how to write an essay about criticism

Writing a Critique

• About this Guide
• What Is a Critique?
• Getting Started
• Components of a Critique Essay

Further Reading

This article provides additional guidance for writing critiques:

Vance DE, Talley M, Azuero A, Pearce PF, & Christian BJ. (2013). Conducting an article critique for a quantitative research study: perspectives for doctoral students and other novice readers.  Nursing : Research and Reviews ,  2013 , 67–75.

Parts of a Critique Essay

There are 4 distinct components to a critique, and those are the:

Introduction

Each of these components is described in further detail in the boxes on this page of the guide.

An effective introduction:

• Provides a quick snapshot of background information readers may need in order to follow along with the argument
• Defines key terminology as needed
• Ends with a strong argument (thesis)

For additional guidance on writing introduction paragraphs, librarians recommend:

Need some extra help on thesis statements? Check out our Writing Effective Thesis Statements guide .

A summary is a broad overview of what is discussed in a source. In a critique essay, writers should always assume that those reading the essay may be unfamiliar with the work being examined. For that reason, the following should be included early in the paper:

• The name of the author(s) of the work
• The title of the work
• Main ideas presented in the work
• Arguments presented in the work
• Any conclusions presented in the work

Depending on the requirements of your particular assignment, the summary may appear as part of the introduction, or it may be a separate paragraph. The summary should always be included before the analysis, as readers need a base-level familiarity of the resource before you can effectively present an argument about what the source does well and where improvements are needed.

More information about summaries can be found on our Writing an Effective Summary guide .

The critique is your evaluation of the resource. A strong critique:

• Discusses the strengths of the resource
• Discusses the weaknesses of the resource
• Provides specific examples (direct quotes, with proper citation) as needed to support your evaluation
• The accuracy of the resource
• Any bias found within the resource
• The relevance of the resource
• The clarity of the resource

A critique is your opinion  of the text, supported by evidence from the text.

If you need further guidance on how to evaluate your source, you can also consult our Evaluating Your Sources guide .

Need help with citation?  

Compose papers in pre-formatted APA templates. Manage references in forms that help craft APA citations. Learn the rules of APA style through tutorials and practice quizzes.

Academic Writer will continue to use the 6th edition guidelines until August 2020. A preview of the 7th edition is available in the footer of the resource's site. Previously known as APA Style Central.

• APA Style Help Learn more about APA style through our research guide.

A conclusion has three main functions in an essay. A conclusion will:

• Summarize the main ideas presented in the essay
• Remind readers of the thesis (argument)
• Draw the paper to a close 

For additional guidance, the library recommends:

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• Last Updated: May 22, 2023 10:46 AM
• URL: https://library.tiffin.edu/critique

Literary Criticism

• Introduction
• Literary Theories
• Steps to Literary Criticism
• Find Resources
• Cite Sources
• thesis examples

Step 1 :: READ

As you read the work, ask yourself questions, such as:

Why did the author write this?

What is the theme or themes?

How is the style relevant to the content?

How are the characters developed?

What do the characters learn?

How are the characters connected to the themes?

What does the format and style suggest about the story?

Step 2 :: THESIS

The thesis is a road map for the paper—it tells the reader what to expect.  A good thesis is specific, limited in scope, and offers a perspective or interpretation on a subject. 

Focus on specific attribute(s) of the text(s).

Make a specific, arguable point (thesis) about these attributes.

Defend this point with reasons and evidence drawn from the text and secondary sources.

As you do research and your paper evolves, don't hesitate to revamp your original thesis statement.

THESIS STATEMENT EXAMPLES

Step 3 :: RESEARCH

Find evidence that supports your thesis. This evidence may include:

Opinions of other critics.​

Discussion of the text's historical and social context.

Discussions in books or articles about your text.

Discussions in books and articles about theories related to your argument.

RESOURCES TO USE  IN YOUR RESEARCH 

Step 4 :: SUPPORT

In addition to support for your thesis in sources you have located in your research, you will use support directly from the text, such as:

Direct quotations

Summaries of scenes

Paraphrases

Reminder: Do not summarize the plot. You are writing an analysis; not a review or summary.

For more information about paraphrasing:

OWL Purdue  

Writer's Handbook - University of Wisconsin

Step 5 :: EDIT

The final step is to edit and polish the paper:

Check for spelling and grammar mistakes.

Ask a friend to review it for you. Since you have read it so many times, you may overlook obvious mistakes.

Make sure you follow all formatting guidelines.

Some questions to consider as you review your paper:

Do you get the reader's attention in the introductory paragraph?

Do you vary the sentence structure?

Do your paragraphs transition well?

Do your quotes and research clearly support your thesis?

Does your conclusion tie up all the loose ends?

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• Next: Find Resources >>
• Last Updated: Jun 12, 2024 8:56 AM
• URL: https://libguides.uta.edu/literarycriticism

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An Essay on Criticism

33 pages • 1 hour read

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Summary and Study Guide

Summary: “an essay on criticism: written in the year 1709”.

Alexander Pope was a prominent English poet and satirist who was born in 1688 and died in 1744. He published An Essay on Criticism in 1711, though the subtitle suggests that he wrote it earlier, and it is the work that made him famous and launched his career. The poem is largely written in heroic couplets and iambic pentameter and is a critique of the state of literary criticism in the early 18th century. It offers a satire of the authors of Pope’s era and a thesis about the best way to judge and write literature. Pope focuses on how to develop and define good taste and judgment, the rules of good literature as he sees them handed down from the ancient (classical Greek and Roman) poets, and what makes a good modern critic in his eyes.

This guide is based on the Oxford World’s Classics edition of An Essay on Literature , published in 2006 as part of The Major Works and edited by Pat Rogers. The edition is based on the William Bowyer quarto editions of 1744, which were edited with Pope’s help.

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The argument of An Essay on Criticism is broken into three parts. The first focuses on what Pope sees as the over-abundance of literary critics in the early 18th century. Pope argues that it takes as much skill to be a critic as it does to be a writer but that people often venture beyond their natural talents; further, while many people do have the capacity for good taste, some have been “ spoiled by false education” (Line 17). For both writers and critics, Pope argues, aesthetic judgment should stem first and foremost from “nature.” According to Pope, the literary conventions that classical writers followed were not arbitrary but rather logically derived from the inherent order of things. However, writers must also rely on a natural sense of creativity. This may necessitate breaking certain artistic rules, but artistic rule-breaking must serve a broader function within the piece; otherwise, criticism of the work is justified. In this section, Pope also argues for a relationship between critic and poet that is complementary rather than one-sided or self-interested; the good critic’s praise will inspire more good poetry and vice versa.

In the second part, Pope goes into detail about what he sees as the barriers to good judgment. These include pride and a failure to recognize one’s own limitations, the above-mentioned false (particularly shallow) education, too much focus on the parts of a work of literature with not enough attention to the whole, excessive loyalty to one particular school of thought or kind of literature, and critics who are envious or unnecessarily severe. In his discussion of the inappropriate focus on the part over the whole, Pope singles out overly ornamental language and unnecessary reliance on extended metaphor or conceit . Likewise, he cautions against expecting strict adherence to acoustic elements like meter and rhyme . He puts forward the idea that poetic expression works best when the author balances techniques to achieve their aim. This section also discusses the tendency to single out one writer or group of writers for praise or criticism—e.g., only those from a particular country or era. For example, Pope suggests that a knowledge of classical literature is necessary to produce good modern literature, but he cautions against taking one side over the other simply out of loyalty or current fads. Pope also urges critics not to delay praising good work and so deprive writers of their already too-fleeting fame. This, he suggests, is a particular tendency among writers who have already achieved renown; they may disparage works that are, if not equal to their own, at least commendable.

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The third segment of Pope’s begins by stressing that critics must not merely understand their subject but must also know how and when to praise or criticize. He then gives a literary and critical history from ancient times to the 18th century, including examples of philosophers and poets whom Pope believes should be honored and copied. In particular, he focuses on the ancients Aristotle, Horace , Dionysius, Petronius, Quintilian, and Longinus, arguing that aesthetic standards declined after the fall of the Roman Empire. Erasmus, Pope argues, partially revived classical learning, but France has heeded the knowledge of the ancients more carefully than England. Pope concludes with a personal message of thanks to William Walsh, who supported Pope’s earlier career and whom Pope refers to as “the Muse’s judge and friend” (Line 729).

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An Essay on Criticism

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Alexander Pope, a translator, poet, wit, amateur landscape gardener, and satirist, was born in London in 1688. He contracted tuberculosis of the bone when he was young, which disfigured his spine and purportedly only allowed him to grow to 4 feet, 6 inches. Pope grew up on his father’s property at Binfield in Windsor Forest, where he read avidly and gained an appreciation for the natural world. Though he remained in ill health throughout his life, he was able to support himself as a translator and writer. As a Catholic at that time in Britain, he was ineligible for patronage, public office, or a position at a university.   A sharp-penned satirist of public figures and their behavior, Pope had his supporters and detractors. He was friends with Jonathan Swift, Dr. John Arbuthnot, and John Gay. Pope’s poems include the “Epistle to Dr. Arbuthnot” and the mock epic “The Rape of the Lock.” To read his work is to be exposed to the order and wit of the 18th century poetry that preceded the Romantic poets. Pope primarily used the heroic couplet, and his lines are immensely quotable; from “An Essay on Criticism” come famous phrases such as “To err is human; to forgive, divine,” “A little learning is a dang’rous thing,” and “For fools rush in where angels fear to tread.”   After 1718 Pope lived on his five-acre property at Twickenham by the Thames. He cultivated a much-visited garden that contained a grotto, and featured the formal characteristics of a French garden and the newer more natural “English” landscape style.   Pope wrote “An Essay on Criticism” when he was 23; he was influenced by Quintillian, Aristotle, Horace’s Ars Poetica , and Nicolas Boileau’s L’Art Poëtique . Written in heroic couplets, the tone is straight-forward and conversational. It is a discussion of what good critics should do; however, in reading it one gleans much wisdom on the qualities poets should strive for in their own work. In Part I of “An Essay on Criticism,” Pope notes the lack of “true taste” in critics, stating: “’Tis with our judgments as our watches, none / Go just alike, yet each believes his own.” Pope advocates knowing one’s own artistic limits: “Launch not beyond your depth, but be discreet, / And mark that point where sense and dullness meet.” He stresses the order in nature and the value of the work of the “Ancients” of Greece, but also states that not all good work can be explained by rules: “Some beauties yet, no precepts can declare, / For there’s a happiness as well as care.”   In Part II, Pope lists the mistakes that critics make, as well as the defects in poems that some critics short-sightedly praise. He advocates looking at a whole piece of work, instead of being swayed by some of its showier or faulty parts: “As men of breeding, sometimes men of wit, / T’ avoid great errors, must the less commit.” He advises against too much ornamentation in writing, and against fancy style that communicates little of merit. In his description of versification, his lines enact the effects of clumsy writing: “And ten low words oft creep in one dull line,” and “A needless Alexandrine ends the song, / That, like a wounded snake, drags its slow length along.” In Part III, Pope discusses what critics should do, holding up the “Ancients” as models, including Aristotle (the “Stagirite”) who was respected by the lawless poets: “Poets, a race long unconfin’d and free, / Still fond and proud of savage liberty, / Receiv’d his laws; and stood convinc’d ‘twas fit, / Who conquer’d nature, should preside o’er wit.”

