Communication and History are Critical in English Teaching

“A true teacher is one who, keeping the past alive,

is also able to understand the present.”

–Confucius

            If Confucius was right when he said that a true teacher utilizes the past as a guide to the present, then you, as an aspiring English teacher, must be able to do the same. As an English lover, you have an innate linguistic forte; as an aspiring teacher, you have a natural need to instruct your future students as effectively as you can. In order to develop a powerful pedagogy, you must explore two topics you won’t learn about in your college teacher-preparation curriculum: rhetoric (which is the art of communication) and history (in both ancient and recent times).

Writing Plan: English Teaching

Audience Profile

The typical people entering the English Teaching field are usually either English fanatics or fans of teaching. Ideally they are both. Generally, they take English survey courses or writing classes in the beginning years of their schooling. Once students have applied to the English Teaching program, they take an introduction course which overviews issues connected to teaching (such as communication) and which provides students opportunities to observe real teachers in the public schools. More advanced classes focus in on preparing students to teach and use effective communication in a classroom setting. At the end of their degree, student teaching allows students to practice communicating like an English Teacher.

Context

Since an English teacher teaches how to communicate well, drawing the audience's attention should be easy--they're already interested in improving communication! Presenting examples of situations that require wise communication (like in-class persuasion or parent-teacher conferences) will also provide a practical reason for studying communication.

Rhetoric

The styles of oratory are important--making the distinction between high, middle, and low style will allow me to focus my paper on the low teaching style. Then, my audience should understand that being aware of kairos, ethos, pathos, and audience will help them make the best decisions while they teach. I'll define each of these terms when I use them.

History

The Roman style of teaching (which focused on the trivium, reading and writing and performing, etc.) is extremely eye-opening. Persuading students to take an interest in the history of teaching should be easy, because Quintilian's discovery of the Roman curriculum is ground-breaking. I'll explain how the Romans' way of teaching literature and composition was much more effective than today's methods. 

Development Plan

If I begin the paper with examples of situations where an English teacher would need to use communication I think I'll capture the readers' attention. Then, I can reel them in with questions that target my audience ("Do you love English? Do you have a passion for teaching?" for example). I would follow up with a reason why they should be interested in my paper: A promise that by learning more about the history and rhetoric involved with teaching, they will be more prepared for the day that they teach in their own classroom. I'll go on to explain the Roman way of teaching, and then explain that although we teach a different curriculum than the Romans' in today's schools, at least we can use rhetoric effectively. I'll explain that teaching is considered low style, and that being aware of kairos, ethos, pathos, and audience will improve teaching and general communication in any classroom.

English Teaching within the History of Civilization

Language arts education was highly valued in ancient times, and continues to be vital in our day.

Ellwood Cubberley’s book The History of Education provides general information about schooling in ancient Greece. Education itself was not technically required in Athens, but it was necessary if a male wanted to obtain citizenship. Teachers were private tutors and “occupied but a low social position and only in the higher schools of Athens was their standing of any importance” (24).

 Weekend breaks for the students were non-existent, but community festivals and state holidays provided for interruption of  study. On a day-to-day basis, the schoolteacher provided a simple classroom, and instruction was mainly individual.

Grammatists taught schoolboys to write on “plaques of baked earth,” “wax tablets,” or parchment (26). Learning to read was not as easy as it is now in the modern word; imagine the difficult process of deciphering a sentence when “punctuation, spacing between words, and small letters had not yet  been introduced” (26)!  

Once the pupils learned how to read words, great emphasis was placed on their ability to read well. They memorized and recited much of the classic works such as Homer and Aesop, paying particular attention to accentuation and emotion. Often, boys were asked to rework a piece of literature to make it their own, memorize it, and then perform it. This way they learned to read and write simultaneously. 

One scholar explains that “The Greeks, and especially the Athenians, laid the greatest stress on reading well [and] reciting well” (30).

In today’s world, the ability to read and write remains a vital skill. Arthur Applebee delineates the development of English curriculum throughout the 19^th and 20^th century in Tradition and Reform in the Teaching of English: A History. English as a school subject did not emerge until the 1880s. Over the years the curriculum underwent countless transformations due to changes in school population, psychology, and educational philosophy (ix).

