A gloomy but beautiful day, Hermione Granger walks into The Three Broomsticks in Hogsmeade to decide what to do with her fortune. Hogwarts, her beloved home away from home, has granted her funds to start up her own school. She’s nervous yet excited to meet with and decide on a possible director for her school. In walks Marcus Tullius Cicero, who has traveled through time to take advantage of this opportunity. He scans the crowded pub looking for the woman who has captured Ron Weasley’s heart and fought along Harry Potter to defeat the Dark Lord.
HERMIONE GRANGER: Mr. Cicero! Mr. Cicero! Over here, by the window!
MARCUS TILLIUS CICERO: Hello, Ms. Granger. It is my utmost pleasure to finally meet you. I have traveled long ways to have the opportunity to enjoy your presence. You are now, one of the founding fathers, or mothers I should say, of the new wizarding world!
GRANGER (flushed): Why thank you, Mr. Cicero. You are, yourself, very influential in the study of rhetoric even if you do not know so at this moment (Bizzell 285). This is why I wanted to meet with you today. I have been granted funds from Hogwarts to open up a school of my own and have complete say over all the affairs. What do you say about it?
CICERO: Why, you cut right to the chase. Don’t you?! Of course, I am very interested in being a part of this new journey in your life. Let me tell you a little bit about my thoughts.
GRANGER: Please do. Please, tell me how you will be able to connect the muggle world with that of the wizard’s. As I’m sure you know, I am muggle-born and want my academy’s director to be muggle as well so that the prospective muggle students are comfortable and accepted among their fellow wizards.
CICERO: Yes, I am aware. As a director of a wizarding school, I want to make sure the scholars are well educated in the realm of eloquence and philosophy. Even though the philosophies are ones that have originated in the muggle world, they reach across boundaries and can prepare students to be successful, eloquent orators. Oration is not a simple feat – it requires study and knowledge of every possible field and discipline. I would dedicate classes to give students the opportunity to learn knowledge in the field of history and law as well as classes to teach proper bodily expressions such as gestures, carriage, intonation, and emotion in voice (Bizzell 291).
GRANGER: And you believe this concept of oration transfers to the wizarding world? Please tell me how so.
CICERO: Yes, of course it does! Oration, eloquent oration that is, is interdisciplinary, as it is “the result of a whole number of things” (Bizzell 291). It is not just the accumulation of muggle tendencies and studies, but also that of the wizarding world. You see, you yourself along with your eloquent friend and lover, Mr. Potter and Mr. Weasley, are great orators. Oratory has power that can serve two functions. First, oratory is “so generous, as to bring help to the suppliant, to raise up those that are cast down, to bestow security, to set free from peril, [and] to maintain men in their civil rights.” At the same time, Ms. Granger, it can be utilized as a weapon to “defend yourself, or challenge the wicked man, or when provoked take your revenge” (Bizzell 193). Mr. Potter is the epitome of an eloquent orator who has power and exerts that power: he, along with his life-long friends, persuaded those such as Neville to gain the courage to take action against the Dark Lord. This is something that should be taught to the scholars of your future academy. To be an eloquent orator, is to be powerful.
GRANGER: Yes, this is true. If Harry hadn’t been so eloquent, the world would be turned upside downright now with Voldemort at the top.
CICERO: Yes. And it wasn’t only Harry who held the power. Him along with his friends and Albus Dumbledore seemed to have created a team functioning as one eloquent, powerful orator. “For excellence in speaking cannot be made manifest unless the speaker fully comprehends the matter he speaks about” (Bizzell 296). Mr. Potter was and is today, very well versed in the wizarding world, but he gained great knowledge from Dumbledore and you as well. Together, you were all able “on any matter [regarding the situation] to speak with fullness and variety” (Bizzell 297).
GRANGER: That is quite the complement, Mr. Cicero. Thank you for your sincerity. So how may one become a great, eloquent orator on his own?
CICERO: Eloquence is an art and therefore, there is a formal training (Bizzell 309) that one must strive through to be a specialist of this art form (Bizzell 311). This is where the courses I requested earlier come into play. Students need these courses for their audiences to appeal to compassion – to be affected in the emotional way desired as orators (Bizzell 334).
THOMAS SHERIDAN (cuts in on the conversation): This is precisely so because emotion is natural for men whereas rationality is a result of nurture (Bizzell 886).
GRANGER: Oh! Why hello Mr. Sheridan! I did not see you there. Please, have a seat.
