Book, Chapter

  1   2,   8|           a certain resemblance of style, but the most likely opinion
  2   2,  31|        hated;" although, indeed, a style of speech which is not intended
  3   4, arg|          most essential quality of style, and ought to be cultivated
  4   4, arg|         there are three species of style, the subdued, the elegant,
  5   4,   7|     concealed under a metaphorical style, which the more completely
  6   4,   7|            but only to commend the style. And I shall do so, quoting
  7   4,   7|          things are spoken of, the style is adorned with names of
  8   4,   9|        which are written in such a style that, if understood, they,
  9   4,  10|       necessity for perspicuity of style~
 10   4,  10|           told. Nay, even when the style itself is already well known,
 11   4,  11|           be done without grace of style, the benefit does not extend
 12   4,  12|           but for that purpose the style of speaking is a matter
 13   4,  12|            the intention, that the style of speech should make the
 14   4,  12|        truth pleasing, or that the style should of itself give pleasure;
 15   4,  13|           and clothed in beauty of style, nothing remains but to
 16   4,  14|          his subsequent letters, a style which is admired without
 17   4,  14|        people who are fond of this style are apt to think that men
 18   4,  14|            employ a more chastened style, do so because they cannot
 19   4,  14|          that he can speak in that style. for he has done so once,
 20   4,  17|         little things in a subdued style, moderate things in a temperate
 21   4,  17|     moderate things in a temperate style, and great things in a majestic
 22   4,  17|         great things in a majestic style:" as if he had taken in
 23   4,  17|         little things in a subdued style, in order to give instruction,
 24   4,  17|     moderate things in a temperate style, in order to give pleasure,
 25   4,  17|         great things in a majestic style, in order to sway the mind." ~
 26   4,  18|            in a subdued and humble style. Is it not the case that
 27   4,  20|       example of the calm, subdued style in the Apostle Paul, where
 28   4,  20|      apostle we have the temperate style: "Rebuke not an elder, but
 29   4,  20|        passage is in the temperate style of eloquence; and those
 30   4,  20|                       The majestic style of speech differs from the
 31   4,  20|         differs from the temperate style just spoken of, chiefly
 32   4,  20|          is written in the subdued style, except at the end, where
 33   4,  21|       memory writes in the subdued style in his treatise on the sacrament
 34   4,  21|          that follows, the subdued style is maintained, as the reader
 35   4,  21|           Son, employs the subdued style, because the object he has
 36   4,  21|           earth.'" And in the same style he pursues the subject,
 37   4,  21|           example of the temperate style is the celebrated encomium
 38   4,  21|           temperate and ornamented style when he is holding up before
 39   4,  21|          examples of the temperate style, because their purpose is
 40   4,  21|            on fire by the majestic style. Cyprian the martyr, however,
 41   4,  21|           examples of the majestic style from their treatment of
 42   4,  21|    Accordingly, we notice that the style is neither subdued nor temperate,
 43   4,  22|            necessity of variety in style~
 44   4,  22|         contrary, every variety of style should be introduced so
 45   4,  22|           keep monotonously to one style, we fail to retain the hearer'
 46   4,  22|          but when we pass from one style to another, the discourse
 47   4,  22|      greater length. Each separate style, again, has varieties of
 48   4,  22|            We can bear the subdued style, however, longer without
 49   4,  22|          variety than the majestic style. For the mental emotion
 50   4,  22|         have to treat in a quieter style, we can return with good
 51   4,  22|            this, that the majestic style, if it is to be long continued,
 52   4,  22|             being referred to that style which is the prevailing
 53   4,  23|       importance to determine what style should be alternated with
 54   4,  23|      necessary that any particular style should be used. In the majestic
 55   4,  23|           be used. In the majestic style, for instance, it is always,
 56   4,  23|      discretion to use the subdued style even where the majestic
 57   4,  23|         Again, whatever may be the style of the speech or writing,
 58   4,  23|      naturally demands the subdued style. And accordingly this style
 59   4,  23|        style. And accordingly this style must be used in alternation
 60   4,  23|          we must use the temperate style, no matter what may be the
 61   4,  23|            action. In the majestic style, then, and in the quiet
 62   4,  23|          find place. The temperate style, on the other hand, not
 63   4,  23|      occasionally, needs the quiet style; for example, when, as I
 64   4,  23|         and expressed in the quiet style, in order to give greater
 65   4,  23|        ornament. But the temperate style never needs the aid of the
 66   4,  24|           produced by the majestic style~
 67   4,  24|           speaking in the majestic style; for this effect is often
 68   4,  24|          distinctions of the quiet style, and by the beauties of
 69   4,  24|            temperate. The majestic style, on the other hand, frequently
 70   4,  24|                          The quiet style, too, has made a change
 71   4,  24|   expressed, even in the temperate style, produce such an effect
 72   4,  24|          are moved by the majestic style act accordingly, and all
 73   4,  24|            are taught by the quiet style know or believe a truth
 74   4,  25|        chap. 25. How the temperate style is to be used~
 75   4,  25|           hand, what the temperate style properly aims at, viz.,
 76   4,  25|           persuade them, beauty of style may have its influence in
 77   4,  25|       speak persuasively, whatever style he may adopt; but unless
 78   4,  25|         object. Now in the subdued style, he persuades his hearers
 79   4,  25|           is true; in the majestic style, he persuades them to do
 80   4,  25|           do not; in the temperate style, he persuades them that
 81   4,  25|              the effecting by this style of eloquence what we aim
 82   4,  25|           when we use the majestic style. For we may by the use of
 83   4,  25|          we may by the use of this style persuade men to cultivate
 84   4,  25|            as to need the vehement style; or if they have already
 85   4,  25| Accordingly, even in the temperate style we must use beauty of expression
 86   4,  26|                 chap. 26. In every style the orator should aim at
 87   4,  26|             perspicuity, beauty of style, and persuasive power, we
 88   4,  26|            peculiar to the subdued style, beauty to the temperate,
 89   4,  26|           all speech, whatever its style, ought constantly to aim
 90   4,  26|         what we say in the subdued style to pall upon the hearer;
 91   4,  26|         story, even in the subdued style, what does he wish but to
 92   4,  26|        attention by some beauty of style? And if he be not intelligible,
 93   4,  26|            conviction? The subdued style, again, in its own naked
 94   4,  26|            a rhythm and balance of style which is not ostentatiously
 95   4,  26|        nature of the subject: this style, so used, frequently calls
 96   4,  26|       believe it to be the subdued style. For the fact that it comes
 97   4,  26|           when he uses the subdued style, to endeavour not only to
 98   4,  26|         Eloquence of the temperate style, also, must, in the case
 99   4,  26|           without perspicuity this style cannot give pleasure. And
100   4,  26|           are to be sought in this style also; beauty, of course,
101   4,  26|      hearer's mind by the majestic style (and this is always necessary
102   4,  26|      course, speak in the majestic style. But who can be moved if
103   4,  26|       pleasure? Wherefore, in this style, too, when an obdurate heart
104   4,  27|          may be the majesty of the style, the life of the speaker
105   4,  28|         words which in the subdued style are adequate, in the temperate,