TH E

ELEMENTS OF RHETORI C

BY JA M E S D E M I L L E , M A . .

C 3"

N E W YO R K
H ARP ER B R OTH E R S P U B L I SH E R S
,

'RAN K L!N S Q UA RE

1 88 2
 Enterpd wording m 1878
‘

z to A c of C in the y , by
é
H ARPER B ROT H E R S ,

I n the Ofice of the b brun n

’

ol CongraR at W as mgm
n
 PR E FA C E .

TH E e p i g rammat i c say i n g W r it ers are no t mad e by

,
“

r h e t o r i c i s n ot u n fre q u en t l y q u o t e d as a r eas o n fo r
,
"

d ep re c i at i n g a v al u ab l e st ud y and fo r ad v o c at i n g in
,

i t s p l ac e t he p rac t i c e o f e x e rc i s e s in c o mp o si t i o n I f .

t h e o n l y aim o f r h e t o r i c w e r e t o m ak e g o o d w ri t e r s ,

t h i s o bj ec t i o n w o u l d h av e t o be me t an d an s w e r e d ;
b u t if i t h av e an o t h e r an d a b r oad e r p u r p o s e t h e n i t s ,

t ru e c h arac t e r s h o u l d be c l e ar l y as c e r t ai ne d and se t
fo r t h w i t h emp h as i s .

T h e re i s an i mp o r t an t d i st i n c t i o n b e t w e en r h e t o ric
an d c o mp o si t i o n Th e l at t e r i s co nc e rn e d w i t h prac
.

t i c al e x e rc i s e s b y w h i c h t he s t u d e n t ac q ui re s sk i l l in
w r i t i n g ; t he fo r me r e mb rac e s t h at wi d e fi e l d o f s u r
v ey b y w h i c h he m ak e s h i ms e l f fami l i ar w i t h t he q u al
i t i es o f l i t e rat u r e T he p ro v i n c e o f eac h i s t h e re fo re
.

q u i t e d i st i nc t an d wh e re t h i s i s n o t c l ear l y ap p r e h e n d
,

ed , t h e r e i s a d an g e r l e s t t he w o r k o f r h e t o r i c as an
e d ucat io n al
'

inst r ume n t may no t be s ufii c ie n t ly appre

c iat ed , an d t h at i t may be ne g l e c t e d fo r t he mo re p rae
t i c al b u t al t o g e t h e r d i ffe r e n t w o r k o f e x e rc i s e s in co m
p o si t i o n .

It may beco n c e d e d t h at g r eat w r i t e r s l i k e g r eat ,

p oe t s are b o r n n ot mad e ; b u t fo r t he av e r ag e mi n d
, ,

s o me t r ai n i n g i s n ec essar y b e fo re i t c an s ec u re t he b e s t
p o w e r o f ex p ressi o n Th e mo s t d i r e c t way t o w ar d s
.

t h e at t ai n me n t o f sk i l l an d ap t i t u d e in t h i s r e sp e c t i s
u n d o u b t e d l y affo r d e d b y the p rac t i c e o f c o mp osi t i o n ;
an d w h e r e t h i s i s j u d i c i o u sl y c arr i e d o ut i t c an h ar d l y
fai l t o g i v e t o t h e d i l i g e n t s t ud en t t h e h ab i t o f r ead y
an d e ffe c t i v e w r i t i n g B ut the s t u d en t c an no t pro
.
iv P r ef ace .

c ee d far w i t h o u t mee t i n g w i t h s o me t h i ng w h i c h l i e s
b e y o n d t he si mp l e r fo r ms o f c o mp o si t i o n H e be .

c o me s aw are o f t h e p e r s u as i v e p o w e r o f s t y l e t he ,

h armo n y o f w o r d s an d t he e v e r v ary i n g feat ur es o f

,
-

fi g u rat i v e e x p r essi o n ; h e e n c o u n t er s man y d i ffe r e n t

mo d e s b y w h i c h t he w r i t e r may acc umu l at e the ma
t e rial fo r h i s w o r k c l assi fy h is t h o u g h t s an d p r e s e n t
, ,

t h e m in o r d e r S u c h t h i n gs as t h e s e mu s t be c o n
.

sid e red in e v e ry man u al o f c o mp o si t i o n ; an d t h o s e

who w r i t e mu c h an d at t ai n t o s u cc e ss w i l l g en e ral l y
, ,

ac q u i re a k n o w l e d g e o f t he fac t s an d p r i n c i p l es w h i c h
fo r m t he s u bj e c t mat t e r o f r h e t o r i c al w o r k s e v e n
-
,

t h o u g h s u c h w o r k s may n e v e r h av e be e n read T he .

d i r ec t st u d y o f t h ese s u bj ec t s in a fo rmal t r eat i se may

t h e r e fo re be r e g ar d e d a s o f no l i t t l e i mp o rt an c e t o
t h o s e who w i sh t o s u cc e ed as w r i t e r s si n c e i t w i l l gi v e
,

t h e m an ear l y an d me t h o d i c al k n o w l ed g e o f t h at
w h i c h o t h e r w i s e t h e y w i l l o n l y l e arn aft e r a l o n g
pe r i o d an d in an u nme t h o d i c al man n e r .

B ut w h i l e t he n u mbe r o f w rit e r s i s n ec e ssar i l y lim

ited the n u mb e r o f t h o s e wh o l o v e l i t e rat u re fo r i t s
,

o wn sak e i s v i r t u al l y u n l i mi t e d The read i ng o f

.

b o o k s i s a v e ry d i fferen t t h i n g fro m t he w ri t i n g o f
bo o k s ; an d t he c l ass o f read e r s mu st al way s far o ut
num b e r t he c l as s o f w r i t e rs I t i s t o t he fo r me r t h at
.

t he st u d y o f r h e t o r i c c h i e fl y c o mm e n d s i t s e l f si n c e it,

affo r d s a way t o w ar d s a l ar g e r as w e l l as a fi ne r d i s
c ern m e n t o f t h o s e b eau t i e s in w h i c h t h e y t a k e d el i g h t .

W h i l e t h e re fo r e a k no w l e d g e o f r h e t o r i c i s o f g reat
, ,

i mp o r t an ce t o t he w r i t e r i t may be sh o w n t o p o ss es s
,

a s t i l l h i g h e r v al u e as a mean s o f c u l t u r e an d e d u c a
t io n al d i s c i p l i n e
.

B y c u l t ur e i s mean t t he r e fi n i ng an d h u man i z i n g
i n fl ue n c e o f art o r l e t t e r s t h ro u g h w h i c h o n e at t ai n s
,

t o a mo r e d e l i c at e s e n si b i l i t y o f t ast e an d a h i gh e r,

an d p u re r s t ag e o f i n t e l l e c t u al en j o y me n t As a .

mean s o f c u l t ur e l i t e rat ur e is at o n c e mo r e ac c e s si b l e
, ,

mo re effec t i v e an d mo r e e n d u ri n g t h an ar t T h ere
,
.
was a t i me w h en l i t e rar y c u l t u r e was c on si d e r e d pos
s ib l e o n l y w i t h t h o s e who s t u d i e d t he anc i e n t c l ass i c s ;
b u t at t he p re se n t d ay a far l arg e r fi e l d i s r ec o g n i ze d .

I t may ar i s e in man y w ay s b o t h in art an d l i t e rat u re ;

,

an d in t he l at t e r it may be e ffec t e d b y t h e s t u d y o f
G e rman as w e l l as G ree k I t al i an as we l l as L at i n
,
.For
t h e g re at p u rp o se s o f c u l t u r e D an t e i s e q u al to V i r g i l ,
G o e t h e t o H o me r ; w h i l e a fami l i ari t y w i t h S h ak e
s p ear e i s o f i t s e l f a l i b e r al e d u cat i o n O f all l i t e rat u re s
.

n l i s h is t he m o s t fu l l y e q u i p p e d s i n c e i t p o ss e ss e s
Eg ,

w o r k s o f t he h i g h e st ex c e l l e n c e in all i t s d e p art me n t s ,

man y o f w h i c h can n e v e r be s u r p ass e d and s o me o f ,

w h i c h h av e n e v e r b ee n e q u al l e d .

I n o r d e r to o b t ai n t he fu l l b e n e fi t o f o ur l i t e r at ur e ,

i t sh o u l d be st u d i ed in acc o r d an c e w i t h s o me s y s t e m .

I n t h i s way t he e ffo r t aft e r c u l t u re may be c o mb i n e d

w i t h an e d uc at i o nal d i s c i p l i n e n o t i n fe r i o r t o an y w h i c h
may be d e r i v e d fr o m t he an c i e n t c l assi c s T h e re are .

t h re e mo d e s b y w h i c h t h e s t u d y o f l i t e rat u r e m ay be
p u rs u e d : first t he p h i l o l o g i c al ; sec o n d ly t he h i st o r i c al
, ,

an d t h i r d l y t he r h e t o r i c al
, , . Th e fi rs t has r e fe re n c e t o
t he l an g u ag e i t s o r i g i n an d g r o w t h i t s d i al e c t s an d
, ,

i d i o ms ; t he s ec o n d c o n c e rn s i t s e l f w i t h th e r i s e an d
p r o g r ess o f l i t e rat u re, the i n fl u en c es b y wh i c h it i s af
fec ted an d t he c h arac t e r w h i c h it ass u mes in d i ffe r e n t
,

p er i o d s ; w h i l e t he t h i r d has to d o w i t h t he st y l e o f v ar i
o us w o r k s t h e i r e x c e l l e n c e s an d d e fe c t s t o e t h e r w i t h
, , g
t he p r i n c i p l e s u p o n w h i c h t h e y are c o n s t ru c t e d .T h ese
t h r ee mo d es may all be c arr i e d o n s i mu l t an e o u sl y ; an d
t h o u g h t he t eac h e r may e mp h as i ze o n e b e y o n d t he
o t h ers , i t w o u l d be a mi s t ak e t o n eg l ec t an y o n e in
an y s c h e me o f l i b e ral e d u c at i o n . A s t o t he fi r s t an d
s ec o n d , t h e re i s at t he p r ese n t d ay b u t l i t t l e d an g e r
o f s u c h n e gl e c t The t as t e o f t he ag e i s eag er l y t u rn e d
.

t o p h i l o l o gy an d h i st o r y ; fo r th e t h ird t h e r e s eems t o
-
°

be n e i t h e r so l iv el y an ap p r e c i at i o n n o r so v i g i l an t a
r eg ar d .

The s t u d y o f r h eto ric may be r eg ar d e d as an an

vi P r ef ace .

aly t ical e xa mi n at i o n l i t e rat u re

of I n t h i s way th e .

s t u d e n t i s led t o i n v est i g at e t he q u al i t i e s o f st y l e an d ,

t h e v ar i o u s fo r ms o f ex p r e ss i o n emp l o y e d b y d i ffe r en t
w ri t e r s. H e se arc h e s i n t o the c au s e s o f l i t e rar y s u c
c e ss o r fai l u r e ; and e n d eav o rs t o find o ut w h y i t i s
t h at o n e au t h o r w r i t e s w i t h c l earn ess an o t h e r w i t h ,

p e rs u as i v e n e ss ; o n e e x p r esse s h i ms e l f w i t h e n e rg y an ,

o t h e r w i t h e l eg a n c e ; o n e i s d i st i n g u i sh e d fo r v i v a ci t y ,

an o t h e r fo r s on o ro u s r h y t h m H e als o mak e s h i mse l f.

fami l i ar w i t h t he mo d e s b y w h i c h t he mat e r i al fo r c o m
p o si t i o n i s c o l l ec t ed set fo r t h in p r o p e r o r d e r u n fo l d e d
, ,

in d ue c o u r se o f d is c u ss i o n amp l i fi e d i l l u st rat e d and

, , ,

e n fo rc e d ,
t i l l t he p u r p o s e o f t he w ri t e r i s at t ai ne d .

Be si d e s t h i s he p ay s at t en t i o n t o t h o se h i gh e r q u al i
,

t i e s o f w r i t i n g w h i c h ap pe al t o the t ast e and i n fl u e n c e

t he e m o t ions I t w i l l n o t fai l t o h e i gh t e n h i s appre
.

c ia t io n o f l i t e rat u re t h u s t o e xami n e i t fro m w i t h i n

and fr o m w i t h o u t to mar k i t s frame w o r k and o b se r v e
,
-

i t s ad o r n men t t o b ec o me ac q u ai n t e d w i t h its be au t i e s
,

and i t s d e fe c t s to t e ll w h e r e i n t h e s e c o n si st t o h av e
, ,

t he n o m e n c l at u re o f c r i t i c i s m a n d use i t i n t e l l i g e n t l y .

S u c h a st u d y if p ro p e r l y p u rs u e d mu st s u re l y t en d t o
, ,

t r u e c u l t u re an d b l e n d w i t h t h i s a fin e e d u c at i o nal
,

d i s c i p l i n e aw ak en i n g t he mo re d el i c at e sen si b i li t i e s o f
,

t he mi n d an d c al l i n g fo r t h i t s m
, o re r o b u s t fa c u l t i es
i n t o ac t i v e ex e rc i s e .

I n the p r e s e n t w o r k an effo r t has be en mad e t o co n

si d e r e v e ry t h i n g t h at c an p ro p e r l y be re g ar d e d as be
l o n gi ng t o t he p ro v i n c e o f r h e t o ric an d i t s c o n t en t s ,

em b rac e the s u bj ec t s o f s t y l e me t h o d t he l an g u ag e , ,

o f t he e m o t i o n s an d t he g e n e ral d e p ar t m
, en t s o f l i t e ra

t u r e U n d er the h ead o f s t y l e the fi g u re s o f sp eec h

.
,

h av e b ee n s u bj ec t e d t o a mi n u t e s u r v ey ; an d w h i l e
t he an c i e n t n ame s h av e b ee n r e t ai n e d a n e w c lassifica ,

t i o n has b e e n ad o p t e d so as t o mak e t h e i r c h ar ac t e r
an d mu t u al r e l at i o n c l e ar l y ap p ar e n t I t wi l l n o t be .

fo r g o t t e n t h at t h e se fi g u r e s o f sp eec h are s o me t h i n g
mo re t han mere n ames T h ey are fo rms o f ex p re s .
 P r ef ace . vii

si o n in ac t u al use p e r v ad i ng all l i t e rat u re an d e n t e ring

, ,

l ar g e l y i n t o the s p ee c h o f c o mmo n l i fe ; so t h at w h i l e
t h e i r e ffec t u p o n t h e d e v e l o p m en t o f l a n g u ag e m ay
c l ai m t he at t en t i o n o f t he p h i l o l o g is t t h e i r i n fl ue n c e ,

u p o n l i t erat u re w i l l n o t be d i s r eg ar d e d b y t he st u d e n t
of s t y l e . A t t e n t i o n has al s o b een p ai d to t h at asp e c t
o f r h e t o r i c w h i c h i s c om mo n l y d es cr i b e d b y t he t e r m
b e l l e s l e t t r es u n d e r w h i c h i t ap p r ox i mat e s in c h ar
”
“ -
,

ac t e r t o t he fin e ar t s an d p re s e n t s fo r c o n si d e rat i o n
,

s u c h t o p i c s as w o r d p ai n t i n g t o n e an d r h y t h m T h e s e
-
, , .

s u bj ec t s an d o t h e r s w h i c h n e e d n o t be e n u me rat ed
,

h e re fo rm t he l ead i n g feat u re s o f st y l e and d i s c l o s e

, ,

t h e v ar i o u s m o d e s b y w h i c h t he w r i t e r at t ai n s t o c l e ar

n ess h arm
, o n y o r p e r s u asi v e n ess
,
Be s i d es t h is t h e r e i s
.
,

al s o t he p r e p arat i o n o f s u bj ec t mat t e r w h i c h i s h e re -
,

d i s c u ss e d u n d e r t he name o f me t h o d an d e mb rac es in ,

t he au t h o r s p o i n t o f v i e w c l assi fi c at i o n o f
’
v e n t io n , ,

mat e r i al o r d e r of t h o u g h t ar g u men t and the l aw s o f

, , ,

reas o n i n g The l an g u ag e o f t he emo t i o n s i s als o re

.

g ar d e d as ap p e r t ai n i n g t o t he s p h e re o f r h e t o r i c an d ,

c o n si d er ed in c o n ne c t i o n w i t h t he b eau t i fu l an d t he
s u b l i me w i t an d h u mo r t he fan t as t i c and t he p at h e t i c
, , .

F i nal l y a s u r v e y i s mad e o f t he g e ne ral d e p ar t me n t s o f

l i t e r at u re : d es cr i p t i o n an d n arrat i o n ex p o si t i o n and ,

o rat o ry p o e t r y a
, nd t he d r am a in w h i c h eac h o f t h es e
,

s u bj ec t s i s i n v est i g at e d in o r d e r .

S o man y w r i t e r s h av e b e e n c o n s u l t e d in t he p r e p ar a
t i o n o f t h i s w o r k t h at an ac k no w l e d g me n t o f i n d e b t
e d n ess w o u l d be l i t t l e e l s e t h a n t he c a t al og u e o f a
g o o d si ze d l i b rar y
-
W h e re v e r sp e c i al use has b een
.

mad e o f any au t h o r c ar e has b een t ak en t o g i v e fu l l

,

c r ed i t and if t h i s h as n o t b een d o ne in any c as e t he

‘

, ,

om i ssi o n has n o t b een i n t en t i o n al S o me t h i n g s w i l l .

be fo u n d h e r e w h i c h are j o t t i n gs fr o m memo r y o r ,

n e w sp ap e r c l i p p i n gs t h e au t h o rs h i p o f w h i c h c o u l d
,

n o t be t r a c e d ; b u t man y o t h e r s are t he c ommo n p ro p

e rt y o f w r i t e r s o n r h e t o r i c a n d fo r t he use o f t h e s e n o
,

ac k n o w l e d g men t s ar e d ue .
 W h i le a w o rk o n r h et o r i c can h ar d l y c on tai n an y
t h i n g n ew in t he s u bj e c t mat t e r it i s st i l l po ss i b l e t o
-
,

ex h i b i t so me o r i gi n al i t y in t he mo d e o f t r eat men t .

N o t a fe w s u bj e c t s are d i s c u ss e d h e r e in a way w h i c h
d i ffe r s s o me w h at fro m t hat ad o p t e d b y o t h er w ri t e r s .

A l ead i ng feat ur e o f t he b oo k may be fo u n d in t h e

fu l ne ss an d p ro fusi o n o f t he e xamp l e s an d i l l u st rat i on s
w h i c h acc o mp an y t he d i sc u ss i o n o f eac h t o p i c N o .

p ai n s h av e bee n sp are d t o mak e t h e se at o n c e appli

cab l e and acc u rat e fo r it has b e en fe l t t h at w i t h o u t
,

t h e s e t he be st d e fi n i t i o n s and ex p l anat i o n s are co mpar

at ive ly u se l e ss .

The au t h o r s d esi gn has b een t o mak e h i s l abo rs s u b

'

se r v e w h at he c o n c e i v e s t o be the g r eat e n d o f r h e t o r
i cal st u d y . H e has e n d eav o re d t o mak e h i s me t h o d
d i st i n c t an d i n t e l l i gib l e and in st y l e h e has ai me d at
,

not h i ng m o r e t h an c l earn e ss a n d si m p l ici t y

. H o w he
has s u cc ee d e d i t is fo r o t h e rs to say , b u t h e may be
p e rmi t t e d to i n d u l g e t he h o p e t h at t h i s w o r k w i l l n o t
be w i t h o u t s o me v al u e bo t h to t he st u d en t an d t he
g e n e r a l r ea d e
. r
 C O N TE N TS .

P A RT I — P E R S P I C U I TY I N
. STY LE .

C HAPTER I . S TYLE Page 13

1. De finition of the Term Rh et oric ; 5 2 M ai n

D eri v ation and .

D i v i sions of the Subj ect of Rh et o ri c ; 5 3 Definiti on of S tyl e ;

l -
.

4 . S tyl e d ifl e rs amo ng N a ti o ns and I nd ivi d ua

'

ls ; 5 U t ility of .

R ul es ; 6 General D i v isi ons of S tyl e

. .

C HAPTER II
P ER S I U Y x W — S mn crrv 17
.P C I T 1 o R D s
j
5 7 P.er sp i cu ity D e fin ed a n d Exp l a i n ed ; 5 8 D i v isi ons O f the Su b .

j e c t of P e r sp i cu ity ; 9 S o u r ces o f P e rs p i cu ity

. in W o r d s g 1 0 S im .

li ci t 1 1 C o nc ret e T erm s ; 5 1 2 W o r ds o f A ng l o S a x on O ri gin ;

p
-
y ; . .

13 Ta . bl e sh owi ng the Pe rcen tag e o f W or ds of A ngl o S ax on O ri g i n -

14 A ng l o S a
. x on the Essen ti al E l ement in the Langu age ;
- The
most P opu l ar Boo ks in the Lang u age sh o w a P repond erance o f the
A ng l o S ax on E l ement ;
- 16 M a n y Latin W or ds e q u ally S i mp l e ;
5 1 7 .I m p o rta nc e o f t he L a ti n E l em e n t i n o ur L an g u a g e .

C HA PTER IIIS PICU ITY m WO RDS Commu na

. P ER 27 ,

5 1 8 Pr ecisi on ; 5 1 9 I n Subst an ti v e T erms ; 5 20 I n A ttribu ti v e

. . .

T erms ; 2 1 I n Pred i cati v e T erms ; 2 2 C l e arn ess of C oncepti on ;

. .

2 3 Ca. re in the Use of W ords ; 5 24 S ynony mous W ords ; 5 2 5 I m . .

p ropriety ; 2 6 V ague W ords ; 2 7 V er bosity ; 5 28 Tau t ol ogy ;

. . .

2 9 C i rcu m
. l ocu ti on 30 Verbosity in the P ul pit and the Pr ess . .

C H APTER IV . PE RS P I CU I I Y ‘ ’
m W O RDS , Co n m v m—P 0 R rrv .
41
3 1 Pu i ; 3.2 O bs r ty
o e e W o ds ;
33 O bso e e . e m inaions lt r . lt Tr t
an d M ean ngs ; i
34 O bso ete W o d s used in e g o us . i e au e ; l r R li i L t r t r
3 5 I n P oe
.
; try
36 I n F c io n ; 3 7 A c ai sm; 5 38 O bso e e . it . rh lt .

r R tr
W o ds es o ed to G ene al Use ; 39 N ew W o d s ; 40 e r . r Th ir .

G o r wth ; 4 1 S ou ces ; 42 ap d of. n c ease ;r 43 P op e . R i ity I r r r .

th r ty
A u o i D efined ; 44 Fau t Use o f N ew W o ds ; 4 5 N ew C om . ly r .

r
p oun d W o ds ; 46 Fau Use of N ew C ompou nds ; § 4 7 C onclud. lty .

ing em R
a s on P ur ; rk
4 8 G amm a and diom ity . r r I .

A 2
x Contmts .

C mr rza V mcum m S m css . Pu Page 5 6

5 49 P ri di a d S i mpl S truct ur ; 5 5 R u l f A rra g em

. e o e t c n e e 0. e or n n

of W r d ; 5 5 1 Li moitati f R ul ; 5 52 U ity ; 5 5 3 Pr mi nc
s . on o e . n . o ne e

of th Pri i pal Subj ct ;

e S4 A pp d d C l au
nc ; 5 5 5 Par th i ; e en e ses . en es s

5 5 6 L g a d S h rt S t nc
. on n o en e es.

C ri m ea VI . Pn s mcumr 1 11 C ER B M L .

5 5 7 C l earness
Concept on and M e od ; 5 5 8 C on ciseness ;
. of i th .

5 5 9 D ifl usene ss ; 5 60 e pe i ion ; 5 6 1 D ig ession ; 5

.
'

. R tt . r
S e ; 5 63 Pe spicui so etimes not aimed at
tyl . r ty m .

P A RT I L— P E R S U AS I V E N ES S IN S TYL E .

C mureR I F romm: or
'
. S P xec n 85

5 6+ Persuasiveneu ; 5 65 Defin itio n of ; 5 66 Gen er al D ivis ions ; . .

5 67 Figures of S peech ; 5 6&Their I mport ance ; 5 69 Tro pes ;

. .

s yot V arious C lassifications of Figuree ; 5 7 1 C laa

sification adopted .

in thiaW orlt .

C ran e: II . Fi c uu s or Rzu mv m 111113 111 0 P2 011 r m: I nn OP

72 Fig ures o f e ativ

5 .
; 5 73 C on t a s ; 5 74 A nt esis D e Rl ity . r t . ith
fined ; 5 7 5 : U y ; 5 76. : Efl ect i . It
veness in V a io us De pa en s tilit It r rtm t
of Lt r t r
i e au e 5 77 A n esis C o m pa ed i P ain S aem en ; . tith r w th l tt t
5 78 V aious Fo ms of A n t es is ; 5 79 A n me abo e ; 5 80 Paa
r . r ti h . ti t l r .

tl
dias o e ; 5 8 1 S ync ceosia, o r Enan ios s ; 5 82 O xy o on ; 5 83 Pa
. t i . mr .

r l
ison, soco lon ; 5 P rose pod oais .

Ga m a I ll .
7
1 11: v OP R su r rv mr 111115 114 0
'
F RO )! r m; Pc zP
‘
n o x or R sss n s u xc e . 102

5 58 T he Pe cept ion of.es e mb ance 5 86 Pa a el 8

; 5 7 D ie r
xo~
R l . r ll .

dus ; 5 88 Tric ola; 5 89 Dia llage ; 5 90 M e abole ; 5 9 1 Exergasia;

. . t .

A nalogy ; 5 96 0f S i ilarity ; 5 9 7 A s au O rua en t ; 5 98 For E x

. m . m .

p anla ion ; 5 99 at
u s i n the Use of Co a ison ; 5 100. Me a t ph r
o . F lt mp r
hr
5 10 1 W e e one . Li v g Thi g p t
in n is th r
u for A no e ; 5 102 O n e nan I i .
e

m t Th g
ae in for A no t e hr 5 103 l nan mae
i t Thi g
n s for Th g h v g
in s a in .

Lif ; 5 4 I a imat Th i g R pr t d a E d w d w ith Li f ;

e 10 . n n e n s e esen e s n o e e

5 5 M
10 tap h r u e
. d a a O r am e t ; 5 6 F Expl a ati ;o s s n n en 10 . or n on

5 7 T gi
10 Emph ai ; 5 8 F au lt i th ir U ; 5 9 M i x d
. o ve ss 10 . s n e se 10 . e

M tap h r 5 N t alw a y O bj cti abl ; 5 C at ac hr i ;

'

e o s ; 1 10. o s e on e 111 . es s

5 1 A l l g ry ; 5 3 Parabl 5 4 F abl 5 5 P
1 2. e o ifi a i ; 11 . e 11 . e, 11 . e rso n c t on

5 6 A p t p h ; 5 7 V i i ; 5 8 A ll u i
11 . os r o 5 9 H i t ri cal e 11 . s on 11 . s on ; 11 . s o

A l lu i ; 5 a Lit ary A ll u i ; 5
s on Q u tati ; 5 12 Pl ag i ar er s on 1 2 1. o on 1 22.
i m; 5
s 3 O t h r F i gu r ; 5 124 I y ; 5 5 Sar ca m; 5 6 I
. e es 12 . r on 12 . s 12 . n

nue udo .
 Con tents . X1

C HAPTER IV . FI GURES OP R m r rv tr v ARI SI NG FR O M T H P: I DEA OP

C os r tc urrv ge 1 34 . . Pa
F i gu r es of C onti gu ity ; 5 1 2 8 S yn ecdoche ; 5 1 29 An timeria . . ,

Enall age ; 5 1 30 M et onymy ; 5 1 3 1 M e tal e psi s ; 5 1 32 Peri p hras i s ;

. . .

5 33
1 E
. u p h e m i m; 5 341 H y p oc o ri sm a ; s5 1 35 Lit o t es ; 5 1 3 6 Ex . . .

em plu m ; 5 3 1 7 Ep ith et s ; 5 1 38 I m p o rta n

. ce o f ; 5 1 3 9 Th e ir F o p u . .

lar ity ; 5 140 I n P oe try ; 5 14 1 I n P r ose ; 5 142 Fau lty Use

. . . .

C HA PTER F IGURES O P GRAD A I I O N

V . 152
’ ’

F i g u r f G ra d a ti o n ; 5 1 44 A u gm en t at i v F i g u r es ; 5 1 45
5 3 1 4 . es o e . .

A mp l ficati n ; 5 146 By D welli ng u po n D et ail s ; 5 1 47 By D irect

i o . .

S tat emen t ; 5 148 By C ompari son ; 5 1 49 A ccu mu l ati o n ; 5 1 5 0 C ol

. . .

l ecti o Aggreg atio ; 5 1 5 1 S ynathroismus ; 5 1 52 D iasceue ; 5 1 5 3

,
. . .

S y n czeug menon 5 1 5 4 E pc xe g a s ia; 5 1 5 5 D inum era tio ; 5 1 5 6 D e

. r . .

sc ri p tio n ; 5 1 5 7 E clog e ; 5 1 5 8 H y poty po si s ; 5 1 5 9 M eta

. st asis ; . .

5 1 60 .C li m a x ; 5 1 6 1 I nc r em en tum ; 5 1 62 Pr og r ess io ;.
5 1 63 H y p er . .

bol e ; 5 164 T ansgressio . r .

C HAP r RR VI . F lo uaes OP G RA DAr i O N—D sc ae u mr i vr . 168

5 1 65 . D ec re mentive Fi gur es ; 5 1 66 . Diminu t on ; 5 i 1 67 . Dep reci a

tion 5 168. A nti cli max .

A TER V I I
CH P u s es or E H P H ASts —D mscr STRsss A N D I TRRA
. h o
T IO N 1 72

5 9 1 6 F i g u r e
.s o f E m p ha s is ; 5 1 7 0 By D ir ec t S tr ess —A sse rti on ; .

5 1 7 1 N e
.g a ti o n ; 5 1 7 2 E m p h a s i s b y R e pe titi o n ; 5 1 73 The It e r ati v e
. .

F igu res ; 5 1 74 Ep i zeu xis ; 5 1 7 5 Repe tit io C r ebr a; 5 1 76 An apho

. . ,
o

t a; 5 71 7 Ep i s tr o p h e ;
.
5 1 7 8 A n ti s tr o p he ; 5 1 79 Epan ap ho ra; . .

5 1 80 A nad i p l o si s ; 5 1 8 1 Ep anod os ; 5 1 8 2 Epanal eps is ; 5 1 83

. . . .

Pl oce ; 5 1 84 S y m p l oce ; 5 1 85 Synonymia; 5 1 86 A ll it erat ion ;

. . .

5 1 87 H om . oeot el eu t on .

C HA PTER VI I I F I GURES or E M P HA SI S ARI S ING P RO H TH E I NV ERS IO N

W orm
.

OP s

5 1 88 . I vri
n e s on ; 5 1 89 I n P oetry ; 5 1 90 I n P r ose ; 5 1 9 1 A n as
. . .

tr ophe ; 5 192 . S ync hesis ; 5 193 T mesis ; 5 1 94 H y per bat on ; 5 195 . . .

H ytrs e onrtr P o e on.

CHA ER 1x
PT F I URES E M HA S IS
. FRO M AN U NUSUAL
G OF P 11 11 15 114 0 OR
S RI K N PRES EN ATI N T 89
I G T O 1

5 96 U u u al M d
1 . f S tat m t ; 5 9 7 Ex cl am
n s ati ; 5 98 o es o e en 1 . on 1 .

S al u t ati ; 5 99 Epi p h ma; 5

on I t rr g ati ; 5
1 .S rm one 200. n e o on 20 1 . e o
i ai ; 5
c n t o P ai a d E p i i ; 5
202 .
3 R p i S i bi I p i
er c o n t t o n x os t o 20 . es on s o s

5 4 P ar th ti cal F i g ur
20 .
; 5 5 C mm tum; 5
en e 6 A pp iti es 20 . o en 20 . os o
a d E pla ati ; 5
n x 7 E l li p ti al Fi gu r
n ; 5 8 E lli p
o ; 5 9 20 . c es 20 . se 20 .

Z ug ma; 5
e Sy i ; 5 A ac l u th ; 5
2 1 0. Ap i p i ; nes s 2 1 1. n o on 2 12. os o es s

5 21
3 Ep a rth i ; 5 4 I t rrup ti ; 5 5 Su pp r i ; 5 6
. no os s 21 . n e o 21 . ess o 21 .

A y d t
s n 5 7 Ple on a t i c F igur ; 5 8 Pl e a m 5 19 A a
21 . eon s es 21 . on s 2
‘
. n
xii Contents .

lepsis ; 5 2 20 . ly y t 5
Po s nd e on 22 1 .A syndet on and Polysynd et on C on
trasted ; 5 2 22 Parce iac
. m Fi gur es ; 5 2 2 3 P r ov erb ; 5 224 A po ph
. .

hg
t e n ; 5 225 . Ep i gr am .

C HAPTER X E NERG Y . " . . Pa e g 2 04

5 6 D fi iti ;
22 . eS i mp li city as Tend i ng to Ene rgy ; 5 2 28
n on 5 227 . .

C oncise ness ; 5 229 Retrench me n t of S uperfl uo us W ords ; 5 2 30 P r e

. .

cisio n 5 2 3 1 T he De fin it e ; 5 2 32 T he C oncre t e ; 5 2 33 D emons tr a

. . .

ti ve T erms ; 5 234 P ro per T erms ; 5 235 O ther Q uali ti es that T end

. .

to E nergy ; 5 2 36 I ll us trations ; 5 237 Faults of S tyl e as O pposed to

. .

Energy .

C HA P r ER XI . V rvac mr .

5 238 . Definition 5 239 V i v acity in Th ought 5 240 I n Exp ress i on . .

5 24 1 . C op i o us ness ; 5 242 V e rsatility ; 5 24 3 Brilli ancy ; 5 244 V iv i d

. . .

ness ; 5 245 Feli ci ty of S tyl e ; 5 246 Faults of S tyl e as O pposed to

. .

C HAPTER XI I . TH E q u
srr l r rvE STYLE . 2 26

5 24 7 . The Ill u trativs S tyl e ; 5 24 8 Ex ampl e ; 5

e . 249. Al lu i s on ;
5 2 50 C omparison and
. M etap h or ; 5 2 5 1 A necdo te . .

C HA P TER XI I I . TH E E mc u x n ar tc STYLE 2 30

5 2 5 2. Epig rammati c S tyl e ; 5 2 5 3 I n . Poe ty;

r 5 2 54. In P r
ose ;
5 255 . Faults in the Ep i gr ammati c S tyl e .

C HAPTER XI V . O man Q U ALI I I ES

‘ ‘
or S r r LE ASSOCI ATED wrm V 1
V AC I TY 2 34

5 2 5 6 C l assical S tyl e ;
.
5 25 7 . S uggesti ve S tyle ; 5 2 58. Ot her T r m e s

app lied to S tyl e .

P A RT I I I .
-
H A R M ON Y IN S TYL E .

Ca m I EU H NY . P O . .

5 5 9 H arm y i S tyl ; 5 6 E u p h y ; 5 26 I D i ff r t Ki d
2 . on n e 2 0. on 1 . n e en n s

f C mp iti
o o 5 6 Ex ampl
os 5 63 V i l ati
on ; f E u ph y i 2 2 . es ; 2 . o ons o on n

V ari u L tt r a d S yl labl
o s e 5 264 By R p titi
e s f W rd ; 5 65
n es . e e on o o s 2 .

R p titi f W rd m t im N c ary
e e on o o s so e es e ess .

C H A ER I I
PT .

5 266 E l ga c ; 5 67 V i l ati f El ga c ; 5 68 Afl ta
'

. e n e ti 2 . o ons o e n e 2 . ec ons

5 69 M a ri m; 5 7 C ll q uiali m ; 5 7 S l a g ; 5 7 C a t ;
2 . nn e s 2 0. o o s s 2 1 . n 2 2. n

5 2 73 . V ulgan s
'

ms .

C HAP TER III . A RRANGEM ENT O F W orms

T HE HAR M ON 254 I US
O

5 2 74 H armon i ous A rrangemen t of W or ds r eq uir es E u p hon y and

.

El egance ; 5 2 75 H armonic as S uccess i on of Words ; 5 2 76 M od i

. .

tying Words ; 5 2 7 7 I mpersona l C onstr uctions ; 5 2 78 A ppend ed . .

 Cont en ts . xiii

l
C auses ; 5 2 79 Exp anao l
Wo ds ; 5 2 80 P eposi ions ; 5 2 8 1 V a
. t ry r . r t .

r iation of C on n ect v es i
5 2 82 V a e in C au ses ; 5 2 83 C O O d na . ri ty l .
-
ri
t l
ion of C au ses 5 2 84 T he C ose of the S en ence . l t .

C HAP TER I V . T RA N S i Tl O N s Pa e g 261

5 28 5 . r y
H a mon in G ene a 5 2 86 The n od uc on 5 rl . I tr ti Tra i
287 . ns

tions 5 2 88 The F o mal ans. on ; 5 2 89 The E eg an r Tr iti . l t Tra iti ns on

5 2 90. r r h
Pa ag ap s 5 2 9 1 C onc us on . l i .

C H A PT ER V . W O RD A I NT ING AND O N O H ATO PtE rA

-
P 2 65

5 2 92 . W or d -
Pai nti ng ; 5 29 3 T he M us i c of W or ds 5 . 2 94 . O no ma
topozia; 5 29 5 I n Poetry ; 5 296 I n P r ose ; 5 2 9 7 Th e Lati n E l emen t
. . .

in the E ng l is h Language I nv al uabl e for P u rposes of H ar mo ny .

C HA PT ER RHYT H MVI . .

5 98 Rhyth
2 mi P .try ; 5 99 Rhyth m i Pr n oe 2 . n ose.

C HA TER V I I
P QUALITI ES STYLE ssoc u n w H H ARM NY
. OP A re 1T O 2 82

53 Q ualiti
00. f S tyl C d uciv t Ha r m y ; 5
es o3 F i g u r e on e o on 01 . es o f

S p ch ; 5 3 Ea f S tyl ; 5 3 3 O r am t ; 5 3 4 V i l ati
ee 02 . se o e 0 . n en 0 . o o ns of

E l ga c ; 5 3 5 C ar l
e n e ; 5 3 6 Th F I id S tyl ; 5 3 7
0 . e es sness 0 . e or e 0 . The
P r t ti u S tyl ; 5 3 8 O t t ati
e en o s ; 5 309 Vu l g a rity
e 0 . s en on . .

P A RT IV .
— M ET H O D .

C HAP TER I . SUBJEC T M ATTER -

.

5 3 10 . M eth od D efined 5 3 1 1 Subj ec t .

-
Ma tt r e .

C H A PT ER II . T HE PURPO SE O P TH E W R lT ER 296

5 3 1 2 The . Pu rp
W riter ; 5 3 1 3 The Aim to I ns truc t ;
ose o f the .
.

5 3 14 The A im to C on v i nce ; 5 3 1 5 T he A im to Pe rsu ad e ; 5 3 1 6

. . .

The A imto Pl ease ; 5 3 1 7 T he U n i o n O f D iffe ren t A i ms .

.

C H APT ER III . M ODES OF I N EN V TI O N .

304
5 3 1 8 Two Ki d .
; 5 3 9 Accu mu l ati v I v ti ;
n s o f I v ti n en on 1 . e n en on

5 3 C r ati v
2 0. I v ti ; 5 3 Th R al a d th I d al ; 5 3
e e n en on 21 . e e n e e 2 2.
P ti c F i cti
oe ; 5 3 3 Pr F i cti 5 3 4 T h Tw Ki d
on f I2 . ose on ; 2 . e o n s o n

ti
v en I t rmi gl d 5 3 5 O f th TW K i d th C r ati v i th
on n e n e 2 . e O n s, e e e s e

G r at r e e .

C HA ER I V
PT TH S A U S . E T T

5 3 6 A rra g m t f Su bj ct M att r ; 5 3 7 S tat u ; 5 3 8 W h r

2 . n e en o e -
e 2 . s 2 . e e
th A imi t I
e truct ; 5 3 9 W h r h Aim i t C v i c P
s o ns 2 . e e t e s o on n e or er

u ad 5 33 L ad i g S t ag f O rat ry ; 5 33 Th S tat u wh r h
s e 0 . e n es O o 1 . e s e e t e
A imi t P l a ; 5 33 Th Titl
s o e se 2. e e.

C HA ER V
PT C LA SS IFI A I N. C T O
3 5 1

5 333 C la ifigati .
5 334 I N arr ativ ; 5 335 I D cri p ti ;
ss on . n e . n es on
 5 336 r p g
G ou in.
; 5 337 I n pos itiEx
on ; 5 338 Ana ly i a d Sy th i ; . . ss n n es s

5 rl . rti l r r p it
339 G ene a and P a cu a P o os i ons .

C A TER V I
H P T O RDER TH U
. HE P ag 3 5 OP O GH T . . e 2

5 34 O r d r f0.Th u g ht ; 5 34 C hr e l g i cal ; 5 34 L gical ;

O o 1 . ono o 2 . o

5 343 I N arr ati .

; 5 344 C
n curr t S tr am ; 5 34 5 R tr gr i
on . on en e s . e o e ss on

5 346 Exp l a at ry N arr ati v ; 5 34 7 Su mmary ; 5 34 8 I Exp iti

. n o e . . n os on

5 3 9 4 P r f ; 5 35
. R fu tati oo
; 5 3 5 Ex a mp l ; 5 3 5 0D r
. ama ti c
e on 1 . es 2.

O r d r f Th ug h t ; 5 35 3 Sc i c O r d r f Th ug ht ; 5 35 4 O r d r f
e o o . en e o o . e O

Th ug ht D ramati c a d N arr ativ Writi g 5 35 5 G ral R ul

o in n e n
0
. ene e.

C H A ER V I I
PT A R UM EN S . G 34 7 T .

5 35 6 A rgu m t ; 5 35 7 D i ff r c b tw
. Rh t ri c a d Lg i c ;
en s . e en e e een e o n o

5 35 8 L gi c D fi d ; 5 3 5 9 R a i g ; 5 36 T rm ; 5 36 P r p
. o e ne . e so n n 0 . e s 1 . o o

iti
s ; 5 36
o ns D fi iti ; 5 363 Pr f ; 5 364 D ducti
2 . e n5 365 I o ns . oo . e on . n

d ucti 5 366 M ill F u r Exp ri m tal M th d f I q u iry ; 5 36 7

’
on . s o e en e o s O n .

E thy m m ; 5 368 Ki d f A rgu m t 5 369 C au ati v ; 5 3 7

n e e . n s o en s ; . s e 0.
Ill u trati v ; 5 37 E mpla i ; 5 37 Exp ri c ; 5 373 A al gy ;
s e 1. xe t ve 2 . e en e . n o

5 3 74 C tra t ; 5 3 75 A pp li cati t Cla f A r gu

'

. on f th D ifi
s . on O e ere n sses O

m t eri s.

C H A ER V I I I
PT TH P . AR UM EN S E 35 8
RES E NTAT T
ON OP G T

5 376 P tati f A rgu m t 5 37 7 C l ar

. resen f S t at m t a d
on o en s . e ness O e en n
S tr gth i g f A rgu m t 5 378 Tra iti ; 5 3 79 A mpli ficati
en en n o en ; . ns on . on

5 38 D i mi u ti0. 5 38 C d ati n 5 38 C mp r h
on iv 1 . on ens on 2 . o e ens en ess

5 383 G ralizati .
5 384 T h D fi it ; 5 385 D
ene ri pti i
on , . e e n e . esc on n

O rat ry ; 5 386 E mp h a i
o f Pr p iti ; 5 38 7 A. rti 5 388 s s O o os o ns . sse on ; .

D i al ; 5 389 A p p hth gm; 5 39 D igr i ; 5 39 R p titi

en . o f e 0 . ess o n 1. e e on o

P r p iti o os 5 39 R cap it u l ati

on s 2. e on .

C HAPTER IX TH . . E

5 393 I tr d ucti ; 5 394 I N arr ati v ; 5 395 I th D rama;

. n o on . n e . n e

5 396 I O rat ry ; 5 39 7 Th I tr d ucti

. n with R f r c t i w
o . e n o on e e en e o ts O n
C h aract r ; 5 398 G ral N at u r f th I tr d ucti ; 5 399 Th
e . en e e O e n o on . e
P r fac e e.

C HA ER X
PT TH C . E O NGLU S TO N
3 73 .

54 Th C cl u i00 .
; 5 4 I N arrati v F i cti
e on ; 5 4 I Hi
s on 01. n e on 0 2. n s
t ry ; 5 4 3 I Bi gr aphy ; 5 4 4 I th D rama; 5 4 5 I Or at ry ;
o 0 . n o 0 . n e 0 . n o

5 4 6 D i ff r t Ki d f C cl u i
0 . e en n s o on s on.

P A RT V — . TH E EM O TI O N S .

C HAP TER I . T H E B E A UTTP U L .

33°
5 40 7 n . I flu en e c Of the E m ti ons
Lit ratu r ; 5
o in e e 408 C lassifica
.

ti on o f th e E mo ti ons ; 5 4 9 Lit rary E th ti c ; 5 4

0 . Th ri e s e s 10 . eo es
O f the B
u ti ful ; 5 4 1 1
ea . D fi iti ef th B au ti fu l ; 5 4
n on Ta t ; O e e 1 2. s e

7 5 41 3 . The Beau ti fu l in N atur ; 5 4 4 C l r ; 5 4 5 F rm F i g

e 1 . o o 1 . o or
 XV

ure ; 5 4 1 6 M otion ; 5 4 1 7 S ou nd ; 5 4 1 8 Pr oportion ; 5 4 1 9 V ariety ;

. . . .

D i g 5 T h B au ti fu l i M ra l s ; 5 42 2 T he Be a u ti fu l i
5 4 2 0 .e s n ; 42 1 e e n o . n .

Lit erat u re ; 5 42 3 D i fference between the A ncient and M od ern I d ea

.

of the Beau tiful .

C HAP TER I I T HE .

5 4 2 4 T h e Su. bli m e ; 5 54 2 T h e Su b li m e in N at ur e— the V ast a nd .

B ou ndl ess ; 5 42 6 Awe ; 5 42 7 The M oral Subli me ; 5 42 8 The Su b

. . .

li me in Literatur e ; 5 42 9 S ources of the Su bli me 5 430 Ill ustrati ons ; . .

5 34 1 D.iffe r en ce be tw e e n t he Su b li m e an d th e B eau tifu l .

C HAP TER III

RID U L US . THE IC O

5 43 T h R id i
2.cu l u ; 5 33
4 W
e it ; 5 4 34 H u m r ; 5 35
4o W it ad
s . . o . n

H u m r i E g li h Lit r at u r ; 5 436 T h Rid i cu l u i Lit r at u r ;

o n n s e e . e o s n e e

5 37
4 W ith .u t a Pu r p ; 5 3 4 8
o W i th a P urp ; 5 439 Ep i g
oser am; . ose .

5 44 S q u i b ; 5 44 Paq u i ad
0 .
5 442 Lamp 1 5 443 B u M ;
. s n e ; . oon ; . n- ot

5 444 P ar d
. y 5 44 5 S atiri ca
o l P try i
; G r al ; 5 44 6 S a. tiri cal oe n e ne .

W riti g i P rn s 5 44 7 S p cial F rm f th Ri dicu l u

n ose ; 5 448 . e o s o e o s ; .

Ba t r ; 5 449 C hafi 5 4 5 Pa ma i a; 5 45 Th Pu 5 4 5
n e .
'

; 0. r ono s 1. e n ; 2 .

R t rt 5 45 3 R part 5 454 D ubl E t d 5 45 5 B ufl

e o . e ee ; y; . o e o
n en re .
'

oo ner

5 4 5 6 Ir y ; 5 4 5 7 I u d
. on 5 4 5 8 S ar ca m; 5 4 5 9 S. r 5 460
nn e n o ; . s . nee ; .

T h P w r f th Ri dicu l u ; 5 46 L gitim
e o e o at U
e f th Rid i u o s 1 . e e se o e c

l u ; 5 46 A bu f th Ri d icu l u
o s 2 . se o e o s.

C HA TER I V
P TH FANTAST . E IC

5 463 Th F a t a ti c. e n s .

C HA ER V
PT T H D ES I RES. E 43 0

6
5 4 4 T h D ir ; 5 465 S l f Pr r v ati ; 5 466 S l f E t m;
. e es es . e -
ese on . e -
s ee

5 467 A mbiti ; 5 468 A v ari c ; 5 469 Th D ir f Kn wl dg

. on . e . e es e or o e e.

C HA PTER V I TH A FEC TI N S
. E F O
'

5 470. The Afl ections .

C HAP TER VII . TH E PA SS tO Hs 437

5 47 1 The Passi ons ; 5 4 7 2 Lo v e 5 4 73 A ver sion ; 5 474 Pass i ons
. . . .

associat ed w ith H app i ness 5 4 7 5 P a

ssions associa ted with S orrow . .

C HAP TER VI I I . LITERA T URE O P THE D E S t R Es, A P PEC H O N S, AND P A S»

5 476 . Lit rat ur

A fiections and P ass ons ; 5 4 77
e e of the
p ess n
'

i r i g
. Ex
ppi
H a ness ; 5 4 7 8 S o o ; 5 4 79 The Pa e c in the S ac ed Sc rr w
. th ti r ri p
tr l i l Lit r t r
u es ; 5 480 I n C ass ca e a u e ; 5 48 1 I n M edie a e a u e ;
. . v l Lit r t r
5 48 2 I n M od e n
. e a u e ; 5 483 The P a e c a r Lit r t r
n An i a n E le . th ti m ti g
men in e a ur e
t Lit r t .

C H A PT ER IX F R M S . E XPRESS I O N ASSOCI A TED W IT H TH E E M O

O OP ~

T I O N S AND P A SS I O N S
448
5 484 . Forms of Exp ression rel ating to the Emoti ons ; 5 485 W h er e .
 Superior ity is I p ied ; ml 5 486 . I f ri rity ;
n e o 5 487 . E q uality ; 5 488 .

Pe rsonal R r efe en ce .

P A RT V I — T H E . G E N E R A L D E P A RT ME NT S OF
L IT E R AT UR E .

C HA P TER I .

5 489 . Lit r t r
e a u e D efined a nd C ass fied ; 5 490 O bjec v e D esc ri
p l i . ti
ti on ; 5 49 1 Su bj ec v e D esc p on ; 5 492 The Two
. ti
nds U n ed ri ti . Ki it .

C HAPTER I I NARRA N . TI O .

5 493 N arrati ; 5 494 O bj ctiv

.
5 495 Subj cti v on . e e . e e.

C HA ER I I I EX 466
’
PT U H . POS I Q .

5 496 Exp iti ; 5 497 O u tli

. ffl u ma K wl d g
os on . ne o n no e e ; 5 498 .

C l a i ficati
ss f Exp it ry W ri ti gon o os o n s.

C HA TER I V
P O RAT RY . O “
469
5 499 O rat ry ; 5 5
. D bat ; 5 50 C tr v r i al ; 5 5
o 00. e e 1 . on o e s 02 . Pa a rli

C HA P TER V . TH E TAc r tcs OP O RATO Rv .

4 74
5 5 03 . r t T acti c
ry ; 5 5 04 C c ili ati
s ; 5
of5 5 S lLD p ia
O ao . on on 0 . e e rec

ti 5 5 6 C mpli m t 5 5 7 Tha k ; 5 5 8 C c i ; 5 5 9
on ; 0 . o en ; 0 . n s 0 . o n e ss on 0 .

C f i 5 5 P rmi i ; 5 5 C u lt ati with h A udi c

on ess on ; 10 . e ss on 11 . on s on t e en e

5 5 12E mp ha i 5 5 3 S tat m t f h N c ity f a Ca ; 5 5 4

. s s ; 1 . e en o t e e ess o se 1 .

S tat m t f a F u t u r O ccu rr c ; 5 5 5 D w lli g u p a P r p i

e en o e en e 1 . e n on o os

ti ; 5 5 6 Rap i d M ti ; 5 5 7 H l d i g th A u d i c i S u
on 1 . en on 1 . o n e en e n s

p ; 5 5 8 P r parati
en se f W h at i t F ll w ; 5 5 9 U xp ct d
1 . e on or s o o o 1 . ne e e

S tat m t ; 5 5 R f r c t Pa t Ev t ; 5 5 P i bility C
e en 20. e e en e o s en s 21 . oss on

t a d with R al ty ; 5 5
r s te Exp l a ati ; 5 5 3 S t at m t f th
e i 22 . n on 2 . e en O e

R a f a Thi g ; 5 5 4 A w r t O bj ct i ; 5 5 5 A tici pa
e son or n 2 . ns e s o e ons 2 . n

t f O bj cti
i on o e ons.

C H A ER V I
PT TH A . O RA R E 48 5
RTi P tC Es O P TO 1

5 5 6 A tifi 2 f O r at ry ; 5 5 7 Exp r
. r i f D ub t I g
ces o o 2 . ess on o o or no
a
r n oe ; 5 5 8 I t ti al O mi i f W rd ; 5 5 9 W ithd rawal f a
2 . n en on ss on o o s 2 . o n

Expr i ; 5 53 A ppar t I t t ; 5 5 3 Su pp d Ca ; 5 5 3
ess on 0. en n en 1 . ose se 2.

O t h r F rm f A tifi
e o s o r ce .

CH A TER V I I
P A A K AND D EFEN E
. TT C 49 C 1

5 5 33 A ttack a d D f c ; 5 5 34 A ttack ; 5 5 35 P r oal A ttack ;

. n e en e . . e s n

5 5 36 I ci d t al R f r c ; 5 5 3 7 S i d Thru t ; 5 5 38 D f c ;
. n en e e en e . e s . e en e

5 5 39 S tr ict D f c ; 5 5 4 I dir ct R p ly ; 5 5 4 D f c t ur d
. e en e 0 . n e e 1 . e en e ne

i t A ttack ; 5 5 4 T ti m y f a A d v r ary
n o 2. es on o n e s .
 ELEM E H ETO RI C .

PA R T I .

P E R S P I C U I TY I N S T YL E .

C H A P TE R I .

S TY LE .

5 1 . D ER wAr toN AND D E FI N ITI O N or TH E T ERM R H E TO Ri c .

‘

T H E te r m r h et or ic
is o f G ree k or igi n and was fi r st us ed to,

sig n i fy t h at wh i ch b el ongs to the fifj r wp (f lu/or i e or at or) a ,

. .
, ,

w o r d wh i c h i s d er iv ed fr o m fi to spe ak The anc i e n t

‘

rw .
,

r h etor ici an s disc u ss ed chi e fly the art of o r atory l eavi ng to ,

the gram mar i an s the i n v estig ati on of the be au ti es of styl e in

gene r al p r ose c o mpositi on I n all th ei r d efi n i tio ns of r h et ori c
.

th ey ma k e it the ar t of pe r su asi o n I socr at es cal ls it the“

.

w or k er of pe r su asi on . Pl at o mak es Go rgi as d efi ne it as the “

po w er O f p er su asi o n by sp eaki ng A ri st ot l e d efi nes i t as a

.
“

fac ulty of c on sid e r i ng al} the possibl e means of pe r su asi on on

e v e ry subj e ct
”
. Qu i n tili an afte r e n u mer ati ng many d efi n i ti o n s
,

si mi l ar to t hes e fi n ally gi ve s his own an d c alls i t the art of

, ,
“

”
sp eaki ng w el l .

A t the p r es en t d ay the meani ng of the w ord is l ess r est rict ed

an d po pu l ar u sage i n v olv es two separ at e and disti n ct id eas .

T he on e r efer s to ar gum e nt s and a ,ppeals to the emoti o n s by ,

which the spe ak e r or w r it er s eeks to c on vey his own s en ti men ts

 E lem f R/t dor zo
'

14 en t: o .

to o th er s The abu se . of th is so rt of rh etor ic i s asc ribed by

M i l t o n to Be li al
H is ton ue g
D ro pp d
’
manna , an d co u ld ma e th e k wr o se appea r
The better rea o n s , t o per p l ex and da hs

M au t rest counsels .
”

r r
O n the o th e h and , w i ting is said to be h et o ic al wh en it ex r r
hibits mo e h an usu al o n amen t
r t T he abu se o f hi s is pO pu r . t
larly sti gmatized a s h eto ic al a t ifice , ”
mere h et o ic , an d
r ”
r r r r
u
the lik e ; th s co n v eyi ng the id e a h at rh e ori c is o n ly an a g t t
g g
re atio n pl au sibl e wo rds or e u ph o n i ou s sou n d s with o u t any
of ,

ad equ at e sen se The popu l ar id ea th ough O ft en e x agge r at ed

.
, ,

n ev e r t h e l ess c on t a i ns the t r u th and i t is fr o m thi s t h at the ,

materials for a p rope r d efi niti on of r h et or ic may b est be gath

e red .

F ro mthis we see th at the t erm r h eto r ic has n ow a twofol d

-

mean i ng r eferri ng bot h to the s u bj ect matt er and to the mod e

,
-

O f i ts p r es e n t a ti o n .

I n the fi r st c ase i t r el at es to the s u bj e ct m att er i ts ch oice -

and arr an gem e n t wh e re the w r i t e r s aimis to i n st r u c t con vinc e

’
, , ,

or pe r su a d e H e r e i t may be d e fi ne d as the art O f pers u asi on

. .

I n the s ec o n d c as e it r e l at e s to t he man ne r o f e xp r essi on ,

wh er e the w r it e r t r eats his subj ect wi t h c o n sci o u s o rn amen t ,

n ot so m uch in o r d e r to win asse n t as to sti mu l at e the att en

ti on and gr ati fy the t as t e H ere i t may be d efi ned as the art .

of o rnam en tal com po sition .

5 2MA I N mv rsroN s O F T H E SU BJ ECT o r R H E Toc

. TH E
‘

R h etoric c omp reh end s the foll o wi ng subj ec ts which wil l , be

ad op t ed as the mai n di visi on s of the p r e se n t wor k :
I . S ty le, or fire choice an d ar r angemen t f
o wor ds .

I II . 7 7mL i ter atur e f

o Me E motions .

5 3 DE FI N ITI O N
. OE S TYL E .

S tyl e r efers to the ch oice and ar a gemen t of words an d r n ,

may be d fi ned a the pec u l i ar manner in which th ou ght i

e s s

exp r esse d in l an gu a e
g .
 S ty le . 15

§ 4 STYLE. m e ns AM ONG NATI O N S AND I ND IVI DUALS

o .

Whe n we c o sid er th subj ec t of styl in gene r al w n ti ce

n e e , e o

th at th er e ar great d iff r s i th i r spe c t a w e l l among

e e e nce n s e , s

ti s as among i n divid u als

n a on I f we c o n t e mpl at e
.
“
s ays ,
”

Qu i n ti li an the v ari et i es of or at ory we find al most as mu ch

“
, ,

div e r sity in the mi n ds as in the bodi es of o r ators The d is .

t i nc ti on b etw een A ttic an d A si ati c or at ors is of great antiqu i t y

the A t t ic s b ei ng r eg a rd e d as c omp r es sed an d ene rgetic in th ei r
styl e the A si atics as i n fl at ed and d efici e n t in fo r c e Th os e who
, .

mad e disti n cti on s in th ese matt er s soo n aft e r add ed a thi r d

ki d the Rh odi an whi c h th ey d e fi ne to be of a middl e ch ar
n — ,

act e r be t w ee n the oth e r two

”
Su c h d i ffere nc es as th ese may
.

al w ays be fo u n d I n O ri ent al lit e r atur e great lic en se is al l owe d

.

to the i m agi n ati o n in Eur o pe an it is h e ld u nd er s tr i c ter co n

tr o l
. I n E u r o pe i t se l f th e r e are stro ngly mar k ed v ari e ti es o f
n ati o n a l t aste The I t al i an e nj oys a c e rt ai n w ar mth of exp r es
.

si on which to the E ngl i sh man is d ispl easi ng The Ge r man the .

,

F re n ch man and the S p an i ar d each exh ibi ts in his w ri ti ngs his

, ,

pe c u li ar c h ar ac ter istics I n ev ery n ati on also th e r e is ad isti n o

.

tiv e styl e at di ffe r e n t pe r i od s Th i s i s il l u st r at ed by the w e ll

.

k now n divisi on of Lati n li t er atu re i nto the ages o f gold silv er , ,

and i r on ; wh il e in E ngl ish the sam e th i ng is e x e m pli fi ed in the

p r os e of such wr i ters as H ook er A ddi so n J o h nso n and M acau , , ,

lay eac h of wh o mr ep rese n ts a d iffe r e nt a

, g e B e sid e s this we .
,

h av e to c onsid e r the pe rso n al pec u l i ar i t i e s o f the i ndivid u al

au t h or which are so st r iki ngly m ani fe s t ed th at a man s w r iti ngs
'

h av e co me to be co nsid e red as mu ch a mar k of himself as his

face or fig ur e Th us B ac o n ex h ibits in his essay s the fo r ce of
.

c oncise and w ell b al anc ed an tithe sis ; A ddiso n neglig en t g r ac e ;

-
,

G o ld smi t h eas e and e l egan ce ; S te rn e sp r igh tli ness and wit

, , .

T he styl e of J oh n so n and of G ibbo n is e l abo r ate and Lati n

ized ; th at o f Bu ny an and De foe is mar k ed by S ax o n si mpl ici ty ;
C ar lyl e displ ays v eh eme nce an d e ne r gy ; D e Q u i n c ey ri ch ness ,

and spl e nd o r E m e r so n e pig r ammat ic po i n t and sp ar kl e

,
.

Th e r e is ad ifie ren t styl e fo r d i ffe r e n t cl asses of l it erat u re

'

Th at i s goo d r h et o r i c fo r the h u sti n gs says D e Qu i nc ey

”
, ,

which i s bad for a b oo k E v e ry mod e of i nt e ll ec tu al c om

.

mun ic atio n has its s e p ar at e st r e ng t h an d se p arat e w eak ness ;

its p ecu li ar emb arr as sme n t c omp en s at ed by pec u li ar r eso ur c e s .
16 E Jemen tr f
o Rhetor ic .

It is the ad v an t ag e of a boo k th at you c an r etu rn to th e p ast

p age if anyth i ng in the p r es en t d ep en d s up on it Bu t r etu r n .

b e i ng i mpo ssibl e in the cas e o f a sp ok e n h ar an gue wh er e e ach ,

sen t enc e pe r ish es as soo n as it is b o r n b o t h the sp eak er an d

,

the beare r b ec o m e a w ar e o f a mu tu al i n t e rest in a much l oo se r

styl e and a p e r pe tu al di spe ns at i o n fro m the se v e r i t i es o f ab
,

st r ac t disc u ssi on I t i s for the be nefit of bo th th at the w eigh t

.

ie r p r op ositi on s sh ou ld be d e t ai ned be fo re the eye a g ood d e al

l onger th an the ch as tity of t ast e or the au st er i ty of l ogic w ou ld
t ol e r ate in a boo k ”
.

I n p r i v at e l i fe al so in c on v e r s ati on and in l ett e r w r i ti ng the

,
-
,

c h ar act er is r ev eal ed in the styl e O ne i s h ar sh an d ab rupt

.
,

an o t h e r e asy an d fl u en t a thi r d r apid and i mpe t u o u s a fo u rt h

, ,

ge ni al an d at tr ac t iv e a fi ft h t edi ou s an d g ar ru l ous Th u s ih
,
.

d iv id uals as w e l l as n at i on s i mp r ess th ei r p e r so n al pe cu li ar iti es

u po n th ei r w r iti ngs ; the form o f exp res si on alw ays v ari es wi t h
the w r it e r and th is has giv e n ri se to t he sa
,
yi ng t h at styl e is the
man hi msel f .

S tyl e th en bel ongs to the man hi ms el f ; it p ar t ak es of the

, ,

c h ar act er is t ics of the i nd ivid u al ; and the q u est i on o f the im

p r ove me n t o f th is q u ali t y b ec ome s the same as the qu es t i on
o f the i m p rov ement of any o th e r qu al i t y A l l o ur po w e r s .
,

wh eth er physic al or i n t ell ectu al are su sc ep t ibl e of ch ange fo r

,

the be tt e r . Gy mn as tic ex e r cis e d e v el op s the mu scl e s ; mu

sic a l p r actic e gi v e s to the fi nge r s the m ost r a pid acc u r acy of
e x ec uti o n the facu ltie s of the m i nd may be cu ltiv ated to an
u nusu al d egr ee of excel l enc e ; ev en the mor al qu al i ti es may be
st r eng t h en ed by d i scipli ne A s by ass oci ati on wi t h p o l i t e so
.

c iety the t o n e a nd m an n er s bec o m e r efi n ed so by fa mili ari ty

,

with the b est au t h or s and by i mit ati on of th ei r b eauti es may

the styl e of a w rit er be el ev at e d .

5 U TI
. L ITY TH E
o r R UL ES .

R h etor ic al ru l es are u s efu l bu t to a li mit ed ext en t Th ey .

th ems elv es h av e be en fo r med o r igi n al ly not by an y c r eati v e

po w e r or p r oc ess of argu men t bu t r ath e r fr om the observ a
,

ti on of the b est ex ampl es an d the study of the be st au t h o r s .

G r eat w r it e r s aris e and are s ucc eed ed by o th er s ; th ey are aft er

w ar ds fol l o w ed by the r h etorici an the g r ammar i an an d the, ,

c ritic by wh omthe sec re t of th ei r c o mp osi ti on i s i n v estig ated ;

,
th ei r exc el l en c es th e i r fau l ts an d th ei r
, ,

th ese are stu d i ed an d c omp ar ed u n t i l at l ength it is d ecid e d

,

wh at is to be imi t at ed an d wh at i s to be av oi d ed .

R u l es says Qu i ntili an are o nly u s efu l which no t o n ly

,
”
, ,

i n t erp r et the law of r h e t o r ic bu t also s er v e to st r e n gt h e n the

,

facu lty of speech I n g e n er al b ar e t r eatis es o n art th ro ugh

.
, ,

too mu ch afiec tation of s u b t l e ty b r eak an d cu t d ow n wh atev e r

‘

is nobl e in e l oqu en c e d r i nk u p all the bl ood o f t h ough t an d ,

lay b ar e the bo nes which wh il e th ey o ught to e xi st and to be

, , ,

u n it ed by th ei r lig aments o ught stil l to be c ov e r ed with fl esh

,
”
.

Wh en ru l es are fol l ow ed too e xcl u siv e ly the y o u ng w r i te r is ,

apt to b ec om e am er e sl a v e to t h em and bu t r ar e ly att ain s to

,

any ki n d of exc e ll en c e Th e i r real use is to sh ow in a gen

.

er a l way the e xc ell e n c es th at are to be fol l owed and the fau lts ,

that are to be av oid ed A fte r l ear ni ng th ese the st ud e n t is

.

l eft to hi ms el f and wh il e he has the b e nefi t of all th at he has

, ,

l ear ned he mu st pu t fo r th h is o wn s tr e ng th and r ely ch i efly

, ,

up on thi s . H e mu st s ee k to giv e fu l l pl ay to his o wn po w e r s ,

and to exh ibi t t h at styl e wh i c h is most in ac c o r d an c e with his

own ch a r acter .

$ 6 ENERAL D IVI S I O NS or STY LE

. TH E G .

The s u bj ec t of styl e may be divid ed i n t o th r ee g ene r al h eads ,

u n d er which may be cl assifi ed all p ossibl e exc ell e n c es o r fau l t s

of e xp r essi o n Th e se are : I P e r spi c uity I I P ersu asiv eness ;
. . .

I I I H armony
. .

C H A PT E R I I .

PE RS P I CU I T Y I N W O R D S —S I M P L I C I TY .

7 ERSP I C U ITY DE FI N ED AND EXP LA I N ED

. P .

PE RSP I C U ITY mean s cl ear ness of exp ressi o n an d may be d e

‘

fi ned as su ch a use of w o r ds t h at t h ey may be u n d e r st ood

with o u t d i fficu lty by th ose to wh om th ey are add r e ssed I t .

may be r eg ar d ed as the fi r st essen ti al of sty l e with ou t which ,

all oth er b eau ti es are of n o av ai l I n d eed i t may be sh ow n

.
,

th at in most c ases the so c all ed b eaut i es of s tyl e w ou l d be n u

-
 E lem f Rfie ton c
'

18
’

en t: o .

att ai n abl e fi rst pl ac e the l ang u age be cl ear and

u n l ess in the
i n t e l ligibl e I n o r d e r to be pe r spic u o u s h o w ev e r i t is not
.
, ,

n eces sa r y th at t he s t yl e be u n d e rstood by all b u t th at i t be un ,

d e rstood by th o se to wh omit is add r e ssed To mak e s tyl e in .

te lligi ble to all w o u l d be i m po ss ibl e By the igno r an t and un .

e d uc at ed m an y O f th e most be au t i ful th oughts an d g r ac efu l

se n tim e n ts O f a.write r l ik e A dd iso n w o u ld not be a pp reci at ed .

I n wr it i ngs co n nec t ed wi th scie n c e i t is n e ce ssary th at the ,

r ead er k now so meth i ng O f the el eme nts at l east O f th at sc i en ce

be fo r e he c an u n d e r s tan d wh at i s w ri tt en H ugh M ill er was .

co m mend ed by S ir R od e r ick M u r chi so n fo r h is ad mi r abl e cl ear

n ess a n d j u st ly too e t to o n e w h o k n ws n o th i n g a b o u t g l
, y , o eo

ogy h is
“
Tes t i mon y O f the R ocks wou ld be obsc u re I n re .

lig ious w o r k s an acqu ai n tance is p r es u ppo s ed n ot o n ly wit h the

Bibl e but al so with a l arge n u mbe r O f t h eol ogic al t erms wi t h
, ,

o ut whi ch the pl ai nes t a nd c l ea r est exp r essi o n s wi l l often be

simply u n i nt el l ig ibl e .

5 8 . U BJ ECT o r P ERS P I CU ITY

D l V lS IO N S o r TH E S .

P e r spicu i t y may be co nsid er ed fi r st wi t h r e fe ren ce to the , ,

ch o i ce O f wo r d s se c o ndly in t h eir arr angemen t and th i rdly

, , ,

in g ene r al co mpositi o n .

§ 9 SO U RC ES
. or P ERS P tc mTv tN W O RDS .

So me w ords are cl ear becau se th ey are si mpl e ; oth ers be

c au se t h ey are p r eci se ; and o th er s be c au th ey a e pu r e se r

E g li h I n ach c ase we h av e a d i t i ct our c e O f pe spic u

n s . e s n s r

i t y which req u i r es spe ci al att en ti on T he fi rst O f th ese to be

,
.

c o n id er ed i s i mplici ty
s s .

sto . smp uc mr .

By si mpli city is mean t the ch oice O f si mpl e w ord s and th ei r ,

p r e se n t ati on in an u n affect ed mann e r Thi s qu ali ty is a chi ef .

ch ar ac t e r istic O f the most an ci en t l it er atu r es and O f the O ld est ,

w riti ngs in any l angu age It is v e ry pe r c eptibl e in the n arr a

.

tive po r ti on s O f the s ac r ed S c ript ur e s I n the G r eek I li ad and .

O dyss e y t he G e
,
rm an
“
N ib e lun g e n lie d
”
the S p an i s h C id
”
the , ,

N o r man me tr ic al ro manc e the E ng l i sh b al l ad s we fin d ear ly

,
'

poe t r y to be abov e all thi ngs si mpl e an d n atu r al and the

same is tr u e O f ear ly p ro se as may be seen in th e w r i ti ngs O f
,
 O E lemen ts f R/zetor ic
o .

“
S he lived unknown and few could , k
now
W h en Lucy ceased to be ;
B u t she is in her gr av e and Oh , ,

The d i fference to me

5 u . N C RET E T ERM S snup LE R TH AN ABSTRA CT

CO .

T he si mpl est an d most i n t el ligibl e w o r ds are th ose which d e

sc r ib e c o mmon thi ngsan d c ommon acti on s O pposed to these .

ar e all g en er al an d abstr ac t t erms The di ffe renc e be tw een .

th es e two c l asses O f w o r ds may be seen by c omp ar i ng a pl ai n

na rr ati ve O f fact wi th e xpo siti on in phi l os ophy Con c r ete .

t er ms are u n d er st oo d w ith ou t t r o u bl e bu t abst r act t erms gi v e ,

r i se to di ffi cu l ty T he r esp ecti v e effects O f th ese ar e visibl e in

.

o th e r qu a liti es O f Styl e and d ep ar t men ts O f lit er at u r e for whil e

th ey h ave a di r ect earin g u p o n perspicu i t y th ey ass u me a
b
gr eat er i mport an c e i n c on nec tion with e n er gy O f exp r essi o n
,

an d the l angu age O f the emo ti on s ; and th ey wi l l rece i v e fur

th er c ons id e r atio n mth e d isc ussionO f th os e subj ects .

5 12 . WO RDS AN G LO S AXO N O RI G I N CO N DUC IV E TO SI MP L IC ITY

OF -
.

S i mpl ici ty is b e st att ai ned by the empl oy men t O f wor ds O f

A ngl o S ax on o ri gin
-
.

T he E ngl ish l an gu age has apo w er O f absor bi ng fo r eig n w o r ds

which dis t i ngu i sh es i t fromall oth e r s an d mak es i t c ap abl e on ,

th is ac c ou n t al on e O f b ec o mi ng the d omi nan t speech O f t he

w or ld I t has r ec ei v ed c on t r ibu tio n s fr o m many s ou r ces ; bu t
.

by far the l argest C l as s O f w o r d s which h av e thu s far be en ab

s or bed by our moth er t o ngu e c on si st s O f t h os e which h av e h ad
a L ati n o r igi n T he chi e f c aus e of this is to be fo u n d in the
.

N o r man c onqu est which by subj ecti ng the E ngli sh p eopl e to

, ,

the i n fl u e nc e O f a r ac e O f m e n who S po k e a l an gu a ge d eriv ed

fr omthe L ati n c au s ed the i n trod ucti o n O f m
, an y w o r ds o ut O f
th at v oc abu l ary A fte r th is the ad missi o n O f words O f Lati n
.

o r igi n wa s ea si er an d the i n flu en c e O f the u n iver si ties an d O f the

,

l ear ned cl ass has e v er si nc e tend ed t o war ds the mu ltiplic ati o n

O f s u ch w or d s Th u s our l angu age is at p r esen t highly L ati n
.

ized an d p r es en ts to the cu r s o ry O bs e rv e r a tw ofol d ch ar act er

, ,

be i ng in p ar t n ativ e E ngli sh or A ngl o S ax on as it is c all ed an d

,
-

, ,

in p art L ati n .

I n o r d er to arr iv e at a k n owl e d ge O f the t ru e p r op o r ti on O f

th ese w or ds in our l angu ag e it is not s u ffici en t to exami ne dic
,
 P er sp ic uity in W or ds — S imp licity . 21

tion art es ; for t h es e c on t ain a l arg e n u mbe r Of t ech n ic al t er ms

‘
-

wh ich bei ng chi efly d eriv ed fromL ati n and G r eek S h ow apre
, ,

po n d e r ance Of w ord s o f fo r eig n o r igi n The tru e way O f j udg

'

ing is by an e x am i n ati on O f the lit erat ur e .

F r oman ex ami n at ion O f the d iction ary Dean T r enc h c omes ,

to the fo ll owi n g c onc l u si on : Su ppo se the E ngl ish l angua ge

to be divid ed i n t o on e h u n d r ed p arts ; Of thes e to m ake a ,

r ough dist r ibu ti o n S ixty are A ngl o SaxOn ; th i r ty are Lati n ;

,
-

five G r eek ; the oth er five p arts ar e to be d ivid ed am o ng a ll

the O th er l angu age s fr om which iso l at ed w o r ds h av e bee n d e
-

riv ed .

Bu t wh en the w orks O f st an d ar d au th o r s are ex ami ned ad if

fer eat res u l t i s O b tai ned Su c h an ex ami n ati on was mad e by.

S h ar o n Tu r ner an d the estimat e r eac h ed by him has been

,

wid ely ad opt ed B u t h is ex ami n ati on was v ery slight si nce

.
,

the p ass a ges fr omeach au th or d id not c onsi st O f more th an a

h u n d red or a h u n d r ed and fi fty w ord s .

A more th or ough and extensi ve search was mad e by Mr .

Geor g e P M ar sh the r es u l t O f which i s to be fo un d in h is

.
,

L ectur es on the E ngl ish L angu age ”

.

T he foll owi ng tabl e is the r es u l t o f anoth er ex am i nati o n ,

mad e in the s ame manner and u po n the same s cale as that O f

M r M ar sh
. .

1 3. TA B LE S H O WI N G TH E P ER C EN TA G E o r W O RDS o r ANO LO«

SAX O N O RI G I N 1N D wE ER EN T BOO KS .

TH E ENG LI S H BI B LE AND PR AYER B OO K

-
.

J on a h
M al achi
The B k oo Of Co mmon P ray er— M o rning S er v i ce
PO T E RY
r r
.

C u so M andi—4 1 8 in es l .

ir w
P e s Plo man, Pass us I
C auce , M an O f a es ae—5 60
h r Lw Tl li nes.

hk i
S a espear e, M dsu mme N g 8 D
’
r i ht r am Act I -
e ,

Ki g J h A ct I n o n, . .

M ilt Lyci da
on, s

Sp r Fa ri Q u
e nse , B k V Ca t I
' ’

e e eene, oo .
, n o

D ryd R li gi Lai ci
en , e o .

B ut l r H u dibra C a t I —S li
e , s, n o . OO n es

P p T A u gu t u
o e, o s s
 E lem K/zetmc
'

22 ent s o f .

Scott , Lay La t M i t r l C a t I
Of th e s ns e , n o .

W rd w rt h Od
o s o I mm rtali ty , e on o

S h ll y R v lt f I lam C a t I
e e , e o O s , n o .

Byr P ri r f C hill
on, s one O on.

C hild H ar l d C a t I V ta za cxl t cl
e o , n o .
, s n . o ose.

T y V i vi
enn son, en

R b rt Br w i g C hri tma E
o e o n n , s s ve

M rs Br w i g Th P t V w
o n n e oe
’
s o

K bl C hri tia Y ar—5 p m

.
,

e e, s n e oe s

P oe, T h Rav e en

L gf ll w Th B uil di g f th S hi p
on e o , e n O e

P ROSE F IN IC T O .

D f R bi
e oe, C ruo T h S hi p wr k Sc
nso n 80 4 w rd soe. e ec ene, 1 o s.

B u ya Pil grim P r g r 3 w d
n n,
’
s o ess, 000 or s.
Sc tt Bri d f Lamm rm r C hap t r I I I
o , e O e oo , e .

L rd Lytt Ri z i C hapt r I
o on , en , e .

C harl D i ck Pi ckwi ck Th B agma S t ry ’

es ens, . e ns o

G rg E li t M i dd l m
eo e arch C hapt r I
o , e , e .

ESSAYS A X Y W R ITI NGS

' ‘
ND E PO S I I O R .

H k r Eccl iati cal P lity B k L C hapt I V V VI

’
oo e s es s o , oo , er s .
, .
, .

J u i u L tt r I I I S ir W illiamD rap r
n s, e e . to e

D Q ui
e y A ppari ti
nce th Br ck
, a d S ava ah la M a on on e o e n, n nn r.

M acau l ay P r fac t th Lay f A ci t R m

, e e o e s o n en o e

Em r e son ,E ay C ircl ss on es

H ry R g r R v i w f S yd y S mith L ct u r M ral ’
en o e s, e e O ne s e es on o
P hil p hy oso .

H amrt e I t ll ct ual Lif T aS litary S t ud t

o n, n e e e. o o en

S RY H I TO .

G i bbon Decli ne and Fall of the R om

, an Empire C hapt er LI V , ..

H allam C ons ti tu ti onal H i st o ry C hapt er V I I

, , .

A lison H ist ory of E u ro pe I n tr od ucti o n

, . .

Froude H i t ory O f Engl and C h ap t er I (one h al f )

, s , .

F reeman H is to ry Of the N orman Con q ues t C h apter I

, , .

M ot l ey H istory of the D u tc h Republi c C h apt er I

, ,

D raper I ntellectual D ev el op ment of E urope C hap ter I

, ,

C a am
h th r Thr
, on the A dd ess
to the one
B rk t
u e, on th e N abob of Aroot s D eb s
’

rt Ir h Ri ht
G atan , o n is g .

rk i R
E s in e, on P an e s Age of eason '

Br h
ou g am, agans the D u amC e g
i t rh lry
Bi h B tl r r
s op I r
u e , S e mon on the gno ance O f M an
R ev E W
.R rt .rm
obe son, Se on on the D ou b O f
. t Th ma o s
 P er s p icuity in Wor ds S im
— plicity . 23

W OR KS ON RHETO RI C .

Bl air Rh t ric I tr
, e o . n od ucti on .

C ampb ll e ,

W hat ly e ,

NEW S PAP ERS .

L Ti m
ond on es, on the Easte rn Q u estion

L d onT l grap h
on e e ,

P all M all G az tt e e,

N w Y rk H ral d
e o e ,
P r i d ti al E l cti
es en e on

N w Y rk Tri bu
e o ne,

N w Y rk S u
e o n,

The abov e t abl e c onc l u si o ns

l eads to the fol l ow ing
1 I n the l it e at
.
r ur e of the p r es en t d ay th ere i s a l arger pro
po r ti on of w or ds O f A ngl o S ax o n or igin th an w ou ld app ear -

fr oman ex ami n ati on O f the dicti on ar i es .

2 I n poe t ry the p r oport i o n O f s u c h w o rds is l arg er th an in

.

p ro se .

F r o m th e ab o v e a new t abl e m ay b e d e d uc e d sh owi ng the

3 . ,

r el ati v e p r op or ti on O f A ngl o S axon w or ds in differen t d ep ar t -

men ts O f li t e r at ur e
1 The E ng l ish Bi bl
. 93 6 O r at ory .

2 T he Pr a
. yer boo k 87
-
7 H i st ory .

3. P o e try 88 8 N ews pape rs .

4. P r os e F i cti o n 8 7 9 W o rk s o n Rh et ori c .

5. E ss a y s 7 8

Su rp r is e may be fel t at the l arge p r opor ti on O f A ngl o S ax on -

w o r ds in p r ose ficti on ; b u t th is may be acc ou n t ed fo fi r st r, ,

bec au s e it d eals l agely with d o mesti c affairs and matt ers f a

r O

t r ivi al an d c ommonpl ac e ch ar act e r and s ec ondly be c au se i t , ,

abo u n ds in di al ogu e and all the c o ll oq u i al is ms O f com

, mon con
v er sati on .

I 4 . AN G L O SAX O N F O RMS
ESSENTI AL ELEM EN T I N TH E TH E

EN G L I S H LA N G UA G E .

A ngl o S ax on c on stit u tes the essenti al el emen t in the E ng

-

l ish l angu age Th i s may be s een fr omthe fo ll owi ng su mmary

.

1 E ngl ish g r ammar i s al most exc l u siv ely A ngl o S ax on

.
-
.

2 TO A ngl o S ax o n b el ong s the v o c ab ul ary O f c omm

.
-
on l i fe ,

with all our c oll oqu i ali sms i d i omatic ph r as es an d the l angu ag e , ,

o f c on v er s ati on A mong the u n ed u c at ed t his is v ery mar k ed ;

.
24 E lements f;
o Rizetor ie .

bu t i t i s al most equ al ly SO in th os e C i r cl es wh er e the best and

p ur est E ngl i sh is spok en for th e r e the p r op ort i on Of A ngl o
S ax o n wo r ds is high er th an in c o ntemp or ary l iterat ure an d the ,

u nd ue use O f w or ds O f L ati n or igi n is r eg ar d ed as ped ant i c or ,

in bad t ast e T he C hi ef d ifl eren ce be tw een c oll oq u i al and l it

.
’

e ra r E ngl i sh is the p r e d om i na n c e in th e for m e r O f u p r i m i

y o r

tiv e S p ee ch .

3 TO thi s may be add ed the l angu a

. ge O f busi ness ; of the
st r eet mar k et and far m O f sail or an d fi sh erman and O f most
, ,

O f the o r d i n a ry pu rs u its O f li fe .

4 I
. t c o mp r ise s t h e l an gu ag e O f t he e m o tio n s — l o v e h at e , ,

h O pe fear so rr o w sh am
, , e a n d the l ik e , I t has giv en n am
, e to
s .

most O f th ose O bj ects wh ich are associ at ed with our st r onges t

feel i ngs—as h om e h ea rt h fi r esid e l i fe d eath si c k n ess h ealth ‘

, , , , , ,

and cl ai ms the w or ds O f ch i ldh ood and y ou th w hich for a ll ,

aft e r li fe h av e the d eepest mean i ng an d are su rr o u nd ed by the

-

most mo vi ng assoc i ati on s T he A ngl o S ax on speech which the .

-

ch i ld l e ar n s a t h is m o th e r s k nee i s the spee c h whi ch he best

’

l ov es in the ho ur O f d eath .

5 Whi
. l e g e n e r al a n d abst ra ct t e r m s a re d e r iv e d fr o m the
L ati n th ose wh ich are spe c i al and d efi n ite are A ngl o S ax on
,
-
.

Th is is i l l ust r at ed in the fo ll o wi ng way in an ess ay by H en ry

Rogers “
M ov e and moti on are gener al ter ms O f L ati n
° ‘ ’ ‘ ’

o rigi n b u t all the speci al t e r ms for exp ressi ng v ari eti es O f mo

t i o n are A ngl o S a x on as run walk l eap st agger slip
-
’ ’ ’ ’ ‘ ’ ‘
, , , , , , ,

C o l o r is L ati n bu t whit e bl ack gr een

’’ ’ ’ ’ ’
st ep sl id e , .
‘
, , ,
‘
,

y el l ow bl u e red b ro w n are A ng lo S axon C ri m

’ ’ ‘ ’
‘
,
‘
, , e is ~
.

L ati n b u t mur d e r th eft r obbe ry to lie to st eal are

,
’ ‘
,
‘’
,
’ ‘
,
’ ‘
,
‘ ’

A ngl o S ax on M embe r and o rgan as appli ed to the body

-
.
’
,
’
,

are L ati n or G r eek bu t ear

’ ’ ’
ey e h and,
foo t lip
‘
,
‘
,
’ ‘
,
‘
,
‘
,
’

‘
mou th t eeth h ai r fi ng er n ost r i l are A ngl o sax on
’
,
’ ‘
,
‘
,
’ ‘
,
’
.

‘
A n i mal is Lati n b u t man h or s e Cow sh eep d og
’ ’
,
‘
,
’ ‘
,
‘
,
’ ‘
,
’ ‘
,
’

‘
ca t
’
c al f goat are A ngl o S ax on
,
‘
,
’‘ ’
N u mbe r is L ati n but
’ -
.
,

all our c ar di nal and o r di n al n u m bers as far as a mill i on are

A ngl o S ax on -
”
.

5 5 1 M
. OST TH E
P O P ULAR BOO KS 1 N T H E LAN G UA G E EX H I B IT
A P REDO M I NAN C E O F TH E AN G LO SAX O N ELEME NT -
.

F romthe fo r eg oi ng st at ements it wi ll be s een th at w o r ds d e

r iv ed fromA ngl o S a x on sour ces are al w ays the SimMest and
-
 P ersp icuity in Wor ds . 25

the most i nt ell igibl e Th ese fo r mthe v oc ab u l ary of c h ild r en

.
,

Of the u n edu c a t ed ; and in the l angu age O f so ci al i n t er c our s e

e v e n O f the m ost cul tiv a ted cl as ses s u c h w or ds ou t numb er
th ose O f Lati n o rigi n far m o r e th a n in g en e r al l it e r at ur e .

I f we se ek fo r the m o st i n t e l ligibl e boo ks in the l a n gu age ,

we sh all fin d th emin thos e whic h are most wid e ly ci r c u l at ed

and if we s ee k fo r thos e which are mos t wid ely ci r c u l at ed we ,

Sh a l l fi d th at by un ive r sal c on se n t th ey are the fol l owi ng

n

the E ngli sh Bibl e the Pilg r i ms P r og r ess R obi nso n C ru soe

’
, , ,

and G u ll iv e r s T r av e ls The E nglish Bibl e fo r v ar i ou s re ason s

’
.
, ,

s ur p asse s all othe r b ooks in c i r cu l atio n The au th or i zed v er .

s io n is r ightly co n si d er ed as the n obl es t body O f E ngl ish p r o se

which the l angu age posse sse s I ts exce l l enc e may b est be .

s een froma co mp ar i so n with o th e r v er sio ns I f i t be comp ared .

w ith the D ou ay Bibl e the i n fe r i o r ity of the l atter w i ll at

”
,

o n c e be a pp ar e n t ; and thi s i n fe r i o ri ty is Owi ng to the fac t th at

the t r an sl ato r s o f the D o u ay v e r si on w ere not s u ffi ci en tly
“ ”

aliv e to the s u pe r i o r fo r c e and c l earn ess O f A ngl o S ax o n w or ds -

,

and ad opt ed many o f L ati n o r igi n I n the au th or i zed v e r si on .

,

o n the c o nt r a ry the p ropo rt i on of A ngl o S ax on w or ds is g reat er

,
-

th an in a n
y o th e r E n gl is h bo o k .

B u ny an s Pilg r i ms P rogre ss st and s n ext to the E ngl ish Bibl e

’ ’

in po i nt O f c i r c ul ati o n and has the s ame c h ar acteri stic s n ame

, ,

ly great si m
, plic i ty of s tyl e and a g r eat p re po nd e r an c e O f ,

A ngl o S axon wor ds Th is may be i ll u st r at ed by the O peni ng

-
.

s ent e n ce s :
I w alk d thr ug h th wil d r
As e f thi w rl d I li ght d u p
o a e e n ess o s o e on ce r
tai pl ac wh wa ad a d l ai d m d w t l p ; a d a I l p t I
n e, er e s e n, n e o n o s ee n s s e
d r am d a d r am a d b h l d I aw am
e e e a c l th d with r a
, n g ta d i g i a
e o s n o e s s n n n
c rtai pl ac wit h hi fac fr mhi w h u a b k i hi h a d a d a
e n e, s e o s o n o se, oo n s n , n
g r at b u rd u p hi ba k I l k d a d aw him p th b k a d a
e en on s c . oo e n s o en e oo n s
h r ad h w p t a d tr mbl d ; a d t b i g abl t c tai h brak ut
,

e e e e n e e n no e n e o on n,
, e e o
i t al am tabl cry ayi g What h all I d ?
n o en e , s n , s o
”

Inthis i ty th ree per ce n t O f the w or ds are O f

p ass ag e n ne -
.

A ngl o S ax on or igi n
-
.

A b out thi r ty year s ag o a new v er si on O f the Pi lgr i ms P rog ’

r ess was p u blish ed in E ngl an d for the use O f the chi ld ren of
the ar ist oc r acy ”
I t was wr itt en by a cl er gy man who was O f
.
,

fen d e d at wh at h e c onsid ered th e v ulg ar i ty O f Bu ny an

“ ”
H is .

v ersi on was ch i efly c h ar ac t erized by a s u p er ab u nd anc e of l ong

26 men ts
E Ié f
o Rlzetor ic .

w or ds of L ati n or igi n an d was a mel anch oly exh ibi tion of min
,

gl ed i gno r an c e i n eptitud e an d bad t ast e I t n ev er att ai ne d

, , .

to any ci r cu l ati o n an d is l o ng si nc e fo r gott en

, .

I f we c om p ar e with the ab ov e the fol l owi ng p ass ag e from

B ur k e a g r eat di ffe r en c e wi ll be p er c eived
,

Th is i deaof ali beral d escent i nspires us with asense of h abit ual nati v e
d i gn ity whi ch p re v en t s th at u ps t art i nso l ence al most i nev i tably ad he ri ng to
,

and d is g racin g th ose who ar e the fir st acq uirers of any d i sti ncti on By t his .

means our li berty becomes a nobl e freed om It carri es an i mposing and .

maj esti c aspect It has a ped i gree an d ill u strati ng ancest ors It has its
. .

bearings an d its ensi gns armorial It has its gall ery o f po rtraits its monu .
,

men t al i nscri p ti ons its records ev i dences and ti tl es W e procure rev erence
, , , .

t o our ci v il i ns tit u ti o ns on the p ri nci p l e u pon whi ch natu r e t ea

, ch es us to
revere i nd i v id u al man ; on accoun t of th eir age and on accou n t of th ose ,

fr omwhomth ey are desce nded

”
.

In t his p ass age on ly s ixty -

th ree per c en t . of the w ords are of
A ngl o S ax on origin
-
.

MANY LATI N w or m
16 . s an s E Q UALLY S I M P LE .

A lth ough w ords of A ngl o S ax on origi n are as a wh ol e the -

, ,

most si mpl e and pe r spicu ous yet i t must be obs e rv ed th at v e ry ,

many wor ds of Lat i n o r igi n are eq u ally so Su ch w or ds h ave .

been l ong in the l anguage and h ave bec ome so th o rou ghly n at ,

uraliz ed th at i t is o nly by a d is ti nc t effo rt of the mi n d th at any

di ffe r e n c e of d eri vati on c an be seen Th ose w rit er s who se ek .

abov e all th i n gs aft e r cl ear ness and i n t el ligibi l ity are th er efo r e ,

n ot exp ect ed to a v oid goo d an d u sefu l w o r d s mer ely bec au se

th ey are o f Lati n o rigi n fo r thi s w ou ld be d oi ng vi o l e nc e to the
,

gen i u s of our l anguag e bu t mer ely to avoi d s u ch as are n ot in

,

c ommo n use an d ag ain wh en an A ngl o S axon w or d is as ex

, ,
-

p r essiv e as a Lati n w or d to give the fo r mer th e p r efe r en c e , .

I 7 I M.P O R T AN C E O F T H E LA TI N ELEM EN T I N O U R LAN G UA G E .

A p ar t fromthe su bj ect o f per spic u ity the L ati n el men t in , e

ou l a r n gu a g e is of i e ti mabl e v al u e and t en ds to giv e it th at

n s ,

c omp r eh en siv ness th at all exp r e siveness and th at r ich and a

e ,
-
s , v

r i d mu sic wh ich mak e E glish l iter atu r e the c ofi a d g l o y

e n r n r

of a ll th w o r ks o f man
e For by b ei g m ad e u p of th es e two
. n

e l em en t the E glish l angu a

s, g e exhibi t th st rength t e d er
n s e ,
n

ness a d si m
,
n plicity of the T u to ic t ongu es t ogeth er with the e n ,

euph ony so n orou s n ess a d h arm

,
ony o f th e L a ti n
,
n .
28 E lement : o f M alar ia “

at minister shoul d av oid I mean to make youanegative instruc tion to your

,

suc cesso rs fo rev er

”
.

The re is gre at d e li c acy of exp r essi on associ ated with gr eat

subt l ety o f conc epti on in th is se nt en ce I t i s a co mmon thi ng .

to sp eak o f ac ti on s th at sh ou l d be i m it at ed and which th us be ,

come i n stru ctive ; b u t it is more u nu s u al and more di fficu l t to

speak of ac tion s th at sh ou l d be avoid ed and mak e th em a ,

nega tiv e i ns tr u ctio n .

”

Th is c ri ticis m is al so appli c abl e to the fol l owing passage

fromBu r k e s Le tt er to the D u k e of Bed for d
’

l f his G race can con tem plat e the res u lt of this i n no v ation withou t a
th or o ug h a bhorre nce of everyt hiu they say and ev eryt h ing they d o I am ,

am azed at the mor bid str engt h or the nat ural infirm ity ol b ia mind .
”

M orbid st rengt h i s s u gestive of the cap acity to i nfl i ct

”

g
ev i l wh i c h be l ongs to the m an fami li ar with wi c k ed ness and
c ru el ty ; natu ral i n fi rmity i ndi c ates one whal acks common
”

i ntell ige nce and co n templ ates c r i m

, e with the s t ol idi ty of an

idi ot The al t ern ati ve p resent ed h ere wi th s uc h refi nement of

.

l angu age is the same as th at wh i c h wou ld be st at ed by a l ess

skil fu l wr i t er in the ab u sive t er ms vil l ai n and foo l “
.

2 . P rec isi on i s so meti mes att ained by the use of p rope r

n am es espec i a
, lly wh ere a name i s p u t for a c l ass This is .

ill ust rat ed by the fo l l owin g li nes fromP ope :

W h at can en nobl e son or slaves or cowar ds ?, ,

A las ! no t all th e bl ood of all the H ow ards .

"

H ere th ere i s a c l ose and acc ur ate spec ifi cat i on of di fferent

c l asses of men co nc l u di ng wi th the men tion of a class by the
,

wo rd H ow ar d s whe r e one wel l k nown n ame is flat for nobl e

”
,
-

fami l i es in general .

“
And m ore true j oy Marcell us exiled feels
Than C resar with a se nate at his heels .
"

G reat p rec i si on is gai ned h ere by the use of th ese n ames ,

the on e of a n exil ed pat r i o t the oth e r of a triu m

, ph ant ty r an t .

r l r th thi k h w B a hi d
p
I f a ts al u e ee, n o c on s ne ,

w t bright t ma t f ma ki d !
The ises , es , e nes o n n
"

P rec isi on is sh own h ere in sel ec ti ng B ac on fromamon g all

me n as the h igh est ex ampl e of h u man gen i u s The s u mmary .

of his c h a r ac ter affords a sti l l better i n st anc e I n th ese th ree .

 P er spicuity in Wor ds— M alaba
r . 29

p rev ailed at that time and to which this memorable li ne g ave

,

new e m phasi s .

P re cis i o n in s u bstanti ve t erms is al so see n wh en they as

3 .

s ume the fo rmo f de fin i tio ns or expl an ations .

Th ere is great c are and acc u racy in the t reatmen t of the fol
l owi ng p assag e from D isr aeli s speec h on the d eath of the
’

“
The Dulte of Wellingt on lefi to his eountry enagreat lega cy, greamter
even tha n his glory . m
H e lefi the the conte plation of his cha ra m
cter I .

will not say that his conduct revived the sense of duty in lingland [ wil . l
not sa ha f u 8 u that his cond uct iu i d ublie life with
'

y t t o o r coe ntry t .
p re p
m
a p er a nd mm
e n ucu line tone l cannot doubt H ls career rebukes
m
.

rw las va ty a nd n prin a nds the h r q u lu ebu llitions of a orbid ego m

”
tisn .

m
The true eaning of this pa ssa g e is to b e fo un d in the care
fu lly chosen wo rds of the conclus i on ; yet in ord er to hei gh ten
thei r p recision, a nd give the m
increased e phasis the speaker m
m
in t rod u ces themby e ntion i ng th at wh ich he wi l l no t say, and
by th ese very w or ds he i n si nu ates wi th great d el i cac y the v ery
fac t whic h he re p rese nts hi m sel f a s u nwi l li ng to st a te .

The sa e m met ho d is followed by B ur ke, w he n he sa ys, I “

d o not say I sav ed m y c ou n t r y , I a m s u re I d id m y c ou n tr y i m

p o r tant serviee T h e re .w ere f e w ind ee d t h a t did no t a t th at
m
ti e a c knowl edge it ”
.

I n the foll owing pa ssa g e th e re is a ca ref u l d efi n itio n

“
I ea m
n to give pea Peaee i plies reeonciliation ; am
nd where there

mm
ee .

m
ha heen a aah l dh pu hafion doa in a anner i ply eonces m m o

sion on the one pa rt or the othe

"
- B u|ut l r. .

4 . P rec i sio n is v ery st r i king in an ti thetical sentences .

“
To make a virtue of “ inf —S m ut ;
H ere the contrast of virtue wi th “ ” “
neces s ity "
ren d ers eac h
w ord m o re di s ti n c t in i ts mean ing .

“
There is. however, ali mit at which forbearanee ceases to be avirtue .

B u na
r z
.

H ere stress is l aid u pon for bearance and

the
“ “
vi rtue ,

wh i c h are eac h more sh arply defined by con tr ast .

“
Kings will be ty rants frompolicy when su j
b ects are rehels fio -
mprin
ciple.
”
—B uruu: .
30 E[f r/ten ts f
o R/zetor ic .

The wo rd ”
ki ngs is h ere c on t rast ed with s ubj ec ts ty
”
ran ts with “
rebels “
po l icy wi th p ri n cipl e an d the ar ”

ra of s ch t e
y u r ms in opp ositi on r esu l ts in a c ar efu l acc ur acy of
mean i ng .

J u n i us h is l ett e r
, in to the Duke of G r afton, says with his
u s ual malign ity
“
Inthi h umbl imitati v li y u mi ght l g hav pr c d d af a d
s e e ne o on e o ee e s e n
c t mpti bl
on e Y u mi g ht p r bably
e. o v r hav ri t t h d i g ity f b
o ne e e se n o e n o e«
i g hat d a d y u mi g ht v
n e , n hav b
o d pi d with m d rati
e en e ee n es se o e o n.
”

Thi s is o ne of th ose pass ages u pon which J u n i us expe nd e d

an u n usu al am ou n t of the car e an d st u dy th a t acc or di g to h is , n

o wn st a t eme n t ch aracte rized h is compo siti on The an ti t h es i s

, .

of safe and c o n t mp tibl e may be n oticed a d al so th at

“ " “
e ,
n

of h ated an d d e pised The s t u di ed bi t t erne ss wi th whi c h

s .
-

J u n i us w rot e was nev er mor e for c ibly displ ay ed th an in s u c h

e xp ressi o ns a s h av e r isen to t he d igni ty of bei ng h at ed
“

“
d espised wi t h mod er atio n an d the sting li es in the pe fect r

p rec isi on of the w ords .

5 20 . p asc rsx
ox m an meur rve r ea ms .

I I We h av e in the second pl ac e to co n sid er p r ecisi on in

.
, ,

att rib u ti ve t e r ms .

1 This is es peci a
. l ly s ee n in the appli c ation of epith ets an d ,

may best be il l ust r ated by sel ecti ng so me o ne subj ec t and com ,

p ari ng the w ays in whi ch i t is p rese n ted by di ffe r en t w rit e rs .

Th e sea affo r ds a th eme u po n wh ich many poe t s h av e l ov ed

to dw el l and wh ose po w e r s th ey seek to se t fo r th by vi vi d d e
,

sc riptive w o rd s By r on s li nes are famil i ar to all

.
’

R llo on, th
rk bl u O c a r ll o u deep and da e e n, o .
”

D ee p and d ar k bl u e s an exp r essi on of the most g ener al i

ki nd wi t h ou t a y v e ry d efi nite force or mean i ng Barry Corn

,
n .

w al l s l ines are eq u al ly famili ar

’

“
The sea, the sea, p
the o en sea,

T he bl ue , the r h
f es , the e e v r fr ee !
”

“
O pen, bl ue ”
fresh “
free are all w or ds which l ack
,
” “
,
” “
,

p r eci si on ; th ey are comm o npl a ce an d migh t su gg est th em ,

r en t fr omth ese i s the m

“
se lv es to a n
y w r it er F ar diffe . ultitu
dinous se ao f S h ak espe ar e which is fu ll of s ugg est i on s of r oll
”
,
 P er spzc uzty in Wor ds I
' '

.
3

ing bi l l ows and r esist less pow er ; whi l e in the v ery s ou n d of

the w o r d i tse l f t h er e i s s om eth i ng t h at is n ot u n lik e the th i ng

whi c h i t r ep r ese n ts The tt r fipt epo y éhtw pa of [E schylus (the

.
’
v

i n fi n it e l au ght er of oc ean w aves ) is of a high e r d es c ripti on ;

an d the n ohinphoaafio o 90 d of H om e r ha s be c om e p r o v er b
’
r

ial for p regn ant mean i ng and so n o r ou s mu si c Th e se l ast h av e .

a r ar e p r ec isi on an d effec tiv e forc e wh i c h h av e mad e th emad ,

mi r ed in all ages and h ave cau sed th emto be qu oted so oft en

,

th at th ey h av e bec ome hack ney e d by r epeti tion .

The so n gs of bi rds for mano th e r fav o ri t e th em e for the poe ts,

and especial ly th at of the n igh ti ngal e I t wi l l be i ns t ru ct iv e .

to com p ar e the epith ets appli ed to this by v ar i o u s w ri t ers .

“
It is the hour when fr om the bo ug hs
The ni g hti ngal e s hig h note is h eard —BV RO N
’ "
. .

H ere the epith e t high i s gener al and of no p arti cu l ar

“
,

mean i ng I t is qu it e evid en t th at the poet wrot e th is wi th

.

ou t thi nk i ng v e r y m u c h abo u t the real natu re of the th i ng de

sc r i bed Far d ifl er n t fromthis is the d escri pti on of the s ame
‘

. e

th i ng by K eats wh ose gen i u s led himi rr es istibly to all fo rms

,

of the be a u ti fu l
W h il th u at p u r i g f rth thy ul ab ad
e o r o n o so ro
I uc h a c tay
n s n e s s ,

S till w u l d t th u i g a d l hav a i vai

o s o sn , n e e rs n n,
T thy hi g h r q u i mbec m a od
o e e o e s .
”

The epith et “
h igh is h ere u sed b u t in conj u nc ti on wi th
”
,

oth er w o r ds whi c h gr ea tly refine and at th e same ti me en l arge

the mean i ng .

The sam e poe t al so s ays

“
thy pl ai tiv a th m fad
A dieu , adieu , n e n e es
Pa t r mad w
s the nea e o s.
”

A di fferent c h ar ac t e r i s h e r e asc ribed to the not e of the

n ighti ng al e and sti l l anoth er by M i lto n in the foll owi ng
Th wak ful i g h ti g al e e n n e,

Sh all ig ht l g h
e am r u d ca t a g
n on er o o s es n s n .

Pl ai ntive an d amorou s a e w or ds which are v ery di ffer

“
r

en t y et th ey each st a
, t e in a p r ecis e an d speci fi c man ne r the
poet s th ought ; whil e su ch g en er al t erms as h igh
’
low “
,
” “
,
”

mu si cal are l ittl e be tt er th an c on v en tional is ms and are s u g ,

 E lem fl R/zetor zc
'

32 en t: o .

g estive ofs u c h exp ress i ons as the b r av e soldi er the b right ,

”

sun the , d ar k n ight .

Wi th th es e may be c o mpared W or dsw or th s l i nes to the ’

cu ck oo
O cuck oo shall I a ll th ee bir d
, ,

O r bu t a w and e ri ng v oi ce ?

Even yet th ou art to me

N o bird bu t an i n v i si bl e thing
, ,

A v oi ce a mystery , .
”

In such w or ds as th ese th e r e is r ev eal ed a r are power of im

agin ative c on c epti on and g r eat acc ur acy o f exp r essi on They .

are as far as po ss ibl e fr omthe c om monpl ac e and for mthe lan ,

gu age of t ru e poet ry .

Fi n al ly let u s t ak e a fe w li nes from S h el l ey s O de to a

,
’

S kyl ar k
I n p r ofuse strains of u n p remeditated art ,

I h av v r h ard e ne e e

Pr ai fl v se o wi o e or ne

That pa t d f rt h a fl d f rap tur

n e o di i
oo o e so v ne.

W ith thy cl ar k j ya c e een o n e,

La gu r ca t b
n o n no e.
"

W or ds l ik e th ese c ar ry u s u p to the h eights of p oetic al i nspi ra

ti on The poet s mi n d i s ov er po we red by h is th eme y t hi s
.
’
, e

c ap aci ty fo exp ressi ng th at th eme nev er fails him H is w or ds

r .

se t fo r th with exqu isi te refi nem en t a n d s u btl ety the most d eli

c ate and ev ane sc en t ti n t of mean i ng De sc ribi ng the so ng of

s .

a skyl ar k may be comp ar ed to an ar tist s att empt to p ai n t a

’

r ai nbo w ; yet i thi s att empt S h el l ey has ot fai l ed H e has

n n .

t est ed to the utt rmost the cap aciti es o f l ang u ag e and has ex
e ,

h austed its re so ur c es in this w o n d e r fu l od e .

2 P r ecisi on in att r ibutiv e t e rms may als o be s ee n in the d e

.

scri ption of qu al ities and in the use of q u ali fyi ng t erms

, .

“
Suc h l angu age s ays Bu r k e might h av e b een sp ar ed
,
” “
, ,

w er e i t on ly as a sac rifi c e to the gh ost of d ep ar t ed fr i en d

ship .

H e all ud es h e r e to his rupt ur e with Fox A c ommon pl ac e .

st at emen t w o u ld h av e been somethi ng l ik e, w er e i t on ly from

c o n si d e r ati o n for our fo rmer fr i end ship bu t in th ese w or ds all
th is i s exp ressed whi l e , mu ch mor e is i mpli ed .
 P er spzkuity in WW i
a n— P r e iu mm .
-

33

Land or exh ibi ts the same th ing in a fine p assage wh er e he

S p eaks of the d i ffer en c e betw een S h ak es peare an d Baco n
Th r i a gr at a diff c b tw S hak p ae a d Bac a b
e e s s e er en e e een es e r n on s e
tw a A m rica f r t and aL d ti mb r yard I th ti mb r y ard
een n e n o es o n on e -
. n e e -

th m at rial a
e aw d a d q uar d a d
e s re s t a ; i th f r
e n t w hav
s e n se cross n e o es e e

th at ur al f rm f th tr
e n all it gr wth all it bra c h
o o e ee, all it l av sall o , s n es, s e es,
th m that gr w ab u t it all th bird a d i c t that i h abit it ; w
‘

e osses o o , e s n nse s n no

d p had w a
ee s b bi g th wh l wil d r
o s sor ; w bri g ht bu r ti g g l ad
n e o e e n ess no s n es,

with ex ub ra t gr a and fl w r a d fruitag

e n ss w u t u bl d ki ;
o e s w n e no n ro e s es no

t rrific th u d r t rm ; v ywh r mu ltif rmity ; v rywh r i mm ity

e n e s o s e er e e o e e e e ens .
”

This d esc ri ption of a for est displ ays d isti n c t ness of c onc ep tion
and ac c ur ac y of st at em en t ; b u t its ch i ef vi rt u e c onsi sts in the

fac t th at i t i s appl i ed fig urativ e ly to S h ak espe are ; so th at from

the fr am i ng and se t ti ng fo rth of this comp ariso n th ere arise s
anoth er and a high er be au ty .

z r. P R EC IS ION IN P REDI CA I I V E
‘ ’
Terms .

I I I I n the th i rd pl ac e we h av e to co nsid er p reci si on in

.

p red ic ativ e t erms .

r Th es e may r efer to ac ts
. .

This may be i ll ust rat ed by the foll owi ng p assage from

Th ack er ay
It is said the king winced w hen he first saw his homely l itt l e brid e ; bu t ,

how ev er that may be he was atr ue and faithful h usband to her as she was
, ,

afaith fu l and l oving wife

”
.

Com p are the word wi nced with s u c h c ommon exp ress ion s
felt d i sg us t ed ,
” ”
as sh ran k b ac k ,
“ ”
was d isappo i nt ed , an d
i ts p rec ise forc e wi l l at o nce be app aren t The w or d h omely .

al so has am ea n i ng of its own, wh i c h ak es i t most app rop r i ate m

in i ts appli c ation .

M oth er for l ov e of grace , ,

La n ot th at fla tt ering un ction to you r sou l

y
That no t your tres pass bu t my madness speaks
It will bu t ski n and filmthe ul cerous p l ace ,

W h il es ran k corrup tion mi n i ng all wi thi n , ,

I nfects unseen —S uaxltsm nz .

”
.

Th is wh ol e pass ag e affo r ds a st u dy in p r ec isi on Its figura .

tiv e c h aract er d oe s n ot at all det r ac t fr omth is bu t r ath er aug ,

men ts i t “
Lay n ot th at fl att eri n g u n c ti on to y o u r so u l
.
”
is
one of th ose S ha k espearian ph r ases wh i c h h av e en t er ed int o
34 E lements o f w tor ic .

our co mmon speec h by virtu e of i ts exp r essiven ess .

and film are si ng ular ly exact an d sugg estiv e

“
.

It i t that y u d wr g by d ig bu t that y u h u l d
s no o o on es n, o s o ne e v r do
rig ht by mi tak — J UN IUS
s e.
”
.

The c on tr ast be tw een th ese two acts i s sh arply d rawn , and ,

as u s u al wi th J u n iu s ful l of mal ici o u s i n si n u ation

, .

2 . Th ey may r efe r to the s tate or conditi on A n ex amp le is .

fou n d in M i lt on s li nes
’

F all en ch eru b to be , k
wea is miserable ,

D oing o r sufl ering .

”

The c iseness of this st at ement is eq u al l ed by i ts k een

con

d isti nct ness .

O n e fl aun ts in rags one flutt ers in br ocade , .

P o pe exh ibi t s h e r e his u s u al ex act n e ss o f exp r essi on in

c ou pl i ng th e se p articu l ar v erbs with the se p artic u l ar no u n s .

G ouv ern eu r M o rr is w ri ti ng of Lafayett e s ays :

, ,

D readfu l sit u ati on O bliged to do wh at he abh ors or sufl er an igno ,

'

mi n i ous death with the certain ty that the sacrifice of his li fe will not pre
,

v ent the mi sc hi ef .
”

This p ai nfu l posi t i on in whi c h L afayette was pl ac ed cou l d

not be p r es e n t ed with g r eate r vivid ne ss o r d isti nct n ess .

2 2 . CL EARN ESS o r c os c m row N EC ESS ARY TO P asc rsmxv .

T he ch i ef essen ti al to p r ecisi o n o f exp r essi on is cl ear n ess

‘

and ac c ur acy o f c oncepti on for wh en the wr it er th i nks with

,

ce rt ai nty he wi ll ge ne r ally e xp ress hi mse l f wi th ce r tai nty O h .

sc u rity of styl e v a gu en ess of st at emen t l oo se and i naccu rat e

, ,

ph ras eol ogy wi ll g ener al ly be fo u n d to origi n at e in h asty or

c arel ess c on cepti on s ; for wh en the mi nd is at no p ai n s to
acqu i r e a firm g rasp of the subj ect n o cl ear and d efi nit e d e ,

sc r ip ti on c an be expect ed P r eci si on must th er efo r e be sought

.
, ,

afte r in the fi rst pl ace by sec u ri ng a c l ear and l umi nou s vi ew

of th a t which i s to be set fo rt h .

AND ALSO CAR E I N TH E use or w orms

2 3. .

I t by n o mean s fol l ows h ow ev er th at ev en a cl ear vi ew of

, ,

the subj ect wi l l o f i tse l f r es u l t in a cl ear st at e men t I t is w el l .

30 E lement: o f Rhetor ic .

e r al meaning b u t dissi mil ar as to their spe cifi c mean i ng This

, .

i s i ll ustr at ed by the foll owing :

F em ale an d fi mzzuna— F em al e is said of the sex itse lf F em
’ ’

in i n e o f the q uali ti es of the sex A th i r d te rm effemi n at e may

.
, ,

also be men tioned whi ch is appl ied to femi n i n e q u aliti es d is

,

cov e re d in aman .

U n tr u —
tfi f ak d woa fl— I n the fo rmer th er e is no i nten tion to
d ece iv e an d the ab sence of t ruth may ar i se fromigno ran ce ; in
,

the l att e r th e d ec ei t is i n t en t i o n al .

F igure— 4 r ope — F igure i s a gene ral te rmappl i ed to c er tai n

.

ar tifi c i al forms of exp r essi on t r ope is aspe ci al t er mi ndic ati ng

th at ki nd of fig ur e by whi ch a w o r d i s tu r ned fr om i ts l i t er al
sign ifi c ati on to anoth er of a d ifl eren t ki nd— as the swor d of ,

sta te .

M odest— bar/lf uL— M od est r efe rs to the h abit of mi n d b ash ,

ful to the state o f fee li ng ; the one i s c om

- mend abl e the oth er ,

rep rehensib le .

Em —
y {r u g alify pa um
— r my E conomy mean s the man
— ’

ag emen t of ou tlay in acco rdance wi t h i ncome ; frug al ity a lim ,

~

ited expen dit u re fro m m o ti v e s of se l f r e st rai n t o r t em per ance ; -

parsi mony a li mited expe nditu re frommotiv es of av ari ce

, .

Efi d — am r zg u mm— A o efl ec t p r oc eeds from a c au se a

c onse qu enc e fo ll ows somethi ng th at stands to i t si mply in the
r e lati o n of a n t eced en t .

Centr e— m idw a—C e nt re i n volv es the id ea of ac i r c l e midd le ,

has a more gene r al appli cati on M ac au l ay s ays the cen tre

“
.
,

of th e gr a n d all ey in which he sho ws a l ac k o f his us u al pre

,

etsi on .

Ha pp rh esr — b l ar ed aeu — Bl e ss ed n ess . is appli e d t o th o se w ho

enj oy the divine fa vor an d who may no t be act ual ly happy as

, ,

Bl essed are t hey th at mou rn ”

I n a rec en t tr ansl ation o f the
.

S c r iptu r es th is is c h anged to H appy are th ey th at mourn ”

.

The tr an slato r whi le aim ,

i ng aft e r a s u pposed v er b al ac c u racy ,

h as th u s misse d the wh ol e po i n t of the passag e w hi c h is the ,

”
bl ess ed ness of affli ction .

25 . ur aop amrv
r
'
.

2. vi ol ati on o f p rec isi on is c all ed i mp r op riety

A noth er .

I t oft en h appe n s th at o ne w o r d i s us ed for anoth er of a to

tal ly d ifl erent sign ifi c ation There is a resemb lanc e either in
'

.
 P er spfew)? in Wor ds P r eci sion
— .
37

- the appearance w or d s or in th ei r so u n d and by th is the

of two , ,

w r it er i s misl ed Th is mu st n ot be c o n fou nd ed wi t h the fau l t

.

j ust men tio ned S y no ny mo u s w ords h av e si mil ar mean i ngs ;

.

th es e word s n ow u n d er co n si de r ati on h av e t ot ally d iffer ent

mean ings and are on ly si mil ar in so u n d or i n appear an c e
,
‘

The fo ll owi ng ar e s o m e of the m ost c onspi c u ou s ex a m

p l es :
D em ea m I w ould not d emean mys el f is an ex ampl e of
i mp r op r i ety in the use of th i s w or d The mistak e arises from
(

its r esembl ance to the adj ectiv e mean i e b ase low But the , . .
, , .

t rue sign ifi c ati on of the wo r d is to beh av e as may be seen

“ ”
,

in the s u bstan ti v e d em
“
no r
”
ea .

I lay a n d I fa Th e se are oft en c on fou nd ed

[ — A d di tional .

c onfu si o n ar is es in the empl oymen t of the pas t t enses The .

for m s are

r ese mbl anc e be tween the p resen t of one and the p as t

The
o f the o t h e r l e ads to fr eq ue n t mis t ak es The most memorabl e .

ex a mpl e o f i mp rop riety in this r esp ec t i s fou nd in By ron s ’

fam ou s l i n s e

d t him hi v ri g i thy p layfu l p ray

’
A d n sen s s e n n s
A d h wl i g t hi g d wh r h ap ly li
n o n o s o s, e e es
H i p tty h p i s m ar p rt
e bay
o e n so e ne o or
A d da h t himagai t
,

n arth ; th r l t him lay

s es n o e e e e .
”

H ere we see bo th the right and th e wr ong use of the same

w or d .

S it and set are apt to be c onfou nd ed in p r ec ise ly the same

man n er as lay an d lie .

D erom p T
or e — d rlr m — m
p c A fo eig n e once s aid , speaki ng of
o r . r r
a b ash f l f i e n d , th at h is fac e was v e y m ch d ec ompo s ed
u r r u .

Er r
r o s o f this ki nd p
, pos ely mad e, h av e gi v e n i se to a feebl e
ur r
s o t of wit c al l ed mal ap opis m
r r .

L oose— lore — The mi st ak es th at oc cu h e e are pe haps en r r r

g
.

e rally d ue to the sp e l l i ng, as th ese w o ds ar e se ld o mor n ev e r r

c onfo u n d ed in c ommon c o nv e sati on r .

S an itary — mn atory — an it a y is f omsamrar h eal th san a S r r '

‘

;
.

t o y , f om m ), to h eal The fo mer is s bj ec tive, the l atter

m
,

r r . r u
obj ec tiv e .
38 E lem f R/zeton
'

en ts o c .

P redicate—pr edid —
Pr edic at e is to ass ert on e th i ng of ah
.

o th e r ; p r edict to fo r e t e ll the futu r e

,
.

1 g muous
n — T he fo r me r sugg ests fr an k ness and
gu ilel essness ; the l atter i n t el l ec tu al skill or c l ev er ness .

26 . V AG U E w orms .

A noth er faul t ar i ses fr om the use of w or ds th at are v ague

and ge e r al i n st ead of such as are ex act and d efi n it e
n ,
Th is .

is a ch ar act ri s t ic of t h ose who t hi nk l oos ly or who p rep ar e

e e ,

t h ei r subj ec t matt er c ar l essly and are as d e ti tu t e of d is ti c t

-
e , s n

id eas as th y a e of acc u r at e w ord by which to exp ress them

e r s .

Ge ne r al t e r m a e alw ay m s o r e c onv e n i e t th a speci al ; a

r s nd n n

to m ak e u e of any o e at r a d omwil l s av e t r ou bl e an d p e
s n n ,
r

v en t the di fficu l t y of sear chi ng after o n e wh ich may be mor e

app rop r i at e Th e r e a e many w o r ds which are th u s mad e use
. r

of a,
n d a few of th es e m ay se r v e as ex ampl es .

a — Th is w or d i mad e to d o du ty fo al most anythi ng

Ay h s r
-
a b attl e a co nv er s ati on a con v en ti on a r ev ol u tion or a re
, , , ,

ligious r e i v al v .

Ci cumlance is u sed in the sam e g ene ral wa

Comm
r
y .

/a able is a fa
r vo ri t e wo rd with w r it er s who are in accu
ra te abo u t u mbe r s ; bu t i t is al so appl i ed to ag r eat v ar i ety of
n

s u bj ec ts as a pe rson of consid r abl e i nflu en c

, , a t ow n of e e,
”

c on i d r abl e si ze
s e att ai ned to c on sid r abl e distincti on
,
”
e .
”

Remar k abl e to le r abl e ”

sev e r al
“
p er s on p arty ” “ ” “ ” “

i ndi vidu al a e oth er exanm

, , , , ,
“
,
”
r les Thi ng is a wo r d of ex .
“

t e nd ed ign ification th ou gh it d oes not near ly r iv al i ts G r man

s , e

equiv a len t di ng bu t i ts use sh ould be r est r ict ed an d ot he r

, ,

S pec i al w or ds wi ll be more prec ise f To this l i t may be add ed s

a l ar ge r nu mbe r of fo mu l as ph r ase s a d se n tenc s of a pu r e

r , ,
n e

ly co v en tio al ch ar act er s u ch as abou nd in se mo s ewspa

n n ,
r n ,
n

p e r art icl es th ir d r at
, e p o liti cal o r
-
at o r y bu t abo v e a ll in s o c all ed ,
~

c ompl i men t ary ad d r esse s Th es e a e pe r h aps beyond th e

.
”
r

p al e o f c ri ticis m i n ce p reci i o is abo u t the l ast thi g th at i s

, s s n n

th ough t of by th ose who c ompo se th em .

27 . v xn sosrrv .

By v er bosity is mean t an exc essiv e use of w or ds I t ar is es .

from a n at ur al gi ft of fl u e n t exp ressi on which has not b een ,

suffi c i ently c h as tened and c orrec t ed For the p r es en t p ur .

 P er spif } : it)! in .
Wor ds .
39

pose i t wil l be nec ess ary to c on sid e r on ly the ch i ef w ays in

which v er b osity may affect p r ecisi on .

TAU TO L OG Y 2 8. .

T au t ol og y aris es fr omv er b o ity and may be d efi n ed as

1 .
'
s ,

the r ep e titi o of th e s am e id ea in di ffe r en t w o r ds

n I t mu st be .

disti ngu ish ed fr om the fau l ty use of y no ny mous w or ds The s .

for mer is a c ase of u s el e ss r ep etiti o t he l att er o f di ffe r n t n, e

th i ngs t ak e n fo th s ame This may be s ee n in th fami li ar

r e . e

ex a mpl e Th ey r et ur ned b ack ag ai to the s ame pl ace fr om

: n

wh enc e th ey c ame fo rt h ; wh ich i red u cibl e to Th ey r etu n ed s : r

to the pl ac e wh en c e th ey d e p ar t ed .

D r J oh n son fr om h is h abit of p r ese n ti ng ki nd r ed w or ds in

.
,

p ai r s in t r ipl ets and i many v ar i eti e s o f si mil ar an d c ont r ast

, ,
n

ed m ea n i g oft en fal ls i n t o thi

n , e rr o r I n the fo ll owi ng pa s s .

sage sp eak i ng of the styl e of P r i o r he says

, ,

H e had k wl dg a d much th ug ht ; had

t
of en infused in o t it much no e e n o

o ft p li h d it i t l
en o ft sd i g i fi d it i t
e pl d r a d m
n o e eg ance, o en n e n o s en o , n so e
ti m h i ght d it u bli mity ; a d d d t d i v r th at it w a t d th
es e e ne to s n i no sc o e n e e

p w r f gagi g att ti a d all uri g cu ri ity

o e o en n en on n n os .
”

A lth ou gh
i t is c ert ai nly po ssibl e to sh o w th at th e r e is a sep
ar ate mean i ng to e v e ry o ne of th es e w or ds y e t i t is e vid e n t ,

th at the r eal dis t i ncti on is bu t slight and th ey are e qu iv al en t ,

to so m any t edi ou s r epe ti ti on s of the s am e t h i ng .

A bi og r aphy of D r J oh n so n wa s p ublish e d sh o r tly a ft e r h is

.

d eath in wh ich the au th o r q u oted the foll owi ng w ell k now n

,
-

c oupl et
Let obser v at i on Wi th extenswe V i ew , ,

Su rv ey manki nd from C hi na to Per u ;

wh ich he mai n t ai ned was eq u iv al ent to this : Let obse r v ation

with ext ensiv e obs erv ation observ e man ki n d ext ensiv ely .

<5 29 . c rac umw c ur ron .

C i c ml oc u ti on i s anothe ch a act e isti c o f v e bosity

2 . r u It r r r r .

mean s a o u nd abo t mod e of speech , wh e e, i nst ead of a d i ect

r u r r
st at emen t of mean i ng, the w ord s are mu ltipl i ed to an unnec
r
e ss a y ext e n t Wh en p op e ly empl oy ed th is is a ec ogn ized
. r r r
ur
fig e of sp eech (p e iph asis ), b ut the ki nd n ow u n d e c on sid r r r
era tio n is th at whi ch esu lt s f omc a e l es sness r
I t is ch a ac te r r . r r
40 E lemen ts f
o Rhetor ic .

il edby the t edi o s ac c u mul ation of u n n ec essary expl an ation s

u
or nm
u ean i ng d e fi n iti o n s ; by an e xce ssiv e use of e pith e ts and
in ge ne al by an i mpo si ng a ay o f w o ds whi c h ci cl e abo t
r rr r r u
u
the s bj ec t wi th ou t t en di ng to any d efi n it e co n cl sion u .

3 0 . v s naosir v i n ULP IT AND P RESSTH E P .

Ver bosi ty i s a fau l t in styl e wh ich prev ai ls ve ry wid e ly at the

p r es en t d ay o n ac co u n t of the e xi st enc e of c ert ai n d ep art men ts
,

of lit erat ur e whic h h a d no c oun te rpar ts in an c i en t ti mes Of .

th ese two may be men tioned .

I P ulpit o r at ory
. .

S i n c e the R eformation the ri se of P rot estan tis mhas cau sed

,

gr eat er i mpo rtan c e to be att ach ed to the sermon th an e ver

befo re E ve ry Su nd ay and ev en oft ene r the mi n ist e r must
.
, ,

be p re p ared with his d i s cou rse which has to fil l u p a ce rtai n ,

am o u n t of t i me N ow afte r makin g all d ue al l ow an ce for th ose

.
,

ea r nest p r each er s who fu ll of d es i r e to be n efit the so u ls of men

, ,

stan d fo r th to p reach wi th si n cer e feel i ng the w or d of et er nal

life th ere mu st r emai n a l arge n u mber who regar d this a
, s an

o n er o u s t a sk a n d fulfil it in a perfu n c to r y m
, anner H ence .

the w o r ds s erm on a nd s erm on i ze h a v e become p rover bi al for

d u l ness and t ed i ou sness I n many c as es th is n ec essity of
.

fi lli ng u p the ti me mak es the ser mon an arr ay of p ar aph r ases

and c i r c um l oc u tions wh ich w ould n ot for amomen t be t ol er at ed
,

in fo r en si c or p ar li am en t ary o ra tory .

2 T he m
. od e r n n ewsp ap e r .

H er e we find asi mi l ar cau se p rod uc i ng si mil ar effects Th ere .

i s the regu l ar d eman d for a cer t ai n amou n t of w r iti ng to be

furn ish ed at a giv e n ti m e a nd to fill a giv en sp a
, c e D ed uct .

ing th ose who d o th ei r t ask w ell we h av e l eft a l arge n u mbe r ,

who are merely machi ne “ ”

wr it e rs and fil l u p the al l otted ,

sp ace with w ords r ather th an id eas .

 C H A PT E R I V .

P E R S P I C U ITY I N W O R D S , C O N TI NU ED —P U R I TY
. .

x U I Y
‘ ‘

3 P
. R I .

BY p u rity is mean t the empl oy men t of s u ch wo r ds an d

id i oms as are s anc ti o ned by the be st c on t e mpo rary u sag e .

I n ord er to w r it e p u re E ngl ish i t i s nec essary to av oi d the

“

use of all old w or ds that h ave bec o me obso l et e ; and all n ew

w ords th at are str ange and u nfami l i ar I t is fur t h e r nec es sary .

th at th e r e be no d ep artur e fr om the be st idi om at ic sty l e of

e xp r essi on .

The s tu dy of w o r ds be l o ngs to philo log y r ath er th an r h e t

orie b u t a b r i ef c o n sid e r a
,
t i on of this su bj ec t in so far as i t ,

r el at es to p uri ty of styl e wi l l not be out of pl ac e in t h is

‘

w or k
m
.

3 2 o as. o r s r s w o r
'

s .

I n the h ist ory of a l angu age g r eat ch anges are fou n d to be

const an tly occu rri ng A u th o rs ari se who d ev el op its cap a
.

bilities and est abli sh a st an d ar d of ex cel l en c e B u t l angu ag e .

has in itse lf a grow t h whi c h is q u it e i nd epe n d en t of lit er at ur e ,

and i t soo n p asses beyond the u sage of any one age S ome
W
.

W a u thor of one period be

c omes seu er o f a n oth er M any w ords onc e .

fami li ar bec ome u n i n t e lligibl e or at l east di ffi c u l t of c omp r e

‘
-

hension Th ese are call ed obs ol et e Of th ese h owev er many

. .
, ,

are on ly obsol et e in c omm on c o

er a ture ; an t oug n ot in gener al use th ey are n eve rt he , ,

le ss u n d er st ood with ou t d ifii c ulty

, Th es e offer i mpo rtan t
.

l i mit ation s as to the d egree to wh ich wo r ds bec ome obso l ete .

A d efi nition of the t erm may be giv en as fol l ows : O bs o l et e

wo r d s are th o se which are n o l on ge r u sed in good p r os e lit er a
'

tu re or in co m mon con ve rs ati on O f su ch the fol l o wi ng may

.

be t ak en as ex ampl es : pe r adv en tu r e
“ ” “ ” “
an on ast on i e d , , ,
“
e r st
”
,
“
hight ” “
,cl eped ” “
ycl ept
,
” “
whil om ” “ ”
i wis or
, ,
42 E lemen ts o f R/zetor ic .

I wis,
-
” “
r
whi l e
e e ,
” “
n e,
” “
list ,
” “
wis t ,
“
W igh t,
” “
tw ain ,
” u ” ”
ek e, y ea v e ri ly
,
ct
.

33 O BS O L
. E T E T ER M I NA TI O NS AND M EAN I N G S .

In additi o n to this th r e a e ce r t ai n ter mi ati on s of w or ds

,
e r n

which h av e b ec ome obso l et e Th es e are chi e fly in en and .

“

the o n e be i ng an o ld fo r mo f the pl u r al an d the o th er a

“ ”
e th , ,

w el l k n o w n v er b al i n fl ecti on C er tai n compo u n d s of the pro

-
.

n o u n wi t h th e sub st an tiv e v e r b m ay als o be c on sid e red as

ob so l et e in this se n s e a s tis ”
tw as ”
, ,
’
A noth er
,
’
,

cl ass may be fou n d i n wo r ds whi ch ha v e changed t h ei r sig nifi

cat i on in wh ich c ase i t is the meani ngs and n ot the w ord s th at
,

ar e obs ol et e Th u s ad mi r abl e on ce mean t su rp ri si ng ;

“
.
” "

“
to be am u sed mean t to be occ upi ed
” “ “
b r av e mean t
”

gau dy “
c aptiv e “
ch i mney st ov e
“
c o r pse ”
, ,

a pe r so n “
d esi r e ”
r egr e t equ a ,l ” “
i mp ar ti al ex ,

p l o d e
” “
to hiss
,
g e n e ro u s
” “
h igh b o r n
“
im p
”
,
-

sci on (of nobil i t y ) l iv ely ” “

l ivi ng “
medi te rr anean ”
, ,

i n l an d “
nov e l i s t an i n nov at o r ,
“
po mp a proc es “
,

si o n “ ”
spic e a sort “ “
,
t abl e a pict ur e
“ “
wi t ” “
ia ,
"
,
”
e.

34 . w m s
o sso r sr s
o r v ss n m R E L I G I O U S L ITE RATU R E .

C ert ai n i mpo r t an t li mit atio n s are h oweve r to be obse r v ed , ,

o n thi s subj ect for in s om e d ep a,

rt ments of c ompositi on w or ds
are fr eely ad mi tt ed w hich are o bsol e t e in ge n e r al p r ose The .

fi r st of th es e d ep art me nts is th at of rel igi ous lit e ratu r e whic h ,

is l arge ly mod ifi e d by the E ngl ish Bibl e This is e sse nti al ly .

an an ci en t b ook I t has go ne th rough many v er si on s n ame ly

.
, ,

th ose of Wycl i ffe Ty nd al e Cov e r d al e the Bishop s Bibl e C r an

’
, , , ,

mer s an d th at of K i ng J ames whi c h is at p r es en t use d M ost

’
, ,
.

of th ese w er e r e visi o n s o f p r ec ed i ng e di ti on s r a th e r th an n ew ,

t r an sl ati ons an d ret ai ned many wo r ds an d ph r ases wh ich had

,

b een u s ed be fo r e The v er si o n of K i ng J ame s is o f a mor e

.

an tiqu e c ast th an the p r ose of the c on t empo r ary w r i t er s of th at

ag e . Thi s g r eat E ngl ish b ook has had a ci rc u lati on far su r
p assi ng th at of an y w or k e v er p ublish ed in the l an gu age ; it
h as se r v ed as a p e rp e t u al sto r e h o u se fo r al l u si o n qu o tati on , ,

an d r efe r en c e ; an d its mo st an ci en t fo r ms o f spe ec h are as

fami li ar to all as the mo st mod e r n c oll oqu i al is ms N ow in r e .
 E lemen ts
'

44 of R/zetor zc .

m
th at ch ar act er Thi s ay be i ll u str at ed by a l i ter al t r an sl ati o n
.

i n to E ngli sh p r ose of such ap oemas the F r e n ch M ar se ill ai se .

”

T h e e x ig e n ci es of m e tr e d e man d an up lim ite d s upply o f

3.

w or d s in o r d e r to mak e the v er s e r un s moothly an d yet secu r e ,

the h ig he s t p oe t ic exc e ll e n c e of exp r essi o n .

T h e e xig e n ci es of r hy m e r equ i r e for the poe t the s am e

4.

lib e rt y .

Th u s we sh al l fin d th at the v ery wo r ds wh ich are n ot allowa

ble in gene r al p r o s e are w el co m e to poe t ry a n d th is m ay be ,

s een fr omthe fol l owi ng ex ampl es

W/n lom in Albi on s ’
i l th r d w lt a y u th
’

s e e e e o

W ho n: in v irtu e s ’
way d id t ak d lig ht ;
'

s e e

A h me ! in work he wa a g d l
s w g/t o ess i r ,

hl
C i de H a o d was he rl — Bv ao u .

I who h appy gard a g

cr e w/rile the en s n .
"

“ Eag rly I l v d t b rr w fr mmy b k u a f rr w —P

e o e o o o o oo s r
-
t ce se o so o . O E.

A hi“
s th rampart w h u rri d — W LFE
s ( on e to e s e e .
”
O .

f ui i all h “
r at t n t e se n e

Th r wa h art b l d — M A AULAY
e e s no e so o . C .

The use of obsol e t e t e r mi ati o n s is t i ll m o re c on spic u ou sn s

in poet ry T h p o ts disc ar d the m

. e od e n t r m
e i nati on s in the r e

his i g s a d cli g to the mu sic al old endi ngs in en and

s n ,
n n
“

t w ou ld be m T l
“3 th or r a th r i ,
o r e c o rr ect to sa
e , y tha t T ey use

e ith e r for mwith qu al l ibe rty The resu lt is h o wev er th at all

e .
, ,

the be au ti fu l a d xp r e i v e w o r ds an d e uph o i ou e n di gs th at
n e ss n s n .

h av e v er exi t d i the l a gu age ar e ch e r i h ed by the p oe t ;

e s e n n s s

a d o it ha b e
n s s ai d th at th o e fo rms f p eech wh ich h ave
s en s o s

di d i the w or ld of p ro se go u p to li ve fo r ev e r in the h eaven

e n

of p oet ry .

36 . BSO LETE w orms U S ED I N C ER TA I N xmns or r tc rrox

O .

A noth er exc epti on is to be no t ed in w or ks of fic ti on wh e re ,

th er e is an at t emp t to r ep r esen t an ear li e r pe riod H e r e the .

fi rst aim is v e r isi mili tu d e and the w ri t e r mu st av ai l hi mse l f of

,

e v er yth i n g t ha t co nt ribut es to th is To i mi tate the l an gu age

°

of a g iv en p er i od in a ge n e r al wa i s oft e n a
y n e ffe ct u al me ans

o f secu ri n the t r u th of r e se mbl an c e ; an d h e n c e m a y b

g n o so
:

l et e w o r d s mak e t h ei r app e ar anc e u sed by the i mag i n ary ch ar ,

ac ter s of th e ag e to wh ich t hey b el on g T he o ld w o r d s an d the .

old idi om s th e n app ear with good effec t Yet ev en h e r e th es e .

 P er spic uity in Wor ds —P ur zt '

.
y .
45

m
w ords u st be u sed c or r ectly an d n ot too ext en siv ely The , .

abu se of thi s l iberty i s s ee n in the i nfe r i o r o r d e r of so c al l ed -

hi sto ric al no v el s wh er e the w r it e r u n d er t aki ng to h an d l e a

, . ,

s u bj ect to wh ich he is u n eq u al ihte rlard s t he di al ogu e of his

,

char act er s with ob sol et e w or ds and for mu l as s el ec t ed at ran

d omfr om the w or ks of old au t h ors .

A R C H A I SM 37 . .

To this em pl oy men t of obso l e t e wor ds in the d ep art men ts

of lit er at ur e abo v e men t i oned the t e r m ar c h ais m i s appli ed ;
an d this may be d e fi ned as the i nt enti on al use of the old e r
w or ds and ter mi n ati ons of a l angu age .

3 8 . MANY S LET E WO RDS R ETUR N I NTO G EN ERAL use

OB O .

The use of obso l et e w o r ds in ge ne r al p r os e li ter atu r e is not

of c om mon oc cur rence n or wh en i t h app en s is i t to be c on
, , ,

sid ered a s a v er y se r i ou s o ffe nce I t is in fac t s omewh at d iffi

.
, ,

c u lt to say wh at wo r d s are r eally obso l et e and wh at are n o t ,

for r e l igi ou s l it e r at ur e and p oe t ry h av e so fami li ar i ze d old

w or d s to the r ead e r th at th ey are seld om obsc u r e an d th ei r ,

em pl oy men t bec omes a qu e s ti o n of t ast e r at h e r th an of per ,

spic u ity or of gr ammatic al pu r i t y I n fac t obs o l et e w o r ds are

.
,

r eg ar d ed with much fav o r by many of the be st w r it er s of the

p r esen t d ay I nc reased att e nti on to t he st u dy of ear ly E ng li sh
.

has led to avery g eneral effo r t to r e viv e the use of many w o rd s .

A c c o rdi ngly a l arge nu mbe r may be fou n d which h av e actu al ly

c om e ba ck i n t o p r o se lit er atu r e after a temp or ary b an i sh me n t .

Th e se w or ds h av e h eld th e i r own in poe t ry and in r eligi ou s

l it e ratur e an d th u s h av e easily r etu rn ed to gen er al p r os e
,
.

We may see in a c omp ar ativ e ly r ec ent pe riod the r evi v al o f

s u ch w ords as be n iso n “ ” “
mali so n,
” “
ou t r an ce
” “
pl ea , ,

sa un c e ” “
,
gu er d on and oth e r s of a l ik e n atu r e N o r is t hi s
”
,
.

r eviv al co nfi ned to our own ti me alth o ugh it is c er t ai n ly mo re ,

e xt e n siv e n ow th a n ev e r be fo r e O b so l e t e w o r ds h av e b een
.

i n t r o du c ed in former pe r i od s as may be s een from a few b r i ef

,

st at emen ts .

I n S p en s er s d ay obj ect i on s w er e mad e to su ch w o r ds as

’

d appe r em fo r estall
” “ ” “ ” “ ” “ ”
,
sc ath e ask an c e
,
be llish , , ,

fai n
, and o th er s w h ich soo n c ame i n t o gen e r al use .

I n the s ev en t een th c en t u ry th e fol l owi n g w o r ds o f C h auc er

 E lemen ts f Rfietor ic
’

46 o .

w er e c o nsid er ed obso l et e an th em bli t h e; “ ” ”

”
carv e , ,

fr an ch ise t r an sc en d A bo u t th e
” ” “ ” ”
bl and ,
sph ere , , .

sam e tim e o t h e r w o r d s w e r e ca l l ed o bsol et e as st r at h “ ”

,

“
l an dl o up e r ” “
yelp
,
” “
th r il l,
” “
d o v et ail ” “
k i r tle
,
” “
gr i sly , , ,

l edge ”
,
t r en ch an t “
tissu e ,
” “
”
pl u mage ” “
r esou rce vic
,
”
, ,

i n ag e ” “
,
t ap e st ry ” “
vill ai ny
,
”
A ll th es e and many o t h e rs
.
,

lik e t h em th ough on c e r ej ec te d by c r i t ic s are i nd i sp en s abl e to

, ,

p ros e li ter at u r e at the p resen t d ay .

As ag e ner al th i ng the r e s t o r ati o n O f aw o r d to c u rre n t p ro se

l it e r at ur e is no w r egar d ed as a matt er for gr atific ati on r ath er
th an obj ecti on I t o ft e n h ap pen s t h at s u ch a w o r d ac tu ally
.

e xp r esse s the w r it e r s id e a in th e b es t p ossibl e m anner ; and

’

u n d e r su ch ci r cu mst an c e s pe r spic u i ty i ts e l f migh t s eemto d e

man d its use S u ch a w ri t e r as C ar lyl e for i n st an c e d oes not
.
, ,

h esi tat e for a momen t abo u t usi ng an obs ol et e w o r d if it hap

r s h is m n i ng be tte r t h a re in m
p e n s to e xp e s e a n o th er s th a t a o re

famil i ar use T he fau l t y use O f obso l et e w o r ds is wh ere th ey

.

are r eally obs cu r e or wh e r e th e i r i n tr odu cti on m

, ay s avor of
afiec tation or ped an t r y on the p art of the w r iter
'

39 . N EW WO RDS .

W e h ave next to co n s id e r the i n t rod u cti on Of n ew w or ds .

A mong the G reek s th is was stig mat i zed as a b ar b ar i sm b u t

t he E nglish l angu a ge is l ess exclu si ve .

L angu age is a l iv ing thi ng and has a li fe O f i ts own I t is , .

b o r n it g r o w s ; i t fl ou r i sh es ; it l an gu i she s ; an d i t di es I ts .

l i fe r es embl e s th at O f man bo th as an i n divid u al an d in c om

,

munities ; and is ch ar ac t e r i zed by i n nu mer abl e vici ssi tud es I n .

c on necti on with this subj ect i t wil l be u s e l e ss to t alk v agu ely

,

o f th e i m p o r tan ce O f pu r i ty ; to d e no u n ce all w ords that may

n o t pl e a se ; or to i n si st o n t he r ej ecti on O f a ll th at may not
h av e al r ead y g ai ne d a pl ac e in the l angu age The cl as s of .

n ew w o r d s will alw ys be a l a r e l angu a

a g e o ne so l ong a h g
‘

s t e ,

i tse l f has any vit al ity .

§ 40 .
EN G L I S H LAN G UAG E H AS A BS O R B ED N Ew W O RDS
TH E

I NTO ITS EL F I N EV ERY AG E I N S P IT E o r O BJ E CTI O N S ,

.

I f we l ook b ack up on the hist o ry O f the E ng li s h l angua ge ,

we fin d it ex h ibiti ng amo re v ar i e d g r o wt h th an an y oth e r It .

has p assed th r ough sev e r al d i sti nct p e r i ods : the A ngl o S ax on -

,
 P er sp ic uity in Wor d s P ur ity
— .
47

S i Sa x on the O ld E ngl ish the M iddl e E ngl i sh ,and the

'

the
'

i
e ni -

, ,

M od e r n E nglish ; an d in each O f th ese i t has had r emar k abl e

featu re s E v er si nce the N or man Co nq u est i t has sh ow n a
.

si ngu l ar c ap acity for abso r bi ng n ew w o r ds i n t o i ts el f I n the .

l at est pe ri od wh en it st an ds fu lly fo r med b efo r e u s we fin d

, ,

th is t en d e n cy as st r ong as eve r and we h av e to r eg ar d i t as

a l ead i n g ch ar act e risti c I n v en ti on s an d d i sc o v e r i es are c o n
.

stan tly b ei ng m ad e wh ich r eq ui r e ne w fo r ms of exp r essi o n .

S ci enc e mak es th e s ame d eman d which is repeat ed by l earn ,

ing phil oso phy art c o mme r c e and oth e r great mov emen ts
, , , ,

among man ki n d Wh il e in ev ery age th er e has b een a th r on g

.

of new w or ds pr essi ng in u po n the l angu a ge th er e has al so be en ,

in e v e ry age an o u tc ry r ai sed ag ai nst th em This o u tc r y how .

,

ev e r h a, s been O f l ittl e av ail and the h i st or y of the p ast sh ows

u s many s u ch wor ds whi c h on ce w er e obj ected to b u t which in , ,

s pit e of obj e cti on s h a v e p rev ail ed and are now in ge ner al use
, , .

I n 1 5 34 S i r Th o mas E ly ot m fr u g al ity t emper

“ ” “
e nti one d ,

an c e
”
,
s ob r i ety an d mag n an i mi t y as mod e r n w o rds I n
”
, .

T5 89 P u tt en h a m c all ed the fo l l owi ng mod er n i nv en ti o ns

nu m e r ou s p enet r at e
“ ” “ ” “ ” ”
fu nc ti on ,
i ndign ity , s av age , , ,

sc i en tifi c ” “
d i me n si o n
,
” “
idi om c ompendi o u s
” “ ”
, p rol ix , , ,

figur ative i mp r e ss iv e metr ic al

” “ ” ” ” '
i n ve i l e I n 1 6o r
g , .
, ,

P hile m on d H o ll and g a v e the s ame ch ar act e r to the foll owi ng

ac ri ony m ”
au st er e ,
”
b u lk ”
c o n so lid at e ,
”
d ebil ity , , ,

p r opi ti o u s sy m pt om Ba
” ” ” “ ”
d os e aperi en t
, O pi a te , , , .

c on did not k no w
”
e n cycl ope di a bu t us ed
“
c i r cl e l ear n i ng ”
, .

S h ak espear e in Tw el ft h N ight all ud ed to el ement as new ;

,
“ ”
,

and W o tton sp ok e O f ch ar ac t ers “ ”

as a r ec en t acq u isiti on .

F u lk e in the begi n n i ng O f the s ev en t een t h cen tu ry obj ect e d to

, ,
“
r ati on al tu n ic sc an d al n eophyt e d espic abl e d e
” “
,
” ”
,
” “ ” “
, , ,

st ru cti on ” “
h om , icid e ”
Th omas Ful l e r St at ed th at Bl u nd e r
.
“

was i mp o r t ed fr om G er man y wh e r e i t o r igi n at e d d u r i n g the ,

Th i r ty Year s War
- M alig nan t
’ “
c av al i e r
.
” “
R ou ndh ead ”
,
”
, ,

an d s e lfish ar ose d u r i n g the P ar li ame n t ar y W ar P ath os .

ar ose a littl e l at e r ; as did als o mob

”
I n 1 65 8 the fol l o w .

ing w e r e obj ec ted to in H ey lin s O b se r v ati on s on L Estr ang e s

’ ’ ’

H ist ory O f C h ar l es I I ad op ti o n abst ruse amphibi ou s

”
.
” “ ”
, , ,

ar tic u l at e ” “
adv en titi o us
, c omplic at ed ”
c omp en s at e ,
”
, ,

c on c ed e ”
c ar ess ,
”
d esti n ati o n h o r i zo n tal
,
”
O bliqu e ,
”
, ,

oc u l ar r adi ant
” “
,
”
D r agon nad e and r efu gee c am
.
“
e i n to
 E lemen ts R/zetor zc
'

4 8 o f .

use du ring the age of Lou i s X I V I n 1 6 7 0 D ryd en obj ect ed .

to
“
good g r ac es r ep ar t ee emb arr as s g ri mac e c ha ”
,
”
,
”
,

gr i n ”
.S u icid e was con d emned at abou t the same time I n .

S ki nner s Ety mol ogi co n 1 688 caj ol e and sen timentzl

’ ”
, , ,
‘

w e re c all ed n ew J o h n son was bl amed fo r u si ng r es u scit a

.
“

ti on ” “
,
na r c ot ic ” “
fatu i t y
” “
germi n at i on
,
” “
S ansc u l otte ”
, .
,
“
gu ill ot i ne and t e rr o r is m ar ose d u ri ng the F r en ch R evolu
”
,

ti on ; an d h osts of new w or ds h a v e been c omi ng i n to th e lan

gu age ev er si nc e .

§ 4r w orms
. so unc es o r n ew .

T he s o u r c e s fr om which n ew w or ds ar e d e riv ed are n u m er

ou s a nd m
,
ay be se t d o w n as fo l l ows
1 S cien ce a
. n d Lea r n ing
— S ci e n c e is c o n ti n u ally en l argi ng i ts
sph e r e The old sci en c es are wid e n i ng th ei r sc op e and inc rea
. s

ing t h ei r acti o n whi l e in addi ti on to th ese n ew on es ari se whi c h

, ,

r ival the old in i mpo r t ance Geol ogy M i ner al ogy Co mp ara .
, ,

tiv e Phil ol ogy and many o t h er s hav e ar i s e n in this age ; an d

, ,

all th ese r equ i r e a nome n cl atur e o f th ei r own The n am

.

es .

which are th us r equ i r ed are ge ne r ally mad e u p fro m G reek or

L ati n r oot s A l l the nat u r al sci en c es h av e c r eat ed n ew w or ds
.

of thi s s o rt which are i n te ll igibl e to the stu d en ts th r oughout

,

C h r i st en d o m With t ech n ic al te rms lit e r atu r e has n ot muc h

.
,

to d o ; bu t som e o f th em p a ss i n to lit er ary use and of these ,

the fo l l owi ng m ay s erv e as e xam pl es en cyc lopad ia

”
meth ,

fu n c t i on nom en cl atur e h o rizon t al

” “ ” “ ” “ ” “ ”
od , , obl iqu e , , ,
“
aest h etic
” “ ” “ ” ” “ ”
obj ectiv e su bj ectiv e
, ethic , eth n i c
, iso , ,

th er mal ”
t el eg r aphy ”
stat i st ics ” “
myth ” “
, c u lt
”
mag , , ,

n e tis m.

2 . m m this is pre emmen tly the age of inv€n tion

[ n a tzo — As
’

the fi eld h e r e i s v ery wid e an d n e w w o r ds c om e in fr om this ,

s ou r c e by the h u n d r ed O f th ese many mu st pe r i sh bu t on .

, ,

t he o th e r h a nd m any su r viv e A l arge nufixber are mad e u p

, .

fr o mG r eek r oot s so m e fr om L a t i n The fol l owing are ex am

, .

pl es : t el esc op e mic rosc op e ch ro n o met er

” “ ” “
tel eg r aph ”
, , ,

ph ot ogr aph st e r e osc ope,

” ”
mic r omet er ”
aeron au t , , ,

v el ocip ed e ”
b i cycl e ”
, el ev ator ” “
l oc o mo t ive , , .

3 D .iscove ry
— S ome d i sc ov e ri es are mad e in s c i ence by
whic h w o rd s ar i se th at are g e ne r ally of G reek or L ati n or igi n ,

as hyd r ogen r r r r
” ” “
oxyg en
g a
,vi t ati on O th e s efe to,the .
 P er sp ic uity Wor ds — P ur zty
’

in . .
49

vegetabl e w or ld and are i ll u st rat ed by tea ,

t ob ac “
,
”

co ,
”
coc oa opi u m p o t at o
” ”
,
”
,
.

A r t — A l arge n u mbe r of w or ds in c o mm o n u s e h a ve b een

4 .

d er ived fr om thi s s ou r ce For ex ampl e in ar chit ec tu re we .

,

h av e “
d o me ” “
pi azza ”
v er and a fr om p ai n t i ng t one
, ,
“ ”
, ,
“
fre sc o
”
Ul t r amar i n e fr omscu lpt ur e bu st
,
” “
to r so ”
bas , , ,

r el i ef fro m engr avi ng mezzoti n t li t h ograph ch romo ” “

,
” “
, ,

li th ogr aph fr ommu sic ope r a o r ato r i o ”

p r i ma d on na
, , ,
”

b esi d es wh ich are man y w o r d s be l on gi ng to oth er de par tmen ts

of a rt su ch a , s mos aic c ameo i nt agl i o filigree etc
” “ ” ” “
,
”
, , ,
.

a l zofl — H e r e the w o r ds a i u m r a bl b u t m t
'

5 F . s z . r e n n e e t h e os ,

o f th e mare sh o rt li v e d a n d fe w i n d e ed a re t h ose wh ich endu r e

, , , .

S u rt out p al et ot and g al och es onc e in ge ne r al use are

” “
,
”
, , ,

now obs ol e te ; b u t pe r m ane n t w o r ds fr om this so u r c e m ay be

i l lu st r ate d by tu n ic ” “
mu sl i n c alic o e tc
” ”
, , , .

6 N atzbn al M ovem en tr — Fhese i n cl u d e w a r s re vol u ti o ns and '

. .
, ,

o th e r p opu l ar c o m moti o ns T he wo r ds de r iv ed fr o mth ese are .

num e r ous and are ill u st r at ed by Pu r i t an R o u ndh ead

“ ” ”
, , ,
“
Wh ig ”
To ry
,
” “
c ab al ” “
c l iqu e ”
, c au cu s ”
c ou p— d état
, , ,
’
.

7 F o e g n [ e co m F r omth is s our ce we h av e man y fo r

. r i fl i r u r —
e ig n w o r d s wh ich h a v e bec ome n atu r ali zed as sh ah “ ”
c zar ”
, , ,
“
su lt an ”
p ach a
,
“
d r osky k ay ak ” “
canoe s omb r er o ,
”
, ,

po nch o sti l ett o ”

c r eese ; mu st ang ”
, b ar b e “
t ab oo , ,
”
t attoo etc ,
.

8 Colomaing M ovem ents — T he E ng lish r a

'

. c e in ext en di ng it ,

s el f ov e r all p arts of the wo r ld has d ev el op ed new mod es o f ,

l i fe and with th ese n ew w or d s h av e sp ru ng u p C ali fo r n i a an d

, .

Au st r al i a h av e c ontr ibut ed many which h ave c ome i nt o gene r al

use ; fo r ex ampl e “
d iggings ” “
p rospec t
,
” “
l ead ” “
c r adl e ”
, , , ,

r an ch bush
”
,
”
bu shwh ack e r ”
, .

9 .A m m m m lrm r — The r apid g r o wth of the A mer ic an n ati o n

’

has be en ch ar act e r i zed by the utmost ac tivity o f i n t ell ect an d ,

mu lti tud es of wo r ds h av e aris en which w er e b efo r e u n k n ow n .

S uch as are pe cu l i ar ly A me ri c an may be i l lu st r at ed by sen

s ati on medi u m S pi r it r appi ng
,
” ”
c amp meeti ng
,
”
b ar b e , ,
~

c ue l ,
’
b agg ag e b arr e n s b ob ol i n k
, b u nc omb e cl ap
, , ,

b oar d d i me stum
” ” ”
, p spe ec h e tc
,
s
,
.

0n mtalzkmr — The B r i t i sh e mpi r e in the Eas t the g r eat

'

I O . .
,

missi o n ary O pe r ati o n s of E ngl an d and A mer ic a and the sp read ,

of c om mer c e an d travel h av e b r ought many ; w or ds i n t o the ,

 50 E lemerzts f
o R/zetor ic .

l an gu ag e fro m the wh ol e of A si a as bu ngalo w ,

“
,
”

faki r ”
” ”
sa
”
sh ee pu n d it bo nze n to d e rvish
, ,
n ,

— T he p r og r ess of c ivili zat1on t en ds to c r eat e

, , .

n ew se n s a ti o n s an d new i d eas for which n ames mu st be fo u n d ,

Th u s the Fr e nch w er e the fi r s t to d e vise a wo r d for th e sen sa

tion of t ed iu m E
”
, which th ey c al l e d en n u i T h e n glish h av e .

appli ed to th is the n ame bo r e This cl ass o f wo r ds may be .

i ll ust rat ed by p r es tig e amat e u r

” ” “
”
c o i n cid e nc e , con nois , ,

Sc u r
” ”
”
,
pl uck pu sh bo unc e
,
”
,
.

1 2 N ew Ver bs — Th e se a
. re fo r m ed from nou n s al r e a dy in
use ; as to t el eg r aph
,
” “
to c o al or c oal u p , to st ea m ,
”
.

m
” “
aw ay ,
to switch off .

13 Na me o : — N ew w or ds a re fo rm ed fromthe n a m es
.
a
of m en in c a ses of disc ov e ry or i n ve ntio n S uch are fou n d in .

“
g alv an i sm v o lt aic pi l e guill o t ine
“
,
” ” “ ” “
bo wi e k ni fe mac“
, ,
”
~

ad amize O t h er s are fo r m ed fr o m the n am e s o f t ose who

"
.

h av e p r omu lg ated n ew d oc tr i n es or h ead ed mo v emen t s amo ng ,

me n as Wesl ey an G ar ib aldi an Be nthami te C o mpti st

,
“ ” “
,
“ ” “ ”
,
”
, ,

M il l erism O ther s ar e fo rmed fr omthe qu al i t i es of men as

.
”
,

Pl at o n ic ”
M il t on ic N apo l eo nic
,
”
, .
”

1 4 S lang — F ro mth is so u rc e a
. l so many w o r ds are d e r iv ed , , .

O rigi nati ng n o o ne k n o ws how pe rhaps in the m os t dis r epu t abl e ,

way th ey e vi nce a nativ e for c e and e xp r essiv e e nergy which

,

c omp e l r ec epti on O f thi s so r t are the fol l owi ng : mob

.
,
“
h u mbug ”
qu i z
,
” “
ch aff ” “
hoax ,
” “
b eau ” “
d andy ” “
, fop , , , ,

sw ell ”
Bo h emi an
,
”
p r ig ca d
”
, ,
"
,

N ew w o r d s are fu rn ish ed to th e Eng lis h by many diffe r en t

l angu ages an d if we c o mp ar e th ese we sh all find th at s ev e r al
, ,

have suppl i ed disti n ct cl asse s Thus G r eek an d L ati n c on .

‘

tribut e th os e which r el ate to sci ence an d l ear n i ng i n vention ,

an d d i sc o ve r y ; F r en ch th o se whi ch r e fe r to fash i on cook e ry , , ,

an d war far e ; I t al ian th o se which be lo ng to art ; H eb r ew has

,

c o n tr ibu ted so me whi c h bel o ng to the voc ab u l ary of r eligi on ,

an d a l arg e n u mb er of p r ope r n ame s in g e n er al use .

§ 42 . r m: c ri oe or N EW woans rs RA P I D .

T he g r ow th
w o rd s is ve ry r apid Wh at i s a b arb ar
of n ew .

ism in o n e ag e is a stan d ar d w o r d in th e n ext E xampl es o f .

th i s may be fo u n d in c on no i sseu r
“
r ec onnoit re v erbi age
” “
“ ” ”
, , ,

frhod omo n tad e which w ere all obj ected to by

‘ ”
,
 E lemen ts
'

52 f
o R/zetor ze .

so lid ar i t é app ea s r
wi nn i ng its way in spit e of opposi
to be
t i on ; an d so d oe s
“
pl ebi sc i t e si mply be c au s e t h ey ex pres s
”
,

id eas fo r wh ich t h e r e ar e n o ex act E n gl ish equ iv al e n t s The .

e xc e ssiv e use of w or d s o f thi s s o r t ha s b een p a rod i ed in the

fo ll owi ng p ass age :
“
T he b all was most f ee/zer e/re M adame .

p r esen t ed an app e ar anc e th at was dzktzng aé in the e xt r eme

'

The toilette: of les j euner dam e: w e r e f erru lesan tes O n e n t e r i ng -

.

th e r oo m the cou p {f eed w a s m

-
ag n
g
fi q u e an d th e tou t en s e m b le ,
-

c o u l d not be su rp ass ed ”
.

3 Th
. e I t al i an l a n g u ag e a l so a fiord s w or ds o f this so rt:
, ,
'

Th es e are chi efly to be fo u nd in w ri t i ngs which r efe r to art ,

p ar ticul ar ly mu sic Wh e n th ey are use d in a pu r e ly tec hni

.

c al s en se n o obj ec ti o n c a n be m ad e ; the fau l t is wh en th ey

are i n t r oduc ed i n to g e ne r al li teratu r e To i n t ermi ngl e wi th .

o ne s E nglish su ch w or d s a
’
s maestro i mp resar i o fi asc o
” ”
, , ,

is as bad a pi ec e of afiec tatio n an d as r ep re he n sibl e a vic e as

'

the o n e j u st m e n ti on ed Th o se w r i t e r s who k no w an d l ov e the

.

E ngli sh l angu age find i t all suffic ient Th ose who r eally nu -
.

d erstand I t ali an and F r en ch are not apt to i ndu lge in such idl e
d ispl ay I t is r ath er the ch ar act e ristic of those who h av e b u t
.

a sligh t acqu ai n t anc e with th ese l angu a g es an d are anxi ous to ,

mak e k now n to the wor ld all the li ttl e th at th ey k now .

4 M an y are d e r i v e d fr om the Lati n and are i n t rod u c ed

.
,

th r o ugh a p ed an t ic t a s t e or the d esi r e for a ch eap displ ay of

,

l ear n i ng E x ampl es of thi s may be fou n d in the foll owi ng

.

w or ds c en t ric al for c en tr al “ ” “
e n vis a gi ng for v iew
” “
,

ing ,
”
r esu mi ng for su mmi ng u p The word d onate
“ ” “ ”
.
,
“ ” “ “
for giv e is bad ; bu t not w o rse th an
, l oc at e for l iv e .

an d ev en tu at e are in bad t ast e an d p r eten

“ ” “ ”
E fiec tuate
'

ti ou s Coll id e i s a w or d whi c h h a
.
s fough t i ts wa y i n t o te

S pec ta ble use S or or i ze as the cou n terp ar t of fr atern ize

.
”
,
”
,

an d v iatric id e as a n am
“
,e for d eath by r a i l way acc id en t seem ,

to h av e b ee n m ad e u p in j est Go v e r n men t al and pessi

”
.

mi stic are b oth as bad as th ey c an be

”
.

5 O r i en t al w o r ds
.
Th ese are v e ry c ommon on acc ou n t of
.
,

the i n c r easi n g c o nn ecti on with the E ast th r ou h c om m e r c e

g , ,

po li tics t r av el mi ssi on ary effo r t an d t he l ik e M any O rien t al

, , , .

w o r d s h av e c o me i n t o e st abl i sh ed use b u t many mor e mu st be ,

c on d emn ed The exc essiv e empl oy men t of th es e has be en

’

r idicu l ed mthe foll owing p ass age which may serv e to i llustr at e ,
 P er spicuity in Wor ds P ur ity
— . .
53

th is s o rt of b arb aris m: “
Whil e se at ed in the bungalow w aiti ng ,

for the palanquinfl he re ar ose a su dd e n o u tc ry fr omthe Tatmut

g a r
-
s fo,
ll o w e d by r apid d r u mb e ats W e st ar t e d u p-
bu t the .
,

moons/rec n otici ng our agit ati on s aid Don t be alarmed S all ie

, , ,
‘ ’
, ,

it s on ly the G oor oos with th ei r tom tom

’ ’
.

C O M PO UN D w orms
5 45 . N EW .

I n additio n to th ose w o rds wh ich are abso l u t ely new th er e ,

i s anoth er c l as s mad e u p of old wo r ds al r eady existi ng b u t pre ,

s en ted as c ompou nds .

T wo cl ass es of c om pou nd words are h ere to be obs erv ed .

Fi rst those of fore ig n de riv ati on To t his cl ass bel o ng th ose

,
.

whic h are d erived fr omG reek o r L at i n so u r c es and are u sed ,

for sc i en tific or o th e r p u rpo se s Th ese ho we v er c o me i n to

.
, ,

the l a n gu a ge already c ompound ed and th e refor e be l o ng to ,

t he new w o rd s a lre ady m en tio ned T he po i n t now u nd e r d is .

c ussion r e fe r s to asec o nd c l ass n a mely th o se new c ompo u nds

, ,

wh i c h are made u p of w ords already ex isti ng in the E nglish

'

l ang u age .

The g ro wt h of l angu age ari se s c h i efly fromtwo c au s es : fi rs t ,

t r ope s by wh ich c onc rete t erms are t ur ned from a l iteral to a

,

fig ur ativ e meani ng ; and seco ndly co mpo s i ti o n by whi c h w ords

, , ,

al ready exis ti ng are co m pou nd ed and th u s fo rmed i nt o a ne w ,

term . A l l l angu ages in thei r ear ly s tages h ave thi s po wer of

c o mposition and a l arge n u mber of words in ev ery l angu age
,

are co mpo u nds .

The E ngl ish l angu a ge has l ess po w er of c ompositi on th an

any ot h e r o f the Te u t on ic family The Lat i n was v ery d e fi .

ci en t in thi s r espe ct an d the l an guag es which h av e be en d e r iv ed

'
,

fr om i t sh o w the same pe cu l i ar i ty The G r ee k on the o th e r .

,

h an d had a gr eat c ap abil ity for th is whi c h bel ongs in an

, ,

e qu a l d eg ree to the mod e rn Ge r man The A ngl o S ax on had .

-

the s a me c ap acity ; bu t in the Ear ly E ngli s h pe riod i t had be :

co me we ak ened if not l os t and the d ec ay of th is po w er in our

,

l angu ag e is chi efly d ue to the i n fl u en c e o f t he N o rman F r en ch .

Wh en we c on sid e r the n ewly c ompo u nd ed w o r ds of the

p r ese n t d ay we find th at th e i r so u r c e is chi efly in s c i en ce an d
,

i nv en tion Leavi ng asid e G r eek an d L ati n c ompo u n ds for rea

.

s on s al ready men ti on ed let us c on sid er th o se o f E ngl i sh o rigin

,
.

S aance a nd L ear n ing — I n th es e d ep art men ts we h av e such

'

1.
54 E lemen ts o f Rhetor ic .

wo r d s as “
stone per iod ,
” “
fli nt folk , -
” “
bro nze folk,
” “
mo und .

bu i l d e rs ”
,
fo l k lo -
re h a d book
,
”
n -
”

2 . I n ven tion S teambo at ail road ,

” “
r ,
” “
di ving be ll -
,
” “
sew

ing mac hine ,

”
t r amw ay g un c o t t
,o n
” “ -
,
” “
iron cl ad -
,
” “
a
g s
~

”
P pe
l .

I n di aru bbe r gumt ree

” ”
D zlreovery so a pst one
3
- -
.
. , , .

me n t call ed S pi ri t u al i sm has giv en r ise

4 T he m
.

“ ”
. ov e to
many word s su c h as tabl e t ippi ng ”
,
sp irit rapp ing e tc
” -

,
-
, .

mums m r ue use o r n ew CO MP O UND w orms

46 . .

T he ge n i u of the E ngli sh l ang u age i s so ali en to th e fo rma

s

ti on o f c ompo u n d words th at fau l ts are not as fr eq u en t h ere as

e lsewh er e T he i nfl ue nce o f oth e r l a guages in the i trod ucti on
. n n

o f ne w w or ds ha s al r a dy bee n otice d G ree k Lati n F re ch e n .

, , n ,

a d I tal i a fu rn ish a l ar ge su pply ; bu t u pon the cl ass of w ords

n n

n ow u d e r c on i d e r atio n t h se l a gu a
n ge s h av
s o i nflu n ce e n e n e .

T he G ree k an d Lati n giv u s w o rds al read y co m pou nd ed b u t e ,

they do t cau the E ngl i sh l angu a

no ge to make new c o m
se

po u n ds out o f w o rds al r eady in use A no t h e r l a gu age has . n

some i n fl u nc e i th is respect and th at is the Ger man This

e n , .

is d ue to se ve r al causes .

1 The Ge rm
. an has a po wer of composi tio n not equ all ed by
any oth e r o f th g r eat mode l angu age s e rn .

G e r ma phi l o phy has a comma d i g po siti o n an d is

2 . n so n n ,

ill u st r ated by v r al sc hool s eac h of whi ch h a i ts o wn omen

se e , s n

cla tu mad e u p out o f G man wo rds ; and English thi n k r s

re er e

who di scu ss phil o so phi cal u bj ec ts are oft en fo rced to tr ans fer s

G e rman compo u d s to th i r own lang u age n e .

3 Th .es e w or ds i m an y c a se s h a ve roo ts which e xist

n i n E ng
li sh also .

I n the sci en tifi c w ri ti ng eve ry liberty mu st be all ow

case of
’

ed and as the botan is t may fr ee ly mak e use of G r ee k w o r d s ,

so the m et aphy sici an may e mpl oy G e r man Bu t in gen e r al .

li t e r at u r e the case is di ffe r e n t an d E nglish i mi tati o n s of G e r

man compo u nd s are to be co nd e mned
,

T hese may be i l l u str at ed by such terms as the foll owi ng

Wo r d bu ildi ng -
t i me spi r i t na t u re spi r i t eart h so u l
,
”
-

,
”
-
,
”
-
,

woman n atu re ”
w o r l d id ea
-
h e ro sai n t
,
”
art sh o w -
,
”
-
,
-
,

soul l ife ” -
w on der —s mith
,
”
li fe pleasure
” “
y ou th se aso n ”
,
v
,
-
.

A noth er c lass of obj ec ti on abl e c ompou nds may be fo u n d in

case s wh e r e a n ou n i s tur n ed i n to a v erb as the pop u l ati on “
’

had fivefold ed
”
H e re the wo r d fi vefold is t r ans fo r med i n t o
.

an othe r p ar t of speech W e may say the po p u l ati on had

“
.

d ou bl ed or t r ipl ed bu t n ot fourfolded o r fivefo ld ed

“ ” “ ” “
, .

Th ese l ast res embl e s u c h exp r essi on s as to d r ess mak e ” “

to -
,

sh oe mak e
-
” “
to shi p b u ild
,
”
whi c h are so meti mes u sed in j est
-
, ,

b u t n ev er in earnest .

5 47 . c ox c w n mc R EMAR KS .

In conc l u di ng th is s u bj ec t we may noti c e se v eral i mport ant ,

t ru ths .

1. O bs ol et e w o r ds in c ertai n b r an ch es of l it er at ur e are al
l ow abl e and ev en in gen er al p rose the y are not so u n we lc ome
,

now a s fo r m er ly but m ay be u s ed u nd e r c e r t ai n r est r icti o ns

, .

2. N ew w o r ds are i n c ess an t ly c omi ng fo r w ar d an d mu c h ,

d isc r i mi nati o n is need ed in o r d e r to d ec id e w hat are and wh at

are no t ofl en c es ag ai n st pu ri t y o f styl e
'

C o m p o u n d w o r d s th o ugh far l e ss nu m e r o u s st a n d in the

3.
, ,

s ame p osi t io n as new w o r ds .

a

4 I n e v e ry ag e g r am
. mari an s and r h et or ici ans h ave d e
noun c ed w o r d s whic h h a v e come i n t o use in spit e of th em
, .

I vi w of th e se fa ct s the be st c o u r s e to be t a ken by one

5. n e ,

who s eeks to p r ese rv e pu rity of styl e i s to mai n t ai n aj u di c i ou s

conserv atis m Th is i s be st st at ed in the l i nes of P O pe :
.

