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Variants of Rhetorical Ventriloquism

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Variants of Rhetorical Ventriloquism DS Mayfield Variants of Rhetorical Ventriloquism sermocinatio, ethopoeia, prosopopoeia (and Affine Terms) in the Rhetorica ad Herennium, Cicero, Dionysius of Halicarnassus, Quintilian, Augustine – Including Tentative Remarks on the Oratorico- Dramatic Concepts of ethos and persona, as well as Their Potential with Respect to Authorial Selfcraft in Shakespeare and Cervantes Online Supplement to History and Drama, 978-3-11-060426-9 Edited by Joachim Küpper, Jan Mosch and Elena Penskaya IN MEMORIAM FRIEDRICH WILHELM SCHUSTER *16.04.1924 †24.06.2004 FRIEDLINDE KÄTHE LISETTE SCHUSTER *29.11.1924 †27.11.2016 IN GRATITUDE FOR THEIR COUNSEL AND ENDURING GUIDANCE BY WAY OF THE EXAMPLE THEIR LIVES SET . Note This is the extended rendering of an essay that has appeared in the volume History and Drama , edited by Joachim Küpper, Jan Mosch, and Elena Penskaya (Berlin: de Gruyter), which features condensed versions of chapters 1 and 5. IV Acknowledgements Acknowledgements The preliminary research conducing to the study at hand was performed while receiving funding from the European Research Council (ERC) as a member of the DramaNet project at Freie Universität Berlin, headed by Professor Joachim Küpper. In addition to affine material written in addition (specifically parts 1, 2, 6, and subchapter 4.1), it integrates the revised and augmented versions of two thematically interrelated papers given in October 2016. An initial version of chapter 3.3, the opening of part 4, and subchapter 4.2 was presented at the Humboldt Forum “‘World Literatures – Masterpieces: Shakespeare and Cervantes 2016’” (held in Bonn, October 12–16, 2016), which was attended as a guest at the suggestion of Professor Küpper, and the invitation of the scholarly committee, consisting of Professors Claudia Olk, Martina Wagner-Egelhaaf, David E. Wellbery, and Matei Chihaia. The author is grateful to the Humboldt Foundation for the opportunity of attending, and speaking at, the congress (in the section “Functions of Authorship”, with a talk entitled: “‘im Grunde persona ’—Towards a Rhetorico-Theatrical Approach to Authorship”). He wishes to thank the panel’s audience for their response. The author is particularly grateful to Professor Jane K. Brown for her suggestions in conversations following the paper, as well as during the conference. An earlier version of part 5 was presented at DramaNet’s concluding International Conference “History and Drama: The Pan-European Tradition”— organized by Dr. Jaša Drnovšek, Dr. Tatiana Korneeva, and headed by Professor Küpper—which took place at Freie Universität Berlin from October 26–27, 2016; the overall project (‘Early Modern European Drama and the Cultural Net’), including the conference, was funded by a five-year ERC Advanced Grant (2011 to 2016). Entitled “The Economy of Rhetorical Ventriloquism”, the initial version of this paper was located in panel III, “Theoretical Perspectives on History and Drama”. For their questions and comments following the talk, the author is grateful to Professor Hoxby (asking about layered sermocinationes and generic specificities in this regard), Professor Dickhaut (stressing the significance of the aptum ), Professor Küpper (commenting on the import of differentiating factual and fictional figures with respect to sermocinatio ), Dr. Sven Thorsten Kilian (inquiring about collective voices personified), and Professor Gasan Gusejnov (adducing a nexus with ratiocinatio and mentioning the Theophrastan Characters ). Thanks go to the chair (Dr. Gaia Gubbini), the general audience, and particularly to the conference’s international respondents, Professors Jan Acknowledgements V Bloemendal, Kirsten Dickhaut, Susanne Friede, Blair Hoxby; as well as to Lena Maria Hein for her assistance in proofreading parts of an earlier version. The author is grateful to de Gruyter, especially Gabrielle Cornefert and André Horn, for their reliable support in publishing the present work. Above all, he wishes to express his gratitude to Professor Kathy Eden (Columbia U, NYC) and Professor Küpper for reading and commenting on drafts of the study at hand. The likelihood of errata increases with the quantity of data: the remaining are the author’s—who (being human) requests the reader’s indulgence. Table of Contents Self Sells. On Augustine’s Putting Personified Voices into Writing 1 Provisional Heuristics 7 . On Dialog and Ventriloquism 9 . Notes on Method 20 $ Theoretico-Conceptual Groundwork (By Recourse to the Rhetorica ad Herennium , Cicero, Quintilian, and Further Theorists) 25 . The Rhetorica ad Herennium on ‘sermocinatio ’ and ‘notatio ’ 37 . Quintilian’s Institutio Oratoria on ‘prosopopoeia ’ (With Remarks by Cicero) 47 . The Rhetorico-Dramatic Terms ‘prósopon ’ and ‘persona ’ in Ancient and Early Modern Times (With Correlative Remarks on ‘ethos ’) 59 .