Invention and Craft: A Guide to College

Writing 1st Edition Ronda Leathers

Dively
Visit to download the full and correct content document:
https://textbookfull.com/product/invention-and-craft-a-guide-to-college-writing-1st-editi
on-ronda-leathers-dively/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

The College Writer: A Guide to Thinking, Writing, and

Researching 6th Edition John Van Rys

https://textbookfull.com/product/the-college-writer-a-guide-to-
thinking-writing-and-researching-6th-edition-john-van-rys/

Writing about Writing A College Reader Third Edition

Elizabeth Wardle

https://textbookfull.com/product/writing-about-writing-a-college-
reader-third-edition-elizabeth-wardle/

The McGraw Hill Guide Writing for College Writing for

Life 4th Edition Duane Roen

https://textbookfull.com/product/the-mcgraw-hill-guide-writing-
for-college-writing-for-life-4th-edition-duane-roen/

The College Instructor s Guide to Writing Test Items

Measuring Student Learning 1st Edition Michael
Rodriguez

https://textbookfull.com/product/the-college-instructor-s-guide-
to-writing-test-items-measuring-student-learning-1st-edition-
michael-rodriguez/
The Craft of Scientific Writing Michael Alley

https://textbookfull.com/product/the-craft-of-scientific-writing-
michael-alley/

A pocket guide to college success 2nd Edition Jamie H.

Shushan

https://textbookfull.com/product/a-pocket-guide-to-college-
success-2nd-edition-jamie-h-shushan/

Narrative Design: The Craft of Writing for Games 1st

Edition Breault

https://textbookfull.com/product/narrative-design-the-craft-of-
writing-for-games-1st-edition-breault/

Assignments across the Curriculum A National Study of

College Writing 1st Edition Dan Melzer

https://textbookfull.com/product/assignments-across-the-
curriculum-a-national-study-of-college-writing-1st-edition-dan-
melzer/

Critical Writing A Guide To Writing A Paper Using The

Concepts And Processes Of Critical Thinking Gerald
Nosich

https://textbookfull.com/product/critical-writing-a-guide-to-
writing-a-paper-using-the-concepts-and-processes-of-critical-
thinking-gerald-nosich/
INVENTION AND CRAFT
A Guide to College Writing
MLA Updated Edition
INVENTION AND CRAFT
A Guide to College Writing
MLA Updated Edition

Ronda Leathers Dively

Southern Illinois University Carbondale
INVENTION AND CRAFT: A GUIDE TO COLLEGE WRITING, MLA UPDATED EDITION

Published by McGraw-Hill Education, 2 Penn Plaza, New York, NY 10121. Copyright © 2016 by
McGraw-Hill Education. All rights reserved. No part of this publication may be reproduced or
distributed in any form or by any means, or stored in a database or retrieval system, without the prior
written consent of McGraw-Hill Education, including, but not limited to, in any network or other
electronic storage or transmission, or broadcast for distance learning.

1 2 3 4 5 6 7 8 9 0 DOC/DOC 1 0 9 8 7 6 5

ISBN 978-1-259-98866-0
MHID 1-259-98866-X

Senior Vice President, Products & Markets: Kurt L. Strand

Vice President, General Manager, Products & Markets: Michael Ryan
Vice President, Content Design & Delivery: Kimberly Meriwether David
Managing Director: David S. Patterson
Director: Susan Gouijnstook
Executive Brand Manager: Claire Brantley Content Project Managers: Diane L. Nowaczyk,
Director, Product Development: Meghan Campbell Samantha Donisi-Hamm, Judi David
Senior Marketing Manager: Brigeth Rivera Buyer: Michael McCormick
Lead Product Developer: Lisa Pinto Design: Debra Kubiak
Coordinator: Lindsey Varghese Content Licensing Specialist: Lori Hancock
Lead Digital Product Analyst: Janet Smith Cover Image: franckreporter/Getty Images
Director, Content Design & Delivery: Terri Schiesl Compositor: Laserwords Private Limited
Program Manager: Jennifer Gehl

All credits appearing on page or at the end of the book are considered to be an extension of the copyright page.

Library of Congress Cataloging-in-Publication Data

Dively, Ronda Leathers.

Invention and craft : a guide to college writing / Ronda Leathers Dively, Southern Illinois University-Carbondale.
    pages cm
ISBN 978-0-07-340603-9 (alk. paper)
1. English language—Rhetoric. 2. Report writing. 3. College readers. I. Title.
PE1408.D585 2015
808'.042—dc23
2014038968

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a website does
not indicate an endorsement by the authors or McGraw-Hill Education, and McGraw-Hill Education does not
guarantee the accuracy of the information presented at these sites.

www.mhhe.com
DEDICATION
To my family
 Brief Contents
Preface xxii

Part ONE Creating Contexts for Understanding Composition 1

1 Composition and Creativity 1

2 Composing Processes and Creative Processes 17

3 Rhetorical Situations 33

4 Invention Strategies 53

5 Research Strategies 65

Part TWO Creating Texts That Inform 77

6 Introduction to Texts That Inform 77

7 Memoir 85

8 Profile 109

9 Report 131

10 Annotated Bibliography 163

Part THREE Creating Texts That Analyze 185

11 Introduction to Texts That Analyze 185

12 Writing-Process Analysis 191

13 Visual Analysis 207

14 Rhetorical Analysis 225

15 Literary Analysis 247

vi
 Brief Contents vii

Part FOUR Creating Texts That Argue 277

16 Introduction to Texts That Argue 277

17 Research Proposal 287

18 Review 309

19 Position Paper 329

20 Problem-Solution Paper 347

Part FIVE Creating Presentation-Quality Final Products 373

21 Source Integration and Citation 373

22 Document Design 391

23 Revision and Editing 405

24 Peer and Instructor Review 421

25 Portfolios 431

Photo Credits 443

Text and Line Art Credits 444

Index 445
 Contents

Preface xxii

Part ONE Creating Contexts for Understanding Composition 1

1 Composition and Creativity 1

Some Straight Talk about Composition Courses 2
The Search for Creativity in Expository Writing 3
Expository Writing and Other Creative Activities 4
Creativity and Self-Awareness 6
The Transfer of Composing Knowledge 8
Conditions for Knowledge Transfer 9
Routes for Knowledge Transfer in Composition 10
Processes Involved in Knowledge Transfer 11
Negative Transfer and Composing Myths 13
An Invitation to Create in Your Composition Course 13

2 Composing Processes and Creative Processes 17

A Composing Model 18
Invention 19
Drafting 21
Revision 22
Editing 23
Expository Writing as a Creative Act 24
The Creative Process Model 24
First Insight 25
Preparation 26
Incubation 26
Insight 27
Verification 28
viii
 Contents ix

The Creative Process Model and Expository

Writing 28
Reflection and Your Development as a
Writer 29

3 Rhetorical Situations 33
Overlap between Creative and Expository
Writing 34
Creativity and the Rhetorical Situation 36
Rhetoric and Constructive Constraints 37
Elements of the Rhetorical Situation 40
Audience and Forum 40
Topic 42
Genre 44
Author’s Purpose 45
Author’s Role 46
Rhetorical Appeals 47
Ethos 47
Pathos 48
Logos 49
Rhetoric and Creative Drive 50

4 Invention Strategies 53
Prewriting Techniques 54
Unstructured Prewriting Techniques 55
Structured Prewriting Techniques 60
Invention beyond the Composition Classroom 63

5 Research Strategies 65
Research Methods 66
Primary Research 67
Secondary Research 71
Strategies for Managing Secondary
Research 74
Research, Invention, and Knowledge
Transfer 75
x Contents

Part TWO Creating Texts That Inform 77

6 Introduction to Texts That Inform 77

Purposes and Strategies for
Informing 78
Application in College and the
Workplace 81

