A 
 
 SYSTEM of RHETORIC, 
 
 In a METHOD entirely New, 
 CONTAINING 
 
 All the TROPES and FIGURES neceilary to illuftrate 
 the Clfffsics, both poetical and hiftorical. 
 
 BY J&CHN STERLING, M. A. 
 
 The Art of Rhetoric made eafy; 
 
 OR THE 
 
 ELEMENTS of ORATORY, 
 
 Briefly stated, and fitted 
 
 FOR THE USE OF THP: SCHOOLS 
 
 Of the united Kingdoms of 
 
 GREAT-BRITAIN and IRELAND: 
 
 Uludrated with proper EXAMPLES to each Figure, 
 Collection of Speeches from the befr 
 Eiigliih Authors. 
 
 By JOHN HO L M E S. 
 

 I 
 
THE 
 
 PREFACE; 
 
 IT would enlarge this Preface beyond its due 
 bounds, to attempt to prove the advantage of 
 a Rhetorical Syftem in general, in order to a right 
 finderftandingoftheclafsics. I Jhall therefore only 
 briefly acquaint the reader, what laws / prefcrii?- 
 td to myfelf, and have fkrittly obferved in this comr 
 p<?sition,fofar as it is my own, (the Latin definitions 
 being msftly Parnaby'j ) ; and then the particular 
 manner in which I ufe it. 
 
 Firfi, 1 determined for method's fake in the Eng- 
 lijh Syftem, to allow a dijiichfor every figure, which 
 in the Latin is generally explained in one line, anrf 
 fomt times lefs : becaufe our language being not fo 
 concife as the Latin, could not infofew words gi<ve 9 
 in an intelligible and eafy turn of exprefsion, a full 
 and exafl definition of the figure, its nature and 
 ufe ; withfuchobfervations, as is fwneiiines equally 
 necejfary with the 'very definition. 
 
 Next I refolded, that the name of the figure Jhould- 
 begin the d'iftich, or have only a monofyllable before 
 it : becaufe, had it been placed in the middle or end 
 of the firft, or any part of the fecond line, it is cer~ 
 tain the memory might not be able immediately to re 
 collecl the beginning of the definition : whereas now, 
 
 410 
 
iv Ths P R E F A C E. 
 
 no fooner is there mention made of the name, than 
 that eafily follows in a natural erder ; which , I be- 
 lieve, adds considerably to the work. 
 
 Thirdly, 1 have taken care tofeparate the exam* 
 fie from the rule ; becaufe boys are often apt to lay 
 an equal Jirefs on every word contained in the rule; 
 and generally want judgment to diftinguijh betwixt 
 that and the example that illiterates it. Befidcs? 
 it does notfeem to me fo proper ta give the Engiifo in 
 *verfe ; becaufe the meafure muft require feme words 
 to which the rule adds no weight in that particu- 
 lar circumstance : whereas in this fcheme, I have 
 chofenfuch examples ) as I thought most proper , eafy 
 and familiar i and left adapted to the defign of the 
 Figure ; without adding one word more than was 
 abfdutely mcejftiry- to complete the fenfe. 
 
 Fourthly i becaufe the names of the Figures, ex- 
 cepting very few, are Greek words, and confequent- 
 ly cannot excite in their minds the proper ideas affix* 
 ed to them, without a tolerable acquaintance with 
 the original \ I thought it would be very necejfary 
 to tranflate them into Englijh, and alfo to give their 
 derivations from the Greek ; that the young student 
 may not only understand the Figure itfelf, but aljls 
 ihc particular meaning of its name. 
 
Preface to Mr. Holmes^ Rhetoric. 
 
 \l\ HAT now remains, is to mention the im- 
 provements made in this piece, and to whom we 
 are obliged for them. Having looked over fome 
 performances for this purpofe, none came fo near 
 the original defign, as Mr. Holmes's, to whom the 
 public is much indebted for his other labours, in 
 improving the education of youth. On attentively 
 confidering his Art of Rhetoric^ we were immedi- 
 ately led to make ufe of it ; he having introduced 
 his Syfteni with an explanation of its nature and 
 ufe, pointing out the parts of a theme and an ora- 
 tion, with which the knowledge of Rhetoric is fo 
 connected, that the ability of performing with ex- 
 cellency one or other, depends on the proper dif- 
 poling of words and fentences, and fo connecting 
 them as to have all the advantage of language, 
 which is centered in Rhetoric. 
 
 This knowledge has been hitherto confined to 
 the learned languages ; and it has been thought, 
 that inftances of its ufe were no where to be found 
 but in the Clafsics ; which has erefted fuch a ve- 
 neration for them, as to deprive every other per- 
 formance of any merit in that way. 
 
 Upon how unfair a foundation this fuperftrue-. 
 ture has been raifed, muft appear from this per- 
 formance ; in which the Trope, Figure, Allego- 
 ry, &c. being the flowers collected from the bed 
 of Rhetoric, are illuftratedfrom the facred writings. 
 A 3 
 
ri PREFACE. 
 
 This may in time give them that dignity they me- 
 rit in this particular, and add to the reverence and 
 refpeft every intelligent being Ihould pay to the 
 Word of GOD. 
 
 This performance is peculiarly adapted to the 
 Englifti Reader ; and as our language of late is rif- 
 ing to a dignity its natives would gladly fee efta- 
 blifhed, nothing can engage a fondnefs for it more 
 than a piece (however diminutive) that points out 
 her beauties, and fhows that Ihe is not lefs defti- 
 tute of them than any other tongue. 
 
 That the fcholar therefore may have fome pieces 
 ready for his praxis, we have felefted fome of 
 the moft capital pieces from Englifh authors, as 
 inftances of the feveral pafsions of the mind, and 
 the different modes of fpeech ; which by a proper 
 ufe, under the infpe&ion of his teacher, may en- 
 able him in time to fpeak with fluency and ele- 
 gance ; and remove a criminal modefty, fo fre- 
 quently a bar to genius. 
 
I N D E X 
 
 T T HE 
 
 NAMES of the FIGURE?.. 
 
 Awe. The numeral figures, following the names of 
 the figures of ipeech, fliow whtie the diitich both in. 
 E-nglijti and Latin is to be found. . 
 
 15 
 28: 
 94 
 75. 
 15 
 92 
 52 
 89 
 72. 
 82 
 37 
 26 
 24' 
 
 JEtiologia 
 Aliegoria 
 Anacoenofis 
 Anadiplofis 
 Anaphora 
 Anaftrophe 
 Antanaclafis 
 Antimeria 
 Antimetabole 
 Antiphrafis 
 Antiptofis 
 Antithefis 
 Antonomafia 
 Aphaerefis 
 Apocope 
 I Apophafis 
 Aporia 
 Apofiopefis 
 Apoftrophe 
 Appositio 
 Aiteifmus 
 Aiy'ndeton 
 Catachrefis 
 
 18 
 
 CHarientifmus - 
 
 40 
 
 Climax 
 
 8 
 
 Bfaerefls 
 
 56 
 
 Dialyton 
 
 25 
 
 Diafy'rmus ~ 
 
 21 
 
 Diaftole 
 
 84 
 
 Ecphonefis 
 
 19 
 
 Efthlipfis 
 
 83 
 
 Elleipfis 
 
 36 
 
 Enallage 
 
 12 
 
 Enantiofis 
 
 83 
 
 Epanados 
 
 67 
 
 Epanalepfis 
 
 9 
 
 Epanorthofis 
 
 61 
 
 Epenthefis 
 
 64 
 
 Epiphonema 
 
 47 
 
 Epiftrophe 
 
 57 
 
 Epitrope 
 
 55 
 
 Epizeuxis 
 
 59 
 
 Erotefis 
 
 87 
 
 Evocatio 
 
 34 
 
 Hellenifmus 
 
 75 
 
 Hendiadys 
 
 5 
 
 Homoioteleuton 
 
 63 
 53 
 22 
 43 
 27 
 51 
 85 
 79 
 5O 
 32 
 
via 
 
 / ./V D L X. 
 
 Hypallage 
 
 78 
 
 Paronom^fia 
 
 Hyperbaton 
 
 76 
 
 Periphrafis 4 
 
 Hyperbole 
 
 6 
 
 Pleonafmus 6 
 
 Hyphen 
 
 81 
 
 Ploce 2 
 
 Hypotypofis 
 
 34 
 
 Polyptoton 2 
 
 Hy'fteron 
 
 77 
 
 Polyfy'ndeton 6 
 
 Incrementum 
 
 44 
 
 Prolepfis % 4 
 
 Inverfio 
 
 41 
 
 Profopopoei'a 5 
 
 Ironia 
 
 4 
 
 Proflhefis 6 
 
 Litotes 
 
 10 
 
 Sarcafmus 1 
 
 Metalepfis 
 
 f-r 
 
 Syllepfis 7 
 
 Metaphora 
 
 I 
 
 Sy^ploce 2 
 
 Metathefis 
 
 66 
 
 Synoeceiefis 3 
 
 Metony'mia 
 
 2 
 
 Synaerefis 9 
 
 Onomatopoeia 
 
 11 
 
 Synalaepha 9 
 
 Oxymoron 
 
 39 
 
 Synathroefmus 4 
 
 Paradiaflole 
 
 35 
 
 Syncope 6! 
 
 Paragoge 
 
 65 
 
 Synecdoche * 
 
 Paraleipfis 
 
 48 
 
 Synony^ia 4^ 
 
 Parechefis 
 
 33 
 
 Sy'nthefis 8( 
 
 Paregmenon 
 
 30 
 
 Sy'ftole 9; 
 
 Parenthefis 
 
 70 
 
 Tmefis 8f 
 
 Paroemia 
 
 17 
 
 Zeugma 7 
 
 Parolee 
 
 71 
 
 - 
 
 Ftr Contents of Mr. Holmes' Rhcttric, fee 
 
The ART of RHETORIC. 
 
 The Four proper TROPES,. 
 
 J\ Metaphor ) in place of proper words, 1 
 
 Refemblanceputs ; and drefs to fpeech affords. 
 A Metonymy does new names impofe, 2 
 
 And things by things by near relation {hows. 
 Synecdoche the whole for part doth take ; 3 
 
 Or, of a part for whole, exchange doth make. 
 An Irony j differubling with an air, 4 
 
 Thinks otherwife than what the words declare. 
 
 EXAMPLES. 
 
 u A Tide (Extefs) of Pafsion. Breath on \favour) my 
 Enterprises. The golden (pur? 1 , untainted) Age. 2. The 
 Invenier is taken for the Invented; as, Mars (War) rages. 
 The Author, for his Works; a?, read Horace, i e. his 
 Writings. The Infrrument, for the Caule-; as, his Tongue 
 (Eloquence) defends him. The Matter, for the Thing 
 made; as, the Steel (Sword) conquers. The Effect, for 
 t'he Gaufe; as, cold Death, i. e. Death*, which/makes cold. 
 The Subject containing, for the Thing contained ; as, the 
 Mace fMagiiirate) comes. 3. Ten Summer.*, i. e. Year. c 9 
 have I lived under this Roof, j. e. Iloufe. Now the Year, 
 i. e. Spring, is th moil beautifui. 4. Fairly done, i. e, 
 icandaloiifty done. Good Boy, i.e. Bad Boy. 
 
 TER-MS Englifned. 
 
 i. Tranflation. 2. Changing of Names,, 3. ComprehJen- 
 fion. 4. Difsimulation. 
 
2 THE ART OF RHETORIC. 
 
 Affettions of Tropes. 
 
 A Catachrefis words too far doth ftrain 5 
 
 Rather from fuch abufe of fpeech refrain. 
 Hyperbole foars high, or creeps too low ; fr 
 
 Exceeds the truth, things wonderful to {how. 
 By MetakpJtSj in one word combined 7 
 
 More Tropes than one you eafily may find. 
 An Allegory Tropes continues still, 8 
 
 Which with new graces every fentence fill. 
 
 Tropes improperly accounted fo. 
 j&ntonomafta proper names imparts, 9 
 
 From kindred, country, epithets, or arts,* 
 Litotes doth more fenfe than words include, IO 
 And often by two negatives hath stood. 
 Onomatopoeia coins a word from found, 1 1 
 
 By which alone the meaning may be found. 
 
 EXAMPLES. 
 
 5, The Man, i. e. Chief, of the Flock. He threatens, i.e. 
 promifes, a Favour. 6, He runs fwifter than the Wind, 
 i. e. very fwiftly, 7. Euphrates, (i. e. Mefopotamia, i. e. 
 its Inhabitants) moves War. 8. Venus grows cold with- 
 out Ceres and Bacchus, i. e. Love grows cold without 
 Bread and Wine. 9. There goes Irus, i. e. a poor Man. 
 ^Eacidef, i. e. Achilles, conquered. The Carthaginian, 
 i. e. Hannibal, won the Field. Cytherea, i. e. Venus, 
 Worfhippcd in the iiland fo called. The Philofopher, i. e. 
 Ariftotle r averted fo. The Poet, i. e. Virgil, fings JCneas. 
 10. I neither praife your Gifts, nor defpife them; i- e. I 
 difprajfe your Gifts, yet I accept them, i r. Flies buzz, 
 i. c. make a humming Noife. Tantaras, i. e. Nolle of 
 Trumpets, fill the Round. 
 
 TERMS Englifhed. 
 
 5. Abufe. 6, Excefs. 7. Participation. 8. Speaking other- 
 wife. 9. Fora Name. 10. Leifening. n, Feigning a Name. 
 
THE ART OF RHETORIC. 3 
 
 Antiphrafis makes words to difagree 12 
 
 From fenfe ; if rightly they derived be. 
 Charientifmus^ when it fpeaks, dothchoofe IS 
 The fofter for the harfher words to ufe. 
 Afieifmus loves tojeft with -ftrokes of wit, 14 
 And flily with the point of fatyr hit. 
 A Diafyrmus must ill-nature fliow, 15 
 
 And ne'er omit t' infult a living foe. 
 Sarcafmus with a bitter jeer doth kill, 16 
 
 And ev'ry word with ftrongeft venom fill. 
 Parcemia by a proverb tries to teach 17 
 
 A fliort, inftrufting, and a nervous fpeech. 
 JEnigma in dark words the fenfe conceals ; 1 8 
 But that, once known, a riddling fpeech reveals. 
 
 Figures ef words of the fame found* 
 Antanaclafis in one found contains 1 9 
 
 More meanings ; which the various fenfe explains. 
 By Piece we a proper name repeat : 2O 
 
 Yet as a common noun the latter treat* 
 
 EXAMPLES, 
 
 12. Luctts, from Lux Light, iignifies a dark Ihady Grove. 
 
 13, Be not fo angry, Heaven fend better News. 14. Who 
 hates not Bavius' Verfes, let him love Maevius's; and he 
 that loves either, let him milk He-goats. 15. You gaggle 
 like a Goofe among the tuneful Swans. 16. Now, Cyrus, 
 glut yourfelf with Blood. 17. You wa(h the Black-moor 
 white, i, e. you labour in vain. 18. Niletis's Quill brought 
 forth the Daughters of Cadmus; i. e. a Pen, made of a 
 Reed growing by the Side of the River Nile, wrote the 
 Latin and Greek Letters invented by Cadmus. 19. Care 
 for thofe Things, which may difcharge you of Care. 20. In 
 thatVidoryCaefar was Caefar, i.e. a moftfeiene Conqueror^ 
 
 TERMS Englilhed. 
 
 12. Contrary Word. 13. Softening. 14. Civility. 15. De- 
 traction. 16. Bitter Taunt. 17. A Proverb, 18. A Riddle. 
 19. A Reciprocation. 20. Continuation. 
 
4 THE ART OF RHETORIC. 
 
 Anaphora gives more fentences one head > 2 
 As readily appears to thofe that read. 
 Epi/irophe more fentences doth clofe 22 
 
 With the fame words, whether in verfe or profe. 
 Symploce joins thefe figures both together, 23 
 And from both.join'd makes up itfelf another. 
 ffana/epjis words doth recommend, 24 
 
 The fame at the beginning and the end. 
 Anadiplofis ends the former line, 2 
 
 With what the next does for its firft: defign 
 .-By Epanados alentence fhifts its place; 26 
 
 Takes firft, and laft, .and alfo middle fpace. 
 An Epizeuxis twice a word --.repeats, 7 
 
 Whatever the fubjeft be, whereon it treats. 
 A Climax by gradation (till afcends, 28 
 
 Until the fenfe with finifh'd period ends. 
 A .Polyptoton ftill the fame word places, .29 
 
 If fenfe require it, in two cliff rent cafes. 
 
 EXAMPLES. 
 
 21. Peace crowns our Life ; Peace docs our Plenty breed. 
 
 22. We are born in Sorrow, pafs our time in SorfO'", end 
 o-ur Days in Sorrow. 23. Juilice came clown from Heaven 
 .to view the Earth-, Juilice climbed back to Heaven, and 
 left the Earth. 24. Sins ftain thy beaut iotis Soul; forfake 
 thy Sins. 25. Prize Wifdom; Wifdom is a precious Jewel. 
 26. Whether the woril? the -Chi Id accurft, or elie the cruel 
 Mother? The Mother worft, the Child accurft; as b:id the 
 one as the other. 27. Ah ! poor, poor Swain-.' 28. Folly 
 breeds Laughter-, Laughter, Difdain; Difdain makes 
 Shame her Daughter. 29. Foot to Foot; Hand to Hand; 
 Face to Face. 
 
 TERMS Engliihed. 
 
 21. Rehearfal. 22. A turning to. 2V A complication. 24. 
 Repetition. 25. Reduplication- 26. ARe^refsioa. 27. Ajoin- 
 ing together. 28. A Ladder, Stair, 29, Variation of Calc. 
 
THE ART OF RHETORIC. 5 
 
 Figures of words of like found. 
 Paregmenon deriv'd from one recites SO 
 
 More words, and in one fentence them unites. 
 Paronomafia to the fenfe alludes, 31 
 
 When words but little vary'd it includes. 
 Homoioteleuton makes the meafure chime, 32 
 With like founds, in the end of fetter' d thyme. 
 A Parachefis fyllables fets twice ; 
 But this, except to poets, is a vice. 
 Hypotypofis to the eye contracts 34 
 
 Things, places, perfons, times, affe&ions, afts. 
 Paradiaflole explains aright 3J 
 
 Things in an oppofite and difPrent light. 
 Antlmetabole puts chang'd words again 36 
 
 By contraries ; fome beauty to explain. 
 Enantiojis poifeth difPrent things, 37 
 
 And words and fenfe as into balance brings. 
 Synccceiofts to one fubjeft ties 38 
 
 Two contraries, and fuller fenfe fupplies. 
 
 EXAMPLES. 
 
 30. I write friendly of friendihip to a Friend. 31. Friends 
 are turned Fiiends. 32. Chime and Rhirne; as above. 33. 
 Liberty begets Mifchief chiefly. 34. The Head is fick ; 
 the Heart is faint; from the Scle ot the Foot, even unto 
 the Head, there is no Soundneis ; but Wounds, Bruifes, 
 end piitrHying Sores. 35. Virtue may be oveiihadowed, 
 but not overwhelmed. 36- A Poem is a fpealving Picture ; 
 a Pi&ure is a mute Poem.. 37. Truth brings Foes, Flat- 
 tery brings Friends. 38. He is dead, even while he livtth. 
 
 TERMS Engliftied. 
 
 30. Derived from the fame. 31. Likencfs of W6rds. 32. 
 A like Endirg. 33. AIlufit>n. 34, A Reprefentation, 35. 
 Diicrimination. 36. Changing by Contraries. 37. A Con- 
 tiariety. ^8. A Reconciling. 
 
 B 
 
6 THE ART OF RHETORIC. 
 
 In Oxymoron contradictions meet, 39 
 
 And jarring epithets and fubje&s greet* 
 
 Figures for proof. 
 
 JEtiology gives ev'ry thame a reafon ; 4O 
 
 And, with convincing arguments, doth feafon. 
 Inverfion makes the adverfary's plea 41 
 
 A ftrong, nay beft defence, that urg'd can be. 
 Prolepfis your obje&ion doth prevent; 42 
 
 With anfwers fuitabie and pertinent. 
 Epltrope gives leave and fafts permits, 43 
 
 Whether it fpeaks fmcere or counterfeits. 
 
 Figures for amplifying. 
 
 An Incremenium by degrees doth rife, 44 
 
 And from a low t'a lofty pitch it flies. 
 Synonymy doth divers words prepare, 45 
 
 Yet each of them one meaning doth declare. 
 A Synathrcefmus fums up various things, 46 
 
 And as into one h^eap together brings. 
 
 EXAMPLES. 
 
 39. Proud humility. This bitter fweet. 40. Defpife plea- 
 iuie; for pleafure bought with pain, hurteth. 41. Had I 
 killed him, as you report, I had not flayed to bury him. 
 42. What then ? fhall we (in, becaufe we are not under the 
 Law, but Gra*ce ? God forbid ! 43, Go, take your courfe; 
 I will not flop your rambles. 44. The wickednels of a mob, 
 the cruel force of a tyrant, florms and tempefts, even Ju- 
 piter's thunder; nay, if the world fhould fall, it cannot dii- 
 tui b the juft man, nor fhak e his folid refolution. 45. Free- 
 dom and liberty : he is yet alive ; he breathes aethercal air. 
 46. Thief, taylor, miller, w T eavcr, &. 
 
 TERMS Knglifhed. 
 
 39. A witty fooliih faying. 40. Showing a reafon. 41. In- 
 verfion. 42. Prevention. 43. Permifsion. 44. Increafing. 
 45;. Partaking together of a name. 46. Gathering together. 
 
THE ART OF RHETORIC. 7 
 
 dpophajis, pretending to conceal 47 
 
 The whole it meant to hide, mufl needs reveal. 
 A Paraleipjis cries, i leav't behind, 48 
 
 I let it pafs ; tho' you the whole may find. 
 Periphrafis of words doth ufe a train, 49 
 
 Intending one thing only to explain. 
 Hendiadisy for adje&ives, doth chofe 5O 
 
 Their proper fubftantives themfelves to ufe. 
 By Erotefts, what we know we afk, 51 
 
 Prefcribing to ouifelves a needlefs talk. 
 By Ecphonefis ftraight the mind is rais'd, 52 
 
 When by a fudden flow of pafsion feiz'd. 
 Epiphonema makes a final claufe, 53 
 
 When narratives and proofs afford a caufe. 
 Epanorthofis doth paft words correft, 54 
 
 And, only to enhance, feems to rejeft. 
 Apofiopefis leaves imperfeft fenfe ; 55 
 
 Yet fuch a filent paufe fpeaks eloquence. 
 
 EX AMP LES. 
 
