fbpx
Wikipedia

Clausula (rhetoric)

In Roman rhetoric, a clausula (/ˈklɔːziʊlə/; Latin for "little close or conclusion"; plural clausulae /ˈklɔːziʊli/) was a rhythmic figure used to add finesse and finality to the end of a sentence or phrase. There was a large range of popular clausulae. Most well known is the classically Ciceronian esse videātur type.

Every long sentence can be divided into rhythmical cola (singular colon), in Latin membra (singular membrum), and the last few syllables of every colon tend to conform to certain favourite rhythmic patterns, which are known as clausulae.[1] Shorter cola were known as commata /ˈkɒmətə/ (singular comma), in Latin incīsa (singular incīsum), which also often display rhythmic endings.[2][3]

Clausulae in Cicero's speeches

The constant use of clausulae in Cicero's speeches was first thoroughly investigated by the Polish philologist Tadeusz Zieliński in a monumental work published in German in 1904, following an earlier dissertation by G. Wüst in 1881 and work by other scholars.[4] Zieliński established that a Ciceronian clausula had two parts: a "base", generally a cretic | – u – | or a variation on it, and a "cadence", generally of a trochaic rhythm such as | – x |, | – u x |, or | – u – x |.[5] (Here "–" indicates a long syllable, "u" a short syllable, and "x" a syllable which can be either long or short.)

The most common clausulae in Cicero are the following:[6]

  • | – u – | – x | and variations (32.4% of Cicero's clausulae)
  • | – x – | – u x | (24.4%)
  • | – x – | – u – x | (30.1%)

Variations may include resolving one of the long syllables in the rhythm into two short ones, for example | – u uu | – x | (esse videātur) instead of | – u – | – x |. Another type of allowable variation is to substitute | – uu – | or | – u – – | for the base.[7]

The above clausulae account for about 87% of Cicero's clausulae. Other clausulae are rarer. For example, the cadence may have five elements | – u – u – | or consist of two spondees | – – – – |. This last type (commoner in Livy than in Cicero) is compared by Zieliński to the blows of a hammer.[7] Certain clausulae, such as the hexameter ending | – u u | – x |, were avoided (it occurs in Cicero, but only in about 0.6% of cases, and often for a reason such as mock-heroic description).[8][9]

Zieliński noted that Cicero's preferences changed gradually over the years. For example, the rhythm | – – – | – u x | was more common in his earlier speeches, while from his consulate onwards he preferred the lighter | – u – | – u x |.[10]

According to Zieliński, it is a principle of clausulae that the word-accent tends to follow the ictus of the feet, that is, there is usually an accent on the first syllable of the base and on the penultimate long syllable of the cadence, e.g. ílla tempéstās, egéstās audácia, incéndium civitátis, Cáesarī d(e) eius áctīs, etc.[11] However, there are often exceptions to this rule, and Cicero was not so strict as later writers such as Augustine and Arnobius.[12]

There is no doubt that the skilful use of clausulae was one of the techniques which an orator used to excite an audience. Cicero writes of one occasion when the use of a certain clausula (a dichoreus or double trochee – u – x) by the orator Carbo the Younger was so effective that the audience all gave a shout.[13]

Examples from Cicero

An example of Cicero's use of clausulae in a speech is given below, with the two sentences divided into cola:[14]

