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THe name is of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 fluo, as a stream doth, but tropically it signifieth to speak fluently: the reason of this Art is, that Speech be∣ing the Carrier from man to man, which is but a testimony, therefore not easily received, God hath therefore provided a kind of sugar, that thereby it might be the more easily received: and Rhetorick is as honey to a bitter Potion, or lace to a garment. It is
Because it consisteth of Precepts fitted to an Eupraxy.
It cometh of Dico, which cometh of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in Greek which signifieth a decision or determination of a Controversie, and belongeth to ju isprud, so that dicere is properly to plead in Courts or places of Ju∣stice; and because Rhetorick at the first was in such places of most use, therefore is this word given unto it. which in propriety is too strait for the Art to which it is given: but because Use hath received it, we are content with it, knowing that it was the error of them who first gave it, not of those who after∣wards used it.
This Bene is not the same with that in the definiti∣of ars, for that in ars is whereby a man doth a thing expeditè, or ex habitu, and is not in Arte, but in Ho∣mine; but now this bene dicere, or bene loqui, or the like, is a bene dicere, or bene loqui beyond that in the definition of ars, for the species is beyond the genus, by a form, which Ramus teacheth in the definition of forma: but the reason why bene is put in the de∣finition of every Art, is because every Creature of God, by reason of our sin, is made evil unto us and obscured, so there is good or bad: so Speech is good or bad: and the Art takes hold only of that which is good. For it is the wisdom of God, and therefore for difference sake it is requisite that bene should
come under into the definition of every Art. And here it is an adverb joyned to this verb, to shew this thing that is the good function of this action bene di∣cere. So he doth bene dicere which useth word in tem∣pore, and he doth malè dicere, which useth them in∣tempestivè.
Here he doth commorari, to shew the effects of Rhetorick, and indeed so every art hath great effects being wisely used.
Now Plato being an honest man in Greece, and those that were called Sophistae, abusing this Art, and making the common people by it beleive, That God was evil, and truth falshood: he was angry with them, and so called it The Art of Cookery, of Flat∣tery, of Painting, of Enchanting: though indeed it was by the fallacies of the Arguments in Logick: and thereupon that name Sophistae, which before was a name of honour, became afterwards a name of re∣proach. Now (as I said before) it was not Rhe∣torick, but false reason of Logick; only the Rheto∣rick set a gloss upon it, and these names are as it Pla∣to should say, though this be a kind of Musick which in it self is good, yet thus it ought not to be used, but is unneedful, and therefore he calleth it a kind of sauce, and painting out of a thing: or as if he should say, a cup of poyson fweetned with honey. And Aristotle following his Master Plato, said it was in a good Common-wealth unneedful: but indeed Rhe∣torick is a kind of Musick, which is good and need∣ful.
The Romans of long time would not admit of Rhetorick, and among the Turks I think that they will never receive it: and indeed rude people, yea, and all kind of people are easily deceived by Rheto∣rick; not in regard of judgment, but of the affecti∣on of love, which embraceth it, and voluptas is the object of affection. Now indeed here lyeth the fal∣lacy, in that a Speech being seasoned with Rheto∣rick, passeth by the understanding, and so the Will takes hold of it, and whilest the Will doth hastily embrace it, the reason cannot examine it: and so in Tropes, it is respected of Rhetoricians to bring sounding words to tickle the ear, but the understand∣ing is not well pleased, because it doth not under∣stand it: and Rhetorick is the art of affection as it sweetneth the speech, for the affection of love is so greedy of it that it will not let the understanding take it, therefore Rhetorick is said to be the art of affection, Grammer of things to be understood; but this is nothing, for they are both of Speech and so are Arts to entertain bonum.
Now for the Turks, I think they will never em∣brace it, for they are as God's rods to whip his Christians withal. We have already heard what Rhetorick is: now followeth the distribution; and that is into Elocution and Pronunciation: for accor∣ding to rhe double act of this art must this art be di∣stributed, for we have already heard that Speech is God's Creature given unto man to be a Carrier from man to man; and that because one man's eye cannot see all things, which being only a bare testimony, is not easily received, and therefore must be sugared or sauced, that it may be more sweet and pleasant, and
also more evident. Now Speech is adorned by speech, or by gesture, for though Speech be consi∣dered in gesture, yet not the Speech properly, but the sound or tenour of it: For in that Oration, where both speech and gesture are answerable one to another, that is most plain, and takes the most effect in the hearts of the hearers: and gesture is a kind of dicere, and therefore when they use pleading in Courts, they use gesture, that there may be a more pleasant dicere consisting of these two parts: so that Speech is adorned either with speech or gesture. The First of these is called Elocutio of eloquor, which though for notation it be the same with pronuncia∣tio, yet in definition and in use they are distinct. This is first because elocutio may be without pronunciatio, as are Tully's and Demosthenes his Orations: and se∣condly, Pronunciatio may be improperly of that which is meerly Grammatical; therefore elocutio must go before, so that according to the double sweetning of Speech must Rhetorick have these two parts.
Here exornatio is not a genus to elecutio, therefore I define elocutio to be prima pars Rhetorica, de exorna∣tione orationis.
We know that the garment is one thing, and the cut another, so that Grammer and Rhetorick are distinct Arts; and we may easily discern between them: For I may compare Grammer to plain deal∣ing, or to one that speaketh plainly: and Rhetorick is one that is eloquent, or as it were one that sets
jewels or pearls in Grammer, for the making it the more evident, to be received more easily.
Oratio is properly the subject of Grammer, as ra∣tio is of Logick. But because Rhetorick also is the Art of Speech as well as Grammer, therefore me∣diately, or at the second hand oratio comes to be the subject of Rhetorick: namely, as this oratio is a∣dorned with tropes and figures. Hence it follow∣eth that Rhetorick is a general Art, because his sub∣ject oratio is general: yea, as general as Grammer. For howbeit in precept it be taught after it, yet for use the one is not where the other may not be; nei∣ther is it after Grammer for subject or common use, but only in a kind of precedency of doctrine, even as Logick is before Grammer, only because if we use Grammer which is the latter, Logick's use must be the former; as oratio should not be before Ratio. Now because Rhetorick is a general Art, hence it followeth, that it may be used in any art, if so be we have not a word without a trope, that is so usual∣ly and familiarly known, as the tropical word is: or if it be not of so great use as the tropical word is: for tropes do arise from the arguments in Logick; so that they do not only set a lustre or resplendency upon the word used, but also shew the argument from whence it is drawn. Which thing if Kecker∣man had well considered, he would not have found fault with Ramus for using a trope in that word dis∣serere, both because Rhetorick is general, and se∣condly, because that word disserere is of a thousand times more use then any other word.
Object. But Rhetorick saith he, is an Art only of the Affection, and not of the Ʋnderstanding?
Answ. So I can say of Grammer, for only Lo∣gick is that which my understanding takes hold of: and oratio is to the eare, yet also to the understand∣ing, as it carrieth the reason with it. Now indeed Rhetorick slips down more speedily than Grammer doth to the affections, and is more volupe: and vo∣luptas as it tendeth to bonum, is the object of affecti∣on. And so these Sophistae of Greece, when they would deceive their Auditours, did so adorn their speech, as that it would move so speedily to the af∣fections, that the understanding could not examine it: and thence it is, that this Art hath been most abused, of any art, and of least request. For it is of the nature of Musick, that it steals away the af∣fections from that where about they ought to be oc∣cupied.
