AP Language and Composition
AP Language and Composition
Complete Discussion Boards
Complete RW Assignments:
HS - PS The Language of Composition - Bedford St. Martins (2008)
Must take AP exam to earn an "A" with a "3" or better
Purchase and use of an AP study guide is recommended
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Complete Analysis Notebook on the following major works of fiction:
Major Works of Fiction - Students are responsible for the following major works of fiction, largely read independently. As they read, students are required to complete a journal noting the author’s use of literary devices and rhetorical devices and their effects, becoming more aware of each writer’s techniques. This journal / notebook should include quotes, analysis, and questions for discussion.
1st Quarter: The Crucible (Miller)
The Scarlet Letter (Hawthorne)
2nd Quarter: The Color Purple (Walker)
The Great Gatsby (Fitzgerald)
3rd Quarter: The Joy Luck Club (Tan)
Huckleberry Finn (Twain)
4th Quarter: The Catcher in the Rye (Salinger)
Notebook Format Per Chapter:
STYLE ELEMENT TEXT / REMARK
Diction is… (Copy text.)
________________
Syntax is… (Copy text.)
________________
Tone is… (How do you know?)
________________
Two or More Literary Devices: (Copy text.)
________________
________________
Themes Explored: __________
Questions/ Comments: _______
Guide to The Style Analysis Chart
I. THEME
To understand the author’s meaning of his/her work (“theme”), start with the literal level. Think about the PLOT (events in the story). Next, move up a notch and determine the subject or TOPIC of the work. Finally, infer the author’s THEME. Remember, your theme must be presented in a complete sentence, not a fragment.
Some examples:
“Love” is a subject. “Love can be painful” is a theme.
“Poverty” is a subject. “Poverty can be overcome” is a theme.
“War” is a subject. “War reflects man’s inhumanity to man” is a theme.
II. DICTION
Use the words from this list to describe an author’s choice of words (“diction”). In the right hand column of your chart, copy samples of text that support your claim.
- abstract
- bombastic
- colloquial, conversational
- cultured, polished
- emotional
- fiery
- generalized
- old-fashioned
- ordinary, plain
- pedantic, “preachy”
- poetic
- precise, specific
- pretentious
- scholarly
- slangy
- technical (uses jargon)
III. SYNTAX
Use the words from this list to describe an author’s sentence arrangement (“syntax”). Remember, syntax can affect a story’s pace, rhythm, suspense, tone, and theme. In the right hand column of your chart, describe the effect that syntax has on the reader.
- anastrophe/inversion formal tone to create a poetic effect
- balanced sentences using similar sentence lengths, structures
- exciting punctuation dashes, parentheses, italics, ellipses, all caps
- long, elegant lots of compound, complex sentences
- occasional fragments short blips to add tension or impact
- parallel arranging similar parts to give emphasis
- repetition using word(s) more than once for emphasis
- rhetorical questions asking questions not for an answer
- telegraphic brief, concise, tight
IV. TONE
Use the words below to describe the way a writer conveys attitude (“tone”). Notice that they are grouped to give different degrees of each. In the right hand column of your chart, tell how tone is expressed (through diction, syntax, imagery, punctuation) with copied text to support your claim.
- affectionate, nostalgic
- approving, admiring, worshipping
- candid, direct, incisive, informative
- complicated, pedantic, didactic
- disliking, patronizing, contemptuous, abhorring
- easy, friendly, comic, jovial
- flippant, cynical, sardonic, sarcastic, irreverent
- formal, elevated, grand, lofty
- insolent, antagonistic, hostile, inflammatory
- interested, benevolent, sympathetic, passionate
- objective, indifferent, apathetic
- serious, solemn, elegiac, lugubrious
- subdued, indirect, understated, evasive
- vibrant, dramatic, urgent, forceful
- whimsical, fanciful, effusive
- wistful, regretful, resigned, bitter, grim
V. LITERARY DEVICES
Use the words from this list to describe an author’s use of literary devices. In the right hand column of your chart, copy the text that supports your claim.
- alliteration: repeated beginning sounds in a series of two or more words (Bravely, the bright bulging beacon flickered.)
- anastrophe/inversion: reversing the natural word order (Into the clouds soared the eagle.)
- hyperbole: extreme exaggeration (He had the weight of the world on his shoulders.)
- irony: using words or ideas that have the opposite effect from what is expected (His worst enemy saved his life.)
- metaphor: to compare two unlike things without using “like” or “as” (Her smile was sunshine.)
