9 Find the Good Argument
Or, Why Bother with Logic?
Rebecca Jones; Liz Delf; Rob Drummond; and Kristy Kelly
Adapted by Liz Delf, Rob Drummond, and Kristy Kelly
The word argument often means something negative. In Nina Paley’s cartoon (see figure 9.1), the argument is literally a catfight. Rather than envisioning argument as something productive and useful, we imagine intractable sides and use descriptors such as “bad,” “heated,” and “violent.” We rarely say, “Great argument. Thanks!” Even when we write an academic “argument paper,” we imagine our own ideas battling others.
Linguists George Lakoff and Mark Johnson explain that the controlling metaphor we use for argument in Western culture is war:
It is important to see that we don’t just talk about arguments in terms of war. We actually win or lose arguments. We see the person we are arguing with as an opponent. We attack his positions and we defend our own. We gain and lose ground. We plan and use strategies. If we find a position indefensible, we can abandon it and take a new line of attack. Many of the things we do in arguing are partially structured by the concept of war. (4)
If we follow the war metaphor along its path, we come across other notions such as “All’s fair in love and war.” If all’s fair, then the rules, principles, or ethics of an argument are up for grabs. While many warrior metaphors are about honor, the “all’s fair” idea can lead us to arguments that result in propaganda, spin, and dirty politics. The war metaphor offers many limiting assumptions: there are only two sides, someone must win decisively, and compromise means losing. The metaphor also creates a false opposition where argument (war) is action and its opposite is peace or inaction. Finding better arguments is not about finding peace—the opposite of antagonism. Quite frankly, getting mad can be productive. Ardent peace advocates, such as Jane Addams, Mahatma Gandhi, and Martin Luther King Jr., offer some of the most compelling arguments of our time through concepts that are hardly inactive, like civil disobedience.
While “argument is war” may be the default mode for Americans, it is not the only way to argue. Lakoff and Johnson ask their readers to imagine something like “argument is dance” rather than “argument is war” (5). While we can imagine many alternatives to the war metaphor, concepts like argument as collaboration are more common even if they are not commonly used. Argument as collaboration would be more closely linked to words such as dialogue and deliberation, cornerstone concepts in the history of American democracy.
Argument in the Media
However, argument as collaboration is not the prevailing metaphor for public argumentation we see/hear in the mainstream media. One can hardly fault the average American for not being able to imagine argument beyond the war metaphor. Think back to the coverage of the major election cycle in 2008. The opponents on either side (Democrat/Republican) dug in their heels and defended every position, even if it was unpopular or irrelevant to the conversation at hand. The political landscape divided into two sides with no alternatives. In addition to the entrenched positions, blogs and websites such as FactCheck.org flooded us with lists of inaccuracies, missteps, and plain old fallacies that riddled the debates. Unfortunately, the “debates” were more like speeches given to a camera than actual arguments deliberated before the public. These important moments that fail to offer good models lower the standards for public argumentation.
On an average news day, there are entire websites and blogs dedicated to noting ethical, factual, and legal problems with public arguments, especially on the news and radio talk shows. This is to say not that all public arguments set out to mislead their audiences but that the discussions they offer are often merely opinions or spins on a particular topic and not carefully considered, quality arguments. What is often missing from these discussions is research, consideration of multiple vantage points, and, quite often, basic logic.
On news shows, we encounter a version of argument that seems more like a circus than a public discussion. Here’s the visual we get of an “argument” between multiple sides on the average news show. In this example (see figure 9.2), we have a four-ring circus.
While all of the major networks use this visual format—multiple speakers in multiple windows, like The Brady Bunch for the news—it is rarely used to promote ethical deliberation. These talking heads offer a simulation of an argument. The different windows and figures pictured in them are meant to represent different views on a topic, often “liberal” and “conservative.” This is a good start because it sets up the possibility for thinking through serious issues in need of solutions. Unfortunately, the people in the windows never actually engage in an argument. As we will discuss below, one of the rules of good argument is that participants in an argument agree on the primary standpoint and that individuals are willing to concede if a point of view is proven wrong. If you watch one of these “arguments,” you will see a spectacle where prepared speeches are hurled across the long distances that separate the participants. Rarely do the talking heads respond to the actual ideas/arguments given by the person pictured in the box next to them on the screen unless it is to contradict one statement with another of their own.
