<GetPassage xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns="http://chs.harvard.edu/xmlns/cts">
            <request>
                <requestName>GetPassage</requestName>
                <requestUrn>urn:cts:latinLit:phi1002.phi001.perseus-eng2:9.3.41-9.3.60</requestUrn>
            </request>
            <reply>
                <urn>urn:cts:latinLit:phi1002.phi001.perseus-eng2:9.3.41-9.3.60</urn>
                <passage>
                    <TEI xmlns="http://www.tei-c.org/ns/1.0"><text xml:lang="eng"><body><div n="urn:cts:latinLit:phi1002.phi001.perseus-eng2" type="translation" xml:lang="eng"><div n="9" type="textpart" subtype="book"><div n="3" type="textpart" subtype="section"><div n="41" type="textpart" subtype="section"><p> as I have said, is produced by a mixture of figures, is called <foreign xml:lang="grc">πλοκὴ</foreign> by the Greeks: a letter of Cicero
                                <note anchored="true" place="unspecified">Now lost.</note> to Brutus
                            will provide a further example. <quote> When I had made my peace with
                                Appius Claudius and made it through the agency of Gnaeus Pompeius,
                                when then I had made my peace, </quote> etc. </p></div><div n="42" type="textpart" subtype="section"><p> The like effect may be produced in the same sentence by repeating the
                            same words in different forms, as in Persius: <quote rend="blockquote"><cit><quote><l part="F">Is then to know in thee</l><l part="N">Nothing unless another know thou knowest?</l></quote><bibl default="false"> i. 26. The translation is
                                        Watson's.</bibl></cit></quote> and in Cicero, <note anchored="true" place="unspecified">Origin unknown.</note> where he says, <quote>For
                                it was impossible for the judges as well to be condemned by their
                                own judgement.</quote>
                     </p></div><div n="43" type="textpart" subtype="section"><p> Whole sentences again end with the phrase with which they began. Take an
                            example. <quote>He came from Asia. What a strange thing. A tribune of
                                the people came from Asia.</quote>
                        <note anchored="true" place="unspecified"> From the lost <hi rend="italic">in Q.
                                    Metellum.</hi>
                        </note> Nay, the first word of this same period is
                            actually repeated at its close, thus making its third appearance: for to
                            the words just quoted the orator adds, <quote>Still for all that he
                                came.</quote> Sometimes a whole clause is repeated, although the
                            order of the words is altered, as, for example, <hi rend="italic"> Quid
                                Cleomenes facere potuit non enin possum quemquam insimulare falso,
                                quid, inquam, </hi>
                        <pb n="v7-9 p.471"/>
                        <hi rend="italic">magno opere
                                potuit Cleomenes facere?</hi>
                        <note anchored="true" place="unspecified"><hi rend="italic">Ecl.</hi> x. 72. </note>
                     </p></div><div n="44" type="textpart" subtype="section"><p> The first word of one clause is also frequently the same as the last of
                            the preceding, a figure common in poetry. <quote rend="blockquote"><cit><quote><l part="N">And ye,</l><l part="N">Pierian Muses, shall
                                            enhance their worth</l><l part="N">For Gallus; Gallus,
                                            he for whom each hour</l><l part="N">My love burns
                                            stronger.</l></quote><bibl default="false"><hi rend="italic">Cat.</hi> I. i. 2.