- onomatopoeia: a word whose sound echoes its meaning (pop, fizz, buzz)
- oxymoron: two words paired that seem to contradict each other (jumbo shrimp)
- paradox: statements that seem contradictory but are really true
- parallelism: repeated pattern of phrases, but not with the same words (He searched here, he searched there, he searched everywhere.)
- personification: giving human abilities or characteristics to inanimate objects (The desk groaned in agony.)
- repetition: repeated regular pattern of words or phrases (Nevermore, nevermore, nevermore.)
- simile: to compare two unlike things using “like” or “as” (He was like a rock.)
- symbol/allusion: an object, person, situation, or action means more than what it is or refers to something in previous history or literature
Literary Devices and Terms to use in notebook:
Literary Terms Used in Fiction
| ELEMENTS OF PLOT All fiction is based on conflict and this conflict is presented in a structured format called PLOT. Exposition Foreshadowing Inciting Force Conflict Rising Action Crisis Climax Falling Action Resolution (Denouement) MAJOR CHARACTERS
MINOR CHARACTERS First Person Third-Person Objective Third-Person Limited Omniscient Conflict is the essence of fiction. It creates plot. The conflicts we encounter can usually be identified as one of four kinds. Man versus Man Man versus Nature Man versus Society Man versus Self Often, more than one kind of conflict is taking place at the same time. In every case, however, the existence of conflict enhances the reader’s understanding of a character and creates the suspense and interest that make you want to continue reading. An author’s use of hints or clues to suggest events that will occur later in the story. Not all foreshadowing is obvious. Frequently, future events are merely hinted at through dialogue, description, or the attitudes and reactions of the characters. Foreshadowing frequently serves two purposes. It builds suspense by raising questions that encourage the reader to go on and find out more about the event that is being foreshadowed. Foreshadowing is also a means of making a narrative more believable by partially preparing the reader for events which are to follow. Irony is the contrast between what is expected or what appears to be and what actually is. Verbal Irony Irony of Situation Dramatic Irony Tone Mood A person, place or object which has a meaning in itself but suggests
other meanings as well. Things, characters and actions can be symbols.
Anything that suggests a meaning beyond the obvious. The main idea or underlying meaning of a literary work. A theme may be stated or implied. Theme differs from the subject or topic of a literary work in that it involves a statement or opinion about the topic. Not every literary work has a theme. Themes may be major or minor. A major theme is an idea the author returns to time and again. It becomes one of the most important ideas in the story. Minor themes are ideas that may appear from time to time. It is important to recognize the difference between the theme of a literary work and the subject of a literary work. The subject is the topic on which an author has chosen to write. The theme, however, makes some statement about or expresses some opinion on that topic. For example, the subject of a story might be war while the theme might be the idea that war is useless. Four ways in which an author can express themes are as follows: 1. Themes are expressed and emphasized by the way the author makes us feel.. By sharing feelings of the main character you also share the ideas that go through his mind. 2. Themes are presented in thoughts and conversations. Authors put words in their character’s mouths only for good reasons. One of these is to develop a story’s themes. The things a person says are much on their mind. Look for thoughts that are repeated throughout the story. 3. Themes are suggested through the characters. The main character usually illustrates the most important theme of the story. A good way to get at this theme is to ask yourself the question, what does the main character learn in the course of the story? 4. The actions or events in the story are used to suggest theme. People naturally express ideas and feelings through their actions. One thing authors think about is what an action will "say". In other words, how will the action express an idea or theme? IMAGERY: Language that appeals to the senses. Descriptions of people or objects stated in terms of our senses. Whenever you describe something by comparing it with something else, you are using figurative language. Any language that goes beyond the literal meaning of words in order to furnish new effects or fresh insights into an idea or a subject. The most common figures of speech are simile, metaphor, and alliteration. Simile Metaphor Alliteration Personification Onomatopoeia Hyperbole |
Many literary terms describe how an author communicates his or her ideas. Look through the text and try to identify some of methods he or she uses to convey the patterns of ideas you are most interested in. The following terms will help you express the methods you see:
Terms used in Rhetoric
Alliteration: repetition of the same sound beginning several words in sequence.
*Let us go forth to lead the land we love. J. F. Kennedy, Inaugural
*Viri validis cum viribus luctant. Ennius
*Veni, vidi, vici. Julius Caesar
Anacoluthon: lack of grammatical sequence; a change in the grammatical construction within the same sentence.
*Agreements entered into when one state of facts exists -- are they to be maintained regardless of changing conditions? J. Diefenbaker
Anadiplosis: ("doubling back") the rhetorical repetition of one or several words; specifically, repetition of a word that ends one clause at the beginning of the next.