“
In w rd a fa hi th am r ul d th h l d
o s s s ons e s e e o o ,

A lik fa t a tic if t
e wn ld s oo ne or o ;
Be no t th fir t by wh m th e w i tri d s o e ne s e ,

y t th l a t t lay th ld a i d
”
Nor e e s o e O s e.

4 8 . UR ITY A LSO R E Q U I R ES c our on m

P mr TO G RAM MA R A ND
I DIO M .

I n o r d e r to writ e p ur e E ngl ish it is fu r th e r n ec es sary th at ,

th er e be n o d ep ar tu re fr o m t h o s e fo rms of spe e ch which are

est a bli sh ed by the l aw s of gr ammar or s an cti on ed by the best
idi omatic u s age The vi o l ati on o f ei t h e r o f th ese is c al l ed a
.

so l eci sm Th is wo r d is o f G r ee k o r igi n and i s s ai d to h av e

.
,

ar is en fr om th e c o rr u pti on of the A t t ic di al ect among the

‘

A th en i an c olon ists of So lce a tow n in C il ici a ,

.

The s o l ecis mi n cl u d es all vi o l ati o n s of g ood u sag e all th os e ,

fau l ts in sp eech c ommon ly c al l ed bad g r ammar

“ ”
I t is not .
5 6 E lemen t: o f Rlzetor ie .

ne ec ss ary to dwel l u pon the i mportan ce of gr ammati cal co rr ect

n ess in styl e .I t mu st be evi d e n t th at p ur e E nglish c on si sts in
someth i ng mo r e th an we ll ch ose n w o r d s ; and th at the se w or ds
-
,

wh en c o n nec t ed t og eth e r in ph r ases mu st ac co r d wi t h the

,
.

st an d ar d which has been e st ablish ed by the bes t auth ori ty .

E ngli sh g r ammar r eq u i res far mo r e att en tion th an i t us u ally

‘

r ece iv es fromthe lit er ary man I t may not be so l ogic al or so

.

sy mmet r ic al as t h at o f the c l assi cal l angu ag es an d th er e may ,

be n ot a few po i n ts abo u t which p r ofesse d g rammarian s di ffe r ;

e t it m a be afli rm ed th a t this v e ry l oose n e ss and c om parati v e
y y
l awl es sn ess ar i ses from t he w o r ld wi d e c omp reh ensiv en e ss
wh ich d i sti ngu i sh es it and i t sho uld i nci t e eve ry wr iter to mas
,

ter wh at e v e r d i ffic u l t i e s th e r e may be .

The so l ecis mis a subj ect t h at be l o n gs to gr am mar and no t ,

to r h e t o r ic and all v i o l a
, ti on s of th e r u l es o f syn t ax may be
fou nd ful ly disc u ssed in th e w or ks of Lath a m Fowl er A ngus, , ,

and oth e r s .

C H A PT E R V .

P E R S P I C U ITY I N S EN T EN C E S .

49ER I O D I C AND smp t E STRU CTUR E

. P .

PE RS P I CU ITY d epen ds n ot only u pon the ch oi ce of w or ds bu t ,

al so u po n th eir arr ange men t .

S en t en ces in th ei r v ario us di visi ons of si mpl e compl ex and

, , ,

c omp o u nd n at ur ally fall i n t o two g r eat cl asse s — l ong and short ;

,

an d t h ese p r o d u ce su ch an effe c t u pon the man ner of c o mpo

siti o u th a t styl e i tsel f has bee n cl as sifi e d upon this b asis .

Wh e re th e w r iti ng is ch i efly ch ar act e rized by l ong se n tenc es ,

“ “ ”
i t has be en c all ed sty le an d also sty le routen u ,

wh er e sh ort sen t ences abo u nd i t has be en call ed r ty k am

,
“
p é .

Th ese w or ds h ow ev e r h av e n ot yet been n atu r al i zed in our

, ,

l angu age and the t er ms “

, pe r i odi c str u c tu re an d si mpl e
” “

st ru ctu r e ar e for v ari ous reas on s p r efe r abl e O f the two the
”
.
,

si m pl e st r uctu r e is the mo r e c on d uci ve to pe rspic uity fo r wh e re ,

the se n te n c es are l o n g g r e at c ar e is n ee d e d t h at th e cl au ses be

,

k ept in th ei r p r ope r o r d er an d r elat i o n th at the l eadi ng s ubj ec t

 57
be ret ai ned p romi nen tly befor e the mi n d ; and th at too an y m
th i ngs W not c r owd ed togeth e r I n sh o rt s e nten c es the d i th .

culties a re not so gr ea t ; and al th o ugh th ey h av e th ei r own

fau l ts yet obs c u ri ty i s by no m
, ea n s on e of th e m .

F r e nch prose l iterat ure is consid ered by c ompet en t c riti c s

as s u pe r i o r to all o th ers in pe rspic u i ty and i t i s a sign ific an t ,

fact th at the si m pl e str u c tu r e p r ev ails th ere to ag r eat e r ext en t

th an e lsewh ere The F renc h w rit er ai ms in the fi r st pl ac e to
.

mak e his meani ng c l ear and seems to feel i n sti nc ti v ely th at ,

imm
_

th is a ay be best s ec u red by th e sh ort se nt ence O n the .

oth er h a nd th a t of G ermany 15 d isti ngu i sh ed by i ts l ac k bo th o f

,

b ri l li ancy and perspi c uity wh il e at the same ti me i t i s mar k e d

'

by the fr eq u en t r ec u rrenc e of l ong c l u msy and u n wi e ldy pe , ,

r iod s Ge rman p rose li te r atu r e has p rod u c ed no g r ou p of g reat

.

w r it er s l ik e th ose of R o me F r anc e and E ngl and and i t s c h i ef , ,

fau l t li es in the pe r sist en t ch oi c e and c ar e l ess t r eatm en t of l ong

sent ence s The ge ni u s of the l angu age co mme nds the pe ri od ic

.

st ructu r e to the Ge r man w ri ter b u t th is is no ex c u se for the ,

awkw ard manip u l ati on of w or d s .

I n E nglish p rose th er e are ab u n d an t ex am pl es of both sty l es .

The l ong s e nt ence ch ar act e r i zes the w ri ti ngs of H ook e r M i l t on , ,

J oh nson G ibbon and De Q u i ncey whi l e the sh ort sen te nc e i s

, , ,

the c hi ef fea tu re in Bac o n s Ess a ys an d in the w or ks of A ddi ’

so n S t ern e La
, mb and M ac au l ay
, ,
.

Th is s u bj ec t is w ell p rese n t ed by De Q u i ncey in the fol l ow ’

ing p assage

In wh at v r may th rwi b th difi

F rench
t auhors, f th i r e e o e se e e erences o e

mi d n s or th diff r c f th i th m u if rmly w fi d th p ri d h rt
e e en es o e r e es , n o e n e e o s s o ,

rapi d u l ab rat Pa cal H l v ti u C dillac R u au M t

, ne o e. s or e e s, on or o sse ,
o n es

qui en or V ltair B ufl Ducl —all alik a t r p r p i cu u b ri f

o e,
'

o n or os e re e se, e s o s, e .

Ev M irab au C h at aub ia d much m d i fi d by f r ig i t rc ur

en e or e r n , so o e o e n n e o se,

on thi p i t adh r t th ir ati al m d l Ev B u t B u rda

s o n e e o e n on o e s. en oss e or o

lone ,wh r th difl u e e a d ampl itud

e f rat ry m
‘
i g ht h av b pl ad
se ness n e o o o e e en e

e d a ad i p
s ati a t m r li c
s e ns ti u i th i r
on, p t th a th ir m
re n o o e en o s n s es ec n e co

patri t O ri i v ry t c
o s . ne g tl d c t— th at i th law f
se ne e se n en e , o ne en e es en s e or

F r ch c mp iti
en v t m t u ly ; a d th u it h app
o os o n, e en th at oo o no o n o s so n s e ns

s uch athi g a al g i v l v d
n t c c ul d
s on b p r d uc d fr mF r ch
, n o e sen en e o n ot e o e o en

lit rat u r th ug h a ulta w r t ff hisdaug ht r i marriag t th ma

e e, o s n e e o o er e n e o e n

wh h u l d fi d it
o s o n .

T h c h ara t r f G rm
“
e a pr i a bj t f l gi timat a t i h m t
c e o e n ose s n o ec O e e s on s en .

W h at v r i bad i u w id al f p r
e e s tyl what v r i m t r pu l i v
n o r o n e o ose s e, e e s os e s e

i u w p racti c w
n o r o n th r carri d t th m t ou tr ag ou x c
e, e see e e e o e os e s e ess.
« 8
33 3 , E le
-
mizt e s o f fl m
a e .

resis tin Richt r and Li h t b rg with m f w b i d ith r

g , H er der , e ,
c en e ,
so e e es e, e e
p r mp t d by at u
o trai d u p f r i g m d l h av av id d th b
e n r e or ne on o e n o e s, e o e e e

se tti g i f G rma pr
n s n o Am g eth u a d ff d r w w ul d
n ose. on ten o s n o en e s e o

i gl ut I mma u l K a t
s n e o A t c i v i w d by him a d by m t
n e n . se n e n e s e e , n os

of hi c u try m s a a r ud m u l d
o n l a tic f rmad mi tti g f xpa i
en, s e o or e s o n o e ns on to

ay pn ibl x t t ; it i l aid d w a a rud ut l i a d th by u p r

o ss e e en s o n s e o ne, n en, s e
t ucti a d pi up t u ti it i grad u ally r ar d t a gid dy altit ud
s r on n e o
s ers r c on, s e e o e

which y a f ll w Yi l di g t hi at u ral i mpu l f ubj i i g all

no e e c n o o . e n o s n se o s o n n

add iti xc p ti
ons or e m d i ficati t i th
e h ap f parat
ons or o ons, n o n e s e o se e c on

sec uti t c bu t a i t rcal ati a d t uff g f

v e sen e n es, ri gi al s n e ons n s in s o on e o n sen

t c K a t mig ht aturally ug h h av writt ab k f mb gi i g t

en e, n n en o e en oo ro e nn n o

en d i v a t hyp r b li cal
n one t s e o sen enc e.
"

E ngl ish p ros e l it erature affords ab u nd an t ex ampl es of each

styl s ome auth or s p r efe r the sh or t s ent enc e o th r s the l ong
e , e ,

wh il e oth er s ag ai n exhibi t in th ei r w r i ti gs an e qu al p r opo r ti on n

of b oth .

The fo ll owi n g is an ex ampl e of the si mpl e st ru c tu r e

lli had du ri g a h rt ti m btai d th m t appalli g u
The a es n s o e o ne e os n s c
c Thi wa th ir au p i ci u m m t Th y gl ct d t i mpr v it
esse s . s s e s o s o en . e ne e e o o e .

It pa d aw ay a d r tu r d m r Th Pri c f O ra g arr t d h
sse n e ne no o e. e n e o n e es e t e
p r gr
o f th F r ch ar mi
ess o L ui r t u r d t b amu d a d flatt r d
e en es . o s e ne o e se n e e

at V r aill T h c u try wa u d r w at r
e s es. Th wi t r app r ach d
e o n s n e e e n e o e
”

M ac aumv
. .

Wi t h thi s may be c on t r ast ed the foll o wi ng e x ampl e o f the

p e r i odic st r uctu re
I ambiti
W e re f a y th r pat tha th publi c I w ul d i cri b
o ns o n o e r on n e , o ns e
thi w rk t a t at ma wh i a l g a t rmy a d at l g th a u f r
s o o s es n o, n on , s o , n en n no
tu a ad m
n te i i trati had ma y p liti cal pp t al m t with u t a p
n s on , n o o o nen s os o er
so n al my ; wh ha r tai d
ene
’

hi fa l l fr m p w r ma y faith fu l a d
o s e ne on s o o e n n
d i i t r t d f i d a d wh u d r th p r
s n e es e u r f v r i firmity j y
r en sb n o n e e ess e o se e e n en o s
t h li v l y v i g r f hi m
e e i d a d h f li city f hi i c mparabl t mp r
o o s n n t e e o s n o e e e .

GI B BON .

viv aci o u s wr i tin g the si mpl e st ruct u r e i s v ery ge ner

I n all ,

al ly empl oy ed an d it l en d s i tse l f readily to a b r i sk and b r i l l

ian t mo v emen t of th ough t

D o t t ell me that I amg wn old and pee v ish and supercilio u s name
n
’
ro

th e g n i u s e f 1 7 74 an d I u bmit
es o T he nex t A ugus tan age will d awn on
, s .

the o th er i d e o f t he A tl an ti c
s Th ere will perhaps be a Th ucydi des at .
, ,

Bost on a X e op h n at N ew Y ork and i ti me a V irgil at M ex i co an d 3

, n o , n

N ewton at P r u A t l a t some curi ous travell er fr omLi mawill v i sit E ng

e . s

l and and g i v e a desc ri p ti n f the ru i ns of S t Pau l like th editi on f

, o o
’
s, e s o
l m yr
.

B aalbe c an d P a a — H O RA C E W ALP O LE .
”
.
 E lem
’

60 en ts o f R/zetor zc .

S i mpl e stru ct ure

“
Th p r a i mal j u t l k a d tr mbl a d gi v f rth th v ry i d i
ese oo n s s oo , n e e, n e o e e n

cati f ufl i g that w d
o ns o s
'

Th ir i th u q u i v cal p hy i g my f
er n e o. e s s e ne o s o no o

p ai Th y pu t th am a p ct f t rr r h d m trati
n. e on e s fae s e o e o on t e e o ns on s o

m ac d bl w Th y x hi bit th am d i t rti
en e o . ef ag y aft r h i fli
e e s e s o o ns o on e t e n c

ti f it T h bru i th bur
on o . et h fr act u r h d p i ci i
se, e th n , or e e , or t e ee n s on, or e
fi rc
e c u t r with
e en o f q u al
n e u p ri r tr gth j u t aff ct th m i mi
o ne o e or s e o s en , s e s e s

la ly t
r ur l v
o o Th ir bl d circu l at a ur Th y ick a d th y
se e
s e oo es s o s. e s en, n e
gr w f bl with ag a d fi ally th y di j u t a w d
o ee e e, n n e e, s s e o.
"

50 . R ULE FOR THE G E N E RAL AR RA N G E M E NT or W O R DS I N

A S EN T E N C E
A tten tion mu st be p ai d to the general arrangemen t of w ords
in a s en t en ce .

T he r ule
wh ich is u s u ally gi v en for this is as fol l ows : The
w or ds an d member s most n ear ly rel at ed sh o u l d be pl ac ed in
the s en t en c e as n ea r to each o the r as possibl e so as to mak e ,

th ei r mu tu al re l ati on s c l ear ly app aren t The same r u l e is also .

st ated in the foll owi ng wo r ds Th ose p ar ts of a s e n ten ce which

are most cl o sely con nect ed in th ei r meani ng sh ou ld be as c l ose
ly as po ssibl e c onnect ed in po siti on .

F r om i n atte n ti o n to th is v ariou s erro r s fr equ en tly arise .

S ometi mes the adj ec ti ve is pl ac ed in a wro ng positi on

“
The Ep i scopal
h urch fur i h th a ura c f a rga c a d u
C n s es e ss n e o n o ni n n

br k u ity a d ucc i fr m h ap tl by ali

o en n n s ess on f u br k bi h o t e os es, ne o n o en s

p d w t th b i h p f t hi d i c
”
o s, o n o e s o o s o ese.

The w ri t er sh o uld h ave s aid “

an u nb r ok e n l i n e o f bish ops , .

T he adv erb is mispl ac ed in the foll o wi g se t n c e n n e

Th y th ught th at if h wa t d hi civil rig ht h ug ht t h av nt

e o , e n e s s, e o o e se

i hi app li cati
n s f pard at l a t on or on e s .
”

H er e at l east seems to qu al i fy p ard o b u t i t was i n t en d

“
n,

ed to r efe r to the a c t o f se n di ng in an a pplic ati on and i t sh o u ld

h av e been he ough t at l east to h ave se n t in his applic ati on
,
.

The p ositi on of the r e l ativ e sh ou ld r ece iv e c ar eful att ent i o n

“
I truck th a i mal with my k if th h ad which b i g mad f
s e n n e on e e , , e n e o

bad t l br k a d I wa l ft at h i m rcy
s ee , o e, n s e s e .
”

Th y fl w t arm a d attack d N thumb la d ho wh mth y

e e o s n e or er n
’
s rse, o e

pu t t d ath
o e .
”

I n th es e s en t en c es the po siti on of the r elative is s u c h as to

giv e an abs u d t ur n to the mean i ng r .
 P er -

W } in Sw i m“ . 61

Per sonal pronou ns giv e rise to freq u en t obs c u rity and the
' °

d ifficulty at tendi ng th ei r p roper man age men t is so meti mes al .

most i ns u perabl e Th u s spe ak i ng of M ar lbo r ou gh a writ er

.
, ,

s ays :
H e had an in ter view wi th Ki ng C harl es and spoke much abou t his v i c ,

tor ies telling himtha

, t all E u r ope now lay at his fee t and th at the final iss u es ,

of th e w r i hi ha d
war e e n s n s.
”

To on e u nac q u a inted wi th the fac ts this senten ce would be

q u i t e u n i n t el ligibl e .

C l arend on writ es as follo ws

O n whi ch wit h the ki ng s and q ueen s so ampl e promb es to him so
“ ’ ’
, ,

few h ou r s befor e conferri ng t he p lace u pon ano ther and the D uke o f Y ork s
’
,

manner of r eceiv i ng himafter he had been sh u t u p with him as he was ln

, ,

form ed m ig ht v ery w e ll excuse himfromthi nking he ha

, d som e share in the
affr on t he had u nd erg one
"
.

O ne way of p re venti ng s u c h obscur ity is by i n se rti ng in b rac k

ets a fte r eac h p ronou n the nam e of the pe rso n r e fe r red to .

This is c ommo n l y d o ne by repo r te rs of speec h es, wh en the re

po r t of the speec h is mad e in the thi r d pe r son ; as : H e w ou l d
“

infor m the righ t h o nor abl e g entl em an th at he [M n D is r ael i ]

di ffered fr omhim [M r G l ad st one] in every p art i c u l ar . This , .

t h ou gh the e a si est way and c er t ai n ly the c l e arest, is, h ow ev e r ,

,

h ar dly t ol er abl e in gener al p ros e c om posi ti on The be t te r pl an .

i s to recon st ru c t the sent ence al togeth er Th is may be d one .

by b r eaki ng it u p i n t o sho r ter se ntenc es, or by su bs ti tu ti ng for

the p ron ou n s the n a mes th at may be approp r i ate, the re fl ex ive,
the re l ativ e, o r su ch w or ds a the form
” ”
s e r, the l a tt er .

The positi o n of c l au se s req u i res the sam e att en t io n as th at

o f wo r ds, and gi v es r i se to the sam e cl ass of e r ro rs
H e de t rmi
e rc hin ed to t th m arriag a d aft rw ard t
fo e h
s son o e e, n e s o o
t ai th ki g c
n e n t wh th r h w u ld
’
s o n se n t
, e e e o or no .
”

I n th is se n t en ce the fi n al c lau se seem s to r efe r to the ki ng ,

wh ereas i t real ly r efe rs to the so spo k en of n .

A n th on t r ansl at es ap assage i the fi fth book of X enoph on s n

’

A n ab asis thu s

B y b l gi g t th w althy cla fatt d by b i g f d b il d

o s e on n o e e ss es, e ne e n e on o e

ch t u t
es n ft a d xc d i g ly whit a d
s, so n e wa ti g much f b i g q ual
ee n e, n no t n n o e n e

i l gt h a d b r ad th f v ari u c l r th ir back t ”
n en n e , o o s o o s on e s, e c.

I n the or igi na l the i nfl ec ti on s of the w or ds p r ev en t obsc u rity ;

 E lem Rb
'

62 ent s of etor zc .

but h er e i t is n ot q u it e c e rtai n wheth er it i s the boys or the

ch es tn u ts th at are thu s ch ar ac ter ized .

5
1 .L I M IT A TI O NS T O T H E G E N E R A L R U L E o s ARRAN G EM EN T .

The ab ov e r u l e for arr an ge men t is s u bj ec t to l i mit ati o n s .

N o c om p ositi on c an be so fr amed as to wi th st and th e pos

sibl e dist o r ti o ns or wil fu l m is app r eh en si o n s of hype r c r i t ic al
r ead er s who r efu se to tak e the obvi ou s mean i ng of a se nt enc e
, ,

an d s ei ze u po n o n e which th ey may c on t r iv e to e xt r act fr om

the w or d s S uch a c o u r se c o u ld red u ce to nonse n se the fi nest
.

p assag es of l it e r atu r e an d by its exc e ss es d est r oy e v e ryth i ng

,

l i k e t r u e c r iticis m The w ri t er mu st alw ays rememb er and the

.
,

c r itic al so th at fai r and c an did tr eat men t i s to be expec t ed

, .

To be p e r spic u o us is to be i n t e ll igibl e to th os e to wh oma writ

ing is add r ess e d and not to w r i t e so th at a sen tenc e c an n ot
,

possibly be disto rt ed in mean i ng Th is i s n ot on ly i mpo s sibl e

.

in itse l f b u t the v e ry att empt wo uld d es t roy all c ase or viv ac

,

i ty of styl e and r ed uc e all c ompositi on to one d ead l e v el of

,

d ul ness .

I n the arr ang em e nt of w ords there a re v a ri ous th i ngs to be

c onsid ered .

I
. E mph asi s .

The s u bj ect of em ph asis is one of the u t most i mpor t anc e and ,

will r ec ei ve afu l l er treatmen t in amore app r op ri at e pl ac e and ,

i s n ow mer e ly tou c h ed u pon in or d er to sh o w i ts effec t u po n

the arr ange m en t of w ords .

I n all s e n ten c es th er e are em ph atic words wh i c h in many

case s i n di cat e th ei r ch ar act er su ffic i en tly w el l by the c on t ext .

Bu t c ar efu l w ri t e r s are gene r al ly d esi rou s of addi ng to the forc e

o f th ese ; a n d the chi ef wa in whi ch th is c a n be d on e is by
y
pl aci ng th emin an u n u s u al positi on :
M e he es o ed to m
r tr y pos on, an d himhe anged iti h .
”

i r y tr i t
H im, be ing d el v e ed b the de e mnae co u nse and fo e no l r k wl dg e e of

h
G od , ye av e a en, and b tk y wi k h
c ed ands av e c uc fied and s an h r i l i .
”

I n the fi t of th es e s en t enc es me an d him which or

r s
“
,

d in arily w o ul d be c on n ect ed in p osi ti on wi t h r est o r ed and

h ang ed are s ep ar at ed fromth e mby the p e r son al p r on o u n
”
, .

I n the s ec on d this s ep ar ati o n is gr e at e r an d the emph asi s is

mor e str iki ng Accor di ng to the ru l e him foll ows t ak en 5
,
” ”
.
 Per m it)! in Sen tences . 63

But h ere th ey are sep ar at ed with n o l ess th an tw elv e w ords ,

be twee n the m .

2 The ge n e ra
. l ru l e for arrangemen t i s als o affec t ed by p ar en
theti c al cl aus es whic h i n c l u d e all th ose ph ras es or stat emen ts
,

in se rted in the b ody of a s en t e n c e fo r p ur po ses of expl an atio n

or i l l ust r ati on Th es e wh en p r ope r ly empl oy ed ar e n ot on ly
.
, ,

i ntel l igibl e b u t c on t r ib ut e in the h igh est d eg r ee to the cl ear

,

ne ss of the w ri t e r a nd a s s u c h sh ou l d be em pl oyed wh erev er

,

th ey are n eed ed
H e came o e v r , to my amazement ,an d accost ed me .

Top r et end th at the ph r ase “

to my amazemen t is gr ammat
ic ally the obj ect of he cam
“
e v r
o e ,
is a pi ec e of t r ivi al c rit
icismwhi ch is be neath noti ce .

Peo p l e fall i t t a g mi t ak
, f r o mth eir i g nor ance , n o s r n e s es .
”

This is a s en t enc e of a si mil ar c h ar ac ter wh ich is q u it e c l ear ,

an d fau ltl ss in c onst r u cti on

e I n b oth o f th es e we see th at .

w o r d mo t n ear ly c o n n ec ted may be s epar at ed wh nev e r i t i

s s , e s

d esi r abl by p aren th etic al cl au ses

e, .

3 R el ativ es
. .

A s en t enc e may be perfec tly i nt ell igibl e ev en wh en the

r el ati v e is sep ar at ed fro m its a t ec ed en t n :

X ph th di cip l f S crat wh wr t th M m rabili a

en o on, e s e o o es, o o e e e o .

I t may be s aid th at S oc r at es is d esc ri bed h e r e as th w ri t er e

o f th e M em or abi li a; b u t a su ffic i en t an sw er is t hat X enoph on s ’

au th or hip may be c onsid ered as too w ell k now n to be mis

s

t ak en .

P a is, th er cap it al of Fr ance, wh ich at th at tim wa e s the r t city i

la g es n

E u rope .
”

H er e it may be said t hat F ran ce is d esc r ibed as the l argest

city in Eur ope b u t for perv ersity or ignor anc e wh ich c ou ld so
dist o t th e mean i ng of pl ai n s en tence s th av er age au thor d oes
r e

n ot p r e t en d to w rit e .

I n thi s c as th er e i s a ru l e s an cti oned by the best w r it er s

e , ,

wh ich may be st at ed thu s A ttributiv e d esc ri pti v e o r expl an a , ,

t o r y t e r ms may t a d b etw en the a t ec ed t an d its r l ativ e

s n e n en e ,

as, A l ex and e r the so of Ph i li p who c on qu er ed Per si a

,
n ,
.
”

I th c a o f p r o n al p r o o u
n e se i t i u ffici t fo the w rit er
e s n ns s s en r
 men t: Rlzeton e
'

64 E le f
o .

to f ame hi s
r c es for p eopl e of o rdi n ary c an d or an d i n t el
sen e n t
lig enc e, an d see th a t th e re be as l i tt l e obscu rity as pos sibl e .

Thi s c an be st be d o ne by al l o wi ng th e c on t ext to th r ow ligh t

o n th e re fe r e n c e o f the p r o n o u n s in e ach i n st an ce .

The t ru e r u l e to fo l l o w 15 to all o w the w o r ds and mem bers

o f a s en t e n c e which a re m o st ne ar ly r e l at ed to s tan d as n ear
to o n e ano th er a s m ay be c o n sis t e n t wi th a d ue reg ar d fo r em
ph asis o r for expl an at ory w o r ds an d cl au ses To this may be
,
.

ad d ed age ne r al r u l e l ai d d ow n by a r ec en t Edi nbu rgh r e view

er : W r i t e in away wh ich c an no t be mis u nd erstood by a r ead
er of c om mon c an d or an d i nt e llig en c e ”
.

5 5 2 UN ITY. .

I n the c on st ru c ti on of se n t en c es atten ti on
,
mu st al so be p aid
to u n ity .

U n i ty is th at qu al i ty of styl e by whic h the p r ecise id ea of

t he w r it e r is p r e s e n t ed to the m i n d as o n e wh o l e with all its ,

c o o r d i n at e an d su bo r di n at e r el ati ons d u ly ar r ang ed so th at no

misc o ncepti on c an ar i se .

A se nt en ce is the en u n ci ati on of a th ought which may be ,

p resen t ed in the si mpl e st or the most c ompl ex form and thu s

s e n t e n c es may be fou n d which r ange all the way fro m a mere
st a t emen t of n ot mor e th an two wo r ds up to en tir e p ages.
which may be fi ll ed by one l on g c ompl ic ated and h igh ly el ab , ,

or a t ed pe r i od .

S e nt enc es are c all ed si mpl e c ompl ex or c omp o u n d ; b u t

, ,

th ese may all be an aly zed and r ed uc ed to subj ect an d p r ed i

,

c at e The d iffer e nc e be tw een the sh ort an d the l o ng s en t e nc e

.

i s th at the fo rmer i s gener al ly si mpl e or c ompl ex an d the lat ,

te r is c om p o u nd I n the former th ere is se ld om any l ac k of

.

u n ity it i s with the l att e r th at this s u bj ect has to d o .

Sen t en ces are c all ed co mpou n d wh en th ey c on t ai n two or

mo r e p ri n cip al as se rtions c o o r di n at e wi th each oth er Th e re
,
-
.

are th r e e p r i n cip al r e l ati o n s in which the p ar ts of a compo u n d

sen t e n c e m ay stan d t o w ar d s each ot her : fi rst wh en th ey are ,

c o u pl e d t oge th e r as M an p r op oses God d ispo ses sec o ndly

, , , ,

the an t i t he t ic al a s , A wise son mak eth a g l ad fath er bu t a

, ,

fo oli sh so n is a h e avi ness to h is mo t h e r t hi rd ly the c au sative , ,

as A s he was v ali an t I h o no r him; bu t as he was am

,
“
,
bi t i o u s ,

I sl ew him ”
.
 P er spicuity in S en tences 65
'

In v ry s en t ence h ow ev er l o ng or i n v ol v e d th er e is or
e e , ,

o ugh t to be s om e d om i n an t id ea to which all th e s t at emen ts ,

r efe r an d u n i ty me an s the p r es erv ati o n of this d omi n an t id ea

in its p r omi n en t pl ac e befor e the mi nd .

I n th is way the a tt enti on of the r e ad e r is r et ai ned an d h is ,

i n t ell igen c e i s s atisfi ed ; o t her wis e he l ose s his gr asp of the

id ea; an d as he qu i ckly b ec o mes distr act ed amo n g v ariou s
ci r c u mst anc es the r esu l t is obs cur ity , .

53 R O M I N EN C E o r m .e P R I
P N C I P A L SU BJ E CT .

I n or d e r to p r eser v e u n i ty in the c o nst r u cti on o f s e nt enc es ,

i t i s n ec essary to pay att enti on to se v eral th i ngs which wil l ,

n ow be c o nsid e r e d .

1 The p r i nc ip a
. l id ea sh ou ld retai n its p r omi nen t pl ac e be
for e the mi n d o f the r ead er and t r an siti on s fr o mo ne topi c to ,

anoth e r sh o u ld not be mad e in the s ame s e n t en c e .

An ex ampl e of this i s fou n d in the foll owi ng s e nt enc e the ,

l eng t h o f whi ch d oe s no t i nt e r fer e with its u n i t y

R
member eth at at thi v ry m m t a d at ach ti ck f th cl ck s e o en , n e o e o ,

so me fifty so ul s h av d part d h c g with th ir t mp t u u pa i

e e e e n e, o ne e e es o s ss ons,
th ir tri f th ir tr u th th ir h p
e s e, i t pac a d il c
e ith r with
, e o es, n o s e n s en e no t, e e ,

th app ar a c
e f f rc
e p t a d fi i h d—f th r a chil d r fall
n e o o es s e n n n s e or e e re en en

away wi h xp ct a t l k
, t li f thi g d ubti g h cur mbrac th at
e e n oo on e, n o n o n t e se e e e

see m t f l d th mr u d th r i y u th r ai d u p t l f u b i t c
s o o e o n t e e s o , se o se -
s s s e n e, no

with u t d i fficu lty a d rr w with th cl ar d p lig ht f th ug ht a d w

o n so o , e e , ee o o n on

d hi i g fr mwithi q u ch d i udd ig ht th r i ma y a h r ic
er s n n o n, en e n s en n e e s n n e o

li f bu ilt
e d lu i f
on n o ad lfi h bu t fi m th adama t
e s on o sense n se s ness, ,
r on e n

o f faith a d d fyi g th, n d ucti f fal t

e a d th th r at
n f f ar
e se o ns o se n e e s o e ,

s u k fr m u ab l u t ly away a d giv i g
n o s a w r t
so u r calli g
e , n n no ns e o o r e n en

tr ati a d u t ar —] aau MAR INEAU

e es n o r e s.
”
:s T .

The th eme h er e i s th at so me fi fty souls d ie ev ery seco nd ;

th es e are th en cl assifi ed ; and the di fferen t cl ass es are mi no r
s u bj ects among wh ich th e p ri nc ip al s ubj ec t n ev er l os es its
,

p r o m i ne n c e .

The fol l o wi ng sen t en ce which i s an eq u al ly good ill u st rat i on , ,

is c on st r u ct e d o n si milar p ri ncipl es

Th r it a m wh at a c tral d i g i ty a d gl ry t hi fav rit pa

e e s s so e n es n n o on s o e s

tim f j y u ld E gl a d ; wh h gall a t k ighth d a d th h arty

e o o o s o n n en t e n n oo , n e e

y m a d th amat u r v irt u
eo en , n f h c h a a d th full a mb l d
e e s or os os o t e se, n e sse e

j ck y hi p f h al f a p r v i c mu t r t g th r i all h p ri d a d p ag a t
o e s o o n e, s e o e e n t e e n e n
r
y f th ir gr at mp ri
o e ; a d th p a rama f m bl l a d cap
e e se n e no o so e no e n s e,
66 E lemen ts f
o R hetor ic .

light d up with a aut um al cl ar

e fr m a u d ud d h a
n p n e ness o n n o e e ven, o nr s
fr h x hilarati
es e i t ry blith a d ch i p irit f Lh c ; a d
on n o e ve e n o ce s o e s en e n
v ry ad v t u u h art i b rac d a d impati t f h hazard f h m
e e en ro s e s e n en or t e s o t e co
i g
n t rpri ; a d v h hig h br ath d c u r r cat ch th g ral ym
en e se n e en t e -
e e o se s e ene s

pathy a d mt fr t i all th r ti v
, n see f th ir y ch ck d a d irri
o e n e es eness o e et e e n .

tat d fi
e till th ch i g h r hall t th m at li b rt y ; v that h r
re, e e o n o n s se e e e en o n
whi h i th k ll f d ath t m tr mbli g v i ti m w br ug ht f rth f
c s e ne o e o so e e n c no o o o
it l u rki g p l a
s c t h d lig ht d gaz a d b r d w u p with th full
n -
e o t e e e e, n o ne o n on e

ad p
n cry f it ru thl p ur u r —C u u aa
o en o s ess s e s.
”
i t t s.

Inth is se n t en ce th e re is the en u meration of many di ffer en t

p artic u l ars yet th ey c reate no co n fu s i on wh at ev er for they are
, ,

all k ept in d u e subo rdi nat i on to the chi ef sta tem en t which is ,

th at d ign i ty and gl ory is con nected wi th the ch ase and to

“
,

this all oth ers se r v e as i ll u st rati ons .

The fol l o wing sent e nce is of u n us ual l e ngt h yet the u nity of ,

const ruc tion is preserv ed th roughou t :

He u rged to himth at the des perate situati on of the D u ke of N ormand y
made it req u i site for that prince to bring matt ers to a speed y deci si on and ,

put his whol e fort une on the issue of abattl e ; bu t th at the ki ng of E ng land ,

in his own co un try bel o ved by his o wn su bj ects p r ov i ded with e v e ry su pp ly

, , ,

had m ore ce rta in and l ess danger o us me ans o f i nsu ri ng to hi m se l f t he v i c to ry ;

that the N orman troops el ated on the o ne hand wi th the high est h opes
, , . ,

and seei ng on the o th e r no reso ur ce in cas e o f a d isco mfiture wou l d fig ht

, , ,

to the l a st ex tr em ity an d being the flower of all the warri ors o n the Co nti
,

n en t m , us t be reg ard ed as formidabl e to the English ; th at if th eir first fire ,

whic h is alw ays the most dangerous were all owed to l an gu is h for want of
actio n if th ey we re harassed with sm
,

, all skirmi sh es sh o rt ened in p rov i si ons , ,

and fati g ued with the bad weath er and deep roads d u ring the wi nt er sea so n ,

which was approachi ng they must fall an easy and bl ood l ess prey to their
,

en em y ; th at if a general acti on were del ayed the E ngli sh sensi bl e of the , ,

im min en t d anger to whic h thei r pr operties as well as li bert i es w ere exposed

fromth ose r apacio us i nv ade rs w oul d hast en fr oma ll q uart e rs to his assi st
,

ance and w ou l d render his army i nv i ncib l e ; th at a

, t l ea s t if he th o u g ht it ,

necessa ry to h azard abattl e he oug ht n ot to expose his own person bu t re

, ,

ser ve in ca , se of d isa str ous acc id e n ts s om e reso u r ce to t he l ib erty a nd indef,

i

p e n d en c e of t he kin g do m ; an d th a t h av in g on ce bee n so u nfo rt u na t e a s to

be cons trai ned to s wear and th at u pon the ho ly rel ics to su pport the pr e
, ,

tensi ons of the D uke of N ormandy it we re bet ter that the command of the ,

army sh o u l d be i n tr us t ed to anoth er who n ot be i ng bo und by th ose sacr ed , ,

ti es mi g ht gi ve the so l di ers more ass ured h opes of apros perous i ssue to the
,

combat — H UM E .
”
.

Th is is l ik e the r e po r t of a sp e ec h there is a su c cessi on of ‘

p articul ar s bu t all ar e k ep t in subo r di n at i o n to t he mai n i d ea

, ,

wh i c h is t he add re ss o f G u r th to K i ng H ar o l d .
68 EW : o f M ia im .

sole mn pict ure ur Lord, wi th the V irgi n on on e si de, S t oh n on the

of o . J
oth er in whi c h imabue m
C ad e t he l as t and mos t splend id efior t of the o ld
'

rigi d yzan ti ne art to r etai n its i mpe rill ed supremacy ; and th us Lati n
B
C hri sti anity see med to asse rt its rights again st T eut onic i nd epen d en c e be
for e th e ir fi n al se v erance ; bene ath these auspi ces m et the m o st august as .

sem bly , a s to the n u mbers and ran of the prelata, and the ambassadors of
k
C hri sti an ki ngs, whic h fo r cen t uries had ass um ed the fu n cti o ns of a r epr e

sen ta tive se n at e of C hrist endom ”

.

I n thi s se n ten ce th e d e sc r i p ti on of th e p l ac e of m ee tin g qui t e ,

all o w ab l e i n it se lf an d wh e n p ro p er ly t rea t e d wi th d u e s u bor

‘

d i atio n t o th e m a i n i d ea i s i n t err upt e d by s i d e rem ar k s whi c h

n ,

t en d to d is t ra c t th e a tt en ti on an d o bsc u re th e mean i n g Th e s e .

m ay be s ta t e d i n th e fo ll o wi n g or d er 1 Th e h e ig ht ne ver be : .

fore e qu al l e d Th e tal l p il l a rs ; 3 Th e I t a l ia n Bas il i c a ex

2 . .

p a n d e d i n t o a L a ti n c ro ss ; 4 Th e p i c tu re o v er th e a.l t ar ; 5 .

By an ti ne ar t ; 6 La ti n C h ri s tian ity a sse rt i n g i ts rig ht s F rom

z . .

th e be g i n i n g to th e en d of th is l on g se n t en c e th e se n se i s h e l d
n

i n s u p en se an d after the p re s en ta tion of th i s array of t o p i cs

s ,

th e i n t erru p t ed se n t en c e i s a t l e n gt h re s u m e d but t he rea d er s ’

a tt en tion h as bee n c arr i ed so far a w ay from the s u bj e ct th a t

th e c on ne ct i on c an on ly be pe rce i v ed wi th d ifficul ty Th e re is .

a i milar p a ss a ge i n M a ca ul a y e s a y on W arre n H as ti n gs
s
’
s s ,

wh e r e h e d e sc ri be thé sce ne of th e tri al I n th i s th e s i m p l e

s .

s t r u c tu re i s ad o p t e d Th e sa me e ffort is m a d e i n ea c h t o p r e
.

p are th e read e r for th e a c t s of an assem b ly by a d e sc ri p tio n

‘

of th e p l ac e i n whi c h th ose a cts occ u rre d But i n M a ca ul ay s .

’

wor k th ere i s no con fus i on ; the sc e ne i s p re se n ted wi th viv i d

dis ti n c t ness an d th e i m p re ss i on left u pon th e m i n d i s at on c e
cl ear an d pe r m ane n t .

Th e se fa ult s m ay be per ce i v e d in sh or t er se n ten ce s as w e l l

as i n th ose of g rea t er l en gth .

“
A ft r N ap l
e
’
ap fr mE lba a d l a d i g
o eo n s es c e oth at f F ra, n n n on e co s o nce,

v
he ad anced a s a pd r i ly ibl t w r
as poss e o a ds ais. and o n the way he was et P r m
by t he 00 ps unde th e co m
tr man d of M as al N ey. who had s or n to in
r rh w br g
him a cb k r cg
in an i on a e, but n ow sa ued hi as e pe o ”
l t m m r r .

Here th e fa ul t con si s t s i n a tran siti on fr om N a po l eon t o

M a r sh al N e y fo r wh e rea s th e se n t en c e be g i n s with the e sc a pe
of th e fo rmer fr o m E l b a an d hi s m a r c h on P ari s i t en ds with
, ,

th e a c ti on of th e l att er .

The successor of H nry IIe . was Fra i II nc s the first h usband of M ary,
 Per spi cuity in S entences . 69

afiawa r ds Queen of Seots who d ied a tter a reign of oue year a nd was ,

succeeded by his bro the r , C

harl es I X th en a buy only ten year s old who .
, ,

had for his guar d i an ath erine d e M edici an ambiti ou

C nsc ru u l
’
s and u p ous ,

w oman .

I n t his sen t en c e a tran s itio n i s m a d e from F ran c i s I I t o .

C h ar l es I X an d a no th er t o C a th e ri ne d e M e d i ci
.
,
’
.

5 5 4 ap ps n n nn
. cu m
sss .

2 . A no th er rul e for th e o bser v an ce of u n i ty is th a t m e m

ber s s h o ul d no t be a dd e d aft er th e se n t e n c e h as c om e t o a
c l o se .

I n th e fo l l o wi n g s en t en c e from Lor d C l are n d on s H is t ory a

’
,

v i o l a ti on of th i s rul e wil l be no ti c ed
T he xt day upon
ne l ains Dr H enchman one of the prebends of
the p , . ,

S al i b ury m
s et the kin g
,
the Lo r d W il m ot an d Phi li ps th en l e a
, vi ng himto
g o to the seacoa st to fin d a vessel the d oc t o r co nd u
-
cti ng the k i ng to a
,

place call ed H ea le three mil es fr om S al i sb ury be l ongi ng th en to S e rg ean t

, .

H yd e who was afterwards C h ie f j usti ce of the K i ng s Be nc h and th en in

,
-
’
,

possess i on of the wid o w of his el d er br oth er a h ous e th at st ood al o ne fr m o

neighbors a nd fr om a n
y highw ay wh er e c m i ng in la t e he supped with
, , o ,

so m e gen tl em en th a t we re accid entally in the house whic h co ul d not v e ry ,

well be av oi ded .
”

Th i s wh o l e p assag e i s c onfu se d i n it s a rran gem en t b u t th e ,

mo s t no ti c ea b l e fa ul t i s th e a ppe n d age of a c l a u se aft er th e

w ords e l d er b ro th er wh ere th e se n t e n c e c ome s n a tu ra l ly t o
,
"

a n en d .

55 . ms Pans m ss w .

3 .U n i ty re qui re s th a t p ro p er a tt e n ti on he p a i d t o th e u s e of

th e p aren th e s is .

Th e p aren th e s i s ge nera l ly con v e y s a n i de a of a s u bord i na t e

c h arac t er an d it is i nse rt e d i n th e m id s t of th e s e n t en c e near
,

e s t t o th ose w ords who s e m ean i n g it i s d es i gn e d t o a ffe c t .

Wh e n p ro per ly em p l oy e d i t i s of grea t v a l u e i n c om p o siti on ,

an d n ee d no t i n t erfere a t al l wi th the u n ity of th e s en t e n c e ;

b ut i t i s v ery l i ab l e t o i m p ro per u se .

Th e p are n th e si s i s u s u a l ly i n d i c a t e d by ce rt a i n m ark s ; b u t
th e s e are inerely for th e c on ve n i en c e of the rea de r an d i n m an y ,

c ase s i t h as no th i n g wh a te v er to i n d i ca t e i ts p re sen ce Wh e th er .

th e se marks be u se d or no t i s a mere qu e s ti on of p u n c tu a t i on ,

an d d oe s no t a t al l a ffe ct th e t ru e n a tu re of th e p aren th e s i s .
70

The p aren th esi s is u seful u n d er th e fo ll o win g ci rc u m s ta nces

1 T o gi ve em p h a i
. s s .

Th e fo ll o wi ng i s an e x am p l e
S upp (a d w b g pard f putti g u h a upp iti
ose n e e on or f th n s c s os on even or e

sak f argum t) th at t h D uk
e o en f W lli gt had aft r th
e e o ampaig f
e n on . e e c n o

1 8 15 , pr iv at ely accept ed rom Louis

f XV III as a mar k
.
, of his
grati tud e —M acauu v .
”
.

H e r e th e p aren th e s is c on v e y s an a po l ogy for p uttin g a s u p

po se d c a se ; an d th erefore th e th i n g refe rre d t o i s m ar k e d as
d i sg ra ceful an d i nfamo us wi th a n em p h as i s th a t c o ul d no t
,

o th er wi s e b e g i v en .

2 Th e p are n th e si s i s a l so u s e d t o o ffer a n e ce ss ary expla

.

nafio n

bt were wi ped out (ameasure be it underst ood which we by no

I f the d e , ,

me ans rec ommend ) the fund holder would cease to spend his fi e h undr ed a
, v

year M acauu v
.
” -
.

Here th e p aren th e s i s i n se rt s a n ec e ss ar y e xp l an a ti on of th e
a uth o r s o w n v i e w s i n the m os t con v en i en t an d s t r i ki n g p l ac e
’
.

3 A no th er c a s e i s t o be fo u n d i n p are n th e ti c a l c l a u s e s
. .

Th e s e are n u mero u s an d u se fu l They c om p r i se a l l s uc h .

c on ven i en t an d ofte n i n d i spen sa b l e form ul as as th e fo l l o wi n g :

So t o sp e ak ”
s t ra n ge to say i f I m ay be a ll o w e d th e e x
,
” “
,

p re ss i o n i n S p i t e of hi m se l f o ut of th e v ery ki n d ne ss of
” “
,
“
,
”

h is h eart
” “
th ro ug h u tt er i g n oran c e
,
” “
th ro u g h m ere w an t on ,

ne ss ” “
,
a w ful th o u g h t an d th e l ik e , .

I n al l ca se s wh ere th e p are n th e s i s i s u se d c are s h o ul d be

t a k en th at th e re be no a b ru p t t ra n s i ti on b ut th a t it fl o w ou ,
~

w ar d s moo thly with the re s t of th e se n t e n c e .

E rrors i n th e u se of th e p aren th e s i s are v ery com mon Som e .

w rit ers em p l oy th e m t o an e xc e ss i v e d egree an d see m u nab l e ,

t o p ro d u c e an y n u m ber of se n t en ce s wi th o ut i n serting explan

atory c l a u se s or m od i fyi n g s t a t emen t s Th e i r i n t en tion i s t o .

m a k e th e m ea n i n g c l earer ; b ut the re sul t of s o m an y i n t er

ru p t io n s t o th e c o u r se of th o u g h t i s ge nera l ly t o m a k e i t oh

sc ur e .

T he i m p ro per u s e of th e p aren th e s i s t ak e s p l ac e w hene v er i t

is of u n d u e l en gth or of t oo fre que n t occ u rren c e o r wh e n it h as ,

t oo s li gh t a c on ne c tion with th e s u bj e c t u n d e r co n s i d e r a tio n .

Thi s m ay be seen i n th e fo l l o wi n g p assa g e fro mD e Qui n c e y

 P er spicuity in S en tences .
71
“ F rty y ar
o e (
s ag o r o
orbabi lity a good deal mor e for we h av e
in all p ,

alr ead y compl et ed thi rty se v en y ear fr o m W at erl oo an d my r em

- s em brance ,

upo n thi subj ec t g oes bac k to a pe riod lyi ng muc h be hin d th at gr eat er a)
s

I used to be an noyed and irr it at ed by the fal se i n t erpret ati on giv en to the
G reek w ord aiaw '

H ere th e p aren th e s i s is of u n d u e l en g th for o u t of ,

fifty five
-

w or ds i t c om p ri s e s thi r ty fo ur an d be s i d e s wh i l e th e s en t en c e
-
,

refer s t o fa l se i n t er p re t a ti on s of th e Gree k w or d th e p aren th e s i s ,

t a k e s a w ay th e a tt en ti on of the rea d er t o th e t o t a l ly d iffere n t

s u bj e c t of the era of W a ter l oo .

I n th e fo ll o wi n g e x am p l e from Bo l i n gb ro k e th e s ame fa u l t
m ay be see n
“
It ms to me th at in order to mai ntai n the systemof the w orl d at a
see

ce rt ain po i n t far be l ow th at of i d eal per fec ti on (for we ar e m ad e capabl e of

co nce ivi ng what we a r e i ncapabl e of att ai ni ng ) but h owev er sufiicient upon
, , ,

the wh ol e to constit u te a state easy an d h appy (or at the w o rst t ol erabl e) ,

I say it see ms to me th at the A uth or o f nat ur e has see n fit to mi ngl e among

,

the societies o f m e n a few a nd but afew of th ose o n wh omhe i gr a

, , c i ously s

pl eased to best o w a l arge r po rtion of the e th er eal spiri t th an is giv enin the
o rdina ry course of his g ov ern men t to t he sons of men .
"

Th i s p ass ag e e xh i b it s m an y fa ul t s s u c h a s u s e l e ss re pe titi on s
, ,

t e d i o u s Ci r c u m l oc uti on an d genera l a wkw ar d ne ss of co n s t r u e

,

ti o n ; b ut th e th i n g t o b e no ti c e d h ere i s th e u s e of th e p aren
th e s i s with o ut a n y sufiic ien t c a u s e an d i ts occ u rren c e twi c e
,

i n th e s ame s e n t e n ce .

Th e fo ll o wi n g is an e x tra c t from a tr an s l a ti on of Rotteck s ’

U n i ver sa l H i s t ory :
ly wh at was d ec reed or approv ed by such assembli es (of the peopl e
On
th emselv es in so far as it was possibl e or at l east of the gr eat who represent
.

ed th emin som e m sure) wa s r egar ded as law ”

ea .

Here th e paren th e si s i s of d i sp ro port i on a t e l en gth s i n c e ,

it
com p ris e s tw en ty th ree w ords o ut of th i rty six
- -
.

5 6 . umr v
I N LO N G AN D saoar S E N TE N C ES .

F rom th e foreg o i n g i ll u s tr a tion s i t i s e v i d en t th a t u n i ty d oe s

n o t d e pe n d u pon mere l en gth s i n c e i t m ay be as w e l l o bs erv e d
,

i n th e pe r i od i c as i n th e s i m p l e s t r u c tu re Th e l on g sen t en c e .

h as its o w n bea uti e s an d i ts o w n a dv an tag es ; b ut i t re qui re s

more c a reful h an d l i n g an d a h i g h er d e gree of e l a bora ti on i n
or d er t o be effe c ti v e V i o l a ti on s of u n i ty are n o d o u b t c h i e fl y
.
7 2 E lemen t: f
o R/zetor ic .

v i s i b l e i n l on g se n ten ce s b ut th e se aris e n o t s o m u c h from

,

the i r l e gth a fr o mth car e l e s ne of th e w ri t e r Lo r d C l ar

n s e s ss .

en d o a mi d m a y e xce ll e c e s whi c h h a v e m a d e h i h i s t o ry
n, n n s

a c l a i c al w o rk e x hi b it th i one grea t b l em is h ; for hi s c are

ss ,
s s

l e c o s t ru c ti on s l ea d t o more fre qu en t offe n c e s a ga i n s t u n ity

ss n

th an c an b e fo u n d i n an y o th e r w r i t er of e qu a l merit H i . s

h ab i t often i t o be gi n a s t a temen t an d th en a ppe n d c l a u s e

s ,

after c l au e j o i n i n g ea c h by an y c on nec ti ve th a t m ay c ome t o

s ,

h an d wi th o ut an y th o u g ht of p ro pe r s u bo rd i na tion an d wh en
,

a t l en gth th e sen t en c e c ome t o an en d i ts c l o se d oe s n o t s ,

a pp ea r t o d e pen d u po n an y p u rpo s e of th e w rit er b ut seem s ,

r ath er t o come by c h an c e .

Wh e r e u n ity s thu s a ffec t ed th e reme d y i s g enerally ea s y

i .

E ith e r th e s en t en c e i ts e l f m ay be re c on s t r u c t e d or i f thi s c an , ,

no t be d one it m ay b e b ro k en u p i t o two or more ne w one s

,
n ,

eac h of whi c h w il l b e com p l e t e i n i t se l f

C H A PT E R V I .

PE R S PI C UI T Y I N G E NE R AL
P RSP I C U ITY G N RA L — CLE AR N ESS OF CO N C EP TI O N
57 . E IN E E .

TH O D AN D ME .

W E h a v e no w t o c on s i d er th e s u bj e c t of pe rsp i c uity in gen

era l .

Th e c hi ef re qui s it e h ere i s c l earn e ss of c on ce p ti on on th e

p art of th e writer I t i s e v i d en t th a t one wh o has d i sti n c t i d eas
.

of hi s s u bj e ct will be be st a b l e t o i mp ar t s u c h i d eas t o o th ers ;

an d on the o th er h an d it ma y be s a i d th a t wi th o ut thi s it is im
, ,

p ossi b l e t o a tt ain t o pe r sp i c uity N o writ e r c a n gi v e t o o th ers .

th at whi c h he h i m se l f d oe s no t p o sse ss Of obsc u re p ass ag e s .

,

so m e are wi th o u t an y d efi n ite mean i n g ; o th ers l e ad t o a c on

e lu si on whi c h i s no t wh a t is t o b e e xpe c t e d fr om the con t e x t ;

o th ers ag a i n are s u sc e p tib l e of a me an i n g wh i c h w as n e v er i n

th e mi n d of th e writ e r ; an d i n suc h c ases th e fa ult will gen '

e ra lly b e fo u n d t o ar i se from th e l ac k of c l ear con ce p tion s o n

the p ar t of th e a uth o r .
 P er spicuity in Gener al .
73

B ut eve n wh ere th e w r i t er has th e c l eare s t po ss i b l e c on cep

‘

ti on of hi s s u bj ec t it b y no m ean s fo l l o w s th a t hi s s tyl e wil l b e

,

p e r sp i c u o u s Th e art of e xp re ssi on m u s t b e s tu d i e d as w e l l ;
.

a n d wh ere th i s i s ne gl e c t e d th e mo s t c om p l e t e an d ac knowl
e dge d m as t ery of th e su bj e c t will no t p re v e n t o bsc u rity .

I n a dd iti on t o thi s th e argu men t m u s t b e p re sen t e d i n a d i s

,

ti n c t an d i n t e ll i g i b l e m an ner H o w e v er c l e ar th e i d ea s m ay
.

be an d h o w e v er lu c i d th e i n d i v i d u a l se n t e n c e s u n l e ss th e ar
, ,

ran gemen t of th e wh o l e be p e r sp i c u o u s th e g enera l i m p re ss i o n

,

l eft u p on th e m i n d wi ll after a l l be b ut v ague an d o bsc u re .

H en c e th e ord er of th o u g ht m u s t be a tt en d e d t o as w e ll as th e ,

art of e xp re ss i on .

A c on sp i c u o u s e x am p l e of one wh o se me th od i s i n fe ri or t o
h i s po w er of e xp ress i on may he fo u n d i n D e Q uinc ey N o E ng .

l i s h p ro s e w r it er s u rp a ss e s h i m i n c om m an d o v er w or ds or i n ,

the c on s tr u c ti o n of s en t en c e s ; b ut h e s eem s i n c a p a b l e of ar
ran g i n g his th o u g ht s i n th e mo s t effe ct i v e m an ner H i s s u c .

c e ss i on of i d e as i s oft en quit e i n c on s e qu en ti a l ; h e i n ser ts un

e xpe c te d ly ne w s u gge s ti on s wh i c h d i s t ra c t th e a tt en ti on ; h e i s
d i sc u r s i v e i rre gu l ar u nme th od i c a l a n d a t th e c l o se of hi s es
, ,
~

s ay th e read e r fi n ds th a t h e h a s b ee n en g age d i n a d e l ig h t ful

s u rv e y of se v era l p l eas i n g th e me s amon g wh i c h th e form a l s u b
,

jc e t i s far from be i n g th e mo s t p rom i nen t .

N o wh ere i s th i s so s t r i ki n g ly v i s i b l e as i n th e d i ffere n c e be
fore a l l u d e d t o b e twee n F re n c h an d Ge rm an w r it er s Th e l a t .

t er wh o i n m an y c a se s are th e a c k n o wl e dge d l ea d e rs i n sc i
,

e n ce an d p hil o s o p hy are no t orio u s ly obsc u re i n th e e xp re ss i on

,

of th e i r i d eas an d c on fu se d i n th e arran geme n t of th em whil e

,

th e former wh o a r e mo s t p re c i s e i n th e e xp re ss i on of th e i r
,

th o u g ht s are n o l e ss c l e ar an d l u
, m i no u s i n th e i r m e th od .

I n c on ne c ti on wi th per sp i c ui ty i n g eneral v ari o u s qu a l iti e s

of s tyl e p re s e n t th em se l v e s for con sidera tion an d th e se h a v e ,

bo th th e ir bea utie s an d d e fects which wi ll be no tic e d i n or d er

,
.

CO N C I S E N ES S on B R E V ITY
5 8 .
,
.

Con c is ene ss m ean s th e em p l o ym en t of n o more w or ds th an

are a bso lu t e ly ne c e ss ary Wh e n n o t c arr i e d t oo far i t m ay b e
.

quit e c on s i s t en t wi th p er sp i c u ity B re v i ty i s th e so ul of wi t
.
,
”

an d grea t an d i m por t an t tr uth s are often s u m me d u p i n a s h or t

b u t p i thy s t a t emen t Th e m os t fa . m il iar e x am p l e s of thi s are
74 E le men ts o f Rhetor ic .

fo u n d m axim s an d c u rren t s a yi ngs whi c h are

'

i n proverbs, , ,

u s u a lly as c l ear as th e y are b ri ef Ce rt ai n wri te rs are fon d of

.

th i s mod e of e xp re ss i on an d as i t is frequ e n tly v ery efl ective

'

wh en assoc ia t ed wi th th e figu re an ti th e sis so th o se wr iter s who ,

are m o s t con ci se wi ll ge ne r al ly be fo u n d em p l oyi n g an an ti

th e ti c al s tyl e T a c i tu s Lo rd Ba con an d E merson are st ri k i n g
m
.
, ,

exa m es of thi s .

Th e fo ll o wi n g se n t en ce s e x hi b it th is qu a lity
“
C ontentmay d well in all stations To be low but above con tempt may
. , ,

be high eno ugh to be h appy But m any of low de gree m

. ay be high e r than
c om put ed an d,so m e cubi ts abo v e t he c o mm on co mm en s uratio n for in all
st at es vi rt ue giv es qualifi catio ns and al l wances whi ch mak e out defects
o .

R ough diamond s are sometimes mistaken f r pebbl es ; and meanness may

,

be ri c h in a cco m i h m w h i h ri h i v a d ir — S mTfl o n as
"
pl s e n ts c c es n in e s e .

B aownz .

I n thi s p ass age we fi n d no more w ords em p l oy e d th an are

a bso lu te ly ne ce ss ary Th e s tyl e is c om p a c t an d e nerg e ti c ye t
.
,

quit e c l ear ; an d i f th e rea d er fee l s hi m se l f con s tra i ne d t o pa u se

o v er th e pe ru sa l of th e s e se n t en ce s, i t i s no t on a cco u n t of th e i r
o bsc u rity b ut ra th er from th e pe rcep ti on of a s u gge s t e d m ean
,

i n g u n d er lyi n g th a t wh ic h i s a t fi rs t a pp aren t .

So me ti mes th e mean in g is not a t on c e e vid en t an d pa ti en t ,

a tte n ti on i s re qui red i n o rd er t o arr i v e a t i t Th i s m a y be .

see n i n th e fo ll o win g se n t e nc e s from E m er so n :

Lite rat ure
is a point outside of our hodiernal r e through whi ch
ci cl a
new one may be d esc ribed ”
.

O ur moods d o not be l ieve in each othe r "

.

M en walk as pro phecies of the next a ge

"
.

S ome ti me s th e th oug h t i s no t s tat ed a t s ufli cient l en g th .

Con c i sene ss i s a virt ue i n s tyl e wh e n the w or ds are sufi cie nt ;

b u t wh en th e y are t oo fe w th en o bsc u rity i s the res ul t Corr
,
.

c i se w ri t er s as m ay be e xp ec t e d wh il e see ki n g t o e xp re ss th em
, ,

se l v e s wi th b ut fe w w ords oft e n l i m it th em t o t oo s m a ll a n u m
,

her ; an d for th i s re a s on are u n d ers t oo d with d i ffic ul ty Hen c e .

th ose wh o are d i s tin gu ish e d for thi s qu al i ty a bou n d i n o bsc u re

p ass age s Thi s ar i se s fi r s t from an e xc es si v e p a u c i ty of w o r ds ;
.
, ,

se c on d ly from e l li p ti c a l form s of exp re ss i on an d th ird ly from

, , ,

no t d we lling s ufficien tly u po n th e th oug ht th a t h as been e x

p re sse d .
76 E lement: f Rhetor ic
o .

Ci ce ro is p ree m i nen t I n E ng l ish li t era t u re the m ost s tri kin g

.

e x am p l e s are J erem y T ayl or E d m u nd B u r k e a nd Tho m a s De , ,

Quin ce y .

Thi s m ay be i ll us t ra ted by th e fo ll o wi n g p a ssag e from M a

caulay
“
In truth there is no sadder spo t on earth th an that little cemetery .

Death is th ere assoc iated not as at W es tminster A bbey and S t Paul s wi th .

’

ge n i us and virtue wi th public v ene rat ion and i mperishable renown ; not a
,

mbl est ch urches and chnmhyards with everyt hing that is mo st

,

in o u r hu

end ea ri ng in social and domestic c hari ties ; but wi th whatever is darkest in

h uman n at ure and in h uman des tiny— wi th the sav age tri umph of implaca
ble ene m i es—with the incon tancy the i ngratit ud e the co wardice of frie nd s
s , ,

— wi th all the mi se ries of fallen great ness and o f bligh ted fame Thither .

have been carried throug h successi ve ageg by the rude hanth of jailers
, ,

without one mo urner fo ll owing the bleeding relics of men who had been ,

the capt ai ns o f ar mies the l ea de rs of par ties the oracl es of sc nates a

, nd the , ,

o rn a men ts of courts .
"

I n t his p a ss age w e are s t r u c k by th e g re at variety of mod e s

i n whi c h one i d ea th a t of the sa d ness of S t P e t e r s C h a pe l i s
, .
'
,

p re sen t ed to the m i n d Th e writ er see ks i n m an y d iffe ren t .

,

d i rec t ion s fo r po i n ts of con t ras t wi th his m ai n th em e an d h i s

, ,

mean i n g i s s e t forth wi th g rea t ric h n e ss of l an g uage an d cl ear

n e ss of illu s t ra ti on .

Afil uence of s tyl e i s a s u s efu l i n e xp os i t ory wr i ti n g as in

d e sc rip ti v e an d n arra tiv e an d m ay be ill u s tra ted by th e fo l ,

l o wi n g p assage in wh ic h P rofe ssor Ty n d all sp ea k s of th e

,

su n
M ea su r la rds. soch areserv oir of power is i nfin i te ,
“
red by ou rges t stand a
but it is o ur privi l e e to rise above these standards, and to regar d the sun
g
hi mself as a speck i n i nfi ni te extension, a m ere dr op i n the un iv ersal sea .

W e analyze the space in whic h he is immersed, and whi ch is the v ehicl e

of his po wer W e pass t o ot h er systems and other suns each pouring forth
.
,

e ne rgy lik e ou r own but st ill with ou t infringemen t of the law whic h reveals
,

immutabi li ty n the m ids t of c hange whi c h recognizes i ncessant tr a

i nsfe renc e ,

and co n v e rsi on but nei th er fi nal gain nor l oss

, This law general izes the
aph ri smof So l om
.

o on th a t there i s noth in g new unde r the sun by t eac hi ng ,

U to d et ect e ve rywhe re u
s nd er its i n finit e v ari ety of appearances the same
, ,

pri m ev a l fo rce To nature no thi ng can be ad ded ; fromnatur e nothing can

.

be ta k en away ; the sumof her energies is constant ; and the utmost man
ca n d o in the pursuit of
phys i cal truth or in th e appli cation of physical ,

k nowl ed ge S to hi ft the condi ti ons of the nev er v aryi ng t otal and out of
, I s -

one of th emto fo r ma
,

noth e r .

P rofessor Ty n d all is one of th o se sc i en ti fic wr i ters wh o see k

 fi p wi G a
'

t i
r r rc
y n ener l .
77

to ren d er thei r s tyle attr ac ti ve by m ean s of r h e t ori cal em

be llishment ; no r d oes the c ul ti vati o n of t he ar t of e xp re ss i o n
d e trac t i n a n y d e g ree from the accurac y of hi s me th o d I n .

{his p a ss ag e th e read er will fi n d c o pio u sn e ss of th o u g h t

profusion of il l u s tra tio n an d am
,

uence of lan g u a g e all com

, ,

b i n in g to p resen t a clear a n d viv id im p re ssion of th e mean

.
’
Difl use ness, wh e n c arrie d too far b e c ome s a fa ul t in s tyl e
, ,

for t he n th e mean i n g i s o bsc u re d u n d er a ma ss of u n ne c e ss ar y

wo r ds Th u s th e v ery affl ue n ce of l a nguage a n d the r i c h vo

.

ca bula ry w hic h are an a dv an ta ge a t the o u tse t from the w a nt ,

of d u e re p ression gro w a t l as t to be an e vil of no com mon

,

m ag n i tu d e .

Th e re are some wh o are na tu ral ly gi ft ed with g rea t fl ue n cy

i n spe ak i n g or w r iti ng Th e y e xp re ss t he i r th o ug h ts with so
.

m u c h e a se an d fu l ne ss that t hey ne v e r th i n k of e x am i n i n g wh a t
th e y h a v e w r i tt en s ti ll l es s of c o rre c ti n g it
, Th is se l f c om p l a
.
-

ce nc y d es t ro y s a t th e o ut s e t a l l th a t no b l er effort after se l f im -

p ro vemen t whic h i s ge neral ly bo rn of d i sc o n te n t or se l f dis trus t -

,

an d t e rm i n ates i n a co n fi rme d h ab i t of care l e ss ne ss or i n t e l

l ec t ual i n do le n c e S ho rt an d l on g e ssa ys an d sh ort a n d l on g
.
-

se rmon s are ofte n m i sj udged an d th e s u perfi cia l h ea rer o fte n

,

suppo s e s th a t the l on ger w ork i s th e re sul t of g rea ter labor A s .

a m a tt er of fact h o we v er the shorter wor k m

, , ay h a v e bee n pro
du ced b y l a bo rio u s and pa i ns tak i n g c om p ression wh il e the ,

l on ger one m a y reta i n its origi na l l en gt h out of t h e mere care

l e ss n e ss of the wr i t er I t i s p l ain th a t u n d er s u c h c irc umstan
.
,

ces th e form er wil l be far c l eare r an d m ore s a tis fa c t ory

, A mon g .

spea k er s that one is mos t i n t ell igibl e wh o u s e s wo rds l i be ra l ly

, ,

b ut i s p re c i se i n th e i r a pp l i c atio n ; and h e i s m os t d i ffic ul t

to fo l l o w w h o i s d i ffu s e wi th out pr e cis io n an d be i n g c arried
, ,

a w a y b y his o w n fl u en cy hi d e s h i s m ea n i n g u n d er a c l o u d of
,

w or ds .

D ifl useness wh en c arr i e d t oo far m ay b e con s i d ere d as v er

'

, ,

bosity an d amon g it s c h arac t eristi cs th e fo l l o wi n g m a y be m en

,

tion ed a s th e mos t s t rik i n g : fi rs t th e me n tion of u n n e c e ss ary

,

c i r cu m s t an ce s ; sec on d ly th e e xc e ss i v e u se of e p ith e t s ; an d
, ,

th i rd ly the t e d i o u s re it e ra tio n of th e s am e th o ug ht in d ifl ere n t

'

w ords .
78 E lemen ts f M
o or ia .

60 . R E P E I I TI O N
‘ ’
.

P erspicu ity is fr equ en t ly g ai n ed o r i n c re ase d by the r ei t era

tion o f so me i mpo rt an t fact o r st atemen t I n sci en tific w orks
"

i t is oft en nec es sary to r emi n d the r ead e r of wh at has be en sai d

befo r e I n a co u rse of l ec t u res each one wil l ofte n be ad van
. ,

tag eo usly begu n by a s u m mary o f the subj ec t matter of the ~

p rec eding I n se rm on s. i n c e ssan t repe titi o n of the same ,

i d ea may be n ot on ly be n efici al bu t n ecess ary for in th is ,

way any i mpo rtan t po i n t i s s ure to be i m p r e ssed u po n the

mi nd R ei te r ati on h ow eve r has to d o not on ly wi th cl ear
.
, ,

n es s b u t wi th e m
,
ph as is and wi l l c ome up agai n for full er ,

co n sid e r ati on .

T he u ti li ty of r epe titionis shown fo r th v ery for cibly by De

Qu i n cey
I n the and for the sam
se nae, e ea t
son in a ne spape , is a vi ue to r w r it rt
r it r t y r
e e ae ou m ean ng ; ri ti
v a a on o f the word s, i asu bs an ia id en wi th t t l
t ty
i of t he sense a nd d u on of t he il ti tr th
u , is of en mes a necess t ti ity .

Ti m e m t i t ll y
us be given for the n e ect to edd abou a u , and to appr o t tr th
p riate its r
be a ing s, an d thi
s is o b a ned b v a ti y
ng t he mod es o f p ese n ryi r t
ing it— now p u t ing d ec t it ir tly r
befo e the eye, now o b ue n ow in an ah liq ly ,

tr t h
s a c s ape now i n the conc e e ; all
, rt
c whi h
be ng t he p ope ec n ca i r rt h i l
i li
disc p ne fo r de a ng li with h
s uc ht
cases, oug no onge to be vie ed as a l r w
l ti tyl t t tyl
icen o us mod e of s e bu as t he j us s e in espect of ose cen ous , r th li ti
ir t h
c cu ms ances A nd t he tr ue art fo r suc po pu a d sp a is to con nue
. lr i ly -
ti
t
t he bes fo m s for a ppea ng to say some ng new, en in eal you are
r ri thi wh r ity
but ec o ng ou se f ; to b ea u p mass c o rds n o u nn ng V i b ai ons,
hi y r l r k y h i t r i rt
and to mas b s g diffe ences in the m
k y li ht r anne a v e ba d en in the r r li tity
su bs a t
nce
”
.

The fol l o wing is an xampl e of repe ti tion in the fo rm of e

a su mmary of the su bj ec t matt er of a p re vi ou s d isc ou rse -

.

I t is t ak en from the seco n d A dv ent l ec t u re of the R ev F W . . .

R obertso n
La t Th ur d ay w c i d r d th ff ct f thi ad v t i G r c W
s s e ons e e e e e s o s en n ee e. e

f u d h c tral p ri i p l
o n t e f G r c i a li f t b w rl d l i
en Th G r k
nc e o e n e o e o ness . e ee

saw a d nught a d w r hi pp d thi g hi g h r th a thi li f bu t ly thi

so n o s e no n e n s e, on s

li f it l f H c G r k r li gi d g rat d i t m r ta t which i p
e se . en e ee e on e e ne e n o e e s e, s er .

ce pi f th b au ti fu l
t on o Th r u lt
e charact r wa thr f l d R tl
e . e es on e s ee o . es ess
n ess, which t th G r k thr ug h thi w rl d with hi g r at h u ma h art
sen e ee o s o s e n e

u ati fi d fi kl i d i p iti a d v r i q u iri g with i ati abl cu ri ity

ns s e , c e n s os on , n e e n n ns e os

aft re m w thi g Li c ti u
so e ne ; f wh v r attach hi h art
n . en o sn ess or osoe e es s e to
th u tw ar d b au ty with u t w r hippi g chi fl y i it that m ral b au ty f
e o e , o o s n e n o e o
wh ich all l i bu t th typ a d th ugg ti
e se s c arily l wly it may
e e n e s es on, n e ess , s o

b bue,t i vit ably i k d w a d d w i t th d p t aby f

ne , s n s o ual n n o n n o e ee es ss o sens

exi t c La tly— u b li f Th G r k
s en e. s i g p ri cipally thi w rl d l t
n e e . e ee , see n n s o , os

hi h l d u p
s o th xt F th law f faith i th at ama a ly b li v
on e ne . or e o s n c n on e e e

what i alr ad y i hi pirit H b l i a h i

s e n s s . e e eves s e s.
”

monsssrozv 5 6x . .

D ig essi on i s a d p ar t u re fr om the i mmedi at e s u bj ect fo

r e r

the c o sid er ati o of some th i g else

n I t be ar s th s ame
n n . e

rel ati on to the wh ol e w or k wh ic h the p arenth esis bear s to

the se nt ence and l ik e the p aren th es is i t has its use and i ts
, , ,

abu se .

The p r ope r use of dig r e ssi o n m ay be stat ed th u s

Fi rs t I t is u sed to i n trod u ce a n ec es sary e xpl an ati on
. .

S ec on dly I t is u sed to gi ve additi onal emph asis to p r eviou s

.

st ateme n ts .

Th e re are two chi e f c l asses of digression— fi r st n arr ativ e or ,

d es c r iptiv e wh ich c o nsists of anec d ot es for i ll u st r ati on or oth er

, ,

si mil ar p ass ages ; se co n dly the disc u ssi on of some poi nt wh ich ,

st an ds in cl ose r el ati o n to the s u bj ec t .

The foll owi ng i s an ex am pl e o f the use of dig ressi on of the

na rrativ e ki nd which als o se rv es to il l u st r at e the s u bj ec t
,

h ty lt t The as mu i u de
A dmiri g t r n w rk r en e ed, and the o som e p aise
A d n m th r hi t
so h ek w e ac tec ; his and was no n
I h av by m y t w r tr r h h
n e en an a o e ed s uct u e ig .

N or was his na e u n ea d or unad ored m h r

i t r l
I n anc en G eece ; and in the A uson ian and
l ea ca ed him M ulci e ; and how he fe
ll br ll
F r m h v th y l thr
o ea en e by gry J v
fab ed , own an o e
h ry l b ttl m t r m m r
S eer o er the c sta a e en s : f o
’
o n
T o noon he fe , f om noon to d e
ll r wy ev e,

A su mr
m e s day ; and i the se t n sun
’
w th ti g
D pp r m
ro ed f o ith lik
the ze n lli g t r
e a fa n s a

On Lem i l th th y r t
n os, t he E gea n s e ; us e elae
E rri g —M n .
"
rt r o n .

The a ch it ec t of P an d e m
r on iu mis thu s i n g en i o sly id en tifi ed u
with V lc an, and the n ar ati on of the cl assic al myth p esents
u r r
the mi n d wi th a fam r u
ili a s bj ect, and giv es great er disti n c t ness
’
to the poe t s conc epti on .
80 E1 mm : o f Rhetor ic .

The fo ll owing is an exampl e of the seco n d c lass of digras ~

si on wh ich d isc u sse s some th eme in cl o se co nnec ti on with the

,

subj ec t This serv es to giv e addition al emph asi s to what

.

be e n
il h ly lig ht ! ff pri g f h av fi t b r
Ha o o s n o e en rs -
o n,

t al b am
,

Or f th
o t r a l
e e e n co-e er n e .

th I r vi it af ee e s s e,

d f l thy v ra vital ; bu t t h u
’
An ee so n ness o

i it t
R ev s es not th
ese e es,
y that r l l i v ai
o n n

T o find thy piercing ray, and find no dawn

So thick a dr op serene hath q u enched their orbs

il
O r dim sufl us ion e ed Yet not the mo e
v r
'

C ease I w r wh r
to an de h
e e t he M uses aun t
r pi g h y gr v
Clea s r n , or s a d yh
o e, or sunn il , l
Smit with lvthe o e of sagcr ed son .

Th wi th y r
us the ea
o rt r r r
Seas ns e u n ; but not to me etu ns
ppr h
D ay, or the swc t a v
oa c of e en or mo n, r
Or si g ht l bl m
of verna oo , or sum
r mer s ose,
’

u
O r floch or her o r hurna n faee divine ;

Bt l m v r r g rk
u c oud irw d , and e e -d u in da
Surr u d m
o n s e.
”

The poe t begi n s wi th an i n voc atio n to ligh t , after wh ich he

mak es a d ig es si o n, in which he allud es to hi s own pe sonal
r r
t
c o nd i i on and fee l i ng , in l an g age full o f p ath etic beau y and u t
by the c on tr ast be twee n h is own mel anc ho ly d a k ne ss and the r
j y
o o f h e av e n ly light,
he gi ve s to h is s bj ect a g reat e r e mph as i s u
th an i t had gai ned even fro the subl i me ope n i ng d esc rip m
ti o n .

De for his f eq uen t digressi on s

Qu i n c ey i s no e t d Th i s r .

ari ses f om his fau lty me h od , and his l ack of w et to con

r t
r
c e n t at e his th o ugh ts u po n o ne l e adi ng subj ec t om e ti me s, . S
h ow ev e , his dig es si on s are most apt an d l mi no s ; an d i t
r r u u
mus t he c on fe ssed th at ev en wh en he wand ers aw ay too far he
r
is gen erally su e to be i nst r ctive or en t ert ai n i ng I n the fol u .

l owi n g p assage the digressi on adds m c h to th e fo c e of the u r

d esc r iption :
E nteri ng I cl osed the d oor so softly that alth oug h it opened u pon a ,

h all whi ch ascen ded throug h all the st ori es no ech o ran al ong the sil en t ,
’

walls Th en t urn i g around I so ug ht my sister s face B ut the bed had

. n
’
.

been mov ed and the back was no w t urned N oth i ng m t my ey es bu t one

, . e

large wind ow wi d e o pen thr oug h whi ch the sun of m

, i dsummer at noond ay
 '
m a
y in Gener al .

was showering d own torrents of splend or The weather was dr y the sky .

was c o ud ess the b ue dep s seemed to exp ess pes o f nfin

,

l l , l th ; and r ty i ity it
i l
was not poss b e for eye to be old or for eat to co nce v e any s mbo s h h r i y l
mor e pahe ic of fe and the glo of ife
t t li ry l .

Let m e pa use for one ins an in app oac ing a ememb an ce so affec
r r t t t r h
r l ti ry y own mnd, and one
i whi h rthly r
.

ing an d ev o u ona in m c (if any ea em em

b ance) i su v ve for me in the ou of d ea , to emnd some eade s

r w ll r i h r th r i r r
and to info mo e s a in the o igina O p u mC on fess ons e ndeav o ed
r th r th t r l i i I r
li
to exp an the ear why h deat , ( M w is mo e p ofo un d affec ng
r r ly ti '

son pc r zb ,

in sum me an in o e parts of the ea ; so far at eas as it is ab e to

r th th r y r l t li l
m ti r t
any odifica on at all f omaccid en s of scene ry or sea so n rThe ea son as .
,

I th r t l
e e su gg es ed ies in the an ag on smbe ee n the op ca ed u ndancy
t i tw , tr i l r
of hfc in sum mer and the da s e ili ies of the g av e
rk t r t r
'
”
.

By p au si ng h ere he l eaves the r ead er co nfront ed by a most

affect i ng sc ene and the d igressi on i s mad e to a ki nd red th em
, e

which se r ves to d eepen the effec t of wh at he has p r evi ou sly

w ritt en .

The imp mper use of d igressi ons may be observ ed u nd er the

foll owi ng ci r cu mst an ces
1 Wh en the w r it er
. n t e rs u pon someth i ng whi c h is not su
e f
fic i ently connec t ed wi t h thes u bj ec t .

2 Wh en th ey are too l ong

. .

3 Wh
. e n th ey are too fr eq u e n t .

D e Q u i nc ey oft en exh ibits th ese fau l ts .

I n h is e ss ay on S ec r et Soc i e ti es he m ak es a digr essi on to

speak of ac e rt ai n family which is q u it e p ro per in i ts way The , .

fau lt i s th at in the m
_

idst of th is he s u dd enly t urn s asi d e u pon

a fresh dig re ssi on
“
A mong fa i ies, a th
nd dis ing uis ed a ong
ese ml th m th t
e , wa s a of thet h m
Farrers The na .me of ei pa i monial es ae was i e Gedding , an d,
th r tr tt L ttl I
thi k
n , in the C o u n ty r r Th y w r y t t r mi
of H e t fo d e e e b nai v e un o f nd a
. nd
b ac comp shmen s a mos n e es ing fami
y li t ti tr t ly m r y lh
I n so e o a ouses of .

Eu ope was once a cus om a e ve son, if not eve daug e , s ould

r it t th t ry ry ht r h
l r tr
ea n a ad e is cus om su bsis ed d o n to the da s of the u n app
Th t .t w y h y
L i X I
ou s l k mth I
V , who was a oc s i , and was once ass u ed b a F enc
. r y r h ,

man who ne him e , not so bad a one, consid e ing (y ou no ) a one

k w w ll r k w th t
canno be as oug as mg he is ed in sco d ng a oc sm
t r h i ht w h l i l k ith th t
a on e is
li
ob g ed to a ddr ess a s
‘
ou m
y r ajest y A
’
l k mth
maj estic oc s i has a so of rt .

g to be abad one The Farrers ado p ed is cus om, an d mos of em

ri ht t th . t t th
h tr k ll r thi
c ose the ade of aboo se e W hy s was agood ad e to c ose, tr . h I will
li ri r i
exp an in a b ef dig ess on It r
is a eason whi h li
c app es on to
. ly three

th r tr
o e ades, via, to co n ng, to p in ng boo s, an d to m
i i r ti k k l
a in g go d or sil
l t
v er p a e r
A n d the easo n is
. is—a
th r r
ll the fou ats sta nd on a n s i thm
us,
t th m
connec ing e on one s de wi i th m
erely m echan ic a rts, on the o th r th
e wi
82 .
E lemmts f
o fi betor ic.

the fin e s art This was the be t w marki ng

ee n th e c oi a
n g es of
distin c ti on
i t y m r t I n com
.

c E u p n d Ea nd a
.

an n c la
e ss ca
i l d a s a n d ou o w n O o e an a r s .
s i

are t h basese t o f all b ase p od u ts fr om r u d e b a r ba

r re s q ue cha n d i cr aft Th ey .

r i
a e ma e g i d by tnh e m a n s o me h o rri d C y c l o p,s w h co nce i v ed the gr ea t o

i deaof a h orseshoe apok er and a tenpenny n ai l , ,

.
”

I n the pl a c e fi rst
th is subj ect o f th e F arre r s f a m ily co n sti
t utes a dig r e ssi on fr o m th e m ai n subj ect “
se c r e t s o c ie ti es ”
, ,

an d f om
r t hi s a s e c o n d dig r e ssi o n i s m a d e to
“
co i n in g
”
.

STYL E
§ 6z A . LOOS E .

Perspicu ity i s vi o l at ed by al oos e s tyl e ar isi ng fromconfu si on

of th o ught an d c ar
,
e l e ss n e ss i n th e ch o i ce an d a rr a n g e m e n t of
w or d s T hi s i s ch ar ac te r i zed by l ack of p r ecisi on fr equ en t
. ,

re e p t i t i o n s a n d th e p r e s e n t a t i o n o f t o pics in a di s c o n n ect ed or

i n co n sequ e n ti al man n e r ; whi l e n ot u n fr e q u en t ly the st atemen ts

,

are so s el f c on t r adi ct ory a

- s to h a v e a ridicu l ou s e ffec t I n the .

fo ll o wi n g sen t e n c es will be fou n d so m e of the m o r e gl a r i ng ex

ampl es o f l oo s e ne ss o f styl e .

A spe ak e r all udi ng to the l at e Vic e P resid ent Wi lson s aid

,
-
,

H e r e was a man who neve r s tru ck his c ol ors til l he had se

cu r ed a vic to ry ”
A ne wsp ape r n o t ici ng ad eath fromd row n
.
,

in g say s
,
“
th at the c or one r h eld an i n q u est conc er n i ng the
d eath o f Th o mas S hipp who was d r ow n ed on the fo l l owi ng ,

n i g ht
”
. A noth er noti ci ng an accid en t to atr apeze perfo rmer
, ,

s ay s I t was aft e r w ar d s di sco v e r ed t h at the boy s c o ll ar ’

bon e was b r ok e n bu t u n fort u n ate ly h is i nj u ri es are n ot of a

,

d anger o us d esc r ipti o n ”

A thi r d s ays : A po ny c arr i age was
.
“

p as si ng al ong N e w Bo n d S t ree t Bat h wh en in t u r n i ng i n to , ,

N or thg at e S treet it fel l d o w n and b rok e b o t h of its l egs ”

.

D esc r ibi ng a st eepl e ch as e the I r isli Times says : A v e ry -

,
“

n ic e d a y s sp o r
’
t w a s c a r r i ed o n o v e r a n e xc e ll e n t c o u r se all ,

gr ass o ve r the l and s of M r H end e r so n wh ose h ospit ality was

, .
,

u n bou n d ed I t c on sist ed of two w al ls two b ank d rops a wat er

'

.
, ,

c ut an d two h u r dl es
,
”
R ec ord i ng the d eath of a man at a
.

r i ot a Bel fast p ape r say s Th ey fi red two shots at him the

, ,

fi r st sh ot kill ed h im bu t the sec on d sh ot was not fat al ,

”
An .

o th er sp ea , ki ng of a d eaf man who was run d o w n by a tr ai n

an d ki l l ed say s : H e was i nj u r ed in a si mi l ar way two y ear s
“
,

ag o . A no t h e r sp eak s o f the P r i n c ess Lo u i se as goi ng to

Wimbl ed on to wit ness the sh ooting of her h usb and
.

“ ”
An .
84 E lemen ts f
o Rhetor ic .

F o u rth of J uly o r ation s A l l th ese aim to be spl en did

”
.
,

sh o wy an d o r n ate in the high est d eg r ee and h av e the s ame

,

r el ati on to oth er b r an ch e s o f compo siti on as th at which i s

h el d by the su mptu ous fu rn itu re an d g au d y or n amen ts of a
h ot el or th eatre to the t asteful d ec o r ati on of a p r iv at e man
si on.
 P A RT I I .

P E R S U A SI V E N E S S I N S TYL E .

C H A PT E R I .

FIGURES O F S PEEC H .

5 64 . P E RS UAS ts sss — p asummu R EMAR KS v .

T H US far our att en ti on has been d i rec t ed to pe rspicu i ty b u t ,

i t is e vid e n t th at we mu st s eek fo r s omethi ng v e ry d i ffe r en t if

we w ou ld fi n d the cau se of the persu asi v e po w e r o f sty l e In .

the w o r k s of gr eat au th o r s we pe r c eiv e m any things whic h arr est

the atte n tio n and r et ai n i t The i m agi n atio n is sti m u l ated by
i
.

ce rtai n pec u l i ar iti es o f th ought and ex p ressi on 3 and h i n ts are

giv en th at r ais e u p aw o r ld o f associ ated id eas The emoti on s .

al s o are exc it ed ; and the r ead e r is moved not so much by the

s u bj ect as by the mod e of its p r es en t atio n The s ame effec t .

is al so p r od uc ed ev en u po n the r easo n T he meth od of on e .

au th o r m ay be fau l tl e ss an d yet q u it e i neffec ti ve fr omd u l ness

,

o r frigi di ty o f t r eat m e n t ; wh i l e an o the r with si m il ar or ev en

,

in fe r i o r ar gu men ts m,
ay e xhibi t s u ch attr ac tiv enes s o f l angu ag e
th at his p o w e r is al mo st i rr es istibl e .
N

S ty leh therefore is c apabl e of ex hibiti ng som

, e thi ng high er

th an pe r spicu ity an d of ex ert i ng astron g pe r su as i v e po w er To

,
.

att ai n to this it sh o uld displ ay l i fe vig o r an d b r ill i an cy

, ,
I t is .

not eno ugh th at it sh ow a m tiv e freed omfrom d efect ;

_

e r e neg a
“

i t sh o u ld be mar k ed by an att r activ e p o w e r wh ich may c ompe l ,

by its for c e o r all u re by its gr ac efu l ch arm I t is this th at .

c on stitut es th e chi ef d iffe r en ce b etwee n a goo d styl e and abad

o ne. Fo r a boo k may be pe r fectly i n t elligi bl e ; the w or ds may
be w el l ch os en ; th ey may ex hibi t p r ec isi on p u r ity and u n ity ; , ,
86 E lemen ts f Rlzztor ic
o .

an d y et i t may be u n read abl e o n acc ou n t of i ts d u l ness Wh er e .

thi s is the c as e the styl e is bad D u l n ess and mo not ony are
.

w or s e faul ts th an obscu r ity wh en obscu r i ty is assoc i at ed with

,

o th e r qu ali ti es which m ak e the w o r k r ead abl e .

This vit al el eme n t o f styl e is k n ow n by di ffer en t n ames n o ,

on e of wh ich c an be s a i d to be al t ogeth er s atis factory By .

C am pb el l it is c al l ed vi v acity an d by Wh at ely energy

“ ” “
, .

O th er wr i t er s sp eak of i t a an i mati on
” “ ”
s el ev ati on attr ae , ,

tiveness an d th e lik e The c el eb r at ed t r eati se o f Lon gi n u s

”
,
.
,

wh ose Lati n titl e D e S ublimitate has bee n t r an sl at ed O n

“
,
”
,
“

the S ubl i m e
”
is en t i tl ed in G r eek wcpi Grie ve which may be
, ,

t r an sl at ed O n E l e v ati on (th at i s of styl e) I t t r e ats of

“ ”
.
,

many thi ngs which h av e no co nnecti on with the subli me as “ ”

,

we u nd er st an d th at w o r d ; and in many c as e s r efe r s to th e v er y

qu ali ty n ow u n d e r c o n sid e r ati o n Wh e re th is d i ffe r en c e exists
.

as to the appl ic at i on of a fitti ng t e rm i t is pe r h aps bett er to ,

sel ect a noth e r t h at sh a ll acco r d with the chi ef en d of r h et o r ic ,

o f wh ich th is q u a li ty is the high est expo n en t N ow the ends

'

o f r h et oric a r e to i n stru ct to co nvi nc e to pers u ad e and to

, , ,

pl eas e ; bu t of th ese the h igh est and most ch ar act er i stic i s the
aim to p e r su ad e A cco r di ngly if thi s qu ali ty be c al l ed per
.
,
“

su asiv enes s the rath e r cu mb r ou s ch arac te r of the w or d may

”
,

be ex c u s ed o n the gr ou n d of i ts appr0priateness .

§ 65 DE FI N I TI O N
. ERSUA S IV EN ESS
or P .

P ers u asiv eness in styl e th er efo r e co mp r eh ends ev erythi ng

, ,

th at may c onduc e to ar ou se the att en ti on en forc e argu men t , ,

s timul at e i magi n ati on an d excite the feel i n gs

, .

I t may be w el l to not e th at pe rs u asiveness and als o perspi

cu ity are t er ms th at h av e a t wofo ld appl ic ation the on e to
—
styl e an d the oth er to meth od I n styl e it r efers to the mod e
,
.

of exp r e s si on in m eth od to the a

,
rrangemen t o f the subj ect
matt er ; an d to one who b ear s in mi n d thi s distinc ti on be
tw een the two th er e n eed be n o c au se of m is app r eh en si on of
mean i ng .

66 . ENERAL D IV I S I O N S O F TH E S U BJ E CT o r P ERSUA S IV EN ESS

G .

Th e subj ect of p er su asiv en ess up o n which we are ab o u t ,

to en t e r wi ll e m
, b r ace the fo ll owi ng divisi ons : I Figur es of .

S p eec h I I E nergy I I I V i v acity

. . . . .
 67 . FI G UR ES
SP E EC H or .

The fi r st s u bj ec t for our c on si d e r ati on is figu res of sp eech .

A figur e is a fo r m of speec h artfu lly v aried from the c om

mon u sage .

Figur es are fou n d in the v ari ou s d ep art men ts of l angu ag e

in l ogic g r amm , ar and r h etori c
, I n gr amm ar th er e are fig
.

ur es of eu ph ony p rosody and sy n t ax ; in r h et oric th e re are

, ,

fig ur es of sty l e or at o ry an
, ,

wi th figur es o f styl e which are al so c al l ed figur es of spe ec h

,

ee k a nd R o m an r h e t o ric i an s c arried the st u dy

an ext en t wh ich has bee n c on sid ere d exc e ssiv e n ot ,

mod er n ti mes but in anc i ent C ic ero in h is De

, .
,

nd e l se w he r e e nu m er at es many of the most mi nu t e

,

bhar ac ter U nd er th is h ead he i nc l u d es all the e mbelli sh

.

ments of oratory and mak es all exp ressi ons figu r ati v e which
,

are m ost b ri ll i ant a nd m ost effec tiv e i n i m p ressi ng an au di e nc e .

Q u i ntil i an i s O ppo sed to the mu l ti pl ic ation of figu r es and h is ,

w ords are wo r th q u oti ng “

Th ey are he s ays far fro m
”
.
“
, ,

bei ng so n u me rou s as many w r it ers r ep r es en t th em; for all

th os e n ames o f figure s whi c h i t i s so easy for the G r eeks to
,

i n v e nt h av e no i nflu ence wi t h me Fi rst of all th ose who th i n k

,
.
,

th at th er e are as many figu r es as affec ti ons of the mi n d are

to be u tter ly dis reg ar d ed ; no t bec aus e a n a ffec t i on of the mi nd
is not a c e rt ai n conditi on of i t b u t be cau se a figu re is not a ,

me re exp r ess i o n of any co nditi on of mi nd wh at ev er To .

te s t i fy ang er o r g r i ef o r pity or fe ar or co n fid enc e o r co n

te m pt i s not to use a figu r e ; any more th an to advi s e or
th r eat en or en t r eat or excu se ”
Th e se r emar ks are so fu l l of
.

good s ens e th at th ey mu st commen d th emse l ves to all Th u s .

,

in the c as e o f t he em oti on s it i s e vid en tly u nnec ess a

, ry an d
i ll ogical to set d ow n as figu res all exp r essi on s of h at e abh or ,

r enc e con t empt ; of menace or d efianc e ; of as sert i o n or d enial

, .

I f th is w er e fo ll o w ed out figu res w o u l d be mu l tipli ed in d efin ite

,

ly . The s am e r em ar k h olds goo d wi th r eg ar d to the t ac tics

a n d artifice s o f o r at o ry — explan a tio n offe r of p r oo fs i n t e rru p
, ,

ti on c on fessi on s c on ces si o n s an d the l ik e A l l th ese th ough

, , ,
.
,

d ese rvi ng c onsid e r ati on n eed sc arce ly be set d o w n as figu r es

, ,

b u t may r ather be r eg ard e d as mo d es of p r es en tati on of ar gu

men ts .
88 E lements f R /zetor ic
o .

T he t erm figu r e of S pe ech is e q u iv al en t to form of expres

si on with a r estr ict ed and t ech n ic al appl i catio n I t mean s
,
.

such a fo r m of exp r essi o n a s Sh a ll c omply wi th the foll owi ng

r equi si t es
I .
I t is pu rpo sely an d artific i al ly v aried fromthe c ommon
Us a
m
ge .

2 . I t is used with su c ie n t fr eq u en cy to possess mar k ed and

d efi n abl e ch ar act e r is tics of its own .

3 . I t m ust fu r th e r the e n ds of r h et o ric by t en din g to pe rs uad e

o r pl e a se .

I f th is t est be appl i ed to any o f the w el l kn o w n figu res it -

wi ll be fo u n d to h o ld good A ntith es is met aph o r and cli max

.
, , ,

for i n st an c e are all arti fici al forms ; th ey all h av e stro ngly

,

mar k ed c h aract ers ; and th ey all tend to p romote th e ends of

r h etor i c .

§ 68 . I M PO RTAN C E
FIGUR ES or SP E EC H or .

Figu es of peech a of s u c h i mpo r tan ce th at th ey mu st

r s re

alw ays oc c upy a p ro mi ne t pl ace in e v er y t r eat ise on styl e or

n

c ri ticis m .

1. Th o ugh di fferi ng in spe c i al char acter or effects they all ,

h av e o e thi ng in c ommo and t h at is th ey co n t rib u t e bey ond

n n, ,

a ythi g e lse to the embel lish m

n n e n t of styl e S ome c reate a .

picture be fo r th mi n d ; o t h e r s gr atify the s ense of p r o po r

e e

tio ; o th e r ad o rn the s u bj ect by co ntr asti ng i t with some

n s

o th er which is lik e o u n l ik e ; a d th us in v a
r ri o u s w ays theyn

e sth et ic a
app e al to the a l sibil iti es se n .

2 . Th ey c on t r ibu t e to pe r spi cu ity by the powe r wh ich many ,

of th em h a v e of th r owi n g fr esh light u po n a s u bj ec t by pre

sen tin g it in a n ew an d u n expec ted form Th is is espe c ially .

th e c a se with c om p aris on met aph o r an d ex ampl e an d many

, , ,

o th er s of the figu r es of r el a ti vi ty whic h are u se d by w r it e r s who

,

woul d nev e r ad e pt th emmere ly for o rn ame n t Th ey are u se d .

to ill u st r at e a subj ect which th u s g ai n s a cl e a

,
r ness t h at c ou ld
be giv e n in n o o th e r way .

3 Th ey ad d to the p er s u asi ven ess o f styl e

. Th ey give va .

r ie t
y to it by e n abli,ng t h e au th o r t o C h an g e his fo rm o f exp r es
si o n at will Thus a pe r pe tu al fr esh ness and vivaci t y is the
.

r esu l t toget h er wi t h an att r activ e b r i ll i an cy O ld t h ought s

, .
,

which h av e l ost t h ei r fo r c e th r o ugh famili ar ity may thus be ,

ren d er ed str i king by
hav e all the fo r c e of an o r igi n al s t at emen t .

4
. I n t he wh o l e w o r ld o f lit e r at ur e b o th an cie n t an,d mod
e rn figur es o f speech occupy a fo r em
,
ost pl ac e The S ac red .

S c r ipt u r es abou nd in th em be c au s e the H eb re w mi n d d elight

,

e d in O r i e n t al i mag ery N owh er e c an be fou n d su ch an im

.

mense nu mbe r of figu res so effectiv ely p rese nt ed A nt ith esi s .

an d p ar all el em b rac e all the poe t r y and n o little of the p rose

o f both th e O ld a nd N ew T est a men t A p lac e o nly l ess p r om
.

in ent i s h e ld by figu r es in the lit e r at ur e of G r eec e and R ome .

The m ost fa mous passages of poe try— e pi c ly ri c and d r amat i c , ,

— the nobl est str ai n s of eloq u e n c e the most vivid d esc r iption s
, ,

all exh i bit th ei r p r es enc e and effec tiv e forc e .

N o t the l eas t sig n of th e ir po w e r m ay be pe r ce i v ed in the

co m mon l angu age o f ev ery d ay l ife E v ery one u se s excl ama
-
.

ti o n i n t err ogati o n com

, , p aris on met ap h or hype r bo l e cli max
, , , ,

v i si on ; the figur es of amplifi c ati on an d ex t e n u ati on are i ndis

pe nsabl e in e age r an i mat ed c o nv er s ati o n ; so al so are i t er a
,

ti on e mph asis pe ri ph r asis li totes A l l th ese and many mor e

, , , .

ar e i nc ess an tly u sed ; and al w ays i ndi c at e viv acity o r e ne r gy .

This fact sh ows th at whil e art and e l abo r ati on c an mak e the
high est use of figur ativ e langu age n atu r e also r es or ts to i t ;
,

an d as nat u r e has i n v en t ed i t so she p r ompts its use an d

,

sh ows its effe cti v eness .

5 69 . TRO P ES .

The t er m figur ati ve l an gu age i s often c onfou nd ed with

“
tr opes as bei ng eq u iv al e nt Th ere is h owe ve r a d istinc
,
”
.
, ,

ti on be tw ee n the two Fig ur ati ve l angu age is a gene r ic t e r m

.
,

i ncl u d i ng all th at has bee n men ti oned abo v e Th e t r o pe is .

a sp eci al cl ass of fig ur es of sp eech which in s ome sy st ems ,

of cl a s sific ati on is co nsid ered by i ts el f .

T he w o r d
“
t rope is d eriv abl e from r péi m to t u rn and , ,

mean s a w o r d or ph r ase wh ich i s t u rn e d fr om its liter al

mean i ng to anoth er and a d iffer en t one Th ese are n u mer .

ou ,s a nd h av e bee n divid ed i n t o v ar i ou s ki n ds all of which are ,

char act e r i zed by the use of w o r d s in wh at i s c al l ed a tr 0 p“ ~

ic al se n se th at is a se n se d iffe r e n t fr o m the p ri mi tiv e an d

, ,

li t e r al u sag e .

I t is no t app rop r i ate h er e to e n l arge u po n th e i mpo rt an c e

9 0 Elemen t: f R/zetor ic
o .

of t r op es fr oma phil o l ogic al po i n t of vi e w bu t it may be s ai d ,

in p assi ng t h at l angu age o w es its g r o w t h and d e v e l o p me n t

,

fr o mi ts ear li e r and ru d e r s t ag es to its hi g h e r and mo re r e fi n e d

,

o n es m
,
o r e to this so u r ce th an to any O t h e r I f we study the
.

h ist ory of l an gu age we sh al l fin d its gr o w th to be ch aract e ri zed

,

in this way ; an d in the l at e r st age s we sh al l al so find mu l ti

tu d es of w or ds which h o wev e r w orn d o w n by the attr i ti on of
,

ag es still bear u n mistak abl e mar ks of th e i r l owly o r i g i n

, .

Th us so u l in L at i n is wi n d in G r eek the same ; in H e

“ ”
, , ,

b r ew b r eath
,
“
reaso n is d erived by some from reo r “ ”
,
“
reo ,
to fl ow ; c onsid erati on means to fix o ur ey es on
”

“
the stars d el ibe r at e to w eigh ; c ogi t ar e to ac t wi t h
”
,
“
,
”

mi nd I n H eb r ew t he h eart
.
,
” “
l iv e r and kid neys are
, ,
” “ ”

u se d for mi n d an d u nd er stan di ng “
n os e is u sed for
“
ange r “
a man of l ips is a b abbl e r . I n G reek “
d ia ,

p h r a g m is u s e d fo r t h e
“
u n d e r st a n di n g b r e as t fo r
c o u r age for c on t empt
“
I n L at i n
” ”
the no st r i l s , . n os ,

trils ,
”
fo r t ast e an d refi nemen t
“
n o se for
,
”“
s ati re
“
ey eb r o ws ,
for d isd ain
“
s t o mach fo r ang e r
,
“
t h roat ,
“
for gl utt o ny
”
. M any of these t ro pes h ave bee n t r ansfe rr ed
to E ngl ish .

Every col or rec al l s some embl ematic mean i ng : bl ack— d eath ,

mou r n i ng mis fo rtu ne white— i nnoc en ce c and or festivi ty r ose

, , ,
~

c o l o r b eau ty and fr esh ness ; pu r pl e— maj esty and spl e nd o r:

—
The w or d s i nd ic ati ng n u mbe r s w e r e o r i g i n al ly n ame s bor
r ow ed from n atur al ph enomena E ve ry p ar t o f the body has
.

giv en r is e by a tr ope to s ome n ew an d abst r ac t exp r essi o n :

the lzead o f a d ep ar tm en t the m em ber s o f a s oc i e t y the ar m
o f the la w ; the hand: in a fact ory ; the body po litic ; the tail
e n d of a p r oc e ssi o n ; the f oot o f a c l a ss ; to t ak e r ider ; to g o
back af nm t vi e w ; a bl ackleg .

C u rr e n t sayi n gs illust r at e the sam e thi ng T he G r eeks

.

Ch a r act e rized h u man folli e s and absu r diti es by such ph r ase s

as H e pl oughs the air or the
”
,
“
s an d “
H e is maki ng
cl o th es for fi sh es H e c atch es the wi n d wi th a n et He
r oasts s n ow in a fu r n ac e “
H e h olds a l oo ki ng gl ass to a -

mo l e “
H e is t e achi ng i r o n to s w i m H e is t eac hi n g a pig
to pl ay o n a flu t e H e see k s w o o l o n an ass H e w ash es
the Et hi o pi an
”
.

I n our o wn l ang u age the n u mb e r o f such sayi ngs is i m mens e .

 ment: f R lzetor zc
'

9 2,
E le o .

l argely ; an d th er e wil l alw ays be a gr ad u al shad i ng off from

'

o n e to a n ot h e r H ype r bo l e an d cli max are aki n to amplific a

.

tion but al mos t e qu ally so to th ose figur es which are b as e d

,

up on si mi l ar i t y T he figur e p ar all e l may be r eg ar d ed as e qu al

.

ly r e l at ed to an tith esis and c omp ariso n A l l t rope s h av e so .

muc h in c ommon th at so me combi ne th em i n t o a C l ass by

t h emselv es ; whil e oth ers bl en d th em with the g ener al body
of figur es a nd b r ea
,
k th emup i nt o d ifferen t cl asse s .

7 1 . LASS IFI CA TI O N ADO PT E D I N T H IS W O R K

TH E C .

The cl assific ati on ad opt ed h e r e is one wh ich is fo u nd ed u pon

the e nds o r ai ms of all figu r e s of spe ech I f we reg ard suc h . .

en ds or ai m s we sh all find th at th ey all t e nd to pe rs u asi ven ess

,

in the foll owi ng w ays A ll figures of sp eec h are u s ed :

.

I .To p r es ent a subj ect wi th gr eat e r c l ear ness and il l u stra

ti on .

2 To p r es en t a su bj ect with i n cre a

. sed i mpo rt an ce .

3 .T o p r e s e n t a s ubj e ct wi th u n u s u al e m ph asis .

I .Wh en the aim is cl ear n ess an d il l u s tr ati o n H ere the .

su bj ect i s r eg ar d ed a s st a n di ng in s om e d efi n it e rel ati on to

so me oth er s u bj ect v iz the r e l ati on o f c ontras t or si mi l ari ty
,
.
, , ,

or c o n t igu i ty By th u s con si d e r i ng a th i ng in assoc i ation wi th

'

s omethi ng els e th e re arise s gr eate r disti n ct n ess of vi ew and a

, ,

cl ear e r p e r c epti o n o f i ts t r u e C h ar ac ter The figures wh ich are

’ .

for med upo n thi s b asis m ay be cal l ed figur es of r el ati vi ty .

2 Wh en the a
. im is to p r e s e n t a s ubj ect wi th i n c r e ased im
po r t an c e H er e the subj ect is b rou g h t be fo r e the mi nd wi th
.

en l a rged d i men si on s so th at i t may receive g reat e r c on sid er a

,

ti on A t the s ame ti me o t h er di ffe ren t or oppo si ng subj ec ts

.

may be d ep reci at ed but the au gment ati o n of the one o r the ,

di mi n u ti on of the o t h e r all t e n d to p r oduc e the s ame r es ul t

, .

These may be c all ed figur e s of g r ad ati on .

3 .Wh en th e a im i s to p r es e n t a subj ect wi th un u su al em

ph asis H er e the s u bj ect is b r ough t b efor e the mi n d with the
.

gr eat est p os sibl e st r ength an d e n e r gy so th at by its o wn fo r c e

,

it may p r od uc e the d esi r ed effect : Th ese m ay be call ed figur es

o f em ph asis .
 C H A P TE R I I .

FIGU RE S OF R E LATI V ITY A RI S I N G F R O M T HE I D EA OF

C O N TR A S T .

FI GUR ES OF —
R ELATIVITY G EN E RA L D IVISI O NS
72 . . .

th os e which ari se fromthe

F I GUR ES of r el ati vi ty i nc l u d e fi r s t , ,

i d eaof c on t rast ; se co ndly th os e wh i c h aris e fr omthe ide aof

,

simil ari ty ; and thir dly th ose wh i c h ar i se fr om the i d ea of

, ,

c on tigu i ty .

5 73 . FI GU R ES wmcu AR I SE NTRAST FROM TH E I D EA op CO .

O f th ese we h av e fi rst to co nsid e r th os e whi c h ar is e fr om

the id ea of c on t ras t wh i c h c o n sist c h i efly of the figur es of
,

antith esi s .

AN TITH ES IS DE FI NED AND I LLUSTRA T ED

74 . .

By antith esis is mean t the c o mp ar is on o f di ffere n t thi ngs .

Thi s is a figu re whi c h po ssesse s gr eat en ergy and v er satili ty ,

and ow es i ts po w er to the effec t of c on tr as t .

The foll owi ng d es cripti on of th e v ar i ed pow ers of the st eam

engi ne may be tak en as ag ener al e x ampl e of antith esi s
“
It can engrav e a seal and cr ush masses of obd u r ate metal ; d raw out
, ,

wi th ou t breaking a thread a fine as gossamer and lift a shi p of war like a

, ,
- -

bau bl e in the air It can emb ro i d er musli n and forg e anc h o rs ; c ut steel
.
,

in t o ri bbons and impel l oad ed v essels against the fu ry of wi nds and

,

wav es .
”

In this p assage ex tr em e d el i c ac y of ac ti on i s c on t r ast ed with

gig an tic effort an d our c oncepti on of the man i fold c ap acity of
,

the st eame n gi n e is m-
ad e at o nc e st r ong er an d cl ear e r .

With an ti th esis the figu r e c all ed p ar al l el i s pe rfec tly id enti

,

cal in fo rm b u t diffe ren t in s en ti m

,
e n t ; for whi l e a n ti th esis i s

the c om p ariso n of dissi mil ar thi n gs p ar allel i s the co mp ar is on ,

of si m i l ar thi ngs .

A ntith esis is fou n d ed u pon a d eep p rinc ip l e of h u man nat .

94 E lemm
ts o f M or ia.

me ,
by wh i c h i t i s l e d to fee l m o r e st ro n gly th e fo r c e o f th i n gs
whi l e r eg ar di ng th emin c on t r ast wi th o n e anoth er E v ery thi n g .

is most t r u ly esti mat ed by be i n g c on t empl at ed in r eferen c e to

its opposite . I n mo r als we be st app r ec i ate virt u e by c on t r ast
,

ing i t with vic e ; v a l o r wi

, th c o w ar dic e pi ty with ru th
, l e ss n e ss .

I n art the for c e o f co n t r ast is alw ays felt ; the di vi n e fac e of

,

the S avi o u r is m o st e ffe ctiv e wh e n c o n t r ast e d with th e fi e n di sh

l i n eamen t s of hi s r evi l er in th e Ec ce H omo the pyr amid mu st
h av e aman at i ts b ase to rev eal i ts v ast n ess Th u s in l i te r a .
,

t u r e w or ds which are the n ames of th i ngs are as effectiv e by

, , ,

con tr ast as the thi ngs th emse l v es .

75 U TI L.IT Y o r A N TIT H ES I S .

The u tility of an ti thes is to the w r it er is manifest for the fol

l owi ng r easo ns
I Bec ause his id eas may be c on v ey ed most vividly by the
.

forc e of c on t r ast ed expr es si on .

2 Bec a
. u se i mpo r tan t w or ds in this way recei ve the st rongest
po ssibl e emph asis .

3 H.e i s t r ai n ed by th e u se of antith esis to gr eat di s cr i mi na

ti on in the ch oice of wo r ds .

I ts effect u po n the r ead e r is man i fest

I B ec au s e it mak es the str onge st i mp r es si on at the ti me
. .

2 It is most eas ily app reh en d ed an d committed to mem

.

o ry .

3 I
. t is r e t ai ned l on g e st by th e m e m o ry .

A n tith esi s has al w ays bee n a po ten t fo rc e in l i ter at ure A l l .

the poet r y of the H eb r ews wa s w ri t ten in th is fo rm; for th is

was th ei r on ly versific atio n I n o th er lit e r at u res we find i t oc

.

cu py gin a c o m m a n d i ng p ositi o n in a n ci en t a n d m od e r n ti mes ,

an d us ed by m en o f the h igh est o r d er o f g en i u s A mong G r ee k .

p rose wr it ers i t is l arge ly empl oyed by Th u cydid es among the

Roman s by T acitu s F rench w r iter s h ave us ed it to a d egr ee
.

t hat h as been c o n sid er ed r e p reh ensibl e and in fac t i t is the , , ,

l e ad i ng ch ar act eri sti c of F r ench p ro se A mong E nglish auth ors

.

it h as b ee n em pl oy ed by the wis est an d p r ofo u n d es t thi nk e rs .

Lo r d B ac on S i r Th omas B ro w ne and Ralph W ald o E mer so n

, ,

are di sti n gu i sh ed by the great an d ev en the exc essiv e use of th is

figu r e A n ex ampl e is giv e n fr omeach of th es e
.

Read not to con tr adict and confute nor to beli eve and tak e for granted
, ,
9 6 E la m en ts o f R hetor ic .

2 M axi ms apophth egms c urr en t sayi ngs mottoes etc

.
, , , , .

H er e as wi t h p roverb t h er is n eed of b re vi ty emph asis

,
s, e , , an d
s omethi ng t hat sh al l str ik e the mi nd an d cl eave to the memory .

Th is may be i llu st r at ed by the maxi ms o f R och efou cau l d the

apo ph t h egms of B ac on s ay i n gs such as V ict ory or d eath ”
, , .

A p ee r age or West mi nster A bbey “

The G u ar d di es i t n ev e r .
”
,

su rr en d er s ”
M ottoe s s u c h as E p l u r ib u s u nu m
.
“
,
“
The , .

bl oo d o f mar ty r s is the seed of the C h ur ch ”

.

3 D.i al og u es .

This is c on st an tly see n in the G r eek tr agedi es wh ere the ,

di al ogu e is l argely an tithetic aL The st ory of Leon id as at Th er

mO pyla e c on ta i n s an an ti th etic al di al ogu e fu ll of i mmortal for c e,
which may be r ed u c ed to the fo llo wi ng form
D eli v er u p your arms l—C ome and tak e th em .

O ur arr ow s darken the sum —Then we will fig ht in the sh ade .

Youwill all be sl ai n —Then to n i g ht we wi ll sup with P l u t o -

.
”

4 . A n tith esis
is i n v al uabl e to p rec isi on an d ,
for th e s ak e of
maki ng n ic e disti ncti ons :
H e canbri be bu t he can not sed uce H e can buy but he cannot gain
, .
, .

H e can lie b u t he canno t decei v e

, It is the v ery str uggle of the nobl e .

O th ell o H is h eart re l en ts bu t hi h and is firm H e d oes naug ht in hate

.
, s .
,

bu t all in h onor H e ki sses the beau ti fu l decei ver before he destr oys her
. .
"

— MACAULAY .

I d o n t li ve th at I may eat bu t I eat that I may li v e

o .

5 . this reaso n it
For is ad mi rably ad apt ed for the portr ay al
of ch ar act er
The P u rita wa mad u p f tw d i ff r t ch aract r th
n s e all l f o o e en e s e one se

a asemen ,
b t p it c gratit ud pa i
en e n e, h th r p r ud cal m i fl xible, ss on t e o e o , , n e e,

sag aci u H p r trat d hi m l f i t h d u t b f r hi M a

o s. e os e k r but h se n e s e o e s e , e set

hi f t
s oo th on ck f hi ki g — M A AULAY
e ne o s n .
"
C .

S ti ff i p i i alw ay i th wr gn o n on s, s n e on ,

W a v rythi g by t art a d s e e thi g l g ; n S s, n no n on

B u t i th c u r f r v l vi g m
n e o se o o ne e o n oo n
W a ch mi t fid d l r tat ma a d bufi
'

s e s , e , s es n, n oon.
Raili g a d prai i g w r hi u ual th m ;
n n s n e e s s e es

A d b th t h w hi j u dgm t i x tr m
n , o o s o s en n e e es,
S v r vi l t o o v er ci v il e -
o en or o -
,

Th at v ry ma W h hi m wa G d d v ile e n It s o or e .

I q ua d ri g w alth wa hi p culi ar at
n s n e n e s s e r ,

N thi g w t u r wad d bu t d rt
o n en n e r e ese .
 F ig ur es o
f R elat iv ity .
97

B ggar
e ed by fool s wh om still he fou nd too lat e
, ,

his jest an d the y had his est ate D RYDEN ”

H e had , .
-
.

S h ou l d such a man, too fond to rul e aonel ,

B ar lik th T u rk br th r ar th t hr
e , e e , no o e ne e one,

V i w him with
e mful y t with j al u y sc o , e e o s e es,

A d h at th art th at cau d hi m l f t ri
n e e ; s se se o se

D am with fai t pr ai a t with ci v il l r

n n s e, sse n ee ,

A d with u t
n ri g t ach th r t t
o r; sn ee n e e es o snee

W illi g t w u d a d y t afr aid t trik

n o o n , n e o s e,

J u t h i t a fau lt a d h itat d i lik

s n , n es e s e.

A ti m r u f by fiatt o o s b i gd oe , erers es e e ,

A d n bli gi g th at h n
so o blig d P OPx n e
’
e er o e .
”-
.

6 Lofl y and
. seri ou s th emes
G o, e t ll the cou rt it gl ows
A ndlik r tt w d s hi nes e o en oo .

t ll th ch u rch it h w
G o, e e s o s

W h at g d a d d t h g d’
s oo , n o no oo .

I f ch ur ch a d c u rt r p ly n o e ,

Th g i v th m b th th lien e e o e e.

T ll z al it l a k d v ti
e e c s e o on,

T ll l v it i bu t l u t e o e s s ,

T ll ti m it i but m ti
e e s o on,
T ll fl h it i bu t d u te es s s .

A d wi h th m n t r p ly s e no e ,

F thd u m u t g i v th li —S IR WALTER RALE I GH

or s e e e .
”
.

All a bu t p art f
re t u p d u wh l s o one s en o s o e,
Wh oseb d y Nat ur i a d G d th ul ;
o e s, n o e so

Th at ch a g d thr ug h all a d y t thr ug h all the am

, n e o , n e o s e,
G r at i th
e art h a i th
n e e th r al fr am ; s n e e e e e
W arm i th u r fr h i th br
s n e s n, e es es n e eeze,
G l w i th
o s tar a d bl m i th t ;
n e s s, n osso s n e r ees

Li v thr ug h all li f x t d thr ug h all xt t

es o e, e en s o e en ,

S p r ad u d i v i d d p rat u p t ;
e s n e , O e es ns en

Br ath i u u l i f rm u m rtal p art

e es n o r so , n o s o r o ,

A fu ll a p rf ct i a h air a h art ;
s , s e e , n s e

A full a p rf c t i il m a th at m ur
'

s , s e e , n v e n o ns,
A th r ap t
s e rap h that ad a d bu r
se ores n ns :
T H im
o hi gh l w gr at
no mall
, no o , no e , no s

H fill h b u d c
e s, e ct a d q ual all —P PE
o n s, onne s, n e s .
”
O .

7 The
. subli me . H eb rew poe tr y is fu l l of p assages which
I I lustr ate th is The . fol l owi ng is fr om H ab akkuk :

God came fr om T eman and the H oly O ne from M oun t Paran , .

H is glory cov er ed the h eav ens and the earth was full of his p raise , .
9 8 E lemen ts o f Rhetor ic .

He t r rth
and measu e d the ea
s ood ,

He bh l
e e d, a rv
nd d o e a sur
nd e t
the na ions ;
T he v rl ti g
e e as n ti w tt r
mo u n ans er e sca e ed,
The p rp t l hill
e e ua s d id bow :

H is wy v rl ti g
a s ar e e e as n .

T he m u tai aw th a d th y tr mbl
o n ns s ee , n e e ed

The v rfl wi g f t h wat r pa d by
o e o n o e e sse :

The d p u tt r d hi v i c
ee e e s o e,
”
A nd lifted up his hands on hig h .

8 The
. p ath etic
“
O ur v er y
h p b li d u f ar o es e e o r e s,

O u f ar u h p b li d ;
r e s o r o es e e

W th ught h d yi g wh
e hol pt er n en s e s e ,

A d l pi g wh n h di d s ee n en s e e .

F “
wh th m r cam dim a d ad
or en e o n e n s ,

A d chill with arly h w r

n e s o e s,

H q u i t y lid cl d— h had
er e e e s ose s e

A th r m r tha ur —T H M AS H OO
no e o n n o s. O D.

9 . Wit and h u mo r .

The applic ati on p urpos es of wit is

of antith esis to the
gener al th at so me h av e consid ered this figu re one of its c on
stitu e n t el eme n ts To exti r p at e an tith esis froml it eratur e al
.

t ogeth er says a wri t e r w ou ld be to de st roy at one st r ok e

”
,
“
,

abou t eight t en ths of all the wi t anc i en t and m od er n n ow ex , ,

isting in the w or ld ”
.

1 0 The epig r a
. m .

A l arge p r opo rti on of epigr ams are mad e u p by mean s of

antith esis This wi ll be fu l ly d isc u sse d u nd er i ts own h ead
. .

ANTITH ES I S CO M P ARED W ITH P LA I N STAT EM ENT

77 . .

The fo r c e o f antith esi s c an be w ell t est ed by taki ng any pas

s age of lit e r atu r e an d w riti ng it in the antith etical fo r m and in
the c om mon styl e for the s ak e of c omp ar ison .

T he fol l owi n g is an ex ampl e of this

r p rity i av irt u u ma cr at lf r trai t it i m ti d a a

P os e n o s n e s
e se -
es n s en one s

bl i g i th O ld T t am t y t v th r it i a ci at d with ma y f ar
ess n n e es en , e e en e e s sso e n e s
a d di t a t
n A d v r ity
s s es. th t h r h a d p r d uc
e s f rtit u d i a v irt u
, on e o e n , o es o e n
u ma ; it i p k
o s n f a a bl
s s o i g i th N w T tam t a d alw ay
en o s ess n n e e es en , n s
ha ma y c m
s f rt a d h p
n o o s n o es.
”

Th v irtu ef p r p rity i t mp ra c th v irt u

e o os e f ad v r i ty i f rti s e e n e, e e o e s s o
tu d e.Pr p rity i th bl os e i g f h O ld T t am t A dv r ity i th
s e ess n o t e es en . e s s e
I OO

p
O inions ay m mk
a e aman a e e ic, but a e a e a ai o I a e hrt th t th y mk tr t r h v
v
ne e r h r till
ea d n ow
”—
E F
ARL O F S T RA F O RD .
‘
.

yh l l i l
M o d on the co on es is the c ose aficction c o s f omcommon
whi h gr w r '

na r ki r bl r
mes, f om nd ed ood, f om s i a i ml r p ri v il g
e es, and e ua q l pr t i
o ect on .

Th ese are ti whi h th g h lig ht

es c , ou as air, yet ar e s on atr g li k ir
s n s of on
”
.

BU RKE .

T o a h ap lik thi
s e mall y t c mp r h i v
e s. so lig ht y t s e so o e ens e , so s e

l a ti g i i g i fica t y t v rabl tu r th mi g hty activ ity f

s n so ns n n e so ene e, ns e o
—
,

H om r
e a d ,
t unr i g i a b
sol d t li v a d
n n w a rma f r v
s en r LEI H e o e n s o e e .
”
G

H U NT .

H g i h i t r t bad cu rity —D U&

n e es , se .
”
E or? W ELLI NGTO N .

Bu t th u a d di with u t o s n s e o or thi s or that ,

Di a d d w a c ll g
e, n en o o e e or a cat .
” —P O PE .

XYM O R O N 5 82 . O .

Th er e is a pec u li ar ki n d of an tith es is whi c h ari ses fromthe

o pp ositi on of two c on t ra di c tory t e rms To this the n ame oxy “
.

moron is given by wh ich is meant the sayi ng of th at which ap

”
,

pe ar s foo li sh bu t ye t is wi se I t u n ite s w o r ds of con tr ary sig

,
.

n ific ation an d p r od uc es a seem

,
i ng contradi c tion
A h owli ng wi l d er ness
A p i ous frau d .

Travelli ng is afoo l s parad i se E M ERSO N

”— ’
. .

H e carri es r ui ns to rui ns —E M ERSO N .

"
.

The borrow er r u ns in his o wn debt —E uER5 0 N

"
. .

T ake 0 take th ose li ps away

W hi ch so s wee tly were fo rsworn —S It AE ESPEA1tE
, ,

. .

H ow poor how ric h how abject how au gust

'

, , , ,

H ow co mpli cat e ho w w ond erfu l is m an , ,

A n h eir o f g l ory a frail c hil d of d ust , .

H el pl ess i mmort al i nsect i nfini te , ,

A w orm o r G od I tremb l e at mysel £ .

0 wh at a mir acl e is m an to m an ;
Tri umph antly d i str essed what j oy what d read , , ,

A lt er nately transport ed and al armed —E DW ARD Y OUNG .

”
.

Poor ri ch ma h a hard ly k wa ythi g f i du try i it

n, e c n no n n o n s n s e e x rt i ons,
a
o r c n es ti mat i c mp ati wh w rk i d
e ts o —B URKE
ens o ns en o s o ne .
”
.

O ill u tri u d i gr ac
s O v i ct ri u d f at l — B URKE
o s s e o o s e e
"
.

AR I SO N I SOCO LO N 83 . P , .

S ometi mes antith et ic al cl au ses of si mi lar cons tru cti on fol l ow

I n as er i es Thi s i s c all ed p ar ison an d al so is oc ol on H er e
” “ ”
.
, .

w or d is c on t r ast ed wi th w o r d and cl au s e wi th cl aus e and the , ,

 F ig ur es ‘

IOI

force of c on tr ast is mar k ed ; b u t the figu re is

the too el abo r at e
for o r di nary p ros e o f the p r e s en t d ay .

r ir il tt r rti t
H ome was the g eae ge n us, V g t he be e a s r tr
I n the one we i .

mos ad m e the man, in the o e the o

t ir
th r w rk H om er h rri
u es us with a .

command ng mpe u os , V gi eads us w an a ac i v e maj es

i i t ity ir l l ith ttr t ty r
H ome .

scate s t r with r r i
a gene ous p ofu ir l t w with
s on, V gi bes o s a ca efu ma
r l g nifi
r lk l r ri
cence H ome , i e the Ni e, po u s out his ches
. with r
a bo un dless ov e
ir l lik r r
fl o w, V gi , k with
e a i v e in its ba a g en e and cons an s eam
tl t t tr ”
n s, .

P O PE

H ere the c l au ses are all arran ged in c ou pl ets ; and eac h
.

c l au se of each c ou pl et i s fo r med in ex actly the s ame manner ,

so th a t su bst antiv e i s b al anc ed ag ai n st s u bst antiv e v er b ag ai n st ,

v er b adj ecti ve ag ai n st adj ecti v e

, .

R adi g mak th a full ma c f r c ar ad y ma a d writi g a

e n e n, on e en e e n, n n n ex

a t ma ; a d th r f r if a m
c n n a writ littl h had
e e o e d hav a g r at
mm y if h c f r l ittl h had d hav apr t wi t ; a d if h r ad
n e e, e nee e e

e or e on e e, e nee e esen n e e

littl h had d hav much cu i g t

e, e n ee mt k w that h d th t
e nn n o see o no e o no .

H i t ris o mak m w i ; p t wi tty ; th math mat ic u btl ; at u ral

es e en se oe s e e s s e n

p hil phy d p ; m ral gr av ; l g i c a d rh t ric abl t c t d

oso ee o e o n e o e o on en .
”

BA N CO .

H ere the fi rst th ree c l au se s are al ik e word c or responds with ,

word and then foll o w th ree more si mil ar cl au se s I n the sec

, ,
.

ond se n tence a re six cl a u ses all corr esp ond i ng wor d for w or d , .

5 8 m P R OS AP O DO S I S.

ki nd is fou nd in sen t enc es wh ere the s tatemen t of

A noth er
a thi ng is foll ow ed by the anti th esis of i ts c au se Th is is c al l .

ed prosapod osis

I d r ad hima a accu r i a much a I ami c t ;

Neith er do e s n se , n s s n no en n or

d I f ar hima a c mp tit r i c I amA t iu ;

o e s d I xp c t a y
o e o , s n e n on s nor o e e n

thi g fr mhima c u l i c h i C ic r —Q u t d by Q u i tilia

n o s on s , s n e e s e o .
”
o e n n.

It i b tt r t c mma d
s e tha t b a l av t a y
e o o f w n n o on e n o e s e o n o ne or e

may li v h rably wi th c mma d bu t i lav ry th r i

e ono d u ra c f o n , n s e e e s no en n e o
li f —Q u t d by Q ui tili a
e .
”
o e n n.

Ju dg t th at y b t j udg d ; f with wh at j udg m t y j udg y

“
e no , e e no e or en e e, e

s hall b j udg d ; a d with what ma ur y m t it hall b m a ur d t

e e n e s e e e e, s e e s e o

youagarn
’

.
10 2 Elements o f Rhetor ic .

C H A PT E R I I I .

F I G U R ES OF R ELAT I V I TY A RI S I N G FR O M TH E P E RC E P
TI O N O F R ES E M BLA NC E .

5 8 5 n oun s wmc u mus s F R O M TH E p anc sp rrosr or

'

RES E M B LAN C E .

Tm : pe r c epti o n of r esem bl anc e is af u it fu l so ur c e of figu res

r .

The pow er of l ik e to sugg est l ik e is i nh e r en t in the h u man

mi d ; and i t i s a u n iv ersal fashion to expl ai n one th i g by
n n

mean s of s ome oth er th i ng w hich i t r ese mbl es The figur es .

b ased u pon this i nc l u d e among oth ers c omp ari so n and met a
, ,

ph or wh i c h a e the most wid e ly u se d the most eff c ti v e and

,
r , e ,

the m o t im s po rt ant of all ; and whi c h h av e an i fl u enc e out n

sid e o f li te r atur e al tog eth er afiec ti og c o mmon li fe soc i al i nt e r

'

, ,

c our se and the growth and d evel op ment of l angu age

,
.

86 . P A RALLEL .

This is si mi l ar to an tith esis in fo r m b u t d i fferen t in ch ar ac

,

ter ; for whi l e an tith esis is the M pa r is o n o f di ffe r e n t th i ngs ,

p ar all el is the c omp ar ison of si mi lar thi ngs .

I n an ti th esis we h av e the effe ct wh ich i s p r od u ce d by con

t r ast in p ar all e l we h av e the effect which is p rod u c ed by re
se m bl an c e B u t the t ru e fo r ce o f p ar al l el c on sists in this th at
.
,

i t i s g ener al ly the r epe titi on o f a st at emen t So meti mes i t is .

associ at ed with the acc u mu l ativ e figu r es as wh en a se ri es of ,

si mil ar thi n gs are me n ti oned with cu mul ativ e effe ct ; and some
ti mes it is assoc i at ed with the it e r ativ e figures as wh en a ,

tho u g ht is r e p e at ed wi th additi o n al e m ph asi s .

T he mo st con spicu o u s ex am pl e of the use of p ar all el is fou n d

in th e po et r y of the S ac r e d S c riptu r es T he H eb r ews did n ot
.

mak e use of any ki n d of met re ; th ei r versific ation was not h i ng

mo r e th an the figur e p ar al l el wi th wh ich an tith esis was al so
,

j oi ned T his pec ul i ar ki n d of versification is call ed p ar al l el

.
 E lements Rbetor zc
'

104 f
o .

the circle of a sympat hi es an d h uman records ; and let civilized man

h enceforth have no communi on with lt — DAN I EL W EB ST ER .
”
.

In ch of th ese p assages there is al so a series of si mil ar

ea

st at emen t s .

P ar all el lik e an tith esis ass u mes v ari ou s forms to whi ch

, ,

na mes h ave been gi ven Th ese wi ll no w be b ri efly con sid er ed . .

87 . n rsxon vs .

Th ere is the enu meration of su cc essive p ar tic u l ars in s u ch a

way th at th ey are p resen t ed in p ar al l el o r d e r Thi s i s c al l ed .

“
d iexod us
Thi s is the man : tod ay he pu ts fo rth
s tat e of

T he t end er leaves of h ope to m o rr ow bl osso ms ,

-
,

A nd be ars his bl us hi ng h on ors thi ck u pon him;

The third d ay com es a fros t a killi ng fr om
, ; ,

A nd—when he thi n ks good easy man full su rely , ,

H is gr eat ness is a ri peni ng—h i ps his roo t

th h fall a I d —S uax m
,
"
A nd en e s, s o. esp r .

A t thirty ma u p ct hi m l f a f l ;
, n s s e s se oo
K w it at f rt y a d r f rm hi pl a ;
no s o , n e o s s n
A t fifty chid hi i fam u d l ay ;
, es s n o s e

Pu h hi p rud t p u r p
s es t r l
s en ose o eso ve,

R l v ; a d r l v th d i th am —Y
eso es n te -
eso es en es e s e.
”
O UNO .

5 88 . TR ICO LA .

A noth er v ari ety is fou nd wh en si mi l ar c l au ses are arranged

by th rees Thi is c al l ed tricola
. s

Such ti h ck v ry pr c p t f m rality v ry f li g f h uma

no o ns s o e e e e o o , e e ee n o n
ity v ry tim t f h r —C A M
, e e sen en o on o .
"
H TH A .

H ha thi d ay ur p ri d th th u a d wh h u g wi th rap t u r
e s s s se hi e o s n s o n e on s

acc t by uch a array f tal t

en s, s uch a x hi biti
n f capacity uch a
o en s, s n e on o , s

di p l ay f p w r a a u parall l d i
s o o e h a al
, s f rat ry —B URKE
re n e e n t e nn s o o o . .

M y h art l ap u p wh I b h ld
“
e e s en e o

A rai b w i th k y n o n e s .

S wa it wh my lif b ga o s en e e n,

S o is it now l am a an, m
S o be en it wh
s a o old, I h ll gr w
O r let e die
”—
W O R Dsw0R m . m
'
.

5 8 9 D I ALLA G E
. .

D i all age
is the u ni on of w or ds p artly of si mil ar and p artly ,

of difieren t Si n ific a
'

g tion .
 F igur es
Q

o f Relativ ity . 10 5

I f the fol l o wing s en t en c es be w ritt en out s ep arat ely , in par

al l el o r d er ,
th ei r n at ur e will be mor e cl ear ly app ar en t
I h av f u d th m a d har d th ir f ll w hi p am
e o n e n s e e e o s ong the daring , the
ar d t th i d mit ably acti v F r c h
en , e n o e en .

“
I h av f u d th m am g th p r v ri g r l u t
e o n e on e e se e n , eso e, and i nd su tri u
o s

S wiss .

I hav e found em a on
‘

th
the a o ious, the m g lbr war mh eart ed
-
, the c a th u
”—
sias tic Ge ans rm
ROUG HAM . B .

H e reth er e is a p ar al l el in the gener al id ea, wh il e th ere are

certain S pec i al d ifferenc es . m
The s a e is s een in the foll o wi n g
se n t en ce :

Cas tl r ag h a d Ca i g f ug ht i th am ra k with
e e n nn n o n e s e n s tt
Pi ; an d
r tt t k hi pl ac i th gr at c t t f party by th id
G a an oo s e n e e on es s o e s e of F ox
”
.

5 90 M ETABO LE
. .

M etabol e is the repetiti on of si mi l ar id eas

I tr at y uby y u r l v f p ac ; by y u hatr
en e o o o e o e e o r ed of opp ession ; r by
y ur w ari f bu rd n m a d u l t axati ”
o e ness o e so e n se ess on.

g r . e xzaoasra.

Exergasia i s the empl oy men t in s u cc essi on of di fferent

ph r ases co nv eyi ng the same mean i ng
W ho is to b l ame th i ? A g ai t wh m hall th ch arg b br u ght ?
for s
‘

ns o s e e e o
W h m hall w accu
o s f h av i g c mmitt d it —C
e o
se o n o e lC E R .

B u t my l rd wh i th ma th at ha dar d t a ciat t u arm

, o s, o s e n s e o sso e o o r s

th t m
e o ahawk a d cal p i g l if f th av ag —t call i t civili z d alli a c
n s n -
tn e o e s e o n o e n e

th wil d a d i h u m
e a i h abita t f th w d —t d l gat t th m rcil
n n n n n o e oo s o e e e o e e ess

I d i a th d f c f di pu t d ri g ht a d t wag th h rr r f hi ba
n n e e en e o s e s, n o e e o o s o s r

bar u wa agai t u br thr

o s r —C HATH AM
ns o r e en .

ARA D I AS I O LE.
‘ ‘

9 2 . P

Th i ngs whic h h av e si mil i tu d e are d is ti ngu ish ed . This

c all ed p ar adi astol e ”
.

“
K wl dg a d wi d m fa fr m b i g
no e e n s o , r o e n one,

H av ftti m
e o c cti ; es n o onne on

K wl dg i p r ud th at h ha l ar d much
no e e s o e s e ne so ,

W i d m h u mb l th at h k w
s o is m r —C WPER e e no s no o e.
”
O .

Tr u f rtitu d i
e o i g at xp l it
e s seen n re e o s.
”

“ ’
Ti G r c b u t li vi g G r c
s ee e, m r — BY N n ee e n o o e.
”
RO .

E 2
 ments Rlzetor zc
'

1 06 Ela o f .

93 . CO M P ARISO N .

C om r
p a is on is th at fig e ur by which the resembl anc e between
t wo obj ects i s poi n t ed o ut .

Th e e are th ee ki nds of c ompari so n

r r
1 T he c om
. p ari so n of d eg ee r .

In this c omp ar i so n r efe rs to eq u ali ty , s u periority or in

the ,

H e is as b r av e as ali on
”
feriority ; e . .

2 The c o mp ar i so n of an al ogy
. .

H er e the obj ects c o mp ar ed are not si milar in th emselves ,

but occupy si mil ar r el at i on s to so meth i ng else ; e g , Ti me is . .

lik e a r iv e r .
”

3 T h
. e c o m p ar iso n of si mil ari ty .

H er e the obj ec ts co mp ar ed are actu al ly simil ar in th em

H e is lik e his fath e r
”
selv es ; e . .

The c o m p ar ison of anal ogy an d that of si mil ar i ty are both

c all ed si mi l e .

94 . r ue coupa son o r m D EGR E E .

The comp ar i son of d eg ree o r wher e , , the c om p ar ison refers

to e q ual i ty su peri ori ty or i n fe r i ority
, . The foll owi ng are ex
am pl es :
A s far remov ed fr om God a nd si g ht of hea ven

As fr om the cen tr e thri ce to t he u tmost pol e .

”-
M I LTO N .

No m o re lik e m y fath er
Than I to H ercul es —S HAKES PEARE .
"
.

Go wing thy fli g ht fr om star to star ,

F rom w orl d to l umi nou s w orld as far ,

As the un i v er se sp read s its flam in g wall ;

T ake all the pl easu res of all the spheres ,

A nd mu lti p ly each thr o ug h end l ess y ears

O ne m om e nt of h eav en i w orth th em all M O0 RE
” -
s . .

Th p hil ph rs c i d r m i th ir xp ri m t
ese oso e m r tha ons e en n e e e en s no o e n

th y d mi c i a ai pump i ar ci p i t f m p hiti c g a —BURKE

e o e n n r -
, or n e en o e s.
”
.

W q u ti
“
e wh th r th w rl d ha i c wit
es on d
e u tt rly ad a
e e o s s n e n esse so e s

scen e wh th r N ap l hi m l f l ft t brawl with S ir H ud L w a d

e e o eon se , e o son o e n

p ri h
e s hi r ck p r
on t d t th r fl cti g mi d uch a p ct a l f
s o , esen e o e e e n n s
‘
s e c e o

p ity a d f ar a did thi i t i ically bl r g tl r a d p hap gr at r

n e ,
’
s s n r ns no e , en e , n er s e e

so ul w a ti g it l f aw ay i a h p l
, s n tr ugg l with ba ta gl m t
se n o e ess s e se en n e en s.
”

C ARLYL E .

N othi ng can be concei v ed more har d than the h eart of a th r ug hbr

o o ed

metap hysi cian —B URKE .

”
.
108 E lemen ts o f ,
Rlzetorjic .

no ra k that
n ,
may b d i p u t d t him Th f rward h a r p l
no ne e s e o . e o e c n e e ,

h
t e su p rcili u h a u bd u p r t i
e o s fw alth a d a c try a
e c n s f e e ens on s o e n n es re o

no av ail with him; th r i a fi i th at dark y u d r whic h h

e e i s re n e e n e t e nso

l c f c d c i ca t thri v I hi aba m t i hi xtr m

en e o on es ens on
"
nn o e
. n s se en , n s e e e

need h f rg t
, et f oa m m t th maj ty f p try a d m
e s no or ah d o en e es o oe n n oo .
”

C ARLYLE .

§ 97 . RNAM ENT
C O M P AR I SO N as AN O .

A l l figu r es t end in the fi rst pl ac e to embe ll ish men t ; and

, ,

als o c on trib u t e to e n liv e n styl e eith er by making it more viv a ,

ci on s or by th r o win g ad diti o nal light u pon the subj ec t wi th

,

wh ich th ey are conn ected I t will gi ve a c l ear e r vi ew of the .

tr u e n atur e of comp arison if we c on sid er i ts efl ec ts fi rst in the ,

way of o r n am en t ; a nd secon dly in th e wa o f e xp l a

y , n a tion o r ,

illu st r ati on .

1 . Wh en comp ari so n is u sed as an o rn amen t Th is i s ve ry .

app ar en t in poe t ry and also in be l l es l e tt r es

, E v en h e re how -
.
,

e v er the o rn a
,
men t is assoc i at ed with i l l ust r at i on an d se ld om ,

or n ev e r exists by i t self al o n e Th e o rn amen t al ch ar ac t e r of .

the figur e m ay be pe r haps more p ro mi ne n t an d the mi n d may ,

be so t ak en u p with the be au ty o f the i mag ery th at i t d oes n ot

p er c eive its for ce This is i ll u st r at ed by S h ell ey s od e to the
.
’

S kyl ar k
Like a poet hi dden
I n the lig ht of thoug ht ,

S i ng i ng hymns un bidden
Til l the worl d is wroug ht
To sym pathy with hopes and fears it heeded not
h h r maid
Lik e a ig bo n -
en
I l twr n a paace o e ,

S thi g h l v l ad
oo n er o e- en

S u l i cr t h u r o n se e o

With mu ic w t a l v whi ch v r fl
s s ee s o e, o e ws her bower
o

Lik a gl w w rmg l d e o -
o o en
I a d ll f d w n e o e ,

Scatt ri g u b h l d e n n e o en

I t a rial hu s e e

A mong the fl ow ers and gra

ss which screen it fro mthe view
Lik a r e mb w r d ose e o e e

I it w gr
n l av
s o n een e es,
By warm wi d d fl w r d n s e o e e ,

Till th t it gi v e scen es
k
M a es fain t with t much w t th h avy wi g d thi v
oo s ee ese e -
n e e es.
 Sounds of v ernal sh owers
O n the twinkli ng gr ass ,

th t v r wa All a e e s

J y u a d cl r
o o s nr h thy mu i c d th urpa
ea a nd f es , s o s ss.
”

H ere the poe t in his high e nth u sias m seems to exh au st him
, ,

se lf in se ar c h O f fitti ng ubj ects of c omp ar is on E ach o ne as

s .

i t co m e s is m ad e use of b u t each on e is h u rr i edly d is mi ssed

, ,

in or d e r to p r es en t anoth e r ; an d th e ric h and v aried i magery

n ev er fai ls to res pond to the s u st a ined el ev ati on of this perfec t
s ong .

98 . M PAR I SO N USED FO R EX P LANATI O N AN D I LLUSTRATI O N

CO .

2 Wh ere co m
. p ar i son is u sed for p u rposes of e xpl anati on and
il l us t rati on This is a
. ppar ent in poet ry and bel l es l ett res wh en -

i t is u sed for embe l lish ment ; b u t i t is mor e c l ear ly conspic u

ou s in w riti ngs wh ich d o no t a d mi t of mu ch orn ame n t s u ch as ,

th ose whi ch are d evot ed to pu r po se s of i nst ru c ti o n The use .

o f c om p ar iso n in sc i en ti fic an d d id ac ti c co mpo siti o n giv es to

thi s figure ap rac ti c al ch ar act e r which i s possessed by n o oth er
to an eq u al d egree I n the fo l l o wi ng ex ampl e th ere wil l be
.

perceive d a c l e ar e xpl anati on by c omp a ri son of the au th or s

,
’
,

vi ew wh ic h c ou ld n ot be so w ell gi v en in any o th er way :

,

Women ar e less capabl e than men of per ceiving q uali fying circumstan o

ces ; of a d mitti ng the exist ence of el em en ts of good in sy st em s to whi ch

they are O pposed ; of d ist ingu ishing the personal charact er of an opponen t
fr omthe O pi ni ons he mai nt ai ns M e n l ean m ost to j us ti ce a
. nd w om en t o ,

mercy M en ar e most ad d i ct ed to i ntemperance and bru tal ity ; w omen to

.

fri v o lity and j eal o u

sy M en excel in e ne rgy se l f rel iance pe rse v er ance and
.
,
-
, ,

magn ani mity ; w omen in h u mility gentl eness mod esty and end urance , , , .

The r eali z i ng i m ag i nati on whi ch causes us to pi ty a nd to lo ve is m o r e se n ~

s itive in w om en tha n in m en and it is es pec i ally mor e capabl e o f d w elli ng

on the u nseen Their reli gious or de vo ti onal realizati ons are i ncont es tably
.

more v i v i d ; and it is p robabl e th at whil e a fath er is most mov ed by the

,

d eath of achil d in his p rese n ce am o th e r g ener ally feel s most the death of
,

ac hil d in some d is t an t l and Bu t thoug h more i ntense the sympathies of

.
, ,

w omen are com mon ly l ess wi de th an th ose of men —W E H LEC KY .

”
. . . .

F AU LTS rN r m: U S E O F CO M PAR I SO N
§ 99 . .

A figur e l ik e c omp ar i on which i s o u i v r s al ly empl oyed is

s ,
s n e
,

l i abl to many ab u s e the c hi f of wh ich i t may b w l l t ot e

e s, e e e o n .

1. Wh er e the c omp ar i so n is mad between thi gs which hav e e n

1 IO El m mt i s o f M or ia.

a r s mbl anc e th at is too famili ar to the mi n d A l ar ge n um

e e .

ber o f si mil itud es ar e famili ar to all ; for i ns tan ce the r ese m ,

bl an c e O f a b r av e man to a l i on ; a c u n n i ng man to a fox ; a

c r u el man to a tiger or a hy en a ti me to a riv er ; et er n ity to an
oc ea n li fe to d ay and d eath to n ight ; O f man to stren gth an d
, ,

w oman to b eauty A ll th ese c omp arison s h ave been u sed

.

over a n d ov e r a gai n si n ce the o r igi n of lit e rature and fr omfre ,

qu en t r ep etiti on h ave bec ome so w orn out that th ey c ease to

be eith e r o r n ame n t al or us efu l .

2 Wh er e the resembl an c e is not easi ly app ar en t or d iffi c u lt

.

to disc ov er I n su ch a c ase the comp ari son se em

. s far fetch ed -
,

an d offen ds the t ast e as too ar tifici al whi l e i t c on v eys no ad e ,

q u at e id ea to the mi n d .

3 Wh . e r e th e c o mp ar i so n re fe r s to so m e th i ng wh ich is nu

k no w n or u n fami li ar H e re it has no effe ct for i t i s unintel

.
,

l igibl e T0 an o rd i nary mi n d some of M ilt on s c ompariso n s

.
’

might seem fau lty in thi s r espect and the o n ly answer to this ,

obj ecti on i s th a t his wor ks we r e wr i tt e n for th ose who h av e

su ffici ent l ear n i ng to app re c i at e them Yet on accoun t O f the .
,

l ear n i ng which i s nec essary to a fu l l c o mp rehe n si on of some

of h is best p a ss ag es M il t on s work s wi ll never be pop ul ar in
,
’

the s e n s e in whi c h those of S h a k espeare are po pu l ar or Bu r n s , ,

or e v en P o pe A ddiso n a,
n d C o wpe r , .

4 Wh e r e the co m
, p arison is mad e with anythi ng th at is l ower
t han the subj ec t By t his the s u bj ect i s d egr ad e d and the
.
,

effect is spo il ed O f cou rse wh e re th er e is a d elibe r at e in ten

.
,

ti on to d ep r eci at e the c as e is di ffer en t ; an d th is c an on ly r efer

,

to s eri ous c om positi on wh er e th e re is no s u ch p u rpose .

M ETA P H O R r oo . .

A met aph or is an i mpli ed c omparison I n comp ari son the .

r es embl an ce between two thi n gs is formal ly exp r ess ed as for , ,

ex a mpl e H e i s as b r av e as al i o n
, In m et a ph o r the sign of .

c o mp ar iso n is d ropped the two are id en tifi ed and the o ne i s

, ,

as se r t ed to be the o th e r as H e is a li o n
”
, H en c e metaph or
,
.

is att en d ed with a h igh e r d eg r ee o f an i mati on an d i n v o lv es a ,

bol d er effo r t of the i magin ati on .

M et aph or s h av e had v ar i ou s cl assificatio n s b u t the best ,

k n ow n is th at of Qu i n tili an which is as fo l l o ws : ,

1 Whe r e on e l ivi n g th i ng is pu t for a

. n oth e r .
 E lem R /wton c
'

1 12 .
en ts f
o .

m3 I NAN I MATE TH I N G S ARE P UT FO R THI N GS HAV

. W H E RE
I N G L IF E .

Wh e r e i nani mat e t hi ngs a r e p u t for th i ngs h aving life

3 .

Kal d h S w rd f G d
e , t e o o o .
”

S t wall J ackon e
”
son.

A tru p t ul f it e d bu t t b t u h a d th
oe so , or u d it yi l d
nee s o e s r c n e so n e s

will b mu ic —C ARLYLE
e s .
”
.

I n th is p assag e the soul of B urn s is represent ed a s am usi cal

i nst r u men t .

I c4 . I NAN I MA TE TH I N GS ARE R E P R ESENT ED As EN

W H ER E
DO W ED W ITH L IF E .

5 . Wh e re i n an i mate things are r ep r esent ed as end ow ed wi th

l ife . This is id e nti c al wi th pe r sonifi cation in i ts l ow er gr ad es
(see P ersonific ation ) .

A hard h art e .

T h thir ty g r u d
e s o n .

N w up
o S yria l a d f r
on
’
s n o oses,
S ftly th lig ht f
o e rp ; o eve e oses

A d lik a g l ry th b r ad u
n e o e o s n

Ha g v r ai t d L ba
n s o e s n e e no n,

Wh h ad i wi try g a d ur t w r
ose e n n r n e o e s,
A d whit n with t r al l t ;
ens e e n s ee

W hil umm r i a v al
e s f fl w r
e , n e o o e s,

I l pi g r y at hi f t —T M RE
s s ee n os s ee .
”
. OO .

The ligh t of e e i s h e r e r e p r ese n t ed as e nd ow ed with li fe ’

v ,

and r eposi ng whi l e su mmer also

, is sl eepi ng .

M ETA P HO R USED As AN O RNAM ENT

1 05 . .

M et aph or l ike c omp arison has wid ely v ar i ed effec ts ; and i t

, ,

is fr omthe obs e r v ati o n of th ese th at it may be st be app r eci at ed .

Th er e are th r ee chi ef appl ic ati on s O f th is figu re whic h will pre ,

sen t sufi i c ien t matt e r fo r c o n sid e r ati o n Th e se are fi r st wh e n .

, ,

it is appli ed to o r n am e n t ; sec on dly to il l u st r a ti on ; and thi r d , ,

ly to e mph asi s
, .

r O r n ame n t
. .

S uch is the gr eat beau ty O f me t aph o r and so l arge is its ap ,

plic ati on to pu rp o ses of embe l li sh men t th at to the o r di nary oh ,

se r v e r I t s eem s to b e l on a lt g e th e r to o r n am nt W sh a l l
g o e e .
 F ig ur es of Relat ivity . I 13
see th at i t has far high e r pu r pos es bu t yet as far as embel lish , ,

men t is c on c e r ned it may s afely be s ai d to s urpass ev ery oth er

,

figu r e
T he t u rf shall be my fr agr an t s hri ne ,

M y t empl e Lor d th at arc h of thi ne ; , ,

M y cen e r s breath the mou nt ai n airs s

’
,

A nd silen t th o ug hts my o nly p r ay e rs —T M OO RE .

”
. .

truth l v a d m cy i tri u mph d c d i g

S ee , o e, n er n es en n ,

A d at ur all g l wi g i Ed fir t bl m;
’
n n e o n n en s s oo

O th c l d h k f d ath mil
n e o ad r
c ec a bl d i g o e s es n oses re en n ,

A d b au ty imm rtal aw ak
n e fr m th t m b —B EATTI E
o es o e o .
”
.

1 06 .M ETA P HO R US ED FO R EX PLAN ATI O N AN D I LLU STR A TI O N .

S eld o m h ow ev er wil l it be fou nd th at a beau ti fu l met aph or

, ,

rests in beauty only F romi ts very be au ty o th er r e su lt s fl ow

.
,

which t end to th ro w a new l ight ov er a s u bj ect o r gi v e i t a ne w ,

mean i ng or a st r onger emph asi s For the p r esent p ur pose i t .

i s e n ough to let the mi n d dwel l u po n the beau ty of a me t apho r ,

ap ar t from its o th er effects ; and th en c onsid er th ose o t h er ef

fec ts by th e ms el ves A mong th e se i s next to be c onsid er ed
.

the effec t of the m et a ph or t ow ar ds expl anati on or i ll u st r ati on .

2 . E xpl an ati on an d i ll u s tr ati on .

I n Wo r dsw orth s s u bl i m e od e o n I m mor t al ity he t eac h es the

’

d oc t ri ne of a p revi ou s c o nsc i ou s e xi st enc e ; and see ks to sup .

po r t t his n ot by p r oo fs fo r th at w er e i mpo ssibl e b u t by a se

, , ,

ri es of fac ts in h u man expe r i enc e I n the fol l o wi ng ex ampl e .

th er e i s in the fi r st l i ne a st at e men t of the t h eory O ur bi rt h

“
,

is but a sl ee p an d a forgetti ng afte r wh ich fol l o w se v er al met

”
,

aphors which se rv e to expl ai n the th eo ry and i l l ust r at e i t

,

O ur birth is bu t a sl eep and a fo g e i ng r tt

The so u l th at rise s with us our fe s s a , li tr
’
,

Ha th wh r i tti g
had else e e ts se n ,

A d c m th fr m afar
n o e o :

N t i o tir f rg tful
n en e o e ness,

A d t i
n u tt r ak d
no n e n e ness,

B u t traili g cl ud f gl ry d w
n o s o o , o e

F r m G d wh i u h m
o o , o s o r o e :

H ave li ab u t u i u i fa cy
en es o s n o r n n .

S had es of t h pri h u b gi t cl
e so n - o se e n o ose

U p th gr wi g b y ;
on e o n o

B u t h b h l d h Iig h a d wh c it fl w
e e o s t e t, . n en e o s ;
H it i hi j y
e se es n s o .
1 14 E lemen ts f
o Rhetor ic .

y ut h wh daily farth r fr m th at
The o , o e o e e s

M u t trav l till i atur p ri t ;

s e , s s n
’
e s es

A d by th v i i
n Sp l di d e s on en

I hi way att d d
s on s en e .

A t l gt h th ma p c i v it di away
en e n er e es e ,

A d fad i t
n h li g ht f c mm
e day
n o t e o o on .

H ence in a season of cam ea e , l w th r

hi l Th
ou g n and far we be ,

l h i ht th t i r
O ur sou s av e s g of a m mo tal sea
hi h ht hith r W c br o ug us e ,

t tr l hith r
C an in a mom en av e t e ,

hil r rt hr
And see the c d en spo u pon the s o e,
h r A nd ea t he mg t
i h y w t r r lli r r ae s o ng ev e mo e.

I n the foll owi ng p assage De Q ui ncey affirm s the h u m an -

b r ai n to be a p al i mpses t th at i s a p ar ch ment sh eet upon , ,

which the or igi n al w r i ti g has been oblit er at ed in ord er to e n , r

c ei e n ew w riti ng ; whi c h in i ts t ur n h a
v s bee n o blit e r at ed in
s u ch a way th at the fi rst d r aught s tan ds r ev eal ed This met .

aphor is u sed fo p ur po ses of expl an ati on r

W hat l tha a at ural a d mi ghty palimp t i th h u ma brai

e se n n n ses s e n n.
Such a palimp t i my brai ; a d a palimp t 0 ad r i y u r !
ses s n n : ses , re e , s o s

Ev rl a ti g l ay r f i d a i mag f l i g hav fall u p y u r brai

e s n e s o e s, es, ee n s, e en on o n,

so ftly a li g hts Each ucc i ha . md bu ry all th at w t b f r

s ess on s see e to en e o e.

A d y
n I r ality t
et nha b e x ti gu i h d A d if i th v ll u m
no one s een e n s e . n , n e e

pali mp t lyi g am g h th r d i pl mata f h u ma ar chiv

ses , n on li bra
t e o e o o n es, or

ri th r i a ythi g fa ta ti
es, e e s w hi ch m v t l aught r a ft ti m
n n n s c , or o es o e , s o en es
th r i i th gr t q u c lli i
e e s n ef th o es ucc i v th m h avi g
e o s ons o ose s ess e e es n no

n atural c cti whi ch by pu r accid t h av c

onne on , cu tiv ly cu p i d th e en e o nse e oc e e

r ll y t i u w h av cr at d pali mp t—A h d p m m rial palimp

o e n o r o n e en - e e ses e ee e o c

t f h brai —th r a t a d ca t b uch i c h r c

, ,

ses o t e n e e r e no n nno e s n o e en es.

107 . IV E STR EN GT H AN D EM P H AS I S
M E TA P HO R US ED TO G
'

The effect of m et aph o r s omet i mes i s to p rese n t a t h ought

with ext r aor di n ary vigo r an d emph as is ; an d wh er e i t i s suc c ess
fu lly empl oyed in th is way th e re is a u n i on of be auty and
st r e gt h su ch a
n s a rrests th e att nti on and i mp r esses itse l f e

u pon th e memory .

p assage an aspe r si on u pon I r el and c on v ey

I n the foll owi ng ,

ed in a m et aph o r is ad mi r ably en c o u n t er e d an d t ur ned b ack

, ,

up o n the ad v e r s ar y by an oth e r me taph o r

You say a e a th t Ir l
n d is a m s one a bou our n ec s ; a o u d be ill t t k th t it w l
bet r
te for us if e and e e su n Ir l w r
at the bo om of the sea; a the s k tt th t Iri h
1 16 ments
Ela o f _
R/zetor ic .

effe ct This is the c ase with all such as are t r i te hack ney ed
.
, ,

an d wo r n o ut fr o mfr equ e n t use as t he az u r e ski es ; the sil v er

, ,

moo n ; a li o n h e art ; smil i ng mo rn .

2 Wh e n th e r ese m
. bl anc e is remo te i t i s not re adily u n d e r
st ood or app r eci at ed Su ch metaph ors are c all ed far fet c h e d
.
-

an d st r ai n ed as , ,

weltering of my l ong
S hapes of goods once fleshed and fair
C s1t r sum
,

Grown fou l ba ds in alie n air ax 0132 ”

-
. . .

Th ese i mag es are n ot easily in telligible

'

3 .Wh e n t he m e t aph o r i n v ol v e s so me th i n g th a t i s b e n eath

the d ig n ity of the su bj ec t the effec t is to d eg r a d e i t ; and thi s
is a g r eat fau lt e xcept in c ases wh er e i t i s the i n t en ti on o f the
,

w rit e r to d ep r eci ate or ab ase i t S uc h me t aph or s are freq u en t

.

e no ugh a nd bel on g to the figur es of di m

,
i nuti on u nd er wh ic h ,

h ead th ey are con sid er ed Th ey may also be found in h u mo r

.

ou s w r i ti ng wh ere so m
, e ti m e s the d egr a d ation of a grav e th eme
gives r i se to the r idi c u l ous .

4 The m
. et a ph o r sh ould not be c arr i ed too far nor shoul d ,

too m an y be i n t r od u c ed The effect of t h is i s to ov er l oad the

.

styl e wi th o rn amen t and to r ende r i t weak and t edi ous Thi s

, .

is a fau lt which pe r v ad es O rie n t al w riti ng : it is also fou nd in

A ngl o S ax on and an c i en t I c el andic poe try The exc ess o f met
-
.

aphor h er e ofte n l eads to g r eat obsc urity E sc hy lus is o pe n .

to the ch ar ge o f fr equ en t offen c es in thi s r espe ct Bu t s o me .

ti mes certai n p ass age s may con sist o f n u mer o us met aph o r s ;
an d wh en th ey are w e ll ch os en an d the i m agi nati o n is st r ongly
,

e xcit ed the e ffect is g ood

, This is set d ow n by some as a Sep
.

ar at e figur e an d is c al l ed ph an t asi a
, .

1 09 . w x sn unani mous .

The ch i ef fau l t in the empl oy men t o f th is figu re is th at whi ch

is c al l ed mix ed met aph or s Th is sign ifi es what th e n ame im
.

pl i es th at i s the i nt er mi ngli ng of met aph ori c al l angu ag e with

, ,

l it er al or the c on fu si on of di ffe ren t met aph ors Th ese two

, .

faul t s are esse n ti al ly the same bu t for pu r p os es o f cl ear ness ,

an d c o n v en i en ce th ey may be c o n sid er ed s ep ar at ely .

1 Wh e re met aph ori c al and pl ai n l angu age are i n t e r mi ngl ed

.

The fiend I n temperan ce is marshalli ng his h osts so a s to p oison the

mind s and bodies of poor i nebriates
,
"
.
 . F zgur es f
o R elat iv ity . 1 17

H ere the i mage of an ar med body of men is i nt ermi ngl ed

wi th the pl ai n st at emen t of th e poiso nou s effec ts of alc oh ol .

S aili ng on the sea of li f

e, we are often in dang e f omthe r r t mp t at i
e ons

aro u nd us
”
.

H er e v oy ag e of l i fe is p r ese n t ed as an i mage and con

the ,

fus ed wi th the l it er al t emp tati on s of l ife

“ ”
.

I f we p u t on the wh ol e arm or of rig ht eo usness we shall be l ess l iab l e to ,

yi l d t
e o the a u em
ll r
en t s of sin.
”

Thefigu re of an ar med m an ha s no connec tion with lit era l

all ur em
”
ents .

2 Wh er e di fferent m
. et aph or s are i nt ermi ngl ed and con
fus ed :
V irt u e al one can sav e us fro mthe h osts of ev il wh en th ey roll in u pon
us .

The i mage of hosts i s h ere c onfu sed wi th t hat of rolli ng

bill ows .

This resembl es S h ak espeare s li nes ’

O t t ak arm ag a i t a a f t ubl
r o e s ns se o ro es,
A d by pp i g d th m
n , o os n . en e

H ale a ma ag th t rmt
on e c n d hi p f tat
n e e s o -
osse s o s e on its march .

The mixt u re of m et apho rs is h ere v ery gl ar i ng , as al so in the

fol l owi ng e x ampl e
My main feat u re on wh ich thi s q uestion hi nges
l rdo s, the

B ur k e in h is speec h on the East I n d i a Bil l oi M r Fox in

'

, .
,

d es cribi ng the c l ass of E nglish men who g o to I nd i a has the ,

foll owi ng :

with all th av aric f ag a d all th i mp t u ity f y u th

A nimat ed e e o e n e e os o o ,

th y r ll i
e o aft r a th r w av aft r w av
n on e a d th r i
e thi g b f r
no e , e e e n e e s no n e o e

th y f th ati v bu t a d l h p l pr p ct f w flig ht f
e e es o e n es n en ess, o e ess os e o ne s o

bird f p r y a d pa ag with app tit c ti ually r wi g f af d th at

s o e n ss e, e es on n ene n or oo

i c ti ually wa ti g ”
s on n s n .

H er e the E ngl ish are cal l ed w av es and bi r ds of p r ey

“
.

S ome of the fi nest p assages in S h ak espeare exh ibit an i nt er

mi ngli ng of metaph or s
A g l ri u s o o s

A i th wi g d m g r f h av
s s e n e esse n e o e en

W h h b tri d th l azy paci g cl ud

en e es es e n o s

And sails u pon th e boso m of the air .

1 18 E le m en ts o f R/zetor ic .

charm dissol ves s pace

“
The ,

And a s the m o rning steals upon the nig ht

'
,

M elting the darkn ess ; so th e ir ri si ng senses

Begin to chase the i gnoran t fumes that mantle
Their cl earer reason .
”

C riti c s h av e c ond emned th ese on the grou nd th at i t is im .

possibl e for the i magi n ati on to form a pictu re composed of

s u ch confu sed obj ec ts B u t thes e are d efend ed by anoth er
.

cl ass an d this c on trov ersy b ri ngs the s u bj ec t i nto a new pos i

,

tion which mu st be co nsid ered

,
.

r ro . mxsn umu aoas ALW AYS osj scr roxasw

AR E Nor .

I t may be sh own t h at mix ed met aph or s are not alw ays oh

a T e grea s p ts h av e not been m s t c ar e fu l
j ec tio n ble h. te t oe o

to av oid th es e i nco ngr ui ti es ; and S h ak esp ear e in e v ery pl a y

sh ows al o r dly dis re gar d of conv enti o n Th ere are two c ases .

in which mix ed m et aphors may be d efend ed .

r Ph a
. n tasi a .

By s ome ph an t asi a is set d ow n as a sep arat e figu re I t .

means the acc u mul ation of t ropes or i mages Th es e are gen .

er ally c r owd ed toge th er with ou t i nt erm i ngling th ough th ere ,

may be c o nfu si on .

The foll owing is an exam pl e

As killi g
n k
as the can er to the ose, r
t i t w rm
O r an o w
to the-
eanl n e ds a i g h r th t graz e,
r t fl w r th t th
O r f os to o e s a ei ga
y ad o r w r r b w ar e e
h rt
W en fi s the wh t th r
i e o n ows bl
h Ly i thy l
Suc , c das, oss to s e
’
e d s ear h ph r —M LTON
. I .

H er e th ere is c ert ai nly n o c onfu si on b u t th ere is a ri c h ac

c u mu l ati on of figur es
,

I n S h ell ey s od e to a S kyl ar k al r eady q uo t ed th ere i s also

’
,

an ex ampl e of acc u mu l at ed i m
,

ages .

I n the foll o wi ng p assages fromM acau l ay’s essay on Baco n

,

th ere is anoth e r exampl e

A ssu red ly if the tree wh ich S ocrat es pl ant ed and P l at o w atered is to

,

be j u dged of by its fl owers and l eaves it is the n ob l est o f trees B u t if we

,

t ake the h omely test of Bacon if we j udge of the tree by its fru its our
.

o p in i on of it m
,

ay be l ess fav or abl e P l at o d r e w a g ood bow b u t like

,

Acest es in V irgil he ai med at the stars ; and th er efore th ough th er e was

,

, ,
,
1 20 E lements of Ritetor ic .

is d ue to the p ecu l i ar n at u re of r el igi ou s ph raseol ogy For .

this for ms so to sp eak a l angu ag e by itsel f with i ts own ap

, , ,

ropr ia te v oc a bu l ary an d is ful l of i m ag e ry an d figu r ati v e ex

p
p r essi on s d r aw n fr o mthe Bibl e which h av e g ai ned for th em ,

se lv es a l most a l it e r al ch ar act er I n the l angu ag e of religi on .

,

as in th at of c omm o n l i fe m an y m et aph o rs h av e come i n t o

,

gener al use the p urely figur ativ e ch ar act er of which is n ot oft en

,

su spect ed and the i n t e rmi ngl i ng o f th ese in a hy mn such as

, ,

the R ock of A ges n ee d not be reg ar d ed as an ac t u al fau l t

”
, .

5 xxx . c au c n n mrs .

Th er e is a pec u l i ar ki nd of met apho r c al l ed c at ac h res is , ,

which is so meti mes d efi ned as an abu s e o f met aph or ; b u t

“

abe tt e r d efi n i ti on is th at i t is a w o r d tu r ned fr om i ts l i t e ral

si g nific ation and mad e to exp r ess so methi ng at v arian ce with
,

it as
“
The musi c of her face .
”

H ere mu si c whi ch is the beau ty of sou d is affirmed of

,
n ,

th e be au ty of aspec t wi th which i t is at v ar i an ce as be l onging

,

to ad iffer ent cl ass of th i ngs .

Th r t th g dd l v i t a d fill
e e, oo. e o ess o es n s one, n s

Th ai ar u d with b au ty
”
e r o n e .

The ph r ase “
l oves in stone is si mil ar to the abov e ; and ”

of the s a me n atu e i s the foll owi ng

r

H artl e i c m
essness, pari with which th i f N v a Z mbla i
n o son e ce o o e s
warm .
”

C old ness of h eart is h er e c on t r asted with a c ertain ki nd of

ic e.

ALLEGO RY 5 1 12 . .

A ll egory i s cl ose ly assoc i at ed with met aph or I t has been .

c all ed a p r ol onged met aph o r an d may be d efi ned as a n ar

”
,

ra tiv e wi t h afigur at iv e mean i ng d esig n e d to c on v ey i nst ru ction

,

of a m or al c h ar act e r .

A ll egory is fou nd in the most anci en t w r i tings I t is v ery .

c ommon in the liter atur e of O rien t al n ations bu t in th at of ,

G r eec e an d R ome i t is of l es s frequ en t occ urr en c e the C h o i c e ,

of H er c ules b ei n g p er h a
.
ps the most famil i ar exampl e This .
 F zgd r é
s o
f Relat iv ity . 12 1

spec ie s of c omp ositi on r ose to extend ed use d u r i ng the M iddl e

A ges The myst ery and mo r ality p l ays may be r eg ar d ed as
.

d r amatic al l ego ry and sh o w the e xi st enc e of an ext r aor di n ary

,

fo nd n ess fo r this so rt o f figu r ativ e tr eat m en t T he fi r st im .

~

po r t an t w or k in E nglish poe t ry was o this ch ar ac t er the

f —
V isi on of Wi lli amc on c e r n i ng Pi er s the Pl o w man and ab ou t
,

the s am e ti m e C h auc e r w r ote his H o us e of F ame I t was in .

th is fo r mth at S p en s e r w ro t e his F aer i e Qu ee n e whi c h is th e ,

n obl est ex a mpl e of al l ego ry in E ngli sh ve rs e The n ext gr eat .

w or k was in p r ose Th is was Bu ny an s Pilgr i ms P rog r ess

.
’ ’
,

t he i m mense pop u l arity of which sh o ws no sig ns of ab at emen t .

The next o f i mpo r t anc e are J oh n son s R assel as and Th om

’
,

s on s Castl e o f I nd ol e nce Passi ng o ver oth e r ex ampl es we

’
.
,

c ome to the poems of Edg ar P oe which are ge ner ally of this ,

d esc r ipti on and o f which the c hi ef o ne The R av e n has had

,
“
, ,

a w o rld wid e popu l ari ty

-
H ere the poet o r S pe ak er is repre
.
, ,

sen t ed as h avi ng l ost his ear ly l ove Lenore (i n noc enc e o r pu ,

r i ty ) and as visit ed by a r ave n (remor se ) F o reign l it erat ure

,
.

abo u nds in e x ampl es bu t esp eci ally the Ge r m , an: M any o f

U h l and s p oe ms be l ong to t his cl ass Chamisso s S h ad ow
’ ’ “
.

l ess M an is a po wer fu l wo r k of the s ame ki nd To this be

”
.

l ong als o the best k no w n w r iti ngs of De la M ot te Fou qu e I n

-
.

U ndi ne the w at er spi ri t (poet ry ) c omes to dwel l with man

”
,
-
,

b u t is fi n ally d est r oy ed by a d rop o f w at er (pr os aic or prac ti

S intram and his C om p an i on s by the same
“
ca
”
l li fe) I n .
,

au th or is r ep r es en t ed the str u ggl e o f the h u man s ou l with the

,

w or ld the fl esh and the d evi l Far be yo n d th ese is Goeth e s

, , .
’

F aust the th eme of whi ch i s the st rugg l e o f the s ou l with

t empt ati on its fall a
,

, nd its fi n a ,l r ed e mpti o n which in the sec ,

o n d p ar t is s om ewh a t v agu e ly sugg est ed Bu t the gr eat est of .

all all eg o r i es is D an t e s D ivi n a Commedi a This sh o ws the

’
.

p rogr e ss of D an te (the s ou l of man ) gu id ed by V i rgil (ear th

m
,

ly wisd o ) and Beatric e (c el esti al wisd o m) th r o ugh I n fe r n o ,

( sc e n es o f sin a nd su ffe r i ng ) a n d Pu r gat o rio (sc en es of expi a

,

ti on ) to P ar adis o (fi n a
, l bl e sse d n ess ) I ts gen er al sch eme i s .

anal ogo u s to th at of the Pilg r i ms P r og r es s th ough the d e t ai ls ’

,

are i n fi n it ely d iffer en t .

