(viii) Of such heightening (1) the first and strongest source is intellectual power of conception; (2) the second, emotion. These are native; the remaining three are acquired: (3) handling of figures, (4) noble diction, and (5), what includes the other two, sentence movement (_compositio_). (ix) The force of the first (i.e., conception), and also its waning, we feel in Homer, whose _Odyssey_ lapses into narrative from the dramatic power of the _Iliad_. (x) The realization of this first source in actual composition means compression, the bringing together of significances with no insignificances to interrupt. (xi) Oratorical amplification, which is complementary to this, of itself never rises to the heights. (xii) Heightening of style is single and intensive, as in poetry or in the orations of Demosthenes; amplification is iterative and extensive, as in Plato or Cicero. (xiii) Plato, however, shows the way to mastery—imitation, (xiv) a way which even we may follow. _The second source is emotion._ (This is not treated here in its place as a separate section, but is implied throughout what follows.) _The third source is handling of figures._ (xv) For weight, grandeur, and energy the right language is imagery. In oratory the purpose of this typically is intellectual; in poetry, emotional; but oratory too may use it for emotional effect. [xvi-xxix. Discussion of figures.] (xxx-xxxi) Beautiful words are essentially the light of thought; and homely words have their expressiveness. (xxxii) Abundance of figurative language may proceed from emotion and kindle it. Even extended and detailed metaphor may be stimulating. _The fourth source, noble diction, means more than constant excellence._ (xxxiii) Better eminence with some faults than a lower plane without them: Homer than Apollonius, Archilochus than Eratosthenes, Pindar than Bacchylides, Sophocles than Ion, (xxxiv) Demosthenes than Hyperides, (xxxv) Plato than Lysias, and, in general, force than elegance. (xxxvi) But though the achievement due to art is typically that of the lower plane, the success of never failing, the assurance of technical mastery, still this does not make art the less important. [xxxvii-xxxviii. Further on figures: metaphor, hyperbole.] _The fifth source is sentence movement (compositio)._