Topic :How does Brecht dramatize the struggle between the demands of self-interest and the duties of love?To what ends?
Length: Approximately 800-900 words and 100-150 words outline
Citation Format:MLA
Essays should be around five pages (not including the bibliography).As with the essay samples that I have provide to you. Your essay should have a title that reflects not only your topic but your argument about that topic;
An introductory paragraph that introduces your topic, suggests how it will be approached in regards to the text, and closes with a clear and specific thesis statement; supporting paragraphs organized around points that support your thesis and that open with a strong topic sentence (topic sentence); specific evidence (Textual Evidence)from the primary text itself; and a strong conclusion that reinforces your thesis and suggests something about its wider implications.
The essay samples on I provided are very clear in regards to what I am looking for, so be sure to look over these before and while writing.Be specific, be organized, and be sure to make good use of the text when making your case.
When it comes to quoting from the text, be sure to comment on the quotes you use and incorporate them into your larger argument.If you have any questions while writing your essay, or if you would like me to look over a draft of your essay, please let me know.
Be sure to have an introduction that develops a topic, connects it to the text, and establishes a clear, concise, and convincing thesis.Your supporting paragraphs should be well organized, developed with strong topic sentences, and constructed in such a way that there is a clear, logical transition from point to point.You should use the text to illustrate and develop your points.Finally, your conclusion should reiterate your thesis, show how it was arrived at, and suggest something about its wider implications.
When it does come to preparing, I would recommend that pick a topic that interests you, that you establish your thesis/argument, that you chart out 3-4 argumentative points that can serve as your paragraphs and help to support that thesis, and that you find the relevant passages/quotations that you will use for support in your essay.When it comes to quoting from the text, shorter passages can be quoted in their entirety, while longer passages (anything more than three lines) can be quoted with the first few words, an ellipsis, and the last few words, e.g. “I have perhaps not yet learnt enough … now with my other eyes” (161-62).
【An additional outline】Approximately 100-200 words
You need to write an additional sheet with your thesis statement (not your introductory paragraph), and your 3-4 supporting points in jot note form.
Prepared by: Student’s Name
Student #: A00000000000000
Prepared for: Jackie Cameron
Course: ENGL 1205
Date: October 4, 2013
11. Filling in the Gaps the Storyteller Provides
In both “The Tell-Tale Heart” by Edgar Allan Poe and “The Jewels” by Guy de Maupassant, there are gaps in the information provided by the narrator that force the reader to think critically and become more involved in the story (In the first sentence, we can see that the basic topic has been introduced and explicitly connected to the two stories under discussion). This is a very successful tool many authors use to captivate an audience, but it brings with it the issue of narrative reliability (This topic is then expanded upon by being linked to the topic of unreliability). Information may be withheld by the narrator on purpose in order to twist an event to suit their cause, as seen in “The Tell-Tale Heart,” or there may be details that go unexplained simply because even the narrator does not understand what is going on, which is represented well in “The Jewels” (Note that by describing the two different ways that the two stories deal with this topic, the basic structure of the paper has been laid out, for these two ways will then be compared and contrasted). The details that are left out of the story, either because they are unknown to the narrator or perhaps because they are ignored on purpose, cause the reader to question the events as they are described, leading to a more involved and often more enjoyable reading experience (Here, in the final sentence of the introduction, the thesis is made clear: that such gaps are purposeful, for they force readers to interact with the story in a more critical way).