This is a rule of propriety, for it agreeth only to this part of this art, and not any other part what∣soever of any other art: so we know invention is not of any force without judgement, but is seen only in judgement. So for Etymology and Syntax in Gram∣mer; but elocutio can do much by it self without pro∣nunciatio. Now the true reason of this propriety is this, because there may be exornatio orationis which is written, as there is pronouncing: and scriptio orationis may be without the pronunciatio of it: for elocutio is orationis, but pronunciatio is oris,
and there may be oratio where there is not os, but not contra.
Here he doth commorari upon the commendation of this propriety; which he illustrateth à specie of Curio, who was a Roman, that had very pleasant, and eloquent words, but his pronunciation was very mean, hence his elocutio was commendable, but not his pronunciatio, for there he was maximè nudus, though for eloqution he was orator optimis proximus numeratus.
HEre Elocutio is not a genus to Tropus and Figu∣ra, but is used tropically by a metonymy of the subject for the adjunct. Therefore I had rather say, Ornamentum or exornatio orationis, est Tropus aut Figura: and by that means give them their ge∣nus. Here exornatio orationis is a definition it self, and therefore cannot be defined, for there cannot be a definition of a definition: therefore I do not define exornatio orationis, but only distribute it into Tropes and Figures.
Now for the demonstration of this distribution. We have already seen that Rhetorick is an Orna∣ment of Speech, therefore must run along answer∣ably, with it, therefore distribute it according to it,
therefore a Speech is either of one word alone, or more together: as if he should say, Rhetorick must adorn Etymology and Syntax: so that as Tropus is to Etymology, so is figura to Syntax.
I would define it thus, Tropus est ornamentum ora∣tionis, &c. Or, Tropus est, quo verbum, &c.
Tropus of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, because words that are tropical are turned from that which they naturally signifie, to that which they do not naturally signifie. It is Ornamentum, because besides its lustre, it carrieth an argument with it. Orationis, because it is only in oratione; and is in it as a jewel or jem is in a Ring; and here the art lieth in the word.
He useth verbum rather than nomen, because nomen properly signifieth that part of Speech which is de∣clined with gender and case, though for notation it cometh of novimen, of novimus, of novi, of nosco, be∣cause we know things by their names. But verbum properly is as general as vox, and so it is here taken, but by a synechdochy of the genus for the species is put for a verb. Again, Dicti hath more ambiguity with it than verbum, and vox is peculiar to Gram∣mer. Again, not only nomina but verba are also tro∣pical. Again, Verbum in a Sentence is the chief word, for it is vinculum, so that there can be no Sentence without it, therefore used with good reason.
Here is a metonymy of the subject for the adjunct, for the word is not changed, but only the use or signification of it.
That is à Grammaticâ, or propriâ significatione: though it be not alwayes so at the first hand: for sometimes words are changed from one tropical sig∣nification to another tropical signification: and there they are firstly from the other tropical signification, and à natia â significatione at the second hand.
Not quamlibet, but such an one as shall be accor∣ding to Logick; as that which properly signifieth a cause, may tropically signifie the effect, aut contra: and so of the rest of the Argumens which argue one another. [In aliam,] i. e. into such an one as use hath brought up that it may be put for.
Here he doth commorari about the commendation of a Trope, his Argument is à contrario, as if he should say, If it be so pleasant when it is abused, much more when it is rightly used.
Plate had two Schollers, Aristotle and Zenocrates: Aristotle was of a quick wit, and therefore Plato
said, He needed a bridle for him: Zenocrates was more dull, but of a greater judgment; therefore he said, He wanted a spur for him. Now Plato left his School to Zenocrates, which made Aristotle maligne at him, and upbraid him with his faults: and among the rest he challengeth him with Tropes, which is a good fault; though truth 'tis that proper words are better even in an Oration, if they can be so conve∣niently had: though afterwards Aristotle commen∣ded Tropes, if they were pleasant and not far fetch't from home.
Here he sets down the procreant and conservant cause of a Trope; and for necessity, though Gram∣mer be as large as Logick, yea, as large as our thoughts; yet at the first it was not: yea, they used to say, The heart cannot comprehend her own thoughts: and again, because things at the first were so many, that they could not readily give the proper name of every thing, hence arose Tropes: afterwards these Tropes were sweet and pleasant, and therefore they would let them go no more.
Man at first needed not cloathes, but now by rea∣son of sin (the temper of his body, and external cold together cause cold) he needeth cloaths which he useth not only for heat, but also for ornament. So for Tropes though necessity brought them in, yet de∣cency doth hold them.
Because it is witty to let pass those things which are before our feet. Secondly, Because our cogita∣tion is refreshed by them: for variety delighteth, as there is in Tropes, and even as if we see Speech in his holy-day garment.
These are the first sauses and remedies to make Speech look red and white.
Here is a propriety, a Trope must be bash••ul and shamefac't, not brought in by another, or come in rushing perforce, but gentle and led by the hand, or I pray you ceme in: Now to all kinf of Tropes there be certain general affections; and those are either in one word alone, or in the continuance of more words together: Those which are in one word a∣lone, are either such as are too hard and harsh; or too bold and proud, such as are pull'd in by the ears and are more sausy: now these are general affections of Tropes; and the reason of them is this, We have heard what a Trope is, namely, where a word is changed from his natural signification into another: now because that for want of words we cannot rea∣dily give a fit word that is tropical, therefore we are forc'd to bring them in more harshly sometimes and more proudly: now that which is more harsh, is called 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, abusio tropi, which comes of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 abutor; that is, a word which is abused more unkindly, or a word hardly entertain'd: 'tis
called of the Grammarians 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
If I might only hope for this grief: here is an harsh Trope; for Spes is expectatio boni; and metus or ti∣m••r expectatio mali; so that here is either a synech∣dochy, or a catachrestical Ironie. Now, for Hy∣perbole, that hath no affinity with catachrésis, for an hyperboly is very usual and commendable, neither is there any harshnesse in it, but it is a little too proud: but catachrésis is harsh, and not used but of Poets only; not of Oratours, at least, very sel∣dom.
This is also harsh; for we rather say, Vagina & gladio vacua, than gladius est vagina vacuus: Va∣cuum here is a metaphour, h. e. (exutum.)
Of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 to be carried above: and this affection signifieth that for which it was fetch't very kindly, but proudly, and so as it doth inhaunch and encrease the matter to very good purpose: and this affection is very commenadble and usual especially in Scripture: Meiosis, diminutio, which is contra∣ry to hyperbole is nothing else but a synechdochy of the species for the genus.