ecc(e) illa tempestās, | – u – | – – |
cālīgō bonōr(um) et subit(a) atqu(e) imprōvīsa formīdo, | – u – | – – |
tenebrae rēī pūblicae, | – – – | – u – |
ruīn(a) atqu(e) incendium cīvitātis, | – u – | – u – – |
terror iniectus Caesarī d(ē) eius āctīs, | – u – | – u – – |
metus caedis bonīs omnibus, | – u – | – u – |
cōnsulum scelus, cupiditās, egestās, audācia! | – – – | – u – |
sī non s(um) adiūtus, non dēbuī; | – – – | – u – |
sī dēsertus, sibī fortasse prōvīdit; | – u – | – – |
s(ī) eti(am) oppugnātus, ut quīd(am) aut putant aut volunt, | – u – | – u – |
violāt(a) amīcitia (e)st, | – u – | uu – |
accēp(ī) iniūriam; | – – – | – u – |
inimīcus esse dēbuī, nōn negō. | – u – | – u – |[15]
"Behold that storm, the gloom of good men and a sudden and unforeseen fear, the darkness of the republic, the ruin and conflagration of the state, terror given to Caesar concerning his acts, fear of slaughter for all good men, the wickedness, greed, indigence, and audacity of the consuls! If I was not helped, I did not deserve it; if I was deserted, perhaps he was providing for his own safety; if I was even attacked, as certain people either think or wish, our friendship was violated, I received an injury; I should have been his enemy, I do not deny it."

The "heroic clausula" (– uu – x), which resembles a hexameter ending, is rare but can be used for comic effect, as in the following quotation from pro Caelio:[16]

in balneīs dēlituērunt: | – u – | – uu – – |
testīs ēgregiōs! | – – – | uu – |
dein temerē prōsiluērunt: | – uu – | – uu – – |
hominēs temperantīs! | uu – | – u – – |
"They hid in the baths. Outstanding witnesses! Then they rashly leapt out. Cool-headed men!"

As Adams points out, the passage is made even funnier by the pun on testes, which can mean "testicles" as well as "witnesses".

The following passage from the 2nd Catilinarian oration shows some of the less commonly used cadences, including the five-syllable | – u – u – | and the "hammer-blow" spondaic | – – – – |:[17]

nōn est iam lēnitātī locus; | – u – | – u – |
sevēritātem rēs ipsa flāgitat. | – – – | – u – u – |
ūn(um) etiam nunc concēdam: | – uu – | – – – – |
exeant, proficīscantur; | – uu – | – – |
nē patiantur dēsīderiō suī Catilīnam miserum tābēscere. | uu – – | – u – |
dēmōnstrāb(o) iter: Aurēliā viā profectus est; | – uu – | – u – u – u – u – |
s(ī) accelerāre volent, ad vesperam cōnsequentur. | – u – | – u – – |
"There is no place for leniency any longer; the situation itself calls for severity. But one thing I will concede even now: let them go out, let them depart; let them not allow Catiline to pine away miserably with desire for them. I will show them the route: he departed by the Aurelian Way. If they are willing to hurry, by evening they will catch up with him."

It is characteristic of the emphatic spondaic ending (– – – –) that in Cicero there is always a word-break between the base and the cadence. With the clausula – u – – x on the other hand, as in illa tempestas, the most usual place for a word-break is after the second syllable.[7]

The following passage from the pro Scauro is analysed explicitly by Cicero himself into four incīsa (commata), followed by two membra (cola), and then a long spondaic period ending in a dichoreus or double trochee:[18]

domus tibī deerat? at habēbās. | u | – u – | – – || uu – – |
pecūnia superābat? at egēbās. | u | – u uu | – – || uu – – |
incurrist(i) āmēns in columnās, | – – | – – – | – u – – |
in aliēnōs īnsānus īnsānistī; | u u u – – – | – u – | – – – |
dēpressam, caecam, iacentem domum | – – – – | – u – | – u – |
plūris quam t(e) et quam fortūnās tuās aestimāstī. | – – – – – – – | – u – | – u – – |
"Did you lack a house? No, you already had one. Did you have enough money? No, you didn't have any. You ran madly into the columns, you raged crazily against other people's slaves; you reckoned a decrepit, dark, fallen down house as worth more than yourself and your fortunes."

Cicero comments that the incīsa (commata), because of their shortness, are rather freer in their rhythm, and should be used "like little daggers". The rhythmical period (numerōsa comprehēnsiō), he says, is a longer sentence composed of at least two cola, and is more sparingly used. The style which consists of a mixture of commata, cola, and the occasional longer period is particularly effective, he says, in passages arguing a case or refuting one.