Hermione introduces the two men to each other and they make light conversation. Throughout the conversation, Cicero and Sheridan remain civil towards each other while they are up against each other for the director position. Both men are well aware that Hermione could not have made any sort of decision by now and remain cautious in the duration of the dialogue to not make fools of themselves in her presence.
CICERO: Mr. Sheridan, please tell me why have I not heard of you before in any sort of forum?
SHERIDAN: In time, you precede my existence. I have learned very much about you, Sir. I, myself, am interested in elocution in a different way and have my own beliefs on the matter. Elocution is the act of communicating language and is not expressed only through words, which are only one part of language. Elocution in language is also the tones, looks, and gestures by which oratory functions (Bizzell 884). As I believe clear language is vital, I will get right to the point, Ms. Granger. This is why I would be a great director for your school. I have heard of the opportunity, which is obviously why I have contacted you, and I can teach and create a curriculum for your prospective students of how to utilize language in all of its factors, not only words.
CICERO (appalled by his bluntness): Young sir Sheridan, please pardon me. I was only just telling Ms. Granger before you jumped in on our conversation, that to be an eloquent orator one must also be well versed in bodily gestures as well.
SHERIDAN: I am very glad you think so, Mr. Cicero. But you have an emphasis on learning through words, which would not benefit Ms. Granger’s students the most. You see, words are an invention of man, not inherent to our human race. Emotion and passion are different; they are completely separate and independent of words that are used only to represent what is inherent and universal to all (Bizzell 884). Language, passionate language, is “manifested by suitable tones” (Bizzell 885) creating the universality of emotion among those of various nations.
GRANGER: Thank you for your explanation, Mr. Sheridan. I asked of Mr. Cicero earlier to explain how his beliefs are relevant to the world of wizardry. How would you say the importance of tone and language lies within the immediacy of oration, rhetoric, speech, persuasion, or what have you?
CICERO: Please be sure to take the audience into consideration as eloquence excites emotions (Bizzell 333) and for speaking to the public demands the orator to be cultured. (Bizzell 339)
SHERIDAN: Why of course! Everything language, specifically tone, has to do is about its audience! First, when speaking, expressing certain tones will help to communicate your message to your audience more effectively. Second, these tones are understood by all. A grunt will communicate one emotion as a sigh will communicate another, neither needing an explanation for the audience. Third, tones are making language fancy (Bizzell 888), or eloquent, as you would like Mr. Cicero. See, “the use of language is not merely to communicate ideas, but also all the internal operations, emotions, and exertions, of the intellectual, sensitive, and imaginative faculties of man” (Bizzell 888). And tones along with gestures and looks are what allow for language to complete the functions it so desires to complete.
CICERO (in a hurry): Please pardon me, but I must leave. I have an important political matter to attend to and my presence is necessary to the occasion. Thank you for your time, Ms. Granger. Please, be in contact with me and I will make every effort to travel through time to make your presence. Mr. Sheridan, it was a pleasure to meet you. Good day.
Cicero leaves and intentionally left the conversation because he saw Isocrates approaching. He has studied Isocrates before and wanted a chance to introduce himself personally without Sheridan interfering on such a rare moment as the one he’s to be presented with. He eagerly introduces himself to Isocrates, divulges in the reality of meeting a philosopher, and continues to leave.
ISOCRATES (shy at first): Hello Ms. Granger, I am Isocrates. I believe we have an appointment to discuss a job opportunity.
GRANGER: Hello Isocrates. Yes, we do! Please join us. This is Thomas Sheridan. Mr. Sheridan, this is Isocrates. Mr. Sheridan was just telling me how tones are the most vital component of language, as words are not merely enough when it comes to speaking to an audience. I was wondering, what is your take on the topic?
ISOCRATES: That’s an interesting point but I would have to say that is not where the importance of language lies. Language, is used for rhetoric and words are the most important factor of language. Take a written text for example: it is all words! There are no bodily gestures, no voice volume, no tones, if you would. Words are the most and only persuasive part in language. At this point, he is no longer shy but rather passionate.
SHERIDAN: Ah, I would have to disagree with you, my friend. Ms. Granger was asking me how tone could have anything to do with the wizarding world. In my explanation to her, I hope to clear up your confusion. In speech, one is not only communicating words – there is emotion that is put into play. Ms. Granger, when you and your friends set out to create an army to fight against the Dark Lord, did you speak in a boring, mundane, monotone? I am sure you did not as you know that would bring about no passion and emotion from your audience (Bizzell 887).