The earliest source of language instruction during colonial times came in the form of a primer, which “included an alphabet and syllabarium, a creed, a catechism, and a collection of prayers and devotional exercises” (2). From these small books children learned to read. Later, Webster published a spelling book (3). Soon, scholars canonized classical literature for study in the classroom. 

Decades followed of debate over whether to teach grammar, rhetoric, literary history, spelling, and composition in schools. But then the question shifted to how to teach English (20) because it is a very broad, deep subject. I think that ancient Greek methods of teaching reading and writing

would prove fruitful in the contemporary classroom.

The List of Thanks

It was a foul failure's fault that a certain November became the most memorable month of my youth [alliteration].

"You have two weeks to write down all that you are grateful for," my dad directed my older brother and I. "On Thanksgiving day we will see who comes up with the longest list" [dialogue].

He went on to explain that whoever won would win a portion of a rare seasonal dessert, unusually creamy yet crunchy with a garnish like the crystalized snow [periphrasis]. Our appetites wet, our minds alert, we set to work.

The special day of family and food knocked at the door of grandma's house [personification] before we arrived there. I was sure I would win the friendly contest [metonymy] as my father called Tyler and I to the finish line. We each presented our sheets of gray lined paper, scribbled upon with smudged lead, and the decider read off our gratitudes. General categories like "family" and "food" and "the Church" graced my page, and I was proud. But, I soon heard that specifically named people and objects and video games populated Tyler's list [comparison][isotope]. "Dad, Mom, Grandpa, Grandma, Bishop, bread, milk, cheese, eggs, turkey, pumpkins, Donkey Kong 2, Mario Kart 3, Super Smash Brothers 4" and on and on. That he had conceived to cheat in such a way, I could not believe [anastrophe/hyperbaton]. My list reached fifty items, but his over 150 [ellipsis]!

To my utter dismay, Tyler was victorious. He relished his pie in front of me [paranomasia].

But in the end, I was grateful to my merciful father who snuck me a piece of chocolate pie anyway, equal to if not above the quality of Tyler's premium [antanagoge].

High and dry...not really

Courtney noted the high style of the darkness metaphor: I want to explore what makes it high style.

The extended metaphor (conceit) equates spiritual darkness to the darkness "that is suffered by those who are shut up in prisons." Characteristic of high style, this comparison presents a strong pathetic appeal in order to move to action. The image of a dank, gloomy prison instills fear in the audience that scares them away from hating their brother. Hating a brother would allocate them in a spiritual place that was equally dark.

In addition to the metaphor, Augustine racks the listeners' conscience with fear by using two back-to-back rhetorical questions that catch the guilty in their sins: "Do you hate your brother? Are you unwilling to be reconciled?" Every listener who secretly hates his or her brother or who refused to be reconciled in some way or another feels a sudden guilt or godly sorrow because his or her own sins are exposed through the question. They do not have to verbally respond to the question, but surely they must respond inwardly to themselves. By so responding, people feel guilt for any act of sin towards a brother, and eventually feel persuaded to change the situation and repent in order to be free from sin.

By first instilling fear of spiritual darkness, then stirring up guilt with rhetorical questions, St. Augustine's high style moves sinners to repentance.

Spencer pointed out the middle style that St. Augustine used at the beginning of "Sermon 211 for Lent" in order to capture his audience's attention. Which rhetorical figures are used to create a middle-styled balance between pathos and logos?

Style and Delivery in Parent-Teacher Communication

      Katie descriptively drew the line between a teacher's clear but not condescending language in a high school English class. The same care should be taken when the teacher communicates with parents in both written and verbal form.

Written Style:

     Email ensures a quick and easy way for teachers to contact the parents of struggling students. When Mrs. Nelson needs to inform a mother about her son's frequent absences and failing grades, she observes the norms of "English teacher" style. She is sure to use correct grammar, express her argument clearly, and add a touch of ornateness to make the difficult message sound a little more pleasing. She does not personally know James's mother. Mrs. Nelson avoids a condescending or accusatory tone by using figurative language like parallelism (to place herself and the parent on the same level of concern for James), and anacoenosis (asking the opinion of the audience). After reviewing James's grades, Mrs. Nelson writes the following:

Hello Mrs. Tucker, 

I have the pleasure of teaching your son, James, in my English class. He is respectful and very kind to other students. 