It is worth noting that an abundance of details often obscures as much as it reveals (Topic sentence: details can obscure rather than reveal. This will then be elaborated upon with evidence from the text). For example, in “The Tell-Tale Heart,” the unnamed narrator murders an old man because of his fears over the man’s “Evil Eye” (Poe ). However, the narrator leaves out a great deal of things about that eye while nevertheless going into great detail about subjects that may cause the reader to feel empathy for the narrator (Poe) (While it may seem too obvious as a way of setting up an example, sometimes it is good to just straightforwardly set things up this way. Nevertheless, it will be good to vary things as you go). The narrator gives precise details about his actions in order to prove that he is not mad, and yet suspicions about the narrator’s reliability and validity are raised in the reader because these painstaking details are undercut by the almost frantic way the narrator pleads the reader to see “how calmly [he] can tell . . . the whole story” (Poe). Note that the narrator says he will tell the whole story, and yet it soon becomes apparent that no names are ever provided for any of the characters, no dates, times or locations are offered, and the only positive clues as to the setting is that the main events of the story take place in the old man’s bedroom (Sometimes, when illustrating an example and its relevance to your thesis, it may be good to be as declarative as this). Details such as these are only left out when the person telling the story has something to hide, which establishes readers’ mistrust of the narrator, for they could be lying in order to draw readers into thinking that murdering the old man was a wise or moral decision (Again, the note of narrative unreliability is stressed, which brings your reader back to your original point in the introduction).
Nevertheless, the reliability of the narrator is not always an attempt to sway the reader’s opinion of an event (Transition word, which stresses the difference between the topic of the last paragraph and sets up the shift in focus in the new one). In fact, “The Jewels” stands as an example of the exact opposite, for the narrator deliberately leaves out information that is crucial to deciding how to interpret the events (While in the previous paragraph the emphasis was on giving too much information, here the focus is on the opposite, leaving information out). Does the narrator do this because he or she does not have the information, or does the narrator want the reader to fill in the gaps that have been provided in the story (Asking a direct question that you then go on to answer can be an effective way of setting up and then pursuing a point)? In this story, M. Lantin, a man of modest income, is happily married, but when his wife passes away he is forced to sell what he believes to be her imitation jewelry. However, he soon discovers that these jewels are not fakes at all; instead, they are quite valuable and are worth at least “a hundred and ninety-six thousand francs” (Maupassant). What does this mean? Neither M. Lantin nor the reader are ever told exactly how his late wife came to acquire such fine jewelry despite coming from a family that was “poor and respectable, gentle and sweet” (Maupassant). The gaps are left to be filled by the readers, who must content themselves with the narrator’s sly innuendoes, perhaps best expressed by his frequent use of the word “seemed” (This phrasing brings us back to both the title and the thesis, as it is always important to stress your central argument and make it clear that all of your points are being used to pursue it). For example, we are told that M. Lantin’s wife had a “faint smile which never left her lips” and which “seemed a reflection of her heart” (Maupassant). Has she been cheating on her husband? Have these jewels been given to her by her lovers (While it can be effective, as noted above, to use questions, it is important to make sure that you respond to these questions in some way)? The narrator never explicitly answers these questions, but M. Lantin arrives at what he believes is the truth, and his revelation – real or imagined – causes him to suspect the worst: (Note that, while the text has been used within the paragraphs up to this point, a longer passage should be set aside as you see here. The basic rule is that any quote longer than three lines is a longer passage. However, be sure to comment on these passages thoroughly if you do use them in your essay)
A horrible doubt plucked at him. She? But then, all the other jewels were also gifts! It seemed to him that the earth turned . . . he stretched out his arms and fell down unconscious. (Maupassant)
Whatever truth M. Lantin seems to arrive at, the reader’s position is much less clear, for there is very little information that can be used to reach a definite conclusion. Once again, the reader must fill in the gaps (The thesis rephrased yet again. Don’t think of this as over-doing it; instead, think of it as reinforcing your key argument).