GRANGER: You are right. We spoke in a tone that communicated our emotions. Yes, I can see now the connection. The tones we conveyed had the desired effect onto our listeners, or our audience as you call them. Our tones communicated more than just plan words could which created our army and beat Voldemort and the Death Eaters! They were natural to us, as they are an intrinsic quality. To Isocrates: I feel that tone is important in this art, do you not?
ISOCRATES: Sure, you could say that. But you cannot teach emotion; you can teach words. “For ability, whether in speech or in any other activity, is formed in those who are well endowed by nature and have been schooled by practical experience” (Bizzell 74). In the environment of a classroom, some things can be taught and learned and others cannot. Therefore, I’m sorry Mr. Sheridan, but I do not see how you would be able to teach emotion in Ms. Granger’s school to the wizards and witches. Do you not hold the belief that emotions are natural to people? Well then, how do you teach something that is natural? In the area of writing, that is when language can benefit a person the most. Formal training allows men, women, wizards, or witches to become knowledgeable in any subject they wish. If someone is naturally skillful in a certain area, formal schooling can help enhance a person on the topic. (Bizzell 74)
GRANGER: I believe that’s what Mr. Cicero would say! It is a shame you missed him.
ISOCRATES: Oh, but I did not. On my way in, the young man introduced himself. He did seem quite intelligent.
GRANGER: Yes, I had studied his works and he definitely is. He believes that eloquence is something that some men have as an innate talent. Those who do not have this natural talent can study and one day become eloquent. He too, like you Isocrates, believes that an orator or rhetorician must be well educated in all means. He is interested in style, but very much in knowledge as well (Bizzell 297).
ISOCRATES: I wonder if he would have enjoyed teaching alongside me in my school as I can tell he has studied my works probably after my inevitable death. Or perhaps, even in your school, Ms. Granger. I would be able to teach the wizards and witches of the world without being a corrupt sophist. There would be no matter of distrust between myself and each student – complete trust would flow both ways for that is necessary to learn (Bizzell 72). The written text is an art that can “stimulate and form such qualities of character” (Bizzell 75). It must be mastered among the witches and wizards of your world to ignite good, not only in politics but to ignite good among people as well. The format and schooling of an all-inclusive discipline that I can create for your school will promote qualities of benevolence, trust, effort, and sportsmanship.
GRANGER: Yes, Isocrates – I believe you can do very much for my school. I beileve you two men regard speech and rhetoric as a personal art whereas many, like Cicero, regard it as for public advances. The difference between you two, Mr. Sheridan and Isocrates, is that you have different means in which attaining the end result. Tell me, what do you each have to say about where grammar instruction would fall into the currilum if you were to be director?
ISOCRATES: Well, it would fall into another subject or class for the students to study. They must be articulate and understand word relationships and such. If not, they will not be able to understand material whether it be philisophical, scientific, or historical. All students, as rhetoricians – which they all should strive to become and do whether consciously or not – must be educated in all fields, no exceptions. As director, I would create the time for professors to review with wizards and witches from various countries to perfect grammar.
SHERIDAN: I also agree that it is needed in order to be a clear and articulate speaker. No rhetorician or speaker wants to be misunderstood, or worse, not understood at all. But I do not think there should be a great emphasis on grammar in the classroom. It is a man-made concept, just as words. More emphasis should lie in how students can uncover their natural abilities to express expression such as through tones and gestures. Ms. Granger, may I ask you what you think of the grammar debate that is occuring during your lifetime?
GRANGER: I appreciate that you ask! I believe there is a time and a place for grammar both in writing and in speech. But I don’t know how comfortable I am with enforcing it. As much as I am an intellectual person who believes learning is the most beneficial part of life, I believe creativity is just as important and I would not want to hinder any wizard or witch’s imagination in this new world rid of Voldemort.
All throughout Sheridan’s time in The Three Broomsticks, he has been speaking with different tones, giving consistent eye contact, and expressing his passions through hand gestures. He is using his own theory to sway Hermione to favor him over other candidates. Little does Sheridan know, but they are about to widen this discussion from three participants to five. The two new additions are more modern compositionists from Hermione’s time period. This poses a threat to his plan as he is from the Enlightenment and cannot fully understand the implications of teaching, or not teaching, grammar in a world that has transformed into a melting pot. Traveling together, Patrick Harwell and Peter Elbow arrive to the pub. They are not necessarily friends, but have met before at various occassions.
