Concreteness

When we use language that is concrete, we attempt to help our audiences see specific realities or actual instances instead of abstract theories and ideas. The goal of concreteness is to help you, as a speaker, show your audience something instead of just telling them. Imagine you’ve decided to give a speech on the importance of freedom. You could easily stand up and talk about the philosophical work of Rudolf Steiner, who divided the ideas of freedom into freedom of thought and freedom of action. If you’re like us, even reading that sentence can make you want to go to sleep. Instead of defining what those terms mean and discussing the philosophical merits of Steiner, you could use real examples where people’s freedom to think or freedom to behave has been stifled. For example, you could talk about how Afghani women under Taliban rule have been denied access to education, and how those seeking education have risked public flogging and even execution (Iacopino & Rasekh, 1998). You could further illustrate how Afghani women under the Taliban are forced to adhere to rigid interpretations of Islamic law that functionally limit their behavior. As illustrations of the two freedoms discussed by Steiner, these examples make things more concrete for audience members and thus easier to remember. Ultimately, the goal of concreteness is to show an audience something instead of talking about it abstractly.

Simile

Another form of imagery is simile. As you probably learned in English courses, a simile is a figure of speech in which two unlike things are explicitly compared. Both aspects being compared within a simile are able to remain separate within the comparison. The following are some examples:

• The thunderous applause was like a party among the gods.
• After the revelation, she was as angry as a raccoon caught in a cage.
• Love is like a battlefield.

When we look at these two examples, you’ll see that two words have been italicized: “like” and “as.” All similes contain either “like” or “as” within the comparison. Speakers use similes to help an audience understand a specific characteristic being described within the speech. In the first example, we are connecting the type of applause being heard to something supernatural, so we can imagine that the applause was huge and enormous. Now think how you would envision the event if the simile likened the applause to a mime convention—your mental picture changes dramatically, doesn’t it?

To effectively use similes within your speech, first look for instances where you may already be finding yourself using the words “like” or “as”—for example, “his breath smelled like a fishing boat on a hot summer day.” Second, when you find situations where you are comparing two things using “like” or “as,” examine what it is that you are actually comparing. For example, maybe you’re comparing someone’s breath to the odor of a fishing vessel. Lastly, once you see what two ideas you are comparing, check the mental picture for yourself. Are you getting the kind of mental image you desire? Is the image too strong? Is the image too weak? You can always alter the image to make it stronger or weaker depending on what your aim is.

Metaphor

The other commonly used form of imagery is the metaphor, or a figure of speech where a term or phrase is applied to something in a nonliteral way to suggest a resemblance. In the case of a metaphor, one of the comparison items is said to be the other (even though this is realistically not possible).

Metaphors are comparisons made by speaking of one thing in terms of another. Similes are similar to metaphors in how they function; however, similes make comparisons by using the word “like” or “as,” whereas metaphors do not. Let’s look at a few examples:

• Love is a battlefield.
• Upon hearing the charges, the accused clammed up and refused to speak without a lawyer.
• Every year a new crop of activists are born.

In these examples, the comparison word has been italicized. Let’s think through each of these examples. In the first one, the comparison is the same as one of our simile examples except that the word “like” is omitted—instead of being like a battlefield, the metaphor states that love is a battlefield, and it is understood that the speaker does not mean the comparison literally. In the second example, the accused “clams up,” which means that the accused refused to talk in the same way a clam’s shell is closed. In the third example, we refer to activists as “crops” that arise anew with each growing season, and we use “born” figuratively to indicate that they come into being—even though it is understood that they are not newborn infants at the time when they become activists.

To use a metaphor effectively, first determine what you are trying to describe. For example, maybe you are talking about a college catalog that offers a wide variety of courses. Second, identify what it is that you want to say about the object you are trying to describe. Depending on whether you want your audience to think of the catalog as good or bad, you’ll use different words to describe it. Lastly, identify the other object you want to compare the first one to, which should mirror the intentions in the second step. Let’s look at two possible metaphors:

1. Students groped their way through the maze of courses in the catalog.
2. Students feasted on the abundance of courses in the catalog.

While both of these examples evoke comparisons with the course catalog, the first example is clearly more negative and the second is more positive.

One mistake people often make in using metaphors is to make two incompatible comparisons in the same sentence or line of thought. Here is an example:

• “That’s awfully thin gruel for the right wing to hang their hats on” (Nordquist, 2009).

This is known as a mixed metaphor, and it often has an incongruous or even hilarious effect. Unless you are aiming to entertain your audience with fractured use of language, be careful to avoid mixed metaphors.

The power of a metaphor is in its ability to create an image that is linked to emotion in the mind of the audience.

It is one thing to talk about racial injustice, it is quite another for the Reverend Dr. Martin Luther King, Jr. to note that people have been “…battered by storms of persecution and staggered by the winds of police brutality.” Throughout his “I Have a Dream” speech, the Reverend Dr. King uses the metaphor of the checking account to make his point.

He notes that the crowd has come to the March on Washington to “cash a check” and claims that America has “defaulted on this promissory note” by giving “the Negro people a bad check, a check that has come back “insufficient funds.” By using checking and bank account terms that most people are familiar with, the Reverend Dr. King is able to more clearly communicate what he believes has occurred. In addition, the use of this metaphor acts as a sort of “shortcut.” He gets his point across very quickly by comparing the problems of civil rights to the problems of a checking account.

