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Epanorthosis does Words past correct.
Most brave! brave, said I? most beroic Act !


Pll teacb you

Apofiopesis leaves imperfeet Sense.

Apofiopefis. yet I would avoid Offence. Anacænosis tries another's Mind.

But were you here, what Comfort would you

[find ?
In Words and Actions Aporia doubts. Aporia.
What then? Shall I reply, or take ber Flouts?

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Prosopopæia feigneth Things to speak. Profopopæia.
The Country cries, Why should your Discord

My long-continued Joys ? O Heavens hear
My Plaints! Grim Death will call him hence,

[I fear.

Apostrophe turns from the first Discourse.

Apostrophe. She's dead; Did e'er the Fates yet feei Remorse?

I shall now add some Grammatical Figures of Grammatical Orthography, put into Verse also by the same in- Figures of genious Author. Of these are the following Orthography. Eight.

Prosthesis adds to th' first Part of a Word. Prosthesis.
Yclad in Armour, and begirt with Sword.
Aphærefis takes away what t'other gave. Aphærefes.
He'll speak you fair, yet 'truth he's but a

Epenthesis does to the Middle add.

Go, Black-a-moor, and curse the daring Lad.
Syncope from the Middle steals a Cut. Syncope.
Thus Presbyter in Prester close is shut,



By Paragoge something's put to th’ End.
Thus (e) abounds in lovee, learne, feare, and

Apocope for Haste the End doth spill.
Thus Thomas we call Tom, and William Will.




Antithesis changes Vowels th’one for t'other.
A steny Heart twa Brethren dear to smother.
Metathesis the Letter's Place in Words
Doth change. Asbrunt for burnt, and Cruds

[for Curds.

Figures of


The following are Figures of Syntaxis in Excess.

In Pleonasin fuperfluous Words abound.
Mine Eyes did seet; mine Ears did hear the Sound.
In Polysyndeton, Conjunctions flow.
Both Lives, and States, and Hopes to thee we

Parenthesis is independent Sense
Clapt in. Aftræa's fled (fly Joys) from hence.



Parelce to the End puts more than needs.
He must be fat: See! evermore he feeds.

Figures of Syntaxis in Defect.



Words in Ellipsis must be understood.
'Tis one, why stays? Six in the Hundred:good!
One Word to more, in Zeugma, is referrd.
All Whist; nor Leaves, nor Reed by: Wind

[is Stirrd.


Syllepsis puts two different Things together, Syllepfos.
And yet at all no Difference there is whether
Shall rule. For Tbou gives place to I, and He

[to both:
And Sbe to Him Obedience pays, though loth.
Prolepfis fets all first, and then each Part. P:rolepsis.
They look, and wound the one the other's Heart.
Afyndeton the Cop'latives denies.

Aj ndeton, Faith, Justice, Truth, Religion, Mercy dies.

The Figures in the Body or Contexture of the Figreres in tbe Period, are such as follow.


Words by Hyperbaton in Order run

Hyperbaton. Disturb’d. Wealth, which the old Man for

(bis Son Had rak'd and scrap'd together, now the Boy Doth Perriwig and Pantaloon away. Hysteron- Proteron puts the last Word first. HysteronHere he was bred and born, brought up and Proteron.

(nurjt. Hypallage Words in Places chang'd doth set. Hypallage. Cups which I never mov’d my Lips to yet. 'Tis Hellenism when we imitate

Hellenism. The Grecian Style. Thus Spencer trots in State: " For not to bave been dipi in Letbe Lake " Could save the Son of Thetis from to die ; “ But that blind Bard did him immortal make, “ With Verses dipt in Dew of Caftalie. Tmefis between Words broke puts others in. Tmesos. Wbat Glofs foe'er he puts on't, 'tis a Sin.



Hyphen does Words to one another tie.
The Sun-burnt Clown, the ever-chatt'ring Pie.



Enallage changes Person, Number, Tense,
Gender and Mood at will. See yonder whence
A Troop appears: Unless they march apace :
See bere's your Horse, ne'er fear, we've won the

Antimeria for one Part puts another.
He's new come home ; your Say'll not save

[your Brother, Anastrophe puts last what first should go. This is the Fault which I was subjet to.



Synthesis minds not Words, but any ways
Speaks Sense. The Moor-ben treads, the

[Wood-cock lays.

E vocation.

By Evocation the third Person's made
To yield to First or Second. Thou, a Blade,
Forgest thy Neft. I, yet no aged Man,
Remember since thy Father froth'd the Can.

Conclusion of Thus you have, as it were in a Synopsis, a the third Part View of all the gay and beauteous Flowers which

grow in the Garden of the Muses. From hence the Orator gathers the Ornaments which embellish his Orations, and make them not only fragrant, florid, and engaging ; but rich, magnificent, and sublime : Such which charm the Ear, illuminate Truth, dispel Error, convince the Understanding,

and command Affent. Of the fourth We are now arrived to the last great Part or and last great Division of the Rhetorical Art, viz. PronunciaPart, Pro

tion; this is an apt and due Configuration or Connunciation, aberein it formation of the Voice, and Gestures, according to does confift.


the Nature of Words and Things. Of this the Memory is the chief Foundation: For unless a Person be able to discourse by Memory, or Extempore, much of the Force and Grace of Pronunciation or Utterance will inevitably be lost. And he who stands erect, and hath his Body at perfe&t Liberty, so as to be able to humour all the Gestures freely, and put himself in any kind of Motion, can certainly speak with a more natural, free, easy, and becoming Air, than they who are stiffy tied down to a written Oration. The latter indeed often utter most Sense, have the most correct Method, and the best Ratiocination ; but the other never fail to be far more agreeable and engaging. That the Pronunciation be just, a clear, articulate, even, gentle, and various Voice is necessary; unaffected, free from all enthusiastic Tone and Wbining ; that it rise and descend, be intended and remitted, according as the Number of People, or the Nature of the Subječt shall require. As to the Gestures of the Body, and its Parts, they ought to be manly, rational, and graceful; the Body erelt and strait, and apt for easy Flexure on either side ; the Countenance of the Face pleasant and fad, and variously expressive of the Passions, as the Exigency of Things requires ; but always natural, and free from affe£ted, puritanical Airs, and all fanatic Grimace and Contortions, as of one poffeß'd. The Head should stand right upon the Shoulders; the Neck free and easy of Motion ; the Shoulders not hoisted and shrugg'd up; the Arms not projected but in vehement Affections of Joy, Grief, &c. the Hand gently moved from the left Breast, and falling to the right Side. To stamp with the Feet is permitted only on the Stage. In fine, the Modulation of the Voice, and the Congruity of Gestures, should be fuch that the Argument may as it were be render'd visible to


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