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writing, when we intend this laft fenfe of the word. Metonymies are commonly diftinguished into four kinds, and receive their names from the cause and effect, the fubje& and the adjunɛ.

171. i. A metonomy of the caufe is when the external caufe is put for the effect; as tongue for language, fword for flaughter, &c.

172. ii. The fecond kind of metonymy puts the effect for the efficient cause, whether the agent, or only the means and inftrument. So Virgil calls the two Scipios the deftruction of Lybia, because they were the agents who effected it.

173. iii. The third kind of metonymy is, when the fubject is put for the adjunct. Thus the feat of any faculty or affection is used for the faculty or affection itself. So it is ufual to say, a man of a clear head, when we mean a clear mind, or of a warm heart, when we mean kind affections. Thus alfo the time is put for the perfons living in it; as the degeneracy of the prefent age, the virtue of former times. The popish doctrine of tranfubftantiation is founded upon an abuse of this trope. For, when our Saviour, speaking of the bread and wine then before him, fays, "This is my body, and this is my blood," his plain meaning is, they were the figns of his body and blood, the thing fignified being put for the fign by this fort of metonymy. But the Papifts abfurdly take the expreffion literally. In like manner, our Saviour, in a metaphorical fenfe, calls himself a vine, and a door, expreffions which even the Catholics themselves do not interpret literally.

174. iv. The fourth kind of metonymy is that wherein the adjunct is put for the fubject. As when Virgil fays, "They lie down upon purple;" that is, upon couches died with purple. By this trope virtues and vices are put for the perfons in whom they are found. As in that beautiful paffage of Cicero, where, comparing the profligate army of Catiline with the forces of the ftate, he fays, "On this fide modefty is engaged, on that impudence; on this chastity, on that lewdness; on this integrity, on that deceit; on this piety, on that profanenefs; on this conftancy, on that fury; on this honour, on that bafenefs; on this moderation, on that unbridled paffion; in a word, equity, temperance, fortitude, prudence, and all virtues, engage with injuftice, luxury, cowardice, rafhness, and all vices." A third ufe of this trope is by putting a thing for the time in which it was done. Thus we fay of a person, he has served fo many campaigns, meaning fo many fummers. Laftly, the fign is put for the thing it fignifies; as, the crown for the regal dignity, and the fword for the authority of the magiftrate.

175. III. SYNECDOCHE is a trope by which either the whole of a thing is put for a part of it, or a part for the whole; fo that the two things whofe ideas are prefented to the mind in this trope are internally related to each other. In a fynecdoche the word retains its proper fenfe, and the expreffion is elliptical. A thing may be confidered as a whole in three different refpects, which logicians call an univerfal, effential, and integral whole. An univerfal whole is any genus with regard to its fpecies; as animal with refpect to men and brutes, or philofophy with refpect to the arts and feiences. An effential whole confifts of matter and form; as, a man of

body and foul. And an integral whole is any body or quantity, with respect to the parts of which it is compofed; as, an human body with refpect to its members; or a year, as divifible into months, weeks, and days. Hence arise six species of fynecdoche.

176. (1.) The firft puts the genus for the species. Thus, virtue in general is sometimes used to denote fome particular virtue; as, when Cicero mentions virtue as one of the four qualifications neceffary in a general, he means greatness of mind.

177. (2.) The fecond kind of fynecdoche puts the fpecies for the genus. Thus bread denotes any kind of food; as when a person is said to get his bread by his labour; and money is put for any kind of wealth.

178. (3.) The third species is, when the effential whole is put for one of its parts; that is, either for the matter or form. Thus, it is ufual to say of a deceased person, He was buried at fuch a time. And, in the infcriptions of fepulchral monuments, Here lies fuch an one, that is, his corpfe.

