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WRITING THE CRITICAL RESPONSE (CRITICAL ESSAY)
WHAT IS A CRITICAL RESPONSE?
A critical response is a serious examination of a topic or
literary work for its own sake, without reference to personal
views, biases, values or beliefs. A critical response does not
use first person pronouns and aims to be objective and neutral
in its presentation of ideas and supporting evidence.^1 A critical
response does NOT explain negative aspects of literature in
essay form.
WHAT IS EXPECTED IN A CRITICAL ESSAY?
Students are to comment on whether the author
communicated his theme effectively through his use of various
critical elements (characterization, symbolism, setting, etc.).
This essay must present ideas in a well-organized, well-
defended, logical and clearly explained manner.
WHAT IS THEME?
Theme is the central idea or writer’s message in a piece of
writing. Theme is not a statement of a moral such as “Don’t
talk to strangers,” nor a statement of topic such as “The story
is about jealousy in families.” Theme answers the question
“What is the author trying to communicate to the reader about
life or the human condition?” An example of a statement of
theme is “A careless attitude and greedy nature will result in
irreversible damage to the environment.”
(^1) Richard Davies and Glen Kirkand, Canadian Writer’s Handbook (Toronto: Gage Publishing, 2000), pp. 177.
WHAT ARE THE CRITICAL ELEMENTS OF LITERATURE?
Critical elements are the techniques authors use to
communicate their message. This list provides some possible
elements/techniques:
Literary Devices Elements Techniques
irony characterization foreshadowing
metaphor climax point of view
simile conflict setting
imagery tone symbolism
HOW DO STUDENTS ANALYZE THE CRITICAL
ELEMENTS?
While reading literature students need to be aware of various
critical elements that emphasize the writer’s message.
The following generic charts, adapted from Essay Writing for
Canadian Students^2 , will apply to any piece of fiction, poetry,
drama or nonfiction. Answering the questions from the charts
will focus students’ attention on the elements being used by
the author in the piece of literature being studied.
(^2) Kay L. Stewart, Chris Bullock and Marian E. Allen, Essay Writing for Canadian Students (Scarborough: Prentice-Hall, 1994), pp. 462-465.
Senior High School Alberta Distance Learning Centre Barrhead, Alberta March 2002 1
CATEGORIES FOR ANALYSIS of FICTION CATEGORIES FOR ANALYSIS of POETRY^3
(^3) Kay L. Stewart, Chris Bullock and Marian E. Allen, Essay Writing for Canadian Students (Scarborough: Prentice-Hall, 1994), pp. 462-465. Topic What concept or issue is this poem about? Context In what way is the author’s life connected to the poem? Setting What are the place, time, and social environment within the poem? People Who is in the poem: various characters, only a persona (speaker), or both persona and characters? What are the important perceptions, observations, attitudes, or judgments associated with the persona? Structure Is the poem a particular type (sonnet, limerick, cinquain, haiku)? How does the poem use spacing, indentation, or other typographic variations? How does the poem use organizational principles – logic, sequence, events, movement of sensations or feelings, progressive thoughts, etc.? Style a) Diction – Are the poet’s word choices formal, informal, colloquial, archaic, or a mixture? Has the poet chosen deliberate alterations of usual meanings (poetic license)? b) Figurative Language and Allusions – How do figures of speech and allusions enhance meaning? What symbolic meanings are suggested by objects, gestures or images? What is the effect of conventional, universal and specific symbols? If present, how have patterns of images and symbols (motif) contributed to meaning? c) Sentence/Line Structure – What is the effect of lines or stanzas with or without conventional sentence patterns? How does punctuation or lack of it contribute to meaning? d) Rhythm and Sound – What does the use of devices of sound contribute to the meaning? (Does the poem use regular rhythm pattern or is it free verse? Are rhythm and regular line length combined, e.g. blank verse? Do lines correspond to units of meaning? How are pauses used? Is any rhyme regular or unusual? Does the poem use devices of sound such as alliteration, assonance, dissonance, onomatopoeia, imitative harmony?) Tone What is the poet’s attitude towards the subject and /or