*Men in great place are thrice servants: servants of the sovereign or state; servants of fame; and servants of business. Francis Bacon
*Senatus haec intellegit, consul videt; hic tamen vivit. Vivit? Immo vero etiam in senatum venit. Cicero, In Catilinam
Anaphora: the repetition of a word or phrase at the beginning of successive phrases, clauses or lines.
*We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender. Churchill.
*Nihil agis, nihil moliris, nihil cogitas, quod non ego non modo audiam, sed etiam videam planeque sentiam. Cicero, In Catilinam
*Lysias, Against Eratosthenes 21
*Demosthenes, On the Crown 48
Anastrophe: transposition of normal word order; most often found in Latin in the case of prepositions and the words they control. Anastrophe is a form of hyperbaton.
*The helmsman steered; the ship moved on; yet never a breeze up blew. Coleridge, The Rime of the Ancient Mariner
*Isdem in oppidis, Cicero
*Demosthenes, On the Crown 13
Antistrophe: repetition of the same word or phrase at the end of successive clauses.
*In 1931, ten years ago, Japan invaded Manchukuo -- without warning. In 1935, Italy invaded Ethiopia -- without warning. In 1938, Hitler occupied Austria -- without warning. In 1939, Hitler invaded Czechoslovakia -- without warning. Later in 1939, Hitler invaded Poland -- without warning. And now Japan has attacked Malaya and Thailand -- and the United States --without warning. Franklin D. Roosevelt
*Aeschines, Against Ctesiphon 198
Antithesis: opposition, or contrast of ideas or words in a balanced or parallel construction.
*Extremism in defense of liberty is no vice, moderation in the pursuit of justice is no virtue. Barry Goldwater
*Brutus: Not that I loved Caesar less, but that I loved Rome more. Shakespeare, Julius Caesar
*The vases of the classical period are but the reflection of classical beauty; the vases of the archaic period are beauty itself." Sir John Beazley
*Demosthenes, Olynthiac 2.26
Aporia: expression of doubt (often feigned) by which a speaker appears uncertain as to what he should think, say, or do.
*Then the steward said within himself, 'What shall I do?' Luke 16
*Demosthenes, On the Crown 129
Aposiopesis: a form of ellipse by which a speaker comes to an abrupt halt, seemingly overcome by passion (fear, excitement, etc.) or modesty.
*Demosthenes, On the Crown 3
Apostrophe: a sudden turn from the general audience to address a specific group or person or personified abstraction absent or present.
*For
Brutus, as you know, was Caesar's angel.
Judge, O you gods, how dearly Caesar loved him. Shakespeare, Julius Caesar
Archaism: use of an older or obsolete form.
*Pipit
sate upright in her chair
Some distance from where I was sitting; T. S. Eliot, "A Cooking Egg"
Assonance: repetition of the same sound in words close to each other.
*Thy kingdom come, thy will be done.
*O fortunatam natam me consule Romam! Cicero, de consulatu
Asyndeton: lack of conjunctions between coordinate phrases, clauses, or words.
*We shall pay any price, bear any burden, meet any hardships, support any friend, oppose any foe to assure the survival and the success of liberty. J. F. Kennedy, Inaugural
*But, in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow this ground. Lincoln, Gettysburg Address
*Demosthenes, On the Crown 200
Brachylogy: a general term for abbreviated or condensed expression, of which asyndeton and zeugma are types. Ellipse is often used synonymously. The suppressed word or phrase can usually be supplied easily from the surrounding context.
*Aeolus haec contra: Vergil, Aeneid
*Non Cinnae, non Sullae longa dominatio. Tacitus, Annales I.1
Cacophony: harsh joining of sounds.
*We want no parlay with you and your grisly gang who work your wicked will. W. Churchill
*O Tite tute Tati tibi tanta tyranne tulisti! Ennius
Catachresis: a harsh metaphor involving the use of a word beyond its strict sphere.
*I listen vainly, but with thirsty ear. MacArthur, Farewell Address
*Cynthia prima suis miserum me cepit ocellis. Propertius I.1.1
Chiasmus: two corresponding pairs arranged not in parallels (a-b-a-b) but in inverted order (a-b-b-a); from shape of the Greek letter chi (X).
*Those gallant men will remain often in my thoughts and in my prayers always. MacArthur
*Renown'd for conquest, and in council skill'd. Addison et pacis ornamenta et subsidia belli. Cicero, Pro lege Manilia
*Plato, Republic 494e
Climax: arrangement of words, phrases, or clauses in an order of ascending power. Often the last emphatic word in one phrase or clause is repeated as the first emphatic word of the next.
