IN.DU.CTIVE LESSONS IN
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RHETORIC

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FRANCES vV. ·

~EWIS

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BOSTON, U.S.A.

D. C. HEATH & CO., PUBLISHERS

PREFACE.

now before the publ ic nuke~ :rn ll th c: r h;.:..; h ~·.. lH1· ,\
Rhetoric seem unn ece ssa ry, ancl to attempt one re quires a su fficient reas on . That reason must be sough t
in th e method of study here indicat ed . Th e standard
text-b ooks on Rh etoric contain , as a ._,c·eneral thine" brief
defini te statements of definitions and prin ciples, carefully formulat ed and more or less explained , whi ch th e
pupils are expected to read, memorize, and inwardly
digest, but which often become mere fo rrnul ze of words
without power or m eanin g . Illustrations and exerc ises
g iven in app1ic9.tion of th eir definitions and princ iples
redeem some · of th em from uselessness, but many of
th em in th e han ds of the ordinary hig h sc hool pupil
are almost profitless. Beyond a fc\y di ssoc iated facts
h e has little grow th in knowledge in return for the tim e
spent upon th e study, while he has gained noth ing in
power to think, little in power to apply the th oughts of
others, n othin g in literary appreciat ion, and only so
. mu ch in power of expression as .th e practical ab ility
of his t each er h as been · able to sfomilate with ve ry little
h elp from his book .
Many good teachers h a,·e consequently discard ed entirely th e text-book in Rh etoric, a nd reali zing th at th e
materia ls for teac hin g th e subj ec t are to be found in th e
Literat ure, are attempting , with mark ed success in some
instances, to teach the two toge ther. This seems to be
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lO D, MA. SS. 1 U .S.A..

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l'reface.

Preface.

a step in the right direction.
The true pedagogical
~rd e r of instruction is not, Read what others have
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~h 1 ' fnlin\\·1n _'. ,,· : ~,-;--; : l) ·rh1.· \ ",ll i1ilL...; dL~ i~ ni~ic;: ·i :.; and
!lrini__·\id l·:-;, tr,1111 Lli'~' cit l · :t ~ \'ft:l fi. 1 : · 1~1 1~ L ~ : i n _~~: ;d tl il· tin11__:
~\·hen . th ,,\. :11 ,: nh~cn·L'd , or tr(>lll i11:; ufiiL- iL'l il) u f drili
aften1· :ud: etrc fnr gnttL:11 , Ltying th,: \1·c1rk U) J<.: 11 t(> t he
most frequ ent cr iti c ism of in du ctin.'. teachin g, Li.ck uf
th orou g hness ; or ( 2) Th e various facts observed and
prin ciples es tablish c<l arc so cli sco nn cck cl by ti me and
'Circum sta nce that unity is lacki ng, and th eir logical
r elation s arc not see n e xcept by the few students who
naturally arran ge ancl c bs:.ify for t hemscln:s.
Thi > 1)"'11' i,.; :en ~1 Uc111 11t t" :t]';'l; th e l rt:,· ]l <-'Ch '.~·( 1 ~'. i < ':tl
order, a11d tu te:i. ch thL'. suh j ect inducti\·cly, su t lL tl it
1 may still be a unit, a subject of study _by itself, but
illustrated and enforced by all that can b e applied to
1
lit in the Literature course as it advances. It should be
. stretched to accompany th e Litera ture throu g h o ut th e
: course, and each subject, as it is followed o ut, should
r eceiv e as muc h as possible of illu stratio n a n d applicati on from th e Literature the cbss arc reading at the
time.
I t is hnpccl th:it tlinse n:irni 11i 11 g- th e honk \\'ith a \'I C \\'
to intr oducing it, \\·ill not m ·,:rl<luk the sl imuhting dkct
of turnin g th e pupil in t" a h ook f ull of quc,.;t ions. l li ,.;
nr·s t att e mp t,; at a11c;11"\.0 1i11 .'~ \\·ill be cru de, hut li <..: 11·ill
ga in ra pidly in power, _:1ncl , as he g ;uns it , h e will more

and more enjoy its exercise.
He will begin to select
a better class of reading , to think for hims elf about

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fr c' q u ,_. n t l y d i ff er . : \ s l h' .~ ',· n c: i i: i1 c' ~ ; l; ' · ! \ ' •~ :'ct ; 1 : l ~·
tim e pb cecl be l n rc th e pupi l, t he ch c;s nu\· i 1c g ui dc.:d
i n th eir delib e rations t o opininns v:hi c h ~cem t o tiw
teacher sound, and , if n cc clf ul, rnety be referred to
auth or iti es to sup p ort tho se opini0i1<;
Outlines of some sort , how c \·c r , sb.oulcl be nLtcl c by
c:i.c h class and tho rou g hly karnccl . There is no '. h i::~
else that \\·ill g i\'C s u c(imp :.tc tly :rn cl s ci cc1 1w ,x tcd l:; the
if the outlines arc prup erly d c..: ri\e cl ir,);;1 t:ie t; 1,•: :,, ;· : 1 · i·
the class, each h eadin g will b e full of hdpf ul sugg e stions
and assoc ia tions .
In usin bo· th e book the individual t eache r may v a ry
without difTiculty not only th e st:ttcmen ts in th e ou tlin es, but a lso the . arrang ement of p :i.rts, th e 11ll!1lber
and sco p e of ex erc ises, an cl the amount of writin g to
b e do n e.
It \\·oulcl be acl\·i s:lbk, pr uln\1l y , fo: the
in e xperi ence d te:i.c ha t <..1 foll o11 cl os ely, for t he fir;;t tim e
of u~in~·. t he' :1rran~L'lllL'l1t :rnd rnctlwd i: i\·c11 , k,·cp111 g
th e out,li11'' l1d,)re h e r in the Lh~:o -r '"· 'll\ :1nrl s•.;i~i;1 g
qut'Sl i'''"' \,1 the 1 ,ni:i~,; t .1 11c ]i;,1c:;_:;h: l'~:t . .Su ch. ques ti ons nu\· (0 \!<.l \1· snrn,·11·rut ,,],)o<1y th"~'-· g1\·c11 1:1 th e

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Preface ,

oftt.:n den1 2.n d considerable var iati on f ron1 the rn. P~ fter
once using Lht.: uuuk iL will ut.: easier tu ac.laµl it to tht.:

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nee ds of the in div iduJ.l cb ss, and t o vary fro m it \\·here
it seems ach·i sabk.
The autl10 r lay:-: n o c hi m tu (1 rig in :tlily in thi:-; bciok .
It is simply applying the meth od of experim ent, th e
laboratory method, to a subject readily a.daptable to it.
This method has proved successful in teaching Rhetoric in schools of different grades, in widely separated
localities, and it is hop ed that it may prove successful
elsewhere. For mu c h of the thought of the b ook the
author is indebted to th e several authorities given as
r e ferences, and to them others are ref erred for a fuller
treatm e nt of the various topics tha n can be given in a
book planned as this is.
The only true test of the book will 'be its availability
in the class-room, its success in m aking the pupils enjoy
the study of Rhetoric, and in ma king it a li vin g r eality
to them now and in the future . To this end suggestions and criticisms are invited and will be m ost heartily
' welcomed. Anything which can make the book more
u seful will b e g lad ly received, and results of experim e nts will be utilized in futur e editions should they b e
called for .
The author d esires to express he r . most h e~rty thanks .
for valuable sugg estions and criticisms to Professor A . F .
Lang~ of th e Uni versity of Ca lifornia, to Miss M. E.
Plimpton, of the Univer sity of Arizon a, and to Miss
E. A. Packard, of th e Oakland (Cal.) ~h S chool, and
also to Mrs: C. E. Hul st, of the Grand Rapids (Mich.)
High School, a nd Professor I. B. Burgess, of Morgan
Park Academy, for careful and scholarly proof-reading.

PREf'ACE.
To THE PUPIL: This book is n ot intended to g ive
you the facts and prin ciples of Rh etoric, but t o help
you to discover them for yourself.
I nsteacl of telling you what oth er people h ave th ought 'upon ce rtain
subjects, we shall try to help y ou to find out wh at yo u
yourself think on th ese subj ects, an d to express yo ur
thou g hts as clearly as if yo u were writin g a Rh etoric
yourself. As the rule s of gra mmar arc cler i\·ed from
the everyday spee ch of tho se who speak well, so th e
rules a nd principles of Rhetori c are d er ive d fr om th e
writings of thos ~ \\·ho write well; and each one of us,
if he will think for hi mself hon estly and carcf ull y, may
find them in those writings by ob se rvant r eadin g . \\'c
wish to show you how this may b e cJ onc, and we feel
sure that you will e nj oy such a voyage of cli sco \·ery,
and will find it far more interes ti ng t o form y our 0\\·11
opinion from wh at you r ead th an t o commit to memory
th e printed opinions of ot he rs. \Ve h ope too t hat in
thi s way y our study of Rh etoric will m a k e wh at you
lea rn m ore fully a part of your m ental furni shin g , and
th at you will n ot only learn Rh etoric, but al so how to
think for yourself on all other s ubj ec ts.
In order, h owever, to h ave th e study of Rh etoric d o
for you all we wish it to do, we mu st have your hea rty
cooperation. In th e first place we ask y ou to do you r
L e t c\·e ry
work as thoroug hly as you kn ow h ow.
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question have an ans'';er, every direction be ' followed
as closely as you can. In the second place we ask you
to be honest: first with yourself,-:- be sure that whatever
you take as an opinion is your own honest thinking, not
what you believe it is proper to think, nor what people
in general think, nor what your,_teacher thinks, nor what
a spirit of contradiction prompts you tq think, but what
you think, even th ough as you grow older you are likely
in some matters to change your opinion; secondly, \Vith

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CONTENTS.
PA GE

QUALITIES OF STYLE

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thinking, how similar are your own honest conclusions
to those of ot h er me n and women on th e same s ubj ects
\\',_· kl\c: fn u nc1 tln l lwn l':' l pc·upk, thi11ki11 i~ ]\\11ll' ~tly
;;l )C>ilt rn:1ttcr ~ ; ill \\'h ich their uwn pcTc;on:!l a Cl: 1i1 :; ar,~
not c1! rc c·Ll y lt1\'(il\·,_ ·d, th iii\\ \'1 ·ry n1u1-- h :ili;,,.; ~t11d ~ti

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Persuasion

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INDUCTIVE RHETORIC.
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QUALITIES OF STYLE.

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\/\/hat is necc~sary in the rnind nf th e \\'riL er 1n or dc::f:f c.-. p,·cc:.~.i nn ? Unon what the11 <luc"

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f () r ck:i. rn cs:-;?

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'W hat is our object in talking and \Vriting? What

is needed in order to do this readily? What rn order
to convey the exact thought? \Vhat qu ality of styie
then is _most important? }:fake a careful definilion of
it . \.\-~ i :at i :-:. t Lt2 c TI cc t c1t ~ !:~ ·~- ~: i _1: 1 ·~ ~ · ,~ : ; : . ·_.<~ ?

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Inductive Rhetoric.

Description .

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attached to the upper part of it, which could be, at the wearer's
pleasure, either drawn over the face and bosom after the
Spanish fashion, or disposed as a sort of drapery around the
shoulders.
When Rowena perceived the Knight Templar's eyes bent on
her with an ardor, that, compared with the dark caverns under
which they moved, ga\e them the effect of lighted clnrco:cl,
she drew with dignity th e \·c il around her Lice, as an i:1ti nnti1111
that the determined freedom of his gbncc was clis:igrce:iblc .
Cedric saw the motion and its caus e. "Sir Ternpb r," s:1icl he',
"the cheeks of our Saxon maidens ha1·e seen too little of thL:
sun to enable them to b ea r the fixed glance of a crus:Hler."

METHODS OF TREATMENT.

I. Description.
82.

In the following selection decide where Descrip-

tion ends a nd Narration begins .

How do you know the

difference?
Formed in the .best proportions of her sex, RowcnJ. wJ.s tall
in stature, yd not so m~1ch so J.S to attrnct observJ.tion on account of superior heigh t. H er complexion was exquisitely fair,
but the noble cast of her hcacl and features prevented the insipidity whi ch sometimes att:iches to fai r beauties. Her clear
bl ue eye, which sa te ensh rin ed ben eJ.th a graceful eyebrow of
brown, sufficiently marked to give expression to the forehead,
seemed capable to kind le as well as melt, to command as well
as to beseech. If mildness we re the more natural expression
of such a combination of feature s, it was plain, that in the pres ent instance, the exercise of habi tual superiority, and the reception of general homage, h:td give n to the SJ.xon lady a loftier
character, which mingled with and qualified that bestowed by
nature.
Her profuse hair, of a color betwixt brown and flaxen, was
arranged in a fanciful and graceful manner in numerous ringlets. . . . These locks were braided with gems, and being
worn at full length, intimated the noble birth and freeborn condition of the maiden. A golden chain to which was. attached a
small reliqu ary of the SJ.me metal hu ng around her neck. She
\Yore bracelets on her arms, which \rere bare. Her dress was
an unclergown and kirrlc of pale sea-green silk, O\'er \Yhich hung
a long 1003c robe, wl1ich re:1checl tu the ground, having ycry
wide sleeves, ''h ich ctrne down , ho\\'e\'cr, \'cry litt le below the
elbow. This robe was crimson and manufactured out of the
very finest \vool. A veil of silk, interwoven with gold, was

IIo w clo objects of Description differ from objects of
Narration?

\Vhat essential in narrati\·e mu st usually

be shut out of descripti\·e writing? Define Des criptio n.
How are the objects \\·ith which it deals associated
with each other?
\\'hat classes of things is it possible
to describe?
83. Selection of Details. Drin~ to cbss tr> reac1 a
short description of some bit of natural scenery. In this
description are all the details given? How many and
which ones are selec ted? Is the pi c ture which the description presents to your mind a distinct .o r a vague
one? Can you ·tell why? Can you t ~ll the purpose of
the author in gi\·i ng t his description?
og ni ze h is purpose?

Hu1\· clo you rc:clbs his pmpose anythin.c; to clo

wi th his selection of <letaib?
\Vrite a description of a tree ~o · tlnt a tr:11·clkr m:i.y
recognize it and use it as a landmark.
\Vrile a. ckscription of another tree, in order to learn its name

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Inductive ·Rhetoric.

Description.

from a botanist.
Of another to impress the reader
with its unusual beauty and g ra.ce. Of another to indica te its fitness

for

Breathing like one that hath a weary dream.
Full-faced above the valley stood the moon;
And like a downward smoke, the slender stream
Along the cliff to fall and pause and fall did spe m.
A land of streams ! some, like a downward smoke,
Siow-droppin g veiis of thinnest iawn clirl go;
And some thruugh 1Lt1·cring li,.;hts :: ml sh::! :,1 ·...-.s broke:,
Rol ii llg a sl um1Jruu:; :olic·ct of fuarn lic·lu ·."-. - 'ir.:--;:,-, _,,, ,,.,

a definite use, as the mast of a

ship.

How m any detaiis are ordin a rily necessary?
tno rn:rny lie gi\·L·n?
t:ti n i 11~ t uo nnny
suc h cks c riptiu1is .
ch nce of clct::.ib?

May
Jiring to cbss a description con-

detzl i ! .~.

I\ ewspapers uftcn C(Jnlain
\\'ktt is the effect of such reclun-

84 . State t h e bw of purpose which shall go\·ern
the sclccti u 11 of <.ktails. In the foll o 11·i ng ckscr ipti ons
how is brc1 ity of detail s gained, zrncl yet the purpo se
secured ?

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I. I shall n c1c r forget my rid e ancl my introduction to the
g rc:it_ Jolrn:;tun din. . . . 1\s I rude along the pleasant way,
watchi ng eagerly fur the object of my journey, the round ed
tops of the elms rose from tim e to time at the roadside.
Wherever one looked tall er and full er than the rest, I asked
myself, - " I s thi s it? " but as I drew n eare ~, th ey grew sm all er,
-or it proved, p erhaps, that two standing in a lin e looked like
one, and so d eceived me. At last, all at once, wh en I was not
thi nking of it, - I declare to you it makes my fl esh creep when
I think of it now, - all at once I saw a great, green clciu;d '.· swelling in tne ho rizon ; so vast, so symme trical, of su c!1. O * npi.an
maj esty and imperial supremacy among th e lesser forest g rQ1vths,
that my h ea rt s topped short, th en jumped at my rills :-i s a hunter
springs at a five -barred g:lle, :-incl l fe lt :-ill throu g h m e, 11ith o ut
neeJ of uttering the \1·ords, - ' · Thi .c; is it!" - U. \\'. 1-Iuun:s.
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In the: J.ftcrnuon thcv came unto:) a l: md,
In 11 hich it see med ah1·ay:; afternou11._
All
round the ·coast the lanrruicl
air did swoon ,
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In the precec1in,c; e :-;t r:1cts lrn1,1· cl ues t he :rnticip:iti un
of the tra\-cller affect the clescripti on?

Ji nw cL1es the'.

effect on the writer affe ct the bre1·i ty of the des crip li!lll?
lluw docs the u sc of figures affect bre1ity ! In t he
preceding descripti ons, note the purpus e of etch cldail
rnentionecl.
\Vrite three different ckscrip t iL>rh uf a lrnildin ,c;, 11i th
as nnny cliff::rcnt purp oses in mincl. Try to nu ke them
as brief as possibl e by snmc of the cl e1 iL'es t b,~d in t he:
preceding descriptions.

85.

Point of View.

In writing y o ur descripti ons,

where did you im agine yourself in r ela tion to the buildin g ? \Ve re you each time in th e same p lace? Would it
be wise to chan ge your point of view in th e middle of a
desc ripti on ? \ V ha t effec t would it ha\·e upon the gcn erzcl impression?
Noti ce h o w this difficulty is aniidccl
in Selection 4, p:i g e 1 _:; 4. b it ne cc~<ny t 1J menti on
y1rnr point ,1 f Yi e 11· ? \\ 'hat is th e point of 1·i e1'. in Sc lcc tiun ::, JX1,c;C r ).'.?

Sl wulcl th e )h> int of 1·iew be defini tc: ly
inincl?
Gi\·c rc.:~~~ 'Jl1S ror y (n1 r
\Vhat difference in the de scription will near-

d(:tl~rn1inl~ d

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ness or remoteness of the point of view make? Before
answering this questiop refer to the description from
Ruskin, page 67, th e one from "Lorna Doone," page 68,
and the one from ·william Winter, page 80. What has
the point of view to do with completeness of description? \ Vrite a description of a scene from a window,
r etaining th e _window strictly as the point of view, and
keeping a definite p urpose in mind.
86. In the f 9llowing descrip ti ons find the point of
view and the purpose, :-tnc! analyze to shrrn· the details
g-1\-cn, the reasons for giving them, aml their ;irrangerncnt .
L
In these times of oms, t hough concerning the exact year
there i:; no nc:cd tu be preci:;e, a l.Joat of dirty :incl clisrcput;lhlc
appearance, with two figures in it, floated on the Th.'.lrnes bet\YCCn Southw:1rk Briclge, \1·lii c h is of iron, and London Bridge,
11·hich is o f stone, :i.s :i.n :llltumn c1-cning w.b closing in. The
figures in this boat were those of a strong man with r aggcct
grizzled hair, and a sun-browned face, and a da rk girl of nine teen or twenty, sufficiently like h im to be recognizable as his
daughter. The girl roweJ, pulling a pair of sculls very easily;
the man, with the rudd e r lines slac k in his hands, and his
. hands Ioc:ise in his waistband, kept an eager lookou t: He had
no · n e t, hoo k, or line, and he coufd -no.t l)e a fisherma'ft; hi s
boat_ had n o cush ion for a sitte r, no paint, no in s~ription, 11 0
appliance hl'.yoncl a rusty boJ.t-hook J.ncl a coil of rop e, a 11 d IH'.
could not he a watcrn1:rn; Iii ~ bo:it was too sm:ill :ind t oo cr:tzy
to tJ.kc in c:ugu f()r dcli1·cn·, :u1d he could Jl ll \ lie a lic'hkr,nun or ri1·cr-c:irrin; thcrt~ \';:b no clue to \Y lnt, )1c, ]nol[\.·c·"l
_ l f v r,
but he looked fvr something, with a most inten t and searching
gaz<:. The tit.h:, which had turn ed an hour before, was. running
~

I

I

45

down, and his eyes watched every little race and eddy in its
broad sweep, as the boat made slight headway against, or drove
stern foremost before it, according as he directed his daughter
by a movement of his h ead. She watched his face as earnestly
as he watched the river. But in the inten sity of h e r look there
was a touch of dread or horror. Allied to the bottom of the
river rather than the surface, by reaso n of the slim e a nd ooze
wi.th which it was covered, and its 's odden sta te, thi s bo~t and
th e two figmes in it obv iou sly were doing !'nnirthing th at th t>y
often did, [tnd \Vere seeking vd:~~ t~ey nfte:1 s·::::• '_ :,;~:t. 1 L-df ~:·_., . _
age as the n1:ln sho\\'td, 'vith no coverin~ on his 111:-ttted he~1d }
with his bro\\'n ~urns ba r e to between fre e1'1ow anrl the shoul de r, with the !OO$e knot of a l oo~e r kerchief Jpn;; bw on Im ln:-e
brc:ist in a \1·ildcrness of be::nl ::ml whi s1,;.e r, wi tl1 oi:c h drc's :i.-.;
he wore seeming to Li e nncle out uf tiiL' 1m:cl ti1:1t
111cd h::;
UO:tt , still th ere \'::ts bu:; i ncs:;-]i~:C lh:t~'~ in his Sk:cd \· '..'.U C, ScJ
with every lith e ac tion of th e girl, with crcry Lum ui lh: r 1nbL
perhaps most of all with her look of drr:::id or horrc •r, tin:"}' were·
things of us:igc . - C11.u:LLS Urc r-,:1::-; s, 0:1r .Jf:i!:,,:! Il:o:J

\Vhat is the purpose of tellin g \\hat the bo:c t clicl not
have?· D oes the use of such details detract from brc\·ity? Is there any pbn rccogniz:1bk in the arrangement

of the details; if so, what is it?
2. Let us look at Cambridge of thirty years since. The seat
of th e oldest college in America, it had, oi course, some of th:it
cloi ste red quiet whi ch clnr:1cterizcs all uni1·cr:;i ty tcm ns . . . .
But undcrlvin(T
thi s ' i t had :in idi os\·11cr:101·
of it:i own . J;ost on
~
,:-~
w:1s not yet a cit1·, aml C::rn1hrid~L· 1us <ill :1 co unt r1· 1·il l:1~'-'with its u11·n lnbih :rnd tr.uli
I\ll l \"c'l L:c·!i:1:--: l, ' ! s'.ru:1c:ll·
the f cJ rcc of s1_ih :1r1qn
;- ~~ti 1. ): L
:\1 ) ~) ~1 ) -1 1
;;1_; 1t r:-dn1 tltr...:
11·est
·lw
wh'.tt
was
called
the
New
R.r
i:td,
.
.
.
vuu
11uulcl p:tl ioC
'
'
--.. .
-l 11·; 1
-.. --.. .· ,. ~ • · 1· . ; ~ .-,.,J.) ,- ;., ...:vvth;pu
un tne
lirow of- ::iynh
l ll <1~
tu to c1,J O_, a \ ic,. ~ .. 1 "~. ,.. . _. - · • • ·o
;

Inductive .Rhetoric.

Description.

?

and placid. In front of you lay the town, tufted with elms, lindens, and horse-chestnuts, which had seen Massachusetts a
colony, and were fortun ately unable to emigrate with the Tories
by who m, or by whose fathers, they were planted. Over it_ rose
.the noisy belfry of the college, the square, brown tower of the
church and the slim, yellow spire of the parish meeting-house,
by no means u~graceful, and then an invari able characteristic of
Ne w En gland religious architecture. On your right, the Charles
slipped smoothly throug h green and purple salt meadows, darken ed, h ere and th ere, with the blossoming black grass as with a
stranded cloud shad ow. Over these marshes, level as wa ter, but
without its glare, and with softer and more soothing gradations
of perspective, the eye w:ls orriecl to :1 horizon of softly rounde d
hills. T o your left h:1nd, 11pon the Old RoJ.d, you s::i.w some
half-d ozen d igni fied old houses of the colonial time, all comfortably fronting southward . If it were early June, the rows of
horse chestnuts :i.long the front; of these houses showed, through
every crevice of their dark heap of foli:ige, and on the encl of
every drooping limb, a cone of pearly flowers, while the hill
behind was white or rosy with the crowd ing blooms of v:irious
fruit trees. There is no sound, unless a horseman clatters over
th e loose planks of th e bridge, while his antipodal shadow glides
silently over th e mirrored bridge below. - J. R~ L OWELL, 1854.

image said to have been dug up by some miners.

\Vhat is t he plan of arrangcm~n t in the abo\"c se lection? Docs it at all assist in forrni10'
a menta l j)ict u rc of
b
the scene? In how many of the preceding descriptions
clo \\"C 1l11d a general view given first, follo\\"ecl. by more

in e:cch.

The account was long and · some what minute, giving
in detail the position of each part of · th e b ody ; but
with so little system in arrangement of d e tails, that
only the most painstaking reader could discove r th at
the image was described as having th e fin ge rs of b oth
hands outspread, the thumb of on e h a nd t ou ching th e
nose, and th e little fin ge r tou chin g th e thu m b of th e
other hand in the stree t-g amin's attitude .o f deri sion.
This position was intended to indicate that th e entire
description was a hoa x; but th e arti cle was copied as

an ciCCOLmt of a genuine discovery, by repuLdJk p::i.pers
a ll ove r th e cou n try, before the author in a second Mticle
explained his motive, ancl showed how incklinite must
be the icle:cs g:cinecl from poorly \nitten cksni11tions .
Arc such descriptions still common in nc'.1\sp:ipc·;s i
See if you can fincl one to re:i.cl to the chss.

88 . In the following selection note the clnngcs of
point of v iew, th e pla n of e ach se p :i. ratc .(kscription,
a nd the thread that links th e va riou s d e t a il s toget h er

J low docs this as:oist our

The rnorninf; is ·serene :rnrl 10\·ely; the ;; m h:t.-> not g:1i11cd
sufticient power to destroy the freshn ess t1f the 111.;ht; we
will mount to. the summit of the Tu11cr of '
:c:1 il t:i '.~c
a bird's-eye \iCll" of (;r:rnach 2nd. its cm· irons.

87. Mark T wain published some years ago in a California n e wsp a per a description of a wond erful stone

A t length we are upon the terraced roof, and may -take brea th
for a m o1~1 ent, whil e we cas t a general eye ove r th e splendid
panorama of city and country, of rocky mountain, verdant

cletailccl Yicws of the parts?
mental picture ?

1

.

.

.

.

De$cription .

Inducti\.·e Rhetoric.
,-a11e~'·,

·:::
I
i ii

::ti.i.:
I.,
,1.I
~r-

and

fc~·rt1L~ I) '. ~1.;n

_: uf c<L)t1e,

C;"~ t h c dr::.l, ~foOri.sh

towers
a ~d t_;a t~i ic Cn ;1:r.~, c ; 11n~hlin; rn i1;s ;: nd lil oo1ni11g g roves.
Let u s aIJpruacli Lhe lialliemeuL:; an<l cast our eyes immedi2-tely below. See - on this side \Ve have the whole plan of
tr.:- .'\ l'.:.1mbn bid op::n to uo, :::nd c::i.n !00k r1o"rn in to i'.:; co;c.rts
f1nd garde ns. ;-\t t he foot of the to\ver i" the C n1_1rt o f the
Alhen:'a with its great tank or fish-pool horderefl with flowers ;
ar1d -y.-;i dz:r i;-; th1..~ Cn :;rt of J ,i n n:-;, \V ith lt .. ; L11t HJ' l :i fount:~in :tnd
it ·; li .:.:h' l\[oor i,;h :1 r c1clb; :i.nrl i11 th,_, centre uf the pile is the
lirrle f::lnk n ul Li11d:ir:na,
liuricd in th e hc:trt of the builcl irw
.
witil iL' roses and c itr uns and shrnbl":ry of emerald green.
· f ii:it l >clt of !Ja lt krne n ts stuctdccl wi th sq uarc to 11c rs, strag gl ir;g roun<l the 11 hok brow of t he hill, is the outer b oundary
of the for tress. So m e of th e tm1·crs, you nny perc e iv e, are in
ruins) and th ei r massiv e frag me nts a re buried among vines,
fig trees, and aloes.
Let us look on this north ern sirle of th e t owe r. It is :i. gi clcly
hci:;h t; the 1·ery foundations of t he tower ri se abo1·e th e groi· es
of the steep hillside . And see, a long fissure . in the massive walls
shows tha t the tower has been r en t by some of th e earthquakes,
which from time to time have thrown Granada into i;;onsternati~n; and whi c h, sooner or later, must r educ e this crumbling
pile to a mere m ass of ruin. The deep, narrow glen before u s
whfrh gradually widens as it ope ns from the ·m ounta in, is th~
v:illey of the D a rro ; yo u see th e little ri ve r wincling,its way und er
en~bowered te rraces, and among orcharqs and flow er-ga rd e ns.
It i::ia stream fam o us in old tim es for yielding gold, ai~d its sands
are st ill sifted, occ as ionally, in search of the prec ious ore.
_Some of th ose white pavilions whic h h e re and tl;e re gleam
from among th e groves and vineyards we re rustic re treats of the
l\Ioors, to enjoy the r efr eshment o f their gardens.
'~ne airy palace, with its tall white towers and long arcades,
wh u:h bre_as t yon ~.11ounta_in, among pompous groves ::rnd h:i.ng ing
gardens, 1s the Gen e rahffe, a summ er palace of the l\Ioorisb
~·

'I

i

kinn-5
to which tn ey
resnr
t l 1 (1.,rjT· f•n ... , 1. " .. r.·.·, . .·.·. ·.'. t \_'
:J '
.;
• ·. , ~ '- '
a still morr breezy re;;ir_i:1 tkrn th ::: t of th': :"\.lh2 :11k.1 . Th.· u~: v..:
sun1rnit of ,the height above it, 'v~e re J·ou Lthv1J ~un1e shapeless
ru ins, is the seat of the Moor; so calied from having bee n a retreat of the unfortnn a_te Rn:::hrlil rl'lrin_r; th-.:- t• n1c- of :en i:·c:::
rection, \vhen: h e ~ca t ed. 111n1::icli anti looked d o;...-n 1Yi(Hln1!'1iily
upon his re bellious city.
0

l

'J.