reader? (admiring, ironic, mocking, condescending, candid, sincere, intense, serious, etc.) Is the tone sad/melancholy, sarcastic, conversational, instructional, etc.? Point of View From which point of view is the poem presented: first person, omniscient, limited omniscient, objective? Is the persona closely involved in the events, ideas, sensations, or feelings developed in the poem? Is the persona sincere, or does the poet have a less evident purpose? How does the title relate to the work? Theme What is the central idea of the poem? Topic What concept or issue is this work about? Context In what way is the author’s life connected to the story? Setting What is the place, time, and social environment within which the events occur? Characterization What traits define the character(s) and how are they revealed? Do these traits change in the course of the work? How/why? Structure How has the author arranged the events of the plot? (chronological, spatial, flashback, flashforward, etc.) If the work is divided into parts, do they reflect the development of the act? Does the action lead toward a climax or turning point? Is there a resolution of conflicts or a revelation? Why does the work end as it does? Style a) Diction – Are the author’s word choices formal, informal, colloquial, or a mixture? b) Figurative Language and Allusions – How do figures of speech and allusions enhance meaning? How have objects, gestures or images been given symbolic meaning? What is the effect of conventional, universal and specific symbols? If present, how have patterns of images and symbols (motifs) contributed to meaning? c) Sentence Structure – What do sentence patterns indicate? Tone What is the author’s attitude about the story and reader? (admiring, ironic, mocking, condescending, candid, sincere, intense, serious, detached, etc.) Point of View From which point of view is the story told? (first person, omniscient, limited omniscient, objective) Does the point of view change and what effect results? How does the title relate to the work? Theme What is the central idea of the novel or short story?
WHAT’S THE NEXT
STEP AFTER THE
ANALYSIS CHARTS?
Once students have
identified the various
critical elements in a
work of literature, they
must decide which
elements are most
significant and effective
in helping readers
understand the
literature’s theme. Most
critical essays will
require students to
discuss two or three
critical elements.
Students are not
expected to discuss
each element from the
analysis charts!
However, only
discussing one element
may result in an
adequate mark if the
element has been well
explained and well
supported.
WHAT IS THE
FORMAT FOR A
CRITICAL ESSAY?
As with all formal
essays, organization is
the key! Planning your
ideas and support
before writing the
actual essay will result
in a better product. The essay
must have an introduction,
body paragraphs and a
conclusion.
SUGGESTIONS FOR
WRITING THE CRITICAL
ESSAY:
The following suggestions,
adapted from Canadian
Writer’s Handbook, provide
general guidelines for
students when writing critical
essays.
Avoid giving plot
summary. Retelling
the story is not
necessary.
Be specific. Specific
examples show
understanding of the
literature and of
support for an
interpretation or
opinion.
Be accurate. The
writer must be clear
about what he is
communicating to the
reader. Facts from the
literature must be
accurate.
Use the correct term.
Use a dictionary to
ensure the correct
terms are used. For
example, the terms
narrator and character
are not
interchangeable and
have different
meanings.
Refer to the selection by its
correct genre. Don’t call a
play a movie or a novel a
story, etc.
Use relevant literary terms
correctly. If analyzing poetry,
for example, know the
difference between metaphor
and simile and use the correct
term.
Use some quotations. Using
three to five key quotations
illustrates that the student has
prepared the essay, read the
text closely, and understood
what is important. Blending
the quote with the writer’s text
illustrates its point as in the
following: The speaker,
however, is not so optimistic.
He sees that there are “no
more clowns… no more
children… no more old ladies”
left to inspire the poet/artist.^6
SAMPLE ESSAY FOR STUDENTS:
A sample essay, which analyses the
film Casablanca follows on the next
page. Paying close attention to the
organization and support of ideas in
this essay illustrates the expectations
for students.
(^6) Anthony C. Winkler and Jo Ray McCuen, Rhetoric Made Plain (Don Mills: Harcourt Brace Jovanvich, 1987), p. 298.
