Getting up to date with: Frederick Douglass Reponse

In his autobiography Frederick Douglas tactfully persuades his critics- that being his white, Northern and slave owning readership. Douglass's method of persuasion became his honest, straight-forward narrative that revisits his past as a slave. Not only does Douglass avoid the use of highly emotional content, but also avoids criticizing or stating his own personal commentary on Northerners and instead, provides a detailed account of slave life. Douglass gained credibility among his white readership through demonstrating qualities of honesty and trust within the narrative. for example, Douglass is careful to note his respect of the privacy of the mentioned in the course of the text. Aside from making a case for his credibility and truth telling, by sharing details like this Douglass becomes viewed even more admirably, which in turn lends itself to the portrayal of his slave owners, the cruel treatment of blacks, and the overall intensity of the story.

The following passage demonstrates a series of short paratactic clauses within reversed style sentences, revealing a pair of contradicting ideas contradicting. This grammatical choice mirrors one of the thematic patterns within his story. One example of this "reversed symmetry" in the text is found through the concept that the more knowledge Douglass gained, the more he began to suffer and leading to feelings of despair.

Freedom now appeared, to disappear no more forever. It was heard in every sound, and seen in every thing. It was ever present to torment me with a sense of my wretched condition. I saw nothing without seeing it, I heard nothing without hearing it, and felt nothing without feeling it. It looked from every star, it smiled in every calm, breathed in every wind, and moved in every storm.

I often found myself regretting my own existence, and wishing myself dead; and but for the hope of being free, I have no doubt but that I should have killed myself, or done something for which I should have been killed. (Chapter VII)

Montaigne's Essays (1580)

In his essay "Upon Some Verses of Virgil", Montaigne reflects on human nature through observations made about his own experiences. Montaigne moves in a stream-of-thought from topic to topic meanwhile his writing tends to digress and avoids a single interpretation or central meaning. The reader is forced to follow the elusiveness of Montaigne's argument and trust that he will come full circle:

From the excess of sprightliness I am fallen into that of severity, which is much more troublesome: and for that reason I now and then suffer myself purposely a little to run into disorder, and occupy my mind in wanton and youthful thoughts, wherewith it diverts itself. (Pg. 1)

Is it to say, the less we expend in words, we may pay so much the more in thinking? (Pg. 6)

Every subject is equally fertile to me: a fly will serve the purpose, and `tis well if this I have in hand has not been undertaken at the recommendation of as flighty a will. I may begin with that which pleases me best, for the subjects are all linked to one another. (Pg. 26)

He who has no fruition but in fruition, who wins nothing unless he sweeps the stakes, who takes no pleasure in the chase but in the quarry, ought not to introduce himself in our school: the more steps and degrees there are, so much higher and more honorable is the uppermost seat; we should take a pleasure in being conducted to it, as in magnificent palaces, by various porticoes and passages, long and pleasant galleries, and many windings. (Pg. 29)

These passages convey Montaigne's personal ruminations, anecdotes, and questions based on his experiences. Other times Montaigne uses a more formal structure which provides an didactic approach. These passages often include arguments supported with quotes:

For my part, I will take Aristotle at his word who says, that "Bashfulness is an ornament to youth, but a reproach to old age." These verses are preached in the ancient school, a school that I much more adhere to than the modern: its virtues appear to me to be greater and the vices less:

"Ceux qui par trop fuyant Venus estrivent, Faillent autant que ceulx qui trop la suyvent." "Tu, dea, tu rerum naturam sola gubernas, Nec sine te quicquam dias in luminis oras Exoritur, neque fit laetum, nec amabile quicquam." (Pd. 6)

From his observations, Montaigne creates metaphors that connect on various levels. Here, he is able to make connections between nature, humanity, and the written essay. As painting represents writing, words become a visual and verbal representation of Montaigne's larger concepts.

While the verses of these two poets treat so reservedly and discreetly of wantonness as they do, methinks they discover it much more openly. Ladies cover their necks with network, priests cover several sacred things, and painters shadow their pictures to give them greater luster: and `tis said that the sun and wind strike more violently by reflection than in a direct line. The Egyptian wisely answered him who asked him what he had under his cloak; "it is hid under my cloak," said he, "that thou mayest not know what it is:" but there are certain other things that people hide only to show them. (Pg. 28)

Writing in “High” Style

An excerpt from Hemingway’s “Hills Like White Elephants” rewritten in the “high” style of Winston Churchill:

The woman arrives with two glasses of beer and two felt pads. She places the felt pads and the beer glasses on the table, then she looks at the man and the girl. The girl is gazing at the line of hills. They are white in the sun, and the country is brown and dry.

‘They look like white elephants,’ she says.

