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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... 
 
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