Notes on the current edition
The Attic Orators from Antiphon to Isaeos
1.
id.
Demosth. c. 4.
2.
Its Purity.
3.
Vol. I. p. 168.
4.
As exceptions, note the words
οὐρανομήκης,
Antid. [XV] § 134:
φιλοπροσήγορος (‘courteous’—more general than
εὐπροσήγορος, ‘affable’)
Ad Demon. [I] § 20:
τερθρεία (‘jugglery’),
Helen. Enc. [X] § 4:
φθόη,
Aeginet. [XIX] § 11:
τύρβη
Antid. § 130:
ἐπικήρως,
Bus. [XI] § 49.
ἐνδελεχέστατος ,
Antid. § 156:
κατασκελετευθεῖσαν,
Ant. § 268:
διασκαριφᾶσθαι,
Areop. § 12. Also the metaphorical use of
εἱλωτεύειν (
Pan. § 131),
ἐξοκείλας,
Ant. § 268 and
Ep. II. § 13. (Sandys,
Ad Dem. and
Paneyr. pp. xi, xxxiv.Aristotle instances
ἔτλησαν (
Pan. § 96) and
φήμη (
ib. § 186) as poetical words legitimately used in a climax:
Rh. III. 7.
5.
Dionys.
de Isokr. c. 2:
Lys. c. 2:
Dem. c. 4.
6.
Its Simplicity.
7.
id.
Dem. c. 18—where Dionys. is criticising a passage from the
De Pace (§§ 41—50) taken as showing Isokr. at his best—and notices the avoidance of
τροπικαὶκατασκευαί as even excessive. Hermogenes (
περὶ ἰδεῶν ά c. 12, Speng.
Rh. G. II. 33) observes that the first condition of
beauty in expression is
purity; now tropes give vividness, but are against purity; hence Isokr., who thought most about beauty, made least use of tropes.
8.
σεμνολογία (Dionys.
Isokr. c. 20),
σεμνοτὴς πομπική (
ib. 2),
καλλιλογία (
Dem. c. 4).
9.
Speaking of the forensic work of Isokr. generally, Dionys. remarks that here he comes near to the manner of Lysias (
Isocr. c. 18). Then examining the
Trapez. [XVII] §§ 1—14 in detail, he points out that the manner is
ὅλῳ τω—| γένει distinct from that of I.'s deliberative or epideictic speeches; yet that it is Isokratic still—it bears the predominant stamp of
art (c. 20).—Perhaps
Or. XVIII (Against Kallimachos) and XIX (Aeginetikos) are the best examples of I.'s
plain manner.