The introduction introduces us to the "C-B-S" theory of prose. That is, prose build around the three central values of Clarity, Brevity, and Sincerity. Lanham says that "the theory argues that prose ought to be maximally transparent and minimally self-conscious, never seen and never noticed." But if you follow this theory to its full extent, you will find that your writing is Clearly Boring, Sorry.
In chapter one, Lanham differentiates between the noun and verb styles. Noun style is based on, well, nouns and is "statis," or more passive. The verbs in a noun-style sentence sink into the nouns and are further covered in layers of monotonous prepositional phrases. Verb style, however, is based on action and its verbs are central in the sentence.
In chapter two, Lanham talks about parataxis and hypotaxis, the two modes of how a writer connects the elements of his sentences. Parataxis is a style that tells its readers what/how to think via grammar (ie: "I came, I saw, I conquered." the style is direct and often pattern-like). Within parataxis, we see a common pattern of anaphora, a pattern of similar sentence openings. (ie: Hemingway's "I," "we," and "noun+was" openers). It creates a rhythm and heightens the intensity of its message. Hypotaxis, on the other hand, lets its readers know how thinks rank and what derives from what. It is wordier, thus less intense in style and a little less direct than parataxis. Nonetheless, it is very logical and reasoned because it follows assertion with supporting information. Paratactic comes a little more natural to write.
Paratactic style also encourages, as we see in Hemingway, an Asyndetic style--a style without connecting words (this also heightens intensity and repetition of words). Polysyndetic style, on the other hand, has a lot of connections (it is usually used in hypotactic sentences). It is fairly complex and informal.
Chapter three discusses the Periodic and Running styles. Periodic style is conscious of its organisation and often used by politicians (not Ike!) or writers trying to convey a specific message. If you write in the periodic style, you have control over your sentences, how they rank, and you have an idea where you are going specifically. Running style is more conversational and loose as a style. It is a style that literally runs without necessarily having a specific destination. The main difference between these two styles, however, is time reference. Running style is more present--things happen as they want to, not as the writer has constructed them. As Lanham says, "circumstances call the tune." Periodic style is the opposite--it has a specific beginning, middle, and end. It is careful, organised, and often patterned.
Finally, Chapter five (yes, we skipped chapter four) talks about my favorite subject: voiced and unvoiced styles. I understood this chapter best because voice is what I notice most in a piece, as opposed to its particular grammar styles. Lanham scolds the literary world and its readers for the practice of silent-reading. Yes, its faster, but it takes away from the tone of voice in a piece of literature. The more unspeakable, or toneless, the prose, the more we speed-read it. That's not good! Voiceless prose is "unworkable." It's boring, it's dull and it deserves to be sped over. But prose was not meant to be voiceless. Voice can stress central words and better convey the message of a piece. Voice and tone can also change the meaning/intent of writing or just cushion that intent, as Lanham demonstrated in President Eisenhower's letter to his general. Finally, Lanham and I agree that prose is meant to be performed. How can one perform prose if it has no voice? Voice is the personality a writer gives her prose and it is a vital ingredient in good writing.
Thank you and goodnight.
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