Unfortunately, I am aware of frequent absences and unexplained late work from him. Do you feel concerned about his performance in this class? Like you, I care for the well-being of your son. Literacy will be an essential skill throughout his life, and I worry that he is not taking full advantage of the opportunity to learn it now. I believe you would do anything in your power to provide him with a positive future. I hope you believe that I will do all in my power to help him, too, to improve his reading, writing, and critical thinking abilities.

In order to discuss with him the necessity of attending class regularly and completing the homework assignments, I would appreciate an in-person conference with both of you, next Thursday afternoon at 4 pm. Please let me know if this time works for you. 

Thank you,

Mrs. Nelson

Verbal Delivery:

     A parent-teacher conference is a familiar mode of communication that deals with verbal delivery. Let's suppose Mrs. Nelson had simply called Mrs. Tucker to schedule a face-to-face conference:

     Mrs. Tucker and James arrive at the door of Mrs. Nelson's classroom. The teacher kindly smiles and invites them to sit with her at a round table where a sense of equality and mutual respect resides. Mrs. Nelson begins by asking about James's extracurricular activities. Her question improves her ethos by showing that she cares for him as a person and not 'just another' student. Plus, it allows her to get an idea about outside factors that may be inhibiting his scholastic performance. She continues by addressing Mrs. Tucker, saying much of what was written in the example email above. In addition to the words she speaks, she uses gestures that suggest openness, facial expressions of consideration, and a tone of voice that is firm but loving. She allows Mrs. Tucker and James to voice their thoughts, and the discussion ends with a hopeful plan for James's scholastic success.

Conflict Issues and Special Topics of Invention in English Teaching

     Katie J's post about English teaching focused on the battle between a teacher and a principal about teaching a certain Shakespeare play. While principals backed by the state core curriculum standards are difficult to argue against, I think students with strong opinions will be even tougher to persuade. Convincing teenagers to seriously study literature--such as the works of Shakespeare--creates a daily conflict in the classroom.

     Consider the following conversation between a teacher and her class of tenth graders. She is introducing the year's unit on Shakespeare, and while the young people argue against the need to read, she employs various common topics of invention to combat their complaints, which constitute to the overall special topic of invention, advantageous/disadvantageous:

     "Mrs. Richards, Shakespeare is an old dead guy. Why do we care about what he wrote?" Billy rang out after the English teacher had expressed her enthusiasm to begin King Lear.
     "Well," she replied, "aren't the majority of the books we read written by 'old, dead guys'?" She retorted Billie's argument with a similarity/difference comparison that made his point ineffective.

     "But Shakespeare's language is sooo old that none of us can understand it!" Sally chimed in.
Mrs. Richards jokingly asked her, "Have you ever said, 'tongue-tied,' 'lie low,' or 'in a pickle'? How about 'dead as a door-nail' or 'laughing stock' etc.? Shakespeare made up these and many more phrases that we use all the time. So you understand more than you think!" The familiar maxims showed Sally she really could comprehend the age-old language.

     Jimmy offered another grievance, "Okay, Mrs. R, so maybe it doesn't matter if he's old and his words are old. Give me a reason why we young people have to read his plays." Mrs. Richards was prepared to supply a thousand reasons, but focused on those that related to past and future facts, as well as cause and effect relationships.    
     "Class," she said, "reading Shakespeare is extremely advantageous. Just as I know you've read him in eighth and ninth grade, I know you'll read him in eleventh and twelfth! Familiarizing yourselves with his work will not only help you interpret numberless cultural allusions to it, but will also teach you how to tell better stories, like him! He was the world's greatest story-teller. And if you unravel a character in a Shakespeare play, you will begin to make sense of human nature in general, which in turn will help you come to understand yourselves in the time that you are trying to find out who you really are."
     The students were still for a moment, and Jimmy finally concluded, "Those are good reasons..."
     Mrs. Richards smiled, "Now. Let's open to Act I."

Seek ye knowledge

     Spencer 's post touched on the knowledge that Cicero attained during the thirty years between his composition of De Inventione and De Oratore. An orator, such as Cicero, can gain knowledge in the rhetorical field over time and through experience. This is essential to his skill and power in persuasion. But what about his knowledge about his subject matter? Should a rhetorician be well-informed in the fields about which he speaks?