179. (4.) The fourth kind of fynecdoche is, when either the matter or form is put for the whole being. Thus filver and gold are used to fignify money made of thofe metals. And foul is put for the whole perfon. This way of speaking occurs nowhere more frequently than in the facred writings, unless in Sir J. Sinclair's Statifical Account of Scotland. But fometimes only part of the matter ftands to exprefs the whole effence or being; thus, fo many head of cattle means entire cattle.

180. (5.) By the 5th fpecies of fynecdoche, the whole of any material thing or quantity, whether continued or difcrete, is put for a part of it. So when Cicero fays, A war is kindled through the whole world, he calls the Roman empire the world. The fame figure is used by St Luke, ch. ii. ver. i. And as to difcrete quantity, our Saviour, ufing this trope, faid he should be three days and three nights in the heart of the earth. Though he did not continue three whole days and three nights in the grave, but only part of the first and third day, and the whole fecond day, with the two whole nights between the firft and third day. By this kind of fynecdoche, alfo, the plural number is fometimes put for the fingular.

181. (6.) The fixth and laft kind of fynecdoche puts a part of any material thing or quantity for the whole of it. So we fay of a fleet, that it confifls of so many fail; meaning, fo many ships. And by this trope, that is afcribed to a fingle perfon which was done by the affiftance of others, and in conjunction with them: As when it is faid, that Lord Nelfon defeated the French at Aboukir. To this kind of fynecdoche may also be referred expreffions in which the fingular number is put for the plural; as, A man is liable to be misled by irregular passions; meaning mankind in general.

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ciation, or from the nature of the perfon or the thing. For where any of thefe do not fuit with the words, it is plain the speaker intends the contrary."

183. The fubjects of irony are vices and follies of all kinds; and this way of expofing them is often more effectual than ferious reafoning. And therefore we find the moft ferious perfons have not declined the use of this trope upon proper occafions. SOCRATES used it so much, that he got the name of sign, that is, the droll. In the facred writings we have a remarkable inftance of it in the prophet Elijah, where he challenges the priests of Baal to prove the truth of their deity. (See I Kings, xviii, 27.) And Solomon takes the like method to expofe the follies of youth by an ironical apoftrophe: fee Ecclef. xi, 9. Nay, our Saviour himself thought fit thus to reprove the Jewish doctors, when he says, “ Full well ye reject the commandment of God, that ye may keep your own traditions:" Where, by the words full well, xaxas, it is evident that a fevere reprimand was intended. Irony is also used on a variety of occafions by Cicero.

184. II. SECONDARY TROPES are fo called, be cause they are all of the fame nature with the former, and may be referred to fome one or other of them, though they have received different names. They are 8 in number; Antonomafia, Communication, Litotes, Euphemifm, Catachrefis, Hyperbole, Metalepfis, and Allegory. The 3 firft are fimple tropes, and may all be referred to a Synecdoche. But the 5 laft are of a mixed or complex nature, and not confined to any one of the primary tropes.

185. I. ANTONOMASIA. A common or general word is fometimes used for the proper name of fome particular thing or perfon, who upon any account is eminent and remarkable. So we fay, He is gone to, or he came from the city, that is, London. By the Scriptures we mean the Bible. The orator is used for Cicero, the poet for Homer or Virgil, the philofopher for Ariftotle; and the apofile, for St Paul. On the contrary, the proper names of things or perfons are fometimes applied to any other of the fame character. Thus we ufe the word gospel for any certain and undoubted truth. And Punic faith proverbially stood for falfehood among the Romans.

186. II. COMMUNICATION, among orators, fignifies a change of perfons. Sometimes, to prevent the imputation of pride, in affuming to themfelves the praife of any laudable action, they afcribe it to their hearers, and do not fay, we, but ye did fo and fo. At other times, when it is necef. fary to remind them of fomething they have done amifs, or to caution them against fome wrong ftep, they take it upon themselves, or join themfelves with them, and do not fay, you have done, this, or do not do this; but, we have done it, or let us not do it. At other times, in compliment to their hearers, they join them as partners in the commendable actions or virtues of other perfons. Such tropes often occur both in Demofthenes and Cicero.

