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The Art of Rhetoric in Writing

The article discusses the importance of rhetoric in writing, particularly for opinion pieces, emphasizing its role in persuasion. It highlights various rhetorical techniques, such as repetition and antithesis, that can enhance a writer's argument and engage readers. The author encourages writers to be mindful of these techniques to improve their craft and connect with their audience effectively.

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0% found this document useful (0 votes)
17 views2 pages

The Art of Rhetoric in Writing

The article discusses the importance of rhetoric in writing, particularly for opinion pieces, emphasizing its role in persuasion. It highlights various rhetorical techniques, such as repetition and antithesis, that can enhance a writer's argument and engage readers. The author encourages writers to be mindful of these techniques to improve their craft and connect with their audience effectively.

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paedelboykids
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© All Rights Reserved
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New York Times

Other Men’s Flowers


BY SAM LEITH SEPTEMBER 8, 2012 3:54 PM
Draft is a series about the art and craft of writing.
Rhetoric, simply put, is the study of how language works to persuade. So any writer
seeking to make a case, or hold a reader’s attention — which is more or less any
writer not in the service of the Democratic People’s Republic of Korea — has
something to learn from it.
If the classical orators have modern counterparts in the realm of the written word,
pre-eminent among those counterparts are the authors of opinion pieces. Here is
persuasion overt, persuasion front and center. The techniques that served Cicero
will just as effectively serve modern writers of opinion.
Open a book of rhetorical terms, and you will meet a lot of gnarly looking Greek
and Latin words. Apodioxis and epizeuxis sound like diseases you wouldn’t
especially want to catch. But, pilgrim, be not afraid. The figures — all the
different twists of language that rhetoric describes — are sometimes called the
flowers of rhetoric. Think of these words as the botanical names for those flowers,
and remember what Shakespeare said about roses and their names.
Using classical techniques is not, in itself, a different approach to writing: it’s
simply a way of thinking more consciously about what you’re doing. Terms such as
antithesis, which is the technique of setting two terms in opposition, are ways of
labeling what any prose stylist does by habit and instinct. Like the bourgeois
gentleman of the playwright Molière — amazed to discover in middle age that he’d
been speaking prose all his life — you’ve been using the figures since long before
you could name them.
Graham Roumieu
If you’re accustomed to thinking of rhetoric as dealing only with fancy language,
think again. Rhetoric is present in the plain style as much as in the high. One of
the best-known figures, erotema, the “rhetorical question,” is in regular use:
“What am I, — chopped liver?” Everyday language seethes with metaphor and
figuration. The trick, in a formal context, is to use it effectively.
It does help to keep in mind that, as Aristotle wrote, you have three forms of
power over the reader: ethos, pathos and logos. That is, roughly: selling yourself,
swaying the emotions and advancing your argument. Any sentence you write should be
pulling one or more of those levers; the best will do all three. Even apparent
decoration works to a purpose — if a phrase is beautiful, funny or memorable, it is
doing work on its audience.
First, consider the three R’s — repetition, repetition and repetition. Richard A.
Lanham’s authoritative “A Handlist of Rhetorical Terms” lists no fewer than 36
figures of repetition covering everything from the repetition of sounds to the
repetition of larger ideas and arguments. So it’s not a paradox to say that your
repetition can be various. Repeat, but do not be repetitive.
An argument can be given gathering force by anaphora, for instance, where a word or
phrase is repeated at the beginning of successive sentences: “Big Tobacco will want
to tell you X… Big Tobacco will want to tell you Y… Big Tobacco will want to tell
you Z. But there’s something you can say about Big Tobacco…” Its conclusion can be
given a sense of roundness and inevitability with epistrophes — where the
repetition comes at the end rather than the beginning of a sentence. But repetition
applies at a subtler level, too. The memorable or resonant phrase, for instance, is
often alliterative or assonant: “I like Ike.”
A light touch is best: a thunderous 15-sentence run of anaphora might not be
appropriate for an article on traffic measures in suburban New Jersey. Sprezzatura,
or naturalness, is the quality to cultivate.
If a piece of writing feels like a unit, it lends its argument an impression,
however spurious, of coherence. The more each clause or sentence relates to those
around it, whether in parallel or counterpoint, intellectually or musically, the
more it will feel like an organic whole. Syntax can do much of the work of sense.
The tricolon, putting phrases into groups of three, is perennially effective. Once
you start to notice these — be they in newspaper articles, politicians’ speeches or
TV advertisements (that’s an example right there) — the little monkeys are
everywhere. Lists, in general, work well. Try enumeratio: setting out your points
one by one, to give the impression of clarity and command.
Music matters, too. The effects of the tricolon, as of any number of other figures,
are in some ways metrical. Think of how clusters of stressed syllables can sound
resolute and determined. “Yes we can!” is three strong syllables. Persuasion
operates as much through the ear as through the faculties of reason.
Prose does not scan like poetry. But it shares its effects. One of the most
memorable lines in American history, for instance, is the clause in the Declaration
of Independence: “We hold these truths to be self-evident.” That, among other
things, is an example of iambic pentameter.
Rhetoric, whether on the page or in the spoken word, is about patterns and echoes
and resonances. Recently, Mitt Romney declared: “It’s time for a president who
cares more about America’s workers than he does about America’s union bosses.”
That’s, arguably, a false opposition. But my point isn’t about politics so much as
about the way a ringing antithesis can sound.
The template is: “It’s time for a president who cares more about [supposedly good
things] than he does about [supposedly opposite bad things].” The sentence is an
ethos appeal — “I stand for [good thing]” — disguised as a piece of argument. Note
how it is inflated for musical reasons by the extra syllables “he does about” and
the repetition of “America’s”; and how “It’s time” lends a sense at once of urgency
and of history’s being on the speaker’s side.
Whether history is on Mr. Romney’s side has yet to be established. But it’s clear
that during his perambulations in the garden of rhetoric, he has been picking the
flowers. So has his opponent. And so have the countless pundits whose commentary
will swell blogs and op-ed pages over the coming months. Ask not what you can do
for chiasmus, then: ask what chiasmus can do for you.

