By Sam Leith
This can be a witty, based enquiry into the artwork of persuasion. Rhetoric is not anything to be fearful of. It isn't the particular safeguard of politicians: it's all over, out of your argument with the assurance corporation on your plea to the waitress for a desk close to the window. It convicts criminals (and then frees them on appeal). It explanations governments to upward push and fall, most sensible males to be kept away from by means of their friends' brides, and completely brilliant adults to march with regular function in the direction of computing device weapons. during this hugely pleasing (and persuasive) publication, Sam Leith examines how humans have taught, practised and considered rhetoric from its Attic origins to its twenty-first century apotheosis. alongside the way in which, he tells the tales of its heroes and villains, from Cicero and Erasmus, to Hitler, Obama - and Gyles Brandreth. wisdom, it's been acknowledged, is strength. And rhetoric is what offers phrases power.
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Thing-as-it-is-communicated. She calls rhetoric ‘the master art of the trivium’. In the Renaissance the art of rhetoric overlapped substantially with the arts of drama and poetry – not only because of their formal congruences in terms of rhythm, sound effects, metaphor and whatnot, but because those seeking to put language at the service of power were courtiers of an absolute monarch rather than citizens of an Athenian democracy. Poetry and drama were deeply involved in networks of patronage: praise-poems, sucky-up dedications, scurrilous broadsides and vicious ‘flytings’ of one’s rivals.
He saw this as showboating – playing to the gallery. On the eve of battle, he said – and he spoke with some authority – you want to hear your commander speaking to you in your own language. The soldiers Col. Collins was addressing would for the most part have been lads in their teens and early twenties, most of them relatively unsophisticated, and many of them anxious that by the end of the following day they would be in prospect of being killed. ’ I can’t speak for Col. Collins’s men, of course, and nor could he.
Liberal arts, making it an object of systematic study and finding a place for it in his system of thought. Rhetoric was, for Aristotle, dialectic’s wayward cousin: having as its method not ‘this therefore that’ but ‘probably this so likely that’, and as its object not knowledge but persuasion. Rhetoric, he said, was a tekhne¯: a practical skill. It was teachable. Aristotle was a pretty astonishing figure. Not only did he lay the foundations for all subsequent study of how poetry and drama work, but he more or less invented formal logic, knocked off the basis of the scientific method, produced significant advances in political theory, ethics, zoology and for all I know invented skateboarding on a Wednesday afternoon when he had nothing better to do.