187. III. But there is a mode of fpeech, in which, by denying the contrary, more is intended than the words exprefs. This is called LITOTES;

and is often used where a perfon is led to say any thing in his own praise, or to foften an expreffion which in direct terms might give offence. As if one should say, I do not commend you for that; meaning, I greatly difcommend or blame you for it. 188. IV. When any difpleafing or ungrateful thing is expreffed by a more foft and agreeable word, it is called EUPHEMISM. As death carries in it a difagreeable idea, instead of faying a perfon is dead, we often say he is departed. But when St Luke, fpeaking of Stephen, who was ftoned to death, fays he fell asleep; this is a beautiful metaphor.

189. V. CATACHRESIS fignifies in general any harfh trope, though it is most commonly found in metaphors. It is principally ufed by poets, to enforce an expreffion, where the proper word does not feem ftrong enough. As when Milton, in describing the angel Raphael's descent from heaven, fays, he Sails between worlds and worlds.

190. VI. HYPERBOLE is the boldeft of all tropes: for it exceeds the ftrict bounds of truth, and reprefents things either greater or less, better or worse, than they really are. But the reprefentation is made in fuch a manner as not to impofe on the hearers. For an hyperbole is not used to defcribe any thing accurately, but only to magnify or deprefs it in a confiderable degree, when we do not choose to reprefent it exactly. The excefs in this trope is called auxefis; as when we fay of any thing that is very high, it reaches to the Skies. The defect, or contrary extreme, is termed meiofis; So we fay of a very lean perfon, he is nothing but skin and bones, or a mere fkeleton. It is principally metaphorical, but fometimes taken from other tropes. Those hyperboles, which are expreffed comparatively, are commonly most emphatical. To fay a thing is as light as a feather, carries the idea very far; but to say it is lighter, heightens it greatly.

191. VII. Sometimes two or more tropes, and thofe of a different kind, are contained under one word; fo that several gradations, or intervening fenfes, come between the word that is expressed and the thing defigned by it. And this is called a METALEPSIS. The contefts between Sylla and Marius proved very fatal to the Roman ftate. Julius Cæfar was then a young man. But Sylla obferving his afpiring genius, faid of him, "In this young man there are many Mariufes." In this expreffion there is a metalepfis, containing a fynecdoche, an antonomafia, and a metonymy. So that Sylla's meaning, divefted of thefe tropes, was, that Cæfar would prove a moft dangerous perfon to the Roman republic; which afterwards proved true. This trope is frequently met with in poets.

192. VIII. ALLEGORY is a continuation of feveral tropes in one or more fentences. Thus Cicero fays, "Fortune provided you no field, in which your virtue could run and display itself:" where the words field and run are metaphors taken from corporeal things, and applied to the mind. But in allegories, care fhould be taken, that the fame kind of trope be carried through the whole, fo as to compofe one uniform and confift ent fet of ideas. It is likewife neceffary that the allufions be all evident. Thefe are called pure allegories. See ALLEGORY.

II. Of FIGURES. 193. THIS term feems to have been borrowed from the ftage, where the different habits and gef. tures of the actors, fuitable to the feveral charac ters they fuftained, were by the Greeks called xare, and by the Latins figure: And it is ufual to fay of a perfon, both with refpect to his drefs and action, that he makes a very bad, or a very graceful figure. As language is the drefs of our thoughts, in which they appear to others; fo any particular manner of speaking, may be called its figure. But rhetoricians reftrain the fenfe of the word to fuch forms of speech as differ from the ordinary ways of expreffion; as the theatrical habits of actors on the stage differ from their ufual garb at other times. A figure, therefore, in the fenfe used by rhetoricians, is, A mode of Speaking different from, and more beautiful and emphatical than, the ufual way of expreffing the fame fenfe.