7 Memoir 85
Distinguishing Features of a Memoir 86
Processes for Composing a Memoir 88
Invention toward First Insight 88
Preparation through Research 90
Invention toward More Focused Insight 91
Strategies for Drafting 93
Revision and Editing 95
Transfer to Other Writing Situations 96
READINGS 98
“One Writer’s Beginnings,” by Eudora Welty 98
“The Workers,” by Richard Rodriguez 102

8 Profile 109
Distinguishing Features of a Profile 110
Processes for Composing a Profile 111
Invention toward First Insight 112
Preparation through Research 112
Invention toward More Focused Insight 115
Strategies for Drafting 115
Revision and Editing 116
Transfer to Other Writing Situations 117
READINGS 119
“From a Dream to Reality,” by Erin
Anderson, a First-Year Composition
Student 119
“Reinventing Rio,” by Alan Riding 122
 Contents xi

9 Report 131
Distinguishing Features of a Report 132
Processes for Composing a Report 138
Invention toward First Insight 138
Preparation through Research 139
Invention toward More Focused Insight 139
Strategies for Drafting 139
Revision and Editing 141
Transfer to Other Writing Situations 142
READINGS 143
“Mirror, Mirror on My Facebook Wall: Effects of Exposure to Facebook
on Self-Esteem,” by Amy L. Gonzales and Jeffrey T. Hancock 143
“The History and Psychology of Clowns Being Scary,” by Linda Rodriguez
McRobbie 153

10 Annotated Bibliography 163

Distinguishing Features of an Annotated Bibliography 165
Processes for Composing an Annotated Bibliography 168
Invention toward First Insight 168
Preparation through Research 168
Invention toward More Focused Insight 169
Strategies for Drafting 169
Revision and Editing 172
Transfer to Other Writing Situations 172
READINGS 176
“Teen Dating Violence: A Literature Review and Annotated Bibliography,”
by Priscilla Offenhauer and Alice Buchalter 176
“Design and the Social Sector: An Annotated Bibliography,” by Courtney
Drake and Deirdre Cerminaro with William Drenttel 179

Part THREE Creating Texts That Analyze 185

11 Introduction to Texts That Analyze 185

Purposes and Strategies for Analyzing 186
Application in College and the Workplace 187
xii Contents

12 Writing-Process Analysis 191

Distinguishing Features of a Writing-Process Analysis 192
Processes for Composing a Writing-Process Analysis 194
Invention toward First Insight 196
Preparation through Research 197
Invention toward More Focused Insight 198
Strategies for Drafting 198
Revision and Editing 199
Transfer to Other Writing Situations 200
READINGS 202
“The Watcher at the Gates,” by Gail Godwin 202
“A Way of Writing,” by William Stafford 204

13 Visual Analysis 207

Distinguishing Features of a Visual Analysis 208
Processes for Composing a Visual Analysis 211
Invention toward First Insight 211
Preparation through Research 212
Invention toward More Focused Insight 212
Strategies for Drafting 213
Revision and Editing 214
Transfer to Other Writing Situations 215
READINGS 217
“Is Team USA’s Militaristic Uniform a Problem?,” by
Paul Achter 217
“The Heritage of Berlin Street Art and Graffiti Scene,” by
Simon Arms 219

14 Rhetorical Analysis 225

Distinguishing Features of a Rhetorical Analysis 226
Processes for Composing a Rhetorical Analysis 229
Invention toward First Insight 229
Preparation through Research 230
Invention toward More Focused Insight 231
Strategies for Drafting 231
Revision and Editing 232
Transfer to Other Writing Situations 232
 Contents xiii

READINGS 234
“A More Perfect Union,” delivered by Senator Barack Obama on March 18,
2008 234
“Why It Worked: A Rhetorical Analysis of Obama’s Speech on Race,” by
Roy Peter Clark 241

15 Literary Analysis 247

Distinguishing Features of a Literary Analysis 248
Processes for Composing a Literary Analysis 253
Invention toward First Insight 253
Preparation through Research 253
Invention toward More Focused Insight 254
Strategies for Drafting 254
Revision and Editing 256
Transfer to Other Writing Situations 256
READINGS 258
“ ‘Neither Can Live While the Other Survives’: The Driving Force of
Revenge in Harry Potter,” by Heidi Nielson 258
“Untold Story: The Lying Narrator in ‘The Black Cat,’ ” by Susan Amper 265

Part FOUR Creating Texts That Argue 277

16 Introduction to Texts That Argue 277

Purposes of and Strategies for Arguing 278
Tone 278
Structure 279
Logical Fallacies 281
Application in College and the Workplace 285

17 Research Proposal 287

Distinguishing Features of a Research Proposal 288
Introduction 290
Statement of Purpose 290
Projected Contributions 290
Literature Review 291
Research Methods 291
Conclusion 292
Works Cited or References 292
The Parts as a Whole 292
xiv Contents

Processes for Composing a Research Proposal 296

Invention toward First Insight 296
Preparation through Research 297
Invention toward More Focused Insight 297
Strategies for Drafting 298
Revision and Editing 298
Transfer to Other Writing Situations 299
READINGS 301
“Exploring and Developing Stage Combat Methodologies,” by Whitney
Elmore, an Undergraduate Student 301
“The Evolution of Ethics,” by Matt Warren, an Undergraduate
Student 304

18 Review 309
Distinguishing Features of a Review 310
Processes for Composing a Review 314
Invention toward First Insight 317
Preparation through Research 317
Invention toward More Focused Insight 317
Strategies for Drafting 318
Revision and Editing 319
Transfer to Other Writing Situations 320
READINGS 322
“ ‘Gris Grimly’s Frankenstein’ Revisits, Enhances Shelley’s Famous Tale,”
by Karen Sandstrom 322
“Old ‘Cosmos’ vs. New ‘Cosmos’: Who’s the King of the Universe?,” by
Chris Taylor 323

19 Position Paper 329

Distinguishing Features of a Position Paper 330
Processes for Composing a Position Paper 335
Invention toward First Insight 335
Preparation through Research 336
Invention toward More Focused Insight 336
Strategies for Drafting 337
Revision and Editing 338
Transfer to Other Writing Situations 338
READINGS 341
“Homeschooling’s Liberalism,” by David Mills 341
“Educating Girls Is a Good Investment,” by Becky Smith Conover 344
 Contents xv

20 Problem-Solution Paper 347

Distinguishing Features of a Problem-Solution Paper 348
Processes for Composing a Problem-Solution Paper 353
Invention toward First Insight 353
Preparation through Research 353
Invention toward More Focused Insight 354
Strategies for Drafting 354
Revision and Editing 356
Transfer to Other Writing Situations 357
READINGS 359
“The Creativity Crisis,” by Po Bronson and Ashley Merryman 359
“It Can’t Happen Here: Why Is There So Little Coverage of Americans
Who Are Struggling with Poverty?,” by Dan Froomkin 366

Part FIVE Creating Presentation-Quality Final Products 373

21 Source Integration and Citation 373

Strategies for Meshing Sources 374
Summary 374
Paraphrase 375
Direct Quote 378
Synthesis 380
Strategies for Citing Sources 381
Logic of Citation in MLA and APA 382
MLA Internal Citations 382
MLA Works Cited Page Entries 383
APA Internal Citations 385
APA References Page Entries 386
Transfer across Writing Situations 389

22 Document Design 391

Emphasis 392
Bold Print 392
Italics (or Underlining) 393
Scare Quotes 394
xvi Contents

White Space 394

Paragraphs 395
Subheadings 395
Bulleted and Numbered Lists 396
Alignment 398
Images and Tables 399
Images 399
Tables, Charts, and Graphs 401
Transfer across Writing Situations 403

23 Revision and Editing 405

Revision 406
Criteria for Productive Revision 406
Processes for Revising 407
Editing 410
Common Surface Errors 410
Processes for Editing 418
Transfer across Writing Situations 418

24 Peer and Instructor Review 421

Invention Workshops 422
Peer Review 424
Instructor Feedback 426
Writing Center Visits 427
Transfer across Writing Situations 429