*One
equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield. Tennyson, Ulysses
*Nonne hunc in vincula duci, non ad mortem rapi, non summo supplicio mactari imperabis? Cicero, In Catilinam
*Facinus est vincere civem Romanum; scelus verberare; prope parricidium necare: quid dicam in crucem tollere? verbo satis digno tam nefaria res appellari nullo modo potest. Cicero, In Verrem
*Demosthenes, On the Crown 179
Euphemism: substitution of an agreeable or at least non-offensive expression for one whose plainer meaning might be harsh or unpleasant.
*When the final news came, there would be a ring at the front door -- a wife in this situation finds herself staring at the front door as if she no longer owns it or controls it--and outside the door would be a man... come to inform her that unfortunately something has happened out there, and her husband's body now lies incinerated in the swamps or the pines or the palmetto grass, "burned beyond recognition," which anyone who had been around an air base very long (fortunately Jane had not) realized was quite an artful euphemism to describe a human body that now looked like an enormous fowl that has burned up in a stove, burned a blackish brown all over, greasy and blistered, fried, in a word, with not only the entire face and all the hair and the ears burned off, not to mention all the clothing, but also the hands and feet, with what remains of the arms and legs bent at the knees and elbows and burned into absolutely rigid angles, burned a greasy blackish brown like the bursting body itself, so that this husband, father, officer, gentleman, this ornamentum of some mother's eye, His Majesty the Baby of just twenty-odd years back, has been reduced to a charred hulk with wings and shanks sticking out of it. Tom Wolfe, The Right Stuff
Hendiadys: use of two words connected by a conjunction, instead of subordinating one to the other, to express a single complex idea.
*It sure is nice and cool today! (for "pleasantly cool")
*I love the Lord, because he hath heard my voice and my supplications. Psalms 116
*Perfecti oratoris moderatione et sapientia. Cicero, De oratore
Hypallage: ("exchanging") transferred epithet; grammatical agreement of a word with another word which it does not logically qualify. More common in poetry.
*Exegi
monumentum aere perennius
regalique situ pyramidum altius, Horace, Odes III.30
Hyperbaton: separation of words which belong together, often to emphasize the first of the separated words or to create a certain image.
*Speluncam Dido dux et Troianus eandem Vergil, Aeneid 4.124, 165
Hyperbole: exaggeration for emphasis or for rhetorical effect.
*My
vegetable love should grow
Vaster than empires, and more slow;
An hundred years should got to praise
Thine eyes and on thine forehead gaze;
Two hundred to adore each breast,
But thirty thousand to the rest. Andrew Marvell, "To His Coy Mistress"
*Da
mi basia mille, deinde centum,
Dein mille altera, dein secunda centum,
Deinde usque altera mille, deinde centum. Catullus, to his.
Hysteron Proteron ("later-earlier"): inversion of the natural sequence of events, often meant to stress the event which, though later in time, is considered the more important.
*"I like the island Manhattan. Smoke on your pipe and put that in." -- from the song "America," West Side Story lyric by Stephen Sondheim (submitted per litteram by guest rhetorician Anthony Scelba)
*Put on your shoes and socks!
*Hannibal in Africam redire atque Italia decedere coactus est. Cicero, In Catilinam
Irony: expression of something which is contrary to the intended meaning; the words say one thing but mean another.
*Yet
Brutus says he was ambitious;
And Brutus is an honourable man. Shakespeare, Julius Caesar
Litotes: understatement, for intensification, by denying the contrary of the thing being affirmed. (Sometimes used synonymously with meiosis.)
*A few unannounced quizzes are not inconceivable.
*War is not healthy for children and other living things.
*One nuclear bomb can ruin your whole day. (meiosis)
Metaphor: implied comparison achieved through a figurative use of words; the word is used not in its literal sense, but in one analogous to it.
*Life's
but a walking shadow; a poor player,
That struts and frets his hour upon the stage. Shakespeare, Macbeth
*. . . while he learned the language (that meager and fragile thread . . . by which the little surface corners and edges of men's secret and solitary lives may be joined for an instant now and then before sinking back into the darkness. . . ) Faulkner, Absalom, Absalom!
*From Stettin in the Baltic to Trieste in the Adriatic, an iron curtain has descended across the continent. W. Churchill
Metonymy: substitution of one word for another which it suggests.
*He is a man of the cloth.
*The pen is mightier than the sword.
*By the sweat of thy brow thou shalt eat thy bread.
