[12] Rhys Roberts’s use of imitative renderings to make this point is of course necessary; but readers unfamiliar with Greek rhythms should beware of inferences based on an assumption of equivalence between Greek metrical habits and English. [13] This is the contention of Stevenson in _Some Technical Elements of Style in Literature_. [14] _De Oratore_, I. xiii. 57. [15] iv. 92. [16] v. 98. [17] Henri Weil’s classic essay on the order of words in the ancient languages has been translated into English by C. W. Super, Boston, 1887. The rationale of word-order is discussed in Spencer’s _Philosophy of Style_. [18] vi. 104. [19] See above, pages 28, 29. [20] xi. 124. [21] Section x. [22] See above, page 60 and foot-note 95. [23] vii. [24] ix. [25] See my _College Composition_, page 69. [26] x. The same distinction is made in his _Demosthenes_, xlvii. [27] xi. [28] xi. 126. [29] xi. 128. [30] xii. 130. [31] xiv. [32] xv-xvi. [33] In English it is urged specifically by Stevenson in _Some Technical Elements of Style in Literature_. [34] xv. 154-156. [35] xvi. 160, 166. [36] It may remind some elder readers also of a story once current concerning a pious old lady who in reading her Bible found emotional satisfaction in the “blessed word Mesopotamia.” [37] Charlton M. Lewis, _The Principles of English Verse_, New York, 1906, page 131. [38] xvii. [39] xviii. [40] xvii. 176. [41] xviii. 178. [42] Stevenson makes similar use of Macaulay. [43] xix. [44] xix. 196. [45] τὸ πρέπον, xx. [46] xxi. [47] Dionysius uses the same classification in his _Demosthenes_, xxxvi. [48] See above, page 56. [49] xxii. 212. One thinks of Carlyle. [50] xxii. 216. [51] xxiii. [52] xxiii. 234. [53] xxiii. 236. [54] _Rhetoric_ III. ix. 1409 a. See above, page 28. Aristotle’s εὐσύνοπτος may have suggested the περίοπτος of Dionysius. [55] xxiv. [56] _Rhetoric_, _ibid._ [57] xxv, xxvi. [58] _Rhetoric_, III. viii. 1408 b. See above, page 26. [59] xxv. 262. B. THE GREAT UNKNOWN ON IMAGINATIVE DICTION