a eta nu /
tau epsilon / tau rho alpha pi epsilon iota sigma / omicron lambda iota
gamma eta nu / tau epsilon / tau rho alpha pi epsilon zeta alpha nu,}
We read, {delta iota phi rho omicron nu / mu omicron chi theta eta rho
omicron nu / kappa alpha tau alpha theta epsilon iota sigma / mu iota
kappa rho alpha nu / tau epsilon / tau rho alpha pi epsilon zeta alpha
nu}.

Or, for {eta iota omicron nu epsilon sigma / beta omicron omicron omega
rho iota nu, eta iota omicron nu epsilon sigma kappa rho alpha zeta
omicron upsilon rho iota nu}

Again, Ariphrades ridiculed the tragedians for using phrases which no
one would employ in ordinary speech: for example, {delta omega mu alpha
tau omega nu / alpha pi omicron} instead of {alpha pi omicron / delta
omega mu alpha tau omega nu}, {rho epsilon theta epsilon nu}, {epsilon
gamma omega / delta epsilon / nu iota nu}, {Alpha chi iota lambda lambda
epsilon omega sigma / pi epsilon rho iota} instead of {pi epsilon rho
iota / 'Alpha chi iota lambda lambda epsilon omega sigma}, and the like.
It is precisely because such phrases are not part of the current idiom
that they give distinction to the style. This, however, he failed to
see.

It is a great matter to observe propriety in these several modes of
expression, as also in compound words, strange (or rare) words, and so
forth. But the greatest thing by far is to have a command of metaphor.
This alone cannot be imparted by another; it is the mark of genius, for
to make good metaphors implies an eye for resemblances.

Of the various kinds of words, the compound are best adapted to
Dithyrambs, rare words to heroic poetry, metaphors to iambic. In heroic
poetry, indeed, all these varieties are serviceable. But in iambic
verse, which reproduces, as far as may be, familiar speech, the most
appropriate words are those which are found even in prose. These
are,--the current or proper, the metaphorical, the ornamental.

Concerning Tragedy and imitation by means of action this may suffice.

XXIII

As to that poetic imitation which is narrative in form and employs
a single metre, the plot manifestly ought, as in a tragedy, to be
constructed on dramatic principles. It should have for its subject a
single action, whole and complete, with a beginning, a middle, and
an end. It will thus resemble a living organism in all its unity, and
produce the pleasure proper to it. It will differ in structure from
historical compositions, which of nec