rhetorical strategies for speeches

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25 Examples of Rhetorical Strategies in Famous Speeches

I’m not trying to be cheesy! An emotional response is a meaningful response, and that reaction stays with you long after the presentation is over. Whenever you think of that speaker or of that topic, your brain will bring back those feelings for you- whether they be of motivation, inspiration, sadness, empathy, or otherwise.

Rhetorical strategies use language to convey special meaning and/or to persuade someone. Basically, these strategies can be used to intentionally invoke feelings in others.

If your first reaction to all this is “Huh?” that’s okay- so was mine. Here’s how I understand it now: rhetorical strategies = emotional connection = memorability.

If you’ve ever considered becoming a master presenter (no judgement if you have), you need these tools in your repertoire ASAP. They’re just so effective!

Don’t believe me? All the cool kids are using (or used) them – I’m talking about thought leader Simon Sinek , technology guru Steve Jobs, past American president Barack Obama, civil rights leader Martin Luther King Jr., and even good old William Shakespeare.

Unless you’re above any of these greatly respected people, I’m betting that you could benefit from a little rhetorical strategy in your next speech!

25 rhetorical strategies from the best minds

We’ve compiled 25 rhetorical strategies from the most memorable presentations on the planet so that your next presentation is undeniably memorable. Ready to begin?

1. Alliteration:

Two or more words in a row that start with the same sound.

“They are part of the finest fighting force that the world has ever known. They have served tour after tour of duty in distant, different, and difficult places.” – Barack Obama

2. Allusion:

A statement that hints at something instead of being direct about it.

“You must borrow me Gargantua’s mouth first. ‘Tis a word too great for any mouth of this age’s size” – Shakespeare

3. Anadiplosis:

Repeating the last word (or words) of a sentence at the beginning of the next sentence.

“Tonight, we are a country awakened to danger and called to defend freedom. Our grief has turned to anger, and anger to resolution.” – George W. Bush

4. Analogy:

A literal comparison of two things.

“A good speech should be like a woman’s skirt: long enough to cover the subject and short enough to create interest.” – Winston Churchill

5. Anaphora:

Using the same word (or words) to begin 2 or more sentences (or paragraphs) that follow each other.

“I trust Hillary to lead this country because I’ve seen her lifelong devotion to our nation’s children – not just her own daughter, who she has raised to perfection but every child who needs a champion: Kids who take the long way to school to avoid the gangs. Kids who wonder how they’ll ever afford college. Kids whose parents don’t speak a word of English but dream of a better life. Kids who look to us to determine who and what they can be.” – Michelle Obama

6. Anastrophe:

A reversal of the typical ordering of a sentence.

“This much we pledge, and more” – JF Kennedy

7. Antistrophe:

Repeating one (or more) words at the end of a sentence.

“It was a creed written into the founding documents that declared the destiny of a nation: Yes, we can. It was whispered by slaves and abolitionists as they blazed a trail towards freedom through the darkest of nights: Yes, we can. It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an unforgiving wilderness: Yes, we can” – Barack Obama

8. Antithesis:

A contrast of thoughts.

“That’s one small step for man, one giant leap for mankind.” – Neil Armstrong

9. Asyndeton:

Leaving out conjunction words (as or and) from a sentence.

“…and that government of the people, by the people, for the people shall not perish from the earth.” – Abraham Lincoln

10. Assonance:

Repeating a vowel sound in a sentence.

“I feel the need, the need for speed” – Tom Cruise (from the movie Top Gun)

11. Chiasmus:

The reversal of the latter of two parallel sentences.

“And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country” – John F. Kennedy

12. Diacope/Tmesis:

Inserting a word (or more) between the components of a compound word.

“Free at last, free at last; thank God almighty, free at last!” – Martin Luther King

13. Epistrophe:

Another name for antistrophe (see above).

“…and that government of the people, by the people, for the people shall not perish from the earth” – Abraham Lincoln

14. Expletive:

Using a word or phrase only to fill out a sentence for grammar, rhythm or balance.

“… we shall never surrender, and even if, which I do not for a moment believe, this Island or a large part of it were subjugated and starving …” – Winston Churchill

15. Germinatio:

The repetition of a word within the sentence.

“That’s 58 songs every second of every minute of every hour of every day.” – Steve Jobs

16. Hyperbole:

Exaggerating a description for emphasis.

“Best version of Google Maps on the planet, widgets, and all with Edge and Wi-Fi networking.” – Steve Jobs

17. Hypophora:

Posing a question that you will answer yourself.

“When the enemy struck on that June day of 1950, what did America do? It did what it always has done in all its times of peril. It appealed to the heroism of its youth” – Dwight D. Eisenhower

18. Litotes:

An understatement that expresses an affirmative by negating its opposite.

“I am not unmindful that some of you have come here out of great trials and tribulations.” – Martin Luther King, Jr.

19. Meiosis:

A massive understatement.

“The situation has developed, not necessarily to our advantage” – Emperor Hirohito, announcing to the Japanese people that atomic bombs had been dropped on Hiroshima and Nagasaki

20. Metaphor:

Comparing two unlike objects to provide a clearer description.

“All the world’s a stage, and all the men and women merely players.” – William Shakespeare

21. Parallelism:

using a sequence of identical constructions in writing

“Tell me and I forget. Teach me and I may remember. Involve me and I will learn.” – Benjamin Franklin

22. Scesis Onomaton:

Repeating two (or more) different words with identical or similar meaning within the same sentence.

“That is heart-breaking, it is wrong, and no one should be treated that way in the United States of America” – Barack Obama

23. Simile:

Comparing two unlike things using the words “like” or “as” with an example.

“We will not be satisfied until justice rolls down like waters, and righteousness like a mighty stream.” – Martin Luther King, Jr.

24. Symploce:

Repeating one (or more) words at the beginning and end of successive sentences.

“In the struggle for peace and justice, we cannot walk alone. In the struggle for opportunity and equality, we cannot walk alone. In the struggle to heal this nation and repair this world, we cannot walk alone” – Barack Obama

25. Tricolon:

A sentence with three clearly defined parts of equal length

Rhetorical strategies improve audience engagement

If you got a little lost amidst the English jargon, here are the 2 main takeaways you need to know:

• Repetition emphasizes meaning Repetition is perhaps the most common rhetorical strategy. Whether it be the repetition of a word, a phrase, or a specific sound, it is incredibly effective. Use this strategy to build meaning behind the essential points you need to get across.
• Comparisons facilitate understanding Comparisons are also an extremely popular strategy, likely because they make the subject matter more relatable. If your audience can identify with what you’re saying, that creates an opportunity for you to cultivate a connection with them.

In sum, the best designed presentations , a slick new outfit, or a commanding voice may impress an audience initially, and can be important to gain their attention, but they lack true substance for any long-term retention. Rhetorical strategies are the single greatest tool for memorability. If you recognized even one of these examples, you just proved that rhetoric strategies are memorable. Why not start using them to your advantage?

Incorporating rhetorical strategies is kind of like learning how to ride a bike – you’re going to think you look unsure the first few times you try and you’re probably going to walk away with some scrapes and bruises. But, once you gain confidence, you’ll be able to ride circles around everyone else.

See what I did there? Here’s to being memorable!

Note: All definitions have been adapted from Your Dictionary .

Looking for more presentation insights?

Check out our Top 30 Most Popular Presentations of All Time , 16 Strategies Used by Pitch Deck Designers , 10 Things to Never Do When Presenting , or read our Top 10 Presentation Tips .

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Updated Apr 19, 2022

8 Rhetorical Strategies to Persuade Your Audience

What are rhetorical strategies, common rhetorical choices, avoid logical fallacies, the power of persuasion is yours.

If you’ve ever had a conversation with someone who thinks the opposite of you, then you know how challenging it is to persuade them. Even when addressing a receptive audience, having people join your side takes skill and precision. Persuasion is far from an exact science, but influential leaders know how to weave different rhetorical strategies together to create a compelling argument. Their rhetorical choices form the backbone of their persuasion technique, which you can emulate to perfect your own skills. Whether preparing a new speech or writing an article, you can use these strategies to move people closer to your point of view.

In this article, find out what rhetorical strategies are and some of the most common ones you can utilize right away.

Rhetorical strategies (AKA persuasive rhetorical devices or persuasive strategies) consist of the word choice you use to persuade, initiate a response, or show meaning. While some may associate these strategies with formal situations, many people use them in casual conversation without realizing it. Any time you seek to persuade someone, you will likely use a rhetorical strategy of some type. Keep this in mind as you look at the following list.

1. Similes and Metaphors

One common rhetorical strategy is to use similes and metaphors throughout your attempt to persuade. Both of these rhetorical resources aim to compare two different items and indicate how they are alike. This makes the comparison much clearer and imparts added meaning to what you’re trying to say. People use similes and metaphors all the time, even in everyday conversation. The main difference between the two is that similes use the words “like” or “as” within the comparison, while metaphors simply say the two things are equal.

Examples of Similes

• You’re as straight as an arrow.
• The two brothers are like peas in a pod.
• The teacher has been busy as a bee.
• The pain felt like a knife stabbing him in the side.
• Her hands were as cold as ice.

Examples of Metaphors

• They considered him the black sheep of the family.
• America is a melting pot of different cultures.
• All the world’s a stage.
• She went to the conference with an army of students.

2. Euphemisms

Sometimes when making a persuasive argument, you need to reference something unpleasant or even disturbing. Doing so may cause your intended audience to feel uncomfortable or leave them with lingering questions about what you mean. They may decide to tune you out when this happens instead of listening to what makes them uneasy. To avoid this problem, you can choose to use a euphemism instead. This rhetorical device replaces the unpleasant word or phrase with something more acceptable and easier to hear (or read if you’re writing an argument). Euphemisms can sometimes go too far, especially if misused, but speakers and writers tend to use them to sidestep a topic to focus on their core message.

Examples of Euphemisms

• “Collateral damage” instead of “civilian deaths.”
• “Mature” instead of “old.”
• “Passed away” instead of “died.”
• “Between jobs” instead of “unemployed.”
• “Comfort food” instead of “junk food.”

3. Chiasmus

You want your persuasive argument to stick with people long past the point when you stop talking or writing. One of the best ways to do that is by using  chiasmus . This rhetorical strategy can elicit an emotional response by simply changing the order of words to mirror each other. When you do this, you can generate catchy phrases. One of the most often cited resources of rhetoric comes from the inaugural address of John F. Kennedy, who told the people of the United States, “Ask not what your country can do for you, ask what you can do for your country.” Notice how the sentence has two parts to it, with the second half mirroring the first half. It’s the sort of phrase that remains with you long after you first hear it.

Examples of Chiasmus

• “It’s not the size of the dog in the fight that counts, it’s the size of the fight in the dog.” —Dwight D. Eisenhower
• “When the going gets tough, the tough get going.” —Knute Rockne
• “You must eat to live, not live to eat.” —Socrates

4. Cause and Effect

Another key component in making or writing a persuasive argument is to show the relationship between cause and effect. The point you want to make will help you determine what receives the most focus. For example, if you’re going to discuss why employees suffer from work burnout (the effect), you’ll want to look at the causes. When you look at causes, that shows an interest in what will happen. On the flip side, looking at effects looks at what could happen in the future. Analysis of cause and effect is a useful way to craft a historical narrative, such as what policies led to a business like Apple succeeding. It’s also an effective way to provide solutions as you show the relationship between causes and what can change to prevent undesirable effects.

Logos is the use of logic or reason to argue a point. The two types of rhetorical appeals used in this way include deductive and inductive reasoning. Logos rhetoric with inductive reasoning looks at specific facts and historical resources, then uses them to create a larger generalization. Here’s an example of inductive reasoning: the practice of prioritizing tasks helped this worker become more productive, so all workers would benefit from prioritizing their tasks. Logos rhetoric with deductive reasoning, on the other hand, starts with the generalization before using it for specific instances. So an argument using deductive reasoning would look like this: reducing the number of meetings has helped companies the world over, so it could improve one specific company. With this rhetorical device, you’re appealing to people’s logical thinking to convince them you’re right.

You can also use ethos to convince people of your opinion. This rhetorical device involves appealing to others’ sense of  ethical values  by showing your credibility, reliability, and good character. This isn’t always a simple feat to pull off, especially when people have little familiarity with you. However, establishing that you’re trustworthy helps sway people to your side.

How to gain the audience’s trust:

• Portray opposing viewpoints of the other writer or speaker accurately.
• Organize the argument so it’s easy for people to follow.
• Use reliable third-party sources.
• Ensure all information you use is accurate.
• Indicate why the subject interests you.
• Meet the audience on common ground by indicating shared beliefs and moral values.
• Check your argument for any spelling or grammatical mistakes if you’re writing it.

The pathos rhetorical device involves appealing to others’ emotions through language. Utilizing pathos can be tricky to do well. After all, the goal should be to persuade people based on facts, logic, and reasoning. However, pathos can add to an argument, presenting a real human element that avoids sticking to numbers and statistics like a robot. For example, a story about a woman who sacrificed time and money to get her business off the ground will likely resonate with an audience more than citing the number of people who start a business every year. The statistic is still valid, but it may not capture the actual cost. Take care not to misuse pathos as well. Don’t turn your argument into a sensational piece. You should also make sure pathos pertains to the subject, as some people will use pathos to distract from the issue at the heart of the debate.

8. Narration

Narration, which is essentially storytelling, is another strategy you can use to connect with your audience. People identify with stories more than they do statistics, even in academic writing. The best storytellers seamlessly incorporate their evidence and arguments into the stories they share. That doesn’t mean an entire speech or article should consist of one or multiple stories, but they can back up the central point of your argument. The right story at the right time can serve as the exclamation point of your persuasive piece, whether it’s real or a rhetorical situation. It’s a powerful strategy that helpfully places issues in perspective.

One way to hurt your argument is by using a logical fallacy. A logical fallacy is a false, illogical statement said with the intent of persuading an audience. Using this type of rhetorical device ultimately weakens your chances of successfully influencing someone. As such, you should avoid them as much as possible. The following are just several logical fallacies you should take care to reject.

• Straw Man:  A straw man argument misrepresents an opponent’s argument, often through oversimplification or distortion.
• Ad Hominem:  This involves attacking the person who makes the argument rather than the argument.
• Appeal to Majority:  Also known as the bandwagon fallacy, an appeal to majority indicates that your position is correct because more people agree with you.
• False Dilemma:  This fallacy places two—and only two—choices for people to consider when more options are out there.
• Appeal to Nature:  The appeal to nature fallacy indicates that because something is natural, it automatically makes it better.
• Circular Argument:  When someone engages in a circular argument, they repeat what they already assumed before because they believe it is proof enough. 

The above rhetorical strategies can help you start writing or practicing a verbal argument that persuades people to come to your side of the fence. In business, the power to influence others through  assertive communication  is essential once you know what course you want to take. No matter the debate, also show respect and courtesy and don’t let arguments become personal. For example, you might want to ask the other person genuine questions about their position. Through a healthy and polite discourse, you’ll eventually reach an agreement that both sides can appreciate.

Want to work on more new skills that can help in your professional and personal life?  The following articles can help:

The Top 5 Communication Skills Every Leader Needs

Top Leadership Skills Those in a Leadership Role Need

Why is Empathy Important as a Business Leader?

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Rhetoric: How to Inform, Persuade, or Motivate your Audience

June 12, 2018 - Gini Beqiri

Persuasive speaking is needed in a wide range of situations; from arguing with a colleague, to haggling down a price, to performing a speech. Rhetoric is the key to developing this skill. In this article, we discuss how to use rhetoric for effective public speaking.

What is rhetoric?

Rhetoric is the study and art of writing and speaking persuasively. Its aim is to inform, educate, persuade or motivate specific audiences in specific situations. It originates from the time of the ancient Greeks.

Rhetoric is the art of ruling the minds of men  – Plato

Rhetoric is not just a tool used only in speeches, you use it in everyday life when, for example, you only disclose certain parts of your weekend to certain people.

Treatise of rhetoric

Aristotle stated that there are three types of persuasive speech:

• Forensic / judicial rhetoric  – looks at the justice or injustice of accusations and establishes evidence about the past. It’s used mainly in a court of law.
• Epideictic / demonstrative rhetoric  – praises or blames and makes a declaration about the present situation. It’s used in, for example,  wedding  and retirement speeches etc.
• Symbouleutikon / deliberative rhetoric  – tries to get the audience to take action by talking about a possible future. Politicians often use this approach and Martin Luther’s “I have a dream” speech is a good example.

Rhetorical situations

To use rhetoric you must first:

• Analyse the rhetorical situation you are in – an effective speech is one that responds to its rhetorical situation (context)
• Identify what needs to be communicated
• Provide a strategic response using rhetorical tools

When you analyse the rhetorical situation think about the following:

The rhetor (yourself)  – the person speaking to the audience. Your personal characteristics and beliefs will influence what you decide to say, such as:

• Geographical location
• Previous experiences
• Socio-economic status, etc

The audience  – the people you are  trying to persuade . Usually the same factors that affect the rhetor affect the audience. Think about what they already know. What questions or reservations might they have? What expectations do they have? Where should you conform to and stray from these expectations?

The setting  – the situation which causes the need for your speech, for example, current events, location, time period, political situation etc. Where is the speech happening and when? How do these this impact you? For example, speeches may need to differ between countries.

The topic  – needs to be relevant to the rhetorical situation you are in. How does your topic limit what you can do for the audience? Depending on your audience, what should you include or exclude?

The purpose  – why are you saying this? Is it to:

• Instigate action, etc

Five canons and three appeals

The five canons of rhetoric.

The Five Canons of Rhetoric are tools for creating persuasive speeches:

• Invention  – the process of developing an argument. For this you need to pick effective content and sort through everything you could say and decide what should be included or excluded. There needs to be a balance between what the audience needs to hear and what you need to say.
• Arrangement  – once you have determined the content you must organise and order your speech to create the most impact, such as thinking about how long each section should be and what should follow on from one point etc.
• Style  – deciding how to present your chosen arguments, including thinking tactically about how your audience will respond to your word choices. Perhaps include visualisation or other techniques to evoke emotions. (See rhetorical devices and tools)
• Memory  – memorising your speech.
• Delivery  – this includes your projection,  gestures ,  eye contact , pronunciation, tone and  pace .

The three appeals

According to Aristotle, rhetoric rests on the three appeals:  ethos, logos and pathos . They are modes of persuasion used to convince an audience.

• Ethos : your credibility and character
• Pathos : emotional bond with your listeners
• Logos : logical and rational argument

Ethos – the ethical appeal

Ethos consists of convincing your audience that you have good character and you are credible therefore your words can be trusted. Ethos must be established from the start of your talk or the audience will not accept what you say. In fact, ethos is often established before your presentation, for example, you may be the CEO of the company you’re presenting to so you’re already perceived as a specialist.

Characteristics of ethos

There are four main characteristics of ethos:

• Trustworthiness and respect
• Similarity to the audience
• Expertise and reputation/history

Improve ethos

• Ensure that people know about your expertise by promoting yourself, for example, ensure that people can easily access testimonials, reviews, papers etc.
• In your introduction draw attention to your ethos.
• Tell personal stories  that show the audience that you follow your own recommendations because they are more likely to believe you on other points that cannot easily be confirmed.
• Facts, stats and quotes should be up-to-date and from reputable sources, for example, between choosing from social media or Mind’s website to  quote a statistic  about anxiety, you would choose Mind’s website as this has high ethos which in turn increases your ethos.
• Be unbiased by admitting that you and your opposition’s side agree on at least one matter. This highlights that you are credible because you are treating the topic with consideration and fairness.
• Stick to your promises, for example,  during the Q&A  you may have agreed to find out an answer to a question and tell everyone – ensure that you do this to be seen as honest.

Pathos – the emotional appeal

Pathos is to persuade by appealing to the audience’s emotions. Pathos is more likely to increase the chances of your audience:

• Understanding your point of view
• Accepting your arguments
• Acting on your requests

Improving pathos

• Use  analogies and metaphors  – linking your ideas with something your listeners already know about and feel strongly about can trigger emotional responses. For example, “They are terrible” compared to “They are poisonous.” This will use the audience’s knowledge that poison is bad and therefore this issue needs to be dealt with.
• Use emotionally charged words, for example, say “This brush is a life-saver” rather than “This brush is amazing.”. Another way to make a statement more emotional is to use vivid and sensory words which allow the audience to experience the emotion. For instance, “The smell of your grandparent’s house” will increase the recollection of, hopefully warm memories, and therefore will trigger certain emotions.
• Positive emotions, such as joy, should be linked with your claims.
• Negative emotions, such as anger, should be linked to your rival’s claims.
• Visual aids can sometimes be more powerful than words
• Storytelling is a quick way to form an emotional connection
• Match what you’re saying with your body language, face and eyes
• You may target the audience’s hopes by describing a positive future situation if your proposed actions are followed

Logos – logical appeal

Logos is to appeal to logic by relying on the audience’s intelligence and offering evidence in support of your argument. Logos also develops ethos because the information makes you look knowledgeable. Logos is important because logical arguments are not easily dismissed.

Improving logos

Be comprehensive : Make sure your points and arguments can be understood

• Use language that your audience will understand. Avoid jargon and technical terminology
• Use figures and charts
• Make the relationships between your evidence and conclusions clear
• Use analogies and metaphors

Be logical : Ensure that your arguments make sense and that your claims and evidence are not implausible. Have a plan for dealing with opposing viewpoints that your listeners may already believe.

• Ensure that the  audience is involved  by asking them engaging questions.
• Talk about opposing views as this allows you to explain why your logical arguments are more reasonable.
• Build your argument on the audience’s widely held beliefs – commonplaces. For example, a company’s main value and therefore commonplace may be “Compassion makes us the best company”. Use the audience’s commonplace like a fact and apply it to a new situation. So if you want to encourage your staff to join a committee, use their commonplace, for example, rather than your belief say: “This committee needs considerate and kind-hearted people.”

Be specific : Base your claims on facts and examples as your arguments will be accepted quicker than something nonspecific and non-concrete. The more easily the evidence is accepted, the more easily the conclusions will be accepted.

• Facts and stats cannot be debated and they signify the truth.
• Visual evidence, such as, objects and videos are hard to challenge.
• Citing specialists and authorities on a topic increases the quality of your evidence and therefore your claims.
• Tell stories, such as, case studies or personal experiences. The audience would like to hear your own stories if you’re a specialist, for example, “When I was excavating in Nottingham…”

There is uncertainty over which pillar is the most important – Aristotle thought that logos was vital but when used by itself it lacks impact. So ensure that you treat all three pillars with equal importance to succeed in persuading your audience.

Rhetorical modes

Rhetorical modes are patterns of organisation used to produce a specific effect in the audience. They assist in increasing the speaker’s ethos, pathos and logos.

• Telling a story or narrating an event.
• Uses facts – what happened, where it happened, when it happened and who was there.
• It helps put information into a logical order – usually chronological order.
• Purpose : to evoke certain emotions in the audience.

Description

• Re-create, inventing or visually presenting a person, place, object, event or action through words
• This helps the audience imagine what is being described
• Use precise verbs and nouns and vivid adjectives
• Using the five senses is especially useful
• Purpose : to evoke certain emotions in the audience

Argumentation/Persuasion

• Articulating your opinion about an issue – proving or contesting a point or view or an issue.
• Consists of presenting the evidence.
• Inductive arguments- Forming generalisations from the evidence. For example: “All the theme parks I have been to have been safe. This is a theme park. So it must be safe.”
• Deductive arguments – Forming conclusions from generalisations. For example. “I don’t like busy places. That shopping centre is really busy. So I won’t like that shopping centre.”
• Persuasion is a type of argumentation with a call to action directed at the audience.
• Purpose : the speaker tries to get the audience to agree with their opinion and in the case of persuasion the speaker tries to get the audience to take action.
• Informing, instructing or presenting ideas objectively. Exposition can use the following techniques:

Illustration/Example

• Using evidence to explain a general idea or statement.
• The stronger your evidence, the more likely the audience will consider your points.
• Usually used to support an argument.
• Use evidence suitable for your topic and audience.
• How complex the topic is
• The audience’s knowledge
• Purpose : gives your statements/arguments more credibility and helps the audience understand more quickly.
• Explaining what a word, idea etc means to your audience and/or to explain what it is not.
• This is more difficult than looking up the term in a dictionary because you may be re-defining a common term or explaining a term that is commonly used incorrectly, such as, the word depression.
• By reshaping what the audience thought a concept meant they can see and think about that concept in a different way.
• There are multiple ways you can define something, it doesn’t have to be in a clinical way – you can use the rhetorical strategies discussed later.
• Purpose : helps the audience see things from your point of view.

Process analysis

• Explaining how a particular event occurs or how something is done or how something works, for example, how to sew, or how to move on from the death of a loved one.
• This procedure is usually explained in clear steps.
• Purpose : to provide clear information so the audience can fully understand – the more the audience understands, the more likely they will be persuaded.
• Dividing one concept into smaller ones.
• This can be helpful for you, the speaker, as it can provide the audience with an insight of how you view a concept.
• Purpose : to help the audience understand a complex issue.

Classification

• Often looking at a diverse group of objects and finding similarities.
• The rhetor creates categories based on the similarities and gives each category a name.
• Purpose : useful for organising complex issues.

Cause and effect

• Examining the causes of a situation and the consequences of it.
• Causes help you understand why something happened and effect helps you understand what could happen or what has happened.
• Especially useful when the rhetor can show a cause and effect relationship the audience haven’t noticed before because this helps the audience see the situation in a different way.
• Often leads to debates as it’s not always easy to determine this relationship.
• Purpose : to determine how concepts are related to each other.

Comparison and contrast

• Comparison looks at similarities and contrast looks at differences.
• The more divergent the two things initially appear the more interesting it will be to look at the similarities.
• Purpose : generally to show something is more superior to another, to show unexpected similarities or to help the audience understand a person, place, idea etc in relation to another.

Rhetorical devices and tools, with examples

Rhetorical devices can be useful for assisting with the above modes of persuasion:

Adynaton  – a type of hyperbole (exaggeration) in which the exaggeration is taken to such extreme lengths to suggest impossibility.

• Example: “When pigs fly!”

