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Epanorthosis does Words past correct.
Pll teacb you
Apofiopesis leaves imperfeet Sense.
Apofiopefis. yet I would avoid Offence. Anacænosis tries another's Mind.
Prosopopæia feigneth Things to speak. Profopopæia.
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.
By Paragoge something's put to th’ End.
Antithesis changes Vowels th’one for t'other.
The following are Figures of Syntaxis in Excess.
In Pleonasin fuperfluous Words abound.
Parelce to the End puts more than needs.
Figures of Syntaxis in Defect.
Words in Ellipsis must be understood.
Syllepsis puts two different Things together, Syllepfos.
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.
Enallage changes Person, Number, Tense,
[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
By Evocation the third Person's made
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