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What follows is a note, a passing observation suggested by the subject, but not immediately connected with it. ‘In this repetition of the same thing, some change must be made in the mode of expression of each member of it’: (the repetition should be made in different words, to avoid monotony. See on the interpretation of this, and the figure μεταβολή, to which μεταβάλλειν points, a full explanation, Introd. p. 326, and note 1:) ‘which paves the way as it were for the delivery’ (on προοδοποιεῖ, see note on I 1. 2). ‘“This is he that stole from you, this is he that cheated you, this is he that last of all attempted to betray you”’. (From an unknown rhetorician; most probably not the author's own.) ‘And again, as another instance, what Philemon the actor (not to be confounded with the Comic poet) used to do in Anaxandrides' Old men's madness, where (lit. when, ὅτε) he says (uses the words in playing his part) “Rhadamanthys and Palamedes,” and also, in the prologue of the Devotees, the word ἐγώ: for if such things (phrases, sentences, or words) as these be not (varied) in the delivery, they become like “the man that carries the beam,” in the proverb (τήν)’, i.e. stiff and awkward, like one that has ‘swallowed a poker’, as our proverb has it.

Anaxandrides, quoted before, III 10.7. The first citation from his comedy, the γεροντομανία, has the rest of the verse supplied in Athen. XIV 614 C, καί τοι πολύ γε πονοῦμεν. τὸν ἀσύμβολον εὗρε γελοῖα λέγειν Ῥαδάμανθυς καὶ Παλαμήδης. On the passage of Aristotle, which he quotes, Meineke, Fr. Comic. Gr. III 166, has the following remark: “Philemon autem quid fecerit in recitandis verbis P. καὶ Π., non satis apparet.” I don't suppose the repetition to have been confined to these words; all that Aristotle means to say seems to be, when Philemon had come to that point, thereabouts, the repetition took place. “Num forte eadem verba in pluribus deinceps versibus recitabantur et alio atque alio vocis flexu et sono ab histrione recitabantur? (This follows Victorius' interpretation of μεταβάλλειν.) Ita sane videtur, neque alia alterius loci fuerit ratio, in quo identidem repetebatur pronomen ἐγώ.” At all events, these were two notorious and well-remembered points made by Philemon in this varied repetition in acting the character which he sustained in these two comedies. There is, or was, a similar tradition (which I heard from Dr Butler, the late Bp of Lichfield, and Master of Shrewsbury School) of the effect produced by Garrick's rendering of Pray you undo this button:—thank you, sir,—of Lear, choking in his agony, at the point of death [V. III. 309].

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