great gatsby literary analysis

great gatsby literary analysis

Great Gatsby Literary Analysis

English 3, Period 2

The Perks of Being Old Money

At one point or another in life everyone dreams of one day being rich and living a life free of worries. Few ever achieve this goal and most come to look at it as nothing more than a fleeting dream forever beyond their grasps. It was during the Jazz age, a time when people had mistakenly believed that everyone could be rich, that the concept of “old money” emerged. Those born into wealth were held at a higher esteem than those who had struggled and worked for their success. In this time the wealthy spent their time entertaining high-class social parties, and playing polo in the summer. In the novel, The Great Gatsby, the Buchanans represent "old money" and as a result hold themselves superior to others despite not having worked for their money or status. As a result of his enormous wealth, Tom Buchanan presents himself as a man of the 'dominant' race and treats others as if they are beneath him. Early in the novel, Tom is discussing a book he is reading called The Rise of the Colored Empires and tells Nick and Daisy, "This fellow has worked out the whole thing- It's up to us, who are the dominant race, to watch out or these other races will have control of things" (Fitzgerald 13). Growing up with such a sheltered and luxurious lifestyle has shaped his mind into believing that he is superior to others because of his race. Like many people during this time who believed African Americans to be lower class human beings, Tom thought himself and others like him, to be better in every way. This misguided mindset added to his treatment of people. The people around him are always made acutely aware of his wealth as can be seen in the novel when Nick says: "His family was enormously wealthy - even in college his freedom with money was a matter for reproach-but now he'd left Chicago and. he'd brought down a string of polo ponies from Lake Forest"(Fitzgerald 6).

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Great gatsby literary analysis

The words “literary analysis” drop from your instructor’s mouth, and you freeze in terror. The Great Gatsby is one of those books that resonates throughout the ages–that’s why you’re reading it and writing about it for your class–but you certainly don’t feel comfortable enough with the novel to write a literary analysis.

Well, don’t sweat it too much–I’ve got your back.

I’ll give you 8 helpful tips for writing a good literary analysis on The Great Gatsby. You can mix and match or simply use this list as a starting point for your own ideas.

Symbolism is when an object represents something different than what it actually is. The Great Gatsby is full of symbolism. The two symbols I mention below are important elements within the story, and you could easily write a whole paper on just one of them.

Tip #1: Analyze the symbolism of the eyes of Dr. T.J. Eckleburg

Image by hasunkhan via DeviantArt

The eyes of Dr. T.J. Eckleburg are painted on a fading billboard in the Valley of Ashes. Many analyses quickly draw the conclusion that Eckleburg represents God, and that both are all-seeing. This is a good analysis, but let’s try to go a little deeper.

What does it say that these all-seeing eyes have no arms, legs, or mouth? Does this mean that Eckleburg, as a God-like entity, doesn’t have the ability to punish people but to only watch their transgressions?

Also, does the fact that this is a billboard mean anything? Fitzgerald may be trying to say that consumerism was the real god of the era. The 1920s were years when consumerism was becoming more integral, taking over almost every facet of people’s daily lives. If these eyes were painted on the side of a building, that interpretation wouldn’t be the same. Writers use symbols intentionally and for a specific reason. So pay attention to the specifics!

Tip #2: Pay close attention to Fitzgerald’s use of color

Image via Vulpes Libris

Fitzgerald uses a few colors throughout the book, and their prevalence is no accident.

Green, such as the green light on the end of Daisy’s dock, represents hope for the future.

Gray, such as in the Valley of Ashes, represents lifelessness and nothingness.

Gold and yellow are interesting and used a whole lot throughout the book. Gold is a symbol for money. Daisy, who is from a well-to-do family and who is married to a rich man is described as a “golden girl” with a voice that’s “full of money.” She has gold all around her as do many of the other rich people.

Yellow, on the other hand, is a color associated with Gatsby, as shown by his car. Yellow is almost gold but still of lesser value, which is how the other rich people in the novel view Gatsby. He doesn’t quite fit in because he’s “new money,” which in their minds is inferior.

Point of View in The Great Gatsby

There are three points of view in literature: first-person, second-person, and third-person.

  • First-person point of view is when a story is told from a character’s perspective. This involves a lot of “I” and “me” language.
  • Second-person point of view is when the author addresses the reader directly using “you.”
  • Third-person point of view is when the narrator is not a character in the story, but rather describes the lives and thoughts of all of the other characters from an outside perspective.