     Socrates adamantly refused that Gorgias could speak about anything, anytime, anywhere without having a true understanding of that 'thing'. Cicero supports Socrates by saying, "The orator must know the facts of his case. If he doesn't then he must learn them" (168). Through Crassus,  Cicero explains that a rhetorician cannot ignore the necessity of obtaining basic knowledge about his topic. This is in line with Socrates's argument against Gorgias that skillful rhetoric cannot take the place of expertise in a given field.

     I find it interesting that while Cicero and Socrates agree about the need for specified knowledge, Socrates believes that a specialist will speak more eloquently about his subject than the rhetorician ever could. Cicero disagrees, saying that once the orator learns a subject, he "will present this material better than the specialist could" (168). I think the competition would come down to how skilled the orator is and how much he learns about the topic. Unless the specialist has absolutely no public speaking skills at all, then it would be an easy bet. What do you think?

Kirby, the rhetorician, knew nothing about cooking
until he needed to write an argument about it.
Now he has quite the big mouth!

Cicero states that, "Knowledge of the rules [of rhetoric] is the first step towards oratory" (169), and it seems to me that another step is acquiring knowledge about the subject so as to intelligently approach the argument.

Communication and Persuasion in English Teaching

     English has always been my knack, and teaching has recently solidified itself as my niche. As a result, I have chosen to enter the English teaching field. As I often say, "I am attending college so that I can spend the rest of my life in a high school."

     There is something appealing about the kairos connected to teaching in a high school. Maybe that's why I want to go back.
Time: Early morning to mid-afternoon (The opening hours of the day are the intellect's playground). Date: Every day throughout autumn, winter, and spring (The teacher can easily develop relationships with students when they are together on a daily basis; also, the teacher must maintain a consistent yet creative rhetorical style in order to gain students' trust and interest.)
Place: Every type of classroom, ranging from stuffy and dimly lit to open and bright. (The teacher's position, the desks' arrangement, and the art on the walls can affect persuasive appeal. My seventh grade English teacher sat at her desk the entire year, which disengaged the class, whereas my twelfth grade teacher walked around the circular desk formation, which kept us engaged and alert.)
Katie Johnson also wrote about further times and places for communication through the internet.

    I have not yet chosen whether I would prefer to teach in a middle-school or in a high-school. Each group possesses specific psychological profiles that affect the way a teacher might employ rhetorical skills. Middle-school students are childish, simple, and immature. They base their view of a teacher's ethos not upon his or her academic achievements but upon the teacher's charisma and compassion. They thrive on pathos-directed appeals. Often they misunderstand logical arguments, or at least need guidance in order to comprehend them. On the other hand, high-school students are in the process of maturing, making complex decisions, and preparing for the future. They perceive strong ethos in a teacher who is intelligent and professional, yet relatable. High schoolers want their teachers to be their friends and their guides. Further analysis of the attributes of each group of students would prove helpful in determining the most effective uses of rhetoric in the classroom.

     While the students are most often the audience, communication in this field is not limited to the teacher-to-student sphere. Teachers also interact with administration personnel, parents, and fellow staff members. Each of these groups holds at lease one value in common: literacy. The desire to teach young people how to read and write effectively drives teachers to do what they do. Teachers employ all three branches of oratory in order to teach good literacy. They make judicial speeches whether they are defending the importance of a great classic or the validity of a grade. They teach how to write epideictic essays to analyze literature. And they take advantage of deliberative oratory when they need to convince the class to read Crime and Punishment over fall break.

When I began college, I realized that I was not nearly as well-read as many of my peers. But I do share their view that literacy is important to society. I want to teach English not only because the atmosphere, the students, and the challenge excites me, but because I want to teach something inspiring, and English inspired me.

   

All Roads Lead to...

I was enthusiastic about connecting myself to the Romans through gymnastics because I work as a children's gymnastics coach. Then I found out that gymnastics originated in Greece...so that was a fail worthy of an epic tale.

Instead of sports, I'll talk about art. The two are close cousins, right?