                                    </bibl></cit></quote> But it is not uncommon even in the orators. For
                            example: <quote>Yet this man lives. Lives? Why he even came into the
                                senate house.</quote>
                        <note anchored="true" place="unspecified">§30.</note>
                     </p></div><div n="45" type="textpart" subtype="section"><p> Sometimes, as I remarked in connexion with the doubling of words, the beginnings and the conclusions of sentences are made to correspond
                            by the use of other words with the same meaning. Here is an example of
                            correspondence between the beginnings: <quote> I would have faced every
                                kind of danger; I would have exposed myself to treacherous attacks;
                                I would have delivered myself over to public hatred. </quote>
                        <note anchored="true" place="unspecified"> From the lost <hi rend="italic">in Q. Metellaim.</hi>
                        </note> An example of the correspondence
                            of conclusions is provided by another passage in the same speech which
                            follows close on that just cited: <quote>For you have decided; you have
                                passed sentence; you have given judgment.</quote> Some call this <hi rend="italic">synonzmy,</hi> others <hi rend="italic">disjunction:</hi> both terms, despite their difference, are
                            correct. For the words are differentiated, but their meaning is
                            identical. Sometimes, again, words of the same meaning are grouped
                            together. For instance, <quote> Since this is so, Catiline, proceed on
                                the path which you have entered; depart from the city, it is high
                                time. The gates are open, get you forth. </quote>
                        <note anchored="true" place="unspecified">L. v. 10.</note>
                     </p></div><div n="46" type="textpart" subtype="section"><p> Or take this example from another book of the orations against Catiline,
                                <quote> He departed, he went <pb n="v7-9 p.473"/> hence; he burst
                                forth, he was gone. </quote>
                        <note anchored="true" place="unspecified">II. i. l.</note> This is regarded as a case of
                                <hi rend="italic">pleonasm</hi> by Caecilius, that is to say, as
                            language fuller than is absolutely required, like the phrase: <quote rend="blockquote"><cit><quote><l part="N">Myself before my very eyes I saw:</l></quote><bibl default="false"><hi rend="italic">Aen.</hi> xii. 638.
                                    </bibl></cit></quote> for <quote>myself</quote> is already implied by
                                <quote>I saw.</quote> But when such language is over weighted by
                            some purely superfluous addition, it is, as I have also pointed out
                            elsewhere, <note anchored="true" place="unspecified">VIII. iii.
                                53.</note> a fault; whereas when, as in this case, it serves to make
                            the sense stronger and more obvious, it is a merit. <quote>I
                                saw,</quote>
                        <quote>myself,</quote>
                        <quote>before my very
                                eyes,</quote> are so many appeals to the emotion. </p></div><div n="47" type="textpart" subtype="section"><p> I cannot therefore see why Caecilius should have stigmatised these words
                            by such a name, since the doubling and repetition of words and all forms
                            of addition may likewise be regarded as <hi rend="italic">pleonasms.</hi> And it is not merely words that are thus grouped
                            together. The same device may be applied to thoughts of similar content.
                                <quote> The wild confusion of his thoughts, the thick darkness shed
                                upon his soul by his crimes and the burning torches of the furies
                                all drove him on. </quote>
                        <note anchored="true" place="unspecified">
                                From the lost <hi rend="italic">in Pisonem.</hi>
                        </note>
                     </p></div><div n="48" type="textpart" subtype="section"><p> Words of different meaning may likewise be grouped together, as for
                            instance, <quote> The woman, the savage cruelty of the tyrant, love for
                                his father, anger beyond control, the madness of blind daring
                            </quote> ; <note anchored="true" place="unspecified">Probably from a
                                declamation.</note> or again, as in the following passage from Ovid,
                                <note anchored="true" place="unspecified"><hi rend="italic">Met.</hi> v. 17. </note>
                        <quote rend="blockquote"><quote><l part="F">But the dread Nereids' power,</l><l part="N">But
                                        horned Ammon, but that wild sea-beast</l><l part="N">To feed
                                        upon my vitals that must come.</l></quote></quote>
                     </p></div><div n="49" type="textpart" subtype="section"><p> I have found some who call this also by the name of <foreign xml:lang="grc">πλοκή:</foreign> but I do not agree, as only one
                            figure is <pb n="v7-9 p.475"/> involved. We may also find a mixture of
                            words, some identical and others different in meaning; of this figure,
                            which the Greeks style <foreign xml:lang="grc">διαλλαγή,</foreign> the
                            following will provide an example: <quote> I ask my enemies whether
                                these plots were investigated, discovered and laid bare, overthrown,
                                crushed and destroyed by me. </quote>
                        <note anchored="true" place="unspecified"> From the lost speech <hi rend="italic">in Q.
