According to the ancients, the principle of the soul is a number moving itself. Therefore Plato says that time and heaven were coexistent, but that motion was before heaven had being. But time was not. For then there neither was order, nor measure, nor determination; but indefinite motion, as it were, the formless and rude matter of time.... But when matter was informed with figures, and motion with circuitions, from that came the world, from this time. Both are representations of God; the world, of his essence; time, of his eternity in the sphere of motion, as the world is God in creation. Therefore they say heaven and motion, being bred together, will perish together, if ever they do perish. For nothing is generated without time, nor is anything intelligible without eternity; if this is to endure forever, and that never to die when once bred. Time, therefore, having a necessary connection and affinity with heaven, cannot be called simple motion, but (as it were) motion in order having terms and periods; whereof since the sun is prefect and overseer, to determine, moderate, produce, and observe changes and seasons, which (according to Heraclitus) produce all things, he is coadjutor to the governing and chief God, not in trivial things, but in the greatest and most momentous affairs.
QUESTION IX. Since Plato in his Commonwealth, discoursing of the faculties of the soul, has very well compared the symphony of reason and of the irascible and the concupiscent faculties to the harmony of the middle, lowest, and highest chord, (See "Republic," iv. p. 443.) some men may properly inquire:—
DID PLATO PLACE THE RATIONAL OR THE IRASCIBLE FACULTY IN THE MIDDLE? FOR HE IS NOT CLEAR IN THE POINT.
Indeed, according to the natural system of the parts, the place of the irascible faculty must be in the middle, and of the rational in the highest, which the Greeks call hypate. For they of old called the chief and supreme [Greek omitted]. So Xenocrates calls Jove, in respect of immutable things, [Greek omitted] (or HIGHEST), in respect of sublunary things [Greek omitted] (or LOWEST). And long before him, Homer calls the chief God [Greek omitted], HIGHEST OF RULERS. And Nature has of due given the highest place to what is most excellent, having placed reason as a steersman in the head, and the appetitive faculty at a distance, last of all and lowest. And the lowest place they call [Greek omitted], as the names of the dead, [Greek omitted] and [Greek omitted], do show. And some say, that the south wind, inasmuch as it blows from a low and obscure place, is called [Greek omitted]. Now since the appetitive faculty stands in the same opposition to reason in which the lowest stands to the highest and the last to the first, it is not possible for the reason to be uppermost and first, and yet for any other part to be the one called [Greek omitted] (or HIGHEST). For they that ascribe the power of the middle to it, as the ruling power, are ignorant how they deprive it of a higher power, namely, of the highest, which is compatible neither to the irascible nor to the concupiscent faculty; since it is the nature of them both to be governed by and obsequious to reason, and the nature of neither of them to govern and lead it. And the most natural place of the irascible faculty seems to be in the middle of the other two. For it is the nature of reason to govern, and of the irascible faculty both to govern and be governed, since it is obsequious to reason, and commands the appetitive faculty when this is disobedient to reason. And as in letters the semi-vowels are middling between mutes and vowels, having something more than those and less than these; so in the soul of man, the irascible faculty is not purely passive, but hath often an imagination of good mixed with the irrational appetite of revenge. Plato himself, after he had compared the soul to a pair of horses and a charioteer, likened (as every one knows) the rational faculty to the charioteer, and the concupiscent to one of the horses, which was resty and unmanageable altogether, bristly about the ears, deaf and disobedient both to whip and spur; and the irascible he makes for the most part very obsequious to the bridle of reason, and assistant to it. As therefore in a chariot, the middling one in virtue and power is not the charioteer, but that one of the horses which is worse than his guider and yet better than his fellow; so in the soul, Plato gives the middle place not to the principal part, but to that faculty which has less of reason than the principal part and more than the third. This order also keeps the analogy of the symphonies, i.e. the proportion of the irascible to the rational (which is placed as hypate) making the diatessaron (or fourth), that of the irascible to the concupiscent (or nete) making the diapente (or fifth), and that of the rational to the concupiscent (as hypate to nete) making an octave or diapason. But should you place the rational in the middle, you would make the irascible farther from the concupiscent; though some of the philosophers have taken the irascible and the concupiscent faculty for the selfsame, by reason of their likeness.