Two summers ago I took an art history class and loved it. In Ancient Rome, sculpture and painting were considered high forms of art, but other mediums were also common: pottery, ivory-engravings, coins, mosaics (as Austin mentioned), and even architecture (as Thomas mentioned).
(Click here for more information)

"The main innovation of Roman painting compared
to Greek art was the development of landscapes"

But what I remember more clearly than the art history class is my mission to Santiago, Chile. There, I saw what reminded me of the Trevi fountain (see picture on Thomas's post , which serves as a well-known example of Roman sculpture and architecture. 

Neptune's Fountain in Chile, the
Trevi Fountain's relative. 

Figurative Script about Scriptures

Tropes about Scripture Study

• Metaphor: 
• "Scriptures are food for thought."
• The scriptures are obviously not fine dining . But I do enjoy the deeper scriptural meaning that this metaphor offers because we are told to "feast upon the words of Christ" (2 Nephi 32:3), so scriptures as food is a commonly used comparison.
• Paranomasia:
• "Every member must remember to read the scriptures daily."
• Church members might laugh at this play on words, but hopefully it's catchy enough to make them commit it to memory.
• Anthimeria:
• "I know that scripturing throughout my day keeps me focused on Christ."
• Turning the noun "scriptures" into a verb spices up the sentence, instead of repeating the age-old "studying the scriptures" phrase again. 
• Hyperbole:
• "Your life will change completely the very moment that you open the scriptures."
• This may be true for some people...But for most it is an exaggeration, if not an inspiring one.
• Oxymoron:
• "You might consider listening to the scriptures as books on tape in your car!"
• Book on tape is an oxymoron because a book is a book and tape is tape and they are opposing mediums. It's used as a serious comment, though, not necessarily meant to add humor.

Schemes about the Study of the Scriptures:

• Parallelism:
• "Whether the writings are from ancient prophets in the Old Testament, American prophets in the Book of Mormon, or modern prophets in the Doctrine and Covenants, they are all considered the words of God."
• By paralleling different prophets from different volumes of cannon I emphasized the fact that their writings are equally important messages from God.
• Anastrophe:
• "Happy you will be when you study daily."
• This has a better ring to it than, "You will be happy when you study daily."
• Ellipsis:
• "A good study session consists of reading, but an excellent of feasting."
• Members who know the 2 Nephi 32:3 reference will be prompted to rethink the difference between simply skimming the scriptures and really relishing them, thanks to this ellipsis which omitted the words "study session consists of" in the second clause.
• Alliteration:
• "Scripture study serves as a source of spiritual serenity, especially when performed in solitude."
• Repeating the "s" sound so much sets a peaceful tone that encourages the audience to seek that spiritual silence.
  
   

Feast Upon the Words of Christ

         Every member of the Church should study the scriptures daily. The scriptures consist of canonized works as well as words of modern-day prophets [Definition]. Seriously studying the scriptures is not simply scanning a few verses and skipping on one’s way; it is focusing in on details, patterns, and real-life applications [Contraries]. Surely the more time and attention that one gives to the scriptures, the more spiritual revelations he or she will receive. Conversely, if scripture study is neglected, the Spirit will be unable to communicate to the individual [Cause/Effect][Degree]. Prophets from all ages have urged us to study the revelations [Authority]; furthermore, God Himself has promised power to those who search and ponder His word [Supernatural].  The very scriptures command us to “feast upon the words of Christ” (2 Nephi 32:3) [Documents]. Studying the scriptures is one part of the larger goal to live the Gospel of Jesus Christ [Genus/Species]. I know from personal experience that consistently studying the scriptures invites divine guidance into my life [Witness]. If members study in a dedicated and diligent way they will be blessed with happiness and peace [Antecedent/Consequence].

Profile for Persuasion: Dancers

• Main characteristics and values: 

• Dancers are conformed individualists; they demand precision in the ensemble but they also value creative self-expression. They value hard work and sacrifice, for they must rehearse multiple hours each day in order to achieve desired skill levels. Many aspire to perfection in and personal appearance and athletic ability. Suffering mental and physical pain for the sake of the art is a praiseworthy pursuit. Passion is their driving life-force. 
• Likely / unlikely to persuade
• As people who value beauty over logic, dancers are unlikely to be persuaded by scientific and mathematical arguments. Reasoning steeped in emotional appeals (pathos) would be more convincing to dancers, since their entire world revolves arounds sentiment and sensation.

• Test case: attending a play 
•  Dancers would attend a play before they even receive an invitation! Even more so if it were a musical. They love the performing arts in all of its forms.

