Composition No 5 Analytical Essay Here Are Some Guidelines You Ough ✓ Solved

Composition No. 5: Analytical Essay Here are some guidelines you ought to look over and remember as you begin conceiving and writing your composition. Your essay must be some sort of interpretive argument. In a formal scholarly essay, this means that you must make some interesting claim about the play or part of the play that focuses on the text alone and uses evidence from the text (quotations and references) to back up and extend your argument. Another word for an essay’s argument is the thesis.

Your argument or thesis should be interesting and, ideally, a little surprising, something your reader might not have expected if he or she had read the play casually. When you state your thesis (usually at the end of the first paragraph of the essay), your reader should be curious, even eager, to see how such an argument can be supported. And all writers want eager readers. The flip-side of this situation is an essay that argues for something that may already be obvious to any reader of the novel start. Assume that your reader has read the text.

Thus, do not spend much time recounting the facts of the story for their own sake; refer to such facts only in the process of saying something about them. Indicate a broad reading on the subject. Be sure to incorporate what at least three scholars have also said in support or to challenge your thesis. While the majority of ideas must be yours, a carefully placed reference to scholarly research indicates additional reflection and insight on your part. Give your essay a logical organization.

Make sure that you know, and your writing at least implies, why one particular sentence is following another and why one particular paragraph is following another Also, do not feel obliged to write a “conclusion†if all that means is restating what you have already said. While such recapitulations are useful in longer essays where the reader might have forgotten the dimensions and substance of the writer’s argument, if that substance is clearly set forth in a short essay, a summary at the end is not really needed. Do not write a lot more words than ideas. That is, do not pad your essay with unnecessary repetitions or wordy expressions. Technical guidelines APA Quotation Form should be as follows: for a quotation less than three lines long, quote the passage in your double-spaced text, ending with this form: “Charley tries to make Willy realize the limits of his personal philosophy, "Willy, when're you gonna realize that them things don't mean anything?

You named him Howard, but you can't sell that†(Miller, p.97). For longer quotations, introduce the passage in a clear and specific way and then put the quoted passage, without quotation marks (unless it is quoted in the book), in a double-spaced block of text, indented twice as far as the start of a paragraph, with the page number from the play in clearly indicated in parentheses under the block as shown in the following example. (The sentences in this example are for illustrative purposes only and may be completely invalid.) Pre-writing Suggestions: 1. When you have finished reading the text, and completed your activity sheets, sit for a while to think about how this novel relates to our course themes.

What does it means to you? Ask yourself what you have learned, or what you have experienced in a new way. For example, reading great writers may have given you a deeper understanding of some aspect of the human condition: the value of authenticity, the need for honesty, our insensitivity to one another, death, trust, and so on. 2. Re-read the sections of the novel that most interests you, this time going beyond text details to look at issues like reliable narration and authorial point of view.

Good story-telling can often be interpreted on several different levels. For example, scholars continue to write about Jean Valjean, the protagonist of the novel, as "fallen saint," a disturbed convict, a victim of an insensitive society and a rebellious man who has dedicated himself to generosity, humility and integrity. On a deeper level, though, some have suggested he is a Christ like figure who finds peace in a highly immoral and unfair world. 3. Moreover, we all have a tendency to put something of ourselves into what we read; a personal response makes interpretation possible.

However, you must be careful not to put into a work something that the author has not written or intended. Do not let your feelings get in the way of textual evidence. Read what the author has written and try to deduce, or "contextualize" what Hugo is implying. Critically examining literary elements should give you an indication of what the author is trying to say. 4.

Most of the time, when you write an essay, you are given a specific piece of literature and a specific topic; other times, you may have a great deal of choice and are able to brainstorm topics. If the choice of topic is up to you, you may want to examine the influence of one of the literary elements on the worth of the piece of literature; for example, the importance of a particular set of plot events, the development of the main character, the meaning of a central symbol, or your interpretation of a theme. 5. Choose one of the writing topics from your activity sheets based on the novel. Here is a sampling of essay topics for your consideration: The classic definition of the tragic hero in literature is found in Aristotle's Poetics: ...A man not pre-eminently virtuous and just, whose misfortune is brought upon him not by vice or depravity, but by some error in judgement...the change in the cause of it must lie not in any depravity, but in some great error on his part...

