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Moreover, generic allusions, signals and implications are often communicated directly in authorial exordia, invocations or prologues.
In their prologues and exordia they show that they are clearly aware of the transmission task they are about to perform.
Moreover, the poem abounds in its use of rhetorical devices, among them apostrophes, antiphrases, philippics, ekphrases, exordia, prosopopeia of various sorts, allegorical representations (some of them "explained" by the speaker), all generally organized upon the epideictic modes of praise and blame.
On both surfaces, a petitioner resorts to the Aristotelian modes of ethos, pathos, and logos, as well as numerous rhetorical strategies, such as moral sententiae and exordia, in order to persuade his audie nce to take some corrective action.
32) The silence of the Cistercian exordia has allowed historians to apply juridical arguments about Cistercian status suitable to the thirteenth century, but not to the twelfth-century situation, and hence to argue that twelfth-century houses of religious women were not really Cistercian.
If we look at the origins of the Cistercian Order not according to the self-glorifying texts called exordia, which Cistercian men wrote and from which they excluded women, but from the viewpoint of local administrative records, we must argue for a slowly developing order that included nuns.
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This introductory passage sets the pattern for the exordia of each of the poem's ten books, which detail Cooper's experiences as a "captive leveller" (II:2), the traumas of his fellow prisoners, and the larger political realities of the day.
In this analysis, I examine three of Cooper's core techniques for using epic poetry to explain his political moment: dialogic and open-ended structures, the epic convention of introductory exordia followed by philosophical dream visions, and recurring images of hunger.
The exordia of the two songs express fairly similar sentiments: `Molt chantasse volentiers liement / Se j'en trovasse en mon cuer l'ochoison' (R700) `versus Nus ne poroit de mauvaise raison / Bone chancon ne faire ne chanter' (R1887).
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