‘I’ve never seen one,’ the man drinks his beer.

‘No, you wouldn’t have.’

‘I might have,’ says the man. ‘Just because you say I wouldn’t have doesn’t prove anything.’

Hemingway’s “Hills Like White Elephants”

In Hemingway’s “Hills Like White Elephants”, the central meaning of the story can be found in the dialogue that takes place between the “American” and Jig. At first their conversation is aimless however the manner in which the two interact with each other provides insight towards their individual characters as well as their relationship.

The repetition of phrases and roundabout nature of their conversation adds to the uneasiness of the couple and the tension that wavers- but never actually builds- through the scene. Back and forth, they each attempt to dissuade the other’s concerns and inadvertently their own as well: “And afterwards they were all so happy,” “...if I do it you’ll be happy” and “I don’t care about me,” “well I care about you,” “oh, yes. But I don’t care about me...”

Jig seems to be younger than the man and almost childlike in the way she says the hills look like “white elephants” and compares the alcoholic drink to licorice. Jig’s talkative manner suggests a quality of naivety and innocence, sharing her thoughts out loud as they come to mind and also voicing her demands whether it be a glass of Anis del Toro or that her companion, “...please please please please please please please stop talking.”

Among the details about the characters provided outside of their dialogue is Jig’s tendency to gaze into the distance, “...and the girl looked across at the hills.” This could either be an avoidance of the subject of conversation or simply a sort of denial that the problem even exists. On the other hand, Jig’s melancholy demeanor seems to suggest a quality of wishfulness exclusive to someone who hasn’t yet let go of their youth, “We can have everything... We can have the whole wide world.”

Orwell's "Politics and the English Language"

In his essay “Politics and the English Language,” George Orwell discusses the deterioration of the English language. Orwell criticizes political prose writing by analyzing examples and pointing out the main causes for their failure- dying metaphors, verbal false limbs, pretentious diction, and meaningless words.

Despite his criticism of political prose Orwell demonstrates persuasion tactics often found in paratactic sentence structures, for example, his use of repetition in words and rhythm:

Defenseless villages are bombarded from the air, the inhabitants driven out into the countryside, the cattle machine-gunned, the huts set on fire with incendiary bullets: this is called pacification. Millions of peasants are robbed of their farms and sent trudging along the roads with no more than they can carry: this is called transfer of population or rectification of frontiers. People are imprisoned for years without trial, or shot in the back of the neck or sent to die of scurvy in Arctic lumber camps: this is called elimination of unreliable elements.

Another pattern Orwell demonstrates in his construction of sentences is the use of interrupting modifiers:

Our civilization is decadent and our language -- so the argument runs -- must inevitably share in the general collapse.

In addition to pointing out where English prose are unsuccessful, he further proves his argument by explaining how one can improve of them. Orwell also takes the opportunity to further prove his point by following these rules within his essay.

In consideration of reversing the decline of the English language, Orwell offers a solution by listing the rules for acceptable prose writing.

Analysis of Sentence Structure in James Joyce's Grace

Paratactic sentence structure that demonstrates movements towards the verse:

The man, without answering, began to twirl the ends of his mustache. He made light of his accident. It was nothing, he said: only a little accident. He spoke very thickly.

No one knew; a voice said:

'Give him air. He's fainted.'

Hypotactic structure because that demonstrates subordination in a complex sentence:

As it passed the Ballast Office the clock showed half-past nine.

Parataxis in the use of short, simple prose that maintain a rhythmic nature through the paragraph:

His collar was unfastened and his necktie undone. He opened his eyes for an instant, sighed and closed them again. One of the gentlemen who had carries him upstairs held a dinged silk hat in his hand. The manager asked repeatedly did no one knew who the injured man was or where had his friends gone...

Compound sentence with elliptical construction:

His inexplicable debts were a byword in his circle; he was a debonair young man.

Nabokov’s Lolita & The Art of Styling Sentences

Let me therefore primly limit myself, in describing Annabel, to saying she was a lovely child a few months my junior. Her parents were old friends of my aunt's, and as stuffy as she. They had rented a villa not far from Hotel Mirana. Bald brown Mr. Leigh and fat, powdered Mrs. Leigh (born Vanessa van Ness). How I loathed them! At first, Annabel and I talked of peripheral affairs. She kept lifting handfuls of fine sand and letting it pour through her fingers. Our brains were turned the way those of intelligent European preadolescents were in our day and set, and I doubt if much individual genius should be assigned to our interest in the plurality of inhabited worlds, competitive tennis, infinity, solipsism and so on. The softness and fragility of baby animals caused us the same intense pain. She wanted to be a nurse in some famished Asiatic country; I wanted to be a famous spy.

