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FRANC.ED IN A CATECHE T I CA L FOR ~A .ND
ABSTR ACTE D J:' HOJ\.f : U L A IR , HO LMES,
STIRLING, &c. AND T II E BEST

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AUTHORS ON THAT AHT .

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< Le qumtcsscncc, a.
q_. \Vhat is rhetoric? .·
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~t·~~ -~lit lll Bt/~e Lt'ttrc, or classical an ng, in every species o~ style and compositio~,
JP aJ J! co111j1os1tw11, C'L•ery attempt tofi . grceabiy to the mosr~pprov~d taste, and hlztate its acquisition cannot hut ,, t a;z entry improvement iii l~guage.
.. • .
a favorable rect>'Jtio~ fi·1
:,nce wtth Q. From whence i's
th~\word,
rhetoric,
<le1
1weral an · l?
P
om
a
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en l zglztened liublic eri1i · ll .r.,
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enrrarred · i· 11; . ' ''I'~cia J1 J ro1n those A. From a Gree w01Jd_\\-vhich signifies to
o '--"
n 1ze 1n.stru,·tzo 11 0.J11' JOU! /.l.
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speak, or express.
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Q. \Vhat is the

rincir.>at:end orrobj ect of

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-A. Its principal end m·-o~jfct is to instrnct~

· persuade, or to please. /
_. · . ·_
Q. What is its chief office ?
.
. A. To find out ·what may be most conducive to persuasion ; · or ~o the pleasure ~f an
embellished and figurative expression.
.- ·
Q. Is rhetoric limited to ·any particular sub~
.
?
'. - .
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. . •
,.
A. No. It atJplies to any subject ' what-·
' 'ever ; wh~ther it b.e_ natural, _or moral ; phi-:
losophical, or divine. ~
·
··· · ·
Q. On vvhat does the highest attainable de- ·
: grce of the art of rhetoric depend ? - ·< - '. :· ••
·· A. On taste, genius, and criticism.. . '1 ·:r·;'.'.,
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Q. What is taste ?.
. .A.. Taste is the power· of receiving pleas~_re,.._ . · ·
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or pain from the beauties, ·or deformities of n
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ture and of art.
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Criticism.
· Q. What are the principle characters or co
··
· ·
stituents of taste, when brought to its mo Q. ·What is criticism ? · ·
.
.
perfect ·state?
.
A. ,True criticism is the applicatioµ of taste
A. They are two: delicacy and correctnes d 'good sense to the several fine arts.
Q. In what does delicacy of taste consist?, Q .. ·What is ~ts design? · · · :- _ '
i·
~A. Delicacy of taste consisteth, principa ~~ Its design is to di~tinguish what is beauly, in the perfection of that natural sensibili 1·; or what is· faulty, in every performance;
ty on which taste is_ founded.
.in every species of literary compositio,n: . ..
.Q. What do you mean by correctness oftaste Q. 1 How does true .criticism proceed . in : its·
A. Correctness of taste respects'that improve per appli~ation? ' . ' '
.. . · ". · · .
·.
ment which this faculty receives from its con ·. It proceeds from particular ',insu.wces· to
nection with the understanding.
. .
. : . . eral principles ; . and, ~radually, 'forms rules,.
· Q. Can you repeat Akenside's beautiful de. conclusions concernmg the sever~l kinds
scrip~ion of taste ? .
.
. ,~~~uty i1:i w?;ks of ge~ius a~~d mer~t. - ~
' A. " Say, ":lmt is taste, but the mterna~ :-:
,. ,_ . , _ _., : ,_.. ·"" :::. ):-: ~- ·
powe1s
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" Active, and strong, and feelingly aliYc
" To each tine impulse ? a discerning sense Q. · \Vhat is genius?
" .Of decent and sublime, with quick dis- ~- Genius , is that talent qr _aptitude which
gu st,
frcccivc from the Creator~- for · excelling in
" At things deform 'd, or <lisalTang'<l, or ·
f o_ne thing \\·hateyer. ·_ · , ·
. ,~ _. ' .
·-:gross
~. Hmv docs it appear that_gcnius)s_diffcr" In spcdt'S r this, nor gems, l_lOr stores
i ~n di1forcnt ptTSOllS ?
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" Nor purple state, nor cu1tnre can bestow; - friahcs; · another for poetry; -arwtlJer: f~r ;~ .
'' But Go.i: > alone, when first his active hand t; :another for politics, and anotherJof:_~'>o;)e' ;~. "-" . ,,
." Imprints the secret bias of the so.~l. ': >.. ~anic~l e1!1ploy~?~.nt: .· ~1 · · •
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sition, must always be laid
the nature of tfoseo:: .
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object described.
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j· .Q. ~What prof~ne au~ot of a~tiqu~ty ~s~~~t '..JI~~ 7
Q: Of w]~at nature are tho~e. obj~cts wh 'iispicuous for instanc~s of ·the su?hme_~~·~· :,~ ;- . : _.,
a?!111t_ o( giandeur and sub!1m1ty m . com ..'A. Homer has, durmg all.ages, been :a?:~-1 ~7
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excludmg such a.s are merely beautiful, gay, f A. His description of conflicting armies·; 'the· "
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. ·
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, .rit, fire and fury of his battles; · the int;o~uc- ·
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Q. How m_ust the object ~e descnb~d?
·of
the
God?s;
the
gr~ndeur
~nd
majesty
of
.
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A .. The ~bJect must be of 1~self su bhme, . s·warlike ,scenes~ are all e~press1ve of t4_e ~ue
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d~s~nb~d With strength, prec.1seness a~ SI. Olime.
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phc1ty. It should be placed in such a light.- .. ·
. ·., ·
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. On Sublimity ~in JfTriting. -. :. \ --~ ·
is be~t caici:Iated to give us a clear and full if
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Press1on of its grandeur '
t·
Q. On what depends the writers or comit Q. \Vhat other qualities pl'~~- nec~~~ary_;, for.
ser's success in sublime composition?
. blime composition? ' - '
. ·;. • ·. <~·,~,; /"' .' ~ . . .~
l A. · On the impression which he has receiv A. Correctri.e.s& aqd· simpl!<:i~ wi~ ·~~.e~...~~ . . \~~~'f
of the object he has described. If his o und essential to sublime, wr~t1p.g1 ;-~:.;.~~;{~f~·-~t- ·>tr' ~ ~.- ;:
feelings be languid he can never inspire his r ;Q. In what d~s ·.:si~pl_icity- ~11d .:,cq!1c1_~~9-!-!~S ~ 1- · · ~ :."~
derwithany strong or sublime emotion. · nsist ? . - .; ,l~. ;;·, .:;....\ :;.~' .· "~~~ ·· ·f, ~ ·.;o'~y· ·r~~ ";;- ~ " ...,"-.,:~7:·~
Q. In what authority are we to look for 'A. Simplicit}r is a prcipe~y;:,<?ppqse~ · ~o _ ..stu- '. .' . ··'_
most strikin~ instances of the sublim.e? .
ed ~n~ pr_ofuse or~ai:ie1}.t; ·; ~gd. c?~~1~~n~,~J9;::·;_ }::~{:
A. In ancient authors, .and especially m perflmty of e?C-press1on.:, . : '··<?,( , ";;~·..; .;~ ,,'". . • , '."', . :., :"
sacred scriptures.
, .. Q.. What is the celebrat~~·.;~.P s~11c;~ · of_ !Pe.. · t .'Q. '\Yhat are some of the most s~riking. e .b lime 15iv~nt1~ by Homer? -. -~?:.1\ r:< ;:~~ t ;. ·-s .-~- _,>
amples m the sacred scnptures?
.,
,,A • . H 1s descript10n of the nod ,~f.Jpp1ter;,. :as ;·~¥: ~ :~
A •. The ~escription of the Supreme B~i ' ~king, t~1.e Heavens,~ h'i\s b~eµ a~T~~~~t~r:?.P.~~ <.•... J4i:,t-~
and lus creative power, are wonderf!lllysubh , ages as wond~rfuHy. suWnpe.·· ·~~: -~";f;·_:·;T!r':·;(1fr.i:~L;
both fr~m th~ gr~n?eur of the object, and;:· , Q. Whether 1~ _rhJ:me~ o~ 1 1?1~~:~--~~~~~~~~~\:;:~\~,;,/
manner m which it 1s represented. "God f? 1vourable to .tl:te suqhm,~ :?· t ~rt· ~.;:,. ·;;~:~~)0 i: n.v-~· ~~;'--:~~
let there be light, and there was light,'', is . f ~
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A. Tlic l~ol~lncs~, freedom, and variety~. It consists in dcgradiiw a suujcet by . a
blank HTsc, is .111fin1tcly 11.10rc propitious tl~an conception of it; or by ~1 weak, low, or
rhyme., to all ku~cl uf ~L:ulnn~ prn.:.try.
'ferile description.
. -~· \Vl~at q11ali~~' , beside~ s1mpl~~1ty an<l c~Q. Jn \\·hat docs the bombastic style consist?
c1scnes> is cssc1.1tial to s:1blimc \\TI~mg?
tA. It consists in forcin;r a common or trilling
1\. Strc11gt!1 is cs,s_c11:1~.1~ to subl_1me "-~iti1}ject out ?r its rank, an~f'attemptin~; to r~1i~e it
Q'. In \\ h.tt clues stJ cngth of descnptJtthe sublime; or exaltmg a sublime object
eo11s1st '.)
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· · · ··
!yond all bounds of nature and propncty?
J\. Jt consi~ts in a simple conciseness, h
implies, abo, a il](liciou~ choice of circ111nsta''·
On Beauty.
ccs, so ~ls to exhibit the obiect in its most
;rnd acl\';rnt;1gco11s point o(\'ic'";Q. \Vhat is it, that next to sublimity, affords
. 4. I _)o writers, in general, entertain corr~ highest pleasure to th~ imagi!1atio11?
.
1dcas of "hat constitutes the s11blimc strk? [,A. Beauty. The emotion wlnch beauty ra1J\. ~o. Some \\Titers arc apt to imagine thS is easily dist~ng~1ishc~l fro11.1 t~1ato~ sublimity.
splcncl!d. words, ancl a sffclli11µ; kind or cxpre~Q. In wl~at .1s it easily d1stmgmshed from
s1011, ns111g· above wl1at is yu)trar,
constitute t!j;lt of sulil11rnty?
0
"uhlimc.
It is more gentk, cilm, Lmcl soothillg; it
q. Is this correct?
tes not elevate the mind so much; but prrn1u:\. No; nothi11g· is more Eilsc.
~a pk:asing scre1iity.
(.{. Gi\·c <~11 example of true sublime?
t-Q. In what other respects docs it differ from
J\. "Goel said let there Le lio·ht aw.I thdblimit\'?
·
\ms light."
n
r,.A.. S~tlJlimity ex cites a feeling- too Yiolcnt to
Q. (;ive ~Ill example of this in false suhlimd lasting: the pleasure arising from beauty a<lA. The Sovereign Arbiter of 11atrn:c, In- tlfts of longer duration.
potent energy of a single \\ onl, conuna11<lc~l tl ~Q. I 11 \\hat other respects docs the beautiful
light to ex ist.
·
.
ffcr from the sublime ? . ..
_.. _ . _
.
_Q. \Yhat arc the fault;.; opposite to the
lt extends to a much grcat~r. \'~t.C:~)'-; 01:.~
bhme?
· ~~cts; almost to· every one Vi_.h~ch_ j!f6n:I~-..: .. ~ -~
A. The faults opposite, are principally tw<iasure tu the eye or ear. · · ~ij -•. i~~;:_.._"-""'.' : i-~.P--;·~~7,-;_:~-- -~· .
the frigid and the bombast. .
~-. Does it not also extend to 'the- ~grace}of ~ · ·-~-- · ~

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A. It does; and also to the scvcnl di. A. · Nature, who is the most graceful opera< c)J),· ~'-j~t·~
.·r, hath .inI all her ornamental
works, pursued
tions of the mind, a 11 tl c,,,~ 11 to
.
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mere abstract science.
ri:icty wit l an apparent. is~-egar~ o, regu anty.
Q. \Vhat arc examples?
i Q. \V_hat other _qt~ahty 111 obJects affords a
A. \Ve speak frecruentlv of a he"Lit"f 1 1o_urce oi beauty, chstmct from figure?
.!
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.
I k'1~1~1, · b e1ongs
•· to
or fl ower; a beautifid poem;
a beautiful
dft A . 1\1 <;>~1011
~ f t I1e ge;it.e
racter; and a beautiful thcorc 111 1•11111 .ltli" . t' lie beautiful ; for when it IS swdt or very IJOWc 11ld l(t f' I
1
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.
hence no \Vorel is used in a more un<lctcrmil u .' sue 1 as,t 1at of a torrent, It partakes of the
sense tbm lx·ant\·.
ublunc.
(.,!. \ Vlnt afle_;nb the most sirn plc instance'.: f-l. \ Vhat constitutes the highest degree of

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beauty?
teauty?
J\. Colour seems to ~dford the 1110"t · .: A. \ Vhcn colour, figure and motion meet toSllll
. any o b'~cct, t }icy rcnler
J its
. b eauty
rnstancc of beauty.
tet1icr m
Q. \Vhat othcT <]Uality in objects affords ~eater, thou~·h more eom1~lex:
an example of the beautiful?
;, Q. \\That is the most <l1gmficd instance of
A. Figure opens a form of beau tr more crnh'.lt ki:1~l of beauty?
plcx awl diversified tli:lll colour. ·
· A. 1 he human countenance.
Q. \Yltat othc1· qualitr cuntrilrntes much ~ Q. In what respects?
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Q. \ Vliat i:-> 1he must .',.CillTal or m ..:\·aili,>eauty. of the coun~cnanc~ d<yends upon, the
111wlit,· in r'.Oll'.'titnt i 1 1 ~,. t!wlJl"llll°i/' 1 ? 1
nystcnous cxprcss10n \d11ch it conveys of the
1\ <'"'t·t·:, 11 · ~,,.
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lndowmcnts of the mind.
1.1c) <1ppcars to r.
tlic most po\n:rful jJrJIWI[)lc uf lJC·1u1,~
B eauty D.J
,/' ,r1
.,.. · · or Compos_ition.
/rztmg
Q. \\ l~e1H.e does tltc beauty of rcg ubrt-._
.
seem to}msc ? .
't~ Q. \VJ1at is chu-actcrised -bv bcaiitv ~of \vrit:~: · ·· ,
A. l• rum the ideas of fitness, propriety alg?
·
. -~0;.;;#~ "-"--~~'fti~~-~~·- - 0,.;;.~,
use ;. such a.s, ca~inet~, doors, ~vindo\vs, &c. r~: ='Beau!y of writing ~~~~~~t€fi~,~~~~~~.,~~~ttr.1f;;~;
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Q. How is t~us ev1deuced m works of

. manner m the turn, either 9f.~tyl~ipr-s~nti~ ;·.~ :1.f;:rJ;'

ture ?

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rnc11t, for \\ hie h somf' gracdi 11 a1 ithors ha~. Can any object \vi th no other quality than
IJ(.'Cll fW"l icu!;11 Jy ;1dmirnl.
~afford pleasure?
Q. \\'hat d(\cs it irnpl_:·?
i\.. Y cs. An object \vhich bas no other qua~
A: It implil's a nianmT, 11cithcr rcmarkabhhan being nc\\·, by that ulone, raises in the
~:ubl m~c ; i_wr 1mcom 111on ly sparl~ling; b ut such_·cd an agreeable sc~1sation.
.'
as ex cite: 111 t!1e reader ~m cmot10n of the geQ.. 'Vhat docs tlus lead to with respect to
~.le , plcasmg; kllld, rc:scmb_ling that ":J:ich a~·is~ro\-emcnt? .
.
. .
~rom the co11tc111plat1011 oi the beautiful ohJcc~. Hence anscs that passion of cu.nos1ty,
Ill nature.
.
1ich prevai1s, universally, among- tnankmd, en~

q . \ V hat modern author is most rcmarkaLinrr them to knoYdcdgc an cl i11for1na1 ion.
for this spccil s ur '\ rit ing (
Q_~ vYhat other effect ban' new and strange
,:\_. Addis:,11, is a :\ ritcr entirely of this clujccts?
.
'
.
meter; and 1~ one oi the most proper examplu\. Nc\v and strange olJJCCts, rouse the mmd
that can be gin'll
it.
i a sudden impulse. Hence the pleasure ,ye
, Q. What .a_nc~e11t author is most remark ab~e ive from _fiction <:n~l romance.
{or the hcautiiul ?
;Q. 'Vhat is the difkrencc bet\\Tcn the emo~
A. Virgil, thou gh often sublime, is also difri · raised by novelty, and that produced by
tinguish~d
a ch~ractcr of beauty and grace~i1ty ?
.
.
- .
(..l. "ho 1s the most cclclJratL'd for bcautv fA. The emotion raised bv novelty is of a
style am on i~ the orators~
"' ni-c lively nature than that p"rodu ccd by beauA. Cicero; has more of the beautiful tht -but shorter in duration; for the _novelty of · _

or

br

Demosthenes, whose genius led him more t object soon -wears away, when it has no -;the sublime and vehement.
farms to retain the attention. - · - ·- ,,
I~
.
Noveltt/.
J '._ ;
.
Imitation.
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Q. \Vhat other quality in nature affords pl{jQ; What affords another pleasure.to_taste, oi
<:J ure to taste?
-~ 'imag-ination ?
· ~7 :. .,p .• __ , _
A. Novelty has been considered by eveli\ •. Imitation.
. '· · · " . . · · .. ~'"~;~
writer on this subject, as another pleasure: 'Q; _What kind of imitat~on?
· ·· - ·\,['~~~:;_··. ". __~
taste or the imagination. ·
· A.. ·All imitation conveys some pleasure to ~:·\;.'. ,,{f
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an su J imc olijccts; but of such as have f
tltc~ beauty nor grandeur; nay' some \\·liicl ~
tcrnble and deformed give us pleasure in}: .
PART IL
combry or represented view.
&
Q. \Vhat other <1ualities g·ivc I,
Tlie Ongm and Progress ef Language.
taste?
P rnsme~.
A . The
pJ'"'
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- . To what ongm is language referred by
.
'--"snrcs o me Ol1.Y and Irnrmo - , .. · "?
hence the charms of poetical numLcrs. und e c '; ~ ite1 s.. .
.
the more conccalccl and loose
:. . . , ·: . l l.1e ongm .o~ la~gu~ge. is referred by
prose.
mc.isui c c wnters, to chvme msp1rat1on ; by others
Q. Are there ::m}r tI , .
. ..
I
the necessities of mankind, in their wild and
<
o · 1c1 c1u<t11t1cs t iat
· ·i·
pleasure to taste?
c1v1 izec1 state.
.
.
A. Wit humour an I .· 1.
;Q. In what manner did language advance to...·,.
'
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t '?
. ,res 1mprovemen . , •
a "di ICtv of })k"lSllt·cs t t· .1 _, It
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o <1s e, a ogct11cr d1 ·A A , r.,
• I·
·
eut from any that have ret been ,
'd, .
· .
pl'.r1ect system was not, al at once, g1.)
cons1 e1e<l. n to man.
Q. Were the iirst rudiments of language ·venumcrous ?
A. No. The first elements of speech, must
- ye been few ; an<l these limited to particular,..

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A. \\That words appear to have been first in
c.;J

A. Those by grammarians called intcrjecns, exclamations, or notes of passion, were
obalJiy the first signs of communication among
en.
,Q. What tended to cncrease the number of
rds?

'A. Enlarged communication introduced new
mes or words-and men were prone to assiilate the name of the object to it~. nature.

/

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22
Q. What would be the nature of the first ef.: .
forts towards language?
·
A. l\ilen would desire to paint by speech t~e:.,:
objects which they wished to express.
· ~~~
Q. \Vhat wouid be the consequence of this?·:
A. That in all languages we find a multituq~"
of words, evidently constrµcted on this princl~
ple.
Q. Give some examples.
A. 1. Thus a certain bird is called a cue- .'
kow; or whipper will, from the sound it makes.,~·
2. A serpent is said to hiss.
3. A fly is to buz-a bee to hum.
4. Falling timber is said to crash.
5. A stream to flmv: and hail to rattle.
Q; To what state of language may this assi--~
milation of words to objects be chiefly rct<.~frccL-­
A. To language in its ipost s~~i?J;c'~~rfid carlr..
state.
. . \ . ,{! ,;; -::;,,r;,/
,./:;.Q. \Vlpt w01~1ld 1\a~l _, a_IlyJ)e ~he consc;qutlic~~
of a more extensi\:(:: .\-;{.)frimm1icatio1i" by la1i-'
guarrc?
.· ,.· >. ~:,: .
·
·

A.