Tip #3: Think about why Nick is the narrator and not Gatsby.

The Great Gatsby is written from the perspective of Nick Carraway. The story would be very different if it was told from Gatsby’s perspective. Instead, Nick guesses at the life and thoughts of Gatsby, making Gatsby seem more mysterious and larger-than-life than he would be if the reader knew all of his thoughts.

Tip #4: Analyze why the story is written in first-person.

The story would also be very different if it was told in the third-person point of view. A third-person point of view would give the reader a necessarily more honest description of events. Nick describes himself as honest, but how does the reader know that events took place exactly as Nick describes them? Is Nick an unreliable narrator?

Allegories are stories in which the characters and/or plot symbolize larger concepts. In The Great Gatsby, the larger concept I’ll focus on is that of the American Dream. Other allegorical concepts you could address include commentary on the social class divide or the vapidity of high society.

Tip #5: Think about what this book says about society, specifically as it relates to the American Dream.

In the 1920s, the American Dream was the idea of going from rags to riches. However The Great Gatsby shows that this dream is unattainable.

Gatsby achieves the so-called American Dream by building his wealth over the years in whatever way he possibly could. He displays his wealth with lavish parties but never enjoys himself. He is unsatisfied with the shallowness of the upper class, and yearns for something more.

While Gatsby’s rags to riches background is a literal interpretation of the American Dream, Daisy is a more symbolic interpretation. As mentioned above, she is described as a “golden girl,” representing riches. Gatsby has always longed for her, but when he finally gets her to admit her feelings for him, he still isn’t satisfied. He wants more–he wants her to say that she never loved Tom.

Fitzgerald uses Gatsby to show that the American Dream is unattainable–the dream can never become reality because the dreamer always wants more. Gatsby was not satisfied when he became wealthy or when he finally got Daisy because he still wanted something more.

Character Analyses in The Great Gatsby

There are plenty of characters you can analyze in The Great Gatsby–Nick, Daisy, Myrtle, Tom, or Gatsby himself. Each character has different qualities and characteristics, and they were all put into the story for a reason. It’s your job to find out what that reason was.

Tip #6: Don’t just describe characters, but write about what they represent.

Each character has certain personality traits that represent a facet of human nature. Daisy, for example, represents innocence, while her husband, Tom, represents the evil of what we would call the “one percent” today.

Each of these characters was created in the mind of the author not just to make a good story, but also to offer a glimpse into the human condition. Tap into the meanings behind the characters, and you’ll have a pretty spectacular analysis.

Tip #7: Analyze the relationships between characters.

People don’t live in a vacuum–they interact with and react to other people around them. And the characters of The Great Gatsby are no different. You could analyze the nostalgic love between Daisy and Gatsby, the rocky relationship between Daisy and Tom, and the adoring (and sometimes contemptuous) relationship between Nick and Gatsby.

Focusing on the relationships between the characters makes for a great literary analysis because characters are essential to a great piece of literature.Therefore, understanding them and their relationships is also important.

The tone of a story is how the author or narrator describes the events and other characters. It can be cynical, witty, bright, optimistic, pessimistic, or something else.

Many words you would use to describe a person’s personality can also be used to describe the tone of a story.

Tip #8: Analyze the tone of the novel.

First, decide what the tone of the novel is. Then write about how the tone affects the readers’ perceptions of events and characters.

Some readers describe the tone of The Great Gatsby as cynical, some say it’s judgmental–but you can decide on your own how you might describe the tone of the story. More important than the exact wording of how you describe the tone is how the tone affects the reader’s perception of what’s going on.

Because The Great Gatsby is told in the first person, there is some bias in what the narrator describes. We are presented with Nick’s feelings and perspective as if it’s the truth without any way of getting a different perspective.

Therefore, Nick’s tone as a narrator portrays his overall feelings about the people and events he describes and changes the way the reader experiences them.

Final Thoughts on Your Analysis of The Great Gatsby

Symbolism, allegory, point of view, character, and tone are not even half of the types of analyses you could do, but hopefully they’re enough to get you started. Check out this site for a comprehensive list of literary devices that you could analyze.

Need more help? Look at these example essays on the The Great Gatsby to see how other students have tackled their analyses.

