By Vessela Valiavitcharska

Rhetoric and Rhythm in Byzantium takes a clean examine rhetorical rhythm and its conception and perform, highlighting the shut affinity among rhythm and argument. according to fabric from Byzantine and outdated Church Slavonic homilies and from Byzantine rhetorical commentaries, the e-book redefines and expands our realizing of either Byzantine and previous Church Slavonic prose rhythm. It positions rhetorical rhythm on the intersection of prose and poetry and explores its position in argumentation and persuasion, suggesting that rhetorical rhythm can hold throughout linguistic barriers, and usually goals to illustrate the stylistic and argumentative significance of rhythm in rhetorical perform. alongside the best way, it demanding situations the entrenched separation among content material and magnificence and emphasizes the function of rhythm as a device of invention and a way of making shared emotional adventure.

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C h a p ter 1 Rhythm and meter in Byzantine eyes: Hellenistic traditions and Byzantine theory All discourse is adorned with meter, but in poetry it is perceived with the senses, while in prose it is perceived with the mind. -Dionysius on meter It has by now become a scholarly commonplace to protest the long-standing neglect of Byzantine literature. Having been regarded, in the past 200 years, as a stilted appendage to its classical counterpart, Byzantine writing has been judged, more often than not, by standards created by classical scholars and developed from a post-Romanticist perspective, in which originality, sublimity, and personal genius form the measuring rod of literary appreciation.

Ed. Walz vi: 237–39). His chief concern is to demonstrate why the metrical feet fall into these ratios, not to explain how rhythm works. But the aim of his discussion is not simply to impart knowledge of a technical matter as an end in itself. It is to explain the harmony of rhythms – the rhythmic genera whose combinations form either a euphonious or a cacophonous flow. The goal of word arrangement, note the commentators, is to put the words together in such a way that the metric feet naturally formed by them blend well with each other.

Choeroboscus, in his scholia on Hephaestion’s treatise on metrics, 18 Cf. also Quint. Inst. 72–81. The rhythmical unit of prose 33 notes that “the present book is useful not to everybody, but to those writing books in meter; not, however, to the rhetoricians or those simply using prose speech” (Consbruch 1906: 180). Rhetoricians, in other words, are not as interested as poets are in the intricacies of metered verse. Their chief concern is the rhythm of prose, not simply the prosodic sequences that may go into it.

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