In the rest of the illustrations of the use of Figures—for the central part of the treatise expressly disclaims being a formal [Sidenote: _The Figures._] discussion of these idols—the positive literary criticisms scattered in them—the actual “reviewing”—will give most of the interest. The great Oath of Demosthenes, “By those who fell at Marathon!” with its possible suggestion by a passage of Eupolis, supplies a whole chapter and part of another. And now we find the curious expression (showing how even Longinus was juggled by terms) that Figures “fight on the side of the Sublime, and in turn draw a wonderful reinforcement from it,” wherein a mighty if vague reality like the Sublime, and mere shadows (though neatly cut-out shadows) like the Figures, are most quaintly yoked together. Though still harassed by gaps, we find plenty of good pasture in the remarks, the handling of Periphrasis being especially attractive. For the eighteenth century—the time which honoured Longinus most in theory, and went against him most in practice—undoubtedly took part of his advice as to this figure. It had no doubt that Periphrasis contributed to the Sublime, was ὑψηλοποιόν: unluckily it paid less attention to his subsequent caution, that it is a risky affair, and that it smells of triviality.[234] In fact, it is extremely noticeable that in the examples of Periphrasis which he praises we should hardly apply that name to it, but should call it “Allusion” or “Metaphor,” while the examples that he condemns are actually of the character of Armstrong’s “gelid cistern” and Delille’s “game which Palamede invented.” Footnote 234: ἐπίκηρον πρᾶγμα ... κουφολογίας ὄζον. ἐπίκηρος means literally “perishable,” “apt to go off,” to get stale or flat.