Even more troubling is the fact that participants do not even seem to agree on the point of disagreement. For example, one person might be arguing about the congressional vote on health care, while another is discussing the problems with Medicaid. While these are related, they are different issues with different premises. This is not a good model for argumentation despite being the predominant model we encounter.
These shallow public models can influence argumentation in the classroom. One of the ways we learn about argument is to think in terms of pro and con arguments. This replicates the liberal/conservative dynamic we often see in the papers or on television (as if there are only two sides to health care, the economy, war, the deficit). This either/or fallacy of public argument is debilitating. You are either for or against gun control, for or against abortion, for or against the environment, for or against everything. Put this way, the absurdity is more obvious. For example, we assume that someone who claims to be an “environmentalist” agrees with every part of the green movement. However, it is quite possible to develop an environmentally sensitive argument that argues against a particular recycling program.
While many pro and con arguments are valid, they can erase nuance, negate the local and particular, and shut down the very purpose of having an argument: the possibility that you might change your mind, learn something new, or solve a problem. This limited view of argument makes argumentation a shallow process. When all angles are not explored or are fallacious or when incorrect reasoning is used, we are left with ethically suspect public discussions that cannot possibly get at the roots of an issue or work toward solutions.
Rather than an either/or proposition, argument is multiple and complex. An argument can be logical, rational, emotional, fruitful, useful, and even enjoyable. As a matter of fact, the idea that argument is necessary (and therefore not always about war or even about winning) is an important notion in a culture that values democracy and equity. In America, where nearly everyone you encounter has a different background and/or political or social view, skill in arguing seems to be paramount, whether you are inventing an argument or recognizing a good one when you see it.
The remainder of this chapter takes up this challenge—inventing and recognizing good arguments (and bad ones). From classical rhetoric, to Toulmin’s model, to contemporary pragma-dialectics, this chapter presents models of argumentation beyond pro and con. Paying more attention to the details of an argument can offer a strategy for developing sound, ethically aware arguments.
Models of Argumentation
So far, I have listed some obstacles to good argument. I would like to discuss one other. Let’s call it the mystery factor. Many times I read an argument, and it seems great on the surface, but I get a strange feeling that something is a bit off. Before studying argumentation, I did not have the vocabulary to name that strange feeling. Additionally, when an argument is solid, fair, and balanced, I could never quite put my finger on what distinguished it from other similar arguments. The models for argumentation below give us guidance in revealing the mystery factor and naming the qualities of a logical, ethical argument.
Classical Rhetoric
In James Murphy’s translation of Quintilian’s Institutio Oratoria, he explains that “education for Quintilian begins in the cradle, and ends only when life itself ends” (xxi). The result of a life of learning, for Quintilian, is a perfect speech where “the student is given a statement of a problem and asked to prepare an appropriate speech giving his solution” (xxiii). In this version of the world, a good citizen is always a public participant. This forces the good citizen to know the rigors of public argumentation: “Rhetoric, or the theory of effective communication, is for Quintilian merely the tool of the broadly educated citizen who is capable of analysis, reflection, and powerful action in public affairs” (xxvii). For Quintilian, learning to argue in public is a lifelong affair. He believed that the “perfect orator…cannot exist unless he is above all a good man” (6). Whether we agree with this or not, the hope for ethical behavior has been a part of public argumentation from the beginning.
The ancient model of rhetoric (or public argumentation) is complex. As a matter of fact, there is no single model of ancient argumentation. Plato claimed that the Sophists, such as Gorgias, were spin doctors weaving opinion and untruth for the delight of an audience and to the detriment of their moral fiber. For Plato, at least in the Phaedrus, public conversation was only useful if one applied it to the search for truth. In the last decade, the work of the Sophists has been redeemed. Rather than spin doctors, Sophists like Isocrates and even Gorgias, to some degree, are viewed as arbiters of democracy because they believed that many people, not just male, property-holding, Athenian citizens, could learn to use rhetoric effectively in public.
