Reviews 345 moindre éloge que l'on puisse décerner à ce volume que d'avoir contribué à rendre au sophiste la profondeui, 1 humanité et 1 actualité de son éloquence. Anne-Marie Favreau-Linder Clermont Ferrand Benjamin Kelly, Petitions, Litigation, and Social Control in Roman Egypt. (Oxford Studies in Ancient Documents), Oxford; New York: Oxford University Press, 2011. Pp. xix, 427. ISBN 9780199599615. $150.00. Benjamin Kelly's Petitions, Litigation, and Social Control in Roman Egypt (hereafter PLSCR) is an erudite, original, systematic, and clearly written study of how petitions functioned as instruments of social control in GraecoRoman Egypt from 30 BC to 284 AD. It is unique in surveying, and categoriz­ ing in appendices, the complete published corpus of 568 petitions and 227 proceedings reports from the period. As it is the best and most comprehen­ sive analysis of Graeco-Egyptian papyrus petitions and a landmark in juristic papyrology, as well as providing in-depth analysis of numerous individual petitions, it belongs in the personal libraries of rhetoricians researching late antiquity, and should be consulted by scholars interested in petitioning or forensic rhetoric in other periods. Although the hardcover price of $150 is somewhat daunting for scholars not working in the specific subfield, PLSCR is available via Oxford University Scholarship Online. PLSCR consists of nine chapters (333 pages), a glossary, maps, three appendices, a bibliography and indices. "Chapter 1: Introduction" (pp. 137 ) begins by discussing a small group of petitions concerning an ongoing feud between Satabous and Nestnephis, two Egyptian priests in a village in the Fayoum region. Close analysis of the specific petitions concerning this feud leads to more general discussion of what can legitimately be deduced from extant petitions and the limitations of petitions specifically, and papyri generally, as evidence. In a sense, PLSCR starts as a corpus of evidence in search of a theory. After discussing limitations of methodological frames such as criminality and dispute resolution, Kelly focuses on the theme of social control as a lens through which to analyze his corpus of petitions. Although primarily intended as background information, the lucid treatment of diachronic changes in administrative structure and terminology relevant to petitioning will be particularly valuable to non-papyrologists investigating Graeco-Egyptian rhetoric. The second chapter, "Petitions and Social Elistory" (pp. 38-74), analyzes the nature of petitions as evidence for social history. The treatment of peti­ tions as evidence is sensible and meticulous, addressing patterns of survival, the actual processes and contexts within which petitions were created, pre­ sented, archived, and answered, and the relationship of petitioning to the 346 RHETORICA court system. The description of the interplay of orality and literacy and petition and trial will be of particular interest to rhetoricians. In order to investigate social history through the medium of petition, Kelly, in essence, is trying to read through the petitions to the underlying realities. When he analyzes rhetorical formulae, it is to dismiss formulaic elements as irrele­ vant to determining the "innermost thoughts" of the petitioners and actual events. Thus the elements of petitioning which are of greatest interest to rhetoricians serve, as it were, as obstacles to social history, while the facts of the social historian would be the minimally relevant "atechnai pisteis" for the rhetorician, outside the art of rhetoric proper. "Chapter 3: Legal Control in Roman Egypt" (pp. 75-122) examines the efficacy of the petitioning system as a mechanism of social control. Kelly argues convincingly that Roman administrators' ethos of efficiency and justice was grounded in reality, but that the complexity of the system, with unclear jurisdictions, multiple levels of hierarchy, and limited staffing, made petitioning of limited effectiveness as a formal method of social control, albeit more useful as an informal one. For rhetoricians, the most useful material will be the comprehensive treatment of administrative process, application of multiple simultaneous (i.e. Egyptian, Roman, Jewish, and Greek) systems of law, and the way that petitioners could manipulate the system. Although Kelly's focus is not rhetorical history, this material provides fertile ground for a revaluation of the importance of the translative or jurisdictional stasis, which is normally treated as somewhat of a trivial afterthought, but which appears far more substantial and useful in light...

Reviews 339 He shows the omnipresence of the antilogic of Protagoras in the essays— instability, uncertainty, relativity yield a multiplicity of possibilities. Fortune, or Kairos, dictates the answers. MacPhail deserves great praise for the strength and originality of his arguments, but perhaps some blame as well for a few weaknesses in his study. The book is far too short. In addition to the neglect of the discipline of rhetoric mentioned above, treatment of the relation of antilogic—the hallmark of sophistry—to the practice of classical dialectic is missing, a subject Aristotle treated at length in the Topics. Such a discussion in the first part of the book would have enriched treatment of the principle of non-contradiction and that of the decay of dialectic in the second half. Finally, translations should have been routinely provided for non English quotations. The practice varies. Greek quotations are never translated; Latin often, but not always. Since the author at times points out the centrality of a quotation to his argument, consistently expressing it in English would have secured the point for a wider audience. Despite these caveats, MacPhail has made a significant contribution to classical, neo-Latin and Renaissance studies. Whether he has also shown that the sophists did ultimately effect a relativist revolution among renaissance humanists, as he has argued, may be a subject worthy of future debate, dialogue, or irresolution. Jean Dietz Moss The Catholic University ofAmerica Dino Piovan, Memoria e ohlio della guerra civile: strategie giudiziarie e racconto del passato in Lisia. Studi e testi di storia antica, 19. Pisa: Edizioni ETS, 2011. Pp. 356. ISBN 9788846728258. 22.00 (pb). A partiré dalle parole chiave del titolo, il libro di D.P. illustra attraverso l'oratoria di Lisia le tensioni tra memoria collettiva e coinvolgimento degli individui nelle vicende drammatiche dell'Atene del biennio 405-03, dalla sconfitta finale di Egospotami, alia resa e alTinstaurazione del regime dei Trenta e poi alia sua caduta: anni di sventure, symphorai che divengono pa­ radigma per Timmaginario collettivo e che nel tempo della restaurazione democrática sono da superare attraverso una complessa elaborazione della memoria e deli'oblio: in particolare a confronto col principio del me mnesikakein in funzione della convivenza civile nella ricostituita unitá della polis ateniese, con tutte le difficoltá che ció necessariamente dovette comportare da una parte e dalTaltra tra democratici e oligarchici. Se gli eventi furono problematici, cosí fu il loro peso nella coscienza collettiva. D.P. analizza in dettaglio fatti e memoria cívica attraverso una acuta indagine delle orazioni lisiane che richiamano gli eventi di questo periodo negli anni immediatamente successivi (in particolare le orazioni 12,13, 25, alie quali sono dedicati 340 RHETORICA i primi tre capitoli, ma anche Lys. 31, 16, 26, 30, 18 e 2, che sono discusse più sintéticamente nel quarto capitolo). Ampio è il confronto delle diverse fonti a disposizione, in particolare Senofonte, la Athenaion politeia, Isocrate, Diodoro, le testimonianze epigrafiche, etc., e approfondita è la discussione sulla vasta bibliografía, dai problemi di datazione alie questioni testuali che hanno rilevanza per le questioni trattate (vd. pp. 313-43): il volume si avvale della nuova edizione lisiana di Ch. Carey e del nuovo commento di S. Todd (Oxford 2007). Dell'analisi di D.P. si possono fare qui due esempi relativi alla ricostruzione lisiana, per certi versi contraddittoria, tratti dalle orazioni forensi, e un terzo esempio dalEEpitafio, per il diverso contesto e la sua funzione pubblica. L'orazione Contro Eratostene (Lys. 12), discussa nel cap. 1, è costruita dal punto di vista ideológico come un diretto atto di accusa contro il governo dei Trenta (e in particolare contro uno dei suoi rappresentanti), con una prospettiva certo più ampia rispetto all'uccisione del fratello Polemarco: Li­ sia vi formula la tesi della 'cospirazione oligarchica' che ha condotto Atene alla rovina e ai lutti della guerra civile, un vero e proprio tradimento nei confront! della polis. Una demonizzazione utile, o meglio necessaria per il contesto e per gli obiettivi. Particolare rilievo per il problema della memoria riveste Pinsistenza di Lisia sulla kakia di Teramene e sul suo trasformismo. Le fonti successive muteranno orientamento, ma in Lisia, quando gli eventi sono ancora vicini, non v...

