Getting bad news is something that happens to the characters in How I Met Your Mother very often, actually, fairly realistically often. We are going to be criticizing one of those instances this week using Aristotle's rhetorical appeals of ethos, pathos, and logos. Ethos is the appeal to credibility or character, pathos is the appeal to emotions, and logos is the appeal to reason.
The specific instance we will be focusing on come from "Symphony of Illumination" (S7E12). In this episode, Robin believes she is pregnant with Barney's baby but soon learns she is not only not pregnant, she also is unable to have babies at all. As a very strong female character, she had never been the type of person who wanted kids but finds herself very distraught at this news any ways. She thinks about telling the gang but decides against it because of how they would appeal to her.
Robin tries to engulf herself in Ted's pathos responce
Robin believes that Ted would use pathos. She believes that he would cook her comfort food and massage her while telling her: "It is ok to be sad. Let it out." Robin does not want to deal with this appeal to emotions so decides not to tell Ted. Similarly, she believes Barney would use pathos as well, though in an opposing gesture. She thinks that Barney would do just about anything to make her laugh and she is not ready for those kind of emotions. Lily would also fit into the pathos reactionary group. Robin knows her best friend would be most likely to burst into tears and apologize for everything she has ever said about babies.
Telling Marshall is another side of this that Robin does not want to deal with. She knows that Marshall would start asking her all sorts of questions that she does not know the questions to like: "has she looked into adoption or surrogacy?" This appeal would be the appeal to reason, or logos. This is not something that Robin is ready for in any capacity so she decides to not deal with logos.
Telling Kevin about not being able to have kids
When Robin finally choses to tell someone about her recent health revelation it is when she gets proposed to by Kevin in "The Drunk Train" (S7E16). Robin turns to Marshall and Lily as a successful couple when Kevin first proposes to her and she says she needs to think about it because she is deciding whether to tell him or not. Robin is seeking ethos here. She sees Marshall and Lily as a credible source, because of their relationship experience, and so she goes to appeal to their credibility. In the end, she tells Kevin, they get engaged, she talks to him again, and they break off the engagement.
The appeals to emotion, logic, and credibility are seen in many instances throughout the series but are very prominent in this particular situation. I believe that if Robin had dealt with her friends pathos and logos she would not have had reason to seek out the ethos she did when Kevin proposed. These rhetorical devices were very effective in making her question and understand where she actually stood in this situation.
References:
https://i.ytimg.com/vi/5_tfwAsPejw/maxresdefault.jpg -- Image of Robin eating cake
Barney Stinson... the name alone can stir any HIMYM fan to smile. Barney is emotionally flawed, overly confident, and totally lovable. We see him transform from a total man-whore to a loving daddy within the span of the nine seasons. Barney is also a very complex character within the scheme of the show because of framing. I am looking at the way the Barney is rhetorically self-framed, framed within the "gang," and framed by the audience.
But, before we go too far let me give a brief explanation of framing. Burgchart explains that framing comprises of theoretical perspectives on how individuals, groups, and societies, organize, perceive, and communicate about reality (2010). In Ott and Aoki's article on tragic framing, they explain that "Frame analysis looks to see how a situation or event is names/defined, and how that naming shapes public opinion. It accomplishes this analysis by highlighting the inherent biases in all storytelling, namely selectively (what is included and excluded in the story?), and structure (how does the story formally play out?)" (Burgchardt, 2010, 272). Framing is essentially the lens through which we see ourselves, others see us, and we see others. Framing can change based on context and can also change based on perspective.
The first perspective we are going to look at is Barney Stinson looking at Barney Stinson. Without looking at every single moment in painstaking detail we have an overall idea that the frame that Barney sees himself in is Epic. An epic frame pairs a hero with the grand scale of the context and often leads to the elevation of the individual (Jones 2016). Throughout the series, we see Barney refer to himself as "the king" or "the master" or many other titles that imply over-confidence. Barney also states that he watches himself have sex with girls to keep his game sharp. We also see how he puts himself up on his pedestal with the phrase "challenge accepted!" Barney thinks he can do anything that others deem impossible. There is even an episode where it is confirmed that Barney is a narcissist and goes to therapy for this mental disorder. Looking through this frame makes a lot of sense when you know the kind of character he is. Barney is a womanizer and often does not care about other people's feelings. This frame is very effective from the reflectional perspective.