The gr eat est all ego r i es in E nglish l it er at ur e ar e the F ae r i e

Q u een e of S p en s e r and the Pilgr i ms P r ogr ess of Bu ny an The ’
.

fo r mer is a poemof the high est or d er b u t i s n ot at all pop u l ar ; ,

 122 E lemen ts o f Rhetor ic .

the latt e is th e most wid ely ci c ul at ed boo k in ex ist en ce, n ext

r r
to the B ibl e, a n d n ex t to h at h a s be e n an sl at ed i nt o mo re
t tr
u
l an g ages than an y othe wo k ac a l ay co m r
p a es th e se r . M u r
two, an d acc o u n ts for th e u n p o p ul a ch a act e of th e fo rm e r r r r
on the g o u n d th a r t al l egory is u n i nt e es ting “
ven pen se r . E S r
hims el f, he s ays, c ould not suc cee d in th e att empt to mak e
” “

r
all ego y i n t e esting
”
But su ch a s tatemen t is disp oved by
r . r
r
th e not o i o us fac t th a t all egory has al w ays bee n i n te es ting, r
an d c on ti n u es to be so I t is ath er pen se r s tr eatmen t th at
’
. r S
i s at fau lt , for thi s, th o u g h i c h ly poe tic al , is c e tai n ly n ot popr r
ul a r H e w o t e for the few, and h as al w ays been ad mi red and
. r
acaul ay s c iticis mis se ve e, y et in p a t
M r r r
’
bel ov ed by the few .

u
j st . u r
O n e n pa d onabl e fault , he says, the fa lt of d l n ess,
”
u u
pe v ad es the wh o l e of the Faérie Qu ee ne We bec ome sick of
r .

ru
c ardi n al vi t es and d eadly si n s, and l ong fo r the soc i ety of
pl ai n me n and wo men O f the pe so ns who ead the fi st . r r r
c ant o, not o ne in te n reach es the e nd of the fi st boo k, and n ot r
o ne in ah n d ed pe rse ve res to the end of the poe m
u r V e y fe w . r
and v ery w eary are those who are in at the d eath of the bla
”
t ant beast .

O n the con t r ary , of Buny an s P ilg r i ms P r ogress

’ ’
, he says

A ll the forms which cross or ov ertake the pil g rims ar e act ually exist
ing bei ngs for u s W e foll ow the trav ell ers thr oug h th eir all egori cal pr og
.

ress with i nt erest not i nferi or to that with whi ch we foll ow E li zabeth from
S i beri a to M osc ow or J eanie Deans fromEd i nbu rg h to Lond on B unyan
,
.

is al m os t the on ly wri ter that ever gave to the abstr act the i nt eres t of the
concret e The mi nd of B u nyan was so imaginati v e t hat perso nifications
.

when be d ealt with thembecame men A d i al ogue be tw een two q u alities .

in his d reamhas more d ram ati c c fl ec t than a dial ogue between two h uman
beings in most pl ays .
”

The ch aract er s in an all ego ry may h ave the n ames of ab

st r act qu ali ti es as in the Pi lg r i ms P rogress ; or n ames d r aw n
,
’

from oth er sour c es su ch as l egen d or the fan cy of the w r it er

, ,

as in S pe n se r s F aérie Q u ee ne
’
I ts effectiv eness d oe s not d e .

pe n d u p on the n ames of the ch ar acte r s bu t r ath er u pon the ,

ch ar act er s th ems elv es I f th ey are lifelike ; if the acti on is.

v igor o us ; if the au th or gi v es hi m s el f up to the n arr ative an d ,

all ows i t to co n v ey its o wn l esso n wi th o u t i n t erru pti ng it wi t h ,

h is own mo r al i zi ng th en the all egory wi l l be a s i n t e r esti ng a

,
s

any oth er n arr ativ e A s far as n ames are c on ce rned th ey may

.
,
 1 24 E lements o f R/utor ic ’
.

i ngs and l ook ed upo n the tr ees an d st reams an d mou nt ai ns

,

as actu al p e rs o n s T he chil d sh o w s the s am

. e t en d e n cy to
p e r

s on i fy wh e n he str ik es b ack at t he stone o v e r which he has

st u mbl ed I ts po w e r is al so seen in the d ev el op me n t of lan
.

gu age wh ere we find thi ngs withou t life classifi ed as masc u li ne

,

o r fem i n i ne .

Th er e are th r ee d egr ee s of pe rson ific ati on

1 Wh en i n a
. ni m at e o bj ec ts are c once iv ed of as en d ow ed wi th
li fe ; as a ragi ng sto rm
“
,
” “
a c r u el dis eas e “
the s m
, il i ng ,
”

mor n ” “
, a l ivi ng sp ri ng
” “
a fr ow ni ng p r ecipi c e ,
” “
wi nged ,

w or ds ”
,a pi t i le ss st one
” “
th i rsty g ro u nd ”
Th is is i ll u s
, .

tra ted in the foll owi ng l i nes

“
S wee tday so coo , so cam , so b ig
, , l l r ht
The bridal of the ea and sky, rth
w h ll w The d e s s a i ht
ee p fa to n g , thy ll -

th t F or mou mus die —O nc z H ERB ERT

"
. .

This is the l owest and most famili ar fo rmof pe rson ifi cati on .

I t is in general use in poetry and also in p r o se ; an d is so n at ,

u ral and p ros ai c th at i t i s empl oy ed in co mmon co nversation .

2. T he se co n d d eg r ee of per sonifi cation i s wh er e the obj ec t

is d escribed as ac ting The fo ll owi ng are exampl es .

Law t p f r h t pr t ct th accu d s e s o t o o e e se .
”

Bri tai trik 6 th cap ti v ch ai

“ ”
’
n s es 0 e es ns.

Earth f lt th w u d a d atur fr m h
e u rc
e o n , n n e, o e r so e,
S ig hi g thr ug h al l h w rk gav ig
n o fw —M I LTON er o s, e s ns o oe.
"
.

Th brid g r m a
“
e e oo se

I t yi g with h h hi w dd d brid ;
s o n t e s or e, s e e e
R tir a pac t e h w fair h l k
es s e o see o s e oo s,

Th pr ud u u p t ki h —A LEXANDER S M ITH
en , o , r ns o ss er.
”
.

H w l p h brav wh o i k t r t
s ee t e e o s n o es
By all th ir c u t y wi h bl t ! e o n r
’
s s es es

By fairy ha d th ir k ll i ru g ; n s e ne s n
By f rm u o th ir dirg i u g ;
s nsee n e e s s n
Th r H r c m a p il grim gray
e e on o o es, ,

T bl o th t u rf that wrap th ir cl ay ;
ess e s e
A d Fr d m hall awhil r pair
n ee o s e e ,

T d w ll a w p i g h r mit th r
o e —C LLI NSee n e e e.
”
O .

common i p r os e al so as F r anc e g oes to war for

n
“
, ,

an i d ea; A mer ic a was agon i zed by the fr at ricid al c o fli ct n .

”
 . F zgur es o f R elat iv ity . 125

In near ly all l angu ages but the E ngl ish i n an i mat e th i ng s are
pe rso ni fi ed , si n c e th ey are r egar d ed as mascu li n e or fe min i ne .

In E nglish poet ry this is d o ne by a r egu l ar ac t o f pe r o n ific a s

ti on Th ey are r ep resen t ed as l ivi ng an d acti ng Th i ngs per

. .

so n ified a re with u s c hi efly fem i n i n e and i nc l u d e mor e p ar ti e ,

ularly c ou n t r i es citi es and abst r act qu al i t i es

, , .

I n c om mon c o nv ers at i on th ere is a st rong t en d enc y to this

figur e among th e l owe r o rd ers Th u s a ship i s femi n i ne
“ ”
.
,

and i s spok en of a s
“
sh e so i s a
“ “
w atc h a gun an d ”
, ,

many oth e r ar ti cl es of pe rso nal p ro perty This pr ob ably ari ses .

fr oma te n de ncy to reg ar d s u c h th i ngs a

”
s pets o r obj ec ts of ,

affec ti on ; and h e nc e th ey are nat ur ally mad e femi n i ne In .

o th er c a se s wh e re th er e is an tagon is mor h ostili ty the obj ec t

, ,

is mad e mas c u li ne .

3 The thi r d ki n d o f pe rso n ifi c ati o n ar is es wh e r e the obj ec t

.

i s r ep resent ed as end ow ed with the po w e r s o f speec h an d in

tellig ence . The m ost c o m mo n fo r mof this co nsists of an ad
d ress to the pe rson ifi ed obj ec t
“
unexpect ed stroke w orse th an of death !
’

O ,

M us t I th us l eav e th ee Parad i se —M tL rON ,

“
.

“
F arewe ll h appy fi l d
, e s,
Wh r j y f r
e e or d w ll ! fl ail h rr r hail !
o eve e s , o o s,

A d th u p r f u d t h ll !
n o , o o n es e

G l v ly r o, o e ose,

T ll h that wa t h ti m a d m
e er s es er e n e,
Th at w h k w no s e no s,
Wh I r mbl h t th
en ese e er o ee,
H w w t a d fai r h
o s eem t b —E D W ALLzR
n s e see s o e.
”
. .

Fair d aff d il w w p t o s, e ee o see

Y u ha t aw ay
o —Ronm R zm x
s e so soon.
”
c .

“
Wak fr m thye t bi r d br a t
o nes , ro -
n e e s ,

S i g b ird fr m v y fu w
n , s, o e er rr o ,

A d fr m ach hill l t mu i c hrill

n o e e s s ,

G iv m y fair
e l v g d ma rr w — T HOM AS H svwoon
o e oo -
o .
”
.

I f aug ht f at o t p pa t ral g
o en s o , or s o son ,

M ay h p ch a t E
O e, t th thy m d t a
s e v e, o soo e o es e r,
Lik thy w l m p ri g
e o n so e n s n s,

Thy p ri g a d dyi g gal —C LLINS

s n s n n es.
”
O .

Y li v i g fl w r th at ki rt th
e n o t r al fr t !
e s s e e e n os
Y wild g at
e p rti g r u d th agl
o s s o t! n o n e e
’
e s nes
 E lem R/zetor zc
'

1 26 en ts o f .

Ye eag les, pla maes of the m oun ain s o m!

y t t -
tr
l ht i r
Ye ig n ngs, the d ead a o ws o f the c o uds ! rr l
Ye signs an d l t
ond e s of the e emen ! w r
r rth hill with r
U tte fo G od, an d fill the s —COLERIDGE
p aise ”
. .

G d by p r ud w rl d ! I m g i g h m
“ ‘

oo -
e, o o o n o e :

Th u a t my fri d a d I m t th i e
o r no t en , n
’
no n .

L g thr ug h th w ary cr wd I r am
on o e e o s o ,

A riv r a k h c a bri
e -
r on t e o e n ne.

L g I b t d lik th d riv f am;

on
’
ve een oss e e e en o
B u t w p u d w rl d I m g i g h m —R W EM ERSON
no , ro o ,
'
on o e.
”
. . .

Th is ki n d of personifi c ati on is the res u l t of s trong emotion

or ex c it ed i m agi nation and be l ongs pec u l i ar ly to poet ry and
,

o ra to r y .

5 n 6 APOST R O P H E . .

A postroph e is an add ress to the absen t or d ead as th ou gh ,

real ly p rese nt I t resembl es pe rsonifi c ati on of the th i r d d e

.

g r ee wi th wh i c h i t is freq u e ntly c onfou nd ed I t is assoc i at ed

,
.

wi th high emo ti on and is chi efly fou nd in poe t y and or at ory

, r .

H w h all I k w th
o s i th p h r which k p
no ee n e s e e ee s

Th di m b di d p irit f th d ad ? —B RYANT
e se o e s s o e e
"
.

Gr b th t u rf ab
“
th een e e o ve ee,

Fri d f my b tt r day ; en o e e s

N k w th bu t t l v th one ne ee o o e ee,

N amd th but t p ra i or n e ee o se.

”

Fi n -
G aze xs Han sen .

M ilton s add ress to S h akespeare is a w el l k nown

’ -
i n stance
W hat d m y S h ak p ar
nee sf hi h rdb es e e or s ono e ones ?
Th lab r f a ag i p il d t
e o ? o n e n e s on es

Dear son of memory great , h ire of fame !

Words worth s sonnet to M ilt on affor ds anot h er ex ampl e

’

“
M ilton ! th ou sh ou l dst be li ving at th is h ou r:
England hath need of th ee ! ”

This figur e abo un ds in the Lyc id as of M il t on and in Ten

,

n y so n s
’
In M emo riam asth er c as es ,
in all o wh en th er e is a
di r ect add r ess to the d ead The i n v oc ation of the . M us e in
poetr y may also be men t i o ned as an e x ampl e
O f man s first d i sobed i enc e s i ng h eav e nly muse
’
, .

Achill es wrath to G reece the d irefu l spri ng

'
,
'

Of woes un n u mbe red he av enly g od dess si ng , , .

 128 E lements o f Rhetor ic .

figur e th at may be u sed to exp r e ss str o n g emo tion or for the ,

p u r pos es of an i mat ed n arr ative .

r T he m
. o st s t r i ki ng ex ampl es o f th i s figur e are fo u n d in con
n ec tio n wi t h d e ep fee li ng wh e n the i m a i n atio n is in a s tat e
,
g

of h igh excit e m en t an d t he w r i t e r seem

,
s to h a v e an actu al
visi o n o f the sc en e which he d e sc ri bes A post roph e is o ften .

fo u n d u n it e d wi t h i t N o be tt er ex am
. pl es of visi on c an be
fo u n d th an th o se w hich oc c ur in By r o n s C h ild e H arold H is ’
.

d esc ripti on of a st o r min the Alps is fam ili ar to all

T he sky is ch anged ! and s uch h
a c ang e ! 0 n ig ht ,

A nd t rm a d dark
s o , y a w dr u
n t g ne
s s, e re on o s s r on ,

Y t l v ly i y ur tr gt h a i h lig ht
e o e n o s en , s s t e

Of a dark y i w m a ! Fa al g
e e n o n r on ,

F r m p ak
o ep ak h rattli g crag am g
to e , t e n s on ,

L ap h li v th u d r t fr m l cl ud
e s t e e n e , no o o ne one o ,

B u t v ry m u tai w hath f u d a t gu
e e o n n no o n on e,
A d J u ra a w r fr m h
n ns mi ty hr ud
e s o er s s o
Back h j y u A l p which call t h
to t e o o s al ud s, o er o .
"

I n the s ame poe mthe d e scripti on s of the D yi ng G l adi at o r ,

the La oc oo n S t P e te r s C ath ed r al the Fall s o f Vel i no and

’
.
, , ,

some o th e rs affo rd str i ki ng ex ampl es

, .

V i si on is frequ e nt in ly ri c al poe try p artic ularly religi ous ,

hymn s :
Fai nt an d bleed i ng , who is he ? ”

Th g l ori ous forms how brig ht

ese , th y e shine !
W h ence all their brig ht array

Th is figu re is co mmon in o rato ry

I see before me the sl aug ht ered heaps of citizens lyi g u bu ri d
n n e
mid t
,

of the ir r uined cou n try —C rc sno

"
s . .

The highe r ord e r o f visi on is not common in or din ary p rose ,

b u t wh en there is d eep ex c it emen t or st r ong emoti on it is u sed

wi th g re at effec t M any p ass ages of this natu re are to be
.

fo u n d in the w o r k s of C ar lyl e .

2 V isi on is a
. ls o u sed for pu r po ses of an i mated n arr ativ e .

H ere for the s ak e of avoid i ng mo no t ony and v aryi ng the ex

, ,

p re ssi on an d styl e the p r e se n t te n se is empl oy e d i n st ead of the

,

p ast an d the sc en e is th u s n arr ated as th ough occu rr i ng befo re

,
 F igur es o f Relativity . 1 29

the ey es of the w ri t er Th i s use of the p r es en t t en s e for the

.
,

p as t i s v e ry p r ev al en t in Lati n an d G r eek w r it er s L ivy in .

p arti cu l ar i s p ar tial to it an d it i s r ecog n i zed an d n amed as ,

hist oric al p r ese nt C ar lyl e mak e s frequ e n t use o f i t

”
th e .

and i t i s em pl oy ed l argely by n ewsp ape r c o rr esp ond en ts mo r e ,

espec ia lly‘by M r W H R u sse ll The foll owi ng p a

. .ss ag e from
. .

h is d escription of the b attl e of Bal akl av a wi ll serv e as an ex

am pl e
“
W ith breathl ess suspense every one awaits the b urst ing of the w av e
u pon the Gallic rock ; bu t ere th ey come withi n anoth er hu nd red and fifty
y ards another dead ly v olley flash es fr om the l evell ed rifl es and carries
, ,

death an d t err or i nt o the R ussians

”
.

I n the fol l owi ng p assage th ere i s a v ery be au ti fu l e x ampl e

of this ki nd v i si on of

Ti me l abors on—you r sk in gl ows and your shou l ders ache Y our A rabs , .

moan you r camel s sig h bu t conq uering Time march es on and by and by the
. , ,

d esce nd i ng sun has co d t h h eav en and now softly t ouc h es o ur ri g ht e ,

arm and thr ows y our l ank shadow ov er the san d ri g ht al ong on t h e way fo r
.

Persi a; th e n aga i n you l oo k u pon his face for his power is all v eil ed in his ,

beau ty and the red ness of flames has beco me the red ness of roses ; the fair
wav y cl ou d th at fled in the morni ng now comes to his sig ht once more
,

comes bl ushing yet still comes on—comes bu rning with bl ushes yet hastens
, , ,

and clings to his Side —K 1N GL AK L

"
.

ALLUSI O N 5 r 18 . .

A l l u sion may be d efi ned as the reference to some fami li ar

ev en t in the p a s t or the app r op ri ati on of fami li ar words fr om
,

some w ell k now n au th o r for p u rposes of expl an ati on or ill u s

-
,

tration Thi s figur e is b as ed u po n the i dea of si mi l arity, and

.

may be p resent ed in th ree mod es :

1 The d i rect all u si on ; as
.

The patience of Job is p rover bial .

”

z . u si on of comp ari son as

The all

Lik A l x a d r h w pt b cau h had m r w rl d t c q u r

e e n e , e e e se e no o e o s o on e .
”

Lik th mu i ci a at Al xa d r f a t it a rai a m rtal t th

“
e e s n e n e
’
s e s , c n se o o e
ski ; bu t lik S t C cil ia it a al bri g a a g l d w
es , e . e , c n so n n n e o n.
”

3 The all usion by m

. et aph or ; as
H wa th Ac hill
e sf th wa
e es o e r.

Th y mad him th ir cap g at

e e e s e o .
1 30

msr omc ar ALLUSI ON

1 19 . . .

Th ere are two kind s of allusion ; fi r st the his tori cal ; ,

and ,
secon d ly the l it era
,
ry .

I historic al al l usi on
The
The all u si on is said to be h istorical wh en reference is m
.

ad e
to any w el l k now n ev en t or c ha
-
rac t er in the past I t may .

r efer
I . To h ist ory ; as

Lik rig i d C i
e n cinnat us , no bly poor .

2 . To ficti on ; as
Lady M acb th i e s the C te ly m tra nes of the modemdrama .

3 To.an ec d ot e, fabl e, etc .

; as

Lik e the ass between two bundl es of hay .

”

Ad og -
in the m
-
anger po l icy
-
.
”

The foll owi ng p ass ages wil l fu rth er i ll ustrate this

al l usi on :
W h en I wa a b ggarly b ys e o ,

A d li v d i a c ll ar d amp
n e n e ,

I had t a fri
no d at y en n or o ,

B u t I had A l ad di lamp n s
’
.

W h I uld t l p f c l d
en co no s ee or o ,

I had fi ug h i my b rai ;
r e en o n n

A d bu il d d with r f
n e f g ld oo s o o

M y b au tifu l ca tl i S p ai —J R LO W ELL
e s es n n.
”
. .

u
The al l si ons are, fi rst , to A l addi n in the A rabi an N ights ;
an d, s ec on dly, to the common C h at eau x d Espa
”
s ayi ng , g n e
’
,
”
i. c astl es in the air .

F or u anh m ity w p w r wh r
s ee s on a d : e e to d ay the a s an ds, -
m rtyr t
O n the mo o rr w r h J
c ouc es udas, withthe s e in his ands il v r h .

r t r t r y
F ar in f on the c oss s ands e ad , an d the c a c n fa o s u n , r kli g g t b r
hl y tr y
W i e the boo ting mob of es e da in s en awe e u n, il t rt r
gl tt r r g t
To ean up the sca e ed f a men s into is o s o den ur n
’
h t ry g l .

—J O W ELL R L . .

ca I
n see m
y own vi w t t h t
ces i hou ea in the d s an e sons of So it tpr l o
" —
m o n, A c l i bi
a t li
d es, and C ai ne R W E M ER O N . . . S .
I 32 E lem
'

en ts o f R/zetor zc .

th m m r
The ana e a a a na a of e e fa n n d ean — MACAUL AY
th v ry w i g . .

Th k h
is ma es the c a acte com e e W asoe e r r pl t h t v r thi g
n s ar e fase, l .

wh t v r t i g
a soe e h n s are dis ones , a soe e n s a h t wh t v r thi g
r e u n us , asoe e j t wh t v r
thi g
n s a i p r wh t
r e m u e, asoe e n s a re a e fu , v r thi g
asoe e n s ah t l wh t v r thi g
r e of

ev i r p rt th r
l e o — if e e be any v ce , and if e e be a n i
y infa , all th r
ese n s my th thi g
w k w w r bl d d i B arérc — MAC AUL AY
"
e no e e en e n . .

A nd 0 , wh t p
e n s oo s o n j u da s a , h p th ’

I n s ad e and s o m, the f
h t r u r q t ght
ni
e en ,

h l g
Be t ou on suffe n , s o ri g l w wr th
to a , -

b r g
A u nin and a s nin l hi g ig ht
”
.

’
T is a p p ul u
o lit ud f tal f arl
o s so e, es , e s s,
e
F or m f g d will pr par d
en o oo -
e e .

That city he sees on wh ose gol den w all s

N lig ht
o ri i g u of a s n s n or se tti ng

Of m f p l a t fall ;
oo n or o ne s

F h Lam b al
or t e i th li g ht th r f o ne s e e eo ,

Th ci ty f Tr u th—th ki gd m f L v
e o e n o o o e.
— S I R A U B REY DE V ans .

r r
G ay s od e on the P ogress of P oesy c on t ai ns a p ol ong ed
’
r
r u
l it e ary al l s i on, in the seco n d st an zao f which th e e is a p ara r
p h r ase of the O pe ni ng li nes of Pi nd a s fi rst Pythian ode :
’
r
Oh ! S ov erei gn
willi g ul of the n so ,

P ar t f w t a d en l m br athi g air !
o s ee n so e n- e n s

E ch a ti g h ll ! th u ll car
n n n s e e s en es

A d fr a ti c p a i
n h ar thy ft c tr l
n ss ons e so on o.

O Thraci a hill th L r d f W a
’
n s s e o o r

H a cu rb d th fu ry f hi
s a
e e o s c r,

A d d r pp d hi thir ty l a c at thy c m
n o e ma d s s n e o n .

P rchi g e th c ptr d ha d
n on e s e e n

Of J v thy magi c l u ll th f ath r d ki g

o e, s e e e e n

W ith ruffl d p l u m a d flagg i g wi ge es n n n :

Q u ch d i dark cl ud f l u mb r li
en e n o s o s e e

Th t rr r f hi b ak a d li g ht i g
e e o of hi y s e , n n n s o s e e.

Pallid d ath h av i g
e iz d u p th l uckl P ri c i h cat l f
, n se e on e ess n ess n er s e o

A hl d pr
en, tly p u c d u p H M Ki g G rg I i hi trav lli g
ese n o n e on . . n eo e . n s e n

ch ari t oth Ha v r r a
on e d W hat p tili
no e a u t i d th p al h r
o . os on c n o r e e e o se

man ? ”

H er e the al l u si on 5 to H or ac e s 1
’
p allid amors , and to the
p al e h or s e of the A poc alyp se
”
.

r zr Q U OTATI O N
. .

L it er ary al l u si on an d q u ot ati on mu st not be c onfou nd ed .

 F igur es f
o R elat iv ity . I 33
A qu ot ati on is an ci tr act fr om an y au th o r an d i s for mal ly ,

st at ed as such A n all usi on app r op r i at e s w e l l k n ow n w or ds

.
-

an d i nc orp or at es th em as on e s o wn with o u t ack n owl edg men t

’
.

A q u ot ati on may be mad e from any w or k ; an all u si on mu st

r efer to w r iti ngs th at are famili ar to all .

O v er all the h eav en abo v e ov er all the earth beneath th er e was no , ,

vi si bl e power th at cou l d balk the fierce will of the sun ; he rej oiced as a ‘

stro ng m an to r un a r ace his go i ng fo rth was fromthe end of the h eav en

, ,

an d his circu it u nt o the ends of it and th ere was nothi ng hid fr omthe h eat ,

thereof — K ING LAKE

.
’
.

of
'

The latter part of the abov e s en t ence c on sists w el l k now n

-

r
w ords , and th ey are p es e nt ed as a q ot ati on u .

The ch l ar i C h auc r wh w u l d rath r h av

s o n e o o e e

f at hi b dd h ad s e es e

A tw ty b k cl th d i bl ack a d
en o es o e n n red

O f A ri t tl a d hi p hil p hy
s o e n s oso

Th a r b rich fidd l n o espa lt i , or e, o r s r e,

’

d oub tl ess b at all u m d r c ll ct r i hi p a i

e o r o e n o e o s n s ss on for r e ading .
—LEIG H
H UNT .

I n the abov e qu ot ati on as al s o in th at wh i c h foll ows the , ,

w or ds are u n fami l i ar bu t th ey ar e p r es ent ed in an i nfor mal

,

way with the eas e and g r ac e of an all u si on

, .

W h e n any thi k h ha caug ht h (N at u r ) it i ly a part f

one n s e s er e , s on o

d rap ry whi c h h yi l d hi cl u tch v r h r l f Sci c ay ’

her e s e e s to s es, ne e e se en e, s s

th P r i a my ti c p u t h fi g r h m u th a d cri b cau th
‘
e e s n s , s er n e on er o n es e se e

my t ry f li f will t r v al it l f
s e o e D r F H H ED E
no e e se .
’
-
. . . G .

LAG I AR ISM r22 . P .

L iter ary al l u si on mu st n ot be c o n fou nd ed wi th pl agi aris m .

P l agi ar i sm is lit e r ary th eft ; wh er e i mpo rt an t id eas or ex

p r essi on s are app r op r i at ed fr oms o u r c es to whi c h i t i s su pp os ed
th at th ey c ann ot be r eadi ly t r aced and p r esen t ed as the actual ,

w or k of the app r op r i at or I n al lu si o n the w o r ds are w e l l .

k now n ; th ey are p resen t ed as such ; th e r e is n o p ossibi lity o f

mist ak e as to th ei r or igi n ; b u t in pl agi ar i smthe w or ds are n ot
w el l k n ow n and the w r i te r p r es en ts th emas his o wn
, .

1 23 . O H T ER FI G UR ES .

Th er e are s ev er al th er figur es which may be n amed h er e o

Syl l epsi s p ar onomasi a an nomin atio and an t anacl asi s Th es e

, , , .
1 34 E lf men ts of Rlzetoric .

are all of th e n at re of tr opes, an d by all owin g so me par

u
tic ula r te m t o be t a
r k en in tw s s s
o e n e — lit e al or me a r t
p h o rical— th ey gi v e i s r
e to wh at is c al l “
ed a p la y on w o ds
”
r .

Th ey all h ave th e same general c harac teristic s, an d wi ll be

c on sid ered farth er on .

1 2 4. momr .

I rony is the use of w or ds wh ose lit eral meaning is con t rary

to the r eal sig n ificati on .

1 25 . sancasu.

S ar cas mis i rony wi th vitu p eration d irec ted general ly against

per sonal opponen ts .

1 2 6. i N N UEN DO .

I nn u end o is the em pl oy ment of i nsi nu ation in st ead of di rec t

statemen t .

Th ese th ree figures — i rony s arc as m and i nnu end o — are

, ,

someti mes cl assifi ed u nde r t hi s h ead and it see ms p roper to ,

mak e so me menti on of th emh ere Th ey wil l ho wever rec eiv e .

, ,

a fu l l er consid er ation in con nec ti on wi th the s u bj ec t of the

r idi cu l ous.

C H A PT E R I V .

F I GU RE S OF R E LA TI V ITY A RI S I N G F R O M TH E ID E A OF
C O N TI G U I TY .

127 . me n u s
NTI G U ITY or CO .

M ANY th i ngs wh ich are neith er c on t rasted nor si mil ar are

oft en a sso ciat ed t ogeth er in the mi nd fr omc ertai n con nec tion s
th at may exist be twee n th em as th at of c au se an d effect an t e
, ,

c ed en t an d con s equ en t and o t h ers W ashi ngton may th u s be

, .

ass oci ate d with p at rio ti sm; a ki ng wi th his c ro wn ; a cu p with

its c on t en ts By this p roc ess of associ ati on o ne of two t hi ngs
.

may be t ak en for the oth er an d thi s giv es r ise to a new cl as s

,

of figur es .T he r el ati on b etwee n su ch obj ects u po n which ,

th es e figur es are fo u n d ed m ay be d esig n at ed c on tigu ity

,
.
I 36 E lemen ts f
o Rfietor ic .

a ich man is c all ed a C rce sus or a R oth sc hild

Thu s r “ ”
.

”
T he n ew C ass an d a sig n ifi es a p oph et of e vil rTh is fo rm r .

of syn ecd och e is w ell i l l us t at e d in the foll owi ng l i nes r

S ome v ill age
th t with d au tl br a t H am d en, a p n ess e s

Th littl tyr t e l wi th t d e an of his fie d s s oo ,

S m mu t i g l ri u M ilt h r may r t
o e e n o o s on e e es

bl d —G RAY
,

S m C r mw ll gu iltl o f hi c u try
e o e , ess o s o n
’
s oo . .

5 A n
. i n divi d u al i s d esig nat ed by so m e cir c u mst an ce con

n ec ted with him i n st ea d o f h is own p r ope r n ame as the ,

“
P rin c e of R oma E l oqu n ce fo C i cero ; th n F ath e r of e ,
”
r e
“

E pic Poet ry fo H omer ; the M o r i g S t ar of the R eforma

,
r n n

ti on fo Wycli ffe ; the F at h r of E gl ish S o g for C h aucer ;

,
”
r e n n ,
”

the S wan of A vo fo S h ak espe ar e This is v ery si mil ar to

“
n, r .

the ki nd j ust m en ti oned a nd is a lso c all ed an t onomasi a E x ,

.

ampl es are fo u n d in the foll o wi ng p as sages

La t cam a d l at d id g s e, n s o,

Th p il t f th G alil a l ak —M LT N
e o o e e n e. I O .

Th li g ht whi c h h bl i d ld m
e a f Sci had k i dl d i G r c h d
t e n o n o o n e n ee e s e
its rad i a c v r l taly — W AY AND
n e o e .
"
L .

I I The s eco n d divisi o of sy nec d oc h e is wh er e the in

. n

d efi n i te is p u t for the d efi n i te .

r The wh o l e is pu t for a p a
. rt as
“
A meri c a for the
”
,
U nit ed
S tat es The O ld Wor ld for Europ e
.
“ ”
.

B lie w rl d wa gay
nda s mil ed , and all the o s .

I n this all the wo r ld r ep r es en ts th e s m

, al l er w o r l d of Be l i nd a .

S i mil ar ex ampl es of this figu re may be fou nd in the exp res

si on s eve rybody e v ery one h is wh o l e ti m
“ “ ” “ ” ” “
, e all the , ,

ti me .

2 The abst r ac t is us ed for the conc r ete as

. her be au ty and , ,

her ch iv al ry ; the c on c r et e for wh ich is beau ti fu l w om

”
en a nd
b r av e men .

Th r H r c m ap il gri mgray e e on o o es, .

Th b a t f h ral d ry th p mp f p w r
e o s o e , e o o o e ,

A d all th at b au ty all th at w alth

n gav e , e e er
’
e.

T alki g ag n e.

I thi f r m of y ec d och e th er e i usu al ly s ome d eg ree of

n s o s n s

p er s on ific ati on .
 F ig ur es f
o R elat iv ity . I 37
The use of the abst ract for the c on c ret e i s by s ome set d ow n
as a distin ct fig e u nd e the n a ur r me of antimeria .

ENALLA G E
1 29 . A N T I M E R l A— .

A n timer ia mean s the sub sti tu tion of o ne p art of sp eec h for

an oth e r I t i s al so c al l ed en all age
. .

1 Th e u s e of an adj ec tiv e for an adv e r b

. .

L o ud r aro ed the bl ast .

A b raying ass
igmt l o ud and clear —COW P ER
,

”
Did s n os . .

2 The u
. se of a nou n a s a v er b

T u th r d H r d
o o A h ct ri g f ll w
e o e o . e o n e o .
”

W h th r th c h arm r i e r it
e ai t it e e s nne , or s n ,

I f f lly gr w r ma ti c I mu t pai t it —P
o o o n , s n .
"
OP E .

M ETO NYMY 1 30 . .

M et ony my is the s u bsti t uti onfo r o ne anoth er of wor ds w hi c h

i ndi c at e chi efly the r e l ati o ns of c au s e and sign The fol l owi ng .

is asu mmary of the v ar i o us appli c ati o ns of th is fig ur e .

1 Ca . u se and effect .

The c au s e i s p u t for the effect ; a s

W ith th u d r fr
n e o m her tv
n ai e oak,
S he q u ll th e s e floods bl we o .
”
—C A M PB EL L
H er e r ep res en ts sh ips of wa the mat er i al st andi ng for
oak - -
r,

the th i ngs m ad fro mi t e .

The effect i pu t fo the c au e ; as

s r s

C a g ray h a
n ir m ak f lly v rabl ? —J UN IUS
s e o ene e .

G r ay h airs is h er e u sed for old age .

By th w at f thy br w th u halt at b r ad
e s e o o o s e e .

S weat is us ed for l abor “

.

2 T he sign is u s ed for the th i g sign ifi ed as

.
crow n n , ,
”
,

sc pt r th r o e etc fo
” “ ” “ ”
“
e e , ki g
n ,ed c oats for sol .
, r n r -
,

d er s
i
“ “
t og a fo civili a s ,
”
r n .

C fu i thy ba r w ait
on s on o n nne s .
”

H er e b a ner r ep r e n t oldi e r ar my
“
n s o se s s s r .
1 38 E lements o f Rhetor ic .

con tai ne r is u sed for the thing c on tained ; as c u p

°

3 T h
. e , ,

a co u n t r y “
” “ ” ”
for dr i nk for i ts peopl e ;
, h eaven for ,
“ ”
God .

Larg was his bou n

e and his so u s ty , l i cr n e e,

H eav en did a ecompe nse as a ge

r l r ly d se n .
—G RAY .

H e who t l
s eas my p urse t al tra h —S
s e s s .
"
rtxxss m nx .

4 Th e
. i n st m e n t is purut for t he ag e n t as, the swo d r of the

law, for the magistr at e

” “ ”
b ay onets, for so ldi ers .

5 T he
. a thuor i s m e n tioned i n s tea d o f his w o ks ; as r
P l at ayo s s. We find in Bac on.

6 . A thi ng is rep resen t ed by so me q u al i ty app rop ri at e to it

“
The pal e real ms of shade , wh r
e e ea ch
hall tak s e

H is chamber in the sil ent hall

s o f d ath —B RYANT
e .
”
.

3
131 . un ans psrs .

M et al ep
is i s fou nd ed on the re l ati on be tw een ant eced en t
s

and con sequ e n t T he w o r d wh ich fo rm

. s this trope has always
a suggest ed m ea n i n g wh ich gi v es i t its fu ll fo rce
,

Fu it Ili um Tr y ha b
o s een.
"

This s u ggests the meaning th at T roy i s no more .

“
Vixi —“ I h av l ive ed.

Th at is the best p art of the speak er s li fe i s ov er

,
’
.

The ph r ase sh ar p p oi nt ed isl ands is n otic ed by Qu i n tili an

”
-

as s ugg es ti ng swi ft i sl and s an d i nv olvi ng the id eaof ships ”

.

The t e rm w oo d en w alls i s of this n at ure and i mpl ie s the ,

d efensi ve ch ar act e r of a fl eet .

M et al epsis is of n o v al u e wh atever u n l ess i t is t ak en in this

s ens e as sugg esting amean i ng in which c as e it b ec omes al most
'

id en tic al with an oth er for mof exp r essi on s ometi mes set d ow n ,

as a s ep ar at e figu re un d er the n ame signifieatio .

I n thi s the m ean i ng i s i m pl i ed r ath e r th an asse rt ed and may ,

be i ll ust r at ed by the fo l l o wi ng fr omW all e r in wh ich we find a ,

l ov er s extr av agan t e sti mat i o n o f his l ady :

’

G iv e me bu t wh at thi ri bb s on bou n d ,

T ak e all the r t th u g
es e s n oes r ou nd .
1 40 E lemen ts f
o R/zetor ic .

P e r iph rasi s is us ed
1 Fo r e mb e ll i sh me n t
. P oe t r y abo u n ds in thi s I t is fou nd
. .

in c o mmo n wi th su ch subj e c t s as
“ ”
d aw n of d ay ev e n ,

st o r m an d o th e r thi n gs of c omm o n occu r

” “ ” “
ing ,
n igh t s, ,

r en c e which r ec eive n ew b eau ty by bei ng d escr ibed at g reater

,

l en g t h .

2 For e mph asis

. W r it er s s ometi mes empl oy the pe riph rasis
.

for the sak e of p r es en ti ng a thi ng in a new ligh t so as to m ak e ,

it mo r e i mp re ss iv e
“

EU P H EM ISM 1 33 . .

Eu ph emis m is a form of p e r iph r asis I t i s the men ti on of .

dis agr ee abl e thi ngs by ag r eeabl e n ames Ex ampl es may be .

fo u n d in such wo r d s an d ph r as es as
“
I f any thi ng sh ou ld hap ,
~

t e wa e to m
“ “
e n to i n dic a e d ea th h s u na bl ee t h is en
p ,

a
g g e m e n ts fo r h e
,
fa i l ed u ntidy
”
for di rt y u n fo rtu ,
” ”
na t e for di sh o nest
,
.

The an ci ents c al l e d the l e ft h and th e be tt er

“ “
the we l l ,

na med h and
” “
T axes h ave so meti mes b een c al l ed sub
.
“

ex ec u ti one r s
” “ ”
sc riptions ;
“
publ ic serv an ts and in the
,

A me r ic an war fugitive sl av es w er e w ell k now n as cont r a “

’
ban d sf
C e rt ai n p actic es o f r di sh onest t r ad es men are i nd i c at ed in
th e fo l l owi ng p assage
The gl amour of l r
the sa es oo m the too rosy li g ht
, which it i s t he na t u ral
t end e n cy of the se ll r t
e o thr w
wh at h ff r
o on e o e s for al
s e.
”

C v y him t h T w r
on e o t e o e .

C v y ! Oh g d ! C v y r
on e oo on e e s are yo u all .

— S HAKES P EARE .

Y P OCO R I SMA 1 34 . H .

A c ert ai n ki nd of euph e mis mis someti mes c all ed hypoc oris~

“

ma Th i s i s the applic ati on of d ec o r o u s n ames to actions or

”
.

thi ngs which are b as e or bad An i mmen s e n u mbe r of co l l o .

q uialism s a n d sl ang e xp r e ssi o n s c on sist of th is soft en i ng d ow n

of evil a n d vill any .

L ITOT ES 1 35 . .

I n lit ot es a st at emen t is mad e by mean s of the n eg ati on of

its O pp o sit e ; as
 F ig ur es o f R elat iv ity . 14 1

Theman is n o foo l for the man is wi se ,

” “
.

thee I call bu t with n o fri end ly v oi ce

To , u nfri endly .

I mmort al names ‘
,

Th at were not bo rn to d ie —i e th at will li v e ”

. .
, .

It cr eat ed no littl e excitement —i e much excitemen t ”

. .
, .

There was no small stir — i much sti r . e. , .

I will not say that the au thoriti es of the worl d ch arged with the care of ,

th eir cou ntry and peopl e had n ot a ri g ht to confin e him[N apo l eon] for l ife
, ,

as ali on or ati g er on the p ri nci p l e of sel f p rese rv ati o n —j r:FFE RSO N

,
-
.
-
.

I wi ll not say th at th ey had n ot a r ight , is abou t eq u al to

s ayi ng th at th ey had a r igh t
“
.

I p ak wi thi b u d wh I ay that th Briti h trav ll r i t x

s e n o n s en s e s e e s no e

cept i a ll
ony t d i a y p art f t
no e h w rl,d f h gn tl h u
n mil ity with o e o , or t e en e

whi ch h ubmit t th x t rti a d th r di agr abl thi g i cid t

e s s o e e o o ns n o e s ee e n s n en

t a t u ri t
o o lif —P all M all Gaz tt
s
’
s e.
”
e e.

Th is mean s th at he i s not ed for h is i mp ati en c e .

I n nu en d o is v ery o ften p rod u c ed by this figur e

Mr . ll w d t h l d thi l arg umwith u t p ayi g d ll ar f
is a o e o o s e s o n one o o

i t r t
n e es I d t thi k h i lik ly t g i t ba krup tcy wh v r l i
. o no n e s e o o n o n , oe e e se s.

I t i s h ere i nsi nu at ed t h at th p e r s on r eferred to has mad e e

money by th is p ar ti c u l ar t r an s acti on .

EX EM P LU M 1 36 . .

Th ere is no way in w hich a thi ng c an be st at ed mor e cl ear ly

and expli c itly th an wh er e gen er al t r u ths are i ll ust r at e d by partic
u l ar ex ampl es The d efi n it e is al w ays mo r e for cibl e t han the
.

i nd efi n i t e ; b u t wh en bo th are u n it ed the effect is st ill s tr o nger , .

Thi s u n i o n i s effec t ed wh en the i n d efi n it e app e ar s fi r st in the

e n u nci a ti on of a gen e r al stat eme n t which is fo ll o w ed immed i ,

at e ly by p artic u l ar st at emen t s in the sh ape o f ex ample s To .

this is gi v en the na me of ex empl u m ”

.

A great writer is agr eat bene fact or Th ack eray has cau sed many h appy .

h ours and the man who has read Pi ck wi ck has recei ved real j oy and ih
.

str u c ti on .

H re the fi r st s e
e t
n en e c c on tai ns th e gen e r al st at emen t the
c
se o n d c o nt ai ns the ex ampl es i e Th ack er ay an d Pick wick
, . .
,
.

A man alway s ac ts fr om sel f i nt erest B u t it is i mpossi bl e to reason

-
.

with cert ai nty fr omwh at we t ak e to be his i n t erest to his ac ti ons O ne man .

g oes with ou t his d i n ner th at he may ad d a shilli ng to a h u nd red th ousand

,
142 E lements f
o Rhetor ic .

poun ds ; anot her r uns in debt to give ball s and masq uerades O ne man ,

cu ts his fath er s thr oat to get possess i on o f his old cl ot hes ano the r hazards
’

his own l ife to sav e that of an ene my O n e man v ol u n t ee rs on a forl orn .

hope ; anoth er is dr ummed out of ar gi men t fo coward i ce Eac h of th ese e r .

men has no d oubt acted fromself i n t eres t — MACAULAY -

.
”
.

H e re the gen e r al statemen t is en un c i at ed in the O pe n i n g

sent en ce . The o th ers c on t ai n p arti c ul ar exampl es .

h ul d all virt u w rk i
W hy s o a d th am way ? Why h u l d
e o n on e n e s e s o

all gi v d l lar ? It i v ry i c v i t t u c u try f lk a d w d

e o s s e t
n on en en o s o n -
o , n e o no

thi k that a y g d will c m f it W hav t d ll ar M rcha ts

n n oo o e o . e e no o s. e n
h av L t th m gi v th m Farm r will gi v c r P t will i g
e. e e e e . e s e o n. oe s s n .

W m will w Lab r r will l d a ha d Th chil dr will bri g

o en se . o e s en n . e en n

fl w r — E mao
o e s.
”
s s n .

H ere the gene ral p ropositi on is th at pec u n i ary cont rib u ti ons
sh oul d not be expe ct ed from all cl asses ; after whi c h fo l l ow
certai n S pec i al st at m n ts as to the mod es by which d ifferent
e e

cl asses may rend er assistanc e .

This figur e is ofte n v e ry effec ti v e in d esc ripti ve writing

M y b l v d p ak a d ai d u t m
e o e s e, n s n o e,
A ri my l v my fairse, a d c m away o e, one, n o e
F l ! th wi t r i pa t
or o e n e s s ,

T h rai i v r ad g ;
e n s o e n on e

T h fl w r app ar e h
o arth
e s e on t e e

T h tim f th e i gi g f bird ha c m
e o e s n n o s s o e,
A d th v i c n f th t u rtl i h ar d i th l a d ;
e o e o e e s e n e n
Th fig tr put t th f rth h gr
e -
eel av e o er een e es,
A d h vi n with th t d r grap p rfu m th ai
t e nes e en e e e e e r.
A ri my l v my fairse, a d c m away o e, one, n o e .
”

H ere the gener al st atemen t the wi n t r is pas t is foll ow ,

“
e ,
”

ed by a s er i e s o f p a rti c u l ar s which giv e a most vivid i mp res

si on of the adv en t of sp r i ng .

N w ca m till v i go a d tw il ig ht gray
e s e en n on , n
H ad i h b r li v ry all thi g clad ;
n er so e e n s

S il c acc mpa i d ; f b a t a d bird

en e o n e or e s n ,

Th y t th ir g a y c uch th t th ir t
e o e r ss o , e
s e o e nes s,
W r l u k all bu t th w ak fu l i g hti gal ;
e e s n , e e n n e

S h all i g ht l g h e am r u d ca t u g — M L N
n on er o o s es n s n .
”
I TO .

H er e th ere i fi rst the ge ne r al a n u nc em t f ve i ng

s n o en o e n ,

aft r which foll ows an e nu m

e er atio n o f p ar ticu l ar d escr iptive s,
of the subj ect .
1 44 E lement s f
o
.
Rhetor ic .

The to rr t en
’
u
s so nd n ig h r s o e.
”

C ae r -
en cu mber ed m — LON FELL
en . G O W.

They are v ery nu mer ou s in the fo ll owi ng p assage

“
F or who, rg t l pr y
d um fo e fu ness a e ,
to b
Thi pl i g xi b i g
s eas n , an o us e n g
’
e er resi ned .

L t w r pr t
e f the h r l
a m ecinc s of t he c ee fu day ,
t l gi g li g ri g l k b h
N or cas o ne on n n e n oo e i nd , .
”
—G RAY .

I M PO RTAN C E o r E P I TH E I S
1 38 .
’ ’
.

E pi th ets are of great i mpo r t an ce i li ter at ure and a e often n ,

r

c ap abl e o f c o v eyi ng an i mp re ssi on wi th abeau ty adi r ect ne s

n , s ,

a d a for ce th at can be att ai n ed in o o th er way Th ei r c h i ef

m
n n .

p ur po se s may be su m ed u p as foll ows

rTo d esc r ibe a c h aract er
.

W rd w rt h th hi g h p i t f N at u r
o s o , e -
r es o e.
W a hi gt s t h Fath r f hi c u try
n on, e e o s o n .
"

2 . To p ai n t a sc ene
W i nd w pt citad el
-
s e .
"

Se agirt S alami
~
s.
”

3 To s ugg est
. id eas
W i nged w rdo s.

M yriad summits , old in t ry

so .

ULA R ITY or E P ITH ETS

1 39. PO P .

The l ov e of epi th ets is u n iversal an d the use of th is figu re ,

15 in the high est d eg r ee po pu l ar I ts extend ed appli cati on .

may be s een in the foll owi ng su mmary

1 M ost cou nt r i es h av e s ome epi t h e t c ommonly appli ed by
.
, ,

which th ei r n atur e is d es c r i bed La be l l e F r an c e M e rri e

E ngl an d “
O ld E ngl an d ; S c otl an d the l an d 0 c ak es ,
’

T he E m era ld I sl e “
G ermany the V at e r l and “
C l assi c ,

I t aly P al e sti ne the H oly L an d , H o ly R u ss i a; The

” “

S u n ny S ou th “
The F r ozen N o rt h .

2 T he same is t ru e with reg ar d to ci ti es

. A ll th ose o f I t aly .

h av e w ell k n ow n epi thets as Genoathe S u pe r b

-
Fl o r enc e
,

the F ai r N apl es the C apti v at i ng R ome the M agn ific en t ”

.

Th is fashi on i s c ommon in the U n it ed S tat es ; as The E m “

,
 F igur es f
o Relativ ity . 14 5

p i r e C ity C ity of N oti on s C i ty o f B r oth e r ly Lov e “

“
The
M on u men tal C i t y “
T he C r esc e n t C ity
“
M o u n d C i ty ; ”

Lak e C ity P or k opo lis etc ”

, .

3 . R i v e r s h a v e th e i r pe c u l i a r e pith e ts a s T h e Y e l l ow ,

Tibe r F ath e r Th ames “

The F ath e r o f W ate r s (M issis
”

sippi ) L a b e ll e R ivi er e (O hi o ) etc , .

4 . I n m a n y sy s t e ms o f r e l igi o n epith ets h o l d a p ro m i n e n t

pl ac e as appli ed to the o bj e c ts o f w o r ship Th us in c l assic al .
,

mythology ] upiter had many n ames s u c h as To nans Pl u

,
“
,
”
,

O ly mpi an G r e at est and Be s t whi l e all the p r i ncip al

” ”
vi ns , ,

d eiti es had si mil ar ti tl es A mo ng C h risti an s o f the G r eek and

.

R oman co mmu n i o n the V i rgi n M ary and the p at r on sain ts are

,

k now n by many te r ms of e nd ear men t .

T h a pplic a ti f pith ts to m en ha s a lw ays b om

5. e o n o e e e e n c

mon I n the names appli ed to the C ar l ovi ngi an ki ngs the his
.

t ory of the F r an k s is s u mmed u p ; as K ar l the H amme r “

,

“
P epi n the S h o rt “
K ar l the G r eat “
K ar l the B ald ;
K ar l the Fat K ar l the S i mpl e A s u mmary of p ar t of
”
.

E ngl i sh his to r y may also be fou nd in the s urn ames of the ear ly
E ngli sh an d N o r man ki ngs The i nfl u enc e of epith ets appl i ed
.

to g r e at m e n is a s st r o ng in m od e rn ti m es Lou is X I V . .

was Le G r and M o n ar q u e
“
F red e r i ck the G reat F ath er ,

F ri tz N apo leo u Le P eti t Corp or al Wel li n gton the I r on

, ,

D u ke .

6 M any fam
. o u s sa yi ngs owe all th ei r forc e to th is figu re .

N ich ol as of R u ssi a appli ed to Tu r k ey the epi th et which th at

c o u n t ry has r e t ai ne d e v e r si n c e the S ick M an of Europ e
“
,

Bis mar ck an no u nc e d his i n t e n ti o n to ad opt abl ood an d i r o n

po licy ; S ew ar d h ope d that the S o uth ern War w ou ld be sh or t “
,

sh arp and d ecisi ve

,
”
.

This s u bj ect may be c onsid er ed wi t h r efe r en c e to p oet r y and

p rose of whi c h the former wil l be noti c ed fi rst
, .

EP ITHE TS 1N PO ET RY
1 40 . .

E pithets are p r omi n e n t in the p oet ry of all n ati ons b u t in ,

s ome th ey h av e far mo r e i mpo rt an c e th an in o th e r s Th u s in .

the m o d e r n P e r si an S i r Wi lli a
,
mJ on es s ays th at poets not n u
fr eq u en tly fil l wh o l e v er se s with th em as
'

A d amse l with a fa ce lik e the moon scen t ed like musk a rav i sh er of

’
“
, ,

h ear ts delig hti ng the soul beguili ng the senses beau tifu l as the full moon
, ,
”
, .
1 46 E lements o
f Ritetor ic .

A gl o S ax on poe try is ch ar act eri zed by the li ber al use of

n -

epith e t s I n d eed th ey are mu l tipli ed to such an e xt en t th at

.
,

th ey oft en obsc ur e the mean i ng The foll owi ng pass age will .

illu str at e thi s

Then was the gl ori o us spirit of the w ar de r of heaven
B orne ov er the d eep with gr eat speed ;
T he cr eat or of ang el s t he distri bu ter of lig ht ba de , ,

Lig ht come forth ov er the wide abyss .

Q ui ckly was ful filled the hi g h ki ng s behest ’

.

For him was h oly li g ht p r od uced ov er the w a ste ,

A s the cr eat o r co m manded .

Th en the tri umphan t r ul er su ndered

O v er the w ate r flood li g ht fr om dark ness -
,

S hade fr om bri g htn ess .

The d i s tri bu t e r of li fe creat ed names for both ;

Through the Lo rd s word lig ht was first n amed day ’
.

The t eeming tim e w ell p l ea s t er a

sed the M a t the beginnin g
”
.

I n the p ac e of a few l i n es the poe t S peak s o f G od by no

s

l ess than n i ne d i ffer en t epi t hets ; as the g l or i ous S pi rit of the

“
,

war de r o f h eav en “
the c r e a t o r o f an ge l s the d is tr ibut e r
the c r e at o r ; the t ri u m
“
of light th e h gh king
i
“
ph ant

ru l er the di st ribu t e r of li fe the Lo rd the M a st e r

“ “ ”
.

I n G r eek poet ry {E sc hy lus is di st i ngu ish ed for the l avish use

o f epi th e ts O n e of th es e has c ome i n t o w or ld wid e use
.
-

awzpcSpo v y ehaap a— the i nn u m er a bl e or i n fi n it e l augh t e r of the

' ’ ’

oc e a n wa v es I n an oth er we ll k no w n p assage he ch ar ac t er izes

.
-

H el en as the b ri d e of the spear and the obj ect of st rife a h el l , ,

to men a h el l to sh ip s a h e l l to citi es ; an d agai n speaki ng

, , ,

o f th e s a me H el en he s ay s : ,

Th r arriv d at Ili um th pirit f a br athl cal m a g tl i d l

e e e e s o e ess , en e o

of w alth da ti g th t d r h aft fr mh
e . y th uLpi i g fl w r
r n e en e s o er e es, e so er c n o e

ofl v o e

H omer the fath er of pic poe t ry may al so be c al l ed the

, e ,

fath e r of epi t h ts ; fo nowh e re d oe s this figu re appear wit h

e r

su ch a bl e di g of beau ty and ene rgy as in the H omeric

n n

poems E very god ev ery h e ro every sce

. has i ts o wn dis, , ne

ti guish i g epith e t so w ll appl i ed th at i t i s alw ays a

n n fte r wards
,
e

associ at d wi t h the su bj ec te Th y all sh w such pic t u r esqu . e o e

f r c t h at hi
o e c es liv e hi bat t l s a e fou ght out before the
s s en ,
s e r

mi d t h oc a r oar th arrows of A po ll o twang ; we beh old

n ,
‘
e e n s, e

the c i ty th e se a the pl ai
, the fl eet the c ou n se ls of h er oes
, n, , .
148 E lements o f R/zetor ie .

“
The w v b hi d imp l th wav b f r
a es e n e e es e o e,

i r ll g f ami g hig h a d t umbli g th hm

W d e o in
-
, o n , n n on e s
'
e.
”

Th e n ati v e acu t en ess and p r ecisi on of P ope c au se d himto

em pl oy pi t h e ts wi th fin d isc ri mi n atio a d h is l ov e fo an
e e n, n r

tith sis led himto b ri ng o ut th i r fo r ce by b al anci ng one a

e gainst e

an oth e r
H ca t b w g wh lif i i th ight
’
e n e r on , ose e s n e r .

Th wi t brig h t ma t f ma ki d
e ses , e nes o n n
”

I n the case of P 0pe i t i s g enerally the an tithes is th at is im

p ressive a d n ot any p arti c u l ar pi t h et
,
n e .

G r ay i n du lges i t his figu nre to agreat ext e t H e is accu se d n .

by some c ri tic s of h avi ng u s d i t to exc e ss in his E l gy ; bu t e e

this poemis so u n iv ers ally bel o ved th at the criti cs a e l isten ed r

to wi t h i m p ati n ce O e c ri tic we n t so far as to p opose l eav

e . n r

ing out the epith ets al t og e t h e r Fo e xam pl e . r

Th cu rf w t ll th k ll f parti g d ay
e e o s e ne o n ,

Th l wi g h d wi d l wly th l a
’
e o n er n s s o o er e e ,

Th p l ug h m
e a h m war d p l d hi w ary way
o n o e o s s e ,

A d l av n th w rl d t dark
e es ad t m e o o ness n o e.

N w fad o th g li m m ri g l a d ap
es e th ig ht e n n sc e on e s ,

A d a ll th ai a l m till
n e h ld r so e n s ness o s,
S av wh r th b tl wh l hi dr i g flight
e e e e ee e ee s s on n ,

A d d r w y ti kli g l ull th di ta t f l d
n o s n n s e s n o s.
"

By omitti ng the epi t he ts G ray s E l egy was mad e by h is criti c

,
’

to ass u m e the fo ll owi ng fo m r

Th cu rf w t ll th k ll f day
e e o s e ne o ,

Th h r d wi d l wly th l a
'
e e n s s o o er e e ,

Th p l ug h m a h mward pl d hi way
e o n o e o s s ,

A d l av th w r ld t m
n e es e o o e.

N w fa d th l a d cap
o th
es ig ht e n s e on e s ,

A d all th ai a ti ll
n h ld e r s ness o s,

Sav wh r th b tl wh l hi fl ig ht
e e e e ee e ee s s ,

A d ti kli g l u ll th f l d
n n n s e o s.

This c ri tic has fu rn i h ed the b e t an w e r possibl e to h is own

s s s

ch a ge of an exc ess of epi the t i t hi poe m G r ay s epith ets

r s n s .
’

are alw ays ch os wi t h c ar e and a l arge maj o ri ty e xh ibit the

en ,

ch ar acte r of omatO pte ia th at i a r mbl a ce be tw een th

on s, e se n e

so u n d of the wo r d a d the thi g ig n ifi ed n n s .

T he pi t h et of C o ll i n s have th
e s same ch aract e r istics as e

th ose of G r ay n amely c are p r ecisi on and onomatOpazia

,

, , , ,
 F zgur es f
o R elat iv ity . 1 49

With woful meas u re wan d es pair ,

L ow s ull en soun ds his g ri e f beg u il ed .

w ak y d bat The e -
e e .

W ith h rt hri ll h i k fl by
s o , s l ath r Wi g ; s r e , i ts on e e n n

O wh r h b tl wi d r e e t e ee e n s

Hi mall bu t u ll h r s s , s en o n.

The epith ets o f By r o n exh ibit vigo r b u t n ev er st rik e the ,

mi nd by th ei r s u pe rior applic abi lity S h ell ey o n the co t r ary .

,
n ,

s urp asses all poe ts si n c e S h ak espear e an d M i lton in this t e

spect L ik e th o se of h is gr eat p r ed ec esso r s his epith ets a e so
.
,
r

p r eci se a d so fel ic i to u s that th ey seemthe best p ossibl e und er

n

the c i r c u mst an c es :

Th p i t f e o nwhit tar i q u iv ri g till

o one e s s e n s

D p i th a g lig ht f wi d i g m r
ee n e or n e o en n o n

B yo d th pu pl m u t ai thr ug h a cha m
e n e r e o n ns : o s
O f wi d d i v i d d mi t th dark r l ak
n -
e s e e e

R fl ct it ; w it wa ; it g l am agai
e e s no nes e s n.

B th i a wid pl ai f bill wy mi t
e nea s e n o o s ,

E ci ct ur d by th dark a d bl mi g f r t
n n e e n oo n o es s,
D imtwi li g ht l aw a d tr amill u mi d cav ns n s e -
ne es,
A d wi d n ch a t d h ap
n -
enf w a d ri g mi t ;
n e s es o n e n s

A d fa n hig h h k
r on ky cl av i g m u t ai t e een s -
e n o n ns

F r m i cy pir f u lik radi a c Ri g

o s es o s n e n e n

Th d aw
"
e n.

A poet of l ess er i n t en sity of p assi on a d d el i cacy of i magi na n

ti on will r est c o nt e t wit h epi th ets th at may e xp r ess q u al iti es

n

in gener al ; bu t it i a sign an d p r oo f of th h igh e t ord r of

s e s e

poetic g en i u s to be abl e to see i n t o the v e ry h eart of a thi g n ,

and by o fe l ici t o u s w o r d to set it fo rt h to the w o r ld

ne .

Te y o n re embl s S h el l ey in this al th ough h n v er p

nn s s e , e e er

h ap at t ai s to t hat high r apt ur e a d i pi r ati on by which th

s n n ns e

l att r c u ld d esc r y a d p o r t r ay th i
e o n r mo t atu re o f t hi g e nne s n n s.

T he fo l l o wi ng may be tak en as amo ng the be st of Tennys on :

The r il t pac f th Ea t
e e v -
s en s es o e s ,

Fa f l d d m
r- oi t a d gl ami g h all
e f mrs s, n e n s o o n.

Th wr i kl d e ab ath him cr awl

n e se ene s.

E P IT H ETS I N P R OSE14 1 . .

E pithets are of i mp o rtan c e in p r ose as wel l as in p oetry ;

'

an d th ey are libe r ally u sed by th e most vig or ous w riter s In .

1 50 E lemen ts o f R/zetor ic .

the foll owing pass age from M ilt on th is figur e is u sed to giv e ,

g re at ex actn ess in the d esc r ip ti on of ch ar act e r

Lords and C ommons of Engl an d consi der what nati on it is whereo f ye ,

are and wh er eo f ye are the gu ar d i ans anatio n n o t sl ow and d ull bu t of a

, ,

q uick i ngen i o us and p i rcing sp irit ; acu te to i nvent ; subtl e and si newy
, ,
e

t o disco u rse ; n ot be n eath the reach of any poi n t that h uman capacity can
r
soa t o.
”

M ilton exhibi ts in his p r ose wor ks not on ly s trictness an d

vigo r i his pi the t but al so mu ch of th at spl end or an d r eso
n . e s,

n an t harm o ny whi c h m ar ks his poe tr y .

I the fol l o wi ng passage fr o m C ar lyl e the epith ets are u sed

n ,

fo the por tr ay al of the pe rson al featur s of O l iv er Cr omw ll

r e e

M a i v tat u r big ma i v h ad f m what l i a p c t ; w art

ss e s e ; , ss e e , o so e eon ne s e

ab v th ri g ht y br w ;
o e e f i d rabl bl u t aq uil i pr p rti ;
e e o nose o cons e e, n , ne o o ons

stri ct y c p i u li p ; full f all tr mul u

et o o s i biliti ; a d al if d
s o e o s sens es n so, nee

d p l v i g y —a ll th m gr av call
,

b f all fi
e, o a d vig r e rce nesses n o s; ee , o n e es e e,

th m t m—l ki g fr m u d r th craggy br w a if i li f l g r
e s e oo n o n e o se o s s n e on so o

ro w ad y t , thi ki g it rr w thi ki g it ly lab r a d d av r

n e no t n n so o , n n on o n en e o .
”

C ar lyl e l ik e M il to n can mak e use of epi th ets wh i c h are fu ll

, ,

of sou n di ng h ar m o ny ; for ex a mpl e

Fa a th y r
r a c h sa mu lti t u di
e e e u a f uep t u r d fac
es. th ai n o s se o ne es, e r

d af with th ir tri u mp h y ll
”
e e e .

Bur k e s styl e is ch ar ac t erized by ab u d an t epith ets This

’
n .

is d ue to his affl u nc e o f l an guag e c opi ous exp ssi on an d e ,

re ,

rich and fert i l e i magi n ation The se are often accumu l at ed in .

ri c h b u t nev e r us el ess p r ofu si on

,

W h at v r hi G rac may thi k f him lf th y l k u p

“
e e s e him a d n o se , e oo on , n
ev rythi g that b l g t him with m r r gard th a th d u p th
e n e on s o , no o e e n ey o on e

whi k r f that littl l g tail d a i mal that ha b l g h g am f th

s e s o e, on -
e n , s een on t e e o e

grav d mur i i d i u p ri g ail d v l v t paw d gr

e, e e, ns o y d phil
s, s n -
n e , e e -
e - ee n -e e oso

p h r wh th r g i g u p w l g
e s, e e u p f ur
o n on t o e s or on o .
”

142 . mums m TH E use or ap rmsr s .

The
chi e f fault s in th e use of epith ets may be b r i efly s u mmed

up as fo l l o ws
1 Th e c o m . mon pl ace .

A l ar ge n u m b er of t erms h av e b ee n w o rn out by fre qu en t

use an d p r oduc e n o effect ex cep t to r e n d e r s tyl e t ed i o u s
, , .

S u ch are b r i ny d eep az u re sky sil ve r moo n

” “
,
” ”
gold en , , ,

su n
” “
gall an t w arr i o r
,
”
roll i ng sea win ding ri v er
”
v au l t , , ,
1 52

C H A PT E R V .

F I GU RES R A D A T I O N — A U G M EN T A T I V E
OF G .

1 43 FI G UR ES o r G RADATI O N
. .

T H ESE i cl u d e r tai n fo r ms o f xp re i o by which a s u b

n ce e ss n

s e l ev a t ed to a high e r d e g r ee o f i m po rt an ce th an u su al
j ec t i ,

or d ep r e ssed be l o w i ts o r di n ary l v e l St at emen ts wh en thu s

e .

pu t fo rt h at u r al ly at t r ac t mo r notic e ; and it is afr qu n t aim

n e e e

o f w r i t e r s to c al l atte n tion in thi way to p ropo sitio ns of S pec i al

s

i nt ere t Whil e o ne tapi c may be p resen t ed wi th e l arg d d i

s . n e

me sio s a o t h r whic h i pposed to it may be d ep r eci at ed ;

n n ,
n e ,
s O ,

bu t the aug m t ation of the o ne o the di mi nu ti on of the

en r

o th e r t n d e to th e sam
s e res ul t These are c al l ed figu res of
.

g rad ati o be cau se th y i ndi c ate d e gr ees of v al ue eith e r in

n, e ,

c r asi ng o d i mi i hi g
e r n s n .

Figu res of gr ad ati on are d ivid ed i nto t‘o g ener al cl asses

fir st ,
aug men t ative an d, sec ondly , d ec rementive .

5 x44 . AU G MENTATIV E n ann ies .

Of t h ese we have to c onsid er in t he fi rst pl ac e au gment ativ e

figur es .

I n this cl ass are i n c l u d ed all th os e figu res by wh ich any

giv e n subj ect is exp and ed be fo re the mi nd an d i n v est ed wi t h ,

mo r e th an o r di n ary i mpo rtanc e Th ey are espec i ally appl ic a .

ble to the l ead i ng p r o positi on s of ar gu men ts to d ed uction s and , ,

to c o n cl u si on s I t is evi d en t th at t h ese sh o uld al ways be pre

.

se n t ed in the most striki ng man n e r so t h at t h ey shal l arr est ,

t he att e n tion and be r e t ai n ed by the m em o ry I t i s nec ess ary .

to en l ar ge u po n th em so th at th ey ma be app r eci at ed at t h e i r
y ,

high est v al u e an d t h at the r e ad e r may fee l the fu ll weight th at

,

is attach ed to th e mby the w ri t e r Th ey are o ft en associ at ed

.

with st r on g e mo t i o n ; t h ey are fo u n d in all d e p art men t s of lit

e rature ; b u t the be st e x am pl es exi st in o r at o ry This aris es
m
.

fro mthe fact th at the o r at o r is o r e d i r ec t ly u n d e r the i n flu en ce

 F igur es of Gr ad at ion . 153

li g th an any oth ers who d eal in p r os e c omp osi ti on The

of fee n .

augment ativ e figur es th e r efo r e b e i ng th u s ass oci at ed with emo ,

ti on may be fo u n d exh ibiti ng ev e ry g r ad ati o n of feel i ng fr om

, ,

the slight est exp r e ssi o n of th ought up to the m ost ex a gg er at ed

displ ay o f p assi on .

T he augm en t ati v e figur es c omp ris e

I A mplific ati on I I C l i max I I I H ype r bol e
. . . . . .

AM P L IFI CATI O N DE FI NED

1 45 . .

A mpl ific ati on is the exp an si on o f any t opic by the ass em

bl age of p ar tic ul ar s app er tai n i ng to it so th at i t sh al l be c on ,

veyed to the m i nd wi th en l arged fo r c e and dig n ity L ongi n u s .

d efi ne s amplific ati on as a fu l l and c o mpl et e assembl age o f

“

the p articu l ar s and ar gu m e n ts app er t ai n i ng to subj ect s givi ng ,

a d d iti o n al st r eng t h to an d h eight en i ng a p oi n t th at has b ee n

,

al r eady mad e out .

This ampli fyi n g p r oc ess may c o nsist o f many gr ad ati on s ,

fr o m the slight est po ssibl e e n l arg e m en t o f a n

y giv e n p o i n t to

the b o ld est and m ost ext r av ag an t d esc r ipti on I t may als o be .

d on e in di ffe r e n t w ay s all of whi ch h av e be en set d ow n by the

,

an ci en t r h et o r ici ans as so many s e p ar at e fig ur e s The n am es .

an d d efi n iti o n s of th e s e figu r es wi ll be g i v e n fo r the sak e of

fu l ness of t r eatme n t b u t at the s ame ti me i t wi l l be p r op er to
,

r egar d th emmerely as so many for ms of ampl ific ation .

AM P L IFI CATI O N av D WE LL I N G U P O N DETA I LS

1 46 . .

The topic is exp and ed an d b r ou gh t i n t o connec tion with n ew

and striki ng tr ai n s o f th ought eith e r by e xpo sition or d esc rip ,

ti on .

T he fo ll owi ng ex ampl e is t ak en fr omBur k e s speech o n co n

’

cil i ati on with A me r ic a I n c o n sid er i ng th e st at e an d ci r cu m

.

st an c es of the c o l on i es the o r ato r c omes to the su bj ect of the

,

fish er i es wh ich he ampl ifi es in th is way

,

P ass
by th r p art a d
the o l k ateth way i whi c h th p
s, p l f N w
n oo e n e eo e o e

E gln hav f l at carri d th wh al fi h y W hil w f ll w th m

and e o e e on e e- s er . e e o o e

am g th t u mbli g m u t ai
on e f i n a d b h l d th m p
o n trati g i t ns o c e, n e o e en e n n o

th d p t fr z
e ee rc
es f H ud
o en B ay a d D av i S tr ait — whil w
e e sses o so n n s s e e

a l ki g f
re th m b ath th A rcti c C ircl w h ar th at th y h av
oo n or e e ne e e, e e e e

p i rc d i t h pp it r gi
e e n o t f p l a c l d— th at th y a a th a ti p d
e o os e e on o o r o e re t e n o es,

ad n gag d u d r th fr z S rp t f th S u th Falkl a d I l a d whi ch

en e n e e o en e en o e o . n s n ,

see m d t r m t a d r ma tic a bj ct f r th gr a p f ati al ambi ti

e oo e o e n o n n o e o _
e s o n on on,
 Elem f R lzf tar ic
'

1 54 erzt s o .

is bu t a s tage and resting pl ace in the progress of th eir victor io us ind ust ry
- .

N or is the e q ui noctial h eat mo re d iscou ragi g to th emthan the accumu l at ed n

wint er o f bo th the pol es W e kn w that wh le some of themd raw the li ne

. o 1

and strik t he h arpoo n o n the co a t f A fri ca o th rs un the l o ngit ud e and

e s o ,
e r

pursue their gi g an ti c game al ong the coast of Brazil N 0 seabu t what is .

v ex ed by th eir fisheri es N o cli mat e th at is not wit ness to the ir toils

.
.
”

S t arti ng fr omthe i d ea of th wh l fi hery the speak er ex e ae -

s ,

p a ds i t o a t r ai n of th o ught fu ll of r ich ugg e tiv en ess To

n n s s .

a y oth e r man n oth i g migh t see m mo r e u np r omis ng th an

n n i

s uch a t opic as the fi h e r i ; bu t by this ampl ific ati on i t e s es r

c e i es a n w a d u expect ed tu rn fu l l of i n t e r e st a
v e n n d fr om
n ,

p r os e i t is t ans fo r m d i nt o poet ry
r e .

5 x4 7 . av D I RECT STA T EM ENT .

2 .topic is mag n ifi ed in i mpo r t anc e by a di r ect st ate

The
ment of its ch ar act e r or effects
A t his t ouch crowns crumbl ed ; beggars reig ned ; syst ems v ani shed ;
the wil d est th eori es t oo k the col or of his whi ms ; and a ll that wa s v ene r

abl e an d all th at was no v el ch ang ed p l aces with the r ap i di ty of a d r eam

"

—C HARLES PH I LLI PS
.

by a few st artl i ng st atements of sh arpl y con t rast ed

H e re ,

ac ts the geni us of N apo l eo n is g r eatly magn ifi ed

, .

The da n is o w v e rcast t he morn i ng l owe rs

, ,

h v il
And ea y in cl ou ds bri ngs o n the d ay
The gr t
e a, the i mport an t day bi g with the , fae t
O f C at a d of R0 m A DD I SO N ”
o n e .
-
.

this p assage the d ay ann ou nc ed as great and im

In ,
“
,

por t an t is mad e s t i ll more so by the p r evi o u s men ti on of

”
,

att en d an t ci r cu ms tanc es and sign ifi can t hi n ts at the ev en ts ,

which are d esti ned to foll ow .

M P ARI SO N 1 48 . av CO .

3 The i m .po rt an ce of th e subj ect is h eight ened by b ri ngi ng

it i n t o c o mp ar iso n wi th so meth i ng el se To di spl ay the t r u e .

ch ar act e r of any on e th i ng n o thi ng is mor e effectiv e than to ,

1
p r esen t i t in c o n t r as t wi t h so me othe r th i ng I n this li es the .

for c e of the fi g ur e c o m p ar iso n wh ich 13 h e r e mad e use of for ,

p ur p oses o f ampl ific at i on

It wa th b a t f Aug u tu that h f u
s e o s o s s e o nd R bri ck and l eft it
o me of
marbl a p rai
,

t u w rthy f agr a
e t p ri
se n o n o o e nce an d to w
,
hich the present
1 56 E lemen ts f
o R/zetor ic .

A mpl ific ation is h er e appli ed to d esc riptio n and the subj ect , ,

which is th e d ev as tation o f O u d e is e n l arged by th e accu mu l a ,

ti on of p ar ticu l ars such as th e p l ai n s the v eget ati on the vi l

, , ,

l ag es the t empl es an d the r ese r v o i r s

, ,
.

I ti gmatiz it a ar v l u ti ary tri bu al W hat i th am f H av

s e s e o on n . n en e o e en

i it if it i
s ,
t ar v l u ti
s no ary tri b u ale oIt a ihil at th trial by j u ry ; it
on n ? nn es e

d ri v h j
es t e u d g fr m h i b c
eh — h ma wh fr m xp ri
o s c c u l d w ig h
en t e n o o e e en e o e

th i
e n ce a d d li cat p i t
n e f a ca wh c u l d d i cri mi at b tw
e o n s o th se , o o s n e e een e
t ai ghtf rward t ti m y a d h u b r d vi d c ; wh c u l d pl ai
s r o es on n t e s o ne e en e o o see n

ly a d r adily t h j u ti
n e th i j u tic
e f th accu ati
s c e or It tu r ut e n s e o e s on. ns o
thi ma wh i fr i truct d u pr j ud i c d wh ha p r vi u pi i
s n, o s ee, ns e n e e o s no e o so n ons
tr l th fr x rci f d u ty —O C NNEL1
, ,

t c
’
o on o e ee e e se o . O .

This accu mulation of p ar tic u l ars r el ati v e to the o r di n ary ,

ch ar act eri stics of the regu l ar j u dge t ends to e nh anc e the id ea ,

of h is i m p ar ti al ity an d his v al u e as oppo sed to the ch ar ac ter ,

of th ose who w ou ld p res id e o v e r m ili t ary t rib u nals .

150 . CO LL ECTI O , A GG R EG ATI O .

5 . S ometi mes
p ar ticu l ars i n t r od uc d
the
e are n ot ac t u ally a
p ar t of the su bj ec t b u t are suggest ed by i t an d are set for th in
, ,

o r d er
” ”
This is c all ed collec tio an d al so aggregatio an d
.
“
, ,

may be d efi ned as an ord e r ly array of p artic ul ars whi c h th ough , ,

disc onn ect ed among th e ms e lv es are y e t sugg est ed by the ,

s u bj ec t
S traig ht mine eye h ath caught new p l easu res ,

W hile the l andscape round it meas u r es

R usset l awns and fall ows gray , ,

W h ere the n i bbli ng fl ock s d o s tray ;

M ou n t ai ns on wh ose barren breas t ,

T he l abo ri ng cl ouds d o often r est ;

M ead ows tri m with dai si es p i ed ,

S hall ow br ooks and ri vers wi de ,

T owers and battl emen ts it sees

Bosomd hi g h in tu fte d tr ees
’
,

W her e pe rh aps so me beau ty li es ,

The cynosu re of nei g h bori ng ey es .

th is accu mul ati o n

In of p articu l ars the d et ail s thou gh d is
, ,

con nect ed are set fort h , in an o r d e r ly man ner .

r yali t a r publi ca a d a mp r r a M hammda aC ath lic

A o s , e n, n n e e o o e n, o ,

a d a p atr y ag g u ; a tr ait r a d atyra t ; aC hri ta a d a '

n f th on o e s n o e o n n s n n n

i fid l h wa thr ug h all hi v i ci itu

n e , e s d th am t r impati t i
o s ss es e s e s e n, en , n

fl xi bl ri gi al C HARLES Fu u
e e o n .
”
-
t r es. 0
 Figur es f
o Gr ad ation . 157

The p arti c l ars h e e acc mu l at ed are of wid ely div e s e

u r u r
ch a act e , an d n atu al ly d isc o n nect ed amo n g th emselv es b u t
r r r
th ey are set fo th with em r
a k abl e att en ti on to o d e in th ei r r r r r
p es en t ati o n, an d the st o ngly ma k ed an tith es es h eigh ten the
r r r
effec t o f the t ea tmen t T he s ame ma
r y b e s ee n in the fo l l ow
.

ing p ass ag e
It i t ug h t ay that h mu t b a gi r ag graph r l ar
s no e no o s e s e n en n ee , eo e , e n

ed i hu m a at u r ad r it i ma ag i g ma ki d that h mu t b abl t
n n n e, o n n n n n e s e e o

p rf rmth hi g h t d uti
e o e f am i i t r f tat a d i k t
es es o h humbl t n s e o s e, n s n o t e es

o ffic f ac mm
es o i ary cl rk bu t h ha al t d i p l ay all thi k wl
o ss or e e s so o s s no

ed g a d h mu t d all th
e, n e thi g at th am ti m a d u d xt a
s o ese n s e s e e, n n er e r or

d i a y circu mt anc —D m
”
n r s es. ts 1r
. .

1 5 1 svu ar unorsm us . .

6 A fu rth er ch a g e in accu m
. u l atio n may be see n wh en par
n

tic ula di c o nn ect ed i th e m

rs s s e l v es a e set for th not in or d er
n r ,

(a s in c o ll c t io ) b u t ei a c o n fu
, s e d an d di so r dne r ly man n e r .

T he t at e m t is th u s e l ar g ed in i m
s en po r t an c and h eigh te n d
n e, e

in effect b ot h by the fo r c e o f the ac c u m

, u l at ed p artic u l ar and s,

al o by th
s ugg esti on of men t al moti o n which th ei r c onfu s ed
e s e

o r d er co n v ys Th is has b een c al l ed syn ath oismus

e . r .
”

M th ug ht I aw a th u a d f arfu l wr ck ;
e o s o s n e e s

A th u a d m th at fi h g aw d u p ;
o s n en s es n
’
on
W dg f g l d g r at a c h r h ap
e es o f p arl
o , e n o s, e s o e ,

I ti mabl t nes u v al u d j w l e s o nes, n e e e s

A ll catt r d i th b tt m f h a — S HAKES EARE

s e e n e o o o t e se .
”
P .

S ag rly h fi d o e e t e en ,

O b g
’
t p thr ug h trait r ugh d
er o o r s ee , rar o s , o , ense, o r e,
W ith h ad h a d wi g e f t pu r u
, n s, hi way n s, o r ee , s es s ,

A d wi m n i k s w ad cr p
s, or s n fl i — M IL N
s, o r es , o r ee s, o r es. TO .

H di p e d f c urt a d cr w
s ose o a d camp a d ch u rch
o s n a d ab o ns n s n es n c

i t a if th y w r
ne s s h tit ul ar d i g it ari
e e e t f th ch
e b ar —C HARLES n es o e ess- o
P lu m es .

1
52 . D I A SC E U E .

7 The . i mp r essiv en ess of a subj ec t is en h anc ed by an acc u

mulation of m i n u te d et ai ls in whi ch ev e rythi ng is l aid d o w n ,

with the most p r os aic an d p ai n st aki ng ci r cu mst an ti al i ty This .

i s c al l ed d iasceue .
”

p ass ag e the r u i n o u s effects of war are am

I n the fo l l o wi ng ,

lifi e d in a n ov el a d u xp c t d wa by h owi n g the fi n an ci al

p n n e e e y s ,

l os se s th at may aris e fr omev en a mer e r u mor and this is d on e ,

by mi n u t e d e t ail
15 8 E lements of Rhetor ic .

v
“

l
A fall of ten per cent in the fim
aue ; and ail a s oc
ds is nearl
r wy t kh v gg
a in one d o n t en
ilEon fi er ling of
per cent , a es a dif w
m
mk
w ty
’

r
fe ence of s i x ty i l v l
ml ions in the aue of the al a o e of is coun r i w y pr p rty th try
i — tk
.

A dd the t wo—o ne un d ed and fo h r rty

mill ons and a e the di inis ed os~ m h pr
p er ity and a u e of mav l
nu fact u es of alr
l inds d u i n the as few m o n s, k r g l t th
an d you will r t l
und e sta e the actual oss to the coun ry now if you u do n t p t it w
at two h u dr d mi lli t rli g —J
n e on s e n .
”
O H B R GHT
N I .

H e is a king ugh without the trappings of aking

evay inc h of hi mth o ,

r
P esen s him t r
self in S pa ta n sim p ci of v esture ; no c o n bu an old mil
li ty rw t
itary coc ed hat—gene a
k r lly k
old or n ea l
ded int o abso ute softness if new ; ,

n o sceptrq but one lik e Agmem nm aa wa lking stick cut fiomthe woods,
' -
-

wh h r
ic se v es also a r k h hi h hit
s a iding stic (wit w c he t
s the ho rse be ween
-
‘

r
the ea s sa
’
y a uth r
o s ),and fry r
or o al r
obes a m ,l tw h
e e soldier s b ue coa it
'

red faci g — at lik ly t b

n s ld a d ur t hav ag d d al f S pa i h
co e o e o , n s e o e oo e o n s

sn uff h br a t f it ; r t f th appar l d im u
on t e e s obtru i v i c l r es o e e , no s e n o o or
cu t d i g hi g h v k e military b t which may b br u h d (a d I
, en n in o er n e oo s, e s e n

h p k pt
O ft with a u d r t
e e so u p i ci f il) bu t a n t p rm
n i tt d
e s s on o o , re n o e e

t b bl a
o ck d v ar i h d D ay a d M arti with th i
e ene or t p t f rbid
n s e . n n e r soo os o

t app r ach —T ua C au u ”
d en o o . rro s v t
.

this seri es o f mi n ut e d e tails the su bj ec t is b rou ght before

In
the m i n d with wond e rfu l vi vid ness Car lyl e i n d u lge s freely .

and freq u en tly in th is e l abo r at e m e n tio n o f parti cul ars ; an d

this is o n e o f the great ch ar act e ri stics of his d esc ripti ons I t .

is a l eadi ng qu al i ty in t he w or k s of Bu ny an and Defoe t hrou gh ,

which th ey w ere abl e to th ro w ar ou n d th ei r w r i ti ngs that un

p ar all el ed verisi mi li tud e by whi c h th ey are d istingu ish ed .

s1 5 3 . S YN EZEUG M E N O N .

8 p ec uli ar ki n d of acc umu l ati on is fou n d whe re sev eral

. A
ph r ases or th ou gh ts are groupe d t oge t he r and referred by com
bi nati on to the s ame w o r d each of which wh en used al one w ou ld ,

req u i re t h at w or d for itsel f Th is is cal l ed syn ezeugmenon ”

. .

i c br athi g m r
The breezy call of n e nse - e n o n,

wall w twitt ri g fr mth traw built h d

The s o e n o e s -
s e ,

Th ck hrill cl ari th ch i g h r
e co
’
s s on, o r e e o n o n,
N mr h all r u th mfr mth ir l wly b d —G RAY
o o e s o se e o e o e .
”
.

J u tic I hav w b f r m augu t a d pur ; wh r h fav rit at

s e e no e o e e, s n e e e er o e

titud i t t p t th u f rt u at
e s o s ooh ar th ir cry a d t h l p th m t
o e n o n e, to e e n o e e , o

r cu a d r li v t ucc r a d t av —S HERIDAN
es e n e e e, o s o n o s e .
"
.

15 4 . E P EXE RGA SI A .

9 . Sometimes a p roposition is ampl ifi ed by the snperabtrn

1 60 .
E lements o f R /wl . f e i .

r
d uc ed c al l up a w o ld o f ass oci ati o n s an J c o n t ib te greatly to , r u
t he e n l a g e m r
e n t of the to pic T he s am e th i ng m ay be see n .

e v en m o e im r r
p essi v ely di spl ay ed in the foll o wi ng p ass age s
A ll
his c vi t ri h u l d h av ru h d a d cr wd d back u p
o es s o e s e n o e on his mem
ory— V im ier a, Bad aj S al ama ca A l bu ra T ul u a d l a t
os, n , e , o o se , n s of all the
gr eatest ” — S HEI L .

bl ood of E ngl and Irel and and Scotl and fl owed in the same str eam
.

T he , , ,

and dr ench ed the ame — ”

field S H £ 11 s . .

O r call u p him who l eft h al f t ol d

T he st o ry of C ambuscan bol d ,

O f C amball an d of A l garsi fe ,

A nd who had C an a ce to wi fe — M I L1 O N .
‘
.

u
C h a c er is th s i n trod uc ed u by the en u mer ati on of the n ames
o f the a r
cto s in wh at the p oe t s e l ec ts as h is most ch ar act er istic
p oem, The S quieres T al e
“ ”
.

5 x5 6 . n esc arpr rou .

11S ometi mes in the midst of arr ati ve or exposi tory writing
. n

the att e ti o n i div er t ed fo a ti m to a pi ece o f d esc r i pti on in

n s r e ,

which ome p romi nent subj ect is p r e en t ed in a most i mp res

s s

siv e a p ect Wh e n wel l c a r i ed out i t is highly effec ti v e I t

s . r .

is a w e l l k now n an d very c om
-
mon d evice of novelists an d his
tor ians ; i t is a lso on e of the r ec og n i zed tac tics of or at ory I ts .

na tu r e an d effec ts ar e su ch t h at i t may be cl ose ly as soc i at ed

wi t h amplific ati on with which i t is oft en id entifi ed for this is
, ,

o ne of the m os t fr eq u e n t mod es in wh ich th a t figu re is pre

s en t ed I t may h ow ev e r be co nsid er ed as a sep ar at e figur e
.
, , ,
”
an d as s uch it has be e n c al l ed d esc ripti o .

A s r ep resen t ativ e ex ampl es may be mentioned B ur k e s d e ’

sc r ipti o n o f the d esc en t of H yd er A l i on the C ar n ati c an d ,

S h erid an s d esc r ipti on of the d eso l ati on o f O ud e— which are

’

among the most famou s in o r at ory ; als o S c ott s d esc r ipti on

’

o f the t r i al of E ffie D ean s M ac au l ay s d esc ripti on of the t r i al ’

of W a rren H asti ngs an d C ar lyl e s d esc r ipti on of O l iv er C r om ’

w ell F r ed er ick the G r eat or the exec uti on o f M ar i e A n t oi n ett e

, ,
.

T he fol l owi ng is fro mthe R omol a of G eo r ge E l i o t

T he bli nd fa th r
with h ad upli ft d a d t u r d a littl a id t ward
e s at e e n ne e s e o
his d aug ht r a if h w r l
e ki g a h H i d li at pal
, s e e e t ff by
oo n t e r. s e c e en ess, se o

the bl a k v l v t ap which u r m u t d hi d r p i g whit h air mad all

c e e c s o n e s oo n e , e
the m r p rc p ti bl h lik
o e e b tw
e hi ag d f at u r
e t a d th
e f eness e een s e e es n ose o
 F igur es o
f G r ad at io n . 16 1

the y u g maid wh
o n h k w al with u t a y ti g
en, f th r ose c ec s er e so o n n e o e ose.

Th r wa th am r fi m t f br w a d tril i b th u t rbal a d
e e s e s e e ne en o o n nos n o , co n e n ce

by a fu ll th ug h fi m m u th a d p w rfu l chi whi ch g av a i mpr i

'

o r o n o e n, e n ess on

of p r u d t aci ty a d l at t i mp t u u
o en ; a xp r i carri d ut i
n en e o s n ess n e ess o n e o n

th bae ckward p i f th g irl h ad a d th gra d li f h

o se o k ad e
’
s e , n e n ne o er n ec n

sh ul d r
o e s .
”

D e c r ipti o n may al o r efe r to ch ar act e r D ryd en k etch es

s s .
’
s s

of S h a ft esbu ry an d Bu cki gh am i A bsal om an d A chit oph el n n

may be m ti o ned as ex ampl es of th is and als o M ac au l ay s

en ,
’

p o r t r ay al of the P uri t an s .

Th e foll o wi ng is an e x ampl e
Thi k f himr ckl thriftl v ai if y u lik —bu t m rcifu l g tl
n o e ess , ess , n o e e , en e,

g r u fu ll f l v a d p ity H pa
e ne o s, o ut f u li f a d g
o e t n . e sses o o o r e, n o es o re n

d hi a c u t b y
er s d it c oThi k f h p r p i r w p i g at hi
n e on . n o t e oo e ns o ne s ee n s

g rav thi k f h
e bl p irit th at admir d a d d p l r d him thi k f
n o t e no e s s e n e o e n o

t h ri g ht
e u p that wr t hi pit ap h a d f th w d rfu l a d u a i
eo s en o e s e , n o e on e n n n

mu r p
o s f aff ti
es with wh ich th w rl d ha pai d back th l v h
onse o ec on e o s e o e e

gav it H i h u m r d li g hti g u till ; hi

e . s g fr h a d b au tifu l a
o e n s s s son es n e s

wh fir t h ch arm d with it hi w rd i all u m u th ; hi v ry w ak

en s e e s o s n o r o s s e e

ness es b l v d a d famili ar hi b v l t p irit m till t mil u p

e o e n s e ne o en s see s s o s e on

u ; t d g tl ki d
s o o ; t ucc r with w t ch arity ; t
en e n th anesses o s o s ee o soo e, c

r f r gi v
ess , o p l ad with th f rt u at f h u h appy a d th p r
e to e e o n e or t e n n e oo .
”

T HA KERAY C .

15 7 . EC LOG E .

12 . g r eat ess en ti al to su cc ess in d escr ipti on c on sists in

O ne
th e j u d ici o u s s e l ecti o n of th e most st r iki ng ci r c u mst an c es This .

”
i s c al l ed ec loge .

L ongi n u s at t ach es to th i s v ery great i mportan c e A s th er e .

are n o subj ects he says “

which are no t att end ed by c er t ai n
,
”
,

adj u n cts c oe xist en t wi th t h ei r v ery e sse n c e a j u di cio u s ch o ic e

“

of the m os t su it a bl e o f th es e adj u n cts mu st nec ess ar ily pro

d u ce e l ev ati on o f s tyl e H e c omme n d s as an ex ampl e of t h is
”
.

the fam ou s od e o f S a pph o in which the effects of j eal ousy are ,

d esc ribed
Bl t es i mm rt al g d i h
as the o o s s e,

T h y u th wh f d ly it by th
e o o on s s ee,

A d n a d h ar th
se es all th whil n e s ee e e,

S ftly p ak a d w tly mil

o s e n s ee s e.

“ ’
Twa thi d pri v d my u l f r t
s s e e so o es ,

A d r ai d u h t u mu lt i my br a t ;
n se s c s n e s

F whil I g az d i tra p rt t d
or e e , n ns o o ss e ,

M y br ath wa g my v i wa l t
e s on e, o ce s os .
1 62 E lement s f
o R/i etor ic .

“
M y bosomglo wed the sub tl e flame ,

Ran q uic k thr oug h all my vital frame ;

O er my dim e yes a darkn ess h ung
’
,

M y ears wi th holl ow mu rmu rs rung .

I n dewy damp my li mb w r chill d s s e e e ,

M y bl d with g tl h rr r thrill d
oo en e o o s e ,

M y f bl p ul f rg t t p l ay
ee e se o o o ,

I fai t d u k a d di d away
n e s n n e
”

m su r rox
.
, ,

—P11 1 Ln s >
’
T .

Are y ou not am co n ti nues how in the same

“
azed , he ,

momen t she is to seek for her so l, her body, her ears, her u
u
tong e, her ey es, her co l o r, all of the as m ch ab sen t from m u
h er as th o gh th ey ha u
d n ev e be l on ged to her H ow she r .

gl ows c hi lls raves r easo n s ; for e ith er she is in tumu l ts of

, , ,

al armor she is dying aw ay

”
.

A p assag e in the speech of De mosth enes O n the C r own is

al so q u ote d by himas an e x am pl e :
“
For it wa s ev en ing wben a cou r ie r brought to the agistr ates the news m
of the su r prise of Ela tea I ed ia . mm
tely they a rosq thou g h in the idst of m
th r r p
ei e a st So e of e
. m th m h rr wy
u ied a a to the A o a, and. d i n the g r r vi g
tr b th th r l
adesmen out, set fire to the oo s O e s f ed to ad e ise the co . v rt m
m r
and e s of the a rmy
of the ne s, a nd to s um w
mon the u c e a d T he p bli hrl .

wh l ity
o e c was fu of u mu ll t O n the lt
arr ow, at ea o f d ay, the ma s
. m br k gi
tr t v
a es con ened the senae t
You, en e e n, o e ed the su
. o ns g tl m b y
Befo e mm . r
the p bli l pr
u c cou nci oceeded to d e ae the eo e oo bt
ei seas a o e p pl t k th r t bv
m
.

h t
W en the senae e e co wr
in the a is a e a id O en the ea mg tr t l
so ns of ei p r th r
m ti g
ee n , a pr
nd od uce d t he cou ie r r .

The fol lo wi ng passage from M acau l ay s ’

e sa s y on Barere
’
afiords a st r iki ng exampl e of ec loge :

“
Th m
en ca e thedays when the m ost ba rbarous of all codes was adminis »

tered by the m os t bar bar ous of all tribu nals ; whe n no man cou ld greet his
neig hbor or sa ,y his prayers or d ress his hair wit h ou t dan ger of commi tting
, ,

acap it al cri m e when the gu ill ot i ne was l ong and hard at w ork v ery morn e

ing ; wh en the j ail s w e re fill ed a s cl ose a s the h ol d o f a sl av e shi p ; wh en -

t he gu tte rs ra n foa ming wit h bl ood int o the S ei n e ; wh en it was death to

be g reat n iece to acap tain of the R oyal G uards o r h al f b roth er to ad oct or
-
,
-

of the S r bonn e ; to e xpress a d ou bt wh e th e r a

o ssi gn ats wo ul d not fail ;
to tr u st th at the E ngli h ha d been v i ct orio us in the acti on o f the firs t o f
s

J une ; to h av e acopy of one of B u ke s pamphle ts l ocked up in one s d esk ;r

’ ’

to l aug h at a J acob i n f r taki ng t he nam o e of C assi u s or Ti m ol eon or to ,

call th fifth S a s c ul ttid by it old su pe rsti ti ous n ame f S t M atth ew s

e n -
o e s o .
’

day
"
.
1 64 E lements f M
o .

the p i ous ; the occasi onal cheerful hymn in whi ch the strong heart thre w
ofl its burd en a nd a sse rti ng its u n v anq uis h ed nat u re wen t u p li ke a b ird
'

, , ,

o f da wn t th e ski es ; do you n ot thin k that w hoso co uld d esc ri be th m

o e

waiti ng in th at defile lonelier and darker than Thermopylae fa a mor ni ng

, ,

t hat m i g ht ne v er dawn or mig ht show themwh en it did a mig hti er army

than the P ersi an raised as in act to strike —w ou l d he not sket ch a scene
,

of m ore difi c u lt and rarer h er oism — R UFUS C HOA I Y

’
.

M ETASTAS I S
5 r 5 9. .

14 . A no th er ki n d o f d esc ri pti on si mil ar to visi on is c al l ed

met ast as is and i n v o lv e s a tr an sition fr om the p r esen t to
”
,

the fu tu re .

A goo d ex ampl e o f th is i s to be foun d in D an i el Webst er s '

gr eat pe rorati o n in h is re ply to H ay ne

Beyond that I seek not to penetrat e the v eil G od grant th at in my .

day at l eas t th at cu rtai n m ay no t rise God gr an t that on my v i si on n ev er .

may be opened wh at lies behi nd W he n my eyes sh all be t u rned for the .

l ast ti me to beho ld the sun in heaven may I not see him shi ni ng on the ,

brok en and d i sh onored fragmen ts of a o nce gl ori o us U ni on ; on st ates dis

se v ered d i sco r da
, nt bellig er en t on a l and r en t with civ il fe uds o r d r enc h
, ,

ed it m
, ay be in fr at e rnal bl ood
, Let th eir l as t fee bl e and li ng eri ng g l eam
.

rath er behol d the go rgeous ensi gn of the Rep u blic now known and honored ,

throug h the eart h sti ll full hig h ad v an ced its arms and trophi es st reami ng
, ,

in the ir ori gi nal l ustre n ot a stri pe e rased or poll u t ed no r asi ng l e st ar oh

, ,

se nt ed ; beari ng fo r its m ott o n o s uch m ise r abl e i n t err ogat ory as W h at is

all thi s wo rth ? nor th ose oth e r words of de l us i o n and folly Li berty first
’
, ,

and the U n i o n afte rw ards bu t ev erywh ere spread all ov e r in ch ar act ers
of li v i ng li g ht bl az i ng on all its ampl e fo l ds and as they fl oat ov er the sea
, ,

and o v e r the l and and in ev ery wi nd und er the wh o l e h eav e ns th at o th e r

, ,

se n ti m en t d ea r to ev ery A merican h eart Li berty and the U ni on no w and

, ,

forever one a nd inse pa r abl e ’

,
.

x6c . C L I MAX .

O n e of the m ost i m po rtan t of the a g en tativ e fig res is u m u

cli max I t has somethi ng in co m on wi th the fig res of si mi
. m u
larity, an d al so wi th tho se of c on tig i ty, so th at it is so eti m es u m
cl assifi ed w ith the on e or the o th e o f th e se b t i ts c h i ef effec t r u
seems to be to augmen t the subj ect by p ese n ti ng i t in c on r
n ec tion with o th er s By cli max i s mean t an as cen di ng s e i es . r
o f th o u hts or sta
g t e men ts,
which g o o n i n c e as i ng i n i mp o r r
tan c e u n i l the l as t t .

T he an ci en t h et o ici an s g av e a di ffe en t acc o nt of cl i max ,

r r r u
s i n c e th ey sep a a ed i t f o mo th e figu es which a r t r
r e n o w bl e n d r r
ed with ir (increm entu m and p ogressio) I n this est ict ed r . r r
 F ig ur es Gr adatzon
'

o f . 1 65

fo r m cl i max mean t
,
with th ems u ch a di sp osi ti on of st at emen ts
th at th ey g o o n i nc r easi ng in i mp ort anc e by su cc es siv e st ages ,

b u t th at at each st age of the asc en t a n ew st at emen t i s c om

p ar ed wi th th e p r evi ou s on e an d fo r mally e l ev at ed ab ov e it , .

“
C li max s ays Qu in ti li an r ec ur s to wh at has b een said
“
, , ,

and t ak es a r est as it we r e on s omet hi ng th at p r ec ed es b efo r e

, , ,

i t p ass es on to anythi ng els e as

I ly d id
n ot on
y thi b ut di d t v
n ot sa writ it ; I t ly d id t s, no e en e no on no

writ it bu t t k
e , p art i th mba y ; I t ly t k
oo no p art i th
n e e ss no on oo no n e
emba y b u t u d
ss , p r ua i with th Th ba
se no e s s on e e ns.
”

The foll owi ng is a fami l i ar ex ampl e

A d b id
n esthi giv i g all d ilig c add t y u r faith v irtu ; a d t
es s, n -
en e, o o e n o

virt u k wl dg a d t k wl d g t mp ra c ; a d t t mp ra c pa
e no e e n o no e e e e n e n o e e n e

ti ence ; ad t np ati c g d li
o ; a d t g d li
en e br th rly ki d
o ness n o o ness o e n ness

a d t br th rly ki d
n o o e ch arity — S r PAUL
n ness .
” '
. .

A t the p resen t d ay cl i max has a l ess s tr ict d fi niti on and e ,

means gener al ly th at figure by whi ch st at ements a e arr anged r

in an asc en di ng s er i es the fi al one be i ng the most i mpo r t an t ,

n

of a ll . I t i s v ery effectiv e fo the th oughts th u s p res en t ed fall ,

r

u p on the mi nd as th ough wi t h u cc essive bl ows the fi n al o ne s ,

h avi ng the gr eat est fo r c e T he i mp r essi on is th u s mad e c on .

tin ually t r o g e r u ti l the cl o e is r each e d

s n n s .

T he fo ll o wi ng p ass ag e fr o m S h ak e p e ar e i s o ft en q u ot ed to s

il l u st r at e oth e r figur es b u t i t may be t ak n most fitti gly as an ,

e n

ex a mpl e of cli max :

Th cl u d app d t w r th g rg u pal ac
“ ’
e o -
c o e s, e o eo s es,

Th l m t mpl h g reat g l b it l f
e so e n e es, t e o e se ,

Y aa ll whi ch it i h rit
e , hall d i l v n e , s sso e,

A d lik thi i u b ta ti al p ag a t fad d

n , e s ns s n e n e ,

L av a wr ck b hi d
e e not e e n .

The as c endi ng s e rie o f t hough t in th is p ass age is s ee in s s n

the w or ds t o w er s“ “
p al ac es t mpl es the ab od e o f l r ds
,
”
,
” “
e ,
”
s o ,

ki n g s and gods Th en fo l l o ws the gl ob e itse l f

,
.
,
an d all wh ich
it i n h e rit wh ich c o mp r e h e nds all the o th er s
,
.

For if s uch h lyo so n g

E nwr ap yl g o ur fanc on ,

Ti m will u back a d f tch th ag f g l d ;

e r n n e e e o o

A d p ckl d V a ity
n s e e n

W ill i k a d di
s c en soo n n e,

A d l p r u S i will m lt fr m arthly m ul d ;
n e o s n e o e o
 Elem
'

1 66 efl ts f
o R/zetor zc .

A nd H el itself ill l w pa away ss ,

l v
And ea e her d olo r u ma io s ns ons to the peering day .
"

H er e cl i max may be stat ed as fol l ows : fi rst the re tu rn

the ,

of the a g e of G o ld ; sec o n dly the d eath o f V a n ity ; th i r d ly , ,

the d ep art ur e o f S in ; an d l a st of all H el l i tsel f wil l p ass

“
, ,
”
aw ay .

S i mi l ar exampl es of c l imax may be fou n d in the foll owi ng

p ass ages
“
H e had cued by no common deli v erer fr om the grasp of no
been r es

common foe He had bee n ransomed by the sweat of n o vul gar agon y by
.
,

the bl ood of no eart hly sacrifice It was fo r him that the sun had been.

dark ened that the r ocks had bee n re n t that the d ead had ari sen that all
, , ,

nat u r e ha d sh u dd ered at the sufl erings of her exp iring G od — MACAULAY

'
"
. .

“
C ri me succeed ed to cri me and d isg race to disgrace ti ll t he r ace ac
, ,

cu rsed of G od and man was a seco nd ti me d ri v en fort h to w ander on the ,

face of th e earth and to be a byword an d a shaking of the head t o th e

,

na ti ons — MA CAULAY
. .

Th ou d idst bl ow with thy wi nd ; the seacov ered them1 th ey sank lik e

l ead in the mig hty w aters .

“
I h ave foug ht a good fig ht I have fini shed my course I h av e k ept the
, ,

faith : hence fo rth there is l ai d u p for me a cro wn o f ri ghte ousness .

”

S T PAUL
. .

I f we ri se y et hi g h er and co nsider the fix ed s tars as so m

, any oceans of
flame th at are each of th em att ended wi th a d ifleren t set of p l anets and
,
'

s till d i sco v e r n ew fir m am e nts an d n e w li g hts th at are sunk farth er in th ese

u nfath omabl e d epth s of eth er we are l ost in such a l abyri nth of su ns and
,

worl d s and co n fou nded by the magni ficence and i mmensity o f nature
, .
”

Cn s as

x6 x . I N C RE M E NTUM .

Wi th cl i max i s now associ at ed inc reme n tum onc e consid er ,

ed a s a se p ar at e figu re I n th is the th ough t wi th which the.

se n t e nc e begi n s is en l arged an d its fo r c e i nc r ease d by the ,

additi on of oth e rs of mo r e i mpo rt ance The foll o wi ng il lu s .

tration s p r esen t n o esse n ti al differen c e from th ose al r eady

g i v en

I trust mysel f once more in y ou r faith ful hands I fl i ng mysel f again on .

y ou for p rotectio n I call al oud on you to bear y our own cause in y ou r

.

h earts — B RO UG H AM
.
”
.

It is comi ng fast u pon you already it is n ear at h and—yet in af w sh ort

_

week s and w may be in the mi dst of th ose u nspeak abl e mi seri es the rec
, e

ollec tion of whi ch n ow r end s y o ur souls asunder —B RO UG HA M .

”
.
 1 64. m n sc xxssro .

With hype r bo l e may be ass oci at ed a fo r mof st atemen t on ce

c on sid er ed as asep ar at e figu r e an d c all ed tr an sgressio whic h
“ ”
, ,

c o n si sts of any ki n d of ex agg e r at i on I t th erefo re i ncl u d e s .

the foll owi ng in ad d iti on to th os e wh ich h av e al r ea dy been no

tic ed :
1 . A n i mated d esc r i pti on passi ng beyond lite r al t ruth Th is .

may be al l o wed as legiti mat e hype r bo l e or if a s epar at e n ame , ,

be p r efe rr ed tran sg re ssio

,
Poets o r ator s an d w riters of fiction
.
, ,

all i n du lge in this ex agg e r at ed st at e m en t a n d V ict or H ug o s

’
,

w r i ti ng s abo u nd in i t .

Thi i u bad c di ti h r H w much w r it i t mil fr m

s s o r on on e e. o o se s en es o

B t y u may c c i v T h da k
os on o on e e. mi g ht b f lt — F mm A M ES
e r ness e e .
”
15 .

2 .M any c oll oqu i al exp ressi ons i ll us trate th is figur e ; as to “

c ry on s ey es out
e
’
to w eep a
,
” “
s if o ne s h ea rt w o u ld b r eak ’
,
”

I f a y ou ng mer ch an t
“ ’ ” “
to plit one s sid es with l aughi ng
s .

ay E mer s o n men ay he is ru i ned

” ”
fai l
s, s s ,
s .

3 H um
. o r ou s w r iti ng a boun ds in this ; i n d eed adisti nc t d e ,

p ar tm e n t o f this s o rt o f l i t e r atu r e i e A m ric an i, b ased upon

. .
, e ,
s
~

e xa gg e r at i o n .

H yper bo l e wh en i mp roper ly used is certai n to d egener ate

, ,

in t o bomb ast .

C H A P TE R VI .

FI GU RES OF G R A D A TI O N — D EC R E M E NTI VE
. .

1 65 . D EC R E M EN T I VE n o x rzs u .

U N D E R th is c l ass is i n cl u d ed th os e v ar i o u s for ms of exp r es

si on by wh ich any giv en subj e c t is d i mi n i sh ed b efor e th e mi n d
an d div est ed of its o r di n ar y i mp o r tan c e Th ey are the O pposit e .

o f th ose which h a v e j ust bee n c on si d e red bu t l ik e th em ar e

applic abl e to l e ad i ng p r o p o siti o n s d e ducti on s an d c on cl usi o n s:
, ,

Whil e the aug men t at iv e figu r es p r es e n t t h ese in the most st r ik

ing an d effec t ive man n er so th at th ey may arr est the att en ti on
, ,

the d ec rem en tive fo rm s are u sed to l essen th eir i mport ance and ,
 F zgun ‘
’
s o f Gr ad ation . I 69
mak e th emappear litt l e v al u e The for me r w ou ld be ap
of .

pli ed by the w r it e r to h is chi ef t opics to e n h an c e th ei r v al u e;

an d the l atte r wo u l d be appl i ed by his opp on en t to the s am e

t opics to di mi n ish th at v al u e .

D I M I NUTI O N 1 66. .

D i mi n u tio n i s the opp osite of ampl ifi c ation an d may be ,

d efi n ed as the l o we r i ng o f the i mpo rtanc e of any t opi c by the

ass embl ag e of p ar ticu l ar s d es ignedly i n t rod uc ed fo r the p ur
p ose of l es sen i ng its fo r c e an d p ro pe r v al u e A s amplifica .

ti on may p r oc ee d th rou gh many st ages of exp an si on so this ,

l ow er i ng p roc ess may c on sist of many gr ad ati on s fro m the ,

slight est di mi n u ti o n o f any gi ve n s u bj ect to the l ow est poss ibl e

d ep r ec i ati on ac c omp an i ed with c ont e mpt and r idi c u l e A l l
,
.

th e m od es by wh ich the one m ay be effec t ed h av e also th ei r

c ou n ter p arts in the oth er .

1 Th is figure is exh ibit ed fi rst in the fo r m of di rec t st at e

.
, ,

ment ; as _

W ill God incense his ire

For such a pe tty tr es pass — M 1LTO N .

H ere the offen ce is affirmed to be petty si mply in its el f .

D id y t h ar it ? N Twa bu t th wi d —BYRON
e no e o.
’
s e n . .

2S ometi mes di mi nu tion is mad e by mean s of ac omp arison

.

wi th s ome oth er obj ec t

N at ur wi ll t h av u fr t a d fu m W h w c me ut f th au
e no e s e n e. en e o o o e c
u
c s, o rth ba k th t m
e p r a c m ti g
n , th Tra c d
or tal C l ub
e e e n e ee n , or e ns en en

i t th fi l d a d w d
n o e e h ay t u
s 8 h t my littl
n i — E M ER
oo s, s e s s o s 0 o , e s r
SO N .

H er e the exc i temen t of c ommon l ife i s mad e to s eemt r ivi al

b esid e the g r an d c al mof N at ure .

H w it aggr av at th d i gu t wi th whi ch th
o pa t d i am d a
es e w s s ese s e on s re n o

v i w d t r m mb r th at t h y w r parad d i th p r
e e , o e e e c f Ed mu d e e e e n e esen e o n

B urk — ay ( udit p t ) i j al u ri valry f hi g u i a d pric l

e n er e os ers , n e o s o s en ne n e ess

j w l Irr i ti bly
e e s. i r mi d d f h d a i g ff rt
es s one f Lady Bl ar y
s e n e o t e nc n e o s o ne

a d Mi
n C ar li aW ilh l mi a S k gg ag ai t th
ss o n ati v gr ac f th V i car
e n e s ns e n e e o e

f W ak fi ld family —D E Q U N EY
’
o e e s . I C .

The styl e of S h er id an wh en set i c o m p ar i son with th at of ,

n

Bu r k e i s th u s mad e to app ear t awd ry a d mer etr ici ou s

,
n .

A d wh at i thi w rl d i th i m
n m ity whi ch t m with th m a d
s s o n e ens ee s e ,
n

what a th y wh cu py it ? Th u iv r at l arg w ul d uff r a li ttl

re e o oc e n e se e o s e s e
 E lemen ts R/wtor zc
'

1 70 of .

in its sp end o and l r var iety by the destruction of our pl anet as the v er dure
, ,

and sub i m e m agn l it ude of aforest would suffer by the fall of asi ng l e l eaf ”

—m
.

xxs .

H er e t hi wor ld a d all i t s co c er s a e mad e to appe ar in

s n n n r

sig n ific a t i c omp ariso n wi th the i mme nsi ty of the u n ive r s e

n n .

A A ri t tl wa bu t th r u bbi h
n s o f a A dam a d A th
e s bu t th e s o n , n ens e

rud i m t f Parad i —D R S UTH

en s o se .
”
R . . O .

M an at h is best i h e r e rep r esen t ed as of l itt l e w or th wh en

s

c omp ared with the po ssibi liti es which lay before him had he ,

k ept h is fi rs t e s tat e .

3 I t i.s al so so me ti m e s e ff e ct ed by a cc u m ul ati o n t hat i s to

sa a num b e r of p ar tic u l ar s a re g ath er d t g e t h e r f th ex
y , e o o r e

p r ess pu rp ose o f l ow er i ng the i mpo r tanc e of any gi v en s u bj ec t

W h at
th hav y u mad Ir l a d L k at h agai Thi fi
en , e o e e n ? oo er n s ne

c u try i l ad with a p pula i th m t mi rabl i £2m a d f

, .

o n s en o t on e os se e n n o
wh wr tch d
ose if y u a th au th r y u a b gi i g t b th
e e ness, o re e o s, o re e nn n o e e

v icti m ; h p i s d hali c i r t u r i g i it j u t circu l ati

t e o sone t y ur
c e s e n n n s s on o o

o w li pn Y ur d m ti c wi a b tt r h u d tha th p pl H a
s. o o es s ne re e e o se n e eo e. r

v t h m t abu da t a r ap d by m wi th tarv ati i th i r fac

es s t e os n n re e e en s on n e es,

fa mi c v r a fr u itful i l a d d i a i hal a pu r atm p h r ; all

ne o e s so , n se se n es e os e e

th g r at c m
e m rci al faciliti
e f th c u try a l t ; th d p ri v r tha
o e t es o e o n re os e ee e s

h ul d circul at pul c a d t u r h machi ry f ath u a d fact ri

s o e o en e n n t e ne o o s n o es

fl w t
o h c a with ut w afti g a b at tur i g a mill ; a d th w av
o t e o e n o n o or n n n e e

br ak i li tud i th il t mag ific c f d rt d a d hi p l ha

e s n so e n e s en n en e o ese e n s ess r

b —DA I EL O C
or S.
"
N
’
O N NEL I.

I this p ass age th er e is an acc u mu l ati on of p artic u l ars re

n

ferring to the c ond iti on of I r el an d for the p u rpo se of repre ,

s en ting th at c ou n try at i ts v ery w orst .

D E P R EC I ATI O N
5 1 67 . .

Dep r eci ation is di mi n u ti on assoc i at ed with the fee li ng of

con e t mpt .

An i ll ust ration ofth is may be fo u nd S i r Wal ter Ral eigh s

in
’

v er se s Go So u l u est fr omwhich are tak en the

’ ”
, , , the Body s G ,

fol l owi ng li n es :
T ll p hy ic f h b l d
e s o er o ness,

T ll kill it i p r t i
e s s e ens on,

T ll charity f c l d
e o o n ess,

T ll law it i c t ti
e s on en on ,

A d a th y d r p ly
n s e o e

S gi v th m b t h th li
o e e o e e.
 I 72 E lement: o f W m :

in the l ast place in stead of the most i mport an t there sud d enly
, ,

occ u r s so m eth i ng t ri vi al
T he kin g of Fr ance with twi ce ten th ousand m
, en ,

M arched up the hill and then—marched down again

, .

H ere th o u g reat A nna! wh om thr ee realm

, s obey ,

D ost some times counsel take an d some times—tea , .

The ct of an ti c l i max is gener ally lu di c r ou s and wh en

effe ,

used i n ten ti onally i t t ends to d ep r ec i ate the s u bj ec t to which

i t is appli ed by c ov ering it wi th ridic u l e I t i s t he refore v ery .
, ,

frequ en tly empl oy ed in h u m o ro u s and sat i r ic al corn positio n .

Bu t it i s so me t i mes u se d uni n t e n tio n al ly and t h en i t is call ed ,

b ath os the effec t be i ng to tu r n the r idi c u l e with which i t is

”
,

associ at ed u pon the w ri t er h i m se l f The foll owi ng are ex .

ampl es
“
And th ou D alhousie the g reat god of war
, , ,

Lieutenant colonel to the Ear l of M a

”
~ r .

“
They gazed in awe u pon the C orsican ,

That mig hty minded bu t small bodied man

— -
” -
.

“
The arrn o f e th
t r ity
e e n — r
as st o ng as the oc of G b a ar "
r k i r lt .

R i
W ere uss a to posses s the os po us, sa s a ecen
”
B r “
i e , and the y t wr t r r
T k r r w l
ur s be d iv en out, prog ess ou d cease The mss on aies ou d be . i i r w l
l r li
e xi ed, e gious f eed omc u
r r h
s ed out, and n ne m ons of peop e spea i ty illi l k
l w l
ing one ang uage ou d be b oug r ht r
un de the yo e of an i on d espo s m, k r ti
whi hc in its s eng an d no se ess mo v e en is as esis ess as the g ea
tr th i l m t r tl r t
rl hl l h
C o i ss eng ine at P i ad e p ia
”
.

C H A PT E R VI I .

F I G U RE S OF E M P H A S I S — D I RE CT S TR ES S
. A ND
IT E R A TI O N .

1 69. FI GUR ES or mp uasrs

e .

E MP HAS IS in gener al mea s pl aced u pon

n a ce rt ai n st r ess
w or d s. Figu r s o f mph a is i ncl ud all th ose by wh ich a y
e e s e n

given w or d o ubj c t i p r ese n t ed befo r e the mi n d wi th th

r s e s e

g r eat est po ibl e tr ngth an d ene r gy W or ds ph rases an d

ss s e .
, ,

w ho l e sen t nc es may th u s be emphasi zed

e .
 Fg ur es f Em m
'

o pl s l
zs
‘
. 1 73
1

h ree gene r a
T l grou ps are i n cl ud ed h ere
1 Wh e re di rect st ress is l aid u po n wo r d s
. .

2 Wh e r e e mph as is is p r od u ced by a ch ange in the or d er of

.

w or ds .

3 Wh e re statem
. en ts are m ad e in a way w hi c h is u nu s u al or
st artli ng .

mp aasrs BY D I R ECTr 7o . sr anss — ass e arron

'
.

A di rect stress is som ti m s l aid u po n wo rd s This is pro e e .

d uc d fi st by ass rt i o
e , a d se condly by re pe titi o
r ,
e n, n , , n .

By mph atic a s r ti o is mea t th st at ement o f a thi ng

1 . e s e n n e

with mo r o l ess v h em c as i the fol l owi g ex ampl es

e r e e n e, n n :

H i fall W may w pau b f r th at pl d i d pr d i g y wh ich

e s en e no se e o e s en o
t w r d amid t u lik m a ci t ru i wh fr w t rrifi d h g l a c
o e e s s e so e n en n, ose o n e e t e n es
it ma
sg i fic c attr act d —C aax P u
n en e e .
”
tt . es tL L t Ps.

p ass age the e mph asis on the w ords

I n th is , He i s fal l en ,

is di r ec t i n t en se and u n mi st ak abl e
, , .

B ut y ousee, sir —the balance Gen e men asse a the of pow er . tl rt th t en

tra c n e of F r ance i t
n o S pan dis u bed i
a ba ance, and t r
a we oug th t l th t ht to
h av g war es o e it —G EO RG E C ANN I NG
r t r "
e one to to . .

wo r ds the b al anc e of po w er are p u t fo r th p r omi nently

The ,
“
,

wi th st ro ng emph asis bo t h by the p re ced i n g wo r ds b u t you , ,

see si r and the s u bse q u en t all u si o ns to th at b al an ce

” “ ”
.
, ,

I say th at th e ed ucati on of the peopl e oug ht to bethe rtc

fis c
on e n of r
the s tat e. —M AC AU1 AV . .

w o r ds
T he ,
“
I say , c all attention to the wh ol e st at emen t
wh ich fo l l o ws .

I will gi v th r f r at c a d with u t h it ati a mp hatic ga

e, e e o e, on e n o es on , n e ne

tiv t h m ti f r p al Th a tru th th at li t d p f arg u

e o t e o on or e e . ere re s e oo ee or

m t— tru th t th
en t abli h m t f which th v i d c f th
s o e es s en o e e en e o e sen ses or

th f li g
e f th h art h av c tri bu t d m r th a th
ee n s o l w pr c
e e f e on e o e n e s o o esses o

r a i g—which a grav i d p r charact r th a a y that r a a

e so n n re en n ee e e s n n e son c n

e ith r i mpr
e fla Wh D J h ess or ewa a k d t r fu t h arg u
’

ce. en r. o nso n s s e o e e t e

m t f th
en s or xi t c f matt r h tamp d hi f t u p th g r u d
e no n -e s en e o e , e s e s oo on e o n ,

a d x clai m d
n e I r fu t th m th u W h M r C a i g h ard th fir t
e ,
‘
e e . e s.
’
en . nn n e e s

whi p r i thi h u f a r p al f th U i thi wa all th a w r th at

s e n s o se o e e o e n on, s s e ns e

h v uch af d —th
e o l q u t a d i d i g a t a w r R p al th U i ?
s e e e o en n n n n ns e e e e n on

R t r th H p tarch y l — S mR B ER P EE
es o e e e
’
O T L.

Th es e s ayi ng s of J oh o a d C ann i ng a e i t r od u c ed with ns n n r n

1 74 E lemen ts of Rhetor ic .

g re at effec t and t end to th r ow str onge r emph asis

,
u pon the
sp ea k e r s o wn n egati v e to the mo t i o n fo r r epeal
’
.

N EG ATI O N 1 7 1 . .

N egati on is a st at ement t h row n i n to a n egative form I t .

may be ass oci at ed wi th the h igh est excit ement of fee li n g or

the m ild est an i mation I t may ass u me the i n t err og ativ e or.

the ex c l am ato ry fo r m and i t may be s u sc eptibl e of the st r ong

,

est o r the l ight est em ph as is .

N ot ry
v
e e that one sai th un t m L rd L rd hall
o e,
‘
o , o ,
’
s en e trit n o the
kingdo m f h av
o e en.
”

“
N ot a ll the ood of bea
s ts, bl
J w h lt r l
O n e is a a s s ain,
C o uld gi
ve the g ty
uil conscien ce peace ,

Or wa h away th tai
s e s n.
”

In th ese and si mi l ar pass age s the e mph asis i s i n ten sifi ed by

the positi on of the n egat iv e p arti c l e .

N ever was there ajar or disco rd between genuine se n ti me n t and sound

pol ic y N ev er n o ne ve r did nat ur e say one thing and wisdom say nu
oth er —B u
.
, ,

nan
N ev er—nev er more
. .

W hile I li v e ,

M ay l hoPe to see his face

As before —B aowmnc
. .

No ; a th o sau
nd ti m es n o. — K osstrrH .

“
It was n ot in the battl e —C O W P ER . .

5 1 72 . mamasrs av ’ ’
R E P E I I TI O N .

2 . ki n d of emph asis is th at whi c h ari ses fromthe

A noth er
r epe ti ti on of the same wor d or se nti men t Th is has gi ven ri se .

to a n u m e r ou s cl ass o f figur es which are c all e d i t er ativ e , .

Th ei r effectiveness d epen d s al togeth er u p on the w ell k now n -

em ph as is th at ar is es fr omthe r e pe titi o n of a w o r d For if a .

w or d o r stat eme n t i s u tt er ed o n ce i t s e mph asis c an nev e r be ,

so s t r ong bu t th a t it may be i nc reas e d by r epetiti on A n ex .

ampl e of thi s m ay be see n in the speech of the E ar l o f C h at

A meri can as I aman E ngl ishman winle a foreign troo p

Iwr an
’

If e e

w ere l anded in my country I w oul d nev er lay down my arms—never, neverI

, ,

nev er I
”
1 76
“
C
E lements .

f M
o ar ie .

W ith h r h
on o , o n or , r t him
h on o r h
,
on o o ,

E t ernal h rt am T E NY S N "
ono ohi s n e. - N O .

P oe s So ng
In
’
of the Be l ls th ere are ex ampl es of mor e fre
qu en t repe titi on s o f the same wo r d th a can be fou nd any n ;

wh er e e l se
mu n ona
.

5 1 76 . .

4" A n aph ora is the repeti tion of a wo r d at the begi nni ng of

successiv e cl ause s or sen t enc es . A n ex ampl e of th is is fou n d
in th e P r i c k e of C on sc i en ce by
”
R ich ar d Roll e d e H ampo l e
“
Thare es ay lyfe witho u ten dede,
Thar y h w h ay with u t l d
e es o t e o en e e,
Thar alky w l h ay t w l d e es n e t o e e,

Th ar r t ay with u t t a ayl e es es o en r v e,

Thar all gu d th at v r al fayl

e es e es ne e s e .

Tru th t ll r wa u E g li h A l fr d amd
-
e e s o r n s e n e ,

Tru th t ll r wa u E gli h D u k — T ENNY SO N

-
e e s o r n s e.
"
.

By f r i g ha d thy dyi g y w r l d
o e n n s n e es e e c ose ,

By f r i g ha d thy d c t li mb c mp d
o e n n s e en s o os e .

By f r i g ha d thy h umbl g rav ad r d

o e n n s e e o ne ,

By tra g r h r d a d by ra g r m u r d —P E
s n e s o no e , n st n e s o ne .
”
OP .

Ed ucat th p pl wa h ad m iti by P
e e eo te,th c mm
’
s t e on on en n o e o on

w alth h f u d d Ed u at th p p l wa th l a t l gacy f W a hi g
e e o n e . c e e eo e,
’
s e s e o s n
h R p u bli c f h U it d S tat Ed ucate h p pl wa th ’
t
on to t e e o t e n e es. t e eo e, s e

u c a i g x h rt ati
n e s n e fJ fi o — MA AULAY on o e erso n
’
.
”
C .

It wa H m r wh gav l aw t th arti t it wa H mr wh i pir d

s o e o e s o e s s o e o ns e

t eh p t ; it wa H m r wh th u d r d i th
oe s o at ea d m r tha all o n e e n e sen e n , o e n ,

i t wa H m r wh wa u g by th p p l
s o e o —W AYLAN s s n e eo e.
”
D .

It hall g f rth x u lti g i bu t t abu i g it tr gth I t hall g

“
s o o , e n n, no s n s s en . s o
f rth r m m
o , b ri g i it pr p rity th p l d g it gav i th ti m f it
e e e n n s os e e e es e n e e o s

d pre i It h all g f rth u iti g a d i p iti t c rr ct abu a d

ess o n. s o o , n n s os on o o e ses, n

t r dr
o e g ri a c
es s It hall g f rth u iti g th d i p iti t impr v
e v n es. s o o , n n e s os on o o e,

with th r l uti t mai tai a d d f d —S nt R BER Pu

e eso on o n n n e en .
”i
O T t.

T he m o st c e l eb rat ed exampl e of thi s figu re is to be fou nd in

the pe r o r ati on o f B ur k e s g r eat S pee ch a gai n t Warr e H astings;
’
s n

wh ere six se n t e n ce s ful l of i t en se p as i o are arr ang d in an n s n e

asc endi ng se ries and eac h begi ns wi th the w ords,

I i mpeach , .
”

’
E P I S I RO P H E
‘

1 77 . .

Epist r oph e is the r epet i t i on o f th e sa me word at the en d of

succ es sive cl au ses o r sen t e n c es

The g l ori ous com p any o f the apostl es p raise th ee the god ly fell owship
of t he sai nts praise thee ; the nobl e army of martyrs p raise th ee ”
.
 I 77
Lu t will b c m a law ; vy will b c m a law ; c v t u
“
s e o e en e o e o e o sness and
ambiti wi ll b c m alaw —J N P
on e o e .
”
OH YM .

T h b rr w r i timi d ;
e u l aw a ti mi d ; th cu lt iv at d cl a
o o e s o r s re e e sses are
timi d E ERS N
.
-
M O .

78 A N TI S I R O P H E
‘ ’
1 . .

A ntistr oph e is th at figur e by wh ich the s ame w or d i s pl ac ed

bo th at the begi n n i ng an d at the end of ac l au s e or s en t enc e
Fare th ee w ell ! an d if forev er ,

S till forever far e th ee w ell — B YR ON

, .
”
.

A moth er s ’
l v o e ! how s w t ee the n a e ! m
W hat is a mot h er s l ov e M ONTGO M ERY
’
-
.

W h ere s H arry ’
Bl ou nt F its E us tace where Sco1 t
,
- - '
.

L yalty i a bl aj ud ici u a d a cap aci u p ri cipl bu t i th

o s no e, o s, n o s n e n ese
u t i l y alty di ti ct fr mli b rty i c rr u p ti
co n r es o t l ya
s lty —G RAT
n o e s o on, no o .
”

TAN .

E P AN AP H O RA 1 79 . .

E p anaph or a may be d efi ned as th at figu r e by which several

cl au s es h av e the s ame w o r d at the begi n n i ng and at the e nd
o f s u c c essi v e cl au s es o r sent e nc es
W h en th at acc u t f hi r li gi
y ou ena ct C ath li c h all it i
on o n o s e on n o o s s n

P arl iam t y ud wh at am u t t th tyr a y f a ct

en , o o Wh y u o n s o e nn o se . en o en

a t th at
c C ath li c h all b a h ri ff y u d wh at am u t t th tyr a y
no o s e s e , o o o n s o e nn

of a ct Wh
se y u. ac t th at C ath li c
en h all b a g ral y u d
o en no o s e ene , o o

wh at am u t t th tyra y f a ct —G a
o n s o e nn o se .
"
R r rA N .

ANAD I P LO S IS r8 o . .

A nadipl osi s i s th at figure by whic h the w or d u sed at the end

of one s en t enc e or c l aus e i s r ep eat e d at the begi n n i ng of an
o th er
W h en
wh r w r th y ! the s un set, e e e e e

A d wh r a th y a d wh r a t th u n e e re e , n e e r o ,

M y c u try — BYR N o n .
”
O .

Thr fi h r w t aili g ut i t th w t ee s e s en s n o n o e es ,

O ut i t th w t a t h u w t d w — KI N SLEY
n o e es s e s n en o n.
”
G .

Lycida i d ad—d ad hi p ri m M L N s s e e ere s e .

-
I TO .

I f y ud t g f rth
o thi cca i t th aid f P rtugal P rtu gal
o no o o on s o s on o e o o , o

will b tr amp l d d w t y u r irr c v r abl d i g ace a d th

e e o wa will
n, o o e o e e s r n en r

c m a d c m t i th trai f d g rad ati

o e, n o e,
—C ANN I N
oo , n e n o e on .
”
G .

That ccu pati i a u pai d a d u red m d bu rd t Fra c

o on s n n n n ee e en o n e.

F r a c w uld b g l ad t g t id f th p
n e o i f S p ai —CANNI N
e o e r o e ossess on o n.
”
G.
r 78 E lemen t: o f E eci on }
l t
.

sl av ry e .
— B RO UG HA M .

181 . s pan o no s .

E p anod os is the r epetitio of a w or d anywh er e with i n the n

se t n c e e ith er i the sam n e or in di fferen t sen ses

n e ,
n e se s
'

Wi ll it b x t w k e ne x t y ar — PA R K H ENRY
ee , or ne e T IC .

Thi i l a d l v th w ll th u fam u ma
ne s n o es ee e , o o s n,

T h gr at t ail r i c th w rl d b ga ;
e e es s o s n e e o e n

N w h r ll o f mu ffl d d ru m
to t e o o e s,

T t h th g r a to t l d i
ee r c m — T ENNYSON
e e es so e o es.
”
.

B u c i v r athi g t b p r u d f bu t pru d tly cal cul at d b u c

o n e s ne e n o e o o , en e o n e

i a
s thi g a lt gn th r c t mp
o eti b l — P a11 M all Ga tt
e on e e.
”
ze e.

This fig ur e is also cal l ed regressio .

EP ANALE PS IS 5 1 82 . .

E p anal epsis is l ik e epanodos b u t d iffers in this th at whil e , ,

the l att e r is the r e pe ti ti o n of a w ord a n ywh e re in the se n t enc e ,

the fo r m e r is the r e pe ti tio n o f a w or d in di ffe r e n t se n t e n c es

hav ar bitrary p w r ! M y l rd th Ea t I d ia C mpa y h av

He e o e o s, e s n o n e

no t ar bitrary p w r g i v him; th ki g ha a bitr ary p w r gi v

o e to e e n s no r o e to e

h im y u r l r d hi p hav it
o o t ; th C m
s m ; s h wh l l g i
e no nor e o o ns n or t e o e e s

latu \V h av
re. ar bitrary p w r t gi v b cau
e e no ar bitrary p w r i a o e o e, e se o e s

thi g whi ch
n ith r a y ma a h l d a y ma a gi v —B U
ne e n n c n o n or n n c n e.
”
RK B .

1 83 . P Loc r-z .

Ploc e is the repetiti on of the same w o r d u n d er di fferen t for ms

or with di ffe r en t m ean i ng s in t he sa me s en tence I t oft en t e .

fers to the r epe ti ti on o f p r o p e r n ames : as

I l v
o e and h ono r Ep ami no n d as bu t I d o not wish to be Epaminondas .

—E st aason .

il p p hill a d A l p
Hl s A l p ar i
ee Po er
’
s, n s on s se.
"
-
OPE .

B u t i ts mor e general use r efers to c ommon terms as :

Judg t that y b t j udg d

“
e no , e e no e .

W h av p titie d w h av r m trat d ; w h av
e e on e u ppli cat d w e e e ons e e e s e e
h av pr trat d u r l v b f r th thr a d i mpl r d it i t rp iti
e os e o se es e o e e one, n o e s n e os on

t arr t th tyr a i cal h a d

o es e f h m i i try a d P arl iam t
nn O u p ti n s o t e n s n en . r e
ti onsh av b w light d u r m tra c hav p r d uc d ad diti al i
e e s e o r e ons n es e o e on v o~

l a d i ult ; u u pp l icati
en ce n ns ha b di r g ard d ; a d w h av
o r s ons ve een s e e n e e
b een p ur d with c t mp t f m th f t f th thr
s ne — P a a ex
on e ro e oo o e one.
”
r r
 E lem
'

1 80 ent s o f Rbetor zc .

A l literation was on ce of far mor e i mpo rt an c e than at the

pr esent day, for out of it ar o se the wh o l e v ersification of the
Te u to n ic r ace The p oe t ry of the A ngl o S ax o n s and S c an d i
.
-

na via n s stil l a tt ests its c ap abil i t i es in t hi s r e sp ect A ll i t e r ative .

v er se l i nge r ed in E ngl i sh l i t er atu re u n til the ag e of C h au c e r ,

wh en i mpo r t an t poe ms w e re w ri t t e n in it , o f wh i c h the chi ef

is T he V isi on c oncern i n g Pi e r s the Pl ow m
“ ”
an The fol l ow .

ing p ass ag e may se r v e as a spe ci m en

I was weory of wand ringe,

w t m t r t
A nd en e e o es e

U d u r a br d ba k
n o n e

By a b u r yd o ne s e

A d a I lay a d l
n , d s n eone e,
A nd lo ked e on the watr es,
I slumbered e in a slepyng
H it sowned e so mu e ”
ri .

The al li t erativ e p ri n cipl e has nev er c eased to be p r esen t in

E ngl ish p oe try , and may be s ee n in many famili ar v erse s
“
Th r wille e r ck we J it u pon the o s,

A d h h ph d f e d th ir f l ck
n ree t e r e er s e e o s,

By hall w ri v r t wh fi ll
r o e s, o ose s

M l di u bird i g mad rig al M AR W E "

e o o s s s n s. -
LO .

Wh th en i f w t il t th ug ht
to e se rr ons o r ee r en o

I umm u p r m mbra c f thi g pa t —S HA

r on e e n e o n s s .
”
K ES PE ARB.

Fr z fr z th u bitt r ky
ee e , ee e, o e s ,

Th u d t t bit oig h os no e so n

A b fit f rg t s e ne s o o .

T h ug h th u th wat r warp
o o e e s ,

Thy ti g i t h arp r n s no so s

A fri d r m mb r d s t — S HAK en e e e e no . ESPE ARB.

F ull fixth m f v thy f ath r l i

o s — S HAKES EARE
i e e es. P .

A ll iter ation abo u nds in M il ton s ’

poe ms . I n the o d e on th e
N ati vity are the fo ll owi ng ex ampl es , an d many mo r e S ol emn
st r ai n wi n te r wild fou l d e fo rmi ti es
” “ ” ” ”
lay it l owly
, , , soft ,

ly s li d i ng ”
w avi ng wid e
, Cy nth i as se at swor d ed s e r a ,
” ’
,
”

phi m o n hi nges hu ng
” “
,
” “
hid eou s hum ” “
dis mal d an ce ”
, , .

T he wh o l e p oe maffo r ds ex ampl es of al lit er ati o n in ev ery st an

za the a
, l lit e r at ed wo r ds in most cases bei ng s ep ar at ed as in ,

the fo ll o wi ng l i n es
 F igur es o f E mphasis . 1 81

“
N or is O si is seen r
I n M emphian g r ove or g een
'

r
Tr p li g h w r r with I wi g l ud
am n the u ns o e ed g ass o n s o .

l at e r poets p r ese n t eq u al ly s tr i ki ng ex ampl e as s :

Th m a t e a w th
s er m ad ri
s — D RYDE e n ess se.
”
N .

W ith w ful m a ur wa D pair o e s es n es

—
,

L w u ll o u d hi,
g
s ri f b g u
enil d C LL I NS
so n s s e e e .
”
O .

N r i g h d at he e
’
u d f a k ll
s e t e so n o ne ,

O m il d r swh a S a bb athe a pp a r d — C W ER
en e e .
”
O P .

Y ba k a d bra b i D ’
e n s n es o onn e oon,

H w a y bl m a fr h a d fair —B URN S
o c n e oo s e es n .

S h w alk i b au ty lik th
e sig ht n e , e e n

O f cl u d l cli m a d tarry ki —B YRON

o ess es n s s es. .

Brita i a d bulw ark

'

nn n ee s no s,

N t w r al g h o o t p e s on t e s ee ;
H march i er th m u tai w av
s o er
’
e o n n es,

H hmi er th d o p —C A M B EL
e s on e ee .
”
P . L.

W h r furi u Fr a k a d fi ry H u
“
e e o s n n e n

S h u t i th ir u l p h u r u ca py —C AM B ELL
o n e s o s no .
”
P .

Lik a gl w w rmg l d
“
e o -
o o en

I a d ll f d w —S H ELLEY n e o e .
”
.

B t a d b ri g ht t m away
es n es , co e ,

Fair r fa th a th i fair day —S HELLEY

e r n s .
”
.

H cla p th crag wi th h k d h a d
e s s e oo e n s,

Cl t h
ose u i l o t ly l a d —T ENNY S N
e s n n o ne n s .
”
O .

Fair r tha all fa cy fath m fal r th a all

“
e n n g h av u g
o s, se n son s e s n .
”

— T ENNY S N O .

A ll it erati o n is u s ed to giv e emph asis to p rov er bs as

“
A ll i t g l d th at g l itt r
s no o e s.

A bir d i th h a d i w rth tw i th bu h
n e n s o o n e s .
”

S w t t th w t
ee s o e s ee .
”

M a y m f ma y mi d
n en o n n s.

F i g r w r mad b f f rk
n e s e e e e ore o s.
P enn y wi p u d f li h
se, o n oo s .

T ak car f th p c a d th p u d will t ak car f th m l v

e e o e e n e, n e o n s e e o e se es.
L v m littl l v m l g
o e e e, o e e on .

B tt r b a ld ma d arli g th a a y u g ma d ru dg
e e e n o n s
’
n n o n n s
’
e .

T he titl es of b ook a o ft allit er ati v e Pi er s Pl ow man ;

s re en :

the Pi lg r i m P rog r
’
s ; t h D a i r y
ess m a n s D aught er ; the S ai t
e
’
n

and h is S avi our ; F r os t and Fi re .

1 82 E lements o f E lutor io
'
.

mozo r mmn ox
5 187 . Ho
' ‘
.

H om ceoteleuton i s the opp o si t e o f al lit e r ation be i ng the r epe ,

ti ti on of the s ame so u n d at the e nd o f w o r d s F orme r ly i t was .

of l ittl e i m p o rt an ce but in mod e r n times i t has rise n to be o ne

,

of the l ea d i ng e l e men ts in versific atio n For r hy m e i s th e same .

as homceoteleuto n an d in the p r e se n ce of i ts su pe rio r music

,

an d po we r al lit er atio n h as gi v en way I ts i mpo r t anc e in ver .

sificatio n wil l be c o n sid e r ed e lse wh e r e I n p r o se it h as n o .

pl ace wh at ev e r at the p r es en t d ay al th ough the G r eeks and ,

R oman s mad e use of i t not u nfreq u en tly .

C H A PT E R VI I I .

F I G U R ES OF E M P H A S I S A RI S I N G F R O M TH E I N VE R SI O N
O F WO RDS .

5 1 88 . mv s nsron .

WE h av e next to co n s wh ich p rod u c e em

id er th ose figur es
ph asis by a ch ange in the po siti on of w or ds This is c all ed .

i nv er si on .

The o r d er of w or ds di ffers in di ffer ent l angu a ges I n some .

the s u bj ect st an ds fi r st th en th e p redic at e and th en the obj ec t :

, ,

as ,
“
J ames st rik es J oh n I n o t h e r s the p r edic at e fo ll ows the
.

o bj ec t : a s
“
J ames J oh n st ri kes
,
”
N eith er c an be c al l ed the
.
“

na t ur al o r d e r for every l angu age has its own u sage in ac

”
,

c o rd a n ce with i ts o wn g e n i us .

A mar k ed di fferen c e is to be observ ed between i nflect ed an d

u n i nfl ected l angu ages as r egar ds the o r d er of wor ds I n the .

fo rme r th is is of sec o n d ary i mpo rt an c e si n ce the mean i n g of a ,

s en t enc e d epe n ds upo n i n fl ec t i on bu t in the l at t er i t is of the

fi r st i mp o rt an c e si n ce t he mean i ng d epen ds u pon posi ti on I t
,
.

is chi efly in thi s r espe ct th at th e mod e r n l an gu ages of E u r ope

d iffe r fro mthe an ci en t and the En glish fr omthe L ati n
,
Thu s .

in L ati n we c an say e ith e r Casar P om peiamvisit or P om pei am

’
,

mat Caesar ; bu t in E ngli sh we mu st say C ee sat c on qu ered P om

’ ’

p y or c an we r e v er s e th is with ou t r ev ersi ng the m

e n , ea n i ng .
1 84 E lements f
o Rhetor ic .

su bj ec t S atan but he re by th is i n version

, , ,
“
S atan ”
is in tro
d uced wi th immense po mp and sp l en d or .

“
H im the A lmg wr
Po e i hty
rl h l l i
H u ed ead o ng , f amn g d own theth r al h ig ht e e e e s
T b tt m
o o l p di ti th r t d w ll
o ess er on , e e o e

In adama ti ch ai a d p al fi
n ne ns n en re,

W h d u r t d fy th O m i p t t t arm
o s e e n o en o s.
”

This i s a v er y remar k abl e c ase of inv ersi on an d i t wil l be ,

see n w hat emph as is is l aid on the w o r d him by p lac i ng i t

“ ”

fi r st in the se n t enc e The wor d me in the fo ll owi ng pas

“
.
”

sage g ai ns the s ame emph asis :

M e, ou th h t ri g ht a d
g j us n the fixed law s of h ave en
r t r t y ur l ad
D id fi s c ea e o e er .
”

Bu t nowh er e c an be f ound an ex ampl e of more i nt ense em

ph asis arisi ng fr omi nv ersi on th an in the fol l owing fromM ac
beth
N ot in the l egions
Of h o rrid h ell can com e a dev il m ore damned
I n ills to top M acbeth
"
.

H er e the n am M acbeth bei ng r eserv ed till the l ast comes

e , ,

in wi th all th fo rce o f a cl i m
e ax an d wi th all the emph as is that ,

ar ise s from a u n u s u al po siti on and the in t r od ucti on of the

n ,

wh ol e by the neg ative particl e .

P oe t ry is fu ll of th ese i n v e rsi on s as may be seen in , the fol

l o wing p ass ages whi c h sh ow an arr angemen t of wor ds
, of con

s tan t occ u rr enc e

A lofi in g od k e s ae li tt
The o al er o sacry h”—
D RYDEN t . .

In p rose the roy al h ero wou l d st and fir st .

“
And l g
on er had she sun g, bn t with af o rw n

R g impati t r
ev en e en ose .
”—
Co mms . .

F ull ma y a g m f pur t
n e
‘

o es ray se ene, r
Th dark u fath md cav
e , n o e es of o ean c bear —G RAY .
”
.

I NV E RS I O N I N P ROSE
1 90 . .

A l th ough i nv e r si on is n ot c arried out to so gr eat an ext en t

i n p rose i t is n ev erth el ess o f m
, uch i mpor tanc e M any r em ar k .
 F ig ur es o f Emphasi s . 1 85

able ex ampl es are to be fou n d in the E ngl i sh Bibl e, wh ich sh ow

how em ph asis may be p ro d uc ed in this way This is in p ar t .
.

d ue to the fact th at i t is a tr an sl atio n ; an d the o r d er of w o r ds .

of th e o rigi n al h as in many c ases b ee n p r es e r v ed .

I n the beginning G od creat ed the heav ens and the earth .

”

The na tu r al or d e r w ou ld be — God cr eat ed th e h eav en s and

the ear th in the begi n n i ng .

Bl d i h th at c m th i
esse s e o e n the n a e of m L rd
the o .

N atu r al or d er — H e th at c ometh in the n ame of the Lo r d is

bl esse d .

r t
G ea andmar ll u a thy w rk L rd G d A l mi g h ty
ve o s re o s, o o .
”

N at u ral o r d er Thy w o r ks are gr eat and ma v el l ou s

— r .

A m g ma y ati
“
on th r wa ki g lik u t S l m wh wa
n n ons e e s no n e n o o o on , o s

b l v d f G d a d G d mad himk i g v r all I ra l v rth l

e o e o o , n o v e n o e s e , ne e e ess e en

himd id u tl a d i h w m cau
”
o n i s o en se to s n.

H ere the emph asi s u p on the wor d him i s of u nu s u al

“

for c e .

S il v r a d g l d h av I
e n bu t uch a I h av giv I u t th
o e none, s s e e n o ee.

Su c h i n ve r si o n as th i i v ry u n u s u al in p r os e yet it is s s e ,

quit e in acco r d anc e with the ge ni u s of the E gl ish l angu age n ,

and p r es e n t th st ate me t with the u t m

s o s t po
e ibl e fo r c e n ss .

Ex ampl es of a si mi l ar ki n d may be fo u d ev e rywh ere in E ng n

l ish p rose ,
and al w ays h av e the s ame effe ct .

“
man who firs t saw th at it was possi bl e to fou nd a E u ropean em
The
p ire on the r u i ns of the M og ul monarchy was D u pl eix — MACAULAY .
”
.

Th is is far mo r e effec tiv e th an if the s en t e n c e w e r e w r i tt en ,

D upl eix was the fi r st man who saw etc , .

Th committ ed that great crime memorabl e for its si ngu l ar atr oe

en was ,

ity memorabl e for the tr emendous retribu ti on by which it was foll owed
, .
”

—MACAULAY .

c ommo n
T he o r d er w ou l d be, Th en th at g r eat c r i me was
c ommi tt ed .

Lik e the P u rit ans , he li v ed ver in the gr eat T ask master eye Lik e
as e ’
s .
’

th e m he kep t his mi nd co n
, tin ually fix ed o n an A lmi g hty J udge an d an et ernal
1 86 E lemen ts of R/zetor ie .

r
e war d . But not the coo es sce tic l t p r th m t p fa o e os ro ne soofier
— MACAULAY
was mor e

perfectly rm r
f ee f o the co n a ion o f tg th ir fra tic d l u i
e n e s o ns.
"
.

H ere the n atu ra l o r d e r w ou l d be as fo l l o ws

H e l iv ed l ik e :

the Pu ri tan s, etc But the c oo l est sce ptic or the mos t pro
.

fan e sc offe r was n ot mo r e pe rfe c t ly fr ee, e tc The posi ti o n of .

the w o r d no t
”
must be r eg ar d ed as pe cu l i ar ly emph atic .

I n v e r si on is so c ommon in E nglish p r o se th at i t may be sai d

to be qu it e as m uc h in ac c o r d an ce with the ge n iu s of the lan
gu age as any o th e r figu re ; i n d eed , in many c ases it may w el l
be d oubted wh e th e r th e r e is any r eal i n v e r si on at all Th us it .

may be q u ite as mu ch the n atu ral ord er to say, Bl essed are

the pu r e in h eart , a ur r
” “
s to say , T h e p e in h e a t are bl ess e d

o n ly in this c a se i t bec o me s a spec i es of excl amati o n , and as

s u mes the o r d e r app rop riat e to th at fo r mof s t at emen t A p art .

fro mthis t h e r e i s an ab u nd an t use of th is figu r e, and he mu st

be i n d eed a d u l l w r iter who d oes n ot fr eq u en t ly find occ asi on
to empl oy it .

Th m t q u ti abl a t f hi l if wa th
e os es on x cu ti e c o s e s e e e on o f C a h rl es.

Th f r rue r f th gr at r t rati i u lit rat ur

o e n ne o e e es o on n o r e e was C o nrper .

O f all c q u r r th gr at t wa A l xa d r
”
on e o s, e e es s e n e .

In th ese ex ampl es the subj ec t i s p u t l ast an d is p r es en t e d ,

wi th th e g reat est po ssibl e emph asis S ometi mes t he ch ar ac t e r .

o f a subj ec t m ay be e mph as ized by bei ng pl ac e d in the fi r st

p art of the sen t en c e
F or magni ficence for path os for v eh emen t exh ortati on for subtl e d isq ui
, , ,

s iti ou for e v e ry p u
, r pose of the poe t the orat or and the di v i ne this homely
, , ,

d i al ect the d i al ect of p l ai n w orki ngmen was amp ly sufficient MACAULAY ”

-
, , . .

A q u ali fyi ng w or d is e mph asi zed ; as

Up w t th flag t th t p f th m
en e at o e o o e s —for w t up
the flag en .
”

A way w t th h r a d aft r himt il

en e o se , n e o ed the d i m u t d ri d r
s o n e e .
”

Any given w ord may th u s be mad e to r ece iv e emph asis

N apol eo n co ul d not reco v er fr omthi s d efeat , a lth ug h h o e had r tri v
e e ed

his fort u nes in o th ers .

”

I f itw e r e r equ i r e d to arr ang e this se nt e nc e so as to e mpha

s i ze the w o r d
“
t hi s wh ich is v ery i mpo r t an t h e r e i t c o u ld be
, ,

d o ne as fol l o ws
188 E lemen ts o f M ar ie .

wh m a r ally i mp ll d by a g r f ar i d i g ati
F or as en en re e e e n e , or e , or n n o n,

or j al u y
e a y th r pa i
o s , or (f th y a n umb rl oa d ca e tb ss o n or e re n e ess n n no e

r ck d u p) th y a f r v r g tti g wr g ; a d wh th y hav pr p d
e on e , e re o e e e n on n en e e o ose

one thi g a c t a tly ru i g ff i t a th r ab urdly bt rud i g m

n re o ns n nn n o n o no e , s o n so e

i t rm diat m
n e eatt r ; a d th e agai c mi g i u d t th ir rigi al ubj ct
e n en n o n o n o e o n s e ,

a v a d a pul l d ba k udd ly fr mc fli ti g f li g
re e er n n on e w t hi c s en o on c n ee n s, no s

way w t hat a if th
, no p rt f a hifti g wi d ; i c a tly ch ppi g a d
, s e s o o s n n n ess n o n n

ch a gi g th ir xp r i
n n th ir i d a a d th rd r f th ir atu ral
e e ess ons, e e s, n e o e o e n con

i
ne ct on i all rt f w ay t uit th ir v r v aryi g p ur p ; th b t
n so s o s, o s e e e -
n ose so e es

writ r d av r t i mitat th tru th f atu r d i g by ma f tra

e s en e o o e e o n
’
e s o n s e ns o ns

p i ti
os ons
”

I H n d tu h ti u i a p ch whi ch giv a xa m
e ro o s, e con l f n es,
“
s s ee es n e n e o

thi F u affair ay a p ak r a bal a c d a raz r d g

s :
“
or o r s,
’
s s s e e ,
‘
re n e on o
’
s e e.

M en o fI i a w i h cri i f u fat wh th r b f
on , no s t l av —y
e ss o o r e, e e to e r ee o r s es es,

ru aw ay l av th m abj ct a d d g rad d ; w th if y u mak u p

n s es, e o st e n e e no , e n, o e

y ur mi d t d u hard
o n y u will i d d h av t
o en re u t r t il f ness, o n ee e o en co n e o or

h pr t but y u will b abl v a q u i h h my ’

t e s en
e , o e e to n s t e e ne .

at ur al rd r L gi u r u m wa thi M fI ia w
"
Th e n o e , on n s es es, s s : en o on , no

i th ti m t
s e ubmit t il a d l ab r f u affair a bal a c d
e o s to a a o n o . or o r s re n e on r

z r a dg
o
’
B u t h ha t a p d th al u t ati M f l i a f h
e e.
’
e s r ns o se e s o n,
‘
en o on or e

ha c mm c d with gi vi g u tt r a c
s o en e hi f ar a if h c ul d t m n e n e to s e s, s e o no co

ma d hi m l f t acc t hi h ar r fir t fr mhi
n se o f i mm
osi t da g r s e e s s , o s se nse o nen n e .

I h
n t e ne x t p l ac h ha di t o t d h rd r f th th ug ht f b f h
e e s s r e t e o e o e o s, or e or e e

s ai d th y mu t x rt th m l v
e sb fir t a i g
e e th r a why th y h u l d
e se es, e s ss ns e e so n e s o

ayi g u affair a bala c d araz r dg that hi w rd ’ ’

d o so, s n , o r s re n e on o s e e, so s o s

see m t p r m ditat d bu t f rc d fr mhim

no e e e , o e o .
"

T he fo ll owi ng romthe s ame au th or p assag e is f

Th ucyd i d i a g r at ma t r f tra p iti but D m th

“
es s i e s e o ns os on ; e os enes s

m r abu d a t i thi th a a y th r writ r x hi biti g a app ara c f

o e n n n s n n o e e , e n n e n e o

much ar t e ay f u tt ri g v rythi g
n es ness . n th pur f h m m t by , o e n e e n on e s o t e o en

ma f tr a p iti a d draggi g hi h ar r al g with himi t ap

e ns o ns os o n, n n s e e s on n o er
il u maz
o s f thi g mi gly u c
e o ct d F fr q u tly u p d i g
n s see n n o n ne e . or e en s s en n
th th ught with which h t u a d abru p tly i t r p i g by way f
e o e se o t, n n e os n o

par th i a ma f matt r appar tly q uit irr l v a t a d thru t in

en es s ss o e en e e e n , n s
q u it i c gru u ly a d tr a g ly h pu t h b a i f ar that h ha
e n on o s n s n e , e s t e e re r n e e s
s uff r d th u bj ct t dr p alt g th r a d c mp l himfr m ar t f l
e e e s e o o o e e , n o e s o e nes ee

i g t
n har th da g r f th p ak r th at l gth t ward th cl
o s e e n e s o e s e e en en , o s e ose ,

h v ry perti
e e tly bu t u xp t dly add h l g ug ht li k f c c
ne n , ne ec e , s t e on -
so n o on ne

ti a d rai ur pri a d ad mirati till hi gh r by th m r dari g a d

o n, n ses s se n on s e e e e n n
i mmi t hazar d f hi tra p iti
nen o s ns os on.
”

p assage
The fol l o wi ng fr om H aml et affor ds an ad mi rabl e

e xampl e of thi s figur e

B ut two month s d e ad — n ay , n ot so much , not two
So excell ent a ki g ; that wa
n s, to t hi s,
 F zgur es f Em a
'

o p/z szs . 1 89

Hyperi on to a sa tyr : so lov iii g to m

y mother ,
That h mig ht n ot bet
e ee m the winds of hea v en

V is it her fa ce too roug hly H eav en and earth .

M us t I r emember ? W hy she w o ul d han g on him , ,

A s if i ncr ease of appetit e had gr ow n

By wh at it fed on and yet W i thin a mon th : ,

Le t m e n ot thi n k on t— F r ailty thy name is w oman ’

,

A littl e mon th or e re th ose s h oes w ere old

,

W ith whi ch she foll ow ed my p oor fath er s bo d y ’

,

Lik N i b all t ar — why h v h

e o e, e s s e, e en s e

O h av e ! a b a t th at w a t d i c u r
en fr a
e s , n s s o se o e son,

W u l d h av m u r d l g r— marri d with my u cl
o e o ne on e e n e,
M y fath r br th r ; bu t
e
’
s m r lik my fath r
o e no o e e e

Tha I t H rcu l withi a m th

n o e es : n on ,

E re
y t h ea lt f m
t e st u ri g ht u t ar o os n eo s e s

H ad l ft th fl u hi g
e h g all d y
e s n in er e e es,

Sh m e arri d e .

R OT ER O N
1 95 . H YS I ERO N
' ‘
P .

H yster on p rot eron i s si mil ar to hype rb at on b u t i s more lim ,

ited in its sc o pe be i ng c on fi ned to a few w or ds wh er e the or

, ,

d er of th ou gh t is r ev er s ed and th at is p u t fi r st which sh ou ld ,

st an d l ast
V al et atq u v iv ir — T EREN
e . C E .

H e is w ll a d ali v
e n e.

This is s ometi mes c onsid ered as id en ti cal wi th anast rophe ,

alr eady c onsid er ed .

CH A P T E R I X .

FI GURE S O F E M P H A S I S A RI S I N G FRO M A N U N U S UA L
O R S TRIKI N G P RE S EN T A TI O N .

1 9 6. UNUSU AL m xmc M O D ES
TATEM EN T
on s OF S .

T H E thi r d cl ass c omp r i ses th ose by

o f figur e s of emph asis
wh ich st atemen ts a e mad e in an un u su al or st r i ki ng man n e r
r .

Thi s cl ass is a l arge o n i n cl u d i ng such fi g u r es as excl ama

e,

ti o n i t er r og ation ellip t ic al and pl eon astic for ms with a few

,
n , ,

oth e r s.
 E lemen ts of R /zetor ec
'

1 90 .

EXC LAMATI O N 1 97 . .

Excl amation rs a figure o f very extend ed appli c ation I t is .

cl ose ly con nec ted wi th th e exp r essi o n of the feeli ngs and ,

many of the so call ed figu r es of emoti o n are mer ely di ffer en t

-

k i n ds o f ex c l amati o n I t is als o a form of st ateme n t v ar i ed

.

fromthe c om mon or d e r so as to avo id monotony or to attr act , ,

att e n ti on .

1 Excl amati on assoc iated with emoti on This wil l be fur

. .

th er c onsid ered u n d e r the h ead of The E mo ti on s an d agen

“ ”
,

era l notic e of i ts ch i e f appli cati on s wi ll su ffic e for the p r esen t .

I ts chi e f use i s in poet r y and o r ato ry w hic h are pre emi nen tly ,
-

the lit e r atu r e of the feeli ngs .

O unexpect ed tr k w r th a f d ath l
s o e, o se n o e
"
—M I L DO N ‘
.

M m ei r abl ! which way hall I fl y

se e s

I fi it wrath a d i fi it d pai r i
n n e , n n n e es
"

0 T im th b autifi e, f th d a
ed ! —a e er o e e on .

P ersonification and apost mphe are assoc i ated wi th ex c lama

u
ti on I t is al so fo n d in v e
. ry ani mat ed p ro se .

A h r i c W all ac q uart r d
e o th caff l d ca t hi d r that hi S t
e e e on e s o nno n e s oo
l a d b c m e day part f E gl a d bu t h d hi d r th a it b c m
n e o e on o n n , e oe s n e t e o e
on tyr a u t rm ap art f it Fi ght th u b av tru h art a d falt r
nn o s e s o o n, o r e, e e n e
thr ug h dark f rtu a d th ug h bri g ht —CARLYLE
.
,
"
n ot o o ne n ro . .

L k th r 0 ma f w ma b r ! Th bl m f that fair fac i

oo e e, n o o n o n e oo o e s

wa t d
s e .
”

a Excl amati on i s also u sed si mply to v ary the sty l e and giv e
.

em ph asis to p assag es This i s co mmo i all ki nds of p rose

. n n

w ri ting I t is gen er ally i n trod u ced by i n t erj ec tions oh

.
,
“
,
”

” ”
al as, an d by the words , how, what .

W henI hav m r t ay t y u y u will lik m l g r H w

e no o e o s o o , o e e no on e . o
dr adfu l i that th ug ht l —La M W M a "
e s o nv . . on c o.
“
W hat f lly it w ul d b t acri fic li b rty a d f th ak
o o f lif t
e o s e e , n , or e s e o e, o
gi v u p that which al mak li f w rth hav i g
e one es e o n

SALUTATI O N 1 98 . .

A c ert ai n ki nd of excl amation is c al l ed s al ut ati on

“
It is .

o ften i n t ermi ngl ed wi t h apost r oph e and is a sal u tatory add r ess ,

to the d ead or abse n t .

 E lem R/zf ton
'

1 92 en ts f
o c .

W ho would bear the whips and scor ns of ti me ,

The o ppressor s wrong ’

, the pro ud man s con tumely ? ‘ ”

w ul d l thi i t ll ctual b i g
“
Who o ose s n e e e n ,

Th th ug ht that wa d r th ug h t r ity F —M u on
ose o s n e ro e e n
'

r .

F wh d umb f rg tfu l or a pr y o to o e ness e ,

Thi p l a i g a x i u b i g r ig d GRAY
s e s n , n o s e n e er
'
es ne -
.

W hat bj ct a th f u tai o e s re e o n ns

Of thy happy tr ai ; s n

W hat fi l d wav m u tai ; e s, or es, or o n ns

W hat hap f ky p lai s es o s or n,

What l v f thi w ki d what ig

o e o ac f pai W—S HEI L EY
ne o n n , n or n e o n .

B th tb th m amwith re eul d ades ere e so so e ,

Wh v t hi m l f h ath ai d o ne er o se s

Thi i my w my ati v l a d —S T s s o n, n e n CO
‘
1.

Th e po w e of th is figu re to p re se n t a t at emen t wi th strong

r s

emph asis may be seen in the fol l o wing p assage fr omthe l etters
of J u n i us
Le t us cons d e you, th
en, as a ed ai r
rri vt the su m mit w rl y gr t
of o dl ea
ness Let us s u
. pp h t y r pl
ose t a al l ou v r mb ti
an s o f a a ice and a i on are se
co mpli h
s ed, a nd y r t g i wi h gr t
ou mos san u ne s es aified, in the fea as e as r w ll
h tr p pl
in the a ed of the eo e it
C an age self fo ge r t th t
a you are now in the
.

l t l
as act of ife ? C an gr y h r m k l y v r bl
a ai s a e fo l e ne a e

I t is d ifiic ult to see how th ese con cl u di ng sen t enc es c ould

be p r ese nt ed wi th s u ch a fi er c e an d s corn fu l e mph as is in any
o th e r wa th a
y n the sh a p a n d d i rec t pe r son ali ty whi rc h m ay
ch ar act eri e the i n t e r og ati o
z r n .

T he fo r c e of i t e rr ogatio n may be seen by com

n p aring sen
ten ces whi ch e xh ibi t th is figur e sid e by sid e wi th pl a i n state
men ts
He co ul d no t l ose thi s fav orable O pport uni ty by waiti g f r i f rc
n or en o e

men ts .
”

“
W as he to l ose thi s v
fa o a r bl e o ppo rtu nity by waiti g n for r i f rc
e n o e

men ts ? ”

L ife is not the most pr ecio us thing ; it is be tt er to l ose this than to ose l
h on o r .
”

Is li f e the most p reci ous thi g n ? Is it not bett er to l ose thi tha
s n to

l ose h on o r
No on e w ul d b
o e so i fatuat d a t acc pt i g
n e s o e n ood th fai such rm ap o

W ho w ul d b
o e so i fat u at d a t acc p t i g
n e s o e n oo d fai th s uch a pr m o
 F igur es f
o Emp/zas is .
.
193

M any qu estion s are in trod u c ed by su ch for mu l as as Can ,

” “ ” “
any on e suppo s e ? Wi ll it be be li ev ed ? C an any o ne
d ou bt ? ”

I n t err og ati on i s v e ry c ommon in o r at ory esp eci ally in d elib ,

e ra tive o r at o r y wh er e th e p r ese n c e of an O pp o ne n t o r an ad
v e r s e p ar ty gi v es a pe r so n al fl av o r to the speec hes A t the .

same t i me i t is s u ffici e n tly p r ev al en t in d emon st r ativ e an d j u

dic ial or at ory D emosth en es e mpl oy e d t his figure to a g r eat
.

e xten t I t is one of h is ch ar act er istics th at he s eems to d eligh t

.

in h u r li ng a wh o l e mas s of qu estion s at the h eads of his opp o

n e uts or hi s a u dit ors Th u s .

B u t wh 0 my c u trym will y u b gi t x rt y ur v i g r ? D
e n, o n en , o e n o e e o o o

y uow ait till r u d by m d ir v

o se t till f r c d by cso ity ? W h
e at e e en , o e ne ess ,

th a w thi k f u pr t c d iti ? O ay i it y ur l
en, re e to n o o r ese n on on r s , s o so e

amb iti t w a d r thr u g h th p ub li c p l a

on o n e c a h i q ui ri g f th th r
o e es e c n n o e O e

W h at w ? C a a ythi g b m r
ne s w tha th at am
n n a f M ac d
n h ul d
e o e ne n n o e on s o

c q u r th A th i a a d g i v l aw t G r c ? I P hili p d ad ? N
on e e en ns n e s o ee e s e o,

bu t h i i ck Pr ay wh at i it t y u wh th r P hili p i ick
e s s .
, ts o o e e s s or no

C ic e o s r ’
fi r st or ati on ag ai n st C ati li ne gi v es a r emar k abl e
ex ampl e of i n t err og ati on in its op e n i ng sen t e n c es .

moc rN ar ro zo r . ssn .

I n or at ory th er e i s a for m o f i n t e rrog ation wh er e the q u es

ti o n i s i mm di at ly fo ll ow ed by a an sw e r I t i a speci s of
e e n . s e

d i al ogu e with one s s e l f an d is c all d sermoc i atio

’
, e n .
”

rr u p ti ha i tr d uc d uch ma r a hav p r v d th ba a d
Co on s n o e s n ne s s e o e e ne n

d tr u ti
es c f u c u try
on o I ama k w
o r h av r c i v d f r ig m
o n . S n no n to e e e e o e n on

ey ? P p l eov y h im D
e h w
en it Th y l aug h I b f rmally
. oe s e o n ? e . s e o

c v i ct d Th y f rgi v him — D E S E ES
on e ? e o e .
"
M O TH N .

“
W ith wh at p i bl i t t c u l d y u h avoss t th m? F p ac ?
e n en o o e se n e or e e

B u t all had it W ll th f wa B u t y uy u r l v w r d ir u f
. e en , or r ? o o se es e e es o s o
—Dmuosr m: N ss
,

peace . .

AND exposr r ro
202 . P E R C O N TATI O
'
.

Someti mes the qu es t i o n and an sw er are mo r e exp and ed in ,

which c as e th ey ar e each set d o w n as a s ep ar at e fig ur e the one ,

b ei ng c all ed perc on tatio an d the oth e r expositio

” ”
.

P erc on tatio is a c on su l t atio n wi th th e au d i en c e o r s eemi ng ,

i n qu ir y fol l o w ed by the st at emen t of on e s own feel i ngs

,
’
.

E xpositio is the st at emen t foll o w in g perc on tatio .

1 94 Elements of t r tor ic .

with the populace and mself mthe lowest popular it y ?

enfeofis hi "

EM . H e sho ul d not proceed on the p ri nci ples of P unic fait h or

of P arthian fl i ght To retai n the affections of the public on negati ve terms
.

is difi c ult ; bu t to at tac h the mby inj uries to annex the delusion of the pu b
omer
,

lic to hiS per son and t he plun der of the country to his fam ily fis am
in the histor y bf ambitio n —C u r r are
,
”
. .

This is no t i nfreq u en t in or di n ary p rose co mposi ti on .

“
But wa s there no bod y a ong the ninety thousa m
nd prisoners of j er usa
m
le who c ould a e s o en to a s of this m
hv pk an s life ? ou essp rt
ere
'
D btl th
p pl
were but to what purpose for eo e in their situatiou to co e torward ? m ’

O ne and all, os e p ou iti v ly with t

a so i a e ce ion, ey e e e se es l t ry x pt th w r th m l v
pt v — l
ca i es s aves, conde ned and des ai in "
DE vm e sv p r g — . .

5 2 0 3. RES PO N S I O s un l PS l .

A no ther fo rm15 some time s disti nguish ed as “

responsio sib i
own q ues tion
’
ip si , or answ er to one 5

“
I s any m ll
an fa en into disgrace ? C a i dot old d o n its ead, h r ty h h w h
abashed and ou t of coun tenancq rta king of his sha e m
Is any an dis m . m
appoi nted of his hopes or endeavo n ? C harit y crieth out, A las l as if it were
itself defeated m m
I s any a
. n a icted wit h pa in or sickneu ? C harity look
ly it i gh h it gr th
eth sa d , s et , oane , i
t fa in eh and languishe th with hi tt
Is , m
.

m p h with h r w t
any an inc ed ad an ? C ar , if it canno succo , h ity
con t r will
l D h
do e . ot w rr v h
ill ne s a i e ? C a r it do ea an u n i n ear
”—
y th h r it with w lli g
and asad hc arh altho ug h not particular ly conc erned in it Kl\ now .
a .

5 2 0 4. Pa m r us rxcar
'
. r rc uaas .

P aren th eti cal figu res i n cl u d e ce r tai n forms of exp ressi on in

whic h th e paren th esis i s u sed .

Th e p aren th esi s has al ready been no ti ced in rel ati on to pe r

spic uity and may now receive fu rthe r at ten tion fr om ano ther
,

poin t of vi ew
matsN rUM
.

5 205 co
‘

. .

O ne fo r m
of the pa ren th es is is some ti es c onsid ered as a m
s ep arate fig re nd er the n ame of c o
u u “
e n tu ,
”
which may mm m
s si ng c o
be d efi n ed as a p a en t, o r efl ection, on w ha t has mm r
been said .

H or ac e Walpol e speaki ng , of D r J oh n so n says

.
,

“
S ome ot hi s own works show that he had at timc s stron g excell ent com
mon sense ; and that he had the virtue of ch arity to a hi g h degree is ind u
-

bitabl e ; but his friends (of who mhe made woful choice) have taken care
to let the world lmow tha
t in behavior he was an ill nature d bear, and in -
196 E lement s f Rhetor ic
o .

With the paren th etic al fig ur es d ig r e ssi on is also c l assed bu t ,

th at has al ready bee n s uffici en tly c o n sid er ed u nd e r the h ead of

persp ic ui ty .

5 2 0 7 ELL I P TI CA L FI G U R ES . .

E lliptical figures i n cl u d e all th ose forms of exp ressi on in

wh ich w or ds are o mitted or s u pp r essed .

5 2 08 . n ur s e .

By el lipse mean t the omissi on of wor ds

is
“
A d y t
n th eth ha d u l wai
on e o b u d a go d alm t
er n n ess r ness e se s o os
kill ama a kill ag od b k —M n r o x
, ,
"
n s o oo . . .

I f the e llipse w er e re m ov ed by the r est o ra tion of the word s

om i tt ed the se n tence wo u ld ass u me so me s u c h formas this
,

“
A d y t th th ha d u l w ari b u d ml my ault
’

n e on e o er n n ess ness e se f

m
, , , ,

f or g /
d a in ”a lm t l i ll ama
ti v ea k ill ago od b
os k t n s oo .
"

E lli pse wh en not carri ed too far ten ds to conciseness and

, ,

e ne rgy of exp ressi on and emph asi zes st at emen ts by p resenting

,

th em in a co mp act form o r in an u n u s ual man ner Car lyl e .

d al freq ue n tly in th is figure

e s

Th ma i e t f g d lik p hy i g m
n s no oy a y m r tha f imp i g
o e s o no n o e n o os n

stat ur c t um —cl
e or os h u t m u th with thi li p p r mi t j aw and
e ose s o n s, o ne n s

nose, r c d i g br w by ma f O lymp i a h ight h ad h w v r i f

e e n o , no e ns o n e , e , o e e , s o

l g f rm a d ha u p rlati v ly gray y i it N t what call d ab au

on o n s s e e e es n o rs e e

mamnor yet by any means a happy

.
,
"
fifid .

E MA 2 09. Z UG .

Ze ugm a is a figur e in which by the o missi on of one w ord , ,

an oth e r is j oi ned to wo r ds wi t h whi ch i t has p rope r ly no con

n ec tion

Th y w ar adr lik that f th Scyth ia but a l a guag p cu l iar t

e e ess e o e ns, n e e o

th m l v
e se es.
”

By the omiss i on of the w ord S peak the word w ear is

“ “
,

h r e u s ed in c on nec ti on wi th l angu ag e
e
“
.
”

SYN ES I S ar e . .