334 RHETORICA literary character" (p. 249), in which Sterne uses novelistic techiques to represent Bible characters as embodied. Wehrs attributes to Sterne the insight, confirmed by cognitive scientists, that to picture a scene provokes the same emotional response as actually witnessing the scene. Moral instincts, which in Sterne's worldview are natural to anyone with a "heart," must be activated whenever scenes are representedfeelingly. Thus Sterne's achievement in the sermons is to employ a sentimental rhetoric in order to gain his audience s full participation in religion. Divine Rhetoric prepares readers to reconsider the value, not just of Sterne's sermons, but of eighteenth-century sermons in general. Shayda Hoover University of California, Irvine Catherine Gordon-Seifert, Music and the Language ofLove: SeventeenthCentury French Airs. Bloomington and Indianapolis: Indiana Univer­ sity Press, 2011, xiii, 390pp.: black and white illustrations, tables, musical exx. ISBN 978-0-253-35461-7. $44.95 The air, a song, generally with the accompaniment of one of a variety of musical instruments (harpsichord, theorbo, or viol), is one of the largest yet least understood repertories in seventeenth-century France. Thousands were composed to be performed in an intimate setting, such as the salon, for a small, cultivated group of listeners. As the author Catherine GordonSeifert observes, "... the air was so important, its influence so pervasive, that the repertory was connected in some way to almost every major aesthetic, cultural, and social movement after 1650." These works are rarely performed today, because they require a thorough knowledge of the significance of every word in the text. The poets who prepared the lyrics used a highly restricted vocabulary, often with multiple meanings, which are reflected in the musical setting. The texts deal with the various passions associated with love, in part because these are strong emotions that lend themselves well to musical intensification. While recent research has increased our knowledge of the issues sur­ rounding this repertory (a discussion of this research serves as part of the introduction), this book is a major contribution to our understanding of the rhetorical elements of the song texts and the way in which composers ex­ pressed them in their musical settings. The task of the singer was to present the songs in such a way that the listener was moved to experience the pas­ sions being expressed. In this sense the singer played the role of an actor who used the additional persuasive power of music to move the listener, in essence a "harmonic orator." In the first chapter the author provides an overview of the repertorv under discussion. She limits her examination to the works of four composers Reviews 335 who made the most significant contributions to the air repertory in the 1660s and 1670s: Michel Lambert (1610-96), Benigne de Bacilly (c.1625-90), Joseph Chabanceau de la Barre (1633-78), and Sébastien Le Camus (c.161077 ). These composers are represented by contemporary publications of their work which may be said to represent their music as they intended (Airs often circulated in corrupted editions, or in manuscript obtained second-hand). An overview of the form and style of the song texts is provided, which lays the groundwork for a more detailed examination in subsequent chapters. Chapter Two provides an overview of the work of seventeenth-century theorists who explored the relationship among rhetoric, poetics and music, the most important of which are René Descartes, Marin Mersenne, and Jean-Léonor de Grimarest. The author contrasts the privileged relationship of music and poetry in sixteenth-century theory with its decline as an academic consideration in the seventeenth centurv. Music lost its intellectual J and spiritual associations and was regarded primarily as a means of “... providing pleasure and expressing the passions." (p.42) The final portion of the chapter discusses the passions and what Mersenne and Bacilly reveal concerning their specific expression through musical figures, or musical gestures. In discussing them, Gordon-Seifert relies heavily on Descartes and Bernard Lamy. In addition Bacilly provides an element of practicality to theoretical issues. Chapter Three applies the principles discussed previously to specific analyses of sample airs for each of the passions deemed most impor­ tant in the poetic texts set to...

Reviews Divine Rhetoric: Essays on the Sermons of Laurence Sterne. Edited with an introduction by W. B. Gerard. Newark: University of Delaware Press, 2010. 284 pp. + CD. ISBN 978-1611491210 $62.50 The charge against Laurence Sterne (1713-68) as a sermon writer was once that he was somehow insincere—lukewarm, sensual, distractible— and that, as a result of these alleged moral failings, his religious writing was suspect. The very great successes of Tristram Shandy (1759-67) and A Sentimental journey (1768) further downgraded The Sermons of Mr. Yorick (1760, 1766, 1769). W. B. Gerard's Divine Rhetoric: Essays on the Sermons of Laurence Sterne continues the efforts of Melvyn New and others to repair the double neglect to which the sermons were subject. Dismissed by Victorians in light of Sterne's supposed character, diminished as sermons by changes in popular taste, and tolerated by disappointed Shandeans looking for greater specimens of literary genius, the sermons of "Yorick"—never out of print, but in some critical disfavor since the early nineteenth century—are now receiving renewed attention. The current interest in rhetoric, religion, and literature serves the sermons well, as scholars are now equipped to evaluate Sterne's sermons with an appreciation for their particular origins, audiences, and uses. The essays in Gerard's collection agree that the view of Sterne as a hypocritical sensualist, unserious about Christianity and somehow careless about his pastoral duties, is both historically suspect and not very relevant to the actual sermons. Gerard's introduction reviews the critical history of the sermons—their initial success, later reduction to "ancillary" status within Sterne's oeuvre, and more recent recovery as religious addresses worthy of attention on their own account, and not merely as moral essays by a genius (p. 24). The repair of Sterne's reputation as a sermon writer began with pioneering studies by Wilbur L. Cross, Lansing Van Der Heyden Hammond, Arthur H. Cash (whose historic essay on "The Sermon in Tristram Shandy" is included in the present volume), and James Downey, and was further enhanced by New's work in introducing and annotating the sermons for The Florida Edition of the Works of Laurence Sterne (p. 22). New argued that insufficient understanding of the nature of the Anglican sermon, with its late seventeenth-century influences and its special role in discouraging enthusiasm among ordinary parishioners, tended to distort reception, as did Rhetorica, Vol. XXXI, Issue 3, pp. 331-349, ISSN 0734-8584, electronic ISSN 15338541 . ©2013 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2013.31.3.331. 332 RHETORICA misplaced assumptions about the "comic" tendencies of Sterne's wit. Rather than looking for something uniquely Shandean, New suggested, readers should familarize themselves with the "the vast sea of sermon literature" and be attentive to Sterne's reworkings of tried-and-true messages.1 New s "Preface by Way of a Sermon," introducing the volume of notes, is a seminal essay for considering the sermons rhetorically, underscoring the need for deeper awareness of the contexts of Sterne's preaching, the demands of his pastoral duties, and the volumes of well-known sermons and homiletic writing that would have informed most preachers' compositions. Indeed, as most readers will rely at least in part on New's scholarship in tracking Sterne's influences, the two volumes of the Florida Edition are really the coordinate texts for this collection. The revolution of critical opinion has therefore brought us back to one of the original grounds for Sterne's popularity: his talents as a sentimen­ tal Christian moralist working in a popular genre of real importance to his contemporaries. The puerile criterion of "sincerity"—in which the lack of Methodist-style evangelical rhetoric is somehow held against a latitudinarian , antienthusiastic preacher—no longer obtains, and the romantic criterion of "originality" is reduced to its proper place, i.e., barely relevant in an age and to a form that sought to transmit approved, not innovative wisdom, as several of...

The similarity between elocution and New Criticism in method of analysis, or hermeneutics, seems patent: because elocutionists taught reading aloud, they necessarily considered a text word by word; New Critics revolutionized literary study through a similar if more sophisticated method of textual analysis, an approach which also necessitated a certain vocalizing of the words.And the two groups were curiously alike in their fumbling attempts to describe the nature of literature, its ontology, as a kind of experience.The progression from elocution to New Criticism actually forms an episode in the ongoing dispersal of rhetoric as an academic subject.

Zasaninienfassinig: Beweise aus den scholia vetera und scholia recentiora bezeugen, daB rhetorische Ausbildung in den Handen der Grammatiker in Byzanz schon frith begann. Sie explizierten die klassischen Texte anhand von Begriffen aus den Progymnasmata und fiihrten rhetorischen Analysen der Texte durch. Die Terminologie in den scholia ist nicht ganz in Einklang mit der die man in ‘mainstream’, auf Hermogenes gegründete Rhetoriklehrbücher findet, und kann aus alteren, vielleicht peripatetischen, Quellen entlehnt sein. Doch der Konflikt der Begriffe war nicht eine Quelle des Unbehagens fur den byzantinischen Lehrer, sondern ein Instrument zum flexiblen Denken.