Next, let's take a look at what frame the gang sees Barney in. When looking at how the gang reacts to Barney throughout the years it is pretty clear that the gang frames Barney tragically. Tragic framing leads to closure and scapegoats to relieve collective guilt or sin. It has a "let's not talk about it" kind of mindset (Jones, 2016). This is shown with how the gang is always slightly disgusted by Barney's antics and minimally tries to tell him how to be better even though they know he won't, but, they never do anything drastic about any of it because they are not Barney and will never be like him, therefore, it is not their problem. A great example of this is in "Intervention."(S4E4) The gang holds interventions for all of the member's biggest issues at the time but never bring up Barney's womanizing ways, just his use of magic. Considering, again, the role that Barney plays within the group, this frame is very effective because if you changed Barney as a person then the group dynamic as a whole would change.
Though, on a side note, when Tracy (the mother) joins the group we see someone come in who has wanted to change Barney for the better since the moment she met him ("Plantonish"(S9E9)). Based on the few encounters we see with the mother, I want to add in a subcategory of Tracy's framing of Barney as comic. Comic framing has an emphasis on humility, self-awareness and reflection, and shared responsibility (Jones, 2016). It also often leads to conversation and action. When looking at the results Tracy yielded in just the one conversation with Barney (getting him to propose and marry Robin), I would definitely argue that the use of this frame is very effective.
Now, moving on to the final perspective: the frame that the audience sees Barney in. Now Barney is often used as a comic device and so some might argue that he is supposed to be viewed by the audience through the satirical or burlesque frame but, because there is an emphasis on absurdity in Barney's life and no seeking for reform, I would argue that we are using the grotesque frame (Jones, 2016). We often pity Barney when he gets shut down by a woman or just when we feel like what he is doing is for some other underlying reason. Barney's character is representing the problem our generation has with social and intimate relationships, but does it in an entertaining way. He ends up being the hero oftentimes, like when he went to San Francisco to get Lily back for Marshall ("Bachelor Party" (S2E19)) or when he "catches feelings" for Robin ("Miracles"(S3E20)). This frame is set in place for us, as viewers, to set us up for the evolution of Barney Stinson. When Barney starts to change his ways, we are totally prepared for it, and it is not out of character. When Barney marry's Robin we completely understand it. And when Barney changes for good after he meets his daughter, we feel completely satisfied. This frame is very effective for the audience's perspective on Barney Stinson.
When looking at Barney from these different frames you get to see a little different perspective on him overall. Looking at the epic, tragic, comic, and ultimately the grotesque frame show just how multi-dimensional this seemingly simple character is. With this rhetorical knowledge I now feel better equipped to "Suit Up!" and work my way through more of the "Awesome" story of How I Met Your Mother.
References: Burgchardt, C. (2010). Readings in Rhetorical Criticism (4th ed.). Strata: State College. Jones, H. (2016). Class notes on framing. https://www.youtube.com/watch?v=GuLcxg5VGuo
In HIMYM (How I Met Your Mother), there is an indicator of important overall plot moments and emotional epiphanies: The Yellow Umbrella. Though it is often brought out on rainy occasions, the umbrella is the harbinger of beneficial change in the sitcom. I am arguing the importance of the Yellow Umbrella as a rhetorical element in How I Met Your Mother. To do this, I will be utilizing close textual analysis to evaluate the text. As defined by Burgchardt: "In practical terms, close textual analysis aims to reveal and explicate the precise, often hidden, mechanisms that give a particular text artistic unity and rhetorical effect" (2010, )
Now, the overall plot of this television series is fairly straightforward: how Ted meets the mother. But, the general and seasonal plot, take some twists and turns along the way. The yellow umbrella moments are the episodes where the umbrella is mentioned or seen. These episodes are like road signs that tell us, "yes, you are still on the right path" because, otherwise, the episodes may seem to never take us any closer to the mother. There are ten yellow umbrella episodes within the series: "Wait for It" (S3E1), "No Tomorrow" (S3E12), "Right Place, Right Time" (S4E22), "Girl Vs. Suits" (S5E12), "Big Days" (S6E1), "No Pressure" (S7E17), "Farhampton" (S8E1), "Something New" (S8E24), "How Your Mother Met Me" (S9E16), and "Last Forever- Part Two" (S9E24).
