPavnav, lit. to be filled with Corybantic frenzy. Longin. 5,1, to be 
 crazy for novelties in literature. KopvPos, enthusiasm. Luc. Hist. Conscr. 
 45, 6 rrjs TTOLT]TlKT]S K. 
 
 TV|AiravC£€iv, lit. to beat the drum in religious frenzy; of an orator, to speak 
 in a frantic manner and use violent gestures, Philostr. V. Soph. 520. Quint. 
 5,12, 22, tympana eloquentiae. A condition described by Cic. Or. 99 : “furere 
 apud sanos et quasi inter sobrios bacchari vinulentus videtur.” 
 
 From the magician’s art are : 
 
 ■yoT]Tcv€cr0ai, to bewitch, beguile , spell-bind. Gorgias Helena 14, of \6yoi. 
 PI. Menex. 235 A, of orators yorjTevovaiv ijp,Cjv ras \pvx6s. Phot. 192. ktjXciv, to 
 charm, bewitch (often by music). L. mulcere, delinire. Of Pericles, Eupol. 
 Arjp.. 6, 6; PI. Menex. 235 A, of Homer’s verses ; Protag. 315 A, ktjXQv t r) <puv\ 
 &<nrep ’Op<pefc. Dion. H. de Comp. 3. Longin. 30, KaraKrjXeiv roi>s aKovovras. 
 
CLASSIFICATION AND DEFINITION 
 
 31 
 
 Cf. Od. 11, 334, Odysseus’ listeners, KriXydp.^ 5’ eaxovro. Ibid. 13, 2. k^X^ctis, 
 enchantment of eloquence. PL Euthyd. 290 A. 
 
 tyv\ay<ayeiv, tj/vxayaryta, a winning of men's souls , of Rhetoric, PI. Phaedr. 
 261 A. Cf. Isoc. 9,11; 2, 49; Arist. Poetics , 6,13; Dem. 1099,10 and 1364, 8. 
 
 8. The Theater and Festivals 
 
 The language, delivery, and gestures which are appropriate to 
 the actor who is interpreting a drama in the theater are not likely 
 to be suited to the orator pleading or speaking in court or from 
 the bema. In style, also, showy and pretentious qualities are 
 faults which are designated theatrical and histrionic in an 
 unfavorable sense. In display or epideictic oratory, however, as 
 opposed to the more prosaic forensic, some ornamentation and 
 even ostentation is legitimate; cf. the terms 'Kopiruco^ and irofin-rj. 
 
 GeaTpiKos, theatrical , showy , pretentious , histrionic. L. theatralis. Dion. 
 H. Ep. ad Pomp. p. 759, to Kop^bv Oearpucbv. Ibid., p. 792. Id ., de Dem. 18 
 (p. 1007), avOrjpav Kal dearpLKrjv didXcKTov. So 0vp.cX.iK6s, lit. of the thymele. Of 
 style, theatrical , vulgar. Plut. 853 A, rb <popTiKbv £v \6yois Kal dvp.e\iKbu Kal 
 (3 avavaov. 
 
 ^iriTpaywSctv, to declaim in tragic fashion, to rant , exaggerate. L. tragico 
 more rem amplificare , exaggerare. Dion. H. de Thuc. 28 ; Demet. de El. 122. 
 rpaywSciv, of orators and writers usually in a disparaging sense, to declaim or 
 rant in a pompous , braggart manner. So Dem. 229,18; 400, 17. In a good 
 sense, cf. Hermog. ir. p.ed. 5eiv. chap. 33 of Demosth. Cf. TpayiK&s. So iraparpa- 
 y(pddv, Plaut. Pseud. 707. irapaTpdywSos, pseudo-tragic , bombastic , Longin. 3,1. 
 
 irop.in.K6s, to irop/iriKov. Processional , stately , impressive , ceremonial. 
 L. magnifcentia , splendor. Dion. H. ad Pomp. p. 786, of Theopompus’ dic¬ 
 tion, in/'T/Xi) re Kal pLeyaXoTrpeirrjs Kal to iropirLKhv ex ovcra tto\6. So also of Theo- 
 pompus’ X^ts in ’AK p. 3. Longin. 8, 3, ra iyKibpua Kal ra iropuriKa Kal iirLdeiKTiKa. 
 Id. 32, 5. Dion. H. ’A px. Kp. 5, 2 (of Isoc.), irop-TrLKbs &rr’ . ... ov /d )V ayosvLtj- 
 tik6s. Id. de Dem. 32. irop.irrj, pomp , parade. L. pompa. PI. Ax. 369 D, 
 it. Kal prip.dT<A)v ay\ai<rp.6s. Cf. Sandys on Cic. Or. 42. Cic. de Or. 2, 94; 3, 177. 
 
 i 
 
 9. Disposition and Morals 
 
 A number of critical terms are defined here which are properly 
 used of the disposition, traits of character or the morals. 
 
 avddSijs, lit. bold, wilful, presumptuous, of persons. Of style = dignity , 
 almost to aepvbv. Arist. Rhet. 3, 3; “ unusual yXurraL have something <xep.vbv 
 Kal atfdabes, dignified and haughty.” Dion. H. de Comp. 22 of Thuc., dpxcuKbv 
 S£ tl Kal alidades iiudelKwraL /cdXXos. 
 
 LXapos, cheerful, gay. Of style, bright , joyous , radiant , genial , pleasant. 
 L. hilaris, amoenus. Dion. H. ad Pomp. Ill, the Vkapbv «<£XXos of Hdt. Demet. 
 de El. 128, l\. \6yos. rb IXapbv = IXapbrris = hilaritas. So cf. ^aiSponjs, liveli¬ 
 ness, joyousness. L . festivitas, hilaritas. Hermog. 7r. 15. 
 
32 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 fjL€-ya\oirp€7r^s, lit. that which befits a great man, magnificent, sumptuous. 
 A virtue which produces grandeur in expenditures. (Arist. Rhet. 1, 9.) Of style, 
 elevated, stately, grand, magnificent, lofty, dignified, impressive, heightened, 
 colored. L. magnificus. Arist. Rhet. 3,12, 6. Not a regular t. t. until Dion. 
 H. Cf. de Lys. 13, v\ Si Kal pLeyaXoirpeTrTjs ovk ecrrtv i] Avaiov X$fis. In Demet., 
 passim, u- x a P aKT VP is the grand style. 
 
 yop-yos, rapid, vehement, vivid, earnest, fiery, nervous. ■yop-yoTTjs, fiery 
 earnestness (Jebb), celeritas orationis (Era.), Lebhaftigkeit (Volkmann), 
 poignancy (Roberts). Treated by Hermog. tt. IS. 1. The source of the figure 
 is from the grim and fierce expression of the eyes which reveal the fiery 
 disposition. 
 
 Scivos, forcible, vigorous, masterly. In Demet. a type of style, S. xapa-KTifip. 
 SetvoTTjs is a general term which includes all the oratorical virtues as found in 
 Demosthenes. Roberts suggests mastery, oratorical power, impressiveness, 
 nervous force, intensity, skill, resourcefulness. L. vis et virtus dicendi. 
 Dion. H. ad Amm. I, 3. See de Thuc. chap. 23, for a definition and the 
 treatise of Hermog. irepl p.e66Sov SeLvSrrjTos. The idea of natural cleverness in 
 speaking was uppermost before the term became strictly technical. 
 
 (rcpvos, grave, dignified, noble, august. Of style, Arist. Poet. 22,1; Rhet. 
 3, 3, 3. o-tpvoTTjs, gravity, dignity, majesty. L. gravitas, dignitas. <r. rijs 
 X^ews, Arist. Rhet. 3, 8, 4 ; Hermog. ir. IS. 1. 
 
 cr<j>o8pos, o-<|>o8p6TT]s, vehemence, impetuous earnestness. L. vehementia. 
 Hermog. 7r. IS. 1. 
 
 Just as modesty, temperance, chastity, sobriety, etc., designate 
 prized qualities of character in the individual life and character, 
 so these terms are transferred in use by literary criticism to indi¬ 
 cate virtues of style and of writers. So, too, the opposite is true 
 as Demetrius ( de El. 114) says: “As in morals certain bad qual¬ 
 ities exist side by side with certain desirable qualities, so also in 
 types of style, the bad exist side by side with the good.” 
 
 o*<i><J>pov£j;€iv, of a writer, to use a sober, moderate, temperate style. So 
 Dion. H. ’Apx- K p. 5, 2, of Isocrates. Luc. Hist. Conscr. 57. Phot. Bibl. 
 99 speaks of the “X^s v&Qpwv, ( elocutio temperata), which neither goes 
 beyond the Attic norm nor yet is mean.” Cf. Lowell, IV, p. 415, “Words¬ 
 worth’s purity and abstinence of style.” Of similar meaning is vfj4>€iv, lit. to 
 be sober, to drink no wine. Of writer or orator, to be sober, cool and 
 moderate. Longin. 34, 4 of Hypereides. Id. 16, 4. The opposite term is 
 fi€0v€iv, lit. to be drunken with wine. Of writer or speaker, to be intem¬ 
 perate. L. madere, luxuriari. Isoc. (8, 13) tells the Athenians they use 
 as advisers the basest men who speak from the bema, Kal vopl^ere Stjp-otikw- 
 ripov s ehai robs p-edvovras tCjv vqcpSvruv. Longin. 3, 5: “ Speakers are often 
 
 carried away, as if by intoxication ( iK pid^s)." Philostr. V. Soph. p. 522. 
 Seneca Epist. 19, ebrium sermonem. Cic. Or. 99: “ et quasi inter sobrios 
 bacchari vinulentus videtur.” 
 
 KoXd£uv, lit. to prune, trim trees and vines (so Theophr. H. P. 2, 7, 6); in 
 Plato (cf. Gorg. 491 E) to check the desires, £Tu9vp.tas. Of discourse, to keep 
 
CLASSIFICATION AND DEFINITION 
 
 33 
 
 within hounds, to he modest, to refrain from using anything which tends to 
 weaken excellence; a chastised, castigated style. L. castigare. (Quint. 10, 1, 
 115, of oratio chastened. Hor. A. P. 292.) Philostr. Epist. 73, 8ia\6yovs ko \&- 
 £ei v. Id. V. Soph. 1, p. 505. Aristid. Rhet. devotes a chapter to KdXacris rod \6yov. 
 (Sp. 2, p. 500.) Phot. Bihl. 181. An analogous Latin term applied both to 
 style and to writers, is pressus, lit. pruned (cf. Verg. G. 1,157). As a critical 
 term it means chaste, concise. Mayor defines it: “ Pruned of all rankness, 
 concise, quiet, moderate, self-controlled; opposed to extravagance, heat, 
 turgidity, redundance.” Cf. Quint. 10,1, 46 of Homer ; 12, 10, 38 ; Cic. de Or. 
 2, 96; Brut. 51,202 ; Quint. 8, 3, 40; 2, 8, 4, and 15; 12, 10,16; Tac. Dial. 18. 
 
