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ΡΗΤΟΡΙΚΗ Γ 
We have next to discuss (2) Style, and (3) Arrangement. 
1. (6) Ἐπειδὴ τρία ἐστὶν ἃ δεῖ πραγματευθῆναι περὶ τὸν λό(7)γον, ἓν μὲν ἐκ τίνων αἱ πίστεις ἔσονται, δεύτερον δὲ περὶ (8) τὴν λέξιν, τρίτον δὲ πῶς χρὴ τάξαι τὰ μέρη τοῦ λόγου,  (9) περὶ μὲν τῶν πίστεων εἴρηται, καὶ ἐκ πόσων, ὅτι ἐκ τριῶν (10) εἰσί, καὶ ταῦτα ποῖα, καὶ διὰ τί τοσαῦτα μόνα  (ἢ γὰρ τῷ (11) αὐτοί τι πεπονθέναι οἱ κρίνοντες, ἢ τῷ ποιούς τινας ὑπο(12)λαμβάνειν τοὺς λέγοντας, ἢ τῷ ἀποδεδεῖχθαι, πείθονται πάν(13)τες),  εἴρηται δὲ καὶ τὰ ἐνθυμήματα, πόθεν δεῖ πορίζεσθαι (14) (ἔστι γὰρ τὰ μὲν εἴδη τῶν ἐνθυμημάτων, τὰ δὲ τόποι)·  περὶ (15) δὲ τῆς λέξεως ἐχόμενόν ἐστιν εἰπεῖν·  οὐ γὰρ ἀπόχρη τὸ (16) ἔχειν ἃ δεῖ λέγειν, ἀλλ’ ἀνάγκη καὶ ταῦτα ὡς δεῖ εἰπεῖν,  (17) καὶ συμβάλλεται πολλὰ πρὸς τὸ φανῆναι ποιόν τινα τὸν (18) λόγον. 
BOOK III  Part 1. In making a speech one must study three points: first, the means of producing persuasion; second, the style, or language, to be used; third, the proper arrangement of the various parts of the speech.  We have already specified the sources of persuasion. We have shown that these are three in number; what they are; and why there are only these three:  for we have shown that persuasion must in every case be effected either (1) by working on the emotions of the judges themselves, (2) by giving them the right impression of the speakers’ character, or (3) by proving the truth of the statements made.  Enthymemes also have been described, and the sources from which they should be derived; there being both special and general lines of argument for enthymemes.  Our next subject will be the style of expression.  For it is not enough to know what we ought to say; we must also say it as we ought; 
τὸ μὲν οὖν πρῶτον ἐζητήθη κατὰ φύσιν ὅπερ πέ(19)φυκε πρῶτον,  αὐτὰ τὰ πράγματα ἐκ τίνων ἔχει τὸ πιθανόν,  (20) δεύτερον δὲ τὸ ταῦτα τῇ λέξει διαθέσθαι,  τρίτον δὲ τούτων (21) ὃ δύναμιν μὲν ἔχει μεγίστην, οὔπω δ’ ἐπικεχείρηται, τὰ (22) περὶ τὴν ὑπόκρισιν. 
much help is thus afforded towards producing the right impression of a speech.  The first question to receive attention was naturally the one that comes first naturally  —how persuasion can be produced from the facts themselves.  The second is how to set these facts out in language. 
καὶ γὰρ εἰς τὴν τραγικὴν καὶ ῥαψῳδίαν (23) ὀψὲ παρῆλθεν·  ὑπεκρίνοντο γὰρ αὐτοὶ τὰς τραγῳδίας οἱ (24) ποιηταὶ τὸ πρῶτον.  δῆλον οὖν ὅτι καὶ περὶ τὴν ῥητορικήν (25) ἐστι τὸ τοιοῦτον  ὥσπερ καὶ περὶ τὴν ποιητικήν, ὅπερ (26) ἕτεροί <τέ> τινες ἐπραγματεύθησαν καὶ Γλαύκων ὁ Τήιος.  ἔστιν (27) δὲ αὕτη μὲν ἐν τῇ φωνῇ, πῶς αὐτῇ δεῖ χρῆσθαι πρὸς (28) ἕκαστον πάθος,  οἷον πότε μεγάλῃ καὶ πότε μικρᾷ καὶ μέσῃ, (29) καὶ πῶς τοῖς τόνοις, οἷον ὀξείᾳ καὶ βαρείᾳ καὶ μέσῃ, καὶ (30) ῥυθμοῖς τίσι πρὸς ἕκαστα.  τρία γάρ ἐστιν περὶ ἃ σκοποῦ(31)σιν· ταῦτα δ’ ἐστὶ μέγεθος ἁρμονία ῥυθμός. 
A third would be the proper method of delivery; this is a thing that affects the success of a speech greatly; but hitherto the subject has been neglected.  Indeed, it was long before it found a way into the arts of tragic drama and epic recitation:  at first poets acted their tragedies themselves.  It is plain that delivery has just as much to do with oratory as with poetry.  (In connexion with poetry, it has been studied by Glaucon of Teos among others.)  It is, essentially, a matter of the right management of the voice to express the various emotions  —of speaking loudly, softly, or between the two; of high, low, or intermediate pitch; of the various rhythms that suit various subjects. 
τὰ μὲν οὖν (32) ἆθλα σχεδὸν ἐκ τῶν ἀγώνων οὗτοι λαμβάνουσιν,  καὶ καθ(33)άπερ ἐκεῖ μεῖζον δύνανται νῦν τῶν ποιητῶν οἱ ὑποκριταί, (34) καὶ κατὰ τοὺς πολιτικοὺς ἀγῶνας, διὰ τὴν μοχθηρίαν τῶν (35) πολιτῶν.  οὔπω δὲ σύγκειται τέχνη περὶ αὐτῶν, ἐπεὶ καὶ (36) τὸ περὶ τὴν λέξιν ὀψὲ προῆλθεν·  καὶ δοκεῖ φορτικὸν εἶναι, (1404a1) καλῶς ὑπολαμβανόμενον.  ἀλλ’ ὅλης οὔσης πρὸς δόξαν τῆς (2) πραγματείας τῆς περὶ τὴν ῥητορικήν, οὐχ ὡς ὀρθῶς ἔχοντος (3) ἀλλ’ ὡς ἀναγκαίου τὴν ἐπιμέλειαν ποιητέον,  ἐπεὶ τό γε δίκαιόν (4) <ἐστι> μηδὲν πλέον ζητεῖν περὶ τὸν λόγον ἢ ὥστε μήτε (5) λυπεῖν μήτ’ εὐφραίνειν·  δίκαιον γὰρ αὐτοῖς ἀγωνίζεσθαι (6) τοῖς πράγμασιν, ὥστε τἆλλα ἔξω τοῦ ἀποδεῖξαι περίεργα (7) ἐστίν·  ἀλλ’ ὅμως μέγα δύναται, καθάπερ εἴρηται, διὰ τὴν (8) τοῦ ἀκροατοῦ μοχθηρίαν. 
These are the three things—volume of sound, modulation of pitch, and rhythm—that a speaker bears in mind.  It is those who do bear them in mind who usually win prizes in the dramatic contests;  and just as in drama the actors now count for more than the poets, so it is in the contests of public life, owing to the defects of our political institutions.  No systematic treatise upon the rules of delivery has yet been composed; indeed, even the study of language made no progress till late in the day.  Besides, delivery is—very properly—not regarded as an elevated subject of inquiry.  Still, the whole business of rhetoric being concerned with appearances, we must pay attention to the subject of delivery, unworthy though it is, because we cannot do without it.  The right thing in speaking really is that we should be satisfied not to annoy our hearers, without trying to delight them:  we ought in fairness to fight our case with no help beyond the bare facts: nothing, therefore, should matter except the proof of those facts. 
τὸ μὲν οὖν τῆς λέξεως ὅμως ἔχει (9) τι μικρὸν ἀναγκαῖον ἐν πάσῃ διδασκαλίᾳ·  διαφέρει γάρ τι (10) πρὸς τὸ δηλῶσαι ὡδὶ ἢ ὡδὶ εἰπεῖν,  οὐ μέντοι τοσοῦτον, (11) ἀλλ’ ἅπαντα φαντασία ταῦτ’ ἐστί, καὶ πρὸς τὸν ἀκροατήν·  (12) διὸ οὐδεὶς οὕτω γεωμετρεῖν διδάσκει. 
Still, as has been already said, other things affect the result considerably, owing to the defects of our hearers.  The arts of language cannot help having a small but real importance, whatever it is we have to expound to others:  the way in which a thing is said does affect its intelligibility.  Not, however, so much importance as people think. All such arts are fanciful and meant to charm the hearer. 
ἐκείνη μὲν οὖν ὅταν (13) ἔλθῃ ταὐτὸ ποιήσει τῇ ὑποκριτικῇ, ἐγκεχειρήκασιν δὲ ἐπ’ (14) ὀλίγον περὶ αὐτῆς εἰπεῖν τινές, οἷον Θρασύμαχος ἐν τοῖς (15) Ἐλέοις·  καὶ ἔστιν φύσεως τὸ ὑποκριτικὸν εἶναι, καὶ ἀτεχνό(16)τερον, περὶ δὲ τὴν λέξιν ἔντεχνον.  διὸ καὶ τοῖς τοῦτο δυνα(17)μένοις γίνεται πάλιν ἆθλα, καθάπερ καὶ τοῖς κατὰ τὴν ὑπό(18)κρισιν ῥήτορσιν·  οἱ γὰρ γραφόμενοι λόγοι μεῖζον ἰσχύουσι (19) διὰ τὴν λέξιν ἢ διὰ τὴν διάνοιαν.  (20) ἤρξαντο μὲν οὖν κινῆσαι τὸ πρῶτον, ὥσπερ πέφυκεν, (21) οἱ ποιηταί·  τὰ γὰρ ὀνόματα μιμήματα ἐστίν, ὑπῆρξεν δὲ (22) καὶ ἡ φωνὴ πάντων μιμητικώτατον τῶν μορίων ἡμῖν·  διὸ (23) καὶ αἱ τέχναι συνέστησαν ἥ τε ῥαψῳδία καὶ ἡ ὑποκριτικὴ (24) καὶ ἄλλαι γε.  ἐπεὶ δ’ οἱ ποιηταί, λέγοντες εὐήθη, διὰ τὴν (25) λέξιν ἐδόκουν πορίσασθαι τὴν δόξαν, διὰ τοῦτο (26) ποιητικὴ πρώτη ἐγένετο λέξις, οἷον ἡ Γοργίου,  καὶ νῦν (27) ἔτι οἱ πολλοὶ τῶν ἀπαιδεύτων τοὺς τοιούτους οἴονται δια(28)λέγεσθαι κάλλιστα.  τοῦτο δ’ οὐκ ἔστιν, ἀλλ’ ἑτέρα λόγου (29) καὶ ποιήσεως λέξις ἐστίν.  δηλοῖ δὲ τὸ συμβαῖνον· οὐδὲ γὰρ (30) οἱ τὰς τραγῳδίας ποιοῦντες ἔτι χρῶνται τὸν αὐτὸν τρόπον,  (31) ἀλλ’ ὥσπερ καὶ ἐκ τῶν τετραμέτρων εἰς τὸ ἰαμβεῖον μετ(32)έβησαν διὰ τὸ τῷ λόγῳ τοῦτο τῶν μέτρων ὁμοιότατον εἶναι (33) τῶν ἄλλων,  οὕτω καὶ τῶν ὀνομάτων ἀφείκασιν ὅσα παρὰ (34) τὴν διάλεκτόν ἐστιν, οἷς [δ’] οἱ πρῶτοι ἐκόσμουν, καὶ ἔτι (35) νῦν οἱ τὰ ἑξάμετρα ποιοῦντες [ἀφείκασιν].  διὸ γελοῖον μι(36)μεῖσθαι τούτους οἳ αὐτοὶ οὐκέτι χρῶνται ἐκείνῳ τῷ τρόπῳ,  (37) ὥστε φανερὸν ὅτι οὐχ ἅπαντα ὅσα περὶ λέξεως ἔστιν εἰπεῖν (38) ἀκριβολογητέον ἡμῖν, ἀλλ’ ὅσα περὶ τοιαύτης οἵας λέγομεν. 
Nobody uses fine language when teaching geometry.  When the principles of delivery have been worked out, they will produce the same effect as on the stage. But only very slight attempts to deal with them have been made and by a few people, as by Thrasymachus in his ‘Appeals to Pity’.  Dramatic ability is a natural gift, and can hardly be systematically taught. The principles of good diction can be so taught,  and therefore we have men of ability in this direction too, who win prizes in their turn, as well as those speakers who excel in delivery  —speeches of the written or literary kind owe more of their effect to their direction than to their thought.  It was naturally the poets who first set the movement going;  for words represent things, and they had also the human voice at their disposal, which of all our organs can best represent other things.  Thus the arts of recitation and acting were formed, and others as well.  Now it was because poets seemed to win fame through their fine language when their thoughts were simple enough, that the language of oratorical prose at first took a poetical colour, e.g. that of Gorgias.  Even now most uneducated people think that poetical language makes the finest discourses.  That is not true: the language of prose is distinct from that of poetry.  This is shown by the state of things to—day, when even the language of tragedy has altered its character.  Just as iambics were adopted, instead of tetrameters, because they are the most prose—like of all metres,  so tragedy has given up all those words, not used in ordinary talk, which decorated the early drama and are still used by the writers of hexameter poems.  It is therefore ridiculous to imitate a poetical manner which the poets themselves have dropped; 
(39) περὶ δ’ ἐκείνης εἴρηται ἐν τοῖς περὶ ποιητικῆς. 
and it is now plain that we have not to treat in detail the whole question of style, but may confine ourselves to that part of it which concerns our present subject, rhetoric. 
2. (1404b1) Ἔστω οὖν ἐκεῖνα τεθεωρημένα καὶ ὡρίσθω λέξεως ἀρετὴ (2) σαφῆ εἶναι  (σημεῖον γάρ τι ὁ λόγος ὤν, ἐὰν μὴ δηλοῖ (3) οὐ ποιήσει τὸ ἑαυτοῦ ἔργον),  καὶ μήτε ταπεινὴν μήτε ὑπὲρ (4) τὸ ἀξίωμα, ἀλλὰ πρέπουσαν·  ἡ γὰρ ποιητικὴ ἴσως οὐ τα(5)πεινή, ἀλλ’ οὐ πρέπουσα λόγῳ. 
The other——the poetical——part of it has been discussed in the treatise on the Art of Poetry.  Part 2. We may, then, start from the observations there made, including the definition of style.  Style to be good must be clear, as is proved by the fact that speech which fails to convey a plain meaning will fail to do just what speech has to do.  It must also be appropriate, avoiding both meanness and undue elevation; 
τῶν δ’ ὀνομάτων καὶ ῥη(6)μάτων σαφῆ μὲν ποιεῖ τὰ κύρια, μὴ ταπεινὴν δὲ ἀλλὰ (7) κεκοσμημένην τἆλλα ὀνόματα ὅσα εἴρηται ἐν τοῖς περὶ ποιη(8)τικῆς·  τὸ γὰρ ἐξαλλάξαι ποιεῖ φαίνεσθαι σεμνοτέραν·  ὥσπερ (9) γὰρ πρὸς τοὺς ξένους οἱ ἄνθρωποι καὶ πρὸς τοὺς πολίτας, (10) τὸ αὐτὸ πάσχουσιν καὶ πρὸς τὴν λέξιν·  διὸ δεῖ ποιεῖν ξένην (11) τὴν διάλεκτον·  θαυμασταὶ γὰρ τῶν ἀπόντων εἰσίν, ἡδὺ δὲ (12) τὸ θαυμαστόν ἐστιν. 
poetical language is certainly free from meanness, but it is not appropriate to prose.  Clearness is secured by using the words (nouns and verbs alike) that are current and ordinary. Freedom from meanness, and positive adornment too, are secured by using the other words mentioned in the Art of Poetry.  Such variation from what is usual makes the language appear more stately.  People do not feel towards strangers as they do towards their own countrymen, and the same thing is true of their feeling for language.  It is therefore well to give to everyday speech an unfamiliar air: 
ἐπὶ μὲν οὖν τῶν μέτρων πολλά τε ποιεῖται (13) οὕτω καὶ ἁρμόττει ἐκεῖ  (πλέον γὰρ ἐξέστηκεν περὶ ἃ καὶ (14) περὶ οὓς ὁ λόγος),  ἐν δὲ τοῖς ψιλοῖς λόγοις πολλῷ ἐλάττω· (15) ἡ γὰρ ὑπόθεσις ἐλάττων,  ἐπεὶ καὶ ἐνταῦθα, εἰ δοῦλος (16) καλλιεποῖτο ἢ λίαν νέος, ἀπρεπέστερον, ἢ περὶ λίαν μικρῶν·  (17) ἀλλ’ ἔστι καὶ ἐν τούτοις ἐπισυστελλόμενον καὶ αὐξανόμενον (18) τὸ πρέπον·  διὸ δεῖ λανθάνειν ποιοῦντας, καὶ μὴ δοκεῖν (19) λέγειν πεπλασμένως ἀλλὰ πεφυκότως  (τοῦτο γὰρ πιθανόν, (20) ἐκεῖνο δὲ τοὐναντίον·  ὡς γὰρ πρὸς ἐπιβουλεύοντα διαβάλ(21)λονται, καθάπερ πρὸς τοὺς οἴνους τοὺς μεμιγμένους),  καὶ (22) οἷον ἡ Θεοδώρου φωνὴ πέπονθε πρὸς τὴν τῶν ἄλλων ὑπο(23)κριτῶν·  ἡ μὲν γὰρ τοῦ λέγοντος ἔοικεν εἶναι, αἱ δ’ ἀλλό(24)τριαι. 
people like what strikes them, and are struck by what is out of the way.  In verse such effects are common, and there they are fitting:  the persons and things there spoken of are comparatively remote from ordinary life.  In prose passages they are far less often fitting because the subject—matter is less exalted.  Even in poetry, it is not quite appropriate that fine language should be used by a slave or a very young man, or about very trivial subjects:  even in poetry the style, to be appropriate, must sometimes be toned down, though at other times heightened.  We can now see that a writer must disguise his art and give the impression of speaking naturally and not artificially.  Naturalness is persuasive, artificiality is the contrary;  for our hearers are prejudiced and think we have some design against them, as if we were mixing their wines for them.  It is like the difference between the quality of Theodorus’ voice and the voices of all other actors: 
κλέπτεται δ’ εὖ, ἐάν τις ἐκ τῆς εἰωθυίας διαλέκτου (25) ἐκλέγων συντιθῇ·  ὅπερ Εὐριπίδης ποιεῖ καὶ ὑπέδειξε πρῶτος. 
his really seems to be that of the character who is speaking, theirs do not.  We can hide our purpose successfully by taking the single words of our composition from the speech of ordinary life. 
(26) ὄντων δ’ ὀνομάτων καὶ ῥημάτων ἐξ ὧν ὁ λόγος συν(27)έστηκεν, τῶν δὲ ὀνομάτων τοσαῦτ’ ἐχόντων εἴδη ὅσα τε(28)θεώρηται ἐν τοῖς περὶ ποιήσεως,  τούτων γλώτταις μὲν καὶ (29) διπλοῖς ὀνόμασι καὶ πεποιημένοις ὀλιγάκις καὶ ὀλιγαχοῦ (30) χρηστέον (ὅπου δέ, ὕστερον ἐροῦμεν, τό τε διὰ τί εἴρηται·  (31) ἐπὶ τὸ μεῖζον γὰρ ἐξαλλάττει τοῦ πρέποντος),  τὸ δὲ κύριον (32) καὶ τὸ οἰκεῖον καὶ μεταφορὰ μόνα χρήσιμα πρὸς τὴν τῶν (33) ψιλῶν λόγων λέξιν. 
This is done in poetry by Euripides, who was the first to show the way to his successors.  Language is composed of nouns and verbs. Nouns are of the various kinds considered in the treatise on Poetry.  Strange words, compound words, and invented words must be used sparingly and on few occasions: on what occasions we shall state later.  The reason for this restriction has been already indicated: they depart from what is suitable, in the direction of excess. 
σημεῖον δ’ ὅτι τούτοις μόνοις πάντες (34) χρῶνται·  πάντες γὰρ μεταφοραῖς διαλέγονται καὶ τοῖς οἰκεί(35)οις καὶ τοῖς κυρίοις,  ὥστε δῆλον ὡς ἂν εὖ ποιῇ τις, ἔσται (36) τε ξενικὸν καὶ λανθάνειν ἐνδέξεται καὶ σαφηνιεῖ·  αὕτη δ’ (37) ἦν ἡ τοῦ ῥητορικοῦ λόγου ἀρετή. 
In the language of prose, besides the regular and proper terms for things, metaphorical terms only can be used with advantage.    This we gather from the fact that these two classes of terms, the proper or regular and the metaphorical—these and no others—are used by everybody in conversation.  We can now see that a good writer can produce a style that is distinguished without being obtrusive, and is at the same time clear, 
τῶν δ’ ὀνομάτων τῷ (38) μὲν σοφιστῇ ὁμωνυμίαι χρήσιμοι (παρὰ ταύτας γὰρ κακουρ(39)γεῖ),  τῷ ποιητῇ δὲ συνωνυμίαι, λέγω δὲ κύριά τε καὶ συν(1405a1)ώνυμα οἷον τὸ πορεύεσθαι καὶ τὸ βαδίζειν· ταῦτα γὰρ ἀμφό(2)τερα καὶ κύρια καὶ συνώνυμα ἀλλήλοις.  (3) τί μὲν οὖν τούτων ἕκαστόν ἐστι, καὶ πόσα εἴδη μετα(4)φορᾶς, καὶ ὅτι τοῦτο πλεῖστον δύναται καὶ ἐν ποιήσει καὶ (5) ἐν λόγοις, [αἱ μεταφοραί,] εἴρηται, καθάπερ ἐλέγομεν, ἐν τοῖς (6) περὶ ποιητικῆς·  τοσούτῳ δ’ ἐν λόγῳ δεῖ μᾶλλον φιλοπονεῖ(7)σθαι περὶ αὐτῶν, ὅσῳ ἐξ ἐλαττόνων βοηθημάτων ὁ λόγος (8) ἐστὶ τῶν μέτρων·  καὶ τὸ σαφὲς καὶ τὸ ἡδὺ καὶ τὸ ξενικὸν (9) ἔχει μάλιστα ἡ μεταφορά, καὶ λαβεῖν οὐκ ἔστιν αὐτὴν παρ’ (10) ἄλλου.  δεῖ δὲ καὶ τὰ ἐπίθετα καὶ τὰς μεταφορὰς ἁρμοτ(11)τούσας λέγειν.  τοῦτο δ’ ἔσται ἐκ τοῦ ἀνάλογον·  εἰ δὲ μή, (12) ἀπρεπὲς φανεῖται διὰ τὸ παρ’ ἄλληλα τὰ ἐναντία μάλιστα (13) φαίνεσθαι.  ἀλλὰ δεῖ σκοπεῖν, ὡς νέῳ φοινικίς, οὕτω γέ(14)ροντι τί (οὐ γὰρ ἡ αὐτὴ πρέπει ἐσθής)  καὶ ἐάν τε κοσμεῖν (15) βούλῃ, ἀπὸ τῶν βελτίστων τῶν ἐν ταὐτῷ γένει φέρειν τὴν (16) μεταφοράν, ἐάν τε ψέγειν, ἀπὸ τῶν χειρόνων·  λέγω δ’ οἷον, (17) ἐπεὶ τὰ ἐναντία ἐν τῷ αὐτῷ γένει, τὸ φάναι τὸν μὲν πτω(18)χεύοντα εὔχεσθαι τὸν δὲ εὐχόμενον πτωχεύειν, ὅτι ἄμφω αἰ(19)τήσεις, τὸ εἰρημένον ἐστὶ ποιεῖν,  ὡς καὶ Ἰφικράτης Καλλίαν (20) μητραγύρτην ἀλλ’ οὐ δᾳδοῦχον,  ὁ δὲ ἔφη ἀμύητον αὐτὸν (21) εἶναι· οὐ γὰρ ἂν μητραγύρτην αὐτὸν καλεῖν, ἀλλὰ δᾳδοῦχον·  (22) ἄμφω γὰρ περὶ θεόν, ἀλλὰ τὸ μὲν τίμιον τὸ δὲ ἄτιμον. 
thus satisfying our definition of good oratorical prose.  Words of ambiguous meaning are chiefly useful to enable the sophist to mislead his hearers.  Synonyms are useful to the poet, by which I mean words whose ordinary meaning is the same, e.g. ’poreuesthai’ (advancing) and ‘badizein’ (proceeding); these two are ordinary words and have the same meaning.  In the Art of Poetry, as we have already said, will be found definitions of these kinds of words; a classification of Metaphors; and mention of the fact that metaphor is of great value both in poetry and in prose.  Prose—writers must, however, pay specially careful attention to metaphor, because their other resources are scantier than those of poets.  Metaphor, moreover, gives style clearness, charm, and distinction as nothing else can: and it is not a thing whose use can be taught by one man to another.  Metaphors, like epithets, must be fitting,  which means that they must fairly correspond to the thing signified:  failing this, their inappropriateness will be conspicuous: the want of harmony between two things is emphasized by their being placed side by side.  It is like having to ask ourselves what dress will suit an old man; certainly not the crimson cloak that suits a young man.  And if you wish to pay a compliment, you must take your metaphor from something better in the same line; if to disparage, from something worse.  To illustrate my meaning: since opposites are in the same class, you do what I have suggested if you say that a man who begs ‘prays’, and a man who prays ‘begs’; for praying and begging are both varieties of asking.  So Iphicrates called Callias a ‘mendicant priest’ instead of a ‘torch—bearer’,  and Callias replied that Iphicrates must be uninitiated or he would have called him not a ‘mendicant priest’ but a ‘torch—bearer’. 
(23) καὶ ὁ μὲν διονυσοκόλακας, αὐτοὶ δ’ αὑτοὺς τεχνίτας κα(24)λοῦσιν  (ταῦτα δ’ ἄμφω μεταφορά, ἡ μὲν ῥυπαινόντων ἡ δὲ (25) τοὐναντίον),  καὶ οἱ μὲν λῃσταὶ αὑτοὺς ποριστὰς καλοῦσι (26) νῦν  (διὸ ἔξεστι λέγειν τὸν ἀδικήσαντα μὲν ἁμαρτάνειν, τὸν (27) δ’ ἁμαρτάνοντα ἀδικῆσαι,  καὶ τὸν κλέψαντα καὶ λαβεῖν καὶ (28) πορίσασθαι).  τὸ δὲ ὡς ὁ Τήλεφος Εὐριπίδου φησίν,
κώπης ἀνάσσων κἀποβὰς εἰς Μυσίαν,
(29) ἀπρεπές, ὅτι μεῖζον τὸ ἀνάσσειν ἢ κατ’ ἀξίαν· οὐ κέκλεπται (30) οὖν. 
Both are religious titles, but one is honourable and the other is not.  Again, somebody calls actors ‘hangers—on of Dionysus’, but they call themselves ‘artists’:  each of these terms is a metaphor, the one intended to throw dirt at the actor, the other to dignify him.  And pirates now call themselves ‘purveyors’.  We can thus call a crime a mistake, or a mistake a crime.  We can say that a thief ‘took’ a thing, or that he ‘plundered’ his victim. 
ἔστιν δὲ καὶ ἐν ταῖς συλλαβαῖς ἁμαρτία, ἐὰν μὴ ἡδείας ᾖ (31) σημεῖα φωνῆς,  οἷον Διονύσιος προσαγορεύει ὁ χαλκοῦς ἐν (32) τοῖς ἐλεγείοις κραυγὴν Καλλιόπης τὴν ποίησιν, ὅτι ἄμφω (33) φωναί·  φαύλη δὲ ἡ μεταφορὰ †ταῖς ἀσήμοις φωναῖς†. 
An expression like that of Euripides’ Telephus,
King of the oar, on Mysia’s coast he landed,
is inappropriate; the word ‘king’ goes beyond the dignity of the subject, and so the art is not concealed. 
A metaphor may be amiss because the very syllables of the words conveying it fail to indicate sweetness of vocal utterance.  Thus Dionysius the Brazen in his elegies calls poetry ‘Calliope’s screech’. Poetry and screeching are both, to be sure, vocal utterances. 
ἔτι δὲ (34) οὐ πόρρωθεν δεῖ ἀλλ’ ἐκ τῶν συγγενῶν καὶ τῶν ὁμοειδῶν (35) μεταφέρειν <ἐπὶ> τὰ ἀνώνυμα ὠνομασμένως ὃ λεχθὲν δῆλόν ἐστιν (36) ὅτι συγγενές  (οἷον ἐν τῷ αἰνίγματι τῷ εὐδοκιμοῦντι (1405b1)
ἄνδρ’ εἶδον πυρὶ χαλκὸν ἐπ’ ἀνέρι κολλήσαντα·
 
(2) ἀνώνυμον γὰρ τὸ πάθος, ἔστι δ’ ἄμφω πρόσθεσίς τις·  (3) κόλλησιν τοίνυν εἶπε τὴν τῆς σικύας προσβολήν),  καὶ ὅλως (4) ἐκ τῶν εὖ ᾐνιγμένων ἔστι μεταφορὰς λαβεῖν ἐπιεικεῖς·  μετα(5)φοραὶ γὰρ αἰνίττονται, ὥστε δῆλον ὅτι εὖ μετενήνεκται. 
But the metaphor is bad, because the sounds of ‘screeching’, unlike those of poetry, are discordant and unmeaning.  Further, in using metaphors to give names to nameless things, we must draw them not from remote but from kindred and similar things, so that the kinship is clearly perceived as soon as the words are said.  Thus in the celebrated riddle
I marked how a man glued bronze with fire to another man’s body,
 
the process is nameless; but both it and gluing are a kind of application,  and that is why the application of the cupping—glass is here called a ‘gluing’.  Good riddles do, in general, provide us with satisfactory metaphors: 
καὶ (6) ἀπὸ καλῶν· κάλλος δὲ ὀνόματος τὸ μὲν ὥσπερ Λικύμνιος (7) λέγει, ἐν τοῖς ψόφοις ἢ τῷ σημαινομένῳ, καὶ αἶσχος δὲ (8) ὡσαύτως. 
for metaphors imply riddles, and therefore a good riddle can furnish a good metaphor. 
ἔτι δὲ τρίτον ὃ λύει τὸν σοφιστικὸν λόγον·  οὐ (9) γὰρ ὡς ἔφη Βρύσων οὐθένα αἰσχρολογεῖν, εἴπερ τὸ αὐτὸ (10) σημαίνει τόδε ἀντὶ τοῦδε εἰπεῖν· τοῦτο γάρ ἐστιν ψεῦδος·  (11) ἔστιν γὰρ ἄλλο ἄλλου κυριώτερον καὶ ὡμοιωμένον μᾶλλον (12) καὶ οἰκειότερον, τῷ ποιεῖν τὸ πρᾶγμα πρὸ ὀμμάτων.  ἔτι οὐχ (13) ὁμοίως ἔχον σημαίνει τόδε καὶ τόδε, ὥστε καὶ οὕτως ἄλλου (14) ἄλλο κάλλιον καὶ αἴσχιον θετέον·  ἄμφω μὲν γὰρ τὸ καλὸν (15) ἢ τὸ αἰσχρὸν σημαίνουσιν, ἀλλ’ οὐχ ᾗ καλὸν ἢ οὐχ ᾗ (16) αἰσχρόν· ἢ ταῦτα μέν, ἀλλὰ μᾶλλον καὶ ἧττον.  τὰς δὲ (17) μεταφορὰς ἐντεῦθεν οἰστέον, ἀπὸ καλῶν ἢ τῇ φωνῇ ἢ τῇ (18) δυνάμει ἢ τῇ ὄψει ἢ ἄλλῃ τινὶ αἰσθήσει. 
Further, the materials of metaphors must be beautiful; and the beauty, like the ugliness, of all words may, as Licymnius says, lie in their sound or in their meaning.  Further, there is a third consideration—one that upsets the fallacious argument of the sophist Bryson,  that there is no such thing as foul language, because in whatever words you put a given thing your meaning is the same. This is untrue.  One term may describe a thing more truly than another, may be more like it, and set it more intimately before our eyes.  Besides, two different words will represent a thing in two different lights; so on this ground also one term must be held fairer or fouler than another.  For both of two terms will indicate what is fair, or what is foul, but not simply their fairness or their foulness, or if so, at any rate not in an equal degree. 
διαφέρει δ’ (19) εἰπεῖν, οἷον ῥοδοδάκτυλος ἠὼς μᾶλλον ἢ φοινικοδάκτυλος, (20) ἢ ἔτι φαυλότερον ἐρυθροδάκτυλος.  καὶ ἐν τοῖς ἐπιθέτοις (21) ἔστιν μὲν τὰς ἐπιθέσεις ποιεῖσθαι ἀπὸ φαύλου ἢ αἰσχροῦ, (22) οἷον ὁ μητροφόντης, ἔστι δ’ ἀπὸ τοῦ βελτίονος, οἷον ὁ πα(23)τρὸς ἀμύντωρ·  καὶ ὁ Σιμωνίδης, ὅτε μὲν ἐδίδου μισθὸν ὀλί(24)γον αὐτῷ ὁ νικήσας τοῖς ὀρεῦσιν, οὐκ ἤθελε ποιεῖν, ὡς (25) δυσχεραίνων εἰς ἡμιόνους ποιεῖν,  ἐπεὶ δ’ ἱκανὸν ἔδωκεν, (26) ἐποίησε
χαίρετ’ ἀελλοπόδων θύγατρες ἵππων·
(27) καίτοι καὶ τῶν ὄνων θυγατέρες ἦσαν.
 
