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2. Another line is to assert of the whole what is true of the parts, or of the parts what is true of the whole. A whole and its parts are supposed to be identical, though often they are not. You have therefore to adopt whichever of these two lines better suits your purpose. That is how Euthydemus argues: e.g. that any ... |
"'Tis right that she who slays her lord should die. " 'It is right, too, that the son should avenge his father. Very good: these two things are what Orestes has done.' Still, perhaps the two things, once they are put together, do not form a right act. The fallacy might also be said to be due to omission, since the spea... |
3. Another line is the use of indignant language, whether to support your own case or to overthrow your opponent's. We do this when we paint a highly-coloured picture of the situation without having proved the facts of it: if the defendant does so, he produces an impression of his innocence; and if the prosecutor goes ... |
4. Another line is to use a 'Sign', or single instance, as certain evidence; which, again, yields no valid proof. Thus, it might be said that lovers are useful to their countries, since the love of Harmodius and Aristogeiton caused the downfall of the tyrant Hipparchus. Or, again, that Dionysius is a thief, since he is... |
5. Another line represents the accidental as essential. An instance is what Polycrates says of the mice, that they 'came to the rescue' because they gnawed through the bowstrings. Or it might be maintained that an invitation to dinner is a great honour, for it was because he was not invited that Achilles was 'angered' ... |
6. Another is the argument from consequence. In the Alexander, for instance, it is argued that Paris must have had a lofty disposition, since he despised society and lived by himself on Mount Ida: because lofty people do this kind of thing, therefore Paris too, we are to suppose, had a lofty soul. Or, if a man dresses ... |
7. Another line consists in representing as causes things which are not causes, on the ground that they happened along with or before the event in question. They assume that, because B happens after A, it happens because of A. Politicians are especially fond of taking this line. Thus Demades said that the policy of Dem... |
8. Another line consists in leaving out any mention of time and circumstances. E.g. the argument that Paris was justified in taking Helen, since her father left her free to choose: here the freedom was presumably not perpetual; it could only refer to her first choice, beyond which her father's authority could not go. O... |
9. Again, a spurious syllogism may, as in 'eristical' discussions, be based on the confusion of the absolute with that which is not absolute but particular. As, in dialectic, for instance, it may be argued that what-is-not is, on the ground that what-is-not is what-is-not: or that the unknown can be known, on the groun... |
"One might perchance say that was probable- "That things improbable oft will hap to men. " For what is improbable does happen, and therefore it is probable that improbable things will happen. Granted this, one might argue that 'what is improbable is probable'. But this is not true absolutely. As, in eristic, the impost... |
Part 25 Enthymemes, genuine and apparent, have now been described; the next subject is their Refutation. An argument may be refuted either by a counter-syllogism or by bringing an objection. It is clear that counter-syllogisms can be built up from the same lines of arguments as the original syllogisms: for the material... |
1. By 'attacking your opponent's own statement' I mean, for instance, this: if his enthymeme should assert that love is always good, the objection can be brought in two ways, either by making the general statement that 'all want is an evil', or by making the particular one that there would be no talk of 'Caunian love' ... |
2. An objection 'from a contrary statement' is raised when, for instance, the opponent's enthymeme having concluded that a good man does good to all his friends, you object, 'That proves nothing, for a bad man does not do evil to all his friends'. |
3. An example of an objection 'from a like statement' is, the enthymeme having shown that ill-used men always hate their ill-users, to reply, 'That proves nothing, for well-used men do not always love those who used them well'. |
4. The 'decisions' mentioned are those proceeding from well-known men; for instance, if the enthymeme employed has concluded that 'that allowance ought to be made for drunken offenders, since they did not know what they were doing', the objection will be, 'Pittacus, then, deserves no approval, or he would not have pres... |
