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