 47. I fay nothing of your idlenefs, and other thing?, for 
 which you cannot excufe yourfelf. 48. I omit the bribes 
 you received ; I let pafs your thefts and robberies. 49. The 
 writer of the Trojan war,ycr Homer. 50. He drinks out of 
 gold and cups, for golden cups. 51. Was ever virtue put 
 to harder tafks ? $ 2 Alas ! Oh banifhed piety ! Oh cor- 
 rupted nation ! 53. Of fo great moment was it toraife the 
 Englifh nation. 54. Moft brave ! Brave, faid I ? Molt he- 
 roic A<t ! 55. Whom I But it is better, to compofe 
 
 the f welling waves. 
 
 TERMS Englifhed. 
 
 47. Not fayirg. 48. Leaving. 49, Circumlocution. 50* 
 One into two. 51. A queftioning. 52. Exclamation. 53. 
 Acclamation. 54. Correcting. 55, A paufing or conceal- 
 irg. 
 
 B2 
 
g THE ART OF RHETORIC. 
 
 Anac&nofis tries another's mind, 56 
 
 The better counfel of a friend to find. 
 Aporia, in words and aftions, doubts ; 57 
 
 And with itfelf, what may be beft, dilputes. 
 Profopopceia a new perfon feigns, 58 
 
 And to inanimates fpeech and reafon deigns. 
 Apoftrophe from greater themes or lefs, 59 
 
 Doth turn afide, to make a fhort addrefs. 
 
 Figures of Orthography. 
 
 Fro/thefts^ to the front of words, doth add 60 
 Letters or fyllables they never had. 
 Aphcerefis from the beginning takes, 61 
 
 What properly a part of the word makes. 
 Syncope leaves part of the middle out, 62 
 
 Which caufeth oPt of cafe and tenfe to doubt. 
 Epenthefis to th' middle adds one more, 63 
 
 Than what the word could juftly claim before. 
 
 EXAMPLES. 
 
 56. Were it your cafe, what would you do? 57. What 
 ihall I do ? Muft I be afked, or mutt I aflc ? Then what 
 ihall I afk? 58. The very ilones of the lireets fpeak your 
 wickednefs. The mountains clap their hands, and the hills 
 fingfor joy. 59. Thus he poffefied the gold by violence ! 
 Oh! curfed thirft of gold! what wickednefs doft thou not 
 influence men's minds to perpetrate. 60- Yclad, Jor clad, 
 in armour; begirt, fcr girt, with a fword. 61. Till^y^run- 
 liL 62- Ne'er, fcr ntver ; o'er, for over. 63. Blackamoore. 
 for Blackinoor. 
 
 TERMS Englifhed. 
 
 56. A communication. 57. A doubting. 58. FeJ^ning.a 
 perfon. 59. Addrefs, or turning away from the principal 
 fubje&. 6 r>. Adding to. 61. Taken from. 62. Cutting 
 out. 63. Interpolition. 
 
THE ART OF RHETORIC. 9 
 
 Apocope cuts off a final letter, 64? 
 
 Or f liable, to make the verfe run better. 
 A Paragoge adds unto the end ; 65 
 
 Yet, not the fenfe, but meafure to amend. 
 Metathefis a letter's place doth change, 66 
 
 So that the word appear not new or ftrange, 
 Antithejis doth change a fyllable or letter, 67 
 Or holds up contrafts, as men think it better. 
 
 Figures ofexeefs in Syntax* 
 
 A Pleonafmus hath more words than needs ; 68 
 
 And, to augment the emphafis, exceeds. 
 
 In Polyfyndeton conjunctions flow, 69 
 
 And ev'ry word its copulative muft fliow. 
 
 Parenthejis is int? pendent fenfe, 70 
 
 Clos'd in a fentence by a double fence. 
 
 Parolee particles doth oft' apply, 71 
 
 Which needlefs are and nothing fignify. 
 
 Figures of defeEl in Syntax. 
 
 Elleipfts leaves a word or fentence out, 72 
 
 When the concifenefs caufes not a doubt. 
 
 EXAMPLES. 
 
 64. Tho'jr though, or although. 65, Chicken, fa chick. 
 66. Cruds/cr curds. 67. Tytfor tie ; furnifht/c/r furnifh- 
 ed; as we aft well or ill, we ihall receive happinefs or mi- 
 fery. 68. I faw it with mine eyes. 69. Fear, and joy, and 
 hatred, and love fcized the mind by turns. 70. I believe 
 indeed (nor is my faith vain) that he is the offspring of the 
 gods. 71 He evermore,/br ever, feeds. 7zTrue,//r it is true, 
 
 TERMS Engliihed. 
 
 64. A cutting off. 65. Producing, or making longer. 66. 
 Tranfpoiition. 67. Oppofition. 68. Superfluity. 69. Ma- 
 ny copulatives. 70. Interpolation of wordf. 71. Prolong- 
 ing. 72. A defect. 
 
ID THE ART OF RHETORIC. 
 
 Zeugma repeats the verb as often o'er, 73 
 
 As conftruing words comes after or before. 
 Syllefjis, in more worthy, comprehends 74* 
 
 The lefs ; and former's preference defends 
 Afyndeton, or (which the fame implies) 75 
 
 Dialyton the cop'lative denies. 
 
 In the Context. 
 
 Hyper baton makes words and fenfe to run 76 
 In order that's difturb'd ; fuch rather fhun. 
 Hyfteron doth mifplace both words and fenfe, 77 
 And makes the laft what's firfl by juft pretence. 
 Hypallage both cafes oft tranfpofe ; 78 
 
 A liberty, that's never us'd in profe. 
 *Tis Hellentfmus ; when we fpeak or write, 79 
 In the like ftyle and phrafe as Greeks indite. 
 By Tmefis words divided oft are feen, 8O 
 
 And others 'twixt the parts do intervene. 
 Hyphen's a dafh which parts of words doth join ; 8 1 
 Or word to word, another word to coin. 
 
 EXAMPLES. 
 
 73. Nor leaf nor reed is ilirred by the wind, i, e. nor leaf 
 is Itined, nor reed is ithred, by the wind. 74. I and my 
 brother, i. e. we, go out to play. 75. Faith, juftice, truth, 
 religion, mercy dies, 76. Wealth, which the old man had 
 rak'd and fcraped together, now the boy doth, game and 
 drink away ; fir Now the boy doth game and drink away 
 the wealth, which the old man had raked and fcrapfd toge- 
 ther. 77. He was bred and born, for born and bred, at 
 London. 78. Cups, to which I never moved my 15ps,/or cups, 
 \vkich I never moved to my lips. 79. 1 kept himirom to die, 
 i. e. from death. 80. Wi>at crime focvci, y^/r.whatfoever 
 crime. 81. Purple-coloured. 
 
 TJKRMS Englifhed. 
 
 73. Joining, 74. Compreheniion. 75. Disjoined, or without 
 a copulative. 76. A pafsing over. 77. After-placing. 78. A 
 changing. 79. A GrftcUhv Q, Dividing, gi. Uniting. 
 
THE ART OF RHETORIC. n 
 
 Enallage doth alter perfon, tenfe, 82 
 
 Mood, gender, number, on the leaft pretence. 
 
 By Antimeria^ for one part of fpeech 83 
 
 Another's put, which equal fenfe doth teach. 
 
 Anaftrophe makes words, that firft fliould go 84 
 
 The laft in place : Verfe oft' will have it fo. 
 
 By Evocation we the third recal, 85 
 
 In firft or fecond perfon's place to fall. 
 
 A Synthefts, not words but fenfe refpe&s ; 86 
 
 For whofe lake oft' it drifted rules rejefts. 
 
 By Appoftiion fubflantives agree 87 
 
 In cafe ; yet numbers different may be. 
 
 By Antipiofis you may freely place 88 
 
 One (if as proper) for another cafe. 
 
 Figures of Profody. 
 
 Eflhlipfts M in th* end hath ufelefs fixt, 89 
 
 When vowel or H begins the word that's next. 
 By Synatepha final vowels give way, 9O 
 
 That thofe in front of following words may ftay. 
 A Syjtole long fyllables makes Ihort ; 91 
 
 The cramp'd and puzzl'd poet's lafh refort. 
 
 EXAMPLES. 
 
 82. Alexander fights, for Alexander fought, 83. He is new, 
 for newly, come home. 84. lie travelled England thrower 
 through England. 85, We, the people, are fubjeft. 86. 
 The multitude rufties, or rufh, upon me. 87. King George, 
 The city, Athens. 88. Peculiar to the Latins ; as urbem 
 quam ftatuo vcilra eft. 89. Si vit* infpiciaSjj^r Si vitam in- 
 fpicias, 90. Si vis anim' cfle heatu^, for Si vis aniino eflb 
 beatus. 91. Steterunt,/or Steterunt. 
 TERMS Englifoed. 
 
 82 A change of order. 83. One part for another. 84. In* 
 verting. 85. Calling forth. 86. A compofuion. 87. Nouns 
 put in the fame cafe. 88. A cafe put for a cafe. 89. A ihi- 
 iing out, 9?. A mingling together. 91. A {hortemngv 
 
i2 THE ART OF RHETORIC. 
 
 Diqftole fliort fyliables prolongs ; 92 
 
 But this, to-right the verfe, the accent wrongs. 
 SynarefiSy whenever it indites, 93 
 
 Still into one two fyliables unites. 
 Diterefis one into two divides ; 94 
 
 By which the fmoother meafure gently glides. 
 
 EXAMPLES- 
 
 92. Naufiagia, Jcr Naufragia- 93. Alveo, a diiyllable; 
 Jtr Alveo y a trifij liable, 94. EvoiuifTet, Jor cvolviffct. 
 
 Terms Engliftied. 
 92. Lengthening. 93, A contra&ion. 94. A divifloiu 
 
A R S R H E T O R I C A. 
 
 TROPI proprii Ouatuor. 
 
 DAT propriaefimilem tranflata Metaphor a vocem : 1 
 Atque Metonymia imponit nova nomina rebus. 2 
 Confundit totum cum parte Synecdoche fa?pe. 3 
 Contra quam fentit folet Ironia jocari. 4 
 
 Jffediones Troporum. 
 
 Durior impropriae eft Catachrejts abufio vocis. 5 
 Extenuans, augenfve, excedit Hyperbole verum. 6. 
 
 , EXEMPLA. 
 
 I. Fluftu^t &stu (i. e. excefTu) irarum. Afpircr.t (i. c. fa- 
 vent) coeptis. 2. Inventor jDro invento; ut Mars (i.e. bel- 
 lum) iacvit. Author pro- operibus : ut lege Hora/ium, i. e. 
 ejus fcripta. Inftrumentum pro causa ; ut lingua (i. e. elo- 
 quentia) tuetur ilium. Materis pro fa<flo ; ut ftrrum (i. e. gla- 
 dius) vicit. Effeftus pro Causa ; ut frigida mors ? i. e. quae 
 facit frigidos. Continent pto contento ; ut vefcor dapibus^ i. 
 e. cibis. Adiuu&um/w fubje6lo ; Ktfafces (i. e. raagiftra- 
 tus) Tarquinii. 3. Decern. atates (i.e. annos; vixi fub hoc 
 tefio, i. e. domo. Nunc annus. i. e. ver) eft forrnofiilinms, 
 4. 5cJ fa&um, i. e* w/e fa61um. c;. Fir (i. e. dux) gregis : 
 Mlnatur (i. e- promittit) pulchra. 6. Currit oaor JEwro, i. e, 
 chiffime. 
 
 DERIVATION ES. 
 
 i. A ft&TetQtpw, transfero. 2. a pe.trovoftw, tranfnomi- 
 i no. g. a <rwtA$i%*fi#t) comprehendo. 4. ab g/ 
 Idifsimulo. 5. a *aTa%fot'opiH, abutor. 6. ab. 'v 
 fupero. 
 
14 ARS RHETORICA. 
 
 Voce Tropos plures neftit Metalepfis in una* 7 
 
 Contmuare Tropos Allegoria adfolet ufque. 8 
 
 TROPI falso habiti. 
 
 Antonomafia imponit Cognomina fepe. 9 
 
 Si plus quam dicis fignes, Litoteta vocabis. 1O 
 
 A fonitu voces Qnomatopaia fingit. 11 
 
 Antiphrafis voces tibiper contraria fignat. 12 
 
 Dat Charieniifmus pro duris mollia verba. 13 
 tffoijmusjacns urbanus feufcomma facetum eft. 14 
 
 Eft inimica viri Diafyrmus abuiia vivi. 15 
 
 Infultans hofti illudit Sarcafmus amare. 16 
 
 Sid quid proverb! fertur, Par&mia difta eft. 17 
 
 E X E M P L A. 
 
 7. Euphrates* (i. e Mefopotnmia, i'. e. ejus in colas) movet 
 bellnm. 8; J^vus (i. e. amor) friget fine Cererr (i. e. pane) & 
 Baccho, i. e. vino. 9. Hlc adeft Jrus, i. e. pauper. &acidcs, 
 (i.e. Achilles) vicit. Posnits (i. e. Hannibal) tulit vi&oriam. 
 C\therea^\. e. VeniiSj Dea Infulje Cyrherae; PhUofophus, (i e. 
 Ariftoteles) aflerit. Poeta (i. e. Virgilius) canit jEneam. 10. 
 Non laudo txa muncra nccfperno, i. e. vitupero ea, tamen acci- 
 pio. ii. Eombalio, clangor, ilridor, taratantara, murmur. 
 12. Lucus, a luceo, . fignificat opacuni neraus. 13. At bona 
 verba precor ; ne ixvi magna Sacerdos. 14. Qui Bavium 
 non odit, amtt tua carmina Maevi ; atque idem jungat vul- 
 pes, & mulgeat hircos. 15. In ftrepitn cantas. Inter ftrepe- 
 re artfer ol >res. 16; Satla te fanguine, Gyre. 1-7. 
 later emve lavas, i. e. fhiftra laboras. 
 
 DERI VAT TONES. 
 
 7. a jMcrX^ftCiVii, particlpo. 8. ab #Mny*fia* t aliud dico. 
 9. ab ot'vr/, pro, & ov&pxfa, nomino; 10. a AWTOJ, tenuis. I 
 11. ab ovopecTOTTQiwy nomeii facio. 12. ab <'yr;<^p(^<y, perl 
 contrariurh loquor, 13. a xetpwrJfyfAeri, jocor. 14, abl 
 itVeToc-. urbanus. 15, a mr 7 *^, convirior. 16. a 
 irrideo. 17. a sr^^W^*;, proverbialiter loquor. 
 
ARS RHETORICA. 15 
 
 JEnigma obfcuris tefta eft fententia verbis- 1 8 
 
 FIGURE Diftionis in eodem Sono. 
 
 Dat varium fenfum voci Antanaclajis eidem : 1 9 
 AtqueP/^^repetitProprium;cornmuniterhocce. 2O 
 Diverfismembrisfrontemdaty?/2^/>^d?r^ eandem: 21 
 Complures claufus conduditEpi/trophe eodem: 22 
 Symploce eas jungit 5 complexa utramquefiguram. 23 
 Incipit & voce exit Epanalepjis eadem. 24- 
 
 Eft Anadiplofis^ cum quse poftrema prioris 25 
 Vox eft, hsec membri fit dijftio prima fequentis. 
 Prima velut mediis, mediis ita Epanados ima 26 
 Confonadat, repetens. Exemplo difce figuram. 
 Ejufdem fit Efizeuxis repetitio vccis. 27 
 
 EX EM PL A. 
 
 ift.Arunde Nihtis, (i. e. fapynis Nili) profert/"//o/^j- Cadmi 
 i. e. Grsecas litcras inventas ab illo. 19. Wicfe<stu/it, (i. e. in- 
 terfecit) matrem: \\lejusiuiit (i. e, portavit) patrem. 20 In 
 hac viftoria Ctefar full Cafor, I. e. mitifsimus viclor. 21. 
 Pax coronat vitarn : fax -profert -copiam. 22. Naicimur do- 
 her, degirnus vitani do/ore, finimus More. 2 3 . Qua-m --bene, 
 caunc, tuopoterani Nurus effe pateAfi ? Qudn: btne Cu-uxe,.meo 
 poteras gener effe parenti f 24. Pauper amat cnute ; rimeat 
 maledicere/)^/^r. 25. Pierides, vos haec facietis maxima GaH-o, 
 Gallo, cujus amoriantum mi hi crefcit in horas. 26. Crude- 
 Us til quocjue.wtf/^r; cru(ltiis7naitr\i\2.g\S) anpxer im^robus Hit* 
 Impiobus ille puer^ crutlelis tu quoque mater, 27. Air! Cc 1 ^- 
 -^> Corydon : me, me: btila, horrida ^//^. 
 
 D E Pv I V A T I O N E S. 
 
 1 8. ab^mi^, obfcure loquor. 19. ab ^nc^;*.^*./, refrin- 
 : go, 20. a.wAfKj^t fi^fto- 21. ab eivectp'cga, refero. 2ii. ab 
 iwrfty*) converto. 2^. a cri^mrAiiMv, ccnnetSlo. 2-}.abi7r/, 
 &; B9*)Mft*Mt 9 repeto. 2^;. ab >3*ir^<*, reduplico. 26. 
 ab gTT/, >8c avetSeo-, afcenfus. 27 ab l?r^y'yvv 
 
16 ARS RHETORICA. 
 
 Continua Terie eft repetita gradatio Climax : 28 
 Eftque Polyptoton, vario fi diftio cafa. 29 
 
 Di&ionis fimilis Soni. 
 
 Fonte al> eodem derivata Paregmenon aptat. SO 
 Voce parum mutata, alludit fignificatum 
 Paronomafm : ut, amentis, non geftus amamis. 31 
 Fine fonos fimiles conjungit Homoioteleuton : 32 
 Jnque Pareckefi repetita eft Syllaba vocum. 33 
 
 FIGURE ad Explicationem. 
 
 Exprimit, atque oculis quafi fubjicit Hypotypofis 34 
 Res, loca, perfonas, affeclus, tempora, geftus., 
 Explicat, oppofitum addens, Paradia/tcleYe&e: 35 
 Oppofita Antimetabole mutat diftaque fcpe. 36 
 
 E X A M P L A. 
 
 s'8. Quod libet) id 7/V^his ; at qn od //<:/, id fat's audent : quod- 
 que-flj/i/wtf, faclunt ; faclunt quodcunque molefrum eft. 2p. 
 Arma arrnis: pedi pes: viro vir. 30. Pieridurn/iW/3 studi- 
 vfe teneris. 31. Amentis^ non geftus amanth\ ut fupra. 32. 
 Si vis incolumem, (i vis te reclderey/?;;^;^ ; curas tolle graves, 
 irafci crede prcfanum. 33. O fottunatum^ nation, &c. 34. 
 Videbar vidcre alios intrantes, aiios vero exuentes; qiiofdam 
 ex vino vaciilantes, quofdam hefterna potatione ofcitantts, 
 ^kc. 35. Fortunaobumbrat virtutem, tamen ron obruit earn. 
 36. Poema eft fiftura loyuens, pi6lura Omnium t ,jc,t;a. 
 
 D E R I V A T I O N E S. 
 
 28, ii XA/VW, acclino. 29 Ti sroAv^, varius, & a^^?, cafus. 
 c;o. a ^r^paya'} derive. 31. a -srot^et 9 j'lxta, & ovopa, nomcn, 
 ^2, ab opoias, fimiliter, & TsAivrov, finitum, 33. a,'a-pr,%,w* 
 ibno fimilis ium. 34. ab 'yjrdrt;^.-^, reprsefento 35. a 
 3r^c;<mAA*{, disjungo. 36 ab^vW, contra, & ^STK^/.A^I 
 tnverto. 
 
ARS RHETORIC A. 17 
 
 Librat in Antithesis contraria Enantiofis. 37 
 
 Synaceiofis duo dat contraria eidem. 38 
 
 Oxmoron iners erit ars ; Concordia difcors. 39 
 
 FIGURE ad Probationem. 
 
 Propoflti reddit caufus JEtiohgta* 4O 
 
 Arguit allatam rem contra Inverfio pro fe. 41 
 
 Anticipat, quas quis valet objeciffe, Prolepfis. 42 
 Plane, aut diffimulans, permittit Epitropefa&um. 43 
 
 FIGURE ad Amplificationem. 
 Ad fummum ex imo gradibus venit Increment-urn. 44 
 Verba Synonymia addit rem fignantia eandem, 45 
 Res fpecie varias Synathroefmus congerit una. 46 
 
 EX EM PL A. 
 
 37. Alia liguftra cadunc, vaccinia -nigra leguntur. 38. Tarn 
 quodades-t de-fit, quaiii quod non adjii avaro. 39. Superba hu- 
 n-ilitas. 40. Speme voluptates : nocet empta dokre wluptas. 
 
 41. Imo equidem; neque enim, fi occidiflem, fepelifem. 
 
 42. Hie aliquis mihi dicat, cur ego amicum ofp^ndam in nu- 
 gis ? Hae nugae feria ducunt in niala. 43. Ci'edo equidem ; 
 neque te teneo, nee di6la refello. 44. Juitum & tenacem 
 propofiti virum, non civium ardor prava jubentium, non 
 vuitus inftantis tyranni mente quatit folida ; neque Aufter 
 dux inquieti turbidns Adriae, nee fulminantis magna Jovis 
 manus. Si fraftus illnbatur orbis, impav.dum ferient ruime. 
 45. Enfc & gladiiis. Vivit, & veicitur aether^a aura. 46. 
 Grammaticus, Rhetor, Pi^lor, Foeta, Mcdidas, Magus, om- 
 nia novit. 
 
 DERIVATIONES. 
 
 27- a^> Imvritar, OppofitUS. 38. a <rvvcix.siv, COncilio. 39* 
 
 ah o| x w, acutum, &^pv, ftultutn. 40. ab amoAoyg^ ra- 
 rionem reddo. 41, ab /;/ & verte. 42. a ui***p*i+ t an- 
 ticipo. 43. ab sswrpt**, permitto. 44, ab in & cresco. 
 4C, a rvv, con, & XM^MI no men. 46. a ^yy^^o/^ con* 
 |go. C 
 
iS ARS RHETORIC A. 
 
 Non dicoflpophafts ^ taceo^ mitto, e&para!eifi/is4<7,4<3 
 Rem circumloquitur per plurzPerifhra/is unam. 49 
 Hendiadis fixum dat mobile, fie duo fixa. 5O 
 
 Ad AFFECTUUM Concitationem. 
 