As the fn1ii,t1ii1. ~ of.-tcrms cncrcasc ii(
any nation, . th9.cv&.,;t {,1i lk' of language is filled~.
up bythed~~i~ations~fic1 cornpositionsof ''urdsi;
from t,h$if'/ '}Jrirriitive_ 'source; an<l hence all r. e-~
.
sen~blaf_e e begins to be lost between the sound
_and tl thing signified.
. vVhcn did language begin to lose that fi.,
gurative style which \Vas its original characteris\
tic?
~ :.
A. vVhcn in its progress it became more co~~

2.3
;; ious, the vehement manner of speaking by fi_
_ures, tones and gestures b~came less generaJ.
._y.Q•• \i\Tho were the first mstructors of manmd m lang·uage ?
· A: The poets.
. ·
,
- r-~Q. 'Yho s~cceeded the poets? ·
.t:A.· 1 he ph1losophers, . who on all subjects
. _tro<lu~~d that more plam and simple style of
:compos1t1on, called prose.
~-~~ Q. vVhat was the consequence of this~
' ::A~ 'f'hat the an'c ient m~taphorical dress of
. ""'.,- guagc was, at length, laid aside from the · ~--~r~~lirse of men ; dnd reserved for those oc...10ns. only, in which ornament Was professedstnd1ed.
,
·
·

I

..

Style and Composition.

·. ~Q. }Vhat is style?
_/,.f1,}_ It is a parti.cular .man~1er by which an au·-, pr. exl?rcsses lus concept10ns and ideas, by
~~ans ol language.
, .
·:{, Q. From whence is the term derived ?
,;·'.} · From the instrument which the ancient
~ ..omans~uscd instead of a pen.
\~Q. · \\!hat may s~ylc be' said to resemble ?
-_:;_.J:i.. : ~ ~t i~iay be s~ud to be a pictu re of the ideas
~Janse 111 the mmd upon <my subject.
.,. ·
,:J~· vyhat arc ~l~c qualities of a good style? :.~.:.. ,,1 he quaht1es of a good style may be
,,:. k:.~ ~n<lcr two heads, perspicuity and oma•
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\ . Q. Jn what respects should perspicuity clai~\ -~\ 1_-: ·A. If disorder happen to arise in ~ome of our
'attehtibn 'P
'1: ·-"""~ sentences, we should be able to chscover and ·
: :\ \\ -A J!iFirst--To single words ancl_ phrases-::> "'}/immediately correct it.
.
'.; ~\kt\ri~o'~vly, to th~ consti:ucti01.1 of sentenc~s.~ ; ~ ~~~i., Q. vVhat are t.he properties most essenti~l to
~. ; ' .'~~li~t does it reqmrc with respect -~t~
·perfec~ sc~1ten~es? .
.
.. .
_
1vp --~
'c\pl.1rases?
..
. ~:
. ~;_r:A. fhc properties most essential to perfect
\ · "' ';:. t,_' fyq-h1ire~ t~1~se three qualities, pun~-- :'.Sentence_s, seem to b.e .the.four foll~wing::. · 1st.
pt;o . . _~ ~P~ pt ec1s10~.
..
~Clearness and prcc1s10n , 2d. V anety ." . 3d.
"" - __~
· ·' 'at\does purity of style consist? ·~. . __:_Strength ; 4th . .Harmony.
~--"-·l_ _-_\o_'~ styl: consists in t~1e :tsc o_ f suc_li ~_.. ~_,-~-~ Q. \.Vhat is the ptincipal rule- for -at.taining
wor~ ~pl'l?tructiqns, only, as bd?ng to tll,· ~\'clearness of style?
id,ioi\\''·_ :· _i1l\1. ~-\) m~~e - · '~hich we wnte .. ·, ';
··~_ A. A principal rule is, ' that the words or
/ Q"',\I ~ - 'tf~ . ct, · ~ - opn.ety. of str~c consist.•; _ , e~bcrs, most closely related, sh?uld be plac1 \ . · , ~ 1'- ·_ .
persp1cmty of style consis~
d m t~e sentence as near as possible to make
ij11 ' t · ~ ~ 0 · ,;~.
i words as the best and mo, _
eir mutual relation appear.
establl.,t cl'. - " -i;., - as appropriated to tho.: , Q. vVhat is the second rule for -this puride~s ,\h 1 - .··~, Aid to express by them: .'.~, __pose?
;- .. ' . · 1 • _ .
1
A. J·n at •
recision of style consis~t, .1~1A. Great care is necessary when any -circumA: · B i ' ision\j -yle is derived from " Pf;:- , ~tance is interposed in a sentence to preserve it
cid~re ~/ to \~nt ~
and ~ignifies retren:lllJJ
fioni ambiguity.
. .
· ,.,
all Sll erfluitit;s; . ~1 -' )rtmmg the exJ1 ressi~n .
;'Q; vVhat is the third rule on this head? _:'sentence in sdch a 'trl nner, as to give nc~t , - l~ A. Still greater attention is necessary for the
/..- ~ore nor less 'U~an :1~e-xact copy of the 11t~· ~_ ro_-_per disposi_tion of adverbs and relative promtended to be convey ·
, .,_
:n,ouns.
'.
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''~. Q. What is a ~econd quality of a well arrangStructur~o Sentences~
~
'. s~ntence?
,
.
A: Unity: this is an indispensible property,
a habit of ex pre_'
Q. How may. we acquire
every
nature of a sentence implies one propo.
. . ?
l!
ing ourselves with persp1cmty.
.
·1 ,
.· ~;,<:m; it may consist, indeed, _of parts; but
A. By attending to the rules wluch relat?' "tJiese parts must be so connected, ·as to make
this part of style.
.
,;
i impression on the mind of one thing or senQ. How may we, in particular, attam to_~
not many.
.
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c
spicuity ?
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_· ._ ed ~·. \.Ilf w
the unity of a sentence p1csc~·1·/ __,;Lrisejnthcir importance ~boyc ope apothcr.
·
· · ·' ·
' - :~- f Q. \Vh~1t is a fifth rule ?_ ·,
_,
y · A. ~~'fti.voiding to ~roud into it thi1115s whi; __ ~: .. 'i.:1-\:' A " fifth rule is td avoid concludinfs with
,l' have ;~o,tl,lH~c :011nect1on, that they might be r ;;. afiJldV,ei'!), preposition
a1ly insignificeint ·word.
:./ to. bep~v1ded mto two or more sentences. , . · ' · ~
•:
;
~
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f1 1, Q~ .~i:\Vl~nt is farther necessary for prcscrvin ·,:- J -_-_
{
Jlarmony ~ 8e11t'o-~1cf's. '
. ' the. unitJ' of a sentence ?
, .
.
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To _keep clear of inserting a parenthesis in _ . A. ~Vhat is to be .tonsiclcrc;tl for prompting
/~ht>'hudcllc.
.
--;--'. i."' the harmony o[ sentences?
:
l
/ ~ Q. \Vhat is the last rule on this head?
:·: / A. First agreeable sound, ;Or m0<Julatiqn m
/
A. Ta· bring the sentence always to a per. · jif general.
I
_:
·;, ', t
_dfc.~t~ clos7, and to add nothing by way of appen. :~'/ r. Q. \;\That is to be consiclei'Ccl in (he \~qond
:~:: place ?
:
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- · Q. ·-.\'Vhat is tlhe·third quality of a corr~ct sen;· i::_~:..~~ A. That the sound be :so ord~~p.J as to· betence ?
j/
-~;~ -···_come expressive 6rj)le sen~'e .. ;.:.,,.•·;~-~_, \ \
. A. 'The thirtf{quality of a correct sentence Vi _:=-_:~-~-~:': Q .. On wha~. _do_·-~
'-_-.- --~-~--be:_
"o~·\ mlisi_
ca.I c-o- n~
strength, or st\nt1 a disposition of the scve · --;::" tructlon cons1'{ist~·: er / -·.-,. 4
~.
words and rner'1bers as shall exhibit the sense '.;it.·,_,; ·-A. -I~ clcpen_·. - ~ ·__: ';1~" choice ~ncl \:~rrangeto the best advai1tage, and give every -word and ·,;--· ment of words-( . '. l' _,.,. :
\
~
«:very member its due weight and importance, ; ~"\'-..: Q. \Vhat:I2i~it"15f wbrds are most pl~asing to
Q. vVhat is the first rule for prom_o ting the / t 1t car?
l ~.i
- ' - ·, ·
strength of a sentence?
. ~'" /\.. Those w~hich arc composed of :smooth
A. It is to pay particular attention to the u~ : , . id liquid soumls, where there is a µrop~r interof copulatives, relatives, ancl demonstrative pai'· )!i' inixturc of vo-n-els ancl co131s01 ants.
-, tides.
· :£~-. .- Q. \Vhat .sort of \n)rc_t· arc generally the
Q. \-Vhat is the third _rule for promoting: ,, - ·ost hunnoiuous ?
·
.
- .~
streng'th of a sentence?
::-.
""-: -1-\. Su di as are most1ree from harsh consoA. It is to dispose of the principal word·:~
.
l~ng _wordy'iire generally , more ylea- words in that part of the sentence, \vhcre the
._p.:P.:o the ear· g1~1.1 ?101:osyllal~lcs, an<l il_1e~e 1
will make the most striking impression.
'.,_
-~·the most mtts1cal ·which ·are C()mpos~d of
Q. vVhat is the fourth rule for promoting;_
L~g and short syllables~ .
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Q. \Vhat is farther necessary for
_,A_. --The whistling of winds; the buz and hum
ny of a .sentence ? .
•C"
f bees_; the hissing of serpents ; the crash of
A. Should the ·words of a sentence be ev~fi
lin<~ . timber; in which the word has _bee9s~ harmonious, the music must be entirely
lain~~ _ constructed from the sonnd it repre~ ,
without a skilful nrranp;crncnt of the words. "''""'""""'.,
J
Q. "''.hat is an example of :.111 harmonious , Qnt.s~Vh.at is the second class of objects in which
~;-cnlcncc?
·
·
?'. tl}e_sound of words is often implied as im1tat. .- ing?
- ~"A ~ -;l\tlotion, as it is swift or slow, gci;~le= ~r
''\Ve shall conduct vou to a hill side
iol~nt,"miiformor,interrupted. -·
11
laborious, indeed, at the.. first ascent, but els~ "-:· Q. How is this explained?
" so smooth, so green, 50 fi.ill of goodly pros- \ .· A. lt is evident from the connection bct\veen
" pccts and melodious sounds on every side-- -~-_ niu~ic find dancing. . -- ,
•' that the harp of Orpheus was not more charm~ . ·'·:::. Q. ,, Vhat effect has this on poetry ?
" ing."
' '{5' _A. By the help qf corre_sponding ~ounds, the
Q. On \Vhat does the harmony of this
.
can give us a lively idea of the kmd of motcncc dt·pc1HJ?
. ·- 'onl1e \\'ould describe.
_ __ _
A . On the words being- so well chosen, ;)nd........--~9 ;:~ \ Vh<\t is the efft'.l;t of long syllables in-'t!:i_s
{>0 h~ppily arran~-cd, that 110 alteration could be ·
~pect ?: -· · · ·
..
.
m~df' withont injuring the melody.
--;1.A. Lonrr svllablcs naturnllv exc1te the idea
~~~-- slow n~t;on as th is vcr~e of V r R c I L , "'
nTJ!li inter sese magna vi brachia tollw1t ?''_OJ' t/1e !zigher species qf /-Iarmony.
' ~. , -H~Q. 'Vhat is the effect of short syllables? <
(l. How many classes of objects TllD) the::-A. Short syllables give ns an impression of
fioun<ls of words, be employed in describing? f
'ick motion,~ as, , " jugit interea fugit irrep~*
A; ,Thre~-~ st. Sounds ; . .2d. Motion, and
bile .tempus." , -T~1e works of Jiomer and
Sd. I he emotions · and passions of the tnind,11
'[. abound in these beauties.
.
:
.
Q. I-Im~ is this explained?
·
1 ~:
lt~Q. ·What is the third .kind of objects which
A: In most passages it will be found that th-:
'~~~sound of words is capable of representing? '
names of many parti~ular wor~s b.ear
~fi .' Such ~s express. the passions .; . _
o r .~n,l:psemblance to that wluch they s1gmfy.
··ons ·of the mind~
, . · , . · ,.,
·
.;,1.;;; ._
Q. What are examples?
\ !Q: W~en . pJ~asure, joy, and ·agreeable. ob.
t / ,.
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I

,·

30

' ,31

-jects are described, of what nature is the . {~
guage?
A. It naturally runs in . smooth, liquid,. 'a
flowing numbers. ·
Q. In what language, or diction, are bi:'~
and lively sensatiOns expressed ?
' ,••
A. These require more quick and , animat~
numbers.
Q. In what kind of measure are ·melanchol
:·
and gloomy objects, naturally, written ?
A. In long words and slow measure.

Example. ··
" In these deep solitudes and awful cells, .'
" \'Vhere heavenly pensive ... cortemp~ation
' dwells."
·
: ':,,
Q. Where may instances of all these d.iffer~
kinds of sentiments and corresponding die · ·
and measure be found?
.
.:\ . In the best authors, ancient and mode~
t

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.Origin and Nature of Figurative .l.Anguage•. ·
-\

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..

j

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Q:

What is meant by figurative language ?·
~. Figurative langt.mge, or figures, ·;may be
firted that kind of diction or language :w~ich
. ~g·g~ste?· ·~ither by th~ . i~agi~1,~tion, · : 0~; ~he
i 1 ,.. . ' "l
'
.
•
•
,fl,
S 01 S.
·
,
· l
I
Q{1~ How ~re figures commonly di~ided? · ~· · ·
.A. :· ~nto two great classes, figur~ of wo!gs,
a~figures" ofthoughts5 ~ ' 1 l ; . , .. ·,r• :: <_:~" .
Q·,:·i What are the former generally'c~lled?· __ ·
~f i Tropes ; and are · constitu~ed by tµrning
. \~ord l frofu. ?~ts ''original meai1ing-~tb)igi1ify
mething differe11t,
~\ ·;~~·: ·.
1

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• '

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. "· • '·· : ;

! , ', "·

:~·

;,..
1.; · •· ~
.

· Example.
. ~ . J:i.r .'
t ·"
• • . :H . · · ··•· ·
> . "· · ·
t1 Light ariseth to the upright in darkness.'~ ·
Q. What are ~he tropes in this senten<?~ ? .
{ft. 1 Light and darkness, are turne8from their
' ' inal meaning, to expre~~ comfort.in·a~v~rsi..
to ·which conditidns of' life ithey ar~.st;tppo ...
.fo bear some resembl~ce~,,.._.. ·'.;hUf~ i· 1h.N t ·:-r' ~,
Qi' How is che :other c~ass of. figures 1disti.n... · ··
•' h.ed' nr · • 1 . · tt~ )t°r.~
' ., • 1• · ' It\•;.
,. ~,,;,~1\,· ,, .\
'\I '
1~ ~- """*;i-. H"tl cni·J' 'J "" , r, \.. 1 t .
~= Ii is supposed that the figure .c~ns!~ts~j~ :_ ·
s~~ti~nent ·o!11J!! ·wh~~st.~he ~wor~~':' ~~e·;~~~,.._·
~~~1 htera,~ s,1~1:fication. h 1 ·r;: .. .;;"·· ~~ : t • J!i.,. :· . · •
I'

d .

.J.

....

;

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,

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1

33

32

Q. vVhat arc the principal figures of words ( <~on ; but b~cnusc the lze~d is tl~c principal part
A. l\1ctaphor, metony my, synecdochc, hy., · oit!ic human ~gure, and is cons1dcrcd as clirectperbole, &c.
It!;: mg all the anunal operations, it ' is used as a
Q. \Vhat are the principal figures of thought} . Y~' when we say, '' Cataline was the head of .
or sentiment?
·
, ·~t
.,party; "
.
.
A. They are prosopopreia, or personific ation;: ..
v\i hat are son:ie of the leading· advantages
apostrophe, exclamation, interogation, vision' <£~ 1 ~/h. language derives from tropes ?
simile, allegory, climax, comparison, &:.c.
\·:. - _'!>.. By them _language is cnrichccl and beQ. \Vhence do tropes derive their origin ?:.( .~~nes r:1°.re cop10us; word~ and phrases are alA. From the barrenness of language; .bur ,'fO,multiphed for the expression of every species
more extensively from the influence which . *
Jdeas ; . and they serve also to describe the
imagination has over every kind of speech,' gb ·,0.st de!icatc shades and colours of thought,
expression.
•
. .
ch without th~m could not possibly be ex . .
Q. How do figures arise in the imagination
~sed .
. ;
..;
A. ·The imagination never contemplates .an·
1·~· _W hat other advantage does language deidea as single or alone, but as accompanie<l1 ij·
e:from trop~s? . ·
.
. .
other ideas, which may be .c ons idered as its~
~ · They give chgnity ~o style and composicessorics.
' 1:1 tJ
and have t~e same kmd of connection with
Q. How do these accessory ideas operate '::
-elevated . sub.1cct, as ric~1 and becoming apthe mind?
·.: eJ has with a_person of dignity or merit.
A. Often more powerfully than the princip ;~i_Q. I~ ~gurat1ve l<inguage admitted into prose
·. o,mpos1t1u11 ?
idea itself.
Examples.
" ;·· :t~, _11~ prose, it is often re111isite; from po~cc The Roman empire flourished most und ·;
_:'_it is mscparable. ·
Augustus."
, .
Example.
Here the word ' flourished' is borrmvcd fron\ '~: . o say the sun rises is common; but it be~
the flourishing period of a plant or tree; andf . mes a magnificent image, as expressed by
constituted a trope, e.xpressiYe of the highest ':· .. ompson.
and most distinguished state of the Homan cm~ :~:;:". Y0 ~ 1 der comes the powerfol king of day repire at that time.
: ~'1' _1cmg m the cast."
.. . ·,
Q. What is another example of this kind ~
R~. ! Vhat other advantages are~g~rivcd ·~iJi!;::::A. The leader of a faction is· a plain e~ pf ~
.J ahvc language?
··,,- . >~7~2:_-s.i'

9·

r;

:

Example ji·om Dr. l oung.
· '' \Vhen we dip too deep in pleasure, w(
ways stir a sediment that remlt:rs it impure~ ·~
noxious."
Here the resemblance between a mora1.
sensible idea, serves like an argument from ' ·
logy, to produce conviction ~nd to enforce w
the author advances.
· ' '/ · t;~
·. Q. On what are all tropes founded ?
., A. On that relation which one object bea ,
. 'another, and hence the name of the one, m~ ·

:;·· . .~c":hat is the next. species of metonymy?
-~~' ~\:here the effect ls put for the, cause. -, ··..

.Example; . ~

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37

36
0

Examj1les.

~~m
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.:

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. _
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·~~~.--~
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Synecdoche•

· - " ' ' Ille impiger hausit spumantcm J1at~r "
__
n
· ,.
• •
• - ,. ;
-~ i_.,, •
et jJleno se proluit auro."
-~ . Q.._ " ll:tt is a Synecdo.chc?
.. ,.. u
.
.
. . ,, · -_ ~_,__ . \Vhen the whole is put for a part; or a
'' He quickly quaff <l the golden cup. &e: _, rt for the whole; \.Vhcn ~~ genus is put for a
Herc it is obvious that the cup and gold art ~- s ecies, or a species for a gc_nus; the singular
pnt for the liquor contained in the ~olden.~~ ~ t_p..!?er for the_plural, ~r the plural m~mber-for
The name of a country ig often J;mt for the m
·~mgular, the figure 1s called _synccdoche. ~bitmits; and to pray to heaven, is the same as
··
pray to Goel who reigns in ~leaven. .
·
ltfetaplwr.
Q. What is another species of tlus trope(
A. The relation that subsists between t-==- On what is the metaphor founded?
.__,.. . lVIetaphor is founded· ei1tirely on~ the rcl·
sig:n
and
the
thing
significc
· one obj -ct bears to another ;
._,
' _&elilbl ance w Iuch

! WI ":i!i'iii' I

-

;?;;.__Ji'uit
Ilium et
.
. ingens gloria_ Teuc~'rum./?_:
.

-_

Example.