ἔστιν αὖ τὸ ὑπο(28)κορίζεσθαι· ἔστιν δὲ ὁ ὑποκορισμὸς ὃ ἔλαττον ποιεῖ καὶ τὸ (29) κακὸν καὶ τὸ ἀγαθόν,  ὥσπερ καὶ Ἀριστοφάνης σκώπτει (30) ἐν τοῖς Βαβυλωνίοις, ἀντὶ μὲν χρυσίου χρυσιδάριον, ἀντὶ δ’ (31) ἱματίου ἱματιδάριον, ἀντὶ δὲ λοιδορίας λοιδορημάτιον καὶ ἀντὶ (32) νοσήματος νοσημάτιον. 
The materials of metaphor must be beautiful to the ear, to the understanding, to the eye or some other physical sense.  It is better, for instance, to say ‘rosy—fingered morn’, than ‘crimson—fingered’ or, worse still, ‘red—fingered morn’.  The epithets that we apply, too, may have a bad and ugly aspect, as when Orestes is called a ‘mother—slayer’; or a better one, as when he is called his ‘father’s avenger’.  Simonides, when the victor in the mule—race offered him a small fee, refused to write him an ode, because, he said, it was so unpleasant to write odes to half—asses:  but on receiving an adequate fee, he wrote
Hail to you, daughters of storm—footed steeds?
though of course they were daughters of asses too.
 