The Second affection of Tropes in the continu∣ance of more words is called Allegoria, which is con∣tinuatio troporum, yet those Tropes must be of the same kind of Tropes; as they must be all of them
either metonymies, metaphors, ironyes, or synech∣dochyes: not one a metonymy, another an irony, and another a metaphor, and another a synecdochy: it hath his notation of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
That is, In an Allegory look from what thing we first fetch our Allegory, with the same thing must we end. As, if I begin with a ship, I must end with a ship; for if I begin with a ship, and end with a plow, inconsequentia foedissima fuerit. So also we see in the Gospel, how the Allegory of Dives and Lazarus is continued; how they were there feasted, and after∣ward how they were to feast in another place, where Dives had such a dry feast, as he desired but the tip of his finger to cool him withal: but how Lazarus was taken into a joyful feast, yea, even into Abra∣ham's bosom; where we may see even by this rule, what is meant in this place by Abraham's bosome; namely, that Lazarus sitteth in Hea∣ven next unto Abraham: So is the Allegory con∣tinued from the thing he doth fetch it: And this rule is of great use in Scripture, for the understand∣ing of the Spirit of God in many places, which o∣therwise might seem dark. Now for him that gave his fellow a box on the eare which felled him, and yet said nisi tetigi; what affection is this? it is a kind of hyperboly of his own commendation, as if he could do more with a touch, then others with a great stroke.
THis distribution of the kinds of Tropes is in re∣spect of the things whence they are borrowed, and those from the Arguments of invention. The second distribution is from simple arguments.
Here is definitio ex distributione, as if he should say, is absolutè vel modo quodam consentaneorum, which is shewed by the induction of the species. But because not every cause is put Tropically for e∣very effect, nor è contrà; neither every subj. for every adj. nor è contrà, therefore he chuseth rather to keep himself closely by these species, then to speak generally.
Of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a change of the name, which is true of every Trope, but because use hath received, we content our selves with it, knowing what is meant by it: or if ye will make it a synecdochy of the ge∣nus for the species. And this trope is first, for that the arguments whence they are borrowed, are first; and the reason why the cause is put for the effect, is, because it gives esse to the effect: so the reason why
the effect is put for the cause, is, because it hath its esse from the cause. So why the subj. is put for the adjunct, because the adjunct in esse is in the subj. et contrà; so that this Trope is of consentany Ar∣guments.
Here also is a definition of the metonymy of the cause ex distributionne. There is not any Trope of the other causes, neither form nor end; not of the form, for that is the effect it self, where the form is, and therfore Ramus said, Distributio generis in species & formas eadem est. Neither of the final cause, for that cannot so determine, because one thing may have many ends.
Object. So the effect may have many efficients?
Answ. But then according to the several modi of the efficient, there will be several effects: but there are no modi of the final cause.
Here Inventor and Author are the two modi of the efficient. The first examples be of the Inventor, as
Ceres is corrupted with water; here is Ceres the Inventor of Corn: put for Corn,
Here Arma is a Metaphor.
Those Citizens which we have lost.
Or he that doth concoct the humor of sweet Muske∣dine with Vulcane, i. e. fire: and this is he that is cal∣led Tubalcain often in Scripture.
Without Bread and Wine lusts wares cold. And here is an Allegory, for the same Trope is continu∣ed: yet 'tis better to use venus than Coitus, but Li∣ber and Ceres are more than the severity of the judg∣ment seat will bear.
Here is Author, the second modus of the efficient; and this is valdè usitatum: yea, of much greater use, than is the Inventor: so Martial calleth the history of Livie, Livie.
This is a definition it self, neither needeth it more to be added to it, for there is not definitio definitio∣nis, yet I may say it is quando nomen materiae traduci∣tur admateriatum significandum.
Brass and Iron are signes of War, not of Peace. pro armis aeneis & ferreis. So is silver put for silver houshold-stuffe so plate for the dishes made of plate.
HE here makes the effect to answer only to the efficient, and in Latin it doth so; but in He∣brew sometimes it doth not, as in Genesis, chap. 1. vers. 2. The earth was wtthout form, and void: and sometimes it is found so in English, also in Latin; as 'twas called Lavinium, because 'twas built either from the material cause, or the subject of place. Now this is a common metonymy; neither doth he lay down all the modi which belong unto it. So spes is obscura, obscura is a metaphor, afterwards a me∣tonymy, i. e. incerta. So is caeca pro ignorante a meta∣phour. So pale Death knocks equally at poor mens shops, and Kings turrets: Death is said to be pale, because it makes things so.
Morbi efficiunt pallentes: senectus a metonymy of the adj. for the subject; for the man that is old: it is tristis because it causeth sorrow. Here sometimes the efficient is put for the effect without any more
adoe; as in these examples that went before: some∣times the adjective is given to the substantive, which noteth the vis of the efficient, and not the efficient it self, as in this example that followeth.
Many modi there are of this metonymy of the effect which he omitteth: as this, when a man carrieth a Sword in his hand, we say, this man carrieth Death in his hand▪ here is Death put for the instrumental cause: so mors in olla.
WE have heard before the reason of the name of Metonymia, and that it is distributed according to the Arguments whence it is borrowed: namely, to be of Arguments consentanious absolutè, or modo quodam: absolutè, as the cause and the effect: of the cause was of the efficient or matter; yet of these two causes the matter is more usually put for the effect: as, this Chest is wood: i. e. made of wood. Now the reason why 'tis so usual that the matter is put commonly for the effect, is this, because the genus doth arise from the matter, and doth predicate in quid of it.
That is, when that Noune which properly signi∣fieth
a subj. is delivered to signifie the thing adjoyn∣ed. Here he saith nomen, not verbum, as he did in the definition of a Trope, to shew that he liketh both of them indifferently, and therefore useth them promiscuously. Here we are to understand that this definition is not 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, for every subject is not put to signifie his adjunct; or contrà: as whit∣nesse is not put for wall, yet this is the best definiti∣on that can be given, and is 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 with his modi that follow.
Neither is this generally true, for every continens non pro quáque re contenta ponitur, but is to be limit∣ed with his two modi that follow: The first whereof is, when the place is put for the inhabitants thereof: and this is the first special modus of that modus of continens pro re contenta.
The City was not buried in sleep and Wine, but the People in the City: So urbs pulcherrima for cives pulcherrimi. So
They cast a Prison upon me; for the Prisoners.
Here Tully calls Italy, France, Sicily, Spain, to witnesse, for the Italians, French, Sicilians, and Spaniards; and here is also allegoria. Now the se∣cond special modus of that modus of continens pro re
contenta, is, when the place is put for the things done in the place: so the market is put for the Rhetori∣cal actions done in it: so by Academia where Plato taught, Lycéum where Aristotle taught, and Tus∣culane where Tully taught, is meant the Learning made famous therein. There is yet another speciall modus of continens pro re contenta, which I marvel that he left, as this, Reach me the cup, for the drink in the cup: and, Give me thy purse, for the money in the purse: here is continens pro re contenta, and yet neither of the special modi aforegoing.
This is not a third special modus of continens pro re contenta, but a second from it, and here the pos∣sessor is put for the thing possed, as our neighbour Ʋcalegon burneth, for his house: Ʋcalegon comes of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 non curo, therefore he that dwelleth near such a carelesse neighbour, had need to be careful for fear of fire. This modus is very useful in prose, as, he is with me, that is at my house.
We say, the man is undone, or eaten up, when his Goods are taken from him, and this is another modus: The next modus is, the Captain for his Army: The last is, the Advocate for his Client.
VVE have heard the reason of this Art of Rhe∣torick, namely, that 'tis to sweeten speech with, otherwise being inartificial it is of little force in the hearers eares. For whereas every thing co∣ming to mind, doth first come to the outward sen∣ses, then to the inward senses, and hence to the un∣derstanding, & so to the affections, and last of all to the Will. Rhetorick comes to the understanding, yet presently, before it can examine it, the affections lay hold of it, and so, tickle the Will that it may approve it: and hence it came to be abused, 1. with sophistry to the understanding; 2. for tickling of the Will.