'Tis hard to say, if greater want of skill Appear in writing or in judging ill; But, of the two, less dang'rous is th' offence To tire our patience, than mislead our sense. Some few in that, but numbers err in this, Ten censure wrong for one who writes amiss; A fool might once himself alone expose, Now one in verse makes many more in prose.        'Tis with our judgments as our watches, none Go just alike, yet each believes his own. In poets as true genius is but rare, True taste as seldom is the critic's share; Both must alike from Heav'n derive their light, These born to judge, as well as those to write. Let such teach others who themselves excel, And censure freely who have written well. Authors are partial to their wit, 'tis true, But are not critics to their judgment too?        Yet if we look more closely we shall find Most have the seeds of judgment in their mind; Nature affords at least a glimm'ring light; The lines, tho' touch'd but faintly, are drawn right. But as the slightest sketch, if justly trac'd, Is by ill colouring but the more disgrac'd, So by false learning is good sense defac'd; Some are bewilder'd in the maze of schools, And some made coxcombs Nature meant but fools. In search of wit these lose their common sense, And then turn critics in their own defence: Each burns alike, who can, or cannot write, Or with a rival's, or an eunuch's spite. All fools have still an itching to deride, And fain would be upon the laughing side. If Mævius scribble in Apollo's spite, There are, who judge still worse than he can write.        Some have at first for wits, then poets pass'd, Turn'd critics next, and prov'd plain fools at last; Some neither can for wits nor critics pass, As heavy mules are neither horse nor ass. Those half-learn'd witlings, num'rous in our isle As half-form'd insects on the banks of Nile; Unfinish'd things, one knows not what to call, Their generation's so equivocal: To tell 'em, would a hundred tongues require, Or one vain wit's, that might a hundred tire.        But you who seek to give and merit fame, And justly bear a critic's noble name, Be sure your self and your own reach to know, How far your genius, taste, and learning go; Launch not beyond your depth, but be discreet, And mark that point where sense and dulness meet.        Nature to all things fix'd the limits fit, And wisely curb'd proud man's pretending wit: As on the land while here the ocean gains, In other parts it leaves wide sandy plains; Thus in the soul while memory prevails, The solid pow'r of understanding fails; Where beams of warm imagination play, The memory's soft figures melt away. One science only will one genius fit; So vast is art, so narrow human wit: Not only bounded to peculiar arts, But oft in those, confin'd to single parts. Like kings we lose the conquests gain'd before, By vain ambition still to make them more; Each might his sev'ral province well command, Would all but stoop to what they understand.        First follow NATURE, and your judgment frame By her just standard, which is still the same: Unerring Nature, still divinely bright, One clear, unchang'd, and universal light, Life, force, and beauty, must to all impart, At once the source, and end, and test of art. Art from that fund each just supply provides, Works without show, and without pomp presides: In some fair body thus th' informing soul With spirits feeds, with vigour fills the whole, Each motion guides, and ev'ry nerve sustains; Itself unseen, but in th' effects, remains. Some, to whom Heav'n in wit has been profuse, Want as much more, to turn it to its use; For wit and judgment often are at strife, Though meant each other's aid, like man and wife. 'Tis more to guide, than spur the Muse's steed; Restrain his fury, than provoke his speed; The winged courser, like a gen'rous horse, Shows most true mettle when you check his course.        Those RULES of old discover'd, not devis'd, Are Nature still, but Nature methodis'd; Nature, like liberty, is but restrain'd By the same laws which first herself ordain'd.        Hear how learn'd Greece her useful rules indites, When to repress, and when indulge our flights: High on Parnassus' top her sons she show'd, And pointed out those arduous paths they trod; Held from afar, aloft, th' immortal prize, And urg'd the rest by equal steps to rise. Just precepts thus from great examples giv'n, She drew from them what they deriv'd from Heav'n. The gen'rous critic fann'd the poet's fire, And taught the world with reason to admire. Then criticism the Muse's handmaid prov'd, To dress her charms, and make her more belov'd; But following wits from that intention stray'd; Who could not win the mistress, woo'd the maid; Against the poets their own arms they turn'd, Sure to hate most the men from whom they learn'd. So modern 'pothecaries, taught the art By doctor's bills to play the doctor's part, Bold in the practice of mistaken rules, Prescribe, apply, and call their masters fools. Some on the leaves of ancient authors prey, Nor time nor moths e'er spoil'd so much as they: Some drily plain, without invention's aid, Write dull receipts how poems may be made: These leave the sense, their learning to display, And those explain the meaning quite away.        You then whose judgment the right course would steer, Know well each ANCIENT'S proper character; His fable, subject, scope in ev'ry page; Religion, country, genius of his age: Without all these at once before your eyes, Cavil you may, but never criticise. Be Homer's works your study and delight, Read them by day, and meditate by night; Thence form your judgment, thence your maxims bring, And trace the Muses upward to their spring; Still with itself compar'd, his text peruse; And let your comment be the Mantuan Muse.        When first young Maro in his boundless mind A work t' outlast immortal Rome design'd, Perhaps he seem'd above the critic's law, And but from Nature's fountains scorn'd to draw: But when t' examine ev'ry part he came, Nature and Homer were, he found, the same. Convinc'd, amaz'd, he checks the bold design, And rules as strict his labour'd work confine, As if the Stagirite o'erlook'd each line. Learn hence for ancient rules a just esteem; To copy nature is to copy them.        Some beauties yet, no precepts can declare, For there's a happiness as well as care. Music resembles poetry, in each Are nameless graces which no methods teach, And which a master-hand alone can reach. If, where the rules not far enough extend, (Since rules were made but to promote their end) Some lucky LICENCE answers to the full Th' intent propos'd, that licence is a rule. Thus Pegasus, a nearer way to take, May boldly deviate from the common track. Great wits sometimes may gloriously offend, And rise to faults true critics dare not mend; From vulgar bounds with brave disorder part, And snatch a grace beyond the reach of art, Which, without passing through the judgment, gains The heart, and all its end at once attains. In prospects, thus, some objects please our eyes, Which out of nature's common order rise, The shapeless rock, or hanging precipice. But tho' the ancients thus their rules invade, (As kings dispense with laws themselves have made) Moderns, beware! or if you must offend Against the precept, ne'er transgress its end; Let it be seldom, and compell'd by need, And have, at least, their precedent to plead. The critic else proceeds without remorse, Seizes your fame, and puts his laws in force.        I know there are, to whose presumptuous thoughts Those freer beauties, ev'n in them, seem faults. Some figures monstrous and misshap'd appear, Consider'd singly, or beheld too near, Which, but proportion'd to their light, or place, Due distance reconciles to form and grace. A prudent chief not always must display His pow'rs in equal ranks, and fair array, But with th' occasion and the place comply, Conceal his force, nay seem sometimes to fly. Those oft are stratagems which errors seem, Nor is it Homer nods, but we that dream.        Still green with bays each ancient altar stands, Above the reach of sacrilegious hands, Secure from flames, from envy's fiercer rage, Destructive war, and all-involving age. See, from each clime the learn'd their incense bring! Hear, in all tongues consenting pæans ring! In praise so just let ev'ry voice be join'd, And fill the gen'ral chorus of mankind! Hail, bards triumphant! born in happier days; Immortal heirs of universal praise! Whose honours with increase of ages grow, As streams roll down, enlarging as they flow! Nations unborn your mighty names shall sound, And worlds applaud that must not yet be found! Oh may some spark of your celestial fire The last, the meanest of your sons inspire, (That on weak wings, from far, pursues your flights; Glows while he reads, but trembles as he writes) To teach vain wits a science little known, T' admire superior sense, and doubt their own!

Of all the causes which conspire to blind Man's erring judgment, and misguide the mind, What the weak head with strongest bias rules, Is pride, the never-failing vice of fools. Whatever Nature has in worth denied, She gives in large recruits of needful pride; For as in bodies, thus in souls, we find What wants in blood and spirits, swell'd with wind; Pride, where wit fails, steps in to our defence, And fills up all the mighty void of sense! If once right reason drives that cloud away, Truth breaks upon us with resistless day; Trust not yourself; but your defects to know, Make use of ev'ry friend—and ev'ry foe.        A little learning is a dang'rous thing; Drink deep, or taste not the Pierian spring: There shallow draughts intoxicate the brain, And drinking largely sobers us again. Fir'd at first sight with what the Muse imparts, In fearless youth we tempt the heights of arts, While from the bounded level of our mind, Short views we take, nor see the lengths behind, But more advanc'd, behold with strange surprise New, distant scenes of endless science rise! So pleas'd at first, the tow'ring Alps we try, Mount o'er the vales, and seem to tread the sky; Th' eternal snows appear already past, And the first clouds and mountains seem the last; But those attain'd, we tremble to survey The growing labours of the lengthen'd way, Th' increasing prospect tires our wand'ring eyes, Hills peep o'er hills, and Alps on Alps arise!        A perfect judge will read each work of wit With the same spirit that its author writ, Survey the whole, nor seek slight faults to find, Where nature moves, and rapture warms the mind; Nor lose, for that malignant dull delight, The gen'rous pleasure to be charm'd with wit. But in such lays as neither ebb, nor flow, Correctly cold, and regularly low, That shunning faults, one quiet tenour keep; We cannot blame indeed—but we may sleep. In wit, as nature, what affects our hearts Is not th' exactness of peculiar parts; 'Tis not a lip, or eye, we beauty call, But the joint force and full result of all. Thus when we view some well-proportion'd dome, (The world's just wonder, and ev'n thine, O Rome!' No single parts unequally surprise; All comes united to th' admiring eyes; No monstrous height, or breadth, or length appear; The whole at once is bold, and regular.        Whoever thinks a faultless piece to see, Thinks what ne'er was, nor is, nor e'er shall be. In ev'ry work regard the writer's end, Since none can compass more than they intend; And if the means be just, the conduct true, Applause, in spite of trivial faults, is due. As men of breeding, sometimes men of wit, T' avoid great errors, must the less commit: Neglect the rules each verbal critic lays, For not to know such trifles, is a praise. Most critics, fond of some subservient art, Still make the whole depend upon a part: They talk of principles, but notions prize, And all to one lov'd folly sacrifice.        Once on a time, La Mancha's knight, they say, A certain bard encount'ring on the way, Discours'd in terms as just, with looks as sage, As e'er could Dennis of the Grecian stage; Concluding all were desp'rate sots and fools, Who durst depart from Aristotle's rules. Our author, happy in a judge so nice, Produc'd his play, and begg'd the knight's advice, Made him observe the subject and the plot, The manners, passions, unities, what not? All which, exact to rule, were brought about, Were but a combat in the lists left out. "What! leave the combat out?" exclaims the knight; "Yes, or we must renounce the Stagirite." "Not so by Heav'n" (he answers in a rage) "Knights, squires, and steeds, must enter on the stage." So vast a throng the stage can ne'er contain. "Then build a new, or act it in a plain."        Thus critics, of less judgment than caprice, Curious not knowing, not exact but nice, Form short ideas; and offend in arts (As most in manners) by a love to parts.        Some to conceit alone their taste confine, And glitt'ring thoughts struck out at ev'ry line; Pleas'd with a work where nothing's just or fit; One glaring chaos and wild heap of wit. Poets, like painters, thus, unskill'd to trace The naked nature and the living grace, With gold and jewels cover ev'ry part, And hide with ornaments their want of art. True wit is nature to advantage dress'd, What oft was thought, but ne'er so well express'd, Something, whose truth convinc'd at sight we find, That gives us back the image of our mind. As shades more sweetly recommend the light, So modest plainness sets off sprightly wit. For works may have more wit than does 'em good, As bodies perish through excess of blood.        Others for language all their care express, And value books, as women men, for dress: Their praise is still—"the style is excellent": The sense, they humbly take upon content. Words are like leaves; and where they most abound, Much fruit of sense beneath is rarely found. False eloquence, like the prismatic glass, Its gaudy colours spreads on ev'ry place; The face of Nature we no more survey, All glares alike, without distinction gay: But true expression, like th' unchanging sun, Clears, and improves whate'er it shines upon, It gilds all objects, but it alters none. Expression is the dress of thought, and still Appears more decent, as more suitable; A vile conceit in pompous words express'd, Is like a clown in regal purple dress'd: For diff'rent styles with diff'rent subjects sort, As several garbs with country, town, and court. Some by old words to fame have made pretence, Ancients in phrase, mere moderns in their sense; Such labour'd nothings, in so strange a style, Amaze th' unlearn'd, and make the learned smile. Unlucky, as Fungoso in the play, These sparks with awkward vanity display What the fine gentleman wore yesterday! And but so mimic ancient wits at best, As apes our grandsires, in their doublets dress'd. In words, as fashions, the same rule will hold; Alike fantastic, if too new, or old; Be not the first by whom the new are tried, Not yet the last to lay the old aside.        But most by numbers judge a poet's song; And smooth or rough, with them is right or wrong: In the bright Muse though thousand charms conspire, Her voice is all these tuneful fools admire, Who haunt Parnassus but to please their ear, Not mend their minds; as some to church repair, Not for the doctrine, but the music there. These equal syllables alone require, Tho' oft the ear the open vowels tire, While expletives their feeble aid do join, And ten low words oft creep in one dull line, While they ring round the same unvaried chimes, With sure returns of still expected rhymes. Where'er you find "the cooling western breeze", In the next line, it "whispers through the trees": If "crystal streams with pleasing murmurs creep", The reader's threaten'd (not in vain) with "sleep". Then, at the last and only couplet fraught With some unmeaning thing they call a thought, A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along. Leave such to tune their own dull rhymes, and know What's roundly smooth, or languishingly slow; And praise the easy vigour of a line, Where Denham's strength, and Waller's sweetness join. True ease in writing comes from art, not chance, As those move easiest who have learn'd to dance. 'Tis not enough no harshness gives offence, The sound must seem an echo to the sense. Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main. Hear how Timotheus' varied lays surprise, And bid alternate passions fall and rise! While, at each change, the son of Libyan Jove Now burns with glory, and then melts with love; Now his fierce eyes with sparkling fury glow, Now sighs steal out, and tears begin to flow: Persians and Greeks like turns of nature found, And the world's victor stood subdu'd by sound! The pow'r of music all our hearts allow, And what Timotheus was, is Dryden now.        Avoid extremes; and shun the fault of such, Who still are pleas'd too little or too much. At ev'ry trifle scorn to take offence, That always shows great pride, or little sense; Those heads, as stomachs, are not sure the best, Which nauseate all, and nothing can digest. Yet let not each gay turn thy rapture move, For fools admire, but men of sense approve; As things seem large which we through mists descry, Dulness is ever apt to magnify.        Some foreign writers, some our own despise; The ancients only, or the moderns prize. Thus wit, like faith, by each man is applied To one small sect, and all are damn'd beside. Meanly they seek the blessing to confine, And force that sun but on a part to shine; Which not alone the southern wit sublimes, But ripens spirits in cold northern climes; Which from the first has shone on ages past, Enlights the present, and shall warm the last; (Though each may feel increases and decays, And see now clearer and now darker days.) Regard not then if wit be old or new, But blame the false, and value still the true. Some ne'er advance a judgment of their own, But catch the spreading notion of the town; They reason and conclude by precedent, And own stale nonsense which they ne'er invent. Some judge of authors' names, not works, and then Nor praise nor blame the writings, but the men. Of all this servile herd, the worst is he That in proud dulness joins with quality, A constant critic at the great man's board, To fetch and carry nonsense for my Lord. What woeful stuff this madrigal would be, In some starv'd hackney sonneteer, or me? But let a Lord once own the happy lines, How the wit brightens! how the style refines! Before his sacred name flies every fault, And each exalted stanza teems with thought!        The vulgar thus through imitation err; As oft the learn'd by being singular; So much they scorn the crowd, that if the throng By chance go right, they purposely go wrong: So Schismatics the plain believers quit, And are but damn'd for having too much wit.        Some praise at morning what they blame at night; But always think the last opinion right. A Muse by these is like a mistress us'd, This hour she's idoliz'd, the next abus'd; While their weak heads, like towns unfortified, Twixt sense and nonsense daily change their side. Ask them the cause; they're wiser still, they say; And still tomorrow's wiser than today. We think our fathers fools, so wise we grow; Our wiser sons, no doubt, will think us so. Once school divines this zealous isle o'erspread; Who knew most Sentences, was deepest read; Faith, Gospel, all, seem'd made to be disputed, And none had sense enough to be confuted: Scotists and Thomists, now, in peace remain, Amidst their kindred cobwebs in Duck Lane. If Faith itself has different dresses worn, What wonder modes in wit should take their turn? Oft, leaving what is natural and fit, The current folly proves the ready wit; And authors think their reputation safe Which lives as long as fools are pleased to laugh.        Some valuing those of their own side or mind, Still make themselves the measure of mankind; Fondly we think we honour merit then, When we but praise ourselves in other men. Parties in wit attend on those of state, And public faction doubles private hate. Pride, Malice, Folly, against Dryden rose, In various shapes of Parsons, Critics, Beaus; But sense surviv'd, when merry jests were past; For rising merit will buoy up at last. Might he return, and bless once more our eyes, New Blackmores and new Milbourns must arise; Nay should great Homer lift his awful head, Zoilus again would start up from the dead. Envy will merit, as its shade, pursue, But like a shadow, proves the substance true; For envied wit, like Sol eclips'd, makes known Th' opposing body's grossness, not its own. When first that sun too powerful beams displays, It draws up vapours which obscure its rays; But ev'n those clouds at last adorn its way, Reflect new glories, and augment the day.        Be thou the first true merit to befriend; His praise is lost, who stays till all commend. Short is the date, alas, of modern rhymes, And 'tis but just to let 'em live betimes. No longer now that golden age appears, When patriarch wits surviv'd a thousand years: Now length of Fame (our second life) is lost, And bare threescore is all ev'n that can boast; Our sons their fathers' failing language see, And such as Chaucer is, shall Dryden be. So when the faithful pencil has design'd Some bright idea of the master's mind, Where a new world leaps out at his command, And ready Nature waits upon his hand; When the ripe colours soften and unite, And sweetly melt into just shade and light; When mellowing years their full perfection give, And each bold figure just begins to live, The treacherous colours the fair art betray, And all the bright creation fades away!        Unhappy wit, like most mistaken things, Atones not for that envy which it brings. In youth alone its empty praise we boast, But soon the short-liv'd vanity is lost: Like some fair flow'r the early spring supplies, That gaily blooms, but ev'n in blooming dies. What is this wit, which must our cares employ? The owner's wife, that other men enjoy; Then most our trouble still when most admir'd, And still the more we give, the more requir'd; Whose fame with pains we guard, but lose with ease, Sure some to vex, but never all to please; 'Tis what the vicious fear, the virtuous shun; By fools 'tis hated, and by knaves undone!        If wit so much from ign'rance undergo, Ah let not learning too commence its foe! Of old, those met rewards who could excel, And such were prais'd who but endeavour'd well: Though triumphs were to gen'rals only due, Crowns were reserv'd to grace the soldiers too. Now, they who reach Parnassus' lofty crown, Employ their pains to spurn some others down;        And while self-love each jealous writer rules, Contending wits become the sport of fools: But still the worst with most regret commend, For each ill author is as bad a friend. To what base ends, and by what abject ways, Are mortals urg'd through sacred lust of praise! Ah ne'er so dire a thirst of glory boast, Nor in the critic let the man be lost! Good nature and good sense must ever join; To err is human; to forgive, divine.        But if in noble minds some dregs remain, Not yet purg'd off, of spleen and sour disdain, Discharge that rage on more provoking crimes, Nor fear a dearth in these flagitious times. No pardon vile obscenity should find, Though wit and art conspire to move your mind; But dulness with obscenity must prove As shameful sure as impotence in love. In the fat age of pleasure, wealth, and ease, Sprung the rank weed, and thriv'd with large increase: When love was all an easy monarch's care; Seldom at council, never in a war: Jilts ruled the state, and statesmen farces writ; Nay wits had pensions, and young Lords had wit: The fair sat panting at a courtier's play, And not a mask went unimprov'd away: The modest fan was lifted up no more, And virgins smil'd at what they blush'd before. The following licence of a foreign reign Did all the dregs of bold Socinus drain; Then unbelieving priests reform'd the nation, And taught more pleasant methods of salvation; Where Heav'n's free subjects might their rights dispute, Lest God himself should seem too absolute: Pulpits their sacred satire learned to spare, And Vice admired to find a flatt'rer there! Encourag'd thus, wit's Titans brav'd the skies, And the press groan'd with licenc'd blasphemies. These monsters, critics! with your darts engage, Here point your thunder, and exhaust your rage! Yet shun their fault, who, scandalously nice, Will needs mistake an author into vice; All seems infected that th' infected spy, As all looks yellow to the jaundic'd eye.

