This seems to be shown by the fact that quantity is sacrificed wherever that can be done without the practical inconvenience of damage to the metrical clew — for example, in the alternate feet of the 7CV0C S«r Xaa Cv€Tai, r Q Sipx S ^^v 8p6/iov to Tt Xoi is translated * for at the beginning of their race the end of the course is manifest.' The context would seem to demand * in the case of runners the beginning and the end of the course find their expres- sion in one word,' ircpio Sos, a coming round to the starting-pointy in which sense irep Co So^ is used in Plut. 15, would seem to show that to airi Oavov must mean *its artificiality,' or 'inability to convince' (see § 221), or 'want of naturalness,' or, that it should be corrected to to dira Oh, or tijk dira^ctav, both of which expressions occur in the treatise. Yet the context shows that he meant rather culture. We have often to ask ourselves a similar question about Milton and others. Enough has been said, perhaps, to bring support to the doctrine that quantity in Greek verse had as its immediate function, not the producing of an aesthetic efifect, but the guiding of the reader or reciter in his declamation — that is to say, a merely practical function. The very parallel passage quoted from Longinus, in illustration of 76. Demetrius points out the effectiveness of the repeti- tion of the name Nireus in B. 'Repetition, recurrence,' is certainly the meaning of i'n'avaopd, but Sto Xvcrts is hardly * dis- junction.' It means the avoidance of conjunctions in 'Nireus brought three ships, Nireus the son of Aglaea, Nireus the goodliest man.* This appears from the next section, § 63, where he points out how 'the opposite figure is sometimes effective, and illustrates by * the host consisted of both Greeks and Carians and Lycians and Pamphylians and Phrygians,' adding, * the repeated use of the same conjunction gives the impression of a countless host.' As a modern example of the effectiveness of repeating a name, the editor aptly compares Tennyson's 'Elaine the fair, Elaine the lovable, Elaine the lily maid of Astolat.' Had Tennyson the Homeric passage in his mind ? Besides, Demetrius is very prone to transgress the natural order of words. Demetrius makes it an indication of character, rov 17^0^9 ris I/a- ^oo-is. Probably for the same reason he would have found * triviality,' /x-ticpc Mrpe Vctav, in Wordsworth's * The cataracts blow their trumpets from the steep,' and Swinburne's ' And heaven rang round her as she came Like smitten cymbals.' 612 REVIEWS. 26 £f.) 0)((u as o Fayica Zbi' io-as etvat 8ta ra tfj Lirpoo'O^v €lprjfi€va.
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His example of impres- sionism drawn from the countryman, * the noise of whose tramp was heard from afar as he approached,* is excellently paralleled by the spearmen of the huge Earl Doorm, * Feeding like horses when you hear them feed.' Admirable, too, are the editor's modem examples of personifi- cation of inanimate things on §§ 80-83.
It is hard to see how to dir COavov could mean * the idle trick.' For the thought cp. On this subject Demetrius further makes the acute observation, that humour and wit are spoiled by over-elaboration.