The Language of Composition: Close Reading: The Art and Craft of Rhetorical Analysis

Often the biggest challenge is understanding the tone of the piece, but if you look carefully at the speaker’s choices of words (also called diction) and how those words are arranged (called syntax), you will find plenty of clues.

Often the biggest challenge is understanding the tone of the piece, but if you look carefully at the speaker’s choices of words (also called diction) and how those words are arranged (called syntax), you will find plenty of clues.

We often consider tone and mood together: tone is the speaker’s attitude toward the subject as revealed by his or her choice of language, and mood is the feeling created by the work.

We often consider tone and mood together: tone is the speaker’s attitude toward the subject as revealed by his or her choice of language, and mood is the feeling created by the work.

When we talk about diction, we might look for interesting or powerful vocabulary, but we also consider figures of speech such as metaphors, similes, personification, and hyperbole.

When we talk about diction, we might look for interesting or powerful vocabulary, but we also consider figures of speech such as metaphors, similes, personification, and hyperbole.

When we talk about diction, we might look for interesting or powerful vocabulary, but we also consider figures of speech such as metaphors, similes, personification, and hyperbole.

When we talk about diction, we might look for interesting or powerful vocabulary, but we also consider figures of speech such as metaphors, similes, personification, and hyperbole.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

When we consider syntax, we want to notice interesting constructions such as parallelism, juxtaposition, and antithesis, along with sentence types such as compound, complex, periodic, cumulative, and imperative, among others.

Look for figures of speech such as metaphors, similes, and personification—as well as imagery and striking detail.

For example, if you come across an adjective-and-noun combination that seems contradictory, such as “meager abundance,” and you don’t know that the term for it is oxymoron, you might still note the juxtaposition of two words that have opposite meanings.

We study the visual aspects of an image the same way we do words: individually and in terms of composition, or arrangement on the page.

Though the front of the Dodge Durango is outsized (a reminder of the power under the hood), the ocean and sky in the background soften the aggressiveness of the looming SUV; it looks like a beautiful day for a cool couple with great taste to be out for a ride.

Looking at the visual elements even more closely, you might note the horizon line. Set as it is, between the sea and sky, it has the calming effect common to horizontal lines.

You’ll also notice the ad’s use of shape. Neither the Durango nor the Airstream have sharp edges.

Finally, take a look at the way the image’s framing—what we see in the oblong box that frames the image and the vantage point of the viewer.

The SUV is in the foreground—front and center.

When it comes time to write a rhetorical analysis essay, the first thing to do is craft a thesis statement. Your thesis statement must make an argument about the choices the speaker makes and how they help her achieve her purpose.