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'suffering or experience') appeals to the emotions and ideals of the audience and elicits feelings that already reside in them. [1] Pathos is a term most often used in rhetoric (in which it is considered one of the three modes of persuasion, alongside ethos and logos), as well as in literature, film and other narrative art.
The phrase pathetic fallacy is a literary term for the attribution of human emotion and conduct to things found in nature that are not human. It is a kind of personification that occurs in poetic descriptions, when, for example, clouds seem sullen, when leaves dance, or when rocks seem indifferent.
The power of emotions to influence judgment, including political attitudes, has been recognized since classical antiquity. Aristotle, in his treatise Rhetoric, described emotional arousal as critical to persuasion, "The orator persuades by means of his hearers, when they are roused to emotion by his speech; for the judgments we deliver are not the same when we are influenced by joy or sorrow ...
Pathos (plural: pathea) is an appeal to the audience's emotions. [6]: 42 The terms sympathy, pathetic, and empathy are derived from it. It can be in the form of metaphor, simile, a passionate delivery, or even a simple claim that a matter is unjust. Pathos can be particularly powerful if used well, but most speeches do not solely rely on pathos.
For example, oxygen is necessary for fire. But one cannot assume that everywhere there is oxygen, there is fire. A condition X is sufficient for Y if X, by itself, is enough to bring about Y. For example, riding the bus is a sufficient mode of transportation to get to work.
Pathetic fallacy (also known as anthropomorphic fallacy or anthropomorphization) is a specific type [dubious – discuss] of reification. Just as reification is the attribution of concrete characteristics to an abstract idea, a pathetic fallacy is committed when those characteristics are specifically human characteristics, especially thoughts or feelings. [13]
Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
Unfavorable information (be it true or false) about person A is presented by another. Example: "Before you listen to my opponent, may I remind you that he has been in jail." Therefore, the claims made by person A will be false. [2] Poisoned-well arguments are sometimes used with preemptive invocations of the association fallacy. In this pattern ...