Obs. 2 In the case of three or more nouns, the best writers either omit the conjunction or insert it between each. For instance, they would either write amicitiam summa fide, constantia, justitia servavit ; or, summa fide et constantia et justitia. And similarly with verbs.

(cc) Parenthesis, when a new sentence is inserted, as Credo equidem (nec vana fides) genus esse deorum.

(b) Figures of defect:

(aa) Ellipsis, when some word, easily supplied, is omitted, as Scite enim Chrysippus (scil. dicit); Non est solvendo (scil. aptus).

(bb) Zeugma, when the same word is made to do double duty, or to represent some other word of similar meaning in a corresponding sentence; as Si legatus imperii terminos, obsequium erga imperatorem exiit, where with terminos we must supply excessit, the corresponding word to exiit.

(cc) Asyndeton, or deficiency of conjunctions; as Rex, miles, plebs, negat illud. Quid dicam de utilitate litterarum? Erudiunt, ornant, oblectant, consolantur.

(c) Figures of the context:

(aa) Hyperbaton, when a word is out of its place in the sentence; as Vina bonis quae deinde cadis onerarat Acestes, littore Trinacrio, dederatque abeuntibus, heros dividit.

(bb) Hypallage, when the cases are changed; as Necdum illis labra admovi, for necdum illa labris admovi.

(cc) Enallage, when there is a change of number, person, or tense; as Ni faciat for Ni faceret.

(dd) Anastrophe, when the order of successive words is changed; as Italiam contra for contra Italiam.

(B) Figures of Style.

The figures of style are (1) Tropes, which consist in single words; (2) Figures, in the limited sense of that term, which consist in propositions:

(1) Tropes are as follows:

(a) Metaphora or Translatio, a contracted simile; as Segetes

sitiunt.

(b) Metonymia, when a thing is expressed by means of some circumstances connected with it; as Vulcanus for ignis; Mars for bellum; Lego Horatium for opera Horatii.

(c) Synecdoche, when a part is put for the whole; as Decem aestates vixi sub hoc tecto, where aestates is put for annos and tecto for domo.

(d) Antonomasia, when a descriptive word or phrase is substituted for a proper name; as Poenus tulit victoriam for Hannibal; Romanae eloquentiae princeps for Cicero.

(e) Catachresis, when for want of a specific term we use some word in an improper sense; as aedificare naves for construere; vir gregis for dux gregis, &c.

euro.

(f) Hyperbole, when there is an exaggeration; as Currit ocior

(g) Litotes, when we mean more than we say; as Non equidem laudo sed neque sperno tua munera for vitupero quidem ea sed accipio.

(h) Metalepsis combines several tropes in one; as Hinc movet Euphrates, illinc Germania bellum for Mesopotamiae et Germaniae incolae bellum capessunt.

(i) Allegoria, when there is a continuation of tropes; as Sine Cerere et Baccho friget Venus for amor alget sine pane et vino.

(k) Ironia says one thing and means another; as Egregiam laudem when we mean culpam; bone custos when we mean perfide pastor, &c.

(1) Sarcasmus, when there is a bitter and sneering jest; as Satia te sanguine, Cyre! addressed to the head of Cyrus by Tomyris.

(m) Onomatopoeia, when we coin words to imitate a particular sound; as Torva Mimalloneis implebant cornua bombis.

(n) Antiphrasis, when we signify something by its contrary; as Auri sacra fames when sacra means accursed;' Euxinus, 'the hospitable,' applied to a sea where strangers were murdered; &c.

(2) Figures, specially so called, are as follows;

(a) Figures of words of the same sound.

(aa) Epizeuxis is a repetition of the same word; as Litterae, litterae, inquam, solae me delectant.

(bb) Epanaphora, where several members of the proposition begin with the same word; as Litterae me puerum aluerunt, litterae me juvenem ab infamia libidinum servarunt, litterae virum in rep. administranda adjuverunt, litterae senectutis imbecillitatem consolabuntur.

