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Aristotle · Rhetoric §3.10.7

Excellence of Proportional Metaphor with Examples

Passage 85 of 98 · Greek

Summary

Aristotle demonstrates that metaphors based on analogy are the most successful, enumerating concrete examples from famous orators like Pericles to explain how they bring things vividly before the eyes of the audience.

§3.10.7τῶν δὲ μεταφορῶν τεττάρων οὐσῶν εὐδοκιμοῦσι μάλιστα αἱ κατʼ ἀναλογίαν, ὥσπερ Περικλῆς ἔφη τὴν νεότητα τὴν ἀπολομένην ἐν τῷ πολέμῳ οὕτως ἠφανίσθαι ἐκ τῆς πόλεως ὥσπερ εἴ τις τὸ ἔαρ ἐκ τοῦ ἐνιαυτοῦ ἐξέλοι.
Although there are four kinds of metaphors, those based on analogy are the most well received, as Pericles said that the youth who had perished in the war had vanished from the city in such a way as if someone were to take spring out of the year.
καὶ Λεπτίνης περὶ Λακεδαιμονίων, οὐκ ἂν περιιδεῖν τὴν Ἑλλάδα ἑτερόφθαλμον γενομένην.
And Leptines, concerning the Lacedaemonians, that they should not allow Greece to become one-eyed.
καὶ Κηφισόδοτος, σπουδάζοντος Χάρητος εὐθύνας δοῦναι περὶ τὸν Ὀλυνθιακὸν πόλεμον, ἠγανάκτει, φάσκων εἰς πνῖγμα τὸν δῆμον ἄγχοντα τὰς εὐθύνας πειρᾶσθαι δοῦναι.
And Cephisodotus, when Chares was eager to submit his accounts concerning the Olynthian war, was indignant, saying that he was trying to submit his accounts while squeezing the people into a chokehold.
καὶ παρακαλῶν ποτὲ τοὺς Ἀθηναίους εἰς Εὔβοιαν ἐπισιτισαμένους ἔφη δεῖν ἐξιέναι τὸ Μιλτιάδου ψήφισμα.
And once, when exhorting the Athenians to set out for Euboea after providing themselves with provisions, he said that they should march out with the decree of Miltiades.
καὶ Ἰφικράτης σπεισαμένων Ἀθηναίων πρὸς Ἐπίδαυρον καὶ τὴν παραλίαν ἠγανάκτει, φάσκων αὐτοὺς τὰ ἐφόδια τοῦ πολέμου παρῃρῆσθαι.
And Iphicrates, when the Athenians had made peace with Epidaurus and the coast, was indignant, saying that they had deprived themselves of the provisions for the war.
καὶ Πειθόλαος τὴν πάραλον ῥόπαλον τοῦ δήμου, Σηστὸν δὲ τηλίαν τοῦ Πειραιέως.
And Peitholaus, who called the Paralus the 'club of the people,' and Sestos the corn-sieve of the Piraeus.
καὶ Περικλῆς τὴν Αἴγιναν ἀφελεῖν ἐκέλευσε, τὴν λήμην τοῦ Πειραιέως. καὶ Μοιροκλῆς οὐθὲν ἔφη πονηρότερος εἶναι, ὀνομάσας τινὰ τῶν ἐπιεικῶν· ἐκεῖνον μὲν γὰρ ἐπιτρίτων τόκων πονηρεύεσθαι, αὐτὸς δὲ ἐπιδεκάτων.
And Pericles, who urged them to remove Aegina, 'the eyesore of the Piraeus.' And Moerocles, naming one of the respectable men, said that he himself was no more wicked than that man; for that man practiced wickedness at a rate of interest of one-third, whereas he himself did so at one-tenth.
καὶ τὸ Ἀναξανδρίδου ἰαμβεῖον ὑπὲρ τῶν θυγατέρων πρὸς τὸν γάμον ἐγχρονιζουσῶν " ὑπερήμεροί μοι τῶν γάμων αἱ παρθένοι. " καὶ τὸ Πολυεύκτου εἰς ἀποπληκτικόν τινα Σπεύσιππον, τὸ μὴ δύνασθαι ἡσυχίαν ἄγειν ὑπὸ τῆς τύχης ἐν πεντεσυρίγγῳ νόσῳ δεδεμένον.
And the iambic verse of Anaxandrides concerning daughters who were long in getting married: 'My maidens are past the due date of their marriage.' And the saying of Polyeuctus against a certain Speusippus who was paralyzed, that he was unable to keep quiet, though bound by fortune in a five-holed pillory of disease.
καὶ Κηφισόδοτος τὰς τριήρεις ἐκάλει μύλωνας ποικίλους, ὁ Κύων δὲ τὰ καπηλεῖα τὰ Ἀττικὰ φιδίτια· Αἰσίων δέ, ὅτι εἰς Σικελίαν τὴν πόλιν ἐξέχεαν· τοῦτο γὰρ μεταφορὰ καὶ πρὸ ὀμμάτων.
And Cephisodotus, who called triremes 'painted mills,' and the Dog, who called the Attic taverns the common messes; and Aesion, because they 'poured out' the city into Sicily; for this is a metaphor and brings things before the eyes.