•

2;

I j '-·

::: ' ' • • • . )

-'

:\ i11 u rn11..iriug buu11J of \\' :.ltcr Ill.. h :111, l ti·:,_·;1 r;"(:~

-"')

ir ,Jt it

ti'r·.·

valley. It is from t he aqueduct lJ f yurt \l<10 rhL 111: :: 11ctrl·; :t ·.
t he foot of the hill. The a1· cnuc of trce:o Lcyo11d i:; tLc·
along the bank of the ll .u ro, a hvori~c rc , .1rt 111 c ·. cn1 ::.~:.; :c 1:d :1
r enclez1·ous of lo\· cr:; in the s:1mrnc r ni;htc, \\ ·hL' Il the t; : : : ~ .·r rn '·"
b e hearcl al a la te hour frum the hcnchc,; alc111; its \\.tlk:i . .\t
present t he re arc but a few loit er in g m onk:; to ]i ,, occ:n th crl·,
a n cl a group of water-c:i.rri ers from t he fo u11t:ti11 of .\ 1c iL1n rJ.' .
You start! 'Tis n oth ing but a hawk we ha \·c fri;shtc :1cd fro::i
his nest. Thi s old tO\\' er is a complete lJroodin_'..'. -pL!Cl' fur •; :1 grant bird s. The s1Yallow :i.ncl nurtlct al1l1U1 Hl in ever\ cli 1:1 k
and cranny, and circle about i t th e \1holc rlay long ; 11·hik
at night, when _all other birds have gone to r es t, t he mop in g Old
comes out of its lurking-place, and utters its boding c ry from
th e b a ttle ments. See how th e hawk we hav e di slodged s11 eeps
away b elow us, skimming over the t ops_o f th e tre es, :i.nd sailing
up to ruins above th e Gen e raliffe.
Let us leave thi s sid e of th e tower and turn ou r eyes to th ~
wes t. Here you b ehold in th e di stance a r:1!1 ge of mou ntain s
bounding th e.Vega, the ancie nt b arrie r be tw een M oslem Granath
and th e la nd of th e Chri stiar1s. Among the he ight s yo u may stil l
di sce rn warrior towns, wh ose gray wall s an d batt lem ents seem
of a pi ece with the ro c ks on whic h th ey a re built; whil e here
and there is a solitary wa tch -to wer mounted in some lofty point,
and lookin g down , as if it were from the sk y, into the ,·alleys on
either side . It was dow n th e defiles of these mo11nui1h, by t he
pass of Lope, th:it the Ch ri sfrrn armies ckscendcd fo the Yega .

l

l nd uctive R hetoric.
It ;r:i.5 round t he b :i.st> o f' yo n gray an•l nak ed moun t;i.in, almost
insulated from the rest, auJ slrctching it:> ba1J rucky promontory into the bosom of the plain, that the invading squadrons
would come bursting into view, with flaunting banners and the
d~ng: 0 r of d n:m,; and t ru rnpets.
H ow c hanged i~ the scene!
Im tc :cd of th<~ gl1ttc·ri 11 g i1ne o f nni le d w;uri rns, \IC lic: h"l d t ii c
p:iticn t tr.1in nf the toilful m uleteer sluwly rn ovrng :i.long the
sk irts of the rno unLlin.
Tich ind tint p rom onto ry is th e e1·en tfu l Bri rlge o f l'i nos, r en own ed fo r m :i.n y a bl oo dy st ri fe betwee n l\loo rs anr.l Ch ri st i:ub ;
bnt s till m o r e ren ow n ed as b e ing the pl ace wh e re Colu mbus
was overtaken and called lx1ck by th e messe nger of Queen Isabella, just a s h e was d e parting in d es pair to carry his p roject of
discO\·err to the c ourt of Fran ce.
Behold another pl ace famous in the history of the discoverer;
yon line of walls ~me! towe~s , gleaming in the morning sun in the
very centre of the \1 cga, is the city of Santa h~, built by the Catholic sovereigns during the siege of Granacb, afte r a confhgr:i.tion
had destroyed th e ir camp. It was to these walls that Columbus
was called bac k by the h eroic queen, and within them the treaty
was concluclecl that led to the discovery of the Western World.
Here, to th e south, the eye revels on the luxuriant beauties
of the Vega, a blooming wild erness of grove . and garde n and
te e ming orchards, with the Xenil winding through it in silver
links and fee cling innumerable rills conducted through ancient
Moorish cha nnels, which maintain the landscape in perp e tual
verdure. Here are th e b eloved gardens and bowers and rural
- retreats for which the :Moors fought with such desp erat e valo r.
The very farm -houses and hovels, which are now inhabitatecl by
the boors, reta in traces of arabesques and other tasteful clecora..tions, whic h show them to have b een elegant residen ces in the
days of th e Mosle ms.
Beyond th e embo wered region of the Ycga y ou b ehold , to
th e south, a line o f arid hill s d own whi c h a long train o f m ules

Desc ri ptio n.

II

is _.siowly m oving. It was from th e s ~1mmit o f one of those
hill:; that the unfortunate BoabJil ca.st back his last lcok upon
Grana?.a. ~~- g~ v.e yent to the agony of his soul. It is th e spot
famoµ~ in song and story, "The Last Si gh of the Moor."
NoV..-. raise you r eyes to the snuw y S! !rn m :t of y 1i:1 piic of
rncrnntain s, sh ining lik e a wliitl' su 111rncr '1 0' 1<1 0:1 r:,,: hi· 5 1, 1-.
It is the Sierra i\evach, th e pride an d cJ... li g:1t o f ( :r.uJ.:. d ;t ; the:
sour ce of her cooling bre t:ze.; and p er1 >Cti.n l \·c·rd: irc , "f i1cr
gush in g fonn t :tins and p ere nn ial st rea m.; . It i ..; th !s
1::_.;
p ile of mo untains th:i.t g1 \'C~ to (; ra n:cd l tln t corn b in:,t1 un of
d el igh t so rnre in a southe rn c ity - the fr L'Sh Ycg ct:tti on, and
th e tern pcr:i.te a ir:; o f a no rt he rn clinute, with the Yi 1 ify ing
p ower of a tro pical su n, and the cl o udl c:; s :-i wrc o f a sot1t h crn
sky
I t is th is a erial treas ure o f snow, whi ch , rn clting in prop ortion to th e in c rease of th e su mm er heat, sends down rin: k t ·;
and streams through e1·e rr g le n ancl g orge o f th e :\lp:1 :u r r;:.;,
d iffu sing emerald verdur e a nd fert ili ty throu ghou t a cluin ot
hap py and seq uest ered \·a lleys .
These moun~ ains may well b e called th e glory o f Gr:cnada.
They dominat e the whol e exte nt of And alus ia, a nd nny be seen
from its most distant p:i.rts. Th e mule te e r h:i.ils the m as he
views their frosty peaks from the sultry le\T l of pbin, and the
Spanish marine r on the d eck of hi s bark fa r, far off, on the bosom
of the blue 1lediterran ean, wa tch es th em with a p ensive eye,.
thinks of delightful Granada, and ch ants in low mi ce some old.
romance about the Moors.
But enough; th.e sun is high abm·e th e mountain s, and is
· p ouring his full fervor upo n 'o ur h ead s. Alread y the terraced
ro of is hot b e ;1eath ~u~ fe et; let us ab:i. ncl on it, -:i.nd d escend
and refr esh ourseh'es und er the arcad es by the f oun tain o f
L ions. - \\°A Sl!I2" CTO:-\ h : \.I:-\ G.
In th e prece din g, \\' hy is the gen e ral \ ' iC \\. gi,·en first

1

\ V in t d o you n ot ic e :i.hout the cle t :i.ils g i, ·c n in thi :; gen-

.'
i

!)

J

·r
'

••

;.

,.

· eral view? What purpose governs the selection of the
details? In what direction is the first li.m ited view
taken? How do you know? What determines the
order in 'vhich the different details are mentioned in
this view? Do you see any similarity in the description of each ? \Vhat causes this similafity? ·what is
the order of details in the northern view? Why is this
order chosen ? 1\re any details giYcn th::i.t se e m at first
unne ccss::iry? Can you sec ::i ny purpo:-;e in their use?
How in e ac h c;1sc does t he author indicate hi s changing
point of , ·iew? In wh::i.t order do es h e m enti o n d etai ls
in the \\·estcrn Yiew? \Vhat is th e t rend of th ough t
here that link s th ese details together? How ar c d etails
ch ossn t o emphasize thi s th ought? Jn the south ern
Yi c w what orde r is ch ose n? \Vhy? \Vh a t is the li nkin g thought here? \\!h at is the purpose of the Yarious
d etails about the mountains? \\'hy is t his d es cripti on
left un til the Lts t? Is th e point of Yicw \\·ell chosen in
t he selection? Give re:iso ns for your opinion . From
w h at you have noticed of point of view ancl o f arrange-

ment, what do you think necessary in order to have the
d escription a unit, making a definite picture to the
mind? Write a law for Unity of Description.
89. In th e following descriptions show how th e laws
of Description are observed; if they are in any way
fau lty, show how, a nd how th ey may be improved.
r. Chanticleer h imself, though st:ilkinrr
on two stilt-lik e leas
b
b>
with the dignity of interniiniblc descent in all his gesture~, was
h:udly Liggcr tlnn an ord inary p.ntridgc; his two wi;·cs \Vere

i

I
I

li

I

l

about the size of quails; and as for the one chicken, it looked
small enough to be 'still in the egg, and, at the same time suffi.
ciently old, withered, wizened, and experienced, to have been
the founder of the antiquated race. Instead of being the youngest of the family, it rather seemed to have aggregated into
itself the ages, not only of these living specimens of the breed,
but of all its forefathers and foremothers, whose united exce llencies ~nd odrlities were sriue ezeci in to i'.s li'.t1 c ro ,4y
Ito
moth e r c ,·i d c ntly r cg;ncLd it <L> the O!\c' chi. ke;1 n1· tiit· '"·" rltl ,
and ;tS n e: cc::; ~-<1 ry, in L1ct, U) th e v;url d'-'=' c'--1rit1i1 ·, : .~: 1r·(_·, ur, ~~t :'.ll)
r:cte, to the equilibriu m o f the present s t:ne (lr :cf1..1i~'· '" he ~ )1 ,_-r
in church or st:cte . -- H.\\1"!'1! 0 1':\l', Jl, ,11.1r· {f S z·r11 (;a/>!,·, .

z. Long

lin e~ of cliff lire :1king h:ll'e k it :i rh .1 ,rn:
And ir1 th e c]u:;m :ire fo am :ind y ell•.11•: :;:rndo;
Be yond, r ed roof,; ab ou t a n:irrow 11·h:irf
In cluster;· th e n a m oulc!c r'd chu rc h : :rnrl h i;l~c r
J\ long stree t climbs to one t1 1i-to . •:cr'd m:li:
And high in hc:t\· en beh ind it :c gr:n· d o wn
\\'ith Dan ish lnrro ws ; an d a hazel 11·o::; :l ,
By autumn n u ttc rs lnuntcd. n u ·. 1~ i:' 1 \.S
Gree n in :c cuplike holk111· of the dn\1·n .
- TE:\ :\Y3 U :\, E!! c' :-!! .·I 1.!o• .

3. The quaint old room w:cs furni:ihecl wi th t hat pro fou nd
recrard
for ancrles
which charact e ri zes th'e N Cl\' EnS!hnd count ry
b
b
~

h o use adorned by the taste of fi ft y yea rs ago. An uncompro-.
mising sofa lo ftily ele vat ed its an tiqu e b:ick, and c o nt emphtecl
with austere approv::il a li ne of ri g idly upri gh t ch:iirs pb cecl :ct
exact distances up o n the p:ir:illelograms o f the carp e t, :in cl
fl a nked by tw o tri ~gubr footst ools. E\·erywh ere \1·:is so lidity,
regularity, the quintesse n ce of sti ffne ss, except in :c d e ep
r e cessed win dow wher e a pretty m ode rn Y.1mhl, with lluffy
gold en h:iir, was curkd up up crn t he f.1d cd d.rnn .o k c11:ih1 () n'i ,
'llld g:uing with widc-011e n s:iucy cyc:i upo n the tr c:i.:,urcs of

·~{~;?·/·~·\\·~~~ ~~~~ \.'LC.-~·~·,-~.-- .., .•
-,.

•

"!I

...

Inductive Rhetoric.

Description.

time surrounding her.-BuNCHE WILLIS HOWARD, One Sum·

found also that the island I was in was barren, and, as I ·had
good reason to believe, uninhabited, except by wild beasts, of
whom, hO\vever, I saw none. - D..\J.'I IEL D EFOE, Robinson Crusoe.

154
mer.

4 . On parting with the old angler I inquired after his place
of abode; and h appe ning to h e in the neighborhood of the
vi1iag-c
a few c1cnin:::;s .:iftcrn·,:ud, I h:id the curiosity to seek
..
..__-,

!l

:..

~

him out. I found him living in a small cottage, containing
on1y one roorn, bt:t ~1 p~rfecl t>:riu~ity i11 it:) nH.:t1H1d a1Hi
arrangement.· It 11".1s 011 th e slirts o f the 1 ilbgc, on :1 green
b~rnk , a little h:ick from the ro:id, \Yi th :i s 111 :11! g:mlcn in front,
sto cked with kit r hcn he rbs, :t!1d :i d orne cl witb a fL' 11· flowers .
The v:holc fr()nt of the co t L1 ~; c 11·as m·crrun with a honeysuckle.
On the top 11·:is a ship for a 1n·atherc(l(:k. The interior \\':ts
fitted up in a truly n :lllt iul style, hi,; idc:ts of comfort and conYc ni c· ncc ha1 in,c; hc c·n :1 < qu ir c·d on th e l ic~ rth-tkck of a 1na11-of1r;1r.
/\. hammock \\'as :ilung fr o m the ccilin,c;, 11·hi ch, in t he
daytime, \\'a s lashed up so as to take up liut little ro om . From
the centre of the chambe r hun g the model of a ship, of his own
workmanship. Two or three chairs, a table, and a Luge seachest, fo rm ed the principal movables . About the wall were
stuck up naval b a llads, . . . intermingled with pictures of seafights, among whi ch the battle of Camperdown held a distinguished plac e . Th e m antelpiece was decorated with sea-shell s ;
ove r which hung a qu adrant, flanked by two woodcuts of most
b itter looking naval commanders. His impl ements for angling
were carefully dispose d on nails and hooks about the room.
On a shelf was arranged his library, containing a work on angling , much worn, a Bible covered with canvas, an odd volume
or two of voyages, a nautical almanac, ·and a book of songs.
:_ IRVI NG.

5. After I h ad with great labo r and difficulty got to the top,
I saw my fate, to my great affliction, viz., that I wa s in :rn ishnd
environ ed e ve ry way with th e sea, no Lmct to be seen exce pt
some rocks, ll'hich hy a grc :1t w:i.y off, :111cl two snull i:d:i.mls,
less than this, \\'h ich by ahollt three k:igu es to th e west. I

I'

l
Ii

i
f

l

1

55

90. Rc:i.d Lo·scli's "Pict1.::-cs froE-i ..:'\ p;.;kLL >;c," ,.,,].c[
three descriptions that plea se you , and in on e of th em
sh ow the pbn, in zrnutii c:r h"1-.1 t 11L· tLc.til~ ti: ~i " · I' :1
pose, and in th e thircl,
gainccl.

h O \\ '

brc\ ity of

ck.; l

1ipti1111 i,

\Vhat feeling is rnuc;ccl in t11 L'. "l'illwc ..; fr"111

Applcclore"?
descript ion?

\\'h::i.t fccling is rou.;ccl in th e f(,] ]"11 in'-'.

How is this feelin g c:-; cikcl

!

L it h \

words? by rhythm? by flg uc1li\c h11 g 1ugc; by

Sl'I 1-

tcn ce-struc tur c ?
Ti!E COL OF.,\llCl Dl:St:RT .

Thou brown, bare-brc:isted, 1·oiu les s rny,; kn·,
Hot sphinx of natur e , ca c tus -c ro11 n ed, wh :ct h::.;t t rnl! clo:ic)
Unclothed and mute as when th e groans of ch1 u, t'.:0 11cd
Thy nak_e d , _burning liosom to the s un .
The mounta in silence h ath speech, the ri\·e rs sing,
Thou answerest n ever unto anything.
Pink-throated li zard s pant in th y slin} shade;
The horned toaci runs rustling in th e h ea t;
The shadowy gray coyote, b orn afraid ,
Steals to some brackish spring and la ps a nd pro wls
Away, and h owls and howl s and howls and howls,
Until the solitude is sh aken with an add ed loneli ness.
Thy sharp m escal sh o ots up a gian t stalk,
Its c e ntury of yearning, to th e sunburnt skies,
And ci rips rare honey from the lips
Of ycllo\\' w:ncn tlo11·crs, :rn cl die~.; .
Sonw lc11 gtl lll i.; c su n dri ed ;;Ju pc·.; ll'itli kc't :rnd 11.nds,
1\11d thirsty mollths press ed on the s11·cltcri11:; s:rnds,

,... ~

- ,..., _____

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.

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.'

Indu~ tive Rhetoric.

-

91.

LIPPINCO'IT.

In which of the preceding descriptions are the

sc.:: n c ;: s o wdl sug c:: este<l lhal two equ:i.11y goo(1 p:tinters,

w .irk in.:.< im kpenckn t ly of each o the r, \\uuld p rolnlily

I low cl ues \1· o rcl1n int i:1g differ frci rn pi cture-painting? \Vhy s hou ld it
be so ? D e scr ib e in wri t in ,=; th re e h n cl sc:ipes, in one
k tt inf:' the colorin g be the thre:id c1f the des cription, in
th e se cond form, and in the third, rcbtiYe po sition.
D esc rib e a sunri se scene, on ce, letting col o r be the
thrc::?. d, and a g ain, making the charJ.cteristic sounds
the iinks that ·bind the description .
D;:::s cribe a fireli t inte ri o r. D escribe a scene of busy
la b.o r of some kind common in your locality. \Vrite
t h r ee d escriptions of persons, in one dwelling u pon
dress, in another upon form and position, and in the
third on expression in face and attitude .
Describe a
picture which you h ave seen which t ells a story m
itself.
rn:ikc: s i111 il:t r

pi ct ures

of

t hem?

Try m all your descriptions to observe th e laws of
Description and t o b e economical of words but not of ·
thoughts. M ake a few words t~ll much. In selecting
subj ects for description take tho se which you have
really seen and enjoyed \Vhe n al a loss in selection
o f details, rememb e r that those which mo st forcihly
im pressed you "·i ll proln bly h a \-e th e s :i. m c effect li po n
others .

1

57

92 . Se1cc t at least three ckscri p tions e2.ch of objects or
of pers ons fr om one or more of th e: f1_·, }1 c) \\·in;:_:- 2. iJ thurs :

1

. ll

l

- Tennyson, Dickens, J. Fenim ore Cooper, George
Eliot, Hawthorne, Macaulay, Prescott, Victor Hug o; in
these descriptions find what vou can .of th e author's
J)eeuli::t ritie s of 1Je scr i1-,tinn ::t•Hl h!:; r'" 'tr',· nr~ i. nt' 2rr2n;cm cn t .

\Vr ite t he r esu lts of yo ur im

, ,.,
~

.

' :

--~i

D e sc r i ptio n .

~ 1a rk he re a r:. J there a gre11som c, gra1·e]ess spot,
\\-hert.; sorn e c. nc Jr~1nk thy scorching hotness an d is not !
Go~ m::st h~~.-c 111::::.t.l~ t:1cc in His anger and forgot.

-

e~ : i,~~tt i n n.~ .

93.

Descri pti on of Mental Sta tes. Crn 11 c clc.:scribe
object s th a t c a nn ot b e p er ce i\«.' cl by t h e ~c rF c ~ i !\ ~rn:c
such objects ancl show that t h ey nn y be clc scri lic cl.
How clo such Description s c o m p:n c in cli f!l c ulty \ I ith
Descriptions of obj ec t s o f se n se i G i1 c r c:1,o ns \'- hy
this is so. In the foll O\\ ing cl c::::: c ri;-, tion h oi" is ambiguity in describing mental sta tes a'"o; dc cl ? 1! 011 d ocs
the D es crip tio n of surro u nding obje ct~ <Jf sc n ~ l· aid \ uu
here in appreciation of m e ntal s t:i.t e s

J

Arc th es e De-

scriptions well managed in connection \Yith th e main
purpose?
The wild mustard in southern Califo r: ni a is like that spoken
of in the New Testam en t, in th e bran ches of whi ch th e bird s
of the air m ay rest. Coming up out of the earth, so slend er a
stem tha t d oze ns can find starting-point in an inch , it darts up,
a slender, straight shoo t, fi 1'.e, ten , tw enty fee t, with hundreds
o f fin e feathery br_a nches locking and interl ocking with all the
other hundred s around it, till it is an inextrica ble network lik e
lace . Th e n it bursts into ycllo\\' bl oo m sti ll finer , more fc:1th ery
ancl m ore la celik e . Th e ste rn s a re so 111fi;i ite sinnl l1· snnl l, a nd
o f s o d:n k a g re en, tln t ::.t :1 short di,;t.tnc e th e y cl ,; not si1 o w,
::.nd t h e cloud 0i hl u ssc1rns sc e nio fl,_• .H iiL.'. i11 t he· ::. ir ; :c t ti111 cs
it looks lik e go lden du st. \ \' ith a c lc :ir biJ c sky \. chrnd it, as

.
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.
0

RhPt-or 1r

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it is often seen, it looks )ike a . golden snowstorm: The plant
is a tyrant and a nuisance, - the terror of the farmer; it takes
riotous possession of a whole field in a season; once in, never
out; for · one plant this year, a million the next; but it is
impossible to wish that the land were freed from it , Its gold
is as distinct a value to the eye as the nugget gold is in the

pocket.
F;ither S:1h·i c rderL\ S U() n f(Junrl hirn~ cl f i11 a verit:tL1c thic ket
of these delicate br:rnd1e,;, high abm·c h1,; hc:td, and ~ o interl:l c e d that he could nnkc he:id11·ay only by slowly and p a tiently
d i·s ent:rngling thcn1, :ts one wcrn ld d 1sc11ta11 glc a skein of silk .
It was a fantastic sort of dilenrn1a, ancl not un pleasin,c;. Except
that the Father \\'as in haste to reach his journey's end, he
wo uld ln.l'e e11joyed tlne acli11g his w;iy through the golden
meshes.
Suddenly he heard faint notes of singing.
He
pause d, - listened. It was the voice of a woman. lt was
slowly drawing nearer, apparently from the direction in which
he was going. At intervals it ceased abruptly, then began
again; as if by a sudt.!en but b ri ef interruption, like that of
question and answer. Then, peering ahead throu gh the blossoms, he saw them waving ancl bending, and he;:i.rd sounds ;:i.s
if they were being broken. Evidently so me one entering on
the path from the opposite end Jud been caught in the fragrant
thicke t as he was. The notes grew cleare r; though still low
and · sweet as the twilig ht notes of the thrush; the mustard
branc hes waved more and more violently ; light steps were now
to be heard. Father Salvierderra stood still as one in a dre;:i.m,
his eyes straining forward into the golden mist of blossoms .
In a moment more came, di stinct and cle;:i.r to hi ~ ear, th e
beautiful words of th e s e cond stanza o f St. Fr:rnci s's inimi table:
lyric," The C an ti ck of the Sun": "J'rai,;e he to Th ee'. ,() Lord ,
for al l Thy c reature' s, and especi:11l y fo r nur IJro th cr t he Su11,who illumirJJ.tes the thy, and hy !tis he:111ty a nd s p kncl c'r shad ow,; forth unto us Thine." "lZarnona ! " ex(;laimed the Fa\ber,

.· .~.y~·1a
~:~· -i_ !~
~.

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his thin cheeks flushing with pleasure, " The blessed child ! "
and as he _spoke, her face came into sight, set in a swaying frame
of the blossoms, as she parted them lightly to right and left with
her hands, and half crept, half danced through the loor)hole
openings thus made. · Father Salvierderra was past eighty, but
his blood was not too old to move quicker at the sight of this
pic:ture. A man m11st he dt"1d riot to thr!!! a! it. R'.!~~~a' c.
1>e :\ll l)' \l':\ s o f t b.: ~ 1 Jr t to 1ic Ji , < u 1h u;c ·l·il \ ,1 fr 11 ' " :
which 11011· framed hn face . :-;hL· Ind j'I :ic en ,
l' i uiJ .,·e· -ti:1 t
in her compl e xi o n to und erlie a nd t :1: i1 Ji her sl: in 11 ith u ..·
m aking it swarthy. 11 e r lnir ' ' :l:i Ii '.: ,· li c·r J 1:cl i,cr1 11w l: L·r' o,
hea1·y and bbck, but her eye:; were li kt· ht·r f 1th c r' s, :;[ , ,· l-lii:L'.
On ly those who came very ne:n to R:1m 1i 1n k11 c11. hcrne·1·cT,
that her ey es \\'ere bltit', fu r th e h ca'.y J,b ck
:1 1111 ],"1;
biack lashes so shaded and sh ;:i. i\ 011ed thl'll1 th,1 t ti :, y luci \: c1 i
black as night. At the same instant th:1t Fat he r :--: 1l1 1c rtkr r.1
firs t cau g ht sight of her face, JZam on 1 :i!-;o :0.1.11· him, a n· I
1 1 ,~
out joyfully, "Ah, Father, I kn e w yo u wou ld c ome by th i..;
path, and something to ld me yo u v: c rc' n c:1 r
sh e ' l' r:rn; forwa rd and s.ank on her knees b e fore hirn, bo wing li e r head f,,r
his blessing. In si le n c e he birl hi s h :rn ,l.-; 0:1 h e r hrn w. I t
would not have lJe en e;isy for him to sp c:tk to he r :it tint fi r ~ t
moment. She had looke d to the dernut old m on k, ;:i.s sh e
sprang through the cloud of golden fl owers, the sun falling on
her bared head, her cheeks flu shed, her eyes shining, mo re like
an apparition of an angel or saint, th an lik e the flesh-;:i.ncl-bl oo d
maiden whom h e harl. carried in his arms when she was a bab e.
1

-

91.

, .

Hu.is H LJ >:T J.\c ;.:so>:, R ,u 11 ,>11 ,1.

In the foll o wi n g clc s c r i p~ i ,111:.:,

tion of th e rncn t: d st:i tc s zi icl e cl

h 111':

is o t: r concc'Jl ·

l

() Jcn::' :~ lc!n , Jc n:~J.1('i 11 J tf 1n \l ti± .1-.t ~t i 1 ; 1 :_' -. t the p ; llj 1:1 c :.-1 ~ ~ nd
killest the1n th:it are sent urito th:.:c, hu',V ufi_z.~n v;._::!ld J _]:.;1v c

j

a

Ii

••
l

160

Description.

Inductive Rhetoric.

.I

61

gathered thy children together even as a hen gathers her chickens under her wings, and ye would not !-CHRIST.

silent Berserker rage, that I remerpber of in any other man.

Tito had an unconquerable aversion to anything unpleasant,
even when an object very much loved and desired was on the
other side of it. He had risen early; had waited; had seen
si ght s, and had been already walking in · the sun. He was
in~ i ined for a siesta, and inclined all the m ore becrnse little
Tess:.i w:is there , and seemed to make the :i.ir softer. He by
down on the gras; again, putting his cap under his head o n
a c·rcen turf b\· the side of Tcss:i. . T int was not quite corn"
'
furLaoL". ; so he m o\·eel ag:i.i n, a1Hl :is keel Te:;:;a lo let him rest
his h 1;~,d agains t her bp; and in "th:i.t \L1Y lie soon fell asleep.
T e:;:;a s;:it quiet as a dm·e on ih nest, j ust \'Cntu ring, when he
wa s fast aslee p, to tou ch the \1·o nderful dark curls that fell
bc<c kwanl from his ear. She was too happy to go lo sleep too happy to think that T ito woulcl wake up, and tha t then he
wodd lea\'e her, and she must go home. It takes very little
wat er to make a perfect pool for a tiny fish, where it will fine!
its v;or ld :iml p aradise all in one, antl nc1· er ha1·e a presentime n t of the dry bank. - GEORGE ELIOT.