Enthymemes are based upon one or other of four kinds of alleged fact: (1) Probabilities, (2) Examples, (3) Infallible Signs, (4) Ordinary Signs. (1) Enthymemes based upon Probabilities are those which argue from what is, or is supposed to be, usually true. (2) Enthymemes based upon Example are those which proceed by in... |
Now (1) as a Probability is that which happens usually but not always, Enthymemes founded upon Probabilities can, it is clear, always be refuted by raising some objection. The refutation is not always genuine: it may be spurious: for it consists in showing not that your opponent's premiss is not probable, but Only in s... |
(2) Fallible Signs, and Enthymemes based upon them, can be refuted even if the facts are correct, as was said at the outset. For we have shown in the Analytics that no Fallible Sign can form part of a valid logical proof. |
(3) Enthymemes depending on examples may be refuted in the same way as probabilities. If we have a negative instance, the argument is refuted, in so far as it is proved not inevitable, even though the positive examples are more similar and more frequent. And if the positive examples are more numerous and more frequent,... |
(4) It will be impossible to refute Infallible Signs, and Enthymemes resting on them, by showing in any way that they do not form a valid logical proof: this, too, we see from the Analytics. All we can do is to show that the fact alleged does not exist. If there is no doubt that it does, and that it is an Infallible Si... |
Part 26 Amplification and Depreciation are not an element of enthymeme. By 'an element of enthymeme' I mean the same thing as a line of enthymematic argument-a general class embracing a large number of particular kinds of enthymeme. Amplification and Depreciation are one kind of enthymeme, viz. the kind used to show th... |
Three points must be studied in making a speech; and we have now completed the account of (1) Examples, Maxims, Enthymemes, and in general the thought-element the way to invent and refute arguments. We have next to discuss (2) Style, and (3) Arrangement. |
BOOK III Part 1 In making a speech one must study three points: first, the means of producing persuasion; second, the style, or language, to be used; third, the proper arrangement of the various parts of the speech. We have already specified the sources of persuasion. We have shown that these are three in number; what ... |
Enthymemes also have been described, and the sources from which they should be derived; there being both special and general lines of argument for enthymemes. |
Our next subject will be the style of expression. For it is not enough to know what we ought to say; we must also say it as we ought; much help is thus afforded towards producing the right impression of a speech. The first question to receive attention was naturally the one that comes first naturally-how persuasion can... |
The right thing in speaking really is that we should be satisfied not to annoy our hearers, without trying to delight them: we ought in fairness to fight our case with no help beyond the bare facts: nothing, therefore, should matter except the proof of those facts. Still, as has been already said, other things affect t... |
When the principles of delivery have been worked out, they will produce the same effect as on the stage. But only very slight attempts to deal with them have been made and by a few people, as by Thrasymachus in his 'Appeals to Pity'. Dramatic ability is a natural gift, and can hardly be systematically taught. The princ... |
It was naturally the poets who first set the movement going; for words represent things, and they had also the human voice at their disposal, which of all our organs can best represent other things. Thus the arts of recitation and acting were formed, and others as well. Now it was because poets seemed to win fame throu... |
Part 2 We may, then, start from the observations there made, including the definition of style. Style to be good must be clear, as is proved by the fact that speech which fails to convey a plain meaning will fail to do just what speech has to do. It must also be appropriate, avoiding both meanness and undue elevation; ... |
We can hide our purpose successfully by taking the single words of our composition from the speech of ordinary life. This is done in poetry by Euripides, who was the first to show the way to his successors. |
Language is composed of nouns and verbs. Nouns are of the various kinds considered in the treatise on Poetry. Strange words, compound words, and invented words must be used sparingly and on few occasions: on what occasions we shall state later. The reason for this restriction has been already indicated: they depart fro... |
In the Art of Poetry, as we have already said, will be found definitions of these kinds of words; a classification of Metaphors; and mention of the fact that metaphor is of great value both in poetry and in prose. Prose-writers must, however, pay specially careful attention to metaphor, because their other resources ar... |