If you’re afraid your literary analysis still doesn’t go deep enough, or if you just need a second pair of eyes (not Dr. Eckleburg’s), send your analysis to one of the Kibin editors. They’ll be able to make your essay shine.

Great Gatsby Literary Analysis

The perks Of Being Old Money At one point or another in life everyone dreams of one day being rich and living a life free of worries. Few ever achieve this goal and most come to look at it as nothing more than a fleeting dream forever beyond their grasps. It was during the Jazz age, a time when people had mistakenly believed that everyone could be rich, that the concept Of “Old money” emerged.

Those born into wealth were held at a higher esteem than those who had struggled and worked for their success. In this time the wealthy spent their time entertaining high-class social parties, and playing polo in the summer. In the novel, The Great Gatsby, the Buchannan represent “Old money’ and as a result hold themselves superior to others despite not having worked for their As a result of his enormous wealth, Tom Buchanan money or status. Presents himself as a man of the ‘dominant’ race and treats others as if they are beneath him.

Early in the novel, Tom is discussing a book he is reading called The Rise Of the Colored Empires and tells Nick and Daisy, “This fellow as worked out the whole thing- It’s up to us, who are the dominant race, to watch out or these other races will have control of things” (Fitzgerald 13). Growing up with such a sheltered and luxurious lifestyle has shaped his mind into believing that he is superior to others because of his race. Like many people during this time who believed African Americans to be lower class human beings, Tom thought himself and others like him, to be better in every way.

This misguided mindset added to his treatment of people. The people round him are always made acutely aware of his wealth as can be seen in the novel when Nick says: “His family was enormously wealthy – even in college his freedom with money was a matter for reproach-but now he’d left Chicago and… He’d brought down a string of polo ponies from Lake 6). Tom has so much money that it causes him to take his good fortune for granted and spend his money carelessly. He is constantly searching for something Of interest to add to his boredom and flaunts his money around without a care.

Daisy Buchanan, born with beauty and lath is sought after by many and as a result acts superior to others, and takes what she has for granted as well as the people around her. At Tom’s mansion Gatsby remarks that Daisy’s voice is full Of money and Nick thinks to himself: ‘That was it. Rd never understood before. It was full of money?that was the inexhaustible charm that rose and fell in it, the jingle of it, the cymbals’ song of it…. High in a white palace the king’s daughter, the golden girl… ” (Fitzgerald).

The way Daisy’s voice is described gives the reader a sense f understanding that Daisy is the way she is because of how she was raised in a wealthy family and how she continues to live her life so carelessly because of it. Everything about Daisy lets the reader know that she’s like ‘the kings daughter, the golden girl’ as Nick so aptly puts it, through the way she speaks and the way she carries herself as if she is untouchTABLE by the problems of daily life and somewhere beyond where everyone else is.

But though Daisy has never worked a day in her life she still realizes how corrupt the world can be and yet continues to act carelessly. At Tom’s mansion she tells Nick what she said when she first heard the gender of her newborn baby: 411 right,’ I said, Tm glad its a girl. And I hope she’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool” (17). Daisy says these words with a certain cynical sarcasm and manages to get Nick’s sympathy for a moment until he realizes that she is being fake.

These words seem to say that in the world Daisy lives in surrounded by wealth that a little girl can only be happy unless she is a beautiful fool, or else she will live unhappily or be treated poorly. As beautiful, and wealthy person Daisy realizes that she gets by in her life mostly because of those attributes and that without them she would be ruined not having anything to fall back on in her carelessness. Together Tom and Daisy Buchanan lived a life of luxury never having to take responsibility for their actions, their enormous wealth and fortune led them to become partners who acted without thinking or considering the consequences.

Before Nick had arrived at East Egg to visit his distant ‘friends’ Tom and Daisy he described what they had been doing before: “They had spent a year in France for no particular reason, and then drifted here and there unmercifully wherever people played polo and were rich together (6). Nick seems to describe that the Buchannan are never satisfied where they go and are always looking for some form of excitement. They use their vast wealth and go wherever they want to on a whim trying to fill their lives with something they’re missing and make it less boring.

After Gatsby funeral Nick had met up with Tom who explained to him what had really happened the day of Myrtle’s death, it was then that Nick thought this of the Buchanan: “They were careless people, Tom and Daisy?they smashed up things and creatures and then retreated back into their money or their vast carelessness or whatever it was that kept them together, and let other people clean up the mess they had made… ” (Fitzgerald).