25 Portfolios 431
Portfolio-Based Composition Courses 432
Portfolio Content 433
Document Selection 434
Reflective Introduction 435
A Word about Procrastination 439
E-Portfolios 440
Transfer across Writing Situations 440

Photo Credits 443

Text and Line Art Credits 444
Index 445
 List of Readings, Myths, and Genre Diagrams

Readings by Chapter
Chapter 7
“One Writer’s Beginnings,” by Eudora Welty 98
“The Workers,” by Richard Rodriguez 102

Chapter 8
“From a Dream to Reality,” by Erin Anderson, a First-Year Composition
Student 119
“Reinventing Rio,” by Alan Riding 122

Chapter 9
“Mirror, Mirror on My Facebook Wall: Effects of Exposure to Facebook
on Self-Esteem,” by Amy Gonzales and Jeffrey T. Hancock 143
“The History and Psychology of Clowns Being Scary,” by Linda
Rodriguez McRobbie 153

Chapter 10
“Teen Dating Violence: A Literature Review and Annotated
Bibliography,” by Priscilla Offenhauer and Alice Buchalter 176
“Design and the Social Sector: An Annotated Bibliography,” by
Courtney Drake and Deirdre Cerminaro with William Drenttel 179

Chapter 12
“The Watcher at the Gates,” by Gail Godwin 202
“A Way of Writing,” by William Stafford 204

Chapter 13
“Is Team USA’s Militaristic Uniform a Problem?,” by Paul Achter 217
“The Heritage of Berlin Street Art and Graffiti Scene,” by Simon
Arms 219

Chapter 14
“A More Perfect Union,” delivered by Senator Barack Obama on
March 18, 2008 234
“Why It Worked: A Rhetorical Analysis of Obama’s Speech on Race,”
by Roy Peter Clark 241
xvii
xviii List of Readings, Myths, and Genre Diagrams

Chapter 15
“‘Neither Can Live While the Other Survives’: The Driving Force of
Revenge in Harry Potter,” by Heidi Nielson 258
“Untold Story: The Lying Narrator in ‘The Black Cat,’” by Susan Amper 265

Chapter 17
“Exploring and Developing Stage Combat Methodologies,” by
Whitney Elmore, an Undergraduate Student 301
“The Evolution of Ethics,” by Matt Warren, an Undergraduate
Student 304

Chapter 18
“‘Gris Grimly’s Frankenstein’ Revisits, Enhances Shelley’s Famous
Tale,” by Karen Sandstrom 322
“Old ‘Cosmos’ vs. New ‘Cosmos’: Who’s the King of the Universe?,” by
Chris Taylor 323

Chapter 19
“Homeschooling’s Liberalism,” by David Mills 341
“Educating Girls Is a Good Investment,” by Becky Smith Conover 344

Chapter 20
“The Creativity Crisis,” by Po Bronson and Ashley Merryman 359
“It Can’t Happen Here: Why Is There So Little Coverage of Americans
Who Are Struggling with Poverty?,” by Dan Froomkin 366

Myth and Reality Boxes by Chapter

Chapter 1 5 14
Chapter 2 21 26
Chapter 3 36 44
Chapter 4 54
Chapter 5 67 74
Chapter 7 87
Chapter 8 110
Chapter 9 132
Chapter 10 168 171
Chapter 12 192
Chapter 13 212
Chapter 14 226
Chapter 15 248 255
Chapter 16 279
Chapter 17 288
Chapter 18 310
Chapter 19 335
 List of Readings, Myths, and Genre Diagrams xix

Chapter 20 349
Chapter 21 375 375
Chapter 22 393 395
Chapter 23 409 410 412 414 418
Chapter 24 426 427 428
Chapter 25 435

Genre Diagrams by Chapter

Figure 6.1
Elements of an informative text 81
Figure 7.1
Key elements in a memoir 87
Figure 8.1
Relationships between elements of a profile 111
Figure 9.2
Some key features of a report 134
Figure 10.2
Path of development for an annotated bibliography 165
Figure 11.2
Elements of an analysis 188
Figure 12.1
Schematic for focusing a writing-process analysis 193
Figure 13.2
Schematic for conceiving a visual analysis 209
Figure 14.1
Interpretive lens for a rhetorical analysis 227
Figure 15.3
Elements of a literary analysis 250
Figure 16.3
Elements of the Toulmin system plotted in an argumentative essay 281
Figure 17.1
Role of a research proposal in the research process 289
Figure 18.3
Elements of a review 313
Figure 19.3
Elements of a position paper 332
Figure 20.3
Relationships between causes and solutions 355
 The Learning Support System to

Flexible Text Format

■ McGraw-Hill Education’s CREATE allows instructors to build their own course
material to perfectly match their course by selecting specific chapters from
Invention and Craft. Instructors may also add readings from a wide range of
collections or include their own content, such as syllabi, assignments, and
course information. Finally, instructors may choose to offer their students a
print or electronic version of their customized version of Invention and Craft.

Connect Composition
McGraw-Hill Education’s Connect Composition® offers a wide array of tools for
students and instructors:
■ SmartBook®. SmartBook is the first and only adaptive reading experience
designed to change the way students read and learn. Dively’s Invention and
Craft will be offered in the SmartBook format.
■ Writing Assignments. Instructors can choose from a wide variety of customiz-
able writing assignments, with intuitive instructor commenting and annotating
capabilities.
■ LearnSmart Achieve®. McGraw-Hill Education’s newest adaptive learning
environment offers modules on writing topics across the curriculum: Writing
Processes, Critical Reading, the Research Process, Reasoning and Argument,
Grammar and Common Sentence Problems, Punctuation and Mechanics, and
Style and Word Choice, as well as a module for Multilingual Writers.
■ Power of Process. This brand-new Connect Composition tool guides students
through performance-based assessment activities that require them to apply
active reading and writing strategies.
■ Simple LMS Integration. Connect Composition seamlessly integrates with any
learning management system. Instructors can quickly access registration, atten-
dance, assignments, grades, and course resources in real time in one location.
■ Mobile Access. Students can now access powerful Connect Composition study
resources directly from their tablets and phones.

xx
Accompany Invention and Craft

■ Tegrity. Students can replay recordings of instructor lectures with this lecture-
capture tool.
■ Connect Insight. This analytics tool provides a series of visual data displays—
each framed by an intuitive question—to provide instructors with at-a-glance
information regarding how their classes are doing.
■ Outcomes-Based Assessment for Writing Assignments. Instructors and
administrators can incorporate their own custom learning outcomes into
Connect Composition, creating a grading rubric for specific course outcomes
and generating detailed reports for students, sections, or departments.
■ Four Years of Student Access. Students benefit from this dependable writing
and research resource throughout college, at a fraction of the cost of traditional
textbooks.

xxi
 Preface

Why Invention and Craft?

Invention and Craft: A Guide to College Writing offers a new approach to teach-
ing and learning in the first-year writing classroom. Invention and Craft draws on
the relationship between writing processes and the creative process model and
teaches a problem-solving, insight-driven approach to writing clearly and effec-
tively in all genres. Its emphasis on knowledge transfer instructs students to recog-
nize the p­ atterns that occur within and across genres and to apply what they know
to each new writing assignment. Invention and Craft offers special promise for
casting students in the role of meaning-makers by p­ inpointing strategies for trans-
forming knowledge—the hallmark of successful expository prose.

The Invention and Craft Structural

Framework
Building on her own scholarship about knowledge transfer, Ronda Leathers Dively
has designed a leading-edge instructional framework that guides students through
each step of their writing processes, from exercises that spur invention and insight to
strategies for transferring their knowledge to new writing situations. Dively explic-
itly maps the similarities between expository writing and creative activity in other
venues and invites students to write about their own creative and composing pro-
cesses. Dively’s creative approach demystifies the complexities of composition,
thereby building students’ confidence and energizing them to write.