Learn then what morals critics ought to show, For 'tis but half a judge's task, to know. 'Tis not enough, taste, judgment, learning, join; In all you speak, let truth and candour shine: That not alone what to your sense is due, All may allow; but seek your friendship too.        Be silent always when you doubt your sense; And speak, though sure, with seeming diffidence: Some positive, persisting fops we know, Who, if once wrong, will needs be always so; But you, with pleasure own your errors past, And make each day a critic on the last.        'Tis not enough, your counsel still be true; Blunt truths more mischief than nice falsehoods do; Men must be taught as if you taught them not; And things unknown proposed as things forgot. Without good breeding, truth is disapprov'd; That only makes superior sense belov'd.        Be niggards of advice on no pretence; For the worst avarice is that of sense. With mean complacence ne'er betray your trust, Nor be so civil as to prove unjust. Fear not the anger of the wise to raise; Those best can bear reproof, who merit praise.        'Twere well might critics still this freedom take, But Appius reddens at each word you speak, And stares, Tremendous ! with a threatening eye, Like some fierce tyrant in old tapestry! Fear most to tax an honourable fool, Whose right it is, uncensur'd, to be dull; Such, without wit, are poets when they please, As without learning they can take degrees. Leave dangerous truths to unsuccessful satires, And flattery to fulsome dedicators, Whom, when they praise, the world believes no more, Than when they promise to give scribbling o'er. 'Tis best sometimes your censure to restrain, And charitably let the dull be vain: Your silence there is better than your spite, For who can rail so long as they can write? Still humming on, their drowsy course they keep, And lash'd so long, like tops, are lash'd asleep. False steps but help them to renew the race, As after stumbling, jades will mend their pace. What crowds of these, impenitently bold, In sounds and jingling syllables grown old, Still run on poets, in a raging vein, Even to the dregs and squeezings of the brain, Strain out the last, dull droppings of their sense, And rhyme with all the rage of impotence!        Such shameless bards we have; and yet 'tis true, There are as mad, abandon'd critics too. The bookful blockhead, ignorantly read, With loads of learned lumber in his head, With his own tongue still edifies his ears, And always list'ning to himself appears. All books he reads, and all he reads assails, From Dryden's Fables down to Durfey's Tales. With him, most authors steal their works, or buy; Garth did not write his own Dispensary . Name a new play, and he's the poet's friend, Nay show'd his faults—but when would poets mend? No place so sacred from such fops is barr'd, Nor is Paul's church more safe than Paul's churchyard: Nay, fly to altars; there they'll talk you dead: For fools rush in where angels fear to tread. Distrustful sense with modest caution speaks; It still looks home, and short excursions makes; But rattling nonsense in full volleys breaks; And never shock'd, and never turn'd aside, Bursts out, resistless, with a thund'ring tide.        But where's the man, who counsel can bestow, Still pleas'd to teach, and yet not proud to know? Unbias'd, or by favour or by spite; Not dully prepossess'd, nor blindly right; Though learn'd, well-bred; and though well-bred, sincere; Modestly bold, and humanly severe? Who to a friend his faults can freely show, And gladly praise the merit of a foe? Blest with a taste exact, yet unconfin'd; A knowledge both of books and human kind; Gen'rous converse; a soul exempt from pride; And love to praise, with reason on his side?        Such once were critics; such the happy few, Athens and Rome in better ages knew. The mighty Stagirite first left the shore, Spread all his sails, and durst the deeps explore: He steer'd securely, and discover'd far, Led by the light of the Mæonian Star. Poets, a race long unconfin'd and free, Still fond and proud of savage liberty, Receiv'd his laws; and stood convinc'd 'twas fit, Who conquer'd nature, should preside o'er wit.        Horace still charms with graceful negligence, And without methods talks us into sense, Will, like a friend, familiarly convey The truest notions in the easiest way. He, who supreme in judgment, as in wit, Might boldly censure, as he boldly writ, Yet judg'd with coolness, though he sung with fire; His precepts teach but what his works inspire. Our critics take a contrary extreme, They judge with fury, but they write with fle'me: Nor suffers Horace more in wrong translations By wits, than critics in as wrong quotations.        See Dionysius Homer's thoughts refine, And call new beauties forth from ev'ry line!        Fancy and art in gay Petronius please, The scholar's learning, with the courtier's ease.        In grave Quintilian's copious work we find The justest rules, and clearest method join'd; Thus useful arms in magazines we place, All rang'd in order, and dispos'd with grace, But less to please the eye, than arm the hand, Still fit for use, and ready at command.        Thee, bold Longinus! all the Nine inspire, And bless their critic with a poet's fire. An ardent judge, who zealous in his trust, With warmth gives sentence, yet is always just; Whose own example strengthens all his laws; And is himself that great sublime he draws.        Thus long succeeding critics justly reign'd, Licence repress'd, and useful laws ordain'd; Learning and Rome alike in empire grew, And arts still follow'd where her eagles flew; From the same foes, at last, both felt their doom, And the same age saw learning fall, and Rome. With tyranny, then superstition join'd, As that the body, this enslav'd the mind; Much was believ'd, but little understood, And to be dull was constru'd to be good; A second deluge learning thus o'er-run, And the monks finish'd what the Goths begun.        At length Erasmus, that great, injur'd name, (The glory of the priesthood, and the shame!) Stemm'd the wild torrent of a barb'rous age, And drove those holy Vandals off the stage.        But see! each Muse, in Leo's golden days, Starts from her trance, and trims her wither'd bays! Rome's ancient genius, o'er its ruins spread, Shakes off the dust, and rears his rev'rend head! Then sculpture and her sister-arts revive; Stones leap'd to form, and rocks began to live; With sweeter notes each rising temple rung; A Raphael painted, and a Vida sung. Immortal Vida! on whose honour'd brow The poet's bays and critic's ivy grow: Cremona now shall ever boast thy name, As next in place to Mantua, next in fame!        But soon by impious arms from Latium chas'd, Their ancient bounds the banished Muses pass'd; Thence arts o'er all the northern world advance; But critic-learning flourish'd most in France. The rules a nation born to serve, obeys, And Boileau still in right of Horace sways. But we, brave Britons, foreign laws despis'd, And kept unconquer'd, and uncivilis'd, Fierce for the liberties of wit, and bold, We still defied the Romans, as of old. Yet some there were, among the sounder few Of those who less presum'd, and better knew, Who durst assert the juster ancient cause, And here restor'd wit's fundamental laws. Such was the Muse, whose rules and practice tell "Nature's chief master-piece is writing well." Such was Roscommon—not more learn'd than good, With manners gen'rous as his noble blood; To him the wit of Greece and Rome was known, And ev'ry author's merit, but his own. Such late was Walsh—the Muse's judge and friend, Who justly knew to blame or to commend; To failings mild, but zealous for desert; The clearest head, and the sincerest heart. This humble praise, lamented shade! receive, This praise at least a grateful Muse may give: The Muse, whose early voice you taught to sing, Prescrib'd her heights, and prun'd her tender wing, (Her guide now lost) no more attempts to rise, But in low numbers short excursions tries: Content, if hence th' unlearn'd their wants may view, The learn'd reflect on what before they knew: Careless of censure, nor too fond of fame, Still pleas'd to praise, yet not afraid to blame, Averse alike to flatter, or offend, Not free from faults, nor yet too vain to mend.

The acknowledged master of the heroic couplet and one of the primary tastemakers of the Augustan age, British writer Alexander Pope was a central figure in the Neoclassical movement of the early 18th century. He is known for having perfected the rhymed couplet form of his idol, John Dryden, and...

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Writing Critiques

Writing a critique involves more than pointing out mistakes. It involves conducting a systematic analysis of a scholarly article or book and then writing a fair and reasonable description of its strengths and weaknesses. Several scholarly journals have published guides for critiquing other people’s work in their academic area. Search for a  “manuscript reviewer guide” in your own discipline to guide your analysis of the content. Use this handout as an orientation to the audience and purpose of different types of critiques and to the linguistic strategies appropriate to all of them.

Types of critique

Article or book review assignment in an academic class.

Text: Article or book that has already been published Audience: Professors Purpose:

• to demonstrate your skills for close reading and analysis
• to show that you understand key concepts in your field
• to learn how to review a manuscript for your future professional work

Published book review

Text: Book that has already been published Audience: Disciplinary colleagues Purpose:

• to describe the book’s contents
• to summarize the book’s strengths and weaknesses
• to provide a reliable recommendation to read (or not read) the book

Manuscript review

Text: Manuscript that has been submitted but has not been published yet Audience: Journal editor and manuscript authors Purpose:

• to provide the editor with an evaluation of the manuscript
• to recommend to the editor that the article be published, revised, or rejected
• to provide the authors with constructive feedback and reasonable suggestions for revision

Language strategies for critiquing

For each type of critique, it’s important to state your praise, criticism, and suggestions politely, but with the appropriate level of strength. The following language structures should help you achieve this challenging task.