Alliteration  – the occurrence of the same letter or sound at the beginning of several words that are close in proximity to each other.

• Example: “The dog dived deeply.”
• Example: “Maybe she’s born with it. Maybe its Maybelline.”

Allusion  – a reference to an event, literary work, person etc usually within popular culture.

• Example: “It’s only £10, you’re acting like Scrooge.”

Anaphora  – repeating a word or phrase in successive phrases.

• Example: “As you know, we’ve got the iPod, best music player in the world. We’ve got the iPod Nanos, brand new models, colours are back. We’ve got the amazing new iPod Shuffle.” – Steve Jobs

Antanagoge  – when a negative point is followed by a positive one to reduce the impact.

• Example: “It’s expensive but it’s unbreakable”

Antimetabole  – a phrase or sentence is repeated in reverse order.

• Example: “It is not even the beginning of the end but is perhaps, the end of the beginning.” – Winston Churchill

Antiphrasis  – a phrase or word that is opposite to its literal meaning to create an ironic or comic effect.

• Example: Calling your friend Tiny even when they are 6 foot 5.

Antithesis  – two opposite ideas are put together in a sentence for contrast.

• Example: “That’s one small step for a man, one giant leap for mankind.” – Neil Armstrong

Appositive  – places a noun or phrase next to another noun for descriptive purposes.

• Example: “Your friend Sam is waiting outside for you.”
• Example: “The neurologist, a well-renowned expert in Paediatric Neurology, looked at the scans.”

Epanalepsis  – repeating the initial part of a sentence at the end of the same sentence.

• Example: “Today, I want it done today.”

Epithet  – using an adjective or phrase to emphasises a person’s characteristics. Often, this adjective or phrase becomes linked to the person and can be used with their name or instead of their name.

• Example: Eddie the Eagle

Epizeuxis  – repeats one word in immediate succession for emphasis.

• Example: “That film was great, great, great.”

Hyperbole  – an exaggeration not meant to be taken literally.

• Example: “I’ve got tons of work to get through.”
• Example: “I’m freezing.”

Metanoia  – correcting a statement you just made deliberately to strengthen or soften it.

• Example: “This has made my day, no, my month.”

Metaphor  – a comparison made by stating one thing is the other.

• Example: “This cake is heaven.”

Metonymy  – where something is referred to by the name of something closely associated with it.

• Example: Referring to business professionals as “suits.”
• Example: Referring to royals as “Crown.”
• Example: Referring to a plate of food as a “dish.”

Onomatopoeia  – words that are similar to the sound they describe.

• Example: Drip, pop, buzz, bang

Oxymoron  – a combination of contradictory words.

• Example: Cruel kindness, definitely maybe, open secret

Parallelism  – uses components in a sentence that are similar grammatically or in their construction, sound or meaning. It makes sentences flow better by adding rhythm.

• Example: “The dog was barking, the bell was ringing and the children were shouting.”

Personification  – The attribution of human characteristics to something non-human.

• Example: “The traffic slowed to a crawl.”

Simile  – compares one thing to another to make a description more vivid, usually uses “as” or “like”.

• Example: “As light as a feather.”

Understatement  – deliberately making a situation sound less important or serious than it is. You can use it for humour, to be polite or to remain modest over something.

• Example: You won an award for a piece of artwork but you say “It’s no big deal.” (Modest)
• Example: Your friend is worried about people staring at a stain on his T-shirt, you say “I wouldn’t have even noticed if you hadn’t said anything.” (Polite)
• Example: You walk outside with your coat on and realise it’s very hot – “I may be a little over-dressed.” (Humour)

Criticisms of rhetoric

Some people believe that rhetoric is a type of lying or false behaviour and manipulation. However, even when you’re criticising rhetoric, you are engaging in an act of rhetoric because you are trying to get others to agree with you.

Rhetoric works well in many situations, such as, in business presentations, lectures etc. So rhetoric is a good tool but, like with other tools, it’s up to you how to use it effectively.

31 Useful Rhetorical Devices

What is a rhetorical device and why are they used.

As with all fields of serious and complicated human endeavor (that can be considered variously as an art, a science, a profession, or a hobby), there is a technical vocabulary associated with writing. Rhetoric is the name for the study of writing or speaking as a means of communication or persuasion, and though a writer doesn’t need to know the specific labels for certain writing techniques in order to use them effectively, it is sometimes helpful to have a handy taxonomy for the ways in which words and ideas are arranged. This can help to discuss and isolate ideas that might otherwise become abstract and confusing. As with the word rhetoric itself, many of these rhetorical devices come from Greek.

Ready, set, rhetoric.

The repetition of usually initial consonant sounds in two or more neighboring words or syllables

wild and woolly, threatening throngs

Syntactical inconsistency or incoherence within a sentence especially : a shift in an unfinished sentence from one syntactic construction to another

you really should have—well, what do you expect?

Repetition of a prominent and usually the last word in one phrase or clause at the beginning of the next

rely on his honor—honor such as his?

A literary technique that involves interruption of the chronological sequence of events by interjection of events or scenes of earlier occurrence : flashback

Repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

we cannot dedicate—we cannot consecrate—we cannot hallow—this ground

The repetition of a word within a phrase or sentence in which the second occurrence utilizes a different and sometimes contrary meaning from the first

we must all hang together or most assuredly we shall all hang separately

The usually ironic or humorous use of words in senses opposite to the generally accepted meanings

this giant of 3 feet 4 inches

The use of a proper name to designate a member of a class (such as a Solomon for a wise ruler) OR the use of an epithet or title in place of a proper name (such as the Bard for Shakespeare)

The raising of an issue by claiming not to mention it

we won't discuss his past crimes

An expression of real or pretended doubt or uncertainty especially for rhetorical effect

to be, or not to be: that is the question

Harshness in the sound of words or phrases

An inverted relationship between the syntactic elements of parallel phrases

working hard, or hardly working?

A disjunctive conclusion inferred from a single premise

gravitation may act without contact; therefore, either some force may act without contact or gravitation is not a force

The substitution of a disagreeable, offensive, or disparaging expression for an agreeable or inoffensive one

greasy spoon is a dysphemism for the word diner

Repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

of the people, by the people, for the people

Emphatic repetition [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

An interchange of two elements in a phrase or sentence from a more logical to a less logical relationship

you are lost to joy for joy is lost to you

A transposition or inversion of idiomatic word order

judge me by my size, do you?

Extravagant exaggeration

mile-high ice-cream cones

The putting or answering of an objection or argument against the speaker's contention [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

Understatement in which an affirmative is expressed by the negative of the contrary

not a bad singer

The presentation of a thing with underemphasis especially in order to achieve a greater effect : UNDERSTATEMENT

A figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them ( Metaphor vs. Simile )

drowning in money

A figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated

crown as used in lands belonging to the crown

The naming of a thing or action by a vocal imitation of the sound associated with it

A combination of contradictory or incongruous words

cruel kindness

The use of more words than those necessary to denote mere sense : REDUNDANCY

I saw it with my own eyes

A figure of speech comparing two unlike things that is often introduced by "like" or "as"

cheeks like roses

The use of a word in the same grammatical relation to two adjacent words in the context with one literal and the other metaphorical in sense

she blew my nose and then she blew my mind

A figure of speech by which a part is put for the whole (such as fifty sail for fifty ships ), the whole for a part (such as society for high society ), the species for the genus (such as cutthroat for assassin ), the genus for the species (such as a creature for a man ), or the name of the material for the thing made (such as boards for stage )

The use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense or makes sense with only one

opened the door and her heart to the homeless boy

MORE TO EXPLORE: Rhetorical Devices Used in Pop Songs

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4 Ways to Use Rhetorical Devices to Make Powerful Speeches (with Examples)

Hrideep barot.

• Speech Writing

I am certain all of us have come across powerful speeches, novels, or presentations that left us speechless at some point. But have you wondered how the speaker or the author managed to do so?

How did they manage to make almost everyone in the audience riveted? You might have attributed this skill of captivating the audience to good public speaking, which is partially true but the other half of this lies in their use of magic tools which are referred to as rhetorical devices.

A rhetorical device is a technique that is used by a speaker or an author for conveying a particular message to the audience in such a way that it provokes an emotional response to a particular action. It is a linguistic tool, whose employment can be used to construct an argument or make an existing one more compelling .

To put it simply, rhetorical devices are devices used to spice up your conversations, work presentations, and speeches. They are often used to provoke an emotional response and make the matter of the speech more compelling, with the goal of persuading the audience.

Why are rhetorical techniques important?

Why should rhetorical devices be used? What impact do they have? Well, here’s why,

There is one common thing between the world’s famous speeches and presentations, which is their ability to create an emotional connection with the audience. The way in which a speaker makes the audience feel is very important as that feeling will stay with the audience long after the speech or the presentation is over. This emotional response is evoked with the help of rhetorical devices.

Apart from this, rhetorical devices help you become more persuasive. It also aids in composing successful presentations and writings. It helps you make your speech crisp and improves the understanding of the audience.

Moreover, with the correct rhetorical devices, it enables you to make stronger arguments and a way of handling controversial topics. It also has a powerful impact on the audience helping them remember the ideas better through repetition or grammatical manipulation.

Most used rhetorical devices

In order to know how to use these magic tools, it is crucial to know some of these most used rhetorical devices and also its application in a speech.

1. Alliteration

This is the repetition of sounds of two or more neighboring words. This is usually used to put emphasis and to draw attention. For instance, safety and security Ate apples all afternoon

2. Anadiplosis

Repetition of the last word in a phrase at the beginning of the next phrase or sentence. For example, Fear leads to anger, anger leads to hate and hate leads to suffering –Yoda, Star Wars

3. Antistrophe

This is repetition of words at the end of consecutive phrases/clauses. It can be termed as a specific type of repetition. “What lies behind us and what lies before us are tiny compared to what lies within us.”

The above sentence is quoted by Ralph Waldo Emerson, a prominent essayist. Here, the words ‘What lies’ is repeated leading to the creation of a poetic effect.

4. Antithesis

In this, two opposite and contrasting ideas are juxtaposed. For example, “Ask not what your country can do for you; ask what you can do for your country.”

Here, two contrasting ideas are proposed in the same sentence in such a way that it shows the strikingly different ideas showing a compare and contrast kind of situation.

A repeated word or phrase split up by another word, to display strong emotion. Understanding it with an example, Free at last! Free at last! Thank god we are free at last!

6. Ellipsis

In this, few words are depicting an event is omitted making the readers ponder about the narrative gaps. For instance, “Fourscore and seven years ago our fathers brought forth…the proposition that all men are created equal.”

This is the start of Abraham Lincoln’s Gettysburg Address, where the three dots are ellipsis points suggesting a time lapse.

This is a simple method of double negatives that present a positive statement. It is often used to express irony. This is commonly used in conversations as well.

For example, ‘She is not thin’ OR ‘You are not unfamiliar with poetry’.

8. Hyperbole

This is an expression of mere exaggeration, often used to draw attention to the severity of the matter or to make a strong point. This is also frequently used in day to day language.

For instance,

‘I called her a thousand times’

‘It raining cats and dogs’.

9. Epistrophe

Repetition of words at the end of successive phrases for a poetic effect. An example of this could be the famous definition of democracy given by Abraham Lincoln, “… and that the government of the people, by the people and for the people shall not perish from the earth.”

10. Personification

Attributing human qualities to inanimate objects. It aids in a better explanation of ideas and concepts.

For instance, ‘The thunder roared in the evening’

‘The brutal wind bullied the trees compelling them into giving up their leaves’

11. Epiphora

Repetition of a word/phrase at the end of every clause. An instance of this could be a speech given by Steve Jobs where this technique is effectively used,

“Well, these are their home screens . And again, as you recall, this is the iPhone’s homescreen. This is what their contacts look like . This is what iPhone’s contacts look like .”

12. Anaphora

This is slightly different from Epiphora in the sense that the repetition of the word/phrase is at the beginning of the two or more sentences or clauses.

For instance, “They’re the women whose names we’ll never know. They are domestic workers and farm workers. They are working in factories and they work in restaurants and in academia, and engineering, medicine and science. They are part of the world of tech and politics and in business. They are athletes in the Olympics and they are soldiers in the military.”

This is a small chunk of a speech made by Oprah Winfrey at the Golden Globes awards. Here, she tries to draw attention of the audience by emphasising on the word ‘They are’ highlighting the role of women in different parts of life.

13. Germinatio

This is repetition of a word in the same sentence for more than once. For instance, “And so I’ve got voice mail how I wanna listen to it, when I wanna listen to it, in any order I wanna listen to it with visual voicemail.”

The technique of germinatio was used by Steve Jobs in his speech in order to create a compelling effect on the listeners.

These are just a few commonly used rhetorical devices from an ocean of such magic tools. (Take a guess at what device is used here!)

How to use rhetorical devices in speeches?

Before we dive in to how to use rhetorical devices, we made a fun video on how these tools are the one simple thing that helps take your speech to the next level. There are a bunch of examples and tips here that will help you incorporate rhetorical devices for your next presentation. Highly recommend you check it out:

To know how to implement these rhetorical devices in your speech is also of utmost importance, apart from knowing them. Here’s a way of incorporating them in your speech.

1. Know the rhetorical appeals

It is important to know the types of rhetorical appeals as rhetorical devices fall into these categories. Make a rough draft and then insert rhetorical devices accordingly depending on the tone of the speech. Figure out the mode of persuasion, that is, whether it is Logos, Pathos, Ethos or Kairos.

This refers to giving logical and intellectual arguments and reasoning, supporting it with credible evidence. An example of logos can be a speech by Donald Trump, where he states a few figures regarding the illegal immigration,

“So here are just a few statistics on the human toll of illegal immigration. According to a 2011 government report, the arrests attached to the criminal alien population included an estimated 25,000 people for homicide, 42,000 for robbery, nearly 70,000 for sex offenses, and nearly 15,000 for kidnapping. In Texas alone, within the last seven years, more than a quarter-million criminal aliens have been arrested and charged with over 600,000 criminal offenses. … Sixty-three thousand Americans since 9/11 have been killed by illegal aliens. This isn’t a problem that’s going away; it’s getting bigger.”

This refers to making an appeal to the audience’s emotions. This includes using language in such a way that creates an empathetic feeling towards the speaker. Given below is an example of Martin Luther King Jr. “I have a dream” speech.

“Let us not wallow in the valley of despair, I say to you today, my friends. And so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.”

This refers to persuading the audience about the speaker’s credibility and the fact that his arguments carry weight.

An example of this could be the speech made by Mitt Romney, senator of the United States. In this speech, accepting the presidential nominee Mitt Romney points out to the fact that his business success would prove useful if he were to take the office.

“I learned the real lessons about how America works from experience. When I was 37, I helped start a small company. My partners and I had been working for a company that was in the business of helping other businesses. So some of us had this idea that if we really believed our advice was helping companies, we should invest in companies. We should bet on ourselves and on our advice. So we started a new business called Bain Capital…That business we started with 10 people has now grown into a great American success story. Some of the companies we helped start are names you know. An office supply company called Staples – where I’m pleased to see the Obama campaign has been shopping; The Sports Authority, which became a favorite of my sons. We started an early childhood learning center called Bright Horizons that First Lady Michelle Obama rightly praised.”

This involves an appeal to the timing of the argument, meaning that the argument has to be made in a suitable context making the audience receptive to it. An instance of Kairos can be Martin Luther King’s ‘I Have a Dream’ speech,

“This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to make to rise from the dark and desolate valley of segregation to the sunlit path of racial justice.”

One can use these rhetorical appeals in such a way that a combination of all 4 appeals is made simultaneously.

Making the speech highly logos specific, that is giving only facts, will make the audience bored, whereas making it too pathos oriented will make the speech very emotional and lacking in rational thinking.

If you would like some more information on ETHOS, PATHOS and LOGOS, you can check out the same in this short video we made:

2. A rhetorical question

Rhetorical questions can be used to control the thoughts of the audience. These questions may have obvious answers or may not have a clear cut answer.

One technique of using such questions is inserting them in the start of the speech and then carrying on with the speech in such a way that the rhetorical question is answered in the content of your presentation.

Another way is by inserting a rhetorical question, which as an obvious answer to it at the end of the speech- making sure that the question is related to what the speech entails.

The election speech of Ronald Reagan for the 1980 presidential debate between Governor Ronald Reagan and President Jimmy Carter, where the governor ended with a bunch of rhetorical questions is a perfect example for this,

“Next Tuesday is Election Day. Next Tuesday all of you will go to the polls, will stand there in the polling place and make a decision. I think when you make that decision, it might be well if you would ask yourself, are you better off than you were four years ago? Is it easier for you to go and buy things in the stores than it was four years ago? Is there more or less unemployment in the country than there was four years ago? Is America as respected throughout the world as it was? Do you feel that our security is as safe, that we’re as strong as we were four years ago? And if you answer all of those questions yes, why then, I think your choice is very obvious as to whom you will vote for. If you don’t agree, if you don’t think that this course that we’ve been on for the last four years is what you would like to see us follow for the next four, then I could suggest another choice that you have.”

Check it out in action, here:

3. A powerful beginning

It is rightly said that the first impression is the last impression and hence a powerful beginning is very important. To capture the audience it is important to insert some rhetorical devices at the start of your speech which create some poetic effect that helps you engage the audience. It may also include the use of diacope or anadiplosis which focus on repetition of the words of phrases creating emphasis and a strong display of emotions.

An example of anadiplosis can be: “Tonight, we are a country awakened to danger and called to defend freedom. Our grief has turned to anger, and anger to resolution.” This was used by the George W. Bush

4. A powerful end

Climax is the most important part, be it a speech or a movie! What you say in the end is what stays with the audience hence, ending the speech with impactful rhetorical devices is advisable.

These may include inserting a rhetorical question making the audience ponder a little as mentioned above. It may also include the use of Epistrophe.

For instance, while addressing the nation about terrorism George Bush ends his speech in a powerful way assuring people that he will take the necessary actions to prevent terrorism, with appropriate use of Epistrophe:

“I will not forget the wound to our country and those who inflicted it. I will not yield, I will not rest, I will not relent in waging this struggle for freedom and security for the American people.”  

Watch the full speech here:

Use of rhetorical devices by Frederick Douglass

The credit for developing the basics of rhetoric goes to Aristotle and since then there has been extensive use of these literary tools. A prominent figure who is well known for his use of rhetorical devices is also Frederick Douglass, who was a slave who had escaped and went on to become an activist, author and public speaker.

He is known not only for his idea of abolition of slavery but also his superior skill of rhetoric and the art of persuading the audience. In his memoir called the ‘Narrative of the Life of Frederick Douglass, an American Slave’, a number of rhetorical devices are used to argue against the heinous act of slavery.

Here is a look at how he used some of them to make his communication all the more poewrful:

It involves persuading the audience about the author’s qualifications and credibility pointing to the fact that the speaker’s arguments carry weight.

In the memoir, Frederick Douglass talks about his first-hand experience with slavery by talking about being oblivious about his birthday unlike other people in the first chapter itself, building his ethos.

In order to make an appeal to the audience’s emotions, Douglass talks about his experience of watching his aunt being whipped by the slaveholder until she is covered in blood.

Frederick writes, ‘He would at times seem to take great pleasure in whipping a slave. I have often been awakened at the dawn of day by the most heart-rending shrieks of an own aunt of mine, whom he used to tie up to a joist, and whip upon her naked back till she was literally covered with blood. No words, no tears, no prayers, from his gory victim, seemed to move his iron heart from its bloody purpose. The louder she screamed, the harder he whipped; and where the blood ran fastest, there he whipped longest. He would whip her to make her scream, and whip her to make her hush; and not until overcome by fatigue, would he cease to swing the blood-clotted cow skin.’

Frederick talks about how animals were treated better than humans by the slaveholder.  

He writes about the condition of the slaves by saying:

‘Everything depended upon the looks of the horses, and the state of Colonel Lloyd’s own mind when his horses were brought to him for use. If a horse did not move fast enough, or hold his head high enough, it was owing to some fault of his keepers. It was painful to stand near the stable-door, and hear the various complaints against the keepers when a horse was taken out for use. To all the complaints, no matter how unjust, the slave must answer never a word. Colonel Lloyd could not brook any contradiction from a slave. When he spoke, a slave must stand, listen, and tremble; and such was literally the case. I have seen Colonel Lloyd make old Barney, a man between fifty and sixty years of age, uncover his bald head, kneel down upon the cold, damp ground, and receive upon his naked and toil-worn shoulders more than thirty lashes at the time.’

In Fredrick Douglass’s speech- “What to the Slave Is the Fourth of July?”, he also makes a similar appeal through the use of ethos, pathos and logos . To begin with, he makes an appeal to ethos, by initiating his speech with modesty and meekness. For example, “He who could address this audience without a quailing sensation, has stronger nerves than I have.”

To steer emotions among the audience, he also uses metaphors such as “A horrible reptile is coiled up in your nation’s bosom; the venomous creature is nursing at the tender breast of your youthful republic . “

“From the round top of your ship of state, dark and threatening clouds may be seen.” This is an example of an extended metaphor where he is comparing the United States to a ship at sea and the dark and threatening clouds are compared to the ongoing threats and troubles.

There has also been use of simile , where the speaker makes a direct comparison of the slaves to animals sold in the market. For example, “I hear the doleful wail of fettered humanity, on the way to the slave-markets, where the victims are to be sold like horses, sheep, and swine.”

Other Rhetorical Devices used by Douglas

Moreover, through the phrase ‘ doleful wail of fettered humanity ’ the speaker is trying to give the human quality of being fettered to an abstract noun of humanity, pointing out to the use of personification .

Apart from these rhetorical devices, Frederick Douglass also uses rhetorical questions to make the audience ponder about the situation of slavery by asking them, “Is slavery among them? Is it at the gateway? Or is it in the temple?”

“What would be thought of an instrument, drawn up, legally drawn up, for the purpose of entitling the city of Rochester to a tract of land, in which no mention of land was made?”

Another important rhetorical device used by him was that of allusion . Allusion is when the author or the speaker refers to an event, object, person or to a work of art either directly or indirectly. In his speech, Frederick alludes to biblical material, knowing that the audience mostly comprises of Christians.

For instance, “ The arm of the Lord is not shortened, and the doom of slavery is certain.” Through this, the speaker makes an analogy between the Lord sending the Israelites back to their homeland and the hope that slavery will perish. Frederick Douglass has made such allusions in order to support his arguments, knowing that words from the bible would carry weight and have a strong impact.

Use of rhetorical devices in famous speeches

1. michelle obama – anaphora.

“I trust Hillary to lead this country because I’ve seen her lifelong devotion to our nation’s children – not just her own daughter, who she has raised to perfection but every child who needs a champion: Kids who take the long way to school to avoid the gangs. Kids who wonder how they’ll ever afford college. Kids whose parents don’t speak a word of English but dream of a better life. Kids who look to us to determine who and what they can be.”

This is a small part of a speech made by Michelle Obama. In this, it is seen the word “ Kids ” is used more than once to start sentences that follow each other, pointing out to the use of anaphora.

Here’s the video for the speech made by the former first lady:

2. Steve Jobs – Germination

“That’s 58 songs every second of every minute of every hour of every day.”

This is an instance from the speech of Steve Jobs, where he puts emphasis on the word “ every ” by repeating it frequently in the same sentence.

See the entire speech here:

3. Barack Obama – Antistrophe

“It was a creed written into the founding documents that declared the destiny of a nation: Yes, we can. It was whispered by slaves and abolitionists as they blazed a trail towards freedom through the darkest of nights: Yes, we can. It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an unforgiving wilderness: Yes, we can.”

Here, the phrase “Yes, we can” is used repeatedly at the end of every sentence in order to put emphasis on the subject.

Watch the video of the speech here:

4. Martin Luther King, Jr – Antithesis

“I have a dream that my four little children will one day live in a nation where they will not be judged by the colour of their skin but by the content of their character.”

Here, the speaker uses antithesis by inverting the statements to show that America will have a day when people are judged by their character and not their skin colour.

Given below is the historic speech made at the Lincoln Memorial by Martin Luther King Jr :

5. John Kennedy – Ellipsis

“This much we pledge — and more.”

Here the former President uses “and more” instead of listing more ideas. He also compels the audience to keep thinking about the ideas they should pledge to, instead of listing them.   

In order to use a wide variety of rhetorical devices, it is important to know the different types of these literary techniques. A powerful speech is not just about a good orator or good public speaking skills but much more than that! And these rhetorical devices constitute an integral part of the components which make your speech extraordinary.

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Chapter 6: Thinking and Analyzing Rhetorically

6.4 Rhetorical Appeals: Logos, Pathos, and Ethos Defined

Melanie Gagich & Emilie Zickel

Rhetoric, as the previous chapters have discussed, is the way that authors use and manipulate language in order to persuade an audience. Once we understand the rhetorical situation out of which a text is created (why it was written, for whom it was written, by whom it was written, how the medium in which it was written creates certain constraints, or perhaps freedoms of expression), we can look at how all of those contextual elements shape the author’s creation of the text.

We can look first at the classical rhetorical appeals, which are the three ways to classify authors’ intellectual, moral, and emotional approaches to getting the audience to have the reaction that the author hopes for.

Rhetorical Appeals

Rhetorical appeals refer to ethos, pathos, and logos. These are classical Greek terms, dating back to Aristotle, who is traditionally seen as the father of rhetoric. To be rhetorically effective (and thus persuasive), an author must engage the audience in a variety of compelling ways, which involves carefully choosing how to craft his or her argument so that the outcome, audience agreement with the argument or point, is achieved. Aristotle defined these modes of engagement and gave them the terms that we still use today: logos, pathos, and ethos.

Logos: Appeal to Logic

Logic. Reason. Rationality. Logos is brainy and intellectual, cool, calm, collected, objective.

When an author relies on logos, it means that he or she is using logic, careful structure, and objective evidence to appeal to the audience. An author can appeal to an audience’s intellect by using information that can be fact checked (using multiple sources) and thorough explanations to support key points. Additionally, providing a solid and non-biased explanation of one’s argument is a great way for an author to invoke logos.