Making readers unable to rely on the narrator to give a correct telling or retelling of an event is a common tool that writers employ (Again, the basic topic is restated). This device leads the reader to ask questions about the validity of the information presented, and to reach a number of different conclusions about what is going on (Once restated, the topic is then discussed in relation to the preceding argument. In other words, you are going over the main points of your essay). The fact that the questions about the narrator as a source of information are hardly ever answered is one of the reasons why short stories like “The Tell-Tale Heart” and “The Jewels” are still read to provoke critical thinking and introduce people to the feeling of being an involved and creative reader (The link between your topic and critical thinking, which had been laid out in the thesis, is once again reestablished). Details are left out of the story to get the reader to think about the subjects presented in the story, and although it may be frustrating to be unable to fully trust the narrator of a story, the idea of narrative reliability creates a delightful twist in what could have been some very bland pieces of literature, for we the readers are asked to fill in the gaps that the storytellers provide (While your introduction moved from the broader topic to your specific thesis, in the conclusion the process is reversed. You thus restate your specific thesis before then going on to ponder some of the wider implications).
4. The Impact of Poetic Self-Awareness
William Shakespeare wrote a vast number of sonnets, and of these the majority display a keen self-awareness of their status as poems and works of art (Here the basic topic of self-awareness in relation to art is introduced). In some cases, such as in “Shall I Compare Thee,” this self-awareness is displayed subtly; in others, as in “Not Marble, nor the Gilded Monuments,” the subject is explicitly both the poem’s status as a poem and, as such, the ability of poetry to live on forever so long as it is read. Sometimes this immortality is contrasted with other human creations that will not last, such as in “Since Brass, Nor Stone, Nor Earth,” in which the poem’s self-awareness is used to create imagery that highlights the war waged by Time and Death against beauty and life, a war that only poetry can win (The three different examples of such self-awareness which are all explicitly linked to three separate sonnets. These examples help to set up some of the later points in the essay). This keen self-awareness impacts the way that each sonnet is read and interpreted by the reader. This self-awareness also strengthens each sonnet’s effectiveness, for it shows how poetry can help the human mind tackle topics such as death and immortality by showing a way – at least potentially – to live on forever (The thesis finally stresses that this self-awareness can be connected to a concern over an artwork’s ability to last and achieve immortality).
The speaker in Shakespeare’s sonnets often expresses self-awareness directly to the reader, for the speaker often speaks to his subject not only as a lover, but as a poet (The topic sentence: despite these poems being ostensibly about love, they are just as much about the poet and his creation). As is often the case, sonnets that begin by discussing a subject’s beauty often end by proclaiming poetry’s ability to make that beauty live on forever (This ironic contrast is restated in order to stress the point). For instance, when the speaker declares that his lover will “live in this, and dwell in lover’s eyes,” he is as concerned about “this,” the sonnet, as he is about his lover or his lover’s eyes (Sonnet 55). Not only can poetry immortalize its subject, but it can outlast and undo any other creation that humankind has created (The desire to achieve immortality in contrast to, as noted in the introduction, other human creations that will not last). Rulers may create statues in their likeness and monuments in honour of their glory, but these things will all eventually crumble and turn to dust:
Not marble, nor the gilded monuments
Of princes, shall outlive this powerful rhyme;
But you shall shine more bright in these contents
Than unswept stones besmear’d with sluttish time. (Sonnet 55)
The time of princes is short, but “this powerful rhyme” will live forever and be untouched by the passing of time. However, the “you” shall shine only “in these contents” that the poet has provided. In other words, even though the speaker says that his love will “shine more bright,” what will actually shine on is “this powerful rhyme,” the poem itself (This stress on poetic self-awareness and the connection between this and the theme of immortality are again made clear).
