σχῆμα: (2.24.2; 3.8.1) “form,” “figure” of a speech. It does not correspond to the modern expression “figure of speech,” but is an “attitude” or “turn of meaning given to the language when it comes to be actually spoken” . . . “a difference of sense resulting from a difference of some kind in the mode of enunciation” (Bywater, Poetics 19.7).
τάξις: (3.13–19) the arrangement or distribution of the parts of a speech.
ταπεινὴ λέξις: (3.2.1) “low,” “poor,” “mean”; in a moral sense, “base,” “vile” (ταπεινότης, 2.6.10).
τεκμήριον (1.2.16, 1.2.17). See σημεῖον.
τέχνη: (1.1.3) set of rules, “handbook” of rhetoric: elsewhere of the “tricks” of rhetoricians; τεχνολογεῖν (1.1.9), to bring under the rules of art, reduce to a system.
τόπος: (2.26.1) literally, a “place to look” for a store of something, and the store itself; a heading or department, containing a number of rhetorical arguments of the same kind (τόπος εἰς ὂ πολλὰ ἐνθυμήματα ἐμπίπτει). These are all classified and placed where they can be easily found ready for use. τόποι are of two kinds: (1) κοινοὶ τόποι (commonplaces) or simply τόποι, the topics common to the three kinds of rhetoric (1.2.21; 2.18.3–5); (2) εἴδη or ἴδια (1.2.21), specific topics, propositions of limited applicability, chiefly derived from ethics and politics.
ὑπόκρισις: (3.1.3) “delivery” of a speech, under which declamation, gesticulation, expression, and everything connected with acting are included; ὑποκριτικὴ λέξις (3.12.2), “style suited for delivery,” “lending itself to acting”; [τέχνη] (3.1.7), “the art of acting.”
χώρα: (3.17.15) “room” for our own arguments as well as those of the adversary in the hearer’s mind, to get a footing for what we are going to say; (2.24.2) the proper place, province.
ψιλός: (3.2.3) “bare,” “bald,” of prose as opposed to poetry.
ψυχρός: (3.3.1) “cold,” “frigid,” “insipid.” As a noun, τὸ ψυχρόν means generally any defect of style as opposed to ἀρετὴ λέξεως.