But it may be ridiculous to describe the first, middle, and last by their place; since we see hypate highest in the harp, lowest in the pipe; and wheresoever you place the mese in the harp, provided it is tunable, it sounds more acute than hypate, and more grave than nete. Nor does the eye possess the same place in all animals; but whereever it is placed, it is natural for it to see. So a pedagogue, though he goes not foremost but follows behind, is said to lead ([Greek omitted]), as the general of the Trojan army,
but wherever he was, he was first and chief in power. So the faculties of the soul are not to be ranged by mere force in order of place or name, but according to their power and analogy. For that in the body of man reason is in the highest place, is accidental. But it holds the chief and highest power, as mese to hypate, in respect of the concupiscent; as mese to nete, in respect of the irascible; insomuch as it depresses and heightens,—and in fine makes a harmony,—by abating what is too much and by not suffering them to flatten and grow dull. For what is moderate and symmetrous is defined by mediocrity. Still more is it the end of the rational faculty to bring the passions to moderation, which is called sacred, as making a harmony of the extremes with reason, and through reason with each other. For in chariots the best of the team is not in the middle; nor is the skill of driving to be placed as an extreme, but it is a mean between the inequality of the swiftness and the slowness of the horses. So the force of reason takes up the passions irrationally moved, and reducing them to measure, constitutes a mean betwixt too much and too little.
QUESTION X. WHY SAID PLATO, THAT SPEECH WAS COMPOSED OF NOUNS AND VERBS? (Plato's "Sophist," p. 262 A.)
For he seems to make no other parts of speech but them. But Homer in a playful humor has comprehended them all in one verse:—
[Greek omitted] ("Iliad", i. 185.)
For in it there is pronoun, participle, noun, preposition, article, conjunction, adverb, and verb, the particle—[Greek omitted] being put instead of the preposition [Greek omitted]; for [Greek omitted], TO THE TENT, is said in the same sense as [Greek omitted], TO ATHENS. What then shall we say for Plato?
Is it that at first the ancients called that [Greek omitted], or speech, which once was called protasis and now is called axiom or proposition,—which as soon as a man speaks, he speaks either true or false? This consists of a noun and verb, which logicians call the subject and predicate. For when we hear this said, "Socrates philosphizeth" or "Socrates is changed," requiring nothing more, we say the one is true, the other false. For very likely in the beginning men wanted speech and articulate voice, to enable them to express clearly at once the passions and the patients, the actions and the agents. Now, since actions and affections are adequately expressed by verbs, and they that act and are affected by nouns, as he says, these seem to signify. And one may say, the rest signify not. For instance, the groans and shrieks of stage players, and even their smiles and silence, make their discourse more emphatic. But they have no absolute power to signify anything, as a noun and verb have, but only an ascititious power to vary speech; just as they vary letters who mark spirits and quantities upon letters, these being the accidents and differences of letters. This the ancients have made manifest, whom sixteen letters sufficed to speak and write anything.
Besides, we must not fail to observe, that Plato says that speech is composed OF these, not BY these; nor must we find fault with Plato for omitting conjunctions, prepositions, and the rest, any more than we should criticise a man who should say such a medicine is composed of wax and galbanum, because fire and utensils are omitted, without which it cannot be produced. For speech is not composed of these; yet by their means, and not without them, speech must be composed. As, if a man says BEATS or IS BEATEN, and adds Socrates and Pythagoras to the same, he gives us something to conceive and understand. But if a man pronounce INDEED or FOR or ABOUT and no more, none can conceive any notion of a body or matter; and unless such words as these be uttered with verbs and nouns, they are but empty noise and chattering. For neither alone nor joined one with another do they signify anything. And join and confound together conjunctions, articles, and prepositions, supposing you would make something of them; yet you will be taken to babble, and not to speak sense. But when there is a verb in construction with a noun, the result is speech and sense. Therefore some do with justice make only these two parts of speech; and perhaps Homer is willing to declare himself of this mind, when he says so often,
For by [Greek omitted] he usually means a verb, as in these verses.
and,
For neither conjunction, article, nor preposition could be said to be [Greek omitted] (TERRIBLE) or [Greek omitted] (SOUL GRIEVING), but only a verb signifying a base action or a foolish passion of the mind. Therefore, when we would praise or dispraise poets or writers, we are wont to say, such a man uses Attic nouns and good verbs, or else common nouns and verbs; but none can say that Thucydides or Euripides used Attic or common articles.