Book Review| May 01 2013 Review: Classroom Commentaries: Teaching the Poetria nova across Medieval and Renaissance Europe, by Marjorie Curry Woods Marjorie Curry Woods, Classroom Commentaries: Teaching the Poetria nova across Medieval and Renaissance Europe (Text and Context 2), Columbus: The Ohio State University Press, 2010. xlii + 367 pp. ISBN 9780814211090. Rhetorica (2013) 31 (2): 223–225. https://doi.org/10.1525/rh.2013.31.2.223 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Classroom Commentaries: Teaching the Poetria nova across Medieval and Renaissance Europe, by Marjorie Curry Woods. Rhetorica 1 May 2013; 31 (2): 223–225. doi: https://doi.org/10.1525/rh.2013.31.2.223 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| May 01 2013 Review: Clio sous le regard d'Hermès. L'utilisation de l'histoire dans la rhétorique ancienne de l'époque hellénistique à l'Antiquité Tardive, by Pierre-Louis Malosse, Marie-Pierre Noël, Bernard Schouler Pierre-Louis Malosse, Marie-Pierre Noël et Bernard Schouler, eds., Clio sous le regard d'Hermès. L'utilisation de l'histoire dans la rhétorique ancienne de l'époque hellénistique à l'Antiquité Tardive (Cardo 8), Alessandria: Edizioni dell'Orso, 2010, XI, 248 pp. ISBN 9788862742474. Rhetorica (2013) 31 (2): 229–232. https://doi.org/10.1525/rh.2013.31.2.229 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: Clio sous le regard d'Hermès. L'utilisation de l'histoire dans la rhétorique ancienne de l'époque hellénistique à l'Antiquité Tardive, by Pierre-Louis Malosse, Marie-Pierre Noël, Bernard Schouler. Rhetorica 1 May 2013; 31 (2): 229–232. doi: https://doi.org/10.1525/rh.2013.31.2.229 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

The strong connection between rhythm and number is one of the most significant features of Aristotle's theory of rhythm. It equally underlies Cicero's rhetoric; and hence he translated the Greek notion of ῥυθμός into numerus. However, this terminology gives cause for concern; since numerus, like ῥυθμός may be relevant not only to rhythm in oratory, but also to musical rhythm. This is why Cicero was suspected by some Atticists of confounding music and discourse, although in fact the distinction between song and speech is prominent in his treatises. Quintilian addressed this problem and proposed a new terminology: for him, numerus referred only to rhythm in oratory, whereas rhythmos evoked the idea of musical rhythm.

Other| May 01 2013 Addresses of Contributors to this Issue Rhetorica (2013) 31 (2): 236–237. https://doi.org/10.1525/rh.2013.31.2.236 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Addresses of Contributors to this Issue. Rhetorica 1 May 2013; 31 (2): 236–237. doi: https://doi.org/10.1525/rh.2013.31.2.236 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

This paper deals with the interest in the progymnasmata by Theon in Spain during the sixteenth century. Although this rhetorical work was not printed there either in Greek or in translation, it is possible to gather some information about the subject from the following four sources: themanuscript transmission of the text, the bibliographic information about the lost material, the references to Theon in the printed production about Aphthonius and, finally, the presence of the work by Theon in the inventories of books of the time.

Book Review| May 01 2013 Review: Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages, by Carruthers, Mary Carruthers, Mary, ed., Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages. (Cambridge Studies in Medieval Literature, ed. Alastair Minnis). Cambridge: Cambridge University Press, 2010. xii + 316 pp. ISBN 9780521515306. Rhetorica (2013) 31 (2): 220–223. https://doi.org/10.1525/rh.2013.31.2.220 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Review: Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages, by Carruthers, Mary. Rhetorica 1 May 2013; 31 (2): 220–223. doi: https://doi.org/10.1525/rh.2013.31.2.220 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| May 01 2013 Review: Signs of Light: French and British Theories of Linguistic Communication, 1648–1789, by Matthew Lauzon Matthew Lauzon, Signs of Light: French and British Theories of Linguistic Communication, 1648–1789, Ithaca: Cornell University Press, 2010. 256 pp. ISBN 9780801448478. Rhetorica (2013) 31 (2): 226–228. https://doi.org/10.1525/rh.2013.31.2.226 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Signs of Light: French and British Theories of Linguistic Communication, 1648–1789, by Matthew Lauzon. Rhetorica 1 May 2013; 31 (2): 226–228. doi: https://doi.org/10.1525/rh.2013.31.2.226 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

In A Rhetoric of Motives Kenneth Burke revises the traditional understanding of rhetoric as persuasion.He introduces the concept of identification to define persuasion dialectically by locating it in a formal opposition to identification. The ultimate motives that drive this dialectical tension are love and strife. As dialectical creatures, human are drawn toward each other and seek to distinguish themselves from one another. For a world threatened by its own misunderstanding of ambition and its unreflective acceptance of historical identities, Burke's philosophy of rhetoric offers a way to understand what itmeans to be a dialectical being at a particular point of history, and it does so because it has the practical objective of making the world more just.

Book Review| May 01 2013 Review: [Quintiliano] Il veleno versato (Declamazioni maggiori, 17), by Lucia Pasetti Lucia Pasetti, [Quintiliano] Il veleno versato (Declamazioni maggiori, 17), Cassino: Edizioni Università di Cassino, 2011, 252 pp. ISBN 978-88-8317-055-3. Rhetorica (2013) 31 (2): 233–235. https://doi.org/10.1525/rh.2013.31.2.233 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: [Quintiliano] Il veleno versato (Declamazioni maggiori, 17), by Lucia Pasetti. Rhetorica 1 May 2013; 31 (2): 233–235. doi: https://doi.org/10.1525/rh.2013.31.2.233 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Reviews Carruthers, Mary, ed., Rhetoric Beyond Words: Delight and Persuasion in theArts oftheMiddleAges. (Cambridge Studies in Medieval Literature, ed. Alastair Minnis). Cambridge: Cambridge University Press, 2010. xii + 316 pp. ISBN 9780521515306. Carruthers' edited collection shows how rhetorical theory informs and is informed by the visual, mechanical, and performative arts of the Mid­ dle Ages, with origins in the classical rhetorical tradition. This collection is groundbreaking in several ways: 1) by demonstrating the interconnected­ ness of medieval genres of rhetoric, 2) by expanding the canon of rhetorical texts, from classical origins to later adaptations, and 3) by suggesting av­ enues for further research across disciplinary lines. Thus, it transforms our understanding of rhetoric and expands it to new areas, especially oral and written performance in the Middle Ages. This collection will also appeal to those interested in medieval cultural studies through the study of verbal, visual, and performative arts as rhetoric. Paul Binski's essay, "'Working by words alone': the architect, scholas­ ticism and rhetoric in thirteenth-century France," opens the collection by relating thirteenth-century scholastic and rhetorical discourse and architec­ ture as influential on High Gothic architecture. Not only were architectural terms imported into rhetorical treatises, but also the architect as auctor, cre­ ator, master of a craft, was elevated to a new plane of authority. Central to this authority is that of planning, envisioning in the mind, foreknowing the work to be constructed, a skill required of both rhetor and architect. In "Grammar and rhetoric in late medieval polyphony: modern meta­ phor or old simile," Margaret Bent takes cross-disciplinary applications of rhetoric into the realm of performance by exploring intersections among terms employed in medieval music and grammar and rhetoric. Shared terminology, such as definitions, metaphors, and similes parallel musical structures. Other correspondences between rhetoric and music include the parts of an oration in arrangement and punctuation in notation, rhetoric in and as performance art. "Nature's forge and mechanical production: writing, reading and per­ forming song" continues this theme. Elizabeth Eva Leach develops the metaphor of the forge through collaborative invention in song, challenging Rhetorica, Vol. XXXI, Issue 2, pp. 220-237, ISSN 0734-8584, electronic ISSN 15338541 . ©2013 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2013.31.2.220. Reviews 221 a common assumption that pieces were written first by a solitary composer or lyricist and then rehearsed by singers. Instead, she argues for "viewing the musical trace as a series of more or less precise memorial notae from which singers invent a collaborative (simultaneous) performance" (72). Her findings corroborate research on early modern theatre, as she explains in the latter half of her essay, thus broadening and transcending genre lines through a concept of composing process with parallels in two performance arts. Lucy Freeman Sandler's essay, "Rhetorical strategies in the pictorial im­ agery of fourteenth-century manuscripts: the case of the Bohun psalters," in­ troduces rare evidence of a rhetorical appeal from artists to patrons, through illuminations of psalters commissioned by the Bohun earls of Essex in the fourteenth century. Two artists, both Augustinian friars, employ images that relate biblical scenes to social and political matters relevant to their pa­ trons, thereby providing moral and theological counsel in devotional prac­ tice. Thus, the rhetoric of the art mirrors that of the drama, in which reader becomes actor: "For the Bohuns, reading and recitation of the psalms or the Hours of the Virgin, a devotional exercise that was repeated over and over, was associated with study of the fundamental narratives of human and sacred history in the Old and New Testaments in pictorial form" (117). This parallel opens pathways for research on intersections among private devotion, art and drama. Similarly, in "Do actions speak louder than words? The scope and role of pronuntiatio in the Latin rhetorical tradition, with special reference to the Cistercians," Jan M. Ziolkowski takes up the theme of performance in the Latin rhetorical tradition through actio (gesture) and pronuntiatio (elocution...