Onomatopoeia: use of words to imitate natural sounds; accommodation of sound to sense.
*At tuba terribili sonitu taratantara dixit. Ennius
Oxymoron: apparent paradox achieved by the juxtaposition of words which seem to contradict one another.
*Festina lente.
*I must be cruel only to be kind. Shakespeare, Hamlet
Paradox: an assertion seemingly opposed to common sense, but that may yet have some truth in it.
*What a pity that youth must be wasted on the young. George Bernard Shaw
Paraprosdokian: surprise or unexpected ending of a phrase or series.
*He was at his best when the going was good. Alistair Cooke on the Duke of Windsor
*There but for the grace of God -- goes God. Churchill
*Laudandus, ornandus, tollendus. Cicero on Octavian
Paronomasia: use of similar sounding words; often etymological word-play.
*...culled cash, or cold cash, and then it turned into a gold cache. E.L. Doctorow, Billy Bathgate
*Thou art Peter (Greek petros), and upon this rock (Greek petra) I shall build my church. Matthew 16
*The dying Mercutio: Ask for me tomorrow and you shall find me a grave man. Shakespeare, Romeo and Juliet
*Hic est sepulcrum haud pulchrum feminae pulchrae.
Personification: attribution of personality to an impersonal thing.
*England expects every man to do his duty. Lord Nelson
*Nunc te patria, quae communis est parens omnium nostrum, odit ac metuit et iam diu nihil te iudicat nisi de parricidio suo cogitare. Cicero, In Catilinam
Pleonasm: use of superfluous or redundant words, often enriching the thought.
*No one, rich or poor, will be excepted.
*Ears pierced while you wait!
*I have seen no stranger sight since I was born.
Polysyndeton: the repetition of conjunctions in a series of coordinate words, phrases, or clauses.
*I said, "Who killed him?" and he said, "I don't know who killed him but he's dead all right," and it was dark and there was water standing in the street and no lights and windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Bay and she was all right only she was full of water. Hemingway, After the Storm
*omnia
Mercurio similis, vocemque coloremque
et crinis flavos et membra decora iuventae Vergil, Aeneid 4.558-9
*Horae quidem cedunt et dies et menses et anni, nec praeteritum tempus umquam revertitur, nec quid sequatur sciri potest. Cicero, De senectute
Praeteritio (=paraleipsis): pretended omission for rhetorical effect.
*That part of our history detailing the military achievements which gave us our several possessions ... is a theme too familiar to my listeners for me to dilate on, and I shall therefore pass it by. Thucydides, "Funeral Oration"
*Let us make no judgment on the events of Chappaquiddick, since the facts are not yet all in. A political opponent of Senator Edward Kennedy
Prolepsis: the anticipation, in adjectives or nouns, of the result of the action of a verb; also, the positioning of a relative clause before its antecedent.
*Vixi et quem dederat cursum fortuna peregi, Vergil, Aeneid 4.653
*Consider the lilies of the field how they grow.
Simile: an explicit comparison between two things using 'like' or 'as'.
*My
love is as a fever, longing still
For that which longer nurseth the disease, Shakespeare, Sonnet CXLVII
*Reason is to faith as the eye to the telescope. D. Hume [?]
*Let
us go then, you and I,
While the evening is spread out against the sky,
Like a patient etherized upon a table... T.S. Eliot, The Love Song of J. Alfred
Prufrock
Syllepsis: use of a word with two others, with each of which it is understood differently.
*We must all hang together or assuredly we will all hang separately. Benjamin Franklin
Synchysis: interlocked word order.
*aurea purpuream subnectit fibula vestem Vergil, Aeneid 4.139
Synecdoche: understanding one thing with another; the use of a part for the whole, or the whole for the part. (A form of metonymy.)
*Give us this day our daily bread. Matthew 6
*I
should have been a pair of ragged claws
Scuttling across the floors of silent seas.
T. S. Eliot, "The Love Song of J. Alfred Prufrock"
*The U.S. won three gold medals. (Instead of, The members of the U.S. boxing team won three gold medals.)
Synesis (=constructio ad sensum): the agreement of words according to logic, and not by the grammatical form; a kind of anacoluthon.
*For the wages of sin is death. Romans 6
*Then Philip went down to the city of Samaria, and preached Christ unto them. Acts 6
Tautology: repetition of an idea in a different word, phrase, or sentence.
*With malice toward none, with charity for all. Lincoln, Second Inaugural
Zeugma: two different words linked to a verb or an adjective which is strictly appropriate to only one of them.