 Quserit Erotesis, poterat quod dicere refte. 51 
 
 Concitat Ecphonesis & Exclamatio mentem. 52 
 
 Narrata fubit & rei Epiphonema probate. 53 
 
 Eft Epanwthosis pofiti correftio fenfus. 54 
 
 Aposiopesis feafa imperfe&a relinquit. 55 
 
 Confultat cum aliis Anaccenosis ubique. 56 
 
 Confulit, addubitans quid agai dicatve* Aporia* 57 
 
 Perfonam inducit Frofopoposia loquentenu 58 
 
 E X E M P L A. 
 
 47. Non refer am ignaviam & aliamagis fcelefla, quorum poe- 
 nitere oportet. 48. Taceo, mitto homicidia, furta, & alia tua 
 crimina. 49. Scriptor T, ojani belli, i. e. Homerus. 50. Bibit 
 ex auro & pater is, pro aure is patens. 51. Creditis ave&os 
 hoiles ? aut ulla putatis dona careredolis Danaum ? 52,. Heu 
 pietas ! heu prifca fides? heu vana ^luptas ! 53. Tantae mo- 
 lis erat Romanam condere gentem. 54. O dementia! demen- 
 tia, dixi ? Potius patientia mira. 55. Quos ego Sed motos 
 prseftat componere fluftu?. 56. Siita haberet fetua res, quid 
 confilii aut rationis inires ? 57. Quid faciam ? Roger, anne ro- 
 gem? Quid deinde rogabo ? 58. Hofne mihi fruftus, hunc fer- 
 tiiitatis honoren: oificiique refers ? :Hic Tellusfingitur loqui. 
 
 DERIVATIONES. 
 
 47 ab dn-Oy ab, & <pa'a, dico. 48- & ^rpAwV.^>rjetcr- 
 mitto. 49, a znprtpagu, circumloquor. 50. abevunum, 
 ^', per, & ^y'^, duo. 51. ab I/JWT*'*, interrogo. 52. ab 
 ^tff*>, exciamo. 53. ab I-<^yg, acclamo. 54. ab 
 S7r*vof6w, corrigo. 55. ab -*V, poft, & c-;*;*-**;, obticeo. 
 56. ab *aKwia t communico. 57. ab HTrofa, addubito. 
 .58, a irfaMTw, perfona, & B-OJW, facio. 
 
ARS RHETORICA. 19 
 
 Sermonem a prsefenti avertit Apoftropheritz. 59 
 
 Schemata Grammatica ORTHOGRAPHIC. 
 
 Profthcsis apponit 
 Syncopate medio tollit ; fed Epenthesis addit. 62,63 
 Abftrahit Apocope fini ; fed dat Paragcge. 64, 65 
 Metathesis fedem commutat literularum : 66 
 
 Literulam Antithesis ipfam mutare paratur. 67 
 
 Syntaxeos in EXCESSU. 
 
 Vocibus exfuperatP/<ff nafmus^Emph^fm auget.68 
 Conjunftura frequens vocum Polyfyndeion efto. 69 
 Membrum interjefto fermone Parentbfsisz&get. 7O 
 Syllabicum adjeftum fit vocis fine Parolee. 71 
 
 E X A M P L A, 
 
 59. Et auro vi potitur. Quid non mortalia peftora togis, auri 
 facra fames ! 60. Gnatus./ro natus ; 61. Non temnere, />ra 
 non confemnere Divjqs. 62. Snrrexe, /ro Surrexifle. 63. 
 Mavors, ^ro Mars. 64. Ingeni, /ro ingenii. 65. Veftirier, 
 pro veftiri. 66. Thyrnbre, pro Thymber. 67. Olli, py o illi ; 
 vdgus, pro vulgus. 68. Audivi auribus ; vidi oculis. 69. 
 Fataque, fortunafquc virum, morefque, manufque. 70. Cre- 
 do equidcm (nee vana fides.) genus efieDeorum. 71. Num- 
 nam ? fro nurn : adefdum, /r0 ades. 
 
 DERIVATIONES. 
 
 59. ab rorpg^, averto. 60. a v\^\^^ appono. 61. 
 ab ttQaifa, aufero. 62. a <rw N y, con, 6c xM*;, fcindo. 
 63. ab ew<, in, & !vT#iyt<, infero. 64. ab ^*Vo, ab & 
 <5ri<, fcindo. 65 Ja w*^, praeter, & <V^ duco. 66- 
 a^erX trans, & W^*, pono. 67. ab aW, contra, & 
 WtfrjB, pono, 68. a ^-Asoy*'^, redundo. 69. a TA', 
 multum, & <n^A>, colligo. 70. A sr*pmi0^) interjicio, 
 7 1 . a rggA^, protrabo. 
 
20 ARS RHETORIC A. 
 
 In D E F E c T tr. 
 
 Dicitur E/teipsfs, fi ad fenfum diftio defit. 72 
 
 Unius verbi ad diverfa redu&io Zeugma. 73 
 Perfonam, genus, & numerum, conceptio triplex 
 
 Accipit indignum Syllepsis fub mage digno. 74 
 
 Dialyton tollit junfturam, & slfyndeton aeque, 75 
 
 In C O N T E X T U> 
 
 Eft vocum inter fe turbatus Hyperhaton ordo. 76 
 
 Cafu tranfpofito fubmutat Hypallage verba. 78 
 Htllenifmus erit phrafis aut conftruftio Graeca. 79 
 Voce interpofita per Tmesin verbula fcindas. 8O 
 JuDgit Hyphen voces ? neftitque ligamine in imam. 81 
 
 E X E M P L A. 
 
 72. Non eft {olvendoifuppte, aptus ; Dlcnnt, fupple, illi. 73 . 
 Nee folium, nee arundo agitatur vento, i. e. nee folium agi- 
 tatur, nee arundo agitatur vento, 74. Eeo tu, & frater, (i. e. 
 nos) legimus, &c. 7$. Rex, miles, plt-bs negat illud. 76. 
 Vina, bonus quae deinde cadis onerarat A cedes littore Trin- 
 acrio, dederatque abeuntibus, heros dividit. 77. Nutrit pe- 
 peritque. 78. Necdum illis labra admovi, pro necdum ilia 
 Hbris admovi. 79. Define clamorum. 80. Quae mihi cun- 
 que placent, pro qusecunque mihi placent. 81. Semper- 
 virentis Hymetti. 
 
 DERIVATIONES. 
 
 72. ab fAAwW, deficio. 73. a fyvywpt, jungo. 74, a 
 (rvAX^Crt'xAi, comprehendo. 75. a ^XV X A;, diflblvo : a 
 rwv, con, & %a, ligo. 76. ab \Ktfiaivoii tranfgredior. 
 77. ab wrificv, pofterius. 78. ab'v^ro, in, & 'aAAae'T?^, muto. 
 79. ab !AAIV^A>, Graece loquor. 80. a T^V, vel */--'- 
 feco, fcindo. 8 1 . ab 1^, fub, & ?y, unum. 
 
ARS RHETORIC A. 
 
 , tempus 82 
 
 Cumquemodo, genus & pariter: Sicfsepevidebis. 
 Antimeria folet vice partis ponere part em. 83 
 
 Digna prseire,folet poftponere Anaftrophe verba.84 
 *Tertia perfonse alterius quandoque reperta eft. 85 
 Synthesis eft fenfu tantiim, non congrua voce : 86 
 Et eafu fubftantiva f apponunter eodem. 87 
 
 Antiptosis amat pro cafu ponere cafunu 88 
 
 P R O S O D I JE-. 
 
 M necat Ecthlipsis ; fed vocalem Synal&pha. 89, 9O 
 Syftole dufta rapit ; correpta Dia/tole ducit. 91 , 92 
 Syllaba de binis confefta Synteresis efto. 93 
 
 Dividit in binas partita Diuresis imam. 94 
 
 EX EMPLA. 
 
 82. Nifaciat ? />ro feciflet, &c. 83. Sole recens (pro recenter) 
 orto. 84. Italiam contra, pro contra Italiam. 85, * Evo- 
 catlo. Populls fuperamur ab illo ; ego praeceptor doceo/ 
 86. Turba ruunt, pars maxima ccefi. 87. f Aptofitio, vel 
 Parathejis. Mons Taurus, Urbs Athense. 88. Urbem (pro 
 urbs) quam ftatuo, veftra eft. 89. Si vif infpicias, pro si 
 vitam infpicias. 90. Si vis anim' effe beatus, pro fi vis animo 
 effe beatns : viv' hodie, pio vive hodie. 91. Sieterunt, pro 
 Steterunt. 92. Naufragia, pro naufragia. 93, Alveo^^/7y/- 
 labitm> pro Alveo trijsyttabo. 94, Evolu'iiTet, pro evolviflet. 
 
 DERIVATIONES. 
 
 82. ab gy^AA^rl^, permuto. 83. ab **VT/, pro, & piper, 
 pars. 4. ab avarp'Kpa^ retro verto. 85, ab m?r0. 86 
 a <rwTtfapi, compono. 87- ab appono, vel parathefis, a 
 ^r^ar/^/) appono. 88 e ab t'vT/, pro, & 2rfe-*r, cafus. 
 89. ab ex0A<&w, elido. 90. ab (rwuhufpa, conglutino. 91. 
 a <rv$-AA^, contraho. 92. B-$***t*>w, produce. 93. a 
 rvmfu, connefto. 94 a }mt(i*, divide. 
 
( 23 ) 
 
 The Art of Rhetoric made eafy; 
 
 OR THE 
 
 ELEMENTS of ORATORY. 
 
 Q. \\HAT is RHETORIC ? 
 
 A. Rhetoric is the art of fpeaking or writing 
 well and elegantly. 
 
 Q. What is its principal end ? 
 
 A. Its principal end is, to inftruft, perfuade, 
 and pleafe. 
 
 Q. What is its chief office ? 
 
 A. Its chief office is to feek what may be moil 
 conducive to perfuafion. 
 
 Q. How many parts hath Rhetoric ? 
 
 A. The parts it confifts of are four ; Invention^ 
 Difposition, Elocution, and Pronunciation. 
 
 Q. What is Invention ? 
 
 A. Invention is the finding out proper argu- 
 ments to inftruft, perfuade, or move. 
 
 Q. On what are all arguments grounded, and 
 whence are they to be fought ? 
 
 A. All arguments are grounded on (and there- 
 fore are to be fought from) Reafon, Morality, or 
 the Affediins. 
 
 Q. What is the bufinefs of arguments from 
 ReJ/on ? 
 
 A. To inform the judgment, or to inflruft. 
 
THE ART OF RHETORIC, 23 
 
 O. How are arguments from Reafon to. be di- 
 vided ? 
 
 A. Into Artificial and Inartificial. 
 
 Q. What are artificial arguments from Reafon ? 
 
 A. Such as are found out by the learning and 
 Ikill of the orator. 
 
 Q. How do the differ ? 
 
 A. According to the Topic in hand. 
 
 Q. How many kinds of Topics are there ? 
 
 A. Three: demonjirative, deliberative > andy'*^ 
 rldlcal. 
 
 Q. What is a demon/I rati<ve Topic ? 
 
 A. That we ufe, when we fpeak in praife, or 
 difpraife of any perfon, deed, or thing. 
 
 Q. How do you ufe it in fpeaking of a Perfon ? 
 
 A. When from his education, eloquence, learnr 
 ing, wifdom, virtue, riches, dignity, authority, &c. 
 we praife a good man, fuch as Cicero ; or from the 
 contrary, difpraife a bad man, fuch as Catallne. 
 
 Q. How do you ufe it in fpeaking of a Deed ? 
 
 A. When from its juflice, honor, courage^ 
 time, place, manner, &c. we extol any faft, fuch 
 as the return of Regulus to his enemies ; or from 
 the contrary, condemn another, fuch as the felf- 
 murder of Cato at Utica. 
 
 Q. How do you ufe it in fpeaking of a Thing ? 
 
 A. When, from its importance, reafonablenefs, 
 ufefulnefs, &c. we praife any thing, as Virtue ; 
 ^r, from the contrary, difpraife another, as Vice. 
 
 Q, What may be chiefly remarked in this topic? 
 
 A. That its principal arguments are taken from 
 what we call honorable or difhomrabte. 
 
~4 THE ART OF RHETORIC. 
 
 O. What is a deliberative Topic ? 
 
 A. That we ufe, when from the advantage or 
 difadvantage of a thing, we either perfuade or 
 diffuade. 
 
 Q. How do you inftance it ? 
 
 A. As when, from the fafety, profit, and plea- 
 fure of it, we perfuade to peaee ^ or, from the 
 contrary, diffuade from war. 
 
 Q. What is a Juridical Topic ? 
 
 A. That we ufe, when we either aceufe or de- 
 fend. Thus M//.9, having killed Clodius, is accu- 
 fed by Cfodius*s friends, but defended by Cicero. 
 
 Q. How do its arguments differ ? 
 
 A. According to the flat ing of it. 
 
 Q. What is thejtating of a Cafe ? 
 
 A. The iffue it is brought to, from the accu- 
 fer's Complaint and the accufed's Defence. 
 
 Q. How do you inflanee it ? 
 
 A. Thus : Mi/o was accufed, for killing Clo- 
 dius ; Milo confefsed he killed him, but faid he 
 did it juftly. Now theftating the cafe here is, 
 Whether Milo killed Clodius juftly or unjuftly ? 
 
 Q. How many ways may a cafe be ftated ? 
 
 A. Four ways ; viz. Conje&ural, finitive, in 
 quality, in quantity. 
 
 Q. When is a Cafe Conjectural? 
 
 A. When it is enquired, whether the thing 
 was done or no; as, whether Milo killed Clodius. 
 
 Q. When is a cafe Jinitive ? 
 
 A. When we enquire into the name, nature, 
 and definition of the crime ; as, / own I took it, 
 but I did not commit theft : Wh,ere theft rauft be 
 defined, 
 
THE ART OF RHETORIC, 25 
 
 Q. What is a cafe in quality ? 
 
 A. When we enquire, in what manner a fact 
 was done ; as, Mi!o killed Clodms, but he did itjuft- 
 ly. Here we muft enquire into the Circumjlances, 
 and prove from Law, what in this Cafe may be 
 deemed Juji or Unjuft. 
 
 Q. What is a cafe in Quantity ? 
 
 A. T hat we ufe, when we enquire into the 
 greatnefs or fmallnefs of a crime : a:s, tho' it be 
 plain it is a crime, yet it is denied to be a great one* 
 
 Q. How do we here simplify or Dimiwjh ? 
 
 A. By confidering how the fact was circum- 
 ftanced in time, place, words and a&ions. enquiring 
 who, what, where, when, why, how, by whole 
 flfliftancCt &c. and comparing things with things we 
 determine, what may be deemed great or little. 
 
 Q. What are inartificial arguments from reafon ? 
 
 A. Such as arife from without, and not from the 
 thing itfelf; fuch as tefiimonies, evidence, &c.* 
 
 Q. What is the bufmefs of arguments from 
 Morality ? 
 
 A. To procure favour, or to perfuade. 
 
 Q. What is meant by arguments from morality ? 
 
 A. That the Orator or Speaker fhould well con- 
 fider Of what, before whom, and for whom he 
 fpeaks. 1 . In regard to his own morals ; that he 
 himfelf may appear honejl, trudent, impartial, be- 
 nevolent, &c. 2. In refpeft to the morals of the 
 
 * In all our arguments, great care mnft be taken, that 
 we bring in nothing, nor let any thing drop from us, which 
 may prejudice the topic we are upon ; for, as Licet* well ob- 
 fervts, " Turpius eit oratori, nocuitfe Videri caufee, quaua 
 non profuhle," C/V. de Orat. z. 73. 
 
s6 THE ART OF RHETORIC. 
 
 Judges, audience, or peribns he would perfuade : 
 that the thing perfuaded may alfo appear honor- 
 able, juft, and ferviceable, &e. 
 
 Q. What is the bufmefs of arguments from the 
 AfeBiom ? 
 
 A. To move the paffions, or to pleafe. 
 
 Q What is meant by arguments from the affec- 
 tions or paffiens ? 
 
 A. That he, who would gain his point in per- 
 fuafion, muft endeavour thoroughly to underfland 
 the frame of human nature, and thereby work up- 
 on the affeftions, which God has placed in human 
 minds as fecret iprings to all our aftions. For as 
 Tully obferves, plyra enim multo homines judicant 
 odio, aut amore, ^^/'cupiclitate, out iracundia, aut 
 fpe, aut timore, aut errore, aut aliqua perrnotione 
 mentis, quam veritate. >Cic. de Qrat 2. 42, 
 
 Q. How do you define the affections or pajfwns ? 
 
 A. They are certain emotions of tbefoul^accornpa- 
 ried either with pleafure or pain. The four chief 
 paffions are, joy, refulting from fome prefent good ; 
 hope, arifmg from fome future good ; grief \ occafi- 
 oned by fome prefent evil ; andjfear, caufed by fome 
 future eviL To the fe may be added, anger ^ lenity r 
 modefty, impudence^ love, hatred, malice, envy, 
 companion, emulation? &c. 
 
 Q. Whztisdifpn/itwn? 
 
 A. Difpofition is the proper ranging of the argu- 
 ments or parts.- of an oration. 
 
 Q. How many parts are there in an oration, 
 and ki what order ihould they {land ? 
 
THE ART OF RHETORIC. 27 
 
 A. The parts of an oration or declamation are 
 ufually reckoned fix, and generally ftand in this 
 order : exordium, narration^ propofition^ confir- 
 mation^ refutation^ and peroratian. 
 
 Q. What do you underiland by the exordium 
 of an oration ? 
 
 A. The exordium, or beginning of an oration, 
 is that part, in which we are to give our audience 
 fome intimation of our fubjeft, and from the nature 
 of it to prepare their minds to benevolence and at- 
 tention. In which part the fpeaker ought to be 
 clear, modeft, and concife. 
 Q. What is the narration ? 
 A. The narration is a brief recital of the whole 
 cafe from beginning to end : which ought to be 
 plain, that it maybeunderftood ; /^/y, that it may 
 be credited ; pleafing, that it may be liilened to ; 
 and//?0nf, that it may not tire. 
 
 Q. What do you underftand by the proportion ? 
 A. The propofition is an explanation of the pur- 
 port, or fum of the whole difcourfe, or thing in 
 difpute. If it divides the oration into parts, (which 
 ought never to exceed three or four at moft) it is 
 called partition. 
 
 Q. What is the confirmation in the oration ? 
 A. The confirmation is that part, which con- 
 tains the proofs or arguments \ve ufe to ftrengthen 
 and enforce our fubje#. In this part of a difcourfe 
 rhetoricians advife, that our ftrongeft arguments 
 be fet in the front, the iveake/i in the middle, and 
 that fome few of the bed be kept as a referve, 
 Vid. Cic. de Orat. 2, 27* 
 
B'8 THE ART OF RHETORIC. 
 
 O. What is the refutation ? 
 
 A. The refutation, or confutation, isananfwer 
 to all our adverfary's arguments ; and takes off all 
 his objections, by fliowing them to be abfurd 3 falfe, 
 or inconfiftent. 
 
 Q What is the peroration ? 
 
 A The peroration, or conclufion ; is a recapitu- 
 lation of the ftrongeft arguments, brought into one 
 view, as the rays of the fun are drawn into a focus ; 
 efpecially fueh as are mod likely to move the paf- 
 iions, and affeftthe heart, convince the judgment* 
 or enlighten the underftanding. 
 
EXAMPLES, 
 
 BY WAY OF 
 
 Illuftration of the foregoing RULES. 
 
 SATAN's Speech to bis Rebel Ho/i. 
 
 W OMYRIADS of immortal Spirits, O powers 
 Matchlefs, but with the Almighty, and that ftrife 
 Was not inglorious, though the event was dire, 
 As this place teflifies, and this dire change 
 Hateful to utter. (b) But whatpow'r of mind 
 Forefeeing or prefaging, from the depth 
 Of knowledge pad or prefent, could have fear'd. 
 How fuch united force of gods, how fuch 
 As flood like thefe, could ever know repulfe ? 
 For who can yet believe, though after lofs. 
 That all thefe puiflant legions, whofe exile 
 Hath emptied Heaven, (hall fail to reafcend 
 Self-rais'd, and repoflefs their native feat ? 
 For Me be witnefs all the hoft of Heaven, 
 If counfels different, or danger ftiun'd 
 By Me, have loft our hopes. But he who reigns 
 Monarch in Heaven, till then at once fecure 
 
 (a) Exordium. () Narration. 
 
 D 
 
30 THE ART OF RHETORIC. 
 
 Sat on his throne, upheld by old repute, 
 
 Confent or cuftom, and his regal ftate 
 
 Put forth at full, but ftill his ftrength conceal'd, 
 
 Which tempted our attempt, and wrought our fall. 
 
 Henceforth His might we know, and know our own 
 
 So, as not either to provoke, or dread 
 
 New war, provok'd (c') Ourbetterpartremains 
 
 To work in clofe defign, by fraud or guile. 
 
 What force effefted not : that he no lefs 
 
 At length from us may find, Who overcomes 
 
 By force, hath overcome but half his foe. 
 
 .(rf) Space may produce new worlds ; whereof fo 
 
 rife 
 
 There went a fame in Heav'n that He ere-long 
 Intended to create, and therein plant 
 A generation, whom his choice regard 
 Should favour equal to the fons of Heaven : 
 Thither, if but to pry, {hall be perhaps 
 Our firft eruption, thither or elfewhere : 
 (<?) For this infernal pit fhall never hold 
 Celeftial fp'rits in bondage, nor th' abyfs 
 Long under darknefs cover. fyjBut thefe thoughts 
 Full counfel muft .mature : peace is defpair'd, 
 For who can think fubmiflion ? War then, War 
 Open or underftood muft be refolv'd. 
 
 MILTON, Par ad. Lofl^ -Book 1. 622, 
 
 (r) Propofition. (e) Refutation. 
 
 \d) Confirmation. (f) Peroration. 
 
THE ART OF RHETORIC. 5' 
 
 ,$/. PAUL'S DEFENCE, before King AGRIPPA, 
 and FMSTVS the Roman Governor in Judasa. 
 
