§1.2.5̔η δὲ ῥητορικὴ φρόνησίς ἐστι δήπου περὶ λόγους, ἣν ἐπιδείκνυται παρʼ ὅλην τὴν ποίησιν Ὀδυσσεὺς ἐν τῇ διαπείρᾳ, ἐν ταῖς λιταῖς, ἐν τῇ πρεσβείᾳ, ἐν ᾗ φησίν
ἀλλʼ ὅτε δὴ ὄπα τε μεγάλην ἐκ στήθεος εἵη καὶ ἔπεα νιφάδεσσιν ἐοικότα χειμερίῃσιν, οὐκ ἂν ἔπειτʼ Ὀδυσῆί γʼ ἐρίσσειε βροτὸς ἄλλος. τίς ἂν οὖν ὑπολάβοι τὸν δυνάμενον ποιητὴν εἰσάγειν ῥητορεύοντας ἑτέρους καὶ στρατηγοῦντας καὶ τὰ ἄλλα ἐπιδεικνυμένους τὰ τῆς ἀρετῆς ἔργα αὐτὸν εἶναι τῶν φλυάρων ἕνα καὶ τῶν θαυματοποιῶν, γοητεύειν μόνον καὶ κολακεύειν τὸν ἀκροατὴν δυνάμενον, ὠφελεῖν δὲ μηδέν;
Now rhetoric is, of course, wisdom concerning words, which Odysseus displays throughout the whole poetry in the trial, in the prayers, and in the embassy, in which the poet says: 'But when indeed he uttered his great voice from his chest, and words like winter snowflakes, then no other mortal could contend with Odysseus.' Who then could suppose that the poet who is able to introduce others speaking rhetorically and acting as generals and displaying the other works of virtue is himself one of the babblers and wonder-workers, capable only of entertaining and flattering the listener, but of helping nothing?
προτέραν δʼ οὐδʼ ἀρετὴν ποιητοῦ λέγοιμεν ἂν ἡντινοῦν ἄλλην ἢ τὴν μιμητικὴν τοῦ βίου διὰ λόγων.
And we would not call any other virtue of a poet prior to that of imitating life through words.
πῶς ἂν οὖν μιμοῖτο ἄπειρος ὢν τοῦ βίου καὶ ἄφρων;
How then could he imitate who is inexperienced in life and foolish?
οὐ γὰρ οὕτω φαμὲν τὴν τῶν ποιητῶν ἀρετὴν ὡσεὶ τεκτόνων ἢ χαλκέων· ἀλλʼ ἐκείνη μὲν οὐδενὸς ἔχεται καλοῦ καὶ σεμνοῦ, ἡ δὲ ποιητοῦ συνέζευκται τῇ τοῦ ἀνθρώπου, καὶ οὐχ οἷόν τε ἀγαθὸν γενέσθαι ποιητὴν μὴ πρότερον γενηθέντα ἄνδρα ἀγαθόν.
For we do not speak of the virtue of poets in the same way as that of carpenters or blacksmiths; for the latter does not hold on to anything noble and grand, but that of the poet is coupled with that of the human being, and it is not possible to become a good poet without first becoming a good man.
§1.2.6τὸ δὲ δὴ καὶ τὴν ῥητορικὴν ἀφαιρεῖσθαι τὸν ποιητὴν τελέως ἀφειδοῦντος ἡμῶν ἐστι.
And indeed to deprive the poet completely of rhetoric is characteristic of one who treats us with utter disregard.
τί γὰρ οὕτω ῥητορικὸν ὡς φράσις;
For what is so rhetorical as style?
τί δʼ οὕτω ποιητικόν;
And what is so poetical?
τίς δʼ ἀμείνων Ὁμήρου φράσαι;
And who is better than Homer at expressing himself?
νὴ Δία, ἀλλʼ ἑτέρα φράσις ἡ ποιητική. τῷ γε εἴδει, ὡς καὶ ἐν αὐτῇ τῇ ποιητικῇ ἡ τραγικὴ καὶ ἡ κωμική, καὶ ἐν τῇ πεζῇ ἡ ἱστορικὴ καὶ ἡ δικανική.
Yes, by Zeus, but they might say: 'Poetic style is different.' Yes, in species, just as in poetry itself there is the tragic and the comic, and in prose the historical and the forensic.
