Institutio Oratoria

On the other hand, that class of allegory in which the meaning is contrary to that suggested by the words, involve an element of irony, or, as our rhetoricians call it, illusio. This is made evident to the understanding either by the delivery, the character of the speaker or the nature of the subject. For if any one of these three is out of keeping with the words, it at once becomes clear that the intention of the speaker is other than what he actually says In the majority of tropes it is, however,

important to bear in mind not merely what is said, but about whom it is said, since what is said may in another context be literally true. It is permissible to censure with counterfeited praise and praise under a pretence of blame. The following will serve as an example of the first. [*]( Cic. Pro Cluent. xxxiii. 91. )

Since Gaius Verres, the urban praetor, being a man of energy and blameless character, had no record in his register of this substitution of this man for another on the panel.

We are regarded as orators and have imposed on the people.

Sometimes, again, we may speak in mockery when we say the opposite of what we desire to be understood, as in Cicero's denunciation of Clodius [*]( From the lost speech in Clodium et Curionem. ) :

Believe me, your well known integrity has cleared you of all blame, your modesty has saved you, your past life has been your salvation.

Further, we may employ allegory, and disguise bitter taunts in gentle words I y way of wit, or we may indicate our meaning by saying exactly the contrary or. . . [*]( The passage is hopelessly corrupt. The concluding portion of the sentence must have referred to the use of proverbs, of which it may have contained an example. This is clear from the next sentence. Sarcasm, urbane wit and contradiction are covered by the first three clauses, but there has been no allusion to proverbs such as παροιμία demands. ) If the Greek names for these

There are, however, some writers who deny that these are species of allegory, and assert that they are actually tropes in themselves: for they argue shrewdly that allegory involves an element of obscurity, whereas in all these cases our meaning is perfectly obvious. To this may be added the fact that when a genus is divided into species, it ceases to have any peculiar properties of its own: for example, we may divide tree into its species, pine, olive, cypress, etc., leaving it no properties of its own, whereas allegory always has some property peculiar to itself. The only explanation of this fact is that it is itself a species. But this, of course, is a matter of indifference to those that use it.

To these the Greeks add μυκτηρισμός or mockery under the thinnest of disguises. When we use a number of words to describe something for which one, or at any rate only a few words of description would suffice, it is called periphrasis, that is, a circuitous mode of speech. It is sometimes necessary, being of special service when it conceals something which would be indecent, if expressed in so many words: compare the phrase

To meet the demands of nature

But at times it is employed solely for decorative effect, a practice most frequent among the poets:

1. Now was the time
2. When the first sleep to weary mortals comes
3. Stealing its way, the sweetest boon of heaven.

Aen. ii. 268.

Still it is far from uncommon even in oratory, though

Again, hyperbaton, that is, the transposition of a word, is often demanded by the structure of the sentence and the claims of elegance, and is consequently counted among the ornaments of style. For our language would often be harsh, rough, limp or disjointed, if the words were always arranged in their natural order and attached each to each just as they occur, despite the fact that there is no real bond of union. Consequently some words require to be postponed, others to be anticipated, each being set in its appropriate place.

For we are like those who build a wall of unhewn stone: we cannot hew or polish our words in order to make them fit more compactly, and so we must take them as they are and choose suitable positions for them.

Further, it is impossible to make our prose rhythmical except by artistic alterations in the order of words, and the reason why those four words in which Plato [*]( At the beginning of the Repiblic. κατέβην χφὲς εἰς Πειραιᾶ. ) in the noblest of his works states that he had gone down to the Piraeus were found written in a number of different orders upon his wax tablets, was simply that he desired to make the rhythm as perfect as possible.

When, however, the transposition is confined to two words only, it is called anastrophe, that is, a reversal of order. This occurs in everyday

I noted, gentlemen, that the speech of the accuser was divided into two parts.

The poets even go so far as to secure this effect by the division of words, as in the line:

1. Hyperboreo septem subiecta trioni [*](Georg. iii. 381. )
2. (

   Under the Hyperborean Wain

   ),

On the other hand, when the transposition makes no alteration in the sense, and merely produces a variation in the structure, it is rather to be called a verbal figure, as indeed many authorities have held. Of the faults resulting from long or confused hyperbata have spoken in the appropriate place. [*](VIII. ii. 14.) I have kept hyperbole to the last, on the ground of its boldness. It means an elegant straining of the truth, and may be employed indifferently for exaggeration or attenuation. It can be used in various ways.

We may say more than the actual facts, as when Cicero says, [*](Phil. II. xxv. 63. ) "He vomited and filled his lap and the whole tribunal with fragments of food, or when Virgil speaks of

1. win rocks that threaten heaven.

Aen. i. 162.

1. Thou wouldst have deemed
2. That Cyclad isles uprooted swam the deep.

Aen. viii. 691.

Or we may produce the same result by introducing a comparison, as in the phrase:

1. Swifter than the levin's wings;

Aen. v. 319.

1. She would fly
2. Even o'er the tops of the unsickled corn,
3. Nor as she ran would bruise the tender ears.

Aen. vii. 808.

Sometimes, again, one hyperbole may be heightened by the addition of another, as when Cicero in denouncing Antony says: [*]( Phil. II. xxvii. 67. )

What Charybdis was ever so voracious? Charybdis, do I say? Nay, if Charybdis ever existed, she was but a single monster. By heaven, even Ocean's self, methinks, could scarce have engulfed so many things, so widely scattered in such distant places, in such a twinkling of the eye.

I think, too, that I am right in saying that I noted a brilliant example of the same kind in the Hymns [*](A lost work.) of Pindar, the prince of lyric poets. For when he describes the onslaught made by Hercules upon the Meropes, the legendary inhabitants of the island of Cos, he speaks of the hero as like not to fire, winds or sea, but to the thunderbolt, making the latter the only true equivalent of his speed and power, the former being treated as quite inadequate.

Cicero has imitated his method in the following

After long lapse of years the Sicilians saw dwelling in their midst, not a second Dionysius or Phalaris (for that island has produced many a cruel tyrant in years gone by), but a new monster with all the old ferocity once familiar to those regions. For, to my thinking, neither Scylla nor Charybdis were ever such foes as he to the ships that sailed those same narrow seas.

The methods of hyperbole by attenuation are the same in number. Compare the Virgilian [*](Ecl. iii. 103. Describing a flock of starved sheep. )

1. Scarce cling they to their bones,

1. Fundum Vetto vocat quem possit mittere funda;
2. Ni tamen exciderit, qua cava funda patet.

Vetto gives the name of farm to an estate which might easily be hurled from a sling, though it might well fall through the hole in the hollow sling, so small is it.