194. FIGURES feem to have been among the laft ornaments introduced into the art of oratory. ARISTOTLE, who treats fo accurately upon other parts, fays very little of this. But the Greek writers who came after him have fupplied that deficiency. They took notice of the feveral modes of expreffion, obferved their force and beauty, and gave them diftinctive names. And indeed they have treated the matter with such minutenefs, that QUINTILIAN thinks they have multiplied figures to excefs. But though it was fo late before they were taken notice of, yet the ufe of them in difcourfe was doubtlefs very ancient. The author of Homer's life, which fome afcribe to Plutarch, has fhown, that there is scarce a figure mentioned by rhetoricians, but is to be met with in that most ancient poet. And, from the nature of speech, we may eafily perceive, that mankind must have very early introduced tropes to fupply the want of proper words to exprefs their fimple ideas; and the like neceffity muft have put them upon the ufe of figures to reprefent their paffions. When the mind is disturbed, we show it by our words as well as by our countenances and actions. Hence fome have ftyled figures the language of the paffions. And Cicero calls them "the principal weapons of an orator."

195. The advantage of figures, therefore, to an orator is evident. They are a fort of natural eloquence, which one falls into, fuitable to that temper of mind with which he is affected himself, and is defirous to affect others. In a cool and fedate discourse, fuch figures as convey our fenti ments with the greatest strength and evidence are moft proper. There are others fuited to brighten and enliven gay and sprightly fubjects. Others again are peculiarly adapted to exprefs the perturbations of the mind. Figures are peculiarly ferviceable to an orator for answering thefe different intentions. CICERO's oration againft CATILINE, when he had juft difcovered his plot to deftroy the Roman ftate and burn the city, affords a grand fpecimen of the ftrongest and moft moving figures. And the difcourfe had its defired effect; for when Catiline ftood up to make his defence, the whole fenate was fo inflamed from what Cicero had faid, that they had not patience to hear him fpeak; upon which he immediately left the city. But different paffions require different figures. When

Dido finds that Æneas is about to leave her, the ufes all her arts to detain him, and discovers her fear, anger, and revenge, with the whole crowd of paffions which then poffeffed her mind, in a variety of moving figures, fuited to raise the counter paffions in his breast, as is finely represented by Virgil.

196. FIGURES fhould always be accommodated to the fentiments, and rife in proportion to the images defigned to be conveyed by them: but where the language outftrips the thought, though it may please the ear, yet an intelligent hearer will foon fee the impropriety. In the ufe of pathetic figures, it is generally better to be nervous than copious, that the images, by their clofer union, may imprefs the mind with greater energy. But the too frequent ufe of figures ought to be avoided. They fhould be fo interwoven in a discourse, as not to render the style rough and uneven, fometimes high, and at other times low. In a word, they fhould rather seem to arise from nature than art.

197. FIGURES are ufually divided into two forts, figures of words, and figures of fentences. The difference confifts in this; that in the former, if we alter the words, or even the fituation of them, we destroy the figure; but in the latter the figure remains, whatever words are used, or in whatever manner the order of them is changed. Thus, when the name of a person or thing is repeated, to intimate fome known property or quality belonging thereto, it is a verbal figure called PLOCE. Cicero was a true patriot; and therefore we use this figure, that at the time of Catiline's confpiracy, Cicero appeared like Cicero. The fenfe would remain the fame, but the figure would be loft, if we should fay, at that time Cicero appeared like himself. So when two or more fentences, or members of a fentence, end with the same word, it is called EPISTROPHE; as when we fay, To lofe all relish of life, is in effect to lose life. But if the order of the words be changed in the latter claufe thus, To lofe all relish of life, is to lose life in effect; the figure vanishes. Such is the nature of the verbal figures. But it is not fo in figures of fentences; they continue the fame, whatever alterations are made in the words.

198. I. VERBAL FIGURES may be distinguished into 3 forts, as they confift in a deficiency, a redundancy, or a repetition, of words.

