literary critique essay course hero

Module 1: Learning to Write Literary Analysis

Literary criticism.

By reading and discussing literature, we expand our imagination, our sense of what is possible, and our ability to empathize with others. Improve your ability to read critically and interpret texts while gaining appreciation for different literary genres and theories of interpretation. Read samples of literary interpretation. Write a critique of a literary work.

Texts that interpret literary works are usually persuasive texts. Literary critics may conduct a close reading of a literary work, critique a literary work from the stance of a particular literary theory, or debate the soundness of other critics’ interpretations. The work of literary critics is similar to the work of authors writing evaluative texts. For example, the skills required to critique films, interpret laws, or evaluate artistic trends are similar to those skills required by literary critics.

Why Write Literary Criticism?

“Literary texts” include works of fiction and poetry. In school, English instructors ask students to critique literary texts, or works. Literary criticism refers to a genre of writing whereby an author critiques a literary text, either a work of fiction, a play, or poetry. Alternatively, some works of literary criticism address how a particular theory of interpretation informs a reading of a work or refutes some other critics’ reading of a work.

Diverse Rhetorical Situations

The genre of literary interpretation is more specialized than most of the other genres addressed in this section, as suggested by the table below. People may discuss their reactions to literary works informally (at coffee houses, book clubs, or the gym) but the lion’s share of literary criticism takes place more formally: in college classrooms, professional journals, academic magazines, and Web sites.

Students interpret literary works for English instructors or for students enrolled in English classes. In their interpretations, students may argue for a particular interpretation or they may dispute other critics’ interpretations. Alternatively, students may read a text with a particular literary theory in mind, using the theory to explicate a particular point of view. For example, writers could critique The Story of an Hour by Kate Chopin from a feminist theoretical perspective. Thanks to the Internet, some English classes are now publishing students’ interpretations on Web sites. In turn, some students and English faculty publish their work in academic literary criticism journals.

Over the years, literary critics have argued about the best ways to interpret literature. Accordingly, many “schools” or “theories of criticism” have emerged. As you can imagine–given that they were developed by sophisticated specialists–some of these theoretical approaches are quite sophisticated and abstract.

Below is a summary of some of the more popular literary theories. Because it is a summary, the following tends to oversimplify the theories. In any case, unless you are enrolled in a literary criticism course, you won’t need to learn the particulars of all of these approaches. Instead, your teacher may ask you to take an eclectic approach, pulling interpretative questions from multiple literary theories.

Note : If you are interested in learning more about these theories, review either Skylar Hamilton Burris’ Literary Criticism: An Overview of Approaches or Dino F. Felluga’s Undergraduate Guide to Critical Theory

• Schools of Literary Criticism
• New Criticism : Focuses on “objectively” evaluating the text, identifying its underlying form. May study, for example, a text’s use of imagery, metaphor, or symbolism. Isn’t concerned with matters outside the text, such as biographical or contextual information. Online Examples: A Formalist Reading of Sandra Cisneros’s “Woman Hollering Creek” , Sound in William Shakespeare’s The Tempest by Skylar Hamilton Burris
• Reader-Respons : Criticism Focuses on each reader’s personal reactions to a text, assuming meaning is created by a reader’s or interpretive community’s personal interaction with a text. Assumes no single, correct, universal meaning exists because meaning resides in the minds of readers. Online Examples: Theodore Roethke’s “My Papa’s Waltz”: A Reader’s Response (PDF)
• Feminism: Criticism Focuses on understanding ways gender roles are reflected or contradicted by texts, how dominance and submission play out in texts, and how gender roles evolve in texts. Online Example: “The Yellow Wall-Paper”: A Twist on Conventional Symbols , Subverting the French Androcentric Influence by Jane Le Marquand
• New Historicism Focuses on understanding texts by viewing texts in the context of other texts. Seeks to understand economic, social, and political influences on texts. Tend to broadly define the term “text,” so, for example, the Catholic Church could be defined as a “text.” May adopt the perspectives of other interpretive communities–particularly reader-response criticism, feminist criticism, and Marxist approaches–to interpret texts. Online Example  Monstrous Acts by Jonathan Lethem
• Media Criticism Focuses on writers’ use of multimedia and hypertexts. Online Examples The Electronic Labyrinth by Christopher Keep, Tim McLaughlin, and Robin Parmar
• Psychoanalytical Criticism Focuses on psychological dimensions of the work. Online Examples: A Freudian Approach to Erin McGraw’s “A Thief” by Skylar Hamilton Burris
• Marxist Criticism Focuses on ways texts reflect, reinforce, or challenge the effects of class, power relations, and social roles. Online Example: A Reading of Shirley Jackson’s “The Lottery” by Peter Kosenko
• Archetypal Criticism Focuses on identifying the underlying myths in stories and archetypes, which reflect what the psychologist Carl Jung called the “collective unconsciousness.” Online Example: A Catalogue of Symbols in The Awakening by Kate Chopin by Skylar Hamilton Burris
• Postcolonial Criticism Focuses on how Western culture’s (mis)representation of third-world countries and peoples in stories, myths, and stereotypical images encourages repression and domination. Online Example: Other Voices
• Structuralism/Semiotics Focuses on literature as a system of signs where meaning is constructed in a context, where words are inscribed with meaning by being compared to other words and structures. Online Example: Applied Semiotics [Online journal with many samples]
• Post-Structuralism/Deconstruction Focuses, along with Structuralism, on viewing literature as a system of signs, yet rejects the Structuralist view that a critic can identify the inherent meaning of a text, suggesting, instead that literature has no center, no single interpretation, that literary language is inherently ambiguous

Powerful works of literature invoke multiple readings. In other words, we can all read the same story or poem (or watch the same movie or listen to the same song) and come up with different, even conflicting, interpretations about what the work means. Who we are reflects how we read texts. Our experiences inspire us to relate to and sympathize with characters and difficult situations. Have we read similar stories? Have we actually faced some of the same challenges the characters in the story face?

In addition, literary theories have unique ways to develop and substantiate arguments. Some theories draw extensively on the work of other critics, while others concentrate on the reader’s thoughts and feelings. Some theories analyze a work from an historical perspective, while others focus solely on a close reading of a text.

Accordingly, as with other genres, the following key features need to be read as points of departure as opposed to a comprehensive blueprint:

Examine a subject from a rhetorical perspective. Identify the intended audience, purpose, context, media, voice, tone, and persona.Distinguish between summarizing the literary work and presenting your argument. Many students fall into the trap of spending too much time summarizing the literature being analyzed as opposed to critiquing it. As a result, it would be wise to check with your teacher regarding how much plot summary is expected. As you approach this project, remember to keep your eye on the ball: What, exactly (in one sentence) is the gist of your interpretation?

Development

You can develop your ideas by researching the work of other literary critics. How do other critics evaluate an author’s work? What literary theories do literary critics use to interpret texts or particular moments in history? Reading sample proposals can help you find and adopt an appropriate voice and persona. By reading samples, you can learn how others have prioritized particular criteria.

Below are some of the questions invoked by popular literary theories. Consider these questions as you read a work, perhaps taking notes on your thoughts as you reread. You may focus on using one theory to “read and interpret” text or, more commonly, you may compare the critical concerns of different theories.

New Criticism/Formalism

• Character: How does the character evolve during the story? What is unique or interesting about a character? Is the character a stereotypical action hero, a patriarchal father figure, or Madonna? How does a character interact with other characters?
• Setting: How does the setting enhance tension within the work? Do any elements in the setting foreshadow the conclusion of the piece?
• Plot:What is the conflict? How do scenes lead to a suspenseful resolution? What scenes make the plot unusual, unexpected, suspenseful?
• Point of View: Who is telling the story? Is the narrator omniscient (all knowing) or does the narrator have limited understanding?

Reader-Response Criticism

How does the text make you feel? What memories or experiences come to mind when you read? If you were the central protagonist, would you have behaved differently? Why? What values or ethics do you believe are suggested by the story? As your reading of a text progresses, what surprises you, inspires you?