The same effect is attained by the use of diminutives, which make a bad thing less bad and a good thing less good. 
εὐλαβεῖσθαι δὲ δεῖ καὶ παρατηρεῖν ἐν (33) ἀμφοῖν τὸ μέτριον. 
Take, for instance, the banter of Aristophanes in the Babylonians where he uses ‘goldlet’ for ‘gold’, ‘cloaklet’ for ‘cloak’, ‘scoffiet’ for ‘scoff, and ‘plaguelet’. 
3. (34) Τὰ δὲ ψυχρὰ ἐν τέτταρσι γίγνεται κατὰ τὴν λέξιν, 
But alike in using epithets and in using diminutives we must be wary and must observe the mean. 
ἔν τε (35) τοῖς διπλοῖς ὀνόμασιν,  οἷον Λυκόφρων “τὸν πολυπρόσωπον (36) οὐρανὸν τῆς μεγαλοκορύφου γῆς”, καὶ “ἀκτὴν δὲ στενοπόρον”,  (37) καὶ ὡς Γοργίας ὠνόμαζεν “πτωχομουσοκόλοκας ἐπιορκήσαντας (1406a1) κατ’ εὐορκήσαντος”,  καὶ ὡς Ἀλκιδάμας “μένους μὲν τὴν (2) ψυχὴν πληρουμένην, πυρίχρων δὲ τὴν ὄψιν γιγνομένην”, καὶ (3) “τελεσφόρον” ᾠήθη τὴν προθυμίαν αὐτῶν γενήσεσθαι, καὶ (4) “τελεσφόρον” τὴν πειθὼ τῶν λόγων κατέστησεν, καὶ “κυανό(5)χρων” τὸ τῆς θαλάττης ἔδαφος·  πάντα ταῦτα γὰρ ποιητικὰ (6) διὰ τὴν δίπλωσιν φαίνεται.  μία μὲν οὖν αὕτη αἰτία, 
Part 3. Bad taste in language may take any of four forms:  (1) The misuse of compound words.  Lycophron, for instance, talks of the ‘many visaged heaven’ above the ‘giant—crested earth’, and again the ‘strait—pathed shore’;  and Gorgias of the ‘pauper—poet flatterer’ and ‘oath—breaking and over—oath—keeping’.  Alcidamas uses such expressions as ‘the soul filling with rage and face becoming flame—flushed’, and ‘he thought their enthusiasm would be issue—fraught’ and ‘issue—fraught he made the persuasion of his words’, and ‘sombre—hued is the floor of the sea’.  The way all these words are compounded makes them, we feel, fit for verse only. 
μία (7) δὲ τὸ χρῆσθαι γλώτταις,  οἷον Λυκόφρων Ξέρξην “πέλωρον (8) ἄνδρα”, καὶ Σκίρων “σίνις ἀνήρ”,  καὶ Ἀλκιδάμας “ἄθυρμα τῇ (9) ποιήσει”, καὶ “τὴν τῆς φύσεως ἀτασθαλίαν”, καὶ “ἀκράτῳ (10) τῆς διανοίας ὀργῇ τεθηγμένον”. 
This, then, is one form in which bad taste is shown.  (2) Another is the employment of strange words.  For instance, Lycophron talks of ‘the prodigious Xerxes’ and ‘spoliative Sciron’; 
τρίτον δ’ ἐν τοῖς ἐπιθέτοις (11) τὸ ἢ μακροῖς ἢ ἀκαίροις ἢ πυκνοῖς χρῆσθαι·  ἐν μὲν γὰρ (12) ποιήσει πρέπει “γάλα λευκὸν” εἰπεῖν, ἐν δὲ λόγῳ τὰ μὲν (13) ἀπρεπέστερα· τὰ δέ, ἂν ᾖ κατακορῆ, ἐξελέγχει καὶ ποιεῖ (14) φανερὸν ὅτι ποίησις ἐστίν,  ἐπεὶ δεῖ γε χρῆσθαι αὐτοῖς (ἐξ(15)αλλάττει γὰρ τὸ εἰωθὸς καὶ ξενικὴν ποιεῖ τὴν λέξιν),  ἀλλὰ (16) δεῖ στοχάζεσθαι τοῦ μετρίου, ἐπεὶ μεῖζον ποιεῖ κακὸν τοῦ (17) εἰκῇ λέγειν·  ἡ μὲν γὰρ οὐκ ἔχει τὸ εὖ, ἡ δὲ τὸ κακῶς.  (18) διὸ τὰ Ἀλκιδάμαντος ψυχρὰ φαίνεται· οὐ γὰρ ὡς ἡδύσματι (19) χρῆται ἀλλ’ ὡς ἐδέσματι τοῖς ἐπιθέτοις <τοῖς> οὕτω πυκνοῖς (20) καὶ μείζοσι καὶ ἐπιδήλοις,  οἷον οὐχ ἱδρῶτα ἀλλὰ τὸν ὑγρὸν (21) ἱδρῶτα, καὶ οὐκ εἰς Ἴσθμια ἀλλ’ εἰς τὴν τῶν Ἰσθμίων (22) πανήγυριν, καὶ οὐχὶ νόμους ἀλλὰ τοὺς τῶν πόλεων βασι(23)λεῖς νόμους, καὶ οὐ δρόμῳ ἀλλὰ δρομαίᾳ τῇ τῆς ψυχῆς (24) ὁρμῇ, καὶ οὐχὶ μουσεῖον ἀλλὰ τὸ τῆς φύσεως παραλαβὼν (25) μουσεῖον, καὶ σκυθρωπὸν τὴν φροντίδα τῆς ψυχῆς, καὶ (26) οὐ χάριτος ἀλλὰ πανδήμου χάριτος δημιουργός, καὶ οἰκονό(27)μος τῆς τῶν ἀκουόντων ἡδονῆς, καὶ οὐ κλάδοις ἀλλὰ τοῖς (28) τῆς ὕλης κλάδοις ἀπέκρυψεν, καὶ οὐ τὸ σῶμα παρήμπισχεν (29) ἀλλὰ τὴν τοῦ σώματος αἰσχύνην, καὶ ἀντίμιμον τὴν τῆς (30) ψυχῆς ἐπιθυμίαν (τοῦτο δ’ ἅμα καὶ διπλοῦν καὶ ἐπίθετον, (31) ὥστε ποίημα γίνεται), καὶ οὕτως ἔξεδρον τὴν τῆς μοχθηρίας (32) ὑπερβολήν.  διὸ ποιητικῶς λέγοντες τῇ ἀπρεπείᾳ τὸ γελοῖον (33) καὶ τὸ ψυχρὸν ἐμποιοῦσι, καὶ τὸ ἀσαφὲς διὰ τὴν ἀδολε(34)σχίαν·  ὅταν γὰρ γιγνώσκοντι ἐπεμβάλλῃ, διαλύει τὸ σαφὲς (35) τῷ ἐπισκοτεῖν.  οἱ δ’ ἄνθρωποι τοῖς διπλοῖς χρῶνται ὅταν (36) ἀνώνυμον ᾖ καὶ ὁ λόγος εὐσύνθετος, οἷον τὸ χρονοτριβεῖν· (1406b1) ἀλλ’ ἂν πολύ, πάντως ποιητικόν·  διὸ χρησιμωτάτη ἡ διπλῆ (2) λέξις τοῖς διθυραμβοποιοῖς (οὗτοι γὰρ ψοφώδεις),  αἱ δὲ (3) γλῶτται τοῖς ἐποποιοῖς (σεμνὸν γὰρ καὶ αὔθαδες),  ἡ δὲ μετα(4)φορὰ τοῖς ἰαμβείοις (τούτοις γὰρ νῦν χρῶνται, ὥσπερ (5) εἴρηται). 
Alcidamas of ‘a toy for poetry’ and ‘the witlessness of nature’, and says ‘whetted with the unmitigated temper of his spirit’.  (3) A third form is the use of long, unseasonable, or frequent epithets.  It is appropriate enough for a poet to talk of ‘white milk’, in prose such epithets are sometimes lacking in appropriateness or, when spread too thickly, plainly reveal the author turning his prose into poetry.  Of course we must use some epithets, since they lift our style above the usual level and give it an air of distinction.  But we must aim at the due mean, or the result will be worse than if we took no trouble at all;  we shall get something actually bad instead of something merely not good.  That is why the epithets of Alcidamas seem so tasteless; he does not use them as the seasoning of the meat, but as the meat itself, so numerous and swollen and aggressive are they.  For instance, he does not say ‘sweat’, but ‘the moist sweat’; not ‘to the Isthmian games’, but ‘to the world—concourse of the Isthmian games’; not ‘laws’, but ‘the laws that are monarchs of states’; not ‘at a run’, but ‘his heart impelling him to speed of foot’; not ‘a school of the Muses’, but ‘Nature’s school of the Muses had he inherited’; and so ‘frowning care of heart’, and ‘achiever’ not of ‘popularity’ but of ‘universal popularity’, and ‘dispenser of pleasure to his audience’, and ‘he concealed it’ not ‘with boughs’ but ‘with boughs of the forest trees’, and ‘he clothed’ not ‘his body’ but ‘his body’s nakedness’, and ‘his soul’s desire was counter imitative’ (this’s at one and the same time a compound and an epithet, so that it seems a poet’s effort), and ‘so extravagant the excess of his wickedness’.  We thus see how the inappropriateness of such poetical language imports absurdity and tastelessness into speeches, as well as the obscurity that comes from all this verbosity  —for when the sense is plain, you only obscure and spoil its clearness by piling up words.  The ordinary use of compound words is where there is no term for a thing and some compound can be easily formed, like ‘pastime’ (chronotribein); but if this is much done, the prose character disappears entirely.  We now see why the language of compounds is just the thing for writers of dithyrambs, who love sonorous noises;  strange words for writers of epic poetry, which is a proud and stately affair; 
καὶ ἔτι τέταρτον τὸ ψυχρὸν ἐν ταῖς μεταφοραῖς (6) γίνεται·  εἰσὶν γὰρ καὶ μεταφοραὶ ἀπρεπεῖς,  αἱ μὲν διὰ τὸ (7) γελοῖον (χρῶνται γὰρ καὶ οἱ κωμῳδοποιοὶ μεταφοραῖς),  αἱ (8) δὲ διὰ τὸ σεμνὸν ἄγαν καὶ τραγικόν· ἀσαφεῖς δέ, ἂν πόρ(9)ρωθεν,  οἷον Γοργίας “χλωρὰ καὶ ἄναιμα τὰ πράγματα”, “σὺ (10) δὲ ταῦτα αἰσχρῶς μὲν ἔσπειρας κακῶς δὲ ἐθέρισας”· ποιη(11)τικῶς γὰρ ἄγαν.  καὶ ὡς Ἀλκιδάμας τὴν φιλοσοφίαν “ἐπι(12)τείχισμα τῷ νόμῳ”,  καὶ τὴν Ὀδύσσειαν “καλὸν ἀνθρω(13)πίνου βίου κάτοπτρον”, καὶ “οὐδὲν τοιοῦτον ἄθυρμα τῇ (14) ποιήσει προσφέρων”·  ἅπαντα γὰρ ταῦτα ἀπίθανα διὰ τὰ εἰρη(15)μένα.  τὸ δὲ Γοργίου εἰς τὴν χελιδόνα, ἐπεὶ κατ’ αὐτοῦ (16) πετομένη ἀφῆκε τὸ περίττωμα, ἄριστα <ἔχει> τῶν τραγικῶν·  (17) εἶπε γὰρ “αἰσχρόν γε, ὦ Φιλομήλα”.  ὄρνιθι μὲν γάρ, εἰ (18) ἐποίησεν, οὐκ αἰσχρόν, παρθένῳ δὲ αἰσχρόν.  εὖ οὖν ἐλοιδόρησεν (19) εἰπὼν ὃ ἦν, ἀλλ’ οὐχ ὃ ἔστιν. 
and metaphor for iambic verse, the metre which (as has been already’ said) is widely used to—day.  (4) There remains the fourth region in which bad taste may be shown, metaphor.  Metaphors like other things may be inappropriate.  Some are so because they are ridiculous; they are indeed used by comic as well as tragic poets.  Others are too grand and theatrical; and these, if they are far—fetched, may also be obscure.  For instance, Gorgias talks of ‘events that are green and full of sap’, and says ‘foul was the deed you sowed and evil the harvest you reaped’. That is too much like poetry.  Alcidamas, again, called philosophy ‘a fortress that threatens the power of law’,  and the Odyssey ‘a goodly looking—glass of human life’, talked about ‘offering no such toy to poetry’:  all these expressions fail, for the reasons given, to carry the hearer with them.  The address of Gorgias to the swallow, when she had let her droppings fall on him as she flew overhead, is in the best tragic manner.  He said, ‘Nay, shame, O Philomela’.  Considering her as a bird, you could not call her act shameful; considering her as a girl, you could; 
4. (20) Ἔστιν δὲ καὶ ἡ εἰκὼν μεταφορά· διαφέρει γὰρ μικρόν·  (21) ὅταν μὲν γὰρ εἴπῃ [τὸν Ἀχιλλέα] “ὡς δὲ λέων ἐπόρουσεν”, (22) εἰκών ἐστιν, ὅταν δὲ “λέων ἐπόρουσε”, μεταφορά·  διὰ γὰρ τὸ (23) ἄμφω ἀνδρείους εἶναι, προσηγόρευσεν μετενέγκας λέοντα (24) τὸν Ἀχιλλέα. 
and so it was a good gibe to address her as what she was once and not as what she is.  Part 4. The Simile also is a metaphor; the difference is but slight.  When the poet says of Achilles that he Leapt on the foe as a lion, this is a simile; when he says of him ‘the lion leapt’, it is a metaphor—here, 
χρήσιμον δὲ ἡ εἰκὼν καὶ ἐν λόγῳ, ὀλιγάκις (25) δέ· ποιητικὸν γάρ.  οἰστέαι δὲ ὥσπερ αἱ μεταφοραί· μετα(26)φοραὶ γάρ εἰσι, διαφέρουσαι τῷ εἰρημένῳ.  (27) εἰσὶν δ’ εἰκόνες οἷον ἣν Ἀνδροτίων εἰς Ἰδριέα, ὅτι ὅμοιος (28) τοῖς ἐκ τῶν δεσμῶν κυνιδίοις· ἐκεῖνά τε γὰρ προσπίπτοντα (29) δάκνειν, καὶ Ἰδριέα λυθέντα ἐκ τῶν δεσμῶν εἶναι χαλεπόν.  καὶ (30) ὡς Θεοδάμας εἴκαζεν Ἀρχίδαμον Εὐξένῳ γεωμετρεῖν οὐκ ἐπι(31)σταμένῳ ἐν τῷ ἀνάλογόν <ἐστιν>· ἔσται γὰρ καὶ ὁ Εὔξενος (32) Ἀρχίδαμος γεωμετρικός.  καὶ τὸ ἐν τῇ Πολιτείᾳ τῇ Πλάτωνος, (33) ὅτι οἱ τοὺς τεθνεῶτας σκυλεύοντες ἐοίκασι τοῖς κυνιδίοις (34) ἃ τοὺς λίθους δάκνει, τοῦ βάλλοντος οὐχ ἁπτόμενα,  καὶ (35) ἡ εἰς τὸν δῆμον, ὅτι ὅμοιος ναυκλήρῳ ἰσχυρῷ μὲν ὑπο(36)κώφῳ δέ,  καὶ ἡ εἰς τὰ μέτρα τῶν ποιητῶν, ὅτι ἔοικε τοῖς (1407a1) ἄνευ κάλλους ὡραίοις·  οἱ μὲν γὰρ ἀπανθήσαντες, τὰ δὲ (2) διαλυθέντα οὐχ ὅμοια φαίνεται.  καὶ ἡ Περικλέους εἰς Σα(3)μίους, ἐοικέναι αὐτοὺς τοῖς παιδίοις ἃ τὸν ψωμὸν δέχεται (4) μέν, κλαίοντα δέ,  καὶ εἰς Βοιωτούς, ὅτι ὅμοιοι τοῖς πρίνοις· (5) τούς τε γὰρ πρίνους ὑφ’ αὑτῶν κατακόπτεσθαι, καὶ τοὺς (6) Βοιωτοὺς πρὸς ἀλλήλους μαχομένους.  καὶ ὃ Δημοσθένης (7) <εἰς> τὸν δῆμον, ὅτι ὅμοιός ἐστιν τοῖς ἐν τοῖς πλοίοις ναυ(8)τιῶσιν.  καὶ ὡς Δημοκράτης εἴκασεν τοὺς ῥήτορας ταῖς (9) τίτθαις αἳ τὸ ψώμισμα καταπίνουσαι τῷ σιάλῳ τὰ παιδία (10) παραλείφουσιν.  καὶ ὡς Ἀντισθένης Κηφισόδοτον τὸν λεπτὸν (11) λιβανωτῷ εἴκασεν, ὅτι ἀπολλύμενος εὐφραίνει.  πάσας δὲ (12) ταύτας καὶ ὡς εἰκόνας καὶ ὡς μεταφορὰς ἔξεστι λέγειν, (13) ὥστε ὅσαι ἂν εὐδοκιμῶσιν ὡς μεταφοραὶ λεχθεῖσαι, δῆλον (14) ὅτι αὗται καὶ εἰκόνες ἔσονται, καὶ αἱ εἰκόνες μεταφοραὶ (15) λόγου δεόμεναι.  ἀεὶ δὲ δεῖ τὴν μεταφορὰν τὴν ἐκ τοῦ (16) ἀνάλογον ἀνταποδιδόναι καὶ ἐπὶ θάτερα [καὶ ἐπὶ] τῶν ὁμο(17)γενῶν,  οἷον εἰ ἡ φιάλη ἀσπὶς Διονύσου, καὶ τὴν ἀσπίδα (18) ἁρμόττει λέγεσθαι φιάλην Ἄρεως. 
since both are courageous, he has transferred to Achilles the name of ‘lion’.  Similes are useful in prose as well as in verse; but not often, since they are of the nature of poetry.  They are to be employed just as metaphors are employed, since they are really the same thing except for the difference mentioned.  The following are examples of similes. Androtion said of Idrieus that he was like a terrier let off the chain, that flies at you and bites you—Idrieus too was savage now that he was let out of his chains.  Theodamas compared Archidamus to an Euxenus who could not do geometry—a proportional simile, implying that Euxenus is an Archidamus who can do geometry.  In Plato’s Republic those who strip the dead are compared to curs which bite the stones thrown at them but do not touch the thrower,  and there is the simile about the Athenian people, who are compared to a ship’s captain who is strong but a little deaf;  and the one about poets’ verses, which are likened to persons who lack beauty but possess youthful freshness  —when the freshness has faded the charm perishes, and so with verses when broken up into prose.  Pericles compared the Samians to children who take their pap but go on crying;  and the Boeotians to holm—oaks, because they were ruining one another by civil wars just as one oak causes another oak’s fall.  Demosthenes said that the Athenian people were like sea—sick men on board ship.  Again, Demosthenes compared the political orators to nurses who swallow the bit of food themselves and then smear the children’s lips with the spittle.  Antisthenes compared the lean Cephisodotus to frankincense, because it was his consumption that gave one pleasure.  All these ideas may be expressed either as similes or as metaphors; those which succeed as metaphors will obviously do well also as similes, and similes, with the explanation omitted, will appear as metaphors.  But the proportional metaphor must always apply reciprocally to either of its co—ordinate terms. 
5. (19) Ὁ μὲν οὖν λόγος συντίθεται ἐκ τούτων,  ἔστι δ’ ἀρχὴ (20) τῆς λέξεως τὸ ἑλληνίζειν· τοῦτο δ’ ἐστὶν ἐν πέντε, 
For instance, if a drinking—bowl is the shield of Dionysus, a shield may fittingly be called the drinking—bowl of Ares.  Part 5. Such, then, are the ingredients of which speech is composed. 
πρῶτον (21) μὲν ἐν τοῖς συνδέσμοις, ἂν ἀποδιδῷ τις ὡς πεφύκασι πρό(22)τεροι καὶ ὕστεροι γίγνεσθαι ἀλλήλων,  οἷον ἔνιοι ἀπαιτοῦσιν, (23) ὥσπερ ὁ μέν καὶ ὁ ἐγὼ μέν ἀπαιτεῖ τὸν δέ καὶ τὸν ὁ δέ.  (24) δεῖ δὲ ἕως μέμνηται ἀνταποδιδόναι ἀλλήλοις, καὶ μήτε μα(25)κρὰν ἀπαρτᾶν μήτε σύνδεσμον πρὸ συνδέσμου ἀποδιδόναι (26) τοῦ ἀναγκαίου· ὀλιγαχοῦ γὰρ ἁρμόττει.  “ἐγὼ μέν, ἐπεί μοι (27) εἶπεν (ἦλθε γὰρ Κλέων δεόμενός τε καὶ ἀξιῶν), ἐπορευόμην (28) παραλαβὼν αὐτούς”.  ἐν τούτοις γὰρ πολλοὶ πρὸ τοῦ ἀποδοθη(29)σομένου συνδέσμου προεμβέβληνται σύνδεσμοι·  ἐὰν δὲ πολὺ (30) τὸ μεταξὺ γένηται τοῦ ἐπορευόμην, ἀσαφές.  ἓν μὲν δὴ τὸ (31) εὖ ἐν τοῖς συνδέσμοις, 
The foundation of good style is correctness of language, which falls under five heads.  (1) First, the proper use of connecting words, and the arrangement of them in the natural sequence which some of them require.  For instance, the connective ‘men’ (e.g. ego men) requires the correlative de (e.g. o de).  The answering word must be brought in before the first has been forgotten, and not be widely separated from it; nor, except in the few cases where this is appropriate, is another connective to be introduced before the one required.  Consider the sentence, ‘But as soon as he told me (for Cleon had come begging and praying), took them along and set out.’  In this sentence many connecting words are inserted in front of the one required to complete the sense;  and if there is a long interval before ‘set out’, the result is obscurity. 
δεύτερον δὲ τὸ τοῖς ἰδίοις ὀνόμασι (32) λέγειν καὶ μὴ τοῖς περιέχουσιν. 
One merit, then, of good style lies in the right use of connecting words. 
τρίτον μὴ ἀμφιβόλοις. τοῦτο (33) δ’ ἂν μὴ τἀναντία προαιρῆται, ὅπερ ποιοῦσιν ὅταν μηδὲν (34) μὲν ἔχωσι λέγειν, προσποιῶνται δέ τι λέγειν·  οἱ γὰρ τοι(35)οῦτοι ἐν ποιήσει λέγουσιν ταῦτα,  οἷον Ἐμπεδοκλῆς· φενα(36)κίζει γὰρ τὸ κύκλῳ πολὺ ὄν,  καὶ πάσχουσιν οἱ ἀκροαταὶ ὅ(37)περ οἱ πολλοὶ παρὰ τοῖς μάντεσιν·  ὅταν γὰρ λέγωσιν ἀμφί(38)βολα, συμπαρανεύουσιν— Κροῖσος Ἅλυν διαβὰς μεγάλην ἀρχὴν καταλύσει  (1407b1) —καὶ διὰ τὸ ὅλως ἔλαττον εἶναι ἁμάρτημα διὰ τῶν γενῶν (2) τοῦ πράγματος λέγουσιν οἱ μάντεις·  τύχοι γὰρ ἄν τις μᾶλ(3)λον ἐν τοῖς ἀρτιασμοῖς ἄρτια ἢ περισσὰ εἰπὼν μᾶλλον ἢ (4) πόσα ἔχει, καὶ τὸ ὅτι ἔσται ἢ τὸ πότε,  διὸ οἱ χρησμολόγοι (5) οὐ προσορίζονται τὸ πότε.  ἅπαντα δὴ ταῦτα ὅμοια, ὥστ’ (6) ἂν μὴ τοιούτου τινὸς ἕνεκα, φευκτέον. 
(2) The second lies in calling things by their own special names and not by vague general ones.  (3) The third is to avoid ambiguities; unless, indeed, you definitely desire to be ambiguous, as those do who have nothing to say but are pretending to mean something.  Such people are apt to put that sort of thing into verse.  Empedocles, for instance, by his long circumlocutions imposes on his hearers;  these are affected in the same way as most people are when they listen to diviners,  whose ambiguous utterances are received with nods of acquiescence— Croesus by crossing the Halys will ruin a mighty realm.  Diviners use these vague generalities about the matter in hand because their predictions are thus, as a rule, less likely to be falsified.  We are more likely to be right, in the game of ‘odd and even’, if we simply guess ‘even’ or ‘odd’ than if we guess at the actual number;  and the oracle—monger is more likely to be right if he simply says that a thing will happen than if he says when it will happen, and therefore he refuses to add a definite date. 
τέταρτον, ὡς Πρω(7)ταγόρας τὰ γένη τῶν ὀνομάτων διῄρει, ἄρρενα καὶ θήλεα καὶ (8) σκεύη· δεῖ γὰρ ἀποδιδόναι καὶ ταῦτα ὀρθῶς·  “ἡ δ’ ἐλθοῦσα (9) καὶ διαλεχθεῖσα ᾤχετο”. 
All these ambiguities have the same sort of effect, and are to be avoided unless we have some such object as that mentioned.  (4) A fourth rule is to observe Protagoras’ classification of nouns into male, female, and inanimate; for these distinctions also must be correctly given. 
πέμπτον ἐν τῷ τὰ πολλὰ καὶ ὀλίγα (10) καὶ ἓν ὀρθῶς ὀνομάζειν·  “οἱ δ’ ἐλθόντες ἔτυπτόν με”. 
’Upon her arrival she said her say and departed (e d elthousa kai dialechtheisa ocheto).’  (5) A fifth rule is to express plurality, fewness, and unity by the correct wording, e.g. 
(11) ὅλως δὲ δεῖ εὐανάγνωστον εἶναι τὸ γεγραμμένον καὶ (12) εὔφραστον·  ἔστιν δὲ τὸ αὐτό· ὅπερ οἱ πολλοὶ σύνδεσμοι (13) οὐκ ἔχουσιν, οὐδ’ ἃ μὴ ῥᾴδιον διαστίξαι, ὥσπερ τὰ Ἡρα(14)κλείτου.  τὰ γὰρ Ἡρακλείτου διαστίξαι ἔργον διὰ τὸ ἄδηλον (15) εἶναι ποτέρῳ πρόσκειται, τῷ ὕστερον ἢ τῷ πρότερον,  οἷον (16) ἐν τῇ ἀρχῇ αὐτῇ τοῦ συγγράμματος· φησὶ γὰρ “τοῦ λόγου (17) τοῦδ’ ἐόντος ἀεὶ ἀξύνετοι ἄνθρωποι γίγνονται”·  ἄδηλον γὰρ τὸ (18) ἀεί, πρὸς ποτέρῳ <δεῖ> διαστίξαι.  ἔτι τόδε ποιεῖ σολοικίζειν, (19) τὸ μὴ ἀποδιδόναι, ἐὰν μὴ ἐπιζευγνύῃς ὃ ἀμφοῖν ἁρμόττει,  (20) οἷον [ἢ] ψόφῳ καὶ χρώματι τὸ μὲν ἰδὼν οὐ κοινόν, τὸ δ’ (21) αἰσθόμενος κοινόν·  ἀσαφῆ δὲ ἂν μὴ προθεὶς εἴπῃς, μέλ(22)λων πολλὰ μεταξὺ ἐμβάλλειν,  οἷον “ἔμελλον γὰρ διαλεχθεὶς (23) ἐκείνῳ τάδε καὶ τάδε καὶ ὧδε πορεύεσθαι”, ἀλλὰ μὴ “ἔμελλον (24) γὰρ διαλεχθεὶς πορεύεσθαι, εἶτα τάδε καὶ τάδε καὶ ὧδε (25) ἐγένετο”. 
’Having come, they struck me (oi d elthontes etupton me).’  It is a general rule that a written composition should be easy to read and therefore easy to deliver.  This cannot be so where there are many connecting words or clauses, or where punctuation is hard, as in the writings of Heracleitus.  To punctuate Heracleitus is no easy task, because we often cannot tell whether a particular word belongs to what precedes or what follows it.  Thus, at the outset of his treatise he says, ‘Though this truth is always men understand it not’,  where it is not clear with which of the two clauses the word ‘always’ should be joined by the punctuation.  Further, the following fact leads to solecism, viz. that the sentence does not work out properly if you annex to two terms a third which does not suit them both.  Thus either ‘sound’ or ‘colour’ will fail to work out properly with some verbs: ‘perceive’ will apply to both, ‘see’ will not.  Obscurity is also caused if, when you intend to insert a number of details, you do not first make your meaning clear; 
6. (26) Εἰς ὄγκον δὲ τῆς λέξεως συμβάλλεται τάδε, 
for instance, if you say, ‘I meant, after telling him this, that and the other thing, to set out’, rather than something of this kind ‘I meant to set out after telling him; then this, that, and the other thing occurred.’ 
τὸ λόγῳ (27) χρῆσθαι ἀντ’ ὀνόματος,  οἷον μὴ κύκλον, ἀλλ’ ἐπίπεδον τὸ (28) ἐκ τοῦ μέσου ἴσον·  εἰς δὲ συντομίαν τὸ ἐναντίον, ἀντὶ τοῦ (29) λόγου ὄνομα.  καὶ ἐὰν αἰσχρὸν ἢ ἀπρεπές, ἐὰν μὲν ἐν τῷ (30) λόγῳ ᾖ <τὸ> αἰσχρόν, τοὔνομα λέγειν, ἐὰν δ’ ἐν τῷ ὀνόματι, (31) τὸν λόγον. 
Part 6. The following suggestions will help to give your language impressiveness.  (1) Describe a thing instead of naming it:  do not say ‘circle’, but ‘that surface which extends equally from the middle every way’.  To achieve conciseness, do the opposite—put the name instead of the description. 
καὶ μεταφορᾷ δηλοῦν καὶ τοῖς ἐπιθέτοις, εὐ(32)λαβούμενον τὸ ποιητικόν. 
When mentioning anything ugly or unseemly, use its name if it is the description that is ugly, and describe it if it is the name that is ugly. 
καὶ τὸ ἓν πολλὰ ποιεῖν, ὅπερ οἱ (33) ποιηταὶ ποιοῦσιν·  ἑνὸς ὄντος λιμένος ὅμως λέγουσι
λιμένας εἰς Ἀχαϊκούς
(34) καὶ
(35) δέλτου μὲν αἵδε πολύθυροι διαπτυχαί. 
(2) Represent things with the help of metaphors and epithets, being careful to avoid poetical effects.  (3) Use plural for singular, as in poetry, 
(35) καὶ μὴ ἐπιζευγνύναι, ἀλλ’ ἑκατέρῳ ἑκάτερον, “τῆς γυναικὸς (36) τῆς ἡμετέρας”·  ἐὰν δὲ συντόμως, τοὐναντίον, “τῆς ἡμετέρας (37) γυναικός”.  καὶ μετὰ συνδέσμου λέγειν·  ἐὰν δὲ συντόμως, (38) ἄνευ μὲν συνδέσμου, μὴ ἀσύνδετα δέ,  οἷον “πορευθεὶς καὶ δια (1408a1) λεχθείς”, “πορευθεὶς διελέχθην”. 
where one finds
Unto havens Achaean,
Here are my letter’s many—leaved folds. 
(4) Do not bracket two words under one article, but put one article with each; e.g. ’that wife of ours.’  The reverse to secure conciseness; e.g. ’our wife.’  Use plenty of connecting words;  conversely, to secure conciseness, dispense with connectives, while still preserving connexion; 
καὶ τὸ Ἀντιμάχου χρήσι(2)μον, ἐξ ὧν μὴ ἔχει λέγειν, ὃ ἐκεῖνος ποιεῖ ἐπὶ τοῦ Τευμησσοῦ,
ἔστι τις ἠνεμόεις ὀλίγος λόφος· 
e.g. ’having gone and spoken’, and ‘having gone, I spoke’, respectively. 
(3) αὔξεται γὰρ οὕτως εἰς ἄπειρον.  ἔστι δὲ τοῦτο καὶ ἐπὶ (4) ἀγαθῶν καὶ κακῶν, ὅπως οὐκ ἔχει, ὁποτέρως ἂν ᾖ χρή(5)σιμον,  ὅθεν καὶ τὰ ὀνόματα οἱ ποιηταὶ φέρουσιν, τὸ ἄχορδον (6) καὶ τὸ ἄλυρον μέλος· (7) ἐκ τῶν στερήσεων γὰρ ἐπιφέρουσιν·  (8) εὐδοκιμεῖ γὰρ τοῦτο ἐν ταῖς μεταφοραῖς λεγόμενον ταῖς ἀνά(9)λογον, οἷον τὸ φάναι τὴν σάλπιγγα ἱέναι μέλος ἄλυρον. 
(6) And the practice of Antimachus, too, is useful—to describe a thing by mentioning attributes it does not possess; as he does in talking of Teumessus
There is a little wind—swept knoll... 
A subject can be developed indefinitely along these lines.  You may apply this method of treatment by negation either to good or to bad qualities, according to which your subject requires.  It is from this source that the poets draw expressions such as the ‘stringless’ or ‘lyreless’ melody, thus forming epithets out of negations. 
7. (10) Τὸ δὲ πρέπον ἕξει ἡ λέξις, ἐὰν ᾖ παθητική τε καὶ (11) ἠθικὴ καὶ τοῖς ὑποκειμένοις πράγμασιν ἀνάλογον. 
This device is popular in proportional metaphors, as when the trumpet’s note is called ‘a lyreless melody’. 
τὸ (12) δ’ ἀνάλογόν ἐστιν ἐὰν μήτε περὶ εὐόγκων αὐτοκαβδάλως λέ(13)γηται μήτε περὶ εὐτελῶν σεμνῶς,  μηδ’ ἐπὶ τῷ εὐτελεῖ ὀνό(14)ματι ἐπῇ κόσμος·vεἰ δὲ μή, κωμῳδία φαίνεται,  οἷον ποιεῖ (15) Κλεοφῶν· ὁμοίως γὰρ ἔνια ἔλεγε καὶ εἰ εἴπειεν [ἂν] “πότνια (16) συκῆ”. 
Part 7. Your language will be appropriate if it expresses emotion and character, and if it corresponds to its subject.  ’Correspondence to subject’ means that we must neither speak casually about weighty matters, nor solemnly about trivial ones;  nor must we add ornamental epithets to commonplace nouns, or the effect will be comic, 
παθητικὴ δέ, ἐὰν μὲν ᾖ ὕβρις, ὀργιζομένου λέξις,  (17) ἐὰν δὲ ἀσεβῆ καὶ αἰσχρά, δυσχεραίνοντος καὶ εὐλαβουμένου (18) καὶ λέγειν,  ἐὰν δὲ ἐπαινετά, ἀγαμένως,  ἐὰν δὲ ἐλεεινά, (19) ταπεινῶς, καὶ ἐπὶ τῶν ἄλλων δὲ ὁμοίως. 
as in the works of Cleophon, who can use phrases as absurd as ‘O queenly fig—tree’.  To express emotion, you will employ the language of anger in speaking of outrage;  the language of disgust and discreet reluctance to utter a word when speaking of impiety or foulness;  the language of exultation for a tale of glory, 
πιθανοῖ δὲ τὸ (20) πρᾶγμα καὶ ἡ οἰκεία λέξις·  παραλογίζεταί τε γὰρ ἡ ψυχὴ (21) ὡς ἀληθῶς λέγοντος, ὅτι ἐπὶ τοῖς τοιούτοις οὕτως ἔχουσιν,  (22) ὥστ’ οἴονται, εἰ καὶ μὴ οὕτως ἔχει ὡς <λέγει> ὁ λέγων, τὰ πρά(23)γματα οὕτως ἔχειν,  καὶ συνομοπαθεῖ ὁ ἀκούων ἀεὶ τῷ (24) παθητικῶς λέγοντι, κἂν μηθὲν λέγῃ.  διὸ πολλοὶ καταπλήτ(25)τουσι τοὺς ἀκροατὰς θορυβοῦντες. 
and that of humiliation for a tale of and so in all other cases.  This aptness of language is one thing that makes people believe in the truth of your story:  their minds draw the false conclusion that you are to be trusted from the fact that others behave as you do when things are as you describe them;  and therefore they take your story to be true, whether it is so or not.  Besides, an emotional speaker always makes his audience feel with him, even when there is nothing in his arguments; 
καὶ ἠθικὴ δὲ αὕτη ἡ (26) ἐκ τῶν σημείων δεῖξις, ὅτε ἀκολουθεῖ ἡ ἁρμόττουσα ἑκάστῳ (27) γένει καὶ ἕξει.  λέγω δὲ γένος μὲν καθ’ ἡλικίαν, οἷον παῖς (28) ἢ ἀνὴρ ἢ γέρων, καὶ γυνὴ ἢ ἀνήρ, καὶ Λάκων ἢ Θεττα(29)λός,  ἕξεις δέ, καθ’ ἃς ποιός τις τῷ βίῳ· οὐ γὰρ καθ’ ἅ(30)πασαν ἕξιν οἱ βίοι ποιοί τινες.  ἐὰν οὖν καὶ τὰ ὀνόματα (31) οἰκεῖα λέγῃ τῇ ἕξει, ποιήσει τὸ ἦθος·  οὐ γὰρ ταὐτὰ οὐδ’ (32) ὡσαύτως ἀγροῖκος ἂν καὶ πεπαιδευμένος εἴπειεν. 
which is why many speakers try to overwhelm their audience by mere noise.  Furthermore, this way of proving your story by displaying these signs of its genuineness expresses your personal character. Each class of men, each type of disposition, will have its own appropriate way of letting the truth appear.  Under ‘class’ I include differences of age, as boy, man, or old man; of sex, as man or woman; of nationality, as Spartan or Thessalian.  By ‘dispositions’ I here mean those dispositions only which determine the character of a man’s for it is not every disposition that does this.  If, then, a speaker uses the very words which are in keeping with a particular disposition, he will reproduce the corresponding character; 
πάσχουσι (33) δέ τι οἱ ἀκροαταὶ καὶ ᾧ κατακόρως χρῶνται οἱ (34) λογογράφοι, “τίς δ’ οὐκ οἶδεν;”, “ἅπαντες ἴσασιν”·  ὁμο(35)λογεῖ γὰρ ὁ ἀκούων αἰσχυνόμενος, ὅπως μετέχῃ οὗπερ (36) καὶ οἱ ἄλλοι πάντες.  (1408b1) τὸ δ’ εὐκαίρως ἢ μὴ εὐκαίρως χρῆσθαι κοινὸν ἁπάν(2)των τῶν εἰδῶν ἐστιν.  ἄκος δ’ ἐπὶ πάσῃ ὑπερβολῇ τὸ θρυ(3)λούμενον· δεῖ γὰρ αὐτὸν αὑτῷ προσεπιπλήττειν·  δοκεῖ γὰρ (4) ἀληθὲς εἶναι, ἐπεὶ οὐ λανθάνει γε ὃ ποιεῖ τὸν λέγοντα. 
for a rustic and an educated man will not say the same things nor speak in the same way.  Again, some impression is made upon an audience by a device which speech—writers employ to nauseous excess, when they say ‘Who does not know this?’ or ‘It is known to everybody.’  The hearer is ashamed of his ignorance, and agrees with the speaker, so as to have a share of the knowledge that everybody else possesses.  All the variations of oratorical style are capable of being used in season or out of season.  The best way to counteract any exaggeration is the well—worn device by which the speaker puts in some criticism of himself; 
ἔτι (5) τοῖς ἀνάλογον μὴ πᾶσιν ἅμα χρήσασθαι (οὕτω γὰρ κλέπτε(6)ται ὁ ἀκροατής)·  λέγω δὲ οἷον ἐὰν τὰ ὀνόματα σκληρὰ ᾖ, (7) μὴ καὶ τῇ φωνῇ καὶ τῷ προσώπῳ [καὶ] τοῖς ἁρμόττουσιν·  (8) εἰ δὲ μή, φανερὸν γίνεται ἕκαστον ὅ ἐστιν.  ἐὰν δὲ τὸ μὲν (9) τὸ δὲ μή, λανθάνει ποιῶν τὸ αὐτό.  ἐὰν οὖν τὰ μαλακὰ (10) σκληρῶς καὶ τὰ σκληρὰ μαλακῶς λέγηται, πιθανὸν γίγνεται.  (11) τὰ δὲ ὀνόματα τὰ διπλᾶ καὶ [τὰ] ἐπίθετα πλείω καὶ τὰ ξένα (12) μάλιστα ἁρμόττει λέγοντι παθητικῶς·  συγγνώμη γὰρ ὀργιζο(13)μένῳ κακὸν φάναι οὐρανόμηκες, ἢ πελώριον εἰπεῖν,  καὶ ὅταν (14) ἔχῃ ἤδη τοὺς ἀκροατὰς καὶ ποιήσῃ ἐνθουσιάσαι ἢ ἐπ(15)αίνοις ἢ ψόγοις ἢ ὀργῇ ἢ φιλίᾳ,  οἷον καὶ Ἰσοκράτης ποιεῖ (16) ἐν τῷ Πανηγυρικῷ ἐπὶ τέλει “φήμην δὲ καὶ μνήμην” καὶ “οἵ(17)τινες ἔτλησαν”·  φθέγγονται γὰρ τὰ τοιαῦτα ἐνθουσιάζοντες, (18) ὥστε καὶ ἀποδέχονται δηλονότι ὁμοίως ἔχοντες.  διὸ καὶ τῇ (19) ποιήσει ἥρμοσεν· ἔνθεον γὰρ ἡ ποίησις.  ἢ δὴ οὕτως δεῖ, ἢ (20) μετ’ εἰρωνείας, ὥσπερ Γοργίας ἐποίει καὶ τὰ ἐν τῷ Φαίδρῳ. 
for then people feel it must be all right for him to talk thus, since he certainly knows what he is doing.  Further, it is better not to have everything always just corresponding to everything else—your hearers will see through you less easily thus.  I mean for instance, if your words are harsh, you should not extend this harshness to your voice and your countenance and have everything else in keeping.  If you do, the artificial character of each detail becomes apparent;  whereas if you adopt one device and not another, you are using art all the same and yet nobody notices it.  (To be sure, if mild sentiments are expressed in harsh tones and harsh sentiments in mild tones, you become comparatively unconvincing.)  Compound words, fairly plentiful epithets, and strange words best suit an emotional speech.  We forgive an angry man for talking about a wrong as ‘heaven—high’ or ‘colossal’;  and we excuse such language when the speaker has his hearers already in his hands and has stirred them deeply either by praise or blame or anger or affection,  as Isocrates, for instance, does at the end of his Panegyric, with his ‘name and fame’ and ‘in that they brooked’.  Men do speak in this strain when they are deeply stirred, and so, once the audience is in a like state of feeling, approval of course follows.  This is why such language is fitting in poetry, which is an inspired thing. 
8. (21) Τὸ δὲ σχῆμα τῆς λέξεως δεῖ μήτε ἔμμετρον εἶναι μήτε (22) ἄρρυθμον·  τὸ μὲν γὰρ ἀπίθανον (πεπλάσθαι γὰρ δοκεῖ), καὶ (23) ἅμα καὶ ἐξίστησι·  προσέχειν γὰρ ποιεῖ τῷ ὁμοίῳ, πότε πά(24)λιν ἥξει·  ὥσπερ οὖν τῶν κηρύκων προλαμβάνουσι τὰ (25) παιδία τὸ “τίνα αἱρεῖται ἐπίτροπον ὁ ἀπελευθερούμενος;” (26) “Κλέωνα”·  τὸ δὲ ἄρρυθμον ἀπέραντον, δεῖ δὲ πεπεράν(27)θαι μέν, μὴ μέτρῳ δέ·  ἀηδὲς γὰρ καὶ ἄγνωστον τὸ ἄπει(28)ρον. 
This language, then, should be used either under stress of emotion, or ironically, after the manner of Gorgias and of the passages in the Phaedrus.  Part 8. The form of a prose composition should be neither metrical nor destitute of rhythm.  The metrical form destroys the hearer’s trust by its artificial appearance, and at the same time it diverts his attention,  making him watch for metrical recurrences,  just as children catch up the herald’s question, ‘Whom does the freedman choose as his advocate?’, with the answer ‘Cleon!’  On the other hand, unrhythmical language is too unlimited; we do not want the limitations of metre, but some limitation we must have, 
περαίνεται δὲ ἀριθμῷ πάντα·  ὁ δὲ τοῦ σχήματος τῆς (29) λέξεως ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμήματα·  (30) διὸ ῥυθμὸν δεῖ ἔχειν τὸν λόγον, μέτρον δὲ μή· ποίημα (31) γὰρ ἔσται. 
or the effect will be vague and unsatisfactory.  Now it is number that limits all things;  and it is the numerical limitation of the forms of a composition that constitutes rhythm, of which metres are definite sections. 
ῥυθμὸν δὲ μὴ ἀκριβῶς· τοῦτο δὲ ἔσται ἐὰν (32) μέχρι του ᾖ.  τῶν δὲ ῥυθμῶν ὁ μὲν ἡρῷος σεμνῆς ἀλλ’ οὐ (33) λεκτικῆς ἁρμονίας δεόμενος,  ὁ δ’ ἴαμβος αὐτή ἐστιν ἡ (34) λέξις ἡ τῶν πολλῶν (διὸ μάλιστα πάντων τῶν μέτρων (35) ἰαμβεῖα φθέγγονται λέγοντες),  δεῖ δὲ σεμνότητα γενέσθαι (36) καὶ ἐκστῆσαι.  ὁ δὲ τροχαῖος κορδακικώτερος· δηλοῖ δὲ (1409a1) τὰ τετράμετρα· ἔστι γὰρ τροχερὸς ῥυθμὸς τὰ τετράμετρα.  (2) λείπεται δὲ παιάν, ᾧ ἐχρῶντο μὲν ἀπὸ Θρασυμάχου ἀρξά(3)μενοι, οὐκ εἶχον δὲ λέγειν τίς ἦν.  ἔστι δὲ τρίτος ὁ παιάν, (4) καὶ ἐχόμενος τῶν εἰρημένων·  τρία γὰρ πρὸς δύ’ ἐστίν, (5) ἐκείνων δὲ ὁ μὲν ἓν πρὸς ἕν,  ὁ δὲ δύο πρὸς ἕν, ἔχεται (6) δὲ τῶν λόγων τούτων ὁ ἡμιόλιος· οὗτος δ’ ἐστὶν ὁ παιάν.  (7) οἱ μὲν οὖν ἄλλοι διά τε τὰ εἰρημένα ἀφετέοι, καὶ διότι (8) μετρικοί·  ὁ δὲ παιὰν ληπτέος· ἀπὸ μόνου γὰρ οὐκ ἔστι (9) μέτρον τῶν ῥηθέντων ῥυθμῶν, ὥστε μάλιστα λανθάνειν.  (10) νῦν μὲν οὖν χρῶνται τῷ ἑνὶ παιᾶνι καὶ ἀρχόμενοι <καὶ (11) τελευτῶντες>, δεῖ δὲ διαφέρειν τὴν τελευτὴν τῆς ἀρχῆς.  (12) ἔστιν δὲ παιᾶνος δύο εἴδη ἀντικείμενα ἀλλήλοις, ὧν τὸ μὲν ἓν (13) ἀρχῇ ἁρμόττει, ὥσπερ καὶ χρῶνται·  οὗτος δ’ ἐστὶν οὗ ἄρχει (14) μὲν ἡ μακρά, τελευτῶσιν δὲ τρεῖς βραχεῖαι, “Δαλογενὲς εἴτε (15) Λυκίαν”, καὶ “Χρυσεοκόμα Ἕκατε παῖ Διός”·  ἕτερος δ’ ἐξ ἐν(16)αντίας, οὗ βραχεῖαι ἄρχουσιν τρεῖς, ἡ δὲ μακρὰ τελευταία· (17) μετὰ δὲ γᾶν ὕδατά τ’ ὠκεανὸν ἠφάνισε νύξ.  (18) οὗτος δὲ τελευτὴν ποιεῖ· ἡ γὰρ βραχεῖα διὰ τὸ ἀτελὴς (19) εἶναι ποιεῖ κολοβόν.  ἀλλὰ δεῖ τῇ μακρᾷ ἀποκόπτεσθαι, καὶ (20) δήλην εἶναι τὴν τελευτὴν μὴ διὰ τὸν γραφέα, μηδὲ διὰ τὴν (21) παραγραφήν, ἀλλὰ διὰ τὸν ῥυθμόν. 
Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.  It should not even have too precise a prose rhythm, and therefore should only be rhythmical to a certain extent.  Of the various rhythms, the heroic has dignity, but lacks the tones of the spoken language.  The iambic is the very language of ordinary people, so that in common talk iambic lines occur oftener than any others:  but in a speech we need dignity and the power of taking the hearer out of his ordinary self.  The trochee is too much akin to wild dancing: we can see this in tetrameter verse, which is one of the trochaic rhythms.  There remains the paean, which speakers began to use in the time of Thrasymachus, though they had then no name to give it.  The paean is a third class of rhythm, closely akin to both the two already mentioned;  it has in it the ratio of three to two, whereas the other two kinds have the ratio of one to one, and two to one respectively.  Between the two last ratios comes the ratio of one—and—a—half to one, which is that of the paean.  Now the other two kinds of rhythm must be rejected in writing prose, partly for the reasons given, and partly because they are too metrical;  and the paean must be adopted, since from this alone of the rhythms mentioned no definite metre arises, and therefore it is the least obtrusive of them.  At present the same form of paean is employed at the beginning and at the end of sentences, whereas the end should differ from the beginning.  There are two opposite kinds of paean, one of which is suitable to the beginning of a sentence, where it is indeed actually used;  this is the kind that begins with a long syllable and ends with three short ones, as Dalogenes | eite Luki | an, and Chruseokom | a Ekate | pai Dios.  The other paean begins, conversely, with three short syllables and ends with a long one, as meta de gan | udata t ok | eanon e | phanise nux.  This kind of paean makes a real close: a short syllable can give no effect of finality, and therefore makes the rhythm appear truncated. 
9. (22) ὅτι μὲν οὖν εὔρυθμον δεῖ εἶναι τὴν λέξιν καὶ μὴ (23) ἄρρυθμον, καὶ τίνες εὔρυθμον ποιοῦσι ῥυθμοὶ καὶ πῶς (24) ἔχοντες, εἴρηται·  τὴν δὲ λέξιν ἀνάγκη εἶναι ἢ εἰρομένην (25) καὶ τῷ συνδέσμῳ μίαν, ὥσπερ αἱ ἐν τοῖς διθυράμβοις ἀνα(26)βολαί, ἢ κατεστραμμένην καὶ ὁμοίαν ταῖς τῶν ἀρχαίων ποιη(27)τῶν ἀντιστρόφοις.  ἡ μὲν οὖν εἰρομένη λέξις ἡ ἀρχαία ἐστίν (28) [“Ἡροδότου Θουρίου ἥδ’ ἱστορίης ἀπόδειξις”] (ταύτῃ γὰρ πρό(29)τερον μὲν ἅπαντες, νῦν δὲ οὐ πολλοὶ χρῶνται)·  λέγω δὲ (30) εἰρομένην ἣ οὐδὲν ἔχει τέλος καθ’ αὑτήν, ἂν μὴ τὸ πρᾶγμα (31) <τὸ> λεγόμενον τελειωθῇ.  ἔστι δὲ ἀηδὴς διὰ τὸ ἄπειρον· τὸ γὰρ (32) τέλος πάντες βούλονται καθορᾶν·  διόπερ ἐπὶ τοῖς καμπτῆρ(33)σιν ἐκπνέουσι καὶ ἐκλύονται·  προορῶντες γὰρ τὸ πέρας οὐ (34) κάμνουσι πρότερον. 
A sentence should break off with the long syllable: the fact that it is over should be indicated not by the scribe, or by his period—mark in the margin, but by the rhythm itself.  We have now seen that our language must be rhythmical and not destitute of rhythm, and what rhythms, in what particular shape, make it so.  Part 9. The language of prose must be either free—running, with its parts united by nothing except the connecting words, like the preludes in dithyrambs; or compact and antithetical, like the strophes of the old poets.  The free—running style is the ancient one, e.g. ’Herein is set forth the inquiry of Herodotus the Thurian.’ Every one used this method formerly; not many do so now.  By ‘free—running’ style I mean the kind that has no natural stopping—places, and comes to a stop only because there is no more to say of that subject.  This style is unsatisfying just because it goes on indefinitely—one always likes to sight a stopping—place in front of one:  it is only at the goal that men in a race faint and collapse; 
ἡ μὲν οὖν εἰρομένη [τῆς λέξεώς] ἐστιν (35) ἥδε, κατεστραμμένη δὲ ἡ ἐν περιόδοις·  λέγω δὲ περίοδον (36) λέξιν ἔχουσαν ἀρχὴν καὶ τελευτὴν αὐτὴν καθ’ αὑτὴν καὶ (1409b1) μέγεθος εὐσύνοπτον.  ἡδεῖα δ’ ἡ τοιαύτη καὶ εὐμαθής, (2) ἡδεῖα μὲν διὰ τὸ ἐναντίως ἔχειν τῷ ἀπεράντῳ,  καὶ ὅτι ἀεί (3) τὶ οἴεται ἔχειν ὁ ἀκροατὴς καὶ πεπεράνθαι τι αὑτῷ, τὸ (4) δὲ μηδὲν προνοεῖν μηδὲ ἀνύειν ἀηδές·  εὐμαθὴς δὲ (5) ὅτι εὐμνημόνευτος,  τοῦτο δὲ ὅτι ἀριθμὸν ἔχει ἡ ἐν περι(6)όδοις λέξις, ὃ πάντων εὐμνημονευτότατον. 
while they see the end of the course before them, they can keep on going.  Such, then, is the free—running kind of style; the compact is that which is in periods.  By a period I mean a portion of speech that has in itself a beginning and an end, being at the same time not too big to be taken in at a glance.  Language of this kind is satisfying and easy to follow. It is satisfying, because it is just the reverse of indefinite;  and moreover, the hearer always feels that he is grasping something and has reached some definite conclusion; whereas it is unsatisfactory to see nothing in front of you and get nowhere.  It is easy to follow, because it can easily be remembered; 
διὸ καὶ τὰ μέτρα (7) πάντες μνημονεύουσιν μᾶλλον τῶν χύδην· ἀριθμὸν γὰρ ἔχει (8) ᾧ μετρεῖται.  δεῖ δὲ τὴν περίοδον †καὶ τῇ διανοία† τετελειῶ(9)σθαι,  καὶ μὴ διακόπτεσθαι ὥσπερ τὰ Σοφοκλέους ἰαμβεῖα,
(10) Καλυδὼν μὲν ἥδε γαῖα· Πελοπίας χθονός· 
(11) τοὐναντίον γὰρ ἔστιν ὑπολαβεῖν τῷ διαιρεῖσθαι, ὥσπερ καὶ (12) ἐπὶ τοῦ εἰρημένου τὴν Καλυδῶνα εἶναι τῆς Πελοποννήσου. 
and this because language when in periodic form can be numbered, and number is the easiest of all things to remember.  That is why verse, which is measured, is always more easily remembered than prose, which is not: the measures of verse can be numbered.  The period must, further, not be completed until the sense is complete:  it must not be capable of breaking off abruptly, as may happen with the following iambic lines of Sophocles—
Calydon’s soil is this; of Pelops’ land (The smiling plains face us across the strait.) 
(13) περίοδος δὲ ἡ μὲν ἐν κώλοις ἡ δ’ ἀφελής.  ἔστιν δ’ (14) ἐν κώλοις μὲν λέξις ἡ τετελειωμένη τε καὶ διῃρημένη καὶ (15) εὐανάπνευστος, μὴ ἐν τῇ διαιρέσει †ὥσπερ καὶ ἡ περίοδος,† (16) ἀλλ’ ὅλη  (κῶλον δ’ ἐστὶν τὸ ἕτερον μόριον ταύτης)·  ἀφελῆ (17) δὲ λέγω τὴν μονόκωλον.  δεῖ δὲ καὶ τὰ κῶλα καὶ τὰς περι(18)όδους μήτε μυούρους εἶναι μήτε μακράς. 
By a wrong division of the words the hearer may take the meaning to be the reverse of what it is: for instance, in the passage quoted, one might imagine that Calydon is in the Peloponnesus.  A Period may be either divided into several members or simple.  The period of several members is a portion of speech (1) complete in itself, (2) divided into parts, and (3) easily delivered at a single breath—as a whole, that is; not by fresh breath being taken at the division.  A member is one of the two parts of such a period.  By a ‘simple’ period, I mean that which has only one member. 
τὸ μὲν γὰρ μικρὸν (19) προσπταίειν πολλάκις ποιεῖ τὸν ἀκροατήν  (ἀνάγκη γὰρ ὅταν, (20) ἔτι ὁρμῶν ἐπὶ τὸ πόρρω καὶ τὸ μέτρον οὗ ἔχει ἐν ἑαυτῷ (21) ὅρον, ἀντισπασθῇ παυσαμένου, οἷον πρόσπταισιν γίγνεσθαι (22) διὰ τὴν ἀντίκρουσιν)·  τὰ δὲ μακρὰ ἀπολείπεσθαι ποιεῖ, (23) ὥσπερ οἱ ἐξωτέρω ἀποκάμπτοντες τοῦ τέρματος·  ἀπολείπουσι (24) γὰρ καὶ οὗτοι τοὺς συμπεριπατοῦντας,  ὁμοίως δὲ καὶ αἱ (25) περίοδοι αἱ μακραὶ οὖσαι λόγος γίνεται καὶ ἀναβολῇ ὅμοιον,  (26) ὥστε γίνεται ὃ ἔσκωψεν Δημόκριτος ὁ Χῖος εἰς Μελανιπ(27)πίδην ποιήσαντα ἀντὶ τῶν ἀντιστρόφων ἀναβολάς
οἷ τ’ αὐτῷ κακὰ τεύχει ἀνὴρ ἄλλῳ κακὰ τεύχων,
(28) ἡ δὲ μακρὰ ἀναβολὴ τῷ ποιήσαντι κακίστη· 
(29) ἁρμόττει γὰρ τὸ τοιοῦτον καὶ εἰς τὰς μακροκώλους λέγειν. 
The members, and the whole periods, should be neither curt nor long.  A member which is too short often makes the listener stumble;  he is still expecting the rhythm to go on to the limit his mind has fixed for it; and if meanwhile he is pulled back by the speaker’s stopping, the shock is bound to make him, so to speak, stumble.  If, on the other hand, you go on too long, you make him feel left behind, just as people who when walking pass beyond the boundary  before turning back leave their companions behind.  So too if a period is too long you turn it into a speech, or something like a dithyrambic prelude.  The result is much like the preludes that Democritus of Chios jeered at Melanippides for writing instead of antistrophic stanzas—
He that sets traps for another man’s feet Is like to fall into them first;
And long—winded preludes do harm to us all, But the preluder catches it worst. 
(30) αἵ τε λίαν βραχύκωλοι οὐ περίοδος γίνεται·  προπετῆ οὖν (31) ἄγει τὸν ἀκροατήν. 
Which applies likewise to long—membered orators.  Periods whose members are altogether too short are not periods at all; 
(32) τῆς δὲ ἐν κώλοις λέξεως ἡ μὲν διῃρημένη ἐστὶν ἡ δὲ (33) ἀντικειμένη,  διῃρημένη μὲν, οἷον “πολλάκις ἐθαύμασα τῶν (34) τὰς πανηγύρεις συναγαγόντων καὶ τοὺς γυμνικοὺς ἀγῶνας (35) καταστησάντων”,  ἀντικειμένη δὲ ἐν ᾗ ἑκατέρῳ τῷ κώλῳ ἢ (1410a1) πρὸς ἐναντίῳ ἐναντίον σύγκειται ἢ ταὐτὸ ἐπέζευκται τοῖς (2) ἐναντίοις,  οἷον “ἀμφοτέρους δ’ ὤνησαν, καὶ τοὺς ὑπομεί(3)ναντας καὶ τοὺς ἀκολουθήσαντας· τοῖς μὲν γὰρ πλείω τῆς (4) οἴκοι προσεκτήσαντο, τοῖς δ’ ἱκανὴν τὴν οἴκοι κατέλιπον”·  (5) ἐναντία ὑπομονὴ ἀκολούθησις, ἱκανὸν πλεῖον. 
and the result is to bring the hearer down with a crash.  The periodic style which is divided into members is of two kinds.  It is either simply divided, as in ‘I have often wondered at the conveners of national gatherings and the founders of athletic contests’;  or it is antithetical, where, in each of the two members, one of one pair of opposites is put along with one of another pair, or the same word is used to bracket two opposites,  as ‘They aided both parties—not only those who stayed behind but those who accompanied them: for the latter they acquired new territory larger than that at home, and to the former they left territory at home that was large enough’. 
“ὥστε καὶ (6) τοῖς χρημάτων δεομένοις καὶ τοῖς ἀπολαῦσαι βουλομένοις”· (7) ἀπόλαυσις κτήσει ἀντίκειται.  καὶ ἔτι “συμβαίνει πολλάκις (8) ἐν ταύταις καὶ τοὺς φρονίμους ἀτυχεῖν καὶ τοὺς ἄφρονας (9) κατορθοῦν”.  “εὐθὺς μὲν τῶν ἀριστείων ἠξιώθησαν, οὐ (10) πολὺ δὲ ὕστερον τὴν ἀρχὴν τῆς θαλάττης ἔλαβον”.  “πλεῦ(11)σαι μὲν διὰ τῆς ἠπείρου, πεζεῦσαι δὲ διὰ τῆς θαλάττης, (12) τὸν μὲν Ἑλλήσποντον ζεύξας, τὸν δ’ Ἄθω διορύξας.”  “καὶ (13) φύσει πολίτας ὄντας νόμῳ τῆς πόλεως στέρεσθαι.”  “οἱ (14) μὲν γὰρ αὐτῶν κακῶς ἀπώλοντο, οἱ δ’ αἰσχρῶς ἐσώθησαν.”  (15) “καὶ ἰδίᾳ μὲν τοῖς βαρβάροις οἰκέταις χρῆσθαι, κοινῇ δὲ (16) πολλοὺς τῶν συμμάχων περιορᾶν δουλεύοντας.”  “ἢ ζῶντας (17) ἕξειν ἢ τελευτήσαντας καταλείψειν.”  καὶ ὃ εἰς Πειθόλαόν (18) τις εἶπεν καὶ Λυκόφρονα ἐν τῷ δικαστηρίῳ, “οὗτοι δ’ (19) ὑμᾶς οἴκοι μὲν ὄντες ἐπώλουν, ἐλθόντες δ’ ὡς ὑμᾶς ἐώ(20)νηνται”. 
Here the contrasted words are ‘staying behind’ and ‘accompanying’, ‘enough’ and ‘larger’.  So in the example, ‘Both to those who want to get property and to those who desire to enjoy it’ where ‘enjoyment’ is contrasted with ‘getting’.  Again, ‘it often happens in such enterprises that the wise men fail and the fools succeed’;  ‘they were awarded the prize of valour immediately, and won the command of the sea not long afterwards’;  ‘to sail through the mainland and march through the sea, by bridging the Hellespont and cutting through Athos’;  ‘nature gave them their country and law took it away again’;  ‘of them perished in misery, others were saved in disgrace’;  ‘Athenian citizens keep foreigners in their houses as servants, while the city of Athens allows her allies by thousands to live as the foreigner’s slaves’;  and ‘to possess in life or to bequeath at death’. 
ἅπαντα γὰρ ταῦτα ποιεῖ τὸ εἰρημένον.  ἡδεῖα δὲ (21) ἐστὶν ἡ τοιαύτη λέξις, ὅτι τἀναντία γνωριμώτατα καὶ παρ’ (22) ἄλληλα μᾶλλον γνώριμα, καὶ ὅτι ἔοικεν συλλογισμῷ·  ὁ γὰρ (23) ἔλεγχος συναγωγὴ τῶν ἀντικειμένων ἐστίν.  (24) ἀντίθεσις μὲν οὖν τὸ τοιοῦτον ἐστίν, παρίσωσις δ’ ἐὰν (25) ἴσα τὰ κῶλα,  παρομοίωσις δὲ ἐὰν ὅμοια τὰ ἔσχατα ἔχῃ (26) ἑκάτερον τὸ κῶλον·  ἀνάγκη δὲ ἢ ἐν ἀρχῇ ἢ ἐπὶ τελευτῆς (27) ἔχειν,  καὶ ἐν ἀρχῇ μὲν ἀεὶ τὰ ὀνόματα, ἐπὶ δὲ τελευτῆς τὰς ἐσχά(28)τας συλλαβὰς ἢ τοῦ αὐτοῦ ὀνόματος πτώσεις ἢ τὸ αὐτὸ (29) ὄνομα·  ἐν ἀρχῇ μὲν τὰ τοιαῦτα, “ἀγρὸν γὰρ ἔλαβεν ἀργὸν (30) παρ’ αὐτοῦ”, (30) “δωρητοί τ’ ἐπέλοντο παράρρητοί τ’ ἐπέεσσιν·”  (31) ἐπὶ τελευτῆς δέ “ᾠήθης ἂν αὐτὸν <οὐ> παιδίον τετοκέναι, ἀλλ’ (32) αὐτὸν παιδίον γεγονέναι”, “ἐν πλείσταις δὲ φροντίσι καὶ ἐν (33) ἐλαχίσταις ἐλπίσιν”.  πτώσεις δὲ ταὐτοῦ “ἀξιοῖ δὲ σταθῆναι (34) χαλκοῦς, οὐκ ἄξιος ὢν χαλκοῦ;”  ταὐτὸ δ’ ὄνομα “σὺ δ’ αὐ(35)τὸν καὶ ζῶντα ἔλεγες κακῶς καὶ νῦν γράφεις κακῶς”.  ἀπὸ (36) συλλαβῆς δέ “τί ἂν ἔπαθες δεινόν, εἰ ἄνδρ’ εἶδες ἀργόν;”  (1410b1) ἔστιν δὲ ἅμα πάντα ἔχειν ταὐτό, καὶ ἀντίθεσιν εἶναι τὸ (2) αὐτὸ καὶ πάρισον καὶ ὁμοιοτέλευτον.  αἱ δ’ ἀρχαὶ τῶν περι(3)όδων σχεδὸν ἐν τοῖς Θεοδεκτείοις ἐξηρίθμηνται.  εἰσὶν δὲ καὶ (4) ψευδεῖς ἀντιθέσεις, οἷον καὶ Ἐπίχαρμος ἐποίει,
(5) τόκα μὲν ἐν τήνων ἐγὼν ἦν,
τόκα δὲ παρὰ τήνοις ἐγών. 
There is also what some one said about Peitholaus and Lycophron in a law—court, ‘These men used to sell you when they were at home, and now they have come to you here and bought you’.  All these passages have the structure described above.  Such a form of speech is satisfying, because the significance of contrasted ideas is easily felt, especially when they are thus put side by side, and also because it has the effect of a logical argument;  it is by putting two opposing conclusions side by side that you prove one of them false.  Such, then, is the nature of antithesis. Parisosis is making the two members of a period equal in length.  Paromoeosis is making the extreme words of both members like each other.  This must happen either at the beginning or at the end of each member.  If at the beginning, the resemblance must always be between whole words; at the end, between final syllables or inflexions of the same word or the same word repeated.  Thus, at the beginning agron gar elaben argon par’ autou and dorhetoi t epelonto pararretoi t epeessin  At the end ouk oithes an auton paidion tetokenai, all auton paidion gegonenai, and en pleistais de phrontisi kai en elachistais elpisin.  An example of inflexions of the same word is axios de staoenai chalkous ouk axios on chalkou;  Of the same word repeated, su d’ auton kai zonta eleges kakos kai nun grafeis kakos.  Of one syllable, ti d’ an epaoes deinon, ei andr’ eides argon;  It is possible for the same sentence to have all these features together—antithesis, parison, and homoeoteleuton.  (The possible beginnings of periods have been pretty fully enumerated in the Theodectea.) 
10. (6) Ἐπεὶ δὲ διώρισται περὶ τούτων, πόθεν λέγεται τὰ (7) ἀστεῖα καὶ τὰ εὐδοκιμοῦντα λεκτέον. 
There are also spurious antitheses, like that of Epicharmus—
There one time I as their guest did stay,
And they were my hosts on another day. 
ποιεῖν μὲν οὖν ἐστὶν (8) τοῦ εὐφυοῦς ἢ τοῦ γεγυμνασμένου, δεῖξαι δὲ τῆς μεθόδου (9) ταύτης. 
Part 10. We may now consider the above points settled, and pass on to say something about the way to devise lively and taking sayings. 
εἴπωμεν οὖν καὶ διαριθμησώμεθα·  ἀρχὴ δ’ ἔστω (10) ἡμῖν αὕτη. τὸ γὰρ μανθάνειν ῥᾳδίως ἡδὺ φύσει πᾶσιν (11) ἐστί,  τὰ δὲ ὀνόματα σημαίνει τι, ὥστε ὅσα τῶν ὀνομάτων (12) ποιεῖ ἡμῖν μάθησιν, ἥδιστα.  αἱ μὲν οὖν γλῶτται ἀγνῶτες, (13) τὰ δὲ κύρια ἴσμεν·  ἡ δὲ μεταφορὰ ποιεῖ τοῦτο μάλιστα·  (14) ὅταν γὰρ εἴπῃ τὸ γῆρας καλάμην, ἐποίησεν μάθησιν καὶ (15) γνῶσιν διὰ τοῦ γένους· ἄμφω γὰρ ἀπηνθηκότα.  ποιοῦσιν (16) μὲν οὖν καὶ αἱ τῶν ποιητῶν εἰκόνες τὸ αὐτό· διόπερ ἂν (17) εὖ, ἀστεῖον φαίνεται.  ἔστιν γὰρ ἡ εἰκών, καθάπερ εἴρηται (18) πρότερον, μεταφορὰ διαφέρουσα προθέσει· διὸ ἧττον ἡδύ, (19) ὅτι μακροτέρως·  καὶ οὐ λέγει ὡς τοῦτο ἐκεῖνο· οὐκοῦν οὐδὲ (20) ζητεῖ τοῦτο ἡ ψυχή.  ἀνάγκη δὴ καὶ λέξιν καὶ ἐνθυμήματα (21) ταῦτ’ εἶναι ἀστεῖα ὅσα ποιεῖ ἡμῖν μάθησιν ταχεῖαν·  διὸ (22) οὔτε τὰ ἐπιπόλαια τῶν ἐνθυμημάτων εὐδοκιμεῖ (ἐπιπόλαια (23) γὰρ λέγομεν τὰ παντὶ δῆλα, καὶ ἃ μηδὲν δεῖ ζητῆσαι),  οὔτε (24) ὅσα εἰρημένα ἀγνοοῦμεν,  ἀλλ’ ὅσων ἢ ἅμα λεγομένων ἡ (25) γνῶσις γίνεται, καὶ εἰ μὴ πρότερον ὑπῆρχεν, ἢ μικρὸν ὑστε(26)ρίζει ἡ διάνοια·  γίγνεται γὰρ οἷον μάθησις, ἐκείνων δὲ (27) οὐδετέρου. 