GRANGER: Hello Mr. Elbow and Mr. Hartwell. Thank you for joining us. Unfortunately, I have to leave soon so I cannot stay long. Isocrates and Mr. Sheridan have moved the conversation along to the topic of grammar, which I know you are both highly qualified to comment on.
SHERIDAN AND ISOCRATES: I believe we are not familiar with either of you due to the limits of time. But we hope that you both understand the importance and necessity of grammar to a student’s education.
HARTWELL: I assure you both, I have read, studied, and written on numerous studies that have been conducted during our time and I can confidently say that there is no need for any sort of grammar within a currculum. There are other factors that far excede in importance. Grammarians and anti-grammarians are both lost as “seventy-five years of experimental research [on the effects of grammar] has for all purposes told us nothing” (Villanueva 206). Neither does the formal teaching of grammar impede writing or benefit writing.
ELBOW: This is something I have to agree with you, but in a partial manner. Grammar, more specifically the grammar of Standard Written English (SWE), is not important to the development of a student’s writing. But it is important and necessary to teach grammar due to the types of students we receive. The student population in any classroom is mixed in terms of dialects. Different people, from different places, with different experiences – I’m sure you understand what I mean – all have different dialects. But there is a set standard that expects them to all conform to SWE for whatever reason. I think it is for uniformity.
HARTWELL (chuckling in a demeaning fashion): Trust me, Mr. Elbow. I have been around much longer than you and can tell you there is absolutely no reason to teach grammar in the school system.
ELBOW: Knowing how to write in SWE is crucial if students want to obtain higher degrees or jobs in today’s society (Villanueva 651). There is a line between what perfecting grammar can do for students – it cannot make them creative, analytical, or organized in their writing. But, it is essential due to again, the diversity of the classrom.
HARTWELL: Experiments about the effects of the formal teaching of grammar have been discussed by numerous people – Martha Kolln, Janice Neuleib (Villanueva 205), W.B. Elley, I.H. Barham, H. Lamb, M. Wyllie (Villanueva 206), the Committee of Ten (Villanueva 226), and more – all resulting in similar conclusions that teaching grammar does not improve students’ writing. In some cases, researchers noted that formal grammar teaching could even be harmful (Villanueva 206).
At this point, Hartwell and Sheridan are astonished at the bluntness of the two men who have just joined the conversation. They exchange glances indicating how rude these new generations of teachers are. They know that if Cicero were still at the pub, he would call them out on their need to be more eloquent. This is typical as older generations always regard the younger ones of being impulsive and not respectful. They decide to not engage in the conversation as much anymore and are entertained by their back and forth comments.
ELBOW: I think you’re missing the point here Mr. Hartwell. The teaching of SWE is not crucial to the writing process in terms of creation or analysis, but rather crucial to the reality that professors in higher education and employers are looking for a specific application of SWE. As much as we may not agree with that reality and are not happy with it calls for another discussion. But the reality is that students need to learn the “power and prestige” that comes with written language (Villanueva 641), and in the realm of education and careers, one must know the even more emmense power and prestige that comes with SWE.
HARTWELL: But we are educators. We teach for the sake of education, not for job opportunities.
ELBOW: But that is where you are wrong. As teachers and directors of schools, we owe it to our students to open this world up to them so that they do not fail. It is our responsibility to teach students the skills, or at least know where to get help, for them to have the ability to write in SWE (Villanueva 641; 653). We should not lock ourselves in the ivory tower, as that would be doing what Isocrates is so displeased with. We must recognize our reality and the reality of our students and prepare them for it. If we do not do this, then we have failed them and ourselves.
GRANGER: I would say I have to agree with Mr. Elbow. We must mold students to be well-rounded people and that includes being prepared for the challenges and expectations set for them from the “real world,” whatever that may be.
HARTWELL (angry now): You two don’t seem to understand how there are different grammars that one must understand. You both completely misunderstand everything I have to say! The focus cannot be on only SWE, there are other factors to take into consideration such as grammar 5, stylistic grammar, for the purposes of teaching prose and receiving emotional responses from audiences (Villanueva 211). It is not only for the basic classroom essay, but also a part of rhetoric! To Hermione: I’m surprised that you, of all people, don’t understand how important all of this research is!
ELBOW (infuriated): Don’t speak to Ms. Granger that way! She is a noble woman who stood by Harry Potter through all his unfortunate ordeals and percerviered in a world that was not “meant to be” for muggles!
