The Science of Discourse |
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Page 25
... speaker , or to call forth popular applause . The assumption is , from the very nature of discourse , that the purpose is the effect in the mind of the hearer , for the benefit of the hearer . The moment the reader or hearer feels that ...
... speaker , or to call forth popular applause . The assumption is , from the very nature of discourse , that the purpose is the effect in the mind of the hearer , for the benefit of the hearer . The moment the reader or hearer feels that ...
Page 27
... control from beginning to end . What is known as natural eloquence arises from the speaker's being caught up by the inspiration , the power of an aim . An intense aim is creative ; the result THE PURPOSE IN DISCOURSE . 27.
... control from beginning to end . What is known as natural eloquence arises from the speaker's being caught up by the inspiration , the power of an aim . An intense aim is creative ; the result THE PURPOSE IN DISCOURSE . 27.
Page 46
... speaker or writer must be able to give original con- struction to the theme by the initiative force of his own life . Unless the theme be thoroughly possessed it cannot be wielded with precision and force to the end proposed ; it cannot ...
... speaker or writer must be able to give original con- struction to the theme by the initiative force of his own life . Unless the theme be thoroughly possessed it cannot be wielded with precision and force to the end proposed ; it cannot ...
Page 50
... speaker or writer has a wealth of views and materials provided . The unity requires the action of the theme on the mind in ways varied and continuous till the mind grows into the state desired . Shakespeare , in bringing his audience up ...
... speaker or writer has a wealth of views and materials provided . The unity requires the action of the theme on the mind in ways varied and continuous till the mind grows into the state desired . Shakespeare , in bringing his audience up ...
Page 68
... speaker from flashing all parts of the object on the mind at once . The more nearly this can be done , the better . Comparison and contrast is a most powerful means to this end . Often a detailed process of thought and a tediousness of ...
... speaker from flashing all parts of the object on the mind at once . The more nearly this can be done , the better . Comparison and contrast is a most powerful means to this end . Often a detailed process of thought and a tediousness of ...
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Common terms and phrases
adaptation Allegory Amphibrach Anapaest apple argument Asyndeton attention attri attributes basis beauty called cause and effect clear common comparison and contrast composer conception condition connection conscious copula definite desire distinct effort Elegance elements emotions end sought energy essential euphony exposition expression fact feeling figure force given gives growing on trees guage hearer Hence idea ideal imagination impression individual induction inferred interpretation judgment language form law of unity liquid consonants literal literary logical means ment Metaphor Metonymy mind addressed move movement narration nature object oration oratory organic organic unity periodic sentence phases Pleonasm poem poetry Polysyndeton presented preter principle produced prose purpose reader reading relation requires resemblance rhetoric secured selection sense sentence Sir Launfal sound speaker style syllable syllogism Synecdoche Tautology tences theme things thought tion Trochee truth unified unit utterance vincing power whole words writer