Feminist Criticism

How does the story re-inscribe or contradict traditional gender roles? For example, are the male characters in “power positions” while the women are “dominated”? Are the men prone to action, decisiveness, and leadership while the female characters are passive, subordinate? Do gender roles create tension within the story? Do characters’ gender roles evolve over the course of the narrative?

New Historicism Cristicism

How does the story reflect the aspirations and conditions of the lower classes or upper classes? Is tension created by juxtaposing privileged, powerful positions to subordinated, dominated positions? What information about the historical context of the story helps explain the character’s motivations? Who benefits from the outcome of the story or from a given character’s motivation?

Media Criticism

How does the medium alter readers’ interactions with the text? Has the reader employed multimedia or hypertext? What traditions from print and page design have shaped the structure of the text? In what ways has the author deviated from traditional, deductively organized linear texts?

Cite from the Work

Literary criticism involves close reading of a literary work, regardless of whether you are arguing about a particular interpretation, comparing stories or poems, or using a theory to interpret literature.Do not summarize the story. The purpose of the document is not to inform the readers, but to argue a particular interpretation. You only need to cite parts of the work that support or relate to your argument and follow the citation format required by your instructor (see Using and Citing Sources).

Below is an example from Sample Essays for English 103: Introduction to Fiction, Professor Matthew Hurt. Note how the writer uses block quotes to highlight key elements and paraphrase and summarizes the original works, using quotation marks where necessary.

…Twain offers a long descriptive passage of Huck and Jim’s life on the raft that seems, at first glance, to celebrate the idyllic freedom symbolized by the river and nature. . . A close reading of this passage, however, shows that the river is not a privileged natural space outside of and uncontaminated by society, but is inextricably linked to the social world on the shore, which itself has positive value for Huck. Instead of seeking to escape society, Huck wants to escape the dull routines of life.

The passage abounds with lyrical descriptions of the river’s natural beauty. For example, Huck’s long description of the sunrise over the river captures the peaceful stillness and the visual beauty of the scene:

The first thing to see, looking away over the water, was a kind of dull line — that was the woods on t’other side — you couldn’t make nothing else out; then a pale place in the sky; then more paleness, spreading around; then the river softened up, away off, and warn’t black any more, but gray; . . . sometimes you could hear a sweep screaking; or jumbled up voices, it was so still, and sounds come so far; and by-and-by you could see a streak on the water which you know by the look of the streak that there’s a snag there in the swift current which breaks on it and makes the streak look that way; and you see the mist curl up off of the water, and the east reddens up, and the river, and you make out a log cabin in the edge of the woods, away on the bank on t’other side of the river, . . . then the nice breeze springs up, and comes fanning you from over there, so cool and fresh, and sweet to smell, on account of the woods and the flowers; . . . and next you’ve got the full day, and everything smiling in the sun, and the song-birds just going at it! (129-130)

Here Huck celebrates the beauty of the natural world coming to life at the beginning of a new day. The “paleness” gradually spreading across the sky makes new objects visible which he describes in loving detail for the reader. The “nice breeze” is “cool and fresh” and “sweet to smell,” and the world seems to be “smiling in the sun” as the song-birds welcome the new day.

However, Huck includes a number of details within this passage that would seem to work against the language of natural beauty. After describing the gradually brightening sky, Huck notes that “you could see little dark spots drifting along, ever so far away — trading scows, and such things; and long black streaks — rafts.” The sun rise reveals not only natural objects (the brightening sky, the “snag,” the “mist”), but also brings into view man-made objects (“trading scows” and “rafts”) that signify human society’s presence in this natural environment. Similarly, Huck speculates that the picturesque “log cabin” on the distant shore is a “woodyard, likely, and piled by them cheats so you can throw a dog through it anywheres.” Here the marker of human society takes on a sinister tone of corruption as Huck describes how unscrupulous wood sellers stack wood loosely to cheat their customers. Finally, although the breeze is “sweet to smell,” Huck assures the reader that this isn’t always the case: “but sometimes not that way, because they’ve left dead fish laying around, gars, and such, and they do get pretty rank.”

These signs of society’s presence on the river are largely negative. The woodyard is “piled by cheats” and the stacked fish pollute the “sweet” smell of the breeze. At this point, the opposition between “good nature” and “bad society” remains intact. The signs of human presence suggest a corruption of nature’s beauty. In the paragraphs that follow, however, this opposition is subtly reversed. After Huck’s account of the sunrise over the river, he describes how he and Jim watch the steamboats “coughing along up stream.” But when there are no steamboats or rafts to watch, he describes the scene as “solid lonesomeness” (130). No songbirds, no sweet breezes. Without human activities to watch, the scene suddenly becomes empty and “lonesome,” and nothing captures Huck’s attention until more rafts and boats pass by and he can watch them chopping wood or listen to them beating pans in the fog.

Cite Other Critics’ Interpretations of the Work

Criticism written by advanced English majors, graduate students, and literary critics may be more about what other critics have said than about the actual text. Indeed, many critics spend more time reading criticism and arguing about critical approaches than actually reading original works. However, unless you are enrolled in a literary theory course, your instructor probably wants you to focus more on interpreting the work than discussing other critical interpretations. This does not mean, however, that you should write about a literary work “blindly.” Instead, you are wise to find out what other students and critics have said about the work.

Below is a sample passage that illustrates how other critics’ works can inspire an author and guide him or her in constructing a counter argument, support an author’s interpretation, and provide helpful biographical information.

In her critical biography of Shirley Jackson, Lenemaja Friedman notes that when Shirley Jackson’s story “The Lottery” was published in the June 28, 1948 issue of the New Yorker it received a response that “no New Yorker story had ever received”: hundreds of letters poured in that were characterized by “bewilderment, speculation, and old-fashioned abuse.”1 It is not hard to account for this response: Jackson’s story portrays an “average” New England village with “average” citizens engaged in a deadly rite, the annual selection of a sacrificial victim by means of a public lottery, and does so quite deviously: not until well along in the story do we suspect that the “winner” will be stoned to death by the rest of the villagers.

Organization

The format for literary critiques is fairly standard:

• State your claim(s).
• Forecast your organization.
• Marshal evidence for your claim.
• Reiterate argument and elaborate on its significance.

In English classes, you may be able to assume that your readers are familiar with the work you are critiquing. Perhaps, for example, the entire class is responding to one particular work after some class discussions about it. However, if your instructor asks you to address a broader audience, you may need to provide bibliographical information for the work. In other words, you may need to cite the title, publisher, date, and pages of the work (see Citing Sources ).

Literary critiques are arguments. As such, your instructors expect you to state a claim in your introduction and then provide quotes and paraphrased statements from the text to serve as evidence for your claim. Ideally, your critique will be insightful and interesting. You’ll want to come up with an interpretation that isn’t immediately obvious. Below are some examples of “thesis statements” or “claims” from literary critiques:

• In “The Yellow Wallpaper,” by Charlotte Perkins Gilman, the protagonist is oppressed and represents the effect of the oppression of women in society. This effect is created by the use of complex symbols such as the house, the window, and the wall-paper which facilitate her oppression as well as her self expression. [“‘The Yellow Wall-Paper’: A Twist on Conventional Symbols” by Liselle Sant]
• “The Yellow Wallpaper” by Charlotte Gilman is a sad story of the repression that women face in the days of the late 1800’s as well as being representative of the turmoil that women face today. [Critique of “The Yellow Wallpaper” by Brandi Mahon]
• “The Yellow Wallpaper,” written by Charlotte Perkins Gilman, is a story of a woman, her psychological difficulties and her husband’s so called therapeutic treatment of her aliments during the late 1800s. . . Gilman does well throughout the story to show with descriptive phrases just how easily and effectively the man “seemingly” wields his “maleness” to control the woman. But, with further interpretation and insight I believe Gilman succeeds in nothing more than showing the weakness of women, of the day, as active persons in their own as well as society’s decision making processes instead of the strength of men as women dominating machines. “The View from the Inside” by Timothy J. Decker
• In Adventures of Huckleberry Finn, Mark Twain creates a strong opposition between the freedom of Huck and Jim’s life on the raft drifting down the Mississippi River, which represents “nature,” and the confining and restrictive life on the shore, which represents “society.” [ “‘All I wanted was a change’: Positive Images of Nature and Society in Chapter 19 of Adventures of Huckleberry Finn” from Professor Matthew Hurt’s “Sample Essays for English 103: Introduction to Fiction”]
• In Gabriel Garcia Marquez’s short story, “A Very Old Man with Enormous Wings,” an unexpected visitor comes down from the sky, and seems to test the faith of a community. The villagers have a difficult time figuring out just how the very old man with enormous wings fits into their lives. Because this character does not agree with their conception of what an angel should look like, they try to determine if the aged man could actually be an angel. In trying to prove the origin of their visitor, the villagers lose faith in the possibility of him being an angel because he does not adhere to their ordered world. Marquez keeps the identity of the very old man with enormous wings ambiguous to critique the villagers and, more generally, organized religion for having a lack of faith to believe in miracles that do not comply with their master narrative. [“Prove It: A Critique of the Villagers’ Faith in ‘A Very Old Man with Enormous Wings'” from Sample Essays for English 103: Introduction to Fiction, Professor Matthew Hurt]

Literary criticism is a fairly specialized kind of writing. Instead of writing to a general lay audience, you are writing to members of a literary community who have read a work and who developed opinions about the work–as well as a vocabulary of interpretation.

Following are some common words used by literary critics. More specialized terms can be learned by reading criticism or by referring to a good encyclopedia for criticism or writing, including the Writer’s Encyclopedia:

• Protagonist: The protagonist is the major character of the story; typically the character must overcome significant challenges.
• Antagonist: The protagonist’s chief nemesis; in other words, the character whom the protagonist must overcome.
• Symbols: Metaphoric language; see A Catalogue of Symbols in The Awakening by Kate Chopin
• Viewpoint: Stories are told either in the first person or third person point of view. The first person is limited to a single character, although dialog can let you guess at other characters’ intentions. The third person allows readers inside the character’s mind so you know what the character feels and thinks.Viewpoint can be “limited,” where the character knows less than the reader, or “omniscient,” where the reader can hear the thoughts and feelings of all characters. Occasionally writers will use multiple character viewpoint, which takes you from one character’s perspective to another.
• Plot: Plots are a series of scenes, typically moving from a conflict situation to a resolution. To surprise readers, authors will foreshadow “false plants,” which lead readers to anticipate other resolutions. The term “denouement” refers to the unraveling of the plot in the conclusion.
• Literary Criticism. Authored by : Joseph Moxley. Provided by : Writing Commons. Located at : http://writingcommons.org/open-text/genres/academic-writing/literary-criticism/28-literary-criticism . License : CC BY-NC-ND: Attribution-NonCommercial-NoDerivatives
• Academic Writing Tips : How to Write a Literary Analysis Paper. Authored by : eHow. Located at : https://youtu.be/8adKfLwIrVk . License : All Rights Reserved . License Terms : Standard YouTube license

The Odyssey

Introduction to the odyssey.

Odyssey is one of the best ancient epics and a masterpiece, written by the blind poet, Homer. It might have been written in the 8 th or 7 th century BC. The poem has won popularity in almost every culture and civilization despite belonging to the Grecian civilization and yet has kept its freshness despite having survived the odds of time until this day. The poem presents the story of Odysseus, the Greek king, and his homeward journey after the Trojan war, including other wars and trials and tribulations that he confronts on the way home. The epic has not only achieved the status of a cannon but has also become a classic.

Summary of The Odyssey

The Odyssey is the story, the epic of Odysseus or Ulysses in some texts. His journey begins when the city of Troy falls. Odysseus, the Grecian hero , does not return to Ithaca, his kingdom, in ten days as per the journey schedule takes almost ten years. Assuming Odysseus is dead, his wife, Penelope, is hounded by unruly and rowdy suitors wanting to marry her. They spend more time around her palace, pillaging the land around it. However, despite this continuous commotion of these suitors, she carries on delaying it with the argument that she is knitting a shroud for her husband and that she will not respond to their calls until she finishes it. Although she has her son, Telemachus, with her, she does not dare to throw this mob out of the precincts of her palace. Despite the fierce opposition and Antinous’s plans to kill Telemachus, she stays dedicated.

During Penelope’s trial, Odysseus goes through a lot of trials on the land as well as the sea. He is captured with his companions and imprisoned by Calypso, a nymph on her island, Ogygia. Having no ship to return to Ithaca, he longs to be with his family. Then Mount Olympus is in deep debate as the goddesses and gods argue about what to do regarding Odysseus’ fate. While Athena has a soft spot for Odysseus and wants to assist him and his son, Telemachus, some fiercely oppose her. She visits Telemachus, disguising herself as the friend of his grandfather, and asks him to call all the suitors into an assembly and warn them of their misbehavior. She also helps him visit Nestor and Menelaus, the associates of Odysseus, who inform Telemachus about his father and his imprisonment on the island of Calypso. When he is about to return, the suitors plan to eliminate him.

Sensing delay in Odysseus’ return, Zeus himself dispatches Hermes for his release. Finally, she succeeds in convincing Calypso about the likely release of Odysseus, who sets sail toward his homeland but finds himself trapped in a storm caused by Poseidon on account of blinding Cyclops Polyphemus, his one-eyed giant son. Here again, Athena comes to his assistance and brings him to land at Scheria, where Nausicaa with her parents, welcomes him warmly. The hosts become captivated by his exploits after he discloses his real identity and tells his purpose. They promise to extend all possible help to this great hero.

However, before he departs from the island, he narrates his exploits, including his time on the island of Calypso, his trip to the Land of the Lotus Eaters, his time with Circe, and the temptation of Sirens until the final journey to the underworld where he meets the blind prophet, Tiresias, and wrestles with Scylla after consulting him Tiresias about this menace. The next day, the Phaeacians help him return to Ithaca, where he reaches the hut of Eumaeus, his faithful colleague, in the guise of a beggar.

After this, he goes to meet his son and discloses his identity, after which both plan to eliminate the unruly suitors to gain control of their city. The next day, Odysseus reaches his palace, and the same mob of the suitors attacks him with insults and rebukes, after which he meets the old lady, Eurycelia, who does not disclose his identity due to the fear that the suitors should kill him. Penelope, on the other hand, arranges an archery competition of the suitors to engage them in stringing the bow of Odysseus, at which all of them fail except Odysseus, who is in the garb of a beggar. Following this, with the assistance of his son, Telemachus, he falls upon the suitors and eliminates all of them. Following this, he discloses his identity and goes to meet Laertes, his father. They face an attack from Antinous’s father but kill him, while Zeus asks Athena to bring peace to the land after Odysseus’s ordeal ends. It is important to notice that the entire journey of Odysseus takes 20 years in which ten years he fought the Trojan war and the next ten years he fight everything else to reach home.