                                    Metullum.</hi>
                        </note> In this sentence
                                <quote>investigated,</quote>
                        <quote>discovered</quote> and
                                <quote>laid bare</quote> are different in meaning, while
                                <quote>overthrown,</quote>
                        <quote>crushed</quote> and
                                <quote>destroyed</quote> are similar in meaning to each other, but
                            different from the three previous. </p></div><div n="50" type="textpart" subtype="section"><p> But both the last example and the last but one involve a different <hi rend="italic">figure</hi> as well, which, owing to the absence of
                            connecting particles, is called <hi rend="italic">dissolution</hi> ( <hi rend="italic">asyndeton</hi> ), and is useful when we are speaking
                            with special vigour: for it at once impresses the details on the mind
                            and makes them seem more numerous than they really are. Consequently, we
                            apply this <hi rend="italic">figure</hi> not merely to single words, but
                            to whole sentences, as, for instance, is done by Cicero in his reply
                                <note anchored="true" place="unspecified">Only a few fragments
                                remain.</note> to the speech which Metellus made to the public
                            assembly: <quote> I ordered those against whom information was laid, to
                                be summoned, guarded, brought before the senate: they were led into
                                the senate, </quote> while the rest of the passage is constructed on
                            similar lines. This kind of <hi rend="italic">figure</hi> is also called
                                <hi rend="italic">brachylogy,</hi> which may be regarded as
                            detachment without loss of connexion. The opposite of this figure of <hi rend="italic">asyndeton</hi> is <hi rend="italic">polyxyndeton,</hi>
                            which is characterised by the number of connecting particles employed.
                        </p></div><div n="51" type="textpart" subtype="section"><p> In this figure we may repeat the same connecting particle a number of
                            times, as in the following instance: <pb n="v7-9 p.477"/>
                        <quote rend="blockquote"><cit><quote><l part="N">His house and home and arms</l><l part="N">And Amyclean hound and Cretan quiver;</l></quote><bibl default="false"><hi rend="italic">Georg.</hi> iii. 344.
                                    </bibl></cit></quote> or they may be different, </p></div><div n="52" type="textpart" subtype="section"><p> as in the case of <hi rend="italic">arma virumque</hi> followed by <hi rend="italic">multum ille et terris</hi> and <hi rend="italic">multa
                                quoque.</hi>
                        <note anchored="true" place="unspecified"><hi rend="italic">Aen. i. sqq.</hi></note>
                     </p></div><div n="53" type="textpart" subtype="section"><p> Adverbs and pronouns also may be varied, as in the following instance:
                                <note anchored="true" place="unspecified"><hi rend="italic">Ecl.</hi> i. 43. <quote> Here I beheld that youth For whom each
                                    year twelve days my altars smoke, He first gave answer to my
                                    aupplication. </quote>
                        </note>
                        <hi rend="italic">lic ilium vidi
                                iunvenem</hi> followed by <hi rend="italic">bis senos cui nostra
                                dies</hi> and <hi rend="italic"> hic mihi responsum primus dedit
                                ille petenti.</hi> But both these cases involve the massing together
                            of words and phrases either in <hi rend="italic">asyndeton</hi> or <hi rend="italic">polysyndeton.</hi>
                     </p></div><div n="54" type="textpart" subtype="section"><p> Writers have given special names to all the different forms, but the
                            names vary with the caprice of the inventor. The origin of these <hi rend="italic">figures</hi> is one and the same, namely that they
                            make our utterances more vigorous and emphatic and produce animpression
                            of vehemence such as might spring from repeated outbursts of emotion.
                                <hi rend="italic">Gradation,</hi> which the Greeks call <hi rend="italic">climax,</hi> necessitates a more obvious and less
                            natural application of art and should therefore be more sparingly
                            employed. Moreover, it involves <hi rend="italic">addition,</hi>
                     </p></div><div n="55" type="textpart" subtype="section"><p> since it repeats what has already been said and, before passing to a new
                            point, dwells on those which precede. I will translate a very famous
                            instance from the Greek. <note anchored="true" place="unspecified">
                                Demosth. <hi rend="italic">de Cor.</hi> 179. </note>
                        <quote> I did
                                not say this, without making a formal proposal to that effect, I did
                                not make that proposal without undertaking the embassy, nor
                                undertake the embassy without persuading the Thebans. </quote>
                     </p></div><div n="56" type="textpart" subtype="section"><p> There are, however, examples of the same thing in Latin authors. <quote>
                                It was the energy of Africanus that gave him his peculiar
                                excellence, his excellence that gave him glory, his glory that gave
                                him rivals. </quote>
                        <note anchored="true" place="unspecified"> Auct.
