To the Right excellent and most honorable Ladie, the Ladie Marie, Countesse of Pembroke.
The first Chapter of the first Booke.
UUhat Rhetorike is.
RHetorike is an Art of speaking. It hath two parts, Eloqution and Pronuntiation. Eloqution is the first part of Rhetorike, concerning the ordering & trīming of speach. It hath also 2. parts, Congruitie and Brauerie. Congruitie is that which causeth the speach to be pure and cohaerent: & it is performed either by Etimologie, which cōcerneth the affections of seuerall words: or Syntaxis, which dooth orderly conioyne them together. Heere should all Grammaticall rules (as [Page] they call them) be placed: I omit them for this time, as being scarce resolued in this conceipt. Brauerie of speach consisteth in Tropes, or turnings; and in Figures or fashionings. A Trope or turning is when a word is turned from his naturall signification, to some other, so conuenientlie, as that it seeme rather willinglie ledd, than driuē by force to that other signification. This was first inuented of necessitie for want of words, but afterwards continued and frequented by reason of the delight and pleasant grace thereof. Sometimes these Tropes bee excessiue, signifying in word, more than can bee true in deed, and then are they tearmed Hyperboles. The excellencie of tropes is then most apparant, when either manie be fitlie included in one word, or one so continued in manie, as that with what thing it begin, with the same it also end: and then it is called an Allegorie or Inuersion. And so much of the general proprieties of tropes: now to the diuers kindes thereof.
Cap. 2. Of the Metonymia of the cause.
THere be two kindes of tropes. The first cōteineth Metonymia, the chāge of name: and Ironia, a scoffing or iesting speach the second comprehendeth a Metaphore and Synecdoche. Metonymia is a trope which vseth the name of one thing for the name of another that agreeth with it, as when the cause is turned to signifie the thing caused, the thing caused to signifie the cause, the subiect to expres the adiunct, or the adiūct the subiect. The Metonymia of the cause is double, of the efficient, or materiall cause: of the efficient, as when the Autor & inuentor is put for the things by him inuented & found.
and
Bacchus they say was begotten of thunder, I thinke that euer since made him so full of stirre and debate; Bacchus indeed it was, which sounded the first trumpet of this rude alarum.
The violence the Gentleman spake of, is now turned to mariage: he alleadged Mars, but she speakes of Venus.
La terre de tout temps n'est ceinte de Neptune.
Contre l'ire du ciel, et la fureur de Mars.
Consus ondas Neptuno, &c.
And here it is vsuall, nay necessarie, for wāt of words, to put the Autors name for [Page] the booke by him made. So it is in a certaine Epistle written to Boscan, lib. 3.
The Metonymia of the materiall cause is, when the matter is put for the thing thereof made.
And
And
And
And
Who euermore will loue Apolloes quill?
And
Cap. 3. Of the Metonymia of the thing caused.
THe Metonymia of the thing caused is when we attribute that to the efficient which is made by the efficient. And hereof come most of Poets and Orators Epithetes.
Et
Et
Et
Et qu' ore le deuoir la peur tremblante donte.
Cap. 4. Of the Metonymia of the subiect.
THe Metonymia of the subiect, is when the word that properlie signifieth the subiect is brought to expresse the thing adioyned thereunto, as when the thing that containeth is put for that which is [Page] contained, the place for the thing therein placed, the possessor for the thing possessed.
i. Vealegons house.
Cap. 5. Of the Metonymia of the adiunct.
A Metonymia of the adiunct, is, when by the adiunct we expresse the subiect. So the names of vertues & vices are vsed for vertuous or vicious men: the signe for the thing which it doth signifie: the adiūct of the time for the things subiect, &c.
So in
for Alcinous himself.
Howsoeuer it bee, my death shall triumph ouer thy crueltie.
And
And
La qual es vna tierra muy floreciente de ingenios, de letras, de iuizios, y de grandes escritores.
Cap. 6. of Ironia.
IRonia is a Trope, that by naming one contrarie intendeth another. The speciall grace whereof is in iesting and merie conceipted speaches. This trope continued maketh a most sweet allegorie, and it is perceiued by the contrarietie of the [Page] matter it selfe, or by the manner of vtterance quite differing from the sense of the wordes, for then it is apparant that wee speake but iestinglie, and not as wee thinke.
And
and
and
So that the pretie pig, laying her sweet burden about his necke; my Dorus, sayd she, tell me these wonders.
In the same booke Philoclea saith.
O kind mother of mine, said she, did you bestowe the light vpon me for this? or did you beare me to bee the author of my buriall? A trim purchase you haue made of your owne shame, robbed your daughter, to ruine your selfe.
O notable affection, for the loue of the father, to kill the wife, and disenherite the children. O single minded modestie, to aspire to no lesse, than to the princelie Diademe.
THere is also a kinde of Ironia called [...] in Greek, Praeteritio in Latin, a kinde of pretēded omitting or letting slip of that which indeed wee elegātly note out in the verie shewe of praetermission, as when we say; I let this passe; [Page] I passe it ouer with silence. Like vnto this is that which is called of the Graecians [...], of the Latinists Negatio, a denial or refusall to speake, as, I will not say that which I might, I will not call you, &c. when neuerthelesse we speake and tell al.
and
To tell you what pitifull mishaps fell to the yong Prince of Macedon his cosyn, I shoulde too much fill your eares with strange horrors: neither will I stay vpon those laboursom aduentures, nor lothsom misaduentures, to which and through which his fortune and courage conducted him: my speach hasteth it selfe to come to the point of all Musidorus misfortunes.
And,
Else where,
And
I remember nothing in Boscan or Garcilasso fit for this purpose.
Cap. 7. Of a Metaphore.
THus much of the first kind of trope in Metonymia and Ironia: now followeth the second, containing a Metaphore and Synecdoche. A Metaphore is when the like is signified by the like: so then a Metaphore is nothing but a similitude contracted into one word. There is nò trope more florishing thā a Metaphore, especially if it be applied to the senses, & among the senses chiefly to the éie, which is the quickest of all the senses.
