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“ touched upon in pleading, that the Orator's « art may be concealed. In proving our point, “ we collect approved examples, and range them « in an artificial form: but afterwards in plead.. « ing, this art is to be disguised by the skill of “ the Orator, that it may not break out, and, « be discovered by all his audience *.” LonGinus tells us, that * à too frequent and elabo“ rate use of Figures draws upon us the suspi, « cion of share, design, and deceit, especially « when we are pleading before a Judge, from « whose sentence there lies no appeal; as Ty“ rants, Monarchs, and persons invested with « supreine power. . Such à Judge kindles into « rage at once, if, like a foolish boy, he finds « himself played with by the Figures of the art« ful Rhetorician.---A Figure is then in its per“ fection, when it is not discerned to be a Fi.
gyre t."; ; ;iin tii " In dieendo leviter unufquifque locus plerumque tángitur, ne ars appareat. In præcipiendo expressè conseripta ponere oportet exempla, ut in artis formam convenire poffint; & poft in dicendo, ne poffit ars eminere, & ab omnibus vi. deri, facultate oratoris occultatur. Cicer. ad HERENNIUM, lib. iv. $7.h in
't Yoflov sswodows 7o.doa gnjatwy may8F%E11,, xas; agacor βαλλον υπονοιαν ενεδρας, επιβελης, παραλογισμα και ταυθ'. οταν η πρG» κριτην κυριον ο λογώ», (μαλισα δε πρG- τυραννες, Baosasasa vyjadres, e» vtt epoxicos) dgåraxtsı yaş evduss toi ws απαις αφρων, υπο τεχετε εητορG» χηματιους κατασοφιζεταιΔιοπερ και τοτε αρισον δοκει το χημα, οταν αυτο τυτο διαλαι. Gayn, 070 geguce est. LONGIN, de Sublimitate, $ ini
in præcibquifque loce
'ümit 5 CHAPTER II. . On
i The EcPHONESIS considered.
$.1. The definition of an Ecphonesis. $ 2. In
Stances of this Figure from Milton, Ovid,
CICERO, and SOPHOCLES. $ 3. Upon what oc, casions the Ecphonefis is used in Scripture, with examples. $ 4. Remarks, and directions as to the Ecphonesis.
$1. AN Ecphonefis * is a Figure, that by an
1 exclamation fhews some strong and vehement passion. It is expressed by such In-* terjections, as, O! Oh! Ah! Alas! and the like, which may be called the signs of this Figure.
§ 2. Instances of this Figure might be given in great variety : the following may suffice, Eve, being made acquainted that she must leave. paradise, says, .. unexpected stroke! worse than of death t..?
. From xxowrew, I cry out. . .. .
In like manner Penelope, in Ovid's Epistles, says to her husband Ulysses;
O had th'adult'rer, when he fought the shore, Sunik in th' ocean, and been seen no more * ! Cicero furnishes us with an example of this Figure, when he concludes the narrative he had given of the punishment of a Roman citizen : “O delightful name of liberty ! O glorious pri66 vilege of Rome! O thou Portian, and ye Sem« pronian laws! O thou tribunitial power, fo 6 ardently desired by the Roman people, and at 6. last restored to them t."
We have a very lively instance of this Figure, in the : Oedipus Tyrannus of SOPHOCLES ; where that unfortunate Prince, overwhelmed with his calamities, is introduced as saying,
Ah! Ah! Ah! Ah! ' .
Horrible, * O utinam tum cum Lacedæmona classe petebat, Obrutus insanis effet adulter aquis !
Ovid. Epift. 1. ver. 5,6. . t O nomen dulce libertatis ! O jus eximium noftræ civita. tis! O lex Portia, legesque Sempronia! O graviter desiderata, & aliquando reddita plebi Romanæ tribunitia potestas! In VERREM, Orat. x. $ 63.
Horrible, hopeless, and malignant ! Si
And the fame Figure, and to a like purpose, is made use of by our famous MiĽTON, in the speech he ascribes to Samson, at once blind, and in the power of his enemies : : , suni..
:! Olofs of fight! of thee I moft complain ;., . Blind among enemies ;, 0! worse than chains, i Dungeon, or beggary, or decrepit age. , Light, the prime work of God, to me is extinct
And all her various objects of delight · Annulld, which might in part my grief have eas'd.
Inferior to the vilest now become" " + Of man or worm; the vileft here exéel me.
They creep, yet fee; I, dark in light expos d e
* Ai, ai, ai, as. .
Osv, Qev, d'usara zyw ten yous . . . Φερομαι τλαμων και τα μοι φθογία
Διαπετααι φοράδην και
Kai dvorgasovo os peong
Sophocl. Oedip. Tyran. ver. 1330. ' + Samson Agonistes, line 67.
Mr Baxter gives us an example of the fame Figure in the following passage, which is wonderfully weighty and powerful, and contains more rhetorical beauties than the Ecphonefis, though this Figure has evidently a place among them. "A wretch that is condemned to die s to-morrow cannot forget it: and yet poor “ sinners, that continually are uncertain to live « an hour, and certain speedily to fee; the Ma. ¢ jesty of the LORD to their inconceivable joy " or terror, as sure as they now.live on earth, $ can forget these things for which they have ¢ their memory; and which, one would think, 6 should drown the matters of this world, as “ the report of a cannon does a whisper, or as « the fun obscures the poorest gloworm. O 66 wonderful stupidity of an unrenewed foul ! O a wonderful folly and distractedness of the un“ godly! that ever men can forget, I say again, “ that they can forget eternal joy, eternal wo, “' and the eternal God, and the place of their " eternal, unchangeable abodes, when they stand “ even at the door; and there is but the thin 6 veil of flesh between them and that amazing “ sight, that eternal gulph, and they are daily s dying and stepping in *.”
- $ 3. After these examples of the Ecphonests from other Authors, we may take the following from the sacred Writings. ·