Nick is referring to ‘creatures’ as people such as Gatsby or Myrtle who suffered the consequences of Tom’s and Daisy’s actions. The Buchannan left East Egg without hesitation and went back to their lives of luxury all the while treating people like trash and leaving behind their mistakes. Nick seems to understand what the Buchannan are really like and speaks of them with a sort of resentment and reproach for their actions and carelessness.

The wealth and status of the Buchannan represent them as ‘old money’ and despite not having worked for their money or status they hold themselves superior to others. The novel, The Great Gatsby, is the story of Jay Gatsby pursuit of his green light, Daisy and his ineviTABLE downfall as a result. Throughout the story the Buchannan act as if they are better than everyone else regarding others with distaste for their lack Of money. Tom and Daisy seem to live in their own world where the only person that matters is themselves.

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How to Write Literary Analysis

How to Write Literary Analysis

How to Write Literary Analysis

How to Write Literary Analysis

How to Write Literary Analysis

How to Write Literary Analysis

The Literary Essay: A Step-by-Step Guide

When you read for pleasure, your only goal is enjoyment. You might find yourself reading to get caught up in an exciting story, to learn about an interesting time or place, or just to pass time. Maybe you’re looking for inspiration, guidance, or a reflection of your own life. There are as many different, valid ways of reading a book as there are books in the world.

When you read a work of literature in an English class, however, you’re being asked to read in a special way: you’re being asked to perform literary analysis. To analyze something means to break it down into smaller parts and then examine how those parts work, both individually and together. Literary analysis involves examining all the parts of a novel, play, short story, or poem—elements such as character, setting, tone, and imagery—and thinking about how the author uses those elements to create certain effects.

A literary essay isn’t a book review: you’re not being asked whether or not you liked a book or whether you’d recommend it to another reader. A literary essay also isn’t like the kind of book report you wrote when you were younger, where your teacher wanted you to summarize the book’s action. A high school- or college-level literary essay asks, “How does this piece of literature actually work?” “How does it do what it does?” and, “Why might the author have made the choices he or she did?”

No one is born knowing how to analyze literature; it’s a skill you learn and a process you can master. As you gain more practice with this kind of thinking and writing, you’ll be able to craft a method that works best for you. But until then, here are seven basic steps to writing a well-constructed literary essay:

  • 1. Ask questions
  • 2. Collect evidence
  • 3. Construct a thesis
  • 4. Develop and organize arguments
  • 5. Write the introduction
  • 6. Write the body paragraphs
  • 7. Write the conclusion

When you’re assigned a literary essay in class, your teacher will often provide you with a list of writing prompts. Lucky you! Now all you have to do is choose one. Do yourself a favor and pick a topic that interests you. You’ll have a much better (not to mention easier) time if you start off with something you enjoy thinking about. If you are asked to come up with a topic by yourself, though, you might start to feel a little panicked. Maybe you have too many ideas—or none at all. Don’t worry. Take a deep breath and start by asking yourself these questions:

What struck you? Did a particular image, line, or scene linger in your mind for a long time? If it fascinated you, chances are you can draw on it to write a fascinating essay.

What confused you? Maybe you were surprised to see a character act in a certain way, or maybe you didn’t understand why the book ended the way it did. Confusing moments in a work of literature are like a loose thread in a sweater: if you pull on it, you can unravel the entire thing. Ask yourself why the author chose to write about that character or scene the way he or she did and you might tap into some important insights about the work as a whole.

Did you notice any patterns? Is there a phrase that the main character uses constantly or an image that repeats throughout the book? If you can figure out how that pattern weaves through the work and what the significance of that pattern is, you’ve almost got your entire essay mapped out.

Did you notice any contradictions or ironies? Great works of literature are complex; great literary essays recognize and explain those complexities. Maybe the title Happy Days totally disagrees with the book’s subject matter (hungry orphans dying in the woods). Maybe the main character acts one way around his family and a completely different way around his friends and associates. If you can find a way to explain a work’s contradictory elements, you’ve got the seeds of a great essay.

At this point, you don’t need to know exactly what you’re going to say about your topic; you just need a place to begin your exploration. You can help direct your reading and brainstorming by formulating your topic as a question, which you’ll then try to answer in your essay. The best questions invite critical debates and discussions, not just a rehashing of the summary. Remember, you’re looking for something you can prove or argue based on evidence you find in the text. Finally, remember to keep the scope of your question in mind: is this a topic you can adequately address within the word or page limit you’ve been given? Conversely, is this a topic big enough to fill the required length?