95. \iVhat mental states are indicated in the following, and how are they suggested ? Is such suggestion
as effective as fuller description?

-CARLYLE.

l

~

I

He felt as if a serpent had begun to coil about his limbs.
His blood curdled uncomfortably at the old fellow's touch.
Not many days ago, I sa'v at breakfast th e not<1blest of all
your Not:-ibilities, Daniel Webster. He is a magnificent specimen; you mi g ht say to all the world, This is )"O\Ir Yankee
En gl ish man, such limbs \l'C nnke in Yankeehn:i ! As a Logicfen cer, Ad\'C:icatc, and l'a rliamentary H e rc ules, one would in cline to 4ack him at first sight against all the extant world.
The tanned complexion, that amorphous craglike face ; the
dull black eyes under their precipice of brows, like dull
anthracite furnaces, needing only to be blown; the mastiff
mouth, accurately closed : - I have not traced as much of

.

.{

A few hours late r, the whole of the little to·.1·11 w:is sluken t L1
its very founchtion,;, by something like :d1 carthqu:ike, :H: ui :npanied by an ominous, b oomin g sound \1 hich Lrou;ht p~opk
fl ocki ng out of their houses, with white face~. :-;,Jrnc of t hem
had heard it Lefore - all kne11· wlut it rnc::rnt. Frum the cullicrs' cottages p ou red forth 1rnmcn, shriekin g and wailing, -wumen who bore ch ildren in their arms and lud older on,:s
dragging at their skirts, ancl \\'hO made their clespcLttc 1uy
to the µit with one accord . From ho~ises ::rncl worbhu ps
there rushed men, who, coming out in twch and thrce o, jd:ned
each othe r, and, forming a Lreathlcss cro•c;cl , r:rn th
t he:
streets scarcely daring to spe:ik a word- and all r:>.n toward
the pit.
.
There were scores at th e mou th in fi\·e minute:;; in kn rn1llutes th ere were hundreds; and alio\·e -all thl' chrn or rose the
cry of women:
"My mester's down!"
"An' mine ! "
1
' Four hds o' mine is down!"
"Three o' mine ! "
1
""\1y little un's t 11ccr - t I1' younges t - no,c>'i·1
' :. t ten .\'car ol.J,
poor llttle clnp, :rn' on'y been at wo rk a 11·ce,;. !
"
" r·\ \ . \\·e n'-~hn"':::., Gor1
'"' h~' m erC)' on us aw - God ha' mercy!
And th~n more shrieks and wails in which the terror-stncken
h"

.

children joined.
_
.
.
It was a fe:irful sight. How many lay dead and d yi_ng 111
the noisome darkness below, Goel only knew ! How many 1ay

Inductive Rhetoric.

Description.

' ..

If such was the case, the parson said, the inten·ening period

mangled and crushed, wa1tmg for . their death, Heaven only
CC:: ~ .j 1. ·:

ln ti•-c min u t e:; aft c.: r ti 1t explO:)tOi1 occurred , a ~1i g i:l fig1.1r2
in clerical garb made its way through the crowd with an air of
excited de termination.

4

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r>(·rrick? '1
: ~ rt '. p1y fro111

fcr,t::lh

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:-::()id nc:1r.

' · 1 etJ\>:11 up \J li t o ' th' pit J.11 hour :E'. O,' he· >;;1 icl ; '·I \1cn: th'
lbt .10 corn11 i1p. a11' it wc·1·e 011'1· c:h:rnce :i:; hrn\d me . l knick
' "· 1ir ' "i' h;, me11 i' th ' i1c: 1'. p:ut o' th' mille.
l seecl ll i1n :ts I
!l:b ,eel U1
Cr.le...: ':, fac i..; occ..:une :, sLd c: or s0 jJJ.kr , LJ.t he: mJ.l'.c: no m ore
l l lf [ ' i l fl·~~.
i l i:; fri end ci tliu Ll 1 (k;1cl \id:,11, nr 11;b '" :1it111g fc,r
his doo'.11 ;H t h ;\\ 1 cry rno111e11t. 1-le stepped J. little fut her
fo ; \·, .lll l .
"Unfort111utc.:ly for mysel f, :1t prese nt,'' liL: s:1ic1, "I h :1\C Jl()

JJ_(

()n~~? nr

qf tht· nl~ 1 ~ r a!~d I n c~- e cx11: · ricnc l: ( ~
c 11ii·
lindcr ~~n b,~}1:r i~ Wdqi · l h~ i ~n! ' f ' :-:~ ~ h1~ tc' 111:11.:l· the· :1Ur·1npt t>,\:.i

it might eve'.1 !Jt.: a longer time, bnt in a n hour they might, at
least, make tht:ir first effort.

4
, :

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rnincl sh o ul cl

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11 e ecl t u ck:;uilk' \'.~· ii t h: 11 1.•. ·

Tu ck:-" c ribc: the rncnl:tl
irn ry ch:tr;1ctcr?
\V h ::it Lrn:o obscn·ecl in ckscribi11 g

of zmotl1er?

su;ne of )LFl le 11 111c ho11· loll g it wi ll li e b efo re we crn nuke
our fi rst effo rt to rescue th e m en 1vho arc below ?"

Did he mean to volunteer - this young whipper-snapper of
a parson? And if he did, could he know what he was doing?
" 1 ask yo ll," be sa id , " because I wish t o offer myself as a
\-o_lu ntc..: r a t on ce; l thill k I a m stron ger than you imagine,
and at k;bl my hc:Ht 11 iii l ie in t he work. I han: a fri ernl
bdo1Y, - rnyoc:lf," li i,; ,-"j, -c a \t,' ri11 g ih tone· :rncl looillg ih fi rmn 1::;s, - · ·a fr1 1 11 <l 11lhi i,; lhl rl ii1· tlic ;,:tcril1cc uf kn such li\· c,;
~1.·~ 1n ir : L· if ~ uch :t s:!tTii'i(~t. cut11 d ~:1\·c hi:n_"

l1 •) ) l •:

sl:1tc , ,f ;en

arc applicable to the Des cription of

olijcl~t:;

1

<.,." .
irn

,,f sc:ri:;,·

m e ntal s tate s?

How do th e se laws comp a re in imp ortan ce in th e ir
a ppli cati o n to D esc ri pt ions of objech of sense :rncl n f

I

m en tal s t a tes?

l l m\· a rc th ese b11·s ohsen·ed i n th L·

preced in g D e,:;cr ip t i,rns

I
t'
l

II

en,'
I Ia\vthorn C, l\iotlcy; Car lyle, \ ' ictnr H u;-o: J. l\... Gre
c
H. H. Jackson, Eiizabeth Stuart Phelps, George

..

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~:donald, ~~u::·,~~:ls:·:i;;i~:
W.

MacLaren, Anthony ~ Hope, William

Blackmore, Ian

I~

Black, Henry
~

\Vr.it-3 dcsc:•i~tions of three mental states which
you remember to have experienced; let them b e note• • 1y·, : ~ •. J r~-1l ::--Li'~
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clc:s cri11-

t io n of th e lo c:clity , an d a d es cript io n o f t he m e nt al s t:itc
o f sorn e p c rs n n conn ec ted \1·ith it.

\\'rite a dcscription of the mental state of on e of your
favorite char:i.cters in history at some crisis in l1i s or
h e r liie .

Review the char:i.ctcr

Descriptions of Character.
do y o u think
in "Snow-Bonnd ."
th es e e stima te s of c h a r ac t er \\·e re fo rmed?
I I ow d o c s
the description of character differ from the d escription
of a mental state?
99 .

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descripti on s

Elizabeth was n ow in her twenty-fifth y ear. Person3.lly she
had more than her mother's beauty; he r figure was commanding, her face long but queenly and intelligent, her eyes quick
an,d fine. She had grown up amidst th e liberal culture of
Henry's court a bold horsewoman, ·a good shot, a graceful .
dancer, a skill e d musician, and an accomplished scholar. She ,
studied every mornin g the Greek T estame nt, and followed thi s
by the tragedi es of Sophocles or oration s of Demosthenes, and
could" rnh up h er rusty Greek " at n eecl tu lnndv p ed.rntr y
with a \'i ce C han ce ll or. · But sh e \1 :1s f.n fr o m b e ing :1 rn n c:
pedant. T he n ew literature whirh \1· :1s spri11gi11 g u p :nouncl
her founcl constan t welcome in her cou rt. She sp c1kc I t:1li:m

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French"
.

and
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fiuefitly

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6

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She ,

r
vas 1am 1 1ar

with Anosto and Tasso.

Even amidst the affec tati o n and love
of anagrams and puerilities which sulli ed her bh>r '""" "~ oh,,
li::.te:ueJ w~th t!cE~ht. to the!: f'rtcry t~l_u ce! !c , " ~.-t! !'-!~·~~: ~t;~ :·~;;~
for" l'vfasterSnensPr"
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mural temper recalied in its strange contrasts

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th~ mixed blood

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and

lL·:nty adilri: ., s, fkr ],, \ c: uf \' · >j> u:. trity :rn ii ut· fr., ·1· Ill
wi th th e p co11lc , Jiu ch 1111 tJc , s C< il :r«:g c and Lcr :ir rLirn.; , ,·:rc o11111l c n c c . l I er l L:r s11. , 1~ u 11 I. 1 ',.; c: 1·u :cc·, hn i rn p c tl'. <! lh 1., .:: i. hn
.1 '
ii ri c c, i!LT i uri (itb o utL ur ::; ~ s of :1n:-.: l'. r, c:1 :nc tu her \\·;~ i1 h ~ r 'l"i; d u r b loud. She uk d grc.H ll •Jl1 lc s :co if th c:y we'r e: sl'h1H1!iiuys ;
0

sh e met th e i11 solc n cc of Lss c: :-.: wi t ii a L._, \ on the c :n ; , h,.
wc'>' 11d break now :rncl t hen into th e gu\·est clc l1 k ·r.1tiu:is t,i
S ll'l' ar :::.l he r m inio;t cr li ~e a f1 , 'i1\ ifc .
J: .rt sc
1·, t « i'li
with th e \·iolcn t outlin es of he r T 11d0r temp c' r o;f, iud tire ,;..: 11su ous , sel f-i nd ulge nt na ture sh e cl e r·i ,· cd fr orn .\ nn c

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from castle to castle th ro ugh a se ries o f go rgeous p:rg e:rnt:;, fan ciful and extravagant as a Caliph 's dream. She lov ed g:ri ety :incl
laugh ter ancl wit. A happy re tort or a ftni_sh ed co:nplrrn ent nn ·cr
failed . to win her favo r. She hoa rded j ewels. H er dresses
were innumerable. Her vanity remain ed, eve n to old age, the
vanity o f a coquette in her tee ns. No adulation was too ful so me _for h e r, no flattery of h er beauty too gross. "To see her
was he11·e n." H atto n told .h er, "the lack of h er was hell."
She would play with her ri ngs that h er cou rti ers mig ht note th e
d c li ca c:~,- of he r hands ; o r cl.rncc a c11 ranl o tlu t the Frer ic h
amlnss:1d o r, hidd e n ckxtcrc• us ly beh ind a c urnin , rn ight report
tcr, he r unwonLt n ly jc~t ~ , g .n -c

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Inductive Rhetoric.

166

Description.
; .
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N'° instinct of deiicacy veiied the voluptuous temper which had
broken out in the romps of her girlhood and showed itself
almost ostentatiously throughout her later life. Personal beauty
in a man was a sure passport to her liking. She patted handsome young squires o~ the neck when they knelt to kiss h,er
h--.~,4 ~·-i(1 fr-~n;lied ht>r "Sweet l-Z1,iHn ,;; II~r..-1 J1e1r e ~ter , Jn t.nc
It \\:::_ :-in :~• \-.;~q 1: LT tl:·1t the s t:lt l':--;n1cn

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she 0:1h\· 1tt L: d

little more: tii:rn "fr11•,,\uu~

oul of war, to re:;tore civil aml religious onler. Something of
womanly caution and timidity perhaps backed the p:tssionless
indifference with which _s he set aside the larger schemes of ambition which were ever opening before her eyes. She w:is reso lute in her refusal of the Low Countri es. She rej ec ted with a

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l1dh , ., j,.-,;11 the\· s:1 \'; 11»c; fir fr o :11 h~ 1nc:: :il l of E! 11:1k :t l1.

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The
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ti1c ~urCw c of :111:\ll! rc Inn! 2~ stcc.:l, a temper pu rc.: ly illtl·lk1 :llul,
t ·~ H · Yd\. \\j••.: of rc:.u:in untouched lH' i1 1n'.-'. in:cti o11 or ]':h'io11.
J ,n\ 111 i• ».:s :,11-d
!«.'. lm·ing 2s she "ccrned, Lliz:!bl'l h l1n:il
s ::n: .ly :end fr11 .g:1 l ly, :rnd she v:urkcd lurd. l fe r \ ,l!l i ty :111 1l
<Jprice Juel n o wei '.-'. ht ,,.h:L tC\«::r ,,·ith her in st:1te :cfhirs. Th e
coqnette of the presence ch:Lrnher her'.amc th e coolest :encl
h:m!t'st of politici:rns at the co1lllc il-ho:ud. Fresh from the
fhttcry of h er c our tier,;, she \1·ould tokr:ctc no D:1ttery in th e
closet; she was herself plain and downright of speech with her
counsellors, and she looked for a corresponding plainness of
speech in r e turn. If any trace of her sex lingered in h e r actual
statesmanship, it was seen in the simplicity and tenacity of purpose that often u11 tkrli<.:s :t woman's i1uctuations of feeling. J t
w:1s this in p:lrt whi ch g:1,· c he r her nnrked s\lperioii ty u\·n the
st1ks mcn of hc1 tim e. l\o 111Jblcr gru11p of 111i11istns cn·r
th2 cm11 1ci\-l, ,,:ml flf 1·:1 11:1 11,,·tlJ. J\ut sh ,· ins th e i:1st1:1 11 lc· 11t_ (,f
non'~She lt:i\l'IJi ~ d, she \1Ti:,heil , :,lie? \h <:d 0 1· p: it li\' th<.: <"<lll!i~eL of c:ic li ir1 t u r il, \1ut lh·r jhltt1 ' 1· :h :t 1; Ji,, k w.h \i,:r <111·1\.
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t 1q ~h e l: ·t ~· :
the ri ght 011e. l lcr 1nlure ,1·.is c.'oc' nti.iik pri1T «:1 l :1::,\
of the pres ent. She distnhted :i. ]'L\I\ i11 fact j11,t in 1•1111 "1 rt 1 i11
to its s;iccu hti1·c r.rnge or ih out Ju,,\ ii: t,, t he fi:'. i; r,· I I':
notion of statcsn1ard1iµ by in w,1tc hin.:; huw thi ng:; turne d out
around her, and in seizing the moment for making the best of
them. A policy of this limi ted, prac ti c:i.l, tentati1·c order was
not only bes t sui ted to the En gl:rnd uf herd I \', to ih ,;nnll rcs•H11cc'' :me! thee tr:rnc; iti o:nl chu.1ck1 ,1f it.s rL·li ,.;i c11 1,; :i n l ]•0~ 1 •i­
c:1l ll c' l1c't, hit it 1u-; U:JC e:1:i: L•1: l·: o':itc' d l 'J I .I : ;; ,, ~ i:·.,
jlc'< ' IJ! 1.1 r pcl l':c' tc'. 1t \ ','.l~ :l
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Inducfr~e Rhetoric.

168

open to the diplomatic ~anceuvres a~d intrigues in '~hich s~e
excelled. Her delight in th e consciousness of ~er m_genmty
b roke out in a th ousand puckish freaks, - freaks m which on_e
c.an hardly see any pur~ose beyond the purpose of sheer mystification. She revell ed in "byways " and "crooked ways." She
played with g~m· e cabinets as a cat plays with a mouse, and
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-

Description.
saw the Queen give her days to hawking and hunting, and her
nights to dancing and plays. H e r vanity an.d affectation, her
womanly fickle~ess and caprice, all had their, part in the diplomatic comedies she played with the successive candidates for
her hand. If political nec essities made her life a lonely one,
sh~ h ad at. any rate the satisfaction of averting war and con -

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statesm en she tumeJ tu find frc;h spo rt rn myst::ymg h er own
in Hl!stcrs. H :id Elizabeth \\·ritten the stor.y of her rei gn she
\~·ou.:d h:t.\'t: vn,!etl hcr :; c1t~ n;1t 0:1 t:1e lriua1ph uf E u~L{aJ or
. .
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t1-1 ~ ruin elf Sp:1ln, 11ut un the skill '\Vitt. \ V!11c, ~n~ nan noon\¥iukc <l and outv:ittccJ c\·c ry ~Lttr sn Ltn it1 l '~Hr()pc 'll1ri ng iifty
ve;:ffs. ?\or 11as her l1 ic:Luy r.ithout poiitic:tl n.iu c. lgn oble,
ine·q>reosiblv weari,;u1 11 e ;.:;; the (2nccn's diplom:i.cy seems to us
,~ it ' b we:
11 <) t];r,1n •f'1)
ct thonsanrl ck spatch~s. it suen• o...*\."1 •rc;n
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t ''t"-f•icd in its n1;11n cn :. L
lt ;..:ai neJ ti!1 lt\ ~n· l l' V(·ry y,·~lr th;1t
\\· ,~ : ; c:::lilh_·d d1 nll1L_·d 1J 1/,tl. )(___·;h\ ~trL· ;1_; J:. ~ (i~h '.n_; i:-; liH>rc
rc·i·nl;ing in th e: l)11c:c11, liu t n o thing is m o re ch:1L1ctcri:;tic, th:rn
iiL"r s1n rnckss lllcllCLlc ;ly.
l t 11·.:s :111 :igc of ro ln ir::i\ lymg, but .
in the prof1ision and recklessness of her lies J·: li1.alidh stood
wit h out a pee r in Chfr;tendum. A fa ls ehoclll 1Lts to he r si 111ply
an intellectu al means of meeting a difficulty; and the ca;:;c with
which she asserted or denied whatever suited her purpose was
only equalled by th e cynical indifference with whic h she met
thC" exposure of her lie·~ as so on as th ei r 1rnrpose was a1b11crcd .
TLe s;rn1c µurcly i ntdkclu:ll yjcw of things slimn' d ih·,·lC i11 the
d c :•~t..?r\Hh u ~c :--1[1;__ · 11L1t \ u f h ·:· r \ ·c:r\· f-n :lt:=;.
1 lc r lc\·iry c:i.rrl cd
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As we track Elizabeth through her tortuous m::izes oi lyin g
anrl- intrla~H~.
b
, the .sen~e o f her 2'reatness is a1:1~:)St lost i:1 a s~ n :;::~
of co:·1~ctnpt.
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. J ;~li7.ahc th conlr1 \\-:.iit .:l:J.d finesse.: b:.lt: \~.-h en t!: c hu·,:r v,·:h l"( 1 ~11c
she Ct)Uld :-S t r;ke, a :·hl ~ ti 1~1-· h .:tr 1~. 1 L··r r..1 ~:~:-. d ~ c i1 ; ;.~'1 i: 1:'. : :~ · d

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:\1111i ~ ht y (;od .))

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ment h er irresolution, her d elay, h er ch anges of fr unt, ccrhurl'.
at the n ext h er "obstinacy," her iron will, li e r d efiance of wh:it·
seemed to them in e1·it:tble ruin.
"Thi s wonnn," Phi ll ip's
cn\·oy \\T o te ~f[L·r :t \\·.1:-;tcd r c1n\111·~tr.1r11·<~ , ' · thi:-; w u1t 1.111 h
11 ch~ ~· :-,:--;c-1l hy· ~ 1 hun tlrc·1..l th ·.-n L<l l! -i (l. \·i '..""' ·' · ·ro !L: r U'. \T:

1,.;

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~he screened her
tentative and h esitating statesmanship und er the natural timidity
and vacillation of he r sex. She turn ed her very luxury and sports
to good acc:_ount. Th ere were mome nts of grave danger in h er
reign wh e n the country r emai ned indifferent to its perils, as it

udkr women would have died of shame.

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rn e nt o f dauntless resolution . Br;i.\·e as they \\· ere, the nicr1 . . .-t: 0
swept the Spainish main or glided between th e i ceberg~ of Ba~­
·fin's Bay ne \'er dou bt ed th :it the palm of bravery ~ ay mth tl:e1 r
Queei1. Her steadiness and courage in the pursuit of her a!lm
were equalled by th e wisdom with which she chose th e men to

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\Ya1·cd the stump ro::nd l11s head , and shou ted, .. Cod
s::l\'e Queen Elizabl'th ! 11 Uf her faults, inde ed , EngLrnd
bernnd the circle of her court knew little or nothing.
The shifting,; of her diplomacy were ne1·er seen outside the
royal closet. The nation at large could only judge her foreign
policy by its main outlines, by its temperance and good sense,
and, above all, by its success. But every Englishman wa s abl e
to .judge Elizabeth in her rule at home, in he r love of peace,
her instinct of order, the firmn ess and moderation of he r government, th e judic ious spirit of conciliation and compro111ioe
amo ng warring factions, wltich gave the country :rn un ex:rnipkcl
tranquiliity at a time when ::tlmost c1-cry other co un try in Europe
11·as torn witl1 ci1·il 11·:u. . . . AbO\·c all , there 1us a ~l'llCLtl
confidem:c in her instincti1·c knowlcdgl' of the 1ntion:1l t,crnpn .
l ler fin~er w:1s always 011 the Jllllili c pub.:. She knew C\ ,1cth·

religi o n l>ccamc :i. chi1·:tiry. J: ::t tile f1:~n sc· :11 :·11 c·11 ' ' , ,, t
men ::round her touchcct Lliz:ih cth simpk ;\) the fair ti1 1h <1f
pict11rc \\'Oulcl '1:1.l'C touched her. :--ihe m.1' k hn m .nkct with
equal in difference out of th e h eroi sm of.\\" :lii:11n of Orrn :~,· ur
the bigo try of Philip. The noblest aims and li\· es were o nl y
counters on her bo:i.rd . She was the one soul in her realm
whom th e news of St. Rutholorn ew stirred to no lasting thirst for
vengeance; an cl while Enghncl \\':1s thrilli11~ 1·.-ith its triurn1 •h
01·e r th e :\rm ada, its Que e n 1\'as coollr gri:rnhli:ig o-.·er the Uhl,
:ind nuking lwr prnlit out of the spoiled pro\·i~i o th ,he Jud
ordc:·red f"r the lkct tlut s:11ed her. Tu the -.-e1 ic· c· of i::r.it 1:1: .!e,
indeed, she 1Lb :i.bso L!tely dc,1f. :--;:1c: :iccq1tecl sen ice , '. 1ch as
of rt'lurn. \\-:1b111:_;h :1111 "lWI1t hi' f.1rt1111c· 111
her life :md her thrc11 L', ;i11. I , J: c· ldt 1i: :11 to di·.: :,

:1 thou'-'.h!

s.1\

111~

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I n<luctive Rhetoric.

Description.

:But as if by a strange iroIJY• it '~as to this very want of symipathy that she owed some of the grander features of her
chara cter. If she was without love, she was without hate. She
.cherished no petty resentments; she never stooped to envy or
:suspicion Qf the men who served her. She was indifferent to
.abuse. Her good humor was never ruffled by the charges of
wantonness and. cruelty with which the Jesuits had filled every

How are Elizabeth's characteristics as Queen grouped,
and what is the leading trait in each group? Where
are they illustrated by allusions to the En gland of her
time? Where by their effect upon her contemporarie~?
Where by their effect upon her own peo ple ?
Where do we find summin g up in a description of

·!"~~~~·!: i~~ l·_,_!rl""\pf'.

~n p

\ V:lS

ln1..;ensih1~ to r~ar. ' Her 1ift:

·~r- i., -.::r ~_!-~ ~ tn ;nk i-u r a:"i:-ta :-i:-i1n aflcl a~sa.'.:Jsiu~ l1ut lhc

.._.r i •t"'" f~~
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t rac •: gc 1 ~1:r:tl tr:tits?

\\.here du \\'C lin d :l summing u p

of her pcrsonJ.1 traits ? How is this ma~lc to prepare
for her character as Queen? How does antithesis help
in bringing out her trJ.its here ?
Br \ Yhat m ea ns clo you t hink th e histnri:rn cli sc o\·crecl
th,~,;('. ch:traderist ic.-., til Fli1:tliL·t Ji i
( :()ulcl it Ju\.,'. liL'.e n
d.i nc :i s \\c :l l liy
iz1 r

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1«• u 1 t 1p 11 11• 111 .

t r,1tin11s (, \· i ':L1·ti ,-·ti l, t1
t! S L!:-di\· ~~-1\· i. · n hl~r()rt ~

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1111
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:luthor"s cstinnk

C:rn you :c cc<1\1n t l11r thi:; . di<ti-'.I«_·,:-

i

ment? Is it wiser to attempt to de scribe mature or
immature characters ? \Vh y? If we describ e ch:lrac- ·
tc r in the process of g ro\\·th nr ch :rngc,
tk~cripti t in

\J,·ccirnc

1: t'T c_'?

I

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Esther, of Marie Antoinette, of Romona, of Joan Lowrie,
of Romob, of Dinah Morris, of I sabella the Catholic, of
Elijah, of Miles Standish, of Pericles, of Tito Melema,
of Paul Dombcy, of Henry Esmond, of Silas Lapham,
of John Ridd, of Gavin Dis hart, of Othello, of Sir Roger
de Coverley, o.f Alexander Pope. Try n?t to make your
descriptions n1crc inventories, but to have picturesquen :_-· ::-.~ !_-:f crn:_ ::1~nr:- :ind illustr::itions. or comn:i.risons th~t
t \

.

r..

I ndll ctlve Rhetoric .

MEMORY QUOTATIONS.

Interest in description of natural obj ec ts dep ends \' t ry largely
upon our assurance that the author is giving us his own vi ews
anci impressions, instead of summarizing those of others.
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she p:isscd the old men r0,c in r .c1 Llc ll ~c . . \ ;1,l ) L l l :un Ly
no me:ins sure th:it he w:is not wise r yet 11·he n h e slippe d in
th :it littl e :idj ect i1·e o ld. Of course the young rn c' n 11·0·.ilrl h:i.1·c
ri ,L·n in tk li c:ht and Il'.llh· ho: 11 :1;,-, \,-.:t c.lic· 11 :10 "" ],,·_wt;!·L:
tint the ol• l me n rnoc'. - ·- .\!!>_' ! . \\. ! ! ! .! \ •,! • •\ l-C_>l 1• 1 !\-: .
} jl·1L: ll_, CX\ -( ' } 1t

176

Inductive Rhetoric.

Narration.

II. Narratioil.

in real life? Do you think education should remove it?
If so, why, and how? \..Yhat should limit the number
of details used ?

101. In what way does Narration differ from Description? 'Which is the more interesting? Why? Define
Narration. With wha t objects and events does it deal?
N ame the kinds of writing in which it is ·likely to occur.
Should there be selection of details in Narration as in
(;·0 ~c·cl

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incidcn{

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t 1lt.: ( ll'.t , ~i]:--;

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Shc.w bu": th~: j ,. ]lui•iill~ :;dedion iilu<olr:.:cLt:s

Lu n1c upua a pJ.rccl -gilt 8 "1h L,~· t 1

s.i:.ti;;~ lr~ rny I)u~1};i1! - cl ·:i:1:L:..:r~ ~ ~t t h ~~ ru::; ~( ; L i bk', Ui1 \\ ' .:. .· d:.:;_,~ -

1ne Ll1c:n., a:; l \1id.:::l wct;.,!1i11g ti1y \\'uund , to n1~rry rn c, an d n1J.k e
L1C ni:> Lhl)· thy \\ 11.c .
c·:uJot tlt\l\i de 11) it ? 1 J1 , i !l< it ( ;uud\\·ilc h c cc h, tile b<1tchcr's \rile, come in then, anJ call me
Gossip Quickly ? Coming in to borrow a m ess of vin egar ;
telling us she h a d a good di sh of prawns ; wherebv th ou did st
d esire 1·) e:it s1111w; 1•;l1 cTl'h\· l tulil thee they v.nc ill fur :1 ,r;re·c·11
wou11d ? 1\nd d id ot no t thou \l'hcn ,;j1l'. w:is gone· du11n ~L1 i r,; ,
lLs irc me tu liL· nu i1Hir e :,ei frn1il1 .1 rity wi th 'll <: li puor Jl""'i'k
s:cyin_'.':. tlnt ere· l· ll 1.~ tl1 <.\' :;h e,11 Ll 1.1li Ilic' :\l:td1111) .\ 11,J <1 1,
t 1: n~1 JJ: t ki~ -; ll H_· . ,\' 1•11 ;t1 ll! .. f. ·t r'i 1 ti~ ~·c· ti,irt\·
i'. '.:
l 11·,;t
thz:c n<:"r;y tn thy b :::<:~1~~- U iLh; d~'. : i·:-· i t if ~huu c~:.. il:il.
1

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11~

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liiii.

