Poetic diction is the term used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry. In the Western tradition, all these elements were thought of as properly different in poetry and prose up to the time of the Romantic revolution, when William Wordsworth challenged the distinction in his Romantic manifesto, the Preface to the second (1800) edition of Lyrical Ballads (1798). Wordsworth proposed that a "language near to the language of men" was as appropriate for poetry as it was for prose. This idea was very influential, though more in theory than practice: a special "poetic" vocabulary and mode of metaphor persisted in 19th century poetry. It was deplored by the Modernist poets of the 20th century, who again proposed that there is no such thing as a "prosaic" word unsuitable for poetry. Greece and Rome In some languages, "poetic diction" is quite a literal dialect use. In Classical Greek literature, for example, certain linguistic dialects were seen as appropriate for certain types of poetry. Thus, tragedy and history would employ different Greek dialects. In Latin, poetic diction involved not only a vocabulary somewhat uncommon in everyday speech, but syntax and inflections rarely seen elsewhere. Thus, the diction employed by Horace and Ovid will differ from that used by Julius Caesar, both in terms of word choice and in terms of word form. The first writer to discuss poetic diction in the Western tradition was Aristotle (384 BC—322 BC). In his Poetics, he stated that the perfect style for writing poetry was one that was clear without meanness. He went on to define meanness of style as the deliberate avoidance of unusual words. He also warned against over-reliance on strange words: Germanic languages Germanic languages developed their own form of poetic diction. In Anglo-Saxon and Old Norse, poetry often involved exceptionally compressed metaphors called "kennings", such as whale-road for "the sea", or sword-weather for "battle". Also, poetry often contained riddles (e.g. the Gnomic Verses in Anglo-Saxon). Therefore, the order of words for poetry as well as the choice of words reflected a greater tendency to combine words to form metaphor. In Iceland, Snorri Sturluson wrote the Prose Edda, a.k.a. the Younger Edda around 1200 A.D., partially to explain the older Edda and poetic diction. Half of the Prose Edda, the Skáldskaparmál ("language of poetry creation" or "creative language of poets"), is a