S y nesis is an ad apt ation of the c on str u cti on to the sense of

w or d s r ath e r th an to th e i r g rammati cal ch aract er

My pat ern al h ome was made desolate , an d he h m s sa
self wa i
c ificed r .
 I 97

I t is pl ain th at he hi mself r efer s to fath er as an an t e

“ ”

ceden t ; th at w o rd ho wev er has not b een exp r ess ed b u t is

, , ,

i mpli ed in the w ord p at er nal .

ANA CO LU TH O N 211 . .

A naco l u thon is a d is agreemen t in c onstru ction betw een the

l att er an d the fo r mer p art o f a s en t en c e The p r op ositi on is .

l eft u n fi nish ed an d so meth i ng els e is i n t rod u ce d to c ompl et e

,

the se n t enc e Th e e m ph atic fo rc e of th is figu re ar ise s from

.

its s ugg esti on of em oti on on the p a r t of the sp ea k er :

If th
u be st he- bu t 0 how fallen how c h anged
o
’
. ,

F r om him who in the h appy real ms of li g ht ,

C l o th ed wi th tr anscend en t brig htness d i ds t ou tshine ,

M yriads th oug h bri g ht !,

”

H ere the c ompl etion of the se nt ence is p r even te d by the suf ‘

fet i ng of the S peak e r The s am e thi ng is s ee n in the fol l ow

.

mg h u es I t what p it th u t “
n o o se es ,

Fr m wh at h i g ht fall — much th tr g r p r v ed
o e en so e s on e o
H wi th hi th u d r ; a d t ll th
e wh k w
s n e n i en o ne

Th f rc f th dir arm ? ”
e o e o ose e s

I p ri h by thi p pl which I mad

“
e s s eo e e,

Th ug h M rli war th at I h u l d c m agai

o e n s e s o o e n

T rul o c m r —b u t l t what will b b

e on e o e e e, e.

I am d ply mitt thr ug h th h l m

so ee s en o e e

That with u t h l p I ca t l at till m r —T ENNY SON

o e n no s o n.
”
.

All t ud y i
s t r ad i g a y m r th a all r adi g i
s no e t udy By t udy I
n , n o e n e n s s . s

m a bu t l t
e n- f th
e one obl t g i u a d h ard t t u d t f a y ag
e no es en ses n es s en s o n e

d fi
e ne it f m S tud y ay C i c r i h p r i t t a d i t
or e .
,
’
s s e o, s t e e s s en n n ense oc en o

pat i on f
o th m i d ed ir c t dnwith a tr g
, ff rt f th
e wille t a y u bj c t s on e o o e o n s e .
’

—E DWARD E a m v n .

Th y a t u ci vil t him bu t th y a p r mp t y t th x t t
e r e no n o , e re e e or o e e en

f— R t ch m ay h u dd r t thi k W h at —C ARLYLE
"
o o s e o n . .

zrz . u osrop ssrs .

A po siopesis i s very si mil ar to the l ast . I t is as u dd en p au s e

in the c o u r se of a se n t en c e by which th e c on cl usi on is l eft un
e xp resse d
F or th r I pi ck d u p th h ath r
e e e on e e e ,

A nd th r I pu t wi thi my br a t
e e n e s ,

A m ult d f ath r a agl f ath r—

o e e e , n e e s
’
e e t

—
W ll J f rg tet h r t — B R WN N o e e es .
”
O I G .
 Elem R/zd
'

19 8 ent: of or rz .

Altho ugh sen ten ce is u n fin ished yet the u nexp ressed

the ,

wo rds are i mpli ed and wi th dee p sign ifican ce I n the fol l ow

,
.

ing p assag e the effec t o f th is figur e is ve ry st r i king :

The bl ood and sp irit o f Le Fe v re whi ch we re waxing col d and sl ow
wi thi n him an d w ere re treati ng to their last ci tad el —«he heart—rall ied back ;
,

t he filmforsoolt his eyes fo r am om en t he l oo ked u p wis tfu lly in my U nc l e

T oby s face th en cast al oo k upon his boy and that ligament fine as it was
’
, , ,

was nev er brok en N at u re ins tan tly ebbed again the filmret u r ned to its
pl ace ; the p ulse fl uttered—s topped—went on —throbbed —st opped again
.

ed— ste pped S hall I go on ? N o —S m xx ”

w . .

5 2 1 3. ar auoar n osls .

A noth er v ery si mil ar fig u re is fou nd in ep ano r thosis H ere .

a st at em ent is ret ra c t ed in ord er that something str onge r may

be s u bstit u t ed
“
Well we s hall yiel d S pain and then you will pass in to Africa W ill
, , .

pass d id I say ? Th is v ery year they o rd ered one of the ir consu ls i nto
,

Afri ca the other i nto S pain HA N N I BA1 from Li vy

, .
" -
. .
"

R ejo ice my fri e nds the tyrant d ies thi s day This day do I say ? This
, , .
,

v ery moment i n w hi ch I kept sil en ce he sufl ered for his crime — A PO LLO '

.
"

mus or Tr an s .

The bu rden of thoug ht fromhaving given the ch ief val u e to the v ell u m
has now becom
,

e the chi ef obstacl e to its v al ue—nay has tot ally ex ti ng uish

l ue D z Q umcxv
,

ed its va
”-
. .

In th es e p assag es the fi r st st atemen t i s fe l t to be in ade

q u at e and by be i ng ret r ac t ed i t cause s the st ro ng est p ossibl e
,

em p hasi s to be pl aced u po n t hat which is su bsti tu t ed for it .

5 ax4 ~ l m RR UP rl o '
.

Another figure of the s ame k i nd is fou nd in i n te ru p ti o r ,

wh er e a speak er i nterru pts hi mself in the cou rse of h is thou gh t

an d tu rn s aw ay to om e th i ng e l se B u t as in the p receding
s .
,

cases the u nu ttered w o r d are l eft to the i magi natio n and

,
s ,

the reby gai n a gr eat e r fo r c e

S pi te of the weak heart so hay e l

Li r
ved ev e , and so fan ou d die, i w l
Li ving and d ng ee befo e, yi th r
B t th
u if ou leav est me
L mr ess or o e

I suppose that l had spoke n tb s u

W hen—have mer cy Lord on us l , ,

The wh ole face t u rned u pon me full

—Rossar mo
.

Bnowu .
200 Elements f
o Rhetor ic .

Lo rd, j
re oic ing in ho pe, patient in tribulation, c on ti n uing insun t in ae , pr yr
r buti g
dist i n i
to the necess ties of t he san s, en to os ita li "
—S r PAUL
i t gi v h p ty . . .

Whi l e the omissi on of c o nj u nctions attrac ts att en tio n fr om

the fac t th at s u ch a c o nst ru ct i on is u n us ual the read er wil l ,

al so o bse r v e how mu ch e ne r gy and an i m at io n is p rod u ce d by

th is figure T he e mph as i s c aused by asyn d eton may be at
.

t rib ut e d fi r st to its s tr i king char ac ter an d secondly to its

, , , , ,

viv ac ity .

5 2 1 7 P LEO N AS I I C FI G UR ES
‘ '
. .

Pl eon as ti c figur es i nc l u d e all forms of exp ression in wh i c h

w o r ds are mu l ti pl i ed for the sake of emph as is .

5 z 18 . s w orn “ .

By pl eonas mis me an t the e mployment of mor e wo rds than

usu al o r o f red u nd an t wor ds When p roper ly empl oyed i t is
,
.

p rod u c tive of a high degree of emph asis

The L rd b
o e is God .
"

H ere word thehe is em ph asiz

“
ed , and i nd icates
” '

more
st riki ngly the an teced en t Lo rd ”
.

Thy rod and thy sta

'

fi they co mfort me .
”

The e mph asi s pl ace d on the word “

th ey ”
serv es to cal l
greater att en ti on to the an teced en ts .

ANA LE PS IS 5 2 19 . .

A n al epsis is anoth er n ame for pl eonas m as abov e d efi ned , ,

be i ng a g rammatical red u n dancy empl oyed for rh etori c al em

ph asi s
Health virt ue ind ustry—t h ese are the ele m
, , en ts of happiness .
”

Of rock bufl t d fieg bid ing na q uake,

A nd m rh
ona c s t em e in r bl d their
tions
p it
ca als
T hese w
am hy wya —B ia a
t r o t .

I n these ex ampl es d iffe ren t thi ngs are en tioned i n di vi dual m

ly, and th en by m ean s of th is fig re a re co bi ned wi th g reat er u m
e m phasis in one conce ption .
 LYSY NDETO N 5 2 20. PO .

A noth er formof pl eo nastic figur es i s fou nd wh en c onj u n c ti ons

are u se d to an u nu s u al d eg ree Th is is c al l ed po lysy n d et on . .

This figur e l ik e asy n d et on i s fou nd best ex empl i fi ed in pas

, ,

sages in the N ew Test amen t

For ampe suaded
I r th t th r th l
a nei e dea , nor ife, n or angels, n or p inc r i
palities, nor po e s, nor wr thi
ngs p esen , n or in gs to com
r t th e, n or eig , no r
h ht
de p , nor any o e c eau e s a be ab e to sep a ae us f omthe ov e of
th th r r t r h ll l rt r l
G od, wh h J
ic is in esus C is our o d hr t L r
”
P AUL . .

H er e conj u nc ti ons are mu ltipl i ed to an u n u s u al d egree

the ,

and th er efo r e the t opi c s m e nti o ned rece iv e the g r ea t er atte n

tion Each one i s al so p res ent ed befo re the mi nd with some
.

d egr ee of for mali ty so th at the emph asis mu st be pl ac ed u p o n

,

ea c h w or d Th is is eq u al ly vi sibl e in the fol l owi ng p ass age

.

That y b i g r ot d a d gr u d d i th faith may b abl t m

e e n o e n o n e n e , e e o co

p r h d with all ai t wh at i th br ad th a d l gt h a d depth a d

e en s n s s e e , n en , n , n

h i g ht a d t k w th l v f G d that pa th k wl d g —S PAUL
,

"
e , n o no e o e o o sse no e e. T . .

g ASYNDET O N AND PO LYSYN D ETO N CO NTR AST ED

22 1 . .

A sy nd et on and po lysy n d et on may someti mes be fou nd i l l u s

trated in the sa me p assag e : as
rly th fi “
50 ea e g e end

O
’
b g
er t p thr ug h trait r ug h d
o or s ee , o s , o , ense, or rae, r
W ith h ad h a d wi ge f t p ur u
, hi
n s. n s, or ee , s es s way ,

A d wi m
n s i k w ad s, cr p
or s n s, or es, or ee s, o r fiies .
” — M 1LTO N .

H ere the e mph asis ar isi ng fromasy n d et on i s d ue to i ts eu

ergy an d an i mati on whil e t h at wh ich ari se s frompo lysyn d eton
,

i s d ue to i ts g r avi ty and fo r mality .

Th es e two figu res are als o il l u str at ed in th e fol l owi ng pas

sage :
D i ni ng one t r b rv l rm
d ay, at an ad e an s in th e c , Pe e o se ed hi m ’
ex ity
pa tia ti ng af tr m r
e t he an n e o fbr thr
hi s e e pr i
n on th e a rl i
ses of his si o n o f

beef . B i
ee f, sad the sa e m
’
g a is ae, is the in of mea
g tr t k g
‘
t B preef com e .

h en ds in it q i t p r ri g
the u n essence o f a t d e, a q nd v ph
uail, an d enison, an d eas
an t, an d pl p - tr
um u ddin , and cus a d
g Br
’
i ea
’
r br th r
d, sad he, d ea o
. e s,

is the sta li
fi of fe, in
'

whi h brc ea t i i l iv q i t
d is con aned nc us e the u n essence of
v l v
beefimutton, ea , eni son, p r r g pl mp
a t id es, u g -
r
ud din , and custa d
202 E lemmtr ' '

f
o filrd ofie .

The fi rst po rtion of the abo v e passage e xh ibi ts pol ysynd eton,
and has a sl o w, g av e m o v em r
e n t , whi le th e latt e p ar t, wh ich r
c on sis ts of asyn d et on , is ma k ed by b isk ness and an i mation r r .

Asy nd eto n an d po lysyn d eton, tho gh d i fferin g in this way, u

co ntri b t e eac h to emph as is
u .

syn d eton giv es emph asis by i n t rod ucing circ mstan ces in
A u
a apid and energe ti c man ne
r r .

Polysyn d e ton gives e mph as is by i n tr od ci ng cir c mstan ces u u

in a sl o w an d fo m al man ner r .

m
O f the t wo, the e phasis gi ven by polysynd e ton is the
r
g eat e r .

P o lysy nd eton has the greater gravi ty and so l e n i ty ; asya m

d etou the h igh e an i mation r .

5 2 2 2. P ARO EN lA C n o uass .

P ar oemi ac figu res inc l ud e all p rover bs apoph th egms , , max

ims sa,
”
yi ngs s aws an d th e l ik e
, , .

R OV ERB 5 2 23 . P .

A p roverb is the u tt e ran ce of a t ru th d eri ved fromgeneral ,

e xp e r i en ce in aco n ci se a
, n d st r iki ng form .

Lor d J oh n R u ssel l d efi nes i t as the wit of one and the wi s

d o mof many .

att en tion, he r ead i c ommi tt ed to memory , an d l ong ret ai ned .

Th is is sometime s d o ne by al li terat i on : as
All is no t g old t hat g litte rs .
"

P enny wise po un d foolis h

, .
"

Somet imes r hyme is empl oy ed : as

M a y a lip twixt up a d li p
n s
’
c n .

T d ay b mi t m rr w thi
o e ne, o o o ne .
”

“
For the a es
g a tfr Al a d
e ex n en it is certain that G reece pr oper was so
much b oken r in s p rit by th l
i e oss of her autono my , da
r
ting f om a era th t
, as
204 E lement s o f Rhetor ic .

C H APT ER X .

E NE RGY .

5 2 2 6. n s r w tr ro x or ex s aov .

m; word energy i s used by D Wh ately in avery comp ehen

T r. r ~

sive sen se n am ly as exp ressive of that vi tal el emen t in style

,
e ,

wh ich is h ere c al l ed pe rsuasi veness Su ch an extensi on of its .

mea i g is h owev er l iabl to obj ec ti o n ; first because i t has a

n n , , e ,

d efi ite sig i fi c at i on of its ow ; an d second ly bec ause th ere

n n n , ,

are ce rtai n q ual i ti es be l o ngi ng to this presen t di vision of styl e

whi ch canno t be cl assifi ed u nd er s u c h a h ead Th is w or d is .

ge ner ally expl ai ned by s u ch terms as for ce “ ” “ ”

vig or or , ,

str ength and e nergy in styl e may therefo re be d efi ned as

”
, , ,

st rength of exp ressi on .

A gener al ex ampl e of this q u al i ty may be fou nd in the fol

l owing passage fromEme rson
“
A h c i t cy i th h bgobl i f l ittl mi d ad d by littl
foolis ons s en s e o n o e n s. or e e
stat m a d p hil p h r a d d i i
es en n W ith c
oso i t cy ag at u l ha
e s n v nes. o ns s e n re so s

simp ly thi g t d H may a w ll c c r hi m l f with hi h ad w

no n o o. e s e on e n se s s o on

th wall
e O u up
.
y u r guard d li p
t S w th mu p with pack thr ad
on o e s. e e e

d o. E l if y u w uld b ama p ak what y u thi k t d ay i w rd a

se, o o e n, s e o n o n o s s
hard a a ball a d t m rr w p ak what t m rr w thi k i w rd
s c n n on o
s, n o- o o s e o- o o n s, n o s
a hard agai —th u g h it c trad i ct v ryt hi g y u ai d t d ay
s n o A h th
on e e n o s o - .
. en,
’

ex cl aim th ag d l ad ie
y u hall b
e ur t b m i u d r t d
es,
‘
Mi uo s e s e o e s n e s oo .
’
s n

d l It i a ri g ht f l w rd
’ ”
d t
er s oo s oo s o .

227 . s mvuc rrv as m o ms TO manor .

fi rst req u isi te of ene rgy is si mplici ty

The .

re o ft en the si m
“
stron gest words a
"
T he pl est : Th us die is ,

stronge r t h an exp ire

“ ” “ ” “
l i v e than exi st ”
rot ,
than de ,

ca y
”
S .h ake sp ear e says in ap a ss ag e o f m em o r abl e fo r,c e
“
to ,

lie in col d obst ru c ti on and to m l ” and By ron exp resse s vehe ,

men t s corn by the use o f the same wor d : S uc h c l ay as rot:

in t o the so u ls o f th ose wh om I su r v ey
”
P ope caps a c l i max .

of c on t em pt by means of the same w ord

 Fix ed l ike a plan t on his pecu l iar spot ,

T o dr a w rt
nut i ion, p ropag at e , an d r ot.
”

S i mpl e w or ds cl ear an d so fami li ar th at t hei r mean i ng

ar e so

i s u n mist ak abl e th ei r fo r c e als o can n ot be ev ad ed an d wh en

p r op e r ly d i r e ct ed th ey st r ik e h o me with r esistl ess effect .

A b r ok en c ompl ex i on says Emerson a swi n ish l ook all

“
, , ,

N o o th e r w o r d s can h av e the fo r c e of swi n i sh an d

” “ ”
bl ab .

bl ab . I t i s aco mmo n sayi ng that wh en aman feels st ron gly

he e xp r esse s hi ms e l f in pl ai n S ax o n w hic h may be acc ept ed
“ ”
,

as th e t e sti m o ny o f the c om mon mi n d to the su pe r i o r energy

o f si m pl e wor ds I t is su rp ri si ng how many of S h ak esp ear e s ’
.

most vigo rous li nes are mar k ed by the p re se nce of s ome sim
ple wo r d wh i c h tak es th e chi ef em ph asis The foll owi ng wil l .

expl a i n wh at is me ant
A ye , th re e s
’
the m6 .

0 my offe n e c h av !
is r ant , it m ” e : to e en

E t r pr i f g r at pil e a d m m t
”
n e ses o e n o en .

The for c e of si mpl e speec h is s ee n in p r ov er bs an d old

s aws . I t is seen in the s ayi ngs of gr eat men and es

also ,

p e c ia lly in th e w o r ds at tr ibu t e d to th at m o s t e n e r g etic of st at es

men Bis mar c k who fli ngs hi s w o r d s at the w or ld wi t h a sim
, ,
~

p lic i ty an d a d i r e c t n ess t h a t is on ly eq u all ed by h is cy nicis m .

Bl ood and i r o n is his po l i c y

”
Le t P ari s fry in her o wn
.

fat was his w el l k n ow n r emar k wh en th at city was e n ci r cl ed

-

by i ts be si eger s A rtifici al w o rds are bes t for i n n u end o b u t

.
,

si mpl e w or ds for di r ec t and vigo r ou s st at emen t .

Su c h vigo ro u s exp r essi ons abo u nd in the speech es of Bu r k e

,

an d in the w r i ti ngs o f D e Qu i n c ey two au th or s wh os e s t yl e ,

e xhibits be y o n d a ll o th er s the ext r emes o f mos t el abo r at e spl en

d or an d h omely si m pl icity ; who w e r e equ al ly at h o me ami d
t he po m ps an d s o u n di ng harmo n ic s of r hyth mic al p e r i od s or ,

the pl ai n an d vig o ro u s ph r ase ol ogy of the m ost c om mon and

fami li ar sp eec h .

The fol l o win g ex ampl e s are fr o m Bu r k e

Of th ese two p ro posi tions I sh all gi v e such damaging pr oo f th at how ,

e v er
the co ntrary may be whispered in cir cl e bawl ed in the n ewspapers s or ,

they nev er more will d are to rai se their v o i ces in thi s h ouse .
”

B u t still it stick in their throat s

s .
”

Th ey wait u n til C arno t sh all h av e snort ed aw ay the fumes of the i nd i

g est ed bl ood of his so v ereign .
”
206 E lement: o f W or k .

m
A ll this is ig hty well .
”

W e have not been drawn and t ssed in order that we ay be filled, m m

like stufied hirds in a use
'

m m
with chafi and ragg and paltry blurred shred s
of pa per about the have real hea r ts of flesh and

b b t g
lood eain in our oso s ”
b m .

5 2 2 8 . c onc rssx sss as r m mc m s n as c v .

Conciseness i s anoth er req uisit e to energy The i n timate .

connec tion between th ese two qu al i ties is ad mir ably i ll u strated

in the c ase of the S p art an s who c herishe d the h abi t of u sing ,

as few w o rds as po ssibl e y et of maki ng tho se wor ds pr egn ant ,

wi th mean i ng H ence arose the te rms S p artan b revity

.
”
,
“ ”
l ac on i c speec h a l acon ic saying whi c h h av e alw ays been
,
"
,

syn onymou s with energetic bre vity Th is q u ality is exemplifi ed .

in the p ag es of Th u cydid es who ne ver u se s a su perfl u ou s word , ,

and who was th u s abl e to mak e hi s w or k wh at he d esi red i t to

be— in hi s o wn co nd ensed st atem e n t an fi pa 3c a
s h—an eve rlast ,

ing po ssessi on The styl e of T ac it u s is of the sam

. e ki nd b u t ,

more highly el abo rated M any of his se n ten ces have the .

b revi ty an d w eigh t of maxims

Thq make asolih ndq and call it peace ”

m memory fl m v ith our voimif it

.

We sho uld have lost had been

possibl e as well to forget as to keep sil en t .
”

To wom
“
an it is given to weep to m an to remember , .

No a u th or
ho wev e r has s u rpassed D an t e in th is respec t
, , .

H is gr eat poemi s a sto reh ou se of q u otati on s ; and he h i msel f

s oug ht dil igen tly to att ai n to the most p r egn an t b r evity of
speech for he mo r e th an onc e refer s to it in a poi nt ed man
,

n er :

“
There is no greater pain,
”
he says, “
than in sorrow to re mll h appys

Ten nyson h as re p rod u c ed th is

A rr w cr w
so rr w i r mmb ri g happie day
o
’
s o n of so o s e e e n r s.
”

A t the end of the epi sod e of F ran c esca d a Rimini is the

h ue
O that day w r ad i it farth r
"

n e e n no e .

H ere by metal epsis is the i mpli ed st at ement of the i r death .

I mad agibb t f my l f wi th my w d w ll i g
e e or se o n e n .
208 EM o f Rhetor ic .

A ficr ha
“
ving afie ptcd it three fi m mmhe found the task an impossible
”
onq and so he eond uded to desist .

Om aft e r “
it , so he .

The ki gn ,
ta
finding h t the P a ia rl m t wa en s a
s t ubl m a
ro eso e s eve r , de
t rmi
e ned to di l v it
sso e .
”

Wh en u n fort u nate and when prospe rous is be tter .

a d cl au ses s ho u ld be
n lik e wor ds wh ene v er s:
,

th ey are s u pe rfl uous I t ha s alread y been sh o w n how s uc h

.

p hrase s i nte fere wi th pe rspi cui ty but refere nc e is now mad e

r ,

to m es in wh i ch there is no o bsc uri t a t a ll I nd eed afau l t

y ,
.

ri se s fr omthe v e ry effort to give ad dinonal

'

o fte n a

bu t the res u lt s ace rtain i and fee bleness by w hich ,

the sen tenc e is wea kened and a ll its clearness thus m ad e of no

,

av ai l .

I n the styl e of J o h nso n t h e re is aper petu al tendency to repeat

the id ea exp resse d in one c l a use und er a diffe r ent formin the
next . A pre position is made then r ei terated in othe r word s , ,

and th i s ag ai n i s di scussed o n ly to be W u p r ese nt ed By a .

pl en ti fu l use of the figu res of an ti th esi s appositi on an d the , ,

l ik e th e re is app ar en t v ariety ; b u t wh en the subj ec t mat ter is

,
-

analy zed the r ed u nd an c i e s be com e a pp aren t and th us the ,

j udg me nt of De Qu i nc ey can sc arcely be con side r ed too

s evere wh en he says th at J oh nson was the most faul ty writer
in t h is ki n d of i n an ity th at has ever pl ay ed tric ks with lan
g u a ge .
”

I n the foll owi ng ex ampl e the re pe ti tions are it ali cized

H e that will i gly wh n

n e the corr osi ons of in veterate hatr d
e , and grew

mm m k mw mm c ,
”

H ere a se l f evid en t p ro posi tion is

-
wi th u n riv all ed
wor di n ess and turg d ity .

R tm t i a u i f r w wi th mali g ity a c mbi ati f a

ese n en s n on o so r o n , o n on o

pa i whi ch all d av r t av id with a pa i whi h all c cur

ss o n en e o o o ss o n c on to
d t t
e es .
"
of the fi rst p r esen t ed as a commen t with an
, ,

ceal its monotony u nd er the for mof an ti th esis .

2 30 . P as c rsrou .

A noth er ess en tial to e ne rgy i p r ecisi on By this qu al ity the s .

w rit r is enabl ed to say ex ac t ly wh at he mean s and to spe ak

e ,

di r ec tly to the po i n t This s u bj ect has already bee n fu l ly dis

.

cu sse d in r espec t of th e n at ure of w ord s an d the disti ncti on s ,

in th e i r m e ani ngs ; b u t so me t h i ng sti l l r e mai n s to be s aid wi th

reg ard to i ts c on nec tion wi t h en rgy a d th i r efers chi efly to e , n s

the su pe r i ority in th is respec t o f d e fi n i t e t rm s ov e r i nd efi n i te e .

$ 231. me v er min : mous s xs nc mc THA N TH E

mo smuma .

The use d efi n it e for the i nd efi nit e t en ds to p r od u c e

of the

a for cibl e i mpre ssi on u po n the mi nd I t give s a d isti nct .

pic t u r e of so methi ng i n s t ead o f a v agu e st ateme n t and u po n

, ,

t his the mi nd sei zes Wh e neve r an au th or is able to p art i en

.

lar ize he is s u re of exc i ti ng i nt erest

,
A mong the ch ar ac t er .

is tics of the styl e of M ac au l ay n one wil l se rv e to acc ou nt for ,

its g reat vigor and effec ti venes s m ore th a n h is a tt enti o n to thi s

v ery th i ng .

3
‘
F v e h u nd red years before the C hr is tian era the citize ns of the repu b
i ,

li es arou nd the {E gean S ea fo rmed perh aps the finest m il iti a th at ev er

existed .
"

H e re th ere i a d esc r ipti on fu l l of pi ct ur esq ue fo r c e of the

s

G r e ks suggesti ng th ei r r epubl ic an fo rms and the si t u ati on

e , ,

o f the G r ee k st at es .

The H and ig hl gentl eman who a century ago l iv ed by taki ng bl ack

m il r m
a fo his ne g i h bors commi tt ed the same cri me fo which W il d was r

mp
ac co anied to e N wgate by the h uzzas of two h u nd red th u sand peop l e o .
”

t e r ms wo u l d be il l ust rat ed by a s en t enc e

H er e the i nd efi n i t e

l ik e the fo ll owi ng : T he H igh l an d ch i efs c ommitt ed with im

punity the same c ri m es fo r which E n gli sh highw a y me n w e re
ex ec u t ed Bl ack mai l
.
”
n eighbo r s
”
Wild ,
”
N ewg ate ”
, , ,

an d h u zzas o f two h u n d r ed t h ou s an d spe ct at or s are all bi ts ,

2 10 E lements o f R/zr tor ic .

of d efinite d e sc ri pti on which , are r eprod uwd by th e mind in

the m os t v ivid m an ne r .

“
eeding ti
At fi me we obser ve that men ot afl nadons gmw savage ifiby a
-

fine sc ene, yo u end eav o r to mak e amends for abad beefsmk —E um tso n .
"
.

Th i s i d ea e xp re sse d i n a n i n d e fi ni t e m an n er wo ul d be : M en
tal t a s t e is l e ss i n fl u en ti a l th an bod ily a ppe tit e .

Do not thin k th at the youth has no toroe bea use he cannot speak to
you and me H ar k in the next r oom k l r mh who spo e so c ea and e p atic ?
G ood heaven ! i t is he—it is t hat very l ump of bas hfulness and phl egm
.
,

whic h for w e ks has done nothi ng but eat w hen youw ere by th at now rolls
e

t his words l ik e bell str okes —E um

.
"
ou tso s
-
. .

Thi s v i goro u s b i t of d e sc ri p ti on wh e n re n d ere d i n t o ind efi,

n it e form s i s : W e c an no t t e l l wh a t i s in a bo y by o bs erv ing

,

hi s ac ti on t o w ar ds his su periors .

The nonchalance ot boys who a u a dinner is the healthy atti

’
re s re of
”—
tu h m
de of u an nau e En n sost r . .

Wh e n s t a t e d i n d e fi n it e ly th is b e c ome s : M an is see n a t h i s
b es t i n ti m es of p rospe ri ty .

Thi s p ri n c i p l e i s v i sib l e i n p rover bs Here th e i n d e fi n it e is .

a v o i d e d an d th e exp re ss i on ass u m es a d i re c t form a s

,

A bird in the h and is wo rth two in the bus h .

"

A cat in gl ov es cat ches no mi ce .

"

232 . CO N CR ET E M O R E E N E RG ETI C T HA N T H E A BSTRACT

TH E .

Th e s ame princ iple i s e xem p li fi e d by the s u pe ri or e ne r gy

of th e con c re t e as com p are d wi th th e a bs t rac t .

A bs t ra c t t e rm s a re graspe d wi th d i ffic ul ty b y th e m i n d b u t ,

th e c on cre t e t e ll s its o w n s t ory Th e one is v ague the o th er .

,

p re se n ts a p i c tur e Th e a l l eg ory afl ords n o e xce p ti on t o this

.
'

Here th in gs d eal t wi th are a bs tr ac ti on s b u t th e y are p re se n t e d ,

u n d er con c re t e form s Wh e n a ll eg ory fa ils i t is be ca u se th e

.
,

pe rs onage s are t oo a bs trac t .

Th e his t ory of the E ng l i s h dr am a i s i n s t r u c ti ve on th i s po i n t .

I n th e M y s t ery p l ay s of th e M i dd l e A g es re l i g i o us l e ge n ds
w e r e ma d e u se of an d th e c h ara c t er s w ere s u c h as s eeme d
,

r eal an d th e r efo r e w ere fu ll of i n t eres t Th e n c ame th e era

, .

of th e M ora l ity p l ay s wh e n th e c hara c t ers w ere a bs t ra c t qu a l

,
2 12 E lements o f M or ia.

nam e an d an exp re ss i on of the sam e i d ea whic h is found mo re

,

ge ne ral ly s t a te d in V i ct o ry or d eath ”
.

“
W h en l in per fec t humility , sa s E m
rest e rson, y “
when l burn in pu
re
love, what can C alvin or S wedenborg say ore ?
“
m
Here the n ame s C al v i n an d Sw ed en bo rg ”
re p re s en t
resp e ctiv e ly d og m a tic th eo l ogy an d m ys ti cis m
“ ”
.

s 2 34 . mor e: r ea ms .

Th e efiec tive em p l oy me n t of p rop e r n ames is ad m i rab ly

'

ill u s trat e d i n th e fo ll o wi n g p a ss a ge from M aca ul ay wh ic h i s ,

so w e l l k no wn t h a t th e i m age i n the l a s t cl a u se h as be com e

p ro ver b ial S pe ak i n g of th e C hu rc h of R om e h e say s
.
,

S he wa t and res pect ed before the Sn on ha d set foot in Britain,

“
s gre a

b r
efo e the ran F k
had pa ssed the w
ine, hen G recia n eloq u Rh
e noe s il flour
'

t l
ished at A ti h wh
n oc , l w r t l l w r hi
en id o s e e s i o s pp e d at the e p e of M eca ; t ml
and she m i ll x t
ay st e is in und mnis ed
i i h vig r h o w en so e t a el e f o m rv l r r m
N ew Zea land shalL in the m idst of a vaflm litude take his sta nd on a
br k
o en ac rh r g k th
of London B id e to s e c the ruins of St Pa u s.
' ”
. l
H e re i n s t ead of the g enera l p h ra ses a n cien t ti m e s or
, ,
“ ”

before th e r is e of mo d ern n atio ns we hav e a s er i es of his

”
,

torical e v e n t s b ro u g ht forwar d s u c h a s th e orig i n of E n gl an d

,

an d F ra n c e an d su gge s tion s of the p re v a l e n ce of C h ri s ti a n ity

,

an d th e ri se of M o h am me d an i sm whil e i n st ea d of fu ture “
, ,

ti m es ,w e h a v e the v i vid p i c ture of th e N e w Zea l an d er .

R ed u c e d t o i n d e fi n i t e e xp re ss i on s th e a bo v e se n t en ce wo uld
rea d : She w as grea t an d re s pe c t e d be fore th e ri se of m ode rn
n a ti on s an d s h e m a y still e x i s t i n u n d i m i n i s h ed v i gor i n the
,

d i s t an t futu re wh e n a ne w c i vi li zation s h a l l supp l an t the o l d

, .

A no th er p assag e from the s am e a uth or ill u s t ra te s th i s p ri n

c iple eq u a lly w e l l H is st a t e m en t in ge n era l te rm s i s th a t t he
'

po li c y of the C hu rc h of R ome h a s bee n to en co u rage refo r me rs

an d a i d th em to th e u tm os t whi l e th a t of th e C hu rc h of Eng
,

l an d has been t o th w ar t an d re pe l th em W ith h i s u su al l o v e .

of d efin iteness h e ex p re ss e s thi s i n the fo l l o wi n g w ay

,

A t R m th C
“
o e e u
o ntess of ha H untingdon would hav
d ap a ce in the e l
al d ar a S t S li
c en s e na , and M rs . ou ld be the fo und ress
. aF ry w
n d s sn~ fir t
ri r
pe o of the essed O de of Bl e S isa
ers of e a r r th
is th J l Pl Ig ti
ace na u s Loy .

o laa x r
t O fo d H e is ce an to eco m
. e the ea d o f a fo md a e secess on
rt i b h r i bl i .

l J h W l y
P ace o n es e a t o e Rm
H e is ce tain to be the . s r fir t g
ener a of ane w l
soc ei ty v t
de o ed to the in e ests and ono of e t r
u h r th C h h
rc .
”
 E nerg y . 2 13

5
23 . cr as s Qu m
m r rss a T HA T T E N D or
TO E N E R
s G Y .

Th ere are c e rt ai n t erm s a pp li e d t o s tyl e wh i c h are s ome

ti me s u se d a s sy non y mo u s with ener gy an d some ti me s a s i , n

d icati e of qu a l iti e s t h a t t e nd t o e ne rgy

v The c hi ef of th e se .

wi ll n o w b e c on s i d ere d .

V e h em en c e i s a n i m po rt an t qu a l ity i n ora t ory I t w as .

th e c h i ef c h ara c t eris ti c of D em os th e ne s c a ll e d by E sc hi es , n

s wamw he n h e t oo k th e t o uble t o w arn the j u dge s ag a i n s t

,
r

th e fie ry e ner gy of h i s great O ppone n t Th e be s t e x am p l es .

of thi s i n E n g li s h l it era tu re are t o be fo u n d i n th e sp eec h e s

of th e Ear l of C h a th am from one of wh i c h th e fo l l o wi n g p a s
,

s a ge i s t a k e n
“
l wh m th y
The peo p e o e afl ect to all con e n b e e e s, but
'

ose tm i l r bl wh
gr i g w r
ow n po e ha s al t bt
t as o aned the na e o f e nemes ; the peop e i
i m i l w th
om
wh th y h v e g g thi
a e en a ed s c ou n in war and a ans tryo e n ow , g i t wh mth y
d em and our mp ic suppor in e e
i l it t me asu e of despe ate os
v ry — is r r h tility th
peo p e, desp se d as e e s or ac no ed ed as enemies, are a e ed a ans
l i r b l k wl g b tt gi t
y ou , li with v ry mlit
su pp ed e e i a s o e, e ry t r
n e es s consul ed , and e th ir i t r t t th ir
am assa
b rd o s en e a ned by ou n e e ae e nem , and our mn s e s d ae
t rt i y ri v t r t y i i t r r
i t r
n o t n e pose w th ig ity
i d n or e ffec Is s the t
o no of a ea. n do thi
? h r gr t k i g m
Isthi i g
s the ndi na r
nt spi it of E n a gl
nd , who but es e d a a e a s to the y t r yg v l w
h ou rb
se of Bou on

Ve h eme nc e i m p l i e s s t ron g p e rs o n a l fee l i n g an d th e refore ,

i t i s pe c u li ar t o ora to ry I t i s a l so s ee n in o th er ki n ds of co m
'

po s i ti on ; as for i n s t a nc e i n th e famo u s l e tt er of th e C a l i p h
, ,

H aro u n al R a sc hi d t o th e E m pe ro r N icepho rus

- -

H arou n- al- Ra h id
sc . the C mma d r
the F aith ful to N icephorus the
o n e of ,

R oman dog—I h av e receiv ed thy le tt er oh t hou son of an unbelievi ng ,

mo the r ! T houshal t not hear tho u s hal t behold my reply

,
.
”

Th e t e rm m a ss i v e i s s ome ti m e s a pp li ed t o a s tyl e whi c h

e x h i b it s c og en t argu men t i n c on c ise l an gu age e xp re sse d wi th
d i gn i ty an d force :
Though all the wi nds of do c trine were let l oose to play upon the earth ,

s o tr uth be in the fie l d we d o i njuri ou

, s ly by li ce ns i ng a n d pr oh i bi ti ng to
, .

mi sd oubt he r stre ngth Let her and fal seh ood gr appl e W ho ev er knew
.
.

t ruth to be put to the w o rse in a fr ee a n d ope n e n co u n t er P — M r1: r 0 N

”
.

A s tyl e i s c al l e d m a sc ul i n e wh e n i t e x h i b i t s a ce rt a i n rug
ge d forc e with o ut m uc h a tt en ti on t o e l e ga n ce Thi s t e r m .

is oft e n a pp l i e d t o th e p ros e of Car ly l e an d the p oe try of

2 14 E lements o f R/zt tor ic .

Bro w n i n g H ere th ere are fr e qu en t fa ul t s of ca re l e ss ne ss or

.
,

e v e n r u d en ess ; b ut th e grea t qu a l itie of t he se w ri t ers m a k e s

th em e ffe c tiv e i n sp i t e of s u c h fa ul ts .

A s tyl e wh i c h exh i b it s con c i sene ss with o u t m eag reness an d ,

whi c h i s forc i b l e an d a xi om a ti c i s c a l l ed t erse ,

:

I f yo u oud no t be w l known to d o anythi ng, ne e r d o it v . A ma may n

l y
p a the foo in the d fts l ri of the d ese rt, but ev ery grai n of sand s hall see m
"
t o se c E M ! RSO N
.
-
.

by M r D undas t hat there is no eagerness for reform Five

W e ar e t ol d . .

mi n utes befor e M oses str uck the rock thi gen tl eman would hav e said that s

t her e was no ea gern ess for wate r SYDN EY S M IT H .

” -
.

A n i n c i s i v e s tyl e mean s th e. e x hi b i tion of g rea t p re c i s i on an d

con c i se ne ss d i re c t forc e k ee n ne ss an d ad ro it ne ss with a d as h
, , ,

of s arc as m
f l found in
‘
your l etter the usual remar ks abo ut fire fagot and bl ood y , ,

M ary A e you aw a
. r re m y d ea
, r p ri es t th at th re w e re ,as m an y p e rso ns e

p u t to d e ath fo r r e ligio us O pi ni o ns u n d e r t he m il d E liz abe th a s u n de r the

bl ood y M ary ? The reign of the f rmer was to be ure ten times as l ong ;o , s ,

but I only men t io n the fact m erely to s h ow you th a

, t so me th ing depend s on
the a g e in wh ic h m e n liv e as w e ll a s, o n th e ir re l igio u s op in io ns Thr ee .

h und red years ago men bur ned and hanged one ano ther fo r th ese opi n i ons .

Ti me has so ftened C ath li c a well as Pr ot est ant Th ey both req uired it

o s .
,

th ou gh eac h perceiv es on ly his own impr o v emen t and is bli nd to th at o f ,

th e o th er W e are all the c reat ures of c ircumstances I k no w not a ki nd

. .

er o a be tt e r man than yourse l f ; but yo u if yo u had liv ed in those ti m

r es

would certai nly have roast ed your C ath o li c —S YD N B Y S mut

, ,
”
. .

S o berne ss i m p l i e s g ra v ity an d re s t ra i n t th e a bse n c e bo th of ,

emo ti on an d of o r namen t I t is g enera l ly co n fi ne d t o wr iti n gs

.

of an ar gu men t a ti v e c h ara c t er an d th e m os t fam il i ar e x am p l es

,

a r e th e so c a ll e d d oc t ri n a l se rm on s Th e fo rc e th a t i s i n
“ ~
”
.

th e se ari se s fr om th e c og en cy of th e arg u men t .

S e v er ity i mp l i es a sti ll g rea t er re s t ra i n t u po n s ty l e Th e .

a rg u men t h ere i s m ad e th e c hi e f thi n g ; an d th e on ly aimof

th e w riter i s t o p re s e n t thi s wi t h c l earne ss l ea vin g i t t o pro ,

d u c e it s effe c t S e v eri ty re qui res th e ut mo st co n c i sene ss of e x

.

p r e ssi on an d an utt er a bse n ce of orn amen t B utl er s A n a l ogy .

’

may b e men ti on e d a s an e x am p l e .

D i gn ity i s e x hi b ite d wh ere th e th oug ht is e l e v a te d an d th e

s tyl e i s more o r l e ss e l a bo ra te It i s ass oc i a t ed wi th a c er t a i n
.

s t a t e li n ess an d pom p Th e t erm i s oft en a pp l i ed to th e s tyl e

.
 Elemma f R/zzton c
'

2 16 o .

h ll a h ll
e , e ofheaven Fie ce as ten fu ies, e ible as
.
”
r r t rr h ll
e .
”
M illi ons
f p iri t f his fau ame cedlt ea s suc r
as angels T r h w p
” “
o s s or . ee .

i s man i fest amon g the s ucceedi ng Engl ish poets ;

E nergy
but no wh ere in the sam e d egr ee till we com e to By ro n wi th ,

wh om it is the p ro mi nen t qu al ity The fol l o wi ng passages .

are in his most v eh e m en t man n er

“
Th ug h
o the strained mast sho uld q uiver as a reed.
s flu
A nd the ren t canv a ttering str ew the gale,
S till l m
ust on ”
.

“
F rompeak to peak the . rattli g n crags among .

Leaps the li ve th u nder .

"

“
The hell of wate rs l how they howl and hiss,
tr
A nd boil in endleae o ture
”
.

“
A fath r l v a d m rtal
e
'
s o e n o
'
s agon y
W ith a i mm rtal pat i
n o
’
s e nce blend ing .

an d C ampbel l exhibi t this

S cot t q uali ty in a h igh d egree ,

and in our o wn d ay it is vis ibl e in B ro wn i ng The follo wi ng .

passages afl ord exampl es

’

“
The r ar that for aspace did fail,
r ly h r
N ow t e b t u l l
nde ing swel ed the gae,

A nd t y
S anle 1 wa ry —
s the c
”
Scotr r
'
. .

“
Th h k th h ill with th u d r riv
en s oo e s n e en,

Th ru h d th t d t battl dri v
en s e e s ee o e en,

A d l ud r tha th h t f h av
n o e n e os o e en,

F a fla h d t h d artill ry —C A M B ELL
”
r s e e re e . P

5 2 3 7. mums op STYLE as O P POSED TO EN ERGY .

It r emains no w to noti ce the fau l ts of styl e as opposed to

e ne rgy .

T he most p romi nentthese is the w eak styl e by wh i c h is

of ,

meant that sort of w riting in which the l angu age fal ls sh ort of
.

t he subj ect or oc ca sion .

I f for exampl e the occasi on d emands veh em en t fo r c e a

t is m
, , ,

styl e th a erely e l eg an t w ou ld be w eak si nce i t w ou ld be ,

u tter ly i n ad eq u at e Th us the styl e and t reat ment of one of

.
’

A ddiso n s p ape r s in the W ar would be w eak wh en b rou gh t

’

to be ar u po n a gr eat th em e l ike tha t of the gu il t or i nnocen ce

of W a rren H asti ngs .
 E ner gy . 2 17

A w eak sty l e also r esu lts wh en an au th or u n d er t ak es a t ask

th at is ab ov e him as wh e n M art i n Farq uhar Tupp er v en t ur ed
,

to w r it e a c on cl usi o n to C h r ist ab el I n g en e r al wh en an au
.
,

th o r is su cc ess fu l in one cl ass of w r iti ng he sh o u ld apply him ,

s e l f to th at and n ot g o beyon d i t A goo d ess ayist wi ll w r it e

,
.

w eak n o v els The b r i ll i an t M ac au l ay left a fr ag men t of a v e ry

.

d u l l w or k of fi c ti on 5 the witty poe t Aytoun fail ed as a n ov el ist ;

t he n ov e list B u l we r wa s by no m ea ns b r i lli an t as an ess ayist ;
D ick en s was nothi ng ou tsid e of his fi c ti ons I n sh o r t wh en a .
,

w r it e r l eav es his own d ep ar t ment an d at tempts anoth er the

, ,

result is d epl o rable ex c ept in the case of a few v er y v ers atil e

,

mi nd s N o one affirms this mo re s trongly th an H or ace who

.
,

agai n and agai n refu ses to l eave his l ight th emes for the l ofti er
b u t mor e d angerous realms of e pic song. .

I n th ese cases the s tyl e m ay be s aid to be on ly r el ativ ely

w eak Th ere is anoth e r w eak ness o f styl e whi c h amou n ts to
.
,

p ositive p u e rili ty wh ere the w rit e r sh ows pl ai n ly th at h is id eas

,

ar e fee bl e th at he ha
, s no cl ea r gr asp even of th es e and that ,

he ha s no pow e r o f gi vi ng t h em a d eq u at e exp ressi on B u t .

s u c h astyl e as th is d oes not be l ong to l it er at ur e and therefore ,

may be dis mi sse d fromour c onsid er ati on .

S i mil ar to th is is the l angu id styl e which i ndi c ates a w ant of

,

in te r est in the subj ect on the p art of the au th o r

Tam
.

e ness i s a fau l t of the s a me n at u re and i nd i c ates a l ac k ,

of p r ope r S pi r it a nd bo ld ness .

The effemi nat e styl e is th at in whi c h att en tion i s p aid to

s mooth ness eu pho ny and el eganc e of exp ressi on wh er e the
, , ,

id eas are feebl e or c on v en ti on al and th ere i s an u tt er abs enc e

,

o f ea rn est ness of p u rpose .

 E[emai l s RIuton c
'

2 18 f
’
o .

C H A P TE R XI .

VI VAC ITY .

2 38 . n s r tx mon o r vrvac mr .

TH E wor d vi v acity is u sed by Dr C ampbell in avery ext end

.
i

c d se n se bei ng se l ec te d by h im to i n c l u d e a
,
ll th ose q u al ities
which are he re r ep resen ted by the general t erm persu asive
n e ss .

In am o r e r es tri cted sen se i t m ay be d efi ned a s the exhibi

tio n of li fe and fee l i n g of vi vi d ness in po rtra

, y al and pe rpe tual ,

v ar i e ty in exp r ess i on .

T he wo r st fau l ts in c om pos i ti on are d ul ness in con c ep ti on

and mono t ony in exp re ssi o n With othe r fau l ts fai lu r e is not
.

so i ne vi ta bl e for th e re may be s u ccess of a cert ai n ki nd

, .

Th ere are boo ks whi c h e xh ibit e very v ari e t y of vice in styl e

the o bsc u re the fl o rid the p u
, , eri l e the v u lg a
, r the fl ippan t the , ,

p r e t e nti o us ; ye t in spite of s uc h fau lts th ey reac h a ce rtai n

cl ass o f re ade rs ; bu t where the re is d u l ness and m o not ony ,

e v e n s uch suc ce ss a s this is u n a tt ai nabl e and th ere can be n o

,

r es u lt save u t t er fai lu re .

V iv ac ity is opposed to bo th o f these To d u l ness i t opposes .

an i mation ; to m o no t o ny i t O ppm es pe rpet u al v a ri ety I t ri se s .

fr om the l o w e st st age o f li veli ne ss to the highest enth u s ias m;

an d in e xp r ess i o n i t mak e s use o f ev ery co nce iv abl e d e vi ce to
v ary pe rpe tu ally the fo r m o f s t at e me nt .

E ne rgy re fe rs to st r e ngt h o f w o r ds and i n t ensi ty of t hou gh t

and fee li ng ; viv aci ty c o n n ec t s i t se l f rat h e r with v e r sati l i ty in
t h o ugh t and st at eme n t E ne rgy bel ongs mo re excl u sively to
.

e l oq u e n c e an d sp r i ng s m
, o r e d i r ec tly fr o mna tu r e ; vi v aci ty as
soci at es i t se l f r eadi ly wi t h art an d is mo re en t i r ely r h eto r i c al
, .

Fo r thi s r e aso n viv aci ty is co n n ec t e d wi t h all the arts o f em

bellishmen t i t b r i n gs to i ts aid all the figur es of spee ch an d ,

bl en d s a p r ofusi o n of i mage ry wi th afiluence of exp ressi on .

A cc or di ng to the d efi ni ti o n abo ve giv en viv aci ty r efers fi rst ,

2 20 E lemm a of R/utor ic ’
.

That thy brai mu t k w n s no ,

Such har m u mad o nio s n ess

F r m my li p w ul d fl w o s o o ,

Th w rl d h u l d li t eth a I am li t i g w
o s o s en en, s s en n no .
”

I t was this t o t a
l ab a d o m n t o f h i msel f to his th eme th at n n e

led to th at ubli m o u t bu r t o f D mo s th es in which he sw ears

s e s e en ,

by th ose who fo ugh t at M arat ho n .

Bu t thi s b r i ngs us to th at high e r s t age of feeli ng an d exp res si on

k no w n as e l oqu e n c e one o f the mod es in which viv acity may ,

be man i fest ed E l oqu e nce which is si mpl e and n at u r a

. l may
be r eg ar d ed as be l o ngi ng to adi spl ay o f e ne rgy bu t wh e r e it i s ,

o rn at e and el abo r ate i t is co n nec t ed r ath er wi t h vi v aci t y S uch .

adi spl ay is s ee n in the fo ll o wi ng p ass ag e fr o mEr ski ne s spe ech

’

o n S t ockd a l e H e is alludi ng to the t ri al of W arr e n H ast

.

mgs :

Th th m t aug u t a d triki g p c tacl wa daily x hi bit d whi ch

ere e os s n s n s e e s e e

th w rl d
e v r wit
o e ed A v a t tag f j u ti c wa r ct d awful fr m
nesse s s e o s e s e e e , o

it hi g h au th rity
s pl did fr mi ill u tri u d i g ity ; v rabl f m h
o ; s en o ts s o s n e ne e ro t e
l ar i g a d wi d m f i j udg capti vati g a d aff cti g fr mth mig hty
e n n n s o o ts es n n e n o e

c ur
c on o f all ra k a d c d iti
se o which daily fl ck d i t i a i t a
n s n on o ns o e n o t s n o

t h atr
e f p l a ur
e o Th r wh h wh l publi c mi d wa a c aw d
e s e. e e, ere t e o e n s t on e e

ad
n ft so d t h im
ene m i o t f v y h
e u m a aff ti th r app a r
ess on od e er n ec on, e e e e ,

day a ft r day e af t r a th r m
, o ne f h m t p w r fu l a d xalt d tal
e no e , en o t e os o e n e e

t c li p i g by th ir ac u i g l q u c h m t b a t d h ara g u f
en s, e s n e c s n e o en e t e os o s e n es o

a tiq u ity r u i g h p ri d
n o s n f ati al r t m t by h b l t i v ctiv
t e e o n on ese n en t e o n e es

agai t b r kns faith a d v i l at d tr ati

o en a d h aki g th b
n mwith ai
o e e es n s n e oso
t r at p ity a d h rr r by th m t gl wi g pictu r f i ul t d at u r a d
e n e n o o e os o n es o ns e n e n
h uma ity ; v r a i mat d a d rg ti c fr m h l v f fam w hi ch i th
n e e n e n en e e o t e o e o e s e

i h r t pa i f g i u fi ma d i d fatigabl fr ma tr g p p
n e en ss on o en s r n n e e o s on r e osses

i
s on o f th j u tic f th ir cau
e s e o e se.

Beyon d this th ere i s a sti l l h igh er el ev ation — en th u si as m ,

wh ich may be d efi ned as the s u st ai ned w armth an d gl o w of in

t e se pe rso n al feel i ng Th is may be seen in M artineaus ar
n .
’

u m e t f ro ma di sa
n st e r at sea
g
Th r w r tr av ll r fr mf r ig l a d r ady wi h pl a d h art t
e e e e e e s o o e n n s, e t e se e o

t ll at h m th th u a d marv l th y had gath r d th ir way Th r

e o e e o s n e s e e e on e . e e
wa a family f m u r r taki g t th ir h u h l d gr av
s o o ne s, th ir u bu ri d n o e o se o es e n e
d ad
e A d th r wa
. n at l a t f r ar tru th a d wi d m f d i g
e e s o ne e s o e n s o , o es ns

th a which p hil a thr py k w thi g gr at r f faith th at all mu t

n n o no s no n e e o s v en

c rat a d l v that all mu t tr u t ; f p r ua i v li p fr mw hi h ath ug ht

e, n o e s s o e s s e s, o c o
ful g i u a d th
en s i mpl t h art p u r d f rth th tru mu ic f h u ma ity
n e s es e o e o e e s o n

b li v that thi fr ight f tran c d t w rth—all thi

.

A d d
n ay oes n one e e e s e o s en en o s
 2 2—I

so rr w a d th ught and hope a d mral gr at ss a d pu r aff ct i

o , n
’

o , , n o e ne , n e e on
wa bu r d a d w t ut with flam a d c tt
s ne , n mk ? S en r w ul d I
o e n o on - s o e oone o

b li v th at fi c u m d th l
e e e v rl a ti g t ar Such agal ax y f p ir
re ons e e ess e e s n s s o s

itual li g ht a d rd r a d b au ty i n p r ad ab v th l m t a d th ir
o e n e s s e o e e e e en s n e

p w r a d ith r h at a c rch it
o e , n ne c l d w at r d r w
e eT h bl ak c n s o no r o e o n. e e

wi d that w pt i th m r i g v r th bl ack a d h av i g wr k w ul d
n s e n e o n n o e e n e n ec o

m a i th a f y mp athy with th w ail f a th u a d u r v i v r bu t t

o n n e e r o s e o o s n s o s, o

th a f wi d ma d f faith w u l d
e e r o s u d a th r t u r i g whi p r a d
o n o o so n s e e n n s e n

r q ui m f h p
e e o o e .
”

T he high en th u si as mth at is pe r c eptibl e in th is p ass ag e t rans

fo r ms it fromar gu men t to poe try .

2 40 . R E F E RS TO TH E E xP R ESS lO N
V i vAC lTY AS IT .

2 V iv acity as it r efer s to the e xp r e ssi o n is p r od u ce d by va

.

t i ou s q u al iti es wh ich wi ll be c o nsid er ed in or d e r The fi r st of .

th es e is c opi ous n ess .

moususss 24 1 . co .

C opi ou s ness in its m o r e g en e r al mea i ng is r efe rred by n

Qu i n til i an to th ou ght as w el l as exp re si o n “

Th er e is o e s . n

ki nd s ay he ”
th at is r ich in th ough t a d anoth er th at
“ ‘

, s , ,
n

abou nds in fl ow ers H er e h owever the l att er on ly is mean t

.
, , ,

and i n dic at es amplit u d e a d f ulness of dicti on wh er e th er e is a n ,

v oc abul ar y of u n u s u al rich ness and abu n d an t i magery This .

is the ch ar act er istic of the w ri ti ngs o f J er emy T ayl or Lando r , ,

and R u ski n .

2 42 . v sasarr ur v .

A noth er qu ality th at c o d uc es to viv aci ty is v er s atility n .

V er ati lity i als o c al l ed v ariety Thi r fe r s to an auth or s

s s . s e
’

p ow e r to ad apt hi tyl e to ma y di ff r en t subj ect s s The mo t n e s . s

r emar k abl e ex ampl e of this in E gli h lit er atu re is S h ak sp ar n s e e e,

who wa gr e at in t r agedy c omedy and ly r ic p oet ry I Fr ch

'

s , , . n en

l i t er atu r e V olt ai r e is a st r iki g i st an c e of thi i nc e hi w or ks n n s, s s

co i t o f phil os ophic al ess ays t r aged y a d pic p oet y Bu l

ns s , ,
n e r .

w Lytt o n i a v e r s atil e au th o r si c e he p r od uc e d two di ff r

er s ,
n e

e t cl a
n s es of n ov els epic p o t ry d r amatic w o r ks a d ly r ic
s ,
e , ,
n

p oet ry Te nyso n is anoth e r ex ampl th o ugh of a di ff

. n t e, e re n

ki nd fo his poe t y r ep r s t fi e d is t i ct cl a es
, r r t Th e en s v n ss : rs , e

R oma tic o Art h u ria E pic ; d C l a ic al as U ly s e T itho

n , r n 2 ,
ss , s s,

n u ; 3 d D om s T h e M ill r D aught er T he M ay Q u ee ’
s e tic a
, s ,
e s , n

4 t h ,
E m o ti on al as M aud L o cksl ey H all
, 3 sth S o gs S i r , ,
n .
222 E le ments f
o Rfietor zc
'

Wal t er S c ott wrote 90 vo l umes : 548 of no el v s , e r of h istory and

bi ogr aphy at of poe t ry
, .

B R I LLI AN C Y 2 4 3. .

The next q u al ity as soci ated with vi v aci ty is b rill i an cy By .

th is is mean t a h igh d egree of an i mati on a c0 pious di c ti on , ,

and abu n d an t i mage ry With th e se wit and h u mor are some.

ti mes bl en d ed .

A mong those who are most co nspi cu ou s for th e d i spl ay of

this q ual i ty are H az litt Lamb Leigh Hu n t S yd ney S mi t h and , , , ,

M acau l ay .

T he fol l o wi ng i s an ex ampl e of ab rill i an t p assage in o r at ory

fr omC u rr an s sp eec h on beh al f of R o wan :
’

No matt er in wh at l an guage his doommay have been p ron ounced no

matter what compl exion i nco mpatibl e with freed oman I ndian or an A frican
su n m ay hav e bu r ned u po n him; n o matt er in what d isastr ous bat tl e his '

li ber ty may have been clov en d own no mat ter with wh at so l emniti es he
may h ave been de v oted u pon the altar of sl av ery ; the firs t momen t he
t ouch es the sacred soil of Britain the altar and the god si nk together in ,

the d us t his so ul w alks abroad in her own m ajes ty ; lus body sw ell s be
'

yond the measu re of the chai ns that bu rst fromarou nd him an d he stands
red eemed regenerated and disen thralled by the irresistib l e g enius of Uni
. ,

ve rsal Emanupati on .
”

5 2 44. v re N tz
ss .

A th e r q u al i ty whi c h may be men ti oned is vivid ness Th is

no .

is the r ep re se n tation of fact s or occurren ces wi th u nu s u al cl ear

n e ss an d for ce of exp re ssi o n so a s to m ak e the sc ene liv e be fore ,

the m i nd A fami li ar ex ampl e i s fou n d in By r on s l ines

.
’

th r wa m u ti g i h t ha t th t d
A nd e e s o n n n o se : e s ee ,

Themu t ri g q u ad r a d t h clatt ri g a
s e n s on, n e e n c r,

W t p u ri g f rw ar d with i mp t u u p d
en o n o e o s s ee ,

A d wi ftly f rmi g i
n s h ra k f wa ;
o n n t e n s o r

A d th d p th u d r p al
n e eep al afar ; n e e on e

A d n ar th b at f th al armi g d ru m
ne , e e o e n

R u d u p th ldi r th m r i g tar
o se e so e er e e o n n s

W hil thr g d th citi z

e with t rr r d u mb
on e e ens e o ,

O whi p ri g with whit li p Th f ! Th y c me th y c m !

‘
r s e n , e s, e oe e o , e o e

245 . m
r a c rr v o r s ms .

A no ther q u ality of great importance is th at whic h is call ed

fe lic i ty of styl e .
2 24 E lements o
f Rhetor ic .

th ou ghts in the s ame fash i on it p r odu ce s ted iou sne ss I f any

,
.

c ompo si t i o n is fr amed in all its se n t enc es aft er o ne u n v ar yi ng

mod el the r es u lt wi l l be mo no t o ny I f all the sen ten ces are
,
.

di r ect st at e men ts an d are n eve r v ar i ed by su ch figur es as in

,

terrog a tio n e xcl a

,
mati on or an ti thesi s neve r en li ve ned by com
, ,

par i son met aph o r o r cl i max vi v acity is out o f the qu estion

, , , .

Ag ai n if a w r iter r eso rts too much to one p ar ticul ar figure

, ,

s u ch a s a n ti t h esis o r m o u ld s h is s en t en c es too m
,
uc h aft er the
sa me fash i o n monot ony wi l l fol l ow
,
.

I n g en e r al m o n ot o n y ar is es wh e n the c om
,
po si ti on th ough ,

cl ear an d co rr ect an d eve n h ar mon i ou s sh o ws no v ari ety ; bu t

, ,

bei ng pitch ed u po n o ne co mmo n pl ace k ey r emai n s th e r e , .

V ar i e ty b ei n g n ec e ssar y to s t i mu l at e att en ti on the monot onou s ,

w r i t e r h o weve r c o rr ect c an n e v e r be r ead abl e

, , .

A not h er fau lt co n si sts in the use of exp r essi o ns t h at are b ack

n ey ed o r st a l e Th ese t e r ms are appli ed to fi g u re s of spe ech
.
,

p art ic ul ar ly t r op es e pi t h e t s an d c omp ari so n s which h av e been

, ,

u se d so ofte n t h at t h ey hav e c eased to be effec t ive To th e se .

t he t e rm t rit e wo r n out has als o been appli ed Th ese

“ ” ”
or .

h ave al r eady bee n su ffici e n t ly i ll u st r at ed u nd e r o t h er h ead s .

S omet i mes the faul t is in the st at eme n t I n th is c as e i t .

as su me s v ario u s fo rms wh ich h av e bee n disti ng u i sh ed by d if

,

fere nt na mes .

T he fo ll owi ng are spec i al ly w or thy of notic e

e

F r igidi t y is a cold u nsy mp ath etic man n e r in wh i c h the

, ,

writ e r exhibi t s no an i mati o n wh at ev e r I t is u s ual ly mar k ed .

by s t i ff and formal exp r es si on s .

B ald ness an d d u l ness are terms u s ed to d esig nat e a styl e

which is u tt e r ly fr ee fromany at t emp t to e n li ve n .

A h eavy styl e i s th at in which the se nti ments are common

pl ac e the voc ab u l ary l i mi t ed ye t p r et e n ti ou s and the who l e
, ,

u n i nt eresting and u n r ead abl e .

J ej u ne mean s v ac an t empty or v o id of matter th at can eu

, ,

g age the att en tion I t is appl i ed to w r iti ngs wh er e v e ry o r di

.

n ary th o ugh ts a r e e xp ressed in a t edi o us a n d li fel e ss m an ner .

M eagr e is a w o r d th at i ndic ates p over ty of c onception to ,

g e th e r wi t h a li m it e d v o c ab u l ar y I t c an n o t fo r a m o me
. n t be
c o n fo u n d ed wi t h c on ci seness for the l att er exh ibi t s fe w wo rd s
,

bec au se th ei r n u mbe r i s pu rposely l i mit ed ; bu t the fo r mer is

poor in wo r ds bec au se the w ri ter has few at his co mmand .
 Vivac ity . 225

2 . T he tyl e may be c arr i ed b ey on d the l ev el of the s u bj ect

s .

A n exc es s o f vi v aci ty l ead s to an oth e r set of fau l ts which ,

if n ot w o r se are p e r h ap s mo r e mar k ed
,
.

The t en d e ncy to i n fl at ed exp r essi o n i s i nj u r i o u s to viv acity ,

be c au s e the ext r av ag an c e is app ar en t an d fail s in its effect , .

A c ertai n amou n t of ex agger ati on is s ometi mes al l ow abl e as ,

in the figur e hyp er b ol e bu t th is to be effec tiv e sh o uld alw ays

be sp ar i ngly u sed .

Th er e is a c e r t ai n i n fl ati on of styl e ass oc i at ed wi th fl or id

exp r essi on s e xt r a v ag an c e of s enti men t famil i ar c on fid en ces
, , ,

an d i d l e d i spl ay of fe e l i ng in the for mof fr equ en t ej acu l ati on s .

T o thi s the te r m gu shi n g is so meti mes giv en

“ ”
.

A st ill g r eat er e x c ess of viv acity r esu lts in oth er fau lts k now n ,

as b omb as t fu sti an b ath os e tc

, , , .

Bo mb ast was o r igi n ally appli ed to a stu ff o f soft l oose t ext ,

ure o n c e us ed to sw e ll the g ar me nt
, F u s t i an was al so a ki n d
.

o f cl o t h of sti ff e xp a n siv e ch a r act er Th ese te r ms are appli ed

.

to a high sw e l li n g s t yl e o f writing fu l l of ex tr a
, v ag an t sen t i men ts
,

an d e x p r essi o n s B at hos is a w o r d which has the s ame appli

.

c at i o n mean i ng ge n e r al ly the mock h er oic— th at d epth i n t o

,
“ ”

wh ich o ne fal l s who o v e r l eap s the subl i me ; the st ep wh ich on e

mak es in o rd e r to p as s fr o m the subli me to the r i d icu l ou s .

A rrest S i moo m ami d thy w ast e of sand

, ,

T he po i soned j av eli n bal anced in his h and ;

F i erce in bl ue streams he ri des the t ai n t ed air ,

Po i n t s his k ee n eye an d w av es his whi stli ng h air

, ,

W hil e as he t ur ns the u nd u l ati ng soil

,

Roll s in red w aves a d bill wy

n o d esert b il D R DARW I N
s o — . . .

S h ou l d the t e mpest o f war o v ersh ado w o ur l an d ,

I ts bolt s n e e r cou l d r en d F r eed om t e mp l e asu n de r

’ ’
s

F or u nmo v ed at its p ort al w ou l d W ashi ng t on st an d ,

A nd r e p u l se with h is br e as t t he assau lt s o f t h e th u n d er .

— R O B E RT T R EAT PA I NE .

A no th e r w o r d b
h as ee n d e r iv e d fr o m th e t ail o r a n d th a t is ,

p add i ng which mean s stufli n g a c oat bu t t ropic ally is mad e

”
,
,

to d esc r ib e the u se l ess fil li n g i n o f o m

c p i ti o s o n T is h w v r
h o e e
.
, ,

n ee d n o t be c o n n e ct e d a t all wi th b o m a
b t ; it
s m a y b e p r e ly
e f c t

si mpl e li t e r al an d p ai n fu l ly t r u e in its t edi o u sn ess y et i t is ,

p er h ap s mo r e fr equ en tly ass oci at ed with b omb ast th an not I t

, ,

l
is ea fast u lty wh en u se d to c r e a t e i n t e r est a s wh e n a sp e ak er
2 26 E lemen ts f
o Rhetor ic

m
.

i n te r l ar ds his argu men t with th e es su ited to the pop u l ar t ast e .

D ig r essi on s ar e alw ays al l owabl e wh e n no t carri e d too far but ,

me e r p a d di n g is a t e r m alw ay s u s e d in a c o n tem ptu o u s se n s e ,

an d is mean t to d esig n at e a faul t .

A n al ogo u s to bo mb ast etc are such t e rms as bu n combe ,

.
, ,

hi falu t i n wh ich h ave c ome i n to use in A me r ic a The or igin

”
,
.

o f o ne o f t h es e is giv e n in Wh ee l e r s H i s to ry o f N o rt h C a ro l i n a:
’

S ev er al y ears ag o in C o ngr ess the member fro m thi s d is tri ct (B un

, ,

combe ) ar ose to add ress the ho use with ou t any ex traor d i nary powers i n ,

ma ne
n r o r m att er t o i n t er es t th e au d i e n ce M an y me mbe rs l e ft t he hall .
.

V ery nai vely he t ol d th ose th at remai ned th at th ey mi g ht go too ; he sh oul d ,

spe ak for some ti me bu t that he was only talking for B un combe

,
‘
.
’

The fo l l owi ng are i l l u str ati ons

We u n derst and it n ow T he P resi dent is i mpati ent to wreak his ven
.

e an c e o n S ou th C a r o li na B e it 5 0 P ass y ou r meas u re sir ! U nch ai n

g . . ,

y our ti ger ! Let l oose you r war d ogs as soon as you pl ease ! I k now the -

peopl e yo u d esi re to war on They await you wi th u n fl i nchi ng u nshri n k

. ,

ing unblan chm

, g fi r m ness .
”

Yo u may scoo p o ut the V all ey of the M i ss i ss i pp i an d bu ry tr u th th ere ;

y ou m ay h ea p o v e r her gr a v e the A lleg hanies and p il e a bo v e th e e the s

Rocky M ou ntai ns—bu t in vain A ft er all tru th will have her resurrec ti on
,

”
. .

C H A PT E R XI I .

I LLU ST R A T I VE STYLE
THE .

: I LLUST RA TIV E ST YLE

4 7 r ats 2 . .

I N c onnection with the ubj ec t of viv aci t y th e r e a e c er t ain s r

di ti ctive ty l e of w ri ti g which a e w ort hy o f peci al attenti o n

s n s s n r s .

T he fi rst o f th ese to be c o nsid r ed is th ill us tr ati v e styl e e e .

Th is n ame i gi v en to a c ert ai n ma ner o f c ompo siti on

s n

wh e r e the s u bj ec t i mad e cl ar a d at t r activ by mean s of

s e n e

il lu tr ation S u ch a styl e is u su ally i the high st d g r e pe

s . n e e e r

spic u ou s fo, the aim f th e w r i t e r i s to m

r ak hi mo s el f u d e r e n

st oo d and it is al o fu l l of pe r s u asi v ess f i t is equ ally his

s en , or

aimto c omm d hi w or k t the r ad r

en s Th e r for e h p ar es o e e . e e s

no p a i n s to mak e h i tyl ag r eeabl e so th at i t sh al l wi att e

s s e , n n

tion an d att r act y mp at hy s .

 E lem Rlzetor zc
'

2 28 ents o f .

en ing o f the cu ticl e will mar th e fairest face and change beau ty to hideous ,

n ess . W hat fearful irony l ee rs u pon us fromth e h uman s ku ll This was .

t he h ead thi s the d i v i n e co u

, n t enan ce of som e H el en so me A spa sia o r ,

C l eo p atra; so me A gnes of M e ran o r M ary of Sco tl and ; on wh ose eyeli ds

h u ng the d estin i es of nati ons for whose li ps the l ords of the earth thoug ht
the w orl d w ell l os t fro mwh ose li neamen ts pa in t ers d rew their presentm en t

of the Q ueen of H ea v en — H EDG £ ”

. .

I n the u mer atio n of n ames th ere is an histori cal al l u si on

en ,

whil e in the ph r ases l o r ds of the ear th

“ ” “
w or ld well l os t ”
, ,

are lit er ary al lu si on s to w e l l k n ow n p assages in H o race and -

S h ak espear e This p assage i s i mmedi ately foll owed by an

.

ot h er wh i c h il l u st r at es by qu otation
yi g f th p t A thi g f b au ty i aj y f r v r i tru ly
T he sa n o e oe , n o e s o o e e ,
’
s e on

wh p d icat d f th i mag i th mi d a d f i t ll ct ual c t mpl ati

en re e o e e n e n , n o n e e on e on .

Th b au ty f thi g i a p h a t m; th
e e o j ym t th
n s s hav f it a n o e en o en e senses e o

sl ipp ry ill u i
e s on.
”

Qu ot ati on is el eg antly used for pu rposes of ill us t ration

the op en i ng of Th ack e r ay s l ec tur e o n Go lds m
’
i th
J t é u c tt b u l
e s r e e o e

Laid chéti f t ufl e so
‘
a
r n t,

E toufle dans la fo u
' '

l e

F t
aue d étre asses
'
grand .

U ne pl ai nte t ouc h ante

De m a bouch e so rtit ;
Le bon D i eu me d it C h ante : ,

C h an t e pau vre pe tit t

,

C a h tr
n e , on j e ma buse ’

E st m a tfiche ici has .

Tou s ceux q u a
’
insi j a
’
muse
N e ma imeront ils pas ?
’ ” ~

“
In ch arming li nes of Be ranger one may fancy described the ca
th ose ,

reer sufferi ngs t he gen i us the ge n tl e nat u r e of G ol dsm

, the , ith and the es
, ,

t ee min wh ich we h ol d him W ho of the milli ons who m he has amused

.

d oesr t l ov e him? To be the mos t be l ov ed of E ng li sh writ ers what atitl e

’
,

is that for am an —T mc xs nav .

mpan rso x AND M ETA P H O R

250 . co .

3 Th subj ect will be fo u n d i ll u st at ed by b oth o f th ese figur es

. e r

in the fo l l owi g exq u isi t e p ass ag e by O liv er W end el l H ol m

n es

“
D id y u v r i w alki g i t h fi l d c m acr a l arg flat t
o ne e n n n e e s o e oss e s one,

which had lai b dy l w h w l g j u t wh r y u f u d it with th

n, n o o eno s o on , s e e o o n , e
 Tite I llustr ative S ty le
.
. 2 29

grass forming al ittl e h edge as it w ere all round it cl ose to its edges ? and , ,

h av e younot in obed i ence to a ki nd f feeli g th at t ol d you it had been ly

,
o n

ing th ere l ong en ou g h i nsi n uat ed yo u r sti ck or y ou r f ot or y ou r fing er s

, o

u nd er its edge and t u rned it ov er as a h o use wi fe t u r ns acake wh en she

, ,

sa ys to h er el f I t s d one brown enoug h by thi s ti me W hat an odd rev e

s ,
’
.
’

l ati on and wh at an u n f reseen and u npl easan t su rp ri se to a small commu

,
o

n ity the v ery ex i st e nce of whic h you h a

, d not su spect ed u n ti l the su d d en ,

d i sm ay and scatt eri ng am ng the members p rod uced by y ou r t u rn i ng the o

old st o ne o v e r Bl ad es of gr ass flatt ened d own col orl ess matted t ogeth er , , ,

as if th ey had been bl each ed and iron ed ; hi d eou s c rawli ng c reat u res som e ,

of th emcol eo p t e ro u s or h om y sh ell ed—t u rtl e bugs one w ants to call th em;

,
- -

som e of th e mso fte r b u t cu nn i ng ly sp r ea ,d o ut and comp r essed lik e Le p i ne

w atch es (nat u re nev er l ose a cr ack or a crev ice mind yo u o aj oi n t in a s ,
’

,
r

t av ern bed stead bu t she always has one of her flat patt er n li ve ti me k eepers
,
- -

t o sli d e i n t o it) ; bl a ck g l ossy crickets wi th their l o ng fil amen t s sti cki ng out

, ,

like the whi ps of f ur h orse stage coaches moti onl ess sl ug like creat ures ;
o - - -

you ng l arv ae perh aps more horri bl e in their pu l py still ness th an even in the
,

infe nal wri gg l e o f m

r at u rity ! B u t no soo ner i t he s tone t ur ned and the s ,

wh olesome li g ht of d ay let in u po n this compressed and bli nded commu ni ty

o f cr ee p i ng thi ngs th a n a ll o f th emwhi c h enj oy the l u x u ry of l eg s— and
,

som e o f th emh a v e a g ood many—r ush rou nd wil dly bu tti ng each oth er and ,

ev erythi ng in th eir wa y a n d end in agene ral st a m p ed e for u nd ergr ou nd t e

,

treats fr mthe regi on po iso ned by su nshi ne N ex t y a you will find the
o . e r

gr ass growi ng t all and green wh ere the st one lay the gr ou nd b ird bu il ds her -

nest wh ere the bee tl e ha d his h ol e ; the d a ndeli on a n d the b u tt er cu p a re

gr owing there and the broad fans of insect ang el s O pe n and sh u t ov er th eir
,

g ol den d i ks as the rhythmic wav es of bliss fu l consci usness p ulsat e thr oug h
s o

th eir g l ori fied bei ng .

“
The st ne is anc i en t err or
o T he gr a ss is h um an nat u r e borne do wn.
,

and bl each ed o f all its co l o r by it T he sh apes whi ch are fou nd beneath are .

t he cr a fty beings th at thri v e in dark ness and t he w eak er o rg an i sm s k ep t ,

h el pl ess by it He who t ur ns the st one over is wh osoe ver p u ts the staff of

.

tr u th to the ld lying i ncu bus no matter whether he d o it with a seri ous

o ,

face or a l au g hi ng one The ne x t year st ands for the comi ng ti m

. e Th en .

sh a ll the nat u re whi ch had l ai n bl anch ed and brok en ri se in its full st at u re

and nati v e h ues in the su nshi ne Then shall G od s mi nstrel s bu il d th eir .
’

nest s in the h ea r t s of a ne w bo rn h u m an ity Th en sh all beau ty d i v i nely

-
.
,

t aki ng ou tli nes and col or light u pon the so ul s of men as the butt rfl y , , e

i mage of the beatified spirit ri i ng fr omthe d u t—so ars fromthe sh ell th at s s

h el d a poo r gr u b which w ou l d never h av e fo u nd wi ngs had not the st one

,

been li ft ed .
”

25 1 AN EC DOT E . .

I n the fo ll o wi ng p a ss age il l u str ati on i s mad e by mean s of

anecd ot e
I h ol d old J oh nson to be the g reat su pport er of the British monarchy
and C h u rch d u ri ng the l a st a g e J o hn so n wa s r e v er ed as a sort of.o racl e ,

and the or acl e d eclar ed for C h ur ch and king W hat a h umanity the old .
2 30 .
E lemen ts o f Rhetor ic .

man had ! ki dly partak r f all h t pl a ur ; a fi rc f

H e was a n e o on es e s es e e oe
t all i
o t t
s n, my t all i r
bu a g en le W h at b y ! a y u f a en e o s n n e s. , o s re o or

fr li c
o h cri wh T p hamB aucl rc c m a d wak himu p at mid
?’ e es, en o e e o es n es

ig ht I m with y u A d away h g t u mbl hi h mly ld

‘ ’ ’
n . o . n e oes, es o n s o e o

cl th a d tru d l thr ug h C v t G ard with th y u g f ll w

o es, n n es o o en en e o n e o s.

W h h u d t vi it C arri ck Th atr a d had th li b rty f th c

en e se o s
’
s e e, n e e o e s enes,
’

h ay
e s A ll h actr
s,
‘
k w m a d dr pp d m a c urt y a th y
t e esses ne e, n o e e o es s e

pa d th tag
sse toThat w u l d mak a pr tty p i ctur ; it i a pr tty
e s e .
’
o e e e s e

p ictu r i my mi d f y u th f lly gay ty t d rly ur v y d by wi d m

e n n , o o ,
o , e , en e s e e s o
'
s
m ci ful p ur y —T H A KERAY
er , e e es.
”
C .

C H AP T E R XII I .

TH E E PI G RA M M A T I C ST YLE .

msmar rc STY L E 5 25 2 . s p rc .

A noth er styl e associ ated wi th viv ac i t y i s th at wh ich is cal l ed

the pig r am e matic .

By thi s is meant a styl e wh ich r e sembl es th at of an ep ig r am .

A n epig r amis a sh ort poe mo r se n t e nc e appli ed to s om e pe r ,

so n or t hi ng a nd e ndi ng in a n i nge n i o us poi n t or witty sti ng

, ,

as in the fo ll owi ng ex ampl es

W hil t B u tl r d y wr tch wa y t ali v
s e , n ee e , s e e,

N g r u patr w ul d a d i r gi v ;
o ene o s on o nne e

S him wh tarv d t d ath a d t u r d t d ust

ee en s e o e , n ne o ,

Pr t d with a m u m tal bu t
ese n e on en s .

Th p t fat i h r i mbl m h w ‘
e oe s e s e e n e e s o n,
H ak d f br ad a d h r c i v d a t
e s e or e , n e e e e s one.
”

S v G r cia citi “
tr v f H m r d ad
e en e n e
s s o e or o e e ,

Thr ug h whi ch h li vi g H m r b gg d hi br ad
o t e n o e e e s e .

The ch ar act e r i t ic o f the e pig r amm atic styl e are—com

s p ari
s

son m e ta
, ph o r all u si on and ab ov e all an tith es is
, , .

ETR Y 253 . IN PO .

P ope s u rp asses all E nglish poe t s in th is r espec t ;

.

of his p oe t ry b e i ng w ri tt en in the epigr ammatic styl e

W ho with q ual y a L rd f all
sees e e e, s o o ,

A h r p ri he o a parr w fall ; e s ,
‘

or s o

At m o y t m i t ru i h u rl d ;
s or s s e s n o n e
A d n w a bubbl bu r t a d
no w a w rl d e s ,
n no o .
2 32 E lemen ts of R /zetor ic .

B ur k e s s tyl e ’
is f u ll of ep igrammatic p ass ages
I w uld rath r l p i h c r r f a littl c u try ch u rchyard th a
o e s ee n t e o ne o e o n n

i th t mb f h C ap ul t
n e o o t e e s.

T h bl d f ma h u l d
e v r b h d bu t t r d mth bl d f ma
oo o n s o ne e e s e o e ee e oo o n.

It i w ll h d f u family f u fri d f u G d ; f u c u
s e s e or o r or o r en s or o r o or o r o n

try ; f u ki d Th r t i v a i y h r t i cri m
or o r n . e es s n t t e es s e.
”

N bility i a grac fu l r am t th ci v il rd r It i th C ri thia

o s e o n en to e o e . s e o n n

cap ital f p li h d ci ty
o o s e so e .
”

E pigr ammatic p ass ages abo u nd in the w r i ti gs of O liver n

W e d el l H ol mes
n

B t S tat H u i th h ub f th l ar u i v r Y u c ul d t
os on e o se s e o e so n e se. o o n
’

p ry th at u f a B t ma if y u had th tir f all cr ati

o t o tr ai g ht
os on n o e e o e on s en

d ut f a cr w ba
”
e o or o -
r .

The fo ll o wi ng is fr om D an i el W ebst e r s sp ech o n H amil

’
e

to n

mot e the rock

He s of the n a on a ti l r u rc a d abu da t tr am f
eso es, n n n s e s o

rev enue g ush ed fo rth . He to uch d th d ad c rp f pu bli c cr d it a d it

e e e o se o e , n

sp rang u pon its fee t

”
.

m u m s a n rsm c F R O M T H E E P I G RAM MATI C STYL E

5 25 . .

T he e pi g r amm at ic styl e is h ighly ar tifici al and alth o ugh i t is ,

used wi t h g r eat succ es s by w r i t e r s o f ge n ius i ts e mpl oy me nt is ,

ne v e r th e l es att e n d ed with p e c u li a
s r di sad v an t ages the chi ef of ,

which is the t e d e ncy to sac r ific tr u th fo r the s ak e of efl c t

n e e .

Wh e r e the w r i t e r is pe rpet ual ly b al anc i ng wor d agai nst w or d ,

or seeki n g a fte r n o v lti e s in th ought an d exp r essi o n or st r i ving

e ,

to gi v e to v ery s e n t e n c e i ts o wn i ndividu al p o i n t and sp ar kl e

e ,

i t i n ot s ur p r isi g th at he shpuld giv e to many thi ngs an um

s n

d ue i mp o r t an c e an d e nd with t h r owi ng ar ou n d his w o r k a

,

ge n r al air of ex tr avag an ce
e .

I n poe tr y this d ange r is fa l ess th an in p r os e fo p oe t ry is r ,

r

c on fes edly in s ome s o r t one o f the fine art ; and b i g an

s s e n

a t i ts mo v eme t i s mad e i acc o r d a c wi t h ma y ar tifici al

r ,
n n n e n

r u l es The lice n se which i s p r es ent in p oe t ry d oe s no t exi st

.

in p ro se T he poe t l ik e the art i st may s tudy efl ec ts he may

.
, ,

aimaft e r the i d eal r ath e r th an l it e r al fac t ; an d th u s it may be

a n ec e sity fo h im to t ran sc en d the ac t u al tr u th o f thi g s
s r n .

Bu t n o t hi ng o f thi ki d is O pe n to t he pr ose w r i t e r R h e t o r ic
s n .
,

e v en a s b ll es l ett r e ca n o t g o
e o fa -
a thi and k no w s, n s r s s, s

n othi n g of th at l ic nse w h ich poe t ry e j oys A d t hu whil e

e n . n s,
 g mm Tfie Efl
a S ra
'

t zc ty le 2 33 .

the poe t m ay i n d u lge fr eely in hyp er b o l e the p r os e w r it er mu st ,

be v ry gu ar d d i h i d eal i g wi th x tr av ag an t l a gu age
e e n s n s e n .

A i l l u t r ati o o f this xt r av ag anc e c a be fou d in the

n s n e n n

ch ar act r of N ap ol eo by C h ar l s Ph illips fr o m wh ich a few

e n e ,

sen t e nc es may be t ak en as e x ampl es of the wh o l e

Th r e e cr eed th at he did n ot p rofess th ere was no op i ni on th at
was no ,

he d id no t p r omul g at e .

f N at u r e ha d n o bs t acl es that he did n ot su rmou n t sp a

o ce n o oppos iti on ,

th at he d id no t spu rn .
”

A mi d all these ch an g es he st ood i mmu t abl e as adaman t .

T he v i ct ori ous v e t eran g litt er ed wi th hi s g ai ns and the cap it al g orgeou s , ,

with the spoil s of art became the mi ni at ure metrop oli s of the u n i verse
, .
”

A ll this is v ery e xt r av ag an t an d v ery t awd r y p ar ticu l ar ly the ,

l ast s en tenc e vic tor i o u s v et er an ” “

gl itt ered wi t h g ai ns,
”
,

mi n i atu re met r op ol is .
”

The i mi t at o r s o f E mer s o n no w h appily l ess n u m , e r o u s th an

forme r ly affor d e x ampl es of the e vi l r esu lts wh ich app ear wh en

,

s u ch a styl e is e mpl oy ed by th ose who thi n k th at in i mi tati ng

the fo r mof a m ast e r th ey may r iv al the mast er hi mse l f E mer .

son m ay mov e wi t h e as e an d gr ac e u n d e r h is p anoply ; bu t the

feebl e ar my o f i mi tat o r s fal l b e n eath the l oad O ut of this af .

fec tatio n o f a m o st di fficu lt styl e th e r e a r is es the gr eat fau l t of

ph r as e maki ng
-
.

The F r e nch are fo n d o f an ti t h esis an d the epig r ammati c ,

styl e is far mo r e c ommo n wi th th emth an with u s Wi t h t he m .

i t has bee n c ar r i ed to agr e at ex c ess an d the fau l ts o f extrava ,

g n c e an d ph r ase m
a aki n g are c omm on E v en me n of ge n i u s
-
.

are n o t fr ee fr om th ese fau l t s for V ic t o r H ugo in h is l at e r, ,

w o r k s has sh o w n far mo r e o f the ex tr av aganc e the pu e ri li ty

, , ,

and the ab s u r dity o f the e pig r ammatic styl e th an of its b ea uty

an d fo r c e I n his add r es s to th e P ru ssi an s at the ti me o f the
.

si ege o f P ar i s he g a v e u tt er an c e to the r avi ngs o f a mad man ;

bu t the popu l ar t ast e seemed to supp or t h im; fo r M O l livi e r .
,

in the agon i es o f F r an c e c o u ld fin d n o t hi n g b e t te r to gi v e to
,

h is c o u n tr y men th an a s e r i es of mi se r abl e ph r as es wh er e the ,

cli nk an d ti n kl e of chil d i sh r hy mes an d w e ak an ti t h eses w er e

s en t forth to p r ep ar e a n ati o n for i ts most tr emen d o u s c on flict
To P ru i a
ss n it
au d ac y let us o ppose F rench t ena city .
2 34 E lement s f
o R/zetor ic f

C H A P TE R XIV .

O T H E R Q U A LITI E S OF S TYLE A SS O C IAT ED WIT H

V I V A C ITY .

LASS I CAL STYL E 256 . C

'

T H E t erm cl assic al is s omet i mes appl i ed to astyl e w hi c h

abo u n ds in al l usi o n s to the cl assic al li te r atur e of G ree c e an d
R ome or to e ven t s in th ei r h i st ory Su ch al l usi ons are ft c
,
.

qu en t in the w ri t i ngs of Bu r k e and may be ill ust rat ed by the ,

fo ll o wi ng p ass age
“
It i th p irit f th E gl i h C titu ti whi ch i fu d thr u g h th
s e s o e n s on s on , n se o e
mi ghty ma p r vad f d u it i ig ata i ifi v ry part f th
ss, e e
s , ee s, n es , nv or , v v es e e o e
e mp ir v d w t it mi u t t m mb r
e, e en o n o s n es e e .
”

The all u si o h e r e i s to the w ell k no w n li nes of V i r gi l

n -

S pirit u i t u alit ; t tamqu i fu a p art u

s n s o e n s er s
M agitat m l m t m
ens ag c r p r mi t
o e , e no se o o e sce .
”

Bu t a t ru er d efi n iti on of the cl as ic al tyl e is th at which s s

mak it su ch a styl e a is most in acc ord anc e wi th the geni u s

es s

o f the l a gu a ge a d er v es to exhibit its hi g h st qu ali ti s

n , n s e e .

A ddi son Go ld mi t h and I vi g ; D Qu i n cey H azli tt an d

, s ,
r n e , ,

Th ack e r ay a e cl a sic al w r i t r s of E gli h

,
r s e n s .

I f we c o m p ar e Th ack er ay with D ick s we sh al l find th at en ,

the fo rm r w r it es the be st E nglish an d is disti n g ui h ed by a

e , s

t ru ly cl as ic al s tyl s am ly one which i s in ac c o r d an c e wit h

e, n e ,

the be s t sta d ards an d o e which A ddi so n h i m

n ,
sel f mi ght h ave
n

en vi ed whi l the oth e r i full of fau lts a d i accu r aci s which

, e s n n e , ,

e v th ough hi wo n d erfu l gen i us may t ri u mph o ve r t h em wil l

en s ,

y t
e p r v e t h i
enm fr o m r a ki ng wi t h the g r at m ast e r
n s I f we e .

c o mp ar e D e Qu i nce y wi th C ar lyl e we sh all find th at the l att er ,

h as ch o fo hi m el f a fo rm o f exp r e si o which th o ugh fu ll

sen r s s n ,

of e r gy i
en
y t
,
d cid
s dlye e c ce t r i c a d u n fit fo
e e i m it ati o ; n n r n

wh il e th fo rm r may be s aid to h av e att ai d th fi r st r an k i

e e ne e n

the v ar i e t y a d spl e n d o r o f his r h t o r i c i

n the p u ri ty of h is e ,
n
 E lem R/zetor zc
'

2 36 ents f
o .

hi w rk t
t s a statesm
o l t r y
an, who in a ong, a s o m and at en gt an un fa
o l h r ,

t un ate ad mn s a
i i tr i
t on , had man po ca oppon en s, a m y liti l
os ou a pe r t l t with t
l y
so na e nem ; who ha s rti
e an ed in his fa f om po e ll r
man fa fu an d wr y ith l
i i t r t ri r
d s n e es ed f en ds ; and who, u nde the p essu e o f sev e e nfi m r r
en r i r ity ,

j o s the v e v go of his mind and the fe ici of his nco mp a ab e tem

y li ly i r l ty i r l
per

In this p ass age fromthe p reface to h is g reat h isto ry G ibbo n ,

i mpli es a d e dic ati on and by thi s d esc r ipti o n d r aws str ong at
,

t e n t i on to Lo r d N ort h alth o ugh h is n ame is n ot men tioned

,

u n ti l the n ex t se nt enc e .

S o me ti mes the s u gg esti on is mad e by si l en c e or the af

3 .
,

fec tation o f sil enc e :

I was goi ng to awak e y ou r j us tice t owar ds this u nh appy part of our fel
low citiz ens by b ri ng i ng befo re yo uso me of t he c ircu m tances of the p l ag ue
- s

of h u ng er O f all t he cal amities whi ch bes e t an d w ayl ay the li fe of man

.
,

this is one which co mes the neares t to our h eart and in whi ch the proudes t ,

of u s all fee ls hi mse l f to be nothi ng m re th an h i —bu t I find mysel f nu o e s

abl e to manage it with d ecorum th ese de tail s are o f aspecies of h o rr or so

nauseo us a n d disg us ti ng they are so deg rad i ng to the su fferers and the
hearers ; they a e so h umiliati ng to h u man nat ure itself that in be tt er
r ,

thoug hts I find it ad v isable to t hr ow apail ov er this hideous obj ect and to ,

l eave it to you r general conceptions —Bunttz .

”
.

4 In. many p assages of poetry the s uggestion is fu l l of fo rce

and s ign ific ance .

An ex ampl e may be fo u n d in these lines of S h ell ey

Lif ! 0 T im !
0 W or ld l 0 e e

O wh l at t p I cli mb
n ose s s e s

Tr mbli g at that wh r I had t d b f r

e n e e s oo e o e

W h will r t u r th gl y f y u r p ri m ?
'

en e n e or o o e

N mr Oh v r mr 1
o o e , ne e o e
”

F orms of s u gge sti on lik e the foll owi ng by K i ngsley are of , ,

fr eq u ent oc c urr c e en :

Th r ll i g mi t cam d w a d hid th la d
e o n s e o n n e n

A d v r h m cam hn ne e o e e s e.
”

Th ere is much t en d er path os in the s u gges ti on conv ey ed

the l ast l i ne of the foll o wi ng :

A h me ! h ow q u i ck the days are flit ting

I mi nd me of a ti m e th at s gone
’
,

W h en h ere I d sit as n ow I m sitting

’
,
’
,

I n this same p l ace —but not alone .

 S ty le A ssoeiated wit/i Vzvaezty
' ' ' '

'

A fa ir y
rm wa tl d ar m o n u g fo s n es e ne e,

A d ar d ar fac l k d f d ly u pe , e e oo e on ,

A d w tly p k a d mil d t ch r m
n s ee s o e, n s e o ee e

Th r w t h ar my cu p —T H A KERAY
’
e e s no one no o s e . C .

5 . A c er t ai n cl ass of qu asi al l egor ic al p oems may be co id -

ns

r d as
e e x ampl es of thi s styl e ; as the w el l k n ow n b al l ads o f
e -

U h l an d s ome of L ong fel l ow s an d n ear ly all of P oe s I n

,
’
,
’
.

th es e th er e is an u n d er t one of mysticis m wh ich g i v es a d eep

s u gg est ed mean i ng .

TH ER T ERM S A P P LI ED To STYLE
z 5 8 . O .

I n additi on to the for ego i ng o t h e r t e r ms a e oft en appli ed to , r

styl e wh ic h a e h er e b r i fly e u m r at ed
,
r e n e

fi t ti g — A g e e r al exp r essi on r fe rr i g to an au th or s
’
t er es n . n e n

ability to ex c it e att n ti on I t i s p ar tic ul ar ly applic abl e to e .

books o f t rav el and the l ett e r s o f or di na y c o rr esp ond ents

, r .

Th e t er m r efer s r ath er to the su bj ec t matt er th an to the -

styl e .

P opular — This appl i es to a styl e

. which is pl easi ng to the
mu l tit u d e I n this as in the p rec edi ng on e th er e may be
.
, ,

great fau l ts yet th er e mu st be at l east s ome d eg r ee of viv ac

,

ity The t e r m p opu l ar auth o r is the b est exp on en t o f the

.
“

p opu l ar styl e .

f luen t — By this is m ea n t a r ea dy fl ow of w o r d s and the ex ,

hibitio n of g r eat ease in c o m p ositi o n I t mu st not be c on .

afli uen t whi c h in o ur p r es en t us age r efe r s to

”
fou n d ed wi th ,

r ich ness and c opi o u s ness of th ough t an d dicti on ; wh er eas a

fl u en t styl e too o ft e n t en ds to v e r bo sity an d is u su al ly ch ar ac ,

te rized by g r eat fau lt s C ic e r o and Bu r k e ar e affl u en t w r it er s ;

.

bu t any o n e is flu e n t who c an c o mp ose r eadi ly such as M F , . .

Tupp er D r C u mmi ng A l ex an d e r D u mas or oth er v ol u mi n ou s

,
.
, ,

w r it e r s .

F r ank or Open — Th is is appl i ed to w r i ti ng wh ich c on t ai n s

,

fr equ e n t r efer en c es to the au th o r s p er s on al th oughts fee li n gs

’
, ,

an d exp e rie n c es I t i s the exh ibiti on of c o n fid e n c e t o w ar d s

.

the r ead e r S te rn e and Th ack er ay afl ord ex ampl es of this

.
'

1 gen uous
n — A styl e ch ar act e rize d by c and o r an d eng ag i ng
.

si mpl ici ty with n aiv et e of exp r essi on The b est ex ampl e of

,
.

this is the E ss ays of E l i a .

R acy — A styl e fu l l of viv acity with no v el t erms of th ou gh t , ,

2 38 E lements f
o Rhetor ic .

acc omp an i ed by wi t and h u mor Lamb s E li aafl ords exampl es

'
’
.

of th i s als o .

s
'

n tu elle — D
. e li c at e s ugg e sti v e n ess w i th r efi n e
,d i ma g e r y
an d t end e r g r ac e of e xp r essi on I t i s ch i efly appl i c abl e to
.

poetry . S h ell ey and K eats are most d is tingu ish ed for th is

qu al i ty .

Q u a in tn ess — S i m
. plici t y an d i ng e n u ous ness genera lly ae
, co m
a n ie d with ar c h a ic form s of speech I t is fo u n d chi e fly in th e
p .

o ld e r w rit ers — M a n d e vil l e C h a, u c er B u ny an F u ll er Q u ar l es

, , , ,

an d old b al l ads .

N aivete is much lik e q u ai n t n ess be i ng a ce rtain i nge nu ou s

,

si mplici ty and c an d o r in the u tt er anc e of v ery si mpl e t hi ngs or

the n arr ati on of v e ry c om mon facts A rch ai c forms of speec h
.

are not esse nti al A lth ough th er e need be no con sci ou s ness
.

of h u m or o n the p a rt of th e w ri t e r the e ffect of n a

,
iv et e is often
such as to ex c it e this sen ti men t in the r ead er .
2 40 E lemen ts o f Ritetor ic .

5 EU P H O NY I N D IFFE RE NT LAN G UAG ES

2 60 . .

I n all l angua ges th er e are c e rt ai n so u nds that are sweet an d

pl easan t and o th er s th at are r ough an d d is agr ee abl e The
, .

most agreeabl e are th os e of the l iquids and vow el s the h arsh

est the guttu r a ls an d sibil an ts Bu t an ex c ess of softer liq u id
.

and v ow e l s ou n ds i s i nj uriou s to e uph ony si n ce th ey ar e w eak ,

and efl emin ate whil e the di sp ro po rtion at e combi n ation of

'

mu tes and gu ttu rals p rod u ces harsh ness and d is cord The .

t ru est eu ph ony is fou nd wh e re v owe ls and c o n so nan ts are in

equ a l p ropo rt i on and the l angu ages wh i c h exh ibi t th is in the
h igh est d egr ee are the G r eek an d Latin .

T he mod e r n Europe an l angu a g es bel ongi ng to the Lati n

fam ily v iz the I t ali an S p an ish Port u gu ese and F r en ch are
,
.
, , , , ,

all eu ph on i ou s th o ugh d iffe ring in t his respe ct among th em

,

selves The l an gu age s of the T eu ton ic stock are mo r e h arsh

. .

The E ngl ish oc cu pi es a po si ti o n so m ewh ere be tw ee n th ese ,

si n ce to aTeut on ic st ock it has add ed agr owth of Lati n words ,

by wh ich i t has bee n i nfl u enced d irec tly th r ough the w o r ds

th emse l v es, an d i ndi rec tly th rou gh the effec t of the Lati n u pon
the T eu t on i c .

The E n g li sh l angu age as n ow S pok en i s c on sid er ed mor e

e u ph o n i o u s th a n th os e of the T e u t o n i c st ock bu t l e ss so th an ,

th ose of the L ati n family I ts ch i ef fau lt in this r espec t is the

.

p re v al ence of the hi ss i ng 3 so u n d I t has been stigmatize d

“ ”

m
.

fo r th is in two mem or abl e s ayi ngs T he Em ror C h ar l es V . .

,

who S pok e flu en tly se ve r al E u r opean l an g uag es was acc u st omed ,

to say th at S p an i sh wa s the l angua ge of gods I tal i an the lan

gu ag e of l o v e r s F r en ch the l angu age of frien ds ; E nglish the
l angu ag e o f gees e ; G e rman the l angu ag e of h o r se s ; an d Bo
h emi an the l angu age of d evils E q u al ly c ontempt u ou s in his .

ac c ou n t of Engl ish is Lo r d By r on who c alls i t ,

Our h ar h rth r whi tli g gru ti g gu tt u ral

s , no e n, s n , n n ,

W hi ch w r bli g d t h i a d p it a d p l u tt r all
’
e e o e o ss, n s , n s e .

Bo th of th ese are h u m o r ou s e xagg e r ati o ns b u t th ey se r v e to ,

i ndic at e the E ngli sh h iss

“ ”
Wi th this excepti on i t wou ld n ot
.
,

be d i fficu l t to sh o w th at E ngl ish p r o se i s q u it e as eu ph on i ou s

as t h at of any o t h e r l an gu ag e .

P oetry in E ngl i sh is mor e eu ph oni ou s th an p r ose c an pos

sibly be, an d c hiefl y becaus e it c an r i d its el f b ett er of the hiss
in g so u n d P oe tic li cen se al l ows the use of a v e r y i mp or t an t
.

t er m i n ati o n now obso l et e in l it er ary p r os e by wh ich the 5 “ ”

, ,

so u nd is ve ry g reat ly d i mi n ish ed Th i s is the t e r mi n ati on of

.

t he t hi r d p e r so n p r esen t in v e r b s as l ov e t h fo r l o v es
“ “ ”
, .

Suc h lib er ty of i n v er si on al so is al low ed and such an ex tend ed ,

c h oice o f w or ds th at the high est poet ry of the E nglish l ang u age

,

may be sai d to exhibit p e r fe ct e u ph ony N o I tal i an v e r se is .

more s moo th and soft th an the E ngl i sh of S p e ns e r N o p oet .

o f an l angu ag e e v e r w r o ught out m ore m u sic a l li n es th an th os e

y
o f T e n nyso n and fe w h av e app ro ach ed the so u n di ng bar mo
n i es a nd i nfi ni t e v ar i ety whi c h we find in M ilt on .

26x .EU P H O NY I N D IFF ER ENT K I NDS O F CO M POS ITI O N .

E u ph ony di ffe r s as to i mpo r t anc e in the v ar i ou s ki nds of

c ompositi o n I n p oet r y i t is o ne of the v e ry fi r st r equ isit es
.
,

fo r t hi s is in r eality a fine art an d the p oet lik e the mu sici an

, , ,

mu st de al wi th the effects of s ou nd I n the app eal which .

poe t ry mak es to the s en se o f the beau ti fu l s moo thly fl o wi ng ,

v e r se i s esse n t i al I t may be obj ect ed th at s o me p oe t s n ot a

.
,

bly B ro w n i ng pay bu t l ittl e att en t i o n to e uph ony The an

, .

swe r h e re is no t th at B row n i ng p ays l ittl e at t en ti o n to i t bu t ,

th at i t is his p u r po se to p rod uc e poe t ry o f fi r me r t o n e an d

st ro ng e r s o u nd t h an o t h e r s The mu sic is th er e bu t i t is d if
.
,

fe re nt fr om the music of oth e r p oet s .

I n o r at o ry eu ph ony is of gr eat i mpo r t anc e for h er e i t affects ,

b oth spe ak e r and h eare r The or at o r mu st c o n c e r n hi ms el f

.

gr eatly wi t h this as with a vit al matt e r ; for c er t ai n s ou n d s are

.

di ffi cu lt to u tt e r an d th es e must be mast e red O th e r s ar e un

,

pl eas an t to h ear an d th es e sh o u ld be av oid ed T he ex ampl e

, .

O f D em o sth e nes in str uggl i ng with the i m p edi men ts o f artic u

l ati o n sh o w s how an earn est sp eak e r may d eal wi t h this di th
c u lty E u ph o ny is al so cl osely assoc i at ed wi t h r hyth m an d in
. ,

th e g r eat est o r ati o ns m an y of the fi n est an d most effectiv e pas

sages h av e b ee n set fo rt h o n t h i s p r i n c ipl e The h ear e r als o .

fee l s the effec t ; for sp o k e n w o r d s al w ays S h ow most pl ai n ly

any di sc or d an c es o f so u n d si n c e th ey are at o n c e add r ess ed to
,

the e ar . T he r ead e r d oes n o t n o tic e for i n st an c e the pr ev a

, ,

l en c e of the hissi ng s b u t wi th s ome spe ak er s an au di en c e

“ ”
,

fi nd s it i n t ol er abl e .
 E lem Ritetor zc
'

2 42 en ts f
o .

Wh en we c onsid e r p r ose in gen er al it canno t be said th at ,

euph ony is of an y v ery g r ea t v alu e ; for in most c ases books

are r ead in S i l en ce n o w or ds are sp ok e n and i ts p r esen ce o r
, ,

abse nc e is n ot n otic ed Yet e v en h e r e i t is as w el l not to

.

n egl ec t it an d it is alw a
,
ys best to sec u re i t wh en i t c an be
att ained with ou t sacrifici ng o the r q u ali ties of mor e i mportanc e .

EXAM P LES o r EU P H O NY
2 62 . .

I n the fol l owi ng p ass ag es th e r e are e x ampl es of the high est

ord e r o f eu ph o n y a n d the r e a d er wil l n oti ce the v ery l arge
,

p r oporti on of vo we l an d l iq u id so u n ds
th d p lit ud a d awfu l ll
In ose ee so es n ce s,

W h r h av ly p i v c t mp l ati
e e e d w ll
en e ns e on e on e s,

A d n mu i g m l a ch ly r ig —P E
ev er o
s n e n o e n s.
”
OP .

O Su q u ha a ba k fair W y m i g — CAM B ELL

”
'
n s e nn s n s, o n . P

Th i u f d v i i mm mri al l m
e n os o o es n e o e s,
A d mu rmur f i um rabl b
n —T ENNY SON
o nn e e ees.
”
.

H eav en opened wi th
H er r d uri g t h r
v
e e -
n gaes, amonious so und,
O g ld n hi g t ur ing — M L DON
o en n es n .
"
I
‘

A ir v al ai “
s, ern rs,

Br ath i g th mll f fi l d a d gr v attu

e n e s e O e n o e, ne
T h tr me bli g l av wh il u i v r al Pa
e n e es, e n e s n,
K it with th gr ac a d th h ur i d a c
n e es n e o s n n e,
L d e th on t r al pri g —M ILT N
e e e n s n .
”
O .

’
Ed en are emu l ated by Tenny son in
M ilton s d esc ri pti ons of

a passage wh ich is ch arac te r i zed by the s am e eu pho ny

M rath r all that b w ry l

e li
e o e one ness,

T h br k f Ed e mazily murmu ri g
oo s o en n ,

A d bl m pr fu n a d c dar ar ch
oo o se n e es

C harm a a w a d r r ut i ca ”
s n e e o n o e n.

E x ampl es p r ose are by no mean s so freq uen t b u t the

in ,

foll owi ng p ass age exhibits a r emar k abl e assem bl age of p ure
e uph o n i ou s so u n ds

“
T he withi u i m r di ti ctly au dibl i th till
v oice n s s f th
o e s n e n e s ness o e

p lac ; a d th g tl r aff cti

e n e enf u at ur
e p ri g u p m r fr hly i
e ons o o r n e s n o e es n

it tra q uillity a d u h i — urt u r d by t h h althy p i cip l which w

s n n s ns ne n e e e r n e e
2 44 E lements f
o R/zetor ie .

r éfra
g ablen ess,
” “
inéxplic ableness . M a y p r each ers
n ac cen t
the w o r d D eu t e r ono my o n the fi r st syl l abl e .

4 Wh . e n th e sa m e syl l abl e is r e p e at ed as h o l ily ”

l o wli ly , , ,

farr i e r y Th u s Th ack er ay sh u n n i n g t his fau l t s ays S he

”
.
, , , ,

to o in o ur a e bu si es h e r se l f on ly wi t h the a f fa i r s o f ki ngs
, g ,

w ai ti ng o n th emO bs equ i ou sly and stately “

S t ate li ly would
”
.

be i n t o l er abl e .

2 64 VI O LATI O N S o r
. EU P H O NY B Y TH E R E P ETITI O N o r W O RDS .

T he n ext vi o l at i
o n o f e u ph on y i s to be fo u n d in th e c a r el ess
r ep etiti on of the same w o r d Th is is a fau l t of v ery frequ en t .

occu rr e n c e an d e v en t he b e st w r i t e r s fa
,
l l i n to i t with n o lit t l e
fr e qu e ncy

Thect Of the concl ud i ng v erb pl aced where it i is most striki ng

effe ,
s, .

— W HAT ELY .

W hi ch ev er it was it was eq u ally bad , .

They exchanged look: of fear ; they looked all arou nd for some chance
O f esc ape
"
.

The war th en began and gr eat cal amit ies befell both p arti es in the cou rse
“
,
”
o f the war .

Th ir amaz m t gr at th ug h it wa
“
e e en , e o s, was not gr eat er than th at of the
stra g r n e .
”

H th b am ki g ; bu t
e en wh ec e n no o ne o had k w no n hi mbeli ev ed th at he
w ul d mak ag d ki g
o e oo n .
”

and — G eat ca e is e qu i ed in the use of

TIre Conj un ction . r r r r
co n nectives Wo ds an d cl au ses must all be j oi ned in c om
. r
posi i on but th e n w a y or c a el e ss w i t e O ft en m l tipl i es the
t u r r r r u
“
c o nj u ncti o n and to an exten t which is highly i ne ph on i o s : u u
ki g a d all hi bl a d all that b l g d t th pal ac ti d
The n n s no es, n e on e o e e, e ,

a d t k with th m th ir tr a u r
n oo a d famili ad ug ht r fug i a
e e e s es n es, n so e e n

str g f rtr ; a d arri v i g th r th y r t d a d await d th appr a h

on o es s n n e e e es e , n e e o c
f H r acli u a d hi army
”
o e s n s .

It is a ch aract e istic r
glish p rose su ch as th at of of O ld -
E n ,

M and e vi ll e C h auc e r and Wycl i ffe to r ep eat the and to ex

, , ,

c ess ; bu t at the p r es e n t d ay such r e p eti ti on is awkw ar d an d

sl o v e n ly S u ch a se n t e nc e as the abo ve may be corrected in
.

on e of two w a ys : fi r st by s u bstit u ting o th er c on nectives ; an d , ,

s ec on d ly by r ec onst r ucti ng i t altogether

, .

B ut — This w or d is O ft en us ed with equ al car el ess ness

 Ea
phony . 245

B u t th D ir ct ry i t ly g r ally all w d t h av b
e e o f th
s no on ene o e o e een o ne o e

w ak t a d m t d i cr d it abl g v r m t b cau it v i c w r d i
e es n os s e e o e n en s, e se s es e e s

gu i d by th p l d r f h v i ct ri w by h g ral wh
se e S en o mi ally
o t e o es on t e e ne s o no n

o b y d it bu t th g r al w ll k w it i mb ility a d w r pr p ari g
e e ; ose en e s e ne s ec , n e e e n

it r u i
s B u t th ug h if Fra c i h av a r public it mu t b ar p ubli
n. , o n e s to e e , s e e c

with apr i d t h it u ati i u h a rm u ly t aggr av at th p ril

es en , er s on s s c s eno o s o e e e

ousness of the O ffice.

” — P all M all Gazette .

Thi h w v r wa afu t il att mp t

s, o e e , s e e . H e did not d esp a
i r h w v r bu t
, o e e ,

tri d th r m a u r
e o e e s es.
”

T he r oad by
whi ch th y trav ll d wa th e e e s e s ame one which had been
trav r d by th army f H a i bal
e se e o nn .
”

T he c o mmon u b ti t u te fo which s th at s r
“
is “
.

H at — This w o r d i v er y u s fu l as
s e an addi ti on al r el ativ e ;
e t o n a cc o u n t o f i ts m an i fold a pplic ati on i t is liabl e to
y
fr e qu e n t r ep etiti on I t has th r ee di ffe r en t ch ar ac ter s : fi r st
.
,

a c o nj u ncti on sec ond ar e l ati v e an d th i r d a d emonst r ativ e , , , .

Th is v ar i ety of mean i ng is i l l u st r at ed by the w el l k now n sen -

t en c e
He i th at that that th at th at ma
sad
‘ ’
n consi dered , was n ot th at that
‘ ’

th ta he m ti d
en one .
”

A v ery c ommon fau lt i s the fo l l o wi n g c onst ru ction

“
It wa q u it v i d t th at th at battl wa d ci i v
s e e en e s e s e
.

H p rc i v d th at th at fi wa th w rk f a i c d i ary
e e e e re s e o o n n en .

B rough am i hi s d efe c e of Qu een C ar oli

,
n s ays n ne,

B u t I d h r p u r f rth my h u mbl u pplicati at th thr

o e e o f o e s ons e one o

m rcy th at th at m rcy may b p u r d d w u p th p p l

e , e e o e o n on e eo e.

Th es re mar k apply als o to c as s wh er e the s am w o r d is

e s e e

us ed u d r di ff r e t fo r m s u ch as a e p r o du c d by i fl ecti o
n e e n s, r e n n

o c om
r p o i ti o in g r ammar
s n

H d id e t t th h u
no u til aft r th r t had t d
en er e o se n e e es en er e .

O ma u p th ir d i p l mati c li t th r ug hly qualifid i

ne n on ul a d
e o s o o e n so n

q ual iti f th
es rv i c
or e se e.
”

W hi ch ag ai gai i g tr gth fl w n w ar d n n s en o s on .

T h s ame faul t i s
e i th r p etiti on of wo r d of the s am
s e ee n n e e s
 E lemen ts R/zeton
'

24 6 o f e .

sou n d th ou gh th ey may be of di fferen t mean i n gs The E ng

,
.

li sh l angu age h as many of th ese which are set d ow n in e ve r y ,

S p e ll i ng boo k n igh t
-
k n igh t red
”
r ead al t ar
,
”
, ,

“
alt e r e tc
”
,
Th ey e xist in all l ang u ages an d fo r mthe b asis
. ,

u po n which are fo u n d ed c e r t ai n figu re s of speec h l ik e par

“
,

o no masia :

I n the ds of is re mi t th m many v ill ages with their p i ct u resq ue cos t umes

mi g htbe seen .

T he cou n wor e an app try m nce of p rosperity , and did not s o h w ma y n

of the effec s of a ea a nd et gr t x haus tive wa r.

”

This fau l t is ridi c u l ed by J u v en al in a l i n e att r ib u t ed to

C ic er o
O fortunatam n at am m e consu le Komam .

Which D ryd en has th u s p araph r as ed

F ort une rt u
fo ned the d yi g
n no es oft R me
o ,

Till I thy consul l consol ed thy d oo m”

,
so e, .

The c ar el ess repetiti on of w ord s of si mil ar so u nd is a fau l t

of the s ame ki nd
H e fe a
f r aid t o m lt
ng e in suc af y
r a i l h .
”

The M ore: Of the pe op e ig see m s ang e, if l m ht tr th ir m t m w r

e o : e e
lt
not a og e e su p s ng
"
th r r ri i .

$ 5 R E
26P ETITI O N o r W O RDS SO M ETI M ES N EC ESSARY
. .

The c as es h e r e men ti o ned n eed n ot be co n fo u n d e d wi t h

th ose whi c h h ave al r eady been con sid e r ed among the it e r at i ve
figur es I n the fo r me r i t is a fau lt ar i si ng fr om c ar el ess n ess ;
.

in the l att e r i t is an orn amen t of styl e d e l ibe r at e ly mad e use o f .

E ven wh ere th ere is n o q u esti on of figu r es the w r it e r may ,

find i t n e cess ar y to r e pe at a w o r d for the s ak e of cl earn ess ,

an d in s u c h c ase s the r ej ecti o n of a good w o r d bec ause it h as ,

j u st been u sed w ou ld w eak en the styl e an d c r eat e obscu r ity

,

I t is alw ays n ec ess ary to empl oy the most p r eci se t e r ms and ,

me r e eu ph ony mu st give way to p er spicu i ty Th e r e are n ot a .

fe w w o r ds for whi ch the w rit e r c an fin d no p r op e r equ iv al e n t s ,

an d he mu st th e re fo r e e m pl oy th ese with gr e at freq u ency or

, , ,

e l se exp r es s hi m s elf in a v agu e and i nd efi n it e man ne r I n .

g en er al w her e any gi ven wo r d is best ad apt ed to c on v ey the

,

w r ite r s me an i ng i t S h o u l d be used ev en if it h av e to be fre

’
,
248 E lements f
o R/tetor ie .

The grass
h c t a d th fru it tr wild , the t i k e , n e -
ee

W hil h awt h r a d h pa t ral g l a tie o n, n t e s o e n ne,

F a t fad i g v i l t c v red u p with l av

s -
n o e s o e e es,

A d mid M ay l d t chil d ’
n -
s e es ,

Th c mi g mu k r fu ll f d wy wi
e o n s -
o se , o e ne,

T h mu rmu r u h au t f fli e u mm r v —K EATS o s n o es o n s e e es.

”
.

The foll owi g p a sag e may se r v e as an ex ampl e of el egan c e

n s

in p r o e c ompo i ti os s n :

I aw h v all y p i g at th farth r d a d pr adi g f rth i t a

s t e e O en n e e en , n s e n o n o n

i mm c a that had ah ug r ck f adama t r u i g thr ug h th mi d t

en se o e n, e o o n nn n o e s

o f it a d d i vi d i g it i t tw
, n q ual part Th cl ud till r t d
n n o o e s. e o s s es e on one

h al f f it i much th at I c ul d d i c v r thi g i it ; bu t th th r ap
o , n so o s o e no n n e o e

p a d
e m av a t c a pl a t d with i u m rabl i l a d th at wer
re to e s o e n n e nn e e s n s, e cc v

r d with fr u it a d fl w r a d i t rw v with a th u a d littl hi i g

e e s n o e s, n n e o en o s n e s n n

a th at a am g th m I c ul d
se s r n p r ondr d i g l ri u h ab it
e . o see e so ns esse n o o s s,

with garl a d u p th ir h ad pa i g am g th tr lyi g d w b h

n s on e e s, ss n on e ees, n o n y t e

s id f f u tai
e o r ti g b d f fl w r ; a d c u l d h ar a c fu d
o n n s or es n on e s o o e s n o e on se

h arm y f i gi g bird falli g w at r h uma v i c a d mu i cal i t u

on o S n n s, n e s, n o es, n s ns r ~

m t G l ad
e n s. gr w m u p th di c v ry f d lig ht fu l a c
ness e on e on e s o e o so e s ene.

I wi h d f th w i g f a ag l that I mig ht fly away t th happy

s e or e n s o n e e o ose

se at —A s. DD ISO N .

2 67 . V I O LATI O N S or E L EG AN C E .

E l eganc e l ik e eu ph ony can be most fu lly c onsid ered by

, ,

obse r vi g the w a ys in whi c h i t is vi ol at ed Th e se are v ery

n .

nu m er o u s an d i t wi l l on ly be nec essa
, ry in this pl ac e to notic e
the m ost c on spicu ou s .

A FF ECTATI O NS
2 68 . .

r . E l egance is vi ol ated in the fi rst pl ace by v ari ous affec t a

ti on s .

I st. E xcla atzo m m .

— In o r di n ary co mpo si tion th ere is so me
ti mes an affect ati on of feeli ng in the use of e j ac u l ati on s , s uch
” ”
as oh 1
, alas 1 as

But who can oh l t ll e pangs th at rend the h eart

the
M an was o g n a ri i lly cr eated p u re and h oly b u t al as l ,
”
etc.

i nt erj ec tion sh ou l d be u sed b u t sp ar i ngly and th en only

The ,

wh en the ci rcu ms t an c es ful ly j usti fy its use .

2 d Str ong E xpr essb m — A noth e r afl ec tatio n is fou n d in the '

. .

use of exp r es si on s th at are str ong er th an the s u bj ect wi ll war

rant Tho se w r i t e r s who h abit u ally d eal in extr av ag anc e offen d
.
 E leg ance . 2 49

the c u l ti v at ed read er A t en d ency to this is fou n d in some of

.

the p o l i tic al w r iti ng of the p r es e n t d ay and to o oft en in the ,

so c a
-
l l ed T emp e r an c e l it e r atu r e wh e r e a g ood c au se is ia ,

j u r ed by the i n t e mp e r an c e of its adv oc at es I n t o x ic ati ng .

li qu o r s ar e fr equ en tly all u d ed to in an off h an d way as liquid“

,
-
,
”
fire and “
d is til l ed d amn ation th os e who d eal in th em as
ru mselling mi sc r ean ts or beetl e b r ow ed mu r d er er s an d
” “ -

the bu si n ess i ts el f as the i n fe r n al t r affic T he s am

“ ”
e extra v .

ag ant styl e is s o meti me s fou n d in o r di n ary n arr ativ e as

T he bl ood thirsty tyr ant at the h ead of his feroci ous l eg i o ns
, , ad v anced
with t erri fic speed i nt the mi dst of the pan ic stricken peop l e
o -
.
”

3 d i
F e lV t g
n r.z zn —Th e
' '

. re i s als o the afl c tation of wh at i c o n '

e s ~

sid e red w r iti ng

fin e n ,
r esu l t i ng i a styl fu l l of w eak timen
e se n

talism s ta wd ry epi t h e ts e tc T he c omp ositi on is s tu ffed with

, ,
.

such ph r ases as b al my zephy r ”

azu r e ski es
”
h eavi ng bi l
, ,

l ows “
,
”
so ar i ng al o ft expe r i enci ng ago ny too g r eat fo r ut
“
,
”

and all the cl apt r ap o f the hyst e r ic al sch oo l Th e r e

”
teranc e ,
.

are ci r cu mst an c es u n d e r wh ich in acc o r d anc e with the h ack ,

n e ed ph r a ng u a r e to e xp r ess on e s
“ ’
y s e l a g e ,is e ally i nad e qu at
fe eli ngs
”
Bu t in ge ner al l angu age c an be fou nd if o ne s eeks
.

fo r it and the b est way to s u cc eed is to r es erv e all fine w o r d s ,

as w el l as all s tr ong w o r d s fo r the p r oper o c c asi ons Wh

,
en .

a w r it er u s es h igh fl o wn w o r ds o n c ommon sE jec ts he wil l

-

h av e nothi ng l eft with which to app r o ach el ev at ed th emes .

H e wi l l w ast e all h i s r eso u r c es an d the v e r y w o r d s th ems elv es ,

by mis u s e wi ll c eas e to h av e for himt h ei r p r op er meani ng

, .

MAN N ER I SM 2 69 . .

2 .A noth er vi ol ati on o f el eg an c e is fo u n d in mann eri s m .

Thi s is the h abi t acqu i r ed by aw r i t e r o f u si ng c er t ai n fav o r i t e

w or ds or ph r ases too fr equ e n t ly I t must n ot be c on fou n d ed .

with man n e r wh ich i s v e ry mu ch the s ame as styl e an d

“ ”
, ,

which of c o u r se b el ongs to ev er y w r i te r .

Bu r k e was fon d of u si ng the i mage l oosi ng the r e i n s

“
,

po u r i ng fo r th the r e i n s d er i v ed fr o m l ax as haben as an d
” “
,
”
,

o f V i r gil H is h abit of ext r av ag an t

”
efl u n d e re habe n a
'

s ,
.

p rai se in whic h he h e ap s u p the s t r o nge st po ssibl e as se r ti o n s

,

in fav o r o f h i s su bj ec t is li abl e to the s ame ch arg e

,
This may .

be il l ust r at ed by h is e u l ogy o n S h er i d an M ac au l ay s fr eq u en t ’
.
2 50 E lement s o f Ra
etor ie .

all usi on s to the a t tai n me n ts of a sch oo lb oy be l ong to t he sa e m

cl ass H is mod e of sayin g th at c ert ai n t h i ng s are w el l k no wn
.

i s, E v e ry sch oo lboy k nows it

“
D ick e ns freq u e n tly r epe at s
.

so me pe t e pith et or ph r ase C ar lyl e l o v es to r ei ter at e fav o r i te

.

t er ms , n ames, and s ayi n gs the e ter n i ti e s,

” “
the in finities,
”

“
subli me, ki ng of me n i n d eed , he s u rp asse s all oth e r w r it
” “

er s in this r espe ct an d h is v ery styl e, so e lliptic al and ab rupt,

i s O f i ts el f c o nsid e red by so me as a man neris m, bu t fro m s u ch
a r ep r oach its g r eat el oq u e nc e and vigo r m u st fu l ly red eemi t .

E me r so n u ses sh al l wh ere o th e r w r i t er s p u t wil l , may,

” ”

or might he is fo nd of r emot e all us i ons , and me ntions the

V ed as o r B r ah ma wh e r e oth e r wr i te r s wo u ld be c o n t e n t wi t h
mo r e fami l i ar d oc u men ts and d ei t i es The term man ner is m .

has b ee n appl i ed to Byr o n s m i san t h ropical exp r es si o ns ; to

’

P oe s i n c e ss an t re petiti o ns and ech oe s o f w o r d s ; to Wo r ds

’

w ort h s affect ati o n of b ald l i t e r al ne s s to B r ow ni ng s ro ugh ,

’ ’

abr upt p au se s and el abo rat e obscu ri ti es Bulw er es peci ally .

,

in his e ar l i er no ve ls , d eligh t ed in r i ngi ng the c h ange s on

the
“
r eal and the id eal , and D is r ael i fil l ed his fic t i ons
“

with pomp and spl end or ; and , l ik e the exh au stl ess E as t ,
wi th r i c h est h and , sh ower ed on his ki ngs b arb ar i c pear l and
g ol d .

By man ner i s m is n ot mean t the pec ul i ar di al ec t or formof

exp r essi o n wh ich a wr i t er m ay ad opt bu t the ex c essi v e use ,

of fa vo rit e fo r ms Th es e th ough exc ell en t wh en u s ed mod er

.
,

at ely bec ome abl emish wh en u s ed too fr equ ently

, .

2 LLOQ U I AL I SMS
70 . CO .

3. C o ll oq u i al is ms h av e a p l ace in c ert ai n d ep artments of l it

era ture n am e ly fa
, mi l i ar and h u mo rou s w r i ting ; b u t in gr ave
,

c ompo siti on th ey are obj ec ti onabl e Th ey consist of the fol .

l o wi ng
I st C o n t ra
. c ti ons gener al ly which form so st ri ki ng a dis
,

ti n cti o n be tween c onv er s ation al an d l i te rary E nglish ; as

I am
,

I m n ot
“ “ ” “
for ’
he s g oi ng ” “
he is n t
,
” ’
,
’
,

we re ’ ” “
yo u r e
,
’
they r e
,
’ ”
,

zd V ar i o u s exp r essi on s espe ci ally vu lg ar is ms su ch as

.
,

most fo r al most ,
“
l ik ely fo r pe r h ap s as I f the
“
,

far m
,

e r ha s lik e ly o n ly a few boo ks he is c on t e n t .

3 d T he o m
. is si o n of the r el ativ e p ron ou n s an d of the c on ,
2 52 E lemen ts o f R/cctor ic .

the f eed o r mof c onv ersation Th ac k eray h ave in . S t e r ne and

d ulge d in th is styl e and are the mo s t success fu l of th os e who
,

h av e at tempt ed it H e r e th at ki nd of sl ang is al l o w abl e which

.

is u s ed in good soci e ty an d which r an ks with c ol l oqu i al is ms ; ,

to c o me to g r i e f to go to g r a
“ ” “ ” ”
as , to g o to the d ogs ss , , ,

to be used u p
“ ” ”
to be k n o ck ed o n the h e ad
,
.

Towrit a b k a arti cl i ith r c u try (E gl a d A m ri ca)

e oo or n e n e e o n n n or e

lik ly t i j u r h f li g f p p l i h th r i w c i d r d a
e o n e t e ee n s o eo e n t e o e , s no o ns e e

rath r d i r pu tabl thi g d I E gl a d it i t c i d r d i g d

e s e e n to o. n n n s no o ns e e n oo
f rm i A m ri ca it i
o n t c i d d a ith r a mart thi g
e th
s no on s ere s e e
‘
s n
’
or
‘
e

s traig ht thi g Th lit rary B d ui

n .
’
i g thi tat f thi g at h m
e e e o n , se e n s s e o n s o e,
i r d uc d t h p ai fu l alt r ati v
s e e o t f b i g ith r g d at u r d
e n il t e n e O e n e e oo -
n e or s en .
”

—P a11 M all Gazette .

ANT 2 72 . C .

5 C a.n t w a s o ri gin a lly appl i e d to r e ligi ou s s u bj e cts ; b u t ,

l ik e sl ang it has att ai ned a mo r e ex t en d ed sig nific ati on

, .

Th e r e is n ow not o n ly r el igi ou s c an t bu t also c an t p oli t ic al ,

an d p rofessi o n al t empe r an ce c an t an d the can t o f the n ew s

, ,

p ape r s O f th e se r eligi ous c an t i s the most famili ar i t eon

'

.
, .

s is ts of the use o f the l an guag e o f S c r ipt ure o r the ph r as es an d ,

fo rmu l as of r eligi on in c o nnec ti on wi th the affai rs of e v e r y d ay

,

li fe I t i mpli es hypoc r isy or at l eas t i nsi nc e r i ty on the p art

.
, ,

of the S pe a k er .

O th er ki n d s of c ant c on si st of the i rr ev e r en t appl i c ati on o f

l ofty ph r as es the fami li ar use o f high so u nd i ng maxi ms and
,
-
,

the lik e Th u s po li tic al c an t is i l l ust r at ed by s uch exp r essi on s

.
,

as free and e n light e ned ci t i ze n

“ “
gr eat and gl o r i ous c o u n
t ry t ru ly l oy al “
libe rt y fr at ern i ty and eq u ality a man , ,

an d a b r o t h er “
gl or i ou s c onsti tu ti on “
the bi rth r igh t o f an
E nglish man “
the fr ee a n d en light e ned A m er ic an t empe r
“ “
an ce c an t by the gl o rio u s c au se
,
ki ng al coh ol “
the
po iso no u s c u p “
the acc ur se d tra fli c ; n ewsp ap er c an t by ,

the free an d p at r i o t ic p r e ss ; abl e edit o r

“ ” “ “
e n light e n ed

co rr espo nd en t h er e the r epo rte rs are active the h ot e l

c l er ks obligi ng ; a co n ce r t c omes O fl with g r eat écl at a
“ “ '

l ec tu re if stupid i s ch ast e and if p r et en ti o u s is el oqu ent

, ,
“ ”
, .

C an t and sl ang are o ft en c on fou n d ed bu t th e r e is an esse n

tial di ffe r en c e be tw een the two which c an be very S i mply set ,

fo r th S l ang is the el evation of wh at i s low; can t the d egra

.
,

dati on of wh at is h igh .
 E leg ance . 253

C an t is al w ays offen siv e, bu t esp eci al ly eligio s c an t Th is r u .

o ffe n ds m o e th a n the t a r
s te, fo r it sh ocks the eli gi o u s sen si r ~

bility and the s en se o f t u e v e n e ati on om e ti me s a p each e r r . S r r

may be fo u n d who, i n stead of b i n gi ng c an t i n t o c ommon li fe, r
i n t r od u c es sl ang i n t o the sa c r e d d esk : as

G iv
me two li v e men and I ll run thi s ch u rch
e ,
’
.

T he q u esti o n o f the d ay my br ethr en is n ot H ow are y ou r p oor t ’

, , fee ?
b u t H ow are y ou r poor soul s ? ’

V UL GAR I S M S 2 73 . .

6 V u lg aris ms o f all ki nds i cl udi ng p r ovi n ci al is m an d s ol e

.
,
n s

c ism s a e g r oss offe nc e

,
r M ost of th es e n eed ot be n amed ; s . n

bu t a c r t ai n cl ass of afl ec tation s c o me u d e r this h ead an d

'

e n ,

d ese rv e a b r i ef notic The us f p r et en ti ou w o r ds i s v u l

e . e O s ~

g a r; as Whi l e th,es e e v e n ts w e r e t r an pi r i g fo occ ur s n ,

”
r
“

ri gn d mi e fo “
d ath
e s e v e n tu a
, te r i au gur ate
“
e
“
n
“
r li abl fo t ru stw or thy ; th is s ecti on ; en d o r
e
“
e,
”
r fo se,
”
r

app r o v e .

S omet i mes low and d eg r adi ng exp r es i o s a e u s d v en by s n r e e

th be t w r i t e r
e s Bu r k e n v e r sh r an k from s ayi ng a yth i ng
s . e n .

Fo r ex ampl e ,
he s ays
Th y a t r p ll d thr ug h a fa ti d i u d li cacy at th t ch f
e re no e e e , o s o s e , e s en o

th ir arr ga c a d pr u mp ti fr ma m dici al att ti t th ir m

e o n e n es on, o e n en on o e en

l bl tch a d ru i g r ”
ta o es n nn n so es .

Thi migh t h av e b een l ess disgu sti ng and equ ally st r ong
s .

O f th s ame n at ur e i the i mag of Lo r d C h ath ams ad min is

’
e s e

t ati o
r piggi ng t og eth e r in the s ame t ru ckl e bed
n, an d th at -

s til l mo r e famou o e o f M r D u d a wi th h is E ast I n di abills

s n . n s, ,

exp os ed lik e the i m p er i al sow of au gu ry

“
.
2 54 E lemen ts f
o R/zetor ic .

C H A PT E R I I I .

TH E H A R M O N I O U S A RR A N G E M E NT O F W O R D S .

2 7 4. H ARM O NY I N TH E AR RA NG EM EN T O F WO RDS R EQ U I R ES

BOTH EU P HO NY AN D ELEG AN C E .

WE h av e next to con sid er h armony in the arr angemen t of

w or ds .

The words must not on ly be w el l ch os en b u t th ey mu st also ,

be w el l ar r anged ; oth erwis e the m ost m u si c al coll ec tion may

be i n h ar mo n i ous in the gene r al effect .

H enc e eu ph ony and el egance mu st both be so ught after .

E l eganc e in sen tenc es exi sts whe re the wo rds are wel l ch osen ,

and so arr ang ed as to grati fy the t as te .

Eu ph ony in s entence s exists wh e re the gener al arrangemen t

o f the w o r ds is su c h a s wil l gi v e pl eas ure to the ear and wi ll ,

s erv e to ad o r n the s enti men t .

I n the fo l l o wi ng p ass age fromK i ngl ak e s Eo th en the w or ds

’

are all eu ph oni ou s an d the arr angem

, en t is fu l l of h ar mony :
myst ery of h oly shrines li es deep in h u man nat u re For h owever
The .

the m ore sp irit u a l mind s may be abl e to ri se and soar the commo n man ,

d uri ng his m o rt al car eer is t ethered to the gl obe th at is his appoi nted dwell
ing p l ace ; and the m or e his a fl ec tio ns are pu r e an d h oly the m o re th ey
'

-
,

seem to b l en d with t he ou tw a rd and v isi bl e worl d For me n strong ly

.

mo ved by the C hri sti an faith it was n at u ral to yearn aft er the scene s of the
G osp el narrati v e . I n old ti m es thi s fee li ng had stren gth to i mpel the c hi v
al y o f E u r o pe to u nde rtak e the co nq u est of a barren and d i st an t l and ;
r

an d alth oug h in l at er d ays the a gg reg at e faith of the n ati ons g rew chill and ,

C hri st end om no l onger cl ai med with the sw or d till th ere w er e always

, s

man y who w ere willi ng to brav e t oil an d d anger fo the sak e O f attaining to
r

the act u al and v i si bl e Zi on ”

.

Th er e are s ev er al I opic s ar isi ng out of thi s subj ect which are

w or thy of att en ti on Th es e r e fe r to the arr ang emen t of wor ds
.

and of cl au s es and wi l l be c onsid er ed in or d er

,
.
2 56 E lements f
o l tar fa .

A nd ag ai n

t r ity f d ad matt r p hil phy

The e e n o e e oso .

S uch c on st ru ctions a e not in ac c or d ance with the geni us of r

th E ngl i h l a gu a
e ge s n .

Th t gr at di ta c f th city p r v t d himfr marriv i g

e oo e s th n e o e e en e o n on e
me day .
”

B tt r ay Th d i t a c f h ci ty wa t gr at
e e s : e s n e o t e s oo e , etc.

Th y hav aby fa l arg r p pu l ati

e e r e o on.

B tt r A larg r p p ul ati by fa
e e e o on r.

mp s asomr coxsr auc r toxs 2 77 . . .

d I mp e r so na
l c o n st ru cti o n s are som et i me s i n el eg an t
3 . .

Th ese wh e n p r op er ly u s ed are el eg an t and fo r cibl e as

, , :

“
It i g ! th at s ib ility f p ri ci pl th at ch a tity f h r whi ch
one sens o n e, s o ono ,

f lt a t ai lik aw u d —B URKE
”
e s n e o n . .

But the fol l owi ng are v ery d ifferen t

“
It i k w t all p r
s no th gr a nt uff ri g th at n u d immdiat ly
o e so ns, e e s e n e s e e e

aft r th d cl ar ati
e e f wa e on o r.
“
It mad g r at d i t ur ba c that acti f hi am g th p pl f th
e e s n e, on o s, on e eo e o e

d i tri c t
”
s .

5 A P P ENDED C LAUS EZS 2 78 .

- .

4 th C l au ses i n s erte d as a n aft er t h ou ght g ener ally i nt erfere -

.

wi t h the h ar mon i ou s arr angemen t of sent e nc es as

Th u by thi s s campai gn if by nothing el se he sh ow ed that
, , in m a ilit ry
geni us he wa
s the gr eat est of men—that is at l eas t of the men , , o f his own

age
3?
-

U nder his rei gn E ngl and was more prosper o us th an at any o th er ti me

in the S ax on era and thi s may e v en be fav o rably comp ared with l at e r pe
,

ri ods maki ng all ow ance of cou rse for the inferi ority of the worl d generally
, , ,
—th at is in ci v ilization , .
”

th ese s en tenc es there i s a n atu r al end aft er wh ich some

In ,

additi on al th ought is appen d ed w hi c h s erv es to gi v e the wh ol e ,

an air of i nc om pl et eness .

2 7 9. EXP LANA TO RY w orms .

sth . Too many expl an atory w or ds are a fau l t s u c h , as

of c o u r se th at i s as is n atural,
” “
This giv es an air of ,
” “
.
”

disl oc ati o n to the wh ol e sentence and n ot u n fr equ en tly d e ,

st r oy s its effect .
 A r r ang emen t of Wor d s .

2 80 R E P OS ITI O N S
. P .

P r ep osi ti ons are

6th . someti m es s ep a r at ed from the w or ds
which th ey gov er n
Thi t at f thi g u l d t c ti u l g f th p pl w r b th
s s e o n s co no on n e on , or e eo e e e o
d i gu t d with a d
s s e rag d at hi tyr a y
n en e s nn .
”

B tt r \V r b th d i gu t d with hi tyr a y a d rag d at it

e e e e o s s e s nn n en e .

I f h b y had b
t e ol b ti at h mi g ht h av cap d f th j udg
een ess o s n e e e es e , or e es
w r pl a d with a d aff ct d by hi fra k a d y u th
e e e se n e e s n n ess n o .
”

B tt r W r pl a d with hi fra k a d aff ct d by hi y u th

e e e e e se s n n ess n e e s o .

281 . TH E V A R I AT I O N
NNE CTIV ES or CO .

2 Th er e a
. re m any w ay s o f j oi n i ng w or d s an d cl auses t ogeth e r .

O f th ese the most c o mmo n is the c onj u n cti on

,
“ ”
an d ; b u t
si n c e the fr equ e n t r ep eti t i o n of this w o r d is i nel eg an t i t be ,

c o mes nec ess ary to v ary the c on n ecti v es as mu ch as p ossibl e .

L angu ag es di ffe r in thi s r esp ect I n G r eek th ere are n u mer .

ous c o n n ecti v es o f which the p a , rticl e Be i s u sed to an ext en t ’

not a l l ow abl e in o th e r l angu ages and no t t r an s fe r abl e t o E ng ,

l ish L at i n al th o ugh p osse ssi ng man y c o nj u n c t i ons d oes n o t

.
, ,

t o l e r at e t h ei r u nd u e r ep eti ti o n The b est w r it er s see k oth er .

mod es of bi n di ng cl au ses an d sen t en c es t ogeth er ; and so ad

mi r abl e ar e t h ei r d evic es to this en d wi t h r el ati ves p ar ticipl es , ,

an d adv e r bs th at the stu dy o f th em is o f g r e at b en efit to the

,

E ngl ish w r it er I n E nglish as in L ati n p er p etu al v ar i ety in

.
, ,

th i s r e sp ect i s n eed ed an d i t sh o u ld be the aimof e v er y o n e to

,

find o ut an d pu t in p r actic e the di ffe r e n t w ay s in which thi s

c an be effe ct ed O f th es e t he fo ll owi ng are the most c om
.
,

mon
N ow, for an d
T he b ility and the cl ergy w er e both opp osed to his cl ai ms an d cre
no ,

at ed a str ong oppositi on ; an d he at firs t p r et en d ed to fav or each o as t ,

s o

w eaken the h ost ility agai nst him bu t he at l eng th threw off the mask,
.
”

By putti ng a ful l st op afte r o pp osi tio n an d ch ang ing the fol ,

l o wi ng an d i nt o n ow a g r e at i mp r o v eme n t wi l l be mad e
” “
,
.

N or

T he p ro pects of P r ot est an ti sm in France an d B el gi u m a e cert ainly

s r

n ot fl att eri ng an d in It aly th i mp arti al mi n d c ann ot as yet fin d mu ch en

e

courage ment .
”

B tt r
e e N or in It aly can the i mparti al mi n d.
 2 58 E le mnts
e f
o R/ze tor ie .

A us tria and P russi a and the wh ol e bod y of the German states precip
,

hated th em
,

sel v es u po n thi s fee bl e king d om

”
.

Bet te r : A ustria and P russia with the whol e bod y of the German states
,
,

etc.

in It aly th c t f armam t
e os o en s is d es tr yi g th
o n e coun try .
”

B tt r whi l i I taly
e e : e n .

F rance and It aly w ater is oft en unwholm me and wine is the only
In ,

bev erage and in E ngl and beer and port er are the few l ux uri es of the farm
ers and l aborers ”
.

Better even in E ngl and

: .

The p arti c ipi al c on s tr uc ti on

The na ti ron ose, a
nd gre w to wond erfu l power , and s uddenly decl ined .

The p articipi al const ru cti on may be substit u t ed h er e ; th u s

The naion t rose, and af e t r g wi g t w
ro n o o nde rful p w r o e s u dd enly decli ned .

v aw m i t: r un c a us es
282 . .

3 T
.h e cl au se s sh o u ld n o t be o f equ al l e ngth ; bu t l o ng and
sh o rt sh ou ld be i n te r mi ngl ed so as to fol l o w in h ar moni ou s ,

s ucc essi on This is il l u st rated by the fol l owi ng p ass ag e

.

Th e cou rse of his t ory is like th at of ag reat ri ver wand eri ng throug h va o

ri ons cou ntri es now in the i nfancy of its cu rrent coll ecti ng its wat ers fro m
, ,

obscu re sm all sp ri ngs in spl as hy mead o ws an d fromunconsi d ered ri v u l e ts ,

whi ch the ne ig h bori ng rusti cs do not k now the name of ; n ow in its boister ,

ou s y o u th forc i ng its wa thr o u g h mou n tai ns ; n ow in mi dd l e li fe go i ng

, y , ,

with eq uabl e cu rrent busily by great t ow ns its w aters sulli ed yet enrich ed ,

with commerce ; and no w in its bu rdened old age maki ng its sl ow and dif
, ,

fic ult way with g reat br oad su rface ov er whi c h the d ecli n ing sun l oo m
, , s

grand ly to the sea —S m ARTH UR H aw s

, .
”
.

A ses of cl au ses of eq u al l ength t en ds to monoto ny ; and

ri e

th at v ari e ty wh ich is an essen tial to h armon i ou s di cti on c an

o n ly be fo u n d wh e r e the m em bers of a s en t en c e exh ibit di ffe r
e nt d eg r ees o f l e ngth a nd of r hyth m I n the p as sag e j u st .

qu ot ed thi s is v e ry pe r c eptibl e .
2 60 E lements o f M ar ia .

u n d en i abl e beau ty of su c h t ermi nation s has led so me to

Th e
lay it d ow n as a law th at a se n t ence o ught ne v e r to t e r mi n at e
wi th a sho rt w or d espec i al ly if it be a p r eposi t i o n an d fo r ex
.

ampl es of faul ts in th is r espect th ey offe r su ch se n t en c es as the

fol l owi ng :

It i a my t ry w firmly b li v th tru th f a d h umbly ad r th

s s e e e e e e o , n o e e

d p th f
”
e o .

So me of the best E nglish au th ors h ow ev e d o not at all oh ,

r,

j ec t to such t ermi n ati o n s T he fo l l owi ng a e tak e n fro mA d . r

dis on
Th y a v ry hardly br ug ht t r gar d a y tru th h w i mp rta t a
e re e o o e n , o o n o
v r it may b wh th y k w that th r a v r al m f fi h u d r d
e e e, en e no e e re se e en o ve n e

ay ar wh d
e b li v it o o no t e e e .
”

G r at
“
h l ar that a f r v r ar a ri ght u d r ta d i g a d will
e sc o s re o e e ne n e s n n , n

nev r arri v at it
e e .
”

Th fh r which h d m trat d i that acti wa w rt h all

e se nse o ono e e ons e n on s o

th l a r i g i he w rl d with u t it ”
e e n n n t o o .

A l xa d r b i g a k d i hi y u th t c t d f a priz i th O l ym
e n e , e n s e n s o o on en or e n e

pic gamea answered he would if he had kings to r un a a

g inst hi m .
”

The t ermi nati on by a p re po si ti on is also co mmon .

Fox s ays
Th at f li g which party ca t di p
ee n u f n no s ossess s o .

Ri v u l t ay H l p whi ch th ig h b ri g ru ti d
e s,
”
s s e s, e ne o n s cs o not k no w the
am f
”
n e o .

Such a f w p r h av aj u t i d a £ —B a H
s e e so ns e s e o
”
lG T.
T h i d u l g c which I b g a by tha ki g y uf
e n en e —E e n n n o or . RS K !N E.
H ha e family r tu r t
s no E to e n o .
”-
RS K I N F.

T he t ru th
t h at the ge i u s of th E ngl ish l angu age is in
is n e

fav o r of th is c o tr uc t i on I t may be fou n d co nst an tly in

ns .

mo c o v ersati o w hen to ad e pt the o t h er fo mw ou ld be co

n n n, r n

sid ed ped a t ic
er I t is vigoro u a d idi omati c and al t og eth er
n . s n ,

E ngli h The oth er may be con id er d as d ue to L ati i fl u

s . s e n n

e ce a
n nd it p r e v a
,
ils ch i fly amo g th o e who use a L ati nized e n s

s tyl e .

S ometi mes the littl e word is avery st ro g and emph atic o ne n .

T h E g l ish l angu age is l arg ly mad e up of uch w o r d and

e n e s s,

so m o f t he m
e al l est h av e the g r eat t fo r ce
s es .

N or is it in any way a vi o l ati o n of th at euph o ny which is

so ught afte r mr r
by the ad i e s o f a ati n i zed styl e Wh en we L .
 Tr ans it ion s . 26 I

j udge n ot by th e eye, b u t by the c ar we s hall fin d th at the ,

mu sic al effect O f o ne or two sh o r t u n acc e n t ed w o r d s at the en d

o f a sen t en c e is p r e cis ely the s am e a s th at O f o n e o r two u n

acc en t ed syll abl es Thu s ouut acc o n of it in e uph ony is

by m a i t
.

,
the sa e m as c omp an y ; ”
e n s of h as the sa me e u

ph o n ic effe ct as a
t r gedy ,
” “
e
ben ficen c e, or an y ot h er d ac

ty lic w or d ; “
t ruth of,
”
d epth of, are t r och aic and are equ al
,
I I
in t o ne vi r tu e
to good ness ,
”
.

I n fo r mi ng t he c o n cl u si o n s o f cl au s es or s en t e n c es i t w o ul d ,

be a gr e at mi st ak e to seek alw ay s for sono r o u s w o r d s It .

might be t ol er abl e in or atory o r el ev ated w r i ti ng but i t w o u l d ,

be al most c e r t ai n to be t edi ou s A s in the c o u r se O f the sen .

t e nc e l ong an d sh or t cl au s es mu st be i n t er mi ngl ed so at the ,

cl ose th er e sh o u ld be su ch a r hy th mic al t er mi n ati o n as may

b est c on d uc e to an el eg an t v ari ety This is es se n ti al to t r u e .

h ar mony and afte r all i t is b et t e r to be ev en r ough an d h ar sh

,

t h an effemi n at e langu id or mo noto nou s

, ,
.

C HA P T E R I V .

TR A N S ITI O N S .

285 H ARM O NY I N G ENERAL . .

E LEGAN C E of s t yl r efer s ot o ly to th ch oic e an d arr a g

e n n e n e

me t O f wo r ds b u t al o to th man ag m t of the w o r k a a
n , s e e en s

wh o l e its i t rod u cti o th t at e me t of t h d i ff r e t argu m ts

,
n n, e s n e e n en ,

an d the t r an si ti o n fr omo t opic to a oth er ne n .

I N TR O DUCTI O N 2 86 . TH E .

T he i n t r od u cti o wil l be mo r e fu l ly c o sid e r ed u d er the

n n n

h ead of meth od an d eed bu t a b r i f otic i th i pl ac e

,
n s e n e n s .

A el g a t i n t r odu cti n i
n e n i th er too ab r u pt o too mu ch
o s ne n r

p r ol o g d I t i s ma ag d i uch a way th at the r ead r i

n e . n e n s e s

d r aw o n gen tly a d g r ad u al ly t w ar d th d i c us xo of th
n n o s e s s n e

subj ect T h w r it e r who is most c on spicu ou s f easy grac e i

. e or n

th i r e p ect i s A ddis on
s s .
26 2 E lement s f
o Rfietor ie .

2 8 7. TRANS ITIO N S .

The s ame c are must be ex ercise d in the i ntrod uc tion of the

v ari o u s d ivisi o n s of argu men ts an d the wr it e r must stu d y the
,

bes t way by which the att en ti o n of the r ead er may be t r ans

fe rr ed from the co ncl u si on of o ne t opic to the begi n ning of
an oth e r. This is c al l ed t r ansi ti o n .

I n did actic or sci e n tific w o r k s the ch i ef an d i n d eed the sol e , ,

c o nsid er ati o n is pe rspi c u i ty an d h ere the p r esen t ati on of t opics

,

sh o ul d be a s di r ect an d s tr o ngly m ar k ed as possi bl e T he d i .

vi si o n s an d su bd ivi si o n s also sho u ld be mad e v ery p romi nen t ,

and e v ery n ew ar gu m e n t sh o uld be d is t i n c t ly and c l e ar ly stated .

Bu t in th os e w ri ti ngs wh e r e the high e r qu aliti es of styl e are

so ugh t aft e r a di ffere nt co u r se mu st be ad opted I n th e se the .

ar gumen t mu st of cour se be c are ful ly e l abo rat ed an d m ad e as ,

e ffec ti v e a s po ss ibl e ; b u t the divi si o ns o f the subj ec t m u st be

so m an aged th at the r e ad e r may p ass from o ne to another
wi th ou t too much ab rupt nes s .

A b r u pt t r ansiti ons are fou n d most freq u en tly in sermo n s I t .

o nc e wa s the com mo n fas hi on for the p reac h e r to st at e the

wh ol e argu men t at the o u tse t by way of i nt r od u c ti on a c ou rse ,

th at has bee n fol l ow ed bu t se ld omi nd eed in any oth e r S peci es

o f co m po si t i o n This p r ac ti ce is not so c ommon now but it
.
,

is by no mean s gi v e n u p A no t h e r fashi o n eq u ally i nel egan t

.
, ,

sti l l p rev ail s : i t is a t r ansi t i o n to n ew t opi c s by mean s o f the

w o r d s sec on dly ”
th i rd ly
, fo u rt h ly etc
”
, T he p rac t ic e i s
"
, .

so c o m mo n t h at obj ec t i ons are seld om or nev e r mad e ; yet

no public l ec ture r or j o u r n a l ist or mag azi ne w rite r or es sayist
w o u ld thi nk of ad op ti n g it as a ru l e nor wou ld any adv oc at e ,

before aj u ry or any P ar l i ame n t ary o r at or

, .

2 88 TII E FO RMAL TRANSITI O N

. .

T he tran si t i on may be c o sid er ed a of two ki nds

n s : fi r st the ,

fo r mal an d sec o n dly the el eg an t

, , .

T he formal tr ansi tio n is ch ar ac t e r ized by the e m pl oy me n t of

c ertai n w o r ds or forms o f speech by which it is d i r ectly an
no un c ed . Th ese are app rop ri at e to did ac t ic sci e n t ific an d , ,

argu me n t at i v e w o r ks an d c o n sist of such t e r ms as th e foll o w

,

ing : Fi r st ” “
,
s ec o n d ly thi r dly e tc ; ag ai n
”
,
” “
y e a m ,
o r e
”
.
, , ,

“
o nc e m or e
” “
, mor eover ” “
besid es ” “
b u t th is is not all
, , ,

and fu rth er .
2 64 E lements o f Rfietor ie .

He r e let us r t ac th m
e r e e c rse o f onr s e p culations , l t th r ad r
es e e e sho ul d
suppose us to b wa d r g
e n e in .

A mor e e l egan t ex ampl is fu rn i sh ed by the s ame au th or e

,

who aft e r al o g digr e ssi o n u po G e rman p r ose A cts of P ar li a

, n n ,

m n t M r Pi t t Ar i ad ne s cl ew a d the t r icks of a fu n ambu l ist

e , .
,
’
,
n
,

r etu rn s at l ast to his p ro pe r su bj ect wi th th e se w o rds

W mi g ht h av mad
e u r ad r m rry with th p i ct u r
e f G rm
e o a r e e s e e e o e n
pr ose,bu t w mu t t li g r It i
e u gh t ay th at it fl
s no th c u
n e . s eno o s
'

o ers e o n
t p l t th
er o e Fr c h ty l
o e Bu t th fau lt —a th y i practic
en s e. ese s re e n e so
w ari m a d x hau ti g a w hav d crib d th m?
e so e n e s n s e e es e e

ARA G RAP HS 2 90 . P .

P ar ag r aph s are the s mall e r po r ti on s i n t o which co mposition

i s di vid ed an d eac h o n e is us u al ly oc c u pi ed wi th a subo r di nat e
,

head of the ar gu men t The wh ol e s u bj ec t of tran sition has .

th e r efo re an es peci al referen c e to th e se .

Bu t the p ar agr aph has al so o t h e r u ses for i t has grow n of ,

l at e to be a disti n c t d ep artme n t of w riti n g and is now al most ,

as i mpo rtant to the n ewsp ape r as th e l eadi ng ar tic l e It is .

u sed chi efly for the fol l o wing p u rposes :

To giv e i nt e ll ig e nc e .

To answer an oppo nen t .

To gi v e the esse n c e of an argu m en t .

To attack .

To d efen d .

The i m po rt an ce wh ich i t has ac q u i r ed c au ses it to receiv e

S peci al att e nti o n and the good p ar agraphist i s as mu ch ap
,
”

rec iated a nd a t t he sa me ti me a s rar e a s the good es s ayi st

p , , .

N C LUSI O N 29 1 . TH E CO .

F rom the exampl es abo v e gi ve n i t wil l be seen th at tr an si ,

ti on s fr omo ne to pic to anoth e r r e fe r n ot on ly to the in trod uc

ti on s of p aragr aph s bu t also to th ei r c on cl u si ons I n add i
,
.

ti o n to th ese at ien tio n mu st be paid to the g en e r al concl u si on

,
.

A n el egan t tr eat m en t of this req u i r es th at i t sh ou ld be n eith er

too form al nor too ab r u pt n or too g r eatly p r o t r acted
,
T he ,
.

w rite r who ai ms to i n t rod u ce his subj ect with an att ractiv e

ca se wil l s ee k a l so to wi thd raw it in s u c h away as to l eav e a
pl eas in g i mp r essi on .
 Wor d P ain tin a d O ma a
p za
'

g n no to ’
. 265

C H A PTE R V .

WO RD PA I NT I NG A N D O N O M ATO PG ‘II A .

A I NTI NG 2 92 . W O RD P .

R H ETO R I C und er i ts c onc eptio n as bel l es l ett res and as afine

,
-
,

ar t may be c o n sid er e d as an al ogo u s s ome ti mes to p ai n ti ng

, ,

and at oth e r t i mes to mu sic I t as si mil at es its el f with the ar t .

of pa i n ti ng wh er e a p o r t r ay al is mad e by vivid d esc r ip ti on S O ,

th at the sc ene liv es b efo r e the mi nd an d the ar tist c an easily ,

r ep r od uc e i t to the eye The tr u th O f t hi s r esembl an ce is ex .

p r ess e d by the v e r y t er mc o mmo n ly appl i ed to this k i n d o f w r it

ing “
,
wo r d p ai n t i ng ”
S i r W al t e r S c ott s t r i al of E ffi e D ean s
’
.

and M ac au l ay s t r i al o f W ar r e n H as t i ngs are w e ll k now n ex

’
-

ampl es I n the fo l l owi n g p ass age th is is w el l i ll ust r at ed

.

T he y u cam l a ti g d w th r cky l p f La Ricci a

n o on d a s n e s n n o n e o s o es o .

Pu r p l a d cri m a d carl t lik th cu rt ai f G d t ab r a cl th ’

e n so n n s e , e e ns o o s e n e, e

r j ici g tr a k i t th vall y i h w r f li g ht v ry p arat l af

e o n ees s n n o e e n s o e s o , e e se e e

q u i v ri g with bu ya t a d bu r i g li f ; ach a it t u r d t r fl ct
e n o n n n n e e s ne o e e or

tra mit th u b am fir t a t rch a d th a m ral d F a u p i t th

ns e s n e , s o n en n e e . r n o e

rc
e esse s o f t h v all y h gr v i t a arch d lik th h ll w f mig hty
e e t e ee n s s e e e o o s o

w av f m cry talli
es o so a with th arb u t u fl w r d a h d al
e s g th ir
ne se , e s o e s s e on e

fl a k f f am a d il v r flak f r a g p ray t o d i t th ai ar u d
n s or o , n s e es o o n e s sse n o e r o n

th m br aki g v r th g ay w all f r ck i t a th u a d par at t ar

e , e n o e e r s o o n o o s n se e s s,

fad g a d ki d li g alt r at ly a h w ak wi d l t th mfall

in n n n Ev ry gl ad
e n e s t e e n e e . e e

o f gr a bu r d lik th g l d
ss nefl r f h av p i g i u dd g l am
e e o en oo o e en , o en n n s en e s

a h f li ag b r k a d cl
s t e o d ab v it a h t li g ht i g p
e o e n i a l ud ose o e , s s ee -
n n o ens n c o

at u s t th m ti l ma
n se ; e f d ark r ck— d ark th ug h fl u h d with
o on ess sses o o o s e

s carl t li ch —ca ti g th ir q ui t h ad w acr it r tl r ad i a c th

e en s n e e s o s oss s es ess n e, e

f u tai u d r ath th mfilli g it marbl h ll w with bl u mi t a d fit ful

o n n n e ne e n s e o o e s n

so u d a d v r all th mu ltitud i u bar f amb r a d r

n , n o e eth acr d no s s o e n ose, e s e

cl ud th at h av
o s d ark ad ly x i t ill u mi w r
e no i fath
ness , n on e s to n e, e e seen n

o ml i t r v al b tw
es s n e h l m a d rb d r p
s e f th t pi
ee n t e so e n n o e e ose o e s one- n es,

p a i g t l th m l v i h l a t whit bli d i g l u tr f th m a u r
ss n o ose e se es n t e s , e, n n s e o e e s e

l li wh r th C ampag am lt d i t th bl az f th a — R S K N
ess ne e e e n e e n o e e o e se . U I .

MU S I C O F W O RD S 2 93 . TH E .

R h et oric p r es en ts an an al ogy n ot on ly to p ai n ti ng b u t als o ,

to m u sic Thi s is b r ou ght ab ou t wh en the w r iter d evot es

.
2 66 E lem f Rizetor ze
'

en ts o .

much att en tion to the music w or d s an d the r h y th mic fl o wof his

o f hi s se n t e n c es ; so t h at in the v e ry so u n d th er e is some thi ng
th at affect s the ear an d h e lp s the me an i ng by i ts suggest iv e
n e ss . T he appe al is t hu s mad e to the mi n d by the h armo ny
o f sw ee t so u n ds P oe t ry h as t his to an emi nen t d egr ee I n
.
”
.

the fam ou s Bugl e S o n g o f Te n n ys o n the re is in the v e ry ,

so u nd of the w o r ds an d mov e men t of the me tre a suggestive

n ess bey on d the m ean i ng t h at can be g a th ered fromany gr am
matic al an alysis of the sen t enc es
“
T he s pl endor falls on castl e wa sll ,

wy ummit ld i t ry ;
A nd sno s s o n s o

T h l g lig ht hake al g th l ak
on s es on e es,

A d h wild cataract l ap i g l ry
n t e e s n o .

Bl w bugl bl w t th wil d ch fl yi g
o , e, o , se e e oe s n .

Bl w bug l a w r h d yi g d yi g dyi g !
o , e : ns e ec oes, n , n , n

O hark ! O h ar ! h w thi a d cl ar e o n n e ,

A d thi r cl ar r farth r g i g
n n ne , e e , e o n ,

0 w t a d fa ! fr m cli ff a d car
s ee n r o n s ,

Th h r f lf la d fai tly bl wi g
e o ns o e -
n n o n .

Bl w l t u h ar th p urp l g l r pl yi g
o , e s e e e ens e n .

Bl w bugl a w r c h d yi g dyi g dyi g !

o , e ns e e oes, n , n , n

0 l v th y d i i y u rich ky ;
o e, e e n o s
Th y fai t hill fi ld ri v r ;
e n on , or e . or e

O u ch r ll fr m ul t ul
r e oes o o so o so ,

A d g w f r v r ad f r v r
n ro o e e n o e e .

Bl w bugl bl w t th wil d ch fl yi g
o , e, o , se e e oes n ,

A d a w r ch n a w r d yi g d yi g d yi g !
ns e , e oes, ns e , n , n , n

poet ry has th is to an mi nent d egr ee it is perc eptibl e e ,

and i flu e n ti al in p r ose ; and the c r i tic mu st n oti ce ot on ly the

n n

ar gu men t of a w or k o its pe rspic u ity or i ts persu asiv en ess

, r ,

or el eg a c e bu t al so i ts ge n r al t on e
n , e .

T he ubj ect o f t o ne o so u d i styl e has r efe r en c e bo th to

s ,
r n n ,

the ch oic e o f w o r d and th e i r arr angemen t

s I n the fo rmer .

c ase i t i s call ed onomatOpazia I the l atter r hyth mu s or . n ,

r hyth m .

2 94 . O N O M ATO PCE I A .

O no matopce ia is a fig e of spe e ch , and c on sists in the use ur

r
o f w o d s the so u n d of whi c h s gg e sts t he thi ng sig n ifi ed
; as, u
h um boom, sm r r r
” ” “ ” “ ” ” “ ” “ ”
, hi ss, bu zz, c ash , oa , ash .

All
l an gu ages are full of su ch n th ei r exist en c e is wo r ds a d ,

an import an t fact for whi ch the ph il ol ogi st has to acc ou n t .

2 68 E lemen ts of R/zetor ie .

The open n gates of h eav en is r ep re sented as

i g of the
of h eaven s own pe ace an d h armo ny :
’

H eav en o pened wi de
H er e ver d u ring gat es h armon i o us so un d
-
, ,

O n g ol d en hi nges t u rn ing
”
.

Th is p ass age i s an ex ampl e o f pe rfect eu ph ony from ,

p r ev al en c e of smoo th l iqu id so u n ds .

The u p roar of a v ast h ost is d esc ri bed in the fol l owin g

H i g hly th ey raged
A gains t the H igh est and fierce with gras ped arms
, ,

C l as h ed on th e ir sou ndi ng shi el ds t he d in of war

”
.

O r in the fo ll owi ng
am A rms
c as ng bray d r r l hi ’
o on

rr l i r
H o ib e d sc o d, and the madd ng ee s i wh l
r
Of b az en c a o s ra h ri t
g d ; d e was the no se
’
ir i
Of confl c ov e it
ea rh
d the d sma ss i l hi
da s in flamng v o e s fl ew
ry rt i ll y
”
Of fie .

The sou nd s thi ngs d esc ribed are i n dic ate d by

o f the

w o rds in the foll owing l i n es fromthe sam e auth or

Bru h s ed with
r u tli g wi g the hi ss o f s n n s.
”

T h w arlik u d e e so n

O f tru mp t l u d a d clari
"
e s o n ons.

S r u mtal bl wi g marti al u d
on o o s e o n so n s
A t whi ch th u i v al h t u p t
e n ers os sen
A h u t th at t r h ll c cav
s o o e e
’
s on e.
"

The fol l owing li nes displ ay the forc e and fu ry of ath u nd er

sto r m
Th th u d r e n e ,

W i g d with d li ght i g a d i mp t u u r ag
n e re n n n e o s e,
P rh ap hath p t hi
e s haft a d c a
s en w s s s, n e ses n o

T b ll w thr ug h th v a t a d b u d l
o e o o d p e s n o n ess ee .
”

This l a t li ne i s l i ke on e in the od e on the N ati vi ty

s

“
Th wak ful t um
e p f d mmu t th u d r thr ug h th d p
e r o oo s n e o e ee .

M a y l i nes of P ar ad ise Los t h av th ei r c ou nt erp ar ts in

n e

subl i me od e . Th u s
A nd on the w a hy s oo e z dee p chann els wr o e.

I n the od e we find
“
A nd bid the we lt ri g wa
e n ves h ir
t e oo zy ch annels k p ee .
”
 Wor d P ain ting an d On omatopceiez . 26 9
is its el f fu l l rd x ampl es
'

Thi s od e of li nes th at affo e of ono

matopaeia
wi d i w d r wi t The n s n on e s .

D i v i ly w arbl d v i c “
ne e o e.

W ith uch a h rri d cl a g s o n

A M u t S i ai ra g s on o n n n .
”

R i g ut y cry t al p h r !
n o , e s s e es

O c bl u h u ma
n e ar ess o r n e s,

I f y h av p w r t t uch u e ; e o e o o o r senses so

A d l t y u r il v r hi m
n e o s e c e

M v i m l d i u ti m ; o e n e o o s e

A d l t h ba f h av
n d p rg a b l w ;
e t e ss o e en s
’
ee o n o

A d with y u r i f l d h ar m y
n o n ne o on

M ak u p fu ll c rt t th a g lic y mp h y !
e o nso o e n e s on
”

P op e man ag e this figu r e with the u t most skil l The fol l ow

s .

ing are w el l k now n ex ampl es

-

W h en A j ax stri v es some r ock s v ast w ei g ht to ’

thr w o ,

T he li ne too l abo rs and the w or d s mo v e sl ow

”
.
,

H ere the c o mbi n ati on s of cons on an ts i nd ic at d ifli culty and e

e ffor t The aspi r at es s e r v e the s ame pu r po s e i the fol l owi n g

. n :

Up th hi g h hill h h av a h ug r u d t
e e e es e o n s one.

D u l ness is i nd ic ated in the foll owi ng

J u t writ t mak hi barr
s es app ar
o e s enn ess e ,

A d tr ai
n fr m h ar d b u d b r ai
s ns i li o a y ar -
o n ns s x nes e .

T he mono yl l abl es a d the r hy mi g of

s ,
st r ai n s with
n n
“

b r ai s giv l ow ness to the mov eme t and s u ggest hea i

n ,
”
e s n , v

s
ne s and stu pidity .

W hil e fee bl e expl eti v es th ir aid e do j oi n ,

A n d ten low w rd
o s o ft cr p i ee n o n e d u ll li ne .

H re
e do xpl etiv e an d ten low wor ds are
is a feebl e e ,
“ ”

i nt r oduce d i n t o the se c o n d li n e .

I n th e fo l l owi n g l i n e the n o is e mad e by a cl ock is suggest ed

T he v ar n i sh ed cl ock th at cli ck ed behi nd t he d oo r .

—G O LD SM I TH .

G ayr ’
s El e gy ab o u n d s in s u ch l i n es
wh r th b tl wh l hi d r i g fli g ht
S av e e e e ee e ee s s on n ,

A d d w y ti kli g l u ll th d i t a t f l d
n ro s n n s e s n o .

Th m p i g wl d
e to th m n c mpl ai
o oe s o e oon o n.
”
 E lem f Rlzetorzc
'

2 70 en ts o .

Col li ns mak es freq u t use of this figur e

en

N ow air is h us hed sav e wher e the weak eyed bat

,
-
,

W ith sh o rt shrill shrie k fl its by on l ea

, thern wi ng ;
,

O r wh ere t he bee tl e wi nds

H is small bu t su ll en born

m
.
,

The od e o n the P assi ons is o ne l ong exa m e of ono mato

m
p ia .

Ca mpbel l s poems fu rn ish many exampl es

’

Th ir h t al g th d p l wly b m;
e s o s on e ee s o oo
Th a d e n ce se

W ith th u d r fr m h ati v
n ak
e s o er n e o

S h q u ll th fl d b l w
e e s e oo s e o ,

A th y r ar s th e hr o on e s o e

Byron d oes n ot exh ibi t th is v ery fr eq u en tly b u t some of h is ,

p assag e s affo r d vigo r ou s exampl es .

I n the foll o wi ng l i nes th er e i s the r ep r ese n t ation of acatar ac t

Rapid a th l ig ht s e ,

Th fla hi g m ea f am haki g th aby
s n ss o s, s n e ss.
The hell of waters t how they howl and hia,
And boil in end less o u e !”
t rt r
The al armof battl e, and the mi ngl ed sou nds attend an t u pon
i t, are d escri be d
H ark — t a ea v so und b ea s in once mo e
hth y r k r
l
A s if the c ou ds its ec o ou d e pea ; h w l r t
rr l rr
And neae , c ea e , deadl e an befo e ! i r th r
A rm! a rm ! is— itit
is—tbe cannon s ope ning
’
oa ! r r

S av age and s hrill .

”

Sou th ey s F al ls of Lod ore the wh ol e poem con sists of

In
’

onomatopoetic w ords ; bu t thi s is not so mu ch poe try as a

A be tte r ex ampl e is fou nd in P oe s S o ng o f the Bells ’

.

Poe s poe try is ful l of w or ds of th i s ch ar act er Th u s in the

’
.
,

R av en the wor d neve rmor e i s s u gg estive of mel an ch oly and

,
”

d esp ai r I n the foll owi ng li nes the w or ds i mi t ate the sen se

.

“
A perfumed censer
S wung by serap hi m whose foo tfalls tin kl ed on the t ufted fl oor .

The silk en sad u nce rtai n rustling of each pm ple cu rta

”
in '
.
 E lemen ts R/zetor zc
'

272 o f .

confuse d acity st reet

“

The noi e s s of

W ith v er an end to the str eam o f passing

ne »
fee t
D ri v i ng h urryi ng marryi ng bu rying
, , , ,

C l am or a n d ri nging an d cl atter ”
nd r urnble a
'

.
, , ,

The expl osi on of c an non

T heru hi g battl b lt a g fr mth thr d ck r ut
s n e- o s n o e ee- e e o of the m
foa .

T he so ft r i n fl u en ces of peace
e
P ac e e
Pi p h pa t ral hi ll ck a l a gu i d t
e on er s o o n no e.
”

The v aryi ng sou nd s o f a fl owi n g b rook . r . :s uggested in a

w el l k now n poe m fr omwh ich the fo ll owi ng
-
,
is an ext r ac t
“
I c hatt r v r t y way
e o e s on s

I n lit l harp a d tr bl ;
t e s s n e es

I bu bbl i t d d yi g bay
e n o e n s,

I babbl at th p bbl e e e es.

I ch att r ch att r a I g
e , e , s o

T j i th b ri m
o o n mi g ri v r ; e n e

For men ay co m me and men may

, go,
But I
go on fo rever .
”

An i mit ati on of the man n e r of a r an ti ng p r eac h er

O ur B a rg with hi thr at f d m
o ne es , s e s o oo ,

And l ud l u g d a ti Babyl ia i m
o -
n e n -
on n s s.
”

2 96 . o n osraro m m m moss .

In p rose i t i s n ot so fr eq u e n t as in poetry It is arti .

fic ial an d w ou ld be di st as t efu l in the one e ve n wh en h ighly

, ,

be au tiful in th e o ther This is se e n in s u ch ph r ases as

'

,
.

“
Tu mbl e p r ecipit at e d ow n d ash ed “
The wi nds in w on d er
wist which th ough effec tive in poe t ry wo u ld no t be t ol er at ed
, ,

in p rose .