Aristotle gives us a slightly more systematic approach. He is very concerned with logic. For this reason, much of what I discuss below comes from his work. Aristotle explains that most men participate in public argument in some fashion. It is important to note that by “men,” Aristotle means citizens of Athens: adult males with the right to vote, not including women, foreigners, or slaves. Essentially this is a homogenous group by race, gender, and religious affiliation. We have to keep this in mind when adapting these strategies to our current heterogeneous culture. Aristotle explains,
For to a certain extent all men attempt to discuss statements and to maintain them, to defend themselves and to attack others. Ordinary people do this either at random or through practice and from acquired habit. Both ways being possible, the subject can plainly be handled systematically, for it is possible to inquire the reason why some speakers succeed through practice and others spontaneously; and every one will at once agree that such an inquiry is the function of an art. (Honeycutt 1354a I i)
For Aristotle, inquiry into this field was artistic in nature. It required both skill and practice (some needed more of one than the other). Important here is the notion that public argument can be systematically learned.
Aristotle did not dwell on the ethics of an argument in Rhetoric (he leaves this to other texts). He argued that “things that are true and things that are just have a natural tendency to prevail over their opposites” and finally that “things that are true and things that are better are, by their nature, practically always easier to prove and easier to believe in” (Honeycutt 1355a I i).
As a culture, we are skeptical of this kind of position, though I think that we do often believe it on a personal level. Aristotle admits in the next line that there are people who will use their skills in rhetoric for harm. As his job in this section is to defend the use of rhetoric itself, he claims that everything good can be used for harm, so rhetoric is no different from other fields. If this is true, there is even more need to educate the citizenry so that they will not be fooled by unethical and untruthful arguments.
Inductive and Deductive Reasoning
For many, logic simply means reasoning. To understand a person’s logic, we try to find the structure of their reasoning. Logic is not synonymous with fact or truth, though facts are part of evidence in logical argumentation. You can be logical without being truthful. This is why more logic is not the only answer to better public argument.
Our human brains are compelled to categorize the world as a survival mechanism. This survival mechanism allows for quicker thought. Two of the most basic logical strategies include inductive and deductive reasoning. Deductive reasoning (see figure 9.3) starts from a premise that is a generalization about a large class of ideas, people, and so on and moves to a specific conclusion about a smaller category of ideas or things (e.g., “All cats hate water; therefore, my neighbor’s cat will not jump in our pool”). While the first premise is the most general, the second premise is a more particular observation. So the argument is created through common beliefs/observations that are compared to create an argument. For example,
Major Premise: People who burn flags are unpatriotic.
Minor Premise: Sara burned a flag.
Conclusion: Sara is unpatriotic.
The above is called a syllogism. As we can see in the example, the major premise offers a general belief held by some groups and the minor premise is a particular observation. The conclusion is drawn by comparing the premises and developing a conclusion. If you work hard enough, you can often take a complex argument and boil it down to a syllogism. This can reveal a great deal about the argument that is not apparent in the longer, more complex version.
Stanley Fish, professor and New York Times columnist, offers the following syllogism in his July 22, 2007, blog entry titled “Democracy and Education”: “The syllogism underlying these comments is (1) America is a democracy (2) Schools and universities are situated within that democracy (3) Therefore schools and universities should be ordered and administered according to democratic principles.”
Fish offered the syllogism as a way to summarize the responses to his argument that students do not, in fact, have the right to free speech in a university classroom. The responses to Fish’s standpoint were vehemently opposed to his understanding of free speech rights and democracy. The responses are varied and complex. However, boiling them down to a single syllogism helps summarize the primary rebuttal so that Fish could then offer his extended version of his standpoint.
Inductive reasoning moves in a different direction than deductive reasoning (see figure 9.4). Inductive reasoning starts with a particular or local statement and moves to a more general conclusion. I think of inductive reasoning as a stacking of evidence. The more particular examples you give, the more it seems that your conclusion is correct.
Inductive reasoning is a common method for arguing, especially when the conclusion is an obvious probability. Inductive reasoning is the most common way that we move around in the world. If we experience something habitually, we reason that it will happen again. For example, if we walk down a city street and every person smiles, we might reason that this is a “nice town.” This seems logical. We have taken many similar, particular experiences (smiles) and used them to make a general conclusion (the people in the town are nice).