“Are Romeo and Juliet’s parents responsible for the deaths of their children?”

“Are Dr. Frankenstein and his monster alike? How?”

“What do the other characters in Julius Caesar think about Caesar?”

“How does Hester Prynne in The Scarlet Letter remind me of my sister?”

Once you know what question you want to answer, it’s time to scour the book for things that will help you answer the question. Don’t worry if you don’t know what you want to say yet—right now you’re just collecting ideas and material and letting it all percolate. Keep track of passages, symbols, images, or scenes that deal with your topic. Eventually, you’ll start making connections between these examples and your thesis will emerge.

Here’s a brief summary of the various parts that compose each and every work of literature. These are the elements that you will analyze in your essay, and which you will offer as evidence to support your arguments. For more on the parts of literary works, see the Glossary of Literary Terms at the end of this section.

These are the whats of the work—what happens, where it happens, and to whom it happens.

  • Plot: All of the events and actions of the work.
  • Character: The people who act and are acted upon in a literary work. The main character of a work is known as the protagonist.
  • Conflict: The central tension in the work. In most cases, the protagonist wants something, while opposing forces (antagonists) hinder the protagonist’s progress.
  • Setting: When and where the work takes place. Elements of setting include location, time period, time of day, weather, social atmosphere, and economic conditions.
  • Narrator: The person telling the story. The narrator may straightforwardly report what happens, convey the subjective opinions and perceptions of one or more characters, or provide commentary and opinion in his or her own voice.
  • Themes: The main ideas or messages of the work—usually abstract ideas about people, society, or life in general. A work may have many themes, which may be in tension with one another.

These are the hows—how the characters speak, how the story is constructed, and how language is used throughout the work.

  • Structure and organization: How the parts of the work are assembled. Some novels are narrated in a linear, chronological fashion, while others skip around in time. Some plays follow a traditional three-or five-act structure, while others are a series of loosely connected scenes. Some authors deliberately leave gaps in their works, leaving readers to puzzle out the missing information. A work’s structure and organization can tell you a lot about the kind of message it wants to convey.
  • Point of view: The perspective from which a story is told. In first-person point of view, the narrator involves him or herself in the story. (“I went to the store”; “We watched in horror as the bird slammed into the window.”) A first-person narrator is usually the protagonist of the work, but not always. In third-person point of view, the narrator does not participate in the story. A third-person narrator may closely follow a specific character, recounting that individual character’s thoughts or experiences, or it may be what we call an omniscient narrator. Omniscient narrators see and know all: they can witness any event in any time or place and are privy to the inner thoughts and feelings of all characters. Remember that the narrator and the author are not the same thing!
  • Diction: Word choice. Whether a character uses dry, clinical language or flowery prose with lots of exclamation points can tell you a lot about his or her attitude and personality.
  • Syntax: Word order and sentence construction. Syntax is a crucial part of establishing an author’s narrative voice. Ernest Hemingway, for example, is known for writing in very short, straightforward sentences, while James Joyce characteristically wrote in long, incredibly complicated lines.
  • Tone: The mood or feeling of the text. Diction and syntax often contribute to the tone of a work. A novel written in short, clipped sentences that use small, simple words might feel brusque, cold, or matter-of-fact.
  • Imagery: Language that appeals to the senses, representing things that can be seen, smelled, heard, tasted, or touched.
  • Figurative language: Language that is not meant to be interpreted literally. The most common types of figurative language are metaphors and similes, which compare two unlike things in order to suggest a similarity between them— for example, “All the world’s a stage,” or “The moon is like a ball of green cheese.” (Metaphors say one thing is another thing; similes claim that one thing is like another thing.)