 Arts xxvi 
 
 (V)I THINK myfelf happy, king AGRIPPA, be- 
 caufe I (hall anfwer for myfelf this day before 
 Thee, touching all the things whereof I am 
 accufed of the Jews ; efpecially, becaufe I know 
 Thee to be expert, in all cuftoms and queftions 
 which are among the Jews : wherefore I befeech 
 thee to hear me patiently. (b] My manner of 
 life from my youth, which was at firft" among mine 
 own nation at Jerusalem, know all the J<?mr, which 
 knew me from the beginning ; if they would tef- 
 tify, that, after the moft drift feft of our religion, 
 I lived a Pharifee. And now I ftand and, am judg- 
 ed, for the Hope of the Promife, made of GOD 
 unto our fathers ; unto which promife our twelve 
 tribes, inftantly ferving GOD day and night, hope 
 to come : for which Hope's fake, king AGRIP- 
 PA^ I am accufed of the Jews. (V) Why fhoul4 
 it be thought a thing incredible with you, that 
 GOD fliould raife the dead ?(</) I verily 
 thought with myfelf, that I ought to do many 
 things contrary to the name of Jefus of Nazareth. 
 Which thing I alfo did in Jerufalem : And many 
 of the faints did I fhut up in prifon, having re- 
 ceived authority from the Chief Priefts j and, 
 when they were put to death, I gave my voice a- 
 
 (a) Exordium. (c) Proposition. 
 
 () Narration. (J) Confirmation. 
 
 D 2 
 
3* THE ART OF RHETORIC, 
 
 gainft them, and I puniflied them oft 5 in every 
 iynagogue, and compelled them toblafpheme; and 
 being exceedingly mad againft them, I perfecuted 
 them even unto ftrange cities. Whereupon, as 
 I went to Damafcus, with authority and commif- 
 fion from the Chief Prieft ; at mid-day, O king, 
 I faw in the way a light from Heaven, above the 
 brightnefs of the fun, filming round about Me, 
 and them which journied with rne. And, when 
 xve were all fallen to the earth, I heard a voice 
 fpeaking unto me,and faying in the Hebrew tongue, 
 Saul., Saiil^ why perfeeutejl thou Me ? It is hard 
 for thee to kick again/i the pricks. And I faid, 
 Who art thou, Lord ? And he faid, I am JESUS, 
 'whom thou perfecut eft. But rife^ and Jl and upon, 
 thy feet : For 1 have appeared unto thee, for this 
 gurpofe ; to make Thee a Minijier and a Witnefs, 
 Soth of thefe things 'which thou haji feen, and of 
 ibefe things in the which I will appear unto thee. 
 Deliver ing thee from the people and from the Gen- 
 iiles^ unto whom now I fend thee ; to open their eyes, 
 and to turn them from darknefs to light, and from 
 the power of Satan unto GOD ; that they may receive 
 fcrgivenefs of Jtns, and inheritance among them which 
 arc fanftified by faith that is in me. Whereupon, 
 O king AGRIPPA, I was not difobedient to the 
 heavenly vifion ; but fhowed, firft unto them of 
 Damafcus and at Jerufalem, and throughout all 
 the coafts of Judea, and then to the Gentiles ; that 
 they fliould repent and turn to GOD, and do 
 works meet for repentance. (^)--For thefe caufes 
 
 (c) Refutation. 
 
THE ART OF RHETORIC. 33 
 
 the Jews caught me in the Temple, and went a- 
 bout to kill me. Having therefore obtained help 
 of GOD, I continue unto this day, witnefsing both 
 to fmall and great ; faying none other things than 
 thofe, which the Prophets and Mofes did fay fliould 
 come : ' That CHRIST ihould fuffer ; and that 
 4 He ihould be the firft, that fliould rife from the 
 ' dead ; and fhould ftiow light unto the people, 
 4 and to the Gentiles. 9 (/) I am not mad, moji 
 noble FESTUS, but fpeak forth the words of truth 
 and fobernefs : for the King knoweth of thefe 
 things, before whom alfo I fpeak freely; for I 
 am perfuaded, that none of thefe things are hid- 
 den from him : for this thing was not done in a 
 corner. King AGRIPPA, believed thou the Pro- 
 phets ? I knew, that thou believed. I would to 
 GOD, that not only Thou, but alfo All that hear 
 me this day, were both almofl and altogether fuch 
 as I am,, except thefe bonds. 
 
 (/) Peroration. 
 
34 THE ART OF RHETORIC. 
 
 Q. J-JOW are the different arguments of the Con- 
 jfirmation and Refutation to be handled ? 
 
 A. As fo many diftinft Themes. 
 
 Q. What is a Theme ? 
 
 A. A fhort, elegant, and flowery Treatife on a 
 given fubjeft. 
 
 Q. How manyand what are thepartsof %Theme? 
 
 A. The parts of a Theme are Seven : Propofi- 
 iion, Reafon, Confirmation^ Simile, Example, Tefti- 
 mony, and Conclufion. 
 
 EXAMPLE. 
 
 A THEME in EngH/h. The THESIS and Subjlance taken 
 from i Efdraff, iv. 
 
 Great is the TRUTH, andjlrwger than all things. 
 
 ( a ) TRUTH endureth, and is always ftrong ; it liveth, 
 and conquereth for evermore : the Rank calieih upon it, 
 the Heaven blefleth it, and with it is no unrighteous thing. 
 All works {hake and tremble at it. 
 
 () With her there is no accepting of perfons or re- 
 xvards : She doeth the things which are juit, and all men 
 approve of her works. 
 
 ( c ) J n her judgment there is no unrighteoufnefs ; and 
 She is the Strength, Dominion, Power, and Majeity of all 
 Ages. 
 
 (af) Great is the Earth, His is the Heaven, fwift is the 
 Sun in his Courie : Is he not Great, who made theie things? 
 go is TKUTH Greater and Stronger than all things. 
 
 (t) David, calling -upon the Lord, his Rcck> his Fertrefs> 
 his Ddivcrtft aR ^ n ^ s Stre.9gth 9 ufes thefe words : ' I have 
 ' hated thole, who confide Jn lying vanities; but truft in 
 4 the Lord : O Lord GOD of TRUTH f 
 
 [a] Propolition. [A) Reafon. [c] Confirmation, [d] Simile. 
 [d] Example. 
 
THE ART OF RHETORIC. 35 
 
 Q. What is Elocution ? 
 
 A. Elocution is the proper, polite, and ornamen* 
 tal exprefsions of our thoughts. 
 
 Q. What are the Parts of Elocution ? 
 
 A* The Parts of Elocution are, Compofition^ Ele- 
 gance, and Dignity. 
 
 Q. What doth Compofitlan regard ? 
 
 A. Compofition regards grammatical P/ainnefsznd 
 Propriety, by imitating the Phrafe, Idiom, zudorder 
 of Words, made ufe of by the Authors who wrote 
 in the fame Style. 
 
 Q. What doth Elegance confift in ? 
 
 A. Elegance confifts in the Purity, Perfpicuity, 
 and Politenefs of Language ; and is chiefly gained 
 by ftudying the inoft correft Writers^ by converf- 
 ing with Gentlemen and Scholars, and by accurate 
 and frequent Compofition. 
 
 Q. What mean you by Dignity of Language ? 
 
 A. Dignity is that, which adorns Language with 
 
 fublime Thoughts and Rhetorical Flowers ; fuch as 
 
 noble Tropes, moving Figures, and beautiful Turns. 
 
 Q. What is the difference between Tropes and 
 Figures ? 
 
 EXAMPLE. 
 
 (/) Qur Saviour CHRIST himfelf, to Ihow the Great- 
 neis of Superiority, and Eternity of TRUTH, calls himfelf 
 the TKUTH ; I am the Way, the -Life, and (he TRUTH. 
 
 (^) Wine is wicked, Kings are wicked, Women are 
 wicked ; All the Children of Men are wicked, and fuch 
 are all their wicked work, for there is no Truth in them 5 
 in their TJnnghteoufnefs alfo they fhall perifh . Therefore, 
 Great h the TRUTH, and Mighty above ail Things. Blejjcd b* 
 nuTHi 
 
 (f) Tcftimony. f^] Condufion, 
 
~6 THE ART OF RHE TORIC. 
 
 A. Tropes affeft. only fmgle Words ;. Figures ,. 
 whole Sentences. 
 
 Q. What is a. Trope? 
 
 A. A Trope (fo called from rfw 9 to turn) is 
 the elegant Turning of a Wqrd, from its native and 
 -proper to a relative improved Senfe. 
 
 Q. How many, and what are the Chief Tropes ? 
 
 A. The Chief Tr ops are Seven-, a Metaphor, an 
 Allegory, a Metonymy, a Synecdoche, an Irony, an 
 Hyperbole, and a Catachrefis. 
 
 Q. What is a Metaphor ? 
 
 A. A Metaphor for Words Refemblance brings, 1 
 
 0. What is an Allegory ? 
 
 A. An Allegory likens Things to Things. 2 
 Q. What is a Metonymy ? 
 A. A Metonymy Name for .Maw impofes, 3 
 For C0z//, jE^fcf? ; for Subjefl, Adjuncl chufes, 
 
 EXAMPLE. 
 
 1. The Lord is my Rock, and my Fortre/s. and my Deliver' 
 er ; my God, my Strength, in whom I will put my Truft; 
 my Buckler , and the Horn of my Salvation, and my high Tow- 
 er, Pialm. xviii. 2. And he laid unto them, Go ye and tell 
 that Fox, i. e. Herod. Luke xiii. 32. RejemUance inftead 
 of proper words* 
 
 1. A Whore is a deep Ditch \ and a flrange V/oman is a 
 narrow P;/, Frov. xxii. 27. See Gen. xi. & xli. ARepre- 
 icntationmade by continued Mttaphors. 
 
 3. Thy right Hand, O Lord, is become glorious in Pow* 
 . : thy right Hand, O Lord, hath dafhecl in pieces the E- 
 nemy. Exod. xv. 6. Drink this Cup. i Cor. si. 26. The 
 Name of ibme Thing relative thereto, inHeadof the Thing 
 
 itfelf. 
 
 er 
 
THE ART OF KHETORIG. S 7 
 
 Q. What is a Synecdoche ? 
 A. Synecdoche the Whole with Part confounds 4 
 
 Q. What is an 7r0;y/ ? 
 A. An Irony diffemblmg flily wounds. 5 
 
 Q. What is an Hyperbole ? 
 A. Hyperbole in Speech the Truth outfties- 6 
 
 3^ There is a general Analogy and Relation between all 
 Tropes^ and in them all we ufe a foreign or llrange Word 
 inftead of a proper ; and therefore we lay one Thinr? 
 and mean Something different. When we fay one Thing, 
 and mean another almoft the fame ; it is a SynecJocht . 
 When we fay one thing, and mean another mutually de- 
 pending ; it is a Metonymy. When we fay one thing, and 
 mean another oppolite or contrary ; it is an Irony : 
 When we fay one thing and mean another jike it ; it is a 
 Metaphor : A Metaphor, continued and often repeated, 
 becomes- an Allegory :. A-MttafJior, carried to a gnat de- 
 gree of bold nefs, is an Hyperbole ; and, when at firft found 
 it fetms a little harfh and fhccking, and may be imagin- 
 ed to carry fame impropriety in it ; it is a Catacresis. 
 
 E X A M P L ES. 
 
 4. Give us this Day our daily BrtaJ. A Part for tke 
 Wkde. They have taken away my Lord, meaning only the 
 Body of Jefus. John xx. 13. See Gen. vi. 12. Match, viii. 
 8. The WMc ivmpart. 
 
 5. Sleep on now, and take your Reft ! Matth. xxvi. 46. 
 Hail, King of the Jews ! Matth. xxvii. 29. See Judg. x. 
 14. i K. xviii. 27. When fneeiing, we intend the con- 
 trary to what we fpeak. 
 
 6. Foryeihallgoout with joy, and be led forth with peace : 
 The Mountains and the Hills Jhatt break forth before ycu into 
 finging, and all the Trees of the Field /hall clap their Bands* 
 Ifai. Iv. 12. See Job, xli, 18, &c. Exceeding the bounds 
 of abfolute Truth, 
 
38 THE ART OF RHETORIC. 
 
 Q. What is a Caf acre/is ? 
 
 A. A Catacrejis Words abus'd applies. 7 
 
 O. How many, and what are the Faufts of Tropes? 
 
 A, The Faults of 'Tropes are Nine : 
 Of TROPES, Perplext, Harfli, Frequent, Swoln, 
 
 Fetch'd-far, 
 111 reprefenting, Forc'd, Low,. Lewd, bsivare. 
 
 Q. What is a Figure ? 
 
 A. A Figure (from fagO) to fafhion) is the Fa- 
 fliioning and Drefs of Speech ; or, an Emphatical 
 Manner of Speaking, different from the Way that 
 is ordinary and natural ; either expreiling a fajfion^ 
 or containing a Beauty. 
 
 Q. How manyy and what are the Principal 
 Figures in Speech r 
 
 A. The Principal and moil moving Figures in 
 Speech are Twenty. 
 
 Q. What is an Ecphonefts ? 
 
 A. An Ecphone/ls movingly -exclaims.- 1 
 
 Q; Vv T hat is an Aporia ..? 
 A. An Aporia Doubts and Queflions frames. 2 
 
 Q. What is an Epanorthofis ? 
 A, Epanorthofis, to enhance, correffs. 3 
 
 EXAMPLES. 
 
 7. And I turned to fee the Poke that fpeak with me. Rev. 
 \ 12. And thcu diclft drink the pure B/ood of the Grape. 
 Dfut. -xxxii. 14. See l j fal. cxxxvii. 5. Usi?^gan improper 
 term boldly, for a proper. 
 
 1. My God !. My God ! why hail thou forfakcn me. 
 Matth. xxvii. 46. Exclamation. 
 
 2. Whither fhall I go from thy Spirit ? or whither fhall 
 I flee from thy Pre fence ? Pfal. cxxxix. 7. Doubting. 
 
 3. I labour more abundantly, than they all : yet nrt I, but 
 the Grace of God which was with me. iCdr.xv. 10. Cor- 
 rection. 
 
THE ART OF RHETORIC. 39 
 
 Q. What is an Apofiopefis ? 
 A. Apofiopefis, paufing^ Thoughts rejefts. 4 
 
 O What is an Apophafis ? 
 A. Apephafts, t'enforce, flights or fays lefs. 
 
 Q. What is an Apoftrophe ? 
 A. Apq/irophe turns off to make Addrefs. 6 
 
 Q. What is an Anaftrophe ? 
 A. Anaftrophe Sufpenfe b' Inuerfion deals. 7 
 
 Q. What is an Erotcfts ? 
 
 A. An Erotefis ajks^ debates, appeals. 8 
 
 \ Q. What is a Prolepfts ? 
 A. Prolepjis, toprevgnt, Objections feigns. 9 
 
 Q. What is a Synchorefis ? 
 
 EXAMPLES. 
 
 4. Now is .my foul troubled ; and whatfhalll fay? Fa- 
 ther, fave me from this hour: But for thiscaufe came I unto 
 this hour. John xii. 27. See Luke xix. 42. Supprefsion. 
 
 5. I, Paul, have written it with rny own hand; I will re- 
 pay it : Albeit^ 1 do net Jay to thee, how thou oweit unto 
 me, even thine own felf beiides. Philem. 19. Omifsion, 
 or pafsing-over. 
 
 6. The wild beafts fhall tear them. O Ifrael, thou hall 
 deitroyed thyfelf. Hof. xiii. 8,9. See Gen. xlix. 17, n. 
 Pfal. xxviii. 8, 9. Tinning afide, to addrefs. 
 
 7. NGIV unto Him^ that is able to do exceedingly ab'in- 
 tlantly above all we afk or think, according to the power 
 that worketh in us: unto Him be Glory, &. t ph. iii. 20,^21. 
 Sufpensionj or Invcriion, which creates a pleaiing Suf- 
 penfe. 
 
 8. Doth God pervert Judgment, or doth the Almighty 
 pervert Juftice ? Job viii. 3. See Job xxx. 12, 16. 17, &c. 
 Interrogation. 
 
 9. But fome men will fay, How are the dead railed up? 
 and with what body do they come ? Thou fool! that which 
 thoufoweil is not quickened, except it die. I Cor. xv. 35* 
 36. Stc Matth. xv. 26, 27. Prevention. 
 
40 THE ART OF RHETORIC. 
 
 A. A Synchorefis grants, and Conquefl gains. 10 
 
 Q. What is a Matabafis ? 
 A. Matabafis from Thing to Thing proceeds. 1 1 
 
 Q. What is a Periphrafis ? 
 A. Periphrafis ufes more Words than needs. 1 2 
 
 Q. What is a Climax* 
 A. A Climax amplifies by ftrift Gradation. 13 
 
 Q. What is an Afyndeton? 
 A. Afyndeton drops #/w/ thro' Hafte or PaiTion, 1 4 
 
 Q What is an Oxymoron? 
 A. Au Oxymoron mingles Contraries. 15 
 
 - 
 EXAMPLES. 
 
 10. Butthou wilt fey then, * The Branches Wfre Broken 
 * off, that I might be grafted- in/ *' Well! Bccaufe of TJn- 
 beliefthey were broken off." Rom. xi. 12, 20- Concefsion- 
 
 11. Have all the Gitts of Healing ? Do ail fpeak with 
 Tongues ? Do all interpret ? But covet earneftk ike left gifts : 
 And yet Jb^w I unto you a more excellent way. i Cor. xii. 30, 
 31. See Heb. x. 39. and xi. i. Tranfition. 
 
 12. /^o M^ way of all the Earth, i. e. Die, i K. ii."2. Sec 
 Mark xiv. 25. The Dijciple whom Jefus loved t i. e. John. 
 John xxi. 7. 24. 
 
 13. Add to your faith, virtue; and to virtue, knowledge J 
 and to knowledge, temperance, ; and to temperance, pati- 
 ence ; and to patience, godiinefs ; and to godlinefs, bro- 
 therly kindnefs, &c. 2 Pet. i. 5, 6, 7. Gradation. 
 
 14. Charity furTereth long, and is kind ; Charity envieth 
 not ; Charity vauntfth not itfelf, is not puffed up, doth 
 not behave itfelf unfeemly, feeketh not her own, is not 
 eafily provoktd, thinketh no evil, i Cor. fciii. 4, 5. See 
 Rom. i. 29, 30., 3i.-^Omifsion of a Copulative. 
 
 1 5, But fhe, thatliveth in pleafure, is dead while {ht'K4#&. 
 I Tim. v. 6. See Pfal. cxxxix, n, 12.- -Seeming contra- 
 diction. 
 
 
THE ART OF RHETORIC. 4l 
 
 Q. What is an Enantiosis ? 
 
 A, Enantiofts Oppofitions tries. 16 
 
 Q. Whatlsa^r^fe> 
 
 A. Parabolc in Similies is rife. ! 17 
 
 Q. What is an Hypotypojts ? 
 A. Hypotypofis paints Things to the Life. 1 8 
 
 * EXAMPLES. 
 
 1 6. The Wife (hall inherit G/ery, but S^w* fhall be the 
 promotion of Fso/s. Prov. Jii. 35. See Piov. xxix, 2. Op- 
 pofition from Contrarieties. 
 
 17. Blefled is the Man, that walketh not in the counfel 
 of the ungodly, nor ftandeth in the way of Sinners, nor fit- 
 teth in the feat of the fcornful : But his delight is in the 
 Law of the LORD, and in his Law doth he meditate day 
 and night : And " he fhall be like a Tree, planted by the 
 " rivers of water, that bringeth forth its Fruit in his Sea- 
 <4 fon ; his Leaf {hall not wither ; and whatsoever he doth, 
 ct (hall profper." The Ungodly are not fo : But " are like 
 " the Chaff, which the wind driveth away.*' Pfalm. i. 1,2, 
 3, 4. Companion. 
 
 18. Haft thou given the Horfe Strength ? Haft thon cloth- 
 ed his Neck with Thunder ? Canft thou make him afraid 
 as a Grafliopper ? The glory of his Noftrils is terrible. He 
 paweth in the valley, and rejoiceth in his Strength ; he 
 goeth on to meet the armed men. lie mocketh at Fear, 
 and is not affrighted , neither turneth he back from the 
 SvvorcL The Quiver rattleth againil him, the glittering 
 Spear %nd the Shield. He fwalloweth the Ground witk 
 Fiercenefs and Rage : neither believeth he, that it is the 
 found of the Trumpet. He faith among the Trumpets, 
 Ha, Ha ! and he fmelleth the battle afar off, the Thunder 
 oi the Captains, and the fhouung. Job, xxxix. 19, 20, 
 21, 22, 23, 24, 25. Lively Defcription, 
 
4 * THE ART OF RHETORIC. 
 
 Q. What is a Profopopaia ? 
 
 A. Profopoptzia feigns a perfon fpeaks. 1 9 
 
 Q. What is an Epiphonema ? 
 
 A. Epifbonema annotations makes. 20 
 
 Q. How many, and what are the Faults of 
 Figures ? 
 
 A. That Touth may know the prudent and pro- 
 per Ufe of Figures, they'll do well to obferve, that 
 
 The Faults of Figures are Six : 
 
 Figures unnat'ral fenfelefs, too fine-fpun, 
 
 Oyer-adorn'd, affefted, copious, Jhun. 
 
 Q. What are Repetitions or Turns ? 
 
 A. Repetitions , or fine Turns, are fuch as grace- 
 fully repeat either the fame words, or the fame 
 found in different words. 
 
 Q. How many, and what are the principal Re- 
 petitions ? 
 
 A. The chief Repetitions are fourteen, and they 
 are diilinguifhed as follow, &c. 
 
 EXAMPLE S. 
 
 19. Doth not IFtfdom cry, and Underfianding fend forth 
 .her voice ? She ftandeth in the top of high-places, by the 
 way, in the places of the paths : She crieth at the gates, at 
 the entry of the city, at the coming in at the doors. Prov. 
 viii. i, 2, 3. See Prov. ix. i, 2, 3. Something inanimate, 
 reprefented as a living perfon. 
 
 20. Then faid the King to the Servants, bind him Hand 
 and Foot, and take him away, and caft him into outer Dark- 
 nefs ; There (hall be weeping and ^nailiing of Teeth. For 
 Many are called, but Few are chofen. Matth. xxii. 13, 14, 
 See Afts x\x. 19, 20. Acclamation, or Sentences contain, 
 ing lively remarks*; 
 
THE ART OF RHETORIC. 43 
 
 Q. What is Anaphora ? 
 
 A. Claufes Anaphora begins alike. 1 
 
 Q. What is Epjftrophe ? 
 
 A. Epiftrophes like endings fancy ftrike. 2 
 CX What is a Symploce ? 
 
 A. Symploct, (thefe both joinM, *7Zd& and begins} 3 
 Q. What is an Epizeuxis ? 
 A. An Epizeuxis, warm, a wordrejoyns. 4? 
 Q. What is Anadiplofis ? 
 A. Anadiplofis the laft word brings on. 5 
 
 Q. What is Epanalepfis ? 
 A. Epanalepjis ends as it 
 
 EXAMPLES. 
 
