Selected quad for the lemma: kingdom_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
kingdom_n	king_n	receive_v	time_n	3,757	5	3.5636	3	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A70499	The art of speaking written in French by Messieurs du Port Royal in pursuance of a former treatise intituled, The art of thinking ; rendred into English.; Art de parler. English	Lamy, Bernard, 1640-1715.; Arnauld, Antoine, 1612-1694.; Brulart, Fabio, 1655-1714.; Lamy, François, 1636-1711.; Nicole, Pierre, 1625-1695.	1676 (1676)	Wing L307A; ESTC R1142	142,874	456

new strokes of a Pencil that make those Lines visible which before were incomplete When our impatience to be understood gives us just occasion to fear we have not sufficiently explain'd our selves we dilate upon things the more and are more copious in our Expression If our Hearers have not been attentive we repeat a second time what we have said before What darkness can obfuscate the verity of a thing that an Eloquent Person explains of which he makes Descriptions and Enumerations that lead us if I may so say thorough all the corners and recesses of an Affair and such Hypotyposes and Illustrations as carry us thorough all difficulties and by a pleasant Enchantment makes us believe we behold the things themselves An Antithesis is no idle ornament opposition of contrary things contributes exceedingly to the clearing of a Truth Shadows add much to the beauty of Colours Our Minds are not equally open to all kind of Truths We comprehend much more easily things that are obvious every day and in common use among Men than those which are rare and mention'd but seldom For which Reason Comparisons and Similitudes drawn ordinarily from sensible things give us a more easie penetration into the most abstracted and abstruse Truths There is nothing so subtil and sublime but may be made intelligible to the weakest Understanding if among the things which they know or are capable of knowing we can find out ingeniously such as have resemblance or similitude with those which we would explain to them We have an excellent Example of this Address in a Discourse that Monsieur Paschal made to a young Nobleman to give him a true Notion of his Condition His Parabole is thus A certain Person is cast by Tempest into an unknown Island whose Inhabitants were in great pain to find out their King who was lost The Person having much resemblance both in Body and Feature with the King is taken for him and recognis'd in that quality by the People At first he was surpris'd and knew not how he was to steer but upon second thoughts he resolved to follow his Fortune receiv'd all the respects that they paid him and suffer'd himself to be treated as their King But being unable to forget his natural condition it stuck in his Mind at the same time that he received their Formalities that he was not the King for whom they sought and that the Kingdom was not his So that he had a double care upon him one by which he acted as King the other by which he remembred his real condition and was assured that it was only Chance which had placed him where he was This last thought he conceal'd to himself the other he discover'd By the first he treated with the People by the last he treated with himself By this Example Monsieur Paschal signified to the young Lord That it was the Fortune of his Birth which had made him Great that it was only the Fancy of the People that had annexed to the Quality of a Duke an Idea of Grandeur and that in effect he is no greater than other People Instructing him in that manner what Sentiments he ought to have of his condition and making him understand Truths which would have been above the Capacity of his Age had he not as I may say brought them down to the Intellect of him whom he desired to instruct Were Men Lovers of Truth to propose it to them in a lively and sensible way would be sufficient to perswade them But they hate it because it accommodates but seldom with their Interests and is seldom made out but to the discovery of their Crimes In so much that they are affraid of its lustre and shut their Eyes that they may not behold it They stifle the natural love that Men have for it and harden themselves against the salutiferous strokes that she strikes upon the Conscience They shut all the Ports of their Senses that she may not enter into their Minds where she is receiv'd with so much indifference that she is forgot as soon as she is receiv'd Eloquence therefore would have but little authority over our Hearts and would indeed find strong resistance did she not attack them with other Arms besides Truth The Passions are the Springs of the Soul It is they which cause it to act It is either Love or Hatred or Fear or Hope which counsels and determins us We pursue what we love we avoid what we hate He that holds the Spring of a Machin is not so much Master of all the Effects of the Machin as he is of a Person whose Inclination he knows and is able to inspire with Hatred or Love according as either is necessary to make him advance or to remove him from an Object But the Passions are excited by the presence of their Object Present Good affects us with Love and with Joy When we do not actually but are in possibility of possessing that Good it inflames the Soul with desires whose Flames are continued by Hope Present Evil is the Cause of Hatred or Sadness The Soul is tormented with Fears and with Terrors which turn to Despair when we find we have no means left to avoid them To kindle therefore these Passions in the Heart of a Man we must present the Objects before him and to this purpose Figures do marvellously conduce We have seen how Figures do imprint strongly how they illustrate and how they explain We must use them in the same manner to discover the Object of the Passion which we have a mind to inspire and to make a lively Picture that expresses all the Features and Lineaments of the said Object If we declame against a Malefactor who deserves the hatred of the Judges we are not to be sparing of words nor affraid of Repetitions Synonyma that strongly imprint upon the Mind the Image of his Crimes An Antithesis will be convenient and make them conceive the enormity of his Life by opposing the Innocence of those Persons whom he has wrong'd We may compare him to the Malefactors of former Ages and declare his Cruelty to be greater than the Cruelty of the Tigres and Lions It is in the Description of Cruelty and other ill qualities that Eloquence triumphs It is particularly the Hypotyposes or lively Descriptions which produce the Effect expected from our Discourse and raise in the Mind Floods of Passion of which we make use to incline the Judges as we have a mind to lead them Frequent Exclamations do testifie our horrour at the representation of his abominable Crimes and makes the Standers-by feel the same Sentiments of grief and aversion By Apostrophes and Prosopopeia's we order it so that Nature her self seems to demand with us the Condemnation of the Criminal IV. Reflexions upon the good use of Figures FIgures as we have seen being the Characters of our Passions when those Passions are irregular Figures serve only to describe those Irregularities They are Instruments used to shake and

