human
Can you write a poem for me in the style of W. W. (William Wymark) Jacobs?
assistant
Sure, here's a poem in the style of W. W. (William Wymark) Jacobs:
  The greatest pleasure that I derive from this writing is that of
understood.
realization.
characteristic of the poets.
There the poet saw the Furies with his own eyes, and what his
imagination presented he almost compelled his hearers to behold.
"The author of the _Arimaspeia_ thinks these lines terrible:
"Here too, is mighty marvel for our thought:
'Mid seas men dwell, on water, far from land:
Wretches they are, for sorry toil is theirs;
Eyes on the stars, heart on the deep they fix;
Oft to the gods, I ween, their hands are raised;
Their inward parts in evil case upheaved.
"As when a wave by the wild wind's blore
Down from the clouds upon a ship doth light,
And the whole hulk with scattering foam is white,
And through the sails all tattered and forlorn
Roars the fell blast: the seamen with affright
Shake, and from death a hand-breadth they are borne."
imitation, and his comparison of poetry with painting.
accurate. Hermagoras affirms that the purpose of rhetoric is
Quintilian later.
Thomas Wilson (1553) offers seven.
Thus classical rhetoric was almost exclusively restricted to the
conduct, and in drama is embodied not in action, but in speech.
Aristotle says,
Just as rhetoric is justly carried over into poetic when in the
metaphor. At the same time he says that metaphor deserves great
attention in prose because prose lacks other poetical adornment.
defilements!" But meretricious ornament was popular, and poets,
Not only did poetry and oratory suffer from the same bad taste in
But although the conventional study of rhetoric in such condensed
_Introductory verses._
O Clyo lady moost facundyous
O ravysshynge delyte of eloquence
O gylted goddes gaye and gloryous
Enspyred with the percynge influence
Of delycate hevenly complacence
Within my mouth let dystyll of thy shoures
And forge my tonge to gladde myn auditoures.
Myn ignoraunce whome clouded hath eclyppes
With thy pure bemes illumynyne all aboute
Thy blessyd brethe let refleyre in my lyppes
So that my mouth may blowe an encense oute
The redolent dulcour aromatyke
Of thy deputed lusty rhetoryke.
_The section of rhetoric._
Dame Rethoryke moder of eloquence
Moost elegaunt moost pure and gloryous
With lust delyte, blysse, honour and reverence
Within her parlour fresshe and precyous
Was set a quene, whose speche delycyous
Her audytours gan to all Joye converte
Eche worde of her myght ravysshe every herte.
And many clerke had lust her for to here
Her speche to them was parfyte sustenance
Eche worde of her depured was so clere
And illumyned with so parfyte pleasaunce
That heven it was to here her beauperlaunce
Her termes gay as facunde soverayne
Catephaton in no poynt myght dystane.
She taught them the crafte of endytynge
Whiche vyces ben that sholde avoyded be
Whiche ben the coulours gay of that connynge
Theyr dyfference and eke theyr properte
Eche thynge endyte how it sholde poynted be
Dystynctyon she gan clare and dyscusse
Whiche is Coma Colym perydus.
Who so thynketh my wrytynge dull and blont
And wolde conceyve the colours purperate
Of Rethoryke, go he to tria sunt
And to Galfryde the poete laureate
To Janneus a clerke of grete estate
Within the fyrst parte of his gramer boke
Of this mater there groundely may he loke.
In Tullius also moost eloquent
The chosen spouse unto this lady free
His gylted craft and gloyre in content
Gay thynges I made eke, yf than lust to see
Go loke the Code also the dygestes thre
The bookes of lawe and of physyke good
Of ornate speche there spryngeth up the flood.
In prose and metre of all kynde ywys
This lady blyssed had lust for to playe
With her was blesens Richarde pophys
Farrose pystyls clere lusty fresshe and gay
With maters vere poetes in good array
rhetoric--style.
Thys lytle boke, opprest wyth rudenes
Without rethorycke or coloure crafty;
Nothinge I am experte in poetry
As the monke of Bury, floure of eloquence.
And in another place, again addressing Lydgate, he exclaims:
O mayster Lydgate, the most dulcet sprynge
Of famous rethoryke, wyth balade ryall.
Rethoryke, she sayde, was founde by reason
Man for to governe wel and prudently;
His wordes to ordre his speche to purify.
It has five parts,--and so on. The introduction, however, to the
applicability to Hawes's subject.
It is noteworthy that the chapter on Elocution (_elocutio_),
or style, far outweighs all the others in scope and bulk.
Of the 108 seven-line stanzas which Hawes devotes to
rhetoric, 20 praise the poets; 7 define rhetoric; 13 explain
and 8, _memoria_. "Elocusyon," says Hawes, "exorneth the mater."
The golden rethoryke is good refeccion
And to the reader ryght consolation.
my mayster Lydgate veryfyde
The depured rethoryke in Englysh language;
To make our tongue so clerely puryfyed
That the vyle termes should nothing arage
As like a pye to chatter in a cage,
But for to speke with rethoryke formally.