And
And,
And there of Aeneas.
And,
And,
For besides his eies sometimes euen great with teares.
And might perceiue in him store of thoughts, rather stirred than digested.
And the extreame bents of my affection, which wil either break out in words, or breake my heart.
The muddie minde of Dametas, hee found most easely stirred with couetousnesse.
Began to throw her thoughts into each corner of her inuention.
Each coffer or cupboord he met, one saluted his shinnes, another his elbowes, Iometimes readie in reuenge to strike thē againe with his face.
She gaue him the woodden salutation you heard of.
But hyperbolicall amplifications & allegories haue singular excellēcie in a Metaphore, & therefore commonly they are [Page] here most vsuall: and by these hyberbolicall metaphores the speach is made very loftie and full of maiestie, when we attribute life and action, to dead and senselesse things.
And,
But alas, to what a sea of miseries my plentifull tongue doth lead me?
She that could before scarco go, but supported by crowches, now flew about the house borne vp with the wingsof anger▪
Allegoriis.
And,
And when with pitie once his hart was made tender, according to the aptnes of the humor, it receiued straight a cruell impression, of that wonderfull passion, which to be defined is impossible. &c.
And,
And herewith the deep wound of his loue, being rubbed afresh with this new vnkindnes, began as it were to blee'd againe, in such sort, that he was vnable to beare it any longer.
Cap. 8. Of Synecdoche of the part.
SYnecdoche is when the name of the whole is giuē to the part, or the name of the part to the whole. Synecdoche of the part is, when by a part wee meane [Page] the whole, and it is either of the member or of the speciall. Of the member, when by one integrall member the whole is signified.
Basilius hauing combd, and trickt himselfe more curiouslie, than any times fortie winters before.
Cap. 9. Of Synecdoche of the speciall.
THe Synecdoche of the speciall is when by the speciall we note the generall, so we put a finite number for a great one; so the singuler for the plurall.
Neither he shews reuerence to a Prince, nor mercie to begger.
And,
Cap. 10. Of Synecdoche of the Integrall.
THe Synecdoche of the whole, is when by the whole we meane a part, and it is either of the integrall whole, or generall and vniuersall. Of the integrall, [Page] when by the whole integrall we meane a part.
As if the stars would breath themselues for a greater mischiefe.
Cap. 11. Of Synecdoche of the generall.
THe Synecdoche of the generall is when by the generall we intend the speciall, so the plurall for the singuler, so the Poet for Virgil.
And,
And,
Vile creature, said she, laying her hand vppon her sword, force me not to defile this sword in thy base blood.
Thus much for Tropes, whereof the most excellent is a Metaphore; the next, Ironia, then Metonymia; lastlie, Synecdoche: The most vsuall also is a Metaphore, then a Metonymia, next, Synecdoche, lastlie, Ironia. Metonymia, Metaphora, and Synecdoche oftentimes concurre together.
Cap. 12. Of Figures.
NOw of Figures. A figure is a certeine decking of speach, whereby the vsual and simple fashion thereof is altered and changed to that which is more elegant and conceipted. For as a Trope is of single wordes, so a Figure of coopled and conioyned: and as of words, some bee proper▪ some turned, so of speaches, some bee simple and naturall, some finelie fashioned and figured artificiallie. A figure is either in the word, or in the sentence. A figure of the word is that, [Page] whereby the words doo sweetlie and fitlie sound among themselues. In these figures especially consisteth the conceipted pleasance and delicacie of speach.
Cap. 13. Of verse and rime.
THe figure of words consisteth either in the iust dimension and measuring of sounds or words, or els in the pleasant repetition of the same. This dimension or measuring is either belonging to Poets, or vsed of Orators. Poeticall dimension is that which is bound to the continuall obseruation of prescript spaces. Poetical dimension maketh either rime, or verse. Rime containeth a certaine number of sillables ending alike.
Cap. 14.
VErse or meter is a poeticall dimension comprehending certaine feete setled [Page] in certaine places. A foote is a dimension of certaine syllables with a strict obseruation of distinct time or quantitie. A foote is either of two syllables, or three, and both of them either simple or compound. The simple one of two sillables, is Spondaeus, cōsisting of two long sillables, as, εγω· Musas: Learning: Tutta: Chacun: Obras. Or Pyrrichius, conteining 2. short sillables: as, λογοσ: Deus: Pretie: oue: amys: mia. The compound one of two sillables, is either Iambus, of one short & one long, as, [...]: deos: reuenge: tuoi: seras: aguas: or Choreus, of one long and one short, as [...]: arma: noble: notte: vaincre: porne. The simple one of three Syllables is either Molossus of three long Syllables, as [...]: Romanos: Transformings: Diuiso: Effrayè: Contemplando: or Trochaeus of three short, [...]: legere: pretelie: huomini: alme Venus: que cosa: The compound one of three sillables consisteth of two sillables like or vnlike: the feete of two like sillables are twice two, Dactylus, of one long & two short, as, [...]: Tityre: companie: matino: alme Venus: vidamia: [Page] and Anapoestus of two▪ short & one long, as, [...]: fluuios: monument: non era peccato: resónant: que principio. Bacchius of one short & two long, as [...]: Athenas: reseruing: ritorna: rechanter: palabras: & Palimbacchius, of two long and one short, as [...]: cantare: almightie: parlare: vers digne: estressa. Now the feete of two vnlike are but two, Creticus, of a lōg, a short, and a long, as [...]: Indies: impotent: vita sincera: digne vers: causa secreta: and Amphibrachus: of one short, one long, & one short, as, [...]: amare: disorder: amore: benigne: palabra. Thusmuch of feet, by the dimension wherof a verse is made. In a verse, sometimes a vowell, or this letterm, or both bee cut off in the ende of a word, if the next word begin with a vowell. The last sillable in a verse is commō, either long or short. There be many kinds of verses, and may be more: those that be now in vse may be referred to these two generall heads, a simple verse and a compound. The simple cōsisteth onely of two feete, as Adonium, of a Dactylus and Spondaeus.
