Translated by W. Rhys Roberts
CHAPTER I. OCCASION AND PURPOSE OF THE TREATISE
CHAPTER II. COMPOSITION DEFINED
CHAPTER III. THE MAGICAL EFFECT OF COMPOSITION, OR WORD-ORDER
CHAPTER IV. TO CHANGE ORDER IS TO DESTROY BEAUTY
CHAPTER V. NO GRAMMATICAL ORDER PRESCRIBED BY NATURE
CHAPTER VI. THREE PROCESSES IN THE ART OF COMPOSITION
CHAPTER VII. GROUPING OF CLAUSES
CHAPTER VIII. SHAPING OF CLAUSES
CHAPTER IX. LENGTHENING AND SHORTENING OF CLAUSES AND PERIODS
CHAPTER X. AIMS AND METHODS OF GOOD COMPOSITION
CHAPTER XI. GENERAL DISCUSSION OF THE SOURCES OF CHARM AND BEAUTY IN COMPOSITION
CHAPTER XII. HOW TO RENDER COMPOSITION CHARMING
CHAPTER XIII. HOW TO RENDER COMPOSITION BEAUTIFUL
CHAPTER XIV. THE LETTERS: THEIR CLASSIFICATION, QUALITIES, AND MODE OF PRODUCTION
CHAPTER XV. SYLLABLES AND THEIR QUALITIES
CHAPTER XVI. POETIC SKILL IN THE CHOICE AND IN THE COMBINATION OF WORDS
CHAPTER XVII. ON RHYTHMS, OR FEET
CHAPTER XVIII. EFFECT OF VARIOUS RHYTHMS
CHAPTER XX. ON APPROPRIATENESS
CHAPTER XXI. THREE MODES, OR STYLES, OF COMPOSITION
CHAPTER XXII. AUSTERE COMPOSITION
CHAPTER XXIII. SMOOTH COMPOSITION
CHAPTER XXIV. HARMONIOUSLY-BLENDED, OR INTERMEDIATE, COMPOSITION
CHAPTER XXV. HOW PROSE CAN RESEMBLE VERSE
CHAPTER XXVI. HOW VERSE CAN RESEMBLE PROSE
APPENDIX A/ OBSCURITY IN GREEK
APPENDIX B. ILLUSTRATIONS OF WORD-ORDER IN GREEK AND MODERN LANGUAGES
APPENDIX C. GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL ASSOCIATION