We have heard also that it hath two parts, namely, for that Speech is so; either writing, or uttering of it: hence is the double consideration of speech; the first whereof is called elocutio, which may be in writing alone without pronunciation, but pronunciation cannot be without elocution; hence it followeth that these are several parts: And secondly, Elocutio is before Pronunciatio: now elocutio is either in one word alone, adorning etymology; or in more words together adorning Syntax: that which is in one word alone is called tropus; and the reason of the sweetnesse of a Trope is, because it doth not only give a splendour, but besides that it carrieth us to a∣nother Argument from whence it was drawn: for every Trope signifieth two things to the hearer:
First, A kind of sweetnesse with the thing it deli∣vereth: and secondly, the argument whence it was drawn. Therefore though at the first necessity found it out, yet afterwards variety did so delight that it would not cast them off. Now these Tropes are not of any words as we will, but of consentanies with consentanies, dissent. with dissent. &c. and there∣fore the distribution of the doctrine of Tropes must run along according as the arguments are distribu∣ted: yet we have not fit words to distribute them withal, for if we should have said that a Trope is ei∣ther simple or comparate, then we should have left out those Tropes which do arise from orta argumen∣ta, as, synecdoche integri, & membri, generis & speciei. Again, not every simple argument is put for every simple one; neither every comp. for every comp. so that in this distribution there would have been a double errour, therefore he contents himself with the special words Metonym. and Ironia, commending unto us a totum which we are to imagine by these specials as they have a community one with another, which is in regard of the arguments from whence they arise.
1. For a metonymy of the cause, that is either of the efficient or of the matter: The reason of these two Tropes is, because these two causes in constitu∣ting the effect, are precedent a good while before either forme or end. Now here, first the efficient is put for the effect, for that often times giveth names to the effect: and this metonymy hath two modi, the first when the Inventour is put for the thing in∣vented; the second when the Authour is put for the thing effected: so, we call Ramus his Logick, Ramus:
and the reason hereof is this, because at the first we had not readily a name for it; for the thing being new we could not hastily give it a name, but gave the Author's name, till we had a better for it: So, for the matter we call Money silver, because at the first we had not readily a better name. Now there are no Tropes, of the formal and final causes; and the reason is, because they were so confused with the effect, that at the first we cannot readily sever them, both because forma simul ingenita cum effecto: and secondly, because these two causes do work so near to the effect a good while after either efficient or matter.
2. A metonymy of the effect is, when the effici∣ent is signified by his effects: here he seemeth to make the effect only to answer to the efficient; but it doth answer also to the matter at least, though not in Latin, yet in Hebrew and English: Luz was cal∣led Bethel before it was Bethel. Now this metony∣my of the effect hath two modi: The first, when the effect is given to the efficient adjectively: the second when given to the efficient not adjectively, but ab∣stractively: as he said, Death was in the Pot, because Colliquintida was in it. Now as the cause is put for the effect, & contrà; so, the subj. for the adj. & con∣trà.
3. In the metonymy of the subject the modi are ei∣ther contin. pro re contenta, as locus pro incolis, & ad res locatas; or possessor pro re possessâ; or Dux pro exercitu; or Advocatus pro Cliente.
4. Now followeth the metonymy of the Ad∣junct.
That is, when the name of an adjunct is given to the subj. whereof 'tis an adjunct: So we use to say, Saving your Honour: If it please your Worship: Honour and Worship being put for the subjects there∣of: for, because the term of the cause, effect, sub∣ject, and adj. did not at the first come readily to our hand, therefore we were fain to put cause for effect, subj. for adj. aut contrà. So, the names of Vertues and Vices are put for vertuous and vitious men: as Lecher for a lecherous man; Covetousness for a co∣vetous man, &c. and this is the first modus of this metonymy.
The second modus is, when the signe is put for the thing signed; as, pubes for inventus; for pubes is properly the budding of the beard; when he be∣ginneth to be adolescens.
The third modus is, when the adjunct of time is put for the subject; as time for the unmannerly Ci∣tizens in that time: so aspera saecula for the People that were then asperi; so is togae for Peace, and here [cedant arma togae, conced. &c.] are two Hyper∣boly's.
SO that this Trope is only from those Arguments of contraries, and not of disparates, because they are too many. This definition is too general, for Relates are not so put one for another, because they are of more use in their agreeing affection, than in their disagreeing, but only is special to adversa contradicentia and privantia.
Cavillator, a wrangler: simulator, making that to be, which is not: dissimulator, making th••t not be, which is: illusor, a mocker: irrisor, a derider: this is the proper name of this Trope, and the use of it chiefly is ad jocandum. Now here, because there is so little reason that one contrary should be put for a∣nother; therefore 'tis hardly perceived, yet is to be distinguished either by word, or gesture, or by both.
So,
Meaning malè adversa.
That is, Non curasti, contradicentia: So integri∣tas tua, i. e. your uprightnesse, your shame-fac't-nesse,
your good done deeds; and so for the adversa. The modi here are 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which are contradicentia; as let me not speak of your calami∣ty: So may there also be of privantia, as when we say of a rich man, This man indeed is very poor.
VVE have already spoken of those Tropes which do arise from simple Arguments: now follow those that do arise from Comparates and Orta.
Here is a perfect transition; wherein by the spe∣cies the genus is commended unto us. For because Rhetorick doth not trace Logick in every step, but only in some few, hence it cannot be so exactly di∣stributed, according as the Arguments of Logick are: hence was he fain to couple these two species meto∣nym. and irony together, whose community is in that they both arise from simple Arguments.
Here the one is from Comparates, the other from orta, which whilest Ramus doth couple them toge∣gether with this conjunction, he commends unto us a genus, which he could not name for us. We have heard before, Logick was compared to the
body, Grammer to the garment, and Rhetorick to the lace laid upon it, which because it is an orna∣ment unto it, 'tis not all over the garment, but only in some parts, for it must be rare, for it would not be an ornament if it was all over; so that we can∣not so fitly distribute it according to Logick. Me∣taphora of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, to cary over, for this Trope doth carry us from one simile to ano∣ther.
Hence this Trope doth only arise from similia, be∣cause the quality wherein they are compared makes them, and if that a mistaking should be, it is not great. There is no Trope that doth arise from comparates in quantity, because there is no propor∣tion, for it belongeth only to similia.
This is a deduction fetch'd out of Logick from a contract similitude, which is in one word.
Here he doth commorari in the commendation of this Trope fetched from that Argument in Logick whence it ariseth. For whereas other Arguments do prove that which they are brought to argue, similia do only illustrate: so that a Metaphor is more excel∣lent than any other Trope in clearing, and making bright, and our speech more pleasant: and, indeed, a metaphor makes us see, as it were, superficie tenus,
if it be taken wisely and brought to the senses, espe∣cially to the eye which is the most acute sense.
The sweetness of your Civility.
The softness of your Kindnesse: These metaphors are fetched from the senses, and are good (indeed,) but yet those that are to the eye, are more pleasant; for they put into the mind things which we cannot see: and indeed the Will receiveth things from the understanding, and that from the senses inward and outward, especially the eyes.
There's nothing in nature, but a simile may be drawn from it, for Logick is general of every thing.
