OKATORY.

Whole of a tiling, or a part only, is granted. .Nothing more con-'founds an adversary, than to grant him his whole argument; andat the same time either to show that it is nothing to the purpose,or to offer something else to invalidate it.

v. Paraboie, or Similitude, illustrates a thing by comparing itwith some other, to which it hears a resemblance.

vi. Antithesis , Contrast, or Opposition, by which things con-trary or dilterent are compared, to render them more evident.'1 bus Cicero says, “ The Roman people hate private luxury, hut)ove c grandeur.” This is a very florid figure ; and suitedno less tor amplification than proof, ft is esteemed a beauty inthis figure when any of the members arc inverted, which some callAntimetathesis. As where Cicero, opposes the conduct of Verres when governor ol Sicily, to that of Marcellus who took Syracuse the capital of that island. To this figure may also be referredoxymoron, or seeming contradiction ; that is, when (lie parts of asentence disagree in sound, but are consistent in sense. As whenCato says of Scipio Africamis, that “ lie was never less atleisure, than when he was at leisure ; nor less alone than whenalone.”

II. Figures suited to move the passions, are thirteen ; viz. epa-northosis, paralepsis, parrhesia, aparithmesis, exergasia, hypotvpo-sis, aporia, aposiopcsis, erutesis, ecphonesls, epiphoncma, apostro-phe, and prosopopeia.

i. Epanorthosis, or Correction, is a figure, by which the speakereither recalls or amends what he had last said. Sometimes one ormore words are recalled, and others substituted in their room ; atOther times, without recalling what has been said, something elseis substituted as more suitable. This is a very extensive figure,and used in addressing different passions. Cicero, in his defenceof Milo, speaking to the judges concerning Clodius , sajs, “ Areyou only ignorant what laws, if they may be called laws, and notrather torches and plagues of the state, he was about to impose andforce upon us?”

ii. Paralepsis, or Omission, is a figure, when the speaker pre-tends to omit, or pass by, what at the same time lie declares. Itis used either in praise or dispraise. Tims Cicero, in his defenceof Sextius ; “ I might say many things of his liberality, kindnessto his domestics, his command in the army', and moderation dur-ing his office in the province : but the honour of the state presentsitself to my view ; and calling me to it, advises me to omit theseless matters.” There is a beautiful instance of this figure in St.Paul’s epistle to Philemon, ver. If).

iii. Parrhesia, or Reprehension. The orator sometimes pre-pares his hearers for this by commending them first, urging thenecessity of it, representing his great concern for them as his mo-tive, or joining himself with them. Thus Cicero charges the se-nate with the death of Servius Sulpicius, for sending him to MarkAntony under a very ill state of health. His design was to makethem agree to a motion he was to make, that a statue andmonument might be erected to his memory at the public ex-pence.

iv. Aparithmesis, or Enumeration, is when that, which mightbe expressed by a few words, is branched out into several particu-lars, to enlarge the idea, and render it the more affecting. Cicero, inpleading for the Manilian law, where his design is to conciliatethe esteem of the people of Poinpcy, thus enlarges upon his cha-racter: ‘‘Now, what language can equal the virtue of CneiusPompey? What can be said either worthy of him, or new to you,or which every one lias not heard ? For those are not the onlyVirtues of a general which are commonly thought so ; labour inaffairs, courage in dangers, industry in acting, dispatch in perform-ing, design in contriving; which are greater in him than in allother generals we have ever seen or heard of.”

v. Exergasia, or Exposition, has an affinity with the formerfigure; but differs in ibis, that it consists of several equivalent ex-pressions, or nearly such, to represent the same thing in a strongermanner; whereas the other enlarges the idea bv an enumerationof different particulars. So that this figure has a near relation tosynonymia.