Not only can poetry outlast the creations of humankind, but it can even withstand the ravages of Death itself (The topic sentence: art outlasts not only politics and empire, but Death itself). A clear example of this can be seen when the speaker uses contrasting images of light and darkness in “Since Brass, Nor Stone, Nor Earth” to differentiate the black ink on his page to the bright light that it creates: “That in black ink my love may still shine bright” (Sonnet 65). This brightness will shine on long after other things are dead and gone, for poetry can “hold out / Against the wreckful siege of battering days,” and stay beautiful even as Time and Death rage against it (Sonnet 65). Again the speaker seems to be addressing his love, but again the reader is presented with a poem that is less concerned with love and more concerned with the potential immortality of poetry (The irony that the speaker is perhaps more enamored with his abilities as a poet than he is with his beloved is repeated in order to keep the connection with the previous paragraph). A more direct expression of this contradiction can be seen at the end of “Shall I Compare Thee,” in which the speaker says that “when in eternal line to time thou grow’st: / So long as men can breathe, or eyes can see, / So long lives this, and this gives life to thee” (Sonnet 18). The lover’s beauty, which had seemed to be the subject, is supplanted by the beauty and power of poetry. This is a wonderful example of how the speaker uses the poem’s awareness that it is a poem to both express the beauty of the subject of the poem and also draw out thoughts on the longevity of the written word. So long as the poem is read, it will remain alive forever (This is basically a rephrasing of the thesis, which is appropriate given that it is setting up the transition to the conclusion).
Such declarations could just be the wishful thinking of the speaker, but it seems to be true, for Shakespeare’s sonnets are still being read and enjoyed by readers all over the world. The sonnets’ self-awareness makes them special, for they force the reader to put the message of the poem in perspective. They also provoke readers to ask tough questions about poems, the poets who write them, and the aims of these poets. Such questions change what would have been just another love poem into an interesting and thought-provoking work of literature (Once the specific thesis has been restated at the beginning of the conclusion, the wider ideas can then be noted).
Works Cited
Maupassant, Guy de. “The Jewels.” The Best Short Stories of the Modern Age. Ed.
Douglas Angus. New York: Random House, 1993. 7-13. Print.
Poe, Edgar Allan. “The Tell-Tale Heart.” The Best Short Stories of the Modern Age. Ed.
Douglas Angus. New York: Random House, 1993. 1-6. Print.
Shakespeare, William. “Not Marble, Nor the Gilded Monuments.” Immortal Poems of
the English Language. Ed. Oscar Williams. New York: Pocket Books, 1952. 59. Print.
–. “Shall I Compare Thee.” Immortal Poems of the English Language. Ed. Oscar
Williams. New York: Pocket Books, 1952. 57. Print.
–. “Since Brass, Nor Stone, Nor Earth.” Immortal Poems of the English Language. Ed.
Oscar Williams. New York: Pocket Books, 1952. 61. Print.
Citation Tips
Each bibliography should have the word “Works Cited” in the centre of the page in bold. Also, each work should be arranged alphabetically and should not be numbered. When it comes to alphabetical order, use the first letter of the last name of the author. If there are more than one work by the same author, use the first letter of the title (also, if there are more than one work by the same author, do not include the author’s name for the second citation; instead use this: “–.”). Remember that every second line in a citation should be indented.
Printed Books:
Single Author:
Taleb, Nassim Nicholas. The Black Swan: The Impact of the Highly Improbable. New York:
Random House, 2007. Print.
Multiple Authors:
Jones, Ellis, Ross Haenfler, and Brett Johnson. Better World Handbook: Small Changes
that
Make a Big Difference. Gabriola Island, BC: New Society, 2007. Print.
(note that while the first name had the last name followed by the first, each subsequent name had the first followed by the second. Also, note that smaller cities should have the city followed by the province or state)
Multiple Books by the Same Author:
Gawande, Atul. Better: A Surgeon’s Notes on Performance. New York: Picador, 2007.
Print.
–. Complications: A Surgeon’s Notes on an Imperfect Science. New York: Picador, 2002.
Print.
Edition Other than First:
Kouzes, James M., and Barry Z. Posner. The Leadership Challenge. 4th ed. New York:
Wiley,
2007. Print.
Multivolume Work:
Knuth, Donald E. The Art of Computer Programming. 3 vols. Reading, MA: Addison-Welsey,
1998. Print.
Works in an Edited Collection:
Joyce, James. “The Dead.” The Best Short Stories of the Modern Age. Ed. Douglas Angus.
New York: Random House, 1993. 104-44. Print.