Their actual invention can only come through natural talent or long practice; but this treatise may indicate the way it is done.  We may deal with them by enumerating the different kinds of them.  We will begin by remarking that we all naturally find it agreeable to get hold of new ideas easily:  words express ideas, and therefore those words are the most agreeable that enable us to get hold of new ideas.  Now strange words simply puzzle us; ordinary words convey only what we know already;  it is from metaphor that we can best get hold of something fresh.  When the poet calls ‘old age a withered stalk’, he conveys a new idea, a new fact, to us by means of the general notion of bloom, which is common to both things.  The similes of the poets do the same, and therefore, if they are good similes, give an effect of brilliance.  The simile, as has been said before, is a metaphor, differing from it only in the way it is put; and just because it is longer it is less attractive.  Besides, it does not say outright that ‘this’ is ‘that’, and therefore the hearer is less interested in the idea.  We see, then, that both speech and reasoning are lively in proportion as they make us seize a new idea promptly.  For this reason people are not much taken either by obvious arguments (using the word ‘obvious’ to mean what is plain to everybody and needs no investigation),  nor by those which puzzle us when we hear them stated,  but only by those which convey their information to us as soon as we hear them, provided we had not the information already; or which the mind only just fails to keep up with. 
κατὰ μὲν οὖν τὴν διάνοιαν τοῦ λεγομένου τὰ (28) τοιαῦτα εὐδοκιμεῖ τῶν ἐνθυμημάτων,  κατὰ δὲ τὴν λέξιν (29) τῷ μὲν σχήματι, ἐὰν ἀντικειμένως λέγηται,  οἷον “καὶ τὴν (30) τοῖς ἄλλοις κοινὴν εἰρήνην νομιζόντων τοῖς αὑτῶν ἰδίοις (31) πόλεμον”· ἀντίκειται πόλεμος εἰρήνῃ·  τοῖς δ’ ὀνόμασιν, ἐὰν (32) ἔχῃ μεταφοράν, καὶ ταύτην μήτ’ ἀλλοτρίαν, χαλεπὸν γὰρ (33) συνιδεῖν, μήτ’ ἐπιπόλαιον, οὐδὲν γὰρ ποιεῖ πάσχειν.  ἔτι εἰ (34) πρὸ ὀμμάτων ποιεῖ· ὁρᾶν γὰρ δεῖ [τὰ] πραττόμενα μᾶλλον ἢ (35) μέλλοντα. 
These two kinds do convey to us a sort of information: but the obvious and the obscure kinds convey nothing, either at once or later on.  It is these qualities, then, that, so far as the meaning of what is said is concerned, make an argument acceptable.  So far as the style is concerned, it is the antithetical form that appeals to us,  e.g. ’judging that the peace common to all the rest was a war upon their own private interests’, where there is an antithesis between war and peace.  It is also good to use metaphorical words; but the metaphors must not be far—fetched, or they will be difficult to grasp, nor obvious, or they will have no effect. 
δεῖ ἄρα τούτων στοχάζεσθαι τριῶν, μεταφορᾶς (36) ἀντιθέσεως ἐνεργείας.  (1411a1) τῶν δὲ μεταφορῶν τεττάρων οὐσῶν εὐδοκιμοῦσι μά(2)λιστα αἱ κατ’ ἀναλογίαν,  ὥσπερ Περικλῆς ἔφη τὴν νεότητα (3) τὴν ἀπολομένην ἐν τῷ πολέμῳ οὕτως ἠφανίσθαι ἐκ τῆς (4) πόλεως ὥσπερ εἴ τις τὸ ἔαρ ἐκ τοῦ ἐνιαυτοῦ ἐξέλοι.  καὶ (5) Λεπτίνης περὶ Λακεδαιμονίων, οὐκ ἂν περιιδεῖν τὴν Ἑλ(6)λάδα ἑτερόφθαλμον γενομένην.  καὶ Κηφισόδοτος, σπουδά(7)ζοντος Χάρητος εὐθύνας δοῦναι περὶ τὸν Ὀλυνθιακὸν πό(8)λεμον, ἠγανάκτει, φάσκων εἰς πνῖγμα τὸν δῆμον ἄγχοντα τὰς (9) εὐθύνας πειρᾶσθαι δοῦναι.  καὶ παρακαλῶν ποτὲ τοὺς Ἀθη(10)ναίους εἰς Εὔβοιαν ἐπισιτισαμένους ἔφη δεῖν ἐξιέναι τὸ (11) Μιλτιάδου ψήφισμα.  καὶ Ἰφικράτης σπεισαμένων Ἀθηναίων (12) πρὸς Ἐπίδαυρον καὶ τὴν παραλίαν ἠγανάκτει, φάσκων αὐ(13)τοὺς τὰ ἐφόδια τοῦ πολέμου παρῃρῆσθαι.  καὶ Πειθόλαος (14) τὴν πάραλον ῥόπαλον τοῦ δήμου, Σηστὸν δὲ τηλίαν τοῦ (15) Πειραιέως.  καὶ Περικλῆς τὴν Αἴγιναν ἀφελεῖν ἐκέλευσε, τὴν (16) λήμην τοῦ Πειραιέως.  καὶ Μοιροκλῆς οὐθὲν ἔφη πονηρό(17)τερος εἶναι, ὀνομάσας τινὰ τῶν ἐπιεικῶν·  ἐκεῖνον μὲν γὰρ (18) ἐπιτρίτων τόκων πονηρεύεσθαι, αὐτὸς δὲ ἐπιδεκάτων.  καὶ (19) τὸ Ἀναξανδρίδου ἰαμβεῖον ὑπὲρ τῶν θυγατέρων πρὸς τὸν (20) γάμον ἐγχρονιζουσῶν “ὑπερήμεροί μοι τῶν γάμων αἱ παρθένοι”.  (21) καὶ τὸ Πολυεύκτου εἰς ἀποπληκτικόν τινα Σπεύσιππον, τὸ (22) μὴ δύνασθαι ἡσυχίαν ἄγειν ὑπὸ τῆς τύχης ἐν πεντε(23)συρίγγῳ νόσῳ δεδεμένον.  καὶ Κηφισόδοτος τὰς τριήρεις ἐκάλει (24) μύλωνας ποικίλους,  ὁ Κύων δὲ τὰ καπηλεῖα τὰ Ἀττικὰ (25) φιδίτια·  Αἰσίων δέ, ὅτι εἰς Σικελίαν τὴν πόλιν ἐξέχεαν· (26) τοῦτο γὰρ μεταφορὰ καὶ πρὸ ὀμμάτων.  καὶ “ὥστε βοῆσαι (27) τὴν Ἑλλάδα”, καὶ τοῦτο τρόπον τινὰ μεταφορὰ καὶ πρὸ (28) ὀμμάτων.  καὶ ὥσπερ Κηφισόδοτος εὐλαβεῖσθαι ἐκέλευεν μὴ (29) πολλὰς ποιήσωσιν τὰς συνδρομάς [ἐκκλησίας].  καὶ Ἰσο(30)κράτης πρὸς τοὺς συντρέχοντας ἐν ταῖς πανηγύρεσιν.  καὶ (31) οἷον ἐν τῷ ἐπιταφίῳ, διότι ἄξιον ἦν ἐπὶ τῷ τάφῳ τῷ (32) τῶν ἐν Σαλαμῖνι τελευτησάντων κείρασθαι τὴν Ἑλλάδα (33) ὡς συγκαταθαπτομένης τῇ ἀρετῇ αὐτῶν τῆς ἐλευθερίας·  (34) εἰ μὲν γὰρ εἶπεν ὅτι ἄξιον δακρῦσαι συγκαταθαπτομένης (35) τῆς ἀρετῆς, μεταφορὰ καὶ πρὸ ὀμμάτων,  τὸ δὲ “τῇ ἀρετῇ (1411b1) τῆς ἐλευθερίας” ἀντίθεσίν τινα ἔχει.  καὶ ὡς Ἰφικράτης (2) εἶπεν “ἡ γὰρ ὁδός μοι τῶν λόγων διὰ μέσων τῶν Χά(3)ρητι πεπραγμένων ἐστίν” μεταφορὰ κατ’ ἀναλογίαν, καὶ (4) τὸ διὰ μέσου πρὸ ὀμμάτων ποιεῖ.  καὶ τὸ φάναι παρα(5)καλεῖν τοὺς κινδύνους τοῖς κινδύνοις βοηθήσοντας, πρὸ (6) ὀμμάτων <καὶ> μεταφορά.  καὶ Λυκολέων ὑπὲρ Χαβρίου “οὐδὲ (7) τὴν ἱκετηρίαν αἰσχυνθέντες αὐτοῦ, τὴν εἰκόνα τὴν χαλκῆν”·  (8) μεταφορὰ γὰρ ἐν τῷ παρόντι, ἀλλ’ οὐκ ἀεί, ἀλλὰ πρὸ (9) ὀμμάτων·  κινδυνεύοντος γὰρ αὐτοῦ ἱκετεύει ἡ εἰκών, τὸ (10) “ἔμψυχον δὴ ἄψυχον”, τὸ ὑπόμνημα τῶν τῆς πόλεως ἔργων.  (11) καὶ “πάντα τρόπον μικρὸν φρονεῖν μελετῶντες”· τὸ γὰρ (12) μελετᾶν αὔξειν τι ἐστίν.  καὶ ὅτι “τὸν νοῦν ὁ θεὸς φῶς (13) ἀνῆψεν ἐν τῇ ψυχῇ”· ἄμφω γὰρ δηλοῖ τι.  “οὐ γὰρ δια(14)λυόμεθα τοὺς πολέμους ἀλλ’ ἀναβαλλόμεθα”· ἄμφω γάρ (15) ἐστιν μέλλοντα, καὶ ἡ ἀναβολὴ καὶ ἡ τοιαύτη εἰρήνη.  (16) καὶ τὸ τὰς συνθήκας φάναι τρόπαιον εἶναι πολὺ κάλλιον (17) τῶν ἐν τοῖς πολέμοις γινομένων·  τὰ μὲν γὰρ ὑπὲρ μι(18)κρῶν καὶ μιᾶς τύχης, αὗται δ’ ὑπὲρ παντὸς τοῦ πολέμου· (19) ἄμφω γὰρ νίκης σημεῖα.  καὶ ὅτι αἱ πόλεις τῷ ψόγῳ τῶν (20) ἀνθρώπων μεγάλας εὐθύνας διδόασιν· ἡ γὰρ εὔθυνα βλάβη (21) τις δικαία ἐστίν. 
The words, too, ought to set the scene before our eyes; for events ought to be seen in progress rather than in prospect.  So we must aim at these three points: Antithesis, Metaphor, and Actuality.  Of the four kinds of Metaphor the most taking is the proportional kind.  Thus Pericles, for instance, said that the vanishing from their country of the young men who had fallen in the war was ‘as if the spring were taken out of the year’.  Leptines, speaking of the Lacedaemonians, said that he would not have the Athenians let Greece ‘lose one of her two eyes’.  When Chares was pressing for leave to be examined upon his share in the Olynthiac war, Cephisodotus was indignant, saying that he wanted his examination to take place ‘while he had his fingers upon the people’s throat’.  The same speaker once urged the Athenians to march to Euboea, ‘with Miltiades’ decree as their rations’.  Iphicrates, indignant at the truce made by the Athenians with Epidaurus and the neighbouring sea—board, said that they had stripped themselves of their travelling money for the journey of war.  Peitholaus called the state—galley ‘the people’s big stick’, and Sestos ‘the corn—bin of the Peiraeus’.  Pericles bade his countrymen remove Aegina, ‘that eyesore of the Peiraeus.’  And Moerocles said he was no more a rascal than was a certain respectable citizen he named,  ‘whose rascality was worth over thirty per cent per annum to him, instead of a mere ten like his own’.  There is also the iambic line of Anaxandrides about the way his daughters put off marrying— My daughters’ marriage—bonds are overdue.  Polyeuctus said of a paralytic man named Speusippus that he could not keep quiet, ‘though fortune had fastened him in the pillory of disease’.  Cephisodotus called warships ‘painted millstones’.  Diogenes the Dog called taverns ‘the mess—rooms of Attica’.  Aesion said that the Athenians had ‘emptied’ their town into Sicily: this is a graphic metaphor.  ’Till all Hellas shouted aloud’ may be regarded as a metaphor, and a graphic one again.  Cephisodotus bade the Athenians take care not to hold too many ‘parades’.  Isocrates used the same word of those who ‘parade at the national festivals.’  Another example occurs in the Funeral Speech: ‘It is fitting that Greece should cut off her hair beside the tomb of those who fell at Salamis, since her freedom and their valour are buried in the same grave.’  Even if the speaker here had only said that it was right to weep when valour was being buried in their grave, it would have been a metaphor, and a graphic one;  but the coupling of ‘their valour’ and ‘her freedom’ presents a kind of antithesis as well.  ’The course of my words’, said Iphicrates, ‘lies straight through the middle of Chares’ deeds’: this is a proportional metaphor, and the phrase ‘straight through the middle’ makes it graphic.  The expression ‘to call in one danger to rescue us from another’ is a graphic metaphor.  Lycoleon said, defending Chabrias, ‘They did not respect even that bronze statue of his that intercedes for him yonder’.  This was a metaphor for the moment, though it would not always apply; a vivid metaphor, however;  Chabrias is in danger, and his statue intercedes for him—that lifeless yet living thing which records his services to his country.  ’Practising in every way littleness of mind’ is metaphorical, for practising a quality implies increasing it.  So is ‘God kindled our reason to be a lamp within our soul’, for both reason and light reveal things.  So is ‘we are not putting an end to our wars, but only postponing them’, for both literal postponement and the making of such a peace as this apply to future action.  So is such a saying as ‘This treaty is a far nobler trophy than those we set up on fields of battle;  they celebrate small gains and single successes; it celebrates our triumph in the war as a whole’; for both trophy and treaty are signs of victory. 
11. (22) Ὅτι μὲν οὖν τὰ ἀστεῖα ἐκ μεταφορᾶς τε τῆς ἀνάλογον (23) λέγεται καὶ τῷ πρὸ ὀμμάτων ποιεῖν, εἴρηται·  λεκτέον δὲ τί (24) λέγομεν πρὸ ὀμμάτων, καὶ τί ποιοῦσι γίγνεται τοῦτο. 
So is ‘A country pays a heavy reckoning in being condemned by the judgement of mankind’, for a reckoning is damage deservedly incurred.  Part 11. It has already been mentioned that liveliness is got by using the proportional type of metaphor and being making (ie. making your hearers see things). 
λέγω (25) δὴ πρὸ ὀμμάτων ταῦτα ποιεῖν ὅσα ἐνεργοῦντα σημαίνει,  (26) οἷον τὸν ἀγαθὸν ἄνδρα φάναι εἶναι τετράγωνον μεταφορά,  (27) (ἄμφω γὰρ τέλεια), ἀλλ’ οὐ σημαίνει ἐνέργειαν·  ἀλλὰ τὸ “ἀν(28)θοῦσαν ἔχοντος τὴν ἀκμήν” ἐνέργεια,  καὶ τὸ “σὲ δ’ ὥσπερ (29) ἄφετον” [ἐλεύθερον] ἐνέργεια, καὶ <τοὐντεῦθεν οὖν> Ἕλληνες ᾄξαντες ποσίν· (30) τὸ ᾄξαντες ἐνέργεια καὶ μεταφορά· ταχὺ γὰρ λέγει. 
We have still to explain what we mean by their ‘seeing things’, and what must be done to effect this.  By ‘making them see things’ I mean using expressions that represent things as in a state of activity.  Thus, to say that a good man is ‘four—square’ is certainly a metaphor;  both the good man and the square are perfect; but the metaphor does not suggest activity.  On the other hand, in the expression ‘with his vigour in full bloom’ there is a notion of activity; 
καὶ ὡς (31) κέχρηται πολλαχοῦ Ὅμηρος, τὸ τὰ ἄψυχα ἔμψυχα ποιεῖν διὰ (32) τῆς μεταφορᾶς.  ἐν πᾶσι δὲ τῷ ἐνέργειαν ποιεῖν εὐδοκιμεῖ,  (33) οἷον ἐν τοῖσδε, “αὖτις ἐπὶ δάπεδόνδε κυλίνδετο λᾶας ἀναιδής”,  καὶ (1412a1) “ἔπτατ’ ὀιστός”,  καὶ “ἐπιπτέσθαι μενεαίνων”,  καὶ “ἐν γαίῃ (2) ἵσταντο λιλαιόμενα χροὸς ἆσαι”,  καὶ “αἰχμὴ δὲ στέρνοιο διέσσυτο (3) μαιμώωσα”. 
and so in ‘But you must roam as free as a sacred victim’; and in Thereas up sprang the Hellenes to their feet, where ‘up sprang’ gives us activity as well as metaphor, for it at once suggests swiftness.  So with Homer’s common practice of giving metaphorical life to lifeless things:  all such passages are distinguished by the effect of activity they convey.  Thus, Downward anon to the valley rebounded the boulder remorseless;  and The (bitter) arrow flew;  and Flying on eagerly;  and Stuck in the earth, still panting to feed on the flesh of the heroes; 
ἐν πᾶσι γὰρ τούτοις διὰ τὸ ἔμψυχα εἶναι ἐνεργοῦντα (4) φαίνεται·  τὸ ἀναισχυντεῖν γὰρ καὶ μαιμᾶν καὶ τὰ ἄλλα ἐνέρ(5)γεια.  ταῦτα δὲ προσῆψε διὰ τῆς κατ’ ἀναλογίαν μεταφορᾶς·  (6) ὡς γὰρ ὁ λίθος πρὸς τὸν Σίσυφον, ὁ ἀναισχυντῶν πρὸς (7) τὸν ἀναισχυντούμενον.  ποιεῖ δὲ καὶ ἐν ταῖς εὐδοκιμούσαις (8) εἰκόσιν ἐπὶ τῶν ἀψύχων ταὐτά·  (9) “κυρτά, φαληριόωντα· πρὸ μέν τ’ ἄλλ’, αὐτὰρ ἐπ’ ἄλλα”·  (10) κινούμενα γὰρ καὶ ζῶντα ποιεῖ πάντα, ἡ δ’ ἐνέργεια κίνησις.  (11) δεῖ δὲ μεταφέρειν, καθάπερ εἴρηται πρότερον, ἀπὸ οἰ(12)κείων καὶ μὴ φανερῶν,  οἷον καὶ ἐν φιλοσοφίᾳ τὸ ὅμοιον (13) καὶ ἐν πολὺ διέχουσι θεωρεῖν εὐστόχου,  ὥσπερ Ἀρχύτας (14) ἔφη ταὐτὸν εἶναι διαιτητὴν καὶ βωμόν·  ἐπ’ ἄμφω γὰρ τὸν (15) ἀδικούμενον καταφεύγειν.  ἢ εἴ τις φαίη ἄγκυραν καὶ κρε(16)μάθραν τὸ αὐτὸ εἶναι·  ἄμφω γὰρ ταὐτό τι, ἀλλὰ διαφέρει (17) τῷ ἄνωθεν καὶ κάτωθεν.  καὶ τὸ ἀνωμαλίσθαι τὰς πόλεις ἐν (18) πολὺ διέχουσιν ταὐτό, ἐν ἐπιφανείᾳ καὶ δυνάμεσι τὸ ἴσον.  (19) ἔστιν δὲ καὶ τὰ ἀστεῖα τὰ πλεῖστα διὰ μεταφορᾶς καὶ (20) ἐκ τοῦ προσεξαπατᾶν·  μᾶλλον γὰρ γίγνεται δῆλον ὅ τι ἔμαθε (21) παρὰ τὸ ἐναντίως ἔχειν,  καὶ ἔοικεν λέγειν ἡ ψυχὴ “ὡς (22) ἀληθῶς, ἐγὼ δὲ ἥμαρτον”.  καὶ τῶν ἀποφθεγμάτων δὲ τὰ (23) ἀστεῖά ἐστιν ἐκ τοῦ μὴ ὅ φησι λέγειν,  οἷον τὸ Στησιχόρου, (24) ὅτι οἱ τέττιγες ἑαυτοῖς χαμόθεν ᾄσονται.  καὶ τὰ εὖ ᾐνι(25)γμένα διὰ τὸ αὐτὸ ἡδέα (μάθησις γάρ ἐστι καὶ μετα (26)φορά), καὶ (ὃ λέγει Θεόδωρος) τὸ καινὰ λέγειν.  γίγνεται δὲ (27) ὅταν παράδοξον ᾖ, καὶ μή, ὡς ἐκεῖνος λέγει, πρὸς τὴν ἔμ(28)προσθεν δόξαν,  ἀλλ’ ὥσπερ ἐν τοῖς γελοίοις τὰ παρα(29)πεποιημένα  (ὅπερ δύναται καὶ τὰ παρὰ γράμμα σκώμματα· (30) ἐξαπατᾷ γάρ),  καὶ ἐν τοῖς μέτροις·  οὐ γὰρ ὥσπερ ὁ (31) ἀκούων ὑπέλαβεν·  “ἔστειχε δ’ ἔχων ὑπὸ ποσσὶ χίμεθλα”· (32) ὁ δ’ ᾤετο πέδιλα ἐρεῖν.  τούτου δ’ ἅμα λεγομένου δεῖ δῆ(33)λον εἶναι.  τὰ δὲ παρὰ γράμμα ποιεῖ οὐχ ὃ λέγει λέγειν, (34) ἀλλ’ ὃ μεταστρέφει ὄνομα,  οἷον τὸ Θεοδώρου εἰς Νίκωνα (35) τὸν κιθαρῳδὸν “θράξει σε”, προσποιεῖται γὰρ λέγειν τὸ (1412b1) “Θρᾷξ εἶ σύ” καὶ ἐξαπατᾷ· ἄλλο γὰρ λέγει.  διὸ μαθόντι ἡδύ, (2) ἐπεὶ εἰ μὴ ὑπολαμβάνει Θρᾷκα εἶναι, οὐ δόξει ἀστεῖον (3) εἶναι.  καὶ τὸ “βούλει αὐτὸν πέρσαι”. 
and And the point of the spear in its fury drove full through his breastbone.  In all these examples the things have the effect of being active because they are made into living beings;  shameless behaviour and fury and so on are all forms of activity.  And the poet has attached these ideas to the things by means of proportional metaphors:  as the stone is to Sisyphus, so is the shameless man to his victim.  In his famous similes, too, he treats inanimate things in the same way:  Curving and crested with white, host following host without ceasing.  Here he represents everything as moving and living; and activity is movement.  Metaphors must be drawn, as has been said already, from things that are related to the original thing, and yet not obviously so related  —just as in philosophy also an acute mind will perceive resemblances even in things far apart.  Thus Archytas said that an arbitrator and an altar were the same,  since the injured fly to both for refuge.  Or you might say that an anchor and an overhead hook were the same,  since both are in a way the same, only the one secures things from below and the other from above.  And to speak of states as ‘levelled’ is to identify two widely different things, the equality of a physical surface and the equality of political powers.  Liveliness is specially conveyed by metaphor, and by the further power of surprising the hearer;  because the hearer expected something different, his acquisition of the new idea impresses him all the more.  His mind seems to say, ‘Yes, to be sure; I never thought of that’.  The liveliness of epigrammatic remarks is due to the meaning not being just what the words say:  as in the saying of Stesichorus that ‘the cicalas will chirp to themselves on the ground’.  Well—constructed riddles are attractive for the same reason; a new idea is conveyed, and there is metaphorical expression. So with the ‘novelties’ of Theodorus.  In these the thought is startling, and, as Theodorus puts it, does not fit in with the ideas you already have.  They are like the burlesque words that one finds in the comic writers.  The effect is produced even by jokes depending upon changes of the letters of a word; this too is a surprise.  You find this in verse as well as in prose.  The word which comes is not what the hearer imagined:  thus Onward he came, and his feet were shod with his—chilblains, where one imagined the word would be ‘sandals’.  But the point should be clear the moment the words are uttered.  Jokes made by altering the letters of a word consist in meaning, not just what you say, but something that gives a twist to the word used;  e.g. the remark of Theodorus about Nicon the harpist Thraxei se (’you Thracian slavey’), where he pretends to mean Thratteis su (’you harpplayer’), and surprises us when we find he means something else.  So you enjoy the point when you see it, though the remark will fall flat unless you are aware that Nicon is Thracian. 
δεῖ δὲ ἀμφότερα προσ(4)ηκόντως λεχθῆναι.  οὕτω δὲ καὶ τὰ ἀστεῖα, οἷον τὸ φάναι (5) Ἀθηναίοις τὴν τῆς θαλάττης ἀρχὴν μὴ ἀρχὴν εἶναι τῶν (6) κακῶν· ὄνασθαι γάρ.  ἢ ὥσπερ Ἰσοκράτης τὴν ἀρχὴν τῇ (7) πόλει ἀρχὴν εἶναι τῶν κακῶν.  ἀμφοτέρως γὰρ ὃ οὐκ ἂν (8) ᾠήθη τις ἐρεῖν, τοῦτ’ εἴρηται, καὶ ἐγνώσθη ὅτι ἀληθές·  τό (9) τε γὰρ τὴν ἀρχὴν φάναι ἀρχὴν εἶναι οὐθὲν σοφόν,  ἀλλ’ (10) οὐχ οὕτω λέγει ἀλλ’ ἄλλως,  καὶ ἀρχὴν οὐχ ὃ εἶπεν ἀπό(11)φησιν, ἀλλ’ ἄλλως.  ἐν ἅπασι δὲ τούτοις, ἐὰν προσηκόντως (12) τὸ ὄνομα ἐνέγκῃ ὁμωνυμίᾳ ἢ μεταφορᾷ, τότε τὸ εὖ.  οἷον (13) “Ἀνάσχετος οὐκ ἀνασχετός” ὁμωνυμίᾳ ἀπέφησε, ἀλλὰ προσ(14)ηκόντως, εἰ ἀηδής. 
Or again: Boulei auton persai.  In both these cases the saying must fit the facts.  This is also true of such lively remarks as the one to the effect that to the Athenians their empire (arche) of the sea was not the beginning (arche) of their troubles, since they gained by it.  Or the opposite one of Isocrates, that their empire (arche) was the beginning (arche) of their troubles.  Either way, the speaker says something unexpected, the soundness of which is thereupon recognized.  There would be nothing clever is saying ‘empire is empire’.  Isocrates means more than that, and uses the word with a new meaning.  So too with the former saying, which denies that arche in one sense was arche in another sense.  In all these jokes, whether a word is used in a second sense or metaphorically, the joke is good if it fits the facts. 
καὶ “οὐκ ἂν γένοιο μᾶλλον ἤ σε δεῖ ξένος”·  (15) “ξένος” <γὰρ> “οὐ μᾶλλον ἤ σε δεῖ” τὸ αὐτὸ καὶ “οὐ δεῖ (16) τὸν ξένον ξένον ἀεὶ εἶναι”· ἀλλότριον γὰρ καὶ τοῦτο.  τὸ αὐτὸ (17) καὶ τὸ Ἀναξανδρίδου τὸ ἐπαινούμενον,
καλόν γ’ ἀποθανεῖν πρὶν θανάτου δρᾶν ἄξιον· 
(18) ταὐτὸ γάρ ἐστι τῷ εἰπεῖν “ἄξιόν γ’ ἀποθανεῖν μὴ ὄντα (19) ἄξιον ἀποθανεῖν”, ἢ “ἄξιόν γ’ ἀποθανεῖν μὴ θανάτου ἄξιον (20) ὄντα”, ἢ “μὴ ποιοῦντα θανάτου ἄξια”.  τὸ μὲν οὖν εἶδος τὸ (21) αὐτὸ τῆς λέξεως τούτων·  ἀλλ’ ὅσῳ ἂν <ἐν> ἐλάττονι καὶ ἀντι(22)κειμένως λεχθῇ, τοσούτῳ εὐδοκιμεῖ μᾶλλον.  τὸ δ’ αἴτιον (23) ὅτι ἡ μάθησις διὰ μὲν τὸ ἀντικεῖσθαι μᾶλλον, διὰ δὲ τὸ (24) ἐν ὀλίγῳ θᾶττον γίνεται.  δεῖ δ’ ἀεὶ προσεῖναι [ἢ] τὸ πρὸς (25) ὃν λέγεται [ἢ] ὀρθῶς λέγεσθαι, εἰ τὸ λεγόμενον ἀληθὲς καὶ (26) μὴ ἐπιπόλαιον <ἔσται>· ἔστιν γὰρ ταῦτα χωρὶς ἔχειν,  οἷον “ἀπο(27)θνῄσκειν δεῖ μηθὲν ἁμαρτάνοντα” [ἀλλ’ οὐκ ἀστεῖον], “τὴν (28) ἀξίαν δεῖ γαμεῖν τὸν ἄξιον”, ἀλλ’ οὐκ ἀστεῖον,  ἀλλ’ <ἢ> ἐὰν (29) ἅμα ἄμφω ἔχῃ· “ἄξιόν γ’ ἀποθανεῖν μὴ ἄξιον ὄντα τοῦ ἀπο(30)θανεῖν”.  ὅσῳ δ’ ἂν πλείω ἔχῃ, τοσούτῳ ἀστειότερον φαίνεται,  (31) οἷον εἰ καὶ τὰ ὀνόματα μεταφορὰ εἴη καὶ μεταφορὰ τοιαδὶ (32) καὶ ἀντίθεσις καὶ παρίσωσις, καὶ ἔχοι ἐνέργειαν.  (33) εἰσὶν δὲ καὶ αἱ εἰκόνες, ὥσπερ εἴρηται καὶ ἐν τοῖς ἄνω, (34) αἱ εὐδοκιμοῦσαι τρόπον τινὰ μεταφοραί·  ἀεὶ γὰρ ἐκ δυοῖν (35) λέγονται, ὥσπερ ἡ ἀνάλογον μεταφορά,  οἷον “ἡ ἀσπίς”, φαμέν, (1413a1) “ἐστι φιάλη Ἄρεως”, καὶ “<τὸ> τόξον φόρμιγξ ἄχορδος”.  (2) οὕτω μὲν οὖν λέγουσιν οὐχ ἁπλοῦν, τὸ δ’ εἰπεῖν τὸ τόξον φόρμιγγα (3) ἢ τὴν ἀσπίδα φιάλην ἁπλοῦν.  καὶ εἰκάζουσιν δὲ οὕτως, (4) οἷον πιθήκῳ αὐλητήν, λύχνῳ ψακαζομένῳ [εἰς] μύωπα· (5) ἄμφω γὰρ συνάγεται. 
For instance, Anaschetos (proper name) ouk anaschetos: where you say that what is so—and—so in one sense is not so—and—so in another; well, if the man is unpleasant, the joke fits the facts.  Again, take—Thou must not be a stranger stranger than Thou should’st.  Do not the words ‘thou must not be’, &c., amount to saying that the stranger must not always be strange? Here again is the use of one word in different senses.  Of the same kind also is the much—praised verse of Anaxandrides:
Death is most fit before you do
Deeds that would make death fit for you. 
This amounts to saying ‘it is a fit thing to die when you are not fit to die’, or ‘it is a fit thing to die when death is not fit for you’, i.e. when death is not the fit return for what you are doing.  The type of language employed—is the same in all these examples;  but the more briefly and antithetically such sayings can be expressed, the more taking they are,  for antithesis impresses the new idea more firmly and brevity more quickly.  They should always have either some personal application or some merit of expression, if they are to be true without being commonplace—two requirements not always satisfied simultaneously.  Thus ‘a man should die having done no wrong’ is true but dull: ‘the right man should marry the right woman’ is also true but dull.  No, there must be both good qualities together, as in ‘it is fitting to die when you are not fit for death’.  The more a saying has these qualitis, the livelier it appears:  if, for instance, its wording is metaphorical, metaphorical in the right way, antithetical, and balanced, and at the same time it gives an idea of activity.  Successful similes also, as has been said above, are in a sense metaphors,  since they always involve two relations like the proportional metaphor.  Thus: a shield, we say, is the ‘drinking—bowl of Ares’, and a bow is the ‘chordless lyre’.  This way of putting a metaphor is not ‘simple’, as it would be if we called the bow a lyre or the shield a drinking—bowl. 
τὸ δὲ εὖ ἐστὶν ὅταν μεταφορὰ ᾖ·  (6) ἔστιν γὰρ εἰκάσαι τὴν ἀσπίδα φιάλῃ Ἄρεως  καὶ τὸ ἐρεί(7)πιον ῥάκει οἰκίας,  καὶ τὸ τὸν Νικήρατον φάναι Φιλοκτήτην (8) εἶναι δεδηγμένον ὑπὸ Πράτυος,  ὥσπερ εἴκασεν Θρασύμαχος (9) ἰδὼν τὸν Νικήρατον ἡττημένον ὑπὸ Πράτυος ῥαψῳδοῦντα, (10) κομῶντα δὲ καὶ αὐχμηρὸν ἔτι. 
There are ‘simple’ similes also: we may say that a flute—player is like a monkey, or that a short—sighted man’s eyes are like a lamp—flame with water dropping on it, since both eyes and flame keep winking.  A simile succeeds best when it is a converted metaphor,  for it is possible to say that a shield is like the drinking—bowl of Ares,  or that a ruin is like a house in rags,  and to say that Niceratus is like a Philoctetes stung by Pratys 
ἐν οἷς μάλιστά τ’ ἐκπίπτου(11)σιν οἱ ποιηταὶ ἐὰν μὴ εὖ, καὶ ἐὰν εὖ, εὐδοκιμοῦσιν·  λέγω (12) δ’ ὅταν ἀποδιδῶσιν· “ὥσπερ σέλινον οὖλα τὰ σκέλη φορεῖ.” (13) “ὥσπερ Φιλάμμων ζυγομαχῶν τῷ κωρύκῳ.”  (14) καὶ τὰ τοιαῦτα πάντ’ εἰκόνες εἰσίν. αἱ δ’ εἰκόνες ὅτι μετα(15)φοραί, εἴρηται πολλάκις.  (16) καὶ αἱ παροιμίαι δὲ μεταφοραὶ ἀπ’ εἴδους ἐπ’ εἶδος εἰσίν·  (17) οἷον ἄν τις ὡς ἀγαθὸν πεισόμενος αὐτὸς ἐπαγάγηται, εἶτα (18) βλαβῇ, “ὡς ὁ Καρπάθιός”, φασιν, “τὸν λαγώ”·  ἄμφω γὰρ τὸ (19) εἰρημένον πεπόνθασιν. 
—the simile made by Thrasyniachus when he saw Niceratus, who had been beaten by Pratys in a recitation competition, still going about unkempt and unwashed.  It is in these respects that poets fail worst when they fail, and succeed best when they succeed,  i.e. when they give the resemblance pat, as in Those legs of his curl just like parsley leaves; and Just like Philammon struggling with his punchball.  These are all similes; and that similes are metaphors has been stated often already.  Proverbs, again, are metaphors from one species to another.  Suppose, for instance, a man to start some undertaking in hope of gain and then to lose by it later on, ‘Here we have once more the man of Carpathus and his hare’, says he. 
ὅθεν μὲν οὖν τὰ ἀστεῖα λέγεται καὶ διότι, (20) σχεδὸν εἴρηται τὸ αἴτιον·  εἰσὶν δὲ καὶ <αἱ> εὐδοκιμοῦσαι (21) ὑπερβολαὶ μεταφοραί, οἷον εἰς ὑπωπιασμένον “ᾠήθητε δ’ ἂν (22) αὐτὸν εἶναι συκαμίνων κάλαθον”·  ἐρυθρὸν γάρ τι τὸ ὑπώπιον, (23) ἀλλὰ τοῦτο πολὺ σφόδρα.  τὸ δὲ “ὥσπερ τὸ καὶ τὸ” ὑπερβολὴ (24) τῇ λέξει διαφέρουσα.  “ὥσπερ Φιλάμμων ζυγομαχῶν τῷ (25) κωρύκῳ”, “ᾠήθης δ’ ἂν αὐτὸν Φιλάμμωνα εἶναι μαχόμενον (26) τῷ κωρύκῳ”. (27) “ὥσπερ σέλινον οὖλα τὰ σκέλη φορεῖν”, (28) “ᾠήθης δ’ ἂν οὐ σκέλη ἀλλὰ σέλινα ἔχειν, οὕτως οὖλα”.  (29) εἰσὶ δ’ αἱ ὑπερβολαὶ μειρακιώδεις· σφοδρότητα γὰρ δηλοῦσιν.  (30) διὸ ὀργιζόμενοι λέγουσιν μάλιστα· (31) οὐδ’ εἴ μοι τόσα δοίη ὅσα ψάμαθός τε κόνις τε.  (32) κούρην δ’ οὐ γαμέω Ἀγαμέμνονος Ἀτρεΐδαο,
(33) οὐδ’ εἰ χρυσείῃ Ἀφροδίτῃ κάλλος ἐρίζοι,
(34) ἔργα δ’ Ἀθηναίῃ· 
(1413b1) διὸ πρεσβυτέρῳ λέγειν ἀπρεπές· χρῶνται δὲ μάλιστα τούτῳ (2) Ἀττικοὶ ῥήτορες. 
For both alike went through the said experience.  It has now been explained fairly completely how liveliness is secured and why it has the effect it has.  Successful hyperboles are also metaphors, e.g. the one about the man with a black eye, ‘you would have thought he was a basket of mulberries’;  here the ‘black eye’ is compared to a mulberry because of its colour, the exaggeration lying in the quantity of mulberries suggested.  The phrase ‘like so—and—so’ may introduce a hyperbole under the form of a simile.  Thus, just like Philammon struggling with his punchball is equivalent to ‘you would have thought he was Philammon struggling with his punchball’; and Those legs of his curl just like parsley leaves is equivalent to ‘his legs are so curly that you would have thought they were not legs but parsley leaves’.  Hyperboles are for young men to use; they show vehemence of character;  and this is why angry people use them more than other people. Not though he gave me as much as the dust
or the sands of the sea... 
But her, the daughter of Atreus’ son, I never will marry, Nay, not though she were fairer than Aphrodite the Golden, Defter of hand than Athene... 
12. (3) Δεῖ δὲ μὴ λεληθέναι ὅτι ἄλλη ἑκάστῳ γένει ἁρμόττει (4) λέξις.  οὐ γὰρ ἡ αὐτὴ γραφικὴ καὶ ἀγωνιστική, οὐδὲ δη(5)μηγορικὴ καὶ δικανική.  ἄμφω δὲ ἀνάγκη εἰδέναι·  τὸ μὲν (6) γάρ ἐστιν ἑλληνίζειν ἐπίστασθαι,  τὸ δὲ μὴ ἀναγκάζεσθαι (7) κατασιωπᾶν ἄν τι βούληται μεταδοῦναι τοῖς ἄλλοις, ὅπερ (8) πάσχουσιν οἱ μὴ ἐπιστάμενοι γράφειν.  ἔστι δὲ λέξις γρα(9)φικὴ μὲν ἡ ἀκριβεστάτη, ἀγωνιστικὴ δὲ ἡ ὑποκριτικωτάτη (10)  (ταύτης δὲ δύο εἴδη· ἡ μὲν γὰρ ἠθικὴ ἡ δὲ παθητική)·  (11) διὸ καὶ οἱ ὑποκριταὶ τὰ τοιαῦτα τῶν δραμάτων διώκουσι, (12) καὶ οἱ ποιηταὶ τοὺς τοιούτους.  βαστάζονται δὲ οἱ ἀναγνω(13)στικοί,  οἷον Χαιρήμων (ἀκριβὴς γὰρ ὥσπερ λογογράφος), (14) καὶ Λικύμνιος τῶν διθυραμβοποιῶν.  καὶ παραβαλλόμενοι οἱ (15) μὲν τῶν γραφέων <λόγοι> ἐν τοῖς ἀγῶσι στενοὶ φαίνονται,  (16) οἱ δὲ τῶν ῥητόρων, εὖ λεχθέντες, ἰδιωτικοὶ ἐν ταῖς χερσίν.  (17) αἴτιον δ’ ὅτι ἐν τῷ ἀγῶνι ἁρμόττει τὰ ὑποκριτικά·  διὸ (18) καὶ ἀφῃρημένης τῆς ὑποκρίσεως οὐ ποιοῦντα τὸ αὑτῶν (19) ἔργον φαίνεται εὐήθη,  οἷον τά τε ἀσύνδετα καὶ τὸ πολλά(20)κις τὸ αὐτὸ εἰπεῖν ἐν τῇ γραφικῇ ὀρθῶς ἀποδοκιμάζεται, (21) ἐν δὲ ἀγωνιστικῇ οὔ, καὶ οἱ ῥήτορες χρῶνται· ἔστι γὰρ (22) ὑποκριτική.  ἀνάγκη δὲ μεταβάλλειν τὸ αὐτὸ λέγοντας, ὅπερ (23) ὥσπερ ὁδοποιεῖ τῷ ὑποκρίνεσθαι·  “οὗτός ἐστιν ὁ κλέψας (24) ὑμῶν, οὗτός ἐστιν ὁ ἐξαπατήσας, οὗτος ὁ τὸ ἔσχατον προ(25)δοῦναι ἐπιχειρήσας”,  οἷον καὶ Φιλήμων ὁ ὑποκριτὴς ἐποίει (26) ἔν τε τῇ Ἀναξανδρίδου Γεροντομαχίᾳ, ὅτε λέγοι “Ῥαδάμαν(27)θυς καὶ Παλαμήδης”, καὶ ἐν τῷ προλόγῳ τῶν Εὐσεβῶν τὸ (28) “ἐγώ”·  ἐὰν γάρ τις τὰ τοιαῦτα μὴ ὑποκρίνηται, γίγνεται “ὁ (29) τὴν δοκὸν φέρων”.  καὶ τὰ ἀσύνδετα ὡσαύτως· “ἦλθον, ἀπήν(30)τησα, ἐδεόμην·”  ἀνάγκη γὰρ ὑποκρίνεσθαι καὶ μὴ ὡς ἓν (31) λέγοντα τῷ αὐτῷ ἤθει καὶ τόνῳ εἰπεῖν.  ἔτι ἔχει ἴδιόν τι (32) τὰ ἀσύνδετα· ἐν ἴσῳ γὰρ χρόνῳ πολλὰ δοκεῖ εἰρῆσθαι·  ὁ (33) γὰρ σύνδεσμος ἓν ποιεῖ τὰ πολλά, ὥστε ἐὰν ἐξαιρεθῇ, δῆλον (34) ὅτι τοὐναντίον ἔσται τὸ ἓν πολλά.  ἔχει οὖν αὔξησιν· “ἦλθον, (1414a1) διελέχθην, ἱκέτευσα” (πολλὰ δοκεῖ), “ὑπερεῖδεν ὅσα εἶπον”.  (2) τοῦτο δὲ βούλεται ποιεῖν καὶ Ὅμηρος ἐν τῷ
“Νιρεὺς αὖ Σύμηθεν”, “Νιρεὺς Ἀγλαΐης”, “Νιρεὺς ὃς (3) κάλλιστος”. 
(3) περὶ οὗ γὰρ πολλὰ λέγεται, ἀνάγκη καὶ πολλάκις εἰρῆσθαι·  (4) εἰ οὖν [καὶ] πολλάκις, καὶ πολλὰ δοκεῖ,  ὥστε ηὔξηκεν, ἅπαξ (5) μνησθείς, διὰ τὸν παραλογισμόν, καὶ μνήμην πεποίηκεν, οὐ(6)δαμοῦ ὕστερον αὐτοῦ λόγον ποιησάμενος. 
(The Attic orators are particularly fond of this method of speech.) Consequently it does not suit an elderly speaker.  Part 12. It should be observed that each kind of rhetoric has its own appropriate style.  The style of written prose is not that of spoken oratory, nor are those of political and forensic speaking the same.  Both written and spoken have to be known.  To know the latter is to know how to speak good Greek.  To know the former means that you are not obliged, as otherwise you are, to hold your tongue when you wish to communicate something to the general public.  The written style is the more finished: the spoken better admits of dramatic delivery  —like the kind of oratory that reflects character and the kind that reflects emotion.  Hence actors look out for plays written in the latter style, and poets for actors competent to act in such plays.  Yet poets whose plays are meant to be read are read and circulated:  Chaeremon, for instance, who is as finished as a professional speech—writer; and Licymnius among the dithyrambic poets.  Compared with those of others, the speeches of professional writers sound thin in actual contests.  Those of the orators, on the other hand, are good to hear spoken, but look amateurish enough when they pass into the hands of a reader.  This is just because they are so well suited for an actual tussle,  and therefore contain many dramatic touches, which, being robbed of all dramatic rendering, fail to do their own proper work, and consequently look silly.  Thus strings of unconnected words, and constant repetitions of words and phrases, are very properly condemned in written speeches: but not in spoken speeches—speakers use them freely, for they have a dramatic effect.  In this repetition there must be variety of tone, paving the way, as it were, to dramatic effect;  e.g. ’This is the villain among you who deceived you, who cheated you, who meant to betray you completely’.  This is the sort of thing that Philemon the actor used to do in the Old Men’s Madness of Anaxandrides whenever he spoke the words ‘Rhadamanthus and Palamedes’, and also in the prologue to the Saints whenever he pronounced the pronoun ‘I’.  If one does not deliver such things cleverly, it becomes a case of ‘the man who swallowed a poker’.  So too with strings of unconnected words, e.g.’I came to him; I met him; I besought him’.  Such passages must be acted, not delivered with the same quality and pitch of voice, as though they had only one idea in them.  They have the further peculiarity of suggesting that a number of separate statements have been made in the time usually occupied by one.  Just as the use of conjunctions makes many statements into a single one, so the omission of conjunctions acts in the reverse way and makes a single one into many.  It thus makes everything more important: e.g. ’I came to him; I talked to him; I entreated him’—what a lot of facts! the hearer thinks—’he paid no attention to anything I said’.  This is the effect which Homer seeks when he writes, Nireus likewise from Syme (three well—fashioned ships did bring), Nireus, the son of Aglaia (and Charopus, bright—faced king), Nireus, the comeliest man (of all that to Ilium’s strand).  If many things are said about a man, his name must be mentioned many times;  and therefore people think that, if his name is mentioned many times, many things have been said about him. 
(7) ἡ μὲν οὖν δημηγορικὴ λέξις καὶ παντελῶς ἔοικεν τῇ (8) σκιαγραφίᾳ·  ὅσῳ γὰρ ἂν πλείων ᾖ ὁ ὄχλος, πορρώτερον ἡ (9) θέα,  διὸ τὰ ἀκριβῆ περίεργα καὶ χείρω φαίνεται ἐν ἀμφο(10)τέροις·  ἡ δὲ δικανικὴ ἀκριβεστέρα.  ἔτι δὲ μᾶλλον ἡ <ἐν> (11) ἑνὶ κριτῇ· ἐλάχιστον γὰρ ἔνεστι ῥητορικῆς·  εὐσύνοπτον (12) γὰρ μᾶλλον τὸ οἰκεῖον τοῦ πράγματος καὶ τὸ ἀλλότριον, καὶ (13) ὁ ἀγὼν ἄπεστιν, ὥστε καθαρὰ ἡ κρίσις.  διὸ οὐχ οἱ αὐτοὶ (14) ἐν πᾶσιν τούτοις εὐδοκιμοῦσιν ῥήτορες·  ἀλλ’ ὅπου μάλιστα (15) ὑπόκρισις, ἐνταῦθα ἥκιστα ἀκρίβεια ἔνι.  τοῦτο δὲ ὅπου (16) φωνῆς, καὶ μάλιστα ὅπου μεγάλης.  (17) ἡ μὲν οὖν ἐπιδεικτικὴ λέξις γραφικωτάτη·  τὸ γὰρ ἔργον (18) αὐτῆς ἀνάγνωσις· δευτέρα δὲ ἡ δικανική.  τὸ δὲ προσδι(19)αιρεῖσθαι τὴν λέξιν, ὅτι ἡδεῖαν δεῖ εἶναι καὶ μεγαλοπρεπῆ, περί(20)εργον·  τί γὰρ μᾶλλον ἢ σώφρονα καὶ ἐλευθέριον καὶ εἴ τις (21) ἄλλη ἤθους ἀρετή;  τὸ δὲ ἡδεῖαν εἶναι ποιήσει δηλονότι (22) τὰ εἰρημένα, εἴπερ ὀρθῶς ὥρισται ἡ ἀρετὴ τῆς λέξεως·  (23) τίνος γὰρ ἕνεκα δεῖ σαφῆ καὶ μὴ ταπεινὴν εἶναι ἀλλὰ (24) πρέπουσαν;  ἄν τε γὰρ ἀδολεσχῇ, οὐ σαφής, οὐδὲ ἂν σύν(25)τομος, ἀλλὰ δῆλον ὅτι τὸ μέσον ἁρμόττει.  καὶ τὸ ἡδεῖαν (26) τὰ εἰρημένα ποιήσει, ἂν εὖ μιχθῇ, τὸ εἰωθὸς καὶ <τὸ> ξενικόν, (27) καὶ ὁ ῥυθμός, καὶ τὸ πιθανὸν ἐκ τοῦ πρέποντος.(28) 
So that Homer, by means of this illusion, has made a great deal of though he has mentioned him only in this one passage, and has preserved his memory, though he nowhere says a word about him afterwards.  Now the style of oratory addressed to public assemblies is really just like scene—painting.  The bigger the throng, the more distant is the point of view:  so that, in the one and the other, high finish in detail is superfluous and seems better away.  The forensic style is more highly finished;  still more so is the style of language addressed to a single judge, with whom there is very little room for rhetorical artifices,  since he can take the whole thing in better, and judge of what is to the point and what is not; the struggle is less intense and so the judgement is undisturbed.  This is why the same speakers do not distinguish themselves in all these branches at once;  high finish is wanted least where dramatic delivery is wanted most,  and here the speaker must have a good voice, and above all, a strong one.  It is ceremonial oratory that is most literary,  for it is meant to be read; and next to it forensic oratory.  To analyse style still further, and add that it must be agreeable or magnificent, is useless;  for why should it have these traits any more than ‘restraint’, ‘liberality’, or any other moral excellence?  Obviously agreeableness will be produced by the qualities already mentioned, if our definition of excellence of style has been correct.  For what other reason should style be ‘clear’, and ‘not mean’ but ‘appropriate’?  If it is prolix, it is not clear; nor yet if it is curt. Plainly the middle way suits best. 
13. (29) περὶ μὲν οὖν τῆς λέξεως εἴρηται, καὶ κοινῇ περὶ ἁπάν(30)των καὶ ἰδίᾳ περὶ ἑκάστου γένους· λοιπὸν δὲ περὶ τάξεως (31) εἰπεῖν.  ἔστι δὲ τοῦ λόγου δύο μέρη·  ἀναγκαῖον γὰρ τό τε (32) πρᾶγμα εἰπεῖν περὶ οὗ, καὶ τοῦτ’ ἀποδεῖξαι.  διὸ εἰπόντα (33) μὴ ἀποδεῖξαι ἢ ἀποδεῖξαι μὴ προειπόντα ἀδύνατον·  ὅ τε (34) γὰρ ἀποδεικνύων τι ἀποδείκνυσι, καὶ ὁ προλέγων ἕνεκα (35) τοῦ ἀποδεῖξαι προλέγει.  τούτων δὲ τὸ μὲν πρόθεσίς ἐστι (36) τὸ δὲ πίστις, ὥσπερ ἂν εἴ τις διέλοι ὅτι τὸ μὲν πρόβλημα (37) τὸ δὲ ἀπόδειξις.  νῦν δὲ διαιροῦσι γελοίως· 
Again, style will be made agreeable by the elements mentioned, namely by a good blending of ordinary and unusual words, by the rhythm, and by—the persuasiveness that springs from appropriateness.  This concludes our discussion of style, both in its general aspects and in its special applications to the various branches of rhetoric. We have now to deal with Arrangement.  Part 13. A speech has two parts.  You must state your case, and you must prove it.  You cannot either state your case and omit to prove it, or prove it without having first stated it;  since any proof must be a proof of something, and the only use of a preliminary statement is the proof that follows it.  Of these two parts the first part is called the Statement of the case, the second part the Argument, just as we distinguish between Enunciation and Demonstration. 
διήγησις γάρ (38) που τοῦ δικανικοῦ μόνου λόγου ἐστίν,  ἐπιδεικτικοῦ δὲ καὶ (39) δημηγορικοῦ πῶς ἐνδέχεται εἶναι διήγησιν οἵαν λέγουσιν, (1414b1) ἢ τὰ πρὸς τὸν ἀντίδικον, ἢ ἐπίλογον τῶν ἀποδεικτικῶν;  (2) προοίμιον δὲ καὶ ἀντιπαραβολὴ καὶ ἐπάνοδος ἐν ταῖς δημη(3)γορίαις τότε γίνεται ὅταν ἀντιλογία ᾖ. 
The current division is absurd.  For ‘narration’ surely is part of a forensic speech only:  how in a political speech or a speech of display can there be ‘narration’ in the technical sense? or a reply to a forensic opponent? or an epilogue in closely—reasoned speeches? 
καὶ γὰρ ἡ κατ(4)ηγορία καὶ ἡ ἀπολογία πολλάκις, ἀλλ’ οὐχ ἡ συμβουλή·  ἀλλ’ (5) ὁ ἐπίλογος ἔτι οὐδὲ δικανικοῦ παντός,  οἷον ἐὰν μικρὸς ὁ (6) λόγος ἢ τὸ πρᾶγμα εὐμνημόνευτον· συμβαίνει γὰρ τοῦ (7) μήκους ἀφαιρεῖσθαι. 
Again, introduction, comparison of conflicting arguments, and recapitulation are only found in political speeches when there is a struggle between two policies.  They may occur then; so may even accusation and defence, often enough; but they form no essential part of a political speech.  Even forensic speeches do not always need epilogues; 
ἀναγκαῖα ἄρα μόρια πρόθεσις καὶ (8) πίστις.  ἴδια μὲν οὖν ταῦτα, τὰ δὲ πλεῖστα προοίμιον πρό(9)θεσις πίστις ἐπίλογος·  τὰ γὰρ πρὸς τὸν ἀντίδικον τῶν (10) πίστεών ἐστι, καὶ ἡ ἀντιπαραβολὴ αὔξησις τῶν αὐτοῦ, (11) ὥστε μέρος τι τῶν πίστεων (ἀποδείκνυσι γάρ τι ὁ ποιῶν (12) τοῦτο),  ἀλλ’ οὐ τὸ προοίμιον, οὐδ’ ὁ ἐπίλογος, ἀλλ’ ἀνα(13)μιμνήσκει.  ἔσται οὖν, ἄν τις τὰ τοιαῦτα διαιρῇ, ὅπερ ἐποί(14)ουν οἱ περὶ Θεόδωρον, διήγησις ἕτερον καὶ [ἡ] ἐπιδιήγησις (15) καὶ προδιήγησις, καὶ ἔλεγχος καὶ ἐπεξέλεγχος.  δεῖ δὲ εἶδός (16) τι λέγοντα καὶ διαφορᾷ ὄνομα τίθεσθαι·  εἰ δὲ μή, γίνεται (17) κενὸν καὶ ληρῶδες, οἷον Λικύμνιος ποιεῖ ἐν τῇ τέχνῃ, ἐπ(18)ούρωσιν ὀνομάζων καὶ ἀποπλάνησιν καὶ ὄζους. 
not, for instance, a short speech, nor one in which the facts are easy to remember, the effect of an epilogue being always a reduction in the apparent length.  It follows, then, that the only necessary parts of a speech are the Statement and the Argument.  These are the essential features of a speech; and it cannot in any case have more than Introduction, Statement, Argument, and Epilogue.  ’Refutation of the Opponent’ is part of the arguments: so is ‘Comparison’ of the opponent’s case with your own, for that process is a magnifying of your own case and therefore a part of the arguments, since one who does this proves something.  The Introduction does nothing like this; nor does the Epilogue—it merely reminds us of what has been said already.  If we make such distinctions we shall end, like Theodorus and his followers, by distinguishing ‘narration’ proper from ‘post—narration’ and ‘pre—narration’, and ‘refutation’ from ‘final refutation’.  But we ought only to bring in a new name if it indicates a real species with distinct specific qualities; 
14. (19) Τὸ μὲν οὖν προοίμιόν ἐστιν ἀρχὴ λόγου, ὅπερ ἐν (20) ποιήσει πρόλογος καὶ ἐν αὐλήσει προαύλιον·  πάντα γὰρ (21) ἀρχαὶ ταῦτ’ εἰσί, καὶ οἷον ὁδοποίησις τῷ ἐπιόντι.  τὸ μὲν (22) οὖν προαύλιον ὅμοιον τῷ τῶν ἐπιδεικτικῶν προοιμίῳ·  καὶ (23) γὰρ οἱ αὐληταί, ὅ τι ἂν εὖ ἔχωσιν αὐλῆσαι, τοῦτο προ(24)αυλήσαντες συνῆψαν τῷ ἐνδοσίμῳ,  καὶ ἐν τοῖς ἐπιδεικτι(25)κοῖς λόγοις δεῖ οὕτως γράφειν,  ὅ τι [γὰρ] ἂν βούληται εὐθὺ (26) εἰπόντα ἐνδοῦναι καὶ συνάψαι, ὅπερ πάντες ποιοῦσιν.  (27) παράδειγμα τὸ τῆς Ἰσοκράτους Ἑλένης προοίμιον· οὐθὲν (28) γὰρ κοινὸν ὑπάρχει τοῖς ἐριστικοῖς καὶ Ἑλένῃ.  ἅμα δὲ καὶ (29) ἐὰν ἐκτοπίσῃ, ἁρμόττει, καὶ μὴ ὅλον τὸν λόγον ὁμοειδῆ (30) εἶναι.  λέγεται δὲ τὰ τῶν ἐπιδεικτικῶν προοίμια ἐξ ἐπαίνου (31) ἢ ψόγου 
otherwise the practice is pointless and silly, like the way Licymnius invented names in his Art of Rhetoric—’Secundation’, ‘Divagation’, ‘Ramification’.  Part 14. The Introduction is the beginning of a speech, corresponding to the prologue in poetry and the prelude in flute—music;  they are all beginnings, paving the way, as it were, for what is to follow.  The musical prelude resembles the introduction to speeches of display;  as flute players play first some brilliant passage they know well and then fit it on to the opening notes of the piece itself,  so in speeches of display the writer should proceed in the same way;  he should begin with what best takes his fancy, and then strike up his theme and lead into it; which is indeed what is always done.  (Take as an example the introduction to the Helen of Isocrates—there is nothing in common between the ‘eristics’ and Helen.)  And here, even if you travel far from your subject, it is fitting, rather than that there should be sameness in the entire speech. 
(οἷον Γοργίας μὲν ἐν τῷ Ὀλυμπικῷ λόγῳ “ὑπὸ (32) πολλῶν ἄξιοι θαυμάζεσθαι, ὦ ἄνδρες Ἕλληνες”· ἐπαινεῖ (33) γὰρ τοὺς τὰς πανηγύρεις συνάγοντας·  Ἰσοκράτης δὲ ψέγει (34) ὅτι τὰς μὲν τῶν σωμάτων ἀρετὰς δωρεαῖς ἐτίμησαν, τοῖς (35) δ’ εὖ φρονοῦσιν οὐθὲν ἆθλον ἐποίησαν),  καὶ ἀπὸ συμβου(36)λῆς (οἷον ὅτι δεῖ τοὺς ἀγαθοὺς τιμᾶν, διὸ καὶ αὐτὸς (37) Ἀριστείδην ἐπαινεῖ, ἢ τοὺς τοιούτους οἳ μήτε εὐδοκιμοῦσιν (38) μήτε φαῦλοι, ἀλλ’ ὅσοι ἀγαθοὶ ὄντες ἄδηλοι, ὥσπερ Ἀλέ(39)ξανδρος ὁ Πριάμου·  οὗτος γὰρ συμβουλεύει)·  ἔτι δ’ ἐκ τῶν (1415a1) δικανικῶν προοιμίων·  τοῦτο δ’ ἐστὶν ἐκ τῶν πρὸς τὸν ἀκρο(2)ατήν, εἰ περὶ παραδόξου λόγος ἢ περὶ χαλεποῦ ἢ περὶ τεθρυ(3)λημένου πολλοῖς, ὥστε συγγνώμην ἔχειν,  οἷον Χοιρίλος
νῦν δ’ ὅτε πάντα δέδασται. 
The usual subject for the introductions to speeches of display is some piece of praise or censure.  Thus Gorgias writes in his Olympic Speech, ‘You deserve widespread admiration, men of Greece’, praising thus those who start,ed the festival gatherings.’  Isocrates, on the other hand, censures them for awarding distinctions to fine athletes but giving no prize for intellectual ability.  Or one may begin with a piece of advice, thus: ‘We ought to honour good men and so I myself am praising Aristeides’ or ‘We ought to honour those who are unpopular but not bad men, men whose good qualities have never been noticed, like Alexander son of Priam.’  Here the orator gives advice.  Or we may begin as speakers do in the law—courts;  that is to say, with appeals to the audience to excuse us if our speech is about something paradoxical, difficult, or hackneyed; 
(4) τὰ μὲν οὖν τῶν ἐπιδεικτικῶν λόγων προοίμια ἐκ τού(5)των, ἐξ ἐπαίνου, ἐκ ψόγου, ἐκ προτροπῆς, ἐξ ἀποτροπῆς, (6) ἐκ τῶν πρὸς τὸν ἀκροατήν·  δεῖ δὲ ἢ ξένα ἢ οἰκεῖα εἶναι (7) τὰ ἐνδόσιμα τῷ λόγῳ.  τὰ δὲ τοῦ δικανικοῦ προοίμια δεῖ (8) λαβεῖν ὅτι ταὐτὸ δύναται ὅπερ τῶν δραμάτων οἱ πρόλογοι (9) καὶ τῶν ἐπῶν τὰ προοίμια·  τὰ μὲν γὰρ τῶν διθυράμβων (10) ὅμοια τοῖς ἐπιδεικτικοῖς· “διὰ σὲ καὶ τεὰ δῶρα εἴτε σκῦλα”. 
like Choerilus in the lines—
But now when allotment of all has been made... 
Introductions to speeches of display, then, may be composed of some piece of praise or censure, of advice to do or not to do something, or of appeals to the audience;  and you must choose between making these preliminary passages connected or disconnected with the speech itself.  Introductions to forensic speeches, it must be observed, have the same value as the prologues of dramas and the introductions to epic poems; 
(11) ἐν δὲ προλόγοις καὶ ἔπεσι δεῖγμά ἐστιν τοῦ λόγου, (12) ἵνα (13) προειδῶσι περὶ οὗ [ᾖ] ὁ λόγος καὶ μὴ κρέμηται ἡ διάνοια·  (14) τὸ γὰρ ἀόριστον πλανᾷ· ὁ δοὺς οὖν ὥσπερ εἰς τὴν χεῖρα (15) τὴν ἀρχὴν ποιεῖ ἐχόμενον ἀκολουθεῖν τῷ λόγῳ.  διὰ τοῦτο (16)
“μῆνιν ἄειδε, θεά”.
“ἄνδρα μοι ἔννεπε, μοῦσα.” (17)
“ἥγεό μοι λόγον ἄλλον, ὅπως Ἀσίας ἀπὸ γαίης (18)
ἦλθεν ἐς Εὐρώπην πόλεμος μέγας.” 
(19) καὶ οἱ τραγικοὶ δηλοῦσι περὶ <οὗ> τὸ δρᾶμα, κἂν μὴ εὐθὺς (20) ὥσπερ Εὐριπίδης ἐν τῷ προλόγῳ, ἀλλά πού γε, ὥσπερ [καὶ] (21) Σοφοκλῆς
(20) “ἐμοὶ πατὴρ ἦν Πόλυβος”.
(22) καὶ ἡ κωμῳδία ὡσαύτως. 
τὸ μὲν οὖν ἀναγκαιότατον ἔργον (23) τοῦ προοιμίου καὶ ἴδιον τοῦτο, δηλῶσαι τί ἐστιν τὸ τέλος (24) οὗ ἕνεκα ὁ λόγος  (διόπερ ἂν δῆλον ᾖ καὶ μικρὸν τὸ πρᾶγμα, (25) οὐ χρηστέον προοιμίῳ)·  τὰ δὲ ἄλλα εἴδη οἷς χρῶνται, ἰα(26)τρεύματα καὶ κοινά. 
the dithyrambic prelude resembling the introduction to a speech of display, as
For thee, and thy gilts, and thy battle—spoils.... 
In prologues, and in epic poetry, a foretaste of the theme is given, intended to inform the hearers of it in advance instead of keeping their minds in suspense.  Anything vague puzzles them: so give them a grasp of the beginning, and they can hold fast to it and follow the argument.  So we find—
Sing, O goddess of song, of the Wrath...
Tell me, O Muse, of the hero...
Lead me to tell a new tale, how there came great warfare to Europe
Out of the Asian land... 
The tragic poets, too, let us know the pivot of their play; if not at the outset like Euripides, at least somewhere in the preface to a speech like Sophocles—
Polybus was my father...; and so in Comedy. 
This, then, is the most essential function and distinctive property of the introduction, to show what the aim of the speech is;  and therefore no introduction ought to be employed where the subject is not long or intricate. 
λέγεται δὲ ταῦτα ἔκ τε τοῦ λέγοντος (27) καὶ τοῦ ἀκροατοῦ καὶ τοῦ πράγματος καὶ τοῦ ἐναντίου (28) περὶ αὐτοῦ μὲν καὶ τοῦ ἀντιδίκου οἷά περ διαβολὴν (29) λῦσαι καὶ ποιῆσαι  (ἔστιν δὲ οὐχ ὁμοίως· ἀπολογουμένῳ μὲν (30) γὰρ πρῶτον τὰ πρὸς διαβολήν, κατηγοροῦντι δ’ ἐν τῷ ἐπι(31)λόγῳ·  δι’ ὃ δέ, οὐκ ἄδηλον·  τὸν μὲν γὰρ ἀπολογούμενον, (32) ὅταν μέλλῃ εἰσάξειν αὑτόν, ἀναγκαῖον ἀνελεῖν τὰ κωλύοντα, (33) ὥστε λυτέον πρῶτον τὴν διαβολήν·  τῷ δὲ διαβάλλοντι ἐν (34) τῷ ἐπιλόγῳ διαβλητέον, ἵνα μνημονεύσωσι μᾶλλον). 
The other kinds of introduction employed are remedial in purpose, and may be used in any type of speech.  They are concerned with the speaker, the hearer, the subject, or the speaker’s opponent. Those concerned with the speaker himself or with his opponent are directed to removing or exciting prejudice.  But whereas the defendant will begin by dealing with this sort of thing, the prosecutor will take quite another line and deal with such matters in the closing part of his speech.  The reason for this is not far to seek.  The defendant, when he is going to bring himself on the stage, must clear away any obstacles, and therefore must begin by removing any prejudice felt against him. 
τὰ δὲ (35) πρὸς τὸν ἀκροατὴν ἔκ τε τοῦ εὔνουν ποιῆσαι καὶ ἐκ τοῦ (36) ὀργίσαι, καὶ ἐνίοτε τὸ προσεκτικὸν ἢ τοὐναντίον·  οὐ γὰρ (37) ἀεὶ συμφέρει ποιεῖν προσεκτικόν, διὸ πολλοὶ εἰς γέλωτα (38) πειρῶνται προάγειν.  εἰς δὲ εὐμάθειαν ἅπαντα ἀνάξει, ἐάν (39) τις βούληται, καὶ τὸ ἐπιεικῆ φαίνεσθαι· προσέχουσι γὰρ (1415b1) μᾶλλον τούτοις.  προσεκτικοὶ δὲ τοῖς μεγάλοις, τοῖς ἰδίοις, (2) τοῖς θαυμαστοῖς, τοῖς ἡδέσιν·  διὸ δεῖ ἐμποιεῖν ὡς περὶ (3) τοιούτων ὁ λόγος·  ἐὰν δὲ μὴ προσεκτικούς, ὅτι μικρόν, (4) ὅτι οὐδὲν πρὸς ἐκείνους, ὅτι λυπηρόν.  δεῖ δὲ μὴ λαν(5)θάνειν ὅτι πάντα ἔξω τοῦ λόγου τὰ τοιαῦτα·  πρὸς φαῦ(6)λον γὰρ ἀκροατὴν καὶ τὰ ἔξω τοῦ πράγματος ἀκούοντα·  (7) ἐπεὶ ἂν μὴ τοιοῦτος ᾖ, οὐθὲν δεῖ προοιμίου, ἀλλ’ ἢ (8) ὅσον τὸ πρᾶγμα εἰπεῖν κεφαλαιωδῶς, ἵνα ἔχῃ ὥσπερ σῶμα (9) κεφαλήν. 
But if you are to excite prejudice, you must do so at the close, so that the judges may more easily remember what you have said.  The appeal to the hearer aims at securing his goodwill, or at arousing his resentment, or sometimes at gaining his serious attention to the case, or even at distracting it—  for gaining it is not always an advantage, and speakers will often for that reason try to make him laugh.  You may use any means you choose to make your hearer receptive; among others, giving him a good impression of your character, which always helps to secure his attention.  He will be ready to attend to anything that touches himself and to anything that is important, surprising, or agreeable;  and you should accordingly convey to him the impression that what you have to say is of this nature.  If you wish to distract his attention, you should imply that the subject does not affect him, or is trivial or disagreeable.  But observe, all this has nothing to do with the speech itself.  It merely has to do with the weak—minded tendency of the hearer to listen to what is beside the point. 
ἔτι τὸ προσεκτικοὺς ποιεῖν πάντων τῶν μερῶν (10) κοινόν, ἐὰν δέῃ·  πανταχοῦ γὰρ ἀνιᾶσι μᾶλλον ἢ ἀρχόμε(11)νοι·  διὸ γελοῖον ἐν ἀρχῇ τάττειν, ὅτε μάλιστα πάντες προσ(12)έχοντες ἀκροῶνται·  ὥστε ὅπου ἂν ᾖ καιρός, λεκτέον “καί (13) μοι προσέχετε τὸν νοῦν· οὐθὲν γὰρ μᾶλλον ἐμὸν ἢ ὑμέ(14)τερον”,  καὶ “ἐρῶ γὰρ ὑμῖν οἷον οὐδεπώποτε ἀκηκόατε δεινὸν ἢ (15) οὕτω θαυμαστόν”.  τοῦτο δ’ ἐστίν, ὥσπερ ἔφη Πρόδικος, ὅτε (16) νυστάζοιεν οἱ ἀκροαταί, παρεμβάλλειν <τι> τῆς πεντηκοντα(17)δράχμου αὐτοῖς.  ὅτι δὲ πρὸς τὸν ἀκροατὴν οὐχ ᾗπερ [ὁ] (18) ἀκροατής, δῆλον·  πάντες γὰρ ἢ διαβάλλουσιν ἢ φόβους (19) ἀπολύονται ἐν τοῖς προοιμίοις·
(20) ἄναξ, ἐρῶ μὲν οὐχ ὅπως σπουδῆς ὕπο,
(21) τί φροιμιάζῃ;,
 