 10. The Trades and Arts 
 
 In the trades and arts literary criticism finds a favorite source 
 from which to borrow its terminology. As has been said, oratory 
 and literary composition are themselves regarded as fine arts; it 
 is therefore natural, indeed inevitable, that the technical vocabu¬ 
 lary of analogous but more material human pursuits should be 
 freely levied upon for the uses of criticism. 
 
 In this general category metaphorical terms are defined which 
 have their origin in the following trades and arts: (a) House¬ 
 hold Management; (6) Roadmaking; (c) Medicine; (d) Weaving, 
 Spinning, and Embroidery; (e) Carpentry; (/) Metal-working; 
 ( g ) Engraving; ( h ) Architecture; (i and j) Painting and 
 Sculpture. 
 
 A. HOUSEHOLD MANAGEMENT 
 
 olKovo^Ca, lit. management of a household, administration. In Rhetoric, 
 arrangement of material, order. L. dispositio. A synonym for ra£is in Arist. 
 Rhet. So Longin. 1, 4, ttju tuv irpayp.dTU)v rd^tv kolI oiKovoplav. Dion. H. de Thuc. 
 9, p. 826, names the three parts of obcovop.la : (1) dialpe<ns = distributio, (2) 
 t<££is = ordo, (3) ££epya<ria = pertractatio. The metaphorical origin of the 
 term is explained by Quint. 3, 3, 9: “ Oeconomiae, quae Graece appellata ex 
 cura rerum domesticarum et hie per abusionem posita nomine Latino caret.” 
 Cf. id. 10, 5, 14. Sioocetv, lit. to keep house, then to manage, regulate. In 
 Rhet. = to distribute, arrange discourse. Isoc. 15, 47, 6\ov rbv \6yov 8 lolkov<xlv. 
 Dion. H. Art. Rhet. 9, 4. 
 
 Tcquevo-Oai, lit. to act as treasurer, manager, steward, also of housekeeping. 
 Of discourse to he sparing, restrained and modest. Dion. H. de Thuc. 51, p. 
 941. Philostr. V. Soph. p. 522. drapuetiTus, ibid. 590. 
 
 B. ROADMAKING 
 
 Figures derived from roads, roadmaking, and travelers are not 
 uncommon in literary criticism. Aristotle (j Rhet. 3, 14) says 
 that the prooemium is a pioneering, a blazing of a trail, so to 
 
34 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 speak, for that which follows, oSoTroLycns rq> eiriovTi . Demetrius 
 (de El. 48): “Thucydides by always avoiding smoothness and 
 evenness of composition is like a traveler on a rough road who 
 seems to be constantly stumbling.” Ibid. 202: “Sentences should 
 not be too long; they are like roads. Some roads have many 
 resting-places and sign-posts; the sign-posts are like guides. But 
 a monotonous road with no sign-posts is hard to follow though it 
 be short.” The orator or writer when he tells a direct story pro¬ 
 ceeds along a straight path, but any divergence or deviation from 
 his theme is a turning-aside from the road. So the various terms 
 for digressions, TrapapaoTS, TrapeicpaoTS, of which Quint. 4, 3, 12, 
 says: “hanc partem Trape/cfiacnv vocant Graeci, Latini egressum 
 vel egressionem .” Of digressions, B. Jonson, Timber , p. 64, says: 
 “But why do men depart at all from the right and natural ways 
 of speaking? .... Sometimes for pleasure, and variety, as 
 travellers turn out of the high-way , drawn either by the com¬ 
 modity of a foot-path , or the delicacy or freshness of the fields.” 
 
 cKTpoTnrj is perhaps the most interesting of these words. In one of its 
 primary meanings it refers to the turning aside from the road. It is a lane 
 which turns off from a highway, a “ by-way ” of expression. So L. deverticula. 
 PI. Polit. 267 A, eKTpoTTTj \6yov. Further, both eurpoir-q and the Latin deverti- 
 culum designate places where one stops for rest, turning aside temporarily 
 from the road. Almost equivalent to an inn. So Ar. Ran. 113, Dionysius 
 wished to learn from Heracles of all avcnravXcu and iicTpotral on the road to 
 Hades. Demetrius {de El. 47) says that “a succession of inns shorten long 
 journeys, but desolate roads, though the distance be short, seem long. The 
 same is true of members (fcwXa) and of resting places in narratives.” Epictetus 
 has an interesting comparison between travelers delaying at inns and stylists, 
 which is quoted by M. Arnold, Essay on Wordsworth. 
 
 C. MEDICINE 
 
 The conception of words, discourse, or reason as physicians to 
 the mind and its disorders is an early one. So iEschylus ( Prom . 
 378), opyrjs voaovc77]<; eicrlv larpol Xo'yot, quoted by Cic. Tusc. 3, 
 31. Gorgias in the Helena (14) affirms that “Xo'yo? has a power 
 over the soul similar to that of drugs on the body. For just as 
 divers drugs expel divers humors from the body and put an end 
 to diseases or to life, so, too, some Xo'yot cause pain, others give 
 delight; some inspire fear, others arouse courage in the hearers; 
 still others like magic potions enchant and bewitch the soul by 
 
CLASSIFICATION AND DEFINITION 
 
 35 
 
 an evil power of persuasion.” Isocrates ( 8 , 39) says that “ phy¬ 
 sicians have devised divers remedies for bodily diseases, but for 
 ignorant souls which teem with base desires there is no drug save 
 Xo'y 09 .” Menander repeats the old thought (fab. inc. Kock No. 
 559) that “X 070 ? is the physician for mortal grief; for it alone 
 has power to soothe the soul; \eyovcn S’ avrov oi 7 raXai aocf)cb- 
 tcltoi acrrelov elvcu (frappa/cov.” Plato in the Phaedrus (270 B) 
 compares Rhetoric to medicine. Cf. Cic. de Or. 2, 186. Theo- 
 pompus the historian, is compared to a surgeon by Dionysius 
 (. Ep. ad Pomp. 785). 
 
 dXcgujmpfiaKov, an antidote. Longin. 16, 2, of the eulogies of Demosth. 
 Id. 32, 4. Cf. also, taTpcvpaTa, remedies. L. remedia. (pdppaKa to win over 
 hearers, Arist. Rhet. 3, 14. Cf. medicamenta, Cic. Or. 23, 78. depairevriKbs, 
 Tpodepaxda. > 
 
 V 
 
 olSctv, lit. to swell, tumere, turgere. rb oldeiv , of inflated style, tumidity. 
 L. tumor. Horace’s ampullas et sesquipedalia verba, A. P. 97. Quint. 12,10, 
 73, immodico tumore turgescit. Cf. Ar. Ran. 940 if., for an elaborate medical 
 metaphor. Longin. 3, 4 compares evil swellings in diction to those of the 
 body. 
 
 D. WEAVING, SPINNING, AND EMBROIDERY 
 
 The conception of language as a web and of style as the result 
 of the skilful interweaving of the threads of discourse is common 
 to all peoples. A literary composition is as a woven cloth whose 
 texture may be thin, fine, and delicate, or tangled and intricate. 
 Further, this product of the literary loom may be embroidered or 
 adorned and diversified with the flowers and varied embellish¬ 
 ments of rhetoric. 
 
 v<f>aCv€iv, lit. to weave, L. texere, is used repeatedly in Homer of the 
 crafty weaving of schemes and plots, e. g. II. 6,187. So, also, the verb pdirreiv. 
 lit. to sew or stitch. We see these words developing, in a figurative sense, 
 very early with reference to literary composition. Hesiod Frag. 227, (34), 
 refers to himself and Homer as iv veapois Gp.vois pd^avres doidr/v. Pind. N. 2, 2 
 calls epic poets pairTuv tirtuv doibol. Cf. pa\f/(p86s , one who stitches songs together. 
 The word vp.vos (hymn) itself is derived from the root V v(f>. L. suere , Eng. 
 sew, and means that which is sewn or stitched together; cf. Od. 8, 429, fyuvoy 
 doidijs, lit. stitching together of song. (So, also, Horn. Hymn 3, 451.) Pind. 
 Fr. 179 (170), ixpalvu .... 1 roudXov &vdr]p.a. Bacchyl. 5, 9, v<pdvas \jp.vov. PI. 
 Tim. 69 A, rbv iirLXonrov \6yov Set i-vvvcpavdTjvcu. Dion. H. de Comp. 23; Demet. 
 de El. 166, €w<|>a£v€iv. L. intexere. Longin. 1, 4 speaks of the whole texture of 
 the composition, rov 6 \ovtwv \6ywv vcpovs. Anaxim. Rhet. 32, crvvvcpalveLv rbv \6yov. 
 
 iroiKiWeiv (its compounds and derivatives), is a favorite word with the 
 rhetoricians. Lit. to embroider, to work in various colors; hence, of style, to 
 
36 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 adorn, ornament, embellish, diversify. L. ornare. Pind. Pyth. 9, 134, /3cu4 
 TToiidWecv. Soph. 2Y. 1121 (cf. 412); PI. Menex. 235 A, of funeral orators, 
 kAXXkttA 7 Tcos rots ovbpacn rroiKLXXovres. Isoc. 9, 9, tcL<ti rots etSeai SicutoikiXcu rrjv 
 rroirjaiv. Id. 13, 16. Dion. H. de Comp. 22 (Sch., p. 302), X6yos rroXXois &<nrep 
 dvdeai rroLKiWbixevos tois eaptvois. Frequent in Dion. H. Longin. 23,1. 'iroiKiXla, 
 decoration, variety. L. varietas. Isoc. 5, 27 of his <t>£Xt7T7ros, ov8k .... ttoikl- 
 \lous K€Ko<Tp,rjKap.€v. Id. 12, 246. Arist. Poetics 23. ttoikCAos, varied, embel¬ 
 lished, Isoc. 15, 47 of \^£is; Arist. Rhet. 3, 16, \6yos .... iroudXos Kal ob \lt6s. 
 Opp. to 7r. is Aitos, lit. unembroidered, smooth, plain (cf. Xi's in Homer of 
 smooth cloth). Of style, plain , simple, unpretending, unadorned. L. simplex. 
 Arist. Rhet. 3, 16; Dion. H. de Thuc. 23, p. 863, Xk£iv .... rrjv \i ttjv Kal aKbo-prj- 
 tov Kal prjSkv exovaav rrepiTTbv. Demet. de El. 77. 
 
 ttX^kciv (closely related in meaning to bfyaLveiv and pdirreiv ), lit. to plait, 
 weave, twine, twist. L. nectere, texere. To scheme,.devise, plan; then, of 
 literary composition, Pind. O. 6 , 146, 7 r\. bpvov. N. 4, 153, 7 r\. pijpara. Arist. 
 Poetics, 18, 11, irXoKT) Kal Xbais, complication and unraveling .... rroXXol 8k 
 ir\t£avTes eb Xtovcn *a*wy, “Many poets tie the knot well, but unravel it ill.” 
 SiairXeKctv, to interweave, weave together. L. intexere. Anon. (Sp. Rh. Gr. 1, 
 323). Cf. also <rvp.ir\iKeiv, <rvp.x\oKii, iirnr\oK-/i, dvawXkKeiv, (TvyKaTairXkKeLv. iroXv- 
 itXokos, tangled, involved. (Cf. TroXbirXoKov v6rjp.a. At. Thesm. 463.) Dion. H. 
 ad Amm. 2, p. 792, ©•/coXid ( tortuous) Kal iroXbwXoKa ( involved ) Kal Sv<rd;kXiKTa 
 perplexed, hard to unravel. The involved style is well criticised by Jonson 
 Timber p. 63, “Our style should be like a skein of silk, to be carried and 
 found by the right thread, not ravelled and perplexed: then all is a knot .” 
 