- Taxonomico-Conceptual Synopsis (Subchapters 3.1–3.3) 82 7 Selling Selves. Variants of Rhetorical Selfcraft 96 -. Dionysius of Halicarnassus on ‘ethopoeia ’ (with a view to ‘evidentia ’ and respect to ‘decorum ’) 101 -. Toward an Oratorico-Dramatic Approach to Authorship: Selfcraft in Shakespeare and Cervantes 119 9 The Economy of Rhetorical Ventriloquism: Applications from Antiquity to the Present 138 8. Concerning the Nexus of ‘oikonomía ’ and ‘dialogismós ’ 143 8. Variants of Rhetorical Ventriloquism in Historiography, Literature, Philosophy ( inter alia ) 154 > Concluding Synopsis (With a Brief Coda on Concealing the Art) 195 Bibliography 200 Primary Literature 200 Secondary Literature 215 Index 236 General Keywords Rhetoric, drama (in Greco-Roman and Late Antiquity, Early Modern times); ventriloquism , perspective-taking, vicariousness , delegation ; authorship, rhetorical selfcraft (auto -etho -poíesis , poetics of self). Main Authors (Respectively Texts) Plato , Aristotle , Lysias , Thucydides; Rhetorica ad Herennium , Cicero, Dionysius of Halicarnassus , Quintilian , Livy, Seneca, Tacitus; the Progymnasmata (Aphthonius , Hermogenes, Nicolaus, Priscian, Aelius Theon, et al.); Lucian, D. Laertius, Augustine ; Machiavelli, Erasmus, Montaigne, Cervantes , Shakespeare ; Nietzsche, Blumenberg (see the index also). Technical Keywords (With Taxonomic and Spelling Variants) Pertaining to rhetorical ventriloquism: sermocinatio , διαλογισμός (dialogismós ), allocutio (adlocutio ); ἠθοποιία (ethopoiía , ethopoeia , etopeya), notatio ; προσωποποιία (prosopopoiía , prosopopoeia , prosopopeya), fictio personae , conformatio , personification, impersonation; εἰδωλοποιία (eidolopoiía , eidolopoeia , idolopeya), anthropopatheia , pathopoeia . Affine terms: ὑποφορά (hypophorá , ἀνθυποφορά), subiectio ; χαρακτηρισμός (charakterismós ), ἠθολογία (ethología ), προσωπογραφία ( prosopographía ), effictio , μίμησις ( mímesis ), imitatio ; χαρακτήρ (charaktér ); προσώπον (prósopon ), persona , ἦθος (ethos ), ἕξις ( héxis ); πρέπον (prépon ), aptum , decorum , accommodatum ; τάξις ( táxis ), ordo , οἰκονομία (oikonomía ), dispositio ; ἐνάργεια (enárgeia ), evidentia , ὑποτύπωσις ( hypotýposis , διατύπωσις); πάθος (páthos ); ὑπόκρισις (hypókrisis ), actio ; ὑπόληψις (hypólepsis ). Self Sells. On Augustine’s Putting Personified Voices into Writing et voluptate ad fidem ducitur[.] Quintilian (Inst. Orat. 3–5. 278, 4.2.119) In Book VIII of his Confessions , at the crux of the entire endeavor—as regards the literary composition, the life and self it is to reflect—Augustine introduces “Chastity [‘continentiae’]” personified as having “appeared [‘aperiebatur’]” to him (Conf. 1–8. 404–405, VIII.11.27).1 Twice the orator ventriloquizes in writing what she might say (“quasi diceret”, iterated)—and is then careful to clarify (in forensic terms): “ista controversia in corde meo non nisi de me ipso adversus me ipsum” (“[t]his debate took place within my heart; it was myself arguing against myself”, Conf. 1–8. 406–407, VIII.11.27; cf. 406n.).2 Said envisioned :: 1 In a context declaring a (previously) prodigal use of his God-given “intellectual ability” (“de ingenio meo, munere tuo”, Conf. 1–8. 48–49, I.17.27), Augustine mentions performing a prosopopoiía with allocutio during his student years, detailing the resp. oratorico-theatrical process as follows: “A task [‘negotium’] was assigned to me […]. It was to perform the speech of Juno when she was angry and hurt […], words that I had never heard Juno utter. Instead we were obliged to go astray by following the footsteps of poetical inventions [‘figmentorum poeticorum’], and to declaim in prose something similar to what the poet [sc. Vergil] had written in verse. The one who was displaying a more realistic [‘similior’] impression of anger and hurt in defending the honor of the character being delineated [‘adumbratae personae’] (using appropriate words to clothe the ideas [‘verbis sententias congruenter vestientibus’]) was the one whose speech won the most praise” (Conf. 1–8. 48–49, I.17.27; cf. Lanham “Instruction” 85: “Augustine […] describes being made to impersonate an angry goddess Juno in an exercise of ethopoeia”; see “Composition” 121). The young Augustine outperformed everyone—a triumph for which the mature writer has only contempt, albeit rather ostensively so (cf. Conf. 1– 8. 49, I.17.27). Seeing that the basic procedure outlined for the Greek goddess is repeated in the personification of an abstract entity equally ‘inexistent’ (from the Church Father’s angle), it is not the technique itself that is at issue, but the (intended) use to which it is put—with Continentia personified serving a moral, and (more importantly)
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