The compound of more than two, as Tetrametrum of foure, and Polymetrum of more than foure. Tetrametrum is that which is called Asclepiade, of a Molossus, Anapoestus, and two Dactyli, as
Polymetrum is either Pentametrum of fiue, or Hexametrum of sixe. Pentameters bethree: first a Phaleucium of a Spondaeus, a Dactylus, and three Chorei, as
Secondly a Sapphike, of Choreus, Spondaeus, Dactylus, and two Chorei, where we must obserue, that after euery such third [Page] verse, one Adoniū be added thereunto, as
Remy Belleau hath some of this kind, as
Thirdly and lastly, Elegum, or the Elegiacall verse of a Dactylus or Spondaeus, in the first place, and in the third place of a Spondaeus with two Anapaesti.
The Hexameter is most famous, consisting of Dactylus or Spondaeus indifferently in all the foure first places: but in the fifth place, of a Dactylus onely, as
And,
First shal a trustie Grehound transforme himselfe to a Tyger.
The Pentameter is neuer lightly separated from the Hexameter, but this is oftentimes seuered from that. Hexameters ioyned with Pentameters be, as
The Iambike is also verie vsual: which is either pure consisting onely of Iambikes, as
Or mixt, which admitteth also Spondaeus, as
Other kindes there be, as Anacreontica, ¯ ˘ ¯ ˘ ¯ ˘ ¯
Cap. 15.
THus much shall suffice for poeticall dimension. Now followeth that of Orators, both vnlike that of Poets, and alwaies vnlike it selfe. In prose auoid verse, vnlesse now and then a verse bee brought in out of some author, either for proofe or pleasure. The beginning or ending of a verse must not be the beginning or ending of prose. For the beginning, a [Page] little consideration will suffice, for the middle, lesse; but in the end the chief care is to bee had, for it is most examined, and longest continueth in memorie. It must therefore bee sweetlie contriued, that it seeme not hastie and abrupt: it must also bee varied and changed oftentimes, least satietie bee procured, if the same foote should in the end bee continuallie repeated. Yet notwithstanding this diligence, it is not required that a man should bee bound to the obseruation of certaine feet anie further than sixe sillables from the end. As I require diligence in this point, so I condemne curiositie, affectation, and open art. The end is seldome of long sillables altogether, but verie oftentimes of long and short together, as three Chorei continued, an Iambus with a Dichoreus. Tullie so loued Dichoreus, that in one Oration to Pompeius, he vsed it an hundred and fourteene times. Neither must wee onlie haue regard to the quantitie of the sillables, but also to the goodnes of the letters, for that is a great cause of this sweete dimension vsed of Orators.
I would then haue said, the heauenlie powers to be reuerenced, & not searched into, and their mercie rather by praiers to bee sought, than their hidden counsailes by curiositie.
Shee sawe the rigor of the lawes was like to lay a shamefull death vppon her: which, being for that action vndeserued, made it the more insupportable, and yet in the depth of her soule, most deserued, made it more miserable.
Cap. 16. Of Epizeuxis.
THus much of the dimension of words: Now followe those figures that cōsist in the repetitiō of words and sounds, either like or vnlike; and like, either continued, or seuered: and continued, either in the same sentence, or in diuers sentences: in the same sentence, it is called in Greeke [...], a ioyning of the same word or sound, for that one sound [Page] is continuallie ioyned to another. It is called also Palilogia, or iteration.
Sometimes there is a parenthesis put betweene, but yet the thing is all one as if there had nothing been inserted.
And,
Cap. 17. Of Anadiplosis.
THat which is in diuers sentences is either Anadiplosis, or climax. Anadiplosis, redubling, or reduplication is when the same sound is repeated in the ende of the sentence going before, and in the beginning of the sentence following after.
And
Cap. 18. Of Climax.
CLimax, gradation, is a reduplication continued by diuers degrees and steps, as it were, of the same word or sound, for these two be of one kind.
And 1. Semaine 2. day.
And,
Cap. 19. Of Anaphora.
THus much of the continued repetitiōn of the same word in one or diuers sentences: now followeth the seuered repetition of the same sound, and that either in the same place, or in diuers. In the same place, either simple or conioined. Simple, Anaphora and Epistrophe. Anaphora a bringing back of the same soūd, is when the same sound is iterated in the beginning of the sentence.
Cap. 20. of Epistrophe.
Epistrophe, Conuersion or turning to the same sound in the ende, is when the like sound is iterated in the endings.
But since it is weaknesse, too much to [Page] remember, what should haue been done, and that your commandement stretcheth to know what shalbe done; I doo, &c.
O no, he can not be good, that knowes not why hee is good, but stands so farre good, as his fortune may keepe him vnassailed.
Nay we are to resolue, that if reason direct it, we must do it, & if we must doo it, we wil doo it: for, to say, I cannot, is childish; and, I will not, is womanish.
Cap. 21. Of Symploce.
COnioyned as Symploce, Complexio, Comprehensio, coupling of both the other, when the same sound is repeated both in beginnings and endings.
My bloud will satisfie the highest point of equitie, my bloud will satisfie the hardest hearted of this Countrey.
Such was as then the estate of the Duke, as it was no time by direct meanes to seek her, & such was the estate of his captiued will, as he could delay no time of seeking her.
Cap. 22. Of Epanalepsis.
THese repetitions be in the same place; the two following, that is Epanalepsis and Epanados, be diuerslie placed. Epanalepsis or resūption, is when the same sound is iterated in the beginning and ending.
[Page] And,
Feare is more paine, than is the paine it feares.
The thoughts are but ouerflowings of the mind, and the tongue is but a seruant of the thoughts.