Offering Praise and Criticism

A strategy called “hedging” will help you express praise or criticism with varying levels of strength. It will also help you express varying levels of certainty in your own assertions. Grammatical structures used for hedging include:

Modal verbs Using modal verbs (could, can, may, might, etc.) allows you to soften an absolute statement. Compare:

This text is inappropriate for graduate students who are new to the field. This text may be inappropriate for graduate students who are new to the field.

Qualifying adjectives and adverbs Using qualifying adjectives and adverbs (possible, likely, possibly, somewhat, etc.) allows you to introduce a level of probability into your comments. Compare:

Readers will find the theoretical model difficult to understand. Some readers will find the theoretical model difficult to understand. Some readers will probably find the theoretical model somewhat difficult to understand completely.

Note: You can see from the last example that too many qualifiers makes the idea sound undesirably weak.

Tentative verbs Using tentative verbs (seems, indicates, suggests, etc.) also allows you to soften an absolute statement. Compare:

This omission shows that the authors are not aware of the current literature. This omission indicates that the authors are not aware of the current literature. This omission seems to suggest that the authors are not aware of the current literature.

Offering suggestions

Whether you are critiquing a published or unpublished text, you are expected to point out problems and suggest solutions. If you are critiquing an unpublished manuscript, the author can use your suggestions to revise. Your suggestions have the potential to become real actions. If you are critiquing a published text, the author cannot revise, so your suggestions are purely hypothetical. These two situations require slightly different grammar.

Unpublished manuscripts: “would be X if they did Y” Reviewers commonly point out weakness by pointing toward improvement. For instance, if the problem is “unclear methodology,” reviewers may write that “the methodology would be more clear if …” plus a suggestion. If the author can use the suggestions to revise, the grammar is “X would be better if the authors did Y” (would be + simple past suggestion).

The tables would be clearer if the authors highlighted the key results. The discussion would be more persuasive if the authors accounted for the discrepancies in the data.

Published manuscripts: “would have been X if they had done Y” If the authors cannot revise based on your suggestions, use the past unreal conditional form “X would have been better if the authors had done Y” (would have been + past perfect suggestion).

The tables would have been clearer if the authors had highlighted key results. The discussion would have been more persuasive if the authors had accounted for discrepancies in the data.

Note: For more information on conditional structures, see our Conditionals handout .

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How to use literary criticism in your own essays

I recently asked my YouTube subscribers about the topics they’d like to see from the channel, and the one that came out top was ‘how to use literary criticism in your own essays’. 

Being able to incorporate literary criticism in literature essays is a skill that any top grade lit students should master.

In this post, then, I’ll explain what literary criticism is, why we should care, and suggest 3 steps to using lit crit in an essay. I’ll also demonstrate how I’d use two sets of critical views in an essay on Macbeth .

Primary text vs secondary text – what’s the difference?

Let’s start by clarifying the difference between ‘primary texts’ and ‘secondary texts’. 

In literature, ‘primary texts’ refer to the original creative works, like novels, short stories, poems, plays, personal essays etc.

In most cases, they should be the focus of a lit course, which is why we tend to regard dramatists like William Shakespeare, novelists like Jane Austen, poets like Percy Bysshe Shelley, or even essayists like Joan Didion as primary text authors. 

When it comes to ‘secondary texts’, as the name itself would suggest, these are the critical responses to original creative works, otherwise known as ‘literary criticism’. 

Often, we refer to people who write ‘literary criticism’ as ‘literary critics’, but that’s not to say they are always ‘critical’ about literature in a negative, detractive way. Remember, criticism in literature simply means a professional evaluation and appreciation of written works.  English professors are by default also literary critics, and in fact, you – as an English lit student – are also a literary critic everytime you write an essay analysing a literary text. Professional literary critics are often categorised according to different literary theories or approaches, such as femininst, postcolonial, historicist, structuralist, psychoanalytical, Marxist etc.

Okay… but why bother with lit crit at all?

Literary criticism can be a divisive topic in literary studies – it’s kind of like marmite: you either love it and see criticism as its own field of literary genre, or you hate it and can’t see the point of reading dense, academic prose that doesn’t seem to lead anywhere. 

But love it or hate it, being able to incorporate critical views in your own analysis can help you gain higher marks, as it shows sophisticated engagement with texts, and if you’re planning on studying literature at a higher level, literary criticism will be a regular presence on your course. 

In general, literary criticism carries great value in that it preserves the intellectual tradition of a culture, and it also helps us appreciate how language transcends time and space to communicate universal ideas about human nature and existence. 

To use a travel analogy, creative works are like beautiful exotic cities steeped in history, culture and their own unique customs, while critical works are like the tour guides, who curate for us the local highlights, uncover the hidden alleyways, and decipher the mystique of the sites and attractions for a more enlightened experience. 

Technically, this is what a lit crit should do, and indeed, what good lit crits do do. But of course, there are such literary critics who confuse more than clarify with obfuscating and convoluted prose. 

How to use literary criticism in your own essay – 3 steps

Step 1: find different views and evaluate where you stand between them.

They say that the first rule of fight club is that you don’t talk about fight club. Well, I say the first rule of using literary criticism is that you don’t focus on the literary criticism. Because at the end of the day, it’s your analysis and your essay, so your view on the novel, play, or poem is the point – not the critic’s. 

Once upon a time when I first came to know about lit crit, I was so enchanted with the seeming sophistication of it all I would turn my essays into an echo chamber of everyone else’s opinions on a text, in the process completely neglecting to express my own thoughts. 

Instead, I’ve learnt through the hard way that the right thing to do is to read a good amount of quality secondary criticism around a topic or text, then identify opposing critical viewpoints, and finally, evaluate where you stand between them. 

Step 2: Understanding the critics’ angle and approach

This brings us to the next step – how do we go about finding ‘opposing’ views in the wild west of literary criticism? 

The way to do this is to understand the critic’s angle and approach – which usually stems from their theoretical or ideological agenda. 

Is the critic a historicist (someone who reads literature as a product of historical developments)? A feminist (someone who reads literature for gender tensions and power dynamics)? A structuralist (someone who reads literature as a compendium of codes, signs and structures)? A psychoanalyst (someone who reads literature through the lens of psychoanalysis and psychiatric ideas)? Or a Marxist (someone who reads literature for systems of class struggle between the ‘haves’ and ‘have-nots’, or the exploiters versus the proletariats. 

Even for critics who don’t come from a specific theoretical discipline, they still have an agenda – for instance, if a critic focuses only on what’s presented in the text – the language, form, devices – ignoring whatever contextual influences that may have gone into the writing of the text, then that makes them a textualist or formalist . In literary scholarship, this is referred to as Practical Criticism, otherwise known as close reading, which is the approach that most schools tend to teach. 

Once you figure out where a certain critic is coming from, you should be able to discern what other types of critics are likely to disagree with this critic, and most importantly, decide whether or not you agree with their respective views vis-a-vis the text you’re analysing. 

For a deeper understanding of critical approaches and theoretical angles, I recommend Mary Klages’ Key Terms in Literary Theory , which is a comprehensive glossary of advanced literary concepts. 

Step 3: Challenge over concur; interpret over parrot

It may sound counterintuitive, but often, the best way of using lit crit is to disagree with it. Because most of the time, it’s only by challenging someone’s view do we really get to consider our own stance. Agreeing with a critic’s view is much less interesting – and there’s only so much we can say if we agree. 

Of course, that’s not to say we must always seek to be contrarian, but a good approach is to conduct an imaginary discussion with multiple critics who hold different viewpoints, and to consider that if we disagree with a critic’s view, why that is and make our case, and if we do happen to agree with another critic’s view, what else we can add to it based on our own interpretation of the text. 

In general, if all we do is say ‘this is what I think and prominent critic so-and-so also says this’, we run the risk of coming across insipid and uninspired in our arguments, or worse, that we’re just parroting the critic’s ideas and repurposing it as our own. 

Example – Stephen Greenblatt and Emma Smith on Macbeth

Now, I’m going to demonstrate how we can write a paragraph incorporating opposing critical viewpoints. 

For my primary text, I’ll be using Macbeth; and for my secondary texts, I’ll be citing from Stephen Greenblatt’s ‘ Shakespeare Bewitched ’ and Emma Smith’s This is Shakespeare , largely because they present rather different views on the presentation of witchcraft in the play.

In addressing an essay topic like ‘How are the witches presented in Macbeth ’, I’ll first consider what I think about this prompt. 

Well, I see the witches as playing various roles: on the one hand, they function as a theatrical device for the effect of sensationalist spectacle, which would have appealed to superstitious playgoers back in Shakespeare’s time. 

But on a deeper level, the witches are a magnifier of human flaws – it isn’t so much their curses and temptations that are the point, as it is how Macbeth reacts to these ‘supernatural solicitings’ that’s central to the message of the play. 

So you’ll notice that I’m adopting a hybrid approach that looks at Macbeth from both performative and humanistic angles. 

But for someone like Stephen Greenblatt, who I believe is one of the best Shakespearean critics alive, he sees the witches as playing a more metaphysical function, and argues that Shakespeare uses these Weird Sisters to interrogate the limits of theatre: by presenting on stage in concrete form what’s supposedly taboo, supernatural and therefore, unreal, the bard confuses the line between truth and imagination, and in a way, doesn’t so much suggest witchcraft and potions as a great source of danger, as it is perhaps that drama and language are a great source of power, having the capacity to make ‘real’ what’s not – like magic. 

As Greenblatt writes:

… Shakespeare is staging the epistemological and ontological dilemmas that in the deeply contradictory ideological situation of his time haunted virtually all attempts to determine the status of witchcraft beliefs and practices. And he is at the same time and by the same means staging the insistent, unresolved questions that haunt the practice of the theatre. For Macbeth manifests a deep, intuitive recognition that the theatre and witchcraft are both constructed on the boundary between fantasy and reality, the border or membrane where the imagination and the corporeal world, figure and actuality, psychic disturbance and objective truth meet. The means normally used to secure that border are speech and sight, but it is exactly these that are uncertain; the witches, as Macbeth exclaims, are “imperfect speakers,” and at the moment he insists that they account for themselves, they vanish. (‘ Shakespeare Bewitched ’) 

Let’s now bring in an alternative critical view, this time, by Emma Smith, Professor of Shakespeare Studies at Oxford, who often takes a broad, diverse approach to reading Shakespeare, but on the whole leans towards the historicist camp. 

Unlike Greenblatt, she posits that the witches don’t actually serve such a serious role in the play, and are less “active agents than passive predictors of how things will turn out”. 

She also argues that Shakespeare, in writing Macbeth , was to a large extent stroking King James’ ego buttons and establishing himself as a staunch Jacobean loyalist, being “a mouthpiece for Jacobean hereditary monarchy, for his new king James, and for the Stuart dynasty safely cushioned by two young princes” ( Ch. 16, This is Shakespeare ). 

However, this strong royal consciousness underlying Macbeth isn’t something Greenblatt agrees with, as he writes in his analysis that “no one in the [Jacobean] period, least of all [Shakespeare’s] players themselves, understood the designation ‘King’s Men’ to imply an official, prescriptive function, […] Neither Shakespeare nor his company were speaking dogmatically or even indirectly on behalf of any institution except the marginal, somewhat disreputable institution of the theatre, disreputable precisely because it was the acknowledged house of fantasies”. 

So – if I were to write up a paragraph triangulating Greenblatt, Smith and my own views, then it could look something like this:

In This is Shakespeare, Emma Smith argues that Shakespeare wrote the play with a strong political consciousness in mind, and in writing Macbeth , was to a large extent stroking King James’ ego buttons and establishing himself as a staunch Jacobean loyalist, being “a “a mouthpiece for Jacobean hereditary monarchy, for his new king James, and for the Stuart dynasty safely cushioned by two young princes”. As such, the witches are not meant to play a key role in the play, least of all be associated with the human realm, as they are less “active agents than passive predictors of how things will turn out”.  Yet this strong royal consciousness underlying Macbeth isn’t something Greenblatt agrees with, as he writes in his analysis that “no one in the [Jacobean] period, least of all [Shakespeare’s] players themselves, understood the designation ‘King’s Men’ to imply an official, prescriptive function, […] Neither Shakespeare nor his company were speaking dogmatically or even indirectly on behalf of any institution except the marginal, somewhat disreputable institution of the theatre, disreputable precisely because it was the acknowledged house of fantasies”. Rather, his view of the witches is that they carry metaphysical currency, being these theatrical devices which help Shakespeare interrogate the limits of theatre. By presenting on stage in concrete form what’s supposedly taboo, supernatural and therefore, imaginary, the bard confuses the line between the real and the imaginary, and in a way, doesn’t so much suggest witchcraft and potions as a great source of danger, as it is perhaps that drama and language as a great source of power, having the capacity to make ‘real’ what’s not – like magic.  Notwithstanding the political and epistemological concerns that may have been at the back of Shakespeare’s mind, it is perhaps undeniable that the witches hold a central function in the play as a theatrical device for the effect of sensationalist – if not entertaining – spectacle, which would have appealed to superstitious playgoers back in Shakespeare’s time and contributed to the company’s professional success. On a deeper level, the witches serve as a magnifier of human flaws, with prophecy and temptation eliciting a definitive response from Macbeth that exposes the depths of his troubled psychology. So, while the witches aren’t as ancillary a character as Smith suggests, nor as solemn a motif as Greenblatt posits, they occupy a singular, important position in the play as a concave mirror for the tragic hero’s flaws, on which every reaction Macbeth gives to their “supernatural soliciting” eventually compose a map of his own demise. 

Want more study tips on English Lit? Check out my other blog posts below:

• How to write about context in literary analysis essays
• How to analyse any unseen poem – 3 tips
• How to analyse prose with Of Mice and Men and Lord of the Flies

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How to Write a Critique Paper: Format, Tips, & Critique Essay Examples

A critique paper is an academic writing genre that summarizes and gives a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This type of writing aims to evaluate the impact of the given work or concept in its field.