Major Themes in The Odyssey

• Hubris : The Odyssey shows the theme of hubris or excessive pride through Odysseus, who brags about his wins in the war until the gods turn against him and punish him for this hubris. The punishment continues until Athena favors him in bringing him home and assists him in overcoming his enemies on his way back home and also in his palace as suitors of his wife, Penelope troubles her. He faces Circe and the Cyclops and goes through the underworld. Despite his bragging, Athena supports him and saves him after he goes through this long punishment of near-fatal journeys after he has suffered enough for his pride.
• Homecoming: The theme of homecoming is apparent from the desire and longing of the hero, Odysseus, who recalls his wife, his son, and his hometown of Ithaca whenever he is in some difficult situation. It means that he always has his home in mind even when he is trapped by Circe or spends time with Calypso. Even when the Cyclops asks him the reason for staying there, he tells that he is on his homeward journey.
• Hospitality: The theme of hospitality goes side by side with other themes with its significance in the Grecian culture. That is why Odysseus enjoys the hospitality of Circe as well as the Cyclops, though he is their captive. The first one turns his people into animals , and the second starts satisfying his hunger by feeding on them. Even the Phaeacians demonstrate their trait of hospitality which is gentle rather than evil, as opposed to the first two cases.
• Temptation: Another theme of The Odyssey is a temptation that the Grecians considered a negative human trait. Although temptations are sometimes very strong and even drives Odysseus crazy such as at the Lotus-eater’s island, he always considers homecoming his major purpose in life, recalling Penelope and Telemachus. He also falls to the temptation of Circe’s beauty and sensuousness and stays for a while, but again moves forward and is able to overcome temptations.
• Heroism: Heroism is the greatest Greek virtue told in almost every epic, as reflected through the character of Odysseus is another theme. Despite having human traits, Odysseus shows exemplary character traits having courage , bravery, wit , and strength with some human aberrations of falling to the temptations as in the case of Circe and then the Lotus-eaters. However, he shows his courage when fighting against the Cyclops and even when going through his ordeal with Scylla and Charybdis.
• Deception: A minor theme, deception is shown as a human trait in The Odyssey that is necessary for survival. Odysseus comes to deception when he sees his survival is at stake. For instance, his return when he confronts Antinous. Odysseus has already done the same when confronting the Cyclops and tells him that he is a No-man, then blinding him while escaping under the sheeps’ belly. Even gods come to deceive others by adopting different guises, such as Athena does to help Odysseus.
• Free Will: Free will is another significant theme of the poem in that Odysseus is shown as a fiercely independent person having courage, bravery, and strength, yet he sometimes feels the divine act obstructing his paths, such as the magic of Circe or the deathly confrontation of the Cyclops. In such cases, it seems that the gods debate and determine his fate on Mount Olympus, and if Athena hadn’t pleaded his case with Zeus, he might not have survived at several points, such as in confronting Poseidon in a storm.
• Justice : The epic shows the theme of justice through debates between the gods and goddesses on Mount Olympus. It seems that sometimes the gods are forced to punish Odysseus, such as Poseidon does but again, a few god or goddess comes to take the punishment away from him to render justice.
• Revenge : The epic shows the theme of revenge through Odysseus’s act of blinding the Cyclops and killing the suitors, including Antinous. The gods also exact revenge, such as Poseidon does against Odysseus for killing his son, the Cyclops.

Major Characters of The Odyssey

• Odysseus: Odysseus is the main character and great heroic figure who goes through several adventures described in the entire epic, The Odyssey. He is a human with a fascinating combination of the presence of mind and strong body. He leaves to fight in Troy alongside Achilles and other kings while he is the ruler of Ithaca. He leaves Penelope, his faithful wife, and his son, Telemachus, behind. As his son is very young in his absence, his old father, Laertes, takes care of his kingdom. During his long journey toward home after the fall of Troy, he goes through various adventures, meets demons, avoids the wrath of gods, and confronts witches, nymphs, and monsters, yet he comes out of all these as victorious to lock horns with the characters like Antinous. Despite his tough and resilient frame, he sometimes has to use his mind to deal with Calypso or the Cyclops or to go through the land of Cicones. He goes on to use his wits until Athena, the goddess favoring him, asks him to stop and be at peace.
• Penelope: In The Odyssey, as well as in the Grecian literature, the status achieved by Penelope is hard to contest as a virtuous woman waiting for Odysseus. When the courtyard of her palace is full of suitors, creating a commotion for her hand, she uses patience and tricks to keep the men away. She continues knitting the shroud for her husband during the day and pulls them at night . And sending a word to the suitor that she would not respond until she finishes it, extending the time for her son, Telemachus, to be able to deal with them or for her husband to arrive. Finally, when Odysseus arrives, she informs him of the whole situation. However, this long period has tested her loyalty as well as integrity, on account of which she achieves this high status in literature and myths .
• Telemachus: As the son of Odysseus, it is natural for Telemachus to show qualities and bravery to lead Ithaca and protect his mother in Odysseus’ absence. Although he confronts the unruly suitors of his mother in the initial stages after Athena supports him, he could not resist that huge mob. His most important mistake is to allow the suitors to arm themselves to the teeth, which Odysseus has had a hard time overcoming by the end when he reaches Ithaca. Odysseus then advises him on how to protect the family’s honor and stature by the end.
• Athena: As a goddess, Athena is quite close to Zeus, but as a supporter of Odysseus, her role in The Odyssey is admirable. She saves Odysseus from several fatal accidents where it would have been hard to predict his survival. As the favorite daughter of Zeus, she holds sway on Poseidon, who is determined to take revenge on Odysseus for killing the Cyclops. She stops him from this and reaches out in different disguises to save Odysseus, who is not her son, yet becomes her favorite. In the end, she reaches out to Odysseus to help him in dealing with the wild mob of suitors.
• Poseidon: Poseidon is a divine character, but he develops animosity with the human, Odysseus, who must have been killed. He is stopped by Athena, who helps Odysseus. As a sea god, he raises storms in the way of Odysseus, lengthening his homeward journey. He, including his wife, goes against Athena, who is determined to save Odysseus from their wrath. In fact, Odysseus has blinded his son, the Cyclopes, and left him to die.
• The Cyclops : A one-eyed giant, the Cyclops, also known as Polyphemus, is the son of Poseidon, a god. He lives on a Cyclopean island in a cave where Odysseus and his men reach to take shelter during a storm. When he reaches his cave, he becomes happy to find men there and starts killing them one by one to eat them. To save the rest of his men, Odysseus deceives Cyclops. He becomes blind after Odysseus pokes a spear in his eye and leaves him on the island to die. Because of what is done to him, Poseidon is angry toward Odysseus when he blinds the Cyclops.
• Zeus: A divine figure and the chief god, Zeus is a significant character in the epic, The Odyssey. He is present during the debate between the gods and goddesses about Odysseus’ fate. When Athena supports Odysseus, he assists Athena in all of the exploits she takes upon herself to assist Odysseus in saving his life. He also allows Poseidon to cause some trouble for Odysseus but does not let him cause his death.
• Circe: Circe turns to Odysseus’s associates and turns all of them into animals after imprisoning Odysseus on her island. Odysseus falls to her magic and wins only with alertness given by Eurylochus. He finally overpowers her and wins freedom for all of his companions.
• The Suitors: The role of suitors is important to raise the status of Penelope, for they check her patience, loyalty, and integrity toward her husband. Especially, the unruliest one, Antinous, makes her stand on her toes all the time, She even has to pretend that she is weaving a shroud for her husband to keep them off. Finally, Odysseus comes and kills all of them after an archery contest.
• Tiresias: The popular Grecian prophet also appears in The Odyssey like several other myths and asks Odysseus to go to Ithaca after he lets him talk to the souls of the dead in the underworld of Hades.

Writing Style of The Odyssey

The writing style of The Odyssey is exactly like that of classical poetry, which is elevated or formal. As it is written in poetic form, it is a dactylic hexameter with repetitive use of phrases and cliches common during those times. The use of deus ex machina has made it more interesting for general readers, while the metrical pattern has added to its melody. For literary devices , Home resorts to metaphors , extended metaphors , similes, and repetitions .