Where this tendency is absent, no introduction wanted beyond a summary statement of your subject, to put a sort of head on the main body of your speech.  Moreover, calls for attention, when required, may come equally well in any part of a speech;  in fact, the beginning of it is just where there is least slackness of interest;  it is therefore ridiculous to put this kind of thing at the beginning, when every one is listening with most attention.  Choose therefore any point in the speech where such an appeal is needed, and then say ‘Now I beg you to note this point—it concerns you quite as much as myself’; or  I will tell you that whose like you have never yet heard for terror, or for wonder.  This is what Prodicus called ‘slipping in a bit of the fifty—drachma show—lecture for the audience whenever they began to nod’.  It is plain that such introductions are addressed not to ideal hearers, but to hearers as we find them. 
(22) καὶ οἱ πονηρὸν τὸ πρᾶγμα ἔχοντες ἢ δοκοῦντες· πανταχοῦ (23) γὰρ βέλτιον διατρίβειν ἢ ἐν τῷ πράγματι,  διὸ οἱ δοῦλοι οὐ (24) τὰ ἐρωτώμενα λέγουσιν ἀλλὰ τὰ κύκλῳ, καὶ προοιμιάζονται.  (25) πόθεν δ’ εὔνους δεῖ ποιεῖν, εἴρηται, καὶ τῶν ἄλλων ἕκαστον (26) τῶν τοιούτων.  ἐπεὶ δ’ εὖ λέγεται (27)
δός μ’ ἐς Φαίηκας φίλον ἐλθεῖν ἠδ’ ἐλεεινόν,
(28) τούτων δεῖ δύο στοχάζεσθαι. 
ἐν δὲ τοῖς ἐπιδεικτικοῖς (29) οἴεσθαι δεῖ ποιεῖν συνεπαινεῖσθαι τὸν ἀκροατήν, ἢ αὐτὸν (30) ἢ γένος ἢ ἐπιτηδεύματ’ αὐτοῦ ἢ ἄλλως γέ πως·  ὃ γὰρ (31) λέγει Σωκράτης ἐν τῷ ἐπιταφίῳ,
ἀληθές, ὅτι οὐ χαλεπὸν (32) Ἀθηναίους ἐν Ἀθηναίοις ἐπαινεῖν, ἀλλ’ ἐν Λακεδαιμονίοις.
 