Features of Invention and Craft

Invention and Craft offers innovation and flexibility with customizable content and
a learning support system that reinforces the author’s focus on creativity, reflection,
and metacognition.
Together with the tools available in Connect Composition, Invention and Craft
addresses the specific needs of the composition course:
■ A flexible solution for the writing course. In contrast to viewing all acts of
writing as disparate, with no familiar points of departure, Invention and Craft
acknowledges differences in both process and product, as well as applicability
across multiple contexts. SmartBook provides students with an adaptive reading
xxii
 Preface xxiii

experience, assists them in long-term knowledge retention, and prepares them

for active in-class participation and writing assignments that tap into students’
creative impulses.
■ Multiple features that promote metacognitive skills. Invention and Craft pro-
motes reflection through writing activities at the end of each assignment chapter
14 CHAPTER 1 | Composition and Creativity
that invite students to write about their own creative and composing processes.
By focusing on writing as a creative act, Invention and
Craft promotes metacognitive skills and helps students skills from pre
understand that expository composition isn’t as unfamil- MYTH it, as well as wha
you can apply the
iar or intimidating as it may seem. LearnSmart Achieve
“I don’t need a composition course. My most appropriate
prepares students to write in any situation by teaching
career plans won’t require me to write.” expository writing
the core topics in composition in an adaptive environ-
lens through
ment that promotes knowledge transfer. composing kno
■ A methodical approach that deconstructs common The first problem with this statement is that most every
be more
barriers to writing. Students often arrive with a host of career involves some sort of writing, even if only in the
scenarios, to rais
preconceptions about writers and writing that under- form of data charts or business-related communica-
insightful
mine their capacity for mastering college-level writing tions with employers or colleagues. The second prob- writing abilities.
challenges. Invention and Craft identifies and dispels lem is that it implies that your goals won’t change. At No matter wh
some point you’ll likely consider switching careers or tional experience
common misconceptions in Myth and Reality boxes
specific jobs within a given profession. If that different for impro
placed at strategic points throughout the text.
Each assignment chapter features A Look Inside, a path is more dependent on writing skills and you have tremendous.
failed to transfer what your writing course had to offer, you have the luxu
carefully ­annotated sample reading exemplifying the intently
you may be restricted in following your dreams or
genre in focus. A Look Inside walks students through Revised Pages are so essential t
advancing your career.
each genre, identifying rhetorical patterns and strategies beyond.
that students can transfer to their own reading and writ-
ing activities. REALITY an expert de
instructor
Application in College and the Workplace 189
that inborn talent
with the excitement that comes from tappin
will seize the opportunities that your

From The Interpretation of Dreams A LOOK INSIDE:

by Sigmund Freud
ANALYZING A DREAM ACTIVITY
It often happens that matter appears in the dream content Thinking about Writing Rules versus
Freud introduces his analysis by indicating
which one cannot recognise later in the waking state as
his interpretive lens: a pattern he’s noticed
writing (or “rules” that you suspect may be
belonging to one’s knowledge and experience. One remembers
in the way dreams pull “forgotten” experi- duced in this chapter? What myths or rule
well enough having dreamed about the subject in question, butt ences from the subconscious. What has been the impact of those myths or
cannot recall the fact or time of the experience. The dreamer
is therefore in the dark as to the source from which the dream
products? What, if any, myths or rules ha
has been drawing, and is even tempted to believe an indepen- read? What was their impact on you as a r
dently productive activity on the part of the dream, until, often questions, and be prepared to share them wit
long afterwards, a new episode brings back to recollection a
former experience given up as lost, and thus reveals the source
of the dream. One is thus forced to admit that something has
been known and remembered in the dream that has been with-
drawn from memory during the waking state.
IDEA FOR EXTENDED W
Delboeuf narrates from his own experience an especially Exploring an Instance of Knowledge
impressive example of this kind. He saw in his dream the your daily life or in school that il
courtyard of his house covered with snow, and found two little
had to accomplish something that
lizards half-frozen and buried in the snow. Being a lover of
animals, he picked them up, warmed them, and put them back
information from another area of e
into a crevice in the wall which was reserved for them. He also Freud describes the dream in detail, skill you had to learn for school, or i
gave them some small fern leaves that had been growing on thee including specific elements (the Latin figuring out how to solve a relatio
name of the plant and a procession
wall, which he knew they were fond of. In the dream he knew
of lizards) that he will later show to be
the name of the plant: Asplenium ruta muralis. The dream then n
 in bold print (for examples, look at the subheadings in this chapter). In addition to
helping readers quickly locate information, subheadings display a report’s large-
xxiv Preface scale development (imagine putting them together in an outline), and they visually
signal a change in topic.
Beyond subheadings, reports frequently depend on other visual aids—including
tables, graphs, flowcharts, diagrams, illustrations, and photographs—to reinforce or
■ A fresh approach to writing
illuminate processes.
certain concepts. Invention
(Consult Chapter and learn takes
22 toCraft a fresh
more about document
approach to writing processes.
design elements.) Chapter
After 2 focuses
all, especially on the interplay
for individuals between
who are visually writ-an
oriented,
image
ing process and can clarify
creative complex
process materialBy
models. at againing
glance. For
ansome examples, consider
understanding of thehow an
author might enhance a business report with graphs that show growth in sales for
recursive nature of writing
various products processes,
over a number students begin
of years—or to see
might thataall
improve writing
police reportiswith a
creative. Chapters
diagram 3, that
4, and 5 cover
records thepositions
the exact foundational concepts
of vehicles involved instudents need to
an accident.
approach any writing assignment,
To experience from employing
how visuals rhetorical
can clarify certain strategies
concepts, consider to
Figure 9.2,
which is intended to enhance your understanding of the relationships between key
engaging in invention and research. Twelve assignment chapters feature illustra-
features of a report. This figure emphasizes the objective, balanced, neutral approach
tions of genresofthat
a report in keeping with its aim of explaining some aspect of the currentvisual
inform, analyze, and argue. These illustrations engage knowl-
learners with edge
the abstract
base on a concepts
given topic that support
or issue. writing
In the Look inbox,
Inside every
yougenre.
can observe several
criteria associated with effective report writing. In this piece, a first-year composition

Knowledge base

Balanced
treatment REPORT

Experiences

FOCUS

Sources
Objective Neutral tone
stance

Figure 9.2 Some key features of a report. Reports focus on explaining some aspect of the current knowl-
edge base on a topic. As this figure illustrates, an objective stance, balanced treatment, and neutral tone are
key features of this genre.

Each assignment chapter closes with a focused discussion of how students can
transfer their knowledge of key elements of that genre to other writing situa-
tions. With
div06031_ch09_131-162.indd 134 Invention and Craft, students learn to approach each new writing 12/09/14 11:26 am

assignment equipped with the skills and strategies acquired from previous
­writing tasks, effectively transferring their knowledge from one assignment
to the next.
■ An abundance of opportunities to practice skills. Invention and Craft
­provides students with extensive practice of reading and writing skills through
invention exercises and strategies for drafting, as well as more comprehensive
activities at the end of each chapter. Built off the proven LearnSmart engine that
identifies what a student does or does not know and adapts in real time to
 Confirming Pages

Preface xxv
Transfer to Other Writing Situations 233

maximize each minutePublic

Academia
of time spent learning the
Relations
material, the SmartBook for
Politics
Invention and Craft
Professors weigh in on other profes- contains four stages: Preview,
Public relations personnel comb arti- Read,
Politicians Practice,
analyze and
their opponents’
Recharge. Starting with
sors’ publications to advance scholar-
ship (e.g., suggesting that certain an initial preview of
cles about the people or companies
they represent with the intent of each
cies, and misstatements so theylearning
chapter and key
rhetoric for gaps in logic, inconsisten-
can
objectives, students
claims are not appropriately qualified
or that placing emphasis on certain
read the material and
countering negative press.
are guided to topics that need the most
respond in ways that elevate their
own image or that of their
practice
observations on the
over others basis of their responses. In this way,
skews
impressions of a study’s results).
students
political party. engage with the
text as it prepares them to respond to various writing situations.
Figure 14.4 Uses for rhetorical analysis in different disciplines

ACTIVITY
Considering the Rhetoric of Fashion Human
beings communicate through various media, many of
them visual in nature, such as clothing. Locate a picture
(like the one of Lady Gaga in Figure 14.5) that depicts
someone who is clearly sending a message through his or
her fashion choices. Using whatever rhetorical elements
or appeals seem most applicable, analyze this person’s
fashion statement.

