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The Elements of Eloquence: Secrets of the Perfect Turn of Phrase
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Audible Audiobook
Listening Length: 5 hours and 29 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Gildan Media, LLC
Audible.com Release Date: October 7, 2014
Whispersync for Voice: Ready
Language: English, English
ASIN: B00O4FPA7K
Amazon Best Sellers Rank:
I listened to this an audiobook while driving back and forth from Fresno to Sacramento. There was a point where I was laughing so hard that I feared for my safety.Mark Forsyth did a brilliant job of taking the listener/reader through the "figures of rhetoric" by way of great literature and popular music. Certain rhetorical styles simply work, whether they be alliteration (the repetition of sounds) or repetition of the final words or phrases (Epistrophe) or the repetition of the beginning words or phrases (Anaphora). This stuff works and we know it does and we are exposed to it on a daily basis, but we will never remember the technical terms and we barely notice them as they occur all around us.I am a lawyer and I think that knowing the technical terms, and the ideas behind those terms, might help me do intentionally what I am doing unintentionally. I think that others might have a similar experience, but this book is not a technical handbook. It is an enjoyable voyage through the English language, literature and lyrics. Here is an example:"The second kind of pleonasm is quite different. It’s the lazy adjective noun. This is a world of personal friends, added bonuses and free gifts. They are annoying for two contradictory reasons: first of all nobody talks like that, and secondly everybody talks like that. I have never said the words “free gift.†It would seem a sinister thing to say when gathered around the Christmas tree. “Here’s my free gift, and, as an added bonus, here’s a festive Christmas card.†People would think I’d gone mad. Yet, if you wander into a shop or make the terrible mistake of turning on the television or radio, you will hear of havens that are safe, cooperation that is mutual, and prizes that are, it turns out, to be won. Such phrases lumber about the language like zombies. They were created long ago by insanely evil marketing executives who were desperate to progress forward and sell their foreign imports to the general public. But, like Frankenstein’s monster, they could not be stopped. They still lurk in shops and howl from televisions; even though their original inventor is past history."Likewise:"There are people who would find that line inspiring. They would read it and run off to live better lives of purity and holiness up a hill somewhere. There are others who would find it infuriating. Twice. They would read it and as they did so the veins would stand out on their furious foreheads, the saliva would drip from their maddened mouths, and they would take a big red marker pen out of their pockets and delete two words. First, there’s the word “up.†What other direction can you lift something? It’s almost as bad as “fall down†or “enter into.†It is (some would say) an insult to the intelligence and an abuse of the English language. But it’s not nearly as bad as “from whence.†Whence means from where. So what does “from whence†mean? “From from where� It’s enough to make you shoot yourself, and then write an angry letter to the paper. People who think like this lead terrible lives. They have never married, simply because they couldn’t bear to hear the words: Dearly beloved, we are gathered together in the sight of God, and in the face of this congregation, to join together this man and this woman in Holy Matrimony . . . They can’t enjoy Hamlet because of the unnecessary “that†in “To be or not to be, that is the question.†And they can’t even throw themselves in front of a train and put an end to their lives of misery and woe, because they’re not sure about railway tracks."Pleonasms can be fun.Language can be fun.
This sentence describing a dismal dinner is, says Mark Forsyth, "perhaps the greatest anadiplosis" ever written:"If the soup had been as warm as the wine, and the wine as old as the fish, and the fish as young as the maid, and the maid as willing as the hostess, it would have been a very good meal."The anadiplosis, a figure of speech where the last word in a phrase or sentence becomes the first word in the next, is but one of 39 such rhetorical devices that Forsyth, who blogs as The Inky Fool, wittily describes in "The Elements of Eloquence: Secrets of the Perfect Turn of Phrase," released in the USA in October 2014 by Berkley Books. In it he uses ample examples of deft phrasings from Shakespeare, Churchill, Oscar Wilde, Lennon & McCartney and more to explicate all manner of trope.In it you will learn that syllepsis results from using one word in two incongruous ways, as did Dorothy Parker when commenting on her small apartment: "I've barely enough room to lay my hat and a few friends."And that isocolon employs "two clauses that are grammatically parallel, two sentences that are structurally the same," as Winston Churchill did in describing Field Marshall Montgomery: "In defeat, unbeatable; in victory, unbearable."The book is a treasure for writers, public speakers, boulevardiers and anyone who wants to sound smart and witty. As Forsyth posits: "For though we have nothing to say, we can at least say it well."To say that his book is not without its uses would be, I learned, an example of litotes, understatement that results from affirming something that denies its opposite." As when, says Forsyth, Emperor Hirohito announced to his people, after two atomic bombs had been dropped on them, that "the war situation has developed not necessarily to Japan's advantage."This is a fine book, a great read and a valuable reference.
Wow. I am an engineer. I always found that some phrases, speeches, and personal notes really reached me, but I never understood the technique of rhetoric. Forsyth describes a couple of dozen in a witty commentary which first defines, then gives examples and often used within his commentary. I will never remember the names of many, but I have new respect for those who are eloquent and new tools to communicate myself.
Put simply, if you want to take your writing to the next level, you must read (and reread) this book. The author has brought together the most common, and some not so common, figures of speech and literary devices to enable the reader to understand them and see how they have been utilized by writers, great and small (no merism intended), to give their writings depth, meaning, and whimsy. We all sense it when we read interesting and arresting (no alliteration intended) literature. But we often don't know why the passage, or poem, or prose captures and captivates us. Well, this book will tell you why and you will be dazzled and delighted. It will also help you in your interpretation of literature. Someone has said, "you don't know what a text means, until you know how it means." In other words, meaning is locked up in the way the text has been put together in terms of its grammar, syntax, and literary artistry. Once you understand the "how" of its construction, the meaning appears. This book will show you the "how" of the text's construction. The author has a great style of writing that always keeps your interest and he fills his pages with numerous examples of the figure or device he is describing. So, hurry and get this book. It will make you a better writer and a better reader - two goals for the price of one.
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