Elbow is in love with Hermione, which explains his outburst. At this point, Hartwell and Elbow have gotten into a physical altercation. Everyone inside The Three Broomsticks run to separate the two men but just as Hartwell was about to release his grasp, Elbow elbows Hartwell! Hermione’s decision to offer Elbow the position of director has now perished. As the men are thrown out of the pub, Hermione decides that the best director of her school would be herself…
The End
HERMIONE GRANGER: Mr. Cicero! Mr. Cicero! Over here, by the window!
MARCUS TILLIUS CICERO: Hello, Ms. Granger. It is my utmost pleasure to finally meet you. I have traveled long ways to have the opportunity to enjoy your presence. You are now, one of the founding fathers, or mothers I should say, of the new wizarding world!
GRANGER (flushed): Why thank you, Mr. Cicero. You are, yourself, very influential in the study of rhetoric even if you do not know so at this moment (Bizzell 285). This is why I wanted to meet with you today. I have been granted funds from Hogwarts to open up a school of my own and have complete say over all the affairs. What do you say about it?
CICERO: Why, you cut right to the chase. Don’t you?! Of course, I am very interested in being a part of this new journey in your life. Let me tell you a little bit about my thoughts.
GRANGER: Please do. Please, tell me how you will be able to connect the muggle world with that of the wizard’s. As I’m sure you know, I am muggle-born and want my academy’s director to be muggle as well so that the prospective muggle students are comfortable and accepted among their fellow wizards.
CICERO: Yes, I am aware. As a director of a wizarding school, I want to make sure the scholars are well educated in the realm of eloquence and philosophy. Even though the philosophies are ones that have originated in the muggle world, they reach across boundaries and can prepare students to be successful, eloquent orators. Oration is not a simple feat – it requires study and knowledge of every possible field and discipline. I would dedicate classes to give students the opportunity to learn knowledge in the field of history and law as well as classes to teach proper bodily expressions such as gestures, carriage, intonation, and emotion in voice (Bizzell 291).
GRANGER: And you believe this concept of oration transfers to the wizarding world? Please tell me how so.
CICERO: Yes, of course it does! Oration, eloquent oration that is, is interdisciplinary, as it is “the result of a whole number of things” (Bizzell 291). It is not just the accumulation of muggle tendencies and studies, but also that of the wizarding world. You see, you yourself along with your eloquent friend and lover, Mr. Potter and Mr. Weasley, are great orators. Oratory has power that can serve two functions. First, oratory is “so generous, as to bring help to the suppliant, to raise up those that are cast down, to bestow security, to set free from peril, [and] to maintain men in their civil rights.” At the same time, Ms. Granger, it can be utilized as a weapon to “defend yourself, or challenge the wicked man, or when provoked take your revenge” (Bizzell 193). Mr. Potter is the epitome of an eloquent orator who has power and exerts that power: he, along with his life-long friends, persuaded those such as Neville to gain the courage to take action against the Dark Lord. This is something that should be taught to the scholars of your future academy. To be an eloquent orator, is to be powerful.
GRANGER: Yes, this is true. If Harry hadn’t been so eloquent, the world would be turned upside downright now with Voldemort at the top.
CICERO: Yes. And it wasn’t only Harry who held the power. Him along with his friends and Albus Dumbledore seemed to have created a team functioning as one eloquent, powerful orator. “For excellence in speaking cannot be made manifest unless the speaker fully comprehends the matter he speaks about” (Bizzell 296). Mr. Potter was and is today, very well versed in the wizarding world, but he gained great knowledge from Dumbledore and you as well. Together, you were all able “on any matter [regarding the situation] to speak with fullness and variety” (Bizzell 297).
GRANGER: That is quite the complement, Mr. Cicero. Thank you for your sincerity. So how may one become a great, eloquent orator on his own?
CICERO: Eloquence is an art and therefore, there is a formal training (Bizzell 309) that one must strive through to be a specialist of this art form (Bizzell 311). This is where the courses I requested earlier come into play. Students need these courses for their audiences to appeal to compassion – to be affected in the emotional way desired as orators (Bizzell 334).
THOMAS SHERIDAN (cuts in on the conversation): This is precisely so because emotion is natural for men whereas rationality is a result of nurture (Bizzell 886).
GRANGER: Oh! Why hello Mr. Sheridan! I did not see you there. Please, have a seat.
Hermione introduces the two men to each other and they make light conversation. Throughout the conversation, Cicero and Sheridan remain civil towards each other while they are up against each other for the director position. Both men are well aware that Hermione could not have made any sort of decision by now and remain cautious in the duration of the dialogue to not make fools of themselves in her presence.