Sen, Amartya. “Education and Standards of Living.” Philosophy of Education: An
Anthology. Ed. Randall Curren. Malden: Blackwell, 2007. 95-101. Print.
Shakespeare, William. “Hamlet.” The Necessary Shakespeare. Ed. David Bevington. 3rd ed.
New York: Pearson, 2009. 546-604. Print.
(note that since Hamlet is a play—which, like novels, are in italics—the title is also in italics in the citation. Also, note that you include the page numbers if it is a work in a collection)
Journal Article:
Valentine, Sean, and Carry Fleischman. “Ethics Programs, Perceived Corporate Social
Responsibility, and Job Satisfaction.” Journal of Business Ethics 77 (2008): 159-
72. Print.
Electronic Sources:
(according to MLA a web citation should include the author’s name if possible, the title of the site in italics, the name of the organizational sponsor, a posting or update date, the medium of publication [i.e. “Web”] and a retrieval date)
Society for Technical Communication. 2008. Soc. for Technical Communication. Web.
18 Mar. 2008.
(note the way that the date is recorded)
Online Book:
Sowell, Thomas. Basic Economics: A Common Sense Guide to the Economy. 3rd ed. New
York: Basic, 2008. Google Book Search. Web. 12 Jan. 2008.
Work from a Web Site with Author:
DuVander, Adam. “Cookies Make the Web Go ’Round.” Webmonkey. 29 June 2006. Web. 20
Dec. 2007.
Article from a Database:
Gaston, Noel, and Tomoka Kishi. “Part-time Workers Doing Full-Time Work in Japan.”
Journal of Japanese and International Economies 21 (2007): 435-54. Business Source
Premier. Web. 25 Nov. 2007.
Article in an Online Periodical:
Gruener, Wolfgang. “Intel Fires Up New Atom Processors.” TG Daily. DD&M Inc., 1 Apr.
2008. Web. 29 Apr. 2008.
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2
Tips on Quoting
For quotes in verse:
Following the exit of the rest of the court, Hamlet wishes aloud for his own death: “O that this too too solid flesh would melt, / Thaw and resolve it into a dew” (1.2.29-30).
For quotes in verse over three lines:
Following the exit of the rest of the court, Hamlet wishes aloud for his own death:
O that this too too solid flesh would melt,
Thaw and resolve it into a dew,
Or that the Everlasting had not fixed
His canon ’gainst self-slaughter. (1.2.129-32)
For quotes (either in verse or in prose) that are set aside, either use a colon (as above) or integrate the quote into the sentence that precedes it:
Following the exit of the rest of the court, Hamlet wishes aloud that
. . . [his] too too solid flesh would melt,
Thaw and resolve it into a dew,
Or that the Everlasting had not fixed
His canon ’gainst self-slaughter. (1.2.129-32)
(note that for quotes set aside you indent twice for each line. Also, for quotes set aside you place the period and two spaces before the parentheses)
For quotes in prose:
Polonius slowly begins to realize that Hamlet may not be as mad as he seems: “How pregnant his replies are! A happiness that often madness hits on, which reason and sanity could not so prosperously be delivered of” (2.2.207-10).
For quotes in prose over three lines:
Hamlet mocks Polonius when he describes the book he has been reading thus:
Slanders, sir; for the satirical rogue says here that old men have grey
beards beards, that their faces are wrinkled, their eyes purging thick amber
or plum-tree gum, and that they have a plentiful lack of wit, together with
most weak hams . . . . (2.2.196-200)
(note that for quotes set aside in prose you do not follow the line stops provided by the text. Instead, write the prose out as it is and allow that line stops to occur when they normally would)
When integrating a quote into your sentence, make sure that it fits grammatically:
Following the exit of the rest of the court, Hamlet wishes aloud for his own death. However, since “the Everlasting” has “fixed / His canon ’gainst self-slaughter” (1.2.131-32), Hamlet cannot commit suicide.
Amazed by Hamlet’s “pregnant . . . replies” (2.2.207-08), Polonius slowly begins to realize that Hamlet may not be as mad as he seems.