226 RHETORICA Matthew Lauzon, Signs ofLight: French and British Theories ofLinguistic Communication, 1648-1789, Ithaca: Cornell University Press, 2010.256 pp. ISBN 9780801448478. Matthew Lauzon's Signs ofLight: French and British Theories ofLinguistic Communication, 1648-1789 explores a broad array of Enlightenment perspec­ tives on discourse, from seventeenth-century discussions of Native Amer­ ican eloquence and animal communication to the longstanding debate over the relative merits of English and French that continued up to the French Revolution. Arguing that historians of the period, who overemphasize the impact of Locke's view of language, "have therefore tended to ignore both the period's tremendous engagement with the broader social implications of different languages that prevailed across the European republic of let­ ters and the ways in which such an engagement involved much more than issues of semantic and logical clarity" (p. 4), he surveys a wide range of treatises, literary works, reports, and studies to demonstrate the diversity of Enlightenment views concerning language and human community. The book is divided into three primary sections, each comprising a pair of chapters. Part I, "Animal Communication," seeks to fill the gap left by historians who have neglected "the suggestion by some in the seventeenth and eighteenth centuries that animals might communicate more clearly and therefore more effectively" than humans (p. 9). The first chapter in this section, "Bestial Banter," takes up Enlightenment claims of the potential su­ periority of animal communication developed by relatively obscure figures such as Marin Cureau de la Chambre and John Webster, as well as more well-known theorists such as John Hobbes and Jean Jacques Rousseau. The second chapter, "Homo Risus: Making Light of Animal Language," features Enlightenment critiques of animal languages, both real and imaginary, that elucidate the complexity of human discourse and attempt to destabilize the virtue of clarity developed in the previous chapter. Lauzon provides analyses of Bernard Mandeville's The Fable ofthe Bees: Or, Private Vices, Publick Benefits, part 4 Four of Jonathan Swift's Gulliver's Travels, and Guillaume-Hyacinthe Bougeant's Amusement philosophique sur le langage des betes. Part II, "Savage Eloquence," explores "how late-seventeenth-century missionary concerns about the sincerity of American Indian conversions gen­ erated a particularly positive representation of savage speech" (p. 6). Chap­ ter 3, entitled "Warming Savage Hearts and Heating Eloquent Tongues," emphasizes the seventeenth-century Puritans' and Jesuits' praise of the elo­ quence of Native American converts to Christianity. Featuring a series of works produced by John Eliot and his missionary colleagues, Lauzon ar­ gues that the Puritans were impressed by the pathos of Native American Christians, whose words reflected the "Christian grand style" originally identified by Augustine. Through analyses of texts from the Jesuit Relations, which recorded seventeenth- and eighteenth-century Jesuit activities in the New World, Lauzon demonstrates that Jesuit missionaries also praised what amounted to that style in the emotional appeals of Native American converts, Reviews 227 who communicated far more movingly than conventional touchstones of Jesuit rhetoric like Cicero" (p. 90). Chapter 4, "From Savage Orators to Sav­ age Languages/' marshals subsequent Enlightenment treatments of the per­ ceived energetic quality of Native American languages as further critique of Locke's rather single-minded emphasis on clarity. The final section of Szy/zs ofLight, "Civilized Tongues," features "discus­ sions about how the French and English languages reflected and reinforced distinct national practices of enlightened communication" (p. 7). Chapter 5, "French Levity," treats the spirited argument for the superiority the French language set forth bv advocates such as François Charpentier, Nicholas Beuzée, Antoine de Rivarol, Denis Diderot, and Dominique de Bouhours, based on criteria such as clarity, the sweetness of its soft sounds, the "light­ ness" of its lexicon (p. 146), the wit of the bel esprit, and its universality. The final chapter, "English Energy," provides the corresponding arguments in praise of the English tongue, which emphasized its phonotactic qualities, its syntax, its gravity, and its ability to express natural passions. Lauzon's Coda, "French Levity and English Energy in the Revolutionary Wake," extends the issues raised in chapters 5 and 6 through and beyond the French Revolution. The particular strengths of Signs ofLight are the extensive range of works and...

Reviews 233 Lucia Pasetti, [Quintiliano] ll veleno versato (Declamazioni maggiori, 17), Cassino: Edizioni Université di Cassino, 2011, 252 pp. ISBN 978-888317 -055-3. Si arricchisce di un nuovo volume la elegante e preziosa collana che ormai da anni, per le cure di Oronzo Pecere e Antonio Stramaglia, l'Università di Cassino dedica alie Declamazioni maggiori dello pseudo-Quintiliano, fornendo per ciascuno dei pezzi che compongono la silloge un'introduzione, un testo criticamente riveduto, un amplissimo commento e una altrettanto ricca bibliografía. Dopo le declamazioni 6,8, 9,12,14 e 15, e mentre altri commenti sono già in procinto di vedere la luce, è ora la volta della diciassettesima Maior , Venemim effusum, opportunamente affidata ad una giovane e ferratissima studiosa, Lucia Pasetti (d'ora innanzi P), che a questa controversia ha già ripetutamente dedicato le sue cure in anni recenti (Un suicidiofallito. La tópica dell’ars moriendi;nella xvii declamazione maggiore pseudo-quintilianea, 2007; Fi­ losofía e retorica di scnola nelle Declamazioni Maggiori;pseudoquintilianee, 2008; Gli antichi e la fiction. Realtd e immaginazione nella Declamazione maggiore ;17, 2009-2010) e che qui raccoglie e porta a sintesi il frutto dei suoi lavori precedenti. Il tema della declamazione è dei più consueti nelPuniverso delle controversie di scuola: un padre ha tentato ripetutamente di ripudiare il proprio figlio attraverso lo strumento della abdicatio, venendo di volta in volta sconfitto in tribunale e costretto a riprendere in casa il giovane; lo sorprende quindi in secreta domus parte mentre prepara un fármaco. Interrogato, il figlio risponde che si tratta di un veleno destinato a se stesso, ma alla richiesta paterna di berlo lo versa a terra, esponendosi cosi ad un'accusa di tentato parricidio. Tema consueto, si diceva, nelle scuole di declamazione, attestato con qualche variante nell'antologia di Seneca il Vecchio (7, 3) e nelle Minores di Quintiliano (377), ricordato con ironía da Giovenale fra i motivi più triti delPinsegnamento scolastico (7, 166-170) e schedato nelPanonima lista dei Problemata in status contenuta nell'ottavo volume dei Rhetores Graeci di Walz. Ma tema consueto, quello della diciassettesima Maior, anche perché convoca sulla scena due protagonisti di assoluto spicco dell'universo declamatorio come il padre e il figlio ed esplora una volta di più le patologie della loro relazione, i cortocircuiti dello scontro generazionale, le schermaglie di un conflitto che sembra non conoscere attenuazioni o forme credibili di composizione, e dunque perché rientra a pieno titolo in quella riflessione sul rapporto padri-figli cosi centrale nella retorica di scuola e sulla quale gli studi degli ultimi vent'anni hanno fatto largamente luce. NelPampia introduzione (pp. 13-51) P. muove anzitutto dalla complessa questione del rapporto fra declamazione e mondo reale. La studiosa rileva per un verso la frequenza dei casi di veneficio a Roma e la presenza nella cultura romana di una vera e propria ossessione del parricidio, per Paltro la stretta connessione che sussiste fra tale ossessione e la ricorrente presenza dei termini parricidiurn/parricida nella retorica di scuola, dove numerosissimi 234 RHETORICA sono i temi che mettono in scena le tensioni legate all'esercizio della patria potestas e i conflitti che esso rischiava ad ogni passo di innescare all'interno della famiglia. La conclusione di P. è che per il testo in questione «si puô ricorrere alEossimorica definizione di "declamazione realistica,/>> (p. 20). Alla studiosa non sfugge tuttavia che temi come il parricidio e il veneficio hanno anche un vistoso spessore letterario: la stessa richiesta di here una coppa che si teme possa conteneré un veleno per attestare la bontà delle proprie intenzioni compare ad esempio nel romanzo, ma non è assente neppure in certa storiografia più incline alla ricerca del pathos. Più in generale, P richiama opportunamente la natura della declamazione comefiction, come testo destinato certo in prima istanza alla didattica delle scuole, ma aperto anche ad una fruizione che ne faceva un prodotto di consumo rivolto ad un vasto pubblico adulto. P. passa quindi a verificare come si articola, nel concreto svolgimento della declamazione, il rapporto tra padre e figlio: attenendosi ai precetti che maestri come il Quintiliano autentico fornivano nei propri manuali, i declamatori tratteggiano la figura del figlio (al quale è lasciata la parola) attribuendogli i colori...

