Studies in Philology, Volume 18,Nummer 2,Pagina's 79-128

Voorkant
University of North Carolina Press, 1921
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Pagina 82 - The oratorical style was distinguished by the use of the schemata verborum, or ' schemes/ as we may call them, which are chiefly similarities or repetitions of sound used as purely sensuous devices to give pleasure or aid the attention. The essaystyle is characterized by the absence of these figures, or their use in such subtle variation that they cannot easily be distinguished, and, on the other hand, by the use of metaphor, aphorism, antithesis, paradox, and the other figures which, in one classification,...
Pagina 116 - A style appropriate to the mind of the speaker, therefore, is one that portrays the process of acquiring the truth rather than the secure possession of it, and expresses ideas not only with clearness and brevity, but also with the ardor in which they were first conceived. It is no more a bare, unadorned, unimaginative style than the oratorical style is; it aims, just as oratory does, to move and please, as well as to teach, but is distinguished from oratory by the fact that it owes its persuasive...
Pagina 88 - But the genus as a whole is properly characterized by its origin in philosophy. Its function is to express individual variances of experience in contrast with the general and communal ideas which the open design of the oratorical style is so well adapted to contain.
Pagina 97 - Malvezzi, and other masters of the 'conceit'; or even of tendencies of the same kind that we may observe in writers so normal as Lipsius, Bacon, Balzac, and Browne. There is a kind of Asianism, in short, that arises from a constant effort to speak with point and significance, as well as from an excessive use of the ornate figures of sound, from too much love of expressiveness as well as from the cult of form; and inasmuch as this vice was more familiar to the reformers at the end of the century than...
Pagina 114 - ... golden sayings," dicta, maxims, aphorisms, sententiae. Chrysippus, working perhaps on hints received from Pythagoras, gave directions for the manufacture of sententiae, and the use of them in moral discipline, directions which are familiar to modern readers through Bacon's reproduction and expansion of them in his De Augmentis, unhappily without due credit given to his predecessor.4* It is not enough to say of Stoic style that it tends toward brevity.
Pagina 112 - But the kind of truth that the Stoics chiefly had in mind was moral and inward. It was a reality not visible to the eye, but veiled from common observation; hidden in a shrine toward which one might win his way, through a jostling, noisy mob of illusory appearances, by a series of partial initiations. This kind of reality can never be quite portrayed of course, because ultimate knowledge of the mystery of truth is never attained. But it is at least possible to depict the effort of the athletic and...
Pagina 91 - But it is also true of the many kinds of style due to the survival of medieval educational customs and social modes: the forms of preaching-style, for instance, that were prevalent until after the middle of the century, both in Latin and the vernacular; the style employed in letters composed for social display or amusement; the aureate style affected by those accustomed to Renaissance courtly ceremony, as in the showspeeches of knights in tournaments, or in begging or complimentary addresses to sovereigns;...
Pagina 84 - round composition " and the " even falling of its clauses " do not always satisfy the inward ear of the solitary reader. Heard solely by the reflective mind, it is an empty, a frigid, or an artificial style. But it is not meant for such a hearing. It is addressed first, like music, to the physical ear ; and the figures with which its large and open design are decorated have been devised with a reference to the attentive powers and the aural susceptibilities of large audiences...
Pagina 123 - Seneque, as he was called — exercised a stronger power of attraction over the most representative minds than St. Augustine, who is the Cicero and the Ciceronian of patristic Latin. These are the great names. But the movement of imitation and rehabilitation extended the broad mantle of its charity over minor works which have not at any otHer time been well regarded by the modern world. Velleius Paterculus...
Pagina 98 - Ciceronian eloquence for something "masculine" and of his own desire for a "more masculine" style. Ciceronian copia in these discussions is both effeminate and the style of a more prodigal youth, to be outgrown once one had become a man: "I used to imitate [Cicero]," writes Lipsius; "but I have become a man, and my tastes have changed. Asiatic feasts have ceased to please me; I prefer the Attic.

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