Emotional Appeals. Emotional appeals all have two things in common:
Fallacious appeals can target almost any emotion, but some are more common than others. In this section, we will be focusing on seven different ones: appeals to fear, loyalty, pity, prejudice, spite, and vanity, and the special case of sex appeal.
Appeal to Fear. Fear and love are two of the strongest emotions, and this sort of non-rational persuasion is usually designed to tap into both of them, by threatening the safety or happiness of ourselves or someone we love. As a result, it's often called scare tactics or appeal to force because the threats of force are intended to scare us into agreement or action. Consider the following appeals:
Remember that, while all appeals to fear involve negative outcomes, not all negative outcomes necessarily derive from fallacies. When the doctor tells you to change your diet or you'll die young, and when the dentist tells you to floss better or you will lose your teeth, they are probably not engaging in a fallacious appeal to fear. Instead, they are explaining to you the demonstrable consequences of your actions, not as a threat but as information upon which they hope you will act.
Appeal to Loyalty. Since humans are social beings, one of our strongest emotions involves attachment to a group, and there are several different ways to appeal to that emotion. One is the general appeal to loyalty, which operates on the notion that one should act in concert with (what is claimed to be) the group's best interests, regardless of the merits of the particular case being argued. Chauvinistic slogans, like "My country, right or wrong," are good examples of this sort of non-rational emotionalism, and such appeals are often known by the Latin name for this fallacy, ad populum, meaning that it is direct "to the people." But appeal to loyalty can utilize one's attachment to things other than a country, because we also feel loyalty to our friends and family, schools, cities and towns, teams, favorite authors and musicians, and so on.
A variant on the appeal to loyalty is the fallacious use of peer pressure. In this case, one's agreement is sought, not on the basis of what is good for the group as in appeal to loyalty, but on the basis of what others in that group would or do think. Peer pressure, then, usually requires a closer relationship with the group connection being exploited than does appeal to loyalty, though both involve the (often implicit) knowledge of what is expected by the group. Bandwagon, another variant of appeal to loyalty, is different because it doesn't involve that knowledge of what action is expected by the group. Instead, "getting on the bandwagon" is an expression which indicates that an individual has willingly begun to support a group's goals or arguments or beliefs, merely to be part of a large group, especially if its members are perceived as somehow successful or "winners." Thus, voting for someone because you've read or heard that candidate was by far the most popular, or supporting a ballot initiative because you've read or heard it was supposed to pass overwhelmingly, is an example of bandwagon.
Consider these three examples:
Appeal to Pity. A fallacious appeal to pity, also known as a sob story, is different from a simple (and perfectly legitimate) appeal to pity in one significant way: it is used to replace logic, rather than to support it. As far as critical thinking goes, it can be perfectly legitimate for someone to say, "Please give me some money to buy food. I haven't eaten in days." Certainly, this would be an appeal to pity, but as long as the appeal is made in such a way as not to preclude logical consideration of the situation (such as whether the request is appropriate for the problem, whether you can reasonably afford or provide whatever is requested, and so on), it need not be fallacious. When the fallacy does occur, it is usually exhibits either a greatly exaggerated problem or an inappropriate request. Most of all, however, a fallacious appeal to pity uses emotion in place of reason to persuade. Consider these examples:
One oddity about an appeal to pity--fallacious or otherwise--is that it often fails because the emotion is mostly on the side of the one making the argument. If perceived as such, the desire to be pitied, for good reasons or bad, can turn off a listener's emotions, rather than elicit them. Often, a dispassionate but accurate accounting of one's plight is more effective than a tear-filled and self-pitying narrative of the wrongs one has suffered.
Appeal to Prejudice. A prejudice is a predisposition to judge groups of people or things either positively or negatively, even after the facts of a case indicate otherwise. This fallacy is also called an appeal to stereotypes, but be sure to distinguish this appeal to a pre-existing prejudice from stereotyping, the sort of generalizations which create stereotypes.
By appealing to a prejudice in the listener, the person making the argument attempts to ensure a favorable reaction. Most often, such an appeal works on negative images, and extreme cases can be classified as so-called "hate speech" when directed against a group defined by race, ethnicity, or gender. However, some appeals to prejudice are devoid of the hatred that is a requisite for a different emotional fallacies--apppeal to spite. Consider this example:
Appeal to Spite. Appeals to spite, to hatred, and to indignation attempt to tap into the animus a person feels about an individual or group of people or things. They differ from appeal to prejudice in the sense that prejudice works on a pre-existing belief, which may be positive or negative, but spite can be elicited by the attempt at persuasion itself, and is always negative. Of course,we can imagine a case in which there is an appeal to both spite and prejudice. But consider the following example of appeal to spite alone:
Appeal to Vanity. Also known as apple-polishing, the strategy behind this fallacy is to create a predisposition toward agreement by paying compliments. The success of the strategy depends on a combination of the vanity of the target and the subtlety of the compliment, and it is usually more effect when the compliment is somehow related to the issue at hand. Consider these two examples:
Sex Appeal. Perhaps the most familiar of all emotional appeals, the appeal to (or of) sex is firmly rooted in our biological urges. Like all appeals to emotion, sex appeal has a perfectly acceptable function: it is a powerful reason for making a date, for example. But is it such a good reason for buying a car?
Before answering that, we need to make clear what we mean by "sexy." We think a person is sexy if he or she appeals to our sexual desires. An object can be considered sexy if it heightens or increases the sex appeal of a person (real or hypothetical); in that sense, a sheer negligee, a well-tailored suit, or a stylish car can all be sexy accessories. So, if it is important to you for a car to make you feel sexy, then its sex appeal might be a good reason for buying a specific car. (Of course, it might also be a good reason to take a hard look at your values, and try to put the shallowness of our material culture behind you!)
So there are at least two types of sex appeal when it comes to automobile advertising. Sexy styling, while possibly shallow, is nevertheless a legitimate consideration for some in buying a car. However, a second kind of sex appeal--say, the cleavage of the model in a car ad--is an illegitimate appeal to emotions, which functions by trying to excite someone in a way that impacts on rational decision-making. And it works! As a result, that is exactly the sort of advertising we will be getting, until we collectively refuse to be persuaded by celebrity endorsements, sexy models, and other sorts of emotional manipulations, and demand intelligent and informative ads.
You can, no doubt, imagine many scenes in which sex appeal is used to avoid a ticket. Let's consider this one:
"What are you doing, ma'am?"
"Oh, it's okay. I keep my license tucked away here in my brassiere."
Notice that, in appeal to vanity, the speaker makes the most of someone else's appearance, while in sex appeal the persuader (often wordlessly) trades on his or her own features. Note, too, that no offer of sex (or anything else) is being made here--whatever suggestiveness there may be in where the woman keeps her license. That is important, for sex appeal as well as all other emotional appeals, because once the attempt at persuasion goes beyond a simple appeal to the emotions, and involves a tangible reward or exchange, then it ceases to be a fallacy, and becomes a bribe.