Romance And Realism in Casablanca^7 Since its release in 1942, the movie Casablanca , directed by Michael Curtiz, has become a classic. Even people who have never seen the film recognize the theme As song, “Time Goes By,” and the line “Play it again, Sam,” even though this line never actually occurs in the film. Why has Casablanca remained so popular? The answer to this question undoubtedly lies partly in the appeal of its two stars, Humphrey Bogart and Ingrid Bergman, and talented supporting actors like Claude Rains, Sidney Greenstreet, and Peter Lorre. Its main appeal, however, is the mixture of romance and realism in its plot, setting, and characterization. The obvious romanticism of the plot tends to obscure its realistic elements. Consider the details. After a few shots of a spinning globe and Casablanca street scenes, we are introduced to Rick Blaine (Humphrey Bogart), a mysterious American expatriate who owns the Café Americain, meeting place of Casablanca’s smart set, and who appears to care for nothing and nobody. Into Rick’s café walk Victor Laszlo (Paul Henreid), a famous Resistance leader, and Ilsa Lund (Ingrid Bergman), his wife, in search of stolen letters of transit that would guarantee them a safe exit from Casablanca to Lisbon and America. In a flashback we learn that just before the Nazis occupied Paris, Rick and Ilsa met there and fell in love. Because of their agreement not to speak of their pasts, however, Ilsa does not tell Rick of her marriage to Laszlo, whom she believes to have died in a concentration camp. On the day that the two are to leave Paris together, Ilsa discovers Victor is still alive and, without explanation, sends Rick a note saying she still loves him but can never see him again. Rick and Ilsa’s past, then, is a romantic tale of love and self- sacrifice. When they meet and fall in love again in Casablanca, they must confront more realistic problems: Rick’s cynicism, a product of his sense of betrayal; Ilsa’s love, respect and admiration for Victor; Victor’s own sense of honour; and the very real threat posed to them all by the Nazis’ determination to prevent Victor’s escape. The reality of this threat is emphasized by the director’s use of the setting. On the one hand, Casablanca is a romantic city. In it sun- baked streets, merchants in fezzes haggle with prospective buyers; inside Rick’s Café Americain, the scene of much of the action, the (^7) Kay L. Stewart, Chris Bullock and Marian E. Allen, Essay Writing for Canadian Students (Scarborough: Prentice-Hall, 19940, pp. 8-9. wealthy gamble. On the other hand, Casablanca, governed by French authorities who are subservient to German “advisers,” is the major point of escape for refugees from Nazi-occupied Europe. Consequently, we see the marketplace turn into a place of terror when a member of the Free French underground is shot by French police in front of the law courts bearing the motto “Liberty, Equality, Fraternity.” Similarly, the glamour of Rick’s café is offset by the plight of the refugees who frequent it and by the ease with which the Germans order the place closed. The setting thus emphasizes the film’s mixture of romance and realism. What gives the film its appeal is not just the romantic hope that the good guys will eventually defeat the Nazis, however; it is the film’s recognition of the struggle that goes on within characters who, while basically good, may make wrong choices. This issue arises for several of the minor characters, but is most fully explored in the relationship between Rick and Ilsa. Although Rick’s past (running guns to Ethiopia, fighting in the Spanish Civil War) suggests that he is capable of idealism, his refusal to shield the man who stole the letters of credit raises the possibility that he will refuse to help Laszlo and Ilsa. Similarly, Ilsa’s shift from threatening to shoot Rick for the letters of transit one minute, to planning to going away with him the next, makes us wonder whether she will again be capable of sacrificing her love for Rick to her duty to her husband. To emphasize these inner struggles, scenes between Rick and Ilsa are often shot in half-light, creating the juxtaposition between light and shadow that is one of the film’s trademarks. Since most of us are faced with difficult moral choices, we identify more fully with characters who face similar struggles than we do with those who never question their own motives or behavior. In the end, it is the romantic ethic of love and self- sacrifice that triumphs, as Rick puts Ilsa and Victor on the plane for Lisbon and, with Captain Renaud, strides off into the fog to join the resistance fighters. But in its use of plot, setting and characterization, the film reminds us that such triumphs arise out of our struggles against opposition, both without and within. It is this realistic recognition of the difficulty of living up to our best selves that gives the film its continuing appeal. Introductory Paragraph Thesis Topic Sentence Body Paragraph 1 Transition Transition Body Paragraph 2 Body Paragraph 3 Topic Sentence Topic Sentence Concluding Paragraph Transition