Want to learn more? Continue reading this article written by Custom-writing experts! It contains:

• best tips on how to critique an article or a literary work,
• a critique paper example with introduction, body, and conclusion.

💁 What Is a Critique Paper?

• 👣 Critical Writing Steps

👀 Critical Essay Types

📝 critique paper format, 📑 critique paper outline, 🔗 references.

A critique is a particular academic writing genre that requires you to carefully study, summarize, and critically analyze a study or a concept. In other words, it is nothing more than a critical analysis. That is all you are doing when writing a critical essay: trying to understand the work and present an evaluation. Critical essays can be either positive or negative, as the work deserves.

👣 How to Write a Critique Essay: Main Steps

Starting critique essays is the most challenging part. You are supposed to substantiate your opinion with quotes and paraphrases, avoiding retelling the entire text. A critical analysis aims to find out whether an article or another piece of writing is compelling. First, you need to formulate the author’s thesis: what was the literary work supposed to convey? Then, explore the text on how this main idea was elaborated. Finally, draft your critique according to the structure given below.

Step 1: Critical Reading

1.1. Attentively read the literary work. While reading, make notes and underline the essentials.

• Try to come into the author’s world and think why they wrote such a piece.
• Point out which literary devices are successful. Some research in literary theory may be required.
• Find out what you dislike about the text, i.e., controversies, gaps, inconsistency, or incompleteness.

1.2. Find or formulate the author’s thesis. 

• What is the principal argument? In an article, it can be found in the first paragraph.
• In a literary work, formulate one of the principal themes, as the thesis is not explicit.
• If you write a critique of painting, find out what feelings, emotions, or ideas, the artist attempted to project.

1.3. Make a summary or synopsis of the analyzed text. 

• One paragraph will suffice. You can use it in your critique essay, if necessary.
• The point is to explore the gist.

Step 2: Analyzing the Text

After the reading phase, ask yourself the following questions :

• What was your emotional response to the text? Which techniques, images, or ideas made you feel so?
• Find out the author’s background. Which experiences made them raise such a thesis? What other significant works have they written that demonstrate the general direction of thought of this person?
• Are the concepts used correctly in the text? Are the references reliable, and do they sufficiently substantiate the author’s opinion?

Step 3: Drafting the Essay

Finally, it is time to draft your essay. First of all, you’ll need to write a brief overview of the text you’re analyzing. Then, formulate a thesis statement – one sentence that will contain your opinion of the work under scrutiny. After that, make a one-paragraph summary of the text.

You can use this simple template for the draft version of your analysis. Another thing that can help you at this step is a summary creator to make the creative process more efficient.

Critique Paper Template

• Start with an introductory phrase about the domain of the work in question.
• Tell which work you are going to analyze, its author, and year of publication.
• Specify the principal argument of the work under study.
• In the third sentence, clearly state your thesis.
• Here you can insert the summary you wrote before.
• This is the only place where you can use it. No summary can be written in the main body!
• Use one paragraph for every separate analyzed aspect of the text (style, organization, fairness/bias, etc.).
• Each paragraph should confirm your thesis (e.g., whether the text is effective or ineffective).
• Each paragraph shall start with a topic sentence, followed by evidence, and concluded with a statement referring to the thesis.
• Provide a final judgment on the effectiveness of the piece of writing.
• Summarize your main points and restate the thesis, indicating that everything you said above confirms it.

You can evaluate the chosen work or concept in several ways. Pick the one you feel more comfortable with from the following:

• Descriptive critical essays examine texts or other works. Their primary focus is usually on certain features of a work, and it is common to compare and contrast the subject of your analysis to a classic example of the genre to which it belongs.
• Evaluative critical essays provide an estimate of the value of the work. Was it as good as you expected based on the recommendations, or do you feel your time would have been better spent on something else?
• Interpretive essays provide your readers with answers that relate to the meaning of the work in question. To do this, you must select a method of determining the meaning, read/watch/observe your analysis subject using this method, and put forth an argument.

There are also different types of critiques. The University of North Carolina-Chapel Hill, in the article “ Writing critiques ,” discusses them as well as the appropriate critique language.

Critique Paper Topics

• Critique of the article Is Google Making Us Stupid? by Nicholas Carr .
• Interpret the symbolism of Edgar Alan Poe’s The Black Cat .
• Examine the topicality of the article Impact of Racial/Ethnic Differences on Child Mental Health Care .
• Critical essay on Alice Walker’s short story Everyday Use .
• Discuss the value of the essay The Hanging by George Orwell.
• A critique on the article Stocks Versus Bonds: Explaining the Equity Risk Premium .
• Explore the themes Tennessee Williams reveals in The Glass Menagerie.
• Analyze the relevance of the article Leadership Characteristics and Digital Transformation .
• Critical evaluation of Jonathan Harvey’s play Beautiful Thing .
• Analyze and critique Derek Raymond’s story He Died with His Eyes Open .
• Discuss the techniques author uses to present the problem of choice in The Plague .
• Examine and evaluate the research article Using Evidence-Based Practice to Prevent Ventilator-Associated Pneumonia .
• Explore the scientific value of the article Our Future: A Lancet Commission on Adolescent Health and Wellbeing .
• Describe the ideas E. Hemingway put into his A Clean, Well-Lighted Place .
• Analyze the literary qualities of Always Running La Vida Loca: Gang Days in L. A .
• Critical writing on The Incarnation of Power by Wright Mills.
• Explain the strengths and shortcomings of Tim Kreider’s article The Busy Trap .
• Critical response to Woolf’s novel Mrs. Dalloway .
• Examine the main idea of Richard Godbeer’s book Escaping Salem .
• The strong and weak points of the article The Confusion of Tongues by William G. Bellshaw .
• Critical review of Gulliver’s Travels .
• Analyze the stylistic devices Anthony Lewis uses in Gideon’s Trumpet.
• Examine the techniques Elie Wiesel uses to show relationship transformation in the book Night .
• Critique of the play Fences by August Wilson.
• The role of exposition in Achebe’s novel Things Fall Apart.
• The main themes John Maxwell discusses in his book Disgrace .
• Critical evaluation of Ray Bradbury’s Fahrenheit 451 .
• The ideas and concept of the book The Vegetarian Imperative .
• Different points of view on one historical figure in the book Two Lives of Charlemagne .

Since the APA critique paper format is one of the most common, let’s discuss it in more detail. Check out the information below to learn more:

The APA Manual recommends using the following fonts:

• 11-point Calibri,
• 11-point Arial,
• 10-point Lucida Sans Unicode,
• 12-point Times New Roman,
• 11-point Georgia,
• 10-point Computer Modern.

Add 1-inch margins on all sides.

📌 Page numbers

Page numbers should appear at the top right-hand corner, starting with the title page.

📌 Line spacing

The entire document, including the title page and reference list, should be double-spaced.

📌 Title page

The title page should include the following information:

• page number 1 in the top right-hand corner of the page header,
• paper title,
• the student’s name,
• the name of the department and the college or university,
• course number and name,
• the instructor’s name,
• due date (the date format used in your country).

📌 Critique paper title

The title of your critique paper should be no more than 12 words. In addition, it should be centered and typed in bold using title case.

📌 In-text citations

For the in-text citation, provide the author’s last name and publication year in brackets. If you are using direct citation, add the page number after the year.

📌 References

The last page of your paper should include a list of all sources cited in your essay. Here’s a general format of book and journal article citations you should use:

Book: Last name, First initial. Middle initial. (Year). Book title: Subtitle . Publisher.

Journal article: Last name, First initial. Middle initial. (Year). Title of the article. Journal Title, volume (issue number), start page–end page.

The main parts of good critical response essays are:

• Introduction. The introduction is the most essential part of the critical response. It should be concise and include the author and title of the work being analyzed, its main idea, and a strong thesis statement.
• Summary. This should be brief and to the point. Only the author’s/creator’s main ideas and arguments should be included.
• Analysis/interpretation. Discuss what the author’s/creator’s primary goal was and determine whether this goal was reached successfully. Use the evidence you have gathered to argue whether or not the author/creator achieved was adequately convincing (remember there should be no personal bias in this discussion).
• Evaluation/response. At this point, your readers are ready to learn your objective response to the work. It should be professional yet entertaining to read. Do not hesitate to use strong language. You can say that the work you analyzed was weak and poorly-structured if that is the case, but keep in mind that you have to have evidence to back up your claim.
• Conclusion. The last paragraph of your work should restate the thesis statement, summarize the key points, and create a sense of closure for the readers.

Critique Paper Introduction

The introduction is setting the stage for your analysis. Here are some tips to follow when working on it:

• Provide the reader with a brief synopsis of the main points of the work you are critiquing .
• State your general opinion of the work , using it as your thesis statement. The ideal situation is that you identify and use a controversial thesis.
• Remember that you will uncover a lot of necessary information about the work you are critiquing. You mustn’t make use of all of it, providing the reader with information that is unnecessary in your critique. If you are writing about Shakespeare, you don’t have to waste your or your reader’s time going through all of his works.

Critique Paper Body

The body of the critique contains the supporting paragraphs. This is where you will provide the facts that prove your main idea and support your thesis. Follow the tips below when writing the body of your critique.

• Every paragraph must focus on a precise concept from the paper under your scrutiny , and your job is to include arguments to support or disprove that concept. Concrete evidence is required.
• A critical essay is written in the third-person and ensures the reader is presented with an objective analysis.
• Discuss whether the author was able to achieve their goals and adequately get their point across.
• It is important not to confuse facts and opinions . An opinion is a personal thought and requires confirmation, whereas a fact is supported by reliable data and requires no further proof. Do not back up one idea with another one.
• Remember that your purpose is to provide the reader with an understanding of a particular piece of literature or other work from your perspective. Be as specific as possible.

Critique Paper Conclusion

Finally, you will need to write a conclusion for your critique. The conclusion reasserts your overall general opinion of the ideas presented in the text and ensures there is no doubt in the reader’s mind about what you believe and why. Follow these tips when writing your conclusion:

• Summarize the analysis you provided in the body of the critique.
• Summarize the primary reasons why you made your analysis .
• Where appropriate, provide recommendations on how the work you critiqued can be improved.

For more details on how to write a critique, check out the great critique analysis template provided by Thompson Rivers University.

If you want more information on essay writing in general, look at the Secrets of Essay Writing .

Example of Critique Paper with Introduction, Body, and Conclusion

Check out this critical response example to “The Last Inch” by James Aldridge to show how everything works in practice:

Introduction 

In his story “The Last Inch,” James Aldridge addresses the issue of the relationship between parents and children. The author captured the young boy’s coming into maturity coinciding with a challenging trial. He also demonstrated how the twelve-year-old boy obtained his father’s character traits. Aldridge’s prose is both brutal and poetic, expressing his characters’ genuine emotions and the sad truths of their situations.

Body: Summary 

The story is about Ben Ensley, an unemployed professional pilot, who decides to capture underwater shots for money. He travels to Shark Bay with his son, Davy. Ben is severely injured after being attacked by a shark while photographing. His last hope of survival is to fly back to the little African hamlet from where they took off.

Body: Analysis 

The story effectively uses the themes of survival and fatherhood and has an intriguing and captivating plot. In addition, Ben’s metamorphosis from a failing pilot to a determined survivor is effectively presented. His bond with his son, Davy, adds depth and emotional importance to the story. At the same time, the background information about Ben’s past and his life before the shark attack could be more effectively integrated into the main story rather than being presented as separate blocks of text.

Body: Evaluation 

I find “The Last Inch” by James Aldridge a very engaging and emotional story since it highlights the idea of a father’s unconditional love and determination in the face of adversity. I was also impressed by the vivid descriptions and strong character development of the father and son.

Conclusion 

“The Last Inch” by James Aldridge is an engaging and emotional narrative that will appeal to readers of all ages. It is a story of strength, dedication, and the unbreakable link between father and son. Though some backstory could be integrated more smoothly, “The Last Inch” impresses with its emotional punch. It leaves the readers touched by the raw power of fatherly love and human will.

📚 Critique Essay Examples

With all of the information and tips provided above, your way will become clearer when you have a solid example of a critique essay.

Below is a critical response to The Yellow Wallpaper by Charlotte Perkins Gilman.

When speaking of feminist literature that is prominent and manages to touch on incredibly controversial issues, The Yellow Wallpaper is the first book that comes to mind. Written from a first-person perspective, magnifying the effect of the narrative, the short story by Charlotte Perkins Gilman introduces the reader to the problem of the physical and mental health of the women of the 19th century. However, the message that is intended to concern feminist ideas is rather subtle. Written in the form of several diary entries, the novel offers a mysterious plot, and at the same time, shockingly realistic details.

What really stands out about the novel is the fact that the reader is never really sure how much of the story takes place in reality and how much of it happens in the psychotic mind of the protagonist. In addition, the novel contains a plethora of description that contributes to the strain and enhances the correlation between the atmosphere and the protagonist’s fears: “The color is repellent, almost revolting; a smoldering unclean yellow, strangely faded by the slow-turning sunlight” (Gilman).

Despite Gilman’s obvious intent to make the novel a feminist story with a dash of thriller thrown in, the result is instead a thriller with a dash of feminism, as Allen (2009) explains. However, there is no doubt that the novel is a renowned classic. Offering a perfect portrayal of the 19th-century stereotypes, it is a treasure that is certainly worth the read.

If you need another critique essay example, take a look at our sample on “ The Importance of Being Earnest ” by Oscar Wilde.

