literature brief essay

beginner's guide to literary analysis

Understanding literature & how to write literary analysis.

Literary analysis is the foundation of every college and high school English class. Once you can comprehend written work and respond to it, the next step is to learn how to think critically and complexly about a work of literature in order to analyze its elements and establish ideas about its meaning.

If that sounds daunting, it shouldn’t. Literary analysis is really just a way of thinking creatively about what you read. The practice takes you beyond the storyline and into the motives behind it.

While an author might have had a specific intention when they wrote their book, there’s still no right or wrong way to analyze a literary text—just your way. You can use literary theories, which act as “lenses” through which you can view a text. Or you can use your own creativity and critical thinking to identify a literary device or pattern in a text and weave that insight into your own argument about the text’s underlying meaning.

Now, if that sounds fun, it should , because it is. Here, we’ll lay the groundwork for performing literary analysis, including when writing analytical essays, to help you read books like a critic.

What Is Literary Analysis?

As the name suggests, literary analysis is an analysis of a work, whether that’s a novel, play, short story, or poem. Any analysis requires breaking the content into its component parts and then examining how those parts operate independently and as a whole. In literary analysis, those parts can be different devices and elements—such as plot, setting, themes, symbols, etcetera—as well as elements of style, like point of view or tone.

When performing analysis, you consider some of these different elements of the text and then form an argument for why the author chose to use them. You can do so while reading and during class discussion, but it’s particularly important when writing essays.

Literary analysis is notably distinct from summary. When you write a summary , you efficiently describe the work’s main ideas or plot points in order to establish an overview of the work. While you might use elements of summary when writing analysis, you should do so minimally. You can reference a plot line to make a point, but it should be done so quickly so you can focus on why that plot line matters . In summary (see what we did there?), a summary focuses on the “ what ” of a text, while analysis turns attention to the “ how ” and “ why .”

While literary analysis can be broad, covering themes across an entire work, it can also be very specific, and sometimes the best analysis is just that. Literary critics have written thousands of words about the meaning of an author’s single word choice; while you might not want to be quite that particular, there’s a lot to be said for digging deep in literary analysis, rather than wide.

Although you’re forming your own argument about the work, it’s not your opinion . You should avoid passing judgment on the piece and instead objectively consider what the author intended, how they went about executing it, and whether or not they were successful in doing so. Literary criticism is similar to literary analysis, but it is different in that it does pass judgement on the work. Criticism can also consider literature more broadly, without focusing on a singular work.

Once you understand what constitutes (and doesn’t constitute) literary analysis, it’s easy to identify it. Here are some examples of literary analysis and its oft-confused counterparts:

Summary: In “The Fall of the House of Usher,” the narrator visits his friend Roderick Usher and witnesses his sister escape a horrible fate.

Opinion: In “The Fall of the House of Usher,” Poe uses his great Gothic writing to establish a sense of spookiness that is enjoyable to read.

Literary Analysis: “Throughout ‘The Fall of the House of Usher,’ Poe foreshadows the fate of Madeline by creating a sense of claustrophobia for the reader through symbols, such as in the narrator’s inability to leave and the labyrinthine nature of the house.

In summary, literary analysis is:

Breaking a work into its components
Identifying what those components are and how they work in the text
Developing an understanding of how they work together to achieve a goal
Not an opinion, but subjective
Not a summary, though summary can be used in passing
Best when it deeply, rather than broadly, analyzes a literary element

Literary Analysis and Other Works

As discussed above, literary analysis is often performed upon a single work—but it doesn’t have to be. It can also be performed across works to consider the interplay of two or more texts. Regardless of whether or not the works were written about the same thing, or even within the same time period, they can have an influence on one another or a connection that’s worth exploring. And reading two or more texts side by side can help you to develop insights through comparison and contrast.

For example, Paradise Lost is an epic poem written in the 17th century, based largely on biblical narratives written some 700 years before and which later influenced 19th century poet John Keats. The interplay of works can be obvious, as here, or entirely the inspiration of the analyst. As an example of the latter, you could compare and contrast the writing styles of Ralph Waldo Emerson and Edgar Allan Poe who, while contemporaries in terms of time, were vastly different in their content.

Additionally, literary analysis can be performed between a work and its context. Authors are often speaking to the larger context of their times, be that social, political, religious, economic, or artistic. A valid and interesting form is to compare the author’s context to the work, which is done by identifying and analyzing elements that are used to make an argument about the writer’s time or experience.

For example, you could write an essay about how Hemingway’s struggles with mental health and paranoia influenced his later work, or how his involvement in the Spanish Civil War influenced his early work. One approach focuses more on his personal experience, while the other turns to the context of his times—both are valid.

Why Does Literary Analysis Matter?

Sometimes an author wrote a work of literature strictly for entertainment’s sake, but more often than not, they meant something more. Whether that was a missive on world peace, commentary about femininity, or an allusion to their experience as an only child, the author probably wrote their work for a reason, and understanding that reason—or the many reasons—can actually make reading a lot more meaningful.

Performing literary analysis as a form of study unquestionably makes you a better reader. It’s also likely that it will improve other skills, too, like critical thinking, creativity, debate, and reasoning.

At its grandest and most idealistic, literary analysis even has the ability to make the world a better place. By reading and analyzing works of literature, you are able to more fully comprehend the perspectives of others. Cumulatively, you’ll broaden your own perspectives and contribute more effectively to the things that matter to you.

Literary Terms to Know for Literary Analysis

There are hundreds of literary devices you could consider during your literary analysis, but there are some key tools most writers utilize to achieve their purpose—and therefore you need to know in order to understand that purpose. These common devices include:

Characters: The people (or entities) who play roles in the work. The protagonist is the main character in the work.
Conflict: The conflict is the driving force behind the plot, the event that causes action in the narrative, usually on the part of the protagonist
Context : The broader circumstances surrounding the work political and social climate in which it was written or the experience of the author. It can also refer to internal context, and the details presented by the narrator
Diction : The word choice used by the narrator or characters
Genre: A category of literature characterized by agreed upon similarities in the works, such as subject matter and tone
Imagery : The descriptive or figurative language used to paint a picture in the reader’s mind so they can picture the story’s plot, characters, and setting
Metaphor: A figure of speech that uses comparison between two unlike objects for dramatic or poetic effect
Narrator: The person who tells the story. Sometimes they are a character within the story, but sometimes they are omniscient and removed from the plot.
Plot : The storyline of the work
Point of view: The perspective taken by the narrator, which skews the perspective of the reader
Setting : The time and place in which the story takes place. This can include elements like the time period, weather, time of year or day, and social or economic conditions
Symbol : An object, person, or place that represents an abstract idea that is greater than its literal meaning
Syntax : The structure of a sentence, either narration or dialogue, and the tone it implies
Theme : A recurring subject or message within the work, often commentary on larger societal or cultural ideas
Tone : The feeling, attitude, or mood the text presents

How to Perform Literary Analysis

Step 1: read the text thoroughly.

Literary analysis begins with the literature itself, which means performing a close reading of the text. As you read, you should focus on the work. That means putting away distractions (sorry, smartphone) and dedicating a period of time to the task at hand.

It’s also important that you don’t skim or speed read. While those are helpful skills, they don’t apply to literary analysis—or at least not this stage.

Step 2: Take Notes as You Read

As you read the work, take notes about different literary elements and devices that stand out to you. Whether you highlight or underline in text, use sticky note tabs to mark pages and passages, or handwrite your thoughts in a notebook, you should capture your thoughts and the parts of the text to which they correspond. This—the act of noticing things about a literary work—is literary analysis.

Step 3: Notice Patterns

As you read the work, you’ll begin to notice patterns in the way the author deploys language, themes, and symbols to build their plot and characters. As you read and these patterns take shape, begin to consider what they could mean and how they might fit together.

As you identify these patterns, as well as other elements that catch your interest, be sure to record them in your notes or text. Some examples include:

Circle or underline words or terms that you notice the author uses frequently, whether those are nouns (like “eyes” or “road”) or adjectives (like “yellow” or “lush”).
Highlight phrases that give you the same kind of feeling. For example, if the narrator describes an “overcast sky,” a “dreary morning,” and a “dark, quiet room,” the words aren’t the same, but the feeling they impart and setting they develop are similar.
Underline quotes or prose that define a character’s personality or their role in the text.
Use sticky tabs to color code different elements of the text, such as specific settings or a shift in the point of view.

By noting these patterns, comprehensive symbols, metaphors, and ideas will begin to come into focus.

Step 4: Consider the Work as a Whole, and Ask Questions

This is a step that you can do either as you read, or after you finish the text. The point is to begin to identify the aspects of the work that most interest you, and you could therefore analyze in writing or discussion.

Questions you could ask yourself include:

What aspects of the text do I not understand?
What parts of the narrative or writing struck me most?
What patterns did I notice?
What did the author accomplish really well?
What did I find lacking?
Did I notice any contradictions or anything that felt out of place?
What was the purpose of the minor characters?
What tone did the author choose, and why?

The answers to these and more questions will lead you to your arguments about the text.

Step 5: Return to Your Notes and the Text for Evidence

As you identify the argument you want to make (especially if you’re preparing for an essay), return to your notes to see if you already have supporting evidence for your argument. That’s why it’s so important to take notes or mark passages as you read—you’ll thank yourself later!

If you’re preparing to write an essay, you’ll use these passages and ideas to bolster your argument—aka, your thesis. There will likely be multiple different passages you can use to strengthen multiple different aspects of your argument. Just be sure to cite the text correctly!

If you’re preparing for class, your notes will also be invaluable. When your teacher or professor leads the conversation in the direction of your ideas or arguments, you’ll be able to not only proffer that idea but back it up with textual evidence. That’s an A+ in class participation.

Step 6: Connect These Ideas Across the Narrative

Whether you’re in class or writing an essay, literary analysis isn’t complete until you’ve considered the way these ideas interact and contribute to the work as a whole. You can find and present evidence, but you still have to explain how those elements work together and make up your argument.

How to Write a Literary Analysis Essay

When conducting literary analysis while reading a text or discussing it in class, you can pivot easily from one argument to another (or even switch sides if a classmate or teacher makes a compelling enough argument).

But when writing literary analysis, your objective is to propose a specific, arguable thesis and convincingly defend it. In order to do so, you need to fortify your argument with evidence from the text (and perhaps secondary sources) and an authoritative tone.

A successful literary analysis essay depends equally on a thoughtful thesis, supportive analysis, and presenting these elements masterfully. We’ll review how to accomplish these objectives below.

Step 1: Read the Text. Maybe Read It Again.

Constructing an astute analytical essay requires a thorough knowledge of the text. As you read, be sure to note any passages, quotes, or ideas that stand out. These could serve as the future foundation of your thesis statement. Noting these sections now will help you when you need to gather evidence.

The more familiar you become with the text, the better (and easier!) your essay will be. Familiarity with the text allows you to speak (or in this case, write) to it confidently. If you only skim the book, your lack of rich understanding will be evident in your essay. Alternatively, if you read the text closely—especially if you read it more than once, or at least carefully revisit important passages—your own writing will be filled with insight that goes beyond a basic understanding of the storyline.

Step 2: Brainstorm Potential Topics

Because you took detailed notes while reading the text, you should have a list of potential topics at the ready. Take time to review your notes, highlighting any ideas or questions you had that feel interesting. You should also return to the text and look for any passages that stand out to you.

When considering potential topics, you should prioritize ideas that you find interesting. It won’t only make the whole process of writing an essay more fun, your enthusiasm for the topic will probably improve the quality of your argument, and maybe even your writing. Just like it’s obvious when a topic interests you in a conversation, it’s obvious when a topic interests the writer of an essay (and even more obvious when it doesn’t).

Your topic ideas should also be specific, unique, and arguable. A good way to think of topics is that they’re the answer to fairly specific questions. As you begin to brainstorm, first think of questions you have about the text. Questions might focus on the plot, such as: Why did the author choose to deviate from the projected storyline? Or why did a character’s role in the narrative shift? Questions might also consider the use of a literary device, such as: Why does the narrator frequently repeat a phrase or comment on a symbol? Or why did the author choose to switch points of view each chapter?

Once you have a thesis question , you can begin brainstorming answers—aka, potential thesis statements . At this point, your answers can be fairly broad. Once you land on a question-statement combination that feels right, you’ll then look for evidence in the text that supports your answer (and helps you define and narrow your thesis statement).

For example, after reading “ The Fall of the House of Usher ,” you might be wondering, Why are Roderick and Madeline twins?, Or even: Why does their relationship feel so creepy?” Maybe you noticed (and noted) that the narrator was surprised to find out they were twins, or perhaps you found that the narrator’s tone tended to shift and become more anxious when discussing the interactions of the twins.

Once you come up with your thesis question, you can identify a broad answer, which will become the basis for your thesis statement. In response to the questions above, your answer might be, “Poe emphasizes the close relationship of Roderick and Madeline to foreshadow that their deaths will be close, too.”

Step 3: Gather Evidence

Once you have your topic (or you’ve narrowed it down to two or three), return to the text (yes, again) to see what evidence you can find to support it. If you’re thinking of writing about the relationship between Roderick and Madeline in “The Fall of the House of Usher,” look for instances where they engaged in the text.

This is when your knowledge of literary devices comes in clutch. Carefully study the language around each event in the text that might be relevant to your topic. How does Poe’s diction or syntax change during the interactions of the siblings? How does the setting reflect or contribute to their relationship? What imagery or symbols appear when Roderick and Madeline are together?

By finding and studying evidence within the text, you’ll strengthen your topic argument—or, just as valuably, discount the topics that aren’t strong enough for analysis.

Step 4: Consider Secondary Sources

In addition to returning to the literary work you’re studying for evidence, you can also consider secondary sources that reference or speak to the work. These can be articles from journals you find on JSTOR, books that consider the work or its context, or articles your teacher shared in class.

While you can use these secondary sources to further support your idea, you should not overuse them. Make sure your topic remains entirely differentiated from that presented in the source.

Step 5: Write a Working Thesis Statement

Once you’ve gathered evidence and narrowed down your topic, you’re ready to refine that topic into a thesis statement. As you continue to outline and write your paper, this thesis statement will likely change slightly, but this initial draft will serve as the foundation of your essay. It’s like your north star: Everything you write in your essay is leading you back to your thesis.

Writing a great thesis statement requires some real finesse. A successful thesis statement is:

Debatable : You shouldn’t simply summarize or make an obvious statement about the work. Instead, your thesis statement should take a stand on an issue or make a claim that is open to argument. You’ll spend your essay debating—and proving—your argument.
Demonstrable : You need to be able to prove, through evidence, that your thesis statement is true. That means you have to have passages from the text and correlative analysis ready to convince the reader that you’re right.
Specific : In most cases, successfully addressing a theme that encompasses a work in its entirety would require a book-length essay. Instead, identify a thesis statement that addresses specific elements of the work, such as a relationship between characters, a repeating symbol, a key setting, or even something really specific like the speaking style of a character.

Example: By depicting the relationship between Roderick and Madeline to be stifling and almost otherworldly in its closeness, Poe foreshadows both Madeline’s fate and Roderick’s inability to choose a different fate for himself.

Step 6: Write an Outline

You have your thesis, you have your evidence—but how do you put them together? A great thesis statement (and therefore a great essay) will have multiple arguments supporting it, presenting different kinds of evidence that all contribute to the singular, main idea presented in your thesis.

Review your evidence and identify these different arguments, then organize the evidence into categories based on the argument they support. These ideas and evidence will become the body paragraphs of your essay.

For example, if you were writing about Roderick and Madeline as in the example above, you would pull evidence from the text, such as the narrator’s realization of their relationship as twins; examples where the narrator’s tone of voice shifts when discussing their relationship; imagery, like the sounds Roderick hears as Madeline tries to escape; and Poe’s tendency to use doubles and twins in his other writings to create the same spooky effect. All of these are separate strains of the same argument, and can be clearly organized into sections of an outline.

Step 7: Write Your Introduction

Your introduction serves a few very important purposes that essentially set the scene for the reader:

Establish context. Sure, your reader has probably read the work. But you still want to remind them of the scene, characters, or elements you’ll be discussing.
Present your thesis statement. Your thesis statement is the backbone of your analytical paper. You need to present it clearly at the outset so that the reader understands what every argument you make is aimed at.
Offer a mini-outline. While you don’t want to show all your cards just yet, you do want to preview some of the evidence you’ll be using to support your thesis so that the reader has a roadmap of where they’re going.

Step 8: Write Your Body Paragraphs

Thanks to steps one through seven, you’ve already set yourself up for success. You have clearly outlined arguments and evidence to support them. Now it’s time to translate those into authoritative and confident prose.

When presenting each idea, begin with a topic sentence that encapsulates the argument you’re about to make (sort of like a mini-thesis statement). Then present your evidence and explanations of that evidence that contribute to that argument. Present enough material to prove your point, but don’t feel like you necessarily have to point out every single instance in the text where this element takes place. For example, if you’re highlighting a symbol that repeats throughout the narrative, choose two or three passages where it is used most effectively, rather than trying to squeeze in all ten times it appears.

While you should have clearly defined arguments, the essay should still move logically and fluidly from one argument to the next. Try to avoid choppy paragraphs that feel disjointed; every idea and argument should feel connected to the last, and, as a group, connected to your thesis. A great way to connect the ideas from one paragraph to the next is with transition words and phrases, such as:

Furthermore
In addition
On the other hand
Conversely

Step 9: Write Your Conclusion

Your conclusion is more than a summary of your essay's parts, but it’s also not a place to present brand new ideas not already discussed in your essay. Instead, your conclusion should return to your thesis (without repeating it verbatim) and point to why this all matters. If writing about the siblings in “The Fall of the House of Usher,” for example, you could point out that the utilization of twins and doubles is a common literary element of Poe’s work that contributes to the definitive eeriness of Gothic literature.

While you might speak to larger ideas in your conclusion, be wary of getting too macro. Your conclusion should still be supported by all of the ideas that preceded it.

Step 10: Revise, Revise, Revise

Of course you should proofread your literary analysis essay before you turn it in. But you should also edit the content to make sure every piece of evidence and every explanation directly supports your thesis as effectively and efficiently as possible.

Sometimes, this might mean actually adapting your thesis a bit to the rest of your essay. At other times, it means removing redundant examples or paraphrasing quotations. Make sure every sentence is valuable, and remove those that aren’t.

Other Resources for Literary Analysis

With these skills and suggestions, you’re well on your way to practicing and writing literary analysis. But if you don’t have a firm grasp on the concepts discussed above—such as literary devices or even the content of the text you’re analyzing—it will still feel difficult to produce insightful analysis.

If you’d like to sharpen the tools in your literature toolbox, there are plenty of other resources to help you do so:

Check out our expansive library of Literary Devices . These could provide you with a deeper understanding of the basic devices discussed above or introduce you to new concepts sure to impress your professors ( anagnorisis , anyone?).
This Academic Citation Resource Guide ensures you properly cite any work you reference in your analytical essay.
Our English Homework Help Guide will point you to dozens of resources that can help you perform analysis, from critical reading strategies to poetry helpers.
This Grammar Education Resource Guide will direct you to plenty of resources to refine your grammar and writing (definitely important for getting an A+ on that paper).

Of course, you should know the text inside and out before you begin writing your analysis. In order to develop a true understanding of the work, read through its corresponding SuperSummary study guide . Doing so will help you truly comprehend the plot, as well as provide some inspirational ideas for your analysis.

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

Introduction

You’ve been assigned a literary analysis paper—what does that even mean? Is it like a book report that you used to write in high school? Well, not really.

A literary analysis essay asks you to make an original argument about a poem, play, or work of fiction and support that argument with research and evidence from your careful reading of the text.

It can take many forms, such as a close reading of a text, critiquing the text through a particular literary theory, comparing one text to another, or criticizing another critic’s interpretation of the text. While there are many ways to structure a literary essay, writing this kind of essay follows generally follows a similar process for everyone

Crafting a good literary analysis essay begins with good close reading of the text, in which you have kept notes and observations as you read. This will help you with the first step, which is selecting a topic to write about—what jumped out as you read, what are you genuinely interested in? The next step is to focus your topic, developing it into an argument—why is this subject or observation important? Why should your reader care about it as much as you do? The third step is to gather evidence to support your argument, for literary analysis, support comes in the form of evidence from the text and from your research on what other literary critics have said about your topic. Only after you have performed these steps, are you ready to begin actually writing your essay.

Writing a Literary Analysis Essay

How to create a topic and conduct research:.

Writing an Analysis of a Poem, Story, or Play

If you are taking a literature course, it is important that you know how to write an analysis—sometimes called an interpretation or a literary analysis or a critical reading or a critical analysis—of a story, a poem, and a play. Your instructor will probably assign such an analysis as part of the course assessment. On your mid-term or final exam, you might have to write an analysis of one or more of the poems and/or stories on your reading list. Or the dreaded “sight poem or story” might appear on an exam, a work that is not on the reading list, that you have not read before, but one your instructor includes on the exam to examine your ability to apply the active reading skills you have learned in class to produce, independently, an effective literary analysis.You might be asked to write instead or, or in addition to an analysis of a literary work, a more sophisticated essay in which you compare and contrast the protagonists of two stories, or the use of form and metaphor in two poems, or the tragic heroes in two plays.

You might learn some literary theory in your course and be asked to apply theory—feminist, Marxist, reader-response, psychoanalytic, new historicist, for example—to one or more of the works on your reading list. But the seminal assignment in a literature course is the analysis of the single poem, story, novel, or play, and, even if you do not have to complete this assignment specifically, it will form the basis of most of the other writing assignments you will be required to undertake in your literature class. There are several ways of structuring a literary analysis, and your instructor might issue specific instructions on how he or she wants this assignment done. The method presented here might not be identical to the one your instructor wants you to follow, but it will be easy enough to modify, if your instructor expects something a bit different, and it is a good default method, if your instructor does not issue more specific guidelines.You want to begin your analysis with a paragraph that provides the context of the work you are analyzing and a brief account of what you believe to be the poem or story or play’s main theme. At a minimum, your account of the work’s context will include the name of the author, the title of the work, its genre, and the date and place of publication. If there is an important biographical or historical context to the work, you should include that, as well.Try to express the work’s theme in one or two sentences. Theme, you will recall, is that insight into human experience the author offers to readers, usually revealed as the content, the drama, the plot of the poem, story, or play unfolds and the characters interact. Assessing theme can be a complex task. Authors usually show the theme; they don’t tell it. They rarely say, at the end of the story, words to this effect: “and the moral of my story is…” They tell their story, develop their characters, provide some kind of conflict—and from all of this theme emerges. Because identifying theme can be challenging and subjective, it is often a good idea to work through the rest of the analysis, then return to the beginning and assess theme in light of your analysis of the work’s other literary elements.Here is a good example of an introductory paragraph from Ben’s analysis of William Butler Yeats’ poem, “Among School Children.”

“Among School Children” was published in Yeats’ 1928 collection of poems The Tower. It was inspired by a visit Yeats made in 1926 to school in Waterford, an official visit in his capacity as a senator of the Irish Free State. In the course of the tour, Yeats reflects upon his own youth and the experiences that shaped the “sixty-year old, smiling public man” (line 8) he has become. Through his reflection, the theme of the poem emerges: a life has meaning when connections among apparently disparate experiences are forged into a unified whole.

In the body of your literature analysis, you want to guide your readers through a tour of the poem, story, or play, pausing along the way to comment on, analyze, interpret, and explain key incidents, descriptions, dialogue, symbols, the writer’s use of figurative language—any of the elements of literature that are relevant to a sound analysis of this particular work. Your main goal is to explain how the elements of literature work to elucidate, augment, and develop the theme. The elements of literature are common across genres: a story, a narrative poem, and a play all have a plot and characters. But certain genres privilege certain literary elements. In a poem, for example, form, imagery and metaphor might be especially important; in a story, setting and point-of-view might be more important than they are in a poem; in a play, dialogue, stage directions, lighting serve functions rarely relevant in the analysis of a story or poem.

The length of the body of an analysis of a literary work will usually depend upon the length of work being analyzed—the longer the work, the longer the analysis—though your instructor will likely establish a word limit for this assignment. Make certain that you do not simply paraphrase the plot of the story or play or the content of the poem. This is a common weakness in student literary analyses, especially when the analysis is of a poem or a play.

Here is a good example of two body paragraphs from Amelia’s analysis of “Araby” by James Joyce.

Within the story’s first few paragraphs occur several religious references which will accumulate as the story progresses. The narrator is a student at the Christian Brothers’ School; the former tenant of his house was a priest; he left behind books called The Abbot and The Devout Communicant. Near the end of the story’s second paragraph the narrator describes a “central apple tree” in the garden, under which is “the late tenant’s rusty bicycle pump.” We may begin to suspect the tree symbolizes the apple tree in the Garden of Eden and the bicycle pump, the snake which corrupted Eve, a stretch, perhaps, until Joyce’s fall-of-innocence theme becomes more apparent.

The narrator must continue to help his aunt with her errands, but, even when he is so occupied, his mind is on Mangan’s sister, as he tries to sort out his feelings for her. Here Joyce provides vivid insight into the mind of an adolescent boy at once elated and bewildered by his first crush. He wants to tell her of his “confused adoration,” but he does not know if he will ever have the chance. Joyce’s description of the pleasant tension consuming the narrator is conveyed in a striking simile, which continues to develop the narrator’s character, while echoing the religious imagery, so important to the story’s theme: “But my body was like a harp, and her words and gestures were like fingers, running along the wires.”