The use of introductions to excite prejudice or to dispel misgivings is universal—
My lord, I will not say that eagerly...
or
Why all this preface?
 
Introductions are popular with those whose case is weak, or looks weak; it pays them to dwell on anything rather than the actual facts of it.  That is why slaves, instead of answering the questions put to them, make indirect replies with long preambles.  The means of exciting in your hearers goodwill and various other feelings of the same kind have already been described.  The poet finely says
May I find in Phaeacian hearts, at my coming, goodwill and compassion; and these are the two things we should aim at. 
In speeches of display we must make the hearer feel that the eulogy includes either himself or his family or his way of life or something or other of the kind. 
(33) τὰ δὲ τοῦ δημηγορικοῦ ἐκ τῶν τοῦ δικανικοῦ λόγου (34) ἐστίν, φύσει δὲ ἥκιστα ἔχει·  καὶ γὰρ καὶ περὶ οὗ ἴσασιν, (35) καὶ οὐδὲν δεῖται τὸ πρᾶγμα προοιμίου,  ἀλλ’ ἢ δι’ αὐτὸν (36) ἢ τοὺς ἀντιλέγοντας, ἢ ἐὰν μὴ ἡλίκον βούλει ὑπολαμβά(37)νωσιν, ἀλλ’ ἢ μεῖζον ἢ ἔλαττον, διὸ ἢ διαβάλλειν ἢ ἀπο(38)λύεσθαι ἀνάγκη, καὶ ἢ αὐξῆσαι ἢ μειῶσαι.  τούτων δὲ (39) ἕνεκα προοιμίου δεῖται, ἢ κόσμου χάριν, ὡς αὐτοκάβδαλα (1416a1) φαίνεται ἐὰν μὴ ἔχῃ.  τοιοῦτον γὰρ τὸ Γοργίου ἐγκώμιον (2) εἰς Ἠλείους· οὐδὲν γὰρ προεξαγκωνίσας οὐδὲ προανα(3)κινήσας εὐθὺς ἄρχεται “Ἦλις, πόλις εὐδαίμων”. 
For it is true, as Socrates says in the Funeral Speech, that ‘the difficulty is not to praise the Athenians at Athens but at Sparta’.  The introductions of political oratory will be made out of the same materials as those of the forensic kind, though the nature of political oratory makes them very rare.  The subject is known already, and therefore the facts of the case need no introduction; but you may have to say something on account of yourself or to your opponents; or those present may be inclined to treat the matter either more or less seriously than you wish them to.  You may accordingly have to excite or dispel some prejudice, or to make the matter under discussion seem more or less important than before:  for either of which purposes you will want an introduction. You may also want one to add elegance to your remarks, feeling that otherwise they will have a casual air, 
15. (4) Περὶ δὲ διαβολῆς ἓν μὲν τὸ ἐξ ὧν ἄν τις ὑπόληψιν (5) δυσχερῆ ἀπολύσαιτο  (οὐθὲν γὰρ διαφέρει εἴτε εἰπόντος (6) τινὸς εἴτε μή, ὥστε τοῦτο καθόλου)·  ἄλλος τόπος ὥστε πρὸς (7) τὰ ἀμφισβητούμενα ἀπαντᾶν, ἢ ὡς οὐκ ἔστιν, ἢ ὡς οὐ (8) βλαβερὸν ἢ οὐ τούτῳ, ἢ ὡς οὐ τηλικοῦτον, ἢ οὐκ ἄδικον (9) ἢ οὐ μέγα, ἢ οὐκ αἰσχρὸν ἢ οὐκ ἔχον μέγεθος·  περὶ γὰρ (10) τοιούτων ἡ ἀμφισβήτησις, ὥσπερ Ἰφικράτης πρὸς Ναυσι(11)κράτην·  ἔφη γὰρ ποιῆσαι ὃ ἔλεγεν καὶ βλάψαι, ἀλλ’ οὐκ (12) ἀδικεῖν. 
like Gorgias’ eulogy of the Eleans, in which, without any preliminary sparring or fencing, he begins straight off with ‘Happy city of Elis!’  Part 15. In dealing with prejudice, one class of argument is that whereby you can dispel objectionable suppositions about yourself.  It makes no practical difference whether such a supposition has been put into words or not, so that this distinction may be ignored.  Another way is to meet any of the issues directly: to deny the alleged fact; or to say that you have done no harm, or none to him, or not as much as he says; or that you have done him no injustice, or not much; or that you have done nothing disgraceful, or nothing disgraceful enough to matter:  these are the sort of questions on which the dispute hinges. Thus Iphicrates replying to Nausicrates, 
ἢ ἀντικαταλλάττεσθαι ἀδικοῦντα, εἰ βλαβερόν, ἀλλ’ (13) οὖν καλόν, εἰ λυπηρόν, ἀλλ’ ὠφέλιμον, ἤ τι ἄλλο τοιοῦ(14)τον. 
admitted that he had done the deed alleged, and that he had done Nausicrates harm, but not that he had done him wrong. 
ἄλλος τόπος ὡς ἐστὶν ἁμάρτημα ἢ ἀτύχημα ἢ (15) ἀναγκαῖον,  οἷον Σοφοκλῆς ἔφη τρέμειν οὐχ ὡς ὁ διαβάλ(16)λων ἔφη, ἵνα δοκῇ γέρων, ἀλλ’ ἐξ ἀνάγκης· οὐ γὰρ ἑκόντι (17) εἶναι αὑτῷ ἔτη ὀγδοήκοντα.  καὶ ἀντικαταλλάττεσθαι τὸ (18) οὗ ἕνεκα, ὅτι οὐ βλάψαι ἐβούλετο ἀλλὰ τόδε, καὶ οὐ τοῦτο (19) ὃ διεβάλλετο ποιῆσαι, συνέβη δὲ βλαβῆναι· “δίκαιον δὲ (20) μισεῖν, εἰ ὅπως τοῦτο γένηται ἐποίουν.” 
Or you may admit the wrong, but balance it with other facts, and say that, if the deed harmed him, at any rate it was honourable; or that, if it gave him pain, at least it did him good; or something else like that.  Another way is to allege that your action was due to mistake, or bad luck, or necessity  as Sophocles said he was not trembling, as his traducer maintained, in order to make people think him an old man, but because he could not help it; he would rather not be eighty years old. 
ἄλλος, εἰ (21) ἐμπεριείληπται ὁ διαβάλλων, ἢ νῦν ἢ πρότερον, ἢ αὐτὸς (22) ἢ τῶν ἐγγύς τις. 
You may balance your motive against your actual deed; saying, for instance, that you did not mean to injure him but to do so—and—so; that you did not do what you are falsely charged with doing—the damage was accidental—’I should indeed be a detestable person if I had deliberately intended this result.’ 
ἄλλος, εἰ ἄλλοι ἐμπεριλαμβάνονται οὓς (23) ὁμολογοῦσιν μὴ ἐνόχους εἶναι τῇ διαβολῇ, οἷον εἰ, ὅτι καθάριος, (24) ὁ <δεῖνα> μοιχός, καὶ ὁ δεῖνα ἄρα. 
Another way is open when your calumniator, or any of his connexions, is or has been subject to the same grounds for suspicion. 
ἄλλος, εἰ ἄλλους (25) διέβαλεν ἢ ἄλλος <ἢ> αὐτός, ἢ ἄνευ διαβολῆς ὑπελαμβάνοντο (26) ὥσπερ αὐτὸς νῦν, οἳ πεφήνασιν οὐκ ἔνοχοι. 
Yet another, when others are subject to the same grounds for suspicion but are admitted to be in fact innocent of the charge: e.g. ’Must I be a profligate because I am well—groomed? Then so—and—so must be one too.’ 
ἄλλος ἐκ (27) τοῦ ἀντιδιαβάλλειν τὸν διαβάλλοντα· ἄτοπον γὰρ εἰ ὃς (28) αὐτὸς ἄπιστος, οἱ τούτου λόγοι ἔσονται πιστοί. 
Another, if other people have been calumniated by the same man or some one else, or, without being calumniated, have been suspected, like yourself now, and yet have been proved innocent. 
ἄλλος, (29) εἰ γέγονεν κρίσις,  ὥσπερ Εὐριπίδης πρὸς Ὑγιαίνοντα ἐν (30) τῇ ἀντιδόσει κατηγοροῦντα ὡς ἀσεβής, ὅς γ’ ἐποίησε κελεύων (31) ἐπιορκεῖν,
ἡ γλῶσσ’ ὀμώμοχ’, ἡ δὲ φρὴν ἀνώμοτος.
 