:i~ ~early · allied

to si1nile or.comparison. __: ·
-

r-

-

_.;,;=-ii : .. ' '. .i".Ccdant arma togtr, conc~dant laurea !ing;l'fr
_. " .. ___
· Here the toga which is the ~adg:e of the~.d
,_h~~ we say of agreatl11an, · ~, t1idrli'e° ~1p1
5
profession, and the law:el wluc~ . that o~::.
' ds the state, like a piJiar that- supports'the
military, are each, put for the civil ancl nuh!l&J;.e~)lgh~ of · a massy ·,~<:J:i~s.e," it,.~"' s~~ile_, - or "
ry profession respectively.
. .
."
)an son ; but when we ·sav of such,:a man
Q. vVhat is a trope called when it 18 fou..
is ·the pillar of ,.the · state:'.~{ ifi
a·
ed on the relation between an antecedent a~?,
__ . phor.
.·
~ . ; . . . · ·,~-:~t·?. c. · "t'; '" 1 .....
consequent?
·
·i.
. ~' Wh?t is t!_i~ character .o f the_'~f~Ph.or ~ ,
1
A. It is called a metalcpsis.
N o figure approa~!ies ~earer t~,~~~nti~?; :

becomes

l
Examp e~ ·
As when the Romans used to say, fu itf
vixit, to signify that any thing was dead, o~'..
..
more.
~

1p

Ahe_metaphor.. . .,, _"f' .·: ~ ..;: · -. .1 -,;~ ~ T ~ . .
.;g~ves light and strength 'to description; lt,/ '
..~_s :~ntellectual ideas, in some degree;;.t;ij!hlf .
/ ~.eY.e, by. gi.v!ng th<:µi col9.u~,_ , s.ul~s~~~~e.;\~/~·.
· se~s1ble qualities. . .
,~ .,, ~ ' '
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-. Allegory.

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42
" But would forsake the ship and make the_~;~
shore,
-~
" vVhen the winds \Vhistle and the tempests..•~
.
roar?"
.- ·:.oi

44
Example 3 •

.

"He. roar'd so loud, and look'd so wond!
·-·-

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gn~n,

,' His very- shadow durst not follow him!}
Example 4, ~n a Bull-b~ating. ·.

'' Up to the stars, the ,sprawling mastiffs_ .
" Ai1d ad:d new monsters to the frighted ~
.
·: SWIFT'S wo.R,K
•

~ -4l

Prosopopreia or, Pe~so~ifi;~?tion<.";

"

Q. What is the nature and use of this fig:
A. By it life and actio~1 are given to inan'
objects.
·
·
_ ,
Q. Is it applicable to any<particular sp
of Poetry only ? ,
. . ~-·)
A. No; all poetry, even in its most hH.
form, is much indebted to it. · .·
Q. Is it ever introduced into prose~ .
A. Y cs : And even into common conv
ti on.
.
.
.
Q. Can you give any examples of this?~
A. When we say the earth thirst's fo~~
the field~ smile with-plenty; -when ambitio"
said to be restless; or a disease to be deed
such· expressions .shew the facility with :iv. ·
the mind accommodates the properties of li:
creatures to inanimate things.
· ,•
Q. How many kinds of this figure ~sit Ii
sary to remark and distinguish.?
"
A. Three. ·
Q~ What is the first?
~

46
A. Yes : Cicero personifies th<: laws i? (r
.execution of justic~,-as presentmg !h~ g.
ernment with a s\vord to put the crnnmhl.
death :-·His words. are, "Ali~uanclo JY! .
"gladius, ad occid~ndum Ilommem ab z

porrigitur legibus.'' . "'
·:
. i.
Q. What is the th1ru and h~ghest <legre

this figure ?
.
. ·.
·. ;·
· ' A . The third ·and highest. degree of} ,
figure is, when inanimate objects are represe~.
as not only foeli~g and acti~1g, . but as spe~~
i to us; or hearing a~d a~tendmg, '\yhen we a~,.
•ourselves to them. .
,. 1. ,
·Q. What is to be observed of this c}egr$~
"fi . ~ .
pers~m cat1<?n ~· . ·
,· . .
'}
A. That it is the boldest of all fl.gures~
the style of str011g pa,ssion·; .and, sh?,uld _n
be attempted; unless .the. mind is µmcl~. ~ ,
and agitated.
.,
. ·•··.
. Q. What is to be observed in the ' p~
management of th~s kind of personificatio~t
A. Two rules are necessary.
. J , i•,
Q. What is the first ?
""
'~
A. Never to attempt it, ~nless. prompted,
strong passion ; nor to contmue it longer ._
that passion subsides. ,
' }1
Q. What is the second ru1e ? .
. .
A. Never to personify an object w.h1ch
no dignity ; or is incapable of constituting, a!
per figure in that elevation, to which it is r~I
Q.' Can'you give an example of that sp,,
of personification, last mentioned?
1•, ,"
1

--- -.

...

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49

43

ed-and wl~en the speaker,_ or writer is <lisp." :.,,t.;; A:- " The actions of great men are, like those
ed to turn h1msel~t~ any thmg that may sui,tE
;:tivers; the co~trses ?f. ~vhich' .ever)r 'one 'be~
purpose-to the hvmg; or to the dead; tq_ · '. Bolds,; -~u~ ~heir ~ourc~s . h~,/~ .~ee11i" seen ,by
gels, and to men, to rocks, ·groves rivers~~
~rew. -·
·
·
··
· · · · v • • :· •
floods.
.
'
. ,,_
!; ~-·-- " She never told her I~·ve'T.n· .,
_ Q. Can you give an example of this? ~~,: - ~.But let concealment, like worm i'the bud,
A. '' 0 woods, 0 fountains, hillocks, -dal_·_·_·.,,
"Feed· on her damask- cheek: she 'pined in
or bo\\·ers,
,
thought, · - - · · · , ·
: : '~Tith other cc.ho late I tauf;ht your sha~~ "'" ~; An~ .sat, like pat!ence on a monument,
1 o ansffcr, and resound far other song.t «.. ' Bm1lmg at gnef. '

a

.MILTON. · ;~.'-~ ;-

.

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'

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f! ' RHU

,, - ·~- - ··· ---·

,

•

•

SHAKESPEAR.

Q. \Vhat author abounds "·ith Leautiful ei .;~..f:Q. vVhat is necessary m forming comparisoi1s of this kind?
nmplcs of this figure?
~- -· ~A.t: -<lr:crdspicui~~~~d-~~_EuJ~~~~j~~~l\ie_~y to
A. The poems of Ossian.
--i_,,-.,.
-·- .ue S U lC •
, .
.
L
:Q:
For
_
what
purpose
are
emb.dlishi;g ~0~1- .
E.1:ample.
·- - ~~isons 'to be introdl1cecl? ;. *t~ i~-~-~- ~ii·~~ ' ,,~
" " ~Veep o.n the rocks of roaring ,\cinds;~:-.
_:.A:· To ftddr1~'. tiie ·st:tbJect ;:;ar1d·iri~ cy~t)f·~J]ocf- ' _:~~& ·
maid of lmstore ! Bend thy fair head overf
~·1;compositl611/.C!oiripfu-isons of this:kind inost
:: waves? thou fai~er than the ghost of the '
J pently occur. ·,j ??•.,-..:_4:4~i~::r.·;:.~,q, . :~~~~1· 1; 1f~~. ·. ·;
when it moves ma sun beam, o'er the silen
.• \_•What·is 'further.ne:~essa.,nri,<>. f?e.:?b_s,e_.rye.d ., -- -~. ._~- " of Morve11."
·
'.~-.Ql
·· . '-·it,_·_.'~ -<., :Jr.~.- \~l}"'-,.·::'{-;
· · · ;•:'
- "
)thr regard to comparisons?1-~,,.,.v~
.
j\.P Comparison' b'¢fog'·a' fig~:ire· of ':dignit)l, it
r

Comparison.
.

tjllit~s '. ~?me . . ~le~atio!l.:.or: ~~hjeef)i~; 1!1~~ :~t .
1
>)~'>~· ~>f ,..,.,_.. •,i, •~'.i•" .

-

omplete~ 1-i.-' · 'Q · J» .j:. !! : \ '..,. ~ ·• r h

Q. · \Vhat is comparison?

A. Comparison illustrat~s oi1e thing by'
~~mbling an? co~pa~i.ng it to another, to w ._. i
•' "if has a mamfest s1m1btude or relation.
:
· Q. Has it not a correspondence ~ith tht .taphor ? .
.
_
'->
; A. It is much more full and,circumstanti
Q. Can you give an example of this figu .- ,lJ!

. ,: ~~:-Fr?~ w~t so'urc~· s~~~~?r~~mP.ilri~p-~~!J;e
¥1

wn?
"·

.H 'r ,. ~, W.1f'',U~ ,., ··~.. ?. u.;.i.,._,;,_;i;f ..i{\1-t. ,•V :~
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"· .f':.'; They ~ug~~~~~~ t<? h,~ .tak~~ Jr.C!~ ~bj~c~ ·
· .. .t1:~~ye '. to9_ clo~~- ~';r~~e~o!~~c~. 1t?'~~: ~t}j~~t
~~1ch they' are+cofupnred•~·~1--~~ t~~

"'n -f~..f~;)

-~. Q. - For what reason? 4 --, :--~:t~
f A:. Because the pleasure we ~receiv~ from~~

·!+~ ·•'

·

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, ~ . . , · ~·-.,!'~ ,;.
o

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50

!t l
'

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..~ ... ! .

.

.11; , . . . .
•
act of comparing, arises from the resemblance
t . .
'·
't
b~tween things of a different species, where y{
.,~~ ..'...~ ···
~ .Antith~sis. ,
.t~ ·"
did not, at first, expect any.
- J,
r;;: · ..
. ··~ < ' • 1
.: ~:'~ i'·i
Q. What is farther to be observed in formin ·
·~Q:-~.What is antithesis? ·• :· _ .
. ~ ..
comparisons ? ·
~,
if.A. Antithesis is founded on the contrast or
A. In the second place, comparisons ougli
po~ition between two "different o?jec!s_. ·, .!,
not to be founded on a likeness too apparent:Q.'rF or what purpose · a~e !wo object~,! so
and still less on such as are too foreign or distant.·
~ntrasted in composition by this figure ?
,· '
Q. What is to be observed, in the thir'
·IA~ In order that they may appear i~ ·a m?re
place, respecting the formation of comparisons'
j~ing or impressive point of vie~. · Beauty,
A. The objects from which comparisons at,
· r~ mstance, never appears .so charmmg ~~~~en
formed, ought ,never to ,~ be unknown or .oh:
·ontrasted with ugliness or ~eformity; .whzte,
scure.
··
.. . .
..i·;·
'hcnplaced near.:hlack, appears to be br.1g~ter;
Q. What reason do you assign for this ? ·°t~'d. 'Innocence app~~rs ~ to. he .~ propo~tion~bl.Y .
. A. C?mparisons formed on philosophic,,·
-~ely to .the degree' of ·gmlt ~'1~h wh_
1ch it is
discoveries; or taken from trades or profc ·
'fitrastcd: · ·-..... .. t..
- sions; or 'a rts and sciences, with \vhich few are;.o
:Q.' By ,~hat k~(l ~or~uthors or ·writers is the
acquainted, produce not the proper effect. · ~
-~ure antithesis ,most i1\ use.? .
..
..
Q. What is necessary in the fourth place, fof• +'A. It is in freq\tent ust \nth poets, lustonau~
forming proper comparisons?
.
.. arid orators, both ancient ~nd modern~
A. That they should never be taken from · ~;; :. Q. Can you give an example?
low or mean obfects.
' -_;, <}\. yes ; The following is from Cr c ER o,
Q. vVhat cflect have such comparisons?
--,~ in his defen cc of 1\1 IL oA. Instead of explaining or embellishing · .;~'.-· " Qztem igitur cum omnium gratia interficere
compos1t10n, they tend to its degradation.
.. · ~> noluit, fume voluit c1.1n a!iquorum querel;1, quem
Q. Is there any species of style or composi. ~. ~jure, quem loco, que~n .te1~1po~·e~ quem zmp1~11e,
tion into \Vhich such comparisons may be ad-. !''.' non est ausus, lnmc uyurw, nuquo loco..J. abeno
mitted?
.;:'tempnre, pericufo cap_itis, non dubitavit occzd~re."
A. Low or mean comparisons arc introduced · "£ -~ '' Can you imagme then ·that l\1 r Lo \vo~1ld
into burlesque writing; in any other they, ru"C · · drnse to incur thc~ill will of any br a,n act_10n
inadmissible.
· '°
f\vhich he foi·bore; when it wotild h'ave"'.~ihed
~5-him the applause of all? w'?uld_ he m~~e ~no
0

•

I

·

·•

.

;

..

.

!(\ ...

/!/ .\ ... .
·\~~en
it flows fr~m th~ gen~ir,i~s~i~~t 'ofen:
iasm, and feelings that are u9'ah'e tett. }'/ -r . ·
:f/

54

Pision.
Q. \Vhat is the figure, vision ?
A
V. ·
·
fi
fi
1. fc

•

:~ But if deficient,
in ~hesd
r~sp
.what
?
· I A
I cts,
J
·

.

• Ismn IS a gure It on y or annnate
composition.
1
Q. How is it constituted?
1
A. By the writer's or speaker's, using '· lh
present for the past tense ; and by presentili
tlie object as passing immediate!y before ~p·
eyes.
.
v
Q C n Ou •
• a y
give an examp Ie 0 fth"IS fi1gure 1.•·
A: Yes. The orators and poets afford man
examples ;-the following is from Crc ER o ·
fourth oration against CATALINE : -- ·,l'
" Pideor enim milzi, hanc urbem videre, lite(
" orbis terrarum, atque arcem omnit"m gentium··
"subito uno incendio concidentem; cerno anini :
'' sepulta in patria, miseros atque insepultos ace .:
" vos civium ~· versatur milzi ante oculos asjJect_pic
" Cethegi, et juror in vest ta ccede bacchantis. '' -~:
'' For I seem to behold this city, the light of:~
" the uni rcrsc, and the citadel of all 11ations, ~. ·
" suddenly involved in flames and conflagration'~
:' - I figure to myscli~ my country in ruins; .;'
" a11d the n~iscr~tblc massacre of slaughtered ci.-.
" tizcns, Iymg II~ heaps ' without burial. 'Th .
"image of C.:ethegus, furiously re velling 'A ·
h your blood, IS IlOW before my eyes."
· :\,
Q. What is tlie character of tliis figure ? ,·,
A. It has great bean ty when well e xecu te<li;,
•

55.'

't

,it produce . . ..·,- ,--:. ·f, / ·
. of. pas..,
' !' Like all othefmisapp ied
. gur~~
'-i·' it serves. only· to throw
'l\r;speaker, '."Id
tlie
hearer.
il\Stead of bemg more. mterested. m .tli.e. s11!>c ,
</
. . l • ., , , ,. ; "'-,; , i · :1....;: ,;. .~ •

lea.ve~

ridi~ule
04!~~au/eade~;or

, .. ·,1 . . ,·. , ; . , · ~
/ '; "
••
Amnlificqtion.'::rii ~ "· · ><
··
:,::
-.
·,.
<
".,
·:~·
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·.' ·. ~- . ' ~ . ., .,,. •"f'\t r!',..:: :1 1· },
~iW hat,is amph_fic~t19~?, ~~« :t ;~ :.- :''. '\:\ •· ·
~- It is constituted by:· every>..ch1ef c1rc~_m:
"•;. . ·

0

1 ;:.

;~pr dause)n a rs~nt~Rse or,pe1•jod~ enc!"eas:.
until_~-~-e
~· _be ._brought to an agreeable close. '"·

. ·.: ,strength over what. }\'~Qt:_before,

·1:'Js th~re any uniform rul~ or. mode for the

r l'Tormation of this _figure ? . . · ·_ / ·
~No : ·it is various, according to the taste,
iu~·· or talents of the writer or speaker.
,_J:t
you give ~proper example of this fi~
-' .?
·
e.
..-i. -Yes. The following is from Tillot~on's
,-:" ons : ·
.'! '"ltjs pleaS?nt to be virtuous and l?'~?cl, beUSC that is to exccl-mru1y Qther~ !_- ins plea - ·: .
f fo.grow bet~r bef!use.iliat·is'~~:ex~:el_ ·
rselves : nay; It IS' pleasant even t<? c.~o.tt1fy· ·
·~u ~due o'l"selv~s , .~eca"!"':that;IS , ~vic;to. 1t' ts. pleasant t<? ' cO'!'IIl";lld. ? nr , a~,tit~~
. · ·passmns~ and ta·~eel? t1 1e~ 1r:i d.u e.. ~r~~r,
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57

56

•

" within t~1e .bound~ of reason and religion,;.•
" cause tlus is em1)1re."
,' ..,/
~

TILLOTSON

Repetition.

;:;~ti

Q. 'What is repitition ?
~ ;,,:"
A_. h is a figure. which gracefully and,(

phatically repeats either the same words; oji
same sense in different words.
-. \ .
' Q. ·What is to be particularly guarded a _,.
in the use of this figure ? •
·
. +A. Care is to be taken that we run not'fl'
insipid tautologies ; nor affect a trifling '88_
and chime of insignificant words.
:_:t
. Q. What :onstitntes the best and mosfpl_
mg use ofth1sfigurc?
, ·;~
A. '1'hc most pleasing rej1etitions are th'.~
whereby the principal words in a sentence, ei .
the same in sound or signification, are rep _;..c
with such advantage and improvement, as r~'
a new thought, or gives a musical ca<lcnce;harmony to the period.
:, '.:.~
. .Q. Can you give an example of the rt'pe~!l .
'' Are there no poisons, racks, and fla~~swords ;
_,'f""
"That Emhia: . thus must die .by "}{
· words?
..
. ..."'.
'' Yet,. what could swords, or poisons~ ·
or flame,
, _,::
" But mangle and disjoint this brittle:·~
t i ivlore fatal
Jleury's words . they 111}
.Emma's fame."
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~\What is clin{axlll-?f(•.· ": ~ -~~t~'.< i . er1./ \ .;.;;.··
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Climax. : ,

~~:1The most regui~ ~ ro~n;~tio~ ~ c>r~ thi~ ·fi-

.-~1s, when the wor,d or :expression, which

f}l}.e first membe~ "of a peri~d '_-be-gins .. .the
V(~' and S? <~n ; S~_,that ·,eyerj met_n bf_:r will
'llJf~ke a d~s~mct ~e~1se; · taking it~ rise from
~;~ ~or_egomg? t1~l ~lle ~rgume1~t or period
eautifullv, fimshed. , · · ' '" · " · ': .
~?-\Vhat tffect should the .~1.~. ~f this pro-

- ;~l~e? natural .~?d-~s't~!k.iiig, . it furnishes
Jpmd with a variety of ideas; and accus~ , ~t~ t_? attention, :~n~ close thi~1king and rea-

g.
. ', . " '. -- · .... ~ .~, Ca.n you l;roduce.an example_of this spc~ot climax?

·
;-'-'·yes. The follmving beautiful one from
. ~ -oTsoN's sermons:.
: ~4;fter · we - have practised good actions
1
~,,\ypile, they l?ecome easy ; and \\-hen they arc
~ sr, \VC be gm to take pleasure in them; and
. ,tli,~_n th~y p_le~se...V~:~~:e d?}h~ll! fre!ltWR!ly;
_g:;:-by h~eque~1cy of acts, a t~:ng =gr9_\vs_,mto
-~pit ; and a ~011ij~eq h~b1t_ .js· ·a __ second
'f(irc." .·
"-··~~-----.:~-,,,
-- ~ ~ - --· ~
.=.. -

·

. ._

-· , : i

.; -

'

"'- ,. TIJ.. LOT.sON • . _

':~?)yhenth~ cUm.~.x~.s~.c.9~1s.!~i~~~Ci.~~le~Y,-.by .l .
~.nt11nen~s, ,m . _w~at ~p~s

it cgrt~ist·? }iii*-'. .;.~- ,

.,fit'consis~s
· in'" an artfui_e~t'ager~tiqp
_ pf,,,~il .•i'
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58
the circumstances of some' object ·o r 'a~
which we wish to place in a strong light. -~­
Q. How does it then operate?
';'~'t'
A. By a· gradual rise of one circ ums .
above another, until the whole argum~ ~;
raised to the highest pitch. .
·1 i~
Q. Can you exemplify this operation ?'1+
A. yes : the pleading of a celebrated s~
}ijwyer, Sir George Mackenz ie, in the cas~~
woman who had murdered her own child, a
a striking example.
·
·5
I

"GENTLEMEN

'

..

" If one man had a~y way sl~in anot ·

"' if an adversary .had killed his oppone11t ~!~"
' woman had occcsioned the death of her ene

'· 'even those criminals would have·been 1~ u,n] ·
' capitally, by the Cornelian "law : But ill
' guiltles infant, who could make no cnemyz
' been murdered by.its own nurse, what pu :"·
'ment \Vould not then the mother have d e maii
' With what cries and exclamations woulci .
•have stunned your cars ? \Vhat shall \Ve.'
'then, when a woman, guiltv of homi cid ~
'mother, of tJie murder ~f' he~· OWll child, r .
'compris'dall those misdeeds in one single cri ' ··
'a crime ,in its own naturc,dctcstable; ina wo '
~prodigious; in a mother incredible; and "' : ..
' petrated against one whose age call eel for c· , ·
' passion ; \Vhose near relation, claim 'cl a He~~.- ' and whose innocence deserved the highest

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60

C>F POETRY.
.

