English 1205 Sample Essays 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 selfawareness 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’ selfawareness 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. RUSN 1020 Essay #1 Length: Approximately 750-1,000 words Citation Format: MLA Tutorial: Bring your tentative thesis statement to Sept. 23 tutorial Due Date: Monday, Oct. 7 (hand in a paper copy in class and submit via Brightspace) Here are some possible essay questions. Choose one. You are allowed to come up with your own question, but be sure to clear it with me first. Essays should be around three to four pages in 12point font, double-spaced (not including the bibliography). As with the essay samples that I have included on Brightspace, you do not need a title-page; instead, you just need to include your name, student number, course number, your teaching assistant's name, and the date in the top right hand corner of the first page. 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; specific evidence from the primary text itself; a sense of sound and logical transition from supporting point to supporting point; and a strong conclusion that reinforces your thesis and suggests something about its wider implications. The essay samples on Brightspace 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. 1. How does Pushkin’s “The Bronze Horseman” serve as a chronicle of Russian history? To what ends? (note: for this essay you will need to make use of some historical sources. Please let me know if you have any questions about valid sources.) 2. How are themes such as power and powerlessness, as well as order and chaos, civilization and nature, explored in Pushkin’s “The Bronze Horseman”? To what ends? How might this poem serve as a comment on the relationship between the Tsar and the Russian people? 3. How does Gogol mix comedy and tragedy, as well as fantasy and reality, in “The Overcoat”? To what ends? 4. How is St. Petersburg represented in Gogol’s “The Overcoat”? How is life in the city, particularly for the rising class of clerks and bureaucrats, represented? To what ends? 5. How is nostalgia explored in Goncharov’s “Oblomov’s Dream”, especially in relation to the pastoral setting? In keeping with the latter point, what kinds of contrasts might Goncharov be suggesting about city and country life? To what ends? 6. Using both the selection from Herzen’s My Past and Thoughts and the essay on Herzen by Isaiah Berlin, what kind of image do we get of mid-nineteenth political and intellectual life in Russia? Despite Herzen’s strong political beliefs and his commitment to fighting injustices in Russia, what does Berlin see as Herzen’s chief intellectual - even temperamental characteristic? How does this distinguish Herzen from other political radicals, both past and present? To what ends? Evaluation Sheet Student Name: _____________________________________________________________________________ A: Despite a few minor flaws, this essay o exhibits a command of essay form, demonstrating a solid understanding of audience, purpose, and appropriate tone o exhibits deep and thorough comprehension of the primary material o presents a coherent, original and thought-provoking thesis o exhibits clear and complex thinking about the assigned task o exhibits command of focus, coherent organization, and interesting development of ideas (supporting details, such as examples and arguments, are carefully selected and judiciously emphasized) o exhibits command of expression (diction, sentence structure, and sentence sense), style, punctuation, and mechanics o uses supporting material effectively and documents all sources properly B: Despite a few flaws, this essay o exhibits a control of essay form, demonstrating a good understanding of audience, purpose, and appropriate tone but without the precision or finesse exhibited in level A o exhibits solid comprehension of the primary material, but without the close attention to nuance and detail exhibited in level A o presents a coherent and original thesis o exhibits clear, somewhat perceptive thinking about the assigned task, but lacks the complexity exhibited in level A o exhibits control of focus, organization, and development of ideas (supporting details are all relevant but are not as insightfully selected or skillfully arranged as in level A) o exhibits control of expression (sentences consistently convey the intent of the writer, but without the precision and variety of level A), style, punctuation, and mechanics (errors do not interfere with the reader’s understanding) o uses supporting material capably and documents sources properly C: Despite a number of flaws, this essay o exhibits a general awareness of essay form, handling some aspects more effectively than others o exhibits fair if at times superficial comprehension of the primary material o presents a coherent thesis, though one that could be more original and/or more precisely defined o exhibits sometimes clear, but simplistic or generalized thinking about the assigned task o exhibits some control of focus, organization (structure may be too loose or formulaic), and development of ideas (may contain some poorly chosen information, but major ideas are adequately supported) o exhibits sufficient control of expression, punctuation, and mechanics not to obstruct the reader’s understanding o makes adequate use of some supporting material and documents sources, though perhaps more attention could be paid to the details of formatting. D: Due to serious flaws, this essay o exhibits incomplete understanding of essay form o exhibits weak or faulty comprehension of the primary material o fails to present a coherent thesis o exhibits unclear, illogical, and/or superficial thinking about the assigned task o exhibits insufficient control of focus, organization (may ramble or be repetitious), and development of ideas (may be mostly descriptive or lack adequate support) o exhibits weak control of expression, punctuation, and mechanics to a degree that obstructs the reader’s understanding o makes inadequate use of supporting material and does not document sources properly F: This essay is unsatisfactory because it o exhibits poor understanding of essay form o exhibits little comprehension of the primary material o has nothing worthwhile to say o exhibits little or no thinking about the assigned task o exhibits undefined focus, inadequate organization, and development of ideas (may be purely descriptive or strictly formulaic) o exhibits serious and recurring errors in expression, punctuation, and mechanics to a degree that prevents the reader’s understanding o uses and/or documents supporting material improperly Additional Comments: GRADE:_____________
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