συνεδρεύειν. [100] 10, [160] 19. To attend, to accompany. Lat. assidere, adiungi. Used, in [100] 10, of the accompanying relations (mode, place, time, etc.), which adverbs denote in reference to verbs.
συνεκτρέχειν. [274] 24. To run out together, to be of the same length. Lat. aequis passibus concurrere.
συνεκφέρειν. [240] 11. To pronounce concurrently. Lat. simul pronuntiare. Cp. συνεκφορά [230] 3.
συνεφθαρμένος. [126] 10, [144] 12, [234] 13. Imperceptibly blended, melting into each other. Lat. commistus. φθορά is the technical term for the mixing of colours in painting: e.g. Plut. Mor. 346 A καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν. Perhaps it is this sense of ‘fusion’ that led to φθορά being used, in Byzantine music, in some such sense as ‘modulation.’
συνεχής. [230] 17, 20, [244] 21, [246] 1. Continuous, unbroken. Lat. continuus. So συνεχῶς [132] 9, [230] 29, [280] 21. συνέχεια ([240] 5) = coherence, ‘continuus compositionis tenor.’
συνηχεῖν. [140] 21, [144] 20, [146] 11. To sound at the same time. Lat. consonare. In [140] 21 the translation of the manuscript reading συνεχούσης may be “while all these are pronounced, the windpipe constricts the breath,” A. J. Ellis op. cit. p. 41 (with the note, “probably this is what Dionysius considered the cause of voice”).
σύνθεσις. [68] 5, 7, 19, [70] 3, 9, [72] 8, [74] 15, [78] 9, [86] 2, 13, [90] 19, [134] 26 etc., [200] 10, 16, [202] 1, 7, [204] 9, [232] 25, [240] 23, [270] 9. Composition. Lat. compositio. ‘Composition’ (with the addition of ‘literary,’ to mark it off from other kinds of composition) seems the least inadequate English rendering of σύνθεσις, and comes nearest to the usual Latin title. To judge by the actual contents of the treatise (which go beyond Dionysius’ occasional and fragmentary definitions), the term ‘putting-together’ can be applied not only to ὀνόματα, but (on the one side) to γράμματα and συλλαβαί and (on the other) to κῶλα and περίοδοι, and to a poem of Sappho or the proem of Thucydides. Hence ‘arrangement (or order, ordonnance) of words’ proves, in practice, too narrow a title, though the euphonic and symphonic arrangement of words and the elements of words is the main theme, and though there is (as has been pointed out in the Introduction, p. [11] supra) some danger of ‘literary composition’ seeming to promise a treatment of the πραγματικὸς τόπος. One of the definitions of composition in the New English Dictionary will apply very fairly to the de Compositione Verborum: “the due arrangement of words into sentences, and of sentences into periods; the art of constructing sentences and of writing prose or verse,” while ἁρμονία (which is σύνθεσις in special reference to skilful and melodious combination) might well be defined in the words there quoted from the Arte of Rhetorique of T. Wilson (1553 A.D.): “composition ... is an apt joyning together of wordes in such order, that neither the eare shall espie any jerre, nor yet any man shalbe dulled with overlong drawing out of a sentence.” The form συνθήκη is found, in practically the same sense as σύνθεσις, in the Epitome c. 3; in Lucian de conscrib. hist. c. 46 καὶ μὴν καὶ συνθήκῃ τῶν ὀνομάτων εὐκράτῳ καὶ μέσῃ χρηστέον; and in Chrysostom de Sacerdotio iv. 6 (quoted under ἀπαγγελία p. [288] supra). As Latin equivalents (in addition to ‘de Compositione Verborum’), ‘de Collocatione Verborum’ or ‘de Constructione Verborum’ might be supported out of Cicero’s Orator and de Oratore; and something might be said, too, in favour of ‘de Structura Orationis’ or (more fully) ‘de compositione, seu orationis partium apta inter se collocatione.’—συνθετικός occurs in [104] 15, and σύνθετος in [144] 11, [176] 3, [184] 3.
σύνοψις. [208] 13. A general view. Lat. conspectus. εἰς σύνοψιν ἐλθεῖν δυνάμενος would, in Aristotle’s conciser phrase, be: εὐσύνοπτος.—The verb συνορᾶν occurs in [184] 22, συνιδεῖν [182] 3.