CICERO: Mr. Sheridan, please tell me why have I not heard of you before in any sort of forum?
SHERIDAN: In time, you precede my existence. I have learned very much about you, Sir. I, myself, am interested in elocution in a different way and have my own beliefs on the matter. Elocution is the act of communicating language and is not expressed only through words, which are only one part of language. Elocution in language is also the tones, looks, and gestures by which oratory functions (Bizzell 884). As I believe clear language is vital, I will get right to the point, Ms. Granger. This is why I would be a great director for your school. I have heard of the opportunity, which is obviously why I have contacted you, and I can teach and create a curriculum for your prospective students of how to utilize language in all of its factors, not only words.
CICERO (appalled by his bluntness): Young sir Sheridan, please pardon me. I was only just telling Ms. Granger before you jumped in on our conversation, that to be an eloquent orator one must also be well versed in bodily gestures as well.
SHERIDAN: I am very glad you think so, Mr. Cicero. But you have an emphasis on learning through words, which would not benefit Ms. Granger’s students the most. You see, words are an invention of man, not inherent to our human race. Emotion and passion are different; they are completely separate and independent of words that are used only to represent what is inherent and universal to all (Bizzell 884). Language, passionate language, is “manifested by suitable tones” (Bizzell 885) creating the universality of emotion among those of various nations.
GRANGER: Thank you for your explanation, Mr. Sheridan. I asked of Mr. Cicero earlier to explain how his beliefs are relevant to the world of wizardry. How would you say the importance of tone and language lies within the immediacy of oration, rhetoric, speech, persuasion, or what have you?
CICERO: Please be sure to take the audience into consideration as eloquence excites emotions (Bizzell 333) and for speaking to the public demands the orator to be cultured. (Bizzell 339)
SHERIDAN: Why of course! Everything language, specifically tone, has to do is about its audience! First, when speaking, expressing certain tones will help to communicate your message to your audience more effectively. Second, these tones are understood by all. A grunt will communicate one emotion as a sigh will communicate another, neither needing an explanation for the audience. Third, tones are making language fancy (Bizzell 888), or eloquent, as you would like Mr. Cicero. See, “the use of language is not merely to communicate ideas, but also all the internal operations, emotions, and exertions, of the intellectual, sensitive, and imaginative faculties of man” (Bizzell 888). And tones along with gestures and looks are what allow for language to complete the functions it so desires to complete.
CICERO (in a hurry): Please pardon me, but I must leave. I have an important political matter to attend to and my presence is necessary to the occasion. Thank you for your time, Ms. Granger. Please, be in contact with me and I will make every effort to travel through time to make your presence. Mr. Sheridan, it was a pleasure to meet you. Good day.
Cicero leaves and intentionally left the conversation because he saw Isocrates approaching. He has studied Isocrates before and wanted a chance to introduce himself personally without Sheridan interfering on such a rare moment as the one he’s to be presented with. He eagerly introduces himself to Isocrates, divulges in the reality of meeting a philosopher, and continues to leave.
ISOCRATES (shy at first): Hello Ms. Granger, I am Isocrates. I believe we have an appointment to discuss a job opportunity.
GRANGER: Hello Isocrates. Yes, we do! Please join us. This is Thomas Sheridan. Mr. Sheridan, this is Isocrates. Mr. Sheridan was just telling me how tones are the most vital component of language, as words are not merely enough when it comes to speaking to an audience. I was wondering, what is your take on the topic?
ISOCRATES: That’s an interesting point but I would have to say that is not where the importance of language lies. Language, is used for rhetoric and words are the most important factor of language. Take a written text for example: it is all words! There are no bodily gestures, no voice volume, no tones, if you would. Words are the most and only persuasive part in language. At this point, he is no longer shy but rather passionate.
SHERIDAN: Ah, I would have to disagree with you, my friend. Ms. Granger was asking me how tone could have anything to do with the wizarding world. In my explanation to her, I hope to clear up your confusion. In speech, one is not only communicating words – there is emotion that is put into play. Ms. Granger, when you and your friends set out to create an army to fight against the Dark Lord, did you speak in a boring, mundane, monotone? I am sure you did not as you know that would bring about no passion and emotion from your audience (Bizzell 887).
GRANGER: You are right. We spoke in a tone that communicated our emotions. Yes, I can see now the connection. The tones we conveyed had the desired effect onto our listeners, or our audience as you call them. Our tones communicated more than just plan words could which created our army and beat Voldemort and the Death Eaters! They were natural to us, as they are an intrinsic quality. To Isocrates: I feel that tone is important in this art, do you not?