What then? May some say, do the rest of the parts conduce nothing to speech? I answer, They conduce, as salt does to victuals; or water to barley cakes. And Euenus calls fire the best sauce. Though sometimes there is neither occasion for fire to boil, nor for salt to season our food, which we have always occasion for. Nor has speech always occasion for articles. I think I may say this of the Latin tongue, which is now the universal language; for it has taken away all prepositions, saving a few, nor does it use any articles, but its nouns are (as it were) without skirts and borders. Nor is it any wonder, since Homer, who in fineness of epic surpasses all men, has put articles only to a few nouns, like handles to cans, or crests to helmets. Therefore these verses are remarkable wherein the articles are suppressed.—
and,
and some few besides. But in a thousand others, the omission of the articles hinders neither perspicuity nor elegance of phrase.
Now neither an animal nor an instrument nor arms nor anything else is more fine, efficacious, or pleasanter, for the loss of a part. Yet speech, by taking away conjunctions, often becomes more persuasive, as here:—
And this of Demosthenes:—
"A bully in an assault may do much which his victim cannot even report to another person,—by his attitude, his look, his voice,—when he insults, when he attacks as an enemy, when he smites with his fist, when he strikes a blow on the face. These rouse a man; these make a man beside himself who is unused to such foul abuse."
And again:—
"Not so with Midias; but from the very day, he talks, he abuses, he shouts. Is there an election of magistrates? Midias the Anagyrrasian is nominated. He is the advocate of Plutarchus; he knows state secrets; the city cannot contain him." ("Demosthenes against Midias," p. 537,25, and p. 578, 29.)
Therefore the figure asyndeton, whereby conjunctions are omitted, is highly commended by writers of rhetoric. But such as keep overstrict to the law, and (according to custom) omit not a conjunction, rhetoricians blame for using a dull, flat, tedious style, without any variety in it. And inasmuch as logicians mightily want conjunctions for the joining together their axioms, as much as charioteers want yokes, and Ulysses wanted withs to tie Cyclop's sheep; this shows they are not parts of speech, but a conjunctive instrument thereof, as the word conjunction imports. Nor do conjunctions join all, but only such as are not spoken simply; unless you will make a cord part of the burthen, glue a part of a book, or distribution of money part of the government. For Demades says, that money which is given to the people out of the exchequer for public shows is the glue of a democracy. Now what conjunction does so of several propositions make one, by fitting and joining them together, as marble joins iron that is incited with it in the fire? Yet the marble neither is nor is said to be part of the iron; although in this case the substances compose the mixture and are melted together, so as to make a common substance from several and to be mutually affected. But there be some who think that conjunctions do not make anything one, but that this kind of speech is merely an enumeration, as when magistrates or days are reckoned in order.
Moreover, as to the other parts of speech, a pronoun is manifestly a sort of noun; not only because it has cases, but because some pronouns, when they are used of objects already defined, by their mere utterance give the most distinct designation of them. Nor do I know whether he that says SOCRATES or he that says THIS ONE does more by name declare the person.
The thing we call a participle, being a mixture of a verb and noun is nothing of itself, as are not the common names of male and female qualities (i.e, adjectives), but in construction it is put with others, in regard of tenses belonging to verbs, in regard of cases to nouns. Logicians call them [Greek omitted], (i.e., REFLECTED),—as [Greek omitted], comes from [Greek omitted], and from [Greek omitted],—having the force both of nouns and appellatives.
And prepositions are like to the crests of a helmet, or footstools and pedestals, which (one may rather say) do belong to words than are words themselves. See whether they rather be not pieces and scraps of words, as they that are in haste write but dashes and points for letters. For it is plain that [Greek omitted] and [Greek omitted] are abbreviations of the whole words [Greek omitted] and [Greek omitted]. As undoubtedly for haste and brevity's sake, instead of [Greek omitted] and [Greek omitted] men first said [Greek omitted] and [Greek omitted].
Therefore every one of these is of some use in speech; but nothing is a part or element of speech (as has been said) except a noun and a verb, which make the first juncture allowing of truth or falsehood, which some call a proposition or protasis, others an axiom, and which Plato called speech.
(Homeric quotations are almost all taken from Lord Derby's "Iliad" and Butcher and Long's "Odyssey." The first is indicated by the letter I, the second by O.)
Homer, who was in time first among most poets and by his power first of all poets, we justly read first, thereby gaining the greatest advantages for our language, for our intellect, and for practical knowledge. Let us speak of his poetry, first having shortly recalled his origin.