Th e re is h o wev er abu n d an t r oo meven in p rose for the em

, ,

pl oy me n t of o n omatopte ia an d its c hi ef use c onsi sts in the ,

sel ecti o n of t h os e w o r ds which a ffo r d the most vivid d esc r ipti on

o f an
y giv e n t hi n g Th u s i t
. is be tt e r to say th e
“
c ra
”
sh of
fall i ng ti m be r th an the n oi se ; and in the foll owing c ases
“

s u ch a gener al t erm as no is e is far i n fe r i o r to the o nomato

“ ”

poetic w or ds : the wh istli ng of th e wi nds ; the boom of

“ ” “
 Wor d P aint ing and Orzomatopceza
'

. 27 3
c an n on ; the sh r i e k r oar a t emp est ;
“ “
of the bl ast ; the of
“
the w ail o f a ch il d .

The s p ray was hi i g hss n ot, an d a h ug e j et of wat r bu r t u p fr

e s o m its
mids t .
”

Th is is mu ch mor e vivid th an if the fol l owi n g st at emen t

w er e mad e
T he wat r wa b ili g
e thr w u p a gr at f u tai fr mit mi d t
s o n , and e e o n n o s s .

H e plu ged i t o the r iv e r is b e tt er th an he th r ew h im

“
n n ,
“

sel f . T he h o r
”
c ame g all pi g d ow n the r oad is b ett er
se
“
o n
”
,

th an th h or s e c ame qu i ckly
e
“
.
”

S uch is the atu r e of l a gu ag e th at if the b est p ossib le w o r d

n n ,

be ch o e n i t wi l l o ft e n p r ov to be o e o f t hi d c r ip ti on
s , e n s es .

This ch oic of th b t w o r d m ans p r eci i on a d h c e the

e e es e s , n en

eff r t to b
o p r eci e will oft e l ead to excel l en c e o f a othe r an d
e s n n

v r y d i ff r t ki d Pop e who is r emar k abl fo p r ci i on

e e en n .
, e r e s ,

ab o u n ds in o no matopce ia .

§ 2 97 . LATI N E L E M E N T I N T H E E N G L I S H LA N G UA G E I S
TH E

I N VALUA B LE FO R P U R P OS E S o r H ARM O NY .

Refer enc e has al r eady b een mad e to the c ombi n ation of

L ati n and S ax on in E ngli sh an d it has b een said th at for pu r ,

p o ses o f p er spicu ity the S ax o n is sup er i or I t n ow r e mai n s to .

sa y th a t fo r pu r p os es of h a r mo n y t he L a ti n is i n v al u abl e an d ,

for high p o mp and maj esty it is su p e r i o r to the S ax on .

T he L ati n l an gu age is sup er i o r to the S ax o n an d all o th e r ,

memb er s of the T e u t o n ic fami ly in p o i n t of e uph on y I n i ts , .

w or d s we find v ow el s an d c o n so n an ts in equ al n u mb er a l ar ge ,

p rop o rt i o n o f liqu i d s an d a str iki n g exhi biti on of so n o r ou s

,

mu sic an d mag n ific enc e I f we e xami n e the fi n est p assages in

.

E ngl i sh li t er at u r e we sh al l fin d th at the L ati n w o r d s empl oy ed

,

c o nfe r i n d esc r ib abl e b e au t y an d spl en d o r w hich are heig ht e n ed ,

by th ei r c on t r ast wi t h the S ax o n w o r d s T he ch ar act e r o f the .

S ax o n is t en d e r nes s ear n est n ess si mplici ty ; t hat of the L ati n

, ,

gr an d e u r an d st at eli n ess The v al u e of the L ati n e l e men t in

.

our l a n gu a ge may be seen by exami n i ng famili ar p assages fr om

ou r ch i ef po ets T he fo ll o wi n g are fr om S h ak esp ear e
.

Su ch har mony is in mmor tal soul s ' '

z .

F it for tr eason : str atag em an d poils r s .

2 74 E le ments f M
o .

It w ill dzlreoum most e music .

"

“
Ca t th
ns o u n ot mini ster to a mind M P

S weet oblimbw en ab le .
”

To our o wn ips l .
”

H er i rgfimte var iet

'

y .

Um of ad wr uq
'

“
My ha dn will rath r e
 E lem f R/zetor ze
'

2 76 en ts o .

N ow th ir v l u mi u c il i t rta gli g lik h ug a ac

e o no s o n e n n e e n ond as

R oll ov rwh l mi gly w ar d h

e e q u i p d ali a w rd
n on t e ses e n o s.

Th r f r it i th at I prai th a d v r a c a fr m r j i ci g
e e o e s se ee, n ne e c n e se o eo n ,

Th i ki g that g d t u t E gli h i mi a d my a c t r t gu ;
n n oo s o n s s ne n n es o
’
s on e
Gi m it v aryi g mu i c h fl w f i fr m d ulati
ve e s n s , t e o o ts ee o on

I will t c v t h fu ll r ll
no f th g l ri u G r k
o e t e o o e o o s ee ,

Lu ci u a d f bl Itali a Lati
s o s n f rmal a d tat ly
ee e n, n so o n s e ,

F r ch wi th it a al l i p
en G rma i v rt d a d har h ;
s n s s , no r e n n e e n s

N t whil
o u rga a p ak with i ma y a d w d rful v ic
e o r o n c n s e ts n n on e o es,
P l ay th f l ut
on f l v bl w h l ud tr ump t f wa
e so t e o o e, o t e o e o r,

S i g with th hig h q uialt

n d rawi g i
e fu ll d i apa ses r o , or n ts son ,

S hak all h ai with h g ra d t rm f it p dal a d t p

e t e r t e n s o o s e s n s o s.
”

C H A PT E R VI .

RH YT HM .

5 2 9 8 R H YT H M tN PO ETRY . .

TO NE or so u nd in styl e wh en r f r ri ng to the arrangem en t , e e

o f w o r ds is c al l ed r hy t h mu or r hyth m
,
s .

R hyth m means a r c u rre n ce of so u nd at regu lar i n t er v al se ,

an d wa fo r m e r ly a
s ppl i d to the mov emen t o f meas ur ed v e r si e

fic atio n The t r mha bee n ext en d ed in its m

. e ean i ng so as to
s ,

i nclud e mo r e th an m tre ; and it is fre qu en tly u se d to d es ign ate

e

su c h thi ngs a t h ro l l of th u rf the ri se and fall o f the wi nd

s e e s , ,

the r ev er be r ati on o f t h u d e r or th e sw ll s f t ones from an n , e o

fEO lian h ar p I poe try the wo r d no w ig n ifi e s somethi ng v e r y

. n s

d iff r en t fr omth f mal divi si o s of l i es i n t o fee t an d fe r s

e e or n n , re

to th at h arm on y and cad e nc e whi c h a rise fromthe g ne ral fl ow e

o f v e rse s and a e mar k d by e m

,
ph atic w ords and cazsural
r e

p au se s Th u M i l t o s P ar adi e Los t is w r itt en in the iambi c

. s n
’
s

metr e bu t th r hyt hmof th at poe mis o meth i ng q u i te d isti n ct

,
e s

fr o m th at m tr e and is v ry d ff r en t from the r hyt h mo f any

e , e i e

o th r i a
e mbic poe m The t r u th o f th is may be il l u s tr ated by
.

the fo ll owi ng p as sage

th u b t h —but 0 h w fall h w cha g d
If o
’
e s e , o en , o n e
F r m him wh i h happy r al m f li g ht
o o n t e e s o ,

C l th d with tr a c d t bri g ht
o e d i d t u t hi ns e n en ness, s o s ne

M yriad th ug h b ig ht l I f h wh mmu tual l ag u

s, o r e, o e e,
 U n it ed
th ug ht a d c u l q u al h p o s n o n se s, e o e

A d h az ar d i th g l ri u
n t r pri n e o o s en e se,

J i d with m c w mi ry h ath j i d
o ne e o n e, n o se o ne

I q u al r ui — i t wh at p it th u
n e t n n o o sees ,

Fr m wh at h i g ht fallo — much h tr g r p r v d e en so t e s on e o e
H with hi th u d r ; a d t ll th
e wh k ws n e n i en o ne

T h f rc f th d ir ar m ?”
e o e o ose e s

T he di ff c e b tw the r hyth m an d the m

e ren et r e 5 h ere
e een 1

v r y st ro ngly mar k d e p c i al ly i th l a t fo u r li s I t i s
e e , s e n e s ne .

al o dis c er bl i all g od p o t ry a d to mak this man i fest

s ni e n o e , n e

to the ea is the ch i ef w o r k of the e l oc uti o i t

r n s .

R H YT H M I N P R O S E 2 99 . .

The g r eat est w r it e r s of an ci en t an d mod e r n ti m es h a ve

s o ugh t to i n fu se i n to th e i r styl e someth i ng which sh o u l d app eal
to the mu sic al se n sibil i t y an d m an y n obl e p as sag es in p r ose ,

l it e r atu r e e x e r t an i n fl u en c e di ffic u l t to d e fi n e ye t so p ow e r fu l ,

th at t h ey affect the h ear t an d cl i ng to the memo ry T he i r .

mean i ng is in such c as es en l arged and r ei n fo r c ed by the sub

t le y e t p o t e n t aid o f h ar m o n y ; an d wh i l e the th o ught a ffects
t he m i nd the musi c ch ar ms the ear T wo thi ngs are to be
,
.

o b se r v ed in suc h w r iti ng s : fi r st th e s o u n d o f the i n d ivi d u a l ,

w o r d s ; an d sec on d ly th e i r arr angemen t wi th the r ecu rr en c e

, , ,

of pa u s es at su ch i n t e rv als as sh al l p r oduc e a c er t ai n har

mo n ious r i se and fall of t one Th es e c on sti tu t e r hyt hm in .

p r os e .

M an y p ass ages in the E ngli sh Bibl e exhibi t a matc hl ess

be au ty of r hy th m
Or e v er
il v r c rd b l d— th g l d b wl b br k —
the s e o e oose or e o en o e o en or

th p itc h r b br k
e at th f u t ai —
e e o h wh l b r k
en at th itr
e o n n or t e ee o en e c s e n.

Th h all th d u t r t u r t th arth a it wa — a d th p irit h all

en s e s e n o e e s s n e s s te

tur u t G d wh g av it
n n o o o e .
”

L rd— th u h a t b
o u d w lli g p l ac i all g
o s rati
e en o r e n -
e n en e on s .

B f r th m u t ai w r br ug ht f rth—
e o e e o n r th u h ad t f rm d
ns e e o o or e ve o s o e

h
t e ea rth a d t h w rl d — v nfr m v rl
e a ti got v rl a ti g
— t h
e u a ten o e e s n o e e s n o r
”
G od .

Th a th y whi c
eseh cam ut f
re g r at tri
e b u l ati — a d h av w a h d e o o e on n e s e

th ir r b
e — a d mad th mwhit i h bl d f h L amb
o es n e e e n t e oo o t e .
”

I f th s p a ag be r ad with att e ti
e e ss tes the r h t o r ic al e n on o e

p au a mar k ed th e i r uph on i o u fl ow a d
ses, s ,
l m a d v ar i d e s n so e n n e

r hy th m wi ll n ot fai l to be app ar ent I t w ou ld be di ffic ul t to .

2 78 E lemen t: of Rlzetor ic .

fu ish any o th er t ran sl ation fromth eir origi nal s whic h c ou ld

r n

e qu al th e min thi s r esp ec t .

R hyth m in p r os e may be d efi ned as the al t ern ate sw el l i ng

an d l ess en i ng o f s ou n d at c e rtai n i n t er v als 1M .

n er al effec t of se n t ence s and p arag r aphs wh er e the wo r ds are ,

see he r as an ea g e mew ng her mg ou l

i hty y th
, a nd k i
indling her un dazz edl
y
e es a t the fu ll y ri li l
mid d a beam p u g ng and unsca ng her ong abused s g i ht -

t it l h
at the fou n a i n se f of eav en ly r i
ad ance ; wh l
i e the o e no se of im
wh l i t r
o

ou s a k
nd fl oc ing bi ds,r with ht ose asol th l
at o v e the twi ht tt r
lig , fl u e abou , t
am azed at ha she m
w t ea
"
ns .

The fol l owi ng passag e fromDe Q u i nc ey is both a cri ticis m

and an i l l u st r ati on :

W h r ut f S i Th ma B w
e e o o hall w h p t fi d mu ic M il
r o s ro ne s e o e o n s so ~

t ic a i t ati f uch l m ch rd a a tr uck i th f ll wi g

on , n n on on o s so e n o s s re s n e o o n

p i g ba f a pa ag i th U B u rial N w i c th b
o en n r o ss e n hav e rn
‘
o s n e ese ones e
r t d q u i tly i th g rav u d r h dr um a d tr amp li g f thr
es e e n e e, n e t e s n n s o ee con
q u t t W hat a m l d i u ac t a f ap r l ud t m i mpa i
es s,
’
e c. e o o s s en s o e e o so e ss on

e d r q u i m br athi g fr mth p mp
e e e f th narth a d fr mtho a ctiti e o s o e e n o e s n es
o f t h grav ! W hat a fl u u d cu m
e e au f rh t ri c ! Ti m xp u d d
ct s e n s o e o e e o n e
no t by g rati e ne c tu ri bu t by vat p ri d f c q u t a d dy a
ons or en es. s e o s o on es s n n s o

ti ; by cycl f Ph ara h a d Pt l mi A ti hi a d A a id ! A d
es es o o s n o e es, n oc n rs c es n

th v a t ucc i
ese s f tim di ti gu i h d a d fig ur d by th u p r ar which
s ess ons o e s n s e n e e o s

r v l v at th ir i augurati —by th dru m a d trampli g r lli g v r

e o e e n ons e s n n s o n o e
h ad u p th chamb r f f rg tt d ad—A b tr pid ati
e on e e s o f ti m a d o o en e e e ons o e n

m rtali ty i g at cular i t rv al th v rl a ti g S abbath f th grav

o vex n . se n e s, ee e s n s o e e

Bur k e wh en c on v e rsi ng abou t the li ter ary v al u e of h is own

,

wr i ti gs d ecl are d that the par tic u l ar p ass ag e which had c ost
n ,

himthe most l abo r an d u po n which hi l abo r seem ,

ed to him s

se l f to h av e been the mos t s u c cessfu l was the fol l owing ,

Such a th ir i d a such th i r r li gi a d uch th ir law B u t a t

re e e s, e e on , n s e . s o

o m country aud our racq as long as the well c ompacted -

u u
str ct re of o r u
2 80 Ela ments f
o R/utor ic '
.

ed, th ir lid ha g d r pi g ; th fac i t y pal a f li vi g i d ath

e s n oo n e e s s on e, s o one n n e .

M a w d whic h h w ha d ha m d d att ir th q u
e n ee s er o n f th w rl d
n s en e e e ee n o e o .

T h d ath hu d l wh r th u itt
e e ‘
r p al m ti l whi ch ly cu r
e e e o s est , e, o o n ess, on ses en

v ir ha o n, t p ; a p pl d ru k with v g a c will dri k it agai i full

s to s o eo e n en e n e n n n

r
d a u g ht l ki g a th
oo th r nFa a ht y r ac
eeh a m ul tit u
e e. d i u a r s t e e e e es no s se

fm a i ac h ad h ai d af with th ir tri umph y ll l

”
o n e s, t e r e e e

Th si mpl e s tr u ctur e of M acau l ay s styl e a d his l ov e of

’
e n

an tith e se s a e n ot co n du civ e to s us t ained har m

r o ny ; ye t this

qu al ity is n ot u nfrequ e ntly exhibi ted and n owhe re in h is w r i t ,

i g c a rich r o mo r e v aried r hy th mbe fou n d th an in his

n s n e r

famo u s d e sc r ipti on of th e Pu rit an s :

I f th y w r u acq u ai t d wi th th w rk
e e e n f p hil ph a d p t
n e e o s o oso er s n oe s,

th y w r d ply r ad i h racl f G d I f th ir am w r t f u d
e e e ee e n t e o es o o . e n es e e no o n

in t h r gi t r
e ef h ral d th y f lt a u d that th y w r r c rd d i th
s e s o e s, e e ss re e e e e o e n e

B k f Li f I f th ir t p w r t acc mpa i d by a pl did trai f

oo o e . e s e s e e no o n e s en n o

m i al l gi
en s, f mi i t ri g a g l had ch ar g
e o ns o v r th m Th ir pal a
n s e n n e s e o e e . e ces

w r h u
e e mad wi th h a d th ir d iad m cr w
o ses n o t e f g l ry whi c h n s, e e s o ns o o

h ul d v r fad away O h rich a d h l q u t

s o ne e e bl a d
n t e n t e e o en , on n o es n

p ri t th y l k d d w wi th c t mpt f th y t md th m l v rich
.

es s, e oo e o n on e or e es ee e e se es

i a m r p r ci u tr a ur
n o e a d l qu t i a mr
e o s e s u bli m la guag ;
e, n e o en n o e s e n e

no bl by th rig ht f a arli r cr ati a d p ri t by th i mp iti

es e o n e e f e o n, n es s e os on o

a mi g hti r ha d Th v ry m a
e n t f th m wa a b i g t wh fat a
e e e nes o e s e n o ose e

my t ri u a d t rri bl i mp rta c b l g d— u wh “ li g ht t act i

.

s e o s n e e o n e e on e o o s es ons

th e s p irit f li g ht a d
s o d ark l k d with an xi ty — wh had b ness d ti d oo e n e o ee n es ne
b f r h av a d arth w r cr at d t j y a f li ci ty whi h h ul d
e o e e en n e e e e e o en o e c s o co n

t i u wh
n e h av a d a th h u l d hav pa d aw ay Ev t which
en e en n e r s o e sse . en s

s h or t sig h d p liti ci a a ri b d t
o
te o arthly cau ns had b sc rdai d e o e ses ee n o ne on

hi acc u t ak mp ir had ri a d fl u ri h d a d d ay d
'

s F o hi n . or s s e e es se n n o s e n ec e .

F or hi ak th A l mi g hty had p r cl ai m d hi will by th p

s s e e f h va o e s e en o t e e n

g li
e st a d h h a
nr p f tht ep r p h t H h ad bo r u d eb y c
o m m e . e ee n esc e no o on

d li v r r fr m h gr a p f
e e e o c mm ft e H had b
s o r a m d by th
no o on oe. e ee n nso e e

s w at f v u l gar ag y by h bl d f arthly acri fic It wa f

e o no on , t e oo o no e s e. s or

h imthat th u had b e sd ark nd th at th r c k had b ee n r t th at h e ne , e o s ee n en , t e

d ad had ari
e that all at u r had h udd r d at th u ff ri g f h
se n, n e s e e e s e n s o e r ex
p iri g G d 1
n o
"

A mong the mu sic al t erms which are someti mes u se d by c ri t

ics to d esign at e q u al ities in s t yl th w o r d b r av u ra may be e, e
“

me ti o ned as be i ng cl osely c onnect ed wi th the p resen t s u bj ec t

n ,

an d as i n v o lvi ng bey on d v e rythi ng el e a sou n di ng an d v ar i ed e s

r hy t h m I n the foll wi ng p assage D e Qui nc ey has e xpl ai ned

. o

a d ill ust r at ed t hi s t e r m w ith u n u s u al be au ty a d disc ri mi a

n n n

ti o n
t ki g l av f a b k a d a ubj ct
“
In a n e e o oo n s e so w ll fitt d t draw ut th
e e o o e

hig h t md f that gra d u r which a c

es o e o n e c n onne ct it l f with th x t r al
se e e e n
 R /zy t/mz . 281

w rl d I w u l d wi h t c tri bu t my w bri f w rd f h mag t thi

o , o s o on e o n e o o o e o s
g a d u r by r calli g fr mafad i g r m mbra c f tw ty fi y ar ba k
r n e e n o n e e n e o en -
ve e s c
a h rt b a u a f J a P aul F d i h Ri ht r
s o r v r I all it ab a u a a b
o e n ri e r c c e . c r v r , s e
i g
n t t ally a pa ag f d i pl ay a d l ab rat x u ti a d i thi
i n en i o n ss e o s n e o e e ec on n n s

I may call it p artly my w th at a tw ty fi y ar d i t a ‘ ’ ’

sense o n, t en -
ve e s s n c e,

aft r e i g l r ad i g it w u l d h av b p bl f a y ma t
o ne s n e e n , o not e ee n o ssi e or n n o re

p rt a pa ag f thi l g th W th ut gr atly d i t u rbi g th t x t ur f h

o ss e o s en i o e s n e e e o t e
co mp iti By alt r g
os mak
on . p artly w bu t i rig ht
e in , o ne es i t on e s o
’
n ; it s to
m ti th at h ubli m t ur a h
en on d b l g
t e stir ly t J a P aul e n t t e en e on s en e o e n .

G d all d u p fr md r am a ma i t
o c e h v ti bu l f h av o ayi g e s n n o t e es e o e en, s n ,

C m th u hith r a d
o e th g l ry f m
o yh u e A d t th n rv a t that
see e o o o se . n o e se n s

t d ar u d hi thr h ai d T ak h m a d u dr himfr mhi r b

s oo o n s o ne e s . e i n n ess o s o es

o f fl h cl a es hi v i i
; a d pu a
e w br ath i t hi
ns e s tril ly
s on, n t ne e n o s n os s ; on
t uch with a y ch a g hi h u ma h art — h h art th at w p a d tr m
o no t n n e s n e t e e ee s n e

bl es It wa d ; a d with a mig hty a g l f hi gu i d h ma t d

. s o ne n n e or s e, t e n s oo

r ady f hi i fi it v y ag a d fr m th t rrac f h av with ut

e or s n n e o e ; n o e e es o e en , o

so u d far w ll a c th y wh l d away i t
n or e e , dl pa t on e S m e ee e n o en ess s ce. o e

ti m with th l m fl ig ht f a g l wi g th y fl d thr ug h Zaa ah of

es e so e n o n e n e e o r s

d ark thr ug h wil d r

n es s, f d ath th at d i v i d d h w rl d
o f li f ;
e nesses o e e t e o s o e

so m ti m th y w p t v r fr ti r th at w r q u i k i g u d r p r p h ti c
e es e s e o e on e s e e c en n n e o e

m ti o fr m G d
on s Th fr m a d i ta c th at i u t d ly i h av
o o . en o s n e s co n e on n e en

lig ht daw d f ati m thr ug h a l py film by u u tt rabl p ac th li ght

ne or e o s ee n e e e e

s w p t th m th y by u u tt rabl pa
e to e ,h li g ht i a m m t h r u h
e n e e ce to t e n o en t e s

i g f p l a t wa up
n o th m i a m m t h bl azi g f u wa ar u d
ne s s on e ; n o en t e n o s ns s o n

th m Th am t r iti f twilight th at r v al d bu t w r t r v al
e . en c e e e n es o e e e e e no e e

e d T. h ri g ht h a d a d t th l ft t w r d mi g hty c
o t e t ll ati th at
n n o e e o e e o ns e o n s,

by l f r p titi
se a d a w r fr m afar th at by
-
e e o ns u p i i n b uilt up
ns e s o , co n t er os t o n s,

t i u mph al g at wh ar hitrav wh archway — h riz t al u prig ht

r es , ose c es, ose s o on ,

r t d r at altit ud by pa th at m d gh tly fr mi fi itud W ith

es e , o se e s, s ns se e e os o n n e.

o u m a ur w r
t e h architr av
s epa t umb r w r th ar hw ay b y d
e e t e e s, s n e e e e c s, e on

m m ry h g at
e o W ithi w r
t e t ar th at al d th t r iti ab v
es . n e e s s se e e e e n es o e,

th at d c d d t h t r iti b l w ab v wa b l w b l w wa ab v
es e n e o t e e e n es e o o e s e o , e o s o e,

to t h ma tri pp d f g r av it ati g b d y ; d p th wa w all w d u p i h i g ht

e n s e o n o e s s o e n e

u u r m u t abl h i g ht wa w all w d u p i d p th u fath mabl

ns o n e, e S ud s s o e n e n o e .

d ly a th u th y r d fr m i fi it t i fi it
en , s s eud d ly a th u th y tilt
o e o n n e o n n e s en , s s e

e d v r aby mal w rl d a mi g h ty cry ar

o e s th at y t m m r my t ri u
o s, os e s s e s o e s e o s,

th at w rl d m r bill wy— th r h ig ht a d th r d pth — w r mi g

o s o e o o e e s n o e e s e e co n ,

w r ar r w r at h a d Th h ma i g h d a d t pp d h u dd r d
e e ne e , e e n . en t e n s e n s o e , s e e

a d w pt
n Hi ev rl ad h art u tt r d it l f i t ar a d h ai d A g l
. s o e en e e e se n e s n e s ,
n e ,

I wi ll g farth r f th
o no pirit f ma a h with thi i fi ity I ufl
e , or e s o n c es s n n . ns er

ab l i h g l ry f G d
e s t e L t m li d w i o h g r av fr mth p
o o u
. e e e o n n t e e o e er sec

ti f h I fi it f
o ns o t d I e th r in n A d fr m all h li t
e, o r en , see, e e s n on e. n o t e s en

i g t ar th at h
n s ar u d i u d a h r al v i
s s T h ma p ak tr u ly ;
o ne o n ss e c o o c e, e n s e s

en d th r i th at v r y w h ard f E d i th r
e e s n o ne th a g l
e e et e e o . n s e e n o ne e n e

so el m ly d ma d d I th r d d
n e d a d i thi
n e h . rr w th at
s e e in ee n o en . n s s t e so o

kill y u B u t v i a w r d th at h mi g ht a w hi m l f Th
s o ? no o ce ns e e e ns er se . en

h a g l thr w u p hi g l ri u h a d
t e n e e h h av f h av sayi g o o s n s to t e e en o e e n s, s n

E d i th r
n s t h u iv r
e e f G d ! S
n o ne al th r i o t b gi e n e se o o o, so , e e s no e n

n nig
2 82 E lemen ts of R/wtor ic .

t erm b r av ur a may also be appli ed with eq u al app ro

The
pr iate nes s to the fo l l o wi ng p ass ag e fr o m D e Qu i n c ey :

The dr ea co m enced m m
with i whi h
a mu s c I t h r r
c now of en ea in d eams,
i p r p r ti
wk ig p
a mus c of e a a o n an d of a a en n s us e nse amus c i lik p
e the o en

r i th
ing of the co o nat o n an em and whi h lik th t g v
c , e a, a e the fee n of a li g
,

v t rh i it v l li g tr i
as ma c , of n fin e ca acad es fi n off, an d the ead of n nu me a e r bl
r i
a mes Th lik h r
en,
. p i
e ac o u s, the
. p
ass on d ee e ned Th en cam e s u dde n .

l r h rryi g
aa m s, tr p i t i r bl g iti v
u n s to an d fro, e dai ons o f n nu me a e fu rk
es , d a n ess

and lig ht t p t h
s, e m es a nd l t with
u man faces ; and at as , th t
th e se n se a all was
l t
os , fem r
ale fo ms, a r th t w r w rth
nd the fe atu es a e e o w rl
all the o d to me, and
bu t a m m t all w d—a d cl a p d h a d a d h art b r aki g p arti g
o en o e n s e n s, n e -
e n n s,

a d th — v rl a ti g far w ll ; a d with a i g h uch a th cav

n en e e s n e e f h ll
s n s s s e es o e

sigh d wh h i c t u u m th r u tt r d th abh rr d am f D ath h

e en t e n es o s o e e e e o e n e o e t e
u d wa v rb rat d — v rl a ti g far w ll a d ag ai a d y t agai
,

so n s re e e e e e s n e e s, n n n e n re
v r b rat d— v rl a ti g far w ll 1
e e e e e s n e e s
"

C H A PT ER VI I .

Q U ALI TI E S OF S TYLE A S S OC I A T ED W IT H HA R M O NY .

Q UAL ITI ES o r sm s c ozvnv c rv s TO HARM O NY

3 00 . .

A TRU E co nc epti on of r h et or ic al h armo ny sh ows th at it is

associ at ed wi t h v ar i o u s qu al iti es of styl e and fo rms of exp r es
si on wh ich d es erv e S pec i al n otic e .

1 M any of t h ose which h ave al ready been con sid er ed u n d er

.

the h ead s of pe rspicu i t y and pe r su asi v e ne ss are o f g r eat im

po r t an ce h e r e Thus pu rity i s ess en ti al ; fo r no one can pre
.

t en d to be an e l egant w r it er who i s gu i l ty o f b ar b ar is ms o r
so l eci s ms P recisi on also i s nec ess ary ; for the el eg an t w r iter
.

sh o u ld se l ec t the wor d th at is best abl e to co n v ey the most

d eli cate sh ad e o f mean i ng .

SP EEC H 3 .
0 1 FI G UR ES or .

2 Figu res of speech also have a cl os e c on n ec tion with har

.

mony I t has al ready bee n sh o w n th at h owever th ey may be

.

cl as sifi ed t h ey near ly all t e n d to embe l lish ment T hey h ave

,
.

n ot on ly th e i r own pe c u l i ar po w e r wh eth e r of e n h an ci ng th e ,

im po rtanc e of a subj ec t o r o f i ll u st r ati ng i t or o f gi vi ng i t

, ,
 r st . S mooth By th is is mean t si mpl e eu ph on y wi th
ne ss . ,

o ut ri si ng abo v e t he g en e r a l l ev el o f h ar m on i o u s e xp r e ssi o n or ,

fal li ng be l o w i t A s a g en e r al thi ng i t is as so ci at ed w i t h the

.

d ifiii se styl e A mo ng the poet s i t is i ll us tr at ed by Be att i e

.
,

S h e n st o n e C owpe r A k ensid e R oger s and o the r s I n p r ose

, , , ,
.

the chi ef e x ampl es ar e to be fo u n d in su ch se r m ons a s th o se

o f Bl a i r an d B oy d the h ist ori e s o f P r e sc ott and the essays an d

, ,

d i sc o u r se s o f Ed w ar d E v er ett .

2d . Fi n ish i s the e xhibi ti on of gr eat c ar e in the ch oic e and

arr ange m e n t of w ord s a n d the e m be lli sh me n t o f s tyl e
,
.

3 d . D e l ic acy i n v o lv e s u n u su a l di sc r i m i na ti o n in the a pp l ic a o

ti o n o f w o rd s I t is the u n i o n of p r ec isi o n wi t h el eg an c e The

. .

po e t ry of P e pe exhibi t s this qu ali ty as w e l l as the p r ecedi ng ,

o n e in a r e m
, ar k abl e d eg r ee .

4 t h G
. r a c e r e fe r s to t a s t e an d d isc e r n m e n t of th e bea u ti ful
in th o ught an d e xp r essi o n with fi n i sh an d d e lic acy , Thi s i s .

p r e-
e m i n en t in the poe tr y o f K e at s S h e ll ey a n d T en nyso n
, , .

s t h .A co rr e c t styl e is c o m p o s i t i o n i n wh ich att e n ti on i s

,

I
p aid to all the ru l es d e r i ved fr om au tho r it ativ e u sag e an d ,

wh e re the i magin atio n an d the emo t i o n s are in some measu re

r ep ressed I t i n dic ates r at h er a free dom fromfau l t th an t he
.

po sse ssi on of posi t i v e at tr ac t i ve ne ss I n poet ry i t u s ed to be .

appli ed to w r i ti n gs aft e r the mod e l of Po pe and D ryd e n as ,

di st i n gu i sh ed fr om the i rr egu l ar c o n st ru cti o n o f s u ch po ems as

C o l e r idge s C h ris t abe l T he s tyl e o f A ddi son G o ld smi th an d
’
.
, ,

I rvi ng is c o rrec t ; wh il e the t e r mw o u ld n ot be appli ed to th at

o f C ar lyl e M ac au l ay i n v eighs ag ai nst c ri ti cs who st an d u p
.

fo r c o rr ec t ness in a p ass ag e which i s qu o t e d e l s e wh e r e

, .

6 th C h ast e
. This t e rm is applic abl e to styl e which is cor
.

r ec t and ac comp ani ed by the d ispl ay of i magi nativ e po wer yet ,

n o whe r e o u t of c o n tr o l o f a c u l t i v at ed t a s t e or risi ng to any ,

thi ng l ik e fe rv o r Th u s A d d i so n i s ch as te in styl e ; he sat i s

.

fies the tast e bu t he n e v e r r i ses to t h o se e x al t at i o n s of t h ou gh t,

feel i ng an d exp r essi on which are so man i fe st in the w r i ti ngs
,

o f Bu r k e .

Th ese qu al i ti es all c on t ribu t e t o w ar ds e ase of styl e yet th ey ,

may exi st i n d ividu ally in a con spic u ou s way an d so meti mes ,

wi t h o u t nec essar i ly l eadi ng to it I n ge n e r al i t may be s aid .

,

th at mu ch c ar e t og et he r wit h m , uch p r ac t ice is n eed ed be fo r e ,

tr u e ease of styl e c an be at t ai n ed
’
Th i s is P ope s opi n i o n
.
 S ty le Assoézated w ith H ar m
'

2 85
'

.
ony .

For e se writi g c m by a t t ch a c
a in n o es r , no n e,

As th m v a i t wh hav l ar d t da c
ose o e e s es o e e ne o n e .

I t is al s o exp r ess e d in the w e l l k n ow n s ayi ng Ar s c el are -

:

artem .
”

§ 303 . 0 R NAM E N T .

4 . O r n amen t
t r s to a c er t ai n ext en t i nt o the c omp osi ti on
en e , ,

Th e t er m o r n at e is appli ed to styl e which is

“ ”
o f e l eg a nc e .

ch ar act e r i zed by u n u su al e mb el li sh men t I t i s cl os ely al li ed .

to the fl o r i d an d is l i abl e to p a ss i n to i t Bu r k e s w r i ti ngs

'
’
, .

affo r d fr equ en t e x ampl es of o r n amen t c arr ied as far as p ossibl e .

Th u s in h is p an egy r ic o n S h er id an the epith et s are h eap ed

t og eth e r in p r ofu si on sy n o ny mo u s w or d s are accu mul at ed an d, ,

th e r e is a ge ne r al air of ex agge r ati o n H is c el eb r at ed d esc r ip .

t i o n o f M ar i e A n t o i n et te th o ugh highly o r n at e and s om e ti mes ,

e xt r a v ag an t is yet so fu l l o f t e n d er ness an d d ee p e moti o n t hat

,

t he r e a d e r has no o th e r fee l i ng t h an ad mi r ati on an d sy mp at hy .

The l angu age of g ulggy is al w ays apt to run to e x tr av ag an c e

an d o v e r o r n amen t an d the ki n d of c omp ositi o n c all ed pan
-
,
“

ot o r i o u sly fr o m i t s v e r y n atu r e exc essiv ely e mb e l

”
e
gy r ic i s n , ,

lished and fl or i d .

R ich ness of styl e means s o meth i ng or n at e y et far mor e I t , .

i nv o l v es c opi o u s n ess of thoug h t exci t e men t of imag ination an d , ,

o ft e n h igh e m oti o n The s tyl e of R u ski n i s r ich as may be

.
,

seen in the fo ll o wi ng ex ampl e

l g ag I wa l wly d c d i g thi v ry bit f carri ag r ad th
N ot on o s s o es en n s e o e- o , e

fir t tu r aft r y u l av A l ba
s n e I t had b
o e wil d w ath r wh I l ft
e no . een e e en e

R m a d all acr th C ampag ath cl u d w re w p g i ul p h u r

o e, n oss e n e o s e s ee in n s

o u bl u with a cl ap f th u d r
s e, tw a d b r aki g g l am f u al g
o n e or o, n e n e s o s n on

th C l au d i a a
e q u d uct li g hti g up th i fi ity f it arch lik th bri dg
n e , n e n n o s es e e e

of ch a B u t a I cli mb d h l g l p f th A l ba m u t th t rm
os. s e t e on s o e o e n o n e s o

sw p t fi al ly t th rth a d th bl u tli f th d m f A l ba
e n o e no , n e no e o ne o e o es o n o,

a d th gr ac fu l d ark
n e fie il x gr v r agai t p u r tr ak f al
ness o ts e o e, ose ns e s e s o

t r at bl u a d amb r
e n e e n e .
”

E l ab or ati on This t er mi appli ed to w ri ti ngs wh er e the styl e

. s

i c ar efu lly c orr ect ed p o l i h ed an d e r ich d wi t h r h t o r ic al

s , s , n e e

e mb elli h m n t A mplific ati o a d cli max oft n p r e e n t ex

s e . n n e s

ampl es th i s of .

A go rgeo u s styl e is the xhibiti on of g r eat p omp an d spl en

e

d o r as in p assages
,
of M i lt on s p r ose work s an d the w r i ti ngs
’ ‘

of j e r emy T ayl or .
 E la ments Rfietor zc
'

2 86 f
o .

0
3 4 . m c as
A G A I NST e s m v ELEG AN CE
ov .

Th er e are many vici ous qu al iti es which are chi efly opp osed
to l it e r ar y e l eg an c e an d of th ese the most co n spi cu ou s wi ll
,

n ow be c o nsid er ed .

5 AREL ESSN ESS 3 0 . C .

1
. M an y fau l ts in styl e ari se fr om c ar el ess ness Th ese are .

tw o fo l d : fi r st c ar e l es sne ss as to o ne s wo r k ; and se c on dly

,
’
, ,

c are l es sness as to the r ead e r s to wh omi t is add r ess ed .

r st C a. r e l essn ess as to o ne s wo r k l eads to i n corr ec t an d ’

sl ov e n ly c ompositi o n with obscu ri ty i nel eg an ce r edu nd ant

, , ,

w or d s and fr equ en t r ep eti ti o n s

,
.

A pu e r il e styl e is o ft en the res u l t of th is The pu e r il e is .

mar k ed by i mmatu r ity o f th ough t v ag u e app reh en si o n of the ,

subj ect t r i t e an d c o mmo n pl ac e exp r es si o n s tedi ou s r ep e t i t ions

, , ,

t oge th e r wi t h l av ish use o f e pi th e t s ex a gg e r ated ph r as eol ogy,

'

an d enti r e absen c e of p r ecisi o n .

A b ru pt ness of p rese n tat i o n is anoth e r r esu l t This is fou n d .

ch i efly in the i n t r od ucti o n of t opics wh ich are car e l essly th ru st

fo r w ar d wh en t h ey might be b ro ught on mor e g r adu ally an d
ski l fu lly Thi s i s d e s tru ctiv e to an ythi ng lik e ease o r el eg an c e
.

o f styl e The mo st co mm
. on fo r m o f ab r upt t r an siti on i s seen
in the p r each e r s “
fi r st t hi r dly u s ed in p ass
” “ ’ ” “ ”
se co nd ly , , ,
»

ing fro mon e h ead o f a di sc o ur s e to an o t h e r .

2d . C ar e l e ss ness as to the r e ad e r r esu l ts in s u ch fau lts as

th os e exp r ess ed by the w o r ds stiff h ar sh
m
“ ” “ ” “ ”
d ry and , , ,
“
b al d ”
Th e se h av e uch in common yet each w o r d has
.
,

so me sp eci al sig n ific ati on .

“
St i ff i mpli es awkw ar d ness of exp ressi on ab ru ptness of
”
,

t r an si ti on an d a ge ner al w an t of eas e el egan c e and viv acity

, , , .

H arsh ness may c oexist with g reat vigo r and ani mat i on as
”
,

in t he c ase o f B r o w n i n g and C ar lyl e ; but in g e n e r al i t i nd i

c ates a styl e rou gh t hr ough c ar el es sness and wi t h ou t any at ,

t r acti on .

D ry A d ry styl e is char acterized by a t ot al ab sen c e of

.

o rn a men t The w r it e r seems i ndi ffe ren t to all the means of

.

pe r su asi o n an d exh ibi ts none o f th ose qu ali t i es by which a

,

r ead er may be pl eased This styl e is c o mmo n to d id actic .

writi ng s to s e rmon s an d to sci en tific and ph ilosoph i c al wor ks

, , .
2 88 E lements o f R/zetor ie .

ampl e may be fou n d in H er v ey s M edi t ation s D ick en s has ’

.

bee n bl amed for many p assages in which this vic e of styl e

appe ars M any F r en ch w r it e r s are too fl o r id for E ngl ish t ast e
. .

V icto r H ugo in h is l at e r n ov e l s e g “
L h omme qu i ri t has ”
,
. .
,
’
,

giv en gr eat ofl en ce L amart i n e and C h ateau b rian d are o pen

'

to the sam e ch a rg e I n G e r man l i t e r atu r e G es n e r is fl o r i d

.

an d mawki sh an d ev e n the g en i us o f G oe th e was n o t su perior

to the t e m p t ati on o f this styl e i n h is S orr o ws of We r th er .

H ead ley s “
N apo l eon an d his M arsh al s Ge orge G ilfillan s
’
,
” ’

e ss ays and S wi nbu r n e s p r o se w ri ti ng s are all ch ar geabl e with

,
’

the s am e fau lt .

Rh et ori c al is someti mes u s ed as at ermo f r ep roac h an d i s ,

appli ed to a fl o r id styl e in which the o r namen t is too apparen t .

f E sc hines attri bu t e s th i s to D e m os th e nes in a ph ra se whi ch ,

was mean t to i mply t hi s fau l t : H i s styl e s mell s of the l am p .

M any c ri tic s c on sid e r M ac au l ay s e ssay o n M il ton r h eto rical ’

.

B ro ugh am fi nds fau l t wi th the styl e of C i c er o in the fo ll ow '

ing p ass age :

T he compositi ons of C i cero ex q uisi te as th ey are for beau ty of d i cti on

, ,

o ften rem ark ab l e for i ngeni ous arg u ment an d b rilli an t wit not sel d omex ,
~

ce lli ng in dee p pathos are n eve rthe l ess so ex tr emely rh et o ri cal fas hi oned
, ,

by an art so littl e con cealed and sacri ficing the su bject to a d i spl ay of the
,

auth o r s po we rs ad m i rabl e as th ose are that no thi ng can be l ess ad apted

’
, ,

to the gen i us o f m od e rn el ocu ti on whi ch r eq u ires a cons ta nt a nd al mos t

,

ex cl us i v e a ttenti on to the bu si ness in h and I n all his orati ons whi ch were .

s po k en hard ly two pa
,
ges can be fou nd which a mod ern assembly wou l d
hear . N o w it is alt og e th er oth e rwi se with the G ree k m as t ers C h ang .

ing a few p hr a ses mod erati ng in some degr ee the v ir ulence of in vec
,

ti ve ,
there i h ardly one o f the politi cal or forens ic orations of the G reek s
s

that mi ght n ot be de li vered in si mil ar circu mst ances before our senate and
tribunal s ; whil e th eir fu neral and oth er panegyri cal d i scou rses are much less
i nfl ated and u nsubst anti al th an th ose o f the mos t approved mast ers of the
e p i d ei cti c styl e —t he Fr ench a demi cians an d preac h ers
”
ca .

S e ti men t al
n xp r essi on
is the e of w eak and c ommonpl ac e
s enti men ts in fl o ri d l angu age : as
Th ug h it b pl aa t t r v l amid h d r am f fa cy
o e e s n ar al fto e e t e e s o n , or so o

ami d c f i d al b au ty y w t y w t r fa t r ad i N at ’
s en es o i e e , et ts s ee , es, s ee e r, o e n

ur w b k th p ag
’
e s o n f li v i g
oo t r al u dyi g tr u th
e e o n , e e n , n n .
”

Th r i a ubli mity i atur a d th r i a ublimity i m ral A

e e s s n n e, n e e s s n o s. s

w gaz u p
e the c a i it wrath a th f rk d li ght i g p l ay ar u d
on e o e n n s , s e o e n n s o n ,

a h bill w b u d a d catt r th ir p ray t th cl ud l fty m ti

s t e o s o n n s e e s o e o s, o e o ons

cr wd i up th u l
o n on e so .
”
 S ty le A ssociated wit/i H ar mony . 2 89

S tilted I S a termappl i ed to w r iti ng which is for c ed an d

“

unn at u r al I t i s ch ar act er i ed by mock e t h u i as m a d e x

. z n s n

t a ag an t exp r essi on s The w o r d h i fal ut i n has b een c i ed

”
r v . o n

to stig mati ze th i s fau l t . I n the fo ll owi ng p ass ag e W ashi ngt on

is d esc r ib ed
Thr ough every fibre o f th at h ercu l ean frame—st andi ng six feet and six '

i nches devel oped i n t o matchl ess and sy mmetrical beau ty—e v ery p assi on
, ,

th oug ht an d feeli ng th at bel ongs to earth or h eaven w en t forever thri lli ng

, .

N ot a ne rv e b u t w ak ed lik e a sens iti v e p l an t to e v ery zep hyr br eath ; n ot

a mus cl e of th at gr an d fr ame b u t was as el asti c no t a t end on th at wa s n ot ,

as h ard as st eel H e was o f all men p erh aps g i ft ed wi th the fines t ner v ous
.

su scep ti bi lity a n d the m i ghtiest po w er of will ; for ov er the broad expanse

of h is n a t u re wh ere the capabiliti es of t erri fic acti on lay re posi ng they w oke
, ,

to the s u mm on s o f th a t all con trolli ng will d irected by su pre me j u dgment

-
,

and arraye d th em
,

sel v es fo r a cti o n as d i v i si ons o f a g reat ar my answ er the

si g na l to come i nto li ne of battl e W e can i ndeed say th at in all feats
.
, ,

of a g ility and streng th ; in lith eness and gr ace of for m; in the ri pened
beau ty b ut hal f rev eal ed po wer o f the you ng A poll o ; in early tr aini ng by
-

lo ng exposu re ; in cli mbi ng mou n t ai ns swi mmi ng wi nter ri v ers throug h ,

cr eaki ng ice cakes w orki ng l on g d ays u nde r the d i sso l v i ng he at o f amelt

-

in g sun and bo u nd by the fr ozen c h ai ns of ar cti c col d he g r ew i nt o as tr engt h

, ,

an d p o w er o f end u r ance r ar ely seen ev e n amo ng the men o f his ti me who ,

h ad bee n spo il ed by none of the en e rv ati ng car esses of t en der moth ers bu t ,

who mN at u re cl ai med as her own h ard y sons of the wil derness ; wh omshe
c rad l es in st or m s a nd fo nd l es in t e m pest s as she does the eag l e an d the
,

lion who mshe bri ng s u p to do her heavy work

, .
”

H yst er ic alThi s t e rm i s s ometi mes appli ed to a styl e

.

wh ich is exc essi v ely se n ti men t al an d fu ll e r th an u su al o f fal se,

e xci t e m en t an d wi l d e xt r av ag anc e The same styl e wh en als o .

,

sh o wi ng the a dd iti o n o f p e r s o n al c on fl d e nc es an d o v e r st r ai n e d
feeli ng is c al l ed , gu sh i ng ”
.

R h aps ody is u sed to d esig n at e ov er w r o ught fan ci es and

”
,

a s tyl e l ar g ely mad e u p of s emi p oetic al w o r d s an d ph r as es -

.

“
R an t i s u nb r idl ed ext rav ag an ce of l angu ag e with much
”

e n th u si asm .

R h odomon t ad e means i n du lg en ce in vai ngl or i o u s t r ifli ng .

RET ENTI O U S STYLE

30 7 . TH E P .

3 A p r et en ti ou s styl e i s the exp r essi o n of pl ai n fact s or com

.

monplace id eas in the l ongest p os sibl e w or d s Th u s a c er t ai n .

cl ss o so c all ed edu c ati o n is ts wi ll d efi ne a b al l fr ame

a f “ -
” “ ” -

as an “
arithmetic on an d expl ai n to a cl ass of sch oolb oys
,
 Elam R/zf tor zc
'

29 0 en ts f
o .

that the o r di n ary

st ro k e u se d in w r iti n g is the r es u l t an t fo r ce
fr om the mean of the ve r tic al and h ori zo n tal fo r c es
”
The .

chi ef ch arac t e r i stics of a p r eten tio u s styl e are :

r st The use o f w o r d s o f L a
. ti n or G r eek origi n in p refere nc e
t0 those d e r iv e d fr o m A ngl o S axo n
'
-
.

2 d T he use o f lon g a
. n d so no r ou s w or ds in p reference to
sho rt an d si mpl e .

3 d. T h e us e o f t ech n i c al t e rm s .

4 th T he a
. ffect ati on of sc i en t ifi c t reatmen t .

A p ret en t i ou s s t yl e may o ft en be fo u n d in w ri tings wh ich

d eal wi th ed u c ati on al subj ects wh er e as ab ov e the pl ai nest
, , ,

facts which may be st at ed wi th si mplicity are exp r essed in the

, ,

pond er ou s t ech n i c ali ti e s of sci e n t ific n o me n cl atu re O t h e r .

w riti ngs may be fo u n d o n the s ame subj ec t which are pe rfectly

c l ear and pe rfectly u np r ete ndi ng This s t yl e is ad opt ed u n d e r
.

the id e a th at i t wi ll c o n v ey the i m p res si o n of sup e r i o r k n owl

ed ge . I n r eali ty it o ft e n c o nc eals r eal ign o r an c e ; for th o ugh
it i s c er tai n ly po ssibl e th at o ne who u nd er st an ds his su bj e c t
may be u n for t un ate and u ni ntel ligi bl e in h is exposition yet as ,

a r u l e he wi ll at l east sh ow th at he is maki ng an effort to be

u nd erstood .

I t may oft en be fou n d in se rmon s wh ere the p r eac h er in , ,

r e ward for making h i msel f th oro ugh ly u n i nt el l igibl e g ai n s the ,

r ep u t ati on of a d eep thi nk er

“ ”

Bu t the gr ea
.

t est sc i e n ti fic w r ite r s are qu it e free from thi s

wh en add r essi ng the gen e r al public H ugh M il l e r D ar wi n .
, ,

H uxl ey Ty nd al l Tat e J oh n S tu art M il l and oth er s h ave sh ow n

, , , , ,

th at me n c an h an dl e the most d i fficu lt s u bj ec ts an d yet mak e ,

th emse lv es not o n ly i n t elligibl e bu t even pl easi ng to r ead er s

,

of a ver ag e i n t e l l igen ce .

A p r eten ti ou s styl e is often ad opt ed by newsp ape r r epor ters ,

wh o se pe cu li ari ti es are amusi ngly ex empl ifi ed by P r ofe sso r

Lowell in the fol l owing manner
P LA I N STYLE . P RETENT I O US STYLE .

W as h anged . W as l aun ch ed in t o eter nity .

W h en the h alter was pu t round his W h en the fat al noose was adj usted
abo u t the neck of the u nfort u nat e v i c
timof his o wn u nbri dled pa ssi on .

A great cr owd came to see . A v ast concou rse was assembl ed to

G r at fi
e re. Disastro us confl agrati
292 E lement: f
o Réetor ic .

3 08 . osr r mu r rox .

4 A
. n oth e r vi c e o f styl e o ppo se d to e l egan c e i s fo u n d in

v ari o u ki nds of ost e tati on of whi c h the foll owi ng a e the

s n ,
r

most p romi nen t

r stCo n c e i t
. .

This wo d fo rme r r ly mean t

c on cept th at is a co ncepti on “
, ,
“
,

and i mpl i ed a se n ti men t a st riki ng t h ough t Th u s P ope

,
.

S o me to conceit al one their works con fin e ,

A nd g litt e ri ng th o ug hts str uck out at e v e ry li "

ne.

A t p re se n t u sed to sig n i fy s en ti men ts t h at are st r ai ned

it is
o r far fe tc h e d e spe ci a
-
l ly wh en p resen ted in the for mof fig ur es
,
.

Thu s Bu lwer in his at t ack on Te nnys on c al ls his poetrv

, ,

A j in g li ng med l ey p url o i ned co nceits

of ,

O utbaby ing W o rds wo rt h and ou tg litt eri ng

K at , e s.
"

A rece n t poe m A Ri ddl e of Lo v e r c on tai ns s u ch c once i ts

, s,

as h beau ti fu l si ngi ng h oly sou l the sh i ne of s harp sou l

” “
er ,

st ri ki ng so u l .
”

Th r i “
p t p y w ul d t
e e s no oe
’
s oes o no
Wh l aid agai t th whien fh m k ns e teness o er ee ,

P r ud l m fa mak th r a p iti ful bl t "

o , so e n ce, e e e o .

2d Im .it ati on s of great w ri t er s .

E v y g r eat w r i t e r has h os t s of ad mi re r s an d i mitators

er .

J oh n so n was fol l owed by a sch oo l of w r it ers who w r ote J oh n

s o n see C ar lyl e had m
. any i mi tat ors ; b u t the r ace has n ear ly
di d out I t is the s ame in poet ry The By r on man i a is w el l
e . .

k own Tenny o has b ee n i mi t at ed for the l ast thi r ty year s ;

n . s n

a d of l at S wi nbu r ne has h is fol l ow ers who in the w o r ds of a

n e , ,

c r itic l abo r i ou sly sear ch fo al lit e rat i on s to fire and d esi

,
r re ,
”

and p ai n fu lly c al l u po o u Lady of P ai n to c om d own an d

n r e

r ed ee mt hemfr o mvi rtue .

”

3 d A n
. o th e r f r m is fo u n d in ce r
o t ai n fashi on s of c r i ti cis mth at
ar ise fro mti m to t i m T h l at e t displ ay of th is so rt i s the
e e . e s

applic at i n of m u si c al t er m to p ai ti ng and of the sl ang o f

o s n ,

art to poetr y Mr S wi bume b r i l li a t fl sh ti t

. . n Mr ’
s n e -
n s
“
.

M o rr is s low t o ed c o l ors a most ch ar mi ng sy mph ony in “

’
-
n

a p e r fect so ne t n o il s are ph r as es w hic h r ep r esen t

“ ”
re d
i n ,
.

this newe t fashi on in the wor l d of l ett ers

s .
 S ty le Associated wit/z H ar mony .
93

309 . V ULG AR ITY .

5 V
. ar i o u s fau l t s o f styl e e ar is t h r o ugh v u lg ar ity .

Th er e a e s ome who t r y to l eap at o n c e i n t o eas e of w r i ti ng

r .

Th ey r e ad the ess ays of an au th o r l ik e Th ack eray and mak e ,

th e att e m p t to r i v al him wi th o u t be i ng c on sc i ou s of the di ffe r

,

e nc e b e twe e n a g r e a t mast er an d ay ou ng begi nner U n wi lli n g .

to go th r o ug h the l ab o r th at i s n ece ss ar y to p r e p ar e th e mfor

su c h a t ask o r ig no r an t th at s u ch l ab o r is r equ i r ed th y r u sh
, ,
e

at on c e i n t o as cl ose an i mit ati on of th ei r m od e l a s th ey c a n

c on t r iv e A ny r e al i mit at i o n u nd er s u c h c i r c u mst an c es i s n ot
.
, ,

g e ner al ly effect d Wh at is live linemand sp r ightl i ness in the

e .

o ne be c om
, es in the o t h e r c o ar s en e ss a nd sh ee r vu lg a ri ty I n .

o r d r to appe ar q u it e a
e t th ei r e a s e th ey mak e free use of c ol l o
,

q uia lism s ; a n d i n t e n di n g to be e l eg an t t h ey a r e si mply i mp er ,

t ine n t . I n w r iti ng as in ac tu al l i fe wh e r e o ne fo r c es h i m
, s el f
,

to a ppear at eas e the r esu lt wi ll be th at he ov e r d oes i t and

, ,

mak es hi ms el f awkw ar d and dis agr eeabl e To th is s or t o f v u l .

g ar i t y may be appl i ed the w el l k now n s ayi ng The ass w o u ld -

,

i mi t at e the l apd og o r B ur k e s w or ds
“
I t is the c on t or ti ons
’
,

o f the sibyl wi th ou t the i n spi r a

”
tion .

A noth er fo r mo f v u lgar ity is fou n d wh ere th ere i s an app eal

to lo w m o ti v es s u c h a s p r ej u dic e l oc a
,
l feel i ng s nobbish ness ;
, ,

togeth er with lo w exp r essi o n s— the sl ang o f litt l e c l iq u es or so

c ieties an d the
lik e .

S o meti mes the l an gu age i s awk w ard Th is i s seen in the .

use of wo r ds th at are n ot exp r essi v e of one s meani ng an d in

'

’
,

b ad ly arr anged ph r as es an d s en t en c es .

B ufloo n ery is a sp eci es of vu lg arity I t is the l ow est k i nd of

'

wi t if i nd eed i t c an be c all ed wit I t is c oar s e and cl ow n ish

, , , .

h u mo r the mean est exhibi ti on of the s en se of the r idic u l o u s

, .

I t is seen in Joe M i ll eris ms coars e j ok es s cu rril iti es low

“ ”
, , ,

p e r so n al i ti es and also in vulg ar j esting u p on s ac r ed t h emes

, .
 PA R T I V .

M E T H O D .

C H A PT E R I .

S U BJ E C T M A T T E R
-
.

rm
5 3m a
. DE F I N E D or) .

B ar ons ente ri ng u pon the wo r k o f c ompos iti on i t i s n eces

sa ry to g a the r Up mat er i al and arr ange i t in to some ki n d of
,

or d e r . Th is mat e ri al is cal l ed su bj ect matt er th at is matt er -

, ,

rel ati ng to the s u bj ect u nd er c onsid er ation .

M ethod may be d efi ned as the ch oice an d arr angement of

the subj ect m att er of c omposi t i on as d i sti ngu is h ed fr omstyl e
-
, ,

which is the manner o i ts exp r essi on in w o rds

f
.

V ar i ous oth e r t erms are fr eq u ently appl i ed Th u s in fi c t ion .

,

wh eth e r n arrati ve or d ramatic i t is oft en c al l ed p l ot in es

,

says speech es an d many w or ks aimi ng at pe rsu asi o n i t i s

, , ,

an alysis ; in se r m on s the wo r d
“
sk el et o n is po pu l ar
“ ”
call ed

ly u sed ; an d fi n al ly the w o r d argu m is of fr equ en t ap

“ ”
, , en t

plicati on M e th od i ncl u d es all th ese

. .

M e thod accor di ng to th e abo ve d efi niti on may be c onsid

, ,

e r ed u n d er two ge n e r a l d ivisi on s : Fi rs t the ch o ic e of subj ec t,

matter or i nven ti on ; sec ondly the arr angement of subj ect

, ,

matter .

5 3 t r SU BJ ECT MATT ER
.
-
.

S ubj ec t matter may be reg ar d ed fr omatwofold poi t of vi ew

-
n

fi r st with r efer en ce to th mod e in wh ich i t i p r es en t ed ; an d

, e s ,

sec o dly wi th r eferenc e to its own ch ar act er

n , .

Subj ect matte r wh en c on sid ered wit h r eferenc e to the mod e

-

,
296 E lements f
o Rlzd on k
.

wh il e for expo si tion orat o ry the e xpo sit o ry p art s of poe t ry di

, , ,

al ogu e or t he d r ama th e r e is r equ i r e d th at ki n d of subj ect

, ,

matt er wh ich is ad apt ed to exposi tio n The fi rst of th ese .

cl asses may th e r efo re be c all ed n arr at ive subj e ct matte r an d -

,

t he se c o n d e xpo si t o ry .

N arrat i v e subj ec t matter consists c h i efly of fact s and occu r

-

r en ees an d may be i ll u st r ated by s u ch wo r ks as the I l i ad of

,

H o me r the H i sto ry of H erod otu s S h ak espe are s M acbe th an d

, ,
’
,

S c o t t s W av er l ey N ovels
’
.

Expo sito ry subj ec t matte r c o n sists ch i efly of th eo ries or p rin

-

nd m ay be i l l ustr at ed by the w o r k s of Pl ato C ic er

m
c iples a , ,

Loc k e and Be rkeleyiwwtwu/ z m u n

g! M i « fe -r . .

Th ese two ki n ds of s u bj ect matte r are often fou

,

n d interm in
-

gl ed or sid e by s id e as wh en a n ar rative of facts i s associ at ed

, ,

wi t h the di sc u ssi o n of p r i ncip l e s Ex ampl es o f thi s may be .

fo u n d in Pl at o s A po l ogy o f Soc r at es the orat i o n o f De mosthe

’
,

n es on the C r ow n a nd Bu r k e s sp ee c h at the B rist ol e l ec ti o n

’
.
,

C H A P TE R I I .

THE P U R P O S E O F T H E W RIT E R .

§ 3 rz . rm: P UR P OSE o r T H E w arm .

I N V ENTI O N be i ng as we h ave see n the sel ecti on and acc u

, , ,

mulation of subj ect matter i s al so c onc ern ed wi th the p u rpose

-
,

o f the w r it e r .

E ve ry ki n d of c ompositi on has so me aim or pu rpose and ,

th ese are n u merou s but may be reduc ed to a few cl asse s

, .

Fi rst the aim o f the w r it er may be to i n stru ct ; se c ondly to

, ,

co n vi nce ; thir dly to per s u ad e ; and fourt hly to pl ease

, , , .

me AI M TO I NST RU CT
313 .
"
.

r. The aimo f the w r it er may be to i st r u c t This presup n

po ses mo r e o less ign oran ce of the s u bj ec t o n the part of the

r

r ead er .

U n der thi s c l ass may be i ncl u d ed all work in which a y s n

ki n d of i nfor mati on i con v y ed T hese c omp r ehe nd a large

s e .
 TIto P urpose o f tlze Wr iter . 2 97

p r op orti o n of n arr ativ e and d esc ripti v e w ri ti n g s u c h a s hist o ,

r i es bi og r ap hi es and boo ks o f tr avel P r os e ficti on al so wil l

, ,
.

fr e qu en t ly sh o w the aim to i n st ruct ; mo r e p ar tic u l ar ly the his

to r ic al nov e l of which Qu e n ti n D u r w ar d m
,
ay be t ak en as an
ex a mpl e The t al es of Loui s aM iihlbach afl ord p er h aps abet
'

ter i n st an c e fo r in th es e the i nfo r m

, ati on wh ich the auth o r in
t en ds to c o nv ey qu i t e o v er sh ad o ws th o se mi n o r d et ail s u p on
which oth er w rit er s o f ficti on are w o n t to e nl arg e .

E xp osi t ory w riti ngs oft e n h av e th is for a p r omi nent aim for ,

i n st r u cti o n is l arg ely c o mmu n ic at ed in thi s way alth ough th ei r ,

chi e f pu r po s e is most fr equ e n tly to c on vi nc e o r p e r su ad e .

H ook er s Ec cl esi astic al P ol i t y and B ac on s A dv anc eme n t of

’ ’

L ear n i ng are c on spicu ous ex ampl es fo r al t h ough the pol e mic al ,

spi r it is vi sibl e e t the pu r p os e o f i nst r u cti o n is c e rt ai n ly i

y , n .

the asc e nd an t To th ese may be add ed th at v ast body o f

.

sci e n ti fic l it er atu r e wh eth er d id actic mor al or r eligi o us wh er e

, , , ,

t he aim is to en l ar g e the sumo f hu m an k nowl ed ge .

P oe try often exhibi t s the s ame pu r p os e as fo r e x ampl e V i r

,
, , ,

gi l s Georgi c s H or ac e s Ar s Poeti c a; P op e s Ess ay o n C riti

’ ’ ’

c ism
m: am TO
.

5 3 14 . r CO N VI N C E .

2 . The aimmay be to c o n vi nc e H er e the wr it e r presup .

pos es in the r ead er no t ig n or an c e bu t a d i ffe r enc e of o pi n i o n

,

and his aim is to efl ec t a ch ange in th at O pi n i o n t ow ar ds hi s

o wn po i n t o f vi e w .

Thi s is chi efly c on fi ned to exp osi t ory w r i ti ngs I t may be .

s ee n in ph il os o phic al wo r ks su c h as th os e o f L ock e Be r k el ey
, , ,

H u me Re id an d o t h e r s ; whi l e in th eol ogic al w or ks it is equ al

, ,

ly p r ev al e n t e sp eci al ly in th ose o f a p o l emic al ch ar act er

,
It .

is so me t i m e s fo u n d i n o r at o ry which i s al most al w ay s d esig n ed

,

e i th e r to c o n vi n c e o r p e r su a d e al th ough the l att e r pu r p o se is

,

mor e fr eq u ent th an the forme r .

Thi s pu rp os e to c on vi nce may be fou n d in d ep ar tme n ts

— —

o f lit e r at u r e wh e r e i t i s l e a st exp ec t ed I t might be sh ow n .

t h at the aimof such awor k as U ncl e T oms C abi n is to d ispl ay ’

the evil s of A m e ric an sl a v e ry an d th u s by mean s of highly c ol

,

o r e d fac t s to c o nvi n c e the r e a d e r of the n ece ssi ty of the o v er

t h r o w o f t h at i n sti t uti on .

I t may al so be ob ser v e d in th at l ar ge cl ass o f w or ks of fic

ti on k n ow n as r el igi ou s n ov els wh ich are a ch ar act er istic of the
,
29 8 E lements o f R/wtor it .

p resent d ay of wh ic h a welltkno w n exampl e is the Sc h onbe rg

,

C ott a Fam ily I n all of th ese the effo rt of the au tho r to co n

.
,

v i nc e the read er o f the tru th of his o wn vie ws is as e vi d en t as

that of the w r it er who p u ts fo rth his opi n i on s in expositor y
w orks
5 3 1 5 TH E am 10 r an so m
.

3 .T h e a im m a y b e to p e r s u ad e H ere as in the prev i ou s

.
,

case the w r i t e r seek s to b ri ng over the read er to his own poi n t

,

O f vie w H e d oes not h o we v e r p resu ppose any di ffer ence of

.
, ,

O pi n i on bu t m ay reg ar d the r ead er as ignoran t or i ndi ffe re n t ;

,

or he m ay e v en co ncei ve of himas al ready on his own sid e b u t ,

w aiti n g for fur the r sti mul u s to app roach neare r .

Con victi on refe rs c hi efly to the u nd erst andi ng whi c h it affec ts ,

by argu me nt s ; pers u asi o n o n the o t h e r h and whi l e i t al so ap

, ,

peal s to the u nd erst andi ng g oes beyo nd i t and appeals sti l l

, ,

fart he r to the wi ll I t see ks to attai n i ts p u rpose fi rs t by

.
, ,

sho wi ng th at the t hi ng in q u estion is right or w ron g ; and sec ,

o n d ly th a ,t i t is d es i r abl e or oth erwi se I t th ere fo re mak es use .

not o n ly o f th ose argu m ent s t h a t are add ressed to the reaso n ,

b ut also of those whi c h appeal to the p assi ons .

P e rs u asi o n is more po werfu l th an co nvicti on fi rst bec au se , ,

me n are al ways mov ed mo re re ad ily and at the s ame ti me ,

mo re fo rcibly by th ei r feeli ngs th an by th ei r reaso n ; sec on dly

, ,

bec ause e ven wh en the reaso n is co n vi n ced men are not al ,

w ays r eady to fo ll o w out t h e i r c o n vic ti on s Th is is a w el l .

k no wn fac t in h u man n atur e an d i t has giv en ri se to fami li ar

,

maxi ms and p ro verbs s u c h as : ,

S il enced bu t not conv i nced

. .

V ideo meli orapro boq ue d et erio raseq uor .

"

H e t hat comp l ies agai nst his will is of the same op inion still , .
”

This p ur po se en te rs so l arge ly i n to l i ter atur e th at as we ,

h av e seen r h etoric has bee n d efi ned as the art of persua

,
“

”
S io n .

N arr ativ e wo r ks exhibit it in th ose histori es wh ich are wr i t

ten wi th a bi as whe re the au tho r e nd eav o rs to i n cu lc at e hi s
,

own se n ti m e nts ; in bi og ra ph i es wh e re the w ri te r e nd eav ors to

,

wi n ov e r the r e ad e r to h is o wn vi ew of the subj ect by p r es en t

ing it in the m ost a t tr ac ti ve m anner I t al so appears in p rose .

fic ti on in all th ose wo rks wh i c h a

, re com posed for th e p u rpose
300 men ts qf Rhetor ic
Ela .

the c e l eb r ated s aying of Fl etch er o f S alt o u n : I k n e w a v e ry

wi se man who be li ev ed th a t if a man w e r e per mitted to mak e
,

all the ball ad s he need not c are who sh o u ld mak e the l aws of
,
”
a n ati on .

D id actic poe t r y sh o ws the s ame pu r po se ; as in Y o u ng s N igh t ’

Th ough ts Th omso n s S eas o ns Co wpe r s T ask and o t h er s

,
’
,
’
, .

m: am r o P LEASE
s3 1 6 . r .

4 The aimo f the w r it e r may be to pl e ase

. H e re the inten .

tion is to i mp ar t g r atifi c ati on or pl eas u re wi th ou t any di r ect ef

fort to i n st ru ct o to p er su ad e al t h ough this al so may be the
r ,

resu l t Th is wi ll be fo u n d the an i mati ng p r i ncipl e o f a l arge

.

p r o po r ti on of the w or ks o f the i magi nati on bot h in p rose and ,

p oe t ry .

This was man i fe stly th e fi r st aim of the I li ad an d the O d ys

sey and t he v a
, st body o f e pi c so ng b e l o n gi ng to th e T r oj an

e po ptz ia I n th ese we fin d muc h to i n st r uct an d pe r su ad e but

.
,

th ese are all s u b o r di nat e to the mai n pu r po s e which is to ,

pl e ase fo r the very e xerc is e o f the i magi n ati on which gi v es

,

pl eas ur e to the au th or i s p resent ed to o th e r s so th at th ey sh al l ,

h ave the s ame pl eas u re ; an d all the artific es o f poe t ry — i ts

e u ph o ny its m ea
, su res its dic t i on and i t s figures— t e n d to t h is
, , .

H omer has b ee n c al l ed the fath er of stor y tel l ers an d aft e r

“ ” -
,

himh av e c o m s to r y t el l er s o f all ages

“ ”
e his d esc e nd a n t s the ,
-
,

who are con ten t wi th the si mpl e aimof givi ng d e ligh t to th ose
who may ch oose to l i st en .

I n the M iddl e A ge s the Ar abi an s tu r ned asid e fro msci en tifi c

p u r s u its to r ev e l in the ch arms o f th at p r o s e ficti on which we
k n o w so w el l u n d e r the n ame o f the Th ou s an d and O ne
“

N i g h ts The li t e r atu re of C h rist e nd omaro se out of the met

”
.

ric al r o m an c e in whi ch was i ncl ud ed all th at v ast body of po

,

e t r y be l o n gi ng to the C a r l ovi ngi an and Ar thu rian epopoeias .

C hau ce r was a sto ry t ell e r and S pe n se r al so ; wh il e S i r W al te r

-
,

S co tt who re vived the met ri c al roman c e had the same aimin

, ,

p oe ms and nov els .

I n p r ose ficti o n this is stil l m or e evid en t fo r t hi s i s the fi r s t ,

aim of the mod e r n nov el Among nov e lists th e re are many

.

who h av e at t ai ned to the high est pl aces of l it er atu r e : W al t e r

S c ott who in c reative gen i us st ands next to S h ak esp ear e ;
,

Thac k er ay who in p u ri ty of E ngl ish may st an d b esid e A ddi

,
 The P urpose o f M e Wr iter .
30 1

so n ; G e o Who sh ows a B ac on i an c ap acity for max

rge E li ot ,

im ; D ick e n s who d r aws all the w o,

r ld aft e r him S u ch w r i .

t er s as t h ese h av e set o ut fi r st with the d esig n to pl eas e b u t ,

th ey h av e add ed mo r e to thi s ; and by t h ei r g en i u s th ey

h av e r ais ed the nov el to the pl ac e which onc e was h eld by
the d r am a .

I n d r amatic l it e r atu r e the au t h or s fi r st pu r po s e i s al s o to

’

pl e ase The d r ama may be d efi n ed as a st o ry told by d i al ogu e

.

an d by ac ti on I t is esse n ti al to i ts s u cc ess nay ev e n to i t s

.
, ,

v e ry exi ste n c e t h at the sp ect ato r be e n t er t ai n ed ; and e v en

,

wh e n the wr i t e r has a high e r motive th an mer e pl easu r e he ,

mus t k eep th is st eadily in vi e w H enc e whi l e t r agedy may be .

,

c r eat ed fr omv ar i o u s moti v es an d may sh ow the aimto pl ease ,

o n ly in a n i n fe r i o r wa y c om e dy e l e v a te s i t
, to the ch i e f po si
tio n .

I n expo si t o r y w r iti ngs the aim to pl ease is chi efly s ee n

,

in es say s su ch as th os e of A ddi so n L am
, b an d Th ack e r ay , , .

Th ese o ft e n b el ong in p ar t to h u mo r ou s c omp ositi o n bu t the ,

h u mor o u s itse l f may be c al l ed an e ffo rt to pl eas e in a pec u li ar

d i r ec t i on .

3 1 7 . r m: UN IO N
I FF ERE N T A I MS or D .

Th es e various purpos s h ave b ee n c o nsid e red s ep ar at ely for

‘

the s ak e o f c o n v e n i e n c e bu t in r e al i t y t h ey d o n ot o ft e n xist
, e

se p ar at e ly b ei ng g ene r al ly fo u nd in u n i o n wi t h one an oth er

, .

This is p art i c u l ar ly the c ase wi t h c onvicti on and p e r su asi on ,

which a e u n i t e d so fr equ e n t ly th at many r h et orici an s r eg ar d

r

th emas i nse p ar abl e I n o r d e r to h av e a c ompl et e vi ew o f t his

.

s ubj ect i t wil l n o w be n ec ess ary to notic e the chi ef cas es in

,

wh ich th ey are t hu s u n i t ed .

1 Wh e r e the chi ef p u rpo s e is to i n s t r u ct a

.
nd the su bord i ,

na t e to c on vi n c e o r pe r su ad e .

Th is is most visibl e in hi sto r ic al w or ks E v er y hi st or i an .

has c er t ai n vi ews of hi s own wh ich app e ar in his w r i t i n gs and

,

are oft en u r ged u p o n the r ead e r Th u s whi l e the fi r st aimof .

,

hi st o r y i s gen e r al ly to i n st ru ct th er e is the s ub sidi ary aim to ,

p e r su ad e the r e ad er to ad opt the w r it er s own o pi n i on s I n ’

.

C l ar e n d o n s his t o r y the i n st r u cti on i mp ar t ed 15 as so ci at ed with

’
,

the au th o r s e vid en t d e v oti o n to the S tu art c au se

’
I n G ibbo n s
’
.

g r e at w o r k th e i n fo r mati on c onv ey ed is often mo difi ed an d

,
30 2

c olore d by in si n uations g ain st Chris tianit y, made hy a writer

who has bee n descr ibed by Byron as

“
Sapphxg a solemn creed with solann snecr,
”
The lond of ir ony .

M acau l ay
, whil e h e in str uc ts u s in E ngli sh his t ory, exhibits

his stron g Wh ig sympath i e s ; and Li ngard sho ws his R om an

Catholic p rocl i vi tie s w hile t reating of the sam e s u bje ct Among .

the n u merous histori es of G reec q some ad vocate monarc hy,

ot her s repu blican isrn Th is is the meanin g of o ne sid edness or
.

partiali ty in the historian I n the ge ne rality of cases he must

.

show this for a n au thor m ust needs feel some d eep inter est in
his subje ct in or de r to w rit e well, and this in terest n at u ra lly
shows itse lf in a pa r tisa n spi ri t I t is not every o ne w o c an
.

w ri te l ike Th uc ydid es, and give i nstruction fo r all ti me i n s u ch

h
a way that his own pe r sonalit y is s u nk and his personal feel ,

i ngs or sympathi es shall be a matt er of d is p ute or c onj ec tu re .

T e bitterness o f Tac itus is so intense that he has been c harged

h

The sam
spea
e u n i on of p r oses m
p ay be f o n d i
u
n o rat or y , fo

k er oft en has oc casion to i nd u lge i n n an h tion or d esc rip

r the u
m
tion whic h i s ad e use of to ad vocate hi s own v i ews Th s . u
Demosthenes rati on on the C rown al ready all u d ed to
, in his o ,

giv es ve ry val uable in str u c tion where he goes over the his t ory
of his l i fe and po l ic y wh i le in ad di tion to this he m
, ai n tai ns t hat
his policy wa s r ight and honor able . I n t he greater pa rt of

Bur ke s speec hes, apart fro

’
the arg m um en t, the re will be fi n d

the most valu abl e i nformat io n on many subj ec ts .

I n scienc e philosop hy and theology i n st ru ctio n is given by

d i ng t ru ths doc tri ne s or m
, , ,

the sta t emen t of the l ea ots whi le the , , ,

in the author ad voc acy

’
ua
'

eflort tO pers d e or c on vinc e is seen s

of his own vie ws or theor ies

z . Where the chief purpose is to instruc t, and the subor dinate
to please .

The se are blen ded as a pop ular way of co n veyi ng i nforma

,

tio n Th us in boo ks of t ravel we find the n arrativ e of i mpo r

.

tant fac ts com bine d wi th amu sing ad ven tu res To this cl ass .

b elong those histories which are t old in a l i ve ly sty le and filled

3 4
0

affect the O pi n i on s of the read e I n so m r

e o f these the fi rst ai . m
is m an ifist ly to c on vi nce o r pe s u ad e, an d the effo rt to pl ease r
is bu t fai n t ; bu t in the ma j o i ty of th emthe h ig he p u rpose is
r r
v e i l e d , o r k e p t in asubo di n ate positi o n R eligious no vels, and
r .

r r
oth e st o i es w it te n, as the sa r ”
yi ng is, with a p po se, affo rd ur
ex a mpl es Th u s Th ack e ay mak es war on the sh ams and co n
. r
v e n tio n alis mod ern soci et y ; D ick e ns in his v arious nov
ms of

e ls se k to o v e r th r o w s o m
e s e c o n spi c u ou s ab u se ; the l at er wo r ks
o f Lo r d Lytto n sh o w the same t e nd e nc y ; and at th e p resen t
d ay a l ar ge pmpo rtio n of wo r ks of fi c tion displ ay an attem pt
to i nc u l c at e c ert ai n vi ews of the au th o r .

This is v e ry e vid e n t in lyr ic al poe t ry G r eat so n gs s u ch as .

,

th ose o f Bu rn s o r the M arse ill a

, i se pl ease by th ei r mu sic th e i r , ,

r hyth m th ei r i magery yet sway the fee l i ngs with i rr esistibl e

, ,

po w er and th u s exhibit the most effecti ve ki nd of pers u asi on

, .

C H A PT E R I I I .

I N V EN TI O N
M OD ES OF .

5 3 1 8 mv sn r ro r: IS o r w e s mns
. .

I NV EN TI O N o the fi nd i g of su bj ect matter i s of two ki nds

, r n -
, .

The fi rst i wh e r e the w r it er g ath e r s the subj ec t m

s att fro m o
er

e xt e r anl o u rces This may be c al l ed accu mu l ati ve i v nti on

s . n e .

T he se c o n d is wh e r e the wr it er s u ppli es the su bj ect m at t er by -

the c reativ e fac u l ty o f h is o wn m i n d This may be c alled .

c r eativ e i n ve n ti on .

These k i nds of i n vention are q u i te d is tinct and re q u i re sep ,

arat e consid er ati on .

A C CUM ULATIV E mv sur rou

3 9
1 .
.

By accu mu l ativ e i n v en ti on i s mean t the fi ndi ng of s u bj ect

matt er by stu d y rese ar ch t esti mony or obse rv ati on The
, , ,

subj e ct m
.

att e r o f the ear l i e r h ist o ri an s H er od otu s an d Thuc d

-

y ,

i d e s aros e fro m ob serv at i o n and t es ti mony ; th ose o f G ibbon

,

an d M ac au l ay fr oms t udy an d r esear ch .

A cc u mu l ati ve inventi on may also be seen in oth er n arra

 30 5

tive s, wh eth er poetry or p rose where the w ri t er l acks o r igi n ality

,
.

Roman wri t er s are c onsp i cu ou s for th is Pl au tu s an d Ter ence .

ad ap t ed G r eek pl ays or tran sl at ed t h em V i r gi l did no t c r e

,
.

ate the m at e r i als for the f E ne id bu t t oo k t h e m fr omexi sti ng ,

sour c es and p r es en ted t h e mwi th but l it t l e ch an ge

,
.

A cc u mu l ati v e i n v en t i o n is fou n d fi r st in narr ati ves made , ,

u p of fac t s of act ual occ u rr en c e with whi c h the w ri t e r has be ,

c o me acqu ain t ed in any way ; sec ondly in all w o r ks o f the ,

i magi nat i o n wh er e the i ncid e n ts h av e n ot been origi n ated by

,

th e w r it e r b u t d r aw n fr o mo t h e r so ur c es
,
.

A cc u mu l ativ e i nv en ti on may also be seen in exposit ory su b ~

j ec -
t m at t er .

r st I n w r i ti n g i nt e nd ed to i n st ru ct wh ere the s u bj ec t m
. att er ,
-

is the r e su l t of r esearch as in Q u i n ti li an s I nsti t u t e s o f O r at ory

,
’
.

2 d Wh e r e t he r e a
. so n i ng is b a se d u pon facts of ac tu al oc
c u rr en c e as in B ur k e s spe ech on the N abo b of Ar c o t or
,
’
,

S h er i d an s S peech o n W arr en H asti ngs

’
.

I n accu mu l ativ e i nv en t i on the su bj ec t m att er may be i mm e -

d iately fu r n ish ed by the mem o ry so th a t no p r eli mi nary l abor ,

may be need ed ; bu t i t is evid en t th at th is l abo r has al r eady

ta k e n pl ac e in s o me way fr o m the exist enc e of th o se v ery
th i ngs wi t h which the memory has b ee n su ppl i ed .

I n acc u mu l ati v e i n v en ti o n the fac u lti es of the m i nd chi efly

em pl oyed are reaso n and memory .

R EA TIV E I N V ENTI O N
5 320 . C .

By th is is mean t the fi ndi ng of s u bj ec t matt er by means of -

the i n v e n tiv e po w e r s o f the m i nd The w r ite r d oes not g ath er .

h is mat e rial fr omext e r n al so u r ces but s u ppli es i t fro mwith i n , .

I n n arr at iv e c r e ativ e i n v en tio n is fo u n d in all w o r ks o f the

,

i magi n ati on wh ere the th i ngs d esc r ib ed h av e b ee n p r od u c ed

by the au th or s own c onc ep t i o n For ex ampl e D an te s D ivi na
’
.
,
’

C om medi a d esc r ibes a v ast su cc essi on of sc enes wi th amu lti ,

t u d e of ch ar act er s all of wh ich h av e b een c r eat ed by the

p owe rfu l gen i us of the auth or I n M ilt on s P ar a
,

di se Lost we
.
’

are i n t rod uc ed to s u p e r n atu r al sc e ne s an d su pe r h u man ch ar

ac te rs wi t h mo u ld an d t e mp e r tr an sc e n d i ng any t hi n g th at h as
,

e v e r exi st ed in r ea l li fe H omer i n te rmi ng l es the n at u ral wi t h

.

the su p er n atu r al a n d bl e n d s h is o wn c r e ati o n s with hi st o ry o r

,

l ege nd C r eativ e i n ve n ti o n may al so be sh o w n wh e r e r eal

.
306 Ela ments o f R/zetan
'

c .

fac ts and the ch ara cter s of real li fe are represented, but where
the part ic ul a c ha r r
r act e s are ac t al c eatio ns, or are endo wed u r
u
with a l ife and i ndi vid al ity of the i r own This is i l l st r at ed . u
in mo d ern no e l v s .

In xposi tion c r eativ e i n v en ti on may be see n wher e the

e ,

w r i te r se ts forth to es tabli sh th eo ri es to r eason fr o mn ew com ,

~

bin atio ns of p r i n cipl es or to r e ac h n e w co ncl u si ons H ere

fac ts may an d i nd ee d mus t fo rmthe fo un d ation ; b u t the
, .

, , ,

c r eati ve i n v e ntio n of the wr iter is see n in his po we r of com

bi n at i o n analysi s sy n th es is and generali zation and in h is
, , , ,

abil i t y to pass fro mthe k now n to the u n k no wn Th is is ex .

em p l ifie d in B ur k e s speec h o n C onc ili a ti on with A me rica o r

’
,

in Erski ne s speec h on H ardy

’
.

T he fac u l ties of the mi n d em pl oy ed in c reativ e i nv ention are

ch i efl y i maginatio n and r eason .

5 32 1 . r ue rum . AN D w e w ear ,

The ch ief fi eld of cr eativ e i nv en tio n is fic tion wh ic h has ,

th r ee d is ti ct mod es of p ese t ati o

n r n n — poe try p r os e an d the , ,

d ama A ong t he se two c l asses a t be o ted the real

r m . r e o n —
and the id eal .

Ta c R ed — Whe re the w r i er rep rese n ts the s c enes a

'

t nd
delineat es the c h arac ters of real li fe .

The I dea l — Wh e re the w ri ter d esc ri bes ch aract er s and sc enes

th at a re e l ev a te d beyo nd r eal l i fe The id eal mu st r i se fr om .

the r ea l The w riter tak es s tri king ci rc u mst ances as in h u man

.
,

life and b u ilds u p an id eal wo r ld th ere from

,
.

The sam e t hi ng m ay be obser ved in art A po rtrait repre .

sen ts the real an d may be co mpared wi th an o rigi nal co nc ep

,

—
tion of the artis t ab ust of J u li us Caesar with the A pollo Belve
d e r e The o ne i s i mi tation the oth er creation the former is
.
,

fac t the latter i m

, agin ation .

32 2 . PO E TI C FI CTI O N .

The i deal ent er s largely i n t o poetic fi c tion R ealistic .

poetr y as a disti nc t cl ass is q uite mod e rn and is fou nd ex

, , ,

em r ra a r r a a
p lifie d by C o wp e C bbe nd W o
dsw o th ,P ss g es of , .

th is so r t m ay ho weve r be fou nd in all poe t r y an d no t t he l e ast

, , ,

in H omer D ant e in con ce p tio n is i nten sely id eal yet in

.
, ,

exec u tion is in t en sely r ea

, l Lik e S w ed en bo rg he c ombi nes .
,
30 8 E lements o f R/zetor zl
'
.

f omw iters of the high est geni s ; yet c omm

r r on c h a racters may
u
be pl ac e d in n ov e l si t ati on s , an d th e eby acqu i e much i n t e
u r r r
est om
. S
e au th or s l ov e to d e li neat e a l ead i ng c h a acte of r r
id eal pe rfec ti o n , to wh omis oppo sed an oth e of c ommen su a e r r t
b ase n ess The fo mer is pop l a ly t e med the h e o or
. r “ ”
u r r r
r
he o i n e, an d the latt e th e vi ll ain
“ ”
r
Th ack e ay p ofesse d . r r
to d i sbe li e ve in
“
r u
h e oes ; b t e ven in V an ity F ai he i n t o r r
d u ces the t u e an d n obl e h eart ed th o gh so m
r ewh a
-
t stupi d u
D o bbi n, and in the N ewco mes he h as po t ayed o ne of the rr
most stri ki ng and best be l oved ch a acte s in mod ern fic ti on
-
r r .

3 S w ay .
— Th is may be eith e s bj ectiv e or obj ectiv e ; th e r u
fo mer e fe i ng to the displ ay of h u man e moti on , as in the
r r rr
b anqu et of M a
o r t he gh ost sc e n e o f H a
cbe th ml et the l att e r -
,

to n atu r al obj e ct s I n the o ne c as e the d e sc ri pti on is g e n e r

.

ally in c l ose con necti on wi th the p r ogr e ss of the st o ry— ri si ng

o ut o f it and fl owi ng a l ong wi th i t ; bu t in the o th e r this co n
n ec tio n is by no m ea n s so fre qu e n t An d y et in mat e r i al .

sc e nes no l ess t h an in mo r al a cl o se r el ation to the su bj ec t

, ,

sh ou ld be m ai n t ai ned ; and all th at wh ich may be c al l ed the

“
sce ne ry sho u l d h av e i ts own m
”
ea n i n g whi c h sh ou ld assist ,

t he acti on .

5 324 . T H E TW O K I NDS OF I NV ENTI O N I NTER M I N G LED .

A lth o ugh k c on v en i enc e these two ki n d s of

for the sa e o f
i nv en ti on h av e bee n c o n sid e r ed s ep ar ate ly y et in l it e r atu re ,

th ey are gener ally i n t e rmi ngl ed fo r the c r eativ e so r t i s n ev er

foun d sep arated from a b asis o f r eal occu rr en ce e xc ept pe r ,

h aps in such r ar e i nst anc es as S he l l ey s P r ome t h eu s U nbo u nd

’
,

or M rs B r o w n i ng s D r am a of E xil e Th u s H o me r had the

’
. .

T roj an t r adi tio n s ; the G r eek d r amatis ts t h o se of T r oy or

Th ebes Legend s which fo r m the subs tr atu mo f epic or d ra
.

mat ic poet ry are c al l ed epO pmia the chi e f o f which are in an ,

c ien t ti m es the T roj a n a n d the Th eb a n in mod ern ti mes the

C ar l o vi ngi an an d the A rth u ri an T he E li zabe th an d r amatists
.

b ase d th e i r wo r ks u po n l egends tal es and h isto ry ; C h auc e r , ,

u p o n st o ries wh ich we re cu rr en t in h is d ay ; S p en s e r u po n the

Art hu r i an epopmia; M ilton upo n th at my t h ol o gy whi c h had
gr ow n up o u t si d e o f the Bibl e S co t t Upo n n at i on al t r adi t i on ;
an d the Idyl ls of the K i ng rose fr omth e s am e sour c e a s the

F aeri e Q u ee ne .
 309

5 32 5 . or TH E TW O R EA TIV E I S TH E G R EAT E R
xI N Ds, T H E C .

O f the two ki n d s of i n v en t i on the c r e at i ve is the g r eat e r

, .

I t may i n d eed be c on sid e red as the high est p o w e r which i s

, ,

pos sessed by the h u man mi n d Thi s c r eat iv e facu l t y has b een

.

r eg ar d ed in all ages as the dis t i ngu i shi ng mar k o f the gr e at est

p oe t s an d c on stitu t es the chi ef di ffe r enc e b e tw een th e m an d
,

t hei r l ess e r b r e th r e n H ome r D an t e S h ak espe ar e an d M i l

.
, , ,

to n a re t he sup r e m e l o r d s o f l i t er atu r e I t is in t h i s r esp ect .

t h at V i rgil is i nfe rio r to H om er ; Ta ss o to D an t e ; B en J on so n

to S h ak esp ear e ; S p e n se r to M il t o n Fo r t hi s r e aso n the g r eat
.

e st wo r ks o f c r e a t iv e i n ve nti o n are r eg ard ed as sup e r i o r to the

great est w o r k s of accu mu l at iv e i n v en t i o n— H o me r to T hucyd
i d es ; M i lt o n to G ibbo n ; D i c k ens an d Th ack er ay to M ac au l ay
an d F r oud e ; Te n nys on to G r ot e ; L ong fe ll ow and B ry an t to
P r esc ott and M otl ey I n sh o r t the v ery best h ist ory d oes not
.
,

ofl er so b r oa d afi eld for the ex er cis e of g en i u s as the v e ry b est

ficti on I n h ist ory the mate r i al s are acc u mu l at ed the mu lti
.
,
~

tud inous d et ai ls are acqu i r e d by st u dy tr e asu r ed u p in the ,

memory an d th en n arr ated I n fic t i on th ese are all c r eat ed ;

,
.

the p ort r a y al s of ch ar act er s th e i r p assi o ns w o r d s act s ; the

, , ,

sc en e ry a n d su rr o u n di n gs S ome ti mes b ei ngs fu l l o f li fe are

.

b r ough t be fo re u s u n l ik e any thi ng in c o mmo n exp e rien c e

, ,

spe a ki ng w o r ds th at l ast for ev e r ; and the sp eak er an d the

w or ds are all created by the au th or s o wn mi nd ’
.

C H A PT E R I V .

TH E ST ATU S .

A RRAN G EM E N T or SU BJ E CT MATTE R
3 2 6.
-
.

H A VI N G th u s far treat ed of the fi n di ng of su bj e ct matt er we -

h av e now to c o n sid e r i ts arr angem en t a nd u n d e r this h ead ,

the fol l owi ng t opics a re i n cl u d ed :

1 S t atus
. .
4 Ar gu m en t . .

2 C l assific ati on
.
5
. I n t r od ucti o n . .

3 O r d e r of th o ugh t
. 6 Con cl usi o n
. . .
3 1 0 E lement : f
o Rhetor ic .

TATU S 3 7
2 . S .

The fi rst req uisi t e i the arr ang emen t o f s u bj ec t m n att er is -

th a t the wr i t e r h ave a p e rf ctly cl ear id a of the p u r po se be fo r e e e

him H e must mak e up h is mi n d positi v ely as to the e x act

.

en d at which he sh al l aim a d so arr a ge the w ho l e of the ,

n n

subj ect matte r that i t sh al l t e d t o w ar d the est ablish men t of

-
n s

thi s e d Th is is c all ed th e stat u s O th er n ames are c om

n . .

mo uly mpl oyed such as g ro u d

e ,
po sit io po i n t o f n ,
” “
n,
” “

vi e w ,
s t an dpo i n t
” “
ce n tr al t h ou gh t ,
p r opos ition
” “
The ,
” “ ”

t e rm st atu
_

is u se d by Q u i n t i l i an as equ iv al en t to the G r ee k
s

w o r d ma wh ich he says was fi r t mpl oy ed by Isoc r at es an d

I
'
n g, s e ,

aft e w ar ds by oth e r s in thi s se se

r A ltho ugh th ere is good n .

au tho rity fo th use o f any oth e r of the w o r ds abo ve m n

r e e

tio ned ye t fo ,
th sak e o f t ech n ic al ac c ur acy as w el l as
,
r e

c omp r h ensiveness th te r m stat us s eems to be the mo st

e ,
e
”

su i t abl e.

The stat us m ay be d e fi ned a s the po i n t of vi ew fromwhic h

a w r it e r regar ds his s u bj ec t .

A carefu l disti nc tio n mu st be mad e be tween the statu s “

,
”

the qu es t i on a d th s ubj ec t
,
”
T he s u bj ect is the th i ng
n e .
”

it se l f to be tr eat ed o f The qu esti on is the p art i c ul ar way in

.

which th subj ct is p rese ted for t reat men t The tatu s mean s
e e n . s

the parti c u l ar vi w which m ay be t ak en o f the u bj ect

e Th u s s .
,

l t th e subj ct be war
e e T he q u esti o n sh o u ld be .
“
I wa r : s

rig h t o w r ong r The st at u s W ar is r ight o War i s :

“
,
”
r
“

w rong .
”

The st atu s ha s r ec e i v ed gr ea t att en ti o n fr om r h et ori ci ans ,

who h av e mos t c ar efu lly e l abo r at ed i t b u t to an u n p rofi tabl e ,

ext en t C ice r o ad mitt ed th r ee g ne r al di visi on s of th is subj ec t

. e ,

ea ch o f which has s u bd ivi io s Qu i nti li an at fi r st ad mi t t ed s n .

fo u r ge e r al d i visi o n s bu t aft e r wa ds th ree

n The fo l l wi g
,
r . o n

may l aid d o w n as a sufli c ie n tly ext en siv e an aly si s o f the

be
sta tus t h ough it has noth i ng in c ommo n with th at of the an
,

ci en t w r it ers .

STATUS W H ER E TH E Am 15 To I NSTRU CT
328 . TH E .

The st atu s may be co n sid e r ed in a th r eefo ld way in acc o r d ,

anc e with the en ds and ai ms of c om po siti on .

I .Wh ere the aimis to i n st ru ct The b est exampl es of this .

3 I 2 E lements f
o

r
G attan on m ovi ng a Dec l arati on of I ri sh Righ t
Th at Ir la d ha th ri g ht f maki g h w l aw
e n s e o n er o n s.

Er ski ne on the R ights o f J u ro rs

“
That th j u ry i u pr m i d cidi g th guilt i
e s s e e n e n e or c c
nn o en e of the

accused
”
.

S ir J ames M acki n t os h on behal f of J ean Pelti e r

That h fr t e eed o mof the press sh ou l d not be r estrict ed out of er gard f or
f r i g r ul r
”
o e n e s.

In many c ase s ti tl es o f speech es sugg est the st atu s

the .

T hu s o n e of Lo r d C h at h ams sp eech es i s en titl ed O n the R ight

“ ’

of T a xi ng A me ri c a and the statu s i s— th at th er e i s no su ch

,
”

r igh t A n o th er is en titl ed O n the R emov al of the T roops

.
“

fro m Bo st on an d the s t atu s i s— th at the t r 00 ps o ught to be

”
,

r emo ve d Lo rd B rough amd el iver ed aspeech on p ar li ament ary

.

r e fo rm and the s t at u s is— th at such reform i s n ec essary I n

, .

S h eri d an s speec h agai nst W arr en H as tings the titl e and the
’
,

st at u s are the s ame .

T he st atus i s o fte n se t fo rt h as the mai n p ropo siti on Th u s .

,

in the l ett er of J u n i u s to t he p ri n t er of the P ublic A dver firer ,

i t is giv en in the fo l l owin g w or ds

Ill u ag may r u th ir i d i g ati a d h urry th mi t xc
s e o se e n n on n e n o e esses, bu t
the orig i al fault i i th g v r m t
n s n e o e n en .
”

I Bu r k e s S peec h on C on cili ati on wi th A meric a i t is

’
n gi v en
in the same way :

The pre pos itio n ispeace I propose by remov i ng the ground of the
.

i r
d ffe ence, and by r t ri ng the fo rmer u nsus pecti ng con fidence o f the col
es o

onies in t he moth er cou n try o g i v e pe rmanen t satisfaction to you r peop l e ”

t , .

In pulpit or at o ry the st atu s i s o ft en c on t ai ned in the t ext

o f S c r iptu r e whi ch p r eced es the s e rmon .

Wh er e the aim is to c o nvi nc e o r pe r su ad e the st atu s is the ,

thi ng to be est abli shed an d the est abli sh men t of the stat u s is
,

c all ed p r oof .

LEAD I N G STA G ES o r O RA TO Rv
3 30 . .

The l eadi ng st ag es of or at ory m ay be s u m med u p and ill u s ~

irated as foll ows

T he s u bje ct is the thi ng to be d i scu ssed : as,
The q uesti on is the enu nc i ati on of the sub

j ec t : I s war an e v il or not ?

T he stat u v i ew of the su bj ect or the

s is the ,

thi ng to be es t ablished Th at war is an ev il .

T he p r oof is the est abli sh ment o f the st at u s W ar is an ev il : .

The r efu t ati on is the e stab li sh ment of t he

opp s it e st a
o tu s W ar is ag ood .

The disp r oo f is the o verthr ow of the stat us W ar is n ot an ev il : .

U nd e r c er t ai n ci r c u mst an c es or at or is at l ibe rty to d e

the ~

cli ne p r oof an d t h r o w the bu r d en of i t up on the o th er sid e

,
.
‘

Th is is the o n u s p r ob andi , or bu r d en of p r oof .

I Wh er e existi n g tr u th s or i nstitu ti ons are ass ail ed , the

.

o n u s p r ob an d i d ev o lv es u p on the a ss ail an t .

2 Wh e r e the r ight s of man are at st ak e, the onu s p r ob andi

.

d evo l v e s u p o n th os e who may be sh o w n to i n fr i nge th em .

T h e o n u s p r ob an d i is u p on th o se who s ee k to est a bl ish a

3 .

p osi t iv e p r i ncipl e , and n ot u p o n t h o se who diss en t .

4 I.n g e n e r al wh e r e a n a
, t t ack i s m a d e, t he a ss ail an t a s

s u me s the o n u s p r ob an di , and the d efend an t c on t ents hi ms el f

wi t h r e fut at i o n .

33 I . TH E STATUS W H ERE T H E AIM Is To P L EAS E

3 . Wh e r aim i
es to pl
t hee a s e .

Thi s i ncl u d es a l arge p or ti on of narr ativ e in p ros e and

p oet ry , as w el l as d r amat ic c o mpo siti o n, alth o ugh , as has b een
sa id b efo r e , the mo r e i mp or t an t p art o f ficti o n has al so an
as soci at ed aimto i n st ruct o r pe r su ad e The fo l l owi n g i s al ist .

o f r e p r ese n t ativ e wor ks of fi c ti on, with the st atus in eac h c as e

H ome r Ili ad
’
s T he fa me of h eroes in the Tr j a o n

war .

A ri p ti
d esc on of the w rl d f th at
o o

age thr ug h o t he wa d i g f
n er n s o

U lysse s .

D ant e s D i v ina C ommedia

’
The p r ogr ess of the so ul thr oug h
scen es o f S in a n d p u n is h men t u p to

th e r est o f h eav en .

B u ya P il grim P r gr
n n s
’ ’
s o ess T he same .

D on Qui x t o e : Thi s is more th a a atir f it

n s e, or s

tr u aimi th
e s e p rtrayal f a i mp l
o o s e,

hig h mi d d
-
n e , chi v alr u ma who s n, o
 E lements Rlzetor zc
'

I
3 4 o f .

creates l aug ht er by his absu rdi ti es ,

bu t wi ns affec ti on by the path os of

his nat u r e .

The Pic kwick Pape r

s The same T he ce n tr al figu re h ere
.

is P i ckwi ck who c reates l aug ht er

, ,

bu t wi ns affectio n H e is the Don .

Q uixot e of the nineteenth cen tury .

Inmod er n nov el s the stat u s is gener ally l ove b u t , in s ome

of th e m i t is di ffe r e n t :

O li v r Twi t Bl ak H u
e s , e o se, R f rm f p ubl ic abu
eo o ses.
oth r f Dick
e s o ens :

Thack ray Va ity Fair a d m t

e
’
s n , n os D enunciati on of shams .

of hi v l s no e s :

Th W a d ri g J w
e n e n e The effo rt t o win av as t tr ea
s u re .

Th C u t f M
e o t C hri t
n o on e s o Rv g e en e.

L esM i rab l se es : The d e v el opmen t of ah u man ch ar

ac tre fr om the l owest v i ce to the
hi g h t irt u
es v e.

r i
The el gious nov els of the ag e, A c rt ai r li gi u v i w i cu l cat d
e n e o s e n e

which are very n ume r u

o s by th wri t r—H ig h C h u rch L w
e e -
, o

C h u rch P r t t a t C ath lic

, o es A ti n , o , or n .

chri ti a s n.

The P om r
eus of JEsc hylus a th
nd Th m y t ry f u m rit d ufi '

e e s e o n e e s er

The (Ed ipus of Sop oc es h l ing .

M acbeth The p og ess of a r r

n u p rig ht man
tr ti
to sin an d d es uc o n .

H amle t Th trugg l f a irr l u t a d

e s e o n eso e n

m d itati v at u r with a it u ati

e e n e s on

t h at r q uire pr mpt a d v i g r u
es o n o o s

actio n .

The st atu s in fi c tion is call ed motif Th is is a t erm .

”

wh i c h has b een d er iv ed fr omthe v oc ab u l ary of art wh er e it ,

r efers to the p ur pose i n ten t or mean i ng of the ar tist s w ork

, ,
’
.

A s the w or k of the imagi native w ri te r is anal ogou s to th at of

r tist the t e rm m
”
the a , ot i f will s erv e equ al ly w ell for each .

F romthe for eg oi ng remar ks i t wi ll be evid en t th at the st atu s

i s of the high est i mpo rt ance an d st an ds at the th resh o l d of all
,

w r i ti ng F rom thi s th e wr i ter has o ne fix ed an d w el l d e fined

.
-

id ea o f the w or k be fo r e him an d d ev elops his plan acc ord i ng ,

ly ; nor is i t p ossibl e for an y w o r k e ith e r in lit er at ur e or in ,

art to be w el l d one u n l ess this is attained

, .
 E lemmts Rfié
b r ia
’

3 1 6 f
o .

334 C LASS IFI C ATI O N W H ER E THE S U BJ ECT MATT ER -

rs NAR
R A T I VE .

1 C l assi fic ati on wh e e th e
. subj ct mat t e r is n ar r ati ve
r e -
.

t r
I n wh a e v e way n a a i v e may be se t fort h the subj ect mat
rr t ,
-

te r m us t be cl assi fi ed Th e r e are alw ay s great ch arac t e r s g reat

.
,

e v e n ts o r l e adi ng i n cid e n t s which se r v e a

,
s c e n tr e s a
, ro u nd
which all mi no r mov eme n ts may be gath ered Th u s in p ro se .

na rr a tiv e the d ivi si o n s are alw ays pl ai n ly m ar k ed A n e x ampl e .

of t hi s m ay be fo u nd in G ibbon s H is tor y H ere th ere are nu ’

.

merous e ven t s which are narr at ed in the fol l owi ng di visi ons :
,

The D e cl i n e of the W est ern Em pi r e .

T he R i se of C h r isti an i ty .

The N o rt h e r n R ac es .

The R i se of M o h ammed an is m .

T he M o n go l C on q u ests .

The C r u sad es .

T he Tu r ki sh Co nq u ests .

T he i n te rn al his t o ry of Constan ti nopl e .

Wes te r n Euro pe an h ist ory .

Ficti on wh e t h e r in p ro se o r poet ry must exhibit the same

, ,

p r i ncipl e at w or k The I li ad is mad e u p of s ev eral l eadi ng

.

div isi o ns which co n sist of acts in c o nnec t i on with A chil l es

, ,

D i o med e and H ect or M ilton s P arad is e Lo st c onsis ts of ’

sc e ne s in h el l sc e nes in h eav en and sce nes on e a

.
,

, r th D ante s , .
’

D ivi n a C ommedi a exh ibi ts remar k ably mi n u t e cl assificat i on .

T he I n fe r n o fo r i nst an ce is divid ed i n t o c an t os which r efe r

, , ,

to the cl asses of si ns appo r ti oned to s u c c essiv e ci r cl es in

h el l .

I n the d r am a wh ich as we h av e seen is anoth er fo r m of

, , ,

n arr a tiv e cl assific ati o n is i n dicat ed by acts an d sc en es an d in

m
, ,

the j udi c i ou s a rr ang e m ent o f t h ese the d r a a

'

ti st sh ow s h is
c o n str uc t iv e ski ll The mos t effective thi ng in the d r ama i s a
.

st r iki n g sc e ne wi t h a n im po rt an t i n cid en t to which the p r evi o u s

, ,

ac t i o n l eads u p and fromwhich ot h e r s are d ed u c e d

,
Thi s i s .

c al l ed a si t uat i o n The same t hi n g may be fou n d in n arr a

“
.

ti ve p rose o r poe t ry bu t i t is most pe r c eptibl e and effecti ve in

, ,

the d ama
r .

T hu s in M acbe th the l eadi n g si tu ati on s are the i nt ervi ews

wi th the witch es upo n whi ch the o ther acts depend
,
 I
’

Classzficatzon .
3 7

T he c l assific ati on of H aml et is as foll ows

T he sc en es w hic h d ep en d up o n the vi sit ati o n s o f the G h ost .

the Pl a y o f C onzag o .

O ph e li a .

H aml et s w av er i ng p ur p os e ’
.

the K i n g and Qu ee n as the ,

evi l d o e r s -
.

T he cl assific ati on of the M er ch an t of V enic e is p ecu li ar .

Th e r e are two d i ffe r en t s e ts of i ncid e nts each with i ts own ,

acti o n an d its o wn s itu ati o ns Th ese are .

r st T he i n cid e nts o f the Th r ee C a

. sk ets .

2d . S hyl ock .

33 5 LASS IFI C A TI
. OCN m D ESC R I P TI ON .

2 Cla
. ssific ati o n in d e sc r ipti on .

Th er e are two mod es of d esc r ipti on .

r st Wh e re o bj e c t s a
. re d esc r ib ed in d et ail as the d es cripti on ,

by a tr av e lle r o f co u n t r i es th r o ugh wh ich he has p ass ed This .

may be c all ed p ano r amic I t is fou n d in books of t r avel geo

.
,

g r aphic al w or k s hist or i es which c on t ai n d esc r ipti o ns of c oun

,

tr i es citi es mo nu men ts gall er i es etc The b es t p anor ami c

, , , ,
.

d esc r ipti on s are ch ar act e r i zed by gr eat v iv acity G oo d news .

p ap e r c o rr esp on d e n c e o ft e n assu mes th is fo r m an d may be ,

see n in R u sse ll s C ri m n l ett e r s or in th os e of the c o rr e

’
ea ,

S po n d e n t o f the Lo n d o n D aily M 203 d uri ng the F r a n c o P ru s -

si an W ar .

2 d Wh e r e obj ects a
. re d esc r ib e d a s surr o u n di n g s o m e c en t r e

to which t h ey all stan d in sub o r di nati o n a

‘
s b ra n ch e s to a t r ee , ,

o r t r ibut ar i e s to a r i v e r This is c all ed sc en ic d esc r ipti on

. .

Thi s is the mo r e ar ti stic mod e .

E xampl es are to be fo u n d in the nov els of S i r W al ter S c ott ,

as in the t rial of E ffie D ean s an d in M ilt on s P ar adi se L ost

’
,

wh er e he d esc r ib es the fal l en angel s A l l th es e an d mo r e

“
,

c ame fl ocki ng “
H e ab o v e the r e st st oo d p r o u dly emi .

o r the d esc r ip t i on o f E d e n e n di n g with

“
nen t ; Two of far , ,

n obl e r sh a
”
pe .

336 . G R dU P I N G .

C l assificatio n is s ee n in d esc r ip ti on in the effec ti v e way in ,

which the w r it e r g ath e r s t og eth er the thi n gs wh ich are to be

named so , , th at th ey sh al l be as sembled ar ou n d some c ommon
'
 E lem R/wton c
'

3 8
1 ents of .

c en t r e with a vi ew
, to artistic effe ct . This i s cal l ed gr ou p
ing .

A n ad mi rabl e exampl e
this is to be fou n d in M ac au l ay s of
’

e s say o n W arre n H as ti ngs in wh ich the r e oc cu r s a d esc r i p ti on ,

of h is tr i a l F rom t hi s the two fol l o wi ng p ass ag es are t ak en

.
,

th e fi r st r efe rr i ng to e x te r n al sc enes the se c ond to i n t e r nal : ,

“
T he ace wa s w rthy f uch a t i al I t wa th gr at hall f W ill iam
pl o o s r . s e e o
R ufus —the a h ll whi ch had r u d d with accl amati at th i augu rat i eso n e ons e n on

of t hir tyki g
n s ; the hall which had wit d h ju t t c f Ba fimd n esse t e s sen en e o con

h j u t ab l u ti f S mr th h all wh r th l q u c f S afl d had '

t e s so on o o e s e e e e e o en e o tr or

f a m m t aw d a d m lt d av i c ri u party i flam d with j u t r

or o en e n e t e to o s n e s ese n

m t h h all wh r C harl had c fr t d th H i gh C u rt f j u tic with

en t e e e es on on e e o o s e

h pl a
t e ci d c urag whi ch ha h al f r d m d hi fam N ith r military
o e s e ee e s e . e e no r

ci v il p mp wa wa ti g Th av u w r li d with gr ad i r Th
o s n n . e en es e e ne en e s. e

s tr t w r k pt cl ar by cav alry Th p r r b d i g l d a d rmi

ee s e e e e . e ee s, o e n o n e ne,

w r mar hall d by h h r al d u d r Gart r Ki g a A rm Th j u dg

e e s e t e e s n e e n t s. e es,

i th ir v t m t
n e f t at att d d t gi v a
es en s o d vic p i t f law N ar
s e, en e o e e on o n s o e

v ty l rd th r f u rth f h Upp r H u —a th
.

a hu dr d a dn e n se en o s, ee o s o t e e o se s e

U pp r H u th wa —w alk d i l m rd r fr mth ir u ual p l ac f

e o se en s e n so e n o e o e s e o

a mbli g t th tribu al Th j u i r bar

sse n o e l d th way L rd H athn . e n o on e e , o e

fi ld r c tly
e , bl d f hi mm rabl d f
e en en no f G i b ralt ar ag ai t h
e or s e o e e ence o ns t e

fl t a d armi f F ra c a d S pai Th l g pr c i wa cl d by
ee s n es o n e n n. e on o ess on s ose

h D uk
t e f N rf lk Earl M ar h al f th r al m; by th g at d i g it ari
e o o o , s o e e e re n es.

a d by h br th r a d
n t e f th ki g
o La t f all cam th P ri c f
e s n sons o e n . s o e e n e o

W al c p i cu u by hi fi p
es, ons ado s bl h a i g s ne erson n no e e r n .
”

T he c ent r e of this sc ene is W est mi nst er H al l a c on t em s

pl at ed froma ext e r n al po i t of vi ew Ar o u nd t h is a g ath er

n n . re

e d two dis ti n ct sets o f i ncid e nts T he fi r t c o n is t s o f th as . s s e

soc i ations of t he p ast as ill u st r at ed by the e u me r ati on of the n

c r ow ned ki n gs Bac o n S me r s S t r affo r d and K i g C h ar l es

, ,
o , ,
n .

T he se c on d b rings before the mi n d a spl endid th r ong of n obl es

_

w arr i ors and st at es men ,

.

Th g ray ld wal l w r h u g with carl t

“
e o Th l g ga s ll ri w re e n s e . e on e es e e

cr wd d by a aud i c uch a ha rar ly x it d th f ar

o e n en e s th mu l a s s e e c e e e s or e e

ti f a rat r Th r w r gath r d t g th r fr mall part f a gr at

on o n o o . e e e e e e o e e o s o e ,

fr ee, enli ght d a d p p r u r al m gr ac a d f mal l v li

ene , n wit
ro s e o s e e n e e o e ness,

a d l ar i g h r pr
n e n n tati v f v ry ci c a d f v ry a t Th r
, t e e esen es o e e s en e n o e e r . e e

w r ated ar u d the q u th fair h air d y u g daught r f th h u

e e se o n een e -
e o n e s o e o se

o f Br u wi k Th r th amba ad r f gr at ki g a d c mm w alth
ns c . e e e ss o s o e n s n o on e s

gaz d with admirati

e a p ctacl whi ch th r c u try i th w rl d
on on s e e no o e o n n e o

c ul d p
o t Th r S i dd i th p ri m f h maj tic b au ty l k d
r esen . e e ons, n e e o er es e ,
oo e

with m ti e a co ur pa i g all th i mitati

on on f th
s ene s tag Th r ss n e ons o e s e. e e

th hi t ri a
e f th R ma Empir th ug ht f th day wh
s o n o e o C i c r p l ad
n e o o e s en e o e

e d th cau e f Sicily agai t V rr a d wh b f r a at whi ch till

se o ns e es, n en, e o e sen e s
.
3 2 9 E lemen t: o f Rhet or ic .

two or more
general h eads Th u s in a cl assifi catio n of the .

figu r es of speech p ar al l el may be assi g ned to an tith esis as p art

,

o f th a t figu re or i t may be c on si d e r e d as one of the figur es of

si mil ar i t y ; or ag ai n it may be assomated wi t h the i t er ativ e fig
, ,

ures I n such a c as e th e w r i ter mu st be gu ided to a d eci si on

.
,

fi rst by wh at s ee ms mos t fi t ti ng ; and seco n dly by the m

,
e c es , ,

si t i es o f the gen eral o r d er of th ought which is an i mpo rt an t ,

gu id e n o t on ly to the arr angemen t of argu men ts but al so to

, ,

the c l assificati o n o f p arti c u l ars .

I n the arr ang eme n t of th e ge ne r al an d su bo r di n ate d ivi si on s

of a rgu men t atten t i o n mu st be p aid to p ropositi o ns which are
, ,

the e n u nciatio ns of thi ngs to be p r ov ed or of thi ngs c o ntri b ,

n ti ng to p r oo f .

Th ese are ge ner al and p ar tic u l ar .

The most i mpo rtan t of the fo r mer is c all ed the mai n p r o po

si ti o u Th is is often id entical with the st atu s th o ugh in most
.
,

c ase s the two are di ffe re nt G ene ral p r o po si ti o n s are u su ally .

t he en u nci at i o ns of the ge ne ral h e a ds of argu me n ts P ar tic .

u l ar p ro po si t i ons are the e n u nc i atio ns of mi no r st at eme n ts .

Th ese i ncl ud e ex ampl e s i ll ust rations coroll ar i es d ed u c ti ons , , , ,

e tc .

is tak en fr om E rski ne s
’
The fol l o wi ng extrin ple S peec h on

the R ight s of J u ro r s :

Fi r st p rop ositi on (general )

I b gi by ayi g e th a
nt wh abill f i di tm t i f u d a i
s n en o n c en s o n , or n n
f rmo ati fil d charg i g a y cri m
on e mi d m a r k w t th law f
, n n e or s e e no no n o e o

E gl a d a d th party accu d p u t hi m l f u p th c u t y by pl ad i g
n n , n e se s se on e o n r e n

th g e ral i u — t gu ilty—th j u ry a g rally ch arg d with hi d

e ne ss e no e re en e e s e

li v ra c fr mth cri m ; a d t p cially fr mth fact fact i th

e n e o e e n no s e o e or s, n e

c mmi i
o f whi ch th i d i ct m t
ss on o i f rmati charg th cri m t e n en or n o on es e e o

c i t much l
ons s , fr ma y i g l fact t thess xclu i f th r c harg d
o n s n e o e e s on o o e s e
u p th am r c rd
on e s e e o .
”

S eco nd p roposi ti on (ge ner al )

Th at a t whi ch h law i i g ral th ry h l d t b crimi al
“
no c t e n ts e ne eo o s o e n

c tit u t i it l f a c i m ab tract d fr mth mi hi v u i t ti

o ns es n se f
r e, s e o e sc e o s n en on o

th a ct r ; a d that h i t ti ( v wh it b c m a i mpl i f r c
e o n t e n en on e en en e o es s e n e en e

of l g al r a
e fr m h fact fact tabli h d ) may a d ug ht b l
e son s o t e or s es s e n o to e co

l t d by h j u ry with u t h j u dg a i ta c
"
’
ec e t e o t e e s ss s n e.

U po n th ese two ge ner al pmposition the wh ol e ar gu ment is s

 Classification .
32 I
The foll owi ng are sh o t ex ampl es r of the gener al an d par

tic ular divisi o n s in cl assific ati o n

C ic ero c o d o r ati o
’
s se n n ag ai n st C ati li ne .

E x or di u m .

Fi r t g e er al di visi o n
s n : C ic e ro s
’
d efenc e .

P ar ticu l ar d ivi i on s s

rD e fen ce agai n st the ch arge of too great l en i ency

.
in
al l o wi ng C ati li n e to l eav e the city .

2 D efe n c e a
. g ai n st the ch arg e of too g r eat s ev er i ty in
d r ivi ng C atili n e i n to exi l e .

S econd gener al divi si on : The fo r c es o f C atil i ne .

Thi r d g en e r al d ivisi on : The for c es of the r ep u bli c .

P e r o r ati on .

S e r mon by the R ev F W R ob er ts on . . .

T X A d y u th at w r m ti m ali at d a d mi i y u r
E T:
“
n o e e so e es en e n ene es n o
mi d by wi ck d w rk y
n s e w h ath h r c cil d
o s, et n o e e on e .

Two g en er al cl ass es a e sugg e t ed — th os e who are ali e nat ed

r s

and th ose who a r ec oncil ed re U d er th ese the subo r d i nat e . n

d ivi i o s a e g ath er ed a d the c l as sifi c ati on ass u mes the fol

s n r ,
n

l owi ng fo r m
Fi r st gen er al divi i o A l i e ati ons n : n .

P ar ticu l ar di visi o ns
God fr o mman
1 . .

M a fr omG od
2 . n .

S ec ond gene r al d i vi i on R ec on c i l i ation s : .

P ar ticu l ar d i v i i on s s

M an to G od
1 . .

2 M an to man
. .

3 M a
.n to h i m s e l f .

4 M an to his d u ty
. .

Bu r k e was accu st o med to pay ext r aor di n ary att en ti on to

meth od an d n owher e c an t he study of cl as sific atio n be mor e
,
'

p r ofit ably appl i e d t h an to so me of his g r eat sp eech es .

T he fo l l o wi n g ex tr act fr omh is sp eech o n the East I n d i aBil l

o f Fox wi l l e x hibi t h is m an n e r

My co n d iti on n ecessary to j u sti fy me in t ouchi ng the ch art er is

c
se on d

W h eth er the C omp any s abuse of th eir tr u st in r egar d to thi s gr eat obj ect be
’

an abuse of gr eat atr oc ity I sh all beg you r permi ss i on to consi der their
.
 E lem 7: Rl
'

ent: (2 zetor zc
32 2 .

cond uct in two lights : first the politial and then the comme rcial Th eir
po liti cal con d uc t for dis ti nctn ess I d i v i de agai n int o two head s—
.
, ,

, ,A be ex
t ernal in whi ch I mean to comprehend th eir cond uct in their fed eral ca
,

a it as it re lat es to po we rs a n d s tat es i nd e pe n den t ; the o the r i n te rnal

p c y ,

na mely th eir cond uct to th e co un tri es e ith er i mmed i at ely su bject to the
,

C ompan y or to those who un der the apparen t go v ernm , ent of n ative so vet
te much l ower and more mi ser abl e than common sub
,

e ig ns a re in a s ta
,

Jee ti on.
“
The a tt ti
en o n, sir, which I wi h t p r rv t m th d will t b
s o ese e o e o , no e

consi dered as unne ess or e c ary aff ct d N thi g l a h l p m t

e . o n e se c n e e o se

l ection out of the n n e ss o i fi it ma f mat rial wh ich hav pa d u d r my e s e sse n e

eye or ca
, n keep m y mind stead y to the great lead ing points I have in

The s u bj ec t o f cl assifi c ati on is w el l p resent ed in th e fol l ow

ing o u tli ne whi c h d e se rv es c a
,
refu l st u dy .

u
o r L rN c or B UR K E S ’
sp s sc a O N CO NCI LI ATI ON wrru AM ERI CA .

E xor di u m
P r li m
.

i ary r emarks
e n .

A n nou nc me n t of t atu s e s .

A nno u n ce ment o f mai n di vi si ons .

I M ai n divisi o n Whe t h e r c on c essi ons sh ou l d be mad e

. .

1 G e n r al di i i o n
. e v s

S t at a d c i r cu m t ances of the A merican colonies

e n s .

P ar ticu l ar d ivisi ons

A Popu l ati on . .

B Comme r c e . .

C A gri c u lt u re . .

D Fish e ri es . .

a Gener al d ivisi on
.

F o r ce ou ght not to be u sed in s u ch acase .

Part icu l ar di visi on s

A I ts use is t empo r ary
. .

B I ts use is u n c e rt ai n
. .

C The obj ec t c o n te n d e d for i s i mpai red

. .

D The r e is no expe r i ence in favo r of the effec t of

.

fo r c e as i n s tru me n tal in the rule of B ri tish

c ol o n i es .

3 G e
. n e r al di v i si o n

T he t em pe r and ch ar ac t er of the Americ an col onists .

 E lem
’

en ts f
o R/zetor zc .

G The
. history of the B ritish Cons ti tu tion a s afe
gu ide .

S pe ci al divi si on s
a I r el an d
. .

5 W al es
. .

c C h est e r
. .

d D u r h am
. .

2 . G en e r al divisi o n :
A meric a n ot to be r ep resen ted in P ar l i amen t b u t to ,

aid the mo th er cou n try by g r an ts from p r ovi nc i al

asse mbli e s .

3 . G ener al d ivi si on
Expl an ati on of the or ato r s own meas u res ’
.

Par ticu l ar d ivi si on s

A Pu r por t of the reso l u ti ons
. .

S pec i al
a The c ol on i es h av e n ot been r ep resent ed in
.

P ar li amen t .

5 Th ey h av e been l i abl e to tax ati on with ou t

.

re p r ese n t ati on .

c No m . eth od h as bee n d evised for p r oc u r i ng

th ei r r ep r e se n t ati on .

d Eac h of the co l on i es has aP ar l i am

. en t of its

o wn .

Th ese p r ovi n ci al ass embl i es h av e freq u en tly

e.

g r an ted aid fo r mi li t ary servic e an d t h ei r ,

r ight to d o so has been ack nowl edged by

P ar li amen t .

f This w a y o f g r an ti ng s u ppli es h as b e e n

mor e be nefici al th an the di rec t l evy of

t ax es by P ar l i amen t .

B Establ ish men t of afai r and un bi ass ed j u di c at ur e

. .

C C ou rts of A d mi r al ty
. .

D O bj ec ti on s r efu te d
m
. .

E Lo r d N o rth s sch e e ex ami ned

.
’
.

F C o mp ari son be tw een Lo r d N orth s s c h eme an d

.
’

the p r e se n t on e .

G N o di r ec t r ev en u e c an be expec t ed fromA m
. e ri c a .

P eror ation .
 C HA P TE R V I .

THE O R DE R
TH OU GHT OF .

34 T H E O RDER 0 o. r T H O U G H T .

AFT ER the cl assific ati o n of argu men t the most i mp or t an t s,

th i g i th ei r dispo iti o n i a effectiv e or d e r Excel l enc e in

n s s n n .

t he o n e i s u su a lly a o ci at e d with e
ss xc e l l e n c e i n th e o th e r ,

t h o ugh by o m a na lw ay e; fons th w r it e r
s w h o irs g o oed a t

an a ly i s sa d sy t
nh si s m ayn o t
e u n d r t a d h
n o w t o arr a
e s g e n n

h i
s d ivi i o n s o as to s sgi v th m t h e i r ue t m o t f
e r c e O f th e s o .

t wo a eff
,
n c t iv e o r dee r is th e b tt e r T h o r a t i o
e o f F
.
x d o e ns o

not e xhibi t m uch m e th o d n o r a r e hi s cl ,

a sific a t i o n c a r e fu lly s s

o r accu r at ly mad e but hi p r i ci p al p r op o iti o

e ,
s n a al w ays s ns re

so d i po ed a s s s to a cc o mpl i h the g r eatest r e u lt The p eech es

s s . s

o f th E ar l of C h at h am xh ibit ev en l ess at te ti on to c la sific a

e e n s

t i on bu t th g e n e r al or d e r o f th o ught i s in the high est d g r ee

,
e e

Wi t h ou t thi ev en the b t c l assific ati o may be of

'

e fie ti c ve . s, es n

li ttl e v al u Th w r it e r ha b ee n lik en ed to a g en er al with

e . e s

w ll d r i l l ed t roops and exc e ll n t mat er i al wh ich h o w ev er l o s e

e -
e , , ,

all th ei r f r c e u n l ess w e l l mar sh all ed a

o s a wh ol e a d p r o pe r ly ,
n

se t i b at t l arr ay
n e .

F ai l u r o ft e ar i es fr omw a t o f c ar e in t h is r espect E v en
e n s n

aft e r the ubj ect matt e r ha b ee n accu m

.

s -
u l ated an d du ly cl a si
s s

fi d th er may b a u tt e r w a t of o r d e r in the ge n r al arr a g e

e ,
e e n n e n

m t (O p ar ag r aph o r s ecti o wil l t r eat of o e thi g ; the

en . ne n n n

n xt wi ll t a
e k e up o met hi g th at sh o u ld be r el gat ed to an
s n e

o th e r p ar t of the w o r k ; th eff ct o f o ear gu m t i spoil e d

e ne en s

by th at which foll o ws ; el eg a t d c r ipti o n i s ucc eed ed by d ry n es s

s t at i tics a d the d iscu ssi o of l ofty p r i cipl s by t edi o u s c om

s ,
n n n e

n o n pla c e ; the fo r c e o f a n u a w er a bl e ar gum e t is fr i tt er ed

f

t n ns n

a w ay by p r e ti g i t i a w ro g pl ac o by d iv r ti g the
sen n n n e, r e n
'

r ead r fro m this to a c r owd of f bl o ) (I n thi s way th

e ee e n es . e

att ti on i d ist r act ed the i n t e r e st i l ost and the g en er al

en s , s ,

e ffe ct is at b est bu t c onfus ed .

3 2 6 E lements qf Rhetor ic .

T he o r d er of tho ugh t may be c arri ed out in sev eral differen t

w ays .

R O N O LOG I CAL O RD E R or TH O UG HT
s 34 1 . CH .

r C h r o n ol ogic a
. l or d er .

By th is is me an t the st at emen t of c i r cu mst anc es in the or d er

of th ei r occu rr en ce .

Th is is O ft en the most c on v en i en t an d at the same ti me the ,

b est For e x ampl e in any h isto ric al w or k the w r it er may h av e

.
,

occ a si on to e n u me r at e the g reat w ar s of the p ast and in s u ch ,

a c as e it i s g en er ally c on v en i e n t to men tion th em in the o r d e r

o f th e i r oc c u rre nc e A g ai n if i t w ere n ecessary to men tion
.
,

the l ead i ng ph il osoph e r s the fol l owi ng wo u ld be b u t a c on ,

fu se d ar r ay O f n ames : Lock e A be l ar d H amil t on S oc r at es , , , ,

C ice r o Pl at o K ant Ar ist otl e

, , I t i s bu t n atu ral to n ame th em
, .

in ch r o nol ogi c al o r d e r : a s S oc r a t es Pl at o Ar i st otl e C ic ero , , , , ,

A be l ard Lock e K an t H amilt on The same th i ng may be

, , , .

c arr i e d out in the men tio n of e v en ts Th u s in speaki ng of the .

,

u n ific at i o n o f I t aly the topi c s wo u ld be arr anged as fo ll ows :

,

The d esi r e for un i o n Pi ed mo n t C av our the F r en c h alli an ce

, , , ,

the Lom b ar d War Garib ald i in S i c ily the annex ation of N apl es
, , ,

the acq uisiti on of R om e .

5 3 4 2 LOG I CAL O RD ER or TH O U G HT
. .

z Logic a
. l o r d er .

T he l ogi c al o r d e r is the o r d er o f i mpo r t an c e I n this the .

divisi on s are so arranged th at th ey i nc reas e in i mpo rt ance

u n til the end I t is l ar ge ly e mpl oy ed bo th in narr ati on an d
.

e xpositi on a nd m u st rec eive S pec i al c onsid erati on with r efer

,

e nc e to ea c h of th e se .

5 3 43 . m NA RRATI O N .

I n the fi rst pl ace we h av e to c onsid er the l ogi cal or d er of

,

t h o ugh t in n arr ation .

The ch r o nol ogic al and the l ogi c al o r d e r are b o th us ed ex

ten sively in h i st o ry an d m ay be i ll ust r at ed in ch r on icl es
“ ”
, ,

an n al s an d h ist o ry p r ope r
” “
,
”
The fo rm er — ch r onicl es an d .

an n al s — gi v e a n arr ativ e o f ev e n ts in the o r d e r of t h ei r occu r

r en c e on e by one and ye ar by year H i sto ry gi v es a narr a
, ,
.

t iv e of e v en ts in which the o r d e r of t i m
, e is on ly ge n e r a lly fol
l ow ed an d l ogic al s e qu enc e is p r i ncip ally c on sid er ed The
,
.
 mmt s of R/zeton c
'

8 f E le
32 .

ne ec ss ary to divid e i t i n to peri od s a nd such peiiod s may be ,

'

d ecid e d by th e auth o r Thu s in the histo ry O f E ngl an d th er e

.

i s th e R oman period the A ngl o S ax on pe ri od afte r wh ich fol

,
-
,

l ows the N o rman pe ri od e tc N o w in the A n gl o S ax on pe ri od

,
.
-

th e c on cu rr en t st r e am s a re : The s e tt l em e n t o f the A ngl o S ax -

o ns th ei r i n stit uti o n s the st a

,
t es o f the H ep tarc hy th e i r con
, ,

v e r si on to C h ristian i t y l it e rat ure the D ane s e tc

, , ,
.

S ometi mes the con c u r r en t streams are too n u mero u s ; so me

ti m es th ey a r e too div e r ge n t This is the cas e wi th the hi story
.

o f the w o r ld wh ich ca , n no t be satis fa c t orily w ri tten so as to be

an y t hi n g o f the n atu re O f lit er ature or be tt e r t h an a sch oo l ,

man u al Thi s is tru e al so of the hi sto ry of I taly wh er e the

.
,

fo ll owi ng mu st be t ak e n u p an d n arr at ed
r . Rome— anci e n t med ia e va l mod ern p ap al mu n i c ip al
, , , , ,

po li t ic al arti stic ,
.

2 . N apl es an ci en t and mod ern

, .

3 . S ic ily .

4 . Tu sc an y — Florenc e Pi sa etc , , .

5 . G e no a .

6 . Lo mb ardy— M il an Veron a etc , , .

7 . V e n ice .

To th ese may be add ed R av enn a Bol ogna F errar a and , , ,

O t h e r s ea , ch of which might we ll r e qu i r e an en ti re h ist ory to

i t se l f Fo r this r easo n no sati s fac tory h ist ory of I t aly c an
.
“ ”

poss ibly be w r i tt e n .

I n add i ti on to th is th e r e are als o v ari ou s d ep ar t me n ts in the

,

h i sto ry of a n ati o n which mu st be c on sid er ed — as po li tics ; ,

l i te r atu r e ; l earn i ng ; r eligi on ; sc i enc e ; the u s efu l art s and

i n v en ti o ns i nstitu t i o n s and the p rog r ess o f c ons tit u tion al h is
,

tory ge ne r al ly M o d er n hist or i ans h avi ng discar d ed the d ru m

.
“

an d tr u mpe t styl e an d fee li ng it i n cu mbe n t u po n th emto dis

”
,

c u ss the gen er al l i fe an d p r og r ess of a n ati on th u s fin d th ei r ,

ta sk gr owi ng ev e ry d a y m o r e c om plic a t ed a n d di fficu lt I n .

o r d er to c arr y o n s u ch a w o r k a s th i s v ar i ou s s ubsidi ary mod es

are e m pl oy ed such as the fo ll owi ng :
,

R ET R OG R ESS I O N
34 5 . .

R et rog r essi on c on sists in l eavi ng on e subj ect to go b ack in

the o r d e r O f t i m e and t a k e u p an o th er Th u s G ibbo n after .
,

na rr ati ng the r ise of M oh ammed anis m r et ur ns to the hist ory ,

o f the E a st e r n E m pi r e and C on st an ti nopl e .

 T/ze Or der o f Tboug lzt .

EX P LA NATO RY NAR RA TIV E

3 4 6
. .

E xpl an at ory n arr ati v e is i n t rod u c ed in o r d er to mak e the

subj e ct in h an d mor e i n t e lligibl e to the r ead e r I t is o ft en .

the hist or y of an oth e r c o u n tr y o r the sam e c o u n t r y in a

,
no t h e r

p e r i od Th u s to e xpl ai n the i n t e rfe r e n c e of E n gl an d in Co n

.
,

t ine n tal aff ai r s d u r i n g t he ti me o f N ap ol eo n a b r i e f s u r v ey o f ,

the hi sto r y o f F r an c e an d the R ev o l u ti o n i s n ec essar y To

e xpl a i n the his tory o f E ngl an d d u r i ng the A me r ic an W ar of the
R ev o l u ti on it is nec ess ary to give an acc ou n t O f the A mer ic an
,

c ol on i es .

3 4 7 SUMMARY . .

S u mmary i s oft en id e n t ic al wi t h the for egoi ng I t i s so me .

ti mes u se d at the c omme nc emen t of a h ist o r y in o r d e r to ,

giv e a g e n e r al acc o u n t o f the c o u n t ry t r eat ed o f Thi s is ad .

mirably d o ne by M ac au l ay and F r o ud e I t is al so ex t ensive ly .

used at the cl os e O f any p e r i od wh en the w r i t e r fi n ds ah al ti ng

,

pl ac e wh er e he c an p au s e for the sak e of p r es e n ti ng v al u abl e

c on cl usi o ns befo r e s etti ng for th on an ot h e r p ar t o f the w o r k .

3 LOG I CAL O RDER O F T H O U G H T I N E xp osi TI O N

4 8 . .

H avi ng th us b ri efly c on sid e red the l ogic al o r d e r o f th ought

in n arr at i on we h av e n ow to obs e r v e its use in expositi o n
,
.

The n atu r e o f the l ogic al o r d e r i s th at the id eas be arr ang ed

acc o r di ng to t h ei r i mp o r t an c e ; bu t in exp osi t i o n th e r e is a v a
r iatio n in t his o r d e r acc o r di ng to the i mp o r t an c e w hich the
w r it e r h i ms e l f may att ach to the di ffe r en t id eas or the mod e ,

o f thei r p r e se n t ati on .

V ar i o u s mod e s o f p r es en t ati on may be O bs erv ed esp eci ally ,

in p r oof and in r efut ati on .

343 R OO F . IN P .

I n p r oof th e r e are two chi e f mod es .

.I T he id e as ar e s om et i m es arr ang e d in a n a sc endi n g ser i es ,

an d go on i n c r easi n g in st r eng t h un t i l the en d T he fi r st ar gu .

men t is the w eak es t an d fr omthi s th ey gr o w su cc essi v ely mor e

,

fo r cibl e u n t il the l ast which is the g r e at e st o f all

, .

A n e x ampl e O f thi s may be fo u n d in the fo ll o wi ng fr o mthe

l e t t er o f J u n i u s to the p ri n t e r o f the P ublic A dz/cr itic” .

I.The fin an c es o f a n ati o n si n ki ng u n d er its d e bt s and expenses are

330 E lemen ts o f Rhetor ic .

committ ed to a y oung n obl eman (the D uk e of G r aft on First Lord of the ,

Treasu ry ) alread y rui ned by pl ay

, .

2 A se ri es o f i n co ns i s t en t m su res h a v e ali enated the col oni es fr om

“
. ea

th eir d u ty as subj ects and from their natu ral affecti on to th eir common
,

co u n try (the A meri can Rev ol u ti o n ) .

D r wi ng l o ts w o u l d be a p r u d en t a nd r ea so nab l e m thod of app i t

“
3 a . e o n

ing the office rs of stat e comp ared with a l at e d is pos ition of the secr e tary s
’
,

offi ce (ch an ges in the C a b i n e t) .

4
“
T h e C.o m m a nd er i n c h I e f (M a rq u is of G r anby ) and his corru ption
- -
.

5 T h e N. av y .

s The J u d i ciary
“ ”
.

A fter wh ich comes the foll owing s u mmi ng up

Thi i i th d tail Is, s r, v i w b h l d a ati
s e v rwh l m d
e . n one e e o n on o e e e
with d bt h r v u wa t d h tr ad d cli i g ; h aff cti
e ; er e en es fh s e er e e n n t e e on s o er

c l i ali at d h d u ty f th mag i trat tra f rr d t th l di ry

o o n es en e ; t e o e s e ns e e o e so e

gall a t ar my wh h v r f ug ht u willi g ly bu t ag ai t th ir f ll w ub
n , ic ne e o n n ns e e o s

j t m ul d ri g away f wa t f th d ir cti
ec s, o e n f ama f c mm ab iliti or n o e e on o n o o on es

a d p irit a d
n s th l a t i ta c th admi i trati f j u tic b c m
,
n , In e s ns n e, e n s on o s e e o e

o di u a d u p ct d t
o s n h wh l b dy
s s f h p pl
e e Thi d pl rabl o t e o e o o t e eo e. s e o e
scene ad mit b u t f addi ti sth at w a g v r d by c u cil fr m
o o ne o n, e re o e ne o n s o

whi ch a r a abl ma a xp ct r mdy bu t p i

e son e r li f bu t
n c n e e no e e o son, no e e

d ath
”
e .

2 Wh ere the strongest ar gu m

. e n t is stil l res e r v ed t i ll the

l ast bu t the fi r st o ne p r e sen t ed is o f g reat w ight an d for c e

,
e ,

and th w e ak er ones a e i t r od u c ed in the mid d l e

e H er the r n . e

fo r cible op en i ng ar gu m en t i s a d apted to arrest the atte nti on

an d i m p r ess the mi nd f the read er or bea e at the o uts et O r r ,

and th en after the w eak er ones h av e fol l ow ed the st r ong est

, ,

of all c oncl ud es .

A n ex ampl e of this is fo nd in u S r
’ ’
h e id an s speech ag ai n st
W a en as ti ngs, in wh ich h is gr eat est a g ment i s the hor
rr H r u
r or s c ommi tt ed in O d e Th is i s b o g h t fo w a d at the out u . r u r r
se t in a m o st im p essiv e man n e by the readi n g of a l ett er r r
f o mL o d C o nw al lis , G ov e no of I n di a, upo n which he mak es
r r r r r
st iki ng c ommen ts Th en fo l l o ws the d i scu ssi on of t he evi
r .

r
d en ce, aft e wh ich he et n s to the g eat po i n t of the h o o s r ur r rr r
O f O d e, m aki ng O f th is h is most fo cibl e a g men t, and gi ng
u r r u ur
i t with the most v eh emen t or at or y .

35 RE F UT ATI O N 0 . IN .

I n refut ati on an O pposi t e mod e i s oft e n ad opt ed — wher e

the strong est argu m e nt of th e oppo nen t is g r a ppl ed with at
33 2 E lements f
o R/utor ic
'
.

I . Bec ause the law fo rbade a magi st r at e to be c ro wn ed

befo re the ac c o u n ts of h is O ffi ce had been ac
c epted .

z . T he fact th at De mosth en es had expe nd ed his own

money in the publ i c servi ce d id not cl ear himfr om
r espo n sibi lity .

3 D e m
. o s th e n e s h e ld two offic es a t th e ti m e th at C t esiph on

p r o po s e d to c r o w n h im .

4 I n a
. ddi ti o n to t his C t esiph o n h ad p, r o po s ed th e coro
na ti on in an il l egal pl ac e .

I I D emost h enes did no t d e serv e t his h o no r

. .

I O n ac c o u n t of h is p r iv at e ch ar act e r
. .

2 On a . cco u n t O f his p ubl ic ch ar ac t e r which [Esc hines ,

se v e re ly c ri t i ci se s .

A De mos t h e n es act ed ag ai n st the i n t e rest s of hi s c ou n

.

try in m aki ng pe ac e wi t h Phil ip in t he fi r s t p er i od

of h is caree r a n d in exhibiti ng a se r vil e S pi r it to
,

w ar ds him .

B Aft e r Phil i p had p asse d Th e r m

. opyla e D em osth en es ,

s u dd en ly ch anged h is po l i c y bl amed his fe ll ow ,

amb assad o rs fo r the pe ace i n stigate d war ag ai n st ,

Ph i lip mad e di s adv an t ageo u s al l i an ces an d was

, ,

gu il t y of the gr osse st c o rru pti o n .

C H e t h en b r ou gh t di sg r ac e on h i msel f and r u i n on
.

his c o u n t ry by u ph o l d i ng t he A mphissians in th e i r
sa c ri l ege and by t he alli an c e wi t h Th ebe s
,
.

D A fte r the b attl e of C h a

. e ron e a D e m o sth e n e s fl ed fr om

At h ens and u po n his r et u r n t oo k no p ar t in public

,

affai rs u n til the d eat h o f Ph il ip wh e n he s udd en ly ,

ass u med cou r age p roc u re d the p as sage of d ec r ees

,

h ono r i ng Phil ip s mu r d e re r r idicul ed A l ex an d e r at

’
,

a di st an c e but qu ail e d wh e n he was n ear and

, , ,

fi n ally sold hi mse l f to him

, .

E De mos t h enes was no t a fr i e n d to t ru e l ib erty

. .

I I I Th er e was an ecessi ty o f g reat e r st r ict n e ss in c on fer ri n g

.

p u blic h ono r s an d in c on fi n i ng sp e ak e r s to th e i r su bj ect

, .

I V H e co mp ar ed hi ms el f wi t h D e mo st h en es
. .

V Re it er at ed the il l eg al i t y O f the d ec r ee and the un worthi

.
,

n e ss o f D e m o st h e n e s .

V I A nd w ar ned the j u d ges to be o n th ei r gu ar d ag ai n st the

.
 The Or d er o f T/zou
g /zt .
3 33

l q u en c e
e o of D emosth enes , or th e i n flu en c e of p er s on al
fr i en d ship for him .

P e r or at ion .

TH E O RATI O N OF DEM OSTH EN ES ON TH E C R OW N .

E x or di u m .

1 A pp eal to the gods

. .

2 C l ai m o f r ight to
. th ou ght
his own(Fo r o r d er of .

ZE sc hin es had b ee n an xi o u s th at the j u d g es sh o u ld

c o n fi n e D e mosth e n es to the s ame o r d e r o f t h ough t
wh ich he hi msel f h ad u sed o r o th e r wi se r est r ict ,

h im and D emos th enes p r o t est ed ag ai n s t th i s at the

,

o u ts et ) .

3 H e h. a d a g r ea t e r st ak e in th is tr i al .

I R efu t ati on of C h arges fo r e ig n to the i n dict men t

. .

1 H e w o u ld not r efu t e the ch arg es ag ai nst hi s p r i v at e li fe

.
,

but he w o u ld l e av e the j udg es to d ecid e fr om th e i r

k nowl edg e o f him .

a A s to the ch arges ag ai nst his publ ic l i fe th ey w e r e oh

.
,

viou sly dict a t ed by malic e an d w er e th er efor e fal se , ,

as c ou ld be sh ow n in on e i n st an c e v iz the p e ac e ,
.
,

with Phi li p For t h is p eac e had b ee n p r opo s ed n ot

.
,

by h i mse l f bu t by E sc hin es who wi t h his fr i e nds had

,
z
‘
,

be en b r ibed by Ph ili p aft e r wh ic h Phi l ip g ai ned o t her

,

t r ai t o r s l ik e fE sc hines ev e rywh e r e .

I I R efu t ati on of ch arg es in the i nd ict men t

. .

I A r evi ew o f his publ ic l i fe an d measu res

. .

A Phi lip had b ee n t aki ng ad v an t age O f the c or r upt and

.

d ivi d ed st ate o f G r eec e to g ai n d omi n i on o v e r her .

B A th e n s c o u l d n o t c o n si st e n t ly wi t h her h o nor t ak e
.
, ,

any oth e r c o u r s e t h an r esi stan c e .

C Ph ilip had vi o l at ed the p eac e by s ei zi ng c er t ai n

.

all i e d C i ti es of A th ens .

D A n d by sei z i ng c e r t ai n v ess e ls of A th ens

. .

E Ph il ip had acqu itt ed him of any bl ame in a l ett er to

.

the At h en i an s .

F H is fi r st measu r es O f h ostil i ty to Phil ip had b een in

.

r esi st i ng his u nj u st en c roach men ts .

G T he su cc o r s en t to By zan t i u m an d the P erinthian s

.

ha d been of th e s ame n at ure .

334 E lem f
ent s o Ritetor ic .

H I t was no obj ec tion to the po l icy of assistance th at

.

th ese s t at es had fo r me r ly bee n h ost i l e .

I I n additi on to th is he had i n t r od uc ed val u abl e re

.
,

forms i n t o the n avy .

2 T he l eg a
. l ity of the propos al of C t esiph on to c ro wn him .

A H e was not res po n sibl e for his acco u n ts

. .

B Th is had bee n ack nowl edged by Esc hines

.
f
. .

C The pl a
. c e n amed was in acc o r d an ce wi t h the law .

I I I S t r ict ures u pon the ch arac t e r and po licy O f E schines

.

as c omp ar ed with hi s o wn .

I.T he ch ar act e r an d co u rs e o f E sc hines

A H is low o r igi n and e ar ly l ife in lo w pu r su i ts
. .

B H is l at e appear an ce in p ublic l i fe
. .

C Num
. er ou s p r oofs of his t re a son abl e c on necti on with
Ph ilip .

D H e co nti n ue d to ac t in the i n te rest O f Phi li p after

.

the d es ig n s of the l at ter w ere kn o w n espec ia ,

lly in
the A m phic tyon ic War .

E E schines had assi sted Philip and was th ere fore the
.
,

guil ty cau se of all the e vi ls wh ic h had befall en h is

cou n t ry .

2 H is o wn po l i c y
. .

A The Th eban al li ance to wh ich fE sc hines had not

.
,

obj ec te d a t the ti m e wh e n i t wa s his d u ty to d o so .

B A t h e n s co u ld not h av e tak e n any oth er Oou rse c on

.

sist en t wi t h h o no r .

C Fu rthe r r e mar k s on the Th eb an al li an ce and e v ents

.
,

i mmed i ate ly su bseq u e n t .

D Through all t h ese meas ur es he had e nj oy ed the con

.

fid e nce O f the peo pl e .

3. Fu rth e r co m p a r i so n b e tw ee n hi m se l f an d E sc h in es .

4. H is a n sw e r to t h e w arn i ng o f {E s c hi nes as t o h is o ra ~

t ory .

5. Fi n a l re a s o ns fo r b e i ng cr ow n e d .

A Bec au se he had nev er tak en b ribes

. .

B Be c au se of his pol i cy
. .

C Be cau se of h is p atri otis m

. .

P er orati on .

A nother e x ampl e w ell wor thy of study may be found ~

in the
336 E lements o
_ f . R/zetor ie .

6 . This was d esigned to apply to all n ation s,an d to E ng

l an d p ar ticu l ar ly .

7 . Th e i r ar mi es w e re p rep ared an d th ei r g e ne r als w er e ,

i n s tru ct e d to c arry out a syst em of u n i v e r s al aggres

sro n .

8 I t was aft er th es e e v en ts t hat M C h au v el i n was r equ i r ed

. .

to d ep ar t .

9 A. n i n si n u at i o n is c on t ai n e d in the not e fr om F r an c e

th at E ngl an d had p re vi ou s to the abo ve t ran s ac ti o n s

, ,

su ppo rt ed the c ombi nations of oth e r po w e r s ag ai nst

th at c o u n t ry .

t o The p r oo fs which c o nt r a
. d ict th is are i nn u mer abl e .

1 1 A l arge n u mb e r o f fac ts go to show the h ostili ty of

.

F r anc e t ow ar ds E ngl an d .

12 E ngl an d had no c on nec t i on wi th A u st r i a and P r ussi a

.

in th e i r first att ack o n F r an c e .

1 3 I n a de sp a
. tch to R u ssi a and P r u ssi a the g r ou nd t ak en ,

by E ngl an d in di cat ed mod erati on fo r bear an c e an d , ,

si nc eri ty .

I I The F re n ch r evo l u ti onar y syst emhas r es u lt ed in a seri es

.

o f u n ex am pl ed at roci ti es .

Before the war wi t h E ngl an d the F r en ch s e i zed A vig non

and oth er pl ace s an d d ecl ared war ag ai n s t A u st r i a
, ,

P r u s si a an d the Empi re For thi s t h ey s ee k to j u s t i fy

, .

th ems elv es o n the gr o u nd of a l eagu e of sov erei g n s for

the di sm em be r me n t o f F r anc e at the t r e aty of P iln itz
’

Bu t th is t r eat y r e fe rr ed o n ly to the d el iv e r an c e o f Lo u i s
XV I and migh t h av e be en amic ably expl ai n ed had
.
,

n o t the po licy o f the vi o l en t p a r ty in F r anc e mad e war

i n evit abl e .

A fter the war wi th E ngl and oth er aggr essi on s foll ow ed ,

ag ai n st S p ai n H ol l an d P ort ug al N apl e s an d th e It al i an
, , , ,

sta t es cu l mi n at i ng in the exti n c t i on of Ve n ic e

,
.

The acc ept an c e of V e n ic e by A u st r i a may h av e be en c r i m

i n al o n the part of th at po wer bu t it d oe s n ot affor d an ,

ar gu m en t to l essen the c ri m e of F r a nc e as th e aggresso r .

I t has bee n said th at the F ren ch be i ng assail ed on all ,

si d es mad e th e s e con qu ests in sel f d efen c e O n the

,
-
.

c ont r ary acco r di n g to the F r enc h not e F r an c e wh en

, , ,

att ack ed c o nsid e r ed h e r se l fj usti fi ed in att ac kin g in he r

,
 T/ze Or der f
o Thoug /zt .
337

ur th os e with whomshe was at pe ac e an d fr omwh om

'

t n ,

she h a d r ec e iv ed no p r ov oc at i o n an d in fi n di n g mean s
,

of i n c r ea s i ng her st r e ngth n o m att e r w he r e .

I n 1 7 9 6 wh en the I t al i an i n v asi o n was b egi n n i ng E ngl an d

, ,

p r op os e d a g en er al p eac e o n fai r c on diti on s b u t the ,

re osition wa s r ej ec t e d by F r ance
p p .

T he c au se s which t e r mi n ated th es e neg oti ati on s w er e the

e xc essiv e d e m and s o f F r anc e .

I n the foll o wi n g y ear aft e r the oth e r p ow ers h a

,
d mad e
p eac e En gl an d mad e anoth er o ffer which was p ro udly
, ,

r efu sed .

A ft e r thi s the agg r essi on s of F ranc e wen t o n as befo re

ag ai nst S wit ze r l and A me r ic a M alt a E gypt the d omi n
, , , ,

i ons o f the S ul t an ; the on ly pl ea for t h i s l ast i nv asi o n

b ei ng th at it was the ro ad to att ack the B r itish p ower
in I n d i a .

I I I The n atu r e of the F r e nch rev ol uti onary syst em

. .

I t is an i mat ed by the most abh o rr e n t p r i n cipl es— an i ns a

ti abl e l o v e o f agg r an d i zeme n t an d an i mpl ac abl e spi r it
o f d e st r uc ti o n which p r i n cipl es it c arr i e s o u
, t by the
most ab o mi nabl e mean s fro mB rissot an d R obespi err e
,

to Bo n ap arte .I t is an i mat ed by a p assi on for i n dis

c r i mi n at e pl u nd e r at h o me an d ab r oad ; ac c omp an i ed
by an u n w earied spi r i t of p r os e lytis m an d ch ar acte r i ze d,

by a perfid y wh ich n o tre at i es c an bi nd Th u s qu al i .

fied an d ar med for d est r u cti on the F r en ch R ev o l u ti o n

,

mar ch es fort h the t e rro r an d d i smay of the w o r ld .

I V O n e st r iki ng ch ar act e r i stic of the F r en ch R e v o l u ti o n is

the i n st abi li ty of its g ov e r n men t s S u cc es siv e ad min is
.

tratio n s h a v e app ear ed with i n c r edibl e r apidity U n d er .

s u ch a syst e m wi t h i n c e ss a
, n t ch a nge s n o s ecu r i ty h a, s

h ith er t o exist ed an d n on e is n ow offe red A cc o r d i ng

, .

t o the sp eech of on e of th e C o un ci l o f the Fiv e H u n d r ed ,

the F r e n ch g ov e r n men t mu st be c on si d er ed as e xhibit

“

ing no t hi ng fix ed e i th e r in me n o r in th i ngs
”
.
,

V The F r e n ch r ev ol u ti on ar y sy stemu n d e r Bon ap ar t e

. .

F r an c e is n o w u nd e r a mi li t ary d esp otis m wi th i ts p ow er ,

in the h an d s o f o n e man — Bo n ap art e— wh os e p e r so n al

ch ar act e r is an i mp o r t an t subj ect for c o nsid er ati on .

H e has al r eady sh ow n h osti li ty to E ngl an d .

338 E lemen ts o f Rhetor ic .

H e h as vi ol at ed his oath s to p r ecedi ng gov ern men ts .

H e swore fid eli ty to th e c on stituti o n o f the D i re c tory , th en

o v e rthre w i t, a n d fi na lly d est roy ed the D i r ec t ory it
self .

Bonapart e i s d isti ngu ish ed for perfid y an d c r u elty mor e

th an any o t h e r man— e g , in Lo mb ar dy, M ode n a, Tus
. .

c an y G e noa, R ome, Ve n i c e, Egypt

,
.

H e has now an i nt e r est in n eg oti ating, b u t none in mak

ing pe ac e .

I f pe ace we r e mad e, he wou ld be s ur e to b r eak it wh en

ev e r he c o u ld t a k e u s at a dis adv an t age .

I n addi t ion to th is , h is po w e r is o f u n c er t ai n d ur ati on , for

i t is a milit ary d es po ti s m, whi c h is th e most u n st abl e of
all forms of go v e r n me n t .

I t is th e re fo re nec ess ary to wait for expe r i e nc e an d the

e vid en c e of fa cts b efo re we are c on vi nced th at a t r eaty
is ad missi bl e ; an d no d efi n ite pe riod c an be assig ned
for th e co n ti n u ance of the war .

V I Th at the war ought to go on

. .

The obj ec t of th e war is n ot to for c e the Bou r bon s on

F ran ce, bu t to w eak en the mi l i tary d espo tis m, so th at
the F r e n ch peo pl e m ay be fr eed fr om bond ag e and ,

giv e e xp r essi on to th e i r o wn d esi r es as to gov er n me n t .

The ch ang e s of prope r ty in F r anc e may p r o v e adi ffi cu l ty

to the r es to r a ti o n of th e Bo u r bo n s, b u t n ot an i n super
abl e one .

The low st ate of public c redi t is afurth e r e l em en t o f w eak

n ess to the r ev o l u ti o n a r y system .

The r est or ati on o f the Bo ur bon s is d esi rabl e for F r an ce,

and al so for the r es t of E u r ope .

V I I Th at peac e i s d angerou s
. .

I f peac e is m ad e, and the c on fed er acy of Eur ope d issol v ed ,

the r e v o lu t io na ry po w e r in the h a
, n ds of o ne l ik e Bo n a

p art e, wil l co n ti nu e its aggressive and p e r fidi o u s c aree r .

P eace now is u n r el i abl e, d ang e ro u s, an d i mpo ssibl e .

The speak e r m ak es a fr an k st at em e n t to th is effec t : The

neg o t i ati on s of 1 7 9 6 9 7 w e r e b egu n, n ot in the h ope

—
o f pe a c e, bu t in or d er to satis fy the c o u n t ry by the
s trongest p r oofs th at peace was u n at t ai n abl e an d th u s ,

g ai n the c onc u rrenc e of the n ati on in the st r ong and

 E lem f Rlzetor ie
ent s p
‘

34 0 . .

to th e ext e rn al measures of F ran ce bu t , to her i n t ern al

affai rs .

I I N o si n c e e effort s w e e mad e for pe ac e

. r r .

H
o w ev e bad the r
l e s o f the F e n ch rev o lu ti on a y sys ru r r r
temm ay h av e bee n , th ey ar e n o worse th an h e i p ed t r r
e cessors, fo r h e i measu es h ave been car ied out u po n
t r r r
Bo bo n p i n ci pl es an d aft e the Bo u bo n man n e Yet,
ur r r r r .

r
as we n ev e sc r pl ed to tr eat wi h the Bo u bo n s o n ac u t r
c o u n t of th ei r ap acity , so we o ught not to ef se to r r u
t eat wi th h ei epublic an i mit at o s
r t rr r .

T he se i zu e o f av oy m r
et wi th n o em o n st ra S
nce a t the r
ti me, and sh ou ld n ot now be p t fo wa d as g o u nd for u r r r
t he war .

E
ngl a n d wa s eq est ed to m edi a r u
t e b etw een F an c e an d r
A r r
u st ia an d P ussi a, bu t e f s ed , h ough the oppo tu n i ty r u t r
was p ese n t ed for p re ven ti ng the c al ami i es of war with
r t
which u ope was th eat e ned E r r .

I I I R ec r imi n a i on se l ess Th o gh the acts o f the F rench

. t u . u
may be nj s tifiabl e, ec ri mi natio n w o ld on ly se rve
u u r u
r
to p ol o ng th e war pe rpe t al ly T he F re nc h c an als o u .

co m u
pl ai n of s, and wi th equ al eason, in th e foll o wi ng r
matters
1 Th a t our all i es we e the p at ition er s of Pol and
. r r .

2 ngl a E
n d i nvi ted
. wit ze l and to ab an d o n her n e t al ity S r ur .

3 Tu s c an
. y an d G e n o a w e e c oe ce d i n t o h o sti lity ag ai n st r r
F ran ce .

4 I n th e c ase of V en ic e, the c on d c t of
. str i a is as bad u Au
as th at o f F an c e r .

I V T he h osti li y of
. t
rope to F anc e was not c a sed by Eu r u
F en ch atr oci ti e s al o n e, bu t by the po l icy and man age
r
men t o f th e B i ti sh and th ei al li es O f he se, the E m r r . t
pe ror P a l of R u ssi a i s espe ci al ly g il ty
u u .

V T he eno mi ti es that Franc e has c ommi tted c an not be

r
’

ged as an a g men t ag ai n st pe ac e, for nego ti ati on s

ur r u
h ave al eady been mad e (in 1 7 9 6 an d
r T he
st a t eme n s mad e as to the fail u es o f h ese n egoti ati on s
t r t
are i nc on sist en t P eac e sh o u l d n ot be mad e co nditi on.

r
al u po n the est o a i o n of the h ou se of Bo u bo n , s i n c e r t r
the F e n ch sh o u ld be l e ft to the m
r an ag em en t o f th ei r
own i n t e na l affai s r r .
 Tire Or der f
o Tboug ht .
34 1

Th e c ase ofWi l li am I I I who was s uppo rt ed by his P ar

.
,

liamen t in h is str uggl e wi th L o uis X I V is no t a p ar al .

,

le l o n e o r a mod e l fo r imit ati o n .

T he p ubl ic ati o n o f the i n t er c ept ed F r en ch c orr esp o n d en c e

h as bee n d efe n d e d by M r C an n i ng bu t the offen siv e
.
,

r ib ald ry wi th wh ic h th at p ubl ic at i o n is acco mp an i ed is

d ese r vi n g o f the u tmost r e p r o b at i o n .

V I F o r mer negoti ati on s Mr Pitt s nego t i ati ons in 1 7 9 7

. . .
’

w er e ch ar ac t e r i zed by i n si nc er i t y fo r he was n e i t h e r ,

h o n est to this H o u se n or to the p eopl e o f th i s c o u n t ry .

H e o ugh t no w to t r eat upon the s ame p r i ncipl e u p o n

which he t r e at ed in 1 79 7 .

V I I The c o nd iti on s of pe ac e
. .

1 The ov e r th r o w o f Bo n a
. p ar t e and the r est or ati on of the
Bo u r bon s are mad e by the mi n i st ry a rme qua non . .

Yet th ey p u t fo r w ar d o th e r c ases in the e v e n t of ,

wh ich p eac e may be mad e T hes e are as foll o ws .

A I f Bo n ap ar t e sh all c o n d u c t hi msel f sat i sfact o r i ly

. .

B I f F r an c e sh all acq u i esc e in hi s go ve r n ment

. .

C I f the al li es sh all be u nsu cc e ss ful

. .

D I f the war sh al l be O pp r essiv e b ey ond our p ower to

.

b ear .

H e app e al s to the H ou se if the qu es t i on had b ee n an

,

add r e ss to t h an k h is M aj esty fo r o pe n i ng n egoti ati on s

for p eac e w o ul d t h ey no t all h av e v o t ed ?
,

2 A n sw e r to the ch arg e s a
. g ai n s t Bo n ap ar t e .

The mi lit ary d esp oti sm o f Bo n ap ar t e has i ts c ou n t er

p art in I r el an d .

Bon ap ar t e s vi o l ati on of oath s to su cc essiv e gov er n me nt s

’
.

Thi s mu st al w ays t ak e pl ac e in a r ev ol u ti on ar y st at e
of s oc i ety .

Bo nap ar t e s ai d th at the F r en ch and E ngl ish gov e rn

men ts c ou ld not exist t ogeth er M r Pitt has fr e . .

qu en tly s ai d the s ame thi ng Thi s t emp e r i s d iabol .

i c al and wo u ld p r ot r ac t the war i n d efi n it ely

, .

Bo n ap ar t e is ch arg ed with d esi r i ng war bu t th er e is ,

good r easo n to supp o se th at he d esi r es p eac e .

3 T
. h e r e t u rn o f t h e B o u r b o ns .

The ch ang e s o f p r o p e rt y in F r an c e fo r man in surm ount

abl e b arr i e r to t h is ; and this d i ffi cul ty has b een in

c r e as ed by the man i festo of L o ui s XV I I I .
34 2 E lenient : f
o R /zetor ic .

VI I I . The at r oci ties

pe r pe t r at ed by the F ren ch h av e been
e qu all ed p articu l ar ly in N apl e s an d by the Br i tish
, , .

P er or ati on .

An e l oq u en t po rt ray al of the h o rr or s of war and the ,

abse n c e of pu r po se which mar ks th em on the p r esent

occ a s i on .

S P E EC H ES O F H AYN E AN D W E BST ER
TH E .

The fol l o wing is ag ene r al o u tli ne of the or d e r o f th o ugh t in

t he spe ech es of H a y n e and Webste r I n 1 8 2 9 a d ebat e ar ose
.

o n publ i c l a nds upo n which m , any d ays w e r e spe n t an d in ,

which most me mbe r s p ar ticip at ed The ch i ef i nt e r est was fe l t.

in the spe e ch es of two l eadi ng d eb at e r s— Robert H ay ne and

D an i el Webst e r T wo speech es we re d elivered by each the
.
,

fi nal speech of each h avi n g beco me famous .

O utline of the speech of H ayne

'

1 W e bst er ha
. s ch a n ged the subj ec t of d eba te and has ,

mad e false ch arges ag ai n st the Sou th .

2 H is p resen t doc t r i ne is i nc ons isten t wi t h hi s for me r

.

one a nd i n co n s is te n t wi t h his for m

, er a c ts and meas
ur es .

3 T h
. e f r i e ndli n ess o f th e N o rt h w i th th e W es t i s a r es u l t
of a co r rupt po li tic a l b arg ai n .

4 The S o u t h has been u nj u s tly t r ad u ced

. .

S u th C a r l i a ha s h w n g r ea t d v ti o n to the U n i on
5 o
. o n s o e o ,

whil e M assac hu se tts has pl o t t ed ag ai n st i t .

6 Th ese d oct r i nes n ow p r ocl ai m

. ed by him(H a yne) w ere
adv ocat ed by the fo u nd e r s of the U n i o n .

O u tli ne of the speech of Webst er

1 . H e asse rts h at the t main s u bj ec t has been
negl ec t ed by

his oppo n e n t .

2 . R epe ls pe r so n al iti e s .

3 . V i n dicat es the N o rt h fromthe ch arg es mad e agai nst i t .

4 . R epels an d disp ro v es the ch arge of a c or ru p t p ol i ti c al

b arg ai n .

5 . De n i es any u nfai r n ess t ow ards the So u th .

6 . A dvoc ates hi s po li cy tow ards new st ates .

7 . P e r o r ati o n .

Pl ea for the permanency of the U nion .

 E lemen ts pf R/zetor ze
'

344 .

By the w o rki ng out of d esti ny . This i s the chi ef d evic e

mad e use of in t he G reek d r ama and ,
is most s t r i ki ngly m an
ifest in th ose pl ays fo u nd ed u po n t he e p0 p mia o f (E d ipus .

By the use of a sec re t or a my st e ry Th is is a fav ori te .

d evic e of th e mod e r n n ov e list who is thu s abl e to k eep hi s ,

r ead er in a con stan t state of i nt er est arisi ng fromc ur i osity .

35 3 . RDER zw o O
sc r- o r TH O U G HT .

4 The fo u rt h ki nd of o r d e r o f th ough t is c al l ed s ce n ic
. Th is .

ar ises wh e r e the o r d e r is o f s u c h a n atu r e th at i sol at ed sce n es

o r d et a ch e d th ough ts h av e the u t mo st effect I t is u se d .

chi efly if n ot excl u si v ely in n arr at iv e The on ly c as e wh ere

, , .

it is us ed in exp osi t i o n is in c e rtai n sermo n s and sp eech es o f

the p opu l ar ki nd wh e r e the ar gu m
, e n ts a re i n t e r mi ngl ed with
abu nd an t anec d o t e and tho ugh fill ed with disc o n nec t e d as
, ,

se r tio n s a re
, ye t m a d e st r iki ng and effecti v e by me an s of ill us
trations and e x am pl e s “
R eviv al p reach i ng and t e mpe r
.
” “

anc e o r at ory wi ll o ft e n exh ibit t hi s

”
.

This fo r m of o r d e r of th o ught is l ar ge ly us ed in n arr ativ e ,

and e spe ci ally by w r it e r s of p r os e ficti o n .

N ove li st s may be di vid ed i n to two general cl asses with re

gard to o rd e r of tho ught .

.1 Th o se who foll o w t he l ogi c a l ord e r Th ese w ri ters lay .

c hi ef st ress upo n the pl o t C h ar act e r s are o f i n fe r i o r i mpo r

.

t anc e ; i n cid e n ts are ev e r ythi ng ; and th ese i ncid en ts are so

arr anged as to excit e the r ead e r to the u t mo st H is att e n ti on .

i s r o u se d a t the o utse t by so m e st a rt li ng occ u rr en c e and th en ,

co nsequ ence s are d ed u ced from th is in s u ch a way th at h is

i n t e re s t is i nc essan tly sti mu l ate d u n ti l the cl ose i s reach ed .

H er e i t is the se r i es of even ts s u cceedi ng o ne ano t he r in log

ic al o r d er by which the r ead e r is att r ac t ed Thi s is sig n ally .

i ll u strat ed in the A rabi an N igh t s E n t e rt ai n men ts ; by many ” ’

F r en ch n ovel i sts es peci al ly A l ex and e r D u mas an d E ugene S ue ;

,

and by w r i ters o f so call ed

”
se n s a
~
ti o n n ove l s .

2 T he seco nd cl a
. ss is m ad e u p of th os e who at tach slight
i mp o rt an c e to the pl o t bu t r egar d th ei r ch ar act e r s as of su
,

p r e me i mpo rt an ce U po n th ese all the i nte r est of the sto ry is

.

mad e to d e pe nd— th ei r l i fel ik e po rtr ayal th ei r ac t s th ei r wo r d s

th e i r th o ughts D ick en s a
, , ,

. nd Th a ck e r ay be l on g to this se c o n d
cl ass Th ey w er e both gr e ate r in the d eli neati on O f ch ar ac t e r
.
 T/ze Or d er o f Tkou
g /zt .
34 5

th an in the c on st ru cti on of pl ot The Pickwick P ap e r s has

‘

sc ar c ely any pl ot at all bu t o wes its u n i ty to the c h ar ac t e r s

, .

I n V an i ty F ai r the pl o t is mo r e vi sibl e bu t the ch ar ac t e r s hav e ,

an i n t e r est in th ems e lv e s qu i te i n d ep en d e n t o f t he i r fo rt u nes .

B al zac may al so be men ti on ed as anoth e r c o nspicu o u s ex

ampl e o f thi s cl ass .

S ome w r iter s u n i t e bo th S i r W alter S c ott giv es an el ab o

.

r at e pl ot an d his ch ar act er s are all p o r tr ay ed with l i felik e

,

fid el ity V ict o r H ugo r iv als D u mas in his l ov e of exciti ng in

.

c id e n t ye t his c ha
, r acte r s are st r o ng ly mar k ed ; an d j ean V al
j ean is o n e of the gr eat est c r eati o n s o f mod e r n g e n i u s G eo rge .

E li ot (M rs Lew es ) an d G eo rge S an d (M ad ame D ud ev ant ) are

.

w rit e r s as wi d e as the po l es asu n d e r yet th ey h av e th i s in c o m ,

mo n t h at th ey can c on st r uc t a pl ot of i n t en s e i nt e r est an d
, ,

c r e at e ch ar ac t e r s t h at liv e in the memo r y o f the w o r ld .

Thu s in the mod e r n n ov e l wh er e the l og ic al o r d er is ad opt

e d the st o r y is c o n n ect ed by the fr a
,
mewo r k O f the pl ot ; bu t
wh e r e the sc en ic or d er is us ed the st ory is c onn ect ed by the ,

ch ar act e r s .

§ 3 S4 . O RDER OF T HO U G HT I N DRAMATI C AN D NAR RATIV E

W R ITI N G .

D r amatic and narr ati ve w r iti g r equ i r e r e

n sp ectiv ely a di ffer

e n t o r d er of tho ugh t .

T he n arr ati v e wh e th er of the sc e n ic o r l ogic al o r d e r has

, ,

th is in c om mon th at it i s al w ays the t el l i ng O f a st o ry T he

,
.

ch ar act er s are r egu l ar ly i nt r od u c ed an d the read e r is mad e ,

acqu ai n t e d with th e m T he O p en i n g i s exp l an at o r y and the

.
,

na rr at i v e l ead s to so me c r i sis .

I n d r amatic w r i t i ng the c har act e r s are p r es ent ed ab r u p tly in

the m i d st o f so me c r isis .

I n n arr at iv e the c risi s is b r o ugh t forw ar d g r ad u ally after ,

d ue p r e p ar at i on an d expl an at i o n .

I n d r amatic w r i t i ng the c r i si s c omes on at o n c e with all the ,

ch ar ac t e r s in fu ll ac t i o n l e avi ng the sp ect ato r to g ath er from

,

th e i r w o r d s and d eed s who an d wh at th ey are .

I n n arr at iv e the w r it e r t ells all ab o u t his ch ar act e r s .

I n the d r ama the w r i t e r l eav es his ch ar act e r s to t el l all

ab o u t th emse lv es .

The d r amaO pe n s the sit uati on at on c e and expl an ati on fol ,

34 6 ments of alums ;Ele .

l ows aft er The n arrative follo ws the c o u r se of ev ents bu t in

.
,

bo th cases the cat as tr oph e i s r ese r v ed till the l ast .

I ll ust ratio o f the d r amatic pe i g may be fou n d in Ri ch

ns o n n

a d the Thi r d J u l i u s Ca
r e s ar a nd H a ml et
, ,
.

Th e re a e e xc epti o s to th is
r n .

Someti m s in the d r ama th ere is a p relimi nary n arrative

e .

Thi is frequ e t in th pl ays of E uripid es The n arrativ e i

s n e . s,

h owev e r but b ri e f a d th m
,
om en t i t is en d ed the a
,
n c ti on be
e

g i
n s wi th d r amatic ab ru pt n ss e .

So meti mes the d rama f ll ows the n arrati ve ord er as in some o ,

of S h a k e pe ar s histo r ical pl ays ’

s e .

So meti mes arr ativ e fo ll ows the d r amatic r d e r This how

n o .
,

ev r i
e ,a me r d vice or ar tifice o f the w i t
s e and the r ead e r
e r er ,
”
alw ay s fee l s th at it read s li k e a p lay .