The concluding paragraph of your analysis should realize two goals. First, it should present your own opinion on the quality of the poem or story or play about which you have been writing. And, second, it should comment on the current relevance of the work. You should certainly comment on the enduring social relevance of the work you are explicating. You may comment, though you should never be obliged to do so, on the personal relevance of the work. Here is the concluding paragraph from Dao-Ming’s analysis of Oscar Wilde’s The Importance of Being Earnest.

First performed in 1895, The Importance of Being Earnest has been made into a film, as recently as 2002 and is regularly revived by professional and amateur theatre companies. It endures not only because of the comic brilliance of its characters and their dialogue, but also because its satire still resonates with contemporary audiences. I am still amazed that I see in my own Asian mother a shadow of Lady Bracknell, with her obsession with finding for her daughter a husband who will maintain, if not, ideally, increase the family’s social status. We might like to think we are more liberated and socially sophisticated than our Victorian ancestors, but the starlets and eligible bachelors who star in current reality television programs illustrate the extent to which superficial concerns still influence decisions about love and even marriage. Even now, we can turn to Oscar Wilde to help us understand and laugh at those who are earnest in name only.

Dao-Ming’s conclusion is brief, but she does manage to praise the play, reaffirm its main theme, and explain its enduring appeal. And note how her last sentence cleverly establishes that sense of closure that is also a feature of an effective analysis.

You may, of course, modify the template that is presented here. Your instructor might favour a somewhat different approach to literary analysis. Its essence, though, will be your understanding and interpretation of the theme of the poem, story, or play and the skill with which the author shapes the elements of literature—plot, character, form, diction, setting, point of view—to support the theme.

BC Open Textbooks: English Literature Victorians and Moderns: https://opentextbc.ca/englishliterature/back-matter/appendix-5-writing-an-analysis-of-a-poem-story-and-play/

Literary Analysis

The challenges of writing about english literature.

Writing begins with the act of reading . While this statement is true for most college papers, strong English papers tend to be the product of highly attentive reading (and rereading). When your instructors ask you to do a “close reading,” they are asking you to read not only for content, but also for structures and patterns. When you perform a close reading, then, you observe how form and content interact. In some cases, form reinforces content: for example, in John Donne’s Holy Sonnet 14, where the speaker invites God’s “force” “to break, blow, burn and make [him] new.” Here, the stressed monosyllables of the verbs “break,” “blow” and “burn” evoke aurally the force that the speaker invites from God. In other cases, form raises questions about content: for example, a repeated denial of guilt will likely raise questions about the speaker’s professed innocence. When you close read, take an inductive approach. Start by observing particular details in the text, such as a repeated image or word, an unexpected development, or even a contradiction. Often, a detail–such as a repeated image–can help you to identify a question about the text that warrants further examination. So annotate details that strike you as you read. Some of those details will eventually help you to work towards a thesis. And don’t worry if a detail seems trivial. If you can make a case about how an apparently trivial detail reveals something significant about the text, then your paper will have a thought-provoking thesis to argue.

Common Types of English Papers Many assignments will ask you to analyze a single text. Others, however, will ask you to read two or more texts in relation to each other, or to consider a text in light of claims made by other scholars and critics. For most assignments, close reading will be central to your paper. While some assignment guidelines will suggest topics and spell out expectations in detail, others will offer little more than a page limit. Approaching the writing process in the absence of assigned topics can be daunting, but remember that you have resources: in section, you will probably have encountered some examples of close reading; in lecture, you will have encountered some of the course’s central questions and claims. The paper is a chance for you to extend a claim offered in lecture, or to analyze a passage neglected in lecture. In either case, your analysis should do more than recapitulate claims aired in lecture and section. Because different instructors have different goals for an assignment, you should always ask your professor or TF if you have questions. These general guidelines should apply in most cases:

A close reading of a single text: Depending on the length of the text, you will need to be more or less selective about what you choose to consider. In the case of a sonnet, you will probably have enough room to analyze the text more thoroughly than you would in the case of a novel, for example, though even here you will probably not analyze every single detail. By contrast, in the case of a novel, you might analyze a repeated scene, image, or object (for example, scenes of train travel, images of decay, or objects such as or typewriters). Alternately, you might analyze a perplexing scene (such as a novel’s ending, albeit probably in relation to an earlier moment in the novel). But even when analyzing shorter works, you will need to be selective. Although you might notice numerous interesting details as you read, not all of those details will help you to organize a focused argument about the text. For example, if you are focusing on depictions of sensory experience in Keats’ “Ode to a Nightingale,” you probably do not need to analyze the image of a homeless Ruth in stanza 7, unless this image helps you to develop your case about sensory experience in the poem.
A theoretically-informed close reading. In some courses, you will be asked to analyze a poem, a play, or a novel by using a critical theory (psychoanalytic, postcolonial, gender, etc). For example, you might use Kristeva’s theory of abjection to analyze mother-daughter relations in Toni Morrison’s novel Beloved. Critical theories provide focus for your analysis; if “abjection” is the guiding concept for your paper, you should focus on the scenes in the novel that are most relevant to the concept.
A historically-informed close reading. In courses with a historicist orientation, you might use less self-consciously literary documents, such as newspapers or devotional manuals, to develop your analysis of a literary work. For example, to analyze how Robinson Crusoe makes sense of his island experiences, you might use Puritan tracts that narrate events in terms of how God organizes them. The tracts could help you to show not only how Robinson Crusoe draws on Puritan narrative conventions, but also—more significantly—how the novel revises those conventions.
A comparison of two texts When analyzing two texts, you might look for unexpected contrasts between apparently similar texts, or unexpected similarities between apparently dissimilar texts, or for how one text revises or transforms the other. Keep in mind that not all of the similarities, differences, and transformations you identify will be relevant to an argument about the relationship between the two texts. As you work towards a thesis, you will need to decide which of those similarities, differences, or transformations to focus on. Moreover, unless instructed otherwise, you do not need to allot equal space to each text (unless this 50/50 allocation serves your thesis well, of course). Often you will find that one text helps to develop your analysis of another text. For example, you might analyze the transformation of Ariel’s song from The Tempest in T. S. Eliot’s poem, The Waste Land. Insofar as this analysis is interested in the afterlife of Ariel’s song in a later poem, you would likely allot more space to analyzing allusions to Ariel’s song in The Waste Land (after initially establishing the song’s significance in Shakespeare’s play, of course).
A response paper A response paper is a great opportunity to practice your close reading skills without having to develop an entire argument. In most cases, a solid approach is to select a rich passage that rewards analysis (for example, one that depicts an important scene or a recurring image) and close read it. While response papers are a flexible genre, they are not invitations for impressionistic accounts of whether you liked the work or a particular character. Instead, you might use your close reading to raise a question about the text—to open up further investigation, rather than to supply a solution.
A research paper. In most cases, you will receive guidance from the professor on the scope of the research paper. It is likely that you will be expected to consult sources other than the assigned readings. Hollis is your best bet for book titles, and the MLA bibliography (available through e-resources) for articles. When reading articles, make sure that they have been peer reviewed; you might also ask your TF to recommend reputable journals in the field.

Harvard College Writing Program: https://writingproject.fas.harvard.edu/files/hwp/files/bg_writing_english.pdf

In the same way that we talk with our friends about the latest episode of Game of Thrones or newest Marvel movie, scholars communicate their ideas and interpretations of literature through written literary analysis essays. Literary analysis essays make us better readers of literature.

Only through careful reading and well-argued analysis can we reach new understandings and interpretations of texts that are sometimes hundreds of years old. Literary analysis brings new meaning and can shed new light on texts. Building from careful reading and selecting a topic that you are genuinely interested in, your argument supports how you read and understand a text. Using examples from the text you are discussing in the form of textual evidence further supports your reading. Well-researched literary analysis also includes information about what other scholars have written about a specific text or topic.

Literary analysis helps us to refine our ideas, question what we think we know, and often generates new knowledge about literature. Literary analysis essays allow you to discuss your own interpretation of a given text through careful examination of the choices the original author made in the text.

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How to Write a Good English Literature Essay

By Dr Oliver Tearle (Loughborough University)

How do you write a good English Literature essay? Although to an extent this depends on the particular subject you’re writing about, and on the nature of the question your essay is attempting to answer, there are a few general guidelines for how to write a convincing essay – just as there are a few guidelines for writing well in any field.

We at Interesting Literature call them ‘guidelines’ because we hesitate to use the word ‘rules’, which seems too programmatic. And as the writing habits of successful authors demonstrate, there is no one way to become a good writer – of essays, novels, poems, or whatever it is you’re setting out to write. The French writer Colette liked to begin her writing day by picking the fleas off her cat.

Edith Sitwell, by all accounts, liked to lie in an open coffin before she began her day’s writing. Friedrich von Schiller kept rotten apples in his desk, claiming he needed the scent of their decay to help him write. (For most student essay-writers, such an aroma is probably allowed to arise in the writing-room more organically, over time.)

We will address our suggestions for successful essay-writing to the average student of English Literature, whether at university or school level. There are many ways to approach the task of essay-writing, and these are just a few pointers for how to write a better English essay – and some of these pointers may also work for other disciplines and subjects, too.

Of course, these guidelines are designed to be of interest to the non-essay-writer too – people who have an interest in the craft of writing in general. If this describes you, we hope you enjoy the list as well. Remember, though, everyone can find writing difficult: as Thomas Mann memorably put it, ‘A writer is someone for whom writing is more difficult than it is for other people.’ Nora Ephron was briefer: ‘I think the hardest thing about writing is writing.’ So, the guidelines for successful essay-writing:

1. Planning is important, but don’t spend too long perfecting a structure that might end up changing.

This may seem like odd advice to kick off with, but the truth is that different approaches work for different students and essayists. You need to find out which method works best for you.

It’s not a bad idea, regardless of whether you’re a big planner or not, to sketch out perhaps a few points on a sheet of paper before you start, but don’t be surprised if you end up moving away from it slightly – or considerably – when you start to write.

Often the most extensively planned essays are the most mechanistic and dull in execution, precisely because the writer has drawn up a plan and refused to deviate from it. What is a more valuable skill is to be able to sense when your argument may be starting to go off-topic, or your point is getting out of hand, as you write . (For help on this, see point 5 below.)

We might even say that when it comes to knowing how to write a good English Literature essay, practising is more important than planning.

2. Make room for close analysis of the text, or texts.

Whilst it’s true that some first-class or A-grade essays will be impressive without containing any close reading as such, most of the highest-scoring and most sophisticated essays tend to zoom in on the text and examine its language and imagery closely in the course of the argument. (Close reading of literary texts arises from theology and the analysis of holy scripture, but really became a ‘thing’ in literary criticism in the early twentieth century, when T. S. Eliot, F. R. Leavis, William Empson, and other influential essayists started to subject the poem or novel to close scrutiny.)

Close reading has two distinct advantages: it increases the specificity of your argument (so you can’t be so easily accused of generalising a point), and it improves your chances of pointing up something about the text which none of the other essays your marker is reading will have said. For instance, take In Memoriam (1850), which is a long Victorian poem by the poet Alfred, Lord Tennyson about his grief following the death of his close friend, Arthur Hallam, in the early 1830s.

When answering a question about the representation of religious faith in Tennyson’s poem In Memoriam (1850), how might you write a particularly brilliant essay about this theme? Anyone can make a general point about the poet’s crisis of faith; but to look closely at the language used gives you the chance to show how the poet portrays this.

For instance, consider this stanza, which conveys the poet’s doubt:

A solid and perfectly competent essay might cite this stanza in support of the claim that Tennyson is finding it increasingly difficult to have faith in God (following the untimely and senseless death of his friend, Arthur Hallam). But there are several ways of then doing something more with it. For instance, you might get close to the poem’s imagery, and show how Tennyson conveys this idea, through the image of the ‘altar-stairs’ associated with religious worship and the idea of the stairs leading ‘thro’ darkness’ towards God.

In other words, Tennyson sees faith as a matter of groping through the darkness, trusting in God without having evidence that he is there. If you like, it’s a matter of ‘blind faith’. That would be a good reading. Now, here’s how to make a good English essay on this subject even better: one might look at how the word ‘falter’ – which encapsulates Tennyson’s stumbling faith – disperses into ‘falling’ and ‘altar’ in the succeeding lines. The word ‘falter’, we might say, itself falters or falls apart.

That is doing more than just interpreting the words: it’s being a highly careful reader of the poetry and showing how attentive to the language of the poetry you can be – all the while answering the question, about how the poem portrays the idea of faith. So, read and then reread the text you’re writing about – and be sensitive to such nuances of language and style.

The best way to become attuned to such nuances is revealed in point 5. We might summarise this point as follows: when it comes to knowing how to write a persuasive English Literature essay, it’s one thing to have a broad and overarching argument, but don’t be afraid to use the microscope as well as the telescope.

3. Provide several pieces of evidence where possible.

Many essays have a point to make and make it, tacking on a single piece of evidence from the text (or from beyond the text, e.g. a critical, historical, or biographical source) in the hope that this will be enough to make the point convincing.

‘State, quote, explain’ is the Holy Trinity of the Paragraph for many. What’s wrong with it? For one thing, this approach is too formulaic and basic for many arguments. Is one quotation enough to support a point? It’s often a matter of degree, and although one piece of evidence is better than none, two or three pieces will be even more persuasive.

After all, in a court of law a single eyewitness account won’t be enough to convict the accused of the crime, and even a confession from the accused would carry more weight if it comes supported by other, objective evidence (e.g. DNA, fingerprints, and so on).

Let’s go back to the example about Tennyson’s faith in his poem In Memoriam mentioned above. Perhaps you don’t find the end of the poem convincing – when the poet claims to have rediscovered his Christian faith and to have overcome his grief at the loss of his friend.

You can find examples from the end of the poem to suggest your reading of the poet’s insincerity may have validity, but looking at sources beyond the poem – e.g. a good edition of the text, which will contain biographical and critical information – may help you to find a clinching piece of evidence to support your reading.

And, sure enough, Tennyson is reported to have said of In Memoriam : ‘It’s too hopeful, this poem, more than I am myself.’ And there we have it: much more convincing than simply positing your reading of the poem with a few ambiguous quotations from the poem itself.

Of course, this rule also works in reverse: if you want to argue, for instance, that T. S. Eliot’s The Waste Land is overwhelmingly inspired by the poet’s unhappy marriage to his first wife, then using a decent biographical source makes sense – but if you didn’t show evidence for this idea from the poem itself (see point 2), all you’ve got is a vague, general link between the poet’s life and his work.

Show how the poet’s marriage is reflected in the work, e.g. through men and women’s relationships throughout the poem being shown as empty, soulless, and unhappy. In other words, when setting out to write a good English essay about any text, don’t be afraid to pile on the evidence – though be sensible, a handful of quotations or examples should be more than enough to make your point convincing.

4. Avoid tentative or speculative phrasing.

Many essays tend to suffer from the above problem of a lack of evidence, so the point fails to convince. This has a knock-on effect: often the student making the point doesn’t sound especially convinced by it either. This leaks out in the telling use of, and reliance on, certain uncertain phrases: ‘Tennyson might have’ or ‘perhaps Harper Lee wrote this to portray’ or ‘it can be argued that’.

An English university professor used to write in the margins of an essay which used this last phrase, ‘What can’t be argued?’

This is a fair criticism: anything can be argued (badly), but it depends on what evidence you can bring to bear on it (point 3) as to whether it will be a persuasive argument. (Arguing that the plays of Shakespeare were written by a Martian who came down to Earth and ingratiated himself with the world of Elizabethan theatre is a theory that can be argued, though few would take it seriously. We wish we could say ‘none’, but that’s a story for another day.)

Many essay-writers, because they’re aware that texts are often open-ended and invite multiple interpretations (as almost all great works of literature invariably do), think that writing ‘it can be argued’ acknowledges the text’s rich layering of meaning and is therefore valid.

Whilst this is certainly a fact – texts are open-ended and can be read in wildly different ways – the phrase ‘it can be argued’ is best used sparingly if at all. It should be taken as true that your interpretation is, at bottom, probably unprovable. What would it mean to ‘prove’ a reading as correct, anyway? Because you found evidence that the author intended the same thing as you’ve argued of their text? Tennyson wrote in a letter, ‘I wrote In Memoriam because…’?

But the author might have lied about it (e.g. in an attempt to dissuade people from looking too much into their private life), or they might have changed their mind (to go back to the example of The Waste Land : T. S. Eliot championed the idea of poetic impersonality in an essay of 1919, but years later he described The Waste Land as ‘only the relief of a personal and wholly insignificant grouse against life’ – hardly impersonal, then).

Texts – and their writers – can often be contradictory, or cagey about their meaning. But we as critics have to act responsibly when writing about literary texts in any good English essay or exam answer. We need to argue honestly, and sincerely – and not use what Wikipedia calls ‘weasel words’ or hedging expressions.

So, if nothing is utterly provable, all that remains is to make the strongest possible case you can with the evidence available. You do this, not only through marshalling the evidence in an effective way, but by writing in a confident voice when making your case. Fundamentally, ‘There is evidence to suggest that’ says more or less the same thing as ‘It can be argued’, but it foregrounds the evidence rather than the argument, so is preferable as a phrase.

This point might be summarised by saying: the best way to write a good English Literature essay is to be honest about the reading you’re putting forward, so you can be confident in your interpretation and use clear, bold language. (‘Bold’ is good, but don’t get too cocky, of course…)

5. Read the work of other critics.

This might be viewed as the Holy Grail of good essay-writing tips, since it is perhaps the single most effective way to improve your own writing. Even if you’re writing an essay as part of school coursework rather than a university degree, and don’t need to research other critics for your essay, it’s worth finding a good writer of literary criticism and reading their work. Why is this worth doing?

Published criticism has at least one thing in its favour, at least if it’s published by an academic press or has appeared in an academic journal, and that is that it’s most probably been peer-reviewed, meaning that other academics have read it, closely studied its argument, checked it for errors or inaccuracies, and helped to ensure that it is expressed in a fluent, clear, and effective way.

If you’re serious about finding out how to write a better English essay, then you need to study how successful writers in the genre do it. And essay-writing is a genre, the same as novel-writing or poetry. But why will reading criticism help you? Because the critics you read can show you how to do all of the above: how to present a close reading of a poem, how to advance an argument that is not speculative or tentative yet not over-confident, how to use evidence from the text to make your argument more persuasive.

And, the more you read of other critics – a page a night, say, over a few months – the better you’ll get. It’s like textual osmosis: a little bit of their style will rub off on you, and every writer learns by the examples of other writers.

As T. S. Eliot himself said, ‘The poem which is absolutely original is absolutely bad.’ Don’t get precious about your own distinctive writing style and become afraid you’ll lose it. You can’t gain a truly original style before you’ve looked at other people’s and worked out what you like and what you can ‘steal’ for your own ends.

We say ‘steal’, but this is not the same as saying that plagiarism is okay, of course. But consider this example. You read an accessible book on Shakespeare’s language and the author makes a point about rhymes in Shakespeare. When you’re working on your essay on the poetry of Christina Rossetti, you notice a similar use of rhyme, and remember the point made by the Shakespeare critic.

This is not plagiarising a point but applying it independently to another writer. It shows independent interpretive skills and an ability to understand and apply what you have read. This is another of the advantages of reading critics, so this would be our final piece of advice for learning how to write a good English essay: find a critic whose style you like, and study their craft.

If you’re looking for suggestions, we can recommend a few favourites: Christopher Ricks, whose The Force of Poetry is a tour de force; Jonathan Bate, whose The Genius of Shakespeare , although written for a general rather than academic audience, is written by a leading Shakespeare scholar and academic; and Helen Gardner, whose The Art of T. S. Eliot , whilst dated (it came out in 1949), is a wonderfully lucid and articulate analysis of Eliot’s poetry.

James Wood’s How Fiction Works is also a fine example of lucid prose and how to close-read literary texts. Doubtless readers of Interesting Literature will have their own favourites to suggest in the comments, so do check those out, as these are just three personal favourites. What’s your favourite work of literary scholarship/criticism? Suggestions please.

Much of all this may strike you as common sense, but even the most commonsensical advice can go out of your mind when you have a piece of coursework to write, or an exam to revise for. We hope these suggestions help to remind you of some of the key tenets of good essay-writing practice – though remember, these aren’t so much commandments as recommendations. No one can ‘tell’ you how to write a good English Literature essay as such.

But it can be learned. And remember, be interesting – find the things in the poems or plays or novels which really ignite your enthusiasm. As John Mortimer said, ‘The only rule I have found to have any validity in writing is not to bore yourself.’

Finally, good luck – and happy writing!

And if you enjoyed these tips for how to write a persuasive English essay, check out our advice for how to remember things for exams and our tips for becoming a better close reader of poetry .

30 thoughts on “How to Write a Good English Literature Essay”

You must have taken AP Literature. I’m always saying these same points to my students.

I also think a crucial part of excellent essay writing that too many students do not realize is that not every point or interpretation needs to be addressed. When offered the chance to write your interpretation of a work of literature, it is important to note that there of course are many but your essay should choose one and focus evidence on this one view rather than attempting to include all views and evidence to back up each view.

Reblogged this on SocioTech'nowledge .

Not a bad effort…not at all! (Did you intend “subject” instead of “object” in numbered paragraph two, line seven?”

Oops! I did indeed – many thanks for spotting. Duly corrected ;)

That’s what comes of writing about philosophy and the subject/object for another post at the same time!

Reblogged this on Scribing English .

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Great post on essay writing! I’ve shared a post about this and about the blog site in general which you can look at here: http://writeoutloudblog.com/2015/01/13/recommended-resource-interesting-literature-com-how-to-write-an-essay/

All of these are very good points – especially I like 2 and 5. I’d like to read the essay on the Martian who wrote Shakespeare’s plays).

Reblogged this on Uniqely Mustered and commented: Dedicate this to all upcoming writers and lovers of Writing!

I shall take this as my New Year boost in Writing Essays. Please try to visit often for corrections,advise and criticisms.

Reblogged this on Blue Banana Bread .

Reblogged this on worldsinthenet .

All very good points, but numbers 2 and 4 are especially interesting.

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Great post. Interesting infographic how to write an argumentative essay http://www.essay-profy.com/blog/how-to-write-an-essay-writing-an-argumentative-essay/

Reblogged this on DISTINCT CHARACTER and commented: Good Tips

Reblogged this on quirkywritingcorner and commented: This could be applied to novel or short story writing as well.

Reblogged this on rosetech67 and commented: Useful, albeit maybe a bit late for me :-)

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Literary Analysis Essay

Literary Analysis Essay Writing

Last updated on: May 21, 2023

Literary Analysis Essay - Ultimate Guide By Professionals

By: Cordon J.

Reviewed By: Rylee W.

Published on: Dec 3, 2019

A literary analysis essay specifically examines and evaluates a piece of literature or a literary work. It also understands and explains the links between the small parts to their whole information.

It is important for students to understand the meaning and the true essence of literature to write a literary essay.

One of the most difficult assignments for students is writing a literary analysis essay. It can be hard to come up with an original idea or find enough material to write about. You might think you need years of experience in order to create a good paper, but that's not true.

This blog post will show you how easy it can be when you follow the steps given here.Writing such an essay involves the breakdown of a book into small parts and understanding each part separately. It seems easy, right?

Trust us, it is not as hard as good book reports but it may also not be extremely easy. You will have to take into account different approaches and explain them in relation with the chosen literary work.

It is a common high school and college assignment and you can learn everything in this blog.

Continue reading for some useful tips with an example to write a literary analysis essay that will be on point. You can also explore our detailed article on writing an analytical essay .

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What is a Literary Analysis Essay?

A literary analysis essay is an important kind of essay that focuses on the detailed analysis of the work of literature.

The purpose of a literary analysis essay is to explain why the author has used a specific theme for his work. Or examine the characters, themes, literary devices , figurative language, and settings in the story.

This type of essay encourages students to think about how the book or the short story has been written. And why the author has created this work.

The method used in the literary analysis essay differs from other types of essays. It primarily focuses on the type of work and literature that is being analyzed.

Mostly, you will be going to break down the work into various parts. In order to develop a better understanding of the idea being discussed, each part will be discussed separately.

The essay should explain the choices of the author and point of view along with your answers and personal analysis.

How To Write A Literary Analysis Essay

So how to start a literary analysis essay? The answer to this question is quite simple.

The following sections are required to write an effective literary analysis essay. By following the guidelines given in the following sections, you will be able to craft a winning literary analysis essay.

Introduction

The aim of the introduction is to establish a context for readers. You have to give a brief on the background of the selected topic.

It should contain the name of the author of the literary work along with its title. The introduction should be effective enough to grab the reader’s attention.

In the body section, you have to retell the story that the writer has narrated. It is a good idea to create a summary as it is one of the important tips of literary analysis.

Other than that, you are required to develop ideas and disclose the observed information related to the issue. The ideal length of the body section is around 1000 words.

To write the body section, your observation should be based on evidence and your own style of writing.

It would be great if the body of your essay is divided into three paragraphs. Make a strong argument with facts related to the thesis statement in all of the paragraphs in the body section.

Start writing each paragraph with a topic sentence and use transition words when moving to the next paragraph.

Summarize the important points of your literary analysis essay in this section. It is important to compose a short and strong conclusion to help you make a final impression of your essay.

Pay attention that this section does not contain any new information. It should provide a sense of completion by restating the main idea with a short description of your arguments. End the conclusion with your supporting details.