Comparatively Speaking...

I wish to analyze a few comparisons that Pericles makes in the Funeral Oration. Spencer explains well the differences made between Athens and Sparta. But I noticed additional comparisons which define differences and similarities between people in order to inflate Pericles' persuasive power.

To begin, Pericles makes a distinction between himself and "many of those who have spoken [at the public burial place] in the past" (72). He announces that his speech will be different than theirs--he will not "praise the institution of this speech", but instead he will speak about their ancestors; he will not "make a long speech on subjects familiar to [the Athenians]," but instead he will "discuss the spirit in which [they] faced [their] trials...[and] after that speak in the praise of the dead" (72-73). By declaring his speech to be more productive, relevant, and interesting than those speeches given in the past, Pericles automatically captures the curiosity of his audience (pathos) and makes himself appear more intelligent or skilled than those past speakers (ethos). 

Pericles paints himself as someone better than his predecessors, but he makes positive use of past peoples by expressing a similarity between the Athenians and their ancestors. He says that their fathers "added all the empire we have now" and that contemporary Athenians had also "added to the power of [the] empire" (73). Basically, he asserts that both groups contributed to the empire's success and increase. By drawing a resemblance between the audience and their mighty ancestors, reminding them of the commonality they share in the edification of Athens, Pericles reinforces the audience's devotion to the empire. 

There are even more comparisons between Athens' and the "neighbor's" system of government, recreation, love of beauty, decision-making process, and yes, the "general good feeling" of friendship and kindness. All to prove that Athens possesses a "greatness that surpasses what was imagined of her"--that she is better than all the rest. And I'm sure that, as Pericles says, "This is no empty boasting...but real tangible fact" (75). 

Pride and Plays

Historical
I agree with Katie when she highlights two important aspects of 5th century Greek culture : strong traditions and excessive pride. However, I found that Pericles' comments about wealth and poverty were incompatible with the proof of pride that appeared in other parts of the speech.
He explained that the Greeks were not proud of their money when he said,"We regard wealth as something to be properly used, rather than as something to boast about" (74). If he is speaking honestly, then the Athenians were not prideful due to their wealth. It appears they were charitable. What might account for their pride, then, if not their money? Their military?  Pericles speaks of the soldiers who gave up their possessions and participated in the military: "No one of these men weakened because he wanted to go on enjoying his wealth: More to be desired than such things, they chose to check the enemy’s pride" (76). 

Rhetorical
Courtney says that Pericles "comforts [the brothers and sons] that one day they may also be able to die for their country",  but I understood that it would actually be difficult for them to attain the level of praise that their brothers and fathers won. Said Pericles, "It will be a hard thing for you to get the reputation of having come near, let alone equaled, their standard" (78, emphasis added). Why did he say it so negatively? Because he knows his audience. He speaks to prideful men who are "liable to...jealousy" (78).
Pathos stirs up in the men a covetous desire to work harder, to defend, and to die for their country in the future. Thus they might obtain praise just as their brothers and fathers did. Pericles persuades them through pathos and reverse psychology to tackle that "hard struggle in front of [them]" (77) in order to earn equally admirable praise. 

Philosophical
Could Pericles' speech have been presented as a drama? Imagine the heart-rending burial ceremony; Pericles mounting his soap box and disputing the need for a speech; his exaggerated gestures and words that would reach every gazing eye and listening ear. I imagine him imitating the soldiers as they took their final breaths...I think Pericles could have pulled off a drama, even despite the lack of plot or supporting characters.

Was Pericles a good actor?

Illustrating the Irrational with the Rational

In high school—a place where the "rational" skips class and irrationality abounds—I danced. Dance was an art, a techne, a release that provided me with a medium through which to physically express irrational ideas and feelings in a rational way.

For example, we choreographed pieces about everything from dejá vu, the Holocaust, slave-holding, and war; to family, friendship, and love; to the idea of individuality and transcendence. We dissected and explored the topics in order to correctly translate their qualities into movement and shape. As I rehearsed and performed, these rather abstract or irrational concepts became more concrete and understandable to me. Then, I talked about them with members of my audience.

