The simplest situation. If you remember the lyrics of a song (at least a couple), you can find its name through any search engine.
- Enter the phrase you remember in the search bar.
- Did not help? Enter the same line with the additional query "lyrics" or "lyrics".
- If the composition is foreign language, a request is made with the word lyrics.
- Are you unfamiliar with the language of composition? Try to look for transliteration: write down the words as you heard them. Perhaps you will be lucky.
If you remember where you heard the song
You switch radio stations one by one and suddenly hear the last notes of the same - beloved and desired - song. And the DJ, meanwhile, turns on the next track, ruthlessly forgetting to voice the name of the previous one. What to do in this situation?
- Remember the name of the radio station and exact time when the desired song was playing.
- If a station is popular, it definitely has a website. And the site often duplicates the playlist that sounded on the air.
- In the playlist, find the name of the song that played at the hours and minutes that you remember. Ready!
- If there is no site (but you really need to find the song), act decisively: call the office and ask directly. Of course, we do not recommend cutting off the telephones of local radio stations, but if the need is extreme ...
If you remember the tune
When other methods do not help, but the music does not stop in your head, it's time to take on heavy artillery - programs for recognizing melodies.
How to find a song using a computer
- AudioTag.info . Recognizes an online song from an uploaded file or URL. It will help if you have a microphone or need to identify an unnamed Track01.mp3. The interface is simple and clear: upload a music file, enter a captcha, and get the result.
In literary criticism, they say different things about composition, but there are three main definitions:
1) Composition is the arrangement and correlation of parts, elements and images of a work (components of an artistic form), the sequence of introducing units of the depicted and speech means of the text.
2) Composition is called construction artwork, the correlation of all parts of the work into a single whole, due to its content and genre.
3) Composition - the construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize the life process shown in the work.
All these terrible literary concepts, in essence, have a rather simple decoding: composition is the arrangement of novel passages in a logical order, in which the text becomes whole and acquires an inner meaning.
As, following the instructions and rules, we assemble a constructor or a puzzle from small details, so we assemble from text passages, whether it be chapters, parts or sketches, and a whole novel.
Writing Fantasy: A Course for Fans of the Genre
A course for those who have fantastic ideas, but no or little writing experience.
If you don’t know where to start - how to develop an idea, how to reveal images, how, in the end, to simply state coherently what you thought of, describe what you saw - we will provide both the necessary knowledge and exercises for practice.
The composition of the work is external and internal.
External composition of the book
The external composition (aka architectonics) is the breakdown of the text into chapters and parts, the allocation of additional structural parts and epilogue, introduction and conclusion, epigraphs and lyrical digressions. Another external composition is the division of the text into volumes (separate books with a global idea, a branching plot and a large number of heroes and characters).
External composition is a way of dispensing information.
The novel text, written on 300 sheets, is unreadable without structural breakdown. At a minimum, he needs parts, as a maximum - chapters or semantic segments, separated by spaces or asterisks (***).
By the way, short chapters are more convenient for perception - up to ten sheets - after all, we, being readers, having overcome one chapter, no, no, let's count how many pages are in the next - and continue to read or sleep.
The internal composition of the book
The internal composition, unlike the external one, includes many more elements and techniques of text composition. All of them, however, come down to a common goal - to build the text in a logical order and reveal the author's intention, but they go to it in different ways - plot, figurative, speech, thematic, etc. Let's analyze them in more detail.
1. Plot elements of the internal composition:
- prologue - introduction, most often - prehistory. (But some authors take an event from the middle of the story as a prologue, or else from the final - an original compositional move.) The prologue is an interesting, but optional element of both external composition and external;
- exposition - the initial event in which the characters are introduced, a conflict is outlined;
- tie - events in which a conflict is tied;
- development of actions - the course of events;
- climax - highest point tension, clash of opposing forces, the peak of the emotional intensity of the conflict;
- denouement - the result of the climax;
- epilogue - a summary of the story, conclusions on the plot and assessment of events, outlines later life heroes. Optional element.
