Transforming Ourselves: Notes on Semiology and Rhetoric
In “Semiology and Rhetoric,” Paul De Man brings attention to how rhetoric exhibits the tension between critical and creative writing. Critical writing relies on grammar and clear, direct statements. When rhetoric is inserted into language, the lines begin to blur. Rhetoric undoes grammar, or at least adds something indiscernible to the structure of the sentence. De Man uses the example of Archie Bunker saying “What’s the difference?” in response to being asked how he would like his shoes tied. Archie doesn’t care how his laces tie, but instead of saying that explicitly, he uses a snarky rhetorical question to make his point. Interpreting “What’s the difference?” literally would tell the reader that he genuinely wants to know the impact of tying his laces either under or over. But rhetoric complicates the literal, “the same grammatical pattern engenders two meanings that are mutually exclusive: the literal meaning asks for the concept (difference) whose existence is denied by the figurative meaning.” (1370).
This creates a dilemma for the addressee. Rhetoric produces the need for the receiver to distinguish which meaning is the correct one, whether it is the literal or the figural. We can only do this through “the intervention of extra-textual intention” (1371). In Archie’s case, his snarky tone tells his wife that he is so annoyed with the question he can’t bother to give her a straight answer. The rhetorical question was used to convey his irritation in a non-literal sense. De Man follows with another example, a passage from Proust. In Proust’s passage about Marcel, he uses a series of single-moment shots: the bed, the book, light streaming through the window, etc., until we finally arrive at the metaphor of the chamber music flies. The combination of metonymy and metaphor culminate in giving the reader the most accurate scene of Marcel in his room, both physically and mentally.
Rhetoric is the best way to connect to readers on a deeper level. It undoes logical grammar and “writes figuratively about figures.” (1374). In Proust’s passage, summer is the signified, and the flies are what he chose as the signifiers. There are thousands of other possible options he could have used, but the flies were the best way to capture the experience of summer that most all people can relate to. De Man ends the essay with “Literature as well as criticism […] is condemned (or privileged) to be forever the most rigorous and, consequently, the most unreliable language in terms of which man names and transforms himself.” (1378). This goes back to Nietzsche and the idea that every word created by man is an arbitrary label that has no formal basis. We have both the blessing and the curse to continuously reinvent the words we use, and the meaning behind our sentences.