Parole qu' on ne peut exprimer par parole.
Mere digne des fis, fis dignes de la mere.
Cap. 23. Of Epanados.
EPanados, regression, turning to the same sound, when one and the same sound is repeated in the beginning and middle, or middle and end.
Cap. 24. Of Paronomasia.
HEtherto of the repetition of sounds like. It followeth to speake of the repetition of sounds somwhat vnlike, as Paronomasia and Polyptoton. Paronomasia, Agnominatio, allusion, is when a [Page] word is changed in signification by changing of a letter or sillable.
And,
And,
Come shepheards weedes, become your masters minde.
But, alas, what can saying make them beleeue, whom seeing cannot perswade?
La loi non par Platon, ains par Pluton ecrite.
Cap. 25. Of Polyptoton.
Polyptoton, often falling or declining of one word, is when as words of one ofspring haue diuers fallings or terminations.
Before I leaue of to talk of these figures of woords, I will heere confusedlie insert a number of conceited verses, sith all their grace & delicacie proceedeth from the figures aforenamed. Theocritus hath expressed the forme of an egge, and an alter in verse, so hath Willy represented the figure of a swoard, and an old Abbot, the image of the crosse in verie laboured and [Page] intangled verses: but let them passe, and come we to such as are more plausible.
So in the beginning of the same act.
Spenser taketh the words one after another.
[Page] Petrarch hath nine sestines, or thereabout, one is fol. 421.
Sir Philip Sydney 1. hath a rime, wherein the last word of the first doth iumpe in sound with the middle word of the second, thus:
So
And
hath an odde kinde of rime vsed in Prouance, where continually he putteth six verses between euery rime, so that the first rimeth with the 8, the second with the ninth, the third with the tenth, &c. thus:
Sir Philip Sydney 2. Philisides and Eccho.
And after.
The like be in Erasmus his Dialogues, and Ouids Metamorphoses: such an one is that
and.
In Willies Poems there bee diuers conceipted kindes of verses, some whereof resemble those olde ones,
[Page]I had almost forgotten an other olde verse, inferior to none of the rest, it is this.
Saith Cain, in an Hexameter; which (if you reade it backward) will make Abels answer in a Pentameter, thus:
Sir Philip Sydney 3.
And,
These two bee aswell knowne, as their author is vnknowne.
In English, thus.
In French, thus.
Or thus.
Hadrian the Emperour of three Shepheards.
In imitation whereof, a countreyman of ours, in his sweete description of the Troyan warre, hath made diuers: among the rest I remember these three
There be some called Serpentina carmina, because they turne and winde themselues inorbem like a snake, and their only grace proceedeth from a Rhetoricall Epanalepsis: as those in Ouid,
And these in Martiall,
[Page] And that in Virgil before,
The words turned, ouerturne the sence, thus.
The same in French by L'officiall de Langres.
There bee certaine old verses that thus turned, retaine the same sence still, thus.
And these, which you must take at the halfe turne, thus.
[Page] He that made the booke called Pierce Plowman, maketh three or foure words in euerie line begin with the same letter, thus.
Who so desireth to see more of this kinde, let him reade Accords Bigarrures, and Scaligers books de arte Poetica, where he hath one verse, which he calleth Proteus,
Which may be turned to as manie fashions as euer was Proteus; for as I remember, it is apparant by that which Scaliger there putteth down, that it may be varied threescore and ten times, keeping the selfe same words and sence.
Cap. 26. Of figures of sentences.
THis shal suffice to haue spoken of figures in words: now folow the figures in Sentences, which in the whole sentēce expres some motion of the minde. These are more forcible & apt to [Page] perswade, than those of words, which be rather pleasant and fit to delight. Generallie, as in tropes there is a certaine grace, in figures of words a kinde of delicacie, so in these of sentences, appeareth force and maiestie.
Cap. 27. Of exclamation.
THese figures consist in simple speach alone, or in conferring and debating with others. In speaking alone, such as respect either the matter, or the person; the matter, as Exclamation & Reuocatiō, or calling backe of ones selfe: Exclamation is expressed by some note of exclamation, either put downe, or vnderstood: an excellent instrument to stirre vp diuers affections, sometimes wonder and admiration.
[Page] Lord, what by-words they speake, what spite they spit?
Sometimes despaire.
But wretch that I am, my torment is beyond all succour, and my euill deseruing doth exceed my euil fortune. For nothing els did my husband take this strange resolution to liue solitarie: for nothing else haue the winds deliuered this strāge guest to my countrey: for nothing els haue the destinies reserued my life to this time, but that onlie I, most wretched I, should become a plague to my selfe, and a shame to womankind.
[Page]Sometimes wishing.
O Diana said Philoclea, I would, either the clowd that now hides the light of my vertue, would as easily passe away, as you will quickly ouercome this let; or els that you were for euer thus darkned, to serue for a better excuse of my outragious folly
Sometimes indignation.
Sometime derision. See that which Patroclus spake in scorne of Cebrion falling dead from his chariot. Homer. Π. Iliad. in Ironia before. And that of Thersites in 2. Iliad. in Paronomasia before.
Kisse her? now maist thou kisse, &c.
See that in Ironia, though no note of exclamation be there.
[Page]Sometimes protestation or obtestation.
Sometimes griefe and miserie.
O miserable wretch, whether doo thy destinies guide thee?
Sometimes pitie and commiseration.
Alas, excellent Mopsa, consider, that a vertuous Prince requires the life of his meanest subiect, and the heauenlie sunne disdaines not to giue light to the smallest worme.
Sometimes cursing.
There is none here &c. but onlie the almightie powers, whom I inuoke to bee the triers of my innocencie. And if euer my thoughts did receiue so much as a faint in their true affection: if they haue not continuallie with more and more ardour, from time to time pursued the possession of your sweetest fauour: if euer in that possession they receiued either spot or fellowship, thē let there most horrible plagues fall vpon me: let mine eyes be depriued of the light, which did abuse the heauenly beames that stroke them: let my falsified tongue serue to no vse, but to bemone mine owne wretchednes. Let my hart impoysoned with detestable treason, be the seate of infernall sorowe: let my soule with the endlesle anguish of his conscience, become his owne tormentor.