All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other's soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do. After one wild attempt we made to meet at night in her garden (of which more later), the only privacy we were allowed was to be out of earshot but not out of sight on the populous part of the plage. There, on the soft sand, a few feet away from our elders, we would sprawl all morning, in a petrified paroxysm of desire, and take advantage of every blessed quirk in space and time to touch each other: her hand, half-hidden in the sand, would creep toward me, its slender brown fingers sleepwalking nearer and nearer; then, her opalescent knee would start on a long cautious journey; sometimes a chance rampart built by younger children granted us sufficient concealment to graze each other's salty lips; these incomplete contacts drove our healthy and inexperienced young bodies to such a state of exasperation that not even the cold blue water, under which we still clawed at each other, could bring relief.

-V. Nabokov, an excerpt from Lolita

Analysis

Let me therefore primly limit myself, in describing Annabel, to saying she was a lovely child a few months my junior. [Pattern 13; a single modifier out of place for emphasis]

Her parents were old friends of my aunt's, and as stuffy as she.

They had rented a villa not far from Hotel Mirana. [Pattern 17, dependent clause as a subject, object, or complement]

Bald brown Mr. Leigh and fat, powdered Mrs. Leigh (born Vanessa van Ness). [Pattern 5; a series with a balanced pair]

How I loathed them! [Pattern 19; short, simple sentence for dramatic effect]

At first, Annabel and I talked of peripheral affairs. [Pattern 13; a single modifier out of place for emphasis]

She kept lifting handfuls of fine sand and letting it pour through her fingers. Our brains were turned the way those of intelligent European preadolescents were in our day and set, and I doubt if much individual genius should be assigned to our interest in the plurality of inhabited worlds, competitive tennis, infinity, solipsism and so on. [Pattern 15A; complete inversion of normal pattern/ pattern 7; an internal series of appositives or modifiers]

She wanted to be a nurse in some famished Asiatic country; I wanted to be a famous spy. [Pattern 1; a compound sentence that makes use of a semicolon instead of a conjunction]

All at once we were madly, clumsily, shamelessly, agonizingly in love with each other [pattern 6; an introductory series of appositives]; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other's soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do.

Richard Lanham & Bill Clinton's Inaugural Speech

-How does Clinton use various sentence types?

-What persuasion techniques does he use?

-Comment on the effectiveness of repetition; vocabulary/word choice.

Based on the prose analysis theories of Richard Lanham, Bill Clinton’s inaugural speech demonstrates the grammatical sentence structures parataxis, hypotaxis, and asyndeton. He uses each manner of coordinating phrases throughout, however often focusing on one for a certain number of paragraphs.

An example of Clinton’s use of parataxis can be found in paragraph #14, “But when most people are working harder for less; when others cannot work at all; when the cost of health care devastates families and threatens to bankrupt many of our enterprises, great and small; when fear of crime robs law-abiding citizens of their freedom; and when millions of poor children cannot even imagine the lives we are calling them to lead—we have not made change our friend.” These prose often exhibit similar colloquial tendencies of spoken language or “train of thought”. The short clauses create a steady rhythm that escalates from the beginning of the speech to the end (but not from sentence to sentence). Each point is delivered with the intent to remind, motivate, or promise.

Clinton uses repetition as a means of psychological persuasion, and demonstrates this method in various ways. While it can be demonstrated in the parataxis construction of sentences, another example of repetition is through the asyndetic coordination of clauses. Towards the end of his speech, Clinton uses asyndetic phrases one after another; a choice which reflects the manner of listing conjunctions in a series that the style follows. “Our hopes, our hearts, our hands, are with those on every continent who are building democracy and freedom,” (36); “And you have changed the face of Congress, the presidency and the political process itself,” (37), “But no president, no Congress, no government, can undertake this mission alone,” (38).

The third type of sentence coordination is called hypotaxis. Hypotaxis demonstrates a pairing of clause with “unequal” constructs by manipulating the order of a sentence so that the explanatory prose comes before of the action. This type of structure forces the audience to wait until the end of the sentence for a sense of resolution. “...But, by the words we speak and the faces we show the world, we spring forth,” (2) and “To renew America, we must be bold,” (21) are both examples of hypotaxis.