Most of the time, this reasoning works. However, we know that it can also lead us in the wrong direction. Perhaps the people were smiling because we were wearing inappropriate clothing (country togs in a metropolitan city), or perhaps only the people living on that particular street are “nice” and the rest of the town is unfriendly. Research papers sometimes rely too heavily on this logical method. Writers assume that finding ten versions of the same argument somehow proves that the point is true.
Here is another example: In Ann Coulter’s book Guilty: Liberal “Victims” and Their Assault on America, she makes her (in)famous argument that single motherhood is the cause of many of America’s ills. She creates this argument through a piling of evidence. She lists statistics by sociologists; she lists all the single moms who killed their children; she lists stories of single mothers who say outrageous things about their lives, children, or marriages in general; and she ends with a list of celebrity single moms that most would agree are not good examples of motherhood. Through this list, she concludes, “Look at almost any societal problem and you will find it is really a problem of single mothers” (36). While she could argue, from this evidence, that being a single mother is difficult, the generalization that single motherhood is the root of social ills in America takes the inductive reasoning too far. Despite this example, we need inductive reasoning because it is the key to analytical. To write an “analysis paper” is to use inductive reasoning.
Most academic arguments in the humanities are inductive to some degree. When you study humanity, nothing is certain. When observing or making inductive arguments, it is important to get your evidence from many different areas, judge it carefully, and acknowledge the flaws. Inductive arguments must be judged by the quality of the evidence, since the conclusions are drawn directly from a body of compiled work.
The Aristotelian Appeals
“The appeals” offer a lesson in rhetoric that sticks with you long after the class has ended. Perhaps it is the rhythmic quality of the words (ethos, logos, pathos) or simply the usefulness of the concept. Aristotle imagined logos, ethos, and pathos as three kinds of artistic proof. Essentially, they highlight three ways to appeal to or persuade an audience: “(1) to reason logically, (2) to understand human character and goodness in its various forms, (3) to understand emotions” (Honeycutt 1356a I i).
While Aristotle and others did not explicitly dismiss emotional and character appeals, they found the most value in logic. Contemporary rhetoricians and argumentation scholars, however, recognize the power of emotions to sway us. Even the most stoic individuals have some emotional threshold over which no logic can pass. For example, we can seldom be reasonable when faced with a crime against a loved one, a betrayal, or the face of an adorable baby.
The easiest way to differentiate the appeals is to imagine selling a product based on them. Until recently, car commercials offered a prolific source of logical, ethical, and emotional appeals.
| Aristotelian Appeal |
Definition | The Car Commercial |
|---|---|---|
| Logos | Using logic as proof for an argument. For many students, this takes the form of numerical evidence. But as we have discussed above, logical reasoning is a kind of argumentation. | (Syllogism) Americans love adventure—Ford Escape allows for off-road adventure—Americans should buy a Ford Escape, or: The Ford Escape offers the best financial deal. |
| Ethos | Calling on particular shared values (patriotism), respected figures of authority (Martin Luther King Jr.), or one’s own character as a method for appealing to an audience. | Eco-conscious Americans drive a Ford Escape, or: [Insert favorite celebrity] drives a Ford Escape. |
| Pathos | Using emotionally driven images or language to sway your audience. | Images of a pregnant woman being safely rushed to a hospital. Flash to two car seats in the back seat. Flash to family hopping out of their Ford Escape and witnessing the majesty of the Grand Canyon, or: After an image of a worried mother watching her sixteen-year-old daughter drive away: “Ford Escape takes the fear out of driving.” |
The appeals are part of everyday conversation, even if we do not use the Greek terminology. Understanding the appeals helps us make better rhetorical choices in designing our arguments. If you think about the appeals as a choice, their value is clear.
Toulmin: Dissecting the Everyday Argument
Philosopher Stephen Toulmin studies the arguments we make in our everyday lives. He developed his method out of frustration with logicians (philosophers of argumentation) that studied argument in a vacuum or through mathematical formulations:
All A are B. All B are C.