Homer, Pindar says, was a Chian and of Smyrnae; Simonides says a Chian; Antimachus and Nicander, a Colophonion; but the philosopher Aristotle says he was of Iete; the historian Ephorus says he was from Kyme. Some do not hesitate to say he was from Salamis in Cyprus; some, an Argive. Aristarchus and Dionysius the Thracian say that he was an Athenian. By some he is spoken of as the son of Maeon and Kritheus; by others, (a son) of the river-god Meles.
Just as there is a difficulty about his origin, so there is about the time in which he flourished. Aristarchus says he lived about the period of the Ionian emigration; this happened sixty years after the return of the Heraclidae. But the affair of the Heraclidae took place eighty years after the destruction of Troy. Crates reports that he lived before the return of the Heraclidae, so he was not altogether eighty years distant from the Trojan War. But by very many it is believed that he was born one hundred years after the Trojan War, not much before the foundation of the Olympic games, from which the time according to the Olympics is reckoned.
There are two poems of his, the "Iliad" and the "Odyssey," both, of which are arranged according to the number of letters in the alphabet, not by the poet himself, but by Aristarchus, the grammarian. Of these, the "Iliad" records the deeds of the Greeks and Barbarians in Ilium on account of the rape of Helen, and particularly the valor displayed in the war by Achilles. In the "Odyssey" are described the return of Ulysses home after the Trojan War, and his experiences in his wanderings, and how he took vengeance on those who plotted against his house. From this it is evident that Homer sets before us, through the "Iliad," bodily courage; in the "Odyssey," nobility of soul.
But the poet is not to be blamed because in his poetry he sets forth not only the virtues but the evils of the soul, its sadness and its joys, its fears and desires; for being a poet, it is necessary for him to imitate not only good but evil characters. For without these the deeds would not get the admiration of the hearer, who must pick out the better characters. And he has made the gods associating with men not only for the sake of interest and entertainment, but that he might declare by this that the gods care for and do not neglect men.
To sum up, an extraordinary and mythical narration of events is employed in order to stir his readers with wonder and to make his hearers strongly impressed. Whence he seems to have said some things contrary to what is likely. For the persuasive always follows where the remarkable and elevated are previously conjoined. Therefore he not only elevates actions, and turns them from their customary course, but words as well. That he always handles novel things and things out of the common sphere, and leads on his hearers, is evident to every one. And indeed in these fabulous narratives, if one reads not unattentively but carefully each element of what is said, Homer appears to have been at home in the whole sphere and art of logic, and to have supplied many incentives, and as it were seeds of all kinds of thought and action to his posterity, not to poets alone, but to the authors of historical and scientific works. Let us first look at his varied form of speech, and afterward at his sound knowledge on matters of fact. All poetry grips the hearer by definite order of coordinated expressions, by rhythm and metre, since the smooth and flowing, by becoming at the same time grave and sweet, forces the attention by its action on the senses. Whence it comes to pass also that it delights not only by the striking and attractive parts, but easily persuades by the parts tending to virtue.
The poems of Homer have the most perfect metre, the hexameter, which is also called heroic. It is called hexameter because each line has six feet: one of these is of two long syllables, called spondee; the other, of three syllables, one long and two short, which is called dactyl. Both are isochronic. These in interchangeable order fill out the hexameter verse. It is called heroic because in it the deeds of the heroes are recounted.
He makes use of a sound diction, combining the characteristics of every Greek dialect, from which it is plain that he travelled over the whole of Greece and among every people in it. He uses the ellipse of the Dorians, due to their practice of shortening their speech, saying for [Greek omitted], as (O. i. 392): "Immediately a beautiful horse ([Greek omitted]) was his," and for [Greek omitted] he uses [Greek omitted], as (O. xix. 543): "Because ([Greek omitted]) an eagle killed my geese"; and for [Greek omitted], "back," [Greek omitted], changing the o into a, the [Greek letter omitted] and the [Greek letter omitted] into its related letter. And [Greek omitted] he changes to [Greek omitted](I. xiv. 249): "For before at another time ([Greek omitted]) your precepts made me modest," and similar cases. Likewise, dropping the middle syllable, he says for [Greek omitted], "of like hair," and [Greek omitted], "of the same years," [Greek omitted]; and for [Greek omitted], that is, "of the same father," [Greek omitted]; for [Greek omitted]; "to tremble," [Greek omitted] for [Greek omitted], "I honour," [Greek omitted]. It is a characteristic of the Dorians also to transpose letters, as when they say for [Greek omitted], [Greek omitted].