 <rTp€<j»civ av« Kal KaTa>. This expression Greilich (p. 43) cites as borrowed 
 from plaiting and weaving, arptyeiv may be used of twisting or spinning ; cf. 
 Bliimner. So Xen. An. 4, 7,15 of a rope ; met. Plut. 2, 235 E. Perhaps this 
 idea was sometimes present. But the ordinary meaning of the phrase <rrp. A. 
 k. k. is simply to turn up and down, this way and that, upside down. When 
 used of literary composition it refers to the painstaking care and diligence of 
 careful writers in elaborating subject-matter and perfecting style. Cf. PI. 
 Phaedr. 278 D-E ; Dion. H. de Dem. 51, p. 1111, of Demosth. finish of style, 
 0 - 777 . A. k. k. ra p.6pia rrjs Xk^eios Kal ra iK toijtcov avvri6kp.eva KuiXa. Id. de Thuc. 
 24; SierkXeae (QovkvSIS 77 s) .... ras oktoj filfiXovs .... arpk(f>cov Avu Kal kAtu 
 K al *0,0’ kKavrov tGjv rijs (ppacrecos p.oplwv pivdv Kal ropebwv. <rucrTpo<|>'fj, the 
 
 twisting of yarn. Terseness, compactness, concentration. L. concinna 
 brevitas, conversio. Dion. H. de Dem. 18, p. 1006; Demet. de El. 8 , to twist 
 up, roll into a ball, to compress, to bring into close form. From Arist. 
 (Rhet. 3, 18, 4) down. On this term see Sandys ed. Cic. Or. 20. Cf. also 
 KaT€o-Tpapip.^v^ X^£ts, compact, intertwisted (L. contortus ), of the periodic style. 
 Arist. Rhet. 3, 9, 1. 
 
 etpopievt] (X^ts). etpcv is lit. to string or fasten together. L. nectere. Of a 
 necklace ( Od. 18, 296); of crowns (Pind. N. 7, 113). Of style, running. L. 
 oratio fusa, tracta, et negligenter pendens (Ern.). Jebb (p. 31): “It is per¬ 
 haps impossible to find English terms which shall give all the clearness of 
 the Greek contrast between irepioSLKri and elpop.hr] X6£is. The running style as 
 eipop.hr) expresses, is that in which the ideas are merely strung together, like 
 beads, in the order in which they naturally present themselves to the mind.” 
 
CLASSIFICATION AND DEFINITION 
 
 37 
 
 Arist. Rhet. 3, 9, takes as his example of the running style the opening words 
 of the History of Herodotus. See Norden 1, pp. 38-41, for Herodotus, the 
 leading representative of the X^ts dpop.kpt]. Demet. de El. 12 calls the 
 running style, ( disjointed, resolved, loose , L. divisus ); BtaXeXv^vtj 
 
 (loose, broken up, L. dissolutus); and Sicppip.p.^ ( sprawling, L. distractus). 
 Dion. H. de Dem. 39 calls it ko/xhcltiktIi, commatic, i. e., composed of short 
 clauses, K6p.p.ara. Cf. Swfpav, to string together. Dion. H. de Comp. 26, 
 X 670 S 8ieip6p.epos = dp6p.evos. orvvctpeiv, to string together. L. connectere. 
 Dem. de El. 15 of stringing together periods. Cf. also, o-vvaprav, to knit 
 together. L. colligare. Demet. de El. 12; 193. o-<|hyy€iv, to bind tight. L. 
 constringere (Cic. vincire). Demet. de El. 244. So avpSeip, avvdecris, atipSecrpios. 
 
 Xeirrds, subtle, precise. L. subtilis, tenuis. Dion. H. ad Pomp. 2, p. 758. 
 XcirroTiis, terse simplicity. L. tenuitas. Of thin, fine texture (of garments 
 and the spider’s web) in Homer. For the equivalent Latin terms the follow¬ 
 ing notes are instructive : subtilis; Wilkinson, Cic. de Or. 1,17: “Originally 
 finely woven, it comes to mean, fine, then delicate; here it has the force of 
 graceful, refined ; thence it passes into the meaning of precise, accurate; it 
 is Cicero’s usual translation for dfc/n^s; finally it is the name for the plain 
 style of oratory, t6 1<txv8p ykpos, and thus acquires the force of unadorned." 
 tenuis; Sandys, Cic. Or. 5, 20 : “ The primary meaning of tenuis is thin; its 
 metaphorical use as an epithet of style is derived, not from the notion of 
 slimness and slenderness of form (like l<rxv6s and gracilis ), but from thinness 
 and fineness of texture.” Cf. tenue argumentandi filum, Cic. Or. 10,1,124, 
 and English, to lose the thread of a discourse. Shaks. Love's Labour's Lost, 
 V, 1: “He draweth out the thread of his verbosity finer than the staple of 
 his argument.” 
 
 E. CARPENTRY 
 
 # 
 
 The style of the writer is like the product of the labor of car¬ 
 penter or craftsman; it may be worked with care, accurately 
 joined , polished smooth and artistically finished, or the opposite 
 may be true. 
 
 Topv€V€iv, to work with a lathe, to turn. L. tornare, rotundare. Ar. 
 Thesm. 54, k&p-wtcl 8k pkas a\f/i8a s kw&p, ra 8k roppe dei, ra 8k Ko\\op.e\d. Two ele¬ 
 gant metaphors derived from the lathe are, PI. Phaedr. 234 E : 8tl aa^i) Kal 
 arpoyyiXa Kal aKpLp&s kKaara tup dpop.&TU)p dwoTeTdppevTai. Dion. H. de Dem. 43, 
 p. 1093, of periods, arpoyyijXaL ioairep aw6 rbppov. Cf. Hor. A. P. 441. cUTopvos, 
 well-turned. Met. smooth, well-turned, i. e., refined, elegant, graceful. L. 
 teres. Phot. Bibl. 193. Cic. de Or. 3,199 : “ oratio plena quaedam sed tamen 
 teres ” of the Asiatic style. 
 
 o-TpoyyviXos, lit. round, spherical. Met. compact, rounded, terse. L. 
 rotundus , contortus. Very common from PI. and Arist. down. See s. v. 
 roppeveLP. Cf. Cic. Brut. 78, 272, “verborum et delectus elegans et apta et 
 quasi rotunda constructio.” 
 
 diroa-piAevciv, lit. to plane off. Of pi/para, Themist. 251 B. <rKivSaXp.o( are 
 splinters or shavings. Of arguments or style, subtleties, refinements, quibbles. 
 Ar. Nub. 130; Ran. 819 ; Alciphr. 3, 64. 
 
38 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 ap|xo^€iv is used primarily of the joiner’s art. To fit together, join. (Cf. 
 Od. 5, 247 and 162.) Dion. H. de Comp. 7, app.. Ku\a irpbs dXX^Xa. Freq. in 
 Dion. H., also avpapp-brreLP and rrpoaappbTTUP. L. coagmentare. See s. v. KbWyaLs. 
 dppovla, primarily of the joining of timbers. In Rhet., harmony, composition, 
 adjustment of words. L. apt a structura, concinna orationis compositio. 
 Suidas s. v. gives the literal and metaphorical uses of the word. For the 
 harmonies of Dion. H., cf. de Comp. 22. Cope discusses the word, Introd. to 
 Aristotle’s Rhetoric, pp. 379-387. 
 
 Xtaivav, lit. to make smooth, to polish. Of style, to polish. L. polire. 
 Also <rv\\eatveip. Frequent in Dion. H. de Comp. 16; de Bern. 43, etc. Xctos, 
 smooth. L. levis. Opp. term is Tpaxvs, asper. Dion. H. Demet. de El. 48, 
 58 passim. 48, rb \eiov ical 6p.a\ts rys <rvpdt<reus — levis et aequabilis compositio. 
 Xcidrris, smoothness. L. levitas. Frequent in Dion. H. Cf. it epl pup.ii<reus 2 
 (Usener, p. 19). Quint. 10,1, 52, of Hesiod, “ levitas verborum et compositionis.” 
 
 dirapT^civ, to make even, round off, to perfect, polish, complete. L. adae- 
 quare. Demet. and Hermog. (Sp. 2, 241). 
 
 <rvy|€tv, lit. to smooth by scraping or planing. Of style, to polish. L. 
 perpolire. The earliest instance noted is in Alcid. irepl go^uttup, 20. Freq. 
 in Dion. H., cf. de Thuc. 24, X«?£is <rvpetje<rp.epy = elocutio polita. Cic. de Or. 1, 
 50; 2, 54; 3, 184. The rhetorician Hermogenes bore the surname &<jtt)p, 
 polisher, perhaps owing to the polish which he recommended as one of the 
 principal requisites in a written composition. ir€pi€£€<rp,€vos, polished. L. 
 politus. Demet. de El. 14 of the older style of writing, which resembles 
 ancient statues. Cf. Schol. Ar. Ran. 86, Xenocles, d£e<rros £v ry iroi^aeL. Dryden, 
 XI, p. 233: “Chaucer is a rough diamond and must be polished ere he shines.” 
 