IDEA FOR EXTENDED

WRITING
Rhetorically Analyzing a Published Essay Think
of a document you recently read that really frustrated
you, angered you, made you want to cry, excited you,
motivated you to take action, made you proud to be a
part of something, caused you to admire somebody or
some institution, or caused you to view something dif- Figure 14.5 Lady Gaga using
ferently than you viewed it before. (If you can’t remem- fashion to make a “statement”
ber an article that had a strong impact on you, search
for one relevant to an issue that really interests you.) Once you have a copy of
that article in hand, read it again (and again), paying attention not only to what
the author said about the topic but also to the way he or she said it. Apply the
tools of rhetorical analysis to help you understand how the author appears to use
rhetorical elements and appeals to influence his or her intended audience.
Share your conclusions in a formal rhetorical analysis targeted for members of
that audience.

Why a Digital Solution for Writing Courses?

Connect Composition and LearnSmart Achieve ensure that students learn the core
topics of composition in a personalized system that identifies what they already
know while providing direct instruction on unfamiliar concepts. This integrated
system constantly adapts and changes as it learns more about each student—the
div06031_ch14_225-246.indd 233 10/24/14 10:20 PM

student’s strengths as well as knowledge gaps. McGraw-Hill Education’s digital

tools provide the kind of support instructors need to focus class time on the highest
course expectations while helping students establish themselves as critical thinkers,
communicate their ideas effectively, and transfer these skills to different courses
and assignments throughout their college experience.
Connect Composition offers four years of access to comprehensive, reliable
writing and research instruction. The following tools and services are available as
part of Connect Composition.
xxvi Preface
Feature Description
Simple LMS • Seamlessly integrates with every learning
Integration management system.
LearnSmart • Continuously adapts to a student’s strengths
Achieve and weaknesses to create personalized learn-
ing moments.
• Covers Writing Processes, Critical Reading,
the Research Process, Reasoning and
Argument, Multilingual Writers, Grammar
and Common Sentence Problems, Punctuation
and Mechanics, and Style and Word Choice.
• Provides reports for instructors, with data on
student and class performance.
SmartBook • Available for rhetorics, the first and only con-
tinuously adaptive reading experience that
identifies and highlights the topics a student
has not mastered.
• Provides reports for instructors, with data on
student and class performance.
Power of Process Guides students through the critical reading
and writing process step-by-step.
Insight Provides a quick view of student and class per-
formance with a series of visual data displays
that provide analysis on the following:
1. How are my students doing?
2. How is this student doing?
3. How is my section doing?
4. How is this assignment doing?
5. How are my assignments doing?
Writing • Allows instructors to assign and grade writ-
Assignments with ing assignments online.
Peer Review • Enables instructors to easily and efficiently
set up and manage peer review assignments
for the entire class.
• Allows students to highlight and comment
on their classmates’ writing submissions in
response to peer review questions assigned
by their instructor.
Outcomes-Based • Allows instructors or course administrators to
Assessment Tool assess student writing on the basis of specific
learning outcomes.
• Generates easy-to-read reports on program-
specific learning outcomes.
• Includes the Writing Program Administrators
learning outcomes or allows you to create
your own.
Connect eReader Provides access to additional readings that are
assignable via Connect Composition.
Instructional Value
• Students have automatic single sign-on.
• Connect assignment results sync to the LMS
gradebook.
• Students independently study the fundamen-
tal topics across Composition 1 and 2 in an
adaptive environment.
• Metacognitive component supports knowl-
edge transfer.
• Students track their own understanding and
mastery and know where their gaps are.
• The text adapts to the student on the basis of
what he or she knows and doesn’t know and
focuses study time on critical material.
• Metacognitive component supports knowl-
edge transfer.
• Students track their own understanding and
mastery and know where their gaps are.
• Students demonstrate understanding and
develop critical-thinking skills for reading,
writing, and evaluating sources by responding
to short-answer and annotation questions.
Students are also prompted to reflect on their
own processes.
• This tool guides students to consider a source
carefully.
Instructors can quickly check on student and
class performance.
• This feature makes grading writing assignments
more efficient, saving time for instructors.
• Students import their Word document(s), and
instructors can comment and annotate
submissions.
• Frequently used comments are automatically
saved, so instructors do not have to type the
same thing over and over.
• Students can download all comments made
by their peers to use as a reference when
rewriting their assignment.
• This tool provides assessment transparency to
students. They can see why a “B” is a “B” and
what it will take to improve to an “A.”
• Reports allow a program or instructor to dem-
onstrate progress against section, course, or
program goals.
Sample essays provide models for students on
writing.
 Preface xxvii

Feature Description Instructional Value

Instructor • Enables review of the performance of an
Reports individual student or an entire section.
• Enables review of multiple sections to gauge
progress toward course, department, or insti-
tutional goals.
Pretests and Provides precreated nonadaptive assessments
Posttests for pre- and posttesting.
• Instructors can identify struggling students
early and intervene to ensure retention.
• Instructors can identify challenging topics and
adjust instruction accordingly.
• Reports can be generated for an accreditation
process or program evaluation.
Pretest provides a static benchmark for student
knowledge at the beginning of the program.
Posttest offers a concluding assessment of stu-
dent progress.

Spotlight on Three Tools in Connect

LearnSmart Achieve LearnSmart Achieve helps learners establish a baseline
understanding of the language and concepts that make up the critical processes of
composition—writing, critical reading, research, reasoning and argument, gram-
mar, mechanics, and style, as well as issues surrounding multilingual writers.

LearnSmart Achieve is one of the adaptive learning tools offered in

Connect Composition.
xxviii Preface

Outcomes-Based Assessment of Writing Writing assignments with

Outcomes-Based Assessment provide a way for any instructor to grade a writing
assignment using a rubric of outcomes and proficiency levels. The Writing Program
Administrators (WPA) outcomes are preloaded; however, instructors may adapt
any of these outcomes or use their own. Instructors or administrators may choose to
share specific outcomes with other instructors or the whole department. Writing
Assignments with Outcomes-Based Assessment offer a range of clear, simple
reports that allow instructors or course administrators to view progress and achieve-
ment in a variety of ways. These reports may also satisfy department or college-
level requests for data relating to program goals or for accreditation purposes.

The Outcomes-Based Assessment tool offers a range of clear,

simple reports that allow instructors to view progress and
achievement in a variety of ways.

Power of Process Power of Process is the newest tool in Connect Composition.

Power of Process provides strategies that guide students through how to critically
read a piece of writing or consider it as a possible source for incorporation into their
own work. After they work through the strategies, which include highlighting and

Power of Process provides strategies that guide students in

­reading critically.
Another random document with
no related content on Scribd:
 With eger moode vp in my bed I starte.

52.

“And, is thy lord,” quoth I, “a sorcerer?

A wise man now become a dreame reader?
What though so Chaunteclere crowed? I reke it not:
On my part pled’th[1420] as well dame Partelot:
Uniudgde hangth yet the case betwixt them tway,
Ne was his dreame cause of his hap I say:
Shall dreming doubts from prince my seruing[1421]
slacke?
Nay, then mought[1422] Hastings lyfe and liuing lacke.”

53.

Hee parteth: I sleepe, my mynde surchargde with sinne,

As Phœbus beames by misty cloude kept in,
Ne coulde misgieue, ne dreame of my mishap,
As blocke I tumbled to myne enmies trap:
Security causles through my carelesse[1423] frende,
Reft mee foresight of my approaching end:
So Catesby clawed mee, as when the cat doth play,
Dalieng with mouse, whom strayght shee[1424]
myndes[1425] to slay.

54.