·ii .;

. Q., How is poetry connected with rhet6 ·.
. ~· Though l?oetry may b~ considereft::
chst1!1ct art, Y.et it opens so wide and faidt, ,
for its exercise, thatsome view of its ria ·.
in i~s various species, may be properly intr,~'ed mto a general System of rhetoric.
.,"'-.:
Q. What is poetry? .
,
.-.·''"'
A: It may be defined, the language'. :O
passions; or of an enlivened imaginatiofl'.
soine suitable subject; formed, most cbm
ly, into regular measure or numbers. . ; ;
Q. On what is merit in poetic compd
·
. '_
generally founded?
A. On a genius for invention ; imprp.y
taste, and a thorough acquaintance wi
language, in which it is written.
·· ,, ,
. Q. Is not poetry supposed to have beetl'
to prose?
!{ ·:,
· . A. Yes. In the ve!'Y origin of ht~ll! .
.c1ety, poetry and music seem to have ,fl'
' from the rude passions and . aflections'Or..
·~ ~1
even in an uncivilized state.
•
Q.. On what ~ubject~ do they see~..'t:
first mdulgcd their poetic enthusiasm ? 1A. On the celebration of their gods,
i

if1,;r
.~

-~

·- .I

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62

. ~· .What sh~~ld the pastoral poet chiefly .·· ·:.
at m lus compos1t10n ?
·.
·
.:¥~\
A. The simplici.ty both of"Jiis sceneryJ a, ·.
the . c~aracte~s he mtroduces. · T_hese . sh9,u~
exh1b1t nothmg of the refinement of manne ~
or of language, in polished life.
._:. ~}
What should. the/ pastoral poet chi~ ·
avmd?
·1 "
·A. He must avoid rudeness and affecta~i&it
d~lness. and . insipidity ; together with . e~e·'"
tlung d1sgustmg or indelicate~
· . ·~m
Q. Who are the most celebrated pasta ;
1 ~~,
poets of antiquity ?
A. Tlzeocritus and Virgil.
.
Q. Who are the. most celebrated mode ·'
pastoral poets ?
r >.:}
A. Slzenstone, Allen Ramsay Pope "a~·
and Philips.
· .
' ·
' l.:,. f.

9·

Lyric Po,~try.
,/ !
Q. \Vhat is lyric poetry?
.M;c~
~- The ode, song;,. 6r hymn-and is call ··
!rric, from its bein~ composed for accpmpa~y
mg a lyre, or other 1~1strument of music?.. .T.1·
_Q. What are t,he. different ki1l.ds or species o
this poetry.?
1
·
\~ '"·~·i··
. ~· l st; . Hymns or psalms, addressed~ td.tl(
t~1vme bemg. 2d. H~roic odes, for the celebij'
tton of great men, actions, or events. 3d.~ M"
r~, _and J~hilosophical odes, referring, chiefly/
virtue, fnendsh1p and humanity. 4th. Festi'
and, k>ve
odes, for pleasure or
amusement.' I ,~!\I
·1.i :i
,
.
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· · -

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63

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Q: ~. W~at should const!tutt7 ~!1e pl~~r;\c:!~-2f
"'rY' species of the ode? . · -.~ "
~>\~·.-·~\~·.'
~·· Spirit,: fire, ,and :. enthus~asm. 1 l_t«.~s.' .not .
.,essary that its str.uctur~ s1!oukl. be a,s -~x~ctly
,gular as a ·didactic · poem;. kut,.it sho\1~4, !:>~ a ·
.Q.!e; and ~h.at:w?o}~ t9 con~ist_of p~rt~ ~~ ~p1te.connection.
.
· '
'~ ";-.: · "r
· R:~ ls it confined to 1 anY, pa,.r~i.~}!!~t);~pe.~~ure
wersification ? ~; J .; .... ;! : , ,,~ · r.::1ti ·;~, ; :··~·+/.
'. ·~ No : it admits of a much .greater:'v·a~~~tY,
;ihis respect, than any other. kind of poetry~·: _In
~.'very num~ers it may. be ~ adap~ed ;;to .a}l ·.the
. ·liety of subjects to which 1t c~n. be app~1ed. ·
~R· Who are Jh~~~~s~ _ ~l'.l~~rat~~)~pc ppets
' t' t ty?. .... . ..-.." · ,..·;,.,,_ ·~,- ~ _., "'",,,.
. .. , -, . . .
·
an1q11
"f,• ·.:.«:t , • ..._ -;_·:_- ·~,1,.;
1
· ~ . .., ·Pindar, An.q~~on/;:4lqte.~ '-~ o,n._d..H,qr,ace.
·J~. Who are , ~he 1_11ost celel?r~ted~ ~f~.~~.«? {mP· ·
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erns .

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, .,
;:A: Buchanan and 'Casimir;:·. in Latin; . Rous·_,eau, in French; and-Dryden, Cow(ey~ _Gray,
p,dsley and Watts~
·in ~Ngli~!1
...; - 1:i1 . .... ,_flt-,- - ~:
,. ...
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:•;:, Q. What 1s d1dactic poetry ? , . ,io .. : ~. 1 ~ •• , ; .
!f"'t~) • That which is ..written ~ot only'. \V1th. a
t.~'~- ~o - plea~e; ~y the p~arms' .<>r · p.~~1~<1\!:lt!m­
ets ; but cluefl.y as tQe term,~ d1dactt9, u:i;:1p~1es,
'~ ·in~tru ct in.some".particular
brarich.'.. -of' kriow•
4

-~~· e, or;· tisefut~rt~

.~"' -~·

7
;

/W.~~~,~ ·;~.'~·:7;~~; ;~:::~ ;~~:: :.

e~bel~1shn:tei:it~

- Are not digressive .
_o r ·
1episodes, admitt~d into .didact~c.p~try_? "-.· ·: .

,.t ..-·~~
~-

66
Q. What is the most beautiful and descri .
tive work in the English language in thi~ 11\Jp'
of poetry ?
'' -~; ·
.. A. Thompson's Seasons. That author. ~!
died nature with great care ; was enamot,J.,r ,;
of her. beauties, . and possessed the happy tal r
of painting th~m like a master.
~:~,~~·
Q. C.an you instance any other works of All ·.
rit in this kind of poetry ?
~ :If ,;
1
A. Yes: Parnell's beantiful poem, ~ .Ti
.
·~
Hermit ;I and
above all the .Allegro and p en1.
roso of 1llilton. The poems of .Ossian, , al~
abound in beautiful description.
. , .,~:f
Q. Who are the most famous descrip~~f •
poets among the an~ie~ts ?
. . ;,1 $,~
A~ Homer and /Tirgzl..
·:;.; ·
Epic Poetry. .
Q. What is epic poetry ?
.,. ~·
A .. Epic or heroic po~try, may be defi~1~?~
, be, the narration or recital of some gram:\ )!Ji .
illustrious enterprize, in a poetical form. . · ~!\! ..
. its
. c h aracter .2
. ••
Q • Wh at is
'. '\•-: ~·f•·..
A. Of iall poetic \vorks; the epic poem is '. .
lowed to be ~e, most dignifi~d~ ... ; : · ~. ," ~.~· .,
Q. What 1s its tendency or end?
· ·..l!
A. It is of a moral nature; and its tei1denc!
is the promotionofvirtue. ~ · · ~•· - ~·-~ .: ·.: ~.~~f
.I
Q. How does it promote this tendency? ~. ·· .
A. 'By extending our ideas ·or perfe~tion;· ·" ·
by exciting admiratio~.
_ A • • ; ..: ; ~
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'69

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6'8
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of Achilles, and its consequences, ,constitu ,
·
i 'i 1 ~~
unity of the action.
Q. Is it to be understood that by " uni.
episodes or suitable digressions ' arc to 'ff
eluded ? .
·
· , · •'.11·rt
A. Bv no means. These are to be i~b­
ed for the sake of variety; and they·serv6-l ·
l~eve the reader, bl' shifting the scen~~9,
tion ? 1
Lt:,:~,
•
Q. On what account· is it that greatn'.:
an essential property of the epic poem ?'.·~
A. For the purpose of commanding ,tH,
tention; and also to justify the poetic gran
and elevation of the subject, as well as th6,
responding dignity of the diction.
Ji~
Q. On what does .t he third quality, or· ,
· ' .• ;: ~ ,
est of the epic action depend ?
A. It depends much on the choice "o ·
story ; the proper selection of the ·'prin~
hero, persons or characters ; but most. o
on the genius and skilful management'~.o, _
,-,~ ;1 ·
poet. ·
.
Q. How must he conduct the poem;so:... . . _
~~ .:.~~
render it highly interesting ~ ·. · ·
A. He ·must lay his plan, his· time, ·_·~nd: _
action, so as to comprehend many affectit1g;.
dents ; he must excite admiratioh by ~e':v·
atch ievements of the principal actors-·he Irr
be awful and august; tender and pathetic;~~,
tle and pleasing, as occasion may demand::;,.·;.
1

~f~9n wliatdoes ~e' success of such apoem

,1pallyi <l;epend ?:~.~ '.\f.ft.t; ~Jl-.'Ui -;;.;-it -.:..~ ~
~.:: On the manner in which .the ·characters . .

isp~sed of and.supported, in order to-ex.
;th,; p~ssion~; . and to keep up the suspense
·~g1tat10n of the reader to the end. ~ .. _ .
~~H?w do the critics ·'.s uppose thaf a ..~ork
,,;s.t_md should·en4 or t~tminate ?·,' '! r;{if)-.·
, ~They, generally, suppose that ' 1t<lshould
J~de successfully-because,-·.that a'·'terrniL
;p,0: catas~rophe, .t~e revers~ ~f !his, by:~x!
~distress, would 1_ end to.d1mm1s}l the high
ity. and grandeur;1 with. which it should be
~9te.rised thro~gh all its ·p~~s. ~~ ~~ t ~ ~::!~, .·\Have all epic ·poets ·observed this .iri their
. 'usion ? · - :-< ·. ·' '1' ·· · : ' ;,~ "»:'<~t. :;, ·-'~ -·'•
'ii.,.,N o : 1: there are two exceptiolls-Lut:a~~
_e:P/zarsalia, and Milton. . ,. · ·, ·
;,:wI~at i_s if that is understood .by machi"~n tlus kmd· of poems ?· · ~· , _ "'': : : ,
~
~~The introdl:lction of ·gods, and · superna- ,.
,agcnts.
-"- · · · · . ; ~ •·. ·
·[~:yvha: effect doe~ this machinery, togerW' 1th highly figurative and embellished lan~
..e, produce? ·
L-r~'he marvellous has a great charm for the
3hty of readers. It .leads to- sublime de. ' ·J~on; and fills the mind and imagination.
,l: ·Do you re'colle~t ~he p_rincipal epic poets
,~~have bee:i.most ~1stmgmshed, and appro. ·
-' · ·
·'
" v· the critics ?
1\: ·Yes : Jiomer, Virgil, Lucan, Tasso, ..1..lfil-

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70
ton, Camoens, Fenelon, Voltaire, nnd,Jh ~­
la&t, not the least, our own Barlow, au~~·.
the Columhiad.
·
Dramatic foctry . .
'

Q. What is dramatic poetry?

'-

~

A. As the term dramatic, radically

:'T .,,~

~ • 11 .)t l4·

·t"·I·

d~~l

it is tpat species .of poetry that is suit~~~~ presentation on a theatre or stage, and · ~~ _
of two kinds, tragedy and comedy.
,,/ ~
Q. Which of these two is the most Ai ~?

~

A. Tragedy .is the most ~ignifie~ ; i~~§:;·
as great, or solemn and serious objects PX

jects,: interest us more than little or l~J~U~,
ones.'
·
. . ,
,
--~~· '•
Q., To what has tragedy reference? .;_· :A. To the passions, the virtues, the !cn;
and the sufferings of mankind.
- f-~~~'
Q. To what has comedy reference? ; ·~ff
A. To their -humours, follies, vice.s a~"'. ·
sures,
.
··:,.-_:;:;
Q. What are the instruments of ' the ,
.
. ..·r~v~.
..t1er?
-f"'\,,.t -·
A. Terror, distress and pity.
:'.,t
Q. What are the instruments of th~,'l
A. Ridicule.
··
Q. What is tragedy ?
...
.: ~:~-'.).
A. · It is a direct imitation of human-,r11 ·.and actions. It docs not exhibit chara.~r
the epic poem does, by narration ; but se,t~
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"i~ty. •.~if • .. ,;/i\id. ~. : 1if1 1 ~:" J~ N,;;~'1~l:1Jli! ,· f~·i:?:~. 0 1>;~ ·
~~What' is requisite:for 1being· _suc~essf9l :hi
· 'p~cies of writing? .: •. ;.~t: :~.~ r·;c;., 1;.~@.;:.())~·w
J'!A deep· knowleqge iof tJ:ie hmµan,heart;
:~bf. I the, different f conditions of. men; ~nd
::~~.his comp~s.ition Js .happily. ~j~CJJt;2'- it 1·
~the strongest !-'!motions~ , . • ~: :· , ·i>~t!~

·.{M~
it~ g~n~~~ .~~?~1~..a~fl ~p-~~~!'; ~?~~-i~~-1~
ency? ,· ,, -·1" , -i'" -- , "J ,.._.,\ . ., ,,,,,.;· ..... '"' · >7 1

.Hft has 'a comrriandin-g ' influence in: ·encilt~
'~;t4e promotion o~'vir~ue. ·t f · : ~ :-/ {: !/ ~:i
:~~he.nee :. J:iad. ~n,1s ~. ~o,mpo,~1!!0~ . 1t~~ · p~1; .
~

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-~~Fro~ a :yery,rtidC.begim{hig "~ '..a.n;ionif!he· ·

firs~ not~ing J?u!-.a. ssmlS .~hicl~
ting at the east
acchus-at .w~uch they'.. ·

-fs,~ it

wa -.

·~9,ed the· goat,. on cc ; !int~f i~s: destrorJn~
_· mes-hence it obta dJke 1!ame. of. the
; ,:~ Song, as the 'wo,r d . i~pJi~~~->the_t qre~~,_

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··~a~~·110 ~er~· th~ fir~(t4at);>e~~~ t~:rai~~ it r1'isrude state? ' .·.. -. ~~ - (~ _,, . --' ~ ~-,'\ -,
·tft/'hf!S/J~S. ~n~ ~schy(u~ ;,, ~.ear.~1:~·~J~~~J~::.
arears b~fore the ChnSt~an rera •. ;' • /F -~i i . '
: ,What improvement ~1d_. they ll!trpd~_c~ l J ·
l •·Jh.cy intro~u~e~)he ~~or~1_s ~n~.Jht:: ~ba.. , ...
~i~ but both m a_ very rude and 1mpetie~t ·
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· ~-~Who werethey"wpo,br~ught~h~e. Q:re~~a!1 /

.rli'to t~~ higl~est.stat~:of P%fe~~~?.~*~J-;!l~:~· >' t,, ·
" ·:t:_Soplzqcles
~anqJ~'!r_zpiq;s
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Q: What are c~nsidered as leading 9r ~~\

pal circumstances m the conduct of the.d ·:
A. Unity, place, and time. · · ; ~··N>
Q. Is it only ii! the gen~ral con~.tructiqruij
fable that the umty of action must be· p. ~~ ..

ed?· ·
. . t?
A. It must also be attended to; ina1i·i}i~

1

~d parts of the representation.

· · · · ·:~ --~ Q., How' many acts or parts do the ~riti~
51.gn ·to the most. regular compositions 1 0 _
kmd?
. ·
.
r· · :i
'- A:: Five ; . they see~ .to a~cord ,\ritii·'tn
thority of Horace, in ' this respect, wher '..
says,
· .
~i
· " Neve minor, neu sit quinto producti~;.
': Fahi;la." And yet there is said to be no(
~1thet m nature or reason for this rule. -.i:~·
Q. In w~ich act is the scene of the cafa
phe to be laid ?
·
· · '·
A. In the fifth or last
•
Q. Of what descripti~n ought the char~;
to be, for such composition ? ·
· ! ' !'°
~· The mo~e dignified, the greater u;;; .
the mterest excited; they should, howe~ ·
fitted for the parts they have to fill and 1
form.
·• · ,;
Q. Of what character ·
be
guage?
i · ·~-. A. It may be highly figurative; yet,,' at~'
time, should be always .Plain and simple~, '~i;
Q: o~ what ?escriptlon should the styJ
versification be m modern tragedy ? •'·t,\.
! r.,'

sho~ld

ti~~:~

I

''.

' 75
.

.
~. ~
.. .:
Jt should be· natural; free;:easy-'.a nd-va~1,;agreeable to the ·~haracters.:wh(? .are,tcf¥use
.and the ~ngtish blank 'verse ·appe~rs:to~ be:
li,liarly sµited to ~his species of comp-osition.
, .· : • It~ what respects doe~_ it appear to' be pe~ '
Jiarly well adapted _to it ~ .' ".· =· • · ,~~-;,:,, ·.,
: ·~ · · Because it is sasceptible of gr-eaf majesty;
_'yet may descend to the"familiar;" ii(admits·
~- happy variety of cadence, ·and is 'free -from· ·

;6monotony'. of(i:_:~yme

which -~~· inj4.i·im/S'.t?

~. ·French
drama. · · ~i~· . ,.-... .1:~.:,:,
.
. ,,.. ·, .:; .
\ ' . ...
~., ;· ,.... · .., ' ·· r •f:1r'" ~·~l'1f.\"':.1:~"Ji:"!ilf~.:i5 ,J." . --\;

.
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·~·of Prose Composition, and.the mea,n{of:;.~ ·
,JI'° r..., ...•
forming
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In what acquisiti01~ is it 'that ;t}le~'arf of
·:etoric must. become·
most'usefularidhiterest.. n
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us to communicate our
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Miments, ' eithe(by:~ s'p'eech~~o(twriii~g, ~1:1 a, ... '."yle formed on the ,model of the,pest speafers otr ~i'.

'•·lt"'•* . .., . .,;.' .. .;..
i..,.~'i•'"'-'.
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-""' '~-~•· ,!-1 -·. ...~r-·.' · :~)·• ·"l'
• """fM"ll'i ., · ... •"' .. ~ '"
,.,.,._
.:.Q~ Wh~t the · fitst·4ir?c~i6ri·"prop_~t~io:her
o.~erved, for this purpose? ~~~i---~ ~-r iZ'~;; · .: ··:··
~ A. ·The first is, to study' clear.·ideas~otithc .
'iibjcct 'concerning which ,\re .are . "''.\:~Hte~'or ,

"t"h ors

·is

to

'iheak
.
~ .. . ' -.. ..~ . . ..' , "r-i;~it-:t , .-.<t
'f.: '
•
I '
•
' .
,. ,
" ·Al
LQ . . Wh~t \Vill,. l!~tural!y ~e. the :-e~~S'?.f th~s ~,- _ .
.• ~ 1 A. ··The effect wil}ibe that whaf~we C9hc~1ve•
llearly. an~~f~el., strbngly, \vi''~nall :fianirally 1 b~· ' '
,aDle to express with dearness '. a nd'.strengflf. - .- . . .i ·

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· Q. 'Yben may the ~ost copious freedom~

expression on any subject be reasonably \-,e~'·
pected ?
.
·
· ,
~,.f~J!.
A. When we have received a distinct v1f
of the matter, to be clothed in words; when""''
become warm .and interested in the ·subje~~;:
an~ have been . fully prepared by a thorotig ·
ra~1cal.knowledge ·of the language in which·J f
write. .
·1 •
" .t!. :~ , •,
Q. What i& the second ~onsideration nee~'.
sary for ~or?Ih~g a pr?per style ? .
· ·l ,#~ f
..t\. It is md1spens1bly necessary that for tlir
purpose, we shm!-Id frequently. compose; · ar(
as .frequently . revise and correct what has beed'
written.
· 1'.}4
. Q. What is especially necessary for youtii1
composerp? · .
.
," ··"·
A. I{l~vrite with care and deliberation,
.to con~tffr facility a!1d speed as the fruit
of pr~et.tf_-e and expenence.
· · • 1·
Q .• ~ut is not some caution necessary in tI{i~~

mfa
.orilt

resp~~t_'?

Jf

A._· Yes: that in such deliberation, we d~ ·~b >

tetar<;l the course of thought; nor cool the::ru::
dour of imagination.
·
· ·: t< f
~' What. is ~ se~ond wise precaution £J:.~
young essayists, m this respect ? •
),~,
A. That they lay by for some time their.first
productions; till the ardour of co.mpositiofi
have s~ bsided; and after)Vards, examine the~
work with a cool and .critical eye, as if it ,~ereL
the performance of another, and not their ow1i?l'

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75

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What is farther nece~ fot':lhe"foriha,. ·· "
H
"ofa
proper style? ~,,, .,, ; ,,,,:.~1'~".:,?
'.J!'' ~!.'~f~~q.~
.•
.• ·
- - Ii· ...,
~· An acquaintance with ~.style. ih._: g~neral ;·
~(especially that of the " ·~o~t ~'af>p,9°ved au-

'.Q..

