"If we seem nutty to you, and if we seem like an oddball to you, just remember one thing: the mighty oak tree was once a nut like me." -Glenn W. Turner
The Bain/Hill selection does a good job of linking the study
of rhetoric to the study of composition, which, in turn, connects to many of
the familiar concepts that modern students of English start learning at an
early age. Bain’s short piece at the end
of our selection reads like a glorified stack of vocabulary notecards. Description, Narration, Exposition, Oratory
(or Persuasion), Poetry, and many, many more “key terms” make rapid-fire
appearances over a scant three-page passage.
This treatment is admittedly reductive (and just a tad overwhelming).
However,
Bain follows his own prescription by structuring each paragraph—and, indeed,
each sentence within each paragraph—logically and cohesively to form Unity
(Bain’s capitalization). It’s astounding
to me that Bain’s writing, which seems exceedingly obvious and commonplace to
me as a master’s student of American English in the year 2017, revolutionized
the future of rhet./comp. studies in his 1866 treatise, English Composition and Rhetoric.
Over one hundred and fifty years later, Bain’s work stands as the
foundation for what I referred to as “obvious” and “commonplace” to modern
rhetoricians/composers of written language.
Indeed, the introduction to the excerpt from English Composition and Rhetoric distills the historical
significance of Bain’s theories, arguing that:
Brief though it is, Bain’s book
settles the definitions of the modes of discourse (description, narration,
exposition, and persuasion) for future textbooks. Bain is also responsible for the idea that
paragraph unity and topic sentences are important elements of writing. Through Bain’s followers in the United
States—Adams Sherman Hill [who we’re also reading this week], Barrett Wendell,
John Genung, and others—these ideas became standard parts of the English
composition course. (1143)
I, as an admittedly small sample size, can attest to this
assertion that Bain’s ideas are seminal in the modern study of English, which
subsumes rhetoric, composition, and all of Bain’s capitalized concepts. Furthermore, within the category of rhetoric,
Bain argues for the importance of “Style
in General,” which includes the seemingly unrelated topics: “The Figures of
Speech” and “The Paragraph.”
The figures
of speech Bain describes have changed very little since the text’s inception,
but the Figures “based on the operations of Intellect, or Understanding” are of
special import for rhetorical studies.
“Discrimination, or the feeling of Difference, Contrast, Relativity,”
the first Figure, is closely related to concepts of “antithesis or contrast,”
and, “the greater and the more sudden the change, the stronger is the effect
[on the audience]” (1147). The second
“power,” “Similarity, or the Feeling of Agreement,” is the opposite of Discrimination,
and highlights similarities in thought patters between a rhetorician and his
audience (e.g., Trump’s appeal to the masses of fearful, xenophobic Americans
in the 2016 presidential election). The
third power, “Retentiveness, or Acquisition,” describes the human capacity to
create memories based on associations and connotations: feelings over facts.
Bain closes
this excerpt with his proposal and prescription for wholesome, unified
paragraphs. The textual unity Bain
advocates is reminiscent of Aristotle’s notion of organic unity, but Bain
delves deeper into the particulars and minutiae of paragraph structures;
indeed, he lays out—numerically, to avoid any possible confusion—the exact
features that each paragraph in an essay should possess, including: Unity, the
logical progression of ideas (i.e., “Free from Dislocation”), and a topic
sentence. “The confining of each
paragraph to a distinct topic,” Bain concludes, “avoids some of the worst
faults of composition; besides which, he that fully comprehends the method of a
paragraph, will also comprehend the method of an entire work (1148). In very Aristotelian fashion and based on a
developmental, progressive model, Bain offers a convincing argument for
paragraphs as the seed versions of the fully-grown trees that are essays/compositions
as a whole. The whole, for Bain, is greater
than the sum of its parts, which is true on each level of the progression from
idea-nut to mighty essay-tree.