You have to explain why the book is important. Also, elaborate on the means that the authors used to convey her/his opinion regarding the issue.

For further understanding, here is a downloadable literary analysis essay outline. This outline will help you structure and format your essay properly and earn an A easily.

DOWNLOADABLE LITERARY ANALYSIS ESSAY OUTLINE (PDF)

Types of Literary Analysis Essay

Close reading - This method involves attentive reading and detailed analysis. No need for a lot of knowledge and inspiration to write an essay that shows your creative skills.
Theoretical - In this type, you will rely on theories related to the selected topic.
Historical - This type of essay concerns the discipline of history. Sometimes historical analysis is required to explain events in detail.
Applied - This type involves analysis of a specific issue from a practical perspective.
Comparative - This type of writing is based on when two or more alternatives are compared

Examples of Literary Analysis Essay

Examples are great to understand any concept, especially if it is related to writing. Below are some great literary analysis essay examples that showcase how this type of essay is written.

A ROSE FOR EMILY LITERARY ANALYSIS ESSAY

TO KILL A MOCKINGBIRD LITERARY ANALYSIS ESSAY

THE GREAT GATSBY LITERARY ANALYSIS ESSAY

THE YELLOW WALLPAPER LITERARY ANALYSIS ESSAY

If you do not have experience in writing essays, this will be a very chaotic process for you. In that case, it is very important for you to conduct good research on the topic before writing.

There are two important points that you should keep in mind when writing a literary analysis essay.

First, remember that it is very important to select a topic in which you are interested. Choose something that really inspires you. This will help you to catch the attention of a reader.

The selected topic should reflect the main idea of writing. In addition to that, it should also express your point of view as well.

Another important thing is to draft a good outline for your literary analysis essay. It will help you to define a central point and division of this into parts for further discussion.

Literary Analysis Essay Topics

Literary analysis essays are mostly based on artistic works like books, movies, paintings, and other forms of art. However, generally, students choose novels and books to write their literary essays.

Some cool, fresh, and good topics and ideas are listed below:

Role of the Three Witches in flaming Macbeth’s ambition.
Analyze the themes of the Play Antigone,
Discuss Ajax as a tragic hero.
The Judgement of Paris: Analyze the Reasons and their Consequences.
Oedipus Rex: A Doomed Son or a Conqueror?
Describe the Oedipus complex and Electra complex in relation to their respective myths.
Betrayal is a common theme of Shakespearean tragedies. Discuss
Identify and analyze the traits of history in T.S Eliot’s ‘Gerontion’.
Analyze the theme of identity crisis in The Great Gatsby.
Analyze the writing style of Emily Dickinson.

If you are still in doubt then there is nothing bad in getting professional writers’ help.

We at 5StarEssays.com can help you get a custom paper as per your specified requirements with our do essay for me service.

Our essay writers will help you write outstanding literary essays or any other type of essay. Such as compare and contrast essays, descriptive essays, rhetorical essays. We cover all of these.

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Frequently Asked Questions

What should a literary analysis essay include.

A good literary analysis essay must include a proper and in-depth explanation of your ideas. They must be backed with examples and evidence from the text. Textual evidence includes summaries, paraphrased text, original work details, and direct quotes.

What are the 4 components of literary analysis?

Here are the 4 essential parts of a literary analysis essay;

No literary work is explained properly without discussing and explaining these 4 things.

How do you start a literary analysis essay?

Start your literary analysis essay with the name of the work and the title. Hook your readers by introducing the main ideas that you will discuss in your essay and engage them from the start.

How do you do a literary analysis?

In a literary analysis essay, you study the text closely, understand and interpret its meanings. And try to find out the reasons behind why the author has used certain symbols, themes, and objects in the work.

Why is literary analysis important?

It encourages the students to think beyond their existing knowledge, experiences, and belief and build empathy. This helps in improving the writing skills also.

What is the fundamental characteristic of a literary analysis essay?

Interpretation is the fundamental and important feature of a literary analysis essay. The essay is based on how well the writer explains and interprets the work.

Law, Finance Essay

Cordon. is a published author and writing specialist. He has worked in the publishing industry for many years, providing writing services and digital content. His own writing career began with a focus on literature and linguistics, which he continues to pursue. Cordon is an engaging and professional individual, always looking to help others achieve their goals.

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Interesting Literary Analysis Essay Topics for Students

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12.3: Prewriting for Literature Essays

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Heather Ringo & Athena Kashyap
City College of San Francisco via ASCCC Open Educational Resources Initiative

The first step in writing a literary analysis essay is actually completing the reading. Sometimes the professor will give you a prompt before you read. If this is the case, look for material which relates to the prompt as you read. If the professor did not give you a prompt, look for any material in the assigned reading that piques your interest or relates to class discussions. Highlight or underline any moments in the reading which stick out to you: something you don't understand, something that relates to a topic you care about, or something weird or surprising. Keeping track of patterns, themes, or literary devices is a great way to engage with a work of literature and prepare for a future discussion or essay.

Completing the Reading

One time, I was talking with my sister-in-law about her experience in nursing school. Whereas her brother had barely achieved Cs in college, she somehow maintained a 4.0, even though she was simultaneously working and caring for her two young daughters.

"What is your secret to success?" I asked.

"Actually doing the assigned readings," she laughed, "most of my peers didn't. And it showed."

As a college professor who teaches reading-heavy classes, this is not a shock to me. After all, most students taking the required writing and literature courses do not wish to become English majors. They sometimes see their literature class as a means to an end: at best, a stepping stone towards their future career; at worst, a time-suck of hoops to jump through. Also, because of today's gig economy, many students are juggling multiple jobs in addition to multiple college classes. This makes it tempting for students to want to skip the readings and just read SparkNotes. Truth be told, students who pursue this method, depending on their BSing skills, might be able to pass a literature class. But for the vast majority of students, this popular high school tactic will not work at the college level. More importantly, it means students miss out on many of the exciting benefits of diving deep into analysis, discussion, and engaging with the text.

Of course, I want my students to fall in love with the written word. I want my passion for literature to be contagious, to light students' hearts and minds on fire with a hunger for the beauty of syntax and diction and literary devices. But I also completely understand that students have limited time. Therefore, I recommend prioritizing the writing process so students can make the most efficient use of their time. In the long run, while it might seem like skipping the readings saves time, completing the readings is actually the best way for students to optimize their time. This is because a strong essay depends on a deep understanding of the literature. If the class features examinations, these almost always test students on whether they completed and understand the readings. Finally, class will be more fun for students if they understand what their peers are talking about in class discussion, and what their professor is talking about during lectures.

Students who complete the readings and annotate as they go will find it much easier to flip back through their notes to find relevant quotations and information. They usually break the readings into small, manageable chunks of twenty to thirty minutes at a time. This helps their brains absorb the information better and retain information for writing and tests.

Students skipping reading often end up performing more work when it comes to writing an essay because they will spend so much time looking up text summaries on the internet (which may or may not be accurate or pertain to the intricacies of the assignment). They will also have to go back and re-read the text to find quotations that fit their prompt. Their essays usually fail because they do not fulfill the in-depth analysis required by the assignments.

So, long story short: even the most practically-minded, time-crunched students would do well to perform the readings. And, while in pursuit of success, a previously literature-averse student might find themselves liking literature more than they thought they would. Just like watching a favorite movie or show, reading a good book can be fun and relaxing!

Active versus Passive Reading

Many students, when first reading academic material, read it like they would a timeline of Facebook or Instagram posts: not fully attentive, skimming over the material in search of something interesting. Or they might read them with full attention, but simply read without questioning or engaging with the material. The difference between a student who is successful in a literature class and a student who is not successful is often that the successful student participates in active reading.

In a literature class, students encounter a lot of literature, written by many different authors. Annotating, or taking notes on the assigned literature as you read, is a way to have a conversation with the reading. This helps you better absorb the material and engage with the text on a deeper level. There are several annotation methods. These are like tools in a student's learning utility belt. Try them all out to discover which tools or combinations of tools help you learn best!

Margin Notes & Highlighting

One of the best ways to interact with a text is to write notes as you read. Underlining and/or highlighting relevant passages, yes, but also responding to the text in the margins. For instance, if a character I love makes a bad choice (like Sydney Carton in Charles Dickens' A Tale of Two Cities ), I will write, "Nooooo, Sydney Carton, don't sacrifice yourself for Lucie's sake!" This helps me remember the events of the plot. Many students also find it helpful to summarize each chapter or section of the literature as they read it. For example, a student said it was helpful for them to draw a picture representing every stanza of "I Wandered Lonely as a Cloud" by William Wordsworth to help them understand what was being said. Other ideas include:

Circling unfamiliar words
Writing questions in the margins
Color-coded highlighting to track various literary devices (i.e., blue for metaphors, pink for symbolism, and so forth)

Sticky Notes

For students who would like to sell their textbooks back to the bookstore, writing notes in the margins might not be a practical choice, as it may devalue the textbook or the bookstore may refuse to take it back. For these students, I recommend using sticky notes instead. If sticky notes are cost-prohibitive, most colleges have plenty of scrap paper students can use as bookmarks to stick between pages. This is also an eco-friendly way to re-use paper!

Reading Journal

Another option many students find helpful is keeping a reading journal. Students can write notes in their journals as they read. This helps students keep track of readings and materials in a chronological fashion. Just like when annotating the text directly or upon sticky notes, the most effective use of a reading journal, for learning purposes, is going to be active engagement with the text rather than passive absorption. That is, try to summarize the plot of what you read every time you read. Also, ask questions about the text. If you can record quotes and paraphrase along with in-text parenthetical citations (i.e., the page number where you found the material), this will optimize your time because you already have quotes ready to go when you write an essay!

Example of an Annotated Passage

Using the guidelines above, let's consider this excerpt from a scholarly article by Jacob Michael Leland, "'Yes, That is a Roll of Bills in My Pocket': The Economy of Masculinity in The Sun Also Rises."

A great deal of critical attention has been paid to masculine agency and its displacement in Ernest Hemingway's fiction. The story is familiar by now: the Hemingway hero loses some version of his maleness to the first World War and he replaces it with a tool—in Upper Michigan, a fishing rod or a pocket knife; in Africa, a hunting rifle—a new object that emblematizes his mastery over his surroundings and whose status as a fetishized commodity and Freudian symbolic significance is something less than subtle. In The Sun Also Rises , this pattern repeats itself, but with important differences that arise from the novel's cosmopolitan European setting. Mastery over the elements, here, has more to do with economic agency and control over social relationships than with nature and survival. The stakes are different, too; in the modern European city, the Hemingway hero recovers not only masculinity but also American identity in social and sexual interaction. (37)

In researching The Sun Also Rises for a project, Ling Ti found Leland's article. What follows is her annotated copy of the above excerpt:

This is an example of an annotated text, with highlighted words and notes in the margins of the reading

Reflecting on Assigned Literature

Studies show reflecting on reading is one of the best ways to learn. This is called metacognition, or thinking about thinking. It is a way to keep track of the knowledge you have learned as you go. Students who reflect on their reading and learning tend to, as a whole, perform better on essays and examinations. So how can you take advantage of this skill?

If you have a prompt, choose a prompt and read through the assigned literature again, noting any quotes which may relate to the assigned topic. It is recommended at this point that you keep track of your observations in a document: either on a computer (Word, Google Docs) or on a physical piece of paper. Write down any quotations along with page numbers (fiction, nonfiction), line numbers (poem), or act, scene, line numbers (drama). This way, you have all potential evidence in one place, and it makes for easy in-text citations when it comes to knitting the evidence together to form an essay. In fact, it is highly recommended that students start an informal Works Cited page to keep track of every source consulted. This makes it much easier to avoid plagiarism by practicing ethical citation habits. For more information about citations, please see the Citations and Formatting Chapter.

Start with a hypothesis or focus but be willing to refine, adjust, or completely discard it if new evidence refutes it. An essay is not a stagnant piece, but a living, breathing thought experiment. Many students feel reluctant to change their thesis or major parts of their essays because they are afraid it means the previous writing was wasted. As a professional writer, editor, and scholar, I want to clue students in on a secret:

There is no such thing as wasted writing.

Even writing that does not end up in the final draft is worthwhile because it is a chance to experiment with ideas. It helps students find a path toward stronger ideas. Just like a gardener might allow branches of a tree to grow to see which ones bear flowers and fruit and then prune the weak, unproductive branches to make the plant stronger and more beautiful, so too must a writer be willing to cut out branches of reasoning which no longer serve the essay. But before you know which ideas or thoughts are worth pursuing, you first have to give them space to grow. You never know what idea branches might prove fruitful!

Contributors and Attributions

Adapted from "Reading Like a Professional" in Writing and Literature: Composition as Inquiry, Learning, Thinking, and Communication by Dr. Tanya Long Bennett of the University of North Georgia, CC BY-SA 4.0

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Academic Writing

How to Write a Short Essay

Last Updated: January 17, 2024 Fact Checked

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 12 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 112,522 times.

Essay writing is a common assignment in high school or college courses, especially within the humanities. You’ll also be asked to write essays for college admissions and scholarships. In a short essay (250-500 words), you will need to provide an introduction with a thesis, a body, and a conclusion, as you would with a longer essay. Depending on the essay requirements, you may also need to do academic or online research to find sources to back up your claims.

Picking a Topic and Gathering Research

If you have any questions about the topic, ask your instructor. If your essay doesn't respond to the prompt, you likely won't receive full credit.

Step 2 Choose a single arguable point for your brief essay.

If you're writing an essay for an in-class test or for an application, tailor the essay to the given prompt and topic. Quickly brainstorm a few ideas; for example, think of positive things you can say about yourself for a college-entrance essay.
For example, the topic “depression in American literature” is far too broad. Narrow down your topic to something like “Willie Loman’s depression in Death of a Salesman .”
Or, you could write about a narrow topic like “the increase in the USA’s national debt in the 1950s” rather than a broad topic like “the American economy in the 20th century.”

Step 3 Find 1-2 appropriate secondary sources in an online research database.

Depending on the field in which you’re writing the essay—e.g., hard sciences, sociology, humanities, etc.—your instructor will direct you towards appropriate databases. For example, if you’re writing a high-school or college-level essay for your English class, visit online literary databases like JSTOR, LION, and the MLA Bibliography.
If you're writing the essay for a college or graduate-school application, it's unlikely that you'll need to include any secondary sources.
If you're writing a timed or in-class essay, you may not be able to find research articles. But, still do draw information from texts and sources you've studied both in and out of class, and build from points made in any provided reading passages.

If you’re writing about current events or journalism topics, read articles from well-known news sites like CNN or the BBC.
Avoid citing unreliable websites like blogs or any sites that have a clear bias about the topic they’re reporting on.

Composing the Essay

If you write the essay without outlining, the essay will be poorly organized.

This thesis statement is far too weak: “ Death of a Salesman shows the difficulty of living in America after WWII.”
Instead, hone your thesis to something like: “Arthur Miller uses Death of a Salesman to show that the American Dream is materialist and impractical.”

Step 3 Use your introduction paragraph to explain the essay’s topic.

So, avoid beginning the paragraph by writing something like, “Since the beginning of time, all people have been consumed with the desire for their father’s approval.”
Instead, write something like, “In the play Death of a Salesman , Willie Loman’s sons compete for their father’s approval through various masculine displays."
Then, you can say, "To examine this topic, I will perform a close reading of several key passages of the play and present analyses by noted Arthur Miller scholars."

Step 4 Keep the introduction and conclusion under 75 words each.

In a short essay, the conclusion should do nothing more than briefly restate your main claim and remind readers of the evidence you provided.

Step 5 Use body paragraphs to prove various aspects of your central argument.

So, take the example about Death of a Salesman . The first body paragraph could discuss the ways in which Willie’s sons try to impress him.
The second body paragraph could dive into Willie’s hopelessness and despair, and the third paragraph could discuss how Miller uses his characters to show the flaws in their understanding of the American Dream.

Step 6 Add information from your research sources to strengthen claims.

Always cite your sources so you avoid charges of plagiarism. Check with your instructor (or the essay prompt) and find out what citation style you should use.
For example, if you’re summarizing the inflation of the American dollar during the 1930s, provide 2 or 3 years and inflation-rate percentages. Don’t provide a full-paragraph summary of the economic decline.
If you're writing an in-class essay and don't have time to perform any research, you don't need to incorporate outside sources. But, it will impress your teacher if you quote from a reading passage or bring up pertinent knowledge you may have gained during the class.

Step 7 Ask someone else to read your first draft.

If no one agrees to read the essay, read over your own first draft and look for errors or spots where you could clarify your meaning. Reading the essay out loud often helps, as you’ll be able to hear sentences that aren’t quite coherent.
This step does not apply to essays written during a timed or in-class exam, as you won't be able to ask peers to read your work.

Step 8 Revise the first draft into the final essay.

It’s always a mistake to submit an unrevised first draft, whether for a grade, for admissions, or for a scholarship essay.
However, if you're writing an essay for a timed exam, it's okay if you don't have enough time to combine multiple drafts before the time runs out.

Condensing Your Essay

Step 1 Quote only from secondary sources that are related to your topic.

So, if you’re writing about Death of a Salesman , an article about symbolism in Arthur Miller’s plays would be useful. But, an article about the average cost of Midwestern hotels in the 1940s would be irrelevant.
If you’re writing a scholarship essay, double-check the instructions to clarify what types of sources you’re allowed to use.

Step 2 Remove verbiage to keep your essay under the word count.

A common cliche you might find in an essay is a statement like, "I'm the hardest working student at my school."
For example, this sentence is too verbose: “I have been a relentlessly stellar student throughout my entire high school career since I am a seriously dedicated reader and thoroughly apply myself to every assignment I receive in class.”
Shortened, it could read: “I was a stellar student throughout my high school career since I was a dedicated reader and applied myself to every assignment I received.”

Avoid writing something like, “Willie Loman can be seen as having achieved little through his life because he is not respected by his sons and is not valued by his co-workers.”
Instead, write, “Arthur Miller shows readers that Willie’s life accomplishments have amounted to little. Willie’s sons do not look up to him, and his co-workers treat him without respect.”

Step 4 Present only the most relevant argument in your essay.

For example, if you’re trying to prove that WWII pulled the USA out of the Great Depression, focus strictly on an economic argument.
Avoid bringing in other, less convincing topics. For example, don’t dedicate a paragraph to discussing how much it cost the USA to build fighter jets in 1944.

Short Essay Template and Example

Expert Q&A

When composing the text of your essay, resist the temptation to pull words from a thesaurus in an attempt to sound academic or intelligent. Thanks Helpful 0 Not Helpful 0
If your high school or college has an online or in-person writing center, schedule an appointment. Taking advantage of this type of service can improve your essay and help you recognize structural or grammatical problems you would not have noticed otherwise. Thanks Helpful 0 Not Helpful 0

↑ https://owl.purdue.edu/owl/general_writing/common_writing_assignments/research_papers/choosing_a_topic.html
↑ https://monroecollege.libguides.com/c.php?g=589208&p=4072926
↑ https://www.utep.edu/extendeduniversity/utepconnect/blog/march-2017/4-ways-to-differentiate-a-good-source-from-a-bad-source.html
↑ https://www.grammarly.com/blog/essay-outline/
↑ https://writingcenter.unc.edu/tips-and-tools/thesis-statements/
↑ https://libguides.newcastle.edu.au/how-to-write-an-essay/essay-introduction
↑ https://lsa.umich.edu/sweetland/undergraduates/writing-guides/how-do-i-write-an-intro--conclusion----body-paragraph.html
↑ https://mlpp.pressbooks.pub/writingsuccess/chapter/8-3-drafting/
↑ https://www.trentu.ca/academicskills/how-guides/how-write-university/how-approach-any-assignment/writing-english-essay/using-secondary
↑ https://patch.com/michigan/berkley/bp--how-to-shorten-your-college-essay-without-ruining-it
↑ https://writing.wisc.edu/handbook/style/ccs_activevoice/
↑ https://wordcounter.net/blog/2016/01/26/101025_how-to-reduce-essay-word-count.html

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Literary Terms
Definition & Examples
When & How to Write an Essay

I. What is an Essay?

An essay is a form of writing in paragraph form that uses informal language, although it can be written formally. Essays may be written in first-person point of view (I, ours, mine), but third-person (people, he, she) is preferable in most academic essays. Essays do not require research as most academic reports and papers do; however, they should cite any literary works that are used within the paper.

When thinking of essays, we normally think of the five-paragraph essay: Paragraph 1 is the introduction, paragraphs 2-4 are the body covering three main ideas, and paragraph 5 is the conclusion. Sixth and seventh graders may start out with three paragraph essays in order to learn the concepts. However, essays may be longer than five paragraphs. Essays are easier and quicker to read than books, so are a preferred way to express ideas and concepts when bringing them to public attention.

II. Examples of Essays

Many of our most famous Americans have written essays. Benjamin Franklin, Thomas Paine, and Thomas Jefferson wrote essays about being good citizens and concepts to build the new United States. In the pre-Civil War days of the 1800s, people such as:

Ralph Waldo Emerson (an author) wrote essays on self-improvement
Susan B. Anthony wrote on women’s right to vote
Frederick Douglass wrote on the issue of African Americans’ future in the U.S.

Through each era of American history, well-known figures in areas such as politics, literature, the arts, business, etc., voiced their opinions through short and long essays.

The ultimate persuasive essay that most students learn about and read in social studies is the “Declaration of Independence” by Thomas Jefferson in 1776. Other founding fathers edited and critiqued it, but he drafted the first version. He builds a strong argument by stating his premise (claim) then proceeds to give the evidence in a straightforward manner before coming to his logical conclusion.

III. Types of Essays

A. expository.

Essays written to explore and explain ideas are called expository essays (they expose truths). These will be more formal types of essays usually written in third person, to be more objective. There are many forms, each one having its own organizational pattern. Cause/Effect essays explain the reason (cause) for something that happens after (effect). Definition essays define an idea or concept. Compare/ Contrast essays will look at two items and show how they are similar (compare) and different (contrast).

b. Persuasive

An argumentative paper presents an idea or concept with the intention of attempting to change a reader’s mind or actions . These may be written in second person, using “you” in order to speak to the reader. This is called a persuasive essay. There will be a premise (claim) followed by evidence to show why you should believe the claim.

c. Narrative

Narrative means story, so narrative essays will illustrate and describe an event of some kind to tell a story. Most times, they will be written in first person. The writer will use descriptive terms, and may have paragraphs that tell a beginning, middle, and end in place of the five paragraphs with introduction, body, and conclusion. However, if there is a lesson to be learned, a five-paragraph may be used to ensure the lesson is shown.

d. Descriptive

The goal of a descriptive essay is to vividly describe an event, item, place, memory, etc. This essay may be written in any point of view, depending on what’s being described. There is a lot of freedom of language in descriptive essays, which can include figurative language, as well.

IV. The Importance of Essays

Essays are an important piece of literature that can be used in a variety of situations. They’re a flexible type of writing, which makes them useful in many settings . History can be traced and understood through essays from theorists, leaders, artists of various arts, and regular citizens of countries throughout the world and time. For students, learning to write essays is also important because as they leave school and enter college and/or the work force, it is vital for them to be able to express themselves well.

V. Examples of Essays in Literature

Sir Francis Bacon was a leading philosopher who influenced the colonies in the 1600s. Many of America’s founding fathers also favored his philosophies toward government. Bacon wrote an essay titled “Of Nobility” in 1601 , in which he defines the concept of nobility in relation to people and government. The following is the introduction of his definition essay. Note the use of “we” for his point of view, which includes his readers while still sounding rather formal.

“We will speak of nobility, first as a portion of an estate, then as a condition of particular persons. A monarchy, where there is no nobility at all, is ever a pure and absolute tyranny; as that of the Turks. For nobility attempers sovereignty, and draws the eyes of the people, somewhat aside from the line royal. But for democracies, they need it not; and they are commonly more quiet, and less subject to sedition, than where there are stirps of nobles. For men’s eyes are upon the business, and not upon the persons; or if upon the persons, it is for the business’ sake, as fittest, and not for flags and pedigree. We see the Switzers last well, notwithstanding their diversity of religion, and of cantons. For utility is their bond, and not respects. The united provinces of the Low Countries, in their government, excel; for where there is an equality, the consultations are more indifferent, and the payments and tributes, more cheerful. A great and potent nobility, addeth majesty to a monarch, but diminisheth power; and putteth life and spirit into the people, but presseth their fortune. It is well, when nobles are not too great for sovereignty nor for justice; and yet maintained in that height, as the insolency of inferiors may be broken upon them, before it come on too fast upon the majesty of kings. A numerous nobility causeth poverty, and inconvenience in a state; for it is a surcharge of expense; and besides, it being of necessity, that many of the nobility fall, in time, to be weak in fortune, it maketh a kind of disproportion, between honor and means.”

A popular modern day essayist is Barbara Kingsolver. Her book, “Small Wonders,” is full of essays describing her thoughts and experiences both at home and around the world. Her intention with her essays is to make her readers think about various social issues, mainly concerning the environment and how people treat each other. The link below is to an essay in which a child in an Iranian village she visited had disappeared. The boy was found three days later in a bear’s cave, alive and well, protected by a mother bear. She uses a narrative essay to tell her story.

VI. Examples of Essays in Pop Culture

Many rap songs are basically mini essays, expressing outrage and sorrow over social issues today, just as the 1960s had a lot of anti-war and peace songs that told stories and described social problems of that time. Any good song writer will pay attention to current events and express ideas in a creative way.

