By George A. Kennedy
George Kennedy's 3 volumes on classical rhetoric have lengthy been considered as authoritative remedies of the topic. This new quantity, an in depth revision and abridgment of The artwork of Persuasion in Greece, The artwork of Rhetoric within the Roman World, and Greek Rhetoric less than Christian Emperors, offers a entire background of classical rhetoric, one who is bound to turn into a customary for its time.
Kennedy starts off by means of deciding upon the rhetorical positive aspects of early Greek literature that expected the formula of "metarhetoric," or a idea of rhetoric, within the 5th and fourth centuries b.c.e. after which strains the advance of that concept throughout the Greco-Roman interval. He supplies an account of the instructing of literary and oral composition in colleges, and of Greek and Latin oratory because the fundamental rhetorical style. He additionally discusses the overlapping disciplines of historic philosophy and faith and their interplay with rhetoric. the result's a wide and interesting heritage of classical rhetoric that might end up particularly priceless for college students and for others who wish an summary of classical rhetoric in condensed form.
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Extra info for A New History of Classical Rhetoric
There is, he says, the rhetoric that is a form of flattery and shamelessly seeks to move a crowd, but there is at least potentially another kind of rhetoric, “and this other is beautiful, making provision that the souls of citizens be the best possible, striving to say what is best, whether this is more pleasant or more unpleasant to the audience. But you have never seen this rhetoric. Or if you are able to name any such orator, why have you not told me who he is? (503a–b). . Will not that orator, artist and good man that he is, look to justice and temperance?
Phaedrus: Of course. Socrates: And what shall we say about those “museums” of words of Polus—his diplasiology and gnomonology and eikonology1—and the collection of nouns that Licymnius gave him for creating fine diction? Phaedrus: Wasn’t there something of this sort by Protagoras, Socrates? Socrates: His Orthoepeia,2 my boy, and many other fine things. The ability of Thrasymachus in words that awaken pity for old age and poverty seems to me to have gained him victory in the art, and the man has been wonderful at first moving the masses to anger and then when they were angered charming them out of it “by magic,” as he said.
Neither handbook writers nor sophists seem to have discussed rhetoric in abstract terms nor attempted to define it and identify its parts, as do later writers. In Plato’s Gorgias the sophist himself and his follower Polus are represented as very inept at describing what they do, more inclined to praise the importance of their art than to define it, and easily trapped in Socrates’ arguments against rhetoric. The original sophists do not seem to have written handbooks; when later writers refer to their technx this does not mean a written rule-based handbook but speeches that are examples of their technique.
A New History of Classical Rhetoric by George A. Kennedy