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　　The Renaissance saw a renewed and energetic engagement with

classical rhetoric; recent years have seen a similar revival of

interest in Renaissance rhetoric. As Renaissance critics

recognised, figurative language is the key area of intersection

between rhetoric and literature. This book is the first modern

account of Renaissance rhetoric to focus solely on the figures of

speech. It reflects a belief that the figures exemplify the larger

concerns of rhetoric, and connect, directly or by analogy, to

broader cultural and philosophical concerns within early modern

society. Thirteen authoritative contributors have selected a

rhetorical figure with a special currency in Renaissance writing

and have used it as a key to one of the period's characteristic

modes of perception, forms of argument, states of feeling or styles

of reading.

Introduction: the figures in Renaissance theory and practice

Sylvia Adamson, Gavin Alexander and Katrin Ettenhuber

1. Synonymia: or, in other words Sylvia Adamson

2. Compar or Parison: measure for measure Russ McDonald

3. Periodos: squaring the circle Janel Mueller

4. Puns: serious wordplay Sophie Read

5. Prosopopoeia: the speaking figure Gavin Alexander

6. Ekphrasis: painting in words Claire Preston

7. Hysteron proteron, or the preposterous Patricia Parker

8. Paradiastole: redescribing the vices as virtues Quentin

Skinner

9. Syncrisis: the figure of contestation Ian Donaldson

10. Testimony: the artless proof R. W. Serjeantson

11. Hyperbole: exceeding similitude Katrin Ettenhuber

12. Metalepsis: the boundaries of metaphor Brian Cummings

13. The vices of style William Poole

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书籍介绍

The Renaissance saw a renewed and energetic engagement with classical rhetoric; recent years have seen a similar revival of interest in Renaissance rhetoric. As Renaissance critics recognised, figurative language is the key area of intersection between rhetoric and literature. This book is the first modern account of Renaissance rhetoric to focus solely on the figures of speech. It reflects a belief that the figures exemplify the larger concerns of rhetoric, and connect, directly or by analogy, to broader cultural and philosophical concerns within early modern society. Thirteen authoritative contributors have selected a rhetorical figure with a special currency in Renaissance writing and have used it as a key to one of the period's characteristic modes of perception, forms of argument, states of feeling or styles of reading.