Whose Father I account a God, and a Parent of my Fortune, and my name, i. e. as a God, and as a Parent.
That is quasi alit, for alo is properly to nourish, as meat doth.
Are set on fire, this Trope here is fetch'd from fire which burns up things which are combustible.
He makes clear his hope by his countenance; serenare is to make clear as the day is when the Sun shineth forth bright.
He chafeth with the great heat of his angers; from the Sea: and this is a fit metaphor for an angry man, both for his gesture and speech, and these are to the sense of the eyes.
As thou sowest, so shalt thou reap: as you begin (for so signifies sementis, the beginning of the Har∣vest) so shall you end.
So, some Oratours bark, and do not speak: this is taken from Dogs, and this is laid to the ear.
He laughed or gigled; from an horse: This also is especially to the ear, though we may also see the gesture.
Now in Metaphors, Hyperboles, and Allegories have most praise: and hence 'tis that other Rheto∣ricians have made them proper only to a metaphor: and an Hyperbolical metaphor makes a lofty stile; when we give life to things which have not life, this
is a special modus, and the reason of it is this, because if the grace of a metaphor be for the making plain of a thing unto us, then much more these, for the acts of living things are more apparent unto us, and therefore more pleasant.
So,
Two Rocks threatned into Heaven: minari is pro∣perly from that affection of ira.
The River Araxes scorneth the Bridge: This is taken for a mighty Prince.
The Walls of this Court, O Caesar, by my faith, me thinks do give thee thanks: This is taken from men. There also are most excellent Allegories; as, Vertue is fastned with deep roots: this is taken from Plants, which cannot be weakned by force, nor be removed from their place. Here he continueth his Allegory from the same thing wherewith he began it.
Our assayes shall be cherished by your memories, and shall grow by your talke, and shall wax old by the monuments of writing. So also that, he is set on fire with wickednesse, his eyes did burn, and cruelty burst out of his countenance; this is from the nature of fire.
This is spoken of the Common-wealth, taken from a ship.
Let us suffer this Crow to bring out his young ones out of his Nest, i. e. Let us suffer this Oratour Corax, (which was one of their Sophisters which abused Rhetorick) let us suffer him to bring out his Sophistical Schollars into the Court.
I was not so fearful that in the Troubles of the Common-wealth I would not do so and so: here 'tis fetched from a ship at Sea. I fear the cloud of thy fore-head, and thy stinking breath infected (as it were) with brimstone: This is taken from Coyns and Metals.
VVE have heard of a Metaphour, now follows Synecdoche, of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, to take up shortly, by the whole a part, or by the part a whole.
Here follows Logick, desiring to trimme Logick fitly.
Not every part for every whole, nor contrà, but sometimes, as, the member being put for the whole, and yet not every member for every whole, but only some; and 'tis as if he should say, Pars is either that which is a member, or that which is a species: so that here is not every distribution, sc. of the subj. or adjunct, for they will be a metonymy of the subj. or adjunct. Synecdoche membri, when by one member the whole is signified.
O miserable covering! of how unmeet a Master (if I may call him a Master) are ye held? here the covering for the house, that it covered.
No otherwise your Poope, Puppis is the further part of a ship.
Pubes here is a metonymy, as before.
So also prose will suffer that the point of the sword be put for the sword; but not the poope for the ship, nor the mast for the boards. Here also is a kind of Allegory.
I tell thee I cannot be safe with thee in the same house, seeing I am in great jeopardy that I am in the same City: here is parietes pro domo, maenia pro urbe: So oculi & aures, pro oculatis & auritis homini∣bus.
A Synecdoche of the species, is, when by the species the genus is signified.
Which is properly when one killeth his Father, but is generally put for homicida: This is the first modus.
The second modus is when infinitum numeri dici∣mus pro magno: as, a man may bring out 6 hundred such.
Out of whose School came as many Princes, as out of Trojan's Horse.
The third modus is the singular number for the plural: as, Romanus for Romani; and in both the examples following: for what is so necessary, as to hold the Weapons to defend Thee, for Ʋs.
Here also is a kind of Allegory, as we may see in the examples following: as, Catones, Philippi, Laesis pro Civibus honoratis, & pauperibus. There were two Catoes that were wise, the third was weak: and thence the proverb was tertius è coelo cecidit Cato. So Venus and Mars; for Vulcan took them with an iron Net in bed together, and went and told the other Gods. So Tyhys for a Pyrate, or the Sea: Argos was the ship that Jason sayled in to Colchis for the golden Fleece: so, great Achilles, for any noble man: so, Troy for any other place.
So
When we saw this man at Capua with a stern spi∣rit: Magii, Blossii, were Romans of stern spi∣rits.
VVHereas before the part might briefly con∣tain the whole, so now contrary; these do arise from the cause and effect in Rhetorick, and this is opposite to that which went before, and is integri or generis: integri, when of the whole is sig∣nified the member.
They had tasted the pasture of Troy; for part of
it. Bibit is a metaphor; Germania a metonymy of the subj. for the adjunct.
You see how the case stands: Orbis pro globo, & pro parte orbis.
SYnecd. generis is, when the word that signifies the genus is given to the species: as, virtus pro for∣titudine; Homo for Catiline: so, for what hope do you keep such an animal, pro bestia: Yet we must take heed that we put not any genus for any species; as, quadrupes pro equo: and this is the first modus.
The second modus, as Tydides for Diomedes; and Pelides for Achilles.
The third modus, Poëta pro Virgilio; Orator pro Tullio.
The fourth modus, as, the plural number for the singular; as, we have deceived the people, and seemed Oratours unto them. Here likewise is a kind of Alle∣gory, as in the example that followeth.
THus much of the Tropes; at whose excellency if you look, the metaphor is chief, because it layeth out the thing more plainly and pleasantly
than the rest: the next is an Irony, because dissen∣tanea suâ dissentione Clar. elucescunt. The next a metonymy, for that ariseth from Consentanies: Last a synecdoche, for that ariseth from Orta: for the example, 'tis plain.
VVE have heard that Elocutio was in one word, or in more words: in one, as a Trope, and that was the first part of Eloc. The second follows in more words, which therefore doth not adorn Ety∣mology, but Syntax: and this is called figura, which is a borrowed word from Geometry, and signifieth the figuring of a Speech, or the making of it come∣ly, so that it lyes in the shape of a Speech to please especially the eare, or the eye: for so doth Rheto∣rick especially please these two senses: or a figured Speech you may fitly term a well-set Speech.
That is an ornament of speech.
That is, the habit of a Speech is changed from a Grammatical to a Rhetorical. There habitus is a word fetched out of Natural Philosophy, from a man that hath a good habit, i. e. a comely man of person, or one well set: so that the ornanent lyes here in the well set of the Speech which causeth this figure.
For whereas Grammer is the garment of Logick, and would cover every thing as Logick layes it down, the Nominative case before the Verb, and the Accusative after the Verb: Figura comes and sets this speech otherwise, and so changeth the habit of it; so that I may compare Grammer to a trubkin, and Rhetorick to a fine handsome fellow: and in Rhetorick I may compare a Trope to one cut or jag, and a Figure to all the jags, or the whole shape there∣of: They called figuram 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, because 'tis the habit, or attiring, or well set of the speech: this name seemeth first to have come from Players, by reason that in Comedies and Tragedies we know the same party being in divers habit, played divers parts: hence 'tis that some would have it a Player, or a poor man in princely attire, or a French-man: Tully did despair in his art in his Book called Orator, en∣creasing the number of Figures, and in his Book De Oratore doth diminish it: and in his Tropicks he saith, 'tis no errour in a thing that is infinite, to pass some thing; but 'tis in art an errour to omit any thing.