"King of the oar, on Mysia's coast he landed, " is inappropriate; the word 'king' goes beyond the dignity of the subject, and so the art is not concealed. A metaphor may be amiss because the very syllables of the words conveying it fail to indicate sweetness of vocal utterance. Thus Dionysius the Brazen in his elegies ... |
"I marked how a man glued bronze with fire to another man's body, the process is nameless; but both it and gluing are a kind of application, and that is why the application of the cupping-glass is here called a 'gluing'. Good riddles do, in general, provide us with satisfactory metaphors: for metaphors imply riddles, a... |
"Hail to you, daughters of storm-footed steeds? " though of course they were daughters of asses too. The same effect is attained by the use of diminutives, which make a bad thing less bad and a good thing less good. Take, for instance, the banter of Aristophanes in the Babylonians where he uses 'goldlet' for 'gold', 'c... |
Part 3 Bad taste in language may take any of four forms: (1) The misuse of compound words. Lycophron, for instance, talks of the 'many visaged heaven' above the 'giant-crested earth', and again the 'strait-pathed shore'; and Gorgias of the 'pauper-poet flatterer' and 'oath-breaking and over-oath-keeping'. Alcidamas use... |
(2) Another is the employment of strange words. For instance, Lycophron talks of 'the prodigious Xerxes' and 'spoliative Sciron'; Alcidamas of 'a toy for poetry' and 'the witlessness of nature', and says 'whetted with the unmitigated temper of his spirit'. |
(3) A third form is the use of long, unseasonable, or frequent epithets. It is appropriate enough for a poet to talk of 'white milk', in prose such epithets are sometimes lacking in appropriateness or, when spread too thickly, plainly reveal the author turning his prose into poetry. Of course we must use some epithets,... |
The ordinary use of compound words is where there is no term for a thing and some compound can be easily formed, like 'pastime' (chronotribein); but if this is much done, the prose character disappears entirely. We now see why the language of compounds is just the thing for writers of dithyrambs, who love sonorous nois... |
(4) There remains the fourth region in which bad taste may be shown, metaphor. Metaphors like other things may be inappropriate. Some are so because they are ridiculous; they are indeed used by comic as well as tragic poets. Others are too grand and theatrical; and these, if they are far-fetched, may also be obscure. F... |
Part 4 The Simile also is a metaphor; the difference is but slight. When the poet says of Achilles that he "Leapt on the foe as a lion, " |
this is a simile; when he says of him 'the lion leapt', it is a metaphor-here, since both are courageous, he has transferred to Achilles the name of 'lion'. Similes are useful in prose as well as in verse; but not often, since they are of the nature of poetry. They are to be employed just as metaphors are employed, sin... |
The following are examples of similes. Androtion said of Idrieus that he was like a terrier let off the chain, that flies at you and bites you-Idrieus too was savage now that he was let out of his chains. Theodamas compared Archidamus to an Euxenus who could not do geometry-a proportional simile, implying that Euxenus ... |
Part 5 Such, then, are the ingredients of which speech is composed. The foundation of good style is correctness of language, which falls under five heads. (1) First, the proper use of connecting words, and the arrangement of them in the natural sequence which some of them require. For instance, the connective 'men' (e.... |
"Croesus by crossing the Halys will ruin a mighty realm. Diviners use these vague generalities about the matter in hand because their predictions are thus, as a rule, less likely to be falsified. We are more likely to be right, in the game of 'odd and even', if we simply guess 'even' or 'odd' than if we guess at the ac... |
It is a general rule that a written composition should be easy to read and therefore easy to deliver. This cannot be so where there are many connecting words or clauses, or where punctuation is hard, as in the writings of Heracleitus. To punctuate Heracleitus is no easy task, because we often cannot tell whether a part... |
Part 6 The following suggestions will help to give your language impressiveness. (1) Describe a thing instead of naming it: do not say 'circle', but 'that surface which extends equally from the middle every way'. To achieve conciseness, do the opposite-put the name instead of the description. When mentioning anything u... |
"Unto havens Achaean, " though only one haven is meant, and "Here are my letter's many-leaved folds. " (4) Do not bracket two words under one article, but put one article with each; e.g. 'that wife of ours.' The reverse to secure conciseness; e.g. 'our wife.' Use plenty of connecting words; conversely, to secure concis... |