2. Figurative elements:
- images of heroes and characters - promote the plot, are the main conflict, reveal the idea and the author's intention. System actors- each image separately and the connections between them are an important element of the internal composition;
- images of the environment in which the action develops are descriptions of countries and cities, images of the road and accompanying landscapes, if the characters are on the way, interiors - if all events take place, for example, within the walls of a medieval castle. The images of the environment are the so-called descriptive "meat" (the world of history), atmospheric (feeling of history).
Figurative elements work mainly for the plot.
So, for example, the image of a hero is assembled from the details - an orphan, without family or tribe, but with magical power and purpose - to learn about his past, about his family, to find his place in the world. And this goal, in fact, becomes a plot and compositional one: from the search for a hero, from the development of the action - from a progressive and logical progress forward - a text is formed.
And the same goes for the images of the environment. They both create the space of history and at the same time limit it to certain limits - a medieval castle, city, country, world.
Concrete images complement and develop the story, make it understandable, visible and tangible, like correctly (and compositionally) arranged household items in your apartment.
3. Speech elements:
- dialogue (polylogue);
- monologue;
- lyrical digressions (the author's word, not related to the development of the plot or the images of the characters, abstract reflections on a specific topic).
Speech elements are the speed of perception of the text. Dialogues are dynamics, while monologues and lyrical digressions (including descriptions of the action in the first person) are static. Visually, a text without dialogues seems cumbersome, uncomfortable, unreadable, and this is reflected in the composition. Without dialogues, it is difficult to understand - the text seems to be drawn out.
A monologue text, like a bulky sideboard in a small room, relies on many details (and contains even more), which are sometimes difficult to understand. Ideally, in order not to weigh down the composition of the chapter, monologue (and any descriptive text) should take no more than two or three pages. And by no means ten or fifteen, just few people will read them - they will miss them, they will look diagonally.
Dialogues, on the other hand, are composed of emotions, easy to understand and dynamic. At the same time, they should not be empty - only for the sake of dynamics and "heroic" experiences, but informative, and revealing the image of the hero.
4. Inserts:
- retrospective - scenes from the past: a) long episodes that reveal the image of the characters, showing the history of the world or the origins of the situation, can take several chapters; b) short sketches (flashbacks) - from one paragraph, often extremely emotional and atmospheric episodes;
- short stories, parables, fairy tales, stories, poems are optional elements that interestingly diversify the text ( good example compositional fairy tale - "Harry Potter and the Deathly Hallows" by Rowling); chapters of another story in the composition “a novel within a novel” (“The Master and Margarita” by Mikhail Bulgakov);
- dreams (dreams-premonitions, dreams-predictions, dreams-riddles).
Inserts are extra-plot elements, and remove them from the text - the plot will not change. However, they can frighten, amuse, disturb the reader, suggest the development of the plot, if there is a complex series of events ahead. The scene should logically follow from the previous one, each next chapter should be connected with the events of the previous one (if several storylines- hence, the chapters and are fastened according to the events of the lines);
– arrangement and design of the text in accordance with the plot (idea) is, for example, the form of a diary, term paper student, novel within a novel;
– the theme of the work- a hidden, cross-cutting compositional technique that answers the question - what is the story about, what is its essence, what main idea the author wants to convey to the readers; in practical terms, it is decided through the choice of significant details in key scenes;
– motive- these are stable and repetitive elements that create cross-cutting images: for example, images of the road - the motive of travel, adventurous or homeless life of the hero.
Composition is a complex and multi-layered phenomenon, and it is difficult to understand all its levels. However, you need to understand in order to know how to build the text so that it is easily perceived by the reader. In this article, we talked about the basics, about what lies on the surface. And in the following articles we will dig a little deeper.
Stay tuned!
