Princeton Theological Seminary - Yearbook (Princeton, NJ)

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10 lvliatlbur things are included in' this first requisite of' dc- livery? What is purify of style-and correctness' ?. I t How strong is the sanction for these qualities? lvhat is propriety as a quality of style '? 8 lVhy can there be no synonyms in any language ? How then do we substitute one word for another? XV hat does the law of propriety require, inapproaching the idea with the term ? l I WVhat are the great advantages of propriety? How may we labor to attain it? n What is precision, and how dillerent from propriety? How does it differ from conciseness ? To what faults is it opposed? In what kind of composition is it less necessary ? In what part ofthe same discourse is it 1ll0Sl3 necessary '! What is the general rule to be followed as to precision ? What is rapidity in style? Vllhat is proportiwz ? What is order as a quality of style ? WVhat is its iinport-nice, and the faults it is opposed to ? What are its rules ? l Fzuzdwmezztal Qualities, UVEctm'z'Ll1zcss.l hVhat is nutnralrzcss in style '? How is art more than the imitation of nature ? Vlfhat kind of civilization is most favorable to the natural in style 'Q lVl1y does this quality please so much? How does it diiler from naivete? Why is it difficult to be natural in 'the pulpit? How shall we attain it '? WVhat shall we avoid as inconsistent with it? W'hat is congruity in style 'P How far is there to be a distinct language for the pulpit ? What are the dilfcrent elements of congruity? What is sin2plz2:1'ty, and how distinguished from the natural ? How different from concisencss '? What is its excellence? Why does it take the name of popzclmffy 1? YVhat are its advantages-and what is opposed to it? Vlfhy does it take the name of' jlmlzfliarfty in sacred elo- quence ? H How far may the personality of the preacher mingle in his discouise ? A lVhat lS'Il0ZlI6ll0SS, and What gravity ? What element ot' congruity itself combines all these other elements often '? VVhat is properly the .screjotzzml tone in preaching? Why should this tone always prevail in the preaching style? W hat is the peculiar beauty of biblical literature? By what culture is the scriptural tone to be attained ? ,What is the second inain characteristic of delivery answer- ing to these .qualities of style '? What kmnd of rules are the best for attaining a na-tural manner? Whyis prezept better than example in teaching these rules?

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i 24. l. 9 9 O 4. 5 6. - I 8. 9. 10. 11. 12. 15. 14. 15. 16. 17. 18. 19. 20. 1. 2 3 4 6 T 8 ' S! 10 '11 36. 9 , Why do we reject the plea of Addison for plagiarism by dull men who are good speakers? What in the composition of a sermon most demands ori- ginality ? j ELOCUTION, ' 1 ' What remains after the choice and arrangement of ideas? VVhat is writing a discourse? Where does elocution display its character most? What is its twofold oflice '4 How Elscpit evident that the use of Words must be a labor ol' min . , Ofwhat value are thc ideas wrought in the minutest tex- ture of style ? . How flu' may a feeble thinker be a good writer? 1Vhy may a good thinker be a bad writer? ' VVhy must a good style as distinguished from diction merc- ly, characterize. only a good thinker? ' VVhy is the study of style a matter of serious obligation ? How is the study of style for its own sake as an art un- worthy of the preacher? , How is true art to be distinguished from artifice? How answer the objection that style has made men dupes of error? P How-the objection that imagination is a deceiver? How-that eminent preachers, as Paul, have disdained style C0 How-that it is appreciated by a small number? How-that the form may draw the mind from the sul- stauce ? How-:that we have not time in the urgencies of the gospel ? 1Vhy should style be as good in the country as in the city ? WVhy is it pre-eminently important at the present day that the style of the pulpit should be good? Fmzcicmzcntal Qzcalttzlzs of Style. How much of' rhetoric is peculiar to sacred discourse? What are the two classes into which qualities of style are distributed ? ' Enumerate the qualities belonging to the first class. VVhat distinction is made between style and diction? To what place, in importance, do we give perspzbuity ? VVhy are men imposed 611 at times by obscurity? Why should we not, however, give absolute confidence to - perspicuity? ' ' ' A 4 ' By what test should We judge of the perspicuity of style suited to any subject? ' -' . . , I How isperspiciiity defined? 1 4 A . I What-is its special necessity in the pulpit ?- , Wlrat are preliminary conditions of it? ' 12' 'Nilhat are special means or rules forattaining it? f13. 1 .,.H YVhat is an ultimate quality of' elocution, to be studied as f- '--. 1 well-as style and diction? 14 'L X15 fit Q How did the ancients distribute this quality into 'two classes ? ' What is the first indispensable property of a good delivery? VVhy are the utmost pains in attaining it worthy of the Christian minister?

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11 Xyhat kind of composition and what method are best to in- duce naturalness of delivery? YVhat are some special rules of the negative kind? How answer theolqjection from success of oratoiy in thc theatre ? Wrt-ues of Style, dkc. How does truth become eloquence? r What are the elements of this eloquence? What is all that can be given in teaching eloquence? What are strength and beauty in style, and how distin- guished ? How is eloquence to be distinguished from poetry? What is the one prevailing character of eloquence ? By what general rules do we subordinate strength and beauty to this character? What are the two main qualities to which an eloquent style may be reduced ? What does all discourse aim to reproduce? What are we to distinguish in the work of painting thought to the mind ? What is the difference between direct and indirect means? Why is indication ordinarily better than enumeration in giving a view to the mind? How is this illustrated in great writers and in the Bible? What is epithet, and how distinguished from adjective What are rules for the use of it? What are the diiferent Hgures in the class of indirect means ? What is a perfect cmtitheszls-and when is it bad? How far is it peculiar to Christian eloquence, and why? What is rnemphor, and what its two forms? What are its great advantages? ' What are proper cautions in the use of it? . What ispctllegory, and its legitimate claims to use in the pu pitl WN hat danger in the use of it-and abuse, from which the parables of the Bible are free? , W hat is comparison.-and its antiquity? Why is it better suited to poetry than to eloquence ? How should it be always characterized in preaching? What is the third quality of good delivery? What is the ytrszt fault opposed to it ? What the second fault? The third-and the culture to remedy all these faults. Ulfovement, ct'c.l What is the second main characteristic of eloquent style Y In what does it consist? Vlfhat is its relation to life Cl ' What more does it require than logical perfection and color 1 What is its excellence? What restriction is on it in the pulpit 'Z VVhat are the two principal forms of this movement'? How does this movement differ from lOglCZLl1'l1OV61l18l1i'1'i What is the direct address which belongs to it? What are the Hgures belonging to expository movement '?