For example, if I were trying to convince my students to complete their homework, I might explain that I understand everyone is busy and they have other classes (non-biased), but the homework will help them get a better grade on their test (explanation). I could add to this explanation by providing statistics showing the number of students who failed and didn’t complete their homework versus the number of students who passed and did complete their homework (factual evidence).

Logical appeals rest on rational modes of thinking , such as

• Comparison –  a comparison between one thing (with regard to your topic) and another, similar thing to help support your claim. It is important that the comparison is fair and valid – the things being compared must share significant traits of similarity.
• Cause/effect thinking –  you argue that X has caused Y, or that X is likely to cause Y to help support your claim. Be careful with the latter – it can be difficult to predict that something “will” happen in the future.
• Deductive reasoning –  starting with a broad, general claim/example and using it to support a more specific point or claim
• Inductive reasoning –  using several specific examples or cases to make a broad generalization
• Exemplification –  use of many examples or a variety of evidence to support a single point
• Elaboration – moving beyond just including a fact, but explaining the significance or relevance of that fact
• Coherent thought – maintaining a well organized line of reasoning; not repeating ideas or jumping around

Pathos: Appeal to Emotions

When an author relies on pathos, it means that he or she is trying to tap into the audience’s emotions to get them to agree with the author’s claim. An author using pathetic appeals wants the audience to feel something: anger, pride, joy, rage, or happiness.  For example, many of us have seen the ASPCA commercials that use photographs of injured puppies, or sad-looking kittens, and slow, depressing music to emotionally persuade their audience to donate money.

Pathos-based rhetorical strategies are any strategies that get the audience to “open up” to the topic, the argument, or to the author. Emotions can make us vulnerable, and an author can use this vulnerability to get the audience to believe that his or her argument is a compelling one.

Pathetic appeals might include

• Expressive descriptions of people, places, or events that help the reader to feel or experience those events
• Vivid imagery  of people, places or events that help the reader to feel like he or she is seeing  those events
• Sharing  personal stories that make the reader feel a connection to, or empathy for, the person being described
• Using emotion-laden   vocabulary  as a way to put the reader into that specific emotional mindset (what is the author trying to make the audience feel? and how is he or she doing that?)
• Using any information that will evoke an emotional response from the audience . This could involve making the audience feel empathy or disgust for the person/group/event being discussed, or perhaps connection to or rejection of the person/group/event being discussed.

When reading a text, try to locate when the author is trying to convince the reader using emotions because, if used to excess, pathetic appeals can indicate a lack of substance or emotional manipulation of the audience. See the links below about fallacious pathos for more information.

Ethos: Appeal to Values/Trust

Ethical appeals have two facets: audience values and authorial credibility/character.

On the one hand, when an author makes an ethical appeal, he or she is attempting to  tap into the  values or ideologies that the audience holds , for example, patriotism, tradition, justice, equality, dignity for all humankind, self preservation, or other specific social, religious or philosophical values (Christian values, socialism, capitalism, feminism, etc.). These values can sometimes feel very close to emotions, but they are felt on a social level rather than only on a personal level. When an author evokes the values that the audience cares about as a way to justify or support his or her argument, we classify that as ethos. The audience will feel that the author is making an argument that is “right” (in the sense of moral “right”-ness, i.e., “My argument rests upon that values that matter to you. Therefore, you should accept my argument”). This first part of the definition of ethos, then, is focused on the audience’s values.

On the other hand, this sense of referencing what is “right” in an ethical appeal connects to the other sense of ethos: the  author. Ethos that is centered on the author revolves around two concepts: the credibility of the author and his or her character.

Credibility of the speaker/author is determined by his or her knowledge and expertise in the subject at hand. For example, if you are learning about Einstein’s Theory of Relativity, would you rather learn from a professor of physics or a cousin who took two science classes in high school thirty years ago? It is fair to say that, in general, the professor of physics would have more credibility to discuss the topic of physics. To establish his or her credibility, a n author may draw attention to who he or she is or what kinds of experience he or she has with the topic being discussed as an ethical appeal (i.e., “Because I have experience with this topic –  and I know my stuff! – you should trust what I am saying about this topic”). Some authors do not have to establish their credibility because the audience already knows who they are and that they are credible.

Character  is another aspect of ethos, and it   is different from credibility because it involves personal history and even personality traits. A person can be credible but lack character or vice versa. For example, in politics, sometimes the most experienced candidates – those who might be the most credible candidates – fail to win elections because voters do not accept their character. Politicians take pains to shape their character as leaders who have the interests of the voters at heart. The candidate who successfully proves to the voters (the audience) that he or she has the type of character that they can trust is more likely to win.

Thus, ethos comes down to trust. How can the author get the audience to trust him or her so that they will accept his or her argument? How can the the author make him or herself appear as a credible speaker who embodies the character traits that the audience values?

In building ethical appeals, we see authors

• Referring either directly or indirectly to the values that matter to the intended audience (so that the audience will trust the speaker)
• Using language, phrasing, imagery, or other writing styles common to people who hold those values, thereby “talking the talk” of people with those values (again, so that the audience is inclined to trust the speaker)
• Referring to their experience and/or authority with the topic (and therefore demonstrating their credibility)
• Referring to their own character, or making an effort to build their character in the text

When reading, you should always think about the author’s credibility regarding the subject as well as his or her character. Here is an example of a rhetorical move that connects with ethos: when reading an article about abortion, the author mentions that she has had an abortion. That is an example of an ethical move because the author is creating credibility via anecdotal evidence and first person narrative. In a rhetorical analysis project, it would be up to you, the analyzer, to point out this move and associate it with a rhetorical strategy.

 When writers misuse Logos, Pathos, or Ethos, arguments can be weakened

Above, we defined and described what logos, pathos, and ethos are and why authors may use those strategies. Sometimes, using a combination of logical, pathetic, and ethical appeals leads to a sound, balanced, and persuasive argument. It is important to understand, though, that using rhetorical appeals does not always lead to a sound, balanced argument.

In fact, any of the appeals could be misused or overused. When that happens, arguments can be weakened.

To see what a misuse of logical appeals might consist of, see the next chapter,   Logical Fallacies.

To see how authors can overuse emotional appeals and turn-off their target audience, visit the following link from WritingCommons.org :   Fallacious Pathos . 

To see how ethos can be misused or used in a manner that may be misleading, visit the following link to WritingCommons.org :  Fallacious Ethos

A Guide to Rhetoric, Genre, and Success in First-Year Writing by Melanie Gagich & Emilie Zickel is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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What this handout is about

This handout will help you create an effective speech by establishing the purpose of your speech and making it easily understandable. It will also help you to analyze your audience and keep the audience interested.

What’s different about a speech?

Writing for public speaking isn’t so different from other types of writing. You want to engage your audience’s attention, convey your ideas in a logical manner and use reliable evidence to support your point. But the conditions for public speaking favor some writing qualities over others. When you write a speech, your audience is made up of listeners. They have only one chance to comprehend the information as you read it, so your speech must be well-organized and easily understood. In addition, the content of the speech and your delivery must fit the audience.

What’s your purpose?

People have gathered to hear you speak on a specific issue, and they expect to get something out of it immediately. And you, the speaker, hope to have an immediate effect on your audience. The purpose of your speech is to get the response you want. Most speeches invite audiences to react in one of three ways: feeling, thinking, or acting. For example, eulogies encourage emotional response from the audience; college lectures stimulate listeners to think about a topic from a different perspective; protest speeches in the Pit recommend actions the audience can take.

As you establish your purpose, ask yourself these questions:

• What do you want the audience to learn or do?
• If you are making an argument, why do you want them to agree with you?
• If they already agree with you, why are you giving the speech?
• How can your audience benefit from what you have to say?

Audience analysis

If your purpose is to get a certain response from your audience, you must consider who they are (or who you’re pretending they are). If you can identify ways to connect with your listeners, you can make your speech interesting and useful.

As you think of ways to appeal to your audience, ask yourself:

• What do they have in common? Age? Interests? Ethnicity? Gender?
• Do they know as much about your topic as you, or will you be introducing them to new ideas?
• Why are these people listening to you? What are they looking for?
• What level of detail will be effective for them?
• What tone will be most effective in conveying your message?
• What might offend or alienate them?

For more help, see our handout on audience .

Creating an effective introduction

Get their attention, otherwise known as “the hook”.

Think about how you can relate to these listeners and get them to relate to you or your topic. Appealing to your audience on a personal level captures their attention and concern, increasing the chances of a successful speech. Speakers often begin with anecdotes to hook their audience’s attention. Other methods include presenting shocking statistics, asking direct questions of the audience, or enlisting audience participation.

Establish context and/or motive

Explain why your topic is important. Consider your purpose and how you came to speak to this audience. You may also want to connect the material to related or larger issues as well, especially those that may be important to your audience.

Get to the point

Tell your listeners your thesis right away and explain how you will support it. Don’t spend as much time developing your introductory paragraph and leading up to the thesis statement as you would in a research paper for a course. Moving from the intro into the body of the speech quickly will help keep your audience interested. You may be tempted to create suspense by keeping the audience guessing about your thesis until the end, then springing the implications of your discussion on them. But if you do so, they will most likely become bored or confused.

For more help, see our handout on introductions .

Making your speech easy to understand

Repeat crucial points and buzzwords.

Especially in longer speeches, it’s a good idea to keep reminding your audience of the main points you’ve made. For example, you could link an earlier main point or key term as you transition into or wrap up a new point. You could also address the relationship between earlier points and new points through discussion within a body paragraph. Using buzzwords or key terms throughout your paper is also a good idea. If your thesis says you’re going to expose unethical behavior of medical insurance companies, make sure the use of “ethics” recurs instead of switching to “immoral” or simply “wrong.” Repetition of key terms makes it easier for your audience to take in and connect information.

Incorporate previews and summaries into the speech

For example:

“I’m here today to talk to you about three issues that threaten our educational system: First, … Second, … Third,”

“I’ve talked to you today about such and such.”

These kinds of verbal cues permit the people in the audience to put together the pieces of your speech without thinking too hard, so they can spend more time paying attention to its content.

Use especially strong transitions

This will help your listeners see how new information relates to what they’ve heard so far. If you set up a counterargument in one paragraph so you can demolish it in the next, begin the demolition by saying something like,

“But this argument makes no sense when you consider that . . . .”

If you’re providing additional information to support your main point, you could say,

“Another fact that supports my main point is . . . .”

Helping your audience listen

Rely on shorter, simpler sentence structures.

Don’t get too complicated when you’re asking an audience to remember everything you say. Avoid using too many subordinate clauses, and place subjects and verbs close together.

Too complicated:

The product, which was invented in 1908 by Orville Z. McGillicuddy in Des Moines, Iowa, and which was on store shelves approximately one year later, still sells well.

Easier to understand:

Orville Z. McGillicuddy invented the product in 1908 and introduced it into stores shortly afterward. Almost a century later, the product still sells well.

Limit pronoun use

Listeners may have a hard time remembering or figuring out what “it,” “they,” or “this” refers to. Be specific by using a key noun instead of unclear pronouns.

Pronoun problem:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This cannot continue.

Why the last sentence is unclear: “This” what? The government’s failure? Reality TV? Human nature?

More specific:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This failure cannot continue.

Keeping audience interest

Incorporate the rhetorical strategies of ethos, pathos, and logos.

When arguing a point, using ethos, pathos, and logos can help convince your audience to believe you and make your argument stronger. Ethos refers to an appeal to your audience by establishing your authenticity and trustworthiness as a speaker. If you employ pathos, you appeal to your audience’s emotions. Using logos includes the support of hard facts, statistics, and logical argumentation. The most effective speeches usually present a combination these rhetorical strategies.

Use statistics and quotations sparingly

Include only the most striking factual material to support your perspective, things that would likely stick in the listeners’ minds long after you’ve finished speaking. Otherwise, you run the risk of overwhelming your listeners with too much information.

Watch your tone

Be careful not to talk over the heads of your audience. On the other hand, don’t be condescending either. And as for grabbing their attention, yelling, cursing, using inappropriate humor, or brandishing a potentially offensive prop (say, autopsy photos) will only make the audience tune you out.

Creating an effective conclusion

Restate your main points, but don’t repeat them.

“I asked earlier why we should care about the rain forest. Now I hope it’s clear that . . .” “Remember how Mrs. Smith couldn’t afford her prescriptions? Under our plan, . . .”

Call to action

Speeches often close with an appeal to the audience to take action based on their new knowledge or understanding. If you do this, be sure the action you recommend is specific and realistic. For example, although your audience may not be able to affect foreign policy directly, they can vote or work for candidates whose foreign policy views they support. Relating the purpose of your speech to their lives not only creates a connection with your audience, but also reiterates the importance of your topic to them in particular or “the bigger picture.”

Practicing for effective presentation

Once you’ve completed a draft, read your speech to a friend or in front of a mirror. When you’ve finished reading, ask the following questions:

• Which pieces of information are clearest?
• Where did I connect with the audience?
• Where might listeners lose the thread of my argument or description?
• Where might listeners become bored?
• Where did I have trouble speaking clearly and/or emphatically?
• Did I stay within my time limit?

Other resources

• Toastmasters International is a nonprofit group that provides communication and leadership training.
• Allyn & Bacon Publishing’s Essence of Public Speaking Series is an extensive treatment of speech writing and delivery, including books on using humor, motivating your audience, word choice and presentation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Boone, Louis E., David L. Kurtz, and Judy R. Block. 1997. Contemporary Business Communication . Upper Saddle River, NJ: Prentice Hall.

Ehrlich, Henry. 1994. Writing Effective Speeches . New York: Marlowe.

Lamb, Sandra E. 1998. How to Write It: A Complete Guide to Everything You’ll Ever Write . Berkeley: Ten Speed Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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10 Rhetorical Devices to Enhance Your Speeches

Why do you need rhetorical devices in speeches? Using rhetorical devices brings life to your speeches. It engages your audience and adds special effects to your talk. 

People are less likely to remember a bland, straightforward speech in years to come. Powerful speeches like Martin Luther King Jr’s famous “I have a dream” are timeless. Apart from having a remarkable delivery, this speech also contains many rhetorical devices. 

So here are a few rhetorical devices in speeches you should know about. Practicing and applying them will take your oratory skills to new heights.

10 Rhetorical Devices to Enhance Your Speech

An analogy is a rhetorical device that helps describe the relationship between one thing and another.

Speakers often use analogies to help their audience understand something better. For example, “The sky resembles a huge bowl of clear water” can help people visualize a clear sky. 

When you use an analogy to compare two things, your goal should not just be to show similarity. Rather, it should illustrate a point about reality. You can use analogies to explain your thoughts and express your ideas more clearly .

Examples of Analogy

• “It has been well said that an author who expects results from a first novel is in a position similar to that of a man who drops a rose petal down the Grand Canyon of Arizona and listens for the echo.” (P.G. Wodehouse)
• “People are like stained-glass windows. They sparkle and shine when the sun is out, but when the darkness sets in, their true beauty is revealed only if there is a light from within.” (Elisabeth Kubler-Ross)

2. Anaphora

Anaphora is one of the rhetorical devices in speeches that have proven effective for excellent speakers. To use anaphora, you must repeat a particular word or phrase at the beginning of consecutive sentences or phrases. 

Anaphora lets a speaker emphasize a given word that drives the ideas they wish to communicate. Additionally, anaphora is not only a great device in speeches but also in poetry and prose.

Examples of Anaphora

• “Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed.” (Martin Luther King Jr.)
• “It was the best of times; it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness….” (Charles Dickens)
• “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” (Mark Twain)

3. Epiphora

Epiphora, unlike anaphora, is a word or phrase repetition at the end of consecutive sentences, clauses, or phrases. Epiphora offers an equal amount of power to your words as anaphora does.

Additionally, you can use this device to emphasize a certain area in your speech and apply it in persuasive writing.

Examples of Epiphora

• “Take whatever idiot they have at the top of whatever agency and give me a better idiot. Give me a caring idiot. Give me a sensitive idiot. Just don’t give me the same idiot.” (Aaron Broussard)
• “She’s safe, just like I promised. She’s all set to marry Norrington, just like she promised. And you get to die for her, just like you promised.” (Jack Sparrow, Pirates of the Caribbean)
• “There is nothing wrong with America that cannot be cured by what is right with America.” (Bill Clinton)

Puns let you play on word meanings, homographs, and homophones to achieve humorous effects . It involves using witty expressions that can lighten up your audience and bring some fun into your speech. 

Puns, also known as paronomasia, can help you bring your speech to life. However, you should also pick your puns carefully. A bad pun can elicit undesired effects.

Additionally, your audience should be able to decipher the hidden joke for the pun to be effective.

Examples of Pun

• “Give me a torch: I am not for this ambling; Being but heavy I will bear the light.” (William Shakespeare, Romeo and Juliet)
• “You can tune a guitar, but you can’t tuna fish. Unless, of course, you play bass.” (Douglas Adams)
• “Hanging is too good for a man who makes puns; he should be drawn and quoted.” (Fred Allen)

5. Aphorism

If you want to sound philosophical in your speech, an aphorism is a suitable rhetorical device. You use short, pithy statements that express a general truth or observation to present a moral or philosophical idea.

Aphorism uses metaphor to help the audience relate to the situation you are presenting. While these statements may be general knowledge, aphorisms inspire more profound thoughts in your audience and can take a few seconds to sink in for some of your audience. 

Aphorisms are easy to remember because they are short. They also apply to many situations, so you can use them for different speeches.

Examples of Aphorism

• “If you judge a fish by its ability to climb trees, it will spend its whole life thinking it is stupid.” (Albert Einstein)
• “All we have to decide is what to do with the time that is given to us.” (Gandalf, The Lord of the Rings)
• “You can’t always get what you want, but if you try, sometimes you get what you need.” (The Rolling Stones)

6. Metanoia

Metanoia is a method of self-correction when you deliberately return to an earlier part of your speech and correct something you said. This is particularly useful for softening parts of a sentence where one might otherwise appear arrogant or condescending. 

On the other hand, you can sound harsher than you were and still get away with the harshness.

Metanoia, also known as an afterthought figure, helps you clarify a point with additional definitions. You can also use it to emphasize an idea through paraphrasing.

Examples of Metanoia

• “To help or, at least, to not harm.” ( The Hippocratic Oath )
• “It was Gatsby’s mansion. Or rather, as I did not yet know Mr. Gatsby, it was a mansion inhabited by a gentleman of that name.” (F. Scott Fitzgerald, The Great Gatsby)
• “Shortly after I came to Washington, I was told in a way that showed me it was no loosely thought out—let me correct that statement. I was told in a serious way that Mr. Finletter—or rather, I was told by Mr. Finletter that he had a serious question as to the loyalty of Dr. Oppenheimer.” (David Tressel Griggs)

7. Asyndeton

To use asyndeton, all you need to do is remove the coordinating conjunctions from a sentence.

These include for, and, nor, but, or, yet, and so. Asyndeton helps you maintain concision and keep the focus on essential words in a sentence or phrase.

For example, the famous quote by Julius Caesar is a quick way to understand asyndeton. The saying “I came, I saw, I conquered” could have been “I came, I saw, and I conquered.” The omission of the conjunction ‘ and ’ makes the saying more concise, straightforward, and powerful.

Examples of Asyndeton

• “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...” (Winston Churchill)
• “An empty stream, a great silence, an impenetrable forest. The air was thick, warm, heavy, sluggish.” (Joseph Conrad, Heart of Darkness)
• “We shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty.” (President John F. Kennedy)

8. Polysyndeton

Polysyndeton is an opposite rhetorical device to asyndeton. Instead of omitting the conjunctions, this device lets you include as many of them as possible. 

With polysyndeton, you get to use conjunctions where they are unnecessary. However, your use of conjunctions must still be grammatical.

Polysyndeton generally lets your speech flow with a sense of excitement or urgency. It helps the listener focus on each item in your list. It further enriches your language use without over-flowery embellishment. Additionally, it is common in everyday speech.

Examples of Polysyndeton

• “In years gone by, there were in every community men and women who spoke the language of duty and morality and loyalty and obligation.” (William F. Buckley)
• “Neither snow nor rain nor heat nor gloom of night stays these couriers.” (The U.S. Postal Service Creed)
• “We will always remember them, these skilled professionals, scientists and adventurers, these artists and teachers and family men and women, and we will cherish each of their stories—stories of triumph and bravery, stories of true American heroes.” (President Ronald Reagan)

9. Symploce

Symploce is another rhetorical device that involves repetition. It combines anaphora with epistrophe to create an effect.

In symploce, you repeat certain words or phrases at the beginning and end of successive sentences.

You can use symploce to tell the difference between two or more ideas by changing only a few words in the middle of a given sentence. This small change gives a whole new meaning to your words.

Examples of Symploce

• “The madman is not the man who has lost his reason. The madman is the man who has lost everything except his reason.” (G.K. Chesterton, Orthodoxy)
• “Much of what I say might sound bitter, but it’s the truth. Much of what I say might sound like it’s stirring up trouble, but it’s the truth. Much of what I say might sound like it is hate, but it’s the truth.” (Malcolm X)
• “Let us let our own children know that we will stand against the forces of fear. When there is talk of hatred, let us stand up and talk against it. When there is talk of violence, let us stand up and talk against it.” (William Jefferson Clinton)

10. Anastrophe

Anastrophe, also known as hyperbaton, is an inversion of a sentence’s regular order of words.

Where a sentence traditionally follows the subject-verb-object order, an anastrophe makes it an object-subject-verb structure.

Anastrophe is useful when you intend to emphasize a particular word. Therefore, you bring the word to the beginning of the structure and let other words follow. This rhetorical device is used in George Lucas’s Star Wars series as a peculiar language style for Master Yoda.

Examples of Anastrophe

• “Named must your fear be before banish it you can.” (Yoda)
• “In a hole in the ground there lived a hobbit.” (J.R. Tolkien, Hobbit)
• Hear me, my chiefs! I am tired; my heart is sick and sad. From where the sun now stands, I will fight no more forever. (Chief Joseph, 1877 Surrender)

Conclusion: Rhetorical Devices in Speeches

Speeches can be much better with deliberate efforts. You can make a lasting impression on your audience using proper rhetorical devices.

So, it would be best if you spent some more time and effort to fine-tune your speeches with these rhetorical devices. The results will be worthwhile, and the response from your audience will be rewarding.

You might also like: How to Prepare for a Speech

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Using Rhetorical Strategies for Persuasion

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These OWL resources will help you develop and refine the arguments in your writing.

There are three types of rhetorical appeals, or persuasive strategies, used in arguments to support claims and respond to opposing arguments. A good argument will generally use a combination of all three appeals to make its case.

Logos or the appeal to reason relies on logic or reason. Logos often depends on the use of inductive or deductive reasoning.

Inductive reasoning takes a specific representative case or facts and then draws generalizations or conclusions from them. Inductive reasoning must be based on a sufficient amount of reliable evidence. In other words, the facts you draw on must fairly represent the larger situation or population. Example:

In this example the specific case of fair trade agreements with coffee producers is being used as the starting point for the claim. Because these agreements have worked the author concludes that it could work for other farmers as well.

Deductive reasoning begins with a generalization and then applies it to a specific case. The generalization you start with must have been based on a sufficient amount of reliable evidence.Example:

In this example the author starts with a large claim, that genetically modified seeds have been problematic everywhere, and from this draws the more localized or specific conclusion that Mexico will be affected in the same way.

Avoid Logical Fallacies

These are some common errors in reasoning that will undermine the logic of your argument. Also, watch out for these slips in other people's arguments.

Slippery slope: This is a conclusion based on the premise that if A happens, then eventually through a series of small steps, through B, C,..., X, Y, Z will happen, too, basically equating A and Z. So, if we don't want Z to occur A must not be allowed to occur either. Example:

In this example the author is equating banning Hummers with banning all cars, which is not the same thing.

Hasty Generalization: This is a conclusion based on insufficient or biased evidence. In other words, you are rushing to a conclusion before you have all the relevant facts. Example:

In this example the author is basing their evaluation of the entire course on only one class, and on the first day which is notoriously boring and full of housekeeping tasks for most courses. To make a fair and reasonable evaluation the author must attend several classes, and possibly even examine the textbook, talk to the professor, or talk to others who have previously finished the course in order to have sufficient evidence to base a conclusion on.

Post hoc ergo propter hoc: This is a conclusion that assumes that if 'A' occurred after 'B' then 'B' must have caused 'A.' Example:

In this example the author assumes that if one event chronologically follows another the first event must have caused the second. But the illness could have been caused by the burrito the night before, a flu bug that had been working on the body for days, or a chemical spill across campus. There is no reason, without more evidence, to assume the water caused the person to be sick.

Genetic Fallacy: A conclusion is based on an argument that the origins of a person, idea, institute, or theory determine its character, nature, or worth. Example:

In this example the author is equating the character of a car with the character of the people who built the car.

Begging the Claim: The conclusion that the writer should prove is validated within the claim. Example:

Arguing that coal pollutes the earth and thus should be banned would be logical. But the very conclusion that should be proved, that coal causes enough pollution to warrant banning its use, is already assumed in the claim by referring to it as "filthy and polluting."

Circular Argument: This restates the argument rather than actually proving it. Example:

In this example the conclusion that Bush is a "good communicator" and the evidence used to prove it "he speaks effectively" are basically the same idea. Specific evidence such as using everyday language, breaking down complex problems, or illustrating his points with humorous stories would be needed to prove either half of the sentence.

Either/or: This is a conclusion that oversimplifies the argument by reducing it to only two sides or choices. Example:

In this example where two choices are presented as the only options, yet the author ignores a range of choices in between such as developing cleaner technology, car sharing systems for necessities and emergencies, or better community planning to discourage daily driving.

Ad hominem: This is an attack on the character of a person rather than their opinions or arguments. Example:

In this example the author doesn't even name particular strategies Green Peace has suggested, much less evaluate those strategies on their merits. Instead, the author attacks the characters of the individuals in the group.

Ad populum: This is an emotional appeal that speaks to positive (such as patriotism, religion, democracy) or negative (such as terrorism or fascism) concepts rather than the real issue at hand. Example:

In this example the author equates being a "true American," a concept that people want to be associated with, particularly in a time of war, with allowing people to buy any vehicle they want even though there is no inherent connection between the two.