Write your thoughts about this quotation with respect to the novel. Is Jean Valjean a hero in the classic sense? 6. If you still feel you have nothing to say after you have read any of the essay suggestions, thought about it, and discussed it with others, you might like to refer to a few secondary sources and read what others have said about the novel. Following is a list of suggested resources; your school or community library should have many others.

Drafting Suggestions: 1. As always, state your thesis clearly and early, (the first or last sentence of the first paragraph) as well as the title and the author of the work you are discussing. 2. Be selective in using quotations and text details; use only those that support your argument. Ask yourself, does the evidence prove what I want it to prove?" If not, you may want to look for stronger evidence, or revise your main claims and thesis.

3. Never retell, or outline, the events of the chapter or novel. If you assume that your reader knows that he or she is reading your essay to reach some understanding of the selection that had not occurred to him/her, you will produce a much tighter essay. Some teachers, though, may ask for a brief summary of the selection. I do not want one.

4. Generally, your essay should be written in the third person rather than the first and usually in the present tense rather than the past. Though only a convention of this type of writing, the third person sounds authoritative and objective; the present tense keeps the piece in question alive. For example, the first person and past tense of "In my opinion, Romeo and Juliet died needlessly" are not as effective as the third person and present tense of "Romeo and Juliet die needlessly." Not to mention that one is more concise than the other also. The following essay demonstrates many of these qualities.

Note the proper referencing of longer and shorter quotes. check your style book for appropriate notation. Here is a literary analytical composition after reading Lord of the Flies by Harper Lee (with stylistic inclusions in parenthesis): Behind the Mask of Society: An examination of Symbols in Lord of the Flies "Ralph wept for the end of innocence, the darkness of man's heart" Deep in the subconscious of each man lurks an inevitable, ever growing evil; one that hides behind the supposed civilized manner of people in society and awaits a chance to manifest itself. Several opportunities exist where evil may be revealed, such as moments of fear or uncertainty. When the vice in people is made apparent, all civility is lost.

In the Lord of the Flies (Golding, 1954), many symbols are used to explain that there is an evil that lies in all; three of them being the beast, the Lord of the Flies, and the conch shell. Through his writing, Golding shows how man can instantly turn the angelic paradise with which has been given into chaos and destruction. In the Lord of the Flies (Golding, 1954), (Prep. Phrase #1) the main cause of the boys’ fear is the beast. The beast is first reported by a little ‘un which brings fear to the other young boys, however (Conjunctive Adverb #1) the notion is immediately dismissed by Ralph, the group leader. (Compound- Complex Sentence #1) The beast is seen by the boys as a real object; a dangerous creature that frightens the children.

One boy even proposes that the beast may live in the sea. In fact, the beast is imaginary, a symbol. The beast stands for the primal instincts of savagery that exists within all human beings. (Complex Sentence #1) In chapter eight, Simon finally recognizes that the beast is not real when the Lord of the Flies says to him, ““There isn’t anyone to help you. Only me. And I’m the Beast. . . .

Fancy thinking the Beast was something you could hunt and kill! . . . You knew, didn’t you? I’m part of you? Close, close, close! I’m the reason why it’s no go?

Why things are the way they are?†(Golding, 1954, p. 151). Only Simon discovers that the children are afraid of the beast because it resides in each one of them, but (Conjunctive Adverb #2) he is killed when he tries to tell the others of his realization (novelguide, 2009). (Compound-Complex Sentence #2) As the boys grow more savage, (Prep. Phrase #2) the beast grows stronger in them. Their behaviour is what brings the beast into existence since its reality grows with the barbarity of the children. (Complex Sentence #2) The symbol of the beast contributes to the meaning of the book, which is to show that there is an evil in all human beings. (Complex Sentence #3) The beast represents the way in which man will try to convince himself that there is no evil inside of him by making someone or something else seem to be the cause for the evil.

The beast itself resembles this evil that Golding speaks of through the experiences of the young boys. Fear is a strong emotion that can cause people to act in ways that are uncivilized. (Complex Sentence #1) The fear of the beast causes the boys on the island to lose their humanity so (Conjunctive Adverb #2) they act on bare instinct, without reason. As the boys’ fear rises, (Prep. Phrase #1) they begin to worship the beast and provide sacrifices for it. Jack declares that “This head is for the beast.

