parataxis: simple connectives, little subordination
lexis eiromene (loose or running style)
Anaxagoras
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
Herodotos
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
Old Oligarch
fairly simple sentence structure; little variatio
signposting of intentions
pronouns in apposition to clauses
interweaving repetitions (without word-play)
changes of subject
rhetorical questions
use of second person
deadpan humor and sarcasm
“Protagoras”
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
Thrasymachos
long sentences, with considerable subordination
careful connection within and between sentences
few “Gorgianic” devices to help mark off parallel kola
overall sentence-architecture not as clear as in Antiphon or Isocrates
Antiphon
some use of “Gorgianic” jinglings
carefully constructed periods, with lots of formal antitheses
somewhat archaic diction
repetition of connectives (e.g., touto men. . .touto de)
limited variety in sentence structure
Gorgias
sentences carefully consructed of short kola (kommata)
isocolon (parisosis)
assonance/alliteration/homoioteleuton
parechesis/paronomasia/polyptoton
antithesis
pleonasm
chiasmus
some “poetic” language
elaborate logic
self-conscious “signposting”
“Agathon”
longer kola than Gorgias except in peroration
Gorgianic sound-play
antithesis
pleonasm
chiasmus
plays on meanings of words
metrical sequences
poetic language
logic-chopping and signposting
Lysias
Dionysios of Halikarnassos notes:
purity of diction
ordinary vocabulary
lucidity
brevity
taut and closely rounded sentences
vividness (enargeia)
character-drawing (ethopoiia)
propriety (to prepon)
persuasiveness
charm (kharis)
variation from running to periodic style
elaborately constructed and subtly balanced periods
restrained use of rhetorical figures
overall impression of plainness, simplicity
Isokrates
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
Xenophon
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
Thucydides
archaism (e.g., -ss- instead of -tt-)
avoidance of formal parallelism
frequent shifts of construction/of subject
hyperbaton with key words
unemphatic pronouns/relative pronouns
insistence on noetic (rather than verbal) antitheses
abstract substantives
new coinages, especially compounds
avoidance of personal expressions
density/rapidity of expression
logos/ergon, to eikos, gnome, epi, histemi (kathistemi), etc.
Plato
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
Demosthenes
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