When you’ve examined all the evidence you’ve collected and know how you want to answer the question, it’s time to write your thesis statement. A thesis is a claim about a work of literature that needs to be supported by evidence and arguments. The thesis statement is the heart of the literary essay, and the bulk of your paper will be spent trying to prove this claim. A good thesis will be:

  • Arguable.The Great Gatsby describes New York society in the 1920s” isn’t a thesis—it’s a fact.
  • Provable through textual evidence.Hamlet is a confusing but ultimately very well-written play” is a weak thesis because it offers the writer’s personal opinion about the book. Yes, it’s arguable, but it’s not a claim that can be proved or supported with examples taken from the play itself.
  • Surprising. “Both George and Lenny change a great deal in Of Mice and Men” is a weak thesis because it’s obvious. A really strong thesis will argue for a reading of the text that is not immediately apparent.
  • Specific. “Dr. Frankenstein’s monster tells us a lot about the human condition” is almost a really great thesis statement, but it’s still too vague. What does the writer mean by “a lot”? How does the monster tell us so much about the human condition?

Question: In Romeo and Juliet, which is more powerful in shaping the lovers’ story: fate or foolishness?

Thesis: “Though Shakespeare defines Romeo and Juliet as ‘star- crossed lovers’ and images of stars and planets appear throughout the play, a closer examination of that celestial imagery reveals that the stars are merely witnesses to the characters’ foolish activities and not the causes themselves.”

Question: How does the bell jar function as a symbol in Sylvia Plath’s The Bell Jar?

Thesis: “A bell jar is a bell-shaped glass that has three basic uses: to hold a specimen for observation, to contain gases, and to maintain a vacuum. The bell jar appears in each of these capacities in The Bell Jar, Plath’s semi-autobiographical novel, and each appearance marks a different stage in Esther’s mental breakdown.”

Question: Would Piggy in The Lord of the Flies make a good island leader if he were given the chance?

Thesis: “Though the intelligent, rational, and innovative Piggy has the mental characteristics of a good leader, he ultimately lacks the social skills necessary to be an effective one. Golding emphasizes this point by giving Piggy a foil in the charismatic Jack, whose magnetic personality allows him to capture and wield power effectively, if not always wisely.”

4. Develop and Organize Arguments

The reasons and examples that support your thesis will form the middle paragraphs of your essay. Since you can’t really write your thesis statement until you know how you’ll structure your argument, you’ll probably end up working on steps 3 and 4 at the same time.

There’s no single method of argumentation that will work in every context. One essay prompt might ask you to compare and contrast two characters, while another asks you to trace an image through a given work of literature. These questions require different kinds of answers and therefore different kinds of arguments. Below, we’ll discuss three common kinds of essay prompts and some strategies for constructing a solid, well-argued case.

Compare and contrast

Compare and contrast the characters of Huck and Jim in The Adventures of Huckleberry Finn.

Chances are you’ve written this kind of essay before. In an academic literary context, you’ll organize your arguments the same way you would in any other class. You can either go subject by subject or point by point. In the former, you’ll discuss one character first and then the second. In the latter, you’ll choose several traits (attitude toward life, social status, images and metaphors associated with the character) and devote a paragraph to each. You may want to use a mix of these two approaches—for example, you may want to spend a paragraph apiece broadly sketching Huck’s and Jim’s personalities before transitioning into a paragraph or two that describes a few key points of comparison. This can be a highly effective strategy if you want to make a counterintuitive argument—that, despite seeming to be totally different, the two objects being compared are actually similar in a very important way (or vice versa). Remember that your essay should reveal something fresh or unexpected about the text, so think beyond the obvious parallels and differences.

Choose an image—for example, birds, knives, or eyes—and trace that image throughout Macbeth.

Sounds pretty easy, right? All you need to do is read the play, underline every appearance of a knife in Macbeth, and then list them in your essay in the order they appear, right? Well, not exactly. Your teacher doesn’t want a simple catalog of examples. He or she wants to see you make connections between those examples—that’s the difference between summarizing and analyzing. In the Macbeth example above, think about the different contexts in which knives appear in the play and to what effect. In Macbeth, there are real knives and imagined knives; knives that kill and knives that simply threaten. Categorize and classify your examples to give them some order. Finally, always keep the overall effect in mind. After you choose and analyze your examples, you should come to some greater understanding about the work, as well as your chosen image, symbol, or phrase’s role in developing the major themes and stylistic strategies of that work.

Is the society depicted in 1984 good for its citizens?

In this kind of essay, you’re being asked to debate a moral, ethical, or aesthetic issue regarding the work. You might be asked to judge a character or group of characters (Is Caesar responsible for his own demise?) or the work itself (Is Jane Eyre a feminist novel?). For this kind of essay, there are two important points to keep in mind. First, don’t simply base your arguments on your personal feelings and reactions. Every literary essay expects you to read and analyze the work, so search for evidence in the text. What do characters in 1984 have to say about the government of Oceania? What images does Orwell use that might give you a hint about his attitude toward the government? As in any debate, you also need to make sure that you define all the necessary terms before you begin to argue your case. What does it mean to be a “good” society? What makes a novel “feminist”? You should define your terms right up front, in the first paragraph after your introduction.