A well-known essay written in 1997 by Mary Schmich, a columnist with the Chicago Tribune, was made into a popular video on MTV by Baz Luhrmann. Schmich’s thesis is to wear sunscreen, but she adds strong advice with supporting details throughout the body of her essay, reverting to her thesis in the conclusion.

Baz Luhrmann - Everybody's Free To Wear Sunscreen

VII. Related Terms

Research paper.

Research papers follow the same basic format of an essay. They have an introductory paragraph, the body, and a conclusion. However, research papers have strict guidelines regarding a title page, header, sub-headers within the paper, citations throughout and in a bibliography page, the size and type of font, and margins. The purpose of a research paper is to explore an area by looking at previous research. Some research papers may include additional studies by the author, which would then be compared to previous research. The point of view is an objective third-person. No opinion is allowed. Any claims must be backed up with research.

VIII. Conclusion

Students dread hearing that they are going to write an essay, but essays are one of the easiest and most relaxed types of writing they will learn. Mastering the essay will make research papers much easier, since they have the same basic structure. Many historical events can be better understood through essays written by people involved in those times. The continuation of essays in today’s times will allow future historians to understand how our new world of technology and information impacted us.

List of Terms

Alliteration
Amplification
Anachronism
Anthropomorphism
Antonomasia
APA Citation
Aposiopesis
Autobiography
Bildungsroman
Characterization
Circumlocution
Cliffhanger
Comic Relief
Connotation
Deus ex machina
Deuteragonist
Doppelganger
Double Entendre
Dramatic irony
Equivocation
Extended Metaphor
Figures of Speech
Flash-forward
Foreshadowing
Intertextuality
Juxtaposition
Literary Device
Malapropism
Onomatopoeia
Parallelism
Pathetic Fallacy
Personification
Point of View
Polysyndeton
Protagonist
Red Herring
Rhetorical Device
Rhetorical Question
Science Fiction
Self-Fulfilling Prophecy
Synesthesia
Turning Point
Understatement
Urban Legend
Verisimilitude
Essay Guide
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Writing a Literature Review

Welcome to the Purdue OWL

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

A literature review is a document or section of a document that collects key sources on a topic and discusses those sources in conversation with each other (also called synthesis ). The lit review is an important genre in many disciplines, not just literature (i.e., the study of works of literature such as novels and plays). When we say “literature review” or refer to “the literature,” we are talking about the research ( scholarship ) in a given field. You will often see the terms “the research,” “the scholarship,” and “the literature” used mostly interchangeably.

Where, when, and why would I write a lit review?

There are a number of different situations where you might write a literature review, each with slightly different expectations; different disciplines, too, have field-specific expectations for what a literature review is and does. For instance, in the humanities, authors might include more overt argumentation and interpretation of source material in their literature reviews, whereas in the sciences, authors are more likely to report study designs and results in their literature reviews; these differences reflect these disciplines’ purposes and conventions in scholarship. You should always look at examples from your own discipline and talk to professors or mentors in your field to be sure you understand your discipline’s conventions, for literature reviews as well as for any other genre.

A literature review can be a part of a research paper or scholarly article, usually falling after the introduction and before the research methods sections. In these cases, the lit review just needs to cover scholarship that is important to the issue you are writing about; sometimes it will also cover key sources that informed your research methodology.

Lit reviews can also be standalone pieces, either as assignments in a class or as publications. In a class, a lit review may be assigned to help students familiarize themselves with a topic and with scholarship in their field, get an idea of the other researchers working on the topic they’re interested in, find gaps in existing research in order to propose new projects, and/or develop a theoretical framework and methodology for later research. As a publication, a lit review usually is meant to help make other scholars’ lives easier by collecting and summarizing, synthesizing, and analyzing existing research on a topic. This can be especially helpful for students or scholars getting into a new research area, or for directing an entire community of scholars toward questions that have not yet been answered.

What are the parts of a lit review?

Most lit reviews use a basic introduction-body-conclusion structure; if your lit review is part of a larger paper, the introduction and conclusion pieces may be just a few sentences while you focus most of your attention on the body. If your lit review is a standalone piece, the introduction and conclusion take up more space and give you a place to discuss your goals, research methods, and conclusions separately from where you discuss the literature itself.

Introduction:

An introductory paragraph that explains what your working topic and thesis is
A forecast of key topics or texts that will appear in the review
Potentially, a description of how you found sources and how you analyzed them for inclusion and discussion in the review (more often found in published, standalone literature reviews than in lit review sections in an article or research paper)
Summarize and synthesize: Give an overview of the main points of each source and combine them into a coherent whole
Analyze and interpret: Don’t just paraphrase other researchers – add your own interpretations where possible, discussing the significance of findings in relation to the literature as a whole
Critically Evaluate: Mention the strengths and weaknesses of your sources
Write in well-structured paragraphs: Use transition words and topic sentence to draw connections, comparisons, and contrasts.

Conclusion:

Summarize the key findings you have taken from the literature and emphasize their significance
Connect it back to your primary research question

How should I organize my lit review?

Lit reviews can take many different organizational patterns depending on what you are trying to accomplish with the review. Here are some examples:

Chronological : The simplest approach is to trace the development of the topic over time, which helps familiarize the audience with the topic (for instance if you are introducing something that is not commonly known in your field). If you choose this strategy, be careful to avoid simply listing and summarizing sources in order. Try to analyze the patterns, turning points, and key debates that have shaped the direction of the field. Give your interpretation of how and why certain developments occurred (as mentioned previously, this may not be appropriate in your discipline — check with a teacher or mentor if you’re unsure).
Thematic : If you have found some recurring central themes that you will continue working with throughout your piece, you can organize your literature review into subsections that address different aspects of the topic. For example, if you are reviewing literature about women and religion, key themes can include the role of women in churches and the religious attitude towards women.
Qualitative versus quantitative research
Empirical versus theoretical scholarship
Divide the research by sociological, historical, or cultural sources
Theoretical : In many humanities articles, the literature review is the foundation for the theoretical framework. You can use it to discuss various theories, models, and definitions of key concepts. You can argue for the relevance of a specific theoretical approach or combine various theorical concepts to create a framework for your research.

What are some strategies or tips I can use while writing my lit review?

Any lit review is only as good as the research it discusses; make sure your sources are well-chosen and your research is thorough. Don’t be afraid to do more research if you discover a new thread as you’re writing. More info on the research process is available in our "Conducting Research" resources .

As you’re doing your research, create an annotated bibliography ( see our page on the this type of document ). Much of the information used in an annotated bibliography can be used also in a literature review, so you’ll be not only partially drafting your lit review as you research, but also developing your sense of the larger conversation going on among scholars, professionals, and any other stakeholders in your topic.

Usually you will need to synthesize research rather than just summarizing it. This means drawing connections between sources to create a picture of the scholarly conversation on a topic over time. Many student writers struggle to synthesize because they feel they don’t have anything to add to the scholars they are citing; here are some strategies to help you:

It often helps to remember that the point of these kinds of syntheses is to show your readers how you understand your research, to help them read the rest of your paper.
Writing teachers often say synthesis is like hosting a dinner party: imagine all your sources are together in a room, discussing your topic. What are they saying to each other?
Look at the in-text citations in each paragraph. Are you citing just one source for each paragraph? This usually indicates summary only. When you have multiple sources cited in a paragraph, you are more likely to be synthesizing them (not always, but often
Read more about synthesis here.

The most interesting literature reviews are often written as arguments (again, as mentioned at the beginning of the page, this is discipline-specific and doesn’t work for all situations). Often, the literature review is where you can establish your research as filling a particular gap or as relevant in a particular way. You have some chance to do this in your introduction in an article, but the literature review section gives a more extended opportunity to establish the conversation in the way you would like your readers to see it. You can choose the intellectual lineage you would like to be part of and whose definitions matter most to your thinking (mostly humanities-specific, but this goes for sciences as well). In addressing these points, you argue for your place in the conversation, which tends to make the lit review more compelling than a simple reporting of other sources.

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The 10 Best Essay Collections of the Decade

Ever tried. ever failed. no matter..

Friends, it’s true: the end of the decade approaches. It’s been a difficult, anxiety-provoking, morally compromised decade, but at least it’s been populated by some damn fine literature. We’ll take our silver linings where we can.

So, as is our hallowed duty as a literary and culture website—though with full awareness of the potentially fruitless and endlessly contestable nature of the task—in the coming weeks, we’ll be taking a look at the best and most important (these being not always the same) books of the decade that was. We will do this, of course, by means of a variety of lists. We began with the best debut novels , the best short story collections , the best poetry collections , and the best memoirs of the decade , and we have now reached the fifth list in our series: the best essay collections published in English between 2010 and 2019.

The following books were chosen after much debate (and several rounds of voting) by the Literary Hub staff. Tears were spilled, feelings were hurt, books were re-read. And as you’ll shortly see, we had a hard time choosing just ten—so we’ve also included a list of dissenting opinions, and an even longer list of also-rans. As ever, free to add any of your own favorites that we’ve missed in the comments below.

The Top Ten

Oliver sacks, the mind’s eye (2010).

Toward the end of his life, maybe suspecting or sensing that it was coming to a close, Dr. Oliver Sacks tended to focus his efforts on sweeping intellectual projects like On the Move (a memoir), The River of Consciousness (a hybrid intellectual history), and Hallucinations (a book-length meditation on, what else, hallucinations). But in 2010, he gave us one more classic in the style that first made him famous, a form he revolutionized and brought into the contemporary literary canon: the medical case study as essay. In The Mind’s Eye , Sacks focuses on vision, expanding the notion to embrace not only how we see the world, but also how we map that world onto our brains when our eyes are closed and we’re communing with the deeper recesses of consciousness. Relaying histories of patients and public figures, as well as his own history of ocular cancer (the condition that would eventually spread and contribute to his death), Sacks uses vision as a lens through which to see all of what makes us human, what binds us together, and what keeps us painfully apart. The essays that make up this collection are quintessential Sacks: sensitive, searching, with an expertise that conveys scientific information and experimentation in terms we can not only comprehend, but which also expand how we see life carrying on around us. The case studies of “Stereo Sue,” of the concert pianist Lillian Kalir, and of Howard, the mystery novelist who can no longer read, are highlights of the collection, but each essay is a kind of gem, mined and polished by one of the great storytellers of our era. –Dwyer Murphy, CrimeReads Managing Editor

John Jeremiah Sullivan, Pulphead (2011)

The American essay was having a moment at the beginning of the decade, and Pulphead was smack in the middle. Without any hard data, I can tell you that this collection of John Jeremiah Sullivan’s magazine features—published primarily in GQ , but also in The Paris Review , and Harper’s —was the only full book of essays most of my literary friends had read since Slouching Towards Bethlehem , and probably one of the only full books of essays they had even heard of.

Well, we all picked a good one. Every essay in Pulphead is brilliant and entertaining, and illuminates some small corner of the American experience—even if it’s just one house, with Sullivan and an aging writer inside (“Mr. Lytle” is in fact a standout in a collection with no filler; fittingly, it won a National Magazine Award and a Pushcart Prize). But what are they about? Oh, Axl Rose, Christian Rock festivals, living around the filming of One Tree Hill , the Tea Party movement, Michael Jackson, Bunny Wailer, the influence of animals, and by god, the Miz (of Real World/Road Rules Challenge fame).

But as Dan Kois has pointed out , what connects these essays, apart from their general tone and excellence, is “their author’s essential curiosity about the world, his eye for the perfect detail, and his great good humor in revealing both his subjects’ and his own foibles.” They are also extremely well written, drawing much from fictional techniques and sentence craft, their literary pleasures so acute and remarkable that James Wood began his review of the collection in The New Yorker with a quiz: “Are the following sentences the beginnings of essays or of short stories?” (It was not a hard quiz, considering the context.)

It’s hard not to feel, reading this collection, like someone reached into your brain, took out the half-baked stuff you talk about with your friends, researched it, lived it, and represented it to you smarter and better and more thoroughly than you ever could. So read it in awe if you must, but read it. –Emily Temple, Senior Editor

Aleksandar Hemon, The Book of My Lives (2013)

Such is the sentence-level virtuosity of Aleksandar Hemon—the Bosnian-American writer, essayist, and critic—that throughout his career he has frequently been compared to the granddaddy of borrowed language prose stylists: Vladimir Nabokov. While it is, of course, objectively remarkable that anyone could write so beautifully in a language they learned in their twenties, what I admire most about Hemon’s work is the way in which he infuses every essay and story and novel with both a deep humanity and a controlled (but never subdued) fury. He can also be damn funny. Hemon grew up in Sarajevo and left in 1992 to study in Chicago, where he almost immediately found himself stranded, forced to watch from afar as his beloved home city was subjected to a relentless four-year bombardment, the longest siege of a capital in the history of modern warfare. This extraordinary memoir-in-essays is many things: it’s a love letter to both the family that raised him and the family he built in exile; it’s a rich, joyous, and complex portrait of a place the 90s made synonymous with war and devastation; and it’s an elegy for the wrenching loss of precious things. There’s an essay about coming of age in Sarajevo and another about why he can’t bring himself to leave Chicago. There are stories about relationships forged and maintained on the soccer pitch or over the chessboard, and stories about neighbors and mentors turned monstrous by ethnic prejudice. As a chorus they sing with insight, wry humor, and unimaginable sorrow. I am not exaggerating when I say that the collection’s devastating final piece, “The Aquarium”—which details his infant daughter’s brain tumor and the agonizing months which led up to her death—remains the most painful essay I have ever read. –Dan Sheehan, Book Marks Editor

Robin Wall Kimmerer, Braiding Sweetgrass (2013)

Of every essay in my relentlessly earmarked copy of Braiding Sweetgrass , Dr. Robin Wall Kimmerer’s gorgeously rendered argument for why and how we should keep going, there’s one that especially hits home: her account of professor-turned-forester Franz Dolp. When Dolp, several decades ago, revisited the farm that he had once shared with his ex-wife, he found a scene of destruction: The farm’s new owners had razed the land where he had tried to build a life. “I sat among the stumps and the swirling red dust and I cried,” he wrote in his journal.

So many in my generation (and younger) feel this kind of helplessness–and considerable rage–at finding ourselves newly adult in a world where those in power seem determined to abandon or destroy everything that human bodies have always needed to survive: air, water, land. Asking any single book to speak to this helplessness feels unfair, somehow; yet, Braiding Sweetgrass does, by weaving descriptions of indigenous tradition with the environmental sciences in order to show what survival has looked like over the course of many millennia. Kimmerer’s essays describe her personal experience as a Potawotami woman, plant ecologist, and teacher alongside stories of the many ways that humans have lived in relationship to other species. Whether describing Dolp’s work–he left the stumps for a life of forest restoration on the Oregon coast–or the work of others in maple sugar harvesting, creating black ash baskets, or planting a Three Sisters garden of corn, beans, and squash, she brings hope. “In ripe ears and swelling fruit, they counsel us that all gifts are multiplied in relationship,” she writes of the Three Sisters, which all sustain one another as they grow. “This is how the world keeps going.” –Corinne Segal, Senior Editor

Hilton Als, White Girls (2013)

In a world where we are so often reduced to one essential self, Hilton Als’ breathtaking book of critical essays, White Girls , which meditates on the ways he and other subjects read, project and absorb parts of white femininity, is a radically liberating book. It’s one of the only works of critical thinking that doesn’t ask the reader, its author or anyone he writes about to stoop before the doorframe of complete legibility before entering. Something he also permitted the subjects and readers of his first book, the glorious book-length essay, The Women , a series of riffs and psychological portraits of Dorothy Dean, Owen Dodson, and the author’s own mother, among others. One of the shifts of that book, uncommon at the time, was how it acknowledges the way we inhabit bodies made up of variously gendered influences. To read White Girls now is to experience the utter freedom of this gift and to marvel at Als’ tremendous versatility and intelligence.

He is easily the most diversely talented American critic alive. He can write into genres like pop music and film where being part of an audience is a fantasy happening in the dark. He’s also wired enough to know how the art world builds reputations on the nod of rich white patrons, a significant collision in a time when Jean-Michel Basquiat is America’s most expensive modern artist. Als’ swerving and always moving grip on performance means he’s especially good on describing the effect of art which is volatile and unstable and built on the mingling of made-up concepts and the hard fact of their effect on behavior, such as race. Writing on Flannery O’Connor for instance he alone puts a finger on her “uneasy and unavoidable union between black and white, the sacred and the profane, the shit and the stars.” From Eminem to Richard Pryor, André Leon Talley to Michael Jackson, Als enters the life and work of numerous artists here who turn the fascinations of race and with whiteness into fury and song and describes the complexity of their beauty like his life depended upon it. There are also brief memoirs here that will stop your heart. This is an essential work to understanding American culture. –John Freeman, Executive Editor

Eula Biss, On Immunity (2014)

We move through the world as if we can protect ourselves from its myriad dangers, exercising what little agency we have in an effort to keep at bay those fears that gather at the edges of any given life: of loss, illness, disaster, death. It is these fears—amplified by the birth of her first child—that Eula Biss confronts in her essential 2014 essay collection, On Immunity . As any great essayist does, Biss moves outward in concentric circles from her own very private view of the world to reveal wider truths, discovering as she does a culture consumed by anxiety at the pervasive toxicity of contemporary life. As Biss interrogates this culture—of privilege, of whiteness—she interrogates herself, questioning the flimsy ways in which we arm ourselves with science or superstition against the impurities of daily existence.

Five years on from its publication, it is dismaying that On Immunity feels as urgent (and necessary) a defense of basic science as ever. Vaccination, we learn, is derived from vacca —for cow—after the 17th-century discovery that a small application of cowpox was often enough to inoculate against the scourge of smallpox, an etymological digression that belies modern conspiratorial fears of Big Pharma and its vaccination agenda. But Biss never scolds or belittles the fears of others, and in her generosity and openness pulls off a neat (and important) trick: insofar as we are of the very world we fear, she seems to be suggesting, we ourselves are impure, have always been so, permeable, vulnerable, yet so much stronger than we think. –Jonny Diamond, Editor-in-Chief

Rebecca Solnit, The Mother of All Questions (2016)

When Rebecca Solnit’s essay, “Men Explain Things to Me,” was published in 2008, it quickly became a cultural phenomenon unlike almost any other in recent memory, assigning language to a behavior that almost every woman has witnessed—mansplaining—and, in the course of identifying that behavior, spurring a movement, online and offline, to share the ways in which patriarchal arrogance has intersected all our lives. (It would also come to be the titular essay in her collection published in 2014.) The Mother of All Questions follows up on that work and takes it further in order to examine the nature of self-expression—who is afforded it and denied it, what institutions have been put in place to limit it, and what happens when it is employed by women. Solnit has a singular gift for describing and decoding the misogynistic dynamics that govern the world so universally that they can seem invisible and the gendered violence that is so common as to seem unremarkable; this naming is powerful, and it opens space for sharing the stories that shape our lives.

The Mother of All Questions, comprised of essays written between 2014 and 2016, in many ways armed us with some of the tools necessary to survive the gaslighting of the Trump years, in which many of us—and especially women—have continued to hear from those in power that the things we see and hear do not exist and never existed. Solnit also acknowledges that labels like “woman,” and other gendered labels, are identities that are fluid in reality; in reviewing the book for The New Yorker , Moira Donegan suggested that, “One useful working definition of a woman might be ‘someone who experiences misogyny.'” Whichever words we use, Solnit writes in the introduction to the book that “when words break through unspeakability, what was tolerated by a society sometimes becomes intolerable.” This storytelling work has always been vital; it continues to be vital, and in this book, it is brilliantly done. –Corinne Segal, Senior Editor

Valeria Luiselli, Tell Me How It Ends (2017)

The newly minted MacArthur fellow Valeria Luiselli’s four-part (but really six-part) essay Tell Me How It Ends: An Essay in Forty Questions was inspired by her time spent volunteering at the federal immigration court in New York City, working as an interpreter for undocumented, unaccompanied migrant children who crossed the U.S.-Mexico border. Written concurrently with her novel Lost Children Archive (a fictional exploration of the same topic), Luiselli’s essay offers a fascinating conceit, the fashioning of an argument from the questions on the government intake form given to these children to process their arrivals. (Aside from the fact that this essay is a heartbreaking masterpiece, this is such a good conceit—transforming a cold, reproducible administrative document into highly personal literature.) Luiselli interweaves a grounded discussion of the questionnaire with a narrative of the road trip Luiselli takes with her husband and family, across America, while they (both Mexican citizens) wait for their own Green Card applications to be processed. It is on this trip when Luiselli reflects on the thousands of migrant children mysteriously traveling across the border by themselves. But the real point of the essay is to actually delve into the real stories of some of these children, which are agonizing, as well as to gravely, clearly expose what literally happens, procedural, when they do arrive—from forms to courts, as they’re swallowed by a bureaucratic vortex. Amid all of this, Luiselli also takes on more, exploring the larger contextual relationship between the United States of America and Mexico (as well as other countries in Central America, more broadly) as it has evolved to our current, adverse moment. Tell Me How It Ends is so small, but it is so passionate and vigorous: it desperately accomplishes in its less-than-100-pages-of-prose what centuries and miles and endless records of federal bureaucracy have never been able, and have never cared, to do: reverse the dehumanization of Latin American immigrants that occurs once they set foot in this country. –Olivia Rutigliano, CrimeReads Editorial Fellow

Zadie Smith, Feel Free (2018)

In the essay “Meet Justin Bieber!” in Feel Free , Zadie Smith writes that her interest in Justin Bieber is not an interest in the interiority of the singer himself, but in “the idea of the love object”. This essay—in which Smith imagines a meeting between Bieber and the late philosopher Martin Buber (“Bieber and Buber are alternative spellings of the same German surname,” she explains in one of many winning footnotes. “Who am I to ignore these hints from the universe?”). Smith allows that this premise is a bit premise -y: “I know, I know.” Still, the resulting essay is a very funny, very smart, and un-tricky exploration of individuality and true “meeting,” with a dash of late capitalism thrown in for good measure. The melding of high and low culture is the bread and butter of pretty much every prestige publication on the internet these days (and certainly of the Twitter feeds of all “public intellectuals”), but the essays in Smith’s collection don’t feel familiar—perhaps because hers is, as we’ve long known, an uncommon skill. Though I believe Smith could probably write compellingly about anything, she chooses her subjects wisely. She writes with as much electricity about Brexit as the aforementioned Beliebers—and each essay is utterly engrossing. “She contains multitudes, but her point is we all do,” writes Hermione Hoby in her review of the collection in The New Republic . “At the same time, we are, in our endless difference, nobody but ourselves.” –Jessie Gaynor, Social Media Editor

Tressie McMillan Cottom, Thick: And Other Essays (2019)

Tressie McMillan Cottom is an academic who has transcended the ivory tower to become the sort of public intellectual who can easily appear on radio or television talk shows to discuss race, gender, and capitalism. Her collection of essays reflects this duality, blending scholarly work with memoir to create a collection on the black female experience in postmodern America that’s “intersectional analysis with a side of pop culture.” The essays range from an analysis of sexual violence, to populist politics, to social media, but in centering her own experiences throughout, the collection becomes something unlike other pieces of criticism of contemporary culture. In explaining the title, she reflects on what an editor had said about her work: “I was too readable to be academic, too deep to be popular, too country black to be literary, and too naïve to show the rigor of my thinking in the complexity of my prose. I had wanted to create something meaningful that sounded not only like me, but like all of me. It was too thick.” One of the most powerful essays in the book is “Dying to be Competent” which begins with her unpacking the idiocy of LinkedIn (and the myth of meritocracy) and ends with a description of her miscarriage, the mishandling of black woman’s pain, and a condemnation of healthcare bureaucracy. A finalist for the 2019 National Book Award for Nonfiction, Thick confirms McMillan Cottom as one of our most fearless public intellectuals and one of the most vital. –Emily Firetog, Deputy Editor

Dissenting Opinions

The following books were just barely nudged out of the top ten, but we (or at least one of us) couldn’t let them pass without comment.

