The Basic Works of Aristotle (Modern Library Classics) (247 page)

The Nouns themselves (to whatever class they may belong) are
either masculines, feminines, or intermediates (neuter). All ending in N, P, Σ, or in the two compounds of this last, Ψ and
,
(10)
are masculines. All ending in the invariably long vowels, H and Ω, and in
A
among the vowels that may be long, are feminines. So that there is an equal number of masculine and feminine terminations, as Ψ and
are the same as Σ, and need not be counted. There is no Noun,
(15)
however, ending in a mute or in either of the two short vowels, E and O. Only three (
) end in I and five in γ. The intermediates, or neuters, end in the variable vowels or in N, P, Σ.

22
     The perfection of Diction is for it to be at once clear and not mean. The clearest indeed is that made up of the ordinary words for things,
(20)
but it is mean, as is shown by the poetry of Cleophon and Sthenelus. On the other hand the Diction becomes distinguished and non-prosaic by the use of unfamiliar terms, i. e. strange words, metaphors, lengthened forms, and everything that deviates from the ordinary modes of speech.—But a whole statement in such terms will be either a riddle or a barbarism,
(25)
a riddle, if made up of metaphors, a barbarism, if made up of strange words. The very nature indeed of a riddle is this, to describe a fact in an impossible combination of words (which cannot be done with the real names for things, but can be with their metaphorical substitutes); e. g. ‘I saw a man glue brass on another with fire’,
⁵²
(30)
and the like. The corresponding use of strange words results in a barbarism.—A certain admixture, accordingly, of unfamiliar terms is necessary. These, the strange word, the metaphor, the ornamental equivalent, &c., will save the language from seeming mean and prosaic, while the ordinary words in it will secure the requisite clearness.
[1458b]
What helps most, however, to render the Diction at once clear and non-prosaic is the use of the lengthened, curtailed, and altered forms of words. Their deviation from the ordinary words will, by making the language unlike that in general use, give it a non-prosaic appearance; and their having much in common with the words in general use will give it the quality of clearness.
(5)
It is not right, then, to condemn these modes of speech, and ridicule the poet for using them, as some have done; e. g. the elder Euclid, who said it was easy to make poetry if one were to be allowed to lengthen the words in the statement itself as much as one likes—a procedure he caricatured by reading
as verses.
(10)
A too apparent use of these licences has certainly a ludicrous effect, but they are not alone
in that; the rule of moderation applies to all the constituents of the poetic vocabulary; even with metaphors, strange words, and the rest, the effect will be the same, if one uses them improperly and with a view to provoking laughter. The proper use of them is a very different thing.
(15)
To realize the difference one should take an epic verse and see how it reads when the normal words are introduced. The same should be done too with the strange word, the metaphor, and the rest; for one has only to put the ordinary words in their place to see the truth of what we are saying. The same iambic, for instance, is found in Aeschylus and Euripides, and as it stands in the former it is a poor line; whereas Euripides, by the change of a single word,
(20)
the substitution of a strange for what is by usage the ordinary word, has made it seem a fine one. Aeschylus having said in his
Philoctetes
:

Euripides has merely altered the
here into
. Or suppose

⁵³

to be altered,
(25)
by the substitution of the ordinary words, into

Or the line

⁵⁴

into

Or
⁵⁵
into
Add to this that Ariphrades used to ridicule the tragedians for introducing expressions unknown in the language of common life,
(30)
(for
),
,
⁵⁶
(for
), and the like.
[1459a]
The mere fact of their not being in ordinary speech gives the Diction a non-prosaic character; but Ariphrades was unaware of that. It is a great thing, indeed, to make a proper use of these poetical forms, as also of compounds and strange words. But the greatest thing by far is to be a master of metaphor.
(5)
It is the one thing that cannot be learnt from others; and it is also a sign of genius, since a good metaphor implies an intuitive perception of the similarity in dissimilars.