Exampl es of the di ffe re nc e between n arr ati ve and d r amati c

w r iti ng in this r espect may be see n by c omp ar i ng any of
S hak es pear e s pl ays with o ne of the s ame pl ays tu rn ed i n t o
’

na rr a t iv e as in th e
“
,
Tal es fro mS h ak espear e I t may also .
”

be see n by wi t ness i ng the d ramatic r ep r ese nt at i on o f so m e

popu l ar nove l The ch ar acte r s r emai n b u t in p art ; many are

.

l eft out th ose whic h remai n are mod ifi ed st rang ely ; and the
o r d e r o f th o u ght is to t al ly ch an ged This c h ange is so great .

that it seems l ik e ano the r wo r k al togethe r .

ENERAL R U LE FO R TH E O RD ER or THO UG HT
5 35 5 . G .

Fi nally in all ki n ds of compos i ti on th e re is one ru l e fo r the

,

o r de r of though t wh i c h is al most i nv ari abl e Thi s i s th at the

, .
,

most i mportant thi ng mu st be r ese rved u n til the l as t .

Th us in p r ose poe tic fi c ti on and the d rama the c atas

, , , ,

trO phe m u st be in the l ast pl ac e and all the res t must l ead ,

u p to i t .

I n exposi ti on the s trong est arg u m en t m ust be k ep t till the

l ast and all the o th er argu men ts mus t l ead u p to i t
, .
3 48 E lements f
o ,
R/zetor ie .

Reas o n i ng c omp rises v ari ous consti tu en t el e men ts the chi ef ,

of which a re 1 Ter m s P ro po siti o n s 3 D efi n iti on s ; 4

: . .
.

3 60 . T ERM S .

1 T e rms The o pe r ati on

. . s n i n g i s g ene ra l ly per o f r ea o ~

fo rmed by mean s of w o r ds an d a th o r ough i n sight i n t o t he ,

me an i ng and pu rpo ses o f th e se is esse nti al A l l wo r ds may .

be d i v id ed i n to fo u r cl asse s : fi r st n am e s d esc r i p tiv e o f thi ngs ,

o r ac t s ; se c o ndly w o r d s qu ali fyi ng n am

,
es ; th i r d ly w o r ds as ,

se rti ng ac ts or q u alities ; fou rth ly w ords q u ali fyi ng asse rtions , .

R O PO SITI O NS 361 . P .

2 .P ropositi on s A p r o positi on is u su al ly d efi n ed as a por

.

ti on of d i sc o u rse in which a p redic ate is affir med o r d e n i ed

o f a subj e ct I n r h e t o ric al ar guments the w o rd has a wid e r
.

mean i ng and c omp reh e nd s all s t at ements o r affi r mat i ons which
,

are su ppo r t ed or en fo r c ed by p r oo fs o r argu me n t s Th ese as .

,

we h ave al r e ady seen are ge ne r al and p art i c u l ar ; the fo r me r

,

r efe rr i ng to the l ea di ng h eads of cl assific ati on and the l att e r ,

to the s ubo r di n a te I t is v er y i mpo rtan t th at th es e sh o u ld be

a
.

p u t fo r t h in a C l e ar an d u n m ist ak abl e m a n ne r T he m in .

p ro positi on sh o u ld rece iv e s pec i al atte n ti on and st and fo rt h ,

wi th the u t most p romi ne nc e An e x ampl e o f t hi s may be fou n d .

in S i r J am es M a cki n to sh s speech on j ean Pel ti er wh e r e the

’
,

mai n pre po sition is th at a wr i t er in E ngl and sh o uld n ot be

pun i sh e d in o rd e r to ave rt the r ese n t me n t O f the go v ern men t
of Fra n ce SO al so in the l e tte r o f J u n i u s al r eady qu ot ed the
.
,

c hi ef p r o po si ti o n is p u t fo rt h so cl ea r ly th at i t l eav es the st ro ng
es t po ssibl e i m p ressi o n o n t he mi n d “
T he m u lti tu d e in all .

c o u n t r i es he s ay s are p ati en t to a c ert ai n po i n t I lLusag e

”
, ,
.

may r ou se th ei r i ndig n ation an d h u rry th emi n t o exc esses»b u t

the o rigi n al faul t is in the go ve rn m Th ese l ast w or d s
”
en t .

con t ai n the mai n p ropositi on which i s neve r l o st sigh t of

’
‘

, .

Cou n t e r p r o po si t i on A c ommon way of establishi ng agi ven

.

p r i n ci pl e i s by an s we ri ng and refu ti ng i ts o pposit e ; as w hen ,

in ad v oc at i ng fr ee t r ad e a w r i t e r ass ail s p r ot ecti o n or vice

, ,

m m Th is is mer ely the p r opositi o n in anoth er form

. .

5 3 6 2 DE FI N ITI O NS
. .

3 . Defi ni tions . A d efi n iti on is the st atemen t of the mean i ng

 A rg umen ts .
349

of a wo rd . This is ch i ef requ isit es to cl ear n ess O f

one of the

r eas on i ng an d fromits negl ect gr e sf mi sapp r eh en si on wi ll n ot

,

unfr equ en t ly ar is e I mpo r t an t c on t r ov e r si es h ave not s eld om

.

b e en carr i e d o n by th os e who d o no t r eally di ffe r v ery g r eatly

'

in O pi n i on bu t who are misl ed by th e ir r esp ectiv e i n t er p r e ta

,

ti on s of agi v en t er m .

Th e r e are v ar i o us mod e s of d efi n iti on .

r s t T he fo r m
. al d e fi n i t i o n in /set t er ms such as th ose th at ,

are fou n d in dicti o nar i e s an d sc i en tific w or ks .

2 d D e fi n iti o n by c on t r a
. st as wh en h eat i s d efi ned as the
,

ab sen c e of c old o r d ar k n ess as the abs en c e o f l ight or sin as

, ,

the abs e n c e of h o li ne ss
;

3 d D .e fi n i tio n by e x am pl e o r ill ust r ati o n T h e d r awi ng o f a .

tr i angl e the pictu r e o f an eagl e o r a gi r affe are the si mpl est

, ,

an d cl e ar e st w ay s o f c o n v eyi ng an id e a o f the t hi ng s in q u e s
ti o n Fo r th is r easo n mod e r n dic t i on ar i es o ft e n su ppl e me n t
.

th e i r fo r mal d e fi n i t i o n s wi t h i l l u st r a ti o n s B ut e x ampl e s an d .

i ll u str at i o n s h av e a mu ch wi d e r applic ati on By an ex ampl e .

i s mean t ap ar tic u l ar i n st an c e as wh e n the c ase o f the r i se and ,

fal l o f me r cu r y in the th e r m om et e r is a ddu c ed to expl ai n the

st at e me n t h eat exp an ds bodi es
“
, By i ll u st r ati on is mean t an .
”

as s o ci at e d fa ct — a si mi l ar or an al ogou s c as e Th ese are O ften .

mad e by mean s o f figu r at iv e l angu ag e .

A good ex ample o f the d efi n i t i on in or at ory is to be fou nd

I n Bu r k e s speech o n the East I n di a Bill of Fo x
’
I n the o pe n .

ing o f his arg u men t he c o n sid e r s the O bj ecti o n t h at the bi ll

is an att ack O n the “
Ch a r t ered r igh ts of men an d before ,

answ er i ng i t he i nt r od u c es an explanation of the ph r as e '

3 63 . P R OO F .

4 P r oof
. .

P r oof i s b as ed u pon two p r i n cipl es— d ed u c ti on and i nd u c

ti on .

6
3 4 . DEDU CTI O N .

r st D ed u ct i on
. .

By d ed ucti on i s mean t a p r oof ar isi ng fr omthe appl icati o n

o f som e g en e r a l law as wh en the p r op osi t i on We sh al l all
,
“
,

is p r o ve d fro m the gen e r al law A l l me n are mor tal

”
d ie , , .

D ed ucti o n is t h u s the p ar ticu l ar appl ic at i o n of a mo r e gen e r al

p r op o siti o n al r eady es tablish ed and i t al w ays i mp l i es the t hi n g ,

to be p r ov ed .
3 5 0 E lements o
f M etor ic .

365 . 1N D UCTI ON .

2 d. I nd u c tio n .

I n d u c tion i s a p rocess of in fer ence by whi ch fromthe oh ,

serv a tion o f p a r tic u l ar s we p rov e oth er p ar ti c u l ar s h ith er to

, ,

u nk now n o r u n ad mitt ed or sh ow th at wh at i s tru e of c ertai n .

i n divid u al s of a c l ass is t r u e of a wh o l e C l ass Th us fr omthe .

fac t th at the Eart h V e n u s M er c u ry an d M ar s r ev o lv e a

, , r ou n d ,

the sun in an e llipti c al o r bit we m ay i nfe r that all the pl anets ,

of the so l ar syst emr e v olv e in the s a me way .

I t has bee n sh ow n by J oh n S t u ar t M i l l in hi s treati se on ,

Logi c th at th e r e are fo u r mod es of i nd u cti on by which fac ts

,

are b r ou gh t to bear u pon the p roo f of a gener al p r opositi on .

H e c alls th ese the fou r expe r i me nt al metho ds .

5 3 66 FO U R EX P ER I M ENTAL M ETHODS o r I N Q U IR Y
. H I LL s
’
.

1 .M ethod of ag reement .

I f two o r m o r e i nst ances of the ph eno menon u n d e r inves

tiga tion h av e on ly one ci rcu mst anc e in c ommon the C i r cu m ,

st ance in wh i c h al on all the i n st an ces agree is the cau se (or

e

the ffec t ) o f t he ph e no m
e eno n .

F rom th is we are to u n d erst and th at wh en two facts are

u n i formly a soc i at ed u nd e r many and v ari ed ci rc u mt ances
s s ,

th ey may be r egar d ed as c au se and effect Thu s in comp aring .

,

cases in which bod i es are k nown to a u me c ryst al li e s truct ss n

ure b u t wh ich h av e no oth e poi n t of ag r eem

, e n t we find th em r ,

to h av e on ly on e an tec ed en t in common — the d epositi o n o f

s olid mat t e r fr oma liq u id s tate ; fr omwhich we co ncl ud e th at
the so l idific atio n o f a subs tan c e fr om a liq u id st at e is an in
v ar i abl e an tec ed e n t of its c ryst al li zati on I n the s ame way we .

ob se rv e th a t the p rev al enc e o f i mmor al ity is associ at ed with

the d e cli ne o f the h u m an r ace in all c ou n t r i es and in all ages , ,

and we c o n sid e r the one as the c au se of the oth er .

2 . M eth od of di ffe r en c e .

I f an i n s t an c e in wh ich the ph eno m en on u n d e r i n v estig ati on

occ u r s a nd an i nst an ce in whi ch i t d oe s n ot occu r h av e e v ery
, ,

c i r c u mst anc e in c ommo n s av e one th at one oc curri ng only in

, ,

the fo r m e r the C i r c u m
,
st an ce in which the two i ns tan c es di ffe r
is the effect or the c au se or an i n dispe n s abl e part of the cau se
, ,

of the p henom enon F r om th is we see th at wh en two fac ts

.
 5 2 E lement s o f Rhetor ic .

EN T H YM EM E
6
3 7 . .

A l l t ru ths are ei th er n ecessar y or c on ti ngen t An ex ampl e .

o f t he form er m ay be fou n d in math emati c s wh er e the con cl u ,

sion s are e i t h er abso l u t ely t rue or man i festly fal se Bu t in .

h u man affai r s th is math emati cal ce rt ai n ty is n ot att ai nabl e

”
,

an d we mu st be s atisfi ed wi t h someth i ng l ess With n ece ssary .

tr uth s r h e t o r i c has l it t l e or n o thi ng to d o for th ese ad mit of no ,

d i sput e I ts sph e r e c omp ri ses th at wid e ext en t of p ro babi li ties

.

u p on wh i c h the h u man i n t e ll ect is con t i n u al ly ex er c isi ng i ts

po w e r s .

Th e re is an i mpo rt an t di ffe r en c e be tw een r h et o ri c an d l ogic

as to the fo rm of r eason i n g r espe ctiv e ly empl oy ed Logic .

e xh ibi ts p r oo f by m ea n s o f a c e rt a i n fo r m c all ed syll ogis m

r h eto r ic at t ai n s to p r oof by mean s o f the en t hymeme .

Two essen t i al C h ar act e r is tics be l o n g to the en thym em e .

T he fi r s t of th es e is th at i t d eal s wi th p r ob abl e not n ecessar y ,

t rut h The ar gu men ts wh ich are mad e u p in the v ariou s d e

.

p a rt m e n ts o f l it e r atur e are not l ik e th ose wh ich are mad e u p in

t he v ar i o u s d e p ar t m e n ts o f s c i e nce ; a nd the e n thy m em e a s ,

the b a sis of r h etor ic al ar gu men t has this c h aract eristi c , .

Sec ondly it is a fo rm of arg u me n t wit h o ne p remise su p

,

p r es sed The en thy meme i s someti me s cal l e d a r h et o ric al

.

syll ogis m bec au se it h olds the same r e l at i o n to r h et o ric wh ich

,

the syll ogis mh ol ds to l ogi c T he syll ogismhas al w ays its r egu

. ~

lar p r oposi ti on an d co n cl u si on an d est abl ish es by mean s of all ,

its p ar ts th at wh ich it has p r o po sed T he en thy m eme is sa tis

.

fied if mer ely wh at is st at ed in i t be u nd e r st oo d The foll ow .

ing is the fo rmof the syl l ogis m

Th at ly i g d f wh ich
on sa mak
oo o n one c n e an ill u se.
N a mak a ill u
o ne c f i tu
n e n se o v r e.
Th r f r virtu i th ly g d
e e o e e s e on oo .

Th e foll o wi ng is rmof the enthymeme

the fo

V irtue is the on ly g d; b cau

oo e a mak a ill u
se n one c n e n se of it.

H e r e on e p r emi se s is omitt ed as bei ng u n d erstood

of the , .

This is the i nv ari abl e mod e in wh ich r h etori c al argu men t is

st at ed an d i t is al so the mod e empl oy ed in o r di nary speec h
,

e
g
. W
. ar,is a n evil be ca u se i t p rod u c es h u man mi se ry
, .
 A rg uments .
35 3

A R G UM EN TS 3 68 . .

A rgu men ts may be divid ed i n t o th ree gener al cl ass es

1 . C au s ativ e ; 2 I l l u st r ativ e ; 3 E xemplative
. . .

3 69 . C AUSATIV E AR G UM ENTS .

1 C a s ativ e
. u .

This C l ass i n cl u d es th ose ar gu ment s in which the r el ati on

of the p r e m i se to the c on cl u si o n is t h at of c aus e an d effe ct ; o r
wh e r e the p re mi se w ou ld acc o u n t for the c o n cl u si o n if the lat
ter w e r e g r an t ed Thu s in the ev en t of o n e b e i n g accu s ed O f
.
,

mu r d e r it might be acco u n t ed for by sh o wi ng th at the accu sed

,

h ad b ee n an i m ated by fee l i ng s of h at r ed ag ai nst the d ec e as ed .

The fr eezi ng of a r i v e r or a l ak e c o u ld be fo r es ee n fr o m the

e x ist e n c e of i n t e n se c old U po n the fi n di ng of the b ody of a
.

mis si ng man the t h eo ry t h at he c ommi tt ed su icid e migh t be

,

su s t ai n ed by sh owi ng th at he had met wi t h r u i nou s l oss es or ,

t h at he was i ns an e .

Th i s is O ft e n u s efu l in j u dici al c as es and is empl oy ed to ,

sh o w th a t s o me j u s tifi abl e c aus e has exist ed for an all eged

o ffe n c e the c a ,
us e b e i ng a p r ov oc at i on of som e s o rt Th us .

L or d Er ski ne in his sp eech on be h al f of S t ockd al e o n the

, ,

ch arge of a lib e ll ou s pu blic at i on b efo r e t aki ng up the C h ar ac ,

te r o f the l ibe l it se l f i n t r od u c es p r e li mi n ary matt e r in o r d er

, ,

to sh o w th at the H o u se of C o m mon s had p r osecu t ed H asti ngs

wi th u np ar all e l ed vi ol enc e an d by al l o wi ng the C h arg es to be
,

publi sh ed had p r ov ok ed the public ati on o f the bo ok in qu es

ti on A not h e r ex ampl e may be fo u n d in Bu r k e s sp eech o n
.
’

c o n cili ati o n with A me r ic a I n th is he p r oc eed s to sh o w the.

c au ses whi ch i mp el himto adv oc ate p eac e which are fi r st the , , ,

st at e an d C i r cu mst an c es o f A me ric a; s ec on d ly the evil of re ,

s ort i ng to fo r c e ; thi r dly the spi r it o f the A mer ic an s I n his

,
.

spe ech o n the B ri st o l e l ecti on the s ame o r at o r wh il e d efen d , ,

in g his c o u r s e r e pli es to fo u r ch arges by mean s of t his ki n d

,

of a rg um en t I n an sw e r to the C h arg e th at he h ad n egl e ct e d

.

h is c o n sti t u en t s he b r i ng s fo r w ar d as the c au se O f h is abse n c e

,

the C l ai m s o f the high e r w o r k which he h a d d o n e for th em in

Lo n d o n The sec o n d C h arge o f gi vi ng fr ee tr ad e to I r el an d
.
, ,

he m ee t s by sh o wi n g th a t i t was n ec essary to the pac ific atio n

of th at c o u n t r y T he thi r d an d fo ur th ch arges o n th e r eli ef
.
,
 E leni en t: f R/zetor ze
'

35 4 o .

of i n so lven t d ebto r s an d R o man C ath ol i c s he an sw ers by ,

sh owi ng th at th es e meas ur es w e r e req u i r ed by j u st ice I n .

G rattan s spee ch on the d ecl ar at i on of I rish r igh t mos t of the

’
,

ar gu men ts are o f th is n atu re H e sh o ws th at the d e cl arati on

.

i s r equi r ed from the fo l l owi n g c au s es : The di sc on ten t o f the

I ri sh ; th e i r spi r it ; th e i r d emands ; the h osti li ty of E nglish
l egi sl ati on ; the p r i nc ipl es of 1 68 8 .

D r Wh at ely in his r emar ks o n this s u bjec t s ays th at as

.
, ,

far as anyth i n g stated as a c au se has a te nde ncy to p rod u ce

any gi v e n effec t i t is an ar gu men t for th at effect
,
.

I n n arr ativ e w r iti ng p art icu l ar ly in fi c ti o n th i s is k no w n a

, s ,

“
v e r isi mil i tu d e ” “
v r ai se mbl an ce or l i fel ik e po rt r ay al T he
,
“ ”
, .

more cl ear th is i s an d the mo re skil fully it is w o r ked o ut the

, ,

mor e app ar en t i s the gen i us of the w r i te r G iv en such C h ar .

ac ters and s uc h situ ati on s, th ey w ou ld p r ob ably ac t lik e M ac

beth Le ar and O th ell o
, ,
.

T wo th i n gs are nec essar y to be o bs er v ed h e r e : fi r st the ,

s equ e nc e of ev e n ts ; an d seco ndly the p r op riety o f C h ar acte r

, , .

The i n trod u c ti o n of pu r ely i m agi nary c i rc u mst anc es d o es

not a ffect v e r i si m i li tud e A c ertai n amou n t of c onc essi on is
.

expec t e d from the re a d e r o r S pect at o r Th u s in H aml e t the .

appear ance of the spectre i mpli es the possibility of gh os ts ; an d

in M ac be t h the ex ist e nce of wi tch es i s tak en fo r gran t ed N or .

i s v er i si mi l it u d e affec t ed eve n wh en all the C i r cu mst anc es are

,

i magin ary as in G u l l ive r s T r av e ls H ere the r ead er c onc ed es

,
’
.

the existe nce of an en ti re w o r ld of s m al l folk o r of big folk .

U pon this the au tho r sh o ws v erisi mi li tud e by maki ng all the

par tic u l ar s correspo nd an d by c arefu lly adj u st i ng all the pro
,

po rt i on s :
H is M aj esty is talle r th an the rest o f his cou rt ie rs by the br ead th of m y
th u mb nail which al one is sufficie nt to strike awe i nto the beh ol der
-
, .

I n such w r iti n gs as the Ar abi an N igh ts the r ead e r co n c ed es

the e xi st e n c e of a wo r ld o f m agi c yet ev en h ere v er i si mili tu d e
,

mu st be obse rv ed ; an d alth ough A l addi n s p al ac e may st ar t

’

up in a n igh t yet A laddi n hi ms elf mu st be bou nd and l im

, i t ed
by the p assi ons and frail ties of h u man i ty .

5 3 70 . I L LUS TRATt VE AR G UM EN TS .

z I llu st r ativ e
. .

Th is cl ass i ncl u d es th ose argu men ts in wh ich the rel ati on

35 6 E lemen ts f
o R/zetor ie .

th at the h igh b ail iff had

-
n ot snfli c ien t e vide n ce to w ar ran t his
gr an ti ng a sc ru tin y .

5 37 1 . E xE H P LATrvE AR G UM ENTS .

3 . E xemplative .

Th i s divi si o n i n cl ud es th o se ar gu men ts in wh ich fromex am

pl e s of a c e rt ain cl ass k n o wn an d un d e r st ood we r e as o n c o n
c e r n i n g o th e r s of t he s ame cl ass whi c h are l es s k now n Thu s .
,

if t he an ci e n t R oman Empi r e be t ak e n as an ex ampl e o f mi li

‘

tary m ona r chi es we may reaso n fr o mthis c o nc e r n i ng the ch ar

,

ac te r an d te n d en ci es of o t he r mil it ary mon ar ch i e s .

V ar i o u s argu me nts are i n c l ud ed in thi s di vi si o n the chi ef ,

o f wh ich a re th ose whi c h a re b a sed u pon (1 ) E xpe ri enc e (2 ) ,

A nal ogy (3 ) C on trast

, .

5 372 . EX P ER I EN C E .

( 1 ) E xp e rie n c e .

Th is is a ki n d of ar gu ment whi c h is b ased upo n fac ts in our

own experi en c e o r th a t of o th er m
, en I n t his way are fo rm ed .

many of the O pi ni on s of commo n li fe s u ch as th ose which re ,

l at e to the o r d er of n atu re the s easo n s tid es d ay and n ight , , , ,

the w eath e r e tc The s am

, e m
. e t h od i s appl i ed to h isto ri c al an d
po li tical e ven ts ; and wh at ev er men h av e d on e in the p ast we ,

e xp ect t h emto d o un d e r si m i l ar Cir cu mst an ce s in the fut ure

, , .

A n ex am pl e o f thi s ki nd of ar gu men t i s to be fou nd in

B ur k e s speech on A me r ic an T ax at i on wh e r e by r efe rr i ng to
’
, ,

p ast e xpe ri e nce in the hi sto ry of the empi re he p ro ves I st th at , , ,

if t he t ax be r epeal ed the A m e ri can s wil l no t d e m an d mo re

c on ce s si on s ; 2 d t h a t s uch r epe al i s qu it e c o nsis ten t with the
,

po l icy o f the e mpi r e ; an d 3 d th at it wi l l not d er og at e fro m

, ,

the dig n i ty o f the n a ti on Er ski ne in h is speech o n beh al f

.
,

of H ar dy m ai n t ai n s the t ru th of hi s d efi ni ti on of the law of

,

treason by ex ampl es fromthe S t at e t ri als .

3 73 . A N ALOG v .

() A
2 n ao
l gy .

Thi s is t h at ki n d o f argu me n t in wh ich fromthe facts in o ne ,

c as e j udg men t is mad e co nc e r n i ng the fact s in anoth e r an al o

go u s c as e .

A nal ogy is di ffer en t from si mi l ar i ty I n si mi l ar ity the two .

 A rg ummts .
3 S7

th i ngs b r o ugh t i n t o comp ar i s on ar e alik e in an al ogy th ey ar e

n o t alik e bu t st a ,
n d in si mil ar r el ati on s to oth er thi ng s Th u s .

the c o u r s e of hi st o ry is n ot si m il ar to a r i v e r n o r is e ter n ity ,

si m il ar to an oc ean bu t the two c as es are r esp ectiv e ly an al o

,

gou s th at is the c o u r s e o f his tor y st an d s in the same r el ati on

,

to h u m anity w h ich a r iv e r h o lds to the w at e r wh ic h c o mp o ses

i t A n al ogy is a mo r e fr uit fu l so u r c e of figu r at iv e exp r essi on
.

t han si m il ar i ty an d we see i t c o n s tan tly e mpl oy ed in t r op es

,

of a ll ki n ds in al l ego r i es fabl es etc

, , ,
.

An e x ampl e o f this may be fo u n d in F ox s sp eech o n the

’

E ast I n di a Bi l l in wh ich he sh ow s t h at the ch art er o f the E ast

,

I n di a Co mp any might be set asid e bec aus e th ey had ab u sed ,

th ei r t ru st fr om the an al ogo us c ase of K i ng J ames who h ad

, ,

been d ep os ed for the same c au s e G r att an al so argu es in .

fav o r o f the r i ghts of the I rish p eopl e fr omthe anal og o u s c as e

o f the A m er ic a ns .

Lor d M ansfi eld in the c as e o f E v an s a D iss en t e r p r os e

, ,

c uted by the ci ty of L ond o n p r e p a r es the way for a sev e r e

,

d en u n ci ati on o f the p r os ecu ti on by dwel l i ng u po n the pe rsec u

ti on of the Hu gu enots in F r an c e which he mak es use of as a ,

c as e an al ogou s to the p e r s ecu ti on of D iss ent er s in E ngl and .

3 74 . CO NT RAST .

(3 ) C o n t ast r .

Th i s is th at ki nd of a g men t by wh i c h , f omthe facts in r u r

o ne c a u r
s e, we j dge c o nc e ni ng anoth e c on t a y c ase Th i ngs r r r .

c ont a y mu st be di sti ngu ish ed f o m th i ngs d i ssi mil a D is

r r r r .

si mil a i y may be p edic ated o i any two hi n gs which are un

rt r t
lik e as a man an d abook but c on t a i e y is p edic a ed o f two
, r r t r t
O ppo sit e thi n g s o f the s ame c l ass, as vi t u e and vic e, bl ack and r
r
wh i te, n o th an d s o u th .

Il l ust ati on s of this fo mof a g me n t may be foun d in man y

r r r u
of t he j udg m e n ts of c o mmon l i fe, in p ov e bs, maxi ms and r r ,

cu en t s ayi ngs , esp eci ally th os e which assu me the fo rm of

rr
t
an ti h esi s ; as, “
wis e so n mak eth a gl ad fath e , bu t a foo l
A r
ish so n is a h eavi n ess to h is mo h e t r
“
P en n y wis e, p o u n d .

foo l i sh
”
.
“
M an p opose s, G od d isp os es r I n thi s way we .

may a g e in fav o o f the c on ti n u ed p og es s of mod e n civi l

r u r r r r
izatio n , si n c e i t is b ase d u p o n f eed o m, f om the fac t of the r r
d ecli ne of anci e nt civi l izati o n, which was b as ed upo n sl av ery .
 E lem Kl m
'

3 5 8 ents f
o z d c .

Fox, in his R u ssi an Ar mamen t empl oys this

spee ch o n the ,

ar gu men t by means of a co n t r as t be twee n Lo uis X I V an d .

Pi tt A ft e r d esc r ib in g the mise ry to which Lo uis was r ed u ced

.
,

he po i n ts out h is c o n st an cy which e n abl ed him to s truggl e o n ,

unti l he had attai ned to the ho norabl e peace of U t r e ch t A d . n

s hal l we si r he says the p r id e of our ag e and the t e rr o r

, ,
”
,
“

of EurO pe s ub m i t to th is h u mil i ati ng sacrifice of our ho no r ?

,

H av e we s uffe red a d efeat at Bl e n heim? ”

Lo r d Er ki ne in his speech o n be hal f of H adfield o n a

s , ,

ch arge of high treaso n for fi ri ng a pistol at the ki ng c o n sid e r s

-
,

the case s m en ti o ned by the o p po si t e c ou n se l aft er which he ,

tu r n s to the case of the p r i sone r an d sh ows th at it is alt ogeth er ,

o f a co n t rary n a t ure .

3 75 . AP P L I CATI O N or me D I FF ER E NT c u ss es or

ARG UM EN TS .

Ca sati v e arg men ts are assoc i at ed c hie fl y wi th de d c tion ;

u u u
ill s tr ativ e and exem
u plat iv e wi th i nd c ti on and they all foll o w u
the laws of rea so n i ng wh i c h are es pec ti vely appli cabl e to th ese r
p oc esses I f a fu rth e d isti nc tio n be mad e, i t may be said
r . r
th at the fi rst is chi efly conc e ned wi th matt e rs of opi ni on , the r
s ec o n d wi th matt e s of fac , whi l e the th i d has a mo e app ro
r t r r
r
p ri s te refe enc e to the f ture u .

C H A PT E R VI I I .

RE S E N T A T I O N O F A RGU M ENTS
TH E P .

5 3 7 6 P R ESENTATI O N o r aac uusms .

‘
.

I N the p r ese n t ati on of argu m en ts th er e a e v ari ou s w ays by r

which th eir effecti v en ss may be i c reased Th e se r efe r chi efly

e n .

to c l earn e ss of st at emen t strength en i n g of argu m t and em , en ,

ph asis of p r oposi ti ons .

5 37 7 . CL STATEM ENT AND STR EN GTHE N I N G or

EA R N ESS or

AR G UM ENT .

x In m . eth od as in styl e the fi rst requ isit e is cl ea

, r ness for ,

in or d er th at we sh al l fo ll ow the wr i t e r s tr ain of thoug ht or ’

,
~
 6
3 0 E lement s o f Rhetor ic .

That i ts r e eal is not i n co n sist en t with the dig nity of the

p
gov ern me n t si nc e a r epeal o f o t h er tax es has t ak en pl ace un
,

d er th e same ci r cumst an ces .

A n o t h e r exampl e i s fo u nd i n the speech of Lord Ersk i ne in ,

be h al f o f Lo rd G eo r ge G ord o n when i n dic ted for high t r easo n : ,

-

Aft e r the ex ord iu m he begi n s by r efl ec ting u pon the attor

,

n ey g e n e r al fo r his obscu r e i n t r od u ction

-
.

Bu t ag r ees with him in his esti mate of the great n ess of the
c r i me of h igh t r easo n -
.

O n ac c o u n t of t hi s the d efi n iti on of high tr ea

, so n i s m ost '

r igidly and explicitl y mad e by the law .

Bu t if thi s d efi ni ti on be o v erstrained the liber ty of the su b ,

j ce t w o u ld be en d angere d .

F r o mwhich he p roceeds to gi ve a d efi n iti on of h igh t r eason -

,

and l ays d ow n a c rhe rion by wh ich i t may be t est ed sh o wi ng ,

th at all d ep artures fro mth is h ave been p ru d en tly ch eck ed .

The d efi ni tion is th en appl i ed to the p r esen t c as e an d the ,

argu m en t is b rought to be a r mo re di rec tly upon the ch ar ge ,

e xhibi ti ng the s a me ch arac ter isti c of cl ose connec ti on and out

g r owth of o ne ar gument from an o th er Th is i s the chi ef feat .

ure of Lo r d E rski ne s s tyl e an d disti ng u ishes him bey on d

'

, .

o the r s .

5 3 7 9 AM P L IFI CATI O N . .

3 .A m pl ific at i on h as b ee n al r eady c o n sid er ed a s o ne o f the

‘

figures of g r adation in i ts c onn ec tion wi th styl e ; b u t i t d ese r v es

a fu ll er noti ce as to i ts i mpo rt ance in argu m e nt H ere it is .

o f gre a t v al ue by dwell i ng u p on any i mpo r t ant p ropo siti on and ,

th ereby givi ng i t gr eat e r p r omi nenc e Bu r k e is d i sti ngu i sh ed .

by his fr equ e n t an d s u cc essfu l use of thi s I n the speech es .

of Pitt th e r e a re a l so fr equ en t e x ampl es ; bu t on e of the best

i s the fo ll o wi ng fromLo r d E rski ne s speech in beh al f of S t ock
,
’

d al e The p ro po si tio n is th at a free p r ess is agood thing and

.
,

th at exc essiv e rest ric tio ns are an evil :

It i s the n a tu r
rythi g th at i gr at a d u ful b th i th a i
e of e e v n s e n se , o n e n

mat a d i a i mat w rld t b wil d a d irr gul ar a d w mu t b

"

e n n n e o , o e n e , n e s e c on

t t t tak th mwith th all y th at b l g t th m G i u br ak fr m

en o e e e o s e on o e . en s e s o
th f tt r
e ef criti ci m bu t it w a d ri g a
e s o s , a cti d by it maj ty a d
s n e n s re s n one s es n

wi d mwh it ad va c
s o en i path ubj ct it t h criti c a d y ut am
n es o n ts s e o t e , n o e
it i t d ul
n o M ig hty ri v r br ak d w th ir ba k i th wi t r
ness. e s e o n e n s n e n e ,

sw pi g away d a h h fl ck which a fatt d th il that th y

ee n to e t t e o s re ene on e so e

f tilw
er th u mm r ; th f w may b av d by th mba km t fr m
e in e s e e e e s e e e n en s o
 T/ze P r esen tat ion o f A rg umen ts .
36 1

r
d o wn n i g b t fl k t p ri h r h g r T p t
u the oc mus e s f om u n e
,
em es s o cca s on a i lly .

k
s ha e o ur d w lli g
e n s an d di ss ip t
a e o ur comme ce ; u er b t th y
scou e rg b r
e fo e

th e mthe a l y l
z e emen s t whi h w th t th w l t g t i t p til
c i ou em ou d s a na e n o es ence .

lk
In i e m an n e r li b rty h r l
e e s e f, th e a s al t
nd es b t gi t
f of G od to his c ea u es, r tr
mus be a en us as she is—yo u m
t tk j t i g ht p r w i t b h lrg
a e her do n n o as fu e u
hp i t pr t l v r r p l
lar ity, an d s a e her n o a e fec mod e o f se e e sc u u o u s law, u she b t
w l th
ou d e n be eli b rty l g r
n o on e t t t
and you mu s be co n e n to d ie u n de the r
l h thi i x r bl j ti whi h
as of s n e o a e u s ce x h g
c youhad e c an ed for the anne s of b r
fr d m
”
ee o .

38 D I M I NU TI O N 0 . .

4 D. i m i n u ti o n is cl o s e ly ass o c i a t e d with ampl ific ati o n a n d , ,

l ik it ha al r eady b een consid er ed I ts i mpo r t ance in a

e , . s . r

g um e t is ne qu al ly g r ea t
A l g with it at u ral pr t ct r a d gu ard i a l ar i g wi ll b ca t
on s n o e o s n n s, e n n e s

i t h mir a d tr dd d w u d r th h f f a wi i b multitud
n o t e e, n o en o n n e e oo s o s n s e .
”

B URKE .

T he l ow er or d ers h av e in all ag es been stigmat ized by c o n

temptuous epi th ets su c h as i gnobil e vu lgu s ”
pro f
,
a n um v u l ,

g u s
” “
, s an s cu l o tt es ” “
c an ai ll e
” “
-
m o b “
the u n wa sh,
ed , ,
”
,

bu t n one of th ese t e rms h ave more d ep r eci ativ e for c e than

Bu r k e s swi n ish mu l titu d e
’ ”
.

I n the fo l l o wi ng p ass ag es the s am e subj ect na mely the in , ,

c r e as e of p opu l ati o n in the Amer ic an c o l on i es i s t r eat ed with ,

ampl ific at i on an d d i mi n u ti o n The fi r st passag e is fro mBu r k e s

’
.

sp eec h on C on cili ati o n with A mer i c a

B u t wh th r I pu t th pr t u mb r t hig h t l w i amatt r
e e e ese n n e s oo or oo o s e

o f littl m m t
e Such i th tr g th with whi ch p pu l ati
o en . h t i th at s e s en o on s oo s n

p art f th w rl d th at t at h u mb r a hi g h a w will whil h d i

o e o , s e t e n e s s s e , e t e s

put e co n ti u th x agg rati n d es W hi l w a di u i g a y g i v

e e e on e n s. e e re sc ss n n en

mag it u d th y a g r wi g t it W hil w p d u ti m i d li b rar

n e, e re o n o . e e s en o r e n e e

i g
n th m d
on f g v r i g t w milli
e o w hall fi d th at w h av tw
e o o e n n o o ns, e s n e e o

milli mr
o ns ma ag Y ur chil dr d
o e to gr w fa t r fr m i fa cy
n e. o en o n ot o s e o n n

t m
o a h d th a th y p r ad fr mfa
n oo mili t c mmu iti a d fr mv ill ag
n e s e o es o o n es, n o es

to n ati o ns .

J oh nson in T ax ati on ,
no Tyr an n y tr eats , the s ame p r op osi
ti on with d ep r eci ati on
t l d th at th c ti t f N rth A m ri ca c t ai thr mill
W e ar e o e on n en o o e on ns ee ~

i t
on s, n o ly f m bu t f W hi g — f W hi g fi rc f li b rty a d d i dai
on o en , o s O s e e or e n s n

ful f d mi i
o o th at th y mu lti p ly with th f cu d ity f th ir rattl ak
n on e e e n o e esn es,

so th at v ry q u art r f a t u ry th y d ubl th ir u mb r
e e e o cen e o e e n e s.
”
36 2 E lement s f M W
o .

NDE NS ATI O N
5 38 1 . CO .

5 . I n st ea d o f am pli fyi n g p r o po si t i o n s it i s so metimes n ec es,

~

sary to co n d en se th em so as to p r ese n t on e or mor e in a c o m

,

p act mass .

A n ex ampl e of this may be fou n d in the speech of Bu r k e ,

j ust qu o t ed H e sh o ws t h at fo r c e o ught no t to be u sed ag ai n st

.

the c o l on ists and g ath ers i n to ab ri ef c o m

,
pass fo u r p r oposi t i ons
o f g r ea t w eigh t
r st That the u
. se of fo rce a l on e is b u t temporary .

2 d Th a
. t it is u nce rtain .

3 d Th . a t i t i m p ai r s t h e o bj e ct ai m e d at .

4 th Th at th e r e i s no expe r i e n c e in fav o r of for ce in the ru l e

.

o f the c ol o n i es .

M P R E H ENS IV ENESS
5 38 2 . CO .

6 By co m
. p re h e nsiv e n ess is me an t the exh ibiti on of a c om
p le te maste r y o f t he subj e ct bo th in i tse l f and in rel ati
, o n to

o th e r s Thi s was a mar k ed ch aracter isti c of Bur ke wh ose

.
,

mi nd was al way s fu ll of h is th eme ; who was al ways ready no t

o n ly to r eply to obj ec ti o n s th a t had been made bu t also to ,

ans we r all oth ers by an ti c ipation ; and wh ose d e light it was

to pour fo rt h fro m the ful n ess o f h is k n owl edge a c 0 pious
st ream of ex ampl es i ll ust rati on s and an al ogi es by wh ich his
, , ,

arg ume nt was e n rich e d an d e n fo r c ed The s am e qu a lity is .

also v er y man i fest in the w r i ti ngs of M ac au l ay A r ec e n t .

wr i ter s ays of h im: H e al w ay s seems to mak e u s tr av e l o n

“

a h igh cau se way fro m wh i c h the c o u n t r y to right and l e ft

, ,

the prospec t beh i n d and th at in fr o n t lie visibly st retch ed ,

be neath u s li ke a pl ain from a mou n tai n ridge

,
”
-
.

E NERAL I ZA TI O N
5 38 3 . G .

7 G ener al i zati on is the appli catio n o f the p ri ncipl e of ln

.

duc ti on so as to ri se from p ar tic u l ar i n stanc es to ge n er al

,

l aws .I t is effective in orat o r y as e nabl i n g the s pe ak e r to ,

d ed uc e fro m c ert ai n fact s or t rut h s c o n clu si o n s of the mos t

, ,

w eigh ty ch ar ac t e r This h abit of ge ne ral i zati on is a ch ar ac

.

teristic of Bu r k e m o r e th a n of an y o th e r o r at o r and some of ,

his most memo r abl e p ass a g es are p r ese n t ed in this fo r m .

I n his speec h o n A m er ic an Ta x ati on he s ays ,

 6
3 4 E le ments of R/zetor ie .

same p r efe r ence for

The the con c r et e an d d ep r eci ati on Of
the abstr act may be fo u n d in the fo l l o wi n g p ass ag e fr om his
speec h on Con cili ati on wi th A me ri c a
Th y a th r f r t ly d v t d t li b rt y bu t t li b rty acc rdi g
e re e e o e no on e o e o e , o e o n
t E g li h i d a a d p ri ci p l
o n s A b tr act li b rty lik th r m r ab tra
e s n n es. s e , e o e e e s e
ti i t b f u d Li b rty i h r i m
ons, s no to e o i bl bj ct a d
n . e n e es n so e se ns e o e , n

v ry ati ha f r md it lf m fav rit p i t which by way f mi

e e n on s o e to se so e o e o n o e

nen ce b c m th c i t ri e o f th ir h app i
es e It happ d y u k w
r e on o e n ess. ene , o no ,

i that h gr at c t t f
s r, t e fr d mi t hi c u try w r fr mth
e o n es s arli t
or ee o n s o n e e o e e es

ti m chi fly u p th q u ti f taxati
es e on e es on o on.
"

D ESC RI PTI O N rN O RA I O R Y
38 5 .
' ‘

9 D e s
. c r ipti o n is v e r y e fl e c tive in o rat ory It d eals with th at
'

which is d efi n it e and c on c r ete ; e n l ar ge s u po n i t and p re sen ts ,

a sc e n e to the i magi n ati o n of the bearer .

F amo us ex ampl es occ u r in the speech es of all g r eat o r at o r s .

T he d esc r ip tio n by De mosth e n es of the p ani c in A th en s aft er

the c ap t u r e o f E l a t ei a by S h e ridan Of th e h orro rs pe rpe t r at ed ,

in O u d e ; by B rough a m of the F renc h Revol u ti on are w el l , ,

k nown i nstanc es N o o ne ho weve r c an s u rpass the d esc rip

.
, ,

ti o n giv en by Bu r k e o f the d es ce n t of H yd er A li u pon the C a r

na tic of wh i c h t he fo ll owi ng is a po r tion

,

W hil e the au th r
th vi l w r i d ly a d t u p idly g azi g u p
o s of all ese e s e e n s n on
thi m a i g mt w hi ch bl ack d all th ir h ri z it udd ly bu r t
s en c n
’
e e o r. en e e o o n, s en s ,

a d p ur d d w
n o h wh l
e f it c t t u p
o n t th p l a
e i f h C ar atic
o e o s on en s on e ns o t e n .

Th u d a c
e n ens f w e th lik f whi ch
s ene o y had h art
oe e e o no e e se en, n o e

c c i v d a d whi ch
on e e , t gu a ad q uat ly t ll A ll th h rr r f
n no on e c n e e e . e o o s o

wa b f r k w
r e o e h ar d f w r m rcy t th at w hav c A t rm
no n or e o e e e o ne o . s o

of u i v r al fi bl a t d v ry fi l d c
n e s re um d ry h u d t r y d v ry
s e e e e , ons e ev e o se, es o e e e

te mpl T h mi r ab l i h abita t fl yi g fr mth i r fl ami g vi ll a

e. e se e g i n n s, n o e n es, n

p art w r l aug ht r d th r wi th u t gard t ag t

e e s e e ; o h r p cte s, o re o e, o se x, to t e es e

of ra k n acr d , or sf fu cti ; fath r t r fr m th ir chil d r hu

e n ess O n on e s o n o e en , s

ba d fr mwiv v l p d i awhirlwi d f cavalry a d ami d th g ad

f d ri v r a d h tramm
n s o es. e n e o e n n o , n , e o

i g p ar
n s e s o i g f p u r u i g h r w r w pt i t
e s n t e n o s n o ses, e e s e n o

capti v ity i a u k w a d h til l a d Th

n n n nowh w r abl t
n vad
n os e n . ose o e e e o e e

thi t mp t fl d t h wall d citi bu t capi g fr m fi w rd

s e es e o t e e es ; , es n o r e, s o , or

exil h y f ll i t h j aw f fami
e, t e e n o t e s o ne.
”

EM P HAS I S or P R O POSITI O NS
3 86 . .

Th e s u bj ec t of emph asis has al ready b een co nsid er ed with

r eferenc e to wo r d s Wh en appli ed to p r op ositi on s i t gives th em
.

g r eat er forc e and no t on ly cal ls atte nti on to th em b u t also

, ,
 Tlze P r esen tation of A rg umen ts .
36 5

mak es th emof mor e i mpor t anc e in the ar gu men t Th er e are .

v ario u s w ays o f e mph as i zi ng preposition s the c h i ef of whi ch ,

are the fol l owi ng

ASSERTI O N 8
3 7 . .

1 S t ro ng emph asis is l aid u p on p r op osi tions wh en th ey

.

are p u t for th with a po si ti v e d ecl aration of th ei r t ru th ; for

th en the sp e ak e r ass u mes th at fr om his ass e rti on th er e c an
be n o app e al

B id we av e n o e ec on
es es, sir, I f we e e h l ti . w r ba se en o ug h ir it
to d es e ,

it is n ow too a e to e e f o m t he con eslt r tir r t t Th r

. e e is no r tr at bu t i
e e n

i i
s u bmss o n o r s ave ”
P H ENRY l ry .
-
. .

Thi s em r
ba go mu s be epe aed Yo ucanno t r l . t e nfo rc e It for any i mp ro

an pe iod o f ti me ong e
t t r O S IA H l r J
U NC EY Q I
” -
. .

3 8 8 . DEN I AL .

aD eni al is merely anoth er fo rm of ass ertio n

.
, the neg ati v e
b ei ng empl oy ed i n st ead of the po siti v e : as
I t was I
n ot who i p ir d th
ns e e ri
H u ng a an peop l e. No . It wa
s the
H u ng a an ri p pleo e who i p ir d m
ns e e .
— K ossuTH .

A P O P HT H E G M 8
3 9 . .

3 S om etim
. es a p r opositi on i s s u m med u p in the for m of
an ap oph t h eg m an d is th e r eby r end e r ed mo r e i m
, p r essive and
em ph atic Bu r k e s speech es an d w r i ti ngs ab o u n d in this :
’
.

T he bl ood of man s h u l d v r b h d bu t
o ne e e s e to r ed ee mthe bl ood of

man .

“
M agn an i mity in politi cs
l d mth tru t wi d m a d a gr at is no t se o e es s o , n e

emp ir a d littl mi d g ill t g th r

e n e n s o o e e .

S l av ry th y a h av a ywh r
e It i a w d th at gr w i v ry
e c n e n e e . s ee o s n e e

My h ld
col oni es is in the cl ose affecti on th at gr ow s fromcom
o o f the '

mon names from ki nd red bl ood fromsi mil ar p ri v il eges an d eq u al protec

, , ,

ti on These are ti es which thoug h li ght as air are strong as li n ks o f

.
, ,

ir on .

r im y i
Pa s on s n ot e con o my .

N thi g t u r
o n ns o ut to be so o pp ress i v e an d unj u st as a feeb l gvr
e o e n
men t .
”

D I G R E SS I O N 3 9 0 . .

4 D igr essi on i s oft en us eful

. Th is has al r eady been suf .

fic ie n tly ill ustr at ed S ometi mes it is mad e n ot so mu ch for

.
366 E le mnt e s o f R netor zc
'

ur
itse l f as for the p pose of co i n g back with renew ed fo ce ; m r
and th is i s so f equ e n tly d one h a i t was fo me ly se t d ow n as
r t t r r
afig e of speech u n d e the n ame of edi t s, or ret o
ur “ ” “
r r u r
”
gr ess io .

Fox, in his peech on the R u ssi an Armamen t all u d es to

s ,

A d am S mi t h s Weal t h o f N ati on s and h is d oct ri ne of the

’
,

di vi sion of l abo r o f which h e mak es a sco r nfu l appl icatio n

,

to the m i n ist ry and th en p roc eed s to a n ew att ack

,
.

Er ski ne in his speech o n be h al f of H ar dy digr esses to c on

, ,

sid er the effect of the ac ce ssi o n of H e n ry I V on the law o f .

tre aso n and i nd ulges in a b rief su mmary of the his t ory of the
,

constit u ti on u p to th at ti me afte r wh ich he r e t u rn s wi t h fre sh ,

vigo r to the case in q u esti on .

S i r J ames M acki n t osh al so in the c ase of J ean Pel ti e r di , ,

g r e sses to c o n sid e r t he st at e o f t hi n gs o n the c on ti n e n t o f E u

r ope and th en r e tur n s to E ngl and as the on ly c ou nt ry wh er e
,

the p r ess is fr ee .

R O POS ITI O NS
39 1 . R EP E I I TI O N
‘ ‘
or P .

5 T h.e i mportan ce of repe ti tion has al ready been c on sid ered

with refer en ce to w or ds I t also se r v es to gi ve emph asis to .

p r opositi on s by i mp ressi ng them u pon the mi nd with r enew ed

Fox, in h is speec h on the West mi nst er S c ru ti ny gi ves a ,

remar kabl e ex ampl e . In the c our se of his ex o r diu m he

Bu t i I hav , r a t xp c t i d u lg c
s r, e no d I k w th at I
e son o e e n en e, n or o no

s hall m t wi th bar j u ti c i thi H u

ee e s e n s o se.
”

U pon this ther e arose exp ressi ons of di sapp r ob ati on wh ere ,

upo n he r epeat ed thi wi th g reat e r emph asis s :

“
S ir I hav , r a t xp ct i dul g c
e no d I k w th at I hal l
e son o e e n en e, nor o no s

m t wi th bar j u ti c i thi H u
ee e s e n s o se.
”

H th n w en t on to sh o w th at he was war r an t ed in u i ng
e e s

t h ese wo r d s and repeated th em t wi ce agai n with add i t i o al

,
n

an d i c r e asi ng e mph as is aft e r wh ich h p r oc e d ed i t h d is

n ,
e e n e »

c ussio n .

T hi s was a pec uliarity of the styl e o f Fox an d many o t h e r ,

exam pl e s may be fou n d in his or ation s I n the same sp eech .

368 E lements f
o Rlzetor ic .

C H A PT E R I X .

I NT R O DU CT I O N TH E .

3 93 mmo n ucr ro x . .

T m: obj ect of the i n t r od u c t i on is to p r ep ar e the way for the

p t at i o o f a w o r k ei t h r by ge e r al r mar ks i o r d e r to
rese n n ,
e n e n

av o id ab rup t n s o by p art ic u l ar st at em
es ,
ent r which may h av e s

r ef r c to th wo r k i ts el f Th i trod ucti o n i of ma y d if
e en e e . e n s n

f e n t s rt a d th e se may be cl assifi ed i th er a
er o s, n c co r d i ng to , e

t h ki d o f c o m
e n po si t i o to wh ich t h y be l ong or acc or di ng to
n e ,

the at u r o f th i tr od uc ti o n i t se l f
n e e n .

O f th e e le t u s fi r s t co nsid er the i nt r od u c tion in di ff r ent

s e

k i nds of composition .

5 394 m NA RRA TIV E . .

In most of the gr eat n arr ati ve poe ms, su ch as the I l i ad , the

! E nei d , th e r epi cs the i n t r od u cti on c onsis ts of an i n v oc a
an d o ,

ti o n of the mu se I n D ant e s D ivi n a C ommedi a the O pe n i ng

.
’

is ab rupt Th is is the case wi th many me tr ic al r omanc es as

.
,

th e Lay o f the L ast M i n s t r e l and b al lad s A pi ec e of d e ,

sc r ip t i o n is so metimes mad e use o f as in the Lady of the ,

L ak e an d agai n a p reli mi nary r efl ecti on as in the S iege of

, ,

C o r i n th .

T he o pe ni ng in hist o ry is ge ne ral ly expl an at ory I n He .

rod otu s the i n t r od ucti o n p r o pe r is r emar k ably si mpl e : “

This
is an expo siti on o f the his to r ic al r es ear ch es of H e r od otu s the
H al ic arn assi an I n Thucy d id es ther e is a su r v ey of G reec e
”
.

d o wn to the ti me o f the P e10pon n esian War an d a st atem en t ,

im an d sc o pe o f the w o r k I n G ibbo n s H i st o r y
’
o f the a .

the i n tr odu cti o n t ak e s u p th r e e ch apt e rs an d c o n sists o f a ,

c o mp r eh e nsiv e s u rv ey of the R o man w o r ld in the ag e of the

A n t on i n e s .

I n p r o se ficti on the v arieties ar e n u m e r ou s b u t th ey m ay be ,

 The I n tr od uct ion . 6
3 9

red uced to th r ee gr an d cl ass es r eferr i ng to acti on ch ar act er , , ,

o r sc e n ery .

r st A cti o n
. This for ms a d i r ect op e n i ng wh er e the au th or
.
,

pl u nge s at o n c e i n t o the midst of h is st o r y

2d .C h ar act e r H e r e the s tory op en s with a c on v er sati on
.

b etw een some of the ch ar ac ter s I t i s an i mit ati o n o f the

.

d r amat ic mod e o f t r eat m en t and i s mor e ab ru pt th an the

,

o th e r s .

3 d .D e sc r ipti on This o p e n.i ng is m a d e u p o f a d es c r ipti o n

o f sc e ne ry .

§ 3 9 5 I N T H E DRAMA . .

The w or k of the d r ama may be i n t r odu c ed in v ar i ou s w ays ,

of which the fol l owi ng is a c l a ssific ati on

r st N a . rr ativ e or d esc r i ptiv e I n the an ci en t pl ay s this was
.

v e ry ge ne r al ly ad opt ed Th i s is c ommon ly c all ed the p r ol ogu e

.
,

a t e r mwhich h o w ev e r in some c ases is appli ed to p r e li mi n ary

, ,

r emar k s th at h av e n ot hi ng to d o wi t h the pl ay wh ich they pre

c ed e .

2d .C h ar act er s H er e ch ar act er s are i n t r od u c ed ab ru p tly

.
,

e ng a g ed in c on v er sati o n as in H aml e t ,
.

3 d .L y r ic A n o p
. e n i n g i s s om e ti m e s f u r n ish e d by ly r ic

p oet ry T he S u ppl ic es o f ZEsc hy lus O p en s in this way M ac

. .

b et h op en s wi th the ch o r u s o f the witch es S ch il l er s Wilh el m .

’

T e l l is p r ec ed ed by a so ng .

m oaar onv 39 6 . .

The i n t r od u cti o i o r at o ry is c al l ed the ex or di u m I t i s

n n .

of mor e i m p rt a c e h r e th an i any b r a ch o f c o mp ositi o

o n e n n n,

a d r qui r e m r c ar e fu l h a dli g
n e s o e I ts obj ect may b t at ed n n . e s

a f ll ows T o p r p ar e the h ear r to l i t

s o : e r eadily t wh at i e s en o s

to be i d by s eeki n g to g ai n h is g ood wi ll h is att en ti on an d

sa -
, ,

the d e si r e for fu r th e r i n fo r mati on .

T he fo l l owi ng are the ch i ef ch ar ac te r i stics o f the ex o r di um

r st A t o n e o f m o d es ty I n sol en c e v an i ty se l f c o n c eit o r -
. .
, , ,

s el f as ser ti on excit e r epug n an c e an d t u r n the au di en c e ag ai n st

-

the sp eak e r at the o u t se t ; wh il e an air o f se lf d eprec iatio n wi ll ~

h av e the o pp osit e effect Th u s Er ski n e s ay s : A l as g en tl e

.
“
,

men who am,

I ? A y ou ng man o f l i t tl e e xp e r i e nc e etc
”
,
.

2 d C on ci li a
. ti on of the h ear er s by c ompli men t Thi s is d on e .
370 E Irritant: o f M or ia .

by r efe rring to some qu ali ty upon whi ch th ey p ride t hemse lv es .

D emosth e ne s in his e x or di u mto the speech on the C row n al

, ,

l ud es to the good fee l i ng o f the At h e n i ans t ow ar ds hi ms e l f an d ,

t h ei r pi e t y t o ward s the gods ; S t P aul in h is add ress to the

.
,

At h eni an s c onci li ates th em by refe rr i ng to their gener al r e

,

ligio us fee li ng .

Er ski ne in his S peech o n H ar dy th ank s the c ou rt for in

, ,
~

d ulg e n ce sh o w n him; an d in h is speech o n S tockd al e co m

lim e n ts the j u r y for th e i r i m p a rt i ality Th is c o u rse is es
p .

p e c ia lly v a l u abl e wh e n th e c au s e is u n p opu l ar an d th e m a j or

ity are h osti l e .

3
. S o m et i m e s the O ppo si t e c our se is e m pl oy ed and the au di ,

e n c e is b ol d ly d efi ed . This h ow eve r i s bu t r are and c an o n ly

, , ,

be d o ne by a s pe ak e r o f ack nowl edged s upe ri ority T he be st .

ex a mpl e of this is the exo r di u mof Fo x in h is spe ec h o n the ,

W est mi nst e r S c ru ti ny The maj ori ty is agai ns t him; th ey are

.

tr yi ng to c ru sh him; c onc i li ati on i s u sel e ss , he t h e r efo r e d e

fies th em he t e l ls th e mt h at he expec ts no i n d ulge nc e o r e v e n
j u stic e ; he is i n te rru pted but o n ly r eit e r at es i t with gr eat e r
,

v eh emenc e ; an d at l ength aft er r epeat i ng i t four ti mes he

, ,

p r oc e ed s wi t h the d isc u ssi o n h avi ng red uc ed th emto sil e nc e

,

by his v ery bold nes s and fo rc ed th emto l ist e n

, .

4 T he p r ese n t ati o n of an i m
. port an t poi n t De mos thenes .
,

in his speec h o n the C r ow n l ays st r ess u po n the i m

,
po rtan c e to
hi mse l f of l iberty in the ar r ange men t o f his t opics affir mi ng ,

th at the adv e rs ary sh o u ld not d ecid e as to the or d e r o f though t

to be ad opt ed in the d efe n c e .

S h er id an in his speech ag ai nst W arr en H asti ngs discl ai ms

, ,

any vi n dictiv e fee li ng and r emi nds the co u r t th at the p r osec a

,

ti on does n ot e n d ange r the l i fe of the acc u sed .

A r f re n c e i s m ad t s m thi g i t h cc a si i
5. e e e o o e n n e o on or n

the c o u r s e o f the p r evi ou s d e bat e fr omwhich by an e a

,
sy and
na tu r al tr an siti on the speak er p asses o n to h is disc u ssi on .

Bu r k e in his speech o n Conci l i ati on wi t h A me ric a st at es

, ,

th at a fav o r abl e j u n c tu re has arisen in wh ich to r evie w the

subj ec t with an u n u sual d egree o f car e an d cal mness The .

same o rat o r o pe n s h is speech on the N abob of A rc ot s D ebts ’

with se v er e s tr ictu r es u po n M r D u nd as . .

Fox i s u s u al ly v e ry sh o rt in th e exo r di u m Th u s he o pe n s .

his speec h on the r ej ec ti o n of Bonapart e s O ve r t ur es in this

’
 7 ? E lements f Rhetor ic
Q o .

cl assi fied accord i ng as th ey i n vol v e expl an ati on p r ep ar ati on , ,

pe r su as io n or di r ectn ess
,
.

r. Expl an ati on I n hist ory and fic t i on the i n t rod u cti on may

.

gi v e expl an at i on by mean s of n ar r at iv e o r d e sc r ipti on I n ex .

po si t i o n it may fu r n i sh the c au se why the w o r k has bee n p u t

fort h or p resen t an an al ogy an e x ampl e or an i ll ust rati on or
, , , ,

i t may c o rrect some p r ev al e n t e rr o r .

2. P r ep ar ati o n The i n trod uc t i on may serv e to p rep ar e the

.

mi n d for that which is to follo w I n poe tr y th is may be d one

.
,

by an i n voc atio n to the mu ses ly ric al p r e l u d es ge ne r al r efl ee

, ,

ti o n s d escri ption s and the l ik e I n o r at ory the p r ep ar at ory

, ,
.

in t rod u c ti on may be O f age ne r al ch ar act e r mad e use O f merely ,

to fu r n i sh an e asy p a ssag e to t he di sc u s si on I n the d r ama .

i t wi l l c omp reh e n d t h o se p rel i mi n ary sc en es wh ich l ead t he

way to the ac ti on o f the pi ec e .

3. P e r su asi o n .Th is i n cl ud e s th o se i n t r od u cti o n s in all n ar

ra tive which s t i m ulate the atte ntion rou se c ur i osi t y and t h u s , ,

d r aw the r ead er o n to read fu rth er I n o r at ory i t i nclu d es all

.

fo r ms O f c o n cili at i on compli m , en t p rai se etc by which the

, ,
.
,

bearer is i n d uc ed to liste n wi t h great e r r e a d i ness .

4 D i r ec t ness
. This i ncl ud es all th ose i n t rod u cti ons which
.

are c h ar act e rize d by b re vity o r e v en ab ru pt ness in which the

, ,

w riter or speak e r appear s anxio u s to l o se n o ti me bu t to h urry ,

O n to the d iscu ssi o n a s soo n a s po ssibl e .

3 98 . EN ERA L NA TU RE O F TH E mmonucr rorv

G .

The i n t rod u cti on is d esigned to p rep ar e the way for th at

which is to fo ll o w eith er in n arr ati on o r e xpositi on
, .

Remar k s h av e al r e ady been mad e in c on n ecti on with the ,

o r d e r o f t h o ugh t u po n the i mpo r tan c e of r ese r vi ng the st r o ngest

,

t opic u n ti l the l ast pl ac e I n so me c ase s the argumen t g r o w s

.

st eadily in fo r c e ; in oth er c ase s wh il e the str ongest is r eserv ed

,

for the cl o se an i mpo r t an t po i n t is p resent ed at the o uts e t ;

,

b u t the i n t r od uction sh oul d al ways be regar d ed as someth i ng

st an di ng ap art fr om the di sc ussi on and sh o u ld n ot i n t erfe r e ,

with the o r d er O f th ough t which is t h e re c arr i ed out I t sh o uld .

n ot p rom i s e or an n ou n ce too much I t sh o u ld n ot an ticip at e

.

any O f th os e mo r e i mpo rtan t argu men t s wh ich h av e al r eady

bee n all otted to th ei r own pl ace an d wh ich wou ld l ose th ei r,

effectiv en ess if st a ted p rematu rely ; and as a general thing i t

sh ou ld be p r es en t ed in si mpl e l an gu ag e
M an y good i nt r od u cti on s are qu it e c ol o r l es s an d the best en d ,

which th ey c an at tai n to is to affo r d an e asy an d att r activ e

e nt r a n c e to the d i sc u ssi on .

C ic e r o r e c o mmen ds in his D e O r at o r e th at i t be n ot w r itt en

until the w or k itse l f is fi n i sh ed wh e n it may suggest the fitti n g
,

i n t r od ucti o n which sh all p ossess the p r ecis e c h ar act er which

,

the w r it e r m ay wish i t to h av e .

39 9 R E F A C E
. TH E P .

The p r efac e i s a sp eci es o f i nt r odu cti on b u t di ffe r s fr om it ,

in ch ar act e r as w e l l as in n am e T he i n t r odu cti o n b el ongs to

.

th e di sc u ssi on i ts el f an d is i n s ep ar abl e fr o m i t
,
The p r efac e .

bel o ngs r at h e r to the w r i t er an d is i n te nd ed to c on v ey a gen

,

e r al st a t eme n t of hi s o wn p er son al ai ms The p r efac e st ands .

ap art fr o m the w o r k an d may r efe r to anyth i n g wh at ev e r bu t

, ,

the i n t r od u cti on mu st r efe r m or e or l ess to the subj e ct m att e r -

.

C H A PT E R X .

THE CO NC LU S I O N .

40 0 N C LUS I O N
. T H E CO .

T H E c on c l u si on l ik e the i n t r od u cti o n d es erv es sp ec i al eon

, ,

si d e r ati o n A s the l att e r p r ep ar es the way for e n t e r i ng u p o n

.

t he di scu ssi o n so the fo r m

, e r fu r n ish es the p r o pe r m ea n s of

r eti r i ng fro m i t .

T he c o n cl u si o n may be c o n sid e r e d b oth with r efer en c e to

the di ffe r en t ki n d s o f c o m po siti on in which it is u se d an d als o
wi th r e fe r en c e to its own ch ar acte r .

I n the fi r st p l ac e let us c on sid e r the c on cl usi on in the di ffer

e nt ki n ds o f c om po si ti o n .

40 1 . I N N ARRA TI V E FI CTI O N .

1 . I n all w o rks of the imag i ation wh th in p r os e o poet ry

n ,
e er r ,

t he st ory r each es a atu r al end i s om ev n t f c o picu o u

n n e e O ns s

i nterest . Thi i s ge er al ly n ot the c at ast r oph e b u t s om thi g

s n , e n
374 E lf in mt: f
o Rhetor ic .

of a l ess ex ci ting ch aracter Th u s in the Il iad the c ata s t ro phe .

is the d eath of H ec tor and the ve ngeance of A ch i ll es ; b u t the

c o n cl u si on c o n sists o f the m ild e r sc en es conn ecte d wi t h the
obs equ i es O f the T r oj a n h ero I n the O dyssey the c at a s tro phe .

i s fou nd in the tr i umph o f U lysses ; b u t the concl u sion is c on

ce rn ed with the r e st o r at i on of pe ace in Ith ac a I n the E n eid .

we h ave an exc e ption al c ase in which the catastr O phe the , ,

d eath O f Tu r n u s is al so the con cl u sio n , .

I n p r os e fic ti o n the s am e thi ng m ay be seen and m ost fre ,

qu en tly the co ncl u si o n fo ll o ws the catast ro ph e an d c on sists O f ,

mil d e r s ubj ec ts I n th is d ep ar tmen t of literatu re there are

.

th ree l eadi ng cl asses which may be se t d o wn th us : ,

r st Wh e re the s t ory r ea
. ch es i ts end in the att ai nmen t of the
pu rpose of the l e adi ng ch aract er wh eth e r of l ove ven geanc e , , ,

or succ ess fu l effo rt This is the cl a ss th at is most freq u ently

.

met with .

2 d Wh ere the st ory e nds with a genera

. l revi ew of the mi
nor ch ar a ct e rs an d a st at emen t of th e i r fo rtunes in li fe Th i s
, .

is met with in v ari o u s n o vels of Sc ott Bu l wer D ick en s and , , ,

o th ers b u t is no t m
,
u ch u sed by the nov el ists O f the p r ese n t
d ay .

3 d . Wh ere the acti on t er mi nat es in favo r O f the c h i ef c h ar

ac ters, an d the au th o r stops ab ru ptly , l eavi ng the rest to the
i magi nati on .

m H ISTO RY 4 02 . .

2. I n h ist ori c al w or ks th er e a e two ki n ds of co ncl u sion r

r st Wh e r e th
. st ory c o mes to a n at ur al end at th pe riod
e e

sel ec t ed ; d Wh e r e the h isto r i an cl oses wi th agene r al sur v ey

2 .

o f h is s u bj ec t s u c h a
’
s the concl u si on of G ibbon s H is tory
, ,

wh ich is give n in the foll o wi ng manner

Of thw pilgrim a d f v ry r ad r th att ti will b xcit d by

e s, n o e e e e , e en on e e e

aHi t ry f th D cli
s o a d F all f h R ma E mp ir
O e e h g r at t p
ne n o t e o n e t e e es , er

h ap a d m t awful c i th hi t ry f ma ki d Th vari u cau

s, n os s en e n e s o o n n . e o s ses

a d p r gr
n i v ff ct a c ct d with ma y f th v t m t i t r
o ess e e e s re on n e e n O e e en s os n e

es ti g i h u ma a al —th artful p licy f th C a ar wh l g mai t ai

n n n nn s e o o e es s, o on n n

ed h t e nam a d i mag f a fr e r p ubli ; th d i rd r f military d p t

n e o ee e c e so e o es o

i m h ri
s t e tabli hm t a d ct f C hri ti a ity h f u d ati f
se, es s en , n se s o s n ; t e o n on O

C t a ti pl th di vi i f h m ar hy h i va i a d ttl
o ns n no e ; e s on o t e on c ; t e n s on n se e

m t f th bar baria f G r ma y a d Scythi a th i tit u ti

en s O e ns o f th ci vil e n n e ns ons o e

law ; th charact r a d r li gi
e f M ham md th t mp ral v r ig ty
e n e on o o e e e o so e e n
376 E lements o f Rlzetor ic .

i n vo ki ng all natu re But in the maj or ity of cases th er e are

.

so me aft e r sc en es d esign ed to b r i n g the audi en c e d o wn fro m

-

t he e xci t em en t o f th e pl a y to the c al m of co mmon li fe T he .

ta s t e of the p r ese n t d ay ho w ev e r see ms O ppo sed to this ; for

, ,

in st age r ep r es e n t at i o n s o f S h ak e sp e ar e s p l ay s his fi n al sc enes

’

are g en eral ly o mitt ed an d the pi e ce en d s ab ru ptly with the

,

catas tr o ph e .

I n com edy the co n cl usi on ofte n c o n si sts of a l i ttl e ta bl eau ,

wi t h by pl ay an d r e fe renc e to the audi en ce This h ow ev er is

-
.
, ,

a mod e rn d evi ce an d the acti on of s uch pi eces gen erally ter

,

min ates in the attain men t of the wish es of the p r i ncip al c h ar

ac ters .

RA TO RY
40 5 . IN O .

I n or at o ry the co n cl u si o n is c al l ed the pe ro rati on I ts im .

po rt an c e h e re is gr eat e r th an in any oth er d ep artment of

l i t e r at u r e .

T he foll o wi n g are the l eadi ng ch ar ac t e ri stics

I st A b ri ef su m
. mi ng u p of the h eads of ar gu ments .

2 d T he spe a
. k e r e n l arges upo n so me t opic t h at has al ready
be en b ro ugh t fo rw ar d ; or so me gene ral p r oposi ti on ; or the
s t at u s itse l f .

3 d
. A n a pp e a l e xh o
, rt a t ion o r o th e r errp
,r ess io n o f e m o ti o n .

4 th . D e sc r i p t i o n .

I st T he fi r st of th ese is n ot oft en m
. ad e use of in o r ato ry .

2 d T he c on c lu si o n is oft en a
. n en for c e m e n t o f so m e p rom i
n e n t t o pi c .

C h ath am c onc lud es his speec h on the Remov al o f T roo ps

fr o m Bo st on in this way :
“
To concl u de m y l o r
, d s if t h e m i n is te rs th u
, s pe rsev er e in m is ad v i si ng

and mi sl ead ng the ki ng I will not say th at th ey can ali enat e th e affecti ons
i ,

of his su bj ects fr om the cr o wn bu t I wil l a ffirm th at th ey wi ll make the

.

cr ow n no t w orth his w eari ng ; I will not say that the ki ng is be trayed bu t ,

I w ill pronou nce that the kingd omis u nd one .

”

Bu r k e c oncl ud es his speec h on C on ci li atio n wi th A me r ic a in

a we l l k no wn p assage of which the fo ll o wi ng are the Ope n i n g
-
,

s en t en c es :
F o r th at se r vice for all ser v i ces my tr ust is in her i nt erest in the Brit
, ,

is h C ons tit u ti on m y h ,l d o f toh e co l o n i es is in the cl ose a f

f ec ti on whi ch

grows fr om commo n n ames from ki ndred bl ood fr om si mil ar pri v il eges

, , ,

and from e q u al p r o t ecti o n These ar e the ties whi ch thoug h lig ht as air
.
, ,

are as st ro ng as li nks of ir on .
"
 T128 Cmcluszm
'

z .
37 7

The pe r or ati on of the s ame o r at o r s sp eech ag ai n st W arr en ’

H asti ngs en d s with a s er i es o f s en t en c es c on t ai n i n g r ei t e r at ed

ch arg es of i mp each men t .

I n the sp eech on the N ab ob of A rc o t s D eb ts th e p e r o r ati o n

’

afli rms th at I n di a th o ugh a d i stast e ful subj ect to so me is

, ,

cl o sely con nect ed wi th the public i n t er est an d n ati o n al r epu

tatio n .

Th e p er o r ati on of F ox s sp eech ’
on the Ea t s I n di a Bil l be
gi n s as fol l o ws

I hall w i c cl ud my p ch with af w w rd u p th p i i
s no , s r, on e s ee e o s on e o n on

o f th ri g ht h
e rabl g tl ma (P itt ) H ay h will tak hi h ar
on o e en e n . e s s e s e s c

act r u p
e h d a g r f thi b ill
on t I m t himi hi w p hra a d p
e n e o s .
’
ee n s o n se , n o

p himch aract r ch ar act r I ri k my all u p th xc ll c f thi

os e e to e . s on e e e en e o s

bill I ri k u p it wh at v r i m t d ar m wh at v r m m t v al u
. s on e e s os e to e, e e en os e
— th ch ar act r f i t g ity f t al t
e e fh o r f pr t r p u t ati a d
n e r , o e n s, o on o , o esen e on n

fu t u r fam
”
e t e, e c .

Pi tt cl os s his spe c h o N apo l eon s O v er t ur es by sh owi g

e e
‘

n
’
n

the r as o n th at e xi t to hO pe fo s u cc ess in t he wa
e s s r r .

S i r J ames M acki ntosh in his sp eech o n P el t i e r c on cl ud es , ,

by sh o wi ng t h at as E ngl i h j u r i es had for mer ly d n th i r s o e e

du ty in spit e of the wish of C r om w ll so n ow the j u y es e ,

r

s h ou l d d o j u ti c e ev en if th ey sh o u ld ar ou s e the w r ath of
s ,

N ap ol o n e .

3 d T h pe r or ati o n i s so meti m
. e es di r ec tly exp r essiv e o f e mo

t i on .A mo g th mo re st r iki g ch ar act eri stics of this cl a

n e n ss

ar e the fo ll owi n g
Ap ro e s na l r ef r e en e c .

Er ki n s hi s sp eech on G or d on t ak es i t for gr ante d th at

e, in ,

his c au s e is g ai n ed mak e s a r e fe r en c e to h i ms e l f an d acc o u n ts

, ,

fo r his zeal o n the g r o u n d o f h is si n c e r ity .

A n app eal .

D emosth e nes c on cl u d es his sp eech o n the C r ow n wi th a

p r aye r to the god s to disp ose the e nemi es of th ei r c ou n t r y to
be t t e r t hi ngs o r if th ey are i n cu r abl e to pu r su e th em w
, , it h ,

d estru cti on o v e r sea an d l an d .

B r o u g h amc oncl ud es his sp eech o n P ar l i ame n t ary R efo r min

the sam e wa y H e w ar n s the l o r d s o f t he d a
. n g e r of d e l ay an d ,

i mpl o r es t h em o n b e n d ed k n ee n o t to r ej e ct the bil l H is .

sp e e ch in b e h al f of Qu een C a r oli ne al so c o nclu d es in th is

way .
37 8 E lements o f Rhetor ic .

A w arn i ng .

FOx , speec h on the W estmi ns ter S cru ti ny c on clu d es

in his ,

wi t h a w ar n i ng to his e n emi es .

De fi ance .

C ic e r o s sec o n d Ph ilippic c o n cl u d es wi th a s tr ai n of d efi anc e

’

which is su mmed u p in the w or ds

C onte mpsi Catili na: glad ios , n on per ti mescamt oos .
"

T rust .

S h erid an on W arr en H asti ngs termi nat es his speech with an

e xp r essi o n of r el ian ce u pon t he co u rt a n d i ts j u sti ce .

E ul ogy .

Bu r k e c on c l u d es h is speech o n the E as t I n di a Bi ll wi t h a
e u l ogy on Fox w hic h is st r e ngt h e n e d by th ese w o r ds
,

An h on orabl e friend of mi ne speaki ng of his me rits was ch arged with

, ,

havi ng mad e as tu d i ed panegyric I d on t k now wh at his was M i ne I m

.
’
.
,
’

su r e is a st u died pa
, negyric the fr uit of much med itation the result of the
, ,

obse rv a ti on of nearly twenty years ”

.

E xh or t ati on .

Thi s is c ommon in e rmons and in add resses to the j u ry

s .

4 th D e sc r ip t i o n
. Th pe r o r ati o n fr q u e ntly c o sists of o me
. e e n s

kind O f d e s c r i pti on .

Fox c on cl ud s his speec h o n N apo l eo n O ve r tur es by avivid

’
e s

d esc r ip t i o o f the h orr o s O f war

n r .

W b t r c onc lud s his peech ag ai n st H ay ne by a d esc rip

e s e e s ~

tiv e p ass ag e an ticip ativ e of the h orr or s of c ivil war .

40 6 . ms D IFF ER ENT amp s

N C LUS I O N o r CO .

I n the n ext pl ac e the c o n cl u si on is to be c on sid er ed wi th

,

r efe r ence to its own ch ar acter and may be analyzed i nto the
,

fol l owi n g cl asses

1 Th ose whi c h r efe r to s u c ce ss o r fa
. il u r e .

Th is is fo u n d in v e ry many wo r ks O f ficti on wh eth er in p r os e , ,

poet ry or the d r ama I t i n clu d es all th ose whi ch en d at the

, .

momen t wh en s uc c ess has been ach i ev ed in the acc ompl i sh

men t of desi re or ru i n has fal l en in the i ne vit abl e c at astroph e
,
.

2 Wh e r e e m
. p hasis is l ai d upg i i mpo rt an t p r o po siti on s Th i s .

is fo u n d in man y o r ati o n s an d has be en ful ly il l ust r at ed

,
It .

may al so i ncl ud e ab r u pt or s tartli ng d énou emen ts in wo r ks of

ficti on .
 PA R T V .

TH E EM O TI O N S .

CH APT ER I .

BEAU T I FUL TH E

5 40 7 TH E I N F LUE N C E o r me EM OTI O NS I N L ITERA TUR E

. .

T H E i n fl u nc e o f the em
e ot i o n s is as po w e rfu l in l it e r a tu r e as
in l i f e. M e n ar gu id ed n ot so mu c h by r e as on as by p assi on s
e ,

d esi res o p r ej udic es and it is to th ese th at the w r it er mak es

,
r ,

his most fr e q u en t a d effecti v e appeal n F r omth e e we may s . s

d duc e the v ery o r igi n of li t er at ure wh ich i s s u ppo sed to ap

e ,

pear at fi r st as poe t ry in th e fo r mof re ligi ou s hy mn i n spi r ed s,

by s u ch feel i ngs as fear v ener ati on o r affecti on Th enfoll o ws

, , .

na rr ati ve poe t y which di spl ays the emoti on s in fu ll fo rc e as

r , ,

affecti ng the ch ar act r and acts of m e e Th us th i n t enti on n . e

O f the I l i ad i s st at ed at the ou tset to be th w r ath of A ch il l es ; e

an d th at of the O dyss ey i s the re tu r n of U lysse s I n t h es e .

poems th e r e i s the pe petual r p esen tation o f h u man p assi on

r
‘

e r

su it ed to ev ery v ar i ety o f ch ar act er ; the p oe t himself i sub ‘

o the po w e r of the v ery fee l i n gs wh ich h p r t r a y

j ec t t o ; th e s e

b a e o w s th ei r sw ay ; an d bo th a e sw ept o w ar d by o n e
e r r n r n

c o mmon symp athy O r at ory ari s es at an ar ly p r i od a d

. e e ,
n

i its o rigi
n a d all i ts c o u r s e is l arg ly c o n ec t d wi th the
n n e n e

em o ti o nsThe pe ak r who h ou ld c o t
. s et hi m s l f with me r e
s n en e

r eas on i g wou ld find h is argu m t a i ff ctiv o v r a g r al

n en s ne e e e ene

audi en c a a math ematic al p r o po i t i

e s ; it i o ly wh n he s on s n e

c mes to his h ar e s wi th a gl owi g h ar t t h at he a p r op er ly

o e r n e c n

affec t th em N arr ativ e in p r ose has th s ame con necti o with

. e n
 Tfie B eaut iful . 8I

the feel i ngs hist o ry i t is the displ ay of h u man ac ti o n in

. In
ter m ing led wi t h h u man p assi o n th at e xcit es the r ead e r s i n t er ’

est . H e rod otu s h eld h is au di en c e sp el l b ou n d at the O ly mpi c -

g ames Th ucydid es is u n r iv al l e d for i mp art i al i ty ; bu t the sy m

.

p at hy O f the r ead er n ot r est r ict ed to o n e sid e t u r n s wi t h e qu al

, ,

i n t e nsi ty to e ach O f the c o n te nd i n g p ar ti es The mod e r n h is .

t o r i an has giv e n u p the excl usi v e tr eat men t of b attl es an d

d y n asti es an d has t ak e n up the wid e r t h e me of the g r ow t h of
,

man ; bu t in d o i ng this the fee li ngs are c all ed i nto pl ay as

muc h as e v e r an d the i n te r est i n st ead o f b ei ng c o n fi ne d to
, ,

ki ngs an d h e roes is sp r ead o ve r the h u mbl e r cl ass es who fo r m

,

t he peo pl e .

I n the emoti o n s may be fou n d the t ru e s o u r c e O f mos t o f the

h igh e r qu al i t i es O f styl e N ear ly all the fig ures o f s pee ch are
'

asso ci at ed wi th th emto a g r e at e r or l ess e x te nt V i v acity in .

d ic ate s an i mati o n E nergy i mpl i es st reng th of feel i ng The

. .

ora t o r c anno t be el oqu ent wh ose o wn h ear t is no t sti rr ed I t .

is by the po w er o f the e m ot i o n s t h at the i magi n at i o n is stimu

l at ed and is e n abl ed to c r eat e the b r ight es t fo r ms o f the b eau
,

ti fu l or the l oft i est c on c epti o n s of the subl i me .

LASS IFI CATI O N O F T H E EM OTI O NS

§ 4o 8 . C .

T he emoti on s c o m p r e h en d all th os e s ens ati ons and feel i ngs

whic h are e xcit ed with i n the mi n d by c e r t ai n c au s es p ec u li ar
to each with o u t the i n fl u e nc e o f the wi ll
,
.

Th ey i nc l ud e the fo ll o wi ng :
I .T he m sthe t ic e m o t i o n s o r t h o se w h ich a re sub o r d i n a
, t e to
the t as t e : a s T he be au t i fu l ; t he s ubl i m
,
e ; t he r i dic u l ou s ; t he

fan t asti c .

2 .The d es i r es Love O f s el f ; l ov e o f l i fe ; l o v e O f w ealth

.
,

or a v ar ic e ; l o ve of k n owl edge ; l o v e of fame ; l ov e o f p o w e r ;

l o v e O f pre e mi nen c e -
.

a m : Pa r t al fr at er
'

3 .Th e a ffe cti o n s T h e f ily afl ec tio n s . e n ,

na l fili al c o nj ug al ; fr i en dship ; est eem; v en er ati o n gr atitud e ;

, ,

p at r i oti sm; phil an th r opy ; esp r i t d e c orps The mor al an d .

r e lig iou s affecti on s .

4 The p assi o n s
. Th ese are two fo ld i n v o lvi ng at t r acti on
.
,

an d r epu l si o n as L o v e an d h at e d esi r e an d av e r si o n ; hap

,

p ine ss a n d m i se r y ; h O p e a n d fe a r .

These i nt er ch an ge so t h at it is d ifli cult to d r aw the li n e he

 82 E [criteri a f
o l for ic .

tw ee n d esi res afl e c tion s an d p assi on s ; bu t th ou gh a di ffe r ent

'
“

, ,

cl assi fic ati on migh t be p r eferabl e in a ph i l osophic al t r e at i se ,

e t th i s is the m st c v i t f th p u p s f c id r i g
y o o n e n e n o r e r o e o o n s e n

th ei r r el ati o n s to l it er atu re .

L ITERARY E STH ETI CS

§ 4 og . .

The t e r m wsthetic s i s d e riv e d from ai ac n c pe r c e pti on , ,

an d is u se d to d e sig nat e the sci en c e O f the be au t i fu l By .

li te r ary ae s t h e ti c s i s mean t the ex ami nati on o f the beau ti fu l in

l ite r ature .

§ 4I O . B EAU
TH E TIF UL — TH EO R I ES W ITH R EG ARD TO IT .

The be au t i fu l has had many d e fi n iti on s which v ar y in ac ,

c ord an c e wi th the t h eo ry h e ld r e spe cti n g i t The chi ef O f th ese .

th eo r i es are as fo l l o ws
I
. T h e obj e ct iv e Thi s th eory asc rib es the b eau ti fu l to c er
.

tai n qu al i t i es in the e x te rn al w o r l d which affe ct the m i nd wi t h

pl e asi ng e motions A mo ng the ad v oc ate s of thi s may be men
.

t ione d A ddi so n H o ga r th Bur k e V ol t ai re D Alembe rt M on

, , , ,
’
,

tesq uieu R e id B row n

, ,
.

2. The subj ec t iv e This th eory asc ri b es the beau ti ful to the

.

ac t i o n of the mi nd it sel f and to no oth er c au se This is st at ed , .

by H u me who say s Beau ty i s n o qu ali t y in thi ngs th emse lves ;

, ,

i t e x i st s mer e ly in the mi n d wh ich c on t empl at es th em an d each ,

mi n d p er c ei ves adi ffe r en t be au ty A mong the advoc at es of .

”

th i s m ay be en u m er at ed H u me S ch el li ng Eastl ak e R uski n , , , ,

C o l e r i d ge .

3. O bj e c to subj e-
cti v e This th eo ry as the n.am e i m pli es is , ,

a c omp ou n d of the two p r ec ed i ng I t asse rt s th at th ere is in .

the m i n d an id eal no t i o n O f the beau ti fu l wh ich is aw ak en ed to ,

ac t i o n by c e rtai n qu ali ti es in the ex t e r nal w or ld A mo ng the .

s u ppo r t er s of t hi s may be n amed Akensid e R ey nolds Winc k , ,

elm an n D id ero t C ou si n
, ,
.

4 A ssoci ativ e
. T hi s th eo ry t each es th at ex ter n al th i ngs
.

h av e n ot the be au ti fu l exi sti ng in th e m bu t th at t hey may pro ,

d uc e wi t h i n us v ar i o us agr eeabl e e mo ti o ns su ch as l ov e j oy , , ,

p e ac e c hee r fu l ness sat i sfacti o n an d the l ik e which r esu lt in

, , , ,

t he e m o t i o n o f the be au ti fu l Thi s t h eo ry is s u st ai n ed by A l i .

so n J e ff r ey a
,
n d o t h ers
, .

V ar i ou s mod ific ati on s of the abov e th eor i es are to be fo u n d ,

384 E lements f
o R/zetor ic .

by each age of li fe — the c h ild the you th the middl e aged the , ,
-
,

old . N o wh e re is this more man ifest th an in li t erature A man .

ca n l ook b a ck an d measu r e his li fe by the s u cc es siv e ch anges

in his t ast e fo r poe tr y The sam e c o u n tr y sh o ws d iffe r e n c es in
.

thi s r espect and the wh ol e st o ry of a n at i o n s c aree r may be

,
’

i n d ic at ed by the ch an ges t h at h av e t ak e n pl ac e in its l ite r ary

t aste .

Th e se v ar i eti es of t ast e might see mto i n d ic at e its suscepti

bilities to ch ange an d i mp r o v em en t N o qu ali ty is m . o r e so .

A wh ol e c l ass or even a whol e n ati on may be b ro ught to per

, ,

c eive t he be a u t i fu l wh e r e th ey on c e saw i t n ot Whi l e th e r e .

are g r eat d i ffe r e n c es o f t as t e in e very n ati on th ere are al so ,

g r eat c onc o r ds ; wh o l e c ommu n i t i e s sh o w ag reemen t in on e

t hi ng ; child ren are tr ai ned to l ove wh at th e i r eld e r s l ov e The .

study o f the w o r k s of the g r eat mast ers c an el ev at e the t as te

in p ai n ti ng ; fam i l i ari t y wi t h the w or ks O f the gr eat c ompo se r s
ca n e l ev at e the tast e in musi c ; an d in ev ery ag e the migh ty
l eg ac i es of A tti c gen ius have t en d ed to pur ify ch ast en and , ,

en light en the t a st e in l i ter ature .

5 B EAUTI F UL I N NATU RE
1
4 3 . TH E .

Whil e the n ature of the beau ti fu l may be a ma e r of d o ubt

i
,

th e re is l ess d i fficu l ty as to its so u r c es Th ese ar of two g en .

e ra l ki nds fi r st the be au tifu l in n atu re and sec ond the

, , ,

beauti fu l in mo r als .

I n the fi rst pl ac e we h av e to c o nsi de r n at u ral beau ty .

N atu ral beau ty aris es fr o m the fo l l owi ng sour c es : Col or ,

form m oti on so u nd p r opo rtio n v ar i ety d esign

, , , , , .

5 4 1 4 coLO R
. .

I . The fi rst e xampl e of this i s seen in n atu re wh er e all col or s ,

are visibl e the so ft e r be i n g sp r ead o v e r g r e at sp aces the m

,
ore ,

b r il l i an t ov er s mall e r su rfac es T he fi e l d s and fo r ests di spl ay

.

g r e e n ; th e sky an d w at e r bl u e ; th e dis tan t h ill s pu r pl e ; g o l d

en ora n e y e ll o w a pp e a r in the h ea v en s a t su n se t a n d sun
, g, ,

rise ; and e n dl ess vari at i o n s of ti n t s in the fl o wer s and in the

plu mage of bi rd s C o l o rs i n divid u al ly are beau ti ful bu t wh en
.
,

see n tog e th e r or w el l h a
,
r mon i zed the pl easu r e is far g r eat e r
,
.

I n a l an d sc ape all co l o r s may be seen at o n c e the sky the —

,

pl ai n the w at ers and fo rests the bi r ds and the fl ow er s all Ofl er

, , ,
 Tlze B eaut iful .
38 5

p ai n ti ng wh en c omp a ed with an A r
.

ing a d e l ight fu l v ariety .

r
en g a vi ng , a l an dsc ap e in au tu mn an d the s ame sc en e in win
ter, will exh ibit the ch a mO f c ol o ring r
N e w ti n ts are c o n tinu .

ally b ei n g d evi s ed by the skil l of man, an d add ed to the O ld

o nes . r
The Ty ian d ye o f the an ci en ts and the agen t aof our M
o wn d a y a re e x am pl es U po n c ol o a re b as ed , to a c er t a
. i n ex r
ten t , the d eco a r r
tiv e a ts and the art of p ai nti ng .

415 . F O RM OR FI G UR E .

2. Two ki nds of formmay be O bs erv ed fi r st th at whi c h is in ,

d ic ated by th e st r aight l i n e an d s ec ondly th at whi c h is ch ar

.
, ,

ac terized by the c ur v e T he fo r me r is m o st visibl e in a

. r chi
tec t ur e ; the l att e r in sculpt ur e an d p ai n ti ng T he st r aight .

l i ne i s s een in angl es an d sq u ar es the c u rv e in ci r cl es S pi r als , , ,

an d w avi ng li nes E ac h has its own pe c u li ar b eau ty b u t th at

.
,

of the c ur v e is s u p e ri o r a n d i s e v er ywh e r e visibl e in n a

,
t u re
and ar t . T he st r aight li ne l eads to m o n ot o ny ; the c ur v e to

e n dl ess v a r i ety Th is i s ill u st r ated in O ld fash i oned g ar d ens

.
-
,

esp eci a l ly in th os e wh ich w er e p r ev al e n t o n the c on ti nen t of

E u rop e wh er e the p r ed omi nanc e of str aight w alks and b eds or
, ,

b u sh es cu t i n to st r aight li ne fo r ms gav e an air of i nt ol er abl e

-
,

sti ffne ss ; whil e in E ngli sh p a r ks or l an dsc ape gar d en i ng N at

-

ure h er s el f was i mit at ed in wan d er i ng w alks and i rr egu l ar out

l i nes .

Ar chit ectu r e nec ess arily has mor e to do with st r aigh t li nes .

The H i nd oo an d Egy pti an had this e sp eci al ch ar ac t er istic .

The G r ee k th ough u si ng it to a g r e at ext en t ad mitt ed a sligh t

, ,

c u rv e in the o u t li n e of c o l u mn s The Ro man mad e an ext en .

s iv e u se of the a r ch which was mo r e ful ly d ev el oped in the

,

By zan ti n e an d S ar ac en ic I n the G o t hic the st r aight l i n es are

.

p er petu al ly b r ok e n u p by t ow er i ng ar ch es i n t r ic at e t r ac ery an d , ,

i n n u me r abl e o rn ame n t s .

H og art h in his A n alysi s O f B eau ty fi nds all its el ements

, ,

meeti ng in a cu r v ed l i n e H e says th at b eau ty is con stit u t ed .

by fit n ess si mplicity u n i formi ty v ar i ety an d a c ert ai n amo u n t

, , , ,

o f i n t r ic a cy ; an d th at th es e all mee t in a c er t ai n w avi ng li ne ,

ess e n ti a l to all b eau ti fu l fo r ms which he c alls the li n e of “

,
”
b eau ty .

Figur e is the b asis of the arts O f scu lpt ur e ar chi t ect u re an d , ,

d r awi ng .
3 8 6 E lement s o f Rhe tor ic .

M OTI O N 416 . .

3 Mu ch of the beau ty of n atu re ari ses fr omth e life an d m

. ove
men t of n at ur al O bj ec ts — the r ol li ng of w av es the fl o w O f riv er s , ,

the sw ayi ng o f g r ass or tr ee s the fl igh t of bi r ds M o ti on i s , .

al w ays in c ur v e d l i ne s an d of th e se the most pl easi ng is the

,

u n dul at o ry l i ne of movemen t as seen in w av es or fields Of ri pen

ing g r ai n .

A l l the se beauti es r ec eive thei r high es t exampl e in the hu

man coun t enance Col or i s th ere in the v aryi ng tin ts of com
.

pl exi o n ey es li ps h air ; figur e is e xhibit ed in the exq u isite out

, , ,

l i e the o v al o f the fac e the c ur ves of nost ri l or eye the bow

n —
, ,

sh ape o f the li ps ; wh il e moti on i s see n in the pl ay of the feat

ur e s The po r t r ay al of the h u m
. an fac e affo r ds oppo r tu n i ty for
displ ayi ng the high est gen i us of the artist ; and if mo ti on is not
giv en th ere is at l east the sugges ti on of i t in the s u btle ex
,

p ressio n whi ch may be c aught and ret ained .

UND 5 417 . SO .

4 N at u re r ev eal s to u s the beau ty of sou n d in the b a

. bbl e of
b rooks the mu rmu r of ri ve rs the r o ll of the su rf the sighi ng of
, , ,

the wi nd the ru stl e O f l eav e s the song O f bi rds the burn of

, ,
-
,

u n iv e r sal li fe A bov e all the h u man v o ic e is most d elight

.
,

ful an d may h av e in i t mor e of the be au ti fu l th an any o ther

,

sou n d .

U pon so u nd is b ased the art of music F romth is al so arise .

all th os e beau ti e s of lit e r atu r e th at be l ong to r h et o rical har

mony— the eu ph oni ous fl ow of ver se the r hy th mof nobl e p rose , ,

the i nfi nit e gl o ri es of poe try .

4I 8 . P RO PO RTI O N .

5 The
. e motion of the beau ti ful is fel t
percepti on of the at the
p ropo r ti o n of d iffer en t p arts to awh ol e This is v e ry man i fest .

in sc u lpt ur e an d ar ch i t ec t u re T he G r eeks exc e ll ed in th is ; .

an d wh en ar t d e cli ned in the R oman d ay s th at d ec l i n e was ,

fi r st man i fest in n egl ect o f the l aw s o f p r op o rt i on I t is t his .

th at m ay mak e the wh o l e di ffe r en c e b etw ee n a be auti fu l st atu e

an d an u g ly o ne A Roman t empl e sh o w s no su ch e xqu is it e
.

g r ac e of p r op ort i on as an A th en i an wh il e a mod er n i mi tati on ,

fails m o r e l am en t ably .
38 8 E le ments o f R/zetor ic .

g ai ned fromC h r isti an i ty n amely h o l i ness ; and the beau tiful

, ,

t ak es with u s a narr ower gr o u n d Bu t with the G reek n } mAév .

was the h igh est good the summum bari um; and wh en add ed ,

to a n oth e r w o r d the r e su l t wa
,
s a t e r mwhich bec a me el ev at ed
to th e high est — n ) xaA Iw x t r
y aGO V — t he p e rfec t
’

g oo d an d p
'

e r '
'

fec t fai r the high e st O bj ect of hu m

,
an d e si r e and aspi r ati o n I t .

is in thi s sen se th at the beau ti fu l is acce pt ed by K eats wh ose ,

so u l was en ki ndl ed wi th i ts ch ar ms wh ose poe t ry was th u s in ,

spi r ed and who t aught th is in hi s ode to aG rec i an U rn w hen

, ,

he sai d :

B ea u ty Tru th Tru th B au ty—that i all

is , e s

Ye k w no arth a d all y
on e d t k w , n e nee o no .

TI I E B EAUTIF UL I N L IT ERA TUR E

§ 422 .

L iteratu r e has al ready been h ow n to be u d r c er t ai n as s n e

peets a b r anc h of a t an d t his co c epti on o f it has giv en r i se

r ,
n

to the t e r m be l l e l ett r es I n poet r y th is artistic ch ar act er is

s- .

pre-
e mi ne nt . N ow the is the b eauti ful e nd o f all art .

By ar t is meant the effort to b r i ng i n to sen sibl e form the

id eal th at is in the mi nd and this id eal i s the abso l u te beau ,

ti fu l.

This effor t is pe r ceptibl e in ar c hi t ect ur e sc u lpt ure p ai nti ng , , ,

and music wh e r e the ar tis t w or ks by mean s O f fo r m c ol o r or

, , ,

t one T he poe t w or ks by means o f l angu ag e ; his fi eld is far

.

w id e r his mean i ng more di r ect and his exp r es si on mor e cl ear

, ,

an d p rofou nd .

Th is s u bj ec t wil l be fou nd i ll ust r at ed in the foll owi ng pas ~

s ages .

T he be au ty o f th es e li nes of S h ak espear e c on sists in the ex

q u is ite g r ac e of the c o nc e p ti on

N o thi ng of him that doth fade

B u t d o th u ffer a seaChange s O

I nt o somethi ng ri ch and strange .

NO p ass age in S h ak esp eare s wo r ks ’

has a high e r and more
r ad i ant beau ty th an t hi s :
H ow w t h m lig ht l p u p th i ba k !
s ee t e oo n s ee s on s n

r will w it a d l t th u d f mu ic
He e e s , n e e so n s O s

Cr p i
ee u ar ft till
n o ad h ig ht
r e s : so s ness n t e n
B m th t uch f w t harm y
eco e e o es o s ee on .
 Tli e B eautif ul . 8
3 9
S it, J ica Lo k h w th fl r f h av
ess .
‘

o o e oo o e en

Is thick i l ai d with p ati

n f bri g ht g l d nes o o

Th r ’
e e s no t th mall t b whi ch th u b h
e s es or o e old st
’

B u t i hi m ti lik a a g l i g
n s o on e n n e s n s,

S till q u iri g t th y u g y d c h r u bi m
n o e o n -
e e e s

Such h ar m y i i i mm rtal u l
on s n o so s .
”

rom M il t on s Com s u p oss ess a beau ty

’
The foll owi n g li nes f
of a si mil ar na t ur e
rt i t ur f arth m u l d
C an any mo al mx e o e
’
s o

Br th
ea e suc h i i
d v ne ch a ti g rav i h m t ? en n n s en

Su r m thi g h ly l dg i th at br a t
e so e n o o e
s n e s ,

A d with th
n rap t u r m v h v cal ai
ese es o es t e o r

T t ti fy hi hi dd
o es r id c
s en es e n e.

H w w tly d id th y fl at u p
o s ee th wi g e o on e n s

O f il c thr ug h th
s e n e, mp ty vau lt d i g ht
o e e -
e n ,

A t v ry fall m thi g th r av d w
e e s oo n e en o n

O f da k r till it mil d
ness s e .

’
R ogers s p oem ,
“
A Wish , e xp r ess es a soft and gentl e re

pos e :
M i ne be a cot besid e a hill
A beehi v e s hum sh all sooth e my ear ;
’

A will o wy brook th at t u rns a mill , ,

With many a fall shall li nger near , .

I t bear s a cl os e r es embl an ce to M ar l owe s poem The ’

,
“

P assi on at e S h eph er d to his L ov e by wh i c h it was p rob ably ,

su gg ested
Come l iv e wi th me and be my l ov e
, , ,

A nd we wi ll all t he p l e asu res p r o v e

Th at hill s and v all eys dal e and fiel d , ,

W oods or steep y mou nt ains yiel d , .

”

li nes fromBy r on are n ot in his u s u al v ei n b u t

The foll owi ng ,

h av e so much t en d er an d d e lic at e g r ac e th at they might h av e

been wr itt en by S h el l ey
“
Th r e e B au ty daug ht r
be n one of e
’
s e s

W ith g lik th ;
a ma ic e ee

A d lik mu i c
n e h w at r s on t e . e s

I thy w t v i c t m ;
s s ee o e o e

Wh a if it
en , u d w r cau i g
s s so n e e s n

Th h arm d c a pau i g
e C e o e n s
’
s n ,

T h w av
e li till a d gl ami g
es e s n e n ,

A d th lull d wi d
n e m d ami g’
n s see re n .
39 0 E leméa
ts f
o Rhetor ic .

S h el l ey is pre e mi nen tly ihe poet of the beau ti fu l The

'

-
. Ode

o n th eS kyl ar k is p e et r ated th rough a d th ro ugh with

n n th is
S pi ri t a d has mo re of high a d pu r e poe tic r aptu re th an
,
n n any
oth e r i n exist e n c e .

To the M oo n

A rt th u pal f w ari o e or e ness

O f cli mbi g h av a d gaz i g u p art h

n e e n, n n on e ,

W a d ri g c mpa i l
n e n o n o n ess

A m g h tar that h av a d ifl
on t birth ;
t e s s, e
'

eren

A d v r ch a gi g lik a j yl
n e e
y n n , e o ess e e

Th at fi d bj ct w r th it c ta cy ?
n s no o e o s o ns n

T he s ame exqu isit e gr ac e o f c o ncepti on and ex ecution may

be fou n d in the foll owi ng li n es fr om a poem w r i tt en on the
Eug ane a n H il ls :

“
W ith l i g wi g th y w aiti g it
fo d n n s e n s

F my bark t p il t it
or , o o

T m cal m a d bl mi g c v
o so e n oo n o e,

W h r f m a d th
e e Il v
or e n ose o e

M ay a wi d l b w r b bu ilt
n ess o e e ,

F reefr m p a i pai a d guilt

o ss on, n, n .

I a d ll m id l aw y hill
’
n e n s,

W hi ch th wil d a mu rm u r fill
e se -
s,

A d n ft u hi so a d th s u dns ne, n e so n

O f ld f r t
O ch i g r u d ;
o es s e o n o n

A d th l ig ht a d m ll d i v i
n e n s e ne

Of a ll fl w r that br ath a d h i
o e s e e n s n e.

The foll owi n g p ossess es all of S h el l ey s ch aract eristic gr ac e ’

and d elic acy

M usi c wh en so ft v oi ces die

, ,

V i brat es in the memory

Od o rs wh e s wee t v i ol ets sick en
. n ,

Li ve withi n the sense they q ui cken .

R
l av wh th r i d ad
.

ose e es, en e ose s e ,

A h ap d f th
re bl vd bde
‘
or e e o e
’
s e .

A d thy th ug ht wh th u at g
n so o s, en o r one,

L it l f hall l u mb r
o ve se s s e on .

Keats r i v al s S h el l ey in h is d ep l ove of the b eau ti fu l as also e ,

in his r ar e a d d elic at e c onc epti o n an d exp r e si on

n H is O d e s .

t a N ighti g al
o i i his be t ma e r an d may be c om
n e s n p ar d s nn , e

t Sh l l y
o e S kyl ar k wh ich i t re sembl es in gener al c on cepti o
e
’
s , n .

The mann e r o f the two i s h o w e ve r wid ely di ffe ent ; S h el l ey s

’
, ,
r
39 2

r d er p ropor tion el eg ance and a d etermin ation to d epi ct

'

of o , , ,

s up e r h u ma be au t y n .

T u r ni ng to l i t e r atu re we pe r c iv e th sa e te d en cy The e e n n .

beauti fu l which i spi r es th w r i t e r i the s ame which i spi r es

n e s n

the ar tist I t s the b eau ty of o r d r

i . e law p r p r ti o
o o n — in sh o rt , , ,

sy mmet ry The ly r ic poe ts with all t he i r v ar i ed met r es w er e

.
, ,

bo u d to a r igi d law in eac h met r e The epic poe ts fol l owed

n .

r u l es d edu ced from the I li ad and the O dyssey which poem , s,

t h ough o igi nally w ritt e in the free ar d or of gen i u s s rv ed as

r n , e

the s our c e of law th at w e r e to bi n d the poe ts o f fu t ur e a

s g es .

B ut it is in the d rama th at th is p r i ncipl e is m ost cl ea r ly s een .

Th i d ep art me t of lit er at ure had g row n u p ar ou nd the ly r i c

s n

poe t y of the C h o us Thi C h o us had its own p ar t in e very

r r . s r

pe r fo rmance they w ere vi rt u ally act or s a d alw ays r emai n ed

, ,
n

vi ibl e to the spect at o r s A cc o r di g to th G r ek c onc epti on

s . n e e ,

whi l e th C h or us r mai ned i t was i mpo ssibl to all ow of any

e e e

vi ol en t c h ang e o f sc e ne or any g r eat l apse of ti m , e H en c e .

the d r am a fo ll owed wh at was afterw ar ds c al l ed the law of the

th r e u n i ti es
e .

The th r ee u ni ti es are the fol l owi ng

Fi r st the u n i ty of ac ti on wh ich means th at the b u si ness of
,

a pi e ce be c t ed wi th on e l eadi ng subj ec t and th at the

con ne ,

i nt e r est be not dispe r sed amo ng se v er al .

Se co ndly the u n ity of pl ac e ; which means th at the ac ti on

,

must be confi ned to the one pl ac e in which i t b egi ns .

Thi r d ly the u n i t y of ti me ; which mean s th at the acti o n be

,

l i mi ted in d u rati on to a pe riod not v ery much g reat er th an the

time ac t u ally tak e n up in r ep r ese n ti ng i t on the st age .

H e r e th en in the G r eek d r ama may be seen the s ame pre

, ,

d omi n anc e of t h at id ea of sy mmet ry which p rev ail ed in G r eek

ar t.

I n the per i od of the reviv al of l ett e rs the cl assic al i nfl u enc e

was st r o ng bo t h in art and l it e r atur e I n the o n e it led to th at .

e po ch k n o w n a s the R e n a i ssan ce ; in the o th er i t led to the

att e mp t at the r eviv al of the l aws of the th r ee u n iti es an d an ,

e x t e n si o n t h r o ugh o u t l it e r atu r e g e ner ally o f the G r eek p r i n ci

p le o f sy m m e t ry an d sub o r di n a t i o n to law T he s ty l e th at .

re sul t ed bo t h in the d r amaan d in oth e r d ep ar t men ts of l etters

, ,

is k n ow n as the cl as sic al .

The m od ern id eaof th e bea u t iful d iffers fr omthis .

 39 3

We may it in the fi rst pl ac e in art I n s c u lpt ur e wh ich

see , , .
,

d ep e nd s en ti r ely u p on sy mmetry th er e i s no c omp ar is on be ,

tw een mod e r n w or ks an d th ose of the G r eeks B u t in the .

o th e r d e p a r t men t s of art i t is di ffer ent I n ar ch it ect ur e the .

mod er n w or ld fi n ds its chi ef gl ory in the G oth ic c ath ed r al ,

wh ich is the b est r ep r ese n t ativ e of the sumtot al o f the d i ffe r

e n c e b e tw ee n the m od e r n a nd a n ci e n t i d e a o f t he b e a uti fu l .

H e re t h o ugh th e r e i s a d o mi nan t law to whi ch all i s sub o r

,

d in ate ye t th at law is h idd e n by the gr an d e u r o f the r esu lt

, .

The ch ar act e r o f the edific e is i n fi n i te all e mb r aci ng r ej ec t i ng ,

-

n o t hi ng t h a t c an h e igh t en the ge ne r al effe ct T he G reek te m .

p le i s whi t e pu r e cl e a,
n sy m m e
, t r ic al ; t he ,G o thic c ath e d r al is
d ar k t emp est w o r n pe r h aps o v e r g r ow n in p ar t wi th mos s o r ivy
,
-
, ,

a mo u n t ai n mas s o f st o ne wh os e p r op or ti on s t h ough exqu isit e

-
, , ,

d o not r eadi ly st r ik e the eye I n thi s gl o r i o u s y e t app ar en t ly

.

d is o r d e r e d mass o f bui ldi n g an d c ar vi ng ev e ry t hi ng is asse m

bl ; st atu es a e t h e r e stifl r igid r ath e r ar chi t ec t u r e th an
—
'

e d r , ,

scu lptu r e ye t l ost in the effec t of the wh ol e ; sai n t s ang els

, , ,

d evil s all are t h ere ; the b eau ti ful the subl i me the h orr ibl e
, , , ,

ev e n the g r ot esqu e H ere the d o mi n an t idea is not the sy m

. .

met r ic al bu t s o met hi ng b r oad e r ; i l li mi t abl e v ar i ety b ou nd to

m
,

g e th e r by a r eal u n i fo r mity wh ich may most fittingly be t er ed ,

the pic tu r esqu e .

I t is the sam e in m od e r n p ai nti ng wh ich is ch ar act er i zed by ,

the sam e t e n d e n cy fr o m the T r a n sfigu r a

,
ti o n of R afl ae lle to
t he Begg ar Bo ys o f M u r ill o ; fr om the L a st J u dg men t o f
M ich ae l A n gel o to the Bl i nd Fiddl e r of W i lki e I t is n o t the .

pu r e c o l d cl ear el eg an c e of the G r ee k I t is so methi ng w i d e r

, ,
.
,

mor e c omp r eh en sive emb r aci ng ev eryth i ng in its sc op e and

, ,

sh u n n i ng n oth i ng ; seeki ng an d fi n di ng the b eauti fu l in fo r ms

an d gu i ses wh er e the G r eek w o u ld n ev e r h av e s u sp ect ed i t o r
u n d e r st ood it— n ot in the fl oati ng n y mph t he for ms o f d ei ti es ,

or h e r o es the fai r whit e t e m

,
pl e or oth e r highly i d eali zed sub
, ,

bu t e tu m bl e d ow n b r idg e the r usti c c ott a h

j e c ts ,
in th -

g e t e , ,

o ld m i ll P ai n ti ng n o w seeks afte r v ar i ety I t h as b een s aid

. .

to r ev el in di r t I ts b eau ty is the pict u r esque

“ ”
. .

I f n ow we tu r n to lit e r atu r e wil l be c ompl et e .

L aw exi sts ; i t c omp el s u n i fo r m u n i fo r mi ty has an

T he b all ad o r the met r ic al r o man c e was the
en d l ess v ar i e ty
) .

ear li est p r o d u cti on of m od er n l it er a t ur e an d thi s e ar l i est pro ,

394 E le ments f Rheimk
o .

d u c ti o n was c h aract erized by illi mi t abl e fr eed o m in s u bj ec t

and in treatm r oman c e which fi rst i ndic ated
“ ”
en t .This wor ,

the langu ages deriv ed fr om the R oman i z Latin wa , s a

. fter
.
, ,

w ar d s appl i e d to the w o r ks of the i magi n at i on which ar ose in

the Romance l angu ag es ; and fromth i s u sag e the t erm ro
”

man ti c was d er ived to d e note that freedomfr omthe r es trai n t

”
,

of th e cl a ssi c al schoo l wh ich mar k ed t his ne w l it eratu re These .

t wo p r i n cipl es h ave bee n the g reat r iv al s in m od e rn l ette rs ;

the y h ave fo rmed p ar ti es wh ich have d ivid ed e pochs an d n a

,

ti on s u n d er the n ames of th e c l as sical an d r omantic school s

, .

D an te the father of mod ern poe t ry fol l ow ed th is new im

, ,

pu lse H e imit ated no cl assi c al mod e l ; he was a law un t o

.

h imse lf ; an d in his sub lime poe t ry he st ru c k the key note of -

mod e r n l ite ratu re C h au ce r u n l ike him in ever yth i ng el se

.
, ,

r esembl ed him in th is th at he foll owed no cl ass ical mod el

, ,

b u t wrote fr o mhi mse l f for the me n of h is ge nerati on and be ,

c ame the fathe r of hi s nati onal poe try S pense r pu rsu ed the
.

same cou rs e ; and S h ak espear e came next to show th at the

mod e rn wo r ld had su r p as sed the an cient and th at in h i msel f ,

and D ante H o me r and Sopho cl es had bee n out d o ne H en ce .

»

fo rt h th e re w ere o th e r lawgiv ers and oth e r m od e ls th a n th ose

of G r eece and the m

, od e r n l it erature m igh t tak e i ts st and not on ,

t he o ld law of r est r icti o n bu t on the new la

, w of l iberty D ante .

an d S h ak espear e are th u s the gr eat n ames of the roman tic

sc ho o l Whe re v er t his sch oo l an d i ts spi ri t has p rev ai l ed
.
,

there l it e r atur e is g reat est I n the ages of E ngl i sh lit e r atu re

.

the s pi r i t o f each h a s bee n in the a sc end e ncy and the cl assi cal
spi r i t d o m i n at ed in o ur Augu st an age the age of A n n e ; bu t
,

th i s A ugu stan ag e is i n fe r i o r to the E l i zabe th an as the poe tr y ,

o f F r ance is i n fe ri o r to th a t of E ngl and ; Co r neill e and R aci ne

to S h ak espe a re an d Goeth e ; or Voltai re s H enriad e to M ilton s
’ ’

P arad ise Lost .

 E lemma l
'

39 6 o f tor zc .

the resu l t is the s u bl ime idea of the i n fini te in d u rati on wh i ch ,

is e t er n ity .

The exh ibi ti o n of v ast po we r has th e sam e efiec t u po n the

'

mi n d I t may be h u man po w er as that of a g reat ki ng o a

.
, r

gr eat co q u ero r O n the oth e h and i t may be the po w er of

n . r ,

a g r e at l egi l at o r o be efacto r I t may be the po w er of n at ur e

s r n .
,

as exhibit ed in the r ol l i g w ate r s of the oc e an the p r ogr ess of

n ,

a migh ty c o nfl a g r atio n t he migh t of an earth,q u ak e or the fur y ,

of a st orm .

In v as tness may s ugge st the id ea of pow er as in the

so u nd , ,

roar of c atar ac ts the pe al of th u n de r or the v ol l eyi ng of a

, ,

c anno n ad e b u t th er e is also the s ublime in sou nd whi c h has

n o su ch a ccesso ry notion as th e to ll of ami dn ight bell or the, ,

k noc ki ng at the gat es in M acbe th .

5 426 . awn .

The su bli m e is a l so p rod u ced by the se nsation of awe .

R el igio us awe and v e ne r ati on is a fru it fu l so u rc e and may ,

be ill u s tr at ed by many passages in the S acred S c ri pt ur es espe ,

c ially the vi si on s of I sai ah Ezeki e l and in the A poc alypse , , .

T he su bl i m e efl ec t of the i n t eri o r of aGo th i c c athed r al affor ds

'

a fami li ar ex ampl e .

S il ence is ano ther cau se Th ere was si l ence in h eave n for

“
.

the sp a c e of h al f an hour is the subli me l angu age of the A poc

”
,

aly pse wh ich th u s i n t r od uc es an ab rupt ce ss ati on to the tr e

,

mend ous mo vemen t of the v isi on Be sti ll and k now th at I .

,

amGod say s the Ps al mist

”
.
,

The sam e th i ng m ay be see n in C ampbel l s od e

’

Th ere was sil ence still as d eath ,

And the bol d es t he l d his breath

F or a ti m
”
e .

D ar k ness p rod u c es the same eflec t wh eth er i t be encou nter ,

ed by n ight o r in a gl oo m ,
y go rge or in the rec ess es of mou n ,

tai n s or cav e rns 0 n igh t 1 excl ai ms By r on an d sto rm

” “
.
,

and d ar k n ess ye are w on d r ou s st r on g T he r ep r es en t atio n s

”
.
,

of the D ei ty h a v e ad d i t i onal s u bli mity wh en this is add ed .

C l ou d s an d d ar k n ess
”
say s the P sal mist ar e r ou nd abo u t
, ,

him Th i s has bee n rep eat ed by M ilt on who says

”
.
,

H o w oft am id
Thick clouds an d dark d oes heav en s all ru l ing S ire ’
-

C h oose to r ides e.
”
 T/ze S ublime .
39 7
.

To th es e mu st be add ed the s up er n atur al H er e awe is .

associ at ed wi th terr o r an d the h u man mi n d sh r i n k s b ac k fr om

,

its own fan ci es M any of the most subli me p assag es in l it er a

.

t ur e h av e this as th ei r b asis an d among th e m may be men ,

t ion ed a s pre em i nen t the eiEo of D ar i u s in the P e rsm the

'

-
v
,

gh ost of H aml et s fath er an d the app ar iti on of Ban q u o

’
,
.

M O RAL SU B L I ME
42 7 . TH E .

I n the sec on d pl ac e we h av e to co n sid e r the mor a l s u bl i me .

Thi s is the subli me as di spl ay ed in se nti ments w or ds or ac , ,

ti on s ; an d may be s aid to ar is e fr om any t h i ng in th es e th at

t r an sc e n d s o r d i n ar y hu man c ap aci ty .

S ubli mity is r ecog n i zed in t h ose acti on s or s u ffe r i ngs which

exh ibit the h e r o ic v i r t u es H ist o ry and l i ter atu r e are fu ll of
.

s u ch i n st anc es wh ich wh et h er au th en tic or i magi ned are

, , ,

k n o w n to all and h av e b ec ome the s u bj ec ts o f p e r pe t u al ref

,

e r en c e .

The d ispl ay o f ext r ao r di n ar y cour age has th is effec t as wh en ,

S at an in P ar adi se L ost offer s to go fi r st in s earc h of the w or ld

, ,

of man
h all t mp t with wa d ri g f t
W ho s e n e n ee

T h d ark u fath m d i fi it aby ? ”

e , n o e , n n e ss

C o nnect ed with th is is an i nd om it abl e wi ll an i nvi nc ibl e ,

spi rit which i s s een most st r i ki ngly in the ame ch ar act er who s , ,

th o ugh d el iv e r ed o v e r to i nfi n i te w r ath a d i nfi n i te d esp ai r n ,

disd ai n s su b mis si o n .

Wh er e a c on flic t is c arr i e d o n agai nst gr eat odds the effect is

still g r an d e r I t is thi s th at g iv es su ch magic i n fl u e n c e to the
.

na mes of M ar ath on and M o rg ar t en S al ami s and S emp ach ;

t o the st o r y of H o rati u s an d h is two fr i en d s k eepi n g the b r i dge
ag ai n st an ar my ; or the c on qu est of M exic o by a h and fu l of
S p an i ar d s D evoti on an d s el f sac rifice c ar ry u s ev en bey on d
.
-

this as in the c as e of S caevol a or C u r ti u s o r C o n st an ti ne P al ae

,

olog us .The vi rt u es o f fid e lity an d e n d u r an c e ar e aki n to

th ese an d i n spi r e R egu l u s in Roman l egen d an d P r ometh e u s
,

in G r ee k p oe t r y ; whi l e e v en th ese ar e su r p ass ed in C h r isti an

s t o r y by the s ubli m e c o n st an cy o f mar ty r vi r gi n an d c onfess o r , , .

Th er e is subl i mity al so in p r i d e as in the c as e of C l eop at r a , ,

who di ed r ath e r th an sub mit to h u mili ati on ; an d in am biti on ,

as in the c ase of N apo l eon .

393 E lamen ts of R hetor ic .

The m
su bl ime ay be seen in w or ds as w el l as in action s .

The sayi n gs of g r eat men which h av e been h and ed d o wn in

h ist o ry are gen e r al ly of th is d esc ripti on M any are att rib uted .

to th e h e r oe s of cl a ssi c al st o ry and th ese h ave th ei r co u n te r ,

p ar t in the w o r d s of the men of l at er ti mes O f s u ch a ch ar .

act e r are the w o r ds o f H i ld eb r an d who dyi ng at S al e rn o , ,

after a l on g and bitt er st r uggl e said I hav e l ov ed r ight eo us , ,

n ess an d h a t ed i niq uity an d th e refor e I d ie in exi l e or ,

th ose of L u th er o n en te ri ng W o r m s to con fron t a h osti l e ,

wo r ld Th o ugh th er e w er e as man y d evils in W o r ms as til es

“
,

o n the h ou se t ops sti ll I w o u ld e n t e r

-
o r of F r a
, n cis I aft er .
,

the b attl e of P avi a I h av e l ost all b u t h ono r ; . or o f S i r W a l

ter R al e igh a s he fe l t the edg e of the a
, xe be fo r e l a yi ng his
h ead on the bl oc k I t i s a sh arp r emedy bu t wil l c ur e all dis
“
, ,

ea ses o f S i r Phi lip S yd ney as he m oti o n ed a w ay the w at e r ,

to the dyi ng so ldi e r

“
Thy nec essity is gr eat e r t h an mi n e or
,

of S i r H u m ph r ey G ilbe r t goi ng d ow n at se a N ev e r mi nd we , ,

are as near h eaven at se a as ash o re of N e lso n E ngl an d

“
,

expec ts e v e ry m an to d o his d u ty pol eo n So l d i ers

“
of N a , ,

fr omthe s u m mi t of yo n d er py ramids fo rty c en tur i es l ook d own

u po n you Th ese and many more are b u t t he ver b al exp re s
”
.
'

si on of the s ame l oft y vi r tu es wh i c h c o nsti tute the subli me in

acti on Th ey sh o w u n fl i n chi ng co u r age i n vi ncibl e reso l u ti on
.
, ,

fai th st ronger th an d eat h the vict ory o v e r se l f the s ac r ifi ce of , ,

l i fe itse l f o r l ofty r esig nation wh en th at li fe is d emand ed by

,

nece ssity .

m: SU BL I M E I N L IT ERATU R E
§ 4 z8 . r .

We h av e n ext t c on sid e r the u bli me in w ri ting

o s .

The t r eatise o f Lo ng i n u s is o n e of th mo t v al u abl e of the e s

anc i e t r h e t ric al wr iti g s and al so on e of the best u po n the

n o n ,

subli m A l t h ough hi vi ew of th s u bj ect is wid e r th an w ou ld

e . s e

at p r se n t be al l ow ed y et ma y o f his r emar ks are most j u t

e ,
n s

an d i mp o r ta t n

Th ubli m ay L gi u
e s i a c rt ai
e,
”
s x c ll c a d p r f cti
s on n s, s e n e e en e n e e on

o f l a gu ag a d h gr at t writ r b th i p r
n e, n t e a d p try h av by thi
e es e s, o n ose n oe , e s

al bt ai d h p ri z f g l ry a d cl th d th ir r w with i mm rt al
on e o ne t e e o o n o e e eno n o

ity Th ubli m t ly p r u ad bu t t a p rt a aud i c By it

. e s e no on e s es, r ns o s n en e. s

a t u d i g ff ct it i alw ay m r p w rful th a th at whi c h m r ly p r

s o n n e e s s s o e o e n e e e

uad d li g ht i m t ca it r t wh lly with u r l v ith r '

s es or f e s ; or n os se s es s o o se es e e

t r i t
o es s t yi l dor p r ua i
o B u t th ubli m by th app licati f
e to e s s on. e s e, e on o
400 E lenient: o f Rlzetor ie .

of the wr i ters the su bj ects u pon wh ich th ey w ro te the d ream

‘

, ,

stan c es u n d e r whi c h they w er e w ri tt en fo rmed a c ombi nati on ,

of cau se s which h a s n e v er e ls e wh e r e e xist ed The d esc rip .

tions of the Dei ty are al w ays of o v e r wh el mi ng spl en d or and

'

sub li mi ty :
H e s ood, and measu ed the ea
t ; r rth
hl
H e be e d, and d ov e asu n de r
the na ions ; r t
The e v e arl i
s t ng bills e e sca e ed, wr tt r
The m t i
o un ans saw t ee an d e t em led ; h th y r b
,

v rfl g
The o e owin of the aer s a ssed wt p by
p t r
The d ee u te ed his oice, and ifte d u his ands v l p h on high .
”

—H ans ax ux .

The T ris agi o n Song of the Se r aphi m in I saiah is anoth er

, or , ,

exa mfl e and anoth e r of equ al gr and eur is to be fou nd in the

p assage of the A poc alypse begi n n i ng A n d I saw a gr eat ,
“

whi te th ro e n O the r p a sag es th ough l ess e cst ati c h av e eq u al

.
”
s , ,

maj e ty The 9 th Psal m i s o n of th ese A noth er is the

s . 0 e .

w o rds of the S avi our I am th R es u rr ec t ion and the L i fe e .

”

I n the ser vi ce s of the C h ris tian C h ur c h the re are n u m e r ous

case in wh i c h the s u bli me spi ri t of the Bibl e has been c au gh t
s

and ill u st r at ed afr s h espe ci al ly in the G l o r i a i E xc elsis and

e , n

the Te D e u m Th ese whi c h w ere the ear li est hy mns of the

.
,

C h u r ch h av e bee s u cc eed ed by th ou s an ds of oth e r s am

,
n ong ,

whi c h the most s u bli me is the D i es I rze .

The Bibl e has ac t ed wi th di rec t i nfl u ence u p on two g r eat

En glish poe ts wh ose wor ks a e fu l l of nobl e p ass ages Th es e
,
r .

are Ca ed m on a n d M i lt o n T he A ngl o S ax on poet Ca . adm on -

w r ote a p ar aph r ase of S c r i pt ur e an d th us exp ressed in his own ,

l an gu age the th o ug h ts of the great original S ome of th ese .

ar n ot u n w orthy of that nam

e e wh ich he he a rs th e A ngl o ,

S ax on M i lton
N ug ht h r a y t av cav r g l m
o e e s e s e e n oo
Ha d b bu t thi wid aby
een , s e ss

S t d d p a d d im tra g t th L r d
oo ee n , s n e o e o ,

I dl a d u l
e nO thi with hi y l k d
se ess. n s s e es oo e
Th fi m u l d Ki g a d b h l d h r gi
e r -
so e n , n e e t e e ons

V i d f j y — aw dark cl ud
o o o s s o s

L w r with p r p tu al i g ht gl my u d r th ki
o e e e n , oo n e e s es,
W a a d w a t u ti l th i w rl d cr ati
n n s e, n s o
’
s e on

Ar thr ug h h w rd f h Ki g f g l ry
ose o t e o o t e n o o .
 Tfi e S ublime .
40 1

Of M ilt on Q u i n cey s ays th at he i s not a p oet amon g

, De
poe ts bu t a p ow er among po w er s an d th at h e al on e exhibits
,

the subl i m e n ot fitfu lly and at i n t erv als bu t in a s u st ai n ed and ,

u n i n t er mitten t man n er The subj ec t of P ar adis e Lost is of it

.

s el f of thi s d es c r ipti on The ch ar act e r s ar e G od angels d ev

.
, ,

i ls an d n ew mad e man The sc enes are h eav en h el l and

,
-
.
, ,

p ar adis e The angeli c b ei ngs are c r eat ed by the p oet s own

.
’

i n v en ti on ; e v en th ei r l angu age has to be c r eat ed and the d ia ,

l ect which th ey sp eak has ag r an d c ad en c e of the t r u e M i lt on i c

ch ar act e r The fi r st s ec o n d an d thi r d b ooks c o nt ai n a su s
.
, ,

tain ed fl ight i n t o the l oftiest r egi o n s of i m agi n ati on wh er e all ,

i s subli me and wh er e i t is di ffic u lt to s el ec t any on e ex ampl e

,

in p refer enc e to any o th er

H im the A m ig Po l hty wr e

H u ed earl h l
d ong fl ami ng f o m th e e e r th r al e sky,
W ith hi ri
d eous u n and co mb u s i on , d o t w n

To bo omess pe d i on ,
tt l r ti e e to d e th r w ll
ti h i
I n ad aman ne c ans an d pena fir e, l
rt y
W ho d u s def the O mn po en to a i t t rm s.

The th u d r n e ,

W i nged with red li g ht ni ng and e o s e i mp t u u r ag ,

Perh aps h ath s pe n t his s h aft s and cea ses n ow ,

To be ll ow throug h the v a st a nd bo u nd l ess d eep .

To be no more w ul d l: sad cu re . F or who o ose,

Th ug h full f pai thi i t ll ct ual b i g

o o n, s n e e e n ,

Th th ug ht that wa d r thr ug h t r ity

ose o s n e o e e n ,

T p ri h rath r w all w d u p a d l t
o e s e , s o e n os

I thn wid w mb f u cr at d i g ht
e e o o n e e n ,

D v id f a d m ti
o

e o o sense n o on

Bl ack it t d a igh t s oo s n ,

Fi rc a t fu ri t rri bl a h ll
e e s en es, e e s e ,

A d h k a d r adfu l d art wh at
n s oo m d hi h ad
e : see e s e
Th lik f a ki g ly cr w had ”
e eness o n o n on .

H ail h ly li g ht ! ff p ri g f h av
, o fi t b r o s n o e en rs -
o n,

f th E t r al c t r al b am ”
O r o e e n o e e n
~
e .

L wly r v r t o e e en

T ward ith r thr th y b w a d t th gr u d

o s e e one e o , n o e o n ,

W ith l m ad rati d w th y ca t
so e n o on , o n e s

Th ir cr w i w v with amara t a d g l d
e o ns n o e n n o .

I mm rt al amar a t a fl w r whi h
o n ,
o e c o n ce

In P ar ad i fa t by th Tr se, f Lif s e ee o e,
40 2 E lemen ts f Ritetor ic
o .

Began bl oom; but soon for man s offence

to
’

T o h eav en r e m o v ed wh ere fir st it g re w th e re grows , ,

A n d fl o w ers al o ft s h ad i ng the Tr ee o f Life ;

A nd wh ere the Ri v er of Bliss thr oug h mi ds t of h eav en
Roll s o e E lysi an fl owers her amber stream
’
r ,

W ith th ese that n ev er fad e the sp irits el ect

, ,

Bi nd their res p l endent l ocks i n wr eathed with gems .

Thee Father first they sung O mni potent

, , , ,

I mmu tabl e I mmort al I n finit e

, , ,

E ternal Ki ng ; the A u thor of all being ;

Fou n t ai n of li g ht Thysel f i n v isi bl e ,

A mi d the g l o ri ou s brig htn ess wh er e Th ou sitt est ,

Throned i naccessi bl e ; bu t when Thou shad est

The fu ll blaze of Thy be ams and thr oug h a cl ou d ,

D rawn rou nd abo u t Thee like a rad i ant shrine ,

D ark with ex cessi v e b rig ht Thy skirts appear .

”

A mong o th er E ngl ish poe ts ex ampl es abo u nd G r ay in .

, the
foll owi ng , seems to h av e c aught M il t on s own i nspi ration ’

h tr bli me
.

N or c
he t a od e su
se o nd

Up r ph wi g E t y
on the se a n s of cs as ,
rt by
T he sec e s o f the a ss to spy .

p He a fl i gb
ssed the amn p tm
o u nd s o f s a ce and i e
l v i g thr pp hir bl
,

The i n one, t he sa e az e,
h r g l tr bl whil th g
W e e an e s em e e ey az e,
b t bl t with x
H e saw ; u as ed li ght
e ces s o f , ,

l y l ig ht
C osed his e es in end ess n
”
.

Byron afl o d s mo r e p ass ages of th is l oft y an d th ri l l i ng ki n d

'

th an any oth e r poe t si n c e M i lt on H is i mpetu ou s and vehe .

me t pi r it is alw ays r ady to r ise to the l ev el of the high est

n s e

th emes and the vigo r of his l angu age n e v er fail s H is Th u n

,
.

d e t o r mo n J ur a B attl e of W at er l oo and A dd ress to the O c ean

r- s , ,

may be cited as ex ampl es .

Wo r dsw orth is too philomphic al an d c ont empl ativ e to ex

bibit mu ch of so fe r vid a q u al i ty ; bu t i spi te of th is in his ,
n ,

O d e o I mmo rt al ity he has rise n to a h eigh t of g r and eur at

n

tain able bu t by fe w .

C ampb el l s vigo r o u s m
’
us e fr eq u en tly r is es to the s u bl i me ,

and pe r h aps att ai ns i ts high est po w er in H oh enli n d en .

G r eat subl i m i ty of co nce pti o n and exp r essi on is exhibit ed

by S h e ll ey in the fi rst c ant o o f the R evol t of I sl am an d in the ,

P r ome th e u s U nb o u nd M rs B r o w n i ng s S e r aphi m an d D r ama

. .
’
,

of E x il e which a e to the infl u enc e of S helley s poetry

’
,
re d u .
,
34
304 E le ments f
o Rlzetor ie .

C HA P T E R I I I .

THE R I D I CU LO U S .

5 43 2 . r ue R l D lC U LO US .

TH E ri di cu l ou s has r efere nce to t h os e th i ngs wh ich c ondu ce

to m i rth ful ness l aught e r o r d e ri si on The t er m l udi crou s ”
, , .

is oft en u se d as i n t e r ch ang eabl e wi th it .

Th er e are so me who d isti ngu ish be tween the two assoc iat ,

ing the fo r m er wi th co n t em pt and the l at te r wi t h mi r th fu l ness ,

but t h is i s a di sti nc ti on which can not be i nsist ed on and the ,

term r idi c u l o u s may be c onsid e r ed as t he mo r e c o mp r eh ensiv e

of the t wo .

Th e sou rce o f the ridi c u l ou s li es in the pe r c eption of incon

gru ity T he l aws of mi nd and e xpe ri en c e l e ad u s to an ticip ate
.

a r egul ar or d er in id eas or in ev en ts such as th e l ogi cal se ,

que nce of cau se and effec t an t ec ed e n t and c o n se q u en t ; the ,

p r ope r c l ass ific ati o n of ge n us and S peci es ; the su bo rdi nati on

of a p a r t to the wh ol e the l ess to the greate r an d the l i ke
, ,
.

By i n con g ru i ty is mean t the vi o l ati on of this o r d er an d the ,

efl e c t of this is to exci t e wi t hi n the m i nd a se nse of the l u di

c rou s .This is ill u st r ated in the fo ll o wi ng c as es .

1 Ca u se and eflec t Wh er e th e re is a gr eat p arad e of p rep

'

. .

ar ati on wi t h out any r esu lt wh atev e r : as

The ki g f Fra c with twic t th u a d m

n o n e, e en o s n e n,

Ma c h d u p t h hill —a d th
t e emar ch d d w agai n en e o n n.
"

2 A n tec ed t and co
. ens qu en t Wh e r e th e r e is an inconse
n e .

quen tial s t at m t t h at
e en i s wh er e on e s t at emen t fol l ows an
.
,

o th er with o u t any c o n ne c t i o n be tw ee n t h e m: as

To wh o k ig ht wi th c m ly grac
mthe n , o e e,

P ut fl hi hat
o
’
pu t hi ca
s , to s se.
”

H i h ead wa tu r d a d
s sh ch w d ne , n so e e e

Hi p i gtail till h d i d
”
s e e .
 Tlze R id iculous .
40 5

3 C l assific ati on
. . Wh er e disc or d an t th i ngs are j u mbl ed to
geth er : as
N ot l
u der shri eks to p itying h eav en are cas t
o ,

W h en h usbands or wh en l apd ogs breath e th eir la ts .

4 Co. mp ar is on Wh er e the r esembl an c e is

. rmed b etw een
affi
t wo to t al ly i nc ongr u o u s obj e c t s wh ich , ,
h ow e v er are s ai d to ,

h av e one thi ng in c ommo n as

Lik a l b t r b il d th m r
e o s e o e e o n,

Fr mbl ack t d b g a t t u r
o o re e n o n.

5 . C o nt ast r . Wh ere an u nexp ec t ed and vi ol e n t c on t r ast is

p r es en t ed
I r ally tak it v ry ki d e e e n ,

Thi v i it M S ki r s s , rs. n ne .

I h av t y u uch a a g e no seen o s n e

A id r (Th wr tch ha c m t di
c. r) e e s o e o nne .

T he s en s e of th e r id ic ul o u s is a wid ely d i ffu ed a the s n s e s s s e

of the b a u ti fu l and di ff r s acc or di g to the tast in the s am

e , e n e e

way T he cl o w n enj oy c oar s e j ok s whil the ma of c u l t u r e

. s e , e n

can o ly a pp r eci at e r efi ned wi t a d is di gust ed by th at wh ich

n , n s

i amu i g to the oth e r whi l t the o th er th l igh t an d g r ac

s s n ,
e o e e

ful r aill e r y of the educ at ed man ms u n i nt el ligi bl e se e .

4 33 . W IT .

T he chi ef el ements of the ri di c u l ou s are two, n a ely , m wi t

an d h u mor .

I Wit
. .

Wi t is ac ertai n qu ick n ess of fan cy by which i d eas see mi ngly , ,

i n c o n g ru ou s are ass oci at ed in a p oi n t ed an d amusi ng man ne r

, .

I t may als o be d e fi n ed as a su dd e n associ at i o n of i nc o ng ru

o us th i n g s exp r essed in b r i e f an d st r i ki n g l an gu a
,
ge .

I n wit th e r e ar e th r ee r equ i si t e s
r st P o i n t ed exp r essi o n s u ch a
. s a n tith e si s whi ch i s oft en
, ,

u s ed ; or any oth e r for mwh ich may ser v e this p urp os e .

2 d B r evit B r evi t y is the s o u l o f wi t

.
y . .

3 d Th. e a sso ci at i o n o f i n c o n g r u i t i es : a s

The general is ag t tak r f u ff a w ll a f t w

r ea e o sn s e s o o n s.

B ath thi t my wi f d th li ;
en e s s on e e o e

Sh w at r t — a d
’
e s no am I es n so .
406 am o f Rlietor ic .

S yd ne y S mi th s
wis h to tak e off his fl esh and sit in his
’ “

bon es is a w e l l k n ow n ex ampl e
” -
.

Wi t is associ at ed with po i n te d l anguage I t mak es use of .

ar ti fici al fo rms o f exp r e ssi o n whi c h ar e som eti me s cl asse d ,

amon g the fig u r es of speec h A n tith esis is v ery l argely em .

pl oyed for p u rposes o f thi s ki nd ; an d th er e are ot h er fig ures

wh ich are u s ed excl u sively in t h i s way su ch as p aronomasi a , ,

an d all pl ays o n w o r ds Wi t i s empl oye d in the fol l owi ng : .

T he ho n m ot the d o u bl e e nt en d r e e pig r a
-
,
m in nuendo i rony -
, , .
, ,

l ampoon p asqu i n ad e re p artee sar c as m s n ee r

, , , , .

Wit i s el abo r ately d efi ned by D r I s aac B arr ow .

It i a thi g v r atil a d mu lti f rm app ari g i ma y h ap

s n so e s e n o , e n n so n s es,

so ma y p t u r n ma y g ar b
os v ari u ly appr h d d by v ral y
es, so n s, so o s e en e se e e es

a d j ud gm t that it
n m th en s, l hard ttl a cl ar a d c rtai
se e e no ess to se e e n e n

no ti th r f th a t mak ap rtrait f P r t u t d fi th figu r f

on e eo n o e o o o e s, or o e ne e e o

th fl e ti g ai S m ti m it l i th i pat all u i t a k w t ry i
ee n r. o e es e n s on o no n s o , or n

a abl appli ati

se son f a tri v i al ayi g
e c i f rgi g a app it tal ;
on o s n , or n o n n os e e

so m ti m it p l ay t h w rd a d p hr a taki g ad a t ag fr mth am
e es e on o s n ses, n v n e o e

big uit y f th i o th a ffi ity f e

e r sense or u d S m tim it i wrapp d
e n o so n . o e es s e

i ad r
n f bum u xp
ess o i ; m t i m it lu k t h md a dd i
o ro s e ress on so e es r e t er n o s

mili ud ; m ti m it i l dg d i a ly q u ti i a mart a w r i a
t e so e es s o e n s es on, n s ns e , n

q u irk i h r a i a hr wd i ti mati i cu i gly d i v rti g cl v rly

s e s on , n s e n on, n nn n e n or e e

r t rti g a bj cti
e o n m tim it i c uch d i ab l d ch m f p ch
n o e o n ; so e es s o e n o s e e o s ee ,

i a t art ir y i a l u ty hy p r b l i a t artli g m t ap h r i a pl au i bl
n on , n s e o e, n s n e o , n s e

r c cili g f c tradicti
e on n oi acu t on ; m ti m a c i cal
ons, o r n e n o nsense so e es s en

r pr tati f p r
e ese n thi g ac u t rf it p ch ami mi cal l k
on o e so ns or n s, o n e e s ee , oo or

g t u r pa th f it
es e m ti m a afl t d i mp li ci ty m ti m a p
ss e or so e es n ec e s , so e es re

s u mpt u u bl u gi v th it b i g
o s m ti m it ri th ly u p al ucky
nt ness e e n ; so e es se on on

h itti g u p wh at i tra g
n on m ti m fr m a cr afty twi ti g bv i u
s s n e ; so e es o s n o o s

matt r th pu p & ft it c i t i
e to e r k w t what a d pri g
o o en on s s s n o ne no s no , n s n

et h up a hard ly t ll h w I
one c n way a u acc u tabl a d i pli
e o . ts s re n o n e n nex

cabl b i g a w rabl t th umb rl r vi g f fa cy a d wi d i g f

e, e n ns e e o e n e ess o n s o n n n n s o

l a guag It i i h rt ama r f p aki g ut f th impl a d pl ai

n e s, n s o n ne o s e n o o e s e n n

way— uch a r a t ach th a d pr v th thi g by—which by apr tty u

.
,

s s e so n e e n o e n s e s r

p ri i g u c u th
s n i c c it
n o xp i d th aff ct a d amu th fa cy
ness n on e or e r ess on o e n se e n ,

s tirri g i it m w d r a d br di g m d lig ht th r t
n n so e on e , n ee n so e e e e o.
”

U MO R 5 4 34 H .

H u mor may be d efi ned as the qu ality o f fancy whi c h gi v es

to thi ng s a r i d i cu l o u s tu rn and e v o k e s mi rt h fu l n es s .

H u mor is mor e p rol o nged in d u r ati o n th an wi t which is fit ,

ful sh or t liv ed and assoc i at e d with b r evity an d po i n t of ex

.

, ,

p r essi on and great artificiality in the st ru ct ur e of sen t ences

, .
40 8 E [ments f
o Ritetor ic .

We hear most imp babl tal es at this d i tance P ray is it t rue that
the ro e s .
,

the y o ung S part ans a mong youa e bo rn with six fingers whi c h spoils th eir r ,

scan n i ng It mus t l oo k v ery odd but use reconcil es Fo their scansi on

?
,
. r

it is l ess to be regr etted fo if th y tak e it i nt o their h ead s to be poe t it is

,
r e s,

od d but th ey t ur n out the gr eate r part of them vil e pl agi ari t

s , I th er , s s. s e

muc h d ifi nce to see too be tw n the son o f a th f and the grand son
'

e re , , ee ,

o rwher d oe the tai n t st p ? D o you bl eac h in three i f ur gene ra

e s o or n o

tio n s D y o u gr ow y our o wn he mp ? W h at is yo ur t apl tr ad e ex

o s e ,

e l u iv f th n ati nal pr fes si on I mean ? Y our l ocksmiths I tak e it are

s e o e o o , , ,

so m e of y o ur great capit al ists ”

.

§ 43 5 A N D H U M O R m mous a m saar v ns
. wrr .

I t h as ofte n bee n remar k e d th a t th e F re nc h are m ore g i v e n

t o wit an d th e E n g l i sh t o hu mo r Th i s is d u e i n p a rt t o n a
, .

tio n al c h ara c t e ri s ti cs b ut i t is a l so d u e to th e d ifferen c e b e tw ee n

,

th e F ren c h an d E n g l i s h l an gu ag e s Th e former h as grea t er .

p re c i s i on an d n i c e ty of e xp re s si on th an th e l a tt er an d a l arger ,

s u pp ly of th e v ery qu a l iti es whi c h be s t se rv e th e p u rpo s e of

wit Thu s th e wh o l e ge n i u s of the peo p l e an d of th e l an gu ag e
.

tu rn s t o d e l i ca cy an d s u b tl e ty of exp res si on a n tith e ti c po i n t , ,

an d sp ar kl i n g e p i g ram .

E n g li s h lit era tu re i s h o w ev er s u ffi c i en tly r i c h i n e x am p l e s

, ,

of wi t an d w r i t er s e qu a l t o th e v e ry b e st of th e Fr e n c h h a v e
,

fl o u r i sh e d i n e v e ry a ge from Lo rd B ac on t o M a tth e w A rno l d

, .

N o t a fe w of th e E n g l i s h wit s h a v e e n l a rge d th e i r v ocab ul ary

an d s h ar pe ne d th e i r e p i gram m a ti c po i n t by a c l o s e s tu d y of
F re n c h mo d e l s I t w as th e p re v a il i n g F re n c h t a st e th a t m ay
.

be s a i d t o h a v e i n flu en c e d th e g rea t e s t of al l E ng l i s h wit s
Al e x an d er P o pe .

H u mo r h ow e v er i s ra th er p e c ul i ar t o the E n g l i s h gen iu s
, , .

N o o th e r n a ti on h a s so en ti re ly a pp ro p ri a t e d i t nor c an an y ,

o th er sh o w s u c h a bod y of hu moro u s l itera tu re whi c h is so

t r u ly grea t I n d ee d th e v ery w o rd hu mor c an sc a r c e ly be
.
“
,
”

tran s l a t ed I t i s as h as b een s h o w n m ore p ro l ong e d an d

.
, ,

s u st a i ne d th an wi t ; i t i s a ssoc i a t e d with s i m p l i c ity n a i v e t e , ,

e v en home l i ne ss of e xp re ss i o n an d i s a d a p t e d t o th e p l a i n ,

s t ra i g ht fo rw ard an d u n p r e te n d i n g n atur e of th e A n gl o S a x on
,
-

ra c e an d s pee c h With th e se i t a l so b l en d s ki n d l i n e ss g en ia l
.
,

i ty an d sy mp a t hy
, .

I n c h ar ac t e r it d i ffer s a l t oge th er from wi t F or wi t i s k ee n .

an d p iti l e ss b ut h u mor i s m il d an d g e n tl e w it i s for e nem i e s

, ,
 Tlze R id iculous .
409

hu mor for fri e n ds ; th e one i s an a l ly t o m oc k ery s ar c a s m an d , ,

m a li g n ity ; th e o th er i s c l o se ly a s so c i at e d with p a th o s an d the ,

l a u g ht e r th at i t a w a k e n s i s oft e n near aki n t o t ear s .

W it i n E n gl i sh l it era tu re h a s b ee n il l u s t ra t e d by s u c h n ame s
as Lo r d B ac on S ir Th oma s B ro w ne J erem y T ayl or D ry d en
-
, , , ,

P o pe Butl er S h er i d an J er r o l d Sy d ne y S m i th M a tth e w A rno l d

, , , , ,
.

H u mo r by Ch au c e r S h a k e sp ea r e wh o al so e x h i b it s wi t i n
, ,

e qu a l mea su r e A dd i s on Stee l e Swi ft Go l d sm ith St erne Fi e l d

, , , , , ,

i n g Th ac k e r a y D i c k e n s
, , .

H u mor h a s a l so b ee n e x hi b it e d i n art by Hog ar th Cruik ,

s h an k Lee c h Te n n i e l D u M a u rier
, , , .

A m on g th e p eo p l e s wh o form th e g r ea t E n g l i sh sp ea ki n g -

r ac e th e r e is a d i ffe re n c e t o b e o b se r v e d i n re g ar d t o th e l it er
a tu re of th e r i d i c ul o u s Th e E n g li sh p r o p er th o u g h e x hi b it
.
,

i n g a s u ffic i e n t amo u n t of wi t l ean s ra th er t o hu mor th e c h ar , ,

ac te ris tic s of whi c h a r e d ro l l e ry sly s u g e s ti v e ne ss d e l i c a t e ,

g
,

i n s i n u a ti on s an d oft en s om e th i n g th a t i s no t far remo v e d from

,

p a th os S c o tti sh hu mor is a t on c e d ry a n d s ly Ay toun s

. .
’

F airshon affor ds a goo d e x am p l e

Fair shon w ore a fe ud s

A gai nst ta cl an M ac Tafish ,

M arc hed i n t o his l ands

Ta pl un d er an ta rafish ;
F o he d id r eso lv e
r

Ta extir pat e ta vi pe r s ,

W ith f ur an tw enty men

o ,

A n fi fe an thirty pi pers .
”

Th e I ris h are c h ara c t e ri ze d b y wit qui c k re p art ee an d k een , ,

i n s i g ht Th e i r hu mor e x h i b it s b roa d fu n an d j oy o u s ne s s a s
.
,

s u gge s te d in th e w or k s of L o v er an d Le v er One ki n d of hu .

m or is p e c ul i ar t o t h em an d i s k n o w n as th e I r i s h Bull A n
, .

e x am p l e of thi s m ay b e fo u n d i n th e fo l l o wi n g
Lad i esgen tl emen sai d an Irish manager to hi aud i en ce of three
an d , s ,

as th er e is n obod y h e r e I ll d i mi y o u all t he pe rfo r man c o f thi s n ight

’
, s ss e

will n ot be per formed but will be repeat ed t morr w ev n i ng

, o -
o e .
”

A mer i c an hu mo r i s c h ara c t e ri ze d by e x t ra v a an c e an d i s g
,

illu s tr at e d b y the w o rk s of A r t em u s W ar d an d o th er s wh o h a v e
a w or l d wi d e p o p ul arity
-
.
4 10 E lement s f
o R /zetor ic .

ms RI DI C U LO U S m L IT E RA TU RE
§ 43 6 . .

Thi s m a y be con i d ere d u n d e r tw o d i v i s i on s

s

1 . Wh ere th e rid i c ulo us a ppears as u s e d for i t se l f on ly an d ,

wi th o ut an y ult erior p u rpo se b ut wh o lly for th e s a k e of exc it ,

i n g l a u g ht er or afl o d i g am u se men t Here th e r i d i c ul o u s it
'

r n .

se l f i s th e en d p ro po se d .

2 . Wh ere th e ri d i cul o u s i u se d with a p u r po s e s .

By a p u r po se i s mean t some a i m be y o nd mere l au g ht er or

m i rth ful ne ss t o a tta i n whi ch th e ri d i c u l o u s is m a d e u se of
,
-
.

Here i t i s u s e d as a mean s no t as a n en d , .

43 7 . TH E A P U RP OS E
R tD tC U LO Us wrmour .

1 Th e r i d i c ul o u s with o ut a p u r p o s e c om p re h en d s a ll th a t is
.

g enera lly u n d er s t oo d u n d er th e t erm b u r l es qu e wh i c h m ay be ,

c l as si fi ed as fo l l o w s :
r st P oe try
. T o thi s c l a ss be l on g s th e poe tr y k no w n a s
.

m oc k h ero i c Al th o u g h thi s is some ti me s s a ti r i c a l a s th e

.
,

R a pe of th e Loc k y e t it is i n i ts or i gi n m ere ly b u r l e squ e I ts

, .

po pu l ar ity i n an c i en t ti me s is a tte s t e d by th e Batrac ho myo

m a c h i a fa l se ly a s si g ne d t o H ome r M od ern b u r l e s qu e p oe t ry
,
.

i n c l u d e s th e I ngold sby Leg en ds Th a c k e r ay s b a l l a ds Bon G u a l ,

’
,

t i er s poem s
’
.

2 d P rose Lo v er s H an d y A n d y an d Th a c k eray s O Ga
’ ’ ’
. .

h ag an are amon g th e be st e x am p l e s of p r o s e b u r l e squ e Th e s e .

book s a ffor d pe rfe c t re p r e se n t ati on s of th e r i d i c ul o u s p u re ,

an d si m p l e ; th e a tmo sp h ere i s one of b roa d fu n an d th e ,

o bj ec t for whi c h th e y w ere w r i tt en is s i m p ly th e e xc i tem en t

of l a u g ht er .

3 d .D ram a ti c U n d er thi .s h ea d are i n c l u d e d th e far c e th e ,

com i c m e l od ram a C h r i st m as p i e ce s an d e x t ra v agan zas s u c h

, , ,

a s Al a dd i n th e W on d e rful S cam p e t c , .

4 th S oc i a l
. Thi s c om p ri s e s a ll th o se mo d e s of th e b u r
.

lesque whi c h are i n c l u d e d i n l i t era ture an d b e l on g t o so c i a l li fe ,

— su c h as j e s t s en i g ma s c on un d ru m s d ro ll e rie s hu moro u s an
, , , ,

e cd o t e s an d th e l ik e
, .

Th e b url e squ e h as i ts own u s e s wh i c h are no t u n i m port an t , .

I t t en ds t o p romo t e c h ee rful n ess T o th o se wh o a r e en g age d .

i n s e v ere i n t e l l e c tu a l p u rs ui t s it affor ds an agree ab l e an d ben e ~

fic ial rea c ti on P hy s i c a lly it i s as v a lu a b l e a s bo d ily e x erc i se

. .
4 1 2 E lements of Rhetor ic .

S o me exp re ss a se n ti me n t or a sp i ra tion
“
P raying or pray e rless give us g ood thi ngs Zeus !
And e en th ough prayed for e v il thin gs refuse —Pu ro
, ,
’ ” '
. .
, ,

Some are e ul ogistic

H eliod or us v oice by all th at s d ear
’ ’

te to ba rf —M m
, ,

sweeter tha n A poll o s l u

’
Is

S om e are p a th e tic
“
W hen Arria to he e tus gave the ste el
hi ch from her bleeding si de di d ne wly part,
W
For m y ow n w ound , she sai d, no pai n I fee l,
”—
And yet thy w ound wi ll st ab e to the h ea rt MAR m . TIAL
O n Di d o
“
Poo r queen, twi ce d oo med d i sastrous lo e to try v

A usomu
,

d yin g for the fl yi ng die

”-
You fly the , s . .

A mon g th e an cien t e p i g ram s h o w e v er th ere ma y be fo u n d , ,

e v ery d e g ree of sa ti re from th e l ig ht es t ra il l ery t o th e fi er ce s t

,

a b u se Th e fo l l o wi n g are d is ti n ct i v e ly sati ri ca l
.

“
The dyi ng mise r we pt not li fe to en d
l so muc h to spend —
, ,

But on his funera

”
N I CARC H US . .

“
Ten pounds I begged with h al f th ou bidd st m e speed ;
'

Next time I ll ask thee twice what I have need —M u m r

,
' ”
. .

You ask m
“
e why I hav e no v erses sen t ,

For fear yo u s h ul d return the c ompli m en t M ARTI AL ”

o .
-

A doct or l ately was a captai n mad e

“

It is a c h ange of ti tl e not of trade —M ARTI A1 , .

”
.

“
Thou art so tame and simpl e in thy l ife ,

I wonder how th ou e er coul ds t court a wife —M ARTIAI ’

.
”
.

The g ol d en hair that G all a wears

Is he rs who would hav e thought it !
,

S he swears tis h ers and tru e she swea rs

’
, ,

For I kn ow whe re she bought it —M ARTI AI .

"
.

“
Tis said th at certai n d eath awaits
’

The raven s n ightly cry ;

’

Bu t at the soun d f C ymon s v oi ce

’
o

The ve ry rav ens d ie —N I CA RCHU &

”
.

“
A vi per stu g a C appad ocian s hi de
n
’
,

A nd poisoned by his bl ood that i nstant d ied ”

.

—D £M ooocus .
 Tli e R id ic ulous .
4 13

M o d ern e p i gram s are c hi e fl y of a sa ti ri c a l c h ara c t er .

Th e fo l l o wi n g w e ll k no w n e p ig r am on W o l se y i s rem ar k a b l e
-

for i t s a ll it era ti on
Begot by butch er but by bish op bred , ,

H ow high his highn ess h ol ds his haughty head —H E YWOO D .

On Po p e s t ran s l a ti on
’
of H omer
P ope came ofi c l ean with H omer ; but th ey say
'

B r oome w en t before and ki nd ly swept the way —H EN LY .

”
.

A re p art ee a t th e e xp e n s e of th e c l ergy
“
S ai d C l i a t a r v r d d a
e o e e en e n,

W h at r a a b giv
‘
e s on c n e e n,

S i marri ag i a h ly thi g
nce e s o n ,

Th at they h av e none in heaven ? ’

‘
Th ey h av e says he no w omen there
,
’
, .
’

S he q ui c k ret ur ns the j es t ,

‘
W omen th ere are but I m afrai d ,
’

Th ey cannot find a pri est .

’

A J ac o b it e e p i gram
G od bl ess the K
i ng ! God bless the faith s defender, ’

k
The devil t a e t he ope and the Pr et end er P .

W ho t he Pr etender is and who the i ng K

God bl ess us a ll 3 is uit e anoth er thi ng —D R BYRO M
q . . .

U ne xpe c t e d k i n d ne ss
0 a e me, d ea an e , one oc of ou a
sp r
r g l l k y rh r i , ’

Ab h ly gl v rt k rg
as fu o un o e igh
oo cou a e and s ed .

Tw r r
e e a s in to e fu t
se o u so m
r yr od es a p a e
y ,

So a e m
t k wh l wig w t r t r r li
’
y o e , t he s ee c eau e e p ed .

th e s e tti n g up Butl e r
-
s
’
m on u men t i n W e s t m i n s t er A bb e y
W hil t B utl r
s y wret ch was yet aliv e
e , need , ,

N o ge ner o u patr on w o ul d a d i n ner giv e ;

s

S ee him wh en st arv ed to death and t urn ed to d u

, st ,

Presen t ed with a m nument al bust o .

The poe t s fat is h e r e in mbl em sh o w n

’
e e

H e ask ed for br ead and he r ece iv ed a st one — 8 W ESLEY

, . . .

H arry I t thi nk says D i ck

, canno ,
’
,

W h at makes my an kl es grow so thi ck .

’

‘
You d o no t r ecoll c t says H arry e ,
’
,

H ow gr eat a cal f th ey h av e to carry .

4 14 E lement s f
o R/ietor ic .

A d vi ce to a d ram ati s t
“
Y our comed y I ve read my fri end ’
, ,

A nd lik e the ha lf y ou pil fered best

B ut sure the d r ama you might mend
Tak e courage man and st eal the rest ”
, , .

On a p arson wh o h ad l o s t h i s port m an tea u

“ ‘
I
’
vel ost my por tmanteau .
’

I pity y our grief

‘
.
’

‘
Al l my sermom were in it .
’

I pity the thief)

‘ ”

W ritte n on a l oo ki n g g l a ss -

I change and so do women too ;

, ,

B ut I re flec t whi ch w omen ne v er , do .

”

O n h earin g a d e bat e i n th e H ous e of Com mon s

To wond er now at Balaams as w ere w eak ;
’
, ,

I s the re a night th at asses d o no t speak

On a b an k rupt l a t e ly tu rne d p rea c he r
No m or e by cr ed i to rs pe rpl exed .

O r rui ned trad es m ngry di n ;

’
en s a

He bold ly preac hes fr om the te xt ,

A str anger and I took him

‘
,

A F ren c h e p i gram a dd re ss e d t o M on s i e u r M on his

n om i na ti on t o th e Le g i on of H onor :
“
I n anc i en t ti mes— twas no gr eat l oss ’

They h ung a thi ef upo n the c r oss ;

B ut now alas ! I say t wi th gri ef
’
, ,

They hang the cross upo n the thief .

On P rin c e T al l e yran d
Seven citi es boas ted om e r s bi rth, tis tr u H ’ ’
e
B ut tw en ty bo ast o f not pr od uci ng you "
.

M od ern e p i g r am s are no t a lw a ys s a ti ri c al and of th e ,

m o s t be a uti ful a r e ful l of e l e v a t e d sen ti m en t .

A l iterary e p i gr am
“
Three poet s in three d is tan t ages born
, ,

G reec e I taly and E ngl and did ado rn ;

The firs t in loft inws of th o ught surpmé
, ,

g ,

The next in m aj es ty in bo t h the l ast , .

The fo r ce of N at ure co ul d no fart her go

T o make a th ird she joi ned the fo rm e r two —D 1tYD EN . .
 E lem Rlzetor zc
'

4 1 6 ents f
o .

Th e t erm is d eriv e d from th e R om an fas hi on of fi x i n g p l a c ar ds

i n sc ri be d with sa ti r i c a l e p i g ram s o n th e m u ti l a t e d s t a tu e of
P asq ui n .

B rag an d Gra b
The i ni tial s of B rough am R ussell Al tho rp and G rey , , , ,

I f rightly d i posed the w o rd B ag will d isplay ;

s r

Tran pose th emand G ab will appear to the vi ew

s r ,

W hi c h hi n ts at wh at many asse rt to be tr ue
Th at th ey lik e fo rmer statesme n sti ll foll o w the pl an
, ,

F irst to brag wh at they ll do and th en grab all th ey can

’
, .

Th e fo l l o win g by L an d or is more b i tter

G rg eo e the Fi t
rs was reckoned vil e,

il er G eorge the Second ;

V
And wh at m o rt al ev e r h eard
An y good f George the Third ?
o

W hen from earth the Fourth ascended ,

God be pr a ised the G eo rges end ed,

A POO N 5 44 2 . L M .

Th e l am poon i s a b u s i v e s a ti re c h i e fly i n th e e p i gram m a tic ,

form I t i s per s on a l an d sc u rr i l o u s A w e ll k no w n e x am p l e
. .
-

m a y be fo u n d i n By ron s v e rse s be g i n n i n g Born i n a g arre t

’
, ,

i n a kitc h e n b re d .

5 44 3 . BO N M OT -
.

By th e bon mo t i s m ean t a h a pp y s a yin g c h ara c te ri ze d b y

-

wit ac ut ene ss an d e p i gram ma ti c t erse ne ss

, , .

S p h wa giv t ma t
eec s al hi th ught —A r r I BU
en o n o conce
T s o s.
” ‘

R
'
rE D O
TALL Y RAND
E .

O rth od oxy is my doxy . H et rod xy i

e o s anoth er man s doxy —B lSHO P
’
.

VVA anuar o x .

NO man is a hero to his v al et —M A DA M E D E S EV tc N t . .

Do gmati smis t he mat urity O f puppyis m — D O U G LAS J E RRO LD

”
. .

B ost on S t ate H ouse is the hub of the sol ar syst e m — O W H O LM ES

-
.
”
. . .

N O man was e v er w r itten out of r eput ati on but by hi msel f — B ENTLE Y . .

G od h el ps th emth at h el p th emse lv es — B ENJA M I N F RAN K LI N

”
. .

PAR O D Y 44 4 . .

Th e p aro d y i s th e a d o p ti on O f th e w or ds of a w e ll k no wn -

a uth or wh i c h are d i v e rt e d so a s t o g i v e a d i fferen t m ean i n g of

a lu d i c ro u s c h ara c t er .
 Tfie Rid iculous .
4 7
1

0, e e us, f om C d ood s ou ,
v r th r hil h ’
h r
I v e see n my fond es o pes d eca ; t h y
’

Ine e v r l v
o ed a ee or o e , tr fl w r
B ut wa
’
s thet s to fad e a a fir t w y .

0, v r th u fr om Chil d h ood s h our

e e s,
’

Thi s c ruel fat e on me h ath fell ;

Th ere alw ays comes a soaki ng sh ow er
W h en I e forgo t my umberell ’
v .
”

P aro d y w as l arge ly em p l oye d by A ri t o ph ane s for th e p u r s

p o s e of tu rn i n g i n t o ri d i c ul e th os e a ga i n s t wh om h e d i re c t e d it .

S oc ra t e s an d E u r i p i d e s w ere i n p ar ti c ul ar th e O bj e c t s O f hi s
fi erc e a tt a c k s A t th e p re s en t d ay i t i b ut s e l d om u e d
. s s ,

e xc e p t fo r li t erary sa ti re O ne O f th e be s t e x amp l e m ay b e
. s

fo u n d i n Ca n n i n g s K n i fe g r i n d er i n wh i c h h e p aro d i e s th e
’
-

me t re th e s en ti m en t s an d th e s tyl e b ut n o t th e w o r d O f
, , , s

S o uth e y Th e R ej e c t e d A dd re sse s of J ame s an d H ora c e

.

S m ith P u n c h s P r i e N o v e l i t s b y Th ac k era y an d o th er s i m
,
’
z s , ,

ila p rod u c ti on s m a y all b e re g ar d e d a s p aro d i e s

r , .

Th e fo ll o wi n g are p aro d i e s on T en n y s on an d B ro w n i n g
“
F r m wh r th riv r h af a d whirl
o e e e e c es n s,

M ix ed with the mur mur O f the breeze ,

I n ouzel h aunt ed will o w tr ees

- -
,

The l augh O f silv e r throat ed gi rl s -

C m ri ppli g l ight ;
o es and c s a een, n ry t l k
T he mll w li k
e o c n l t
of p ae a n d s poon

Thr b thr gh
o s ou g l
the o d en af e noo n, t r
W ith round su es i e c oops e een
gg t v l
‘

b tw .

Th ey h ol d a pi cn i c on the l aw n ,

W i th pie and ro und a v ery d ream

,

O f succ ul en ce ; and fr om the str eam

C ool cl aret fl asks a e d ri ppi ng d rawn
-
r

F or h
un a ped O f d le fea s,
suc , w r i r
r
A s d a e o f c o un en anc e to scan t t
ee o a sm u u a
T t t li n , l l t
b
T he sn u n osed p es O f a e -
ea s ri t l tt r y r
—N
.

— A LF R— D T— N N — S .

y oung e t th re T he s e

N ight h awk i the g utt er h at ch ed tr ue W hit ech apel

-
’
, ,

Lo st to C ol enso d ead to hic an d h a ec , ,

A s lik e wi e t v engean ce of J enny s case

s o
’
,
’

E xtr av asat ed j uv en ility ,

4 18 E le ments bf Rhetor ic .

Live ri ng to the LOnd on Ju

gg ern aut
'

offe ,

Yet l ess a soul that H eav en on ce sen t

none the , , ,

A sks and expec ts account of—mark you that !

W i n k ti pped snout tapped and h and spread in fanwise
-
,
-
, ,

R ight th umb on coal gri med snub an d l eft th umb jer ked
-
,

O v er si n i st er c l avi c l e sh ot aw ay ,

Lik e wil d fo T tt en h am C orne r sq ueaking s hrill

r o ,

A s d o r mo u se d od g i ng wh er e y ou hi gh l o ws t ra
, mp -

O v er t he ex q ui sit e wee nes t of her ;

D ye twig m bl w
’
o e n ?
y ,

Th en the slav ey ,

Lawks ‘

44 5 5 . m
sar razc r. G Ea PO ET RY
N E R A L .

S a ti ri ca l p oe tr y m ay be fo u n d e x i s ti n g i n e v ery n a ti on an d ,

p ro b ab ly arise s a t an ear ly pe riod Thi s w as th e c a se i n .

Gree c e wh ere th e n ame s of A rc hil oc hu s an d S i m on i d es are

,

a ss oc i ate d with thi s ki n d of c om po iti on B ut th e w o rk s of s .

A ri t o p h an es p re se n t th e m os t e x t en s i v e th e m o st e l a bora t e
s , ,

th e mo s t v e h em en t an d th e m o s t u n sc ru p ul ou s s a ti e th a t c an
,
r

be fo u n d Th e re so u rc e s of th e d r am a e n a b l ed h i m t o carry
.

per son al ity farth e r th a n c an be poss i b l e no w ; for th e S oc ra t e s ,

th e Eu ri p i d e s or th e C l eo n of h i s p l ay s w as re p re sen t e d before
,

th e peo p l e e n d o w e d by mean s of a m as k with th e fam i l i ar fea t

, ,

u r e s of th e or i gi na l I E n g l i s h th e ear l i e s t spe c i me n may be

. n

fo u n d i n L an g l an d V i i on c on c ern i n g P i e r th e P l o w m an
’
s s s .
”

S k lton s C o l i n C l o ut c ome s ne x t i n ord er of ti me Th e g rea t

’
e .

e s t p oem O f thi s ki n d i n E n g l i h i s B utl er H u d i b ra s wh i c h s

’
s ,

i a i me d a t th e P u r it an p arty b ut more p ar ti c ul ar ly a t th e hy
s ,

p o i
cr s y whi c h i t c on c ea l e d I t i s ful l of th e m. o s t b r illi an t wi t
an d k ee ne s t sarc a s m ; an d t ho u g h th e O bsc u rity of m an y of
th e a llu s i on s p re v en ts i t from be i n g a pp rec i a t ed a t th e p re se n t
da y by th e general read e r i ts bes t p ass ag e s are so w e l l k now n
,

an d wi d e ly qu o t e d th a t th e y are as fam il i ar i n o u r mo uth s as

h o u se h o l d w ords .

Th e R om an s h a d an ori gi na l k i n d of p oe t ry k no w n a s th e
S a ti re.
”
Thi s i s a poe m w r itte n i n h ero i c m e t re v aryi n g i n ,

l en g th from a fe w sc ore of li ne s t o a fe w hu n d re d Th o s e of .

H o r ac e an d J u v en a l are w e ll k no w n e x am p l es whi c h h a v e e x
-

e t d a g rea t i n fl u en c e in m od ern l it era tu r e

r e Bo il ea u amon g .

th e F ren c h c ul ti v a te d thi s form of sa ti ri c a l p oe t ry with s u cc e ss ,

whil e amon g th E n g l i h D ry d en P o pe a d Joh n son are m o s t

e s , ,
n
42 0 Ele énts m o f M on k .

5 44 6 mc ar WR ITI N GS rN r aosa
. sn r . .

P rose sa ti re i s no t of frequ en t occ u rr en c e i n an c i en t l it era

ture Lu cian s D i al o gu es of th e D ea d be i n g th e mo s t conspic
,
’ ”

uous e x am p l e b u t i n mo d e r n ti me s i t h as a ss u m ed a mo e
, r

p rom i nen t po s i tion m an y of th e grea t e s t w or k s of gen iu s i n

,

d i ffe ren t c o u n tr i e s of E u ro pe h av i n g bee n p u t forth i n thi s

fo r m Th e fi e l d h ere i s i n d ee d i m me as u rab l e em b r ac i n g a l l
.
,

th a t J u v e n a l me n ti on s a s i n c lu d ed i n his o wn s u rv ey Quid :

qui d agun t h om i ne s .

Ra be l ai s h as been c all e d th e fa th er of m od ern s a ti re “

.
”

D on Qui xo t e w as d irec te d ag a i n s t th e rom an tic fic ti on of th e

”

ag e and i s s a i d t o h a v e p u t an en d t o it
, Cer v an t e s l a u g h ed
S p a i n s ch i v a l ry a w a y
’
G ul l i v er s T ra v e l s be gi n s with s a ti r
.
” “ ’

i zi n g na ti on al po liti cs an d en ds with a s a ti re on hu m an ity it s e l f

, .

I n th is m ay be see n th e p rogre ss of Swi ft s o w n m i n d from ’

,

m o r b i d me l an c h o ly t o men t al d i se a se be g i n n i n g as i t d oe s ,

with k een sar ca s m wh i c h d ee pe n s i n t o sa v a ge g l oom an d

,

m a d ne ss Th e A dv en tu res of Ba r on M u n c h a u se n was in
.
“

t en d e d t o sa ti r i ze t ra v e l l ers t a l e s Wh at e ly s H i st or i c D o u b ts
’
.
’

re l a ti v e to N a po l eon Bon a p art e is a s a ti re on H u me s argu ’

m e n t again s t m i ra c l e s .

S a ti re wh i c h h as thu s en tere d i n t o w o rk s of fic ti on h as t a k e n
, ,

a p l a c e i n m an y of th e be s t of th e m od ern no v e l s D i c k en s .

i s a s a ti ri st I n O l i v er Twi s t hi s sa ti re i s d i rec t e d ag ai n s t
.
“

th e w or kh o u s e s i n Ni c h ol a s Ni c kl e by ag a i n s t th e c o u n t ry ”

sc h oo l s ; i n M arti n Chu zzl e wit aga i n st th e U n i t e d St a t es ;

“ ”

i n B l ea k H o u se ag a i n s t th e Co u r t of C h an c ery I n a ll of
“ ”
.

Th ac k eray s n o v e l s th e a ti re i s d i re c t e d a g a i n s t th e h o ll o w
’
s

ne ss an d i n s i n c e ri ty of mo d ern soc i e ty H i s mo tto is V an ity .

,

of v an i ti e s an d h e a tt a c ks e v ery th i n g a s a hu ge s h am .

C arlyl e att a c k s sh am s b ut i n a d i fferen t w ay ; an d thu s h e

,

an d Th a ck e ray h a v e thi one th i n g i n c om mon th o u g h th e y are

s ,

as wi d e as th e po l es as u n d er i n e v eryth i n g e l se .

44 7 m r. r sp a
o a m
c s o r T H E R IDI C U LO US
. .

Th e r i d i c ul o u s e xi s ts i n l it era tu re i n m an y sp e c i a l form s of
c om po iti o whi c h a e some ti me s c al l e d figu re s of wi t an d hu
s n, r

mor With o ut a pp lyi n g thi s n ame t o e v ery ca se i t m ay be

.
,

w e l l t o con s i d er th e m i n or d er .
 The R id ic ulous .
42 I

4 4 8 . BA N TE R .