"There is a little wind-swept knoll... " A subject can be developed indefinitely along these lines. You may apply this method of treatment by negation either to good or to bad qualities, according to which your subject requires. It is from this source that the poets draw expressions such as the 'stringless' or 'lyreles... |
Part 7 Your language will be appropriate if it expresses emotion and character, and if it corresponds to its subject. 'Correspondence to subject' means that we must neither speak casually about weighty matters, nor solemnly about trivial ones; nor must we add ornamental epithets to commonplace nouns, or the effect will... |
This aptness of language is one thing that makes people believe in the truth of your story: their minds draw the false conclusion that you are to be trusted from the fact that others behave as you do when things are as you describe them; and therefore they take your story to be true, whether it is so or not. Besides, a... |
Furthermore, this way of proving your story by displaying these signs of its genuineness expresses your personal character. Each class of men, each type of disposition, will have its own appropriate way of letting the truth appear. Under 'class' I include differences of age, as boy, man, or old man; of sex, as man or w... |
All the variations of oratorical style are capable of being used in season or out of season. The best way to counteract any exaggeration is the well-worn device by which the speaker puts in some criticism of himself; for then people feel it must be all right for him to talk thus, since he certainly knows what he is doi... |
Part 8 The form of a prose composition should be neither metrical nor destitute of rhythm. The metrical form destroys the hearer's trust by its artificial appearance, and at the same time it diverts his attention, making him watch for metrical recurrences, just as children catch up the herald's question, 'Whom does the... |
Of the various rhythms, the heroic has dignity, but lacks the tones of the spoken language. The iambic is the very language of ordinary people, so that in common talk iambic lines occur oftener than any others: but in a speech we need dignity and the power of taking the hearer out of his ordinary self. The trochee is t... |
There remains the paean, which speakers began to use in the time of Thrasymachus, though they had then no name to give it. The paean is a third class of rhythm, closely akin to both the two already mentioned; it has in it the ratio of three to two, whereas the other two kinds have the ratio of one to one, and two to on... |
Now the other two kinds of rhythm must be rejected in writing prose, partly for the reasons given, and partly because they are too metrical; and the paean must be adopted, since from this alone of the rhythms mentioned no definite metre arises, and therefore it is the least obtrusive of them. At present the same form o... |
"Dalogenes | eite Luki | an, " and "Chruseokom | a Ekate | pai Dios. " The other paean begins, conversely, with three short syllables and ends with a long one, as |
"meta de lan | udata t ok | eanon e | oanise nux. " This kind of paean makes a real close: a short syllable can give no effect of finality, and therefore makes the rhythm appear truncated. A sentence should break off with the long syllable: the fact that it is over should be indicated not by the scribe, or by his perio... |
We have now seen that our language must be rhythmical and not destitute of rhythm, and what rhythms, in what particular shape, make it so. |
Part 9 The language of prose must be either free-running, with its parts united by nothing except the connecting words, like the preludes in dithyrambs; or compact and antithetical, like the strophes of the old poets. The free-running style is the ancient one, e.g. 'Herein is set forth the inquiry of Herodotus the Thur... |
"Calydon's soil is this; of Pelops' land "(The smiling plains face us across the strait.) " By a wrong division of the words the hearer may take the meaning to be the reverse of what it is: for instance, in the passage quoted, one might imagine that Calydon is in the Peloponnesus. |
A Period may be either divided into several members or simple. The period of several members is a portion of speech (1) complete in itself, (2) divided into parts, and (3) easily delivered at a single breath-as a whole, that is; not by fresh breath being taken at the division. A member is one of the two parts of such a... |
"He that sets traps for another man's feet "Is like to fall into them first; "And long-winded preludes do harm to us all, "But the preluder catches it worst. " |
