Summary

Richard Sherry A Treatise of Schemes and Tropes

We know that Aristotle’s Rhetoric, Cicero’s works on rhetoric, and Quintilian’s Institutes discussed the significance of style, but they had a broad view. However, in England, about the time of Bede, arose a limited concept that rhetoric is mainly style, particularly that of the figures. It is this latter truncated version of rhetoric that the Treatise continues in the Renaissance. Rhetoric in Sherry’s work has lost its ancient meaning.
Source: Gutenberg

Richard Sherry A Treatise of Schemes and Tropes

Some were also written in Latin while Sherry moves in the vernacular. It still was an age of Latin, and Sherry in part recognized this by his alternate Latin and English movement in his second rhetoric on style published in 1555. Moreover, people seemed content to remain with the giants of the Renaissance, notably Erasmus and his De Copia instead of turning to a lesser light such as Sherry.
The Treatise does have merit. The work cannot be judged entirely by tallying its meager number of editions, its lack of thoroughness, or its artificial divisions.
Source: Gutenberg

Richard Sherry A Treatise of Schemes and Tropes

Yet it is also a mirror of one variation of rhetoric which came to be called the rhetoric of style. As a representative of this stylistic school, it offers little that is new to the third part of classical rhetoric. Instead, it carries forward the medieval concept that ornateness in communication is desirable; it suggests that figures are tools for achieving this ornateness; it supplies examples of ornateness to be imitated in writing and speaking; it supports knowing the figures in order to understand both secular and religious writings
Source: Gutenberg

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