Parataxis & Hypotaxis

Woody was fourteen years of age when Pop took off with Halina, who worked in his shop, leaving his difficult Christian wife and his converted son and his small daughters. He came to Woody in the back yard one spring day and said, “From now on you’re the man of the house.” Woody was practicing with a golf club, knocking off the heads of dandelions. Pop came into the yard in his good suit, which was too hot for the weather, and when he took off his fedora the skin of his head was marked with a deep ring and the sweat was sprinkled over his scalp—more drops than hairs. He said, “I’m going to move out.” Pop was anxious, but he was set to go—determined. “It’s no use. I can’t live a life like this.” Envisioning the life Pop simply had to live, his free life, Woody was able to picture him in the billiard parlor, under the “L” tracks in a crap game, or playing poker at Brown and Koppel’s upstairs. “You’re going to be the man of the house,” said Pop. “It’s O.K. I put you all on welfare. I just got back from Wabansia Avenue, from the Relief Station.” Hence the suit and the hat. “They’re sending out a caseworker.” Then he said, “You got to lend me money to buy gasoline—the caddie money you saved.” (Excerpt from "A Silver Dish" by Saul Bellow)

Fiction: A Silver Dish: newyorker.com

Analysis

The story by Saul Bellow, "A Silver Dish," explores a sense conflict thematically and stylistically. As the protagonist, Woody, struggles psychologically and as a member of society, the structure of the text demonstrates similar patterns. The text combines elements of colloquial speech with philosophical musings about human nature, and also incorporates the emotions of the main character. The result are conversational prose that mirror the back and forth movement of the story. The paratactic rhythm creates a flow, stringing the prose together. Bellow's prose frequently lead into verse, doing so without interrupting the overall movement of the text.

Noun vs. Verb Style

Verb Style

VIDEO GAMES | THE BEATLES: ROCK BAND

All Together Now: Play the Game, Mom

Harmonix/MTV Games

The pixelated Paul McCartney, left, and George Harrison in their mop top period, in The Beatles: Rock Band.

By SETH SCHIESEL

Published: September 1, 2009

THERE may be no better way to bait a baby boomer than to be anything less than totally reverential about the Beatles. So the news that the lads from Liverpool were taking fresh form in a video game (a video game!) called The Beatles: Rock Band struck some of the band’s acolytes as nothing less than heresy.

Luckily, Paul McCartney and Ringo Starr, along with the widows of George Harrison and John Lennon, seem to understand that the Beatles are not a museum piece, that the band and its message ought never be encased in amber. The Beatles: Rock Band is nothing less than a cultural watershed, one that may prove only slightly less influential than the band’s famous appearance on “The Ed Sullivan Show” in 1964. By reinterpreting an essential symbol of one generation in the medium and technology of another, The Beatles: Rock Band provides a transformative entertainment experience.

In that sense it may be the most important video game yet made.

Noun Style

As Wal-Mart Stock Stumbles, Tiffany An Unlikely Diamond in the Rough

Despite the Much-Vaunted 'New Frugality', Luxury Stocks Have Bounced Back

Associated Press (Tiffany & Co.); Getty Images

Thanks to emerging markets, shares of luxury companies have outpaced those of more value-minded retailers.

By Brett Arends

Remember the death of luxury? The new frugality? Canned soup capitalism?

That was, like, so nine months ago.

The recession may not even be over, but luxury is already back in fashion—at least, on Wall Street. And this has some messages for investors.

The latest curious data point: so far this year Tiffany stock has left Wal-Mart in the dust. It's not even close.

Anyone who went against last winter's conventional wisdom last winter and invested in the high-priced jeweler has made almost enough money to shop there. They are ahead 51% so far this year. Meanwhile investors who thought they were playing it safe and stuck to defensive, cut-price Wal-Mart, have actually lost 8%.

It's not just Tiffany. The whole luxury sector has bounced back. Coach (COH) is up 40% so far this year. Polo Ralph Lauren: 43%. Overseas giants like Louis Vuitton Moet Hennessy and Cartier parent Compagnie Financiere Richemont are up similar amounts.

The Claymore/Robb Report Global Luxury exchange-traded fund (ROB), whose 2007 launch was one of the classic signs of a bull market peak, has risen nearly a third since the start of the year.

What's going on? And what does it mean for your money?

First, of course, it's a sign of how quickly the mood has changed from fear to greed. Luxury companies, whose stocks collapsed during the financial crisis, will be in a sweet spot if consumer spending rebounds—especially now, as companies have slashed overhead.

Hello

I'm Sara, a senior at Lang with a concentration in writing and journalism. Even though my future goal is to write for a publication, I am still interested in studying literature and the art of writing- not to mention the important connection between the them.

I enjoy the works of Joan Didion, and feel inspired by them in my own writing. Didion succeeds in her role as a storyteller; that is, in regards to the ease and purpose which the story (fiction or nonfiction) is crafted within the text. In her essays, Didion is able to guide the reader through insightful observations about the world around her. She keeps just enough of herself concealed which achieves an ideal balance between accessibility and distance to the narrator.

I also admire Didion's use of words. Her sentences are so precise; every word has a purpose yet when read, flows almost lyrically. The result are concise, thought-provoking prose which I try to emulate.