Englis h 5 7 3 0 rhetoric


Part of a discourse that elaborates arguments in support of a rhetor's position



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Part of a discourse that elaborates arguments in support of a rhetor's position.
-"The few bright meteors in man's intellectual horizon could well be matched by woman, were she allowed to occupy the same elevated poison. There is no need of naming the De Staels, the Rolands, the Somervilles, the Wollstonecrafts, the Wrights, the Fullers, the Martineaus, the Hemanses, the Sigourneys, the Jagiellos, and the many more of modern as well as ancient times, to prove her mental powers, her patriotism, her heroism, her self-sacrificing devotion to the cause of humanity-the eloquence that gushes from her pen or from her tongue. These things are too well known to require repetition. And do you ask for fortitude of mind, energy, and perseverance? Then look at woman under suffering, reverse of fortune, and affliction, when the strength and power of man has sunk to the lowest ebb, when his mind is overwhelmed by the dark waters of despair.  She, like the tender plant, bent but not broken by the storms of life, now only upholds her own hopeful courage, but, like the tender shoots of the ivy, clings around the tempest-fallen oak, to bind up the wounds, peak hope to his faltering spirit, and shelter him from the returning blast of the storm."
(Ernestine L. Rose, from "An Address on Women's Rights" 1851)

connotation   
The emotional implications and associations that words may carry, as distinguished from their denotative (or dictionary) meanings.  Connotations may be (1) private and personal, the result of individual experience; (2) group (national, linguistic, ethnic); or (3) general or universal (held by all or most people).
-When I with you so wholly disappear
into the mirror of your slender hand
grey streets of the city grow roses
and daisies, the music of flowers
blooms in our voices, the eye of
the grocer flares like a candle"
(Peter Meinke, "When I with You")   

copia

(Pronounced "KO pee ya")
Expansive richness as a stylistic goal.  See Erasmus's De copia.
[L."abundance"]
-"If I am truly that peace so extolled by God and by men; if I am really the source, the nourishing mother, the preserver and the protector of all good things in which heaven and earth abound; if, without me, no prosperity can endure here below; if nothing pure or holy, nothing that is agreeable to God or to men can be established on earth without my help; if, on the other hand, war is incontestably the essential cause of all the disasters which fall upon the universe and this plague withers at a glance everything that grows; if, because of war, all that grew and ripened in the course of the ages suddenly collapses and is turned into ruins; if war tears down everything that is maintained at the cost of the most painful efforts; if it destroys things that were most firmly established; if it poisons everything that is holy and everything that is sweet; if, in short, war is abominable to the point of annihilating all virtue, all goodliness in the hearts of men, and if nothing is more deadly for them, nothing more hateful to God than war -- then, in the name of this immortal God I ask: who is capable of believing without great difficulty that those who instigate it, who barely possess the light of reason, whom one sees exerting themselves with such stubbornness, such fervor, such cunning, and at the cost of such effort and danger, to drive me away and pay so much for the overwhelming anxieties and the evils that result from war -- who can believe that such persons are still truly men?" 
(Erasmus, The Complaint of Peace)
See also students' illustration of copia at the web site of the Boise State University Writing Center.

crot
Verbal bit or fragment used as autonomous unit with absence of transitional devices to preceding or subsequent units, thereby creating an effect of abruptness and rapid transition.
-"Heads, heads, take care of your heads . . . Five children--mother--tall lady, eating sandwiches--forgot the arch--crash--knock--children look round--mother's head off--sandwich in her hand--no mouth to put it in--head of a family off--shocking, shocking!"  (Charles Dickens, Little Dorrit)
-"Four senators get drunk and try to neck a lady politician built like an overloaded tramp steamer. The Presidential automobile runs over a dog. It rains." (H.L. Mencken, "Imperial Purple")
-"Footprints around a KEEP OFF sign.
Two pigeons feeding each other.
Two showgirls, whose faces had not yet thawed the frost of their makeup, treading indignantly through the slush.
A plump old man saying 'Chick, chick' and feeding peanuts to squirrels.
Many solitary men throwing snowballs at tree trunks.
Many birds calling to each other about how little the Ramble has changed.
One red mitten lying lost under a poplar tree.
An airplane, very bright and distant, slowly moving through the branches of a sycamore."

(John Updike, "Central Park")
-See excerpt from Writing, by Rachel Blau DuPlessis.)

decorum

Fitness in matters of language and usage: the grand and important theme is treated in a dignified and noble style, the humble or trivial in a lower manner.  "Though initially just one of several virtues of style ('aptum'), decorum has become a governing concept for all of rhetoric. Essentially, if one's ideas are appropriately embodied and presented (thereby observing decorum), then one's speech will be effective. Conversely, rhetorical vices are breaches of some sort of decorum. Decorum invokes a range of social, linguistic, aesthetic, and ethical proprieties for both the creators and critics of speech or writing. Each of these must be balanced against each other strategically in order to be successful in understanding or creating discourse." (Silva Rhetoricae)
(See Cicero's discussion of decorum in De Oratore.)


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