198
Hipotiposis, _or the counterfait, otherwise
called the figure of representation._ 199
Prosopographia, _or the counterfet countenance._ 199
Prosopopeia, _or the false impersonation._ 200
Chronographia, _or the counterfait of time._ 200
Topographia, _or counterteit of place._ 200
Pragmatographia, _or counterfait of action._ 203
Omoiosis, _or the figure of resemblance._ 203
Icon, _or resemblance by portrait, and ymagerie._ 204
Parabola, _or resemblance misticall._ 205
Paradigma, _or resemblance by example._ 205
Exargasia, _or the gorgious, otherwise
called the bewtifull._ 206
_Of the vices and deformitie in speech principally noted
by ancient Poets._ 208
_How some vices in speeches are alwaies intollerable, some others
now and then borne withal by licence of approued authors._ 209
Barbarismus, _or barbarous speech._ 209
Solecismus, _or false speech._ 210
Cacozelia, _or fonde affectation._ 210
Soraismus, _or the vice called the mingle-mangle._ 211
Cacosintheton, _or the misplacer._ 212
Cacemphaton, _or foule speech._ 212
Tautologia, _or selfe saying._ 213
Acyron, _or the vncouth._ 214
Pleonasmus, _or fault of full speech._ 215
Macrologia, _or long language._ 215
Periergia, _or ouerlabor, otherwise called the curious._ 216
Tapinosis, _or the abbaser._ 216
Bomphiologia, _or pompous speech._ 217
Amphibologia, _or the ambiguous._ 217
_What it is that generally makes our speech vertuous or vicious,
& of that which the Latines call decorum._ 218
_Of decencie in behauiour and action, which also belongs to the
consideration of a Poet or maker._ 231
_How the good poet or maker oug