 1. The F'oice of the Lord is upon the waters ; The Voice 
 cf the Lord is powerful : the Foice of the Lord breaketh the 
 Cedars ot Lebanon, Pfal. xxix. 3, 4. The fame Beginning 
 to feveral Claufes. 
 
 2. When I was a Child, I fpeak as a Child, I underilood 
 as a Child, i Cor. xiii. ii The fame Ending to feveral 
 Claufes. 
 
 3. For whether ie liix, tue live itnto the LORD ; and whe- 
 ther wt die, we die unto the Lord ;. whether we live therefore- 
 ar Jie, we are tBe LOUB's. Rom. xiv. 8. Connexion or 
 Complication of Beginning and Ending. 
 
 4. O ;my Son, Abfalom ! My Son 4t/a!om ! Would God, 
 I had died for thee ! O Abfalom, my Son, my Son ! 2 Sam. 
 xviii, 33. See Ifai. li. 9, 10. A pafsionate Repetition. 
 
 5. For the Lord thy God bringeth thee into a good Land, 
 a Land of brooks of water. Deut. viii. 7. The laft word 
 of one claufe beginning the next. 
 
 6. Rejoice in the Lord alway : and again I fay, Rejoice*. 
 Phil, iv, 4 The firft word alfo the laft. 
 
44 THE ART OF RHETORIC. 
 
 Q. What is Epanodos ? 
 
 A. Epanodos in mid/i joins like extremes. 7 
 Q. What is PJoce? 
 
 A. P/^ to hint the thing, reflects on names. 8 
 Q. What is a Polyptoton ? 
 A. A Polyptoton different cafes joins. 9 
 
 Q. What is Anlanaclafis ? 
 A. Antanaclafts doubtful terms defigns. 10 
 Q. What is Paranomafia ? 
 A. In Paranomafia Sound accords. 1 1 
 
 Q. What is Paregmenon ? 
 
 A. Paregmenon from the fame root brings words. 12 
 Q. What is Homoioteleuton ? 
 A. Homoioteleuton rhymes all it can. 1 3 
 
 EXAMPLES. 
 
 7. For the good that / would, I do not ; but the evil which 
 1 would not, thatTVo. Rom. vii. 19. See Judges, v. 21. 
 Reafcenfion from the Middle to each End. 
 
 8. Is he not rightly named Jacob, i. e. <* Supplanter, for 
 he hath fuppl 'anted 'me thofe two times. Gen. xxvii. 36. Re- 
 flection, or hint on a word. 
 
 9. For of him, and though him, and to him are all things. 
 Rom. xi. 36. Variety of cafes, genders, or numbers of the 
 lame Noun ; or Tenfes, &c. of the fame Verb. 
 
 10. But JESUS faid unto him, follow me ; and let the 
 dead bury their dead. Matth. viii. 22. The iamc word in 
 different fenfes. 
 
 1 1 . As unknown, and yet we] I lnoian\ as dying, and behold, 
 we live ; as chaftened. and not killed. 2 Cor. vi. 9. A Re- 
 femblance in the found, but oppofition in the fenfe. 
 
 12. He giveth Wifdom unto the wife, and Knowledge to 
 them that >w0zu understanding. Dan, ii. 21. Deriving words 
 from the fame root. 
 
 13. The Mountains skipped like Rams, and little Hills like 
 Lambs. Pfal. cxiv. 4. A like ending, or rhyming in claufes. 
 
THE ART OF RHETORIC 45 
 
 Q. What is Synonymia ? 
 
 A. By Synonyms like thoughts improved run on. 14 
 Q. What is to be obferved in the ufe of Repe- 
 tions ? 
 
 A. In the Ufe of Repetitions or Turns obferve 
 that - 
 
 All Turns fhould give a Luftre to Difcourfe, 
 Muftfraife new thoughts^ grace with mufifs force. 
 
 Q. What is Pronunciation ? 
 
 A. A proper management of the voice, counte- 
 nance and bodily gejiure in oratory. 
 
 O. What is the Bufmefs of Pronunciation ? 
 
 A. To excite in the Minds of the Hearers Affec- 
 tions fui table to the Purpofe. 
 
 Q. How is that to be performed ? 
 
 A. By being ourfelves either really, or at lead 
 feemingly affefted with the Pafsions we delire to 
 excite in others. 
 
 O. What are the parts of Pronunciation ? 
 
 A. Voice and Aflion. 
 
 (y . What are to be obferved as to the Voice ? 
 
 A. Tone? accent , emphafis^ cadence^ zndfiaufe. 
 
 A. The proper pitch and flexion of the 'voice ac- 
 cording to the nature of the pafsion , thus, anger 
 being vehement ^ naturally affumes an elevated tone 
 of voice ; Fear on the contrary being dejefted, re- 
 quires a deprej/ed tone of voice ^ &c. 
 
 EXAMPLE. 
 
 14. The Fljhers alfo {hall mourn, and all they that caft Angles 
 into the Brooks fhall lament, and they that f (tread tfcts upon tine 
 Waters fhall languifli. Ifai. xix. 8. See Prov. iv. 14, 15, 
 Piuting together Words of like Signification. 
 E 3 
 
46 THE ART OF RHETORIC, 
 
 Q. What is Accent ? 
 
 A. Thejtrefs laid on a particular fyllable of a 
 word, and is governed by cuftom. 
 
 Q. What is Emphafis ? 
 
 A. The ftrefs laid on particular words of fen- 
 tences ; and is to /ententes what accent is to words, 
 and is governed by thefenfe. 
 
 O. What is Cadence ? 
 
 A. The lowering of the voice in proper place 
 and manner 9 to give notice of an approaching con- 
 clufion. 
 
 Q. What are Paw/fc ? 
 
 A. Re/Is or flops made in the courfe of fpeecb, 
 to di&nguifhy^tetfO'.r and the parts thereof. 
 
 Q. What Jz/n2//0;2 ihould thefauftfs be of? 
 
 A. They are proportioned in genera/ to the 00- 
 ture of thefubjefl, and, in particular parts of the 
 difcourfe, to \hQ\rfituations in the fentence. 
 
 Q. What does Adion in Oratory confift in ? 
 
 A. An exprefsive /wrw of the countenance, and 
 #/ geflure of the body.. 
 
 O. V7hat do you mean by turn of countenance ? 
 
 A. A certain look of the eyes, and arrangement 
 of the mufcles of the face, adapted to exprefs the 
 affe&ion. 
 
 Q. What do you mean bygejlure of the body? 
 
 A. A pertinent attitude, and management of 
 the whole, particularly of the hands. 
 . Q. How is the a&ion of an orator to be regu- 
 lated ? 
 
 A. By an exaft and eafy ijnitation of the work- 
 ings of nature. 
 
THE ART OF RHETORIC. 47 
 
 Q. Upon the whole, what mtfi be done to make 
 ourfelves acceptable orators ? 
 
 A. To make yourfelves acceptable orators, 
 
 Adorn with Tropes and Figures }our Oration, 
 By Price and Aftion grace Pronum iation. 
 
 In order to lay before our pupil the power, context. y , 
 and propriety ofthefpeech / Catiline, which we 
 have introduced, as an example of oratory ; and 
 that he may be fully informed of the artifice, 
 plaufibilrty, and high colouring that appear in it, 
 we have feleded the particulars of the tranf ac- 
 tions that occafioned thefpeech, as given by Dr* 
 Goldfmith, in his Roman hi/lory. 
 
 CATILINE was a patrician by 
 birth, who refolved to build his own power on 
 the downfal of his country. He w^as ilngularly 
 formed, both by art and nature, to conduft a 
 cbnfpiracy ; being poffeffed of courage equal to 
 the mod defperate attempts, and eloquence to 
 give a colour to his ambition ; ruined in his for- 
 tune, profligate in his manners, vigilant in pur- 
 fuing his aims ; and infatiable after, wealth, only 
 .to lavifli it on guilty pleafures : in fhort, as CV- 
 cero defcribes him, he was a compound of oppo- 
 Cte paffions ; intemperate to excefsj yet patient 
 of labour to a wonder ; fevere with the virtuous, 
 debauched with the gay ; fo that he had all the 
 vicious for his friends by inclination, and he at- 
 
48 THE ART OF RHETORIC. 
 
 tached even fome of the good, by the fpecious 
 ffiow of pretended virtue. However, his real 
 character was at length very well known at Rome: 
 He had been accufed of debauching a veflal vir- 
 gin ; he was fufpefted of murdering his fon, to 
 gratify a criminal paffion ; and it was notorious, 
 that in the profcription of Sylla^ he had killed 
 his own brother, to make his court to the tyrant. 
 
 Having contracted many debts by the loofenefs 
 of fuch an ill-fpent life, he was refolved to extri- 
 cate himfelf from them by any means, however 
 unlawful : his firft aim therefore was at the con- 
 fialfhip, in which he hoped to repair his fhattered 
 fortune by the plunder of the provinces ; but in 
 this he was fruflrated. This difgrace fo operated 
 upon a mind naturally warm, that he inftantly 
 entered into an affociation with Pifo^ and fome 
 others of defperate fortunes like himfelf; in 
 which it was refolved, to kill the confuls that had 
 been juft chofen, with feveral other fenators ; 
 and to ftiare the government among ihemfelves. 
 Thefe defigns however were difcovered, before 
 they were ripe for aftion ; and the fenate took 
 care to obviate their effefts. Some time after, he 
 again fued for the confulfl^ip, and was again dif- 
 appointed ; the great Cicero being preferred be- 
 fore him. Enraged at thefe repeated mortifica- 
 tions, he now breathed nothing but revenge : 
 his defign was (had he then obtained the conful- 
 fhip, and with it the command of the armies of 
 the empire) to have feized upon the liberties of 
 his country, and gqyem alone. At length, im. 
 
THE ART OF RHETORIC. 49 
 
 patience under, his difappointments would not per- 
 mit him to wait for the ripening of his fchemes ; 
 wherefore he formed the mad refolution of ufurp- 
 ing the empire, though yet without means ade- 
 quate to the execution. 
 
 Many of thofe who were in the former con- 
 fpiracy of Pifo, ilill remained attached to Catiline 9 5 
 interefl : thefe he * affembled, to about the 
 number of thirty ; informed them of his aims and 
 his hopes, fettled a plan of operation, and fixed 
 a day for the execution. It was refolved among 
 them, that a general infurreftion fhould be raifed 
 throughout Italy,, the different parts of which 
 were affigned to the different leaders. Rome 
 was to be fired in different places at once ; and 
 Catiline, at the head of an army raifed in Etruria, 
 was in the general confufion to poflefs himfelf of 
 the city, and maiTacre all the fenators. Lentulus^ 
 one of his profligate affiftants, who had been 
 praetor or judge in the city, was to preside in 
 their general councils : Cethegus, a man who 
 facrfficed the poffefsion of great preient power^ 
 to the hopes of gratifying his revenge againft 
 Cicero^ was to dire ft the maflacre through the 
 city; and Cafsius was to conduft thofe who fired 
 it. But the vigilance of Cicero being a chief 
 obftacle to their defigns, Catiline was very de- 
 firous to fee him taken off before he left Rome; 
 upon which, two knights of the company under. 
 
 * Irtthe fj-rft general meeting of the. confpirators, Catiline 
 made the following fpeech, which is a remarkable inftance 
 oi th-e power of oratory. 
 
50 THE ART OF RHETORIC. 
 
 took to kill him the next morning in an early vifit 
 on pretence of bufuiefs, while in bed. The 
 meeting, however, was no fooner over, than Ci- 
 cero had information of all that paffed in it ;, for, 
 by the intrigues of a woman named Fit/via, he 
 had gained over Curius^ her lover and one of the 
 confpirators, to fend him a punftual account of 
 all their deliberations. Having taken proper pre- 
 cautions to guard himfelf againft the defigns of 
 his morning vifkors, who were punctual to the 
 appointment; he next took care, to provide for 
 the defence of the city ; and affembling the fe- 
 nate, confulted what was beft to be done in this 
 time of danger. The firft ftep taken was, to 
 offer confiderable rewards for further difcoveries, 
 and then to prepare for the defence of the ftate. 
 The- principal eonfpiralora were feized, and ex- 
 ecuted ; and Catiline fell in the rebel army, fight- 
 ing with defperate fury. The particulars of this 
 confpiracy are elegantly defcrib^d by 
 from whence the following fpeech is taken* 
 
 EX EM PL A, 
 ORATIO CATILINJE. 
 
 [XI IN I Virtus Fifdefque veilra fatis fpeftata mihi 
 foret, nerjuicquam opportuna Res cecidifTet, Spes 
 magna Dominationis in Manibus fruflra fuiflet ; 
 neque per Ignaviam aut vana Ingenia incerta pro 
 certis captarem.:. fed quia mult is & magnis Tern- 
 
 [a] Exordiunii 
 
THE ART OF RHETORIC. 51 
 
 peftatibus vos cognovi fortes fidofque mihi, eo 
 Animus aufus eft maximum atque pulcherrirnum 
 Facinus incipere : fimul, quia vobis eadem quse 
 mihi bona malaque efle intellexi ; nam, Idem velle 
 atque idem nolle, ea demum firma Amicitia eft. 
 
 [jb~\ Sed Ego quse Mente agitavi, omnes jam 
 antea diverfi audiftis. Caster-urn mihi in dies 
 magis Animus accenditur, cum confidero, quse 
 Conditio Vitae futura fit, nifi Nofmet-ipfos vin- 
 dicamus in Libertatem: nam ? poftquam, Refpub- 
 lica in paucorum potentium Jus atque Ditionem 
 conceffit, femper illos Reges, Tetrarchse ve^li- 
 gales eife; Populi, Nationes, Stipendia pendere ; 
 cseteri omnes, ftrenui, boni, nobiles atque ignobi- 
 les ; Vulgus fuimus, fine, Gratia, fine Authori- 
 tate, his obnoxii, quibus ffi Refpublica valeret) 
 Formidini effemus : itaque omnis Gratia, Potentia, 
 Honos, Divitke, apud illos funt, aut ubi illi vo- 
 lunt; Nobis reliquerunt Pericula, Repulfas, Ju- 
 dicia, Egeftatefn : Quce quoufque tandem pati- 
 emini, fortiffimi Viri ! 
 
 [r] Nonne emori per Virtutem praeftat, quam 
 Vitam miferam atque inhoneftam, ubi aliens Su- 
 perbiae Ludibrio fueris, per Dedecus amittere ? 
 Verum enimvero (proh Deum atque Hominum 
 Fidem !) Viftoria in Manu nobis eft. 
 
 E^G Viget ^tas, Animus valet ; contra illis, 
 Annis atque Divitiis omnia confenuerunt : tan- 
 tumrnodo Incepto opus eft ; csetera Res ex- 
 pediet. 
 
 \ji] Etenim quis Mortalium, cui Virile Inge- 
 
 [^1 Narratio. [</] Confirmatio, 
 
 [c] Propofitio. [<] Rcfutatio. 
 
3* THE ART OF RHETORIC. 
 
 nium eft, tolerare poteft, Illis Divitias fuperare^ 
 quas profundant in extruendo Mari & Montibus 
 coasquandis ; Nobis Rem familiarem etiam ad 
 neceflaria deeife ? illos binas aut amplius Domos 
 continuare, nobis -Larem familiarem nufquam 
 ullum efle : cum Tabulas, Signa, Toreumata e- 
 munt, vetera negligunt, nova diruunt,. alia sedi- 
 ficant ; poflremo omnibus modis Pecuniam tra- 
 hunt, vexant ; tamen fumma Libidine Divitias 
 fuas vincere nequeunt ? Ac nobis eft Domi Inopia, 
 Foris JEs alienum ; mala Res, Spes multo af- 
 perior : denique, quid xeliqui habemus, prseter 
 miferam Animam. 
 
 fjT] Quin igitur expergifcimmi ? En ilia, ilia, 
 quam febe obtaffis, Libertas ! Praeterea, Divi- 
 tise, Decus, Gloria, in Oculis fita funt : Fortuna 
 a omnia Viftoribus Prasmia pofuit. Res, Tern- 
 pus, Pericula, Egeftas, Belli Spolia magnifica, 
 magis quam Oratio mea, vos hortentur. Vel 
 Impetratore, vel Milite, Me utemini; neque 
 Animus, neque Corpus, a' vobis aberit. Haec 
 ipfa (ut fpero) vobifcum una Conful agam ; nifi 
 forte Me Animus failit, aut Vos fervire magis, 
 quam imperare parati eftis. 'Sallujt. Bel. Catil* 
 " '^ 
 
 CATILINE^ ORATION. 
 
 Tranjlated by the Rev. Mr. BUCK. 
 
 \\ AD I not fufficient proofs *of your courage 
 and fidelity, in vain had this favourable oppor- 
 tunity offered itfelf, fruitlefs were our great hopes 
 
 [/J Peroratio. 
 
 ^>) f 
 
THE ART OF RHETORIC. 53 
 
 of getting the government into our hands ; nor 
 would I, by men of a daftardly or unfteady dif- 
 pofition, hazard a certainty for an uncertainty : 
 but, becaufe I have, in many and great diforders 
 of the ftate, found you brave and faithful to me ; 
 I have, from that affurance, ventured to under- 
 take one of the greatefl and nobleft enterprizes : 
 as alfo, becaufe, I am perfuaded, your intereft 
 muft be aiTefted, by what is advantageous or 
 injurious to me ; for a fimiiitude of defires and 
 averfions is the only fafting . foundation of friend- 
 fliip. 
 
 The fchemes I have fornred in my mind, ye 
 have all feparately hear'd already : but my de- 
 fire to accomplish them is daily more^ enflamed, 
 when I conficler, what is likely to be our condi- 
 tion of life, if we aflert not our own liberty : for, 
 lince the commonwealth has fallen to the m^- 
 nagemeiA and difpofal of fome few men in power, 
 kings and tetrarchs have been always fubjeft to 
 them, people and nations have paid them tribute ; 
 the reft . of us (the brave, the good, the noble, 
 and the ignoble) have all been as the vileil of the 
 vulgar, without weight, without authority ; ex~ 
 pofed to thofe, to whom we ftiould be a terrour, 
 were the commonwealth in its due flate : hence 
 have all favour, power, honour, riches, been en- 
 groffed by thcm^ or difpofed of at their pleafure ; 
 to us they have left dangers, difgraces, condem- 
 nation, v/ant : which wrongs (my brave fellows!) 
 how long will ye endure ? 
 
 F 
 
f 4 THE ART 'OF RHETORIC. 
 
 Is it not better, to die bravely, than fliameful- 
 ly lofe a wretched and difhonourable life, where- 
 in ye were but the fport of others' infolence ? 
 But, by the faith of Gods and men, we have 
 certain viftory in our hand. We are in full vi- 
 gour, and in high fpirits ; on the contrary, every 
 thing with them is impaired by years and luxury ; 
 we need but begin ; the attempt itfelf will .com- 
 pleat the reft. 
 
 And what mortal, that has the fpirit of a man, 
 can bear, that they Ihould have riches in abun- 
 dance, to lavifli in building in the fea, and in 
 levelling mountains ; and that we fliould want, 
 even a competency for the neceffaries of life ? 
 that they ihould have numbers of houfes together; 
 we, not fo much as a houfhold-god left us : while 
 they purchafe paintings, ftatues, emboffed fi- 
 gures,; defpife every thing that is old-Mhioned .; 
 pull down their new buildings, and raife others 
 more (lately ; in (hort, run into every excefs of 
 expence and extravagance, yet cannot with their 
 utmoil wantonnefs exhauft their riches ? but we 
 are weighed down, by want within doors, and 
 debt without ; our affairs diftrefled, our hopes 
 much more defperate. To conclude ; What 
 have we left us, more than a life of mifery ? 
 
 Why do ye not awake then ? Behold! behold 
 that Liberty ye have often wifhed for! Befides, 
 wealth, honour, glory, are full in your view : 
 Fortune* has fet them all before you, as rewards 
 of the victory. The oecafion, the opportunity, 
 your danger, your diftreffes, and the magnificent 
 
THE ART OF RHETORIC. 5 <- 
 
 fpoils of the war, fliould roufe you mere than 
 any thing I can fay. Employ me 9 either as your 
 general or fellow-foldier : my heart and hand 
 {hall both be with you. I hope to be able to 
 affifl you in the enterprize, with the confular 
 power, if my mind deceive me not, and ye be not 
 better prepared for flavery than empire. 
 
 BRUTUS's SOLILOQUY. 
 
 On CESAR'S attempting abfolute Power. 
 
 Jl 1 mufl be, by his death : and, for my part, 
 I know no perfonal caufe to fpurn at him, 
 But for the general. He would be crown'd ! 
 How THAT might change his nature, there's the 
 
 queftion. 
 
 It is the bright day, that brings forth the Adder, 
 And that craves .wary walking Crown him ? - 
 
 That : 
 
 And then, I grant, we put a fling in him. 
 Which at hi? will he may do danger with. 
 Th' abufe of greatnefs is, when it disjoyns 
 Remorfe from power; and, to fpeak truth of 
 
 Cafar, 
 
 I have not known, when his affe&ions fway'd, 
 More than his reafon. But 'tis a common proof? 
 That Lowlinefs is young Ambition's ladder, 
 Whereto the climber upward turns his face ; 
 But, when He once attains the upmoft round, 
 He then unto the ladder turns his back. 
 Looks into the clouds, fcorning the bafe degrees. 
 
56 THE ART OF RHETORIC. 
 
 By which he did .afcend : fo Cafar may : 
 Then, left hemay, prevent : and, fmcethe quarrel 
 Will bear no colour, for the thing he is, 
 / Fafliion it thus , that, fc what He is', augmented, 
 4 Would run-on to thefe and thefe extremities ;' 
 And therefore think him, as a ferpent's egg, 
 Which hatch'd would (as his kind) grow mif- 
 
 chievous ; 
 And kill him in the /hell. 
 
 Shakefpe.ar, Julius Cxfar^ Aft !! 
 
 OTHELLO's DEFENCE before the SENATE. 
 
 1V1.OST potent, grave, and reverend Signiors, 
 My very noble and approved good Matters ! 
 That I have ta'en away this old man's daughter, 
 It is moft true : true, I have married her : 
 The very head and front of my offending 
 
 Hath this extent ; no more. 
 
 Rude am I in my fpeech, 
 And little blefs'd with the fet phrafe of peace : 
 For fince thefe arms of mine had feven years pith 
 (Till now feme nine moons wafted) 
 They have us'd 
 
 Their deareft aftion in the tented field ; 
 And little of this great world can I fpeak, 
 More than partains to feats of broils and battle j 
 And therefore little (hall I grace my caufe, 
 In fpeaking for my-felf. Yet, by your patience, 
 I will a round unvarnifh'd tale deliver, 
 Of my whole courfe of love j what drugs, what 
 charms. 
 