Hill

I

N ame other ch a racters in fi cti on that sho\v t1H~ s r1 nH~
trait. 'What is the cause of this trait where you find it

r ':-er ~:-:- .. 11 i ~ ·- ~ 1 _!

1Y h u 1~ sce r ~e L1i~l1J .'.:e U :).

\ Vht:!!'l

Fa!ctaff. \Vh:1t is tht> g rnss snm th;i, t I owe thee ;.
Ifos!css. ?.Jarry , if ti1uu \\'erl :.i.11 h onest nun, thysel f and thy
..f i lU 1J U ~ ·J:::~ S\i.·c~~1r

77

102. Show i11 the followin g narration why each detail
was used? Look in ·webster's works for th e White
murder trial, and see und er what circumstan ces and for
what purpose this narratio n was given.

\- i'. ~ t i: 11 1

l~~D!1C\. too..

1

l ~: :-- r~ t,Yt t!~ :_· 1_ !:- --~:~ :-· r ~

:1:1(1 {):1 :1'.: - 1 1c11·~-~t'.1 L: __ r _,_,: _ _·\ i: __~ ~ ~ : -_ :·_ l c, \~ :~ _:_ :~. ~- ·

sl ee p \:..:a~

S\\"CC:r ,

the Rr.;t ;:;,-,;;n ;-1 ::;L~r11; ;c -;-.~

n f n~..; ~~~

r.,:::1~,~;-'.i

iu th e ir :s\Jft 11 ut st fu ng c111L.L:.•:-.:;..: . ·ril.;._: ~t~~~1~~i;1 '~·; 1tcr.--; ,. u
tih: \vind o \v a1rc 0dy pr . . 'p;1rl·d _. in:,-) ;i_n t:
;l fi.-li·t n1r:~1t.
n1 o nn _:he -.·,:in Js L: lJ U1e J.~Lc l1 L uf L'.! e ::: :__~: 1 ::: . , ~'. 1 ·_i ! ,_, ~ · !~· . .
d •_) u ~ - of t ii c c 1: :11n11 c !". () !- th; -.: 11 : · n ; 1« · -.: t i ': (· I. 11 ~: , , • --- , 1'. ~
~dPtin: i td p1c ;:;. ;:;. 111c . t i ~ :~ ~ t.~;-; , ..

he enter; an :·1

0: 1 : :--. :.: .. _ ,· _; •.. : :: .. .;, ~:

bc~1 0~d~ h~~ Y! '.""'ti;;~ 1-; ~'r'."") ~ e

h! ~"!~ .

L ·.:J : .~:.: , ~ ·

1~!~~ :·_:(}~:

1-;
the ;1.dt1i:_-.: ; ",:1 l ,; L.::~ ~ . 'l"J-.:.: f: ,.; z r· .. i.~ ~·
i nn oc ent sl ~.:: n ~ r is t u rn ed fw;11 the: rn u i d crcr, :e nc! th·~ l •c .uti"
of the moo n ~es tin a on th e gr:1y locks of his aged t e mpl e, show
'
b
..
.
him wh nc to strike. The ht:1l 11lcw; j , gin'n 1 :encl the: nct 1m

1111 cu1 u 11h11 11\·

0 1)(.::·n ll>

}JJ ~s:..· :-; , \\-it huu t

nr :1 i n.J ~ \1_i ;J, fr~1:n the rc1 )'. >.--j:_' u(

a

t e1 the rqi11 sc· of tk.1th !
~t:rc

\\' (-1:-k : :l P(l

hl' .1ili:..·:-.:

It i-; t1h·
ti l t'

;1-.:~- h~ in 1 ~ purpO.--iL' to n 1:1kc·

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I nductiv·e Rhe toric.

178

Narration .

to the window, passes out through it as he came in, and escapes.
H •e has done the murder. ·No eye has seen him, no ear has
heard him. The secret is his own, and it is safe.
-

103.

Wh y ?

Eliot use in "Daniel Dcroncla"?

79

Can you

name any .similar violation of the chronological order?

Climax.

DANIEL WE!3STER.

S elect some event m history, and show the

1

·where should th e h eight of interest come

Is it common in fiction?

called?

Is it as common m

T••
l•

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\°\' -'. !r:,_!n ' l'c11 :~ 1 1· 1 t i1·· :~]'] ' ll_. _
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~11cl

ll

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tli:it Yi\·iclnc-c:-; ck]'L'.ll <b.

\\'11ich of t he t\'. o s t ories should

be the l ollge r

tc1

equal th e ori~irnl

i ;1

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·1n·111 \ ·oc 1·· ri ·.': :: r L., ,, ,,, i •.:,·ti"n"

:,1 ; .: :: ;t,·; ·~ :'t

\·i\ id11

r. T hen Apollyon strad dled quite

Why?
104. Laws of Narration. Which of the laws u se d
irn Description apply a lso to Narration? ·what is th e
dfcc t upo n unit y o f diffuseness of detail? I s a rr angemen t as irnp cirtant 111 i\:nr:tlirn1 as in Dc.'sc·ri11ti 11 !1 !
\ \ .lut \ l!d c·r ,, [ tkt: i i ,: i; ;~c· 11c·1 : tl l y li c·s l 111 n :1r 1:1t i\- L' l

O \ Cr

ti1 c 1\lwk l>:c:c d th

o f the way, and said 1 I am yo id of fea r in thi ; ma tte r. Prepare
th yself to die; for I s w ~a r by my infe rn :il d en tha t thou sl(:i.lt go ·
no furt her; h e re will I sp ill th\· sou l. And 11·ith ti nt he thr ew
· l 11· c':1.:'t,
j ,,_., t ('. '1·,,,·1·,_ti :1:1 Jud :i ,;h ic: lil :11 h i-;
:1 n:1111 ·
111g (]:lrl :1 t ] lloi
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uf

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of life·. ] ~: ::Jc' C<"l 110::!<1 Ii .lie'. ll, 11h: k .\p, iliyo11 v. :h fct, h1:1;~
of hi..; !:h t h '. ·:>w , the re lJ\· to 111lf:e J f1il l L'il•.l of th is g ·.Jocl rn:rn ,
Ckis : i:m ni ::1hh· r c:Khcd o•.1t Iii:; lu11d f" r hi ' 'l':C'rd, ::.nd
i~ ,. s 1y;n~- ~ . }:...cjo icL r: ,._-n ~ 1~,:.in.-;L nh _
' , ( ) 1: 1 i1~(: c n c111:· ~ \ \ .i:cn
f.Jl 1 sh:i1l ~u i .sc; and \'.·it h th:l.t g :1\· c hin1 :;_ cL··~1dl y thn1:-;t, \\ hic·h
rn ." ic hi: :! g i•;e h~.d: , :c.< 0 :1 e ti nt h:,J r ecc i1-cd h is 111ort:tl
wound . Cii ri st i:in pcrec·i1 ing th:it, nude :i t him ag:1i n, s:1\·1ng ,
l\ay, in all these lhi11gs, we a rc m o re tl n n c o nq u e ror,;, thro u gh
him tha t 1o red u s. And with th::lt :\poll yon spreJcl forth hi s
dragon's win gs and sped him a\Ya y, that Christian saw him no
mo r e. - Jon:--; 130:-.>·A"', Pi(~n·m 's Pl'L).\'IL'ss.

In the preceding what are the words th::it especially
tell in vividness of narrative? Has tl)e antiquated style
anything to do with it ? Does the narrative seem to you
a strong or a comparatively weak one? Compare with
it the following, not only for style, but also for. rapidity
of movement, vividn ess, and animation.
2. Sii: Roger's se rvants, and among the rest, my old friencl
the butler, had, I found, provided them selves with good oaken
plants to attend their nnster upon this o ccasion. When we hacl
placed him in. his coach, with myself at his left hancl, the captain before him, and his butler at the head of his footm e n in

C( <'.i\<i

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middle of t h e ] •it . t iu t Le:
l L\~ic

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Clf ~ d:n o .--;t

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w:e:.;, ind'-·c·d,

hcc~'.

> :__' J l· i ,k_ ,~·d
:md 1-.·: t :i \ \c·]I p:c· .i
c\·ery S('Cllc) tl'l lin ~

p hy would end.

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011e 11·liil c he al '!l c'. \rc'rl 111 1w i1 1 "·1 ,·c:·11, ·rl h r
A 11 dru 111 ac h c, a11d a littk wliik aftc'r :l:i m :u:h f,,,. l! n:111 ,qll·, :rnd
\Lb extrem e ly pu zz led lo think 11·]ut 11· u1ild lic·c,,r11 c (,;· l\rr in ::;.
\\'hc11 Sir Roge r saw 1\11cl ro m achc':; o1istlll'.!.tc r e(·> t: 1.1 h er
lo\·c r's importunit ies, h e whispered me in th e:: c·.t r, ti .it : 1~: 11.l:i
sure she wou]J. ne1·er .h a1·e him; tv 11i1ic:li lie acldnl , 11ith a
more than ordinary vehemen c e: " Yo u ~ a n ' t im agi11c, sir, what
it is to have to do with a widow." Upo 11 l'y rrhu s h is threat- .
ening afterward to lea1·e h e r, th e kn ig ht shook h is h ead, ;rncl
muttered to him self: "Ay, do if you ca n." Thi s p:irt cl we lt so
much upon my fri~ncl's im:ig inati o n, that, Jt th e cl ose o f th e
· third a c t, as I was thinking of so nie thing e lse , h e 1Yhi ; p e red
me in my e:ir : "Th e:;e widm\·s, sir, :ir e t he m o st p e rYe rse cre:i tures in the world . But pray, " say s h e, ' · y0u tha t :nc a c ri tic,
is th e play according to yo ur clra rn :i ti c ru les :is you c:ill the m?
Should your peo p le in traged y ak:i r s u lk so :b t<J he u nder sto od? \\'hy, there is n ot a s in g le sentence in t h is ·pLiy that I
do not kn o w the meaning of. "

182

Narration.

The fourth act very luckily began before I had time to give
the old gentleman an ans;ver. "Well," says the knight, sitting
down with great satisfaction, "I suppose we are now to see
Hector's ghost." He then renewed his attention, and from
time to time fell a-pr::i.ising the widow. He made, indeed, a
little mi stake as to one of her p::i.ges, whom at first entering he
mistook for Astyanax ; but quickly set himself right in. that particular, although he admitted that he should have been very
glad to have seen the little boy. "Who," said he, "must needs
be a very fine child, by the account that is given of him."
Upon Herrnione'.s going off with a menace to Pyrrhus, the
audi:nce gav~ a loud clap, to which .Sir Roger added: "On myl
\Vora, a n o t~ o1e yo ~1ng b~1ggage t ,,
.
.
1
As there was. a very re markable silence and stillness in the l
audience during the whole action, it was natural for them to
take the opportunity 'o f the intervals b etween the acts to express
their opinion of th. e players, and of their respective i)arts. SirlI
Roger, he0ring a cluste r of them nrai se Orestes. ·struck in with l
them; and told them that he thou~ht his friend. Pylades was a l
very sensibl e man . As they were afterward applauding Pyrrhus. i
Sir }~u;. :; L"r put in :-l ::-;c·r'tJnd t i~Y:~-. : " ;'\ nd le t n1c t ell yo:: .>, s1\·si
he," though he sp eaks but little, I like the old fellow i~ whisk; rs l
::~ \\·c·l\ ;-;::; :-~ ny of thrn-:.': . . . ' f'hc kn:;:ht ,,- ~-~ '\\'\J7vlc·rf:_dh·:

1

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death; and al the conclusion of it, tolJ me it \\'as such a bloody'
pi ece of work , that he was gbrl it was not done upon the sta ge.I
~'.ftcn\·.1 r d .1 ( ) r 1.:~t c· :~ in hi" Ll 1:in .~: tit , he g r l'\\. n1 (1rc tl i:1n
or\lin nil:1- ~ l_· ri ) J-..; } :li 1d t·.i uk
--;ion tu 1111YrJ1i.1.,· [1.11 'lll:>
· · \\,l)'
·- -1j
up •.-)Jl ~1 !1 C\·ll C ( 1 J'l ,:.:( ici:cc·. ~u1di : 1;, tl Ltt <.Jrc:-:ilc':-1 in hi~ n1J.dn c' :>~
looked as if h e sa\v so in e thinn.
,,.
As we were the first that came into the house, so we were,
the last that went out of it, being resolved to l~ave a clear passage for our old friend, whom we did not care to venture amona0
the jostling of the crowd. -ADDI SON .

J

183

Which of the t\'vo has the shorter, more terse and more
direct sentences? What effect on the leisureliness of
the narrative have the author's comments in th e second?
What does it seem to you was the author's purpose in
this narration? Has the quaintness of the old-fashioned
language any effect upon the interest of the narrative?
Find the purpose of the following nar:ration, and note
how that purpose is made prominent. . Compare it with
the older styles of the preceding selections. What
devices arc u::cd fo ~·- ' :i·vidnCss and ?nirn.?.tion h•2rc ?
3. Mr. Swiveller softly opened the offic e door, with the intention of darting ·acr<)SS the street for a glass of mild porter.
At that moment he caught a p:irting glimpse of th e brown
h eaddress of l\Iiss Brass flitting clown the kitchen stairs. " A nrl
by Jove !_ "thought Dick, "sh e's going to feed th e ~nnll servant.
Now or n e\'.er ! "
First p e eping over the h and-rail anrl a llu \ving th r: hc 0. ddrcs~
tO diSajJ rnCar ill the darkll CSS 'u•- ;:.""" l ,\'
h .,_,• br.-, ,\T'
_- "'' · 1; · '-rL,ti·n
..,_,. 1; ' ,.,.
..._. 1_."'\ ,--.
.,_..._,-\,. •),,,
• • .)
··.J • .• ,. J,
:rnd nrrived nt the door of a h;i.ck kitche n imm cdi :tt elv after
?l! i''i Br:b'i h.Hl cnkrc·d th'
Ill ):
I:•: ! , ,
,~;

L:g uf 111uttu1 L

· <·r.tL l·,· i 1lt1 '1 ', \ ' ~·:y

J,

and very damp: the walls disfigured by a th ousand rents and
T he w:ikr 11·,1s tr icklin;

1

little thin sa ndwich of fire. Everyth ing w:is locked up ; the
coal-cellar, the c::i.ndle-box, the salt-box, the m eat -s:ife, were
all padlocked. There was nothing that ::i. beetl e· could have
lunched upon. The pinched and me::i.gre asp ect of th e place
would have killed a chameleon; he would have known, at the

Narration.

~

Inductive Rhetoric.

184

now on her back, as if she found it quite impossible to stand so
close to her without administering a few slig ht knoc ks .
.

first mouthful, that the air was not eatable, and must have
given up the ghost in despair.
The small servant stood with humility in the presence of Miss

, 1-:
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" The n don ' t yuu ever go anJ say," rdorlcJ Miss SJ.lly,

::.-:

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T here, cat it up ."

i

(( ,·''"'
.. _, '~ T li~r
were evid ently going through an established form. . .
"You've been helped once to meat," said Miss Brass summing up the facts; " yo u've had as much as yo~ can eat, ~ou're
asked if you want any more, and you answer,' No ! ' Then don't
you ever go and say you were allowanced, mind that." . . .
,
.It was P~<i.in that some extraordinary grudge was working in
Miss ~rass s gentle breast, and that it was that which impelled
her, without the smallest present cause, to rap the child with
the blade of the knife, 110\V on her head, now on her hand, and
'l' h ~

hu ngr)· cr ea tu re

.

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the hihrit\· of'.'. rns:i r k i-1--:l . :-;r, ·:1. :F hP ~ t ;;rnhk:\ ak:n f!. s.:.win :.:
away upon hi s fid d le ti ll he rn :lde all c rack agai n. Thrn came
the lnppy hri 1lcgr00:11, drc~:;scd in hi,; S l! l!< h \· suit of blue, with
1 l~~ , ~~ l (
:l
nc1--.;~~_:.; :1y lil L ti~. ; ~
l
:~_' Ll ::1 h:.-;
Ll~b: 1 tri ~ briz 1z-" 1 ,., it _l: t;, )·,,; q ._·,--:-< c y~.- .~. cL~ '.l l:l a \\·hi :c: n/:Jc
slippe rs, and wearing a wreafrt oi w i1il t: I u ::.c: :; li l Lu h,,.,, Tl.c
friends and relatives brought up the procession; and a troop' of
vilbge urchins came shouting along in the rear, scramblin g
among themselves fo r the l:u gess .of sous and suga·rplums, that
now and then issued · in large handfuls fro m ·the pockets of ~­
lean man in black, who se.e med to officiate as mas ter of cere·
monies on the occasion;. I gazed on the procession till .it ·was
out of sight j and when the last wh eeze of the cbrionet d'ied
I
upon my ear, I could nbt help thinking how happy were they

"Yes."

" th:lt you ha1ln't mc:lt here.
Th 1'.·.13 o,ou n cl'l!\c: .

Old Cun·osity Sli op .

4. I was one ino·r~ ing called to my window, by the sound
of rustic music. 1 lo·qk ed out a nd beheld a procession of villagers advan cing ,alot{g: the road, attired in gay dresses, and
marching merrily on i rr th e direction of th e c hurch . I soon perceived that it \Vas a marriage festival. Th e process io n ,vas led
-b y a long ourJ.ng-out2.ng of a maD ; in B s tr;nv h:-tt :i nd a \vhi te
dimity bob-coat, playing on an asthmatic ciarione.r, from which
he contrived to ?low unearthly sounds, ever and anon squeaki ng
off at right angles from hi s t une, and wi nding up with a grand
flourish on the guttural no tes. Behind him, led Ly his li ttle

uvu~

ll'J.\LJ.

DICKE.i.'IS,

What is the effect of th e fi gures in th e preceding
selection? Of the contrast in th e followin g ? What
effect in the follo.\v ing has the minuteness of detail?
The reflections of .tl) e author?

Sally, aud hung her head.
"Are you there? " said Miss Sally.
"Yes, ma'am," was the answer, in a weak voice.
"Go farth er away from the leg of mutton, or you'll be picking it, I know," said :Miss Sally.
·
The girl withdrew into a corner, while Miss Brass took a key
from her pocket, and opening the safe, brough~ from it a dreary ·
waste of cold potatoes, looking as eatable as Stonehen ge. This
she placed before the srn\111 .servant, ordering her .t o sit down
before it, and then, taking up a great carving-knife. made a
mighty show of sharpening it upon th e carving-fork. .
"Do )'Oll see Lhis?" said 11iss Drass ' sli ci-n 0: : - o;:+
:-: "~· • • ....
~
u ......
\.nV
square inch es of cold mutton after . all this preparation, and
holding it o ut on the point of th e fork .
Q
.,_.,.,. 1
.1. "
The small servant looked hard enouah
"t
' • ,,, ; ,1, l""r h"n 5""r}·
eye:-; t~) see every shr.:~d f)f i~ , srna11 as it \Y:lS, ~nd :.t!l~\\' Crcd
l.

185

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who were thus to dwell together in the peaceful bosom of their
native v ilbge, far from the gilded misery and the pestilential
vices of the town.
On the evening of the same day, I was sitting by the window,
enjoying the freshness of the air and the beauty and stillness
of the hour, when I heard the distant and solemn hymn of the

~r . \11 ·'.r ~ · r ~.

: ;1:

j i !<..: 1. ·, '. l ;irl.·1 ii\· l.1 ~ ii( ',: i :t 111\ - \\"J !itl<l ',\-.

:)·,· ~: 1n1t~ :' L i 'l',lrt i 1..! ;~ lnt:'.tl'i ( l!-

the <·i:t:n ·h ,

0:1 1l

-Ii

1(·\l
J-. )11 .,,\·t·~l by

the elaborated figure in the following on animation
and rapidity of movement? \Vh y ? What other devices for rapidity are used here?

S·

But tha t large- moulded m:m,
~;,..,

~.;

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w) -,() r l:l yt·:l 1:;1·111 :1 r;:·k \.;inr\ (1f h:1'·;nun . \':ith :\ d' , in :d :tnd
w:1il1n)!" sound . T ht'n lt)lkllrcd \·:~ri n th sy1n l1t1!s of the church,
:md th ': bier home (111 the ~houldcr:; of fu11r m c11. T he coffin
w:1s cnvt:rt'd liy a \·d1·c:t i1:1ll. :111d ;l clnpkt or \\hit<' fl11\\"c'h
by up o:1 it, imlic,t ing lli:1t th e d L:C C.hL>l w:1 s unmarric·tl. A
few of the village rs came behind, cbd in mourning robes, and
bearing lighted tape rs. This procession pa~sed slowly along
the same street that in th e m orning had been thronged by the
gay bridal company. . . . The joys and sorrows of this world
are so strikingly min gled ! Our mirth an d grief are broug ht so
mournfully in contac t ! \Ve laugh wh en o thers weep, - a nd
other;; rej oice whe n we a.re sad! T he light h e::lrt and the
hea vy walk side by s ide and go about toge ther!

Lo~GFELl .O W ,

Compare the last with S election
of movement, for meditative effect.

2

0 u Ir<'

i

" :~ '. ' ~ t

L :tnd a: 11~ :t l1_-: i1 ~1_ · (l \\·,~\ t: ~ii:: r in t h,- o: i .c..:r . i. ·:LlL1t~n.-~ ti 1:..: f :11·.:r:J

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t-.': .J J, _y·;:-; L·.i. ·'. ::1_'. ]11 ,_: 1Li.111 ·:, , .lU \. i:) :;\,· i:· L:~: L.1 ~:\ l ·.\ : t'~1:i;:2
::.. cl1.··~ -. L~c 1i;c l ' i. i 1 rii_·:-- 1~ in tiJc i! :-i11q l11..·t· ..,,. \ :iLl t a 11.!'. .. .; :<d i;1 t i r ie
1

"

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for leisureliness
·w hat effect ha~

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in hd1\"< 'L' i l ; j, ·:t .\r. •r' r ,, ·:· · '" ·; 1»,·..,:1 :
And Cyril SL' Cin:; it, i , · ; -;~ 1::-. l '.','.: l'.'l 't fr: i ·:!:Lc,
\\'ith l'sychc ';o c o],>r r0:: :1• \ L! -; hc-! 11'·-' t, t , »1/1,

T li r1: -; t

Strn:1 ~ .· ~llpp1c~ si1~ c'\\ -C11r 1 l~-.1: :·1i· t :tt :~:- ; :-:) ;
1

lh1t lLH!ghcr, hc:l.\ -; l~ r, :-1\:tun;l..'.r, I-1L' i.i-:.i.: '.1il1 v i. i...'
And th rew him: hst I spu rre d ; l ·felt my vein s
Stretch with fi erc e heat ; a mo men t hand to h::ind,
And sword t() sword, and ho rse to horse we hung,
Till I struck out and shou ted; th e bhde ghnccd;
I did but sh c::lr a fc::lth e r, and drea m and trn th
Fl owed fr o m ·m e; cbrkncss close d m e ; :rnd I fell.
- Tl\"\"\" ~1) \", Jil t l'ril!Cc'SS.

Compare the b st \\·ith th e foll (rn in ,<. ; s clcc ti n n ior th e
ide ntifi ca ti on of th e ;rnthor \\·ith th e min d of his hero in
his narration. In which do you think th e identification
is the ·more complete ? \Vh at shows it?

Narration.
188

I,.
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I·

Ii

r•'

·!!

r~

Inductive Rhetoric.

6. That he was out in 1t flood he .did not realize; yet he now
acted like one in full possession of his faculties. When his
feet sank : in water, he drew back; and many times he sought
shelter behind rocks and banks, first testing their firmness with
his hands. Once a torrent of stones, earth, and heather carried him down a hillside until he struck against a tree. He
twined his arms around it, and had just done so when it fell
with him. After tha t, when he touched trees growing in water,
h e fled from them, thus probably saving himself from death.
\Vha t he heard. now might have been the roll and crack of
thunder. It sound ed in his ear iike nothing e!se. But it was
really something that swe pt down the hili in roa ring. spouts of .
water, and it passed on both sides of him so that one moment,
had he paused, it would have crashed into him, and at another
he was only saved by stoppi11g. H e felt that the struggle in the
dark was to go oti till the crack of doom.
T hen he cast himself u'pon the ground. It rnov.ed beneath
h im like some great anim al,, and he rose .a nd stole away from
it. ·several tim es did this happen. The ston es against which
his feet struck seem ed to acquire life from his touch. So strong
had he become, or so weak all other things, that whatever clump.
he laid h:i.nds on by which to µ u11 himseii out of the wa ter was
at on ce rooted up .
Th e dayli ght would not come. H e longed p ass io na tely fo r
it. J l e t rie d t u rc111l'rnhc: r wlnt it \\':t S li ke . an d could t~ot; ]i(·
had been blind so long. .It w:ts aw:.y in fro nt so me where, arn.l
he wa:; stru ggli ng to overtake it. · II e exp ected to sec it fro m ..,.;.._.
a d ark place, when he would rush forward .to bathe"his arms in .
it, and then the elements that were searching the world for him
would see him and he would perish. But death did not seem
too great a penalty to pay for light.
And at last day did come back, gray and drear. He saw suddenly once more. I think he must have been wandering the
glen with his eyes _shut, as one does shut them involuntarily

against the hidden dangers of black night. How different was
daylight from what he had expected ! He looked, and then
shut his eyes again, for the darkness was less horrible than the
day. Had he indeed seen, or only dreamed that he saw? Once
more he looked to see .what the world was like; and the sight
that met his eyes was . so mournful that he who had fought
through the long night now sank hopeless and helpless among
the heather. - J. M. BARRIE, Til e Little· 1Jii11istcr.

In ' the following what is the e ve nt to which the
author wishes to g i_ve mos t prominence?

\Vhat is th e

effect of the d e tal!s which he give s upon th a t promiCompa~tf".,;. this with the omissio n of d e tails in

j · nence?

s. .elections I
movement?

and

fY which

gives th e g reate r ra p idity of

vVhich the greater promin e n ce and v ivid-

ness to the main eyents?

7. E>;en while the four black people were yet on th eir knees
by the bed, the turning and tossing of th e whit e fa ce stopped
suddenly, and Naomi lay still on her pillow. Th e hot flu sh
faded from her cheeks; h er features, which had twitched, were
quiet; and her hands, which had been res tless, lay at peace
upon the counter p=ine.
'fhc go od o1d 'l'a!cl> tuu:..:;. tLi~ f,J r ~tt : ~,;h·.\·:.:r t,1 L..- ; l L'..Yc'r,
:rnd h e shoute d "H all elujah ! " 11·hil e the'. b i.'. '. drop s c o ~ 1 r s ccl
1

.:!

a .

ir

to co rn p letc the 1nir\l( lC\ ~ nd

ti: e.~ r:ir : l h h til e

ulJ 11:.111':::: L1ith
.first, a thin· v.; a tc ry

iu it, a !S trange and. ,vq;1LlrtJu::; thi ng Le f~ll.
. humor flowed from one of Naomi's ears, and after that she
raised he rself on her elbo\v. Her eyes were open as if th ey
saw, her lips were parted as th <;:rngh th ey were breaking into a
smile ; she made a long sigh like one who has slept softly
through the night and has just awakened in the mor!_ling.
Then, while the black people held their breath in their _first

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·.'\,/<j -~-"'"•.-~~.-~'>?~~.·
1

9

0

· :·

.

Jnduc~ive ". Rhetoric~· · ,,.~~·,~~-'11~

surp·rise and gladness, her parted lips gave forth a sound. It
\va.s a laugh - a faint, broken, bankrupt echo of her. old happy
lano-l
.,,.hteir. And then inst11ntly, almost before the others had
heard tbe sound, and while the notes of it were yet coming from
her ton_gue, she lifted her idle hand :and covered her ear, and
over her face there passed a look of dread.
St0 ·s>1'i ft had this change been that the bondwomen had not
seem it, and they were shouting "Hallelujah" with one voice,
tnint\iing only that she who had been dead, to them was alive
a;gaim. But the old Taleb cried eagerly, "Hush ! my children,
hush! \\That is coming is a marvellous thing ! I know what it
is - who knows s<J well as I? Once I · was deaf, my children,
b ut DO\,.. 1 near. Listen ! . : . A watery humur hau galhereJ in
her ibea-d. It has gone; it has flowed away. N o.w she will hear.
Listr~n, for it is I that kno\vs it ~ \Vho kno\vS it so \veH as l? Yes,

,._

.

-- ~-

-

.~-:-

.. •

round black. face sh'ining with tears, began to shout and to sin 0a
a~d to dance around the bed in wild joy at the miracle which
God had wrought in answer to his old Taleb's prayer. Ko heed
did he pay to the Taleb's cries of warning, but danced on and
on, and neither did the bondwomen see the old man's uplifted
arms nor his big lips pursed out in hushe s, so o\·crpowered
were they with their delight, so startled and so joy-drunken.
But _over their tumult there came a . wild outburst of piercing
shrieks. They were the cries of Naomi in her blind and sudden terror at the first sound th at had reach ed her of human
voices. Her face \vas.blanched, her eyelids were trembling, her
lips were restless, her nostrils quivered, her whole being seemed
tu Le uvercume Ly a v'erligu uf dread. and , in the horribie di sarray
of all her s~nsati.ons: her brain, on its awak enin 0cr from its
"
dolorous sleep of three delirious days, \vas tott eri ng ~nd rcc1 in,:::;
J l I ' I ..:~

·

, .. v 1 ..1 ;,.,.

