Greek 701: Style Scoresheet

Hekataios

more hypotaxis (subordination) than Hekataios
still mostly running style, but some sentences crisply concluded by short phrases
interwoven repetitions of key words (e.g., perikhoreo, and especially nous)
fondness for doubling and tripling expressions linked by kai

Ionic "brogue"
some Homeric flavor
modulation between lexis eiromene and lexis katestrammene (i.e., between "naive" and more elaborate sentence structure, including "sophistic" antitheses)
anaphoric pronouns
anaphora for heightening of passion
repetition of key words, including linking words
compound coinages for solemn effect

short kola/kommata
repeated words, carefully interwoven, especially at the ends and beginnings of clauses
little suspension of sense
deft sentence-construction, with elegant variations
an apparently loose style where sentences can nonetheless form "rounded" wholes

elaborate periods with isokolon, parisosis, paromoiosis
careful architecture of periods, with longer kola and kommata and greater overall organization than Gorgias
clear signposting in long periods and between periods
careful attention to balance and antithesis
much pleonasm and synonymy in pursuit of balance (though sometimes pleonasm/synonymy are only apparent)
Gorgianic figures used with restraint
pure and elevated diction
near-complete avoidance of hiatus
no intrusion of varied personal emotions
overall lack of substantial variety of tone
tendency to be prolix

clearly structured and "signposted" sentences
variatio of structure and length of clauses and sentences while maintaining basic parallelism
some anacolouthon in emotionally rhetorical passages
some rhetorical devices (e.g., asyndeton, anaphora, alliteration, homoioteleuton) for emotional effect

modulation among various "styles", to achieve characterization by style
absence of formal rhetorical periods with suspension of sense and "mechanical" balance, except for special (often ironic) effect
overall clarity of structure, even in long sentences with anacolouthon, achieved through generous "signposting" and repetition/recursion (i.e., meaning is cumulative rather than suspended)
complete subordination of "rhetorical" figures to content and speaker; elegant and subtle use of (e.g.) alliteration, chiasmus
frequent repetition and amplification to clarify arguments with multiple examples/analogies
unobtrusive variation of expression when the same or similar ideas are repeated, together with a modulation between fullness of expression and ellipsis
subtle interweaving of repeated words, and groups of words from the same root, to build rhetorical/emotional impact
varied vocabulary including frequent use of "poetic" words in appropriate contexts
sparing use of technical philosophical terms
re-creation of "live" speech by anacolouthon/ellipsis/brachylogy and by varied and subtle use of particles, especially in dialogue
vivid and elaborate imagery/use of fables/quotations of poetry
frequent use of epigram

great variety and verve in shape of sentences and in length and relationship of kola/kommata
general emotional intensity
superb talent for invective
constant variation between elaborate periods and shorter, more abrupt sentences, including one-word "capstones" marking pauses and transitions
striking variation of tone/juxtaposition of invective with "higher" rhetoric
frequent shifts in the person(s) addressed
frequent rhetorical questions, exclamations, asides
vivid similes and metaphors
bold asyndeton/anaphora/anadiplosis/polysyndeton to achieve emotional amplification
deft use of praeteritio/aposiopesis
avoidance of mechanical, formal parallelism, even where (e.g.) there is a clear men/de antithesis
skillful suspension of meaning/displacement of words to engage the audience fully in complex periodic sentences
many techniques for compressing meaning, including:
- frequent articular infinitives, often containing complex constructions
- short relative clauses or series of such clauses
- parenthetical phrases/clauses/sentences

To return to the scoresheet menu, click here.