As you read the passage below, consider how Martin Luther King Jr. uses
• evidence, such as facts or examples, to support claims.
• reasoning to develop ideas and to connect claims and evidence.
• stylistic or persuasive elements, such as word choice or appeals to emotion, to add power to the ideas expressed.
1 Since I am a preacher by calling, I suppose it is not surprising that I have . . . major reasons for bringing Vietnam into the field of my moral vision. There is at the outset a very obvious and almost facile connection between the war in Vietnam and the struggle I, and others, have been waging in America. A few years ago there was a shining moment in that struggle. It seemed as if there was a real promise of hope for the poor—both black and white—through the poverty program. There were experiments, hopes, new beginnings. Then came the buildup in Vietnam, and I watched this program broken and eviscerated, as if it were some idle political plaything of a society gone mad on war, and I knew that America would never invest the necessary funds or energies in rehabilitation of its poor so long as adventures like Vietnam continued to draw men and skills and money like some demonic destructive suction tube. So, I was increasingly compelled to see the war as an enemy of the poor and to attack it as such.
2 Perhaps a more tragic recognition of reality took place when it became clear to me that the war was doing far more than devastating the hopes of the poor at home. It was sending their sons and their brothers and their husbands to fight and to die in extraordinarily high proportions relative to the rest of the population. We were taking the black young men who had been crippled by our society and sending them eight thousand miles away to guarantee liberties in Southeast Asia which they had not found in southwest Georgia and East Harlem. And so we have been repeatedly faced with the cruel irony of watching Negro and white boys on TV screens as they kill and die together for a nation that has been unable to seat them together in the same schools. And so we watch them in brutal solidarity burning the huts of a poor village, but we realize that they would hardly live on the same block in Chicago. I could not be silent in the face of such cruel manipulation of the poor.
3 My [next] reason moves to an even deeper level of awareness, for it grows out of my experience in the ghettoes of the North over the last three years—especially the last three summers. As I have walked among the desperate, rejected, and angry young men, I have told them that Molotov cocktails 1 and rifles would not solve their problems. I have tried to offer them my deepest compassion while maintaining my conviction that social change comes most meaningfully through nonviolent action. But they ask—and rightly so—what about Vietnam? They ask if our own nation wasn't using massive doses of violence to solve its problems, to bring about the changes it wanted. Their questions hit home, and I knew that I could never again raise my voice against the violence of the oppressed in the ghettos without having first spoken clearly to the greatest purveyor of violence in the world today—my own government. For the sake of those boys, for the sake of this government, for the sake of the hundreds of thousands trembling under our violence, I cannot be silent.
4 For those who ask the question, “Aren't you a civil rights leader?” and thereby mean to exclude me from the movement for peace, I have this further answer. In 1957 when a group of us formed the Southern Christian Leadership Conference, we chose as our motto: “To save the soul of America.” We were convinced that we could not limit our vision to certain rights for black people, but instead affirmed the conviction that America would never be free or saved from itself until the descendants of its slaves were loosed completely from the shackles they still wear. . . . Now, it should be incandescently clear that no one who has any concern for the integrity and life of America today can ignore the present war. If America’s soul becomes totally poisoned, part of the autopsy must read: Vietnam. It can never be saved so long as it destroys the deepest hopes of men the world over. So it is that those of us who are yet determined that America will be—are—are led down the path of protest and dissent, working for the health of our land.
Write an essay in which you explain how Martin Luther King Jr. builds an argument to persuade his audience that American involvement in the Vietnam War is unjust. In your essay, analyze how King uses one or more of the features listed in the box above (or features of your own choice) to strengthen the logic and persuasiveness of his argument. Be sure that your analysis focuses on the most relevant features of the passage.
Your essay should not explain whether you agree with King’s claims, but rather explain how King builds an argument to persuade his audience.
Write the essay now!
- As you read the passage below consider how Eliana Dockterman uses evidence such as facts or examples to support claims reasoning to develop ideas and to connect claims and evidence stylistic or persuasive elements such as word choice or appeals to emotion 50
- As you read the passage below, consider how Christopher Hitchens uses • evidence, such as facts or examples, to support claims. • reasoning to develop ideas and to connect claims and evidence. • stylistic or persuasive elements, 73
- As you read the passage below, consider how Bobby Braun uses • evidence, such as facts or examples, to support claims. • reasoning to develop ideas and to connect claims and evidence. • stylistic or persuasive elements, such as w 73
- As you read the passage below, consider how Zadie Smith uses • evidence, such as facts or examples, to support claims. • reasoning to develop ideas and to connect claims and evidence. • stylistic or persuasive elements, such as w 35
- As you read the passage below, consider how Paul Bogard uses • evidence, such as facts or examples, to support claims. • reasoning to develop ideas and to connect claims and evidence. • stylistic or persuasive elements, such as w 73