For some quotes you may have to change from past to present tense, from plural to singular, etc. in order to make the sentence grammatically correct:
Hamlet declares to Rosencrantz and Guildenstern that “dream[s]” are only “shadow[s]” (2.2.258).
Hamlet is perplexed by all that is happening around him, declaring that “there is something in this more than natural, if [only] philosophy could find it out” (2.2.362-63).
Hamlet chides Polonius’ taste in drama, for he “sleeps” unless he can see “a jig or a tale of bawdry” (2.2.491).
Inspired by the players’ acting, Hamlet hits on the idea of “set[ting] down and insert[ing]” “some dozen or sixteen lines” into their play for the performance before the court (2.2.529-30).
When to include the title of the work in the parenthetical reference:
Many critics believe that Shakespeare may have instructed his fellow actors at the Globe Theatre thus:
Speak the speech, I pray you, as I pronounced it to you, trippingly on the
tongue. But if you mouth it, as many of your players do, I had as life the
town-crier had spoke my lines. Nor do not saw the air too much with your
hand, thus, but use all gently; for in the very torrent, tempest, and, as I
may say, the whirlwind of your passion, you must acquire and beget a
temperance that may give it smoothness. (Hamlet 3.2.1-8)
For many critics, Hamlet’s advice to the players may be similar to the kind of advice Shakespeare may have given to his fellow actors at the Globe Theatre:
Speak the speech, I pray you, as I pronounced it to you, trippingly on the
tongue. But if you mouth it, as many of your players do, I had as life the
town-crier had spoke my lines. Nor do not saw the air too much with your
hand, thus, but use all gently; for in the very torrent, tempest, and, as I
may say, the whirlwind of your passion, you must acquire and beget a
temperance that may give it smoothness. (3.2.1-8)
When quoting from a critic who only has one entry in your bibliography:
Robert N. Watson notes that although “revenge and ambition had meanings in Shakespeare’s world significantly different from” today, “we can still easily recognize them” nevertheless (160).
Although “revenge and ambition had meanings in Shakespeare’s world significantly different from” today, “we can still easily recognize them” nevertheless (Watson 160).
(note that quotes from critics that are more than three lines should be set aside the same way that the prose quotation above is)
If you are quoting from a critic who has more than one entry in your bibliography, include the title of the book or article instead of the critic’s name:
Robert N. Watson notes that although “revenge and ambition had meanings in Shakespeare’s world significantly different from” today, “we can still easily recognize them” nevertheless (“Tragedies of Revenge and Ambition” 160).
(note that the titles of articles—such as “Tragedies of Revenge and Ambition”—are in quotation marks while the titles of books—such as The Cambridge Companion to Shakespearean Tragedy—are in italics)
For your bibliography, use MLA format. Place all of your entries in alphabetical order with a space between each entry. Also note that if someone has more than one entry, place “–.” in place of their name and arrange the two (or more) entries alphabetically according to title (as with the Peter Brook example below). If the title is the same (as with the Julius Caesar example below) arrange the entries alphabetically according to the next available designation (as with the editor in the example below):
Barton, John. Playing Shakespeare: An Actor’s Guide. New York: Anchor, 1984.
Print.
Barton, John, and Hall, Peter. The Wars of the Roses, Adapted for the Royal Shakespeare
Company from William Shakespeare’s Henry IV, Parts I, II, III and Richard III.
London: BBC, 1970. Print.
Bate, Jonathan, and Jackson, Russell, eds. The Oxford Illustrated History of Shakespeare
on Stage. Oxford: OUP, 2001. Print.
Beauman, Sally. The Royal Shakespeare Company: A History of Ten Decades. Oxford:
OUP, 1982. Print.
Brook, Peter. The Empty Space. London: Penguin, 1968. Print.
–. The Open Door. London: Anchor, 2005. Print.
Chambers, Colin. Inside the Royal Shakespeare Company: Creativity and the Institution.
