§13#2"
ὡς ἀνʼ ἐχινόποδας καὶ ἀνὰ τρηχεῖαν ὄνωνιν
φύονται μαλακῶν ἄνθεα λευκοΐων
"
ὅπου γὰρ ἐμέτου τινὲς ἐγκώμια καὶ πυρετοῦ καὶ νὴ Δία χύτρας ἐπιδεικνύμενοι, πιθανότητος οὐκ ἀμοιροῦσιν, ἦ που λόγος ὑπʼ ἀνδρὸς ἁμωσγέπως δοκοῦντος ἢ καλουμένου φιλοσόφου περαινόμενος οὐκ ἂν ὅλως ἀναπνοήν τινα καὶ καιρὸν ἀκροαταῖς εὐμενέσι καὶ φιλανθρώποις παράσχοι πρὸς ἔπαινον;
"Just as among thorny shrubs and rough restharrow grow the flowers of soft white-violets, "For where some, delivering panegyrics on vomiting and fever, and, by Zeus, on a cooking-pot, are not without persuasiveness, surely indeed a discourse completed by a man who is in some way thought to be or is called a philosopher would not completely fail to afford some breathing-space and opportunity for praise to benevolent and humane listeners?
οἱ γοῦν ἐν ὥρᾳ πάντες, ὥς φησιν ὁ Πλάτων, ἁμηγέπη δάκνουσι τὸν ἐρωτικόν, καὶ λευκοὺς μὲν θεῶν παῖδας ἀνακαλῶν μέλανας δʼ ἀνδρικούς, καὶ τὸν γρυπὸν βασιλικὸν καὶ τὸν σιμὸν ἐπίχαριν τὸν δʼ ὠχρὸν μελίχρουν ὑποκοριζόμενος ἀσπάζεται καὶ ἀγαπᾷ· δεινὸς γάρ ἐστιν ὁ ἔρως ὥσπερ κιττὸς αὑτὸν ἐκ πάσης ἀναδῆσαι προφάσεως.
At any rate, all those in the bloom of youth, as Plato says, in some way sting the lover, and, calling the pale ones "children of the gods" and the dark ones "manly," and euphemistically terming the hook-nosed "royal" and the snub-nosed "charming," and the sallow "honey-complexioned," he embraces and loves them; for love is clever, just like ivy, at binding itself from any pretext.
πολὺ δὴ μᾶλλον ὁ φιλήκοος καὶ φιλόλογος ἀεί τινος αἰτίας εὑρετικὸς ἔσται, διʼ ἣν οὐκ ἀπὸ τρόπου τῶν λεγόντων ἕκαστον ἐπαινῶν φανεῖται.
Much more, then, will the lover of listening and lover of discourse always be inventive of some reason, because of which he will be shown to praise each of the speakers not inappropriately.
καὶ γὰρ ὁ Πλάτων τὸν Λυσίου λόγον οὔτε κατὰ τὴν εὕρεσιν ἐπαινῶν καὶ τῆς ἀταξίας αἰτιώμενος ὅμως αὐτοῦ τὴν ἀπαγγελίαν ἐπαινεῖ, καὶ ὅτι
τῶν ὀνομάτων σαφῶς καὶ στρογγύλως ἕκαστον ἀποτετόρνευται.
For indeed Plato, though not praising Lysias's speech for its invention and blaming it for its lack of order, nevertheless praises its style of delivery, and because each of the words has been turned clearly and roundly.
μέμψαιτο δʼ ἄν τις Ἀρχιλόχου μὲν τὴν ὑπόθεσιν, Παρμενίδου δὲ τὴν στιχοποιίαν, Φωκυλίδου δὲ τὴν εὐτέλειαν, Εὐριπίδου δὲ τὴν λαλιάν, Σοφοκλέους δὲ τὴν ἀνωμαλίαν, ὥσπερ ἀμέλει καὶ τῶν ῥητόρων ἐστὶν ὁ μὲν οὐκ ἔχων ἦθος, ὁ δὲ πρὸς πάθος ἀργός, ὁ δʼ ἐνδεὴς χαρίτων ἕκαστός γε μὴν ἐπαινεῖται κατὰ τὸ ἴδιον τῆς δυνάμεως, ᾧ κινεῖν καὶ ἄγειν πέφυκεν.