Red Herring: This is a diversionary tactic that avoids the key issues, often by avoiding opposing arguments rather than addressing them. Example:

In this example the author switches the discussion away from the safety of the food and talks instead about an economic issue, the livelihood of those catching fish. While one issue may affect the other, it does not mean we should ignore possible safety issues because of possible economic consequences to a few individuals.

Ethos or the ethical appeal is based on the character, credibility, or reliability of the writer. There are many ways to establish good character and credibility as an author:

• Use only credible, reliable sources to build your argument and cite those sources properly.
• Respect the reader by stating the opposing position accurately.
• Establish common ground with your audience. Most of the time, this can be done by acknowledging values and beliefs shared by those on both sides of the argument.
• If appropriate for the assignment, disclose why you are interested in this topic or what personal experiences you have had with the topic.
• Organize your argument in a logical, easy to follow manner. You can use the Toulmin method of logic or a simple pattern such as chronological order, most general to most detailed example, earliest to most recent example, etc.
• Proofread the argument. Too many careless grammar mistakes cast doubt on your character as a writer.

Pathos , or emotional appeal, appeals to an audience's needs, values, and emotional sensibilities.  Pathos can also be understood as an appeal to audience's disposition to a topic, evidence, or argument (especially appropriate to academic discourse). 

Argument emphasizes reason, but used properly there is often a place for emotion as well. Emotional appeals can use sources such as interviews and individual stories to paint a more legitimate and moving picture of reality or illuminate the truth. For example, telling the story of a single child who has been abused may make for a more persuasive argument than simply the number of children abused each year because it would give a human face to the numbers.  Academic arguments in particular ​benefit from understanding pathos as appealing to an audience's academic disposition.

Only use an emotional appeal if it truly supports the claim you are making, not as a way to distract from the real issues of debate. An argument should never use emotion to misrepresent the topic or frighten people.

Understanding Rhetoric: Guide to Effective Communication

What is rhetoric, rhetoric in daily life, how to identify rhetorical situations, rhetorical strategies for effective communication, how to use rhetoric in speeches, using rhetoric in writing, common rhetorical devices, how to analyze rhetoric, rhetoric in different fields, how to improve your rhetorical skills.

Imagine you're sitting in your favorite spot, a comfy armchair by the window, holding a hot cup of cocoa in hand. You're about to dive into a captivating conversation with a good friend—this blog. Today, we're chatting about the interesting world of rhetoric. Let's get to it!

When you hear the term "rhetoric," what comes to mind? Long-winded speeches, perhaps? Political debates? Well, the definition of rhetoric is much more than that—it's an art. It's the art of playing with words to persuade, impress, and connect with your audience.

Let's break it down a bit. The definition of rhetoric is, essentially, two-fold:

• Effective or persuasive speaking or writing : This is all about how you use your words. The right word at the right time can change the world—or at least someone's mind. It's about knowing your audience and figuring out what will make them tick, laugh, or think.
• Language designed to impress : Here, we're looking at language that's meant to wow your audience. It's about crafting sentences that are more than just words—they're an experience. But remember, it's not about being insincere or meaningless—it's about making an impact.

So, to sum it up, the definition of rhetoric is the art of using your words to connect with your audience, whether you're speaking or writing. It's about making your words matter, making them count. You're not just chit-chatting—you're creating a connection, making an impact.

Now that we've got the definition of rhetoric covered, let's see how this art form shows up in our everyday lives. Spoiler alert: it's everywhere!

Now that we know the definition of rhetoric, let's spot it in the wild. You might not realize it, but you engage in rhetoric every single day. It's like a silent partner in your conversations, both spoken and written.

Consider this scenario: You want to convince your parents to let you go on a school trip. You don't just blurt out your request; instead, you make a case. You mention how educational the trip will be, how responsible you've been lately, and how rare this opportunity is. That's rhetoric—using language effectively to persuade.

Or think about the last time you were at your favorite coffee shop. The barista probably didn't just list the types of coffee available. They might have described one as "a rich blend with notes of caramel and a hint of nostalgia." That's rhetoric too—language designed to impress.

So, you see, rhetoric isn't confined to the realms of politics and academia. It's there in our daily conversations, in advertisements, and even in your Instagram captions. From coffee shops to classrooms, from boardrooms to your living room—rhetoric is at play, making conversations interesting, persuasive, and impactful.

Now, you might be thinking: How do I identify these rhetorical situations? Let's dig into that next.

Identifying rhetorical situations might seem like a daunting task, but once you know what to look for, it's as easy as pie. So, what exactly is a rhetorical situation? A rhetorical situation occurs anytime someone communicates to influence the thoughts or behaviors of an audience.

Consider this: You're watching a speech by a famous environmental activist. The activist isn't just talking about how wonderful trees are. They're sharing facts about deforestation, they're painting a picture of a world without trees, and they're asking you to take action. This is a rhetorical situation: a speaker, an audience, and a context in which the speaker's words aim to influence the audience's views.

But it's not just speeches. A rhetorical situation can also be a written document, a movie, a commercial—basically, any situation where someone is trying to persuade others with their words.

So, how do you identify these situations? Here are the key components you need to look for:

• The rhetor: That's the person or group doing the persuading. It could be a politician, a blogger, a corporation, or even you.
• The audience: Who is the rhetor trying to persuade? It could be one person or a group of people. It could be a specific demographic or the public at large.
• The message: This is what the rhetor is saying or writing. It's the argument they're making.
• The context: This is the situation or environment where the communication is happening. It could be a political rally, a blog post, a TV show—anywhere the rhetor is trying to make their point.

By identifying these components, you can start to understand the rhetorical situations you encounter every day. And with this understanding, you can start to use rhetoric more effectively in your own communication. But how exactly do you do that? Let's move on to some strategies.

Now that you've got a solid grasp on the definition of rhetoric and how to identify rhetorical situations, let's jump into how you can use rhetorical strategies to communicate more effectively. Whether you're giving a speech, writing a blog post, or just chatting with your friends, these strategies can help you get your point across.

Pathos: This is all about emotion. Want to convince your parents to get a puppy? Show them pictures of adorable puppies to tug at their heartstrings. The key here is to appeal to your audience's emotions to make your argument more persuasive.

Logos: This strategy revolves around logic. If you're trying to convince your boss to let you work from home, you might present them with studies showing that remote workers are more productive. Use facts, statistics, and logical arguments to make your case.

Ethos: Ethos is about credibility and trust. If you're a doctor talking about health issues, your medical degree lends credibility to your arguments. Show that you're trustworthy and knowledgeable about your subject, and your audience will be more likely to believe you.

As you can see, the definition of rhetoric isn't just about fancy speeches. It's about using words effectively to influence people. Different situations call for different strategies, so it's important to be versatile and able to use all three: pathos, logos, and ethos.

Next time you find yourself in a rhetorical situation, don't panic. Instead, think about these strategies and how you can use them to your advantage. And remember: good rhetoric is about more than winning arguments—it's about understanding others, and helping them understand you.

Understanding the definition of rhetoric is like being handed a powerful tool. It's not just about winning debates or looking smart—it's about connecting with your audience on a deeper level. And where better to use this tool than in speeches?

When crafting your speech, consider the three pillars of rhetoric we previously discussed: pathos, logos, and ethos. Let's break down how these can work in your speech:

Pathos: Start your speech by telling a compelling story. By doing this, you're connecting with your audience on an emotional level, making them more receptive to your message. A story about your struggle and triumph can inspire your audience, making them feel like they're a part of your journey.

Logos: Once you've hooked your audience with a story, it's time to back up your claims with evidence. Use hard facts, data, or research to support your argument. For instance, if your speech is about climate change, you could quote statistics about rising global temperatures and melting ice caps. This solid proof will strengthen your argument and make it more convincing.

Ethos: Finally, establish your credibility. Why should your audience listen to you? What makes you an authority on this subject? Maybe you're a scientist who's been studying climate change for years, or perhaps you've led successful environmental initiatives in your community. Share these credentials to build trust with your audience.

Don't forget to practice! The way you deliver your speech—the tone of your voice, your body language, even the pauses you take—can enhance your rhetoric. Practice will help you deliver your message with confidence and precision.

Remember, the goal of rhetoric in speeches isn't just to persuade, but to create an understanding. It's about making your audience see things from your perspective. Armed with the definition of rhetoric and these strategies, your next speech could be your best yet!

While speeches are spoken out loud, writing is another powerful platform where rhetoric shines. The definition of rhetoric doesn't change whether you're writing an essay, a blog post, or a social media update. The goal remains the same: to persuade and connect with your audience.

Here are some strategies you can use to enhance your rhetoric in writing:

Paint a picture: Use vivid language to help your readers visualize your points. Instead of just stating facts, tell a story. For example, instead of saying "Pollution is harmful," you could write, "The once vibrant river, home to playful fishes and singing birds, is now a murky, lifeless stream, choked with plastic and waste."

Use clear and concise language: While using big, fancy words might make you sound smart, it can also alienate your readers. Keep your language simple and direct. Don't say "utilize" when you can say "use." Don't say "in the vicinity of" when you can say "near."

Be credible: As with speeches, establish your ethos. Cite reliable sources to back up your claims. Show that you've done your homework and know what you're talking about. This builds trust with your readers and makes your arguments more convincing.

Engage your readers: Ask questions, propose scenarios, challenge assumptions. Make your readers think. Make them a part of the discussion. This not only keeps them engaged but also makes your writing more persuasive.

Remember, the definition of rhetoric is about effective communication. It's not about manipulating people, but about creating an understanding, a connection. So, the next time you sit down to write, keep these strategies in mind. Because when used correctly, rhetoric can turn your writing from good to great!

Now that you have a solid understanding of the definition of rhetoric, let's explore some common rhetorical devices. These tools can help you craft more effective and persuasive messages, whether you're delivering a speech, writing an essay, or crafting a social media post.

Alliteration: This device involves the repetition of the same sound at the beginning of adjacent or closely connected words. Think of tongue twisters like "She sells seashells by the seashore." Alliteration can make your message more memorable and engaging.

Metaphor: This is a figure of speech where you compare two unrelated things to highlight a particular quality or aspect. For example, "Life is a journey" is a metaphor. Metaphors can help your audience see things from a new perspective.

Anecdote: An anecdote is a short, often amusing story that you tell to make a point or illustrate an idea. Anecdotes make your message more relatable and engaging, and can effectively draw your audience in.

Repetition: Repeating a word or phrase can add emphasis and make your message more memorable. Martin Luther King Jr's "I Have a Dream" speech is a famous example of effective use of repetition.

Rhetorical question: This is a question asked for effect, not to get an answer. For example, "Is the pope Catholic?" Rhetorical questions can provoke thought, add emphasis, or create dramatic effect.

These are just a few examples of rhetorical devices. There are many more out there, each with its own strengths and uses. By learning and using these devices, you can enhance your rhetoric skills and become a more effective communicator. Remember, the definition of rhetoric is all about using language effectively and persuasively, and these devices are some of the tools you can use to achieve that.

By now, you're probably starting to get a clearer picture of the definition of rhetoric. But understanding what rhetoric is and recognizing it in practice are two different things. So how can you analyze rhetoric in the messages you encounter every day? Here are some steps to guide you:

Identify the Purpose: The first step in analyzing rhetoric is identifying the purpose of the message. What is the speaker or writer trying to achieve? Are they trying to persuade, inform, entertain, or inspire?

Understand the Audience: Who is the intended audience for the message? What are their interests, values, beliefs, and attitudes? Understanding the audience can help you figure out why certain rhetorical devices and strategies are being used.

Examine the Appeals: Rhetoric often involves appeals to ethos (credibility), pathos (emotion), and logos (logic). Identify which of these appeals the speaker or writer is using. Are they citing experts to establish credibility? Are they using emotional language to stir up feelings? Are they presenting logical arguments?

Analyze the Delivery: How is the message being delivered? Consider the tone, style, and medium of the message. A speech might be delivered with passion and force, while a written message might use specific wording and formatting for emphasis.

Look for Rhetorical Devices: As we discussed earlier, rhetorical devices like metaphors, anecdotes, and repetition can be used to make a message more effective. Can you spot any of these devices in the message you're analyzing?

By following these steps, you can deepen your understanding of the definition of rhetoric and improve your ability to analyze and understand the messages around you.

Now, let's switch gears and explore how the definition of rhetoric applies in various fields. Like a chameleon, rhetoric changes its colors depending on where you find it!

Politics: Politicians are masters of rhetoric. They use it to persuade voters, argue for policies, and appeal to specific demographics. Think about the last election — you likely heard soaring speeches filled with anecdotes, strong emotional appeals, and stats aplenty!

Advertising: Ever wondered why some ads stick in your mind? That's the magic of rhetoric! Advertisers use logos to present their products as the best choice, pathos to stir up feelings and desires, and ethos to establish the credibility of their brand.

Law: In the courtroom, rhetoric is a key tool for lawyers. They use it to present their cases persuasively, appealing to the jury's reason (logos), emotions (pathos), and their own authority (ethos).

Education: Teachers and students both use rhetoric in the classroom. Teachers use it to explain and engage, while students use it to argue and analyze. Next time you're in class, pay attention to how rhetoric shapes the discussion!

Journalism: Reporters use rhetoric to inform and engage their readers. From crafting compelling headlines to presenting facts and arguments, rhetoric plays a big part in how news stories are written and read.

So you see, understanding the definition of rhetoric isn't just about dissecting speeches or texts - it's about seeing how we communicate and persuade in all areas of life. No matter what field you're in, mastering rhetoric can give you a significant edge!

Now that we have peeled back the layers of the definition of rhetoric, let's move on to the exciting part — improving your own rhetorical skills! Just like learning to ride a bike, it takes practice, patience, and a little bit of courage. But don't worry, I'm here to guide you through it.

Step 1: Know your audience: The first and most important step is to understand your audience. Who are you speaking to? What do they value? What knowledge do they already have? Knowing your audience helps you tailor your message effectively.

Step 2: Organize your thoughts: A clear, well-structured argument is a lot easier to follow. Whether you're writing an essay, making a speech, or just having a heated debate with your friend, make sure your thoughts are organized and logical.

Step 3: Use the right language: The right words can make your argument more persuasive. Choose words that your audience will understand and appreciate. This is where having a good vocabulary comes in handy!

Step 4: Practice, practice, practice: Like any skill, rhetorical skills get better with practice. Look for opportunities to use rhetoric in your daily life, whether it's writing an email, giving a presentation, or just chatting with your friends.

Step 5: Analyze other people's rhetoric: Finally, one of the best ways to improve your own rhetorical skills is to analyze others. When you're reading an article, watching a speech, or even just scrolling through social media, keep an eye out for effective use of rhetoric. What worked? What didn't? How can you apply these observations to your own communication?

Remember, improving your rhetorical skills is a journey, not a destination. So take it one step at a time, stay curious, and don't be afraid to make mistakes. After all, even the greatest rhetoricians had to start somewhere!

If you're interested in further developing your communication skills and understanding of rhetoric, don't miss the workshop ' A Way of Life Beyond Good & Evil ' by Rabih Salloum. This workshop offers valuable insights into effective communication and how to apply rhetorical principles in various aspects of your life.

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Rhetorical Devices Make Speeches Spring To Life

A rhetorical device is a verbal technique a speaker or writer uses to make their presentation more compelling to the audience so that listeners are persuaded to accept their position. They can evoke an emotional response, although this is not the main reason why the speaker chooses the device.

Rhetoric is the art of using language to persuade, inform, or entertain an audience. It has been studied and practiced for thousands of years and has produced a variety of techniques and devices that speakers and writers use to achieve their goals.

One such device is the rhetorical device, a technique that creates a memorable and effective message. Rhetorical devices include  figures of speech , such as  similes and metaphor s, as well as techniques like  repetition and parallelism .

This article explores the different types of rhetorical devices and how they can be used in written and spoken communication to enhance the impact of a message.

Table of Contents

What Is A Rhetorical Device?

A speaker or writer uses  a rhetorical device  to convey meaning and persuade their audience. These devices can include figures of speech, such as metaphors and similes, as well as techniques like repetition and parallelism.

The purpose of rhetorical devices is to make language more memorable, persuasive, or entertaining. Using these techniques effectively, a speaker or writer can create a more impactful message that resonates with their audience.

How Does This Compare With A Literary Device?

Rhetorical devices focus primarily on persuasion and communication, while literary devices create artistic effects in literature. They are straightforward and often used in non-fiction writing and speeches, while literary devices are more commonly used in fiction, poetry, and drama. 

Literary devices may be more subtle and complex. Some literary devices include allegory, symbolism, and imagery, while rhetorical devices center around the use of words.

What Are The Four Modes Of Persuasion Aided by Rhetorical Devices?

The four modes of persuasion, also known as the rhetorical appeals, are ethos, logos, pathos, and kairos. These modes are aided by various rhetorical devices to create a persuasive message.

• Ethos  appeals to the audience’s sense of  ethics and credibility . Rhetorical devices that aid ethos include using expert testimony, presenting a speaker’s or writer’s credentials, and establishing trustworthiness.
•   Logos  appeals to the audience’s  logic and reasoning . Examples of logos include statistics and facts, logical arguments, analogies, and illustrations.
•   Pathos  appeals to the audience’s  emotions . Pathos uses vivid imagery, personal stories, and figurative language to create an emotional impact.
•   Kairos  appeals to the  timing and context  of the message. It would use current events and news stories to make a persuasive case, as well as timing and urgency to make the audience feel compelled to act.

Aristotle’s Setup

Aristotle’s Setup , also known as  Aristotle’s dramatic or narrative arc , is a structure used in storytelling first described by the Greek philosopher Aristotle in his work “Poetics.” The system consists of three parts: the beginning or exposition, the middle or complication, and the end or resolution.

The beginning or exposition sets the stage for the story by introducing the characters, setting, and conflict. The middle or complication builds tension and develops the competition through rising action, leading to a climax or turning point. The end or resolution resolves the conflict and ties up loose ends.

Aristotle’s Setup is still used today as a framework for storytelling in various forms of media, including literature, film, and television. It provides a clear structure for creating a compelling narrative that engages the audience and keeps them invested in the story.

How Do A Rhetorical Device And A Rhetorical Technique Differ?

A rhetorical device is a specific technique a speaker or writer uses to create a particular effect, such as a metaphor or repetition. It is a specific tool in the writer or speaker’s toolbox that achieves a particular goal.

Rhetorical technique, on the other hand, refers to the strategies and methods a speaker or writer employs to persuade or communicate effectively. It encompasses a broader range of tools and techniques, including rhetorical devices.

In other words,  rhetorical technique is the larger umbrella under which rhetorical devices fall.  Rhetorical devices are specific examples of the techniques used in rhetoric, but they only encompass a partial range of strategies used to communicate effectively.

What is A Rhetorical Strategy

Here are 10 examples of  rhetorical strategies :

• Appeal to emotion: “Don’t you want to keep your family safe?”
• Appeal to authority: “As the leading expert in this field, I can tell you that this product is the best.”
• Call to action: “Join our cause and help make a difference in the world!”
• Comparison and contrast: “This product is not only more effective but also more affordable than our competitors.”
•  Testimonial: “I tried this product, and it completely changed my life.”
•  Cause and effect: “If we don’t take action now, the consequences will be catastrophic.”
•  Humor: “Why did the tomato turn red? Because it saw the salad dressing!”
•  Narration: “Let me tell you a story about how this product changed my life.”
•  Logical appeal: “Based on the evidence presented, it’s clear that this is the best choice.”
•  Storytelling: “Once upon a time, a young girl dreamed of changing the world.”

What Are The Most Common Rhetorical Devices?

Rhetorical Devices are  powerful tools that add emphasis, clarity, and emotion to written and spoken language.  From the time of Shakespeare to the famous speeches of John F. Kennedy, rhetorical devices have played a crucial part in shaping the way we communicate.

Ten examples of rhetorical devices are as follows:

• Metaphor  – using a comparison to make a point or create an image in the audience’s mind
•   Simile  – the comparison of two things using “like” or “as” to create a vivid picture.
•   Alliteration  – the repetition of the same sound at the beginning of multiple words in a phrase or sentence to create rhythm and emphasis.
•   Hyperbole  – using exaggeration to create a dramatic effect or to emphasize a point.
•   Personification  – attributing human qualities or actions to non-human objects or ideas to make a point or create a vivid image.
•   Irony  – using language to convey the opposite of its literal meaning for humorous or dramatic effect.
•   Repetition  – the most commonly used device involves repeating a word or phrase to create emphasis or to reinforce a point.
•   Onomatopoeia  – using words that imitate the sound they represent to create a vivid image.
•   Oxymoron  – using two contradictory words together to create a paradoxical effect.
•   Rhetorical question  – asking a question to make a point or to emphasize a message without expecting a direct answer.

Consonant sounds can also be emphasized through devices like  consonance and alliteration. Metonymy and synecdoche  are two devices that involve substituting one word or phrase for another, with the former using a related term and the latter using a part to represent the whole.

Which Rhetorical Device Is Most Often Used In Speeches?

The most commonly used rhetorical device in a speech is  repetition .

Anaphora i nvolves  repeating a word or phrase at the beginning of successive clauses or sentences.  This can create a rhythmic effect and draw attention to the repeated phrase. John F. Kennedy’s famous line, “Ask not what your country can do for you, ask what you can do for your country,” is a great example of anaphora.

Another device is  chiasmus,  which involves repeating words or ideas in reverse order. For example, “Do not let your schooling interfere with your education” is a famous quote by Mark Twain that uses chiasmus.

Repetition of a word or phrase can be used to reinforce a point or idea and can be seen in famous speeches like Martin Luther King Jr.’s “I Have a Dream” speech. As seen in Yoda’s unique speech pattern, sentence structure and syntax can also be manipulated for emphasis.

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The Top 41 Rhetorical Devices That Will Make Your Words Memorable

• What Are Rhetorical Devices?
• Top Rhetorical Devices
• Take The Quiz

For many, public speaking is one of the most terrifying things imaginable. Thankfully, we can rely on the many, many rhetorical devices to give us a helping hand.

What are rhetorical devices ?

A rhetorical device is typically defined as a technique or word construction that a speaker or writer uses to win an audience to their side, either while trying to persuade them to do something or trying to win an argument.

As you are about to see, the majority of rhetorical devices have names that come from Greek or Latin. While the concept of public speaking developed early around the world, much of what we know about the art of public speaking comes to English speakers from the ancient Greeks. The Greeks cultivated the art of rhetoric and many great philosophers, such as Plato and Aristotle, thoroughly studied it. The ancient Romans greatly valued rhetoric as well and they continued to build on the Greek rhetorical traditions that came before them.

What worked for the ancient Greeks and Romans still works wonders today. Rhetorical devices are effective tools that any writer or speaker can use to make their words more impactful to an audience. Rhetorical devices make speeches more persuasive, writing more memorable, and are just what you need if you are trying to really take advantage of ethos, pathos, and logos .

Rhetorical devices vs. literary devices

Literary and rhetorical devices are sometimes discussed separately, but it’s important to note the relationship and occasional overlap between the two. A l iterary device is an element, like a metaphor, imagery, and others, that draws us into a story . Have you ever been so wrapped up in a story, book, song, or poem, that you just couldn’t walk away from it? If so, there’s a good chance the writer has mastered the art of using literary devices.

To compare, rhetorical devices are often described as those elements that are incorporated intentionally to invoke responses in the reader, as well as influence the tone of a work.

Our comprehensive guide to literary devices is chock full of examples from masterful writers.

Often, rhetorical devices emphasize a specific language pattern, word, sentence structure, or rhyming pattern. They include formative techniques, like repetition or hyperbole , that accentuate certain elements of a work for the purpose of getting the reader’s attention, persuading them, or drawing out an emotional response. It is often said rhetorical devices are used to elicit a certain emotion via persuasion, whereas literary devices may be primarily used to enhance storytelling.

In this article, we’ll take a look at some of the most popular, effective, and interesting rhetorical devices that turn our words into award-winning speeches and writing.

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We have a quick quiz for you if you want to see how far your knowledge of rhetorical devices goes. Or review the terms below first so you can test what you’ve learned.

List of 41 top rhetorical devices

1. metaphor.

A metaphor is a comparison in which something is said to figuratively be something else.

Example: He was a wolf among sheep.

2. hyperbole

A hyperbole is an intentional exaggeration.

Example: The plate exploded into a million pieces.

3. alliteration

Alliteration is repeating the same or similar sounds at the beginning of words.

Example: She sells seashells by the sea shore.

An analogy is a comparison between two similar things, typically using figurative language. Metaphors and similes—more on them later—are usually considered to be types of analogies. Sometimes, analogies are considered to be a unique device that is a comparison that explains itself; basically, a complex metaphor or long simile.

Example: Life is like a box of chocolates: you never know what you are going to get.

5. onomatopoeia

An onomatopoeia is a word that imitates the sound it refers to.

Example: The thunder boomed and the lightning crashed.

6. allusion

Allusion is the act of casually referencing something, usually a work of popular culture.

Example: Finishing his memoir was his white whale.

7. oxymoron

Oxymoron is a figure of speech that uses two opposite words together.

Example: The treaty led to a violent peace.

Satire is using humor to criticize public figures.

Example: When Senator Jackson said “numbers don’t lie,” he forgot that his first name wasn’t “Numbers.”

In rhetoric, the word paradox refers to making a statement that seems self-contradictory or impossible but actually makes sense.

Example: Youth is wasted on the young.

A simile is a comparison in which something is said to figuratively be like something else.

Example: It was as hot as a desert this morning.

Learn about different types of poems (and see what rhetorical devices they may use).

In rhetoric, the notoriously confusing word irony means to use words to mean the opposite of their literal meaning.

Example: Ashley said it was a beautiful day while drying off from the drenching rain. (Ashley ironically referred to poor weather as “beautiful.”)

12. personification

Personification is the act of giving human elements to non-human things.

Example: The beautiful valley spread its arms out and embraced us.

13. anecdote

An anecdote is a brief story about something that happened to the speaker, usually something funny or interesting.

Example: Five years ago, I went to the store and met some clowns. Those clowns gave me the advice I am sharing with you now.

14. euphemism

Euphemism is using alternative language to refer to explicit or unpleasant things.