*Nor
Mars his sword, nor war's quick fire shall burn
The living record of your memory.
*Longa tibi exsilia et vastum maris aequor arandum. Vergil, Aeneid
A General Summary of Aristotle's Appeals . . .
The goal of argumentative writing is to persuade your audience that your ideas are valid, or more valid than someone else's. The Greek philosopher Aristotle divided the means of persuasion, appeals, into three categories--Ethos, Pathos, Logos.
Ethos (Credibility), or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect.
Pathos (Emotional) means persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument.
Logos (Logical) means persuading by the use of reasoning. This will be the most important technique we will study, and Aristotle's favorite. We'll look at deductive and inductive reasoning, and discuss what makes an effective, persuasive reason to back up your claims. Giving reasons is the heart of argumentation, and cannot be emphasized enough. We'll study the types of support you can use to substantiate your thesis, and look at some of the common logical fallacies, in order to avoid them in your writing.
Ethos, Pathos, and Logos.
Logos (Greek for 'word') refers to the internal consistency of the message--the clarity of the claim, the logic of its reasons, and the effectiveness of its supporting evidence. The impact of logos on an audience is sometimes called the argument's logical appeal.
Ethos (Greek for 'character') refers to the trustworthiness or credibility of the writer or speaker. Ethos is often conveyed through tone and style of the message and through the way the writer or speaker refers to differing views. It can also be affected by the writer's reputation as it exists independently from the message--his or her expertise in the field, his or her previous record or integrity, and so forth. The impact of ethos is often called the argument's 'ethical appeal' or the 'appeal from credibility.'
[P]athos (Greek for 'suffering' or 'experience') is often associated with emotional appeal. But a better equivalent might be 'appeal to the audience's sympathies and imagination.' An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer's point of view--to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb 'to suffer'--to feel pain imaginatively.... Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer's message moves the audience to decision or action.
[The above text drawn verbatim from Ramage, John D. and John C. Bean. Writing Arguments. 4th Edition. Needham Heights, MA: Allyn & Bacon, 1998, 81-82.] http://www.u.arizona.edu/ic/polis/courses021/ENGL_102-78/EthosPathosLogos
Or The Shorthand Version:
Ethos: the source's credibility, the speaker's/author's authority
Logos: the logic used to support a claim (induction and deduction); can also be the facts and statistics used to help support the argument.
Pathos: the emotional or motivational appeals; vivid language, emotional language and numerous sensory details.
The Art of Rhetoric: Learning How to Use the Three Main Rhetorical Styles
Rhetoric (n) - the art of speaking or writing effectively (Webster's Definition).
According to Aristotle, rhetoric is "the ability, in each particular case, to see the available means of persuasion." He described three main forms of rhetoric: Ethos, Logos, and Pathos.
In order to be a more effective writer, you must understand these three terms. This site will help you understand their meanings and it will also show you how to make your writing more persuasive.
http://www.rpi.edu/dept/llc/webclass/web/project1/group4/index.html
It also has some fantastic example web sites that use ethos, logos, and pathos. My ACME and Coyote fans will love these examples.
The following essay "The Appeals: Ethos, Pathos, and Logos" was written by Professor Jeanne Fahnestock of the University of Maryland, College Park, and is a very insightful explanation of the three appeals. I highly recommend reading it at the following web site . . .
http://otal.umd.edu/~mikej/supplements/ethoslogospathos.html
According to Aristotle, our perception of a speaker or writer's character influences how believable or convincing we find what that person has to say. This projected character is called the speaker or writer's ethos. We are naturally more likely to be persuaded by a person who, we think, has personal warmth, consideration of others, a good mind and solid learning. Often we know something of the character of speakers and writers ahead of time. They come with a reputation or extrinsic ethos. People whose education, experience, and previous performances qualify them to speak on a certain issue earn the special extrinsic ethos of the authority. But whether or not we know anything about the speaker or writer ahead of time, the actual text we hear or read, the way it is written or spoken and what it says, always conveys and impression of the author's character. This impression created by the text itself is the intrinsic ethos.
Institutions, public roles and publications also project an ethos or credibility. We assume, for example, that The New York Times is a more credible source than the Weekly World News or the National Inquirer. And we usually assume that a person selected for a position of responsibility or honor is more credible than someone without official sanction. These expectations about credibility and ethos are occasionally disappointed.
Pathos
The persuasive appeal of pathos is an appeal to an audience's sense of identity, their self-interest, their emotions. Many rhetoricians over the centuries have considered pathos the strongest of the appeals, though this view of persuasion is rarely mentioned without a lament about the power of emotion to sway the mind.