"Wait for It" is the first episode we, as viewers, hear about the infamous yellow umbrella. Ted is telling his kids about the story where he was attempting to win the breakup with Robin and ended up with a butterfly tattoo. Ted prefaces this story by telling his kids that though they know the story of the yellow umbrella, there is a bigger version of this tale that includes the story of how he became the man he needed to be in order to meet the mother. In "No Tomorrow" we see the place where Ted starts this journey. Ted and Barney go to a St. Patrick's Day party at a club and do some disreputable things and somehow, it ends up with good consequences for the both of them. The next morning Ted tells Marshall everything that happens and Marshall reminds Ted that that is not the person he has ever wanted to be. Ted goes back to the club to get his phone that was left there and, as it starts to rain, grabs the abandoned yellow umbrella he finds by the door of the club. The viewers find out that the mother was in that club that night and that Ted is glad she didn't meet him that night because he didn't think she would have liked him very much.
Ted goes on (in some non-yellow umbrella episodes) to get his butterfly tattoo removed and meets a tattoo removal specialist named Stella who he falls in love with and gets engaged to. She then leaves him at the alter for her ex and breaks Ted's heart. In "Right Place, Right Time,"Ted takes a break from designing a cowboy hat-shaped rib joint to go get a bagel on a rainy day. He uses the yellow umbrella (obviously) and runs into Stella and her husband as she is about to cross the street. Her husband, Tony, ends up getting Ted a job as a university professor. This job is what leads to Ted meeting Cindy in "Girls vs. Suits." This is where Ted takes Cindy on a date and we find out that the mother is Cindy's roommate. Though Ted nor the audience ever see the mother in this episode, we do get our first description of her and Ted sights her ankle as she runs into the bathroom. Ted ends up leaving the yellow umbrella at the apartment when he figures out he has more in common with Cindy's roommate (the mother) than Cindy.
Cindy returns to the yellow umbrella storyline in "Big Days" where Ted sees a pretty girl at MacClaren's with Cindy and thinks it could be her roommate. The girl ends up kissing Cindy and is, therefore, not the mother. In this episode, it is revealed that Ted meets the mother on the day of a wedding. The episode flashes to said wedding, where Ted is best man, and it starts to rain. Ted laments about not bringing an umbrella to the wedding, because the umbrella is in the mother's possession.
In "No Pressure," we find out that Ted has not said "I love you" to a woman since Robin. During this journey of self-discovery, Ted figures out that Barney is the reason he has not settled for Robin yet. Ted asks Robin if she loves him and she says no. Because of this revelation, Marshall asks Robin to move out of the apartment so Ted can move on, and she does. Ted finds closure in his relationship for Robin and the world becomes his for the taking. At the end of this episode he walks out of the apartment and sees a dozen women with yellow umbrella walking on the sidewalk.
The last four episodes on the yellow umbrella journey all coincide with Robin and Barney's wedding. "Farhampton" starts off with Robin being a jittery bride and asking Ted to recount the story of trying to steal Victoria back on her wedding day. At the end of this story, Ted runs into Victoria's fíance, Klaus, and talks to him about knowing "the one" when you see them. After Ted returns Victoria to her wedding day, we get to see the mother with the yellow umbrella getting out of a taxi next to Ted after Barney and Robin's wedding. In "Something New," we watch Ted struggle once again with his feelings for Robin and tell Lily that he is planning on moving to Chicago after the
wedding. This is also the episode where we see the mother carrying a bass guitar and the yellow umbrella as she buys a train ticket to get to Farhampton and we see her face for the first time.
"How Your Mother Met Me" is a unique twist on the show for the 200th episode and gives us some interesting insight on the story from the mother's perspective, including how the yellow umbrella was originally hers and how she lost it and magically got it back in her apartment one day. At the end of this episode we see the mother pull out her ukulele and go onto the terrace where Ted hears her sing "La Vie en Rose" from the balcony over. In "Last Forever- Part 2," Ted meets the mother and they have a cheesy conversation about who the yellow umbrella originally belonged to because they share the same initials: T.M. (Tracy McConnell and Ted Mosby).
The yellow umbrella is a very effective piece of rhetoric that is used to drive plot and indicate moments of importance to the audience. In over 200 episodes it is only seen eight times and referenced twice, making the sighting of it very enthralling to the audience. The rain that pulsed down over Ted's love life had a spot of sunlight in it for nine years because that yellow umbrella foreshadowed the sunniest sky his love life could ever encounter: "The One."
References: Burgchardt, C. (2010). Readings in Rhetorical Criticism (4th ed.). Strata: State College. https://www.youtube.com/watch?v=pyFXtZ4fDfQ