καὶ ὥστε βοῆσαι τὴν Ἑλλάδα , καὶ τοῦτο τρόπον τινὰ μεταφορὰ καὶ πρὸ ὀμμάτων.
And 'so that Greece cried aloud,' and this too is in a way a metaphor and brings things before the eyes.
καὶ ὥσπερ Κηφισόδοτος εὐλαβεῖσθαι ἐκέλευεν μὴ πολλὰς ποιήσωσιν τὰς συνδρομάς. καὶ Ἰσοκράτης πρὸς τοὺς συντρέχοντας ἐν ταῖς πανηγύρεσιν.
And as Cephisodotus urged them to beware lest they make many 'collisions.' And Isocrates against those who rush together at the festival assemblies.
καὶ οἷον ἐν τῷ ἐπιταφίῳ, διότι ἄξιον ἦν ἐπὶ τῷ τάφῳ τῷ τῶν ἐν Σαλαμῖνι τελευτησάντων κείρασθαι τὴν Ἑλλάδα ὡς συγκαταθαπτομένης τῇ ἀρετῇ αὐτῶν τῆς ἐλευθερίας· εἰ μὲν γὰρ εἶπεν ὅτι ἄξιον δακρῦσαι συγκαταθαπτομένης τῆς ἀρετῆς, μεταφορὰ καὶ πρὸ ὀμμάτων, τὸ δὲ τῇ ἀρετῇ τῆς ἐλευθερίας ἀντίθεσίν τινα ἔχει.
And as in the Funeral Oration, because it was fitting for Greece to shear her hair at the tomb of those who died at Salamis, since their liberty was buried together with their courage; for if he had said that it was fitting to weep because their courage was buried with them, it would be a metaphor and before the eyes, but 'the liberty along with their courage' contains a kind of antithesis.
καὶ ὡς Ἰφικράτης εἶπεν ἡ γὰρ ὁδός μοι τῶν λόγων διὰ μέσων τῶν Χάρητι πεπραγμένων ἐστίν μεταφορὰ κατʼ ἀναλογίαν, καὶ τὸ διὰ μέσου πρὸ ὀμμάτων ποιεῖ.
And as Iphicrates said, 'for the path of my arguments lies through the midst of the deeds performed by Chares'; this is a metaphor by analogy, and 'through the midst' brings it before the eyes.
καὶ τὸ φάναι παρακαλεῖν τοὺς κινδύνους τοῖς κινδύνοις βοηθήσοντας, πρὸ ὀμμάτων καὶ μεταφορά.
And to say that one summons dangers to help against dangers is both before the eyes and a metaphor.
καὶ Λυκολέων ὑπὲρ Χαβρίου οὐδὲ τὴν ἱκετηρίαν αἰσχυνθέντες αὐτοῦ, τὴν εἰκόνα τὴν χαλκῆν · μεταφορὰ γὰρ ἐν τῷ παρόντι, ἀλλʼ οὐκ ἀεί, ἀλλὰ πρὸ ὀμμάτων· κινδυνεύοντος γὰρ αὐτοῦ ἱκετεύει ἡ εἰκών, τὸ ἔμψυχον δὴ ἄψυχον , τὸ ὑπόμνημα τῶν τῆς πόλεως ἔργων.
And Lycoleon in defense of Chabrias: 'not even feeling shame before his suppliant statue, his bronze image'; for it is a metaphor at the moment, though not always, and is before the eyes; for while he is in danger, his image supplicates—the inanimate indeed becoming animate—the memorial of the deeds of the city.
καὶ πάντα τρόπον μικρὸν φρονεῖν μελετῶντες · τὸ γὰρ μελετᾶν αὔξειν τι ἐστίν.
And 'practicing in every way to think small'; for to 'practice' is to increase something.
καὶ ὅτι τὸν νοῦν ὁ θεὸς φῶς ἀνῆψεν ἐν τῇ ψυχῇ · ἄμφω γὰρ δηλοῖ τι.
And that 'God kindled the intellect as a light in the soul'; for both make something clear.
οὐ γὰρ διαλυόμεθα τοὺς πολέμους ἀλλʼ ἀναβαλλόμεθα · ἄμφω γάρ ἐστιν μέλλοντα, καὶ ἡ ἀναβολὴ καὶ ἡ τοιαύτη εἰρήνη.
'For we do not dissolve wars, but postpone them'; for both are in the future, both the postponement and peace of that kind.
καὶ τὸ τὰς συνθήκας φάναι τρόπαιον εἶναι πολὺ κάλλιον τῶν ἐν τοῖς πολέμοις γινομένων· τὰ μὲν γὰρ ὑπὲρ μικρῶν καὶ μιᾶς τύχης, αὗται δʼ ὑπὲρ παντὸς τοῦ πολέμου· ἄμφω γὰρ νίκης σημεῖα.
And to say that the treaty is a trophy far more beautiful than those set up in wars; for the latter are for the sake of small things and a single stroke of fortune, but the former is for the whole war; for both are signs of victory.
καὶ ὅτι αἱ πόλεις τῷ ψόγῳ τῶν ἀνθρώπων μεγάλας εὐθύνας διδόασιν· ἡ γὰρ εὔθυνα βλάβη τις δικαία ἐστίν.
And that cities to the censure of men pay a heavy account; for an account is a kind of just penalty.