Here Taleus in effect doth confess that which Tully said before: or at the leastwise would commend un∣to us the difficulty of this doctrine of Figures. We have heard what Rhetorick is, and the parts of it; how that 'twas the sweetning of speech, and had his good use at the first; till afterwards Sophisters did
annoynt their Paradoxes with it, which made it evil, even as a bad Ditty under a good Song: It had two parts; for that speech may be either only written, or also spoken: now the first of these can do much of it self, & is called elocutio, which cōmends unto us ornaments either in one word which is tropus, or in more words which is figura.
Object. But a Trope may be in more words?
Answ. It cannot, only thus, sometimes in Latin more words may signifie one thing, and yet in ano∣ther language it may be delivered in one word; for otherwise tropus is but in one word, unless it be a continued Trope, and then there is a Trope in every word. Now figura is in the fashioning of the speech, and so is turned from his Grammatical vis and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and so as it would make the speech more plea∣sant: Now this fashion is either outwardly, or in∣wardly; for figura dictionis is in the outward word, but figura sententiae is in the inward matter principal∣ly, yet in the outward also, and therefore is meer compos. and therefore to be handled after figura dictionis: and hence is this distribution of figura, when the words only, or also the matter is adorned; and the reason is, that as tropus did sweeten the word and brought it to signifie two things; so doth figura sweeten the sentence both within and without: this care the Lord had in framing this art, that thereby the truth might be more easily received.
So that figura is his genus: where there is fugura∣ted a Speech resounding sweetly in themselves: so that 'tis in the fit sounding and correspondency of
words among themselves one upon another; so that there are these things to be considered, 1. A figu∣ration, 2. a sound 3. between the words 4. fit, and lastly sweet, and as it were a certain harmony of well tuned strings, and every word is as 'twere a well tuned string, and all together consenting make a sweet harmony.
Yes figura sententiae is cognatior animo, but yet none is cognatior nostris auribus quàm figura dictio∣nis.
This is true of Poetry and Musick, for we know Musick, how when Alexander the Great heard it, was thereby stirred up to Wars, and again when the found of it was more remiss, he ceased from it; so that this figure is to make speech more pleasant: and as 'twere makes us dance to hear it, and is as the Apothecaries Box. Now this figura dictionis is either in the measure of sounds, or in the repetition of them: now the measuring of sounds is, when we give every one his true dimension, and hence Musick is therefore pleasant to the eare: and also Bells de∣light us much if there be good proportion in the sounds of them observed in the ringing of them: So, the Nightingale is very pleasant, both for the varie∣ty and proportion of her sounds: But now the Cuckoe is nothing delighting because she alwayes fings one tune, and she is like the Ass in Aesope, that would play Musick: Now here Poetry is nothing but this Rhetorick, which is in the measuring of
sounds, and this is very pleasing to the eare. And here we may see in what harmony man at the first was made; I mean in what consent with other things, seeing that he is now so delighted with this dimension, for before the Fall this kind of figure was without doubt much more pleasing. Now since the Fall we know some men are not delighted at all with Poetry; which if it be from their nature that they despise it, it argueth a distemperature of it, other∣wise 'tis wisdom in others. Dimension is before re∣petition, because it needs dimension, as we shall see in some figures hereafter.
VVE have heard of figura which is outward, or both outward and inward: The outward is alwayes in the sounds, and is either in the dimen∣sion of sounds, or in the repetition of them. Di∣mension is as 'twere fine musick in right number and quantity: Repetition as 'twere an eccho, or sweet tinckling; so that these are like to musick measured by time. Now this figura dictionis is distributed by his forme, which is dimensio sonorum, or eorum repeti∣tio; and hence 'tis that dimensio sonorum, &c. are not defined, for they are definitions themselves: nei∣ther doth he define dimensio, for it belongeth to Grammer for the time of it.
So that here comes in Poetry, so that 'tis not a distinct art by it self, and therfore not to be handled by it self, but is a branch of Rhetorick: Poetry is before, because Oratory is borrowed from it: again Poets were long before Orators: and the first Poets we read of were the Pythagorians; and after them was Homer which is one most ancient, and this Poe∣try was the first measure that was in speech, and this was invented for the rudeness of the people that it might every way answer the eare from the one end to the other. Poetica of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 facio, because th••y made things which were not as though they were; as Chimaeraes monsters, and in ancient time all the truth was so delivered.
Which is tyed with perpetual Lawes, i. e. even from the one end to the other, or which is managed from the one end to the other with laws of certain spaces; which is not so in Oratory: so that I may compare Poetry to neatness and lepidity, and Oratory to gra∣vity: for to be so tyed as Poetry, is too nice, and is such an one as he which would not let an 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 lye on the Cape of his Cloak, which is not manly but womanly. Or like to him which was fellow-Senator with Hortensius, who putting one of the cuts of his garment out of frame, caused him to be very angry: and Poetry may also be compared to a fine French∣man of the French fashion, or to a Courtier: Ora∣tory to a grave Alderman.
For the most part 'tis used in fables; and fabula is the subject of Poetry which is ad hominum mores imi∣tandum, & exprimendum. And now the first Poetry was those Sylvestres Musae which were called Pasto∣ral Shepherds, and this is very ancient, as we may see in Abel which was a Keeper of Sheep, and also in Abraham, Isaac, and Jacob. Now this keeping of Sheep at the first was very usual, and being an Office of no great Work, but that the shepherds had great leasure, they fell to study and seek out the Na∣ture of things, as of their Sheep, and plants, and the like: Others among them not so well minded fell to love, and to play hob and tib, and so made love-songs, and Ballads: after these shepherds there were others which made songs and Ballads of the Acts of Noble-men, among the rest Homer being but poor and did beg, and when his Father died, his Mother married a School-master which taught him: He did make songs; and rapsodia signifieth songs tyed to∣gether: Now afterwards Homer went to Travel, and as he went on the Sea by studying got the Rheume that he became blind, and came back again and made songs, and used to sing them at Coblers shops: and afterwards he that was Governour in Greece caused Homer's songs to be gathered together into one Book by Aristarchus, and those which Aristar∣chus said were Homer's verses were put in, and those which he said were not, were left out: hence 'tis that when we see any one which is a curious Judge in any thing, we call him Aristarchus.
These are branches of Poetry, if we respect the verse, but if we look at the matter, they will belong to other arts. It is called Tragaedia, because a Goat was given to it for a reward: Comaedia, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a cross∣way, because it was used in compitis, for they used to play their Comedies in streets, making their stages upon Carts, that they might go about and be seen.
That is fallings out: agnitio knowing of it sudden∣ly: for Poetry worketh so craftily, making things that are not as though they were, and so makes our knowledge of it more sudden.
This distribution falls not out every way well; for in Rythmus, if we mark it, we shall often find repe∣tition of sounds: for 'tis
So that there is of an epistrophe in it: yet this di∣stribution cannot be amended, but only the fault noted. Rythmus of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, as metrum of mensura. Rythmus is a Poetical number containing a cer∣tain number of syllables ending with a certain clause.
