The Arte of English Poesie

by George Puttenham

Of Auricular figures working by disorder. 140

Of Auricular figures working by surplusage. 141

Of Auricular figures working by exchange. 142

Of Auricular figures that serue to make the meetre tuneable and melodious, but not by defect nor surplusage, disorder nor exchange. 145

The names of your figures Auricular.

Eclipsis, or the figure of default. 136
Zeugma, or the single supply. 136
Prozeugma, or the ringleader. 137
Mezozeugma, or the middlemarcher. 137
Hypozeugma, or the rerewarder. 137
Sillepsis, or the double supply. 137
Hypozeuxis, or the substitute. 138
Aposiopesis, or the figure of silence, otherwise
called the figure of interruption. 139
Prolepsis, or the propounder. 139
Hiperbaton, or the trespasser. 140
Parenthesis, or the insertour. 140
Histeron proteron, or the preposterous. 141
Enallage, or figure of exchange. 142
Hipallage, or the changeling. 143
Omoioteleton, or the figure of likeloose. 144
Patimion, or figure of like letter. 145
Asindeton, or figure of lose language. 145
Polisindeton, or the coople clause. 146
Irmus, or the long lose. 146
Epitheton, or the qualifier. 147
Endiades, or the figure of twinnes. 147

Of the figures which we call Sensable, because they alter and affect
the minde by alteration of sense and first in single words. 148
Metaphora, or the figure of transport. 149
Catacresis, or the figure of abuse. 150
Metonymia, or the misnamer. 150
Antonomasia, or the surnamer. 151
Onomatopeia, or the newnamer. 151
Epitheton, or figure of attribution, otherwise
called the qualifier. 152
Metalepsis, or the far-set. 152
Liptote, or the moderator. 153
Paradiastole, or the currifauel, otherwise
called the soother. 154
Meiosis, or the disabler. 154
Tapinosis, or the abbaser. 154
Synecdoche, or the figure of quick conceit. 154
Of sensable figures appertaining to whole speeches, and by them
affecting and altering the minde by force of sence and intendment. 155
Allegoria, or figure of faire semblance. 155
Enigma, or the riddle. 157
Parimia, or the prouerbe. 157
Ironia, or the drie mock. 157
Sarcasmus, or the bitter taunt. 158
Asteismus, the merry scoffe, or ciuill iest. 158
Micterismus, or the fleering frumpe. 158
Antiphrasis, or the broad floute. 159
Charientismus, or the priuie nippe. 159
Hyperbole, or the loud lier, otherwise
called the ouerreacher. 159
Periphrasis, or the figure of ambage. 161
Synecdoche, or the figure of quick conceit. 162
Of figures sententious, otherwise called rhetoricall. 163
Anaphora, or the figure of report. 165
Antistrophe, or the counterturne. 165
Simploche, or figure of reiteration. 166
Anadiplosis, or the redouble. 167
Epanalepsis, or the slow returne, otherwise
called the Eccho sound. 167
Epizeuxis, or the vnderlay, otherwise
called the Cuckow spell. 167
Ploche, or the doubler, otherwise
called the swift repeate. 168
Paranomasia, or the nicknamer. 168
Traductio, or the tranlater. 170
Antipophora, or the figure of responce. 170
Sineciosis, or the crossecoople. 172
Atanaclasis, or the rebound. 173
Clymax, or the marching figure. 173
Antimetauole, or the counterchainge. 174
Insultatio, or the disdainfull. 175
Antitheton, or the quareller, otherwise
called the ouerthwart or rencounter. 175
Erotema, or the questioner. 176
Echphonisis, or the outcrie. 177
Brachiologia, or the cutted comma. 178
Parison, or the figure of euen. 178
Sinonimya, or the figure of store. 179
Metanoia, or the penitent, otherwise
called the figure of repentance. 179
Antenagoge, or the recompencer. 180
Epiphonema, or the close. 181
Auxesis, or the auancer. 182
Meiosis, or the disabler. 183
Dialisis, or the dismembrer. 185
Merismus, or the distributor. 185
Epimone, or the loueburden. 188
Paradoxon, or the wonderer. 189
Aporia, or the doubtfull. 189
Epitropi, or the figure of reference, otherwise
called the figure of submission. 189
Parrisia, or the licentious. 190
Anachmosis, or the importuner. 190
Paramologia, or figure of admittance. 190
Etiologia, or the tell-cause, otherwise
called the reason rendrer. 191
Dicheologia, or the figure of excuse. 192
Noema, or the figure of close conceit. 193
Orismus, or the definer by difference. 193
Procatalepsis, or the presumptuous. 194
Paralepsis, or the passenger. 194
Commoratio, or figure of aboade. 194
Metastasis, or figure of remoue, otherwise
called the flitter. 194
Parecuasis, or the straggler, otherwise
called the figure of digression. 195
Expeditio, or the dispatcher. 195
Diologismus, or the right reasoner. 196
Gnome, or the director, otherwise
called the sagesayer. 197
Sinathrismus, or the heaping figure. 197
Apostrophe, or the turne tale. 198
Hipotiposis, or the counterfait, otherwise
called the figure of representation. 199
Prosopographia, or the counterfet countenance. 199
Prosopopeia, or the false impersonation. 200
Chronographia, or the counterfait of time. 200
Topographia, or counterteit of place. 200
Pragmatographia, or counterfait of action. 203
Omoiosis, or the figure of resemblance. 203
Icon, or resemblance by portrait, and ymagerie. 204
Parabola, or resemblance misticall. 205
Paradigma, or resemblance by example. 205
Exargasia, or the gorgious, otherwise
called the bewtifull. 206
Of the vices and deformitie in speech principally noted
by ancient Poets. 208
How some vices in speeches are alwaies intollerable, some others
now and then borne withal by licence of approued authors. 209
Barbarismus, or barbarous speech. 209
Solecismus, or false speech. 210
Cacozelia, or fonde affectation. 210
Soraismus, or the vice called the mingle-mangle. 211
Cacosintheton, or the misplacer. 212
Cacemphaton, or foule speech. 212
Tautologia, or selfe saying. 213
Acyron, or the vncouth. 214
Pleonasmus, or fault of full speech. 215
Macrologia, or long language. 215
Periergia, or ouerlabor, otherwise called the curious. 216
Tapinosis, or the abbaser. 216
Bomphiologia, or pompous speech. 217
Amphibologia, or the ambiguous. 217
What it is that generally makes our speech vertuous or vicious,
& of that which the Latines call decorum. 218
Of decencie in behauiour and action, which also belongs to the
consideration of a Poet or maker. 231
How the good poet or maker ought to dissemble his arte, and
in what cases the artificiall is more commended then the
naturall and contrariwise. 250
The conclusion. 257

FINIS.

End of Project Gutenberg's The Arte of English Poesie, by George Puttenham