Reviews 229 Pierre-Louis Malosse, Marie-Pierre Noël et Bernard Schouler, eds.z mqueanAlessan dria : Edizioni dell'Orso, 2010, XI, 248 pp. ISBN 9788862742474. Quello del rapporto tra eloquenza e storia è tema da tempo studiato, ma la specificità dell approccio del volume, che raccoglie le comunicazioni pre­ séntate in occasione delEomonimo colloquio internazionale svoltosi presso l'Università Paul - Valéry di Montpellier dal 18 al 20 ottobre 2007, è subito posta in luce nella premessa a firma di Bernard Schouler: valutare i debiti contratti da oratori e retori nei confronti della storiografia. I primi tre contributi mirano a definiré il quadro generale della discussione . Cosi Antonio López Eire (Retórica, historiografía y el egocentrismo de Hermes, pp. 1-12), alia cui memoria il volume è dedicato, indaga ampiamente i modi dell'incontro tra storia e retorica con particolare riferimento all'etá ellenistica, época in cui si defini, non senza significative ricadute sul piano ideológico e letterario, l'indiscutibile primato della retorica nell'ámbito della paideia ellenica. Pascal Payen («Si l'on supprime les hommes d'action, on n'aura plus d'hommes de lettres »: Thucydide et Polybe dans le corpus des œuvres de Plutarque, pp. 13-25) analizza il rapporto tra azione política e riflessione storiografica in Plutarco. La predilezione del Cheronense per Tucidide e Polibio, entrambi uomini di lettere e di azione, testimonia di una concezione quanto mai viva della scrittura intesa quale dimensione dell'agire: la storia perpetua il ricordo dei grandi uomini del passato e preserva il valore paradigmático delle loro azioni. Pierre Chiron (Un historien-rhéteur, bête noire des rhéteurs: Théopompe, pp. 27-33), attraverso l'analisi delle cause della ricezione catastrófica di Teopompo, contribuisce a ricostruire i principi normativi in ragione dei quali la critica letteraria antica intendeva la scrittura storiografica, criteri che, come ben argomenta lo studioso, riposano su un'idea dell'opera storica percepita non semplicemente corne emozione letteraria, ma anche e soprattutto corne strumento didattico d'insegnamentó politico e morale. La storia come tema di esercitazione scolastica o di declamazione ora­ toria è oggetto dell'analisi dei saggi successivi. Sulla fortuna del personaggio di Cleone in tale repertorio focalizza la sua attenzione Anne-Marie FavreauLinder (Lafigure de Cléon à Tépoque impériale, pp. 35-46), la quale ricostruisce con ricchezza documentaría il carattere innovativo dell'oratoria del dema­ gogo ateniese. Eugenio Amato e Nadine Sauterel (L'utilisation de l'histoire dans les déclamations de Lesbonax le Sophiste, pp. 47-54) analizzano dettagliatamente il trattamento della storia in Lesbonatte Sofista le cui imprecisioni storiche, pur in mancanza di ulteriori elementi che ci consentano di coglierne motivazioni e finalità, sono da ascriversi a una precisa volontà manipolatoria. Ouardia Touahri (Lephénomènede la guerre civiled'après Sénèque le Rhéteur, pp. 55-64), attraverso l'analisi dei tema delle guerre civili e di quello a 230 RHETORICA esso correlato délia morte di Cicerone, si sofferma sull'uso délia storia in chiave política e, soprattutto, come momento di riflessione morale nella declamazione latina di Seneca il Retore. Alla storia corne fonte inesauribile di esempi cui ricorrere in con­ testo oratorio sono dedicad i successivi contributi, introdotti da un am­ pio inquadramento teorico in cui Sylvie Franchet d'Espèrey (Le statut de Z'exemplum historique chez Quintilien, pp. 65-79) definisce ordinatamente i caratteri essenziali dell'exemplum, quei caratteri cioè fondativi, secondo Quintiliano (Institutio oratoria 5.11), délia forza di persuasione e dell'autorevolezza dello stesso ai fini dell'argomentazione e délia dimostrazione retorica. Paul Marius Martin (Chute de la royauté et adfectationes regni dans les Philippiques de Cicéron, pp. 81-92) dimostra, grazie a una fine analisi stilistica, come i richiami alla storia di Roma e all'ascendenza tirannicida di Décimo Bruto nelle Filippiche ciceroniane mirino ad amplificare, attraverso il procedimento délia peccatorum comparatio, i meriti dell'assassino di Cesare nei confronti délia Repubblica romana. Segue una serie di contributi che consentono di apprezzare Puso ori­ ginale delPexemplum nelPàmbito délia Seconda Sofistica. E cosí che Cécile Bost-Pouderon (Quelques considérations sur le traitement de l'exemple...

In A Rhetoric of Motives Kenneth Burke revises the traditional understanding of rhetoric as persuasion. He introduces the concept of identification to define persuasion dialectically by locating it in a formal opposition to identification. The ultimate motives that drive this dialectical tension are love and strife. As dialectical creatures, human are drawn toward each other and seek to distinguish themselves from one another. For a world threatened by its own misunderstanding of ambition and its unreflective acceptance of historical identities, Burke’s philosophy of rhetoric offers a way to understand what it means to be a dialectical being at a particular point of history, and it does so because it has the practical objective of making the world more just.

Reviews 223 original ceremony nt Sancta Maria ad Martyres from language that reflects the architecture of the building, the movements of the presiding Pope (Boni­ face IV), the clergy, and the dramatization of God s voice in the words of the chant. Mary Carruthers and the contributors to this volume have produced an extraordinary collection of essays, rich and complex with thematic intercon­ nections and many avenues for further exploration. The overall arrangement illustrates ductus in invention, arrangement, and figurative motifs in the art of rhetoric across disciplinary lines, including composition, oratory, art, archi­ tecture, music, and liturgical performance. Many of the essays also include excellent visual illustrations. The editing is careful, though one system for translations, provided in the text of some essays and in the endnotes of others, would aid consistency. Nevertheless, readers will find Carruthers7 collection a remarkable resource not only for historical and textual studies, but also for insights into medieval culture, worship, and performance through the art of rhetoric. Elza C. Tiner Lynchburg College Marjorie Curry Woods, Classroom Commentaries: Teaching the Poetria nova across Medieval and Renaissance Europe (Text and Context 2), Columbus: The Ohio State University Press, 2010. xlii + 367 pp. ISBN 9780814211090. Making a well-timed appearance close to the publications of both Copeland and Sluiter's Medieval Grammar and Rhetoric (Oxford University Press, 2010) and Peter Mack's A History of Renaissance Rhetoric (Oxford Uni­ versity Press, 2011), Marjorie Curry Woods' new book helps us to imagine what took place in medieval and renaissance classes on the trivium. As her title suggests, Woods concentrates on commentaries written from the thir­ teenth through the seventeenth centuries on Geoffrey of Vinsauf's Poetria nova, a popular Latin poem extant in over two hundred manuscripts that taught students how to write poetry and prose. By "commentaries," Woods means an assortment of instructive materials from interlinear and marginal manuscript glosses to freestanding explanations, from anonymous interpre­ tations, such as the Early Commentary that Woods previously edited and translated (New York: Garland, 1985), to the works of well-known intellec­ tuals teaching in documentable circumstances. Woods inquires insightfully into what these commentaries meant for teaching grammar and rhetoric in western as well as central Europe, in elementary courses as well as in universities. The scope of this book is therefore daunting, but Woods deftly chooses particular commentaries and teachers that best exemplify the Poetria nova s 224 RHETORICA use. For instance, chapter 3 details Pace of Ferrara's humanist elaboration placing the Poetria nova amidst classical authorities and literatures, while chapter 4 emphasizes Dybinus of Prague's Aristotelian rhetorical interpreta­ tion. As Woods elucidates, such differing constructions show how variously the Poetria nova might function within European curricula: for Pace as an aid to intermediate students in construing literature, for Dybinus as a text for university students analyzing various models of rhetoric, and for others as a guide to dictamen or sermon composition. A reader can learn a substantial amount about intellectual history and educational scenarios from Woods. Such learning is possible because Woods writes in lucid, well-organized prose that appeals to both specialists and those interested more generally in the history of rhetoric and education. For the latter audience, her Preface clearly defines terms such as "accessus" and "lemmata" that will recur in describing the commentaries (xxxviii-xxxix). Further, she opens the book with fifteen plates illustrating the diversity of the commentaries and pro­ viding exempla for later chapters. Nine of these plates include the famous opening phrase of the Poetria nova ("Papa stupor mundi," or in English trans­ lation, "Holy Father, wonder of the world") that becomes the subject of so many speculations about Geoffrey's audience and purpose. Along with the manuscript illustrations, Woods provides copious translations of transcrip­ tions from commentaries. Sometimes the interjection of these visual aids can overwhelm Woods' discussion, for instance in the layout of versions of the Dybinus commentary (190- 208), but Woods' intention is to be generous with manuscript materials over which she has labored long, and indeed many readers would be challenged to assess the divergent points in the commentaries without these explicit side-by-side comparisons. Woods' presentation of manuscript transcriptions also offers doctoral students...

During the last three decades research in the rhetoric of natural science has established itself as a prominent topic in the history of science, culture, and society. Despite this overall success, the status, function and place of rhetoric in the process of knowledge production is still ambivalent and disputed. While some scholars place rhetoric right in the centre of the construction of scientific knowledge, others support the view that scientific knowledge is epistemologically privileged. Based on research done by the prominent sociologist, philosopher, and historian Bruno Latour, the article argues that rhetoric plays a minimal role in the production of knowledge but is crucial in the dissemination and (successful) implementation of scientific results.