Appeals to our sense of identity and self interest exploit common biases; we naturally bend in the direction of what is advantageous to us, what serves our interests or the interests of any group we believe ourselves a part of. Even when advantage is not an issue, writers who belong to groups we identify with, or create groups we can belong to, often seem more compelling. We also naturally find more persuasive the speaker or writer who flatters us (especially indirectly) instead of insulting us. Thus skillful writers create a positive image in their words of the audience they are addressing, an image their actual readers can identify with. Who does not want to be the “sensible, caring person” the arguer describes? Especially powerful are devices that create an identity between the writer and reader so that the speaker almost seems to be the audience addressing itself.
The emotions also strongly assist, perhaps sometimes determine, persuasion. If, for example, a writer wants a reader to evaluate something negatively, she or he may try to arouse the reader's anger. Or to produce action to someone's benefit (e.q. to persuade us to make a charitable donation), an arguer may work on our pity.
Direct appeals to the reader to feel an emotion (e.q. “You should be crying now”) are rarely effective. Instead, creating an emotion with words usually requires recreating the scene or event that would in “real” circumstances arouse the emotion. Thus descriptions of painful or pleasant things work on the emotions. Or the arguer can work on the natural “trigger” of the emotion. If, for example, we usually feel anger at someone who, we believe, has received benefits without deserving them, then the arguer who wants to make us angry with someone will make a case that person was rewarded unfairly.
Logos
Finally, we come to the “argument” itself, the explicit reasons the arguer provides to support a position. There are many ways to describe the support provided in an argument, but a sample way to begin is to consider all the premises the author seems to supply. These can be scattered throughout the argument and expressed indirectly, so identifying premises is a judgment call in itself.
Next ask which of the premises are presented as objects of agreement that the arguer considers as given, elements of the argument taken for granted. Objects of agreement are basically either facts or values. Of course, the facts may not be facts and readers may not agree with the values assumed. Some of the premises will be supported further, but basically every argument has got to come down to certain objects of agreement that it presents as shared between arguer and audience.
You can also classify premises into the following categories. 1. Are they arguments based on definition? In other words, does the arguer make claims about the nature of things, about what terms mean, what features things have? 2. Does the arguer make analogies or comparisons? Does he or she cite parallel cases? 3. Are there appeals to cause and consequences? Arguing from consequence is especially common when policy issues are debated. 4. Does the arguer rely on testimony or authority by citing the received opinions of experts? Or does the author create some kind of authoritative reference group, citing public opinion on what most people think as support for his or her position?
Rhetoric, Logos, Pathos, and Ethos
THE THREE "ARTISTIC PROOFS."
There are three artistic proofs that we can create: the appeals from ethos, pathos, and logos.
Ethos
Persuasion from ethos establishes the speaker's or writer's good character. As you saw in the opening of Plato's Phaedrus, the Greeks established a sense of ethos by a family's reputation in the community. Our current culture in many ways denies us the use of family ethos as sons and daughters must move out of the community to find jobs or parents feel they must sell the family home to join a retirement community apart from the community of their lives' works. The appeal from a person's acknowledged life contributions within a community has moved from the stability of the family hearth to the mobility of the shiny car. Without the ethos of the good name and handshake, current forms of cultural ethos often fall to puffed-up resumes and other papers. The use of ethos in the form of earned titles within the community-Coach Albert, Deacon Jones, Professor Miller-are diminishing as "truthful" signifiers while commercial-name signifiers or icons appear on clothing-Ralph Lauren, Louis Vuitton, Tommy Hilfiger- disclosing a person's cultural ethos not in terms of a contributor to the community, but in terms of identity-through purchase. Aristotle warns us away from such decoys, telling us that the appeal from ethos comes not from appearances, but from a person's use of language. In a culture where outward appearances have virtually subsumed or taken over the appeal from inner (moral and intellectual) character, the appeal from ethos becomes both problematic and important. Given our culture's privileges/rights of free speech and personal equality, however, we have enormous possibilities for the appeal from ethos any writer well versed in his or her subject and well spoken about it can gain credibility. This kind of persuasion comes from what a person says and how a person says it, not from any prejudice (pre-judging) of the author.