Analysis of the Literary Devices in The Odyssey

• Action: The main action of the epic comprises the homeward journey of the great Grecian hero, Odysseus. The rising action occurs when Odysseus gets freed from the clutches of Calypso and leaves her island for his home but faces a sea storm and loses his ship. The falling action occurs when he reaches home and joins his son, Telemachus, to kill the suitors.
• Anaphora : The below sentences are examples of anaphora , i. Not once have we held assembly, met in session since King Odysseus sailed away in the hollow ships. Who has summoned us now —one of the young men, one of the old-timers? (Book-II) ii. “Ah what a wicked man you are, and never at a loss. What a thing to imagine, what a thing to say! Earth be my witness now, the vaulting Sky above. (Book-V) These examples show the repetitious use of “one of the” and “what a thing” in the first part of the clauses of sentences ,or verses .
• Allusion : The best examples of allusions are given below, i. Zeus’s daughter plied, potent gifts from Polydamna the wife of Thon, a woman of Egypt, land where the teeming soil bears the richest yield of herbs in all the world. (Book-IV) ii. I’d died there too and met my fate that day the Trojans, swarms of them, hurled at me with bronze spears, fighting over the corpse of proud Achilles! A hero’s funeral then, my glory spread by comrades — now what a wretched death I’m doomed to die!” (Book-V) iii. Father Zeus, Athena and lord Apollo! if only — seeing the man you are, seeing we think as one — you could wed my daughter and be my son-in-law. (Book-VII) These examples show allusions of Zeus, Egypt, Achilles, and Apollo.
• Antagonist : Poseidon, the sea god in the house of Zeus, is the antagonist of The Odyssey even before he has blinded his son, the Cyclops. He is the main hurdle in his homeward journey.
• Conflict : The main conflict of the epic is Odysseus’s homeward journey and his struggles to overcome obstacles to achieve this end to save his wife from the suitors.
• Characters: The epic, The Odyssey, shows both static as well as dynamic characters. The young hero, Odysseus, is a dynamic character as he shows a considerable transformation in his behavior and conduct by the end of the epic when he meets his wife and son. However, all other characters are static as they do not show or witness any transformation, such as Cyclops, Poseidon, Circe, and even Zeus.
• Climax : The climax in the epic occurs when Odysseus arrives home after his long voyages and expeditions and sets upon killing the suitors for causing disrepute in his kingdom.
• Deus Ex Machina : The below sentences are the best examples of deus ex machina, i. But the other gods, at home in Olympian Zeus’s halls, met for full assembly there, and among them now the father of men and gods was first to speak. (Book-1) ii. As the sun sprang up, leaving the brilliant waters in its wake, climbing the bronze sky to shower light on immortal gods and mortal men across the plowlands ripe with grain — the ship pulled into Pylos, Neleus’ storied citadel. (Book-III) iii. Then Zeus’s daughter Helen thought of something else. Into the mixing-bowl from which they drank their wine she slipped a drug, heart’s-ease, dissolving anger, magic to make us all forget our pains. (Book-IV) The mention of gods, Olympian Zeus, sky, Helen, and magic potion shows the use of deus ex machina in the shape of supernatural beings coming down to the earth to help human beings.
• Hyperbole : The examples of hyperboles are given below, i. “Father Zeus on high — may the king fulfill his promises one and all! Then his fame would ring through the fertile earth and never die —and I should reach my native land at last! (Book-VII) ii. There colonnades and courts and rooms were overflowing with crowds, a mounting host of people young and old . The king slaughtered a dozen sheep to feed his guests. (Book-VIII) Both of these examples exaggerate things such as fame and rooms exaggerated as having capacity and capability.
• Imagery : The examples of imagery are given below, i. At last they gained the ravines of Lacedaemon ringed by hills and drove up to the halls of Menelaus in his glory. They found the king inside his palace, celebrating with throngs of kinsmen a double wedding-feast for his son and lovely daughter. (Book-IV) ii. Thick, luxuriant woods grew round the cave, alders and black poplars, pungent cypress too, and there birds roosted, folding their long wings, owls and hawks and the spread-beaked ravens of the sea, black skimmers who make their living off the waves. And round the mouth of the cavern trailed a vine laden with clusters, bursting with ripe grapes. (Book-V) iii. Here luxuriant trees are always in their prime, pomegranates and pears, and apples glowing red, succulent figs and olives swelling sleek and dark. And the yield of all these trees will never flag or die, neither in winter nor in summer, a harvest all year round for the West Wind always breathing through will bring some fruits to the bud and others warm to ripeness —(Book-VII) These examples show images of feeling, color, movement, and taste.
• Invocation: The below sentence is a good example of invocation, i. Sing to me of the man, Muse, the man of twists and turns driven time and again off course, once he had plundered the hallowed heights of Troy. This invocation is an example in epic style writing followed by all the great poets of every nation including John Milton . Homer here invokes Muse, the Grecian goddess of poetry, to empower him to sing in the praise of that great hero.
• Metaphor : The following sentences are good examples of metaphor , i. Just as that fear went churning through his mind a tremendous roller swept him toward the rocky coast where he’d have been flayed alive, his bones crushed if the bright-eyed goddess Pallas had not inspired him now. He lunged for a reef, he seized it with both hands and clung for dear life, groaning until the giant wave surged past and so he escaped its force, but the breaker’s backwash charged into him full fury and hurled him out to sea. Like pebbles stuck in the suckers of some octopus dragged from its lair —so strips of skin torn from his clawing hands stuck to the rock face. (Book-V) ii. And out he stalked as a mountain lion exultant in his power strides through wind and rain and his eyes blaze and he charges sheep or oxen or chases wild deer but his hunger drives him on to go for flocks, even to raid the best-defended homestead. So Odysseus moved out…(Book-VI) iii. There’s nothing better than when deep joy holds sway throughout the realm and banqueters up and down the palace sit in ranks. (Book-IX) These examples show that several things have been compared directly in epic such as the first one shows the comparison between fear and a roller, the second shows the comparison of a man and a mountain, and the last one shows joys compared to men.
• Motif : Most important motifs of the epic, The Odyssey, is storytelling, disguises, and magic.
• Personification : The following sentences are good examples of personifications, i. Someone may tell you something or you may catch a rumor straight from Zeus, rumor that carries news to men like nothing else. (Book-I) ii. As Dawn rose up from bed by her lordly mate Tithonus, bringing light to immortal gods and mortal men, the gods sat down in council, circling Zeus the thunder king whose power rules the world. (Book-V) These examples show as if the rumor and dawn have life and emotions of their own.
• Protagonist : Odysseus is the protagonist of the epic. The epic, after the invocation, starts with his entry into the world and moves forward as he starts his homeward journey until he reaches home.
• Rhetorical Questions : The examples of rhetorical questions are as follows, i. Who has summoned us now —one of the young men, one of the old-timers? What crisis spurs him on? Some news he’s heard of an army on the march, word he’s caught firsthand so he can warn us now? Or some other public matter he’ll disclose and argue? (Book-II) ii. She called out to her girls with lovely braids: “Stop, my friends ! Why run when you see a man? Surely you don’t think him an enemy, do you? (Book-VI) This example shows the use of rhetorical questions posed by different characters not to elicit answers but to stress upon the underlined idea.
• Setting : The setting of the epic, The Odyssey, is spread over several places such as Mount Olympus, Ithaca, Aeaea, Ogygia, Scheria, etc.
• Simile : The examples of similes are given below, i. When young Dawn with her rose-red fingers shone once more the true son of Odysseus sprang from bed and dressed, over his shoulder he slung his well-honed sword, fastened rawhide sandals under his smooth feet and stepped from his bedroom, handsome as a god. (Book-II) ii. Here’s my prophecy, bound to come to pass. If you, you old codger, wise as the ages, talk him round, incite the boy to riot. (Book-II) iii. Strangers have just arrived, your majesty, Menelaus. Two men, but they look like kin of mighty Zeus himself. Tell me, should we unhitch their team for them or send them to someone free to host them well?” (Book-IV) iv. As Dawn rose up from bed by her lordly mate Tithonus, bringing light to immortal gods and mortal men, the gods sat down in council, circling Zeus the thunder king whose power rules the world. (Book-V) These are similes as the use of the word “like” shows the comparison between different things. For example, the first example shows the beatify of Odysseus compared to gods, the second shows the person compared to time, the third shows people compared to the relatives of the god, and the last one shows the dawn rising like a person or a living thing.