Object. But why are not the feet dactylus and spon∣daeus taught generally to them both?
Answ. No Rythmus only looks at the arithmetick of syllables, i. e. at the number of them; and not at
the geometr. i. e. the quantity of them. Rythmus is before, because 'tis more ancient.
VVE have heard of dimensio Poëtica in Ryth∣mus, which dimensio though it hath been used only in fabulosis argum••ntis, yet notwithstand∣ing it being a branch of Rhetorick which is a general art, we are to know it may be used in any thing whatsoever. Now followeth Meeter which is very ancient, though Aristotle denieth it, and thinketh Homor to be the first in Greece, which may be true; for the Graecians had but little learning amongst them at the first, but what they got from others: but in Judaea it was common, and so ancient, that Wriers do ascribe it to Moses to be the first that wrote He∣roical verse, and they were Psalmes that he wrote so; and some also write that he had a Daughter which was a very fine Poet: And David also and Solomon wrote verses in Meeter, which were long before the Graecians: And for Homer, his Father-in-law was a School-master which taught him, and afterwards his Father bound him Apprentice to a Merchant, and so he travelled the Seas, did see Ʋlisses his travels and wrote his History of Troy about that: and when Homer travelled, even as he was entertained where he came, so he did describe those people. Metrum and Rythmus are the same, and only two names for one thing. Metrum of mensura, 'tis a metonymy of
the adj. for the subject, the measure put for the mat∣ter measured which it handleth. Metrum is a di∣mension Poetical containing certain feet placed in certain places: so that there are these Three things to be considered in this difinition; 1. A Poetical number: 2. Certain kinds of feet: 3. Those feet must be placed in certain places. 1. I say Poetical number, for that is the genus, as we heard before: 2. Certain kinds of feet, as in a Phaleucium, Spon∣daeus, Dactylus & Choraei tres: in a Sapphick, Cho∣raeus, spondaeus, dactylus, & Chorei duo. 3. They must be placed in certain places.
Now for the place, note only this, That in an Hexametre in quinto loco be dactylus tantùm, and in sexto spondaeus; and this is all for place. Now be∣cause pes is mentioned in the definition of metrum, hence it comes here in the next place, being an ad∣junct unto metrum, to be defined.
Pes is call'd dimensio, which is general both to Rythmus and metrum, but this dimensio is finita, i. e. limited with certain times of syllables, not with cer∣tain syllables.
Et uterque simplex aut mistus.
As Spondaeus which is bissyllabus, because it con∣taineth but two syllables: and simplex, because they are both of one and the same time, to wit, either both short, or both long: Spondaeus comes of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 a
bee sted, which is a metaphour. Pyrrhichius is of a short, which comes of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, which signifieth swift, because of the speedy running of it. Now in∣deed this foot should have been set before spondaeus, because one long hath as much time as two short, therefore two long have as much time as four short; therefore the short ones are more simple dissyllables. Mistus is Jambus, and this foot had it's name from the inventour thereof. Choreus signifies a measure used in dancing, and comes of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Trissyllabus simplex is molossus, of three long, which should have come after Trochaeus: 'tis call'd Molossus from that Country so called where 'twas found out, and where the people were much delighted with it: The same Country was also called Epyrus of him which was their first beginning, which was Pyrrhus. Trochaeus of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 curro to run like a Trope. Now for dissyl∣lables simple there can be no more but those mentio∣ned; but for the rest many more feet there are which may be observed; and yet not material, whether they be here brought in or no. Trissyllabus mistus be∣cause of so many syllables is more various: here 1. is dactylus, which signifies a finger, where there are three joynts, the first is stronger, the other two be weaker. Anapaestus of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, a repeated foot.
Creticus, so call'd of the Country Creete. Amphibrachus of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, because 'tis short at both ends: Here the parts of Meeter being decla∣red, now the common adjuncts or affections follow, and these are two, First, if a word end with a vowel,
or m, or both, and the word following begin with a vowel, they are taken away, so that this property consisteth of two parts: the first is, if a vowel end a word without m, and the next word begin with a vowel, then eliditur, as, sera nimis vita est, The second part is where there is a vowel and also m ending a word, and the next word beginneth with a vowel, all are taken away, as, nullum ille, here i and m are taken away. Now the second property is this, that ultima syllaba of a verse, habetur pro indifferenti. Now for the kinds of Meeter, they are many, yea, and as many more as he hath set down, much like the tunes of musick: and as in Speech there are many kinds of words, so are there many kinds of Meeter: yet those which are ordinary in Schools, and of most use, are simple or composite: Simple is of two feet, and is call'd Adonicum of Adonicus the Authour; when Sappho being a fine Woman loved and made sapphick verses, which were so called of her, and af∣ter his death, at the end of every third verse, she in memorial of Adonicus made Carmen Adonicum: this consists of two feet, for if it should be of four, it would be a foot, and not a verse: now this Sappho was a very fine Musicioner, and she did excel Pindar in it. Carmen Compositum is of more feet than two, and is either tetrametr. or polymetr. here he is fain to make shift as he can with such words as he can get; for otherwise tetram. is polymetr. though the schools use to say three is the least number of multitude, and say tria sunt omnia. Tetram. is that which hath four feet, and this is the first; for there is no verse of note that is of three feet: Polymet. is pentam. or hexamet. Asclepiad. of Asclepiades is the name of a
Poet that found out this kind of verses. Pentame∣tra are Phaleucium, so called of the Author: Sap∣phicum of Sappho, as before: or Elegum, of Eligo to chuse, for these were a choice kind of verses. Hexa∣metrum epicum is of 6 feet.
Here by pentam he means elegum, by a synecdoche: Now here are not all the kinds of Meeter by many, yea, the common Grammers have ••ambicks, which here are not set down, though the matter be not great.
VVE have already heard the doctrine of Poeti∣cal number: now follows Oratorical, which did not at the first observe measure: The first that used to write were Poets, which wrote in verse; yet Orators used to speak in prose, but not to write prose of a great while after the Poets.
That is, 'tis not tyed to such a strict number of syl∣lables as Poetry is, neither to the same feet in many sentences together: dissimilis poëtico, for it doth not quite through observe the number of feet as Poetry doth; neither doth it use the same feet together: dissimilis sibi ipsi, because we should not alwayes use it, lest the people should think it to be a set Speech;
neither should the same feet be perpetuo used, but in divers clauses divers feet. Now this oratorical num∣ber at the first did arise from Poetry; for the Ora∣tors seeing the Poets much to delight the people by their Poetical number, they also did endeavour to find out a kind of oratorical number, whereby both their matter and speech might be of more grace, and comeliness unto the people: Now, indeed, this ora∣torical number hath a kind of deceipt in it, but 'tis bonus dolus, and not malus dolus; even as the Phy∣sitians use a kind of deceipt, whereas they giving to their Patient a bitter Potion do sugar it at the top, that the bitterness of the Potion may not so sensibly be felt. Now the deceipt is this, namely, in that because this dolus doth sweeten the matter, therefore they think the matter is deceiptful, which is fall••cia adjuncti, and therefore they did use number in prose, but at liberty, not Rhythme, or Number. The in∣ventor of this oratorical number was Thrasymachus; but he tyed himself too strictly, and came too near unto the Poets: next was Gorgias, but he was also too sweet, and therefore did make the people mark his speech, and not the matter, and therefore did wrong the matter: He was a notable Sophister in Arîstotle's and Plato's time, and was Isocrates his Master: but this Gorgias by this means did much wrong the matter; even as if we see a Gentleman in a very fine suit, we shal so much look at the suit, that we shall not look to the properness of his person: Now Isocrates which was Gorgias his Scholler did ex∣cel them both, and indeed he is the sweetest of all for figura dictionis, for he is very moderate: but Demosthenes and Aeschines were sweeter for figura
sententiae; for Demosthenes was strong, and there∣fore his speech was more violent, as it were, casting out thunderbolts. Now for the grace of oratorical number. Hyperbaton transmutatio (of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉) is permitted, that it may be lawful for the sugaring of speech to transpose their words in a sentence into such places as they will make the best sound; for o∣therwise (as Fabius saith) a speech will be rugged, hard, and dissolute, and yawning, if we shall place the words as they do arise; so that in Greek and La∣tin we may for sweeter sound use by porbaton, but yet notwithstanding in our English tongue we must not: for use hath placed them Grammatically, and there∣fore they may not be changed.