(cc) Antistrophe, where several members end with the same word; as Nascimur dolore, degimus vitam dolore, finimus dolore.

(dd) Symploce combines the last two figures; as Quam bene, Caune, tuo poteram nurus esse parenti: quam bene, Caune, meo poteras gener esse parenti.

(ee) Anadiplosis begins a clause with the last word of the preceding; as Pierides, vos haec facietis maxima, Gallo, Gallo, cujus amor tantum mihi crescit in horas.

(ff) Epanalepsis begins and ends with the same word; as Pauper amet caute, timeat maledicere pauper.

(gg) Epanodos changes the place of the same word in successive clauses; as Crudelis tu quoque mater: crudelis mater magis, an puer improbus ille: improbus ille puer, crudelis tu quoque mater,

(hh) Antanaclasis varies the sense of a repeated word; as Hic (i. e. Orestes) sustulit (i. e. interfecit) matrem; ille (i. e. Æneas) sustulit (i. e. portavit humeris) patrem.

(ii) Ploce repeats a proper name in a general or attributive sense; as Ex illo Corydon Corydon est tempore nobis, 'Corydon is truly what his character would lead me to expect;' In hac victoria Caesar erat Caesar, i. e. 'a most clement conqueror.'

(kk) Climax is continual gradation with a repetition of the preceding word; as Studia mihi litterarum doctrinam, doctrina gloriam, gloria invidiam et obtrectationem comparavit.

(b) Figures of words of a similar sound.

(aa) Paregmenon consists in the introduction of words derived from the preceding; as Servitium lepidum! tecum servio servus! (bb) Paronomasia consists in a slight change of the preceding word; as Inceptio est amentium haud amantium.

(cc) Homoeoteleuton, when the clauses end similarly; as Num putas fieri posse, ut, qui litterarum studiis teneatur, libidinum vinculis obstringatur.

(dd) Parechesis is a play on repeated syllables; as O fortunatam natam me consule Romam.

(c) Figures of words for explanation.

(aa) Hypotyposis draws a vivid picture; as Videbar videre alios intrantes, alios exeuntes, &c.

(bb) Paradiastole explains by adding an opposition; as Fortuna obumbrat virtutem, tamen non obruit eam.

(cc) Antimetabole or Metathesis opposes by repeating the same words in a contrary order; as Poema est pictura loquens, pictura est mutum poema.

(dd) Enantiosis or Antithesis places opposites in a sort of symmetry or equilibrium; as Alba ligustra cadunt, vaccinia nigra leguntur.

(ee) Synoeceiosis combines two contraries with the same subject; as Tam quod adest desit, quam quod non adsit avaro.

(ff) Oxymoron contrasts a noun with its epithet; as Ars iners; concordia discors; &c.

PART III.

PROSODY, OR QUANTITY AND METRE.

CHAPTER I.

QUANTITY.

§ 1. General rules of Quantity.

213 PROSODY, which, in its original meaning as a Greek word (Tроowdía), denotes accentuation, is used in Latin Grammar to signify that part of the subject which teaches the quantity of syllables and the laws of metre.

214 By 'quantity' we understand the condition of a syllable in regard to the time occupied by its pronunciation. We say that it is a short syllable (syllaba brevis, syllaba correpta) if it occupies only one mora or time, and a long syllable (syllaba longa, syllaba producta) if it occupies two such morae or times (below, 232). When a syllable is sometimes long and sometimes short it is called common or doubtful (syllaba anceps). A short syllable is marked with a semicircle open above, as in brěvìbus; a long syllable is marked by a horizontal line, as in cēlārūnt; and both marks are placed over a common or doubtful syllable, as in tenebrae.

215 The quantity of a syllable is supposed to reside in its vowel, which may be either long or short by nature; and in the latter case it may be lengthened by position.

216 A syllable is long by nature, when it is represented by a diphthong or two vowels pronounced as one, when its original form was a diphthong, and when it involves the absorption of one or more syllables or of a consonant. Thus the penultima or last