One might find fault with the subject-matter of Archilochus, the versification of Parmenides, the simplicity of Phocylides, the talkativeness of Euripides, and the unevenness of Sophocles; just as, of course, among the orators too, there is one who lacks character, another who is slow to passion, and another who is deficient in graces; yet each is indeed praised according to his own particular capacity, by which he is naturally suited to move and lead.
ὥστε καὶ τοῖς ἀκούουσιν εὐπορίαν εἶναι καὶ ἀφθονίαν τοῦ φιλοφρονεῖσθαι τοὺς λέγοντας.
So that there is also for the listeners an abundance and copiousness of opportunity to treat the speakers with friendliness.
ἐνίοις γὰρ ἐξαρκεῖ, κἂν μὴ διὰ φωνῆς ἐπιμαρτυρῶμεν, ὄμματος πραότητα καὶ γαλήνην προσώπου καὶ διάθεσιν εὐμενῆ καὶ ἄλυπον ἐμπαρασχεῖν.
For it suffices for some, even if we do not testify by voice, to offer a gentleness of eye, a calm of face, and a friendly and painless disposition.
ἐκεῖνα μὲν γὰρ ἤδη καὶ πρὸς τοὺς ὅλως ἀποτυγχάνοντας ὥσπερ ἐγκύκλια καὶ κοινὰ πάσης ἀκροάσεώς ἐστι, καθέδρα τέ τις ἄθρυπτος καὶ ἀκλινὴς ἐν ὀρθῷ σχήματι καὶ πρόσβλεψις αὐτῷ τῷ λέγοντι καὶ τάξις ἐνεργοῦ προσοχῆς, καὶ προσώπου κατάστασις καθαρὰ καὶ ἀνέμφαντος οὐχ ὕβρεως οὐδὲ δυσκολίας μόνον ἀλλὰ καὶ φροντίδων ἄλλων καὶ ἀσχολιῶν·
For those things are already, even toward those who completely fail, as it were, standard and common to all listening: a certain unruffled and unbending posture in an upright form, looking directly at the speaker himself, an attitude of active attention, and a serene expression of countenance, showing no sign not only of insolence or ill-temper but also of other worries and business.
ὡς ἐν ἔργῳ γε παντὶ τὸ μὲν καλὸν ἐκ πολλῶν οἷον ἀριθμῶν εἰς ἕνα καιρὸν ἡκόντων ὑπὸ συμμετρίας τινὸς καὶ ἁρμονίας ἐπιτελεῖται, τὸ δʼ αἰσχρὸν ἐξ ἑνὸς τοῦ τυχόντος ἐλλείποντος ἢ προσόντος ἀτόπως εὐθὺς ἑτοίμην ἔχει τὴν γένεσιν, ὥσπερ ἐπʼ αὐτῆς τῆς ἀκροάσεως οὐ μόνον βαρύτης ἐπισκυνίου καὶ ἀηδία προσώπου καὶ βλέμμα ῥεμβῶδες καὶ περίκλασις σώματος καὶ μηρῶν ἐπάλλαξις ἀπρεπὴς ἀλλὰ καὶ νεῦμα καὶ ψιθυρισμὸς πρὸς ἕτερον καὶ μειδίαμα χάσμαι τε ὑπνώδεις καὶ κατήφειαι καὶ πᾶν εἴ τι τούτοις ἔοικεν ὑπεύθυνόν ἐστι καὶ δεῖται πολλῆς εὐλαβείας.
Since indeed in every work, beauty is completed from many, as it were, measures coming together into a single opportune state under a certain symmetry and harmony, whereas ugliness has its origin ready at once from a single random thing that is lacking or inappropriately present; just as, in the case of listening itself, not only a frowning brow, an unpleasantness of face, a wandering look, a twisting of the body, and an unseemly crossing of the thighs, but also a nod, a whisper to another, a smile, sleepy yawns, downcast looks, and everything that resembles these is subject to censure and requires great caution.