The strong connection between rhythm and number is one of the most significant features of Aristotle’s theory of rhythm. It equally underlies Cicero’s rhetoric; and hence he translated the Greek notion of ῤυθμός into uumerus. However, this terminology gives cause for concern; since numerus, like ῤυθμός, may be relevant not only to rhythm in oratory, but also to musical rhythm. This is why Cicero was suspected by some Atticists of confounding music and discourse, although in fact the distinction between song and speech is prominent in his treatises. Quintilian addressed this problem and proposed a new terminology: for him, numerus referred only to rhythm in oratory, whereas rhythmos evoked the idea of musical rhythm.

This paper deals with the interest in the progymnasmata by Theon in Spain during the sixteenth century. Although this rhetorical work was not printed there either in Greek or in translation, it is possible to gather some information about the subject from the following four sources: the manuscript transmission of the text, the bibliographic information about the lost material, the references to Theon in the printed production about Aphthonius and, finally, the presence of the work by Theon in the inventories of books of the time.

Recurring features of Miltonic rhetoric during the 1640s include the structural patterns of the oration and the animadversion, widespread deployment of the classical high, low, and middle styles, and an epideictic mode of praise and blame. Equally noteworthy is the close relationship of rhetoric and poetic. These features can be used as a template to characterize Milton's work in 1659–60, his final period as a political controversialist. Five texts make up this period: Civil Power (1659), Likeliest Means (1659), two editions of The Readie Way (1660), and Brief Notes (1660). In 1659–60 the oration remains Milton's preferred form of public, inaugural address, yet traces of the Puritan sermon can also be found. As he had done in the 1640s, Milton later relied on the classical low style for argument, documentation, and narration. The poetic qualities of Miltonic polemic are as evident in 1659–60 as they had been in the 1640s. The well-developed mimetic identity of the second edition of The Readie Way represents a sophistication of the localized mimesis of the 1640s.

It has long been stated that, in Isocrates' Helen, there seems to be an open contradiction between the author's harsh criticism of logoi paradoxoi and the simple fact that his own encomia of Helen and Busiris appear to be specimens of that very genre. Traditionally, this contradiction has been explained by Isocrates' need to distanciate his own work from that of his predecessors. This paper undertakes a different approach. Isocrates' criticism of paradoxographic literature is based upon observations about what is and what is not allowed in moral epideictic discourse. Isocrates' specific instructions about proper and improper moral argumentation can function as hermeneutical tool to analyze Helen and Busiris. Only in Helen does he observe the rules of argumentation formulated in that very discourse. In Busiris, however, Isocrates adopts the typical modes of argumentation in paradoxographic literature as represented in the works of Gorgias or Polycrates. In consequence, his arguments in Busiris prove to be unconvincing when measured by his own standards formulated in the proemium of both Helen and Busiris. Consequently, the discourse ends in an apology of these arguments which is, once again, defective. In his corresponding discourses Helen and Busiris, Isocrates implictly demonstrates the moral and technical defects inherent in paradoxical discourse. He explicitly reflects these defects in the proemia and epilogues of both speeches. Helen and Busiris should, therefore, be understood as Isocrates' manifesto for moral discourse as opposed to paradoxographic showpieces.

Book Review| February 01 2013 Review: Persona. L'élaboration d'une notion rhétorique au Ier siècle av. J.-C. – Volume I : Antécédents grecs et première rhétorique latine, by Charles Guérin Charles Guérin, Persona. L'élaboration d'une notion rhétorique au Ier siècle av. J.-C. – Volume I : Antécédents grecs et première rhétorique latine, Vrin, Paris, 2009(431 pp. ISBN 978-2-7116-2234-4) – Volume II : Théorisation cicéronienne de la persona oratoire, Vrin, Paris, 2011. 474 pp. ISBN 978-2-7116-2351-8 Rhetorica (2013) 31 (1): 128–131. https://doi.org/10.1525/rh.2013.31.1.128 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Persona. L'élaboration d'une notion rhétorique au Ier siècle av. J.-C. – Volume I : Antécédents grecs et première rhétorique latine, by Charles Guérin. Rhetorica 1 February 2013; 31 (1): 128–131. doi: https://doi.org/10.1525/rh.2013.31.1.128 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| February 01 2013 Review: A Nation of Speechifiers: Making an American Public after the Revolution, by Carolyn Eastman, Enemyship: Democracy and Counter-Revolution in the Early Republic, by Jeremy Engels, Imagining Deliberative Democracy in the Early American Republic, by Sandra M. Gustafson, Founding Fictions, by ennifer R. Mercieca Carolyn Eastman, A Nation of Speechifiers: Making an American Public after the Revolution. Chicago: University of Chicago Press, 2009. xi + 290 pp. ISBN 978-0-226-18019-9Jeremy Engels, Enemyship: Democracy and Counter-Revolution in the Early Republic. East Lansing: Michigan State University Press, 2010. xi + 316 pp. ISBN 9780087013980-2Sandra M. Gustafson, Imagining Deliberative Democracy in the Early American Republic. Chicago: University of Chicago Press, 2011. x + 271 pp. ISBN 978-0-226-31129-6Jennifer R. Mercieca, Founding Fictions. Tuscaloosa: University of Alabama Press, 2010. xi + 274 pp. ISBN 978-0-8173-1690-7 Rhetorica (2013) 31 (1): 113–118. https://doi.org/10.1525/rh.2013.31.1.113 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: A Nation of Speechifiers: Making an American Public after the Revolution, by Carolyn Eastman, Enemyship: Democracy and Counter-Revolution in the Early Republic, by Jeremy Engels, Imagining Deliberative Democracy in the Early American Republic, by Sandra M. Gustafson, Founding Fictions, by ennifer R. Mercieca. Rhetorica 1 February 2013; 31 (1): 113–118. doi: https://doi.org/10.1525/rh.2013.31.1.113 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

OBRA RESSENYADA: Lucía Díaz Marroquín, La retörica de los afectos (Estudios de Literatura 110, De Musica 13), Kassel: Reichenberger, 2008. 298 pp. ISBN 978-3-937734-59-0

Other| February 01 2013 Addresses of Contributors to This Issue Rhetorica (2013) 31 (1): 132–133. https://doi.org/10.1525/rh.2013.31.1.132 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Addresses of Contributors to This Issue. Rhetorica 1 February 2013; 31 (1): 132–133. doi: https://doi.org/10.1525/rh.2013.31.1.132 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Dionysius of Halicarnassus's account of ethopoeia at Lysias 8 is often cited as evidence of Lysias mastery of character portrayal, but the passage itself has received little in-depth analysis. As a consequence, Dionysius's meaning has at times been misinterpreted, and some of his insights on characterization have been neglected. When the account is examined closely, three unique points of emphasis emerge which, taken together, constitute a particular type of characterization: persuasive, as opposed to propriety-oriented, ethopoeia. Making this distinction promotes conceptual clarity with regard to ethopoeia while calling attention to Dionysius's insights on the role of style and composition in the creation of persuasive ethos.

Book Review| February 01 2013 Review: The Inarticulate Renaissance: Language Trouble in the Age of Eloquence, by Carla Mazzio Carla Mazzio, The Inarticulate Renaissance: Language Trouble in the Age of Eloquence. Philadelphia: University of Pennsylvania Press, 2009. 349 pp. ISBN 978-0-8122-4138-9 Rhetorica (2013) 31 (1): 111–113. https://doi.org/10.1525/rh.2013.31.1.111 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: The Inarticulate Renaissance: Language Trouble in the Age of Eloquence, by Carla Mazzio. Rhetorica 1 February 2013; 31 (1): 111–113. doi: https://doi.org/10.1525/rh.2013.31.1.111 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

The aim of this paper is to demonstrate how Cicero in his in Vatinium employs the iconic power of the body of the accused, Vatinius, and its repulsive strumae as a logical tool to support his persuasion strategy, thereby creating an enthymeme based upon the premises provided by the features of the body. This way of reasoning rests upon a strongly oriented and often distorting reading of the physical characteristics of the body in accordance with the physiognomic and pathognomonic doctrines. As a result, the de-formities of Vatinius's body, instead of being used to commend Vatinius, become important elements in Cicero's strategy of belittling his opponent's authority.

Recurring features of Miltonic rhetoric during the 1640s include the structural patterns of the oration and the animadversion, widespread deployment of the classical high, low, and middle styles, and an epideictic mode of praise and blame. Equally noteworthy is the close relationship of rhetoric and poetic. These features can be used as a template to characterize Milton’s work in 1659–60, his final period as a political controversialist. Five texts make up this period: Civil Power (1659), Likeliest Means (1659), two editions of The Readie Way (1660), and Brief Notes (1660). In 1659–60 the oration remains Milton’s preferred form of public, inaugural address, yet traces of the Puritan sermon can also be found. As he had done in the 1640s, Milton later relied on the classical low style for argument, documentation, and narration. The poetic qualities of Miltonic polemic are as evident in 1659–60 as they had been in the 1640s. The well-developed mimetic identity of the second edition of The Readie Way represents a sophistication of the localized mimesis of the 1640s.