London: Routledge, 2004. Print.
Shakespeare, William. Julius Caesar. Ed. David Daniell. London: Arden, 1998. Print.
–. Julius Caesar. Ed. T. S. Dorsch. London: Metheun, 1969. Print.
–. Julius Caesar. Ed. Arthur Humphreys. Oxford: OUP, 1984. Print.
–. Julius Caesar. Ed. Marvin Spevack. Cambridge: CUP, 2004. Print.
(note that the entries here are all books. For the specifics on citing articles, web pages, etc. check the MLA website)
If you are quoting from two works from the same book, cite as seen below:
McDonald, Russ. “The Language of Tragedy.” The Cambridge Companion to
Shakespearean Tragedy. Ed. Claire McEachern. 2002. Cambridge: CUP,
2006. 23-49. Print.
Watson, Robert N. “Tragedies of Revenge and Ambition.” The Cambridge Companion
to Shakespearean Tragedy. Ed. Claire McEachern. 2002. Cambridge: CUP,
2006. 160-181. Print.
For more information on citations, please check the MLA guidelines page provided by the Patrick Power Library:
(On citations)
http://www.smu.ca/administration/library/documents/MLAtext09.pdf
(On bibliographies)
http://www.smu.ca/administration/library/documents/MLAlist09.pdf
GERM 1027 Essay
Length: Approximately 800-900 words and 100-150 words outline
Citation Format: MLA
Essays should be around five pages (not including the bibliography). As with the essay samples that I have provide to you. Your essay should have a title that reflects not only your topic but your argument about that topic;
An introductory paragraph that introduces your topic, suggests how it will be approached in regards to the text, and closes with a clear and specific thesis statement; supporting paragraphs organized around points that support your thesis and that open
with a strong topic sentence (topic sentence)
; specific evidence (Textual Evidence)from the primary text itself; and a strong conclusion that reinforces your thesis and suggests something about its wider implications.
The essay samples on I provided are very clear in regards to what I am looking for, so be sure to look over these before and while writing. Be specific, be organized, and be sure to make good use of the text when making your case.
When it comes to quoting from the text, be sure to comment on the quotes you use and incorporate them into your larger argument. If you have any questions while writing your essay, or if you would like me to look over a draft of your essay, please let me know.
Be sure to have an introduction that develops a topic, connects it to the text, and establishes a clear, concise, and convincing thesis. Your supporting paragraphs should be well organized, developed with strong topic sentences, and constructed in such a way that there is a clear, logical transition from point to point. You should use the text to illustrate and develop your points. Finally, your conclusion should reiterate your thesis, show how it was arrived at, and suggest something about its wider implications.
When it does come to preparing, I would recommend that pick a topic that interests you, that you establish your thesis/argument, that you chart out 3-4 argumentative points that can serve as your paragraphs and help to support that thesis, and that you find the relevant passages/quotations that you will use for support in your essay. When it comes to quoting from the text, shorter passages can be quoted in their entirety, while longer passages (anything more than three lines) can be quoted with the first few words, an ellipsis, and the last few words, e.g. “I have perhaps not yet learnt enough … now with my other eyes” (161-62).
【An additional outline】Approximately 100-200 words
You need to write an additional sheet with your thesis statement (not your introductory paragraph), and your 3-4 supporting points in jot note form.
Essay questions (topic):
How does Brecht dramatize the struggle between the demands of self-interest and the duties of love? To what ends?
Important notes:
1. please tell me which ESSAY QUESTION you wrote
2. please use some textual evidence from the book to support your analysis
(you NEED to establish 3 or more argumentative points, which is textual evidence)
3. PLEASE write down the page number in the end of the sentence which is the textual evidence. When it comes to quoting from the texts, shorter passages can be quoted in their entirety, while longer passages can be quoted with the first few words, an ellipsis, and then the last words (For example : “Right. Shouts. Mrs Peachum!………..in which there are five was dummies.” (Brecht, 22). )
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