
Title: Rhetorical Argumentation: Principles of Theory and Practice
Author: Christopher W. Tindale
Publisher: SAGE Publications
Year: 2004
Our earlier encounter with Tindale’s Rhetorical Argumentation (2004) was rather tranquil. I tried to expose the basic principles of the book with peace-loving passivity. Now, after the panorama, imagine a high-tech zoom on some more particular averments of the book. What will follow may appear as a finicky reading, but I am willing to assume that in exchange for the possibility that the underlined parts may have a degree of generality that goes beyond Tindale’s account.
1. The concept of “rhetorical argumentation”
While duly and readily acknowledging the three existent viewpoints on argumentation (logical, dialectical and rhetorical, pp. 4-8), Tindale is, I believe, and with all due respect, penny-wise and pound-foolish. Preying on the ambiguity involved in the concept of ‘argumentation’, the author leaves another, more important one slip right through the net. The one involved in the adjective ‘rhetorical’. ‘Rhetorical argumentation’ can mean both ‘rhetorical [approach to] argumentation’ and ‘rhetorical [type of] argumentation’ and, end-to-end, using both is highly disorienting.
When used, the syntagma “rhetorical argumentation” refers to a specific type of argumentation: the one which is rhetorical. This is the prevailing meaning found throughout the book. We learn that “rhetorical argumentation, through the situation it enacts, invites an audience to come to conclusions through its own experiencing of the evidence” (p. 24), “Rhetorical argumentation is dialogical. That is, there is a dynamic sense of dialogue alive in the context.” (p. 89). “If rhetorical argumentation can present two opposing arguments for consideration, then this shows that persuasion alone (of any kind) cannot be the goal” (p.185) A separate category of argumentation is then clearly being depicted. A type of argumentation which is invitational, not overtly antagonistic, constructed from the perspective of the audience etc.
But then, the entire book is about “argumentation as good communication” in which “arguers communicate with their audiences, and the positive results that emerge from the processes of anticipation, involvement, and response are integral to argumentative interaction” (2). It aims to show that (and how) “argumentation is essentially rhetorical” (19) and “how argument can be rhetorical” (20). This may seem like pretty much the same idea, but it actually implies quite different things. Chapter 4 explores and extracts the Bakhtinian theory of argumentation pointed at the constitutive role of the situation (96) and the “active role of the listener” (97). The arguer is “co-agent” with the situation. This is exemplified then with a Socratic dialogue: first, we apply the dialectical model which sees two-sidedness and turn-taking (pp. 91-93), then to the same dialogue, we apply the rhetorical [approach to] argumentation, and observe that “the goal first and foremost is no longer to seek a definition of piety but to reach an agreement of understanding” (106). “Rhetorical” is then an approach, rather than a type, it is a way of “paying attention” or “investigating”. In this sense, as regards the Socratic dialogue involved, Tindale notes that:
Such a sense of cooperation did not arise from the more traditional reading given to this exchange earlier in the chapter. Approached now in the light of our subsequent discussion, different aspects of the dialogue between Socrates and Euthyphro come to light (106)
So, again, we are being acquainted with an approach, a reading. This is actually made clear from the very beginning: “The rhetorical approach to argumentation insists that far more is involved and that the other two approaches miss what is really happening as communication” (6).
To make things even more complicated, “the rhetorical model” (of argument/of argumentation) could sustain the same ambiguity: it could be an ideal model of the type of argumentation that is rhetorical (the invitational, the one that makes the audience experience the persuasive discourse etc.), or it could be an ideal model of analysis. The latter sense could be observed as a case in point here: “what will emerge from the ensuing discussion is a model that is much richer than those implicated in current dialectical models, in the ways that it captures and describes the depth of the rhetorical context” (91). The model, then, captures and describes the argumentative reality.
Why does this matter? Because the two starting points cannot really be made and supported at the same time: I could either contend that there is a rhetorical “model” or “approach to” argumentation (and then an argument generally invites to co-production), or that there are some specific forms of argumentation, the rhetorical “type” or “mode” of argumentation (and then only some arguments are in the same sense invitational). With these implications, hardly can the two chapters (“Argument as Rhetoric…” “…and Rhetoric as Argument”) be seen as working towards the same theoretical thesis.
2. The dialectical injection
Let us zoom even more and check the second chapter mentioned above, “… and Rhetoric as Argument” (pp. 59-89). The point of this section is to answer the question ‘Can figures function/serve as arguments?’ and to answer it positively. Of course, in order to handle such an assignment, one must settle the definition of the subject (“rhetorical figures are devices that use words to make some striking effects on an audience”, 60), and the predicate, the ‘argument’. Understood rhetorically, an argument is not aimed solely at persuasion (“persuasion is but one use, and a minor one at that” (61). It aims at inviting towards change of perspective in order to achieve agreement, “creat[ing] insight and understanding” (54) and so on. In this sense, “Such argumentation does not prove a conclusion; rather it ‘enhances’ the conclusion, thereby creating a presumption in its favour. [...] What matters to us is the specific ways audiences are moved from considering reasons to considering conclusions. Some rhetorical figures, on some occasions, work in this way.” (63) I will get over the inescapable ambiguity of the terms ‘consider’ and ‘enhance’ (can I, for example, consider a conclusion but not accept it? is, in this case, ‘consider’ same as comprehend? If not, is ‘considering’ the same process as ‘accepting’? etc.)