Example: The baseball struck him in a sensitive area.

15. connotation

Connotation is using words to suggest a social or emotional meaning rather than a literal one.

Example: This is a house, but I want a home.

16. meiosis

As a rhetorical device, meiosis means using euphemism to minimize the importance or significance of something.

Example: We must put an end to this peculiar institution. (“Peculiar institution” is a euphemism for slavery.)

17. apostrophe

In rhetoric, apostrophe occurs when a writer or speaker directly addresses an absent person, a concept, or an inanimate object.

Example: You have made a fool out of me for the last time, washing machine!

18. antithesis

Antithesis is using parallel sentences or clauses to make a contrast.

Example: No pain, no gain.

19. sarcasm

Sarcasm is using irony to mock something or to show contempt.

Example: Oh, yeah, he is a great guy. A great guy who took the last slice of pizza.

20. consonance

Consonance is a repetition of consonants or consonant sounds.

Example: Mike likes Ike’s bike.

21. rhetorical question

A rhetorical question is a question that isn’t intended to be answered. The point of asking the question is to make an audience think or to cause an emotional reaction.

Example: Can we really know what our place in the universe is? We have asked ourselves this question for millennia.

22. epithet

An epithet is a nickname or descriptive term used to refer to someone.

Example: You need to listen to me and not Clueless Kevin over there.

23. anaphora

Anaphora is the repetition of a word or words at the start of phrases, clauses, or sentences.

Example: I came, I saw, I conquered.

Martin Luther King Jr’s “I Have A Dream” speech is a classic example of anaphora. Read about it here.

In rhetoric, climax is ordering words so that they build up in intensity.

Example: Look at the sky! It’s a bird! A plane! Superman!

25. cacophony

Cacophony is the act of purposefully using harsh sounds.

Example: The gnashing of teeth and screeching of bats kept me awake.

26. assonance

Assonance is the repetition of the same vowel sound with different consonants.

Example: She and Lee see the bees in the tree.

A person is making a pun when they humorously use words with multiple meanings or words with similar sounds to create wordplay.

Example: The farmer tried to get his cows to get along, but they insisted on having a beef with each other.

28. parallelism

Parallelism is using grammatically similar phrases or sentences together.

Example: Fool me once, shame on you. Fool me twice, shame on me.

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29. aphorism

An aphorism is a short sentence that presents truth or opinion, usually in a witty or clever manner.

Example: A penny saved is a penny earned.

30. synecdoche

Synecdoche is when a part of something is used to refer to a whole.

Example: The commander had an army of 10,000 swords. (The people holding the swords were there, too.)

Parody is an imitation of something with the intent to poke fun at it.

Example: If Edgar Allen Poe had written this speech, it might have opened with “Here we are, weak and weary, gathered on a Monday dreary.”

32. colloquialism

A colloquialism is an instance of informal language or a local expression. The act of using such language is also called colloquialism .

Example: Here in Philly, we love to eat hoagies and all kinds of tasty jawns.

33. understatement

Understatement is using language to intentionally lessen a major thing or event.

Example: The erupting volcano was a little problem for the neighboring city.

34. syllogism

Syllogism is an argument based on deductive reasoning that uses generalizations to reach specific conclusions. Usually, a syllogism follows the format of “A is B. B is C. So, A is C.”

Example: Dogs are mammals. Biscuit is a dog. Therefore, Biscuit is a mammal.

Learn more about deductive and inductive reasoning.

An eponym can refer to “a word based on or derived from a person’s name,” such as the Gallup poll , named after statistician G.H. Gallup, or Reagonomics (a combination of the last name Reagan and economics ). As a rhetorical device, an eponym can be an allusion to a famous person.

Example: He is the LeBron James of chess.

36. metonymy

Metonymy is when the name of something is replaced with something related to it.

Example: He loved music from the cradle (birth) to the grave (death).

37. parenthesis

In rhetoric, parenthesis is an interruption used for clarity.

Example: The audience, or at least the paying members of the audience, enjoyed the show.

38. expletive

In rhetoric, an expletive is an interrupting word or phrase used for emphasis.

Example: The eggs were not, in any sense of the word, delicious.

39. metanoia

In rhetoric, metanoia refers to any instance of self-correction. Metanoia can involve things like retracting a previous statement to replace it with a new one or amplifying a previous statement by using stronger language.

Example: We’ll work on it on Sunday. No, let’s make that Monday—it’s the weekend after, all!

40. chiasmus

Chiasmus is reversing the grammatical order in two otherwise parallel phrases or sentences.

Example: Dog owners own dogs and cats own cat owners.

41. asyndeton

Asyndeton is the removal of conjunctions from a sentence.

Example: Get in, cause a distraction, get out.

Take the quiz

Are you ready to write with these rhetorical devices? You can review them using our Rhetorical Devices Word List , where you can practice with flashcards and practice quizzes. And when it’s time, fit in this quiz to quickly distinguish which terms you now know before you apply them to your next project.

Learn more about the modes of persuasion known as ethos, pathos, and logos.

Ways To Say

Synonym of the day

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Sat / act prep online guides and tips, the 20 most useful rhetorical devices.

General Education

Rhetoric is the art of effective communication; if you communicate with others at all, rhetorical devices are your friends!

Rhetorical devices help you make points more effectively, and help people understand you better. In this article, I'll be covering some important rhetorical devices so you can improve your own writing! 

What Are Rhetorical Devices?

A lot of things that you would think of as just regular everyday modes of communicating are actually rhetorical devices That’s because ‘rhetorical devices’ is more or less a fancy way of saying ‘communication tools.’

Most people don’t plan out their use of rhetorical devices in communication, both because nobody thinks, “now would be a good time to use synecdoche in this conversation with my grocery clerk,” and because we use them so frequently that they don’t really register as “rhetorical devices.”

How often have you said something like, “when pigs fly!” Of those times, how often have you thought, “I’m using a rhetorical device!” That’s how ubiquitous they are!

However, being aware of what they are and how to use them can strengthen your communication , whether you do a lot of big speeches, write persuasive papers, or just argue with your friends about a TV show you all like.

Rhetorical devices can function at all levels: words, sentences, paragraphs, and beyond. Some rhetorical devices are just a single word, such as onomatopoeia. Others are phrases, such as metaphor, while still others can be sentence-length (such as a thesis), paragraph-length (hypophora), or go throughout the entire piece, such as a standard five-paragraph essay.

Many of these (such as the thesis or five-paragraph essay) are so standard and familiar to us that we may not think of them as devices. But because they help us shape and deliver our arguments effectively, they're important to know and understand.

The Most Useful Rhetorical Devices List

It would be impossible to list every single rhetorical device in one blog post. Instead, I've collected a mixture of extremely common devices you may have heard before and some more obscure ones that might be valuable to learn.

Amplification

Amplification is a little similar to parallelism: by using repetition, a writer expands on an original statement and increases its intensity .

Take this example from Roald Dahl’s The Twits :

“If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.”

In theory, we could have gotten the point with the first sentence. We don’t need to know that the more you think ugly thoughts, the uglier you become, nor that if you think good thoughts you won’t be ugly—all that can be contained within the first sentence. But Dahl’s expansion makes the point clearer, driving home the idea that ugly thoughts have consequences.

Amplification takes a single idea and blows it up bigger, giving the reader additional context and information to better understand your point. You don’t just have to restate the point— use amplification to expand and dive deeper into your argument to show readers and listeners how important it is!

Anacoluthon

Anacoluthon is a fancy word for a disruption in the expected grammar or syntax of a sentence. That doesn’t mean that you misspoke—using anacoluthon means that you’ve deliberately subverted your reader’s expectations to make a point.

For example, take this passage from King Lear :

“I will have such revenges on you both, That all the world shall—I will do such things, What they are, yet I know not…”

In this passage, King Lear interrupts himself in his description of his revenge. This has multiple effects on the reader: they wonder what all the world shall do once he has his revenge (cry? scream? fear him?), and they understand that King Lear has interrupted himself to regain his composure. This tells us something about him—that he’s seized by passion in this moment, but also that he regains control. We might have gathered one of those things without anacoluthon, but the use of this rhetorical device shows us both very efficiently.

Anadiplosis

Anadiplosis refers to purposeful repetition at the end of one sentence or clause and at the beginning of the next sentence or clause. In practice, that looks something like a familiar phrase from Yoda:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Note the way that the ending word of each sentence is repeated in the following sentence. That’s anadiplosis!

This rhetorical device draws a clear line of thinking for your reader or listener—repetition makes them pay closer attention and follow the way the idea evolves. In this case, we trace the way that fear leads to suffering through Yoda’s purposeful repetition.

Antanagoge is the balancing of a negative with a positive. For example, the common phrase, “When life gives you lemons, make lemonade,” is antanagoge—it suggests a negative (lots of lemons) and follows that up with a positive (make lemonade).

When writing persuasively, this can be a great way to respond to potential detractors of your argument. Suppose you want to convince your neighborhood to add a community garden, but you think that people might focus on the amount of work required. When framing your argument, you could say something like, “Yes, it will be a lot of work to maintain, but working together will encourage us all to get to know one another as well as providing us with fresh fruits, vegetables, and flowers.”

This is a little like procatalepsis, in that you anticipate a problem and respond to it. However, antanagoge is specifically balancing a negative with a positive, just as I did in the example of a garden needing a lot of work, but that work is what ultimately makes the project worth it.

Apophasis is a form of irony relating to denying something while still saying it. You’ll often see this paired with phrases like, “I’m not saying…” or “It goes without saying…”, both of which are followed up with saying exactly what the speaker said they weren’t going to say.

Take this speech from Iron Man 2 :

"I'm not saying I'm responsible for this country's longest run of uninterrupted peace in 35 years! I'm not saying that from the ashes of captivity, never has a phoenix metaphor been more personified! I'm not saying Uncle Sam can kick back on a lawn chair, sipping on an iced tea, because I haven't come across anyone man enough to go toe to toe with me on my best day! It's not about me."

Tony Stark isn’t saying that he’s responsible for all those things… except that’s exactly what he is saying in all of his examples. Though he says it’s not about him, it clearly is—all of his examples relate to how great he is, even as he proclaims that they aren’t.

A scene like this can easily be played for humor, but apophasis can also be a useful (albeit deceptive) rhetorical tool. For example, this argument:

Our neighborhood needs a community garden to foster our relationships with one another. Not only is it great for getting to know each other, but a community garden will also provide us with all kinds of fresh fruit and vegetables. It would be wrong to say that people who disagree aren’t invested in others’ health and wellness, but those who have the neighborhood’s best interests in mind will support a community garden.

That last sentence is all apophasis. Not only did I imply that people who don’t support the community garden are anti-social and uncaring (by outright stating that I wouldn’t say that, but I also implied that they’re also not invested in the neighborhood at all. Stating things like this, by pretending you’re not saying them or saying the opposite, can be very effective.

Assonance and Alliteration

Assonance adds an abundance of attractive accents to all your assertions. That’s assonance—the practice repeating the same vowel sound in multiple words in a phrase or sentence, often at the beginning of a word, to add emphasis or musicality to your work. Alliteration is similar, but uses consonant sounds instead of vowel sounds.

Let’s use Romeo and Juliet as an example again:

“From forth the fatal loins of these two foes; A pair of star-cross’d lovers take their life.”

Here, we have repetition of the sounds ‘f’ and ‘l’ in ‘from forth...fatal...foes,’ and ‘loins...lovers...life.’

Even if you don’t notice the repetition as you’re reading, you can hear the effects in how musical the language sounds. Shakespeare could easily have just written something like, “Two kids from families who hate one another fell in love and died by suicide,” but that’s hardly as evocative as the phrasing he chose.

Both assonance and alliteration give your writing a lyrical sound, but they can do more than that, too. These tools can mimic associated sounds, like using many ‘p’ sounds to sound like rain or something sizzling, or ‘s’ sounds to mimic the sounds of a snake. When you’re writing, think about what alternative meanings you can add by emphasizing certain sounds.

Listen, asterismos is great. Don’t believe me? How did you feel after I began the first sentence with the word ‘listen?’ Even if you didn’t feel more inspired to actually listen, you probably paid a bit more attention because I broke the expected form. That’s what asterismos is—using a word or phrase to draw attention to the thought that comes afterward.

‘Listen’ isn’t the only example of asterismos, either. You can use words like, ‘hey,’ ‘look,’ ‘behold,’ ‘so,’ and so on. They all have the same effect: they tell the reader or listener, “Hey, pay attention—what I’m about to say is important.”

Dysphemism and Euphemism

Euphemism is the substitution of a more pleasant phrase in place of a familiar phrase, and dysphemism is the opposite —an un pleasant phrase substituted in place of something more familiar. These tools are two sides of the same coin. Euphemism takes an unpleasant thing and makes it sound nicer—such as using 'passed away' instead of 'died'—while dysphemism does the opposite, taking something that isn't necessarily bad and making it sound like it is.

We won’t get into the less savory uses of dysphemism, but there are plenty that can leave an impression without being outright offensive. Take ‘snail mail.’ A lot of us call postal mail that without any real malice behind it, but ‘snail’ implies slowness, drawing a comparison between postal mail and faster email. If you’re making a point about how going electronic is faster, better for the environment, and overall more efficient, comparing email to postal mail with the phrase ‘snail mail’ gets the point across quickly and efficiently.

Likewise, if you're writing an obituary, you probably don't want to isolate the audience by being too stark in your details. Using gentler language, like 'passed away' or 'dearly departed' allows you to talk about things that might be painful without being too direct. People will know what you mean, but you won't have to risk hurting anyone by being too direct and final with your language.

You’ve no doubt run into epilogues before, because they’re a common and particularly useful rhetorical device! Epilogues are a conclusion to a story or work that reveals what happens to the characters in the story. This is different from an afterword, which is more likely to describe the process of a book’s creation than to continue and provide closure to a story.

Many books use epilogues to wrap up loose ends, usually taking place in the future to show how characters have changed as a result of their adventures. Both Harry Potter and The Hunger Games series use their epilogues to show the characters as adults and provide some closure to their stories—in Harry Potter , the main characters have gotten married and had children, and are now sending those children to the school where they all met. This tells the reader that the story of the characters we know is over—they’re adults and are settled into their lives—but also demonstrates that the world goes on existing, though it’s been changed forever by the actions of the familiar characters.

Eutrepismus

Eutrepismus is another rhetorical device you’ve probably used before without realizing it. This device separates speech into numbered parts, giving your reader or listener a clear line of thinking to follow.

Eutrepismus is a great rhetorical device—let me tell you why. First, it’s efficient and clear. Second, it gives your writing a great sense of rhythm. Third, it’s easy to follow and each section can be expanded throughout your work.

See how simple it is? You got all my points in an easy, digestible format. Eutrepismus helps you structure your arguments and make them more effective, just as any good rhetorical device should do.

You’ve probably used hypophora before without ever thinking about it. Hypophora refers to a writer or speaker proposing a question and following it up with a clear answer. This is different from a rhetorical question—another rhetorical device—because there is an expected answer, one that the writer or speaker will immediately give to you.

Hypophora serves to ask a question the audience may have (even if they’re not entirely aware of it yet) and provide them with an answer. This answer can be obvious, but it can also be a means of leading the audience toward a particular point.

Take this sample from John F. Kennedy’s speech on going to the moon:

But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas? We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.

In this speech, Kennedy outright states that he’s asking questions others have asked, and then goes on to answer them. This is Kennedy’s speech, so naturally it’s going to reflect his point of view, but he’s answering the questions and concerns others might have about going to the moon. In doing so, he’s reclaiming an ongoing conversation to make his own point. This is how hypophora can be incredibly effective: you control the answer, leaving less room for argument!

Litotes is a deliberate understatement, often using double negatives, that serves to actually draw attention to the thing being remarked upon. For example, saying something like, “It’s not pretty,” is a less harsh way to say “It’s ugly,” or “It’s bad,” that nonetheless draws attention to it being ugly or bad.

In Frederick Douglass’ Narrative of the Life of Frederick Douglass: an American Slave , he writes:

“Indeed, it is not uncommon for slaves even to fall out and quarrel among themselves about the relative goodness of their masters, each contending for the superior goodness of his own over that of the others.”

Notice the use of “not uncommon.” Douglass, by using a double negative to make readers pay closer attention, points out that some slaves still sought superiority over others by speaking out in favor of their owners.

Litotes draws attention to something by understating it. It’s sort of like telling somebody not to think about elephants—soon, elephants becomes all they can think about. The double negative draws our attention and makes us focus on the topic because it’s an unusual method of phrasing.

Onomatopoeia

Onomatopoeia refers to a sound represented within text as a mimicry of what that sound actually sounds like. Think “bang” or “whizz” or “oomph,” all of which can mean that something made that kind of a sound—”the door banged shut”—but also mimic the sound itself—”the door went bang .”

This rhetorical device can add emphasis or a little bit of spice to your writing. Compare, “The gunshot made a loud sound,” to “The gun went bang .” Which is more evocative?

Parallelism

Parallelism is the practice of using similar grammar structure, sounds, meter, and so on to emphasize a point and add rhythm or balance to a sentence or paragraph.

One of the most famous examples of parallelism in literature is the opening of Charles Dickens’ A Tale of Two Cities :

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."

In the beginning, every phrase begins with “It was,” which is itself a parallelism. But there are also pairs of parallelism within the sentence, too; “It was the ___ of times, it was the ___ of times,” and “it was the age of ___, it was the age of ___.”

Parallelism draws your reader deeper into what you’re saying and provides a nice sense of flow, even if you’re talking about complicated ideas. The ‘epoch of incredulity’ is a pretty meaty phrase, but Dickens’ parallelism sets up a series of dichotomies for us; even if we don’t know quite what it means, we can figure it out by comparing it to ‘belief.’

Personification

Personification is a rhetorical device you probably run into a lot without realizing it. It’s a form of metaphor, which means two things are being compared without the words like or as—in this case, a thing that is not human is given human characteristics.

Personification is common in poetry and literature, as it’s a great way to generate fresh and exciting language, even when talking about familiar subjects. Take this passage from Romeo and Juliet , for example:

“When well-appareled April on the heel Of limping winter treads.”

April can’t wear clothes or step on winter, and winter can’t limp. However, the language Shakespeare uses here is quite evocative. He’s able to quickly state that April is beautiful (“well-appareled”) and that winter is coming to an end (“limping winter”). Through personification, we get a strong image for things that could otherwise be extremely boring, such as if Shakespeare had written, “When beautiful April comes right after winter.”

Procatalepsis

Procatalepsis is a rhetorical device that anticipates and notes a potential objection, heading it off with a follow-up argument to strengthen the point. I know what you’re thinking—that sounds really complicated! But bear with me, because it’s actually quite simple.

See how that works? I imagined that a reader might be confused by the terminology in the first sentence, so I noted that potential confusion, anticipating their argument. Then, I addressed that argument to strengthen my point—procatalepsis is easy, which you can see because I just demonstrated it!

Anticipating a rebuttal is a great way to strengthen your own argument. Not only does it show that you’ve really put thought into what you’re saying, but it also leaves less room for disagreement!

Synecdoche is a rhetorical device that uses a part of something to stand in for the whole. That can mean that we use a small piece of something to represent a whole thing (saying ‘let’s grab a slice’ when we in fact mean getting a whole pizza), or using something large to refer to something small. We often do this with sports teams–for example, saying that New England won the Super Bowl when we in fact mean the New England Patriots, not the entirety of New England.

This style of rhetorical device adds an additional dimension to your language, making it more memorable to your reader. Which sounds more interesting? “Let’s get pizza,” or “let’s grab a slice?”

Likewise, consider this quote from Percy Bysshe Shelly’s “Ozymandias”:

“Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them.”

Here, Shelly uses ‘the hand’ to refer to the sculptor. The hand did not sculpt the lifeless things on its own; it was a tool of the sculptor. But by using just the hand, Shelly avoids repeating ‘the sculptor,’ preserves the poem’s rhythm, and narrows our focus. If he had referred to the sculptor again, he’d still be a big important figure; by narrowing to the hand, Shelly is diminishing the idea of the creator, mirroring the poem’s assertion that the creation will outlast it.

Tautology refers to using words or similar phrases to effectively repeat the same idea with different wording. It’s a form of repetition that can make a point stronger, but it can also be the basis of a flawed argument—be careful that your uses of tautology is the former, not the latter!

For example, take this section of “The Bells” by Edgar Allen Poe:

“Keeping time, time, time, In a sort of Runic rhyme… From the bells, bells, bells, bells.”

Poe’s poetry has a great deal of rhythm already, but the use of ‘time, time, time’ sets us up for the way that ‘bells, bells, bells, bells’ also holds that same rhythm. Keeping time refers to maintaining rhythm, and this poem emphasizes that with repetition, much like the repetitive sound of ringing bells.

An example of an unsuccessful tautology would be something like, “Either we should buy a house, or we shouldn’t.” It’s not a successful argument because it doesn’t say anything at all—there’s no attempt to suggest anything, just an acknowledgment that two things, which cannot both happen, could happen.

If you want to use tautology in your writing, be sure that it’s strengthening your point. Why are you using it? What purpose does it serve? Don’t let a desire for rhythm end up robbing you of your point!

That thing your English teachers are always telling you to have in your essays is an important literary device. A thesis, from the Greek word for ‘a proposition,’ is a clear statement of the theory or argument you’re making in an essay. All your evidence should feed back into your thesis; think of your thesis as a signpost for your reader. With that signpost, they can’t miss your point!

Especially in longer academic writing, there can be so many pieces to an argument that it can be hard for readers to keep track of your overarching point. A thesis hammers the point home so that no matter how long or complicated your argument is, the reader will always know what you’re saying.

Tmesis is a rhetorical device that breaks up a word, phrase, or sentence with a second word, usually for emphasis and rhythm . We often do this with expletives, but tmesis doesn’t have to be vulgar to be effective!

Take this example from Romeo and Juliet :

“This is not Romeo, he’s some other where.”

The normal way we’d hear this phrase is “This is not Romeo, he’s somewhere else.” But by inserting the word ‘other’ between ‘some’ and ‘where,’ it not only forces us to pay attention, but also changes the sentence’s rhythm. It gets the meaning across perfectly, and does so in a way that’s far more memorable than if Shakespeare had just said that Romeo was somewhere else.

For a more common usage, we can turn to George Bernard Shaw’s Pygmalion , which often has Eliza Doolittle using phrases like “fan-bloody-tastic” and “abso-blooming-lutely.” The expletives—though mild by modern standards—emphasize Eliza’s social standing and make each word stand out more than if she had simply said them normally.

What’s Next?

Rhetorical devices and literary devices can both be used to enhance your writing and communication. Check out this list of literary devices to learn more !

Ethos, pathos, logos, and kairos are all modes of persuasion—types of rhetorical devices— that can help you be a more convincing writer !

No matter what type of writing you're doing, rhetorical devices can enhance it! To learn more about different writing styles, check out this list !

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Rhetorical devices are techniques in writing and speech that try to persuade the audience. A rhetorical device uses language to shape ideas into arguments, convincing the reader through a plethora of literary strategies.

Why study rhetorical devices? Understanding how writers wield words to persuade you will help you read critically and carefully. And, if you’re a writer, a poet, a future lawyer, or even someone who writes a lot of emails, learning how to employ common rhetorical devices will help sharpen your writing style and skills. Familiarizing yourself with this article will help you learn how to identify rhetorical devices in literature.

But first, what are rhetorical devices? This article dives deep into the topic, with a full rhetorical devices list and ample examples from poetry, literature, and speech. This article is filled with inspiration, ideas, and strategies to fine tune your writing, so let’s dive in. What are rhetorical devices?

Common Rhetorical Devices List Contents:

• What are Rhetorical Devices?

Types of Rhetorical Devices

9 syntactic rhetorical devices list, 10 argumentative rhetorical devices list, 10 emphatic rhetorical devices list, 7 stylistic rhetorical devices list, what are rhetorical devices.

Rhetorical devices are literary strategies for persuading the audience. Through techniques involving syntax, style, emphasis, word choice , and appeals to the audience itself, the authors that employ rhetorical devices hope to convince you of a certain idea or argument.

What are rhetorical devices? They are literary strategies for persuading the audience.

It’s important to note that “rhetorical devices” is an open-ended term, because writers are always trying to convince you of something. The devices in this article pertain to strategies in the style and syntax of language itself. But, other literary devices , such as metaphors and onomatopoeias , can also be considered rhetorical, if employed rhetorically—that is, if they try to change your way of thinking. Even the elements of fiction , like setting and plot , want to persuade you to think in a certain way.

Nonetheless, this article focuses on common rhetorical devices employed in the art of argument. Before we look at these literary strategies, let’s examine the different types of rhetorical devices.

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There aren’t any clear taxonomies for rhetorical devices, in part because the term itself is so open-ended. Rhetorical scholars certainly don’t try to taxonomize these devices, as language itself is so open-ended and can be employed in infinite ways. Nonetheless, to keep these devices organized, we use the following labels to categorize the different types of rhetorical devices:

• Rhetorical appeals —Devices that appeal directly to the reader’s feelings, thoughts, morals, and sense of time. You may have already heard of them: ethos, logos, pathos, and kairos.
• Syntactical devices —Devices that use sentence structures to communicate or simplify complex ideas.
• Argumentative rhetorical devices —Devices whose structures are conducive to the advancement of a certain argument.
• Emphatic rhetorical devices —Devices that underscore or emphasize certain ideas.
• Stylistic rhetorical devices —Devices that use word play and diction to advance an argument.

Let’s examine these 5 categories now, with a look at rhetorical devices examples in literature, poetry, and speech.

Rhetorical Appeals: Kairos, Ethos, Logos, Pathos Rhetorical Devices

The following common rhetorical devices appeal directly to the reader’s sensibilities. Do note: an appeal to ethos, for example, can also be an appeal to pathos. Many master rhetoricians will advance arguments that appeal to multiple sensibilities at the same time.

1. Kairos—Appeal to Time

Now is the time to use kairos!—a device that appeals directly to the audience’s sense of time.

Specifically, kairos is an appeal to immediacy, to a sense of “in this moment.” When employed ethically, kairos convinces the audience that we must act immediately for the better good. For example, Martin Luther King once said:

King’s call for radical optimism in the face of racism and oppression was a call to action: now is the time that we change our situation of segregation.

