crucified' was now his all in all; and this knowledge thrilled every fibre of his body." If he had written, "Yet he did know that his all in all was summed up in Christ and Him crucified,'" etc., the clash in grammar would have been avoided without invading the accuracy of the quotation. 3. As to manner of quoting. If a quoted passage is a paragraph by itself it should occupy a paragraph in the citation; if only a sentence or a phrase, it may be run into the text. Poetry should be quoted in lines, if more than one line is quoted; if only one line, or part of a line, the writer should judge whether from its closer or looser connection, it will better appear in the body of his own thought or in a line by itself. It is a pretty general and commendable custom nowadays not to put quotation marks to well-known passages and phrases, as from the Bible and Shakespeare; they may be treated as common stock of language. NOTE. In one case of quoting Matthew Arnold runs verse into prose, in part, it would seem, to express his silent contempt for it as poetry: "He may disobey such indications of the real law of our being, in other spheres besides the sphere of conduct. He does disobey them, when he sings a hymn like: My Jesus to know, and feel his blood flow, or, indeed, like nine-tenths of our hymns, - or when he frames and maintains a blundering and miserable constitution of society, as well as when he commits some plain breach of the moral law." 1 To quote the italicized passage as poetry would be to dignify it unduly. Allusion and Suggestion. The amount of thought actually conveyed through literature is not to be measured by what is said, but by what the reader is made to think and feel. And so beyond the definite impartations of language there is a whole realm of vaguer elements: allusions, turns of phrase, colorings of figure, subtleties of rhythm and assonance, which have their effect in enriching both the thought and the emotional power of the discourse. Sometimes an abrupt leavingoff, or a silence about something that the reader may be left 1 ARNOLD, Literature and Dogma, p. 39. to think for himself, may amplify better than expression. All these vague elements are beyond the sphere of rules or even discipline; they must be left to the native literary sense using the powers of a full-stocked mind. Under various topics of style they have already been sufficiently exemplified. NOTE. For Implicatory Words and Coloring, see above, pp. 87-94; for Animus of Word and Figure, pp. 102-106; for the suggestion of sound in language, pp. 153-162; for picturing power of language, pp. 146-153. A suggestive article on this subject is, The Vague Elements in Language, BURTON, Yale Lectures, p. 222. BOOK V. THE LITERARY TYPES. In our study of inventive processes hitherto, we have contemplated the laws of invention as they avail for any and every kind of material. But material, as it is of widely varied kinds, must apply these laws variously. Each kind has its own handling of theme, its own ordering or movement of main ideas, its own natural current of amplification. Each kind of material, therefore, according to its prevailing inventive attitude, conforms to a specific literary type, by which the whole composition is known and classified. Four leading types thus take their rise; named from the processes concerned respectively in the production of them. These, with the kinds of material with which they deal, are as follows: Description; invention dealing with observed objects. Exposition; invention dealing with generalized ideas. Argumentation; invention dealing with truths, and with issues of conviction. To the study of these the coming four chapters will be devoted. Though, as above said, a finished literary work is known and classified under some one type, yet it is to be noted that these types are combined in a great many ways, one helping and reinforcing another. Some of the most important of these combinations will be pointed out. Beyond this, however, and in general beyond the study of the unmixed types, it is not in the scope of a rhetorical text-book to go. The completed literary forms call for a more advanced course of investigation. CHAPTER XIV. DESCRIPTION. BEYOND doubt the most primitive and natural impulse to literary utterance manifests itself in men's effort to report what they observe in the world around them. This impulse is equally spontaneous whether the objects observed be at rest or in action, whether persons and things or events; and thus this simplest inventive effort results in two types of discourse, description and narration; types generally found in some proportion together, but distinct in principle, and therefore needing to be studied separately. Definition of Description. Description is the portrayal of concrete objects, material or spiritual, by means of language. Some points of this definition need special explication. Observe: 1. Definition centres in portrayal. This is a painter's term, and represents an analogous thing, — picturing. Merely to enumerate the parts and qualities of an object would be giving information, and for some purposes this would be enough; but this would be a prosy thing, a catalogue, a report, not a description. To describe is to enlist the imagination in the work, making the reader see or otherwise realize the object with something of the writer's vigor of conception. This means making a kind of word-picture, wherein is something answering to the draughtsmanship, the coloring, the light and shade, the perspective, that give artistry to an actual picture. 2. The objects with which description deals are concrete, that is, not perceived as members of a class, and by class |