In the anonymous, _The Artes of Logike and Rhetorike_ (1584),
In _The Arcadian Rhetorike_ (1588), Abraham Fraunce treats both.
_pronuntiatio_, the use of voice and gesture. And John Barton is
worse. In his _Art of Rhetorick_ (1634) he says:
He continues:
There are foure kinds of tropes, substitution, comprehension,
and he names over in his jargon the six figures which are of each
pronunciation.
This perversion of rhetorical theory in the middle ages and early
supplemented by the _De oratore, Orator_, and what was known of
inventione_, eighty-three of the _Ad Herennium_, forty of the _De
Tifernas echo Cicero that the poet and the orator are the nearest
There are three virtues of a narration, brevity, probability and
poetry by paraphrasing orations in verse. No wonder Luis Vives
complained in his _De Causis Corruptarum Artium_,
eloquence and harmony into their discourses.
Chapter VIII
Another scholar in classical rhetoric was Roger Ascham, whose
_Scholemaster_ (1570) contains the first reference in England to
Aristotle's _Poetics_. But except as a teacher of language and of
criticism.
narration" which furnishes the groundplot of poesie. Thus he
But truely many of such writings as come under the banner of
Although _energia_ does belong to both poetic and rhetoric, as
pseudo-Longinus implies, there seems to be here a definitely
rhetorical conception of poetic style. Sidney, however, keeps the
So is that honny-flowing Matron Eloquence apparalled, or rather
therein to be contained γοητεία, an inchantment, as it were to
persuade.
Poetry, therefore, is where any worke is learnedly compiled in
Perhaps the author of _The Arte of English Poesie_ (1589),
generally supposed to be Puttenham, had in mind to be the
passements of gold upon the stuffe of a Princely garment.
A Poet (says Jonson) is a Maker, or a fainer: His Art, an Art of
imitation or faining, expressing the life of man in fit measure,
that an English critic mentions the treatise _On the Sublime_ in
As has been shown, the classical critics were in substantial
agreement with Aristotle in defining rhetoric as the faculty of
rhetoric, Lombardus defined poetic as
The real opinions of Plato are here difficult to discover. In the
His reason for favoring the third view is important.
His lessons form the child's young lips, and wean
The boyish ear from words and tales unclean;
As years roll on, he moulds the ripening mind,
And makes it just and generous, sweet and kind;
He tells of worthy precedents, displays
The example of the past to after days,
Consoles affliction, and disease allays.
But as physicians, when they attempt to give bitter wormwood to
obviously a stock means of rhetoric.
Plato. The arts are attacked because they are not successfully
To make of nought reason sentencious
Clokynge a trouthe wyth colour tenebrous.
For often under a fayre fayned fable
A trouthe appereth gretely profitable.
The special treasure
Of new invencion, of ydleness the foo!
Your hole desyre was set
Fables to fayne to eschewe ydleness,...
To dysnull vyce and the vycious to blame.
And under colour of this beste, pryvely
The morall sense they cloake full subtyly.
A good ensample for us to dispyse
This worlde, so ful of mutabilyte.
opinions reflect the ideas of Horace in his famous line,
Aut prodesse volunt aut delectare poetae.
little--scholastic philosophy and the classical rhetorics.
condemned.
demonstration by the syllogism and by induction; rhetoric aims at
permovere_). Several important Italian critics carried this
Thus by the end of the sixteenth century, the Italian critics had
Gosson writes:
seriousness. Addressing Gosson he exclaims:
must confess with Aristotle that men are greatly delighted with
demonstrated, in no way invalidates his claim to distinction. The
commeth to you with words sent in delightful proportion, either
accompanied with, or prepared for, the well inchaunting skill of
tast.
_Metamorphoses_ of Ovid, for instance,
read.
thereof.
example.
accomplishing the moral improvement of society. As late as the
DuBellay
DuCygne, M.
Pico della Mirandola
 _Quomodo historia conscribenda sit_, 8.
 _De institutione oratoria_, X, ii, 21.
 _Poetry, with Reference to Aristotle's Poetics_, Ed. A.S. Cook
 Prickard thinks Aristotle misread in this passage. According to
 _Poetics_, XVII.
 _Ibid._, XV. This is almost exactly Aristotle's phrase in the
 _De audiendis poetis_, VII, VIII.
 Wilkin's ed. of Cic. _De oratore_, introd. p. 56.
 _De institutione oratoria_, II, xv, 38.
 γραθική, Rhet. III, xii.
 _De inst. orat._, VIII, i, I
 _De inst. orat._, VIII, vi, I ff.
 _Rhetoric_, III, ii.
 _Rhetoric_, III, ii.
 _De compositione verborum_, XXV-XXVI.
 Dionysius of Halicarnassus, _De comp. verb._, XXIII.
