The Address
«I hoped that you would come, I gave you my address»
Leonard Cohen: The Letters (Dear Heather, 2004)
An address is your carte de visite. The location you work, the place you live, the positioning to some particular issue — in a nutshell a placement of both it is, your unique sale point and its point of sale, your viewpoint and opinion. A monolog that differs from a talk — a dialog based on the letter’s concept: «You and I» in regular variety.
The demonstrative communique is made to instruct an audience, for example: a final plea. The persuasive speech is made to talk like you are starting over respective finally taking responsibility, for example: an inaugural. The entertaining oration again’s the ceremonial kind of an address, for example: an after-dinner speech. The informative discourse means the forensic variant, a stocktaking made to tidy it up.
The framing
Five rhetorical keys frame the address: (1) the keying of introduction, (2) the keying of issue, (3) the keying of underpinning surveys or polls, (4) the keying of live questionnaires on the spot, (5) the keying of conclusion, a recap nailing a message down to its essentials.
To clarify: (1) The introduction awakens attention. Short phrases make it easier to any listener and viewer to follow. To address the assembly directly fetches the sharp-eared, awaiting it really could be ’bout them this time. Most important: to figure out the concrete issue, your position and your aim — directly in the beginning. (2) To unfold arguments means to create blocks of issues (topic, theme accusation/charge) and backgrounds. Generally it’s about up to ten and counting. Means: Up to two handfuls of short paragraphs and modules outlining current happenings, future forecasts, and own opinions. (3) To underpin discoveries and assessments means to call-in surveys as (case) studies created by specialists on the particular field of finding. (4) Even right on the spot, directly on the ground of addressing, you can integrate dialogues to the audience, its opinion, questions, wishes, hopes, and incentives. (5) As the introduction, the conclusion’s the most important part of an address. It serves as the summarizing outline needing nothing eager than a few quotable lines. Broken down: An address is made to enlighten your audience, to make folks follow your aims and assessments, to lead ’em all to action.
The ham
Five types of rhetorical figures: (1) the figuratives of standards, means rules, their vices and intentions — the moral code, (2) the figuratives of emphasis, means to stress important parts — the relevance code, (3) the figuratives of incorporating, means discoursing the agenda (of stakeholders) — the wires code, (4) the figuratives of statement, means to position self — the orator code, (5) the figuratives of merge, means fetching ’em all — the linkability code.
Classical rhetorical masters — like Aristotle (384 BC to 322 BC) or Marcus Tullius Cicero (106 BC to 43 BC) — claim the stylistic devices of an address. The most commonly used ones, such as allegory, personification, and metaphor, underpin a (hidden) meaning of mostly moral coding and/or political significance.
(1) Figuratives of standards
Allegory: A pilgrim’s progress means the sum-total of some spiritual journey.
Personification: Musically for example, the pilgrim’s set to Eric «Mister Slowhand» Clapton and his 13th studio album from 1998.
Metaphor: Life itself means a pilgrim’s progress. The traveller’s always leaving town, some might say it’s sane old Buddhist circle, the everlong pain of existence.
Beside, in terms of emphasising attention, it’s alliteration (words of same initial letter), anaphora and epiphora (repeating sequences), tautology (true in any possible interpretation), litotes (ironic statement expressing the invert), parallelism (same in structure), chiasm (reversal of structure without repetition of words), and anti-thesis (contrasting/distinction).
(2) Figuratives of emphasis
Alliteration: «While I nodded, nearly napping …» (Edgar Allen Poe), «Gave up on God» (Fun Loving Criminals)
Anaphora: «I have a dream», repeated eight times the speech it increases importance (Martin Luther King). «We shall fight on the beaches», «we shall fight», «we shall» stresses the will to war, scales/generalises particular spots, targets as aims. (Winston Churchill)
Epiphora: «Hourly joys be still upon you / Juno sings her blessings on you / Scarcity and want shall shun you» (William Shakespeare)
Tautology: «Either the ball is green, or the ball is not green» (Some saying)
Litotes: «Well, it’s not rocket science/brain surgery» (Some saying)
Parallelism: «You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time» (Abraham Lincoln)
Chiasm: «Let us never negotiate out of fear, but let us never fear to negotiate» (John F. Kennedy, the prototypal ABBA-scheme)
Anti-thesis: «One small step for man, one giant leap for mankind» (Neil Armstrong)
Some regression: Epiphora for example, medically told, it makes tears wither outta watery eyes. The tautology, akin to Litotes, again foes the contradiction. Latter means anything’s totally devious, completely false — whatever you might do or decide. To the gametics of nodes within a field it means the relay of neural wires, in cybernetic spheres (of radio-remote transmission) often used it is to stir-up the masses.
To set link-ups a metonym refers to other spheres by naming something closely associated. Familiar, the synecdoche. It makes one particular thing the whole (vice versa/generics).
(3) Figuratives of incorporating
Metonym: «The pen is mightier than the sword» (Cardinal Richelieu, Edward Bulwer Lytton, 1839) means both, written word and military aggression. It integrates the dashboards confessionals as the soldiers fighting the forces. To the adverts it’s a lot of lots to equippers and institutions, stationery stores, barbers, schools and offices, bathrooms and their furniture.
Synecdoche: The sword means matches, challenges, fights, war, kingdoms and even more.
Generally, ellipsis (also known as «dot dot dot») means a series of dots, or some gappy, incomplete syntax, indicating an omission of a word, sentence, or whole section without altering the original meaning. To the engrammatics of cybernetical exchange and transition the ellipsis for example could cause reminder loss, chosen to upset (disintegration) and/or increase integration as suspense.
Ellipsis: «Despite» followed directly by a comma means «even though aforesaid it’s the way upcoming». «Despite (of) X» again — without any comma — means «even though it’s X it’s some particular way following up», hopefully.
Hyperboles overact, climax increases tension, trivialization belittles, ironia keeps the distance. Often used to mix latter up to agreement, speakers use rhetorical questions. Whether walking beside a statement or not doesn’t matter by chosing the permissio. Whyeverfore in companion, approval’s are set either seriously or ironically granted to someone.
(4) Figuratives of statement
Hyperbole: This car runs faster than the speed of light — «impossible but why not»
Climax: I came, I saw, I conquered — «to got England by the balls»
Trivialization: No day’s the same — «tomorrow we feel fine again»
Ironia: Pretty well done — «if only but fair enough»
(5) Figuratives of merge
Rhetorical questions: «Do you really think so?» is responded by «of course not/quite sensy/still this opionion».
Permissio (epitrope): «Go for it!», a sentence to be taken ironically or seriously, it tends to a ban, at least it upsets but anyhow spends the permission to do.
PS: The ad-dress, whom to present which clothes on?