In composite words he makes use of the syncope of the Aeolians, saying [Greek omitted] instead of [Greek omitted], "they went to sleep," and [Greek omitted], for [Greek omitted], "to subject."
Then when the third person of the imperfect among other Greek peoples ends in the diphthong [Greek letter], the Eolians end in [Greek letter], as when they say for [Greek omitted], "he was loving," [Greek omitted], and for [Greek omitted], "he was thinking," [Greek omitted]. This custom Homer followed, saying (I. xi. 105): "He bound ([Greek omitted]) in tender twigs," instead of [Greek omitted], and (O. v. 478): "Which neither any humid power of the wind penetrates" [Greek omitted]. Besides this they change [Greek letter] into [Greek letter], as they say [Greek omitted] for [Greek omitted], "odor," and [Greek Omitted] for [Greek omitted], "we knew."
Besides, they use pleonasm in some expressions, as when they put for [Greek omitted], "calm," [Greek omitted], [Greek omitted] for [Greek omitted], "but," [Greek omitted] got [Greek omitted], "having cried." And when to the second person of verbs they add [Greek omitted], for [Greek omitted] "thou speakest," [Greek omitted], and for [Greek omitted], "thou hast spoken," [Greek omitted]. Some attribute the doubling of the consonant to the Dorians, some to the Aeolians. Such as we find in I. v. 83: "Black death laid hold on [Greek omitted] him," [Greek omitted]; for [Greek omitted] as I. iii. 321: "Each did these deeds."
He preserves the peculiarity of the Ionians for the preterite tenses of verbs the aphaeresis, as where he says [Greek omitted] for [Greek omitted]. So in past tenses they are want to begin with the same letter as in present tenses and to leave off the [Greek letter] in the word [Greek omitted], "priest" and [Greek omitted], "hawk." Besides, they add [Greek letter] to the third persons of the subjunctive mood, as when they say for [Greek omitted] "may have come," [Greek omitted], and for [Greek omitted], "may have taken," [Greek omitted]. This participle they add to the dative, [Greek omitted], "to the gates," "to the woods." Besides, they say [Greek omitted] for "name", and [Greek omitted] for [Greek omitted], "disease" and [Greek omitted] for [Greek omitted], "empty," and [Greek omitted] for [Greek omitted], "black." And then they change long [Greek letter] into [Greek letter], as[Greek omitted] for [Greek omitted], "Juno," and for [Greek omitted], Minerva. And sometimes they change [Greek letter] into [Greek letter], saying for [Greek omitted], "having forgotten." Moreover, they write in full by diaeresis words which are circumflexed, for [Greek omitted], "intelligent," [Greek omitted]. In the same way they lengthen genitive singulars in [Greek omitted], as [Greek omitted], and genitive feminines in [Greek omitted], as [Greek omitted], "of gates," [Greek omitted], "of nymphs," and finally regular plurals of nouns in the neuter gender ending in [Greek letter] as [Greek omitted], [Greek omitted], "breasts," "darts," and their genitives likewise. They say in their way [Greek omitted] for [Greek omitted].
But he most largely used the Attic dialect for it was combined with others. For just as in Attic they say [Greek omitted] for [Greek omitted], "people," so he did, as [Greek omitted] and [Greek omitted], "debt." It is a custom with them sometimes to use contractions and to put one syllable for two, as for [Greek omitted], "word," [Greek omitted], and for [Greek omitted], "clothes," [Greek omitted]. Related to these is that Homeric expression, "the Trojans in crowds bent over" [Greek omitted], and another case, "fields bearing the lotos" [Greek omitted], instead of [Greek omitted]. Besides they take [Greek letter] from that type of optative, saying for [Greek omitted], "it might seem good to thee," [Greek omitted], for [Greek omitted], "mightiest thou be honored," [Greek omitted]. There is also an Atticism [Greek omitted] for [Greek omitted] in his verse (I. iii. 102):—
Likewise this, too, is Attic, "the more were worse [Greek omitted], the few better [Greek omitted], than their fathers;" we say [Greek omitted] or [Greek omitted]. And they do not prolong these by diaeresis, [Greek omitted], as "oxen [Greek omitted] falling down," and, "fishes [Greek omitted] and birds." And that, too, is said in the Attic fashion (O. xii. 331):—
In the same way as [Greek omitted], [Greek omitted].