-~~

If

..

9~: What ~ig~t,~~~i!~;~:,~::§~o.~~

<mpressing this most effectua~ly- ~: , . ~ _ ;-~\~1,1ll?:';i
.,· •1 To translate·sotne_.passages"from'.. an~e1e. ·
,, f author into Ollf. OWil Words: . ,.,. ' . /!af;;.:;,~Y!1r
Q.' In:\vhatmanner $ht>uld this betoq1ik ? :~!

:Ah By reading slowly- an ' essay

iri".:th~·"~'Sp(c"!.:.

tt/r ;: or any other English dassicT~afterwattl_li...
.'the book aside;• and write it out in; 0t1r "'o wn ·
'ht~, and then comparei it ~ith 'the "~f,igit\~F .:~
Q. What advantages... might :ea~?~~qly ·:.~e
p~cted from such . e~t!rcises·? ~_:'l!t~ '.""~ -,~ -~'_ :'. ,,, ~' · _
~· It would shew'us·our own defects·r1 en.ato 'correet them'; ·11nd
~the'\raridy'of
ction it would exhibit; ·should conduct-'Us' to ·
t',\-hich is most beautiful and perfect.~- ..l~. . ·
:Q.: · But is ·not' some caution'·also necessariin
1s1kind of exercise? :
·
• 1 >'~'- :..
": .·, Yes : . a servile .imitation of any author... _
, :~~ver distinguished~ is to b~fguatded against>,•
' ~ .-: In what· respects is this"cautimi~""rieGes~a.:.
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~-~·fl.· ~n~.r~·~·

.~ ·. In the first place, ·a propensity urJJ~pl.ifate, .'

·' jJers or checks genius; · those -·tvh~;: follcN.r
.~~uthor,- minutely, ·may··copy- ~is ':faU.lts·'"as';"'ell
'his beauties;· and;:.besides,,~no·ofie;has"ever
.);~9me a distinguishecltspeaker·ot'wi-it.~r;;;·who
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76

had not some cq,pfidcncc in his own geniu~,i ~
talents. ,
, .,,yi
Q. What is another in~portant consiclerati
on this head?
'
· · {~ ·
.A. That ~tis much better to possess so~
tlung oL4;ur own? th?ugh of inferior wort~
beauty, ·uian to shme m borrowed ornaments:
'. Q. ~hat is another important consideratr
. for you~g speakers, or essayists?
'I:/
A. 1 hat they endeavour to adapt the stY,lei ·
the subject
.f'>~
Q. \Vhy is this of importance?
,~·~t
A. Because nothing appears more awk\v' ' .
or absurd, than to attempt a florid or poetl~r
style; when it should be our business to . ~61:
vince or inform, by plain simple reasoning. ~~~'
Q. In wh~t.other respect may such · rentl.
them~elves nchculous by neglectmg this con'
· derat10n?
1/ ,1·
A. By attempting to speak in an elabot·
pomp of figurative or rhetorical Jang·ua()"e
. t:> , befO ·
I
I
~ 10se. w 10 cannot comprehend its nature .
import.
.
. :~~
Q. \Vh.at may
observed, in the last piaC:·
~ls g:eatly mterestmg to young orators or essay,,

1

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• ·•

~·

.

ars to be somewhat depraved in that:respect;

· 'd_seems more directed to ~tyle, than,'to senti-_'
·~pt or thought: ~· · ~
«··* : : , • ~~\l~· C.i~Jr , ·
'Q.. How is it, · that this ' depravity~jrrit'ti~te-J is
t~me to take pl~~e; · and b~come pr~valenf? .::
;f.~· Because it 1~ ~uch more e~sy to ,d ress up
-iftmg, or coromon-.thoughts,,:. with some,orna-·
·'ent of ,expression,· than:. to}exhibit,a' copious
of interesting;' ~seful, and in,geriJou(senti-

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·i~· ' What is the.: coriseqitenc·<; S>,f t~is in ·_~he

erary world? ... '.;p:., ~,~. ;~l J;.:ii ,,. -~-:}, ' :'ti~ .. :'• . '
.,~fi.; It is, hem~e, that .we.J?~ve such .C.t'()Wds of .
· thy tleclaimers and ·W'riters;~who are., copious
;words or dictiqn;r, butlean:.an(:l barren.in sen-·
,.·~
~
.- . -.~·v.\.~_-.1., --~
ments. ·, .. . ' ·~· ;'. ,·r{f -;{l~.:.+. '-.'." ~ •¢,.f . ··r . .·.
\Q. ~·· What then,. o~ the> whol~;•~: should:be a
·iding object \vith.tli.~·youl)g rhetorician ?::?';;~ ·
~';A. That however~;_custo~ ;or fashi~ may
klige him to be at~entiveJo::the,pr1~an:ients of
'Je, in order. to , be:~· read:,ior admi~ed; 'yet ·he ·
'1~y assure himself:~,tha( with th.e :more enlig~ " ;ed part .of mankm<I, ~-th~' ; .s,ubJect an~L,.s~ntl­
..ents are most r~gardtf.d-:-:-ancl that .the dress of
;~ . guage, or- figurative , and ornamental. embd, l~hment; · :ilf~' but an inferior or secondary re~

•

:if. cl

?e

1sts ~

77

0

' ·;f1

e'·'

'-•\t'

A. That the dress or garb of language~·ii
not occupy their minds so much as to les(
their attention to the sentiments o~ matter. ;;.J
· Q. vVhy is this rendered particularly impor~
tant at the present time ?
.
~ -\::.~'
A . Because the taste of the present age· ap.,,
'

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Characters, o.f'. .frosa.,ic .~tyle.'. ·_ . , .:
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ne.~tpI~~~ . to be ne.essary for ~he st9dent of rhetong,~~~~\.....• ·, ,

.};Q. .Wl_iat appears in the
-

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A. An acquaintance with the general chara ·
ters· of style, as exhibited in the works of ih
best authors.
.
. · '-~i
Q. What are some of these characters of style
A. The diffuse, concise, feeble, nervous, dry,.
plain7 neat, elegant and flowery.

J)ijfuse Style . .
Q. vVhat is meant by the diffuse style?

I '

A. \Vhen a writer unfolds his idea fulhI
hold~ it out in a variety of lighti; and assists.di
reader as muc~ as possible in comprehendingj
fully.
, <P:
Q . . '~ho are writers, eminently, dis.tingu~~,Ji: ·
·ed for this style?
c; _;
A. Cicero, Livy, and Plato among the .aµ
cients; and si~ William Temple, and Addj~on;
anc.l oth~rs among the moderns.
·· ·

Concise Style.
. .~. t
.
Q. 'Vhat constitutes the concise style? .· }
A . .It is formed by the writer's compressil
his ideas . into the fewest words capable .of.- ~~-.
.

~~

pressing them. He employs none that are sµ.
perfluous; never repeats the same though~
his sentences are precise ; aims at no ornamenf-'
and ~uggests more t.o the reader's imaginatiqµ
than is immediately expressed.
,. ,• · ·
Q. Who are distinguished authors in tJiis
kind of style?
.
· , ""'
' A. Tacitus and Sallust, the Latin historians;
and Montesq~1ieu, in his Spirit of ·~aws. ' \ '1: ·1:.
.~

I

•

,,-.

80

81

r,
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Neat ·style. ·

,
I

thes his ideas -in all the beauty of expressmn,
· out ·loading them wi:h any misplac;~ ~~~-. ,
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authors are · conspicuo~s
•this
:d es of style? . · /
· · . ·· .

,'Ar
....,. , •

'

_,

Q.,What

. '

for

:':A. Addison, . Pope; Atterbury, .Golds1JJzth,
'el~oth Johnson and.Bea'tty; · .

'•

. Q. What is meant by the neat style?;. ~j. ·
A. 4 writer of this description, shews th~ ,
does not despise the beauties of language.,•i.»
sentences are free from superfluous .words ;X' ·
moderate Jength, and are closed with propri~
and attention to cadence ; . if figures be ~ ,in
duced, they are rather. short and accurate,'.J ·
bold or glowing.
· ...,:~;k
Q. To what species o.f compositions.1is.
· ,. 1 -~
style best adapted?
.f\.· To ~n essay; familiar epistle ; a ph{ ~. ph~cal treatise ; or even to a sermon.
·
'

1\

·

'. · 1~ he informs the understanding ;:and ~ho

cision, and even some degree of · livelines s:'.
force.
·
·
· ·~ .l- '"'i>t"
· Q. What author has been distinguished~·
excellence in this style or manner of writing~,
A. Dean '5wift is an eminent example: '..i~
l

I

,,,. ' · ·

·~ ~hat is iID.P,I~e?;~yft~e }lor,~d~~r;;~-~~~~?·
e-?.

,
"-·~ The florid stvle~i comprehends , ~:i~es.s ·(>r
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af1~~·~vhat cl~ss ?f~":r~t~r~.' !mi!."i.
~~,~~, ,i~~~;,i ~: - "t~: ;·

tt'to any extent?' .•,.J:'"'-""' 1 ~!~""

... . i

.

!A';$' By the youn'g·~i~in'. 'who~'~i ·1~!1?"t,,~111Y

..

'tlonable ; but is often · a,syipp~o~ -~~~ .,? 0~~
inventive genius.tt.7: t~.~· \ ~ :'' "h•. '" ,, •.
·~ . -~·
. . . Is it' to be· always av01ded by _wpters .of
experience?
· · ." . .
- .. , .... ·. ·
}A. It is generallr.to be. gua~ded ~?an.1st, ex'pt on some peculiar ~ub~ects. · ~ ·
T/ze elegant or graceful Style.
>'. Q. 'i\l'hat are-those s~bJects?
,
«A.
Imitation
·of
.
Orze1!tal
~
Tales
,·
or other
Q. What is implied by the elegant, 01: gf~'~
'h• •
..
ful style ? ·
.
_
stern compos1tions.
. .
.
~~Q.
What'
writer
has
been
most
d1stmgmshcd
· A. It admits of a higher ornament that'.d _·
nea~ s~yle; and. imp~ies great perspicuity _a~a·
this species of style ?
.
. .\
punty m the choice of words ; and care and skill >A. The Rev. lVIr. Hervey, especially m· lus
·
. .
in their harmonious and h~tppy arrano·ement/ ·_ .,,. editations'. ~· \Vhat is the true character o/::ian elegan_~; :;.; Q. Have n.ot the. critics _been exerc1smg th~
wnter ?
.· - :f.'.- 'ficumcn of their genms on his style and manner.
A. One who delights the fancy and the 'ear.:, $., A. Yes: and probably as. m_uch froJ? ~ther
. _'prejuclices, as from any conv1ct10n of his v10la,,

a

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ore

'or

~

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.

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·\

82

tion ofthe rules of criticism. His meditati·:""
appe.ar to b~ rendered much more impr.e5~
an~. mterestmg, from the style in which !IJey:·
written.

Simplicity.
.}

Q. \Vhat ·is meant by simplicity of style ··
A. That which is opposed to too mud~

!lament,. or pomp of language : And fro.vi~ .
idea of it, we s~y, that Mr. Locke is a ' sim
Mr. Hervey a fforid writer.
·
. Q. Is tht;,~~: any ottier ":iew'in ·\vhicli
city of style:ls to be considered?..
·. .: r
A!_,yes// As it is opposed to affectati~I'
orna~e~t# and in ~his sense. i! constit~i~.~
supen9r ~•~\el\ency m compos1tmn.
r " '...
1
.Q. ~V\ha!Jis-'lhe character of a writer of\~
descripti6rt? \ ~>--~~~;
A. ~ehasn~rriark) eart in hisexpres~io '
he ll!a}11possess richi-1ess · f expression ; \h~· m
~e full \of figures ~and . ncy ; but. these "fl
from hi~. 'Yit~out "diffi · }ty or cxertidp·:;.{:i
seef1?-S to. write m that st. le,_ not because ~\e~: _
studied it, but because t is the mode of.?·
pression most familim\ an l easy to him. . · '·.~J
Q. In what works br · ithors do we find
most striking e~amples o .!his style ?1 • t~;-~
. A. In the a!1c1ent ~uthors, - ancJ esP.eciaJ1'1i·
the sacred scn1>tures.:
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84

~

A. it partakes of the sublime; is <listing~,;l
ed by peculiar ardour ; and is the language~­
'!Ilan wh?se imagination and passions ,are..gl8
mg and impetuous.
.
·. '.~/
Q. How is it supported?
;~;t.
A. With a negligence of ordinary grac~
pours along with the plenitude and rapidity;<
torrent. .
, '.,:1
· Q .. To what kinds ~f oratory does the~~
ment style belong?
:t." __
A. To the highest; and is expected · i{t
from a man who is speaking, than from oq<f ·
is calmly writing in his closet.
·-,·~ l.
Q. What author affords the most pe~(eq,·
amples of this kind of style?
.... '\:;P
, A. Demosthenes, the most celebrated. '~ ­
of antiquity.
' · · ·~.;e;
.

::~~-

.

On Rhetorical Expression, or Delivery
··.-. U.1:

Q. What is in tlie first place~ neces~~,.~
those who would wish to become proficien ,
this part of rhetoric? .
· ,~~"~·
A. A general acquaintance with the Ian · :
in which they would speak ; ·and such ·a·: :
and facility _in composing i!1 it, as may · ~-~ ­
them to avail themselves of its powers; as -as to be sensible of its defects.
·';:;_-±
Q. What is farther 'necessary
?
.
pose.
A. A knowledge of the most approved ,
nunciation; whether with respect to ac ..

I

. 85

h.es or -~mphasis; ·togethe~ with such .easy and
~ceful action as is-calculated to give"the'niost
1
.<>urable teqeptioU" to thel deliverv ~ :· -': ·'.-'"'-:£··=".•
1
'r-.· .- Agairist what·should iiie·sit1deµt 'of.r heto_cal .eloqu~nce, espec~~.!(y gha~d ?-:··~~:~-~-~•~ _·r..·~P
A: .A?a1p_st ~11 ~ffect~~i<.>~;-;-~~i~~.if"th~~·very
.~~ of a g·oo~ dehvery/ :·'".''.~'· • ·,· ~ 7' ""tr· ~,-~i1;., .
~: How is this~tC>· b~ iavoided ?j 1(~i•*:"J:r4(.41
~- --~ . ~Y guarding ' againsf"~a ~s~_rvile - i~iiation
·;.any " mod:I; and · endeav~u~mg "' t(>,_.' let ·,, the
an ner be his ow n·.
i · !"~n · - r -t'i.,}t~,f ,·~ti• ·
4

,

·

•

"'

~Q. ;what r~as~~s - ~af.?e\-~~sig~ed '. ro:·-t~e '

ppnety ofth1~?_,,. _i · · :· i ·- ~: v; · · ._ ... . ~·:t"-·h
,~ , Because,: ·whdtev~r' iS'o11e's'·'6wrt7has; at
-~t, the merit {'bfJ~eJng' ~latµral (: is"·f therefore
q~t li~ely' ~o pleas'~·; :·arid besi~es, ·~has 'the aprance of proceed,mg from the heart. -r ·.
~ ·Q : Is .the attainment -of a. very correct and
-ceful delivery wi.thin. t_he reach of every zeaUs
amr diligent ·student of rhetoric or clo"ence
"r . _· ' -. ·. ' ' - : · ·
~k\. By no means· : . it . requires a combination
- ~?many natural as .we!l ·as acquired talei~~s to
. ~_c9me a most accomplished ·orator; thaC few
:. expect to succeed, so as to arrive at the
'ghest degree of merit; but to a"cquii;e a forcie, impressive, and even persuasive manner, is
:_!bin the power o.f mqst of those wh_o
use
_"e' proper means 'of acquiring it. . ' . ' ,, .
,.:· Q. \\That' is essential to those who would CX.:1in the higher kind of eloc1uence or oratory?
>.A. Nothing can,.in the first place, be more

'vill

H

.r - -

86
necessary than to cultivate habits of the sev:e'
virtues, and to refine and improve all the in~/
feelings.
.
. . · 1;· ,· •
.Q. What is farther necessary for a student
this description?
•: ._A. A soul possessed of noble and ge~~~ro ·
sentiments; and alive to the admiration of~.
those great and good objects, which the ·.~··
enlightened, and 'f!lOSt virtuous of. mai~~i11if
prone to venerate.
,
~~
Q. What other endowments of nat~re sh~;)"
the student in the highest, class of eloq uenC(!·R
sess?
· ·
·
', / "··
A. Connected with all the manly and {pp
virtues, he should possess a strong and t~ri,
sensibility to all the ills, injuries, distre&~~~ ;,··
sorrows .ofhis fellow creatures. . · · . 11.-\· ~'r:'
' Q. What next to moral quahficahons }~i...
sential to forming the accomplished orator..?·:
A. An extensive fund of knowledge';
especially in that sphere of eloquence, ii} ;W •~
he designs to display the usefulness; as ·"'.e.. ·
the dignity of his profes~ion.
. .. ·~ ~ \~"
Q. · Can a mere attention to the ornameqt
style; or the gracefulness of delivery, ~e,,~u
cient for that purpose. $' •
•
• .. · : ••"' .'
A. No: ·these embellishments can only~
the author in setting off to advantage his .sto
of materials, the materials . themselves' must
., , '
derived-~rom other sources of 'knowledge
v -.-v.
information than those of rhetoric.
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pmess or improvement of man is atta'inable ;:'
any superior degree, without i~dustry.
.~::: l
Q. What ,.is another reason for this? "' ~-:{.,
A. Because that nothing is so destructive~
h.ono1:1rable attainments ; ' or to the highe~t
s1ble 1mprove~ent of the intellectual 'power$.i
ma~, as that idle and relaxed state of 'lii.iq
wluc~1 procee.ds from indolence and dissipati~~
. Q.. \\'hat is necessary for rousing and k~ ­
mg ahy:e a proper habit of industry? · .. :;~ ·
· A. A proper degree of emulative enthusias"
which firing the ~ind \-vi th · the love of the ·\f ·
ject in vie~v,1 disposes it to sustain any nec.e~~""·,:
degree of mdustry and perseverance. . :;'
Q. How does this appear?
..
;,:,,.
~· .It was this that fired the great orators~ .
antiquity; and must distinguish such modei.n
"' as would imitate the~r illustrious e~ample. !.f
Q. '\tVhat farther is necessary
for the stud ··
/ ·
of oratory,
·
'
. 11 ".'.,.;
1

po

the best models f~~_{j ­
provement, both ii! spea~ing and in writingi:t$'
Q. Has not an 1m1tat10n of any model 'be
already cons~dered as injlirious to the studei~f
eloquence ? -·
· ·
". ·-~f
A. Yes·: too servile an imiiation-st;clt
ten~ls to d~press genius ; or betray its weakue,
or mcapac1ty.
.
'
· .'" ?,0~
Q. What peculiar advantag·es may'.. then ~ .
expected from a proper use of the ' best mod.~:
-or examples?
.
· .-+:
A. They exhibit, even to the senses, the~~