Second, remember that strong literary essays make contrary and surprising arguments. Try to think outside the box. In the 1984 example above, it seems like the obvious answer would be no, the totalitarian society depicted in Orwell’s novel is not good for its citizens. But can you think of any arguments for the opposite side? Even if your final assertion is that the novel depicts a cruel, repressive, and therefore harmful society, acknowledging and responding to the counterargument will strengthen your overall case.

Your introduction sets up the entire essay. It’s where you present your topic and articulate the particular issues and questions you’ll be addressing. It’s also where you, as the writer, introduce yourself to your readers. A persuasive literary essay immediately establishes its writer as a knowledgeable, authoritative figure.

An introduction can vary in length depending on the overall length of the essay, but in a traditional five-paragraph essay it should be no longer than one paragraph. However long it is, your introduction needs to:

  • Provide any necessary context. Your introduction should situate the reader and let him or her know what to expect. What book are you discussing? Which characters? What topic will you be addressing?
  • Answer the “So what?” question. Why is this topic important, and why is your particular position on the topic noteworthy? Ideally, your introduction should pique the reader’s interest by suggesting how your argument is surprising or otherwise counterintuitive. Literary essays make unexpected connections and reveal less-than-obvious truths.
  • Present your thesis. This usually happens at or very near the end of your introduction.
  • Indicate the shape of the essay to come. Your reader should finish reading your introduction with a good sense of the scope of your essay as well as the path you’ll take toward proving your thesis. You don’t need to spell out every step, but you do need to suggest the organizational pattern you’ll be using.

Your introduction should not:

  • Be vague. Beware of the two killer words in literary analysis: interesting and important. Of course the work, question, or example is interesting and important—that’s why you’re writing about it!
  • Open with any grandiose assertions. Many student readers think that beginning their essays with a flamboyant statement such as, “Since the dawn of time, writers have been fascinated with the topic of free will,” makes them sound important and commanding. You know what? It actually sounds pretty amateurish.
  • Wildly praise the work. Another typical mistake student writers make is extolling the work or author. Your teacher doesn’t need to be told that “Shakespeare is perhaps the greatest writer in the English language.” You can mention a work’s reputation in passing—by referring to The Adventures of Huckleberry Finn as “Mark Twain’s enduring classic,” for example—but don’t make a point of bringing it up unless that reputation is key to your argument.
  • Go off-topic. Keep your introduction streamlined and to the point. Don’t feel the need to throw in all kinds of bells and whistles in order to impress your reader—just get to the point as quickly as you can, without skimping on any of the required steps.

Once you’ve written your introduction, you’ll take the arguments you developed in step 4 and turn them into your body paragraphs. The organization of this middle section of your essay will largely be determined by the argumentative strategy you use, but no matter how you arrange your thoughts, your body paragraphs need to do the following:

  • Begin with a strong topic sentence. Topic sentences are like signs on a highway: they tell the reader where they are and where they’re going. A good topic sentence not only alerts readers to what issue will be discussed in the following paragraph but also gives them a sense of what argument will be made about that issue. “Rumor and gossip play an important role in The Crucible” isn’t a strong topic sentence because it doesn’t tell us very much. “The community’s constant gossiping creates an environment that allows false accusations to flourish” is a much stronger topic sentence— it not only tells us what the paragraph will discuss (gossip) but how the paragraph will discuss the topic (by showing how gossip creates a set of conditions that leads to the play’s climactic action).
  • Fully and completely develop a single thought. Don’t skip around in your paragraph or try to stuff in too much material. Body paragraphs are like bricks: each individual one needs to be strong and sturdy or the entire structure will collapse. Make sure you have really proven your point before moving on to the next one.
  • Use transitions effectively. Good literary essay writers know that each paragraph must be clearly and strongly linked to the material around it. Think of each paragraph as a response to the one that precedes it. Use transition words and phrases such as however, similarly, on the contrary, therefore, and furthermore to indicate what kind of response you’re making.