Cicero 's Works And That the People in Paris are allarm'd There is so strong relation betwixt a General and his Army betwixt an Author and his Works betwixt a Town and its Inhabitants that we cannot think of the one but the Idea of the other presents it self instantly to our Minds which is the cause that this changing of Names produces nothing of confusion SYNECDOCHE Synecdoche is a kind of Metonymie where we put the name of the whole for a part or the name of a part for the whole As if we should say Europe for France or France for Europe The Nightingal for Birds in general or the Bird for the Nightingal The Tree for a particular Tree If we should say The Plague is in England when perhaps it is only in London Or That it is in London when it is all over the Kingdom If speaking particularly of the Nightingal or of an Oak we should say This is a fine Bird This is a fine Tree So that by the benefit of a Metonymie we have liberty to use the name of a part for the whole or the whole for a part We refer also to this Trope the liberty we take to put a certain for an uncertain Number We may say This House has an hundred fair Avenues when perhaps it has more or less And to make our reckoning round and compleat if a Man be ninety nine years old and odd months we may say he is an hundred without any great Solecism ANTONOMASIA Antonomasia is a sort of Metonymie when we apply the proper Name of one thing to several others or è contrario the Names of several things to one Sardanapalus was a voluptuous King Nero a cruel Emperour By this Figure Antonomasia we call any voluptuous person a Sardanapalus and any cruel person a Nero. The words Orator Poet Philosopher are common words and to be given to all of the respective Professions yet they are applied to particular persons as if they were only proper to them When we speak of Cicero we say the Orator gives us this Precept in his Rhetorick The Poet has given us the Description of a Tempest in the First of his Aeneids intending Virgil. The Philosopher has prov'd it in his Metaphysicks meaning Aristotle In every condition that Man who excels the rest of his Brethren may appropriate the Title of his Profession We cannot talk of Eloquence but Cicero falls naturally into our thoughts and by consequence the Idea of Cicero and Orator are so close and inseparable we cannot mention the one but the other will follow METAPHORA Tropes are words transported from their proper significations and applied to things that they signifie but obliquely So that all Tropes are Metaphors or Translations according to the Etymology of the Word And yet by the Figure Antonomasia we give the name of Metaphor to a particular Trope and according to that definition a Metaphor is a Trope by which we put a strange and remote word for a proper word by reason of its resemblance with the thing of which we speak We call the King the Head of His Kingdom because as the Head commands the Members of the Natural so the King commands the Members of the Politick Body The Holy Scripture very Elegantly to signifie a great Drought says The Heavens were Brass When a House looks pleasantly we say and not improperly It smiles upon us because it in some measure resembles the agreeableness that appears in the countenance of a person when he smiles ALLEGORIA An Allegory is a continuation of several Metaphors There is an excellent Example of a perfect Allegory in the Poem of S. Prosper Part. 2. chap. 14. where he speaks of Divine Grace By this the Soul of Man becomes a Soil Fit to receive the Seed of Faith and while By this Divine Efflux the drooping Mind Is rais'd above her self that Plant doth find Room to take root and largely spread through all Those thoughts and actions which since the Fall Deserve the Name of Good To this w' are bound That that good Fruit for which the Saints are crown'd Comes to maturity and is not kill'd By th' Tares of Passions with which is fill'd Depraved humane Nature 'T is this strength By which Faith brings forth Fruit and at the length Maugre the desp'rate Onsets of fierce lusts Grows up secure to Him in whom she trusts This props up tender Faith from being struck down 'Till happy Perseverance gives a Crown Great care must be taken in an Allegory that it ends as it begins that the Metaphors be continued and the same things made use of to the last from whence we borrowed our first Expressions which Prosper observed exactly in his Metaphor from Corn. When these Allegories are obscure and the natural sense of the words not presently perceptible they may be call'd Enigma's as in these Verses where the Poet describes the agitation and ebullition of the blood in the time of a Feaver Ce sang chaud boüillant cette flâme liquide Cette source de vie à ce coup homicide Et son let agité ne se peut reposer Et consume le champ qu' elle doit arroser Dan ses canaux troubles sa course vagabonde Porte un tribut Mortel au Roy du petit Monde This last Verse is more particularly Enigmatical and on a sudden we do not perceive that he intends by the word King the Heart as the principal part by which the Blood of the whole Body passes continually It must first be considered that Man is called frequently a Microcosm of little World LITOTES Litotes or Diminutio is a Trope by which we speak less than we think as when we say I cannot commend you it implies a secret reproach or reprehension for something committed that hinders us I do not undervalue your Presents is as much as I accept them HYPERBOLE An Hyperbole is a Figure which represents things greater lesser better c. than in reality they are We make use of an Hyperbole when our ordinary Terms being too weak or too strong carry no proportion with our Idea and so fearing to speak too little we fly out and say too much As if to express the swiftness of a Horse I should say he was swifter than the Wind. If the slowness of a Person I should say His motion was slower than the motion of a Tortoise In strictness these Expressions are Lyes but they are innocent Lyes and deceive no body For no one but understands what we mean and in the precedent Examples all that is intended is only this That one ran very fast and the other moved very slow IRONIA An Ironie is a Trope by which we speak contrary to our thoughts as when we say such a one is a very honest man when we know he is notoriously corrupt The tone of the Voice wherewith these Ironies are commonly pronounced and the quality of the person to whom we give the Title being contrary to what we say undeceives