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 speech in mecum and secure, while in orators and historians we meet with it in the phrase quibus de rebus. It is the transposition of a word to some distance from its original place, in order to secure an ornamental effect, that is strictly called hyperbaton: the following passage will provide an example: animadverti, indices, omnem accusatoris orationenm in duas divisam esse partes. Cic. pro Cluent. i. 1. ( I noted, gentlemen, that the speech of the accuser was divided into two parts. ) In this case the strictly correct order would be in duas partes divisam esse, but this would have been harsh and ugly.

The poets even go so far as to secure this effect by the division of words, as in the line: Hyperboreo septem subiecta trioni Georg. iii. 381. ( Under the Hyperborean Wain ), a licence wholly inadmissible in oratory. Still there is good reason for calling such a transposition a trope, since the meaning is not complete until the two words have been put together.

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 win rocks that threaten heaven.Aen. i. 162. Again, we may exalt our theme by the use of simile, as in the phrase: Thou wouldst have deemedThat Cyclad isles uprooted swam the deep.Aen. viii. 691.

Or we may produce the same result by introducing a comparison, as in the phrase: Swifter than the levin's wings;Aen. v. 319. or by the use of indications, as in the lines: She would flyEven o'er the tops of the unsickled corn,Nor as she ran would bruise the tender ears.Aen. vii. 808. Or we may employ a metaphor, as the verb to fly is employed in the passage just quoted.

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 passage from the Verrines: v. vi. 145. 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. Scarce cling they to their bones, or the lines from a humorous work Unknown. of Cicero's, Fundum Vetto vocat quem possit mittere funda;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. But even here a certain proportion must be observed. For although every hyperbole involves the incredible, it must not go too far in this direction, which provides the easiest road to extravagant affectation.

I shrink from recording the faults to which the lack of this sense of proportion has given rise, more especially as they are so well known and obvious. It is enough to say that hyperbole lies, though without any intention to deceive. We must therefore be all the more careful to consider how far we may go in exaggerating facts which our audience may refuse to believe. Again, hyperbole will often cause a laugh. If that was what the orator desired, we may give him credit for wit; otherwise we can only call him a fool.

Hyperbole is employed even by peasants and uneducated persons, for the good reason that everybody has an innate passion for exaggeration or attenuation of actual facts, and no one is ever contented with the simple truth. But such disregard of truth is pardonable, for it does not involve the definite assertion of the thing that is not. Hyperbole is, moreover, a virtue,

when the subject on which we have to speak is abnormal. For we are allowed to amplify, when the magnitude of the facts passes all words, and in such circumstances our language will be more effective if it goes beyond the truth than if it falls short of it. However, I have said enough on this topic, since I have already dealt with it in my work on the causes of the decline of oratory.