Daria Gushchina
writer, fantasy writer
(page VKontakte
Composition(from lat. compositio - compilation, composition),
COMPOSITION. The composition of a work in the broad sense of the word should be understood as a set of techniques used by the author to “arrange” his work, techniques that create a general pattern of this latter, the order of its individual parts, transitions between them, etc. The essence of compositional techniques is thus reduced to the creation of some complex unity, a complex whole, and their significance is determined by the role they play against the background of this whole in the subordination of its parts. The composition consists of a plot, development, climax, denouement, and there can also be an epilogue and a prologue. Receptions and methods are very diverse. Compositional techniques
- center (semantic, compositional)
- application of the golden ratio
- statics
- dynamics
Comparisons of events, objects, facts, details remote from each other in the text of a work sometimes turn out to be artistically significant. The most important aspect is also the sequence in which the components of the depicted are introduced into the text - a temporary organization literary work as a process of discovering and deploying artistic content. And finally Composition includes the mutual correlation of different sides (planes, layers, levels) of the literary form.
Composition units are divided into:
- Formal. For epic- sentence, paragraph, chapter, part, volume. Dilogy assumes that, along with common characters, each work is read as an independent one, but a book in two volumes does not imply this. For lyrics- verse, stanza For drama- scene, act (action). The “framework” text is the title of the work, sometimes with clarifications: epithets, author's comments, dating, place of writing.
- Speech units. ( speech characteristics - this is what the character says, i.e. subject creation).
1. Dialogue is the most private and democratic characteristic.
2. Monologue (Converted) is evidence of a more developed consciousness.
3. Monologue (unreversed) - internal - this is a deeper characteristic of a person, this is what a person thinks about.
4. Internal dialogue is a characteristic of a sick consciousness that “destroys” a person.
5. Written speech of the character
6. Diary of a character (Pechorin) - maximum self-disclosure. The diary is not intended for prying eyes.
The text must have a composition, must be built according to a certain plan, which usually has a three-part structure. - title, beginning, middle part (deployment of thought) and ending.
- Zachin directly prepares the reader, the listener for the perception of the main content of the text. It sets out the theme of the story. AT middle part this topic is being developed. ending sums up the topic.
- Each of the three components of the composition has its own characteristics and is expressed by special linguistic means. There are certain forms of expressing the beginning of a thought, the transition from one thought to another, the completion of a topic. They are most stable in the beginning and ending.
header is the introductory phrase of the text. This is the most important element of an information message or announcement. Its main purpose is to attract the attention of readers and encourage them to read the main text. Creating a headline is creativity, the successful result of which necessarily implies original, non-standard thinking. On average, five times more people read headlines than body text.
Text structure according to the rule inverted pyramid' is usually the following:
1. The main idea, the most important information that is needed to contact the audience.
2. Supporting information. Useful, but not essential.
3. Conclusions, conclusion, thanks, whatever. If your readers have reached this part, then the article was really worthwhile.
Paragraph is the part of the text between two indents, or red lines. A paragraph differs from a complex syntactic whole in that it is not a syntactic level unit. A paragraph is a means of dividing a coherent text based on a compositional-stylistic one. The functions of a paragraph in dialogic and monologue speech are different: in a dialogue, a paragraph serves to distinguish between replicas of different persons, i.e. performs a purely formal role; in monologue speech - to highlight compositionally significant parts of the text (both from the point of view of logical and semantic, and emotionally expressive). Paragraph articulation pursues one common goal- highlight important parts of the text. The main functions of paragraph division are as follows: logical-semantic, expressive-emotional, accent-excretory.
Composition - structure, arrangement and ratio constituent parts text, due to its content, issues, genre and purpose.
The composition of the text is a way of constructing it, connecting its parts, facts, images.
The famous Roman scholar Marcus Fabius Quintilian is credited with developing the theory of speech composition. Quintilian singled out eight parts in the orator's speech. The composition of speech, developed by him, entered the practice of later rhetoric.
So, eight parts of the composition according to Quintilian.
1. Appeal. Its purpose is to attract the attention of the audience and position it towards the speaker.
2. Naming the theme. The speaker names what he will be talking about, sets the listeners on the subject, makes them remember what they know, and prepares them to delve into the subject.
