We may, then, start from the observations there made, including the definition of style. Style to be good must be clear, as is proved by the fact that speech which fails to convey a plain meaning will fail to do just what speech has to do. It must also be appropriate, avoiding both meanness and undue elevation; poetical language is certainly free from meanness, but it is not appropriate to prose. Clearness is secured by using the words (nouns and verbs alike) that are current and ordinary. Freedom from meanness, and positive adornment too, are secured by using the other words mentioned in the Art of Poetry. Such variation from what is usual makes the language appear more stately. People do not feel towards strangers as they do towards their own countrymen, and the same thing is true of their feeling for language. It is therefore well to give to everyday speech an unfamiliar air: people like what strikes them, and are struck by what is out of the way. In verse such effects are common, and there they are fitting: the persons and things there spoken of are comparatively remote from ordinary life. In prose passages they are far less often fitting because the subject-matter is less exalted.
Even in poetry, it is not quite appropriate that fine language should be used by a slave or a very young man, or about very trivial subjects: even in poetry the style, to be appropriate, must sometimes be toned down, though at other times heightened. We can now see that a writer must disguise his art and give the impression of speaking naturally and not artificially. Naturalness is persuasive, artificiality is the contrary; for our hearers are prejudiced and think we have some design against them, as if we were mixing their wines for them. It is like the difference between the quality of Theodorus' voice and the voices of all other actors: his really seems to be that of the character who is speaking, theirs do not. We can hide our purpose successfully by taking the single words of our composition from the speech of ordinary life. This is done in poetry by Euripides, who was the first to show the way to his successors.
Language is composed of nouns and verbs. Nouns are of the various kinds considered in the treatise on Poetry. Strange words, compound words, and invented words must be used sparingly and on few occasions: on what occasions we shall state later. The reason for this restriction has been already indicated: they depart from what is suitable, in the direction of excess. In the language of prose, besides the regular and proper terms for things, metaphorical terms only can be used with advantage. This we gather from the fact that these two classes of terms, the proper or regular and the metaphorical-these and no others-are used by everybody in conversation. We can now see that a good writer can produce a style that is distinguished without being obtrusive, and is at the same time clear, thus satisfying our definition of good oratorical prose.
Words of ambiguous meaning are chiefly useful to enable the sophist to mislead his hearers. Synonyms are useful to the poet, by which I mean words whose ordinary meaning is the same, e.g. 'porheueseai' (advancing) and 'badizein' (proceeding); these two are ordinary words and have the same meaning.