Of course, kairos can also be used unethically, in that it can encourage the audience to think about something uncritically. If I implored an audience that “now is the time to chop all the trees down,” and some audience members didn’t think about the effects of this statement, they might actually start deforesting the land around them.

Kairos creates a sense of urgency. Now is the time to act, to think, to hope, etc. The kairos rhetorical device also helps the speaker explain why they are speaking to the audience: Because it is the time for action , I am speaking to you now.

2. Ethos—Appeal to Ethics and Credibility

Ethos is a device which appeals to two different senses:

• The credibility of the speaker. Why should I trust this person’s arguments?
• The ethics of the argument. How can I trust the ethical good in this argument?

To see the ethos rhetorical device in action, let’s look at an excerpt of the novel Animal Farm by George Orwell , a novel filled with rhetorical devices examples. For reference, this novel is an allegorical representation of the rise of the U.S.S.R., and the below excerpt implores the animals on the farm to overthrow the farmers and establish an equitable, self-governing system. Appeals to ethos are bolded.

“Comrades, you have heard already about the strange dream that I had last night. But I will come to the dream later. I have something else to say first. I do not think, comrades, that I shall be with you for many months longer, and before I die, I feel it my duty to pass on to you such wisdom as I have acquired. I have had a long life, I have had much time for thought as I lay alone in my stall, and I think I may say that I understand the nature of life on this earth as well as any animal now living . It is about this that I wish to speak to you.

“Now, comrades, what is the nature of this life of ours? Let us face it: our lives are miserable, laborious, and short. We are born, we are given just so much food as will keep the breath in our bodies, and those of us who are capable of it are forced to work to the last atom of our strength; and the very instant that our usefulness has come to an end we are slaughtered with hideous cruelty. No animal in England knows the meaning of happiness or leisure after he is a year old. No animal in England is free. The life of an animal is misery and slavery: that is the plain truth.

“But is this simply part of the order of nature? Is it because this land of ours is so poor that it cannot afford a decent life to those who dwell upon it? No, comrades, a thousand times no! The soil of England is fertile, its climate is good, it is capable of affording food in abundance to an enormously greater number of animals than now inhabit it. This single farm of ours would support a dozen horses, twenty cows, hundreds of sheep—and all of them living in a comfort and a dignity that are now almost beyond our imagining. Why then do we continue in this miserable condition? Because nearly the whole of the produce of our labour is stolen from us by human beings. There, comrades, is the answer to all our problems. It is summed up in a single word—Man. Man is the only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished for ever.”

The first paragraph demonstrates an appeal to character. The speaker, Old Major, tells the audience he is trustworthy because he has lived a long life, and he wishes to pass on his wisdom. (There is also an appeal to kairos here, because Old Major tells the animals he has not long to live, and needs to tell them this information now .)

The second and third paragraphs appeal to the ethics of the audience. Paragraph two demonstrates the awful conditions of the farm. The animals are, quite literally, worked to death, and they receive no share in the profits of the farm. But the animals do not deserve this: they can imagine a farm that supports a large population, each animal living “in a comfort and a dignity that are now almost beyond our imagining.” Why not strive for this level of prosperity?

Words like “comfort” and “dignity” reinforce the ethics of Old Major’s argument. These ideas are benchmarks for the pig’s ideas, since the audience will now be considering how to construct a world that preserves each individual’s comfort and dignity. It also lends credibility to Old Major himself, who seeks, above all, to better the lives of the animals long after he has died himself.

3. Logos—Appeal to Logic

Logos employs reason or logic to convince the audience of a certain argument. Logos will often be the backbone of an argument, particularly among rhetoricians who have actually thought through the logic of the ideas they’re advancing. (If an argument relies too heavily on pathos or kairos, that argument will often be poorly thought through, or else be trying to achieve nefarious ends.)

There are two primary forms of logos: inductive reasoning and deductive reasoning.

• Inductive Reasoning: Drawing predictions from specific claims. For example, a specific claim might be “I have to wear a scarf every winter.” To make this a predictions, you might say “This winter, I will also wear a scarf.”
• Deductive Reasoning: Drawing specific conclusions from general claims. For example, a general claim might be “All birds have feathers.” To take this to a specific conclusion, you might note that “an emu has feathers. Therefore, an emu is a bird.” (This is also an example of syllogism, which we define later in the article.)

Another way to think about this: inductive reasoning makes predictions based on existing data, whereas deductive reasoning makes conclusions based on existing data. Both forms of argument are valid in different ways, and both are equally prone to being false or manipulated.

The use of facts and figures is also the use of logos, although logos itself is logical argument. In other words, simply writing “studies show” is not an appeal to logos, as the writer must explain how their argument is supported by the data.

Here’s an example of the logos rhetorical device, from the novel To Kill a Mockingbird by Harper Lee . For reference, Atticus is a lawyer trying to prove the innocence of Tom Robinson, a black man falsely accused of assaulting Mayella Ewell.

[Atticus] You’re a strong girl, what were you doing all the time, just standing there?”

[Mayella] “I told’ja I hollered’n‘kicked’n’fought—”

Atticus reached up and took off his glasses, turned his good right eye to the witness, and rained questions on her. Judge Taylor said, “One question at a time, Atticus. Give the witness a chance to answer.”

“All right, why didn’t you run?”

“Tried to? What kept you from it?”

“I—he slung me down. That’s what he did, he slung me down’n got on top of me.”

“You were screaming all this time?”

“I certainly was.”

“Then why didn’t the other children hear you? Where were they? At the dump? Where were they?”

“Why didn’t your screams make them come running? The dump’s closer than the woods, isn’t it?”

“Or didn’t you scream until you saw your father in the window? You didn’t think to scream until then, did you?”

“Did you scream first at your father instead of at Tom Robinson? Was that it?”

“Who beat you up? Tom Robinson or your father?”

“What did your father see in the window, the crime of rape or the best defense to it? Why don’t you tell the truth, child, didn’t Bob Ewell beat you up?”

Atticus uses deductive reasoning here to demonstrate that Mayella’s bruises came from her father, not from Tom Robinson. Logically speaking, if Tom was the one assaulting her, she would have screamed, and wouldn’t someone have heard? Tried to get Tom off of her?

By canceling out all other possible scenarios, Atticus deduces that, because no one came to Mayella’s rescue, her story about being assaulted by Tom is fake, because the source of her bruises is actually her father.

Note: When appeals to logic are false or poorly argued, they are often logical fallacies .

4. Pathos—Appeal to Feeling

Pathos is an appeal to the feelings of the audience. The author employs pathos when the writing tries to evoke a particular emotion, especially for the purposes of advancing an argument.

Pathos is a common facet of all literature, since literature tries to connect the reader to our greater shared humanity. This can only happen on the levels of the symbolic : images, feelings, and the like.

In argument, politics, and the court of law, the pathos rhetorical device certainly helps win the audience over to a certain idea or position. That said, pathos is a very easy device to abuse. When the writing focuses on evoking strong emotions from the reader, particularly without the backing of research and credibility, then the author likely wants to persuade you without evidence. Pathos-heavy writing is the stuff of conspiracy theories, extremism, and propaganda. (See also: logical fallacies.)

We won’t dive into all nuances of pathos—that’s a different article for a different day. But let’s see pathos in action through the poem “It’s What Happens, Sometimes, in October” by Angel Gonzalez :

When nothing occurs, and summer is gone, and leaves start to fall off the trees, and the cold rusts the edges of rivers, and slows down the flow of waters;

when the sky seems a violent sea, and birds swap landscapes, and words sound more and more distant, like whispers strewn by the wind;

then, as you know, it’s what happens:

those leaves, birds, clouds, strewn words and rivers, fill us with sudden restlessness and despair.

Don’t seek the cause in your hearts. It is merely what I said: what happens.

Through both natural imagery and appeals to the reader’s emotions, this poem evokes the sense of “restlessness and despair” that one sometimes feels in the peak of autumn. Of course, don’t just let the poem tell you how to feel: immerse yourself in its images, its windswept chill and “strewn words and rivers.” This poem doesn’t ask us to feel any particular way about autumn, only to observe the feelings that arise in us, which are simply “what happens” in October.

The following common rhetorical devices are employed to draw attention to a certain idea by playing with sentence structure. The English language can be toyed with in many different ways, and master rhetoricians know how to use syntax to their advantage through the following devices.

5. Anacoluthon—Interruptions in Grammatical Flow

An anacoluthon occurs when the writer employs different grammatical structures in the same sentence. This device is a grammatical discontinuity —the syntax of the sentence changes, often alongside an abrupt change in topic.

Both poets and rhetoricians use this device to highlight important ideas. Poets, and prose poets in particular, will use the device to replicate the disjointed nature of thoughts, as our brains naturally think and feel incoherently.

Here’s an example of anacoluthon, from our accomplished instructor Barbara Henning ( Retrieved from Posit ):

When I woke up, I was in the wrong place, holding a blooming dandelion in my hand.

I knew there was something wrong when I completely forgot the script so clearly encoded under my forehead.

The rush of spirit retreated through a pinhole and dropped me back in this square room with thunder and the sound of heavy metal.

On the other side of the window the microwave beeped. A door slammed. The tv was on automatic shut off.

The computer, some kind of advance on cuneiform writing was flashing the figure of a fish.

A drawing by Dr. Freud in 1878 of the neurons in a spinal ganglion. Through the pinhole of that glassy eye—

Dr. Agassiz made his student learn the truth about fish— and I put my ear to a conch shell.

The sound of a distant oceanic voice— “What is there is there. And that is that.”

Some poignant anacolutha occur at the ends of the final two stanzas. These interruptions in thought bring the reader to what is most important in the poem. Barbara’s poetry frequently finds insight through careful attention to the natural and the now; by bringing the reader back to the present through the image of the conch shell, the poem tries to remind us of the nature of things, of the complicated simplicity of the present.

6. Antithesis—Parallel Juxtaposition of Opposite Ideas

Antithesis refers to the placement of differing ideas side by side using parallel structure, with the intent of comparing and contrasting those ideas. It relies on two key concepts in writing: parallelism and juxtaposition .

A lot of common phrases in the English language rely on antithesis. You may have recently heard one of the following phrases:

• Go big or go home
• Get busy living or get busy dying
• No pain, no gain
• No guts, no glory
• If you fail to plan, then you plan to fail
• Out of sight, out of mind
• Hope for the best; prepare for the worst
• Easy come, easy go

Well written antitheses lodge themselves in the brain, laying out complex ideas in simple sentences. A lot of idioms and proverbs rely on this device. So do rhetoricians: see the below excerpt from Abraham Lincoln’s “Gettysburg Address” :

This excerpt shows a clean cause and effect, utilizing the power of antithesis to honor the Union soldiers that died for the nation’s survival.

7. Asyndeton—Absence of Conjunctions

A writer employs asyndeton when they don’t use conjunctions to separate clauses. This has the effect of making the sentence move quicker, while also making the sentence feel sharp and directed.

For example:

With conjunctions (polysyndeton): Swift and concise and pointed, the sentence makes you think and moves your heart and compels you to action.

Without conjunctions (asyndeton): Swift, concise, pointed, the sentence makes you think, moves your heart, compels you to action.

Notice how the flow and feel of the sentence changes with the inclusion of “and” in place of commas? The example of polysyndeton actually feels a little overwhelming. Later in this article, we’ll look at proper uses of polysyndeton.

Here’s an example of asyndeton from Othello (I.i) by William Shakespeare:

Asyndeton can also refer to a lack of conjunctions between sentences, as in the above excerpt.

8. Hypallage—Syntactic and Semantic Split in a Modifier

Hypallage occurs when the author uses a modifier (usually a single adjective) to describe something semantically, rather than syntactically.

Okay, that’s a tough sentence to parse. Let me give you an example right away, from “Dulce et Decorum Est” by Wilfred Owen :

So, the word “clumsy” is modifying the word “helmets.” This is occurring on a syntactic level. However, “clumsy” isn’t describing the helmets, it’s actually describing the boys fumbling to put them on during World War I.

In other words, there’s a split between the modifier’s syntactic and semantic meanings. (You can also argue that “helmets” is being used as a synecdoche to describe the boys themselves.)

Some phrases in the English lexicon naturally use hypallage. If you have a “restless night,” it’s not the night that was restless, it was you restless during the night.

Hypallage helps make an idea more concise, and it also builds an interesting visual link between two ideas. What does a clumsy helmet look like? We can almost see the boys struggling to put their helmets on, without the author having to say “the boys donned their helmets clumsily.”

9. Hyperbaton—Inverted Word Order

One of the common rhetorical devices, hyperbaton is!

A hyperbaton occurs when the writer writes a sentence in an unusual order, in order to emphasize the most salient aspect of the sentence. It is also called anastrophe. Rhetoricians may use this device for emphasis, and poets will certainly use it to preserve the rhythm and flow of a poem’s line. In formal poetry , such as the works of Shakespeare, hyperbaton makes it easier for the poem to retain its meter, like iambic pentameter.

Here are a few rhetorical devices examples using hyperbaton:

“The Tell-Tale Heart” by Edgar Allan Poe :

Measure for Measure by William Shakespeare :

“anyone lived in a pretty how town” by E. E. Cummings :

anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn’t he danced his did.

Women and men(both little and small) cared for anyone not at all they sowed their isn’t they reaped their same sun moon stars rain

children guessed(but only a few and down they forgot as up they grew autumn winter spring summer) that noone loved him more by more

when by now and tree by leaf she laughed his joy she cried his grief bird by snow and stir by still anyone’s any was all to her

someones married their everyones laughed their cryings and did their dance (sleep wake hope and then)they said their nevers they slept their dream

stars rain sun moon (and only the snow can begin to explain how children are apt to forget to remember with up so floating many bells down )

one day anyone died i guess (and noone stooped to kiss his face) busy folk buried them side by side little by little and was by was

all by all and deep by deep and more by more they dream their sleep noone and anyone earth by april wish by spirit and if by yes.

Women and men(both dong and ding) summer autumn winter spring reaped their sowing and went their came sun moon stars rain

For this last example, pay attention to how hyperbaton preserves the flow of the poem, and how it creates a sense of mystery. Cummings was a master of using language not to impart direct communication, but to create senses, mysteries, and feelings in the text.

10. Hypotaxis—Hierarchical Sentence Structure

Before we explain hypotaxis, a brief grammar refresher might prove helpful.

The components of a sentence are clauses and phrases. A clause is a part of a sentence that has a noun and a verb; sometimes, a clause is a complete sentence. A phrase is a group of words without a complete noun-verb pairing, such as the verb phrase “will be writing.” (There’s no noun.)

A subordinate clause is a clause that has a noun and a verb, but cannot stand on its own as a sentence. This is because the clause is modifying another part of the sentence. The bolded portion of the following sentence is subordinate: “I cannot use rhetorical devices, although I try very hard to. ”

Now, to hypotaxis. A hypotactic sentence is one that has dependent, or subordinate, clauses. This creates a hierarchical relationship in the sentence: the most important part of the sentence is the clause that can exist independently, while the subordinate clauses, which are less important, still modify and sharpen the message of the sentence.

Here’s an example—from Simone Weil’s Waiting for God . The sentences containing hypotaxis are bolded.

In the bolded sentences, take note of which is the main clause, and which clauses are subordinate. Notice how this makes the main clause the most important aspect of the sentence, creating a hierarchy of information, and a sense of relationships between different interconnected ideas.

Notice, also, how this passage has a mix of complex and simple sentences. Too much hypotaxis will prove much harder to read and comprehend.

The opposite of hypotaxis is parataxis.

11. Parataxis—Equally Weighted Sentence Components

In opposition to hypotaxis, parataxis is the use of equally weighted sentences or clauses in succession to one another. Parataxis requires short, simple sentences and clauses. You can identify this device by an absence of subordinating conjunctions—words that make a clause subordinate, like “although” or “because” or “if.”

Parataxis plays an important role in the following excerpt from Sula , by Toni Morrison:

The sequence of nouns (written using asyndeton) all blur together in one long list of things that don’t belong to Shadrack (the subject of this excerpt). Parataxis makes this sentence quick and even overwhelming, as the reader is immersed in Shadrack’s poverty upon leaving the military hospital he was confined to for so long.

Parataxis plays an equally interesting role in the below prose poem by Barbara Henning. Prose poets often employ parataxis as it resembles the disjointed nature of thought.

With a Bang

Many of the items in this prose poem are equally weighted, allowing the poem to represent the honest, fast-moving nature of human thought and experience. It is up to the reader to understand and interpret the many different items and ideas juxtaposed in this piece.

12. Polysyndeton—Succession of Coordinating Conjunctions

Polysyndeton is the opposite of asyndeton. A sentence with polysyndeton uses coordinating conjunctions (usually “and,” sometimes “or” or “nor”) to join a series of clauses, which serves to quicken the pace of the sentence itself.

Polysyndeton is prominent in these first two stanzas from the poem “It’s What Happens, Sometimes, in October” by Angel Gonzalez:

The repeating “ands” quicken the pace of the poem, reflecting the way the seasons change swiftly in October. They also help create rhythm and tension in the language of the poem itself.

13. Synesis—“Sense” Over Syntax

A synesis occurs when a sentence lacks grammatical agreement, for the purpose of highlighting an agreement in “sense.”

This is easier demonstrated than defined. See the below excerpt from Shakespeare’s King Lear :

“Revenges,” here, is grammatically incorrect. The word should be singular, because it should agree, grammatically and syntactically, with “I.” One does not typically carry out “revenges,” and it’s actually rare to see that word in the plural.

But, in this instance, it is correct logically. Lear is promising revenge on two people, and he might even be promising a different kind of revenge on each person. So, while the sentence is wrong in grammar, it is correct in sense. 

This break in grammar also highlights the word breaking grammatical rules. Our attention is drawn to “revenges”, and so, the idea of revenge is highlighted and heightened in the text.

Synesis is considered a form of anacoluthon. Like anacoluthon, synesis reflects the ways that we naturally communicate to one another. King Lear’s syneses and anacolutha sound true to his character, as these devices feel disjointed, much like a man blind with anger might speak.

The following common rhetorical devices are employed to convince the audience of something. Some of these devices are earnest, sincere, and logical; others are more manipulative.

14. Accismus—Feigned Indifference

What? No! I don’t want that thing (which I actually secretly really desperately want).

Accismus is a form of irony in which the speaker pretends not to desire something that they actually desire. They might do this so as not to scare off the person offering it, or to conceal that their entire motivation rests on this one thing.

For example, in Shakespeare’s Julius Caesar (I.ii), Caesar pretends not to want the crown of Rome:

Caesar at first refuses the crown before accepting, so that the people of Rome don’t catch on to the fact that this crown is the only thing he wants . Were they to know this, the people might realize that Caesar is power hungry and tyrannical.

15. Anecdote—Story-Based Evidence

An anecdote is a short, pithy story, utilized to demonstrate a key point in an argument. Anecdotes are often funny, but can be serious, too.

The teller of the anecdote must not get too lost in the story that they lose track of their own argument; but they must also demonstrate their point clearly and emphatically.

We use anecdotes all the time, making this one of the more common rhetorical devices in this list. Here’s an example, from Timothy Donnelly’s poem “All Through the War” ( in New England Review ):

I said to my daughter on the phone: Be an honest person,

just be an honest person. Be honest, be honest, be honest. Some days I can’t believe what it means to be alive some days. Some days I think about tearing myself apart but not exactly

with pleasure. Some days I know the strongest feeling is grief but I believe it must be love: it has to be, has to be, has to. Some days I feel each cell in my body has its fingers crossed.

The first two lines in this excerpt are an example of the anecdote rhetorical device, with the following lines furthering the argument of the poem. The speaker demonstrates exactly what he means by being honest, sharing thoughts that are both radically intimate and deeply heartfelt.

When an anecdote is moral in nature, it is sometimes referred to as an “exemplum.”

16. Antanagoge—Deflection by Counter Allegation

An antanagoge refers to a deflection in which, instead of answering a question or defending a point, the speaker makes a counter allegation.

For example, if I charged you with “eating all the Oreos,” you might reply that I “ate all the pecan pie last week.” (It’s true; I did.)

Antanagoge can also be employed syntactically. If you raise a claim and then answer that claim with an opposing sentiment, you have used antanagoge. For example, the phrase “when life gives you lemons, make lemonade.” The first clause is negative, the responding clause is positive.

17. Aporia—Feigned Uncertainty

An aporia occurs when the writer expresses uncertainty or doubt, with the intention of raising a certain argument and exploring it. This uncertainty is usually feigned, as the writer pretends to be uncertain so that they can enumerate their argument and ideas.

A famous example of this is Sojourner Truth’s “Ain’t I a Woman?” speech:

By frequently calling into question her own womanhood, Sojourner Truth highlights the blinding effects of racism—how Black women don’t get to have the same rights, privileges, and freedoms of white women, perhaps because no one even views them as women. This speech was quite provocative, and quite effective, for its time—delivered at the 1851 Woman’s Convention in Akron, Ohio, in the midst of rising racial tension and conversations about abolishing slavery.

Aporia is also a concept in philosophy, referring to irresolvable knots or logical impasses in a text.

18. Bdelygmia—Litany of Insults

Despite its weird and satisfying spelling, bdelygmia describes something neither weird nor satisfying: insults.

Specifically, bdelygmia is a litany of insults directed towards an opponent or someone with opposing ideas. It is sometimes called abominatio, is always a form of ad hominem , and it uses strong language to appeal to pathos.

At its cutest, bdelygmia is levied against the perceived antagonist of a story, such as this excerpt from How the Grinch Stole Christmas by Dr. Seuss:

The list of insults (using asyndeton, no less!) compels the reader to believe that the Grinch, for lack of a better word, sucks. This has a strong influence on the reader, as it tinges the way they view the Grinch’s place in the story, and it also moves the reader when the Grinch comes around to Christmas.

At its ugliest, bdelygmia is the stuff of internet discourse and political rhetoric. If someone is casting a litany of insults towards their opposition, recognize that this is an abuse of rhetoric, and that no substantial argument is being levied. Bdelygmia is what incites hate groups, political polarization, cyberbullying, and all sorts of intentionally hurtful discourse. Don’t fall for it!

19. Enthymeme—Deductive Reasoning With an Unstated Premise

In our section on the Logos rhetorical device, we explain that deductive reasoning follows a series of premises to reach a conclusion. For example:

• Rhetorical devices use language to persuade the audience.
• Amplification is a rhetorical device.
• Amplification uses language to persuade the audience.

In other words, A = B, and B = C, so A must equal C. (This is a syllogism, which we define later in this article.)

An enthymeme uses deductive reasoning without stating one of the premises. This is because the unstated premise is obvious to the reader. If we remove that first premise, then we get:

You don’t need to be told that rhetorical devices use language to persuade the audience; so, this enthymeme implies that premise. The reader trusts that you already know this basic concept. Using enthymeme conveys trust in the audience, which can help build ethos. It also lets the writer build more concise arguments.

20. Hypophora—Raising and Answering a Question

What can learning about common rhetorical devices do for your writing? Everything.

Also known as antipophora or anthypophora, hypophora is when the writer asks a question and immediately answers it. This rhetorical strategy allows the writer to raise a new topic, and it also invites the audience to participate in the work, since asking questions (even rhetorical questions) makes the audience feel engaged.

A hypophora occurs at the end of the poem “When she told me” by Jean Valentine:

When she told me over the phone you died I lay down and cried, “Don’t you stop loving me.”

In the West Side Market, I heard your voice from the ceiling say out loud to me, I love you.

In the park, to a chestnut tree, to the light through hundreds of leaves, I said, I love you.

It was you. And it was my life, run, to what,

—you closer than touch. 

21. Procatalepsis—Raising and Responding to Rebuttal

I know what you’re going to say. Rhetorical devices? Who needs those?

Procatalepsis is the act of raising a possible rebuttal to your argument, in order to address it right away. It strengthens the argument by addressing criticism and predicting what the opponent might say. As long as that rebuttal is properly addressed, this device can greatly enhance the ethos of an argument. Like hypophora, procatalepsis can also create surprising transitions in literary texts.

Frederick Douglass used procatalepsis in his 1846 “Appeal to the British People.” See below:

Douglass raises and rebuts the argument that he should confine his efforts to the United States. By connecting his plight to humanity’s plight, Douglass not only crafts an effective argument, but also boosts his appeal to ethos and pathos.

22. Reductio ad Absurdum—Taking an Argument to its Absurd Extreme

Reductio ad absurdum is a Latin phrase meaning “Reducing to the point of absurdity.” It is a means of arguing that a certain position is actually absurd. This is one of the operating mechanisms of satire, because it takes an argument to its logical extreme, demonstrating the futility and absurdity of that argument.

At its simplest, reductio ad absurdum simply explains why an argument is incorrect. For example:

The sun cannot orbit the Earth. Otherwise, the Earth would be 1,000,000 times the size of the sun!

At its more complex, reductio ad absurdum pokes fun at the absurdity of the ways we think and act. Satirist Jonathan Swift makes fun of the ways women prepare themselves in his poem “The Ladies’ Dressing Room”:

Five hours, (and who can do it less in?) By haughty Celia spent in dressing; The goddess from her chamber issues, Arrayed in lace, brocades and tissues…

Her ointments, daubs, and paints and creams, Her washes, slops, and every clout Such order from confusion sprung, Such gaudy tulips raised from dung.

The details and imagery here, as well as the mention that Celia spends five hours getting ready, makes Celia’s actions seem simply absurd.

Reductio ad absurdum can become a logical fallacy if it misinterprets the premise of an argument, or else doesn’t show a clear cause and effect between a premise and its logical extreme. Use this device wisely, logically, and convincingly.

23. Syllogism—If A=B, and B=C, Then A=C

If rhetorical devices help strengthen your writing, and syllogism is one of the common rhetorical devices, then a syllogism must strengthen your writing!

A syllogism is the base structure of deductive reasoning—the means by which specific claims are drawn from general knowledge. It follows the template “If A equals B, and B equals C, then A must equal C.”

Shakespeare, of course, master poet and rhetorician that he was, used syllogism in The Life of Timon of Athens .