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the

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\Vtnt C'ffC'n cincc;

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for e'\ien while he spoke, beginning in a slow whisper and going
on -w·it~l cruirkcr ~t iLi 1.-J ~1:ic- r 1~) ~- (\tt:1 . :; ;-l(-}~ri1 u;~·nc \-1 1:cT Li ce ft :11
upun hi ni; :mu 11·hc11 tile lJbc k 11· u 1n c n , in th e ir re,t cl y Lu th,
joined in his shouts of praise, she turned her face toward th em
a lso; :rnd wh c r <:suc1·e r a 1·oi c c 1n s m:H!c in th e niorn she inc iir wd her h L·:ul trm·:nd it :cnx i c•~:sly :1s nnc w ho h ,c:1rd , :mcl

in fc ::.r ufthc "'n1 11 r1' 1\h i"11 :1 ss1 1kd her
.d· __:~,~e ci n .~ 11,~J::::n_--: of 1-: ·. : r lu"·ii-.: c1l 1L1 in . ~~ 11 1; kn ( )\\-11 1,-: rh_it l u 1:g
b·.!t u: . ~· thin,:_'. 0 :1h·, :1n 1l t~J:lt \LL~ t) 1c v;, ) 11 i l ro1 J~ :ini.l rn it\·

J. !sn 1';ope ,, Ji o

w :is

R o~cr ' ::;

same effect. . Sum up th e aids to rapid

Alt in 11 ~~ i~J.!~t~·..-: d~ l !.~ht ,
laug,ltriug and crying toge th er , hi s \vhite teeth aglitt er_. and -his
'.- U!CGl

m on~m c nt

and

i !

"At ten minutes befo re fiv e, on Tu esday, th e tenth o f Jann:iry, the l'cmb cr t, 1n ~!ii i , ::. li h:u;d:; hc:n; :: t

'I

kl l to th ' gro111icl."
~ ,J t (' rc (·n :- (l f1 J _~~h('tl n\·cr th :•
LLr:--: e t \ ; 1\.' i :1 i. 1l "--' r; \.' \'. .:
d .'.\" S

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t~·L

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j 1 -1 ; · ._·

~L) th ey sp"~' ' ;1r 11 ii!i •l h, r,

ruins ?

What to the eighty-eight who d ied th1t lkath of ex -

;,.

........

Inductive Rhetoric.
l\,'!"..., __ ,.....:~~

.:. , a. 11 a. :..1u.1.1.

quisite agony? What t~ the wrecks ·of men and women who
endure unto this day a life that is worse than death? What to
the engineer and architect who, when the fatal pillars were first
delivered to thern for inspection, had found one broken under
.f1: :-·~~ ~--.~ ~- yt~ ~c:c~r-t c d ~h.: C8~~r'."'..ct : ~~..-1 l--. ... :,._ ..~..~·:th ~~ .:~ :.
1
m1u wnose tnm wau:; auu w1ue, uu::iup]:JvI tt:u aicue::i u11i:;1n udvt:
·-·

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Li)
1:

1

t:

.l l_.

l

fi, ·;nfi_.

ru1 nt

,

,l\.

•

,

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ifl")

-7J

A little girl - a mere child -was crying, between her groans,
for her mother. A rl earl woman lay close by. A pretty Irish
girl was crushed quite out of sight; only one h and was .fr,,.,,.
. ch ,.
. ........ J ._, ......
rrh
- - ,, .
- . - . . . . . . .1,-l. . 'h ,...~ ~

OU'
-

l"An

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ihey oe sure and give

diJU WUUlU

Tlli

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t .,

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the

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i Ji :t ,- k.

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h · q · fl ( <\': p

_\ I'. 1._' ~W \· :- .~~ l\\"l: !: t \

pill.tr ..;, st:iir,;,

ru<ll i 11 .~·,

i ;l h 11 r; ~ ] :· <-. tJ f\' l ' t I : H CJ th (' '1 ~ :- .
u t- f1J l l '~ ~: nd -~ i: · dcr~ . n C l1t_ •;11:!...: ,
11·;ilii11.'.'. , cl' ilrn ,c; ; 1n,Tb u! l1 H>ll1-' , ~ inl ts,
1

·~

\ \ ' ,'

l - c..' (

l :

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where; a mass of long, fair h::i ir \'i si ble here, a foot there, three
fi ngers of a hand over there ; th e snow bri ght red under foot;
charred limos and head le ss trunks tossed about; strong men
carrying covered things by you, at sight of which o th e r s trong
m en h:n·e f:\i11kd; the li ttle yellow j c t th :1t fh red 11p, :i.nd d1 ,, ;l
in sm oke, :rnd n:ned 11g:i. in, kapcd ont, licked the co t k> ll b ;c lc>,
t :b tcd th e oiled nn c hin ery, crnn chcd the ndtcd wood. d :rn cl'd
u p on the hc:i. pc1l up ston,-, tlirL'W ih crn C' l :mn :; hi ;'.h i nto the
ui~~ht, rcurL·( l f 1q· J():' ~1 t ht· 11 1l, <--., tlnT!H_·n. : l : ~d ~; ',\',d ~ \1 \1,·cll
death, and life to ~~ cthcr ou t of ni1: r ~i.::l 1t , --- the' lurid thing

1

, 1

1

i:

\ ·, :

1 l1 ~l : 1 }) 1.. J ll :: L:1l l i :

"I' ll h ll · c· hn

open ; a voice that you know crying after you from Goel knows

r., · c.

\ '.

r~· ·\_ · t l:1_~ h

at you from ~0111c pit tlnt tw enty-four hours' hc11i 11:; c" uld not

• ,

( >' l t

1

l'l

__:r : ~t,t
. , . .i

.--,,,
f •, 1 i

j,.

l1., .

l

'.-,''

t:
l , ;'

l1
hc1 p.
of \'i·atcr; il 'll kee p he r f:·u:n cfHJ\.i i1,; n 1:-1y~ k'. ':\.1y,:,· '. J<L'z'J '
chee ry, Sene ! Your old fatiicr'il get y e. o u t. Keep t:p guod
hc:ut , child! Th :1t's :11\ ! "
"It's no u se, father. Don't feel bJ.d, father. I don' t mind

it Yery much."
H e h ack ed nt th e tim ber; he tri ed to h ugh; h e bewildered
himself with ch e erful wonk

:tt \' l ' J: 1~'i \ \

,

~ • i r :::'

L~1t :-1[J()\ ' l'

'. ) '

th e

cL:.ckL~

' ' .. :i

1 '1 ' • ; (_~ .

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.

Inductive Rhetoric.

Narration.

A child's notes quavered in the · chorus. From sealed and
unseen graves, w~ite young il.ps s~velled the glad refrain,

Write several short anecdotes about children or ani· ·
ma ls.

«\Ye're going home, we're going home."
The crawling smoke turned yellow, turned red. Voice after
voice broke and hushed utterly. Only one sang on like silver.
It flung d efiance down at death. It chimed into the lu~id sky
without a tremor. · For one stood beside her in 'the furnace, and
his form was like unto the form of the Son of God. Their
ey.es .t),l,~. Why sh~uld not Asenath sing ?
.
"Senath ! " cried the old man out upon the burning bricks;
he was scorched now, from his gray hair to his patched boots.
The an:rn-e r came triumphantly,
"To die no more, to die no more ! "
'' Sene ! little Sene ! "
But some one pulled him back.
-Adapted fr~ m ELIZABET H
107.

\.\.~-rile

3.

1l :J. rr;J.t i\~ c

of

STUART PHELDS.

p er:-:.on~1l c_~\perlt::n:_~e.i

:\ flllUtl.
/\ L1 il rc<td

lily tJT,;t li:ttch of l lr c:id.
l\ly last vacation.

A week at the seashore.

l1. _'n L

:\ pcrr'c-\.:;; ;; v1 .:zL:.
The d eath of my last doll.
A snow-battle.
. An unexpected picnic.
.Encounter with a rattlesnake.

events?

contemporan eous , •
Which is · th e more .difficult to narrate, con- ,..

temporaneous or con~e cutive events? \Vhy? What is
synchronism? . Why"fS it necessary to indicate it in his~to\y ? I .n fiction?_ How may synchronism be shown in
history? · Select an illustration from some standard historian, and .bring it to class to explain. Notice h is use
of introduCtory sentences in ch a ngin .g fr0 n1 0rit'? ' t: r1 1:s

:\ sno wy Th:wksg i1 in,c; .

less difficul t t lu n in hisLon·? ?'\ :u:ic s0 m c :1':LL 0r uf
fict iclll tlut fr1·qu c ntly us,>; S\ 1H J:r,, 1; i ~
:rn1i i,.;;
he nnkcs it 1'\·icknt. J) ,1,',; it ac:1i t" ,,;1: i::c1::1 'c i:1 t! L
book or detract from it? W hy ? Write an o utli ne, by
ch:-t p t e rs, of so me st:-tncb rd work of fi ct ion, shO \\·ing how
.

t_

.

i lJ t I l Ii !_-l ~ ~ C\._' .

.\ lll lU\l' :cy.

.\
:-:f {i '.

108. , Synchronism:· . 'What . Stre

on

sornc cine c;f t h e f oll o"';;-vin g· topics, nr S(>nH__:thlng- s irniL1.r.
Th·.· h!r:h'.tY I 11·.' st rc'l11L't11hn.
M y first ki te and its fortunes.
A trip to the mountains.
l\ fy fi r~t fi.,h .
:\ µ: rcc'll Cl. r i='tm:i~ .

Write a character sketch in the form of a narrative
leaving the reader to inf er the character from the action.
Write a story with a definite plot and clin; ax.
In all this writing strive to observe the laws of Description and Narration, and to make your production
as finish,ed as possible.

<')T l,n1c.

.:\ii a111usi11~ ~c rape.

"\
A
A
A

ii igii liul fall.

visit and its consequences.
skating-party.

hard-earned dollar .
How I got lost.

for viYidness J.nd r:tp id ity cf Y!3.rr:: t i'.~ c, fo r arr:i.ngen1ent
of successive eyents, and for ·synchronis m: Elizabeth
Stuart Phelps \Varel, \V. D. Howells, A. Conan Doyle, ·
Stanley \Veyman, ] . :t-.L Barrie, Sarah Orne J ewett,.

Inductive Rhetoric.

Narration.

Mary N. Mnrfree (Chas. Egbert Craddock), Frances
Hodgson Burn ett, A. s. ' Hardy, George Macdonald.

entangled politics of a continent ! He is a consummate master
of historical perspective. Macaulay's canvas is all foreground,
packed with vivid characters the drawing of any one of which
is a triumph. No man so competent to finish a portrait in an·
essay: but his history is a collection of essays and a succession
of portraits; and we miss at the close the higher art which subordinates parts, masses and reduces detail, graduates light, concentrates splendor, and gives the grateful impression of large
space, unity, and repose : In these qualities of a great historian, - in the arrange riient of background and distance, and
the relation of events to . p rominent characters, and one poli cy,
and final unity of impressi.o n, so that facts group themselves into
the sternest unspoken m bh l, - Mr. Prescott is as sup erior to
Maca~iay as he seems tQ Qe inferior in the treasury of giits which
a historian, one woul<l thTnk, r eq1.1 ires ?_s an 0~1ttit.
- Si' ..\KK

Historical Perspective. In the fo.llowing selech
what is meant by historical perspective? Do you
uOll,
·
• 1
..
·
k
the comparison a just one? Is h1stonca perspect h:m
fi"
?I
fore necessary . to a great work in history? In :t10n..
· 1·t to be indicated?. vVhat . kind . of a mmd IS
H () \V IS
?
necessary to P erceive it and make It. plam to others.
. What can be mor~ refreshing and stimulating than Prescott's
110.

. /

his tories connected with Spain, and Macaulay's England? They
ouaht to be read always in connection and c.o ntrast, ~o learn
. • ~1..: _IO
_ o f ti.,.,
,,,.t of hic:torir p ain ting, and how vanous are
SO·I"Dt:lllU
UV.........
h :c
· h• ::im
' ·1·ity u f equa1
·
' nrng <::: a n'l level co mmuih.e methods by w ..
a.

~;..j"'-·"lt.=- 5 1t '-P1f

... ;·;c

..... ~ ..... ~

- --

-

and pro<luces its effects.

fi;;;· thin!! w de., in ;f';;<ling e ith er of these works, is to

..
b ecome
"'~.cquaii;ted with the truth which the authors have
G"':l r' -1t· (~ (,)r 11::; and ~TT0_n~Tc'<1. R ~ 1t the procc ~s cs o f arr~1r:r( e~· ~·'.~·~1 : ·.~--:·_, ";,1) }~---; ~ int.cr\· -~ t in~~ i:1-thc ir \'.·,r,- :i~ st ndi l':-1 . ( ;o f:-0:~1 ~1
'._,'_
n.•c,~~·-o•.1' ·1"~~.,,
i-, , t 0'-' a ci.::ntPr
of l'res.cott,
anJ ..vuu are affecle<l
illd· t ' - i
.................... ......
...
..
.
i\ ~ t h an 11 ~ 1 p1~:J.s:1i1l sen:-;:._
: of th inncs:) in the SL'llt Ln cc·s, 1)0 \·crty Lil
:rnd \U tery
e q l · · ·~,; 0n commo:i·1Jhcc in the
i:n the color. 1bcauby is so opulent in vi\icl detail, c:rnucrant
in rhetoric, affluent in discriminating logic, and the pal ette from
'":hich h e enlivens his Gtnn.s is so rich with deep, strong
E 11 hcns irn c.s l You kc:l. in contr:1st, th:1l it is a very Lrnitcil
dic t;.on.cn fro m \';\iich '\1 r. 1' n:s cotl dr:\ \h ; it scc nb dou ht f1 i\
i:-h~ -, \Y ~\ 1 .bc..: J.11\ ,_' to find \'.' (l rd . .;
t l ) ~- :. ~·t
l t1
:1 cL.1:·.c n
pJ.;cs mor ·~, ::rnd h al f his SjY\CC scc·rns to he fii\ c·d \Vitlt c r:1yu 1i
uutline:>, bec,rnsc he had n ot p igrncnts enough fo r his brush .
But read a volum e of each and compare the results in your
m emory ! How superior Prescott is in the ability to h andle and
dispose of all the facts of a re ign, or to open a vista through the

C

3

~~,

.'l.

J J \._

• J ·-- '-' _,

)

~~,-~ ..

~

1

ii

!
I
I•
I

II
;

i

111. Name three novels that you co nsi <ler cxcdknt
in ~ L· ns,_: o f lh_· r~pccli\· c. ?\~trnc thrc·1_· th ~tt ~tr\.. rl" ;, ;1~
in it.
\\'h:tt mcnt:tl qu:i litics :ire nccc<:os:i.ry in t he :u: ~t '•)r i:1
orclcr to \Hite n:crrati\·c \':cl 1 ) \\'h:i. t c:u :t1iti ,:s u! <·:k
mus t he ll:iC? \\'lnt others arc uftcn \:alu tlJlc 1

vVrite as fully as you can a compari son and a cont ras t
bct\\·cc n l\ :trrati0n :i.ncl Descrip tion.
C~n ntr :L-~ t in \\· ritln~- ,: the'. n :1r r:tti\·c

~tn cl

the c1r:1c1:1ti,__:

Inductive Rhetoric.

. Narration.

J\lEl\IORY QUOTATIONS.

In writing the history of a great country, it is necessary not
only to handle concurrent streams, but to find suitable restingplaces, at which one may make a retrogression for the sake of
bringing them all up to one point. For this . purpose it is
necessary to divide it into· periods, and "such periods may be
decideq by the author. - DE MILLE.

A tale sh~uld be judicious, cl~ar, succinct;
The ianguage plain, and inci.d ehts well-linked;
'Ieil not as new what everybody knows,
And, new or old, still hasten to a close.
'There centring in a focus, round and .neat,
Let all yciur rays of information meet.•- COWPER.

."'<f

It is essential in narrative, first of all, that the end be in

~ iew from the beginning, and that every part ?e shaped and

· · propor tio ned with more or less reference to both. -

GENUNG.

T he faw of unity requires that all the elements of a narrative
be parts of a great whole, and organically rel a~e d with one
an0~h£~,, 1-!1e in!ro<l _!cl! Pn
.--,-,11 ;,ter<il circu-:.T1stances h:rri!l~
r~u L...:.d...;.·i:.16 un the rr:~::. :1 co11ccp tiun i'.) ,_._ viuLlt iP n pf tLL--; Ln\. ·.
-D. J. HILL.
1

(1f

Narration like d escription deals with particulars, not with
generalizations; with th e concrete, not with abstractions.
-

Ci::--;\·:--;(; .

:\:in:1tio 11 c1f i nL· id c·n \ d cp1·11i\.; fnr it:; i11tcrcst lljl( lJl th e npitl
a11il 11 ·k'- l ,,., le d s·, "·, ·,., ; 1'i 11 (1 f , ·.-1:n h t h:t t it 1urr:t \c:i . Tl: ,·
f l':id ·_·:r-'~

c t:i·j ;):--i t\·

j--.;

kr'\ll

11\1, 111

t hl' :l1(_·r t. - - -I -; . \i ~ 1 i 1- 1 : -:--: .

fictitious events, are movem ent and rnethod, - th e lif e and
the logic of diseourse. If the action halts, the attention halts
with it; if the action is confused or self-repeating, the attentio~ is soon fatigued. -A. S. RILL.

.•
:->

-~

'.lOI '

Inductive Rhetoric.
III., Exposition.
112. ·what is the difference b~tween a general and ~
specific idea? \Vhich of the two corresponds precisely
· t s.~ How is the other obtained?
.
with someth mg
t h a t ex1s

,·.

How is it used? Name five specific terms with their
corr~sponding general terms. \Vhat method of treatment is used in presenting to the mind a specific idea,
. a's. the "Johnstc;m Elm," by Dr. Holmes, page 142?
c6:m pare with it the following general d_escription of
the American elm as a class.
The American elm is one of the most magnificent trees of
Eastern United States. From a root, which in old trees spreads
much above the surface of' the ground, the trunk rises to a considera})le height in a single stem. Here it usually divides into
two or three principal branches which go off by a gradual and
easy curve. These stretch upwards and outwards with an ai~y
sweep, - become horizontal, the extreme branchlets, and rn
ancient trees the extreme half of the limb, become pendent,
· fo~minn ·• Jio-ht ~· ml rt: u ttLu ;n ch . This graceful curvature an<l
ai;~cn~~ ,~[ ~ll ~:l.i r~1 p l~ess in the prim a,~y li mbs ar c ent ir ely
chzir:i.ct eristic of the tre e, and enable an observer to di stingui~h it in \«inter, am! c\· cn :1t n ight, when sLrn cl ing in relief
a:,;ainst th e ~ky.
Th e Ame r ican elm h ~1 s three mo~t s t r i k in ~ aml d ist inct

shapes. The tall Etruscan vase is formed by four or five
limbs, separating at twenty or thirty feet from the ground,
going up with a gradual divergency to sixty or seventy, and
then bending rapidly outward, forming a flat top with a pendent border. The single or compound plume is represented
by trees stretching up in a single stem, or two-or three parallel

limbs to the _h eight of seventy, or even a hundred feet, and
spreading out in one or two light, feathery plumes. Sometimes the elm assumes a character akin to the oak; this is
when it has been transplanted young into an open situation
and always remained by itself. It is then a broad, roundc
headed tree.
The character of the trunk is almost as various as that of
the general form of the tree. You sometimes see it a straight,
gradually tapering column, shooting up to sixty or seventy
feet with out a Ji mb; at other times you see it _a verdant pillar
of foliage feathering fr~m the branches to the ground. ·
With the earliest spring the outmost and uppermost"br:rnches .
are fringed with numerous bunches of reddish brown blossom;;,
soon to give place to th_e soft green of the young leaves. The
flowers are in numerot1s clusters, of from eight to twenty in a
cluster, on the sides of _the terminal branches. Each flower
is supported on a slender green thread, from one-fifth to half
an inch long, and consists of a brown cup, parted into seven
or eight d~visions, and containing about eight brown st:unens,
and a long con1pressed ovary, surn1ounted by tv;o short styles.
This ripens into a flattened seed-vessel, caiied a samara,
which is winged - on every side with a thin, fringed border. .
The flowers appear early in April or even in Marr.h, and th e
s:i n1 a r:1.s :1.re 1n:l.ture hcft) f~ t h e e :-.:j Jn :-;l i:)n
1

(_) f

t h 1 ~· l 1 ~· .t ;: c·...; ,

'l'h c lc aYc:J J. rc 0 1.1 Y cry short petiole;:-: , lno~H-1 u ':,d~, h(._'Jrt sha pe cl or rouncl ed at t h e lnse, ac u minatc at a;icx , dou bly
scrr:1tc at 111Jr_:; in,: di\·idt.._11
t'. ~ :. .: 1::i,,L:-ili i r: t·J \ ·c :-y ~: : ::_' 1 ·.:-: 1
p:t rts of \\·h ich the u;1pcr i~ t'.L'
r - -t \'. 1:1'-

from two to four inches long, and one and a half to two and
a half broad, but Yarying extremely in size. The rich green
of the leaves turns in autumn to a sober brown, which is sometimes touched with a bright golden yellow.
- . GEORGE B. E:11ERSO:\, Trees and Sltrubs of il£assacl111ul/s. '

Inductive . Rhetoric.

202

\Vhat is the differenqe between ·the two selections?
The explanation of a general term is called Exposition.
How does it differ from Description? From Narration?
In what kinds of writing is Exposition to be found ?
· v\lhat seems to you to be its purpose ?
113. ·what ·would be the first step for you to take if
you were asked to write an exposition on any one of
t{;ie following topics: Emulation, Ed\1qi.tion, True FreedlOm,Anthropomorphism ? vVhy should this be the first
ste p? Show how a lack of definition is sometimes a
source of misunderstanding? · What -then is the first
essential of Exposition ?
Definition. What seems to you essential to an exact
definition ? Criticise the ' following definitions and car-

A window is an orifice in an edifice designed for the
admission of atmospheric ether in luminous particles.
1.

-f

l

.,·f
L

.t

.,

ice -cream
slipper
mule
taxes
gravitation
chair
pastry
tree

I . cl

t11c;-;L

te lepho°i1e
history
door
parrot

radius
parlor
evolution
· telescope

lH.

tact
typewriter
elimination
digestion
honesty
planet
courage
table

cL:f1niLi1JI1S b~ ~ls L~r

clc!1r11t1011

\Vhat principles for the writing of definitions can you
formulate from these criticisms ? Find definitions in
the dictionary which seem to you to violate one or more
of these principles. Why are dictionaries sometimes
inaccurate m defining ?

having six sides.
of numbers
of computation.
which sends out smoke
lava, and h eated mat
t er.

What is the office pf ;ach of these two parts? l\'lake
similar definitions, observing ·all the principles of defi nition, for the following terms :

5. Liberty of choice is freedom of choice.

,
t

A hexagon is a plane figure
Arithmetic is the science
and the art .
3. A volcano is a mountain .
1.

2.

yonr own unaided thinking .

!I

i

Notice the two parts m each of the following definitions:

J\Ian is an animal.
3. A horse is a quadruped .
-1· l 'aticn•~ c i " an adrniu\ilc Yi rtuc :rnd one sc\d,w1 cul2.

I-~

Exposition.

a::; po:):;i~dc'.

Snpplcmcnts to Ddi.nit io:l.
usually

su!fa.: ient

corporation
democracy
town
stool
curi os ity

book
bonds
cow

the

r\_'. ~u:t.

(;f

T, :ccc,:·:11 · l · ' ,• ]

fur ;L :-_;cienlit:c

tr·:~tti~e?

May it n eed further expianation? \Vhat more must be
added in Exposition which is to have literary value?
In the following selections how is the logical definition
supplemented?
·
1. The word "substance" means that which stands und~r
and supports anything else. Whatever then creates, upholds,

--~-----

~"~:-~-µl~~~~;~·:~~-~~.2~1~
Exposition.

205

Inductive Rhetoric.

204

classifies anything which oar senses behold, thoug~ we cannot
.
taste or smell it is more substantial than the
•
'
.
. .
.
h an dle, :see,
object itself. In this way the soul, which vivifies, moves, and
supports the body, is a more _pot_ent. substance than the. ~ard
bones and heavy flesh which it v1tahzes. A ten-pound weight
.· 0 on )'our head affects you unpleasantly as substance,
fa11 mo
.
.
"f d
d.
much m01re so th:an a leaf of _the New Testam~nt, 1 roppe m
the sa me direction; but there is a way in whic~ a_page ~f the
New Testament may fall upon a nation a_nd spilt 1t, or rnfu~e
- itself into its bulk and give it strength and permanence. \\ e
· sh~uld be careful, therefore; what test we adopt in order to
decid e the relath·e stabi 1i ty of things. - STARR KING.
• We must begin by thoroughly comprehending the dis2
tinction between existence and life. It is a great mistake to
suppose that people Jive to the same extent, or that they are
equally :alive, because th ey "equally exist. The idea of more
nr Jps<; of dignity or meanness, breadth and power, cannot be
conn,e cted ,;ith . the word "existence." Physical animation,
+ho
f., ,,11nrr tha
t one is a conscious fact in the uni ver::;e, dctcr.. ,1- ............ _ .........
mines that. Life is a higher matter. Life consists in the
p 11 tt i nir forth of faculties that are sheathed in our exi stence.
\\·c li~'='· l• y {·~ ·H ·11~11'1~1 i ·) n \\·ith th e s n t--J::: t ::, n cc~ of the- iinl . ,. ::-r;;::- ,
and th~ fuln c ss of ;rny liic i s Jdc rm incd Ly th e numlic·r uf
obj ects from whi ch a p erson draws nutriment. -STA RR h.I ~G .
~

~-

Fi;Hl the ck fin i l i "11 1n
t icin s.
g J·; 1_~n

L':t,· \i

of t he 1n cccd i 11 ~ :<kc-

J~ it :1 !-- l t i(·\ly l11gicli definit ion, ur lu:; il ],ccn

11 ·'"'- ·r:tr\· f(1rt ~1 ?

J) ,, th·'": ~\....' 1l._· 1,~ti1 '11 _~ c1-)11t_:1in n1(1r~-~

than is necde<l fur <leitnitiuu?

\Vhy _?

explanation of terms in Selection

I

Ilow docs the

help you to under-

stand the author's meaning in Selection z?
·
Define one term of one or more of the following pairs
and then write a carefully planned paragraph distin"-~

guishing the term defined from the other term of the
pair:
gravitation, gravity;
honor, honesty ;
customs, internal revenue ;
courage, fortitude ;
history, tradition;
republic, democracy;
evolution, involution;
town, city ;
telescope, microscope ;
stocks, bonds ;
tact, intuition;
expansion, i_mperial ism;
trust, corporation.

In the following ·find the . definition.

How -i s each

part of the definition afterward treated ?

With what

purpose?

II
i

~

3. Poetry, strictly and artistically so called, that is to say,
considered not merely as poetic feeling, which is more or less
sharerl by aJI the worlrl, hut as the> opn::ition of th <i t fel" lin_!Z,
such as we see it in the poet's book, is the utterance of a pas·
sion for truth 1 beD.uty, and p o ,ver: en1boriying an ci llh: s tr:i tin z
.
. . b -.
.
.
...1 •
~
1 1
.
.
1ts conceptions · y in1ag1nat1on anu 1ancy, anu m ou._Li1J.t1JJg 1t::;
languag-e on the .principle of variety in uniformity. Its means
c xa l l:l t ion . l ' oc tr y s unds Ld11·ccn 1ut t1;c: :i nd c o n'. l:Lt1u11,
k eep ing :ili \·e :i mong us t he cnjO\ 111cnt of the C\tcrrn l :'nd the
spiri ttL11 \\'()rld: it h:i.:-; cl1 ; 1~1.i tii t \~d th ( r:;. -;t t"' ! ~1l1 1 :· i;1 ,; f . t :1~:"' nf
1

1 1.lti1_lll~;

:lll1J. J):._·\ t

to

1 .ll ·,-l ' :'I~(l

!;

,

1, 1

i~_\ · , \\; i 1·'. ·, :::· ~, ll~ j ·.::·: ;1 :-,,

11

u

I'?.~ s l0n ; hPr~t~~e

1t ~eek~ the d t>~ p e st i1npr e ;;.;.;;.; j c)!i" ~: ~t n d br:ean;;;rit must undergo, in order to convey them.
It is a passion for truth, because .without truth the· impression would be false or defective.
It is a passion for beauty, because its office is to exalt and

'.

l

Inductive Rhetoric.