                                    <hi rend="italic">ad Herenn.</hi> iv. 25. </note> Calvus again
                            writes, <quote> Consequently this means the abolition <pb n="v7-9 p.479"/> of trials for treason no less than for extortion, for offences
                                covered by the Plautian law no less than for treason, for bribery no
                                less than for those offences, and for all breaches of every law no
                                less than for bribery, </quote> etc. </p></div><div n="57" type="textpart" subtype="section"><p> It is also to be found in poets, as in the passage in Homer <note anchored="true" place="unspecified"><hi rend="italic">Il.</hi> ii.
                                101. </note> describing the sceptre which he traces from the hands
                            of Jupiter down to those of Agamemnon, and in the following from one of
                            our own tragedians: <note anchored="true" place="unspecified">Unknown.</note>
                        <quote rend="blockquote"><quote><l part="N">From
                                        Jove, so runs the tale, was Tantalus sprung,</l><l part="N">From Tantalus Pelops, and of Pelops' seed</l><l part="N">Sprang Atreus, who is sire of all our
                                line.</l></quote></quote>
                     </p></div><div n="58" type="textpart" subtype="section"><p> As regards the figures produced by omission, they rely for their charm
                            in the main on conciseness and novelty. There is one of these which I
                            mentioned in the last book <note anchored="true" place="unspecified">VII. vi. 21.</note> with reference to <hi rend="italic">synecdoche,</hi> and postponed discussing until such time as I came
                            to deal with <hi rend="italic">figures:</hi> it occurs when the word
                            omitted may be clearly gathered from the context: an example may be
                            found in Caelius' denunciation of Antony: <hi rend="italic">stupere
                                gaudio Graecus:</hi>
                        <note anchored="true" place="unspecified"><quote>The Greek was struck dumb with joy.</quote></note> for
                            we must clearly supply <hi rend="italic">coepit.</hi> Or take the
                            following passage from a letter of Cicero <note anchored="true" place="unspecified"> Lost. <quote> No talk except of you. What
                                    better? Then Fla virus says, 'Couriers to-morrow,' and I
                                    scribbled these lines at his house during dinner.
                                </quote>
                        </note> to Brutus: <hi rend="italic"> Serno nullus scilicet
                                nisi de te: quid enim potius? turn Flavius, cras, inquit,
                                tabellarii, et ego ibidem has inter cenum exaravi. </hi>
                     </p></div><div n="59" type="textpart" subtype="section"><p> Of a similar kind, at any rate in my opinion, are those passages in
                            which words are decently omitted to spare our modesty. <quote rend="blockquote"><cit><quote><l part="N"> You—while the goats looked goatish-we know
                                            <lb/> who, </l><l part="N"> And in what chapel—(but the
                                            kind Nymphs <lb/> laughed). </l></quote><bibl default="false"><hi rend="italic">Ecl.</hi> iii. 8.
                                    </bibl></cit></quote>
                        <pb n="v7-9 p.481"/> Some regard this as an <hi rend="italic">aposiopesis,</hi> but wrongly. </p></div><div n="60" type="textpart" subtype="section"><p> For in <hi rend="italic">aposiopesis</hi> it is either uncertain or at
                            least requires an explanation of some length to show what is suppressed,
                            whereas in the present case only one word, and that of an obvious
                            character, is missing. If this, then, is an <hi rend="italic">aposiopesis,</hi> all omissions will have a claim to the title.
                        </p></div></div></div></div></body></text></TEI>
                </passage>
            </reply>
            </GetPassage>