A. An

~ttention ·to

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If f·~• :'t .- • ~;~ • • - ' ' ri.: ~ "'~I•
~:':;
.~ts whi.~h t~e. best.~tyle,._,c.oinpo,~ition,,an9-;de­
£ttXY.are ~apa.b.l.e of. pr.pdµ~iJJg~, --~ _:rh,c;:y~'..a~\Yays ,
ord some -new ideas; i and+accelerat~:the · cµr- ·
~~~-of
~hQug~~
,;; ~a_nd
·.e.xgit~·: -.tp~r~r~pt~,
,P~ e.µ\ut
. '
. . . .,. . .
.
. . ' . ,.
Jqn. _ ~..;" <t4'.:;i;il.l.J ~'h':.-1 (~~-~,, i,"ti~•:·;~·ii.;'::.~~::~- tm:'.~ 11;•
Q. .li1. attendil)~)o .sp~<?)m~n~,:o~~e~~mpJe~·of,
11uence'.in-the. ;wi:i~ipgs __qf ora1:9r!? ;.; or ~:those
~~i1:iguished , byrtJ:le··~os~ ~!09.~l~.J:,i~ .,~ty.\~,: :\Y}l~t
~ms to be necessary_? .44.;;._, 1 ~i; .:.... 1;~ ~ '; f ~P,~~, ·
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~ ·,....

.,regard;~tho.s{3. mostr 'Yhos~fs~yie·~:ap- .
o,achcs nearest -: to:~ spe*µ:ig; ..p.~ ;-pr~p~ic.~l..geB:mation. ;.; ; .:_,. ;;,:. ;,-.i,,iJ/'."·r.:/::.:C_..;L,, .,,f,~'i· (~_l;.•Q. Is not f~equent,e~~~~1se ~oth_~ g1 ~mp.pos_,and . sFeakmg~"JO:,~e .i:~GP.Qlt_lle.n4f..c\ ,fl~ 'a l!e-

f,f.... 1To

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-s,sary mean of improvemetj.t~:~-~~ .;;; ::r.:;::~\~·t-/;41:·,
fA .. It,}~-.proyided.that exer~~e ·Q~~dtc~on-~
·,c,ted;. ,and: the.corppo~it~o~1;;_E?µd~,'a~.)s~.~co11.­
;fted · with , those '. pr9.fess~ona\,:'.f?.l:il?i~S~~';l~N1e
.tmn0-.:orator
... . .may J1av,e ..1n-,v1e w •. ,;:,.i.S "". ~\.V.i~,;. >"."•: · ·
~:Q .. Are not· frequente~~t~i.~<18,::,e~p~cja_llyjll' --'
i aking, .to be: cQJ1~iQ.er_eJl~~s ~ih~spe.~:s~~le· ~ · ,·.
:1~. Yes ,:·, b~t .,'Yhyn. ~h~~e<, ta~~ . J?},~S~ . 1i;~~ro,-.
1~cuous meetmgs; :such as deb,at~11g,.~<?c1et~es,.
·,~~Ol~t~ngch~bs;;- t~ere r~. ~o~~ -d~zg.~ r.: 9~,c,.~n-_
. g~mg Ill ha1:?~~s,l~~\~1~:r :~~~1P.~)}:I:(p;9J~-~;~<pf
_'Q
provem.ent
,..... ,,~. ·~ ·
F . .. .. : , . ., ",,,-,
. ,. . •, ··'. • i ? "1--: .\i.:",
· ~·~
w.,
· •..- or; what_ reason. 7... ~ ~~;,;,~" :.. :, -, .: :·,·!·, :?,!< "· ;~,.. , :. :_
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- ~; ~e~aus~ 1 th,t;8e,.~~~ ~ ~~~r!llJY:~~~4-~l:·~ryt t1,~f

.~re nov.1ces, w~o have n~1ther tast~~:l!,~H}J.~~Jg;-- .
ent for mst;r.uctmg- themselves,, nor.fotf direct- . :
.'gothers~ ·· , ' · ~ · ~ " .;,.;. ,:-~.~~·: ';'·....:~~;l',..,i-f . .

-~ Q. '" C?Uld not an -acqu;iin~pc~ ,V:it!J..Jh~Rfi-~-.

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cal and critical writers of antiquity
~~nd ·dignified~ ~In .his' ~ook ,:,cte··Or,atpre;
use to students of eloquence? _
.
.:--· _
· •also the Orator ad:,.M·.-tBrutumt''are&found · ,
A. It would certainly be shameful for· ~~$e elevated ·and subiime~ideas"O(;~l<>qtiehce, " ·
student of oratory to be . entirely ignorant~
'ich are"'. calculated to-forµ} a·ju!)t;taste, ahci:..to
wha~ the ancients have written on that subje$f
pire that enthusiasm for, the art,-which·:is.~iso
yet It must be owned that the systems of
hly conducive to ..the 1 attaim~1en~··;ofrexcelr
?f th~1n are too .stiff and formal, and appea~:~.. ·-ee. ·. , ·_-' - _• .~ :~~_, : -~,. ,. ft~,~!~," ;___,:....r. :i+t. · ·
if their ·- authors thought they could make or~
-· • ,What' is ··the .-character ., ofi~·~U;intilian's ~
tors by a set of mechanical rul~s.
. ~'. ;,,
:rks, on this subject~.~··;,..: ~. . ~"-. :'; , .,,.·:' -~
Q. Who are the most celebrated of the · - · -~,. Among' all -_th~ • a_t?-c~e.nt. ~vr1te~s. ~n .~he
cients on· this subject?
- · · /;:,~~
.~ect of oratory, tlierc IS no~(! pe~~~1~s., ·m~~e ·
A. Aristotle, Dionysius of Hall~carnass_u·s
tructive and more useful.than Qumt1han. · · ·
Longinus, Cicero and Quintilian.
_ ;iL
: In what re~pects?;:f..t'~;;~~,~f,:{.£.: · , .• s~~: ··
'Q. What is the character of Aristotle's w~r
1\: His ·institutions'· ahtiund'twith~ yalµable
on rhetoric?
.
·
-.;".:;,_. .
-~-~v-leclge .; and d~s~over·~ the"' 1J.10St accurate
;A. Some
the most subtle obsetvatf
Je and judgment; .· H,e~seems · to have ":ell
~vhich have been made on the manners and P,i:'
~ sted the' ancient ideas concerning rhetonc;
sions of men, are to be found in his treatise'i
· 11'has deli~ered his instr_u<:!tkms, in- ekgant _
rhetoric ; yet in this.as in all his other writing§
__dpolished ,language._
his great conciseness renders him obscure •. ;;1'·~ ·k
·
· -·-. '>.;i·.; '"""f ';.c'-t«.~;.i:·••: - • • •
Q. - What is the character of Longinus a( _ ·"-'
t Oj Rhetorfoal lnventio_n. ' ·' ·
writer on this subject?
·
·
. -~j/
· ~ · ~ '-"1~v ;, ~'-'- - >-· ·
A. Though ·his treatise on the sublime.~· · ·
vVhat is Rhetorical invention? •.. ·
composition, constitutes but a small portion:Q' _
• Inve1-ltion is the finding out_such proper
the system-of Rhetoric; yet that little is so gre~J,
guments, as ~re stiitable, · ~~cordiflf? · to the
in criticism, and so replete with sublime senti · j~re of the subject; m or?er e~ther to m~truct,
mcnts of liberty and mental independence/th~:.
~suadc, or move the auditors. •"';
."
to the young orator of taste and judgment, i.
,Q. ~ On. wh:;it are, all argume,nts founde~ ? ,
a:most invaluable acquisition.
"11'/~- 1-';(~. All arguments . are . f~:mnd(:d .';-P':1f .. and
Q. \Vhat is the character of Cicero's \vor
.:erefor~ to be sought . from reasons, ~ morals,.
on this subject?
,
:. ,,, _. . affections.
"
~
' A. Like all his other works, they are cop~~-- - · --

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92
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Q. vVhat is the end or.object of Jhes~. .

·grounds of argument ? .. -, . · ;;:· ii· l· ~J
A. Reasons are to inform the j~dgmel}~
instruct; morals, to procure favour, or';.; "
suade; · and, affections to move the passi<?~ty
., ...,. ·,>,_~
p1ease.
J

.

; ,. ._~t

Arguments .from. Reason. , _ , .-~f-\'. ·
.'

'

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Q. 1 What are arguments from reason ? :~
.---·A. Arguments. from reason are ei~l~e.r, . '-''
cial or inartificial.
·
.
,-·J ,.r
Q. What are artificial rational :.~rgumfnts
A. They are such as ar(! found out , b~,.
leart~ing and skill of the orato:, ~nd cliff~~
cordu~g to the natu~e of the topic m hand~.:~~
Q. ·How many kmds of topics are there~~
. A. There are three sorts of topics ; ~eltj
strative, deli~erative, and ju?icial. : _. ~. - ! {
Q. What 1s a demonstra~1v~ · _top1c? . :/t,.'f.
A. A demonstrative topic is when we SP,
·in.praise .o r dispraise of any person, dee,_ -.:
thmg.
.
- ·~ · .
. '·''~ ·- . .J
Q., \Vhat is a deliberative topic? · ':, ,:1
· A. A deliberative topic is whe!1 f~om.t.~~~:.
vantage or disadvantage of a . thmg ·we . ~1f .
persuade or dissuade ;· as when from the ~af~ _
profit and plea~ure of it, we. persuade to:! pe
or from the contrary, dissuade from war. _~,
Q. - \Vhat is a juridicial topic?.
. ·. ,.~: J'
A. A juridicial topic is "':hen we. eithe~i ~ r
cuse or defend. 1 hus Milo havmg k_~~- ?

· 95

94
c~ to be a crime ; yet is denied to be a~ gr
cr!me. . ~e~e. the speaker ~ pleader is to!.~
phfy or d1.mn11sh ; and by considering · h,b\V.'
fact was. circumstanced as to time ' place ,·
ancI .a.~tions, enquire, quis? quid? ·ubi? qul
auxzlus_? cur? q~wmodo ~ quando? and ' SQ~.
comparmg one thmg or circumstance witlYail
t~er, determine what ~ay be deemed grea~ ,·

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·i;·1 •:/·
Inarti,/i~ia/, Rational Argument;. · ~ :;
•

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Q. 'Yhat are inartificial rational argm~~~

· A. 1 hey are such as arise from without .;

not from the thing itself; such as from te~ti ·
ny, ev1"dence, &c. . . ,. . • . .. . .. r/ilt- ~.: .

. Q. ~Vhat is a very necessary caution ,fo,:
m.anage!11e11t of all arguments? · ~ :..: ;
. A. 1 hat great -care be . taken that we in·
duce nothing:: i~or let any thing drop fr~m­
that may prejudice the topic under discuss10
~or, .as Cz~ero ';ell .observes, ',' 'l'urpius esf:-p
. orz ::ocu!ssevzdert causte, quam non prefut~ .e·
1. e.
It is more shameful for an orator to.a
· " pear to have injured a cause, than not to ·ha
" profited it, or made it better."
, . ·h·~
.
' .
Of Argumentsfrom Morals.
0

)Vhat i; mea~t by moral ar,g11me~~:;,-::·
.J\. fhat the ·orator or speaker ·should c.dp
der well, of whom-before whom-an~'_. ~£

·"Q.

'~m .he sptaks. >. 1 lst.. ·~ Ill regard tq his own

if ,Is; that he himself may ~ppe,a!" hoh~~t~ pr~-:.

~,.. impartial~ ..benev9le.n t, i ..&.Y.:~~-~d.~In f res~:

t ~o the"·mo,r als ." of; ·thejudge,s,~~~upien~e, ~·,or
~ons,

he .woulµ ;. persµade.;.:.,~-sd,i,Jf{'hat·-: the
:g of which .t4ey are .per~made~h,also,;. appear
~.r~ble, ju.~t an~~s,ery,i.ce,.~bl~.- ~:rrf!~~~?~rt·
·
1
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~~:·,·. of Arg_ume~~i f!:o:1~~~~e_ 'f!~ssj~~~~~iJ1rf,

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What ~ is_.'. ~~-a~t~ b~f;·~g~.11?-,e_!lts ifi:~m t~~ .
1
"ions? ·.
·l,. ··"' ~ ..,. ...1:.;·• ·'!'j,, ... ~ :.i.t-.°''•• .t..,, >r:·~'·Yt'[; ~-~.
~. • ' It is Il}eant,·~tpat-,11ei-~ho would ·;gain ·h is .
. t,.or su~ceed .in per~uas10n,. should under',d human nature,; . Md~t~1~reby, J?e; ~bl~ · to
rf upon those p~s~ionsJh<lt:.9;<?n .. h~~ given
m~n, a~ .~e<(~~ ~ spr.i~gs~J~ r~ll . ~;1~s i,~.<;,!,1<?t1~....9.~
~
.,·~,ilJ':i!k.' - ''
duct
~
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, .·'
.... ·· .. ~J;->~,·~r.. •.tl. ::·-·r"ot.~· ~ ·-r~ .; !~{'?:'l"t··~J\1,·,-~ ~!"' ·
".; Do you ~ec~l!e9~_,l:yh~t t,Ci~~r.o{~!>,s,ery~s to .
· errect
"' ' -,;.\ r.·· ~'"l· ~~t$.lj.~.
·.f • · • -~;,'
, . ........
· .. · • • · ~ ·k~ - 0. . ~ ef':'-~
114
:•'i> . • ·
. ~·._.r;1,~1o:.,,\~p~~.
· • r- ,He observe~, ; ~ ~:.. P lu"r_a
entt:n .m ulti ho mines
.i; > .;.
cant. o~iq, }~ut~ -,,a,.mpi;e_ ~·~ fl~~~; c11-p~fli~q,tej,~· aut ~ ·
~~cund~a., au(.spe,;, ai~t Jf1J!.OT;C~?·~!!t. f(.r1(9r~,. aut
~llquo permotu : mentis; ~ ·qug,m ;.v~r:ztate~~? ,~ i.-e~ . ,
Most menjudge'of .. mat~y~thirigs rath~r-from "'~.>.. : ! ,
' .~tred, Or love,• 0~ Cllpldity' Of paSSIOn, .; Or
. • ·1
ope, or fear, or error, or some·strong.impulse
·
of the mind, thatt from .the'. truth.?~ ~ tl :~ l\. , ..1h.•
Q:;,..~hat do you ~nder~ta~d -~.!ti~ ~!!ct~~s._
ipass1?ns pfh9man.~atl:lr~ !"'!, .;,..; ~t.~;r P''t:' J/ · \. . ~ ·
'r. ,_.., · 1 hey
ar~ .ce$i~-~1n.~~?~10~~,
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lities in the soul, accompanied either with pl
sure, or with pain.
. .
·
. · ~.
Q. What are the_four prmc1pal pa~slOQ~
human nature?
•
· .'. •: 1 :.
A . .Theyare, 1st. Joy, in respect tq,'I~p
present good. 2d. Hope,_ ~n respect to:~§
future goo_d. Sd. Grztt[, 1p res1Ject to . -~~ ­
present evil ; and 4th. l! ear m respect t~ so
1
future evil: And to these may be added, a~
lenity ,, modesty, imprudence, love., hatrea,:·.
lice, envy, compass10~ and emulat1011~ . •r .::!~·

.
. .·
D zsposztzon.

9,7.

I

96

·/

: : ' Narr.ation. · ·'
.~~ ··1 \{ •. \."" ""
..

J

·~ ~

~ ;-t~

What~~ narr~~tiop~"" " :.-·~~ »· ·\ ·:~~-j't «:

,; Q.

_,.<.

A. It consists ·1n rec1tmg .~he . whole ~~§.~_Jn a '
\:incise' riianner~· as.it strinus;:from-oegfoning to
eI1d. ··;'/-; . I :~ ~·>·' ,~..::\~. \,:;~!/.:. ::,.~~~-~:·:£· . \.{··~·._......
t'

~- ..1, . •. ,
':;~•\,ii\"~,itj ~i J~~~ ' '
1 1io·"ttton·.. • i·. T ••4.._\,•i.~.•
····
,,, . ~ 1'·.: ~Pro
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y A'. The ·propositi~il .sets fq~th ~the l?ur1~ort i~r ·~
·sum of the whole·. discourse . or oration .. ·If it
., ..d *-) .~ivide it into pa~s, . wh.i ch _n:ver ought t<? ex-··
,: .-:•...• ~eep three or f~ur at most, _it is called_partz(i'on.

,

.>it . ·:;-

~ ~.,~~
~ t~ ~
?0 ... . ~ ~
!..~
Q. What is disposition ? .. ' \·
.
.-.
~
:.
{]onfirmp,tion.
""'
"
i'.';'.:.:
~--~
A. Disposition is the arrW'lging of our ar
t~
. . '.. . . ;. -~ i ·· ... :./'-''t'!t=~ '. ~~ -·~;;~~\ 7~~ ;: • _,./
ments ; . or the parts of an oration in th~ ~~~f. Q ... W:hat is~·coi;i_firinatioil ~ . ~. · ·;·,.': ~ ·:
regular and proper manner.
.
. : ~ ·;;.( A. It is that wluch enforces and strengthel.ls
Q. How many parts are usually IQ · th~.~..
ti~e oration by all'the.proofs"and _a~gu~e~1ts t~iat .
.
.
?
:f i
orations
or d ec1amat10ns
..
.
..• .,·~ilcan be obtainedfrdtn invention. -. --~~ . '··· .
· .t
A. They are generally allowe? .to be six,. ·: : -. Q. What do the best rl{eto~icians ~~commend
the exordium, narration, propos1t10n, con~.. .
~ith respect to these arguments ?· " - .
·
tion, refutation, and peroration.
.,,\, ~~" A. To place _the strongest in the front, the
·weakest in the middle, and to reserv~ some few ·
Exordiuin.
of the best to the last.
__T

io

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<-.l. \Vhat is the e:xordium ?
~ ···-~
Refiftation.
A. It is the beginning of the oration, in '".hi___
the audience hav~ some intimation of the_su .
vVhat is meanfby the refutation?
ject, and in which the orator, .or speilker
A. It answers all an opponent's arguments
to be modest, and not too prohx.
=·-....,..F·and
:
takes off all -objeetiohs by shc\viiig them to
9
_-b_e weak, false, absurd, or in_c~1J.Si~tent~. _
1

our ,:.:

1,
I

I

.

.

.'

.

'

98

Peroration.

t i .,

.

·.;!

\l

Q. What is the peroration?
·. ~ .:.
A. ~he .peroration or conclusion recapitl!_.'.>
Iates, or sums up the strongest and principal,ar ·.,.
guments; and by addressing itself chiefly to the ·
passions, endeavours to persuade the audience ·.
to yield to their force or influence.
'l :-:
Q. Where may we find a suitable oration to'
. illustrate these different parts? .. · . · · · :·.1. \...,;~;
. A. In Cataline' s oration to his party in Sal~
. · ' i.:.u:J''
I ust.
.
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.

~f1Yzesis, or..T<rxt,from, Ju'l!~hal,,, ~at~::~~~<, v•.73.

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Plu~imum enini i~tcrerit,, quibus a_rtzh~s, et.
;f*·qui~us ~uJ'lcju f!!Ot~bu~. instituas,. ;'i:. ..:M t:"t; .i1 ~~;
...~, Chil<;lren;'' like· t~nder .<>ziers, ta~e .the; bow, .
· ~:C ''. A f1:d ·as they tµ-s~ ai~ fash~ on' d, ~1~·aY~~: g~q~v _;
.irf'' Hence what ·.we' }eai;n·. in youth,"4c,F: ~h~it. -~lone·
(, CC

~it'Jn age. we,.~te !Jy,·~ec,bJ?-d ~ature p~~ne:·r ~J{.;;. -;
... ... · · · ·· ".~·~'.:. ..-.~~h ·~ ·:.:;~~~ ·. ~- -~. ... : :.., · ::·nryden.

~;:;

··~;;i~}.; ~-Ef~'.i/'"' ;{t.: .~:? ;.,~~f;·(~ ·~:·~.-'· . .-;,_ ::/. ~·~
•tPropbsltio~.·,1)N~mo·~:p6ie~t ~ illos. _:cl~disccre
.
Q. How: many parts are in a regular theme·?~~- ··"'·mores, ··aut earn excut~re. vivendi. ra~ion~tp~ ad
A. There are seven, viz.-proposition 0 rea_J;- ~'.;_quam ab ipsis
incunapu.lis '~ssu~yit~:~;·;,.
son, confir.Jt?ation, · simile, example, t~s~im?!1Y¥~ ·1e · :Reason. . Qqoniam . impet1:1s . ,jllt:; :.P:r~mus, · teand conclusion.
··:, •r, f nerre ·pueritire ·. inditus; «tam ' magntnri~,habet in
·.r;: µniversa 'hom!i1um vita momen~um, ut d~di~cat
-J.f' idsero,quo~quis ·d.idi?it?iu. -, . '. ' · .
.....
h\
Confirmatwn. Qure emm longa annor1;lm se~~: rie, frequentissimaque actionum iteratione ac- ~~: , . ·quiruntur, in alteram quasi naturam transeant.
' · :'.' . ;: · "' Simile. Quern ad modum avium pulli, et
- · ': · ferarum catuli semel mansuefacti, semper mancnt Cicures, etiam quando in grandiores evaserint, non dissimiliter quos didicerit mores
~,: puerilis retas, eosclem etiam tum quando ado_-- .levcrit, penitissime sibi infixos usque retine<""""l'!!.,....._~: bit. '
. L Qf
~
I

Parts of a THEME, ·1:'Jif!z:an Example: ·~~{1P

.

;~ -~

-~

:': ..

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:~

olim

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. v
100

E

.

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,-

a·'

~amp!~. . o.vidio, scribendis versibus·
tene1:is anms dcd1to tam familiaris ac pene na.; t,
turahs
facta
. . ~~ .
,
l . est poctica
. facultas
' ' ut i"ll1' per Ulll·
vcrsam c e~nceps -v1tam sronte sun numeros
· c.a~m_en ve?1e?at a~l aptos-Nec dissimiliter con-·..
tig!t~m ~chqms nrttbus v!vcnd!que institutis. .:·i~:';
. 1 ~stunony. . A~ quid emm aliud r~spex,i(
C1c~10 .cum. d1x~nt, nullum nos. posse maju's ".
me~rnsve re1~ubhc~ aflerre munus, quam dci~ i·
ce~do et er~d1~nd? Jl!ventutem, 'nisi quod, . rec_.· .
te :JUventuhs ms~1tutJs ad sm~mum reipublicre.1_,
emolumentum conducat max1me.
" . ; -;·.
c
1
•
}:l •
•
. 1 ~1 ~
·. oncmsion. .romde s1 quis in votis hab~at ;\;,
h~e~o;: s:10s ~d yirtutem formare, a? bonos mo. ':
r~s ' ~d nnprmus opcram det, ut virtutis atque r'
pietatts odore, ab ipsis statim fasciis, intimius'i :'.
imbuantur; quern ad extremam usque senec>~·