 'ir€iroi‘qp,€vTi Xe'^is, L. oratio polita et facta quodam modo, Cic. de Or. 3, 48, 
 184, and Brut. 8, 30, an elaborated, artistic diction the result of care. Longin. 
 3, 4 ; 8. 
 
 ■yXatfmpos. It would seem that yXacfrvpos was connected with the arts or 
 handicrafts, as it means primarily hollowed ( 7 Xd 0 w, 7 Xd 0 w), scraped, hence 
 smooth. It is a favorite term as applied to style, meaning smooth, polished, 
 elegant, adorned. L. politus, elegans, ornatus, jloridus. Dion. H. (de Comp. 
 21 ) distinguishes three styles or harmonies: ( 1 ) avo-rypSp. ( 2 ) 7 \a<f>vpbp 1) apQy- 
 pbp. (3) koip6p. x a P aKT vP 7 \acf>vp6s is one of the four types of style of Demetrius. 
 Dion. H. de Bern. 40 describes the 7 \a<pvp6s. 
 
 cLKpiPijs, a term common from Aristotle down, in its critical use may well 
 have been suggested by its frequent use in the arts or handicrafts to designate 
 careful, accurate work or “putting on the finishing touches.” As a term of 
 style, exact, precise. L. accuratus. dKpcp«ia, perfection, technical finish. 
 L. accuratio, ars exquisita. Isoc. 4, 11 contrasts d/cpt^s and airriKpi.fiup.tpos 
 with d7rXws. Id. 9, 73. Arist. Rhet. 3,17, rbp \6yop aKpifir). Ibid. 3, 12. aKpi- 
 Povv, to give a finish to. So SiaKpifiovp. aKpifieis \6yoi, as in Dion. H. de Isaeo 
 20, are chaste, modest discourses, having no redundancy, excessive elaboration, 
 or theatrical display. Accuratus and accuratio are frequent in Cic. Quint. 
 8, 3, 49, vilis oratio is opposed to the accurata. 
 
 F. METAL-WORKING 
 
 Topeveiv, to work metal in relief, repouss^ ; to chase. L. caelare, sculpere. 
 Of style, Dion. H. de Thuc. 24,1, of the literary industry and accuracy of 
 
CLASSIFICATION AND DEFINITION 
 
 39 
 
 Thuc. pivQjv koX Topevwv. -irepiTopcuttv, lit. to work around in relief. Dion. H. 
 de Dein. 21, p. 1020, (rvyKeKpbrrjTaL re Kal (TvvhTatTrai Kal TrepiTerbpevrai roh vo-f]pa<nv 
 dpeivov. Ernesti {rotunda, concisa et teres elocutio ) and L. and S. (to round 
 off) although reading rrepLTerbpevTai translate as if it were rrepiTerbpvevTai, which 
 indeed better fits the sense and is, in fact, read by Usener et Rademacher 
 (Teubner). TopevTos, lit. worked in relief; met. polished, elaborate. L. cae- 
 latus, politus. Dion. H. de Dem. 51, p. 1112 : ’lo-oKpdrrjv Kal n Xdrojva yXvirrois 
 Kal Topevrois ioiKbras iK<f>bpovras Xbyovs. Anth. Pal. 9, 545, rop. h roj. ropeia, carving 
 in relief, of rhet. art, Poll. 6, 141. 
 
 pivav (ptvrj), lit. to file, fine down. L. limare. Of the polish and refining 
 of language. Ar. Ran. 901, rbv pkv aareibv n X4%ai Kal Kareppi.vrip.hov. Dion. H. 
 de Thuc. 24, pivQv Kal ropetwv. Hor. A. P. 291, limae labor; Ovid Trist. 1, 7, 
 29; limatus , Cic. de Or. 1, 39,180 and Quint. 
 
 o-vyKporetv, lit. of metal, to hammer or weld together. (PI. Crat. 416 B.) 
 Dion. H. de Dem. 18, p. 1007; id. de Isoc. 2, p. 538 of the X<f£is of Isoc., oi 
 arpoyyvXr] ticnrep iKelvrj (sc. A vtrlov) Kal <rvyKeKpoTrip.hr}. crvyK. X^£is, (ppdcris = terse, 
 “der gedrangte kurze Ausdruck” (Era.). Cf. Dion. H. de Dem. 19, p. 1010, 
 
 d<rvyKp6rr}Tos. 
 
 4‘jrixa\K€V€iv, lit. to forge upon the anvil. L. fabricari et formare in 
 incude. Arist. Rhet. 3,19,1, to forge a man to the will of the speaker. Cf. 
 Ar. Nub. 422. 
 
 <r<j>vprj\aTos, lit. of metal, wrought with the hammer. Luc. Encom. Dem. 
 14, <r<t>. X6yos = oratio solida, compacta; grave , dignified discourse , in no wise 
 frigid or bombastic. Ko\\T|<ris, lit. the glueing or welding together of metals 
 or other materials. L. conglutinatio. In Hermog. of the union of a verse- 
 quotation with prose. For verb see PI. Phaedrus, 278 D, E. Trpoo-Ko\\a<r0ai, 
 lit. to stick to. Of style, to be compact , Dion. H. de Dem. 43. dKb\\r}ra <rroc- 
 %eta, Dion. H. de Comp. 22 of letters which ought not to be joined together. 
 Ar. Thesm. 54, KoXXojieXctv, comic word, to glue verses together. Nub. 446, 
 \f/evdu>v o-vyKoWrjTr/s, fabricator of lies. In a similar way the term coagmentare 
 is used metaphorically in L. In its primary sense (as in Vitruv. 8, 7) it means 
 to join or cement together blocks of stone, wood, etc. Met. as in Cic. Or. 77; 
 Brut. 68; de Or. 3, 171; Quint. 12, 10, 77, it refers to the composition and 
 arrangement of words in a sentence. So B. Jonson, Timber , p. 65: “The 
 skin and coat, cutis sive cortex (Quint. 10, 2,15), which rests in the well-joining , 
 cementing and coagmentation of words, composition An elaborate figure 
 from metal-working is used by Symonds, of Ben Jonson in English Worthies , 
 p. 52: “He did not need to ... . weld his borrowings into one another, but 
 rather having fused them in his own mind, poured them plastically forth 
 into the mould of thought.” 
 
 G. ENGRAVING 
 
 XapaKTTjp, lit. a mark engraved or impressed, the impress or stamp on 
 coins, seals, etc. Of style, characteristic stamp , character or peculiar type. 
 L. nota, forma. Dionysius de Dem. distinguishes three types: v\J/rj\6s, ele¬ 
 vated, represented by Thucydides; tVx^s, the plain, represented by Lysias, 
 and p.hos, the middle, represented by Isocrates and Plato. Demetrius (36, 37) 
 gives four x a P aKT VP es: 'wxvbs , the plain; p.eya\orrpeiri}s , the elevated; y\a<pvp6s, 
 the elegant; Seivbs, the forcible. x a P aKT VP^riK6s is the adj., de Lys. 11. 
 
40 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 From money are derived the terms : 
 
 irapdo-ijnos, stamped awry , falsely struck , counterfeit , eccentric. L. per- 
 peram signatus. Demet. de El. 208. Demosth. 307, 26, ir. p^riap. For the 
 genuine stamp , cf. Hor. A. P. 58,59. KwSamJ^iv, to try money by ringing. Ar. 
 Ran. 79: “To ring Iophon, to try what the ring is like of the poetry he com¬ 
 poses without the aid of Sophocles.” KaTaK€p|j.aT^eiv, lit. to change into small 
 coin. Longin. 42, to divide a narrative into small sections. Dion. H. de Thuc. 
 9, p. 828. 
 
 H. ARCHITECTURE 
 
 With the Greeks the art of the poet or writer is closely akin 
 to that of the architect. So Dionysius and iEschines call the 
 writer an artisan , hripiovpqbs \6ycov. 1 The verb Karaa/ceva^eLv, to 
 build or equip , is frequently used of literary composition, while 
 literary subject-matter is designated v\rj, L. silva , literally, 
 building-material. We are frequently reminded by the literary 
 critics that architectural construction and literary composition 
 closely resemble each other in method and aims. Alcidamas 
 (irepl ao(f>i(JTO)v 25) speaks of avvepeLTreiv rrjv tSsv ovopdrcw olko- 
 hopUav. “Composition,” says Longinus (39,3), “by the building 
 of phrase upon phrase, erects a lofty and harmonious edifice.” 
 So Dionysius ( de Comp. 6) compares composition and building: 
 “The house-builder having provided the materials for construc¬ 
 tion, stones, wood, tiles, etc., has three things to consider. First, 
 what sort of stones, timbers, and bricks must be fitted together; 
 second, how and on what side to place each; third, to make suit¬ 
 able any which may not fit well, by breaking and shaping them. 
 Now, those who seek a happy literary composition have analogous 
 duties in the proper selection and collocation of the parts of dis¬ 
 course.” Other elaborate comparisons are to be found in Quint. 
 7, 1 (Proem.); Dion. H., de Comp. 22; Longin. 10*7; Cic. de 
 Or. 3, 171. 
 
 Elegant literary composition, especially clever diction and 
 collocation of phrases, may be aptly compared to skilfully laid 
 mosaic. So Carlyle (Hist, of Lit., p. 53): “The effect of Ver¬ 
 gil’s poetry is like that of some laborious mosaic of many years’ 
 putting together.” Overmuch nicety, however, must be avoided. 
 The witty couplet of Lucilius ridiculing T. Albucius is a case in 
 
 icZe Bern. 51; ’A p\. Kp. 2, 10. jEschin. 84, 36. Pind. Pyth. 3, 200, poets are reVcToi/es. Cf. 
 also Ar. Eq. 530, So Ear. Androm. 476. 
 
CLASSIFICATION AND DEFINITION 
 
 41 
 
 point (Ap. Cic. Or. 44, 149): “Quam lepide Aefet? compostae, ut 
 tesserulae, omnes arte pavimento atqne emblemate vermiculato! ” 
 Sandys translates: 
 
 Oh! the neatly fitted phrases! all so cunningly combined, 
 
 Like the little cubes in pavements, and mosaic intertwined. 
 
