A College Manual of RhetoricLongmans, Green, and Company, 1902 - 451페이지 |
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vii 페이지
... emphasis b . as a series of paragraphs ii . The Paragraph a . as a whole I. unity . 2. coherence ( a ) explicit reference ( b ) asyndeton 3. emphasis ( a ) of position 778 9 9 IO 12 12 12 13 13 16 17 17 18 19 . 19 19 ( b ) of space ...
... emphasis b . as a series of paragraphs ii . The Paragraph a . as a whole I. unity . 2. coherence ( a ) explicit reference ( b ) asyndeton 3. emphasis ( a ) of position 778 9 9 IO 12 12 12 13 13 16 17 17 18 19 . 19 19 ( b ) of space ...
viii 페이지
... emphasis coördination and subordination 1. through the period i . Scope ii . Aim iii . Method 2. through climax 3. through balance . 4. in relation to the coherence of the whole paragraph CHAPTER II . §§ 49-80 II . EXPOSITION a ...
... emphasis coördination and subordination 1. through the period i . Scope ii . Aim iii . Method 2. through climax 3. through balance . 4. in relation to the coherence of the whole paragraph CHAPTER II . §§ 49-80 II . EXPOSITION a ...
ix 페이지
... emphasis ( ƒ ) coherence iii . Literary Forms . · 109 III • 114 • · 114 • 115 • 116 · 117 I 20 • 122 125 B. LITERARY COMPOSITION ( NARRATION AND DESCRIPTION ) CHAPTER IV . §§ 145-152 I. THE ELEMENTS OF LITERARY COMPOSITION i . Unity . a ...
... emphasis ( ƒ ) coherence iii . Literary Forms . · 109 III • 114 • · 114 • 115 • 116 · 117 I 20 • 122 125 B. LITERARY COMPOSITION ( NARRATION AND DESCRIPTION ) CHAPTER IV . §§ 145-152 I. THE ELEMENTS OF LITERARY COMPOSITION i . Unity . a ...
x 페이지
... emphasis ) b . development of character ( coherence as consistency ) . c . dialogue ii . Plot • a . unity . · 1. through the limiting of time and place ( a ) the " dramatic unities " 2. through the choice of a narrator b . emphasis I ...
... emphasis ) b . development of character ( coherence as consistency ) . c . dialogue ii . Plot • a . unity . · 1. through the limiting of time and place ( a ) the " dramatic unities " 2. through the choice of a narrator b . emphasis I ...
7 페이지
... emphasis . The principle of unity demands that the whole composition shall show one main purpose and have one main effect , and that every part of it shall harmonize with that pur- pose and contribute to that effect . Negatively , unity ...
... emphasis . The principle of unity demands that the whole composition shall show one main purpose and have one main effect , and that every part of it shall harmonize with that pur- pose and contribute to that effect . Negatively , unity ...
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action appears applied argument Aristotle artistic asyndeton authority blank cartridges Brander Matthews called Carveth Read Chapter character Cicero clause climax coherence colour Compare composition Congress course definition diction distinct division drama effect elegance emotional emphasis English enthymeme essay evidence exercise exposition expository expression fact feeling Fifteenth Amendment force GEORGE MEREDITH Greek Habakkuk habit hand idea implies induction instance interest Japanese John La Farge kind language less literary literature logical maniples means method Middlemarch narration narrative nature never novel paragraph pathetic fallacy persuasion phrase plot practice principle proof proposition prose Quintilian reader reason refutation regulate commerce Rhetoric Roman Roman legion scene seems Selection sense sentence short-story speech story student style suggestion summary syllogism symmetry tence things thought tion trees triarii typically unity usually verse vessels whole words writing York
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412 페이지 - It is the power to regulate; that is, to prescribe the rule by which commerce is to be governed. This power, like all others vested in Congress, is complete in itself, may be exercised to its utmost extent, and acknowledges no limitations, other than are prescribed in the constitution.
80 페이지 - Subduct from any phenomenon such part as is known by previous inductions to be the effect of certain antecedents, and the residue of the phenomenon is the effect of the remaining antecedents.
22 페이지 - It is gone, that sensibility of principle, that chastity of honour, which felt a stain like a wound, which inspired courage while it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.
224 페이지 - God is gone up with a shout, the Lord with the sound of a trumpet.
8 페이지 - Yet even in the Old Testament, if you listen to David's harp, you shall hear as many hearse-like airs as carols; and the pencil of the Holy Ghost hath laboured more in describing the afflictions of Job than the felicities of Solomon.
225 페이지 - O LORD, I have heard thy speech, and was afraid: O Lord, revive thy work in the midst of the years, In the midst of the years make known; In wrath remember mercy.
8 페이지 - We see in needle-works and embroideries, it is more pleasing to have a lively work upon a sad and solemn ground, than to have a dark and melancholy work upon a lightsome ground : judge therefore of the pleasure of the heart by the pleasure of the eye. Certainly virtue is like precious odours, most fragrant when they are incensed or crushed: for Prosperity doth best discover vice, but Adversity doth best discover virtue.
185 페이지 - And now, all in my own countree, I stood on the firm land! The Hermit stepped forth from the boat, And scarcely he could stand. "O shrieve me, shrieve me, holy man!" The Hermit crossed his brow. "Say quick...
7 페이지 - IT WAS a high speech of Seneca (after the manner of the Stoics), that the good things which belong to prosperity are to be wished; but the good things that belong to adversity are to be admired.
13 페이지 - England, Sir, is a nation which still, I hope, respects, and formerly adored, her freedom. The colonists emigrated from you when this part of your character was most predominant ; and they took this bias and direction the moment they parted from your hands. They are therefore not only devoted to liberty, but to liberty according to English ideas, and on English principles.