tutem redoJebant.
· ·. ,dv.~i
Adco in teneris ass1.;escere ·multutn est.
"
P. S. Sec Clarice's Fo1'multe, 1690.
f

I

,

;101

102

. ' '1;

is my· rock, ·and my fortres~, and my deliverer::
·-Psalms xviii. xix.-I have hated them that
confide in lying vanities ; but I trust in th~
Lord; 0 Lord.God of Truth !-Psalms xxxi.',
1

5 6.

1',?stimony.

A.nd our saviour CH R 1 s T him ;

~ self, to show the greatness, superiority, .. a~d1

eternity of truth, calls himself the TRUTH • • ~, ·
ar? the way, the trutlz, .and the life.-~of
XIV.

6.

"j;·<

Conclusion. . Since, therefore, all things tl~~~·
men·count lastmg, great and strong, are found
to be frail, weak and wicked. Wine is wicked
-Kings are wicked-\Vomen are wicke·d~
All the children of . men .are wicked, and si1~h
are all their wicked works, all which rnust p.e t
rish ; but as for Truth, it endureth, and is a .
ways strong; it liveth and conquereth for ever'..
· more : I conclude, and cry . out, that-GrM
.. is the Truth, and mighty above all thing~~
Blessed be, the Goo of'I'nuTn !
~... ~
·'I.

I

TH.& ·· SAl\IE THEME IN GREEK.

,.

f.'i .>.i,

';,-i~ ;,·:
. '_;'1"

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r.1e,..d>.. 11 ·~ 'AA~eei"". ~ l<rx,veoT~e°" -;rce,ed -;rJvT~·:·~~f~
' Great is the truth and stronger than all th1!1gs:~,
Proposition. · 'H JJ1.~Ge·1a. p.e'Ya.JI..,~ ~ f o-X,vgq1i( .·

·r.at.g~ 7rd.VT()(,.

'lirrX-0"()(,

~ 'Y~ T~I/ A>...,Gmie11 ~ce,,\Ei ~

aJg~~c

110~ ()(,UT~I/ eVAO/'Ei, ~ 7r~VT(X, TfX, te'Y"" O"EIETDtl ~ . Tg~j;
/"e•, ~ ~x, ls-11-wr· etivT~~ &J1xo11 ~u£11.
_ '~. ,.- ~

' .E)I
, woe.g•
_Reason. . "OT• 8it

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oc.vT1111 li.«-fb"' ~~:'t"
fO

·. ~~· {r

104

"·

STIRLING'S DEFINITIONS

..
.

d

OF THE TROPES AND FIGURES I~ ;.
..
. . ,, ,
-

·'

.. ..

?\)~·

1

'

T/2e Four principal Tropes.
~

!st.

A Metaphor, in place of proper'words ' ·~·
Resemblance puts ; and dress to speech afl:'o .
1

Examples.
A Tide of passion. Breathe on
The Golden age.

·.

". ·1

•

2d.

··;·:~
And thirigs for things by near·rel;;ition ~hew~ ·

A Metonymy does new names impose,
Ex.

The inventor for the invented ; as, Afars.for
The . author for }1is works; as, read r-Jora~e,;
his writings. The instrument for· the cause :;•Q."stongue, i. e. eloquence defends him. Tl1e ·:')ff
for the il1ing made; ai:;, tbe steel cqnquers. Th,
feet for the cause; as, cold denflt , i. a. 'd eath ~
m a.kes cold. The cnntni ning for i li e con taiucd' ;'-•
drink tl1e glass, for tlrn Jic1uor in the gla&s.
T

106
Ex.
Swifter than't;lie wind, i.e.

7th.
By Metalepsis,. in one word combined;.~ ..
lVlore tropes than one you easily may fit~di
.

.

i

'

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~z.

.

•.
/

Euphrates, i. e. Mesopotamia, i. e.
tan ts, stir up war.

8th.
An .Allegory tropes continues still,

Which with_' new graces·every sentence"n I
.

·~

Ex.

f ·.

Yenus 'grows cold without Ceres and Bacchu1
'love grows cold without.. bread and.wine. \:. :
.
?- 1

Tropes, improperly so .accou_nt~d• .
9th.
•
Antonomasia, proper name<i imparts · r i
F'rom kindred, country, epithets, or art~~""
Ex.

t

The Carthaginian, ·i. e. Hannibal wo~~ th.e
the philosopher, i. e. Aristotle asserted it,
poet, i. e, Virgil says of ..tEneas.
·

. 10th.

... '

:'i- .•
•

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Litotes, does inore sense than words incly.
And by two negatives hath stood.
_.• ' £i\~,.,_ · ·.
•
..... .

'\'

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108

Ez.

'
~~..
You g~ggle like a goose among, the tuneful 8 ~" 1.care for those things' which 'may ~-dischar~e ' you
fcare.
·.
•.t-1"". "
.·
· 16th.

.

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~,~ ... ,_·j\\\~ . ·

··1J} .. •. •"

fiu:ef yPloce one~a proper· name . repeats ; l~:,ri,<i ,• -~
).

i '

Ex.

ft1t 0 4

~: ·

Sarcasmus with a biting jeer doth kilJ
And every word with strongest veno~

~
~

' .;.;'
.i..:.

· · . •.

·· et as a common noun the latter treats •.
~
;~
·Ex.
·~ ~
';In that vict.oty-Ca>sar was Ca'sar. i..e. a great con~·
• i

Now, Cyrus,
glut. thyself with blood,.·
.

'.\,,

!'.·. . . .

•

qqeror.

.

_

.-

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.

... .

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17th.
l:.
· "•: 21st.
.
.. '·\..• ' · -'..
Parcemia by a proverb tries to teach . . .... ~zwplwra gives 'i nore sentences one .h\e,ad:;,., .~.-.: '
A short, instructing, and a nervous ~pee.ell: ,. s readily appear to thos~ .! hat rea~.
,_
E ·).\.
·. ~~~~
.
• x.
Ez.
.
1

.! :

·

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·• .tY·

in !:hi.wash the blackmoor white, i.. e.

Y~~~}.~ -

18th.
·:' )
:nigma in dark words the ~ens~ conceai~· .."..
ut tha.t once known, a riddling speech re~·, .
.

:,
".~-

N i!~tis 's quill brought forth the dau hters ~rci ·
mus. t.e .. a pen made of a reed, grow in~ on the b''of tthedNb1~eC, wrote the Latin and Greek letter ,
ven e > admus.
.

..

P~ace crowns our 'life ; pe-~ce·~doe(~u~ pl~~ty bre..ed:

·..
. . ~ ' , 22d ·t~::· l ,,w: ""·. ·,~....: .-..~<""~"~;-;
·~·
.
. .
;pistrophe more sente}lces doth-.blose # ·
ith the same words, "~hether in verse or prose.
"' ·

...

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of the same sound. ~;. ,.

19

Antanaclas~a in one sou~d contains

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.-· We are born in sorrow; pa11s o.ur.time. in sorrow.;
end our ,days in sorrow. . :
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.ymj1loce joins these figures :close together, · · .
_ncl from \?qthjoin'd-makes ·up itself anotper.
·. Ell.

... t.,__>

Figures of words

•

~- Justice

.. ·- . .

~. _l, ~

came down from heaven to view'theearth; ·

j~stice clim'd ba_c~. ~o heave~ and left the ear~h.

'- ~

.~

,24th. .

. : ,.. . .

1

· :~:,:r · ;panalepsis words d?th -r~co,mm.e_nd., ,~;/:': , ·
sam,e at the begmnmng and: the ena~ . .. .
Moremeamngs, which the various sense.expl~· ' · .he
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Ex.
Sin stains thy beauteous soul ;-fors11:ke thy ~in~.

25th.
.llnadiplosis ends the former line,
With what the next does for its first design: ..

- •'

.
' .. 29th. : .
,,. ... ... ·.': .. , ·i I',.
f Polyptoto71 st!ll t_he same: word places _. .. .· · ·;
sense teqmre 1t, m tw.o _ddfere1:1t cases. ,
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F~ot to foot;. hand to.hand·; face to face.
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· . Figures ofwords. of (ike_sou~d.

.30th. '';- . -- . :"!{-4-.<'
.a~egmenon.deriv'd fro~ one recites .: ,. . · :
ore words and in one .sentence them umtefi.

By Epanados, a sentence shifts its place, .
Takes first and last, an.cl also middle space. ;.
.

Whether the worst, the chiJd accurs'd, or else the
cruel mother i
· ·
The mother worst, the child accurst; as had the one
· as t'other:
. :.'

27th.
An Epizeuxis twice a word repeats,
Whate'er the theme or subject be it treats,
Ex.
Ah I poor, poor Swain!

t

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E:r.
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I write friendly of friendship ' to a frlend-t ' . - "
.. .
3 lst. ~ ,:
· ' . ',.
'

Ex. ·

·'

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Ex.
. Priz~ wis~om ; wisd.om is a precious jewel.
26th.

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a~onomasia to the sei{s<\ alludes~~: ~ ;.:._ . .
hen· word~ bu_t little. va~d, it includes.
.
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, ·
Friends are turn' d f ~~~i~~~-~"'... ~
'v. ~
32d
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llomoioteleuton, mak~s the, measure. chime, ,· ~
'ith like sounds in tlie'-end of fetter'd rhyme.

28th.
A Climax, by gradation still ascends,
Until the sense with finish'd period.c::nds.

,_- E;;..: . ~\
Chime and rhyme as in the r~!e_. ' .

Ex.
Folly breeds Iaugbter ; laughter disdain ; disdain
makes shame ~er daught~r.
·
:

.. · '¥1:
ut this, except to poets, is a vi~e. . ~ · .'(~. , :
. E ; . . , . ~ -' - ·.".It • :t. .• ..t •:

·'i.

.. 33d~

.

..

- ~

Parachesis syllables sets twice .

...
z.. ; . .... 'f,!r;""',~~ -:.: : -~- .
l..icenliousness begets mi1chief, chiefly. · · :-' ) ,,.

•

112

•

113

34th.

••
.
.. '

·' Ex..
"r
' Proud humility ; "this bitter sweet. ·::_
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for. Proof..... _..
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.£tiology,gives._eyery tli~me.·a rea~9~ ·. ~, ,; :
For, sure~~ that tievei"cah be out of season. ~-·
t

·c:;; r·:~'JtltlW lE ~"··t ·· .~.
: J ~«:·:._;~1,:····
. .
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; • 1 i, •:f, ••r::tl•f!n•
I - ~• • t ~ • r
Despise pleasure:.· for:; pleasur~. bought. w1th-pam.1
r . i ..

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hurteth,

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'

,If

'

•

· ·· '. :·· · ·

~~i:

·· ·

1 .,. '4 1'., '·, -~ __
. .,. ,.·i.f:~
.
~ :- t!"·f<· 'i rl'i "'~ r st_.,.'.fr! ''t •H'<:•1t · ,· · \ •." "
.Inversion makes th<:;_ adversary's plea ' .~ r<::· i, .,
. ~ -,

. ,·

~ s~rong,
1i

'.t~ f r·t

nay be~~ ~_efenc~ that urg'd can be. ·
· "

_.

i

! r- ., ;

~t

" .. t
:tr::-:e1 E·~ ti v:.;1-• ~ ~-r ·t-•..
~ • .,
-~

., ~

~'
"'~q •

· · ..,

it-.~n ~{

:.-~?{: F,

·

··;! ...

' , ·Had I killed him, as you report;\ had not,staid t(}
·bury him. •
_
·,
. -:-' . · ~ ·
· ·· ·

3Tih.
.
.Enantiosis poiseth different things,
· ,;·..
/\.nd words and sense as into balance brings;.
. Ex.

•

.'

~.

,.

..

' ..

-

38th.
Synt.eceiosis, to one subject ties,
T'wo contrar~es ; and fuller sense supplies.
Ex.
He is dead, even while he Ii veth.

39th.
In Oxymoron contradictions meet ;
And jarring epithets and subjects greet.
I

,

"

l

-~

I

•

Pr?lepsis your o~jectiqn,doth p;6ven~ ; .. · _· .'
With answers smtable1and pertinent.
·
fl~ · 1::fi_-,· ,·'11

I

Truth brings foes ; flattery brings friends .'

Ail'

.. : 42d..

.

.Jj}z •

..

.

1

~

'f-\1:,!f•,.

~·{! .. , :.."' ·: . .

.

~,

. What then? shall we sin:-because w'e arenot un.. '·. .'~
1
der the l~.w, bu~ u.n der grac~ ~ Go~: f~~J>!~-, ~,.:.
~ ~--~J

··,, :

.43d.

.. . ~ ..

~ '£pitrope, .gives lea~~; and l~c~ permit~, . ~ : _

.
·whether it speaks. sm~~re or ~ou~t~_rfe1~:- 11 . _,1)t-:..t.: ,
;!
,\?.ti ,._.
. E:z:> , ~
,
- ,: -. : .
J
' ..
-

.

.

;J:

•

•

. •

J.

"'.

f·

~ Go take you~ course .;tiI will hot ido-p ;your ram;~.i.. i 77.: :.

'.. hies. . _-

'..~ ,.. , :·!:. :~t ~:~t:~:r'"
· lf~,"";;t.;.ih~.:\\¥·-r~is
:.,.J ~.'
-.nr·J:'Jk. · ~ ,, ";'" · '!'-• r
• -. ,
'

.

.

.

",........

;

E:t.
,
omit the bribes you\reoeived; . I let .pass your
t.s and i:obberies.
.. .
,: ·.J.', ......
49th.

Figures for Amplifying.
44th.
An Incrementu~ by degrees doth rise,
And from a low t' a lofty pitch it flies.
.

••

11$

114

\ ~) ;1l

Er.

·

~,

,

'$.

'The fury of a mob ; the cruel force of a tyrant, ·
~torms and tempests, even Jupiter's thunder; nay,
if the world should fall, it cannot disturb the just
man; nor shake his solid tesolution.
' ~··
r ;
45th.
. .. .l .:J~

,

•

iphrasis of word~ dot~ _us~ . ~ t~~~~ , .,.,..~·••\,:
nding one . t~ingpnly to~~plain: . ·. <!<; ,· l; :.

.
~
. ~ Ez. r.·t\,··. l,
""'·")
.
he writer of the Troja~twar for .Homer. ·. ti. ·
1: . .
•:1 • . ,._ f!'!th" '" '~ I •: · .. ·, ~,· . . ,
-

.

J. .

~

-

•

.

q;

rd

..

; ~~

~u

"'-r

•

<JO • . .

,

..

-},..

.i.

'

~

... i

-'(

•

-,,.

.

-diadys turns. to sU,bstantives yo~'ll .se~,
at adject~ve,s·~,y~t,h:~.su?.~~~!1~~~~~ ;>ag~~e.- ; ·

1

Synonomy doth divers words prepare,
;•
~.'."• },~,.f)J. : .. ~.... ,.'~ ~d .
.~-·~"
~ . J~ t,..., :.·'""
, '"'.; . .i E~.
.-"l· .
):
Yet each of them, one meaning doth dedare~ ; \.'
..
. ,.
E~. ;
~ .· /·'v- He drinks out of. the ·g~id ~ for, gold_eµ. cups~; ·.-· . ·
_.'
.'
.
' l.

L

~ ...

1 _.

·""

{

~-

Freedom and liberty; he is yet alive; be breathes
etherial air.
·
~

46th.

Erotesis "~hat. we know.we ask, .. ',·.( .. '. ..
. scribing !o .p~r.~~!ye~ ~.peec;tiess_ task •.. 1 , • ~'

.

A Synatlzrtesmus sums up various things,
And as into one heap together brings.

..

Ex.
''i°'\
Farm.ers, millers, carpenters, tailon, hatters;~:&c. all Ill one procession.
."·

47th.
. ...
Apophasis pretending to conceal · 1
•
The whole it meant to hide, must needs reveal. 1
.E~.

I say nothing of your idleness and . other
for which you cannot excuse you~self.

."1 -~·"'..i ~f~; :~: r!;

5lst.: ·

. '

thi~~/
·'

48th.
A Par~leipsis
cries, I leav't behind ·· · ' ;., · «
I Iet .it pass_, though you the whole 'may find. '>i<f

Was eve.r
,.

'

!!},~!

.

.yir,t~e;B.H~J *p ~~"r.4e,.~
.t_a~~ !'r;~~ ·)'! "l~~·,
'.
""'

'

.
. 52d, ;·· ,,.,. ··~
Ecphonesis, straigbt ·the.~i~? is .~a.i~:~' r ; 'lo~
hen by a sudden fl~w;tof pa.ss10i:i.se_1,~; ~· ." , ·\
•

•

-

'4

~"'

..

E~ •

0 corrupted nation I·

A.las I O banish'd piety I

. . ' ,.

"

,

.•

53d•

I

• ' ' . 1... )

,;,:!,:. .~ ~µ;.!.~~

.. .. ·

~

'Ill

~~1, ' ,_ .

•.• ,;,
t< ·• .(,; •
.t•I. ~ ~· ,,l • .
.

'iphonema ~akes _a final Clause, .
· ~,..: ,:.
hen narratives·and pro~fs afford a cause·~"';
·

.

,.

r, r

·..I

«:;.r."~1 ,f 1 ~,..-i.;~-!li·•~'~~ ~.·I. -.:._..~l 1' tf',.
·~....

.~

..... ~;

\"

'

.

.

~~-.

t

.

·

...

117

116

Ex.
·
The very stones of the stree t

Ex.
Of such great moment was it to form

e

·ls shout for joy.

54th.
Epanorthosis doth past words correct,
And only to enhance, seems to reject.

· ·s.9th.
lpostroplze for greater themes or less,
oth turn aside to make a short address.

Ex.
Most brave! brave, said I ?

wic~d·r
th

The mountains clap their hands; , a.nu

.ss.

cau constitution.

~peak you r

most heroic act I

..'

Ex .

..
h'
he possessed the g_old by violence. 0 ·
' t
what wickedriess
, urseluls ti·
11rs t of ,Cold.
"J
?
t t > dost
. thon
~~ ot influence men ·s mmds to perpe ra e .
Th

55th.
AjJosioj1!1esis leaves imperfect sense;
, ·"'
Yet, such a silent pause speak cloc1ucnce. ' t

•

J?igures of Orthography.

Ex:.
\Vl1om I-But it is better to compose the swe . ·
mg waves.

60th.
,' Prost!zesis to the front of words doth add
. .ctters or syllables they never had.

5Gth.
Anaccenosis tries another's mind;
The better counsel of a friend to find.
Ex.
\Vere it your case, :.Vhat would you do r •

Ex.
r
armour 1or
czad ;_ he!!';rt
..., • fior girt with a ,

--.6lst.
.. -~.:~ " '1pfw; resis from the begimiing takes
57th.
. · ~ . \\That syllable or letter the word up-makes.
Aporia in words aud actions doubts,
..',
E"'
"' .
And \vi th itself, what niav Le Lest disputes.. l ·
.:
·
E:r.
'\Vhat 1'hall I do r nfust I Le asked,01· must I as
'l~hcn, what shall I ask?
'·
·

58th.
Prosopopreia a new person feigns,

•' . :-\11,•

.. ~i~

And to manimates, speech and reason deig~~
'f

Till for until.

62d.

SyncojJe leaves the 1niddle syllable out, · b
Vhich causes oft the case and te~.?e.
to d.?u . ~·
.
.
· - . · . Ez. :

,·

· Ne'er for ne'O~r; o'er for O'O~;

;'to .• ;
' .... ;/" -~ ·

•

•.
#

'

·119

118
63d.
Epentliesis to the middle adds one more · ''.'"
Than what the word could justly claim bef~~
.

of excess i~t Syntax• .

' 68th.
;\<
·,. Pleonasmus hath more words -than needs "
d to augment the emphasis, exceeds. · ~~·

Ex.

:.

Blackamoor, for Blackmoor.

64th.
.Apocope cuts off a final letter
Or syllaLle, to make the line nm better.

1''

E;,

.

.. .

' I saw it with mine eyes .
~-

69th.
: Polysyndeton conjt~nctions flow'
d every word its cop'lative must shew.

Ex.
Tho' for though.

Ex.

65th.

~--

A Paragnge adds to the end;
Yet not the sense, but measure, to amend.

fear and joy, and Hatred, and loveJ seiz' d the

,. -_, · d by turns.

70th. rentlzcsis is independent sense,
s'd in a sentence, ( ) by this double fence.

Ex.
Clzicken

Figures

for chick.

66th.
_
Ex.
i.lfetathesis, a letter's place cloth change,
:- 'believe indce<l (nor is my faith vain), that he is
So that the word appears not new or strange. . ; offspring of the gods. - -·· ·' ·
., .
71 st.
- E' .x.
Cruds for Curds.

67th.
.-'lntitliesis doth change the very letter,
A vmvel for vowel, as authors think it better.
Ex.
Tye for tie ; furnish't for furnished ; exprest
expresa'd.

-: ,; ~ ocles particles to wor<ls-apply;
" , add no more to what they signify.

.r;

.

Bx.
.
He evermore for ever feeds. ··· : ,_

Figures ofdefopt
·i -

.

i'!. Syn~a,x.~.
~

.