Therefore, all A are C. (van Eemeren et al. 131)
Instead, Toulmin views argument as it appears in a conversation, in a letter, or in some other context because real arguments are much more complex than the syllogisms that make up the bulk of Aristotle’s logical program. Toulmin offers the contemporary writer/reader a way to map an argument. The result is a visualization of the argument process. This map comes complete with vocabulary for describing the parts of an argument. The vocabulary allows us to see the contours of the landscape—the winding rivers and gaping caverns. One way to think about a “good” argument is that it is a discussion that hangs together, a landscape that is cohesive (we can’t have glaciers in our desert valley). Sometimes we miss the faults of an argument because it sounds good or appears to have clear connections between the statement and the evidence when in truth the only thing holding the argument together is a lovely sentence or an artistic flourish.
For Toulmin, argumentation is an attempt to justify a statement or a set of statements. The better the demand is met, the higher the audience’s appreciation. Toulmin’s vocabulary for the study of argument offers labels for the parts of the argument to help us create our map.
| Terms | Definition |
|---|---|
| Claim | The basic standpoint presented by a writer/speaker. |
| Data | The evidence that supports the claim. |
| Warrant | The justification for connecting particular data to a particular claim. The warrant also makes clear the assumptions underlying the argument. |
| Backing | Additional information is required if the warrant is not clearly supported. |
| Rebuttal | Conditions or standpoints that point out flaws in the claim or alternative positions. |
| Qualifiers | Terminology that limits a standpoint. Examples include applying the following terms to any part of an argument: sometimes, seems, occasionally, none, always, never, and so on. |
The following paragraphs come from an article reprinted in Utne Reader by Pamela Paxton and Jeremy Adam Smith titled “Not Everyone Is Out to Get You.” Charting this excerpt helps us understand some of the underlying assumptions found in the article.
That was the slogan of The X-Files, the TV drama that followed two FBI agents on a quest to uncover a vast government conspiracy. A defining cultural phenomenon during its run from 1993 to 2002, the show captured a mood of growing distrust in America.
Since then, our trust in one another has declined even further. In fact, it seems that “Trust no one” could easily have been America’s motto for the past 40 years—thanks to, among other things, Vietnam, Watergate, junk bonds, Monica Lewinsky, Enron, sex scandals in the Catholic Church, and the Iraq war.
The General Social Survey, a periodic assessment of Americans’ moods and values, shows an 11-point decline from 1976–2008 in the number of Americans who believe other people can generally be trusted. Institutions haven’t fared any better. Over the same period, trust has declined in the press (from 29 to 9 percent), education (38–29 percent), banks (41 percent to 20 percent), corporations (23–16 percent), and organized religion (33–20 percent). Gallup’s 2008 governance survey showed that trust in the government was as low as it was during the Watergate era.
The news isn’t all doom and gloom, however. A growing body of research hints that humans are hardwired to trust, which is why institutions, through reform and high performance, can still stoke feelings of loyalty, just as disasters and mismanagement can inhibit it. The catch is that while humans want, even need, to trust, they won’t trust blindly and foolishly. (44–45)
Fig 9.5 demonstrates one way to chart the argument that Paxton and Smith make in “Not Everyone Is Out to Get You.” The remainder of the article offers additional claims and data, including the final claim that there is hope for overcoming our collective trust issues. The chart helps us see that some of the warrants, in a longer research project, might require additional support. For example, the warrant that TV mirrors real life is an argument and not a fact that would require evidence.
Charting your own arguments and others helps you visualize the meat of your discussion. All the flourishes are gone and the bones revealed. Even if you cannot fit an argument neatly into the boxes, the attempt forces you to ask important questions about your claim, your warrant, and possible rebuttals. By charting your argument, you are forced to write your claim in a succinct manner and admit, for example, what you are using for evidence. Charted, you can see if your evidence is scanty, if it relies too much on one kind of evidence over another, and if it needs additional support. This charting might also reveal a disconnect between your claim and your warrant or cause you to reevaluate your claim altogether.
