 Bringing all these considerations together, Aristotle defines the good prose style, i.e. the virtue of prose style, as follows: “Let the virtue of linguistic form be defined as being clear, for since the logos is a (linguistic, sc.) sign, it would fail to bring about its proper function, whenever it does not make clear (whatever it is the sign of, sc.)—and neither banal/mean/flat (tapeinên) nor above the deserved dignity, but appropriate (prepon)” (Rhet. III.2, 1404b1–4; similar at III.12, 1414a22–26). According to this definition, the virtue of prose style has to avoid two opposed tendencies, both of which are excessive and therefore fallacious: The good style is clear in a way that is neither too banal nor too dignified, but appropriate (in proportion to the subject matter of prose speech). In this respect the definition of stylistic virtue follows the same scheme as the definition of ethical virtues in Aristotle’s ethical writings, insofar as both the stylistic virtue and the virtue of character are defined in terms of a mean that lies between two opposed excesses. If the virtue of style is defined as a mean between the banality involving form of clarity and overly dignified (and hence inappropriate) speech, it is with good reason that Aristotle speaks of only one virtue of prose style, and not of clarity, ornament (by dignified expressions) and appropriateness as three distinct virtues of style. However, from the times of Cicero and Quintilianus on, these three, along with the correctness of Greek or Latin, became the canonical four virtues of speech (virtutes dicendi). Reading Aristotle through the spectacles of the Roman art of rhetoric, scholars often try to identify two, three or four virtues of style in his Rhetoric.