Rhetoric and Rhythm in Byzantium: The Sound of Persuasion

Rhetoric and Rhythm in Byzantium takes a clean examine rhetorical rhythm and its idea and perform, highlighting the shut affinity among rhythm and argument. in response to fabric from Byzantine and previous Church Slavonic homilies and from Byzantine rhetorical commentaries, the e-book redefines and expands our realizing of either Byzantine and previous Church Slavonic prose rhythm. It positions rhetorical rhythm on the intersection of prose and poetry and explores its function in argumentation and persuasion, suggesting that rhetorical rhythm can hold throughout linguistic obstacles, and often goals to illustrate the stylistic and argumentative significance of rhythm in rhetorical perform. alongside the way in which, it demanding situations the entrenched separation among content material and elegance and emphasizes the function of rhythm as a device of invention and a way of constructing shared emotional adventure.

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Inform freely of your deeds and concepts to Christ and be justified. the 1st line of the 1st stanza is constructed from twenty-one syllables and 6 stresses; a similar variety of syllables is repeated via the 1st line of the second one stanza; the stresses are fastened on syllables 2, five, 7, 10, 15, and 20. The development of the second one line of the 1st stanza is repeated virtually precisely within the moment line of the second one stanza (twenty-two syllables and stresses on syllables 3/2, five, nine, 13/14, sixteen, 20), and so forth. every one line is made of to 3 self sufficient clauses, associated jointly both via punctuation or an easy καί, and in a few kind of parallel or antithetical relation to one another or to the clauses from the previous or following line. Accentual correspondence is a easy characteristic of spiritual poetry, if it is liturgical or no longer. The eight-syllable hymn in honor of the Virgin Mary present in the tenth-century vita of St. John of Damascus (Lauxtermann 81 Homilies and accentual poetry 1999: forty seven) demonstrates not just end-of-line rigidity law and powerful colon pairing, but in addition robust tension responsion: δέσποινα πάναγνε μήτερ διὰ τὰς θείας εἰκόνας ἡ τὸν θεόν μου τεκοῦσα ἡ δεξιά μου ἐκόπη. such a lot natural woman and mom, as a result of holy icons /xx/xx/x xxx/xx/x who gave start to my God, my correct hand used to be bring to an end. xxx/xx/x xxx/xx/x (PG cxiv: 433) Colon pairing, end-of-clause tension legislation (or the cursus), isosyllaby, and tension “responsion” are positive factors additionally shared by means of numerous homilies, and are probably inherited from Asianic oratory. In what follows i'll upload extra examples to my feedback on isosyllaby and rigidity responsion from the former part. a slightly hymnic passage in Gregory of Nazianzus’ Homily at the Nativity exhibits a extraordinary quantity of isosyllaby, followed by way of strategic responsion, which will spotlight affinities among staggered conceptual teams: ἔσται δὲ τοῦτο πῶς; μὴ πρόθυρα στεφανώσωμεν, μὴ χοροὺς συστησώμεθα, μὴ κοσμήσωμεν ἀγυιάς, μὴ ὀφθαλμὸν ἑστιάσωμεν, μὴ ἀκοὴν καταυλήσωμεν, μὴ ὄσφρησιν ἐκθηλύνωμεν, μὴ γεῦσιν καταπορνεύσωμεν, μὴ ἁφῇ χαρισώμεθα, ταῖς προχείροις εἰς κακίαν ὁδοῖς, καὶ εἰσόδοις τῆς ἁμαρτίας. (Orat. 36. five) How, then, shall this be? allow us to no longer crown the gates, allow us to now not assemble up the choirs, allow us to now not prettify the streets, allow us to no longer sate the attention, allow us to no longer refill the ear with the sound of flutes, allow us to now not pander to the senses, allow us to now not provide favors to the style, allow us to no longer destroy the contact With the prepared methods of wickedness And the doorway of sin. /xx/x/ //xxxx/xx /x/xx/xx /x/xxxx/ /xx/xx/xx /xx/xx/xx //xxxx/xx //xxxx/xx /x/xx/xx xx/xxx/xx/ xx/xxxx/x 82 among prose and poetry The passage purports to open up with an ecstatic photograph of festivities, yet is, in reality, a caution opposed to over the top indulgence and an exhortation to a extra religious social gathering. as well as the strongly rhythmic anaphora, syntactic parallelism, and coffee rhyme, we discover a row of ten cola which consist predominantly of 9 syllables each one: nine – eight – eight – nine – nine – nine – nine – eight – 10 – nine.

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