called the sagesayer._ 197 Sinathrismus, _or the heaping figure._ 197 Apostrophe, _or the turne tale._ 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 ought to dissemble his arte, and in what cases the artificiall is more commended then the naturall and contrariwise._ 250 _The conclusion._ 257 FINIS. End of Project Gutenberg's The Arte of English Poesie, by George Puttenham