Exposition.

refine b.y means of pleasun;, and because beauty is nothing but

stitution; but if these virtues are genuine, then they indicate
not goodness merely but . goodness considerably developed.
A man may be potentially j~st or merciful, yet from defect of
training he may be · actually neither. We want a test which ·
shall admit all who have it in them to be good 1~hether their
good qualities be trained or no. Such a test is found in faith.
He who, when go~dness is impressh·ely put before him, ex-

zo6

the lo-..:eliest form of pleasure.
It is a passion for power, because pow.er is impression triumphant, whether over the poet, as desired by himself, or
over t\be :reader, as affected by the poet.
: It embodies and illustrates its impressions by imagination,
o:r im ages of the objects of which it treats, ·and other images
b~ougbt in. to tl110w light on those obje~ts,' in. ~rd:r th;it it
may en joy and impart the feeling of their truth m its utmost

r

·conviction and effluence.
·
. It iHmtrates them by fancy, which is a lighter play of
imagi.:nation, or the feeling of analogy corning short of seriousness, in order that it may laugh with what it loves, and
sh ow how it can decorate it with fairy ornament.
It modulates what it utters, because in running the whole
·round of beauty it .must needs include beauty of sound; and
br f' ~ ~ "!' Q, 1:i the hei ght of it; en jcvment, it rnus t shc.nv the perfc '.':t lu1:;,::, o f i ~::: tr~:~ ~ p11 ) ~-:; ri n::::k~ d ! f!! c: u~ty it ~i:- H bernrn c: part

side, trusts himself to it, such a man has faith, and the root
of the matter is in such a man. He may have .habits of vice,
but the loyal and faithful instinct in him will place him abo\'e
many that practise virtu. c. He rriay be rude in thought and
character, but he will ti"nconsciously gravitate toward what is
right ~ Qther virtues can scarcely thrive without a fin e, n:ttur:i.1
organization and a . happy training. But the mo st ung ifted
and neglected of men may make a beginning with faith.
Other virtues v:.J.nt ci;.-·iliz3.tion, a cc:rt.::d n :irr:ount of kn o -.~:l c d: c ,

•lt ii,b,: i l1ty :cil •l joy.
:\!~d Li:-.t1 y, 11i )~ ·t ry shap e:; th i;-; Il1u th :l ati u 11 i nto unif l 1r111it)'
,.

.'1- -__. .. ,

Ic.'.il._ c>:i

·tLc '.:.:~ t i~c .1 nf he0uty i t-.;l'li.: wi1l( h i nL' l ,1dc-;-; the ch~~rni of
di1·c 1-sity with in t he !low ing ru 11 ml of hal1 i t and c:tsc.
1

-

LEIGH

Hum:.

I::: any fur ther de sc r ipt io n of t he subj ec t g i\-cn 111
adcFti o '.1 to t lie: ddi 11 i li (l n :incl the c :-.: ph rul iun of its
, ·