Clausulae in other writers

Clausulae are found not only in Cicero but in many Roman (as well as Greek and medieval) writers, especially in oratory but also in other types of writing. Each writer has their own preferences and "rhythmic signature".[5] For example, Livy avoids clausulae which are common in Cicero, such as | – u – | – x |, but frequently ends a sentence with a series of long syllables, for example lēgātī Rōmān(i) occurrērunt.[19]

The earliest orator to make extensive use of rhythmic prose in Greek is said to have been the sophist Thrasymachus of Chalcedon (the same person who appears as a speaker in book 1 of Plato's Republic).[20] Plato himself favoured the clausulae | – u – | – u x |, | – – – | – u x |, and | – u u | – u x |, among others. His preferences changed in the course of his life, and he used | u u u x | and | – u u u – x | more often in the later works.[21] Lysias, Aeschines, Isaeus, Plutarch and others also had their own preferences. Clausulae are prominent in the orations of Demosthenes, especially the ditrochaeus (– u – x), dispondaeus (– – – x), cretic + trochee (– u – – x), and choriamb + trochee (– uu – – x).[20] But his most characteristic practice (known as "Blass's Law") is to avoid series of more than three short syllables anywhere in his sentences.[22] Some writers such as Thucydides, wrote prose almost free of rhythmical influence, however.[23]

In Latin, rhythmical prose was characteristic of the so-called "Asiatic" style of oratory, whereas followers of the plainer "Attic" style avoided it.[20] The younger Pliny, Seneca, Suetonius, Apuleius and Tertullian more or less followed the Ciceronian pattern, though several writers avoided | – – – | – u x | and the famous esse videātur clausula | – u u u | – x |, as being overly Ciceronian.[20][24]

Medieval clausulae (cursūs)

In the medieval period, Latin ceased to be pronounced in a quantitative way, and clausulae tended to be accentual rather than based on quantity. Three end-of-sentence rhythms were especially favoured, the so called plānus (– x x – x) (where – indicates an accented syllable and x an unaccented one), the tardus (– x x – x x), and the velōx (– x x x x – x). These rhythms are found for example in the writings of Gregory of Tours (6th century), Bernard of Clairvaux and Héloïse (12th century), and Dante (13th-14th century).[25] They are known to modern scholars (although apparently not to the medieval writers themselves) as cursūs. However, not all writers made use of them.[26] The professors of the period specified that the last word of the sentence had to be of either three or four syllables.[27]

Ancient writers on clausulae

The first writer to mention rhythm in prose is Aristotle in his Ars Rhētorica; he says that prose should not be entirely metrical, like poetry, but also not unrhythmical either.[28] Cicero himself discusses the use of clausulae in his books on oratory, especially in dē Ōrātōre 173-198, and Ōrātor 204-226.[29] Terentianus Maurus (c. 290 AD) also discusses clausulae in a work itself written in verse. He says of the cretic (– u –) that it is the best kind of foot, especially when used in penultimate position before a dactyl (– u x).[30] The teacher of rhetoric Quintilian treats clausulae at length, especially in books 5 and 9; like Terentianus, he approves of the double cretic | – u – | – u x |,[31] but recommends avoiding the heroic clausula | – x – | – uu – x |, since it too much resembles the end of a line of verse.[32]

Applications of clausula-study

The analysis of a piece of Latin into cola and clausulae can not only of help the modern student to read the passage with authentic phrasing, but also is a useful tool in investigating an author's style. So, for example, Riggsby notes that the cola in the earlier part of the 2nd Catilinarian oration are shorter, and the clausulae more varied, than in the last paragraph. He takes this as an indication of Cicero's shift in emphasis from chaos and danger to peace and resolution.[33] Often the clausulae will throw light on the writer's choice of word, tense or word order.[34] For example, patent portae, proficīscere![35] "the gates are open; depart!" makes an effective clausula, whereas *portae patent, proficīscere does not. Clausulae can also help editors decide which of two manuscript readings is the correct one, or whether an editor's conjecture is acceptable.[36]