Notes

  1. 1411aτῶν δὲ μεταφορῶν τεττάρων οὐσῶν — A genitive absolute with a concessive force: 'although there are four kinds of metaphors'. The four types refer to those classified by Aristotle in *Poetics* 21 (1457b): from genus to species, from species to genus, from species to species, or by analogy.
  2. 1411aσπουδάζοντος Χάρητος εὐθύνας δοῦναι ... ἠγανάκτει, φάσκων — The genitive absolute `σπουδάζοντος Χάρητος` ('when Chares was eager to submit his accounts') introduces a subject different from that of the main verb `ἠγανάκτει` ('was indignant'), whose subject is Cephisodotus. The subsequent nominative participle `φάσκων` ('saying') agrees with and modifies the subject of the main verb (Cephisodotus).
  3. 1411aὑπερήμεροί μοι τῶν γάμων αἱ παρθένοι — The adjective `ὑπερήμερος` ('past the deadline', originally used for overdue debtors) takes `τῶν γάμων` as a genitive of relation ('with respect to their marriage'). The dative `μοι` functions as an ethical dative or dative of interest indicating the speaker's concern or subjective judgment ('to my disadvantage' or 'in my judgment').
  4. 1411bτὸ ἔμψυχον δὴ ἄψυχον — The noun phrase `τὸ ... ἄψυχον` stands in apposition to the feminine noun `ἡ εἰκών` ('the bronze image'), explaining its metaphorical essence. It uses a neuter phrase to express the paradoxical situation where an inanimate object (`ἄψυχον`) is presented as if it were animate (`ἔμψυχον`) through the act of supplication (`ἱκετεύει`).

Cite this passage

Aristotle, Rhetoric §3.10.7. Humanitext Reader, https://reader.humanitext.ai/en/text/urn:cts:greekLit:tlg0086.tlg038.humanitext-grc2:3.10.7

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