199. I. Of the first fort are ellipfis and asyndeton.

200. i. ELLIPSIS, is when one or more words are wanting in a fentence, to complete the conftruction, and fully exprefs the fenfe. This figure is often used in proverbial expreffions: as when we fay, Many men, many minds; i. e. have many minds; and, The more danger, the more honour; i. e. gains more honour. But where more is intended by fuch expreffions than mere brevity, and especially when they are the effect of fome pattion, the figure is called APOSIOPESIS.

201. ii. ASYNDETON is when the particles that connect the members of a sentence are left out, to reprefent either the celerity of an action, or the hafte and eagerness of the fpeaker. Thus Cæfar expreffes his fpeedy conqueft of Pharnaces: I came, I faw, I conquered. If he had inferted the

copulatives,

copulatives, and faid, I came, and I faw, and I conquered, it would have retarded the expreffion, and not given fo full and juft an idea of the fwiftnefs of the action. In the laft article, we took notice of the vehement and impetuous manner, in which Cicero attacked Catiline in his firft ora. tion, where his defign was to fire the minds of the fenate against him, and oblige him to leave the city. The next day, when Catiline was gone, he calls together the citizens, and in a fort of rapture thus begins, He is gone, departed, efcaped, broke out; intimating both the exceffive rage in which Catiline left Rome, and the great pleasure with which he was himself affected on that account. This concife way of speaking adds like wife a great emphafis to an expreffion, and affects the mind with great force.

202. ii. The 2d fort of verbal figures is contrary to these, and confifts in a redundancy or multiplicity of words; which are likewife two, pleo nafmus and polyfyndeton.

203. i. When we ufe more words than are neceffary to exprefs a thing, it is called PLEONASMUS. This is done fometimes for greater emphafis, as when we fay, Where in the world is he? At other times it is defigned to ascertain the truth of what is faid: So the servant in Terence, when the truth of what he had related was called in queftion, replies, It is certainly fo; I saw it with thefe very eges.

204. ii. When the feveral parts of a fentence are united by proper particles, it is called POLYSYNDETON. This adds a weight and gravity to an expreffion, and by retarding the courfe of the fentence, gives the mind time to reflect upon every part diftinctly. We often meet with this figure in Demofthenes, which very well fuits with the gravity of his ftyle. So he encourages the Athenians to profecute the war against Philip II. from this confideration, that now "they had fhips, and men, and money, and stores, and all other things which might contribute to the strength of the city, in greater number and plenty than in former times." Every article here has its weight; but if we remove the copulatives, the fentence will lofe much of its force.

205. III. The 3d kind of verbal figures confifts in a repetition. Either the fame word in found or fenfe, is repeated; or one of a like found, or fignification, or both.

206. I. Of the former fort there are ten, called antanaclafis, ploce, epizeuxis, climax, anaphora, epiatrophe, lymploce, epanalepfis, anadiplofis, and epanodos. The two firft of thefe agree in found, but differ in fense; the eight following agree in both. 207. (1.) When the fame word in found, but not in fenfe, is repeated, it is called ANTANACLA$15. This figure fometimes carries a poignancy in it; and when it appears natural and eafy, difcovers a ready turn of thought. As when a fon, to clear himself of fufpicion, affured his father he did not avait for his death; his father replied, But I defire you would wait for it. Here the word wait is taken in two different fenfes. And even our Saviour himself once ufes this figure, when he fays to one of his disciples, who defired to go and bu. ry his father; Follow me, and let the dead bury their dead: Where dead in the one place denotes a VOL. XVI. PART II.

natural death, and in the other a moral or spiritual death.

208. (2.) Sometimes the name of fome perfon or thing is repeated, to denote fome particular character or property; and then it is called PLOCE. Thus Cicero fays, Young Cato wants experience, but yet he is Cato; meaning he had the fteady tem. per of the family.