 KaTacKcva^civ, to build, construct, equip, and frequently in Dion. H. of 
 literary composition and production, to construct, compose. Karaa-Kevaap-kvos = 
 L. ornatus. Karacnev-fi, elaboration, embellishment. kyKardo-Kevos , elaborate, 
 embellished, studied. aicaT&vKevos, inartificial; cf. Greilich, p. 10. d7r\o0s and 
 a<pe\ris are sometimes synonyms of dtcardo-Kevos. 
 
 v\i], properly timber for building : then met. raw material. A philo¬ 
 sophical term. In Rhetoric, subject-matter. L. silva, materia. Demet. de 
 El. 76; 163. Cic. Or. 12, silva dicendi. The met. is carried further by the 
 words nec satis instructa, not sufficiently shaped or hewn. Subjecta materies 
 
 — xnroKeipkvT] v\t). 
 
 irvp-yovv, lit. to furnish with towers, to raise up to a great height. Ar. 
 Ran. 1004: “iEschylus, Trvpy&aas p-qpara aepvd, building up the lofty rhyme." 
 (Cf. Milton, Lycidas.) Pax 749 (of the poet himself): kirolqae rkxvv v peydXqv 
 qp.lv Kdiripywcr'' oiKodopi/cras eireai peydXois nai diavolais. Eur. Sup. 998. Cf. ciroi- 
 Ko8op.i]<ris, lit. building up. Longin. 39, 3, k-ir. \k%ewv verborum constructio = 
 
 advdecns, appovia. 
 
 dvT€p€i<ris, Demet. de El. 12. Propping, buttressing. L. fultura. “ The 
 idea (that of interlacing support) is the same as in the words insistere 
 invicem (Quint. 8, 5, 27). So the verb dvrepeldeiv in § 13.” (Rob.) epcCSea-Oak, to 
 be supported or buttressed, Dion. H. de Comp. 22. 4^'pacrpia, prop, support. 
 Longin. 40, 4, of words supporting one another like buttresses. Dion. H. de 
 Comp. 16. avTKTTqpiypds, CTqpl^eadai. 
 
 c8pa, foundation, basis. L. sedes. Dion. H. and Demet. The termina¬ 
 tion of a period or clause which contains some long syllables. ISpatos, well- 
 based , stable. L. stabilis. 
 
 *y6p.<j>ot, lit. bolt of wood or metal for building. Ar. Ran. 824, yop^oirayq 
 pi/para, bolt-fastened phrases. Longin. 41: “ words close together, cut up 
 into short syllables, held together as if by bolts, ybpcpois." 
 
 Kavwv, lit. the mason’s rule or measure; see ^Eschin. c. Ctes., p. 588 (3,199). 
 Met. very common in literature, rule, standard. L. norma, regula. Dion. H. 
 Art. Rhet. 11, 1 (Sch., p. 324): del tixnrep navbva eivai Kai arddpqv Kai doKlpiov irpbs 6 
 tis dirofiXkirwv dvvqaerai Tqv Kplaiv iroieladai. Id. de Lys. 2, p. 454 : tt)s ’ Attiktjs 
 yXuaaqs Apicros Kavibv (i. e. Lysias). 
 
 Tcrpdywvos, lit. square. L. quadratus. Met. perfect, of a writer or 
 speaker, Dion. H. de Isaeo 19, Anaximenes the Lampsacene, kv dxdaais rals 
 idkais tujv \6ywv rerpdyuvdv nva eivai (3ov\6pevov. Cf. Cic. Or. 197, quadrandae 
 orationis industria, where Sandys says, “i. e. excessive painstaking in 
 mechanical finish; 208, ‘ redigeret in quadruma metaphor from carpentry 
 and building, from hewing wood or cutting stone four-square, so as to allow 
 of the blocks being closely fitted together. Quint. 2, 5, 9, levis et quadrata 
 
42 METAPHOEICAL TERMINOLOGY OF GREEK RHETORIC 
 
 sed virilis tamen compositio.” The number four and the square were 
 symbols for perfection with the Pythagoreans. Simonides 5, 2 of a good 
 man : x e P a ^ v T€ Ka ' L 7ro<r ‘ Ka * V ^V Terpayuvov. 
 
 I AND J. PAINTING AND SCULPTURE 
 
 In the terminology of Greek rhetoric and literary criticism we 
 do not find a large number of terms derived from painting and 
 sculpture, although ancient literary criticism abounds in com¬ 
 parisons from these arts. For oratory is regarded as a fine art 
 and the orator or writer as an artist. According to the ancient 
 standard, as much care and pains should be bestowed on literary 
 composition as the painter or sculptor lavishes on picture or 
 statue. Nettleship, p. 54, says: “The comparison between the 
 arts of painting and sculpture and literature .... as a common¬ 
 place of criticism is at least as old as Neoptolemus of Parium. 
 Cf. Hor. A. P. Iff.” Sandys, Hist of Clas. Schol. , p. 178, also 
 seems to be under the same misapprehension, viz., that such com¬ 
 parisons begin with Neoptolemus. This is, of course, erroneous. 
 Cf. Simonides: “Painting is silent poetry, and poetry speaking 
 painting.” (Plut. de Gloria Athen. 346 F.) One of the earliest 
 comparisons between discourse and sculpture and painting is to 
 be found in Alcidamas nrepl aocpLarwv 27, 28, who compares 
 written speeches to the productions of those arts, in that they are 
 but imitations of the real, giving pleasure but no profit to men. 
 Just as real bodies are of more service than statues, so extempore 
 speaking is full of life, while the written word is but a likeness 
 of vivid discourse. A number of such comparisons are in Plato 
 and Aristotle. E. g. Arist. Poetics chap. 6. (For Aristotle, cf. 
 Carroll, Trans. Amer. Phil. Assoc., 1898, p. liii.) Dionysius is 
 especially fond of such parallels; in the de Isoc. 3, p. 542, he 
 likens Isocrates’ style to the art of Polycleitus and Pheidias in 
 dignity, impressiveness and sublimity, and Lysias to Calamis and 
 Callimachus, in lightness and grace. Again, de Isaeo 4, Lysias 
 in his simplicity and grace is compared to the older style of 
 painting which is characterized by correct drawing, but simple 
 coloring. Isseus’ works, however, are likened to the later paint¬ 
 ings which are varied in light and shade and use many colors. 
 Polygnotus represents the former, Zeuxis the later school. Cf. 
 
CLASSIFICATION AND DEFINITION 
 
 43 
 
 Quint. 12, 10, 1-6. It is unnecessary to multiply examples. It 
 will be sufficient to refer to Brzoska (see Appendix), who quotes 
 a large number of the original passages in which comparisons are 
 made to painting, sculpture and occasionally architecture, from 
 the following sources: 
 
 Cic. de Or. 1, 72; 2, 69; 2, 320 ; 2, 357 ; 3, 25; 3, 98; 3,171; 3,180; 3, 195; 
 3,217; Brut. 66 ff.; 71; 228 ; 256 ff.; 296; Or. 3 ff.; 36, 65, 73, 169, 185, 234; 
 de Opt. Gen. Or. 5; de Inv. 2, 1-11; ad Her. 4, 6. Dionys. of Hal. de Comp. 
 2, p. 10; 6, p. 40; 10, p. 52; 21, p. 146; 22, p. 148; 23, p. 171, 25; de Isoc. 3, 
 p. 541; 13, p. 559; de Isaeo, 4, p. 591; de Din. 7, p. 644; de Thuc. 4, p. 816; 
 de Dem. 41, p. 1082; 50, p. 1108. Demet. de El. 13, 33, 76. Longin. 17, 30, 
 36, 41. 
 
 XP«na, color, complexion , character of style, tone. L. color. Dion. H. 
 ad Amm. 2, p. 793, gives the xp^P- aTa A<?£ews of Thucydides. By a color here 
 D. refers to the character or nature of the style as effected by certain forces 
 or qualities which are found in the thought and content of his writings; 
 these colors are “sting and pungency, solidity, austerity, gravity and 
 impressive vehemence, and above all, his power of affecting the emotions.” 
 aXrjdei 8b tlvi Kal <f>v<ruc£ K€KO<rpLr)<T0cu xP^ } P iaTl t de Thuc. 42. PI. Hep. 601 A. 
 Color in Latin is often the appropriate tone, cf. Quint. 10,1, 59; 12,10, 71: 
 “Non unus color prooemii, narrationis, argumentorum, egressionis, perora- 
 tionis servabitur.” xP"P aTa are also ornaments, embellishments. L. pig- 
 menta, ornatus. Cf. vb. pingere. Phot. Bibl. 214, xp&p- 0 -* 1 - /ccd iroiKlXp.a.<ri rijs 
 pTlTopdas. Cf. ad Herenn. 4,11,16 : “ exornationes si rarae disponentur, dis- 
 tinctam sicuti coloribus .... reddent orationem.” Cic. de Or. 100: “ oratio 
 Claris coloribus picta.” So in English embellished or figurative language is 
 called colored speech. Adj. xp«pa-Tucds, florid, colored. 
 
 &va£ 6 > < Ypcuj>€ic 0 ai, of writers, to depict. Longin. 32, 5. 
 
 €{Jypap.pios, well-drawn, well-defined. L. bene delineatus. 
 
 Plastic Art — 
 
 •n-XaTTciv, of the statuary, to mould, form, shape. L. fingere. Metaphor, 
 used of fabricating, forging words, counterfeit speeches, etc. So dva-n-XaTreiv. 
 
 €vir\ao-TO$, PI. Rep. 9, p. 588 D : Xbyos einrXacTbrepos KTjpov. So Cic. de Or. 3, 
 45, 177: “Ea (verba) nos sicut mollissimam ceram ad nostrum arbitrium 
 formamus et fingimus.” KaKb-n-Xcurros, Hermog. (Walz 3, 7). dirXao-Tos, natural, 
 unaffected, simple, free from adornment or elaboration. Dion. H. Art. Rhet. 
 10,11; Phot. Bibl. 259 of Antiphon, airXdaTovs ras vo-qaeis. nAdo-pa, mold, form, 
 manner. 
 
 run-os, lit. print, impression, stamp (as on coins, etc., like x a P aKT ^lp)> Of 
 sculpture in relief, plastic art. As a stylistic term, form, style, type of style. 
 L. forma. Dion. H. de Dem. 24; Hermog. tt. 18 . (Sp. 2, p. 415). Cf. tvttovv , 
 £ktvitovv, diroTvirovv. dpxbrv ttov (cf. Greilich, pp. 22, 23). Longin. (13, 4) gives a 
 fine illustration of the term dirorvirwo-is: “It is not plagiarism for one author 
 to draw inspiration from another ; it is like taking an impression (drordir w<m) 
 from beautiful forms or figures or other works of art.” (Rob.) 
 
