Lysias - Style

Style

Lysias displays literary tact, humour, and attention to character in his extant speeches, and is famous for using his skill to conceal his art. It was obviously desirable that a speech written for delivery by a client should be suitable to his age, station and circumstances. Lysias was the first to make this adaptation really artistic. His language is crafted to flow easily, in contrast to his predecessor Antiphon's pursuit of majestic emphasis, to his pupil (and close follower in many respects) Isaeus' more conspicuous display of artistry and more strictly logical manner of argumentation, and later to the forceful oratory of Demosthenes.

Translated into terms of ancient criticism, he became the model of the plain style (ἰσχνὸς χαρακτήρ, ἰσχνὴ/λιτὴ/ἀφελὴς λέξις: genus tenue or subtile). Greek and then Roman critics distinguished three styles of rhetorical composition—the grand (or elaborate), the plain and the middle, the plain being nearest to the language of daily life. Greek rhetoric began in the grand style; then Lysias set an exquisite pattern of the plain; and Demosthenes might be considered as having effected an almost ideal compromise.

The vocabulary of Lysias is relatively simple and would later be regarded as a model of pure diction for Atticists. Most of the rhetorical figures are sparingly used—except such as consist in the parallelism or opposition of clauses. The taste of the day not yet emancipated from the influence of the Sicilian rhetoric probably demanded a large use of antithesis. Lysias excels in vivid description; he has also the knack of marking the speakers character by light touches. The structure of his sentences varies a good deal according to the dignity of the subject. He has equal command over the periodic style (κατεστραμμένη λέξις) and the non-periodic or continuous (εἰρομένη, διαλελυμένη). His disposition of his subject-matter is always simple. The speech has usually four parts: introduction (προοίμιον), narrative of facts (διήγησις), proofs (πίστεις), which may be either external, as from witnesses, or internal, derived from argument on the facts, and, lastly, conclusion (ἐπίλογος).

It is in the introduction and the narrative that Lysias is seen at his best. In his greatest extant speech—that Against Eratosthenes—and also in the fragmentary Olympiacus, he has pathos and fire; but these were not characteristic qualities of his work. In Cicero's judgment (De Orat. iii. 7, 28) Demosthenes was peculiarly distinguished by force (vis), Aeschines by resonance (sonitus); Hypereides by acuteness (acumen); Isocrates by sweetness (suavitas); the distinction which he assigns to Lysias is subtilitas, an Attic refinement—which, as he elsewhere says (Brutus, 16, 64) is often joined to an admirable vigour (lacerti). Nor was it oratory alone to which Lysias rendered service; his work had an important effect on all subsequent Greek prose, by showing how perfect elegance could be joined to plainness. Here, in his artistic use of familiar idiom, he might fairly be called the Euripides of Attic prose. His style has attracted interest from modern readers, because it is employed in describing scenes from the everyday life of Athens.