FLAVIUS. “Have you forgot me, sir?”

TIMON. “Why dost ask that? I have forgot all men; Then, if thou grant’st thou’rt a man, I have forgot thee.”

Of course, employing a syllogism does not mean that the argument holds true. One of the claims A or B could prove incorrect, or else not encompass the full truth. This results in a faulty syllogism, or the syllogism fallacy. For example:

• All cats have four legs.
• A zebra has four legs.
• Therefore, a zebra is a cat.

While both claims A and B are generally true, they don’t encompass the full truth, because cats are not the only category of animals with four legs.

When a syllogism is employed with one claim instead of two (A = B, therefore A = C), that’s known as enthymeme, which is defined elsewhere in this article.

The following common rhetorical devices are employed to emphasize a certain idea. Many of these devices take ideas to their logical extreme, or else use repetition to make an argument stick.

24. Adynaton—Extreme Hyperbole

A hyperbole is an exaggeration. Adynaton is an extreme exaggeration—a hyperbole so out there that it’s beyond impossible. An adynaton might be employed for comic effect, or it might be evidence of the speaker’s extreme feelings.

Here’s an example: the poem “The Cow Speaks to the Child” by Evan Gill Smith :

There’s no me without you, says the cow in the sunlight being looked at, being drawn by the child with crayons.

Is the hill an almond? the child wants to know. Is life irrefutable?

The start of ‘me’ is the start of the ending of ‘you.’ See that hole in your sock where the cold can get through?

The child’s toe sticks through the hole now.

Some philosophers grow ulcers from eating loneliness. There’s not much we know.

The cow’s tongue smacks its lips.

The child fills in its spots with blue crayon and silence. A dragonfly or not.

The line “some philosophers grow ulcers from eating loneliness” can be considered adynaton, as philosophers cannot actually eat loneliness. The idea of growing ulcers from eating loneliness is certainly out there . Of course, this line is metaphorical, and it’s doing excellent work by making the abstract physical. But it’s also a great example of how to use adynaton, because the line is so surprising to the reader, and stands out so clearly from the rest of the piece, that it sticks with the reader long after they’ve finished the poem.

25. Amplification—Drawing Attention to Ideas

The amplification rhetorical device uses superfluous words, embellishments, and unnecessary additions to draw attention towards a particular idea which might otherwise escape the reader’s attention. (That sentence is one example!)

Sometimes, a concise, abruptly worded sentence might not convey what it intends to. The language itself is functional, but the sentence is so short, or so dense, that the reader won’t get it. Amplification ensures that the reader grasps the entirety of what the author believes to be a highly important idea.

Here’s an example, from The Twits by Roald Dahl . The amplifications have been bolded, so you can see how they’re highlighting the core idea.

If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.

Notice how the bolded additions aren’t adding anything “new” to the original ideas, but they help demonstrate, through imagery and example, a necessary concept for the reader to understand.

Be careful with this device. Err on the side of concision , unless you’re certain that the reader must slow down and sit with the idea(s) in the writing.

26. Antiphrasis—Using Words Opposite of Their Meanings

Antiphrasis is the use of words to mean the opposite of their dictionary definitions. For example, if you fell down on the asphalt, and I said “Nice going, ballerina!”, that would be antiphrasis—I do not think that was “nice going,” and I certainly don’t think you’re a ballerina.

Antiphrasis is the operating mechanism for things like irony, sarcasm, satire , and sometimes even euphemism and litotes. (We define euphemism in our article on dialogue ; litotes appears elsewhere in this article.)

Among rhetorical devices, antiphrasis helps writers emphasize what they mean by making the reader think. When the reader realizes that the words being used are opposite to what the writer means, the time spent thinking about those words makes them stick in the reader’s head.

Of course, antiphrasis can also be used as a weapon. It’s not a very kind device to use, so use it wisely and sparingly.

27. Asterismos—Calling Attention With Introductory Words

Behold , rhetorical devices! Asterismos is when you call attention to an idea with an introductory word or phrase. Behold! Alas! Hark! Listen. Hey…. Notice, I say to you!

We use asterismos all the time in daily conversation, and you might notice it used when writers try to capture colloquial speech in their work. Here’s one example, from Mark Twain’s The Adventures of Huckleberry Finn :

Asterismos won’t do much for the arguments in your writing. But, this device helps keep the audience’s attention, and it can clue them into something important that’s about to occur in the text.

28. Litotes—The Rhetorical Double Negative

These common rhetorical devices are not bad !

A litotes is a double negative for rhetorical emphasis. It is a form of pleonasm (defined elsewhere in this article) because it requires the addition of extra words to convey a certain point. By expressing something positive using a double negative, the writer makes the audience think a little harder, adding weight behind the feeling that the double negative expresses.

Here are some common expressions in the English vernacular that use Litotes:

• I don’t hate it.
• I can’t disagree.
• Not uncommon.
• Hardly difficult.
• It has not gone unnoticed.
• It’s not the worst!

And, here are a couple rhetorical devices in poetry involving litotes:

He hath not fail’d to pester us with message Importing the surrender of those lands Lost by his father, with all bands of law, To our most valiant brother. So much for him.— Hamlet (I.ii) by William Shakespeare

“To not harm each other is not enough. I want you

so much that you have no before .” —Our instructor Caitlin Scarano , out of their collection The Necessity of Wildfire .

Litotes is considered a form of meiosis, defined below.

29. Meiosis—Witty Understatement

A meiosis gives the impression that something is less important than it actually is. This understatement creates dramatic effect, because the reader knows that the thing described actually has profound importance. Understatement is considered a form of hyperbole.

In Romeo and Juliet , Mercutio offers several examples of meiosis during his death scene:

(after being stabbed) MERCUTIO. Ay, ay, a scratch, a scratch. Marry, ’tis enough. Where is my page? Go villain, fetch a surgeon.

ROMEO. Courage, man; the hurt cannot be much.

MERCUTIO. No, ’tis not so deep as a well, nor so wide as a church door, but ’tis enough, ’twill serve. Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses. Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death. A braggart, a rogue, a villain, that fights by the book of arithmetic!—Why the devil came you between us? I was hurt under your arm.

As with other rhetorical devices where what’s said differs from what’s meant, meiosis makes the reader slow down and think about what’s being spoken. The ironic dissonance between what’s said and what’s meant emphasizes the true meanings of the words themselves.

30. Metanoia—Immediate Self-Correction

Rhetorical devices are great—no, amazing!

When a writer backtracks or modifies something they just wrote, they use the device metanoia. This is not erasing and rewriting something—it is acknowledging the thing just written, and correcting it with a new, more accurate meaning. This immediate self-correction emphasizes the correction itself, making it stick in the reader’s brain.

Additionally, metanoia mimics the way that we talk in real life. Employing rhetorical devices like this tactically can help build trust and ethos with the audience.

Metanoia can be used to strengthen an argument, soften it, or make it more precise.

Here’s an example of the device, from The Great Gatsby by F. Scott Fitgerald:

The narrator’s self-correction indicates that he knows things now that he did not know before. Thus, this metanoia is also an example of foreshadowing , because it suggests we are about to learn much more about the owner of this mansion.

31. Paralipsis—Performative Refusal to Speak on a Topic

I will not bring up the importance of rhetorical devices in literature, so don’t ask me to talk about it!

Paralipsis is a form of raising a topic by pretending not to want to speak on that topic. In everyday speech, you might say something like “I can’t stand my mother-in-law’s perfume. Not to mention her drinking problem…”

That “not to mention” reveals the thing that you actually want to mention the most. Paralipsis is a form of irony and antiphrasis, because it’s emphasizing the thing that the writer pretends not to want emphasized.

This example comes from “A Modest Proposal” by Jonathan Swift:

Swift’s satirical essay argues that the Irish should start eating their 1 year old children to stave off famine and boost their economy. It is, of course, not a serious argument, because Swift is actually mocking the inability of the British to care for the Irishman’s plight. The above quote adds to the satire, because Swift is pretending like the other solutions aren’t worth anyone’s time, when in fact they are the solutions for helping Ireland.

32. Overstatement—Intentional Exaggeration

Rhetorical devices are the only way to make your writing sharp.

Not really. While rhetorical devices are powerful strategies for your writing, they’re not the only way to sharpen it. That was an overstatement—a device in which the writer intentionally exaggerates something to illustrate a point. While overstatements often add a sense of humor to the writing, poets in particular might use this device for strong, evocative emotions and imagery.

Here’s an example, from the poem “100 Bells” by Tarfia Faizullah (which also has great examples of parataxis):

This is, of course, a metaphor. The speaker probably doesn’t believe they actually have horns nestled beneath their hair. But, this visceral overstatement still rings true to the reader—it feels painful, intimate, real, true.

An overstatement is often another literary device, too, such as a metaphor or simile or hyperbole.

33. Tmesis—A Word or Phrase Embedded in Another Word or Phrase

Will rhetorical devices revolutionize your writing? Abso- freaking -lutely!

A tmesis (yes, spelled that way) is a word or phrase embedded in another word or phrase, usually for emphatic effect. It typically reflects the ways we speak to one another.

Some examples of tmesis in everyday speech include:

• That’s a whole nother story
• Leave it any old where you like.
• This is fan- bloody -tastic. (Typical of British English.)
• Ned Flanders in The Simpsons : “Well- diddly -elcome!”
• Barney Stinson in How I Met Your Mother : “Legen- wait for it -dary”

And, in literature:

While tmesis seems easiest to construct in languages like English, you can find examples of this device in both contemporary and classic literature. In Latin, Ovid’s Metamorphoses utilizes the device. Contemporarily, many stream of conscious poets and modernists have used tmesis to reflect the fractured nature of language in the brain.

The following common rhetorical devices are employed to make the writing memorable. Stylistic writing can prove both persuasive and compelling, sticking in the audience’s mind long after the final sentence.

34. Adnomination—Words with Repeating Roots

A single root word can produce many words in the contemporary English lexicon. For example, the latin “facere,” which means “to make” or “to bring forth,” has spawned a bunch of English words. Some examples:

Adnomination is the use of two or more words that share similar roots in a sentence. By doing this, the writer makes something about the sentence memorable. This is a rhetorical device useful for both rhetoricians and for marketers.

Here’s an example from the poem “The Choice” by Franz Wright (which repeats the prefix “some”):

35. Aposiopesis—The Unfinished Sentence

An aposiopesis occurs when the speaker leaves their sentence unfinished. Doing so forces the audience to use their imaginations and “fill in the blank,” which makes the speaker’s message more impactful—provided it’s clear what the speaker implies.

Use aposiopesis clearly, or else—!

Shakespeare employed this device often in his plays. One example comes from King Lear (I.iv):

Two examples of this rhetorical device appear in the bolded line. They both communicate something similar: the “such revenges” that King Lear will take on his daughters. What those revenges are, the reader doesn’t know—and that not knowing actually makes these words scarier, as the reader is left to fill in the blanks with their own imagination, and why wouldn’t we imagine the worst “terrors of the earth?”

36. Circumlocution—Unnecessary Wordiness

Circumlocution (also known as periphrasis) is the use of extraneous words to describe something that could be described concisely. That sentence is one example!

At its most useful, a circumlocution helps define words, so you’ll see this device employed in dictionary entries. It’s also common for language learners to use circumlocution when they don’t have a strong vocabulary—for example, saying “my mother’s sister” if you don’t know the word “aunt.”

Circumlocution is also the operating mechanism for euphemisms. Instead of saying a person is “dumb,” you might say they “didn’t have the best schooling growing up.” In literature, this is the operating mechanism for calling Voldemort “He-who-must-not-be-named.”

Among rhetorical devices, circumlocution is commonly used when politicians try to talk in circles, or else express empty ideas using bloated language. This use of circumlocution is also known as “equivocation.”

For example, if you ask a politician why they decided to close an important public school, they might say they’re trying to “allocate resources in the interest of all students” or “optimize the city’s learning experience through tailored resource allocation.” Well, those ideas sound fine and dandy, but they’re not actually answering the question, they’re just appealing to the audience by being ambiguous and seemingly-moral.

37. Dysphemism—Language That’s Derogatory Instead of Neutral

A dysphemism is the opposite of a euphemism. When you use words derogatorily, particularly when a neutral word or phrase already exists, you are employing dysphemism—a device sometimes used alongside bdelygmia.

• Euphemism: It’s time for Number Two.
• Neutral term: I need to use the restroom.
• Dysphemism: I’ve gotta shit.

So, most insults, swear words, and vulgarities are dysphemisms.

There is something to be said about connotation, context, and the audience: in some instances, a dysphemism could be a euphemism, and vice versa. If someone died, for example, and the nurse said that he “kicked the bucket,” this would normally be a euphemism. But, if the family prefers direct communication, or if the nurse laughed while she said it, then the nurse might have used a dysphemism instead.

38. Ellipsis—Omission of Words

Ellipsis is the omission of words from a sentence, encouraging the reader to “fill in the blank.” Aposiopesis is a form of ellipsis, but an ellipsis can happen anywhere in the text, and is much more open in terms of subject matter.

Take a look at the following example sentences. The words in brackets can be removed without changing the meanings of the sentences. If those bracketed words were removed, these sentences would then contain ellipses:

• I rode the train, and he [rode] the bus.
• I rode the train, [but I did] not [ride] the bus.
• Who rode the train to school today? I did [ride the train, myself.]
• I’ll ride the train, and you will [ride the train] too.

Ellipsis is a useful tool in the art of concise writing. It can also add ambiguity, particularly in literary works, if the writer wants to imply but not outright state something occurring in the story. Here’s a famous example from The Great Gatsby by F. Scott Fitzgerald, which suggests sexual relations between Mr. McKee and Nick Carraway:

Then Mr. McKee turned and continued on out the door. Taking my hat from the chandelier, I followed.

“Come to lunch some day,” he suggested, as we groaned down in the elevator.“Where?”

“Anywhere.”

“Keep your hands off the lever,” snapped the elevator boy.

“I beg your pardon,” said Mr. McKee with dignity, “I didn’t know I was touching it.”

“All right,” I agreed, “I’ll be glad to.”

… I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands.

“Beauty and the Beast… Loneliness… Old Grocery Horse… Brook’n Bridge…”

Then I was lying half asleep in the cold lower level of the Pennsylvania Station, staring at the morning Tribune, and waiting for the four o’clock train.

The ellipses are marked by the three dots (…). It’s the ellipses after the main bit of dialogue that suggests the two men had some sort of relations: we know time has passed, but not what precisely occurred so that Nick was beside the bed and McKee was in his underwear.

39. Isocolon—Parallelism With an Equal Number of Words or Syllables

A writer uses isocolon when they write a parallel sentence in which each element has the same number of words or syllables. This device is naturally built into certain other rhetorical devices, such as antithesis (“go big or go home!”), and it’s also built into poetry forms like iambic pentameter.

Here are two rhetorical devices examples that use isocolon:

Same number of words: 

Same number of syllables:

Notice how each item replicates the same grammatical and syntactical structures. Isocolon presents ideas in a balanced manner, maintaining rhythm and flow in the sentence while advancing equally weighted ideas.

Isocolon can be further defined as bicolon (two parallel items), tricolon (three parallel items), tetracolon (four parallel items), and so on.

40. Pleonasm—Intentional Redundancy

If you use rhetorical devices, you are a smart, intelligent person!

A pleonasm is an intentional redundancy. It is typically used to emphasize a certain idea or draw attention to it, though it can also add a sense of urgency and intensity to language, so long as it’s employed properly.

Pleonasm is very similar to tautology, which is when you use different words that have the same meanings side by side. The only difference is that a pleonasm is any sort of rhetorical magniloquence.

Some phrases in the English language are inherently pleonastic/tautological. You might have said or heard recently:

• I saw it with my own two eyes. (You can just say “my.” The “two” is redundant, too.)
• Can I have a chai tea ? (“Chai” literally means “tea.”)
• I’ll have the tuna fish for supper. (Just “tuna” communicates the same idea.)
• It may be possible.
• I got a free gift !
• Under false pretenses.
• PIN Number (PIN stands for Personal Identification Number.)
• ATM Machine (ATM stands for Automatic Teller Machine.)

Pleonasm is also a prominent feature in Mary Oliver’s poem “Every Dog’s Story”:

I have a bed, my very own . It’s just my size. And sometimes I like to sleep alone with dreams inside my eyes .

But sometimes dreams are dark and wild and creepy and I wake and am afraid , though I don’t know why. But I’m no longer sleepy and too slowly the hours go by.

So I climb on the bed where the light of the moon is shining on your face and I know it will be morning soon.

Everybody needs a safe place.

Pleonasm, here, emphasizes the dog’s intense emotions, and also somehow emulates the way a dog might think. The writing here certainly feels feasible for a dog’s own thoughts, if a dog thought in the English language.

The key here is whether or not the writer is abusing their poetic license: some pleonasm may be useful, though of course it’s best to err on the side of concision.

Master These Common Rhetorical Devices in Literature at Writers.com

Poets, rhetoricians, storytellers, lawyers, politicians, journalists, and translators all use these common rhetorical devices in their work. These devices can be leveraged for style, for argument, or for effective, evocative writing.

Whatever your screed, master these common rhetorical devices at Writers.com. Take a look at our upcoming classes , where you’ll receive expert feedback on every piece of writing you submit.

Sean Glatch

Useful article. The implications or the complications of using certain words or phrases are well explained.

The implications or the complications of using certain words or phrases are well explained. This helps to improve my writing skills.

This has built me. Making me to increase my standard in styles and other things in literary work.

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10 Rhetorical Strategies Any Student Can Easily Learn

Feb 1, 2023

Whether you’re teaching rhetorical analysis for the first time or the fiftieth, you’re probably looking for strategies that aren’t overcomplicated. Well this post, with its 10 rhetorical strategies that any student can learn, is for you!

Rhetorical analysis involves looking beyond just what is said in a text in order to focus on how things are said. A reader using rhetorical strategies for their analysis should ask what the author’s goals are and then examine how the author accomplishes those goals in writing.

Exploring the ‘how’ of writing is important since it promotes critical thinking. Examining and understanding tone, imagery, structure, and more, along with logos, ethos, and pathos in a text creates students who learn to dig more deeply. They are then better able to examine rhetoric in other texts in today’s society. 

There is, therefore, a clear link between the rhetorical analysis you do in your classroom and developing informed citizens that students can (and will be) beyond your classroom!

Need help with Test Prep? Check out this FREE Pack of 3 Test Prep Activities to help students achieve success on standardized tests!

Table of Contents

Define Rhetorical Strategies

Rhetorical strategies or rhetorical techniques as they’re sometimes called are tools writers use to affect a reader in an intended way. 

Texts that use these rhetorical strategies include speeches, commercials, videos, documentaries, historical texts, biographies, nonfiction narratives, and even poetry or songs. 

We look to these strategies to gain a better understanding of the message of any text. On the surface, a text might say one thing but by reading between the lines and digging deeper it becomes clear the text is about something else. 

Have you read (or taught) Jonathan Swift’s “A Modest Proposal?” If so, then you know that it’s not really about eating babies to solve a famine. In looking closely at the text and its use of rhetoric, the reader can figure out what the text really says.

Starting with Rhetorical Strategies

Any unit or lesson focused on rhetoric usually first introduces the appeals – ethos, logos, and pathos . 

• Ethos is the appeal to the audience through a belief in the writer’s authority or credibility. 

Sojourner Truth with her “Ain’t I A Woman” speech is a great place to start. Check out these activities to help with teaching rhetorical strategies . 

• Logos is the appeal to the audience’s rational thoughts using facts and statistics.

As students work through any text, a graphic organizer for tracking appeals differentiates for those students who need added support and keeps everyone organized. 

• Pathos is the appeal to the audience’s emotions through emotional language. 

Once students gain a familiarity with these components they can start to analyze all three in any text. This rhetorical analysis writing bundle has everything you need to walk students through the entire analysis process. It helps students create thesis statements, outline essays, and examine nonfiction texts. 

From that introductory lesson, you can move forward and ask students to be more specific. 

Top 10 Rhetorical Strategies Any Student Can Learn

Instead of having students say “there is logos here,” they can ask what type of logos is included or how is logos used. The same is true for pathos and ethos. It’s not just a matter of each/both being present but analyzing what type, and how or why the author includes each/both. 

The following 10 rhetorical strategies will have students answer the how and why and not just the ‘what’ of rhetoric.

1. Repetition

Using the same word or phrase more than once, particularly in close proximity usually has significance. Repetition might have to do with the emphasis on a particular feeling intended by the author. Like in this rhetorical analysis essay pack about The Declaration of Independence , there is a list of atrocities committed by the British that is extremely repetitive.

2. Alliteration  

Much like the repetition of a word or phrase, the repetition of a letter sound in close proximity – aka alliteration – draws the audience’s attention. In Florence Kelley’s famous speech about child labor, she uses this device to highlight abhorrent working conditions. Get your students to explore this device and others with these activities for Kelley’s speech . 

3. Hyperbole

The use of exaggeration is common in satire, especially in works by Jonathan Swift. Consider titles like “Sending Grandma to the Ovens” or his solution to famine in “A Modest Proposal” to see how he expertly employs rhetoric. Take a closer look at his work with your students with this Swift-focused satire lesson bundle .

When a writer includes deliberately contrary information to elicit a particular effect, we know this as irony. Again, Swift’s work is exemplary of this. Looking at “A Modest Proposal” and its use of irony with this lesson plan will help students understand pathos and Swift’s ironic use of logos too! 

5. Allusion

A writer who alludes to other texts often does this to connect to other big ideas. Teaching students about mythical, literary, biblical, religious, pop culture, and historical elements will help them to identify allusions. 

Want students to practice this one? Check out this Rhetorical Analysis Essay Writing Pack for the Early American sermon “Sinners in the Hands of an Angry God” by Jonathan E dwards. This pack includes a detailed lesson to write a rhetorical analysis step-by-step from the initial reading to the final essay. 

Tone is how the writer tells the audience to feel about a topic. This one is important to examine at a textual level because it involves close reading. We want students to be able to identify specifics of tone rather than just saying “tone” in their analysis. 

A good way to help students with this process is to brainstorm a list of words to describe tone. Once they have a mini-reference list they can tackle a text like Patrick Henry’s “Give Me Liberty” speech in this lesson .  

Description tied to the five senses can be a direct link to figuring out tone. How an author describes things using words with a negative or positive connotation gives away a lot, particularly pathos! 

Try this just-print-and-teach lesson for Elizabeth Cady Stanton’s “Declaration of Sentiments” speech about the treatment of women . The lesson focuses on examining the author’s purpose of rhetorical devices like repetition, imagery, and allusions. 

8. Rhetorical Question

Does this one need an explanation? Voila, a rhetorical question! It implies an answer but doesn’t require one. As a device, this one is easy to find and could be a great starting point for students. 

In this lesson about Sojourner Truth’s famous historical speech , the rhetorical question is in the title. Have students follow that throughout the speech to see its effects.

9. Point of View

The writer decides who tells the ‘story’ and who the audience is too. Point of view is the first step to making clear the goal of a text. For example, when you read a text you might ask if the writer is addressing politicians or the general public. If it’s politicians, then you’ll likely note different language and structure than if they address the general public. 

The best way to explore the point of view element is to include different texts. Save time and effort with this bundle of rhetorical essay analysis activities that features 8 different texts and accompanying activities for your students to complete.

10. Comparison: Simile and Metaphor

The comparisons an author uses through simile and metaphor are used to simplify a complex text. What’s more, these comparisons can be quite revealing. 

Once your students identify and examine these rhetorical strategies they’ll be ready to move to write about them. Check out this post with step-by-step instructions to write a rhetorical analysis . 

Why teach these Rhetorical Strategies?

These 10 rhetorical strategies are a great start for any student. Each one provides a different way to examine rhetoric for classroom texts plus those texts they encounter outside of class. 

Plus, as students continue in high school and beyond, texts will become more challenging and students will need to have a solid foundation. With their practiced knowledge of ethos, pathos, and logos along with these 10 rhetorical strategies, they’ll have the solid footing they need to tackle any text!

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• How to write a rhetorical analysis | Key concepts & examples

How to Write a Rhetorical Analysis | Key Concepts & Examples

Published on August 28, 2020 by Jack Caulfield . Revised on July 23, 2023.

A rhetorical analysis is a type of essay  that looks at a text in terms of rhetoric. This means it is less concerned with what the author is saying than with how they say it: their goals, techniques, and appeals to the audience.

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Table of contents

Key concepts in rhetoric, analyzing the text, introducing your rhetorical analysis, the body: doing the analysis, concluding a rhetorical analysis, other interesting articles, frequently asked questions about rhetorical analysis.

Rhetoric, the art of effective speaking and writing, is a subject that trains you to look at texts, arguments and speeches in terms of how they are designed to persuade the audience. This section introduces a few of the key concepts of this field.

Appeals: Logos, ethos, pathos

Appeals are how the author convinces their audience. Three central appeals are discussed in rhetoric, established by the philosopher Aristotle and sometimes called the rhetorical triangle: logos, ethos, and pathos.

Logos , or the logical appeal, refers to the use of reasoned argument to persuade. This is the dominant approach in academic writing , where arguments are built up using reasoning and evidence.

Ethos , or the ethical appeal, involves the author presenting themselves as an authority on their subject. For example, someone making a moral argument might highlight their own morally admirable behavior; someone speaking about a technical subject might present themselves as an expert by mentioning their qualifications.

Pathos , or the pathetic appeal, evokes the audience’s emotions. This might involve speaking in a passionate way, employing vivid imagery, or trying to provoke anger, sympathy, or any other emotional response in the audience.

These three appeals are all treated as integral parts of rhetoric, and a given author may combine all three of them to convince their audience.

Text and context

In rhetoric, a text is not necessarily a piece of writing (though it may be this). A text is whatever piece of communication you are analyzing. This could be, for example, a speech, an advertisement, or a satirical image.

In these cases, your analysis would focus on more than just language—you might look at visual or sonic elements of the text too.

The context is everything surrounding the text: Who is the author (or speaker, designer, etc.)? Who is their (intended or actual) audience? When and where was the text produced, and for what purpose?