44 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 €KjjL&TT£<r0ai, a technical term of the plastic art and used of style. To 
 copy, mold, model, express. L. exprimere. Dion. H. de Dem. 13, rbp kvmaKbp 
 XapaKTijpa hp.tp.aKTai els 6pvxa (ad Unguem, ad amussim). So aTrop.dTTe<jdai, Dion. 
 H. ’Apx. Kp. 3, 2. 
 
 irtvos, tinge of antiquity, classic style ; cvirCvaa, mellowness, fine old style; 
 ttivoojjlcu, to be tinged with archaism. The metaphor (as Roberts, ed. Dion. H., 
 p. 202, says) is that of the oxidation of bronze statues, weather-marked and 
 mellowed, bearing upon them the patina so highly prized by the connoisseur. 
 (Cf., however, a schol. on Dion. H. ad Pomp. 2, p. 759, for a different explana¬ 
 tion. -tripos - — 6 pinros rjroi 6 iirucetp.epos x v °vs tbs iwl p-ffKwp Kal airlwp /cat bap.aaKt]PWP.) 
 Dion. H. de Dem. 39 : eiryheia Kal aep.pbTr\s appoplas rbp apxouov <f>v\aTTOV<ra irlvov. 
 Ibid., 44 : ai jxp-ov p^<rrbv ehai Kal ttIpov. From de Comp. 22 in describing the 
 austere harmony the meaning of the term is clear, riKtara apOrjpd, p.eya\6<ppu>p, 
 avO^Kacrros, aKbp^evTos, rbp apxcuo'pibp Kal top ttLpop e%ou(ra KdWos. Cf. Cic. ad Att. 
 14,7; “ a Cicerone mihi litterae sane -rreTn.pwp.hai et bene longae,” where Tyrrell 
 and Purser (vol. 5, p. 232) annotate : “ ‘quaint, classic,’ Att. 12,6, 4 (499). Again 
 in Att. XV, 16a, we have TreTnpwp.hws, ‘ quite in the classic style.’ The word 
 ttIpos means the robigo antiquitatis, the pretiosa vetustas, which makes a 
 work of art valuable.” dpxaLoirlpTjs, Dion. H. de Dem. 38. On the other hand 
 there may be undesirable qualities in the old-time style which are as rust and 
 mold which need to be rubbed off. Quint. 2, 5, 23 says that boys should 
 read the ancients for a solid and manly force of thought though the squalor of 
 a rude age is to be cleared off. 
 
III. APPENDIX 
 
 1. The following is a list of some books which have been consulted and 
 referred to frequently: 
 
 Blumner, Technologie und Terminologie der Gewerbe und Kunste bei Griechen 
 und Romern. 4 vols. 
 
 Bray, History of English Critical Terms. (Ginn.) 
 
 Brzoska, de Canone decern Oratorum Atticorum Quaestiones. 
 
 Butcher, Edition of Aristotle’s Poetics. 
 
 Causeret, Etude sur la langue de la rMtorique et de la critique litt&raire 
 dans Cic6ron. (Paris, 1886.) 
 
 Cope, Edition of Aristotle’s Rhetoric. 
 
 Ernesti, Lexicon Technologiae Graecorum Rhetoricae. (Leipzig, 1797.) 
 
 “ Lexicon Technologiae Latinorum Rhetoricae. 
 
 Gerber, Die Sprache als Kunst. 2 vols. 
 
 Greilich, Dionysius Halicarnassensis quibus potissimum vocabulis ex artibus 
 metaphorice ductis in scriptis rhetoricis usus sit. (Suidniciae, 1886.) 
 Gudeman, Edition of Tacitus’ Dialogus de Oratoribus. 
 
 Jebb, The Attic Orators. 2 vols. 
 
 Jonson, Timber , ed. by Schilling. (Ginn.) 
 
 Nagelsbach, Lateinische Stilistik. 
 
 Navarre, La rMtorique grecque avant Aristote. (Paris, 1900.) 
 
 Nettleship, Essays and Lectures. 2nd Series. 
 
 Norden, Die Antike Kunstprosa. 2 vols. (Leipzig, 1898.) 
 
 Peterson, Edition of Quintilian, Book X. 
 
 Roberts, Editions of Longinus, On the Sublime; Dionysius of Halicarnassus, 
 The Three Literairy Letters; and Demetrius, On Style. (Cambridge.) 
 Saintsbury, History of Criticism. 
 
 Sandys, Edition of Cicero’s Orator. 
 
 Schaefer, Edition of Dionysius, de Compositione Verborum. 
 
 Spengel, Edition of Rhetores Graeci. 3 vols. 
 
 Volkmann, Die Rhetorik der Griechen und Romer. (Leipzig, 1885.) 
 
 Walz, Rhetores Graeci. 9 vols. 
 
 45 
 
46 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 2. LIST OF AUTHORS CITED 
 
 [Authors whose names are in capital letters are the most important, furnishing the 
 largest number of examples.] 
 
 HClian. 
 
 iEschines. 
 
 iEschylus. 
 
 Alcidamas {irepl ao^iaruv). 
 
 Alciphron. 
 
 Anthologia Palatina. 
 
 Athenseus. 
 
 Aristides (Rhetor). 
 
 ARISTOPHANES ( Clouds, Frogs, 
 etc.). 
 
 ARISTOTLE {Rhetoric, Poetics). 
 
 Anaximenes (Rhetor). 
 
 Bacchylides. 
 
 CICERO ( Orator, de Oratore, Brutus , 
 etc.). 
 
 DEMETRIUS, trepl eppyvdas. On Style 
 {de Eloc.). 
 
 Demosthenes. 
 
 Diogenes Laertius. 
 
 Diodorus. 
 
 DIONYSIUS OF HALICARNAS¬ 
 SUS. (1) Epistulae ad Pompeium 
 et Ammaeum. (2) de Compositione 
 Verborum. (3) de Antiquis Orator- 
 ibus: Iudicia de Lysia, etc. (4) de 
 Admiranda Vi Dicendi in Demos- 
 thene. (5) de Thucydide. (6) Ars 
 Rhetorica. (7) de Priscis Scriptor- 
 ibus Censura = ’Apxa.lwv Kpla-is. 
 
 Eunapius. 
 
 Euripides. 
 
 Eustathius. 
 
 Gellius. 
 
 Gorgias. 
 
 HERMOGENES, irepl ISeuv, etc. 
 Hesiod. 
 
 Homer and Homeric Hymns. 
 
 Horace. 
 
 Isocrates. 
 
 LONGINUS {On the Sublime = irepl 
 
 v^ovs). 
 
 Lucian. 
 
 Lycurgus. 
 
 Menander, Rhetor and (2) Comicus. 
 Ovid. 
 
 Philostratus. 
 
 PHOTIUS, Bi^Xiod'/jKrj. (Bekker ed. 
 
 Berlin, 1824.) 
 
 PLATO. 
 
 Pliny. 
 
 Plutarch. 
 
 Pindar. 
 
 Pollux. 
 
 QUINTILIAN {Institutiones Ora¬ 
 tor iae). 
 
 Seneca. 
 
 Simonides. 
 
 Statius. 
 
 Suidas. 
 
 Tacitus {Dialogus). 
 
 Theophrastus. 
 
APPENDIX 
 
 47 
 
 3. INDICES 
 
 A 
 
 Pp6rr)s, 19. 
 ayitv Aos, 17. 
 dyAeuKjjs, 28. 
 ayov 09 , 19. 
 ayop cuos, 27. 
 aypoiKOS, 27. 
 aydtv, 23. 
 ayuiVL^eaOat, 24. 
 ayiovurr^s, 23. 
 a8id\vTOs, 13. 
 aSpos, 19. 
 aijSifc, 28. 
 a^Xrjrjj?. 23. 
 afcaTa<TKevos, 41. 
 aicevTpov, 25. 
 aKp.alos, 19. 
 a»cju.)7, 19. 
 d/cdAArjros, 39. 
 a/eop-if/evros, 22 . 
 dtcplfieca., 38. 
 d*pi/3rjs, 38. 
 dtpifiovv, 38. 
 a/cporr/s, 16. 
 ake^L<f>dppaKOV, 35. 
 aAi 07 , 20 . 
 dpfSkvveLv, 26. 
 di'aga)ypa<f>ei<r0ai, 43. 
 d.i'SpwSrjs, 26. 
 av0r)p6s, 17. 
 av0i£eiv, 17. 
 av0os, 18. 
 dvoaog, 18. 
 avrepeitris, 41. 
 aijiuipa, 15. 
 dnapri^ecv, 38. 
 airAacrro?, 43. 
 anoK.vp.aTL^eiv, 12. 
 dnoparrecrOai, 44. 
 d.TroapiAeven', 37. 
 diroTvirwa’is, 43. 
 dn6\J/v\a, 20. 
 appo&iv, 38. 
 appovia, 38. 
 ap\aLOirivr\<:, 44. 
 
 a<r0evrjs, 21 . 
 durretos, 27. 
 d<nei<rp6<;, 27. 
 arapievTox; , 33. 
 arovos, 20. 
 av0dSri<;, 31. 
 avo-njpds, 28. 
 a.vxi*yp6s> 20. 
 a<f>e\ris, 17. 
 a^)Tj, 24. 
 
 ’A<#>po5iTTj, 29. 
 
 a) Greek 
 
 axaAtvos, 25. 
 axfjvxo s, 20. 
 
 B 
 
 /3d0os, 17. 
 
 /3 aKxeta, 30. 
 
 /3avavaos, 27. 
 fidpos, 16. 
 
 |3Aa/cu>6rjs, 20. 
 j3o<rTpv\i^eiv, 23. 
 
 r 
 
 y\a<f>vpos, 38. 
 yAvxvs, 29. 
 yAvKUTijs, 29. 
 
 yor)Tevea0aL, 30. 
 y6p<f>oi, 41. 
 yovipos, 19. 
 yopyos, 32. 
 yopyoTtjs, 32. 
 
 A 
 
 SacrvTijs, 21. 
 
 Seivos, 32. 
 
 Sr/piovpyos, 40. 
 
 SrjpaiSr;?, 27. 
 Siakekvpevr), 37. 
 SiairAeVetv, 36. 
 
 Sidnvpov, 14. 
 SiaaaAeveii/, 12. 
 fitauyijs, 13. 
 
 Siei'peiv, 37. 
 
 Sieppippevy, 37. 
 8ir)pr)p.evr), 37. 
 
 SiTjppe'vos, 16. 
 
 Sioucetv, 33. 
 
 Spipvs, 28. 
 
 8v<re£eAiKTOS, 36. 
 
 E 
 
 ey/caraafcevos, 41. 
 efipa, 41. 
 eSpaios, 41. 
 eipopevri, 36. 
 e*8popT?, 25. 
 €(cp<xTTe<r0ai, 44. 
 CKTponri, 34. 
 €K<t>\eye<T0ai, 14. 
 e/c</>vAos, 28. 
 ep.0oA>j, 24. 
 
