17 ff. Cp. Goodell Chapters on Greek Metric p. 52: “We find ample recognition [sc. in these two sentences] of the fact that in Greek lyric metres, so far as they come under what we have seen called μέλη and ῥυθμοί or ‘rhythmi,’ long and short syllables alike were more or less variable. In some way the reader knew in what rhythmical scheme or pattern the poet intended the verses to be rendered. To reproduce the rhythmical pattern which the poet had in mind, the singer, if not also the reader, made some long syllables longer and others shorter than two χρόνοι πρῶτοι, and made some short syllables longer than one χρόνος πρῶτος. It seemed to Dionysius in those cases that one did not so much regulate the times by the syllables, but rather regulated the syllables by the times.”
19. The compound παραύξουσαι, as given by EF, may be compared with παραυξηθεῖσα in [152] 18. Dionysius does not avoid hiatus after καί, and so he would not prefer παραύξουσαι to αὔξουσαι on this account, though an early reviser of his text might do so.
εἰς τἀναντία μεταχωρεῖν: e.g., a short syllable will sometimes be treated as if it were long and were circumflexed.
γὰρ ταῖς συλλαβαῖς ἀπευθύνουσι τοὺς χρόνους, ἀλλὰ τοῖς
χρόνοις τὰς συλλαβάς.
δεδειγμένης δὴ τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς,
λοιπὸν ἂν εἴη κἀκεῖνα λέγειν, ὅτι τὸ μὲν τῆς φωνῆς μέλος,
λέγω δὲ οὐ τῆς ᾠδικῆς ἀλλὰ τῆς ψιλῆς, ἐὰν ἡδέως διατιθῇ 5
τὴν ἀκοήν, εὐμελὲς λέγοιτ’ ἄν, ἀλλ’ οὐκ ἐμμελές· ἡ δ’ ἐν τοῖς
χρόνοις τῶν μορίων συμμετρία σῴζουσα τὸ μελικὸν σχῆμα
εὔρυθμος, ἀλλ’ οὐκ ἔνρυθμος· πῇ δὲ διαφέρει ταῦτα ἀλλήλων,
κατὰ τὸν οἰκεῖον καιρὸν ἐρῶ. νυνὶ δὲ τἀκόλουθ’ ἀποδοῦναι
πειράσομαι, πῶς ἂν γένοιτο λέξις πολιτικὴ παρ’ αὐτὴν τὴν 10
σύνθεσιν ἡδύνουσα τὴν ἀκρόασιν κατά τε τὰ μέλη τῶν
φθόγγων καὶ κατὰ τὰς συμμετρίας τῶν ῥυθμῶν καὶ κατὰ τὰς
ποικιλίας τῶν μεταβολῶν καὶ κατὰ τὸ πρέπον τοῖς ὑποκειμένοις,
ἐπειδὴ ταῦθ’ ὑπεθέμην τὰ κεφάλαια.
XII
οὐχ ἅπαντα πέφυκε τὰ μέρη τῆς λέξεως ὁμοίως διατιθέναι 15
τὴν ἀκοήν, ὥσπερ οὐδὲ τὴν ὁρατικὴν αἴσθησιν τὰ ὁρατὰ
πάντα οὐδὲ τὴν γευστικὴν τὰ γευστὰ οὐδὲ τὰς ἄλλας αἰσθήσεις
τὰ κινοῦντα ἑκάστην· ἀλλὰ καὶ γλυκαίνουσιν αὐτήν τινες
ἦχοι καὶ πικραίνουσι, καὶ τραχύνουσι καὶ λεαίνουσι, καὶ
πολλὰ ἄλλα πάθη ποιοῦσι περὶ αὐτήν. αἰτία δὲ ἥ τε 20
τῶν γραμμάτων φύσις ἐξ ὧν ἡ φωνὴ συνέστηκεν, πολλὰς
καὶ διαφόρους ἔχουσα δυνάμεις, καὶ ἡ τῶν συλλαβῶν πλοκὴ
παντοδαπῶς σχηματιζομένη. τοιαύτην δὴ δύναμιν ἐχόντων
τῶν τῆς λέξεως μορίων ἐπειδὴ μεταθεῖναι τὴν ἑκάστου φύσιν
οὐχ οἷόν τε, λείπεται τὸ τῇ μίξει καὶ κράσει καὶ παραθέσει 25
συγκρύψαι τὴν παρακολουθοῦσαν αὐτῶν τισιν ἀτοπίαν, τραχέσι
quantity of the syllables, but the quantity of the syllables is regulated by the time.