Προαύλιον] an introduction, ornamental, and preparatory to, not an essential part of, the theme or subject of the composition for all these are beginnings, and as it were a paving of the way (preparation, pioneering of the road) for what follows ( ὁδοποίησις, note on I 1. ![]() tragedy, and specially of Euripides' tragedy), and of the prelude in flute music’. ‘Now the prooemium is the beginning of a speech and stands in the place of the prologue in poetry (i. On the προοίμιον as a hymn, see Stallbaum ad Phaed. 20 where it is defined: it has two parts, principium (the object of this is to make the hearer benevolum aut docilem aut attentum,) and insinuatio, oratio quadam dissimulatione et circuitione obscura subiens auditoris animum. Some of the arts to which public speakers had recourse in the topics of their prooemium are mentioned by Isocrates, Paneg. These rules seem to be chiefly derived from the actual practice of the Orators. The prooemium is thus defined by the author of the Rhet. xvi, πίστεις in xvii: to which is attached in xviii a digression on ἐρώτησις, the mode of putting questions-this includes the ‘answer’, repartee: and the 19th chapter, appropriately enough, concludes the work with the conclusion ( ἐπίλογος, peroration) of the speech. One would be sorry to be obliged to call this ‘calumniating’. ![]() xv, which analyses the topics of διαβολή, the art of ‘setting a man against his neighbour’, infusing suspicion and hostile feeling against him in the minds of others, raising a prejudice against him-especially of course in the minds of judges against your opponent. The treatment of the προοίμιον occupies the 14th chapter, to which is appended a second, c. These in each case are discussed under the heads of the three branches of Rhetoric. Having considered the divisions of the speech in general we now come to the details, to the enumeration and examination of the ordinary contents of each of the four.
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