And here are some more critique paper examples for you check out:

• A Good Man Is Hard to Find: Critique Paper
• Critique on “The Yellow Wallpaper” by Charlotte Perkins Gilman
• “When the Five Rights Go Wrong” Article Critique
• Homer’s Iliad and Odyssey — Comparison & Critique
• “The TrueBlue Study”: Qualitative Article Critique
• Ethical Conflict Associated With Managed Care: Views of Nurse Practitioners’: Article Critique
• Benefits and Disadvantages of Prone Positioning in Severe Acute Respiratory Distress: Article Critique
• Reducing Stress in Student Nurses: Article Critique
• Management of Change and Professional Safety – Article Critique
• “Views of Young People Towards Physical Activity”: Article Critique

Seeing an example of a critique is so helpful. You can find many other examples of a critique paper at the University of Minnesota and John Hopkins University. Plus, you can check out this video for a great explanation of how to write a critique.

• Critical Analysis
• Writing an Article Critique
• The Critique Essay
• Critique Essay
• Writing a Critique
• Writing A Book Critique
• Media Critique
• Tips for an Effective Creative Writing Critique
• How to Write an Article Critique
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May I know who’s the author? For my citation activity.

Hello, Kriszha! You can reference it as a web source/web page.

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That’s an interesting demonstration I watched. However, my weakness is that I’m very poor in language and analysing issues.

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A good literary analysis involves more than just summarizing a story or poem. It's about digging deep into the text to understand its themes, characters, and writing techniques. In this article, we'll explore how to do just that. Whether you're a seasoned pro or new to the game, these tips will help you learn how to write a literary analysis essay that'll impress your readers. Let's dive in!

How to Write a Literary Analysis Essay?

Writing a good literary analysis is like taking a closer look at a painting to understand what makes it beautiful. In this section, we'll break down the steps to help you write a literary analysis essay on a book or poem. We'll explore things like characters, themes, and writing style so you can really understand what the author is trying to say. If you’re in a hurry, our experts can write paper for you overnight according to your particular instructions.

Choose Your Original

Select a source that intrigues you or one assigned by your instructor. Opt for a work that resonates with you emotionally or intellectually, as this connection will fuel your evaluation and keep you engaged throughout the process. Whether it's a classic novel, a contemporary poem, or a play, ensure that the content is rich in themes, characters, and stylistic devices to provide ample material for scrutinizing.

Read Carefully and Analyze

Once you've chosen your source, read it attentively, making notes on significant passages, character developments, and recurring themes. Pay close attention to the author's writing style, language choices, and penmanship devices such as imagery, symbolism, and foreshadowing. Analyze how these elements contribute to the overall meaning and impact of the original, and consider how they evoke emotions or convey the author's message to the reader. If you need critical analysis essay examples , here are some compelling samples for your inspiration and motivation.

Formulate a Thesis Statement

After thoroughly analyzing the text, formulate a clear and concise thesis statement that encapsulates your interpretation or claim about the work. Your thesis should assert a specific claim or perspective regarding the work's meaning, theme, or literature elements, providing a roadmap for your composition and guiding your reader's understanding of your assignment's purpose.

Develop Your Argument

With your thesis statement in mind, develop a coherent argument supporting your text interpretation. Draw on evidence from the original, including quotations, plot details, and character interactions, to substantiate your claims and illustrate your examination. Consider how each piece of evidence contributes to your overall argument and use it to build a persuasive case for your interpretation of the material. By the way, you can ask our experts, ‘ do my PowerPoint presentation ,’ and our specialists will address such an assignment, too.

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Outline Your Document

Create a detailed outline that organizes your ideas and evidence logically and sequentially. Divide your paper into an introduction, body paragraphs, and conclusion, each addressing a specific aspect of your exploration. Outline the main points you'll discuss in each paragraph and the evidence you'll use to support them, ensuring a clear and structured progression of ideas throughout your document.

Write Your Introduction

Begin with an engaging introduction that provides context for your brainstorming and introduces your thesis statement to the reader. Hook your audience with an intriguing opening line or a thought-provoking question, then provide background information about the document and its author to orient your reader. Finally, present your thesis, outlining the main points you'll address in your speculation and setting the stage for the rest of your work.

Craft Your Body Paragraphs

In the main body, develop each point of your argument in separate paragraphs, providing evidence from the work to support your claims. Start each paragraph with a topic sentence that introduces the main idea or statement of the paragraph, then follow it with evidence from the original, such as quotations or textual survey, to illustrate and substantiate your point. Analyze each piece of evidence in relation to your thesis, explaining how it supports your interpretation of the source and contributes to your overall argument.

Conclude Thoughtfully

Finally, conclude your assignment with a thoughtful conclusion summarizing your arguments and reinforcing your thesis. Review the main points you've discussed in your paper, highlighting your key insights or discoveries about the text. Avoid introducing new information or arguments in your conclusion; reiterate the significance of your research and its broader implications for understanding the manuscript. End your work with a compelling closing statement that leaves a lasting impression on your reader and encourages further reflection on the work's meaning and significance. Shop for an essay for sale if both your schedule and budget are tight.

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What Is a Literary Analysis Essay?

It is a type of academic writing that examines and interprets a work, such as a novel, poem, or play. It aims to delve into the deeper layers of the text to uncover its themes, characters, symbolism, and stylistic devices.

What Is the Purpose of a Literary Analysis Essay?

The purpose of this essay is to critically analyze a piece of literature, providing insights into its meaning, significance, and artistic techniques employed by the author. By dissecting the elements of the text, the paper seeks to understand how they contribute to the overall message or purpose of the work.

How to Start off a Literary Analysis Essay?

To start off such an essay, begin by introducing the work and its author, providing context for the research. Then, craft a thesis statement that presents your interpretation or claim about the source's meaning or significance. Finally, outline the main points you'll address in your document to guide the reader through your composition.

• the how-to section was made more specific;
• added FAQs.
• https://www.bucks.edu/media/bcccmedialibrary/pdf/HOWTOWRITEALITERARYANALYSISESSAY_10.15.07_001.pdf
• https://germanna.edu/sites/default/files/2022-03/Literary%20Analysis.pdf

How to Write a Critical Essay

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• An Introduction to Punctuation

Olivia Valdes was the Associate Editorial Director for ThoughtCo. She worked with Dotdash Meredith from 2017 to 2021.

• B.A., American Studies, Yale University

A critical essay is a form of academic writing that analyzes, interprets, and/or evaluates a text. In a critical essay, an author makes a claim about how particular ideas or themes are conveyed in a text, then supports that claim with evidence from primary and/or secondary sources.

In casual conversation, we often associate the word "critical" with a negative perspective. However, in the context of a critical essay, the word "critical" simply means discerning and analytical. Critical essays analyze and evaluate the meaning and significance of a text, rather than making a judgment about its content or quality.

What Makes an Essay "Critical"? 

Imagine you've just watched the movie "Willy Wonka and the Chocolate Factory." If you were chatting with friends in the movie theater lobby, you might say something like, "Charlie was so lucky to find a Golden Ticket. That ticket changed his life." A friend might reply, "Yeah, but Willy Wonka shouldn't have let those raucous kids into his chocolate factory in the first place. They caused a big mess."

These comments make for an enjoyable conversation, but they do not belong in a critical essay. Why? Because they respond to (and pass judgment on) the raw content of the movie, rather than analyzing its themes or how the director conveyed those themes.

On the other hand, a critical essay about "Willy Wonka and the Chocolate Factory" might take the following topic as its thesis: "In 'Willy Wonka and the Chocolate Factory,' director Mel Stuart intertwines money and morality through his depiction of children: the angelic appearance of Charlie Bucket, a good-hearted boy of modest means, is sharply contrasted against the physically grotesque portrayal of the wealthy, and thus immoral, children."

This thesis includes a claim about the themes of the film, what the director seems to be saying about those themes, and what techniques the director employs in order to communicate his message. In addition, this thesis is both supportable  and  disputable using evidence from the film itself, which means it's a strong central argument for a critical essay .

Characteristics of a Critical Essay

Critical essays are written across many academic disciplines and can have wide-ranging textual subjects: films, novels, poetry, video games, visual art, and more. However, despite their diverse subject matter, all critical essays share the following characteristics.

• Central claim . All critical essays contain a central claim about the text. This argument is typically expressed at the beginning of the essay in a thesis statement , then supported with evidence in each body paragraph. Some critical essays bolster their argument even further by including potential counterarguments, then using evidence to dispute them.
• Evidence . The central claim of a critical essay must be supported by evidence. In many critical essays, most of the evidence comes in the form of textual support: particular details from the text (dialogue, descriptions, word choice, structure, imagery, et cetera) that bolster the argument. Critical essays may also include evidence from secondary sources, often scholarly works that support or strengthen the main argument.
• Conclusion . After making a claim and supporting it with evidence, critical essays offer a succinct conclusion. The conclusion summarizes the trajectory of the essay's argument and emphasizes the essays' most important insights.

Tips for Writing a Critical Essay

Writing a critical essay requires rigorous analysis and a meticulous argument-building process. If you're struggling with a critical essay assignment, these tips will help you get started.

• Practice active reading strategies . These strategies for staying focused and retaining information will help you identify specific details in the text that will serve as evidence for your main argument. Active reading is an essential skill, especially if you're writing a critical essay for a literature class.
• Read example essays . If you're unfamiliar with critical essays as a form, writing one is going to be extremely challenging. Before you dive into the writing process, read a variety of published critical essays, paying careful attention to their structure and writing style. (As always, remember that paraphrasing an author's ideas without proper attribution is a form of plagiarism .)
• Resist the urge to summarize . Critical essays should consist of your own analysis and interpretation of a text, not a summary of the text in general. If you find yourself writing lengthy plot or character descriptions, pause and consider whether these summaries are in the service of your main argument or whether they are simply taking up space.
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• How to write an argumentative essay | Examples & tips

How to Write an Argumentative Essay | Examples & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

An argumentative essay expresses an extended argument for a particular thesis statement . The author takes a clearly defined stance on their subject and builds up an evidence-based case for it.

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Table of contents

When do you write an argumentative essay, approaches to argumentative essays, introducing your argument, the body: developing your argument, concluding your argument, other interesting articles, frequently asked questions about argumentative essays.

You might be assigned an argumentative essay as a writing exercise in high school or in a composition class. The prompt will often ask you to argue for one of two positions, and may include terms like “argue” or “argument.” It will frequently take the form of a question.

The prompt may also be more open-ended in terms of the possible arguments you could make.

Argumentative writing at college level

At university, the vast majority of essays or papers you write will involve some form of argumentation. For example, both rhetorical analysis and literary analysis essays involve making arguments about texts.

In this context, you won’t necessarily be told to write an argumentative essay—but making an evidence-based argument is an essential goal of most academic writing, and this should be your default approach unless you’re told otherwise.

Examples of argumentative essay prompts

At a university level, all the prompts below imply an argumentative essay as the appropriate response.

Your research should lead you to develop a specific position on the topic. The essay then argues for that position and aims to convince the reader by presenting your evidence, evaluation and analysis.

• Don’t just list all the effects you can think of.
• Do develop a focused argument about the overall effect and why it matters, backed up by evidence from sources.
• Don’t just provide a selection of data on the measures’ effectiveness.
• Do build up your own argument about which kinds of measures have been most or least effective, and why.
• Don’t just analyze a random selection of doppelgänger characters.
• Do form an argument about specific texts, comparing and contrasting how they express their thematic concerns through doppelgänger characters.

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An argumentative essay should be objective in its approach; your arguments should rely on logic and evidence, not on exaggeration or appeals to emotion.

There are many possible approaches to argumentative essays, but there are two common models that can help you start outlining your arguments: The Toulmin model and the Rogerian model.

Toulmin arguments

The Toulmin model consists of four steps, which may be repeated as many times as necessary for the argument:

• Make a claim
• Provide the grounds (evidence) for the claim
• Explain the warrant (how the grounds support the claim)
• Discuss possible rebuttals to the claim, identifying the limits of the argument and showing that you have considered alternative perspectives

The Toulmin model is a common approach in academic essays. You don’t have to use these specific terms (grounds, warrants, rebuttals), but establishing a clear connection between your claims and the evidence supporting them is crucial in an argumentative essay.

Say you’re making an argument about the effectiveness of workplace anti-discrimination measures. You might:

• Claim that unconscious bias training does not have the desired results, and resources would be better spent on other approaches
• Cite data to support your claim
• Explain how the data indicates that the method is ineffective
• Anticipate objections to your claim based on other data, indicating whether these objections are valid, and if not, why not.

Rogerian arguments

The Rogerian model also consists of four steps you might repeat throughout your essay:

• Discuss what the opposing position gets right and why people might hold this position
• Highlight the problems with this position
• Present your own position , showing how it addresses these problems
• Suggest a possible compromise —what elements of your position would proponents of the opposing position benefit from adopting?

This model builds up a clear picture of both sides of an argument and seeks a compromise. It is particularly useful when people tend to disagree strongly on the issue discussed, allowing you to approach opposing arguments in good faith.

Say you want to argue that the internet has had a positive impact on education. You might:

• Acknowledge that students rely too much on websites like Wikipedia
• Argue that teachers view Wikipedia as more unreliable than it really is
• Suggest that Wikipedia’s system of citations can actually teach students about referencing
• Suggest critical engagement with Wikipedia as a possible assignment for teachers who are skeptical of its usefulness.

You don’t necessarily have to pick one of these models—you may even use elements of both in different parts of your essay—but it’s worth considering them if you struggle to structure your arguments.

Regardless of which approach you take, your essay should always be structured using an introduction , a body , and a conclusion .

Like other academic essays, an argumentative essay begins with an introduction . The introduction serves to capture the reader’s interest, provide background information, present your thesis statement , and (in longer essays) to summarize the structure of the body.

Hover over different parts of the example below to see how a typical introduction works.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

The body of an argumentative essay is where you develop your arguments in detail. Here you’ll present evidence, analysis, and reasoning to convince the reader that your thesis statement is true.

