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In rhetoric, ethos (credibility of the speaker) is one of the three artistic proofs (pistis, πίστις) or modes of persuasion (other principles being logos and pathos) discussed by Aristotle in 'Rhetoric' as a component of argument. Speakers must establish ethos from the start. This can involve "moral competence" only; Aristotle, however, broadens the concept to include expertise and knowledge. Ethos is limited, in his view, by what the speaker says. Others, however, contend that a speaker's ethos extends to and is shaped by the overall moral character and history of the speaker—that is, what people think of his or her character before the speech has even begun (cf Isocrates).


 * Jarratt, Susan, and Nedra Reynolds. "The Splitting Image: Contemporary Feminisms and the Ethics of ethos." Ethos: New Essays in Rhetorical and Critical Theory. Eds. James S. Baumlin and Tita French Baumlin. Dallas: Southern Methodist University Press, 1994. 37–63.
 * LeFevre, K.B. Invention as a Social Act. Southern Illinois University Press, 1987.
 * Lundberg, Christian O. and Keith, William M. "The Essential Guide to Rhetoric". 2nd Eds. Bedford/St. Martin's: Macmillan Learning, 2018.

Ethos was therefore achieved through the orator's "good sense, good moral character, and goodwill", and central to Aristotelian virtue ethics was the notion that this "good moral character" was increased in virtuous degree by habit (Rhetorica 1380). Ethos also is related to a character's habit as well (The Essential Guide to Rhetoric, 2018). The person's character is related to to a person's habits (The Essential Guide to Rhetoric, 2018).

Ethos (ἦθος, ἔθος; plurals: ethe, ἤθη; ethea, ἤθεα) is a Greek word originally meaning "accustomed place" (as in ἤθεα ἵππων "the habitats of horses", Iliad 6.511, 15.268), "custom, habit, character", equivalent to Latin mores.

Another aspect stated by Garet is that tragedy plays are composed of language, character, and action, and the interactions of these three components; these are fused together throughout the play. He explains that action normally determines the major means of characterization. For example, the play Julius Caeser, is a good example for a character without credibility, Brutus. Another principle he states is the importance of these three components' effect on each other; the important repercussion of this being character's impact on action.