In the same speech the Reverend Dr. King also makes use of similes, which also compare two things but do so using “like” or “as.” In discussing his goals for the Civil Rights movement in his “I Have a Dream” speech, the Reverend Dr. exclaims: “No, no we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.” Similes also help make your message clearer by using ideas that are more concrete for your audience. For example, to give the audience an idea of what a winter day looked like you could note that the “snow looked as solid as pearls.” To communicate sweltering heat, you could say that “the tar on the road looked like satin.” A simile most of us are familiar with is the notion of the United States being “like a melting pot” with regard to its diversity. We also often note that a friend or colleague that stays out of conflicts between friends is “like Switzerland.” In each of these instances, similes have been used to more clearly and vividly communicate a message.

Parallelism

When listing items in a sequence, audiences will respond more strongly when those ideas are presented in a grammatically parallel fashion, which is referred to as parallelism. For example, look at the following two examples and determine which one sounds better to you:

1. “Give me liberty or I’d rather die.”
2. “Give me liberty or give me death.”

Technically, you’re saying the same thing in both, but the second one has better rhythm, and this rhythm comes from the parallel construction of “give me.” The lack of parallelism in the first example makes the sentence sound disjointed and ineffective.

Antithesis allows you to use contrasting statements in order to make a rhetorical point. Perhaps the most famous example of antithesis comes from the Inaugural Address of President John F. Kennedy when he stated, “And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country.” In Reverend Jackson’s “Rainbow Coalition” speech he notes, “I challenge them to put hope in their brains and not dope in their veins.” In each of these cases, the speakers have juxtaposed two competing ideas in one statement to make an argument in order to draw the listener’s attention.

You’re easy on the eyes — hard on the heart. – Terri Clark

Repetition

As we mentioned earlier in this chapter, one of the major differences between oral and written language is the use of repetition. Because speeches are communicated orally, audience members need to hear the core of the message repeated consistently. Repetition as a linguistic device is designed to help audiences become familiar with a short piece of the speech as they hear it over and over again. By repeating a phrase during a speech, you create a specific rhythm. Probably the most famous and memorable use of repetition within a speech is Martin Luther King Jr.’s use of “I have a dream” in his speech at the Lincoln Memorial on August 1963 during the March on Washington for Jobs and Freedom. In that speech, Martin Luther King Jr. repeated the phrase “I have a dream” eight times to great effect. If worded and delivered carefully, you can communicate a main point over and over again, as did the Reverend Dr. King, and it doesn’t seem as though you are simply repeating the same phrase over and over. Because you are careful with your wording (it should be powerful and creative, not pedantic) and your delivery (the correct use of pause, volumes, and other elements of delivery), the audience often perceives the repetition as dramatic and memorable.

Alliteration

Another type of rhythmic language is alliteration or repeating two or more words in a series that begin with the same consonant. In the Harry Potter novel series, the author uses alliteration to name the four wizards who founded Hogwarts School for Witchcraft and Wizardry: Godric Gryffindor, Helga Hufflepuff, Rowena Ravenclaw, and Salazar Slytherin. There are two basic types of alliteration: immediate juxtaposition and nonimmediate juxtaposition. Immediate juxtaposition occurs when the consonants clearly follow one after the other—as we see in the Harry Potter example. Nonimmediate juxtaposition occurs when the consonants are repeated in nonadjacent words (e.g., “It is the poison that we must purge from our politics, the wall that we must tear down before the hour grows too late”) (Obama, 2008). Sometimes you can actually use examples of both immediate and nonimmediate juxtaposition within a single speech. The following example is from Bill Clinton’s acceptance speech at the 1992 Democratic National Convention: “Somewhere at this very moment, a child is being born in America. Let it be our cause to give that child a happy home, a healthy family, and a hopeful future” (Clinton, 2005).

Assonance

Assonance is similar to alliteration, but instead of relying on consonants, assonance gets its rhythm from repeating the same vowel sounds with different consonants in the stressed syllables. The phrase “how now brown cow,” which elocution students traditionally used to learn to pronounce rounded vowel sounds, is an example of assonance. While rhymes like “free as a breeze,” “mad as a hatter,” and “no pain, no gain” are examples of assonance, speakers should be wary of relying on assonance because when it is overused it can quickly turn into bad poetry.

Generic “He”

The generic “he” happens when a speaker labels all people within a group as “he” when in reality there is a mixed sex group involved. Consider the statement, “Every morning when an officer of the law puts on his badge, he risks his life to serve and protect his fellow citizens.” In this case, we have a police officer that is labeled as male four different times in one sentence. Obviously, both male and female police officers risk their lives when they put on their badges. A better way to word the sentence would be, “Every morning when officers of the law put on their badges, they risk their lives to serve and protect their fellow citizens.” Notice that in the better sentence, we made the subject plural (“officers”) and used neutral pronouns (“they” and “their”) to avoid the generic “he.”

Use of “Man”

Traditionally, speakers of English have used terms like “man,” “mankind,” and (in casual contexts) “guys” when referring to both females and males. In the second half of the twentieth century, as society became more aware of gender bias in language, organizations like the National Council of Teachers of English developed guidelines for nonsexist language (National Council of Teachers of English, 2002). For example, instead of using the word “man,” you could refer to the “human race.” Instead of saying, “hey, guys,” you could say, “OK, everyone.” By using gender-fair language you will be able to convey your meaning just as well, and you won’t risk alienating half of your audience.

Gender-Typed Jobs

The last common area where speakers get into trouble with gender and language has to do with job titles. It is not unusual for people to assume, for example, that doctors are male and nurses are female. As a result, they may say “she is a woman doctor” or “he is a male nurse” when mentioning someone’s occupation, perhaps not realizing that the statements “she is a doctor” and “he is a nurse” already inform the listener as to the sex of the person holding that job. Speakers sometimes also use a gender-specific pronoun to refer to an occupation that has both males and females. Table 13.1 Gender Type Jobs lists some common gender-specific jobs titles along with more inclusive versions of those job titles.