Epiphonema is a kinde of exclamation when after the discourse ended, we adde some short acclamation, as a conclusion or shutting vp of all in wondring wise.
Homer 1. Iliad, when he had laid down the miseries of the Graecians, saith thus;
Virgil when he had told the causes of Iunoes wrath against the Troyans, concludeth [Page] thus;
When he had set foorth the natures, proprieties, &c. of horses.
he maketh vp all thus:
When hee had laide downe the industrious nature of the busie Bee, Georg. 4. he addeth,
Sir Philip Sydney 3. when hee had expressed the heauie departure of Dorus from his friend Pirocles, endeth thus; ‘So much his owne heart did finde him faultie, to vnbend anie way the continuall vse of their deare friendship.’ 5. When he had manifested the inconstancie of the people, and setled perseuerance of Philanax & Euarchus, he addeth; ‘So euil ballanced be the extremities of popular mindes, and so much naturall imperiousnes there rests in a wel framed spirit.’
Torquato Tasso 15. After the description of the diuers alterations & commutations of regions & kingdomes, he saith;
When he had taught that there was no vacuum by examples of water, howre glasses, Conduites, &c. he shuttteth vp all thus:
Garcilasso when he had expressed the transformation of Daphne, hee vseth this acclamation to make vp all;
Licence also & libertie of speach seemeth to be a certaine exclamation; when in the presence of those to whome otherwise wee owe dutie and reuerence, wee speake boldly and confidently. For examples let these suffice till I call to minde better.
And that which there followeth.
I therefore say to thee, ô iust Iudge, that I, and onlie, I, was the worker of Basilius death: they were these hands that gaue vnto him that poysonous potion, that hath brought death to him, and losse to Arcadia. It was I, and none but I, that hastned his aged yeares to an vnnaturall end, and that haue made all this people orphanes of their royal father: I am the subiect that haue killed my Prince: I am the wife that haue murdered my husband: I am a degenerate woman, an vndoer of this Countrey, a shame of my children. [Page] What couldest thou haue said more, ô Philanax? and all this I graunt.
Cap 28. Of Epanorthosis.
THe calling backe of a mans selfe followeth, when any thing is reuoked, and it is as it were, a cooling of that heate of exclamation whereof wee latelie spake. It is either Epanorthosis, or Aposiopesis: Epanorthosis correction, is, when any thing passed is called backe.
In the Countrey of Thessalia (alas why name I that accursed Countrey, which brings forth nothing but matter for tragedies? but name it I must) in Thessalia I [Page] say there was (well I may say there was) a Prince: no, no Prince, whom bondage wholly possessed, but yet accompted a Prince and named Musidorus. O Musidorus, Musidorus! But to what end serue exclamations, where there are no eares to receaue the sound?
Cap. 29 Of Aposiopesis.
A Aposiopesis, Reticentia, concealing, is when the course of a speach begun is in such sortstaid, that some part thereof not vttred, is neuertheles perceiued.
Cap. 30. Of Apostrophe.
THus much of Epanorthosis and Aposiopesis which respect the matter: now follow Apostrophe & Prosopopoia which touch the person. Apostrophe turning away, is when the speach is turned to some such person to whom it was not first prepared, sometimes the turning is to men.
But now my speach must be directed [Page] to you, good Master Dorus, who with Pallas helpe pardy, are latelie growne Palladius.
Sometimes from men, to Gods.
In Apostrophes are contained poëticall inuocations.
Sometimes to a dumb and senselesse creature, sometimes to brute beasts. Homer. 24. Iliad. bringeth in Andromache speaking to the dead corps of Hector.
Alas poore Lute, how much thou art deceiued, to thinke that in my miseries, thou could est case my woes, as in my careles times, thou wert wont to please my fancies.
[Page] Sometimes this figure is vsed in the verie beginning of a speach; but not oft: as by Tullie, where he turneth from the Senators, and exclaimeth against Catilines insolencie. How long Catiline, &c.
Cap. 31. Of Prosopopoia.
PRosopopoia is a fayning of any person, when in our speach we represent the person of anie, and make it speake as though he were there present: an excellent figure, much vsed of Poets, wherein wee must diligentlie take heede, that the person thus represented haue a speach fit and conuenient for his estate and nature. A Prosopopoia is either perfect, or imperfect: imperfect, when the speach of some other person is but brought in by the way and lightlie and sleightlie represented.
At length, staying, hee came a little neerer her againe, but still without the compasse [Page] of blowes, holding one leg as it were readie to runne away; & then fell to scolding and rayling, swearing, it was but a litle bashfulnesse in him, that had made him goe backe, and that if she stayed anie longer, he would make her see, his bloud came out of the eldest shepheards house in that Countrey.
The perfect Prosopopoeia is, when the whole speach of anie person is fully and liuely represented; wherin we must make both a fit and orderly accesse too, and regresse from the same Prosopopoeia. Homer 2. Iliad. describeth Thersites excellently, and there giueth him a fit speach for such a personage.
So he maketh Patroclus appeare in sleep to Achilles. 5. Iliad.
So 1. Iliad. Patroclus bringeth in Peleus Achilles father, speaking thus.
This is as it were the preparation; the speach of Peleus followeth.
This is the Prosopopoeia of Peleus, which is thus left off;
She might percetue a farre off one cō ming towards her in the apparaile of a shepheard, with his armes hanging down, going a kinde of languishing pace, with his eyes sometimes cast vp to heauen, as though his fancie straue to moūt vp higher; somtimes thrown down to the groūd, as if the earth could not beare the burden of his paines: at length she heard him with a lamentable tune sing these few verses:
And hauing ended, she might see him strike himselfe vppon the breast, vttering [Page] these words. O miserable wretch, whether doothy destinies guide thee?
