Topothesia
Topothesia is “the description of an imaginable or non-existent place”.[1] It has been classified as a type of enargia[2] (a synonym to “hypotyposis”), which is a “generic name for a group of figures aiming at vivid, lively description”. Edgar Allan Poe used enargia frequently to describe his characters in his literary works.[3] According to Philip Hardie, a professor at the University of Cambridge, its determining characteristic is its position within a text. Normally, when the descriptive analysis of a place is found to discontinue a narrative, this interrupting section can be considered topothesia. In addition, it has a stereotyped entry formula that facilitates distinguishing the narrative from the descriptive. In most famous texts, topothesia begins with est locus (“there is a place” in Latin), as can be seen in Metamorphoses[4] by Ovid.[5]
Etymology
Topothesia is derived from a mixture of two Greek words: “topos” (τοπος), which literally translated means “place”, and the suffix “-thesia”, which is obtained from the noun "thesis", meaning “setting forth". In ancient Greek the word always seems to refer to the description or arrangement of a real place,[6] while the application of the word to an imaginary description (as opposed to "topographia", the description of a real place) is first found in the Latin commentator Servius.[7]
Examples
Topothesia is a tool often used in poetry rather than by orators. A renowned poet who frequently utilized topothesia along with other forms of enargia was Edgar Allan Poe. A popular poem that featured various examples of topothesia is “Dreamland”.[8]
- By a route obscure and lonely,
- Haunted by ill angels only,
- Where an Eidolon, named Night,
- On a black throne reigns upright,
- I have reached these lands but newly
- From an ultimate dim Thule-
- From a wild clime that lieth, sublime,
- Out of Space – Out of Time.
- Bottomless vales and boundless floods,
- And chasms, and caves, and Titan woods,
- With forms that no man can discover
- For the tears that drip all over;
- Mountains toppling evermore
- Into seas without a shore;
- Seas that restlessly aspire,
- Surging, unto skies of fire;
- Lakes that endlessly outspread
- Their lone waters- lone and dead,-
- Their still waters- still and chilly
- With the snows of the lolling lily. (“Dream-Land,” 7:89)[9]
However, this rhetorical term was apparent in other of Poe’s works of fiction like “The Domain of Arnheim”.[10] This short story was recognized for its repeated use of topothesia. According to author and professor at York University, Brett Zimmerman, “the tale’s entire second half is a description of Arnheim, an artificial paradise on Earth – “the phantom handiwork, conjointly, of the Sylphs, of the Fairies, of the Genii, and of the Gnomes” (6: 196). We also have “Landor’s Cottage: A Pendant to ‘The Domain of Arnheim’.” That piece really has no plot; it is extended topothesia – an exercise in picturesque description of a place…”[11]
Notes
- ↑ Oxford, Topos.
- ↑ Oxford, Enargia.
- ↑ Zimmerman 2005, p. 195.
- ↑ Anderson 1998.
- ↑ Hardie 2002, p. 122.
- ↑ Liddell-Scott-Jones, Greek-English Lexicon, 9th ed. s.v.
- ↑ On Vergil's Aeneid 1.159
- ↑ Zimmerman 2005, p. 321.
- ↑ Poe 2012.
- ↑ Poe.
- ↑ Zimmerman 2005, p. 322.
References
Primary Sources
- Oxford Dictionary (American English). United States.
- "Online Etymology Dictionary". 2014.
Secondary Sources
- Anderson, William S. (1998). Metamorphoses, Books 1-5. ISBN 9780806128948
- Anderson, William S. (1998). Metamorphoses, Books 6-10. ISBN 9780806114569
- Connors, Robert J. (1995). The St. Martin's Guide to Teaching Writing.
- Hardie, Philip R. (2002). The Cambridge Companion to Ovid.
- Poe, Edgar Allan (2012). The Domain of Arnheim.
- Poe, Edgar Allan. Dream-Land.
- Zimmerman, Brett (2005). Edgar Allan Poe: Rhetoric and Style.