Aristotle tells us that three things "Inspire confidence in the rhetor's [speaker's/writer's] own character-the three, namely, that induce us to believe a thing apart from any proof of it: good sense, good moral character, and goodwill. False statements and bad advice come from the lack of any of these elements. Exhibiting these three aspects of character in your discourse can play a large part in gaining credibility for your ideas. As regards the academic essay, be sure to have your writing appear written by a person of good sense by following the format dictated by the Modern Language Association (M.L.A.) or American Psychological Association (A.P.A.) or whatever your particular academic community wants. Citing a bunch of sources always adds to your credibility (sense of good sense) too. Stylistically in your writing, you can show, if not your good moral character, at least some character identification by sticking some little phrase before using "r' or "we." Like, "As So-in-so's attorney, I suggest . . . Or "As a dental hygienist, I advise...... Or "As an elderly snowboarder for the past decade, I see no reason why...... Actually, using "I" or "we" without such identifiers flips the attempt at ethos into a sense of the generic nobody. Many writing teachers, therefore, just say "don't use I." Aristotle implies, use "I" or "we" to your advantage with an ethos-appeal sort of phrase out there in front, or else forget it. Despite warnings against believing discourse 'just because it appears written by someone of good sense or because the ideas "look good," you should try to create discourse that "looks good." As a reminder from the Plato chapter (now reinforced by the Aristotelian tip that people judge the credibility of your ideas by your writing skills), you should run your academic essay through the spell checker and bother numerous guinea-pig readers for fixing up the organization and Standard English before letting your essay loose on the world to do its work. If, as Aristotle says, people are going to judge your spoken and/or written ideas by virtue of the appearance of good sense, you'd best attend to that quality.
Pathos
Persuasion from pathos involves engaging the readers' or listeners' emotions. Appealing to pathos does not mean that you just emote or "go off' through your writing. Not that simple. Appealing to pathos in your readers (or listeners), you establish in them a state of reception for your ideas. You can attempt to fill your readers with pity for somebody or contempt for some wrong. You can create a sense of envy or of indignation. Naturally, in order for you to establish at will any desired state of emotion in your readers, you will have to know everything you can about psychology. Maybe that's why Aristotle wrote so many books about the philosophy of human nature. In the Rhetoric itself, Aristotle advises writers at length how to create anger toward some ideal circumstance and how also to create a sense of calm in readers. He also explains principles of friendship and enmity as shared pleasure and pain. He discusses how to create in readers a sense of fear and shame and shamelessness and kindness and unkindness and pity and indignation and envy and indignation and emulation. Then he starts all over and shows how to create such feelings toward ideas in various types of human character' of "people" of virtue and vice; those of youth, prime of life, and old age; and those of good fortune and those of bad fortune." Aristotle warns us, however: knowing (as a good willed writer) how to get your readers to receive your ideas by making readers "pleased and friendly" or "pained and hostile" is one thing; playing on readers' emotions in ways that make them mindless of concepts and consequences can corrupt the judgment of both individuals and the community.
Logos
Finally, a writer appeals to readers through the appeal to the readers' sense of logos. This is commonly called the logical appeal, and you can use two different types of logic. You can use inductive logic by giving your readers a bunch of similar examples and then drawing from them a general proposition. This logic is pretty simple given this, that, and the other thing-poof, there you go, a conclusion. Or, you can use the deductive enthymeme by giving your readers a few general propositions and then drawing from them a specific truth. Like, "because such-'n-such is true and such-'n-such is true and such-'n-such is true and everybody agrees on this other thing, then-poof, stands to reason, a new truth.
Since the time that a bunch of guys called "The Royal Society" (Hume, Locke, Bacon, etc.) rejected deduction, our culture has generally favored induction because it's often called the "scientific method" and we like science. Historically, people have also attributed feminine metaphors to deductive logic and then easily dismissed it or dismissed the general propositions as "not documented" or "old wives tales."
Source: Henning, Martha L. Friendly Persuasion: Classical Rhetoric--Now! Draft Manuscript. August, 1998. http://www.millikin.edu/wcenter/workshop7b.html
A student sample that uses these three proofs to analyze a contemporary speech given by George Bush can be read at the following web site. You can agree with or disagree with the author's interpretations, but the sample might provide you with an example of how you can use these terms to help you analyze your own article. Remember it's not the issue, it's the way the issue is presented by the author.
Ethos, Pathos, and Logos Applied: George W. Bush Speaking at 'Ground Zero'
http://hyper.vcsun.org/HyperNews/battias/get/cs327/s02/thought/1.html
The following web site presents student sample paragraphs that have been revised and, as a result are much stronger. I strongly suggest looking at these paragraphs in order to fully understand how Ethos, Pathos, and Logos can be used to analyze your articles.
Paragraph Development (for Ethos, Logos, Pathos Essay)
http://www.merced.cc.ca.us/pirov/paraethos.htm