Note 18 — INTRODUCTION

In the same way, Dionysius must surely feel the loss both of clearness and of emphasis involved in transferring ἡ μόνη ἐλπίς (112 1 and 4) from the middle to the end of the sentence. χάρις and πάθος may cover these cardinal points: “no clearness no charm,” he might well say,—“no emphatic order no full expression of feeling.”