By this figure wee sometimes make dumme and senceles things speake.
So Homer. Τ. Iliad. makes Xanthus Achilles horse speake.
And endeth thus.
maketh the Images of the Troian Godds appeare to Aeneas in sleepe, expounding the Oracles, instructing him in his way, &c. And there, the chief of the Harpies, Celeno speaketh thus.
And giue me leaue, excellent Euarchus, to say it, I am but the representer of all the late florishing Arcadia, which now with mine eyes doth weepe, with my tongue doth complaine, with my knees doth lay it selfe at your feete, which neuer haue bin vnreadie to carie you to the vertuous protecting of innocents. Imagine, vouchsafe to imagine, most wise & good King, that here is before your eyes the pitifull spectacle of a most dolorous ending tragedie. Wherein I doo but play the part of al this now miserable prouince, which being spoyled of her guide, doth lie like a shipp without a Pilote, tumbling vp and downe in the vncertaine waues, till it either runne it selfe vpon the rocke of selfe diuision, or bee ouerthrowne by the stormie windes of forraine force. Arcadia [Page] finding her selfe in these desolate termes, doth speake, and I speake for her, to thee not vainlie puissant Prince. That since now she is not onlie robbed of the naturall support of her Lord, but so sodainlie robbed, that she hath not breathing time, to stand for her safetie: so vnfortunatelie, that it dooth appale her minde though shee had leisure, and so mischieuouslie, that it doth exceed both the sodaines and vnfortunatenes of it: thou wilt bend thine armes vnto her, and as a man, take compassion of mankind: as a vertuous man, chastice most abominable vice; and as a Prince protect a people. &c.
Cap. 32. Of Addubitation.
TThe cōference or debating followeth, and it is either in asking, or in answering. In asking be conteined deliberation, and occupation, or preuenting and meeting with an obiection. Deliberation is, when we aske and enquire in consultation wise: then when wee haue thus for a while helde the auditors in suspence, we determine of some what eyther more or lesse contrarie to their expectation. Deliberation is either in Addubitation, or communication. Addubitation or doubting is a kinde of deliberation with our selues.
And so forward, for it is all excellent and conteineth thirtie linei more.
Yet if my desire, how vniust soeuer it be, might take effect, though a thousand deaths followed it, and euerie death followed with a thousand shames, yet should not my sepulchre receiue mee without some contentment. But, alas, sure I am not, that Cleophila is such as can aunswere my loue: and if she be, how can I thinke shee▪ will? since this disguising must needes come for some foretaken conceipt. And either way, wretched Gynecia, where cāst thou finde anie smal gtound-plot for hope to dwell vpon? No, no, it is Philoclea his heart is set vpon, if hee bee a hee, it is my daughter which I haue borne to supplant me. But if it bee so; the life I haue giuen thee, vnnaturall Philoclea, I will sooner with these hands bereaue thee of▪ than my [Page] birth shall glorie she hath bereaued mee of my desires. In shame there is no comfort, but to be beyond all bounds of shame.
In 16. is a singular addubitation of Armida when Rinaldo fled.
And in 22. another of Tancrede, when he perceiued that he had slaine Clorinda.
And that of Albanio, Aeg. 2. in Garcilasso.
Cap. 33. Of Communication.
COmmunication is a consultation, or deliberation with others. Some such thing is in, 2. Il. in Thersites his speach.
Alas how painfull a thing it is to a diuided [Page] minde, to make a well ioyned aunswere? how hard it is to bring inward shame to outward confession? and how foolish, trow you, must that answere bee, which is made, one knowes not to whō? Shall I say, ô Cleophila? alas your words be against it: shal I say prince Pirocles? wretch that I am, your shew is manifest against it. But this, this, I well may say, if I had continued, as I ought, Philoclea, you had either euer been, or neuer been Cleophila. You had either neuer attempted this change, fed with hope, or neuer discouered it, stopt with dispaire. But I feare me, my behauiour ill gouerned, gaue you the first comfort; I feare me my affection ill led, hath giuen you this last assurance. If my Castle had not seemed weake, you would neuer haue brought these disguised forces. No, no, I haue betraied my self, it was well seene I was glad to yeeld, before I was assaulted. Alas, what then shall I doo? shal I seeke farre fetched inuentions? shall I seeke to lay colours ouer my decaied thoughts, or rather, though the purenes of my virgin mind be stained, let me keep the true simplicitie of my word. True it is, [Page] alas, too true it is, ô Cleophila, for so I loue to call thee, since in that name my loue first began, and in the shade of that name, my loue shall best bee hidden; that euen while so thou wert (what eye bewitched me I knowe not) my passions were farre fitter to desire than to be desired. Shall I say then, I am sorie? or that my loue must be turned to hate, since thou art turned to Pirocles? how may that well be, since whē thou wert Cleophila, the despaire thou mightest not bee thus, did then most torment me? Thou hast then the victorie, vse it now with vertue: since from the stepps of vertue, my soule is witnes to it selfe, it neuer hath: and pledge to it selfe, it neuer shall decline. No way to make me leaue to loue thee, but by making me think thy loue vnworthie of me.
Cap. 34. Of Praeoccupation.
PRaeoccupation is when we preuēt and meete with that which might bee obiected, and doo also make aunswere to the same: of the first part it is called Praeoccupation, or the laying downe of [Page] the obiection, of the second, subiection, or answering thereunto. So that cōmonlie it hath a kind of prosopopoia adioyned vnto it. This preuenting therfore is either indirect, most fit for beginnings, and more vsed of Orators than of Poets.
