The appeal of style, Aristotle says in this same first chapter,[44] was first discerned by the poets. The method of suggestion, in other words, belongs to poetic. This is more than a critical distinction; it has an application directly pedagogical. The teaching of style, always delicate and difficult, may well begin through poetry, which in descriptive heightening and in harmony of sound with sense, especially of pace with mood, most plainly exhibits style as adaptation. The connection of this with delivery, both with reading aloud and with dramatic recital, though obvious, is often neglected. Elocution in our modern sense may, if rightly related, be one of the gateways to appreciation of style.[45] Chapter ii,[46] after glancing at the fundamental virtue of lucidity, considers the choice of words for appropriateness and for suggestiveness, i.e., for their connotation, and especially for the descriptive vividness of the concrete, as in metaphors. Chapter iii[47] deals with the inappropriateness arising from bad taste;[48] Chapter iv,[49] with the extension of metaphor into simile. Chapter v[50] passes from single words and phrases to their combination in clauses and sentences. The distinction is important, and is kept throughout the classical rhetoric from Aristotle down. The choice of words is ἐκλογή (_electio_); the shaping of clauses and sentences is σύνθεσις (_compositio_). Frequent translation of the latter by our English word _composition_, which has a meaning so much wider as to be quite different, misses the specific point of technic, and often makes the ancient writers say what they did not mean.[51] As the primary virtue in the choice of words is precision, so the first consideration in their combination, says Aristotle, is purity, idiom, conformity to usage. This assured, the next considerations of movement in detail are dignity,[52] which he presents as mainly amplification, and appropriateness.[53] Appropriateness here is not merely of the single word, as in Chapters ii and iii, but of the movement, or pace. It is gauged both to the moral habit (ἦθος) of the audience and to the emotion (πάθος) of the occasion. From this general idea of appropriate movement Aristotle passes[54] to specific consideration of rhythm with his oft-quoted dictum: