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Rhetoric and Poetry in the Renaissance - A Study of Rhetorical Terms in English Renaissance Literary Criticism by Donald Lemen Clark
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realization, as metaphor in poetic is direct, not indirect, because in
poetic a word that suggests the salient parts or qualities of things will
always stand out over the general names of things.[70]

The last two parts of rhetoric, _memoria_ and _pronuntiatio_, are really
not permanent parts of rhetoric, but only of the rhetoric of spoken
address. _Memoria_, the art of memory, did not mean to the Greeks and
Romans the art of learning by heart a written speech, but rather the art
of keeping ready for use a fund of argumentative material, together with
the features of the case which the speaker might be pleading. The
discussion of it in the treatises is usually an exposition of the mnemonic
system of visual association, the discovery of which is ascribed to
Simonides. Cicero deliberately leaves a discussion of _memoria_ out of his
_Orator_, because as he says, it is common to many arts;[71] and the Dutch
scholar Vossius in the renaissance denied that it was a part of
rhetoric.[72] _Pronuntiatio_, or delivery, has also been found hardly an
integral part of rhetoric. It is concerned with the use both of the voice
and of gesture. Quintilian, for instance, records the effectiveness of
clinging to the judge's knees, or of bringing into the court room the
weeping child of the accused.[73] Aristotle discusses only the use of the
voice.[74]

Thus classical rhetoric was almost exclusively restricted to the
practical oratory of persuasion. In the republics of Greece and Rome a
mastery of rhetoric gave its possessor political power; for by persuasive
public speech a public man could gain a following by defending his clients
in the law courts, and influence the destinies of the state by his
deliberations in the legislative assembly. As long as these republican
institutions prevailed, the theory and practice of rhetoric continued to
be sound and practical.
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