OUTLINES OF RHETORIC

EMBODIED IN

RULES, ILLUSTRATIVE EXAMPLES,

AND A

PROGRESSIVE COURSE OF PROSE COMPOSITION

BY

JOHN FYOK lin

PROFESSOR Of Rhetoric IN AMHERST COLLEGE, AUTHOR OF PRACTICAL

PREFACE.

T

O translate literally the German word einüben, “practice in," would not make very idiomatic English, perhaps ; but the word expresses the idea that has been had in view, as a main object, in the preparation of the book now presented to the public. The aim is, while giving compendiously what is necessary for rhetorical theory, to accompany this at every step with written exercises, both critical and constructive, designed to cultivate in progressive and systematic order the student's sense of the leading requisites of composition.

While it may be premised that in plan and details alike the book is in many ways new, three of its most characteristic features may here be selected for more extended description.

1. The theoretical part, embodying the principles of rhetoric, is given, it will be observed, in the form of rules, which are printed as side-headings, and numbered consecutively from beginning to end of the book. Each rule is accompanied by a brief paragraph of explanation, and by illustrative examples. In this way the attempt is made to bring the core of the rhetorical art into small and manageable compass, the rules being a body of precept to which constant reference is made. Much study has been given to the content and expression of the rules. Worded with the utmost brevity and crispness that can be consistent with adequacy, they are yet Onot content with being a mere series of barren don'ts, but im in each case to embody, however briefly, some positive expression of a principle, with a glance often at its reason or justification. Let these rules be thoroughly learned, and the

27

student will have the main procedures of the rhetorical art in a nutshell. The object of numbering these rules consecutively is to facilitate reference from part to part of the book, and to give aid in correcting the student's written work. To this end, a digest of rules is given as an appendix.

2. The exercises, being in many respects a rather bold departure from what has hitherto been attempted, must of course await the verdict of actual use. In the first place, it will be observed that they are founded not on single rules, but on groups of rules, the groups representing some prevailing procedure, or quality of style, or mental attitude. If sentences to be corrected are referred to single precepts, then every sentence advertises its error, and the correction of it by the student soon becomes mechanical; he can do it in his sleep, or, at least, in his laziness. If, however, they are referred to a group of precepts, the student must, in order to justify his correction, discriminate among at least three or four specific principles; he must use his head. More than this, the sentences requiring correction are so made as to compel constant review of what the student has had before; it being taken for granted that what has once been learned has become a permanent and usable possession.

Following the collections of detached sentences are compositions to be rewritten. These, it is believed, are a unique feature of the present book. Reconstructed, with proper observation of the copious notes and references appended, they become well-written compositions, written as well, that is, as a beginner could be required to write. Here the author is well aware of some temerity in venturing to set up his own composition as a model for students; but no other course seemed on the whole to make his purpose practicable. For he felt that the compositions should be so constructed as to impart one procedure, or one class of procedures, at a time; and, while the student is concerned with, say, choice of words,

he is to take the sentence structure, the punctuation, and the general building of the piece for granted, copying them, but not giving them special study until the time comes for them in course. This could not be effected so well by making the student, in his reconstructing, build up a passage from Burke or Macaulay; he would be building up, at best, only detached paragraphs, and would, besides, run the risk of being bewildered by the number and variety of rhetorical procedures that they, and all great writers, exemplify at once. Then, further, a student does not think as Burke and Macaulay do. Their thought-region is too mature for him, too high; he cannot interest himself in their lofty principles of political morality or of literary criticism, and the attempt to make that thought and its appropriate style their own can only be a dead grind. On the whole, then, it seemed necessary to prepare a series of compositions on themes presumably interesting to pupils of the grade contemplated, and embodying such thoughts as they may be supposed competent to think. Thus, it is hoped that they may be interested to make not only the style but the thought their own, in the process of bringing the essay out of chaos into system. It is hoped, further, that these little pieces may do something toward answering a question very prevalent among students. "How shall I go to work to write a composition?" they say; "I am all at sea; I don't know how to begin or what to write." In copying these pieces, they may, perhaps, gain by the mere imitation some idea how to go to work, what to put in and what to leave out, in that formidable thing, a composition. It is very possible that teachers of English may have underrated the utility of imitation, as a means of gaining facility in many details of composition. By it, if the student is observant and thoughtful, may be gained many touches and turns of expression, many ways of handling thoughts, many practical ideas of style, which no rules or precepts alone could