3. Narration consists of a description of the history of the subject (how the issue to be resolved arose, and how the case itself developed).
4. Description. Talk about what's going on at the moment.
5. Proof consists of logical arguments that justify the solution to the problem.
6. Refutation. Proof by contradiction. A different point of view on the subject is allowed, which the speaker refutes.
7. Appeal. Appeal to the feelings of the listeners. The goal is to evoke an emotional response from the audience. It occupies the penultimate place in the structure of speech, because people are usually more likely to make judgments based on emotions rather than logic.
8. Conclusion. Summary of what has been said and the conclusions on the case under discussion.
- linear composition is a sequential statement of facts and events and is usually built on a chronological basis (autobiography, report);
- stepped - involves an accentuated transition from one position to another (lecture, report),
- parallel - is based on a comparison of two or more provisions, facts, events (for example, school essays, the topics of which are -
"Chatsky and Molchalin", "Onegin and Lensky", "Sisters Larina"
- discrete - involves the omission of certain moments of the presentation of events. This complex type of organization is characteristic of literary texts. (For example, such a solution often underlies detective stories);
- ring composition - contains a repetition of the beginning and ending of the text. This type of structure makes it possible to return to what has already been said in the beginning at a new level of comprehension of the text.
So, for example, the incomplete repetition of the beginning in A. Blok’s poem “Night, street, lamp, pharmacy” makes it possible to comprehend what the poet said as a vital contradiction to the words “And everything will be repeated as of old” at the end of the text.);
- contrast - based on a sharp contrast between the two parts of the text.
Genre types of composition
Depending on the genre of the text, it can be:
- tough- obligatory for all texts of the genre (references, informational notes, statements, memorandums);
- variable- the approximate order of the parts of the text is known, but the author has the opportunity to vary it (textbook, answer in the lesson, letter);
- non-rigid- assuming sufficient freedom of the author, despite the fact that he focuses on existing examples of the genre (story, essay, composition);
In texts:
- built on the basis of combining elements, a linear, stepped, parallel, concentric composition is used,
- in artistic texts, its organization is often more complex - it arranges the time and space of a work of art in its own way.
Our short presentation on this topic
Did you like it? Do not hide your joy from the world - shareMaterials are published with the personal permission of the author - Ph.D. O.A. Maznevoy (see "Our Library")
Composition- the structure, location and ratio of the components, due to its content, issues, genre and purpose.
Text composition- this is a way of its construction, connection of its parts, facts, images.
Very often the title serves as a key to understanding the entire text, as the title attracts, prepares the perception of the material itself, places emphasis or intrigues.
Most texts in compositional terms consist of three parts: introduction (beginning), main part and ending.
Introduction(starting) usually expresses the key idea of the statement. In the text system, this is the most independent, most significant sentence or sentences. The function of introducing a new thought does not allow the beginning to include substitute words (pronouns or pronominal adverbs) or to be incomplete sentences. All its members, as a rule, are expressed in lexically meaningful words. Since the beginning expresses a new thought, it is, as it were, syntactically open, not closed, it seems to invite you to continue reading and see how it unfolds, reveals the thought that is presented in it in a concentrated form. Zachin groups around itself all the other sentences that depend to some extent on it. However, the independence of the beginning is relative: it not only forms the text, subordinating all subsequent sentences to itself, but also depends on them, since they rely on it and develop its thought.
Main part consists of complete sentences connected to each other and to the beginning by a chain or parallel connection. The composition of this part should be well thought out.
ending sums up what was said earlier. Often the ending is a generalizing sentence with a generalizing word. Here there may be introductory words, indicating completeness, completeness, complete exhaustion of thought (finally, so, therefore, in this way, in one word). There are other grammatical means of ending design, for example, the union and, which can open the last sentence of the text or close a number of homogeneous members in it.
Types of text composition:
1) Linear composition - a consistent presentation of facts, events; usually built on a chronological basis (autobiography, report).