Related posts:

• Odyssey Quotes
• Odyssey Themes
• Odyssey Characters
• The Iliad Themes
• The Iliad Quotes
• The Iliad Characters

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What this handout is about

This handout describes some steps for planning and writing papers about literary texts. For additional information on writing about drama and poetry specifically, please see the Writing Center’s handouts on writing about drama and on writing poetry explications .

Demystifying the process

Writing an analysis of a piece of literature can be a mystifying process. First, literary analyses (or papers that offer an interpretation of literary texts) rely on the assumption that stories, poems, and plays must mean something. How do such texts mean something? If an author wanted to convey a meaning, wouldn’t they be much better off writing an essay just telling us what she meant?

It’s pretty easy to see how at least some stories, for example, convey clear meanings or morals. Just think about a parable like the prodigal son or a nursery tale about “crying wolf.” Stories like these are reduced down to the bare elements, giving us just enough detail to lead us to their main points, and because they are relatively easy to understand and tend to stick in our memories, they’re often used in some kinds of education.

But if the meanings were always as clear as they are in parables, who would really need to write a paper analyzing them? Interpretations of literature would not be interesting if the meanings of these texts were clear to everyone who reads them. Thankfully (or perhaps regrettably, depending on your perspective) the texts we’re asked to interpret in our classes are a good bit more complicated than most parables. They frequently use characters, settings, syntax, formal elements, and actions to illustrate issues that have no easy resolution. They show different sides of a problem, and they can raise new questions. In short, the literary texts we read in class have meanings that are arguable and complicated, and it’s our job to sort them out.

It might seem that these texts do have specific meanings, and the instructor has already decided what those meanings are. But even the most well-informed professor rarely arrives at conclusions that someone else wouldn’t disagree with. In fact, most professors are aware that their interpretations are debatable and actually love a good argument. But let’s not go to the other extreme. To say that there is no one answer is not to say that anything we decide to say about a literary text is valid, interesting, or valuable. Interpretations of literature are often opinions, but not all opinions are equal.

So what makes a valid and interesting opinion? A good interpretation of fiction will:

• avoid the obvious (in other words, it won’t argue a conclusion that most readers could reach on their own from a general knowledge of the story)
• support its main points with strong evidence from the story
• use careful reasoning to explain how that evidence relates to the main points of the interpretation.

The following steps are intended as a guide through the difficult process of writing an interpretive paper that meets these criteria. Writing tends to be a highly individual task, so adapt these suggestions to fit your own habits and inclinations.

Writing a paper on fiction in 9 steps

1. become familiar with the text.

There’s no substitute for a good general knowledge of your text. A good paper inevitably begins with the writer having a solid understanding of the work that they interpret. Being able to have the whole book, short story, poem, or play in your head—at least in a general way—when you begin thinking through ideas will be a great help and will actually allow you to write the paper more quickly in the long run. It’s even a good idea to spend some time just thinking about the text. Flip back through the book and consider what interests you about this piece of writing—what seemed strange, new, or important?

2. Explore potential topics

Perhaps your instructor has given you a list of topics to choose, or perhaps you have been asked to create your own. Either way, you’ll need to generate ideas to use in the paper—even with an assigned topic, you’ll have to develop your own interpretation. Let’s assume for now that you are choosing your own topic.

After reading your text, a topic may just jump out at you, or you may have recognized a pattern or identified a problem that you’d like to think about in more detail. What is a pattern or a problem?

A pattern can be the recurrence of certain kinds of imagery, vocabulary, formal elements (like rhyme and meter), or events. Usually, repetition of particular aspects tends to render those elements more conspicuous. Let’s say I’m writing a paper on Mary Shelley’s novel Frankenstein . In the course of reading that book, I keep noticing the author’s use of biblical imagery: Victor Frankenstein anticipates that “a new species would bless me as its creator and source” (52) while the monster is not sure whether to consider himself as an Adam or a Satan. These details might help me interpret the way characters think about themselves and about each other, as well as allow me to infer what the author might have wanted her reader to think by using the Bible as a frame of reference. On another subject, I also notice that the book repeatedly refers to types of education. The story mentions books that its characters read and the different contexts in which learning takes place.

A problem, on the other hand, is something that bugs you or that doesn’t seem to add up. For example, a character might act in some way that’s unaccountable, a narrator may leave out what we think is important information (or may focus on something that seems trivial), or a narrator or character may offer an explanation that doesn’t seem to make sense to us. Not all problems lead in interesting directions, but some definitely do and even seem to be important parts of the text. In the novel Frankenstein , Victor works day and night to achieve his goal of bringing life to the dead, but once he realizes his goal, he is immediately repulsed by his creation and runs away. Why? Is there something wrong with his creation, something wrong with his goal in the first place, or something wrong with Victor himself? The book doesn’t give us a clear answer but seems to invite us to interpret this problem.

If nothing immediately strikes you as interesting or no patterns or problems jump out at you, don’t worry. Just start making a list of whatever you remember from your reading, regardless of how insignificant it may seem to you now. Consider an image that stuck with you, a character’s peculiar behavior or comments, a word choice that you found interesting, the unusual way the narrator describes an event, or the author’s placement of an action in an odd context.

There’s a good chance that some of these intriguing moments and oddities will relate to other points in the text, eventually revealing some kind of pattern and giving you potential topics for your paper. Also keep in mind that if you found something peculiar in the text you’re writing about, chances are good that other people will have been perplexed by these moments as well and will be interested to see how you make sense of it all. It’s even a good idea to test your ideas out on a friend, a classmate, or an instructor since talking about your ideas will help you develop them and push them beyond obvious interpretations of the text. And it’s only by pushing those ideas that you can write a paper that raises interesting issues or problems and that offers creative interpretations related to those issues.

3. Select a topic with a lot of evidence

If you’re selecting from a number of possible topics, narrow down your list by identifying how much evidence or how many specific details you could use to investigate each potential issue. Do this step just off the top of your head. Keep in mind that persuasive papers rely on ample evidence and that having a lot of details to choose from can also make your paper easier to write.

It might be helpful at this point to jot down all the elements of the text that have some bearing on the two or three topics that seem most promising. This can give you a more visual sense of how much evidence you will have to work with on each potential topic. It’s during this activity that having a good knowledge of your text will come in handy and save you a lot of time. Don’t launch into a topic without considering all the options first because you may end up with a topic that seemed promising initially but that only leads to a dead end.

4. Write out a working thesis

Based on the evidence that relates to your topic—and what you anticipate you might say about those pieces of evidence—come up with a working thesis. Don’t spend a lot of time composing this statement at this stage since it will probably change. A changing thesis statement is a good sign that you’re starting to say more interesting and complex things on your subject. (Our Thesis Statements handout provides an example of a developing thesis statement for a literary analysis assignment.) At this point in my Frankenstein project, I’ve become interested in ideas on education that seem to appear pretty regularly, and I have a general sense that aspects of Victor’s education lead to tragedy. Without considering things too deeply, I’ll just write something like “Victor Frankenstein’s tragic ambition was fueled by a faulty education.”

5. Make an extended list of evidence

Once you have a working topic in mind, skim back over the text and make a more comprehensive list of the details that relate to your point. For my paper about education in Frankenstein , I’ll want to take notes on what Victor Frankenstein reads at home, where he goes to school and why, what he studies at school, what others think about those studies, etc. And even though I’m primarily interested in Victor’s education, at this stage in the writing, I’m also interested in moments of education in the novel that don’t directly involve this character. These other examples might provide a context or some useful contrasts that could illuminate my evidence relating to Victor. With this goal in mind, I’ll also take notes on how the monster educates himself, what he reads, and what he learns from those he watches. As you make your notes keep track of page numbers so you can quickly find the passages in your book again and so you can easily document quoted passages when you write without having to fish back through the book.