ISOCRATES: Sure, you could say that. But you cannot teach emotion; you can teach words. “For ability, whether in speech or in any other activity, is formed in those who are well endowed by nature and have been schooled by practical experience” (Bizzell 74). In the environment of a classroom, some things can be taught and learned and others cannot. Therefore, I’m sorry Mr. Sheridan, but I do not see how you would be able to teach emotion in Ms. Granger’s school to the wizards and witches. Do you not hold the belief that emotions are natural to people? Well then, how do you teach something that is natural? In the area of writing, that is when language can benefit a person the most. Formal training allows men, women, wizards, or witches to become knowledgeable in any subject they wish. If someone is naturally skillful in a certain area, formal schooling can help enhance a person on the topic. (Bizzell 74)
GRANGER: I believe that’s what Mr. Cicero would say! It is a shame you missed him.
ISOCRATES: Oh, but I did not. On my way in, the young man introduced himself. He did seem quite intelligent.
GRANGER: Yes, I had studied his works and he definitely is. He believes that eloquence is something that some men have as an innate talent. Those who do not have this natural talent can study and one day become eloquent. He too, like you Isocrates, believes that an orator or rhetorician must be well educated in all means. He is interested in style, but very much in knowledge as well (Bizzell 297).
ISOCRATES: I wonder if he would have enjoyed teaching alongside me in my school as I can tell he has studied my works probably after my inevitable death. Or perhaps, even in your school, Ms. Granger. I would be able to teach the wizards and witches of the world without being a corrupt sophist. There would be no matter of distrust between myself and each student – complete trust would flow both ways for that is necessary to learn (Bizzell 72). The written text is an art that can “stimulate and form such qualities of character” (Bizzell 75). It must be mastered among the witches and wizards of your world to ignite good, not only in politics but to ignite good among people as well. The format and schooling of an all-inclusive discipline that I can create for your school will promote qualities of benevolence, trust, effort, and sportsmanship.
GRANGER: Yes, Isocrates – I believe you can do very much for my school. I beileve you two men regard speech and rhetoric as a personal art whereas many, like Cicero, regard it as for public advances. The difference between you two, Mr. Sheridan and Isocrates, is that you have different means in which attaining the end result. Tell me, what do you each have to say about where grammar instruction would fall into the currilum if you were to be director?
ISOCRATES: Well, it would fall into another subject or class for the students to study. They must be articulate and understand word relationships and such. If not, they will not be able to understand material whether it be philisophical, scientific, or historical. All students, as rhetoricians – which they all should strive to become and do whether consciously or not – must be educated in all fields, no exceptions. As director, I would create the time for professors to review with wizards and witches from various countries to perfect grammar.
SHERIDAN: I also agree that it is needed in order to be a clear and articulate speaker. No rhetorician or speaker wants to be misunderstood, or worse, not understood at all. But I do not think there should be a great emphasis on grammar in the classroom. It is a man-made concept, just as words. More emphasis should lie in how students can uncover their natural abilities to express expression such as through tones and gestures. Ms. Granger, may I ask you what you think of the grammar debate that is occuring during your lifetime?
GRANGER: I appreciate that you ask! I believe there is a time and a place for grammar both in writing and in speech. But I don’t know how comfortable I am with enforcing it. As much as I am an intellectual person who believes learning is the most beneficial part of life, I believe creativity is just as important and I would not want to hinder any wizard or witch’s imagination in this new world rid of Voldemort.
All throughout Sheridan’s time in The Three Broomsticks, he has been speaking with different tones, giving consistent eye contact, and expressing his passions through hand gestures. He is using his own theory to sway Hermione to favor him over other candidates. Little does Sheridan know, but they are about to widen this discussion from three participants to five. The two new additions are more modern compositionists from Hermione’s time period. This poses a threat to his plan as he is from the Enlightenment and cannot fully understand the implications of teaching, or not teaching, grammar in a world that has transformed into a melting pot. Traveling together, Patrick Harwell and Peter Elbow arrive to the pub. They are not necessarily friends, but have met before at various occassions.
GRANGER: Hello Mr. Elbow and Mr. Hartwell. Thank you for joining us. Unfortunately, I have to leave soon so I cannot stay long. Isocrates and Mr. Sheridan have moved the conversation along to the topic of grammar, which I know you are both highly qualified to comment on.