The aim of this paper is to demonstrate how Cicero in his in Vatinium employs the iconic power of the body of the accused, Vatinius, and its repulsive strumae as a logical tool to support his persuasion strategy, thereby creating an enthymeme based upon the premises provided by the features of the body This way of reasoning rests upon a strongly oriented and often distorting reading of the physical characteristics of the body in accordance with the physiognomic and pathognomonic doctrines. As a result, the deformities of Vatinius’s body, instead of being used to commend Vatinius, become important elements in Cicero’s strategy of belittling his opponent’s authority.

Reviews Carla Mazzio, The Inarticulate Renaissance: Language Trouble in the Age of Eloquence. Philadelphia: University of Pennsylvania Press, 2009. 349 pp. ISBN 978-0-8122-4138-9 From Longinus to Cicero, Quintilian to Dryden, Susenbrotus to Priestley, vehement emotion was embodied in murmuring and mumbling, fits and starts, paroxysms of the inarticulate: aposiopesis, for example, denoted "some affection" that "breaks off... speech before it be all ended" (John Smith, The Mysterie ofRhetorique Unvail'd [1656], 148); it signified shame, fear, or anger, a "sodaine occasion" rupturing or impugning a speech or a story. An “auricular figure of defect," a "figure of silence, or of interruption," according to George Puttenham, aposiopesis was "fit for phantasticall heads" (The Arte of English Poesy [1589], 139). Should "phantasticall heads" prevail, figures flourish: as Dryden observed, "interrogations, exclamations, hyperbata, or a disordered connection of discourse" naturally convey fervid, enthusiastic, rancorous speech. "By me," the character 'Aposiopesis' says in Samuel Shaw's Words Made Visible (1679), "wise men stop themselves in the very career of their passion," and "do not tell you half of what they'l make you feel" (168). A taut ensemble of figures embody vehemence or incoherence, fre­ quently asyndeton (acervatio dissoluta), hyperbaton, and aposiopesis, but all staccato, inflamed, or interrupted speech—devoted to 'feeling' rather than 'telling'—has a robust somatic component. Passion is expressed by voice (pronuciatio) and gesture (actio), the fifth, and perhaps most important, canon of rhetorical invention, as some, following Demosthenes, have argued. Deliv­ ery is a "sort of language of the body" (Cicero, Orator, 17.55), and where but in the theatre might such a language have more power? Orators might learn from actors (see Quintilian, 11.3 ff.): making an effective speech, whether to the pit or in the court, enjoins eloquence of the head and arms, hands and eyes as well as invention, disposition, bold figures (as Joseph R. Roach, The Player's Passion: Studies in the Science ofActing [Cranburgh, New Jersey: Asso­ ciated University Presses, 1984], has argued). The inarticulate is a species of performance, to which the 'age of eloquence' devotes significant resources. Carla Mazzio's erudite and stimulating The Inarticulate Renaissance does not explore actio or pronunciatio (she cites neither Roach nor Noel Malcolm's The Origins of English Nonsense [London: Fontana, 1998], which treats early Rhetorica, Vol. XXXI, Issue 1, pp. 111-133, ISSN 0734-8584, electronic ISSN 15338541 . ©2013 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2013.31.1.111. 112 RHETORICA modern poetic nonsense). While she briefly engages Thomas Wilson s Ci­ ceronian Arte of Rhetorique and Abraham Fraunce's Ramist Lawiers Logike (unaware that Fraunce paraphrases rather than 'cites' Ramus [121]), Mazzio s sense of the rich and variegated history of rhetoric in the period is akin to her uneven treatment of humanism—partial or monolithic, jejune or stultifying, depending on her argument. She is rarely sensitive to the revisions underway in rhetorical inquiry in the period, where former vices (aenigma, for example) are redescribed as virtues, by playwrights schooled in humanist rhetorical canons, eager to ignite their increasingly sophisticated audiences. Instead, her focus is "alternative foims of perception, expression, and agency that were occasioned by departures from verbal coherence and efficacy" (216 n. 2). In six parts, The Inarticulate Renaissance deftly and subtly examines an eclectic ensemble of 'departures': Reformation polemic and emergent na­ tionalism, Ralph Roister Doister and Hamlet, the haptic in Thomas Tomkis' play Lingua (1607) and the politics and poetics of revenge in Thomas Kyd. Her notes and bibliography (more than one third of the text) gather an im­ pressive array of contemporary scholarship, and her readings of various texts are sophisticated, even virtuoso. Her chapter on Kyd's Spanish Tragedy (1592), for example, suggests that the play "fails to fully synthesize classical and contemporary materials" (95); the resultant "confusion" speaks to the ways in which Kyd exposes the "less than articulate underside of imperial ambition and Protestant proto­ nationalism" (96) as well as...

118 RHETORICA Finally, all four of the above scholars agree that the United States en­ tertained a golden age of republican deliberation, eclipsed by some nondemocratic darkness. The corrupting culprit has many faces—prophetic oratory, patriotic veneration, ironic citizenship, enemyship—and the glo­ rious democratic days stretch across many, often contradictory, periods before 1789 (Engels), after 1789 (Mercieca), before 1810 (Eastman), after 1810 (Gustafson). Despite disagreements about why or when democracy fell, the aftermath is always the same, the narrative always romantic-tragic. If the American Enlightenment has been defined as the Rhetorical En­ lightenment, then scholarship of the era is aptly positioned to engage in a consummately Enlightenment effort: critique. Future scholars can ques­ tion the assumed discursive nature or regional character of the American Enlightenment. They can interrogate the assumption that the American En­ lightenment was primarily realized in public address. And they can press on the continual and inconsistent attempts to locate a golden age of democratic deliberation preceding a tragic collapse. For that reason, despite their many merits, these four books' greatest virtue is their common invitation to critical reception. Mark Garrett Longaker University of Texas at Austin Eugenio Refini, Per via d'annotationi. Le glosse inedite di Alessandro Piccolomini all'Ars Poetica di Orazio («Morgana.» Collana di studi e testi rinascimentali diretta da Lina Bolzoni n. 11), Lucca: Maria Pacini Fazzi Editore, 2009, 246 pp. ISBN 978-88-7246-956-9 Nel panorama di studi sul secondo Cinquecento italiano s'inserisce Tedizione delle inedite Annotationes quaedam super Artem Poeticam Horatii di Alessandro Piccolomini, erudito senese (1508-1579) della cui produzione solo in questi anni si sta compiendo un recupero plenamente scientifico: un primo, concreto esempio è dato proprio da questo volume, ottimamente curato da Eugenio Refini che qui sviluppa la sua dissertazione di laurea, discussa a Pisa nel 2007. Si tratta di un commento, quello del Piccolomini, che molto probabilmente era pronto per la stampa, ma che rimase inedito forse a causa della morte del suo autore, avvenuta nel 1579. In ogni caso testimonia la lunga frequentazione di Piccolomini con la poesía oraziana, il cui apporto non è stato finora sufficientemente approfondito, dal momento che Tattenzione degli studiosi si è maggiormente concentrata sui contributi aristotelici che Piccolomini iniziô a elaborare negli anni del suo soggiorno a Padova tra il 1538 e il 1542 e che lo accompagnarono anche successivamente (le Annotazioni nel libro della Poetica d'Aristotele pubblicate a Venezia nel 1575, dopo che Reviews 119 tre anni prima ne aveva tradotto il testo, e i tre volumi délia Parafrase alla Retorica aristotélica, usciti tra il 1565 e il 1572). Il volume si articola in cinque densi capitoli che mirano a illustrare il método di lavoro di Piccolomini (a questo tema sono sostanzialmente dedicati i primi due: «Poeta in hoc libro, non philosophus». Methodus e ordo nella glossa proemiale delle Annotationes, pp. 21-31; Commentare Orazio «per via d'annotationi,» pp. 33-48) e a focalizzare le riflessioni che Orazio suggerisce ail umanista senese nell elaborazione teorética sul concetto di poesía e di poética, in stretta dialettica con i contributi aristotelici (su questi argomenti sono centrati i tre successivi capitoli: «Fuit haec sapientia prima.» La poesía nel sistema piccolominiano dei sapen, pp. 49-83; «Non satis est pulchra esse poemata.» Diletto e giovamento nella lettura piccolominiana di Orazio e Aristotele, pp. 85-106; «Sic veris falsa remiscet». Cose e parole tra falso, vero e verisimile, pp. 107-135). Nel primo capitolo, Refini sottolinea corne Piccolomini nel proemio delle Annotationi s'interroghi in mérito alla specifica natura dell'Ârs poética, di cui rivendica la qualifica di testo poético e non filosófico, evidenziandone «il carattere asistematico» (p. 22). Refini, inoltre, ha il mérito di collocare questa riflessione all'interno di un più ampio dibattito sul concetto di methodus, esemplificato da Robortello e, soprattutto, dal De methodis di Giacomo Zabarella del 1578, che lo definisce, secondo le chiare parole dello stesso Refini, corne «il procedimento attraverso il quale da una cosa nota si deduce o inferisce cosa ignota» (p. 24). Come si puô notare, l'attenzione non solo nominalistica che Piccolomini assegna alla natura del testo oraziano, alla...