2) Stepped composition - involves an accentuated transition from one position to another (lecture, report).
3) Concentric composition - gives the author the opportunity to move from one position to another with a return to the already given positions (like a spiral), in this case, what is already known to the reader or listener is emphasized, and a new one is added to this known, this type of composition contributes to a good assimilation of the text .
4) Parallel - based on a comparison of two or more provisions, facts, events (for example, school essays on the themes "Chatsky and Molchalin", "Onegin and Lensky").
5) Discrete - involves the omission of individual moments of the presentation of events; this is a rather complex type of composition, characteristic of literary texts (often such a composition underlies detective stories).
6) Ring - contains a repetition of the beginning and ending of the text; this type of composition makes it possible to return to what has already been said in the beginning at a new level of comprehension of the text.
7) Contrasting - based on a sharp opposition of two parts of the text.
It is quite clear that the composition of the text as a whole, its construction is determined by the general idea, the type of text, and genre and style features.
Compositions are based on certain constructive techniques- ways in which the logic of relations between parts of the text is contained. Let us comment on the features of the techniques that are most often found in works and which you yourself could use when writing texts.
1) If parts of the text are opposed to each other, then the composition uses a contrast technique. Lermontov's poem "I will not humiliate myself before you" is built on this reception.
2) The dilemma as a constructive technique is also quite common in texts of different genres. The essence of the technique is to choose between two opposite positions (the famous monologue of Hamlet).
3) The reception of a question-answer move (when the author himself asks a question and answers it himself) is necessary to attract the attention of the addressee, caused by the desire to force the reader or the scribbler to first answer the question, and then compare it with the author's answer.
4) The framing technique, when the first and last phrases of a part of the text are the same or almost the same, contributes to greater expressiveness of the text.
5) The enumeration technique is used to strengthen, highlight logical relationships in the text.
6) The technique called concretization is no less in demand, its essence is the use of examples and evidence to confirm thoughts.
7) The composition of the text can also be built on the reception of parallelism.
8) In some texts, one can observe a technique called a paradox, built on a deliberate violation of logic.
Skillful use of constructive techniques makes the text more understandable, convincing and memorable.
4.4. Semantic types of texts: description, reasoning and narration.
Legal speech is heterogeneous in its composition. The daily practice of a lawyer (investigation, consulting, evaluation of evidence, etc.) involves a constant search for links between objects, events, individual judgments. This finds expression in various functional and semantic types of speech: description, narration, reasoning.
Description- this is a verbal image of phenomena, objects of reality by sequentially listing their signs (properties). The main question that the description is designed to answer is the question “what?” The composition of the description includes: 1) the name of the subject, 2) the image of the details, 3) general impression about an object or phenomenon. The description is characterized by static character, enumerative structure of homogeneous components, enumerative intonation. Often speech error in descriptive texts, it is considered unjustified to use opposition instead of enumeration.
Narration is a story about events, phenomena, transmitted in a certain sequence. Such texts answer the question: “What happened?” and are characterized by dynamism, correlation of aspectual-temporal forms of verbs-predicates. The composition usually consists of the following components: 1) exposition (the part preceding the plot), 2) the plot (the beginning of the action), 3) the development of the action, 4) the culmination (the moment of the highest tension), 5) the denouement (the end of the action). This can be observed in extended epic genres: stories, fairy tales, novels, but if the text-narrative is an episode of a full-scale work, then not all components can be represented in its composition. Disruption of sequence is considered a serious speech error in narrative texts.
reasoning- a functional-semantic type of speech in which objects and phenomena are studied, their internal features are revealed, certain provisions are proved. Reasoning underlies persuasive speech and is a verbal justification of some thought, idea. It is evidence-based reasoning distinguishing feature the way of thinking of a lawyer.
Any reasoning includes three interrelated components: thesis, argument, demonstration.
Thesis- this is a verbally expressed statement (position), the truth of which is justified in the process of reasoning.
