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. 121 gures vanish; but let never so much alteration be made as to the words in Figures of sentiment, the Eigures will still continge; for as the Figures reft upon the ideas, it is impossible that they fhould be:deftroyed by a mutation of language * The first class of Figures is only the body, the läft is the very soul of our compositions to

$4. As to the necessity and use of Figures, I thall only for the present transiently observe, that they are of great férvice to animate, adorn, entertain, and illustrate. “ It is of great importance, lay's " the ingenious Mr Rollin, to make youth obco serve, in reading good Authors, the use which

true eloquence makes of Figures, and the as« sistance it draws from them, not only to please;

but to persuade, and move the affections ; « and that without them expression is weak, and « falls into a kind of monotony, and is almost « like a body without a soul 1." QUINTILIAN gives a very just idea of the power of Figures by a very natural comparison ; « The Statuary's art, “ says he is very little feen in an upright body,

- " when * Formantur autem & verba & fententiæ ,pene innumerabiles, quod fatis fcio notum effe vobis ; fed inter conformationem verborum & fententiarum hoc intereft, quod verborum tollitur, fi verba mutaris ; , sententiarum permanet, quibuscun. que verbis uti velis, Cicer, de Orat. lib. iii. p. 52. ...,

+ Sunt igitur Schemata feu Figuræ duplicis generis, ut :: plerisque ftatuuntur, di&tionis, & fententiæ. Illæ ad mate siam, ac veluti corpus orationio pertinent; hæ vero ad formam & quası animam, hoc eft, ad sententiam. Glass Philalog. Sacra, p. 14221 . ..?

ROLLIN on the Belles Lettres, vol. ii. p: 141.

$ 2. A Figure essentially differs from a Trope, as in a Figure there is no translation of a word from its proper into an improper sense; and it is distinguishable from ordinary language, as it cafts a new form úpon speech, and by that mean ennobles and adorns our discourses. To

$ 3. Figures are divided into two kinds. Figures of language and Figures of sentiment Figures of language are such fort of Figures as only regard our words which are repeated in some new and uncommon order, or with elegance and beauty fall into an harmony of sound. Figures of sentiment are such as consist not only in words, but ideas s and by these means infuse a strength and vigour into our discourses. The real difference between Figures of language and Figures of sentiment plainly appears from hence, that if in Figures of language you alter the order of the words, or make a change in them, the Fi

.. gures “ the word to such forms of speech, as differ from the more

common and ordinary ways of expression, as the theatrical habits of actors, and their deportment on the Stage, are dif

ferent from their usual garb and behaviour at other times, "t; WARD's Oratory, vol. ii. p. 33, 34. Bowii . ** : . Figura, ficut nomine ipfo patet, est conformatio quædam Orationis remota à communi & primùm fe offerente ratione, : Quare in Tropis ponuntur verba alia pro aliis. Horum nihil., in Figuris cadit. Nam & propriis verbis & ordine collocatis, · fieri Figura poteft. Quintic. lib. ix. cap. I. Şi, da

* Duæ sunt ejus partes; diavosges, id eft, fententiarum ; &• nižews, id est, verborum. Quare ficut omnem orationem ita 2 Figuras quoque versari necesse est in sensu & in verbis : QUINTIL: lib. ix. cap. 1. § 2.

gures vanish; but let never so much alteration be made as to the words in Figures of sentiment, the Eigures will still continue, for as the Figures.reft upon the ideas, it is impossible that they should be destroyed-by a mutation of language *: The first class of Figures is only the body, the last is the very foul of our compositions

t o $4. As to the necessity and use of Figures, I shall only for the present transiently observe, that they are of great férvice tò animate, adorn, entertain, and illustrate.“ It is of great importance, says “ the ingenious Mr Rollin, to make youth ob“ serve, in reading good Authors, the use which

true eloquence makes of Figures, and the as“ sistance it draws from them, not only to please, " but to persuade, and move the affections ; “ and that without them expression is weak, and « falls into a kind of monotony, and is almost « like a body without a soul 7." QUINTILIAN gives a very just idea of the power of Figures by a very natural comparison ; “The Statuary's art, « says he is very little feen in an upright body,

. . " when * "Formantur autem & verba & sententiæ pene innumerabiles, quod fatis scio notum esse vobis; fed inter conformationem verborum & fententiarum hoc intereft, quod verborum tollitur, fi verba mutaris ; fententiarum permanet, quibuscun. que verbis uti velis, Cicer, de Orat. lib. iii. p. 52. .. .,

+ Sunt igitur Schemata feu Figuræ duplicis generis, ut à : plerisque ftatuuntur, di&tionis, & fententiæ. lllæ ad mate. riam, ac veluti corpus orationio pertinent; hæ vero ad formam & quafi animam, hoc eft, ad sententiam. GLASBI1 Philalog. Sacra, p. 14228

.. I ROLLIN on the Belles Lettres, vol. ii. p. 141.

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