Just as you used the introduction to ground your readers in the topic before providing your thesis, you’ll use the conclusion to quickly summarize the specifics learned thus far and then hint at the broader implications of your topic. A good conclusion will:

  • Do more than simply restate the thesis. If your thesis argued that The Catcher in the Rye can be read as a Christian allegory, don’t simply end your essay by saying, “And that is why The Catcher in the Rye can be read as a Christian allegory.” If you’ve constructed your arguments well, this kind of statement will just be redundant.
  • Synthesize the arguments, not summarize them. Similarly, don’t repeat the details of your body paragraphs in your conclusion. The reader has already read your essay, and chances are it’s not so long that they’ve forgotten all your points by now.
  • Revisit the “So what?” question. In your introduction, you made a case for why your topic and position are important. You should close your essay with the same sort of gesture. What do your readers know now that they didn’t know before? How will that knowledge help them better appreciate or understand the work overall?
  • Move from the specific to the general. Your essay has most likely treated a very specific element of the work—a single character, a small set of images, or a particular passage. In your conclusion, try to show how this narrow discussion has wider implications for the work overall. If your essay on To Kill a Mockingbird focused on the character of Boo Radley, for example, you might want to include a bit in your conclusion about how he fits into the novel’s larger message about childhood, innocence, or family life.
  • Stay relevant. Your conclusion should suggest new directions of thought, but it shouldn’t be treated as an opportunity to pad your essay with all the extra, interesting ideas you came up with during your brainstorming sessions but couldn’t fit into the essay proper. Don’t attempt to stuff in unrelated queries or too many abstract thoughts.
  • Avoid making overblown closing statements. A conclusion should open up your highly specific, focused discussion, but it should do so without drawing a sweeping lesson about life or human nature. Making such observations may be part of the point of reading, but it’s almost always a mistake in essays, where these observations tend to sound overly dramatic or simply silly.

The entity that acts to frustrate the goals of the protagonist. The antagonist is usually another character but may also be a non-human force.

A protagonist who is not admirable or who challenges notions of what should be considered admirable.

A person, animal, or any other thing with a personality that appears in a narrative.

The moment of greatest intensity in a text or the major turning point in the plot.

The central struggle that moves the plot forward. The con ict can be the protagonist’s struggle against fate, nature, society, or another person.

first-person point of view

A literary style in which the narrator tells the story from his or her own point of view and refers to himself or herself as “I.” The narrator may be an active participant in the story or just an observer.

The principal character in a literary work or narrative.

Language that brings to mind sense-impressions, representing things that can be seen, smelled, heard, tasted, or touched.

A recurring idea, structure, contrast, or device that develops or informs the major themes of a work of literature.

The person (sometimes a character) who tells a story; the voice assumed by the writer. The narrator and the author of the work of literature are not the same person.

The arrangement of the events in a story, including the sequence in which they are told, the relative emphasis they are given, and the causal connections between events.

The perspective that a narrative takes toward the events it describes.

The main character around whom the story revolves.

The location of a narrative in time and space. Setting creates mood or atmosphere.

A secondary plot that is of less importance to the overall story but may serve as a point of contrast or comparison to the main plot.

An object, character, figure, or color that is used to represent an abstract idea or concept. Unlike an emblem, a symbol may have different meanings in different contexts.

The way the words in a piece of writing are put together to form lines, phrases, or clauses; the basic structure of a piece of writing.

A fundamental and universal idea explored in a literary work.

The author’s attitude toward the subject or characters of a story or poem or toward the reader.

An author’s individual way of using language to re ect his or her own personality and attitudes. An author communicates voice through tone, diction, and syntax.

The great gatsby literary analysis - Essay Example

The great gatsby literary analysis

It is claimed that “Gatsby bought that house so that Daisy would be just across the bay,” (Fitzgerald 79). This shows that everything Gatsby does in the novel is to attain Daisy. It was because of Gatsby’s relationship with Daisy, that Daisy drove his car and accidentally killed Myrtle who was George’s wife. This got George so furious that believing it was Gatsby who killed his wife, shot Gatsby dead.

Concluding, the above discussion proves that Gatsby reached a tragic end for not acting responsibly in life. He is very materialistic and is an example of lack of morality. He blindly pursues Daisy regardless of the fact that she is the wife of Tom Buchanan. This is how Gatsby becomes responsible for his own tragic end due to creating tragedy in other people’s . Show more

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