It all starts after a quite analytical fashion. We have 3 conditions in order for a figure to serve as an argument: “(i) it has a recognized structure, (ii) its inner activity promotes the movement from premises to a conclusion, (iii) it has one of the goals of argumentation” Again, ‘to promote’ (as to enhance) is ambiguous, but I will not get into that.
Let us see one of the examples. In a nonfiction article, S. Rushdie writes about the publishers’ policies in these words:
“Let the market decide, too many publishers seem to think. Let’s just put this stuff out there. Something’s bound to click. So out the stores they go, into the valley of death go the five thousand, with publicity machines providing inadequate covering fire. This approach is fabulously self-destructive.” (75)
The author sees here an “analogy through an allusion” and contends that “both are used argumentatively [...] to encourage the audience to hold a certain perspective. And they are effective in doing this” (ibid.) As regards the analogy, things are simpler because the figure – to use Tindale’s words – “is a crossover device, doing double duty in the repertoires of both rhetors and arguers” The allusion, however, is much more subtle and for that reason much more intriguing: “The industry is self-destructive. How is it self-destructive? In the way that the infamous Light Brigade was self-destructive at Balaclava during the Crimean war, and the associated sense of folly. And this is made present through the allusion to Tennyson’s poem, explicitly invoked through the phrase he uses, referring to the valley of death” (ibid.) The allusion, in this case is effective at ‘making present’ the self-destructiveness.
So far, so good. But “Can we step beyond the argument from analogy itself and identify allusion as an argument when used in such way? I think the example allows that we can”
Condition (i): “allusion has a codified structure, it involves something being evoked without being expressly named”. Strike one. Condition (ii) “we see a movement from the premises to the conclusion, from a recognition/understanding already shared between arguer and audience to a recognition/understanding that it is proposed they should share”. Strike two? I do not think so. First, the equivocal couple “recognition/understanding”. If something is evoked without being expressly named, and if this is the allusion, what are the ‘premises’ and ‘conclusion’ being recognized and understood? Second, and more poignant, weren’t we leaving aside the analogy in order to pursue the argumentative values of the analogy? It still feels like we are talking about the analogy because Tindale continues thus: “And it works here to achieve an argumentative goal: to bring the audience to see the publishing industry as self-destructive”. Again, one can hardly move away from the ambiguity of “see”, but this is the description of an analogy (notice the metaphor-describing ‘as’). The further one move along, the more one realizes that we are still talking about the analogy: “When allusion is used as an argument, it would have conditions like the following: x is evoked by a discourse, x involves a connection with A that when made present increases the plausibility of A, therefore x is plausible” (76) This is the analogy, i.e. the content of the allusion, the ‘resemblance’ (“connection”) which allows for the comparison, not the allusion itself. The allusion has nothing to do with no connection itself, but with the way of presenting that connection: (again) “something being evoked without being expressly named”.
However, there’s an elephant standing at the table. Can you notice him? He’s big. And he’s described as “plausibility”. I thought we were talking about “seeing”, “understanding”, “recognizing” (all rhetorical features of the rhetorical argumentation, which – let us quote again – “aims at much more than persuasion”, 185). How has the dialectical-sounding “plausible” been injected? I had to read these paragraph a couple of times because the distance between what is said to be shown (that allusion is an argument), and what is shown (that the utilization of an analogy is meant to increase the plausibility of the construction “A is to B, like C is to D”). The two questions used for “assessing” the argument make it free from mist that the main character of the drama is the analogy alluded to, not the allusion: “1. Does the audience recognize what has been evoked (do they see the allusion)? 2. Is the connection between x and A sufficient to increase A’s plausibility?” One could rephrase them as: 1. Does the reader understand what’s going on? and, if he does, 2. Does he thinks it is a good analogy?
To conclude, I think what Tindale would have needed in order to prove his point is a case where something is made more plausible by virtue of being alluded to. In order to “serve as an argument”, we must see an allusion evoking, and by virtue of making something present by means of evoking (and not other) a conclusion is better perceived. Plausibility has little to do with the means one is trying to establish it. Plausibility is something we assign to the content of an argument, and it has little to do with the way it is being aimed. If the paragraph would have been presented in syllogistic form (no allusion being used), it would have been equally plausible, though far less striking as an effect. What allusion can do, then, is draw attention, make an argument more vivid, help the audience – in Tindale’s words – experience the argument. But when we start assessing and formalizing, what we are formalizing is the argument, not the means by which it has been made apparent. I think the subtle slide from one to another was made possible with constructions such as “x involves a connection with A that when made present increases the plausibility” which fail to function as a straight claim: is the plausibility increased by the connection (case in which we are talking quite classically about an analogy) or is the plausibility increased by the manner in which it has been made present?
The same ambiguity in the third “condition” is present when the author turns to praeteritio, another rhetorical figure proposed as “argumentative”. With x being an ad misericordiam argument, a praeteritio works like this:
An arguer, a, draws attention to x while professing to avoid it
The audience is invited (implicitly) to construct x for themselves
x, so constructed, increases the plausibility of a’s position” (81)
Same story, it is not clear whether x, as an argument, increases the plausibility of position P or x – as an argument which has been presented by the very phrases professing to avoid it, and by that very virtue of that manner of presentation increases the plausibility of position P.
Instead of a conclusion, I think comparing the two points made here would be useful. Because if 1 is the case, one could demand from the author to straighten things up and eliminate the ambiguity, but if 2 is the case, then the analysis, due to the same sort of instability, is simply wrong.