And the taking away short vowels is Attic: [Greek omitted], "he is washed," [Greek omitted], "I think," [Greek omitted]; in the same way for [Greek omitted], "he is loosed," he says [Greek omitted]. The Attics say [Greek omitted], adding an unnecessary [Greek letter], whence also comes [Greek omitted], "he was pouring out wine." They contract the iota in words of this sort, as for [Greek omitted], "shores," [Greek omitted], "shores," and for [Greek omitted], [Greek omitted]. So also (I. xi. 782):—
Finally in datives ending in pure iota with a penultimate of alpha the same is done, as [Greek omitted], "horn," [Greek omitted], "old age," [Greek omitted], "ray." And this, too, is Attic, where it is said [Greek omitted], "let them be," and [Greek omitted], "let them follow," for [Greek omitted] and [Greek omitted]. The use of the dual which Homer repeatedly employs is of the same type. Also with feminine substantives he joins masculine articles, participles, and adjectives, as [Greek omitted]. This is a practice with Plato, as when he uses [Greek omitted] "pillaging," and [Greek omitted], "the wise just woman." So, too, Homer (I. viii. 455), speaking of Here and Athene, says:—
and (I. iv. 22):—
and (I. ii. 742):—
Moreover the dialects have many peculiarities of construction. When the poet says (I. iv. 100):—
instead of the accusative, he presents an Attic usage. But when he says (I. ii. 186):—
instead of "from him" and "from Themis," he is employing a Dorian usage.
Accordingly it appears how he makes his diction varied by throwing together words of all the Greek dialects, and sometimes he makes use of foreign words as are the aforesaid, sometimes archaic words, as when he says [Greek omitted], "falchion," and [Greek omitted], "sword," sometimes common and ordinary words, as when he says [Greek omitted], "sword and shield"; one might wonder how well common words in his poetry preserve dignity of speech.
But an artificially wrought style cultivates variation from the customary, by which it becomes clever, more dignified, and altogether more attractive. The turn of expression is called a Trope, and change of construction is called a Schema. The forms of these are described in technical treatises. Let us examine if any of these is omitted by Homer or whether anything else was discovered by his successors which he himself did not use first.
Among Tropes, Onomatopoeia is very common. For he knew the early origin of words. The first who gave names to things called many of them from what had taken place, and therefore introduced inarticulate sounds into writing. As when they said [Greek omitted], "to blow," [Greek omitted], "to cut," [Greek omitted], "to woo," [Greek omitted], "to thunder," and others like these. Whence he himself created certain words not previously existing, copying the things they signified, as [Greek omitted], "sound," and other things also indicating sounds, [Greek omitted], and others of the same kind. None could be found more significant. And again where some words pertaining to certain things he attributes to others, as when he says (I. xxi. 337):—
which signifies its power in burning, and "fever" he uses for "fire." Like these is the expression (I. xix. 25):—
he writes to express wounds inflicted by brass. And to sum up he uses much novelty of speech, with great freedom, changing some from their customary use, giving distinction to others for the sake of infusing in his language beauty and grandeur.
He has also much fertility in epithets; these being fitted to their objects properly and naturally have the force of proper names, as when he gives to the several gods each some proper designation, so he calls Zeus the "all-wise and high thundering," and the Sun, Hyperion, "advancing aloft," and Apollo, Phoebus, that is, shining. But after the Onomatopoeia let us examine other Tropes.
Catechresis, which changes a word from a customary signification to another not recognized. This is to be found in the poet when he says golden chain [Greek omitted], but [Greek omitted] properly means a rope, and when he says a goat helmet [Greek omitted]; now a helmet is [Greek omitted] in Homer, because it used to be made of dog's skin, not of goat's skin.
Metaphor, so-called because it transfers a thing from its proper significance to another with an analogous likeness to both, occurs in many and varied forms in verse, as is the line (O. ix. 481):—
and (O. x. 195):
For the relation a crown has to him whom it encircles, the same the sea has to an island. By making use of related but not usual words he makes his speech not only more beautiful but more picturesque.