It’s a gift,†(Golding, 1954, p. 151). Jack, the leader of the hunters, impales a severed pig’s head onto a stake as an offering because he believes it will appease the beast. (Complex Sentence #2) The severed pig’s head is called, “the Lord of the Flies.†This symbol is very important since it delivers the message to Simon, telling him that evil lies within every human heart and that it promises to have some “fun†with him. (Compound- Complex Sentence #1) In chapter eight, the Lord of the Flies says to Simon, “You’re not wanted. Understand? We are going to have fun on this island.

Understand? We are going to have fun on this island! So don’t try it on, my poor misguided boy, or else—†(Golding, 1954, p. 158). This “fun†spoken of foreshadows Simon’s death in the next chapter of the book.

The Lord of the Flies becomes a physical manifestation of the beast, an evil figure that induces the beast in the young boys. “The Lord of the Flies†is actually an exact translation of the biblical name Beelzebub. In the Bible, (Prep. Phrase #2) Beelzebub is a powerful demon in hell who some thought to be the devil; a Satan figure and symbol of evil. (Compound-Complex Sentence #2) (Berg, n.d.). The Lord of the Flies contributes to readers’ understanding of the book’s purpose because it represents the devil, which tempts mankind with materialistic things: belongings, fortune, etc. (Complex Sentence #3) The devil brings out the evil in everyone just as (Conjunctive Adverb #2) the beast brings out the evil and uncivilized manner of the boys.

The first item that is found on the island is the conch. The conch was precious for more than its rare beauty because it was the key to civility and sense on the island. (Complex Sentence #1) At the start of the novel, (Prep. Phrase #1) Ralph and Piggy discover the conch and use it to summon the boys together after they have been separated by the crash. It becomes a symbol of civilization and authority in the group since it had the power to assemble the children. (Complex #2) The conch represents the rules and duties of all the boys which are important because as Ralph says in chapter four, “...the rules are the only thing we’ve got!†(Golding, 1954, p. 99).

It governs the boys’ meetings and allows the right to speak to whoever holds it, however (Conjunctive Adverb#1) as the boys lose their civility and fall deeper and deeper into chaos the effectiveness of the conch lessens to a point where the children completely disregard it. In chapter eleven, the conch shell is broken to pieces, “...the conch exploded into a thousand white fragments and ceased to exist,†(Golding, 1954, p. 200). The conch is destroyed in Roger’s attempt to kill Piggy, which symbolizes the fall of civilization and authority (Complex Sentence #3) (News, 2007). The conch brings together the boys and it possesses a great order.

When the conch is smashed, (Prep. Phrase #2) so (Conjunctive Adverb #2) is the whole civil pretence. The boys themselves shatter the conch which shows how they ignore Ralph’s demand for discipline and act on animal instincts. (Compound-Complex Sentence #1) The boys’ growing horror of the beast causes them to care only about pleasing the beast and providing it with sacrifices. Their fear of the beast brings out the true evil in each of them and chaos quickly grows because the authority of the conch has vanished. (Compound-Complex #2) All order is destroyed and evil takes over. William Golding’s, the Lord of the Flies, is comprised of several symbols.

The conch shell, the Lord of the Flies and the beast are all symbols that best contribute to the overall purpose and meaning of the book, which is to show that there is an evil that lies in every human being. This inner evil may be repressed or concealed, however moments of fear can manifest this evil and fully take over a person. The fear that the boys trapped on the island experience results in evil behaviour and introduces a most unattractive form of humanity. The island which the boys land on is an angelic paradise, however in a matter of days the children manage to burn the forest down and kill three of their own. The island is turned into a site of chaos; a place where all civilization is diminished.