-

· · :, r_i th«·
~~~L' d11
L1 11's U (·~·1.·
.. ._ s ~ 1- ·.1 1:L: \ 1; i \· --~
. ._ _ •.-,: ~i
- ,J:
- 1 (_i i

p!~.; .:~;_; ±f,

as yo~ f.nd it in your outline on Ver~e.

'

t" 1~:..·

kn 1 1\\ ·~. J: \·

\\ l: ) h- ~ ~ r. ·-_,

'' . -

.! . . • •

L~·,\ · 1 . . ·:\

\Vho i ~ !n c:lp.t1ilc uf ju :1 t il'C ll LlY h(: C~lj).lLl c l ii. r (lr, l 1t y . l 11_ \ \
understands little may h:i.Ye his sin s forgi\·en bec a use Ill: lo\'es
much. - J. R. SEE I.r:Y, Ecce H om().

li ' i.~ ·tr\.- ·

Do 11is dFnni-

a n1ore purely literary forni.

\\/h a l is lhe pu rjH.J:-> C vf

tio.n and Leigh ·Hunt's harmonize '?

the remaind e r of the paragraph?

4. Justice is often but a form of pedantry, mercy mere
easiness of temper, courage a mere firmness of physical con-

plied in th e definition ?
Find other illustrations of definitions supplemented·

Is much of it im-

l

rli
II

'I

ll

Inducti~le

zo8

Rhetoric.

in one or more of the ways shown above. Select one
of the terms previously given to be defined, and write a
paragraph which shall include the definition and one or
more supplements to it.
Division.

115.

When a subject is

~ully

defined, and

•

T'

_r..xposmon.
There are three simple species of government: Monarchy,
where the supreme power is in a single · person: Aristocracy,
where the supreme power is in a select assembly, the members
of which fill up, hy election , the vacan c ies i n th f ir own hndv
or succeed to their places in it by inheritance, property, or
2.

I

-=

.

-

,.

in respect of sorne pf: r~.->nai right or ~~!~hnc ~1 tiar!:

2

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}~e rt: b !i c :-

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r,
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ic' ;11· 11

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[l'C}. ,

,,

t ir

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l i tt ],_' fi1)1n

i n.~ cri j , tii

'J '!i,_· 1r
..;,, i :' :'.11i l d

u :-;.

\ i •

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{ _ \..

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~'..n 1u :1 ; l ~ · .~ ·-L~· r.<, ci~ 1 ~ 1 : - c
1J ~ 1 s~. :_ ;; 1 _ --'. '°' J

i1~ _ .: \·r i 1 1 t 1l 1 1 1 ..;--1 ·1 11) .- ; t 1 ; · _-.::_

1·11_:1. ·l:r :tl
i L l:1 nu u1HlL""' p11l cd con ncc uu n \\'lth t li: tt u f an y h r"i nc h o f
t he Jn do -Li1 rop c' :1n g rou p . Th e \· ent ered Ital y b tn tii:rn t heir
nei; hhc:i rs :m ct took p ossc';c; ion of the land ;; round th e 1'o, o f
E.tnri :1 proper, and :'li lern· a rd of th c: cn:ist of t he Vobc i:tn
;1:·c>, ·r·\· ,,,\

(1;1 1\- ii1

country and of northern Campania. In the beginning they
surpassed the Italians in civili zation and in military power.
The rema ining peoples of Italy- the Umbrians, Sabines,
Volsc ians, Osca ns or Sabellians, a nd th e T,ati ns - consti tut e,
l ingui stically, so many branch es of one famil y. Th e lan g uages
o f t h e fi rst four o f thes e ra ces, so far as th ey arc k n o ll' n,
rese m bl e each o ther m ore clo se ly tlnn they cl o t h L' l.:1ti 11 s, fr om
whc> rn they SCl:111 tu h :l\·c lic cn sc p: tr:1tcd i n p rc -h i:;t ortL: t i lllL' '.i.
T he se four arc in clu d ed togl'lhcr umle r th e n:ime o f U m b ro Sabcllian~. - 1\Ja pte J fro m T 1c l!L

rl'i:r:

h - ~~ :l! , !~ (_ ·~

uf
} J~

~

t

1

,

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~~

.,.

il '

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: :- 1J; I l t,

; L,1 i l L

.

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o f exc iti ng an d inud uc i11g th e a1ii lit i( ·:-i o t the {_i,__ ·<t c::i2cn-; .
It s cl 1 ::::a d \ · antJ~cs 2r c d i:-;s en sions _. t::e: cL~1:-i_\ :i..:'J'. ('..-.: .
.: :- :.· (1I
··ls , tl' c i111 l1" cilit\· oi ] l'_..J
t' · 1, :ll_.. .L, ,:.
""
,, ,- --.,.l\. '. C_
· 1'. 'ti _,-·
, '- "·
" • .t l . .>· ·-.
l iubl ic c u "u 1.1..;_...___
the necessity of a n umerous conse nt.
A government may be composed of two or more of th e sim ple
forms abo\'e mention ed . Such is the Briti sh go\' ern mcn t.
It wou ld b e :rn im proper go,-ern men t for the 1.- n i tc d S t:it c:;,
because it is iruJ cqu atc to suc h a n extent o f tcr rit <Jrv, :l!l d
b cc:rn sc it is su i te d to an e st abli shment of cl i;';ercr·,, "rdch (J i
1

· ·

·

'--

•

m en .

\\ 'h:ll is tl:c' rut::rc :;r:d J.;illd u;

__ ,__;. :_·:-; 1: ;::__·;:: \ '. ::

:1

been p ropo sed ior the 1' n i tcd Su t c·s hy th c ht c nlln·cn t ion?
In il:i p r incqi lc :; it i s p :1rcly d c nHx ra tic.d ; hrt the 1·ri 11,-i1,k i:;
:i.pplied in d ifiercnt forms, in o rd er to o:i:a in the a ch·:rn tagc s,

_ ,

, .". ~;_;::t~.,'~4:"·"· .~~#t~~,?'·~.,. ~~~;~ ·~,~ ·'. -~ ot.~ij

Expo:ition.

210

Inductive Rhetoric.

allld exclude the

inconveniences, o~ the simple. forms of

pvemment.
"
If we take an extended and accurate view of it we shall
fi,n:d the streams of power running in different directions,
ia different dimensions, and at different heights, watering,
a.idorning, and fertilizing the fields and meadows through
wiiich their courses are led; but if we trace them, · we shall
discover that · they all originally flow from one abundant
fountain.
In this· Constitution all authority is derived from
the peo~le. - jAl\!ES W1LSON (slightly adapted), about 1788.

What basis of classification is used in· Selection I
for the main 'topics?· For the subordinate topics? .
\Nhat bases are used in Sclcc'tion 2 ? If you were given
a roomful of books to arrange, on what bases should
you classify them? W):iy? Would that find a proper
place for every book? ,Would it provide but one place
for each book? What difficulties should you find if you
should try to use a double basis ? For instance, if you
'\Were to try to put books of a size together, and books of ·
;a color togelher.
'vVhat rules for classification can you

· 211

117 .. ~election of Subject. In selecting a subject for .
·
Expos1t10n, how far should. the taste and ment a 1 eqmpment of the author be considered •' 'Vhy
H ow wou Id
v
•'
the taste and culture of his audience affect his selection'
Why? Why are many. school essays uninterestin(J' t~
the
and to the hearer'
"'
. author
.
·
· What sort o f an essay
will be. the result of attempting a ·subject beyond the
power of the author?
Whi~h __ of the laws so import.a nt in Description and
N arrat10n should also be.; observed in Exposition? .\Vh ?
'What
of B.V±pose
in such subjects :s
G?osts, Nicknames, -~fj'ssionaries? In order to make a
c<p~plete .E xposition oii~ one of these subjects, how much
would it be · necessar/~to write ? Suggest some more
lim~ted t?eme in connection with each of those given,
which m1gh,t be fully _treated within th e usual limits of
a magazine article or of a school essav. Is such a Jimi·
tation of subject t1sually advisable? ~Vhy?

sug~estion

i~· there

n :.ak --~ af ter ~u1.--.:.\.\.·1...~rin~ ;~ llh_~~t.: q ui.. .:. :--; tiun .s ?

116. Using the rules just made as guides, classify one
or mo re of the follcming subjects: L c:c f forms, phnc
f;;u rcs,

chcrnic:tl cL·rncn\c;, hc:t\'l'Iily

Co:1 ;,;;r,:ss,

t <11'.

11 o tf 1ci tb , ci ty

0 Cti1

i:tlc;,

]Jl1di l~S , p1 l\\· crc; <1f
l! :'c':;

of th e' 1.: ltiil

·~ubjuncLive: caus~s Ltf t he f ::tll c•f t he l<.nn1ctn 1·:rnp1rc!

.effects of the Moorish dominion in Spain, effects of the
.crusades.
.
What seem to. you the most common errors in .classiiication? What are the sources of these errors ?
:

.

I. It has often been observed th:it, when the eyes o f t he
inhnt fir:;t open up on the wo rld , tl1c rcr11·1t u l L1;c; of li:::c
\\·hich ~tr i k e tlic:r n fr, --nn the 111yri.~d cii :<'.:r ·i1_; '.i -i. .~ </1 : :it -;

p:·c::::t.:"llt tv L11l.l Lu i:1 ~ .t,~ 1_:, Li~1t :.. L

c,f 1_ 1_i>_i: :; - ~ -~ '-· .:.~~J. .___),, ..;_

Thcv Co n0: forn1 int:'"'! :'1. \1: ~~ :'."' ~ ~~i:v C-:: :: ~ ~ - ;~ . . ; ..... 1 ; ... ... ,..
gro~nds and melt int~ .d is·t;~~~s; th ey do n~~- -di·~;d-e ';~;o
·groups; they do l)Ot coalesce into unities; th ey do not com~ine into persons; but each particul~r hue and tint stands by
itself, wedged in amid a thousand others upon the vast and.

' j

.

~ ·

J nri11rr1V F'. i:\.t1ctuflC.

Hvnn.c:-;f.:.....-..,,
. • ._ ••_.... .,.

~- -1 ·_,.;,___

ill'
. havincr no intelligence, and conveying no story'
- at mosa1ct,han the"' wron: side of some rich tapestry. The
anr more
0
•
little babe stretches out his arms and fingers,. as if to grasp or
to fathom the many-colored vision; and thus it gradually learns
the connection of part with part, separates wh~t moves from
wh;at is stationary, watches the coming ~nd gom~ of fi~res,
ma:;ters the id~a of shape and of perspective, call.sin ~he _mfo:.
- - - -"- 1- • _ ...,, ,. n
h c:
---• •O"erl thrr111crh the
other senses tu (l,,,,i,,L
lll<U
~
Il1<Hl0II CUllV'-J '-' •••• - -<::>·
•
•
mf'ntal process, and thus gradually converts a kale~doscope ,1~.to
1

000

• 0

•

-

-

"l

• •

&U

~

·

• •

,

,-

. .t.~
\\(i:> LU~

•

·1ne nrst \'leW

n,;rh1re.

- r ·-·

+h.p ~Pornnn rne
~ 1"' "'"-'••---J; ~ - - .
• ••

,.,, --r-.-= ... ...., 1,..~ :""l i ~--l
U.J.JJ..._,

·

l th e Ja tter mor
- -e- pnuolif
p
hoth as a
,... - 1 - ti1e v1vrid' s p;-;~try, ~nd

i··ur.: r--a.l · t1'e for!l~-:: r m"rP poet1ca .
i •

-

,

• _

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A.i:i.-. t

· · ?; c:lu
~11 t'h•
.. r.h
\Vh.,t !lre ,vi-- J t•in
Lu.Ouc. ...

s.vpnt~ai.
.. ic.:i i . . . , ..... . ~ - ~ "--- •
l .~Ct ·~ - ~ ] ~y :;..:: ~ ~~ :i._ f1 ·~i- :• ) bnt ii!ilC.. rtrn 1n ~~

-

.

rfL.i~

.)

l.:!

::~~ :::~;\~·,: ~l;t;;::~'~ i· life,

o~.~

l 'l

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1]]_,

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) l I

y.-.; ~-~ ;;:,l ~"l. :~

0'-'1

awl i ;1 ll: c clu~LL ul li~,;.u } ; i: i
:;~;t-i~~" in our aims, in our hopes, and in our memones.
-:"JO
...; ..:~:~~:. _...-.-:•· •"": ~ ..- 1~ 1-:: th P P:l!"!!':~tiun of onr intellect _; I say,
_:t:1r_:
•
. ·, i~ ••
f _r_ •..~. ·- ~_ 11!,..._C' .. ,~,...~ f"'--1 1 ~ ,· ~1;, ;,, ~ ! .. iJ l lia l:
:':-.. :!..: ti:t' t) ~t'.:""" i H ~~~n r··· ••
- · 0

1 1 ~

I : ;. •.

'"""""..__. .

~-

--

--··

..

I

·.i

Then, since courage is a joy so high, a virtue of so
great majesty, what could happen but · that many will covet
both the internal exal.tation and the outward repute of it? _
Thus comes bravery, which is the counterfeit, or mock virtue.
Courage is of the heart, as \Ve have said; bravery is of the will.
One is the spontaneous joy and repose of a grea't soul; the
other, bravery, is afi.er an end ulterior to itse if, and, in that
vie\V1 is a. form of \vork, about the hardest \York, too, I fa ncy,
that some men undertake. What can be harder, in fact, than
to act a great heart, when one has nothing out a w1ii wherewith
to do it?
1'hus you . .viil sec _th_~:t courage is above danger, brL?.vcry 1n
2.

I
Ii

ii

H

I
·c:

of one, risk the plague and tremor of the oth er.

6

w
t. l

6-

br ~\- l:
n1J.k l~

[j

d .1n;.,: ;._:r Ly tl1ciz- \v ill, "ivLc;,1 t ~1:_i :·
u p in \·it i 1 l~ n c~ <· \,lu.t ti 1t'f \Llnt in

:~
-

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1:-i

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1 " 1 1 '. r ! !

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t- L: i tl

H ·:--~; l ctn 1l ~~ ;ic 1\ ti; ~: 1-ElCS up i_lll

-n~~ ~ r · ~ r-n!!E.~ n 11c · nnr dnc-~ t1?t: :\i.Ud en t

;~~u;~~-~;"~ny. m;n;;~l

i{· (ti ii

[;;-.c_:l !'3.CY 0 !

or- treatise. The i nstruc:ion g_iven
him, of whatever kind, if it be really instruction, i s rnarnly,
or at least preeminently, this, - a discipline in ac curacy of

mind. - J<;nrn

u i ;_:. 1t . :t cl .1...,

1.L> .,\ J'!
,,
' .

l

r e \\">) t:L-·~ · t -.; l i l(,' :: } <·r: J-:
i. {Lll t i l l '. i:H ' Ult \ ·

tl· ·~~.;.~;_L :_ ~.

in your hero. Call him still a ln;1n: nun, if yuu 11ili; unly
remember that he lacks courage.
0 0, the \me her,, is the pt' ,H, '" ice rn::n 0f (1·_: t_1· , - h·:- -,, :1r;cc
S >J l i

:1l(H!~,

L'~ '--~ :· ~

tr. ~ :lq :.i ~ il i :. y; ~ LL 1. l

t· ; :1 : ·_ : l ~ Clf t~~~~· ; r f c: . 1.:~ i :: : :,

·1

..

For, if I

HENRY NEWMAN.

3. It is the essence of morality to .place a restraint lipon our
natural d es ires in such a manner that in certain cases we ·
refr:i.in from doing that whi ch we have a natural desire- to do,
or force ourseh-es to do that to which we feel a repugnance.

,~F~'j~:::
!.

Exposition.

Inductive Rhetoric.
No:w lue who refrains from gratifying a wish on some ground

..
.

~
u
,5

~i

:1
:I -

=

'
of r.eason, at the same time
feels the wish as strongly as if he
gr:a tified it. The o'bject seems t<;> him desirable, he cannot
think of it without wishing for it; he can, indeed, force his
mind not to dwell upon the object of desire, but so long as the
mirnd dwells upon it so long it desires it. On the other hand,
when a stroµger passion controls a weaker, the weaker altogether ceases to _be felt. For example,' let us suppose two
men, one of whom has learned and believes that he owes
Jfidelity to his country, but has no ardor of , patriotism, and
the other an enthusiastic patriot. Suppose··a bribe offered to
these two men to betray their counti;y. Neither ,..,,ill take
the bribe.
But the former, .if we suppose the bribe larg·e
er.ough, wiil feel his fingers itch as he handles the gol<l; his
mind ·will run upon the a<lvantages it would bring him, the
thilllgs he might buy, the life he might lead, if he had the
mon,ey; he will find it prudent to divert his mind from
the - subject, to plunge desperately into occupations which
may absorb him until the time _
of temptation has passed.
Th,e other will have no such feelings; the gold wili noi make
hi:; fingers itch with desire, but perhe1ps rather seem to scorch
fr, ; :~1: he will not picture tc·i hirnscli h:ippincss or pl c:ismc as
a

•C<.HlSC(jlle!lCC Of

taking it, Out, on the contrary, insupport-

able degradation and despair; his mind will need no distraction, it will be perfectly at ease however long the period of
temyit:1ti on may co n ti nue.
Th e dificrL:ncc li c t"1·ccn the men is bri e fly th is, tlnt th e
one h:1S his a n: nchi c or lull'cr dc,;ircs unckr control, the
oLhcr feds no such des ir es; the one , so .far as he is \' i rtuou,;,
is in.ieapable oi crime, the other, ~u far :..t::> he is virluuus, i s

incapable of temptation. - J. R. SEELEY, Ecce Homo.
4. l3y poetry we mean not all writing in verse, nor even all
good writing in verse. Our definition excludes many metrical
compositi_ons which, · on other g~ounds, deserve the highest

_we

praise. By poetry
mean the art of employing words in
such a manner as to produce an illusion on the imao-ination
0
the art of doing by means of \vords what the painter does
~e~ns of colors. Thus the greatest of poets has described it
l~ h.nes universally adm~r_ed for the vigor and felicity of their
d1c.t10n, and still more valuable on account of the just notion
which they convey of the art in which he excelled.

b;

. "As imagination bodies forth ·
The forms of thihgs unknown, th e poet's pen
Turns them to shapes, and gives fo airy nothings
A local habitatiOJ:} and a name."
•{i::O:

~· I ~ _S election

I,

-

~,L.\CAUL.\ Y.

ho\~ -does the comparison with the si ,•h t

of the infant aid _tEe comolcten""S
•

~u

'lnrl
~ .. "

J.rc\';1-,.
")
~·

,,~1·t1-,
"

.,.

which the purpose is gained? In Selection 2, what is
the effect of the antithesis upon completeness? . Are the .
two ideas sufficiently alike to make the antithesis aid

brevity?

Find . extracts in \vhich either arlalogy or

antithesis is used to aid Exposition.
•,1· -.1- ', ·1,•~1 ·.- 1s
-

1",·1 .·.:;
1, l1 ,,
- l-._,
-.. ,-~~·!
l ,')',"'
L
1 "• '· ' ,,-r ~l. . . 1

,_, ,

.

Compare the illus-

1
T
~ · ll
l rl '\\'ilL_'

· t'.1(~'
· . li:
· ·· ~ : -.;,~:-,l L~

tion more closely rebtccl tu the rn:i.in 'thought I

\\ 'h :1t

is its relation? \Vhat is its effect? In Selec tion 4, how
many times is the thought npressccl? In wlut differen t v:a\·s? Fr)r v: lut I' llr)l 'F c'? I<; i : :rn :1 id \11 :1
c 1c :1 r co In pr ch c' n s i c1 n n f t h c :l u t Ll-i r' ::; th 1~H; -~- h t ? ! · 1: l d
cxtr~lcls il lustrating tl1c us e ui cx (:n1p lir~ .- : ~'._i! 1 :1 (ii . (if

iteration in aid oi E xposition.
119. Unity and Coherence.

How would such subjects

_as the following favor unity of treatment?

i~~~:; :.,,4::~s~p)~~.:-~~il#t~i~~~1f~~~l~;~~q~~:· -.. · - - i 16 - "' · - .,. · :· · - Inducti.ve :Rhet~r!c; _.
·-: ;"}
. ; ~ ..
. ···::r. The effect upon society of pic~l}r.,e_s ~~d· ilewspapers.
z. The formation of mountains ~nd ravines.
. . The effect of selfisli'ness and .politene~s upon character.

"

\

3

\Vhy would it be difficult to give ·unity t~ an Exposition
up"an such a subject? 'What then is necessary in the
sub}ect to enable the writer to observe the law of unity?
Correct the subjects given above, so t,h at they will be
more -in harmony with the law of unity.
\.\!'hen the subj ect is a unit, what is necessary in order
t hat its treatn1ent may be a un ~L? I!j a \Vt:ll-o:rde:rtd

121. Criticise
the follo\',.;nrr
_
u
b ou tl"mes, 'as to plan, proportion, and arrangement:
1.

2.

~ermon. -The vanity of earthly riches.

I. - They are hard to get.
·
II. They are hard to keep.
III. They a1' not wort.h having when you get them.
Sermon. -The still small voice.
I. The whirlwind. About ten minutes on the
power of the wind, its waywardne ss, its uncontrollabl e force. - but Gotl was ~nt in t hl'

\Vind.
II. '"I'he earthquake.
(1,;~~_ akr_~_,,- ·

p1(Jn r1s cssei1tial in Exposition 00 in Descript?on or Narration? Why? Shoulu this . plan be made before the ·

t.. _)-_,("
- ~_:_~

Ahout

tPn m1n1!~5 0P- ~?-rth -

f:2_.!__l:;C:;
__ ~ - - - ,

•_, L_,,_ :?
_J _ _ ._ 1,tlt_.
- ··
,
._ uc:--.:..
tiun ,u.;.:_·y
h,..;'",.... - --~ h,.;.. r . . . . rl ......... ... ............... ; ...... L - &.i
,
1
u.1..i.1..15,
UUt. 'JV\...&. H c::t.'.J .UVl 1U lll C
Cl1fLflqllJ.l\.t.

III.

The fire .

..~b0 1Jt t·~~ ~1iD.'..!t·::s o:"l fi=-~~ it;:: r!:':;~:;-

120•. \\'Int shn\llcl lie th e m~un p:irts of :-in E :-:p os il'l·Si t i.,;1)

Jn 1

h'

I:: thr >lJ ~~ht )

111

th('

jl C•c' ln

of

" Th-e Vision of Sir L:umfal," null: the g-cncral a11c1 the

special introduction. Which comes first? ·why? Find
examples of each in Exposition. \Vh ich o[ the; two

. :'..
l e :: ~

ir\11~1 :i. n 1:1t(· : 1, tl 1 ~ · ~'..L,:· ;11 ( ~ i

:-..

{

i· c -

t . i1 · i 1 ;~-1-y

of the engines, the d :rngcr to li ic, the rc ~cuc. J\11
occupying abou t six page s.
D i's"11"·sio11. D escr ipti on of t!1c d n.,1ni:cl l of .c yn::n;
111:1n :1~

the

rc~t11t o f

:1. :-=;(1,

( ' c1: 1: l !! ~ : : . --;

i it gl

t'• I !

t ~ , :_-·

1-.: _~

( lf

I r !'

(I:.

\';;n ,· .

1<

:\h1i'.1t
1;

Inductive· Rhetoric.

Exposition.

the thought of the following themes treated as Exposi-

ments as will serve your purpose: Be careful not to
run into argument; you are not to prove, only to ex-

tions:
How men become heroes.
How men become criminals.
The
planting of forests.
The formation of ravines.
The disadvantages ofmarks.
The advantage~ of marks in
":ra.din"
b '
<> school work.
.
Curponl punishment.
The necessity for good roads.
1_'he effects of candy-eating.
The advantages of courtesy.
Su,rpris e parties.
Chaperones.
The effects of competition upon the individual.
The effects of competiti o n upon society.
The causes which produce market value.
The opera tion of the Jaw 0£ suµpiy anll de:ri_1 and.

plain.
Schoolroom virtues.
The disadvantages of examiSocial virtues.
nations to the pupil.
Business virtues.
The leading industry in the
Domestic virtues.
county in which you live.
Qualities essential to success.
Choosil'.g a profession.
Taste.
Lead ership.
·Compulsory education.
Taste in dress.
\Vomen's wages.
I rnportance of trifles.
Children in factories:
' Our local rniner:lls.
Insectivorous plants. ·

12'3. In the seicction from Burke, page 25 note the
<levkes for referring back to what has been said before,
o-: f():- \ '; 1 ' ·, ·~t \Yl " 1.:·_-L11 r ,· ~r( 1 .--11: "_, t>,- ;_ _: ~ - c, f crc'.1cc.

1
,

'\! h:1 effect
of t h (1 ll,':~1l t) In

l1:i_y,_2 th c :-:. l1 i). 1:i li:1l:y ;t:~J c( 1'. : ·--·rc1;c c
thl: ~--u ·,Jt_" s1._'11.: ,_·L illil L)c1L i1 }r C\ ~-Lnrp1 c~::; o f prn~pc-c-t l\· c· rc t-·
1...:

crc211Ct\ o r lonkin:c: !11r v: :t rd liy rn c:tns of rckrL'.lH'c·s ]H1i;1t -

ing to what is to come.

coherence?

How docs this affect unity and

Examine for prospective and retrospective

Chemistry in the kitchen .
The ingra l-ilt.H.le uf rt:puL1ic~ .
A~; ·::r:t:::gc-~ 0f the c:~Pr1\-· r:f

Cullivatio11 of the orange.
Social calls.
Gru\\/l l1.

! .:H i 11 .
t-\dv~nt rt !:-'' ~s

l ; : ·~ '

u f

tt1 acl 11ner v

tu

'!..

.

.

l ! t.-llli l ll !!

•

Ul

l

UlH.! :").

1 t 1,, ): t' [ .

ll: ' .\ <h-.:;1:.1,::c·,;

uf

llUC!il!L·r';

to th e boorer.
Aclvantages of machin e ry to

S c l !1~lrncss .

Th e fi ckleness of clcm oc r:icies .

rdcr·:ncc an cso:Ct} of l\l:tc rnhy, an oration o f \\'1.J; s tcr.

12L Select scirnc' st1hj c:ct arnnn~ t h e folic111i11 :_:: . nr a
q;_b-t :1;)LC (> f (lll\.' of t \i,·rn. :rnd \\Ti\c· :u1 (1l1 tli: 'c' (if th e·

thougl1t ior an Ex1JosiLiun ~ being ~ cctr'..'.lul _l \) '-L,_:i-1nL: and
classify well, and to arrange your thought so that it will

be easily understood. After this outline has been criti·
cised by your teacher, amend it, and then write out from
it. the Exp'osition jn full, using such aids and supple-

~ ' \ i i ~','

1 ~ I ) i \:. i'1: 1 t '' 1'

;;. l ;.' <

I I1

i•._i:;; ;, ·:'.
'fhe Seven \VOnders Of ..\rn e r ic3 .
The acl,·antage s . of examinations to the pupil.
The acl\'antages of examinations to the teacher.

t ' I::.

:-\ tn··r:• · c ~ ;:

·-

nn ,.:'l trv

i- - --·_,.

The self-made man.
Company manners.

220

IV. Argumentation.

MEMORY QUOTATIONS

The expositor must be in serious earnest ,and resort to no
means tha t ffitye not the sanction of his judgment and that
a:re not in the interests of truth. - T. W. HUNT.
There is no othe.r kind of composition that demands such
careful and exhaustive reading, stuqy, and definition. In no
other field is th ere such danger of mistaking trite commonDlac cs aii d :!,p!1ori sn1s ior r ea,1; <J ri g i na i liH>ugi i L \ ctgue nc55
~nd lac k of p~int are the charac teristics of too many expository
essays. - J. Scon· CLARK.· ,
·
7

'1 'h osc
iEipur·;- tn~ dl3L ll'',iun~ in

·!rdrn

t:rn lty dciini t ionc; . --T . \Y.

~! ll J } lh
TT i: :..; T .

'.d ie: key,;t•J n c of g oo d c:-.pch!~ic1n is 1•L1i nnc,;'i, ck;nnc,;o;,
simpliicity; we cannot aiiord, l>y any literary J cv ice, to c m· er
up these qualities. - GENUNG.

125. What is a proposition? Of what does it consist? Give five examples. Are all propositions true ?
How may we be convinced of the truth of a proposition? What method of writing do \Ve call that which
proves? Define Argumentation. How does it differ
from Exposition? Does it at alf depend upon Exposition ? - If so, tell how.
Of 'vhat does an argument Consist? ,Have }'O U ever
kno\vn ai1y oae to -thir!1<. a proposition in geometry
prayed after givi z:g ~erely the hypothesis and the theor e m ? vVhi is me:,:~ nee d ed ? What do cs th e proof
co nsi~ t of ? (1 n \Vl1"a t d i)~3 it d ~f' e 11d?
\\rill ~uTctn::; c­
ment have anything to do with it? Give rea sons for

your opinion.
126. I nductive f{casanin ; .
i ~ co 11 d u c i \-\_. t (, h ~· :d t 1: ? ,r r ~ :~ t ~ ~ ._ !d .~, :~ t \ \ · ~ J .- -, : ·-: ~ . .
l~ ti nu::-; rl·d?
' J ' he rc:t'.-::.i1i1in_: __, . \\·h i: ~ h J, ·· i.1l< 11:-~ t_: \ t

I "

Give five other examples of inducti o n. F ro m \\'h at to
what do we reason in indu c tion? Exa min e th e foll owin,c: inclucti on s, ckcick \\· hc th c r t hey arc \·:ihl, \\·hcthcr
the concl u ~; i o n i:; pro\·ccl, :t!1cl if n o\ , k11 \\·liy n o t:

ci: ti::_' ; :: · :: 1·: \',: . !

; " : i: '-'

( i.

,_.

i \\

3. A change of the wind will bring a ch ange ot weather.
4. Pot.atoes should be planted
the full of the moon.

in

I nducrive i{iit: lv r H.:.

il.1gu111c: Ii l<il!Uf l.

I

I

• It will be a dry month, for the old Indian can h:mg his
prnvder horn on the new moon.
6 . Evening red and the morning gray, brings the traveller

5

on his way;
Evening gray and the morning red, brings down rain on
the traveller's head.
The
only good Indian is a dead Indian.,
.
7

E p imenides the C retan said, :\ll the Cret:rns arc liars."
Epimenides himseif was a Cretan.
Epimenides was .a liar.
<;

I

If the Cretans were not lia rs,
Epimenides was not a liar.
li l
\•'

1 11

lc1 \ \ ·i11 ~ ~_\ i

1

r1

\ \ :~ i )

I

r

( 'un:

1·.:~ l u :L

•.

_\ L x·1 11 ;L
:\ll ;u -11 1'~

p r:.• n 1L·::_' .

:.1i:~ ~-; !"" r: :- l'r'.:'. ;•:: .

\ »;t ~ il;i i )r t.:·> ~J\ c.
t 1; r-r1

.

c:1 l: :-~ \' i ~

li t1n th red .

-·

\ " ! : !'<~~·1~- i~ ~ 11 ~ ; t(' i ~ ~- ·

From what to what do we reason in · these cases?
This is called deduction . Give five exainplcs of it.
How does it compare with induction in method? In its

~,-._.

c 1111 c l1i,;iYc'll t ' S S

i

pf

d1..·(~!t i

(i .

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!

\

1

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;

!

;

~

I • '

. .. .

l uiiU\V tag

\

I

l

:tr<. ·

tl

c1 ,·11,·1 H1
(' i.i 11

Th is fnrrn ril ~;\: 1 1i11:; :en :'.r: 11111, 11t i ce

11 \ ·mi.
"1

O n \\·h:1 t r1" e s ih

th:~ f\;rn1 i !1 \ \·}i j ,_· h th1 · C\ . i 11111l 1~· ~

:\(1[ 1_'

I

j I

:

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l ] ~-·

l J.

i '._ J

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j I_ l

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1

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11:1. .s Il o t

l i ;_ .J \\· ( r

.
t o 1: 1.-,·.: : c

.

J : 1:._:l·.

?\i~·: :·ct::· ~·, \ "e n ~ : ::; . 1 ·~ ~1 ~- L:1 . ~ :; d

thc:rc:tur c: ;\cpt ~ t!i C ln :i an

Vmegar turns litmu:; red.

Conclus ion .

rn'1ch1c;ir1n'; '

! 1 :, i

J_

c1

t._ 'Itt!1) · 111 (__t ! J \_~,~~ ,

. h. l' cl:l ::i J ~ ,)i · .'.l' n: l·:. . ' L

\ '!

--· \ i _i ·~ ~r

23

If Epimenides was a liar,
He lied when he said the Cretans were liars.
The Cretans were not liars.

Under what circumstances is inductive reasonmg

l

'2

il
r.

,,\kd

~\~ 2r -; !:..:i.··.: L'i:: :i::' ~ -~~ c__:;

u!L:t .

3. War is an e\·il uecau se it produces hti m:rn mi sery.
4. This embargo mu st b e rep ealed . You cannot enforce it
for any important period of time lo nge r. - Josr.\H Qu:-;cv.
5. If th e writ ers of th e four Go s p e ls enct ly a g reed in :ill th e
111i 111)r fi . Lrt ic u1.~r:-1 \\·c sh uu ;1. \ 1)<' it t< ' L1~t· d t (J di.~ 1'. \ ' ~ \( '\ ·e tL(: ir ~: t 1·1:· .
,l

II
,,r;

l'

!.

I;

\: 1 ..

'.

-.. , I

a.11u

-; - - ,

~-.

.....
~

pv.u.1~

out any th at seem to you faulty, with the reason why
th~y are not· reliable :

J .:..:.•_· 0

~ ..___,'

'! '-'

to you valid and conclusive. \\Trite fiye enthymcmes,
fill them. out, and decide upon their validity. Are the

'

-

Inductive
Rhetoric.
,

214

Argumentation.

following syllogisms valid? Give reasons for your opinion.• If any arc faulty, show why, and how they may
be corr-ecttcd.
1.

All men are mortal.
The ele-phant is mortal.

I

pare induction and deduction in their course of reasoning, their conclusiveness, and the basis from which the
reasoni1'g is made. ·which of the two proves beyond
the possibility of question ? \Vhich of the two has
added most to the sum of hnman kn owledge } Find
out Lord Bacon's connection with thf' 11sf' of inrl11rtinn
<.__' .

1 !

i.

'·
T ,- - -..: C- · ·-: 11

....,... • • • .'

:-.:

l .,'

c . . ,

'

\' ,

·. '

.

i i: ' ,_': · ; ; · ·
~ ~""\
! : !

\

...
'•

~ .--.
\_

__
-,

,

~ I

,-.,-,..., ..... ~
-

· ~ ~ l I

1

l

--

..

-

' 1

, ·-

~

, _.,

I ; .·-, :

1.
:_' '

\ \ · 1: I'
'.I

11_ ·.::-:-

1'. 1H.: r l y (
Govenmienb shoulJ be resisted.

129.

~

l

1 \'

I

'-

' ,--) - I ;

f1

ti ): ·:·11

(I L

} "\ ' . ~ :-

I:. I

1 l \('

•
.t
.; ' l.l.

t ~ ti ·, ; ·:-1 ; : 1 ~ ·~·11 : ')

I" t ' :-, l l !( ' L

t i L'--.

il': ~\il~--: i ~1 1 \.

~cicntitic

.\ n :en ~ c in

..

Yl H l r

~\ ]j ,

i,·

..

~ , -l~lH l1l_·t r\ ·.

j, 1r111

quc11 c s;

for soh·ing

Arran f.; c in syllogistic form the ckrnonstration

o f som <: t h <.~ • 'il'lll in

.-

t l i l '.

:n

gu

1: 1c· 11 ~

I'

L\' l ' l l
'

l ,

~

!

..

life?

r c:i.sons for your opini0:1.

\\ 'h:i.t corrnc c ti0:1 Ins pr()h -

:1hi lin· \\· itli st:ch prl1 1i k111:;

J

. ,,
l I

\\: hich is the more common in conversational argu111ents, the syllogism or the enthymemc? vVhy?
In
which is it easier to detect a fallacy? Why1?
'
130. Comparison of Induction and Deduction. ·com-

!·.

tL c l\\" \'. 1:, b >t

problems of

1 1l

1...J1ve it..:,t::iu11::. lu1 JUU1 u};uuui1.

I.

\\.i:i c· h oi

the · ordinary

: :.: ;:

1n ilterary p1uuucl1ull:;:

I

i

\ ' ,·

i.

(._.:. ·- - ·· ·--

1·

......._~....,

; ·<

:-.: .\

That the earth revol\'es round the sun.
a re altered branches.

1 hat

rtowcrs

. .131. Antecedent Probability. What do the follow!ng
arguments attempt to establish? How far do they
establish it?

Inductive · Rhetorjc.

Argumen ta ti on.

A robbery has been i;ommitted arid it is show~ that one
of the clerks in the store which was robbed is heavily in debt;
it fa inferred that he is the guilty person.
~
:::. A manufacturer has discharged an incompetent workman,
wh.o is very angry at losing his place. Not long afterward the
family of the manufacturer are taken ill and the water of t~e
well is found to have been poisoned. It is inferred that the d1sch::uged workman poi soned the well.
. A man came home late one night with his clothing torn
3
incl soiled, and his face scratched and b!Uised, a!1d said he hail
b een knocked down in the stree t and rnbbed of a large sum of
;nnn;:>v_ He h:d a h eavv debt to pay next day, h e was in the
h~lft't of garnblin,~. and ;vas seen co~Jin_g out of a gan1bling
~ffl!~i;;e- tl 1a; ni.~ht (;nl~· a .sihJ.it li1nc L~f0r~ h~ n ..: . .;. chc Ll L~~lL.:.
It vt;as inferred that he had gan1ble<l a\.vay his n1oney, an<l then
i nvt"nte<l the story of the rou bery.

'Write five other examples of argument from antecedent
probability.

1

.

132. ·what would be the effect of sever~l concurrent
arguments from ante.c edent probability?
Give examples- of such cases. · Find the arguments from antecedent probability in some case in court that you
have k:iown or read of.
A wealthy wid ow accu ~c <l
()f

breach c•f

guilt \vith out pro\ ing a m oli,·c?

•

, .,. ,

<lfl1 !1lV

jll(l\"C

conclusively in opposition tc;> antecedenf probability?
Suppose such a case,
Gi \·c the argument from ank ccc1cn t pn 1ln l1i li ty th:il
Tint :c man

•

•

&

"'

nrr r• 'ne

133. Sign.

I.

Is it ea s y to

of marriage prov P..~ th;1t sh•"

prc,rnise

would, by her late htlsbancl's will, lose all her nroncrtv
H 0\V \\' OU ld

nzivc uno11

in ;.:. cuurt uf L1 \\' ?

227

'fhc

. .

..

.

tD.C COIJ.ClU S 1V i1 (

,..,.... ,,

,-,

.... ..,

~· '-'G.lll

.

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ilJi,;.::;i1 1 ~ {; \J ill £1. i1 d.il C1i

-

.

tlut l'u :;oy Ju, Ltkc1 1 tLc uc.im.
2. A large sum of money is go ne from a bank and th e cashier
is also mi ssing; it is inferred that he has take n the money.
:; . A 11un is found st:rndin~ 01c r a dead lJod :; "" i: h ~' dr ip;1 in=:
knife in his lrn1d.

hy d11g,.; h:1s poi s <in c• cl hi,.; 1ll·igh bc1r '~;
1~: - ~~ : 11 l·\· 1l "-" u 1 ~t ·, l :'.l~ \\- .t~ ~:u i '.t\· i'.~ " ( )u r

\\hr, ]1a s ]11..;t :-;h <'<' P

(: \-··< -

·r11~1t

1.....:~ · 0-.-.·

"Martin Chuzzlewit." That Senator Bird would not
help Eliza in "Uncle Tom's Cabin," and that he would
help her. . That the Bible is a revelation from God.

.

l~1g

gl~l ~ l

; ..:)

a

'

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.

vl -.. . .· 1 ~ at

.

:·

...

"' "'·:.:..:..;.:.:..
-. .-.""

Formirig ice will show what?
at half-mast indicate?
Name five common arguments from sign, that might be
offered in a court of law. vVhat arguments from sign

Inductive Rhetoric.

Argumentation.

<lo you. find to prove that Bradley Hea~stone a_n~ Jonas
Chuzzkwit were guilty ? That slavery is an evil . Th3:t
the Fr·erue:h people were not fit for self-government at
the time 10f the Revolution ? That there is a God ?

in accuracy of the testimony of two equally honest eyewitnesses ? What is the <liff erence _b etween a matter of
·fact and a matter of opinion as testimony? Under what
circumstances~ ··when may testimony to . a matter of
opinion be valuable? \Vhat is the effect on the value
of testimony when a person testifies in line with his own
interests? In opposition to his own interests? Give an
illustration of each case. 'vVhat is the value of un con.
'
SC!Ol!S
or 11no' es1gr\e-C1
I 11 us tr:ite ,,., , ..,n

134. Name all th e arguments from sign and those
from ant•ecedent probability in the fol,l owing story: ..

~.

ing te::; ti.r nuny?

.. ~

..

\Vhat effect t o prove or disprove has

rnc11 t fr om tc ,;ti mo n v ?

" t"'i

:;ii

i ~ ~ ;i~

~ ~~ ii ~

.

'· ' !

fulLO\\ · i: 1 ~

.1.rc ti1c

r~1 o st

J.. ;· .. ~

i111i )c1r L1nt r".1c ts \\·i11cl} cJ.n l.H.:

I,

cu:1.~: L~:..· rc ll

as cle:uly proved : first, that he was acqu ainted with th e tec_hn ical forms of the Secre tary of State's offi ce; secondly, that he
was intinntclv acq uai nt ed with the bus iness of the 1n r office ;
th irdh·, tlut he, dur int: the ye:u 1 7jO, ;c t tcn<lcd <idl.1tcs in t hl·
} i•Y.'. ~ '...· (lf ]_ , ,'. · ·.~': :1.'. ~'- i ! 1\t..1~:

l ~J~ ..

.\ n;:~n ~:~\ :--; 1:'--'. 1~ :! (1\i,·~ } ;~ 1 ~ ;:;.-, fi 1: ·
-

-..vh~t sc!"t ct an

~ r g Hrn ~ nt

•
1~

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ann no ..

:', •

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..... -, · ·1 -..l i __ :_:- ri:
cu1& c1 _1~ 1v ...

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it? Hov. would you class the argument from testimony ?
Can t estimony always be believed? ·what may sometimes affe£t its value? What difference may there be

!

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t:, •

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l l: \

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1: \ ~·~·::

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Lu y al '1i'a r; lllllll)', ti1 :.1. t iu; wa,; Lo u 11J Ly :,u111e :,L r u 111' l i e Lu
the first Lord Holland. Now, Francis passed some years in the _
Sec re tary of State's office; he was subsequently chief cler>.. .)1
the war office; he repeatedly mentioned that he had himself,

~·

·-·.-

.

Argumentation.

Inductive Rhetoric.

230

'

analogies? How strong is the argument from analogy
in history? . How many
analo<Yies
are n ccessary to
.
o
prove in a scientific experiment? In ordinary affairs?
Find the arguments in · the following. Decide whether
the analogies are valid and will prove the conclusion.

·
.
heard speeches of Lord Chatham, and some of these
m I 77o,
. d h . } k h.