Conclusion
Even though our current media and political climate do not call for good argumentation, the guidelines for finding and creating it abound. There are many organizations such as America Speaks that are attempting to revive quality, ethical deliberation. On the personal level, each writer can be more deliberate in their argumentation by choosing to follow some of these methodical approaches to ensure the soundness and general quality of their argument. The above models offer the possibility that we can imagine modes of argumentation other than war. These approaches see argument as a conversation that requires constant vigilance and interaction by participants. Argument as conversation, as new metaphor for public deliberation, has possibilities.
Note
I would like to extend a special thanks to Nina Paley for giving permission to use her cartoon for figure 9.1 under Creative Commons licensing, free of charge. Please see Paley’s great work at ninapaley.com.
The original chapter, Finding the Good Argument OR Why Bother With Logic? by Rebecca Jones, is from Writing Spaces vol 1
Discussion Questions
- Discuss the idea that “argument is a dance.” What does this mean? What is appealing about this metaphor? What is difficult about it?
- Is there value in learning about and considering how ancient Greeks approached rhetoric? Why or why not?
- Consider the “warrant” in the Toulmin schema. How does this help us analyze or consider other people’s arguments in a new way? How could it help us further develop our own arguments?
Activities
- Watch the famous video of Jon Stewart on the show Crossfire. What is Stewart’s argument? How do the hosts of Crossfire respond to the very particular argument that Stewart makes? Why exactly are they missing the point?
- Outline the pro and con arguments for one of the following issues: (a) free college tuition, (b) banning gas cars, (c) requiring vaccination to attend school. In a group, develop an argument that finds a compromise or middle ground between two positions.
- For each of the following standpoints, create a deductive argument and an inductive argument. When you are finished, share in small groups and decide which logical strategy offers a more successful, believable, and/or ethical argument for the particular standpoint: (a) The arts should remain an essential part of public education. (b) The university should build an additional parking garage.
- Imagine you have been commissioned by your school food service provider to create a presentation encouraging the consumption of healthier foods on campus. How would you present this to your friends? Consider the media you would use, how you present yourself, and how you would begin. How would you present this same material to parents of incoming students? Which appeal is most useful for each audience? Why?
- Dissect a recent argument by creating a chart using the Toulmin schema. What are the warrants, backing, qualifiers, and other parts of the argument? You can do this with a published op-ed or one of your own papers.
Works Cited
Coulter, Ann. Guilty: Liberal “Victims” and Their Assault on America. Crown Forum, 2009.
Crowley, Sharon, and Debra Hawhee. Ancient Rhetorics for Contemporary Students. 4th ed., Pearson/Longman, 2009.
Fish, Stanley. “Democracy and Education.” New York Times, 22 July 2007, fish.blogs.nytimes.com/2007/07/22/democracy-and-education.
Honeycutt, Lee. Aristotle’s Rhetoric: A Hypertextual Resource Compiled by Lee Honeycutt, 21 June 2004, kairos.technorhetoric.net/stasis/2017/honeycutt/aristotle/index.html.
Lakoff, George, and Mark Johnson. Metaphors We Live By. U of Chicago P, 1980.
Murphy, James. Quintilian on the Teaching and Speaking of Writing. Southern Illinois UP, 1987.
Paxton, Pamela, and Jeremy Adam Smith. “Not Everyone Is Out to Get You.” Utne Reader, Sept.–Oct. 2009, pp. 44–45.
“Plato, The Dialogues of Plato, vol. 1 [387 AD].” Online Library of Liberty, 5 May 2010, oll.libertyfund.org/index.php?option=com_ staticxt&staticfile=show.php%3Ftitle=111&layout=html#chapt er_39482.
Media Attributions
- 9.1 writing-spaces-readings-on-writing-vol-1 © Nina Paley is licensed under a CC BY-SA (Attribution ShareAlike) license
- 9.2 writing-spaces-readings-on-writing-vol-1 © Colin Charlton is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
- 9.3 writing-spaces-readings-on-writing-vol-1 © Rebecca Jones is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
- 9.4 writing-spaces-readings-on-writing-vol-1 © Rebecca Jones is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license
- 9.5 writing-spaces-readings-on-writing-vol-1 © Rebecca Jones is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license