~~~

l

~

•

....

'

~~;~'¥, ·1-i
..

;
~

·,

~:t.' --

~li t _,-i'Jt;;;

..
' 72d. • _. -·. ~ · " :. •• '.; ' r \
ipsis d~ops. a \v~rd to sh~rt~~.spe~ch~ · :l·~· ~
oft' a sentence toot' omit doth t~ach. - .

•

I

.

' .121

1:.20
True, for it is true.

.. \ .. • . : ,. .,;,.;· .. '
:,; .. He was bred an<l born\ -f~r horn \nd bred.in London.

.'t

.Ez.

Nor leaf nor reed is stirred by the wind, i.e. n
leaf is stirred nor read is stirred by the wind. \.

th.
Sylleps.is, in more worthy comprehends
The less,· and former's preference defends.

f/ly·haflages fro~ case.\p ca~e ~anspbse, .
r
th ' ·
·11 'd ·
/ ·
A liberty . at .s !}eyer "1,8 · m f~~-~e~l... : · · _~ ·
.

,,

~

r

rt·

.J-,.!1 •\' ' • ""'

··\

·t~ ~hi~~t l~-~~~er ~.~v~~-~fTl.i~-~~ . fo; -cup1
l

'

which I never. moved ~o. 111y ·l~p.1~~fft.f
{~\. ' -.
1

· .

.

·.' 'f; .. ;
. ,l.:. '/' ' t.. "·\ · ~
: \·
i f l~ · ' '" -;- ·
Ex.'
. :
", l• ·•••''t"79th
--~. ·- .
· ·-r".'IJ•.I
~~-. . '.I . . . . ~ ' ·
'·Hellen!smus when we,spe~~ :o~ ;write; :· .. . ..
I and my brothef go &c. i. e. we go out to play, .In the like style an4 phr~~e t~~: G;reeks\ md1te.
...>:,_.-. 'E
~
75th.
:.t. _., .
•
, .
Asyndeton the cop'lative denies,
1 ke~t him from tlaie,' i. e~ frQ~ d~ath:· ·...
"
-~··Or dialyton, with the same implies.
,~'
80t·h'
'. •, .... .. • ~,.f(-, ,
•
•
Ex.
By Tmesis -words divi~ed_-oft a~e s~en,: .:· . . .
Faith, justice, truth, religion, mercy dies . .:'
·And others twixt th~ :pa~s do. mt~r~ene.
\

1<0

\

· ltsth. .f ).' , ,. ,1 ~

· ..

' :.. ~ups

74

, • ,\ , Ex.

,

Zeugma repeats the verb as often o'er ·
As construing words come alter as before. .: . .

-

\

77th.
·~
Hysteron doth misplace both words and -sense, ·
And ~akes it last, "(h~t'~ _first;by just ~r~te.nce~ ~

Ex.

73d.

·-

'.

••

'.,

1

- l"

,-

.

,

.. ..,_

11

l

...

.....

•

1

I<>

r

;

' ...,\'_,. •

'

'•

,. ....,

~I .',... 1

•

•

~

· . 1 1·•: - 1: ra .1t.<E:1. )_,, ,, . r:~ • . ,.h, ..
,

Figures in construction.

•

•

'(I

'

"'

..

~

0

lo

..,_"

~:

• ...,

A

,~, ~

•

• .

What·crime soever, r?~ }Vp~tsoever C?~u!1-'·

76th.
Hyperhaton makes words and sense to run •
In order that's disturb'd ; such rathtr shun •.' '

~

r

.....,.

I

,

'

i

l:

~· pz:-~z

.

Wealth which the old man had scraped together
now the boy doth game and drink away; for no
the boy doth game and dtink away the weal
which the old man had scraped together.
~·1

•

·

,

Ex.

~

·... 81 st. ··-.'I1 :
-. .
.
.
. . ·
Hyphen does words to ?~e ·another be?·
;With such a dash. as this· ( -) to kn~~
it. by• _
.. ,,. "' " "" - ..
{

:Ir._

..

:

.

• ( '

''I

')

~..

..

''

-~

.... '

~

} _
f.., ;.

. . ' . · • P.urple-coioured~ · ,_v,:- jw ~ ~ . ~~> ••·
. . : ~ !; ·s2d ~i'..
. >t.~,t ,_ r

Enallages chan.geper~~~.\~tt.mb·e~,i.se_nse;,~~~1
Gender and·mood,.ori any slight pretence,

•;

(

'

..'.~

II'

.

. 'L.
.
/''

·.

,. .

)

~

..

•'i'... ·.,

I

-· ')- .

\'

,ii..,

• •

122
.1 23 .

E:r.
'
Alexanderfight.r,for Alexander fought, &c.

88th." .
~
y Antiptosis you may :rreely place ' · . ,
One, if as pr?per;for an~_ther ~ase. -,-\ - ~ •;>; ; ... :
E:r. ~
:_
. ·
,
--

83d.
By Antimeria, for one part of speech,
Another's put, which equal sense doth teach.

..__

..~

r,

-

The house which I me~n is your's, for.the house is
our's which I mean. ,.: ~if' :· ~.;,:-. · -~ ';.l,l,- • • ·' • •

Ex.
He is ~ow, for newly come home,

84th.
. - Figures ~f ProsodJJ:· ·: -,",\·,.-~.-.. "\
- : -:· ·•_} ~s. ~~ 89tl:i-. :1-"~:•'. 4~~). ? :_
. _F~;: '_'.1 -ri
Anastrophe makes words that first should go ·· ~:. - .
The last in place: verse oft' will have it so•.· . , Ecthlipsis ·M. in th' ' e~1 d~hatli.'. ~~~'ss fix:ci, ·
- E:r.
· ·
,'' -_ ~ When a vowel or H, begms.the wor,d~hat s :next.
He travelled England through, for through Eng~

land.

85th.
By Evoca.tion we the third recall,
In first or second person's place to fall •.

•

,.

-

E:r.

•t'.

Ex .
We the people are sovereign.

86th.,
.A Synthesis not words but sense respects ;
For whose sake oft' it strictest rules rejects.
,Ex.
The multitude rushes, or rush upon me.

·-u

•

,

- ..

-

,

·_ ·

··

Peculiar to Latin, as 1i vita inspicias, for
inspi cias. · ·
,.
'

l

•

s~~vitam

'-:.(

90th.
B~ Synalrepha final vowels give way·; ;
..
That those in front of following words ~ay ~tay ·

.- . . .T....,
.,
·, E :r.
.
•
Si vis anim' esse ,be~tus, for .-ai vis aninio esae bea·
.~"~

ius.

··

- ·

·

· .

. . --9lst. · - ·
A Systole long syllables makes short ;
rhe cramp'd and puzzle,9. poet's last resort.

87th.
By Apposition substantives agree
In case ; yet numbers, different may be.
, E:r.
.

Er. ··.
Stett:runt for steterunt.

·92d.·
.
Diastole short syllables prolongs; .
President ~efferson; City Washington, &c. · ·· / .~~r .
But this to right the yerse~l~e acc.e1:1t wronps:

< ·, . ',,

\

•

•

-

>

.
)~~~...,,.•• _
r.r . . E~.I~ :->:<:.:~:.

J.

.'

·: '-

(""

'

N aufragia for;~aufragia. _ :. , <:_':. .
. ,
,,.
~
..

.....

, '·

.......:• I

I]
'

.r

·- .·

..
.,.. .

OJ' THE

.i

•,

.

'

·.

. TROPES AND FIGURES; ,,...
.,.w ,ITH

THEIR · DERIVATION AND MEA.':~hN'c.<·
~.~'j ..... ' "$.'); .•
; ..
- .... r1':~ ~~;, 1 •
'!.;

.·

..

'"

..

)

t

;

..
. ...

'

. .·

t

.I",.

-

.

Deriv"ation.

• J

..

·~"'.: :.~; ;$i

.

:;\ ~\ ""'·'; ·'1''
• . ·j~~.

~; , - ... ' •• .
~
~ - ~, ..:~ Meaning.
~: _';I)'_~,s!ation.· ~ .
:;,.; Ch_~ging:~r names.
· _....;.-Comprehension..~ -.

a .ue-roe.~tgw, transfero ..
a .ue-rovofl.d.tw, transnomino.
,a cr~vex.Jexo!"a.1, .comprehend~; .
· : l)issimulation;.-'.7...,- ·
a~ e_1gw11evofA.a.1,, dissimulo
. . . ""'
rAbUSe.-~ .
4'
.a x.oe.-ra.x,ga.ti-/l'cX.1, abutor: ·
"'ab .v7regbJ.A.A(JJ, .sup~ro. . _, .....' ·
::E~~ej~:~c: · .
.UET!X.Aa.jA.bJvw, participio.
- Participation._ab di\7'. >i'}'O g~ w; aliud di co.
Speaking ~therwise.
~-

a

"

I

~

__

~Vames.

9 Antonomasia.
10 "Litotes.
11 On9matopceia.
12 Antiphrasis.
13 Carientismus.
14 Asteismus.
15 Diasynnus.
16 Sarcasmus.
l ';r Parremia.
18 lEnigma.
19 Ailtanaclasis.
20 Ploce.
21 Anaphora.
22 Epistrophe.
23 Symploce.
24 Epanalq1sis.
25 Anadiplosis.
26 Ep?D~dos. ·

• .., ...~

'

ab. e?rl et JvaJoq, ascen~us. ,'

. ;. '

. 27
28 Climax. ·
.29 Polypoton. ·
SO P¥ogmenon.
Sl: Paronomasia.
·S2 Honioioteleuton.
,33 Parachesis.

,:_~S4 ll.Y1>otyposis.

'. 55 Paradiastole.
;:3~ Antimetabole.
· '37 Enmtiosis. ·

' .s~

s01~'ceiosis.
~ , 39 Q.iymoron.

L4o:"·1Eteolci()'t ." ..
i;'4f fuv~rsi~1. ~. :.

t~~':'.Prolep~is. 111 ~1~~
'! Jt3 ·E'j>itl-ope~
·:• 44 Incrcmentum.
"·

ab avn,
a l\o-roi;, tenuis.
ab ovo,uan7ro1~w, nomen facio.
ab dniq:i~a(,.;, contradfoo.
a ::r,,ct. ~1€v-r1(0p.ct-1, jocor.
ab ct-~<;?or:, urbanus.
a J1cX.rrv~w, couvitior.
·:.a l!agxa,(,.i, irrideo.
"~·a ?ra.gof,u.c1a'.to,ua.1,provcrbialiter loq.
ab ct-iv fTTw, obscure loquor.
ab dvT'4vax1'.dw, refringo.
a 'TAfY-w, necto.
ab dva4Jfgw, refero.
ab s rr1s-~E~w, converto.
a 11v,u7111.fxw, connecto.
ab E?rl et dvctll.ap.Gct.vw, repeto.
ab dvctJ17rll.vw, reduplico.

Jlfeaning.
For a name.
Lessening.
:Feigning a name.
Contrary word.
Softening.
Civility.
Detraction.
A bitter taunt.
A proverb.
A riddle.
Recapitulation.
Continuation.
Rehearsal.
A tun1ing to.
A complication.
Repetition.
Reduplication . .

4

~~gr~ssi~n. . ~
~

~~-~
-· - ~~~MIM~-~~~~--llliiiiiiliiilil~-Epiz~uxis.
ab irr1~ E'J')lvvp-1, conjungo;
· A joinmg together. ·
·'..-:o .

..

.., ~\

Derivation.
pro et ovoµa.tw, nomino.

.

•

1

.

I I

,, '

' ;4 .. , ,,

"'

I

'

••

"'\

•

. ' _·

-,,":"".,,_,..,

A . scale or ladder.
Variation of case.
Same derivation.
Likeness o(words.
A like ending. .
a 7rctg~xEw, . ~imilis sono.
Allusion.
· ab otro-ru7ro1w, reprresento.
· A representation.
:~ . 1ratgaJ1et<;Ei\ll.w, disjungo.
-_Discrimination. · ··
ab dv-rl, con. et f-''CToG~etAA(AJ, inverto. Changing by contraries.
~ \h cwriaq, oppositus.
A contrariety.
·
,r ~1 0-VVO ilWW, concilio.
Reconciling• . I - · .
ab o~u, acutum et p.wgcv, stultum. A foolish witty saying.
ab a,[-r1011.oy~w, rationem reddo. · ·,- Sh,ewing·a reason.
ab en et verto.
. Jnversion.- ··
a 7r~oi\Ci-,u~ctvw, anticipo. ..
Prevention.- "· · ....
·ab ~7l'1Tgr7rw, permitto.
Permission.
· ab en et cresco.
' Increasing.
a

x,1'.[vw,

acclino. ·

a 7ro/l.ui; varius, et 'i'r1'wrnr, casus.
a trCGgctyw , dei;ivo.
a 1retga,, et ovop.a, nomen.
ab OfJ'OIGq, similis, et nll.'CV1'0V, finis.

\

JVames.
45 Synonomy.
46 Synathrresmus.
47 Apophasis.
48 _Paraleipsis.
·49 Periphrasis.
·so Hendeadys.
51 Erotesis.
52 Ecphonesis.
53 Epiphonema.
54 Epanorthosis.
55 Aposiophesis.
56 Anacrenosis. ·
57 Apotia. 58 Prosopopreia.
5 9 Apostrophe.
60 Prosthesis.
.:'..§:! ~~J>Ji.rer~~si~. "· .
1

· Derivation.

. _a1?_. <:t,(f>et1j~w·" aufei<:».:.•;?'l~~~.-:·_·.._.. · -."1·--~~,·i·!:~._~,Tiak
tli~inig~J~ro•.' m
, :~_ ·~.~~-fii··~Wiii•iitiWP.!!'1
11
.. - •

• .c

et

ti's'.! Ep~µ1:hesis.

Meaning.

ab (/, ll"uv, con. et dvop.Ol., nomen.
Of the same name.
a a'vv0l.9go1tw, congrego.
Gathering together.
Not saying.
ab d7ro, ab et ~dw, dico.
....·· Leaving.
a 7r°'g"'>..mrw, prretermitto.
a 7reg1~gd.tw, circum loquor.
Circumlocution.
ab ev, unum, Jta., per;et d'Jo, duo. One in two.
ab egOJTot.W, interrogo.
A questioning.
·- .
ab ex.~~11ew, ·exclamo.
Exclamation. ;;c" ·!'_~.~;··
ab e7r1~wve(,d; acclamo.
Acclamation.' ,. · .·.. "'
ab e7rawog9ow, corrigo.
Correcting. · ,.
·
ab d7ro, past, et a'iw7raw, obticeo. . _Pau.-~irig or concealing.
Commuriication.
ab alvax.01v~w, communico.
A doubting.
ab Ol.7roge;,;, addubito.
a 7rgo<fo7rov, persona, et 7ralew, facio. · Feigning a person.
a_b Oe.7ro,-ge<Pw, avertor. · ·
. ·Turning to another subject. · .
a 7rgo,-tG>iµ.1, ·appono. __
Adding to.
.
.

1

Interposition.
Cutting off.

11

E'l1'!9tif:''~ m1er.o.
ab £1n,
ab a.7ro, ab et X.o7rT"'' scmdo.
,,
d
Produciiig. _
a 7ra.ga. prreter, .et """'"'' uco.
Transposition.
• a fl-ETD£, et ·n9>;f1-I, pono.
O · ·· · ·
ab
~ii-r1,
contra,'
et
T&9tif1-''
pono.
ppositloD:·
67 Aritethesis.
·
.
A sup~~.uty•.
6a Pleonasmus. . a 11"J..eova.t"'~ redtindo.
. .
lligo · Many ,copulat1yes•.
3
~6!1"" Polys}rndeton.
a 7roJ..v; 'multum,' ~t O:"" u1, co
. Interposition of words•.
.~terjicio.
.. ,.
.
7o Parenthesis. ..•.. a 7f'at.onTi9tif1-'~
.,
trah
Pro}oiigmg
. .....
'o ,1 . ·
pro . ~-. · -~ -, ·
f'
, · 1
7( ~arodes:. . · ·[ a ·7ra.oeNt"1,.
.,
d
fi
.
A
d.
e
ect
•.
~
··
,~
;
.
,
.
.._~'.'..··
·~,·-,,_:·_ ·,~''':'~:""
ab ~,. >..e!7'01,t e ClO•';'"'
72· Elleip~~· <>-~ .,
1:1•
•
A 1"oill,iiig 0 :t~"°. .- -.~- ~ ~ .
\ 7.s"c '-Zeugrii~
. a (evr~uj.u; jungo. :;,--/ :
..'"
Comprehe~s1on. . _· ,

64 Apocope.
65-· Paragoge.
·66 Metathesis.

jfi4 Sylleps~s. " -

· . 75'

l_\syndefon, or
: / •·:' ·~Dialyton: ·
·!Z§ )Iyp~rpatci~:.

·77:~IDys~eron .. ~- · ·

'

.I.

l

•

~.

'"'"

.(~

;, :'ia . Hyp.~ag~s.

_79 ·Hell<?nesmus.
f

. .,,.

.....

a a-v>..1'.at.fl-~"""(AJ' compre~end~.
a' ·a-vv ~.con. ~t ~El"'' bgo: ' -~ .,
a 31Ct.>..vM, d1sso vo~ .... ~ ~;-;

. .

·ab.t1'lr'ig~~''"'~ ~~grc:dior. ~ .
at> ~s-egov~ poste!,ms. · ~ -~,
a U1To,eta.Moc.TT"1, muto
.
•
ab e1'.1'..tivlt"'' G~rzce 1oquor
'~

.•.

Without.~ copulative•.

~~.. Di~jbfu~d~.;· .. ~. r~

if• .. ··· :Apassin'.fover~ ;

_

~ After· piacing;
-A..,.c. han
.
. -·
gmg.

·

• ':.

.
. ·~..

.,,.~
A Grrec1sm.
_, ; · ·-.-~.

.,,

<'>

•

.

-

. ,...

JV'ames.

·Derivation.

·

Meaning.

Tmesis.
a -rEp.v"', seco.
Dividing.
Hyphen.
ab \f<P, et ~v, unum.
Uniting.
Enallages.
ab €vet ~/\/\;,-r7w, permuto.
Change of order"
Antimeria.
·~ ab ~VTI, pro, et p.eeocr, pars.
. o.!l~ part for another.
Anastrophd. lC ab iv<¥s-ge¢.~~ retro' verto'. .:_ ,. .. _~::~~-:~.;I!.ing.
Evocation.
ab e~oco.
.
· : - · -;:.. µ1!-!gforth~ ...
Synth~s~s. <Ui a crvvTl16ijµ1;-~ono. . ;~ ...~'·:f~ · Acoml?osition~
Appos1t1on. • .,..., a -;rgos-~G~p.•,
app~"f..x • • .;:...- ~- Nouns m the same case.
Antiptosis. '\o..i ' ab clv-rl, pro,~~,r;;c;;;,¢, casus:----.::...~~,_--·· · One case put for another.
Ecthlipsis. "9, ab edA.ef{?;w, ellido.1 \.-.• I')"·'
. A striking out.
·
Synalcepha. '...::>a crvvaA.e1~w, conglutino.Mingling together.
Systole.
a ~vnMw, contraho.
A shorteni~g.
92 Diastole.
a J'1cX;r>..>..w, produco.
A lengthemng.
a crvmglAI, contraho.
A contraction.
·93 Sync:eresis.
94 Dic:eresis.
a J1a1g~w, divido. ~~-.
A division. ·

80
81
82
83
·34
85
• 86
87
88
· 89
_~O
91

I r' •

..

.·,

•I

