ENG205: Rhetoric Sheila Mulrooney TA: Geoffrey Morrison

Transcription

1 1 of 10 ENG205: Rhetoric Sheila Mulrooney TA: Geoffrey Morrison

2 2 of 10 In Frederick Douglass slave narrative, Douglass endeavours to convince his reader of the merit of the abolitionist movement. He does this through sharing his own testimony of slavery - the story of his life. In Chapter 10, Douglass, for a brief period, changes from the dominating first person narrative to a short apostrophe to sailing ships. By removing his audience from direct discourse with this apostrophe, Douglass amplifies his audience s sympathy for his situation, by creating an implicit appeal to his sincerity. Thus, the apostrophe becomes an integral part of his narrative, causing the reader to sympathize with and admire Douglass in a new way, moving them to join Douglass cause. Throughout the apostrophe, Douglass employs various literary strategies, such as parallelism, irony, tonal shifts and syntactical shifts, appealing to his reader s pathos and ethos. These appeals help convince the reader of Douglass own credible character, and, consequently, convince the reader of Douglass cause - the abolition of slavery. From the beginning of the narrative, Douglass engages his reader directly in his narrative. He addresses them with a frank, honest tone, beginning with I was born in Tuckahoe, near Hillsboroug I have no accurate knowledge of my age. (Douglass, 47). This first person narrative, which endures throughout the work, makes Douglass reader his sole audience. Unlike in a novel, where dialogues are primarily focused on other characters in the narrative, everything Douglass says, the reader knows it is for the reader s own benefit. He is engaged directly. Throughout the entire testimony, Douglass literally demands his reader s participation in the conversation. The only break from this conversation occurs in Chapter 10, with Douglass apostrophe to the ships of Chesapeake Bay. For the first time in ten chapters, Douglass lets

3 3 of 10 the reader play a new role: that of a passive observer. In this role, the audience now watches, as Douglass addresses a new audience (i.e., the ships). He opens this apostrophe with the exclamation, You are loosed from your moorings and are free; I am fast in my chains and am a slave! (Douglass, 106). From the first moment of the apostrophe, Douglass establishes two participants in the conversation: the ships and him. Any other audience is coincidental. By placing the reader in this removed, almost accidental, position, Douglass makes an implicit appeal to ethos: as they watch Douglass passionately and pathetically address these inanimate objects, the audience sees an uncontrived Douglass. No longer is he addressing them directly, trying to convince them of something. Instead, Douglass speaks to the ships, unaware (at the time) of the reader s existence. It is him in an unobserved moment, and therefore, it is him when completely sincere. This appeal to ethos is supported by the credibility Douglass has developed throughout the entire narrative. The audience has already heard Douglass own wretched lot (Douglass, 107) and has seen his strength throughout the horrors of slavery. Time and time again, Douglass has proved himself an intelligent, relatable narrator, whom the audience must admire. They have seen him through the tortures of Mr. Covey (Douglass, 103), conquer the task of literacy (Douglass, pg 79), and survive the realities of slavery. With such an honourable narrator relating this apostrophe, there is no reason the audience would doubt the trustworthy Douglass. To detect artifice in Douglass is impossible: even introduction of the apostrophe, he remains credible. He introduces it frankly, saying, I would pour out my soul s complaint, in my rude way, with an apostrophe to the moving multitude of ships: (Dou-

4 4 of 10 glass, 106). By acknowledging, and even announcing, his literary tactic, Douglass continues his straightforward, honest relationship with the reader. There are no tricks of rhetoric : by his own admission, the reader knows what Douglass is doing. Unremittingly, he remains genuine. The sincerity continues after the apostrophe has finished as well. Douglass offers no commentary on his own inspiring speech. He continues without pause, saying, Thus I used to think, and thus I used to speak to myself (Douglass, 107) Almost unthinkably, Douglass offers no comment on his moving apostrophe. He will not compliment himself, or even acknowledge his fortitude in the situation: he simply tells the story, and lets the reader make his own inferences. The story Douglass tells within his apostrophe attests to his strength and the horrors of slavery. He begins his address to the ships, saying, You are loosed from your moorings, and are free; I am fast in my chains, and am a slave! You move merrily before the gentle gale, and I sadly before the bloody whip! You are freedom s swift winged angels, that fly round the world; I am confined in bands of iron! (Douglass, 106) Here, Douglass employs a chiasmus in parallel form. The chiasmus opposing terms (e.g., free and slave, gentle gale and bloody whip ) emphasize the tragic irony of slavery s reality. Why does a ship, inanimate and unfeeling, move merrily, while a man, rational and passionate, move sadly? When Douglass paints these contrasts so clearly, the irony is not lost on the reader - the reader is forced to admit slavery brings about such a and awful reality. Douglass does not allow his reader to see the irony without first showing him the tragedy involved. By drawing these contrasts in parallel structure, Douglass makes an appeal to pathos. As the prose moves forward in perfectly balanced rhythm, the reader

