Chapter 1:
Brutus repeatedly asks Cicero about the perfect eloquence he admires.
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Chapter 2:
Despite Demosthenes' excellence, there's hope for aspiring orators in Greek history.
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Chapter 3:
Perfect eloquence, like perfect beauty, exists in our minds as an ideal.
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Chapter 4:
Philosophy is essential for true eloquence, providing depth and substance.
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Chapter 5:
Many settle for lesser eloquence, lacking both philosophical depth and true eloquence.
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Chapter 6:
Oratory is diverse: grandiloquent, subtle, or a blend of both, each with strengths.
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Chapter 7:
Orators should emulate Demosthenes' Attic style for its wisdom and dignity.
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Chapter 8:
Orators adapt to their audience's preferences; Thucydides' style differs from courtroom rhetoric.
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Chapter 9:
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Chapter 10:
Cicero finds joy and motivation in Brutus' virtues and intellectual pursuits.
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Chapter 11:
Different opinions on Ennius, Pacuvius, and Attius among Greeks and Romans.
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Chapter 12:
Isocrates admired for style; contrasted with Thrasymachus and Gorgias.
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Chapter 13:
Isocrates praised by Plato and Socrates for his future potential.
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Chapter 14:
Orator must consider what, where, and how to speak.
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Chapter 15:
Orator must master topics and judge arguments wisely.
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Chapter 16:
Importance of manner in speaking; varied styles suit different audiences.
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Chapter 17:
Action and elocution crucial; Demosthenes values action in eloquence.
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Chapter 18:
Voice modulation critical; nature and practice enhance eloquence.
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Chapter 19:
Gestures must be controlled; body language enhances orator's message.
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Chapter 20:
Orator's delivery should match message; actions speak louder than words.
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Chapter 21:
The orator must prove, delight, persuade; wisdom is foundational.
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Chapter
22:
Consider what is becoming in words, sentiments, and actions.
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Chapter 23:
An orator's style should match the subject and audience characteristics.
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Chapter 24:
Oratory should be fluent, sweet, moderate, with carefully chosen embellishments.
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Chapter 25:
Use metaphors and rhetorical devices sparingly and appropriately.
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Chapter 26:
Employ wit and raillery cautiously, avoiding excess and improper targets.
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Chapter 27:
A style between plain and highly ornate, sweet yet not excessive.
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Chapter 28:
Demetrius Phalereus excels in calm oratory with numerous metaphors.
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Chapter 29:
Metaphors and metonymy add brilliance and sweetness to oration.
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Chapter 30:
Phalereus uses metaphors extensively but judiciously in his oratory.
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Chapter 31:
Allow poets to change style, not just use fierce expression.
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Chapter 32:
Demosthenes rivals Lysias, Hyperides, and Aeschines in eloquence and style.
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Chapter 33:
Orator needs dialectics, philosophy, religion, and historical knowledge for eloquence.
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Chapter 34:
Orator should know physical science, civil law, and historical chronology.
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Chapter 35:
Orator must understand causes, disputes, arguments, and rhetorical techniques.
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Chapter 36:
Orator adapts speech to subject's importance, using rhetoric and amplification.
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Chapter 37:
Eloquence includes adaptation to audience, emotional impact, and rhetorical vigor.
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Chapter 38:
Orator moves judges with emotions like pity, anger, admiration, or fear.
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Chapter 39:
Various emotional appeals used in prosecution and defense speeches.
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Chapter 40:
Aristotle's "Rhetoric" notes oration's wide scope and practical application.
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Chapter 41:
Eloquence's importance in society; teaching oratory's societal value and honor.
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Chapter 42:
Law versus oratory's study; reasons for differences in approach.
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Chapter 43:
Sentence structure in oratory; importance of arrangement and elegance.
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Chapter 44:
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Chapter 45:
Greek and Latin language nuances; use of vowels in oratory.
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Chapter 46:
Ancient poets used various contractions and liberties in language.
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Chapter 47:
Words like nôsse and judicâsse were often contracted in usage.
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Chapter 48:
Compound words often evolved for euphony and ease of speech.
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Chapter 49:
Sound and rhythm in language are judged by ears, not reason.
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Chapter 50:
Well-arranged speech and harmonious sentences delight listeners’ ears immensely.
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Chapter 51:
Ancient critics opposed rhythm in oratory, preferring broken sentences instead.
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Chapter 52:
Isocrates added rhythm to prose for pleasure and variety.
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Chapter 53:
Ancient orators unknowingly used rhythm to please their audiences.
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Chapter 54:
Rhythm in oratory parallels poetry, requiring balance and variety.
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Chapter 55:
Rhythm in speech, though subtle, enhances oratory like poetry.
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Chapter 56:
Ancient orators prioritized meaning, later incorporating rhythm for polish.
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Chapter 57:
Different rhythms suit various speech styles; variety prevents monotony.
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Chapter 58:
Iambic rhythm suits humble speech; paeon for dignity, dactyl both.
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Chapter 59:
Harmony should pervade entire sentences, not just their endings.
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Chapter 60:
Oratory and poetry share material and execution, differing in rhythm.
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Chapter 61:
Discuss the practice of rhythm in oratory, its importance, applications.
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Chapter 62:
Rhythm should be used selectively in forensic oratory contexts.
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Chapter 63:
Rhythm varies; dichoreus is popular but requires careful application.
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Chapter 64:
Different rhythms like cretic and paeon enhance speech naturally.
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Chapter 65:
Arrangement of words can create rhythm without obvious design.
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Chapter 66:
Compressed, rhythmical periods are rare in serious, forensic speeches.
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Chapter 67:
Short, rhythmic clauses are effective, especially in serious causes.
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Chapter 68:
Effective oratory requires excellent sentiments and careful language.
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Chapter 69:
Avoid obvious transpositions and filler words to maintain rhythm.
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Chapter 70:
Disrupting word order ruins carefully constructed rhythmic speech.
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Chapter 71:
Loose oratory lacks impact; well-arranged speech is more effective.
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