Elif Batuman, The Possessed (2010)

In The Possessed Elif Batuman indulges her love of Russian literature and the result is hilarious and remarkable. Each essay of the collection chronicles some adventure or other that she had while in graduate school for Comparative Literature and each is more unpredictable than the next. There’s the time a “well-known 20th-centuryist” gave a graduate student the finger; and the time when Batuman ended up living in Samarkand, Uzbekistan, for a summer; and the time that she convinced herself Tolstoy was murdered and spent the length of the Tolstoy Conference in Yasnaya Polyana considering clues and motives. Rich in historic detail about Russian authors and literature and thoughtfully constructed, each essay is an amalgam of critical analysis, cultural criticism, and serious contemplation of big ideas like that of identity, intellectual legacy, and authorship. With wit and a serpentine-like shape to her narratives, Batuman adopts a form reminiscent of a Socratic discourse, setting up questions at the beginning of her essays and then following digressions that more or less entreat the reader to synthesize the answer for herself. The digressions are always amusing and arguably the backbone of the collection, relaying absurd anecdotes with foreign scholars or awkward, surreal encounters with Eastern European strangers. Central also to the collection are Batuman’s intellectual asides where she entertains a theory—like the “problem of the person”: the inability to ever wholly capture one’s character—that ultimately layer the book’s themes. “You are certainly my most entertaining student,” a professor said to Batuman. But she is also curious and enthusiastic and reflective and so knowledgeable that she might even convince you (she has me!) that you too love Russian literature as much as she does. –Eleni Theodoropoulos, Editorial Fellow

Roxane Gay, Bad Feminist (2014)

Roxane Gay’s now-classic essay collection is a book that will make you laugh, think, cry, and then wonder, how can cultural criticism be this fun? My favorite essays in the book include Gay’s musings on competitive Scrabble, her stranded-in-academia dispatches, and her joyous film and television criticism, but given the breadth of topics Roxane Gay can discuss in an entertaining manner, there’s something for everyone in this one. This book is accessible because feminism itself should be accessible – Roxane Gay is as likely to draw inspiration from YA novels, or middle-brow shows about friendship, as she is to introduce concepts from the academic world, and if there’s anyone I trust to bridge the gap between high culture, low culture, and pop culture, it’s the Goddess of Twitter. I used to host a book club dedicated to radical reads, and this was one of the first picks for the club; a week after the book club met, I spied a few of the attendees meeting in the café of the bookstore, and found out that they had bonded so much over discussing Bad Feminist that they couldn’t wait for the next meeting of the book club to keep discussing politics and intersectionality, and that, in a nutshell, is the power of Roxane. –Molly Odintz, CrimeReads Associate Editor

Rivka Galchen, Little Labors (2016)

Generally, I find stories about the trials and tribulations of child-having to be of limited appeal—useful, maybe, insofar as they offer validation that other people have also endured the bizarre realities of living with a tiny human, but otherwise liable to drift into the musings of parents thrilled at the simple fact of their own fecundity, as if they were the first ones to figure the process out (or not). But Little Labors is not simply an essay collection about motherhood, perhaps because Galchen initially “didn’t want to write about” her new baby—mostly, she writes, “because I had never been interested in babies, or mothers; in fact, those subjects had seemed perfectly not interesting to me.” Like many new mothers, though, Galchen soon discovered her baby—which she refers to sometimes as “the puma”—to be a preoccupying thought, demanding to be written about. Galchen’s interest isn’t just in her own progeny, but in babies in literature (“Literature has more dogs than babies, and also more abortions”), The Pillow Book , the eleventh-century collection of musings by Sei Shōnagon, and writers who are mothers. There are sections that made me laugh out loud, like when Galchen continually finds herself in an elevator with a neighbor who never fails to remark on the puma’s size. There are also deeper, darker musings, like the realization that the baby means “that it’s not permissible to die. There are days when this does not feel good.” It is a slim collection that I happened to read at the perfect time, and it remains one of my favorites of the decade. –Emily Firetog, Deputy Editor

Charlie Fox, This Young Monster (2017)

On social media as in his writing, British art critic Charlie Fox rejects lucidity for allusion and doesn’t quite answer the Twitter textbox’s persistent question: “What’s happening?” These days, it’s hard to tell. This Young Monster (2017), Fox’s first book,was published a few months after Donald Trump’s election, and at one point Fox takes a swipe at a man he judges “direct from a nightmare and just a repulsive fucking goon.” Fox doesn’t linger on politics, though, since most of the monsters he looks at “embody otherness and make it into art, ripping any conventional idea of beauty to shreds and replacing it with something weird and troubling of their own invention.”

If clichés are loathed because they conform to what philosopher Georges Bataille called “the common measure,” then monsters are rebellious non-sequiturs, comedic or horrific derailments from a classical ideal. Perverts in the most literal sense, monsters have gone astray from some “proper” course. The book’s nine chapters, which are about a specific monster or type of monster, are full of callbacks to familiar and lesser-known media. Fox cites visual art, film, songs, and books with the screwy buoyancy of a savant. Take one of his essays, “Spook House,” framed as a stage play with two principal characters, Klaus (“an intoxicated young skinhead vampire”) and Hermione (“a teen sorceress with green skin and jet-black hair” who looks more like The Wicked Witch than her namesake). The chorus is a troupe of trick-or-treaters. Using the filmmaker Cameron Jamie as a starting point, the rest is free association on gothic decadence and Detroit and L.A. as cities of the dead. All the while, Klaus quotes from Artforum , Dazed & Confused , and Time Out. It’s a technical feat that makes fictionalized dialogue a conveyor belt for cultural criticism.

In Fox’s imagination, David Bowie and the Hydra coexist alongside Peter Pan, Dennis Hopper, and the maenads. Fox’s book reaches for the monster’s mask, not really to peel it off but to feel and smell the rubber schnoz, to know how it’s made before making sure it’s still snugly set. With a stylistic blend of arthouse suavity and B-movie chic, This Young Monster considers how monsters in culture are made. Aren’t the scariest things made in post-production? Isn’t the creature just duplicity, like a looping choir or a dubbed scream? –Aaron Robertson, Assistant Editor

Elena Passarello, Animals Strike Curious Poses (2017)

Elena Passarello’s collection of essays Animals Strike Curious Poses picks out infamous animals and grants them the voice, narrative, and history they deserve. Not only is a collection like this relevant during the sixth extinction but it is an ambitious historical and anthropological undertaking, which Passarello has tackled with thorough research and a playful tone that rather than compromise her subject, complicates and humanizes it. Passarello’s intention is to investigate the role of animals across the span of human civilization and in doing so, to construct a timeline of humanity as told through people’s interactions with said animals. “Of all the images that make our world, animal images are particularly buried inside us,” Passarello writes in her first essay, to introduce us to the object of the book and also to the oldest of her chosen characters: Yuka, a 39,000-year-old mummified woolly mammoth discovered in the Siberian permafrost in 2010. It was an occasion so remarkable and so unfathomable given the span of human civilization that Passarello says of Yuka: “Since language is epically younger than both thought and experience, ‘woolly mammoth’ means, to a human brain, something more like time.” The essay ends with a character placing a hand on a cave drawing of a woolly mammoth, accompanied by a phrase which encapsulates the author’s vision for the book: “And he becomes the mammoth so he can envision the mammoth.” In Passarello’s hands the imagined boundaries between the animal, natural, and human world disintegrate and what emerges is a cohesive if baffling integrated history of life. With the accuracy and tenacity of a journalist and the spirit of a storyteller, Elena Passarello has assembled a modern bestiary worthy of contemplation and awe. –Eleni Theodoropoulos, Editorial Fellow

Esmé Weijun Wang, The Collected Schizophrenias (2019)

Esmé Weijun Wang’s collection of essays is a kaleidoscopic look at mental health and the lives affected by the schizophrenias. Each essay takes on a different aspect of the topic, but you’ll want to read them together for a holistic perspective. Esmé Weijun Wang generously begins The Collected Schizophrenias by acknowledging the stereotype, “Schizophrenia terrifies. It is the archetypal disorder of lunacy.” From there, she walks us through the technical language, breaks down the Diagnostic and Statistical Manual ( DSM-5 )’s clinical definition. And then she gets very personal, telling us about how she came to her own diagnosis and the way it’s touched her daily life (her relationships, her ideas about motherhood). Esmé Weijun Wang is uniquely situated to write about this topic. As a former lab researcher at Stanford, she turns a precise, analytical eye to her experience while simultaneously unfolding everything with great patience for her reader. Throughout, she brilliantly dissects the language around mental health. (On saying “a person living with bipolar disorder” instead of using “bipolar” as the sole subject: “…we are not our diseases. We are instead individuals with disorders and malfunctions. Our conditions lie over us like smallpox blankets; we are one thing and the illness is another.”) She pinpoints the ways she arms herself against anticipated reactions to the schizophrenias: high fashion, having attended an Ivy League institution. In a particularly piercing essay, she traces mental illness back through her family tree. She also places her story within more mainstream cultural contexts, calling on groundbreaking exposés about the dangerous of institutionalization and depictions of mental illness in television and film (like the infamous Slender Man case, in which two young girls stab their best friend because an invented Internet figure told them to). At once intimate and far-reaching, The Collected Schizophrenias is an informative and important (and let’s not forget artful) work. I’ve never read a collection quite so beautifully-written and laid-bare as this. –Katie Yee, Book Marks Assistant Editor

Ross Gay, The Book of Delights (2019)

When Ross Gay began writing what would become The Book of Delights, he envisioned it as a project of daily essays, each focused on a moment or point of delight in his day. This plan quickly disintegrated; on day four, he skipped his self-imposed assignment and decided to “in honor and love, delight in blowing it off.” (Clearly, “blowing it off” is a relative term here, as he still produced the book.) Ross Gay is a generous teacher of how to live, and this moment of reveling in self-compassion is one lesson among many in The Book of Delights , which wanders from moments of connection with strangers to a shade of “red I don’t think I actually have words for,” a text from a friend reading “I love you breadfruit,” and “the sun like a guiding hand on my back, saying everything is possible. Everything .”

Gay does not linger on any one subject for long, creating the sense that delight is a product not of extenuating circumstances, but of our attention; his attunement to the possibilities of a single day, and awareness of all the small moments that produce delight, are a model for life amid the warring factions of the attention economy. These small moments range from the physical–hugging a stranger, transplanting fig cuttings–to the spiritual and philosophical, giving the impression of sitting beside Gay in his garden as he thinks out loud in real time. It’s a privilege to listen. –Corinne Segal, Senior Editor

Honorable Mentions

A selection of other books that we seriously considered for both lists—just to be extra about it (and because decisions are hard).

Terry Castle, The Professor and Other Writings (2010) · Joyce Carol Oates, In Rough Country (2010) · Geoff Dyer, Otherwise Known as the Human Condition (2011) · Christopher Hitchens, Arguably (2011) · Roberto Bolaño, tr. Natasha Wimmer, Between Parentheses (2011) · Dubravka Ugresic, tr. David Williams, Karaoke Culture (2011) · Tom Bissell, Magic Hours (2012) · Kevin Young, The Grey Album (2012) · William H. Gass, Life Sentences: Literary Judgments and Accounts (2012) · Mary Ruefle, Madness, Rack, and Honey (2012) · Herta Müller, tr. Geoffrey Mulligan, Cristina and Her Double (2013) · Leslie Jamison, The Empathy Exams (2014) · Meghan Daum, The Unspeakable (2014) · Daphne Merkin, The Fame Lunches (2014) · Charles D’Ambrosio, Loitering (2015) · Wendy Walters, Multiply/Divide (2015) · Colm Tóibín, On Elizabeth Bishop (2015) · Renee Gladman, Calamities (2016) · Jesmyn Ward, ed. The Fire This Time (2016) · Lindy West, Shrill (2016) · Mary Oliver, Upstream (2016) · Emily Witt, Future Sex (2016) · Olivia Laing, The Lonely City (2016) · Mark Greif, Against Everything (2016) · Durga Chew-Bose, Too Much and Not the Mood (2017) · Sarah Gerard, Sunshine State (2017) · Jim Harrison, A Really Big Lunch (2017) · J.M. Coetzee, Late Essays: 2006-2017 (2017) · Melissa Febos, Abandon Me (2017) · Louise Glück, American Originality (2017) · Joan Didion, South and West (2017) · Tom McCarthy, Typewriters, Bombs, Jellyfish (2017) · Hanif Abdurraqib, They Can’t Kill Us Until they Kill Us (2017) · Ta-Nehisi Coates, We Were Eight Years in Power (2017) · Samantha Irby, We Are Never Meeting in Real Life (2017) · Alexander Chee, How to Write an Autobiographical Novel (2018) · Alice Bolin, Dead Girls (2018) · Marilynne Robinson, What Are We Doing Here? (2018) · Lorrie Moore, See What Can Be Done (2018) · Maggie O’Farrell, I Am I Am I Am (2018) · Ijeoma Oluo, So You Want to Talk About Race (2018) · Rachel Cusk, Coventry (2019) · Jia Tolentino, Trick Mirror (2019) · Emily Bernard, Black is the Body (2019) · Toni Morrison, The Source of Self-Regard (2019) · Margaret Renkl, Late Migrations (2019) · Rachel Munroe, Savage Appetites (2019) · Robert A. Caro, Working (2019) · Arundhati Roy, My Seditious Heart (2019).

Emily Temple

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Literary Theory and Criticism

Home › History of English Literature › A Brief History of English Literature

A Brief History of English Literature

By NASRULLAH MAMBROL on July 18, 2018 • ( 14 )

OLD ENGLISH LITERATURE

The Old English language or Anglo-Saxon is the earliest form of English. The period is a long one and it is generally considered that Old English was spoken from about A.D. 600 to about 1100. Many of the poems of the period are pagan, in particular Widsith and Beowulf.

The greatest English poem, Beowulf is the first English epic. The author of Beowulf is anonymous. It is a story of a brave young man Beowulf in 3182 lines. In this epic poem, Beowulf sails to Denmark with a band of warriors to save the King of Denmark, Hrothgar. Beowulf saves Danish King Hrothgar from a terrible monster called Grendel. The mother of Grendel who sought vengeance for the death of her son was also killed by Beowulf. Beowulf was rewarded and became King. After a prosperous reign of some forty years, Beowulf slays a dragon but in the fight he himself receives a mortal wound and dies. The poem concludes with the funeral ceremonies in honour of the dead hero. Though the poem Beowulf is little interesting to contemporary readers, it is a very important poem in the Old English period because it gives an interesting picture of the life and practices of old days.

The difficulty encountered in reading Old English Literature lies in the fact that the language is very different from that of today. There was no rhyme in Old English poems. Instead they used alliteration.

Besides Beowulf , there are many other Old English poems. Widsith, Genesis A, Genesis B, Exodus, The Wanderer, The Seafarer, Wife’s Lament, Husband’s Message, Christ and Satan, Daniel, Andreas, Guthlac, The Dream of the Rood, The Battle of Maldon etc. are some of the examples.

Two important figures in Old English poetry are Cynewulf and Caedmon. Cynewulf wrote religious poems and the four poems, Juliana, The Fates of the Apostles, Christ and Elene are always credited with him. Caedmon is famous for his Hymn.

Alfred enriched Old English prose with his translations especially Bede’s Ecclesiastical History. Aelfric is another important prose writer during Old English period. He is famous for his Grammar, Homilies and Lives of the Saints. Aelfric’s prose is natural and easy and is very often alliterative.

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Middle English Literature

Geoffrey Chaucer Poet Geoffrey Chaucer was born circa 1340 in London, England. In 1357 he became a public servant to Countess Elizabeth of Ulster and continued in that capacity with the British court throughout his lifetime. The Canterbury Tales became his best known and most acclaimed work. He died in 1400 and was the first to be buried in Westminster Abbey’s Poet’s Corner.

Chaucer’s first major work was ‘The Book of the Duchess’, an elegy for the first wife of his patron John of Gaunt. Other works include ‘Parlement of Foules’, ‘The Legend of Good Women’ and ‘Troilus and Criseyde’. In 1387, he began his most famous work, ‘The Canterbury Tales’, in which a diverse group of people recount stories to pass the time on a pilgrimage to Canterbury.

William Langland , (born c. 1330—died c. 1400), presumed author of one of the greatest examples of Middle English alliterative poetry, generally known as Piers Plowman, an allegorical work with a complex variety of religious themes. One of the major achievements of Piers Plowman is that it translates the language and conceptions of the cloister into symbols and images that could be understood by the layman. In general, the language of the poem is simple and colloquial, but some of the author’s imagery is powerful and direct.

PERIODS IN THE DEVELOPMENT OF THE DRAMA

In Europe, as in Greece, the drama had a distinctly religious origin. The first characters were drawn from the New Testament, and the object of the first plays was to make the church service more impressive, or to emphasize moral lessons by showing the reward of the good and the punishment of the evil doer. In the latter days of the Roman Empire the Church found the stage possessed by frightful plays, which debased the morals of a people already fallen too low. Reform seemed impossible; the corrupt drama was driven from the stage, and plays of every kind were forbidden. But mankind loves a spectacle, and soon the Church itself provided a substitute for the forbidden plays in the famous Mysteries and Miracles.

MIRACLE AND MYSTERY PLAYS

In France the name miracle was given to any play representing the lives of the saints, while the mystère represented scenes from the life of Christ or stories from the Old Testament associated with the coming of Messiah. In England this distinction was almost unknown; the name Miracle was used indiscriminately for all plays having their origin in the Bible or in the lives of the saints; and the name Mystery, to distinguish a certain class of plays, was not used until long after the religious drama had passed away.

The earliest Miracle of which we have any record in England is the Ludus de Sancta Katharina, which was performed in Dunstable about the year 1110. It is not known who wrote the original play of St. Catherine, but our first version was prepared by Geoffrey of St. Albans, a French schoolteacher of Dunstable. Whether or not the play was given in English is not known, but it was customary in the earliest plays for the chief actors to speak in Latin or French, to show their importance, while minor and comic parts of the same play were given in English.

For four centuries after this first recorded play the Miracles increased steadily in number and popularity in England. They were given first very simply and impressively in the churches; then, as the actors increased in number and the plays in liveliness, they overflowed to the churchyards; but when fun and hilarity began to predominate even in the most sacred representations, the scandalized priests forbade plays altogether on church grounds. By the year 1300 the Miracles were out of ecclesiastical hands and adopted eagerly by the town guilds; and in the following two centuries we find the Church preaching against the abuse of the religious drama which it had itself introduced, and which at first had served a purely religious purpose. But by this time the Miracles had taken strong hold upon the English people, and they continued to be immensely popular until, in the sixteenth century, they were replaced by the Elizabethan drama.

The early Miracle plays of England were divided into two classes: the first, given at Christmas, included all plays connected with the birth of Christ; the second, at Easter, included the plays relating to his death and triumph. By the beginning of the fourteenth century all these plays were, in various localities, united in single cycles beginning with the Creation and ending with the Final Judgment. The complete cycle was presented every spring, beginning on Corpus Christi day; and as the presentation of so many plays meant a continuous outdoor festival of a week or more, this day was looked forward to as the happiest of the whole year.

Probably every important town in England had its own cycle of plays for its own guilds to perform, but nearly all have been lost. At the present day only four cycles exist (except in the most fragmentary condition), and these, though they furnish an interesting commentary on the times, add very little to our literature. The four cycles are the Chester and York plays, so called from the towns in which they were given; the Towneley or Wakefield plays, named for the Towneley family, which for a long time owned the manuscript; and the Coventry plays, which on doubtful evidence have been associated with the Grey Friars (Franciscans) of Coventry. The Chester cycle has 25 plays, the Wakefield 30, the Coventry 42, and the York 48. It is impossible to fix either the date or the authorship of any of these plays; we only know certainly that they were in great favor from the twelfth to the sixteenth century. The York plays are generally considered to be the best; but those of Wakefield show more humor and variety, and better workmanship. The former cycle especially shows a certain unity resulting from its aim to represent the whole of man’s life from birth to death. The same thing is noticeable in Cursor Mundi , which, with the York and Wakefield cycles, belongs to the fourteenth century.

After these plays were written according to the general outline of the Bible stories, no change was tolerated, the audience insisting, like children at “Punch and Judy,” upon seeing the same things year after year. No originality in plot or treatment was possible, therefore; the only variety was in new songs and jokes, and in the pranks of the devil. Childish as such plays seem to us, they are part of the religious development of all uneducated people. Even now the Persian play of the “Martyrdom of Ali” is celebrated yearly, and the famous “Passion Play,” a true Miracle, is given every ten years at Oberammergau.

THE MORAL PERIOD OF THE DRAMA

The second or moral period of the drama is shown by the increasing prevalence of the Morality plays. In these the characters were allegorical personages,–Life, Death, Repentance, Goodness, Love, Greed, and other virtues and vices. The Moralities may be regarded, therefore, as the dramatic counterpart of the once popular allegorical poetry exemplified by the Romance of the Rose . It did not occur to our first, unknown dramatists to portray men and women as they are until they had first made characters of abstract human qualities. Nevertheless, the Morality marks a distinct advance over the Miracle in that it gave free scope to the imagination for new plots and incidents. In Spain and Portugal these plays, under the name auto , were wonderfully developed by the genius of Calderon and Gil Vicente; but in England the Morality was a dreary kind of performance, like the allegorical poetry which preceded it.

To enliven the audience the devil of the Miracle plays was introduced; and another lively personage called the Vice was the predecessor of our modern clown and jester. His business was to torment the “virtues” by mischievous pranks, and especially to make the devil’s life a burden by beating him with a bladder or a wooden sword at every opportunity. The Morality generally ended in the triumph of virtue, the devil leaping into hell-mouth with Vice on his back.

The best known of the Moralities is “Everyman,” which has recently been revived in England and America. The subject of the play is the summoning of every man by Death; and the moral is that nothing can take away the terror of the inevitable summons but an honest life and the comforts of religion. In its dramatic unity it suggests the pure Greek drama; there is no change of time or scene, and the stage is never empty from the beginning to the end of the performance. Other well-known Moralities are the “Pride of Life,” “Hyckescorner,” and “Castell of Perseverance.” In the latter, man is represented as shut up in a castle garrisoned by the virtues and besieged by the vices.

Like the Miracle plays, most of the old Moralities are of unknown date and origin. Of the known authors of Moralities, two of the best are John Skelton, who wrote “Magnificence,” and probably also “The Necromancer”; and Sir David Lindsay (1490-1555), “the poet of the Scotch Reformation,” whose religious business it was to make rulers uncomfortable by telling them unpleasant truths in the form of poetry. With these men a new element enters into the Moralities. They satirize or denounce abuses of Church and State, and introduce living personages thinly disguised as allegories; so that the stage first becomes a power in shaping events and correcting abuses.

THE INTERLUDES

It is impossible to draw any accurate line of distinction between the Moralities and Interludes. In general we may think of the latter as dramatic scenes, sometimes given by themselves (usually with music and singing) at banquets and entertainments where a little fun was wanted; and again slipped into a Miracle play to enliven the audience after a solemn scene. Thus on the margin of a page of one of the old Chester plays we read, “The boye and pigge when the kinges are gone.” Certainly this was no part of the original scene between Herod and the three kings. So also the quarrel between Noah and his wife is probably a late addition to an old play. The Interludes originated, undoubtedly, in a sense of humor; and to John Heywood (1497?-1580?), a favorite retainer and jester at the court of Mary, is due the credit for raising the Interlude to the distinct dramatic form known as comedy.

Heywood’s Interludes were written between 1520 and 1540. His most famous is “The Four P’s,” a contest of wit between a “Pardoner, a Palmer, a Pedlar and a Poticary.” The characters here strongly suggest those of Chaucer. Another interesting Interlude is called “The Play of the Weather.” In this Jupiter and the gods assemble to listen to complaints about the weather and to reform abuses. Naturally everybody wants his own kind of weather. The climax is reached by a boy who announces that a boy’s pleasure consists in two things, catching birds and throwing snowballs, and begs for the weather to be such that he can always do both. Jupiter decides that he will do just as he pleases about the weather, and everybody goes home satisfied.

All these early plays were written, for the most part, in a mingling of prose and wretched doggerel, and add nothing to our literature. Their great work was to train actors, to keep alive the dramatic spirit, and to prepare the way for the true drama.

ELIZABEHAN POETRY AND PROSE

After the death of Geoffrey Chaucer in 1400, a century has gone without great literary outputs. This period is known as Barren Age of literature.

Even though there are many differences in their work, Sir Thomas Wyatt and the Earl of Surrey are often mentioned together. Sir Thomas Wyatt introduced the Sonnet in England whereas Surrey wrote the first blank verse in English.

Thomas Wyatt followed the Italian poet Petrarch to compose sonnets. In this form, the 14 lines rhyme abbaabba (8) + 2 or 3 rhymes in the last six lines.

The Earl of Surrey’s blank verse is remarkable. Christopher Marlow, Shakespeare, Milton and many other writers made use of it.

Tottel’s Songs and Sonnets (1557) is the first printed anthology of English poetry. It contained 40 poems by Surrey and 96 by Wyatt. There were 135 by other authors. Some of these poems were fine, some childish.

In 1609, a collection of Shakespeare’s 154 sonnets was printed. These sonnets were addressed to one “Mr. W.H.”. The most probable explanation of the identity of “W.H.” is that he was William Herbert, Earl of Pembroke.

Other people mentioned in the sonnets are a girl, a rival poet, and a dark-eyed beauty. Shakespeare’s two long poems, Venus and Adonis, The Rape of Lucrece are notable.

One of the most important poets of Elizabethan period is Edmund Spenser (1552-1599). He has been addressed “the poets’ poet”. His pastoral poem, The Shepeard’s Calendar (1579) is in 12 books, one for each month of the year. Spenser’s Amoretti, 88 Petrarchan sonnets clebrates his progress of love. The joy of his marriage with Elizabeth Boyle is expressed in his ode Epithalamion. His Prothalamion is written in honour of the double marriage of the daughters of the Earl of Worester. Spenser’s allegorical poem, The Faerie Queene is his greatest achievement. Spenser invented a special metre for The Faerie Queene . The verse has nine lines and the rhyme plan is ababbcbcc. This verse is known as the ‘Spenserian Stanza’.

Sir Philip Sidney is remembered for his prose romance, Arcadia . His critical essay Apology for Poetry, sonnet collection Astrophel and Stella are elegant.

Michael Drayton and Sir Walter Raleigh are other important poets of Elizabethan England. Famous Elizabethan dramatist Ben Jonson produced fine poems also.

The University Wits John Lyly, Thomas Kyd, George Peele, Thomas Lodge, Robert Green, Christopher Marlow, and Thomas Nash also wrote good number of poems. John Lyly is most widely known as the author of prose romance entitled Euphues. The style Lyly used in his Euphues is known as Euphuism. The sentences are long and complicated. It is filled with tricks and alliteration. Large number of similes are brought in.