5 5 of 10 is swept away, and as he feels Douglass anger and passion escalate at slavery s evil, so does his own. By observing such passion from Douglass, the reader sympathizes with and admires Douglass in a new way - sympathy, because the situation is tragic; admiration, because Douglass has lived this unthinkable reality. Thus, Douglass begins his apostrophe with an ironic, but passionate exclamation, which shows his anger and frustration at slavery. This anger and frustration culminates in Douglass abrupt end to the parallel structure. Suddenly, he exclaims, O that I were free! (Douglass, 106). Such a syntactically alarming sentence emphasizes the overarching point of the apostrophe: freedom. The short, exclamatory sentence gives a new appeal to pathos. Its brevity draws the reader s attention to the integral issue of freedom. Through these exclamatory sentences, Douglass employs a tonal shift. He no longer laments the contrast between himself and the ships: he actively wishes for freedom. His prose no longer has a taint of sadness, but an edge of anger, which the reader inevitably feels. They see an angry, frustrated and desperate man. He exclaims, O that I were free! O, that I were on one of your gallant decks, and under your protecting wing! Alas! Betwix me and you, the turbid waters roll. Go on, go on. O, that I could also go! Could I but swim! If I could fly! O, why was I born a man, of whom to make a brute! (Douglass 106). Here, Douglass expresses the apparent futility of his situation. By uttering exclamations in the subjunctive mood, Douglass indicates the situation is unchangeable. On observing the tragic situation, the reader sympathizes with Douglass all the more: his conditions seem irreparable, and they feel his warranted anger at this injustice. Thus, Douglass successfully appeals to his reader s emotions, gaining their compassion.

6 6 of 10 Moreover, in this appeal to pathos, Douglass also makes an implicit appeal to ethos - Douglass, and his reader, know that he will overcome these daunting circumstances, despite the unfavourable odds, testifying to his character. Before this triumph, however, Douglass allows his reader to see him dive further into the depths of despair. From his interrogative questions, expressed in exclamatory sentences (e.g., O, why was I born a man, of whom to make a brute!, Douglass 106) Douglass transitions to purely speculative questions (e.g., Is there any God? Why am I a slave?, Douglass 107) In this tonal transition, Douglass demonstrates a swift change in mood: from anger, to overwhelming despair. He no longer has the passion or drive to express frustration: he again laments at his impossible circumstances. By observing Douglass violent oscillations in mood, the reader s sympathy for Douglass piques. As they watch him fight, and fall, almost defeated by the horrors of slavery, they root for him to supersede his circumstances, to win his impossible battle. Douglass intensifies such sympathy by implicitly identifying himself with the audience throughout the passage. On multiple occasions, he appeals to the Christian God (e.g., O God save me! God deliver me!, Douglass 106), in whom most of his readers believed. By showing that he bowed to the same power as his audience, Douglass ingratiates himself with them. He augments their sympathy for him by showing that he too, is a child of God, despite his brutal conditions. In relation with the Divine, slavery takes on a new level of criminality: it bars children of God from accessing their common dignity. After his last rhetorical question ( Why am I a slave? Douglass 106), Douglass apostrophe takes on an entirely new tone: one of determination and victory. This sec-