Clausulae have sometimes helped editors to decide on the authenticity or otherwise of a work. For example, the speech dē domō suā, whose authorship was once in doubt, has been shown to exhibit exactly the same proportions of clausulae as Cicero's other speeches.[34] In the case of authors whose practice varied over the years, such as Plato, clausulae analysis can throw light on the date of a work.[37]

From examining the clausulae it is sometimes possible to uncover the exact pronunciation of individual words by a particular author. For example, it appears that Cicero pronounced reddūcō "I bring back" and relliquus "remaining" with a long first syllable, as did Lucretius.[36] Nōn modō "not only" was pronounced with the last vowel long. For ordinary nouns ending in -ium or -ius, the genitive -i was preferred by Cicero (e.g. iūdicī "of the trial"), although in proper names such as Clōdiī "of Clodius" the ending "-iī" was often used. In nīl and nihil "nothing" and perīculum and perīclum "danger" both forms occur.[36] In the future perfect tense, as in fēcerīmus "we'll have made", it appears that Cicero, contrary to the rule given in some grammars such as Kennedy,[38] pronounced the "i" long, as did his contemporary Catullus.[39]

References

  1. ^ Habinek (1985), pp. 10–11.
  2. ^ Shewring & Denniston (1970), §16.
  3. ^ Cunningham (1957), p. 499.
  4. ^ Clark (1905).
  5. ^ a b Srebrny (1947 (2013)), p. 150.
  6. ^ Berry (1996), pp. 51-2.
  7. ^ a b c Clark (1905), p. 167.
  8. ^ Berry (1996), p. 52.
  9. ^ Adams (2013).
  10. ^ Clark (1905), p. 166.
  11. ^ Clark (1905), p. 168.
  12. ^ Shewring & Dennison (1970), §16, 20.
  13. ^ Cicero, Orator 214; cf. Adams (2013), p. 8; Cunningham (1957), p. 498.
  14. ^ Grillo (2015), p. 42.
  15. ^ Cicero, dē Prōvinciīs cōnsulāribus, 43.
  16. ^ pro Caelio §63; cf. Adams (2013), p. 42.
  17. ^ in Catilīnam 6; cf. Riggsby (2010).
  18. ^ Cicero, Orator 222–26; analysed in Cunningham (1957), pp. 499–500.
  19. ^ Clark (1905), pp. 167, 171.
  20. ^ a b c d Clark (1905), p. 164.
  21. ^ Shewring & Denniston (1970), §11.
  22. ^ Shewring & Denniston (1970), §10.
  23. ^ Shewring & Denniston (1970), §8.
  24. ^ Shewring & Denniston (1970), §17f.
  25. ^ Shewring & Denniston (1970), §21.
  26. ^ Tunberg (1996), pp. 114-5.
  27. ^ Tunberg (1996), pp. 115-6.
  28. ^ 1408b; cf. Adams (2013), p. 2.
  29. ^ Clark (1905), pp. 164-5; Adams (2013), p. 7.
  30. ^ Clark (1905), p. 165.
  31. ^ Quintilian 9.4.107; Clark (1905), p. 166.
  32. ^ Quintilian 9.4.102; Clark (1905), p. 168.
  33. ^ Riggsby (2010), pp. 101-102; cf. Adams (2013), p. 16.
  34. ^ a b Clark (1905), p. 171.
  35. ^ In Catilinam 1.10.
  36. ^ a b c Clark (1905), p. 170.
  37. ^ Shewring & Denniston (1970), §22.
  38. ^ Kennedy, B. Revised Latin Primer, 1962 ed. p. 64.
  39. ^ Fordyce, C.J. (1961) Catullus: A commentary, note on 5.10.