At this point, you want to include anything, anything, that might be useful, and you also want to avoid the temptation to arrive at definite conclusions about your topic. Remember that one of the qualities that makes for a good interpretation is that it avoids the obvious. You want to develop complex ideas, and the best way to do that is to keep your ideas flexible until you’ve considered the evidence carefully. A good gauge of complexity is whether you feel you understand more about your topic than you did when you began (and even just reaching a higher state of confusion is a good indicator that you’re treating your topic in a complex way).

If, for example, you are jotting down your ideas about Frankenstein , you can focus on the observations from the narrator or things that certain characters say or do. These elements are certainly important. It might help you come up with more evidence if you also take into account some of the broader components that go into making fiction, things like plot, point of view, character, setting, and symbols.

Plot is the string of events that go into the narrative. Think of this as the “who did what to whom” part of the story. Plots can be significant in themselves since chances are pretty good that some action in the story will relate to your main idea. For my paper on education in Frankenstein , I’m interested in Victor’s going to the University of Ingolstadt to realize his father’s wish that Victor attend school where he could learn about another culture. Plots can also allow you to make connections between the story you’re interpreting and some other stories, and those connections might be useful in your interpretation. For example, the plot of Frankenstein , which involves a man who desires to bring life to the dead and creates a monster in the process, bears some similarity to the ancient Greek story of Icarus who flew too close to the sun on his wax wings. Both tell the story of a character who reaches too ambitiously after knowledge and suffers dire consequences.

Your plot could also have similarities to whole groups of other stories, all having conventional or easily recognizable plots. These types of stories are often called genres. Some popular genres within fiction include the gothic, the romance, the detective story, the bildungsroman (this is just a German term for a novel that is centered around the development of its main characters), and the novel of manners (a novel that focuses on the behavior and foibles of a particular class or social group). These categories are often helpful in characterizing a piece of writing, but this approach has its limitations. Many novels don’t fit nicely into one genre, and others seem to borrow a bit from a variety of different categories; the same can be said for other forms of literature, like poetry and drama. For example, given my working thesis on education, I am more interested in Victor’s development than in relating Frankenstein to the gothic genre, so I might decide to treat the novel as a bildungsroman.

And just to complicate matters that much more, it’s important to take into account not only the larger genre(s) a literary piece fits within (like the bildungsroman and the gothic) but also the form(s) utilized in that piece. For example, a story might be told in a series of letters (this is called an epistolary form), in a sequence of journal entries, or in a combination of forms ( Frankenstein is actually told as a journal included within a letter).

These matters of form can also introduce questions of point of view, that is, who is telling the story and what do they or don’t they know. Is the tale told by an omniscient or all-knowing narrator who doesn’t interact in the events, or is it presented by one of the characters within the story? Can the reader trust that person to give an objective account, or does that narrator color the story with her own biases and interests?

Character refers to the qualities assigned to the individual figures in the plot. Consider why the author assigns certain qualities to a character or characters and how any such qualities might relate to your topic. For example, a discussion of Victor Frankenstein’s education might take into account aspects of his character that appear to be developed (or underdeveloped) by the particular kind of education he undertakes. Victor tends to be ambitious, even compulsive about his studies, and I might be able to argue that his tendency to be extravagant leads him to devote his own education to writers who asserted grand, if questionable, conclusions.

Setting is the environment in which all of the actions take place. What is the time period, the location, the time of day, the season, the weather, the type of room or building? What is the general mood, and who is present? All of these elements can reflect on the story’s events, and though the setting of a story tends to be less conspicuous than plot and character, setting still colors everything that’s said and done within its context. If Victor Frankenstein does all of his experiments in “a solitary chamber, or rather a cell, at the top of the house, and separated from all the other apartments by a staircase” (53), we might conclude that there is something anti-social, isolated, and stale, maybe even unnatural, about his project and his way of learning.

Obviously, if you consider all of these elements, you’ll probably have too much evidence to fit effectively into one paper. In this example using the novel Frankenstein , your goal is merely to consider each of these aspects of fiction and include only those that are most relevant to your topic and most interesting to your reader. A good interpretive paper does not need to cover all elements of the story—plot, genre, narrative form, character, and setting. In fact, a paper that did try to say something about all of these elements would be unfocused. You might find that most of your topic could be supported, for instance, by a consideration of character alone. That’s fine. For my Frankenstein paper, I’m finding that my evidence largely has to do with the setting, evidence that could lead to some interesting conclusions that my reader probably hasn’t recognized on their own.

6. Select your evidence

Once you’ve made your expanded list of evidence, decide which supporting details are the strongest. First, select the facts which bear the closest relation to your thesis statement. Second, choose the pieces of evidence you’ll be able to say the most about. Readers tend to be more dazzled with your interpretations of evidence than with a lot of quotes from the book. It would be useful to refer to Victor Frankenstein’s youthful reading in alchemy, but my reader will be more impressed by some analysis of how the writings of the alchemists—who pursued magical principles of chemistry and physics—reflect the ambition of his own goals. Select the details that will allow you to show off your own reasoning skills and allow you to help the reader see the story in a way they may not have seen it before.

7. Refine your thesis

Now it’s time to go back to your working thesis and refine it so that it reflects your new understanding of your topic. This step and the previous step (selecting evidence) are actually best done at the same time, since selecting your evidence and defining the focus of your paper depend upon each other. Don’t forget to consider the scope of your project: how long is the paper supposed to be, and what can you reasonably cover in a paper of that length? In rethinking the issue of education in Frankenstein , I realize that I can narrow my topic in a number of ways: I could focus on education and culture (Victor’s education abroad), education in the sciences as opposed to the humanities (the monster reads Milton, Goethe, and Plutarch), or differences in learning environments (e.g. independent study, university study, family reading). Since I think I found some interesting evidence in the settings that I can interpret in a way that will get my reader’s attention, I’ll take this last option and refine my working thesis about Victor’s faulty education to something like this:

“Victor Frankenstein’s education in unnaturally isolated environments fosters his tragic ambition.”

8. Organize your evidence

Once you have a clear thesis you can go back to your list of selected evidence and group all the similar details together. The ideas that tie these clusters of evidence together can then become the claims that you’ll make in your paper. As you begin thinking about what claims you can make (i.e. what kinds of conclusions you can reach) keep in mind that they should not only relate to all the evidence but also clearly support your thesis. Once you’re satisfied with the way you’ve grouped your evidence and with the way that your claims relate to your thesis, you can begin to consider the most logical way to organize each of those claims. To support my thesis about Frankenstein , I’ve decided to group my evidence chronologically. I’ll start with Victor’s education at home, then discuss his learning at the University, and finally address his own experiments. This arrangement will let me show that Victor was always prone to isolation in his education and that this tendency gets stronger as he becomes more ambitious.

There are certainly other organizational options that might work better depending on the type of points I want to stress. I could organize a discussion of education by the various forms of education found in the novel (for example, education through reading, through classrooms, and through observation), by specific characters (education for Victor, the monster, and Victor’s bride, Elizabeth), or by the effects of various types of education (those with harmful, beneficial, or neutral effects).

9. Interpret your evidence

Avoid the temptation to load your paper with evidence from your text. To get your readers’ interest, you need to draw their attention to elements of the story that they wouldn’t necessarily notice or understand on their own. Each time you use a specific reference to your story, be sure to explain the significance of that evidence in your own words. If you’re quoting passages without interpreting them, you’re not demonstrating your reasoning skills or helping the reader. Our handout on Paragraph Development can offer some guidance in this process; it provides a “5 Step Process to Paragraph Development” that prompts writers to explain, or interpret, each piece of evidence they include in a paragraph. In most cases, interpreting your evidence merely involves putting into your paper what is already in your head. Remember that we, as readers, are lazy—all of us. We don’t want to have to figure out a writer’s reasoning for ourselves; we want all the thinking to be done for us in the paper.

General hints

The previous nine steps are intended to give you a sense of the tasks usually involved in writing a good interpretive paper. What follows are just some additional hints that might help you find an interesting topic and maybe even make the process a little more enjoyable.

