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"Good Heaven!" thought Oldbuck, "how is this man altered from the formal stolidity of his usual manner! he grows wanton under adversity Sed pereunti mille figurae." He then proceeded aloud "Sir Arthur, we must necessarily speak a little on business." "To be sure," said Sir Arthur; "but it was so good that I should not know the horse I have ridden these five years ha! ha! ha!"
"Good Heaven!" thought Oldbuck, "how is this man altered from the formal stolidity of his usual manner! he grows wanton under adversity Sed pereunti mille figurae." He then proceeded aloud "Sir Arthur, we must necessarily speak a little on business." "To be sure," said Sir Arthur; "but it was so good that I should not know the horse I have ridden these five years ha! ha! ha!"
There are two sorts of quibbling, the one with words and the other with sense, like the rhetorician's figurae dictionis et figurae sententiae the first is already cried down, and the other as yet prevails, and is the only elegance of our modern poets, which easy judges call easiness; but having nothing in it but easiness, and being never used by any lasting wit, will in wiser times fall to nothing of itself.
But in the minor we speak of the same being only in so far as it regards itself as subject, relatively to thought and the unity of consciousness, but not in relation to intuition, by which it is presented as an object to thought. Thus the conclusion is here arrived at by a Sophisma figurae dictionis.*
The eighth begins the interesting topic of style, which is continued in the ninth, where trope, metaphor, amplification, and other figurae orationis are illustrated at length. Throughout these books there are a large number of quotations, and continual references to the practice of celebrated masters in the art, besides frequent introduction of passages from the poets and historians.
He bases his opposition to unnecessary monetary variation on the perfectly sound ground that such variation is productive of loss either to those who are bound to make or bound to receive fixed sums in payment of obligations. The author then goes on to analyse the various kinds of variation, which he says are five figurae, proportionis, appellationis, ponderis, and materiae.
We can now see that the major, in the above cosmological syllogism, takes the conditioned in the transcendental signification which it has in the pure category, while the minor speaks of it in the empirical signification which it has in the category as applied to phenomena. There is, therefore, a dialectical fallacy in the syllogism a sophisma figurae dictionis.
First there were the figurae verborum, or figures of language, which sought agreeable sounds alone or in combination, such as antitheses, rhymes, and assonances. Then the figurae sententiarum, or figures of thought, such as rhetorical questions, hints, and exclamations. Quintilian classifies as tropes words or phrases converted from their proper signification to another.
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