(32) ἔφη γὰρ αὐτὸν ἀδικεῖν τὰς ἐκ τοῦ Διονυσιακοῦ ἀγῶνος (33) κρίσεις εἰς τὰ δικαστήρια ἄγοντα·  ἐκεῖ γὰρ αὐτῶν δεδω(34)κέναι λόγον, ἢ δώσειν εἰ βούλεται κατηγορεῖν. 
Another way is to return calumny for calumny and say, ‘It is monstrous to trust the man’s statements when you cannot trust the man himself.’  Another is when the question has been already decided.  So with Euripides’ reply to Hygiaenon, who, in the action for an exchange of properties, accused him of impiety in having written a line encouraging perjury—
My tongue hath sworn: no oath is on my soul.
 
Euripides said that his opponent himself was guilty in bringing into the law—courts cases whose decision belonged to the Dionysiac contests. 
ἄλλος (35) ἐκ τοῦ διαβολῆς κατηγορεῖν, ἡλίκον,  καὶ τοῦτο, ὅτι ἄλλας (36) κρίσεις ποιεῖ, καὶ ὅτι οὐ πιστεύει τῷ πράγματι. 
’If I have not already answered for my words there, I am ready to do so if you choose to prosecute me there.’  Another method is to denounce calumny, showing what an enormity it is, 
κοινὸς (1416b1) δ’ ἀμφοῖν [ὁ] τόπος τὸ σύμβολα λέγειν,  οἷον ἐν τῷ Τεύκρῳ (2) ὁ Ὀδυσσεὺς ὅτι οἰκεῖος τῷ Πριάμῳ· ἡ γὰρ Ἡσιόνη ἀδελφή·  (3) ὁ δὲ ὅτι ὁ πατὴρ ἐχθρὸς τῷ Πριάμῳ, ὁ Τελαμών, καὶ (4) ὅτι οὐ κατεῖπε τῶν κατασκόπων. 
and in particular that it raises false issues, and that it means a lack of confidence in the merits of his case.  The argument from evidential circumstances is available for both parties:  thus in the Teucer Odysseus says that Teucer is closely bound to Priam, since his mother Hesione was Priam’s sister. 
ἄλλος τῷ διαβάλλοντι, (5) τὸ ἐπαινοῦντα μικρὸν μακρῶς ψέξαι μέγα συντόμως,  ἢ (6) πολλὰ ἀγαθὰ προθέντα, ὃ εἰς τὸ πρᾶγμα προφέρει ἓν (7) ψέξαι. 
Teucer replies that Telamon his father was Priam’s enemy, and that he himself did not betray the spies to Priam.  Another method, suitable for the calumniator, is to praise some trifling merit at great length, and then attack some important failing concisely; 
τοιοῦτοι δὲ οἱ τεχνικώτατοι καὶ ἀδικώτατοι·  τοῖς ἀγα(8)θοῖς γὰρ βλάπτειν πειρῶνται, μιγνύντες αὐτὰ τῷ κακῷ. 
or after mentioning a number of good qualities to attack one bad one that really bears on the question.  This is the method of thoroughly skilful and unscrupulous prosecutors. 
(9) κοινὸν δὲ τῷ διαβάλλοντι καὶ τῷ ἀπολυομένῳ,  ἐπειδὴ (10) τὸ αὐτὸ ἐνδέχεται πλειόνων ἕνεκα πραχθῆναι, τῷ μὲν δια(11)βάλλοντι κακοηθιστέον ἐπὶ τὸ χεῖρον ἐκλαμβάνοντι, τῷ δὲ (12) ἀπολυομένῳ ἐπὶ τὸ βέλτιον,  οἷον ὅτι ὁ Διομήδης τὸν Ὀδυσ(13)σέα προείλετο, τῷ μὲν ὅτι διὰ τὸ ἄριστον ὑπολαμβάνειν (14) τὸν Ὀδυσσέα, τῷ δ’ ὅτι οὔ, ἀλλὰ διὰ τὸ μόνον μὴ ἀντ(15)αγωνιστεῖν ὡς φαῦλον. 
By mixing up the man’s merits with what is bad, they do their best to make use of them to damage him.  There is another method open to both calumniator and apologist.  Since a given action can be done from many motives, the former must try to disparage it by selecting the worse motive of two, the latter to put the better construction on it. 
16. (16) Καὶ περὶ μὲν διαβολῆς εἰρήσθω τοσαῦτα, διήγησις δ’ (17) ἐν μὲν τοῖς ἐπιδεικτικοῖς ἐστιν οὐκ ἐφεξῆς ἀλλὰ κατὰ μέρος·  (18) δεῖ μὲν γὰρ τὰς πράξεις διελθεῖν ἐξ ὧν ὁ λόγος·  σύγκειται (19) γὰρ ἔχων ὁ λόγος τὸ μὲν ἄτεχνον (οὐθὲν γὰρ αἴτιος ὁ λέγων (20) τῶν πράξεων), τὸ δ’ ἐκ τῆς τέχνης·  τοῦτο δ’ ἐστὶν ἢ ὅτι (21) ἔστι δεῖξαι, ἐὰν ᾖ ἄπιστον, ἢ ὅτι ποιόν, ἢ ὅτι ποσόν, ἢ (22) καὶ ἅπαντα. 
Thus one might argue that Diomedes chose Odysseus as his companion because he supposed Odysseus to be the best man for the purpose; and you might reply to this that it was, on the contrary, because he was the only hero so worthless that Diomedes need not fear his rivalry.  Part 16. We may now pass from the subject of calumny to that of Narration. Narration in ceremonial oratory is not continuous but intermittent.  There must, of course, be some survey of the actions that form the subject—matter of the speech.  The speech is a composition containing two parts. One of these is not provided by the orator’s art, viz. the actions themselves, of which the orator is in no sense author. The other part is provided by his 
διὰ δὲ τοῦτ’ ἐνίοτε οὐκ ἐφεξῆς δεῖ διηγεῖσθαι (23) πάντα, ὅτι δυσμνημόνευτον τὸ δεικνύναι οὕτως·  ἐκ μὲν (24) οὖν τούτων ἀνδρεῖος, ἐκ δὲ τῶνδε σοφὸς ἢ δίκαιος. 
namely, the proof (where proof is needed) that the actions were done, the description of their quality or of their extent, or even all these three things together.  Now the reason why sometimes it is not desirable to make the whole narrative continuous is that the case thus expounded is hard to keep in mind. 
καὶ (25) ἁπλούστερος ὁ λόγος οὗτος, ἐκεῖνος δὲ ποικίλος καὶ οὐ (26) λιτός. 
Show, therefore, from one set of facts that your hero is, e.g. brave, and from other sets of facts that he is able, just, &c. 
δεῖ δὲ τὰς μὲν γνωρίμους ἀναμιμνήσκειν·  διὸ οἱ (27) πολλοὶ οὐδὲν δέονται διηγήσεως,  οἷον εἰ θέλεις Ἀχιλλέα (28) ἐπαινεῖν  (ἴσασι γὰρ πάντες τὰς πράξεις), ἀλλὰ χρῆσθαι αὐ(29)ταῖς δεῖ. 
A speech thus arranged is comparatively simple, instead of being complicated and elaborate.  You will have to recall well—known deeds among others;  and because they are well—known, the hearer usually needs no narration of them;  none, for instance, if your object is the praise of Achilles; 
ἐὰν δὲ Κριτίαν, δεῖ· οὐ γὰρ πολλοὶ ἴσασιν .... 
we all know the facts of his life—what you have to do is to apply those facts. 
(30) νῦν δὲ γελοίως τὴν διήγησίν φασι δεῖν εἶναι ταχεῖαν. 
But if your object is the praise of Critias, you must narrate his deeds, which not many people know of... 
(31) καίτοι ὥσπερ [ὁ] τῷ μάττοντι ἐρομένῳ πότερον σκληρὰν ἢ (32) μαλακὴν μάξῃ “τί δ’”, ἔφη <τις>, “εὖ ἀδύνατον;”, καὶ ἐνταῦθα (33) ὁμοίως·  δεῖ γὰρ μὴ μακρῶς διηγεῖσθαι ὥσπερ οὐδὲ προ(34)οιμιάζεσθαι μακρῶς, οὐδὲ τὰς πίστεις λέγειν. 
Nowadays it is said, absurdly enough, that the narration should be rapid.  Remember what the man said to the baker who asked whether he was to make the cake hard or soft: ‘What, can’t you make it right?’ Just so here. 
οὐδὲ γὰρ ἐν(35)ταῦθά ἐστι τὸ εὖ [ἢ] τὸ ταχὺ ἢ τὸ συντόμως, ἀλλὰ τὸ με(36)τρίως·  τοῦτο δ’ ἐστὶ τὸ λέγειν ὅσα δηλώσει τὸ πρᾶγμα, (1417a1) ἢ ὅσα ποιήσει ὑπολαβεῖν γεγονέναι ἢ βεβλαφέναι ἢ ἠδι(2)κηκέναι, ἢ τηλικαῦτα ἡλίκα βούλει, τῷ δὲ ἐναντίῳ τὰ (3) ἐναντία·  παραδιηγεῖσθαι δὲ ὅσα εἰς τὴν σὴν ἀρετὴν φέρει (4) (οἷον “ἐγὼ δ’ ἐνουθέτουν, ἀεὶ τὰ δίκαια λέγων, μὴ τὰ τέκνα (5) ἐγκαταλείπειν”),  ἢ θατέρου κακίαν· “ὁ δὲ ἀπεκρίνατό μοι ὅτι, (6) οὗ ἂν ᾖ αὐτός, ἔσται ἄλλα παιδία”, ὃ τοὺς ἀφισταμένους (7) Αἰγυπτίους ἀποκρίνασθαί φησιν ὁ Ἡρόδοτος·  ἢ ὅσα ἡδέα (8) τοῖς δικασταῖς. 
We are not to make long narrations, just as we are not to make long introductions or long arguments.  Here, again, rightness does not consist either in rapidity or in conciseness, but in the happy mean;  that is, in saying just so much as will make the facts plain, or will lead the hearer to believe that the thing has happened, or that the man has caused injury or wrong to some one, or that the facts are really as important as you wish them to be thought: or the opposite facts to establish the opposite arguments.  You may also narrate as you go anything that does credit to yourself, e.g. ’I kept telling him to do his duty and not abandon his children’;  or discredit to your adversary, e.g. ’But he answered me that, wherever he might find himself, there he would find other children’, the answer Herodotus’ records of the Egyptian mutineers. 
ἀπολογουμένῳ δὲ ἐλάττων ἡ διήγησις·  αἱ (9) γὰρ ἀμφισβητήσεις ἢ μὴ γεγονέναι ἢ μὴ βλαβερὸν εἶναι ἢ (10) μὴ ἄδικον ἢ μὴ τηλικοῦτον,  ὥστε περὶ τὸ ὁμολογούμενον (11) οὐ διατριπτέον, ἐὰν μή τι εἰς ἐκεῖνο συντείνῃ, οἷον εἰ πέ(12)πρακται, ἀλλ’ οὐκ ἄδικον. 
Slip in anything else that the judges will enjoy.  The defendant will make less of the narration.  He has to maintain that the thing has not happened, or did no harm, or was not unjust, or not so bad as is alleged. 
ἔτι πεπραγμένα δεῖ λέγειν ὅσα (13) μὴ πραττόμενα ἢ οἶκτον ἢ δείνωσιν φέρει·  παράδειγμα ὁ (14) Ἀλκίνου ἀπόλογος, ὃς πρὸς τὴν Πηνελόπην ἐν ἑξήκοντα (15) ἔπεσιν πεποίηται,  καὶ ὡς Φάϋλλος τὸν κύκλον, καὶ ὁ ἐν τῷ (16) Οἰνεῖ πρόλογος. 
He must therefore not waste time about what is admitted fact, unless this bears on his own contention; e.g. that the thing was done, but was not wrong.  Further, we must speak of events as past and gone, except where they excite pity or indignation by being represented as present.  The Story told to Alcinous is an example of a brief chronicle, when it is repeated to Penelope in sixty lines. 
ἠθικὴν δὲ χρὴ τὴν διήγησιν εἶναι·  ἔσται δὲ (17) τοῦτο, ἂν εἰδῶμεν τί ἦθος ποιεῖ. 
Another instance is the Epic Cycle as treated by Phayllus, and the prologue to the Oeneus.  The narration should depict character; 
ἓν μὲν δὴ τὸ προαίρε(18)σιν δηλοῦν, ποιὸν δὲ τὸ ἦθος τῷ ποιὰν ταύτην, ἡ δὲ προ(19)αίρεσις ποιὰ τῷ τέλει·  διὰ τοῦτο <δ’> οὐκ ἔχουσιν οἱ μαθημα(20)τικοὶ λόγοι ἤθη, ὅτι οὐδὲ προαίρεσιν (τὸ γὰρ οὗ ἕνεκα (21) οὐκ ἔχουσιν),  ἀλλ’ οἱ Σωκρατικοί· περὶ τοιούτων γὰρ λέ(22)γουσιν. 
to which end you must know what makes it do so.  One such thing is the indication of moral purpose; the quality of purpose indicated determines the quality of character depicted and is itself determined by the end pursued.  Thus it is that mathematical discourses depict no character; they have nothing to do with moral purpose, for they represent nobody as pursuing any end. 
ἄλλα δ’ ἠθικὰ τὰ ἑπόμενα ἑκάστῳ ἤθει,  οἷον ὅτι (23) ἅμα λέγων ἐβάδιζεν· δηλοῖ γὰρ θρασύτητα καὶ ἀγροικίαν (24) ἤθους. 
On the other hand, the Socratic dialogues do depict character, being concerned with moral questions.  This end will also be gained by describing the manifestations of various types of character, 
καὶ μὴ ὡς ἀπὸ διανοίας λέγειν, ὥσπερ οἱ νῦν, (25) ἀλλ’ ὡς ἀπὸ προαιρέσεως·  “ἐγὼ δὲ ἐβουλόμην· καὶ προειλό(26)μην γὰρ τοῦτο· ἀλλ’ εἰ μὴ ὠνήμην, βέλτιον”·  τὸ μὲν γὰρ (27) φρονίμου τὸ δὲ ἀγαθοῦ·  φρονίμου μὲν γὰρ ἐν τῷ τὸ ὠφέ(28)λιμον διώκειν, ἀγαθοῦ δ’ ἐν τῷ τὸ καλόν. 
e.g. ’he kept walking along as he talked’, which shows the man’s recklessness and rough manners.  Do not let your words seem inspired so much by intelligence, in the manner now current, as by moral purpose:  e.g. ’I willed this; aye, it was my moral purpose; true, I gained nothing by it, still it is better thus.’  For the other way shows good sense, but this shows good character; 
ἂν δ’ ἄπιστον ᾖ, (29) τότε τὴν αἰτίαν ἐπιλέγειν,  ὥσπερ Σοφοκλῆς ποιεῖ· παράδειγμα (30) τὸ ἐκ τῆς Ἀντιγόνης, ὅτι μᾶλλον τοῦ ἀδελφοῦ ἐκήδετο ἢ (31) ἀνδρὸς ἢ τέκνων·  τὰ μὲν γὰρ ἂν γενέσθαι ἀπολομένων,
μητρὸς δ’ ἐν Ἅιδου καὶ πατρὸς βεβηκότων (32)
οὐκ ἔστ’ ἀδελφὸς ὅς τις ἂν βλάστοι ποτέ.
 
(33) ἐὰν δὲ μὴ ἔχῃς αἰτίαν, ἀλλ’ ὅτι οὐκ ἀγνοεῖς ἄπιστα λέ(34)γων, ἀλλὰ φύσει τοιοῦτος εἶ·  ἀπιστοῦσι γὰρ ἄλλο τι (35) πράττειν ἑκόντα πλὴν τὸ συμφέρον. 
good sense making us go after what is useful, and good character after what is noble.  Where any detail may appear incredible, then add the cause of it;  of this Sophocles provides an example in the Antigone, where Antigone says she had cared more for her brother than for husband or children,  since if the latter perished they might be replaced,
But since my father and mother in their graves
Lie dead, no brother can be born to me.
 
If you have no such cause to suggest, just say that you are aware that no one will believe your words, but the fact remains that such is our nature, 
ἔτι ἐκ τῶν παθητι(36)κῶν λέγε διηγούμενος καὶ τὰ ἑπόμενα [καὶ] ἃ ἴσασι, καὶ (37) τὰ ἴδια ἢ σεαυτῷ ἢ ἐκείνῳ προσόντα·
“ὁ δ’ ᾤχετό με ὑπο (1417b1) βλέψας”.
 
καὶ ὡς περὶ Κρατύλου Αἰσχίνης, ὅτι διασίζων, (2) τοῖν χειροῖν διασείων·  πιθανὰ γάρ, διότι σύμβολα γίγνεται (3) ταῦτα ἃ ἴσασιν ἐκείνων ὧν οὐκ ἴσασιν. 
however hard the world may find it to believe that a man deliberately does anything except what pays him.  Again, you must make use of the emotions. Relate the familiar manifestations of them, and those that distinguish yourself and your opponent; for instance,
‘he went away scowling at me’.
 
So Aeschines described Cratylus as ‘hissing with fury and shaking his fists’. 
πλεῖστα δὲ τοιαῦτα (4) λαβεῖν ἐξ Ὁμήρου ἔστιν·
(5) ὧς ἄρ’ ἔφη, γρῆυς δὲ κατέσχετο χερσὶ πρόσωπα·
(6) οἱ γὰρ δακρύειν ἀρχόμενοι ἐπιλαμβάνονται τῶν ὀφθαλμῶν.
 
(7) καὶ εὐθὺς εἴσαγε καὶ σεαυτὸν ποιόν τινα, ἵνα ὡς τοιοῦ(8)τον θεωρῶσιν, καὶ τὸν ἀντίδικον· λανθάνων δὲ ποίει. 
These details carry conviction: the audience take the truth of what they know as so much evidence for the truth of what they do not.  Plenty of such details may be found in Homer:
Thus did she say: but the old woman buried her face in her hands:
a true touch—people beginning to cry do put their hands over their eyes.
 