 €p./3pi07js, 16. 
 
 tp<f>a(T is, 15. 
 e/uu/fvxos, 19. 
 ivaycovLOS, 24. 
 evapyeia, 15. 
 «v0ou<rtd^eiv, 30. 
 
 evv<f>aiveiv, 35. 
 e£a(T0eveiv, 21 . 
 etjepeLapa, 41. 
 e£o*eAAeiv, 26. 
 ena<f>p68iTov, 29. 
 iniKO<rpeiv, 22 . 
 
 emaKoreZv, 15. 
 eniTpaywSelv, 31. 
 enirpexeiv, 24. 
 
 eTri<f>vMi8es, 18. 
 
 €7TtXaAK€V€lV, 39. 
 enoucoSopricns, 41. 
 ejroKeAAetv, 26. 
 epetSeo-flat, 41. 
 evyeveia, 28. 
 evypappos, 43. 
 evSoKipovvra, 27. 
 ev^tovos, 22 . 
 ev0ucros, 24. 
 evKopv<f)o s, 16. 
 evpopQia, 20 . 
 evird\oLL<TTpov, 24. 
 evniveia, 44. 
 €U7rAacrros, 43. 
 eupovs, 13. 
 eVptoHTTO s, 18. 
 ewTaAifc, 25. 
 evarropia, 29. 
 euerroxos, 24. 
 
 evrekrjs, 22 . 
 
 evropvo s, 37. 
 e<f>r]8vv€i,v, 29. 
 
 H 
 
 r)8ovr), 29. 
 
 riSvveiv, 29. 
 
 ^ia, 25. 
 
 © 
 
 0eaTpuc6s, 31. 
 0eppos, 14. 
 
 0r)pav, 24. 
 0oAoOo-0ai, 12. 
 0vp.eAwcos, 31. 
 
 I 
 
 iarpevpara, 35 . 
 tSlWTTJS, 27. 
 L8iu>Ti<rp6s, 27. 
 imro\o<t>OL, 16. 
 iiriTOTV<f)ia, 16. 
 (Aapos, 31. 
 io-xvos, 19. 
 t<rxvs> 20. 
 
 K 
 
 /caflapos, 12. 
 Ka0ap6n]<;, 12. 
 
48 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 KaK0Cp}A0S, 14. 
 KaAAo?, 20. 
 KaAA(oni£e<r9ai, 22. 
 KaAAosnicrpaTa, 22. 
 Kavtov, 41. 
 >caTr»jAucds, 27. 
 Kapxapos, 29. 
 KaraSpofir j, 24. 
 Ka.Ta.9elv, 24. 
 KaTa.Kepp.a.Ti£eiv, 40. 
 
 KaravT\rj<Tat, 13. 
 KaraaKcAeTeveiv, 21. 
 
 KaratrKeva^eiv, 41. 
 KaratTKevr), 41. 
 KaTacrTparriyelv, 24. 
 Ka.Ta.Tpe\eiv, 24. 
 KaTa<f>opeZv, 12. 
 Kara^opt/cos, 12. 
 tcaTearpappevr), 36. 
 Kevrpov, 25. 
 KepavvvvaL, 13. 
 Kexvp-evos, 13. 
 KTjAeZv, 30. 
 k^Atjo-is, 31. 
 KoXageiv, 32. 
 KoAacrts, 33. 
 K 0 AA 170 -IS, 39. 
 KoAAopeAeZv, 39. 
 <coAo/3d?, 21. 
 /coAinrwSijs, 23. 
 Kopp.aTLKrj, 37. 
 Kopxf/eia, 22. 
 Kop\]jeve<T0ai., 22. 
 Kopxf/os, 22. 
 Kop.«|/drijs, 22. 
 Kopvf3avnav, 30. 
 zcopd/3os, 30. 
 
 Kopv£a, 26. 
 
 KoapeZv, 22. 
 
 «d<rp.os, 22. 
 
 KporaXov, 23. 
 Kpovvos, 13. 
 
 KTevi^eiv, 23. 
 
 Ko)Su)v, 23. 
 
 Ka>da>vi^6U', 40. 
 
 ku>4>6's, 21. 
 
 A 
 
 Aaj3i/, 24. 
 
 Aapnpos, 15. 
 AapnpoTr\<>, 15. 
 Aeaiveti', 38. 
 
 Aeios, 38. 
 
 AeioTTjj, 38. 
 
 Aewro?, 37. 
 
 AenroTrfs, 37. 
 
 Aev/cos, 15. 
 
 Airos, 36. 
 
 Av-yt apoi, 24. 
 
 M 
 
 paAaKos 20. 
 ptaAfloucos, 20. 
 pavia, 30. 
 
 peyaAonpenrp;, 16, 32. 
 peyeOo s, 15, 20. 
 peOveiv, 32. 
 peiyvvvai, 13. 
 peiKTOS, 13. 
 peLpaKiurSrji, 26. 
 
 peAaiveiv, 15. 
 peAixpos, 29. 
 p-eTeojpo?, 16. 
 pt-KpoKop^ov, 22. 
 puKpoT-qs, 20 . 
 pVKTrjp, 20. 
 yav poOr/Kiov , 22. 
 
 N 
 
 vea.viKo s, 26. 
 
 VlJt^etV, 32. 
 vvp<f>6Ay}nTO<;, 30. 
 
 a 
 
 £r?pd?, 21. 
 
 o 
 
 o-yico?, 16. 
 
 dSo7ron7<ris, 34. 
 o^urrjs, 25, 28. 
 oiSeZv, 35. 
 oiKovopia, 33. 
 opfld?, 17. 
 
 6</>pus, 20. 
 
 n 
 
 TraiSaptoiSij?, 26. 
 naAaurpa, 24. 
 
 7raA aiarpa, 24. 
 napaftaKxos, 30. 
 napafiaais, 34. 
 napaarjpoi, 40. 
 naparpayoySos, 31. 
 7rapeKjSa<n?, 34. 
 napevOvpcro';, 30. 
 napOevurnos, 26. 
 na<f>Aa£et.v, 13. 
 
 7raxus, 21. 
 
 Trejos, 25. 
 nenivarpevais, 44. 
 nenoir\pevr), 38. 
 nepLpaAAetv, 22. 
 nepifiokr), 22 . 
 nepLet-eapevos, 38. 
 nepi.naTeZv, 24. 
 nepinaTOS, 24. 
 nepiropeveiv, 39 . 
 7ri0avds, 29. 
 niKpatveiv, 28. 
 
 nLKpos, 28. 
 
 7rucpdrrys, 28. 
 ni.v6op.ai., 44. 
 nivos, 44. 
 nAacrpa, 43. 
 nAarreiv, 43. 
 nAeKeiv, 36. 
 n\ov<TLOs, 28. 
 noiKiAAeiv, 35. 
 noiKiAZa, 36. 
 noiKiAos, 36. 
 noAvnAoKOS, 36. 
 7roAdxot>s, 13. 
 nopnrj, 31. 
 nopniKOf, 31. 
 npea^vriKov, 26. 
 npoyvp.vaap.aTa, 24. 
 npoe£ayKu>vi£eiv, 24. 
 npoaKoAAaaOai, 39. 
 
 7TTWXOS, 28. 
 
 nvpyovv, 41. 
 
 P 
 
 panre lv, 35. 
 pety, 13. 
 pivav, 39. 
 pvnapos, 20. 
 pupr), 20 . 
 pioniKOi, 23. 
 
 2 
 
 Set p-qv, 30. 
 
 aepvo s, 32. 
 
 < 77 c 1 vSa.Ap. 01 , 37. 
 tr/cAr/po?, 28. 
 OTcoreivds, 15. 
 <TKOTl£eiV, 15. 
 <ra<f)rjveia, 12 . 
 OTiySapos, 20. 
 aTpaTUOTLKOS, 27. 
 <TTpe<f>eLv, 36. 
 cnpoyyvAos, 37. 
 <TTpo<f>ai, 24. 
 CTpVffcvOTTJS, 28. 
 
 avyicpoTeiv, 39. 
 <rvy£eti/, 38. 
 avvapTav, 37. 
 avvelpeiv, 37 . 
 crvve£ecrpevr), 38. 
 avvTopia, 16, 26. 
 avaTpo<f>ri, 36. 
 <T<t>iyyeiv, 37. 
 o-^oSpo?, 32. 
 a^vp-r/AaTOi, 39. 
 crxoti/oref^?, 17. 
 
 oio(f)povi£eiv, 32. 
 
 T 
 
 TapievaOat., 33. 
 
 Ta£i9, 25. 
 
APPENDIX 
 
 Tcwreivds, 27. 
 
 vpvos, 35. 
 
 X«pis, 29. 
 
 ra^os, 20. 
 
 virovv<rrd£eiv, 21. 
 
 X€ip.d£e<r0ai, 26. 
 
 reOvrjKOi, 20. 
 
 UTTTld^eiV, 17. 
 
 X^, 13. 
 
 TeTpaycovos, 41. 
 
 V7TTIOS, 16, 17. 
 
 Xevpa, 13. 
 
 Tp.T)Tucds, 25. 
 
 V<f>aLV€LV, 35. 
 
 Xpoipa, 43. 
 
 to / uhj , 25. 
 
 in/njAds, 16. 
 
 XvSaioAoyi'a, 13. 
 
 TO vos, 20. 
 ropeta, 39. 
 
 vif/os, 16. 
 
 Xddrjv, 13. 
 
 Xv<ns, 13. 
 
 ropeveiv, 38. 
 
 4> 
 
 XwAi'ap.j3os, 21. 
 
 Topevros, 39. 
 
 Topveiieu', 37. 
 
 0at6poTi]S, 31. 
 
 </>appa/ca, 35. 
 
 X«Ads, 21. 
 
 T payrjp.aTa, 29. 
 
 <|>oi|3d<|eiv, 30. 
 
 4' 
 
 rpaywSeiv, 31. 
 
 <J>oi£dAT)WTOS, 30. 
 
 i/^iAds, 21. 
 
 Tpa\vs, 38. 
 
 </>optikos, 27. 
 
 xj/vxayoiyeiv, 31. 
 
 rpv<f>epos, 19. 
 rup-navi^eiVn 30. 
 
 <*>£s, 15. 
 
 i//uxaywyia, 31. 
 xf/vxeiv, 14. 
 
 rvnoi, 43. 
 
 X 
 
 if/vxpo s, 14. 
 
 Y 
 
 vypos, 13. 
 
 XaAivos, 25. 
 
 XapaiTreTrjs, 17. 
 
 4/VXPOTT)S, 14. 
 
 vSaprjs, 13. 
 
 XapaKTJjp, 39. 
 
 O 
 
 vAtj, 40, 41. 
 