An vnused thing it is, and I thinke not heretofore seene, Arcadians, that a woman should giue publike counsaile to mē, a stranger to the countrey people, and that lastlie in such a presence a priuate person, as I am, should possesse the regall throne. But the strangenes of your action makes that vsed for vertue, which your violent necessitie imposeth. For certainlie a woman may well speake to such men who haue forgotten all manlike gouernment: a straunger may with reason instruct such subiects, that neglect due points of subiection, and is it meruaile this place is entred into by an other, since your owne Luke, after thirtie yeares gouernment, [Page] dare not shewe his face to his faithfull people?
Or ful & direct, that of Musid. to Phila. is ful & perfect, in 5. ‘But you wil say &c.’
Cap 35. Of Sufferance.
THus much of asking. Now in answering there is either Permissio, sufferance, or Concessio, a graunting or yeelding vnto. Sufferance is when we mockinglie giue leaue to do somewhat.
If you seeke the victorie, take it, and if you list, triumph: haue you all the reason of the world, and with me remaine all the imperfections?
Segui, segui tue stile, estimata che sei.
Cap. 36. Of graunting.
GRaunting is when we iestinglie admit of anie speach or argument.
But yet euen of fauour, let vs grant him thus much more, as to fancie, that in these foretold things, fortune might bee a great actor, perchance to an euill ende, yet to a lesse euill ende, all these intangled deuises were intended. But I beseech your Ladiship, my Lady Timopirus, tell me what excuse can you finde for the chaunging of your lodging with the Dutchesse, that verie instant she was to finish her excerable practise? how can you cloake the lending of your cloake vnto her? was all that by chaunce too?
This figure delighteth very much whē we grant that which hurteth him to whō it is graunted, as it manie times falleth out in contentious disputations. Thus much of Eloquution in tropes and figures: in al which obserue this one lesson, the more the better: yet with discretion, and without affectate curiositie.
THE SECOND BOOKE.
1. Cap. Of vtterance or pronunciation.
OF Eloquution which was the first part of Rhetorike, wee haue spoken alreadie: it now remaineth to talke of Vtterance or Pronunciation the second part. Vtterance is a fit deliuering of the speach alreadie beautified. It hath two parts, Voyce and Gesture, the one pertaining to the eare, the other belonging to the eye. A good voyce is to be wished: but although it be but meane, we must haue care to keepe and better it, that whatsoeuer wee vtter, it may be pronoūced with a voyce fit for the thing deliuered. The voyce must be neither too lowe, nor too high, but meane: for as the one disgraceth all contention and earnest speach, so the other bewraieth a brawling disposition. Nothing is either better for his voyce that speaketh, or more pleasant to the eares of them that heare, than often changing: nothing more hurtfull to the [Page] one, or harsh to the other, than continuall straining without intermission. To brawle in the beginning with a shriking voyce is rude and vnmannerly. It is best to begin with a submisse voyce, and so ascend by degrees as occasion serueth. The consideration of voyce is to be had either in seuered words, or in the whole sentēce. In the particular applying of the voyce to seuerall words, wee make tropes that bee most excellent plainly appeare. For without this change of voyce, neither anie Ironia, nor liuely Metaphore can well bee discerned.
By that kinde of voyce which belongeth to whole sentences, all kindes of figures and passionate ornaments of speach are made manifest. In figures of words which altogether consist in sweete repetitions and dimensions, is chiefly conuersant that pleasant and delicate tuning of the voyce, which resembleth the consent and harmonie of some well ordred song: In other figures of affections, the voyce is more manly, yet diuersly, according to the varietie of passions that are to bee expressed.
[Page] A sharpe voice is that in
before in license.
Virgil. 1. Aeneid. Ilioneus his voyce is first milde, then sharpe, and so by degrees enhaunceth it selfe.
Nay, said Philanax, speaking a lowd, & looking with a iust anger vpon the other Noble men, it is now season to heare Timantus idle sclanders, while strangers become our Lords, and Basilius murderers sit in his throne.
A bitter, angrie, cholerike, and furious voyce is that.
O said Gynecia, how good leasure haue you to frame these scornfull answeres. Is Gynecia thus to be despised? am I so vile a worme in your sight? No, no, trust vnto it, hard hearted tygre, I will not be the only actor of this tragedie. Since I must fall, I will presse downe some others with my ruines. Since I must burne, my spitefull neighbours shall feele of my fire. Dooest thou not perceaue that my diligent eyes haue pearced through the clowdie maske of thy disguisement? Haue I not told thee ô foole, (if I were not much more foole) that I know thou wouldest abuse vs with thy outward shewe? wilt thou still attend the rage of loue in a womans heart? The girle thy well chosen Mistres, perchaunce shall defend thee, when Basilius shal know, how thou hast sotted his minde with falshood, and falsly sought the dishonour of his house. Beleeue it, beleeue it, vnkinde creature, I will ende my miseries with a notable example of reuenge: and that accursed cradle of mine shall feele the smart of my wound, thou of thy tyrany, & lastly [Page] I confesse my selfe of my owne worke.
Torrismondo speaketh so almost in euerie part of Torrismondo.
Where, in the last verses euerie thing must be dilated and produced, the mouth opened, the vowells drawen out, that the Troyan calamitie may there especiallie appeare.
No he can not be good, that knowes not why hee is good, but stands so farre [Page] good, as his fortune may keepe him vnassayled: but comming to that his rude simplicitie, is either easily changed, or easily deceaued, and so growes that to bee the last excuse of his fault, which seemed might haue been the first foundation of his faith.
A moderate, temperate, and stayed voyce is that:
Heare therefore, ô Arcadians, and bee ashamed. Against whome hath this zealous rage been sturred? Whether haue you bent these manfull weapons of yours? In this quiet harmelesse Lodge there are harboured no Troyans your auncient enemies; nor Persians, whome you haue in present feare. Heere lodge none but such, as either you haue great cause to loue, or no cause to hate. &c.
Chapter 2. Of the application of the voyce to seuerall affections.
THese things bee common almost to anie kinde of affection: nowe a word or two of peculiar voyces applyable to certaine affections. In pitie and lamentation, the voyce must be full, sobbing, flexible, interrupted, as
Ah silly soule, that couldest please thy selfe with so impossible imagination.
