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"...something like the way in which people become better writers by writing and writing and writing: a rhetor 'grooves' her ethical 'memory' not only by residing within the persona of the virtuous person but by continually thinking about how one might construct one's deliveries to represent oneself as a virtuous person." (Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 25)

Kenneth Burke: "A man can be his own audience, insofar as he, even in his secret thoughts, cultivates certain ideas or images for the effect he hopes they may have upon him; he is here what Mead would call 'an "I" addressing its "me"'; and in this respect he is being rhetorical quite as though he were using pleasant imagery to influence an outside audience rather than one within..." (qtd in Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 24)

#ethics #acting #delivery

Isocrates contends that "the more one writes about and speaks about what is worthy of praise and honor, the more one is effectively supporting honorable causes, and...the more on contemplates what is worthy of praise and honor, the more one habituates oneself to them and begins to feel their influence." (Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 23)

#delivery #ethics #the good

"Quintilian speaks of the importance of being able 'to exhibit an emotion that cannot be distinguished from the truth'." (Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 23)

#Delivery #artifice #emotion

On Quintilian: "The head, for instance should be carried naturally and erect to secure grace; dropping the head is suggestive of humility, while throwing it back suggestive of arrogance; inclining it to one side indicates langour, while holding it stiffly and rigidly indicates a rude and savage temper." (Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 20)

#delivery #head #emotion #gesture

On gesture in the Ad Herrenium: "Thus, the dignified conversational tone mandates that the speaker 'stay in position when he speaks, slightly moving his right hand, his countenance expressing an emotion corresponding to the sentiments of the subject,' and the pathetic tone of amplification suggests that the rhetor 'out to slap one's thigh and beat one's head, and sometimes use a calm and uniform gesticulation and a sad and disturbed expression'." (Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 19)

#delivery #gesture

"every emotion of the mind has from nature its own peculiar look, tone, and gesture"

(Cicero, qtd in Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 18)

#Delivery #emotion #gesture

"while delivery may function as a trope for ways that learning is staged, that form of delivery, like the canon, is also an ethical activity."

(Jacobi, Martin. “The Canon of Delivery in Rhetorical Theory: Selections, Commentary, and Advice.” In Delivering College Composition: The Fifth Canon. Edited by Kathleen Blake Yancey. Portsmouth, NH: Boynton/Cook, 2006. 17).

ON Quintilian's lack of interest in 'artificial memory': “Has Roman society moved on into greater sophistication in which some intense, archaic, almost magical, immediate association of memory with images has been lost? Or is the difference a temperamental one? Would the artificial memory not work for Quintilian because he lacked the acute visual perceptions necessary for visual memorisation?” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001. 26)

#memory #visual #Quintilian #association

“There were inert or lazy or unskilled people in Cicero's time who took the common sense view, to which, personally, I heartily subscribe-as explained earlier I am a historian only of the art, not a practitioner of it-that all these places and images would only bury under a heap of rubble whatever little one does remember naturally. Cicero is a believer and a defender. He evidently had by nature a fantastically acute visual memory.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.19)

#Cicero #memory #visual

“We all know how, when groping in memory for a word or a name, some quite absurd and random association, something which has 'stuck' in the memory, will help us to dredge it up. The classical art is systematising that process.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.14)

#memory #systemization #art

“This, then, is an example of a classical memory image-consisting of human figures, active, dramatic, striking, with accessories to remind of the whole 'thing' which is being recorded in memory.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.11)

#memory #image

From Ad Herennium: “We ought, then, to set up images of a kind that can adhere longest in memory. And we shall do so if we establish similitudes as striking as possible; ifwe set up images that are not many or vague but active (imagines agentes); if we assign to them exceptional beauty or singular ugliness; if we ornament some of them, as with crowns or purple cloaks, so that the similitude may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or soiled with mud or smeared with red paint, so that its form is more striking, or by assigning certain comic effects to our images, for that, too, will ensure our remembering them more readily.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.qtd 10)

#memory theater

“And the rules summon up a vision of a forgotten social habit. Who is that man moving slowly in the lonely building, stopping at intervals with an intent face? He is a rhetoric student forming a set of memory loci.”(Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.8) FLANEUR?

#memory theater #flaneur

On classical memory theater: “the astonishing visual precision which they imply.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.8)

#visual #memory theater #memory

“The art of memory is like an inner writing.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.6). This is the second time that this art has been related to letter writing (even in Cicero's account was it associated with wax tablets). Which makes me wonder: what was the art of memory “like” for those with no writing? Or was it always associated with a post-alphabetic society?

#memory #writing #literacy #orality

“In order to form a series of places in memory, he says, a building is to be remembered, as spacious and varied a one as possible, the forecourt, the living room, bedrooms, and parlours, not omitting statues and other ornaments with which the rooms are decorated. The images by which the speech is to be remembered-as an example of these Quintilian says one may use an anchor or a weapon-are then placed in imagination on the places which have been memorised in the building.” (Francis Yates, The Art of Memory, Chicago: University of Chicago Press, 2001.3)

#memory #memory theater

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