7 7 of 10 ond section of his apostrophe begins with the declarative statement, I will run away. I will not stand it. (Douglass, 107) From his subjunctive statements to these future indicative declarations, Douglass shows a tonal shift: from futile despair to certain resolve. His oscillating tones of anger and despair have taken on the new form of resolution, evoking the reader s admiration. In addition to this ethical appeal, Douglass also excites the reader. Their hero, Douglass himself, is about to win the battle, to overcome the evils of slavery: with his new resolve, Douglass evokes anticipation and a new adrenaline. The effect of his certain, simple resolve is compounded by Douglass change from complex to simple syntax. No longer employing somewhat cumbersome and high syntax (e.g., Alas! betwixt me and you, the turbid waters roll., Douglass, 106), Douglass keeps his statements concise and simple. I will take to water, he says. It cannot be that I shall live and die a slave. (Douglass, 107). These simple sentences show concrete aspect of Douglass resolve. No desperation or anger tints his tone - he has made a simple resolve, which he will complete. This sudden air of intent is augmented by Douglass choice in diction. He mentions tangible locations, like North Point, Delaware and Pennsylvania (Douglass, 107), showing the reality of his goals. Again, Douglass evokes the reader s admiration: from a passionate, futile appeal to ships, Douglass is now making tangible and concrete resolutions. His strength of character is undeniable, as he overcomes the evils of slavery. Such strength of character pervades when Douglass states, I am not the only slave in the world. Why should I fret? (Douglass, 107). Although not immediately in the situation to answer the question, the audience knows why Douglass should fret. His en-

8 8 of 10 tire narrative has given countless reasons for Douglass despair. This modest understatement evokes an implicit appeal to ethos - Douglass, who has undergone so much, thinks himself not worthy of fretting. The reader, while admiring Douglass, is also incredibly moved by this strength. Douglass has proved himself to be a reasonable, relatable narrator, but here he is, displaying almost super human resilience and strength. The reader is both moved by Douglass resolve and impressed with his character. Douglass ends his moving apostrophe with his inspirational statement, There is a better day coming, (Douglass, 107). Such a hopeful note resounds with the reader fully and completely. From a removed perspective, they have seen Douglass overcome desperation and impossible circumstances. They have watched, as Douglass character triumphed over the bondage of slavery. So moved and so filled with admiration, Douglass statement There is a better day coming functions as an implicit call to the audience for action. After hearing Douglass story, the reader wants Douglass better day to come: unapologetically, they root for their narrator. Thus, Douglass apostrophe ends by moving his reader to join the abolitionists movement the goal of Douglass entire narrative. Passage Analyzed: Chapter 10, The Narrative of the Life of Frederick Douglass, An American Slave, pg I would pour out my soul's complaint, in my rude way, with an apostrophe to the moving multitude of ships:--

9 9 of 10 "You are loosed from your moorings, and are free; I am fast in my chains, and am a slave! You move merrily before the gentle gale, and I sadly before the bloody whip! You are freedom's swift-winged angels, that fly round the world; I am confined in bands of iron! O that I were free! O, that I were on one of your gallant decks, and under your protecting wing! Alas! betwixt me and you, the turbid waters roll. Go on, go on. O that I could also go! Could I but swim! If I could fly! O, why was I born a man, of whom to make a brute! The glad ship is gone; she hides in the dim distance. I am left in the hottest hell of unending slavery. O God, save me! God, deliver me! Let me be free! Is there any God? Why am I a slave? I will run away. I will not stand it. Get caught, or get clear, I'll try it. I had as well die with ague as the fever. I have only one life to lose. I had as well be killed running as die standing. Only think of it; one hundred miles straight north, and I am free! Try it? Yes! God helping me, I will. It cannot be that I shall live and die a slave. I will take to the water. This very bay shall yet bear me into freedom. The steamboats steered in a north-east course from North Point. I will do the same; and when I get to the head of the bay, I will turn my canoe adrift, and walk straight through Delaware into Pennsylvania. When I get there, I shall not be required to have a pass; I can travel without being disturbed. Let but the first opportunity offer, and, come what will, I am off. Meanwhile, I will try to bear up under the yoke. I am not the only slave in the world. Why should I fret? I can bear as much as any of them. Besides, I am but a boy, and all boys are bound to some one. It may be that my misery in slavery will only increase my happiness when I get free. There is a better day coming. Thus I used to think, and thus I used to speak to myself; goaded almost to madness at one moment, and at the next reconciling myself to my wretched lot.

10 10 of 10 Works Cited: Douglass, Frederick. Narrative of the Life of Frederick Douglass, an American Slave. New York: Penguin Books, 1987.