spe eches were printed from his notes ; .he resign: 1s c er s ,1p
at the war office from resentment at the appomtm~nt of Mr.
"- ·er. it wa s by' Lord Holland that he was first mtroduced
C uan11 ,
f h" h
into the public service. Now here are five marks all o w 1~
ought to be found in Junius. They are ' ;ill five found m
Francis. \\' e do not believe that more than two of them can
•-··~rl ;" "nv nthn n erson whatever. If this argument does
!.....w::::'
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... 11e

-

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That ever I should write or speak a tittle that tencis to su ch
an in~?it_: _libe ~ty
conscience, is a mistake, and whi ch I have
C"·:"Cr d.!3C1a1 tr: cc! an d .:::.bf:c r1 eJ.
l. O r.JrCYen:.. suc1 1 lilbt a k e ~ ; i at
p rc .~ cn t sh(d l 01 11;: ,UtuUv
3c ll1 i ::; c a::>e .
--- e s rn ;tny ~ Sh· !p
·
,
i· n---1e1e go

o!

.1.

- · - ·•: - ~
tp. 1c~u ·_, n

•h o ~ o
1 " '1'- '"'-

~i-!'cu 11 r;.t.::.n~ia.1 c ·.;i<l::nc :: . -

j ~ .,.., Pnd
..., , . .. - ..

Qf~ ~--ii

f f'J.SOilill i:(

_

rn

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t:-:

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i;

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::::c.~ :~ ~.: .;: :

·-

-

-

-

t h ~-lt h. _- ~~i

the inquiry into 11is identity.
Analogy or Ex am_p1e.

. e_:~e~;1 r

lLld hi -~

1 ),f\l t ll ..; :

·1 G ,~-.1rc::r t'h r- ~rhir<l -

· ·11:1_r~ c ' t [ i. c .I'i hL hi ~:, e_:r ,_:•:-n

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any.

.\n~nic:cn C <>t • lI1 ic· ~

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1. ;_ i_,

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l furth e r add, that I n e ver ci c ni cd , th ,1 t nn~,vit.h ..; ~·!! ~ ·~; ,- ~~

sobriety, be kept and practi sed, both am ong th e se::unen ::ind
all the passe ngers. If any of th e seamen refu se to perfo rm
th e ir sc n· icc . or p:1ssc ngers to p:n- thei r ch :nc:c ; if :rn'.· rcf1h c· to
h:-?lp i n 1H' r:.;:1 :1 o :- p ur:-;t.? t()\\-_lh-1 t ~ c: c~_1 : n;;1 - ,:1 ci:,1: ,-:~-'" <1r d· k~ 11! t ; ; , ·

tl 1c~

1 ':·.: -,!_· : -.-

nf t'r-.,·

.

1\_ .,_'rty, t~:c: ( 1 \:: 1 ;~i.::; ·!'..·r ( ( t:~ ·~' ;- ; [ ~:~ -1 r-,· ;-, :_ t ) c t >: ::· 1:_1:, '. r.: .
sh i j·' ~ co uroc ; yc.1 1 a m l co :1 1!1U I 1d als •J t i ul j :1o ti c c, peac e, :i;;d

did .

ci 1 1r ; 1' 1

.

h !n_t-:
:, :~ :: ~ -=. P .:-~-:·~- ~~- :::f.·.·-:-.·.-. .
- t~ s, th'.1t n c:n:=- !-if th ~ P:-,- __-:-

--+· }:1-:r1c~- t'.:· · ~·'t'i)n(1

t~ ~:h_: c

•

ti ,

2 . Aristotle arg ues ag:tinst the cho iL:e of rn.1gi ~ tr~1 t c:; Ly ], Jt,
by supposing th e choice of a wrestler or a steersman by l~t ;
since in both cases the lot might fall on other than the p er-

sorr bes t bv t n ini ng :in d cxpcri P1wc.
Jrc l.111 '1. i f not gin· n i11, lq 1t: 1Hk nce, will t:1 ke it a s
..)'

-•.: . :. t •·
•• : : _:

1',q»hL-, ~1 1 l 1 l - i' r ~: t ',·~ L~;H--. _ J e '- Li

1~· 0:n t: :cL· U ', \ l l

rn~. y profit h y their exan1ple.
L\ 1 :-:1 (_· r ~ 1 I:--- ~< L \ -.

~,

._

embarked into one ship,- upon which supposa i, I affirm, th ; t all
the liberty of conscience, that I ever pl f'<Hi <'d fn r, t1.; rr>s ;; ;-,.-, ?~!

H ow clo the following

th ese
1

.J

•

r~.t'1 · ! ~ ;- ~;~ t r i : -=· "! , ;,..!- .. -.- = r..; :-: ·=·::· :::::: : :-. ·:. : :. .-.. :: .: •. :

?L P ' t n~ '"'!.n r n :t1'~~ ~1r ~,..,n n '." ~~---: r- ~ Y .

137.

'.2J I

L.::-; ~~ 1 ,·

1

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l: i

,,

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t -. ,I '_ '

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.

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abused its t rust, n1ay be rightfully 'v ilhc11 a wn~

l! :i:1y sh0l1!d p1c:t. .~ h o r Y~Ti tt=» th z,.t, th ere ,~, :J g ~1t tu Lc -uu Lv1u-

These are arguments from analogy. Are they conclusive? On what does their value depend? \Vhat is
the difference in value between real and invented

manders nor officers, because all are ·equal in Christ, therefore
no masters nor officers, no laws nor ord ers, no corrections nor
punishments, I say I never denied but in such cases whatever
is pretended, the commander or commanders may judge, · re~ist,

--.

'

_..,

~

..

-

·-~

-,-

.

{,..... ~' -~ -"""~~--'-- ::....

.

-'

,.,..._ ... ·

---

Inductive Rhetoric.

Argumentation.

ccrnpd, and punish such trangressor~ according to their drserts

amd merits. - ROGER WILLIAMS.
•
If free competition is a good thing in trade, it must be g??d
im :education. Since the supply of sugar and other commodities
ad.ju~t;; itself to the demand by private competition, withou~ any
· - · n by the state why should not education regulate itself
pr0\.'1::.10
,
,
.
rn the same ·way ? - Adapted from MILL s Logic.
To ask Congress to maintain a parity between gold and
silser at any fixed rate, is as absurd a~ to ask them to maintain
a cons.tant ratio in iron and water of expansion by heat and
•

1;

-

_

1..J

t1y ,__
'The <Jt°f1er phn ets resemble the earth in their rotation, rev_o ;:---=:---, - : _ r:::c+: 1\: .. -. _.::~~-,-~n . 0.r.:1 on~1n. he r.('e tht"y have 1nhabitanl:)

c:: ::: :-~~t !n!'

].)~use

t t Jl l .

•
a jUSt

1 -

ana~c~gy

1

u:-l:-:.

1.l'-'L
-·1-1· G'',-.,_.,._· r ·r.· ~r-"'U1

-

.. L.~~

·--

u::L\~,: c•..:n

1

t h<:

nr.e\irnnolis of a country; and the heart oi an animal boJ.y, it ha;;
been ~rnetimes contended that its increasell :;izt: is a di5~asc,
- !'h~r it m2v !n1pede son: e of the in~st im portant functions,
,, r t·-:~·~l lh· t ~ :~:: c :~i: ;'-' (1 f il~ d i;~1-) '. ~1 t i ·. . ,• Tt.
_

,-..1q.-.::'.1

L·~·

\\-L J.tc li..:r froin

. .\~ t h·_: r \):-c'-.: l:nf,,,'. , \:-; f:· ,1 :11 t l: ·~· 1 l

:-:r )

l: i:-.:.i hl l ' l.t 1 : ' ~ _ i_:-,i

gr_l f l:_; ~ 1ll :· t h : l ~

\\ - i_'

1

As the Americ:m Colonies wonl<l nat have suffered France,
~,, ;-,, ) :issist cd th em in ga inin g their i mkpl'nden ce, to d ic t;i tc to
·:!-~· ::-_- ,.JL:t. ~ r• rt ()\- ;1 ~ · 11\· L·1n1n :. ' nt t1h_-·y >11 :1uLl :ul ,11• t, :.:.• l the
l~ n :·_ . .Ji ~t : '.t l ·.~ ~J H 1u \ 1l rHit l\(J\\" ~1tt . -· 111p t t1. ·, L_i r~·~· :\ny k\i: \l c)f
,.,__ •, :: t : ·~ '.:

1'l '.

u p1)11
J l

~

ti 1, :

' I I i 11 I '

bLl 111l :J

\1f l_~l ~ ~'.\. ::nd

1 1 ],~l,·\ 1 J

J 'l)r .

the
generally
. -presuuiptiun
. fuuuJ? On wliidt till.: ourden of proof?
A witness testifies m court that he saw the accu sed

c:i.:~-

1

: _~ ,_1,,-:::- r-r1 :n ·_· nt

138. Burden of Proof. ·In any .argumentative discussion are the antagonists equally bound to pro\·e each
other in the wrong? Suppose the que~ti,on is the guilt
of a person accused of murder, has either party the advanta~e at the outset? On which side does the burden
of proof lie? On which side is the presumption of
innocence? How i:-rnch does this presumption mean?
On which side does the presumption lie when th e question is one of title-"·to property? In an att:lck uo on
established cust~·m ;·? Jn q~1cstinnin g ge ne ra lly rccci~·cd
o;:iinions? In a fo~ !i~ :l l C·:l;::-!_~ C ? \\~~ ~:~ ~ n ,,: n :: :"": :-~ :-. ~. ~.-

l :\ .

1c1l \\·h en it cc:t :=-:t.: ~ t0 he a hud :1n l_l l)c co111c :-; :l 11 :.C , :::i;) nL:n
must have developed so gradually from the lower auim:11s that
we .cannot tell where the lower animal ended and man began.

L O· t

2 33

L

11r

l_

i

I.._

•• ~ • • ._,

: •'

-

1.._' : · .

\\ii l tktt effect the p c•:'iti . •ri c•f th e litud c: n c,f P"" ') t: 1t
is also proYed that it ,,·as too dark at th e tim e the crime
w a~ committed for th e witn ess to ha,·e recog nized an_\·
OIHo at th e clist:rncc at \\·h ich he asserts he \'.-:t:> from the

l I 11\ \

1 • :

t ,_. IJ

: ~ ":. \ . t '. ,

r-\ ·

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•

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Bring to the class five arguments from analogy. Be
very careful to distinguish here b etw een illustrations
used to· e~plair~, and examples used for argument.

what circumstances? \\'h at was the presumption on
the question of sla \·e ry before the Civil \Var: What
kind of · an argument against it was contained in Mrs.

.j •.

2.J4

·~35

I nducti\'e Rhetoric.

Stowe's" Uncle Tom's Cabin " ? How would i~ change
the presumption? \Vhat counter argument was set up
a~ainst it? How did this argument a ffect the presumption? If the examples gi\·cn in the key afterward p ubli!OhW "'ren· proved to be true, was the position of th e
b:.:~~-=:: d
prnnf :lffeck<l? I1h1,;;tr;.;tc the frequent
•

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. ' • ...

necessary when the audience are hostile? How will
the kind of argument gove rn th e order of arran ge ment? \Vhat influe nce will strength of argument ha\·e
upon arrangement? \Vh y?

!

"..;;

140. Make an outline of each of the following arguments, and be prepared t o cxphin fr om y our outiinc the
kmcl Ot arguments used. t he purpose tor \\"h!Ch th e\· ;-ir,·

ii

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portant? Give rea sons for your opinion. \Vlut effect
will it have on a hostile audience to place the pr"oof
before the proposition? To reserve the espousal of
either side until th e arguments on both sides have been
given. anc1 1:h ose on one siclc seem ~ o prepond c r:-itc?
To m ention vi ews which you h old m common with
thc:n~)

i._"

Find out \\ hcthcr it \1-:1s g ran ted, ;in cl on \1·h at

g-ronnds Jknwsthc'n es chimc'd th e privikgc of sckcti 11.~
h i:::. 0 ;q1 ordc:r. J:.; the :irr:u1gcmc11 t of arguments im -

! •

t - 1 ' '~ • I'. I l \" : . J
' ,·.

Ci\· c r, ·; t~ lln,; f l1r Y<'ll r (' ;' 11111,1 1 i:1 L·:1 ,·h nf the<,'

'l' h r cc t i 11 !C::i- a l ll·~ i!<.l· r : n , i·,•.; sh:.: li ...:) i ~<

:\t him tli:1t !l l:ll~ her

'\ '
1:1 : ·
i ;1 ·, ·\;

1 !(;'

'·.I. . '
~

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11 uc 1lil 11.ttc
(:\nd C \" Cf)" \'Oiet: ,;he Lll~:,·d \', itlt ntify it ,
J\nd every face she looked on j ustif)· it)
The ge n e ral foe. ~lore so luble is thi s knot
By g e ntl en ess th :rn wa r. I want h er lo ve.
\\"hat we re I nigher thi s altho' we d:1shcd
Your cities int o sli:ird~ 1\·i th c1t:1 pu l t,.; )
She \1,1u ld n o t lm "'; - or hruugh t Ln ch ~1inc-d , a sl.1vc 1
'J T:L~ l 1 !ti 11 _~: i..''J : y,·}·
L~ \ · c l. t:-il1 is :~ :1, · l
l?

\ \

!

pLt 11 ,

!J:t t the

it

,.
Inductive Rhetoric.

A rgum entation.

And crushed to deatp: and rather, Sire, than this
I wooid the old god of war himself were dead,
Forgotten, rus ting on his iron. hill~,
on some wild shore with nbs of wreck,
R 0 ttin"'
0
•
Or Dike an ol d-world mammoth bulked in ice
Notto be m o lten out." ·
And ronghly spake

Gagel ik e to man, and had not shunned the de;i.th,
No, not the soldier 's ; yet I hold her, king,
True woman : but you clash them all in one,
That have as many diHerences as we.
The violet varies from the lily as far
As oak from elm: one loves th e soldier, one

.

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l .
t hc· r c~> nr ) rn:'1 c' th:1 t's h~ut

:\:-- ?,c tb~n dcic:-; the thin .~~

l
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\\-ni1 the ~lir uf t he tru 11 q1ct ro~mcl h im,
!ll
.\ r~ ·,.J:·1·-2: t h 1~' \\·n1n1.'n, Si LlrC~ th:...·1n 1_,y the· ~C( 1 rc
-

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J)ut Jital: a:-; line:-; (>l
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But whole and one : and take· them :,\J -in-:ill ,
Were we ourselves but lulf as good, as kind,
As truthful, much that Ida claims as ri gh t
Had n e 'er b een mooted, but as fr;rnkly theirs
:\s clues oi ?\aturc'. T<i om point: not 11:u:
l.t·,;t we \._:,sc :ill." -- ] /( }'1.:1:,·.-·cs. 'l L>>L 11 '.'.

0 ,_,' -_--~

~
Ill';

:·<rl . ..
L·-::. ·:z'
l

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_'.:-~Tc: l·; 1 t::~:.t

first :" '.lC) \\·d:·o11~~ i
~ ~\- .
like t!Llt i)icl) ~ lt1..i l'.I!~~- i- :~1.., - . 1 :1.
1~ 1Jr:-it~ of grcJ.t hc~1rt ~1nd :-:1it'" ii : :-: l·11~~: :11l-:i rl',

( )f
! .- ' t ~ -,

l;.. \....

Ii ,.= r~'tl dcn:-1 \Yh:1t he ki:-::-; c_' :i : thth I \i,·on
Your mother, a goo<l mother, a good wi.fe,
Worth winning; but this firebrand- gentleness
To such as her! if Cyril spake her true,
To catch a dragon in a cherry net,
'f.:ry trip a tigress with a gossamer,
\ \-.:re wisdom to it."
"\«.:;l , but) Sire, ' 1 encl:,.

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Inductive Rhetori c.

Argumentation.

d them. Take, for instance, an
· ~
on the contrary, h ave m1ure
industry which yield:; J.irc:ct employment to : en thousand me n ;
and suppose them to unite in a strike: while they sta nd out,
thev are not only consuming their savings - or those of other
.-, · - ___ _ .i.. ...... l'",,,...""'f"'\,..t ,..t,pni _
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ar~ thu::; th e uvv
rcr,, but :!!Sc
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:;:-;,~·~~: ~ :! : :o-. ::!:~ 2 ,-.~ tPm;>t f'cl t o form b:id h abih . Tdlene"s

When wages are permanently too low in any well-est:iblished
inrlust.ry, th;it mc3.n s th0 t tc:oJ !YLt r: y p c r:) o r~ s arc ~ cc king to
share Ill the gross returns of that indu stry. The re medy li es
in either increas ing th e demand for the goods,' which means

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extension of con1111erce. \vhen morE: r:1n i~:1l

sons desiring cn1plovr:.1ent

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L·.- attc1npts to shor tCi1 t h e h cn1;-:-:: o f L1l1o r, \',·hic h is of cn u r_...;c
o~l v an indirect way of incrc:1sing the rate of wages. Abo
have endeavored to "make work " by forbidding men to
do more than a certa in amount of work in a given time. All

1

l) y ·1 r1Jitr.tr\· ~tl1d

l\T,1n111c,1 ':

they

these are deplorably rude and temporary expedients, the contrivance of men ig norant of natural laws, and, what is even more
m isch ievous, flying in the fac e of the gold en n;le. To forbid
a hoy to le:t rn a tr :tclc 1Yhi ch he de sires, to prohib it th e ernpl nymr- nt of no n -u nion ists, :i re a rts of pur e sdC1shn,.-:-;-;: and til t'
,-,-;,,,Je snirit of the tr;cd t·s unirrn.; 11~ th i,; m:!ltn l' Pl lL' ,,]ii, h
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inng in e, p erm :rn e nt h· incr c 1'e the 1•r n-;)' cr1'.1 · of t h:: 1 1·, , r~11~c;1
ju st al>out :t s mu ch :is :t man can liil h1m :;cl i iro rn th e grou nd
by a vi gorous tug at hi s coat co lb r.
- N ORDHOFF, Politics for Young A111oica11s.
3. I grant the French ha1·e p erform ed what was poss ible
on th e groundwork of the Sp:tni sh ]'bys; wha t w;h pl c:is a n t li dor c, t he y h J \'C nurl c rq:::1 1hr : l >ttt ti1n c Li n o t :1 L,i1 ,~
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God did not make the world so.

great passion and concernment, as to p:iss to another oi mirth

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Argumentation.

Inductive Rhetoric.

tax that want of du e c o nn ectio n·' fo r CO O'. c,
1;
·
.
na ,;
,; on rn
:1 phr 15
as dangerous and unnatural a s in ca st"
te
ln
th
~
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must acknowl edge ' o u r va ri et)· ' if 11ei l o ruerco,
-'
, \l" I·11 a rrord
··
a
grea ter pl ea sure to an aud ie nc e .

2!:...0. humor, and to enjoy it with any relish; but 'why should
he imaocine
the soul of man more heavy than his senses? Does
0

! .

not the eve pass from an un pleasant o b ject to a pleasant, in a
moch sh~rtcr time than is requ ired to d o this? And d oes not
t"h.e u n p!easantn ess of the first commend the beauty of the
h. ~te-, ? The old rule of logic might have convinced h im that
cKitnr!es, \dJe n pl an'<l nea r, se t o ff eac h o th e r. ·A co:1ti nuecl
~ \· i tv kee ps the sp irit too much b ent; we: must r e fresh it
~:11eti mes, as we bai t in a journ ey, tha t ''"e m ay go on with
·grea!er c::se. A -scene of m ir th, mix e d wi th t raged y, has th e
Sl!m e ~ ffect upon us which our music has betwixt the acts,
whic h we find a relief to us from the best plots and la nguage
oi the stage, if the discourses have been long. I must there~
f°'re h a ve stronger arg uments ere I am convinced tha t comp:!Ssion a nd mirth in the same subj ect destroy each other; anrl
in tlie meantime, cannot but . conclude, to the honor of our
nat ion, that we have im·entecl, increased, and perfected, a
more p leasant way of writing for the stage, than was ever known
to the ancients or moderns of any nation, which is tragicom edy.
And this l ead s me to wonder why Lisideius and m:my others
sho uld cry up the b arrenness of the French plots above the
variet)• and copiousness of the English. Th e ir plots are
single; they carry on one d esign, which is push ed forward
by all the actors, every scene in the play contributing and
mov ing towards it. Our plays, besides the 1mi in design, have
under-plots, or by-ccincernm e nts, of less con sid erable pers_o ns .
and intrigues, which are carried on with the moti o n of the
main plot. . . . Eugenius has already shown 'us, from the
confession of the French poets, that the unity of action is
sufficiently preserved, if all the imperfect actions of the play
are conducting to the main design; but when these pe tty
intrigues of a play are so ill-ordered that they haYe no coherence with the other, I must grant that Lisideius has reason to

.-

As for his other argument, tha t bv P"rs•i i nrr o n ~

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pa~~10n~, I w 1sh '111)' cx:i.rnr,
lc he c 11 l Jr 1ng
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m ake ll good ; fo r I co n ies;; the ir \T r-;n1
._ . . . ~ (."lf c' t u 111c t ·nc co 1l1C
:-) t
I ha ve e ver he ard. Nei the r, in clcecl is it 1,0 . . 1·10 1.. 1·llf t1ilt:In,
,
111 th e 11·ay t ne v ta ke , so to cx 1'r'' ' " i i· 1, , 1·0 •1 .,• J. th ; lt •! lL' L' l··t t'C t:)
of rt should appear in th e co nce rnm cn t of :rn :i.udicncc : thei r
spe eches b e ing so m a ny d ec lam at ions, wh ich tire t i:; 1rit h the
~engt~1; so that, instead of p ersuading us to gri c H~ fo r th eir
unagrna'.y her~es, we. a.re conc ern ed for our o1rn tro ubl e, as
'~e are 111 tedious n s1ts of bad c o mpa ny _; 11·e ar c in J'.iin
till they are gone. When th e Fren ch stage cam e to he re ~ormed by Cardinal Riche lieu, th ose long ha rangues were
mtroducecl, ~o comply with the graYity of a churchnnn. r.ook
upon the "Cinna" and th e "Pompey" ; th ey are no t so p rop erly to be call ed plays, as long di scourses of rea sons o f sta te
and "Polyeucte •.1 fo matte rs of re li g ion is as sol e mn as th ;
long stops upon our org an s. Since that tim e it is gro wn into a
custom, and their a c tors sp eak by th e hour· g la ss, lik e o ur parson s ; nay, they account it th e grace of thei'r parts, and think
the m seh·es di sparag ed by th e poet, if they ma v not twi c e or
thrice in a play entertain the audi ence with a sp~ech of an hundred lines . I deny not but thi s may suit well en oug h with th e
F:e nc h; for as we, wh~ are a mo re sull en peo pl e, co me to be
d1Yerted at our plays, so th ey, .who are of an airy and gay
temper, come thither to m ake th emseh·es m ore se rio us : :rnd
. ~.his I concei ve to be one rea so n why com edies are mo re pl easrng to us, and tragedies to them. . But to speak g en erally:
It c anno t be deni ed that sho rt speec hes and repli es arc more
apt to move the p:iss ions, and beget conc ernment in us th:m
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A;gu men tatio ~ . .,. .
:myother; for it is unnatural for any one, in a gust of pa~fon,
to ~ak long together ; or for another, in the same condition,
w silier him without interruption. · Grief and passion are like
Fwcds raised in littl~ brooks by a sudden rain ; they are
quickly up, and, if the concernment be poured unexpectedly
in upon us, it overflows us:, But a long, sober shower gives
them leisure to run out as they came in, wi thout troubling th <:
m-d!nary current. As for come<ly, repartee is one of it;; chiefe~: gr~ces; the greo test p!c:l.surc ot tfic auUienct: is a t.:!1~~e ::.~r.

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h'.1d in Flt>tch~:r=s

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ru~ii i1ig~1cr LL; ;r~c of p:..:rf:..:cliun llL~ll

r:-~-:!1:ihly hape to reach. -

tlt2 1'r'-·nch

Women should be allowed to vote .
Women shou ld be paid as much as men for the same wo rk.
Child labor should be prohibited bv bw .
The state should furnish free text-b,oo ks.
l\Ianual training should be taught in all our g ramm:u
schools.
The marking system in our schools should be aboli,;hcd.
c:~q _1 ;L_d l'u :1 i 0l11ue11t ~huul(i iJc ;i.·hoi1.:;hcd .

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uf the arrangcn1cn t.

141. I\Lly the argument of 2n opponent c\·c r be disrc ccl nr 1nssccl o\·cr v: ilh sli~ht mention? Gi\·c r,·:1~·;o.s for your opinion. · If such a rguments are to rccc i\·c
:r.::ply, where should they be pbcccl if strong and cumnfa.fr,-c? If \vcak and disconnected? \Vhy? Of what
\"<!lue are courtesy and candor in language and m a nner
in a n argument? vVhat are the effects of discourtesy
and prejudice, and what do they indicate in the user?
\Vhat qualities of mind are essential to hi gh success
in argument? \Vhat qualities of style arc most impo r~cu:: ?
\\'hy?

l:-;
l:n"· t' \'c'f it>itili :d
Is Yi1·isection ju'itifiali lc?
Should the Chinese
c:-;c\,1rlccl fro:n thic; c .y:;: try?
~hon1d i 111.:n!gr:H!on 1•·,' c '.~ ·-'1';::_'(.!?
Should l1C\L-1p-1pcrs lJ c 1L1 l>L;-; :1cd on S::
Should judges be elected by the people)
Should the presidential term be lengthen ell?
Should th e gm·e rnrn ent own and operate th e r:iilro .Hi.-; ;rnc\
telegraph lines ?
Are politica l parties an advantage in po pular government?
Are labo r strikes b enefic ia l?
\\'as the ann e ntion oi Hawaii wise?

uc

Argumentation .

Inductive Rhetoric.

In many cases the most natural as well as the most effective
is that which places arguments from anteced ent probability first, those from sign second, and th ose from ex:1mple
last. The arguments from antecedent prob:lbility r:li ~ e a presumption in fa vor of the -oro
rycsition ;!""!
h,..,nr-1
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.. .. ··
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fron1 ~ign ad duce e vid enc e tend in ··r to .:.;.tr e n ·rt1h~ :" q ,.d n·-,.. 1 1
tion _. bv.' s1v•-..,.7 in.~. th ;i t a th in.~.:.. ,,,~t..,,. l (· i.•-. -:,..-.:~..: : -\· ;· ~---··
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MEMORY QUOTATIONS.

Arguing in what is believed to be a bad cause is unrhetorical
and'. illo;ical <!5 it is immoral. The rebtion of mind to consci ence is too dose to adm it of it with imµunily. "Nothing
is e;.;pc:<lic n t," s:J.ys C icero, "which is dishoBornlile."

- T. \\' II<-"·'·

· 1

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T hr re:·~11y 1nd~1ctl v e nrgnmcnt rests on resemhlance: springs
·1 r<~rc ;-1 c- ~r e, ~ffinn s n1 1-1rti in th e conclusion than is given
, ,~ r:--:c pn:: 11~~c~ :-:- ~ ~ li.1·1 L, ·n,·t.' ~· . u i l:(_.\.l'.:- L,. .: J C" il'l l:>~;-lL~. ·. , tL-1 i : ;~

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t h f'- indu c ti \· ~~: i.:=; o~cn tv , fur it dLh~ :-1 nut
L llt th. er e in~ 1 y
~,\·i ~. :1 '.i.-hich it bcg1 n:-' .
rc.c-:_ ::nl to tho·;c lirnih. \ , . c 111\i ~ l h:l\'C p n: 1n iscs in onlcr t o
clr.-:-::'.\- :t cc1: 1 c i~h;"): 1 : th i)~C iir t.' i ni~t.' :'; t r l: c;--; L1l1 lt:::il iecl L~; in,J tiun _
;

if 1)y in1pl·rf<.:ct induc ti LJll, there is ;i pos~ i hility o f t1:ci r 11ci11g
un.l.ruc, an d if the y are not tru e, the c o nc lu ,,ion ihclf rn :i.y be
fal ~c. -

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It is difficult to convict an accused person against whom no
argument from antecedent probability can be brought. The
eridences from other sources must be very strong to establish
gn ilt for which no sufficient rnotiYc is alleged, an effect for
wh ich there is no aclc quate ouse. - .'\. S. HILL
You ;,h;1ll liml h uu cl re d s of pcr:oons :i.l1lc to produce a cro11cl
o f good id,;as upon ;rn y sulij cct, fc-ir on e tln t c:11~ n nrsiul them
L_ , th~· l cq
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t i , Hl i :-; tu tl1c· ti rJ.tur \\·it:H Ll cLic ~ ,
0£ ih t:: Gisc; p l;nc of ~t n n: cs, i:-; tu th:: n1 i~ : L1 ry ~~; :- L
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hal:mce of victory has almost always been turned by the
superiority of tactics and discipline, so the great effects of
eloquen<;e are always produced by the excellency of disposition.
- JOHN QUINCY ADAMS, quoteq by A. s. Hill.

nH1:; t n ot expe c t to
T hL·:-· a rc' nut so
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8 1nong :t ll r:1nk ~ , ~nd t[:c

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di scourse, w hi le vet th e hczi.rcrs a rc

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pcr~llackd u f t h<: t rn d1

of :rn y one thing he lns u ttcrc·cl.--- li :.. \'.i-:.
One can fool all the p eople som e of !he tim e: , an d some
of the people all th e time; but no one can fool all the people
all the time.-ABR..\.H..\.'.II L1~cow.

Persuasion.

v.

Persuasion.

\Vhat is the purpose of argument? Is anything
further ever needed in order to bring about necessary
action? If so, what and why ? How far is Persuasion
dependent 11pon arg ument? To what part of the
natun.: docs argumeP,t appeal? To \vhal lur t hc r part

143.

The goo<l is oft interred with th eir bones ;
So let it be with Ccesar. The noble Brutus
Hath told you Ccesar was ambitious·
If it were so, it was a grie vou s fault, '
And grievously hath Cresar answered it.
Here, -under leave of Brutus ;ind l hP rC>'t
(For R!\:t~1~ is ;;.n h.:.n or;;.bl-2 n1 ;~!:!,- - -- ~·-- --~

.,

So arc they :ill, al l honorziule men) , (>-·:····:· J ;,·, c;·...:· oC: !': r_·,'. c.

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of its free c:-;prcssion?

\\'h:tt is the affect of

t o c :~:-ry it nut

ttJ it:'; ai1prnpri~tc action?
\\'h:1t i;-; the
cff.:c t, for in s t:rncc, of stinrnhting pity m oneself, and
then rd using to help the person \\'hose sufk rings lLL\' C

arnused the feeling?

144.. Motives. ·How shall we excite feeling in others?
Study the following selection for its argument and for
its Pcrs uasion . Hm\· mu c h cllic::; Antony com·ince the
int.:1lc:ct ? By \\·h:tt :trgurncnts? l l (rn· much clocs he
r ·: (:",_·e t h,__: fi___'(~lln:_1;:-:-? \\rh~1 t fl~· ,~· 1\ng·s? r:;v \\·h:1: lll C': u1s?

·Yet Jh utus s ~1v s he
:\ :: d J;n:~:1 ..: i:-: ~'-:t L

\\-~ts

pre~L· nted h im '' ki w·l
,.., '·:· cruwn,
\\ 'hich hL: did t h r~~-·L· r Ll!t ~<...'. \~i-:L~ t il::::i :1;:1 1::1ur1?
\' t:t Brutlls s.1ys he \1·as zirnL•itiou-; ·
1\ nd sure, he is an honor;lblc rn ~rn'
l thrice

I speak not to disproye what Brutus spoke,
But here I am to speak wlnt I d o kn ow.
You all did lo\·e him on ce, not 11·i thout c:rnsc;
\\'Int C:l\iS C wit h lw lds "'"·' ll •J 11· t11 1n ,• T ;1 f H l•:rn )
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~::-:e t >J b~!"Y C:!:!$:?.!", r!~~ to 'µLt!~e h!!!!.

·1ne evil th::n men <lo lives airer Llie1n,

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I nducti vc: Rhetoric.
}I;:>_·;e stood :i.~'~inc;t ~t-;e world: n ew lies he there,
And none ::,0 pou r tu tlu h!~1~ r-c\·tn.:::.ce.
0 masters ! if l \\· er~ a~~poscd to stir
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Then ma.kc a ring a.bout the corpse oi Cx:<lr,
1\utl lcL Uie ~Lu·i",' ) u :J Li111 tiLlt rn :~d e t f-:c \\ii;.
Sh:ill l descend ~n d
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} h ': C j):ll 1e11c e, gn1tk lrl1' 1Hb, 111 \l :'l Jl ()t r 1·:11l it
It is not meet you k now h ow Cc:o:ir lo\·ccl yon.
You are not wood, you are not stones, bu~ men;
And, being m en, hearing th e will of Cesar,
lt ..,..ill intb.111e yu11, it "·ill 111.1kc ycrn rn:id.
'Tis well you kn cm n o t you :ue hi ~ he ih ;
For if y rn1 ,,hrrn \,\ , oh. \\\ut \Yrnild come' of it )

]ngratitudc, ll hJ rc s:run..; tlL1r:

t:.~·: u r' s :1 :- ;: ~ .~,

Quite vanquish ed him: then burst his mighty hc:lrt;
And, in hi s rn:i.ntle mufflin g up his face,
E\· en at the 1•:isc of Porn1,c1·':; sL1t 11e ,
\\°hich al l the \\·hik r:111 li\ uod , !:'.r c'. ll ( ·: t.:>.11 f;:li.
Oh, w\ut :l f.ill \1·:1s ther e . m1· cuu11t r1 !llt'll
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You will compel me , then, to read the will?

-w

Our Cresar 's ,·esture wouncieci? Look ·you here:,
Here is himself, m arred, as you see, with traitors.

Inductive Rhetoric.
.,
Good friends, sweet friends, let me not stir you up
To such a sudden flood of mutiny'.
They that have done this deed are honorable.
W hat private griefs they had, alas ! I know not,
Th!lt made them do it ; they are wise and honorable,
And \v iU, n9 doubt~ 'vith :rea5on!5 ans\\!er you.
l curnc n l):J fri cnds 1 to s:c1! :nv:ty yt;·,~r h~Jrt:J :
I am no or2.tor, as B r utn~ i;;;}
Ro.1r~ as yon kno\\. H!L'. ~-~n:r 2 pl:lin b1nnt m~1n ,
---rf• -~ t i· .--.· ~~- n-n~ f:-1 end : :i::d th:1t t:: ~ v knt)',\' fu1l \Vell

Persuasion.
To walk abroad, and recreate yourselves .
Here was a Cresar ! when comes there such another?
-

SH.\KESPL\RE.

145. "Why is this appeal to the feelings a necessary
part of Persuasion? \Vh at is a motive ? \Vh:lt inf1u-

i.vhich you think 2. re 'l,'i,:o:thy.
appeal n1o~t in l\::r:-;u~-~~i 1J:1?

_;:-~-- t,;:n

ga...,-e nl'-= p!.!Llic l::~Yc tu :spt:J. ~ uf. hun .
For l h :-,\·c r::L:1thcr \\·i t: ~: 1.) r
n 1Jr
>, cticrn, nur l: tkr:!ll('C , 1:-:1r tl1c' pu 11·cr of speech,

,.

1 tc11 you th:tt \\·hich yl1:1 your:::ch·e:-; do kno\Y_,
Sh ow y uu sweet C;<.><n ',; \rc11mds, pc)Or , poo r durn\J rnuuths,
··\~1d 1_ii d tht_,1·:·:
L:·: - Lt:: :
\\·e re 11~r:.1ttL~ ...
i\nd }~rutus 1\ntony, there v.-ere :i..n :\ntony
\ \'ould ruftk up n1t1r spirih, :rnd put a ton.c:,uc
in every wound of Ca:s:lr tkil sl1ou1,l move
The stones of Rome to rise :rncl mutiny.

lVhy, friends, you go to do you know not what.
lVherein hath Cresar thus deserved your loves?
Ahs ; you know not ! - I must tell you, then .
You h ave forgot the will I told you of.
Here is the: will , :rncl undn C:1_' :;:1r's seal.
'J\, e\·e ry l~.J'1111:-t n citl1cn he gi\-1.':-: ,
~l' u

t1:c sarnc pL1y .

1

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~p·,__' (__'ch

1~

;q·1t-:

liL..:.n,

sc\·r...:nty-fivc JLJ.chnLlS .

:Moreover, he hath ieit you ali his walks,
His private arbors, and new-planted orchards,
On this side Tiber ; he hath left them you,
And to }'.Our heirs forever, common pleasures,

.-;

.,__ l

suade Shylock to forego his reven ge ? In what order
does she arrange them? Why? \Vhat is the effect?
\Vhy? An:dyze the following- for the feelings roused,
the motives appeakcl to, the effect intended:
In t he rniclst of the strife and trnrnilc of a;:='. ry
Lo l t11c d i..J(;~ of tL c cL . 1:~cc; CJ1 - :__'
'
~ •• •
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J.

evtry sr...: v cr;.11

~{_ l th~ r~i

moti\·cs ? \\'hich h:i.s the g-re:i.ter effect? \\ nv J To
wha t moti\·es docs Porti ~1 :i.ppc:i.l in attempting ,to per-

1-c : :i -;

·~

Entered, \vith serious rnien; and 3.scended the steps of th e altar.

Raising his reverend hand, with a gesture he aw~d info silence
All _that clamorous throng; and thus he spake to his peopie;
Deep were his tones and solemn ; in accents measured and
mournful

...

Persuasion.

Inductive Rhe tori c.
he,, as, after the..

tocs1n ~ s

1' so, h o\v m;iy the danger b~ gu-.trJ.cU J.g:tinst?
ls t here an y danger of lJ.ck of s incerity in feelirF'. nr in

too far ?

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,
Le: 0 :; rcpc;it it no11· 1 and s:iy, ' U Lither, frirgi1·c thcin '. '"

To le:l<l thc: sch\Jol t u :i 11.1tri•Jtic rc;,u•i [,,,- 111c" fi .L;.
To k:ul to a proper olhL'l\".lllCc of J )c, '1Lttt1rn I

on the

I'e;e. w·:re his words of rL·bukc, but deep in th e he:1cts o f his

p:nt of the sc:lio ul.

people
Sailk they, and sobs of contrition succeeded the passionate outbreak,
While they repeated his prayer, and said, "0 Father, forgive

To persmde to a proper celebration of\\·i~hingt on 's Birthday.
To persuade each member of your class on lc:a ving school to
add to the school library a copy of that book whi ch he fe els is
most needed th ere.

them ! "~ Lo;-.;GF.LLLO\\'.

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To 1;er,;1LHle th e c iti;,ens of the w11n of the necessity o f .1
new or :rn c11L1r.c::cd h1 iildi!lg f,1r the 1: , ,· ,,f th e· schoo l.
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Inductive Rhetoric.

Concl u sion .

ME1"1 0 RY QCOTATIO.N.

CONCLUSION .

\\!=:n pubiic bodi es ;ire tn he a<ldresscd on momentous ot:ca.
;;ions, r..h.en grea t interests are at stake, and strong, pa.">s1ons
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t_ ; . l 1:, i r .1 t ( ~
mah>ry con temptibl e. Even gen ius itself th en feels rclnikec\
and subdued , as in the presence of higher qualities. The n
patriotism is eloquent; then self-devotion is eloquent. The
clear conception, outrunning the deductions of logic, the high
purpose, th e firm resolve, th e dauntless spirit, speakin g on the
to:~;:"::, hc:uning fr0m the eye, info rm ing en:ry fc:i.tm c', :rnd
t:rgi:-:; th e \1 licilc nun on11:nd, right onw:rnl to li is o1 ,jcct , thi~ .. i~~:s is cl(• q uc n c'C
cir , Ll thc r, lt is s -)n1c th ing gr t :1t('r :1nd
i t 1~ .
1

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Ho\\" do you think it cornp:i.rc ;; m \·;1iuc 1'. ·ith ) '':1 r ()chc r

studies ?
150. ·with what other studies is it most cl osely connected?
\Vhat h as it m common with grammar?
\ \'hich of th e t11·0 is funchrncnt:d t11 th e either) \\ "hy 1
r h d nric tn lo'.'jc)

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2 56

.

Inductive

j

Rhetoric.

opiinion. How ha\'e the principles of rhetoric been d iscm·er~d a nd cst::ib lisJ1cd? D o yo u s uppos e ' th e re is an y
furth er opportunity for such discoveries to be made in
the futur e, or 1s rhetoric _a completed science? Give
recsons to r yo u r o p u 11u11.

151.

C::in one write well without a knowledge of t he
RU LE S FOR T·E:E USE OF C_..A. . PI I ..A.i.S .

aiitCC of such la'.vs and princi1)ie:S alone rnakc one a sue-

J..

:-.r-~~f!!1 ,~.-~iter?

2

Give reasons for your

uµ1111u1L
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i\. capital is used to begin every con1plete sentence.
A capit;;l 1;; 11s e n tn hf?,in r;.:;r~-· in;r nt· ~n f' tr;· .
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with a ca pi u l.
a. :\11 \\.()ft1:-) c·>i:cc;it iirl·p~
used to be in cl uded un d er t i1is ru le; \y 1t 11()-.v th(· tc- 111
1:;
to capitalize only nouns and Ycrbs, and some auth or ities
recommend using a capital only for th e first word.
6 . The pronoun hrnd the yocativc Osh ou ld always
capit:ils.
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