B an t er i s a sp e c i e s of li ght an d d e l i c a t e ra i ll ery wh i c h , ,

th o u g h c on si st en t wi th g oo d fee l i n g amon g fr i en d s i s a l s o a n ,

e ffe c ti v e w ea p on ag a i n t e em i e s Th e fo l l o wi n g i s an e xce l
s n .

l en t e x a mp l e b y th e R e v Sy d ne y S m i th wh o se s a ti re g ener al ly
.
,

ass u me d thi s p l ay ful for m

I d o n ot mean to be d i sre pect ful but the att empt of the Lo rd to st op
s s

t he pr ogr e f r ef r m r emi nds me v e y for c ibly o f t he gr eat s t r m o f S id

ss o o r o

mo uth and o f the cond uct of the ex cell en t M rs P arti ngt on on th at occasi on
,
. .

I n th wi n te r of 1 82 4 th er e set in a gr eat fl ood upon th at t ow n

e T he ti d e .

r ose to an i ncr edi bl e h eight ; the w av es rushed in upon the h o uses and ,

e v e rythi ng wa s thr ea te ned with de tr uc ti n I n the mi dst o f thi s subli me s o .

and t e rribl e t r m D ame Parti ngt o n who liv ed up n the b eac h was een
s o , ,
o , s

at the d oo r o f her h ou e with mo p and patt ens tr und li ng h r mo p sq ueel

s , , e ,

ing ut the
o a w at e r and vig or o usly pushi ng away the A tl an ti c O cean
\
se -
, .

T he A tl an ti c wa r ou ed ; M P a t ing ton s S pirit was up ; but I need n o t

’
s s r s. r

t ell y u th at th e c on te t was uneq ual T he A tl an ti c O cean beat M Par

o s . rs .

ti ngt o u S he wa ex cell ent at a l o p o r a pudd l e but she shoul d not h av e

. s s ,

medd l ed with at empest G en tl emen be at y our ease B e q ui et and tead y

.
, . s .

Y ou will beat M rs Par

”

on . .
”

CHA F F 4 49 . .

By c h aff is m ean t a t ri fl i n g an d t ea s i n g p l ea s an try wh ere

“
,

one r a l l i e s ano th er g enera l ly b y m ean s of p er son a li ti e s Th e .

w or d qu i z is u s e d i n v ery m u c h th e s ame s en s e
“ ”
Ba d .

i n age i s ano th er t e rm of si m i l ar si g n i fic a ti on d er i v e d fr om th e ,

Fr en c h Al l of th e se a r e sy non y mo u s wi th b an t e r A n e x
. .

am p l e may be fo u n d i n Sy d ne y S m it h s i m p rom p tu on Jeffre y ’ :

S h rto . but n ot s o fat as B acch u s,

\Vitty as H r ati u o s F lac c us,

As gr at a J a bi
e co n as G ra h u cc s,

R i d i ng on a littl e j ac k ass .
”

PAR O N O M A S I A 45 0 . .

W it i s a ss o c i a t e d a s w e h a v e seen wi th p o i n t e d l an gu age
, , .

I t p l ay s with w o r d s an d one fo r m of su c h p l ay is c all e d p a r o

,

n om asia whi c h b y s om e is c l asse d amo ng the fig u r e s of re l a

,

t iv ity Tw o fo r m s of thi s m ay b e no ti c e d : fi r s t wh ere i t i s

.
,

m ad e use of i n a se ri o u s w ay ; an d s e c on d ly wh ere th e a i m i s , ,

th e r i d i c ul o u s .

I Th e s e ri o u s u s e
. .
42 2 E lemen ts f
o Rlzetor ic .

Th is i s com mon i n a ll ages N ame s w ere often gi v en i n th is .

w ay Th e figu re i s u se d i n o u r Lo r d s w ords Th o u ar t P e t er
.
” ’
, ,

e t c M il t o n h as an e x am ple of it in th e wor ds
.

begirt the A l mighty s throne

To
’
,

Beseechi ng o besi egi ng r .

”

Th e c on v ers a tion b e tw een G r e go ry th e Grea t an d th e s l a v e

m er c h an t s a t R ome is a w e l l k no w n c ase of th e p aronom as i a -

be i n g m ore p erc e p ti b l e i n th e L a ti n th an i n th e t ran s l a tion .

Th e P u r it an s l o v e d i t an d th e i r w o rk s a bo u n d i n e x am p l e s
, .

m: P UN 45 1 . r .

z Th e r i d i c ul o u s u s e of th e p l ay u pon w or ds i s m ore fam il i ar

. .

Th e n ame an t an a c l as i s w as ofte n gi v e n t o th i s i n an c i en t ti me s .

I n E n g l i s h i t i s k no w n by th e n ame of th e p u n A ri s t o p h an es .

a fford m an y e x am p l es i n Gree k an d P l a utu s an d T ere nc e i n

s ,

La ti n Thu s P l a ut us p l ay s on med ims an d m d im Ter

.
“ ” “
s,
”

e n ce o n d warfism an d“ ”
C i c ero w a s p arti a l t o
i ts u se I n o u r o w n l it era tu re S h a k e spe are e x hi b it s p ar ti a l i ty
.

t o i t b u t with hi m i t i s i n v ari a b ly b a d D r J o h n so n ri g htly

, . .

con d em n s hi l o v e of qu i bb l e s ; an d as a l l p u n s d o w n t o h i s
s

d ay w ere a l mos t i n v aria b ly w ea k an d b a d h e i s j u s ti fi e d i n th e ,

d e te s t a ti on whi c h h e e xp re se d a ga i n s t th em Th om as H oo d
s .

g a v e a ne w d e p artu re t o th i s spe c i e s of wit H ith er t o th e y h a d .

con s i t e d of p l ay s on t h e so u n d ; with hi m th ere w as a p l a y on

s

the p i r i t a s w e ll a s on th e l e tt er
s Thi s i s the n a tu re of mo s t .

of th o se th a t a bo u n d in his wr iti n gs
’

H is d eath ,
whi ch h appened in his berth ,

A t f rty odd be fell

o

Th ey wen t and t ol d the se xton an d ,

The se xton toll d the be ll

' ”
.

O n th e c l o se d e s t ab l i s h me n t s of M o se s an d So n t a il or s ,

H al f H br w half E gli h th l p ll r M
e e ,
n s , e s o se e ose s

C ri es c lo all the we k but o S at urday l o

’
es e , n c se s.
-
R . SI M P NSO .

Com po s e d wh e n Soy er w e n t t o j o i n his a u g u s t fe l l o w ar ti s ts -

i n E ly s iu m
S oyer is gone ! Th en be it said
Alas ! alas gr eat Pan is dead -
.
”
42 4 B lowouts f
o t dor ic .

Be th ese j uggli ng fi ends no more beli eved,

Th at palter with us in a doubl e sense ;
That k eep the w o rd of promi se to our ear,
k
A nd br ea it to o ur h ope
’ ”
.

Th e foll o wi n g i s a n e x am p l e . I t i s c a ll e d “
Th e D oub l e
fa ce d Cree d
I ho l d for sound faith W h at E gl a d C h ur h all w
n n
’
s c o s.

W hat Rome s fai th says i

i v o ws
‘

’
My c o nsc en ce d sa .

W h ere the ki ng s head ’

T he d ock can tak e no s ham e .

T he fl ock s m
’
isl ed W ho hold the P ope suprem e .

W h ere th alt ar s d ressed

’ ’
T he wo r shi p s scar ce d ivine
’
.

The pe opl s bl esse d

e
’
W hose t abl e bread and wi ne
’
s .

’
H e s but an ass \N ho th e n co mm un i o n fl i es .

W ho sh uns the mass I s cath oli c and wise .

”

Th e d o u b l e en t en d re en t e rs l arge ly i n t o p u ns an d o th er
-

witti c i sm s ; b ut th e po p ul ar app l i c a ti on of th i s t e rm i s t o th o se
e xp re ss i on s i n whi c h th e v e il e d m ean i n g is u n fi t t o be e xp re ss e d .

5 45 5 . ur r oo x eav
B .

Th i s i s th e l o w e s t e x hi b iti on of th e v ul g ar se n s e of th e ri d ic
ulous : a c l o w n s j e s t th e b roa d l i ce n ti o u s foo l ery of th e s lu m s
’
, , ,

with c oars e c h aff h or se p l ay or l o w fam ili ari ti e s

,
-
, .

45 6 . lRO N Y .

I ron y i s c l asse d amon g th e fig u r e s of re l a ti v ity I t i s gener .

a l ly a ssoc i a t e d with th e r i d i c ul o us a n d is a po w erful a i d t o ,

sa t i r e
.

Qui n tili an d e fi ne s i t a s a ki n d of a l l e gory i n whi c h wh a t i s ,

e xp r e ss e d i s qui t e d i fferen t from wh a t i s m ean t I t m ay be .

d e fi n e d as a fo r m of e xp re ss i on i n whi c h t h e rea l mean i n g i s

d ifferen t fr om th e a pp aren t a s i n E lij a h s C ry a l ou d for h e
,
’
,

is a go d ; M a rc A n t on y s B r utus i s an h onora b l e m an
’ ”
.

45 7 . I NNU E N DO .

Here th e mean i n g is i n s i n u a t e d or i m p li e d i n s t ea d of be i n g
d i r e c tly asse rt e d
We do y h t j y
d en t a be en o ed the peace
not a passe und e s and n , th t th rt i g
but th e fac t th t l j y li i g
a he aso e n o ed a v n of over £ 1000 a ea ill n d t be y rw
with t
o u its si n n ce in so m
g ifi e mn d s
i ”
ca .
 T/zc R id ic ulous .
4 5
2

t th at this boo k has reach ed its thirtieth ed iti on might l ead one
The fac
to suppose th at the G r eat Trib ul ati on m ay be r egard ed by its auth o r with
om ethi ng lik e c om pl acen cy
”
s .

Full e r s ay s of Cam d en th e an tiqu a ri an wh o w a s sa i d t o b e , ,

a v ari c i o u s H e h a d a n um b e r of c o i n s of th e e arly R om an
“
,

em p ero r s an d a goo d man y mo r e of th e l a t er E n g li sh ki n gs

,
”
.

I n n u e n d o i s th e b a si s of a ne w ki n d of wi tti c i sm whi c h h a s
h a d s ome p o p u l ar ity of l a t e a s ,

“
man att empted to ki nd l e
A a fire with a k eg of gunpow der . H is fu
ner al was v ery l argely att ended ”
.

45 8 . saac as m .

S ar c a s m m ay b e d e fi ne d as v itu pera ti o n s oft e ne d an d e x

p re ss e d by me an s o f i ron y an d i n n u en d o
I thi s H use I th ere n o control t its auth ority ? I h pe I sh all
as k o , s o o

o ffend n man wh e n I i n ti mat e th at two li mit exi t — nat ure and the C on
o s s

stit u ti n o S ho ul d thi H use undert ak e to d ec l are th at thi s at m sph ere

. s o o

sh o u l d no l onger urround us th at w at er h oul d cease to fl w th at gravity

s , s o ,

s h o ul d n ot h ereafter ope rat e I thi nk I may v ent ur e to affirmth at suc h

, ,

a law t the c on tr ary no twiths tand i ng the ai w ul d c o nti n ue to c ir c ul at e,

o , r o

t he M i s i ssi ppi t he H ud so n a
s n d t he P o t o m
, ac w o ul d h url th eir fl ood s to
,

t he ocea n —Josi aH Q umc ev

.
”
.

N EER 45 9 . S .

Thi i n v o l v e s c on t em p tu o u s d e p re c i a ti on s om e ti m e e xp re ss
s , s

e d d i r e c tly an d s om e ti me i n d i re c tly by mean of i ro y or

,
s , s n

i n n u en d o Th e mo e e ffe c ti v e i th e l a tt e r k i n d whi c h i
. r s , s

d e sc ri b e d an d app l i e d by P o p i n th e fo l l o wi n g l i ne s e

D amn with fai n t pr ai e a en t with c ivil l eer s , ss ,

A nd with out s eeri ng t eac h t he rest to sn er

n e .
”

Th ere is a l s o a m il d er s or t wh i c h may b e o bser v e d i n an ,

a ffec t e d i n d i ffere n c e t o th e m o s t i mp o rt an t c au se s Th i s i s .

c a ll e d th e 7117 admzr ar z se n ti me n t an d its p u r p o s e is t o l ea d t o ,

th e c on c lu si on th a t be c au se th e o n e wh o e x hi b it s i t c an a d mi r e
no t hi n g t herefo r e th at no th i ng is w o rthy of ad m i r a ti on
, .

P O W E R O F TH E R IDI C U LO U S
§ 4 60 . TH E .

Th e ri d i c ul o u s is a fo r m i d a b l e w ea p on of att ac k the p o wer ,

of whi c h may b e seen in th e h i st o ry of l it e r a tur e an d in th e

42 6 E[ments f
o e ctor ic .

e v en ts of the p as t M en c an e nd u re h a tr e d be tt er th an l a u g h
.

t er Wh e n a go v e rn men t o r an i n stituti on i s on ly od i o u s i t
.

m a y be s afe b ut wh en it be c ome s ri d i c ul o u s th en th e h o u r of
, ,

its fa l l i s n ear N o wh e re i s th e tr u th of thi s s o st ri ki ng ly s h o w n

.

as i n F ran ce Th e g o v ern men t of Lo ui s XV w as c a l l ed a

m
. .

d e spo ti s t em pered by e p i gram s ; th e moc k e r s an d s n eerers

of th e salon w e re se t ag a i n s t th e so l d i e rs an d c o u r t i e rs of th e
p a l ac e an d th e wi t s an d sa ti ri sts pr o v ed t o be th e forerun ner s ,

i f no t th e fr amers of th e R e v o l uti on Lo ui s XV I d erid e d

, . .
,

th ro u g h l i fe c o ul d on ly a t one fo r l i v i ng fee b ly by d yi n g b ra v e ly
, .

N a po l eon d read e d th e t errors of wi t m ore th an th o s e of w ar ;

an d s tro v e t o s u pp l emen t his v i c t orie s a b roa d by s il en c i n g th e
p re ss a t h om e an d s ti ll i n g th e v o i c e of soc i e ty B ut s uc h s u b
, .

tl e ene mi e s w e r e no t so eas ily o v erc ome ; th e y w ere a c ti v e

m
u n d er th e Em re an d s ti ll more so u n d er th e R es t ora ti on
,

wh en th e y m ad e th e n ame of Bo u r bon a byw ord for i n cu ra b l e

,

s tu p i d ity Lo ui s P hil i ppe wh o beg an t o re i g n am i d th e ac c la

.
,

ma ti on s of a l l quic k ly g a i ne d th e so b r iqu e t of th e Bo u rgeo i s

,

Ki n g an d his v e ry fa c e w as l a u g h e d a t i n th e i n n u me ra b l e
”
,

c ari ca tu r e s of th e pear Lo ui s N a po l eon s t riu m p h an t am

“
.
’

b iti o u w as a ss a il e d by th e sc ornful e p ith e t s of V i c t or H u go ,

an d h e w a s fi n al ly goa d e d t o ru i n by th e fi erc e s ar c a s m s of
R oc h efort an d th e i rre c on c il a b l e s .

§ 46 r . ma Lac maw rs use or me arn rcuw us .

Th e l e gi ti m a t e use of th e r i d i c ul o u s m a y b e seen wh en i t i s
d i re ct e d a ga i n s t ac k no wl e dge d e v il s Of thi s w e h a v e e x am .

p l e s i n a l l ag e s Th e k ee n wi t of H orac e was l e v e ll e d a t th e
.

w ea k ne sse s of one p eri od whi l e th e v i c e s of ano th er w ere a s

,

s a il e d by th e fi ery sa ti re of Juve nal C a rlyl e an d Th ack e r ay .

i n o u r o w n d ay s h a v e ma d e w a r u pon th e fo l l i e s an d h y poc risi e s

of m od ern soc i a l l i fe I n e v ery a g e th ere h a v e b ee n t hos e wh o
.

with thi s w ea pon h a v e s u cce s sful ly a tt a c k ed a b u se s i n philoso

p hy l ite ra tu re re l igi on an d po l itics wh i c h wo ul d h a v e been
, , ,

i m p re gn a b l e t o an y o th er a ss a il an ts .

A B US E or r are; R IDI C U LO US
§ 4 6z .
“
.

Th e a b u se of th e rid i c ul o u s may be see n wh ere i t i s d i re c t ed

ag a i n st th at wh i c h i s good I t the n be c ome s th e g rea t e st of .

e vil s s i n c e i t pe rv e rt s th e j u dgme n t an d c onfu se s d i s ti n c ti on s

,

,
 G uy fi w N mi m
E wm w
w fiw d w fi wq M H m u n mmn w m m
T he tears and pr aises of all ti me ; whil e thi ne
W oul d r o t in its obli ion—ia the si n
v k
Of w orthl ess d us t
”
.

I n vie w of th e ab u se of the ri d i c ul o u s we per c e i v e th e t r uth ,

of th e s ayi n g A s nee r i s a foo l s arg u me n t

,
’
.

C H A PTE R I V .

TH E FANTA STIC .

ms F A N TAST I C
5 4 63 . .

T H E fan tas tic i n lit e ra tu re c ame i n t o be i n g d u r i n g th e M id

d l e Ag e s Th e con v er s i on of th e n ort h ern n a ti on s of E u ro p e
.

d e s troy e d t he sup rema c y of th e i r god s b ut d i d no t re mo v e ,

th em from th e th o u g ht s fear s an d affe c ti on s of th e p eo p l e

, , .

Th e se m yth o l ogi c a l be i n g l i v e d ane w i n th e c om m on l i fe of

s

me n ; d ri v e n o ut fr om re li g i on th e y t oo k u p th e i r a bod e i n
,

s u pe rs titi on ; an d i n sp ir ed l egen ds trad i ti on s a n d th e g rea t , ,

bod y of th a t hu m b l e l it era tu re k no w n as F o lk l ore Th e r i c h .

e s t an d mos t v a ri e d s t ore of s u c h p rod u c ti on of th e fa n cy h a v e s

been d eri v ed from th e T e ut on i c n a ti on s Th e Ce l t s h a v e c on .

t ri but e d l arge ly t o th e c omm on s t oc k an d m u c h i s a l so d u e ,

t o th e A ra b i an F rom th e fi r s t of th e s e sou rc es w e h a v e
s
. re

cei ed syl p h s gn ome s s a l am an d e r

v , ,
p rit e s e l ve s t o l l s fa iri e s
s, s , , r , ,

wit c h e s go b l i n s an d m an y o th ers of a s i m il ar ki n d F rom th e

, ,
.

Ce l ts h a v e been d ra w n all th o se w on d erful be i n gs wh i c h form

the m a c hi ne ry of th e A rthu i an l e g en ds Fr om th e A ra b i an s
r .

w e h a e o b t a i ne d e n c han t er dj i n n s afr i t s pe ris an d th e l ik e

v s, , , , .

A ll th e se com b i ne d an d fu se d t oge th er b l en d e d with Ch ri s ti a n

, ,

l e gen ds an d out of th e u n i on th ere aro e ne w b e i n gs s u c h as

,
s ,

th e m d ite al d e v il wi th c h ara c t eri ti cs of h orn s t a il a n d c l o v e n

e v ,
s , ,

h o f ; th m d iaz al g h o s t a ppe ari n g at m i d n i ght a d v an i h

o e e v ,
n s

i n g at c oc k c ro w ; t h e sa i n t with his p o w er o v er d emon ; an d

,
s

a l l th e w or l d of th e s u pern a tu r al .

Th e re s ul t w as a ne w e l emen t whi c h e n tere d i n t o mod ern ,

 Tice Fan tastic .
429

li t era tu r e, an d i n sp i red i t from th e v ery fi rs t W e see i t s in .

fl uen c e i n th e me tri c al rom an c e i n D an t e C h a u c er S p en s er , , , ,

an d Sh a k e sp eare i n T a s so an d A rio s t o ; b ut its ful l p re se n c e

,

an d p o w e r c an b e s t b e s ee n i n w or k s th at are b ase d a l t o ge th er
u p on thi s e l eme n t s u c h a s th e Th o u s an d an d O ne N i g ht s an d
, ,

a l l th ose fa iry t a l e s whi c h h a v e b een for age s th e d e l i g ht of

y o u n g an d o l d an d h a v e e x er t e d no s ma l l i n flu en c e u pon l it e r
,
~

atur e Th i s i n fl u en c e s h o w s i t se l f i n th e e ffort m a d e by s om e
.

i ma g i na ti v e wri t er s t o fo rm for th em se l ve s ne w sc ene s an d

c h a r ac ter s wh i c h s h a l l r i v a l th e s e ti m e h on ore d c rea ti on s of -

th e p a st S o me of th e i r w or k s d o no t r i se a b o v e th e l e v e l
.

of th e c om mon g h o s t s t ory b u t o th e r s a r e of a fa r hi g h e r or
-

d er an d m ay b e il l u s t ra t e d i n p ros e by S c h il l er s G h os t S eer
,
’

a n d Bul w er s St ran ge S t ory a n d i n p oe t ry by Goe th e s F a u s t

’
,
’

an d Co l er i dge s A n c i e n t M ar i ner’
.

Th e fan t a s ti c i n l it era tu r e may b e d e fi ne d a s th e u n re str a i ne d

e x erc i s e of fan cy wh ere th e w r it er v en tu re s i n t o r e g i on s of wil d
,

an d u n b ri d l e d sp e c ul a ti on an d c rea t e s n e w sc ene s an d n e w ,

c h arac t er s wh i c h p re sen t a st ra nge c om po u n d of th e n a tu r a l

,

an d s u perna tu ra l H ere th e b ea uti ful an d th e su b l i m e a r e in

.

te rm ing led with th e ri d i c ul o u s an d th ere r e s ul t tw o d i s ti n c t ,

e l emen ts th e fi r s t of whi c h m ay b e c a ll e d th e gro t e s qu e an d

, ,

th e se c on d th e h orr i b l e .

r
. Th e gro t e s qu e .

Th e gro t e squ e may be d e fi ne d as th e c ar i c a tu re of th e b ea u

ti ful or i n o th er w or ds as th e u n i on of th e be a uti ful with th e
, , ,

r i d i c ul o u s Thu s i n ar t a c arv e d fa c e m ay h av e w e l l fo r me d
.
, ,
-

fea tu re s b ut i f th e s e a r e d i st or t e d b y an e x aggera t e d g ri m a c e
,

i t be c ome s g r o t e s qu e Thi s is n o t t o b e c on fo u n d e d wi th the

.

u g ly whi c h i s s i m p ly re p ul si v e ; wh e r ea s i n thi s c a se th e r e is
,

no re p ul s i v ene ss I n l it er atu re i t is fo u n d wh ere v er s e n ti men t s

.

an d l an gu age p l ea s i n g i n th em se l v e s are d i s t or t e d an d p er
, ,

v erte d i n a r i d i c ul o u s fa s hi on E x am p l e s m ay be fo u n d i n .

th e I n go l dsb y L e gen ds an d i n man y of th e Germ an s t or i e s of

,

Zsc ho k ke an d E T A Hoffm an n . . . .

2 . Th e h orr i b l e .

Whil e th e gro t e s qu e re p re s en t s one s i d e of th e fan t a s ti c th e ,

o th er may b e fo u n d i n th e h o rri b l e Th i s m ay b e c on si d ere d .

as th e c a ri c a tu re of th e s u b l i me o r th e a ss oc i a ti on of th e sub ,

l i me with th e ri dic ul o u s Th e h orr i b l e i s ne v er far remo v e d .

4 30 E [c utouts f R/cctor ic
o .

from g rote squ e ; an d e v en wh ere th e ri d i cul ou s i s no t at

the
all v i s i b l e th e re i s oft e n an u n d er c u rren t of g r i m an d g h a tly
,
s

hu m or E x am p l e m ay be fo u n d i n m an y of the t a l e s of
. s

E dg ar A P oe esp e c i a lly th e M u r d er i n th e Ru e M o r gue “

.
,

an d F a c t s i n th e Ca se of M V a l d emar ; i n D e Qui n ce y s
“
.
’

“
A v en ger an d M u r d er one of th e Fi ne A rts i n Le wi s s
’

M on k M rs Ra dc li ffe s M ys t e ri es of Udolpho ; an d M s
’
. r .

S h e ll ey s F ra uhe ns t e i n
’
.
”

C H A PT E R V .

TH E D ES IR E S .

D ES I R ES 5 46 4 . TH E .

D ESI R ES are tw ofo l d an i m al an d me n t a l Th e an i m a l d e

, .
w

s i res are c a l l e d a ppe tit e s an d i n c l ud e hu n ger thirs t s l ee pi ness , , , ,

e tc Th e men t a l d e i re s be l on g t o th e emo tion s an d i n c lu d e

. s ,

c hi e fl y th e fo l l o wi n g from whi c h ag ai n m an y subord i na t e d e

,

s i r e s ar i se r Se l f p re se r v ati on ; z s e l fe s t ee m ; 3 am b itio n ;
: .
-
. .

4 a v aric e ; 5 th e d e s i re for k no wl edg e

. . .

4 65 . se wP asss avar rox

-
.

Th e l o v e of li fe is a ne c e ss i ty of o u r n a tu re an d insepara
r .
,

b l e from o u r co n s ti tuti on I t form s th e m o ti v e for ac ti on s th a t .

m ay be e ith er g oo d or e v il n o b l e o r b a se A s it i s c om m on , .

to a ll m an ki n d it is ill u s t ra te d i n a l l l it e ra tu re
, I t s res ult s .

are tw ofo l d : fi r s t g ood wh en i t l ea ds t o s t re n u o u s en d ea v or ;

, ,

an d se c on d ly e v il wh en it t en ds t o c o w a r d i ce o r b ase ne ss
, , , .

H i st ory and fic t i on are ful l of e x a mp l e s of ea c h Th e Od y s se y .

p r e se n t s th e l on g st ru ggl e fo r l i fe carrie d on by Ulysse s ag ai n s t

m any per il s The A n a b as is d e sc ribe s th e s t ru gg l e of th e t e n
.

th o u s an d Gree k s wh o p u r s ue th e i r m a r c h am i d i nn u me r a b l e
,

d an gers an d t o il on with u n s u rp asse d h e ro i s m S till more

, .

s t riki n g is th e re sul t wh en th is fee li n g wh i c h i s th e s t ron ge s t ,

i n m an i s c as t as id e an d d eeds of v a l or are d on e i n c on t em p t
, ,

of d e ath Thi s h as b ee n fe l t by poe t s of e v e ry a ge an d n a ti on

.

t o be th e h ig h es t an d m o st en no b l i n g th em e .
4 32 E lcmcuts o f R /zc tor ic .

Th e d e s i re for po w e r is ano th er form of am b i tion S ome .

v a l u e th is for it se l f o t he rs c a r e no th i n g for it u n l e ss i t i s ac
,

c om p an i ed wi th al l i ts t rapp i n gs an d d e cora tion s E v en C rom .

w e l l w as no t al t oge th er sa ti sfi e d wi th th e so l i d rea l ity but ,

s ig h ed i n se c re t for th a t u na ttai na b l e b a u b l e — th e c ro wn
“ ”
.

P o w er w as ne ver h e l d m ore m od e s tly th an by th e gr ea t H il d e

b ra n d wh e n h e st ood be h in d th e thro ne th ro ug h se veral suc
,

cess ive p a p a c i es an d b ro u g ht for w ar d

, the efl ec t of
whi c h are s ti l l fe lt .

P o w er i s wi e l d ed by me n m ki n gs m i n is ters genera l s te , , ,

forme r s p hil oso p he r s s tat es men ora t o rs

, , S ome men l ik e , .
,

J ul i us C e sar C h ar l emag ne A l fred th e Grea t re p re se n t n ear ly

, , ,

a l l th e se a t th e s ame ti me Th e vis it of M ilt on t o Ga l il eo h as

.

ofte n bee n d e sc ri bed a s an i n t e rv i e w of tw o s u p re me po we r s in

d ifie ren t d e partmen ts th e one of poe try th e o th er of sc i en c e
, , .

P ow er is also wi e l d e d by w o me n The re is the po w er of .

wi t or b rilli an t soc i a l a tt raction s uc h as was e x e rcised by ,

La d y M ary W ortl e y M on t agu e M a d ame d e Kem oeat L ad y , ,

H o ll an d ; of grea t ar ti sti c t a l en t l ik e th a t of S i dd on s L i n d , , ,

Gr i si ; of l it e rary gen iu s l ik e t h a t of Geo rge S an d or Ge orge

,

E l io t and a bo v e all th e i rre sis ti b l e pow e r of bea uty lik e th a t

, , ,

of He l en or C l eo p at ra whi c h aft er li v i n g its l ife i n th e real

, ,

w or l d ri se s t o an i m mor t al l i fe i n th e w or l d of l it era ture .

Th is d esire for po w er of so me ki n d i s u n i versa

,

l an d e v er ac
t iv e Th e re I S a d ee p tr uth i n th e w or ds whi ch M ilto n p uts
.

i n to th e mo uth of S a t an
F all en c h erub , to be wea is k miserable ,

D oi ng or s uffe ri ng .
”

I n l it era tu re n o thi n g i s more i m p ress i v e th an th e d i sp l ay of

po w er A c hi ll e s pu ts arm i e s t o fl i g h t ; Al e x an d er s i g hs for
.

more w or l ds t o c on qu er ; H an n i b a l thu n d ers a t th e g a t e s of

R ome Th e se a n d o th er s re ma i n as grea t mo n u m en t a l figu re s
m
.

ar i si n g o ut of th e p as t t o whi c h s u ccess i v e a
,
loo k bac k i n
w on d er an d a d m ir a ti on .

Th e d e si re for p r e e m i nen ce c on stitu te s an o th er forc e i n l ife

-

an d l it e ra t ur e Th e remo t e c a use of th e w ho l e tal e of T roy

.

d i v i ne w as a s tru gg l e fo r thi s on th e part of th e th ree god d e sse s ;

a n d th e j u dg m en t of P a r i s w ra pp ed a w o rl d i n fl am es Lik e the .

s t rugg l e fo r po we r thi s has fil l e d the p ag es of h i s t ory an d fic ti o n

,
.
 T113 D esir es .
4 33

It is c on sp i c u o u s i n th e I l i ad wh e r e A gamem non c h oo s e s t o
,

a e rt hi d i g n ity t oo ffen i v e ly by th e u n p ar d o a b l e i n s ul t t o
ss s o s n

A c hill e s ; an d i t i h o w n ti l l more s t ron g ly i n P ara d i s e L o s t

s s s ,

wh e r e S a t an c on t en d e d with
H av p r p t ual K i g
’
e en s e e n ,

A nd put to p roof his high sup e r macy ;

an d s ti ll aft e r his o v e rthr o w d e c i d e s th a t i t i s
B tt r
e e to reign in h ell th an se rve in h eaven .

I n m o d ern fic ti on thi s fee li n g h a s a p rom i ne n t p l a c e b e i n g ,

e x hi b it e d i n su c h fruit ful th em e s a s th e s t ru gg l e for a r i s e i n

l i fe an d so c i al adv a n c em en t .

A VAR I C E4 68 . .

4 Th
. e C ce s s
r s n e an d C r assu se s — th e m ill i ona i re s of th e p as t
an d of th e p r e se n t — h a v e no d i r e c t i n flu en c e on lit e ra tu re ; b ut
th e fee li n g of av ar i c e i s wi d e sp rea d an d t o ge th er with th e , ,

l o v e whi c h a l l p o sse ss fo r wh a t e ve r i s r i ch an d sp l en d i d m ay ,

b e sh o w n t o h av e an i nd i re c t e ffe c t .

r st Th e w o rk i n g s of thi s fee l i n g m a y b e m a d e u s e o f to p o i n t
.

a m o r al a s wh e n th e m an wh o has s a c r i fic e d a l l for w ea l th
,

is r e p r e sen t e d as b e i n g more m i sera b l e th an hi s ne i g h b o r s .

2 d A pp ea l s m a y b e m a d e t o th e l o v e of wh a t i s r i c h an d
.

s p l en d i d as i n M i lt on s d e sc r i p ti o n of th e th rone of S a t an
’
, .

Su c h p ass age s a c t as a sti m u lu s t o th e m i n d Th i s l o v e .

of b a r b a ri c p e a rl an d g o l d i s v e ry v i si b l e i n th e A ra b i a n
N i g ht s .

3 d I t
. s er v e s a s a m otf i n w or k s of fic ti on Thu s th e C o u n t
i .

of M on t e Chri s t o tu r n s u p on th e d i sc o v e ry of an e no r mo u s
”

t re asur e and th e use th a t is m a d e of it Th e W an d er i n g

,
“
.

J e w
”
of E u g ene S ue h as fo r its m o tif th e e ff o rt t o ac quir e
p o s se ssi o n of an i n c a l c ul ab l e sum of mone y th a t h a s b ee n
acc u m ul a ti n g for m an y y ea r s .

D E S I R E FO R K N O W L E D G E
4 69 . TH E .

5 Th. i s is th e p u re s t a d no b l e s t of
n a ll a d s e r v e s a s th e ul ti ,
n

mat e c ause and al so a th e a i ma ti g fo r c e of th e h i g h e s t d e

s n n

p a t
rm ts of lit
en r atu r e H
e i st ory r e c o r d s th e s tr u
. gg l e s aft er
k no wl e dge of th o s e a c i e n t p hi l o s o p h e r s of C hi na I n d i a
n , ,
4 34 E lemmts f
o Rhetor ic .

Gree ce and I t aly wh o l i v e d l i v e s wh i c h w ere mo re ad m i ra b l e

, ,

th an t h o s e of th e ki n gs a n d c on q ue r or s wh o w ere th e i r c on ~

te m po r aries Th e men of k no wl e dg e an d wi sd om a r e a l wa y s
.

ri v a l s i n fame of th e m e n of p ro w e ss an d ac tion n or is i t eas y

t o d e c i d e wh o i s th e g rea t er wh en w e c om p are s u c h men as
A ris t o tl e an d Al e xan d e r C i c e ro an d C e s a r wh en w e e s ti ma t e
,

th e s e p ara t e reno w n of M i l to n an d Crom we l l G oe th e and N a ,

poleo n .

C H A PT E R V I .

TH E A FFECTIONS .

5 4 70 o us
. T HE a “
-
r r se r i .

T H E affe cti o n s an d pass i on s h a v e m u c h i n com m on an d ,

d i ffe r fro m one a no th e r no t so m uc h i n ki n d as i n d e g r ee .

By th e a ffec tion s i s ge nera lly mean t a c a l m a n d se ttl e d s t a t e

of m i n d wh e th er i t be sw ay e d by a tt ra c ti on or re p ul si on By
, .

th e p a ss i on s i s mean t a v e h eme n t an d a gi t a t ed fee l i n g Thu s .

th e fee l i n gs of p are n t a l or fra t erna l l o v e are ca ll e d a ffe c ti on s ,

whil e th e s t a t e of m i n d th a t e x i s ts be tw een tw o l o v er s i s c a ll e d
th e l o v e p a ss i on .

Th e a ffe c ti on s are c h i e fly t h e fo ll o wi n g : P are n t a l fi l i a l , ,

fra t ern a l c onj u ga l ; frien ds h i p e s teem v e nera ti on gra titu d e

, , , , ,

p a t rio ti s m philanthmpy ; th e mora l a ffe c ti on s ; th e re l i gi o u s

,

afiec fio n s .

Th e a ffe c ti on s h o l d
an e qu a lly p rom i nen t p l a c e i n na rra ti v e
an d e xpo s it ory l it era tu re s i n c e i n th e former th e y are th e s u b
,

j ec ts of p or tr a y a l an d i n th e,l a tt er me an s of p e r s u a s i on .

Grea t st re ss i s l a i d u po n p aren t a l affe c ti on i n th e S a c r e d

S c ri p tu re s A l a rge porti on of th e boo k of Ge ne si s is t a k en u p
.

with th e fa th e rly l o v e of A b r aham I s aa c an d J a c o b H om er, ,

.

p re sen t s u s wi th th e p it eo u s figu re of th e age d P r i am ; Eu ri p i d e s

with th e sorro wful He c u b a Sh ak e sp e are d e l i nea t e s th e s t r i c k e n
fath e r i n Lear an d the d e sp a i r i n g mo th er i n Con st an c e .

F il i al affec ti on i s a ssoc i a t ed with p a t ern a l a s i n Sh a k e ,

spea r e s Co r d e l i a; b ut some ti me s i t re c e i v e s c hi ef st re ss as i n
’
,

the A n ti g o n e of S o p h oc l e s .
436 E le mma f “
o

m a ti c w ork s it is c on sp i c u o us i n th e (E d ipus a t Colon u s, esp e

c ia lly i n th e en thu s i as ti c c h ora l son g i n p ra ise of Athe n s A ll .

d e p ar tm e n ts of l it e r a tu re ar e fu ll of i ts p resen c e b u t per h a ps i t ,

i s i n ora to ry th a t i t is mos t m an i fe s t .

P hilan thmpy is a mo d ern se n ti men t an d o w e s it s ori gi n t o ,

C h ri s ti an ity and th e sp rea d of the mo r e hu m ane an d ki n d ly

,

fee l i n gs The w ri ti n gs of Th om as H ood are ful l of th i s sp i ri t

.

i n its be s t fo r m as th e So n g of th e Shi r t an d the B ridge of

, ,

Si g h s M rs B r o w n i n g s C ry of th e C h il d ren an d o th er p oem s
. .
’
, ,

e x hi b it th e s am e an d it m ay be con s i d ere d th e c hi ef e l emen t

,

i n th e w o r k s of D i c k e n s .

E spr it d: corp: is th e attac M e n t wh i c h on e n a tu ra lly c on

ce ives for hi s o w n i m me d i a t e ass oc i a t e s i n an y or d er s oc i e t y , ,

or c l ass an d this fee li n g e x e rc ise s an i m por t an t i n flu en ce o v e r

,

hi s l i fe Th e army th e na vy an d th e c hu r c h form soc i e ti e s

.
, ,

whi c h po ss e ss s t ron g ly mar k e d c h ara c t er i s ti cs no t th e l ea s t of ,

whi c h i s th e a ttac h men t of ea c h i n div i d u a l t o th e com m u n ity

or t o its s u bd i v i s i on s I n th e arm y i t is oft en a s po w erfu l
.

as p a t r i o ti sm i n th e c hu rc h a s re l i g i on
, N ob/are 00149: i s .

t h e p ro u d mo tt o of an or d er whi c h w oul d d o for it se l f wh a t it

w o ul d no t d o fo r it s co u n try W h a t is c al l e d C h a u v i n i s m i s th e
.

man i fe s t a ti on of th i s fee l i n g Th e i n flu e n c e of W ! de wry):

.

i n lit e r a ture is e x t en d e d b u t n e ith er p o w e rful nor e l e v a t e d

, .

M o r a l se n ti men ts m a y be ran ge d u n d er two g ran d c l as s e s

first th o se whi c h h a v e t o d o with th e se n se of d uty i n c l u d i n g
, ,

a l l th o se ac ts wh i c h are r ig ht or w ron g ; an d se con d ly th o se , ,

whi c h h a v e t o d o wi th th e s en se of h onor i n c l u d i n g a l l th o se ,

a c t s whi c h are b e com i n g or o th erwi s e Th e mora l s e n ti men t s .

are pe r p e tu a lly a c ti v e i n a l l lit era tu re i n one w a y or ano th er , ,

wh e n e v er w e are c a ll e d u p on t o a pp ro v e a c t s or t o c on d em n
th em as ri g ht or w ron g Th e s t an d ar d of h onor i s a bo v e t h e
, .

st an d a r d of d uty I t i m pe l s a man t o d o m an y thi n gs whi c h

.

are ne i th er i n th e s t r i c t l i ne of d u ty n or amena b l e t o c lassific a

,

ti on s of rig h t an d wron g Of su c h a n a tu re w as th e a c t of
.

Sy d ne y i n m o ti on i ng a w ay th e c u p of w a t e r I n th e I d yl s .

of th e Ki n g th e c h ara c t er s wh o are s u pp o se d t o h a v e li v e d
, ,

i n th e si x th c en tu ry are re p re sen t ed a s i n fl u en c e d by the l a w

,

of c hi v al ry wh i c h l a w i s e xpo u n d e d an d ill u s t ra t e d i n th e i r
,

pe r son s b ut e spe c i a lly i n th e l ofti ly i d ea l i ze d A rthu r

, .

R e l igi o u s se n ti men ts Ope n a ne w wo rl d be fore u s i n whi c h ,

 The P assion s .
4 37

near ly a l l affe c ti on s m ay b e fo u n d Th e i r d i re c t a c ti on m ay
.

be see n d e sc ri b e d i n th e S ac r e d S c rip tu re s i n th e s to ri e s ,

of th e ma rty rs re li g i o u s b i og r a p h i e s a n d i n th e hy m n s an d
, ,

ps a l ms of a l l age s I n ano th e r way th e r e l i g i o u s s e n ti men t s

.

h a v e so i n fl u en c e d man th a t th e y h a v e g i v e n r i s e t o a wh o l e
l it era tur e with it s o w n th o u g ht s a sp ir a ti on s l a w s v o c a b ul a ry
, , , , ,

an d d i a l e c t — a li t era tu r e whi c h em b r ac e s p oe t ry an d p ro se ,

n a rr a ti v e a n d e xp o s iti on ; an d whi c h th o u g h s t an d i n g a p ar t
,

fr om s e c ul ar l it era tu re i n m an y c a s e s b o r d e r s u p on i t an d
, ,

a t o th e r ti me s i n t e rm i n g l e s with it I n s om e na ti on s a s th e
.
,

H e b r e w s th e wh o l e l it era t ure i s re li g i o u s
, I n s ome age s .
,

as i n med izeval ti me s a l l th o u g h t i s m ore or l e ss ti n c tu re d

,

w ith re li g i o u s s en ti men t A t th e p re s en t d ay re l i g i o u s l it
.

er a ture fo r m s a v a st an d e v er i n c rea s i n g m a s s i n c lu d i n g e p i c
-
,

an d ly r i c p oe t ry hi st ory an d bi og ra p hy p ro s e fic ti on d rama ti c
, , ,

w r iti n g a n d ora t ory

,
.

C H A PT E R V I I .

THEPASS I O N S .

47 T H E PA S SI O N S
1. .

T H E p ass i on s c om p re h e n d a l l th o se v e h eme n t an d ag i t a t e d
fee l i n gs whi c h are a ss o c i a t e d wi th l o v e an d a v er s i on j oy an d ,

sorro w .

LO V E47 2 . .

Th e p a ss i on of l o v e is re stri c te d t o th a t p h a s e of fee l i n g
ar i si n g b e tw ee n th e s e xe s k no w n as th e am a t ory p a ss i on I t .

is th e mo s t p o p ul ar of a l l th e mo ti v e p o w er s i n l it e r a tu r e a t th e
p r e s en t d ay Ri si n g b u t g r a d u ally i n t o p r om i ne n c e it has
.
,

bee n g ro wi ng i n i m po rt an c e fr om ag e t o age u n ti l it h a s be ,

co me the ne v e r e n d i ng th e me of p oe t ry son g an d st ory

-
, , .

I ts fi r st a pp e ar an c e a s an an i m a ti n g p o w e r i n l it e r a tu re m a y
b e fo u n d in G r ee k ly r i c al p oe try su c h as th e so n gs of S app h o ;
,

aft e r thi s in th e N e w C o me d y as i t is c a l l e d wh en M en an d er
, ,

m ad e use of it i n st e ad of th e sati ri c a l th eme s of his pred eces

s o rs P l autu s an d Te re n c e t r an s l a t e d or tr an s ferre d th e s e c om
.
 E lem R /zetor zc
'

4 38 en ts f
o .

e d i es t o L a tin V i rgil m a d e u se of th e l o v e p ass i on in th e

’

E ne i d . O v i d g a v e i t grea t er p r om i nen c e Th e fi rs t l o v e“
.

s tory i n p ro se wh i c h is a t a l l l ik e th e mo d ern n o v e l w as th e
, , ,

E thio pic s of H e liod or us A t th e ri se of m od ern l it era tu re

.

am a t ory th eme s b e c a me p re em i nen t a l ik e wi th the T roubad ours

-

an d Tr o u ver e s P e t rar c h i n ly r i c th eme s C h a u c er i n na rr ati v e

.
,

p oe t ry d e v e l o pe d its i n fl u en c e stil l fu rt he r ; Sh a k e speare ga v e

,

i t p r o mi ne n c e ; an d thu s it r o se u n til it be c ame th e c hief theme

of mo d e r n fic ti on i n th e poem s of S c o tt By ron T e n n y so n or , , ,

s till m o r e i n th e wri ti n gs of th e grea t no v e l i s t s .

Th e hi s t ory of th e rise an d p ro gre ss of th e th em e of am a t ory

p ass i on w o ul d i n c lu d e th e w ri ti n gs of th e A ra b i an s th e me tri ca l ,

rom an c e th e A rthu r i an an d Car l ov i n gi an epoptr ias th e m o d ern

, ,

d ram a th e m od ern n o v e l fr om Ri c h a r ds on an d Fi e l d i n g d o w n
, ,

t o th e p re se n t d ay an d a l arg e por ti on of n arr ativ e p oe t ry an d

,

of th e d ram a .

4 73 . av s k s ro x .

Thi s i s th e o ppos i te o f affe c ti on an d of l o v e an d ran ge s ,

th ro u g h e v ery d e gree of fee l i n g fr om th e m il d e st d i slik e t o th e

,

m o st fu r i o u s h a t e I t is s u ffi c i en t i n it se l f t o be th e an i m ati n g
.

p r i n c i p l e of a grea t bod y of l it e r a tu re Th e I li a d s i n gs th e .

w r ath of A c h il l e s Th e G r ee k p l a y s d e sc r i be i n v ario u s w ay s
.

th e an ger of th e go ds Th i s fee l i n g is p art i c ul a rly v i s i b l e i n th e

.

p l ay s on th e s u bj e c t of (E d ipus an d A g amem non Th e AEne id .

a ttri b ut e s th e stru gg l e s and sufl e ring s of E nea s t o th e i m p l a

c ab l e wr ath of c ru e l J u no Thi s d i v i ne an ger i s p rom i n en t
.

amon g all th e th em es of an c i en t l it era tu re H i s t ory ag a i n d e .

, ,

sc ri be s th e h a t e of peo p l e s th e i r fu ry i n b a ttl e s th e e n co u n t er
, ,

of foe s th e e v e r v aryi n g p r og re ss of w ron g an d of v en gean c e

,
-
.

Th e e xp re ss i o n of th e p a ss i on s a s fo u n d in l it era tu r e i s a , ,

p r o fi t ab l e s tu dy b ut nowh ere i s th ere s u c h v ar i e ty as wh ere

,

th e d i ffe r en t d e g ree s of a v e r s i on are t o be u n fo l d e d S ome .

of th e s e m ay b e fo u n d i n th e fo ll o wi n g e x am p l e s .

D i sl ik e C ae sar e xp re ss e s hi s d i s l ik e of C as s iu s i n th e w e ll
.

k no w n w ords t o A n t on y :
Y o nd C assi us has a l ean and h ungry l ook ;
“ ’

H e thi n ks too muc h suc h men ar e d ang er us : o .

B l ame . Th e l an gu age of b l ame is s i m il ar ; a s wh en Ca ssiu s

s ay s
Yo u wr ong me e v e ry way, yo u wr on g me B r utus
, .
”
 ments
E la f Rlzetor zc
'

440 o .

B ut oh ! wh at m
da ned mi nut es tell s he o er ,
’

W ho d otes, y et d oubts ; s us pe ct s, y t st r ongly

e l ov es .
”

I will feed fat the ancieut g mdge l bear hi m .

”

5 4 74 . Passroxs assoc rxr m) wi m

H ap p i n ess
J oy i s m o s t c om m on ly fo u n d i n ama t or y p oe t r y wh ere th e ,

th em e i s s u c h as l ea ds t o j oy o u s an tic i p a tion s or j oy i n th e ,

po sse s si on of th e obj e ct I n Te n n y so n s M a u d th ere are v ery

.
’ ‘

v i v i d e xp re ss i on s of th i s n a tu re :
She is co m ing m my sweet
”
“
y o w n , , .

De l i g h t i s a k eener an d l i ve l i er j oy wi th grea t er extra a , v

gan ce of e xp ress io n A p a ss i on a t e d e lig h t ofte n m ark s M oore s

.
’

am a t ory effus i on s a s :

“
And oh ! if there be a n elysium on earth
—
,

It is this it is this "

.

E n thu s i as m is a h ig h e l e v a ti on of fee l i n g whi c h wh en u n ite d , ,

with t ru e poe ti c gen iu s gi v e s ri se t o th e no b l e s t ly ri c p oe t ry

, ,

s u c h as C o l er i dge s C ham o u n i an d S h e ll ey s Skyl ar k ; whi l e i n

' ’

ora ti on s i t l ea ds t o th a t fine ferv or an d h ea d l on g i m pe tu o s i ty

whi c h m ar k th e mo s t po w e rful e l oqu en c e .

T r iu m p h i s v i s i b l e i n m a ny n a ti on a l son gs i n th e b a ttl e ,

p i e c e s of C am pbe ll an d i n m an y poe m s of all age s A n e x

, .

am p l e i s fo u n d i n th e son g of M i ri am :
S ound the l oud ti mbre] o er E gypt s dar k sea ’ ’
,

J ehov ah h ath tri umphed his people are free , .

”

R e v e l ry i s c h i efly th e c h ara c t e ri sti c of Ba cc h an al i an son gs ,

an d is be s t i ll u s tr a t e d b y tho se of M oore
“
Fill the bowl with flowers of soul
. .
"

§ 475 PA SSI O N S assoc ur s n wrr n son now

. .

Th e e xp re ss i on of th e p a ss i on s i n c a se s of s orro w i s m ore
d i v e rs i fi e d th an i n c ase s of h a pp i ne s s a n d a s a th eme it i s ,

more wi d e ly e x ten d e d .

Th e t en d ere s t e xp ress i on s of g ri ef are th o se of a p aren t .

 The P assions .

M oi r s
’
C as a W appy an d M rs B ro w n i n g s D e P rofu n d i s are .
’

m emo r a b l e e x amp l e s .

A fi ne me l an c h o ly p e r v a d e s a l l th e writi n gs of s om e p oe t s ,

an d so me ti me s th e c hi ef p o rti on of a n a ti on a l l it e r a tu r e wi l l
h a v e thi s c h ara c t er i s ti c Thi s h a s b een rem ar k e d i n th e
.

S c o tti sh b a l l a ds s u c h a s Loc h ab er B on n i e D oon an d I m

,
“
, ,
’

we ar in a w a J ean ”
’
.
,

P i ty for th e s u fferi n gs of o th er s i s a s e ffe c ti v e i n l it era tu re

a s wh en th e p oe t b e w a i l s h is o w n s u fferin gs
'

0 it wa s pitifu l , ,

N ear a wh o l e c i ty full ,

H ome she had n one ! ”

Sy m p a thy i s c l o s e ly a ll i e d t o p i ty N o wh e r e is thi s m ore .

t en d er ly e xp re ss e d th a n i n th e l i ne s of th e S tabat M ater
'

W ho on C hri st s d ear moth er g a i ng

,
’
z ,

B ow ed with sorr ow s ama i ng o z

B or n of w oman w oul d n ot w eep ? ,

E xp re ss i on s of fear d i s m ay or s i m il ar
, , fee l i n gs ab o u n d i n
p oe t ry an d ora tor y Je ffers on s ay s
.

I trembl e for my count ry wh en I r efl ect th at G od is us j t .

Th i s i s th e b u r d en of th e D i e s I r ze
0 th at d ay th at day of mour ni ng !,

D ay wh en fr o m t he d ust r e t ur ni ng
M an fo r j ud gmen t sh all pr epar e him .

S pare O G od in mercy spare him!

, ,
”

D ej e c ti on m ay be a oc i at e d with m e l an c h o ly b u t i s s t ron ger

ss , ,

an d may b e fo u d d e p i g i n t o e x tr eme g l oom as i n G r ay

n e en n ,
’
s

O d e on E t o C o ll e ge
n .

R e g r e t for p a t a c ti on s i a ss o c i a t e d with d ej e c ti on an d
s s ,

goe s be y on d i t :

O had his po w erful desti ny ord ai ned

i ri or angel I had t ood
M e some n fe . s

Th en h appy n un bo und ed h ope had raised

: o

A mbiti on
R e p en t an c e is a s so c i a t e d with r e g r e t but also wi th s e l f
’

re p roa c h I t is m o st c om mon ly see n i n r e li g i o u s hy m n s :

.

D epth f mer cy can th ere be o ,

M r y still resolv ed for ue

e c r
44 2 E [smarts o f R/zetor ic .

R em or se i s re pe n t an c e wi th s u c h s t ron g self re p roac h

-
as to
be al m o s t wi th o ut h o pe
0 my '

c henee is an r k it smell s to h eav en

,
.

D e sp a i r oft en a cc om p an i e s rem or se . P oe s R a v e n
’
is in
sp i re d by b o th of th e se
A nd my so ul from out that shadow that lies floating on the fl oor
S hall be li fted nev ermore .
"

S ome ti me s d e sp a i r ari s e s from s ufferin g wi th o ut an y

m ors e So i n P rom e th e u s :
.

F or thi s wanderi ng ev er l onger ev ermore

, , ,

H ath o erworn me ;
’

A nd I k no w not o n wh at sh ore
I can res t fro mmy despair .
”

C H A PT E R V I I I .

T HE LIT E R A T UR E O F TH E D E S I RE S , AFF E C TI O N S A ND ,

PASS I O N S .

5 L IT E RA T U R E or T H E n ssmss ar r ncr rosts

4 7 6 TH E .
, ,

A N D PASS I O N S .

T H E li t era ture of th e d e s i re s a ffe c ti on s an d p ass i on s m a y

, ,

be d i v i d e d i n t o tw o c l as se s a ccord i n g a s i t i s c on cern ed with

,

th e s t a t e of h a pp i ne ss or th at of s orro w .

Th e s t a t e of h a pp i ne ss be l on gs t o th e i n d ul gen c e of the d e
s i re s affe c ti on s or p ass i on s Th i s i n d ul gen ce m ay t a k e p l ac e
, , .

i n tw o w a y s
r st By h o pe whi c h i s th e an ti c i p a ti on or e xpe c t a tion of s u c h
.
,

i n d ul gen c e .

2d By th e a c tu a l p oss e ss i on of th e o bj e c t s of s u c h fee l i n gs
. .

Th e s t a t e of sorro w be l on gs t o th e non i n d ul gen ce of th e s e ~

fee l i n g s I n d ul gen c e m a y b e p r e v e n t ed i n tw o w ay s :
.

r st By b e i ng b affl e d or d i s a ppo i n t e d i n th em or w o u n d e d
.
,

in an y way in th e p o ss e ss i on of th em .
444 E lements f Rizetor ic
o .

m e l an c h o ly ; an d th e pa t he ti c i s so ric h an d so m an y s i d e d -

th a t i t may w e ll c l a i m th e e x erc i s e of th e u tmo s t re so u r c e s of

l an gu ag e .

§ 479 PA T H ETI C i t»: T H E SACR E D SCR I PT U R ES

. TH E .

Th e S p h ere of th e p a t he ti c i s com me n s u ra t e with l i t e r atu r e

i tse l f an d no wh ere d oe s i t a ppear m ore s tr i k i n g ly d i sp l ay e d
,

th an i n th e o l d e s t w riti n gs with wh i c h w e are fam i l i ar name ly , ,

t h o se of th e He b re w s A p art from an y o th er d ee per c a u se thi s

.
,

m ay be a cc o u n t e d for i n th e sam e w ay th a t th e p re d om i nan c e

of th e s u b li m e i n th e s am e l it erature i s a cc o u n t e d for I t i s .

d u e t o th e c harac ter of th e ra c e an d al so t o th e n a tu re of th e,

su bj ec ts trea t ed of Th es e S c ri p tu res t rea t of th e emo ti ona l

.

n a tu re of m an hi s re l a ti on s with God ; of s i n remor s e re

, , ,

p e n tan ce s o rro w ,
g r i ef an d s u ffer
, i n g Th e , p a th e ti c i s p rom .

i n c u t th ro u gh al l th e boo k of Ge n es i s e sp ec i a lly i n th e l i v e s ,

of A b rah am I s a ac J a c o b an d J o se p h a n d c on s t an tly rea p

, , , ,

pe ar s i n th e o th er n arra ti v e boo k s I t a n i m a te s m o s t of th e .

Ps a l m s p art i c ul arly th e pen it e n ti a l one s ; i t i s v i s i b l e th ro u g h

,

a l l th e w r iti n gs of th e p ro p h e t s ; wh il e i n th e N e w T e s t ame n t
the A pomlypse p re se n ts us with s u b l i m ity an d p a th o s i n t er
m i n g l ed B ut i t is i n th e Gospe l s th a t w e are t o l oo k for the
.

h i gh e s t ex am p l e s H ere a l l path os fi n ds its c on s u m m a tion ;

.

i t be c om es s u b li me ; i t g oe s be y on d th e s u b l i me it is d i v i ne -
.

m c nxssrcar L IT E RA TU RE
5 4 80 . . .

Tu rn i n g t o c l ass i c a l an tiqui ty w e fi n d no t m u c h i n th e my
,

tho logy b ut m u c h i n th e l it e r a tu re
, Th e s i m p le p a th o s of some
.

of Homer s d esc ri p ti on s re se m b l e s th a t of th e b oo k of Ge ne si s
’
.

H e c t o with h i s wi fe and c hil d ; the sorro w s t r i c k e n P ri am th e

r -

rec o gn iti o n of Ulysse s b y h i s fai th ful d og are am on g th o se ,

t o u ch e s of na tu r e b y whi c h th e h eart i s mo v e d I n tra ge d y .

th e p a th e ti c h o l ds a foremo s t p l a c e s i n ce i t d ea l s wi th so rro w ;
,

an d th ou g h th e w oe s a r e some ti me s t oo co l o ss al fo r hu m an
i n t eres t y e t th ere are no t w an ti n g in s t an ces of a ki n d whi c h
,

a w a k en s a fe ll o w fee l i n g E u ri p i d e s h as b ee n ca l l e d th e p oe t
-
.

of p ath os an d th ro u g h m an y of his p l a ys th ere p re v a il s th e

,

ce n tr al figu re of a so r ro wi n g w om an th e Al c e s ti s d yi g for
— ,
n

h e r hu sb an d an d p a r ti n g with h er ch il dren ; M e d ea th e i nj u re d ,

w ife s tr ugg l i n g wi th a m o th er s l o v e ; th e E l ec t ra m o u rn i n g
,
’
,
 Liter atur e o f D esir es, Afl eet ion s, and P assions 44 5 .

for m o th er an d b ro th er ; th e H e c u b a reft of a ll h er c hil d ren , ,

an d st an d i n g alOn e a s tr i c k e n mo th er— th e M a t er D o l oro s a

,

of Gree k l it e r a tu r e .

I n L a ti n th ere i s l e ss of th i s for t h e R om an n a tu re w a s ,

m o r e s t ern an d p r a c ti c a l ; an d th e R om an l itera tu re w a s imi

tative an d a rti fic i a l .

§I N M E DI E VAL L IT E RA TU R E
4 8 1 . .

M ed ia e v a l l it e r a tu re s h o w s s til l more of thi s A d ee p er an d .

t e n d erer sp i r i t h a d b ee n i n t ro d u c e d by C h ri s ti an ity Th ere .

are th ree g rea t i n s t an c e s i n wh i c h th e p a th e ti c e x er t e d an e x

tr aord in ary p o w er .

1 . Th e L a ti n hy m n s of th e C hu r c h Th e s e re fl e c t e d th e .

s en ti m en t s of re li g i an d whil e s tr ai n s of rej o i c i n g a r o s e a t
on,

ti me s i n v i e w of th e h ea v en ly Jer u sa l e m th e s tr a i s of a d ne ss , n s ,

e n fo r c e d by th e p re s en c e of sin p r e v a il e d Of a ll th e se tw o , .
,

s t an d p re em i nen t — th e St a b a t M a t er wh i c h u n fo l d i n immor , s

t a l v e r e th e w oe s of th e M at er D o l oro sa ; a n d t h e D i e s I rae
s ,

whi c h b l en d s wi th th e s u b l i me s t i ma gery th e mo s t mo u rnful

a cc e n t s of sa d ne ss .

2 . Th e m e tri c a l rom an c e an d b a l l a d l it era tu re Th e s e c om .

p o siti on s b l en d l o v e an d w a r an d u n it e with th em an i n d e ,

sc ri b a b l e p ath o ; v a l or is no w u n it e d wi th t en d erne s s ; the

s

h ero i s n o l o ge a s t o i c h e i s a m an an d is no t a sh ame d of
n r , ,

t e ar s W o ma n t oo c ome s fo rw ar d t o t a k e u p a p l a c e i n l it er
.
, ,

a tu r e s i d e by si d e with m an Ch i v a l ry h a s g i v en h er a d i g n ity
,
.

u k o w n b efore Th e A r thu r i a n an d C ar l o v i n gi an popte ias

n n . e

are ful l of th e ne w go sp e l of c h i v a l ry an d i n t erm i n g l e w ar , ,

l o v e r e l i gi on
,
.

3 D an t e th e g rea t o v er s h a d o wi n g fig u re of th e M i dd l e A ge s
.
, ,

was th e p oe t of w oe I n th e I n fe r no a d P urg at o ri o th e r e i s
. n

sc arce ly a ra y of l i g ht t o r e l i e v e th e d a rk ne s s of t hat g l oom

th r o u g h whi c h hi s p iri t w an d e r e d ; an d e v e the P a r ad i so
s n

c o ul d no t d i ssi p a t e its sh ad o w T he p ath o s of th e I n fe r no i s .

o v er p o w e ri n g I t i s no t hi s e e mi e s o ly wh om D a t e fi n ds
. n n n

th e r e ; but his fri e d l o ve d i fo r me r d ay a d n o w rec og

n s, n s, n

n i ed i n t o r me t
z Th e fath e r of C av alc a ti his t e ac h er B u
n . n , ,
r

n e tt o L ati i a th o se wh o e app e ar a e w ri g s th e p oe t so ul
n ,
re s nc n
’
s

with a gui h ; whil e th i g ht of o t h r s an d th e r e c it al of th e i r

n s e s e ,

s tory m ak e hi m fal l d o w
, en se l e ss wi t h h o r or an d c om p a ssi on
n s r .
44 6 E lemen ts o f Rhetor ic .

m M O D E R N L ITERATURE
5 48 2 . .

I n m od e rn l i t era ture th e p a th e tic h as alw ay s h e l d an d c on ,

ti nne s t o h o l d a po s iti on of u p rem e i n flu en ce C h a uc er the

, s .
,

fa th r of E n g l i s h l it era tu r e u n i t e s it with h i s p l ay fu l m i rth hi s

e , ,

fi ne d e l i nea ti on s of c h ara c te r hi s v i goro u s d e sc ri p ti on The

, .

K ig hte T a l e an d th M a of La w e s T a l e are ful l of p a sa ge s

n s e n s

of t en d er p a th os ; wh il e th e C le k T a l e be l on gs a l t oge th er t o
r es

t h is c l a ss S h a k e speare gi v e s u the g rea t c h a r ac t e rs of th e

. s

d e sp a i r i n g O p h e l i a ; the i nj u red Ca th arine ; th e wron g ed De s

d emon a ; th e fa ll en W o l se y ; wi th a hos t of o th ers amon g ,

wh om s t a n ds p rom i n en t th e figu e of Ki n g Lear I n th e m i ds t r .

of th e s u bl i m ity an d bea uty of P aradise Lo s t the t e n d er sa d ,

n e ss of Ev e s fare w e l l t o P ara d i se i s no t th e l e as t memora b l e

’
.

Th e p oe t ry of Co l li n s an d Gray i s d ee p ly tin ge d with th i s .

A dd i son i n t e rm i n g l e s i t wi th h i s ea s y g rac e ; an d by thi s Go l d

s m i th h as m ad e th e V i c ar of W a k e fie l d i m m ort al C o wpe r .
,

w h o s e l i fe w a s so ful l of me l an ch o ly h as c om m u n i c a t e d thi s ,

fee l i n g t o hi s poet ry ; an d B u rn s gi v e s v oc al e xp re ss i on t o t h e
s a d ne ss of S co tti h m u s i c By ron s poe t y i s ful l of g l oom ;
s .
’
r

K ea t s s ho w s th e me l an c h o ly th a t c on s u m ed h i m ; b ut Th om as
H ood u se d th is p o w er wi th grea t er effe c t a n d th e p oe t of wi t ,

a n d hu m or s h o w ed h i m se l f th e p oe t of p a th o s wh en h i s B r i dge ,

of S i g h s d re w t ears from a ll E n g l an d T en n y s on s I n M em o .
’

r i am affords an e x am p l e of a grea t co l l ec ti on of poe m s d e v o t e d

t o th is one th eme ; i n D i c k en an d Th a c k eray as i n Th om as
s ,

H ood l a u g ht er i s fo u n d near ak i n t o t ears ; b ut of a l l w rit ers

, , ,

no one e xce p t D an t e h a s so u n i form ly an d pe rs i s t en tly ma d e

u s e of th e p ath e ti c a s M B ro w n i n g rs . .

Th e pa th e ti c i s a l so a pe r v a d i n g e l emen t i n th a t grea t bod y

of w r iti n g k no w n a s re l i g i o u s l it era tu re For the re l i gi on t o .

whi c h i t i s d e v o t e d i d i re c t e d t o a l l wh o l a bor an d are hea vy

s
“

l a d en and whi l e th e p r o spe rou th e j oy o u s an d th e se l f s, ,

sa ti fied m a y turn a w a y from it th e p oor t h e w ea k th e affl ic t

s , , ,

e d an d th e mo u rner fi n d i n i t a n e v er en d i n g so u r c e of c o n
,
-

s o l a ti on .

4 83 . PA T HETI C A N w rm
TH E ar mo EL E M E N T I N L ITE RA T U R E .

Loo ki n g b a c k o v er th e g rea t an i ma ti n g e l emen t s of l it era

tu re w e c an see h o w th e p a th e ti c d iffer s from th em a ll
, .
44 8 E lements f
o Rhetor ic .

C H A PTE R I X .

F O RM S O F E XP R E S S I O N ASS O C I A T E D W IT H TH E EM O
TI O N S A N D P ASS I O N S .

4 8 4 F O R M S or
. Ep ASSO C I A T E D was T H E E M OTI O N S
Ese N .

I T h as al rea d y bee n s h o w n th a t th e fig u re s of sp ee c h are

c l o se ly assoc i a t ed with th e emo t i on s Of so me i n p art i cu l ar .

thi s a ssoc i a ti on i s v ery e v i d e n t ; for i n s t an ce c l i m ax perso nifi , ,

c a ti on a po s t rop h e vis i on hy per bo l e e t c Th e a pp li ca ti on of

, , , , .

t h e se h o we v er t o p u r po se s of o r name n t or ill u s t rati on i s so

, ,

m ark e d th a t th e i r t ru e na tu re may be see n wit ho u t referen ce t o

—
an y d i sp l ay of fee l i n g B ut one ng u re e xc l ama ti on — h as a
.

d i ffere n t c h ara c t e r an d is so c l o se ly a ssoc i a t e d with emo ti on

,

th a t i t m i g h t be re g ar d e d as p osse ss i n g th i s for i ts c h ara cter

istic ra th e r th an an y o th er .

By th e e l d er r h et oric i an s a l arge n u m ber of form s of e x

p re ss i on w ere l a i d d o w n as figu re s of spee c h an d w ere c a ll e d ,

figu res of emo ti on A cco r d i n g t o th e d e fi n iti on of figur e s h e r e

.

ad o p t e d th e se c a n sc arc e ly be c on si d ered as p ro pe rl y ass i g n

,

ab l e t o any s u c h c l ass T o a cc e p t th e m a s s u c h w o ul d l e ad t o
.

an i n d e fi n i t e m ul ti p l i cati on of figu re s of spee c h wh i c h m i g ht ,

fi na lly i n c l u d e e ve ry e xp re ss i on of hu m an th o ught Y e t som e .

of th e se are i n t ere s ti n g and va l u ab l e as serv i n g t o s h o w the,

m od e i n whi c h an utt eran c e m ay be g i v en t o s t ron g fee li n g ,

an d th erefore i n co n c l u d i n g th i s s u bj e c t i t wi l l no t be d eem ed
, ,

irre l e v an t i f so me sp a c e i s d e v o te d t o s u c h form s of e xp re s

s ron .

N ea rly all of th e s e i f n o t a l l of th em m ay i n fa c t be con

, ,

sid e red a s difl eren t form s of e xc l ama ti on an d ma y be c l a s s i fi e d ,

as fo ll o w s
1 Wh ere s u perior ity i s i m p l i e d on th e p art of th e spe a
. k er .

2
. Wh e r e i n fe ri o ri ty i s i mp l i e d on th e p a rt of th e spe ak er .

3
. Wh ere e qu a li ty is i m p li e d be tw ee n spe ak er an d bearer .
 4 Wh ere a
. p er s on al referen c e i s m a d e by th e sp ea k er t o
hi m s e l f .

§ 485 . W H ERE S U P E R I O R ITY rs I M PL I E D ON TH E PAR T O F TH E

P EA K E R S .

1 Wh ere s u p er i o rity is i m p l i e d on th e p ar t of th e sp ea k e r
. .

H e r e th e sp ea k e r a ssu me s t o some e x t en t th e t one of au

t ho r ity an d add r e sse s th e a u d i en c e fr om a s u p e ri or l e v e l
, .

Th i s c l a ss i n c l u d e s : I st c om m an d ; 2 d p r o hi b iti on ; 3d ad , , ,

mon iti on 4 th re p r oa c h ; 5 th r e p r oof ; 6 th i n v it a ti on

, , , .

r st Com m an d
. I n t en s e emo ti on m ay b e e xp r e ss e d i n thi s
.

w ay a s i n S a t an s c a l l t o hi s fo ll o w e r s
,
’

A wak e, ari se, or be fo rev er fa ll en

A n d i n th a t c ry wh i c h b u r s t s i n u p on Byr on s d e sc r i p ti on of ’

th e fe s ti v iti e s at B r u sse l s p r e v i o u s t o W a t e rl oo
—
A rm ar m it is ir is the cannon s
— ’
ope n n i g r oar !
m
,

Bu t c o man ds may b e mi l d er an d m ay s er v e t o i n d i c a t e ,

m ere ly an e xp re ss i on of th e sp ea k er s fee l i n g a s i n L a ll a ’
,

R oo kh
G o wi ng thy flight fr om st ar to st ar
, ,

T ak eall the p easu es o f all the sp r l h eres ,

A nd mu p ea c ou lti ly h thr gh
e n d ess l year s,

O ne momen in ea en is ot h v w rth th em all .

O r Te n n y son
O h ark ! O h ear ! how thi n an d l r
c ea

2d P r o hi b iti on i n e g a ti v e c om m a d a n d s h o w s th e am e
. s n , s

v a r at o fr om c a l mne ss u p t o i n t e n e fee l i n g
i i n T e ll m e ot s .
“
n

of ri g ht s c ri e s Lor d B ro u g h am t alk no t of th e p ro p er ty of
, ,
“

th e p l an t er i n h i s s l a v e s Go h om e i f y o u d are e xc l ai m
.
” “
, ,
”
s

Cl ay ; g o h ome i f y o u c an t o y o u r c on s titu en t s an d t e ll th e m
“
, , ,

th a t y o u v o t e d it d o w n “
I s i t th at i n i d i o u s m il e
.
”
ay s s , s s

P at ri c k H en ry with wh i c h o u r p e titi on h a been l a t e ly e

,
“
s r

i d
c e ve Tru t it no t s i r ; i t wi ll p r o v e a are t o y o u r fee t
? s ,
sn .

S uff r t y o u r e l v e t o b e b e tr a y e d wi t h a ki
e no s s ss .
”

3 d A d.m on iti o — w ar i g Th i inmp l i e t o g er

n n e mo ti on . s s s r n

th an u u a l wi th ome th i g of an x i e ty I t p e v a il s i n s e r mon s
s ,
s n . r ,
4 50 E lements o f R/zetor ie .

b u t i s also no t u n fre qu en t i n ora tory gen era lly Yo u are s tan d .

“

i n g o n th e b ri n k of a p r e c i p i c e ay Lo r d Br o u g h am t o t he ,
”
s s

H o u s e of Lo r ds i n h i s d efen c e of Qu ee n C ar o l i ne ; b e w are !
I t will g o fort h yo u r j u dg men t if s te h al l g o a g a i n s t th e
,
en nce s

qu een B ut i t wil l be th e on ly j u dg men t y o u e v er p r ono u n c e d

.

whi c h i n s t ea d of rea c h i n g it s o bj e c t will re tu rn an d bo u n d b a c k

, , ,

u po n th o s e wh o gav e it A g a i n i n hi spee c h on ne g ro s l a v e ry
.
”
s

h e u tt e r thi w arn i n g N o w th e l e t th e p l an t ers be w are— let

s s , ,
n,

th e i r ass em b l i e be w ar — l e t th e go v ern men t a t h o me be w are

s e

l e t th e P ar li amen t be w a r e .
”

4 th R e p roa c h
. Th i s i n v o l ve s a s til l h i g h er d e gree of em o
.

ti on an d it i m p l i e s an acc u s a ti on ag a i n t th e h earers
,
s

0 yo u a d h r hearts you c ue
, r l men of R me ! o

K ne w
ye no t P ompe ? y

sth .
—
R e p roof re p r e h en s i on Thi s a sc en ds s ti l l hi g h er i n
.

fee li n g an d , th e spea k er n o l on ger i mp l i e s an a cc u sa ti on b ut ,

m ak e s i t A rr og a n t mor t a l l c ri e d K o ss uth
” “
Th o u d u st .

be fore God
6 th I n v i t a ti on Thi s i n v o l ve s ki n d ly fee l i n g ; a s H o e v e ry
“
. .
, ,

one th a t thi rst e th come y e t o th e w a t er s l I t i s mo s t c ommon

,
”

i n r e l i gi o u s p oe t ry an d ora t o ry .

§ 48 6 . WH ER E I N F E R I O R ITY rs mp uE D O N TH E PAR T o r T HE

S P EA K E R .

2 Wh e r e i n ferio rity i s i m p l i e d on th e p ar t of th e spe a k e r

. .

H ere th e S pea k er re g ar d s th e a u d i en c e a s i n so me so rt
p l a ce d a bo v e hi m Thi s c l a s s i n c l u d e s r st a ppea l ; ad ia
. : , ,

v oc a ti on ; 3d e n t rea ty ; 4 th a d ora ti on ; sth d e s i re ; 6th ad

, , , ,

j u ra ti on .

r st A pp ea l
. A n a ppea l may be e ith er g enera l or p ar ti c ul ar
. .

The genera l a ppe al i s m a d e t o th e wh o l e com m u n i ty of r ea d

ers or t o th e wh o l e a u d i en ce of a n ora tor as i n C u rra n s
, ,
’

spee c h i n be h a l f of R o w an .

“
I put th s—d o youthi nk th at ablessi ng of th at k i nd —th at
it to y our oa

a vi cto ry ob tai ned by j usti e o ve r bigotry and O ppr essi o n—sh o ul d h av e

c
asti gmacast upon it by an i gnomi ni us se n te n ce P
”
o

Th e p arti c ul ar a ppea l may b e mad e t o a c l a ss of men a s i n ,

C h a th am s sp ee c h on th e A dd re ss to th e Thr one
’
45 2 E lements o f Knotor ic .

“
S he want s no pra yers of ine B t I d o here pour forth ymh um ble . u m
su i
ppl catio ns at the one of M ercy t a a e c may be po u ed d o n
Thr h t th t m r y r w
upo n the peop e in alar e measu e an t he m
l g r
e s of their ule s m ay do r th ri t r r
serv e, and t a our ea ts m
h ty h r
ay be u ned to us ic e ”
t r j t .

4ih A d ora tio n Th is belongs t o the re l i gi o u s e mo ti on s an d

. .
,

i s ge n era lly c on fi ne d t o th e i r e xpr e ss i on I n a l l re l igio u s l it .

e ra ture i n hy m ,
n s se rm on s an d n arra ti v e writi n gs th e l an g uag e
, , ,

of p ra i se ari se s n a tu ra l ly an d sp on t an eou sly I t m a y als o be .

fo u n d i n w or ks th a t be l on g to general l it era ture wh e n th e ,

th eme is c l o se ly c on ne c t e d with re l i gion Th e hy m n of A d am .

an d E ve i n P ara d i se Lo s t is an ex am p l e
“
These are thy glorious works P aren t , of good !
A l mighty this thy un iv ersal frame
,

I n Thormo n s Sea son s the c o n c l u d i n g hy m n

’
afl ord s ano th er
'

emin ple of the s a me ki n d

“
These, a s th ey c hange , A l mighty Fath r the e , se
Are but the var ied God . The rolling year

10 full of th ee
”
.

5 th De s i re I n th i s c l ass m ay be i n cl u d ed e xp ress i on s of
. .

d es i re wi s h e s asp i ra ti on s wh i c h form so me of th e n o bl e s t
, , ,

p ass ages of l itera tu re A l l men fee l th e p a thos of D a v i d s

.
’

e xc l ama ti on
“
O h ! that I ha d wi n gs li e a do ve, k
For then w ould I y aw ay and be at fl rest ;
I w oul d h aste n my escape
F rom the wi ndy st or m and te mpest .

Th e c h ora l son g i n the (Ed ipus Ty ran n us of So p h oc l es

for ds a s u b li me e xam p l e :
0 th at it w er e my lot
To att ai to pe rfec t h oli ness in ev ery w or d and deed
n ,

For whi c h th er e are l ai d d own l aws subli me

W hic h have the ir o rigi n in highest h eaven ,

O f whi c h G od is the fath er on ly ,

W hic h pe ris habl e h uman nat ure has not prod uced .

G reat is the D iv in ity wi thi n th em ,

N or ev er waxeth o ld
"
.

6 th A dj u ra ti on oa th U n d er thi s h ea d m a y a l s o be ih
.
-
.

c l u d e d a l l fo r m s of oa th a n d a dj u ra ti on Th e se are assoc i a t e d .

wi th s t ron g e m o tion a n d are no t u n c om mon i n p oe t ry an d

,
 E xpr essions D enoting E motions and P assions .
45 3

Th e m o s t famo u s e x am p l e i s th e Oa th of D emo s
'

ora t ory .

thenes b y th o se wh o fo u g h t a t M ara th on qu o t e d e l se wh ere , .

48 7 . WH E R E E Q U AL ITY rs I M PL I E D B E TW E E N S P EA K E R A N D
H EA R E R .

3 . Wh ere e qu a l ity is i m p l i e d b e tw een sp ea k e r an d h earer .

Thi s c l a s s i n c l u d e s : r st e x h o rt a ti o n ; 2 d a ss er ti on ; 3 d d e
, , ,

n i a l 4 th re mo n s t ran c e sth p ro t es t
, , .

r st E x h or t a ti on
. T h i s i s c om m on in ora t ory p ar ti c u l ar ly
.
,

i n sermon s I n genera l l it e r atu re i t is a l so fo un d b ut es

.
,

p e c ially i n p oe try Of thi s ki

. n d are m a n y lyri c al p oem s ,

amon g whi c h m ay b e me n ti o n e d th e th rill i n g s on g of Bu r n s ,

“
S c o t s wh a h ae I t is c om mon i n d ram a ti c l itera tu r e of
.
,

whi c h Sh a k e speare s He n ry th e Fi fth m ay a ffor d an e x am

’

ple
O nce mor e un t o the br each dear fri ends o n ce mor e , ,

O r c l ose the w all up with o ur E ngli sh d ead !

”

2d A ss er ti on Th i s i s an a cc om p an i me n t of emo ti on an d
. .
,

a ss u me s m an y form s amon g whi c h th e g e n e r a l c h a r a c t e r is th e

,

s ame A n e x am p l e of th i s m ay b e fo u n d i n P a tri c k H e n ry s
.
’

em p h a ti c w ords
W e must fig ht— I repeat it sir we must fight
, , Thi s war is i nevitabl e ,

an d le t it co me . I repeat it s ir—let it come

, .

3 d . D en i a l i s an o th er form of a
sser t i on
S irwe are
, no t w eak , c ri es P atri c k H en ry if we mak e a proper ,
“
use
o f th ose m whi c h th G od o f n at u e h ath pl aced in u po w er
”
eans e r o r .

A no th er e x am p l e m ay b e fo u n d i n a s p ee c h of K o ss uth on
th e H u n g ar i an R e v o l uti on
Th ey say it is I who h av e i nspired th em N o a th ousan d ti mes n o ! .

It is they who h av e i nspired me .

”

T al k not f the pr operty of the pl ant er in his sl av es says Lord

o ,

B rough am I den y his right I ack nowl edge not the pr operty
, ,
.
”

4 th R emon s tr an c e
.

O ur br e thr en a e a ea lr y
d in he e
r t fi l d W hy st an d we h er e i d l e ? W h at.

i it th at g tl e m n wi sh ? W h at w ul d th ey h av ? I s li fe so d ar o
s en e o e e r

pe ace so s w ee t as t o be pu r c h as ed at the pri c e of ch a i ns an d sl a v ery ? F o r

bid it A ,l m ighty P o w e r l — P AT R I C K H E N R Y
”
.
4 54 E le éntsm o f Rhetor ic .

sth . P ro t es t
A gai t th bill I p t t i
ns e m Irish peopl e and in the face
ro es n the n a e of the

of heav en I prot es t ag ai nst the power gr ant ed to the Lo rd li euten an t to

.
-

pr ev en t mee tin gs no m att er for wh at pur pose th ey might be conv ened .

—
,

All I ask for m y co un try is jus tice D AN 1E L O C O NN E LL .

” ’

§ 4 88 W HE RE a R E F E RE N C E rs M AD E B Y T H E S P EA K E R To
.

H I M SEL F .

4 Wh ere a re fere n c e is m a d e b y a spea k er t o hi m se l f

. .

I n w ri tin g or spe ak i n g a dd iti ona l fo rc e i s oft en gi v en b y ,

u n u s u a l an d em p h a tic a sse r tion of pers on al be l i ef O p i n i on or , ,

fee l i n g .

r st D i re c t asser ti on
. Thi s i s th e p l a i ne s t form of pe r son al
.

referen ce an d a bo u n ds i n ora t ory A w e l l k no wn e x am p l e

,
.
-

m a y be fo u n d i n C h a th am s fi n e o u t b u r s t of fee li n g : ’

I f I we re an A mri e I am an E nglish man whil e a foreign tr oop

can as
l d nev er lay do w n my arms—ne v er l nev er !
,

was l anded in my co un try I w o u ,

ne ev r! "

A s forme cries Patrick H en ry giv e me liberty or giv e me death l

,
"
,

As for m ysel f says K m uth i t was my d uty to speak but the gran
,
”
, ,

d eur o f the momen t and the r us hi ng wav es of se n ti me n t be numbed my

tong uefi
’

2d .
—
xc u s e vi n d i ca ti on Wh e n a w ri t er or spea k er i s i n
E .

an y w ay se t on hi s d efe n c e a p e r sona l a ll u s i on t ak e s thi s form , .

A p a ss age of thi s c h arac t er i s fo u n d i n S t P a ul s Se c on d Ep i s tl e .

’

t o th e Co ri n th i an s
A re th ey H ebrews ? S o amI Are th ey I sraelit es ? So am I . .

A re th ey min ist ers of C hrist ? I ammore ; in l abo rs more ab und ant .

By ron a l so gi v e s u tteran c e t o the s ame i n p a ss i on a t e l i ne s

H ear m my mot h er arth beh l d me h av en
e, e , o , e ,

H ave I not had t wre tl with my l t o s e o ?

H av e I t uff r d thi ng t b f rgi ?

no s e e s o e o ve n

H av I n t had my brai ar d my h art ri ve ?

e o n se e , e n

H pes apped am blight d l i f li f li d away ?

o s , n e e , e s
’
e e

3 dA p o l ogy Th i s i s c l o se ly as soc i a t e d with th e p re c e d i n g

. . .

I t i s oft en u se d for th e s ak e of g i v i n g e m p h a si s Thu s i n .

,

K ossuth s sp ee c h on th e H u n g ar i a n R e v o l uti on h e sa y s :
’
,
 PA R T V I .

TH E G E N E R A L D E P A R T M E N TS

O F L I TE R ATU R E .

C H A P TE R I .

DESC RI PTIO N .

5 489 L IT ER ATU R E D E P rN En A N D CLASSI F I ED

. .

L I TE RA TU R E i n it s m o s t ge nera l s ig n ifi c a ti on mean s a l l th e
w r itt en p r o d uction s of a n a ti on ; b ut i n its s t ri c t er sen se i t
c o mp re h e n ds on ly th o se w ri ti n gs whi c h come with i n th e sp h e r e
of rh e t o ri c e xc l u d i n g w or k s d e v o t e d t o l earn i n g an d sc i en ce
, .

I t is s ome ti me s spe c i fi ed by th e t erm s e l e g a n t or po l it e

“ “ ”

”
l itera t ur e o r l e tt e rs
,
“
.

A ful ly e qui ppe d l it e ra tu re h as v ar i ou s d e p art men t s whi c h ,

d i ffe r from e ac h o th er i n i m po rt an t re spe c t s an d a r e m a rk e d ,

by d i s ti nc t pe c ul i ariti e s O f fo r m an d t r ea t men t Th e s e wil l .

n o w be c on s i d ere d i n th e fo ll o wi n g or d er : r D e sc ri p ti on ; 2 . .

N arrati on ; 3 Expo s iti on ; 4 Ora t ory ; 5 D i a l o gu e ; 6 D ram a ;

. . . .

7 P oe t ry
. .

5 49 0 O BJ E CTI VE D ESCR I PTI O N

. .

D e sc rip ti on i s of tw o k i n ds referri n g fi rs t t o Obj e c t s per

, , ,

ceptible t o the se n s e s ; an d s e c on d ly t o s u bj e c t s c o gn i za b l e b y
, ,

th e m i n d T o th e se th e n ame s O bj ec ti v e an d s u bj e c ti v e h a v e
.

re spe c ti v e ly b ee n gi v e n Al th o u g h su c h an a pp l i c a ti on of
.

th e se t erm s m a y b e re gard e d as no t p hil o so p hi c a l ly a cc u ra t e ,

y e t i t m a y b e d efen d e d fi r s t b e c a u se i t i s san c ti one d by th e

, ,

be st auth o ri ty ; an d s e c on d ly be c a u s e th ere is n o o th er w ay
, ,

by whi c h the tw o ki n ds of d e sc ri p ti on c an be so w e l l d e s i gn a ted .

 D escr ipt ion .
57

Of th e se O bj ec tiv e d e sc ri p ti on wil l b e fi r s t c on s i d ere d Th i s

, .

refe r s i n th e fi r st p l ac e t o O bj e c t s in a st a t e of re st in c lu d i n g
, , ,

th e w o rk s O f n a tu r e an d th e w or k s O f m an .

Th e d e sc ri p ti on O f n a tu ra l O bj e c t s is m o s t c on sp i c u o u s i n
b ook s O f tr a v e l or a dv en tu re Thu s i n K ane s v oy age s t o th e
.
’

A r c ti c r e g i on s a l a r ge p o rti on is ne c e ss ar ily d e v o t e d t o th e
p hy si c a l fe at ure s of th e p l ac e s v i si te d — th e fi e l d s of i c e th e ,

v ast b ergs th e ru gge d s h ore s an d th e c e l es ti a l p h enom e n a

, ,
.

Li v i n gs tone s t ra v e l s i n A fr i c a p re sen t th e r ea d er with s t r ik

’

i n g an d no v e l sc e ne s e n c o u n t ere d th ere I n to m o st n arra ti v e .

w o rk s d e sc r i p ti o n e n t er s l arge ly an d m a n y narra tiv e writ er s

,

h a v e e xc e l l e d i n thi s re sp ec t Th i s w a s th e c a se with Si r W a l
.

t er S c o tt wh o i n te r m i n g l e s th e se tw o ki n ds of c om po s iti on i n
,

near ly a l l h i s w or k s wh e th er p ro se o r p oe t ry I n Wil l i am
, .

Bl ac k s S t ran g e A dv e n tu re s O f aP h ae t on th e d e sc r i p ti on s form
’

th e g r ea t e r i f no t th e m ore i m po rt an t pa rt O f th e boo k Th e
, .

s am e thi n g may b e fo u n d e v en i n sc i e n ti fic w r iti n g s e spe c i a lly ,

th o se whi c h l ike th e w or k s of Ni c h o l or P r oc t or a pp ea l t o th e
, ,

p o p ul ar t a st e Th e a st ronomer or th e geo l og i s t ma
.
y d e sc r i b e

th e p h e nom en a O f th e h e av en s or th e ear th and b e en a b l e d i n ,

th i s way t o m ak e his w r iti n g m ore agreea b l e i f no t more p er ,

spic uous .

Th e w o rk s O f m a n a ffor d a wi d er fi e l d for d e sc r i p ti on an d ,

are d ea l t wi t h i n a l l wri ti n gs wh i c h g i v e an a cc o u n t of c iti e s

or c i v il i ze d c o u n tri e s fo r h ere th e y are ne c e ss ar i ly mo r e im
,

p or t a n t th an th o se O f n a tu re I n ge nera l th e tw o — n a tu r a l
.
,

sc e nery an d hu m a n h an d iw or k a r e e qu a l ly re g ar d e d an d
—
,

b o th form s O f d e sc ri p ti on are fo u n d t o an a l mo st e q ua l d e
g r ee i n n ar r ati v e writi n g Thu s Ki n gl ak e s E o th en r efe rs t o
.
’

t he w o rk s of n a tu r e an d O f m an I n hi s tory i t i s O ft en ne c
.
~

e ssar y t o g i v e an a cc o u n t of the n a tu ra l fea tu re s of a c o u n try ,

o r O f th e sc en e O f an y e v e n t o r of th e a pp ea r a n c e O f a c i ty
,

wi th wh o se fo rtu ne s th e writ e r is c on c e r ne d Thu s G i bb o n .

p au se s in his n arr a ti v e t o g i v e an an i m at e d acco u n t of th e

p l ac e c h o se n by C o nst an ti ne for his ne w c a p it al an d in P re s ,

c o tt s hi st o ri e s th e d e sc ri p ti o n s O f th e w on d e r s of M e x i co an d
’

P eru a r e amo ng the mo st c ap ti v a ti n g i f no t th e mo st me rit o ri ,

o us p a ssa g e s B ec k fo r d s V athek is a n a r ra ti v e w o rk in whi c h

’
.
,

th e b e s t p art s are d e sc r i p ti on s s u c h a s th a t of th e H a l l of
,

Eb l i s .
458 E lemen ts f
o Rhetor ic .

W or k s of ar t form an e xc e l l en t m ean s for th e d i spl a y of

d e sc ri p ti ve po w er To t h e sy m p a th e ti c m i n d th e re i s i n th em
.

a su gg e s ti v ene ss whi c h i s grea t e r th an th a t O f o th er w or k s of

m an F or th e arti s t h as al rea d y en d o w e d h i s w ork wi th h i s
.

o w n con ce p ti on an d the w rit er h as b u t t o se i ze th i s an d p ut i t

,

i n t o e xp res si on Ru s k i n s g l o wi n g d e sc ri p ti on s O f th e p i c tu res
.
’

of Tu rner m ay se rv e t o il lu s t ra t e th e i n sp i ra ti on wh i c h m ay
be d r a w n from p a i n ti n g ; th e s ugg es ti v e po w er of ar c hi tec ture
m a y be see n i n th e d esc r i p ti on of S t P e t er s i n C hil d e H aro l d ; ’

whil e th e s ame p oe m s h o w s th e i n flu en ce of sc ul p tu re u po n
one wh o c a n a pp re h en d i t s mean i n g i n th e fe r v i d d e sc ri p t ion s
of th e V en u s d e M ed i c i th e A po ll o Be l v e d ere th e L aoc oon
’
, , ,

an d th e D yin g G l ad i a t or .

O bj e c ti v e d e sc rip ti on refer s i n th e se c on d p l a ce t o O bj ec ts
i n a s t a t e of mo ti on or ac ti on .

Thi s i s of a hi g h er ord er th an th e p rec e d i n g k i n d s i n c e i t ,

a pp roa c h e s t o th e l i fe an d a c ti v i ty of n arra ti v e i s more stimulat ,

i n g t o th e w ri t er an d more i n flu en ti a l o v er t he rea d er U n d er
, .

thi s h ea d i s com p ri s e d a ll m o v eme n t wh e th er i n i nan i m a t e ,

n a tu re or amo ng l i vi n g be i n gs .

Th e fl o w of riv ers th e r u s h of c a t ara c ts th e s t r u gg l e of

, ,

o cean b il l o w s th e w ar O f th e e l emen t s th e e ru p ti on of v o l ca
-
, ,

noe s an d a l l s i m il ar mo v eme n t s of n a tu ra l o bj e c t s form sub

,

j c e t m a tt er for thi s ki n d of d e sc ri p ti on I ll u s t ra ti on s may be

-
.

fo u n d i n B y ron s Thu n d er s t orm am on g th e Al ps Co l e ri dge s

’
-
,
’

H y m n i n th e V a l e of C h amo u n i bu t th e mo st s u b l i me e x am p l e
,

is Goe th e s Son g of th e A n ge l s i n F a u s t
’

T he s n u inwonted wise is so unding

W ith br oth er sph eres a ri v al song ;
And on his d estined ci r cuit boundin g ,

W ith th under s teps he speeds al o ng

- .

T he sight giv es an ge l s s tren gth th ough greater ,

Than angels utmost th oughts s ubl ime ;

’

A nd all thy w ond rous w rks C reat or o , ,

S t ill bl oom as in cr eati on s prime ’

.

ABR I E L G .

“
And fieetly thought surpa , ss in g fl ee tly

T he earth s gr een po mp is S pi nn i ng r ou
’
nd ;
Th ere Paradise alte rn at es s wee tly
W ith night t errific and profound ;
4 60 E lements o f Rhetor ic .

Th e s am e is t ru e with Byron s d e sc ri p ti on
’
Of th e Laocoon
A fath r l a d m rt al
e
’
s ov e n o
’
s agon y
W ith a imm tal pati
n or
’
s ence blend m .
”

Or th e Ven u s d e M e d i c i ’

W e inh ale
The am brosial aspect , whi c h, behel d , instill
P art of its i ortali ty
”
mm .

Or the G l a d i a t or
“
He heard it but he heed ed no t—his eyes
,

W er e with his heart and that was far aw ay , .

”

A d esc ri p ti on of c h ara c t er as s ee n i n th e fa ce m ay be fou n d

, ,

i n Car lyl e s re p re se n t a ti on of Crom w e l l an d F red er i c k th e

’

Grea t Th i s i s al so a fa v orit e p ra c ti ce wi th no v e li s t s an d
.

n arra ti v e p oe ts .

a Th e d i sp l a y of emo ti on s i n ac ti on form s ano th er c l a ss

.
,

an d i nc l u d e s the s t r ugg l e O f c onfl ic ting fee l i n gs i n th e h eart ; a s

co u rage ag a i n s t pan i c l o v e ag ai n s t h a t e h o pe aga i n s t d e sp a i r
, , ,

an d th e l ik e S a tan s so l il oquy i n th e P ara d i se Lo s t affo rds a

.
’

re p re s en t ati on of th e s t ru gg l e of remor s e with h a t e an d i n te l

l ec tu a l p r i d e Th e so l il oquy of th e M e d ea O f E u ri p i d es e x
.

h ibits th e con fli c t be tw ee n m a t ern a l l o v e an d an i nj u re d wi fe s

’

thi r st for v e n gean ce I n th a t of H am l e t th ere i s th e c on fl i c t

.

be tw ee n a d e s ire to a v e n ge t h e d ea d an d n a ti v e i rre so l uti on .

3. A no th er c l a ss i s m ad e u p of d e sc r i p ti on s o f c h arac t er .

Th e se a bo u n d i n b i og ra p h i e s b u t e spe c i a lly i n a ut o b i ogra p h i e s

, ,

i n c o n ne c ti on with th e nar r a ti v e J o h n Stu art M i l l s a u . to ’

b i og r a p hy i s full of an a ly ti c a l d e sc r i p ti on s of hi s v aryi ng s t a te s
of m i n d .

4 S c i en ti fic w riti n gs afl ord a no th er c l a ss i n th e d esc r i p ti on s

'

of th e v ar i o us mora l an d i n te l l ec tu al qu a l iti e s .

49 2 .BJ E CT I V E A N D S U BJ ECTI V E DES CR I PTI O N BL E ND ED

O

TOG ET H E R .

Al th o ug h th e s e v ari o u s ki n ds O f d esc r i p ti on h a v e bee n an a ~

lyze d an d c on s i d e r e d se p ara t e ly y e t i n genera l th e y are fo u n d

,

e x ist i n g t oge th er an d are some ti mes i n se p ara b ly c on nec t ed

,
.

1
. L an gu a ge h a s O fte n an i m p l i e d or sugg e s t e d m ean i n g ,

whic h O f its e l f is e qui v a l en t t o d esc ri p ti on Thu s th e w ords .

 N ar r ation .
4 6 1

of M a cb e th H am l e t o r O th e ll o are v i rtu a l d e sc ri p ti on s of th e i r
, ,

s t a t e s o f mi n d ; and in m an y of th e famo u s s ayi n gs of g r ea t

me n th e re is some th i n g w hi c h is more s ig n i fic an t th an i n p a ge s
of o r d i n ary e xp l a n a ti on .

2
. A g rea t a c ti on h a s ofte n thi s s u gge s t e d m ean i n g Th e .

a cc o u n t of Leon i d a s at S parta has a d ee p s i gn i fic an c e in volv ,

i n g a d e sc ri p ti on of th e S p ar t an c h ara c t er Th e a cc o u n t of .

th e d e ath of P o ly c ar p b y E u s e b i u s u nfo l ds th e wh o l e s t a t e
, ,

of m i n d of a C h ri st i an m ar ty r .

3
. Th e s u bj e c ti v e thu s i n t erm i n g l e s with th e o bj e c ti v e Y e t .

th e re is a t en d en c y t o th e one or th e o th er an d w r it er s wh o ,

a r e famo u s for d e sc r i p ti v e po w er wil l d iffe r i n thi s resp e c t A .

rem ar k a b l e e x am p l e i s s een i n th e c as e of S c o tt an d By ron .

Bo th be l on ge d t o th e s ame sc h oo l of l it era tu re ; bo th c h o s e
ki n d re d th eme s an d w ro t e p oe m s of the s am e c l a ss oft e n i n
, ,

t h e sam e m e t re wi th ve rsific atio n an d v o c a b ul ar i e s th a t w ere

,

i n man y c a se s a l ik e y e t th e d i ffe re n c e b e tw ee n th em i n th e
,

c h arac t er of th e i r d e sc r i p ti on s i s v ery s t ron g ly m ar k e d S co t t .

w a s o bj e c ti v e an d By ron s u bj e c ti v e ; S c o tt d e t a il e d a l l h i s
sc e ne s d o w n t o t h e m i n u t e s t p o i n t an d w a s c on t e n t with th e
,

o bj e c t i t se l f with o ut see k i n g t o g o v e ry far b e nea th the s u rfa c e ;

,

By ron on th e o th er h an d l o v e d t o se i ze th e st r ik i n g fea tu r es
, ,

i n h i s sc ene s an d after men ti on i n g th es e i n a b o l d an d gra p h i c

, ,

m an ner t o d w e l l u pon th e i r hi dd e n m ean i n g Th e b a ttl e sc en e

,
.
-

i n M a r m i on m a y be c o mp a r e d with th a t of W a t er l oo i n C h il d e
H aro l d Th e forme r is full of a c ti on th e s tri fe of men th e i r
.
— ,

s u ffe ri ng th e i r wil d e xc it emen t o r wil d e r d e sp a i r ; th e l a tt er i s

, ,

ful l of th e p oe t s th o u g ht s an d is p r ofo u n d ly m e d it a ti v e
’
, .

4 S ome ti me s su bj e c ti v e d e sc r i p ti on i s i n t ro d u c e d b y th e l a w
.

of ass o c i ati on Thi s i s th e c as e i n M a c a ul a y s d e sc r i p ti on of

.
’

th e t r i a l of W ar r e n H as ti n gs .
 6
4 2 E lemen ts f
o R/tetor ic .

C H A PTE R I I .

N A R R A TI O N .

N ARR A TI O N 5 4 93 . .

I N m os t c a se s n arra tion i s c on nec t ed wi th d e scr i p ti on whi c h ,

i t so m u c h re se m b l e s th a t it h a s been d e fi ne d a p r o l o ge d s n

d esc r i pti on or a s eri es of d e sc ri p ti on

,
”
Th e d i ffere n c e be s .
”

tw ee n th em i s ho w e v er a rea l on e an d i s p l a i n ly m ar k e d
, , , .

D e scr i p ti on refe rs t o th e po i n t of ti me a t wh i c h the scene i s

obs e rv e d .

N a r ra ti on refe rs t o a s u cc e ss i on of e v en t s d e t a il e d i n th e
ord e r of ti m e .

N a r ra ti on i n c l ud e s wi th i n it se l f more d e part men t s of l it era

tu re th an an y oth er ki n d of c om pos iti on an d lik e d e sc r i p ti on , , ,

m ay be d i v i d e d i n t o obj e c ti v e an d s u bj e c ti v e .

5 494 . N ARRA TI O N
onj scr rv s .

Thi s i n c l u d e s a l l n a rra ti on of e x t ern al e v en t s .

1 .Thi i th e e ss en ti al c h ara c t er of hi t ory whi c h m u s t g i v e

s s s ,

a n a cc o u n t of th e u cc e s i on of e v en t s i n th e l i fe of a n a ti o
s s n.

Th e an c i en t hi t or i an c on c erne d th em s e l v e s c h i e fl y wi th e x
s s

t ern a l or o bj e c ti v e o cc u rren c e s N ear ly a l l of th e g rea t mon u

.

m e n t a l hi s t ori e s are of t hi s c l a ss ; for e x am p l e H e r od o tu s : ,

Thu c y d i d e s L i vy i n an c i en t ti me s ; an d i n m od ern ti me s Cl ar
, , ,

e n d on H u me G i bbo n P re sc o tt
, , ,
.

2. B i o gra p hy be l on gs t o th i s c l a ss wh en th e e xt ern a l li fe of
th e s u bj ec t i s n ar r a t e d Thu s an ord i nary b i og r a p hy of Al e x
.

an d er th e Grea t w o ul d be a n arr ati v e of th e o bj e c ti v e ki n d ,

s i n c e i t w o ul d h a v e t o d o c h i e fl y with hi c ar eer a a c on qu eror s s

an d rul er .

3 .At th e p re s en t d ay p ro e fic ti o n o cc u p
s i e s an i n ne nse d e

p ar t m en t of l i t era tu re th e g r ea t,
er p or ti o of wh i c h b e l on gs
n t o
th e d i v i i o of th e obj e c ti v e
s n .

4 . E p i c p oe try i n l u d e th ec c l a s i c a
s l e p i‘

c an s d a l s o a ll ,
4 64 E lem ts m f
o Rhetor ic .

“
d ru m an d t ru m p e t h i st ory as it is c all ed h as p a sse d o ut of, ,

fa shi on ; th e mod e r n hi s t o ri an see k s no t so m u c h t o t e l l a

-
“

s t ory as to a dv ocat e some v i e w or d eal with th e p hil oso p hy

,
”
,

of hi s t ory I n ge ne ra l th os e h i st ori e s m ay be said t o e x hi b i t

.
,

su bj e c ti v e na rrati on whi c h a i m t o u n fo l d th e gro w th an d d e

v e lo m n t of p ri n c i p l e s r a th e r th a n t o re l a t e th e s t or y of w ar s
p e ,

an d e xp l o it s G uizo t s H i st ory of C i v i l i za tion gi ves an a cc o u n t

’
.

of th e r i s e an d p r ogr e ss of p ri nc i p l e s whi c h go t o w ards th e e l e

v a ti on of mod ern soc i e ty Th e con s ti tuti on a l hi s tor i es of H al
.

l am an d Stu bbs are re c ords of th e ri se an d p rogre s s of th e e l e

m en ts of c i v il an d re l i gi ous l i ber ty I n po l iti c a l hi s t or i e s l ik e .
,

th o se of M a ca ul a y F ro u d e F ree man M o tl e y an d o th er s th e
, , , , ,

p rogre ss of p ri n c i p l es is no t ed s i d e by s i d e wi th the m arc h

of e v en t s .

2. E x am p l e s m ay be fo u n d i n th ose b i og ra p hi es wh i c h d we ll
u po n th e c harac t er as w e l l as the a c tion of th e s u bj e c t p ar
, ,

t ic ula rl
y wh e re i t i s re g ar d e d i n i t s p ro g re ss an d d e v e l o p me n t .

Thi s i s e spec ia lly v i si b l e i n a ut o b i og ra p hi e s lik e th e C on fes ,

s i on s of S t A u gu s ti ne ; Bu n y a n s Gra ce A bo u n d i n g ; th e t oo
.
’

c an d i d C on fe s sio n s of R o u ss ea u i n De Qui n c ey s O p iu m ’

Ea t er ; N e w m an s A po l og i a ; t h e Ec li pse of F a ith ; an d th e
’

a ut o b i og ra p hy of J o h n Stu art M ill .

3. W o rk s of th e i m a g i na t io n m a y b e d i vi d e d i n t o tw o c l ass e s ,

a cc or d i n g as th e y refer t o th e p r o gre ss of i n c i d en t or th e d e
velO pm e n t of c h ara c t er Of th e s e tw o th e l a tt er affords e x am
.
,

p l es of su bj e c ti v e narra ti on Thi s cl ass i s a t th e p re s en t d ay an

.

i nc rea s i n g one an d th e grea t es t no v e l i s t s are th o se who l o v e

,

t o e x hi b it th e w o rki n gs of th e h um an m i n d an d d isp l a y th e ,

emo ti on s of th e hu m a n hea r t Lord Lytt on i n his l a t e r n o v e l s .

g i v e s fre qu e n t e x am p l e s D i ck e ns e spec i a l ly i n his sem i a ut o

.
,
-

b i o gra p hi c a l D a vid Co ppe rfi e l d d eal s m ore wi th th e c o u r se of ,

fee l i n g th an with th e p rog re ss of i n c i d en t Th a c k eray i s a lw ay s .

tu rn i n g as i d e from th e n arra ti v e of th i n gs t o sh o w wi th H ora ,

ti an w or l d ly wi sd om m i n g l e d wi th m il d c y n i c i s m th e u n d erc u t ,

ren t of se l fis h ne ss c raft fo lly or s i m p li c i ty th a t bear s h i s s t ory

, , ,

on w a r d Geo rge E l i o t fre qu en tly a l l o ws e v en t s t o d rag from h er

.
,

l o v e of s ear c hi n g o ut th e hi dd en sp ri n gs of hu m an a c ti on a n d ,

is g r ea t e s t wh e n she l a y s b are m o ti v e s an d d i ss e c t s c h ara c t er .

4 Al l th is i s s ee n m o re s t r ik i n g ly i n p oe t ry
. I f th e grea t .

anc i e n t e p i cs are o bj e c t i v e th e g rea t m od ern on es are s u b ,

 N ar r at ion . 6
4 5

jec tiv e . C h i ef am on g th e s e is D an t e s D i v i ne Come’

d y I t i s .

n o t th e p l a c e h ere t o d i sc u ss h o w far n arr ati v e i n all e gory is

s u bj e c ti v e ; y e t c er t a i n ly wh e n th e mean i n g is m an i fe stly fig ura

ti v e i t is p r o p e r t o r e g ar d i t i n th at l i g h t Th e wh o l e sc o p e
, .

of D an t e s p oem is fig u r a ti v e I t is an a l l e gory wh ere t he

’
.
,

c h ar a c t e r s h av e n ame s of w e l l k no w n p e r son s y e t r e p r e se n t
-
,

qu a l iti e s S p en se r s F ae ri e Qu eene is of th e sam e or d er M il

.
’
.

t on s P a r a d i se L o st o n the c on t ra ry i s n o t a t a l l a ll e g or i c al ;
‘

’
, ,

but i s a w o rk of th e i m a g i na ti on re p re s e n ti n g wh a t i s c on c eiv
,

a b ly an a c tu a l oc en c on c lu si on is to b e
d r a w n a s fr om an y
, e nn yso n s I d yl s of th e Ki n g
’

are l a r ge ly s u bj e c ti v e g t o aqu a s i a l l e go ri cal o r d e r -

of l it era tu re Th e y u n fo l d th e A rthu r i an l e g en d s wh ere th e

.
,

k n i g ht s of th e A r thu ri an e p op oe i a are e n d o w e d with m o d ern

m od e s of th o u g h t an d t ea c h th e hi g h g osp e l of c hi v a l ry t o th e
,

m en of th e n i ne t ee n th c en tu ry Th e k e y n o t e t o th em a l l w a s
.
-

st r u c k i n th e S i r Ga l ah a d wh i c h i s a n a l l e g ory i n i t se l f
,
.

5. N arra ti v e p a ssa g e s o cc u r i n d r am a ti c l it era tu re an d wh en ,

th e p l a y is of a s u bj e c ti v e c h a r a c t e r a s H am l e t o r F a u s t th ere
, ,

are c or r e sp on d i n g p or ti on s of n arra ti on S he l l e y s P rome th e u s .

’

U n bo u n d i s en ti r e ly s u bj e c ti v e a n d th e p a ss a ge s of narra ti v e
,

th a t o cc u r are of th e s ame c h a r a c t er .
,

6 Ly r i c p oe t ry i s h i g hly d i v e r si fi e d i n i t s th eme s an d e x
.
,

h ibits s u bj e c ti v e n a rr a t i v e as m u c h a s o th er k i n d s of literatur e .

Wh ere v er th e p oe t h o l d s c om m u n i on with his o w n h ea rt o r re ,

l a t e s his p er s ona l e xp eri e n c e thi s i s t o b e fo u n d Te n n y s on s

, .
’

I n M em or i am i s a se ri e s of lyri c a l p oe m s of t h i s ki n d .

R e l i g i o u s hy mn s are c on sp i c u o u s fo r thi s Th e P sa l m s of .

D a v i d are ful l of n arr ati v e s of th e e xp er i en c e of th e so ul an d ,

t h e s e h av e b ee n i mit at e d i n a l l a ge s .

7. Su bj e c ti v e n a rr a ti on m a y b e fo u n d i n e xp o s iti on wh ere i t
i s n e c e ssary t o g i v e an a cc o u n t of th e p r ogre ss of p ri n c i p l e s .

A writ e r on p o liti c a l e c onom y m ay n a r r a t e th e e ffe c t of free ‘

t ra d e d o c tri ne s A writ e r o n me t ap hy si cs m ay r e l at e th e c o u r s e
.

of an y g i v e n sy s t e mof p hil o so p hy I n a h i st ory of p hi l o s op hy

.

w e h av e n a r r ati on c om b i ne d with e xp o si ti on as i n th e w o rk s ,

of T en n e man n C o u si n L e w e s an d o th er s I n Chu rc h H is
, , ,
.

t o ri e s th e s ame t h i n g o cc u r s .

Th e mo st r e ma rk ab l e e x a mp l e of th e d i ffe r e n c e b e tw een th e
s u bj e c ti v e an d th e obj e c ti v e i n n arra ti on is s een i n th e Gosp e l s .
466 E lemen ts f
o Rhetor ic .

M a tt h e w, M ar k , an d L u k e c om mon ly c a l l e d th e Syn o p ti c Go s
,

pe l s refer c hi e fl y t o th e e x t erna l li fe a d ac ti on s of th e S a v i o u r
,
n ,

an d e v en th e d i sc o u rse s h a v e ap rac ti c a l c h ara c t er Th e fo u rt h .

Go spe l i s s u bj ec ti v e H e r e w e o bse rv e c hi e fl y th e m i n d of
.

Ch ri t an d th e wh o l e n ar r a ti v e t e n ds t o e nfor c e th e l ofti es t
s ,

an d mos t p i r itu a l t eac hi n gs

S .

Th e s a me d i ffe re n c e i s t o be o bse rv e d be tw een Xen o p h on

an d P l a t o i n th e i r a cc o u n ts of th S oc ra ti c t ea c hi n g I n th e e .

fo r mer i t re l a t e s t o p ra c ti c a l l i fe an d e v e ry d ay mora l i ty ; i n th e -

l a tte r th e d i a l ogu e r i se s t o the g rea t e s t h e i g hts i n th e d i sc u s

s i on O f ab t r ac t t r uth
s .

O th er e x am p l e s ma y be fo u n d i n th e poe t s wh o d ea l c h i e fly
i n nar a ti on th e o bj e c ti v e be i n g p r e s en t e d by Sc o tt C r a bbe
r , , ,

So uth e y Ca mpbe l l ; wh il e th e s u bj e c ti v e i il lu s tra t ed by Byr on

, s ,

Co l er i dge Sh e ll e y Word wo th T s o n th e B ro w n i n gs
s r Th e en n
, , y , , .

s u bj e c ti v e ha p re d om i n a t ed u n ti l re ce n tly wh e n th e a dven t of
s ,

Swi n b u rne M orri s R ose tt i an d o th ers h a s l e d t o a rea c ti on

, , , , .

C H A PT E R I I I .

P S ITI O N EX O .

4 9 6 E XPO SITI O N . .

E xp o s ition i s th a t ki n d of c om po iti on whi c h d ea l s with it s s

s u bj ec t ma tt er by a p roc e ss of r e as on i n g s o a s t o rea c h a c er
-
,

t a i n c on c l u s i on th ro u g h th e d i sc u ss i on of fa c ts or p r i n c i p l es
, .

U TL I N E o r H U M AN K NO WL E DG E
§ 49 7 . O .

Expo s iti on refer s t o a l l th e d e p ar t men t s O f hu m an th o u g ht ,

k no wl edge or i n qui ry Th e fo ll o wi n g i a g enera l o utl i ne O f

, . s
‘

th e se
I S c i e n c e Th i s i s th e i n v e s ti g ati on of pos i ti v e k no wl e dg e
. . .

U n d e r thi s c l a ss are i n c l u d e d th e fo ll o wi n g
1 M a th em a ti c a l sc i en ce
. .

2 Th e p hy si c a l sc i en c e s a s c h em i s t ry g eo l o gy m i ner
.
, , ,

a l ogy bo t an y zoo l ogy e t c

, , ,
.

3 Th e.sc i en c e s whi c h h a v e t o d o w ith m an i n c om m u

 6
4 8 E lemen ts f
o Rhetor ic .

be p u re ly t ech n i c al an d the refore u tter ly obsc ur e to th e gen

,

e r a l re ad er or l it erary an d O pe n t o a l l
, , .

E v en amo ng sc i en t ific write r s h o w e v er m an y of th e hi g h es t , ,

c l a ss are fr ee f om an y con i d e r a b l e d i ffic ul ties i n th i s re pe c t

r s s ,

a n d h a v e t a k en a p l ac e i n g eneral l it era tu re Th e grea t p hi .

loso phe rsof Gree c e an d R ome as w e l l as th o s e of m od e r n ,

ti m e s be l on g no l e ss t o l i t era tu re th an to p hil o s o p hy ; an d at
,

th e p re se n t d a y th e r e i s an i n c re as i n g n u m be r O f th os e w r it e rs
o n sc i e n c e wh o a dd re s th em se l v e s n o t t o a cir c l e of scien t ific
s ,

re ad e r s b ut t o t h e w or l d
, .

4 98 CLASSI F I CATI O N o r EXPOSITO RY W R ITI N GS

. .

E xp os it ory w r iti n g s m ay be c l ass i fi e d as fo llo w s

1 Th e trea tis e
. Thi s m ean s th e full d isc u ssion of a s u bj e c t
. .

Th e mo st fam il i ar e xamp l e s of th is are t o be fou n d i n th e w or k s

'

O f th e g rea t p hi l os o p h er s of a nc i e n t an d m od ern ti m e s— P l at o ,

Ari s t o tl e C ic ero Baco n Loc ke H u me e t c Th e w r iti n gs of

, , , , , .

th e se an d o th er s l ik e th em h a v e t a k en a p l a c e as c l a ss i cs i n
, ,

genera l l it era tu re .

a Th e e ss a y
. Th i s i s a s h o rt er exp os i tion O f a s u bj e c t an d
.
,

i s gene r a l ly con fi ne d t o one aspe c t of i t C i c ero s D e S ene c .

’

tut e an d D e A m i c iti a are fam il i ar e x am p l e s Of thi s c h ara c t er .

are the es sa y s of Ba c on A dd i son S t ee l e J o h n son M a c a ul a y , , , , ,

D e Qui n c e y an d o th e r s Th e e ss ay ofte n e x h i b i ts m as ter ly

,
.

e xpo s iti on j o i ne d wi th c o n s u m ma t e a b ili ty an d fi n i s h e d s ty le

,
.

3. Th e e p i st l e Thi s w a. s fo r me rly a fa v or i t e m o d e of c om
po s iti on Th e m o s t famo us are th os e of C i cero P l i n y M a d ame
.
, ,

d e Sev i g n e La d y M ary W ortl ey M on ta g u e P o pe Co w per A t

, , , .

th e p re se n t d ay thi s form of w riti n g h as l o s t i ts i m po r t an c e i n

a l it e r a ry se n s e .

4. Th e e d it or i a l ar ti c l e Th i s i s t h e p ro .d u c ti on of an a g e
of n e w sp a p er s Th e ne ce ss ity of th e c a se c ompe l s i t t o be
.

O f r e stri c t e d l en g th A t its be st i t i s a con c i se an d v i gorou s

'

.
,

t rea tme n t of some one aspe c t of a s u bj e c t I t be ar s th e .

sam e r e l a ti on t o an e ss a y whi c h i s bo rn e b y an e ss a y t o a
t reatise .

5
. Th e p ara g ra p h Th i s i s a . s h or t e x p o s iti on of s om e i n d i
v i d u a l p o i n t on a su bj ec t of in tereSt I t h as bee n grea tly en .

lar g ed in i m por tan c e b y the ne w sp aper an d be ar s th e s am e , .

r e l a ti on t o th e e d it or i a l whi c h th e latte r b ear s t o a n e ss a y :

 Or atory .
469

6 P oe t ry P oe t ry whi c h d eal s i n e xp o s i ti on i s com mon ly

. .

c a ll ed d i d a c ti c a d some ti me philO S phi

,
n s O c .

L u tiu c re D e R eru m N a tu r a i s phil S phic i n it s c h a r ac

s s
’
O O

t e r H or ac e D e A rt e P oe ti c a i c on c er e d wi th rh e t o ri c I n
.
’
s s n .

E n g l i h p oe t r y th e c h i ef e x am p l e s a e P o p e p oe ti c al e ay s ’
s r s ss

an d e p i tl e ; Y o u g Ni g h t Th o u g h t s ; D ar wi n s Bo t an i c Gar
s s n
’
s
’

d e n ; Th om on s S ea son s ; C o w p er T a k ; W ords w or th Ex
s
’ ’
s s
’
s

c u io ; B ro w n i n g s C hri s t ma E as t er an d B i s h o p B loug ams

’ ’
rs n s, ,
r

A p o l o gy .

E xp os i ti on i s s ee n i n lyri c p oe t ry a l s o a s i n om e of th e , s

s on ne t of M ilton g Wh e n I c on s i d er h o w m y l i fe i s p en t
s ,
e . .
,
“
s

an d i n m an y hy m n s a for e x am p l e Co w p er Go d mo v e s
,
s, ,
’
s
“

i a m y s t er i o u s w ay ; M on tg omery s P ray er i s th e so ul s s i n “
” ’ ’
n

c ere d e s i re .
”

C H A PT E R I V .

O R A T O RY .

O RA I O R Y
' ‘

4 99 . .

ACC O R DI N G t o A ri s t o tl e th e d i v i s i on s O f ora t ory are th r eefo l d ,

an d his c l assi fic a ti on may be t a k e n as s u ffi c i en tly c om p l e t e .

I D e l i be r ati v e 2 J u d i c i al 3 D emon st ra ti v e
. . . . . .

D e l i be r at i v e or at o ry is so me ti me s s tyl e d po l iti c a l as i t p re ,

v ail s c hi e fl y in p arl i am en t ary bo d i e s J u d i c i al is a l so c al l e d .

fo r en si c an d p r e v ail s i n c o u rt s of l a w D e mo n str a ti v e is a l s o
, .

styl e d m o r al as it has t o d o with hu man mo ti v e s an d a c ti on s

, .

A ri s t o tl e is v e ry ful l in his t r ea t me n t O f th e se d i v i si o n s O f
o r at o ry A cc o r d i n g t o hi m th e su bj e c t s of d e l i b e ra ti v e o r a t o ry
.

a r e war su pp l i e s fi n an c e e t c i n v i e w O f w hi c h h e sh o w s th e
, , ,
.
,

ne c e ss i ty O f e x t e n si v e k no wl e dge on the p ar t of the o r at o r O f

s u c h thi ngs as h i st o ry geog r ap hy th e r e so ur c e s of n ati o n s an d
, , ,

of wh at e v e r e l s e may c o n d u c e t o an e n l i g ht e n e d O p i n i o n o n
p o l i ti c al matte r s H e s h o w s th a t th e p ri n c i p l e s fr o m whi c h
.

p r oo fs are t o b e d raw n ar e th e c o mmo n O p i n i on s O f wh at is

goo d an d e v il an d t hat the aimO f th e ora t o r is t o p e rsu a d e t o
,

th e one an d d i ss u a d e fro mth e o th e r .

4 70 E lemen ts o f R/zetor ic .

Th e s u bj ec t of j u d i c i al ora tory h e s h o ws t o be a cc u sa ti on an d
d efen ce th e p roo f th a t a n i nj u ry h as bee n d on e or i t s d i sp roof , .

H e giv e s an an a ly s i s of i nj u ry m o ti v e artific i a l an d inar tific ial

, ,

p roofs .

Th e s u bj e c t of d e mon s t ra ti v e ora tory h e s h o ws t o be p ra i se

an d b l ame ; th e ar gu m en t s for whi c h are t o be d ra w n from th e .

e l emen t s of th e h onora b l e or th e d i s h onorab l e .

Th e e x am i n ati on of A r i sto tl e e x t en ds i n t o s u bj e cts whi c h a t

th e p re se n t d a y w o ul d no t be t o u c h e d u p on i n a t rea tis e o n
r h e t or i c b ut re l e g a t e d t o th e m o r al p h il os o p h er th e hi s t or i an
, , ,

th e po l itic a l e conom i s t or o th er spe c i a l i s ts A cc ord i n g t o h i s

, .

d e fi n i tion r h e t ori c h as t o d o with e v ery s u bj ec t ; b ut i t d oe s no t

,

th erefore fo ll o w th a t th e r h e t ori c i an s h ou l d d i sc u ss a l l s u bj e c t s ,

for th a t w o ul d be t o m a k e a t rea ti se on r h e t or i c an e ncyc lopm

d i c w ork on e v ery po ss i b l e b ran c h of hu m an k n o wl edge .

Th e fo ll o wi n g i s a s um mary of his s tat emen ts as t o th e th ree

d i v i s i on s of ora t ory :
Th e b usi ne ss of ea c h
.x De l i bera ti v e ; e xh ort a ti on an d d i ss u a s i o n .

.z J ud ici al a cc u sa ti on a n d d efen c e .

.
3 D emon s t ra ti v e ; p rai s e an d b l ame .

Th e ti me p ro per t o ea c h
. r D e l i ber ati v e ; th e futu re for i n et ,
rt a tion or d i ss u as i on
th e spea k er a d vi se s re spe c ti n g thi n gs fu tu re .

.a J u d i c i a l ; th e p as t for h ere th e s u bj ec t c on s i s t s of a c ti on s
,
-

a l rea d y performe d .

.
3 D e mon s tra ti v e th e p re se n t for h ere th e s u bj e c t i s on e
,

wh i c h i s a c tu a lly before th e a u d i e n ce for p re se n t di sc u s

s i on .

Th e O bj e cts of eac h
. x D e l i be ra ti v e ; th e e xpe d i en t or i nexp e d ie n t .

.2 J u d i c i a l ; j u s ti ce or i nj u s ti c e .

.
3 D emon s t ra ti v e ; r i g h t an d w ron g t r u e an
,
d fa l s e i n th e ,

s u bj e c t m a tt er whi c h m ay b e sc i en c e p hil o so p hy t e
-
, , ,

ligio n or an y o th er b ran c h of hu m an k no wl e dg e
,
.

O r a t ory em p l oy s d i ffe r en t ki n d s of c om p o s iti on s u c h as e x ,

po si ti on d e sc ri p ti on n arr ati on d i a l ogu e an d a pp ro x i ma t e s t o

, , , ,

th e ferv or an d i m agi na ti v e r i c h n e ss of p oe t ry .

O ra t ory a l so m a k e s u se of a l l th e re so u r c e s of r h e tor i c Of .

al l th e em be ll i sh men t s of styl e or th e forc es of argu men t of a l l ,

47 2 E lenient: f
o Rhetor ic .

o rable e x am p le s Durin g the r ev i va l O f l earn i n g c on tr ov ersy

.

fl o u ri s h ed an d l as t ed u n til th e ti me of th e P a rl i amen ta ry w ar s
,
.

Th a t w as th e a ge of pon d ero u s t om e s w hi c h h o w e v er i n th e , , ,

s t o rm y p er i od of the wa r be tw ee n k i n g an d P ar l i am en t w as ,

qui c kly su cce ed e d by an ag e of c on trov ers i a l p am p hle ts O ur .

o w n age c on fi ne s c on t ro v er sy t o n e w sp a p er s a n d pe ri od i c al s ;
ye t boo k s are still c om p o sed s u c h as D r N e wman s A po l o gi a
, .
’
,

a i d t h e l i t era tu re t h a t ro s e u p ro u n d th e Co l en so con tr o v e r s y .

C on t ro v e rs y s til l fl o u r i s h e s an d m u s t co n ti n ue t o d o so
,

whil e th e hu m an m i n d i s a c ti v e an d e ne rge tic S c i en ce afford s .

as grea t a fi e l d for th i s as r e l i g i on ; an d th e d i sp ut e s t h a t rag e

a bou t th e one are as e age r a s b itt er an d as u n c om p rom i si n g
, ,

as th o se of th e o th er I n po l i tics is fo u n d th e mo st fam ili ar

.

sp h ere of c o n t ro v er sy for e v ery c o u n t ry h a s i t s po li tic a l p ar ti e s

, ,

wh o c on t e n d th ro u g h th e m e d iu m of th e p re ss Th e se s h o w .

t h a t th e odiumtheolog reumwhi c h w as on c e s u ppo se d pe c ul i ar

'

t o re li gi on is me re ly th a t od imn whi c h be l on gs t o hu m an n a t
,

ure fand is fe lt a g ain s t al l who d iffer i n o p i n i on on an y p o i n t

from o u r se l v e s .

5 5 02 PARL IAM E N TARY D E BA T E

. .

2 Thi s h a s gro w n u p in th e free re p re se n t a tiv e a sse m b l i e s of

.

th e E n g l i sh spea ki n g race an d h as bee n d e v e l o pe d by th emt o

‘

-
,

it s p re se n t s t a t e F or ord i n ary p u r po s e s it h as a l t oge th er sup

.

p l an t e d the c on tro v er s i a l de ba te s i n c e it i s far b roa d er i n it s

,

sc o pe an d mo r e th oro u g h i n i t s tr ea t men t of th e s u bj e c t .

Th e pec uli ar i ty of p ar l i amen t ary d e b a te is t ha t the s u bj e c t

t o be e x am i ne d i s p re sen t ed i n a form a l s t a t emen t c a ll e d a r e s ,

olutio n or qu e s ti on t o whi c h a l one th e d i sc u ss i on m u s t refer

, , .

Th e p r i n c i p l e of p ar l i ame n t ary d e b a t e i s a s o l d as th e hu
m an rac e an d M il t on w o ul d h a v e i t o l d e r s ti ll s i n c e he c arri e s ,

i t b ac k t o the fa ll en an ge ls i n P an d em on iu m H omer i n t ro .

d u c e s u s t o th e d e b a t es of th e G r e c i an c hi efs before T roy ; b ut

th e se are i rre gul ar an d u n sy s t em a tic Th e d e b a t e s a t Ath en s .

an d R ome w ere p ro b a b ly of th e s ame ki n d Th e form of p ar .

liam e n ta r
y d e b a t e i s mo d e r n I t w a s c rea t e d.an d d e v e l o p e d
i n E n g l an d I t w as born i n th e E n g lis h P ar l i amen t an d h a s
.
,

sp rea d th en c e t o oth er p ar li ame n ts an d a l s o t o o th er p ub l i c,

a sse m b l i e s whi c h h a v e no c on nec tio n with p o l itics So u se fu l .

is it t ha t it is em p l oy e d e v e n wh ere th ere i s no d e b a te p ro per ,

 O r atory .
473

b ut on ly d i sc u s i on ; wh e r e sp eak e r a g ree u p on th e qu e s ti on
s s ,

an d c on i d e r it no t fr om c o tr a ry b ut fr om d ffe r t p o i t of
s ,
n ,
i en n s

v i e w Thi i illu t ra te d by th e sp ee c h e t o th e qu e ti o a t
. s s s s s n
”

th e mee ti n g of an y o c i et s y .

Th e a i m of p arli ame t ary d e b at e i t o i n v e ti g at e th e s u b n s s

j c et fr om m a y p o i t of v i w whi c h a r e p r e en t e d fr om tw o
n n s e s

c t ra ry s i d e I no o th e r w ay c an a ubj e c t be e x h a u t
on s. n s so s

i ly c on s i d ere d
ve .

Fr ee d e b a t e may b e c a ll e d th e grea t e s t b l e ss i n g whi c h a

n a ti on c an enj oy for i n t h i way i t c an b e t wi n a d mai t ai n
,
s s n n

it l i b e rti e
s s .

A p arl i amen t a ry d e b at e wh e n c arri e d on by ab l e men i one , , s

of th e fi ne t e x h i b iti o O f th e p o w er f th e hu man m i d th a t
s ns s O n

c an be wit ne e d W e e w e l l i forme d an d w e l l tr ai ne d ia
ss . s e -
n -

t ll c t tu r n i n g all th e i r p o w er t o th e d i c u
e e s i on of a u bj e c t s s ss s

from man y p o i n t of v i e w i n whi c h tw o O pp o i t e fo r c e t r u gg l e

s ,
s s s

fo r th e v i c t o ry I n u c h a tru gg l e a l l th e h i g h e t i n t e l l e c tu al
. s s s

fo r c e a p ut fo rth W e en c o u n t e r b r o ad a d d ee p k o wl
s re . n n

e dge q ui c k app r e h en s i on a r g u me t a ti v e p o w e r g re at c om
, ,
n ,

m an d of l a g u ag e t oge th er with all th e r e o ur c e

n f wi t hu
, s s O ,

m o r a d p a th o ; th e h a rpne s of e p i g r am mati c t at eme t

,
n s s s s n ,

th e v e h emen c e of d en u n c i a ti on th e k ee n e s of th e qui c k e ,
n s t

t or t h ar p re p ar tee o r b iti g arc a s m

, s ,
n s .

D e b at e i f mo r e i mpor t a c e th an former ly; s i n c e th e r e i a

s O n s

l a r g er a u d i en c e Thi s i s th e re s ul t of a fr ee P a rl i a men t an d
.

p re ss Th e mem be r of P a rli amen t re p r e sen t th e p eo p l e t o

. s

d i c u ; b ut th e r e por te rs of th e p re s re p re s en t th e p eo p l e
s ss s

t o l i t en Thu s th e wh o l e n a ti on i s p r e s en t t o d e b a t e an d t o
s .

h ear k e n by p r o x y .

R e p or ti g l ik e p ar l i amen t ary d e b a t e it s e l f h a s gro w n b ut

n , ,

s l o wly A t fi rs t th e r por t s of d b a te s w e e O n ly gene r al

. e e r .

S am u e l Jo h n on i a ty p e of th e re p o rt er of h i s age H e u e d
s s . s

t o li t en a d writ e o ut fr om memo ry ; with thi p e c uli ar c i r

s , n s

c um ta ce th a t be re c on t r u c t e d th
s n ,
p ee c h e i n hi s o w n tyl e s e s s s .

Th e n e x t t ag e wa v e r b a ti m s h ort h a d e p o rti n g whi c h n o w

s s -
n r ,

e xi t s s Th e tw o t age s are een i n th e sp ee c h e O f Ch a th a m

. s s s .

H i r e p ly t o W al p o l e wa wr itt e n b y J o h on i n J o h on i a
s s ns ns n

an tith e e ; h i fam o u p ee c h o a mo ti o fo r a add e t o

s s s s s n n n r ss

th th r
e e wa t a k e d o w by H u g h B oy d E q a d re v i d by
on s n n ,
s ,
n se

t h ora t o h i m e l f
e I t bear all th e ma k of av e b a ti m re p ort
r s . s r s r .
4 74 E lemerzt: f
o R/tetor ic .

C H A PTE R V .

TH E T A CTI C S OF O R ATO R Y .

5 5 03 . TACTI CS RA TO RY
or O .

T H E ta c ti cs of ora t ory m a y be d efin ed a s spe c i a l d e v i c e s

em p l oy e d by ora t ors fo r th e sa k e of per s u a d i n g th e i r h e a r er s .

Th e y i n c l u d e a l l th e d i ffe r en t m ean s whi c h h a v e bee n i n v e n t e d

for ma ki n g o p i n i on s a cc e p t a b l e en c o u n t er i n g o ppo siti on an d
, ,

i n flu en c i n g fee li n g S ome of th e se are of hi g h i m po rt an ce ;

.

o th er s a r e e x hi b iti on s of m ere ar ti fic e a n d th o ug h o n c e u se d
, ,

with s u cc es s by grea t ora t or s an d p re e m i nen tly by C i ce r o are

, ,

n ow c on s i d ere d a s t oo r h e t or i c a l an d d is i n ge n u ou s for m od ern

t as t e .

S ome of th e an c i e n t r h e t ori c i an s se t d o w n a l l th e s e a s regu

l ar figu re s cal l i n g th em figu re s of argu men t or figu r e s of
,
”
,

ora t ory bu t a cc or d i n g to th e d e fi n iti on h ere a d o p t e d thi s

t erm i s no t a pp l i c a b l e t o th em I n the e n u me r a ti on wh i c h
.

fo l l o w s mos t of th e an c i en t n ame s are gi v en no t be c a u s e th e y

, ,

h a v e an y p ra c ti c a l utility a t th e p re se n t d a y b u t ra th er on ,

a cc o u n t of th e i r i n t e re s t an d v al u e fr om an h i s t or i c al p o in t of
v ie w .

Th e p re se n t s u bj e c t i n c l u d e s th e fo l l o wi n g
1 . Con c il i a ti on ; 2 E m p h as is ; 3 E xp l ana ti on ; 4 A n s wer s
. . .

t o o bj ec ti on s ; 5 Artifices 6 A tt ac k ; 7 D efe n ce ; 8 D i s
. . . .

p l ay of fee l i n g .

5 5 04
‘ ‘
. C O N C I LI A I I O N .

1. A mon g th e t a ctics of ora tory none are more impor t an t or

,

m ore wi d e ly em p l oy e d th an a c on c ili a t ory s tyl e an d d emeanor .

F o r pe rs u as i on c an b e s t be e ffe c t e d o v er th o se wh o a r e d is
po se d t o r e g ar d th e spe ak er with ki n d ly fee l i n gs an d wh o are ,

i nc l i ned t o g i v e t o his a rg u men ts th e m o st fri en d ly c on si d e r a »

47 6 E lements .
f
o Ritc tor ic .

En gl is h court of j ustice what sac red i mpartiality may n ot eve ry man ex pect
,

fromits j urors and its benc h —ERsx1N E FO R S TO C K D AL E

.
”
.

I n th i s as a l so i n th e fo ll o wi n g p ass age th e p ra i s e i s a pp l i e d
, ,

t o th e j u dge s an d a ttr ib u t e s t o th em th a t qu a l ity whi c h th e y

,

w o ul d be m os t i n cl i ne d t o c l a i m as th e i r c h ar ac t er i s ti c .

B ut be th at as it may gentl emen he now comes before y ou pe rfec tly

, ,

sati sfied th at an E ngli h j ury is the mos t refr es hi ng prospec t th at the ye

s e

of a c cused i nnocen ce ev er m et in a h uman tr ibunaL —MACK INTO S H FO R

P E LTtE R .

I n the fo l l o wi n g p a ss a ge th e p ra i se i s a pp l i e d t o th e adver

One bl e l ord th ere is wh ose j udgme nt we are call ed on i mpli ci tly to

no

tr ust and who expressed hi mse l f with much i nd ignation and yet w ith en
, ,

ti re honesty of purpose against this measure N man is in my opini on

, . o

mo re si ngl e h eart ed no man mo re i ncor ruptibl e o uc ttast O N RE

-
, .
” -

Thi s l an guag e of p ra i se m ay be a s s t ro ng a n d a s s i n ce re a s
po ss i b l e an d some ti me s th e spe ak er gi v e s t o i t a n a dd iti ona l
,

for ce b y a sse rt i n g his o w n i m p l i c it be l i ef i n th e t r uth of hi s

w or ds .

13 a reality or is y our hri stian ity a r om

this , C
ance ? is your pr ofessi on
a d ream? N o. I amsure that yo ur hri sti anity is no t aro m ance , and I am
C
q
e u ally s ure that y o ur pr ofess i o n is no t a d ream It is because I be li ev e .

this that I appeal to youwith confidence, and that I hav e faith and h ope in
t he fut ure —Jo n N B t it T
”
. .

5 07 . T H AN KS .

S ome ti me s it a ss u me s th e form of th an ks for be ne fi ts wh ic h

h a v e ari se n from m o ti v es of hig h v i rtu e an d g eneros ity : as
Iw oul d th an k you g entl emen for the generous sympathy wi th whi c h in
, ,

my und ese rving perso n you hav e h on o red the bl eed i ng the oppressed but , ,

n ot br ok e n H ungary I w oul d than k you for the ray of h pe wh ic h the

. o

sym pa thy of the E n glis h eo

p p l e cas ts on t he night of o ur fate —Kossur n .
”
.

5 08 . CoN C ESS tO N .

Con ce s si on s are v e ry O ft e n u se d with g oo d effe c t By th e s e .

th e sp e ak er a d m i t s t o a c er t ai n e x t en t th e ar gu me n t s of h i s
o ppo nen t b ut th e a d m i s si on is on ly m ad e i n or d e r th a t h e m a y
,

b ri n g forw ard his o w n w i th grea t er force Whil e the y th us .

 The Tactics o f O r atory .
477

t en d i n ge ne r a l t o w ard s c on c il i a ti on th e y s er v e t o b r i n g o u t th e ,

sp ea k e r s a r g u m en t s in str on ger r e l i ef :
’

W ll e , h av e mor e bann ers to d ecor at e y our

if y o u g o to war n o w y ouW l ll

cat h d r a
e l and yo ur c h urc h es Yo u may rai s up gr eat gen eral y o u may
s . e s

h av e anoth r W elli gt on and an oth er N el on too for thi s country c an gr ow

e n s ,

me capabl e fo ev ery ent er pri se Th en th ere may be titl es and p nsi on s

n r . e ,

an d marbl e mo numen t s t o et er n i ze the men who h av e th us b ecome gr at e

but wh at bec omes of you an d y o ur coun try an d y our c hil d r en — JO H N

, ,

B RI G H T .

Th e l a st c l a u s e wh i c h c on t a i n s th e p o i n t of th e a rg u m en t
, ,

re c e i v e s a dd i ti ona l forc e from th e p re v i o u s c on c e s si on .

B ut, si r, let us ad m the fac and the it

o e fo ce of t he a u men — I
t wh l r rg t
ask, ose is the fau ? W ho h a
wh s e en a mem e
lt for man e a s pas , b br yy r t
t t
an d see n t he de fence ess s a e o f his c oun e en n ea him
l , und e his o wn try v r r
ey es wi th out a si ngl e en dea
, v or to remed y so serious an e vi l — JO H N C .

C ALH O UN .

Th e c on c e ss i on wh i c h i s h ere m a d e i s i m me d i a t e ly fo ll o w e d
b y a v i go r o u s re t or t .

5 09 . c on r s ssrorv .

S ome ti me s th e c on c e s si on i s m o r e st ron g ly p ut fo rw ar d an d
a s su me s th e c h a r a c t er of a c on fe ss i on a s i n th e fo ll o wi n g e x ,

am p l e s

I feel tr g t m r
in the s on es anne ho w e fo v ry rmi bl
d a e an ad e sa v r ry I h av e

t r
to e n co un e in the en em
right h r bl g tl
ono a e an oppos e— fo md a
it r i bl e fr o m
h is a e n s, fo md a e fro m the n uen c e o f h is s ua on ; but s
t l t r i bl i fl it ti till m r o e

fo rmi d abl e fr om h avi n g n e bee n frie nd ly to the cau e and bec omi ng it
o c s , , s

d et er mi ned oppo nen t d r awi g 6 o th e rs fr omthe st an d ar d — LO RD G R E Y

, n 0 .
”
.

I n thi s a s i n th e fo ll o wi n g th ere i s th e c onfe ss i on of feel i ng

, ,

or in te n ti o n per s on al t o th e sp ea k e r .

I me forward on the pr esen t occasi on act uat ed sol ely by a sen se of

co ,

d uty to mak e a se ri o us and i m

, po rt an t mo ti on w hi c h I am r eady fairl y to ,

ad mit i n v o lv es n o l ess ac onsi d er ati on th an afu n dament al c h ange in gov ern

men t —LO RD G R E Y
.
”
.

C on fe ss i on l ik e c on c e ss i on is m a d e use of as a p r e l i m i n ary
, ,

t o w ards i n t ro d u c i n g the sp eak er s o w n arg u m en t s with g rea t er ’

for c e .
 E lem f R/zd
'

47 8 ents o or zc .

5 5 10 . p sr mrssroxv .

So me wh a t s i m il ar t o thi s ano th er d e v i ce of th e ora t or

is
b y whi c h a th i n g i s l eft t o th e d e c i s i on or ac tion of o th er s ,

wh e th er th e j u dge s th e au d i en c e or the o ppo nen t Th i s i s

, , .

ca l l ed pe rm i ss i on Th e d e c i si on or ac tion whi c h i s th u s per

.

mitted m a y e i th er a gree or d i sa gree wi th th e v i e ws of th e

spe ake n
I n th e fo ll o wi n g ex am p l e th e spea k er an ti c i p a t e s a d ec i s i o n
i n a cc ord an c e with hi s o w n se n ti men ts
Tell me th en it do not ad d as muc h to the perfec tion as to the be
, , if
n ev lence o f G od th a
o t whil e it is ex pati ati ng o v er the v a t fi el d of creat ed
, s

thi ng the re is not one porti on of the fie ld ov erl oo ked by it —D lt C HAL

s, .
”
.

M ERS .

I n o th er c a s e s th e spea k er an ti c i pa t e s a c ou rse con tr ary t o

his o w n

h ouse of A ustri a trust to the

Le t the C ar
z . The peopl e of H ungary
and myse l f we trust to God
, l( ossur tt .
”
-
.

S ome ti me s th is i s d one with grea ter form a l i ty an d em p h as i s

I grud ge not to oth er nat ions the sh are of l iberty whi ch th ey may acquire
I n the name of H eav en let th emenjoy it —
.

, G RATT AN .
”
.

5 O N S U LTAT I O N wrr n ms A U DI EN C E (AN ACCE NO SI S)

C .

C l ose ly c on ne c t e d wi th thi s i s ano th er d e v i c e c on s i s ti n g of ,

a con s ult a ti on with th e a u d i en ce or c on fid en ti a l re mar k s , .

I put it to y our oaths ; do you thi nk that a bl essi ng of that ki nd—that

a vict ory o btai ned by j us tice over bigotry and oppressi on—sh ould h ave a
stigm a cas t upon it by an ign omi ni o us se nt ence o f men bol d enou gh and
h onest en ough to propose th at measure —C URRAN .

I n th i s p ass age th e ora t or refers th e qu e s ti on to th e j u ry an d ,

c al l s for th e i r d e c i s i on u pon i t .

S h all w try argum t ?

e en S ir, we hav e been tryi ng th at for the l ast ten
ars
y e . H a e we a ythi g
v n n new to o ffe r on the s ubj ec t ? N othi ng ” -
PA T .

arc x H E N av .

Here th e ora t or a ppea l s t o hi s a u d i e n c e , b ut an s wers hi s own

qu e s ti on .
 8
4 0 E le mmts o f Ra ma .

Here th e a tten ti on i s m a d e t o d w e l l u pon th e Con gr e ss of

the U n it e d St a t e s by th e m en ti on of v ar i o u s c i r cu m st an c e s
whi c h the S p eak er a ffirm s t o b e i t s d i s ti n gu i s h i n g fea tu res I n .

th e fo ll o wi n g p a ss a g e a tt en ti on is d ra w n in a S i m il ar m an ner
t o th e th eme soc i e ty ”
.

S i ty—th
oc e ly fi el d wher e the sex es have ev er met on t erms of equal
e on

ity the ar na wh e r e c h arac ter is fo rmed and st ud i ed the c rad l e and the
, e ,

real mo f publi c opi ni on the crucibl e of id eas the wo rld univ ersity at once
, ,
’
s ,

a sc h oo l an d a theatr e the spu ,r a nd the cr own of a mbi tion the t ribunal ,

whi c h unmasks pret e nsi on an d st amps real merit the po wer t hat giv es g ov,

ern m ent l eav e to be a nd outruns the l a zy C h urc h in fixi ng the moral se nse
o f the a g e— wh o s hall fully describe the l fty place of this element in the
o

hist ory of the l ast two cen turies W EN D Eu P H I LLI PS

-
. .

AP ID M EN TI O N (P RE CURS I O )
R .

O n th e o th er h an d c i rc u m s t an c e s m ay rec e i v e e m p h as is by
,

be i n g men ti one d wi th grea t ra p i d i ty .

The head is on the bloc k—t he axe rus hes—d um b l ies the w orld ; that
wi ld yelli ng world with all its mad ness is behind thee —Cu LYLE
, .
”
.

I n thi s c a se th e ra p id ity of th e wo rds see m s to arise from

th e v e h eme n t emo tion of th e w ri t er whi c h i s co m m u n i c a te d
,

t o th e read er .

5 H
17 O L DI
. N G T H E A U DI E N C E I N S US P E N S E (S US TE N TATI O
) .

E m p h as i s is O ft e n g i v en t o a t o p i c by h o l d i n g th e m i n d in
s u spe n s e an d d w e l l i n g u pon some thi n g e l s e before i n t rod u c i n g
,
it.

W h at app ar a e h t ry w l
pa e of is o
nce , sir, o n the g r r l k thi
oud a eco d i e s

ma e ? I n the mon of j an ua , in the ea of o ur Lo d and a ou

k th ry y r r S vi r
1 8 24, whi r
le all E u opean C hr t is end o m e e d
b h l with l li g
co d, u thy
n fee n apa
x t wr g
t he une pec ed on s a i x r ibl mi ry
nd ne p es s e C hri ti G r
se of s a n eece, a

r
p po o s iti
on wa s m ad e i n the C gr on e it S t t — l m t
ss of the U n ed a es a os the

l
so e, the a l tr
s e p o it ry h
s o o f um h
an o p e h
a n d o fr u m an f ee d o m — t h e r e r
p e
sen ta i
tive o f a nat o n capa e ofbl bri gi g i t
n n fi l
n o the e d am
illi on o f ba
y
on ets ; wh ile t he f eeme n o f
r th t ti w r t ly x r i g
a na on e e spo n an eous e p ess n its
t li g rv
d ee p one d fee n , its fe ent p ae fo r
-
ry r Gr i ec a whil
n su c cess ; h l e the w o e

ti t
c o n ne n wa s ri i g by
s n one s m
i lt u an eo us m
ti lo o n, so e m
ly n xi lyand an ous
l ti g
supp i ca n v ki g H v
and in o n the aid of ea en to spae r Gr eece a n d to in v ig

o a e her a m
r t r s ; whil t m l
e e p es a nd h
se n a twr
e o-
uses r e e a li g with
l eso u nd n

du e b rt g r
u s o f e n e ous ym thy
s p a ; iy r
n t h e ea r
O f o ur S v
L o d a n d th a i o ur — at
S vi r k C hri t G r
a o u ali e o f s i an eece a nd ofr u s-
it r
a p opos i o n was o ffe ed in
the A m ri C gr
e ca n on ess t o se nd a m g r Gr
essen e to ir i t
eece to inqu e n o her
 s e Tactics of O r atory .
48 1

stat e and con d iti on with an ex pressi n f our good wi sh es an d o ur sympa

,
o o

thi es—an d it was rej ec ted H EN E Y C LA Y .

” -
.

He r e th e p o i n t of th e p a ss age l i e s i n th e s t a t e men t th a t th e
b ill was r ej e c t e d ; b ut thi s b e i n g h e l d i n s u sp en se t hr o u gh o ut
th e w ho l e of a l on g se n t en c e i s a t l en g th p ut fo rth with th e ,

g r e ate st p o s si b l e fo r c e an d e ffe c t .

A famo u s e x am p l e i s fo u n d i n Sh er i d an s d e sc ri p ti on of th e ’

h or ro r s pe rp e t ra te d i n O u d e i n hi s sp ee c h ag a i n s t W arren ,

H as ti n gs .

5 18 PR.E PARA TI O N F O R WHA T I S T o F O LL O W (P M M U N I T I O ) .

S o me ti me s th e spe a k e r i n t ro d u c e s s t a t emen t s i n ord er t o

p r e p are t h e m i n d s of h i s h eare r s for wh a t h e is go i n g t o say .

Th i s is oft e n fo u n d i n th e e x o r d iu m and m ay b e illu s t ra t e d by ,

t h e o pe n i ng of S i r J ame s M a c k i n t o sh s sp ee c h on b e h a l f of ’

J ean P e l ti e r wh ere h e st a t e s th a t n o d i s r e spe c t i s i n t en d e d

,

t o w a r d s th e g o v er n me n t of Fr a n c e b ut y e t th a t th e a cc u s e d ,

re qui r e s a faith ful zea l o u s an d fe arl e s s d efen c e

, ,
.

I t is a l so u se d t o i n tr od u ce i m por t an t po i n ts with u n u s u a l
em p h a s i s as i n th e sp ee c h of M ar c A n t on y
I f you h av e te ar s pre par e t o sh ed th emnow ,
.

5 19 UN.E X P E CT E D O R S U R P R I S I N G STAT E M E N T (PARA D O XU M ) .

G r e at em p h a i i s s ome ti m e s g i v e n t o an y t o p i c b y in t od uc
s s r

i n g i t a s ome thi n g u ne xpe c t e d o r s u rp ri i n g

s s .

Thi s i s i ll u t ra t e d i n th e p ee c h of M ar c A n t on y
s s

Lo o k he r e
yo u ,

H r e e is hi msel f marred , , as yo u see, with trait ors ! ”

B u rk e s d e sc ri p ti on of M ar i e A n t o i ne tt e a ffor d s ano th er e x
’

am p l e
Littl e d id I thi n k th at suc h d i sast ers c oud l h av e fall en upon her in a
ti
na on g ll t men 1
of a a n
”

Th e fo ll o wi n g e x a mp l e i s s om e wh a t ful l er
A t the ti me I departed f M as ach use tt if there was an i mpressi n or s s, o

whi c h I th ought u iv ersal it was th at at the c mmen cem n t of thi s ses i n

n , o e s o

an e d w ul d b put t thi s m asur e

n o e W ith th es i mpr es i n I arriv e
o e . e s o s

in thi c ity s T he cen e pe s a d I am c omman d ed to forg et all my

. s O n , n

r e ll ecti
co to d i b e li v
o n s, th vi d e sf my senses to con trad i c t wh at
e e e e n ce o ,

I h av e een and felt — J O S I AH Q U I N C EY

s .
”
.
 E lem f Rlzetor zc
'

48 2 ent s o .

RE F E R E N C E TO PAS T E V E N TS (A N A M N ESI S )
5 5 20 . .

R efere n ce i s m a d e t o the p as t so as t o b r i n g u p o l d a sso cia

tion s an d th u s g i v e g rea t er e ffec t by a co n t ra s t s ta te d or im
, ,

p l i ed wi th th e p re sen t
,
.

Youwho h av e l i v ed d urin g the pe riod from ISI S to I S2 2 may r emem

ber th at thi s coun try was ne v er in a more uneasy po siti on The s ufi r ings
'

. e

of the wo r k i ng classes w er e bey ond desc ri pti on ; and th e di fi

-
ic ulties and
ggl es and bankrupt ci es O f the midd l e cl asses w ere suc h as f w persons
‘

st ru -
e

hav e aj us t i deaO f —JO II N B RI G HT .

"
.

Th e for c e O f th e fo l l o wi n g p ass a ge c on s i s t s i n th e a pp eal

w hi c h i s m a d e t o the reme m b ran ce O f th e p ast
Th at my sk et ch is no fancy pict ure ev ery one O f y u k now E v ery one o .

O f y ou ca n gl ance ba c k ov e r th ir own path and co un t many and many a e ,

one a mon g those who start ed fromthe g al at the ir si de with eq ual energy o ,

and pe rh aps gr eat er pro m ise wh has fo un d a d run kar d s grav e l ong bef r e
’
o

thi s—the bright ne s f the bar the o r n am t of t he pul pit t he h ope the
, o

s o , en , ,

bl essi ng and st ay of many afami ly You k now eve ry one o f youwho has
, . ,

r eac hed mi dd l e li fe how oft en o n yo ur path you set up the war ni ng

,

Fall en be fore the temptations of the streets —W EN DEI I P II I LIJ PS .

’
. . .

5 2 1 . COO N T
P SS I BI LI TYR AST E D w m r R E AL IT Y (pR O EC T II ES I s) .

Some ti m es po ss i b il ity i s c on t ras t e d with rea li ty by s t a ti n g

wh a t m i g h t h a v e bee n d one an d wh a t h as bee n d one .

Th i s is illust ra t e d i n th e fo ll o wi ng p a ssag e s
I believ e th at if this count ry se ven ty years ago had adopted the prin
ciple Of n on in t er v en tio n in ev ery ca
-
se in wh ic h her i nt e res ts were no t d i

r ect l Or obvi ou
y s ly assail ed th at she w ou ld h av e been sav ed frommuc h O f
,

the pauper ismand br ut al c rim es by w hi ch o u r go v ern m en t an d peopl e h ave

al ik e been disgr aced Th is coun try might hav e been a garden ; ev ery
.

d w e lli ng m ight h ave been O f marbl e and ev ery pe rso n wh treads its soil o

might h av e been suffi ciently ed ucated W e sho ul d i ndeed h ave had l ess . , ,

of m ilitary gl ory W e might h av e had neith er aTr afalgar nor aW at erl oo ;

.

but we sh oul d h a e se t t he high e xampl e of a C hri stian n ati on free in its

v ,

i ns tit uti ons court eo us and j us t in its conduct t ow ard all f reign st ates and
, s o ,

res ti ng its po li cy on the unc hanging foundati on of C hristian mor ality .

”

JO HN B RI G HT .

H ad I se rv ed a w eak or wick ed ma s t er a nd i m pli citly obey ed his dic ,

tat es bed i enc e to his c ommands might hav e been my o nly j u tificat ion
, o s .

B ut as it ha b e n my good fort une to se rv e a ma

s e s t er who w a n ts n o bad
mi ni t ers and w ul d h av e h eark ned to n one my defence must rest on my
s , o e ,

own c ond u c t — S I R R O B ER T W ALPO LE

”
. .
484 E lements o f R/zetor ic .

of the h uman mind—amarc h that has coll ect ed too muc h momen tumin its
ad v an ce to be n ow s t opped in its pro gr es s — C U RRAN
”
. .

I n th e fo l l o wi n g p a s sag e th e O bj e cti on i s an s w e re d with

grea t d e x t eri ty an d ful ne ss :
The first arg um en t f t he g e n tl eman th at I sh all noti ce is the un pre
O

par e d st at e O f t he c o un try \Vh a t e e w e ight thi

. a rg ume nt m ight h av e in
v r s

a q ue ti o n O f i mmed iat e war s ur e ly it has littl e in th at of pr epar ati o n for

s ,

it
.
” —C A I N O IJ N . .

Th e argu m en t O f w ea k n ess i s th u s d i sp os ed O f b y P a t ri c k
H en ry
They t ell us sir th at we are w eak—but whe n shal l we be stronger ?
, ,

P AT E c H EN RY .

Lo r d C h a th am mee t s the O bj e c ti on of Lor d S u ffo lk with an

o ut b u r s t O f i n d i gn a ti on
It is per fec tly all owabl e says Lo rd S uffolk to use all the means whi ch
“
, ,

G od and n at u r e ha v e put i nt o our h ands I amast oni shed I amsh ock ed

r such senti men ts av owed —C I I ATH AM
. ,

to h e a
”
. .

F o x i n hi s spee c h on th e Ru ss i an A rm amen t tu rn s a s i d e t o
, ,

an sw er th e a r gumen ts for c on ti n u i n g th e a r mamen t whi c h are , ,

I st th a t th e em peror m i g h t i n s i s t on be tt er t erm s from th e

,

Turk s ; 2 d th at Ru ss i a m i g h t h a v e i n s i s t ed on h ar d er t erm s ;
,

3 d th a
,
t th e ar m amen t c o ul d no t b e d i sc on ti n u e d til l th e s en ti
m en t s of P ru s si a w ere k no w n Th e s e are a l l an s w ere d with .

th a t o r a t or s u su a l v i gor an d c om p l e t ene ss
’
.

5 25 . A N T I C I P AT I O NC TI O N S (PR O L E P
orSI S A N TO BJ E
H YPO P II ,

O RA ) .

O bj e c ti on s are O fte n an ti c i p a t e d an d an s w ered Thi s c ase .

d iffe rs fr om th e p re c e d i n g one i n thi s th a t th e spea k er d oe s ,

n o t w a i t for th e O bj e c ti on s O f hi s O ppone n t b ut b rin gs th e m ,

fo rw ard O f his o w n a cc or d with th e e xp ress p u rp o se of r e ,

;

p lyi n g t o th em b y an ti c i p a ti on .

Thi s i s il lu s t ra t e d i n th e fo l l o wi n g p ass age

“
I amaware O f the d i fficul ti es I h ave to enc oun ter in bri ngi ng forw ard
thi s b u i ness ; I am aware how ungr aci ous it w oul d be for thi s H o use to
s

S h ow th a t th ey a e n ot the real repr se n tativ e O f the peopl e ; I amaw ar e

r e s

th at the q ue ti n ha be n fo rmerly agitat ed n d i fferen t occ a i on by gr at

s o s e o s s e

and abl e c h ar act e rs wh h av e d es e rt ed the cause fr md espair Of suc ce

, o o ss

an d I amaw ar that I mu t necess arily g o in t wh at m

e s ay perhaps be sup o , ,

p o s e d tr i t e and w orn o ut arg ume n ts — LO RD G REY

-
.
”
.
 I n thi s c a se th e obj ec ti on s are a l l s t a t e d be fore th e re p ly
i s g i v en i n th e fo ll o wi n g ea c h o bj e c ti on is an s w ere d as i t i s
s ta t ed

Tell me n ot of the h on or of bel ongi ng to a fr ee country I ask d oes .

,

ou r libe rty be ar gene r o us fr uits ? D oe it ex alt us in man ly spirit in publi c

s ,

virt ue abo ve countri es trod den und er f ot by de po t i m? Tell me not of

,
o s s

t he e xt en t of our coun t ry I care n ot how l arge it is if it multi ply degen er

.

ate men . S peak n ot o f pr sperity B ette r be ne of a poo r peopl e pl ai n

o . o ,

in manne rs r v renc i ng G od and respec ting th e m

, e e ,
se lv es th an be l on g to a ,

ri c h country wh ic h kn ows no high er g ood th an ric h es —W M E LLERY .

”
.

C HANN ING .

Th e ne x t e x am p l e i s of a some wh a t d iffere n t k i n d an d , an
t ic ipates a qu e s ti on ra th er th an a n o bj e c ti o n

And n ow, if be as ed it k why in consi deri ng the true grande ur of na

,

ti
ons, I w ll th
d e us sin and e gly x c l us ive ly o n war it is because war is utt erly
i t t with true greatness —C HA RLES S U M N ER
,

and irr il bly

econc a in co ns s en .
”
.

C H A PT E R V I .

A R TI F I C E S O F O R A T O RY
THE .

5 2 6 AR TI.F I C E S o r O R A I O R Y
' ‘

5 .M A N Y mo d e s of s t a t emen t ar e d e v i se d b y th e sp ea k er for
th e p ur po s e of g a i n i n g an a sc en d en c y o v er his O pponen t or
4 86 Elemma of Ritetar ic .

Th e fol l o wi n g p a ss ag e i s of a s i m il ar n a tu re
I really amat a l oss to d raw any sort of a parall el be tween the public
merits o f his G r ace by whi c h he j ustifie the gran ts he h ol ds and these se s , r

vi ces o f mi ne on the fav or abl e co struc ti on of whi ch I h av e o bt ai ned what

,
n

his G race so muc h d i sappr ov ed —B U R K t ”

.

H ere th e w o r ds I rea lly am a t a l oss e t c form b u t a

. ,
“
, .
,

mo r e em p h a ti c w a y of sa yi n g th a t no par all e l c an be d ra wn ”
.

The right hono rabl e gen tle man must have felt the wh ol e time wh il e he
was affecti ng to vi ndi cat e the fr eed o mof speec h nec essary at meeti ngs of
E n gli h men—he mus t h av e fe lt th at it was not the bo i st e r o us festivity of
s

t he E a t R et f r d a
s o ssem bly th at has led to these pai n ful i n q uiri es ; but that
it was the c ircum tance th at apo liti c i an a d a po liti c i an of ad i sti ngui shed
s , n

c har act e r who h a

, d h el d high and r es ponsibl e offi ce s h o ul d h av e whil e th e , ,

c oun try wa s i n t e rest ed in t he d i sc ussi o n o f a gr eat publi c q ue ti on t ak en s ,

the o ppo rt un i ty o f m aki ng s tate m nt s whi c h w e re m onstr ous if th ey w ere

e

true but if they we re no t true mu t be d es cribed by an epithe t whi c h I can s

not find in m y o w n v oc a bulary — B i stran t .

”
. .

I n th e se l as t w or ds th e h e s i t a ti on an d d o u b t of th e spea k er
se rv e t o s u gge s t the w or s t t erm po ss i b l e t o s ti gm a ti ze th e O f
fen c e a l l u d e d t o .

5 5 28 mr mvr ron at O M ISSI O N o r w o rms (PA RA L E I PSIS)

. . .

C l o se ly as soc i a t e d wit h th e p re c e d i n g i s ano th er i n whi c h ,

by a p rofe ss i on or s i m ul a ti on of il e n c e th e spea k er wil l ap pear s

t o p a s b y a thi n g whi l e v er b ally m en ti on i n g it an d th a t t oo

s , , ,

in th e m o s t s triki n g m an ner .

Le t me a sk yo u o n es , h
a d o you fee en in m
tly wh t
h ri g wh y ea n , en in l wh
thi
the face o f i
s a ll g v v r i t th t v ry
ud ence, you are ca ed upo n t o i e a e d c a e e
man of us an d e e man o f you n o s the es mon o f his own e es to
v ry k w by t ti y y
t rly
be ut e b l t y l I
and a so u el fase k bli r l ti
spea n ot n o w o f the pu c p oc a
. ma on
of nfo m
i r r with r i
e s, ap omse of sec ec and o f e a a an e a d
r y xtr v g t r w r I k spe a .

t th h rr wr t h
no t of the fa e of ose o id h v b
e c es who t tr rr
a e een so of en ansfe ed
r m t bl
fo the a e to the d oc , an d f o mt he d oc
k r k ill ry I k
to the p o spea of
—
.

wh t y r y h v t r
a ou o wn e es a e seen d ay af e d ay "
C U R tt A N Fort F I N N E R I Y .
’ ’
.

He r e th e peak er wh il e a ffi r mi n g th a t h e d oe s no t pea k of
s ,
s

c er t a i n th in gs i s ac tu a l ly d e c r i b i n g th em an d th a t t oo i n th e
,
s , , ,

mo s t c on c i e an d for c i b l e way
s .

I pa v r allss o e id rati f th wri tt

co ns e tr a ur f a ti q uity whi h
ons o e en e s es o n c

h ave su rvi v ed the wreck of e mpires an d of d ynasties , of mo ument al t o

n r
4 88 E leni en t: o f Rizf tor ic .

I spea k n ot to dispro ve what B rutus spoke ,

But h ere I am to speak what I do k no w .

0, mas t e rs !
I w ere d i pos d to sti r
if s
'

Y ur heart s and mi nd to muti ny an d rage

o s ,

I h ul d d B r ut u wrong and C assi us wrong

s o o s , ,

W ho you all kn w are h norabl e me n

, o ,
o

I will o t d o th em wro g ; I rathe r c h oose

n n

T o wr ong the d ead to wr o ng mysel f and you , , ,

Th an I wil l wro ng such h norabl e men o .

B ut h er e s a par c h me n t with the se a

’
l o f Cz sar ,

I found it in his cl ose t tis his will ,

‘

L et but the co mm on h ear his t tamen t s es ,

(W hi c h pard on me I d o no t mean t read)

, , o ,

A nd th ey wo ul d g an d ki ss d ead C a esar s wounds ’

o ,

A nd dip th eir napki ns in his sacr ed bl ood .

’
g
T is ood yo u no no t k w
a you are his th t hei rs ;
For if you s ou d , 0 , a h l
oud co e of wh t w l m it I "

All thi s affor ds a m a t c hl e ss e x am p l e of p u re ar ti fi c e on th e

p art of th e ora tor .

5 531 . u
s p posen c ase

A r gu men ts are some ti mes p re se n te d i n th e m o s t v i v i d an d

mem o r a b l e way by a n i m agi n ary re p re se n t a ti on of fa c t s a s a n
e x am p l e or il l u s t ra ti on Thi s i s c a l l e d a s u ppo se d c as e
.
“
It .
”

m a y be u se d i n m an y w a ys an d m ay gi v e gre at er e ffe c t t o ,

st at emen t s ; or b r i n g b ac k th e p a st ; or an ti c i p a t e th e futu re ;
or a ll o w th e u se of l an gu ag e th a t co u l d no t be em p l oy e d u n d er
an y o th e r c i rc u m st an ce s .

Th e fo ll o wi n g i s fr om B u r k e s sp ee c h on Con c ili a tion with ’

A me ri c a :
My Lo rd B ath ur t might r ememb r all th t ages f th p ogr ss ( f the
s e e s o e r e o

prospe rity f t he B ri ti h mpi ) H e was i 1 704 f an age at l a t t b

o s e re . n o e s o e

made t o co mprehen d such thi ngs S uppose sir that the ange l of thi s au
.
, ,

S picio us yo uth ha d O pe ned to himin vi si o n an d unfo l ded the ris i ng

gl ori es of his country and whil e he was then gazi ng in ad mirati on on the
,

th e n co m me rcial gr ande ur o f E ngl and the gen i us sh oul d po i nt out to him ,

a littl e spec k scarce vi si bl e in the m

.

ass of the n ati on al i n t er es t an d sh oul d ,

t ell him—Y oung man there is A meri ca etc

,
”
.
, ,

I n th i s p assa ge Bu rk e m a k e s use of a supp o se d c a s e t o p re

s e n t th e rap i d p ro gr e ss O f th e A mer i c an c o l on i e s i n a ne w an d
more i m p re ss i v e li g ht .
 4 89

I t may a l s o b e u se d a s a m e d iu m for th e c on v ey an c e of
c h a rge s th a t c o ul d no t v ery w e l l be st at e d in ano th e r man ner .

Su c h c h arge s i f p ut forw ar d d i re c tly m i g ht s ee m e x agge rat e d

, , ,

an d s o u n d l ik e mere v itu p era ti on ; b ut i n th i s fo rm t h e g r ea t e s t

l i be rty is a l l o we d t o th e sp ea k er wh il e a t th e same ti me t h e ,

a tt a c k fro mb e i n g a c o v er t one i s a l l th e m ore s ti n g i n g

, , .

Gra tt an o p en s h i s i n v e c ti v e ag a i n s t Fl oo d i n thi s w ay
It is not the sl ander of an evil t o ng ue th at can defame me n o man who
has no t abad c h ar act er can e v e r say th at I d ece iv ed ; n o co untry can cal l
me c h eat B ut I wi ll uppose uc h a publi c c h ar act er I will s uppose suc h
. s s

a man t h av e exist ence ; I wi ll begi n with his c h ar act er in its po li ti cal

o

cr ad l e and I will foll o w himto the l as t st at e of po liti cal disso l uti on

, .
”

Th en fo l l o w s th e e l a bora t e p or t ray a l of a c h ara c t er d e s i g n e d

t o re p r e sen t Fl ood b ut whi c h be i n g p ut for th as a su pp o se d
, ,

c a se i s d e sc ri be d wi th an e x a ggera t e d b itt e r ne ss th a t w o ul d
,

n o t h a v e b een a ll o w e d i n d i re c t s t a t e men t .

Th e famo u s l e tt er of J u n iu s t o th e Ki n g i s b as e d u po n thi s .

I t is a dd re sse d t o th e p ri n t er of th e P ub/i: A dver h lrer an d a ,

fe w i n t rod u c t ory s e n t en ce s are t a k e n u p with a s u ppo s e d c a s e :

Th er e is a momen t of d i ffi culty and danger at wh ic h fl att ery and fal se
h o d c an no l onger d eceiv e and s i mpli city itse l f can no l o nger be mi l d
o , s e .

Let us suppose it arriv ed Le t us uppose a gr aci o us w ell i n t e nti on ed

. s ,
-

p ri nce m a d e en ibl e at l
s a t f
s the gr ea t d utyshe o w es
o to h is
peo pl e an d o f ,

his o wn d i sgr ace ful s it uati on th at he l oo k s ar ound himfo r ass i st ance and ,

ask s f r no ad vi ce but h w t grati fy t he wi sh es and sec ur e the h appi ness

o o o

o f his subj ec t I n th e e c irc um tances it m

s . s ay be a matt e r fo r c uri o us spec
s

ulati n t c n i d er if an h o e t man w er e pe r mitt ed to appr oac h a ki ng in

o o o s , n s ,

wh at t er ms he woul d add re s hi msel f to hi sov ereign ;

s unacq uai n t ed with
s

the v ai n i m perti nence o f fo r m s he w o u l d d liv er his se n ti men t with d ig nity

, e s

an d firmnes but n o t with o ut r espec t

s, S ir it is the mi sfort une of y our
.
,

li fe e tc
,
”
.

Wh a t fo ll o w s i s thu s p ut forth n o t a s th e l e tt er of j unius h i m

,

s e l f b u t ra th er a s t h e l an g u a g e wh i c h m i g ht b e u se d by th e
,

s u pp ose d h on e s t m an H a d th e l e tt e r b een d i re c tly w r i tt en

.
,

i t s k ee n s arc a s m an d i n c i s i v e utt e r an c e of u n p l e asan t t ruth s

w o ul d h a v e b een th e r e b ut th e g enera l forc e w o ul d cer t a i n ly
,

h a v e b een w ea k ene d by th e ab ru p t i n s o l en c e an d v irul en c e of

th e wri t er A g a i n st th i s h o w e v e r th e i n t ro d uc ti o n g u a r d s
.
, , .

Th e l e tt er i s no t fro mJ u n iu s— it is fr o man i mag i n ary p at ri o t ,

wh o i s a dd re ss i n g th e ki n g u n der p ur e ly i ma gi n a ry c i r c u m
490 E lemen ts of Rhetor ic .

stances, and thus, amid all i ts bi ttern es s and malign ant forc e,
t h e re is p reser v ed at l eas t the sho w o f r espect .

T he pe r o r at i o n o f F ox s sp eec h o n the Rej ec t i on of B on a

’

p art e s O v e rt u r e s is mad e up of a su pposed case, in which a

’

spe ctat o r i s i m ag i ned to be p r e se n t at a bat tl e field , and ask -

ing why th ey are fighti ng This form o f s t atemen t i s h e r e

.

em pl oy ed to b r i ng befo re the mi nds o f the h earers a v ivid

pic t u r e o f the h o rr ibl e r e ali t i es of war, and at the same ti me to
r ep r ese n t to th emthe i rr ati o n al ch ar act er of the p ar ti cul ar war
in wh ich th ey we r e t h e n eng aged .