Some words therefore (saith he) are to be put back, and some to be put before: and even as in buil∣ding of Stones, every stone must not be laid as they come next to hand, but as they will best lye together: so nothing will make a more sweet speech than a fit mutation of the order of words. This oratorical number hath no rythme in it, but only in a certain re∣petition that is in epizeuxis and epistrophe, as we shall hear hereafter, but is only in the observation of feet, which Tully esteemed of so much worth, as that he affirmed the speeches to exclaim, when the words fell fitly: and so our Sermons do much delight; yet in them we must take heed we be not too curious, lest we draw the peoples minds from the matter to the words, and so rob God; for so the speech will so delight the eare and the affections, that the matter
will not enter into the heart: and without question Demosthenes had never laid his thunder-bolts so, had they not been cast from him with number: and ther∣fore (saith Tully) as wrestlers and sword-players do shun every thing warily, and do not strike vehement∣ly, that whatsoever is profitable unto fight, the same may be comely unto the sight: so an Oration doth not make any deep wound, unlesse the stroke be fit, neither doth it well enough fly the force, except it know what is comely in the flying of it: therefore as their motion is who are 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, unskilful at that play of Olympus; so is their Oration who do not shut up their sentences with numbers.
THis is the commendation of Tully of oratorical number in feet, which ought to be much more acceptable to us than to the Author himself, who be∣ing enwraped with the Schools and Comments of Rhetoricians thought this act to be most hard which is in twenty orations observed by Ramus and shewed to be most easie; so much more excellent was the Oratours nature and use than his art. Now here was but one rule which was generally taught before, namely, That oratorical number be unlike both to Poetry and it self: here he doth commorari and tells us that therefore in prose we must not use verse; yet sometimes you may for authority or pleasure, as Tully of old did using the example of the Athenians: The
next rule is, that we make not the beginning or end of a verse, the beginning or end of prose; neither that we begin or end our Oration with any sentence like to verse: though indeed in the beginning there is lesse care, because there it comes new, and there∣fore the people are ready to pass it away, and in the middle of an Oration there is no consideration at all, but in the end must be greatest care of all: hence O∣ratours use to place some good Arguments in the be∣ginning, the worst in the middle, and the best at the latter end: now the end is most to be regarded be∣cause it doth most appear, and is best understood by the people; so that though the beginning and middle, which peradventure they have forgot, were not good, yet the conclusion being good, they will judge all the rest to be good also: now in Oratory we are to observe the last six syllables of a clause quae bissyllabis tantùm pedibus definiri potest: neither must we be too curious in observing the syllables of every clause. Now he comes to the specials, and there he tells us that all syllables long, make a slow and a rare clause; yet if they be all long, 'tis not amiss in a grave matter: but all short are more rare than all long; for there 'tis too swift, and that speech doth not be∣come the gravity of an Oratory, but long and short together are more usual. Here note, that, as in Poetry, so also in Oratory, nihil sit, extrema illa longa sit, an brevis.
Now this Oratorical number is learned two ways, either by taking a well set sentence and displacing the words to see how they will sound, or to take some sentence which is dissolved, and to place it bet∣ter. Now there must be such variety of feet in Ora∣tory,
as that of Licinius, that sweet words are framed as Carvers work by art, and pavement engra∣ven with—or the like; and the oratorical num∣ber doth as well regard the sound of the letters, namely, that one word do not end with a vowel, and the next word begin with a vowel; neither that Rhe∣torical sentences run upon one letter, as, O tite, tute, tate, &c. but that the consonants sound well as it doth respect the measure of the syllables.
Their Censors were two, which were to look to the manners of the people, and had authority to cor∣rect them, and from their Office they had their name.
For Tully judged all these sounds by his eare, but indeed it is by the affections also.
Yes, the other were more familiar to the people, and he knew what pleased them best; now if there be consonants ending a clause, they must not be too stiffe; neither is it requisite that a verb should be last in a sentence, if there be other words that will sound better: Tully's clause was esse videatur, Jam∣bus & Chorei duo: And thus much of Poetical di∣mension.
WE have heard of figura dictionis in dimensione soni, both Poëticâ and Oratoriâ, where we are to note that Talaeus should have taught hyperba∣ton, and that same literarum bonitas as general affecti∣ons to all dimension, for the hyperbaton is general to every tongue besides the French and our English tongue; and therefore indeed most part of the Syn∣tax of our English tongue lyeth in the placing of the word.
That is like, or somewhat unlike: for so we heard in Logick that dissim. sunt, quor. qual. & diversa; so that a dissimilitude hath a dissention but only in a diversity: so that it is somewhat unlike. Similis is either simil. soni, or dictionis, and both of them ei∣ther continuè or disjunctè, i. e. either without any thing coming between, or that hath something in∣terposed: Contin. is either in eadem dictione, or di∣versâ: in eadem dictione appellatur epizeuxis of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, because they are so near that they are not severed but only by a parenthesis, which is no part of the sentence.
It should be sonus not numerus, for that we heard
of before: and again, he saith quae est in soni repeti∣tione, therefore it should be sonus.
Here he doth admonish us of a Caution that might fall out, and that's of a parenthesis, which though it be in the same sentence, yet is not part of it; there∣fore doth no harm to this figure. Now figura dictio∣nis in diversa sententia est anadiplosis, or climax.
ANadiplosis is when the foregoing sentence end∣eth in the same word that the same sentence beginneth withal. It cometh of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 reduplicatio. He saith
Because where is the same word, there the same sound also, not contrà: though there may be the same word, and the same sound in this figure as well as in the rest; therefore because he had not one word to comprehend sonus and dictio he took the more general.
CLimax signifieth a gradatio, or a climbing up the ladder of stairs, or the like: it is a manifold
anadiplosis; so that it is not an opposite species of anadiplosis, but a property of it, as 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 is of Tropes: so that the difference of them is this, That anadiplosis is in one word twice repeated, and climax is in more words often iterated: and here in a cli∣max note that alwayes the word is not the least of the former sentence that begins the second; I mean 'tis not alway in place, yet 'tis in sense, as torvaleaena lupum sequitur, not sequitur lupum.
Caetera desiderantur plurimum.