124 RHETORICA Díaz Marroquin's most original contribution appears in the study's final chapters: Is it possible to move the current public's affects and passions, living in a society so far apart from the early-modern one, both conceptually and psychologically? As an answer, she chooses late 20i,z century artists who, using different means, achieve similar goals as those attained by the classical masters of rhetoric, by the authors of the baroque plays and by the early composers and librettists of the proto-operatic dramas. Some of these are the videoartists B. Viola and Nam June Paik, the stage director P. Sellars and the group La Fura dels Baus. The study's last section operates as a foreword for the present economic crisis. In view of the economic difficulties many theatres -including opera theatres- are currently encountering, Diaz Marroquin wonders whether the practice of performing repertoires created centuries ago may still achieve coherence on the 21st century stage. She concludes that the key lies in the controversial field of memory. This concept may be understood in the classical sense, as one of the cannons of rhetoric, but also in the mnemonic, in the historical one and, over all, as the affective memory described in treatises on dramatic technique such as Garcia's or, later on, Stanislavski's. As she affirms, "[La] memoria estetiza la experiencia personal y, superadas las fases de dolor en el acceso a determinadas zonas, se la ofrece, fertilizada, a la interpretación dramática" (p. 297). Human beings, no matter whether we live within the limits characterizing the pre-Romantic subjectivity or beyond them, seem to experience similar patterns of thought and emotion, although our circumstances may be different according to the diverse power schemes we live in. Analyzing the pre-Romantic emotion, therefore, implies identifying these circumstances and translating them to codes intelligible to the 21st century reader and performer. Diaz Marroquin's La retórica de los afectos operates as this kind of translation: A lucid, lively and critical travel across the at times tortuous, but always fascinating territories of reason and emotion. Aurelia Pessarrodona Universitd di Bologna, Fundación Española para la Ciencia i/ la Tecnología. Christopher Lyle Johnstone, Listening to the Logos: Speech and the Coming of Wisdom in Ancient Greece. Columbia: University of South Carolina Press, 2009. 300 pp. ISBN 978-1-57003-854-9 Christopher Lyle Johnstone's Listening to the Logos: Speech and the Com­ ing of Wisdom in Ancient Greece revisits rhetoric's relationship to philoso­ phy; Johnstone's contribution is to examine this relationship in light of an­ cient notions of wisdom. The book demonstrates that speech will not align neatly with rhetoric nor wisdom with philosophy. Rather Johnstone main­ tains that both rhetoric and philosophy use language to develop different Reviews 125 kinds of wisdom: philosophy leans toward metaphysical or natural wisdom, while rhetoric is inclined toward practical wisdom. Listening to the Logos traces Greek conceptions of wisdom from Homer to Aristotle, emphasizing throughout that wisdom has always relied on logos. Though Johnstone concludes his history of wisdom with Aristotle's tax­ onomy of knowledge, his challenge is to trace sophia and phronesis backwards. Early on Johnstone confronts the problems that attend reading ancient texts. Much of the book, for example, focuses on pre-Socratic nn/thos and logos for which we have only fragmentary sources. However, Johnstone's interpreta­ tions are buttressed by commentaries and secondary sources. He recovers very early notions of sophia, which, he argues, is "a kind of active knowledge or competence that is linked specifically with the practice of a techne, an art or craft" and phronesis is linked to the body, especially the heart (p. 29). Since in these mythopoetic texts sophia and phronesis do not yet suggest their Aristotelian meanings, Johnstone searches for other analogues. Based on his interpretation of narratives, Johnstone concludes that in a mythopoetic worldview "[h]uman wisdom is derivative" and "comes from the gods, who alone can apprehend true justice, who alone can know what the Fates have ordained" (p. 31). People are wise, then, when they understand the gods through history and myth (p. 31); knowledge of the...

Dionysius of Halicarnassus’s account of ethopoeia at Lysias 8 is often cited as evidence of Lysias’s mastery of character portrayal, but the passage itself has received little in-depth analysis. As a consequence, Dionysius’s meaning has at times been misinterpreted, and some of his insights on characterization have been neglected. When the account is examined closely, three unique points of emphasis emerge which, taken together, constitute a particular type of characterization: persuasive, as opposed to propriety-oriented, ethopoeia. Making this distinction promotes conceptual clarity with regard to ethopoeia while calling attention to Dionysius’s insights on the role of style and composition in the creation of persuasive ethos.

Reviews 113 to emergent communities, heretical selves: mystics or Ranters, for instance. Instead, lapses into heretical selfhood are signaled by the emergence of affect, which requires subvention by the inarticulate, as if emotions had to wait for the inchoate in order to appear. For example, as both character and play, Hamlet "foregrounds" the inarticulate as a "cultural construct," as a "means by which 'feeling' could surface," and as a principle of inter-subjective vulnerability (176). Perceiving this counterintuitive pulsion at work, seeing the inarticulate in a "more positive light," requires an exploration of a Tudor "aesthetics of feeling," Mazzio contends (180). Nowhere does she offer such an aesthetics. Rather, she relies on contemporary literary theory for many of her historical arguments, and readers are frequently directed to Eve Sedgwick or Lacan, Jean-Luc Nancy or Hegel in lieu of evidence from the period. Yet The Inarticulate Renaissance succeeds: Mazzio focuses our attention on the suitability of English for worship and ceremony, scripture and poetry, on the fortunes of theatrical mumbling and print polemic, on audiences as 'assemblies,' above all on what Tomkis in Lingua calls a "tunes without sense, words inarticulate." However, in some ways, Mazzio's inquiry is reminiscent of the decline of rhetorical engagement late in the period she studies, of the ways in which past thinkers distrusted rhetoric as a guide to both speech and practice, of the ways oratio was emptied of ratio. In this ambitious, learned work, Mazzio is equally wary: a focus on the inarticulate is symptomatic of distrust. But it also signs a trend in contemporary scholarship. Boredom, ennui, anxiety, and now the inarticulate are experiencing a renaissance, in part because current perceptions of (early) modernity are conditioned by its failures, by its perils not its promises. One promise was transparency—of both method and communication—and 'words inarticulate' court opacity. But as 'feeling' rather than 'telling,' as a rhetoric that develops and refines a deepening commitment to pathos, inarticulation necessarily assumes the eloquence of the age. Stephen Pender University of Windsor Carolyn Eastman, A Nation of Speechifiers: Making an American Public after the Revolution. Chicago: University of Chicago Press, 2009. xi + 290 pp. ISBN 978-0-226-18019-9 Jeremy Engels, Enemyship: Democracy and Counter-Revolution in the Early Republic. East Lansing: Michigan State University Press, 2010. xi + 316 pp. ISBN 9780087013980-2 114 RHETORICA Sandra M. Gustafson, Imagining Deliberative Democracy in the Early American Republic. Chicago: University of Chicago Press, 2011. x + 271 pp. ISBN 978-0-226-31129-6 Jennifer R. Mercieca, Founding Fictions. Tuscaloosa: University of Alabama Press, 2010. xi + 274 pp. ISBN 978-0-8173-1690-7 In 1690, as the Enlightenment was just glimmering on the English hori­ zon, John Locke calumniated rhetoric (Essay Concerning Human Understand­ ing III.10). In 1790, as the Enlightenment's dusk settled over Koenigsberg, Immanuel Kant similarly decried the art (Critique of Pure Judgment 1.53). Though a century and a continent apart, they expressed a common disdain for rhetoric. Notably absent from this account are the American continents. Recent scholarship, however, finds that the American Enlightenment yielded a wealth of innovative rhetorical practice, placing public argument at the heart (or rather in the agora) of healthy democracy. Brian Garsten's Saving Persuasion (2009) exemplifies a now common effort to catalogue the British and European hostility to rhetoric while lauding United States thinkers, such as James Madison, who celebrated free public debate. If the Euro­ pean Enlightenment philosophically counseled, sapere aude, then the Amer­ ican Enlightenment pragmatically retorted disputare aude. Four recent books, two by historians and two by rhetoricians, more fully chronicle this prac­ tical response to the philosophical penchant, a rhetorical contrast with the philosophes' critical Enlightenment. Sandra Gustafson's Imagining Deliberative Democracy in the Early Amer­ ican Republic charts the course of U.S. "deliberative democracy," which "emphasizefs] the political power of language and advancejs] a commit­ ment to dialogue and persuasion as the best means to resolve conflicts and forge a progressive tradition" (220). She highlights dueling conciliatory and prophetic traditions of public address. The conciliatory tradition dominated the United States circa 1815-1835. Paying particular attention to political and pulpit oratory, Gustafson contrasts the Hellenistic William...