His wordes to ordre his speche to purify.[133]

It has five parts,--and so on. The introduction, however, to the
beflowered dwelling place of the fair lady and the request of Grande Amour
to have his tongue perfumed are much more characteristic of the temper of
the age than are the professed reasons for the origin of rhetoric.
Rhetoric in their hearts they felt to be gay paint and sweet smells.

Hawes's five parts have the same names as the five parts of classical
rhetoric.[134] The first part of rhetoric, he says, is "Invencyon," the
classical _inventio_. It is derived from the "V inward wittes,"
discernment, fantasy, imagination, judgment, and memory. Anyone, however,
who is familiar with the _inventio_ of classical rhetoric, concerned as it
is with exploring subject matter, will be at a loss to see the connection
with Hawes. In fact the whole chapter, and the one following, are devoted
not to rhetoric, but to the theory of poetical composition, and
explanation of the allegorical conception of the end of poetry, and a
defense of the poets against detractors. The classical term _inventio_ is
thus lifted over bodily, with both change and extension in meaning, from
rhetoric to poetic.

In the chapter on Disposicion, instead of discussing the arrangement of a
speech, Hawes devotes most of his space to praise of the rhetoricians
because they turned the guidance of the drifting barge, the world, over to
competent pilots, the kings. Here, perhaps, Hawes is using the word
rhetorician more closely than usual in its classical sense. He may even
have known that the fact of kingship had robbed rhetoric of its purpose.
At any rate, his Disposicion is like the classical _dispositio_ only in
name, and again it is transferred from rhetoric to poetic.