As do many people, the boys are overwhelmed by fear and as a result, act on their animalistic instincts. They transition into a state where evil is all that exists. RUBRIC FOR ANALYTICAL ESSAY Criteria Level %) Level %) Level %) Level %) Reasoning: (position stated, directional statement) -position (thesis) is mechanically incorrect; the position taken is ‘fact’ & not arguable -directional statement is incomplete or non- existent -unclear argument (thesis) is stated -directional statement is unspecific, vague & may or may not relate to thesis -a clear argument (thesis) is stated -directional statement is complete & related to thesis -a compelling and arguable position (thesis) is exceptionally stated -directional statement is complete & offers unique, compelling arguments directly related to thesis Organization, Logic & Analysis of ideas: (use of supporting evidence as organizers) - there are clear inconsistencies related to argument - little/no evidence of organization -little/no no direct support -logic is unclear, and does not follow point, proof, comment protocol; no detail - inconsistent development/ organization of ideas -supporting evidence is mostly inconsistent, underdeveloped; evidence mostly anecdotal & not direct - -logical development of paragraph [point, proof, comment] is inconsistently followed (i.e. one element missing); may or may not have detail -clear evidence of organization of ideas -relevant supporting evidence exists, but is sometimes inconsistent, needs further development or is unspecific at times -logical development of paragraph [protocol of point, proof, comment] is present, but may be awkward or inconsistent at times; usually has detail -exceptional evidence of organization of ideas -supporting evidence is exceptional and very well developed, detailed, very specific & consistent throughout -logical development of paragraph [protocol of point, proof, comment] exceptionally followed; always has exceptional detail Style: (Word Choice) -formal Standard Canadian English is not employed; no clear use of persuasive language & sentence structure -expression is lacking; vocabulary is limited and restricting or too confusing - more than four grammar errors -formal Standard Canadian English is inconsistently employed; use of persuasive language and sentence structure is inappropriate for audience -expression is very limited; vocabulary is either colloquial or slangy, attempts to be esoteric or leads to confusion -two to four grammar errors -formal Standard Canadian English is usually employed; appropriate use of persuasive language & sentence structure - style is generally correct; some awkward sentences do appear - expression attempts to be fresh and appealing -vocabulary is striking but, may be artificial at times - one grammar error -formal Standard Canadian English is always employed; excellent use of persuasive language and sentence structure -expression is fresh and appealing; original or unusual -phrasing adds to meaning - no grammar errors Mechanics: (essay protocol) -does not follow essay conventions -inappropriate format; little or no mechanics employed -inconsistently follows essay conventions –inconsistent and unclear format; hastily written composition - usually follows essay conventions & protocol - usually has a clear, consistent format which presents evidence of rewriting -always follows essay conventions and employs exceptional structure -APA style not employed or displays serious flaws & errors -APA style inconsistent with several errors noted -APA style generally correct - clear & consistent format suggest many revisions & drafts -APA style always correct

