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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 intensive revision and abridgment of The paintings of Persuasion in Greece, The paintings of Rhetoric within the Roman World, and Greek Rhetoric lower than Christian Emperors, offers a entire historical past of classical rhetoric, person who is certain to turn into a customary for its time.

Kennedy starts by means of determining the rhetorical positive factors of early Greek literature that expected the formula of "metarhetoric," or a concept of rhetoric, within the 5th and fourth centuries b.c.e. after which lines the advance of that idea during the Greco-Roman interval. He offers an account of the instructing of literary and oral composition in faculties, and of Greek and Latin oratory because the fundamental rhetorical style. He additionally discusses the overlapping disciplines of old philosophy and faith and their interplay with rhetoric. the result's a wide and fascinating background of classical rhetoric that might end up particularly helpful for college students and for others who wish an outline of classical rhetoric in condensed form.

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The basic function of epideictic oratory is to enhance belief in certain moral and civic values and thus to increase social bonding and the solidarity of the cultural group. Of the political debates in Thucydides’ History, one of the most interesting is that between Cleon and Diodotus (3. 37–48). C. Athens forcibly recovered it, and the assembly voted to put all the male Mytileneans to death, both those who had led the revolution and those who opposed it, and to sell the women and children into slavery, making the city an example for any others that might be inclined to revolt.

The description of the speaking styles of Menelaus, Odysseus, and Nestor in the Iliad already shows such awareness. , where Aeschylus and Euripides are represented as criticizing each other’s style and defending their own (lines 830–1431). Aeschylus defends his use of elevated diction, which Euripides attacks as pompous and swollen; Euripides’ style is criticized by Aeschylus as thin and pedestrian and defended by Euripides as simple and natural. Lines from their plays are weighed on a scale, with the result that Aeschylus’ heavy style seems always to win.

Gorgianic figures are, in fact, a feature of the efforts of philosophers in the fifth century to create a new form of discourse for their speculations and can be observed in varying degrees in the fragmentary prose works of Anaxagoras, Heraclitus, and Democritus as well as in the poetry of Parmenides and Empedocles. Gorgias’ originality was the application of this style to the forms of civic oratory. 7 8 18 Cf. Sprague, The Older Sophists, 32–33. Cf. the remarks of Gorgias in the magical qualities of speech in Encomium of Helen 10.

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A New History of Classical Rhetoric by George A. Kennedy

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