THE ART OF RHETORIC, 57 
 
 What conjuration, and what mighty magic, 
 (For fuch proceedings I am charg'd withal,) > 
 I won his daughter with. 
 
 Her father lov'd me, oft invited me ; 
 Still qiueftion'd me the ftory of my life. 
 From year to year ; the battles, fieges, fortunes, 
 
 That I, have pad. 
 
 I ran it through ; gv'n from my boyiih days, 
 To th' very moment' that he bad me tell it.:, 
 Wherein I fpeak of moft difaftrous chances ; 
 Of moving accidents by flood and- field, 
 Of hair-breadth fcapes in th' imminent deadly 
 
 breach ; 
 
 Of being taken by the infolent foe. 
 And fold to ffevery ; of my redemption thence j 
 And with it, all my travel's hiflory. 
 All which to hear 
 Would Defdemona ferioufly incline : 
 But flill the houfe affairs would draw her hence ; 
 Which ever as flie could with .hafte diipatch, 
 She'd come again, and with a. greedy ear 
 Devour-up my difcourfe :, which I obferving, 
 Took once a pliant hour, and found good means, 
 To draw from her a prayer of earneft heart, 
 4 That I would all my pilgrimage dilate ; 
 4 Whereof by parcels flie had fomething heard, 
 4 But not diftin&ively/ I did confent ; 
 And often did beguile her of her tears. 
 When I did fpeak of fome diftrefsful ftroke 
 That my, youth fuffer'd. My ftory being 
 She gave me for my pains a world of fighs L 
 
 F 3 
 
58 THE ART OF RHETORIC. 
 
 She fwore, In faith 'twas Jlrange^ 'twas pafflng 
 Jlrange ; 
 
 'Twas pitiful i 'twas wonder ous pitiful. 
 
 She wifh'd, {he had not heard it ; yet {he wifh'd, 
 
 That Heav'n had made Her fuch a man. flie 
 
 thank'd me ; 
 
 And told me, if I had a friend that lov'd her, 
 I need but teach Him how to tell My ftory, 
 And That would wooe her. On this hint I ipake 
 She lov'd Me, for the dangers I had part ; 
 
 And I lov'd Her, that fhe did pity them. 
 
 This only is the witchcraft I have us'd : 
 Here comes the lady, let her witnefs it. 
 
 Shakefpear, Othello., Aft I. Sc. 3. 
 
 BELIAL's SPEECH to the Rebel Ho/}. 
 
 A Should be much for open war, O Peers, 
 As not behind in hate ; if what was urg'd, 
 Main reafon to perfuade immediate war, 
 Did not diffuade me moil, and feera to cafl 
 Omnious conje&ure on the whole fuccefs : 
 When He who moft excels in faft of arms, 
 In what he counfels and in what excels, 
 Miftruftful, grounds his courage on difpair 
 And utter diffolution, as the fcope 
 Of all his aim, after fome dire revenge. 
 
 Firfl, what revenge? The tow'rs of Heav'n are 
 With armed watch, that render all accefs (filPd 
 Impregnable ; oft' on the bord'ring deep 
 Incamp their legions, or with obfcurewing 
 
THE ART OF RHETORIC 
 
 Scout far and wide into the realm of: nigh'% 
 Scorning furprife. Or could we break our w^y 
 By force, and at our heels all hell ihould rife 
 With blackeft infurre&ion, to confound 
 HeavVs pureft light, yet our great enemy 
 All incorruptible would on his throne 
 Sit unpolluted, and the ethereal mould 
 Incapable of flain would foon expel 
 Her mifchief, and purge off the bafer fire 
 Victorious. Thus repuls'd, our final hope 
 In flat defpair : we muft exafperate 
 Th f Almighty Viftor to fpend all his rage, 
 And that muft end us. That muft be our cure. 
 
 To be no more! Sad cure ! for who would lofe, 
 Though full of pain, this intellectual Being, 
 Thofe thoughts which wander through eternity, 
 To perifli rather, fwallow'd up and Igfl 
 In the wide womb of uncreated night, 
 Devoid of fenfe and motion? And who knows, 
 Let this be good, whether our angry foe 
 Can give it, or will ever ? How he can 
 Is doubtful ; that He never will is fure. 
 Will He, fo wife, let loofe at once his ire, 
 Belike through impotence, or unaware, 
 To give his enemies their wifh, and end 
 Them in his anger, whom his anger faves 
 To punifh endlefs ? 'Wherefore ceafe we then ? 
 Say they who counfel w r ar, 'we are decreed, 
 Referv'd and deftin'd to eternal woe ; 
 Whatever doing, what can we fuffer more, 
 What can we fuffer worfe ? Is this then worft, 
 Thus fitting, thus confulting, thus in arms ? 
 
6o THE &RT OF RHETORIC., 
 
 What when we fled amain, purfu'd and (truck 
 With heav'n's affii&ing thunder, and beiought: 
 The deep to ftielter us ? this hell then ieem'd 
 A refuge from thofe wounds: or when we lay 
 Chained on the burning lake? thatfure was worfe. 
 What if the breath that kindled thofe grim fires 
 Awak'd ftiould blow them into fevenfold rage 
 And plunge us in the flames ? or from above 
 Shou'd intermitted vengeance arm again 
 His red right-hand to plague us ? what if all-. 
 Her (lores were open'd, and this firmament 
 Of hell Ihould fpout her ca-tarafts of fire. 
 Impendent horrors, thieatning hideous fall 
 One day upon our heads ; while we perhaps 
 Defigning or exhorting glorious war 
 Caught in a fiery tempeft (hall be hurPd 
 Each on his rock transfixt, the fport and prey 
 Of racking whirlwinds, or for ever funk 
 Under yon boiling ocean, wrapt in chains ;, 
 There to converfe with everlafting groans, 
 Unrefpited, unpitied, unrepriev'd, 
 Ages of hopelefs end ; this would be worfe*. 
 War therefore, open or conceaPd, alike 
 My voice diffuade ; for what can force or guile 
 With him, or who deceive his mind, \vhofe eye 
 Views all things at one view? he from heav'n's 
 
 height 
 
 All thefe our motions vain, fees and derides ^ 
 Not more Almighty to refifl our might 
 Than wife to fruftrate all our plots and wiles. 
 Shall we then live thus vile, the race of heav'n 
 Thus trampPd, thus expelPd to fuffer here 
 
THE ART OF RHETORIC. 61 
 
 Chains and thefe torments? better thefe than worfe 
 
 By my advice ; fince fate inevitable 
 
 Subdues us, and omnipotent decree, 
 
 The vigor's will. To fuffer, as to do, 
 
 Our ftrength is equal, nor the lav? unjuft 
 
 That fo ordains : this was at firft refolv'd, 
 
 If we were wife, again ft fo great a foe 
 
 Contending, and fo doubtful what might fall. 
 
 I laugh, when thofe who at the fpearare bold 
 
 And vent'rous, if that fail them, flirink and fear 
 
 What yet they know inuft follow, to endure 
 
 Exile, or ignominy, or bonds, or pain, 
 
 The fentence of their conqueror : this is now 
 
 Our doom ; which if we can fuflain and bear, 
 
 Our fupreme foe in time may much remit 
 
 His anger, and perhaps thus far removed 
 
 Not mind us not offending, fatisfied 
 
 With what is punifn'd ; whence thefe raging fires 
 
 Will flack'n, if his breath flir not their flames. 
 
 Our purer effence then will overcome 
 
 Their noxious vapour, or enur'd not feel, 
 
 Or changed at length, and to the place conformed 
 
 In temperand in nature, will receive 
 
 Familiar the fierce heat, and void of pain ; 
 
 This horror will grow mild, this darknefs light, 
 
 Befides what hope the never-ending flight, 
 
 Of future days may bring, what chance, what 
 
 change 
 
 Worth waiting, fmce our prefent lot appears 
 For happy though but ill, for ill not worft, 
 If we procure not to ourfelves more woe. 
 
fo THE ART OF RHETORIC. 
 
 . 
 SATAN tempting EVE. 
 
 See Milton's Farad. Loft, B. ix. 532* 
 
 VV ON-BER not, fov'ran miftrefs, if perhaps 
 Thou canft, who art fole wonder, much lefs arm 
 Thy looks, the heav'n of mildnefs, withdifdain, 
 Dilpleas'd that I approach thee thus, and gaze 
 Infatiate, I thus fingle, nor have fear'd 
 Thy awful brow, more awful thus retir'd. 
 Faireft refemblance of thy Maker fair, 
 Thee all things living gaze on, all things thine 
 By gift, and thy celeftial beauty adore 
 With ravifhment beheld, there beft beheld 
 Where univerfally admir'd ;- but here 
 In this enclofure wild, thefe beads among,. 
 Beholders rude, and (hallow to difcern 
 Half what in thee is fair, one man except, 
 Who fees thee? (and what is one?) who ihouldfb 
 
 be feea 
 
 A goddefs among gods, ador'd and ferv'd 
 By angels numberlefs, thy daily train. 
 Ernprefs of this fair world, refplendent Eve, 
 Eafy to me it is to tell thee all 
 What thou command'^, and right thou ihouldft 
 
 be obeyed : ^ 
 
 I was at firft as other beafts that gaze 
 The trodden herb, of abjeft thoughts and low, 
 As was my food, nor aught but food difcern'd 
 Or fex, and apprehending nothing high.: 
 Till on a day roving the field I chanc'd 
 
THE ART OF RHETORIC. 63 
 
 A goodly tree far diflant to behold 
 
 Loaden with fruit of faireft colours mixt, 
 
 Ruddy and gold: I nearer drew to gaze ; 
 
 When from the boughs a favory odour blown. 
 
 Grateful to appetite more pleas'd my fenfe 
 
 Than fmell of iweetefl fennel, or the teats 
 
 Of ewe, or goat dropping with milk at even, 
 
 Unfuck't of lamb or kid, that tend their play. 
 
 To fatisfy the fliarp delire I had 
 
 Of tafting thofe fair apples, I refolv'd 
 
 Not to defer.; hunger and thurft at once,, 
 
 Powerful perfuaders, quick'n'd at the fcent 
 
 Of that alluring fruit, urg'd me-fo keen, 
 
 About the mofly trunk I wound me foon, 
 
 For high from ground the branches would require 
 
 Thy utmoft reach or Adam's: round the tree 
 
 All other beafts that faw, with like defire 
 
 Longing and envying ftood, but could not reach* 
 
 Amid the tree now got, where plenty hung 
 
 Tempting fo nigh, to pluck and eat my fill 
 
 I fpar'd not, for fuch pleafure till that hour, 
 
 At feed or fountain never had I found. 
 
 Seated at length, ere long I might perceive l 
 
 Strange alteration in me, to degree 
 
 Of reafon to my inward powers and fpeech, 
 
 Wanted not long, though to thisihape retain'd. 
 
 Thenceforth to fpeculations high or deep 
 
 I turn'd my thoughts, and with capacious mind 
 
 Confider'd all things viiible in heav'n, * 
 
 Or earth, or middle, all things fair and good ; 
 
 But all that fair and good in thy divine 
 
 Semblance, and in thy beauty's heav'nly ray 
 
*4 THE ART OF RHETORIC. 
 
 United I beheld ; no fair to thine 
 Equivalent or fecond, which compelled 
 Me thus, though importune perhaps, to come 
 And gaze, and worfhip thee of right declar'd 
 Sov'ran of creatures, univerfal dame. 
 O SACRED, wife, and wifdom-giving plant, 
 Mother of fcience, now I feel thy power 
 Within me clear, not only to difcern 
 Things in their caufes, but to trace the ways 
 Of higheft agents, deem'd however wife. 
 Queen of this univerfe, do not believe 
 Thofe rigid threats of death ; ye fliall not die : 
 How fliould ye? by the fruit? it gives you life 
 To knowledge? by the threatner look on me, 
 Me who have touch'd and tailed, yet both live, 
 And life more perfeft have attained than fate 
 Meant me, by venturing higher than my lot. 
 Shall that be fhut to man, which to the bead 
 Is open ? or will God incenfe his ire 
 For fuch a petty trefpafs, and not praife 
 Rather your dauntlefs virtue, whom the pain 
 Of death denounc'd, whatever thing death be, 
 Deter'd not from atchieving what might lead 
 To happier life, knowledge of good and evil ; 
 Of good howjuft? of evil, if what is evil 
 Be real, why not known, fmce eafier Ihunn'd ; 
 God therefore cannot hurt ye, and be jufl ; 
 Not juft, not God ; nor fear'd then, nor obey'd : 
 Your fear of death then removes the fear. 
 Why then was this forbid ? why but to awe, 
 Why but to keep you low and ignorant. 
 His worfliippers ; he knows that in the day 
 
THE ART OF RHETORIC. 65 
 
 Ye eat thereof, your eyes that feem fo clear, 
 Yet are but dim, (hall perfectly be then 
 Open'd and clear'd, and ye (hall be as gods. 
 Knowing both good and evil as they know. 
 That ye fliould be as gods, fmce I as man, 
 Internal man, is but proportion meet, 
 I of brute human, ye of human Gods. 
 So ye ihall die perhaps, by putting off 
 Human, to put on gods, death to be wifh'd, 
 Though threatened, which no worfe than this can 
 
 bring. 
 
 And what are gods that man may not become 
 As they, participating god-like food ? 
 The gods ars firft, and that advantage ufe 
 On our belief, that all from them proceeds ; 
 I queftion it, for this fair earth I fee, 
 Warm* d by the fun, producing every kind, 
 Them nothing : If they all things, who enclosed 
 Knowledge of good and evil in this tree, 
 That whofo eats hereof, forthwith attains 
 Wifdom without their leave: And wherein lies 
 Th* offence, that man fliould thus attain to know? 
 What can your knowledge hurt him, or this tree 
 Impart againft his will if all be his ? 
 Or is it envy, and can envy dwell 
 In heav'nly breads ? thefe, and many more 
 Caufes import your need of this fair fruit. 
 Goddefs humane, reach then, and freely tafte. 
 
 G 
 
THE ART OF RHETORIC. 
 C A SSI US tempting BRUTUS. 
 
 JjRUTUS, I do obferve you now of late 
 
 I have not from your eyes that gentlenefs 
 
 And fliow of love, as I was wont to have ; 
 
 You bear too ftubborn and too ftrange a hand 
 
 Over your friend, that loves you. 
 
 It is very much lamented, Brutus, 
 
 That you have no fuch mirrors, as will turn 
 
 Your hidden worthinefs into your Eye, f 
 
 That you might fee your fhadow. I have heard, 
 
 Where many of the Heft refpeft in Rome 
 
 (Except immortal 'Cafar) fpeaking of Britius^ 
 
 And groaning underneath this age's yoke 
 
 Have wifti'd, that noble Brutus had his eyes. 
 
 Then fmce you know, you cannot fee your-felf 
 
 So well as by refle&ion ; I, your glafs, 
 
 "Will modeftly difcover to your-felf 
 
 That of yourfelf, which yet yo;u know not of; 
 
 And be not jealous of me, gentle Brutus j 
 
 Were I a common laughter, or did ufe 
 
 To fteal with ordinary oaths my love 
 
 To every new prote&or ; if you know, 
 
 That I do fawn on men, and hug them hard, 
 
 And after fcandal them ; or if you know, 
 
 That I profefs myfelf in banqueting 
 
 To all the rout, then hold me dangerous. 
 
 Honour is the fubjeft of my ftory. 
 
 I cannot tell what you and other. men 
 
 Think of this life ; but for my fmgle fel 
 
 I had as lief not be, as live to be 
 
 In awe of (uch a thing as I my-ielfc 
 
THE ART OF RHETORIC. 67 
 
 I was born free as Cafar ; fo were you : 
 We both have fed as well, and we can both 
 Endure the winter's cold, as well as he : 
 For once, upon a raw and gufty day 
 The troubled Tyber chafing with his fhores, 
 Ctefar fays to me ; c Dar'ft thou, Cafsius, now, 
 
 * Leap in with me into this angry flood, 
 
 * And fwim to yonder point ?' upon the word, 
 Accoutred as I was, I plunged in, 
 
 And bad him follow \ fo indeed he did : 
 
 The torrent roar'd, and we did buffet it 
 
 With lufty fmews, throwing it afide, 
 
 And flemtning it with hearts of controverfy : 
 
 But, ere we could arrive the point proposed, 
 
 Cafar cry'd, < help me,. Cafsius, or. I fink 1' 
 
 I, as JEneas our great anceftor, 
 
 Did, from the flames of Troy, upon his flioulder 
 
 The old Anchlfes bear, fo, from the waves of Tyber, 
 
 Did I the tired Cafar .-And this man 
 
 Is now become a God ;, and Cafsius is 
 
 A wretched creature, and muft bend his body, 
 
 If Cafar carelefly but nod on him. 
 
 He had a fever, when he was in Spain ; 
 
 And when the fit was on him, I did mark, 
 
 How he did fhake ; 'Tis true, this god did {hake: 
 
 His coward lips did from their colour fly ; 
 
 And that fame eye, whofe bend doth awe the world. 
 
 Did lofe its luftre : I did hear him groan: 
 
 Ay ; and that tongue of his, that bad the Romans 
 
 Mark him, and write his fpeeches in their books j 
 
 Alas ! it cry'd, 4 give me fome drink, Titinius F 
 
 As a fick girl. Ye gods, it doth amaze me, 
 
63 THE ART OF RHETORIC. 
 
 A man of fuch a feeble temper, fhould 
 So get the ftart of the majeftic world, 
 And bear the palm alone. 
 Why, man, he doth beftride the narrow world, 
 Like a Coloffus ; and we, petty men, 
 Walk under his huge legs, and peep about 
 To find our-felves difhcnourable graves. 
 Men at fometimes are mafters of their fates : 
 The fault, dear Brutus, is not in our ftars, 
 But in our-felves, that we are underlings. 
 Brutus and Cafar! What Qiould be in that Cafar? 
 Why ftiould that namebefounded more than your's? 
 Write them together ; your's is as fair a name ; 
 Sound them, it doth become the mouth as well ; 
 Weigh them, it is as heavy ; conjure with 'em, 
 Brutus will ftart a fpirit as foon as Cafar. '. 
 
 Now, in the names of all the Gods at once, 
 Upon what meat doth this our Ctefar feed, 
 That he is grown fo great ? Age, thou art fliam'd ! 
 Rome, thou haft loft the breed of noble bloods ! 
 When went there by an age, fmce the great flood, 
 But it was fam'd with more than with one man ? 
 When could they fay, 'till now, that talk'd of Rome y 
 ' That her wide walls encompaft but one man ?' 
 Now is it Rome indeed, and room enough, 
 
 When there is in it but one only man, 
 
 O! you and I have heard our fathers fay, 
 4 There was a Brutus once, who would have brooked 
 c The eternal devil to keep his ftate in Rome, 
 4 As eafily as a King/ 
 
 CATO'S 
 
THE ART OF RHETORIC. 69 
 
 CATO's SOLILOQUY. 
 Mr. 
 
 CATO alone, fitting in a thoughtful pojlure: in his 
 band Plato's book on the immortality of the foul : 
 a drawn Jkvord on the table. 
 
 i 
 
 [T muft be fo. Plato, thou reafon'ft well ! 
 Elfe, whence this pfeafing hope, this fond defire, 
 This longing after Immortality ; 
 Or whence this fecret dread, and inward horrour 
 of falling into naught ? Why fhrinks the foul 
 Back on herfelf, and ftartles at definition ? 
 *Tis the divinity that ftirs within us ; 
 'Tis Heaven itself, that points out an Hereafter^ 
 And intimates Eternity to man.. 
 Eternity! thou pleafing, dreadful thought ! 
 Through what variety of untry'd being, 
 Through what new fcenes and changes muft we 
 
 pafs! 
 
 The wide, th' unbounded profpeft lies before mej: 
 But ihadows, clouds, and darknefs refl upon it. 
 Here will I hold : If there's a power above us^ 
 (And, that there is, all Nature cries aloud 
 Through all her works) HE muft delight in virtue; 
 And that, which he delights in, muft be happy. 
 But when! or where! this world was made for 
 
 I'm weary of conje&ures. This muft end them. 
 
 Thus am I doubly arm'd ; my death and /tfe, 
 My bane and antidote, are both before me : 
 G 3 
 
70 THE ART OF RHETORIC. 
 
 This* in a moment brings me to a end ; 
 But this^ informs me, I (hall never die; 
 Thefouli fecur'd in her exiftence, fmiles 
 At the drawn dagger, and defies its point. 
 They?** iliall fade away, thefun himfelf 
 Grow dim with age, and nature fmk in years ; 
 But thou (halt flourilh in immortal youth, 
 Unhurt amidft the war of elements, 
 The wreck of matter, and the crufh of worlds. 
 
 # The Sword. -f The Book. 
 
 PHOCIAS's SOLILOQUY. 
 
 ARE WELL, and think of death! Was it not fo? 
 Do murderers then preach mortality ? 
 But, how to think of, what the living know not, 
 
 And the dead cannot or elfe may not tell ? 
 
 What art thou, O thou great mifterious terrour ! 
 The way to thee we know ; difeafes, famine, 
 Sword, fire, and all thy ever-open gates, 
 Which day and night Hand ready to receive us. 
 But, what's beyond them? Who will draw that 
 
 veil ? 
 
 Yet death's not there: No, 'tis a point of time, 
 The verge 'twixt mortal and immortal being : 
 It mocks our thought ! -On this fide, all is life ; 
 And when we've reach'd it, in that very inftant 
 'TU pad the thinking of! O! if it be 
 The pangs, the throes, the agonizing ftruggle, 
 "When foul and body part ; fure I have felt it, 
 And there's no mare to fear. 
 
THE ART OF RHETORIC. 71 
 
 HAMLET's SOLILOQUY. 
 
 ' 
 
 O BE OR NOT TO-BE That is the quefticn. 
 Whether 'tis nobler in the mind, to fi;iler 
 The flings and arrows of outrageous fortune ; 
 Or to take arms againft a fea of troubles. 
 And by oppofing end them ! To die ? to deep 
 No more : and, by a Deep, to fay we end 
 The heart ach and the thoufand natural fhccks 
 That flefli is heir to ; 'tis a confummation 
 Devoutly to be \vifh'd. To die ? to fleep 
 To fleep? perchance to dream. A y, there's the 
 
 rub 
 
 For in that fleep of death what dreams may ccHie, 
 When we have fliuflled off this mortal coil, 
 
 Muft give us paufe. There's the refpeft, 
 
 That makes calamity of fo long life. 
 For v.ho would bear the whips and fcorns of time,. 
 Th' oppreffor's wrongs, the proud man's contu- 
 mely, 
 
 The pangs of defpis'd love, the law's delay, 
 T h' infolence of office, and the fpurns 
 That patient merit of th' unworthy takes 5 
 When he himfelf might his quietus make, 
 With a bare bodkin ? Who would fardles bear, 
 To groan and fweat under a weary life ? 
 But that the dread of fomething after death, 
 (That undifcover'd country, from whofe bourne 
 No traveller returns) puzzles the will ; 
 And makes us, rather bear thcfe ills we 
 
7* THE ART OF RHETORIC. 
 