Antithesis- This is a verbally expressed statement (position) opposite to the thesis. From a speech point of view, an argument is a separate and complete, verbally formulated thought, which is evaluated by the audience as true, correct and appropriate, this is an argument that serves to substantiate the thesis itself.
Demonstration- a way of logical connection between the thesis and arguments, i.e. the discussion itself.
For each component of the structure of evidence-based reasoning, the argumentation makes its own requirements:
1.The thesis must be formulated clearly and unambiguously.
2. Thesis should not change in the process of this proof or refutation (must be identical).
3.Arguments must be true.
4. Arguments must be sufficient grounds for the thesis, i.e. the author is obliged to give such arguments that confirm the defended thesis. The sufficiency of arguments is regarded both in terms of their quantity and in terms of their quality.
5. Arguments should not contradict each other and the thesis.
6. The demonstration must be a correct reasoning based on knowledge of the laws of logic: the law of identity, the law of contradiction (non-contradiction), the law of the excluded middle, the law of sufficient reason.
Failure to comply with these requirements leads to errors and tricks in the argument.
Under logical fallacy usually mean an unintentional violation of the rules of argumentation in the process of reasoning. Errors are possible due to ignorance, logical negligence, ignorance, lack of qualifications. Trick, on the contrary, is a deliberate violation of the rules of argumentation and is used to mislead the opponent, to create the appearance of victory in the dispute.
I. Mistakes/tricks regarding the thesis:
Thesis change. The essence of the error is as follows: not the thesis that was put forward at first is proved or refuted.
II. Mistakes/tricks regarding arguments:
A) "Basic fallacy" ("falseness of the foundation") - the use as arguments of deliberately false judgments that give out or try to pass off as true.
B) “Anticipation of the foundation” - the inclusion in the speech of arguments that are not obviously false, but themselves need proof.
C) "Vicious circle" ("cyclical argument") - the thesis is substantiated by arguments that are a paraphrased thesis.
III. Mistakes/tricks regarding the demo.
A) “Imaginary following” (“does not follow”) - only the appearance of a logical connection is created between the thesis and arguments.
B) "From what was said with a condition to what was said unconditionally." An argument that is true under certain conditions is used as unconditionally true (that is, always).
C) hasty generalization. An error occurs when the given arguments become insufficient to deduce the truth of the stated thesis.
The study of errors and tricks is necessary for a lawyer in order to recognize them in the speech of his opponent and be able to resist them.
In the theory of argumentation, it is customary to single out arguments according to various criteria:
1. Terms morals and ethics(moral criterion), arguments can be divided into correct (permissible) and incorrect (invalid).
2. Based on relevance criteria(acceptability), it is customary to distinguish two types of arguments: rational arguments (ad res - an argument to the merits of the case) and irrational arguments (ad hominem - an argument to a person).
Rational Arguments- arguments based on reason and logic. Irrational Arguments are arguments that appeal to the interests and feelings of the audience.
3. By the strength of the impact in argumentative rhetoric, the following types of arguments are distinguished: 1) exhaustive(he is always alone); 2) main(there may be several); 3) controversial(arguments that can be considered from positions "for" and "against"); 4) spare.
The sources of rational arguments are statements of fact; statistical data; authorities; theoretical and empirical generalizations; previously proven provisions, axioms, postulates; laws, scientific definitions.
Facts or actual data- these are single events or phenomena that are characterized by a certain time, place and specific conditions for their occurrence and existence.
Statistical data- quantitative indicators of the development of production and society. Statistics help to concretize the message, to make it more accurate.
For example, for believers, an appeal to the text of the Bible is an argument to the merits of the matter; for lawyers in their practice, undoubtedly, the Constitution of the Russian Federation is an authoritative source.
To theoretical generalizations includes all legal laws and regulations involved in the consideration of the circumstances of the case and do not require evidence. Empirical Generalizations otherwise called arguments from experience. Summarize the data obtained experimentally (measured, weighed). Empirical arguments are often absolute evidence in investigative and judicial practice.