Make your thesis relevant to your readers

You’ll be able to keep your readers’ attention more easily if you show how your argument relates to something that concerns or interests them. Can you tell your reader something relevant about the context of the text you’re interpreting, about the human condition, or about broader questions? Avoid writing a paper that identifies a pattern in a story but doesn’t quite explain why that pattern leads to an interesting interpretation. Identifying the biblical references in Frankenstein might provide a good start to a paper—Mary Shelley does use a lot of biblical allusions—but a good paper must also tell the reader how those references are meaningful. Your thesis should be able to answer the brutal question “so what?”

For example, you can ask yourself how the topic you’ve selected connects to a larger category of concern. Think broadly. Literature scholars have identified connections between literature and the following: economics, family dynamics, education, religion, mortality, law, politics, sexuality, history, psychology, the environment, technology, animality, citizenship, and migration, among others. For readers, these concerns are also crosscut race, class and gender, which makes these intersecting categories dependable sources of interest. For example, if you’ve traced instances of water imagery in a novel, a next step may be to look at how that imagery is used in the text to imply something about, for instance, femininity and/or race.

Don’t assume that as long as you address one of these issues, your paper will be interesting. As mentioned in step 2, you need to address these big topics in a complex way. Avoid going into a topic with a preconceived notion of what you’ll find. Be prepared to challenge your own ideas about what gender, race, or class mean in a particular text.

Select a topic of interest to you

Though you may feel like you have to select a topic that sounds like something your instructor would be interested in, don’t overlook the fact that you’ll be more invested in your paper and probably get more out of it if you make the topic something pertinent to yourself. Pick a topic that might allow you to learn about yourself and what you find important. At the same time, your argument will be most persuasive if it’s built on the evidence you find in the text (as mentioned in step 5).

Make your thesis specific

The effort to be more specific almost always leads to a thesis that will get your reader’s attention, and it also separates you from the crowd as someone who challenges ideas and looks into topics more deeply. A paper about education in general in Frankenstein will probably not get my reader’s attention as much as a more specific topic about the impact of the learning environment on the main character. My readers may have already thought to some extent about ideas of education in the novel, if they have read it, but the chance that they have thought through something more specific like the educational environment is slimmer.

A note about genre and form

While this handout has used the example of a novel, Frankenstein , to help illustrate how to develop an argument about a literary text, the steps discussed above can apply to other forms of literature, too. But just as, however, fiction has certain features that guide your analysis (like plot and point of view), other literary forms can have their own unique formal elements that must be considered and can also fit within certain larger genres or literary traditions. For example, John Milton’s Paradise Lost is a long poem in the epic tradition that utilizes a specific meter (unrhymed iambic pentameter); these particularities of genre and form would likely shape your analysis of that text. For more information about how to analyze poetry, see our Poetry Explications handout ; for more information about how to analyze drama, see our Drama handout .

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Barnet, Sylvan, and William E. Cain. 2011. A Short Guide to Writing About Literature , 12th ed. New York: Pearson.

Shelley, Mary. 2011. Frankenstein: Norton Critical Edition , edited by J. Paul Hunter, 2nd ed. New York: W.W. Norton.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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8.5: Assignment- Writing a Critique Essay

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• Page ID 6514

• Steven D. Krause
• Eastern Michigan University

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If you have been doing the exercises and following through the process I’ve outlined in this chapter then you should be well on your way in the process of writing an effective critique. As you work on the writing assignment for this chapter, put to work your new knowledge of the process of critiquing.

Critique a selection of writing you have found in your research as part of the ongoing research project. The main goal of this critique is to provide a detailed review of the particular selection of writing that will help your audience learn about your position on the writing selection and also to help your audience decide for themselves whether or not the writing selection is something they might be interested in reading.

Questions to consider as you write your first draft

• If you are asked to choose your own text to critique, did you spend some time carefully considering possibilities? Why did you select the text that you did? Why did you rule out others?
• As part of your close reading, did you write both about and “in” the text that you are critiquing? What sort of marginal notes did you make? What are some of the key phrases or ideas that seemed important to you as you read that you underlined or noted with post-it notes in the margins? What kinds of questions about your reading did you write down as you read?
• How did you explain the main points of the text you closely read? What do you see as the main points of the text?
• Did you use a dictionary to look up words that you didn’t understand and couldn’t understand in context? Did you look up any complex or abstract terms? Did the dictionary definition of those terms help further your understanding of the word and the context where they occurred? Did you look up any terms that you saw as particularly important in different dictionaries? Did you learn anything from the different definitions?
• When you finished your close reading, what was your opinion of the text you closely read? Beyond a simple “good” or “bad” take on the reading, what are some of the reasons for your initial opinion about your reading?
• What criteria seem most appropriate for the text you are critiquing? Why? What would be an example of a criteria that would probably be inappropriate for this text? Did you consider some of the criteria that are similar to the tests for evidence I suggest in chapter one?
• Have you explained for the reader somewhere in the first part of the essay what your main point is? In other words, do you introduce the criteria you will be using to critique your text early on in your essay?
• Have you noted key quotes and passages that would serve as evidence in order to support your criteria? What passages are you considering quoting instead of parphrasing? Are there other reasons you are turning to as support for your criteria?
• Have you written a summary of your text? How familiar do you think your audience is with whatever it is you are critiquing? How has that effected your summary?

Review and Revision

Considering the recommendations of classmates in a peer review group and of other readers is especially important for this project. After all, if the goal of a critique essay is to give readers an idea about what it is you think of a particular reading, their direct feedback can help ensure that you are actually accomplishing these goals.

Here are some questions you and your classmates want to consider as you revise your critique essays (of course, you and your teachers might have other ideas and questions to ask in review too!):

• Do your readers understand (generally speaking) the text that you are critiquing? Of course, how much your readers understand the essay you are critiquing will depend on how familiar they are with it, and as the writer of the critique, you will probably know and understand the text better than your readers. But do they understand enough about the text to make heads or tails of the critique?
• Is there too much summary and not enough critique? That is, do the comments you are receiving from your readers suggest that they do fully understand the article you are critiquing, but they are not clear on the point you are trying to make with your critique? Have you considered where you are including summary information in different parts of your essay?
• Do your readers understand the main point you are trying to make in your criteria? Have you provided some information and explanation about your criteria in the beginning part of your essay?
• Do your readers seem to agree with you that your criteria are appropriate for whatever it is you are critiquing? Do they have suggestions that might help clarify your criteria? Do your readers have suggestions about different or additional criteria?
• Are you quoting and paraphrasing the text you are critiquing effectively? Are there places where your readers have indicated they need more information from the critiqued text? Are there places where your readers think you might be relying too heavily on quotes or paraphrases from the critiqued text and wish they could read more about your opinion?
• As your readers understand the article you are critiquing and the points you are making about it, do you think you have created any interest in your readers in actually reading the article themselves?

• Introduction : Curriculum Components
• Writing: Skills-Based Writing Instruction
• Routines: Instruction
• For All Learners : Access
• Unit 1: Identity
• Unit 2: Personality
• Unit 3: Society and its Structure
• Unit 4: Otherness
• Unit 5: Challenging Truths/Coming-of-Age
• Unit 6: Establishing Truths/Coming-of-Age
• Unit 1: The Quest

Unit 2: The Unlikely Hero

• Unit 3: Dystopia
• Unit 4: The Anti-Hero
• Unit 5: The Monster
• Unit 6: The Tragic Hero
• Unit 1: The Contemporary American Experience
• Unit 2: The Creation of the American
• Unit 3: The American and the Changing Landscape
• Unit 4: The Reawakening of the American
• ELA Regents: Resources
• ELA Regents: Multiple Choice
• ELA Regents: Writing from Sources Essay
• ELA Regents : Text Analysis Essay
• Find Resources

The Unlikely Hero

Skills-Based Literary Analysis Rubric

The Quest Archive

Unit Assessment: Skills-Based Literary Analysis Rubric

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