SHERIDAN AND ISOCRATES: I believe we are not familiar with either of you due to the limits of time. But we hope that you both understand the importance and necessity of grammar to a student’s education.
HARTWELL: I assure you both, I have read, studied, and written on numerous studies that have been conducted during our time and I can confidently say that there is no need for any sort of grammar within a currculum. There are other factors that far excede in importance. Grammarians and anti-grammarians are both lost as “seventy-five years of experimental research [on the effects of grammar] has for all purposes told us nothing” (Villanueva 206). Neither does the formal teaching of grammar impede writing or benefit writing.
ELBOW: This is something I have to agree with you, but in a partial manner. Grammar, more specifically the grammar of Standard Written English (SWE), is not important to the development of a student’s writing. But it is important and necessary to teach grammar due to the types of students we receive. The student population in any classroom is mixed in terms of dialects. Different people, from different places, with different experiences – I’m sure you understand what I mean – all have different dialects. But there is a set standard that expects them to all conform to SWE for whatever reason. I think it is for uniformity.
HARTWELL (chuckling in a demeaning fashion): Trust me, Mr. Elbow. I have been around much longer than you and can tell you there is absolutely no reason to teach grammar in the school system.
ELBOW: Knowing how to write in SWE is crucial if students want to obtain higher degrees or jobs in today’s society (Villanueva 651). There is a line between what perfecting grammar can do for students – it cannot make them creative, analytical, or organized in their writing. But, it is essential due to again, the diversity of the classrom.
HARTWELL: Experiments about the effects of the formal teaching of grammar have been discussed by numerous people – Martha Kolln, Janice Neuleib (Villanueva 205), W.B. Elley, I.H. Barham, H. Lamb, M. Wyllie (Villanueva 206), the Committee of Ten (Villanueva 226), and more – all resulting in similar conclusions that teaching grammar does not improve students’ writing. In some cases, researchers noted that formal grammar teaching could even be harmful (Villanueva 206).
At this point, Hartwell and Sheridan are astonished at the bluntness of the two men who have just joined the conversation. They exchange glances indicating how rude these new generations of teachers are. They know that if Cicero were still at the pub, he would call them out on their need to be more eloquent. This is typical as older generations always regard the younger ones of being impulsive and not respectful. They decide to not engage in the conversation as much anymore and are entertained by their back and forth comments.
ELBOW: I think you’re missing the point here Mr. Hartwell. The teaching of SWE is not crucial to the writing process in terms of creation or analysis, but rather crucial to the reality that professors in higher education and employers are looking for a specific application of SWE. As much as we may not agree with that reality and are not happy with it calls for another discussion. But the reality is that students need to learn the “power and prestige” that comes with written language (Villanueva 641), and in the realm of education and careers, one must know the even more emmense power and prestige that comes with SWE.
HARTWELL: But we are educators. We teach for the sake of education, not for job opportunities.
ELBOW: But that is where you are wrong. As teachers and directors of schools, we owe it to our students to open this world up to them so that they do not fail. It is our responsibility to teach students the skills, or at least know where to get help, for them to have the ability to write in SWE (Villanueva 641; 653). We should not lock ourselves in the ivory tower, as that would be doing what Isocrates is so displeased with. We must recognize our reality and the reality of our students and prepare them for it. If we do not do this, then we have failed them and ourselves.
GRANGER: I would say I have to agree with Mr. Elbow. We must mold students to be well-rounded people and that includes being prepared for the challenges and expectations set for them from the “real world,” whatever that may be.
HARTWELL (angry now): You two don’t seem to understand how there are different grammars that one must understand. You both completely misunderstand everything I have to say! The focus cannot be on only SWE, there are other factors to take into consideration such as grammar 5, stylistic grammar, for the purposes of teaching prose and receiving emotional responses from audiences (Villanueva 211). It is not only for the basic classroom essay, but also a part of rhetoric! To Hermione: I’m surprised that you, of all people, don’t understand how important all of this research is!
ELBOW (infuriated): Don’t speak to Ms. Granger that way! She is a noble woman who stood by Harry Potter through all his unfortunate ordeals and percerviered in a world that was not “meant to be” for muggles!
Elbow is in love with Hermione, which explains his outburst. At this point, Hartwell and Elbow have gotten into a physical altercation. Everyone inside The Three Broomsticks run to separate the two men but just as Hartwell was about to release his grasp, Elbow elbows Hartwell! Hermione’s decision to offer Elbow the position of director has now perished. As the men are thrown out of the pub, Hermione decides that the best director of her school would be herself…
The End