Bibliography

  • Adams, Elizabeth D. (2013). Esse videtur: Occurrences of Heroic Clausulae in Cicero’s Orations. (University of Kansas MA thesis).
  • Berry, D. H. (ed). (1996) Cicero: Pro P. Sulla Oratio. Cambridge.
  • Clark, Albert C. (1905). Review: Zielinski's Clauselgesetz (available on JSTOR)
  • Cunningham, Maurice P. (1957) "Some Phonetic Aspects of Word Order Patterns in Latin". Proceedings of the American Philosophical Society, Vol. 101, No. 5, pp. 481–505.
  • Grillo, Luca (ed.) (2015). Cicero's de Provinciis Consularibus Oratio. OUP.
  • Habinek, Thomas N. (1985). The Colometry of Latin Prose. University of California Press.
  • Riggsby, Andrew M. (2010). “Form as global strategy in Cicero’s Second Catilinarian.” In Berry, D. H., and Erskine, A., eds. Form and Function in Roman Oratory, New York: Cambridge. 92–104.
  • Shewring, W.H. & Denniston, J.D. (1970). "Prose Rhythm", in The Oxford Classical Dictionary, 2nd edition.pp. 888–890.
  • Srebrny, Stefan (1947 (2013)) Tadeusz Zieliński (1859-1944). (English translation of Polish original.)
  • Tunberg, Terence O. (1996) "Prose Styles and Cursus". In Mantello, F. A. C. & Rigg, A. G. Medieval Latin: An Introduction and Bibliographical Guide, pp. 111–120.