209. (3.) When a word is repeated with vehe mence in the fame fenfe, it is called EPIZEUXIS. This figure fhows the earneftnefs of the fpeaker, and his great anxiety about what he says; and therefore has a natural tendency to excite the attention of the audience. It is fuited to express anger, furprise, forrow, and feveral other paffions. As when Cicero would exprefs his indignation against Anthony for having been the chief inftrument in bringing on the civil war, he fays to him: You, you Antony, pushed Cæfar upon the civil war. And when our Saviour would exprefs his great concern for the wickedness of the Jews, he does it in this pathetic manner: O Jerufalem, Jerufalem, who killeft the prophets!

210. (4.) CLIMAX is a beautiful kind of repetition, when the word, which ends the firft member of a period, begins the second, and fo through each member, till the whole is finished. There is a great deal of ftrength as well as beauty in this figure, where the feveral fteps rife naturally, and are closely connected. As in this example: There is no enjoyment of property without government, no government without a magiftrate, no magiftrate without obedience, and no obedience where every one acts as he pleases. But, as Quintilian obferves, this figure is apt to look too much like art; for which reafon he advises not to use it often.

211. (5.) When several fentences, or members of a fentence, begin with the fame word, it is called ANAPHORA. This is a lively and elegant figure, and ferves very much to engage the attention. For, by the frequent return of the fame word, the mind of the hearer is held in an agreeable fufpenfe, till the whole is finished. "You do nothing (fays Cicero to Catiline), you attempt nothing, you think nothing, but what I not only hear, but also fee and plainly perceive." It is frequently used by way of queftion; which renders it not only beautiful, but ftrong and nervous. As at the beginning of the fame fpeech: "Does neither the night-guard of the palace, nor the city-watch, nor the people's fear, nor the agreement of all good men, nor the meeting of the fenate in this fortified place, nor the countenances and looks of this fociety, at all move you?"

212. (6.) EPISTROPHE is contrary to the former, and makes the repetition at the end of each member or fentence. As thus: Since concord was loft, friendship was loft, fidelity was loft, liberty was loft; all avas loft.

233. (7.) SYMPLOCE takes in both thefe laft figures. As in that of Cicero: "You would pardon and acquit him, whom the fenate hath condemned, whom the people of Rome have condemned, whom all mankind have condemned." Here the feveral members both begin and end with the fame word. We have a beautiful inftance of it in St Paul, when he fays, "Are Nna

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214. (8.) When a fentence concludes with the word with which it began, it is called EPANA LEPIS. As in that expreffion of Plautus, "Virtue contains all things; he wants no good thing who has virtue." This figure adds a force to an expreffion, when the principal thing defigned to be conveyed is thus repeated, by leaving it laft upon the mind. And it heightens the beauty, when the fentence has an agreeable turn arifing from two oppofite parts.

25. (9.) When the next fentence begins with the fame word with which the first concluded, it is termed ANADIPLOSIS. As in the following inftance: Let us think no price too great for truth; truth cannot be bought too dear. This figure generally fuits beft with folemn difcourfes.

216. (10.) EPANODOS is the inverfion of a fentence, or repeating it backwards, fo that it takes in the two laft figures; for it both begins and ends with the fame word, and the fame word is likewife repeated in the middle. It ferves to illuftrate and enforce the fenfe, by fetting it in two oppofite views. As in that expreffion of the prophet: "Wo unto them who call good evil, and evil good; who put darkness for light, and light for darkness!" &c.

217. II. Thofe figures which confift in a repetition of words of a like found or fignification, or both, are 43 paronomafia, bomoioptoton, fynonymia, and derivatio; the two firft of which refpect words that are fimilar in found only, the third in fenfe, and the laft in both.

