I began with a rhetorical analysis of President Obama's 2009 and 2013 inaugural addresses. (A note on attribution: While I am aware that the President employs speechwriters, since I don't know how much of this might have been their work and how much was his input, I shall err on the side of treating the speaker as I would a character). What sticks out to me the most is that President Obama is a man who appreciates the Rule of Three. Tricolon, the repetition of words or syntactical structures in series of three, is a powerful device. The human brain likes sets of three, though the precise neurological reasons why this may be the case are indistinct. Three is enough items to define a series and show some sort of progression from start to middle to end, which may provide the brain's reasoning powers with satisfaction (especially in persuasion or in comedy). It may also relate to human memory storage, as three seems to be an ideal number for the brain to hang onto. President Obama uses this structure many times in both inaugural addresses. Examples often come in threes -- "through Seneca Falls and Selma and Stonewall;" "from the streets of Detroit to the hills of Appalachia to the quiet lanes of Newtown" -- as do predicates to a single opening subject: "We have always understood that when times change, so must we; that fidelity to our founding principles requires new responses to new challenges; that preserving our individual freedoms ultimately requires collective action."
|President Obama's 2009 Inaugural Address|
He also seems to appreciate anaphora, the repetition of beginning words, phrases, or structures -- often in threes, as with "Together, we determined; Together, we discovered; Together, we resolved." In his 2013 address, he begins many successive paragraphs with "We, the people," invoking one of the most recognizable phrases related to our government and one which emphasizes the collective nature of the American populace. In what was probably the climactic paragraph, he used "our journey is not complete" five times, each with a predicate addressing a different challenge facing American citizens today. He also employs judicious use of epanorthosis, addition by correction, generally at the end of paragraphs, to strengthen a point already made or to add evocative details. That epanorthosis often blends with anadiplosis, repeating the last word or structure from the end of one phrase at the beginning of the next, a technique which chains thoughts together in a way that allows them to build and expand while still retaining a strong connection to the initial message.
|President Obama's 2013 Inaugural Address|
So what is the ultimate synthesis of all of these devices? President Obama, in his inaugural addresses, speaks to the "united" part of United States, employing rhetorical figures which expand rather than those which narrow. He uses far more devices of repetition and addition than of omission; devices of direction tend to build or to create contrast, not to disrupt expected syntax structure; his devices of substitution mostly involve a typically political use of the passive voice, not a reliance on metaphors or symbolism. (See the ASC's Roads to Rhetoric for more information on these categories). The overall effect is expansive and inclusive. His adherence to the Rule of Three not only creates harmony for his listeners' brains, it also allows him to provide details in a meaningful way, calling on the experience of as much of the audience as possible and thus drawing them in to his message.
Despite the many transfers of power in Shakespeare's plays, he rarely gives us a speech of the inaugural sort. More often, when a new king takes the throne, we next see him in conversation -- either with his peers, his family members, or with dissolute characters that he needs to do terrible things for him. Only a few characters make public addresses, either to the court or the commons, immediately following their ascension to the throne (and obviously, there are a few key differences between our method of choosing new rulers and the methods that typically occur in Shakespeare's plays).
He then abruptly turns personal, addressing himself not to the court at large but to his son in particular. Whether or not the conversation becomes private at this point or not, however, is a determination for an actor and a production. Edward could as easily be using the address to his son to underscore his own line of succession, demonstrating to all observers that he has reclaimed the throne not just for himself but for his dynasty, as he could be offering young Ned private advice. Is the shift in focus more personal or more political? Shakespeare leaves that open for our interpretation.
Perhaps the most famous political evader in all of Shakespeare is Claudius in Hamlet. Sarah and I frequently use him and his first public speech as king as an example of how Shakespeare uses rhetoric to demonstrate that a character is being deliberately difficult. Claudius comes to the throne under circumstances that would be awkward even if he weren't a murderer: marrying his dead brother's wife, leapfrogging over said dead brother's legitimate son, and doing it all with unseemly haste. So when it comes time for Claudius to address his court, he does his best to bury the lead:
Though yet of Hamlet our dear brother's death
The memory be green, and that it us befitted
To bear our hearts in grief and our whole kingdom
To be contracted in one brow of woe,
Yet so far hath discretion fought with nature
That we with wisest sorrow think on him
Together with remembrance of ourselves.
Therefore our sometime sister, now our queen,
Th'imperial jointress to this warlike state,
Have we, as 'twere with a defeated joy,
With an auspicious and a dropping eye,
With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,
Taken to wife.
|Claudius's full text from Hamlet, 1.2|
Even untangled, it's a bit of a mess, but flattening out the kinks does help you to see exactly what Claudius has done, especially in the second sentence, where he moves the subject ("we"), verb ("have taken to wife"), and object ("our sometime sister, now our queen") as far away from each other as possible and also puts them in the wrong order. By the time any listeners have ironed out what he said, he's on to the next part of his speech, concerning a potential invasion by Fortinbras of Norway. It's an impressive dodge, though not quite the sort of thing you'd hope for in a politician's inaugural speech.
|King Henry's full text from Henry IV, Part 2, 5.2|
Henry uses a lot of hyperbaton and anastrophe, but not in the way Claudius does, to tangle his meaning. The disorder rarely extends out of a single line or clause, and the irregularities are simple to understand and to unravel, unlike Claudius's deliberate verbal entanglements. These inversions are of the pattern that Dr. Ralph Cohen has suggested are indicative of an education in Latin (a syntactically unfixed language, where adjectives generally follow nouns and verbs their objects), generally used in Shakespeare by rulers or by clergymen. They express formality, education, and high status; Henry begins with fewer of them and more of his old conversational tone, peppered with oaths and parentheticals, but as he transitions further into King Mode, he uses hyperbaton and anastrophe to signal both his awareness of his new status and his capacity to fulfill it.
Shakespeare also gives us one interesting female example of the assumption of power, and that in a comedy: the Princess-turned-Queen in Love's Labour's Lost. Her speech is not public in a grand proclamation sort of way, but nor is it entirely private. She addresses it largely to the King of Navarre, deferring his declarations of love until a more fitting time, but there are both nobles and commoners present as well, to witness her first moments as a sovereign monarch. She uses some of the same devices as Henry, particularly with regards to hyperbaton and anastrophe ("Your oath I will not trust"; "There stay"; "Change not"), but she also uses epizeuxis, immediate repetition, twice ("No, no" and "Challenge me, challenge me"). This forcefulness may be necessary to exert her will against a fellow monarch's. Perhaps Navarre is trying to interject, but her repetition prevents him. Perhaps she has to reinforce these things for herself.
Whether a head of state has been democratically elected, taken a throne by force, or inherited it from a predecessor, his or her first official speech in office can bear great weight as the first chance to influence the public or to display newly-assumed power. What a ruler chooses to display -- or to conceal -- in that first public speech can provide a lot of character information about that figure (whether real or fictional), and examining the rhetoric of those speeches can help reveal those clues.