Looking at the context can help to inform your rhetorical analysis. For example, Martin Luther King, Jr.’s “I Have a Dream” speech has universal power, but the context of the civil rights movement is an important part of understanding why.

Claims, supports, and warrants

A piece of rhetoric is always making some sort of argument, whether it’s a very clearly defined and logical one (e.g. in a philosophy essay) or one that the reader has to infer (e.g. in a satirical article). These arguments are built up with claims, supports, and warrants.

A claim is the fact or idea the author wants to convince the reader of. An argument might center on a single claim, or be built up out of many. Claims are usually explicitly stated, but they may also just be implied in some kinds of text.

The author uses supports to back up each claim they make. These might range from hard evidence to emotional appeals—anything that is used to convince the reader to accept a claim.

The warrant is the logic or assumption that connects a support with a claim. Outside of quite formal argumentation, the warrant is often unstated—the author assumes their audience will understand the connection without it. But that doesn’t mean you can’t still explore the implicit warrant in these cases.

For example, look at the following statement:

We can see a claim and a support here, but the warrant is implicit. Here, the warrant is the assumption that more likeable candidates would have inspired greater turnout. We might be more or less convinced by the argument depending on whether we think this is a fair assumption.

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Rhetorical analysis isn’t a matter of choosing concepts in advance and applying them to a text. Instead, it starts with looking at the text in detail and asking the appropriate questions about how it works:

• What is the author’s purpose?
• Do they focus closely on their key claims, or do they discuss various topics?
• What tone do they take—angry or sympathetic? Personal or authoritative? Formal or informal?
• Who seems to be the intended audience? Is this audience likely to be successfully reached and convinced?
• What kinds of evidence are presented?

By asking these questions, you’ll discover the various rhetorical devices the text uses. Don’t feel that you have to cram in every rhetorical term you know—focus on those that are most important to the text.

The following sections show how to write the different parts of a rhetorical analysis.

Like all essays, a rhetorical analysis begins with an introduction . The introduction tells readers what text you’ll be discussing, provides relevant background information, and presents your thesis statement .

Hover over different parts of the example below to see how an introduction works.

Martin Luther King, Jr.’s “I Have a Dream” speech is widely regarded as one of the most important pieces of oratory in American history. Delivered in 1963 to thousands of civil rights activists outside the Lincoln Memorial in Washington, D.C., the speech has come to symbolize the spirit of the civil rights movement and even to function as a major part of the American national myth. This rhetorical analysis argues that King’s assumption of the prophetic voice, amplified by the historic size of his audience, creates a powerful sense of ethos that has retained its inspirational power over the years.

The body of your rhetorical analysis is where you’ll tackle the text directly. It’s often divided into three paragraphs, although it may be more in a longer essay.

Each paragraph should focus on a different element of the text, and they should all contribute to your overall argument for your thesis statement.

Hover over the example to explore how a typical body paragraph is constructed.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

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The conclusion of a rhetorical analysis wraps up the essay by restating the main argument and showing how it has been developed by your analysis. It may also try to link the text, and your analysis of it, with broader concerns.

Explore the example below to get a sense of the conclusion.

It is clear from this analysis that the effectiveness of King’s rhetoric stems less from the pathetic appeal of his utopian “dream” than it does from the ethos he carefully constructs to give force to his statements. By framing contemporary upheavals as part of a prophecy whose fulfillment will result in the better future he imagines, King ensures not only the effectiveness of his words in the moment but their continuing resonance today. Even if we have not yet achieved King’s dream, we cannot deny the role his words played in setting us on the path toward it.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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The goal of a rhetorical analysis is to explain the effect a piece of writing or oratory has on its audience, how successful it is, and the devices and appeals it uses to achieve its goals.

Unlike a standard argumentative essay , it’s less about taking a position on the arguments presented, and more about exploring how they are constructed.

The term “text” in a rhetorical analysis essay refers to whatever object you’re analyzing. It’s frequently a piece of writing or a speech, but it doesn’t have to be. For example, you could also treat an advertisement or political cartoon as a text.

Logos appeals to the audience’s reason, building up logical arguments . Ethos appeals to the speaker’s status or authority, making the audience more likely to trust them. Pathos appeals to the emotions, trying to make the audience feel angry or sympathetic, for example.

Collectively, these three appeals are sometimes called the rhetorical triangle . They are central to rhetorical analysis , though a piece of rhetoric might not necessarily use all of them.

In rhetorical analysis , a claim is something the author wants the audience to believe. A support is the evidence or appeal they use to convince the reader to believe the claim. A warrant is the (often implicit) assumption that links the support with the claim.

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9.3 Glance at Genre: Rhetorical Strategies

Learning outcomes.

By the end of this section, you will be able to:

• Identify key rhetorical strategies that authors use to persuade readers.
• Analyze texts to demonstrate understanding of key rhetorical concepts.
• Identify genre conventions and explain how they are shaped by purpose, culture, and expectation.

Rhetorical analysis is the genre , or type of writing, that examines the way writers and speakers use language to influence readers. Rather than describing or summarizing content—the what of characters or themes—rhetorical analysis focuses on the individual parts of a text to show how language works to create the effects the writer wants. In other words, in addition to content, writers use rhetorical strategies to deliver and strengthen their ideas and thus influence their readers. A rhetorical analysis should, therefore, address the rhetorical situation , or conditions of communication that surround the rhetoric. These consist of the author (who), message (what), readers (to whom), purpose (why), means (how), context (where and when), and culture (community).

Culture refers to the way of life that a defined group of people establish. Their beliefs, laws, customs, and habits represent them as a group and may provide a signature to identify who they are and what they have accomplished. Rhetorical analysis must take these factors into full consideration, especially because cultural patterns are constantly changing and evolving with new knowledge and behaviors. Moreover, culture will vary greatly from group to group. Subgroups within a larger culture—for example, minorities within a majority population—may have distinct expressions of culture. When rhetorical analysis approaches language of a particular culture, questions may arise about who is best equipped to do the analysis and on what criteria, based on time and place.

Writers of rhetorical analyses consider these elements carefully and ask questions based on them. What are the goals of the author of the text? What factors are at play in the author’s choice of strategies used to make a rhetorical impact? What may occur in the interaction between the writer and reader? Will readers approach the piece neutrally, with no previous opinions? Are they likely to agree because they are of the same opinion, or are they hostile and ready to reject the arguments? Have they heard or read the ideas before? Will the ideas be too radical or too familiar? Are readers likely to see the author as sharing the field with them or as a stranger who must win their confidence?

The Workings of Rhetorical Analysis

The aim of rhetorical analysis is not to find agreement with or praise for the writer, although either may be implied or stated. The essential task of analyzing requires a detachment that will convince the readers of the validity and effectiveness (or lack thereof) of the writing by identifying the writer’s tools and what they accomplish.

As you formulate your rhetorical analysis, be aware of the following approaches and strategies that writers use to persuade an audience. Your goal will be to identify them in your analysis, explain their use, and evaluate their effectiveness.

• Establishing credibility. Writers include their credentials or experience with the subject to ensure that readers will take them seriously as someone who knows what they’re talking about. To reinforce their authority, they cite reliable sources as support for their points.
• Sharing personal experience. Sharing a personal experience related to the subject enhances credibility and may also appeal to readers’ emotions.
• Targeting emotional concerns. By specifically addressing those incidents or outcomes that readers may fear or desire, the author can rally them to take a particular position. Emotional concerns also include appeals to the five senses and to broader sentiments such as love, loyalty, anger, justice, or patriotism.
• Using devices that draw attention to claims. These include literary devices such as parallelism, repetition, and rhetorical questions that writers and speakers use to emphasize points and unify a text.
• Supporting claims with convincing evidence. Ways of supporting claims include quoting, summarizing, or paraphrasing expert opinions; relating anecdotes and examples; and citing appropriate statistics and facts.
• Acknowledging the opposition. If a writer makes a point of explaining other groups’ positions carefully and respectfully, readers from those groups, as well as the target audience, are more likely to be responsive to the writer. By acknowledging the opposition, writers show they have considered opposing views and can then demonstrate that their position is preferable.
• Questioning the motivation of the opposition. By exposing others’ possibly conflicting interests, the writer can undermine the credibility of an opponent’s character or argument.

In addition to these, writers may use more questionable rhetorical devices to persuade readers. While the techniques of each strategy differ, all lead away from the actual argument and seek to persuade through means other than reasonable, logical thought. Such strategies include bandwagon, ad hominem (name-calling), bait and switch, and more. Recall the roommates’ use of some of these in their efforts at persuasion in Breaking the Whole into Its Parts .

Rhetorical Strategies in Advertising and Public Policy

The strategies and other devices of rhetorical writing that are open to analysis are present in many types of communication, including multimodal examples such as advertisements that combine visuals with carefully crafted texts, dialogue, and voice-over.

Look at the M&Ms commercial, for example, in this collection of Super Bowl ads. Starting at minute 4:57, the prize-winning ad for M&Ms initially shows the widely recognizable candy in its multiple colors as both speaking cartoon figures and symbols of human behavior. The simple pitch: when people have offended others in one of a range of interpersonal blunders, the candy is offered as a peace offering. For example, the first image shows a man on a plane bumping into another passenger’s seat, causing him to spill his drink. The offender then offers the passenger a package of M&Ms. What is the rhetorical strategy behind the situation and the gesture? The ad appeals to pathos in the sense that people feel the need to be liked. Despite the humorous twist in the comment that he kicked the seat on purpose, the offending man nonetheless doesn’t want to be disliked. Nor do the others who commit other blunders. The sense of taste—sweetness—also comes into play, appealing to the senses, as does the sense of sight in the images of the colorful candy.

Furthermore, placing the ad during the Super Bowl targets an audience of game watchers whose ages, interests, and habits have been studied. They may be in a snacking frame of mind, so the appeal of candy is timely (kairos). The ad combines sophistication, appropriate adult behavior, and childishly amusing animation and personification. Seeing the product makes it more memorable. On the other hand, note the subtle use of the bandwagon fallacy: different people in different situations are doing the same thing—offering M&Ms. The bandwagon implication is that if you do something you’re sorry for or should be sorry for (or even if you don’t), giving out M&Ms is the way to apologize and be likable. Because travelers, businesspeople, the religiously observant, and others from different walks of life are doing it, so should you.

Figure 9.4 is an image from the U.S. Forest Service that also reflects the use of rhetorical strategies. Smokey Bear is a symbol created in 1944 to raise awareness of the danger of forest fires. Images of this gentle, personified bear are often accompanied by the slogan “Remember . . . only you can prevent forest fires” or a variation of it. The image shows Smokey dressed in rolled-up jeans, a name belt, and a ranger’s hat. He is reading letters delivered by a mail truck and sent to his own ZIP code, 20252, from children and adults promising to cooperate with his environmental efforts. The entire image is among the most recognizable of American cultural symbols.

The continuing identification of the bear and his appeal over decades is an example of the powerful use of rhetorical devices that speak without seeming to become dated and lose impact. First, a wild and dangerous animal is personified and made credible so that the credibility (ethos) of Smokey as a domesticated father figure with a fuzzy, playful cub climbing on the family mailbox removes any sense of danger and instead makes him into a believable voice for safety. No humans are emphasized in the illustration; the mail truck is seen only in the distance after having delivered another stack of fan mail. Other small animals are present in the background, as are familiar household items such as a shovel, a mailbox, an American flag, a boat on crystal clear water, and the playful images of the ranger’s hat and rolled-up jeans on crossed legs. The drawing features bright primary colors and the dark forest green of bountiful nature. The print medium in the center of the illustration, the sign reading “Prevent forest fires,” unifies the visual.

Because the images are emotionally accessible to children as well as adults, they appeal to widely shared pathos. The unspoken implication is that preventing forest fires will allow these young animals and forest plants to live rather than die in a carelessly started—and deadly—fire. In addition, it will allow human life to continue safely and pleasurably, as viewers can see, far in the background, people sailing and enjoying the water. If children’s wisdom and receptivity to images are present, this idealized picture has great appeal. Rather than a harsh rebuke for adult negligence, the lesson of Smokey relies on the power of rhetoric to modify behavior with specific, carefully crafted appeals. Yet the most frequently used slogan, “Only you can prevent forest fires,” is an example of hyperbole. Certainly “you” are not the sole person responsible for starting or preventing fires. Other people and other factors are at work aside from yourself.

More explicit, however, is this earlier image:

The rhetorical strategy again is pathos, appealing to a sense of guilt. If these children can help prevent fires, then surely adults can do the same, as they are likely more knowledgeable and care for the safety and health of their children.

Rhetorical Analysis: Key Terms

Rhetorical appeals.

When doing a rhetorical analysis, notice these appeals writers use to persuade their audiences.

• Ethos : believable, authoritative voice that elicits credibility and audience trust.
• Kairos : sense of appropriate timing when attempting to persuade.
• Logos : credible information—facts, reasons, or examples—presented as evidence that moves toward a sensible and acceptable conclusion.
• Pathos : the use of appeals to feelings and emotions shared by an audience. Some of the general categories are fear, guilt, anger, love, loyalty, patriotism, and duty.

Rhetorical Devices and Language Use

When doing a rhetorical analysis, notice these devices writers use to organize and emphasize their writing.

• Figurative language : similes and metaphors. Comparing one aspect of things that in other ways are completely different is an essential part of rhetorical language. Simile example: “The treasure chest of nature’s wonders shone like a pirate’s gold tooth.” Metaphor example: “The pizza was a disk of saucy sunlight.”
• Numerical data : statistics and figures. When accurate, numerical data can strengthen an argument.
• Parallel structure : repetition of the same pattern of words to show that ideas are equally significant. Parallel structure, or parallelism, calls attention to these ideas, achieves balance, and makes the statements more memorable. Example: “Ask not what your country can do for you but what you can do for your country.”
• Personification : giving an inanimate or nonhuman object human characteristics to make it seem alive and relatable. Examples: “The virus packed its bags and spread across the ocean”; “Twitter erupted in outrage.”
• Repetition : repeating a single word or group of words to build emphasis. Example: “The first underline cause end underline is poverty; the second underline cause end underline is poor health; the third underline cause end underline is discrimination. These underline causes end underline have been studied, but to what effect?”
• Rhetorical question : a question that is not expected to be answered, one for which there is no answer, or one that creates a dramatic effect. Examples: “Has it occurred to you to ask why the economy is so unstable? A first point to consider is . . .”; “Do you think poverty will go away by itself?”
• Understatement : presenting something as less important than it is as a way of distancing from the truth. Understatement is often used sarcastically or ironically. Example: “It may not have occurred to politicians that poverty leads to a host of health-related issues.”

Rhetorical Fallacies

When doing a rhetorical analysis, notice these fallacies writers may use to unethically persuade their audiences.

• Ad hominem : logical fallacy that attempts to discredit a person, not an argument. Ad hominem , meaning “against the man,” is often termed name-calling . Examples: “She’s just a leftover from another era who can’t accept change”; “He’s a stupid bully and an outright thief.”
• Bait and switch : logical fallacy that introduces a point about one thing that is likely to be accepted and then changes the terms once initial agreement occurs. Example: “Buy these phones at this price before they’re all gone!” When you go to buy one, moments later, the phones are gone—and they’re far more expensive.
• Bandwagon : logical fallacy often used in advertising and propaganda. It tries to make people do something or think a certain way because everyone is doing it, and if they don’t go along, they will be excluded. Example: “Everyone is buying these sneakers; get yours now before you’re left out.” Negative example: “This style is so dated; no one wears things like this now.”
• Causal fallacy : the faulty logic of claiming or believing that an event that follows another event is the result of it. For example, losing your keys after going to a concert does not mean the events are connected causally; going to the concert did not cause you to lose your keys.
• Hyperbole : exaggeration. Hyperbole is one of the staples of advertising language. Examples: “Season’s Best Peppermint Glazed Delights”; “I have a ton of homework.”

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Part II: Rhetorical Strategies for Essays

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Nine rhetorical strategies are generally recognized: Narration, description, comparison, example, illustration, definition, process, causal analysis and argument. Most writing will use a variety of strategies in a single essay. However, for inexperienced rhetoricians, practicing each separately helps in learning the techniques of organization distinct to the individual strategy. Students then learn to draw from a full palette of techniques to paint your ideas in writing. For example, you can’t tell a good story (narration), without description, you might provide examples when comparing items, and you will present causes and effects as part of logical reasoning in argument.

In this section, the chapters included recognize the seven strategies generally taught as single essays. Description is included with Chapter 9, and example is treated in Chapter 12 as synonymous with illustration.

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Mitch Landrieu Speech Analysis

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Trump Ramps up Dark Rhetoric in Ohio Stump Speech for Senate Candidate Bernie Moreno

Former President Donald Trump claimed that he — not President Joe Biden — will protect Social Security and warned of a “bloodbath” if he loses in November as he campaigned for Senate candidate Bernie Moreno in Ohio

Republican presidential candidate former President Donald Trump gestures to the crowd at a campaign rally Saturday, March 16, 2024, in Vandalia, Ohio. (AP Photo/Jeff Dean)

VANDALIA, Ohio (AP) — Former President Donald Trump claimed that he — not President Joe Biden — will protect Social Security and warned of a “bloodbath” if he loses in November as he campaigned for Senate candidate Bernie Moreno in Ohio.

Trump, speaking on a wind-whipped airfield outside of Dayton Saturday, praised his chosen candidate in the race as an “America first champion" and “political outsider who has spent his entire life building up Ohio communities."

“He's going to be a warrior in Washington," Trump said, days after securing enough delegates to clinch the 2024 Republican nomination.

Moreno faces Secretary of State Frank LaRose and state Sen. Matt Dolan in Tuesday’s GOP primary. LaRose and Moreno have aligned themselves with the pro-Trump faction of the party, while Dolan is backed by more establishment Republicans, including Gov. Mike DeWine and former Sen. Rob Portman .

Saturday's rally was hosted by Buckeye Values PAC, a group backing Moreno’s candidacy. But Trump used the stage to deliver a profanity-filled version of his usual rally speech that again painted an apocalyptic picture of the country if Biden wins a second term.

“If I don’t get elected, it’s going to be a bloodbath for the whole — that’s going to be the least of it. It’s going to be a bloodbath for the country," he warned, while talking about the impact of offshoring on the country’s auto industry and his plans to increase tariffs on foreign-made cars.

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Biden campaign spokesperson James Singer accused Trump of doubling “down on his threats of political violence.”

“He wants another January 6, but the American people are going to give him another electoral defeat this November because they continue to reject his extremism, his affection for violence, and his thirst for revenge," Singer charged in a statement.

Trump campaign spokesman Steven Cheung said that Trump had clearly been talking about the impact of a second Biden term on the auto industry and broader economy.

“Crooked Joe Biden and his campaign are engaging in deceptively, out-of-context editing,” he said.

Trump repeatedly noted his difficulty reading from his teleprompters, which could be seen visibly whipping in 35-mile-per-hour wind gusts.

A one-time Trump critic, Moreno, a wealthy Cleveland businessman, supported Marco Rubio for president in the 2016 Republican primary, and once tweeted that listening to Trump was “like watching a car accident that makes you sick, but you can stop looking.” In 2021, NBC News reported on an email exchange around the time of Trump’s first presidential run in which Moreno referred to Trump as a “lunatic” and a “maniac.”

On Saturday, however, Moreno praised Trump as a “great American” and railed against those in his party who have been critical of the former president, who this week became his party's presumptive nominee for a third straight election.

“I am so sick and tired of Republicans that say, ‘I support President Trump’s policies but I don’t like the man,’" he said as he joined Trump on stage.

Trump also dismissed recent allegations against Moreno, comparing them to attacks he has faced through the years, including his criminal indictments. Trump has been charged in four separate cases that span his handling of classified documents to his efforts to overturn the results of the 2020 election.

“He’s getting some very tough Democrat fake treatment right now,” Trump said. “And we’re not going to stand for it because I know this man. We all know this man. He's a hero, he's a winner. And we're not going to let these people — these people are sick."

The Associated Press reported on Thursday that in 2008, someone with access to Moreno’s work email account created a profile on an adult website seeking “Men for 1-on-1 sex.” The AP could not definitively confirm that it was created by Moreno himself. Moreno’s lawyer said a former intern created the account and provided a statement from the intern, Dan Ricci, who said he created the account as “part of a juvenile prank.”

Questions about the profile have circulated in GOP circles for the past month, sparking frustration among senior Republican operatives about Moreno’s potential vulnerability in a general election, according to seven people who are directly familiar with conversations about how to address the matter. They requested anonymity to avoid running afoul of Trump and his allies.

Trump, in his remarks, also accused Biden of posing a threat to Social Security as he continued trying to clean up comments from an interview earlier this week in which he appeared to voice openness to cuts.

“You will not be able to have Social Security with this guy in office because he’s destroying the economics of our country. And that includes Medicare, by the way, and American seniors are going to be in big trouble," he warned, even though Biden has pledged to protect and strengthen Social Security as it faces a projected budget shortfall.

“I made a promise that I will always keep Social Security, Medicare. We always will keep it. We never will cut it,” he said.

In a Monday interview with CNBC, Trump had answered a question about Social Security, Medicare and Medicaid by saying that, “there is a lot you can do in terms of entitlements, in terms of cutting and in terms of also the theft and the bad management of entitlements, tremendous bad management of entitlements. There’s tremendous amounts of things and numbers of things you can do."

Trump also continued to criticize Biden over his handling of the border as he cast migrants as less than human. “In some cases, they’re not people, in my opinion,” he said. Trump laced into Dolan, calling him a “weak RINO” — a Republican in name only — and accused him of “trying to become the next Mitt Romney." He also criticized the Dolan family, which owns Cleveland’s baseball team, for changing its name from the Cleveland Indians to the Cleveland Guardians.

Trump was joined at the rally by Ohio Sen. JD Vance and South Dakota Gov. Kristi Noem, who have both stumped with Moreno and are considered potential vice-presidential candidates.

Trump’s decision to back Moreno marked a major blow to LaRose, who had taken a number of steps to win his favor. Just days after entering the Senate race, LaRose endorsed Trump for president — reversing an earlier stance that the state’s elections chief should remain politically neutral. The next month, he fired a long-time trusted aide after old tweets surfaced in which the staffer criticized Trump.

The winner of Tuesday's primary will face third-term Sen. Sherrod Brown, viewed as among the nation’s most vulnerable Democrats, in November.

Brown, first elected in 2006 and uncontested in his primary this year, has managed to hold onto his seat even as the state has shifted to the right. In his most recent reelection in 2018, he defeated then-Rep. Jim Renacci by almost 7 percentage points. Two years later, Ohio voted for then-President Trump by 8 points.

Colvin reported from New York. Associated Press writer Brian Slodysko contributed to this report.

Meg Kinnard can be reached at http://twitter.com/MegKinnardAP

Copyright 2024 The  Associated Press . All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Macron again declines to rule out Western troops in Ukraine, but says they’re not needed now

FILE - French President Emmanuel Macron waits on the steps of the Elysee Palace, Monday, March 11, 2024 in Paris. French President Emmanuel Macron is to speak on national television on Thursday March 14, 2024 evening about how to further support Ukraine and the challenges faced by Europe, after saying last month the possibility of sending Western troops in the war-torn country could not be ruled out. (AP Photo/Michel Euler)

FILE - Ukrainian President Volodymyr Zelenskyy, left, and French President Emmanuel Macron shake hands after a press conference, on Feb. 16, 2024 at the Elysee Palace in Paris. French President Emmanuel Macron is to speak on national television on Thursday March 14, 2024 evening about how to further support Ukraine and the challenges faced by Europe, after saying last month the possibility of sending Western troops in the war-torn country could not be ruled out. (AP Photo/Thibault Camus, Pool, File)

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PARIS (AP) — French President Emmanuel Macron warned Western powers against showing any signs of weakness to Russia as he reiterated his position Thursday that sending Western troops into Ukraine shouldn’t be ruled out, though he said today’s situation doesn’t require it.

In an interview on French national television TF1 and France 2, Macron was asked about the prospect of sending Western troops to Ukraine , which he publicly raised last month in comments that prompted pushback from other European leaders who stressed they had no plans to do so.

“We’re not in that situation today,” he said, but added that “all these options are possible.”

Macron, who is the commander-in-chief of the country’s armed forces, declined to describe in which situation France would be ready to send troops. He said the responsibility for prompting such a move would lie with Moscow — “It wouldn’t be us” — and said France would not lead an offensive into Ukraine against Russia.

But he also said,“Today, to have peace in Ukraine, we must not be weak.”

Macron described the Russia-Ukraine war as “existential” to France and Europe.

“If war was to spread to Europe, it would be Russia’s sole choice and sole responsibility. But for us to decide today to be weak, to decide today that we would not respond, is being defeated already. And I don’t want that,” he said.

Macron’s televised interview comes after the French parliament debated the country’s Ukraine strategy this week. Both the National Assembly and the Senate approved in symbolic votes the 10-year bilateral security agreement signed last month between Macron and Ukrainian President Volodymyr Zelenskyy.

Macron said he will work on bringing further support to Ukraine at a meeting scheduled on Friday with German Chancellor Olaf Scholz and Polish Prime Minister Donald Tusk in Berlin.

Last month, the French president appeared isolated on the European stage after his remarks at a Paris conference on Ukraine prompted an outcry from others leaders. Scholz, in particular, appeared to contradict Macron, saying participants had agreed there will be “no ground troops” on Ukrainian soil sent by European states.

French officials later sought to clarify Macron’s remarks and tamp down the backlash, while insisting on the need to send a clear signal to Russia that it cannot win in Ukraine.

Scholz on Wednesday appeared dismissive of any speculation of frictions between France and Germany, saying he has a “very good personal relationship” with Macron.

France, Germany and Poland will meet as the so-called Weimar Triangle, and the grouping is especially important now that “we are all so concerned about the terrible consequences of the Russian war of aggression on Ukraine,” Scholz said.

Supporting Ukraine “is a very concrete and very practical question of whether there is enough ammunition, enough artillery, enough air defense - many things that play a major role. And discussing and advancing this cooperation once again is what is needed right now,” Scholz said.

AP writer Kirsten Grieshaber in Berlin contributed to the story.

Follow the AP’s coverage of the war at https://apnews.com/hub/russia-ukraine