 _Quomodo historia conscribenda sit_, Sec. 8. Trans, of Lucian by
 Virgilius orator an poeta? quoted by Karl Vossler, _Poetische
 _Poetria magistri Johannis anglici de arte prosayca metrica et
 Cf. the _auctor ad Her._, I, 4, who gives them as exordium,
narratio, divisio, confirmatio, confutatio, conclusio.
 I am indebted to my friend Dr. Mark Van Doren for the transcript
 Trans, of Boethius (1410), quoted by Skeat, _Chaucer_, II, xvii.
 "Proximum grammatice docet, quae emendate & aperte loquendi vim
 _Dialecticae libri duo_, A. Talaei praelectionibus illustrati
 Wilkins introd. to Cic. _De orat._, p. 57.
 Printed in London by John Day, without a date. The dedication is
 "Rhetorica est ars ornate dicendi." _Rhetoricae libri duo quorum
 Dekker and Middleton, _The Roaring Girl_, III, 3.
 χειραγωγια _Manductio ad Artem Rhetoricam ante paucos annos
 Erasmus, _Dialogus, cui titulus ciceronianus, sive, de optimo
 I, 4. Wilson follows the analysis on p. 7.
 This count is based on the Cicero MSS. listed by P. Deschamps,
 M. Schwab, _Bibliographie d'Aristote_ (Paris, 1896).
 Fierville, C. _M. F. Quintiliani de institutione oratorio, liber
 The pseudo-Demetrius, author of the _De elecutione_.
 Vossius, _De artis poeticae natura_, II, 3-4.
 _De artis poeticae natura_, II, 4.
 Jacob Pontanus, S. J., _Poeticarum institutionum libri tres_
 "Tres autem sunt virtutes narrationis, brevitas, perspicuitas,
 VI, ii, 8 _seq._ Quintilian also uses the Greek terms.
 I, viii.
 III, xix, p. 206 Arber reprint; of. also p. 230, on the figure
_Merismus_ or the Distributor, and the remainder of the chapter.
 Pseudo-Demetrius, _De elocutione_.
 The _De sublimitate_.
 _De sublimitate_, VIII.
 _Introd. to Eliz. Crit. Essays_, I, lxx.
 Poetica est facultas videndi quodcunque accommodatum est ad
 La poetica è una facoltà, la quale insegna in quai modi si debba
 _The Women at the Feast of Bacchus_, quoted by Emile Egger,
_L'Histoire de la Critique chez les Grecs_ (Paris, 1886), p. 74.
 _Ibid._, XIII. Cf. also XXVI.
 _Poetics_, XIII.
 _De audiendis poetis_, trans, by F.M. Padelford under the title
 _Ibid._ XIV. Cf. Harrington in Smith's _Eliz. Crit. Essays_, II,
Aut prodesse volunt, aut delectare poetae
Aut simul et jucunda et idonea dicere vitae
Centuriae seniorum agitant expertia frugis;
Celsi praetereunt austera poemata Rhamnes:
Omne tulit punctum qui miscuit utile dulci,
Lectorem delectando, periterque monendo.
Hic meret aera liber Sosiis; hic et mare transit,
Et longum noto scriptori prorogat aevum.
 _Phaedrus_. See also _Republic_, II.
 A. Schlemm, _De fontibus Plutarchi commentationum De aud. poet._
 _Confessions_ (Watts's trans.), III. vi., Lionardo Bruni, _De
 _Rhetoric_, II, xx. (Weldon's translation).
 Karl Vossler, _Poetische Theorien in der italienischen
 _Ibid_, Book V, prose v.
 "Fabulas poetae quasdam delectandi causa finxerunt, quasdam ad
 "Una verita ascosa sotto bella menzogna." II, 1.
 "Vesta di figura o di colore rettorico." _La Vita Nuova_, XXV.
 "Per nimpham fingitur caro, per iuvenem coruptorem mundus vel
 "Est furor Eacides ire sathanas," _Ibid_, p. 913.
 André Schimberg, _L'education morale dans les collèges de la
 _Opus de divisione, ordine, ac utilitate omnium scientiarum, in
 Cartier, "L'Esthetique de Savonarola," in Didron's _Annales
 "Nimirum arbitrantur, quemadmodum Rhetorice ab Aristotele ipso
 "Inductio delectat, et est vulgo apta, propter similitudines et
 "Sic dicere versibus, ut doccat, ut delectet, ut moveat." _De
 _De poeta_, p. 79. Vossius echoes the same idea from the same
rhetorical source.
 These two names were frequently connected in the renaissance.
 Croll, Introd. to ed. of _Euphues_ (New York, 1916), p. vii.
 Cf. St. Augustine, _Confessions_, III, vi.
 _De audiendis poetis_, XIV. Plutarch believed that poetry gained
 Spingarn, _Crit. Essays of the 17th Century_, I, 98, 99.
 The author's prolog to the first book.