The Etymologies of Isidore of Seville - Pot-pourri
The Etymologies of Isidore of Seville - Pot-pourri
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