A v e ry po werfu l i n st an c e of this may be fou nd in C u rr an s

’

S peech ag ai nst the M ar qu i s o f H ead fo rt who had e l oped with ,

the wi fe o f the R e v C h ar l e s M ass ey : .

h ppy had it b wh h arri v d at th ba k f th ri v r wi th

0 , ho w a een. en e e e n o e e

the ill fat d fug iti v

-
e y h had c m mitt d h
e. e re th at b at f whi ch
et e o e e r to o , o ,

lik h fabl d bark f h S ty x h x il wa t r al h w happy a th at

e t e e o t e , t e e e s e e n o , t

mm t
o en t mi g with mi ry a d with h am if y u my l rd had m t
, so ee n se n s e, o , o , e

hi m a d c u l d hav a
, n o t d him i h ch aract r f th at g d g i u
e ccos e n t e e o oo en s

which had aba d d him H w i mpr i v ly might y u h av pl ad d h

n o ne . o ess e o e e e t e

cau f th fath r
se o e f h chil d f h m th r a d v
e , o t e f th w rthl . o t e o e , n e en o e o ess

d f d a t hi m l f Y uw u l d h av
e en n se . ai d— l thi th r q u ital th at y u a
o o e s s s e e o re

ab u t t mak f th r p ct a d ki d
o o e or e a d c fid c i y ur h
es e n r n ness n on en e n o ono

Th en foll ows a l ong el oq u en t and mo t p ath e t ic st at emen t

, , s

of the ar gu m n t s and r em eo nst r an c es which m ight h av e been

use d in s u ch ac as e .

Thi su ppo se d c ase is carried out with great fu lness an d

s

eff cti v ene ss

e T h o r ato r u s i t to di pl ay in the m
. e ost st r ik se s

i g ma n er the vill a y a d c r u l ty o f the man t oge t h e r wi t h

n n n n e ,

th tr each ry an d m
e e ad i fat u ati o n o f th w oman I n no oth er
n e .

way c o u ld so po w er fu l a re p re se n t at i on be mad e .

53 2 . O TH ER F O R M S
ARTIFI C E or .

Th e fo rms o f art ifice thus far set fo rt h c omp r is e all th at are .

o f any v al u e I n an ci en t o r at o ry th is su bj ec t wa
. s of m o r e im

p or t an ce th an in mod e r n and r eceiv ed an atte n t i on which at ,

thi s d ay w o u ld be d ee med e xc esswe The fol l owi ng p assage .

fr o m Qu i n t ili an wi ll s erv e to il l u st r at e the mo d e o f t r eatmen t

ad op t ed by thi s aut ho r wh il e at the s am e ti m e i t wi ll su pply
,

all t hat r e mai n s to be s aid on th is t opic

“
Th r
e e are o th r e ar tifices, to o, which a re n ot on ly pl a i g bu t a
e s n , r e of
49 2 E lem “ of Rhetor ic .

fo r c e to gi ve i t aresi stless i mpetus E sc hines named t his as .

th g r eat ch aract e r i tic o f the o r at o ry of De m

e s osth n Lo e es . n

i u
n aft e r w ar d pe a ki ng a s a c r
s, si tic g av e the sam e O pi i on ; n
g s ,

an d the best mod r n c o u t p ar t o f t hi s i s fo u n d in the o a

e n er r

t o ry of C h ath am N o wh r is th is v h eme n c mo re impos

. e e e e

i g ly di pl ay ed th an i
n s i nvec t i v e T he p as sage in which
n .

Lo r d C h at h amd ou nc es th Ear l of Suffol k is a well k now n

en e -

exampl e I t begi n s .

“
I amastonished—s h ocked—to hear such principles confessed to hear ,

the mavowed in this House or in this country ; p rin ci pl es eq ually un consti

tut ional i nh u man and u nchristi an
"
.
, ,

Ve h eme nc e is also essenti al in all cases of menace .

So meti mes the men ac e i s i mpli ed as wh en C u rran speaki ng , ,

in be h al f of Fi n ne rt y u tt e r s w or d s in which th e r e is a co v ert
,

th reat

U pri g ht and h onest j urors find a ci vil and obli ging v erdict against the
,

p ri nt er and when yo u have done so marc h throug h the ranks pf your fel
, , ,

lo w citi ze ns to you
-
r ho mes a nd hear their l oo ks as you pa
, ss al ong -
.

I t is al so nee d ed in case s o f d efi ance an d may be ob ser v ed ,

in the fo ll owi ng fr o mG rattan s spee c h agai n st C o rry

’

Here I stand ready for i mpeach m e n t or tri al I dare accusation I . .

d efy the h ono rabl e gentl eman I d e fy the gove rn ment I defy the wh ol e
. .

p h al anx Let th em co me fo rth I te ll the mi niste rs I will neither gi v e

. .

th emq uarter nor tak e it

”
.

5 35 . p saso mr . A r rA C tt
'
.

The fi er c est and mo st vi ol ent fo rm of att ack is th at wh ich

is di r ec ted ag ai n s t i ndivid u al s The obj ec t o f the ass au l t be i ng .

a pe r so nal e ne my aro u se s the st r ongest passi on s and c al ls

, ,

for th the bitt e r e st l an gu age .

T he fo l l owi ng at tack was m ad e on Lo rd Au ckl and by Fox ,

in h is speec h o n the R u ss i an A rmamen t :

A s there was hono r to be sacrificed a stai n to be fix ed on the natio nal .

ch ar act er engag ement s to be retr act ed and a fri end to be aband one d did , ,

it n e v er occur to th emthat the re was o ne man u po n the ir d i p l omati c li st who

,

w oul d h av e been pronounc ed by general accl amati on th or oug hly q uali fied
in sou l an d q u aliti es for thi s ser v i ce Such a pe rson th ey mi ght h ave ?

fou n d an d no t so occu p i ed as to mak e it i ncon v e n i en t for th emto em

,
p l oy
him Th ey w ou l d h av e fou nd him abse n t fr o mhis s t ati on u nd er the pre
. ,

hence of att en d i ng to his d u ty in thi s H o use thoug h he d oes not ch oose ,

ofien to m ake his appear ance h er e

”
.
 ~
fl l l d € l¢ an u U K
J C /I L C .
49j

A noth er ex ampl e wil l be fou n d in FOx s peec h on the West ’

s

mi nst r E l ecti o n wh er e he d no u nc es the high b ai li ff in la

e ,
e -
n

gu ag fu l l of the k ee est a d most sti ngi g r ep roo f

e n n n

Th r a f li g whi ch v p arty pr j u d i c ca t d i p
e e re ee n s u f e en e e n no s ossess s o .

W w t ach th r a c rt ai ca d r ; a d I am u r I h u l d b th r
e o e o e o e e n n o n s e s o e o

o ug hly ati fi d pu t thi matt r t th p ri v at a w r f a y ma wh

s s e to s e o e e ns e o n n o

h ar m if I w r ly a k himup hi h r a ag tl ma wh th r
e s e, e e on to s on s o no s en e n, e e

h r eally b li v
e h r t ur e f thi hi g h baili ff
e es t a at fc e i c ad
e n o s -
is n c o o nsc en e, n

wh th r h thi k that if I t d i S ir C cil W ray p l ac a d h had my

e e e n s s oo n e
’
s e, n e

maj rity w h u l d v r h av h ar d f thi ma d ifficu lty i giv i g j udg

o , e s o e e e e o s n s
’
n n

m t en ,v r b i u lt d with thi m k ry f hi c rup l

or e e een ns e s oc e o s s es

A g reat effect is s ometi mes p rod u ced by a p retend ed rep t e

s c ut ati on of the w o r d s f an ad v e r s ary O

W ill th mi i t r ay I trav ll d
e N rwich t Y rk t M a ch t r
n s e s ,
‘
e e to o , o o , o n es e ,

t W ak fi l d f
o e pi i e I li t d t th mi rity ; I l k d L rd
, or O n o ns ; s ene o e no oo e to o

S t rm t t th E arl f G u il f r d ; bu t a t y u my u maj rity I

o on , o e o o s o o , t r s 'v o ,

ne g l ct d y u1 I had th r bu i
e e o f y u It i
’
t y u r ffic o giv e s ness or o s no o O e to e
o pi i n o nsy ur bu i i t c fid —F x RUSS AN A M AM
o s ness s o on e o , I R EN I
‘
.

C er t ai n w o r ds are h er e att r ib u t ed by the o r at o r to h is O p

po en t an d ar t fu lly i n t r od uc ed by the i n t e rr og ative fo r m
n , ,

Wil l the mi n ist e r say Th l ang u ag e th u s r ep o r t ed i mpli es ?” e

c o nd uct which is at onc e b a i it e l f an d tr each erou s and se n s

i u lti ng to the m
,

ns i nist er i al s u ppo r t r e s.

5 3 6 I N C I DEN TA L R E F EREN CE . .

A n att ack o f the s am e ki n d s om eti m es assu me s the for mO f

an i nci d e n t al r efe r enc e Th u s in the s am e speech Fox a ccu ses .

Pi t t o f fal se sh ame
rig ht h rabl g tl ma ca t argu th at h k p t u p th ar ma
T he on o e en e n nn o e e e e

m tien mpli a c with hi gag m t with P r u i a wh h ar mam t

n co n e s en e en s ss , en t e en

i fact d id
n t x i t a d wh it had b b gu bu t f u r fi d ay p
no e s , n en ee n e n o or ve s re

i u t hi r
v o s u i g h bj ct f it Th at c u l d t h av b
o s en o nc n hi t e o e s o . o no e e en s

m ti v \V ha th wa hi m ti v
o e. W hy th at h wa
t, pr u d t w
e n, s s o e ? , e s too o o o n

hi rr r a d v al u d l th m y a d tra q uillity f th p pl th a h
s e o , n e ess e one n n o e eo e n t e

app ar a c
e f firm n e Owh h had r u c d h r ality Fal h amn ess en e e no n e t e e . se s e

i h p ar t f ma y cri m
s t e en By fal h am a ma may b t mpt d t
O n es . se s e n e e e o

c mmit a murd r
o c al a r bb ry I flu d by thi fal h am
e to o n ce o e . n e nc e s se s e,

th mi i t r r ubb d th p
e n s e s p l f th ir m y h am f th ir li b rty
e e eo e O e on e , t e se en o e e ,

th ir fami li f upp rt a d p r t cti a d all thi c c al that th y

e es o s o n o e on , n s to on e e

h ad u d rt ak n a y t mwhi ch wa
e t fit t b p u r u d
en s s e s no o e s e .
”

H ere the speak er ch arg es h is Opp on en t wi th fal e sh ame s ,

494 E le ments f
o Rhetor ic .

an d gi ves e mph asis to the ch arge by ami nu te statement of the

w r o ngs and evi ls r esu l ti ng from i t .

53 7 s rn s r n aus
. r -
.

A bl ow i s somet i mes ai med at an adve rs ary in the c our se

o f d eb a t e H e re t h e re is n o s u st ai ned att ac k b u t mer ely a
.
,

sid e th ru
v
st in p a ssi ng Fox i s p ar tic u l ar ly ch ar act er i zed by
.

thi s The fol l o wi ng p ass ages are fro mhis speech o n the W es t
.

mi nste r Sc ru ti ny
This pe rso n sir [Lor d K en yon] has u pon this day pr ofessed and pa
, ,
o

radcd much u pon the i mpart i ality with whi c h he shou l d d isch arge his con
sci en ce in his j ud i cial capacity as amembe r of Parli amen t in my cau se ; yet
this v ery pe rson insensi bl e to the rank he mai n tains or shou l d mai n t ain
,

in thi s co u n try aband o n i ng the grav ity of h is c haract er as a mem

, ber of t he
Se nate and l osi ng sig ht of the sanc tity of his s tati on both in the House and
,

ou t of it ev en in t he v ery a c t of deli v e ri ng aj ud i ci al se n t ence descends to

mi nu te and mean all us ions to fo rmer po liti cs—comes h ere st ored wi th the
,

i ntri gues of past t imes and i nstead of the v enerabl e l anguage of a good
, ,

j udge and agr eat l awyer attempts to ent ertai n the H ouse by q uoti ng or by
,

mi sq u ot ing w ords su pposed to h ave been s pok en by me in the h eat of

former debat es a nd in the v i o l ence o f con t end i ng pa
, rties when my no bl e
fri end [Lord N orth ) and I opposed each o ther .
”

In th i s c ase the speak er t urn s asid e fr omthe di scu ssio n of

the m ai n argu men t to att ack Lor d K eny on who had s neered ,

at him for e n t e r i ng i n t o fr i e ndly r el ati ons with an o ld enem y ,

Lord N ort h Th is bl o w i s at onc e u n expec ted and vigorou s

. .

Of the same ch ar act e r i s the fol l owi ng

A n h o nor able gen tl em an wh om I see in his p l ace bu t who I bel ieve , , ,

ne ith er hears n or sees m e at thi s m om en t [M n J enki nson who wa s fast ,

asl ee p o n the Treasu ry B e nch ] k no ws fu ll w ell th at all I am sayi ng is

,

stri ctly tru e . That ho norabl e gentl eman can att es t the veracity of this
recital ; bu t it w ere v ain flattery I fear to h ope that he will ri e u p to
, ,
s .

nig ht a nd v i ndicate by his v oi ce a nd his vo te the p ri ncip l es o f the ca use

he th en suppo rt ed ”
.

5 5 38 D e serves . .

7
. D e fe n c e m ay b e c h ara c t e r i zed by all the t acti cs of ora

t o ry exhibi t ed in at tac k A s a gen er al thi ng the spe ak er who

.
,

s tands si mply on the d e fen ce empl oys mo r e o f the l ang uage

o f c o n cil i atio n he is l ess v eh emen t bu t mor e firm and fro m ,

the n atu r e of the c ase he i s bo u n d to be apo l og e tic and t h e r e ,

fo r e mod est Bu t the best ki nd of d efe n c e is that which by

.
,

the geni u s of th e o rat or is g ra d u al ly mad e t o q ui t ad efensiv e

,
W {fila ments o f Ritetvr zc
'

In this way ah i n dir ec t r eply is giv en to the obj ec tion always

'

p r ese n t in the mi nds of a t i mid j u ry t h at the acq u i ttal of P el ,

t i er might l ead to war .

5 s4 r DE F EN C E
. TU RN ED mro ATTAC K ‘

A mo r e energ tic and effec tiv e ki nd is th at i which d e

e n

fe ce is t u rn ed i n to att ac k
n .

The gr eat es t ex ampl e of this is fou n d in the or ation of De

mosthe nes on the C ro wn H ere the S peak er who is se t upon .
,

h i o wn d fence c ond ucts i t in a man ne r that has n ev e r bee n

s e ,

s ur p ass ed ; b u t the vi ndic ati on o f his own li fe an d p olicy is

i n se p arably con nect ed with ac cu sati on s ag ai nst hi s adver s ary .

The sam e a r gu m n ts which sh ow the o ne to be a p at r i ot

e

p ro ve th o th r to be a tr ai t o r D emosth en es cl ear s hi mse l f

e e .

o f ch a r ges on ly to fix th m with mor e d amn i ng effec t up on e

E sc hi es wh o m he d e no u n ces as the gu ilty c au se of a

n , ll the
c al ami t i es of At he n s .

T he a c tiv e ge n i us of Fox rend ered himi mp ati en t o f ad efen

sive atti t u d an d in tho se spee ch es wh e r e t his is fo r c ed U po n
e,

himhe is pe rpetual ly r u shi ng forth agai nst the enemy and be ,

c o mi ng the ass ail an t in tu rn I n t he d efe nce of his E as t I nd i a

.

Bil l he e xemplifi e s thi s by the fo l l o wi ng attac k u pon the com

p any and h is own ass ai l an ts
I l r
am at a oss to econ ci e the co nduc of men who app ov e l r th t
a re t
su m i i l t tr t iti Ki J
pt on of v o aed us [the d epos o n of ng ames ] c escued I I whi h r .

and e es ab s ed our u n pa a e e d and ad m able co nst u o n

r t li h r ll l ir it ti with th
a ou ,

sa l l i r
n d v aua t t R l ti
b e mp ov emen s and ad van ag es, at the ev o u o n, and who
at thi s m om t ri
en h
se u p the c a mpions of the Eas ndia C omp an s c a
tI ’
y hr
ter a
. lth h
ou i ity i t th t
g the ncap ac and ncompe ence o f a compan to a d ue y
q t hr r t
and ade ua e disc a ge of the t u s d e pos ed init th y th t h r r
e mb a c a te are
th em es o f d cu e and con emp to all the o d ; and a oug , in conse
ri i l t t w rl lth h
q uence of e m
th ir is managemen , conni v ance, and imbeci
t combined it
lity w h ,

t he wi kc ed ness of e se v an s, the v e name of an E ng s man is d e

th ir r t ry li h
t t r r thr h t
es ed , ev en to a p o v e b, o u g ou a i t l hr tr
ll A s a, and the nai ona c a ac e
is becom r
e d eg a h r
d ed and d is ono ed
”
.

Whil e d efe nd i ng hi mse l f in h is speech on the West mi nst er

Sc ru ti ny he mak es an at tack in the foll owi ng man ner :
,

A nobl e l ord [Lord M ul grav e] in his seal to excul pate the hi g h bailifi;
,
-

ch arges me with h avi ng in ti mi dat ed him and ch arges it u pon the ev i dence ,

of M r G roj a
. n G roj an t ell s yo u th at he beli ev es th ese thr eats so me
.

times ind uced the hig h bailifl to mak e decisions in my fav or contrary to his
-
'
co mme nd s so mu ch an d wh o mthe g o v er nment o f thi cou ntry is strai ni ng
,
s

e v e ry n e rv e to be a r h arml ess throug h thi s u nprecedent ed busi ness A n .

o ffi ce r wh ose d e p u ty a
, s a pa lli ati on of g reat er g u ilt d efe nd s by sayi ng th at
, ,

he com mitt ed ap al pabl e breach of d u ty and only because he is threat ened ,

with l egal pu ni sh ment if he act s agai nst law .

5 42 . TH E T ESTI M O NY
A N ADV ERSA R Y TURN ED A GA I NST or

H I MSEL F .

N othi ng i s mor e effec t iv e th an the e mpl oy men t o f the t esti ~

mony o f an ad v e rsary ag ai nst h i mse l f Th is al so was l argely .

r es or t ed to by Fox and al w ays u rged wi t h for c e and succ ess

, .

I n his sp eec h o n the R u ssi an Ar mam e n t th er e is the fo l l o w

ing p ass ag e :
I h l d it t b w ack wl dg d th at it wa t th p ubli c p i i
o o e no no e e s no e o n o n,

bu t that f h mi rity f thi H u whic h c mp ll d th mi i t r

o t e no o s o se, o e e e n s e s to

r li q u i h th ir ill ad v i d pr j ct ; f a rig ht h rabl g tl ma wh

e n s e -
se o e s or o no e en e n o

s p k l a t i g ht c f d th tru th i hi w fra k way W c rt ai ly

o e s n o n esse e n s o n n . e e n ,
’

s ai d h d e, t k
‘
w th at h pi i f h pu blic “a agai t u ; w
o no no t e o n on o t e s ns s e

on ly k w th at a gr at party i thi c u try wa ag ai t u a d th r f r

no e n s o n s ns s, n e e o e

w appr h d d th at th ug h
e e en campai g mi g ht hav b
e , g t thr ug h
o one n e ee n o o

at th b g i i g f th
e e xt
nn n i th y w ul d h av i t rr u pt d u i p
o e ne sess on , e o e n e e s n ro

cu ri g th u ppli
n e s I b li v I q u t th rig ht h rabl g tl ma
es.
’
e e e o e e o no e en e n co r

rec tly A d h r
. i ln m p au a d th a k himf th p rai whi ch h
e e, s r, et e se n n or e se e

gi v th g tl m
es e th i i d f th H u —l t m i du lg th ati fa
en e en o n s s e o e o se e e n e e s s c

ti f r fl cti g that th ug h w h av t h m l u m t f fli
on o e e n , o h e e no t e e o en s o o c e nor t e

p atr ag f p w r y t w a
on e o to x l ud d fr mg r at i fl u c
e , e th
e re no e c e o e n e n e on e
m a ur
e s fg v r m t
es o W t ak p rid t u r l v at thi m m t th at
o e n en . e e e o o se es s o en

w a e t itti g
re no a c mmitt
s f u pp ly v ti g
n on rm u fl t a d o ee o s , o n e no o s ee s n

ar mi t carry i t
es o x cu ti thi cal amit u m a u r T u h h
n o e e tly
on s o s e s e . o s e ones

d cl ar
e thi r d it b d u a d thi c u try will d u bt f l th g rati
es s c e to e e n s o n no o ee e

t ud th y w u f h av i g av d th mfr mth mi ri f wa
e e o e s or n s e e o e se es o r
.
”

D u d as h avi g ad mi t t d t h at the mi i t y d esi t ed fr o mthe

n n e n s r s

R u i an war th r ou g h th d r ead f the O pp ositi on Fox at o c e

ss e o , n

us es thi s ad mi i o n ag ai st the mi is try and c o v er t i t i n t o

ss n n , n s

an ack nowl edg m e t th a t the oppo siti o n had s av ed t he c ou n t r y

n

fro mwar .

The fo l l owin g p ass age fr o mthe s ame sp eech afl ord s an ad

'

d ition al i ll u st r ati on
H a k wl dg
e c a th r fact th at w a
no e t wh at a th r h
es no rabl e , e re n o no e on o e
g tl ma ch t r pr
en e n t u —a facti th at i d i ri mi at ly appr v
ose o e e s en s on n sc n e o es
o f v rythi g ri g ht
e e wr g Thi i l arly ma i f t fr m hi w ad
n , or on . s s c e n es o s o n
mi i f gi v i g up wh r h f u d w c d m d h mu t h av b g u
ss o n , or, n e e e o n e on e ne , e s e e n
i th i d a th at w
n e e h ul d appr v e s o o e.
”
498 E lements f
o R/zet mc '

C H AP T E R VIII .

D I S PL A Y OF FE E LI N G I N R A T O RY
O .

S 5 4 3 D I S P LAY . or F EE L I N G .

8 . TH E xh ibi ti on of feel i ng on the p art of the o r at o r is of

e

i mmen se assist an ce to wards co mmendi ng h is ar gu men t s and

sw ayi ng his au di e n ce P assi on i s st ro nger th an fl u ency e ar
.
,

n es t ness is be tt er th a n r h et o r ic ; and wh e n the hear e r s be l i e v e

th at the sp eak er is mov ed t h ey sh are his fee li ngs by a n at u ral

,

sy mp athy A s the s u bj ect of the liter ature of the emoti on s

.

h as been m o re fu l ly c on sid e r ed el s ewh e r e i t wil l o nly be nec ,

e ssar y to not ic e in this pl a ce so me of the mor e st r iki ng d ispl ays

o f fe el i ng wh i c h m ay be c l asse d am ong the ta c ti cs of orat ory .

S 5 44 SUDDEN
. m urtsr
o or r E E LrN c .

O ne h igh est d ispl ays o f emoti on is see n in wh at may

of the
be cal l ed a s udd en o ut b ur st of fee l i ng ; the mos t famou s of

which i s to be fo u nd in the spee c h of D emosth en es o n the

C ro wn The fol l owi ng is the criti cis m of Longin u s o n th is
.

passage
Demos thenes is p rod ucing p roofs u prig ht behav i or as a pu bli c
of his
se rv a nt N ow wh at was t he mos t natu ral method of d oi ng thi s ? You ‘
.

we re not in the wrong A then ians whe n youbravely ris ked y ou r li v es in

, ,

fig hting for the li berty and safe ty of G reece ; and of this you hav e d om esti c

e xam pl es For ne ithe r were they in t he wro ng who foug ht at M arath on

.
,

who fou g ht at S al ami s who fou g ht at Plataza B u t wh en fill ed as it wer e

’

’
.
, , ,

with sudd en i ns piration of the Deity and l ik e one posswsed he th u nders

,

ou t that oath—by the c ha rli pions o f G reece Youw ere no t in the wr ong no
: , ,

y o u c ou l d no t be I sw e a r by th ose t h at ri sk ed th e ir l i v es for th e ir co u n try

e l d of M aratho n he seems by thi s one figu re of sweari ng to h ave

’
on the fi -

en r oll ed th e ir a nce st ors a mong the god s whil e suggesti ng to th emth at th ey

,

o ug ht to swe a r by those who fell so g l ori ou sly as by so man y god s ; t h av e o

i ns p ired his jud ges with the exalted sen ti men ts of those dev ot ed patri ots ,

to h av e c ha n ged what wa , s na t u ra lly a proof i nto an appeal transcendently

,

subli m e a n d affecti n g a ided by t he po werfu l evid en ce of oaths of a n o v e l

,

and m os t su bli m e cha ract er and at the same ti me to h ave i ns tilled abal m
5 00
‘

E lements of R/zetor ic .

symp athy for the acc u sed accomp an i e d by a b rief st at emen t ,

O f h is most pi t eo us c on di ti o n .

5 5 4 5 EXT RA V AG AN C E o r EX P R ESS I O N
. .

E xtrav agan c e of exp r essi on is freely i nd ulged in by o r at or s

wh en u nd er the i n flu e nc e O f st r ong e mo ti o n an d the stat emen t ,

which in o r di n ary composi ti o n w ou ld se em exagg e r at ed and ,

th e r e fore absu r d be comes mo st effec t iv e as a sign of the pas

,

si o n O f the spe ak e r Th u s S i r J ames M acki nt osh in behal f

.
,

of P elti e r s ay s o f the F ren ch gov e rn me n t

,

“
Th e ar e band ed oge e
y t th r by th e d es a p ir of fo r gi v eness, by the unan i
mous t
detes atio n of man nd
”
ki .

Th is l angu ag e goe s bey o n d the act u al t ru th yet i s , n ot

s tronger th an is w arr an t ed by the fee li ng of the speak er .

NT R O L o r EM OTI O N
5 5 46 . CO .

H oweve r strong the p assi o n O f the or ator may be i t sh ou l d ,

al w ays be un d e r cont ro l so t h at afte r any ou tb u rst he may re ,

t u r n to his argu ment and mak e ev e n his p as si on co ndu c e to its

,

e n fo r c e ment Lo rd Bro ugh am in hi s ad mi r abl e I naugur al D is

.
,

c o u r se p r aises the man ly se v e r ity o f G ree k o r ato r y and espe

, ,

c ia lly the s el f c o nt r o l wh ich n e v e r al l o w ed the spe ak e r to g o

-

too far b ut e v e n aft e r the bo ld est o u

,
tb u rsts of fee l i ng d r ew him
b ack to h is s ubj ec t .

A good e x ampl e may be fou nd in Er ski ne s speec h o n S tock

’

d al e H e is al lu di ng to the t ri al O f W arr en H asti n gs :

.

it b d u d that a ubj ct f thi c u t y may b imp ach d f

S hall e en re s e o s o n r e e e or

th tra a
e cti nsf tw ty y ar ; th at th accu ati
o ns o en hall pr ad a wi d a
e s e s on s s e s e s

th er gi f l tt r ; th at h accu d h all ta d day aft r d ay a d y ar

e on o e e s t e se s s n e n e

aft r y ar a a p ctacl b f r th pu bli c whi ch h all b k pt i a tat

e e s s e e e o e f e , s e e n s e O

p r p tu al i fl ammati agai t him th at h h all t with u t th v r t

e e n on ns ; e s no , o e se e es

p alti b p rmitt d t u bmit a ythi g th j udgm t f ma ki d i

en es, e e e o s n n to e en o n n n

hi d f c ? I f thi b h law (whi ch it i f y u t d c id ) uch am

s e en e s e t e a s or o o e e , s n

ha s no tri al Th at gr at h all bu ilt by u fath r f E gli h ju tic i

. e o r e s or n s s e s no

l g r a c u rt bu t a altar a d a E gl i h ma i t ad f b i g j udg d i
on e o n , n n n s n, ns e o e n e n

it by G d a d hi c u try i av i ctima d a acri fic

o n s o n , s n s e.
”

A fter this he at o nc e ret u rn s to sev e re ar gu ment wi th the

wor d s :

Y u will car fu lly r m m

o b r th at I am t p r umi g t q u ti th
e e e e no es n o es on e

right th d u ty f th C mm f E g la d t i mp ach t
or e o e o ons O n n o e , e c.
 EULOG Y 547 . .

Eu l ogy which is the l angu ag e of p r aise is p r ompt ed by emo

, ,

ti on s O f l ov e ad mi r ati on and the l ik e an d for ms an i mp o rt an t

, , ,

p art of or at ory I t so meti me s appe ar s in the for m of p r ai s e

.

ad d r ess ed to th e audi t o r y o r j u dg es wh ich has al r eady b een ,

c on sid er ed ; b u t i ts mo r e app rop r i at e applic ati on i s to th o s e

p e r s on s or s u bj ects wh ic h are c on nec t ed with the or at o r s dis ’

c ou r s e .

M any ex ampl es are to be fou nd in the sp eec h es O f Bu r k e .

Th u s in his sp eech on the E ast I n di a Bil l the p e r o r ati on co n

sists of a eu l ogy on Fox which is p r es en t ed in gl owi ng lan ,

gu age and s e rv es as an ad mi r abl e c l os e to the argu men t

,

An d h av i g d my d u ty t th bill l t m ay aw rd th au
now, n one o e , e e s o to e

th r I h u l d l av him hi w bl
o . s o e ti m t if h u w rthy a d
e to s o n no e sen en s t e n o n

illi b ral l a g uag with which h ha b tr at d b y d all x ampl f pa

e n e e s ee n e e e on e e o r

li am ta y l b rty d id
en r mak a f w w rd
i e c ary n otmuch i j u e e o s ne ess , no t so n s

t ic t hima t my w f li g
e o s H ha p u t t h
o hazard hi a
o n ee n s. e s o er s c se ,

hi s se cu rity hi i t r t v hi d arli g p p u l ari ty f h b fit f a

, s n e es , e en s n o , or t e e ne o

p pl wh mh ha v r
eo e o Thi i th r ad that all h r hav tr d
e s ne e se e n. s s e o e oes e o

b f r him
e o e H i . w a g r at mi c wh r h y
e s no f ma ki d
on e e nen e e e t e e es o n n

a tur d u p
re ne him H may li v l g h m
on ay d much
. But h r i
e e on ; e o . e e s
th e s ummit H v r a x c d wh at h d th i day
. e ne e c n e ee e oes s .
”

E ul gy is s ometi mes mad e use of for the s ak e of emph asis

o .

Th u S h r id an in his S pe ech ag ai st Warr e n H asti ngs m

s e ,
n , en

ti on s a d oct rine of Bu r k e s i nd u lges in a eu l ogy O f th at o a ’

, r

to an d th en p r oceeds to s tat e a di ffe r en t view

r, :

Thi i th ti m t f my bl a d x alt d fri d wh

s s e sen en am I a
o no e n e e en , ose n e c n

ne e v r m ti bu t with r p ct a d ad mirati d u hi v irt u a d t al t

en on es e n on e to s e n en s

wh pr ud d i dai f v i c a ly b q u all d by th ability with whic h

ose o s n O e c n on e e e e

he e xp a d c tr l it t wh mI l k u p with h mag ; wh
oses n on o s g iu o o oo o e ose en s

i c mm u rat with p hil a thr p y ; wh

s o ens em m ry will tr tch it l f b n o ose e o s e se e

y d th fl ti g bj c t f a y littl parti al huffl i g —t hr ug h th wh l

on e ee n o e s o n e s n o e o e

wi d ra g f h u ma k wl dg a d h rabl a pirati aft r g d —a

e n e O n no e e n on o e s on e oo s

l arg a th y t m which f rm li f a l a ti g a th
e s e s s e ti m t whi cho s e, s s n
‘

s ose sen en s

ad r it ; bu t i thi
o n ti m t h rabl t my f i d I ca t im
n s se n en , so ono e o r en , nn o

pli i ly agr
”
c t ee.

The effect of th is eu l ogy is to c al l att en ti on in the m ost

p o i n t ed mann er n ot me r ely to Bu r k e s en ti men t b u t r ath er

,
’
s ,

tc the o r at o r s own vi e w which di ffe r fr omi t

’
s
j
.
,
502 ments
E le f
o Rlzetor tic .

5 4 8 . P an s ov mc .

P anegy ri c is a t erm appli ed to o r ati ons whi ch set forth the

p rai se O f some emi ne n t per son I t is disti ngu ishe d by g r eat
.

po mp and sp l end o r o f styl e an d exaggerati on of sentimen t .

C i ce ro s speec h in be h al f o f M ar c el l us is an exampl e O f which

’
,

D e Q u i n cey says th at the who l e p u rpose be i n g a fes tal and ,

ce remon i al one than ksgiv ing its sol e b ur d en fromfi rst to l ast
, ,

it is m ar k e d by the most e l abo r at e stat e l i ness

”
.

T hey we re freq uen t in anc i en t times I n mod ern times th ey .

c onsis t chi e fl y of fu ne ral o rati on s which are al w ays mor e or ,

l ess l au d ato ry The most ce l ebrated of th is cl ass are th ose of

.

Bo ss u et .

T he t e r ms p anegy r i c and eu l ogy are o ft en i n t e r c h ang ed at

the p re se n t d ay Thu s Bu r k e c alls his e u l ogy o f Fox a p ane
.

gy r i c I f a disti n cti on be sou ght for betw ee n the t wo it may

. ,

be st at e d th us— th at a eu l o gy re fe rs to p ass age s occ u r r i ng in

the c ou rse o f a sp eec h or ar g u m en t wh il e a p a neg ric c om p r
y ,
e

he nds the wh ol e speec h .

T he t erm panegy r i c i s som eti m

’
es a ppl i ed to G rattan s w el l
k n o wn po rt ray al o f Lo rd C h ath am and to Bu rk e s eq u ally ,
’

w ell k nown d esc ri pti on Of S h erid an s el oq u ence

-
’
.

5 5 49 . r m: R ETO RT .

A very effec ti ve mod e of meeti ng a ch ar ge is by means of

the re to rt Fox abou n ds in thi s an d agood ex am
. pl e is fou n d
,

in the fol l owi ng p ass ag e fr om his speec h on the East I nd i a

Bi l l
“
A ft er pr on ouncing abrill iant eulogy upon me and my capacity to se rv e
the cou n try the honorable g entl em
, an considers m e a t the sam e ti m e the

mos t dang er ous man in the kingd om [Pi tt said acr oss the H ouse d an
.
“
,

g e ro us on ly fro m this m eas ure to whi c h F o x i ns t a n tly m a d e th is r e p ly 1

]I
call u pon the H ouse to am end to the h on orable gen tl em an H e thi n ks m e .

d ang erous only fr om this m ea su re a nd confesses t ha

, t h ithert o he has seen
n o thi ng in m cond uct to oblit era t e his g oo d o p i n i on C m p ar e thi with
y o s .

his oppositi on d u ri ng the l a st and the p rese n t sessi o n Le t e v ery man re .

fl ect th at u p t o this m om en t th e hon ora ble g en tlem an de e m

'

ed m e w orthy

of hi s confid ence a nd com

, petent to my sit uat i on in the st at e I than k him .

for the su pport he has a fl or ded to th e m inis ter he t hus est eemed and sh al l ,

n o t p ress t he a d van tag e he has gi ven m e fu rth e r th a n l eav i ng to hi m

.

self to
reconcil e his p racti ce and doc tri ne in the best manner he an ”
.
5 04 E lemen ts o f Rhetor ic .

may be i n t r od u c ed with g reat emph as is and effect Th u s .

Lo r d Erski ne s nee r s at P ai ne in o r d e r to exal t N ewton

I ru
n i g th mi d al g h l g li t f i c r a d d v u t C hri ti a
nn n e n on t e on s o s n e e n e o s ns ,

1 ca n no t h l p l am ti g that N wt had t li v d thi day t hav had

e en n e on no e to s , o e

his s h all w fill d u p wi th thi w fl d f li g ht p ur d u p th w rl d

o n ess e s ne oo o o e on e o

by M Th ma P ai
r. o B u t th u bj ct i t awful f ir y I will p ak
s ne. e s e s oo or on . s e

p l ai ly a d dir c tly Newt wa aC h i tiau

n n e . on s r s .
”

C H A P TE R I X .

Q U A LI F I C A TI O N S FO R A N O R A T O R
TH E .

55 Q UAL IFI CATI O NS FO R AN O RA TO R

1 . .

O F th es e so me a e ge ne r al and attai n abl e by all who set

r ,

fort h to acqu i r e th m; o th e r s a e speci al the pec u l i ar i ti es of

e r ,

gi ft d pe r o ns and sc ar c ely att ai n abl e by oth e rs u nd er any

e s ,

ci r c u mta ce s I n the fi r t pl ac e we h av e to c onsid er the

s n . s

gener al q u alifi cati on s :

5 552 .SU BJ E CT
co mran n or ms .

r
. The i mpo r t anc e o f this i s s el f e vid en t T he l awy er the -
.
,

d ivi n e the p ar l i ame n t ar y o r at o r all fin d i t n ec e ssar y to su c

, ,

c ess I n p ar l i ame n t ary d e b at e the sp eak e r who fai l s in this

.
,

mu st fail u tt e r ly B ur k e was di sti nguish ed for his i mmen se

.

l e ar n i ng fo r his p rofo u n d and so lid acqu i r eme n ts and for the

, ,

t h orough maste ry which he exh ibi ted of ev e ry subj ect to which

be d ev ot ed hi mse l f I t was s aid O f himth at he k new mo r e of
.

I n di at h an any ot h er l ivi ng man ; and in h is speech es on I n di an

affai rs be exhibit ed a kn o wl e dge wh ich was far di ffe r en t from
t he h a s t y c r am of the su pe r fici al S h e rid an Fox sh ow ed the
“ ”
.

s ame c ommand O f his subj ect th o ugh in a di ffe r en t way ; for ,

in his c as e i t aro se fro m l o ng t r ai n i n g an d e xpe rie n c e H is .

g r e at r i v al Pitt w as
,
e qu ally di,s t i n gu i sh e d This is a st riki n g .

ch ar acter i stic O f the o r ati o ns of an tiqu i ty ; for in t h es e espe ,

c ia lly in t h ose o f D emosth e n es m ay be fou n d a vivid repre ,

s c ut a ti o n o f all c o nt e mpo r ary his tory .

 5 53 F ER TI L ITY I N R ES O UR.CE S .

2 Th is i s c hi efly of v a
. l u e in p ar l i ame n tary d eb at e si nc e i t in ,

vo l v es r e adi n ss i r ply a d qu ick

e ns to t ak e ad v an tag o f a
e n n es e n

opp o e t o to r a
n n lly fr o ma d a g r o us at tack N O o r ato r v r
r n e . e e

su r p a s d Fox in thi s r espec t I n his sp ech e we e nco u n t r

s e . e s e

c o st an tly th o
n udd e hi ts th r u sts a d sid e bl o ws ; th o s e
se s n , ,
n -

rapid qu e t i o a d answer s th at d ext er ity in ev adi g d iffic ul

s ns n ,
n

ties t h at u n faili g re adi ess i r et rt a th at l igh t i g l k e

,
n n o nd nn —
,
n i

r apidi t y in s i i g upo n h asty ad missi on s and u si g th m

e z n n e

ag ai st hi o pp o e ts whic h g ai ne d for him the ti t l e of the

n s n n ,

gr eat est l ivi ng d b ate r This qu al i t y is al o o f use in co u r ts

e . s

O f la w to abl e the adv oc at e to c o u nt e ract th effect o f ud

, en e s

d e di sc l o u r es o to tak e i n st an t adv ant ag e of an u nexp ec t ed

n s ,
r

t ur n in the p r oc eed i gs n .

A CO N C I L I A I O R Y DEM EA NOR
554 .
’ ‘
.

3 A c on ci li ato ry d eme an o r 13 o f g r e at ad v an t age

. This in .

c lu d es the t o ne and man n e r o f the S peak e r which m ay be ,

made ve ry pe r su asiv e by ab eco mi ng mod esty and a respec t fu l

d efe re n ce to the au di enc e ; and als o the exp re ssi o ns wh ich ,

may e xhibi t a friendly co n sid e r ati o n or e st ee mfo r the j u dges ,

the h e ar e r s and s o m e ti mes ev e n fo r the a

, dv e r sar y .

I f the audi e n c e be fri en dly thi s is ne c ess ary in o r d e r to t e ,

t ai n th ei r good wi ll if h osti l e i t i s lik ewi se ne ce ss ary in o r d e r

-
,

to dis ar mth ei r h osti li t y I n att ack the spe ak e r o ught if pos

.
, ,

sibl e to mak e a di s t i ncti o n b e t ween the O ppo n e n t and the

,

aud i e n c e sep ar ati ng o n e fr o mthe o t h e r ; so th at whil e the for

, ,
.

mer is ass ai l e d the l at t e r may be c on ci li at ed I n many c ases

, .

e v e n the o pp o n en t m ay be p r ai se d fo r c e r t ai n qu aliti e s if o n ly ,

for the sak e o f gi v i ng g r eat e r e mph asi s to bl ame I n d efe n c e .

the n ec e ssity o f c o n ci li ati o n is mo r e evid e n t fo r h e r e all who ,

are no t with the s pe ak e r are ag ai n st h im; men ar e al w ay s mo r e

r ead y to c o nd emn th an to abs ol ve ; an d the sp eak er s fi r st aim ’

sh o u l d be to win o v e r the au di en c e to his own si d e N o wh e r e .

is th e r e a mo r e i n st r uc tiv e e x ampl e th an the sp eech of D e

mosthen es o n the C r ow n The o r at o r h e r e b egi n s by wi n n i ng .

ov e r th e audi en c e to hi m s e l f an d c ompl e t ely c arr yi n g t h e m ,

wi t h h im; he s ep ar at es th e m fr om his ad ve r sar y by the mo st

subtl e d isti n c ti on ; for the o ne he has n othi ng but e st ee m an d
5 06 E lemen ts f R/zetor ic
o .

affec tion, for the th er noth i ng bu t sc o rn an d co nt empt ; the

o

d efence i s c on st an tly t ur ned i n t o att ack ; the h e ar e r s are for c ed

to giv e a ll th ei r sy mp athy to th e S pe ak e r who ne v er fai ls to ,

r et ai n thei r good feel i ng by appeal i ng to the most l ofty p rin

c iples o f h u m an c on du ct an d t aki ng i t for g r an t ed th at th ey
,

mu st all be so high mi n d ed as to be an i mated by no motiv es

-

o f a l ow er o r d e r .

A mong mod ern o rat o rs the arts of concil i ati on h av e never

bee n mor e effec tiv ely e x erted th an by Erski ne J u dg e j ury .
, ,

the O pposite co u n sel a ll w e r e i n cl u d ed in th ose ki n dly an d

,

r espec t fu l senti me n ts to which the o rat or k new ho w to gi ve an

air o f can d o r an d si n cerity by his own mod est d efe r ence and
i mpl i ed s e l f d ep rec i ati on
-
.

555 . A K N O W LED G E o r T H E P ERSO NS ADD R ES S ED .

4 A u di e nc e s d ifl e r l ik e i ndi vi d u als ; an d if the o r at o r w o u ld

'

pe r su ad e t h em he mu st st u d y th e m N ati on al di ffe re nc es are

.

.
,

v ery mar k ed A n I r i sh and an E ngli sh au d i e nc e h av e a d is

.

si mil ari ty which is visibl e in I r i sh and E ng l i sh o r at or y Thi s .

will be pe r c e i v ed in c omp ar i ng the st yl e o f C u rr an an d G r att an

with t h at of Fox an d Pitt The I r i sh t aste l eans to r h et or ic al
.

d ispl ay ; the E ngl ish is so be r and mo r e ch ast en ed S h er id an .

i nd u lg ed to exc ess in o r name n t and e v e n Bu r k e was not un ,

freq u e n tly carr i e d aw ay by h is l ove o f i mage r y T he g r eat .

A meric an o r ato rs be ar a cl ose r r ese mbl an c e to the I rish th an

to the E nglish W eb st e r who r i val s Bu r k e in his meth od and
.
,

c omp ass r esembl es himal so in his i magi n ati v e pow er and l ov e

,

o f spl en did dicti o n T he son o ro us pe r i od s of C h o at e and the

.

epig r a mmati c se nte nc es o f We nd ell Phi l lips exh ibi t a l ov e o f

r h eto r ic o n the p art of speak e r and au di enc e wh ich c annot be
fou nd in any of th ei r E ngl ish con tempo r ar i e s E nglish audi .

c h ee s a re b u si ness l ik e an d so a-
re E ngl i sh o r a
, t o r s such ,

B r ight G l ad st o n e an d D is r ae l i I t d oe s not fol l o w t h at E ng

, ,
.

l i sh o r atory is the best in spit e o f the c ompl acenc y of E ngl is h

,

c r itic s ; fo r ther e is ad anger th at o r at ory may d ie out al t og eth er

an d r e s olv e its e lf i n to mere bu si n ess talk A ft er all ther e
“ -
.
,

sh o uld be som e r oo m l e ft fo r th a t nobl e dicti o n wh ich gives

fo r th such mag nific en t mu sic in the g r eat w r it e r s an d spe ak e r s
o f the p a st ; wh ich fil l ed with r aptur ou s d elight the h earer s O f
W ebster and still ch ar ms the r ead er s of D e Qu i n c ey .
 E lement s of R/tf ton c
'

50 8 .

to i nd ulge in b road g ene ral ization s ; to p urs u e affai rs to th ei r

l ogic al r es ul ts ; to d efi ne wh er e n o d efi n iti ons w e r e n ec essary ;
to be el abo ra t e whe n si mplici ty was d esi r ed and l e ng t hy in ,

c ases which d emand ed b r evity Th u s in many c on spicu o u s .

i n st ances the gr e at o rat o r sho wed a l ack of sm ir f azr e which

’

marred h is C h anc es of s ucce ss I n the w or ds o f G old smith

.

He w t rfii g
en on e n n ,

A nd th u ght
o Of con vincing, i wh l h y th ug ht f di i g
e t e o o n n .
"

I t has been sai d th at Bur k e s o ratory w ou ld n ot be t ol e rat ed

’

at the p r e se n t d ay in the B ri tish P ar li amen t I t may be add ed .

th at e v e n in hi s own d ay it was oft e n a fai l u r e ; and chi efly

fromi n abil i t y to app rec i at e the t empe r of his au die nce Th is .

was e spe ci ally t he c ase at the cl ose of his c aree r A nd yet .

,

for the stud e n t o f the p r ese n t d ay the speech e s o f Burke have

'

a pow e r and i n t ere st t h at ar e su rp asse d by none of m od er n

ti mes if th ey are e v e n eq u al l ed by any

,
.

M il ton s A reo pagiti c a th at nobl e ex ampl e of c l ose reasoni ng

’
,

and spl e ndid r h eto ri c had li ttl e or no c fl ec t at the ti m

, e ch i efly ,

bec au se t he argu me n ts we r e abo v e the i n t el l ec t u al and mo ral

l eve l o f tho se to wh om th ey were add ressed M o r e fami li ar .

ex a mpl es of thi s fau l t may be fou n d in the c ase of p r each ers

who d e liv e r l earned d isc o u r ses to i l li te rat e c on greg ati on s The .

speak e r who add re sse s an aver age au di en c e of pl ai n peopl e

wil l fai l if he pitch es h is no t e too high if he appe al s to mo t iv es ,

th at are too l oft y and too m u c h id eal i zed if he th eo rizes abo u t ,

p ri ncipl es which th ey do not u n d er st an d A mix ed au di e n c e .

wi ll gen er al ly p refe r pl ai n facts in pl ai n l angu age the c on c r et e ,

ra th e r th an the a b stract .

T o go bel o w the l ev e l o f the i nt el ligen ce of an au di en c e is

ev e n w o rse M any so c all ed po p u l ar o r ators wh en b rought
.
-
,

be fo r e ac u l ti v at ed asse mbly t u r n out fail u res R eviv al p r each

, .

e rs who h a
, v e ex e r ci sed u n bo u n d ed sw ay ov er ign o r an t masses
-

are som et i mes b r o u ght to ci ty ch ur ch es a n d fin d th a t th ey c an ,

d o no t hi n g wi th th ei r c riti cal fastid i o us an d ex ac ti ng h ear er s

, ,
.

55 7 A J UD I C
. I O US SEL EC TI O N O F T H E O CC AS I O N FO R

S P EA K I N G .

6 A j udici ou s sel ecti on o f the occ asi on for spe aki ng is a

.

matter of much i mpo r t an ce and is cl osely co nnec ted wit h the

,
.
 f izz Q ual j
z zcat wm j ar an U r atar .
5 09

ab ov e . v al u e of th is may be s een from on e c on spic u ou s

T he
x
e a m e Bu r k e s sp ee ch o n the N abob of Arc o t s D ebts
pl — ’ ’
.

This has b ee n c all ed by B r o ugh amthe b est by far o f all Bu r k e s ’

o r at i o n s I t was d e l iv e r ed h o w e v er u p o n a most u nfo r tu n ate

.
, ,

oc c a si o n I t was l at e the H o u se was w eary fro ma p ro l onge d

.
,

d eb at e an d the sp eech was five h o ur s in l eng th U nd er s u c h

,
. a

ci r c u mst an ce s th ey l i st ene d wi th i mp ati e n c e an d i n di ffe r e nc e ,

if n o t h ostil i ty ; and at i ts C l os e Pitt s aid th at i t had no t mad e

t he slight e st i m p r essi on “
The speech he add ed
. may with , ,

p erfec t s afety be p ass ed ov er in sil e nc e .

55 8 RA TO R S HO U LD N OT A I M A FTE R Too MU C H
. TH E O .

7 . I t is o ft e n w e l l n o t to aim a fte r too m u c h Wh e n a n .

aud i e nc e is h ostil e the O bj ect to be at t ai ne d sh o u ld be se t as

,

low as p o ssibl e c o n sist en t with the o r ator s o wn c au se

’
, To .

aimat the wh o l e w o u ld be to l ose all .

We h av e to c on sid e r in the next pl ac e the qu aliti es which

are p ec u li ar to the i ndi vidu al Th ese fo r m p art o f the eq u ip.

men t rec eived fr om n atu r e and c annot be acqu i r ed by art , .

Th ey may be C l assifi ed as phy sic al mo r al an d i n tell ec t u al , , .

Y S I CAL AD V AN TA G ES
559 . PH .

O r at o r s are oft e n e nd ow ed by n atu r e wi t h p e r sonal ad van

t ages o f fac e v o ic e ge st u r e hear ing which h av e no t a li tt l e to
, , , ,

d o wi th th ei r succ ess T he e ffo rt s o f D e mo st h e n es to o v e r

.

c ome phy sic al d i ffi cu lti es are k now n to all T he fac e figur e .
, ,

bear i ng an d v o ic e o f C ic e r o w e r e all in k ee pi n g with his or a

,

to r y and c o n tr ibut ed to its e ffect

,
T he p r ese n c e and t he v o ic e
.

o f C h at h a m w e r e i rr esi stibl e ; an d the ane cd o t es th at are t ol d

of the p o w e r o f a gl a n c e a g estu r e a n d a wo r d a
, ll s e r v e to , ,

S h ow w h at adv an t ag e the o r at or may d er i v e fro mth ese The .

maj es tic att i tud e o f D an i e l W eb st er his tow er i n g fo r eh ead , ,

pi e r ci n g eye an d r ev e r b e r at i ng t o n es h av e b ee n d esc r ib ed by
,

h is fr i e n d s in l an gu age fu l l of w o nd e r ; th e r e seeme d some

t hi ng su p er h u man in the man ; an d this feel i ng was exp r ess ed
in the sob r iqu e t which was oft e n fami li ar ly appl i ed to him ,

which i n dic at ed the ex tr aor d i n ar y p e r so n al asc en d e n cy th at he

g ai ne d o v e r all wi t h wh o m he c am e in — “
c o n t act th e g od
O n the o t h e r h an d o r at o r s h av e st ruggl e d suc
”
l ik e D an .
,

c e ssfu lly ag ai n st p e r so n al di sad v an t ages of a s e r i ou s ki n d an d ,

 E lements of Rlzzton c
'

5 10 .

h av e asserted th eir po w er in spit e of th ese S t P au l al l u d es .

in d e p rec iati ng t e r ms to h is pe r so n al p r esence which h e c alls ,

c on t emptibl e ”
I t is but fai r h o w eve r to ad d th at thi s may
.
, ,

be u n d e r st ood in a di ffe r e n t way M i rabe au and Wi lk es w e re

.

no to r i o u s for t h e i r pe r so n al d efects Bu r k e s appearan ce was ’

.

ung ai n ly an d his vo i ce was bad he al so had an I rish ac c en t

, ,

which was dis t ast eful to E ngl ish ear s G r at t an was unprepos .
~

se ssi ng in appear ance an d awkwar d in man ne r ; B ro ugh am

was r e p ulsive in features h ar sh in v oic e sl o v e n ly in d r ess and
, , ,

u n co u t h in his ge ner al d e meanor T he suc c ess of th ese l ast .

na med o r ator s in spi t e o f t h ei r physic al d i sadvan t ages sh ou l d

, ,

se r ve as an en cour agemen t to all who see k aft e r exc el l enc e in

s pe a ki ng and sh o u ld teac h th emt hat h ow eve r d esi r abl e it may
,

be to h av e a su pe r i o r voi ce an d p re se n c e ye t th at ev en wi th ,

ou t th ese an o r at o r m ay be t ru ly g r eat by for ce of langu ag e ,

re aso n and fee li ng

, .

5 60 . MO RA L Q UAL ITI ES .

Co ur age and se lfc o nfid e nce.

Wi tho ut these no or ato r can h ope to att ai n to high ex c el

l enc e Demost h enes an d C ic e ro e xhibi t ed th emin a g reat d e
.

gr ee Co w ardic e has i n d ee d been ch arged u pon both o f th em;

.

E sc hines accu ses De m os th e n es of qu ai li ng befo r e Phil ip an d

c r i ngi ng to A l ex and e r ; C ic e r o is al so freq u e n tly spo k en o f as

a ti mi d man The o n ly an sw e r to th is is th at if t h es e me n
.

w e r e n ot co u r ageo u s th ey c e r t ai n ly we r e abl e to si mu l at e cour

,

ag e in a way th at is u n i n t ell igibl e to the ord i nary mi nd De .

mosthenes sh ow ed h is c ou r ag e in h avi ng led a gr eat p art y in

ti mes o f the u t most pe r i l and in h avi ng ov er and ove r agai n
,

ri sk ed his l i fe C ic e ro may h av e had his momen ts of weak

.

n ess b u t in g ener al he e xhibits the u t m

, os t bo l d ness d a r i ng , ,

an d d efi an ce H is c h ar act er may be s u mmed up in the wor ds

.
,
“
m
C onte ps i C atilinaag lad ios, non pe r tim esc amtuos and yet
hi s d eath c ame f o m the v e y sw o ds which he d efi ed L ik e
r r r .

D e mos h e nes, he pe ri sh ed be c au se he had b av ed the fu y of

t r r
the vict o r i ou s p ar ty Both of th ese men if th ey had been
.
,

really ti mi d w ou ld h av e c h osen a safe obscu r i t y and wou l d

, ,

h av e c on t r iv e d someh ow to mak e th ei r pe ac e wi th the t r i u mph

ant p ar ty .

The same may be se en in the great m od e r n o r at ors C hat .

5 12 E leww t s f
o R hetor ic .

ed ; nos tates man wh ose p at r i o tismis suspect ed or whose pro ,

fe ssi o ns o f l o ft y p r i n cipl es are tak en for acl oak to se l f see ki ng -

.

Th at adv oc at e l abo r s u n d e r a t erribl e di sad v an t age who d oe s

n ot be li e v e in the j u s t ic e o f his c a u s e I n si n ce ri t y d isingen u .
,

ou sness a fiec tatio n all se rv e to ru i n a c au se and the fi nest

'

, , ,

l angu age is t ak en for nothi ng be tte r th an an empty sou n d .

mr m acr uu Q UAL ITI ES

5 5 61 . . .

Logi c al po w e r R easo n i ng me t h od analysis and sy nth esis

.
, , ,

ab st r ac ti on and gene r ali zatio n — all th ese are esse n t i al s an d ,

e xi st in di ffer en t d eg ree s B ur k e is s aid by De Qu i ncey to

.

h av e had o f all me n o f t h at ag e the fi nes t u nd e r st andi ng H e .

sh ows alw ays a c omp reh ensive g r asp of his su bj ec t cl o se an d ,

c on t i n u ou s l ogi c an d a c o n st an t effo r t to t r ace out t hi ngs to

,

t h i r cau ses C h at h am i s i r egu l ar in his meth od ; he sh o w

e . r s

l e ss of r easo n th an of feeli ng ; he is i mp at i e n t of sl ow l ogi c al

p rocesse s and d eal s in v e he me n t asse r ti on or d e ni al Pi t t i s
, .

logi c al and ar gu mentati ve wi th ad mi r abl e m e t h od ; Er ski ne is

,

l ik e himin th is but is fu l l er of illustration and als o o f w ar mt h

, ,

o f fee l i ng ; Fox is i r regul a r in meth od bu t ful l of for c e ; C h at ,

h am Bur k e and Fox all al ik e sh u n abst racti o ns and h ow ev e r

, , ,

e l se t h ey m ay di ffe r th ey r esembl e o ne anoth e r in th e i r p r efer

,

en ce fo r the co nc r e t e .

V ers atil i t y S ub t l ety of th ou ght affl u enc e of exp ressi on

.
, ,

wid e c omman d of subj ec ts for ill u st r ation ext ensiv e at t ai n

men t s—all th e se are i nc l u d ed u nd er th is te r m and are ch i efly
,

exhibit e d by Bu r k e .

I magi nati on Th at of C h ath amis vigorous l ofty and com

.
, ,

p r eh e n si ve By th is he gai ned th at skil l in maki ng i nf r en c es

. e

and d ed u cti o ns which wh e th er we c al l i t s ag aci ty o fo r ec ast

,
r ,

p l ac ed himabo ve all o th e r st ates men B ur k e s i magi nati on is .

’

con spicu o u s v
e e r ywh ere — ln his i magery in his d esc ri pti on s in , ,

h is k een pe r cep ti on o f hidd en c au ses of t h i ngs lyi ng in the

p ast and in h is forec ast of the fu tu re
,
.

C omm an d of l an gu age O r at ors di ffer g reatly in th is t e

.

S pect the voc abu l ary o f some be i ng as l i mi ted as th at of oth ers

i s u n li mi t ed I n am
,

. uen c e an d r h et or ic al p ow e r Bu r k e sur ,

p asse d all oth er E ngl ish orato r s I n r eadi e ss apti t u d e an d . n , ,

qu ick ne ss of extempore effo rt C h ath amwas wi th ou t an equ al ,

.

H is d en u nc i ation of Lor d Su ffol k one of the most v eh ement ,

 U zalog ue . I
5 3

st r ai n s of i n dig n an t el oq u en c e in E ngl ish o rato ry was mad e ,

wi t h ou t p r emedi t ati o n and r emai n s wi t h o u t any equ al as an

,

ex a mpl e at onc e of v eh ement emoti on and r eadi ness an d r ich

n ess of exp ressi on .

CHA P T E R X .

D I A LO G U E .

5 62D I ALOG U E
. .

I N oth er ki nds of co mposi t i o n the s u bj ec t is t reat ed by on e ,

v iz the a
.
,
u th o r wh eth e r w r it e r or sp eak er This is the c ase in
, .

d esc r ipti o n n arr ati on and expo si t i o n Ev e n in d eb at e which is

, ,
.
,

most near ly aki n to di al ogu e this h olds good si n c e each speech

, ,

in a d eb at e is by its el f a si ngl e co nsid e r at i on of the s u bj e ct by

,

o n e i ndivid u al — the sp e a k er .

D i al ogu e is di ffe r e n t I t is the c o nsid e r ati o n o f a s u bj ect by

.

mo r e th an o ne H e re the i nt e r l oc u t o r s and th ei r argu ments

.

mu st be r eg ar d ed as i n se p arabl e .

D i al ogu e is an i mi t ati o n of the c onv ers ati on of r eal l i fe an d ,

di ffe r s fro m oth e r ki nds o f li t e r ature as c on v e r s ati on di ffer s

fro mi ndividu al d i scu ssi o n so li l oq uy or m
, on ol ogu e
, .

D i al ogu e is v ery an ci e n t in lit e r at u re Th e r e are i ndic ati on s

.

o f i t in the S o n g of S o l o m o n ; t he Bo ok o f ob is o f th is ch ar
J
ac t e r Yet i t may be c on sid e red as h avi ng d e ri v ed its r eal
.

or igi n a mong the G reeks .

T he fact ha s al r eady been n o ted t h at G reek l it e r atu re ap

pe al ed to the ear and was the p r o pe r ty o f the o u t si d e w o r ld
,

r ath e r th an of the r ecl u s e E pic and ly r ic po et ry w er e su ng ;

.

the d r am awas for the ear an d ey e ; the A th en i an s w e r e a c o m

mun itv o f t alk er s n ot r ead er s Phil os oph e r s t alk ed familiarlv
, .
5 14 E laments o f R/ietor ic .

on ly h is s en timen ts bu t his manne r ; an d in their philo sophical

'

w r i t i ng s e mpl oy ed the S oc r at ic me t h od of di al ogu e The ch i ef .

of t h e se w e r e Pl a to an d Xe noph on the fo r me r of wh om w r ot e ,

in d i al ogu e excl u si v ely .

Two ki nds o f di al ogu e may be obs erv ed

1 D id a. cti c di al ogu e z D r amati c di al ogu e
. . .

mmc rrc D I ALOG U E

s 5 63 . .

1 Dia . l og u e is did actic wh en it is u sed for the p u rpose of ex

po siti on The most i mpo rtan t are the w or ks of Pl ato of wh ich
.
,

the b est k no w n is the Pha ed o wh ere he ar gu es in fa v or of ,

the i m mo rt al i t y o f the so u l Soc r ates i s i nt rod u c ed as c hi ef

.

spe a k e r and wi th the discu ssi on is give n an acc o u n t of the l as t

,

mo ments of the g reat t eac he r s l i fe Pl ato s meth od h er e as ’

.
’
,

e l se wh e re i s to use S oc r a
,
tes as the expon e n t o f his own vi ews .

S o me of the w or ks o f X e noph o n a e of the s ame c l ass ; as r

the M e m ora bi li a wh ich p u rpo rts to be an ac co u n t of the teac h

,

i ngs of Soc ra t es .

C ic e r o w rot e se v e r al tr eati ses in the sam e styl e e g the , . .

,

Tu s c u l an Q ues ti ons t h ou gh his di al ogu e i s b u t p art i al and

, ,

soo n bec o mes l ost sight of in the reason i ngs of the chi ef sp eak
er . L u ci an affo r d s a be tt er ex ampl e of this mod e of compo
sitio n In m
. od e r n ti mes the di a l ogu e has been u sed for im
port an t pu rposes T he id eal is mo f Be rk el ey is p u t fo r th in a
.

d i al ogu e be twee n P hilon us and H yl as ; and W alt e r S av age

L and o r s most v al u abl e co n tr ib u ti o n s to li teratur e h av e thi s
’

The di al ogu e as amean s of exposi ti on i s li mi t ed in i ts sc ope .

E v en at its best as empl oy ed by Pl ato i t d oe s not ad mi t of

, ,

full ar gum en t ative t reat men t o r of any gene ral dis c u ssi on in
,

v olvi ng mi nor ar gu men ts o f a c u mu l ative c h ar act er or con t ai n ,

ing syl l ogi stic p r oc esse s with m aj o r and mi nor p remises

, .

5 64 DRAMATI C D I ALOG UE
. .

2 This i s u se d fo r
. th e p ur pose of narration .

r st I n the d r a
. ma .

d ramati c li t era
_

Th is wil l be c on sid ered u nd er the h ead of

tur e
2d . In p r ose ficti on .

P rose ficti on has had agr eat d ev el op ment in our d ay . I t has

 16 E lem R/zf ton
'

5 en ts o f c .

Bur l esq ue is the r ep resen t ati on of sc enes th at are abs ur d

and e xt r av ag an tly r i dic u l ous .

M asqu e a pl ay now out of fash i on rep rese nti ng pi eces of

-
, ,

a myth o l ogi c al or all ego ric al ch ar act er .

O pe r a a p l ay w ritte n chi efly fo r ac c omp an i m

— en t to mu si c .

5 5 67 . DRAMA
O R IG I N O F TH E .

D r amatic l iter atu re may be e i t h er in p rose or poet ry I t .

gr ew u p fi rs t as a di al ogu e ar o u n d ch or al so ngs E sc hylus .

,

who b r ou ght t r ag edy to i ts fi rs t st age O f d e v e l op men t may be ,

r egar d ed as vi r t u ally its c reato r F romthe S uppl i ces to the .

P ro meth eus Bou n d a regu l ar s t age o f g ro wih an d p rog ressi on

may be s een The fo rmer is chi efly mad e u p of ch or al p arts
.
,

and r ep r ese n ts the ear ly styl e whi l e the l at t e r is chi efly mad e
,

u p o f di al ogu e and be l o ng s to a mo r e adv an c ed pe riod The

, .

i n ven ti on o f comedy is att r ib u ted to T hespis wh os e ru d e be ,

gi n n i ng was soo n d ev e l oped i n to the gr eat wor ks of A ri s

topha n es and M e n a nd e r .

5 5 68 M YST E RY A ND M ORAL ITY P LAYS

. .

T he mod e rn d r ama l ik e the anc i ent had a r eligi ou s

, , o r igi n .

I ts fi r st appe ar ance is in th e myste ry pl ay s which wer e repre ,

s e nt ed in c on nec ti o n wi t h religi ou s se r vic e— mi n ist er i u m— fr om

whi c h word my st ery is d er iv ed The su bj ec t o f th ese was
“ "
.

so meth i ng tak e n fro m sac r ed hist ory or l ege nd ; the pl ace the
O pe n air n ea r the c ath ed r al ; the s tage was in th ree d ep art
men ts r ep r esenti ng h eaven and eart h with a t r ap d oo r l ead i ng
, ,

b e l o w i n t o the i n fe r n al r egi on s I n th ese c o medy an d trag edy

.

w er e c ombi n ed T he mor ality pl ays aros e d ur i ng the p er i od

.

o f the R efo rm ati on ; th ey w ere of an all ego ric al n at u r e an d ,

w ere u sed by e ach p arty to s ati r i ze or at tack the oth er an d ,

as a mean s of po l i tic al and r el igi ou s c on tr ov e rsy A fter th is .

aros e the r eg u l ar d r ama; c omedy fi rst in R alph R o iste r Doister ,

155 r a , nd G a mmer G urto n s N eedl e 1 5 65 ; tragedy in Go r bod uc

’
, ,

1 5 62 fo l l owed i m med iat ely by the advent of M ar l owe S h ak e ,

spear e an d the E l izabethan d r amat ists

, .

R EE K DRAMA
6
5 9 . TH E G .

The d r amahas the wid est possibl e fi el d of acti on I ts origi n .

was in c onn ecti on with r eligi on to whi c h at fi r st i t did good ,

 1 [ w u r umu .
5 1
/

s er vic e The mo r al an d r el igiou

. s t eac h i ngs Of G r eek t r ag edy
s u rp ass th ose o f G r eek ph il osophy .

E sc hy lus in the P r o m e t h e u s gr appl es with the most di ffic u lt

p r obl ems of u n me r ited su ffer i ng ; an d the i n vi ncibl e r es o lv e of
the s u ffe r i ng fr i e n d o f man p r o d uc es the su bli m est c r ea ti on O f
an c i e nt g e n i us t h at was ne v e r equ all ed til l M i lt o n c ame
,
.

S oph ocl es al so g r appl es wi th the myst e ry of u nmer i t ed suf

fering in h is CE d ipus . H e giv es u tt e r an c e to the l oft i est max ~

ims which c o rr esp o n d in s ome c as es to the high est and n obl est
,

in the mod e r n se n ti m e n t o f h o n or ; a n d ev e rywh e r e l ov e s to

d ispl ay the p ro ud est vi r tu e of man h ood wi th the most te nd e r

g r ac e of w oman h ood H e is d eeply r e ligi o u s and so me O f h is
.
,

ch o r al s o ngs h av e a li t ur gic al p o w er an d el ev ati on .

E u r ipid es mak es h is d ei ti es odi ou s and th u s u tt er s a p r otest

,

ag ai nst the c o rr u pt m y t h ol ogy of the d ay wh ich was t e ec h oe d ,

-

with fiercer sco r n by his g r eat enemy Ar i st oph anes and aft er ,

w ar ds r ep eat ed by Pl at o O n the oth e r h and h is h u man be

.
,

i ng s d i spl ay g r eat v ar i ety ; h is men are no t equ al to th os e o f

S oph ocl es bu t h is w o me n exhibi t the most h eroic po we r of
,

c l i ngi ng l ov e and s el f ab neg ati o n I n her wh o m D e Qu i nc ey

-
.

c al ls the h o ly A n tigone w oman s l ov e an d sel f sac rifice

“ ”
,
’
-

r each th e i r h igh est poi nt ; whi l e in h is H ec u b awe h av e aG reek

c o nc ep ti o n of all t h at is most movi ng in a M ate r D ol or os a .

The M ed e a an d A lc estis st and i ng at t wo O ppo si te p o l es di s

, ,

pl ay at o n c e the i mmen se v ar i e ty wh ich Eur ipid es c ou ld c om

p ass in the d el i neati on of femal e ch ar ac t e r .

5 70 . M O DER N DRAMA
THE .

N o r iv als o f th ese gr eat mast e r s appe ar ed u n ti l the r is e of

the E ngl ish d r ama . S h ak espe ar e is a w o r ld in h i msel f H e .

h as w r i t t e n E n gl ish hist o r y o n c e fo r all ; an d fr om h im th e r e

wil l p r ob ably n ev e r be an y app e al H is w r iti ngs are a s tor e
.

h o us e of max i ms an d apO phthen in w or l dly wisd o m H is .

ch ar act er s are l ivi ng fl esh an d bl ood A b ov e all hi s w omen .

,

h av e a v ariety an d v er isi mi li tud e n ev e r wit n ess ed b efo r e H e .

ca n a ls o h andl e the d eep est myst er i es and his H aml et stil l ,

r emai n s to b affle the most ear n est stu d en t .

T he d r amaar ose in S p ai n u n d er C al d e r o n an d Lop e d e V eg a;

in F r anc e u nd e r C or n e i ll e R aci n e an d M oli er e ; in I t aly A l
, , , ,

fieri an d Gold on i are b est k now n to for eig n er s ; b u t non e of

5 18 E lement s f
o Rhetor ic .

h s h ave been so acceptabl e to E ngl ish tast e as the German

t e e
d r ama the l ast but n o t the l east which Goethe an d Sc h ille r
, , ,

h av e e l e v at e d to the h igh est cl ass .

The Engli sh d r am a l os t i ts pre emi nence l ong ago ; yet g r ea

-
t
wo r ks h ave neve r ceas ed to be p rod u ced fromage to age and ,

t r agedy has an i rr esistibl e c h arm fo r men O f gen i u s N ot to . .

spe ak of By ro n s pl ays or the Ce n ci of S h el l ey— which many

’
,
”

th i nk the best En gl ish tragedy si n ce S h ak espear e— th e n u mber

of i m po rt an t w o r ks of thi s d escr i p t i on p rod u ced in our o wn d ay
is su rpri si ng B rown i ng has wr i tt e n tr aged i es whi c h nev er h av e
.

bee n ac t ed an d n ev e r can be C h ar l es K i ngsl ey r eg ar de d h is

,
.

“
S ain t s T ragedy as h is best wor k Lo ngfell ow s S p ani sh
’ ” ’
.

S t u d ent Poe s fragment P oliti an B ai l ey s Fest us the

”
,
’ “
,
“ ”
,
’
,
“
L i fe Dr ama of A l ex and er S mith are all fami li ar ex ampl es ;
”
,

whil e the popu l ari ty of S wi nb u rne and the l atest effor ts of ,

Tennyson in the sam e di rection sh ow the a tt ra c tion of the

,

d ramaover the mi nd of the poet .

C H A P TE R XI I .

PO ETRY .

ETRY 5 7 r . PO .

P O ET RY is a t erm of the wid est comp reh ensi veness bei ng ,

al m ost co m mensu r ate with l it erat ure its elf I ts aim may be .

to i nst r uct to c on vi n c e to pe r suad e or to pl ease ; i t m

, , ay em ,

b rac e all ki nds of co mpositi on d escription narration exposi , , ,

ti on di al ogu e or d r amatic w r i ting ; and i t also ass u mes many

,

for m s of i ts own whi c h are s u bj ec t to disti nc t and d efi ni te

,

c l assifi c ation .

5 7 2 . PO E TR Y D I P P E RS F RO M P R O SE AS To TH E SENTI M ENT .

1 It d ifi w mmmm m
w m ed ,
5 2 0 E le ments ,
o f Rlui or ic'
.

na rratives b u t all power fu l as poe tr y H is highest O ce is

,
-
. m
to u n fold spi ri t u a l tr u th s ; to p r ese n t u s wi th l ofty stan dar ds
of a c t i o n to b ri ng before us the id eal I magin ation c alls i n t o .

e x e r ci se the best fa c u lti e s o f m an an d the g r eatest p r od uction s ,

o f hu m an gen i us are the w o r ks o f the poe ts Pl at o is the sub .

lim e st o f phil o so ph e r s be c a u se he is in sou l a poet bu t he ,

i s su r p as sed by f Esc hy lus and So ph oc l es who are poe ts and ,

n ot h i n g el se A nd th us the w o r ld pl ace s H om
. er a bo v e Aris ~

to tle S h a
, k es pear e abo v e Bacon M i lto n above Lock e Goeth e , ,

abo v e K an t .

5 5 75 . PO ETRY ST R O N G EST ExP R ESS I O N EO R

A P EO RDS TH E

EM OTI O N .

Poe tr y affo r ds the st ro ngest exp ressi on for h u man emotions ,

and i ts pow er can be esti mat ed by i ts effec ts I t is not n eces

’

.
‘

sary to q uo te the sayi ng of Fletc her of Sal tou n as to the r el a

tive i nflu en ce of a peopl e s bal lads and a peopl e s l aws bu t it
’ ’

may be affi rmed th at the pu rest and tend erest and manli est
se n ti m e n ts of the h u m an h eart are fou nd ed upon the poeti c
i ns ti nct Th is is the se c ret o f ch iv al ry of k nigh tly g all an try
.
, ,

and gen tl e cou r t esy Th i s u nd er l i es all refined tast e all d e l i

.
,

c ate se n timen t all high d evoti on Wh at S h ak espe ar e s ay s of

, .

mu sic may be said o f poe t ry and it may be adde d th at the man ,

who l ov es i t not l iv es bu t h al f a li fe .

P oe t ry ad apts it se l f to all the w an ts of the h eart an d has an ,

exp r essi o n fo r e v ery p assio n H e re we find th at i nd esc r ibabl e

.

bl en di ng o f sou n d and se nse O f v ar yi ng wor ds and ri ngi ng“ ,

me tre j oi ned wi th ch angi ng th ou gh t whi ch so afl ec ts the fee l

. ,
’

i ngs and c li ngs so cl os e ly to the memo ry A t i ts biddi ng we .

l augh or w ee p we are en raged or at pe ac e I t height en s the

, .

r idicu l o u s o r d ee pe n s the patheti c ; i t sat i ri ze s i t ennobl es i t , ,

moc ks i t i n spi re s i t pl ays u pon all passi ons i t adj usts i tse l f to
, , ,

all m oods an d ,

“
N ow melts i n to so rr ow no w m add ens to crim e
”
, .

5 7 6
. PO ET RY D Er rN ED .

may be d efi ned as the ex ression of th t

w
or

fe el i ng by m es w ne

I t may be r egard ed as o ne O f the fine arts . As sc u l ptu re

 of l ang u a
ge .

V ERS IFI A TI O N — A A LLEL I SM

5 77 C P
R. .

The ou tw ar d fo r mof po et ry has di ff r ed in di ff r en t n ati on s e e .

The chi ef o f th es e wi ll now be e u mer at d n e

r P ar all eli m was the fo r m o f

. s sific atio n a d opt ed by the ve r

H b r ew a d it is of h igh an tiq u ity I t c o si t i the x

e s, n . n s s n e

p r ssi o of a th ought which is i mmedi at ely r ep e at ed i mod

e n n

ifi d t er m
e s Fo thi r eas o n i t ha b een c all ed the r hy me o f
. r s s

i d eas . The fol l owi ng is an e x ampl e

The h av
e ens lr
d ec a e the g l ory Of G od,
h w th hi h iw rk ;
A nd the fir mamen t s e e s and o

D ay u t d ay u tt r th p ch n o e e s ee ,

A d i g ht u t ig ht h w th k wl dg
n n n o n s e e no e e .

H er e the th ou ght exp res ed in th fi r t l i ne i s r ep eat ed s e s in

the s ec on d and th at of th th i r d in the fo u rt h
, e .

Q UAN TITY 5 78 . .

2 This c o n sists in the a

. rr ange me nt o f syl l abl es ac c ordi ng
to the ti m k e n in p r onou n ci ng t h em I t is cl os e ly associ at e d
'

e ta .

with mu sic an d may be p e r c eived wh en ev e r we si ng an y pi ec e

,

o f poe t r y Th e m od e r n fa
. shi o n of r e adi ng cl assic al p oet ry is
p r ob ably qu i t e u nl ik e the anci en t and i n dic at es n othi ng mo r e ,

th an a st r ess O f v oic e o n l o ng syll abl es ; bu t th e re are c e r t ai n

o f the G r ego r i an ch a n ts wh ich c o rr es po n d with the h ex a met e r
measur e and by si ngi ng to o ne of th ese al i ne of V i rgi l s {E nei d
,
’

the qu an ti ty of the syl l abl e s m ay be mad e app ar en t .

ALL IT ERATI O N 5 79 . .

Th is was us ed by the T e u to n ic n a ti on s in th ei r e ar ly
3 .

p oe try S i mil ar i n i t i al sou n ds w er e gi ve n to emph atic w o r d s

.

or syl l a bl es two of wh ich w er e gene r ally in o n e l i ne an d o n e

, ,

in the l i n e wh ich fo l l o w ed This is the v ersific ation of the old

.

E ng lish p oem The V isi on O f Pi er s Pl ow man fr om which the

, ,

fo l l o wi n g i s an ext r act
 E lem
’

5 2 2 en t: o f R/zetor zc .

and B reusters mou ye .

W oll en e W e bs te ris
and we v eris of nen li .

Taillo urs, tan ne ris ,

and tok k eris bathe .

M asons, M inours,
and m on o he cra ftesy t r .
”

5 80 . S eQ UE N c Es .

4. Th ese ar os e in th e e ar ly ag e s o f the C h r i stian C h ur c h .

The sen ti m en ts a re ex al t ed and poe tic b u t the fo rmis t h at of ,

p r o se an d t he r hy t h m is app are n t on ly in the si ngi ng The

,
.

most fami li ar ex ampl es are the Te D e u m and the G l o r i a in

E xc el sis Th ese w e re o r igi nally fr amed u po n the mod el of
.

H eb re w poet ry but in p roc ess of time th ey l os t the p ar al l e lis m

,

whi c h formed i ts chi ef ch ar ac teris ti c .

REE K ECCLES I ASTICAL M ETR Es

58x . G .

5 Th
. e se a rose in t he E a s t r n C h ur c h an d c on sist of a ser i es
e ,

o f se n t e nc e s co n tai n i ng the s a me n u mber of syll abl es

With my l ip hav I b s t ll i g f all th j ud gm t f Thy mu th
e een e n : o e en s o o .

L t u br ak th ir ha d a u d r a d ca t aw ay th ir c r d fr mu
e s e e n s s n e : n s e o s o s.

I amweary of my gr oaning : and ev er y nig ht l wash my bed .

I am pou red o ut lik e water : and all my bones are out of j oint .

For he liet h waiting secre t : -

li
ly as a on in his den .
”

5 5 8 2 A CC E NTUAT ED M ETR E s. .

6 I n th ese the m
. easu r e is i n di c at ed by the regu l ar rec u r
renc e of acc en ted syll abl es : as
The cfirfew télls the k ell
n of pa
rting day .
”

A cc ent u at ed metres are more wid ely di ffused th an any oth er ,

an d are fou nd in the most an ci en t as w l l as in the m os t m od e

e n poe t r y
r Th ey e xis t in I ndi an Pe r si an and Ar abi an l it er
.
, ,

atu r E v en Latin v erse was origi n al ly formed on th is p ri n

e.

c iple an d alth o ugh qu an tity was i n trod u ced fr oman e d eavo r n

to imi t ate G r ci an m od ls y et the i n fl u nc e o f a

e e cc e t was
,
e n re

st ored in th p oe t ry which was aft e rw ar ds c r eat ed by the C h r is

e

ti an C hu r ch U po this i b ased the versific atio of all the

. n s n

civil i ed at i on s f mod e r ti mes I t is s u sceptibl e of the

z n O n .
5 24 E lements f
o Ra ma .

O ne foo t and a half .

This i s mpl oyed u nd er

e m the sa e ci r cu mstan ces as the pre

“
A nd 0 my ch k w t ee s ee b
y es p ressed ,

Th i s lik e the p r ecedi ng is gener al ly i nt ermi ngl ed wi th l onge r

, ,

lines b u t som
, e ly r i calmetres consist who l ly

D ays come and go

I n j oy or woe ;
D ays go and co me
I n endless su ”
m .

Two feet and a h al f .

m
Th is fo r s a beau ti fu l ly ric al meas u re wh ether ,

itself or wi th the li ne o f two feet

“
W h at will you do l ov e , ,

W h en I am goin g ,

W ith whit e sail flowing,

The se a beyond .
”

“
No h ad w y d r
s o s on e ,

A ll l ig ht a d g; n son

Each day I w d r on e

A d ig h H w l g
n s
‘
o on

S hall ti m m u d r e e s n e

F r m that d ar thr 8 l
o e on
' ”

T hree fee t .

This i s of ver y co mmon occ u rr en c e

k
The ing was on his one, thr
The sa aps thr tr
onged the h all
A t ousand b g amps s one
h ri ht l h
’
O er th t h t l
a hig fes iv a
”
.

Th ree feet and ah alf .

Th is i s al most al w ays fou n d alter nati ng with lines of th ree

“
eru
J alem/the gol den
m
s ,

W ith y bl t
il and h o ne es ,

B ath h c t mpl ati

ene t on e on

S i k h art a d v ic pp
n e n o e o rest.
”

F ou r feet .

Th is i s u sed v ery l arge ly in n arr ativ e po etry s u c h as , the

metri c al romanc e and als o for ly ric pu rpose s
,

T he war th at f or a space did fai , l

No w tr bly th u
e r
nd e ing s elle d the w gale.
 F o u r feet an d ahal f .

This is n ot v ery c ommon and is on ly u sed wh en al t er nating ,

wi th the li n e of four feet :

A h me how q u ick the days are fl itti ng !
,

I mi nd me of a ti me th at s gone ’
,

W h en h er e I d sit as I am sitti ng ’

I n th is same p l ace b u t no t al one , .

Fiv e feet .

Th is i s c all ed the h er oic met r e bec aus e i t i s empl oy ed

“
,

for l ofty an d i m p or t an t subj ects in epi c o r d r amati c poet ry

Or v i ew t he lord ,
o f the u nerri ng bo w,
The G od of li f e and poetry and lig ht .
”

Fiv e feet and a h al f .

This met r e is v ery l argely u s ed in d r amati c poet ry wh ere i t ,

i nt ermi ngl es with th at of five feet

To be, or not to be , th at is the q u ti es on
.

I come to bu ry Cmsar, n ot to p rai himse .

S ix fee t.

This is c al l ed the A l ex and rine v er se I t is us ed in b al l ad .

poe t ry and als o in c on nec ti on wi th the two p r ec ed i ng metr es :

,

A w rl d i at u f t a fragil a u cl ay
o s o r ee s e s o r .

“
It wa th w il d mid ig ht a t r mwa i th ky
s e n , s o s n e s .

Th e A l ex an d r i ne l i ne in b all ads is oft en divid ed i nt o

sh ort li nes of th r ee feet e ach .

S ix fee t and a h al f .

This i s c on st an tly u s ed wi th the p r ec edi ng

A mirr r a d a bath f B au ty y u g t daug ht r
o n or e
’
s o n es e s.

S ev en feet .

This i s a w el l k now n met r e b ei n g u s ed for b al l ads an d al so

-

for s ongs an d hy m I t is c al l ed the c ommon met r e and is ”

ns .
,

gener al ly divid ed i n t o two sh o r t er p arts on e of fou r feet and ,

the oth er of th r ee
5 2 6 E lemen t: o f Rlzetor ic .

S e v en feet an d a h al f

A cap tai b l d f H alifax wh l iv d i c u try q uart r

n o o , o e n o n e s.
”

Th is me tre l ik e the p r ec ed i ng i s gener ally divid ed i nto two

, ,

porti on s .

E ight feet .

Th is i s called the
“
l ong metre , and is divid ed i nt o h al v es
of four feet ea ch .

“
A l oft u pon a hilloc l: green , the li on ki gn en thr oned is seen.
”

5 85 . r aoc n arc mer g es .

T r och aic met res are th ose whi c h are c ompos ed p r i nc ip al ly

o f t r oc h ee s .

T he t r ochee c o n sis ts of an acce n t ed syl l abl e fo ll ow ed by one

which is u n ac c e n ted as gl ory honor I t is th u s the Opposi te
, ,
.

of the i am bu s .

T he fol l o wi ng are e x am pl es of t roc h ai c met r es

O ne foot .

I n the m ore i rregu l ar met res a si ngl e l i ne may consist of

o ne foo t
“
S ig hing ,

D yi ng .

D ying on the wi d e and wast eful deep .

"

O ne foot and ah al f .

This may be seen in the s econd , fo u rth ; and fifth of t e h

fol l o wi ng

G od h l p y u ail r at y ur
e o , s o s, o need
S par th cur ;
e e se

For so m hi p af i p rt i
e s s s e n o , ndeed ,

R t a d ru t
o n s ,

Ru t d u t
”
n o s .

Two feet .

Th is is fo u nd in combi nation with l onger meas u res

Dee ply w aili ng
S hall the tr ue M essi ah see.

“
S trong Deli v erer ,

Be th ou s till m y s tr gth
en and s t ay .

T wo feet an d ah al f .

Th is met r e is c ap abl e of b ei ng u s ed by itse l f

5 2 8 E lemen ts f
o R/zetor ic .

Seven fee t
Early i th m r i g tim wh cl udy wa th w ath r
n e o n n -
e, en o s e e e .
”

Seven feet an d a h al f
“
Thi ck with t w a d haml t tu dd d a d with t ream a d
o
’,
ns n e s s e , n s s n va o s p r
gn Y O

E ight fee t
O nce u pon amid nig ht dreary, a
s I pond ered , wealt and w ay
e r .
”

5 8 6 . A wawesr rc mm ss .

A n apae sti c met r es are th ose in which anapmstic feet pre

d omi n at e .

The an ape st consists of two u nacce nted syll abl es foll owed
by one which i s acc ent ed as app r eh en d ,
.

The fol l owi ng are e x am pl es of anape sti c metres

O ne foo t
The t owe ri ng tr u nk in the p ri de of its p lace , ,

O v e rthro wn
”
.

O ne foot and a h al f
“
Th r it a bird
e e s s on e er v y tre e,
W i th a h ig h h e -
o

TWo feet
Th en a light th thy br a t
, en e s ,

A nd with G d b th r t o e e es .
”

Two fee t and a h al f

H e is gone f om the m ou n a r
in, t
l t
H e is os to the fo es ”
r t .

m
Th ree fee t

I a m rh ona c of all I su rv ey ,

My r g ht th r
i is n one to dis ute
e e p
Fr mo t he cen e a tr
ll ou nd to the sea r
ml
I a r
o d o f the fo and the ue ”
wl br t .

Th ree feet and a h alf

Thou hast wounded the spi i r t that l oved the e.
”

F ou r fee t
N ot a d rum wa h ard s e , nor a fu ne al r t
no e.
”
 l V 5 0 7
} .

F our feet and a h al f

Th ou ar t g one to the grav e bu t , we wil l n ot dep l r th
o e ee.

Fiv e fee t
I n the g ath ered in t ens ity b ught
ro to the gray of the hill
s.

Fiv e fee t and a h al f

He h ath fl w o n on his t
s eed to the hill s in the d us k of the morning .

S ix feet
And the bees k p th ir tir m whi
ee e eso e ne r u
o nd the r u
esino s firs on the
hill .
”

S ix feet and a h al f
A d th d u k g u ard bri g u p r ea be tt er p r ev ent ion
’
n e e s n s the r for the of
ca dal
s n s.

8
5 7 . nacr v uc memes .

D actylic met res wh ich the d actyl p red omi nat es

are th os e in .

T he d actyl c on sists of one ac c ent ed sy ll abl e fol l ow ed by two

wh ich are u nacc en t ed : as v an ity , .

The fol l owi ng are ex am pl es of the d ac tyli c met res

O n e foo t .

H ere as in oth e r metr es a si ngl e l i ne may consist of one

, ,

Ch rily
ee ,

M rrily
e ,

F ill u p y u r g l a o sses an d s n ig .

O ne foot and a h al f
Lift her with far e.
”

Two feet
O ne more u nfort un ate .
”

Two feet and a h al f

“
Ri v ul et cr ossing my gr ound .
”

Th r ee feet
“
S till lay the ra kn s of the ene my .

Th r ee feet an d a hal f
 E lem f R/zetor zc
'

5 30 en t: o .

Fo u r fee t
We th a d lo ved him so, fo ll w m h onor ed m
“
t ha o ed hi , hi .
”

Four fee t an d a h al f
“
Pipe on her pastoral hill ck o l
a anguid not e.
”

F iv e feet
“
S weetest and best of the ri v r th at wat r
e s e the v alley .
”

Fi v e feet and a h al f
Pe fe t r c ly b e autiful, let it be grant ed her wh r e e is the fau lt .
”

S ix feet
I n the Acadian and, l on the s o es of the h r Bai s n of M inas .
”

5 5 88 . N on e nc u rv n e o r
‘
memes .

V ar i ou s syst e ms of n ome ncl at ur e are appl i ed to mod er n

met r es The one adapted abo ve is pl ai n and si mpl e S ome
.
.

w r it e r s p refe r the classi c al nomen cl at ure wi t h slight mod ifica

tions The foll o wi ng tabl e will expl ai n i t s nat ure
.

M etr e of oue foot .

one foo and a a f t hl M onome ter hypermeter .

t wo fee t
. D i me t er .

two fee a nd a a f t hl D i met er hy permete r .

three fee t Trimeter .

three fee and a a f t hl Trimet er hypermet er .

fou fee r t T etrameter .

r
fou fee and a a f t hl T etrame ter hypermeter .

fiv e fee t P en tam e t er .

five fee t a d a hal f

n Pen tamet er hyperm et er .

six fee t H exam et er .

H e x am e t er h yper met er .

H e pt am e t er .

se env t
fee and a alf h H ep tam e t er h yperm eter .

O ct om e t er .

I n addi ti on to th i s anoth er syst em is in pop u l ar use an d

man y hy mn book s The i ambic m
, ,

m ay be fo u n d in e t r es are -
.

mar ked L M or l ong met r e wh ich is the li n e of fou r feet ;

. .
, ,

C M c ommo n me t r e which is the li ne o f fo u r feet fol l ow e d

. .
, ,

by ano t h e r of th r ee fe e t ; S M sh ort met re two l i nes o f th r ee . .

, ,

fee t e ach foll ow ed by a th i r d l i n e of fou r feet an d a four th of

, ,
532 E lements of Rhetor ic .

Across the Ocean t u bl d br a t

’
s ro e e s ,

Th e base ~
b r N rma cam
o n o n e,

To win for hi h l m a ki g ly cr t
s e n es ,

F or h is sons a ki g ly am n n e.

The tr och ai c met r e ad mi ts d ac tyls

“
As the many -
wi t r n e ed cro w that l e ads the clanging r k ry b
oo e orn e.
”

The an apastic
z metre ad mits the i amb u s . Th is is so com
mon that it is n ot e asy to find anap mstic l i nes with ou t s u c h
feet :
“
W e buried hi m darkly at dead of nig ht , ,

The sods i w th our bayonets turn ing .

”

The d ac tyl ic me tre ad mi ts the troc h ee

“
Di ta t
s l ud d ti ll th l ittl villag
n , sec e s , e e e of G rand Pré .

5 5 90 r ue LO N G cau w cr rc sw ans
. .

Sometimes a si ngl e syl l abl e is u sed in the pl ace o f a wh ol e

foo t . This is c all ed c atal ec tic, fromthe l ong syl l abl e of th at
na me in cl assi cal poet ry, and may i nter ch ange with feet of
t h r ee syll abl es as w el l as with th ose of two .

I n the fo ll o wi ng p ass ages i t is fou nd s u bsti t u t ed for i amb ic

and troc h aic fee t

w p ad w p W eep wee p , , ee , n ee
F pau p r d lt a d l av or e , o , n s e.
"

W ild wil d wi d wilt tha v r c a thy i ghi g ;

“
, n , n ne e e se s n
D ark dark i g ht wilt th u v r p a away ;
. n , o ne e ss

C ld c l d ch urc h i thy d ath l p lyi g

o , o , n e '
s ee n ,

Thy L t i p a t thy Pa i h r bu t t th i Ea t
en s s , ss on e e, no ne s er o
day.
”

I n the foll owi ng p assages i t is fou nd s u bs titu t ed for an a

paestic an d d acty lic fee t :

S tit ch
titch titch , s , s ,

I p v rty h u g r a d dirt
n o e , n e , n .
”

W rk w k w rk
o , or , o ,

W h th c ck i cr wi g al f
en e o s o n oo .
"

“
Br ak br ak br ak
e , e , e ,

O thy n ld g ay t s O a! co r s one se

A d I w ul d th at m
n y t g u c u l d u tt r
o on e o e
Th t h ug ht that ari
e i m o s se n e.
”

a
M arch march E tt ick a d T i td ale
, ,
r n ev o .
”
 P oetry .
5 33

5 9 1 . I NTER C H AN G E or mamas .

M et r es also i n te r ch ang e wi th o ne anoth er The c h i ef mod es .

are the fol l owi ng

I ambic and t r och aic . Th es e i n t er mi ngl e readi ly in meas u res
of four feet

C ome, and tri p it

as you g o,
O n the li g ht t ti
s c toe ;
fan a
A n d inthy ri g ht h bri g w ith th
and n ee
t i ymp h w t Li b rty
T he mou n an n , s ee e .
”

B u t th u 0 H p with y
o , fai o e, e es so r,
W h at wa thy d lig ht d m a u r ?
s e e e s e
S till it whi p r d p r mi d pl a u r
s e e o se e s e,

A d b ad th l v ly c
n e at d i ta c h a
e il
o e s ene s n e .
"

A n apa
e sti c and i ambi c metres
Th
a
d oixhle, do u b e,
d
ru m
OYt hY thti hdefirig d
' -
.

'
l quble
.
”
beat

N ow strik e the g ol den lyr e a g ai n ,

Break his bonds of sl eep asu nder ,

A nd r ouse him lik e a r attli ng peal of th u nder .

‘
Revenge ! Revenge ! Ti motheus cries ’
.

S ee the F u ri es arise ;
S ee t he sna esk th t th y r ar
a e e ,

H ow e th y hi
ss in the air

D ac tyl ic and anapze stic metr es

\V a ily w arily all th at i g ht
e r , e , n ,

Th at li v l g ig ht did th h ur g by
e- on n , e o s o .

Li ghtly th y ll talk f th p irit th at g

e
’
o e s
’
s one,

hi c l d a h u pbrai d him ”
’
A dn o er s o s es .

S l wly a d ad ly w lai d himd w

o n s e o n,

Fr m th fi l d f hi fam fr h a d g ry
o e e o s e es n o .
”

The additi on of a syll abl e c a t r an s fo r m a troc h aic n

i ambic metr e o a dactylic to an an apa

,
r estic :

O a m u ta i n o n n,

By a f u tai o n n .
”

By a slight ch ange th is b ec omes i amb ic

Up a m u t ai on o n n,

B i d a f u t ai es e o n n .
”
 E lem f R/zetor ic
'

5 34 ent: o .

I n the same way t h is be co mes an apze stic

“
All bail to the c hief who in tri ump h v
ad an ces .
"

5 r ea r 9 2 . OT H ER .

I n addi ti on to the fee t abo v e m en ti o ned , th e e ar e oth e s r r

wh ich are so me i me s en u mera ed I n some t eati ses on E ng
t t . r
r r
l i sh p osody the e n ti e list of q an tit ati ve fee t is ad op e d ; in u t
t r r
o h e s h ow e v e , o n ly a fe w of h ese are se l e ct ed , a
, n d h ese a re t t
c hi efly the spond ee, the amph ib ach , the c eti c, an d the cho r r
r ia mbus .

T he S po nd ee in q an titati ve m u
e t es c o n si sts of two l o ng r
syll abl e s , and in the ac ce n tuated met es i t o ught to c on si st of r
t wo a cc en t e d syll abl es l h o ugh th e e may be an occ asi o nal
At r .

foo t fo mr ed of two i m po an t wo ds which may h ave his ch a

rt r t r
ac t e r y et the wh ol e g e n i u s of ac ce n tu ated v e r se i oppos ed to
,
s

such a foo t and by fa the g re at e r n u mbe r o f so c al l ed spon

, r -

d ee a e eith e r t roch ees or i amb u s es Th us the c l assical d ac

s r .

tylic h e x am et e r i s com pos ed of d ac tyl s and spond ees whi l e ,

the acc e t u at ed d actylic h ex ame t e r i s c omposed of d actyls

n

and troch e I the c l assic al met r es the an apte sts are as

s . n e

soc iated wi t h spo n d ee in the mod ern with i am bu se s The

s, .

n eare t as pp roach to a t rue spo nd ee is in s u ch a li ne as

Th f rc f th dii a i
“
e o e o ose e rt IS .
‘

Th er e is no s u ch thi ng as a spo nd ai c li ne in ac c ent u at ed

v r
e se

phib r ach is a n am
.

T he am e gi v e n by so m e to a foo t with a n

acc en t ed syll abl e betw een two wh ich are u nacce nt ed The .

foll o wi ng is set d o w n a s am et r e c o m pos ed of such f e t e

H w d ar t th i h a
o rt a th c
e of m y chi l d h d
s e re e s enes o oo .
”

This h owever is me rely an anapa

, e sti c li n e of four fee t a
, nd

ah al f and is c o t an t ly fou n d in all an apaa

,
ns stic syst em s The .

foll owi ng i s an ex ampl e

Th u a t g o th gr av bu t w wi ll t d pl r th
r one to e e, e no e o e ee,
Th ug h rr w a d dark
o c mpa th t mb
so o n ness e n o ss e o

T h S av i ur ha pa d thr ug h it p rtal b f r th
e o s sse o s o s e o e ee,

A d th l am p f hi l v i thy guid thr ug h th g l m

n e o s o e s e o e oo .

I t i s evid en t th at the sec on d and thi r d l i nes of this st an a z

h av e the s ame an ape stic metre as the fi r st and fou rt h To .

 6 E lem f R/zetor zc
'

53 ent s o .

I t also occu rs at the en d of the th i r d foo t

A rms nd the man I si ng who forced by fate
a ”
, .

“
S he fed withi n her v ei ns a fl ame u nseen .
”

I n the e su r al p a
poe t ry o f Po pe the ca us e oc c u r s most fre
q u en t ly in th es e pl ace s and by sk i lfu l i nt er c h ang e he s ec u res
,

v ar i e ty
.

I n the poe t ry o f M il to n the p au se i s var i ed mo r e th an in

th at of any oth e r E ngl ish poet an d by pe rpe tu ally ch angi ng i t ,

h e is abl e to obt ai n the most fe li c it ou s m e t r ic al effect s The

foll o wing li nes wi ll exhibit his man n er in this r espe ct

At c
on e, as far as ang e s ken he l '
v ie ws
The d sm
i l it t
a s u aion, as e and w t wil d ,

A d un g h rri bl
eo n o e, on all s id es ru o nd

No l ig ht , but rath r e da rk ness vi si ble

Serv ed on ly
igh t f w
to d is o e c v r s s o oe,
R e gi o nf rr w d l fu l h ad
s o so wh r p ac
o , o e s es, e e e e
A d r t a n es v r dw ll h p
c n ne e v r cm e , o e ne e o es

Th at c m t all bu t t rt u r with u t d
o es o , o e o en

S ill u rg
t a d a fi ry d l ug f d
es, n e e e e

W ith bu i g u l p h ur
ever o
u c um d
rn n s n o ns e .

I n i am bic and troc h ai c measu res o f six fee t and u pw ards

the p a u se fal ls almost i nv ar i ably in one pl ac e and this has led ,

to the d ivisi on of such l i nes i n t o sh o r t e r o es E ven h ere the n .

p ause may be vari ed and wi th the most pl asi ng effec t

, e .

I the l o ge r an apa
n n estic a nd d a ctyli c met r es the v ari ati on of
the cm su a l p au s e must be at tend ed to espe ci ally wh ere th e r e
r ,

i s p r ot r act ed n arr ative Thi s may be obse r v ed in por ti on s of

.

T en yso n s M aud in the S au l of B ro wn i ng and in Long fel

n
’
, ,

l ow s E v angeli ne
’
.

5 5 94 R H YM E . .

The w or d r hy m e i s d e r iv ed fr o mthe A ngl o S a x on im an d r

-
,

is oft en mo re c orr ectly spe l l ed ime I t mean s the con cor d of r .

so u nds in w or ds at the e nds of li nes .

Th er e are two ki nds of r hy me — assonan t and conso nant m

.

A s o a t r hyme are th ose in whi c h the vowels onl y are in

‘

s n n s

c on co r d a , s hat ,
man Th ese p rev ai l v ery ext ensively in
,
”
.
”

S p anish poet ry a d also i I rish an d S cottish songs

,
n n

Th gr f Bl ar y e oves o ne

Th y a charmi g e re so n .
”
 Ye ban ks an d br aes an d str eams ar ou nd ,

T he cas tl e M ontg omery

0
’

G r een be y o u r w ood s an d far y our flow ers i ,

Y our waters ever dr umlie .

”

A ss o n an t r hy mes may be fou n d E

gl ish p oet ry The two
in n .

B row n i ngs sh o w a t end en cy to mak e use of i t on a l arge r sc al e

th an was for mer ly all ow ed . Ten nys on al so ad mits th emin
h is C h arge of the L ight B r ig ad e
H alf a l agu h al f a l agu
e e, e e,
l l agu w ard
H af a e e on ,

A ll i th v all y f d ath
n e e o e

R d th S i H u dr d
o e e x n e .

M any s o c all ed i mp er fec t or fau l ty rhy mes are j ustifi

~
“ “ ”

abl e on the p ri n cipl e of ass on anc e .

C ons on an t r hy m es a re th os e in which bo th v o w e ls a nd c on

s on ants are in c on c o r d as man ” “

,
ra n , ,
.

Thi s is the fo r m of r hy me which p r ev ails in E ngl i sh v e r s e .

I n o r d e r to giv e v ar i ety c e r t ai n r hy m es a
,
re c a l l e d al l ow abl e ,

mi nd
‘

as “
c ry ” “
, vict or y ” “
shi ne ” “
wi n d ” “
,

I n E ngl i sh poe t ry a syl l abl e i s not all ow

“ ” ”
s o u nd ,
w ou nd .

ed to r hy m r ec eive c onc eiv e

” “ ”
e with i ts e l f a s , , ,
.

R hy mes are si ngl e d ou bl e and t ri pl e as all

,
“
,
” “
c all , , ,

gl o ry,
”
st ory v an ity “
h u man ity ”
S i ngl e and d ou bl e
,
”
.

r hy mes are al so c all ed r espec tiv ely mal e and femal e .

B LA N K V ERSE
5 5 95 . .

The n ame bl an k v e r s e is appli e d to the i am bic met r e of

five or five an d a h al f feet wi th ou t r hy m e , .

A lth o ugh w el l ch os en r hy mes c on fe r an exqu isite b eau ty

-
,

e t th ey a re by n o m ea n s e ss e n ti al o the h igh est v ersific a i

’
y t t on ,

an d th ey are ev en d e t r i men t al in epic an d d r amatic c ompo si

ti o n The i ambic measu r e is c ap abl e of so mu ch v ari ety th at
.

it may be mad e to exh ibi t the high est ki n d of h armo ny W hen .

r hy me i s not u s ed the p oet is fo r c ed to b r i ng out th ose mo r e

,

sub t l e effects which d ep en d u p on r hyth m .

The ch i ef w ay s in which the p oe tic al r hyth m m ay be v ar i ed

are as fo ll ow s
 E lem R/zetor zc
'

538 en ts o f .

th ei rso u n d mean i ng or ass oci ati o n an d the d e man d for th em

, , ,

is mo r e i mpe r ativ e in bl an k v e r s e th an e ls e wh e r e .

2 By the i n t e r ch ange of fee t The l aws o f E nglish v e r se

. .

are lib e r al an d all the poe tic feet may be mad e use o f in the
,

i ambic met r e .

3 By
. th e cze sural p a us e T h e eff e c t of th is i s mo r e
. stri k i n g
in bl an k v ers e th an in o th e r k i nd s for by the omi ssi on of ,

r hy mes the l i nes may be mad e to run i n to one another ; an d

by v aryi ng the p au se n ew r hy t h ms may ari se with new met ric al
-

effect s . Th is i s c on ti n u al ly e xhibi t ed by M il ton and may be ,

s een in the fol l owi ng p as s age in wh i c h by arr angi ng the l i nes , ,

ac c o r di n g to the p au s es the r hyth m ic al effect i s sugg estiv e of

,

met r i c al c ombi n ati ons far more v ar i ed and h armon i ou s th an

the no rm al i ambic

Ifth he,ou be st '

But ll
oh ! how fa en,

h g rm m
H o w c an ed f o hi
W ho in the a h ppy r l m f light
ea s o ,

C l t h d with tr a c d t b ri g ht
o e ns en en n ess,

D i d t u t hi myri ad th ug h brig ht
s o s ne s o .

I f h wh m mu t ual l agu
e o e e,
U it d th ug ht a d c u l
n e o s n o nse s,

Eq ual h p a d hazar d o e n ,

I nth g l ri ue t rp ri
o o s en e se

J i d with m c
o ne e o n e,

N w mi ry h ath j i d i
o se q ual rui o ne n e n.
I t wh at p it th u
n o t o sees ,

Fr m wh at h ig ht fall
o e en,

S much th
o tr g r pr v d e s on e o e

H with hi th u d r
e s n e .

A d till th
n wh k w en o ne

Th f rc e f th
o di
e o arm ose re s.

N O M E N CLA TU RE or vs asss
5 5 96 . .

We h av e next to c on sid er the nomencl at u re of v erses .

A v e rse i s a si ngl e l i ne of poet ry .

C oupl e t By thi s i s mean t two c onsec u tiv e li nes rhy mi ng

.

t ogeth er .

T ri pl et Th is c onsists of three c on s ec u tiv e l i nes r hyming

.

t oget h er .

S t anza By this is mean t a g rou p of sever al v er s es from

.
,

th ree u pw ar ds The ch ief stanzas are the fol l owing :

.
5 40 E lemen ts o f Rlzf tor it .

pl oys a met r e which wh en u se d in p r ol on ged n arrati v e may

, ,

e xhibi t the g r ea t est v ar i et y The chi ef ex ampl es of the epic.

poe m are the I li ad an d O dyssey the zE n eid the D ivi n a C o m , ,

medi a Ge ru s al e mme L i be r at a the L u si ad and P aradi se Lost

, , , .

To th ese may be add ed the I n di an M ah abh ar at a the S p an ish ,

C id the Ge r man N ib el u ng en L i ed and the A ngl o S ax on (or

,
-
,
-

D an ish ) Be owul f .

2 The m
. et ri c a l r omanc e This i n cl ud es n arrativ es of he.

r oi e en ter p ri se c h iv al ry and l o ve The p re v ail i ng metre is

, , .

the i am bi c li ne of four fee t The me tr i c al romance o f the .

N ormans gav e the key no te to thi s class of p oems The most -

.

famili ar ex am pl es in E ngl ish l it er atu re are th ose of S c ott and

By ro n .

3 . T h e b all ad L ik e .th e m e t r i c al r o m an ce th is i s d e v o t ed ,

to the expl oi ts of war and the displ a y of the t end er affecti on s ;

b u t i t is mu ch sh o rte r an d at the same time o f si mpl er con
,

st r uc t i on The c hi e f b al l ad metr es are i ambic l i nes of six and

.

sev e n fee t and t roc h ai c li nes of sev en and a h al f C h evy

, .

C h ase the B abe s in the W ood M ac au l ay s Lays o f A nc i en t

’
, ,

R o me and Aytoun s Lays of the Cav al i ers may be c it ed as

,
’

e x am p le s .

T he t al e Thi s i ncl u d es s u c h narr ativ es in poet ry as c an

.

n o t be cl a ssifi ed u nd er an y o f the abo v e ; s u c h as Lo ngfel l o w s ’

E v angel i ne M on tgome ry s Wor ld before the Fl ood or Ten ny

,
’

so n s P r i n c ess
’
Thi s g rou p i s a mi sc el l aneo us one an d has
.
,

no dis ti n ctiv e ch a ra c t e ri stics .

5. H ist o ric n a r r ativ e This c l a ss .i n cl ud es chi efly the r hy m

ing ch r on icl e s su c h as th at of R ober t of G l ou cest er
, V ery few .

ex a mpl es are to be fou nd in l at er poetry .

ETR Y 5 5 99 . Lvr c u PO .

Ly ri c poe t ry is the u tteran c e of ex cited i magi nati on or ele

va ted fee li ng I t has been cal l ed the exp ressi on of a si ngl e
.

f f e li n g or the em b d i m n t of one p a ssi I t is alw ays

j et o e , o e on .

b ri ef in i ts treat men t b u t empl oys a l ar ger v ari ety of me tre

,

th an an y o t h er ki n d of poe tr y .

The foll owi ng are th e ch i ef fo rm s of ly ric poe try .

1 The so n g
. Th is n ame is gi v en to th os e lyri c al poems
.

which are i n t end ed to be s u ng Of th es e th ere are N o c l ass es .

— s ec ular an d rel igiou s .

 l (I C C / 1
.

j .
34

The s ecu l ar cl ass i n cl u d es the foll owi ng

A matory songs O ne of the best ex ampl es of th es e is Ben
.

J on s on s D r i nk to me on ly with th i ne ey es
’ ”
.

O n e ki n d of amat o ry son g i s c all ed the mad rig al wh i c h i s ,

al w ays sh ort and in the i ambic m et re .

W ar s o ngs as S c ot s wha hae wi W al l ac e bl ed

, ,
” ’
.

N ati o n al s ongs as G od s ave the Q u een

, ,
”
.

P o li tic al so ngs as the M ar seil l ais e

,
”
.

C on vivi al s ongs as S p ar kli n g an d b r igh t

, ,
.

D omestic songs as J oh n A n d ers on my Jo , , ,

.

To th ese may be add ed s ati ric al and h u m o r ou s s ongs .

The r e ligi o u s cl ass i ncl u d e s hy mn s ps al m s and c an ti c l es , , .

T he hy m n is a r el igi o u s s o ng .

The p sal m i s a hy mn but the t erm i s r est rict ed to th os e of,

the Bibl e as the Ps al m,

s of D avid .

T he c an ticl e i s a r eligi ou s s ong wi th ou t m et re i nc l ud i ng es ,

p e c ia lly th ose o f the N ew T est a m e n t s u ch a s the M a g n ifi c at

”
, .

z T he o d e
. Th is i s a ly r ic p oe m n ot d esig n ed fo r si ngi ng
.
, .

I t may exp r ess qu i et th ough t o r the most i mp assi oned fee li ng ;

and whil e its st ru ct u re is oft en si mpl e at oth e r ti mes it em ,

pl oys the most el abo r at e v ersific ation W or dswor th s C u ck oo .

’

an d O de o n I mmo rtality ex hibi t the two ext rem es b oth o f fo r m ,

and se nti men t .

3. T h e e l e gy This . i s a p o e m d e v o t ed t o m o u r n fu l sub
ec ts a n d ha s b een c a ed a m em o ri a o ng of r eg r e t o r la m
j , l l l s
e n ta tio n M i lton s Lycid as and G r ay s E l egy are well k now n
.
’ ’
-

ex a mpl es Te nnyson s I n M emoriamis acol l ecti o n of el egi ac

.
’

p oems .

4. T he s o n n et This is a poem of four t ee n l i nes in the

.
,

i ambic met r e of five or five and a h al f feet c on t ai n i ng the uh ,

foldi ng of on e th ought or id ea .

D RAMATI C P O ET RY 6c c . .

D r amati c p oet ry is d ev ot ed to tr ag edy an d c omedy .

T r agedy has b een c al l ed the st ru ggl e of i n dividu als ag ai n st

d es ti ny ; c omed y the p ort r ay al of the l u d ic r ou s el emen ts wh ich
,

e n te r i n t o exist e n c e Th es e h av e al r eady b een c on sid er e d at

.
54 2 E [smarts f
o R/retor ic .

i ambic l i ne of five or fiv e an d a h al f feet L y ri c al poetry .

en t e r s l arg ely i n t o the d r ama and t r agedy and c omed y are ,

o ft e n i n t e r mi ngl ed The ly r i c al d r ama is th at ki n d of d ra

.

mat ic poe try which i s d esigned to be s u ng with a mu sical ’

acc o m p an i men t as the I tali an ope ra

, .

D ESCRI PTIV E PO ETR Y

6c x. .

D esc r iptive poe t ry con s ists chi efly of d esc ri p ti on al th ough ,

na r r ativ e may be i nt ermi ngl ed Ex ampl es of thi s may be fou n d .

in Th om s o n s Seaso n s Cowper s T ask an d By ron s C hild e

’ ’ ’
, ,

H arol d .

6o z D I DA CTI C PO ETR Y . .

D id ac t ic poe t ry c omp r ehends th at which i s w ritten for the

pu rpo se of c on veyi ng i n st ru c ti on I t may be s c i entifi c as the .
,

D e R eru mN at ur a of L u cre tius ; phi l o so phi cal a s the Ex c ur ,

si on of Wo r dswo rth ; c riti cal as Pope s Ess ay on C r i ticis m; ,

’

mor al or religi ou s as You ng s N igh t Th ough ts and Tennyson s

,
’ ’

In M emoriam .

ASTO RAL PO ETRY

5 60 3 . P .

P ast or al poe t ry is d evot ed to the exp r essi on of ten d er s en ti

men ts especi al ly the amato ry p assi on i n t e r mi ngl ed with pas
, ,

s ages of d esc ripti on Th ese most fr eq u ently ass u me the form

.

of di al ogu e Th eoc r it us is the fath e r o f p ast o r al poet ry The

. .

B u coli c s of V i rgi l are famil i ar to e v ery sc h oo lboy The best .

e xam pl e in E nglish l it er at ur e is A l l an R ams ay s G en tl e S h ep

’

h er d T he t ast e for th i s c l ass of poe try is extinc t at the p r es

.

en t d ay .

SATI R I CA L P O ETRY
60 4 . .

S atiri c al poet ry i nc l u d es all wh i ch is d evot ed to p u rposes of

s atir e and has al r eady been su ffici en tly d is c u ssed
,
.

UM O R O US PO ETR Y
5 69 5 . H .

Hu morou s poet ry i ncl u d es all which is d evot ed to the ridic

ulous wi th ou t sati r e .

60 6 . MANY PO EMS S H AR E TH E C H A RA CT ER I STI CS or SE V E RAL

LA SSES C .

There are many poems wh ich c an n ot be assign ed str i c tly to

 I NDEX .

[The figures denote sections ]

Aband i ty l e 39
on n s l Aim f 3 np in mt i stmcnsu; t n s o co r os o o n o co

Ab upt per uade 3 5 ; t pl ea

.
,

r f t a ti 3 5
n ess o r nsr vi t on, 0 nce, o s , 1 o se,

A b l ut b aut ful 4 im 3 7
.

3 6; u ta
'

so e e i of difl
1 1. 1 n ion eren s, 1 .

Ab t at put f n r t 8
,

s r c A iti l gia 5 3
or co c e e, 1 2 oo 2

All g y
, .

A t i E gli h 6 3
cc en n n s 2 e or . 1 12.

A t uat d mt e All is v abulay of 3

.
,

ccen e e r s, on, oc r 1

A l lit rati afig ur f 86 : in u ification

.

A umulati 49
,

cc on, 1 e on , e o 1 n

A umul ati i v n ti 3 9
.
, ,

cc ve n 5 79
e on, 1

394 u ity i All u i 8 h i t i al 9 ; lit a

°

A ti i t d u ti
.

ry : n, s or c er . 1 20
°

c on , i n n ro 4 3 c on s, n 2 s on, 1 1 ; 11

A daptati f pe ch t audi e 5 56 di t i gui hed f m q uotati on

.
,

on o s e o ; i ii en c s n s ro 13 1 n

tyl f 4 : p r picuity 43 7 ; im l ut ativ t yl 49

.
, ,

Add i son, s e o e s 0 s s r e s e, 1

; im d
.
,

Plid f ) f ’ O 47 66 7 5
10 84 ; t e . 1 3 3 3

la i al E gli h f 5 6 ; el ga t i t
1 1 1
,

c ss c n s o 2 e n n ro

ti r i
,

d uc on of, 2 86 ; pe sua
s on of, 3 1 5
A mr an
.

A j iv
d ec t e, posi on ti e ic or atory , 5 5 5
Am i a Taxati p h by B uk
.

Aj t
d u r aion , 486 er c n on , s eec r e on,
atu lizati
.

g ea

m
A di non ition , 48 5 st f; s of 8 en r on o, 3 3;
A ti argu t fr m x ri agai t 3
.

dora on, 486. en o e pe ence ns , 72 ;

Av t im
d ance en of Learn ng, Ba m f
’
con s, a i o. t a iti i p h
r ns 8 on n s eec on, 3 7 .

Am i a i m
er c n s s, 41
A dv b p i i f 5 A m F i h q u d 64
.

er , os t on o , 0. es s e r, ot e 1

lui f
.
,

M conc s on o 40 1
tatu f —o
,

Dm
.

M W hag
s s O 33 9 ; c r es e os Amplific at ion n e of the ug urnen tative fig
a
with b i rh t i al lli
,

h
t enes e ng t oo e or c 306 ; or » ures, defined , 1 45 ; by d we ng on
1 44 ;
f th u h t i h agai t C i
,

d er o p o g n s eec ns tes l
detai s. 1 46 ; by d rect s ae en , 1 4 7 ; by i ttm t
h
P on co pam r son , 1 48 ; by ai ccu ua on, m l ti
E h lu m ta h
sc y 12 8 qu t d
s, e p or 0 10 ; o e , 1 40 ; collect io, a ggregatio, 1 5 0 ; synathr ois u s, m
15 1 dias eue, 1 5 2 : sy n ezeug en on, 1 5 3 ;
c m
6 9 0 13 8 1 312 . 1 5 4 dinn eratio, ! 5 5 ; de m
i i
scr pt on, 1 5 6 ; eclog e, 1 5 7 ; ypo ypos s, h t i
E sthetics , 409 . x$ 8 ; metastasis , 1 59 ; in ag um t
r en , 3 79
I Ethiopics of H eliod or us, 47a Anacrr n os is, 5 1 1
lt
. .

Anac o uhon , 2 1 1

t l
.

Afl ections, enu eraed , 408

'

infl uen ce on m Anad ip osis, 1 80

it lt al i
.

l erature of the , 470 : i erature of the, A n eps s, 2 1 9 .

A al gy B utl l ’
4 76 n o er s. sty e of, 2 35 .

tl al m ai t
.
,

Afi uence of s y e, 5 9 A n f
ogy , co p r son o , 93 ; argumen fr om
tt l ti i h t
.
,

Affl uen s y e dis ngus ed fro fluen , 2 5 8 m 37 3

m ti A al i a d th i l
. .

A mm
g a e non of E schy lus , dra a c or der of n ys s n sy n es s, 3 8 ; for c earness of
thoug h in, 35 3 t ta m t
s te en 37 7
t
.
.
,

Ages of literaure, 4 . A amn n esis, 5 20 .

Ag gr egatio, r su Anang catum , 5 13

t J Mi l t
.

Ag re em en , m e h od of,
t S ’
l s, 366 An apz stic me r e, 5 86
i i
. . . .

Agr colaof I ac rtus, con clu

' ‘

s on of, 403 Ana str oph e, 1 9 1

t
. .

A imof orat or, 5 5 8 Anahe a , 4 73 m .

 Au Poefiq race m
’

A m
a wurc e of new word s 4 1 ; erm s of, , t
trand erred to poetr y, 30 8 ; in description,

Arth u r ian epopc iad u

t m
.

Art ificec ol ou atory , defin i ion of, sa en

pression ot doubt or gnorance, 5 : 7 ; in
'

i
anti mal omisd on d m
dn szB mthdra w
E

Amfl fiu d
o M M i mm
oaa ui
m mm m
Apok gd teg
th
.

Apophthe Att ributive term s, 5 1 ; epi ets, 1 37

t ti
.

Augmen a ve Sp ace, 144 ; a plifia tt , m m

1 45 -
1 59 ; cli m x
a , 1 60 - 1 60 ; hype bo e, r l
A po t oph uciamatim 197
m
s r e. 1 16 ; v ith

w
.

ws m
,

s lfi
pisfl e bnh ry oc
AppeeL086~
Append ed ch ma afi . A sond im
quoeed m
m
A baity define d, “
Arabian mythology , 463. AW “

a
nd log ic with re‘
erence to argumen t, Baldnese in a t yle, a46, 30 5
m m
.

3 5 7 : losic defib ed ' n h a y) ; Baflad si plicity in, o ; quaintneu in, 358

i
W m
360 : p positio ns. 36 1 ; de finition, l pa ht
t e ic, 4 8 1 ; definition og si a
g
i
.

363 ; 11 00 6 363 ; deductiq t. 364 ; n duc Bau h “?

r c

M ill ’
four exper i me tal meth Barbaia ”
m
s n r n,
ods at inquiry , en thy meme 367 : a M uncha
nx mufi re o c
m mw m mm
,
B ud s o
t
’
m e : M 169 : Bm ot r l o
 54 8 I nd ex .

Campben Tbo m voc -bulary og n ; quoted . zoo : t fll mt fl fle i zfi zus aim“;

18 6 3 361 2 64 3 9“ M “: 3 15 ; stah n ofl n y ; a
naly sis ol seoond
m;
1

m fion mof
mt m
agahn t Catfl inq eaordin

mu
,

rn z quoted by Quin
Can , 2 72 .

i
C rc umocuion,l t 29 ; mpared
co wi h p ri
t e

M 1 33 .

Circu sta m
ntial evidenoe. 370
Cideaepithetaapplied tq uo
m m
Ch r do q uaed so y z m m i ss.

5 22 06 3 28
l l h li
.

Cl n ica sty e, 2 56 sc ool in terature,

i
;

oldewn sa
z ms ; of sr w p e : in m m
exposition, 33 7 ; a na lynis and sy nthesis of,
33 8 ; genera l and par ticula r p pnsitiona m
m mm
,

; incoo ty i
M mm m
pod fi ofi so s i w
va i t in 2 82 00 -01di11ation of, 2 83
54 ; r e y , ; .

Clay. H em? M 48 5 . 5 1 1” 5 1 7
Clea neos 0t 00noeption necessary to pr e
'

r
m m
.

ci i0n, 22 ; method, 5 7 ; in argu enta,

; 7

(305 115 . q
Cok fidce s l o
' ‘
n s. w na
b
j ective narrati e by, 49 5 v
l t t
.

Colin C ou , asair e, 44 3 .

Chaste sty lt l soa

88 9 1 . 1 n l 7e 1 8 n zss-4o s 4 7 s 486 488,

arder a
tbousht in, w exor d i um of. 396 ;
ca m ofisso ; physial ad van tages d as an '

l t l
.

01 2 101 , 359 ; 0ourage inte lec ua

qmliries ofisor
l
.

Cha v
ucer ocabuary 0£ 1 3 ; H ouse d Fa
, me
vent o oC32 atbetic,
in 4 ; p
h vi
C au n is , 4 70 m .

m
m
Chflde Ha ld vocabuh ry ofirg
m
i .

Ch k nfin n sfl ; oon s
Cho ioe of fl erc ules, 1 12
mfi t
.

{
or explanation n d illnstra
a tio z faul s
C hon m atu n re ot i in Greeh play, 42 3 ; in m illnstratrve style, 2 50 ,

i l
C hrist an apo ogists, 50 1 Compla centencq sa
’

t l v l
. .

Chris ian Yw , R eb e’s, ocabuary of, 1 3 Can pfim en uin oratory , 306
h i tm ii l mge‘
. .

C r s as Compos t on in ng ish a E
n d other lw g

mm
.
Cluonid eg order of thong ht 45 -
Chrono logical or der of thoug ht, 3 4 1
m t
.

GM SQ 3 fig of speech in, 67 ; q uo ed,

84. 9 x, 1 1 7 . 1 5 8»1 85 , 40 5 : on by, W
 I n d ex : 5 49

C rown. Dm e rati
osthenes s o
’
on on t he, exposi

Co nc essi on in ora t ory 5 08 to ry and a ati v

n rr ubj e s ect- matter in,
i i i mm
.

m of
,

C on cil at on in orator y, in e ord um, 396 : in x 31 31 7 ; of. 32 9 ; order of

l r
,

m i n, 35 1 ; e ord i um m, 396 ; 000 x

.

anguag e, 5 04 ; in de eano 5 5 4 thouxfit

l i t tt
, .

Conaliatt on with A mer1c a, speec h of ur ke B

°

eu s on of. 40 9 ; defence urned to a ack

on , sta u t
s of, 32 9 ; ou lin e of speech on, t t rt
in, 54 1 ; ou bu s of feeling m, 5 44 ; concil
3 39 ; cauiv sat e a rg umen 1n speec on, t h at m5
n i on 54
! h Child r i
,

369 ; dim mution in, 380 ; con d ensation ‘in, M rs rown ng s, 470 B ’
C ry 0 t e en , .

iti Ct iph r
.

3 8 1 ; defin on of. 384 ; exor diu min, 396 ; es d i hi on, sc n es gam

a st, orde of
l
co nc u sion of, 405 th u ht i 5
o g n, 3 1.

t i t mmi g 8 8
.

C onciseness, ends to persp cui y , 5 8 ; to Cu n 2

C u a qu t d
.
,

“W 338 rr n, oe 24 3, 486; s" 5 1 4, 5 1 8, 53 2 .

l u i l ga
.

l
1 ,

C onc s on, in, e pa

e e ined, nce 39 1
°
x 53 4
40 0 ; in narra t i e fic ion, 40 1 : in v
is or , t ht Cu r t ayi g
r en 6 s n s, 7
y lr
.

400 mbiography . 40 3 in drama, 404 ; Cur sor M and i, v ocab uay of, 1 3.

t
oraor y , 40 5 ; differen t kinds oti 40 6.

Conc om anit t v ti
a mth
r ia ons, M d l s
’
e od of Dacty li met e c 5 87
r s.

Da t qu t d i ti
.
,

n e, o e , 22 8 ; nve n on of. 32 0. 3 2 5 ,
C t m t d l ar
oncre e te r s,u d en to c e ness, 10 ; se it
3 32 ; n rod uct ion 394 ; pa etic, 48 1 ;th
f ab tra
or s8 t d c t. 1 2
gy ; en to ener 3 32 . ubj
s iv a ra on by , 49 5
ect e n r ti
ur t tr am Dar r
.
.

C o nc re n s e s, 344 kness 2 sou ce of the subl m

i
e, 42 5

ati r tr
. .

C d
on en s on, 38 1 D ar win. rasm E
us 1 40 : e posito y poe y of. x
C f i at y 5 9
.

i
on ess on n or or 0
C j ug a l aff i t t v l
, .

on ec t on, 4 70 . D eba e . 500 ; con ro ersi a, 5 0 1 par lia men

C onn ec tw vaiat i f 8es , r on o 2 1.

l Fall f R
,

C a hyma
onson nt r ¢ 5 94 Dec ine a nd o the om an mpire, E
C at
on son n s, too ma g h 63 n y to et er, 2 ca l
ssifica on in, 334 ti
ul ati with aud i 5 l i
. .

C ons t on ence . 11. m

Decre errtive fig ures, c a ss fied, 1 43 : de
C tai r f
on ne tai d or con ne 1 30. fined, 16 5 ; d imn u on in, 166 ; d eprec a i ti i
iguit figu ai i fr mid a f d t ti li x
,

C on t y, res r s ng o e o , e n c m
ion of, 1 67 ; a a in, 1 63»
fi d ne
y d h
127 ;a im ias nec oc e, 1 28 ; nt er
all ag m tal p i t ri t i
, ,

en m my
e, 1 2 9 ; et ony 1 30 ; e e s s, D efence in or aory , 5 38 ; st c . $ 39 : od i
p ri ph a i uph mi m r t tt
,

13 1 e r s s, 1 32 ; e e s 1 33 ; ect reply , 5 40 ; ur ned in to a ack, 54 1 :

i ma li x mpl um t t r r t i
,

h yp ocor s tot es, 1 35 es i m ony of a d ve sa y urne d a g anst

°
1 34 ; e e
ht 3 hi l
, ,
1 36
°
epi t e s, 1 7
-
1 42 mse f, 2 5 4
C t a fig u
. .

on r st, ba d u id a f d fi d
res se pon e o e ne , Defiance lu oratory , 396 ; langu age of e o m
a i h ti al f m f d fi iti
,

nt t e c or s o e n on (50081 4 7 3
a g um t f m l t i
.

by . 362 ; r i g uity en ro . 374 ; ncon r Definite- in sty e, 1 28 ; end ng to energy ,

2 3 1 : in a rgu ment, 384 .

Defin ition expla med, 362 ; tends ta o clea rness

'

t ril t
Con rove s a d ebae 5 0 1
vi ti iti
in m
m nt, 37 7
i
, .

C on c on an a imof compos on, 3 1 4, 3 1 7 De foe, sty le sim pl city of, 1 0 ; oca b v

vi vi l
.

Con a song s 5 99
i t l
, .

Co-ord naion of c auses, 28 3

i
.

C op ous n ess, 2 4 1
l B v
C or nwal, arry , ocabua ry of, 1 3 l
t D li a y i ty l 3
.

rrect s y le, 307 e c c n s e, 02 .

oui r te rp iti pro os on, 36 1 . D lig ht 4 7+

e ,

D em d u qu t d 439
o oc s, o e
D mo t ativ t m i tyl
, .

e ns r e er s, n s e, 2 33 : in ora
Co wper , s mp ic ty of, 10 ;i l i oca buary
o f, v l t o ry s 499
th
°

1 3 ; quoted 9 2 , 1 2 9, 1 7 1 . 1 86, 5 8s, 5 86 ; in Dm e os en es, quoted , 1 5 7, 2 00 . 20 1,

5 44 ; y
b
ve n tion of, 3 2 2 ; pa he c, 482 ; e
posi ory t ti x t per baton ; d es of, 1 94 m ptwn by , 38 5 ; ad m
rat ion of, 486 ; attac k of, 5 3 4 ; oo mmand of

iv t
Crabbe , n en ion of, 32 2 ; o ec bj tiv e n rra a phy s ca i l
tion of, 49 5 ad van ag es t of, as an orator , 5 59 ; co r u ag e
i ti
Creat v e inven on, 320, 32 5 of, 5 60
t motions
.

C ret ic, 5 90 DeniaJ, in arg umen s, 388 ; in e 48 7

t
, .

C risis in fic ion, 3 5 2
rit m E
.

C icis , ssay on, P ope s, 3 1 3

’
.
 D raper q , vo a b-h r y ofiu .

m
M ut t s
D ru s
D ude- m ew M 4 40 ;
GP
M at t eo.

Dun- ul a111-1 00 3»
m m
h
a a
“ Que-th at s:
M el -a m '

p s

En e of fl ylt . ”

h fin ec m ; dfi ei m ¢384
e ; c m

m h mz m h m

M 150: m inimi se" quoted

,
m asq 1 b m °
by

W 1 S”
 ject ma er of 3 1 1 tt s 10 5 1 53 5 1361 5 1 7 1 9 11 5 491 5 5 0 1 o rder
fi
.
,

E xtravq anoe ofi a ng uage. 5 45 tho u ht inh u

o ; nutl e of ora m
tion on
mm
.

the ujeaim nt N a pok on s

’
ssx ;
Fabi “ en .

l n e Q u enn voahula
a r y of, 1 3 .

Fairy uleg sourne d anud oq xa o . co mmand ot su

'

be j a, 5 5 2 ; fer tility in re

W 5 5 3 : c oura
g e of, l tual
5 59 ; inte lec
q ualifi es of, 5 6 1
mss
.

P ran k sty le

m
.

“a t

Fuhio m of ahicin n, “
Father Toma nd the P ope 5 0 1

mm m
.

t n in d rk ' fi de un w -

1 6 1 62 z t fi mt m rx1 1 2 17 : mad mub z

F m an w y imu e : “ mmun
i od

49 0 ; subjective na mtion i uns n .

m
v ‘7 5
m imp
'

F s :
oc uy fiambh : u W
m
anap tic, 5 86 : da ct ylic, $ 8 7 ; interchang e 34 7
Ofl sflo z other feen w F ullte. new wo rds by , 40
Felicity ol stylen “ F T
uller, homas, new wor d s by , 40 ; quoted
ml
,

m
.

Fe am le rhq s .
2 5 01 45 7 : i e of. 2 5 8

m
m
Fert ility d ourw in ora tory , 5 53
mm
.

M M M M ’; M fi ifl aatory,
sion o fi so u dialogue i mslu . $ 14
Fielding realisn c i p s m
F m a source of the b autittfl ur s
e
’
. Garraon . W L sfin~ .

W
m
VM MB
7 1 : 2 rd ng fio m id e a of mM o 7r 84 z c fl m hn eo m m d w fl

from percep on of ti resemblance 8 5 - 1 26 ; V O N ! »45 1 M W 00 Bug hah, 0N G !

ti it
,

from ides nt con gu y 1 2 7 - 1 42 ; figures

’

— Geman lhera uw
.

dation 1 43 1 68 ; of iter a tur q fi rle ofl of.

m
of gr a t ion, 169
‘

1 87 : m
fi n invemon d v onds, 1 3 - 1 95 , 1
4 s1 e9 = 5 7°~

-
44 7 4 59 ; W M : « mms r o o ir e st y el m of hist ory , am i
n

5 32 ; poe r y , t 5 73 ve n tion of, 3 18 ; stau t s of, 3 2 8 ; classifica

Filial afi i ec t on, 4 7 o.
tion of: 31 4 : order of th u ht
o g in. 14 3 :
F i w iti g 68
ne r n 2 concurren t s rea s, t m 3 44 " W 0“

i t
1

F ih f l
.
,

in s o sty e, 34 5 i ntrod uc i on Of, 3 94 3 (169 0 113003

302 .
Fl h f Salt u
et c er o o n, q uoted , 315 .

Fluent sty lg ass

F oot in poetry 1 5 3 3 Glfich Efizabeth u m .
 I nd ex . .
553
’
Goet he s F au { S rr w f W th st, 12 ; o o s o er er , 6
3 9 ; s u b e c i e d esc ipj tv
o n in, 49 1 ; sub r ti
306 : qu t d ject iv e narration in , 495
o e 490.
l
.

G l d mit h l f imli i f
,

sty e s p c ty o 10 ; Ha nd y n d y , a buAr es u e, 4 37 q
4 ;
ll t ti
.
o s o

l a i al E li h
, ,
,

qu d a
1 83 ng s 25 6 ; p H ard y , rs ki n
’
E
e s speec h on , i u s ra v e a r

m t m x ri
o te : c ss c ,

h ti m
,

t e c , 4 8 2. g u e n t in , 3 7o ; arg u e n fro e pe ence,

G d
or L d G g E ki
on, p h
or eor e, rs
’
n e s s eec on ,

ill u ativ argum i

str ta ie ent n, 3 70 ; r n si t on,

37 8 ; lm lf d p
con c t iai f on, 40 5 se -
e rec t on o ,

505 u bu t f f li g by 5
o t rs o ee n , 44 .

va iati
r on of connect i es, v 2 81 ; va i t yr e in
c lau ses, 2 82 ; coo rdi na on of clauses. 283 ; ti
close at sen ence, 2 84 t .

Ha rm ony defined, 2 19 : W 6 a6s :

-
1: 2 0

l
e ega nce 266 -2 7 3 ; a rra n ge m en 01 words, t “

t w it
,

- an
2 74 -
2 84 ; r an sit ion 2 8 5
-
2 9 1 or d p
ht
,

ing a nd onom atopata, 2172 - 29 7 ; r y hm,

G ram mar, ng is h, 48 E l qua lities ot sty le asa ociated with,
'

mm r r l i v i at d tyl
.

G ra a ian s fo mer y n est g e s e, 1

il l t Em rr
.

Gr and oq uence, 307 Ham e -M id , le ter pe o

it m
.

G rat ude, 470 N ic eph 23 3

t r l
. .

G ratan. ocabula y of v 13 quoted 1 16, 1 62 , H asting s W arren, acauay s ’

ssay on, M E
r
, .

11111
5 10, 5 3 1 . 5 1 4 : 1 11
2 7 81 1 79 1 202 . of. 3 2 9 g ouping in M inion: 1 16
pa i
negy r c of, 5 48 ; physica di sa d l vantag es H ate. 4 7 1
o f, 5 5 9 . tl
H ayne, ou in e of ora on on Publ c ands, ti i L
G ray, quoted 79, 1 0 1 , 1 20, 1 2 8, 1 30, 1 5 3, 1 89 , 35 h

ts tt ml 22 8 11t
,

of. 24 1 : cla
’

H azli bn lbancy
‘

2 6 0: 2 9 s: 297 : epithe 1 17 . n o : de . ss

scrip on , ti 4“
G reece, h sto y of, conc i r
en s reams, 34 4 urr t t .

G reek art, 4 2 3
q uoted
.

G reek lang u age a source of new word s, 1 2, H eber , Bi h s op, 5 86, 5 92

w l t atu h
.

i w
, ,

4 1 ; power of c om pound ng ords, 4 5 ; H ebre figures of speec , 69 ; an

i er r e,

con ju i nct ons, 1 8 1 . ti

t hesis a nd pa a rll
l e , 7 5 ; poetry , 86 .

G reek fig u es of speec , 69 ;
li tt r h H edg e, Dr F H , q uot ed, 1 2 1 , 2 49 .
l A hr
. . .

dr ama 32 4 3 id ea ot beautiful, 42 3 ; dia ’

H e ps, Sir rt u , q uoted , 2 82 , 284
a t al mt l
.

W S6 3 ; ecc lesi s ic e res, 5 81 H en y . q uotedf t w

r ik
.

G rey o d , qu L
ot ed, 5 0 9 , 5 2 s H en ty , P at r c , quot ed, 1 8 1 , 1 82, 206, 2 1 4,
ri
. .

G ef. 4 7 s 38 8 8
7. 4 5: 4 7: 4 88 s" 5 23: 5 2 1
H al d N w Y rk v abula
~

t iv t
. :

Gro e, n en i on of, 32 5 er e f 3 o oc ry o , 1

t
. .
, ,

G ro esq ue, 46 3 H b
er ert . G g qu d eor e,5 ote 1 02, 1 1

t i f ti
.
.
,

G round of a r g u en , 327 m H er o n ic on , 32 3.
i r ti d tu im li it i t du i
.

G r up ng , tn desc i p on, 336 H f o n ro c t on

o ero o s, s p c y to

at u f f h u ht
,

o f 3 18 ; d st s o 3 2 8 ; or er o t o g
i t du i f
, ,

in, 3 43 n ro ct on o 394
v ri imilitud ti i f ti
.
,

of allusion, 1 23 ; e s e, 369 ; sa re H i
ero n e n ic on , 32 3
H ri k R b qu t d 5
.

of, 446. er c o ert, o e , 11

i tyl M d i ati
.
,

Gush ng s e. 246, 306 H v

er ey , f e t on s o 306.
O b vati
,

H li L E ag ’
'
ey n s ser ons on str n e, 40
t H w d Th m
.

H abhakuk , quo ed, 7 6, 430 ey oo a qu d 5 o s, ote 11 439

h H ifalu i
.
, , ,

Ha E rskine s speec arg um ”

’
dfield, on, ent t n, 2 46 , 306
t at i Hi i al a aiv i t 8
.

f m
ro con r s n, 3 7 4. stor c n rr t e n poe ry , 5 9
Ha ll R b t o er 20 5 . Hi st or ci D ubt Wh at l o ati f; s, e y
'
s s re o 446.
H al lam i Hi t f th u ht i
, ,

abula f v oc ry o 13 ; conc sen ess of, s ory , or d er o md o g n, 343 : o er n,

tituti al H i t l u i f, a ati
, ,

C ‘

59 ; ons on s o ry , 49 5 . 344 ; c on c s on o 402 n rr ve, 494 ;

H alleclt, q uoted, 1 1 6 . d ff
i erence b tw a i t a d md e een nc en n o ern ,
H amert on , v ocabulary of, 1 3 49 5
tt
. °

H am let, scener y in , 32 3 : s a us Of. 33 1 ; H ofitn an n 463

'

t
.
,

cl a ssification of, 33 4 ; order of tho ug h in, H og an ! »q uoted . 4 1 5

3 5 2 ; n rod u it
c on to, 3 5 4 ; er si m i ude, ti v i il t l
H o land, P hilem ond , 40 .
 5 54 I fl df x .

H olmel , 0 W M ug Lndefinite fa definitq ra a

m
. . .

H omer, aeource of alluoion, ; epit hets ot; I nd ire ct r eply in or ory , 5 4a

m d uli
1 20

mm
o hum
no ; o : invenfion i
”n n a n I nsea m so b. 2 5 8»

H ome ote leo mw I ng oldsby le gends.

mu 8A
.

Mm m
m
HM M M fi 1187 . I n e oria , 495

my I
.

; W o nt fl ‘
i nnuen d o. 1 26, 1 3 5 , 45 7 .

H ookern ty lé ofu z w bnh rr o s

H er m a n n-a d uat ion, 120 ; l
mqu t o ed,
I nstru
I t ll
n e ectua
ment put tor agentn m
l qualiti es of an oraor, 56 1
.

t
m
.

467 : W ar -09 8 I ntent ional o ia sion m ot wad g p s

mm
’

m
: .

H ar ibh I acha nge of feeasso ; of metres , 59 1 .

I nteresting ety le, 2 § 8 .

ser mocinatio
t
,
H urfibru vc c a bnh ry ofi n z an i q ue 20 1 : percon tatio and et poeitio, 202 ; te

H ugo, Vi
ctor, extrava tyle, 2 5 5 ; fluid,
p nt a
v b z idu l c : “ am
M M - t h in, It upt o, 2 1 4
n err i
l
.

I ntroduction, elegance in, 286 ; e p a ined, x

393 ; narrat on 39 4 ; dra i
ma, 395 ; oratory, .

396 1 considered v ith reference to its own

I nventiun a oou rce of new

rhetoric a d ivmon of ethod st

4 1 ; in
ita m
m m
“ 0 9 09 3 1 3 3 defin ed, 3 1 8 ; accu ua e, m l tiv
3 19 i m320 3 tw0 kind e inter in m

I m
1 89 ; pro
m
m rgo ; a
defi d' l ” ; fil
na
ofl
stropbe, 1 9 1 ; 1y nche
. m m
a
ir, 19 2 ; uneaia. 1 93 ; hyperbaon, 1 94 3 t
I v ati 86
n oc on , 4 .

I uh hum
r 5 or . 43
Irub a y 5
'

or tor 5 5
Ir h R ight Guumaap m tatm
.
,

eech
'
is , e of,
3 3 9 3 73
110 0 7 .
Irv Wahi gt
in g, s n on, s tyl e of, 2 5 6.
l l 83
mm
soco on,

l at d fi iti mc by
.

socr es, e n on of t het , 1 ;

«1 12 7
t
argumen , 3 7 7
1n fi m fl yh 4 1 hn me 41 1 euphonr.

Il t i t t
.

l us rat ve arg umen a I taly , topice in hwtory ; concu

'

. 3 70 012 341 rr en

Il tr tl
.

x
lus at iv e e t e, 1 4 7 ; by e a mple, 348 ai M 344
l tt It tiv
.

union and quo aion, 2 49 com pamon era fig u

eree, defi n ed, 1 73 ; epueu n s,
and m t h
e a p or , anec dote, 2 5 1 m; repetitio crebra 175 ; anapho a r
I i t m h
. .

w
.

mag naion in oratory , 5 6 1 1 76 : ho a na

a strop e, 1 78 ;

I ti wi m m
.

mita on: ot great r te“ , 30 8

'

W on -1 79 ad low u so pano m
I i l
.

mtaron of Emeraon 2 5 5 dos. 1 8 1 ; epanale pen , 1 82 ; p oce,

I l r t l
, .

mpersona const uc ion, 27 7 sym p oce, 1 84 , sy nony a, 1 85 ; a llitera m '

I r t t x t
.

mpo tan poin in e ordium. 396 . ion, 1 86 ; ho oteleu ton, 1 87 mm

lmwpi o r ety rs

I a iuu
n n atu i d
te n i pti re n escr on, 49 0. Jealousyun
I id al f at y Jcfierson. q uoted. 1 35
m
nc ent re e rence 111 or or 5 36
I i iv t l
,

nc s e s y e, 2 3 5 Jeiufl c n rh
I g uity h ridi ul u
nc on r t e c o s, 43 3 ; ' fir 433 r la . quo ed,
j e ro ld, Doua t
k
.

I ncre memtum , 1 6 1. Job. Boo ct son

 I ndex
M sso sou m sosw oabuh c ns .
r o

am oe d annfio mu o; epit hets ofi r3 7 ;

u
o n ot mmm z dw pfion bru : m
M t l
ar ia. q uowd. 439 sub ectiv e narra
j tian by, 49 5 ; e posi oryx t
M i J
art n eau, am es. q uoted. $ 2 . 339. 3 80

M l t
ascuine s y le, 3 3 S ~

M a iv ty l
ss e s e, 2 3 5
M ath mati
.

e c s, 497 .

M axim 7 s .

M eaxre fl yle 3 46
l
.

M ean st y e. n o
M ed eao f E uripides, 49 1 .

”M
M au ser . cit-ated. 439
M elodrama, 566
r 47 5 '

mq
3100111.
yuofl»
94, nos. 474. 485 .
lv t
.

M e in Rev Henry . quo ed, 36

, .

M enace. 4 73 M oral afiections n o .

r
.

M a
en nde 31“ ! t
M al q ualiti
, 4 72

h
.

M erc ant of Ven ice, cland ficadoo d 334 or es of an or ator 5 6o

M o al ubl m
. .
,

M t l
ea bo e. 90 r s i e, 42 7

M or is Go uverneur, quo ed, at

.

t
r
.
.

M otif in literature, 33 1
m mi
.

M oti awm ce of the beautiiuh ; n de

o

M ueical terrns applied to pmtf y

33 9 : ord er d thw g hn 340- 35 5 ; find ing ol M mg ai m oc in M 35 : ph ys i o .

arg uments and preeen tatio n, 35 6 39 2 ; m -

3 33 0 s a
M
M
eth d
et ony
o s
my
ol experimen ta

1 30 .
l hi q tiir y, ht ill s. 36 6
'
N abob d Areot s De
m
g e ralization ol, 3 83 ;
’
m u
exor diu
’
rke s speech on,

mof 396.
la gua quan titative Nai t
, ,

M etre. efiect on n ge, 35 ; , ve e, 2 5 8.

5 78 ; accent mted m
582 ; ia bic, 5 84 ; tro N m es of en awu m
roe d new wwdg a
mape m t li
.
,
’
cha ic. 18s da N apoleou s Ov ox on Rejcctioo
'

e. $ 86 c y c. 5 87 ; ot.
iri terc hange ol, 5 9 1
'
35 1
i ht
.

M etr cs! ro a m
nce, sirnplicity ot, 10 ; pa m
N arrat iv e subjeet- atter defined, 3 1 1 ; d as
m
’
t e ic, o

48 1 de fin o n of, 5 9 8 iti . n fiw io m
su : od a d w nx ue
M id dlem arch. vocabulary of. 1 3 planation, 346 ; or der of thougl1t com pared

m Ni ht
.

M idsum er g
’
s -
ream, voubuh ry of, D
1 3 ; id ea l ot, 3 2 2 .

four exper im
m
en ta
l
“ M d in brwfi : a utobiography N ational movements as ouree ot new wo da ’
r

j r ti
,

of, 49 1 su b ective nara on by , 495 4” W 999

M l N atu al mm
.

il er. H usk perspi io ofir m r ob ects in

j descr ipti
M il m an, q uoted, s3 ; co par ed with M a cao» m N eale D f o quoted ssh fis
- ‘

“Y 5 9 N eocs hy of the casq in or atory d u

M ilt
.
r

ou, quoted , 2 1, 35 , 1 0 2, 1 1 0, N egation, r7 1 .

1 1 5, 1 1 6, 1 20 , 1 36, 1 40, 14 1 , 1 48 , 1 5 0, 1 5 1 , N ew eompound worda “ ; M usc at306 -

15 5. 15 7. 1 6 3. 1 66» 1 89 . 1 97 . 1 98 . N ew idea s asou roe of n ew wu rdaur .

3 08. 23 5 2 36. 2 6 1 . 2 97 . 2 9 8,

3 99. 423 . 43 6, «7 . 46 7, 4 7 3. 4 7 5 . 48 5 . Na mblu-

r.
 I nd ex .
5 57
N ew wor ds, a nu er ou
bsorbed n o the
s, m 39 ; it 3 5 1 ; dr a matic 35 1 ; scenic. 3 5 s ; in
'

fla m
lang uage in th e pas , 40 ; souces of, 4 1 : t r ti a d d amati writi g 5 g
ve n r
.

c n 3 4 ; ener a
l
rapi d in cr ease of, 42 ; ob ec onable use of, j ti rul f 5
e or . 35
,

4 31 44 °
O d
r er O fw d 88 or s, 1
O i tal lit atu tyl f imag y
.

N w m »3 3
e co er , 2 r en er r e, s e o 4; er in ,
N wma A p l g ia 49 5 5
.

ll g r i
,
’
e n s o o 01. 10 8 a ; e o y n , 1 1 2.
N w pap r v abulay of
, ,

e s e s, oc r 1 3. Ori tali m
en s s 4 1 . 43
N ib l u g li d
,

e n en e , 1 0. O rig i f la gua
n o s n e. 29 4.
N i carc hu s, q uot ed, 439 O am t
rn en 30 3
l
.
, .

N i ch o , 490

Ni t
.

chola s, Cza r, q uo ed, 1 39

i ht T t Y
.

hough s. ou n g s. quoted. i 1 s
'
N g
N om lt m
enc a u re of etres, 5 88 ; of v euee, 5 96 .
t
O uburs of k eling in t o rat ory, 5 44.
N or chang ed for
” “ ”
and, 28 1 .
xm
O y oron , 82 .

i
P ad d n g, 2 46
i R t Tr
.

Pan e, ober eat, q uoted, 2 46 .

Nvo e l the, with a purpose, 3 1 7 ; defined , i Th m t
Pane, o a s, quo ed. 24 5
lt
,

it B ll
.

2 33 1 ; P o
33 3 ; 1 1111118 01 08 3 53 1 110“ Pan ing . analog ou s to e es-lett er . 292
of int erest in , 3 70 a i
nc ent a d md n o er n, 42 3.
t i
.

Nvo e lis s cl ss fied , 3 53 a .

Pall M all Ga abulay zettq voc r of, 1 3 ; quoted ,
“ “ ”
N ow ch nged for a
”
nd,a 2 8 1. 1 3 5, 1 8 1 , 2 7 1 .

w e. 5 48
th
O a , 486»
l
O bso ete, wo d s, 32 ; er naions a r nd ean t mi t m Parahle 1 1 3
m m m mmm
, .

in s s : in fiéo lit sn in po Parad iastole. 8o, 9 2

t i t l ifi ati
.

e ry , 3 5 ; in fict i on, 36 ; ret urn of, to gener Parad se os , status L of, 332 ; cass c on
al use, 3 8 08 3 34- 33 5 1 cha mtm in. 4so ; path ic et
k j ii l i
.

Occas i on for spea ing, u d c ous se ect on of,

557 Paad u 5 r ox rn, 1 9.
’
O c on nell Da i l qu d 4 n e Pms ph m wfl ote 1 49, 87 . n »
I mmrtality W d w rth
, , ,
’
Od e, 5 99 on o or s o s,

abulary f
,

Pmfl lw fizm u izss di du 8 a

v oc o
impl it f aim f 6 a 88 diallag 8 m ab l 9
, 1 3.
l e o exo s, 7 ; tri co ,

Od y ssey , s ic y o 10 ; gaia o , 31 ; st ; e, 9 ; et o e, o ; exer s

lu i dia t l 9
.
,
u f
t s o 3 3 1 ; conc paa s on 91 ; r s o e, 2.

(Edipu T ra u dram ati

,
'
s y nn s, d t 33 1 : c or er o

t h ug ht i
o aC l m
n, 35 2 ; Pa g m t 8 oo is, 4 70 . re en on , 1 3
O Gaha a abu l q u al fl ti
.

Pa
’
g n. r es e, 43 7 . ren t in ec on, 4 701
O li v Twi st, 2 3 1 Pa h i rent es s,

u imss fl i ”
er 5 5, 204

at p t y
.

O m
no ia opoe 5 p 1 94 : 96 Pa h i al lau
oe r . 1 9 ; rose. 1 ren t et c c ses, 51 ; n ; nt
ba d i
. . .
O u
n s pr o n 330
tl 8
.
,

Op en s y e, 2 5 . la ai 6 et exp n t o, 2 0 .

0 m 66
p 5
la y l P ark Th d
.

O au
r c r st e, 307 er , eo ore, 1 5 4.

qual fi ati f 5 5 5 6 P a liam ta d bat lui f

.

O a
r tor, i c ons or , 5 1- 1. r en ry e e, 02 conc s on o
O a
r tory , c hi f ud f a i
e h i ia
st B ugham
y o h P a liam tay R
nc en t r etor c n s, ro
’
s speec on r en r e

4; Qui tilia n la ifi ati f

n s c
’
d fii ( ss mplim t i 5 6
c on o 4 ; e n 011 11. 40 5 ; co en n, 0

ti f ua i
.
,

on o a f
31 1 ; i Pa drt o pers s on n, 315 ; ro y, 444
i t du i i l ma i a
,

a f Pa 396
'
st n ro 5 ct on 1 2 3, 4 0
°

g es o 3 30 n, r ono s

lui f la ai
.
, ,

con c s on o Pa m ia fi u
40 5 ; exp d fi d p v b n t on of, 499 ; roe c g res, e ne 2 22 ; ro er 22 3

at hth g m
, , ,

t c i cs o f a ifi 50 3
-
f a52 5 ; rt ces o 5 2 (r 5 32 : pop e 2 2 4~

d i pla f P a f
. , ,

aa ad d f
tt c k n e ence 111 , h wh l 8 5 3 3 542 ;
-
s y o rt or t e o e, 1 2

qualifi ai P a ialit i hi ia
.

f lee i ngi n, 54 3 5 5 0 ;
-
c t on s for, 5 5 1 rt y n stor n s, 31 7
l P a q ui ad
.

56 1 s n e. 44 1
f th u h t d fi d lo
. .

O d
r er o o h
g l Pa i d fi d
e ne a i
340 ; c ron o og ss ons, e ne 47 1 ; v e, 47 2 ; vers on,

i al l i al a at
, , ,

c 34 1 i og c happi 34 2 wu n n rr i v e, 3 43
°
47 3 : n ess. 4 7 4 ; sor ro rs
t am i t m at y 5
.
, ,

conc u rren istr e Pa s n, f i 344

°
n r etrogr es st even s, en ti on o , n or or 20 .
i
s on , i 345 ; lana a ati n Pa
exp al p t tory n rr v e, 346 ; st or oe r y , 60 3
,

um
.

i n may
s xp i i
r 8 i
347 ;Pa al afi i in e os t on, 34 ; n ter n
'

ec t on, 4 70 .
futati
,

p f 3
r oo . i 49 afipl a Pah iq d fi d
n re 8 i Sa d S ip u
on . ex n e t et e nc , 47 ; n cre cr t res,
55 8 I ndex .

479 ; i11 cla

ofié al literatnre, 480 ; h edi m
z vd bteu ; inmm oder n liten re. m m
480 ; a n mm
i ating el ent in ht era tur e, m
48 3

M dc fimfion of t hettn ic by . l ; quoted,

um0 6 296 : W
x
e ordi 63 .39 ; co mm
t d fi t h Xenopbo mm
d van tag eaofia
a s an oratord sn . P lu mm
mveption ofl sl f) ; o t" m a
P eek Str R obert uluoted . 1 70,
Pelt iee Sir Ja es M aekin m t
’
oeb s opeech

co mm on s»: m i m o sa :
conc lui s on of, 40 5 . M M in, 5 06 ;
mfiy in extr a anoe o(
m
b direc t . 5 4o ; vq ex

ur e-
23 m “;
m
m mi
PM
P erip rah
sis, » 1 32 , P at ‘J ‘n W byv "1 :
mi t
v

P er ssion in oraory, 5 10 . f w d
n ped fion o or s by , 175 ; uggesd ve
c

style ofi zsy ; mannm of, a

69 ; ono m
mu ss;
o

W 3 95

P elapiudty . defined. 7 ; v
di isions ct. 8 : P ty
oe r voc abuh ry ofl n : efl ea
'

on hm
m
o

m dl
,

a
n wda of inu a oz w
phon y 36 1 de fi ned, expom ion in,
t
.

w
.

ence , - uran gement of v erd a n t, 5 1 : gos z su z difl en

'

f mm m
p e in

t
uni y 5 2 mfimmusy z ; in for m sn z exhibits
rp m m m m
.

en eu, M W
m
oonc ia 58 ; 59
sg e e of h nx s
titioo . 60 : M u mfl oou fi yh bn dw k r e mmio ns sy s g define¢ 376 ; ver

m etimu not am a M ac a w- 5 83 ; mm md usw

mm
i od n tb lee
m m m an bq son
.

P etor ic the a
rt ofir z an ai mol ; ca m a
-
l r

co poa
itioo , 3 1 5 , 3 1 7 bh k m m3
n m d am f
v no en re o ven es,

mm flm M
.

m in uodu $ 96 w aw l y i
m
P n cfi .
: o : : r c,
Pu mi m v uq h uyh d fiii ; e n t on 0(. 65 : 5 99 ; dn mtic m
600 ; de i ptive, 60 t ; di
,

M M d u wu ; fig of dactq o z ; past m
l. 60 3 ; M 604 :
”53M o w 37 ; M 1 3 3, “
M M ; any poem share the m

l tr
P hi an h opy, 4 7 0 .

Philips. Am bro0e, 1 5 7
W M QM 14 7, 1 5 0, 1 5 1 , 1 n,
7
2 54. t

Pbfit mdeu quoted

ty l
.

mnm ti me
,

epie c s e 04 ; sss: co s of.

v abnh n
o oc m «M a ma .

4 7 . 7 6. 79 , 81 . 8 3' R 9. 1 76, 1 83, 3 27 . 3 5 3,

a mmo
Physia l ad vanta
g ee in or otory , 55 9 . d an m epithets ofi l w z apoph
tbeg m s ofizu ; expositor y poetry by , 49 8

W abnh ry of, 13 ; aimof,

.

vo P opuh r books xs s stq zfi

33 1 : J W fi SS} q uoted q o .

Portrayfl of cha ra
c ter by anfithesiaya
Pien Plow a mmvision ofivocabulary
m: M 1 86 5 79 . P os ibilhy c mmm
d with fity, sax m .

m
P ower , subli e in, 4 zs ; love of, 467
m abd m a
.

Pfigfid t gr vo o t s z pop u P re cursio 5 1 6 .

3
lar ity ot a u afl u i aim
‘ ‘

so roe ot
°

, 15 e on, 1 2o ;
i
ot st s uw mot ssx
Pitn a nalysh m of tion on refu sal to nego
tiate i w th N l
apo eon, 3 5 1 ; exordiu of, m udience, 5 5 5
a
i m;
.

39 6 ; amplific at on h co mmand of
 M O M t ar - w .

Rd ig io h k nvoca
R l gi
e i on , epi hets t u
b h ry oc r}
in, d fferen i t f or ms of, R id n n , q uoted by De Qu ineey , : 99
no Ridicnb ns defined uz : um or . h
R d ig wus afi fi m ; li au adm its 434 ; wit and hu or in Eng lish litera mture,
'
ec o q o ter t re,
obsolete wad hym 1 1 6 ; pa 43 5 ; the rid ienlous in litera re, 4 36 ; m w
m
34 38 s, -
; n s, ith
t het iq ; “ bia nn ual-ra
tion i i , 49 5 ; u a purpose,
o t 4 37 ; with a purpeee, 43 8 ;
episr m . 4 39 ; sq uib. «o ; pa squi n
ade,
R m t ac
e ons r n e, 48 7
Rm m
.

ns z eatirial poetr y in g mmk us s satir '

Ren oval d
’

troops fin osto maatbam x

'
s ical pr ose, 446 ; special for ms ofi447 z ban
speech o m oooclul iu
n ofd oy ter, 448 , c had; 449 ; r onom
pa asia 45 0 ; ,

R en fi a we 45 ” N 10 " . a
m
se nee,
4 3 3 453 rep rt ee, 453 ;
mms}
.
. .

Re p- double - outco e, 4 34 ; bu
'

fl ooner y . 4 5 5
m
°
o

R m us» yu sé f mmeodn t sn ws . m
R m
e

mm my power of rid iculo us, 460 ;

m m
e sneer , 4 39 ;
R epe utio aeh rn . leg itn te
’

m m
ofi n og w
R p iti
e et on , 60 ; e mphafie rp ; o{ words, a
vi lati
o on of e uphon y 26 metimes;Rig hfl of j m
so fl ukind s status ofim
.
4
m y “ ; of propoo time in a un M W e »
M l, ”
Rbo es-M R” . F . W .
, vocabular y of, r3 ;

Rofi w Q u m W m
y ofi r u popn
Ra muss
m
s h rity of, r 5 ; asouroe of allueion . i a
o
Ra mfl am m fi Ol i d ‘s; Roek on ee n hynm n ro
m
t

meta
.

parallel “
—
; in- 9 9 ;

p h or , l oo r m; aw l-
resin, m; allegor y ,

R ll Ri hard
o e, c , de Hamp le o , quoted, 5 5 .
W 1 16 ; 1 76

allusio m r r G- t o a ; W m: pig l

R ma
o n ce “;
Ro mntic echod in hterature m
m
Rot eaus C fessiona
'
m m
R uleg hov far uneful s .

R ankin eopionsness ofi ur ; des mpt on byr ,

R u llsse , Lo d r J ohn, qu t d o e , a
a3; W .

quoted, u7 cln ufia twn by 333

mment
.
,

Russian Ar speech by Fox, contrast

t timo y
,

in. 3 7 4 ; personal attack by 5 35 es n

of a d ver m
y tw ned a gaina hi md fim
n min dwisions d mbj ecaazv ocabuh ry
d m fim m x3 ; dfl erena fiomlogie, 8 ”
s
o und tn En is gl h , 26 5 2 63.

30 9 : method ,
—
4 6 ; em
0 otion s. 407
4 88 : d epart ments of lwfl atnre , 8
4 9 6 07
- .

s afa
R he tor ical sty le a nlg p lx

I .

Rhodian oratory , 4 .

R hodom on taded oa

R m
hy e, efiect ot, on lan uag e, 35 ; g v erse, Sammah h M ar , De Qumoey s
'
, voabula
iy

of, t 3.
 I nd ex .

Sax J h G qu d 5 85
e, o n ote scr iption bn fi s; exor diu moc z m z pero

Sayi g
.
.
, ,

u s, c rrent, 1 39 . t
raion of. 405 ; repart ee of. 4 5 3 : suspen se
fi ial atai m t f
n

S a d i av ia p y 86n n oetr 1 of, 5 17 ; super c t n en s o 5 53 ;

fl i d pa ag
c n ,

ry i fi i
.
,

S ct on , or 555 ss es in ,
n 32 3
th ught Sid h u t i a ry 5
c ene .
.

Sc enic d escription , 335 ; orde of o r e t r s n or to 37

Si g
.
, ,

in , 35 3 f C i h m du i
e e o f 394 or n t tro ct on o
S ig f
.
,

F my
,

Sc honber - otta a il , 3 1 4 gC . hi g i5
g9 ifi
n d or t n $s1 n e , 1 30.

S cience , a source of n ew wor ds, 4 1 p ace in l S 1g nificatio , 1 3 1 .

“

c a l
ssi ca fi
ti on o f kn ow ed e for , 497 con l g °
S en c e, asource of the sub im
il e, 43 5 l
Sv
.

tr ov ersi es in, 5 0 1 il er age, 4

l gy
.

writi g 494 S m ari ty com

.

SClenlifiC n s, : i il pared th anao , 3 73 wi

Sc or n, 4 7 3
Scott, S ir Walt v abula y f 3 qu t d er, oc r o 1 o e S imple s ructure in se ntences, 49 - 5 3
t
l y fi
.
, ,

1 3 0, 74 78 198 36»473 $ 84 $ 36 ;
1 , 1 3 S imp icit , 9 ; de ned and ustraed , 1 0 ; ill t
atili ty f 4 ; w d m m
, . , 1

epith t f 37 ; v es o , 1 ers o 3 3 or concrete ore si ple an abs ract, 1 1 , th t

g Ag g
,

ai ti f
n 9 ; aimn f 3 6 ;
o ati v 3 2 o 1 cre e p r o d u ced by ords o f n lo -
w
Sa on ori in, x
p
yL
, ,

1 3 - 1 5 ; by m an at in ords, 1 6 , 1 7 ; oon w
3 24 : chaacte r
united by . 3 5 3 ; r and plo t du c ive t o en er . 33 7. gy
i
descr ption by 490 ; coni pared ron , with B y S hawn , R . uoted , 45 1 q
ity
.
.

493 obj ec t e n a rration by , 49 5 iv . S in ce r , 5 66 .

Scot sh hum ti o r 4 35 S innama nd his o pa n ons, a

’
Cm i
llegory ot, 1 1 3 .

S ri l it y fig
, .

res, sim Ski nne r s Ety m

’
c pt u p ic of, 16 ures of olog ioon , 4o.

speec h in , 68, al usion in , l S lang aso urc e d new wor dg 4 1 ; na tu re of,

quoted 1 60 , 1 6 x, 3 1 6, n o 1 2 3, 4 30, 4 86, 3 71

Smi h Al xa d q u d
.
, ,

4 88, 5 7 7 n ersio n in, 1 96 ; pleonaivs c fig ti t e n er , ote 115 ; Pia in ,

76 S yd y q u wd
, ,

ures in, z i 8 ; ener , 2 36 gy c a d o te . 3 ; ne o . t o . 3 35 ,

} 433.
m
. .

S easons, 31 5 b lliant ? of,

4 49 . ri
fi m
.

S ec ret use m ad e of, in ct ion , 3 53 S oothnese of ety le, 3 m

S
.

t ry
.
.

Self de prec iation in orao , 5 0 5

~ neer , 4 5 9

S lf t
. .

e -
es ee m 466
, . Soberneu ot sty le. 3 3 5
'

Self pr eservation, 46 5
~
. Social at traction, power 0 5 467 ; sc ence, 497 .i
Sensation n o els, plot in, 353 v
S t l g g m t S l m S g qu t d
.

en enc e, sho t a nd o n . 49 : a rr a r
n e en o o on s
’
on oe 1 36.

ity
, ,

of words in , so, 5 1 , 5 4 : un in. 5 2 , 5 3. 5 4 ; $ 0 0 8 , 599

close of, 2 84

S t t l tyl
.

en im en a s e, 306.
q
Se uen ce, 5 8°
Ser m ociu atio, 20 1
qi yl
.

Ses u pedaian st e, 307 l

v iy
.

Se er t of style, 3 3 5 .

Sévign é M adame de, 44 3

S mi m
,

q
,

ewa rd, i liam Wl

uot ed, 1 39 i c ) by ! 49 5»
y
.

q
.

S hak espeare, ocabu lar of, 1 3 ; u v

ot ed, 1 9 , S pa c e, su b im e in, 42 5 l
yl l g g
.

an. 82 , 8 7 , 94 9 5 . 1 30, 1 3 3, 1 5 1 , 1 60 , 1 86 S pan ish . st e. 4 ; an ua e. dra a . 5 70 m

vity
. ,

t 89 . 1 94. zoo, 2 2 4, 22 7 . 297 , 4 3 1 , 45 2 , S parta n bre , 23 8

g u
.

4 5 4. 4 7 3. 4 7 5 , 48 5 , 48 7 , 5 1 8, 5 1 9, $ 2 3 , 5 30 , S pecies put for en s, 1 38

Q y
.

5 84 ; n ew words, 40 i ed et aphors in, mx m S pectr e of the B rack en, De ’

uince s, v o
1 09 , 1 10 ; a so urce ao z epi
of l
alusion , t ca bulary of, 1 3
gy t l ty
.

th ets of, 1 40 ; ener of 2 36 ; ersai i of v Spence, S ir at rick, 1 3 1 P

g l y Q
, , .

2 43 ; in v tien on of, 3 2 5 ; or d er of tho u h t S pen ser , oca bu a rv of, 1 3 ; F a

erie ueene,
in, 3 5 4 ; pathe c in, 482 ti . l g y
ale or of, 1 1 3 ; aim of, 3 1 6 ; in en tion v
q
S heil uoted, 1 5 5 , 486 of, 32 4, 3 2 5 su bj ec e na ra t on by, 49 5 tiv r i
ly v l y yl
, . .

S he l e , ocabua r of, 1 3 ; uo ed, 1 3, 1 9, q t Spirit uelle st e, 3 5 8

s
.

86, 9 7 , n o, 1 86 . 2 3 9 2 5 7 , 2 66, 4 2 2 ; epi m , pon d ee, 5 92

th ets of, 1 40 ; sp ri tuelle in, 2 5 8 ; in en tion i v q
S uib, 440
of, 3 2 4 ; su bli it of, 430 ; subj ecti e nar my v S tabat M a er, 48 1 t
g gt
.

ra tion by , 4 9 5 S ta e fri h , 5 66
q
‘
.

S heridan , uoted, 1 49 , 1 5 3, 5 47 ; n ention iv S tan za. 5 96

of, 3 1 9 ; statu s of. 32 9 ; pr oof by. 349 : d e S tatus, de fi iin t on of, 33 7 ; where the aim is
St eele. implid ty ot
a
’
to ; amol,
i 3 1 5. S yn at hroianna
, 15 1

m e uy l
, .

S e of u; M i ro ; qu t
o ed.
3 11 ; m fl yk d zs a
S tilted style, 306 Sn o w ma n
S mh
.

t ockd ale, Ersk ne : i uc for , aw ak e

ar xunent in, 36 9 ; amplfiw ion in, 3 79 ;
contr ol ol e oti m mby d w S y ym -w
non ord s, “
S y
.

tor , Joseph, q
uoted, 5 3 8 ; WM Wet

M M
rg m en
Streng t hening ol a
BI .

myfl .
m am d a m u mmo-S n

ment a future c m m
m
stat e
'

ot ence, 5 1 4 ;
o
dwellin g
upon a pro - luau. 5 1 5 ;
mention, 5 3 6 ; holding the audienu in sus
m
m 5 1 7 ; pre
r m
ion fa what is to fol o

lo w, 5 1 8 ; u x
ne pected sta temen , 5 1 94 refer t
e ce to t e pa st p o ; poa ihili ty oontr a
n h fl ed
m h realiry sn ; exli fl n $n ; m m
M d d aM p fi m
to o bj oction q ; a m
nticipation d obj eo

mPoetry $ 9 8
Tales fromS hakespeare
, '

Talmud qu
, 35 4
.

o te , d «3
Tam yl
,

e st e . 3 37 .

Ta k C wp
s . o
’
et q voc abuluy 06 1 3 ; aim oi;
”S
1 3 33 0, mven tion o‘ 33 5
Ta
,

st e. 4 13.
Tau tology. a8.
Tayl or, J m m
a uenoe of, 59 ; copiouenees
of. 3 4 1 .
1 m tion no tyrann y , 380.

1 86. m m me w my o an
5 85 5 864 87 4 89 5 90 594 ; " w ho 0 £

of. 33 5 ; parod y on , 444 ; gi

a anst Bulw er,
5 64 I ndex .

W ayland qnoted, 1 76, 2 1 4 . W ils n P o , rofessor , 1 28 .

W alth
e 468.
im a
,

Wehn er Da,
nid qnoted,
. a t; e
was "
to: and ,
”
281 .

3 1 5 ; on tl1ne of speech a ga mst li ayne . 3st ;

r a m
e blea rkq g s; phys ml ad a ages
v nt

o z$ 59

M mfi
a mm
83, 1 06 , 1 1 6, 1 98,

m
15 ; 131,

mmn
,

c uti an W h y ; il us ofib ; o

lustr ativ agume t

e r n in, 3 70 ; d amess of
n au seat ing ” ; cond u d m oc ; per m tin w ration lmm; expos itory poetry
m l anaek in. 5 3 5 ; deienoe tnmed to st o
012 496
me a Worb
’

ot art in deseripfio mm; ol m h

Whately vo aboh l y 012 1 3 ; ne w “
Wmh u
.
,

n o

M Hi t y
s or at N th or m
Ca hna by,
'

Xenophon m notedd md oenoe of etyle in,

qu mpared with Plnt
,

oted- 3 46. 59 ; eo o, 49 5 .

Whieh "
rep ated . 264 .

Yonng D r Ed w
m
. .

W h a ua pository poetry o fl wfi
WM Tm W , e, h ood-d on of,

W il mm w mm d m

TH E E N D.