[16] οὐ γὰρ ἀγοραίοις ἀνθρώποις οὐδ’ ἐπιδιφρίοις ἢ χειροτέχναις οὐδὲ τοῖς ἄλλοις οἳ μὴ μετέσχον ἀγωγῆς ἐλευθερίου ταύτας κατασκευάζεσθαι τὰς γραφάς, ἀλλ’ ἀνδράσι διὰ τῶν ἐγκυκλίων μαθημάτων ἐπὶ ῥητορικήν τε καὶ φιλοσοφίαν ἐληλυθόσιν, οἷς οὐδὲν φανήσεται τούτων ξένον, de Thucyd. c. 50. A comprehensive condemnation of ἀσάφεια is found in the same essay, c. 52: ἡ πάντα λυμαινομένη τὰ καλὰ καὶ σκότον παρέχουσα ταῖς ἀρεταῖς ἀσάφεια.
[17] See, further, the Appendix headed “Obscurity in Greek.”
[18] In the same way, Dionysius must surely feel the loss both of clearness and of emphasis involved in transferring ἡ μόνη ἐλπίς ([112] 1 and 4) from the middle to the end of the sentence. χάρις and πάθος may cover these cardinal points: “no clearness no charm,” he might well say,—“no emphatic order no full expression of feeling.”
[19] Cp. Demetrius on Style p. 278 (Glossary, s.v. ἔμφασις).
[20] Cp. Lewis Campbell in the Classical Review iv. 301, and Goodell in the paper named on p. [33] infra. In the matter of emphasis, Greek sentences are usually constructed on a diminuendo, English sentences on a crescendo principle. The English of μὴ ’φευρεθῇς ἄνους τε καὶ γέρων ἅμα (Soph. Antig. 281) is, as Jebb gives it, “lest thou be found at once an old man and foolish.” As fuller examples, in prose and verse, Mr. L. H. G. Greenwood suggests the Phaedrus 230 B, C (Νὴ τὴν Ἥραν ... Φαῖδρε) and the Rhesus 78-85, 119-130.
[21] The views of Quintilian and Demetrius with regard to rhythm are applicable also to emphasis: Quintil. ix. 4. 67 “nam ut initia clausulaeque plurimum momenti habent, quotiens incipit sensus aut desinit: sic in mediis quoque sunt quidam conatus, iique leviter insistunt. currentium pes, etiamsi non moratur, tamen vestigium facit”; Demetrius (de Eloc. § 39) πάντες γοῦν ἰδίως τῶν τε πρώτων μνημονεύομεν καὶ τῶν ὑστάτων, καὶ ὑπὸ τούτων κινούμεθα, ὑπὸ δὲ τῶν μεταξὺ ἔλαττον ὥσπερ ἐγκρυπτομένων ἢ ἐναφανιζομένων.
[22] The initial emphasis is here reinforced by μέν and δέ: elsewhere by the chiastic arrangement, as in (10).
[23] Compare the occasional postponement of a relative pronoun with the same object: e.g. Thucyd. i. 77 βιάζεσθαι γὰρ οἷς ἂν ἐξῇ, δικάζεσθαι οὐδὲν προσδέονται.
[24] Our poets can, and do, imitate the emphatic position of a word placed at the beginning of a line with a stop immediately following (as βάλλ’ in Hom. Il. i. 52, κόπτ’ in Odyss. ix. 290, and haesit in Virg. Aen. xi. 803):—
And over them triumphant Death his dart
Shook, but delayed to strike.