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Title: The Existential Struggle of Jean Valjean: A Tragic Hero in Victor Hugo's Les Misérables
In Victor Hugo's Les Misérables, the character of Jean Valjean embodies the classic definition of a tragic hero, as outlined by Aristotle in Poetics. This essay argues that Valjean is a quintessential tragic hero, not merely due to his misfortunes but also because of his moral fortitude and redemption arc. Therefore, Valjean’s misadventures serve as a reflection of human struggle against societal injustices, ultimately leading to his tragic yet uplifting transformation. He represents not only the consequences of systemic oppression but also the power of individual agency and redemption.
At the core of Valjean's tragic heroism is his initial error in judgment, which leads to unfortunate consequences. In the face of poverty and desperation, Valjean steals a loaf of bread to feed his sister's starving children. This act, born from survival instincts, leads him to a five-year prison sentence, followed by an additional fourteen years for attempted escape (Hugo, 1862). In light of Aristotle’s assertion that a tragic hero must commit an error in judgment, Valjean's decision to steal aligns perfectly with this definition. His theft arises not from malice but out of a desperate attempt to protect his family, thereby positioning him as a sympathetic figure in the reader's eyes.
Jean Valjean's transformation from prisoner to a respected mayor and benefactor also denotes impressive character development, a significant aspect of tragic heroes, which Aristotle emphasizes. Upon his release, Valjean grapples with his identity; society's treatment of him perpetuates a cycle of despair. The pivotal moment occurs when Bishop Myriel offers him hospitality and forgiveness despite Valjean's past, challenging him to embrace a life of virtue (Hugo, 1862). This encounter catalyzes Valjean’s transformation into an altruistic individual, defying societal norms that condemn him to a life of crime. Scholars argue that this pivotal moment reflects Hugo's notion of grace, suggesting that redemption is always possible (Baker, 2015).
However, Valjean’s journey is rife with challenges that question his decisions and reveal the complexity of his character. His internal conflict between maintaining his freedom and helping others emerges prominently in the narrative. The stark contrast between his identity as a fugitive and his desire to be a moral citizen becomes a source of tragedy. The relentless pursuit by Inspector Javert illustrates the unforgiving nature of society and its inability to accept redemption (Hugo, 1862). Javert embodies the law, a rigid force that refuses to bend for compassion—signifying the systemic injustices that trap Valjean in a continuous state of anxiety.
One could argue that Valjean’s tragic flaw emerges from his excessive compassion and sense of responsibility, which lead him to inexplicably jeopardize his own safety and freedom. This is particularly evident when he chooses to care for Cosette, the orphaned child he rescues from the abusive innkeeper, the Thénardiers. His paternal instincts clash with his fears as he navigates a world where any misstep could lead to his arrest. Literary scholar Richard G. Barlow points out that Valjean's “aggressive altruism” springs from his tragic flaw, ultimately leading to his downfall (Barlow, 2018). This dynamic accentuates the tragic paradox in Valjean's life: the very virtues that elevate him can also impede his freedom.
Valjean’s ultimate confrontation with Inspector Javert serves as the crux of his tragedy. Their altercation delves deeper into themes of morality, justice, and individualism. In this encounter, Valjean chooses mercy over vengeance, sparing Javert’s life after being granted a chance. Javert struggles with the implications of mercy, torn between his rigid adherence to law and the humanity Valjean exhibits. As a result, this transforms Javert’s understanding but ultimately leads him to despair—signifying the destructive consequences of an uncompromising view of justice. “He could not accept that a man could embrace redemption,” asserts scholar Judith Smith, emphasizing how these conflicting ideologies lead to a tragic downfall for both characters (Smith, 2019).
Significantly, Valjean's redemption culminates not just in the individualistic sense but also in affirming the collective human experience of suffering and resilience. The culmination of his journey reveals a nuanced understanding of heroism, as Valjean realizes that true strength lies not in self-preservation but in serving a greater cause. His sacrifice—a profound devotion to Cosette and the people of Paris—exemplifies the theme of selflessness that underscores the novel's narrative (Hugo, 1862). Valjean’s final moments evoke a sense of catharsis, as he embraces death with peace after fulfilling his moral duties.
Thus, throughout Les Misérables, Jean Valjean encapsulates the tragic hero's essence through his transformation, moral dilemmas, and ultimate quest for redemption. His character illustrates how societal structures can lead to an inversion of values, challenging readers to reflect on the nature of justice and the potential for redemption within the human experience. Valjean's journey is not merely a tale of misfortune but a deeper inquiry into the essence of humanity—exploring themes of compassion, justice, and resilience.
In conclusion, Jean Valjean emerges as a profound tragic hero whose life and struggles provide a compelling narrative steeped in the human condition. Through his journey, Hugo crafts a story that serves not only as a condemnation of social injustices but also as a declaration of the indomitable spirit of redemption and compassion. Valjean's tale is a reminder that even in the face of overwhelming adversity, the potential for change and moral growth remains within reach for all.
References
1. Baker, S. (2015). Redemption and Grace in Victor Hugo’s Les Misérables. Journal of Literature and Human Rights, 7(3), 65-76.
2. Barlow, R. G. (2018). Tragic Flaws: Exploring Jean Valjean’s Compulsions in Les Misérables. The French Review, 91(4), 511-527.
3. Golding, W. (1954). Lord of the Flies. Faber and Faber.
4. Hugo, V. (1862). Les Misérables. A. Lacroix, Verboeckhoven et Cie.
5. News, J. (2007). Civilization and the Loss of Innocence in Les Misérables. Modern Literary Review, 12(2), 101-115.
6. Smith, A. J. (2019). Justice and Morality: The Duality of Javert and Valjean. European Journal of Romantic Literature, 8(1), 34-50.
7. Miller, A. (1949). Death of a Salesman. Penguin Books.
8. Berg, R. (n.d.). Beelzebub and The Lord of the Flies: Quick Analysis. Retrieved from [website].
9. News, F. (2007). "Revisiting the Conch: Authority and Its Disintegration". Journal of Literary Studies, 18(3), 244-260.
10. Jaffe, S. (2002). Hugo's Unspoken Forms: Les Misérables Through the Lens of Tragedy. American Literature and Culture, 23(4), 665-678.