John Donne’s works add the beauty of Elizabethan literature. He was the chief figure of Metaphysical Poetry. Donne’s poems are noted for its originality and striking images and conceits. Satires, Songs and Sonnets, Elegies, The Flea, A Valediction: forbidding mourning, A Valediction: of weeping etc. are his famous works.

Sir Francis Bacon is a versatile genius of Elizabethan England. He is considered as the father of English essays. His Essays first appeared in 1597, the second edition in 1612 and the third edition in 1625. Besides essays, he wrote The Advancement of Learning, New Atlantis and History of Henry VII.

Bacon’s popular essays are Of Truth, Of Friendship, Of Love, Of Travel, Of Parents and Children, Of Marriage and Single Life, Of Anger, Of Revenge, Of Death, etc.

Ben Jonson’s essays are compiled in The Timber or Discoveries. His essays are aphoristic like those of Bacon. Jonson is considered as the father of English literary criticism.

Many attempts were carried out to translate Bible into English. After the death of John Wycliff, William Tyndale tried on this project. Coverdale carried on the work of Tyndale. The Authorized Version of Bible was published in 1611.

ELIZABETHAN DRAMA

The English dramas have gone through great transformation in Elizabethan period. The chief literary glory of the Elizabethan age was its drama. The first regular English comedy was Ralph Roister Doister written by Nicholas Udall. Another comedy Gammar Gurton’s Needle is about the loss and the finding of a needle with which the old woman Gammar Gurton mends clothes.

The first English tragedy was Gorboduc , in blank verse. The first three acts of Gorboduc writtern by Thomas Norton and the other two by Thomas Sackville.

The University Wits contributed hugely for the growth of Elizabethan drama. The University Wits were young men associated with Oxford and Cambridge. They were fond of heroic themes. The most notable figures are Christopher Marlow, Thomas Kyd, Thomas Nash, Thomas Lodge, Robert Greene, and George Peele.

Christopher Marlow was the greatest of pre-Shakespearean dramatist. Marlow wrote only tragedies. His most famous works are Edward II, Tamburlaine the Great, The Jew of Malta, The Massacre at Paris, and Doctor Faustus. Marlow popularized the blank verse. Ben Jonson called it “the mighty line of Marlow”.

Thomas Kyd’s The Spanish Tragedy is a Senecan play. It resembles Shakespeare’s Hamlet. Its horrific plot gave the play a great and lasting popularity.

The greatest literary figure of English, William Shakespeare was born at Stratford-on-Avon on April 26, 1564. He did odd jobs and left to London for a career. In London, he wrote plays for Lord Chamberlain’s company. Shakespeare’s plays can be classified as the following

1.The Early Comedies: in these immature plays the plots are not original. The characters are less finished and the style lacks the genius of Shakespeare. They are full of wit and word play. Of this type are The Comedy of Errors, Love’s Labour’s Lost, and The Two Gentlemen of Verona.

2.The English Histories: These plays show a rapid maturing of Shakespeare’s technique. His characterization has improved. The plays in this group are Richard II, Henry IV and Henry V.

3. The Mature Comedies: The jovial good humour of Sir Toby Belch in Twelfth Night, the urban worldywise comedy of Touchstone in As You Like It, and the comic scenes in The Merchant of Venice, Much Ado About Nothing etc. are full of vitality. They contain many comic situations.

4.The Sombre Plays: In this group are All’s Well that Ends Well, Measure for Measure, and Trolius and Cressida . These plays show a cynical attitude to life and are realistic in plot.

5. The Great Tragedies : Hamlet, Othello, Macbeth , and King Lear are the climax of Shakespeare’s art. These plays stand supreme in intensity of emotion, depth of psychological insight, and power of style.

6. The Roman Plays: Julius Caesar, Antony and Cleopatra, Coriolanus etc. follow the great tragic period. Unlike Marlow, Shakespeare is relaxed in the intensity of tragedy.

7. The Last Plays: The notable last plays of Shakespeare are Cymbeline, The Winter’s Tale, and The Tempest.

The immense power and variety of Shakespeare’s work have led to the idea that one man cannot have written it all; yet it must be true that one man did. Thus Shakespeare remains as the greatest English dramatist even after four centuries of his death.

Other dramatist who flourished during the Elizabethan period is Ben Jonson. He introduced the “comedy of humours’’, which portrays the individual as dominated by one marked characteristic. He is best known for his Every Man in his Humour. Other important plays of Jonson are Every Man out of his Humour, Volpone or the Fox, and The Alchemist,

John Webster’s The White Devil and The Duchess of Malfi are important Elizabethan dramas. Thomas Dekker, Thomas Middleton, Thomas Heywood, Beaumont and Fletcher etc. are other noted Elizabethan playwrights.

John Milton and His Time

John Milton (1608- 1674) was born in London and educated at Christ’s College, Cambridge. After leaving university, he studied at home. Milton was a great poet, polemic, pamphleteer, theologian, and parliamentarian. In 1643, Milton married a woman much younger than himself. She left Milton and did not return for two years. This unfortunate incident led Milton to write two strong pamphlets on divorce. The greatest of all his political writings is Areopagitica, a notable and impassioned plea for the liberty of the press.

Milton’s early poems include On Shakespeare, and On Arriving at the Age of Twenty-three. L’Allegro( the happy man and Il Penseroso (the sad man) two long narrative poems. Comus is a masque written by Milton when he was at Cambridge.

His pastoral elegy Lycidas is on his friend, Edward King who drowned to death on a voyage to Ireland. Milton’s one of the sonnets deals with the theme of his blindness.

Milton is remembered for his greatest epic poem Paradise Lost. Paradise Lost contained twelve books and published in 1677. Milton composed it in blank verse. Paradise Lost covers the rebellion of Satan(Lucifer) in heaven and his expulsion. Paradise Lost contains hundreds of remarkable lines. Milton coined many words in this poem.

Paradise Regained and Samson Agonistes are other two major poems of Milton.

Milton occupies a central position in English literature. He was a great Puritan and supported Oliver Cromwell in the Civil War. He wrote many pamphlet in support of parliament.

LYRIC POETS DURING MILTON’S PERIOD (THE CAVALIER POETS)

Milton’s period produced immense lyric poetry. These lyrical poets dealt chiefly with love and war.

Richard Lovelace’s Lucasta contains the best of his shorter pieces. His best known lyrics, such as To Althea, from Prison and To Lucasta, going in the Wars, are simple and sincere.

Sir John Suckling was a famous wit at court. His poems are generous and witty. His famous poem is Ballad upon a Wedding.

Robert Herrick wrote some fresh and passionate lyrics. Among his best known shorter poems are To Althea, To Julia, and Cherry Ripe.

Philip Massinger and John Ford produced some notable in this period.

Many prose writers flourished during Milton’s age. Sir Thomas Browne is the best prose writer of the period. His ReligioMedici is a curious mixture of religious faith and scientific skepticism. Pseudodoxia Epidemica, or Vulgar Errors is another important work.

Thomas Hobbes’s Leviathan, Thomas Fuller’s The History of the Holy War are other important prose works during this period. Izaac Walton’s biography of John Donne is a very famous work of Milton’s period. His Compleat Angler discusses the art of river fishing.

RESTORATION DRAMA AND PROSE

The Restoration of Charles II (1660) brought about a revolution in English literature. With the collapse of the Puritan Government there sprang up activities that had been so long suppressed. The Restoration encouraged levity in rules that often resulted in immoral and indecent plays.

John Dryden (1631-1700)

Dryden is the greatest literary figure of the Restoration. In his works, we have an excellent reflection of both the good and the bad tendencies of the age in which he lived. Before the Restoration, Dryden supported Oliver Cromwell. At the Restoration, Dryden changed his views and became loyal to Charles II. His poem Astrea Redux (1660) celebrated Charles II’s return.

Dryden’s Annus Mirabilis( Miracle Year) describes the terrors of Great Fire in London in 1666. Dryden appeared as the chief literary champion of the monarchy in his famous satirical allegory, Abasalom and Achitophel. John Dryden is now remembered for his greatest mock-heroic poem, Mac Flecknoe. Mac Flecknoe is a personal attack on his rival poet Thomas Shadwell.

Dryden’s other important poems are Religio Laici, and The Hind and the Panther.

John Dryden popularized heroic couplets in his dramas. Aurengaxebe, The Rival Ladies, The Conquest of Granada, Don Sebastian etc. are some of his famous plays.

His dramatic masterpiece is All for Love. Dryden polished the plot of Shakespeare’s Antony and Cleopatra in his All for Love.

As a prose writer, Dryden’s work, An Essay on Dramatic Poesie is worth mentioning.

John Bunyan’s greatest allegory, The Pilgrim’s Progress, The Holy War,

Comedy of Manners

Restoration period produced a brilliant group of dramatists who made this age immortal in the history of English literature. These plays are hard and witty, comic and immoral. It was George Etheredge who introduced Comedy of Manners. His famous plays are She Would if She Could, The Man of Mode and Love in a Tub.

William Congreve is the greatest of Restoration comedy writers. His Love for Love, The Old Bachelor, The Way of the World and The Double Dealer are very popular.

William Wycherley is another important Restoration comedy playwright. His Country Wife, and Love in a Wood are notable plays.

Sir John Vanbrugh’s best three comedies are The Provoked Wife, The Relapse and The Confederacy.

ENGLISH POETS, 1660-1798

ALEXANDER POPE (1688-1744)

Alexander Pope was the undisputed master of both prose and verse. Pope wrote many poems and mock-epics attacking his rival poets and social condition of England. His Dunciad is an attack on dullness. He wrote An Essay on Criticism ( 1711) in heroic couplets. In 1712, Pope pubished The Rape of the Lock, one of the most brilliant poems in English language. It is a mock-heroic poem dealing with the fight of two noble families.

An Essay on Man, Of the Characters of Women, and the translation of Illiad and Odyssey are his other major works.

Oliver Goldsmith wrote two popular poems in heroic couplets. They are The Traveller and The Deserted Village.

James Thompson is remembered for his long series of descriptive passages dealing with natural scenes in his poem The Seasons. He wrote another important poem The Castle of Indolence.

Edward Young produced a large amount of literary work of variable quality. The Last Day, The Love of Fame, and The Force of Religion are some of them.

Robert Blair ’s fame is chiefly dependent on his poem The Grave. It is a long blank verse poem of meditation on man’s morality.

Thomas Gray (1716-1771) is one of the greatest poets of English literature. His first poem was the Ode on a Distant Prospect of Eton College. Then after years of revision, he published his famous Elegy Written in a Country Churchyard. Its popularity had been maintained to the present day. Other important poems of Thomas Gray are Ode on a Favourite Cat, The Bard and The Progress of Poesy.

William Blake (1757-1827) is both a great poet and artist. His two collections of short lyrics are Songs of Innocence and Songs of Experience. His finest lyric is The Tiger.

Robert Burns is known as the national poet of Scotland. A Winter Night, O My Love is like a Red Red Rose, The Holy Fair etc. are some of his major poems.

William Cowper, William Collins, and William Shenstone are other notable poets before the Romanticism.

EIGHTEENTH CENTURY PROSE

DANIEL DEFOE (1659-1731)

Daniel Defoe wrote in bulk. His greatest work is the novel Robinson Crusoe. It is based on an actual event which took place during his time. Robinson Crusoe is considered to be one of the most popular novels in English language. He started a journal named The Review. His A Journal of the Plague Year deals with the Plague in London in 1665.

Sir Richard Steele and Joseph Addison worked together for many years. Richard Steele started the periodicals The Tatler, The Spectator, The Guardian, The English Man, and The Reader. Joseph Addison contributed in these periodicals and wrote columns. The imaginary character of Sir Roger de Coverley was very popular during the eighteenth century.

Jonathan Swift (1667-1745) is one of the greatest satirists of English literature. His first noteworthy book was The Battle of the Books . A Tale of a Tub is a religious allegory like Bunyan’s Pilgrim’s Progress. His longest and most famous work is Gulliver’s Travels. Another important work of Jonathan Swift is A Modest Proposal.

Dr. Samuel Johnson (1709-1784) is very much famous for his Dictionary (1755). The Vanity of Human Wishes is a longish poem by him. Johnson started a paper named The Rambler. His The Lives of the Poets introduces fifty-two poets including Donne, Dryden, Pope, Milton, and Gray. Most of the information about Johnson is taken from his friend James Boswell’s biography Life of Samuel Johnson.

Edward Gibbon is famous for the great historical work, The Decline and Fall of the Roman Empire. His Autobiography contains valuable material concerning his life.

Edmund Burke is one of the masters of English prose. He was a great orator also. His speech On American Taxation is very famous. Revolution in France and A Letter to a Noble Lord are his notable pamphlets.

The letters of Lady Mary Wortley Montagu, Earl of Chesterfield, Thomas Gray and Cowper are good prose works in Eighteenth century literature.

The Birth of English Novel

The English novel proper was born about the middle of the eighteenth century. Samuel Richardson (1689-1761) is considered as the father of English novel. He published his first novel Pamela, or Virtue Rewarded in 1740. This novel is written in the form of letters. Thus Pamela is an ‘epistolary novel’. The character Pamela is a poor and virtuous woman who marries a wicked man and afterwards reforms her husband. Richardson’s next novel Clarissa Harlowe was also constructed in the form of letters. Many critics consider Clarissa as Richardson’s masterpiece. Clarissa is the beautiful daughter of a severe father who wants her to marry against her will. Clarissa is a very long novel.

Henry Fielding (1707-1754) is another important novelist. He published Joseph Andrews in 1742. Joseph Andrews laughs at Samuel Richardson’s Pamela. His greatest novel is Tom Jones . Henry Fielding’s last novel is Amelia.

Tobias Smollett wrote a ‘picaresque novel’ titled The Adventures of Roderick Random. His other novels are The Adventures of Ferdinand and Humphry Clinker.

Laurence Sterne is now remembered for his masterpiece Tristram Shandy which was published in 1760. Another important work of Laurence Sterne is A Sentimental journey through France and Italy. These novels are unique in English literature. Sterne blends humour and pathos in his works.

Horace Walpole is famous both as a letter writer and novelist. His one and only novel The Castle of Otranto deals with the horrific and supernatural theme.

Other ‘terror novelists’ include William Beckford and Mrs Ann Radcliffe.

EARLY NINTEENTH CENTURY POETS (THE ROMANTICS)

The main stream of poetry in the eighteenth century had been orderly and polished, without much feeling for nature. The publication of the first edition of the Lyrical Ballads in 1798 came as a shock. The publication of Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge was the beginning of the romantic age. They together with Southey are known as the Lake Poets, because they liked the Lake district in England and lived in it.

William Wordsworth ((1770-1850) was the poet of nature. In the preface to the second edition of the Lyrical Ballads, Wordsworth set out his theory of poetry. He defined poetry as “the spontaneous overflow of powerful feelings and emotions”. His views on poetical style are the most revolutionary.

In his early career as a poet, Wordsworth wrote poems like An Evening Walk and Descriptive Sketches. The Prelude is the record of his development as a poet. It is a philosophical poem. He wrote some of the best lyric poems in the English language like The Solitary Reaper, I Wandered Lonely as a Cloud, Ode on the Itimations of Immorality, Resolution and Independence etc. Tintern Abbey is one of the greatest poems of Wordsworth.

Samuel Tylor Coleridge (1772-1814) wrote four poems for The Lyrical Ballads. The Rime of the Ancient Mariner is the most noteworthy. Kubla Khan, Christabel, Dejection an Ode, Frost at Midnight etc. are other important poems. Biographia Literaria is his most valuable prose work. Coleridge’s lectures on Shakespeare are equally important.

Lord Byron’s Childe Harold’s Pilgrimage was based on his travels. Don Juan ranks as one of the greatest of satirical poems. The Vision of Judgment is a fine political satire in English.

PB Shelley (1792-1822) was a revolutionary figure of Romantic period. When Shelley was studying at Oxford, he wrote the pamphlet The Necessity of Atheism which caused his expulsion from the university. Queen Mab, The Revolt of Islam and Alastor are his early poems. Prometheus Unbound is a combination of the lyric and the drama. Shelley wrote some of the sweetest English lyrics like To a Skylark, The Cloud, To Night etc. Of his many odes, the most remarkable is Ode to the West Wind. Adonais is an elegy on the death of John Keats.

John Keats (1795-1821) is another great Romantic poet who wrote some excellent poems in his short period of life. His Isabella deals with the murder of a lady’s lover by her two wicked brothers. The unfinished epic poem Hyperion is modelled on Milton’s Paradise Lost. The Eve of St Agnes is regarded as his finest narrative poem. The story of Lamia is taken from Burton’s Anatomy of Melancholy. Endymion, Ode to a Nightingale, Ode on a Grecian Urn, Ode to Psyche, Ode on Melancholy and Ode to Autumn are very famous . His Letters give give a clear insight into his mind and artistic development.

Robert Southey is a minor Romantic poet. His poems, which are of great bulk, include Joan of Arc, Thalaba, and The Holly-tree. 4

LATER NINETEENTH CENTURY POETS (Victorian Poets)

Alfred Lord Tennyson (1809-92) is a chief figure of later nineteenth century poetry. His volume of Poems contain notable poems like The Lady of Shalott, The Lotos-Eaters, Ulysses, Morte d’ Arthur. The story of Morte d’ Arthur is based on Thomas Malory’s poem Morte d’ Arthur. In Memoriam(1850) caused a great stir when it first appeared. It is a very long series of meditations upon the death of Arthur Henry Hallam, Tennyson’s college friend, who died at Vienna in 1833. In Memoriam is the most deeply emotional, and probably the greatest poetry he ever produced. Maud and Other Poems was received with amazement by the public. Idylls of the King, Enoch Arden, Harold etc. are his other works.

Robert Browning (1812-89) is an English poet and playwright whose mastery of dramatic monologues made him one of the foremost Victorian poets. He popularized ‘dramatic monologue’. The Ring and the Book is an epic-length poem in which he justifies the ways of God to humanity Browning is popularly known by his shorter poems, such as Porphyria’s Lover , Rabbi Ben Ezra , How They Brought the Good News from Ghent to Aix , and The Pied Piper of Hamelin . He married Elizabeth Barrett, another famous poet during the Victorian period. Fra Lippo Lippi Andrea Del Sarto and My Last Duchess are famous dramatic monologues.

Matthew Arnold (1822-1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School. Arnold is sometimes called the third great Victorian poet, along with Alfred Lord Tennyson and Robert Browning. Arnold valued natural scenery for its peace and permanence in contrast with the ceaseless change of human things. His descriptions are often picturesque, and marked by striking similes. Thyrsis, Dover Beach and The Scholar Gipsy are his notable poems.

Dante Gabriel Rossetti was an English poet, illustrator, painter and translator in the late nineteenth century England. Rossotti’s poems were criticized as belonging to the ‘Fleshy School’ of poetry. Rossetti wrote about nature with his eyes on it.

Elizabeth Barrett Browning, wife of Robert Browning wrote some excellent poems in her volume of Sonnets from the Portuguese.

AC Swinburne followed the style of Dante Gabriel Rossetti. Swinburne’s famous poems works are Poems and Ballads and tristram of Lyonesse.

Edward Fitzgerald translated the Rubaiyat of the Persian poet Omar Khayyam. Fitzgerald’s translation is loose and did not stick too closely to the original.

Rudyard Kipling and Francis Thompson also wrote some good poems during the later nineteenth century.

Nineteenth Century Novelists (Victorian Novelists)

Jane Austen 1775-1817 is one of the greatest novelists of nineteenth century English literature. Her first novel Pride and Prejudice (1813) deals with the life of middle class people. The style is smooth and charming. Her second novel Sense and Sensibility followed the same general lines of Pride and Prejudice. Northanger Abbey, Emma, Mansfield Park, and Persuasion are some of the other famous works. Jane Austen’s plots are skillfully constructed. Her characters are developed with minuteness and accuracy.

Charles Dickens (1812-1870) is considered as one of the greatest English novelists. Dickens has contributed some evergreen characters to English literature. He was a busy successful novelist during his lifetime. The Pickwick Papers and Sketches by Boz are two early novels. Oliver Twist, Nicholas Nickleby , David Copperfield, Hard Times, A Tale of Two Cities and Great Expectations are some of the most famous novels of Charles Dickens. No English novelists excel Dickens in the multiplicity of his characters and situations. He creates a whole world people for the readers. He sketched both lower and middle class people in London.

William Makepeace Thackeray was born in Calcutta and sent to England for education. William Thackeray is now chiefly remembered for his novel The Vanity Fair. While Dickens was in full tide of his success, Thackeray was struggling through neglect and contempt to recognition. Thackeray’s genius blossomed slowly. Thackeray’s characters are fearless and rough. He protested against the feeble characters of his time. The Rose and the Ring, Rebecca and Rowena, and The Four Georges are some of his works.

The Bront ë s Charlotte, Emily, and Anne were the daughters of an Irish clergy man Patrick Bront ë, who held a living in Yorkshire. Charlotte Bront ë ’ s first novel, The Professor failed to find a publisher and only appeared after her death. Jane Eyre is her greatest novel. the plot is weak and melodramatic. This was followed by Shirley and Villette. Her plots are overcharged and she is largely restricted to her own experiments.

Emily Brontë wrote less than Charlottë. Her one and only novel Wuthering Heights (1847) is unique in English literature. It is the passionate love story of Heathcliff and Catherine.

Anne Bronte ’s two novels, Agnes Grey and The Tenant of Wildfell Hall are much inferior to those of her sisters, for she lacks nearly all their power and intensity.

George Eliot (1819-1880) is the pen-name of Mary Ann Evans. Adam Bede was her first novel. Her next novel, The Mill on the Floss is partly autobiographical. Silas Marner is a shorter novel which gives excellent pictures of village life. Romola, Middle March and Daniel Deronda are other works of George Eliot.

Thomas Hardy (1840-1928) published his first work Desperate Remedies anonymously. Under the Greenwood Tree, one of the lightest and most appealing of his novels established him as a writer. It was set in the rural area he was soon to make famous as Wessex. Far From the Madding Crowd is a tragi-comedy set in Wessex. The rural background of the story is an integral part of the novel, which reveals the emotional depths which underlie rustic life. The novel, The Return of the Native is a study of man’s helplessness before the mighty Fate. The Mayor of Casterbridge also deals with the theme of Man versus Destiny. Tess of the D’Urbervilles and Jude the Obscure aroused the hostility of conventional readers due to their frank handling of sex and religion. At the beginning Tess of the D’Urbervilles was rejected by the publishers. The outcry with the publication of Jude the Obscure led Hardy in disgust to abandon novel writing. Thomas Hardy’s characters are mostly men and women living close to the soil.

Mary Shelley , the wife of Romantic poet PB Shelley is now remembered as a writer of her famous novel of terror, Frankestein. Frankestein can be regarded as the first attempt at science fiction. The Last Man is Mary Shelley’s another work.

Edgar Allan Poe was a master of Mystery stories. Poe’s powerful description of astonishing and unusual events has the attraction of terrible things. Some of his major works are The Mystery of Marie Roget, The Murders in the Rue Morgue, The Fall of the House of Usher and The Mystery of Red Death.

Besides poetry collections like The Lady of the Last Ministrel, Marmion, The Lady of the Lake, and The Lord of the Isles, Sir Walter Scott produced enormous number of novels. Waverly, Old Mortality, The Black Dwarf, The Pirate, and Kenilworth are some of them. He was too haste in writing novels and this led to the careless, imperfect stories. He has a great place in the field of historical novels.

Frederick Marryat ’s sea novels were popular in the nineteenth century. His earliest novel was The Naval Officer. All his best books deal with the sea. Marryat has a considerable gift for plain narrative and his humour is entertaining. Peter Simple, Jacob Faithful and Japhet in Search of His Father are some of his famous works.

R.L. Stevenson ’s The Tr easure Island, George Meredith ’s The Egoist, Edward Lytton ’s The Last Days of Pompeii, Charles Reade ’s Mask and Faces, Anthony Trollope ’s The Warden, Wilkie Collins ’s The Moonstone, Joseph Conard ’s Lord Jim, Nathaniel Hawthrone ’s The Scarlet Letter etc. are some of other famous works of nineteenth century English literature.

Other Nineteenth Century Prose

Charles Lamb is one of the greatest essayists of nineteenth century. Lamb started his career as a poet but is now remembered for his well-known Essays of Elia. His essays are unequal in English. He is so sensitive and so strong. Besides Essays of Elia, other famous essays are Dream Children and Tales from Shakespeare. His sister, Mary Lamb also wrote some significant essays.

William Hazlitt ’s reputation chiefly rests on his lectures and essays on literary and general subjects. His lectures, Characters of Shakespeare’s Plays, The English Poets and The English Comic Writers are important.

Thomas De Quincey ’s famous work is Confessions of an English Opium Eater. It is written in the manner of dreams. His Reminiscences of the English Lake Poets contain some good chapters on Wordsworth and Coleridge.

Thomas Carlyle is another prose writer of nineteenth century. His works consisted of translations, essays, and biographies. Of these the best are his translation of Goethe’s Wilhelm Meister’s Apprenticeship, his The Life of Schiller, and his essays on Robert Burns and Walter Scott.

Thomas Macaulay (Lord Macaulay) wrote extensively. He contributed for The Encyclopedia of Britannica and The Edinburgh Review. His History of England is filled with numerous and picturesque details.