218. i. When two words very near in found, but different in fenfe, refpect each other in the same sentence, it is called PARONOMASIA. As when we fay, After a feaft comes a fuft; and, A friend in need is a friend indeed. We ufually call it a PUN, which, when new, and appofitely used, paffes for wit, and ferves to enliven converfation. Nor is it wholly to be excluded from grave and ferious difcourfes; for a witty jeft has fometimes had a better effect than a folid argument, and prevailed with those who could not be moved by clofe reafoning. And therefore Cicero and the best fpeakers have fometimes recourse to it.

219. ii. When the feveral parts of a fentence end with the fame cafe, or tenfe of a like found, this is the figure named HOMIOPTOTON. As thus: No marvel though wisdom complain that fhe is either awilfully defpifed, or carelessly neglected; either openly fcorned, or fecretly abhorred. This fi. gure is esteemed most beautiful when the parts are all or nearly of the fame length; as it adds to the harmony of the period, and renders, the cadency of the feveral members more mufical. The Greek rhetoricians were much addicted to it, and Ifocrates is celebrated for it. But fome of the beft orators avoided it, as having too much the appearance of art. It appears nowhere fo much in the works of Demofthenes, as in an oration which he did not speak himfelf, but wrote for his friend Diodorus, a man of that taste, who was to pronounce it as his own.

220. iii. The next figure is SYNONYMIA. Strictly speaking, fynonymous words are thofe which

have exactly the fame fense ;] but there being few fuch, the term is extended to comprehend words of a near affinity in their fignification, which in difcourfe are frequently put for one another. So, to defire, and intreat, are used as equivalent terms; and esteem and bonour are often taken for fynonymous words, though they have not precifely the same sense, for efteem is the good opinion we entertain of a perfon, and honour the outward expreffion of that opinion. When two or more fuch words come together, they constitute this figure.

221. iv. When fuch words as fpring from the fame root, as juflice, juft, injustice, unjust, and the like, come together in the fame fentence, they make the figure called DERIVATIO. This figure receives an additional beauty when repeated in two oppofite members; as, He wished rather to die a prefent death, than to live a miferable life.

222. II. FIGURES of SENTENCES. Of thefe fome are principally adapted for reasoning, and others to move the paffions.

223. FIGURES fuited for proof, are fix: Prolenfis, hypobole, anacoinofis, epitrope, parabole, and antithefis.

224. i. PROLEPSIS, or ANTICIPATION, is fo called, when the orator firft ftarts an objection, which he forefes may be made either against his conduct or cause, and then answers it. Its ufe is to prevent the exceptions of an adverfary, which cannot afterwards be introduced with fo good a grace; and it ferves to conciliate the audience, while the speaker appears defirous to reprefent matters fairly, and not to conceal any objection which may be made againft him. The occafions of this figure are various; and Cicero's orations abound with examples, as well as those of our beft fpeakers in parliament.

225. ii. HYPOBOLE or fubjection, is like the former; and is, when feveral things are mentioned that feem to make for the contrary fide, and each of them refuted in order. It confifts of three parts, when complete; a propofition, an enumeration of particulars with their answers, and a conclufion.

226. iii. ANACOINOSIS, or communication; by which the fpeaker deliberates or expoftulates either with the judges, the hearers, or the adverfary. Cicero ufes it in addreffing the judges againft Verres; and the facred writers fometimes introduce God himself thus expoftulating with mankind. See Malachi i. 6.

227. iv. EPITROPE, or conceffion, grants one thing, to obtain another more advantageous. It is either real or feigned; and either the whole of a thing, or a part only, is granted. Nothing more confounds an adverfary than to grant him his whole argument, and at the fame time either to fhow that it is nothing to the purpose, or to offer fomething elfe to invalidate it. Thus Cicero, in his defence of Milo, represents the taking off Clodius, with which Milo was accufed, as a glorious action; after he has shown that Milo's fervants did it without his knowledge.

228. v. PARABOLE or fimilitude, illuftrates a thing by comparing it with fome other to which it bears a refemblance. Similitudes are indeed but weak arguments, but where the design is not

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