The morow come, the latest light to mee,

On palfray mounted, to the tower I hie,
Accompanied with that Haward my mortall foe,
To slaughter led, thou God wouldst haue it so:[1426]
(O deepe dissemblers, honouring with your cheare,
Whom in hid hart ye trayterously teare;)
Neuer had realme so open signes of wracke,
As I had shewde mee of my heauy[1427] hap.
 55.

The vision first of Stanley, late descryed:

Then mirth so extreme, that neare for ioy I dyed:
Were it, that swanlyke I foresong my death,
Or mery mynde foresaw the losse of breath,
That long it coueted, from this earth’s annoy:
But euen as siker as th’end of woe is ioy,
And glorious light to obscure night doth tend:
So extreame mirth in extreame moane doth end.

56.

For why, extreames are haps rackt out of course,

By violent might far swinged forth perforce,
Which as they are pearcingst while they violent’st moue,
For nearst they cleaue to[1428] cause that doth them
shoue:
So soonest fall from that theyr high’st[1429] extreame,
To th’other contrary that doth want of meane:
So laught[1430] he erst, who laughed out his breath:
So laught[1430] I, when I laught my selfe to death.

57.

The pleasingst meanes boade not the luckiest ends,

Not aye found treasure to like pleasure tends,
Mirth meanes not mirth all time, thrise happy hyre
Of wit, to shun th’excesse[1431] that all desire:
But this I passe: I hye to other like;
My palfrey in the playnest paued streete,
Thrise bowed his boanes, thrise kneeled on the flowre,
Thrise shond (as Balam’s asse) the dreaded towre.

58.

What, should I thinke hee had sence of after haps?

As beastes foreshew the drought, or rayny drops,
As humours in them want, or else abounde,
By influence from the heauens, or chaunge of ground,
Or doe we interpret by successe ech signe?
And as wee fancy, of ech hap deuyne?
And make that cause, that kin is to th’effect?
Not hauing ought of consequence respect?

59.

Bucephalus kneeling only to his lorde,

Shewde only, hee was monarche of the worlde:
Why may not then the steede foreshewe by fall,
What casuall hap the sitter happen shall?
Darius horse by braying bought a realme:
And what letteth, why he ne is (as the asse) God’s
meane,
By speaking signe to shewe his hap to come,
Who is deafe hearer of his speaking dome?

60.

But forward yet: in Tower streete I stayed,

Where (could I haue seene) loe, Haward, all bewrayed,
For as I commond with a priest I met:
“Away, my lord,” quoth he, “your time is ne yet
To take a priest.” Loe, Synon might bee seene
Had Troyans eares, as they had[1432] hares foole[1433]
eyen:
But, whom thou God allotted hast to dye,[1434]
Some grace it is[1435] to dy with wimpled eye.

61.

Ne[1436] was this all: for euen at Tower wharfe,

Neare to those walles within whose sight[1437] I starfe,
Where earst in sorrow soust and deepe distresse,
I emparted all my pining pensiuenesse
With Hastings: (so my purseuaunt men call)
Euen there, the same to meete it did mee fall:
Who gan to mee most dolefully renewe,
The woefull conference had erst in that lieu.

62.

“Hastings,” quoth I, “according now they[1438] fare,

At Pomfret this day dying, who causde that care,
My selfe haue all the world now[1439] at my will,
With pleasures cloyed, engorged with the fill:”
“God graunt it so:” quoth hee: “Why doubtst thou tho?”
Quoth I, and all in chafe to him gan shewe
In ample wise, our drift with tedious tale:
And entred so the Tower to my bale.

63.

What should wee thinke of signes? they are but haps,

How may they then be signes of afterclaps?
Doth euery chaunce foreshew or cause some other?
Or ending[1440] at it selfe, extendth no furder?
As th’ouerflowing floud some mount doth choake,
But to his ayde some other floud it yoake:
So, if with signes thy sinnes once ioyne, beware,
Els wherto chaunces tend, nere curious care.[1441]

64.

Had not my sinne deserude my death as wreake,

What might my mirth haue hurt? or horses becke?
Or Haward’s bitter scoffe? or Hastings talke?
What meane then foole astrologers to calke?[1442]
That twinckling sterres fling down the fixed fate?
And all is guyded by the sterry state?
Perdye, a certayne charge[1443] assignd they haue
 To shyne, and tymes deuyde, not fate to graue.

65.

But graunt they somwhat geue: is,[1444] at one instant,

Of euery babe the byrth in heauen so skand,
That they that restles roll, and neuer stay,
Should in his lyfe beare yet so violent swaye:
That, not his actions onely next to byrth,
But all his life and[1445] death be[1446] swayed therwith
How may one mocion make so sundry affectes?
Or one impression tend to such respectes?

66.

Some rule there is yet: els, why were deferd

Til now, these plagues, so long ere now deserude?
If for they are trifles, they ne seme of care:
But toyes with God the stateliest[1447] scepters are:
Yet in them to playne doth appeare foreset,
The certayne rule and fatal limittes set,
Yet thinke we not, this sure foresetting fate,
But God’s fast prouidence for ech princely state.

67.

And hath he erst restraind his prouidence?

Or is he nigard of his fre dispence?
Or is he vncertayne foreset driftes to dryue?
That not dame chaunce but he al goodes may giue
A heathen god they hold whom fortune kepe,
To deale them haps while God they wene asleepe:
Mocke-gods they are and many gods induce,
Who fortune fayne to father their abuse.

68.
How so it be, it mought[1448] haue warned me,
But, what I could not, that in me see ye,
Who runne in race, the honour like to win,
Whose fairest forme nought may deforme but sin:
Alas, when most I did defye all dread,
By single heare death’s word hong ouer my head,
For herke the end and listen now my fall:
This is the last, and this the fruit of all.

69.

To counsayle chamber come, a while we stayd

For him, without whom nought was done or sayde:
At last he came, and courteously excused,
That he[1449] so long our patience had abused:
And pleasauntly began to paint his cheere,
And said: “My lord of Elye, would we had here
Some of the strawberies, wherof you haue store:
The last delighted me so as nothing more.”

70.

“Would, what so you[1450] wish, I mought as wel

commaund,
My lord,” quoth he, “as those:” and out of hand
His seruaunt sendth to Ely place for them:
Out goeth from vs the restlesse deuil againe:
Belike (I thinke) scarse yet perswaded ful,
To worke the mischiefe that did mad his[1451] scul:
At last determind of his bloudy thought
And force ordaynde to worke the wyle he sought.

71.

Frowning he enters, with so chaunged cheare,

As[1452] for mylde May had chopped foule Januere:
And lowring on me with the goggle eye,
The whetted tuske, and furrowed[1453] forehead hye,
His crooked shoulder bristellike set vp.
With frothy iawes, whose foame he chawde and supd,
With angry lookes that flamed as the fyer:
Thus gan at last to grunt the grymest syre.

72.

“What meryte they, whom me[1454], the kingdome’s stay,

Contryued haue counsayle traiterously to slay?”
Abashed all sate: I thought I mought[1455] be bold,
For conscience, clearnesse, and acquaintance old:
“Their hire is playne,” quoth I, “be death the least
To whoso seketh your grace so to molest:”
Withouten stay: “The queene and the whore Shore’s
wyfe,
By witchcraft,” quoth he, “seke to wast my life.

73.

“Loe, here the wythered and bewytched arme,

That thus is spent by those two sorceresse’ charme:”
And bared his arme and shewed his swynish skinne,
Such cloaks they vse, that seke to clowd their sinne:
But out, alas, it serueth not for the rayne,
To al the house the colour was to playne:
Nature had giuen him many a maymed marke,
And it amonges to note her monstruous warke.

74.

My doubtfull harte distracted this replye:

For th’one I cared not: th’other nipt so nye
That whyst I cold not, but forthwith brake forth:
“If so it be, of death they are doubtlesse worth?”
“If, traitour?” quoth he, “playst thou with yfs and ands?
Ile on thy bodye auowe it with these hands:”
 And therwithal he mightlye bounced the borde,
In rushd his byl-men, one himselfe bestird.

