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001			76707
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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPA
100	1		_aBaldwin, Charles Sears, _d1867-1935
245	1	0	_aAncient rhetoric and poetic
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-08-19
508			_aTor Martin Kristiansen, Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net
520			_a"Ancient Rhetoric and Poetic: Interpreted from Representative Works" by Charles Sears Baldwin is a scholarly treatise written in the early 20th century. It surveys classical theories of rhetoric and poetics through representative authors to recover practical principles of composition for modern readers. The work argues for a twofold view of composition—rhetoric as public, logical persuasion and poetic as imaginative movement—while tracing how ancient practice informs medieval pedagogy and Renaissance criticism. The opening of the book sets out the author’s purpose and method in a preface: to let figures like Aristotle, Cicero, Quintilian, Dionysius of Halicarnassus, and the author of “On the Sublime” speak for themselves, with a strict focus on composition and a deliberate exclusion of metrics. Chapter I distinguishes rhetoric from poetic not by verse versus prose, but by the kind of movement—idea-to-idea for rhetoric versus image-to-image for poetic—while acknowledging shared stylistic resources and emphasizing the pedagogical value of the distinction. Chapter II then begins a sustained reading of Aristotle’s Rhetoric: Book I defines rhetoric as discerning the available means of persuasion (with the enthymeme as its chief instrument) and maps deliberative, forensic, and occasional speech with their core topics. Book II shifts to the audience, analyzing emotions and character types to guide ethical adaptation. Book III turns to the speech itself—diction, rhythm, the periodic sentence, delivery, and the traditional parts—arguing that prose should be rhythmical but not metrical, and that vivid metaphor, energetic presentation, and apt arrangement make ideas act “before the eyes.” (This is an automatically generated summary.)
534			_pOriginally published: _cGloucester, MA: Peter Smith, 1924
653			_aRhetoric, Ancient
653			_aPoetics -- History -- To 1500
653			_aClassical literature -- History and criticism -- Theory, etc.
856	4	0	_uhttps://www.gutenberg.org/ebooks/76707
999			_c117432 _d117432