In the standard five-paragraph format for short essays, the body takes up three of your five paragraphs. In longer essays, it will be more paragraphs, and might be divided into sections with headings.

Each paragraph covers its own topic, introduced with a topic sentence . Each of these topics must contribute to your overall argument; don’t include irrelevant information.

This example paragraph takes a Rogerian approach: It first acknowledges the merits of the opposing position and then highlights problems with that position.

Hover over different parts of the example to see how a body paragraph is constructed.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An argumentative essay ends with a conclusion that summarizes and reflects on the arguments made in the body.

No new arguments or evidence appear here, but in longer essays you may discuss the strengths and weaknesses of your argument and suggest topics for future research. In all conclusions, you should stress the relevance and importance of your argument.

Hover over the following example to see the typical elements of a conclusion.

The internet has had a major positive impact on the world of education; occasional pitfalls aside, its value is evident in numerous applications. The future of teaching lies in the possibilities the internet opens up for communication, research, and interactivity. As the popularity of distance learning shows, students value the flexibility and accessibility offered by digital education, and educators should fully embrace these advantages. The internet’s dangers, real and imaginary, have been documented exhaustively by skeptics, but the internet is here to stay; it is time to focus seriously on its potential for good.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

The majority of the essays written at university are some sort of argumentative essay . Unless otherwise specified, you can assume that the goal of any essay you’re asked to write is argumentative: To convince the reader of your position using evidence and reasoning.

In composition classes you might be given assignments that specifically test your ability to write an argumentative essay. Look out for prompts including instructions like “argue,” “assess,” or “discuss” to see if this is the goal.

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English and Related Literature

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Using Criticism  

You should cite, reference, and engage with criticism (also referred to as ‘secondary sources’) in your essays. Here is some advice on how to choose and use criticism effectively.

Think quality, rather than quantity

When your markers look at your work, they will look at which critics you use in your writing, and the way in which you use them to build your argument, rather than how many . If you are unsure about the quality of the critics you are using, see the section below, or ask your tutor for advice/help.

Scholarly vs. popular sources

Always use scholarly sources in your essays. A scholarly source consists of original research, which is normally published in academic journals, monographs (books), or edited collections.

A scholarly source is written by an expert in their field (ie your tutors at York!) and is generally peer-reviewed.

The peer-reviewing process ensures that the article’s original research has been evaluated and, often, improved by other experts in the field. This practice is really at the core of what your tutors do when they are not in the classroom.

Scholarly sources will also always include citations.

They will have been published by academic publishers (like University presses, but not exclusively) and will be available via academic databases such as JSTOR or ProjectMuse, which you can access via the library website).

On rare, but increasingly more frequent, occasions, scholarly sources are available online in open access. At York, we have plenty of resources and discipline-specific databases available via the Library website, as well as a dedicated library webpage for English and Related Literature and our own Faculty Librarian .

Popular sources, on the other hand, are more easily retrievable in open access.

They may well refer to research findings but they very rarely contain original research; they are often written by non-experts for a general audience.

Popular sources are normally not peer-reviewed, and so they do not undergo the same quality checks as scholarly, peer-reviewed sources.

If you feel you have found a popular source that is crucial for your essay, and you are unsure about its quality, do discuss the matter with your tutor. There are some exceptions for writing on very contemporary literature, culture, or film.

For recently published literature in particular, it is important to look at the critical reception of a text, particularly when there may be very little literary criticism published on such texts.

You will need to draw on theory and criticism on a topic rather than on the author or text, to build your own body of research. Try not to be daunted though—you have the opportunity to original here.

Also ensure you take the time to read interviews with and/or essays by contemporary writers too, as you may find ideas or a turn of phrase or two that is useful in helping you develop your own argument. 

A community of scholars

While reading for your degree, you will become an integral part of a scholarly community not just your tutors or your peers, but also the academics behind scholarly sources. Think of your essay as entering a conversation on a topic that you find interesting: you want to listen and respond to the other people in a respectful but engaged way.

Use critics to provide support

Reading criticism on the topic you are researching on will enable you to make more informed judgements, and will offer support to your statements. Reading criticism will also help you develop your own critical and argumentative skills, and get a better picture of the critical debate you are entering. Never rely on one single critical source, and show you have read widely.

Argue against critics

You should not simply select criticism that supports your argument, but you should also consider points of views that may differ from your own, and engage actively (but always respectfully) with them. Ponder their values and their shortcomings.

Borrow terms from critics

Another way of using criticism is to borrow (and reference) terminology other critics have used, in order to advance your own argument. For example, your own investigations may be prompted by a critic’s words, or you may find their terminology particularly compelling for a facet of your own argument.

Read critics for style

Do not only read criticism to borrow terminology or inform your understanding of a field, text, or topic, but also to get inspiration for your own writing style. Which critics do you find most inspiring? Which ones are less convincing from a stylistic point of view?

Always, always reference

Always acknowledge your sources in your essay (footnotes, or in-text citations) and in your bibliography or list of works cited. Failing to do so may cause you to be accused of plagiarism, which is a very serious offence. At the University of York, you can find out more about plagiarism in the Guide to Assessment and in the University’s Integrity website .

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Literary Theory and Criticism

Home › Eco Criticism › Ecocriticism: An Essay

Ecocriticism: An Essay

By NASRULLAH MAMBROL on November 27, 2016 • ( 3 )

Ecocriticism is the study of literature and environment from an interdisciplinary point of view where all sciences come together to analyze the environment and brainstorm possible solutions for the correction of the contemporary environmental situation. Ecocriticism was officially heralded by the publication of two seminal works, both published in the mid-1990s: The Ecocriticism Reader , edited by Cheryll Glotfelty and Harold Fromm , and The Environmental Imagination, by Lawrence Buell.

Ecocriticism investigates the relation between humans and the natural world in literature. It deals with how environmental issues, cultural issues concerning the environment and attitudes towards nature are presented and analyzed. One of the main goals in ecocriticism is to study how individuals in society behave and react in relation to nature and ecological aspects. This form of criticism has gained a lot of attention during recent years due to higher social emphasis on environmental destruction and increased technology. It is hence a fresh way of analyzing and interpreting literary texts, which brings new dimensions to the field of literary and theoritical studies. Ecocriticism is an intentionally broad approach that is known by a number of other designations, including “green (cultural) studies”, “ecopoetics”, and “environmental literary criticism.”

Western thought has often held a more or less utilitarian attitude to nature —nature is for serving human needs. However, after the eighteenth century, there emerged many voices that demanded a revaluation of the relationship between man and environment, and man’s view of nature. Arne Naess , a Norwegian philosopher, developed the notion of “Deep Ecology” which emphasizes the basic interconnectedness of all life forms and natural features, and presents a symbiotic and holistic world-view rather than an anthropocentric one.

Earlier theories in literary and cultural studies focussed on issue of class, race, gender, region are criteria and “subjects”of critical analysis. The late twentieth century has woken up to a new threat: ecological disaster. The most important environmental problems that humankind faces as a whole are: nuclear war, depletion of valuable natural resources, population explosion, proliferation of exploitative technologies, conquest of space preliminary to using it as a garbage dump, pollution, extinction of species (though not a human problem) among others. In such a context, literary and cultural theory has begun to address the issue as a part of academic discourse. Numerous green movements have sprung up all over the world, and some have even gained representations in the governments.

Large scale debates over “dumping,” North versus South environmentalism (the necessary differences between the en-vironmentalism of the developed and technologically advanced richer nations—the North, and the poorer, subsistence environmentalism of the developing or “Third World”—the South). Donald Worster ‘s Nature’s Economy (1977) became a textbook for the study of ecological thought down the ages. The historian Arnold Toynbee recorded the effect of human civilisation upon the land and nature in his monumental, Mankind and Mother Earth (1976). Environmental issues and landscape use were also the concern of the Annales School of historians , especially Braudel and Febvre. The work of environmental historians has been pathbreaking too. Rich-ard Grove et al’s massive Nature and the Orient (1998), David Arnold and Ramachandra Guha’s Nature, Culture, Imperialism (1995) have been significant work in the environmental history of India and Southeast Asia. Ramachandra Guha is of course the most important environmental historian writing from India today.

Various versions of environmentalism developed.Deep ecology and ecofeminism were two important developments. These new ideas questioned the notion of “development” and “modernity,” and argued that all Western notions in science, philosophy, politics were “anthropocentric” (human-centred) and “androcentric”(Man/male-centred). Technology, medical science with its animal testing, the cosmetic and fashion industry all came in for scrutiny from environmentalists. Deep ecology, for instance, stressed on a “biocentric” view (as seen in the name of the environmentalist group, “ Earth First! !”).

Ecocriticism is the result of this new consciousness: that very soon, there will be nothing beautiful (or safe) in nature to discourse about, unless we are very careful.

Ecocritics ask questions such as: (1) How is nature represented in the novel/poem/play ? (2) What role does the physical-geographical setting play in the structure of the novel? (3) How do our metaphors of the land influence the way we treat it? That is, what is the link between pedagogic or creative practice and actual political, sociocultural and ethical behaviour towards the land and other non-human life forms? (4) How is science —in the form of genetic engineering, technologies of reproduction, sexualities—open to critical scrutiny terms of the effects of science upon the land?

The essential assumptions, ideas and methods of ecocritics may be summed up as follows. (1) Ecocritics believe that human culture is related to the physical world. (2) Ecocriticism assumes that all life forms are interlinked. Ecocriticism expands the notion of “the world” to include the entire ecosphere. (3) Moreover, there is a definite link between nature and culture, where the literary treatment, representation and “thematisation” of land and nature influence actions on the land. (4) Joseph Meeker in an early work, The Comedy of Survival: Studies in Literary Ecology (1972) used the term “literary ecology” to refer to “the study of biological themes and relationships which appear in literary works. It is simultaneously an attempt to discover what roles have been played by literature in the ecology of the human species.” (5) William Rueckert is believed to have coined the term “ecocriticism” in 1978, which he defines as “the application of ecology and ecological concepts to the study of literature.”

Source: Literary Theory Today,Pramod K Nair

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Categories: Eco Criticism

Tags: Annales School , Arne Naess , Arnold Toynbee , Cheryll Glotfelty , Deep Ecology , Earth First! , Ecocriticism , green studies , Harold Fromm , Literary Theory , Mankind and Mother Earth , Nature and the Orient , Nature's Economy , The Comedy of Survival: Studies in Literary Ecology , The Ecocriticism Reader , The Environmental Imagination

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32 Student Example: Marxist Criticism

The following student essay example of Marxist Criticism is taken from Beginnings and Endings: A Critical Edition .  This is the publication created by students in English 211. This essay discusses Raymond Carver’s short story, “A Small, Good Thing.”

“A Small, Good Thing” by Raymond Carver and the 1980s AIDS Epidemic

By Jasper Chappel

Raymond Carver’s short story “A Small, Good Thing” was published in 1983, in his collection Cathedral. In 1983 in the United States, the AIDS epidemic was barely beginning to be understood by the CDC and the general public. Under President Ronald Reagan since 1981, anti-communist and pro-capitalist sentiment was expected of Americans because of tense relations with the USSR. This political climate informed Carver’s writing of “A Small, Good Thing,” and the previous version of the same story published in 1981, titled “The Bath;” Carver’s personal life partially influenced the drastic changes between each story, and so did the emerging political tensions caused by the AIDS epidemic and relations with the USSR. “A Small, Good Thing,” despite being written in a turbulent time, encourages people to value each other, put less trust in institutions such as government and healthcare, and ultimately come together in times of hardship.

The baker is a criticism of capitalism and excessive labor with unfair pay. He has lost part of his humanity to his work, because maintaining financial security is a more immediate concern than forming relationships; he and other unnamed employees represent the proletariat. His behavior throughout the story shows his lack of feeling towards other people, and at the end, he admits as much, saying, “I’m just a baker. I don’t claim to be anything else… [M]aybe years ago I was a different kind of human being” (page 26). Industry has forced the characters to lose their individuality – none of the nurses are named or physically distinguishable from each other, and they do not offer Ann and Howard comfort or answers. When asked questions about Scotty’s condition, they simply say, “Doctor Francis will be here in a few minutes,” (page 6). Doctor Francis has reached a high enough class that he can retain some humanity while still doing his job, which is why he is afforded a name. However, he is nearing the status of the bourgeoisie, which is ultimately why he fails to give Scotty the correct diagnosis and treatment. He and Howard are somewhat similar in this regard; because Howard has the privilege to leave his job in the middle of a work day, and for an indefinite amount of time when Scotty is hospitalized, the audience can assume Howard is nearing a high-class position. He is not expendable, like a nurse or a baker would be.

Ann appears to be a full-time mom, and while this is unpaid labor, the reader is led to understand her emotions the most because she retains the most humanity in her job; she simply has the privilege to not work for a company. Her trade is motherhood, and when this is stripped from her, she feels more aimless than the others; just like if the nurse or the baker lost their positions, Ann forms her identity around the job of being a mom. The difference is that it is her job to empathize with others, to care for others, and she can find another niche to fill without sending in an application first. Her grief manifests in being unable to care for her son, despite her skills; she knows Scotty is in a coma and that something has gone horribly wrong, but because the bourgeoisie does not value self-employed, unpaid labor, her concerns are brushed aside.

From one perspective, Ann benefits from being a mother. From another, her characterization has reduced her to being only a mother. The only outside information we have for another main character is what Howard and the baker tell us about their lives. While Howard is driving home from the hospital, he reflects on his life and his good fortune, or his privilege. Ann does not do the same – the audience is unsure of whether Ann thinks the marriage is successful, if she went to college, or if she gave anything up to become a mother. She is only a mother and wife – a loving one, but a one-dimensional character. It seems that Ann is defined only by the fact she has a son. Ann’s designated role to help the men in the story remember their humanity is a stereotypically feminine role that is largely informed by Raymond Carver’s identity and life experiences, but is also in line with the idea that motherhood is a full-time job unrecognized by capitalism.