 Xapa/cT^purriKOS, 39. 
 
 6) Latin 
 
 uipa, 20, 29. 
 
 A 
 
 coagmentare , 39. 
 
 floriduSn 17. 
 
 accuratuSn 38. 
 
 colligare , 37. 
 
 fluiduSn 13. 
 
 aculeuSn 25. 
 
 comptuSn 22. 
 
 forma , 43. 
 
 adaequaren 38. 
 
 condimentum , 29. 
 
 frenin 25. 
 
 adipatuSn 21. 
 
 condire , 29. 
 
 frigiduSn 14. 
 
 agrestiSn 27. 
 
 contention 24. 
 
 fundere , 13. 
 
 alienusn 28. 
 
 contortus , 17. 
 
 fultura n 41. 
 
 amarusn 28. 
 
 curtuSn 21. 
 
 furorn 30. 
 
 amoenitas, 19. 
 
 D 
 
 fUSUSn 13. 
 
 amplitude ), 16. 
 amplus , 19. 
 animatus, 19. 
 aridus , 21. 
 asperitas, 21. 
 astrictus , 13. 
 afer, 15. 
 athleta, 23. 
 aucupor, 24. 
 
 B 
 
 bacchari , 30. 
 bellus , 22 . 
 
 deficere , 21 . 
 depingere, 17. 
 deverticulum, 34. 
 digression 25. 
 dispositio, 25, 33. 
 disputation 24. 
 divisuSn 37. 
 dormitare , 21 . 
 dulcedOn 19. 
 dulciSn 29. 
 
 durus, 28 . 
 
 G 
 
 graciliSn 19. 
 grandiSn 16. 
 gravitasn 16. 
 
 H 
 
 habenae , 25. 
 hebetare , 26. 
 hilaris, 31. 
 humiliSn 17, 27. 
 
 
 c 
 
 caelare, 38. 
 calamistrin 23. 
 calcarn 25. 
 calidus, 14. 
 calor, 14. 
 candidus , 15. 
 castigaren 33. 
 celeritaSn 20. 
 certamen , 23. 
 cineinnin 23. 
 clauduSn 21 . 
 
 effeminatus, 26. 
 egressio, 34. 
 elegant, 19. 
 elegantian 22 . 
 enervatus, 21 . 
 exercitationeSn 24. 
 exprimere, 44. 
 
 F 
 
 fecunduSn 19. 
 finger e, 43. 
 flamma, 14. 
 
 I 
 
 inanimus , 20 . 
 integritaSn 18. 
 iucunditaSn 29. 
 
 L 
 
 lacerti , 18, 20. 
 lenis, 21. 
 
 Jew's, 38. 
 limaren 39. 
 ludus, 24. 
 
 Jure, 15. 
 
 49 
 
50 
 
 METAPHORICAL TERMINOLOGY OF GREEK RHETORIC 
 
 M 
 
 madere, 32. 
 magnificus, 16, 32. 
 magnitudo, 20. 
 medicamenta, 35. 
 militaris, 27. 
 miscere, 13. 
 mollis, 13, 20. 
 viulcere , 30. 
 mundus, 22. 
 mutus, 21. 
 
 N 
 
 nasus , 20. 
 nervus, 20. 
 norma , 41. 
 
 ?u>Za, 39. 
 
 O 
 
 pingere, 43. 
 pinguis , 21. 
 politus, 38. 
 pompa, 31. 
 pressus , 33. 
 pulchritudo, 20. 
 pungere, 25. 
 purus, 12. 
 
 Q 
 
 quadratics, 41. 
 
 R 
 
 rectus, 17. 
 robigo, 44. 
 robustus, 19. 
 rotundus, 37. 
 rusticus, 27. 
 
 suavitas, 29. 
 sublimitas, 16. 
 subtilis, 19,37. 
 succinctus, 25. 
 sucus, 19. 
 supercilium, 20. 
 supinus, 17. 
 
 T 
 
 tarditas, 17. 
 tenuis , 19, 37. 
 texere, 35. 
 theatralis, 31. 
 tinnitus, 23. 
 tiniinnabula, 23. 
 tornare, 37. 
 tumor, 16, 35. 
 tympana, 30. 
 
 obscurus, 15. 
 
 c? 
 
 U 
 
 opimus, 21. 
 
 s 
 
 urbanitas, 27. 
 
 opulentus, 28. 
 
 sal, 29. 
 
 urbanus, 27. 
 
 ordo, 25. 
 
 sales, 28. 
 
 uber, 19. 
 
 ornare, 22, 36. 
 
 salubritas, 18. 
 
 
 ornatus, 22, 41. 
 
 sanguis, 19. 
 
 Y 
 
 ossa, 18, 20. 
 
 sanitas, 18. 
 
 vehemens, 14. 
 
 
 severus, 28. 
 
 venari, 24. 
 
 P 
 
 siccus, 21. 
 
 Venus, 29. 
 
 parvitas, 20. 
 
 silva, 40,41. 
 
 venustus, 26. 
 
 pedestris, 25. 
 
 simplicitas, 17. 
 
 vis, 19. 
 
 pellucens, 13. 
 
 splendidus, 15. 
 
 c) English 
 
 voluptas, 29. 
 
 A 
 
 C 
 
 digression, 25. 
 
 adorn, 22. 
 
 character, 39. 
 
 dirty, 20. 
 
 amplification, 16. 
 
 charm, 19, 29. 
 
 dreariness, 28. 
 
 antidote, 35. 
 
 chaste, 33. 
 
 drift, 26. 
 
 appearance, 15. 
 
 clean-cut, 25. 
 
 driveling, 26. 
 
 arid, 21. 
 
 clear, 15. 
 
 drug, 3 d. 
 
 assault. 24. 
 
 coarse, 21. 
 
 dry, 20, 21. 
 
 august, 32. 
 
 color, 43. 
 
 E 
 
 austere, 28. 
 
 colored, 43. 
 
 
 comb, 23. 
 
 economy, 33. 
 
 B 
 
 compact, 37. 
 
 elevated, 32. 
 
 barren, 19. 
 
 concise, 13. 
 
 embellish, 22. 
 
 beauty, 20. 
 
 conciseness, 26. 
 
 embroider, 35. 
 
 bewitch, 30. 
 
 copy, 44. 
 
 emphasis, 15. 
 
 bind, 37. 
 
 counterfeit, 40, 43. 
 
 
 biting, 29. 
 
 curb, 25. 
 
 F 
 
 bitter, 28. 
 
 curl, 23. 
 
 fiery, 14. 
 
 bluster, 13. 
 
 D 
 
 file, 39. 
 
 bombast, 16, 
 
 finical, 22. 
 
 boorish, 27. 
 
 dainty, 19. 
 
 flow, 13. 
 
 brilliant, 15. 
 
 dead, 20. 
 
 flowery, 17. 
 
 build, 41. 
 
 depict, 43. 
 
 fluid, 13. 
 
 buttress, 41. 
 
 diffuse, 23. 
 
 force, 20. 
 
 by-way, 34. 
 
 dignity, 16, 31. 
 
 forcible, 32. 
 
 i 
 
APPENDIX 
 
 51 
 
 orge, 39. 
 oundation, 41. 
 frenzy, 30. 
 freshness, 20. 
 frigidity, 14. 
 
 G 
 
 glue, 39. 
 grand, 32. 
 gravity, 16. 
 groveling, 17. 
 
 H 
 
 harmony, 38. 
 harsh, 28. 
 honey, 29. 
 
 I 
 
 inflation, 16. 
 intensity, 20. 
 invective, 24. 
 involved, 17. 
 
 J 
 
 jejune, 21. 
 join, 37. 
 joyous, 31. 
 
 K 
 
 keeness, 28. 
 knit, 37. 
 
 L 
 
 lame, 21. 
 languid, 17. 
 light, 15. 
 lists, 24. 
 lofty, 16. 
 low, 27. 
 lucidity, 12. 
 
 M 
 
 madness, 30. 
 manicure, 23. 
 mean, 27. 
 model, 44. 
 
 N 
 
 natural, 43. 
 neat, 22. 
 nobility, 28. 
 
 O 
 
 obscure, 15. 
 order, 25. 
 ornament, 22, 43. 
 
 P 
 
 pedestrian, 25. 
 perfume, 22. 
 plain, 36. 
 plebeian, 27. 
 pointless, 25. 
 polish, 38. 
 polished, 38. 
 pomp, 31. 
 processional, 31. 
 profound, 17. 
 prop, 41. 
 prose, 25. 
 prostrate, 16. 
 puerile, 26. 
 pungency, 28. 
 purity, 12. 
 
 R 
 
 raillery, 20. 
 relish, 29. 
 rich, 28. 
 running, 36. 
 
 S 
 
 salt, 29. 
 seasoning, 29. 
 simple, 17,19. 
 smart, 27. 
 smooth, 38. 
 smoothness, 21, 38. 
 sober, 32. 
 
 sophomoric, 26. 
 sordid, 20. 
 spare, 19. 
 sparing, 33. 
 spur, 25. 
 squalor, 44, 
 stable, 41. 
 stamp, 39. 
 sting, 25. 
 strength, 20. 
 string, 37. 
 sublimity, 16. 
 sweeten, 29. 
 sweetmeats, 29. 
 sweetness, 29. 
 swelling, 16. 
 
 T 
 
 tangled, 36. 
 tawdry, 23. 
 terseness, 36. 
 theatrical, 31. 
 thread, 37. 
 translucent, 13. 
 trenchant, 25. 
 tumidity, 35. 
 turn, 37. 
 type, 43. 
 
 U 
 
 unbridled, 25. 
 
 y 
 
 vehemence, 32. 
 vigor, 19. 
 virile, 26. 
 vulgar, 27. 
 
 W 
 
 watery, 13. 
 wire-drawn, 17. 
 witticism, 27. 
 

Date Due 
 
 T-a,^ 
 
 
 
 
 ?~»A -39 
 
 ■fr.y.A 
 
 
 
 / 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 
 
 
 
 
 f) 
 
 
 
 
131380 
 
 Van Hook, Larue 
 
 AUTHOR 
 
 Metaphorical Terminology of 
 
 TITLE 
 
 Greek Rhetoric and Literary 
 
 Cri ticism* 
 
 Chie.U. 1905 
 
 PA3571.R5VS 
 
 DATE DUE 
 
 BORROWER'S NAME 
 
 8-24-38 
 
 Fr.Foley 
 
 03 1 
 
 
 yfcrfn 
 
 
 7V- 
 
 / 
 
 
 
 >J L 
 
 
 OH 
 
 * * •-> - *-* k v * 
 
 i- 
 
 m ,< ^ - 
 

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