 Than fly to others that we know riot of. 
 Thus Conference does make cowards, of us all 
 And thus the native hue of refolution 
 Is ficklied o'er with the pale caft of thought ; 
 And enterprises of great pith and moment, 
 With this regard their currents turn awry* 
 Andloofe the name of adtion. 
 
 I AG O exciting the Paffion of JEALOUSY in 
 OTHELLO. 
 
 MY Lord, you know, I love you. 
 For Michael Caffio ; 
 
 I dare be fworn (I think) that he is honefL 
 Men ftiould be, what they feem ; 
 Or, thofe that be not, would they might feem 
 But what they feem. (none 
 
 Why, then, I think Cajfio 9 s an honeft man. 
 I do befeech you, good my Lord ! 
 Think, I (perchance) am vicious in my guefs : 
 As, I confefs, it is my nature's plague 
 To fpy into abufe : and oft 3 my jealoufy 
 Shapes faults that are not, I entreat you then, 
 From one who fo imperfeftly conje&s, 
 Your wifdom would not build your-felf a trouble, 
 Out of my fcattering and unfttre obfervance ! 
 It were not for your quiet, nor your good. 
 Nor for my manhood, honefty, and wifdom, 
 To let you know my thoughts. 
 GOOD NAME in man and woman (dear my Lord)i 
 Is the immediate jewel of their fouls. 
 
THE ART OF RHETORIC. 73 
 
 Who (teals my Furfe, Heals trafh ; 'tis fometliing, 
 
 nothing ; 
 
 'Twas mine, 'tis his, andhasbeenflavetothoufands \ 
 But he that filches from me my good Name, 
 Robs me of that, which not enriches him ; 
 And makes me poor indeed. 
 Oh, beware (my Lord) of JEALOUSY - 
 It is a green-ey'd Monfter, which doth mock 
 The meat it feeds on. That Cuckold lives in blifs, 
 Who, certain of his fate, loves not his wronger : 
 But, oh^ what damned minutes tells he o'er, 
 Whodoats, yet doubts; fufpefts, yet ftrongly loves ! 
 Poor and Content, is rich, and rich enough.: 
 But riches endlefs, is as poor as winter, 
 To him, that fears he ever (hall be poor.. 
 Good Heav'n! the fouls of all my tribe defend 
 
 From Jea/oufy ! 
 
 I'm glad of this ; for now I flrall have reafon 
 To fliow the love and duty that I bear you, 
 With franker fpirit : therefore, as Pm bound. 
 Receive it from me. I fpeak not yet of proof. 
 Look to your wife!; Obferve her well with Cafeio! 
 Wear your eye, thus ; not jealous, nor fecure? 
 I would not have your free and noble nature. 
 Out of felf-bounty be abus'd ; Look to it ! 
 I know our country difpofition well : 
 In Venice they do let Heav'n fee the pranks, 
 They dare not fhow their husbands ; their beft 
 
 confcience 
 
 Is not to leav't undone, but keep't unknown. 
 She did deceive her father, marrying you ; 
 And when (he feem'd to fhake, and fear your looks, 
 
74 THE ART OF RHETORIC. 
 
 She lov'd them moft. 
 
 She, that, fo young, could give-out fuch a feeming, 
 To feal her father's eyes up, clofe as oak : 
 (He thought, 'twas witchcraft) But Fm much to 
 
 blame. 
 
 I humbly do befeech you, fir, your pardon, 
 For too-much loving you ! 
 I hope, you will confider, what is fpoken, 
 Comes from my love. But, I do fee, you're 
 
 mov'd. 
 
 I am to pray you, not to ftrain my fpeech 
 To groffer ifliies, nor to larger reach, 
 Than to fufpicion. Should you do fo, my lord ; 
 My fpeech would fall into fuch vile fuccefs, 
 As my thoughts aim not at. Cafsio's my worthy 
 
 friend. 
 
 My lord! I would, I might entreat your honour^ 
 To fcan this thing no farther. Leave it to time. 
 Although 'tis fit, that Cafsio have his place ; 
 (For, fure, he filled it up with great ability ;) 
 Yet, if you pleafe to hold him off a while, 
 You fhall by that perceive him and his means. 
 Note, if your lady ftrain his entertainment. 
 With any ftrong or vehement importunity ! 
 Much will be feen in that. In the mean time,, 
 Let Me be thought too-bufy in my fears ; 
 (As worthy caufe I have, to fear, I am:) 
 And hold her free, I do befeech your honour. 
 
 Sbakefpear, Othello. Aft 3* 
 
THE ART OF RHETORIC 75 
 
 BRUTUS's Oration on CJESAR's Death. 
 
 V>Ountrymen 9 and friends! hear me, for my 
 caufe : and be filent, that ye may hear ! believe 
 me, for mine honour ; and have refpeft to mine 
 -honour, that you may believe ! Cenfure me, in 
 your wifdom; and awake your fenfes, that ye 
 may the better judge ! 
 
 If therete any in this affembly, any dear friend 
 of Ctefar's ; to him I fay, c that Brutus 9 love to 
 * Cafar was no lefs than his/ If then, that friend 
 demand. 4 why Brutus rofe againft Ccefar / this 
 is my anfwer; c Not, that I lov'd Ctefar lefs/ 
 but, that I lov'd Rome more/ Had ye rather, 
 that Ctffar were living, and die all Haves ; than, 
 that Ctffar were dead, and live all free-men ? 
 
 As Cafar lov'd me, I weep for him ; as he was 
 fortunate, I rejoice at it ; as he was valiant, I 
 honour him: but, as li was ambitious, I {lew 
 him. There are, tears for his love, joy for his 
 fortune, honour for fcis valour, and death for his 
 ambition. 
 
 Who is here fo bafe, that would be a bond- 
 man ? If any, fpeak; for, him have I offended, 
 Who is here fo rude, that would not be a 
 Roman? If any, fpeak ; for, him have I of- 
 fended. -Who is here fo vile, that will not love 
 his country? If any, fpeak; for, him have I 
 offended I paufe for a reply. Since none is 
 made, then none have I offended. 
 
*6 THE ART OF RHETORIC. 
 
 I have done no more to Cafar, than ye fliall do 
 to Brutus. The queftion of his 'death is enrolled 
 in the capitol : his glory not extenuated, where- 
 in he was worthy ; nor his offences enforced, for 
 which he fuffered death. 
 
 Here comes the body, mourned by Mark An- 
 tony : who, though he had no hand in his death, 
 fliall receive the benefit of his dying, a place in 
 the common-wealth ; as which of you fhall not ? 
 With this 1 depart ; that, as I flew my beft lover, 
 for the good of Rome ; I have the fame dagger 
 for myj'elf, when it fliall pleafe my country to 
 need my Jeath. 
 
 Shakefpear, Julius C<zfar. Act 3* 
 
 ANTONY'S Oration over C^ESAR's Body. 
 
 Romans, countrymen, lend me your 
 
 ears ! 
 
 I come, to bury CAESAR, not to praife him, 
 Tte evil, that men do, lives after them ; 
 The good is oft' interred with their bones : 
 So let it be with CAESAR ! 
 
 The noble BRUTUS 
 
 Hath told you, ' CAESAR was ambitious :' 
 It it were fo, it was a grievous fault ; 
 And grievioufly hath CAESAR anfwer'd it. 
 Here, under leave of BRUTUS and the reft, 
 (Tor BRUTUS is an honourable man, 
 So are they all, all honourable men) 
 Come I, to fpeak in CffiSAF/s funeral, 
 
THE APvT OF RHETORIC ?; 
 
 He was my friend, faithful and ju ft to me: 
 
 But BRUTUS fays, c he was ambitious j* 
 
 And BRUTUS is an honourable man. 
 
 He hath brought many captives home to Rome* 
 
 Whofe ranfom did the general coffers fill ; 
 
 Did this in CJES AR feem ambitious ? 
 
 When that the poor have cry'd, C/ESAR h&tiir 
 
 wept ; 
 
 Ambition fliould be made of ftern,er (luff; 
 Yet BRUTUS fays, c he was ambitious ;* 
 And BRUTUS is an honourable man. 
 Ye all did fee, that on the Lupereal 
 I thrice prefented him a kingly crown, 
 Which lie did thrke refufe. Was this ambition ? 
 Yet BRUTUS fays, c he was ambitious / 
 And fure, he is an honourable man. 
 I fpeak not, to difprove what BRUTUS fpoke ; 
 But here I am to fpeak, what I do know, 
 
 Ye all did love him once, not without caufe j 
 What caufe with-holds you then, to mourn for 
 him ? 
 
 judgment! thou art fled to brutifli beads,, 
 And men have loft their reafon! Bear with me ! 
 My heart is, in the coffin there, with CJESAR - f 
 And I muft paufe, till it comeback to me. 
 But yefterday the word of C-ffiSAR might 
 
 Have fcood, againft the world : now lies he there; 
 And none fo poor, to do him reverence. 
 O matters! if I were difpofecl, to ftir 
 Your hearts and minds to mutiny and rage ; 
 
 1 fh-ould do BRUTUS wrong, and CASSIUS wrong; 
 
 H 
 
 
yl THE ART OF RHETORIC. 
 
 WTio, ice all know, are honourable men. 
 I will not do them wrong : I rather choofe 
 To wrong the dead, to wrong mvfelf and you, 
 Than I will wrong fuch honourable men. 
 But here's a parchment, with the feal 
 I found it in his clofet: 'tis his will. 
 Let but the commons hear his teftament, 
 Which (pardon me) I do not mean to read ; 
 And they would go, and kifs dead 
 
 wounds, 
 
 And dip their napkins in his facred blood : 
 Yea, beg a hair of Mm for memory, 
 And dying mention it within their wills, 
 Bequeathing it (as a rich legacy) 
 Unto their iffue. 
 
 Have patience, gentle friends! Imuftnotreadit. 
 It is not meet ye know how C^E-SAR lov'd you,: 
 Ye are not wood, ye are not ftones, but men ; 
 And being men, hearing the will of CAESAR. \ 
 It will enflame you, <it will make you mad ; 
 *Tis good ye know not, that ye are his heirs, 
 For, if you fliould, Q what would come erf it ! 
 
 Will ye be patient ? will ye flay a while 
 I've overshot my-feif, to tell you of it. 
 I fear, I wrong the honourable men, 
 Whofe daggers have ftabb'd C/ESAR; Ido fear it, 
 
 Ye will compel me then, -to read the will? 
 Then make a ring about the corps of CAESAR ; 
 And let me fliow you Him, that made the will. 
 Shall I defcend ? And will ye give me leave ? 
 
 If ye have tears, prepare to flied them now ! 
 Ye all do know this mantle..-* I remember 
 
THE ART OF RHETORIC. 79 
 
 The firfl: time ever CAESAR put it on ; 
 'Twas on afummer's evening in his tent : 
 
 That day he overcame the Nervii. 
 
 Look! In this place, ran CASSIUS' dagger thro' !-* 
 See, what a rent the envious CASK A made I- 
 Thro' this, the well beloved BRUTUS ftabb'd} 
 And, as he pluckM his curfed fteel away. 
 Mark, how the blood of CTESAR followed it ; - 
 As rufhing out of doors, to be refolv'd, 
 If BRUTUS fo unkindly fcnock'd; or no! 
 For BRUTUS, as ye know, was CESAR'S Angels 
 Judge, O ye Gods! how CAESAR lov'd him ! 
 This was the moft unkindefl cut of all ; 
 For, when the noble GJ^SAR law him ftab; 
 Ingratitude, more ftrorig than traitors arms,* 
 Quite vanquiih'd him : then burft his mighty heart-J 
 And, in-his mantle muffling up hk face, 
 Even at the bafe of fampey's ftatue, 
 (Which all .the time ran blood) great CAESAR felf* 
 
 what a fall was t ere, my countrymen \ 
 Then I, and ye and all of us fell down ; 
 Whilft bloody treafon flourilh'd over us. 
 O, now ye weep ; and I perceive, ye feel 
 The dint of pity : thefe are gracious drops. 
 Kind fouls! what, weep ye, when ye but behold 
 Our CESAR'S vefture wounded? Look ye here:- 
 Here is himfelf marr'd (as ye fee) by traitors. 
 
 Good friends, Iweet friends ! let me not ftir you up^ 
 To fuch afudden flood o? mutiny 1 
 They, that have done this deed, are honourable,-^- 
 .What private griefs they have (alas!) I know no*, 
 
 1 hat made them do it} they are wife and honorabler 
 
80 THE ART OF RHETORS 
 
 And will, no doubt, with reafons anfwer you. 
 
 I come not, friends, to fteal away your hearts: 
 
 I am no orator, as BRUTUS is; 
 
 -But, as ye know me all, a plain blunt man, 
 
 Tha-t love my friend ; and that they know full well, 
 
 "Who give me public leave to fpeak of him : 
 
 For I have neither wit, nor words, nor worth ; 
 
 A&ion, nor utterance, nor the power of fpeech, 
 
 To ftir men's blood : I only fpeak right on. 
 
 I tell you that, which ye yourfelves do know : 
 
 Show you fweet CAESAR'S wounds ; poor, poor, 
 
 dumb mouths ! 
 
 And bid them fpeak for me : but were I BRUTUS, 
 And BRUTUS ANTONY; there were an ANTONY, 
 Wou'd ruffle-up your fpirits, and put a tongue 
 3n every wound of CAESAR ; that fliould move 
 The ftones of Rome, to rife in mutiny. 
 
 Why, friends ! ye go to do, ye know not whatf 
 -Wherein hath CAESAR thus deferv'd your loves ? 
 Alas ye know not. I muft tell you then. 
 Ye have forgot the will I told ye of. 
 
 Here is the will, and under CJESAR'S feal. 
 To every Roman citizen he gives* 
 To every feveral man, feventy-five drachma's. 
 Moreover, he hath left you, all his walks, 
 -His private arbors, and new planted orchards, 
 On this fide Tiber ; he hath left them you, 
 And to your heirs for ever ; common pleafure, 
 To walk abroad, and recreate yourfelves. 
 Here was a CJESAR ; when comes fuch another ? 
 
 Shakespear> Julius Cafar.. Aft. 3; 
 
THE ART OF. RHETORIC, 81 
 
 MACBETH's SOLILOQUY. 
 
 it were done, when 'tis done ; then 'were 
 well, 
 
 It were done quickly : if th' afiMInation 
 Could trammel up the confequence, and catch 
 With its furceafe, fuccefs ; that but this blow 
 Might be the be-all and the end-all ; Here,. 
 (Ev'n here upon this bank and flioal of time) 
 We'd jump the life to come. But, in thefe cafes, 
 We flill have judgment here, that we but teach 
 Bloody inftru&ions ; which being taught, return 
 To plague th' inventor. -Even-handed JUSTICE* 
 Returns th* ingredients of our poifon'd .chalice 
 To our own lips. 
 
 Shakefpear, MACKBET&, Aft IJ. 
 
 HE'NRY the Vth's SOLILOQUY; 
 
 |_J PON the KING! * Let us our lives, .our fouls, 
 4 Our debts, our careful wives, our children, and 
 * Our fins, lay on the King : He muft bear all/ 
 
 O hard condition, and twin-born with greatnef^ 
 Subjeft to breath of ev'ry fool ; whofe fenfe 
 No more can feel, but his own v/rip^ing ! 
 What infinite heart-eafe muft Kings neglcft, 
 Which private men enjoy ? And what have ,' 
 Which privates have not too, fave ceremony, 
 Save general ceremony ? 
 
 H'S And 
 
8* THfi ART OF RHETORIC, 
 
 And what art Thou, thou idol, ceremony ? 
 What kind of god art thou ; that fuffer'st more 
 Of mortal griefs, than do thy worfhippers ? 
 Art thou aught eMe, but place, degree, and form, 
 Creating awe and fear in other men ? 
 Wherein thou art lefs happy, being fear'd r 
 Than they in fearing. 
 
 What drink'ft thou oft', inftead of homage fweet, 
 But poifon'd flat fry ? O be fick, great Greatnefs,. 
 And bid thy ceremony give thee cure ! 
 Think'ft thou the fiery fever will go out, 
 With titles blown from adulation ? 
 Will it give place to flexure and low bending ? 
 Can'ft thou, when thou command'ft the beggar ! s 
 Command the health of it ? (knee, 
 
 5 Tis not the balm, the fcepter, and the ball, 
 The fword, the mace, the crown imperial, 
 The enter-tiJTued robe of gold and pearl ; 
 The farfed title, running 'fore the king> 
 The throne, he fits on ; nor the tide of pomp, 
 Which beats upon the high (hoar of this world 'z 
 No, not all theie thrice gorgeous ceremonies , 
 Not all'thefe, laid in bed .majeftical, 
 Can fl'eep fo foundly, as the wretched flave^ 
 Who, with a body filld and vacant mind, 
 Gets him to reft, cramm'd with diftrefsful bread j 
 And follows fo the ever-running year, 
 With profitable labour, to his grave : 
 And (but for ceremony] fuch a wretch, 
 Winding up days with toil and nights with deep, 
 Hath the fore-hand and 'vantage of a King*. 
 
 Shakes j>t$r> Hen. V. Aft 4. Sc. 5. 
 
THE ART OF RHETORIC, 63 
 
 The Speech of GALGACUS the General of the Gale-. 
 
 donii'*, in which he exhorts the army he had of- 
 
 fernbled, in order to repel the Romans, to fight 
 
 'valiantly againft their foes undsr JuL Agricola* 
 
 (Corn^Vir. Tacit, J. AGRIC.),. 
 
 Countrymen and Fellow-fo/diers I 
 
 WHEN I confider the c&ufe, for which we 
 have drawn ourfworcls, and the necessity of 
 ftriking an effectual bkw, before we foeath them 
 again. I feel joyful hopes arifing in my mind, that 
 this, day an opening fliall be made for the reftorati- 
 on of Britifli Liberty, and for jhaking off the infa- 
 mous yoke of Roman jfe^ry Caladonia is jet free. 
 The all-graff ing power of Rome has^ not yet been 
 able to feize our liberty. But it is only to be pre- 
 Jervedfoy valour. 7&y flight it cannot : for ihefea 
 confines us ; and that the more effectually ', as being 
 pojjejfed by the fleets of the enemy. As it is by 
 arms, that the brave acquire immortal fame, fo it 
 is by -arms, that the fordid mufl defend their lives 
 and properties, or loofe them. You are the very 
 men, my friends, who have hitherto fet bounds to 
 the unmeafurable ambition of the Romans. In con- 
 fequence of your inhabiting the more inacccfeible 
 parts of that ifland; to which the fllores of thofe 
 countries on the continent, which are enslaved by 
 the Romans are invisible, you have hitherto been 
 
8$ THE ART OF RHETORIC. 
 
 free horn the common difgrace, and the common 
 fufferings. You lie almoft oar of the reach of fame 
 itfelf. But you muji not-expel to enjoy this un- 
 troubledy^wr/'/y my longer, unlefs you .beflir your- 
 felves fo effectually,, as to put it out of the power 
 of the enemy to fearch out your~retreats, and dis- 
 turb your repofe. If you do not, curiofity alone will 
 fet i hem a prying, and they will conclude $* that; 
 there is fomewhat worth the labour of* conquering*,. 
 in the interior parts of the iJLand, merely becaufe 
 they have never feen them. What is little known; 
 is often coveted, becaufe fo -little, known. And you 
 are not to expefl, that, you fhould efcape the ravage 
 of tho general plunderers of mankind, by any fen- 
 time nt of moderation in them* When the countries? 
 which are more accessible, come to \>zfubdued, they 
 will theny^ra> their way into thofe, which are har- 
 der to come at. And if they mould conquer the 
 dry land, over the whole world* they will then 
 think of carrying their arms beyond the ocean, to 
 fee, whether there are not certain unknown regions,. 
 which they may attack, and reduce underfubjefii- 
 en to the Roman empire* For \ve fee, that if a 
 country is thought to be powerful in arms, the Ro- 
 mans attack it, becaufe the conqueft will be glo 
 rious ; if inconfiderable in the military art, beeaufe 
 the viftory will be eafy ; if ricb 9 . they are-;drawi2 
 thither by the hope of plunder ; if poor, by the de- 
 fire of fame. The eqft and weft, the fouth and 
 the north, the face of the whole earth, is thefcene 
 of their military atchievements ; the world fe too 
 lor their 'ambition^ and their avarice*. They 
 
THE ART OF RHETORIC. 85 
 
 are the only nation ever known to be equally defir- 
 ous of conquering a poor kingdom as a rich one. 
 Their fupreme joy feem to be ravaging, Jigbting r 
 zndjhedding of blood ; and when they have unpeo-* 
 fled a region, fo that there are none left ative able 
 to bear m ms, they fay, they have given peace to 
 that country. 
 
 Nature itfelf has peculiarly endeared to all men^ 
 their wives, and their children. But it is known 
 to you, my countrymen, that the conquered youth 
 are daily draughted vfftofupp/y the deficiencies in 
 the Roman army. The wives, the fijlers, and the 
 daughters of tfre conquered are either, expofed to 
 the violence, or at leaft corrupted by the arts of 
 thefe cruel fpoilers. The fruits of ouiuW///?ry are 
 plundered, to make up the tributes impofed on us 
 by cpprefsive avarice. Britons fow their fields ; 
 and the greedy Romans reap them. Our very bo- 
 dies zreworn out in carrying on their military works}. 
 and our toils are re warded by them with ^^^ and 
 ftripes. Thofe who are born tojlavery, are bought 
 and maintained by their majlers. But //v> unhap^ 
 py country pays for being cnfla^ed^ md feeds thofe 
 tvho enflave it. And oitr portion otdifgraceis the 
 bittereji, as the inhabitants of //j/^ ///^/zd are the 
 ^//?, who have fallen under the galling yoke. Our 
 native fo#/ againft tyranny,, is the offence? w 7 hich 
 moft fenfibly irritates thofe /(srrf/jf ufurpers. . Our 
 dijiance from the y#/ of government, and our ??#- 
 /wr^/ defence by the furroundiog ocean, render us 
 obnoxious to their fufpiaons : for they know, that 
 Brijows are ^r with, an inftinftive /aw for liberty ; 
 
96 THE ART OF RHETORIC. 
 
 and they conclude, that we muft be naturally led 
 
 to think of taking the advantage of our detached* 
 
 foliation, to difengage ourfelves one time or other, 
 from their oppression. 
 