There are in Homer various kinds of metaphors; some applied from animate things to animate, as, "the driver of the caerulean ship spoke" instead of the sailor, and "he went to Agamemnon the son of Atreus, the shepherd of the people" instead of king. Some are applied from animate to inanimate, as (I. ii. 824):—
that is, the rising ground. Also (I. ix. 141):—
that is, the fertility. Others, on the contrary, from inanimate to animate, as (I. xxiv. 205):—
From inanimate to animate, as (O. v. 490):—
instead of the generating origin. Then he has metaphors of verbs as well as substantives (I. xvii. 265):—
instead of "resound."
Another Trope which is called Metalepsis, signifying a different thing by a synonym (O. xv. 299):—
for he wishes to signify islands properly called jagged. Both words in Greek are synonyms. For in Greek sharp not only signifies swiftness of motion, but also in a figure that which rises into a slender shape. Such is the quotation (O. ix. 327):—
Another Trope is named Synecdoche, called from this reason; that from what is properly meant, another of the like kind is understood. This Trope has also many varieties. For either we perceive the part from the whole, as (I. xii. 137):—
for he wishes to indicate by the appellation "bulls" the leather out of which shields are wont to be made. Or from a part the whole (O. i. 343):—
for from the head he signifies the man. And when for beautiful he says "endowed with beautiful cheeks," and for well armed he says "well greaved." Or from one the many, as when he speaks of Odysseus (O. i. 2):—
Not he by himself took Troy, but along with the rest of the Greeks. From the many one, as (I. iii. 397), "happy breasts," i.e. breast. From the species the genus, as (I. xii. 380):—
for marble is a species of rock. From the genus the species (O. ii. 159).—
He wishes to say not all birds, but only the birds of auspices. From the instruments the action, as (I. ii. 827):—
By the bow he indicates the skill in using it. And (O. xii. 172):—
and (O. iii. 486):—
This comes from an accidental feature; in the first case "they were rowing," in the next "they were running," is to be implied. Besides there is the consequent to the precedent, as (O. xi. 245):—
It follows that she defiled it. From the consequent the precedent, as when instead of saying "to kill" he says "to disarm," that is, to spoil.
There is another Trope called Metonymy, i.e. when an expression applied properly to one thing indicates another related to it, such as (I. ii. 426):—
for he means the crop of grain named from its inventor, Demeter. And when he says (O. xix. 28):—
By the name Hephaestus he signifies fire. Like what has previously been mentioned is this (I. i. 223).—
for what is contained in the choenix is intended.
There is besides another Trope, Autonomasia, when an epithet or co-title is used for a proper name, as in this example (I. viii. 39):—
By this he indicates Achilles and Agamemnon respectively. And again (I. xxii. 183):—
and in other places (I. xx. 39):—
In the one case he means Athene and in the other Apollo.
There is, too, Antiphrasis, or an expression signifying the opposite from what it appears to do (I. i. 330):—
He wishes to say the contrary, that seeing them he was disgusted.
There is also Emphasis, which through reflection adds vigor to what is said (O. xi. 523):—
In the word "descending" he reveals the great size of the house. Of the same kind is the line (I. xvi. 333):—
for in this he furnishes a more intense description, as if the sand was so bathed with blood that it was hot. These kind of Tropes were invented by Homer first of all.
Let us look at the changes of construction which are called figures to see if Homer also first invented these. Figure is a method of expression divergent from ordinary custom for the sake of ornament or utility, altered by a kind of fiction. For beauty is added to narrative by variety and change of expression, and these make the style more impressive. They are also useful because they exalt and intensify innate qualities and powers.
Among the figures Pleonasm is sometimes used for the sake of the metre; as in (I. xix. 247):—
for the word "all" is added without contributing to the sense. It is done for the sake of ornament, cf. (I. xviii. 12).—
for the word "quite" is pleonastic after the Attic fashion.
Sometimes by several forms of speech he unfolds his meaning. This is called Periphrasis. As when he says "Sons of the Achaeans" for Achaeans, and the "Herculean might" for Hercules.
Things are said figuratively by Mutation when the ordinary order is inverted. But he puts in an expression in the midst which is called Hyperbaton, as in this (I. xvii. 542):—
instead of saying the lion eats up the bull. And so he passes the limits of the sentence (I. ii. 333):—
The order is the Argives applauded with a great shout the speech of divine Odysseus.
Of the same kind is the figure called Parembole, or interposition, when something outside having nothing to do with the subject is introduced. If it is removed, the construction is not affected (I. i. 234):—
and the rest as much as he has said about the sceptre, then joining what follows with the beginning (I. i. 340):—