75.

Laying at lord Stanley, whose brain he had surely cleft,

Had he not downe beneathe the table crept:
But Elye, Yorke, and I, were taken straight,
Imprisoned they, I should no longer wait,
But charged was to shriue me, and shift with hast:
My lorde must dine, and now midday was past:
The bore’s first dish, not the bore’s head should be:
But Hastinge’s head, the boarish beast would see.

76.

Why stay I his dinner? vnto the chappel ioyneth

A greenish hil, that body and soule oft twineth:
There on a blocke my head was striken of,
As Baptiste’s head,[1456] for Herode bloudy gnoffe:
Thus liued I, Baldwin, thus dyed I, thus I fel,
This is the summe, which al at large to tel
Would volumes fil: whence yet these lessons note
Ye noble lordes, to learne and ken by rote.

77.

By fylthy rising feare your names to stayne:

If not for vertue’s loue, for dread of payne,
Whom so the mindes vnquiet state vpheaues,
Be it for loue or feare, when fancye reaues
Reason her[1457] right, by mocking of the wyt,
If once the cause of this affection flit,
Reason preuayling on the vnbrideled thought:
Downe falth he who[1458] by fancye clymbe aloft.

78.
So hath the ryser fowle no stay from[1459] fal,
No not of those that raisde him first of al:
His suretie stands in mainteining the cause
That heaued him first, which reft by reason’s sawes,
Not onely falth he to his former state,
But liueth for euer in his prince’s hate:
And marke, my lordes, God for adultery sleath,
Though ye it thinke too sweete a sinne for death.

79.

Serue trulye your prince and feare not[1460] rebels might,

On princes halues the mightie God doth fight:
O much more then forsweare a forrein foe,
Who seeketh your realme and countrie to vndo:
Murther detest, haue handes vnstaind with bloud,
Aye with your succour do protect the good,
Chace treason where trust should be, wed to your
frend
Your hart and power, to your liue’s last end.

80.

Flie tickle credit, shunne alike distrust:

To true it is, and credite it you must:
The ialous nature wanteth no stormy strife,
The simple soule aye leadeth a sower life:
Beware of flatterers, frendes in outward show:
Best is of such to make your[1461] open foe:
What al men seeke, that al men seeke to fayne,
Some such to bee, some such to seeme, them payne.

81.

Marke God’s iust iudgements, punishing sinne by sinn,

And slipperie state wherein aloft we swimme:
The prouerbe, al day vp if we ne fall,
Agreeth wel to vs hie heaued worldlinges al:
From common sort vpraisde[1462] in honour’s weede
We shine, while fortune false, whom none erst feede,
To stand with staye and forsweare ticklenesse,
Sowseth vs in myre of durtie brittlenesse.

82.

And learne ye princes by my wronged sprite,

Not to misconster what is ment aright,
The whinged wordes too oft preuent the wyt,
When silence cesseth afore the lips to sit:
Alas, what may the wordes yeld worthy death?
The wordes worst is, the speaker’s stinking breath:
Wordes are but winde, why cost they then so much
The guiltye kycke, when they to smartly touche.

83.

Forth irreturnable flyeth the spoken word,

Be hit in scoffe, in earnest, or in bourd:
Without retourne, and vnreceiued, hit hangs,
And at the taker’s mercie, or rigour, stands:
Which if he sowerly wrest with wrathful cheare,
The shiuering word turnes to the speaker’s feare:
If frendly curtesie do the word expound,[1463]
To the speaker’s comfort swetely it doth redound.[1464]

84.

Euen as the vapour which the fier repels,

Turnes not to earth, but in myd aer dwels
Where while it hangth, if Boreas’ frosty flawes
With rigour rattle it, not to rayne it thawes,
But thunder, lightninges, ratling hayle, or[1465] snowe,
Sendes downe to earth, whence first it rose below:
But if fayre Phœbus with his countenaunce swete
 Resolue it, downe the dew, or manna, sleete.[1466]

85.

(The manna dew, that in the easterne landes,

Excelth the labour of the bees small handes:)
Els for her Memnon gray Aurora’s teares,
On the earth it stilleth, the partener of her feares:
Or sendeth sweet showers to glad their mother earth,
Whence first they tooke their first inconstant birth:
To so great griefes, il taken wordes do[1467] grow:
Of wordes wel taken, such delightes do flow.

86.

This learned, thus be here at length an end,

What since ensued, to thee I wil commend:
Now farewel, Baldwine, shield my torne name,
From slaunderous trompe of blasting blacke defame:
But, ere I part, hereof thou record beare:
I claime no parte of vertues reckned here:
My vice my selfe, but God my vertues take:
So hence depart I, as I entred naked.

87.

Thus ended Hastinges both his life and tale,

Contayning al his worldly blisse and bale:
Happye he liued, to happie but for sinne,
Happie hee dyed whom right his death did bring:
Thus euer happie, for there is no meane
Twixt blisseful liues and mortal deathe’s extreame:
Yet feared not his foes to staine his name,
And by these sclaunders to procure his shame.

88.

In rousty armure as in extreame shift,

They clad themselues, to cloake their diuelish drift:
And forthwith for substancial citezens sent,
Declaring to them, Hastinges forged entent,
Was to haue slaine the duke: and to haue seised
The kinge’s young person, slaying whom he had pleas’d:
But God of iustice had withturnd that fate,
Which, where it ought, light on his proper pate.

89.

Then practised they by[1468] proclamation spred,

Nought to forget, that mought[1469] defame him dead:
Which was so curious, and so clerkely pend,
So long withal, that when some did attend
His death so young, they saw, that long before
The shroude was shaped, then babe to dye was bore:
So wonteth God to blinde the worldly wise,
That not to see, that al the world espies.

90.

One hearing it cried out: “A goodly cast,

And wel contriued, foule cast away for hast:”
Whereto another gan in scoffe replie,
“First pend it was by enspiring prophecie:”
So can God reape vp secret mischiefes wrought,
To the confusion of the workers thought:
My lords, the tub, that dround the Clarence duke,
Dround not his death, nor yet his deathe’s rebuke.

91.

Your politique secrets gard with trusty loyalty:

So shal they lurke in most assured secrecie:
By Hastinge’s death, and after fame, ye learne
The earth for murther cryeth out vengeance sterne:
Flye from his faultes, and spare to hurt his fame,[1470]
The eager houndes forbeare their slayne game;
Dead, dead, auaunt curres from the conquered chase,
Il mought[1471] he liue who loueth the dead to race.

92.

Thus liued this lorde, thus died he, thus he slept,

Mids forward race when first to rest he stept,
Enuious death that bounceth aswel with mace
At Keysar’s courtes, as at the poorest gates:[1472]
When nature seemde to slow by arts sloape[1473] meane
Conueyghde him sooner to his liue’s extreame,
Happy, in preuenting woes that after hapt,
In slumber sweete his liuing lights hee lapt.

93.

Whose thus vntymely death, if any[1474] grieue,

Know hee, hee liu’d to dye, and dyde to liue:
Untymely neuer coms the liue’s last mett,
In cradell death may rightly clayme his[1475] debt:
Straight after byrth due is the fatall beere:
By death’s permission th’aged[1476] linger heere:
Euen in the swathbands our commission goeth
To loose thy breath, that yet but yongly bloweth.

94.

Happy, thryse happy, who so loosth his breath,

As life hee gayneth by his liuing[1477] death;
As Hastings here, whom tyme and truth agree
T’engraue[1478] by fame in strong eternity:
Who spareth not spitting, if hee spit but bloud?
Yet this our lord, sparde not for other’s good:
With one sweete breath his present death to speake,
Against th’vsurpour bore, that hellish freake.[1479]
 95.

Worthy to lyue, but[1480] lyu’d not for himselfe,

But prisde his fame more then this worldly pelfe:
Whose name and lyne, if any yet preserue,
Wee wish they liue like honour to deserue:
Whether thou seeke by martiall prowesse prayse,
Or Pallas pollicie high thy name to rayse,
Or trusty seruice iust death to[1481] attaine:
Hastings foreled: trace[1482] here his bloudy trayne.