The bourgeoisie in this story are best represented by the hospital and doctor, and the situation with Scotty exposes the flawed system the proletariat have to live under. Scotty represents its most vulnerable victims, and the family Ann meets in the lobby of the hospital represents how tragedy can touch all our lives regardless of class or race. Ann and Howard learn through the events of the story, despite being middle-class and white, that certain tragedies touch all lives; this is a translation of the AIDS epidemic into literature. Disease does not discriminate based off class, sexuality, or race, but institutions and governments do.

Scotty has no speaking lines–the narrator only supplies information on what he saying, so the audience doesn’t have access to his exact words. All we know about him is that he probably likes aliens, has one friend he used to walk to school with, and “howls” before he dies, a very inhuman noise. Even though the story revolves around his injury, he only serves as a character who affects other characters. His injury allows the audience to see the contrast between employees who take care of people as a job, and people who take care of others free from industry interference. He also serves to bring the baker and Ann together; the baker needed to be reminded of his humanity and have a reason to turn his back on the capitalist system for a while. Ann is the most likely character to help him reconnect with his humanity, and in her grief she is more human than any other character. Although Howard also shows his humanity in his grief, it is Ann who helps him along, “’There, there,’ she said tenderly. ‘Howard, he’s gone. He’s gone now and we’ll have to get used to that. To being alone” (page 22). When Scotty’s death makes his parents feel alienated, just as capitalism alienates people from each other to prevent an uprising, they start to accept this; then the baker calls again, and Ann’s anger at his behavior pushes them into action, and eventually reconciliation and comfort.

When Ann encounters the black family in the waiting room, they serve as a mirror for her situation, and represent understanding each other’s humanity despite differences. There is a previous version of this short story called “The Bath,” which does not specify the race of the family, does not include the two dark-skinned orderlies, and lacks the reconciliation with the baker. Part of the fear around AIDS was due to the uncertainty about how it spread, but there was also an element of stigma around African-American populations and their inaccurate image in the media as drug users (therefore, re-use needles and spread AIDS). Early on, it became clear that AIDS was spreading through bodily fluids, but more information than that tended to be conflicting.

In 1985, according to the article “Save Our Kids, Keep AIDS Out” by Jennifer Brier, black and white families would unite in Queens to protest the CDC regulations stating that children diagnosed with AIDS should be allowed in public schools. We can see this sentiment represented before this occurrence in Ann’s desire to connect with the black family in the waiting room. Just like the mothers in the article fear their children being exposed to AIDS at school, a hospital must have been a nightmare for a mother in this time period. Seeing Scotty have his blood drawn, and other needles inserted into his veins, probably caused her panic each time; not only because his condition was not improving, but also for the risk of contracting AIDS the longer he stayed in the hospital. Scotty’s hospital stay can be considered a metaphor for how AIDS was considered during the time of publication. It comes out of nowhere, just like the car that hit Scotty, then disappeared without a trace. Those who are hit seem fine at first, but progressively, their condition declines. The doctors and nurses do not know enough about the disease, and sometimes, their intuition is wrong, causing tragic deaths. The message the audience is left with is this: a mother knows best for her child. This is echoed in the later movement in Queens, “Thus, parents and local communities, not a dishonest city bureaucracy or out-of-touch scientific establishment, were better able to make decisions about local children” (Brier 4).

In “A Small, Good Thing,” instead of exploiting the fear people had around the AIDS epidemic, Carver encourages people to find common ground and come together. Doctor Francis expresses his regrets in not being able to save Scotty, the family in the waiting room symbolizes connecting with each other despite differences, and the baker is able to acknowledge his loss of humanity over the years after witnessing Ann and Howard’s grief. This short story is a touching addition to the literary time period, and handles each political undertone with care and empathy.

Works Cited

Brier, Jennifer. “‘Save Our Kids, Keep AIDS out:” Anti-AIDS Activism and the Legacy of Community Control in Queens, New York.” Journal of Social History, vol. 39, no. 4, 2006, pp. 965–987. JSTOR,  www.jstor.org/stable/3790237 . Accessed 14 May 2021.

Carver, Raymond. “A Small, Good Thing.”  Ploughshares, vol. 8, no. 2/3, 1982, pp. 213–240. JSTOR,  www.jstor.org/stable/40348924 . Accessed 14 May 2021.

Carver, Raymond. “The Bath.”  Columbia: A Journal of Literature and Art, no. 6, 1981, pp. 32–41. JSTOR,  www.jstor.org/stable/42744338 . Accessed 14 May 2021.

McCaffery, Larry, et al. “An Interview with Raymond Carver.”  Mississippi Review, vol. 14, no. 1/2, 1985, pp. 62–82. JSTOR,  www.jstor.org/stable/20115387 . Accessed 14 May 2021.

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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How to Write Essay Thesis Statement: A Comprehensive Analysis

In academic writing, creating an impactful text that can deftly relay your opinion and persuade your audience is one of the key skills. That’s why it is essential to learn how to write a strong thesis statement. In this article, you will find all you need to know for creating a persuasive thesis statement.

What is an essay thesis?

In academic essays, a thesis is a part of the introduction that expresses the main idea and purpose of the essay. It aims to give the audience a brief overview of the contents of the essay, the author’s position, and potential line of argument.

A thesis statement in essay writing is an essential part that cannot be omitted. Apart from introducing the main idea of the essay, the thesis gives directions to authors and helps them not stray from the topic at hand.

As for the thesis statement layout, it usually appears at the end of the introduction, giving the author an opportunity to start their line of reasoning.

Types of essay thesis

Depending on the type of your essay, the contents and intent of your thesis statement can also vary. Let’s explore the main differences and functions of thesis statements in various essays.

• Argumentative thesis statement . This is probably the most well-known type of persuasive essay thesis statements. It introduces a certain position about a topic and hints at the line of support and evidence that will follow in the main body of the essay. An argumentative thesis consists of a topic, an author’s position, and brief mentions of the author’s arguments. Example: Prioritizing ocean exploration over space exploration is essential because the oceans are home to natural resources that could significantly contribute to global food security and economic development.
• Expository thesis statement . Unlike the aforementioned type, an expository thesis aims to give readers an explanation of what is going to be discussed. It is fairly objective and should not include an author’s opinion. This thesis type consists of a topic followed by several categories which will be used to extrapolate on the topic later. Example: Sunbathing can have both beneficial and harmful effects on human skin, including the synthesis of vitamin D, the risk of sunburn, premature aging, and an increased chance of developing skin cancer.
• Analytical thesis statement . This essay thesis type introduces the results of your analysis. It gives readers an idea of the conclusions of your analytical research and encourages them to read and see how you arrived at these conclusions. An analytical thesis typically includes a topic, the object of your analysis, and a conclusion. Example: The extinction of mammoths can be attributed to habitat loss caused by post-Ice Age climate changes and the pressure from human hunting .

As you can see, the contents of your essay thesis depend on what your essay aims to achieve. Understanding the different types of thesis statements helps you craft a clear and effective argument that suits your essay’s purpose and audience.

How to write a strong thesis statement

A thesis statement is the key to creating a perfect essay because the main body of your paper depends on it. Let’s explore what you should do to craft a persuasive thesis statement.

1. Do your research

Researching your essay topic is important to provide a good line of reasoning. But it is also essential for writing an essay thesis. Without understanding the topic, you cannot come up with a clear idea of how to build your essay or what exactly you are going to argue for or against.

2. Determine the type of your paper

The type of your essay affects how you should build your thesis. If you need to write a neutral overview of some issue, then you should go for an expository thesis statement. But if you aim to give your opinion and defend it, an argumentative thesis is your way.

3. Formulate the thesis

The easiest way to come up with a thesis is the question-answer method. First, ask yourself a question about the essay topic. If the topic is AI technologies, your question can be, “Can AI technologies replace humans?”

Then, you should answer this question. Make sure your answer is direct, clear, and concise. But don’t make it too broad since you have to cover it comprehensively within the scope of your paper. So, the answer to the question above should look like “AI technologies will not fully replace humans due to the irreplaceable value of human creativity, emotional intelligence, and complex decision-making abilities.” This answer will become your essay thesis statement.

4. Give specific examples

You can use the thesis statement as a sneak peak into the contents of your paper. Indicate the key points you will discuss in your essay to support your thesis. For instance, if your essay is about mitigating stress, give a brief overview of what you plan to cover in your paper: “Effective stress mitigation techniques include regular physical exercise, mindfulness practices like meditation, and a strong social support network for emotional well-being.”

5. Make changes if needed

As you begin to write the main part of your paper, you might find out that your initial essay thesis is weak or untrue. If it happens, you shouldn’t go against common sense to try making it work. Go back to the beginning and use the new-found knowledge to come up with another, more suitable thesis statement that better reflects the issues at hand.

With this guide, you will be able to come up with a persuasive thesis statement in no time. And if you still have trouble writing a strong thesis, you can use AI-generator Aithor to help you find the perfect thesis for your academic paper.

Summary: Thesis statement in essay

A thesis statement is an essential element in any essay. It provides an introduction into the topic of a paper and the claims the writer intends to prove. A strong thesis statement should be specific, clear, concise, and give the audience a brief overview of an essay’s contents.

Try using AI-generator Aithor and come up with a persuasive thesis statement in mere seconds.

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4 takeaways from the first presidential debate

Domenico Montanaro

President Biden and former President Donald Trump participate in the first presidential debate of the 2024 elections at CNN's studios in Atlanta on June 27. Andrew Caballero-Reynolds/AFP via Getty Images hide caption

If some people who listened to the radio in 1960 thought Richard Nixon won the presidential debate with John F. Kennedy, then maybe people reading the transcript of Thursday night’s match-up would think President Biden won.

But elections aren’t won in transcripts. The reality is, fairly or not, debates are often about optics — how the candidates present themselves, defend their records and parry attacks.

Fact check: What did Biden and Trump claim about immigration in the debate?

And that’s why so many Democrats are ringing the fire alarms after the first general-election presidential debate of 2024. The Biden campaign said the president had a cold to explain why he sounded so hoarse and weak. But Biden’s stumbles right from the beginning played into his biggest vulnerability — his age and whether the 81-year-old is up to the challenge of handling four more years in office.

There were issues for Trump, too, as he continued to spread falsehoods and bathe in the kinds of conspiratorial grievances that have turned off many voters.

Not much has changed the dynamics of this race; will anything that happened Thursday night make a difference either?

Here are four takeaways from the first Biden-Trump debate of this campaign:

1. First and foremost, let’s talk about the elephant in the room – Democrats have to be wondering if they’d be better off with someone else as their nominee.

Neither candidate is the official nominee yet. The national political conventions haven’t happened — but it’s next to impossible that Democrats would replace Biden.

Still, given he delivered the kind of performance Democrats feared, party leaders, strategists and many voters, frankly, had to be wondering during this debate what it would be like if any of a handful of other Democrats were standing on that stage.

Biden got a bit stronger as the debate went on, especially on foreign policy. He had some one-liners, like calling Trump a “whiner” when Trump wouldn’t definitively say that he would accept the results of the 2024 election. But Biden often wasn’t able to show vigor or consistently convey what he wanted to say. He simply couldn’t deliver the kinds of happy-warrior blows with that toothy smile audiences have seen from Biden in years past.

“Sometimes the spin don’t spin,” one Democratic strategist texted midway through the debate when asked for reaction.

2. If how Biden sounded wasn’t bad enough, the visuals might have been equally as bad.

An important rule of thumb for candidates — and moderators — in debates is to be conscious of how things look, of how you look, of what people are seeing at home. And what people saw — and this was predictable — was a split screen.

What to know about the key policies that got airtime in the presidential debate

Biden wasn’t able to use that to his advantage at all, even as Trump doled out falsehood after falsehood. Instead, he looked genuinely shocked and confused, which is never a good look.

Trump and his base might not care about late-night comedy, but this week’s monologues are going to sting Democratic voters.

3. The format — and hands-off moderators — benefited Trump.

The muting of the candidates was likely intended to make the debate calmer and not allow Trump to run roughshod over the moderators or his opponent. But it had the effect of making Trump seem more sedate than usual.

Trump employed rounds of verbal jujitsu, in which he threw back his own vulnerabilities and directed them toward Biden. He was even able at one point, during a strange exchange about golf handicaps, to say, “Let’s not act like children.”

The moderation, or lack thereof, also allowed Trump to spread falsehoods and hyperbole without being interrupted or corrected. CNN indicated before the debate that the moderators were not going to play a strong role in fact checking the candidates, and they lived up to that.

They left it to the candidates, essentially, and with Biden unable to deliver in real time and the moderators declining to, the audience was left with a salad bowl full of rotten eggs and moldy lettuce that passed for facts.

4. This debate might not move the needle much, if at all.

Despite Biden’s struggles, which will understandably get the headlines, Trump had some difficult moments, too, especially in the second half of the debate.

In addition to spreading myriad falsehoods, he did little to credibly defend his conduct on and before the Jan. 6 siege on the Capitol; he used the kind of hyperbolic and vituperative language that has long turned off swing voters; and showed why many are concerned about some of his positions on the issues, especially on abortion and how the U.S. should be represented on the world stage.

So despite Biden’s shortcomings, millions will still likely vote for Biden, anyway, because he’s not Trump.

The bottom line is: Americans have said they are unhappy with their choices, and, in this – the biggest moment of the 2024 presidential campaign yet — it was clear why.

Correction June 28, 2024

A previous version of this story referenced this week's live SNL episode but in fact the show is on its summer hiatus.