. v ‘. Hypotyposis, or Imagery, is a description of things painted)n such strong and bright colours, as may help the imagination ofthe hearers to conceive of them as present to their view. Thisfigure requires a vigorous and lively genius.

vii. Aporia, or Doubt, expresses ihe debate of the mind withvol. tv.—xo. 160.

itself upon a pressing difficulty. A person in such a state is aptto hesitate, or start sevi-ial things successively, without coming toany fixed resolution. Of this kind is that of Cicero for Cluentius (when lie says, “ I know not which way'to turn myself. Shall Ideny the scandal thrown upon him of bribing the judges? Can Isay the people were not told of it?” 8rc. Orators sometimesbegin their discourse with this figure. A diffidence of mind atfirst is not unbecoming, but graceful. It carries in it an air ofmodesty, and tends very much to conciliate the affections ofthe hearers.

viii. Sometimes a passion has that effect, not so much to rendera person doubtful what to say, as to stop Imn in the midst of asentence, and prevent his expressing the whole of what he design-ed ; and then it is called Aposiopcsis, or Concealment. It de-notes different passions; as anger, which, by reason of its heatand vehemence, causes persons to break off abruptly in their dis-course. But Cicero, in a letter to Cassius, uses it to express fear,when he says to him, “ Brutus could scarce support himself atMutina ; if lie is safe, we have carried the day. But if—heavenavert the omen ! all must have recourse to you.” Ilis meaning is,‘‘ If Brutus should be defeated.”

ix. Erotesis, or Interrogation. Every question is not figurative;but it becomes figurative, when the putting it by way of questiongives it life and spirit, As when Cicero says, “ Catiline , howlong will you abuse our patience ? do not you perceive your de-signs are discovered ?” It serves also to press and bear down anadversary.

x. Ecphonesis, or Exclamation, is a vehement extension ofthe voice, occasioned by a commotion Of mind, naturally ventingitself. This figure is used by Cicero to express variety of pas-sions. Thus* after his return from banishment, reflecting uponthose who had occasioned it, he breaks out into this moving ex-clamation: ‘‘ O mournful day to the senate, and all good men,calamitous to the state, afflictive to me and my family, but glori-ous in the view of posterity !” His design was to excite ah odiumagainst the authors of his exile, \Vhcn recalled in so honourable amanner.

xi. Epiphonema, or Acclamation, has a great affinity with thepreceding figure. It is so called, when the speaker, at the con-clusion of ids argument, makes some lively and just remarkupon what he has been saying, to give it the greater force.

xii. Apostrophe, or Address, is when the speaker breaks offfrom the series of his discourse, and addresses himself to some par-ticular person present or absent, living or dead ; of even to inani-mate natuie. So the prophet, “ Hear, O heavens! and give ear,O earth ! for the Lord hath spoken.” See Apostrothk.

xiii. Prosopopeia, or the Fiction of a Person: by which, citheran absent person is introduced speaking ; or one who is dead, asif he were alive and present; or speech is attributed to some in-animate being. There is no figure, perhaps, which serves betterpurposes to an orator than this. For by it lie is enabled to call inail nature to his assistance. There is scarce any tiling fit to besaid, but may be introduced this way. When lie has severe thingsto sav, and which may give offence as coming from himself, heavoids this, by putting them into the mouth of some other personfrom whom they will he better taken ; or nukes inanimate naturebring a charge, or express a resentment, to render it the more af-fecting. And by the same method lie sometimes secures himselffrom a charge of flattery, in carrying a compliment too high.Cicero, in his oration for Balbus,'introduces Marius, who wasdead, to plead in his defence : “ Can Balbus (says he) be con-demned, without condemning Marius for a like fact? Let him bepresent to your thoughts, since he cannot be so in person. Lethim tell you, he was not unacquainted with leagues, void of exam-ples, or ignorant of war.” In the management of this figure,care should be taken that what is said be always consistent withthe character introduced. In treating upon figures, we hare hi-therto considered them separately ; hut some expressions consistof a complication of them, and may come under the denominationof several figures, as well verbal as those of sentences, differentlyconsidered. Examples of this the judicious reader will easilydiscover, both in ancient and modern orations.

Of Style.

The word style properly signifies the instruments which the an-2 R ' cients