| The Elements of Eloquence: How to Turn the Perfect English Phrase | |
| Author: | Mark Forsyth |
| Country: | UK |
| Language: | English |
| Subject: | Rhetoric |
| Published: | 2013 |
| Publisher: | Icon Books |
| Pages: | 224 |
| Isbn: | 9781848316218 |
The Elements of Eloquence: How to Turn the Perfect English Phrase is a non-fiction book by Mark Forsyth published in 2013.[1] [2] [3] The book explains classical rhetoric, dedicating each chapter to a rhetorical figure with examples of its use, particularly in the works of William Shakespeare. Forsyth argues the power of Shakespeare's language was a result of studying formal rhetoric, and highlights their use through Shakespeare's development.
Repeating the sound of the first consonant in a series of words. An example of its deliberate overuse given by Forsyth is:
Forsyth defines this as the "use of one word as different parts of speech or in different grammatical forms". The term applies wherever words derived from the same root (e.g. wretched and wretchedness) are used. Other sources use the related term antanaclasis when the same word is repeated in a different sense.
The use of opposites for contrasting effect. The example quoted by Forsyth is:
Reference to one thing by an enumeration of its parts, or by a list of synonyms. The chapter focuses on the first definition and provides the following example:
The tradition in poetry of praising a woman by using metaphors to describe distinct parts of her body. Calling this "extended merism, the dismemberment of the loved one", Forsyth quotes:
Where one sense is described in terms of another. An example given by Forsyth is Eduard Hanslick's criticism of Tchaikovsky's Violin Concerto as "music that stinks to the ear".
When a sentence is deliberately left unfinished, with the ending to be supplied by the audience's imagination. This makes an impression of unwillingness or inability to continue.[4] Forsyth gives as an example:
Changing the logical order of words in a sentence. As an example, Forsyth cites Richard Lovelace's line, "Stone walls do not a prison make" when the more natural wording would be "Stone walls do not make a prison", adding that in any case the statement is "factually incorrect".
Repetition of the last word of a preceding clause. Forsyth give this example:
A sentence that is not complete grammatically before the final clause or phrase, such as Rudyard Kipling's poem If—
Forsyth contrasts hypotaxis, as a complex style of writing using many subordinate clauses, with parataxis, a style of writing in short, simple sentences.
The close repetition of a word or phrase, separated by a word or words. Forsyth says the line "Bond, James Bond" is memorable only because of diacope, writing,: "So just to recap, one of the greatest lines in the history of cinema is a man saying a name deliberately designed to be dull. The only possible explanation for the line's popularity is the way it is phrased. ... Wording, pure wording".
As described by Forsyth, who admits "how complicated this all is", rhetorical questions can be mainly divided into:
and
For emphasis an adjective-noun form is replaced by a noun-and-noun form. As an example, Forsyth writes, "So instead of saying 'I'm going to the noisy city' you say 'I'm going to the noise and the city'".
Repetition of a word or words at the end of successive phrases, clauses or sentences for emphasis. Forsyth quotes:
A sentence composed of three equal parts. Forsyth cites France's motto (Liberté, égalité, fraternité).
Repetition of a word or phrase for emphasis. For example:
Where a word, used with two other parts of a sentence, must be understood differently in relation to each.
A sentence is composed of two parts equivalent in structure, length and rhythm. Other sources suggest at least two equivalent parts.
A deliberate grammatical mistake.
Example: "Mistah Kurtz—he dead" from Joseph Conrad's Heart of Darkness.
Forsyth discusses the effect of different verse forms
A series of clauses using the same verb.
A logically false or impossible statement, for emphasis or contrast.
The symmetrical repetition of structure or wording.
Example: "Let us never negotiate out of fear, but let us never fear to negotiate." - John F. Kennedy.
The repetition of a vowel sound.
Providing an unnecessarily specific number for something for emphasis.
The grammatically incorrect use of words for creative expression.
Example: Hamlet saying "I will speak daggers"—a catachresis since one cannot literally "speak a dagger".
Emphasizing a point by denying the opposite.
Using something connected to the thing described, or a part of it, in place of the thing itself.
Applying an adjective to the wrong noun, for effect.
Using superfluous or unnecessary words for emphasis.
Repetition of a word or phrase at the beginning and end of a sentence or clause to emphasize circularity.
Ascribing human actions or qualities to a non-human thing.
Exaggeration.
Hyperbole so extreme that it is completely impossible.
Using a pronoun at the start of a sentence, which reverses the normal order.
A bewildering list of adjectives or nouns.
Sentences without a main verb.
Starting each sentence with the same words.
David Evans, in The Independent, called it an "enjoyable, accessible book". Christopher Howse in The Spectator described the author as "well informed and amusing". Howse also criticised several mistakes and wrongly attributed quotes, hoping "the publishers, having let those through, will mend them in the many future printings the book deserves" . The Wall Street Journal review said Forsyth is "adept at adding spice to received wisdom and popularizing the findings of academic linguists" and emphasizes that "potent rhetorical devices are all around us".[5]