clausula, rhetoric, also, cursus, disambiguation, clausula, medieval, music, clausula, music, roman, rhetoric, clausula, ɔː, latin, little, close, conclusion, plural, clausulae, ɔː, rhythmic, figure, used, finesse, finality, sentence, phrase, there, large, ran. See also Cursus disambiguation For clausula in medieval music see Clausula music In Roman rhetoric a clausula ˈ k l ɔː z i ʊ l e Latin for little close or conclusion plural clausulae ˈ k l ɔː z i ʊ l i was a rhythmic figure used to add finesse and finality to the end of a sentence or phrase There was a large range of popular clausulae Most well known is the classically Ciceronian esse videatur type Every long sentence can be divided into rhythmical cola singular colon in Latin membra singular membrum and the last few syllables of every colon tend to conform to certain favourite rhythmic patterns which are known as clausulae 1 Shorter cola were known as commata ˈkɒmete singular comma in Latin incisa singular incisum which also often display rhythmic endings 2 3 Contents 1 Clausulae in Cicero s speeches 2 Examples from Cicero 3 Clausulae in other writers 4 Medieval clausulae cursus 5 Ancient writers on clausulae 6 Applications of clausula study 7 References 8 BibliographyClausulae in Cicero s speeches EditThe constant use of clausulae in Cicero s speeches was first thoroughly investigated by the Polish philologist Tadeusz Zielinski in a monumental work published in German in 1904 following an earlier dissertation by G Wust in 1881 and work by other scholars 4 Zielinski established that a Ciceronian clausula had two parts a base generally a cretic u or a variation on it and a cadence generally of a trochaic rhythm such as x u x or u x 5 Here indicates a long syllable u a short syllable and x a syllable which can be either long or short The most common clausulae in Cicero are the following 6 u x and variations 32 4 of Cicero s clausulae x u x 24 4 x u x 30 1 Variations may include resolving one of the long syllables in the rhythm into two short ones for example u uu x esse videatur instead of u x Another type of allowable variation is to substitute uu or u for the base 7 The above clausulae account for about 87 of Cicero s clausulae Other clausulae are rarer For example the cadence may have five elements u u or consist of two spondees This last type commoner in Livy than in Cicero is compared by Zielinski to the blows of a hammer 7 Certain clausulae such as the hexameter ending u u x were avoided it occurs in Cicero but only in about 0 6 of cases and often for a reason such as mock heroic description 8 9 Zielinski noted that Cicero s preferences changed gradually over the years For example the rhythm u x was more common in his earlier speeches while from his consulate onwards he preferred the lighter u u x 10 According to Zielinski it is a principle of clausulae that the word accent tends to follow the ictus of the feet that is there is usually an accent on the first syllable of the base and on the penultimate long syllable of the cadence e g illa tempestas egestas audacia incendium civitatis Caesari d e eius actis etc 11 However there are often exceptions to this rule and Cicero was not so strict as later writers such as Augustine and Arnobius 12 There is no doubt that the skilful use of clausulae was one of the techniques which an orator used to excite an audience Cicero writes of one occasion when the use of a certain clausula a dichoreus or double trochee u x by the orator Carbo the Younger was so effective that the audience all gave a shout 13 Examples from Cicero EditAn example of Cicero s use of clausulae in a speech is given below with the two sentences divided into cola 14 ecc e illa tempestas u caligō bonōr um et subit a atqu e imprōvisa formido u tenebrae rei publicae u ruin a atqu e incendium civitatis u u terror iniectus Caesari d e eius actis u u metus caedis bonis omnibus u u cōnsulum scelus cupiditas egestas audacia u si non s um adiutus non debui u si desertus sibi fortasse prōvidit u s i eti am oppugnatus ut quid am aut putant aut volunt u u violat a amicitia e st u uu accep i iniuriam u inimicus esse debui nōn negō u u 15 Behold that storm the gloom of good men and a sudden and unforeseen fear the darkness of the republic the ruin and conflagration of the state terror given to Caesar concerning his acts fear of slaughter for all good men the wickedness greed indigence and audacity of the consuls If I was not helped I did not deserve it if I was deserted perhaps he was providing for his own safety if I was even attacked as certain people either think or wish our friendship was violated I received an injury I should have been his enemy I do not deny it The heroic clausula uu x which resembles a hexameter ending is rare but can be used for comic effect as in the following quotation from pro Caelio 16 in balneis delituerunt u uu testis egregiōs uu dein temere prōsiluerunt uu uu homines temperantis uu u They hid in the baths Outstanding witnesses