Charles Darwin is one of the greatest names in modern science. He devoted almost wholly to biological and allied studies. His chief works are The Voyage of the Beagle, Origin of Species, and The Descent of Man.

John Ruskin ’s works are of immense volume and complexity. His longest book is Modern Painters. The Seven Lamps of Architecture, and The Stones of Venice expound his views on artistic matters. Unto this Last is a series of articles on political economy.

Samuel Butler , the grandson of Dr. Samuel Butler was inspired by the Darwinian theory of evolution. Evolution Old and New, Unconcious Memory, Essays on Life, Art and Science, The Way of All Flesh etc. rank him as one of the greatest prose writers of ninteenth century. He was an acute and original thinker. He exposed all kinds of reliogious, political, and social shams and hypocrisies of his period.

Besides being a great poet, Mathew Arnold also excelled as an essayist. His prose works are large in bulk and wide in range. Of them all his critical essays are probably of the greatest value. Essays in Criticism, Culture and Anarchy, and Literature and Dogma have permanent value.

Lewis Carroll , another prose writer of ninteenth century is now remembered for her immortal work, Alice’s Adventures in Wonderland. Ever since its publication, this novel continues to be popular among both the children and adult readers.

Chapter 13 Twentieth-century novels and other prose

The long reign of Queen Victoria ended in 1901. There was a sweeping social reform and unprecedented progress. The reawakening of a social conscience was found its expression in the literature produced during this period.

Rudyard Kipling was born in Bombay but soon moved to Lahore. He worked as a news reporter in Lahore. Kipling was a prolific and versatile writer. His insistent proclamation of the superiority of the white races, his support for colonization, his belief in the progress and the value of the machine etc. found an echo on the hearts of many of his readers. His best-known prose works include Kim, Life’s Handicap, Debits and Credits, and Rewards and Fairies. He is now chiefly remembered for his greatest work, The Jungle Book.

E.M Forster wrote five novels in his life time. Where Angels Fear to Tread has well-drawn characters. Other novels are The Longest Journey, A Room with a View, Howards End, and A Passage to India. A Passage to India is unequal in English in its presentation of the complex problems which were to be found in the relationship between English and native people in India. E.M Forster portrayed the Indian scene in all its magic and all its wretchedness.

H.G Wells began his career as a journalist. He started his scientific romances with the publication of The Time Machine. The Invisible Man, The War of the Worlds, The First Men in the Moon and The Food of the Gods are some of his important science romances. Ann Veronica, Kipps and The History of Mr Polly are numbered among his sociological novels.

D.H Lawrence was a striking figure in the twentieth century literary world. He produced over forty volumes of fiction during his period. The White Peacock is his earliest novel. The largely autobiographical and extremely powerful novel was Sons and Lovers. It studies with great insight the relationship between a son and mother. By many, it is considered the best of all his works. Then came The Rainbow, suppressed as obscene, which treats again the conflict between man and woman. Women in Love is another important work. Lady Chatterley’s Lover is a novel in which sexual experience is handled with a wealth of physical detail and uninhibited language. Lawrence also excelled both as a poet and short story writer.

James Joyce is a serious novelist, whose concern is chiefly with human relationships- man in relation to himself, to society, and to the whole race. He was born in Dublin, Ireland. His first work, Dubliners, is followed by a largely autobiographical novel A Portrait of the Artist as a Young Man. It is an intense account of a developing writer. The protagonist of the story, Stephen Dedalus is James Joyce himself. The character Stephen Dedalus appears again in his highly complex novel, Ulysses published in 1922. Joyce’s mastery of language, his integrity, brilliance, and power is noticeable in his novel titled Finnefan’s Wake.

Virginia Woolf famed both as a literary critic and novelist. Her first novel, The Voyage Out is told in the conventional narrative manner. A deeper study of characters can be found in her later works such as Night and Day, Jacob’s Room, To the Lighthouse, Mrs. Dalloway and Orlando. In addition to her novels, Virginia Woolf wrote a number of essays on cultural subjects. Woolf rejected the conventional concepts of novel. She replaced emphasis on incident, external description, and straight forward narration by using the technique “ Stream of Consciousness ”. James Joyce and Virginia Woolf popularized this writing technique.

George Orwell became a figure of outstanding importance because of Animal Farm. It is a political allegory on the degeneration of communist ideals into dictatorship. Utterly different was Nineteen Eighty-Four on the surveillance of state over its citizen. Burmese Days and The Road to Wigan Pier are other works.

William Golding deals with man’s instinct to destroy what is good, whether it is material or spiritual. His best known novel is Lord of the Flies . The Scorpion God, The Inheritors and Free Fall are other notable works.

Somerset Maugham was a realist who sketched the cosmopolitan life through his characters. The Moon and Sixpence, Mrs. Craddock and The Painted Veil are some of his novels. His best novel is Of Human Bondage. It is a study in frustration, which had a strong autobiographical element.

Kingsly Amis ’s Lucky Jim, Take a Girl like You, One Fat Englishman , and Girl are notable works in the twentieth century.

Twentieth Century Drama

After a hundred years of insignificance, drama again appeared as an important form in the twentieth century. Like the novelists in the 20 th century, most of the important dramatists were chiefly concerned with the contemporary social scene. Many playwrights experimented in the theatres. There were revolutionary changes in both the theme and presentation.

John Galsworthy was a social reformer who showed both sides of the problems in his plays. He had a warm sympathy for the victims of social injustice. Of his best-known plays The Silver Box deals with the inequality of justice, Strife with the struggle between Capital and Labour, Justice with the meaninglessness of judiciary system.

George Bernard Shaw is one of the greatest dramatists of 20 th century. The first Shavian play is considered to be Arms and the Man. It is an excellent and amusing stage piece which pokes fun at the romantic conception of the soldier. The Devil’s Disciple, Caesar and Cleopatra, and The Man of Destiny are also noteworthy. Man and Superman is Shaw’s most important play which deals the theme half seriously and half comically. Religion and social problems are again the main topics in Major Barbara. The Doctor’s Dilemma is an amusing satire. Social conventions and social weaknesses were treated again in Pygmalion , a witty and highly entertaining study of the class distinction. St Joan deals with the problems in Christianity. The Apple Cart, Geneva, The Millionaire, Too True to be Good and On the Rocks are Shaw’s minor plays.

J M Synge was the greatest dramatist in the rebirth of the Irish theatre. His plays are few in number but they are of a stature to place him among the greatest playwrights in the English language. Synge was inspired by the beauty of his surroundings, the humour, tragedy, and poetry of the life of the simple fisher-folk in the Isles of Aran. The Shadow of the Glen is a comedy based on an old folktale, which gives a good romantic picture of Irish peasant life. It was followed by Riders to the Sea, a powerful, deeply moving tragedy which deals with the toll taken by the sea in the lives of the fisher-folk of the Ireland. The Winker’s Wedding and The Well of the Saints are other notable works.

Samuel Beckett, the greatest proponent of Absurd Theatre is most famous for his play, Waiting for Godot. It is a static representation without structure or development, using only meandering, seemingly incoherent dialogue to suggest despair of a society in the post-World War period. Another famous play by Beckett is Endgame.

Harold Pinter was influenced by Samuel Beckett. His plays are quite short and set in an enclosed space. His characters are always in doubt about their function, and in fear of something or someone ‘outside’. The Birthday Party, The Dumb Waiter, A Night Out, The Homecoming and Silence are his most notable plays.

James Osborne’ s Look Back in Anger gave the strongest tonic to the concept of Angry Young Man . Watch it Come Down, A Portrait of Me, Inadmissible Evidence etc. are his other major works.

T.S Eliot wrote seven dramas. They are Sweeney Agonistes, The Rock, Murder in the Cathedral, The Family Reunion, The Cocktail Party, The Confidential Clerk and The Elder Statesman.

Juno and the Paycock, The Plough and the Stars, and The Silver Tassie marked Sean O’Casey out as the greatest new figure in the inter-War years. His own experience enabled him to study the life of the Dublin slums with the warm understanding.

Another leading playwright of 20 th century was Arnold Wesker. Wesker narrated the lives of working class people in his plays. Roots, Chicken Soup with Barley and I’m Talking about Jerusalem are his famous works.

Bertolt Brecht, J.B Priestley, Somerset Maugham, Christopher Fry, Peter Usinov, Tom Stoppard, Bernard Kops, Henry Livings, Alan Bennett et al are other important playwrights of twentieth century English literature.

Chapter 15 Twentieth Century Poetry

The greatest figure in the poetry of the early part of the Twentieth century was the Irish poet William Butler Yeats. Like so many of his contemporaries, Yeats was acutely conscious of the spiritual barrenness of his age. W.B Yeats sought to escape into the land of ‘faery’ and looked for his themes in Irish legend. He is one of the most difficult of modern poets. His trust was in the imagination and intuition of man rather than in scientific reasoning. Yeats believed in fairies, magic, and other forms of superstition. He studied Indian philosophy and Vedas. An Irish Seaman Foresees His Death, The Tower, The Green Helmet etc. are his major poems.

With possible excepion of Yeats, no twentieth century poet has been held in such esteem by his fellow-poets as T.S Eliot. Eliot’s first volume of verse, Prufrock and Other Observations portrays the boredom, emptiness, and pessimism of its days. His much discussed poem The Waste Land(1922) made a tremendous impact on the post-War generation, and it is considered one of the important documents of its age. The poem is difficult to understand in detail, but its general aim is clear. The poem is built round the symbols of drought and flood, representing death and rebirth. The poem progresses in five movements, “The Burial of the Dead”, “The Game of the Chess”, “The Fire Sermon”, “Death by Water”, and “What the Thunder Said”. Eliot’s poem Ash Wednesday is probably his most difficult. Obscure images and symbols and the lack of a clear, logical structure make the poem difficult.

W.H Auden was an artist of great virtuosity, a ceaseless experimenter in verse form, with a fine ear for the rhythm and music of words. He was modern in tone and selection of themes. Auden’s later poems revealed a new note of mysticism in his approach to human problems. He was outspokingly anti-Romantic and stressed the objective attitude.

Thomas Hardy began his career as a poet. Though he was not able to find a publisher, he continued to write poetry. Hardy’s verses consist of short lyrics describing nature and natural beauty. Like his novels, the poems reveal concern with man’s unequal struggle against the mighty fate. Wessex Poems, Winter Words, and Collected Poems are his major poetry works.

G.M Hopkins is a unique figure in the history of English poetry. No modern poet has been the centre of more controversy or the cause of more misunderstanding. He was very unconventional in writing technique. He used Sprung-rhythm, counterpoint rhythm, internal rhythms, alliteration, assonance, and coinages in his poems.

Dylan Thomas was an enemy of intellectualism in verse. He drew upon the human body, sex, and the Old Testament for much of his imagery and complex word-play. His verses are splendidly colourful and musical. Appreciation of landscape, religious and mystical association, sadness and quietness were very often selected as themes for his verses.

Sylvia Plath and her husband Ted Hughes composed some brilliant poems in the 20 th century. Plath’s mental imbalance which brought her to suicide can be seen in her poetry collections titled Ariel, The Colossus, and Crossing the Water. Ted Hughes was a poet of animal and nature. His major collection of poetry are The Hawk in the Rain, Woodwo, Crow, Crow Wakes and Eat Crow.

R.S Thomas, Philip Larkin, Kingsley Amis, Peter Porter, Seamus Heaney et al are also added the beauty of 20 th century English poetry.

The First World War brought to public notice many poets, particularly among the young men of armed forces, while it provided a new source of inspiration for writers of established reputation. Rupert Brooke, Slegfried Sassoon, and Wilfred Owen are the major War poets. Rupert Brooke ’s famous sonnet “If I should die, think only this of me” has appeared in so many anthologies of twentieth century verse. Brooke turned to nature and simple pleasures for inspiration. Sassoon wrote violent and embittered poems. Sassoon painted the horrors of life and death in the trenches and hospitals. Wilfred Owen was the greatest of the war poets. In the beginning of his literary career, Owen wrote in the romantic tradition of John Keats and Lord Tennyson. Owen was a gifted artist with a fine feeling for words. He greatly experimented in verse techniques.

How To Write A Literature Essay

Table of Contents

Content of this article

How to write a literature essay
Structure elements
Topic choice

1. How To Write A Literature Essay

Literature is pleasurable and at the same time entertaining. Literature analysis, therefore, gives you the chance to escape from the real world and venture into a zone that is free of stress and sadness. Literature essay writing provokes the thoughts of the readers and turns them intellectually. Experiences are imparted to the readers through literature analysis. An excellent way how to write a literature essay is by focusing on the elements that are fundamental to the topic of the essay . Literature essay writing also needs to be unique so as to stand out. There are various types of literature essays.

They include:

Novel essay: this kind of genre deals with the analysis of novels. The primary purpose of the novel essay is to evaluate as well as examine the elements used. Such elements include symbolism, characterization, and theme. Analysis of a novel gives a writer a good understanding of the novel being discussed.
Drama Essay: drama essay deals with plays and anything that is aimed at being performed. This kind of literature essay writing helps in giving a detailed understanding of the play to the reader.
Poetry Essay: this is the literary genre that is most common. The poetry essays are short compared to other types and use devices such as hyperbole, simile, alliteration, and onomatopoeia among other figurative languages.

The world is going digital, and anything can be accessed on the internet. If writing proves difficult, you can turn to the internet and search for a literature essay tutorial that will give you a detailed guideline on how to go about writing the article.

2. Literature Essay Structure

The structure of a literature essay will give you clear instructions on how to go about writing the literature essay. The literature essay structure can be divided into the introduction, the body, and the conclusion. The literature essay draft should go in line with the topic which the writer has chosen. The literature essay outline is as illustrated below:

Outline sample

The introduction

The literature essay introduction is the most crucial part of the article, as it will determine whether the readers will want to read more about the piece or not read it. The introduction for a literature essay should illustrate what is being argued in the essay. For an introduction to be successful, the contents need to be brief and accurate. Another professional way how to start a literature essay introduction is by including the names of the authors, the texts, the performance, and publications as well as the explanations of the contents. You can also highlight the book or piece that you intend to deal with.

Literature essay thesis

The thesis should be structured in a succinct and brief style. The original idea of writing the thesis is to provide the reader with a summary that is general and at the same time engaging. Introduce the main ideas you want to discuss and highlight in the organization as well. The thesis writing for a literature essay needs to be refined so as to support the introduction of the article. The core purpose of the thesis is to give the reader a trailer of the literary piece.

A literature thesis example:

Through the contrasting shore and river scene, Twain of Huckleberry and Finn proposes that to find the American ideals, you need to abandon the civilized society and return to nature.

The body paragraphs

The body is the main part of the literature essay. The body covers most of the article. A common way how to write a literature essay body is by using at least three paragraphs.

The literature essay ideas need to be relevant to the thesis and topic being discussed.
The points should also give assertion to the reader.
Highlight the theme and setting as well. Elaborate on how the elements have been used to support the theme in the literature essay.
For effective literature essay writing, discuss each point in its paragraph. This technique will give you the chance of exhausting the points.
Use transition words to make the points flow in the essay without losing the meaning.
Ensure the language used can be comprehended by everyone. It should not be for only a few.

Literature essay conclusion

The conclusion of the essay should be firm and sum up the whole article. The conclusion is a formal way how to end a literature essay. The conclusion restates the points for emphasis and makes the final argument clear. This section also gives you the chance of drawing connections between the context and the genre. The conclusion for a literature essay also gives room for you to show your engagement with the literature on a personal ground.

The structure of a literature essay can, therefore, be summarized as:

The conclusion

3. Finalizing literature essay

Do a revision once the article writing is complete. Revising gives you the chance of identifying spelling and grammatical errors that can be avoided. There is nothing as bad as spelling mistakes and errors. Proofreading, therefore, gives you the chance to go through the work and correct mistakes left behind. Such errors can make ‘literature essay writing look unprofessional. You can also give the article to another person to go through the work. A friend will identify the areas that don’t rhyme and can assist in making the piece exemplary. Revision gives you the chance to check if the article is in line with the literature essay writing guide assigned.

4. Topic choice

The topic of an article determines the points that will be used. This, therefore, means the ideas for a literature essay are dependent on the topic selected. Ensure that you fully understand what the topic expects of you and create a literature essay checklist that will assist you in preparing an excellent piece. If the topic selection becomes difficult, you can create a literature essay topic list that will assist in settling on the most suitable topic to tackle.

Below is a list of good literature essay topics that can be used:

Select any modern novel dealing with children’s literature and illustrate all the various elements that make it different from past stories.
Can the concerns of the young generation be connected to the violence in the stories of Hunger Games and the Divergent series?
Identify and illustrate a symbol used in a novel that you like and show the relevance to the theme.
Identify two books that major in current politics and relate them to the contemporary world.
Choose a character that depicts supernatural associations and elaborates on the elements used.
Discuss the transformation of a character in a novel that you have read exhaustively.
Carefully identify the most common themes depicted in books in this new century.

How to Write a Short Essay: Format & Examples

Short essays answer a specific question on the subject. They usually are anywhere between 250 words and 750 words long. A paper with less than 250 words isn’t considered a finished text, so it doesn’t fall under the category of a short essay. Essays of such format are required for personal statements where you need to write about yourself. It might seem easy, but it’s not half.

The picture provides introductory information about a short essay format.

Expressing and elaborating your idea within the given word limit is the most challenging part of the task. In this article, we’ll explain how to write a great short essay. If you’re working on one of your assignments and need help, keep reading to learn more!

📚 Essay Format
📝 Essay Template
✨ Guide & Useful Tips
✅ Essay Topics

🔗 References

📚 short essay format.

A short essay follows a standard essay structure : intro – main body – conclusion. You can be creative with the contents of your paper; however, it’s best to stick to the hamburger essay format when it comes to structure.

These are the benefits of having a standard essay structure:

You always have a template that can help you organize your thoughts.
You can estimate how many words each paragraph should include, making the writing process faster and easier.
You can get a high grade by simply following the instructions.

Below you’ll find more detailed information on how to organize each short essay section.

Introduction

An essay introduction aims to grab the reader’s attention and provide essential background information . It sets the tone for the paper and presents the thesis statement, outlining the essay’s central argument. Here are a couple of advice on how to make your introduction work:

Body Paragraphs

In the body paragraphs, you present and develop the essay’s main points. Each section focuses on a specific idea related to the topic, providing evidence, examples, and analysis to support the overall thesis statement. Here’s the structure of a paragraph:

A summary aims to condense the key ideas and arguments presented in an essay, allowing readers to quickly grasp the essence of the paper without reading the entire content. A good summary should:

The picture provides a list of steps for writing a short essay.

📝 Short Essay Template

Use this easy template to quickly structure any short narrative, argumentative, or informative essay.

Hook: an intriguing fact, question, or statistic to grab your readers’ attention.
Background info: something that provides context.
Thesis statement: the purpose or central argument of your essay presented in one sentence.
Topic sentence: a paragraph’s opening sentence that expresses its main idea.
Supporting sentences: evidence, facts, and examples supporting the topic sentence.
Transition: phrases or sentences that ensure coherence and cohesion in the essay, allowing for a clear and logical progression of information.
Summary: a brief recap and conclusion to an essay.
Restated thesis: a restatement of the main ideas and arguments.

✨ How to Write a Short Essay: Useful Tips

Each essay format has different requirements. Below are some tips to help you ensure you’re on the right track with the short essay format.

1. Follow the Short Essay Format

Mastering the format requirements is crucial, especially when writing a concise argumentative essay. While the five-paragraph structure may not be commonly found in literature, it holds great significance in academic writing for several reasons:

Adhering to this standardized template makes the writing process more manageable.
The clear guidelines facilitate reading, checking, and evaluation.
This format accommodates various essay types, allowing students to excel in most academic texts .

Each paragraph in the short essay format plays a distinct role, making it essential to include all components for a cohesive and impactful essay.

2. Make Your Introduction Meaningful

Here’s how you can make your introduction work:

When writing the opening paragraph of your essay, be very specific about your topic. It will help you sharpen your argument and clarify your intentions.
To avoid a generic introduction, consider providing an example of the evidence you will use to support your point.
Lastly, make sure to place your thesis statement as the concluding sentence of the paragraph, signaling to your readers where they can find the main point of your essay.

3. Write a Strong Thesis

Much has been said about the importance of a thesis statement, but crafting a persuasive one can be challenging. In a short essay, a strong thesis statement plays a crucial role. It summarizes the argument you intend to defend in your paper, setting the stage for your essay. Your thesis statement should be specific, intellectually rewarding by presenting new information, and decisive in expressing your opinion . Let’s take a closer look at some examples to illustrate these principles:

Bad example: There is a vast diversity of opinions regarding abortions .
Good example: Every woman must have the right to control her pregnancy which means the right to control her own body, health, and life.
Bad example: Prisons can harm a convict’s further career.
Good example: Imprisonment deteriorates a convict’s self-confidence and motivation, lowering their chances for new employment.
Bad example: Orphans become the beloved children in some families, while in others, they never become natives.
Good example: This essay aims to confirm that the reasons why adopting families don’t accept children lie within the families’ unreadiness for change.

4. Keep Your Introduction & Conclusion Concise

In the realm of short essay writing, brevity is the key. While it may be tempting to use abstract statements as hooks or delve into distant considerations in the conclusion part, keep an eye on the word count. With a maximum of 75 words each, the introduction elucidates the topic and conveys its significance, while the conclusion reiterates the main claim and reinforces the supporting evidence .

5. Make Topic Sentences from Your Thesis

When it comes to short essays, brevity extends to the main body as well. Typically comprising only 3 to 4 paragraphs, each of them focuses on a distinct aspect of the overall argument. To ensure clarity, we suggest splitting the thesis into multiple parts and transforming them into topic sentences for each paragraph. This structured approach will help you avoid confusion and make the paper more digestible for your readers. Additionally, this method simplifies crafting a well-rounded conclusion.

6. Refer to Reliable Sources

When tackling a short essay, it’s crucial to avoid baseless claims and instead focus on substantiating your arguments. Pay special attention to the sources you cite, as even the slightest inconsistency can catch the reader’s eye.

Enhance your essay’s credibility by incorporating several quotations or research-based facts, demonstrating your awareness of the topic. Even in the case of an in-class essay where extensive research may not be feasible, include relevant information or paraphrase passages you have previously encountered. Use indirect quotations if you can’t remember the exact wording.

7. Revise Your Short Essay

With a 500-word count, every word counts! Here are a few tips you may find helpful:

Take a moment to assess the length of your essay and eliminate any unnecessary words to ensure a faster and more polished result. Consider using our convenient summarizer to streamline your writing further.
Sometimes it’s hard to spot your own mistakes while proofreading the essay. Our essay-to-speech tool feature can help you identify weak points by reading your paper out loud. This auditory perspective can help you quickly identify and rectify any areas that require improvement.

✅ Short Essay Topics

Selecting an engaging and captivating topic is vital if you want to showcase your writing skills in a single short essay. Below are some examples to inspire your creativity . They’ll help you brainstorm and find the perfect topic that aligns with your interests and allows you to demonstrate your writing skills .

Short Narrative Essay Topics

How I see a day in my adult life .
Personal Experience in the Covert Conflict.
A loss that will never be replenished.
The Author’s Personal Experience.
Describe how you would change the school program .
Higher Education: Personality and Academic Success.
What is the critical element of success?
Photography: Hobby of Millions Unique for Everyone.
My first love and lessons learned from it.
Mindfulness Practicing: Personal Experience.
The longest day of my life.
Writing: Personal Hobby Analysis.
A place to find peace in the hurricane of events.
The Sports Coaching Guidelines and Routines.
An eye-opening situation that changed the way I treat others.
Innovation in Operation Management – Personal Experience.
The worst trait of my character.
Chapter 8 of “Criminology Today” by F. Schmalleger.
How I met my best friend.
Importance of Friendships.

Short Argumentative Essay Topics

Social media can kill a relationship.
Smoking in Public Places: Should It Be Banned?
Animals should live in their natural habitats .
Should People Be Ashamed of Poverty?
Mandatory Overtime for Nurses Should Be Eliminated.
The third wave of feminism is about to end with a half-victory.
The Importance of Variability in the Food Industry.
Gender Stereotypes: Should Real Men Wear Pink?
Pharmacies: A big lie that costs a fortune.
Police Standards Should Be Modified.
Genetic cloning is immoral.
Should Smoking Be Illegal?
College Athletes Should Not Be Paid.
We will never be equal because we are all different.
Mandatory Job Drug Test Should Be Allowed.
The best economic system has not been developed yet.
Why Marriage Should Be Based on Love and Not Arranged?
Reasons Why Kids Should Not Play Tackle Football.
Owning a gun means you can be killed by chance.
Should Social Media Be Banned?
The non-family-friendly TV screen.
Why Immigrants Should Receive Social Services?
There’s a lot more sport about video games than we think.
Should Children Be Taught Sex Education in School?

