Onomatopeia.
Onomatopeia, this figure of the Latines is diversly named, as
Nominatio, Nominis fictia, Procreatio. It is a forme of speech
whereby the Orator or speaker maketh and faineth a name to some thing,
imitating the sound or voyce of that it signifieth, or else whereby he
affecteth a word derived from the name of a person, or from the
originall of ye thing which it doth expresse. And this form of
fayning, & framing names is used diverse wayes. First, by imitation
of sounds, as to
1. By imitation of sound. |
say, a hurliburly, signifying a tumult or uprore: likewise, rushing,
lumbring, ratling, blustring, creking, and may such like.
2. By imitation of voyces. |
Secondly, by imitation of
voyces, as the roaring of Lyons, the bellowing of buls, the blating of
sheepe, the grunting of swine, the croking of frogs, the chattering of
Pies, the chirping of sparrows, the howling of dogs, the neighing of
horses, ye hissing of serpents. Thirdly, by the derivation from the
original, as the citie Troy was so called by derivation from king
Troc, & before that it was
3. By derivation from the
originall. |
called Teucria, from Teucrus and first of all
Dardania from Dardanus, so Ninivie of Ninus, so Luds-towne of Lud, and
now London. Fourthly, by composition, as when we put two words
together
4. By composition of two words. |
and
make of them but one, as to say, Oratorlike, scholerlike: also to call
a churle thickskin, a niggard a pinchpeny, a flattere a pickthanke, a
glutton a bellygod. Fifthly, by reviving antiquity.
Touching this part I will
refer the Reader to Chaucer & Gower, and to the new Shepherds
Calendar, a most singular imitation of ancient speech. The sixt maner
of speaking or writing by this figure is, when we signifie the
imitation of another mans property or fashion: this forme of speaking
is very usual in the Greeke tongue, and somewaht it is used in the
Latine, as when they say, Patrissare, matrissare, Platonissare, that
is to say, to imitate his father, to imitate his mother, to imitate
Plato, which forme our tongue can hardly imitate, except we should say,
he doth fatherize, Platonize, temporize, which is not much in use. Yet the English
tongue endevoreth what it can so speake by this part, as where it saith, I can not court it,
I can not Italian it, that is, I can not performe the dutie or manners of a courtier, I can
not imitate the fashion of an Italian.
The use of this Figure.
This figure serveth fitly to make description of an action, as much as
may be signified by noise or found. Also it pretendeth
to the hearer the nature of beasts,
birds and other things, by the proper imitation of their voyces. By
derivation from the originall, it recordeth a perpetuall memorie of
the first founders
of great
workes: it serveth to brevitie by the apt composition, it is
the register of ancient speech and
antiquitie.
4. To retaine antiquitie. |
The Caution.
As the use of this figure is both profitable & pleasant, being
artificially framed: so is it very unseemely and ridiculous,
1. Unlike, or unequall in
proportion. |
if Art be neglected, and therefore these
observations ought to be regarded. First, concerning the imitation of
sound, that it be somwhat like to the thing it signifieth, and not
unlike, as if one should call the sound of a Cannon, a ratling or
cracking, it were farre from the fimilitude, or if he should call the
roaring of a Lion, a blating or a grunting, it were absurd if the
voyce should be extended to the uttermost in the word of imitation,
for that were most ridiculous. Thirdly, as is said in the
Metaphore, unchast and vile imitation ought to be
shunned, and alwayes a discreet regard to be observed.