ἆρα γὰρ οὐδʼ ὁ λόγος ἐστὶ γενικός, οὗ εἴδη ὁ ἔμμετρος καὶ ὁ πεζός;
For is not language itself a genus, of which metrical and prose language are species?
ἢ λόγος μέν, ῥητορικὸς δὲ λόγος οὐκ ἔστι γενικὸς καὶ φράσις καὶ ἀρετὴ λόγου;
Or is language a genus, but rhetorical language, style, and the virtue of language are not a genus?
ὡς δʼ εἰπεῖν, ὁ πεζὸς λόγος, ὅ γε κατεσκευασμένος, μίμημα τοῦ ποιητικοῦ ἐστι.
To speak generally, prose language, at least that which is constructed with care, is an imitation of the poetical.
πρώτιστα γὰρ ἡ ποιητικὴ κατασκευὴ παρῆλθεν εἰς τὸ μέσον καὶ εὐδοκίμησεν· εἶτα ἐκείνην μιμούμενοι, λύσαντες τὸ μέτρον, τἆλλα δὲ φυλάξαντες τὰ ποιητικά, συνέγραψαν οἱ περὶ Κάδμον καὶ Φερεκύδη καὶ Ἑκαταῖον· εἶτα οἱ ὕστερον ἀφαιροῦντες ἀεί τι τῶν τοιούτων εἰς τὸ νῦν εἶδος κατήγαγον ὡς ἂν ἀπὸ ὕψους τινός· καθάπερ ἄν τις καὶ τὴν κωμῳδίαν φαίη λαβεῖν τὴν σύστασιν ἀπὸ τῆς τραγῳδίας καὶ τοῦ κατʼ αὐτὴν ὕψους καταβιβασθεῖσαν εἰς τὸ λογοειδὲς νυνὶ καλούμενον.
For first of all, poetic construction came into the open and won renown; then, imitating that, losing the meter but keeping the other poetic elements, Cadmus, Pherecydes, Hecataeus, and their circles wrote; then later writers, always removing something of this kind, brought it down to the present species, as if from some height; just as one might say that comedy took its constitution from tragedy and, being brought down from its height, came to what is now called the prose-like.
καὶ τὸ ἀείδειν δὲ ἀντὶ τοῦ φράζειν τιθέμενον παρὰ τοῖς πάλαι ταὐτὸ τοῦτο ἐκμαρτυρεῖ, διότι πηγὴ καὶ ἀρχὴ φράσεως κατεσκευασμένης καὶ ῥητορικῆς ὑπῆρξεν ἡ ποιητική.
And the fact that 'to sing' was used instead of 'to speak' by the ancients bears witness to this very thing, because the source and origin of constructed and rhetorical style was poetry.
αὕτη γὰρ προσεχρήσατο τῷ μέλει κατὰ τὰς ἐπιδείξεις· τοῦτο δʼ ἦν ᾠδὴ ἢ λόγος μεμελισμένος, ἀφʼ οὗ δὴ ῥαψῳδίαν τʼ ἔλεγον καὶ τραγῳδίαν καὶ κωμῳδίαν.
For this made use of melody in its exhibitions; and this was a song or melodious language, from which indeed they spoke of rhapsody, tragedy, and comedy.
ὥστʼ ἐπειδὴ τὸ φράζειν πρώτιστα ἐπὶ τῆς ποιητικῆς ἐλέγετο φράσεως, αὕτη δὲ μετʼ ᾠδῆς * τὸ ἀείδειν αὐτοῖς τὸ αὐτὸ τῷ φράζειν ὑπῆρξε παρʼ ἐκείνοις.
So, since 'to speak' was first used of poetic style, and this was with song, * 'to sing' was for them the same as 'to speak' among those ancients.
καταχρησαμένων δʼ αὐτῶν θατέρῳ καὶ ἐπὶ τοῦ πεζοῦ λόγου, καὶ ἐπὶ θάτερον ἡ κατάχρησις διέβη.
And when they used one of the terms also for prose language, the usage crossed over to the other term as well.
καὶ αὐτὸ δὲ τὸ πεζὸν λεχθῆναι τὸν ἄνευ τοῦ μέτρου λόγον ἐμφαίνει τὸν ἀπὸ ὕψους τινὸς καταβάντα καὶ ὀχήματος εἰς τοὔδαφος.
And the fact that language without meter is itself called 'pedestrian' indicates that it descended from some height and carriage to the ground.