Witness testimony previously verified and evaluated in a procedural manner can be considered as previously proven arguments. The arguments are axioms, i.e. obvious and therefore unprovable in this area of the position, for example: "the part is greater than the whole." In addition, arguments can be definitions of basic concepts in a particular field of knowledge. In judicial practice, when considering a specific criminal case, the content of such concepts as “crime”, “intent”, “guilt”, “aggravating circumstances” and many others is not discussed or established. Referring to such definitions means using them as arguments in legal reasoning.
Among irrational arguments it is customary to allocate public and private.
Common arguments include to tradition, argument to authority, argument to intuition, argument to faith, argument to common sense, argument to taste (to fashion).
Tradition is a system of samples, norms and rules, which guides a fairly large and stable group of people in their behavior. AT modern society traditions are effective, for example, in the army, the church, some political parties.
An argument to authority is a reference to the opinion or action of a person who has proven himself in a given field by his judgments or actions. It should be remembered that the appeal to one or another authority should be determined by the specifics of the audience to which the speaker is speaking.
Intuition is usually defined as the direct perception of the truth, its comprehension without any reasoning and proof. In its purest form, intuitive reasoning is rare and legal practice is unlikely to be applicable. Faith is close to intuition - a deep, sincere, emotionally saturated conviction in the justice of some position or concept. Like all irrational arguments, it needs a specific audience to accept it sympathetically.
Common sense plays a special role in the argumentation when discussing problems related to human life and activity. First of all, common sense is manifested in judgments about right and wrong, about good and bad. Already concepts common sense concept of taste.
Argumentation to taste (or to fashion) is an appeal to the sense of taste that the audience has and is able to persuade it to accept the advanced position. Taste bears the stamp of social life and changes with it.
Private irrational arguments can be addressed both to the procedural opponent and to the entire audience present. Let us briefly characterize the main types of arguments.
An argument to a person is an indication of the dignity of a person in order to arouse sympathy, trust in him and thereby avert suspicion of committing negative deeds, to neutralize a bad opinion.
An argument to a person whose purpose is to cause the audience to reject a certain point of view contains a characteristic of the negative aspects of the personality and thereby undermines the listeners' trust in his words.
An argument to the public is an appeal to the feelings, moods, prejudices of the listeners in order to persuade them to make the decision that the speaker needs.
An argument for pity is an argument designed to arouse pity for the person being discussed, the accused. Often it is used in the speeches of judicial defenders.
The argument for physical well-being is calculated on the natural desire of a person to live the way he wants, comfortably and conveniently, to be physically prosperous. In addition to the argument for physical well-being, arguments that affect the material, social and economic interests of the audience turn out to be quite effective; self-esteem (argument to vanity).
Arguments of justice and right involve an appeal to generosity, a sense of compassion for the weak, to a sense of duty and other noble motives.
In the process of argumentation, arguments are arranged according to certain argumentation schemes. This takes into account the specifics of the audience.
So, top-down argumentation, in which the strongest argument is given first, and then the weaker ones, is effective in an unprepared, not very interested audience, or in an emotional setting.
Upward Argumentation(from weaker to stronger arguments) is effective in a calm atmosphere when discussing serious issues, when the interlocutors are ready to listen and analyze.
One-sided argument(only arguments “for” or only “against” are stated) has a better effect on poorly educated people and is effective for finally convincing someone who is still hesitating in making a decision. Bilateral Argumentation(using arguments for and against followed by a conclusion) is applicable in a prepared or negatively minded audience.
The optimal number of arguments in proving a thesis is the number "three": one argument is still just a fact; with two arguments - you can object, but with three arguments it is more difficult to do so. The third argument has a decisive effect: starting from the fourth argument, the audience no longer perceives the argument as a system, but as many arguments. At the same time, there is an impression that the speaker is trying to put pressure on the audience, “persuade”. There is an old saying: whoever proves a lot proves nothing. "Many" starts with the fourth argument.
It is important that the speaker knows how to identify these priorities and take them into account in speech.