For Tasso and Salust. See miserie in Exclamation: and see also Addubitation.
In anger, shrill, sharpe, quicke, short.
And therefore bending his browes, as though hee were not a man to take the matter as hee had done; What, said, hee, shall my Wife bee my Mistresse? Thinke you not that thus much time hath taught mee to rule her? I will mewe the Gentlewoman till shee haue cast all her feathers, if shee rowse her selfe against mee. And withall hee walked vp and downe, nodding his head as though they mistooke him much, that thought hee was not his wiues master.
In feare and bashfulnesse, contracted, stammering, trembling.
Such was Tullyes voyce in most of his beginnings.
[Page] So Helena to Priamus, in the Troyan Towre Homer. Iliad. 3. And, Vlisses to Nasicaa Alcinous his daughter,
Alas how painfull a thing it is to a diuided minde to make a well ioyned aunswere?
In ioy, gladnes, or pleasure, tender, mild, sweetlie flowing.
In anguish and griefe of mind without compassion, a hollow voyce fetcht from the bottome of the throate, groaning.
O Deserts, Deserts, how fit a guest am I for you? since my heart is fuller of wild rauenous beasts, than euer you were.
In desiring, soothing, flattring, yeelding, gratifying, a smoothing and submisse voyce.
By the happie woman that bare thee, by all the ioyes of thy heart, and successe of thy desire, I beseech thee, turne thy selfe into some consideration of me, and rather shewe pitie, in now helping me, than in too late repenting my death, which hourlie threatens me.
This shall suffice for the framing of our voyce both in single wordes and also in whole sentences. The practise and exercise is all in all: learne therfore some such speach wherein are contained all, or most varieties of voyce, and oftentimes vse to pronounce the same in such order and with as great heed as if thou were to vtter it in some great assemblie. Walking a litle after supper, annoynting, moderation of diet, and such like bodilie pleasures keepe the voyce in temper.
Cap. 3. Of action or gesture of the whole bodie.
HEtherto of voyce: now of gesture and action, which is both more excellent and more vniuersall than voyce: as belonging not onelie to those that vse the same speach, but generallie to all people, yea to beasts and senceles creatures, as the verie pictures which being dumme, yet speake by gesture and action. The gesture must followe the change and varietie of the voyce, answering thereunto in euerie respect: yet not parasiticallie as stage plaiers vse, but grauelie and decentlie as becommeth men of greater calling. Let the bodie therefore with a manlike and graue motion of his sides rather followe the sentence than expresse euerie particular word. Stand vpright & straight as nature hath appoynted: much wauering and ouercurious and nice motion is verie ridiculous.
Cap. 4. Of the gesture of the head, eyes, lipps, &c.
THus much of the whole body: now to the parts, and first the head. The holding downe of the head, and casting downe of the eyes betokeneth modestie.
At length Philoclea, hauing a while mused how to wade betwixt her own hopeles affection, and her fathers vnbrideled hope, with blushing cheekes, and eyes cast downe to the ground, began to say. My father, to whom I owe my selfe, and therfore must performe all dueties vnto.
So did Vlisses cast his eyes on the ground.
The countenance must turne with the bodie, vnlesse we cast aside the face in token of detestation or abhorring anie abominable thing.
[Page] The shaking of the head noteth griefe and indignation: sometimes also compassion. A nodd is a token of a graunt.
In so much that shaking his head, and deliuering some shewe of teares, he thus vttered his griefe: Alas, said he, Prince Musidorus, how cruellie you deale with me▪
To make often gesture with the head alone is forbidden. But the chiefest force of the head is in the countenance, and of the countenance, in the eyes, which expres liuelilie euen anie conceit or passion of the mind: as therfore the face & countenance must bee comelilie and orderlie composed, so the eyes verie diligentlie are to be regarded.
Insomuch that hauing a great while cast her countenaunce gastlie about her, as if shee had calde all the powers of the world to bee witnes of her wretched estate, at length casting vp her watrie eyes to heauen; O sonne, said she, &c.
The lipps, nose, chin, shoulders must be also carefullie looked vnto and decentlie moderated; the particular ordering is left to euerie mans discretion.
Cap. 5. Of the gesture of the arme, hand, fingers, &c.
THe casting out of the right arme is as it were an arming of the speach, & becommeth continued and flowing sentences, where the verie speach it selfe seemeth to powre forth it selfe with the stretching out of the arme.
The sauagest beasts are wonne with seruice, and there is no flint but may be mollified: how is Gynecia so vnworthie in thine eyes? or whom cannot aboundance of loue make worthie?
Without the hand the gesture is nothing, yet a moderation is to be had in the gesture of the hand and fingers, that it rather follow than goe before and expresse the words.
There is no gesture of the left hand alone, but the left hand ioyned with the right is fit for addubitations or doubts, & obtestations or prayers, & verie much frequented.
The clapping of the hands is fitter for the stage than the court.
Thus much of the whole hand: the parts follow: the middle finger meeting with [Page] the thumbe and the other three stretched out, is an vrgent and instant gesture. The former finger stretched out doth point at or showe, when the other three are closed and kept in with the thumbe. In expostulating or declaring of anie thing, this former finger dooth affirme and asseuere, when it is somewhat inclined and bowed downe, the whole hand now and then somewhat lifted vp, and tending towards the shoulders. If it bee turned directly downe towards the ground, it vrgeth.
That gesture is verie fit for modest speaches and bashfull beginnings when the 4. first fingers a little going together in the ende, the hand it selfe is brought not farre from the mouth or breast of him that speaketh to those that heare, & then after turned downward, and somewhat spread abroad, it looseth againe.
Cap. 46. Of the gesture of other parts of the bodie.
FOR the other parts of the bodie, no man is almost ignorāt of the vnseemly gesture of them, as, to cast out the belly & breast: yet to strike the breast is
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