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The Etymologies of Isidore of Seville - Pot-pourri

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62 I.xxxvii.14–xxxvii.21 <strong>Isidore</strong> <strong>of</strong> <strong>Seville</strong><br />

As many as the birds that flock together, when the frigid<br />

year chases them to sea.<br />

Indeed, itisnotthewhole <strong>of</strong> year that is frigid, but only<br />

part <strong>of</strong> the year, that is, winter. In the opposite way, the<br />

whole is designated by the part, as (Vergil, Aen. 2.256):<br />

When the royal helm had raised the torches,<br />

when it is not merely the helm, but the ship, and not the<br />

ship, but those in the ship, and not all <strong>of</strong> those in the<br />

ship, but a single one who brings forth the torches.<br />

14. Onomatopoeia (onomatopoeia) isawordfashioned<br />

to imitate the sound <strong>of</strong> jumbled noise as the stridor<br />

(“creaking”) <strong>of</strong> hinges, the hinnitus (“whinnying”)<br />

<strong>of</strong> horses, the mugitus (“lowing”) <strong>of</strong> cows, the balatus<br />

(“bleating”) <strong>of</strong> sheep. 15. Periphrasis (periphrasis) isa<br />

circumlocution (circumloquium), when a single topic is<br />

expressed with many words, as (Vergil, Aen. 1.387):<br />

He plucks the vital airs.<br />

Asingle meaning is expressed by this combination <strong>of</strong><br />

words, that is, “he lives.” This trope is tw<strong>of</strong>old, for either<br />

it splendidly brings forth the truth, or it avoids foulness<br />

by indirection. It splendidly brings forth the truth in<br />

(Vergil, Aen. 4.584 and 9.459):<br />

Andnow, early Aurora was scattering new light on the<br />

earth, leaving the saffron bed <strong>of</strong> Tithonus.<br />

He means, “now it grew light,” or, “it was daybreak.”<br />

It avoids foulness by indirection, as in (cf. Vergil, Aen.<br />

8.405):<br />

Andhesought what was pleasing, relaxed in his wife’s<br />

embrace.<br />

By this indirection he avoids obscenity, and decently<br />

expresses the act <strong>of</strong> sexual intercourse.<br />

16.Hyperbaton(hyperbaton)isatransposition(transcensio),<br />

when a wordorsentenceischangedinitsorder.<br />

<strong>The</strong>re are five types <strong>of</strong> this: anastrophe, hysteronproteron,<br />

parenthesis, tmesis, and synthesis. Anastrophe is<br />

areversedorder<strong>of</strong>wordsaslitora circum (“the shores<br />

around”; Vergil, Aen. 3.75), instead <strong>of</strong> circum litora. 17.<br />

Hysteron proteron (hysteron proteron)isasentencewith<br />

the order changed, as (Vergil, Aen. 3.662):<br />

<strong>The</strong>n he touched the deep waves, and came to the water.<br />

For hecame to the water first, and thus touched the<br />

waves. 18. Parenthesis (parenthesis) occurs when we<br />

interrupt our sentence, so that the sentence remains<br />

entire when this interruption is removed from the middle,<br />

as (Vergil Aen. 1.643):<br />

Aeneas – for his paternal love could not permit his mind<br />

to rest – quickly sends Achates to the ships.<br />

[For this is the order: “Aeneas quickly sends Achates.”]<br />

And that which intervenes is the parenthesis. 19.Tmesis<br />

(tmesis)isadivision<strong>of</strong>one word by the interposition <strong>of</strong><br />

other words, as (cf. Vergil, Aen. 1.412):<br />

Multum nebulae circum dea fudit amictum<br />

(<strong>The</strong> goddess surrounded (them) with a thick mantle <strong>of</strong><br />

mist),<br />

instead <strong>of</strong> circumfudit. 20. Synthesis (synthesis) occurs<br />

when words from every part <strong>of</strong> the thought are jumbled<br />

up, as in this (cf. Vergil, Aen. 2.348):<br />

Iuvenes, fortissima frustra<br />

pectora, si vobis audendi extrema cupido est<br />

certa sequi, quae sit rebus fortuna videtis.<br />

Excessere omnes aditis arisque relictis<br />

dii, quibus inperium hoc steterat; succurritis urbi<br />

incensae; moriamur et in media arma ruamus.<br />

(Young men, in vain your stout hearts; if your desire for<br />

daring the final battle is fixed on following me, you see<br />

what the outcome <strong>of</strong> the matter will be. <strong>The</strong>y have all left<br />

the abandoned shrines and altars, the gods on whom<br />

this empire was established; you are helping a burning<br />

city; let us die and rush into the midst <strong>of</strong> the fray).<br />

For the order is like this: “Young men with stout hearts,<br />

in vain you would be helping a burning city, because<br />

the gods have left. So if you firmly wish to follow me<br />

as I attempt a final battle, let us rush into the midst <strong>of</strong><br />

the fray and die.” 21.Hyperbole (hyperbole)isal<strong>of</strong>tiness<br />

that exceeds credibility, beyond what can be believed, as<br />

(Vergil, Aen. 3.423):<br />

She strikes the stars with a wave,<br />

and (Vergil, Aen. 1.107):<br />

It lays open the sea bottom between the waves.<br />

In this way something is magnified beyond belief; yet it<br />

does not stray from the path <strong>of</strong> expressing truth, even<br />

though the words go beyond what is referred to, so that<br />

the intention may seem to be <strong>of</strong> one speaking, not <strong>of</strong> one<br />

deceiving. By this trope something may not only be magnified,<br />

but also diminished. Magnified as in ‘faster than

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