"There are no studies of a sacred way in the English Renaissance," writes Deborah Sugar, because even for its practitioners it was not supposed to exist. However, the great pattern constitutes the unrecognized center of traditional rhetorical theory.
On this first history of the grand style, Professor Sugar explores a Christian aesthetic growth of the great classical style, showing its evolution from the Isocrats to the sacred speeches of the Renaissance. This rhetoric calls for a great Christian style, not a fickle or comic tradition. Its models include Tacitus and the Bible, as well as Cicero, whose theoretical sources include not only Cicero and Quintilian, but Hermogenes and Longinus.
This method dominates the best scientific pronouncements of the period - texts written in Latin, while ignored by most modern scholars, were widely used in England throughout the 16th and 17th centuries. These works are the first attempts since Augustine's revision of the Czech rhetoric to restore the old rhetorical theory of the theory of Christian knowledge and theology.
According to Professor Sugar, the great Christian style is passionate, vital, dramatic, metaphorical - but this emotional energy and sensitivity are shaped and formed by the religious culture of the Renaissance. Thus the sacred discourse can not be considered regardless of the contemporary theories of knowledge, emotion, self, and interpretation. Between the word and the world.
Moreover, these texts suggest the almost forgotten central role of the new Latin scholarship during these years and provide a critical theoretical context for England's great denial of prose and poetry. Originally published in 1988.
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