Common questions

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Repetition in rhetoric is significant as it reinforces key ideas and arguments, enhancing memorability and impact. Techniques such as anaphora, where a word or phrase is repeated at the beginning of successive sentences, can build momentum and emphasis. Epistrophes, where repetition occurs at the end of sentences, can give conclusions a sense of roundness and inevitability. However, effective repetition should maintain variety to avoid redundancy; the challenge is to repeat without being repetitious. Employing devices like sprezzatura, which promotes a natural feel, ensures the repeated elements feel fresh and coherent rather than monotonous .

Chiasmus enhances speech or writing by mirroring structure in a balanced, symmetrical way, which highlights the relationship between the two elements. This device often reinforces an argument by reversing structures to enhance contrast or parallelism. For example, John F. Kennedy's famous use of chiasmus, 'Ask not what your country can do for you—ask what you can do for your country,' flips the word order, accentuating the connection between civic duty and national benefit. Such arrangements not only make the content more memorable but also emphasize the logic or moral of the argument .

The use of ethos, pathos, and logos is crucial in crafting persuasive rhetoric as they represent the core elements of persuasion. Ethos involves establishing the author's credibility or character, making the argument more trustworthy. Pathos appeals to the audience's emotions, often creating a powerful and immediate connection. Logos relies on logical reasoning and evidence, providing a rational foundation for the argument. An effective piece of rhetoric typically incorporates all three elements, engaged in various degrees, to create a comprehensive and compelling appeal. This balanced effort ensures that the argument resonates on multiple levels, increasing its overall effectiveness .

The rhythmic and musical quality of language contributes to effective rhetoric by creating patterns and resonances that appeal to the ear, enhancing persuasion. For instance, the rhythm in tricolon—a series of three parallel clauses or phrases—can generate a compelling clarity and command. Examples like 'Yes we can!' demonstrate resolute energy through clusters of stressed syllables. Furthermore, lines like 'We hold these truths to be self-evident' from the Declaration of Independence employ iambic pentameter, creating a memorable, flowing cadence. By weaving such metrical structures into prose, writers ensure their arguments resonate at a subconscious auditory level, akin to poetry .

Classical rhetorical techniques can be applied to modern writing to enhance persuasion and engagement. Techniques such as antithesis, apodioxis, and epizeuxis—the 'flowers of rhetoric'—allow writers to organize and express their ideas more effectively. These techniques provide a structural and stylistic foundation that can appeal to ethos, pathos, and logos, the three forms of power over an audience as described by Aristotle. For example, terms like antithesis involve setting terms in opposition to highlight contrasts, thus sharpening an argument. By consciously applying these techniques, writers can make their language more impactful and memorable, similar to the methods used by classical orators like Cicero .

Antithesis strengthens rhetorical arguments by juxtaposing contrasting ideas in a parallel structure, thereby clarifying and emphasizing differences. This technique not only sharpens the argument but also enhances its memorability through contrasting imagery. For example, in political speeches, a phrase like 'It's time for a president who cares more about [thing A] than he does about [thing B]' uses antithesis to present a clear choice between two opposing ideas, naturally guiding the audience towards the preferred option. Such use of antithesis also engages ethos, appealing to the character and values associated with one side of the argument over the other .

Sprezzatura enhances rhetorical writing by imbuing it with an effortless grace and spontaneity. This quality suggests that the writing is artlessly artful and natural, preventing it from feeling contrived or overworked. In rhetoric, achieving sprezzatura means maintaining a balance between crafted language and organic flow, making arguments persuasive through their apparent sincerity and ease. This subtlety fosters a connection with the audience, as the writer appears genuine and relatable. By cultivating sprezzatura, rhetoricians can ensure their messages are engaging, believable, and smoothly delivered .

Figuration plays a significant role in making everyday language persuasive by embedding metaphorical and figurative expressions that naturally resonate with people’s experiences and emotions. In everyday language, figures like metaphor and hyperbole are used instinctively to convey ideas vividly and memorably, often capturing complex concepts in relatable terms. In formal rhetoric, however, the use of figuration is more deliberate and strategic, aimed at reinforcing arguments and maintaining audience engagement. The challenge lies in balancing the figurative with the literal to ensure clarity while maximizing rhetorical impact. The formal use of figuration also involves recognizing and applying specific rhetorical devices to express complex ideas effectively .

Rhetorical questions, such as 'What am I, chopped liver?' in everyday language, provoke thought without expecting an answer, highlighting the speaker's point. They engage the audience, encouraging listeners or readers to consider the perspective being presented. In formal writing, rhetorical questions can effectively introduce or conclude arguments, redirect focus, or emphasize a point, creating an interactive dialogue. These questions, by not demanding direct responses, subtly guide an audience toward the desired conclusion, making the rhetoric more engaging and persuasive .

Musical elements are crucial in structuring and delivering rhetorical arguments as they help create appealing sound patterns and rhythms, making an argument memorable and engaging. Tools like tricolon use rhythmic repetition to build momentum and emphasize key points, similar to a catchy melody. Stress patterns and iambic meter, often found in poetry, lend prose a flowing, persuasive cadence. These musical qualities engage listeners on an auditory level, complementing logical or emotional appeals with an additional layer that enhances the overall impact of the argument .

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