Just as dance was my rational way of coming to understand and converse about the irrational, theater was a logical mechanism for the ancient Greeks to analyze the illogical. Dr. Burton asked, "Does the highly formal nature of [a] play give a more discernible way of talking about the issues?" I say yes. In his play, Bakkhai, Euripides examines the intangible topic of gender roles through a tangible portrayal of women followers of the god Dionysos.

What struck me was the fact that the women abandon their traditional roles--those of homemaking and childrearing-- to "hunt wild beasts with [their] hands" (line 1237). Gross! I ask, "Why in the world would women go into a killing frenzy in such a way?" It could be that they're tired of their shuttles and looms (line 1235), that they feel oppressed by a patriarchal society, or that they just can't control the beast that lies in each of us. But the bakkhai take it to such an extreme that their rebellion becomes irrational.

I am unfamiliar with the way ancient Greeks valued women, but it seems to me that the women want more recognition. Take Agaue's wild cry for credit when she says, "I am overjoyed; great things have I achieved, great and manifest for this land" (lines 1197-99) and displays the head of her son.

Just as I did in dance, by creating a formal example of an abstract idea--such as gender issues-- Euripides' play provides a name and a face to use in further conversations about the irrational.

Monkey See, Monkey Do

"It is in the nature of the visual sense to
long for some things" -Gorgias    

The sum of Wendy's, McDonalds,
Taco Bell, Panda, pasta, and the Creamery

My roommates gave in,
not I.

Two years ago I witnessed my friends surrender to a very irrational persuasive influence known as the Gilmore Girl sitcom.

In said television show, the mother and daughter binge on fast food when times get tough. They give in to the body's natural desire to eat, much like Helen's natural desire to follow after Alexander, as explained in Gorgias' "Helen's Encomium." After my friends watched episodes of binge eating, they wanted to give it a try. One night during finals week, I accompanied them to seven different fast-food restaurants and...the rest is history. My point is that Gorgias is right when he says, "It is in the nature of the visual sense to long for some things and for other things to give it pain. And in many there is produced much love and desire for many things." By simply seeing the Gilmore Girls eat incessantly, my roommates desired to do the same.

But is Gorgias logical when he claims that such actions, brought about by seeing, "ought not to be blamed as a sin but ought rather to be accounted a misfortune"? I don't think so. We have been given agency, as Katie J mentioned, and we are expected to choose the right over the wrong. I believe Gorgias' logos fails when he ignores the fact that an attraction to one choice or the other is necessary to act on our agency. He makes it sound as though seeing something automatically persuades one to act upon it. Although such was the case with my roommates, I believe that in most cases we are more rational creatures, endowed by God with the ability to discern, and have the power to say, "I see the good or the bad here, and I will choose the good." Helen really did have the choice to follow after Alexander or not. She wasn't so forced into it as Gorgias claims.

The Whole (divided by) the Parts = Clarity

Explaining small parts of a larger whole provides clarity for an audience. This type of explanation is called division. Both Elder Bednar and Socrates use this technique in their respective oratory.

Elder Bednar uses division when he mentions the genre of social media, then identifies “five of the presently popular social media channels,” or five smaller parts of that larger whole. He briefly names and explains the individual social media channels of Facebook, YouTube,  Twitter, Instagram, and Pinterest. After he explains each one, the audience better understands at least in part what social media consists of. This way, teenagers and grandparents alike come to understand what Elder Bednar means when he speaks more generally of “social media.”

            The division serves not only to clarify or to define, but also to peak the audience’s wide-spread interests. Some listening may be avid Facebook posters, others snap-happy Instagrammers, or  others YouTube video fanatics. Others may be inspired to use a program they had never used before. I myself was so inspired by Elder Bednar’s specific references to Instagram that I subscribed to follow the Church’s accounts in the middle of the talk! That’s what I call effective rhetoric; Elder Bednar’s purpose in speaking of these five channels was not only to show that they exist but to stimulate us to use them!

            Socrates also practices divisions in his dialogue with Gorgias. He breaks down the larger category of “the arts” into specific activities. Some of the activities mentioned include doctoring, gymnastics training, business (36), “arithmetic…geometry, and even checkers” (34). By indicating individual members of “the arts” Socrates  more clearly defines the whole.

While I found the use of division in both  of the above mentioned addresses, I could not see how the two were interrelated. Thus, I pose the question to the class.