Maister D.[1483]
 [When I had read this, one sayd: “It was very darke, and hard to
bee vnderstoode: except it were diligently and very leasurely
considered.” “I like it the better,” sayd[1484] another, “for that shall
cause it to bee oftner read, and the better remembred. Considering
also that it is written for the learned (for such all magistrates are, or
should bee) it cannot be to hard, so long as it is sound and learnedly
written.” Then sayd the reader: “The next here whome I finde
miserable are king Edward’s two sonnes, cruelly murdered in the
tower of London: haue you their tragedy?” “No, surely,” sayd[1484] I,
“The lord Vaulx vndertoke to pen it, but what hee hath done therein I
am not certayne, and therefore I let it passe till I knowe farder. I haue
here the duke of Buckingham, king Richard’s chiefe instrument,
written by maister Thomas Sackuille.” “Read it we pray you,” sayd
they. “With a good will,” quoth[1484] I, “but first you shall heare his
Preface or Induction.” “Hath hee made a preface,” sayd[1484] one,
“what meaneth hee thereby, seeing none other hath vsed the like
order?” “I will tell you the cause thereof,” sayd[1484] I, “which is this:
after that hee vnderstoode that some of the counsayl would not
suffer the booke to bee printed in such order as wee had agreede
and determined, hee purposed to[1485] haue gotten at my handes all
the tragedies that were before the duke of Buckingham’s, which hee
would haue preserued in one volume. And from that time backward,
euen to the time of William the Conquerour, he determined to
continue and perfect all the story him selfe, in such order as Lydgate
(following Bochas) had already vsed. And therefore to make a meete
induction into the matter, hee deuised this poesie: which (in my
iudgement) is so well penned, that I would not haue any verse
thereof left out of our volume. Now that you knowe the cause and
meaning of his doing, you shall also heare what hee hath done. His
induction beginneth thus.”][1486]
 THE INDVCTION.[1487]
1.

The wrathfull winter proching[1488] on apace,

With blustering blasts had all ybarde the treene,
And olde Saturnus with his frosty face
With chilling cold had pearst the tender greene:
The mantles rent, wherein enwrapped beene
The gladsom groues that now lay ouerthrowne,
The tapets torne, and euery blome downe blowne.
[1489]

2.

The soyle, that erst so seemly was to seene,

Was all despoyled of her beauties hewe:
And soote-fresh flowers (wherewith the sommer’s
queene
Had clad the earth) now Boreas’ blasts downe blewe:
And small foules, flocking, in theyr song did rewe
The winter’s wrath, wherewith ech thing defaste,
In woefull wise bewayld the sommer past.

3.

Hawthorne had lost his motley liuery,

The naked twiges were shiuering all for cold:
And, dropping downe the teares aboundantly,
Ech thing, mee thought, with weeping eye mee tolde
The cruell season, bidding mee withholde
My selfe within, for I was gotten out
Into the fieldes, wheras I walkt[1490] about.
 4.

When loe the night with misty mantels spred

Gan darke the day, and dim the azure skies,[1491]
And Venus in her message Hermes sped
To bloudy Mars, to will him not to rise,
While shee her selfe approacht in speedy wise:
And Virgo hyding her disdaynefull brest,
With Thetis now had layde her downe to rest.

5.

Whiles Scorpio dreading Sagittarius dart,

Whose bowe prest bent in fight, the string had slipt,
Down slide into the Ocean flud aparte,
The Beare, that in the Irish seas had dipt
His griesly feete, with speede from thence hee whipt:
For Thetis, hasting from the virgin’s bed,
Pursude the Beare, that, ere she came, was fled.

6.

And Phaeton now, neare reaching to his race

With glistring beames, gold-streaming where they bent,
Was prest to enter in his resting place:
Erythius, that in the cart fyrst went,
Had euen now attaynd his iorney’s stent:
And, fast declining, hid away his head,
While Titan coucht him in his purple bed.

7.

And pale Cinthea, with her borrowed light,

Beginning to supply her brother’s place,
Was past the noonesteede sixe degrees in sight,
When sparkling stars amid the heauen’s face,
With twinkling light shone on the earth apace,
That, while they brought about the nighte’s chare,[1492]
 The darke had dimd the day, ere I was ware.

8.

And sorrowing I to see the sommer flowers,

The liuely greene, the lusty lease,[1493] forlorne,
The sturdy trees so shattred with the showers,
The fieldes so fade, that florisht so beforne:
It taught mee well, all earthly things be borne
To dye the death: for nought long time may last:
The sommer’s beauty yeeldes to winter’s blast.

9.

Then looking vpward to the heauen’s leames,[1494]

With nighte’s starres[1495] thicke powdred euery where,
Which erst so glistned with the golden streames
That chearfull Phœbus spred downe from his sphere
Beholding darke, oppressing day, so neare:
The sodayne sight reduced to my mynde,
The sundry chaunges that in earth wee finde.

10.[1496]

That musing on this worldly wealth in thought,

Which coms, and goes, more faster than wee see
The flickring flame that with the fyre is wrought,
My busie mynde presented vnto mee
Such fall of peeres as in the[1497] realme had bee:
That oft I wisht some would their woes descryue,
To warne the rest whome fortune left a liue.

11.

And strait forth stalking with redoubled pace,

For that I sawe the night drew on so fast,
In blacke all clad there fell before my face
A piteous wight, whom woe had all forewast,
Forth on her eyes[1498] the cristall tears out brast,
And sighing sore her hands shee wrong and folde,
Tare all her hayre, that ruth was to beholde.

12.

Her body smale, forwithred, and forspent,

As is the stalke that sommer’s drought opprest,
Her wealked face with woefull teares bee sprent,
Her colour pale, and,[1499] as it seemed her best,
In woe and plaint reposed was her rest:
And, as the stone that drops of water weares,
So dented were her chekes with fall of teares,

13.

Her eyes swollen[1500] with flowing streams aflote,

Where, with her lookes throwne vp full piteously,
Her forcelesse hands together oft shee smote,
With dolefull shrikes, that eckoed in the skye:
Whose plaint such sighes did strait accompany,
That, in my doome, was neuer man did see
A wight but halfe so woe begone as shee.

14.

I stoode agast, beholding all her plight,

Tweene dread and dolour, so distreinde in hart,
That, while my hayres vpstarted with the sight,
The teares out streamde for sorow of her smart:
But, when I sawe no end that could appart[1501]
The deadly dewle which shee soe sore did make,
With dolefull voice then thus to her I spake:

15.
“Unwrap thy woes, what euer wight thou bee,
And stint in tyme[1502] to spill thy self with playnt,
Tell what thou art, and whence, for well I see
Thou canst not dure, with sorrow thus attaynt:”
And, with that word of sorrow, all forfaynt
Shee looked vp, and, prostrate, as shee lay,
With piteous sound, lo, thus shee gan to say:

16.

“Alas, I wretch, whom thus thou seest distraynde

With wasting woes, that neuer shall aslake,
Sorrow I am, in endlesse torments paynde
Among the furies in th’infernall[1503] lake,
Where Pluto god of hell so griesly blacke
Doth holde his throne, and Lætheus[1504] deadly tast
Doth rieue remembraunce of ech thing forepast.

17.

“Whence come I am, the drery desteny,

And lucklesse lot for to bemone of those
Whome fortune, in this maze of misery,
Of wretched chaunce, most wofull mirours chose,
That, when thou seest how lightly they did lose
Their pompe, their power, and that they thought most
sure
Thou mayst soone deeme no earthly ioy[1505] may
dure.”

18.[1506]

Whose rufull voice no sooner had out brayed

Those wofull words, wherewith shee sorrowed so,
But out, alas, shee shright, and neuer stayed,
Fell downe, and al to dasht her selfe for wo:
The cold pale dread my limmes gan ouergo,