ὅτι (9) δὲ ῥᾴδιον, ὅρα ἐκ τῶν ἀπαγγελλόντων· περὶ ὧν γὰρ μη(10)θὲν ἴσμεν, ὅμως λαμβάνομεν ὑπόληψιν τινά. 
Bring yourself on the stage from the first in the right character, that people may regard you in that light; and the same with your adversary; but do not let them see what you are about. 
πολλαχοῦ δὲ (11) δεῖ διηγεῖσθαι, καὶ ἐνίοτε οὐκ ἐν ἀρχῇ. 
How easily such impressions may be conveyed we can see from the way in which we get some inkling of things we know nothing of by the mere look of the messenger bringing news of them. 
(12) ἐν δὲ δημηγορίᾳ ἥκιστα διήγησις ἔστιν, ὅτι περὶ τῶν (13) μελλόντων οὐθεὶς διηγεῖται·  ἀλλ’ ἐάν περ διήγησις ᾖ, τῶν (14) γενομένων ἔστω, ἵνα ἀναμνησθέντες ἐκείνων βέλτιον βου(15)λεύσωνται περὶ τῶν ὕστερον, ἢ διαβάλλοντος ἢ ἐπαινοῦν(16)τος·  ἀλλὰ †τότε οὐ† τὸ τοῦ συμβούλου ποιεῖ ἔργον. 
Have some narrative in many different parts of your speech; and sometimes let there be none at the beginning of it.  In political oratory there is very little opening for narration; nobody can ‘narrate’ what has not yet happened.  If there is narration at all, it will be of past events, the recollection of which is to help the hearers to make better plans for the future. Or it may be employed to attack some one’s character, or to eulogize him— 
ἂν δ’ ᾖ (17) ἄπιστον, ὑπισχνεῖσθαι δεῖ καὶ αἰτίαν λέγειν εὐθὺς καὶ δια(18)τάττειν ὡς βούλονται,  οἷον ἡ Ἰοκάστη ἡ Καρκίνου ἐν τῷ (19) Οἰδίποδι ἀεὶ ὑπισχνεῖται πυνθανομένου τοῦ ζητοῦντος τὸν (20) υἱόν, καὶ ὁ Αἵμων ὁ Σοφοκλέους. 
only then you will not be doing what the political speaker, as such, has to do.  If any statement you make is hard to believe, you must guarantee its truth, and at once offer an explanation, and then furnish it with such particulars as will be expected. 
17. (21) Τὰς δὲ πίστεις δεῖ ἀποδεικτικὰς εἶναι·  ἀποδεικνύναι δὲ (22) χρή, ἐπεί περ τεττάρων ἡ ἀμφισβήτησις, περὶ τοῦ ἀμφισ(23)βητουμένου φέροντα τὴν ἀπόδειξιν,  οἷον, εἰ ὅτι οὐ γέγονεν (24) ἀμφισβητεῖται, ἐν τῇ κρίσει δεῖ τούτου μάλιστα τὴν ἀπόδειξιν (25) φέρειν,  εἰ δ’ ὅτι οὐκ ἔβλαψεν, τούτου,  καὶ ὅτι οὐ τοσόνδε  (26) ἢ ὅτι δικαίως, ὡσαύτως καὶ εἰ περὶ τοῦ γενέσθαι τοῦτο ἡ (27) ἀμφισβήτησις. 
Thus Carcinus’ Jocasta, in his Oedipus, keeps guaranteeing the truth of her answers to the inquiries of the man who is seeking her son; and so with Haemon in Sophocles.  Part 17. The duty of the Arguments is to attempt demonstrative proofs.  These proofs must bear directly upon the question in dispute, which must fall under one of four heads.  (1) If you maintain that the act was not committed, your main task in court is to prove this.  (2) If you maintain that the act did no harm, prove this.  If you maintain that (3) the act was less than is alleged, 
μὴ λανθανέτω δ’ ὅτι ἀναγκαῖον ἐν ταύτῃ (28) τῇ ἀμφισβητήσει μόνῃ τὸν ἕτερον εἶναι πονηρόν·  οὐ γάρ (29) ἐστιν ἄγνοια αἰτία, ὥσπερ ἂν εἴ τινες περὶ τοῦ δικαίου ἀμφισ(30)βητοῖεν,  ὥστ’ ἐν τούτῳ χρονιστέον, ἐν δὲ τοῖς ἄλλοις οὔ. 
or (4) justified, prove these facts, just as you would prove the act not to have been committed if you were maintaining that.  It should be noted that only where the question in dispute falls under the first of these heads can it be true that one of the two parties is necessarily a rogue.  Here ignorance cannot be pleaded, as it might if the dispute were whether the act was justified or not. 
(31) ἐν δὲ τοῖς ἐπιδεικτικοῖς τὸ πολὺ ὅτι καλὰ καὶ ὠφέλιμα ἡ (32) αὔξησις ἔστω·  τὰ γὰρ πράγματα δεῖ πιστεύεσθαι· ὀλιγάκις (33) γὰρ καὶ τούτων ἀποδείξεις φέρουσιν, ἐὰν ἄπιστα ᾖ ἢ ἐὰν (34) ἄλλος αἰτίαν ἔχῃ. 
This argument must therefore be used in this case only, not in the others.  In ceremonial speeches you will develop your case mainly by arguing that what has been done is, e.g., noble and useful. 
ἐν δὲ τοῖς δημηγορικοῖς ἢ ὡς οὐκ ἔσται ἀμ(35)φισβητήσειεν ἄν τις,  ἢ ὡς ἔσται μὲν <ποιοῦσιν> ἃ κελεύει, ἀλλ’ οὐ (36) δίκαια ἢ οὐκ ὠφέλιμα ἢ οὐ τηλικαῦτα. 
The facts themselves are to be taken on trust; proof of them is only submitted on those rare occasions when they are not easily credible or when they have been set down to some one else.  In political speeches you may maintain that a proposal is impracticable; 
δεῖ δὲ καὶ ὁρᾶν εἴ τι (37) ψεύδεται ἐκτὸς τοῦ πράγματος· τεκμήρια γὰρ ταῦτα φαίνεται (1418a1) καὶ τῶν ἄλλων ὅτι ψεύδεται. 
or that, though practicable, it is unjust, or will do no good, or is not so important as its proposer thinks. 
ἔστιν δὲ τὰ μὲν παραδείγματα (2) δημηγορικώτερα, τὰ δ’ ἐνθυμήματα δικανικώτερα·  ἡ μὲν (3) γὰρ περὶ τὸ μέλλον, ὥστ’ ἐκ τῶν γενομένων ἀνάγκη παρα(4)δείγματα λέγειν, ἡ δὲ περὶ ὄντων ἢ μὴ ὄντων, οὗ μᾶλλον (5) ἀπόδειξίς ἐστι καὶ ἀνάγκη·  ἔχει γὰρ τὸ γεγονὸς ἀνάγκην. 
Note any falsehoods about irrelevant matters—they will look like proof that his other statements also are false.  Argument by ‘example’ is highly suitable for political oratory, argument by ‘enthymeme’ better suits forensic.  Political oratory deals with future events, of which it can do no more than quote past events as examples. Forensic oratory deals with what is or is not now true, which can better be demonstrated, because not contingent— 
(6) οὐ δεῖ δὲ ἐφεξῆς λέγειν τὰ ἐνθυμήματα, ἀλλ’ ἀναμιγνύναι· (7) εἰ δὲ μή, καταβλάπτει ἄλληλα.  ἔστιν γὰρ καὶ τοῦ ποσοῦ ὅρος. (8)
ὦ φίλ’, ἐπεὶ τόσα εἶπες ὅσ’ ἂν πεπνυμένος ἀνήρ, (9) ἀλλ’ οὐ τοιαῦτα. 
καὶ μὴ περὶ πάντων ἐνθυμήματα ζητεῖ· (10) εἰ δὲ μή, ποιήσεις ὅπερ ἔνιοι ποιοῦσι τῶν φιλοσοφούντων, (11) οἳ συλλογίζονται τὰ γνωριμώτερα καὶ πιστότερα ἢ ἐξ ὧν (12) λέγουσιν.  καὶ ὅταν πάθος ποιῇς, μὴ λέγε ἐνθύμημα (ἢ (13) γὰρ ἐκκρούσει τὸ πάθος ἢ μάτην εἰρημένον ἔσται τὸ ἐν(14)θύμημα·  ἐκκρούουσι γὰρ αἱ κινήσεις ἀλλήλας αἱ ἅμα, καὶ ἢ (15) ἀφανίζουσιν ἢ ἀσθενεῖς ποιοῦσιν),  οὐδ’ ὅταν ἠθικὸν τὸν (16) λόγον, οὐ δεῖ ἐνθύμημά τι ζητεῖν ἅμα·  οὐ γὰρ ἔχει οὔτε (17) ἦθος οὔτε προαίρεσιν ἡ ἀπόδειξις.  γνώμαις δὲ χρηστέον (18) καὶ ἐν διηγήσει καὶ ἐν πίστει· ἠθικὸν γὰρ “καὶ ἐγὼ δέ(19)δωκα, καὶ ταῦτ’ εἰδὼς ὡς οὐ δεῖ πιστεύειν”·  ἐὰν δὲ παθη(20)τικῶς, “καὶ οὐ μεταμέλει μοι καίπερ ἠδικημένῳ· τούτῳ μὲν (21) γὰρ περίεστιν τὸ κέρδος, ἐμοὶ δὲ τὸ δίκαιον.”  (20) τὸ δὲ δημη(22)γορεῖν χαλεπώτερον τοῦ δικάζεσθαι, εἰκότως, διότι περὶ τὸ (23) μέλλον, ἐκεῖ δὲ περὶ τὸ γεγονός, ὃ ἐπιστητὸν ἤδη καὶ τοῖς (24) μάντεσιν, ὡς ἔφη Ἐπιμενίδης ὁ Κρής  (ἐκεῖνος γὰρ περὶ (25) τῶν ἐσομένων οὐκ ἐμαντεύετο, ἀλλὰ περὶ τῶν γεγονότων (26) μὲν ἀδήλων δέ),  καὶ ὁ νόμος ὑπόθεσις ἐν τοῖς δικανικοῖς· (27) ἔχοντα δὲ ἀρχὴν ῥᾷον εὑρεῖν ἀπόδειξιν. 
there is no contingency in what has now already happened.  Do not use a continuous succession of enthymemes: intersperse them with other matter, or they will spoil one another’s effect.  There are limits to their number— Friend, you have spoken as much as a sensible man would have spoken. ,as much’ says Homer, not ‘as well’.  Nor should you try to make enthymemes on every point; if you do, you will be acting just like some students of philosophy, whose conclusions are more familiar and believable than the premisses from which they draw them.  And avoid the enthymeme form when you are trying to rouse feeling; for it will either kill the feeling or will itself fall flat:  all simultaneous motions tend to cancel each other either completely or partially.  Nor should you go after the enthymeme form in a passage where you are depicting character—  the process of demonstration can express neither moral character nor moral purpose.  Maxims should be employed in the Arguments—and in the Narration too—since these do express character: ‘I have given him this, though I am quite aware that one should Trust no man.’  Or if you are appealing to the emotions: ‘I do not regret it, though I have been wronged; if he has the profit on his side, I have justice on mine.’  Political oratory is a more difficult task than forensic; and naturally so, since it deals with the future, whereas the pleader deals with the past, which, as Epimenides of Crete said, even the diviners already know.  (Epimenides did not practise divination about the future; only about the obscurities of the past.) 
καὶ οὐκ ἔχει πολ(28)λὰς διατριβάς, οἷον πρὸς ἀντίδικον ἢ περὶ αὑτοῦ, ἢ παθη(29)τικὸν ποιεῖν, ἀλλ’ ἥκιστα πάντων, ἐὰν μὴ ἐξιστῇ.  δεῖ οὖν (30) ἀποροῦντα τοῦτο ποιεῖν ὅπερ οἱ Ἀθήνησι ῥήτορες ποιοῦσι (31) καὶ Ἰσοκράτης· καὶ γὰρ συμβουλεύων κατηγορεῖ, οἷον Λακε(32)δαιμονίων μὲν ἐν τῷ πανηγυρικῷ, Χάρητος δ’ ἐν τῷ συμ(33)μαχικῷ.  ἐν δὲ τοῖς ἐπιδεικτικοῖς δεῖ τὸν λόγον ἐπεισοδιοῦν (34) ἐπαίνοις, οἷον Ἰσοκράτης ποιεῖ· ἀεὶ γάρ τινα εἰσάγει.  καὶ (35) ὃ ἔλεγεν Γοργίας, ὅτι οὐχ ὑπολείπει αὐτὸν ὁ λόγος, ταὐτό (36) ἐστιν·  εἰ γὰρ Ἀχιλλέα λέγει Πηλέα ἐπαινεῖ, εἶτα Αἰακόν, (37) εἶτα τὸν θεόν, ὁμοίως δὲ καὶ ἀνδρείαν, ἣ τὰ καὶ τὰ ποιεῖ ἢ (38) τοιόνδε ἐστίν.  ἔχοντα μὲν οὖν ἀποδείξεις καὶ ἠθικῶς λε(39)κτέον καὶ ἀποδεικτικῶς, ἐὰν δὲ μὴ ἔχῃς ἐνθυμήματα, ἠθι(40)κῶς·  καὶ μᾶλλον τῷ ἐπιεικεῖ ἁρμόττει χρηστὸν φαίνεσθαι (1418b1) ἢ τὸν λόγον ἀκριβῆ.  τῶν δὲ ἐνθυμημάτων τὰ ἐλεγκτικὰ (2) μᾶλλον εὐδοκιμεῖ τῶν δεικτικῶν, ὅτι ὅσα ἔλεγχον ποιεῖ, μᾶλ(3)λον δῆλον ὅτι συλλελόγισται·  παρ’ ἄλληλα γὰρ μᾶλλον τἀ(4)ναντία γνωρίζεται.  (5) τὰ δὲ πρὸς τὸν ἀντίδικον οὐχ ἕτερόν τι εἶδος,  ἀλλὰ (6) τῶν πίστεών ἐστι <τὸ> τὰ μὲν λῦσαι ἐνστάσει τὰ δὲ συλλογισμῷ.  (7) δεῖ δὲ καὶ ἐν συμβουλῇ καὶ ἐν δίκῃ ἀρχόμενον μὲν λέγειν (8) τὰς ἑαυτοῦ πίστεις πρότερον, ὕστερον δὲ πρὸς τἀναντία (9) ἀπαντᾶν λύοντα καὶ προδιασύροντα.  ἂν δὲ πολύχους ᾖ ἡ (10) ἐναντίωσις, πρότερον τὰ ἐναντία,  οἷον ἐποίησε Καλλίστρατος (11) ἐν τῇ Μεσσηνιακῇ ἐκκλησίᾳ· ἃ γὰρ ἐροῦσι προανελὼν οὕτως (12) τότε αὐτὸς εἶπεν.  ὕστερον δὲ λέγοντα πρῶτον πρὸς τὸν (13) ἐναντίον λόγον λεκτέον, λύοντα καὶ ἀντισυλλογιζόμενον, καὶ (14) μάλιστα ἂν εὐδοκιμηκότα ᾖ·  ὥσπερ γὰρ ἄνθρωπον προδια(15)βεβλημένον οὐ δέχεται ἡ ψυχή, τὸν αὐτὸν τρόπον οὐδὲ (16) λόγον, ἐὰν ὁ ἐναντίος εὖ δοκῇ εἰρηκέναι.  δεῖ οὖν χώραν (17) ποιεῖν ἐν τῷ ἀκροατῇ τῷ μέλλοντι λόγῳ· ἔσται δὲ ἂν ἀνέλῃς·  διὸ (18) ἢ πρὸς πάντα ἢ τὰ μέγιστα ἢ τὰ εὐδοκιμοῦντα ἢ τὰ εὐέλεγκτα (19) μαχεσάμενον οὕτω τὰ αὑτοῦ πιστὰ ποιητέον.  ταῖς θεαῖσι πρῶτα σύμμαχος γενήσομαι·
(20) ἐγὼ γὰρ Ἥραν·
(21) ἐν τούτοις ἥψατο πρῶτον τοῦ εὐηθεστάτου. 
(22) περὶ μὲν οὖν πίστεων ταῦτα. 
Besides, in forensic oratory you have a basis in the law; and once you have a starting—point, you can prove anything with comparative ease.  Then again, political oratory affords few chances for those leisurely digressions in which you may attack your adversary, talk about yourself, or work on your hearers’ emotions; fewer chances indeed, than any other affords, unless your set purpose is to divert your hearers’ attention.  Accordingly, if you find yourself in difficulties, follow the lead of the Athenian speakers, and that of Isocrates, who makes regular attacks upon people in the course of a political speech, e.g. upon the Lacedaemonians in the Panegyricus, and upon Chares in the speech about the allies.  In ceremonial oratory, intersperse your speech with bits of episodic eulogy, like Isocrates, who is always bringing some one forward for this purpose.  And this is what Gorgias meant by saying that he always found something to talk about.  For if he speaks of Achilles, he praises Peleus, then Aeacus, then Zeus; and in like manner the virtue of valour, describing its good results, and saying what it is like.  Now if you have proofs to bring forward, bring them forward, and your moral discourse as well; if you have no enthymemes, then fall back upon moral discourse:  after all, it is more fitting for a good man to display himself as an honest fellow than as a subtle reasoner.  Refutative enthymemes are more popular than demonstrative ones: their logical cogency is more striking:  the facts about two opposites always stand out clearly when the two are nut side by side.  The ‘Reply to the Opponent’ is not a separate division of the speech;  it is part of the Arguments to break down the opponent’s case, whether by objection or by counter—syllogism.  Both in political speaking and when pleading in court, if you are the first speaker you should put your own arguments forward first, and then meet the arguments on the other side by refuting them and pulling them to pieces beforehand.  If, however, the case for the other side contains a great variety of arguments, begin with these,  like Callistratus in the Messenian assembly, when he demolished the arguments likely to be used against him before giving his own.  If you speak later, you must first, by means of refutation and counter—syllogism, attempt some answer to your opponent’s speech, especially if his arguments have been well received.  For just as our minds refuse a favourable reception to a person against whom they are prejudiced, so they refuse it to a speech when they have been favourably impressed by the speech on the other side.  You should, therefore, make room in the minds of the audience for your coming speech; and this will be done by getting your opponent’s speech out of the way.  So attack that first—either the whole of it, or the most important, successful, or vulnerable points in it, and thus inspire confidence in what you have to say yourself—  First, champion will I be of Goddesses...
Never, I ween, would Hera...
where the speaker has attacked the silliest argument first. 
εἰς δὲ τὸ ἦθος, ἐπειδὴ (23) ἔνια περὶ αὑτοῦ λέγειν ἢ ἐπίφθονον ἢ μακρολογίαν ἢ ἀντι(24)λογίαν ἔχει,  καὶ περὶ ἄλλου ἢ λοιδορίαν ἢ ἀγροικίαν,  (25) ἕτερον χρὴ λέγοντα ποιεῖν, ὅπερ Ἰσοκράτης ποιεῖ ἐν τῷ (26) Φιλίππῳ καὶ ἐν τῇ Ἀντιδόσει, καὶ ὡς Ἀρχίλοχος ψέγει·  (27) ποιεῖ γὰρ τὸν πατέρα λέγοντα περὶ τῆς θυγατρὸς ἐν τῷ ἰάμβῳ
(28) χρημάτων δ’ ἄελπτον οὐθέν ἐστιν οὐδ’ ἀπώμοτον,
(29) καὶ τὸν Χάρωνα τὸν τέκτονα ἐν τῷ ἰάμβῳ οὗ ἀρχὴ
(30) οὔ μοι τὰ Γύγεω, 
(31) καὶ ὡς Σοφοκλῆς τὸν Αἵμονα ὑπὲρ τῆς Ἀντιγόνης πρὸς (32) τὸν πατέρα ὡς λεγόντων ἑτέρων.  (33) δεῖ δὲ καὶ μεταβάλλειν (34) τὰ ἐνθυμήματα καὶ γνώμας ποιεῖν ἐνίοτε,  οἷον “χρὴ δὲ τὰς (35) διαλλαγὰς ποιεῖν τοὺς νοῦν ἔχοντας εὐτυχοῦντας· οὕτω (36) γὰρ ἂν μέγιστα πλεονεκτοῖεν,”  ἐνθυμηματικῶς δὲ “εἰ γὰρ (37) δεῖ, ὅταν ὠφελιμώταται ὦσιν καὶ πλεονεκτικώταται αἱ κατ(38)αλλαγαί, τότε καταλλάττεσθαι, εὐτυχοῦντας δεῖ καταλλάττε(39)σθαι.” 
So much for the Arguments.  With regard to the element of moral character: there are assertions which, if made about yourself, may excite dislike, appear tedious, or expose you to the risk of contradiction;  and other things which you cannot say about your opponent without seeming abusive or ill—bred.  Put such remarks, therefore, into the mouth of some third person. This is what Isocrates does in the Philippus and in the Antidosis, and Archilochus in his satires.  The latter represents the father himself as attacking his daughter in the lampoon
Think nought impossible at all,
Nor swear that it shall not befall...
and puts into the mouth of Charon the carpenter the lampoon which begins
Not for the wealth of Gyes...
 
So too Sophocles makes Haemon appeal to his father on behalf of Antigone as if it were others who were speaking.  Again, sometimes you should restate your enthymemes in the form of maxims;  e.g. ’Wise men will come to terms in the hour of success; for they will gain most if they do’. 
18. (40) Περὶ δὲ ἐρωτήσεως,  εὔκαιρόν ἐστι ποιεῖσθαι μάλιστα (1419a1) μὲν ὅταν τὸ ἕτερον εἰρηκὼς ᾖ, ὥστε ἑνὸς προσερωτηθέντος (2) συμβαίνει τὸ ἄτοπον,  οἷον Περικλῆς Λάμπωνα ἐπήρετο (3) περὶ τῆς τελετῆς τῶν τῆς σωτείρας ἱερῶν,  εἰπόντος δὲ ὅτι (4) οὐχ οἷόν τε ἀτέλεστον ἀκούειν,  ἤρετο εἰ οἶδεν αὐτός,  φά(5)σκοντος δὲ “καὶ πῶς, ἀτέλεστος ὤν;”  δεύτερον δὲ ὅταν τὸ μὲν (6) φανερὸν ᾖ, τὸ δὲ ἐρωτήσαντι δῆλον ᾖ ὅτι δώσει·  πυθόμενον (7) μὲν γὰρ δεῖ τὴν μίαν πρότασιν μὴ προσερωτᾶν τὸ φανερὸν (8) ἀλλὰ τὸ συμπέρασμα εἰπεῖν,  οἷον Σωκράτης, Μελήτου οὐ (9) φάσκοντος αὐτὸν θεοὺς νομίζειν, εἰρηκότος δὲ ὡς δαιμόνιόν (10) τι λέγοι, ἤρετο εἰ οὐχ οἱ δαίμονες ἤτοι θεῶν παῖδες εἶεν (11) ἢ θεῖόν τι,  φήσαντος δὲ “ἔστιν οὖν”, ἔφη, “ὅστις θεῶν μὲν (12) παῖδας οἴεται εἶναι, θεοὺς δὲ οὔ;”  ἔτι ὅταν μέλλῃ ἢ ἐναντία (13) λέγοντα δείξειν ἢ παράδοξον. 
Expressed as an enthymeme, this would run, ‘If we ought to come to terms when doing so will enable us to gain the greatest advantage, then we ought to come to terms in the hour of success.’  Part 18. Next as to Interrogation.  The best moment to a employ this is when your opponent has so answered one question that the putting of just one more lands him in absurdity.  Thus Pericles questioned Lampon about the way of celebrating the rites of the Saviour Goddess.  Lampon declared that no uninitiated person could be told of them.  Pericles then asked, ‘Do you know them yourself?’  ‘Yes’, answered Lampon. ’Why,’ said Pericles, ‘how can that be, when you are uninitiated?’  Another good moment is when one premiss of an argument is obviously true, and you can see that your opponent must say ‘yes’ if you ask him whether the other is true.  Having first got this answer about the other, do not go on to ask him about the obviously true one, but just state the conclusion yourself.  Thus, when Meletus denied that Socrates believed in the existence of gods but admitted that he talked about a supernatural power, Socrates proceeded to to ask whether ‘supernatural beings were not either children of the gods or in some way divine?’  ‘Yes’, said Meletus. ’Then’, replied Socrates, ‘is there any one who believes in the existence of children of the gods and yet not in the existence of the gods themselves?’ 
τέταρτον δὲ ὅταν μὴ ἐνῇ ἀλλ’ (14) ἢ σοφιστικῶς ἀποκρινάμενον λῦσαι·  ἐὰν γὰρ οὕτως ἀπο(15)κρίνηται, ὅτι ἔστι μὲν ἔστι δ’ οὔ, ἢ τὰ μὲν τὰ δ’ οὔ, ἢ πῇ (16) μὲν πῇ δ’ οὔ, θορυβοῦσιν ὡς ἀποροῦντος.  ἄλλως δὲ μὴ (17) ἐγχείρει. ἐὰν γὰρ ἐνστῇ, κεκρατῆσθαι δόξεις·  οὐ γὰρ (18) οἷόν τε πολλὰ ἐρωτᾶν, διὰ τὴν ἀσθένειαν τοῦ ἀκροατοῦ·  διὸ (19) καὶ τὰ ἐνθυμήματα ὅτι μάλιστα συστρέφειν δεῖ. 
Another good occasion is when you expect to show that your opponent is contradicting either his own words or what every one believes.  A fourth is when it is impossible for him to meet your question except by an evasive answer.  If he answers ‘True, and yet not true’, or ‘Partly true and partly not true’, or ‘True in one sense but not in another’, the audience thinks he is in difficulties, and applauds his discomfiture.  In other cases do not attempt interrogation; for if your opponent gets in an objection, you are felt to have been worsted.  You cannot ask a series of questions owing to the incapacity of the audience to follow them; 
(20) ἀποκρίνασθαι δὲ δεῖ πρὸς μὲν τὰ ἀμφίβολα διαιροῦντα (21) λόγῳ καὶ μὴ συντόμως,  πρὸς δὲ τὰ δοκοῦντα ἐναντία τὴν (22) λύσιν φέροντα εὐθὺς τῇ ἀποκρίσει, πρὶν ἐπερωτῆσαι τὸ (23) ἐπιὸν ἢ συλλογίσασθαι·  οὐ γὰρ χαλεπὸν προορᾶν ἐν τίνι ὁ (24) λόγος. 
and for this reason you should also make your enthymemes as compact as possible.  In replying, you must meet ambiguous questions by drawing reasonable distinctions, not by a curt answer.  In meeting questions that seem to involve you in a contradiction, offer the explanation at the outset of your answer, before your opponent asks the next question or draws his conclusion. 
φανερὸν δ’ ἡμῖν ἐστιν ἐκ τῶν Τοπικῶν καὶ τοῦτο (25) καὶ αἱ λύσεις.  καὶ συμπεραινομένου, ἐὰν ἐρώτημα ποιῇ τὸ (26) συμπέρασμα, τὴν αἰτίαν εἰπεῖν,  οἷον Σοφοκλῆς, ἐρωτώμενος (27) ὑπὸ Πεισάνδρου εἰ ἔδοξεν αὐτῷ, ὥσπερ καὶ τοῖς ἄλλοις προ(28)βούλοις, καταστῆσαι τοὺς τετρακοσίους, ἔφη “τί δέ; οὐ (29) πονηρά σοι ταῦτα ἐδόκει εἶναι;” ἔφη. “οὐκοῦν σὺ ταῦτα (30) ἔπραξας τὰ πονηρά;” “ναὶ”, ἔφη, “οὐ γὰρ ἦν ἄλλα βελτίω”. 
For it is not difficult to see the drift of his argument in advance.  This point, however, as well as the various means of refutation, may be regarded as known to us from the Topics.  When your opponent in drawing his conclusion puts it in the form of a question, you must justify your answer. 
(31) καὶ ὡς ὁ Λάκων εὐθυνόμενος τῆς ἐφορίας, ἐρωτώμενος εἰ δο(32)κοῦσιν αὐτῷ δικαίως ἀπολωλέναι ἅτεροι, ἔφη.  ὁ δὲ “οὐκοῦν (33) σὺ τούτοις ταὐτὰ ἔθου;” καὶ ὃς ἔφη.  “οὐκοῦν δικαίως ἄν”, (34) ἔφη, “καὶ σὺ ἀπόλοιο;” “οὐ δῆτα”, ἔφη, “οἱ μὲν γὰρ χρήματα (35) λαβόντες ταῦτα ἔπραξαν, ἐγὼ δὲ οὔ, ἀλλὰ γνώμῃ.”  διὸ (1419b1) οὔτε ἐπερωτᾶν δεῖ μετὰ τὸ συμπέρασμα, οὔτε τὸ συμπέρασμα (2) ἐπερωτᾶν, ἐὰν μὴ τὸ πολὺ περιῇ τοῦ ἀληθοῦς. 
Thus when Sophocles was asked by Peisander whether he had, like the other members of the Board of Safety, voted for setting up the Four Hundred, he said ‘Yes.’ —’Why, did you not think it wicked?’ —’Yes.’ —’So you committed this wickedness?’ ‘Yes’, said Sophocles, ‘for there was nothing better to do.’  Again, the Lacedaemonian, when he was being examined on his conduct as ephor, was asked whether he thought that the other ephors had been justly put to death. ’Yes’, he said.  ’Well then’, asked his opponent, ‘did not you propose the same measures as they?’—’Yes.’  —’Well then, would not you too be justly put to death?’—’Not at all’, said he; ‘they were bribed to do it, and I did it from conviction’. 
(3) περὶ δὲ τῶν γελοίων, ἐπειδή τινα δοκεῖ χρῆσιν ἔχειν ἐν (4) τοῖς ἀγῶσι,  καὶ δεῖν ἔφη Γοργίας τὴν μὲν σπουδὴν δια(5)φθείρειν τῶν ἐναντίων γέλωτι τὸν δὲ γέλωτα σπουδῇ, ὀρθῶς (6) λέγων,  εἴρηται πόσα εἴδη γελοίων ἔστιν ἐν τοῖς περὶ ποιη(7)τικῆς, ὧν τὸ μὲν ἁρμόττει ἐλευθέρῳ τὸ δ’ οὔ, ὅπως τὸ (8) ἁρμόττον αὑτῷ λήψεται.  ἔστι δ’ ἡ εἰρωνεία τῆς βωμολοχίας (9) ἐλευθεριώτερον·ὁ μὲν γὰρ αὑτοῦ ἕνεκα ποιεῖ τὸ γελοῖον, ὁ δὲ βωμολόχος ἑτέρου. 
Hence you should not ask any further questions after drawing the conclusion, nor put the conclusion itself in the form of a further question, unless there is a large balance of truth on your side.  As to jests. These are supposed to be of some service in controversy.  Gorgias said that you should kill your opponents’ earnestness with jesting and their jesting with earnestness; in which he was right.  Jests have been classified in the Poetics. Some are becoming to a gentleman, others are not; see that you choose such as become you. 
19. (10) Ὁ δ’ ἐπίλογος σύγκειται ἐκ τεττάρων,  ἔκ τε τοῦ πρὸς (11) ἑαυτὸν κατασκευάσαι εὖ τὸν ἀκροατὴν καὶ τὸν ἐναντίον (12) φαύλως,  καὶ ἐκ τοῦ αὐξῆσαι καὶ ταπεινῶσαι,  καὶ ἐκ τοῦ (13) εἰς τὰ πάθη τὸν ἀκροατὴν καταστῆσαι,  καὶ ἐξ ἀναμνήσεως. 
Irony better befits a gentleman than buffoonery; the ironical man jokes to amuse himself, the buffoon to amuse other people.  Part 19. The Epilogue has four parts.  You must (1) make the audience well—disposed towards yourself and ill—disposed towards your opponent  (2) magnify or minimize the leading facts,  (3) excite the required state of emotion in your hearers, and 
(14) πέφυκε γάρ, μετὰ τὸ ἀποδεῖξαι αὐτὸν μὲν ἀληθῆ τὸν δὲ (15) ἐναντίον ψευδῆ, οὕτω τὸ ἐπαινεῖν καὶ ψέγειν καὶ ἐπιχαλκεύειν.  (16) δυοῖν δὲ θατέρου δεῖ στοχάζεσθαι, ἢ ὅτι τούτοις ἀγαθὸς ἢ (17) ὅτι ἁπλῶς, ὁ δ’ ὅτι κακὸς τούτοις ἢ ὅτι ἁπλῶς.  ἐξ ὧν δὲ (18) δεῖ τοῦτο κατασκευάζειν [δεῖ], εἴρηνται οἱ τόποι πόθεν σπου(19)δαίους δεῖ κατασκευάζειν καὶ φαύλους. 
(4) refresh their memories.  (1) Having shown your own truthfulness and the untruthfulness of your opponent, the natural thing is to commend yourself, censure him, and hammer in your points.  You must aim at one of two objects—you must make yourself out a good man and him a bad one either in yourselves or in relation to your hearers. 
τὸ δὲ μετὰ τοῦτο, (20) δεδειγμένων ἤδη, αὔξειν ἐστὶν κατὰ φύσιν ἢ ταπεινοῦν·  δεῖ (21) γὰρ τὰ πεπραγμένα ὁμολογεῖσθαι, εἰ μέλλει τὸ ποσὸν ἐρεῖν·  (22) καὶ γὰρ ἡ τῶν σωμάτων αὔξησις ἐκ προϋπαρχόντων ἐστίν.  (23) ὅθεν δὲ δεῖ αὔξειν καὶ ταπεινοῦν ἔκκεινται οἱ τόποι πρό(24)τερον. 
How this is to be managed—by what lines of argument you are to represent people as good or bad—this has been already explained.  (2) The facts having been proved, the natural thing to do next is to magnify or minimize their importance.  The facts must be admitted before you can discuss how important they are;  just as the body cannot grow except from something already present. 
μετὰ δὲ ταῦτα, δήλων ὄντων καὶ οἷα καὶ ἡλίκα, εἰς (25) τὰ πάθη ἄγειν τὸν ἀκροατήν.  ταῦτα δ’ ἐστὶν ἔλεος καὶ (26) δείνωσις καὶ ὀργὴ καὶ μίσος καὶ φθόνος καὶ ζῆλος καὶ ἔρις.  (27) εἴρηνται δὲ καὶ τούτων οἱ τόποι πρότερον, 
The proper lines of argument to be used for this purpose of amplification and depreciation have already been set forth.  (3) Next, when the facts and their importance are clearly understood, you must excite your hearers’ emotions.  These emotions are pity, indignation, anger, hatred, envy, emulation, pugnacity. 
ὥστε λοιπὸν ἀνα(28)μνῆσαι τὰ προειρημένα.  τοῦτο δὲ ἁρμόττει ποιεῖν οὐχ ὥσπερ (29) φασὶν ἐν τοῖς προοιμίοις, οὐκ ὀρθῶς λέγοντες.  ἵνα γὰρ (30) εὐμαθὴς ᾖ, κελεύουσι πολλάκις εἰπεῖν.  ἐκεῖ μὲν οὖν δεῖ (31) τὸ πρᾶγμα εἰπεῖν, ἵνα μὴ λανθάνῃ περὶ οὗ ἡ κρίσις,  ἐν(32)ταῦθα δὲ δι’ ὧν δέδεικται, κεφαλαιωδῶς.  ἀρχὴ δὲ διότι ἃ (33) ὑπέσχετο ἀποδέδωκεν,  ὥστε ἅ τε καὶ δι’ ὃ λεκτέον.  λέγεται (34) δὲ ἐξ ἀντιπαραβολῆς τοῦ ἐναντίου.  παραβάλλειν δὲ [ἢ] ὅσα (35) περὶ τὸ αὐτὸ ἄμφω εἶπον, ἢ [μὴ] καταντικρύ (“ἀλλ’ οὗτος (1420a1) μὲν τάδε περὶ τούτου, ἐγὼ δὲ ταδί, καὶ διὰ ταῦτα”),  ἢ ἐξ (2) εἰρωνείας (οἷον “οὗτος γὰρ τάδ’ εἶπεν, ἐγὼ δὲ ταδί”,  καὶ “τὶ (3) ἂν ἐποίει, εἰ τάδε ἔδειξεν, ἀλλὰ μὴ ταδί”),  ἢ ἐξ ἐρωτήσεως (“τί (4) οὖν δέδεικται;” ἢ “οὗτος τί ἔδειξεν;”).  ἢ δὴ οὕτως [ἢ] ἐκ παρα(5)βολῆς ἢ κατὰ φύσιν ὡς ἐλέχθη, οὕτως τὰ αὐτοῦ, καὶ πάλιν, (6) ἐὰν βούλῃ, χωρὶς τὰ τοῦ ἐναντίου λόγου.  τελευτὴ δὲ τῆς (7) λέξεως ἁρμόττει ἡ ἀσύνδετος, ὅπως ἐπίλογος ἀλλὰ μὴ λόγος (8) ᾖ·  “εἴρηκα, ἀκηκόατε, ἔχετε, κρίνατε”. 
The lines of argument to be used for these purposes also have been previously mentioned.  (4) Finally you have to review what you have already said.  Here you may properly do what some wrongly recommend doing in the introduction—  repeat your points frequently so as to make them easily understood.  What you should do in your introduction is to state your subject, in order that the point to be judged may be quite plain;  in the epilogue you should summarize the arguments by which your case has been proved.  The first step in this reviewing process is to observe that you have done what you undertook to do.  You must, then, state what you have said and why you have said it.  Your method may be a comparison of your own case with that of your opponent;  and you may compare either the ways you have both handled the same point or make your comparison less direct: ‘My opponent said so—and—so on this point; I said so—and—so, and this is why I said it’.  Or with modest irony, e.g. ’He certainly said so—and—so, but I said so—and—so’.  Or ‘How vain he would have been if he had proved all this instead of that!’  Or put it in the form of a question. ’What has not been proved by me?’ or ‘What has my opponent proved?’  You may proceed then, either in this way by setting point against point, or by following the natural order of the arguments as spoken, first giving your own, and then separately, if you wish, those of your opponent.  For the conclusion, the disconnected style of language is appropriate, and will mark the difference between the oration and the peroration. 
 
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