Then they rashly leapt out Cool headed men As Adams points out the passage is made even funnier by the pun on testes which can mean testicles as well as witnesses The following passage from the 2nd Catilinarian oration shows some of the less commonly used cadences including the five syllable u u and the hammer blow spondaic 17 nōn est iam lenitati locus u u severitatem res ipsa flagitat u u un um etiam nunc concedam uu exeant proficiscantur uu ne patiantur desideriō sui Catilinam miserum tabescere uu u demōnstrab o iter Aurelia via profectus est uu u u u u s i accelerare volent ad vesperam cōnsequentur u u There is no place for leniency any longer the situation itself calls for severity But one thing I will concede even now let them go out let them depart let them not allow Catiline to pine away miserably with desire for them I will show them the route he departed by the Aurelian Way If they are willing to hurry by evening they will catch up with him It is characteristic of the emphatic spondaic ending that in Cicero there is always a word break between the base and the cadence With the clausula u x on the other hand as in illa tempestas the most usual place for a word break is after the second syllable 7 The following passage from the pro Scauro is analysed explicitly by Cicero himself into four incisa commata followed by two membra cola and then a long spondaic period ending in a dichoreus or double trochee 18 domus tibi deerat at habebas u u uu pecunia superabat at egebas u u uu uu incurrist i amens in columnas u in alienōs insanus insanisti u u u u depressam caecam iacentem domum u u pluris quam t e et quam fortunas tuas aestimasti u u Did you lack a house No you already had one Did you have enough money No you didn t have any You ran madly into the columns you raged crazily against other people s slaves you reckoned a decrepit dark fallen down house as worth more than yourself and your fortunes Cicero comments that the incisa commata because of their shortness are rather freer in their rhythm and should be used like little daggers The rhythmical period numerōsa comprehensiō he says is a longer sentence composed of at least two cola and is more sparingly used The style which consists of a mixture of commata cola and the occasional longer period is particularly effective he says in passages arguing a case or refuting one Clausulae in other writers EditClausulae are found not only in Cicero but in many Roman as well as Greek and medieval writers especially in oratory but also in other types of writing Each writer has their own preferences and rhythmic signature 5 For example Livy avoids clausulae which are common in Cicero such as u x but frequently ends a sentence with a series of long syllables for example legati Rōman i occurrerunt 19 The earliest orator to make extensive use of rhythmic prose in Greek is said to have been the sophist Thrasymachus of Chalcedon the same person who appears as a speaker in book 1 of Plato s Republic 20 Plato himself favoured the clausulae u u x u x and u u u x among others His preferences changed in the course of his life and he used u u u x and u u u x more often in the later works 21 Lysias Aeschines Isaeus Plutarch and others also had their own preferences Clausulae are prominent in the orations of Demosthenes especially the ditrochaeus u x dispondaeus x cretic trochee u x and choriamb trochee uu x 20 But his most characteristic practice known as Blass s Law is to avoid series of more than three short syllables anywhere in his sentences 22 Some writers such as Thucydides wrote prose almost free of rhythmical influence however 23 In Latin rhythmical prose was characteristic of the so called Asiatic style of oratory whereas followers of the plainer Attic style avoided it 20 The younger Pliny Seneca Suetonius Apuleius and Tertullian more or less followed the Ciceronian pattern though several writers avoided u x and the famous esse videatur clausula u u u x as being overly Ciceronian 20 24 Medieval clausulae cursus EditIn the medieval period Latin ceased to be pronounced in a quantitative way and clausulae tended to be accentual rather than based on quantity Three end of sentence rhythms were especially favoured the so called planus x x x where indicates an accented syllable and x an unaccented one the tardus x x x x and the velōx x x x x x These rhythms are found for example in the writings of Gregory of Tours 6th century Bernard of Clairvaux and Heloise 12th century and Dante 13th 14th century 25 They are known to modern scholars although apparently not to the medieval writers themselves as cursus However not all writers made use of them 26 The professors of the period specified that the last word of the sentence had to be of either three or four syllables 27 Ancient writers on clausulae EditThe first writer to mention rhythm in prose is Aristotle in his Ars Rhetorica he says that prose should not be entirely metrical like poetry but also not unrhythmical either 28 Cicero himself