This qualitative study took a serious and more probing look at one of the most interesting and well-developed art forms which is the Meranaw rhetoric specifically ceremonial speeches delivered during weddings. Using Critical Discourse Analysis (CDA) as enunciated by Norman Fairclough (1995), Teun Van Dijk (1998) and Swale’s (1999) Rhetorical Moves, the study has revealed important findings yielded by linguistic, structural and ideological features. The study reveals that Meranaw speech features varied rhetorical moves with distinct linguistic features that demonstrates values that defines the unique ideological pattern of the Meranaws. Most conspicuous of rhetorical moves is the organization, that is, the sequence or order of parts: pamekasan (introductions), moayan a lalag (message of the speech) and kaposan o lalag (conclusion or ending of the speech). The pamekasan (introduction) part is rich in lexical items that praises Allah and Mohammed, contains honorifics such as royal titles and official titles and compliments. The moayan a lalag (messagae of the speech) is rich with use of figures of speech such as metaphor, simile, allusion, antithesis, connotation, emphasis, repetitious of certain lexical items to achieve unity, parallelism, varied pananaroon (proverbs), leitmotifs and repetition. The kaposan a lalag (end of the speech) always ends with a maaf (apology), saying thank you and short version of salaam. The art of Meranaw katharo sa lalag (delivering a speech) is very unique and rich with different linguistic features that illustrates sociocultural, political and religious values of the Meranaws. The author recommends its preservation as a distinctly Meranaw verbal art so it will continue to produce and develop verbal art forms and serve as a vital function of language as transmitter of identity and unique ideology including varied values of the Meranaw.