Short Informative Essay Topics

How have video games affected modern technologies ?
Infidelity and Societal Impact on Family Values.
Meaning of Life in “Half a Day” by Naguib Mahfouz.
Sociological Research Evaluation: Effects of Parental Imprisonment on Children’s Social and Moral Aspects.
Climate Change Impacts.
Explain the importance of the Olympic Games for building intercultural links.
The Importance of Strategic Management and Planning.
The Network Strategy of USA Today.
A prominent artist and their masterpiece.
Organizational Vision and Its Importance for the Staff.
How to develop reading habits that last.
The Impact of Electronic Medical Records.
New and Old Media: Form, Impact, and Accessibility.
Declaration of Independence and Cultural Issues Today.
How does alcohol impact the way we behave?
The Importance of Diet Monitoring.
Personal Philosophy of Nursing Care.
Why do teachers need a study plan?
The Introduction of a Four-Day Work Week.
Journalist Profession, Its Pros and Cons.
The role of capitalism in shaping our idea of democracy .
Teju Cole Personality’s in Modern American Society.
The Importance of Medical Ethics.
Tell a story of a famous and successful startup.
Power of Advertising: Good and Bad Balance’ Importance.
Personal and Political Pacifism.
The cultural importance of divination.
Important Factors in Personal Investment.
My way of organizing my daily schedule and staying productive .
The Impact of “The Marrow of Tradition” on Future American Literature.
Ray Bradbury’s “Fahrenheit 451”: Themes and Importance of the Book.

❓ Short Essay FAQ

A short essay is an academic paper typically ranging between 200 and 750 words, providing a focused topic exploration. This type of essay follows a standard structure: intro-main body-conclusion, usually presented in a five-paragraph format.

A short essay typically ranges from 200 to 750 words which can be covered in three to five paragraphs. This concise format translates to less than one page of typed content. However, it’s important to note that specific requirements may vary depending on the college, with some specifying a minimum of 150 words and a maximum of 650 words. Be sure to review the task instructions to ensure you meet the guidelines.

In a short essay, the number of words is more important than the number of sentences. It means you can use any number of sentences as long as you stay within the required word limit. However, most of the time, a short essay consists of around 20 to 25 sentences.

An introduction needs to grab readers’ attention and provide some background information. It’s best to start your essay with a hook. However, be careful and add only the necessary information since your word count is limited.

Writing short essays – Concordia University
Thesis Statements; The Writing Center – University of North Carolina at Chapel Hill
What Is an Essay Structure? (With 4 Types and Tips) | Indeed.com
How to Write a Thesis Statement: Writing Guides: Writing Tutorial Services: Indiana University Bloomington
Topic Sentences and Signposting | Harvard College Writing Center
Using Topic Sentences | Writing Advice
Beginning Proofreading – Purdue OWL® – Purdue University
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Syner’s Essay Wins Second Place at 2024 Southern Literary Festival

Mary Frances Dickie

April 23, 2024

"I appreciate the ways that literary criticism and research can bring an entirely new viewpoint and make me question what the work is truly about."

Patricia Syner, a senior creative writing major at Millsaps, recently earned second place in the 2024 Southern Literary Festival’s Formal Essay category. Her essay, “On a Dark and Stormy Screen: Bringing ‘Frankenstein’ to Life in Black and White Film,” analyzes the implications and effects of adapting the Mary Shelley novel in that medium.

Syner, from Meridian, Miss., wrote her essay for her senior seminar class. English literature and creative writing students must complete a senior seminar course focused on one or more works of literature to graduate.

This year, Dr. Anne MacMaster centered the seminar around “Frankenstein,” Bram Stoker’s “Dracula” and adaptations of these novels. Syner shares that in her essay, she wanted to give the 1930s “Frankenstein” films their due for using technological limitations – specifically black and white film – to translate the imagery in Shelley’s novel.

“I appreciate the ways that literary criticism and research can bring an entirely new viewpoint and make me question what the work is truly about,” Syner said.

In her essay, Syner argues that capturing the films in black and white allowed the directors to catch the persistent interplay of darkness, light and the elements that haunt Shelley’s novel. Though these films of the 1930s took significant liberties with the source material’s plot points, settings and even character names, she says, “I couldn’t ignore how their aesthetics evoked a true eeriness and complicated sympathy for the creature.”

Syner studied critical analyses of Classical-era film visuals and aesthetics to build her argument. In her research, she says she, “looked specifically for how authors commented on themes of horror and the uncanny using specific film vocabulary like ‘lighting’ and ‘set design.’”

It took some determination to find analyses dedicated specifically to the effects of lighting in black-and-white Classical-Era horror films. For researchers, this can be a blessing and a curse. “’Frankenstein’ films seemed to have fallen into the abyss as far as study on their lighting and other techniques go,” Syner acknowledged. “Though, I was happy my paper wasn’t rehashing a worn-out point.”

She attended the Southern Literary Festival in Oxford, Miss., to present her second-place essay. Her writing placed alongside students from Lipscomb University and the University of North Georgia.

Impressively, the festival fit into Syner’s already busy schedule. In addition to majoring in creative writing, she is minoring in film studies and Spanish . She co-edits the Stylus, Millsaps’ literary magazine, with fellow senior Brittany Wilson, acts with the Millsaps Players, works with Millsaps’ Digital Welty Lab and interns with the University Press of Mississippi.

Syner plans to continue writing after graduating in May. She hopes to pursue a career in publishing with a focus on editing or acquisitions while building her creative writing portfolio for submission to different publications. Her Millsaps education and success as a writer and researcher will be a strong foundation in every path she pursues.

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About 1 in 5 U.S. teens who’ve heard of ChatGPT have used it for schoolwork

Roughly one-in-five teenagers who have heard of ChatGPT say they have used it to help them do their schoolwork, according to a new Pew Research Center survey of U.S. teens ages 13 to 17. With a majority of teens having heard of ChatGPT, that amounts to 13% of all U.S. teens who have used the generative artificial intelligence (AI) chatbot in their schoolwork.

A bar chart showing that, among teens who know of ChatGPT, 19% say they’ve used it for schoolwork.

Teens in higher grade levels are particularly likely to have used the chatbot to help them with schoolwork. About one-quarter of 11th and 12th graders who have heard of ChatGPT say they have done this. This share drops to 17% among 9th and 10th graders and 12% among 7th and 8th graders.

There is no significant difference between teen boys and girls who have used ChatGPT in this way.

The introduction of ChatGPT last year has led to much discussion about its role in schools , especially whether schools should integrate the new technology into the classroom or ban it .

Pew Research Center conducted this analysis to understand American teens’ use and understanding of ChatGPT in the school setting.

The Center conducted an online survey of 1,453 U.S. teens from Sept. 26 to Oct. 23, 2023, via Ipsos. Ipsos recruited the teens via their parents, who were part of its KnowledgePanel . The KnowledgePanel is a probability-based web panel recruited primarily through national, random sampling of residential addresses. The survey was weighted to be representative of U.S. teens ages 13 to 17 who live with their parents by age, gender, race and ethnicity, household income, and other categories.

This research was reviewed and approved by an external institutional review board (IRB), Advarra, an independent committee of experts specializing in helping to protect the rights of research participants.

Here are the questions used for this analysis , along with responses, and its methodology .

Teens’ awareness of ChatGPT

Overall, two-thirds of U.S. teens say they have heard of ChatGPT, including 23% who have heard a lot about it. But awareness varies by race and ethnicity, as well as by household income:

A horizontal stacked bar chart showing that most teens have heard of ChatGPT, but awareness varies by race and ethnicity, household income.

72% of White teens say they’ve heard at least a little about ChatGPT, compared with 63% of Hispanic teens and 56% of Black teens.
75% of teens living in households that make $75,000 or more annually have heard of ChatGPT. Much smaller shares in households with incomes between $30,000 and $74,999 (58%) and less than $30,000 (41%) say the same.

Teens who are more aware of ChatGPT are more likely to use it for schoolwork. Roughly a third of teens who have heard a lot about ChatGPT (36%) have used it for schoolwork, far higher than the 10% among those who have heard a little about it.

When do teens think it’s OK for students to use ChatGPT?

For teens, whether it is – or is not – acceptable for students to use ChatGPT depends on what it is being used for.

There is a fair amount of support for using the chatbot to explore a topic. Roughly seven-in-ten teens who have heard of ChatGPT say it’s acceptable to use when they are researching something new, while 13% say it is not acceptable.

A diverging bar chart showing that many teens say it’s acceptable to use ChatGPT for research; few say it’s OK to use it for writing essays.

However, there is much less support for using ChatGPT to do the work itself. Just one-in-five teens who have heard of ChatGPT say it’s acceptable to use it to write essays, while 57% say it is not acceptable. And 39% say it’s acceptable to use ChatGPT to solve math problems, while a similar share of teens (36%) say it’s not acceptable.

Some teens are uncertain about whether it’s acceptable to use ChatGPT for these tasks. Between 18% and 24% say they aren’t sure whether these are acceptable use cases for ChatGPT.

Those who have heard a lot about ChatGPT are more likely than those who have only heard a little about it to say it’s acceptable to use the chatbot to research topics, solve math problems and write essays. For instance, 54% of teens who have heard a lot about ChatGPT say it’s acceptable to use it to solve math problems, compared with 32% among those who have heard a little about it.

Note: Here are the questions used for this analysis , along with responses, and its methodology .

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Many Americans think generative AI programs should credit the sources they rely on

Americans’ use of chatgpt is ticking up, but few trust its election information, q&a: how we used large language models to identify guests on popular podcasts, striking findings from 2023, what the data says about americans’ views of artificial intelligence, most popular.

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ABOUT PEW RESEARCH CENTER Pew Research Center is a nonpartisan fact tank that informs the public about the issues, attitudes and trends shaping the world. It conducts public opinion polling, demographic research, media content analysis and other empirical social science research. Pew Research Center does not take policy positions. It is a subsidiary of The Pew Charitable Trusts .

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Taylor Swift’s ‘Poets’ Arrives With a Promotional Blitz (and a Second LP)

The pop superstar’s latest album was preceded by a satellite radio channel, a word game, a return to TikTok and an actual library. For her fans, more is always welcome.

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The album cover for Taylor Swift’s “The Tortured Poets Department,” which depicts the star lying on pillows in sleepwear, draping her arms over her body.

By Ben Sisario

Taylor Swift was already the most ubiquitous pop star in the galaxy, her presence dominating the music charts, the concert calendar, the Super Bowl, the Grammys.

Then it came time for her to promote a new album.

In the days leading up to the release of “The Tortured Poets Department” on Friday, Swift became all but inescapable, online and seemingly everywhere else. Her lyrics were the basis for an Apple Music word game . A Spotify-sponsored, Swift-branded “ library installation ,” in muted pink and gray, popped up in a shopping complex in Los Angeles. In Chicago, a QR code painted on a brick wall directed fans to another Easter egg on YouTube. Videos on Swift’s social media accounts, showing antique typewriters and globes with pins, were dissected for clues about her music. SiriusXM added a Swift radio station; of course it’s called Channel 13 (Taylor’s Version).

About the only thing Swift didn’t do was an interview with a journalist.

At this stage in Swift’s career, an album release is more than just a moment to sell music; it’s all but a given that “The Tortured Poets Department” will open with gigantic sales numbers, many of them for “ghost white,” “phantom clear” and other collector-ready vinyl variants . More than that, the album’s arrival is a test of the celebrity-industrial complex overall, with tech platforms and media outlets racing to capture whatever piece of the fan frenzy they can get.

Threads, the newish social media platform from Meta, primed Swifties for their idol’s arrival there, and offered fans who shared Swift’s first Threads post a custom badge. Swift stunned the music industry last week by breaking ranks with her record label, Universal, and returning her music to TikTok, which Universal and other industry groups have said pays far too little in royalties. Overnight, TikTok unveiled “The Ultimate Taylor Swift In-App Experience,” offering fans digital goodies like a “Tortured Poets-inspired animation” on their feed.

Before the album’s release on Friday, Swift revealed that a music video — for “Fortnight,” the first single, featuring Post Malone — would arrive on Friday at 8 p.m. Eastern time. At 2 a.m., she had another surprise: 15 more songs. “I’d written so much tortured poetry in the past 2 years and wanted to share it all with you,” she wrote in a social media post , bringing “The Anthology” edition of the album to 31 tracks.

“The Tortured Poets Department,” which Swift, 34, announced in a Grammy acceptance speech in February — she had the Instagram post ready to go — lands as Swift’s profile continues to rise to ever-higher levels of cultural saturation.

Her Eras Tour , begun last year, has been a global phenomenon, crashing Ticketmaster and lifting local economies ; by some estimates, it might bring in as much as $2 billion in ticket sales — by far a new record — before it ends later this year. Swift’s romance with the Kansas City Chiefs tight end Travis Kelce has been breathlessly tracked from its first flirtations last summer to their smooch on the Super Bowl field in February. The mere thought that Swift might endorse a presidential candidate this year sent conspiracy-minded politicos reeling .

“The Tortured Poets Department” — don’t even ask about the missing apostrophe — arrived accompanied by a poem written by Stevie Nicks that begins, “He was in love with her/Or at least she thought so.” That establishes what many fans correctly anticipated as the album’s theme of heartbreak and relationship rot, Swift’s signature topic. “I love you/It’s ruining my life,” she sings on “Fortnight.”

Fans were especially primed for the fifth track, “So Long, London,” given that (1) Swift has said she often sequences her most vulnerable and emotionally intense songs fifth on an LP, and (2) the title suggested it may be about Joe Alwyn, the English actor who was Swift’s boyfriend for about six years, reportedly until early 2023 . Indeed, “So Long” is an epic breakup tune, with lines like “You left me at the house by the heath” and “I’m pissed off you let me give you all that youth for free.” Tracks from the album leaked on Wednesday, and fans have also interpreted some songs as being about Matty Healy , the frontman of the band the 1975, whom Swift was briefly linked to last year.

The album’s title song starts with a classic Swift detail of a memento from a lost love: “You left your typewriter at my apartment/Straight from the tortured poets department.” It also name-drops Dylan Thomas, Patti Smith and, somewhat surprisingly given that company, Charlie Puth, the singer-songwriter who crooned the hook on Wiz Khalifa’s “See You Again,” a No. 1 hit in 2015. (Swift has praised Wiz Khalifa and that song in the past.)

Other big moments include “Florida!!!,” featuring Florence Welch of Florence + the Machine, in which Swift declares — after seven big percussive bangs — that the state “is one hell of a drug.” Jack Antonoff and Aaron Dessner, the producers and songwriters who have been Swift’s primary collaborators in recent years, both worked on “Tortured Poets,” bringing their signature mix of moody, pulsating electronic tracks and delicate acoustic moments, like a bare piano on “Loml” (as in “love of my life”).

As the ninth LP Swift has released in five years, “Tortured Poets” is the latest entry in a remarkable creative streak. That includes five new studio albums and four rerecordings of her old music — each of which sailed to No. 1. When Swift played SoFi Stadium near Los Angeles in August, she spoke from the stage about her recording spurt, saying that the forced break from touring during the Covid-19 pandemic had spurred her to connect with fans by releasing more music.

“And so I decided, in order to keep that connection going,” she said , “if I couldn’t play live shows with you, I was going to make and release as many albums as humanly possible.”

That was two albums ago.

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .

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NPR suspends veteran editor as it grapples with his public criticism

David Folkenflik

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument. Uri Berliner hide caption

NPR suspended senior editor Uri Berliner for five days without pay after he wrote an essay accusing the network of losing the public's trust and appeared on a podcast to explain his argument.

NPR has formally punished Uri Berliner, the senior editor who publicly argued a week ago that the network had "lost America's trust" by approaching news stories with a rigidly progressive mindset.

Berliner's five-day suspension without pay, which began last Friday, has not been previously reported.

Yet the public radio network is grappling in other ways with the fallout from Berliner's essay for the online news site The Free Press . It angered many of his colleagues, led NPR leaders to announce monthly internal reviews of the network's coverage, and gave fresh ammunition to conservative and partisan Republican critics of NPR, including former President Donald Trump.

Conservative activist Christopher Rufo is among those now targeting NPR's new chief executive, Katherine Maher, for messages she posted to social media years before joining the network. Among others, those posts include a 2020 tweet that called Trump racist and another that appeared to minimize rioting during social justice protests that year. Maher took the job at NPR last month — her first at a news organization .

In a statement Monday about the messages she had posted, Maher praised the integrity of NPR's journalists and underscored the independence of their reporting.

"In America everyone is entitled to free speech as a private citizen," she said. "What matters is NPR's work and my commitment as its CEO: public service, editorial independence, and the mission to serve all of the American public. NPR is independent, beholden to no party, and without commercial interests."

The network noted that "the CEO is not involved in editorial decisions."

In an interview with me later on Monday, Berliner said the social media posts demonstrated Maher was all but incapable of being the person best poised to direct the organization.

"We're looking for a leader right now who's going to be unifying and bring more people into the tent and have a broader perspective on, sort of, what America is all about," Berliner said. "And this seems to be the opposite of that."

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month. Stephen Voss/Stephen Voss hide caption

Conservative critics of NPR are now targeting its new chief executive, Katherine Maher, for messages she posted to social media years before joining the public radio network last month.

He said that he tried repeatedly to make his concerns over NPR's coverage known to news leaders and to Maher's predecessor as chief executive before publishing his essay.

Berliner has singled out coverage of several issues dominating the 2020s for criticism, including trans rights, the Israel-Hamas war and COVID. Berliner says he sees the same problems at other news organizations, but argues NPR, as a mission-driven institution, has a greater obligation to fairness.

"I love NPR and feel it's a national trust," Berliner says. "We have great journalists here. If they shed their opinions and did the great journalism they're capable of, this would be a much more interesting and fulfilling organization for our listeners."

A "final warning"

The circumstances surrounding the interview were singular.

Berliner provided me with a copy of the formal rebuke to review. NPR did not confirm or comment upon his suspension for this article.

In presenting Berliner's suspension Thursday afternoon, the organization told the editor he had failed to secure its approval for outside work for other news outlets, as is required of NPR journalists. It called the letter a "final warning," saying Berliner would be fired if he violated NPR's policy again. Berliner is a dues-paying member of NPR's newsroom union but says he is not appealing the punishment.

The Free Press is a site that has become a haven for journalists who believe that mainstream media outlets have become too liberal. In addition to his essay, Berliner appeared in an episode of its podcast Honestly with Bari Weiss.

A few hours after the essay appeared online, NPR chief business editor Pallavi Gogoi reminded Berliner of the requirement that he secure approval before appearing in outside press, according to a copy of the note provided by Berliner.

In its formal rebuke, NPR did not cite Berliner's appearance on Chris Cuomo's NewsNation program last Tuesday night, for which NPR gave him the green light. (NPR's chief communications officer told Berliner to focus on his own experience and not share proprietary information.) The NPR letter also did not cite his remarks to The New York Times , which ran its article mid-afternoon Thursday, shortly before the reprimand was sent. Berliner says he did not seek approval before talking with the Times .

NPR defends its journalism after senior editor says it has lost the public's trust

Berliner says he did not get permission from NPR to speak with me for this story but that he was not worried about the consequences: "Talking to an NPR journalist and being fired for that would be extraordinary, I think."

Berliner is a member of NPR's business desk, as am I, and he has helped to edit many of my stories. He had no involvement in the preparation of this article and did not see it before it was posted publicly.

In rebuking Berliner, NPR said he had also publicly released proprietary information about audience demographics, which it considers confidential. He said those figures "were essentially marketing material. If they had been really good, they probably would have distributed them and sent them out to the world."

Feelings of anger and betrayal inside the newsroom

His essay and subsequent public remarks stirred deep anger and dismay within NPR. Colleagues contend Berliner cherry-picked examples to fit his arguments and challenge the accuracy of his accounts. They also note he did not seek comment from the journalists involved in the work he cited.

Morning Edition host Michel Martin told me some colleagues at the network share Berliner's concerns that coverage is frequently presented through an ideological or idealistic prism that can alienate listeners.

"The way to address that is through training and mentorship," says Martin, herself a veteran of nearly two decades at the network who has also reported for The Wall Street Journal and ABC News. "It's not by blowing the place up, by trashing your colleagues, in full view of people who don't really care about it anyway."

Several NPR journalists told me they are no longer willing to work with Berliner as they no longer have confidence that he will keep private their internal musings about stories as they work through coverage.

"Newsrooms run on trust," NPR political correspondent Danielle Kurtzleben tweeted last week, without mentioning Berliner by name. "If you violate everyone's trust by going to another outlet and sh--ing on your colleagues (while doing a bad job journalistically, for that matter), I don't know how you do your job now."

Berliner rejected that critique, saying nothing in his essay or subsequent remarks betrayed private observations or arguments about coverage.

Other newsrooms are also grappling with questions over news judgment and confidentiality. On Monday, New York Times Executive Editor Joseph Kahn announced to his staff that the newspaper's inquiry into who leaked internal dissent over a planned episode of its podcast The Daily to another news outlet proved inconclusive. The episode was to focus on a December report on the use of sexual assault as part of the Hamas attack on Israel in October. Audio staffers aired doubts over how well the reporting stood up to scrutiny.

"We work together with trust and collegiality everyday on everything we produce, and I have every expectation that this incident will prove to be a singular exception to an important rule," Kahn wrote to Times staffers.

At NPR, some of Berliner's colleagues have weighed in online against his claim that the network has focused on diversifying its workforce without a concomitant commitment to diversity of viewpoint. Recently retired Chief Executive John Lansing has referred to this pursuit of diversity within NPR's workforce as its " North Star ," a moral imperative and chief business strategy.

In his essay, Berliner tagged the strategy as a failure, citing the drop in NPR's broadcast audiences and its struggle to attract more Black and Latino listeners in particular.

"During most of my tenure here, an open-minded, curious culture prevailed. We were nerdy, but not knee-jerk, activist, or scolding," Berliner writes. "In recent years, however, that has changed."

Berliner writes, "For NPR, which purports to consider all things, it's devastating both for its journalism and its business model."

NPR investigative reporter Chiara Eisner wrote in a comment for this story: "Minorities do not all think the same and do not report the same. Good reporters and editors should know that by now. It's embarrassing to me as a reporter at NPR that a senior editor here missed that point in 2024."

Some colleagues drafted a letter to Maher and NPR's chief news executive, Edith Chapin, seeking greater clarity on NPR's standards for its coverage and the behavior of its journalists — clearly pointed at Berliner.

A plan for "healthy discussion"

On Friday, CEO Maher stood up for the network's mission and the journalism, taking issue with Berliner's critique, though never mentioning him by name. Among her chief issues, she said Berliner's essay offered "a criticism of our people on the basis of who we are."

Berliner took great exception to that, saying she had denigrated him. He said that he supported diversifying NPR's workforce to look more like the U.S. population at large. She did not address that in a subsequent private exchange he shared with me for this story. (An NPR spokesperson declined further comment.)

Late Monday afternoon, Chapin announced to the newsroom that Executive Editor Eva Rodriguez would lead monthly meetings to review coverage.

"Among the questions we'll ask of ourselves each month: Did we capture the diversity of this country — racial, ethnic, religious, economic, political geographic, etc — in all of its complexity and in a way that helped listeners and readers recognize themselves and their communities?" Chapin wrote in the memo. "Did we offer coverage that helped them understand — even if just a bit better — those neighbors with whom they share little in common?"

Berliner said he welcomed the announcement but would withhold judgment until those meetings played out.

In a text for this story, Chapin said such sessions had been discussed since Lansing unified the news and programming divisions under her acting leadership last year.

"Now seemed [the] time to deliver if we were going to do it," Chapin said. "Healthy discussion is something we need more of."

Disclosure: This story was reported and written by NPR Media Correspondent David Folkenflik and edited by Deputy Business Editor Emily Kopp and Managing Editor Gerry Holmes. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.

Katherine Maher
uri berliner

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beginner's guide to literary analysis

What Is Literary Analysis?

Literary Analysis and Other Works

Why Does Literary Analysis Matter?

Literary Terms to Know for Literary Analysis

How to Perform Literary Analysis

Step 2: Take Notes as You Read

Step 3: Notice Patterns

Step 4: Consider the Work as a Whole, and Ask Questions

Step 5: Return to Your Notes and the Text for Evidence

Step 6: Connect These Ideas Across the Narrative

How to Write a Literary Analysis Essay

Step 1: Read the Text. Maybe Read It Again.

Step 2: Brainstorm Potential Topics

Step 3: Gather Evidence

Step 4: Consider Secondary Sources

Step 5: Write a Working Thesis Statement

Step 6: Write an Outline

Step 7: Write Your Introduction

Step 8: Write Your Body Paragraphs

Step 9: Write Your Conclusion

Step 10: Revise, Revise, Revise

Other Resources for Literary Analysis

Introduction

Writing a Literary Analysis Essay

Writing an Analysis of a Poem, Story, or Play

Literary Analysis

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How to Write a Good English Literature Essay

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Literary Analysis Essay - Ultimate Guide By Professionals

What is a Literary Analysis Essay?

How To Write A Literary Analysis Essay

Introduction

Types of Literary Analysis Essay

Examples of Literary Analysis Essay

Literary Analysis Essay Topics

Frequently Asked Questions

What are the 4 components of literary analysis?

How do you start a literary analysis essay?

How do you do a literary analysis?

Why is literary analysis important?

What is the fundamental characteristic of a literary analysis essay?

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12.3: Prewriting for Literature Essays

Completing the Reading

Active versus Passive Reading

Margin Notes & Highlighting

Sticky Notes

Reading Journal

Example of an Annotated Passage

Reflecting on Assigned Literature

Contributors and Attributions

How to Write a Short Essay

Picking a Topic and Gathering Research

Composing the Essay

Condensing Your Essay

Short Essay Template and Example

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I. What is an Essay?

II. Examples of Essays

III. Types of Essays

b. Persuasive

c. Narrative

d. Descriptive

IV. The Importance of Essays

V. Examples of Essays in Literature

VI. Examples of Essays in Pop Culture

VII. Related Terms

VIII. Conclusion

List of Terms

Writing a Literature Review