discusses the use of clausulae in his books on oratory especially in de Ōratōre 173 198 and Ōrator 204 226 29 Terentianus Maurus c 290 AD also discusses clausulae in a work itself written in verse He says of the cretic u that it is the best kind of foot especially when used in penultimate position before a dactyl u x 30 The teacher of rhetoric Quintilian treats clausulae at length especially in books 5 and 9 like Terentianus he approves of the double cretic u u x 31 but recommends avoiding the heroic clausula x uu x since it too much resembles the end of a line of verse 32 Applications of clausula study EditThe analysis of a piece of Latin into cola and clausulae can not only of help the modern student to read the passage with authentic phrasing but also is a useful tool in investigating an author s style So for example Riggsby notes that the cola in the earlier part of the 2nd Catilinarian oration are shorter and the clausulae more varied than in the last paragraph He takes this as an indication of Cicero s shift in emphasis from chaos and danger to peace and resolution 33 Often the clausulae will throw light on the writer s choice of word tense or word order 34 For example patent portae proficiscere 35 the gates are open depart makes an effective clausula whereas portae patent proficiscere does not Clausulae can also help editors decide which of two manuscript readings is the correct one or whether an editor s conjecture is acceptable 36 Clausulae have sometimes helped editors to decide on the authenticity or otherwise of a work For example the speech de domō sua whose authorship was once in doubt has been shown to exhibit exactly the same proportions of clausulae as Cicero s other speeches 34 In the case of authors whose practice varied over the years such as Plato clausulae analysis can throw light on the date of a work 37 From examining the clausulae it is sometimes possible to uncover the exact pronunciation of individual words by a particular author For example it appears that Cicero pronounced redducō I bring back and relliquus remaining with a long first syllable as did Lucretius 36 Nōn modō not only was pronounced with the last vowel long For ordinary nouns ending in ium or ius the genitive i was preferred by Cicero e g iudici of the trial although in proper names such as Clōdii of Clodius the ending ii was often used In nil and nihil nothing and periculum and periclum danger both forms occur 36 In the future perfect tense as in fecerimus we ll have made it appears that Cicero contrary to the rule given in some grammars such as Kennedy 38 pronounced the i long as did his contemporary Catullus 39 References Edit Habinek 1985 pp 10 11 Shewring amp Denniston 1970 16 Cunningham 1957 p 499 Clark 1905 a b Srebrny 1947 2013 p 150 Berry 1996 pp 51 2 a b c Clark 1905 p 167 Berry 1996 p 52 Adams 2013 Clark 1905 p 166 Clark 1905 p 168 Shewring amp Dennison 1970 16 20 Cicero Orator 214 cf Adams 2013 p 8 Cunningham 1957 p 498 Grillo 2015 p 42 Cicero de Prōvinciis cōnsularibus 43 pro Caelio 63 cf Adams 2013 p 42 in Catilinam 6 cf Riggsby 2010 Cicero Orator 222 26 analysed in Cunningham 1957 pp 499 500 Clark 1905 pp 167 171 a b c d Clark 1905 p 164 Shewring amp Denniston 1970 11 Shewring amp Denniston 1970 10 Shewring amp Denniston 1970 8 Shewring amp Denniston 1970 17f Shewring amp Denniston 1970 21 Tunberg 1996 pp 114 5 Tunberg 1996 pp 115 6 1408b cf Adams 2013 p 2 Clark 1905 pp 164 5 Adams 2013 p 7 Clark 1905 p 165 Quintilian 9 4 107 Clark 1905 p 166 Quintilian 9 4 102 Clark 1905 p 168 Riggsby 2010 pp 101 102 cf Adams 2013 p 16 a b Clark 1905 p 171 In Catilinam 1 10 a b c Clark 1905 p 170 Shewring amp Denniston 1970 22 Kennedy B Revised Latin Primer 1962 ed p 64 Fordyce C J 1961 Catullus A commentary note on 5 10 Bibliography EditAdams Elizabeth D 2013 Esse videtur Occurrences of Heroic Clausulae in Cicero s Orations University of Kansas MA thesis Berry D H ed 1996 Cicero Pro P Sulla Oratio Cambridge Clark Albert C 1905 Review Zielinski s Clauselgesetz available on JSTOR Cunningham Maurice P 1957 Some Phonetic Aspects of Word Order Patterns in Latin Proceedings of the American Philosophical Society Vol 101 No 5 pp 481 505 Grillo Luca ed 2015 Cicero s de Provinciis Consularibus Oratio OUP Habinek Thomas N 1985 The Colometry of Latin Prose University of California Press Riggsby Andrew M 2010 Form as global strategy in Cicero s Second Catilinarian In Berry D H and Erskine A eds Form and Function in Roman Oratory New York Cambridge 92 104 Shewring W H amp Denniston J D 1970 Prose Rhythm in The Oxford Classical Dictionary 2nd edition pp 888 890 Srebrny Stefan 1947 2013 Tadeusz Zielinski 1859 1944 English translation of Polish original Tunberg Terence O 1996 Prose Styles and Cursus In Mantello F A C amp Rigg A G Medieval Latin An Introduction and Bibliographical Guide pp 111 120 Retrieved from https en wikipedia org w index php title Clausula rhetoric amp oldid 1070353427, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.