Purposes
Such poems may simply have been recorded or read for entertainment, or to convey a moral or religious lesson. The Owl and the Nightingale includes extended dialogues on rhetorical skills and has been seen as an instruction in (or possibly a parody of) the teaching of rhetorical technique. For example, both employ the medieval rhetorical tools of appealing to authority (by quoting Alfred the Great) and by attempting to goad the opponent into anger and then a mistake (stultiloquiem). During the eighth and ninth centuries, it was customary for students to debate their masters in schools and universities, and debates in litigation were likewise becoming more popular. These situations – which increased the relevance of the genre – were sometimes alluded to or parodied in debate poems.
The fiery debate in The Owl and the Nightingale is ended with a wren intervening, but critics have variously argued that either the owl or the nightingale is better at employing rhetorical strategy. One critic, Kathryn Hume (in Cartlidge, XIX), suggests that the poem is itself a moralistic warning against pointless quarreling.
Read more about this topic: Medieval Debate Poetry
Famous quotes containing the word purposes:
“I have been reporting club meetings for four years and I am tired of hearing reviews of the books I was brought up on. I am tired of amateur performances at occasions announced to be for purposes either of enjoyment or improvement. I am tired of suffering under the pretense of acquiring culture. I am tired of hearing the word “culture” used so wantonly. I am tired of essays that let no guilty author escape quotation.”
—Josephine Woodward, U.S. author. As quoted in Everyone Was Brave, ch. 3, by William L. O’Neill (1969)
“One of the baffling things about life is that the purposes of institutions may be ideal, while their administration, dependent upon the faults and weaknesses of human beings, may be bad.”
—Mary Barnett Gilson (1877–?)
“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
—Jacques Barzun (b. 1907)