Which applies likewise to long-membered orators. Periods whose members are altogether too short are not periods at all; and the result is to bring the hearer down with a crash. |
The periodic style which is divided into members is of two kinds. It is either simply divided, as in 'I have often wondered at the conveners of national gatherings and the founders of athletic contests'; or it is antithetical, where, in each of the two members, one of one pair of opposites is put along with one of anot... |
Such, then, is the nature of antithesis. Parisosis is making the two members of a period equal in length. Paromoeosis is making the extreme words of both members like each other. This must happen either at the beginning or at the end of each member. If at the beginning, the resemblance must always be between whole word... |
"agron gar elaben arlon par' autou " and "dorhetoi t epelonto pararretoi t epeessin " At the end "ouk wethesan auton paidion tetokenai, |
"all autou aitlon lelonenai, " and "en pleiotals de opontisi kai en elachistais elpisin " An example of inflexions of the same word is |
"axios de staoenai chalkous ouk axios on chalkou; " Of the same word repeated, "su d' auton kai zonta eleges kakos kai nun grafeis kakos. |
Of one syllable, "ti d' an epaoes deinon, ei andrh' eides arhgon; " It is possible for the same sentence to have all these features together-antithesis, parison, and homoeoteleuton. (The possible beginnings of periods have been pretty fully enumerated in the Theodectea.) There are also spurious antitheses, like that of... |
"There one time I as their guest did stay, "And they were my hosts on another day. " Part 10 We may now consider the above points settled, and pass on to say something about the way to devise lively and taking sayings. Their actual invention can only come through natural talent or long practice; but this treatise may i... |
It is these qualities, then, that, so far as the meaning of what is said is concerned, make an argument acceptable. So far as the style is concerned, it is the antithetical form that appeals to us, e.g. 'judging that the peace common to all the rest was a war upon their own private interests', where there is an antithe... |
Of the four kinds of Metaphor the most taking is the proportional kind. Thus Pericles, for instance, said that the vanishing from their country of the young men who had fallen in the war was 'as if the spring were taken out of the year'. Leptines, speaking of the Lacedaemonians, said that he would not have the Athenian... |
"My daughters' marriage-bonds are overdue. " Polyeuctus said of a paralytic man named Speusippus that he could not keep quiet, 'though fortune had fastened him in the pillory of disease'. Cephisodotus called warships 'painted millstones'. Diogenes the Dog called taverns 'the mess-rooms of Attica'. Aesion said that the ... |
So is 'we are not putting an end to our wars, but only postponing them', for both literal postponement and the making of such a peace as this apply to future action. So is such a saying as 'This treaty is a far nobler trophy than those we set up on fields of battle; they celebrate small gains and single successes; it c... |
Part 11 It has already been mentioned that liveliness is got by using the proportional type of metaphor and being making (ie. making your hearers see things). We have still to explain what we mean by their 'seeing things', and what must be done to effect this. By 'making them see things' I mean using expressions that r... |
"Thereas up sprang the Hellenes to their feet, " where 'up sprang' gives us activity as well as metaphor, for it at once suggests swiftness. So with Homer's common practice of giving metaphorical life to lifeless things: all such passages are distinguished by the effect of activity they convey. Thus, |
"Downward anon to the valley rebounded the boulder remorseless; and "The (bitter) arrow flew; " and "Flying on eagerly; and " Stuck in the earth, still panting to feed on the flesh of the heroes; and |
"And the point of the spear in its fury drove "full through his breastbone. " In all these examples the things have the effect of being active because they are made into living beings; shameless behaviour and fury and so on are all forms of activity. And the poet has attached these ideas to the things by means of propo... |
"Curving and crested with white, host following "host without ceasing. " Here he represents everything as moving and living; and activity is movement. |
Metaphors must be drawn, as has been said already, from things that are related to the original thing, and yet not obviously so related-just as in philosophy also an acute mind will perceive resemblances even in things far apart. Thus Archytas said that an arbitrator and an altar were the same, since the injured fly to... |