 Thus, my Countrymen, and Fellow^foldiers, 
 
 fufpecled and hated, as we ever muft be by the Ro- 
 mans, there is no profpeft of our enjoying even a 
 tolerable (late of bondage under them. Let us 
 then, in the name of all tbtt&Jatrtf, and de- 
 fence of all that is dear to us, refolve to exert our- 
 felves, if not for glory, at ieaft forfafety ; if not 
 in vindication of Britijh honour, at lead in defence 
 of our lives. How near were ths Brigantes* to 
 
 Jbaking offiihe yoke- led on too by a -woman? They 
 burnt a Roman fettlement : they attacked the dread" 
 ed Roman legions in their camp.. Had not partial 
 
 fuccefs drawn them'mto&fafaifecurity, the bufinefs 
 was done. And lhal] not we, of the Caledonian 
 region, whofe territories are yet free, and whofe 
 
 Jtrengtb > entire, lhall we not, my Fellow-foldiers^ 
 attempt fomew.hat, which may fliow ihefejoreign 
 ravagers, that they have more to do than they think 
 of, before they bemqfters of the who'eijland? 
 
 But, after alJ, who are thofe mighty Romans ? 
 Are they Gods; or mortal men, like ourf elves ? 
 Do we not fee, that /*/ fall into the fame errors., 
 and weakness as others ? Does not ^^m? effemi- 
 nate them ? Does no abundance debauch them ? 
 Does not wantonnefs enervate them ?. Do they not 
 go to excefs in the moft unmanly tnce* ? And 
 
 * The Brigantes, according to Ptolomy, inhabited what 
 is now called Yorkiiiirc, the Biihoprick cf Durhani, &c 
 
THE ART OF RHETORIC. 87 
 
 can you imagine, that they, who are remarkable 
 for their vices, arc likewife remarkable for their 
 valour ? What, then,. do we dread ? Shall I tell 
 you the very tntth^ my fellow-foldiers ? It is by 
 means of our intcftine divtfions, that the Ramans 
 have gained fo great ad-vantages over us. They 
 turn the mif managements of their enemies to their 
 vwn praife. They boaft of what they have done, 
 and fay nothing of what ive might have done, had 
 we been fo wife, as to unite againft them. 
 
 What is this formidable Roman army? Is it not 
 compofed of a mixture of people from different coun- 
 tries ; fome more, fome iefs^ difpcfed to military 
 Mtchievements ; fome more, fome iefs^ capable of 
 bear ing fatigue and hardjhip ? They keep together? 
 while they zxvfuccefsfuL Attack them with vigor : 
 diftrefs them : you will fee them more Disunited a- 
 inong themfelves than we >are now* Can any one 
 imagine., that Gauls, Gw -mans^ and -vsithjhame 
 I muii add, Sri tons , ^vho ^^j-^/y lend, for a time, 
 their limbs > and their //-u^c, to build up foreign ty'r* 
 anny ; can one imagine, that thefe^wijl not be long- 
 er enemies , thznjlalves ? or that 'fuch an army is 
 ^W together by fentiments ofjfide/ity^ or affeftion ? 
 No.: the ^A f bend of union among themisjfetfr. 
 And, whenever ^rr^r ,f^f^j to work upon the 
 minds of that mixed multitude, they who now f tar ^ 
 will //jft /?fc, their tyrannical majiers. On <??^r 
 ^<? there i* every poffible incitement to valour. 
 The Roman courage .is not, as 0#rr, inflamed by 
 th - thought ofwiws and children in danger of fall- 
 i'ig into die hands of the enemy. The Romans have 
 
, 
 
 8 THE ART OF' RHETORIC. 
 
 -no parents^ as we have, to reproach them, if they 
 fliould defert their infirm old age. They have no 
 country hereto fight for, They are a motley cdieo 
 tion of foreigners, in a land wholly unknown to 
 them, cut off from their native country, hemmed in 
 by the iurrounding ocean, and' given, I'hope, a. prey 
 into our hands, without all poffiblKty of escape. 
 Let not the sound of the Roman name affright your 
 ears. Let not the glare of g0// andy/Ai^r, upon 
 their armour, dazzle, your eyes. It is not by gold, 
 orjther, that men are either wounded or defend- 
 ed > though they are rendered a richer prey to the 
 conqueror**. Let us bo idly attack this disunited 
 rabble ', /We fliall find among themselves , a ra/z- 
 forcemenfrto our tfray. The degenerate Britons 9t 
 who are incorporated into /<?/> forces, will, thro' 
 Jhame of* their counts fs .caufe deferred by them, 
 quickly /<?^^ the Romans, and come over to &r. 
 The Gauls 9 remembering their former liberty, and 
 that it was the Romans who deprived them of it, 
 "will fo* fake their tyrants, iindjoin the q//ertors of 
 freedom. The Germans who remain in their army, 
 will follow the example of their countrymen, the 
 Usipii) who fo lately deferted. And m6#/ will 
 there be //6^^ 5 to y#r ? A few half-garrifoned 
 forts ; a few municipal towns inhabited by wvrn- 
 out old men ; Discord univerfally prevailing, occa- 
 fioned by tyranny in thofe v/ho fliould 0#^/. On 
 our fide, an ^my united in the ^^ of their .0ra- 
 Jry, their wives^ their children, their aged parents, 
 their liberties, their //i;^. At the Atftfrf of this army^ 
 ^-1 hope I do not offend againft modejly in faying, 
 there is a GENERAL ready to ^^r/ all his abilities , 
 
 \ 
 
THE ART OF RHETORIC. 39 
 
 fuch as they are, and to hazard his life in leading 
 you to viflory, and to freedom. 
 
 I conclude, my countrymen, and fellow-foldiers, 
 by putting you in mind, that on your behaviour this 
 day depends your future enjoyment of peace and //- 
 berty, or your subjection to a tyrannical enemy ', with 
 all its grievous confequences . When, therefore, 
 you come to engage think of your ancestors ,-*-and 
 think of jour posterity. 
 
 N. B. The Italic in this fpeech, is to be con- 
 fidered as a dire&ion to the fpeaker, in his delivery. 
 
 SATAN's ADDRESS to the SUN. 
 
 \^ / THOU that, with furpafsing glory crown'd, 
 Look'ft from thy fole dominion like the god 
 Of this new world ; at whofe fight all the flats 
 Hide their diminiih'd heads ; to thee I call, 
 But with no friendly voice, and add thy name, 
 
 Sun, to tell thee how I hate thy beams, 
 That bring to my remembrance from what ftate 
 
 1 fell, how glorious once above thy fphere ; 
 
 Till pride, and worfe ambition, threw me down, 
 Warring in heav'n 'gainft heav'n's matchlefs King, 
 Ah, wherefore ? He deferv'd no fuch return 
 From me, whom He created what I was 
 In that bright eminence, and with his good 
 Upbraided none ; nor was his fervice hard : 
 What could be lefs than to afford him praife, 
 The eafieft recompenfe, and pay him thanks, 
 How due ! yet all his good prov'd ill in me, 
 
9 a THE ART OF RHETORIC. 
 
 And wrought but malice. Lifted up fo high 
 I 'sdain'd fubje&ion, and thought one flep higher 
 Would fet me higheft, and in a moment quit 
 The debt immenie of endlefs gratitude, 
 So burdenfome, ftill paying, ftill to owe : 
 Forgetful what from Him I ftill received ; 
 And underftood not, that a grateful mind 
 JJy owing owes not, but ftill pays, at once 
 Indebted and difcharg'd ; what burden, then ? 
 O had his powerful deftiny ordain'd 
 Me fome inferior angel, I had flood 
 Then happy ; no unbounded hope had rais'd 
 Ambition. Yet why not ? fome other Power 
 As great might haveafpir'd, and me, tho' mean, 
 Drawn to his part ; but other Pow'rs as great 
 Fell not, but ftand unfhaken, from within 
 Or from without, to all temptations arm'd. 
 Hadft thou the fame free-will and power to ftand ? 
 Thou hadft ! Whom haft thou, then, or what t' ac- 
 
 cufe, 
 
 But heav'n's free love, dealt equally to all ? 
 Be then his love accursed, fince love or hate, 
 To me alike, it deals eternal woe. 
 Nay, curs'd be thou ; fince againft HIS thy will 
 Chofe freely what it now fo juftlyrues, 
 Me miferable ! which way fhall I fly 
 Infinite wrath, and infinite defpair ? 
 Which way I fly is hell ; myfelf am hell .j 
 And, in the loweft deep, a lower deep 
 Still threatening to devour me, opens wide f 
 To which the hell I fuffer feems a heaven. 
 |0 then at lafl, relent. Is there no place 
 
THE ART OF RHETORIC. g x 
 
 for repentance, none for pardon left ? 
 None left but by fubmifsion ; and that word 
 Difdain forbids me, and my dread of fhame 
 Among the fpirits beneath, whom I feduc'd 
 With other promifes and other vaunts 
 Than to fubmit, boafting I could fubdue 
 Th' Omnipotent. Ah, me ! they little know 
 How dearly I abide that boafl fo vain, 
 Under what torments inwardly I groan, 
 While they adore me on the throne of hell ? 
 With diadem and fceptre high advanced. 
 The lower {till I fall, only fupreme 
 In miferj : fuch joy ambition finds ! 
 But fay I could repent, and could obtain^ 
 By aft of grace, my former ftate^ how foon 
 Would height recall high thoughts ? how foon un 
 
 fay 
 
 What fei-gnM fubmifsion fwore ? eafe would recant 
 Vows made in pain, as violent and void, 
 (For never can true reconcilement grow 
 Where wounJs of deadly heat have piercM fo 
 
 deep :) 
 
 Which would but lead me to a worfe relapfe, 
 And heavier fall : fo ftiould I purchafe dear 
 Short intermifsion bought with double fmart. 
 This knows my punifher : therefore as far 
 From granting he, as I from begging peace* 
 All hope excluded thus, behold in (lead 
 Of us outcaft, exil'd, his new delight, 
 Mankind created, and for him this world. 
 So farewel hope, and with hope farewel fear, 
 Farewel remorfe ; all good to me is loft ^ 
 
92 THE ART OF RHETORIC. 
 
 Evil be them my good ; by thee at lead 
 Divided empire with Heav'n's King I hold, 
 By thee, and more perhaps, fupreme will reign ; 
 As man, ere long, and this new world {hail know. 
 
 MILTON- 
 
 GENIUS. 
 
 T^ROM heav'n my drains begin. From heav'n 
 
 defcends 
 
 The flame of Genius to the chofen bread, 
 And beauty with poetic wonder join'd, 
 And infpiration. Ere the rifing fun 
 Shone o'er the deep, or 'mid the vault of night 
 The moon her filver lamp fufpended : ere 
 The vales with fprings were water'd, or with groves 
 Of oak or pine the ancient hills were crown'd ; 
 Then the great Spirit, whom his works adore, 
 Within his own deep effence view'd the forms, 
 The forms eternal of created things : 
 The radient fun ; the moon's nofturnal lamp ; 
 The mountains and the dreams ; the ample flores 
 Of earth, of heav n, of nature. From the fird, 
 On that full fcene his love divine he fix'd, 
 His admiration. r \ ill> in time complete, 
 What he admir'd and lov'd his vital pow*r 
 Unfolded into being Hence the breath 
 Of life informing each organic frame : 
 Hence the green earth, and wild refounding waves: 
 Hence light and (hade, alternate; warmth and cold; 
 And bright autumnal (Ides, and vernal diow'rs, 
 And all the fair variety of things. 
 
THE ART OF 'RHETORIC- 93 
 
 But not alike to every mortal eye 
 . Is this great fcene unveil'd. For while the claims 
 Of iocial life to diff'rent labours urge 
 The aftive pow'rs of man, with wifeft care 
 Hath nature on the multitude of minds- 
 ImprefsM a various bias : and to each 
 Decreed its province in the common toil. 
 To -Come file taught the fabric of the fphere, 
 The changeful moon, the circuit of the flars, ., 
 The golden zones of heav'n. To fome flie gave 
 To fearch the ftory of eternal thought ; 
 Of fpace and time ; of fate's unbroken chain, 
 And will's quick movement. Others by the hand 
 She led o'er vales and mountains, to explore 
 What hailing virtue dwells in every vain 
 Of herbs or trees. But fome to nobler hopes 
 Were deftin'd :~ fome within a finer mould 
 She wrought and temper'd with a purer flame y 
 To thefe the Sire omnipotent unfolds, 
 In fuller afpe&s and with fairer lights, 
 This pifture of the world. Through every par 
 They trace the lofty Ik etches of his hand : 
 In earth, or air, the meadow's flow'ry ftore, 
 The moon's mild radiance, or the virgin's mien 
 Drefs'd in attractive fmiles, they fee portray'd 
 (As far as mortal eyes the portrait fcan) 
 Thofe lineaments of beauty which delight 
 The mind fupreme. They alfo feel their force., 
 Enamour'd : they partake th' eternal joy. 
 
 13 
 
94 THE ART OF RHETORIC. 
 
 NOVELTY. 
 
 ALL now to mind what high capacious pow'rs 
 
 Lie folded up in man ; how far beyond 
 The praife of mortals, may the eternal growth 
 Of nature to perfection half divine, 
 Expand the blooming foul ? What pity, then, 
 Should Sloth's unkindly fogs deprefs to earth 
 Her tender bloflbm ; choak the itreams of life, 
 And blaft her fpring ! Far other wife defign'd 
 Almighty wifdom ; nature's happy cares 
 The obedient heart far otherwise incline. 
 "Witnefs the fprightly joy, when aught unknown 
 Strikes the quick fenfe 3 and wakes each aftive pow'r 
 To brisker meafures. Witnefs the negleft, 
 Of all familiar profpefts, though beheld 
 With tranfport once, the fond attentive gaze 
 Of young ciftonifhinent ; the fober zeal 
 Of age commenting on prodigious things. 
 For fuch the bounteous providence of heav'n, 
 In every bread implanting this defire 
 Of objefts new and ftrange, to urge us on 
 With unrenaitted labour to purfue 
 Thofe facred flores that wait the rip'ning foul, 
 In truth's exhauftlefs bofom. What need words 
 To paint its pow'r ? For this, the daring youth 
 Breaks from his weeping mother's anxious arms. , 
 In foreign climes to rove ; the penfive fage 
 Heedlefs of fleep, or midnight's harmful damp, 
 Hangs o'er the fickly taper ; and untir'd 
 The virgin follows, with inchanted ftep, 
 The mazes of feme wild and woixlerous tale 5 - 
 
THE ART OF RHETORIC. 95 
 
 From morn to eve ; unmindful of her form ; 
 Unmindful of the happy drefs that ftole 
 The wilhes of the youth, when every maid 
 With envy pin'd. Hence, finally, by night 
 The village matron, round the blazing hearth, 
 Sufpends the infant audience with her tales, 
 Breathing aftonifhment ! of witching rhymes, 
 And evil fpirits ; of the death-bed call 
 Of him who robb'd the widow, and devoured 
 The orphan's portion ; of unquiet foals 
 Ris'n from the grave to eafe the heavy guilt 
 Of deeds in life concealed j of ftiapes that walk 
 At dead of night, and clank their chains, and wave 
 The torch of hell around tjie murderer's bed. 
 At ev'ry folemn paufe the croud recoil 
 Gazing each other fpeechlefs, and congeaPd 
 With fliiv'ring fighs ; till eager for th' event, 
 Around the beldame all arreft they hang, 
 Each trembling heart with grateful terrors quelPd. 
 
 AKENSIDE. 
 
 ROLLA's, animating fpeech to his fol^iers. 
 
 MY brave afTociates partners of my toil, my 
 feelings and my fame ! cah Rolla's words 
 add vigour to the virtuous energies which infpire 
 
 your hearts ? No YOU have judged as I have, 
 
 the foulnefs of the crafty plea by which thefe bold 
 invaders would delude you. Your generous ipirit 
 has compared as mine has, the motives, which, in 
 a war like this, can animate their minds, and OURS. 
 by a ftrange frenzy driven^ fight for 
 
96 THE ART OF RHETORIC. 
 
 power, for plunder, anAex'tended rule. WE, for 
 our country, our altars, and our homes. They, 
 follow an Adventurer whom they fear and obey 
 a power which they hate, WE ferve a Monarch 
 whom we love a God whom we adore. When- 
 e'er they move in anger, defolation tracks their 
 progrefs ! Where'er they paufe in amity, afflic- 
 tion mourns their friendlhip ! They boafl, they 
 come but to improve our flate, enlarge our 
 thoughts, and free us from the yoke of error I- 
 Yes THEY will give enlightened freedom, to our 
 minds, who are themfelves the flaves of pafsion, 
 avarice, and pride. They offer us their prote&i- 
 on. Yes, fuch protection as vultures give to lambs 
 covering and devouring them ! They call on us 
 to barter all our goods we have inherited and 
 proved, for the defperate chance of fomething bet- 
 ter which they promife. Be our plain anfwer this : 
 The throne WE honour is the PEOPLE'S CHOICE 
 the laws we reverence are our brave Father's le- 
 gacy the faith we follow teaches us to live in 
 bonds of charity with all mankind, and die with 
 hope of blifs beyond the grave Tell your inva- 
 ders this, and tell them too, we feek no change ; . 
 and, leaft of all, fuch change as they would bring 
 us. 
 
 B. SHERIDAN. 
 
 CON- 
 
THE ART OF RHETORIC. 07 
 
 NCLUSION. 
 Directions for Speaking. 
 
 the Speech (I pray you) as I pronounced 
 ^ it to you, trippingly on the tongue :. But, if 
 you mouth it, as many of our Speakers do, I had 
 as lieve the town-crier had fpoken my lines. And 
 do not faw the air too much with your hand, thus. ; 
 but ufe all gently : for in the very torrent, tem- 
 pest, and (as I may fay) whirl- wind of your pafsi- 
 on, you mull acquire and beget a temperance, that 
 may give itfmoothnefs. Oh, it offends me to the 
 foul, to hear a robouftous periwig-pated fellow 
 tear a pafsion to tatters, to very rags ; to fplit the 
 ears of the groundlings , who (for the mod part) 
 are capable of nothing, but inexplicable dumb- 
 fhows and noife : I would have fuch a fellow whipt, 
 for o'er-doing termagant ; // out-bends Herod. 
 
 Pray you, avoid ic ! 
 
 Be not too tame neither : but let your own dif- 
 cretion be your tutor. Suit the Aftion to the 
 Word, the Word to the Aftion ; with this fpeci- 
 al obfervance, that you o'er-ftep not the modefty 
 of nature : for any thing fo over-done, is from the 
 purpofe of fpeaking. Now THIS, over-done or 
 come tardy off, tho' it make the unskilful laugh, 
 cannot but make the judicious grieve ; the cenfure 
 of which one, muft (in your allowance) o'er-fway 
 a whole crowd of others. 
 
 HAMLET, Aft. 3. So. 4+ 
 
 FINIS* 
 
CONTENTS to Mr, 
 
 A. I 
 
 ACTION, p**t 46 
 
 Allegory, 36 
 
 Anadiplofis, 4S 
 
 Anaphora, 49 
 
 Anaftrophe, 39 
 
 Antanaclafis, 44 
 
 Anthony's Oration, 76 
 
 Apophafis, 39 
 
 Aporia, 38 
 
 ApofiopeftSj 39 
 
 Apoftrophe, 39 
 
 Arguments, 26 
 
 Afyndeton, 4' 
 
 B 
 
 Bel : al's Speech, 58 
 
 Brutus 1 Oration 75 
 
 Brutus' Soliloquy, 55 
 
 C 
 
 Cafsius tempting Brutus, 66 
 
 Catacrefis, 38 
 Cataline, an account of, 4^7 
 
 b is Speec h, 50 
 
 in-Englifh, 52 
 
 Climax, 40 
 
 Cato's Soliloquy,. 69 
 
 Compofition, 35 
 
 D 
 
 Declamation, what, and its 
 parts, 27 
 Dignity, 55 
 Directions for jufl Speak- 
 ing, . 97 
 Difpofition, 27 
 
 E 
 
 Ecphonefis, 38 
 
 Elegance, 35 
 
 Stocution, 35, 
 
 HOLMES' Rhetoric. 
 
 EnantioHs, 41 
 
 Epanalepfis, 43 
 
 Epanodos, 44 
 
 Epanorthefis, 38 
 
 Epiphonema, 42 
 
 Epiflrophe, 43 
 
 Epizeuxis, 43 
 
 Erotefis, 39 
 
 F 
 
 Figure. 38 
 
 .. Its Faults, 42 
 
 G 
 
 Gcilg^cus' Speech, 83 
 
 Genius, oz 
 
 H 
 
 Hamlet's Soliloquy, 71 
 
 Henry the 5th's, 81 
 
 Homoioteleuton, 44 
 
 Hyperbole, 3 7 
 
 Hypotyposis, 41 
 
 la go, exciting Othello to 
 
 Rage. 72 
 
 Invention, , 23 
 
 Irony, 36 
 
 M 
 
 Macbeth 's Soliloquy, 81 
 
 Metahafis, 40 
 
 Metaphor, 36 
 
 Metonymy, 36 
 
 NT 
 
 Novelty, 94 
 
 O 
 Oration, its parts and kinds 
 
 *7 
 
 Orators, how to be made 
 
 acceptable, 47 
 
 Othello's Defence, 56 
 
( 99 ) 
 
 Oxymoron, 
 
 P 
 Paul, St. his Defence 
 
 fore Agrippa, 
 Parabole, 
 Parenomafia, 
 Paragmenon, 
 Pafsions, how moved, 
 Periphrafis, 
 Phocias' Soliloquy, 
 Ploce, 
 Polyptoton, 
 Proiepsis, 
 Pronunciation, 
 Profopopoeia, 
 R 
 
 Repetitions, 
 their ufes. 
 
 40 
 
 be- 
 
 4 1 
 44 
 44 
 26 
 40 
 70 
 44 
 44 
 39 
 45 
 42 
 
 4 1 
 45 
 
 Rolla's fpcech, 95 
 Rhetoric. 
 S 
 Satan's Speech to his rebel 
 hoft. 29 
 
 tr\ t'K^^iiM fir^ 
 
 Symploce, 43 
 Synecdoche, 36 
 Svnonymia, q.c 
 T 
 Theme, its Nature and 
 Parts, with the Exam 
 pie, 34 
 Tropes, 56 
 
 V 
 Voice, hew to be ufed, 4$ 
 

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