Liveliness is specially conveyed by metaphor, and by the further power of surprising the hearer; because the hearer expected something different, his acquisition of the new idea impresses him all the more. His mind seems to say, 'Yes, to be sure; I never thought of that'. The liveliness of epigrammatic remarks is due t... |
"Onward he came, and his feet were shod with his-chilblains, where one imagined the word would be 'sandals'. But the point should be clear the moment the words are uttered. Jokes made by altering the letters of a word consist in meaning, not just what you say, but something that gives a twist to the word used; e.g. the... |
"Thou must not be a stranger stranger than Thou should'st. Do not the words 'thou must not be', &c., amount to saying that the stranger must not always be strange? Here again is the use of one word in different senses. Of the same kind also is the much-praised verse of Anaxandrides: |
"Death is most fit before you do "Deeds that would make death fit for you. " This amounts to saying 'it is a fit thing to die when you are not fit to die', or 'it is a fit thing to die when death is not fit for you', i.e. when death is not the fit return for what you are doing. The type of language employed-is the same... |
Successful similes also, as has been said above, are in a sense metaphors, since they always involve two relations like the proportional metaphor. Thus: a shield, we say, is the 'drinking-bowl of Ares', and a bow is the 'chordless lyre'. This way of putting a metaphor is not 'simple', as it would be if we called the bo... |
"Those legs of his curl just like parsley leaves; " and "Just like Philammon struggling with his punchball. " These are all similes; and that similes are metaphors has been stated often already. |
Proverbs, again, are metaphors from one species to another. Suppose, for instance, a man to start some undertaking in hope of gain and then to lose by it later on, 'Here we have once more the man of Carpathus and his hare', says he. For both alike went through the said experience. |
It has now been explained fairly completely how liveliness is secured and why it has the effect it has. Successful hyperboles are also metaphors, e.g. the one about the man with a black eye, 'you would have thought he was a basket of mulberries'; here the 'black eye' is compared to a mulberry because of its colour, the... |
"Just like Philammon struggling with his punchball " is equivalent to 'you would have thought he was Philammon struggling with his punchball'; and |
"Those legs of his curl just like parsley leaves " is equivalent to 'his legs are so curly that you would have thought they were not legs but parsley leaves'. Hyperboles are for young men to use; they show vehemence of character; and this is why angry people use them more than other people. |
"Not though he gave me as much as the dust "or the sands of the sea... "But her, the daughter of Atreus' son, I never will marry, |
"Nay, not though she were fairer than Aphrodite the Golden, "Defter of hand than Athene... " (The Attic orators are particularly fond of this method of speech.) Consequently it does not suit an elderly speaker. |
Part 12 It should be observed that each kind of rhetoric has its own appropriate style. The style of written prose is not that of spoken oratory, nor are those of political and forensic speaking the same. Both written and spoken have to be known. To know the latter is to know how to speak good Greek. To know the former... |
The written style is the more finished: the spoken better admits of dramatic delivery-like the kind of oratory that reflects character and the kind that reflects emotion. Hence actors look out for plays written in the latter style, and poets for actors competent to act in such plays. Yet poets whose plays are meant to ... |
Just as the use of conjunctions makes many statements into a single one, so the omission of conjunctions acts in the reverse way and makes a single one into many. It thus makes everything more important: e.g. 'I came to him; I talked to him; I entreated him'-what a lot of facts! the hearer thinks-'he paid no attention ... |
"Nireus likewise from Syme (three well-fashioned ships did bring), "Nireus, the son of Aglaia (and Charopus, bright-faced king), |
"Nireus, the comeliest man (of all that to Ilium's strand). If many things are said about a man, his name must be mentioned many times; and therefore people think that, if his name is mentioned many times, many things have been said about him. So that Homer, by means of this illusion, has made a great deal of though he... |
Now the style of oratory addressed to public assemblies is really just like scene-painting. The bigger the throng, the more distant is the point of view: so that, in the one and the other, high finish in detail is superfluous and seems better away. The forensic style is more highly finished; still more so is the style ... |
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